《沈默中變態—阮柏遠個展｜Pervert in Silence —Juan Poyuan Solo Exhibition》
111/06/10 (五) -111/09/04 (日), 關渡美術館 401展覽室
對我來說，阮柏遠作品中稻草人、麵包、水果、石頭與怪獸般的人物，就是構成個別世界的人機互動界面中，那些機器的具象化，也是世界的限制性條件，這或許是藝術家提煉這些非遊戲內部敘事的技術行動者形象的重要原因之一。_ 王柏偉, 為擴增實境時代的技術性行動者造像, 週刊編集，2022/7/11
藉由挪用網路用語，並將之意義延伸為在言論控制、審查的沉默底下，如何以變態作為起義、抗爭路線的新途徑，本展試圖使用機造電影（machinima）作為網路民族誌、歷史書寫、田野研究的論述創作形式與工具，透過機造電影打開書寫與改變數位歷史的可能性，一種借用遊戲（文化）框架的支點，並外於遊戲官方（控制者）、非主體的、非大敘事的，來自於玩家（被控制者）的比較視野的敘事觀點。
The term “Pervert in Silence”; from the Internet, means how perversion in the silence of speech control and censorship can be used as a new way of uprising, a line of resistance, in a long history of failure. By using the exceptions of similar perversions and mental faculties that are superficially conforming to the rules, an inner variation to break through the limits of the exceptions, using the conforming state as a means of voice and resistance, merging with the silence, and using that outer skin that seals us in to stand out in our own shape.
The exhibition attempts to use machinima as a form and tool of discursive creation for online ethnography, historical writing, and field research, opening up the possibility of writing and changing digital history through machinima, a kind of narrative that borrows the fulcrum of the game (cultural) framework and comes from the comparative vision of the player (controlled) outside the official (controller), non-subjective, and non-major narrative of the game. viewpoint. In this way, Poyuan continues to think about Machinima as a tool for the production of resistance media and external narratives in the digital world. To open up the consideration of Machinima as an attitude of resistance in the post-Internet era.
《平地數碼》第三期錄像誌 ：《就在此瞬間》𝐏𝐫𝐞𝐬𝐞𝐧𝐜𝐢𝐧𝐠 … 𝐁𝐞𝐜𝐨𝐦𝐢𝐧𝐠
JURORS’ NOTES 評審評語
I would not say that it was just a virtual kiss.
It is a kiss between reality and another reality.
The description in the work is like a beautiful poem, small and moving.
The internet world and things that happen there are just another reality to me. The camera migrates into that world, moving slowly, through the body and the spirit.
Whether the story is possible is not important to me at all; on the contrary, the work is empowering in terms of making body and spirit connected, which is something I care about more than the actual world.
The images take me into that night, an unforgettable night. (WONG-Fei pang)