Peng Yi- Hsuan

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藝術家 彭奕軒您好， 
我是視盟「台灣當代藝術資料庫」的專案經理吳欣怡，對於您豐富的藝術創作與展覽經歷，我們希望能完整收錄於台灣當代藝術資料庫的平台網站裡，誠摯邀請您加入此項台灣當代藝術資料庫計畫～
「台灣當代藝術資料庫」由社團法人台灣視覺藝術協會(視盟)所建置，資料庫以普遍認知的藝術類別作為資料搜尋的索引，再透過關鍵字串聯、勾勒出藝術家、作品、展覽、事件等所論述的議題。 
想了解您對於收錄於此計畫之藝術家資料庫的意願，若您有意願，可否請您提供您的電子信箱給我們，我們可以提供給您此計畫的相關說明文件，期待您的回覆，感謝您～

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天然記念物：火

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天然記念物：洞窟

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天然記念物

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天然紀念物：出水口

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2020 死亡之光  UV light 、捕蚊燈   TCAC，台北

921大地震當時的回憶，二十一年前，我們住在八樓的大樓裡，在半夜的地震中，我父母被地震嚇醒，隨著所有家具以及建築鋼筋像是扭毛巾一般的聲音，首先是破碎的聲音，床頭燈的破裂，我父親急忙衝下床，在前往我與我哥的房間途中，被震倒的檯燈絆倒，在衝向我們房間將我們叫醒，並將我們抱著。

在我自己的印象中，我只記得在昏暗的黃光燈下（那時尚未斷電），我被我父親搖醒，921大地震的晃動方向是上下震動的，在這樣的災難後，政府也從新訂定了房屋建築安全的規章（這是我父親跟我提及的內容），地震隔天還是正常上班上課。

隱藏災難的身體，是我這幾年不斷關注的議題，捕蚊燈作為家庭裡的一個器具，它像一盞藍色的燈，卻是作為擊殺蚊蟲的工具，從此種對比狀態下就能感知到兩個不同層面，如同更強烈的對比：藝術與現實，當他被放置在我們所稱為的展場（它成為一種視覺關注物），但當蚊子被擊殺產生出巨大聲響後會讓我們回歸現實。在細微層面裡，我試圖帶出曾經的媒體敘說，對於家中捕蚊燈盡量不要直視它，會造成眼睛的些微傷害，也是在我作品中會出現的，在這樣的關係狀態裡，我們同樣的會不自覺直視光源，背光源吸引，並各自造成傷害。

再者，當我六年前研究或調查捕蚊燈相關的資聊時，意外的關注到醫療用的紫外線殺菌燈（UV light) ，它則是與捕蚊燈完全兩極化的結果，作為殺死看不到的細菌，因應全球武漢肺炎(covid 19)狀況藝術活動全面取消延期，對於藝術空間而言，我們從未關注到是否具備安全條件，我將這樣的醫療設備放置現場，當它開啟時，如果有人在旁邊會實質的帶賴眼睛及身體的傷害，所以在空間觀看經驗轉換裡，觀眾是去看紫外線消毒後的空間，而非觀看做為視覺產物。

這兩件作品如果能同時執行會是最好的狀態。

過去的提及以及現在的處境，談一個有關隱藏性的災難身體。

現場照片的狀態，首先是在玻璃窗裡面的展場，我們如何運用現有的一些傢俱進行場景的創建，場景的想像對我來說地卻就是常設於現場，捕蚊燈隨時保持開啟，但紫外線殺菌燈可能是事件式的發生，位置的轉移在展場內，殺菌時間禁止進入。殺菌完才可進入。

First of all, after reading the exhibition photos today, I have a few related ideas to discuss with you. In view of the size of the exhibition space, we must think about the allocation of space and the feeling of the bedroom.

I made a phone call today to ask my parents. I recalled the memories of the 921 earthquake together with them. Twenty-one years ago, we lived in a building on the eighth floor. In the middle of the night, my parents were awakened by the earthquake. With the sound of all the furniture and building reinforcements like a twist of towels, the first was the broken sound, the bedside lamp broke, my father rushed out of bed, and was knocked down on the way to my room with my brother. The lamp tripped and rushed to our room to wake us up and hold us.

In my own impression, I only remember that under the dim yellow light (at that time, the power was not turned off), I was woken up by my father. The shaking direction of the 921 earthquake was shaking up and down. After such a disaster, the government also restarted There are regulations on house building safety (this is what my father mentioned to me), and the next day after the earthquake, we still go to work and class.

Hiding the disaster's body has been a topic I have been paying attention to in recent years. As a device in the family, the mosquito trap is like a blue lamp, but it is used as a tool to kill mosquitoes. Perceives two different levels, as if a stronger contrast: art and reality, when he is placed in what we call the exhibition hall (it becomes a visual concern), but when the mosquito is killed, a loud sound will be produced Let us return to reality. At a subtle level, I tried to bring out the previous media narrative. Try not to look directly at the mosquito trap at home, which will cause a little damage to the eyes. It also appears in my works. In this state of relationship, we also have the same Will unconsciously look directly at the light source, the backlight attracts and causes damage.

Furthermore, when I researched or investigated information about mosquito traps six years ago, I accidentally paid attention to medical ultraviolet light (UV light), which is the result of polarizing completely with mosquito traps as a killer. Deadly invisible bacteria, art events have been completely postponed in response to the global Wuhan pneumonia (covid 19) situation. For the art space, we have never paid attention to whether there are safety conditions. I place such medical equipment on the scene when it is turned on. At times, if someone is nearby, it will actually cause eye and body damage. Therefore, in the conversion of spatial viewing experience, the audience is looking at the ultraviolet disinfected space instead of watching as a visual product.

It would be best if these two works could be executed at the same time.

The past mentions and the present situation speak of a hidden calamity body.

The state of the scene photos is first of all in the exhibition hall inside the glass window. How do we use some existing furniture to create the scene, the imagination of the scene for me is just standing on the scene, the mosquito trap light is always on, but ultraviolet The germicidal lamp may occur in an event-type manner. The location of the germicidal lamp is shifted in the exhibition hall. It is forbidden to enter the germicidal time. Only enter after sterilization.

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Natural Monument: for gif 

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〈工事名〉 白板 白板筆  120cmx240cmx2cm ,2019 最高峰景、絕響、帝心軸線、無界疆域,巨大建案廣告裡的文字,給予了巨大宏偉的軀殼。 有許多即將完成的建案,在建案的廣告宣傳中,我們看到的都是望向美好的未來(一堆雙關、諧 音)把陳述文字的浪漫毫不保留的強烈釋放,強到令人發笑。 遊走的城市裡,可以靠描述某個地方曾經有過什麼事件或是故事,並靠著藝術的介入在發生於周遭 的社區,帶來某部分的震動影響。 此件作品並非想久存於何處,而是隨著工程臨時搭建的鐵皮圍籬共存著,隨著完工而結束。 過去以及未來的白板筆標記同時存在於白色光滑的表面。 事件風景圖層重疊於工程白板上,最終一同被標記在同一個表面上。 最高峰景、日日見財、絕響、帝心軸線、無界疆域,巨大建案廣告或是攤販車上貼的貼紙裡的文字, 給予了巨大宏偉的軀殼,工事名是一個尚未命名的首要『提醒選項』。

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大吉大利 good luck

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2019 good luck 44% Breathingcolor metalic   

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