在制图学的演变中，J.B.哈利的评论突显了制图中艺术性的潜在损失及其社会影响。地图因其科学准确性而受到重视，实则是人类构建的本质，通过象征性的视角诠释景观。
计洲的《地图》系列中，精致的地图从平面呈现转变为类似山脉起伏的纹理景观，这些人造景观挑战了我们对现实的感知。扎根于制图的传统惯例，色块划定了领土，纬度和经度提供了方向轴承，而海洋与岛屿的描绘则突显了这些符号的建构性质。计洲的立体地图促使我们思考这些人造符号和约束如何影响我们的理解，突显了地图尽管追求科学准确性，却也唤起了纯粹想象的领域。
UP Gallery 1F
制图学的想象
时间｜2024.07.20-09.28
艺术家｜陈萧伊、廖益嘉、计洲
地点｜绝版影像馆一楼
UP Gallery 2F 放映室 (展览倒数中)
这趟旅途没有回程
时间｜2024.08.09-08.31
艺术家｜吴家昀
地点｜绝版影像馆2F放映室
地图4 The Map4, 2014, 150 x 82 cm, 颜料式喷墨输出 Pigment inkjet print, Ed.6
Amidst the evolution of cartography, J.B. Harley's critique underscores a perceived loss of artistry and its social implications in mapping. Traditionally valued for their scientific accuracy, maps are fundamentally human constructs that interpret landscapes through a lens of representation.
In JI Zhou's "Maps" series, intricate maps are transformed from their usual flat representations into textured vistas resembling heaves of mountain ranges. These visually captivating artificial landscapes challenge our perception of reality, grounded as they are in the traditional conventions of cartography. While color blocks delineate territories and latitude and longitude provide directional bearings, the representation of oceans and islands underscores the constructed nature of these codes. Zhou's stereoscopic maps prompt us to ponder how these human-created symbols and constraints influence our understanding. They highlight the paradox that while maps strive for scientific accuracy, they also evoke realms of pure imagination.
UP Gallery 1F
Cartographic Imagined
Duration｜2024.07.20~09.28
Artists｜CHEN Xiaoyi, LIAO Yichia, JI Zhou
Venue｜UP Gallery Ground Floor
UP Gallery 2F Screening Room (exhibition closing soon)
on the way home
Time｜2024.08.09-08.31
Artist｜WU ChiaYun
Venue｜UP Gallery 2F Screening Room
Artsy线上展厅
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https://www.artsy.net/viewing-room/up-gallery-cartographic-imagined-ji-zhou?utm_content=viewing-room-gallery-share
