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‘The MOMENT:The Taiwanese Art Projects’, Tenri Cultural Institute, USA (2015)


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‘The MOMENT:The Taiwanese Art Projects’, Tenri Cultural Institute, USA (2015)

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‘The MOMENT:The Taiwanese Art Projects’, Tenri Cultural Institute, USA (2015)

  1. 1. Since its establishment fifteen years ago, the Museum of Contemporary Art (MoCA), Taipei has organized and presented countless exhibitions that introduced international new waves of contemporary art. Corresponding to each major exhibition, we have also planned events and activities for academic exchanges, creative dialogues, and art education. Meanwhile, the museum has strived to introduce Taiwanese contemporary art to the world as one of the projects for cultural exchange between cities. For example, we had curated and organized SuperGeneration@Taiwan, a major exhibition that included thirty Taiwanese artists as well as diverse artistic forms and contents, and toured the exhibition to China Art Museum, Shanghai and Today Art Museum in Beijing. In addition, MoCA, Taipei has curated solo exhibitions of Taiwanese artists three times in the form of collateral exhibition to the Venice Biennial. Therefore, despite the museum’s limited resources and manpower, through these endeavors that emphasized on the exchange and interaction between Taiwan and the international art scene, MoCA, Taipei has accumulated considerable results with the supports from all fields and the participation of the Taiwanese art circle. The museum delegates’ trip to New York this time for our collaboration with Taiwanese American Arts Council (TAAC) in organizing THE MOMENT: Contemporary Taiwanese American Arts is the result of collective efforts for introducing and sharing the latest development of Taiwanese contemporary art with the city of our friendly country. As the center of attention for the international art scene throughout decades, New York has attracted innumerable Taiwanese artists to live and work in the city, to soak up its energy and culture, or to observe and interact with it for a short period of time. For THE MOMENT: Contemporary Taiwanese American Arts, MoCA, Taipei has invited ten artists to come to New York, and together with forty-one teams of Taiwanese artists based in New York, to co-create the first Taiwanese contemporary art festival in New York. It not only resembles an artistic reunion, but also a large- scale project that combines international collaboration between museums and interdisciplinary integration of both cities. Therefore, despite the increased level of difficulty and challenges, it is indeed worthy of our collective participation and efforts! I would like to express my respect and gratitude for all participating artists, and in particular, to TAAC chairperson, Mr. Lung-feng Chen, and TAAC director, Mrs. Luchia Meihua Lee, who have joined forces with us to complete this tremendous task. My special thanks also go to the five New York art institutions that have provided the exhibition venues and precious exhibition schedules, as well as the Ministry of Culture, the Ministry of Foreign Affairs, The Taipei Cultural Center in New York as well as all our fellow Taiwanese and international friends in New York for their assistance in our various projects. It is our sincere hope that THE MOMENT: Contemporary Taiwanese American Arts would initiate more creative exchanges and artistic dialogues between the US and Taiwan. 台北當代藝術館開館十五年來,在本館策畫了許多引介國 外當代藝術新潮的展覽,配合每次大展,也都規劃了學術 交流、創作對話、藝術教育的活動。在這同時,我們也致 力將台灣當代藝術推介至國外,做為城市文化交流的項 目。例如,我們曾經以【台灣藝術新世代】為主軸,策劃 了一個由三十位藝術家聯合參與、內容和形式相當多樣化 的大型展覽,並先後至上海美術館以及北京今日美術館展 出;另外,台北當代藝術館也先後在威尼斯雙年展策畫了 三次以台灣當代藝術家個展為主的平行展。當代館雖然資 源和人力有限,這些著眼於台灣與國際藝壇雙向交流的努力,在各界的支持與藝術界的參與之下,實際 已累積了相當的成果。 此次率團赴紐約市,與台美文藝協會合作辦理【當下當代-台灣藝術計畫】,是將台灣當代藝術最新發展 成果,推介至國外城市與友邦人士分享交流的另一次集體行動。紐約長期作為國際藝壇的焦點舞台,歷 年來吸引許多台灣藝術家來此,或就地生活創作、或駐留浸潤學習、或短期觀摩交流。這次的【當下當 代-台灣藝術計畫】展,當代館邀選了十位藝術家專程來到紐約,與目前旅居紐約的四十一組位台灣藝 術家們,共同參與打造紐約第一屆台灣當代藝術祭,這不僅是同鄉會性質的藝術大會串,也是首次館際 跨國合作和城市跨界整合的大型活動計劃,雖具有更多的難度和挑戰性,卻是很值得大家去共同參與、 一起成就的! 在此,除了先向各位參展的藝術家們表達敬謝之意,也要特別感謝與我們共同承挑重擔的台美文藝協會 陳會長及李美華總監,提供此次展覽場地和寶貴檔期的五個紐約藝文機構,以及從旁協助支持我們各項 計畫行動的文化部、外交部、紐文中心、以及紐約在地的台灣同胞和國際友人。希望這次的「當下當代- 台灣藝術計畫」,可以啟動未來更多台灣與美國的創意交流、藝術對話。 @ M 16 8.8.2015–12.8.2015 ContemporaryTaiwanese AmericanArts ProgramVenues/datesProgramVenues/dates 認識 台北當代藝術館 About Museum of Contemporary Art, Taipei (MoCA, Taipei) 台北當代藝術館的館舍建築,落成於西元1921年,原為日治時期專供 日本人子弟受教育的「建成小學校」。1945年後,台灣進入中華民國 時代,原建成小學校舍被轉用為台北市政府辦公廳舍,直至1994年台 北市政府遷入信義區的新市政中心為止。在這五十年當中,這棟紅磚 建築體,正是驅動台北市政及各類軟硬建設的神經中樞。 台北當代藝術館自2001年開館後,前七年由市政府委託民間企業家組 成的「當代藝術基金會」統籌營運,基金會董事和歷任館長、館員們 同心合力,陸續辦理了許多精采絕倫的當代藝術展覽,除了致力推動 台灣與國際藝壇的對話,也用心開拓民眾的美感品味和文化視野。除 了扮演國際當代藝術展覽的重要據點,和彰顯台灣當代藝術成果的焦 點櫥窗,當代館始終自我期許的三個目標:一是推動多元風貌的藝術 創作與展覽,二是著眼於激發民眾的新觀點和新思維,三是提供當代 城市發展源源不絕的創意與活力。 當代藝術導向的專業美術館,除了需要掌握時代的趨向、跟上全球的 腳步,也需要在創作生產的這一端和藝術欣賞的另一端之間,鋪設更 多的通道和橋梁,規劃各種有利於活絡藝術靈光、訊息傳播、教育學 習、休閒娛樂、社區認同、文化建構…的整合機制。正如當代藝術本 身是個現代進行式一般,我們希望這個整合機制本身保有一種「茍日 新、日日新、又日新」的有機性格,不但能隨時自我補充加強,也能 夠海納眾聲,追求更多的可能,共創台灣藝術文化的無限美景。 The Museum of Contemporary Art (MoCA), Taipei is the first art institution in Taiwan dedicated exclusively to contemporary art. The museum building was originally the Jan Cheng Elementary School, established during the Japanese colonial period. In 1945, the building became the Taipei Government City Hall. After the government moved to Hsinyi District in 1994, the policy of the reuse of historical buildings prompted the old city hall to be transformed in May 2001 into the Museum of Contemporary Art, Taipei. Since its inauguration, the museum has combined its historical architecture with contemporary art, entwining yesterday’s memories with today’s culture and introducing the most innovative and avant-garde visual aesthetics, media technologies, architectural design, and fashion from Taiwan and overseas. At the same time, MoCA, Taipei continuously promotes artistic education and encourages the community to regard the aesthetics daily life. In the future, MoCA, Taipei will persevere on its mission to promote and motivate multidisciplinary creativity both locally and internationally. With rich and diverse artistic performances, the museum will vigorously introduce creativity into Taipei, art into the community, and the ever evolving exhibition technology into the new life of the historical building. A professional art museum that focuses on contemporary art, it has not only to keep up with the global trend, but also to bridge the industry itself with art appreciation. A system for the integration of artistic creation, information transmission, education, learning, entertainment, community recognition, and cultural construction must then be worked out. This integrated system should remain the spirit of contemporary art itself-- keep moving on actively and lively day by day. Determined to support such system, MoCA will strengthen its own ability to pursue more possibilities and broaden its own capacity to accept different opinions. Working together with other museums and artists, the prospects of art in Taiwan is immense and without limits. M 1 Preface to THE MOMENT: Contemporary Taiwanese American Arts 「當下當代-台灣藝術計畫」展出序 台北當代藝術館 執行總監 / 石瑞仁 Director, Museum of Contemporary Art, Taipei / J.J. SHIH ‧發行人:石瑞仁 ‧總編輯:林羽婕 ‧編輯小組:廖映辰、王雪妮、黃伊涵、陳思安、   黃香凝、蘇丰健 ‧翻譯:黃亮融 ‧視覺設計:黃思婷 ‧發行單位:MOCA TAIPEI 台北當代藝術館 ‧發行地址:108台北市長安西路39號 ‧策展人:林羽婕 ‧偕同策展:廖映辰、王雪妮 ‧展覽執行:許翼翔、黃俊璋、黃伊涵、 黃香凝、   許瑞芬、周文婷 ‧發展行銷與教育推廣:陳思安、呂易穎、王瑋婷、  陳筱筠、詹筑涵、章綺芸、  張數滿、蘇雲禎
  2. 2. 以東方思維造景,同如春天雪地後之地景視覺效果擬狀的詩境。作品以染白之10萬根竹 籤及十餘棵孟宗竹枝裝置於草地上,染白之竹籤會因天候濕氣而產生霉斑,原雪白之景 象會隨時間演繹漸漸還至大地顏色(如果天氣夠潮濕),而竹葉(羽毛)亦會逐漸隨風 飄散,亦如琛雪漸融初夏之狀。 M 15 游文富 YU, Wen-Fu 自然的知覺」是游文富創作的核心美學。他認為:人,如同野生動物一般,當心思純淨 不受干擾時,對於環境即有高度的敏銳性。科技高度發展的今日,一切事物強調感官激 發與人性互動,但人們的美感直覺卻反而逐漸消弭殆盡。為此,游文富訴諸竹與羽毛等 自然媒材,創造一種人們感覺熟悉,卻也充滿新意和想像餘地的藝術裝置或環境景觀, 鼓勵觀眾透過靜心觀看,乃至於行動參與,去發掘和捕捉,包括氣流、風聲、光陰、時 間等飄渺不定的事物,去感受和體驗生活空間或自然環境中,一些剎那即逝的吉光片羽 和美感訊息。 “Natural Sensitivity” represents the fundamental aesthetics of YU, Wen-fu’s work. According to him, human be-ings, much like wild animals, gain the sharpest sensitivity to the environments when we reach an undisturbed and pure state of mind. Unfortunately, the advancement of technology has led to a society that overemphasizes sensational stimulation and interpersonal interaction, which directly or indirectly causes the aesthetic intuition of human being to vanish rapidly. In response, YU, Wen- fu rests on natural materials such as bamboo and feathers as his media to create installations and environmental art. His work is often familiar while simultaneously refreshing and allowing room for imagination. It encourages the audience to calm down and observe, or take a step further to actively discover and grasp some of the most transient yet inspirational moments and elements of our surroundings, such as the airflow, the sound of the wind and time. After Spring Snow This piece is very oriental in composition and is inspired visually by the classic imagery of landscapes after a fall of spring snow. The artist has laid out 150,000 bamboo sticks bleached white and a dozen large bamboo poles on to grass. In the humid climate would grows on the white bamboo sticks turning the white landscape green again. The “leaves" of the bamboo (actually feathers) are also gradually scattered by the wind, creating on effect like melting snow in the beginning of summer. 《春雪後》 《江山系列》 融合游文富1983年開始研修的傳統水墨技法,和自行開創的羽毛媒材創作,以各國鈔票 上的人像做為題材,並在其中植入了中國的山水的圖像,「遠看是名人,近看是山水」 的戲碼,除了創造一種奇幻的雙重視覺,也隱喻了鈔票所代表的經濟價格與山水所代 表的自然價值之間,可能存在的和諧共存或矛盾衝突。從另外一個角度看,自古擁有江 山即擁有「權力」,而現代只要透過金融就能創造和操控「權力」,在此,藝術家刻意 將鈔票人物與水墨江山融為一體,企圖重新詮釋人生「重於泰山,輕如鴻毛」的兩面意 義。 Territory Series The Territory Series combines traditional ink-brush techniques that YU, Wen-fu began practicing in 1983 with his own innovative take on using feathers as a creative medium. Images of Chinese landscapes are superimposed on portraits printed on paper money from around the world, and upon closer look, they are portraits of important people, but from afar, they appear like landscapes. ln addition to creating a fantastic visual duality, it also suggests a possible coexisting harmony or an ironic conflict between money's economic value and landscape's natural value. From a different perspective, it was said in the ancient times that one that possesses territory is also in possession of power, and in today's time, financial prowess is used to garner and manipulate power. The intentional gesture of fusing the money portraits with ink-brush landscapes is the artist's attempt to reinterpret the duality behind the Chinese saying, "Though death befalls all men alike, it may be weightier than Mount Taishan or lighter than a feather." M 2 台北當代藝術館為推動影像藝術創作及欣賞風氣,特在廣場創設「當代影像聚場」,除開 放國內外藝術家及策展人申請展出,館方也將不定期推出主題策劃展項。「當代影像聚 場」展示機制,包括一個戶外大型LED影像牆與互動感應裝置,以及捷運中山站地下街 R9電視長廊,當代館將展場延伸到館外公共空間,作為國內外藝術家創意發表平台,藉 以呈現當代媒體藝術與影像美學的不同面向,這也是當代館全年度「夜間不打烊」的視覺 饗宴。
  3. 3. 「當下當代-台灣藝術計畫」 THE MOMENT: Contemporary Taiwanese American Arts 策展人 / 林羽婕 Curator,Maple LIN,Yu-Chieh M 14 參展藝術家 糖果鳥 Candy bird 張耀煌 CHANG,Yahon 徐薇蕙 HSU, Wei-Hui 黃贊倫 HUANG, Zan-Lun 林珮淳 LIN, Pey-Chwen 李光裕 LEE, Kuang-Yu 王曉華 WANG, Hsiao-Hua 葉怡利 YEH, Yi-Li 游文富 YU, Wen-Fu 東冬.侯溫 DON DON, Hounwu 我出生在亞洲東部、太平洋西北側、面積約3.6萬平方公里的島嶼「台灣」,因為住在 島嶼,對於海洋有著一種歸屬感,大概是因為島國人的特性作祟,總是喜歡旅行,就像 一艘船在遼闊的海上飄來盪去,我總喜愛處在起點與終點之間的狀態,最有趣的莫過於 過程中的一些偶然發生! 而《啦~啦~啦~小島》是我2011駐村在印度洋西側的馬達加斯加群島之一的南島「留尼 旺」的作品,「留尼旺」跟台灣一樣有著殖民時代的歷史,是法國海外省,也有著南島 的特色多元文化,島上有穆斯林的阿拉伯人、印度人、法國人、中國客家人、克里奧爾 人等多種族。所以作品裡我和一個當地克里奧爾人與印度人在最後的聖地卡拉利對打一 番,象徵殖民時代的戰爭,我分別又在法國建築與穆斯林廟玩中國的彩帶,意味著多文 化的混血。我延續慣有的創作風格,以行為、錄像的方式創作這一次的《啦~啦~啦~小 島》的計畫。 La~La~La~ the Islet I am born at Taiwan, a 36 thousand sq ft island located in East Asia and North-west Pacific Ocean. Since I live on an island, I grow a sense of belongingness to the ocean. Furthermore, perhaps it is because of the nature of island resident, I always love to travel around, which is like a boat driving around on the vast ocean. I am always intrigued by the in-between status between departure and arrival. What is the most interesting may probably be some unexpected happenings during the journey! La~La~La~ the Islet is the artwork I created during my 2011 artist-in-residence project at Réunion, on the west Indian Ocean and as a part of Madagascar under Austronesia. Réunion, sharing similar colonial history as Taiwan has, is an oversea region of France and has very diverse cultures as other Austronesia islands have. On this island, there are muslin Arabians, Indians, French, Hakka from China Guangdong, China, and Creole people. In this artwork, I fight with a Creole and an Indian at Salazie, a beautiful valley where people hided during war time as well as the “last holy land” in my eye, which symbolizes the wars of colonial era. I also play Chinese ribbons in front of French style building and mosque to indicate the fusion among multi-cultures. Extending from my consisting creational style, I create the La~La~La~ the Islet project with performance and video art. 葉怡利 YEH, Yi-Li 身體就是最方便在空間與時間中移動的媒介物,2004年開始我時常穿著蠕人服裝,周遊 各地拍作品,透過我的身體轉化成不同的角色,我時常裝扮成有魔力的怪獸、仙子、惡 女等角色,在文明的城市或是悠然的大自然中,透過現場行為的藝術形式,猶如小孩嬉 戲的原始本能,再以錄像藝術或互動裝置呈現作品。所以藉由調侃自身的經驗,內化成 一個輕鬆自在的遊戲性,作品裡經常有一些像童話故事的角色,這些角色都像是成人到 帶到幼童的原形,透過遊戲的過程在嬉戲中藉由原始的本能反應創作,「遊戲中」就像 藝術之于我的「創作中」是我作為一個藝術家最重要的部份。 For me, body is one of highly handy mediums while moving around in spaces or time. From 2004 on, I have often dressed myself in Ruren costume and made video artworks in many places. By dressing up, my body is thus transformed into different roles. I often dress up like a monster with magic power, fairy, or wicked woman. Either in a civilized city or the wild natural world as the background or stage, I conduct in happening art form with a child playing-like primitive instinct and later they are presented as artworks in the form of video art or interactive installation. Therefore, through the experiences of poking fun on myself, my creation is internalized to a heart-lighting playfulness. In my art-works, there are some fairytable-like roles. Those roles are like taking adults back to the original status and forms in their childhood. During the playing, I create artworks based on my primitive instincts. “In a play” (playing) coincides with “in a creation” (creating) as the most essential part of me as an artist. The themed exhibition, THE MOMENT: Contemporary Taiwanese American Arts, is part of the Taiwan and America Art Festival in New York as well as the first exchange activity of Museum of Contemporary Art, Taipei (MoCA, Taipei) in the US since the establishment of the museum fifteen years ago. The project invites ten Taiwanese artists, displays works such as outdoor installation, sculpture of public art, graffiti that emphasize on communal interaction, and includes a group exhibition at Tenri Cultural Institute. With the purpose of displaying the diverse creativity and techniques of Taiwanese artists and the multifaceted issues in their works, the exhibition aims to initiate dialogues and exchanges between Taiwan, the New York art circle and the public. The ten artists from Taiwan and the Taiwanese artists currently living in New York have collaborated to present their exuberant 「當下當代-台灣藝術計畫」作為紐約市台美藝術節的一個專題展覽,是台北當代術館 開館十五年來,首次遠赴美國紐約市的交流活動,本計畫邀請到十位台灣藝術家聯袂 參與,從戶外裝置與公共藝術雕塑、社區互動型壁畫到天理藝文空間(Tenri Cultural Institute)的室內群展,除了旨在展現台灣藝術家多元的創作手法與多面向的議題關 懷,也希望以此展和紐約藝術圈及社會大眾展開對話與交流;這十位來自台灣的藝術家 加上目前旅居紐約的台裔藝術家,共同攜手將台灣豐沛的創意與精采的藝術推上紐約這 個國際大舞台。 從創作媒材與表現形式來看,張耀煌的當代水墨與立體雕塑、李光裕的銅雕、游文富的 戶外竹籤裝置與室內的羽毛畫、Candy Bird的壁面塗鴉與室內裝置作品、黃贊倫的錄 像與壓克力畫、王曉華實物與複合媒材、林珮淳的LED新媒體裝置、東冬侯溫的錄像裝 置、葉怡利的行為與裝置、以及徐薇蕙的面膜雕塑等,顯示了十位藝術家個人創作的別 出心裁,也映照出台灣當代藝術整體的豐富樣態。 在內容與議題的探討上,張耀煌關懷的是人性百態,透過一張張臉孔窺探生命端倪;李 光裕的雕塑新作超越了表象,而更往心靈層次昇華;游文富帶著他最熟悉的媒材竹籤, 在法拉盛草原可樂娜公園營造出一片台灣地景風情,並以他的羽毛山水畫,描繪他對政 治與經濟的想像;Candy Bird基於他對社區人文的關懷,來到紐約這個塗鴉大本營進 行現地創作,畫出他的紐約意象與解讀;黃贊倫以錄像與平面作品,深入探討人與人的 關係及他對這個世界的觀察;王曉華將利用台灣和紐約兩地的現成物為元素,就地創作 出一幅幅架上作品;林珮淳以台灣特有種蝴蝶的虛擬形象,呼喚人類對於環境覺知之必 要;東冬侯溫基於台灣原住民離鄉背井的文化議題,呈現個人從山地原鄉到台北都會再 到紐約國際大城市的身體流離和心境變化;葉怡利帶著台灣的飯碗與電鍋,進行現場行 為藝術表演,藉此探究藝術家奮鬥求生過程的心情與意念;徐薇蕙則以扛著大巨球的眾 多小女兵形象,反思當代女性既需浪漫又需堅強的大不易角色。類此,從自我觀照到土 地關懷的議題,十位藝術家本著不服輸的堅毅精神,立足台灣而放眼全球,呈現出了台 灣當下當代最多采多姿的藝術風貌。 本次展覽得以成形,首先得感謝紐約TAAC的所有夥伴,他們為台灣藝術家開創了這個國 際交流的舞台和文化對話的機會,其次要感謝旅美資深策展人李美華長期以來的牽針引 線和張羅聯繫,因為她的一路堅持與熱心奔走,讓台灣藝術家一次又一次地曝光並受到 肯定,而有了這一次以城市藝術節之格局呈現的機會。同時,要感謝台北當代藝術館石 瑞仁館長與所有館員,一向努力推動台灣當代藝術與全球接軌,從上海、北京、威尼斯 到這次的紐約市,當代館再一次證明了行動之必要性和可能性。最後,感謝為這次展覽 付出的所有藝術家與工作夥伴,一切的不完美都是為了邁向更完美,讓我們繼續共同努 力吧。 creativity and amazing artworks on the international stage of New York. In terms of creative media and artistic expression, one can see the creative ingenuity of the ten artists, which reflects the richness of Taiwanese contemporary art in general, including CHANG, Yahon’s contemporary ink painting and sculpture, LEE, Kuang-Yu’s bronze sculpture, YU, Wen-Fu’s outdoor installation of bamboo sticks and indoor feather painting, Candy Bird’s graffiti and indoor installation, HUANG, Zan-Lun’s video and acrylic painting, WANG, Hsiao-Hua’s object and mixed media work, LIN, Pey-Chwen’s new media installation, DON DON Hounwu’s video installation, YEH, Yi-Li’s performance and installation, and HSU, Wei-Hui’s sculpture made with facial masks. In terms of content and issues discussed in the works, CHANG, Yahon cares about the innumerable aspects of humanity, taking a closer look on life through various human faces. LEE, Kuang-Yu’s new works of sculpture exceed the expression of appearance, beckoning at an elevation to a spiritual level. YU, Wen-Fu employs his most familiar creative medium, the bamboo sticks, and creates a Taiwanese landscape in Flushing Weadows Corona Park. In the meantime, he also uses feather ink painting to delineate his imagination of politics and economy. Because of his care for the communal culture, Candy Bird has come to the headquarter of graffiti, New York, and creates works onsite, painting out the city in his mind and his interpretation of it. HUANG, Zan-Lun’s video and graphic works investigate the relationship between individuals as well as depict his observations of this world. WANG, Hsiao-Hua uses ready-made objects found in Taiwan and New York, and creates her works onsite. LIN, Pey-Chwen utilizes the virtual images of the endemic butterflies in Taiwan to invoke humanity’s awareness of the environment. DON DON Hounwu bases his work on the cultural issue of Taiwanese indigenous people’s leaving their native land, and represents his own wandering and inner changes as he travels from the indigenous native home to the urban area of Taipei, and eventually to the international metropolitan, New York. Bringing rice bowls and an electric pot from Taiwan, YEH, Yi-Li conducts live art performances, through which she discusses the frame of mind and will of an artist struggling to survive. HSU, Wei-Hui presents numerous tiny female soldiers carrying a gigantic ball, reflecting the difficult role of contemporary women, as they need to be simultaneously romantic and strong. From one’s self-contemplation to the issues of caring for land, with a strong will and perseverance, these ten artists have rooted in Taiwan and think globally, displaying the most colorful aspects of Taiwanese contemporary art at this moment. The exhibition owes its realization to all the friends at TAAC in New York as they provide this opportunity of international exchange and cultural dialogue for Taiwanese artists. Immense gratitude goes to Taiwanese American curator, Luchia LEE, Mei-Hua, who has spent much time assisting in introducing and coordinating the project. Because of her persistence and dedication, Taiwanese artists have received much attention and praise, creating the opportunity for the urban art festival this time. At the same time, I would like to express my gratitude to the director of MoCA, Taipei, Mr. J. J. Shih, and all the museum staff for their everlasting dedication in introducing Taiwanese contemporary art to the world. From Shanghai, to Beijing, to Venice, to New York this time, MoCA, Taipei has once again proved the necessity and possibility of taking concrete actions. Last but not the least, I would like to thank all the participating artists and working staff in the exhibition. All imperfections exist for the achievement of future perfection. Let’s keep striving together for the goal!Because of her persistence and dedication, Taiwanese artists have received much attention and praise, creating the opportunity for the urban art festival this time. At the same time, I would like to express my gratitude to the director of MoCA, Taipei, Mr. J. J. Shih, and all the museum staff for their everlasting dedication in introducing Taiwanese contemporary art to the world. From Shanghai, to Beijing, to Venice, to New York this time, MoCA, Taipei has once again proved the necessity and possibility of taking concrete actions. Last but not the least, I would like to thank all the participating artists and working staff in the exhibition. All imperfections exist for the achievement of future perfection. Let’s keep striving together for the goal! (按姓氏英文字母排序) 《啦~啦~啦~小島》 《去紐約,來啉茶 khì Niú-iok,lâi lim tê》(中文台語發音)êê 當一個身處於東亞太平洋小島嶼的台灣藝術家,更多的時候認為國際化是成功的定義之 一 ,我不禁自問台灣的藝術家更需要獲得歐美等國際化的認同嗎? 而創作者借由「去紐約,來啉茶」這 4 個字,來諷刺自身為了在「成功」的道路上直進, 要以台灣人傳統的奉茶心意,去紐約奉茶,而特地奉上價值 2.8 億港幣仿古版的「明成 化鬥彩雞缸杯」來喝茶,邊欣賞著價值 10 億港幣仿古版的 「蕭何月下追韓信元青花梅 瓶 」 ,感受著茶的閒情逸致。 身為藝術家難以避免想要「出人頭地」 ,希望不只是一個專業藝術家,更希望是個成功 的藝術家,但是何謂「成功」又是如何被定義? 所以藉由調侃自身的經驗,內化成一個輕鬆自在的遊戲性,透過遊戲的過程,在嬉戲中 藉由原始的本能反應創作,   「遊戲中」就像藝術之于我的「創作中」是我作為一個藝術 家最重要的部份。 藝術家將透過現場行為的藝術形式,呈現「去紐約,來啉茶」這件作品。 khì Niú-iok,lâi lim tê (Go to New York, Fix with Tea) For artists from a small island on Pacific Ocean, at East Asia region, “globalization” has been commonly regarded as a definition of success. So, I sometimes ask myself: “Is it crucially important for Taiwan artists to gain recognition from American and European countries?” I chooses the term khì Niú-iok,lâi lim tê (Go to New York, Fix with Tea) to sneer at myself: In order to move forward on the path toward success, I go to New York all the way to serve tea for passer-by, which is a traditional folk custom at Taiwan. On purpose, I carefully serveit and present you with the replica of Chenghua contrasting colors “chicken cup,” which fetches 280 million Hong Kong Dollars at auction to drink tea while you can appreciate the replica of Yuan Dynasty blue and white plum vase depicting Hsiao Ho chasing Han Hsin under moonlight, which fetches 1 billion Hong Kong Dollars at auction. By doing so, I hope you all enjoy such leisurely fun of lim tê (drinking tea). Almost all artists cannot deny their desire to be “reknowned:” not just as a professional artist, but also a successful and well-established one. However, what is the definition of “success?” The artist will present khì Niú-iok,lâi lim tê (Go to New York, Fix with Tea) in site-specific action art form. M 3
  4. 4. 展覽場地介紹-Corona Park 展覽日期: 展覽地點: 2015/9/27-11/23 法拉盛草原可樂娜公園 Flushing Meadows Corona Park When: Where: Flushing Meadows Corona Park September 27 - November 23, 2015 Flushing Meadows Corona Park Queens, NY The site of two twentieth century World's Fairs attended by millions of people, Flushing Meadows Corona Park continues to draw and delight visitors. As the largest park in Queens, it offers plenty of space for whatever your recreational desires may be--baseball, soccer, tennis, cricket, et cetera. Lots more too, including a stunning recreation complex, a zoo, an art museum, a botanical garden, a science museum, and a baseball stadium. Explore one of the park's six playgrounds, take a stroll along the Flushing Bay Promenade, or launch your model airplane. Flushing Meadows Corona Park has room for all your active pursuits! M 13 undercover,形容詞。意思是秘密地暗中進行;也做為關係副詞使用,常見於神鬼或無 間系列的電影當中,指的就是「臥底」。 「undercover」雖然無意扮演英語字典的角色,卻在設定主題時,隱含著讓作品在透過 反覆解析字面意義的過程中,更加深刻的企圖。 展出作品全數都是「臥底」在我們日常生活當中的尋常物件,因為藏得太巧妙,也因為 太受用,我們總是過手即釋。現在這些物件被保留了下來,並且透過在畫面中盡可能地 塗抹、印壓、拖動,展現出有別於功能性以外的面貌與造形張力。這些看起來相對抽象 的痕跡,其實也不過就是出現在我們尋常生活中的諸多物件。透過讓這些物件在畫面中 翻個身,或者從仰角邊、俯角邊所製造出來的繪畫性痕跡,我們將會進一步的啟動關於 辨別、定義事物的欲望。 除了這些尋常物件的另類寫真之外,展覽中更將提取這些「臥底」在畫面中的物件本 尊,在這好奇、對照、連結畫面痕跡與物件的往復過程中,尋常物件不啻正暗中向我們 進行著一場再想像與再發現的活動。 Undercover Every abstract trace was imprints came from our daily objects. Objects that we might pay no attention to, because of their convenience and disposability. Now, with a little twist and a different angle of viewpoint, these objects started to leave images their own. And that is why Wang Hsiao-Hua named her exhibition series Undercover. As Wang called “a full exercise of an object”, she tried to press, drag and turn the object around to make as much as traces as possible on the canvas. Imprints we saw on the surface were barely identifiable at first. And just like all the expressive abstractions would triggered: free associations. Those marks became everything you imagined, you recognized. We would also get a chance to see those objects WANG used on her paintings shown as an excavation scene in this group exhibition at Tenri Cultural Institute. Then we might be amazed, wondered how she made such prints via these objects. And that is her Undercover meant, things we used every day on our daily basis, reveal their existence and multi-faceted, only and if only we are willing to rediscovery them through different perspectives. 紐約第二大公園,1939年建立的法拉盛草原可樂娜公園,占地約5.1平方千米,擁有兩 大國際級體育館:謝亞球場與國家網球中心。美國第一屆聯合國大會在此召開,1964年 世界博覽會也在此舉辦,容納過百萬名觀眾。法拉盛草原可樂娜公園最亮眼的地標—碩 大的地球儀(Unisphere),是一個140英尺高的不銹鋼球,專門為1964年世博會建造, 同時也是美國向世人宣告進入太空新紀元的標誌。大地球模型旁的皇后區美術館是1939 年世界博覽會遺留下來的建築,位於美術館的西南方的紐約科學館是紐約市唯一的應用 科學博物館,除了科學展覽以外,也常為兒童們設計簡單有趣的科學遊戲,培養孩子們 對科學的興趣.。此外,還包括皇后劇院、皇后區野生動物園,紐約最大的人工湖也在 該公園中。法拉盛草原可樂娜公園直到今日都還是熱門且充滿吸引力的觀光景點。 王曉華 WANG, Hsiao-Hua 現就讀國立臺北藝術大學美術學系藝術創作與理論批判博士班。其創作關注於當代藝術 如何在過程的抽象經驗中,動用其想像與連結的威力,讓原本不可見被忽略之物有機會 可見,從而發現無數體現自我與他者形象浮現的場域。 Born and currently undertakes her PhD program in the field of artistic practice and critical research of fine arts at Taipei National University of the Arts in Taipei, Taiwan. WANG’s projects is more about the practice of daily life than the crea-tion of objects and to capture forces of the forming, the never- ending process of becoming which is not meant as a revela-tion in the sense of rendering visible something that was previously unseen, but as the opening of our vision to the greater and fuller span of the generative forces of our everyday life. 《Undercover》 M 4
  5. 5. 造型取自藏傳佛教的「空行母」,具有「空中舞者」 的意象。在這件作品中,李光裕不使用一般雕塑的厚 重量體來刻畫造型,反而以如書法線條的片狀結構刻 畫動感,營造空行母在穹蒼中舞動的歡快表情。李光 裕也引介「空行母」之意,強調個人透過內觀自省, 體認且領悟道意,終能轉化肉身為真理之身。 Empty Procession The style of the work Empty Procession was inspired by the kanzhoima of Tibetan Buddhism, having the image of “dancing in the air.” In this work, a piece-like structure formed by flowing lines similar to the lines of calligraphy is used to depict the kanzhoima dancing in the air with a joyful expression. LEE also introduces the meaning of kanzhoima, stressing individual self-reflection, understanding and enlightenment, to finally achieve the transformation of the physical body into the body of truth. 展覽場地介紹-Tenri Cultural Institute 展覽日期: 展覽地點: 2015/9/30-10/29 天理文化中心 Tenri Cultural Institute When: Where: September 30 – October 29, 2015 Tenri Cultural Institute 43 West 13th St, New York, NY 10011 Tenri Cultural Institute is a non-profit organization with a mission to promote the study of Japanese language and the appreciation of international art forms. The Institute hosts a variety of traditional and contemporary cultural programs in our modern, spacious educational facility, performing arts and exhibition space. Conveniently located in the heart of Greenwich Village, the center of New York City's educational and artistic communities, Tenri Cultural Institute is a beautiful cultural oasis amidst the hustle and bustle that is New York City. Tenri Cultural Institute has a 20-year history in the celebration of Japanese and Western culture. By providing our audience with a traditional and unique point of view to the understanding of culture and the arts, we fulfill our mission: To foster cultural understanding, harmony and community. 東冬侯溫 林佩淳 李光裕 張耀煌 游文富 Candy Bird 葉怡利 徐薇蕙 王曉華 徐薇蕙 黃贊倫 1234567 王曉華 350 550 480 1000 800 807 820 60 450 213213 220 220 220 114 175 147 220 140 396 221 188 450 350 73 81 江山系列-林肯、富蘭克林、孫中山 Territory Series 113 x 146 x 24 公分,共三件 百面像 Faces 435 x 366公分(each 145 x 366) 太極 Tai chi 35 x 32 x 82公分 Cake slice knife 33 x 33cm Cup holders 33 x 33cm Paper clips 33 x 33cm Clotheshorses 33 x 33cm Ruler 111 x 111cm Plastic grass mat 22 x 25cm Packing bands 22 x 25cm exercise 180 x 80cm 總說牆 《標本 I》“Specimens I” 25 x 25 x 5公分,10件 (1.5 kg) 游擊女孩-之間... 180 x 180 x 200 公分(球體) 游擊女孩-童話幻境 Guerrilla Girl - Fairy Tale Illusion Dia. 80公分,共10件 副本 Double 78 x 109 公分,共3件 展覽主標題 M 12 李光裕 LEE, Kuang-Yu 1954年生於台灣,70年代中期在台灣完成學院雕塑訓練後,負笈西班牙聖費南度皇家藝 術學院及國立馬德里大學美術學院研習西方雕塑技法與理論,師承著名雕塑家托雷多。 學成歸國後任教於台北藝術大學、台灣藝術大學,直至2006年退休,創作至今。李光 裕以其融合現代與傳統的造形思維,具象中帶抽象的形構方式,結合東方文化於藝術創 作,形塑出極富個人特色的雕塑美學風格。在台灣雕塑史的發展中,李光裕的造型語言 跨越文化、歷史的向度,是標示禪學、道家思想及現代主義交融的文化座標。他的創作 不屬於一般慣習的風格歸類,而是以自身獨具的技法、風格、材料構成融合的語言,呈 現台灣藝術內蘊的多元文化本質,也標識了台灣在地的文化基底表現。曾於西班牙、奧 地利、日本、新加坡等地舉行展覽。台灣三大美術館包括台北市立美術館、國立台灣美 術館及高雄市立美術館收藏其多件作品。台大醫院捷運站、市民大道及高雄大學亦可見 其多件大型公共藝術作品。 LEE, Kuang-Yu was born in 1954 in Taiwan. In the early 1970, he entered the Department of Sculpture of the National College of Arts (predecessor of the National Taiwan University of Arts). Following graduation in 1975, he went to Spain to study western sculptural technique and theory in Real Academia de Bellas Artes de San Fernando and Universidad Complutense de Madrid respectively and studied with celebrated sculptor Toledo. On returning to Taiwan, he taught at the Taipei National University of the Arts and the National Taiwan University of Arts, retiring in 2006 to devote himself to his work. LEE, Kuang-Yu's creations crosses cultural and historical boundaries, representing a cultural marker in which tradi-tional Buddhist and Daoist thought intertwines with modernism. His work cannot be assigned to any usual stylistic cate-gory. Instead, his works create a unique language with his incomparable skill, style and materials which in turn embodies the complex nature of Taiwanese art while representing the essence of Taiwanese culture. His work has previously been exhibited in Spain, Austria, Japan and Singapore. His works can be seen in the public spaces or National Taiwan Univer-sity Hospital MRT station, on Civic Boulevard, and at National University of Kaohsiung. Within Taiwan, three major galleries have collected many of his works. 中 國 「 太 極 」 乃 指 宇 宙 最 原 始 的 秩 序 狀 態,陰陽未分,世界渾沌,而後形成萬物 的本源,一如易經所言:「易有太極,是 生 兩 儀 」 , 陰 陽 兩 極 交 融 , 大 地 於 是 生 成。將太極寓意轉化成以片狀與圓渾塊體 構成的人體造型,在形式的豐富變化與空 間營造中,注入帶有幻境與想像的人文, 體現中國文化本質深層的東方底藴。 Tai chi In China, Tai chi refers to the most primeval state of the cosmos, when Yin and Yang were not divided and the world was in chaos. It subsequently formed the source of all living things, as the I Ching says: “In the system of Change there is the Great Ultimate. It generates the Two Modes (yin and yang)”; the mixing of the two extremes of yin and yang gave rise to the world. Lee transforms the meaning of Tai Chi into a human form made up of planes and round objects, investing the sculpture with a dreamlike and imaginary humanity, revealing the deep Eastern roots inherent to Chinese culture. 《伏心》 天理文化中心是一個非營利組織,旨在推廣日本語文學習與國際藝術活動。這個機構承 辦多元的傳統與當代藝文節目,並提供現代化的設備及寬敞的空間來做為展演的場所。 機構所在地非常便捷,位於格林威治村—紐約市的教育及藝術社群樞紐。在步調緊湊的 紐約市之中,天理文化中心彷若是一個美麗的文化綠洲。天理文化中心有著二十年的歷 史,頌揚著日本與西方文化的交流與合璧。天理文化中心希望能夠提供觀眾傳統且獨特 的視點,來觀看與理解文化與藝術的奧妙,旨在圓滿其身肩之任務:孕育一個相戶理解 並和諧安樂的社群。 《空行》 創作靈感源自東方文化的「思惟彌勒像」,簡潔且輕盈、舒緩又帶有勁道的線條轉折, 勾勒思惟者專注且不容撼動的沈思神情。作品亦援用東方藝術「有無相間」的創作內 涵,以片狀結構建構虛實交替的空間造型,無論處於何處,思惟者都得以融入周遭空 間,一如冥想靜思後如入無人之境,四周環境都融為己身的精神世界。 Thinker Thinker was inspired by the Metteyya Buddha image of Eastern culture. With concise, light, unhurried but powerful line transition, Lee Kuang-Yu depicts the expression of a person deep in thought. The work also borrows the creative meaning of “between the real and the incorporeal” of eastern art, using a plate-shaped structure to form a spatial style in which real and unreal are intertwined. No matter where he is, the thinker merges into the surrounding space, the space around becomes his own spiritual world, like entering a place with no one else during deep contemplation. 《思惟》 《太極》 以東方文化「伏虎尊者」造型作為發想,透過武士 一躍而下的龐然神力,老虎因被降服的表情,呈現 如戲劇般的動作張力,生動地刻畫武士成功制服猛 獸的沛然能量與膽識。李光裕以這件作品比喻面對 猛獸的無畏勇氣,其實也是個人克服內心極限,降 伏貪嗔痴的自我超越。 Subduing Subduing was inspired by the story of The Arhat Who Tamed a Tiger, showing the expression of the tiger after being subdued by the tremendous magical power of the warrior, portraying dramatic dynamism of movement and vividly depicting the colossal power and courage of the warrior who is able to vanquish such a fierce beast. The extreme bravery shown in the face of the fierce wild beast is used by Lee as a metaphor for self-transcendence, overcoming the limitations of the mind and subduing greed, hatred and ignorance. M 5
  6. 6. M 6 M 11 糖果鳥 Candy bird 「每次在不同的地方塗鴉,我會嘗試從當地攝取靈感,找到最值得發表的精神或故事, 形式上也會嘗試融合現有公共空間。總之我的所有創作都關於人和當代社會,希望透過 創作使觀眾思考人與人的關係、現實環境的改善等。 呼應策展概念"The Moment",我認為人生中的重要時刻,是反應人類自身的價值觀,裡 面混雜了回憶、時間的切片,從這角度來看,"時間"到底是什麼引起我的好奇,它不只 是一串明確數字,它有更多人類加諸的感性在裡面,換言之,渡日如年與數年如一日, 都是時間本質的一部份。我嘗試透過壁畫結合現成物裝置,來討論我感知的"時間",以 此來回應展覽名稱 「The Moment」。 All my works care about is human and show what happen in the contemporary world. I have different thoughts in different works. Sometimes I paint in order to respond to a social problem but sometimes I paint just for fun. I hope to remind people to think more deeply about the value of human beings, and hope visitors can feel as what I feel in my life experience. 林珮淳 LIN, Pey-Chwen 林珮淳獲國立澳大利亞沃隆岡大學藝術創作博士,現任國立台灣藝術大學多媒體動畫藝 術學系教授暨林珮淳數位藝術實驗室主持人。創作主題與內容乃源自於對生命的體認、 感動與信仰,作品展於國內外重要藝術中心如:紐約皇后美術館、法國 Exit and Via 藝術節、波蘭媒體雙年展、阿根廷404國際電子藝術節、台北雙年展、台灣雙年展、登 陸新加坡國際藝術博覽會、台灣國立美術館、台北市立美術館、高雄市立美術館及台北 當代藝術館等。報章雜誌與媒體報導超過百項,為陳瓊花教授國科會計畫及書籍《藝 術、性別與教育-六位女性播種者的生命圖像》被研究對象之一。林珮淳作品《夏娃克 隆系列》榮獲藝術家雜誌出版的《台灣當代美術通鑑—藝術家雜誌40年版》焦點作品。 LIN, Pey-chwen received her doctorate degree in Creative Arts from the University of Wollongong in Australia. Currently, she is the director of the Digital Art Laboratory and a professor in the Department of Multimedia and Animation Arts at National Taiwan University of Arts. Her work has been exhibited in major art venues and events all around the world such as Queens Museum in New York, the International Museum of Women’s Ignite project, Exit and Via Art Festival in France, WRO Media Art Biennale in Poland, 404 Art Festival in Argentina, Taipei Biennial, Taiwan Biennial, Art Stage Singapore, National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, The Museum of Contemporary Art Taipei, etc. In 2015, LIN and her work were featured in a 40 year edition of Chronicles of Contemporary Taiwanese Art, published by Artist Magazine. Portrait of Eve Clone 人類捕蝶之後就想將美麗的蝴蝶做成標本加以保存,以壓克力做成如「冰塊」的造型, 再打上冷光的LED燈做為科技蝴蝶的「標本」意象,而蝴蝶並非是實物,乃是由3D影像 結合光柵板所創作出具動態的翅膀舞動影像,而LED燈以七彩緩緩的改變色光,表現出 具有呼吸及生命力的生物。另外,每一標本皆有編號,猶如一個被實驗的物體,在被銷 毀後儲存如標本般的供人欣賞悼念。這系列的作品乃再次強調人類若不珍惜大自然,總 有一天只能欣賞、捕捉、悼念曾擁有的「真實」,而取而代之的卻是一種幻象、幻影的 虛擬實境。 Specimens I I made an acrylic model resemble the “Ice Cube” and placed the image of a digital butterfly and a LED to represent the “specimen of butterfly”. The butterfly is a 3D animated image with a lenticular lens to create the special effects of the wings’ movement, and each LED light shows 7 colors in the very slow motion like butterfly’s breathing alive. In addition, each specimen has a Code Number, like an experimental object that has been created and preserved as a species. This series of work emphasize that if people do not cherish Mother Nature, then one day it will be only possible to admire, chase and mourn for the reality that we once possessed, and that any replacement of digital images will be an illusion. The irony, then, is that the Butterfly Specimen is an illusory although it appears alive and beautiful. 《標本I》 《夏娃克隆肖像》 強調《夏娃克隆》的臉部特徵,以3D動態全像(Hologram)的高科技材質,展現她各種 角度的動態姿勢與眼神,當觀者左右移動觀看肖像時,會驚奇的發現她的眼神也注視著 觀者,在美貌的底層暗藏著誘惑的危機。人蛹及人獸合體的形象,且額頭上印有不同語 言的666數獸印字,,喻表各族、各民、各國在末世大災難中,凡被印有666獸印的皆無 法逃脫獸的挾制。(啟示錄) Emphasizing Eve Clone’s facial features through the use of 3D hologram technology, her gestures and expression are presented through a variety of angles. Each face is made of a different skin texture. As viewers look at her from these angles, they will be surprised to find that the Eve Clone continues to stare back and follow the movement of them, hinting at the dangers of temptation lurking beneath her beauty. On the forehead of Eve Clone, the Mark of the Beast, 666, which is presented in many languages, signals that those who are branded with the Mark of the Beast in the coming great tribulation will not be able to escape the Devil’s control regardless of race, society, or nation. This was based from the Book of Revelation in the Holy Bible.
  7. 7. M 7M 10 黃贊倫 HUANG, Zan-Lun 出生於台灣宜蘭,國立臺灣藝術大學美術學系學士、國立臺北藝術大學美術創作碩士。 曾於關渡美術館、台北國際藝術村等舉行多次個展。創作聚焦於透過生物與機械合體/ 混種的議題,展開自我認知與外在環境的多重辯證。 Born in Yilan, Taiwan, and currently lives and works in Taipei. HUANG went for Taiwan National University of the Arts for his BA. Degree and then undertook his Master Degree at Taipei National University of the Arts in the field of fine arts. As a young emerging artist in Taiwan, HUANG has held solo exhibitions nationally, including Kuandu Museum of Fine Arts, Taipei Artist Village. HUANG’s works are often taken on different forms, such as kinetic installations, videos and paintings, where visitors can explore and contemplate issues of modern technology, desires and self-awareness. 近年來透過一系列的創作發表,持續對無論是數位生活或是對生物技術中的「進步」觀 點,提出個人的反省與疑問。《副本》便是這樣一個反映人類欲望駕凌的影像作品,透 過遍存於華人飲食文化中「以形補形」的食補觀念,影像中非常經濟學式地只有兩頭 鹿人,也就是說作品中殘酷的沒有人,因為人在這裡只能作為無能卻虛索的消費者。因 此,劇情中的鹿人首先就是彼此,這是副本的第一層意義;兩頭鹿人倍增了彼此成為被 剝奪者中,以形補形所欲獲取的威力,這是副本的第二層意義;然而,為了保證自己至 上唯一的威力,並且從只是副本的命運中逃逸出來,他們最終的命運卻是分食、自食彼 此的鹿角,這便是副本所欲發展的第三層意義-欲望與生存、意志與自我認同反覆裂解 增生-或者不如說是提問:我們究竟需要多少外加之物?再更基進的問:除去外加之物 後,我們還剩下什麼? Double Double represents the old Chinese food culture that people commonly use animals’ organs into recipes to complement the corresponding organs in human’s bodies. The idea of this video is to question the nutrition of these organs could fortify weakened parts of human bodies and even spirits because they carry out similar functions in animals. And followed by the same logic, as a weakened human being, should we multiply these outsources powers as many as possible? How much do we need and what would we become once we started such an infinite complementary cycle? 張耀煌 CHANG, Yahon 《百面相》 Faces 《面對面-羅漢》 Arhat 《副本》 張耀煌生於西元1948年,現居且工作於台北。其數次參與國際聯展並舉辦多場個展, 最近期的個展【蒼生問】乃辦在第56屆威尼斯雙年展的平行展中。張耀煌巧用中國水 墨畫的運筆技巧,並使用多元媒材創作,其作品充滿文人氣息與禪學傳統。張耀煌生長 於日治時期之後,其作品刻劃著一種特殊的視覺語彙,為這世上的痛苦、遭拒、掙扎、 逆境、接納與愛發聲,繪畫也是他對高尚精神與內心和平的探求。張耀煌的畫作有分神 秘,這分神秘的氣息能使觀者心中定生祥和;觀者的眼光好似可穿透畫面,直視非往昔 亦非未來,而是片刻永存的時間流。 張耀煌為了【當下當代─台灣藝術計劃】特別將他的《羅漢》及《生命》水墨畫作系 列,融合、轉換成立體雕塑作品,搭配曾於第56屆威尼斯雙年展展覽的大尺寸水墨畫 作,於紐約天理文化中心首度展出。 張耀煌早期的作品,總是將自己禪坐中浮現的禪定僧人或無名形象視覺化,《羅漢》系 列中的雕塑作品喚起某種特殊心境,讓觀者走入雕塑人物的注視及平靜之中。張耀煌的 人物雕塑有著不可言喻的神秘特質,可凝聚觀者內在的寧靜心境,彷彿他們可透視眼前 人物,直視背後那些神聖的、邪惡的和世人的多面樣貌,而羅漢的堅定凝視及無聲傳達 了個人堅強的心境和超凡入聖的決心目標,然而,身而為人仍必須克服人身慾望、避免 世俗罪孽,方能達到涅盤之境。張耀煌以具表現張力的線條,刻畫羅漢的側臉輪廓,暗 喻的是殊勝及墮落的一線之隔,而人很可能輕易迷失於這二種截然心境之間。此外,羅 漢的面部特徵也透露了一種自省特質,是藝術家於創作時刻所感受到的複雜心境。 《生命》系列雕塑作品傳達了張耀煌相信一個人的「面容」及「眼神」,是造就他人心 中第一印象的主要因素,也為此他特別以凝視及表情為創作主題,以狂放不羈的東方書 法線條,刻畫現代人多層次的混雜情緒,表現了喜悅、憤怒、悲戚和狂喜。《生命》 系列的雕塑作品象微的是「人性」的行為表現,諸如慾望、情愛、競爭及省思等等,然 而,此系列同時也隱喻了人們內心的不同面相。而外,此系列的繪畫作品也記錄了張耀 煌對文人寫意風格的詮釋,在創作時藝術家的身體和畫筆需圍繞畫作運行,達到筆韻流 和身體運動交織融合的境界,最終,張耀煌再將繪畫的動作和筆觸轉化聚合成立體的雕 塑形式,讓觀眾運用想像力去理解那風化鏽蝕、以畫法筆觸打造的無名面容,此雕塑同 時具有二層觀看意涵,即人物形象的建構與解構,亦可理解為二個不同人物的相對或相 融。 此一畫作出自《百面相》系列,是藝術家以不同眾生的「面相」為主題,對人類天性進 行的研究觀察。透過張耀煌的作品,不同主題如:身分、對個體存在於社會的提問、藝 術家對其主題的超脫冥想,皆令人感受深刻。他以眾生的樣貌繪畫探索存在狀態與潛 意識之間的空間,對眾生的存在提出疑問,也帶出了台灣在後殖民時代的社會歧視現象 和對靈性的追求,張耀煌相信「肖像」可以體現雄偉、強壯和脆弱等特質,而最具有表 現張力的即為肖像的「眼神」,因此「眼神」曾是張耀煌很長一段時間的重要主題。綜 觀整體,《百面相》系列含括了來自不同系列的肖像畫作,包含《羅漢》、《動物》、 《眾生相》和《生命》等系列,進行對眾生存在及靈性的探問,而此作亦是張耀煌為今 年威尼斯雙年展中的【蒼生問】平行個展所創新作的延伸畫作。 Born in 1948, CHANG, Yahon lives and works in Taipei, Taiwan. He has shown in numerous international solo and group exhibitions, with his most recent solo show, The Question of Beings, held at the Collateral Event of this year’s 56th International Art Exhibition - la Biennale di Venezia. Employing Chinese ink painting techniques, his artwork encom-passes a wide variety of media and is imbued with elements of the Literati and Zen traditions. With his upbringing in post-Japanese-colonial Taiwan, his works portray a particular visual language that voices the agony, rejections, struggles, adversity, acceptance and love in this world as well as his quest to find higher spirituality and peace. There is a certain mysterious quality to Yahon’s painting that cements a state of serenity within the viewer, as if they could see through the painting into a flux of time that is neither past nor future, but in a state of eternal existence. For THE MOMENT: Contemporary Taiwanese American Arts exhibition, CHANG, Yahon has incorporates and transform the expressive ink brushwork of his Arhat and Vital series paintings into three-dimension form, with new large scale ink painting that coincide with this year’s 56th Venice Biennale which will be shown at the Tenri Culture Institute for the very first time. The early works of CHANG, Yahon always entailed the visualisation of meditative monks or unknown figures that emerged from his meditation. In Arhat series sculpture, his figurative evoke a particular state of mind that draws the viewer into its gaze and stillness. There is a certain mysterious quality to Yahon’s figurative that cements a state of serenity within the viewer, as if they could see through the form into a flux of characters - the divine, the demon and the mortal. The stern gaze of the Arhat and its stillness suggests one’s state of fortitude and goal to become divine, yet one needs to overcome the mortal desire and avoidance of sin before reaching the state of nirvana. CHANG’s expressive outline of the Arhat’s profile suggest the fine line between the state of nirvana and the fallen, where one could easily lose its way between the two states of mind. There is also a self-reflection element within the Arhat’s facial feature that expresses the perplex state of mind that the artist felt at the time of creation. In the Vital series sculpture, CHANG believes that a person’s ‘face’ and ‘gaze’ are critical for the first impression he/she makes. Therefore, he has chosen to use gazes and expressions as his subject matter. His unrestrained calligraphic lines of the East depict the multi-layers of modern day people’s mixed emotions of joy, anger, sorrow, and ecstasy. Vital series sculpture symbolise the ‘human’ behaviours, such as desire, love, rivalry, and contemplation. It is also a subtle indication of certain aspects of people’s internal beings. Moreover, the painting acts as a documentation of his interpretation of literati expression, in a Xieyi manner, which requires both the body and brushes to gesturally manoeuvre around the painting, in which the fluidity of brushstrokes is interwoven with the movement of the body. In the end this act of painting and its brushstroke has been solidified into three-dimension form of iron sculpture, leaving only the weathered and rusted iron of calligraphy brushstrokes of undefined countenances to the viewer’s imagination. Furthermore, the sculpture can be seen in twofold, the construction and the deconstruction of figurative form, it can also be seen as two figurative in opposition or in unity of one another. The ink painting of the Faces series is based on the study of human nature, with focus on the ‘countenance’ of different beings as the subject matter. Throughout CHANG’s body of work, the subject on identity, the questioning of one’s existence in society and the transcendental mediation on his subject matter are palpable in his series of portraitures. In his portraits of different beings, the various countenances explore the space between the state of being and the subconscious that questions the existence of all beings, which also suggests the phenomenon of social discrimination in post-colonial Taiwan and the quest of spirituality. CHANG believes that a ‘portraiture’ can embodied the characteristic of the gallant, the strong and the weak, and the most expressive part is intended to be the ‘eyes.’ Therefore, the ‘eyes’ have become the major theme of CHANG’s painting for a long period. In overall, Faces series is compiled with a group of various portraits from the painting series of Arhat, Animal, Sentient Beings and Vital, that explores and questions the existentiality and spirituality of various beings. Moreover, this ink painting is an extension of CHANG’s new work in dialogue with The Question of Beings exhibition at the Venice biennale this year.
  8. 8. M 8 M 9 東冬.侯溫 Don Don, Hounwu 東冬.侯溫,太魯閣族,出生於台灣花蓮縣秀林鄉銅門部落,「東冬」意指可愛的孩 童,是部落文化裡發展近五十年算很新且特別的名字,「侯溫」則是東冬父親的名字, 是個古老的名字,象徵銳利的刀鋒,「東冬‧侯溫」是當代與傳統的結合,體現出創作 者的性格與幽默卻又嚴肅的創作態度,當代與傳統的元素不斷撞擊揉和,如同東冬所言 的「打刀」,「期待淬鍊出來的刀…是把可以守護孩童純真心靈的刀…,是把足以開創 璀璨未來的刀…。」 Don Don Hounwu, Truku, born in Tongmen, Xiulin Township, Hualien County, Taiwan. “Don Don” means adora-ble child, between the culture development of these years in the tribe, it is a special and modern name . “Hounwu” is Don Don father’s name, means sharp knife, “Don Don Hounwu” "is a combination of contemporary and tradition-al, reflecting the creator's personality and sense of humor but serious creative attitude, modern and traditional elements and keep hitting the rub, as Don Don said a" knife fight ", " expecting the refined knife , is able to guard the pure soul of child , is enough to create a bright future ...." 《交換 ( 交錯在破敗與完美之間 )》 Which represents perfection, which wreckage? Constantly intertwining, constantly exchanging. Constradictory sometimes, and sometimes harmonious. 信仰的源頭總在思索,人的信念與接觸到的信仰產生的連帶關係、無論波動、漣移、光 暈效果。人未先完成自我意像、自我信念,如何去辨別、質疑你所接受到那至久流傳下 來的信仰、教義的內涵。人都有某種慾望,源自於現實上的遺憾希望有所彌補、慰藉。 方能在精神上得到超脫淨化。只是找到這個源頭時,你願意信奉誰、你希望服侍誰、你 嚮往與誰祈福,或許仍然只是一種「選擇」與「過程」。 當人選擇的過程受到殖民的壓縮、歷史的弱化、權力逼迫,如何來得及成為一個有自主 信念的個體呢?依循著各種傳教形式、傳教的目的手段,除了教義精神的力量、更多來 自人心的自覺。當陷入教派教義時的衝突時,會發現,宗教帶給人的哲學思維、價值 觀、靈性全然之中,那聳然龐大的儀式、不在僅是展露一絲絲的權力意味,而是豎立鮮 明的統治氛圍。 自古以來台灣有ㄧ群人,保留著古老的語言,傳承著與過去祖先連結的儀式,就表示他 們,還存在著跟這片土地累積的情感,還記得如何與大自然的神靈溝通,甚至還沒忘記 怎麼走回那古老道路的路徑。當我穿著傳統服飾,翻閱著,或許我在精讀經書,或許也 只是正在打破信徒設下的,不可崇拜其他神之禁忌;當我穿著時裝做傳統儀式,一切外 在的形象形式只是在增助專注、真誠的祈禱力量;但超脫形式的是人類心裏運作的真正 意志與信念。 孤獨的喧囂,渴望的靈魂,在城市裡遊蕩, 紋面的臉,成了消費,傳統服,宣傳商標。 白色的靈魂催促著回歸自然,沉積在助養生命的土地,灌注那崇高的愛。 催生在停滯不前的臉 ,穿著時裝在部落裡,望著現代化的奪取與侵襲。 Faith originates from the contemplation on the relationship between people’s beliefs and the religions they have come across as well as the consequent influences, ripples and halo effect. If one did not first obtain an image of the self and the belief in oneself, how would the person be able to distinguish and question the religion and its religious doctrines inherited from ancient times? Everyone has desire due to regrets and hopes in real life as well as the tendency to making amends or finding consolation, which would eventually offer certain spiritual transcendence and catharsis. The question is, however, when you find this origin, whom would you worship, serve and pray to? Perhaps, it is all but just a kind of “selection” and “process.” When the selective process is influenced by the oppression of colonization, the weakening of the native history, the coercion of power, how would a person become an independent individual that has autonomous belief? Despite all forms of missionary work, goals and means, putting the spiritual power of the religious doctrines aside, a person’s belief comes from the inner self-awakening. When one falls in the conflicts between different sects and doctrines, one eventually realizes that the philosophical thinking, the sense of values and spirituality in religions, with their elaborate rituals, not only display a kind of power but also an atmosphere of undeniable domination. Since the ancient times, there has been a group of people in Taiwan, who have kept their ancient languages as well as inherited the rituals that connect them to their ancestors; it indicates that they have retained and accumulated the affections toward this land, and still remember how to communicate with the spirits in Mother Nature, holding on to the memory of returning to that ancient, historic path. When I am wearing traditional clothes, flipping through the Scripture, I might be concentrating on reading them, or trying to break the forbidden rule of worshipping other gods, a rule laid down by the followers. When I am wearing modern clothes and doing traditional rituals, all exterior appearances and forms are simply means to increase the power of focused, sincere prayers. What transcends the exterior forms is the true will and faith that operates within the human mind. Boisterous solitude, longing souls, wandering in the city. Tattooed faces, exploited and consumed; traditional clothes, commercial marketing symbols. The white spirit hurries to return to nature, to settle on the life-nurturing land, to infuse the revered love, Urging the lingering faces in modern outfits in the tribe, staring in. The Brink between Perfection and Wreckage 何方完美 何方破敗 不斷交錯 不斷互換 有時衝突 有時卻又和諧 徐薇蕙 HSU, Wei-Hui 徐薇蕙1979年出生於台灣桃園,她大學在台灣就讀於新竹師範學院美勞教育學系(現今 的新竹教育大學)。2004年她到美國喬治亞州的莎凡納藝術學院攻讀藝術創作碩士繪畫 系,之後她又到美國密西根州的克連布魯克藝術學院攻讀另一個藝術創作碩士纖維系, 她目前在台灣居住及工作。她的作品以複合媒材和裝置藝術為主,有時與攝影和行為結 合,她的作品曾經於台灣、中國大陸、香港、日本、韓國、美國、加拿大、義大利及英 國的美術館、畫廊和替代空間展出。 HSU, Wei-Hui was born in 1979 in Taoyuan, Taiwan. She received her BFA degree with a major in Painting from National Hsin-Chu University of Education in Taiwan. She came to the United States in 2004 and received her MA degree in Painting from Savannah College of Art and Design in Savannah, Georgia. Later on, she received her MFA degree from Cranbrook Academy of Art, Bloomfield Hills, Michigan. Currently she stays and works in Taiwan.She makes full-scale installations as well as smaller mixed-media pieces, and sometimes she combines with photography and performance. Her work has been exhibited at alternative spaces, galleries, and museums in Taiwan, China, Hong Kong, Korea, Japan, the United States, Canada, Italy and United Kingdom. Guerrilla Girl - Fairy Tale Illusion In the fairy-tale scenario, the guerrilla girl characterized with both firmness and flexibility symbolizes the brave spiritual weapon. It is just like a fight to chase the dream-like romance in fairy tales and the ideal life. It seems like the houses and castles in the dream of colorful fairy tales but it is a real building. Through photography and deformed screens, it aims to demonstrate a kind of contradiction between illusion and reality and between ideal and actuality like the illusion shaping like crystal balls or bubbles. 在童話故事般的情境裡,剛柔並濟的游擊女孩持著象徵勇敢精神的武器,彷彿為追求童 話裡夢幻的愛情和理想的生活奮戰,看似夢境裡色彩繽紛的童話房屋和城堡,卻是真實 的建築。透過攝影和變形的畫面,呈現一種虛與實、理想與現實的衝突,有如水晶球或 泡泡般的幻境。 《游擊女孩-童話幻境》