台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

動漫美學雙年展-視覺突擊‧動漫特攻 Animamix Biennial

 
展覽名稱 Exhibit

動漫美學雙年展視覺突擊‧動漫特攻 

Animamix BiennialVisual Attract&Attack

展覽時間 Date

2009/12/05-2010/01/31

展覽地點 Venue

當代館主展場 MOCA Taipei

門票 Admission

新台幣50元,NTD 50 

貼心小叮嚀 Note

本展適合闔家觀賞 This exhibition is for general public.

展覽介紹 About the Exhibition

 

動漫美學藝術是21世紀全領域創作最重要的創意全源,在當代藝術中扮演絕對重要的角色,本館率先於2004年策辦「虛擬的愛~當代新異術」,針對日美動漫美學的興起與流行,做了一次概括的引介,在國內外引起諸多迴響。時隔五年,於2009年底,再度策劃「視覺突擊動漫特攻」,旨在以兩岸四地連線策劃/同步展出的方式和規模,將全球動漫美學之發展情況作一完整、最新的鋪陳。

本展邀請了來自30國、近150位國際藝術家參展,並同時與國際雙年展網站合作,舉辦大型國際研討會,及設置「動漫美學雙年展」專屬網站。本展覽之規劃內容為呈現運用動漫元素與動漫文化特質之繪畫、裝置等作品,這些作品皆展露了動漫藝術美學高度結合現代多元文化的活力。

 

Animamix art is a fundamental creative source for the total art creation of the 21st century, and it plays a critical role in contemporary art. In 2004, MOCA Taipei held “Fiction.Love – Ultra New Vision in Contemporary Art,” where it introduced an overview of the rise and influence of Japanese and American animamix art. The exhibition was well-received, obtaining positive feedback from the international and local artistic scene. Five years later, the museum presents “Visual Attract & Attack,” an exhibition held in coordination with art museums from China and Taiwan, delivering a thorough presentation of the latest updates and developments in the animamix art world.

The exhibition invited approximately 150 artists from 30 countries, and collaborated with Internet website Universe in Universe to host a large-scale international symposium and establish the “Animamix Biennial” section on the website. This exhibition displays works such as paintings and installations that utilize elements characteristic of the animamix culture, revealing through its aesthetics the vitality and diversity of the contemporary culture.

策展論述 Curatorial Statement

文/林羽婕 Yu-Chieh Lin

當代藝術最機警的是,不斷地反映出時代脈動中最符合,現今世代的想像力,並將此試探到極限。在當代藝術中,動漫藝術潮流,是一種美學規格的突破,它擷取自次文化生活,在其中,菁英藝術與大眾文化、主流文化與次文化、消費文化與反叛文化,各種兩極相互交融消弭了界限。

日本漫畫之神手塚治 虫開創了日本的動漫畫世紀,在二次世界大戰後,動漫逐漸成為日本最大的出版和創意產業,席捲全日本、影響韓、中、台等東亞地區,在歐美也大受歡迎。進入 21世紀,新一代的動漫藝術家,已不再只是製作動漫產品的藝術家,他們也跨足所有創意產業領域,動漫美學加上了當代藝術的標籤,歐美動漫與亞洲動漫相互為 用,無論是大眾娛樂文化或新銳視覺藝術,都染上濃濃的動漫美學色彩。

動漫藝術最引人入勝 的魅力,是將虛擬世界與現實世界的本質相互辯證替換,動漫藝術作品能更超越性地應用當代視覺美學的幽默、嘲諷和顛覆特質,大膽而異質化,彰顯了藝術思維與 生活想像來回撞擊的爆發力。陸蓉之教授歸納21世紀的新動漫美學有四大特徵,首先是大眾流行文化中多樣化的動漫美學形象,都圍繞著對青春的崇拜;第二點是 動漫美學的藝術追求奇異和多變的敘事文本,賦予圖像一種強烈的敘述性,也使得圖像本身成為一種不斷演進的語言;第三點是動漫美學結合了電子媒體特有的彩 光,形成一種極為新穎的視覺經驗;第四點是動漫美學的藝術,因為最能結合產業的財力、人力和跨領域資源,以形成一種特殊的創意文化產業。

動漫美學藝術是21 世紀全領域創作最重要的創意全源,在當代藝術中扮演絕對重要的角色。台北當代藝術館於2009年底,與北京今日美術館、上海當代藝術館及廣東美術館聯合以 動漫美學為主題策展。2009年12月5日於台北推出的展覽名為「視覺突擊~動漫特攻」,共邀請來自30個國家的150位藝術家,展出最令人驚豔的精彩作品。

Contemporary art is constantly reflecting the most representative imagination of the current generation, pushing it to its limit and exploring its boundaries. In contemporary art, the trend of Animamix (animation + comics) art is a breakthrough of aesthetic standards, for it captures the lifestyles of subcultures, blending the contradicting worlds of high art and popular culture, mainstream and subculture, and consumer culture and counter-culture.

Illustrious Japanese manga comic artist Tezuka Osamu paved the path for Animamix century in his country. After the Second World War, Animamix became the largest publishing and creative industry in Japan, influencing East Asia nations such as Korea, China, and Taiwan, and even reaching to Western regions of Europe and America. In the 21st century, the new generation of Animamix artists are not exclusively producers of Animamix art, but branching out in all other creative industry domains as well. Western and Asian Animamix art begin to complement each other and entwine with contemporary art, permeating the mass entertainment culture and new trends of visual art with their colors.

The most fascinating aspect of Animamix art is that it interchanges the nature of real and fictitious world, allowing its works to transcendentally utilize the humorous, satiric, and subverting nature of contemporary visual aesthetics, and represent in a bold and heterogeneous manner the clash between artistic thinking and living imagination. Professor Victoria Yung-Chih Lu concludes that Animamix Art of the 21st century has four characteristics: the forms of Animamix in popular culture center on the worship of youth and youthfulness; pursuit of narrative scripts that are full of surprises and diversity, transforming the images into a visual language by making them strongly descriptive; integration of the colorful lights in the electronic media, providing the opportunity to create an extremely novel colorful visual experience of light; and heterogeneity resulting from the interaction and intermingling of large amounts of money, as well as of people and resources from strikingly different fields, establishing a new form of creative industry.

Animamix art is the most important creative source among all creative domains in the 21st century, playing a critical role in contemporary art. MOCA Taipei held Fiction.Love – Ultra New Vision in Contemporary Art back in 2004; the exhibition obtained much attention and feedback both nationally and internationally by introducing an overview of the rise and influence of Japanese and American Animamix art. Five years later, at the end of 2009, MOCA Taipei introduces Visual Attract and Attack, a hyperlinked exhibition hosted simultaneously by Moca Shanghai, Today Art Museum Beijing and Guangdong Art Museum of Art in China and Taiwan, presenting the most recent development and trends of Animamix art across the world. 150 artists from 30 countries are involved in this exhibition. The exhibition will be held from December 6th 2009 to January 31th February 2010.

作品介紹 About the Artworks

作品介紹 About the Artworks 1

倪再沁 Tsai-chin Ni

倪再沁的近年創作,不論是以數位手法再現歷代名畫原貌、或發行個人專屬的「沁報」以消遣媒體顛覆視聽,乃至明目張膽地研製山寨版的當代名家之作,明顯都有一個驥附/針貶的對象,都有一些諧擬/嘲諷的意涵。

本次參展作品〈紐約怪談〉,即是以詼諧戲謔手法,將美國藝壇明星傑夫.昆斯(Jeff Koons)著名的不鏽鋼氣球狗,刻意予以仿製並擺在一起玩4P。昆斯的作品在國際藝市履創天價,但倪再沁相信,藝術價值的高低,其實取決於國力強弱,生於紐約、活躍美國、縱橫全球的昆斯,如果換了時空場域,就不見得能取得今日的強大發言權。倪再沁的名作山寨系列,藉道名牌顛覆名牌,戲法也就是,以其本人監製的限量「偽作」,挑戰市場上批量代工生產、版本多樣的「原作」。

In recent years, the works of Tsai-chin Ni have taken many directions: digital imaging of ancient Chinese paintings, publishing of the Chin Paper (a personal media satire and criticism project), and openly imitating the works of other contemporary artists. Despite the diversity of his works, behind each one of them there is an intention of parody and satire conveyed through or targeted towards well-known and specific subjects.

Present in this exhibition is Tsai-chin Ni’s Who Is the Happiest? He takes the stainless steel Balloon Dogs of American superstar artist Jeff Koons and arranges them in a foursome sexual position. In the international art market, the works of Koons are always appreciated with high monetary value. Tsai-chin Ni believes, however, that the value of art is intimately related to the strength of a nation. Born in New York, Koons’ fame transcends the United States and reaches the entire world; if his beginnings were in another time or place, perhaps the artist would not have the accomplishments and authority of today. Tsai-chin Ni’s series of replicas attempts to turn the concept of branding against itself, challenging the mass-produced “original works” available in the market with self-produced, limited edition “counterfeits.”


 

楊茂林 Mao-lin Yang

楊茂林的近年創作,立意將小飛俠、美人魚等眾所熟悉的動漫圖騰加以神明化,並帶進象徵「文化重地」的宗教殿堂和美術館所。2009威尼斯雙年展版的《婆娑之廟-台灣製造》,和台北當代館版的《婆娑之廟~苦海嘛A噗蓮花》,即是演繹此一概念的展式行動。

本次展出的不鏽鋼雕塑和平面創作,以「愛麗絲夢遊記」的故事為藍本,藝術家藉由兩組作品,詮釋了當年「少男懷春」時期,閱讀以下情節的一種情慾想像:面對皇后和撲克牌兵團追殺的愛麗絲,瞬間從天真無邪、柔嫩嬌弱的少女,變成童顏巨乳、衣衫爆裂、清純性感的辣妹巨人;在另一張「結語」式的群像中,藝術家延續之前的「封神」手法,將所有故事人物全部排入仙班轉為聖像。類此,源自不同時空而自由混血的動漫圖騰,全面接班地取代了古典英雄和聖像的位置。

The recent works of Mao-lin Yang have gathered widely known characters of animamix, such as Peter Pan or The Little Mermaid, apotheosizing them and locating them in religious temples and museums – the places of “cultural heritage.” The exhibitions: Temple of Sublime Beauty – Made in Taiwan displayed at the 2009 Venice Biennale and Temple of Sublime Beauty – Hallelujah displayed at MOCA Taipei were events which exercised this concept.

The works presented in this exhibition consist of stainless steel sculptures and graphic art. Using the story of Alice in Wonderland as inspiration, the artist crafted two sets of works representing his lascivious imagination of when he read the following scene during puberty: Alice, under the pursuit of the Queen of Hearts and her army, is suddenly transformed from an innocent and fragile girl to a sensual giantess with her clothes ripped apart. In his other work, the artist continues his previous theme of apotheosis and transforms all the characters in the story into deities. Thus, these animamix characters, intertwined despite of their different origins, take the place of classic heroes and icons.


 

威姆.德沃伊 Wim Delvoye

比利時藝術家威姆‧德沃伊,是世界上最具爭議性的藝術家之一,本次參展的錄像作品〈中國藝術農場〉即為其演示觀念與行動之作。2004年他在北京租下一家養豬場,透過活豬刺青,開發一種會「成長」的藝術品。他特意將時尚名牌商標,或熱門卡通圖像等刺繪在活豬身上,這些刺青豬因而逃過了被送進屠宰場的宿命,搖身成為買家預約購藏的藝術品,有趣的是,隨著豬隻的成長,不斷變大但是也逐漸變淡的,包括了刺青、品牌和藝術,而豬的原型似乎也逐漸還原了。

本次同時參展的〈雕花輪胎〉系列為全球首展;藝術家將雙龍搶珠、花開富貴等中式吉祥圖騰,以極為精細的工法雕刻在黑色橡膠輪胎上。在經濟生產鏈中,輪胎象徵的是最底層的生產工具;然而,當藝術家為其注入神聖文化圖騰,其價值與意義也因此而轉換了。

Belgian artist Wim Delvoye is one of the most controversial artists worldwide. Present in this exhibition, the video work Art Farm China is a faithful mirror of the artist’s philosophy and action. In 2004, Wim Delvoye rented a pig farm in Beijing and developed an artwork capable of “growth” by tattooing live pigs. The artist used highly recognizable images, for instance fashion brand logos or popular cartoon drawings, as design of tattoos on the pigs’ bodies. As a consequence, these tattooed pigs escaped their fate of being sent to slaughterhouses and were instead sold as art works. With time, the pigs grew and so did the tattoo, brand, and art; yet at the same time the tattoos began to fade. Slowly, the pigs returned to their original form.

Also in this exhibition, the Carved Tire series will be revealed to the public for the first time. In this series, the artist borrows auspicious Chinese patterns, such as “Two Dragons Contending for a Pearl” and “Fortune Comes with Blooming Flowers,” engraving them on black rubber tires. In the production-chain system of today’s economy, the tire symbolizes the most essential of tools, and the artist merges this element with divine cultural icons, giving it an entirely new meaning and value.


 

李惠林 Hye-Rim Lee

韓國藝術家李惠林在2002年以3D創造了一位名為TOKI的虛擬角色,融合西方消費主義、日本流行文化、和韓國傳統女子陰柔特性,藉以諧擬亞洲動漫電玩文化中的美麗女性樣貌。

本次參展的〈迷戀/永恆之愛〉系列動畫作品,即將TOKI的肢體分解成為八個完美比例的身體部位,以誘惑的姿態搖曳在美麗的香水瓶內,詮釋出男性物化女性與偷窺的渴望。本作品討論在時尚流行工業與電玩產業下,所發展出的「美」,大多是由動漫市場中的陽物崇拜者所創造出來的物件。這些3D構建的身體部位,擁有黃金比例與塑膠般光滑的肌膚,突顯出科技引領的時代,線上遊戲、網路、數位影像已改變人們的審美觀點,此作旨在引領我們反思動漫美學一刀兩刃的矛盾性格。

In 2002, Korean artist Hye-Rim Lee created a three-dimensional fictional character named TOKI. This character is the result of combining Western consumerism with Japanese popular culture and Korean traditional women femininity, produced as satire to the female archetype in Asian animation-comic-game culture.

The Obsession / Love Forever animation series in this exhibition displays TOKI’s dismembered figure, which is disassembled into eight perfectly proportioned body parts. These parts sway provocatively inside perfume bottles, representing the objectification of women and the desire of voyeurism. Obsession / Love Forever explores the concept of “beauty” developed by the fashion and gaming industry, and how it is influenced by the phallic worshippers of the animamix market. The three-dimensional body parts are in golden ratio proportion and wrapped in a smooth, plastic-like skin, demonstrating that in this era of technology online games, digital images, and the Internet have changed the concept of beauty in everyone. The artist invites the audience to reflect the double-edged nature of animamix art.


 

米勒杜斯.美尼塔斯 Miltos Manetas

出生於雅典的米勒杜斯.美尼塔斯,畢業於米蘭藝術學院,創作形式多元;1995年開始利用電腦繪圖、數位遊戲與網路進行創作。他認為「網路是我們這個時代特有的藝術平台,它不僅是一個全新的媒體,更像是一個有待開發的新大陸。」

本次參展作品〈感謝你.安迪沃荷〉中,只見兩隻模樣可愛逗趣的小貓,成天不停地對著普普藝術大師安迪沃荷的名號說「謝謝(Thank you)、謝謝、謝謝…」,頭上的計數器,隨時顯示出他們當日已經謝過的次數;藝術家藉此凸顯安迪.沃荷將大量製造、重複生產的日用商品,轉化為藝術品的歷史貢獻,可視為帶領觀眾向安迪致敬的一件輕鬆幽默之作。

Born in Athens, Miltos Manetas graduated from Accademia di Brera, School of Fine Arts, Milan. His methods of artistic expression are many. In 1995, he began using computer graphics, digital games and the Internet to create art. From the artist’s perspective: “The Internet is an artistic platform exclusive to our era. It is not just a new variety of media, but a whole new territory waiting to be explored.”

His work in this exhibition, Thank you Andy Warhol, consists of two adorable and amusing kittens continuously saying “thank you” to the name of Andy Warhol, the Prince of Pop Art. Above their heads there is a counter keeping record of the number of times they have given gratitude so far in the day. Through this work, the artist pays a humorous homage to Andy Warhol and his contribution to the history of transforming mass-produced daily objects into works of art.


 

草間彌生 Yayoi Kusama

草間彌生為當代前衛女性藝術的先鋒人物之一,雖已高齡八十有餘,仍然創作不輟,積極探索著幻覺與視覺的極限。她回憶10歲的某天,盯著一張印有紅花圖案的桌布良久,當抬頭看著白色天花板時,此圖騰的綠色殘影竟然浮現在各處。童年美感經驗的延伸,變成了她成名與經典之作中,反覆出現四處蔓延的彩色圓點。

本次展出兩件作品都是草間彌生1994年的複合媒材創作,〈女人的城堡〉以紅色為主調,結合抽象造型與電光霓虹,隱喻女體似靜實動的誘惑能量,另一件作品〈我心在淌血〉以黃色為主調,透過不斷分裂增殖的有機造型,隔空與〈女人的城堡〉相互對話,隱約是男與女的一種對照。

Yayoi Kusama is one of the contemporary female pioneers in avant-garde art. Despite of her advanced age, her creativity remains uninterrupted, and she continually explores the boundaries between illusion and visual sense. She says that when she was only ten years-old she stared for a long while at a tablecloth which had images of red flowers. As she looked up to see the white ceiling, faded green traces of the tablecloth pattern appeared everywhere. The artist extended this aesthetic experience from childhood, transforming it into colored spots that recurred in the works that led her to fame.

In this exhibition, Yayoi Kusama presents two mixed media works from 1994. Women’s Castle utilizes red as primary element – its abstract form accompanied by fluorescent colors metaphorically depicting the female anatomy as a passive-aggressive force of temptation. Her other work, My Bleeding Heart, utilizes yellow as a primary element instead. Under a constant process of mitosis, its organic design establishes a dialogue with the artist’s former work as a metaphor of the contrast between men and women.


 

名和晃平 Kohei Nawa

1975年生於大阪的名和晃平,在京都市立美術大學專攻雕刻,作品以造型純淨、語言簡鍊和質地精美等特質,備受矚目。

此次展出的〈鹿頭〉,為其最知名的〈稜鏡〉系列之一。〈稜鏡〉的創作概念,受到數位時代圖像傳播的啟發—號稱不因傳播次數或時空遠近而失真的數位圖象,放大到一定程度後即出現「馬賽克」現象,名和晃平以實體的水晶玻璃球來置換虛擬的稜鏡,原本模糊化的物象,也因此被重新注入了想像無限的內容與華美浪漫的質感。

從2D模糊像素轉化出3D實體雕塑之同時,名和晃平似乎也重新觸探了「存在」的古典命題,和當代視覺符號系統中對於物體作為「符碼」與所能傳達的「符旨」之間,一種開發不盡、歷久彌新的辯證話題。

Kohei Nawa, born in Osaka in 1975, specialized in sculptures at the Kyoto City University of Arts. His works are known for their clean design, concise language, and fine texture.

Elk, present in this exhibition, is part of his renowned PixCell series. The creative concept behind PixCell is influenced by the image distribution concept of the digital era. The quality of digital images, though impervious to repetitive distribution or the limits of time and space, are nevertheless exposed to a “mosaic” effect if examined very closely. Kohei Nawa, using crystal glass balls to cover digital enhancement, returns the elements of limitless imagination to the originally blurred objects.

In the process of transforming planar blurry images into three-dimensional sculptures, Kohei Nawa explores the relationship between the philosophy of “existence” and the contemporary visual symbol system consisting of physical objects as “signifier” and their purpose as “signified,” capable of evolving into endless and ageless dialectical subjects.


 

許嘉 Jia Xu

許嘉1984年生於福建,在校時主修建築設計,現為職業藝術家,作品喜以手繪漫畫搭配對話式的文字,表現個人日常生活體驗。

本次參展的影像裝置作品〈外婆家的記憶〉,透過二種投影方式,將靜態繪本轉化為動態的敘述呈現。牆面以黑白影格結合時光流動效果,舖陳藝術家小時與外婆同住的心情回憶;地面的投影,結合鳥瞰角度和漫畫分格手法,將外婆家的室內及戶外空間同步呈現,演示了作者童年的諸多活動記憶,而這也呼應了當代媒體文化中多重視窗/多元敘述的一種視覺傳達機制。

Jia Xu was born in 1984 in Fujian Province, China. He studied architectural design and afterwards became a professional artist. In his works, the artist combines hand-drawn comics with text in dialogue form as a representation of his daily life experiences.

In this exhibition, Jia Xu presents his video installation work Memory of Grandma’s House, where he uses two projection modes to transform static sketchbook images to a more dynamic narrative. On the wall, the work uses black-and-white film strip to achieve the flow of time effect, reviving the artist’s childhood memories of living with his grandmother. The projection on the floor combines bird’s eye-view with traditional comic panel style, depicting the inside and outside of the artist’s grandmother house. This approach not only embodies the artist’s many memories from childhood, but also echoes the multiple-pane, multiple-narrative visual methodology frequently used in contemporary media culture.


 

張奇開 Qi-kai Zhang

張奇開出生於四川,畢業於日本多摩美術大學,90年代後轉往德國發展;生活中,他盡情接受東、西方文化的洗禮;在藝術創作上,也展現了兼容並蓄的一種文化態度。熊貓是張奇開近期作品中常用的圖像角色,相較於傳統龍鳳圖騰,他認為熊貓更具有一種軟性的文化力量。

在本次展出作品〈運球〉中,一群身形可愛的熊貓,簇擁著同時印有愛迪達商標及中國字樣的超大足球,一方面呈現了西方商品和東方消費者的邂逅,另一方面也隱喻了國族意識、品牌崇拜和文化流行之間既和諧共構也輪轉起伏,實際正相互角逐群眾的中國當代社會情境。

Born in Sichuan Province, China, Qi-kai Zhang graduated from Tama Art University in Japan and moved to Germany after the 90s. He embraces both Eastern and the Western culture, consequently developing an inclusive cultural attitude in his art works. In his latest works, the artist has used pandas as protagonists. When it comes to comparing pandas to the traditional motifs of dragon and phoenix, Qi-kai Zhang considers the former to possess a more subtle cultural force.

Dribbling is the artist’s work present in this exhibition. It shows a group of adorable pandas surrounding a giant soccer ball with the Adidas logo and Chinese characters printed on it. The imagery illustrates the crossroad between Western products and Eastern consumers, while at the same time it symbolizes the harmony and ups-and-downs of the relationship between national identity, brand worshipping, and popular culture, much like the inner competitiveness of Chinese contemporary society.


 

陳飛 Fei Chen

中國藝術家陳飛1983年出生於山西。在陳飛的作品中,我們不難觀察出中國當代繪畫,正由展現宏大的敘事歷史,轉為關注日常生活及微觀的自我體驗。藝術家相信,新時代的創作者在擺脫了龐大的歷史傷痕後,擁有更多的創作支配權。日新月異、硬體設備不斷開發創造的中國,業已在全球化下的洪流中,讓視覺暴力積極地入侵廣告圖像及時尚工業。

本次展出作品〈把酒高歌No. 12〉,在七人飲酒作樂的場合,我們看到的是性徵不詳、臃腫肥胖的一群人體,一副以豔紅大嘴取代個人長相、內心慾望的公式臉孔,他們貪婪地啜飲著美酒甘露,地上灑滿了墮落的酒滴。藝術家以卡漫式的視覺語言和豔俗的色調,與其說批判了當代都會生活的紙醉金迷,毋寧說是以「藉酒澆愁愁更愁」的言說策略,刻劃了都市人種內心一同的低潮苦悶。

Chinese artist Fei Chen was born in 1983 in Shanxi. In his works, the audience can see the transition of the focus in contemporary Chinese paintings from historical events to daily situations and self-experience. The artist believes that ever since the creators in the new era have released themselves from the deep wounds of history, they started possessing more dominion over their works. Under the flood of globalization, the rapidly progressing China has allowed visual violence to infiltrate advertisement images and the fashion industry.

Fei Chen’s work Singing the Wine No. 12 shows a scene of people celebrating. The audience can only see a group of gender-unspecific, bloated and obese human figures. The faces of these people are replaced by large, red mouths, purposely covering their appearances and inner desires. In their comfort they greedily drink their nectar, oblivious ot the spilled drops falling on the floor. In Singing the Wine No. 12, the artist employs animamix-styled visual language accompanied with a kitsch color palette, not just to criticize the debauchery of urban life in the contemporary era, but also borrowing the concept of the saying “It will be bitter to drown the sorrow by drinking” to illustrate the shared depression within the hearts of urban people.


 

克勞迪歐.卡斯提羅 Claudio Castillo

克勞迪歐.卡斯提羅出生於古巴哈瓦那,原本擅長水彩;面對數位時代來臨,他將繪畫、動畫、與遠距通訊程式結合,開創了可以實時對應特定國家/城市之自然環境變化與經濟活動狀態的互動作品。

本次參展的〈天氣(GTMO風景)〉中,卡斯提羅將其水彩作品轉化為「活體繪畫」,透過連線到網際網路上,隨時接收來自網站weather.com的即時氣候資料而持續變形/變色;其中戲法如:以畫面中的水球對應濕度變化,濕度愈高,球形就愈完整。另一件作品〈金融(錢坑)〉則是透過變色龍在螢幕上的進出活動和變色演出,即時反應各地股市的最新變化──股市上漲時,蜥蜴變為綠色,股市下跌,蜥蜴轉為紅色,股市持平或關閉的時候,蜥蜴變成白色。

Claudio Castillo was born in Havana, Cuba. In his earlier artistic career, he specialized in watercolor. With the arrival of the digital era, the artist merged drawings and animations with long-distance communication programs, producing interactive works capable of adapting to a specify country or city’s natural environmental changes and economic activity status.

In his work Weather (GTMO Landscape), Castillo transforms his watercolor art work into a “living painting,” changing its form and colors according to weather information gathered from the website weather.com. A digitalized painting of a water balloon responds to the changes of humidity: as the level of humidity increases, the shape of the balloon gets rounder. The artist’s second work, Financial (The Money Pit), displays the latest activities in every stock market through the movements and colors of a chameleon in the screen. When a stock market rises, the chameleon turns green; when a stock market falls, the chameleon turns red; and when a stock market remains unchanged or is closed, the chameleon turns white.


 

安吉羅.沃爾培 Angelo Volpe

義大利藝術家安吉羅.沃爾培出生於1976年,曾擔任過湯瑪斯.賀芎 (Thomas Hirschhorn)、大衛.傳萊特 (David Tremlett) 等國際知名藝術家的助手。

沃爾培的青春美女畫,如本次展出的〈她保持緘默〉、〈妳甜美的愛〉及〈藍月〉,具體展現了一種在當代大眾媒體的教唆下,日漸樣板化、空洞化、大量生產的「美女」形像。這些美女如缺乏靈魂的塑膠玩偶般,空有一雙雙明亮的大眼,皮膚光滑、身形姣好、配戴精品名牌而不知所為。沃爾培藉此嘲諷從西方蔓延到東方、從古代父權體制滲透到當代商業系統中,一種對於特定春青女體的普遍崇拜,和一種對於女性價值尊嚴的不斷扭曲。

Italian artist Angelo Volpe was born in 1976. He has served as assistant to internationally renowned artists such as Thomas Hirschhorn and David Tremlett.

In this exhibition, Volpe’s portraits of young and beautiful women, He Kept Silent, Your Sweet Love, and Blue Moon reproduce images of standardized, shallow “beautiful women” which are mass-produced by the contemporary public media. These women are like plastic dolls without souls, only possessing a pair of bright and large eyes, smooth skin, svelte body physique, and adorned with brand-named clothing and accessories. The artist satirizes those tendencies which spread from West to East, and transcend from the ancient patriarchal system to the contemporary business system, influencing society towards the common worshipping of a certain type of female anatomy and the continuous distortion of female dignity and value.


 

村上隆 Takashi Murakami

村上隆畢業於東京藝術大學博士班,理論上他從探討「沒有意義之意義的意義」出發,提出了以日本動漫美學為基礎的「超扁平(Superflat)」理論;實務上他贊成藝術與商業密切結合,並透過怪怪奇奇公司(Kaikai Kiki Co., Ltd.)的創立,拓展了個人的藝術事業。他被公認為當代藝術界最擅於經營自我,又有心推己及人的先鋒人物──GEISAI(新人藝賽)的創辦乃至來台推廣,即為最新實例。

本次展出的〈怪怪奇奇和我2〉,是村上隆直接將公司吉祥物/識別圖像轉化為正式畫作的系列版本之一。留著小山羊鬍、綁著馬尾辮的村上隆和他所創造的二隻吉祥物,笑呵呵地出現在「微笑小花」合唱的快樂天地中。在這裡,創辦人與其商標,就是作品,也是產品;除了圖像本身的卡漫性格和平塗處理,具體呼應了村上隆的理論,作品的意義也被直接化、扁平化了。

Takashi Murakami graduated from Tokyo University of Fine Arts and Music. For his doctoral dissertation, he explored the concept of “the meaning of the nonsense of the meaning” and proposed the Superflat theory, which would later become a foundation of Japanese animamix art. The artist approved of partnerships between art and business, and through the creation of Kaikai Kiki Co., Ltd. he was able to promote his personal works. Takashi Murakami is often considered the most self-managed person in the contemporary art world, and a pioneer figure in self-promotion and the promotion of other talents. GEISAI, an art fair which was initiated with the intention of discovering new talent, is one of the most recent examples.

Kaikai Kiki and Me 2 is part of a series in which Takashi Murakami translates his company’s mascots into proper drawings. In Kaikai Kiki and Me 2, Takashi Murakami – with his goatee beard and ponytail – is happily accompanied by his two mascots in a joyous place where the “smiley-faced flowers” sing together. Here, the creator and his brand are the work and the product as well. With the exception of its animamix nature, the work resonates with Takashi Murakami’s theory: The meaning of the work itself is simplified and flattened.


 

奈良美智 Yoshitomo Nara

1959年出生於日本青森縣的奈良美智,以獨特的手繪畫風創造了「邪惡大眼妹」的招牌人物,展現了新世代集天真與邪惡,睥睨與質疑的內在特質;近年來他和日本暢銷作家吉本芭娜娜合作的插畫小說,也廣受日本及台灣觀眾的喜愛。

本次展出作品〈無題〉中的女孩形象,有別於奈良過往作品中邪惡女娃造型,一臉無辜的表情和無助的姿態,搭配一隻泛著晶瑩淚珠的超大眼睛,此情此景,彷彿所有的言語,都不如這一滴眼淚中所映射的彩色光芒,更來得有表情、有力量。

Born in 1959 in Aomori Prefecture, Japan, Yoshitomo Nara created used a unique drawing style to create his best-known characters, the “evil large-eyed children.” These characters reveal the inner characteristics of the new generation: a juxtaposition of innocence and evil, and of disdain and suspicion. In recent years, he worked with Japanese best-selling author Yoshimoto Banana, producing a graphic novel well received in Japan and Taiwan.

In this exhibition, the artist presents his work Untitled, displaying the image of a girl quite unlike the others of his previous works. In Untitled, the child’s facial expression is innocent and her stance powerless, all the while her large eyes fight to hold back tears. In this image, no amount of words can compare in emotion and intensity to the colors reflected from a single teardrop of hers.


 

尤基尼歐.麥瑞諾 Eugenio Merino

西班牙藝術家尤基尼歐.麥瑞諾,擅用黑色幽默和嘲諷手法,將當代藝術文化的特殊現象/特定人物納入他的雕塑及平面繪畫創作中;他的創作題材含括了對於戰爭、環保、政治、宗教、藝術等不同面向的關注。表現手法具有吸睛和令人錯愕的雙重特質。

本次展出的二件作品中,〈破碎的夢〉以外號「藝術殺手」的英國藝術家戴米恩.赫斯特(Damien Hirst)做為再創作的對象,麥瑞諾透過「以其人之道還治其人」的概念和手法,將超寫實製作的赫斯特頭像和匕首陳列在透明玻璃櫥中展示;另一件〈美麗的村上隆〉,以動漫式的拼貼手法,將栩栩如生的村上隆超大頭像嫁接在真人比例的矽膠女模身上,麥瑞諾展現了他對於研究村上隆的外表與思想的雙重興趣,也幽默地詮釋了村上隆與時尚名牌密切合作、結合藝術與商業的大力主張。

Spanish artist Eugenio Merino specializes in dark humor and satire, choosing a specific phenomenon or figure of the contemporary art culture as the protagonist of his sculptures and graphic drawings. Through his works, the artist approaches many themes, such as: war, environment, politics, religion, and art. His method of expression often succeeds in attracting people and leaving them stunned and speechless.

His work in this exhibition, Broken Dream, borrows the face of the English artist Damien Hirst, also known as the “art killer.” Merino follows the philosophy of “no mercy for the merciless,” creating an ultra realistic sculpture of Hirst’s head and a dagger by its side displayed inside a glass case. The second work, Pretty Murakami, employs an animamix-styled collage technique to marry Murakami’s giant head to a life-sized silicone female model. Merino not only demonstrates his interest in researching Murakami’s philosophy and appearance, but also humorously interprets the collaborating relationship between Murakami and the fashion industry, which created a large force produced from the merging of art and business.


 

坂上千里 Chisato Sakaue

坂上千里1984年出生於日本靜岡,2007年畢業於名古屋藝術大學。其作品以結合靜態「人像」與流動「液體」,創造新鮮視覺趣味之同時,也賦予了耐人尋味的象徵意義。

本次展出作品〈源源不絕的乳汁〉中,象徵「前輩」的老奶奶,自我陶醉地以一對巨大乳房,噴射出如瀑布般的大量乳汁;畫面中落「櫻」繽紛、空氣中似乎瀰漫著水氣,搭配出現的是,高坐在老奶奶額頭上的二隻雛獸,一隻睜眼、一隻閉眼,似乎意味了新世代對於傳統文化養份的二種不同態度。

Chisato Sakaue was born in 1984 in Shizuoka Prefecture, Japan. In 2007 she graduated from Nagoya University of Arts. In her works, the artist gives fluidity to the static human figure, creating a novel and amusing visual experience while making the audience curious as to the meaning the works contain.

The work on exhibition is Enormous Milk Fall-Spring. An old woman, representing the “elderly” in a general sense, projects a waterfall-like stream of milk from her enormous breasts with an expression that could only mean self-complacency. In the image, cherry blossoms rain through the seemly damp air; and two creatures stand on the forehead of the old woman, one with its eyes open and the other with its eyes closed, as if they represent two different attitudes with which the new generation approaches the nourishment of traditional culture.


 

吳定隆 Ding-long Wu

1982年出生於四川的中國藝術家吳定隆,可歸為畫風輕/薄/短/小的新世代藝術家類型。一方面,他相信藝術源於生活,畫畫就像寫日記, 另一方面,他深受哲學家叔本華的影響,相信人生苦悶,藝術是解救人類的一帖良藥。

本次展出三幅畫作品〈每一天〉、〈在一起〉及〈我要去遠方〉,以粉嫩甜美的基本色調,統整了具象人物、卡漫動物、和抽象幾何形塊。同時,以一個夢幻女孩形象,穿梭 漂浮、躺臥在符號化也裝飾化的綺想世界中。這些畫不以宏觀的歷史敘述或社會現象為命題,而較像是獨善其身的「軟塗鴉」,在此,藝術家將自身對社會現狀無能為力的焦慮,轉換成圖像創作的烏托邦。

Chinese artist Ding-long Wu was born in 1982 in Sichuan, and is considered to be part of the new generation of artists whose drawing style is light, thin, brief, and petite. He believes that art originates from life and that drawing is very much like writing a diary. However, influenced by the philosopher Schopenhauer, the artist also believes that life is bitter, and art is the cure that will save humanity.

His three paintings: Every Day, Together, and I will Go to the Distance utilize tender and sweet color palettes, bringing together figures of animals and creatures drawn in animamix style combined with abstract geometric shapes. Also in the works, a girl is shown to transverse, drift, and lie in these fantastical worlds filled with decorations and symbols. These paintings do not aim to explore or narrate historical events or social phenomena, but are “soft graffiti” that only serve for self-growth and self-benefit. Through his paintings, the artist transforms anxiety caused by a feeling of helplessness and turns the problems of current society into a utopia.


 

原高史 Takafumi Hara

原高史的創作,透過少女神情姿態的不斷轉換與陳述,在鮮艷色彩、簡潔輪廓的背後,以極富關懷的筆觸,具體而微地讓人類心靈深處的脆弱與堅強相互照映,突顯了一體兩面的希望與失望。

本次參展畫作〈你所擁有的〉,具現了原高史一貫關注社會現實的視界,藉由對比鮮明的色彩、人物及文本,交織出人們內心深處的掙扎,呈現人們在社會現實秩序的束縛下,每一個心靈的角落都渴望溫暖的情懷,同時也深刻反映出當下社會、家庭及個人的互動處境。特別是文本的援引,對於原高史而言,文字有著強大的力量,每一句話都像是凝結記憶情感的體現,也都是重現時光不可或缺的媒介。

The works of Takafumi Hara use the aesthetic mood of young girls as narrative, creating with his brush colorful imageries with simple outlining. The artist explores the reflections that weakness and strength within human hearts cast upon each other, showing elements of both hope and disappointment.

Takafumi Hara’s Things You Have demonstrates his perpetual concern towards the current state of society. The artist uses the contrast of colors, characters, and text to weave the inner conflict of people; revealing that under the constraints of societal norms, every person seeks and desires the warmth of love and care. At the same time, the work depicts the interaction between society, family, and the individual in such circumstances. The presence of text is critical in this work. In the opinion of Takafumi Hara, words possess tremendous power: Each sentence represents a frozen memory and emotion, and it is therefore essential in the reconstruction of time.


 

周欣 Xin Zhou

中國藝術家周欣1977年出生於四川,現任教於中國美術學院。他的成長過程,適逢中國當代藝術的崛起,藝術家的創作風格與社會體驗不僅有了緊密的結合,許多作品亦折射出了,在特定時空背景下所背負的烙印與痕跡。

本次參展作品〈馬丁的故事〉、〈香蕉的天空〉和〈元老匯〉,眼前所見充滿活潑生氣的現代汽車,是藝術家透過古典的創作技巧,將不同情緒置入一輛輛原本冰冷的機具。藝術家將這些表情豐富、外來新貴模樣的車輛,趾高氣昂的出現在古蹟廣場、工廠和街頭角落,活潑俏皮的圖像表現手法,隱約也註記了社會的變遷、刻劃了一個物質性凌駕人性存在的新時代。

Chinese artist Xin Zhou was born in 1977 in Sichuan and is currently teaching at the China Academy of Arts. Xin Zhou grew up with the rise of Chinese contemporary art, causing an intimate relationship between the artist’s social experiences and creative style. In many of his works, the artist projects the marks and traces which are characteristic of a very specific time and place.

His works presented in this exhibition – Martin’s Story, Banana Sky, and Senatus – show contemporary cars gifted with life. The artist employs classic artistic techniques to insert different emotions into cold and inanimate machineries. These automobiles, changed in appearance and rich in expressions, are proudly placed in historical sites, factories, and street corners. The lively and energetic style used in these works is a reminder of how in this new age society has changed to where materialism has become more important than human existentialism.


 

羅琿 Hui Luo

羅琿筆下的角色,無論是動物、人類或外星生物,明顯都有一種生物學上的共同特徵,似乎也都有一些社會學上的衝突與矛盾。

本次參展的作品〈傷痛美麗〉,展現了羅琿招牌的虛構角色──一個大眼、尖鼻、小嘴巴、性別不明、物種不詳的生物──和一隻金魚之間,沒有背景文本、各有表情而缺乏對話,同樣以正面呈現的二個角色,其實沒有賓主之分;一支巨大的叉子,刺穿了正在塗抹口紅的金魚,連結了二個角色,似乎也勾勒出二者之間說不清楚的愛恨情仇。大體而言,羅琿用畫筆導演的是開放給觀者主動閱讀的一齣默劇。

The characters of Hui Lou, whether animals, humans, or alien creatures, all share common biological characteristics, and yet each have their own sociological conflicts and contradictions.

Beauty & Sad, his work present in this exhibition, shows the best-known fictional character of Hui Lou: a gender-unspecific, large-eyed, pointy nose, small mouth creature. On top of it, there is a goldfish. Between these two characters, there are no background texts and only their facial expressions fill the lack of dialogue. Portrayed under the same full frontal perspective, there is no telling which one is the protagonist. In the image, the lipstick-wearing goldfish is pierced by a gigantic fork, linking the two characters while revealing their untold relationship of love and hate. Generally speaking, Hui Lou passively directs with his brush a pantomime, waiting for the audience to take the initiative and study it.


 

高孝午 Xiao-wu Gao

1976年出生於福建的高孝午,擅長以詼諧手法,將平面語彙的卡漫人物轉換為立體雕塑造型。他的雕塑人像,除了以誇張的比例呈現,也充份運用了一種邏輯失衡的幽默。

在此次展出作品〈都睡了〉系列中,藝術家娓娓道出在集體追求財富/名利/幸福的時代與社會中,人們忙碌的投入各行各業,及至忘了停下腳步,讓自己喘口氣。而〈我們這一代〉系列的二件雕塑,則試圖透過怪誕、誇張的身形比例,反映新世代年輕人的另類思維,與一種新興的身體語言。

Born in 1976 in Fujian Province, China, Xiao-wu Gao excels at transforming animamix characters from the graphic vocabulary into three-dimensional sculpture. In his works, the human form is depicted with exaggerated proportion, which is part of the counter-logical humor found in the artist’s sculptures.

In the Falling Asleep series, the artist repeatedly illustrates the incessant nature of this age and society, where each person is busy working and pursuing fortune, fame, and happiness, forgetting to stop for a second to breath and rest. Xiao-wu Gao’s second series in this exhibition, Our Generation, attempts to reflect through sculptures of bizarre and exaggerated proportion the unique philosophy of the young generation and an emerging variety of body language.


 

松浦浩之 Matsuura Hiroyuki

1964年出生於東京的藝術家松浦浩之,自1999年起,以「角色插圖」為主題,發表了一系列相關的設計作品,也將他自身的創作面向,拓展至繪畫、雕塑及版畫等多種型式,是近年來頗受國際關注的新銳藝術家。

本次展出作品為〈玩字〉系列中的〈愛 (LOVE)〉及〈速度 (SPEED)〉,特殊意義的文字之中,隱藏了從色彩到質感都有意與之對應的圖像,松浦浩之以「文為主、圖為輔」的逆向操作手法,娓娓道出在社會高速發展、高速前進的當下,「愛」及「速度」是現代社會中不可或缺的重要元素。

Artist Matsuura Hiroyuki was born in 1964 in Tokyo. Since 1999, he has used the theme of “character illustration” to produce a series of design works, expanding his practice into a variety of formats, including painting, sculpture, and limited-edition multiples. Over the past years, Matsuura Hiroyuki has captured worldwide attention as a vanguard artist.

In this exhibition, Matsuura Hiroyuki presents Love and Speed from his series Word Play. Within the text of each work hides an image that corresponds, from color to texture, the word’s semantic meaning. Matsuura Hiroyuki employs the “text as primary and image as complementary” expression method to convey that, in the rapid growth and development of the present world, “love” and “speed” are essential elements that absolutely cannot be absent.


 

岡本信治郎 Shinjiro Okamoto

岡本信治郎,1933年生於東京,自60年代起即已開始創作漫畫,其作品混合了抽象的幾何圖形和裝飾性的傳統圖案,以繽紛活潑的色彩,彰顯了日本的通俗文化之美。岡本信治郎雖已高齡76歲,卻被列為最具開創性的藝術家之一,至今仍積極創作,不斷推陳出新。

本次參展作品〈今弁慶與今牛若〉顯示,藝術家有意將日本家喻戶曉的故事「弁慶與牛若丸」,以一種詼諧幽默的方式再現,並強化卡漫童趣的性格。此作將西方的幾何造型與日本的敘事傳統大膽結合,圖像與文字如萬花筒般交錯變化,呈現了多元的內容和動態的視覺性。

Born in 1933 in Tokyo, Shinjiro Okamoto has been producing comics since the 60s. His works often merge abstract geometric shapes and decorative traditional images, using lively colors to bring out the beauty of Japanese popular culture. Despite of his advanced age, Shinjiro Okamoto is regarded as one of the most groundbreaking artists and to this day he continues to create and introduce novel concepts and ideas.

Present in this exhibition, Maya and Shinjiro, Present-day Ushiwaka and Benkei is a humorous retelling of the widely-known Japanese story of Ushiwaka and Benkei. The artist not only intensifies the entertaining animamix nature of the original story, but also boldly merges Western geometric design with Japanese traditional narrative style. As result, images and texts shift and intertwine like kaleidoscopic images, displaying the work’s rich content and dynamic visual aspects.


 

柯羅夫 Rolf A. Kluenter

生於1956年的德國藝術家柯羅夫,大學畢業後即轉往尼泊爾旅居長達18年,現定居於上海,信仰佛教,是個長期在亞洲流浪的歐洲人。他利用錄像、表演、繪畫和裝置等藝術形式,呈現一個鄙棄傳統、摧毀文化、專事於加速城市和社群網絡發展的社會,特別是那些伴隨著網路、動漫、電玩等虛擬世界所衍生出的情感歸屬問題。

柯羅夫深入觀察上海紙醉金迷、充滿權力與誘惑的社會現象,拍攝了一部以狼哥哥和狐狸妹妹為主角的影片〈粉紅網〉。許多西洋人到中國來,一開始都是打著非常純潔與正直的旗幟;然而,在進入這個充滿誘惑的城市之後,那面旗幟的意義也漸漸改變,成為一場狼哥哥和狐狸妹妹之間的曖昧遊戲。

Born in 1956, German artist Kluenter lived in Nepal for 18 years after his graduation. He has lived in Asia for many years and has embraced Buddhism. Kluenter presently resides in Shanghai. In his works, the artist uses diverse practices, such as video, performance, painting and installation, to depict a society which disdains traditions, destroys cultures and focuses instead on speeding the development of cities and Internet communities. His works also explore the emotional issues of belonging caused by fictitious worlds of the Internet, animamix, and videogames.

Kluenter studied the social phenomena of Shanghai and noticed the indulging and luxurious lifestyles of its citizens, filled with power and temptation. From this observation, the artist directed the film pinkGRIDone, with a wolf and his fox sister as protagonists. Most Westerners arrive to China with a pure and honest mentality; as they enter into this city of temptations, that mentality starts to subtly change, ultimately becoming a flirting game just like the relationship of the wolf and his fox sister.


 

陳志光 Zhi-guang Chen

成長於中國社會經濟變遷最快速的時代,陳志光近年的作品主題以「螞蟻」最引起關注,甚至成為「陳志光」的代名詞。

作品〈遷徙時代〉中,陳志光以永久性的不銹鋼材料,置換螞蟻原有的生物特性,將人們眼中微不足道的螞蟻大軍,放大至無法忽視的比例,營造一種介於現實與非現實間的效果。作品的展出,藉由視覺經驗的衝擊,改變人們對於穩定空間的既有安全感;除了象徵人類在社會轉型及都市化中,不斷遷徙勞動的狀態外,也進一步啟發了人與環境的關係思考。對陳志光而言,螞蟻是地球上最古老的動物之一,而螞蟻與人的集體主義又非常相似;透過結合螞蟻的自然性與不銹鋼的人工屬性,在不斷變遷的世界中,創造出一種「定性」,一種永恆的延續性。

Zhi-guang Chen grew up in a time when the Chinese socio-economic change was at its fastest. In recent years, the artist’s works have taken special interest in “ants,” to the point that they almost have become synonym with the name “Zhi-guang Chen.”

In his work Movement Age, the artist uses the everlasting material of stainless steel to replace the biological characteristics of ants, taking the army of ants – often unnoticed by human eyes - and increasing their size until they are no longer possible to ignore. The product is an effect that sways between real and surreal, using the impact of visual experience to alter the sense of security that people receive when they think they are in a safety zone. Movement Age not only represents the restless lifestyles of people in an era of social changes and urbanization, but also invites the audience to reflect upon the relationship between human and environment. From Zhi-guan Chen’s perspective, ants are one of the most ancient creatures on Earth, and their collectivism is much alike the one that humans possess. Through the combination of ants’ natural characteristics and the artificialness of stainless steel, the artist creates an eternal and continuous “stable nature” in this ever-changing world.

作品介紹 About the Artworks

作品介紹 About the Artworks 2

派崔克.柏傑隆 Patrick Bergeron

派崔克.柏傑隆,魁北克人,影像藝術家及數位合成師,曾參與荷蘭海牙「今日藝術節」,以及「魔戒」、「駭客任務」等電影特效的美術製作。

柏傑隆的作品結合了動畫、實驗電影及紀錄片三者的特性,不斷探索「速度」與「記憶」的概念。其中,〈迴路〉的創作靈感來自於柏傑隆搭乘火車旅行越南的經驗,藉由不斷重新排列、倒轉、快轉、定格及放大旅程沿路的影像片段,同時嵌入旅途中的各種聲響,將聽覺進一步視覺化,模擬人們回溯記憶的過程,並從中拾起被遺忘的細節與事物。於是,在柏傑隆偏執的回憶過程裡,〈迴路〉反倒成了一樁新視角再發現的趣事。

Patrick Bergeron, born in Quebec, is a video artist and digital compositor. He participated in TodaysArt festival in The Hague, The Netherlands, and took part in the production of special effects in movies such as The Lord of the Rings and The Matrix.

Bergeron’s works combine the nature of animation, experimental film, and documentary, and constantly explore the notions of “speed” and “memory.” The creative inspiration of LoopLoop came from the artist’s experience when he traveled Vietnam by train. Bergeron repetitively worked on sorting, rewinding, forwarding, freezing, and zooming of the film segments taken in his journey, while simultaneously inserting the sounds heard during his travel, merging auditory sense with visualization. This entire routine emulates the process of memory recognition, in which people find once again forgotten objects and details of events from the past. Consequently, in Bergeron’s obsessive process of recollection and reworking, LoopLoop becomes a discovery of events seen from a different perspective.


 

艾倫.貝克 Alan Becker

艾倫.貝克利用嫻熟的Flash軟體於2006年創造風靡世界的作品〈動畫&動畫家〉、並榮獲有「網路奧斯卡」之稱的威比獎最佳人氣獎之後,目前正於美國哥倫布藝術設計學院持續深造。

在〈動畫&動畫家II〉作品中,貝克延續前作的遊戲冒險風格,將電玩裡常見的暴力對峙場景,轉換至作業系統的平台上,跳脫系統本身的呆板「機器」印象,進一步將之打造成一款互動電玩。此作品除了將反叛視為一種超級變異病毒外,也結合豐富想像與流行文化的視覺語彙,試圖衝撞作業系統的權威框架,並在混亂中邀請觀者一同享受失序的快感。

In 2006, Alan Becker rose to fame with his work Animation&Animator created with Flash software, winning the Webby, also known as the “Oscars of the Internet,” People’s Voice Award for Animation in 2007. Becker is currently studying at the Columbus College of Art and Design in the United States.

      In Animation&Animator II, the artists continues his previous adventure-game style, translating violent and confrontational scenes from video games to the platform of computer operating system. Through this work, the computer system no longer gives the impression of being an insipid “machine,” but evolves into an interactive video game. Animation&Animator II introduces the character of a rebellious super-virus, in combination with rich imagination and the visual vocabulary of popular culture, attempting to bring down the operating system’s authoritative framework, and inviting the audience to enjoy the loss of control within chaos and disorder.


 

寶拉.海雅思 Paula Hayes & 特奧.坎伯利爾 Teo Camporeale

作為一位成功的園藝設計師,寶拉.海雅思的作品深刻地思考自然與人的關係,讓園藝不單只是拈花惹草,而是塑造一處處靈魂可以療癒休養的角落。

本次參展的影像作品〈詩人吉兒的塵世練習〉,是寶拉.海雅思與動畫師特奧.坎伯利爾的合作成果;透過3D立體的Flash動畫,闡述在外星的銀色世界中,風是世界的聲音,飄落的葉子彷彿捎來的祝福,稍稍撫慰孤寂的世界:「少女詩人用她園藝造景的巧手,去養護靈魂的生活。」簡潔的枝枒、素靜的色調,讓畫面充滿詩意,儘管如此,卻仍舊充分表現海雅思對於地球及自然環境和諧共處的情感思維。

A successful landscape designer, Paula Hayes explores and reflects upon the relationship between humans and the environment, transforming the art of landscaping into something beyond flowers and grasses, such as the construction of a place where the soul can heal and rest.

The video work presented in this exhibition, Jill Poet’s Earthly Practice, is a collaborative effort between Paula Hayes and animator Teo Camporeale. The work uses three-dimensional Flash animation to depict a world in outer space. There, the wind is the mouth of the planet, while leaves have wind in them to bring blessings and consolation to the lonely world: “The young poet girl uses her able hands in landscaping to nurse the life of the soul.” The simplicity of branches and the tranquil shades of colors fill the imagery with poetry, without losing Paula Hayes’ emotional thinking about the harmonious coexistence between Earth and the natural environment.


 

漢恩.胡格布里居 Han Hoogerbrugge

對漢恩.胡格布里居而言:「我喜歡神經兮兮的人們,我覺得他們很性感」。胡格布里居的創作始於1998年的〈摩登生活/神經失調系列〉,2002年後便開始陸續創作〈釘子〉系列,兩者皆在探索開發人類的多元情感。

作品〈釘子〉以自身形體為主角原型,發想一系列諷刺當代世俗文化現象的互動裝置,透過衣冠楚楚的男子形象,諷喻社會的偽善表象,在層層的形象包裝下,每個人都有不可告人的原生欲望衝動;作品同時運用戲謔幽默的手法,誘引觀者潛意識中的不安因子,層層爬梳人類社會及心理的陰暗面。另一件參展作品〈動物園〉則將動畫同時播映在八面不同的牆上,希望藉由動畫音效相互穿透,透析人性中「見異思遷」的貪婪心態。

Han Hoogerbrugge once said: “I like neurotic people. I think they are sexy.” His works began in 1998 with the Modern Living / Neurotica series, continuing with the Nails series in 2002. Both series explores the development of the diversity of human emotions.

Nails features the artist as the main character and introduces a series of interactive installations satirizing contemporary popular culture. Through the image of a well-dressed man, the artist mocks society’s deceiving appearance and reveals that underneath the layers of pretense, every person has unspeakable inner desires. Nails also employs a humorous approach to draw the sense of uneasiness from the audience’s subconscious, subtly crawling through the dark side of human society and psychology. The second work of Hoogerbrugge, ZOO, simultaneously projects animation into eight different sections of wall, attempting to borrow the juxtaposition of the animations’ sound effects to reveal the greedy and insatiable mentality of “the grass is always greener on the other side of the fence” in human nature.


 

阿尼邦.米特拉 Anirban Mitra

阿尼邦.米特拉的畫作習慣將日常生活情景、印度傳統藝術、宗教、乃至大眾媒體和流行文化,通通融入畫面,在作品中以過份荒謬的安排組合,創造出唐突又富有幽默性的情景。

本次參展的〈昆蟲殺手〉,畫面中含有大量的殺蟲劑、卡漫偶像與廣告意象等在印度生活中經常見到的圖像和圖案,藉以探討印度的現代社會問題,特別是「消費主義」的觀念。作品以殺蟲劑暗喻西方消費物種的「良藥」想像,在滿版的畫面中,雖保有傳統東方畫作的配置,卻又安排西方現代形象的人物交錯其中;東方傳統神衹偶像與西方卡漫角色的並置,表露出在保持傳統文化的同時,社會脈絡又不得不面臨全球化與新科技的掙扎洪流。

Anirban Mitra tends to explore daily life situations, Indian traditional art, religion, mass media, and popular culture in his works, positioning and organizing those elements in an entirely absurd manner, thus creating an imagery which is both humorous and unexpected.

Lakshman Rekha – The Insect Killer is the artist’s work present in this exhibition. In the painting, the audience can observe a large amount of insecticide, widely-known animamix heroes, and other advertisement images and patterns, all of which are often seen in everyday India. Through this work, the artist explores the issues of contemporary society in India, especially when it comes to consumerism. Mitra uses insecticide to symbolize the “placebo effect” of Western consumer products; in the over-crowded image, elements of traditional Eastern painting composition intertwine with figures from Western contemporary images. The clash of Eastern traditional deities and idols with Western animamix characters reveals that in the process of maintaining the traditions of a culture, the society has to face and struggle with the torrent of globalization and new technology.


 

那索.魯貝 Nasser Lubay

對那索.魯貝來說,生命充滿了迷幻與夢想,而夢境則是另一種現實的展現。從〈Save the Green〉到本次的參展作品〈重生〉,魯貝演繹出深刻的人本關懷與綠色思維。

成長於多元文化交融的菲律賓社會,魯貝的作品嘗試捕捉人類社會中,不同心靈狀態下的共同經驗,進而描繪出個人及社會的共同情感與故事。本次參展作品〈重生〉敘述一個陷入戰爭陰影折磨的男子,在懷抱夢想追尋更美好的人生時,所面臨的心理衝突與恐懼。其充滿想像力與生命力的線條,融入當地文化的傳統意象,轉化成現代社會流行且熟悉的語彙及圖騰,繽紛地呈現出意欲重生過程中的緒亂與雜想,也對照出夢想與夢境的無限可能。

In Nasse Lubay’s perspective, life is filled with illusions and dreams, and the realm of dreams is another representation of reality. From Save the Green to this exhibition’s work, Rebirth, Lubay conveys profound human care and green thinking.

Raised in the culturally diverse society of the Philippines, Lubay’s works attempt to capture common experiences with different states of mind, resulting in portraits of collective emotions and stories between each individual and society. In this exhibition, Rebirth depicts a man afflicted by the shadows of war, struggling with his inner conflicts and fears when he decides to reach for his dreams and pursue a better life. The liveliness and creativity of the work’s outlining merges traditional images from local culture with widely-known patterns and vocabulary from contemporary society. This imagery represents the chaos and randomness contained within the process of rebirth, and reflects the boundary less possibilities of dreams and the realm of dreams.


 

T&T

T&T是由Jiten Thukral和Sumir Tagra搭檔組成的團隊,這兩位印度新生代藝術家,慣以自身的角度當作起點,再從對各階層生活的觀察延伸出發,結合流行文化,創造出和諧的排序與衝突的美感。

本次參展的金屬圓盤畫作〈追夢—感覺〉,藉由各種童玩型的物件搭配藍天白雲的抒情畫面,傳達了一種幸福與懷舊的個人情感。另一超寬幅畫作〈週末的邂逅〉,充分利用了超級市場中的日常物件組合(各種商品和購物車),製造一種視覺的默劇──畫中的物件是極端寫實的,但劇情是抽象、開放給觀眾自由想像的;所謂的邂逅,也許只是冷冷的共同在場,也許是情感的激烈撞擊,也許是…。

T&T is a duo formed by Jiten Thukral and Sumir Tagra. These two Indian artists of the new generation often refer to themselves as sources of inspiration, extending observations towards life from their personal perspectives. Also present in their works are elements from popular culture, creating an imagery that simultaneously possesses harmonious order and conflicting aesthetics.

Present in this exhibition is Somnium Genro – Feeling, a painting on an iron dome that conveys an emotion of happiness and personal nostalgia through images of children’s toys under a soothing clear sky. Their second work, Weekend Bonanza 4, is a wide painting that attaches common objects found in supermarkets – products and shopping carts – to construct a visual pantomime. The objects within the painting are portrayed realistically; its abstract story, however, is subject to audience interpretation. As to the bonanza illustrated within the painting and its aftermath, it might have fallen upon an uninterested crowd, or perhaps seized by the most passionate of people, struggling with each other in order to gain the upper-hand, or maybe…


 

櫻井理惠子 Rieko Sakurai

櫻井理惠子的畫作,由於在GEISAI上受到民眾的喜愛而開始嶄露頭角。第一眼看到她的作品時,會覺得和時下一般流行的卡漫人物圖像無異;然而,若再深入細察,你就會被那濃縮在藝術家想像世界底層、那股深切而幽暗的情感所吸引。

本次參展的作品〈我想 我想 我想〉,畫中人物的姿態模樣,與文藝復興時代十分流行的小天使畫像極為神似。然而,原本無性的天使,在此成了性別明顯的女孩;在她天真無邪的臉龐上,一雙如同黑洞般的大眼,彷彿要將觀者連同整個世界,全都吸進去。這雙空洞的眼神,也彷若訴說著自身的經歷:一位落入凡間、跌入現代文明的失落天使。

The paintings of Rieko Sakurai achieved recognition after being one of the crowd favorites at GEISAI. At first impression, her works seem to be no different from the contemporary image of animamix characters. However, upon further inspection, the audience will be captivated by the core of the artist’s imaginary world, and fascinated by the intense and gloomy emotions portrayed within.

The artist’s work in this exhibition, I wanna be, I wanna be, I wanna be, displays a character in a pose reminiscent of little angel images widely popular during the Renaissance Period. In the work, the gender-neutral angel is replaced by a little girl; the set of large eyes on her innocent face are like black holes, almost as if they intend to swallow the audience together with the entire world. At the same time, the little girl’s blank stare reveals her life and identity: a lost angel who has descended to the mortal plane and fallen into the contemporary civilization.


 

印巴.史費特 Inbal Shved

印巴.史費特是以色列當代藝術界中,擅長以中國林黛玉式的自我感傷情懷,發展成系列創作的女藝術家。

本次參展的系列作品,描繪一個年輕女子陷溺在虛擬的兩難處境之中,但內心卻極度孤獨、徬徨無助的另一種真實狀態。灰濛的天空、乾枯的文明之河、無法划動的岩石之船…,明顯都是坐困愁城的符號,而飛鳥所代表的自由與行動,則象徵了女子超脫現實境的慾望;但這一切似乎只能淪為假想的遊戲,而無法化為決心的行動。

Inbal Shved is a renowned female artist in the Israeli contemporary art world. She specializes in serial works based on feelings of self-sorrow in a style very similar to the character Lin Dai-yu of the classic Chinese novel Dream of the Red Chamber.

The series present in this exhibition depicts a young girl trapped in an environment of dilemma, her heart filled with absolute solitude and helplessness. The dusky skies, the dried-up river bed of civilization, and an unmovable boat made of rock are unmistakably symbols of sorrow and distress. Meanwhile, flying birds represent freedom and action, serving as a metaphor for the girl’s desire to transcend reality; but all these thoughts can only be regarded as wishful thinking, incapable of materializing into concrete determined actions.


 

吉爾.葉夫曼 Gil Yefman

吉爾.葉夫曼的作品總以誇張又不合比例的毛線娃娃組成,往往包含著強烈的性暗示意象。

本次參展作品〈i_4_n_i〉便是以直截了當的手法創造一隻雌雄同體的娃娃,白色的體液自其身上的性器官不斷流出;另一件作品〈渴望〉則是自血管流洩出大量破損不堪的內臟器官。兩件作品都採以柔和色調的毛線製作,卻挾帶著破壞性和恐懼感,給人一種不願親近的氛圍。有趣的是,娃娃在人們的童年裡,往往扮演著朋友或家人的「替代角色」的身分,是吐露私密故事的窗口,但是當娃娃被包裝成極具成人議題時,娃娃和人也跟著環境成長,蛻變為成人內心世界裡的缺口,需要傾倒內心私密的話語。成人童話的手法,也彷彿在替人們找尋遺失於成長過程中的缺陷與負面情緒,再塑成人形娃娃,供以訴說。

The works of Gil Yefman consist of exaggerated and disproportional knitted dolls, which often carry strong sexual innuendos.

In his work i-4-n-l, the artist straightforwardly creates an androgynous-looking doll with white liquid flowing from its sexual organ. The second work, Longing, shows a blood vessel with deteriorated internal organs flowing out of it. These two works, despite being constructed with soft-colored wool, possess a great sense of destruction and fear, spreading a feeling of repulsion to the people. The interesting part is that dolls are an essential component of everyone’s childhood, whether playing the role of “replacements” for friends and family members, or keeper of their master’s tales and secrets. When the dolls are translated into the adult world, their contents evolve altogether and explore the void in the inner worlds of adults, needing to be filled with whispers and secrets. As with adult fairy tales, the artist helps to find the flaws and negative emotions people lose as they grew older, molding these elements into human figure dolls as form of narration.


 

里塔.雷夫.寇恩 Lital Lev Cohen

里塔.雷夫.寇恩出生於以色列,在倫敦成長,而後到約求學,現回到以色列定居。他以電腦從事數位創作,除了關注今日資訊氾濫的現象,和當代人與科技密不可分又過度依賴的行為,也試圖將「猶太文化」、「符號學」、「軍國主義」等議題,納入數位時代資訊爆炸的討論範疇。

在本次參展的數位輸出作品〈天使鍵盤〉中,藝術家創造了一種混血的視覺符碼,這些日常物件的組合排列,正如同電腦鍵盤、各類訊號線、及液晶銀幕等與使用者的一種對應關係;鍵盤上的字鍵排列,除了考慮到順應人類左、右手指的便利操作,各個週邊配件也力求與使用者聽覺、視覺統整合作。類此,藝術家以左右各十支麥克風、加上中間七根音訊插頭的配置,來對應文字指令的輸入與最終訊息的輸出。另一件作品〈電磁頻率錶〉,也試圖以一種視覺雙關或隱喻的手法,把眾所熟悉的遙控器,轉化為可偵測人體「七脈輪」能量的測量儀,並以此把最新的數位科技,關連回溯到各宗教神學對於宇宙結構的不同想像、推敲與測繪。

Lital Lev Cohen was born in Israel, grew up in London and later moved to New York to complete his studies. He returned to Israel and currently resides there. The artist utilizes computers to produce digital works that not only focus on the overabundance of information in today’s world, but also the over-dependent behavior of contemporary humans towards technology. Through his works, Lital Lev Cohen also attempts to involve topics such as “Jewish culture,” “symbology,” and “militarism” in the information explosion of the digital age.

The artist creates a hybrid visual code in his digital print work Angelic Keyboard. Within the work’s image, the positioning and arrangement of daily objects, such as computer keyboards, signal cables, and LCD monitors, are in a corresponding relationship with their users. The layout of the keyboards is not only adjusted to the comfort of the user’s hands, but also seeks to merge with their auditory and visual senses through surrounding accessories. In a similar manner, the artist utilizes an installation of ten microphones on each side and seven audio plugs in the middle, in order to answer the corresponding text command inputs and the final message output. The artist’s second work, EMC Chakra Meter, also attempts to employ a visual metaphor approach by transforming the well-known remote control into a meter that can read the “Chakra” of an individual. Through this work, Lital Lev Cohen connects the newest digital technology back to the hypothesis, explanations, and conclusions of different religions towards the structure of the universe.


 

曾國輝 Kok-hooi Chan

曾國輝,1974年生,目前生活於吉隆坡,作品主要就日常生活中的觀察,配合想像力捕捉到的誇張意象,來探討生命的荒謬和不確定性,以及人生中的黑暗與衰朽等。在他的作品中,常未設置終點也沒提供答案,有的只是一些交織的模糊線索,讓觀眾根據自己的思想經驗自行揣測玩味。

本次參展的系列作品,是藝術家於旅美期間的創作,也是藝術家突破馬來西亞傳統、大膽嘗試全裸人體圖像的成果。他以泛黃老照片的氛圍,集中突出身體常被遮蔽的部分,並以誇張的黑色幽默凝視生命,包含了幻想和慾望、回憶和想像,也包含了其對生命的短暫性及不確定性的冥想。就像生命的複雜無常,藝術家細心經營作品詮釋的開放性,希望觀眾透過時間的鏡頭能反覆玩味。

Kok-hooi Chan, born in 1974, currently resides in Kuala Lumpur. His works consist primarily of daily life observations that he exaggerates with the intention of exploring the uncertainty and absurdness of life, together with its darkness and decay. There are rarely endings or answers, but only a few interwoven subtle clues so that the audience can make use of their ideas and experiences in creating their own speculations.

The series in this exhibition was created during the artist’s travel in the United States, and it was his first work to break out of Malaysian tradition and boldly explore the nude human figure. Kok-hooi Chan uses the aura of old photographs to reveal parts of the human body that are usually covered by clothes, contemplating with exaggerated dark humor the life aspects of illusion and desire, memory and imagination, and reflecting upon life’s evanescence and uncertainty. As with the complexity and ever-changing nature of life, the artist carefully supervises the openness of his work's interpretation, with the expectation that the audience can repeatedly reflect upon it through the lens of time.


 

肖谷 Gu Xiao

肖谷,1958年出生於上海,畢業於上海大學美術學院雕塑系。因支援西部建設,被上海市委選派到新疆,並先後擔任阿克蘇地區藝術學校副校長和地區文化局副局長。他在新疆工作時間,創作出一系列以西域為題材的油畫作品。

本次參展的人頭肖像組畫,都是屬於〈遠去〉系列的創作,看似公式化的人物裝扮、表情與動作,其實指涉了男人內心的共同慾望,及對於消失中的不同事物的最後凝視──女人、駱駝、財寶。這些肖像式人物,除了書寫了個人的心思,隱約也指涉了一個地方與族群,反映了一種男性為中心的當地文化。

Gu Xiao, born in 1958 in Shanghai, graduated from the Sculpture Department of Fine Art College at Shanghai University. In order to assist construction in western China, he was sent to Xinjiang by the Shanghai Municipal Committee, where he served as vice-president of the Art School and deputy director-general of the Bureau of Cultural Affairs in Aksu Prefecture.

The paintings present in this exhibition are head portraits belonging to the Departing series. At first glance, these works seem to illustrate the characters and their clothes, expressions, and movements in a typical manner. In reality, the paintings convey the common inner desire of men, together with their last glance of things that have disappeared: girl, camel, and wealth. These portrayed characters not only depict the state of mind of an individual, but also bring out the characteristics of a place and ethnic group, reflecting the local culture of a heavily patriarchal society.


 

阿巴斯.米哈倫 Abbas Mehran

阿巴斯.米哈倫,1946年生於伊朗,72年開始學習油畫,92年搬遷至美國學習視覺藝術,現移居澳洲。因此,其作品於濃厚的伊朗色彩之外,亦帶有其他文化的多樣性與複雜性。

本次參展作品〈連結(提姆.弗朗立)〉,是米哈倫獻給他所敬重的澳洲生物環境學家提姆.弗朗立的畫作;弗朗立致力於改善地球生態與人類生活環境,認為所有的生物體之間是息息相關的。另一作品〈巴勒斯坦的塗鴉起飛〉,是藝術家2008年在中國洞窟中作畫的靈光乍現:一個充滿好奇心的小女孩毫不畏懼的讓氣球帶她飛行,高牆上的驢子打開了她的新視野,並促使她去完成新的使命。〈像個男孩子的自畫像〉,則表現出米哈倫生為家中唯一男孩的個人情感,和面對外界輿論的自我省思。

Abbas Mehran was born in 1946 in Iran. The artist started to study oil painting in 1972 and in 1992 he moved to the United States to study visual art. He presently resides in Europe. Abbas Mehran’s works not only introduce rich Iranian colors, but the diversity and complexity of other cultures as well.

The artist’s work in this exhibition, Connected (Tim Flannery), is a painting dedicated to the Australian bio-environmentalist Tim Flannery. Flannery devotes his life to improving ecology and the environment in which humans live in, firmly believing that every single living organism is intimately connected. Mehran’s second work, Palestinian Graffiti Takes a Flight, was created in 2008. The artist was painting in a cave in China when he suddenly had a moment of inspiration: A girl filled with curiosity fearlessly allows balloons to lift her into the air; a mule up on the tall wall opens her new field of vision and prompts her to the completion of a new mission. Finally, the work Self Portrait as a Boy conveys Mehran’s personal feelings as the sole boy in the family and his self-reflection on public perception.


 

蕾亞.波里森科 Lelya Borisenko

蕾亞.波里森科,1973年生於烏克蘭,現居莫斯科,擅於以鮮豔對比的色彩,表現古典傳統與當代流行拼貼交織的文化現象,今年甫以五件作品入圍德國柏林的莎莉絲特獎。

本次參展的三件油畫作品,皆刻意以仿古典繪畫的手法,嘲諷傳統價值被當代潮流挪用、乃至顛覆的現代文化現象:〈丘比特〉讓傳說中的愛神化身為紳士穿著、休閒打獵的年輕貴族,精工細描結合卡漫風格,可視為英式中產階級繪畫的Q版再現;〈變遷的價值觀〉將魯本斯的名畫〈劫奪留奇波斯的女兒〉(Rape of the Daughter of Leucippus),轉印為年輕男孩身上的一件潮T,獨一無二的宮廷經典因而成為人人可欲可得的消費商品;〈崇高之美〉則有意結合名門閨秀形像和可愛逗趣的卡通動物,並混搭以普普風的圓點設計,合成了時尚新潮的古裝美女。

Lelya Borisenko, born in 1971 in Ukraine, currently lives in Moscow. She specializes in utilizing colorful contrasting colors, representing the blending and coexistence of classical traditions and contemporary trends. This year, five of her works were nominated for the Celeste Awards in Berlin, Germany.

The three paintings present in this exhibition intentionally borrow classical painting methodology to satirize the cultural phenomena in which traditional values are overthrown and replaced by contemporary trends. Cupid transforms the mythological god of love into a young hunting aristocrat dressed in gentlemen’s clothes, exquisitely inserting elements of animamix style in a manner that can be regarded as cute versions of traditional British drawings. The Moved Values takes Reuben’s famous painting Rape of the Daughter of Leucippus and prints it on a t-shirt worn by a young man; translating this classic work into an easily accessible consumer product. The final work, Sweet Sublime, intentionally combines the image of the daughter of an illustrious family with an adorable and amusing cartoon animal. In addition to that, the artist inserts pop art’s dot design as the final element, completing the image of a fashionable and trendy, yet classically-dressed beauty.


 

夏茲亞.希肯德 Shahzia Sikander

夏茲亞.希肯德深入研究巴基斯坦傳統的微型繪畫技術,率先突破過往的手法和風格,不論是他的繪畫、動畫、裝置、影像或是影片,藝術家以多面向的嚐試,透過極端性和顛覆性的對話,重新塑造微型圖畫的傳統,將數位科技與傳統的藝術創作合而為一。

本次參展的四作作品,希肯德即利用亞洲與西方藝術傳統中的破碎影像、文字及符號,創作數位繪畫。以〈旋轉轉〉為例,首先出現的是蒙兀兒細密畫中典型的宮殿,之後便慢慢開始出現粉彩風景背景和成群飛過的小天使等西方元素,並逐漸地融入於宮殿的畫面之中。藝術家藉由這樣的手法,探討在全球多元文化的交融之下,連影像創作的技術與風格,都已面臨挑戰、受到外來文化的入侵。

Shahzia Sikander researched Pakistani traditional miniature painting methodology, becoming the first person to break out of its classic approach and style. The artist’s works, whether paintings, animations, installations, images or videos, often attempt through many perspectives, and dialogues of extremeness and subversion, to reconstruct the tradition of miniature painting, and merge digital technology with traditional art.

Sikander introduces four of her works in this exhibition. She utilizes traditional elements of Asian and Western art, such as fragmentary images, texts and symbols, to create digital paintings. For instance, in SpiNN, the first figure to appear is a classical palace from the detailed drawings of the Mughals, which is gradually infiltrated by Western elements such as pastel landscaping and flocks of angels passing by. The artist utilizes these methodologies to explore the blending of the world’s cultures and how this phenomenon challenges the styles and techniques of image creation with the invasion of non-local cultures.


 

丘薩克.司瑞克汪 Chusak Srikwan

丘薩克.司瑞克汪,1983年生,擅長用諷刺的手法,來反映政治和社會問題,使其呈現一種有趣的面貌。然而,藝術家也意識到,他想要諷刺的問題,似乎沒有人知道或是深入思考,因而在日後的藝術表現手法上,帶入了佛教的色彩。他認為利用佛教中的哲學或符號,易於被觀眾理解。

本次參展作品,是其〈從貪婪中解脫是上天珍貴的賜幅〉系列作品的一部分,以諷刺的手法反映出人類永無止盡的慾望。藝術家在空間中以泰國傳統皮影戲的手法,裝置了許多人和動物來代表各種罪惡,例如:看似色淫的女人形象,代表一個貪婪的男人;被繩子倒著綁在樹上的大象,象徵永無止盡的慾望將我們的心靈綑綁;一個勇士拿著短劍將大象拯救出來,暗喻著懲罰終將來到。

Born in 1983, Chusak Srikwan specializes in using satire to reflect on political and social issues, viewing them from an amusing perspective. Aware of the obscurity and often-overlooked nature of his works’ themes and messages, the artist later included Buddhist elements as part of his artistic method of expression. Srikwan believes that by employing the philosophy and symbols from Buddhism, he makes his works more accessible to the audience.

The works present in this exhibition are part of the artist’s Free Form Avaricious Is a Precious Blessing series, which utilizes a satiric approach to reflect the insatiable desires of humankind. The artist set up images of people and animals through an installation similar to Thai traditional shadow puppet theater, each one of them representing a different sin: The seemly image of a lustful woman represents a greedy man; the elephant, hanged upside-down from a tree, symbolizes the human spirit bound by insatiable desire; and the warrior carrying a short sword to release the elephant is a sign of punishments to come.


 

陳文令 Wen-ling Chen

1969年生於中國福建泉州,先後畢業於廈門工藝美術學院及中央美術學院,現居中國北京。陳文令為目前中國新一代藝術家中重要代表之一。

在作品〈如何逃離〉中,所關注的是全球金融危機的個案問題,選擇華爾街著名的「金牛」雕塑和「龐氏」的金融騙子麥道夫為創作主題,採用一貫充滿力量與動感的誇張手法,表現麥道夫是如何軟弱赤裸地攀附在金牛身上,期盼著金牛能以爆炸性的牛屁帶離他所面臨的窘境。在如原子彈爆發煙霧迷騰的牛屁中,暗喻過度貪婪吹牛的結局及國際金融中心虛擬泡沫化的危險。陳文令這次把握住社會批判的主旨,以強烈大膽的視覺語言清晰揭示這背後的信譽危機,以嶄新的角度為觀眾提供一種獨特的理解方式。

Born in 1969 in Quanzhou of Fujian Province, China, Wen-ling Chen graduated from Xiamen College of Arts and Design and China Central Academy of Fine Arts, and is currently residing in Beijing. He is one of the most representative figures in the new generation of Chinese artists.

The work How to Escape displays the artist’s concern towards the global financial crisis problem. Using the famous “bull” sculpture of Wall Street and the “Ponzi scheme” of the financial scammer Madoff as creative theme, the work conveys power and motion in an exaggerated manner, showing Madoff lying nude on top of the bull waiting for it to expel explosive flatulence capable of blowing him away from all his difficulties. The potency of the bull’s flatulence leaves the room filled with smoke as if a bomb just has gone off, representing the aftermath of an excessive pretension of greed, and the danger of the international financial center foaming effect. Wen-ling Chen seizes this opportunity of social criticism to boldly reveal the credibility crisis from these phenomena, delivering to the audience a unique explanation viewed from a new perspective.


 

奧斯卡.歐伊瓦 Oscar Oiwa

奧斯卡.歐伊瓦為日裔巴西人,自幼受到漫畫的耳濡目染,國中起便開始從事創作,並於大學時代推出多次個展。長期輾轉於東京、紐約等城市之間的歐伊瓦,對於每個城市的環境與歷史皆有深入的認識,並透過繪畫將其於各地親身的生活經歷與感受,交織其獨創的幽默感,一同融入作品之中。

歐伊瓦以一幅227x555公分的大型油畫〈鬼〉參與本次展覽,展現一個被盤根錯節的管線纏繞組構的世界,其中載浮載沈著幾隻不知何許生物的黑影。在色調上刻意使用屬於大自然的綠色,數以千計的管線乍看之下似乎是一棵棵千年的大樹,然而,事實上在這裡除了遍地的廢棄物與鬼魅,什麼也沒有。歐伊瓦的作品題材,經常是如此的以豐厚的想像力,刻畫繁華城市的一隅,及其所衍生的能源、經濟、污染等議題。

Oscar Oiwa is Brazilian with Japanese heritage. During his childhood, the artist was heavily influenced by comics, leading him to begin his own creations during junior high school, and hold several exhibitions while studying in university. Oiwa, having lived in cities such as Tokyo and New York for long periods of time, gained a deep understanding of their history and environment. The artist utilizes paintings to tell his personal feelings and life experiences from the places he had been, integrating his unique sense of humor within works.

Oiwa exhibits a large 227x555 centimeter oil painting named Ghosts in this exhibition, showing a complex world constructed of pipes and populated by unknown shadow creatures. The artist intentionally uses natural green colors, misleading the audience to think that the collections of uncountable pipes are actually ancient and tall trees. In reality, this is a land of waste, ghosts, and nothing else. The themes of Oiwa’s works often carry rich imagination, depicting glimpses of lively cities and the issues of energy resource, economy, and pollution they produce.


 

姜錫鉉 Eddie Kang

韓國新生代動漫藝術家姜錫鉉,在校主修影片/卡通/錄像製作,卻鍾情於以混合媒材、甚至搭配立體作品來進行動漫繪畫。他的卡漫圖像如同小說一般,有主角、有配角、有故事情節,在分明的層次與結構之上,形成一種不確定的當代寓言美學。

姜錫鉉藉由他作品中可愛的小熊娃娃,娓娓道出他對於個體與群體間相互關係的深刻觀察。那隻看似美好的小熊,是人們心中千變萬化的投影,象徵著這個擁擠世界中的孤獨自我,透露人們既想跳脫社會制約、勇敢作自己的英雄,又希望與社會妥協、獲得社會認同的矛盾心理。姜錫鉉敏感而充滿幻想的現代城市語錄,看似渾沌虛無,實則隱含犀利而透徹的觀察與懷想。

Eddie Kang, part of Korea’s new generation of animamix artists, specialized in films, animation, and video production during his studies; however, the artist tends to utilize mixed media and three-dimensional works to accompany his animamix paintings. His images are similar to novels, containing both main and secondary characters together with story plots, thus creating a variety of undefined contemporary fable aesthetics upon defined layer and structure.

Eddie Kang utilizes adorable little bear dolls in his works to convey his observations towards the relationship between individual and collectivity. The wonderful image of the bear doll is the ever-changing reflection of human hearts, symbolizing the solitude of self within the crowded world, and the contradictory human desire to escape social regulations – valiantly becoming the heroes of their own stories – yet wishing at the same time for harmony and acceptance from society. Eddie Kang’s sensible and imaginative contemporary urban illustration might seem chaotic and meaningless, but in reality it conceals sharp and thorough observations and remembrances.


 

印地蓋瑞拉斯 Indieguerrilas

印地蓋瑞拉斯是由一對活力充沛的印尼藝術家夫妻米可 (Miko) 及珊蒂 (Santi) 所組成的藝術團隊;米可專長的室內設計,加上珊蒂擅長的視覺傳達,合力開創出融合街頭塗鴉、傳統圖騰、當代動漫、和流行文化的活潑藝術語言。

藝術家在本次參展作品〈動物寶庫〉中,置入任天堂電玩遊戲所慣用的空間佈局和動線設計,一方面將圖像人物平面化、圖騰化、組件化,另一方面將故事、傳說與生活元素解構重組,讓畫面成為一個繽紛熱鬧、內容多元而可以自由連結閱讀的開放文本。在整體的樹狀結構中,此作呈現了傳統與現代、神聖與世俗、真實與想像、嚴肅與幽默的自然集結。

The Indieguerrilas is an artistic group formed by the Indonesian married couple Miko and Santi. Miko’s specialization in interior design paired with Santi’s specialization in visual communication produce a lively artistic language born from the combination of street graffiti, traditional pattern, contemporary animamix, and popular culture.

The work Sato Kewan and The Rajabrana borrows the spatial distribution and circulation design of old videogames to accomplish the planarization and componentization of the image’s characters, and the deconstruction and reconstruction of story, legend and life elements. The result is a crowded imagery with rich and diversified content, as an open book for the audience to unrestrictedly make their personal connections and interpretations. The tree structure of the work as a whole represents a natural collection of tradition and contemporaneousness, the divine and the mundane, reality and imagination, seriousness and humor.


 

陳健偉 David Chan

才華洋溢的新加坡當代油畫家與雕塑家陳健偉,現年僅30歲即已榮獲多項大獎的肯定。其作品經常以半獸人為主體,暗諷當今人類的行為與潛藏於社會中的種種現象。

陳健偉在今年發表的新作中,直接地將人類與社會類比為動物與叢林,並進一步詰問觀者:「假如我們所身處的社會果真是一座叢林,那麼你是那一種動物?」他認為,動物和人類一樣,擁有鮮明的個人特質和複雜的性格;因此,他將動物與人類的身體作結合,傳達自己對人性和社會現象的觀察:每個人都擁有多重身份和某種程度的精神分裂,惟有戴上各式各樣的面具,才能在城市叢林中生存。透過飽和的色彩和黑色幽默的語彙,陳健偉的作品總能震撼觀者視覺,從而反求諸己,思考日常生活中忽略或習已為常的細節。

David Chan is a talented 30-year-old contemporary oil painter and sculptor from Singapore who, in spite of his young age, has already obtained several major awards. His works often consist of half-man half-beast as primary figure, satirizing human behavior and social phenomenon in the contemporary era.

In his latest work released this year, the artist directly compares human society and animal-jungle relationships, asking the audience: “If the society in which we live in were actually a jungle, which animal would you be?” He believes that animals and humans both possess distinctive personal characteristics and complex personalities. Through the combination of human and animal bodies, David Chan conveys his observations towards human nature and social phenomenon: Each person has multiple identities and, to a certain degree, even schizophrenia; it is only by concealing themselves behind masks that they can survive in the jungle. Through the vocabulary of saturated colors and black humor, David Chan’s works succeed in astonishing the audience’s visual sense, allowing them to introspect and reflect upon the details that often are ignored or overlooked in daily life.


 

杜溪 Xi Du

杜溪,1980年生於雲南昆明,師從尚丁及中國藝術家唐志岡學習油畫至今。他喜愛將歷史故事中的三國人物和人們耳熟能詳的傳統戲劇,以卡漫手法的Q版公仔跳躍在明式家具上呈現;畫面中織錦式的懷舊風格,趨於虛幻,卻增添其獨特及趣味性。

本次參展作品〈十八羅漢-固若金湯〉,緣起於「十八羅漢鬥悟空」的京劇,杜溪將劇中十八羅漢那種眾志成城、團結一心的氣勢,和悟空那種以小搏大的個人英雄主義,轉移在畫布之上。藉由這幅巨大且複雜的畫作,藝術家希望和觀眾分享劇中人物在面對挑戰和困苦時,那堅忍不拔的精神和人生的啟示。

Xi Du was born in 1980 in Kunming of Yunnan Province, China. He studies oil painting under the tutelage of Ding Shang and Chinese artist Zhi-gang Tang to this day. The artist enjoys using characters from the Three Kingdom’s historical stories or widely-known characters from traditional theater, using animamix style to portray their cute counterparts surrounding Ming-style furniture. The nostalgic style of his tapestry-like works tends to the surreal, but not without contributing an element of uniqueness and amusement.

The work in this exhibition, Eighteen Strong Men – Firm Shield, is inspired from the Beijing opera Eighteen Arhats Fighting Wu Kong. Xi Du translates the efforts and unity of the eighteen warriors, together with Wu Kong’s heroic “army of one” concept on the canvas. Through this large and complex painting the artist wishes to share with the audience the courage and struggle of these characters, and the revelation of an undefeatable life and spirit.


 

維吉妮.巴芮 Virginie Barré

維吉妮.巴芮生於1970年,是法國的女性視覺藝術家,作品範圍涵蓋繪畫、偶戲道具、犯罪現場重現、和動漫人物雕塑等。她的創作主題大多鎖定在驚悚的謀殺疑雲,並常自美國恐怖電影和科幻小說中擷取靈感,像是〈鬼店(The Shining)〉、〈來自異世界(eXistenZ)〉、以及由希區考克和大衛.林區所執導的影片等。

本次展出的雕塑作品〈D〉包含二個元件:高大的懶骨頭和矮小的衣夫人。懶骨頭是反形式主義和互動式物件的原型,反映人們對於居住空間的新態度:一種放鬆樂活的生活方式。衣夫人是動畫電影〈超人特攻隊〉中的英雄人物之一,而此一角色的造型,其實是模仿自好萊塢影史著名的電影服裝設計師艾蒂絲.海得(Edith Head)。讓衣夫人端坐在懶骨頭的頂端,象徵時尚潮流的影響,是非常地崇高與廣大的。

Virginie Barré, born in 1970, is a female visual artist from France. Her works range from painting, puppet theater stage props, crime scene enactments, to animamix character sculptures. The artist’s creative themes often surround thrilling murder mysteries inspired from American horror movies and science-fiction novels, such as The Shining and eXistenZ, and films produced by directors such as Hitchcock and David Lynch.

The sculpture present in this exhibition, D, has two components: a giant bean bag sofa and the tiny Edna Mode. The bean bag sofa is the representation of anti-formalism and interactive objects, reflecting the new attitude of people towards their living spaces: A relaxed and entertaining way of life. Edna Mode is one of the heroes from the animated movie The Incredibles. Her character is based on the renowned American costume designer Edith Head, who had a long and extremely successful career in Hollywood. By having Edna Mode sitting on the top of the bean bag sofa, the work symbolizes that the influence of fashion and trends is as majestic as it is extensive.


 

鄭智化 Zhi-hua Zheng

1961年生於台北,為著名創作歌手和音樂人;除音樂以外,繪畫是他的最愛。鄭智化自2007年開始以沒有耳朵的人物為創作主題,他說,或許是太久沒畫畫忘了畫耳朵,又或許是做音樂創作,有時想讓耳根清靜;無論有意無意,皆以此延伸出帶有強烈敘事性的作品風格。

鄭智化將自己的創作定位為一種帶有主張性與思想性的普普,而非冰冷或相對空洞的普普藝術;之所以使用卡漫的創作風格,則是企圖反國籍、超越地域的限制。由於堅持藝術創作是個人面對自我的私人對話,作品從未曝光。本次的展覽,是鄭智化第一次將他的繪畫公開,希望能藉由作品表達對這個文明世界一種唐突、戲謔的反思。

Born in 1961 in Taipei, Poti is a well-known singer-songwriter, musician, and lover of paintings. Since 2007, his works have focused on earless characters. He says that it is because it has been so long since he last drew that he forgot how to draw ears; or perhaps it is because during the process of creating music there were times when he wanted a moment of calmness for his ears. This peculiarity, whether accidental or intentional, extends itself into a creative style which carries a strong narrative.

Poti regards his own creations as Pop with perspectives and ideals, quite unlike its usual lifelessness and void. The artist uses animamix style to produce works that attempt to escape the restrictions of nationality and boundaries of geography. In this exhibition, Poti presents his works for the first time to the public, hoping to convey through the works his blunt and parodic introspections of the civilized world.


 

林瓔 Maya Lin

1959年出生於美國俄亥俄州的華裔美籍藝術家林瓔,同時擁有建築師的身分,位於華盛頓特區的越戰紀念碑,則是其早期成名的公共藝術作品。近年來,自然關懷及環保意識 則是她用以貫串建築、藝術和公共藝術的核心課題。

在本次展出作品〈玩具行星〉系列中,林瓔使用了大量顏色鮮明的回收塑膠玩具組成行星般的球體,兩顆分別以男孩和女孩的玩具組成之行星,反思了今日無分男女,從小即參與資源浪費的一種童玩文化,及不斷加速環境污染的一種消費文明。藝術家相信,如果每個人對環境保育都抱持審慎的態度,地球定會漸漸的被人類修復,對於童玩物件的回收與再利用,也因此別有一些教育與文化的特殊意義。

Maya Lin is a Chinese American artist born in 1959 in Ohio, USA. Also an architect, she is best known for her public art work Vietnam Veterans Memorial located in Washington, D.C. In recent years, the artist unites architecture, art, and public art to explore the themes of nature caring and environmental consciousness.

In the Toy Asteroid series present in this exhibition, Maya Lin utilized a large amount of colorful toys made of recycled plastic to construct spheres shaped like asteroids. Two asteroids were made: one with boy’s toys and the other with girl’s toys. Through this work, she reflects on the toy culture in today’s world, where men and women contribute from childhood to the waste of natural resources, becoming participants in a consumerist civilization which continuously accelerates the pollution of environment. The artist believes that if every person had better awareness and a more prudent attitude towards environmental conservation, then humankind would undoubtedly begin its process of repairing Earth. Consequently, the recycling and reutilization of toys take a whole different set of educational and cultural connotations.


 

亞烈山德.尼古拉斯 Alexandre Nicolas

亞烈山德.尼古拉斯定義自己為雕塑家,近來專注於從時下流行文化中拮取創作靈感,並以幽默、諷刺與批判的手法,引起觀者對於人類的自身存在價值的思考。

尼古拉斯的〈注定〉系列作品,將蜘蛛人、綠巨人浩克、超人、蝙蝠俠、貓女、神力女超人和希特勒等還原成嬰兒胚胎,個別封印於目前充斥坊間的人造水晶之中。這組作品的創作概念源於二十世紀的神話學,即二次大戰後新英雄主義的幻想產物。像超人這樣擁有超能力的虛擬英雄,已成功的將美式價值觀透過大螢幕滲透到全球;他是抵抗邪惡勢力的保壘,有能力可以替人們討回公道。這系列作品中唯一不屬於超人家族的,是德國納粹魔頭希特勒;或許,他那極端的種族分級觀和個人英雄主義,在人類世界中留下了與超人傳說不相上下的一種迷思。

Alexandre Nicolas defines himself as a sculptor. Lately, the artist has been obtaining creative inspiration from popular culture, using a methodology of humor, satire, and criticism to invite the audience to reflect on the value of human self-existence.

Nicolas’ series Les Prédestinés reverts characters such as Spiderman, The Incredible Hulk, Superman, Batman, Catwoman, Wonder Woman and Hitler back to their embryo form, and individually seals them in easily-purchased synthetic crystals. The concept behind this series is based on the twentieth century mythology and the illusory products of the new heroism ideology after the Second World War. For instance, the image of a fictitious hero with superpowers, such as Superman, has already successfully delivered American values through movies and comic books to the entire world; he is the stronghold that keeps evil at bay and a harbinger of justice to the people. Within the series, the only character that does not belong to the family of superheroes is the German Nazi dictator Hitler. Perhaps, Hitler’s extreme perspective towards race differentiation and individual heroism has left an equally powerful myth as to those of the superheroes.


 

徐勤 Qin Xu

徐勤1985年生於中國江西,迷戀以漫畫的審美經驗,製造虛擬化的場景,且善用卡通式的幽默及荒誕,來實現一個充滿自身邏輯的世界。

本次展出的黃桷星球與雞頭太空人系列作品,是藝術家將其所熟悉的生活環境──四川瀘洲市的黃桷坪,轉化為一星際探險故事發生的舞台。在黃桷星球上,隨著主角的星際旅程,陸續發生一幕幕富有劇情性的生活瑣事。徐勤科幻式的想像中,摻雜著日本卡漫文化的元素,在遼闊浩瀚的星空下,每一個單獨畫面皆娓娓道出一種現實與虛構交錯、既熟悉又陌生的情境,在略為詭譎的氣氛之下,親近地糾結著我們共同的記憶。

Qin Xu was born in 1985 in Jiangxi, China. The artist tends to borrow the aesthetic experiences from comics to build fictitious landscapes, and further employs the humor and absurdness of the animamix style to craft a world governed solely by his own logic.

The work in this exhibition displays planet Huang Jue and hen-headed extraterrestrials which are all part of the artist’s living environment; the Huang Jue Ping – the art district of Luzhou city in Sichuan Province – is transformed into a stage that tells the story of an intergalactic expedition. The main character, upon arriving planet Huang Jue during his intergalactic journey, is witness to a series of eventful circumstances. Qin Xu’s science-fiction imagination, together with elements of Japanese animamix culture, shows each image continuously manifesting the intersection between reality and fiction under the vast starry sky. In this familiar-yet-foreign imagery with a slightly bizarre atmosphere, the work closely interweaves the audience’s common memories.


 

石大宇 Da-yue Shi

石大宇近來的系列創作皆以「吒龍」為主角,這位虛構的人物源自石大宇欣賞的兩個中國傳奇英雄:李小龍以及哪吒,兩位經典人物身上都流著開創新局的叛逆血液。

石大宇眼中的「叛逆」,不是肆無忌憚、無理取鬧地與主流進行非理性的抗爭,而是一種堅持理念、力圖改變的正面動能,因此不論是李小龍,亦或哪吒,其精神和影響力,早已超越時空的侷限,深植中外人心;融合兩位傳奇人物的特點,石大宇塑造出「吒龍」這個擁有靈魂的虛擬人物,它的非真實,成就千變萬化的可能性;它的靈魂,讓觀者能透過「吒龍」的不同表現,閱讀石大宇對當代中國文化的批判思考。

Da-yue Shi’s latest works have featured “Zha-long” as protagonist. This fictitious character was born from two Chinese heroes who the artist admires: Bruce Lee and Nezha. These two classic characters carry rebellion in their blood, thus capable of creating a new era.

Da-yue Shi’s concept of “rebellion” is not an unprincipled, unreasonable, and unfounded struggle against mainstream ideologies, but a persistence of ideals and energy of positivity that focuses on change. The spirit and influence of Bruce Lee and Nezha have transcended beyond the boundaries of time and space, and are deeply rooted in the hearts of Chinese and other people. The artist merges the characteristics of these two legendary characters, and from it creates a soul-possessing fictional character known as “Zha-long.” The character’s unreality achieves a diversity of possibilities, while its soul allows the audience to see, through the different behavior of “Zha-long,” Da-yue Shi’s reflections on and criticism towards contemporary Chinese culture.


 

羅丹 Dan Luo

羅丹,1981生於中國重慶,畢業於四川美術學院油畫系,為著名油畫家羅中立的兒子;注重感覺、表象及情緒,將旋律與節奏的形式感發揮至令人炫目為他作品的特點。

作為新生代畫家,羅丹以〈搖滾狂潮系列〉作品,樹立起自身的風格。從本次參展的〈邱比特的呼吸〉及〈夢回唐朝〉二幅畫作中,我們可看出八○年代後的社會形態對藝術家所產生的影響,直接激情的表達方式、自由而狂放不羈的青春樣貌,在作品人物中表現無遺。閃耀光澤的面貌下,俐落的筆觸、空曠虛無的背景,闡述著這個時代並沒有沉重的歷史背景,反而呈現了由於社會快速變化,所產生的一個中西交融、卻又陌生矛盾的環境,同時誇張的描寫出年輕一代對時代的質疑與焦慮,對真實尋求的渴望。

Dan Luo, son of the renowned oil painter Zhong-li Luo, was born in 1981 in Chongqing, China, and later graduated from the Oil Painting Department at Sichuan Academy of Fine Arts. The artist emphasizes sensations, appearances, and emotions, developing the dazzling forms of melody and rhythm characteristic of his works.

Part of the new generation of painters, Dan Lou established his own method of expression through his Rock and Roll Current Series. From the works Cupids’ Breath and Back to Tang Dynasty present in this exhibition, the audience can observe the influence of post-80’s society. Within his works, the characters thoroughly portray passion and enthusiasm, possessing a youthful appearance that speaks of freedom and a lack of inhibition. Under the glistening and bright appearance, the artist’s precise brushstrokes with the empty backgrounds depict an era that does not carry the burdens of history, but the fast evolution of society and the consequences of a foreign and contradictory environment based on the blending of Chinese and Western cultures. At the same time, Dan Luo exaggeratedly illustrates the doubts and concerns of the young generation towards the current era and their desire of pursuing the truth.


 

傅開來 Kai-lai Fu

傅開來1980生於中國重慶,2007年獲川音成都美術學院油畫系碩士學位,於2009年8月車禍逝世。有聽說障礙的他,擅以畫筆描繪對於大眾休閒的觀察。

在其近年創作的一系列街舞畫作〈街舞-6〉中,以美式塗鴉的背景,記錄年輕男子的舞蹈動作,藉由看似簡單的生活方式,讓觀眾一窺當代社會普遍的消遣及娛樂方式,刻劃這個時代的生命躍動及態度。另一參展作品〈鋼管舞-芙蓉〉為其嘻哈動物系列中,以貓語彙道出現今娛樂文化的作品之一,華美繽紛的粉色燈光映襯出熊貓芙蓉俏皮的舞姿,藝術家以極具中國符號性的擬人化動物,帶出視覺上的趣味性,也呈現了目前中國正受西方文化的快速深化,以及經濟崛起帶動大眾娛樂轉型之現況。

Kai-lai Fu was born in 1980 in Chongqing, China. In 2007 he obtained his master’s degree from the Oil Painting Department of Chengdu Fine Arts College, and in August of 2009, Kai-lai Fu passed away from a car accident. Speech and hearing impaired, the artist specialized in illustrating his observations of popular pastimes.

The work Hip Hop-6, from his street dance painting series, utilizes American graffiti style as background and records the dance moves executed by the young man. The seemingly easy lifestyle depicted in the work allows the audience to glimpse popular entertainment forms in contemporary society, which define the attitude and vitality of this era. His second work, Pole Dancing – Lotus, is part of the artist’s hip-hop animal series. In the work, Kai-lai Fu uses the image of a panda to represent contemporary entertainment culture, while colorful pink lighting highlights Lotus’ lively dance poses. Through this anthropomorphic animal, a symbol of China, the artist not only achieves visual amusement, but also depicts the accelerating intensification of Western cultural influence over China, and the evolution of popular entertainment nurtured and lifted by the economy.

 


亞妮斯.戴瓦立 Janice Devali

亞妮斯.戴瓦立1975年出生於荷蘭,曾創作大衛.鮑依、切.格瓦拉、瑪丹娜、黛安娜…等一系列的名人頭像。她畫這些公眾人物的理由是「我既不認識他們,且從未見過他們,反而有助於表現我對他們的一種固定想法」。

亞妮斯相信,語言與材料的揮霍,對藝術本身其實是一種傷害,她的作品因此偏好留白,常見只有一張人臉與局部身形出現於畫中。本次參展作品〈皇冠〉為2009年新作,以細碎晶亮的寶石充當圖畫的點點像素,將時尚品牌凡賽斯與樂壇天后瑪丹娜的圖像重新結合,凸顯了財物、名牌、明星、和權勢總是同形共構的一種當代文化現象。

Janice Devali was born in 1975 in The Netherlands. She has created head portraits of famous figures such as David Bowie, Che Guevara, Madonna, and Princess Diana among others. Her reasoning behind this series of works is: “I do not know them and have never met them, which I think helps me to convey my fixed opinions about them.”

Devali believes that the waste of language and material is hurtful for the art itself, which is why her works are often predominated by whiteness, only interrupted by a human face and part of the body figure.  Tiara is her new work from 2009, in which the artist uses shiny fragments of jewelry as pixels of the painting, reconstructing the images of the fashion brand Versace and Madonna, the Queen of Pop. Through this work, the artist studies contemporary cultural phenomena in which fortune, branding, stardom, and power always go hand-in-hand.


 

瑪格里德.多瑞斯 Magali de Torres

瑪格里德.多瑞斯甫於2008年自布宜諾斯艾利斯的薩爾瓦多大學,取得歷史學與管理藝術學士學位。

影像作品〈提多〉,是多瑞斯以黏土塑造出故事的主角提多,並將之置於不同的環境中,拍照串連而成的影片。藝術家以提多作為民族的靈魂象徵,搭配著阿根廷當地風情的音樂,漫步在布宜諾斯艾利斯及中國的各大城市裡,由小人物的視點,去面對不斷變化和目不暇給的世界。他放棄了自己安全的家,堅持攜帶著自己的一張椅子,游移在城市的各個角落,試圖在巨大的環境下保持自己的身份及立場,以他非常懷舊的眼神與一貫沉默的態度觀察社會,直到他被一個與自身無關的現實發生而壓倒、粉碎。

In 2008 Magali de Torres obtained her bachelor degree in historiography and art administration at the Universidad del Salvador.

The animation work Tito features the clay protagonist Tito molded by Torres in various situations. The artist utilizes Tito to symbolize the soul of a nation and further employs Argentinean music to accompany it in the journey across Buenos Aires and major cities of China, showing the ever-changing and astonishing world from a little man’s perspective. Tito abandoned the safety of its home, carrying nothing but a chair and drifting from one corner of the city to the other, attempting to maintain its own identity and standpoint under the overwhelming environment. With a nostalgic glance, Tito silently observes the society until it was overtaken and crashed by a reality entirely unrelated to it.


 

安德魯.黃 Andrew Huang

2008年被美國《創意雜誌》列為「25位必看導演」的安德魯.黃,以結合行為、動畫、和視覺效果的影像作品,逐漸打開知名度。他的動畫短片〈娃娃臉〉在網路平台Youtube上創造了逾三百萬人次點擊觀賞的驚人紀錄,並自此打開了他進入歐美電影界、成為一名職業導演的大門。

〈娃娃臉〉是部具諷刺意味的3D動畫,描述一個有著人臉的機器人,企圖藉由讓自己符合世俗審美價值,來建立對自我的認同,並終因無法達到「完美」而發狂的崩毀、摔碎了那張美麗的臉。動畫中機器人的形像,取材自希臘故事中那位愛上自己湖面倒影、溺水而死的美少男納西斯(Narcissus),藉以探討當科技成為人類生、心理的延伸、甚至肯定自我的工具之時,其實就和納西斯一樣,落入了追求不可能滿足的慾望漩渦之中。

Andrew Huang was listed in 2008 by the American Creative Magazine among the Top 25 “Directors to Watch” of the year. His works gained recognition through the combination of performance, animation, and visual effects. The artist’s short animation Doll Face obtained the amazing record of having more than three million of visitors on the Internet platform Youtube, opening a door of opportunity into the European and American cinematic world and becoming a professional film director.

Doll Face is a three-dimensional animation filled with satire, depicting a robot with human face attempting to construct self-identity by fitting into mundane aesthetic values. In the end, the robot can not achieve the so-called form of “perfection” and in a moment of rage it destroys its beautiful face. The idea was taken from Narcissus, a Greek hero renowned for his beauty that fell in love with his own reflection in a pool and is frozen in place, staring at himself until death. Andrew Huang explores the scenario of technology serving as an extension of human physiology and psychology, and becoming a tool capable of self-affirmation. Andrew Huang believes that it will suffer a fate similar to Narcissus, trapped in a never-ending pursuit of an insatiable desire.