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

展覽名稱 Exhibit

「光‧合作用-亞洲當代藝術同志議題展」

Spectrosynthesis - Asian LGBTQ Issues and Art Now

展覽時間 Date

2017/09/09-2017/11/05

展覽地點 Venue

台北當代藝術館

門票 Admission

NT50

策展人 Curator

胡朝聖 Sean C. S. Hu

參展藝術家 Artists

王文清 Jimmy Ong、王亮尹 Wang Liang-Yin、王俊傑 Jun-Jieh Wang、
王海洋 Wang Haiyang、西亞蝶
 Xi Ya Die、侯俊明 Hou Chun-Ming、
陳建北 Chen Chien-Pei、席時斌 Hsi Shih-Pin、陶輝 Tao Hui、
席德進 Shiy De-Jinn、莊志維 Chuang Chih-Wei、曾吳 Wu Tsang、
曾怡馨 Tzeng Yi-Hsin、黃馬鼎 Martin Wong、黃漢明 Ming Wong、
曾廣智 Tseng Kwong Chi、楊嘉輝 Samson Young、鄢醒 Yan Xing、
溫馨 Wen Hsin、譚浩 Ho Tam、蘇匯宇 Su Hui-Yu、顧福生 Fu-sheng Ku

貼心小叮嚀 Note

【參觀須知】

本展探討性別及身體意識等議題,十二歲以下孩童建議由家長陪同參觀,參觀購票前請詳知下列注意事項:

1.  依據《兒童及少年福利與權益保障法》,本展部分作品進行下列分級:
a) 〈激情〉(R205) 涉及裸露、傷害內容,未滿十八歲者不宜觀賞;
b) 〈虐犬〉(R203) 涉及裸露、傷害內容,未滿十八歲者不宜觀賞;
c) 〈生死威尼斯〉(R202) 涉及裸露、性暗示內容,未滿十二歲者不宜觀賞;
d) 〈牆上的塵埃〉(中樓梯) 涉及裸露、性暗示內容,未滿十二歲者不宜觀賞;
e) 〈男洞〉(R201) 涉及裸露內容,未滿十二歲者需家長陪同觀賞。
f)    其餘作品可洽詢展場人員後自行斟酌觀賞。

2. 為配合作品分級管理,觀眾請持身分證明文件進場觀展。

3. 歡迎用眼觀賞、用心聆析,請勿用手觸碰作品。

開放觀賞時拍照,拍照時請注意參觀動線並勿影響其他觀眾參觀,禁止使用內建或外接之補/閃光燈、腳架、自拍棒及穩定器,展間亦不開放動態攝影及直播。

 

Spectrosynthesis─Asian LGBTQ Issues and Art Now

Exhibition Notice

This exhibition deals with the issues related to gender and body consciousness, viewer discretion is advised. Audience under the age of 12 should be accompanied by a parent or adult guardian. Please pay attention to the terms below before purchasing the ticket or entering the exhibition.

  1. According to the rating system noted in The Protection of Children and Youths Welfare and Rights Act, parts of the works in the exhibition are rated as below:
  1. Passion (R205) contains scenes of partial nudity, intensive violence, and is not suitable for the viewers below the age of 18.
  2. Nue Quan (R203) contains scenes of partial nudity, intensive violence, and is not suitable for the viewers below the age of 18.
  3. Life and Death in Venice (R202) contains scenes of partial nudity, sexual references, and is not suitable for the viewers below the age of 12.
  4. Wall Dust (Central Stairway) contains scenes of partial nudity, sexual references, and is not suitable for the viewers below the age of 12.
  5. Man Hole (R201) contains scenes of partial nudity. Viewers below the age of 12 should be accompanied by a parent or adult guardian.
  6. For the rest of the works, viewers can consult with the staff before entering to the galleries.
  1. To corporate the rating policy of the exhibition, a valid and acceptable personal identification (contains photo and date of birth) will be required for proof of age. Ex. Passport, residence permit, student card..etc.
  2. Please appreciate the exhibition with your eyes and heart, and do not touch the artworks.
  3. Photography is allowed in the exhibition, however, please respect other visitors and protect the quality of their experience. Video recording, live broadcasting are prohibited. When taking photos, please do not use on-camera/ external flash light, tripod, selfie stick, and handheld stabilizer or any items that may disturb other audience.

指導單位 Supervisior:

台北市文化局 Department of Cultural Affairs, Taipei City Government

主辦單位 Organizer:
台北市文化基金會 Taipei Culture Foundation、台北當代藝術館 MOCA Taipei

合辦單位 Co-Organizer:
驕陽基金會 Sunpride Foundation

年度教育贊助 Sponsor for Education Programs:
文心建設 Winsing

特別感謝 Special Thanks:
胡氏藝術 HU's ART COMPANY、
智邦藝術基金會 Accton Arts  Foundation、誠品書店  The eslite bookstore、BigLove大愛同盟、
台灣同志諮詢熱線協會 Taiwan Tongzhi Hotline Association、Para Site藝術空間

策展論述 Curatorial Statement

「光‧合作用-亞洲當代藝術同志議題展」

Spectrosynthesis - Asian LGBTQ Issues and Art Now

世界各大城市的當代藝術館致力於社會議題、人類處境、藝術觀點之探索,用當代藝術的手法轉換成視覺展示,提供民眾用感性認識的途徑,探討社會多元議題,啟發人性視野,瞭解世界。2017 年,歐洲重量級美術館如泰德現代美術館、泰德不列顛美術館及大英博物館等陸續推出多位同志藝術家、名人收藏、同志歷史與人權相關的專題展覽,用以凸顯過去異性戀單一價值的主流架勢,對同志的偏見、謬論、迫害之反省與尊重,進一步彰顯 LGBTQ 的藝術成就,表現同志的心靈世界與美學價值。

Contemporary art museums in major cities worldwide have been engaging the public in exploration of social issues, artistic viewpoints, and the human condition by visually representing these topics through contemporary artistic approaches. They offer the public a route to apply perceptual knowledge to the discussion of diverse social issues and inspire humanity's vision for a better understanding of the world. In 2017, prestigious European art museums, including the Tate Modern, the Tate Britain, and the British Museum, have launched various thematic exhibitions featuring LGBTQ artists, collections of LGBTQ individuals, and issues of LGBTQ history and rights. These exhibitions emphasized on the mainstream heterosexual society's self-examination on its prejudices, falsities, and oppression against LGBTQ people as well as its respect for LGBTQ community while honoring the artistic achievements of LGBTQ artists that have revealed their inner world and aesthetic value.

臺灣雖為亞洲國家內對於同志人權相對友善之地,亦將成為第一個通過同志婚姻合法化的亞洲國家(臺灣於 2017 年 5 月 24 日由司法院公布釋字第 748 號解釋文,宣布「民法」未保障同性婚姻自由及平等權已屬於違憲,並要求行政和立法機關於兩年內完成相關法律之修正或制定,以保障同性婚姻的權利),但社會上只見不同聲音的對立,不見用心的關懷。本次展出「光‧合作用─亞洲當代同志議題展」為呼應時代大題目,於亞洲地區首度推出關於同志(在此泛指非異性戀性別認同者─男女同性戀、雙性戀、跨性別者等的 LGBTQ) 議題的研究展覽,透過觀念先行的藝術批判性,構築社會多元議題的對話媒介,讓人與人之間多樣的思想風景,在靈活互動中建立熱忱而溫暖的關係。

Among Asian countries, Taiwan has been comparatively friendly to LGBTQ community, and will soon become the first Asian country to legalize same-sex marriage. (Taiwan's Judicial Yuan has announced its Interpretation No. 748 on May 24, 2017, declaring the Civil Code's failure to protect the freedom and rights to same-sex marriage is unconstitutional, and demanding the executive and legislative departments to finalize the revision or legislation of related laws to protect the rights to same-sex marriage.) However, the society seems split in opposition whereas genuine attentiveness to this issue is still needed. Spectrosynthesis - Asian LGBTQ Issues and Art Now responds to this historical wave of our time and is the first survey exhibition featuring LGBTQ issues in Asia. Through artistic critique that prioritizes concept, the exhibition aims to serve as an intermediate for a dialogue about diverse issues in society, allowing people upholding different ideas and principles to create enthusiastic and positive relationships through different forms of interaction. 

 

本展覽以「光」作為展覽主題名稱,首先希望回應同志社群裡以彩虹作為符號象徵和平、愛和多元訴求的歷史,彩虹即為光的折射,本為一體,藝術的展現以及同志議題的探討如光譜一樣擁有多樣和包容性,絕非光明與黑暗兩端的二元對立;其次,「光」是地球上生物生生不息的能量來源,它平等對待萬物,滋養生命,用光的作用帶來成長、希望和美善的目的。展覽聚焦在文化、語言、地緣關係和族群背景相近的香港、臺灣、中國、新加坡等地,邀請 22 組藝術家參與,展出共51 件作品,透過身份認同、平權議題、媒體消費現象、社會現實困境、個別/群體間的評論、人性慾望以及生與死等廣泛內容,呈現出二戰後華人 LGBTQ 社群的生活故事與相關議題,集結匯聚成了當代亞洲同志的歷史與生命情境。

Employing “spectrum of light” as the theme, this exhibition addresses LGBTQ community’s rich history and its appeals for peace, love and diversity with rainbow as its symbol. On the one hand, the spectrum of colors can be seen in a rainbow, a phenomenon caused by the refraction of white light. Rainbow and light are two sides of the same coin, implying that this exhibition is not about the binary opposition between light and darkness, but as diverse and inclusive as the spectrum in terms of its artistic expression and exploration of LGBTQ issues. On the other hand, light is the everlasting source of energy for the creatures on Earth. It treats and nurtures all living organisms fairly and equally, and promises them growth, hope, and kindness. Based on their similar backgrounds in culture, language, geographical location and ethnicity, 22 artists from Taiwan, China, Hong Kong and Singapore are showcased in the exhibition with a total of 51 artworks. The exhibition represents the life stories and related issues of the post-war Chinese LGBTQ community as the artworks on view touch upon a profusion of subject matters such as identity, equality, exploitation by mass media, social predicaments, comments on individuals/groups, human desire, as well as life and death. 

本展期待能以觀念上的歧異,凸顯人類社會價值的多樣性,引發更多的討論;並在性別多元議題的激撞下,為臺灣與亞洲社會帶來人權的全面提升。

It is hoped that, by underlining ideological differences, the exhibition can bring out the diversity in human social values to generate more discussions, and comprehensively improve the condition of human rights in Taiwan and other Asian societies through the dialogue about diverse gender issues.

 


「光‧合作用-亞洲當代藝術同志議題展」

Spectrosynthesis - Asian LGBTQ Issues and Art Now

 

【中文】http://60.250.96.120/mocataipei/mocastudio/download/SAL_P2017P4C01.pdf









【English】http://60.250.96.120/mocataipei/mocastudio/download/SAL_P2017P4E01.pdf






參展藝術家 About the Artists

藝術家介紹 Artist Introduction

王文清 Jimmy Ong

王文清,1964年生於新加坡,畢業於美國賓州美術學院,擁有新加坡、荷蘭、紐約等地豐富的展覽紀錄,作品並獲新加坡國立大學美術館及新加坡國家美術館收藏,現往返於印尼、美國兩地創作。王文清擅於運用炭筆作為創作媒材,有意保留自動性技法的不擦去修改的痕跡,呈現具超現實主義意識流動的生動性,並以此鮮明的人像風格著稱。其創作靈感多來自周邊朋友或自身經歷的故事,特別關注家庭關係,尤以傳統華人家庭中對於性別認同的探討;而因自身同性婚姻的經驗,更將作品觸及範圍擴至婚姻角色,試圖解構婚姻配對裡由男女組成的既定印象,提出濃厚的辯證與反思。近期創作更擴及描繪歷史事件的宏觀敘事。

Born in Singapore, Jimmy Ong (b.1964) graduated from Pennsylvania Academy of the Fine Arts and has exhibited extensively in Singapore, New York, and the Netherlands. His works are acquired by the National University of Singapore Museum and the National Gallery Singapore. He currently travels between Indonesia and the U.S. to create artworks. Ong specializes in using charcoal as a medium. by preserving the traces of automatic drawing, The artist attemps to display a vivid flow of consciousness reminiscent of the Surrealism. and is wildly known for his distinctive human portraits. Ong's work is mostly inspired by his personal stories or those of his friends, particularly emphasizes on gender identity within the context of familial relation, especially traditional Chinese families. With his experience of homosexual marriage, Ong extends his artistic motif to deconstruct the gender dichotomy and stereotypes in conventional marriages, rendering his work highly dialectic and reflective. His recent work has expanded his previous scope to macroscopic narratives that portray historical events. 

 

王亮尹 Wang Liang-Yin

王亮尹,1979年生於臺灣雲林,2008年畢業於國立臺北藝術大學美術系,自大學時期便以壓克力顏料作為主要創作媒材,對於顏料的掌握、混色於畫布等縝密的處理堆疊,技法漸趨成熟。王亮尹的創作主題以甜點最具代表性,壓克力顏料流動溶解的狀態為其鮮明的標誌之一,透過甜點象徵美好的符碼,喚起觀者對於記憶/想像中的味覺,觸探甜美背後原始生物本能的慾望,以及思維與慾念間層層的隱秘關係。

Born in Yunlin, Taiwan, Wang Liang-Yin (b. 1979) received her MFA from the Taipei National University of the Arts in 2008. Since her undergraduate years, Wang has used acrylic as a medium for artistic creation and has cultivated a technique for color combination and layering on canvas. Wang is known for her portrayal of sweets. The fluidity and dissolution of the acrylic paint is her distinctive mark. Using sweets as a visual symbol, the artist evokes the sense of taste in viewers' memory or imagination, explores the primitive desires induced by sweets, and the complicated yet hidden relationship between thoughts and desires.

 

王俊傑 Jun-Jieh Wang

王俊傑,1963年生於臺灣臺北,畢業於德國柏林藝術學院,獲「卓越藝術家」最高文憑。作品具有理性而古典的內質與虛幻超現實意味的風格,是臺灣新媒體藝術先驅者之一。80年代臺灣解嚴社會正值解放狂潮,王俊傑即是以藝術來反映社會現狀。1984年首件作品《變數形式》,結合影像觀念與即興舞蹈,以四位西方當代藝術家為創作原型,包括杜象、波洛克、封塔納、克萊因,探討從藝術史到當代身體之間的關係。

Jun-Jieh Wang (b. 1963) was born in Taipei, Taiwan. Wang graduated from Berlin University of the Arts and completed a master class. Wang's work embodies a rational, classical spirit with an illusory, surreal style, rendering the artist a pioneer of new media art in Taiwan. As early as in the 80s, when Taiwanese society was engulfed in a wave of freedom and emancipation after the lifting of martial law, Wang has already employed art to reflect the social milieu of the time. In 1984, his first work, The Variable Form, combined video art and extemporaneous dance to explore the relationship between art history and the contemporary concept of body, using four Western contemporary artists, including Duchamp, Pollock, Fontana and Yves Klein to form the basis of the work.

 

王海洋 Wang Haiyang

王海洋,1984年生於中國山東。2008年畢業於中央美術學院版畫系。以繪畫及手繪動畫發展出的「定格動畫」成為王海洋獨有的藝術風格。作品中定格的每一畫面皆有其各自的符號與意象,同時也是單獨成幅的一件作品。藝術家試圖在虛構的靜止圖像與實拍的運動影像之間建立某種聯繫,並探索之間的可行性。

Wang Haiyang (b. 1984) was born in Shandong, China. He graduated from the Printmaking Department of the China Central Academy of Fine Arts in 2008. Wang

primarily engages in painting and hand-drawn animation, which he combines to develop "stop motion animation” that manifests a unique artistic vocabulary and style. In his videos, each image is also an artwork, comprising of symbols and imageries. Wang attempts to find a connection between the still images and the movements in videos, exploring their infinite possibilities.

 
西亞蝶 China Xi Ya Die

西亞蝶,1963年生於中國陝西,高中畢業之後即輟學,跟從母親學習「剪紙」這項傳統的中國技藝。藝術家自稱為「西亞蝶」,意即「西亞的蝴蝶」,為一西伯利亞傳說:有種蝴蝶在冬天的時候會被凍結,經過漫長的冬季後,在來年的春天等待陽光將牠們身上的冰霜融化,再次振動翅膀,復活重生;這樣的名稱即是藝術家對於自身人生歷程的描述,也是自我的期許。

Born in Shaanxi, China Xi Ya Die (b.1963) did not pursue further education after finishing high school, and learned traditional Chinese art of paper-cutting from his mother. The artist calls himself " Xi Ya Die," which means "the Siberian butterfly." A Siberian legend speaks of a type of butterflies that can withstand the long, freezing winter and flap their wings again under the spring sunshine. The name, therefore, reflects the artist's personal journey and symbolizes his self-expectation.

 

侯俊明 Hou Chun-Ming

侯俊明,1963年生於臺灣嘉義縣六腳鄉,慣以「六腳侯氏」署名。畢業於國立臺北藝術大學美術系,早期以裝置及版畫形式進行創作,就學時期受當時盛行的工地秀、脫衣舞等影響,作品中充斥情色文化的圖文符號,大膽挑戰情慾等禁忌題材,並融入宗教民俗美學,藝術家:「圖跟文的搭配,其實是一種共振狀態」,以一種相互加乘,在同樣的情境脈絡底下,不同方式的表現。」而這也是侯俊明獨特且為人所熟知的風格,其創作歷程與當下臺灣環境和社會現況有密切關係。

Hou Chun-Ming (b. 1963) was born in Liujiao Township, Chiayi, Taiwan. He often signs his works with "Hou of Liujiao." Graduated from the Department of Fine Arts, Taipei National University of the Arts, the artist used to create installations and engravings. Influenced by the popular culture of construction site shows and strip dancing when he was still a student, Hou started using a large amount of erotic symbols to boldly challenge social taboos. He also employs Taiwanese religious and folk aesthetics in his work. Hou once stated, "the combination of image and text creates a kind of resonance. They reinforce each other and can be expressed in different ways in the same context." The combination, therefore, forms Hou's unique and well-known style, and his creative career has closely corresponded to the social environment and situations in Taiwan.

 

陳建北 Chen Chien-Pei

陳建北,1955年生於臺灣臺北,自國立藝專畢業後1984年赴西班牙求學,畢業於畢爾包大學藝術學院。海外求學被排擠或申請簽證被刁難時,深刻體會到母體文化對異鄉學子的重要性。1994年學成返臺執教。陳建北早期擅長使用空間裝置、複合媒材為其創作手法,擷取象徵意符的現成物以對應空間結構而營造出具宗教氣氛、或構築成遠渺的精神境界。1997年以作品《被囚禁的靈魂》參加第47屆威尼斯雙年展臺灣館。2000年後開創影像裝置新格局,將精神層次的抽象關注轉換至具體的對象作品,如2001年作品《介面》。2011年開始以童年經驗與記憶作為靈感來源,專注於「吾鄉‧吾土」系列之創作,並於2013年在台北當代藝術館展出,透過展覽探討不同世代下生命/身分的觀點差異和社會現況,並藉以重新定義臺灣與世界的關係。

Chen Chien-Pei (b.1955) was born in Taipei, Taiwan. After graduating from National Taiwan Academy of Arts (now National Taiwan University of Arts), he pursued further study in Spain and received his MFA from the Faculty of Arts, Pais Vasco University in Bilbao, Spain. Having had experience of feeling edged out by others and difficulties in applying visas when he was studying abroad, Chen has a deep understanding of the importance of maternal culture to students in a foreign country. In 1994, Chen returned to Taiwan and started teaching. He used to make spatial installations with distinctive materials in an earlier time, and often created religious atmosphere or portrayed ethereal, spiritual realms through employing symbolic signs, objects, materials, and spatial characteristics. In 1997, his work, Imprisoned Soul, was showcased in the Taiwan Pavilion, 47th Venice Biennale. After 2000, he shifted to video installations, substantiating his spiritual, abstract concerns with concrete subjects, for example his work, Interface, created in 2001. Since 2011 onward, Chen has been creating the Home‧Land Series inspired by his childhood experiences and memories, and showcased the series in a solo exhibition at MOCA Taipei in 2013. The exhibition explored varying perspectives on life/identity issues of different generations and contemporary social condition, and through these dissimilarities, he attempted to re-define Taiwan's relation with the world.

 

席時斌 Hsi Shih-Pin

席時斌,1977年生於臺灣臺北,2007年畢業於國立臺北藝術大學造形研究所。專注於雕塑與裝置創作,作品勾勒了日常物象的消逝與想像,精密的打造出多變奇麗的形態與空間。透過古典到數位時代的建築製圖學演練與自然的幻想,藝術家企圖刻劃出的不是我們有限知覺所感知的東西,而是隱喻性地超越了這些形體,傳達物件曾經感知的「記憶」。

Born in Taipei, Taiwan, Hsi Shih-Pin (b. 1977) received his MFA in Plastic Arts from Taipei National University of the Arts in 2007. Specializing in sculpture and installation, Hsi's work addresses the disappearance and imagination of daily images, transforming them into elaborate and fantastic forms and spaces. From classical and digital architectural blueprints to fantasies about nature, the artist does not aim to depict things perceived through our limited senses but to portray formless "memories" conjured up in the mind by the objects.

 

陶輝 Tao Hui

陶輝,1987年生於中國重慶,2010年畢業於四川美院油畫系。擅長以錄像與裝置藝術為創作形式,關注社會身份、性別地位、種族問題、虛擬關係等議題。如: 2014年在《德黑蘭的黃昏》作品中,以備受壓迫女性人權的伊朗與自由開放的香港做為對應,思索身份、種族差異等跨文化的檢視,也是陶輝對婦女自由權利的歌頌。2014年《演技教程》以一個敘事實驗與記錄的視角,透過13位演員在誇張,模稜兩可的表演情境,構建一個嚴肅又詼諧的教學現場。思索究竟是我們在模仿媒體,抑或彼此有著互為映照的影響。2016年《我們共同的形象》作品,藝術家在不同年代的中國電視影像史上,如新聞、電視劇、綜藝、選秀節目等擷取具有代表性的片段,重新演繹其場景與對白,營造出一種虛擬與真實相互交疊而荒誕的錯位感,表達對於大眾媒體和表演性的探討。

Tao Hui (b. 1987) was born in Chongqing, China. He graduated from Sichuan Fine Arts Institute with a BFA in Oil Painting in 2010. Tao specializes in video and installation to create his works that engage in issues of social identity, gender, race, and virtual relationship. In The Dusk of Teheran created in 2014, Tao juxtaposes Iran where women's rights are suppressed and Hong Kong that is free and open. In this work, the artist examines intercultural aspects that involve identity and racial differences, and creates a celebration of women's right to be free. Another work in 2014, titled Acting Tutorial, adopts the approach of a narrative experiment and documentation and uses the hyperbolic, equivocal performances of thirteen actors to construct a serious yet humorous classroom, discussing whether it is viewers that are imitating media or there exists a mutually reflective relationship between the two. In 2016, Tao created Joint Images, in which the artist reenacts various representative segments selected from news programs, TV dramas, entertainment shows, and talent shows in Chinese television history. Tao's reinterpretation of the scenes and dialogues overlaps virtuality and reality, conveying an absurd sense of anachronism while exploring media and performativity. 

 

席德進 Shiy De-Jinn

席德進 (1923-1981),生於中國四川。早年求學階段與藝術啟蒙在中國完成,分別受業於龐薰琹與林風眠;前者啟發席氏取法野獸派、立體派色彩氣氛的運用;後者影響他繪畫裡粗黑線質、嚴而有力的韻趣。1948年自杭州藝專畢業,因戰火輾轉來臺,短暫執教於嘉義中學,後以畫家為畢生之志,開始探索詮釋藝術表現的形式。

Shiy De-Jinn (1923-1981) was born in Sichuan, China. Shiy received his regular as well as initial art education in China, having studied under art masters, such as Pang Xunqin and Lin Fengmian. The former inspired Shiy's use of French Fauvist and Cubist colors and atmosphere whereas the latter inspired the thick, black line as well as exact and powerful characteristics in the artist's painting. Shiy graduated from Hangzhou National College of Art in 1948, and came to Taiwan due to the war. He spent a brief period of time teaching in Chiayi Junior High School, and later dedicated his life to painting, commencing a journey of exploring forms of artistic expression.

 

莊志維 Chuang, Chih-Wei

莊志維,1986年生於臺灣臺中,畢業於臺北藝術大學新媒體藝術研究所,與交通大學建築研究所,雙主修的養成對莊志維各有重要的影響。他說:「創作時新媒體藝術比較是像往內挖掘;但是建築必須向外考量空間關係…」。擅於運用光與空間創造互動裝置,探討人與環境之間的相互關係,創作的命題從自身對於生命細微體驗的微觀一一向外延伸出與歷史文化的關係。如:2010年因友人離世的巨大傷痛,創作了《靈魂的重量》與《宇宙》。2014年用生命所遇的片段,如一粒粒細沙堆積成個展「浮島」的概念。2014年探討人類環境、科技與疾病關係的《感染系列》。2015年指涉宇宙秩序中之不可抗力,受制於文明與社會秩序的《轉生樹》,與揭示華麗姿態背後共生關係的「陰翳」個展等。至今於創作歷程中仍不斷追尋跨領域間的揉合,呈現理性與感性並存的藝術美學。

Born in Taichung, Taiwan, Chuang, Chih-Wei (b.1986) holds an MA in Architecture from Chiao Tung University and an MFA in New Media Art from Taipei National University of the Arts. The cultivation in two respective disciplines has had a major influence on Chuang's work. According to the artist, "in artistic creation, new media art is like digging into one's heart whereas architecture must take external spatial relation into consideration." Specializing in creating interactive installation with light and space, his work explores mutual relations between people and environment, and his artistic themes are derived from the subtle, microscopic experience in life, which he extends into discussions of relations between the experience, history and culture. For example, the traumatic pain of a friend passing away in 2010 was transformed into Weight of the Soul and Universe. In 2014, he converted his own life experiences that were accumulated like piles of tiny sand into the solo exhibition, Floating Island. In the same year, he also created the Infection Series, which examined the dynamics between human environment, technology and diseases. His Reborn Tree Series created in 2015 beckoned at the irresistible forces in the universe as well as how life is subjected to civilization and social order. His 2015 solo exhibition, Shadows, unveiled the symbiotic relationship behind seemingly glamorous appearances. In art-making, Chuang has always been exploring inter-disciplinary possibilities in his works created with aesthetics that emphasizes both rationality and sensibility.

 

曾吳 Wu Tsang

曾吳,1982年生於美國麻省,畢業於加州大學洛杉磯分校電影系。創作形式多以錄像及行為表演發表,作品曾於倫敦泰德現代美術館、巴塞隆納當代藝術館與休士頓當代藝術館等地展出,獲邀參加智利聖地牙哥影展及柏林影展。2005年曾吳首次踏足中國,希望了解中國籍父親的過去,尋找自身文化的根源,然而在中國她沒有任何的歸屬感,曾回憶道:「在那個關鍵的時刻,『無處為家的狀態變成了你的存在感』」。同年參觀秋瑾在紹興的故居、博物館,從中發現秋瑾和其女性友人吳芝瑛的關係,便以此為《對聯/對練》的靈感底本。

Born in Massachusetts, U.S.A, Wu Tsang (b.1982) graduated from UCLA with a major in film. Wu primarily engages in video and performance art. Her works were shown in Tate Modern, Barcelona Museum of Contemporary Art, and Contemporary Arts Museums Houston, and were nominated in San Diego Film Festival in Chile and the Berlinale. In 2005, she travelled to China for the first time, hoping to understand the past of her (Chinese) father and search for her cultural root. However, she did not feel a sense of belonging in China, and once stated that, "at that critical moment, 'being homeless becomes what validates your existence.'" That year, she also visited Qiu Jin's historic residence and museum in Shaoxing, and discovered the relationship between the female revolutionary and her female friend Wu Chih-Ing, which inspired her work, Duilian.

 

曾怡馨 Tzeng Yi-Hsin

曾怡馨,1979年生於臺灣臺北,畢業於美國沙瓦納藝術學院繪畫系。擅於運用多樣的複合媒材作為詮釋創作旨趣。思考當代藝術中的繪畫發展與創新,其創作歷程展開諸多探索與實驗:2007-2009年「流」系列,以一種半液體的形式,呈現大眾文化底層的消耗性與膚淺性。2008年駐村於紐約,創作「垃圾」系列,詮釋資本主義發展下的城市景觀,探討人類欲望的形貌。

Tzeng Yi-Hsin (b.1979) was born in Taipei, Taiwan. She holds an MFA in Painting from Savannah College of Art and Design, U.S.A. and specializes in using mixed media to create her work. Reflecting on the development and innovation of painting in contemporary art, Tzeng's creative journey has been formed with continuous artistic exploration and experimentation. Her Flow Series created during 2007 and 2009 adopted the semi-liquid form to represent the consumption and shallowness hidden under mass culture. In 2008, she created the Trash Series during an artist residency in New York, which interpreted cityscape under capitalist development and discussed the various aspects of human desires.

 

黃馬鼎 Martin Wong

黃馬鼎 (1946-1999),美籍華裔藝術家,生於美國奧勒岡州,1968年畢業於美國洪堡州立大學藝術學院。長期活躍於舊金山灣區的藝術圈,1978年移居紐約曼哈頓下東城,因此下東城及中國城的人文景觀成為黃馬鼎重要的創作題材,作品常以磚牆、手語、監獄及消防員等元素,描繪多元種族/文化之間的樣態與風貌,更體現了自身生活經驗的寫照。1980-1990年代的作品中,描繪了下東城沉浸在棕褐、灰黑與金色的黝暗氛圍中,街頭出現形形色色的黑暗怪獸與城市英雄如:癮君子、囚犯、消防員。而顏料層層塗抹的每一塊磚如同肉體斑駁的表面,構成了黃馬鼎畫面裡絕望世界的意象,人物緊繃的肌理與精神層面之間形成強烈的對比,暗示了藝術家穿行於身體與靈魂,現實與幻覺,卑劣與神聖的創作語彙。

American Chinese artist Martin Wong (1946-1999) was born in Oregon, U.S.A. Wong graduated from the College of Arts, Humboldt State University in 1968, and had been active in the art scene of the San Francisco Bay Area ever since. He moved to the Lower East Side of Manhattan, New York in 1978. As a result, the cultural scenes of China Town and the Lower East Side became an important source of artistic inspiration for him. He often used brick walls, sign language, prison, and firemen to delineate multi-ethnic and multi-cultural realities and scenes, which were part of his life experience. From 1980 to 1990, he depicted the Lower East Side in a dark atmosphere painted with colors of dark brown, blackish gray, and gold; and the streets were filled with various gloomy monsters and urban heroes that were drug addicts, prisoners and firemen. The bricks painted in layers reminded viewers of the fading physical body as they constituted the imagery of a desolate world in Wong's art. The figures' tensed physicality created a strong contrast to the spiritual aspect of Wong's paintings, embodying the artist's artistic language posited between body and soul, reality and hallucination, the contemptible and the sacred. 

 

黃漢明 Ming Wong

黃漢明,1971年生於新加坡,新加坡南洋美術學院學習中國藝術,1999年畢業於倫敦斯萊德藝術學院媒體藝術專業。對一個成長於說粵語的家庭,祖父母從華南地區移居至新加坡的他來說,多元文化和對立身份的相互碰撞與融合始終貫穿著黃漢明的創作:「『我從哪裡來』以及『我是誰』─是我提問的關鍵問題,新加坡的歷史以及我們過往快速消逝的集體記憶,則是我的創作實踐與研究中的核心元素。而最明顯的,像身分認同,則是在這個全球化的社會中一個急迫且相關議題,脈絡是地方的,但這個研究卻是普世性問題。」擅長以錄像攝影與行為表演,解構20世紀電影史上的經典藝術片,透過不同性別、年齡、種族及歷史等議題扮演故事中的各種角色,將電影、流行文化的再製與演繹,進而探討於跨文化中身份認同的經驗感受。

Ming Wong(b.1971) was born in Singapore, The artist received education on Chinese Art from Nanyang Academy of Fine Arts and graduated from the Slade School of Fine Art London in 1999, specializing in media art. Raised in a family that speaks Cantonese with grandparents that moved to Singapore from the south of China, Wong’s works are inspired by diverse culture and its effects on self-identity. “Where am I from? Who am I? These are the key questions of my works. The history of Singapore and the rapidly declining collective memory are the central themes of my artworks. The most obvious topics, such as identity, are pressing issues with local contexts amid a globalized society, and research regarding this issue is universal.” Wong specializes in deconstructing classic art movies of the 20th century through videos and performance, playing the role of different characters through varying gender, age, ethnicity, and history. These attempts re-produce and reinterpret movies and pop culture, investigating the experience of self-identification across different cultures.

 

曾廣智 Tseng Kwong Chi

曾廣智 (1950-1990),生於香港,1966年舉家移民加拿大溫哥華。在巴黎接受正規藝術訓練,進入朱利安藝術學院學習繪畫,後轉修攝影並於1975年畢業。1978年遷居紐約市,認識了凱斯•哈林等前衛藝術家,成為東村的活躍人物並記錄了1980年代紐約東村的藝術盛況。

Tseng Kwong Chi (1950-1990) was born in Hong Kong, and immigrated to Vancouver, Canada with his family in 1966. He received formal art training in Paris, where he attended the Académie Julian to study painting, and later, photography. He graduated in 1975 and moved to New York City in 1978, where he became friends with artists like Keith Haring, and lived as an active photographer in the East Village. Tseng documented the flourishing art scene of the East Village in the 1980s.

 

楊嘉輝 Samson Young

楊嘉輝,1979年生於香港,是一位受古典音樂與專業作曲訓練的聲音藝術家及作曲家,擁有普林斯頓大學電子音樂博士學位,曾被美國CNN的環球網站選為「香港二十位矚目的名人」 之一。藝術家的創作內容涉及身分、文化、戰爭及文學等議題,透過大量至各地研究走訪、錄製並創造不同音樂元素及圖像的藝術計畫,楊嘉輝所建立起的特殊場景,巧妙融合古典音樂和科技元素,將自身所處於殖民時代與極權政體交接的身分體驗帶入作品中,給予觀者關於日常物件及回溯歷史故事的反思。

Born in Hong Kong, Samson Young (b. 1979) is a sound artist and composer. Trained in classical music and composition, Young holds a PhD in Music Composition from Princeton University. He is selected by CNN as the “Top 20 People to Watch in Hong Kong.” His works engage in issues of identity, culture, war, and literature; and he travels to many countries and conducts art projects comprised of music-recording and image-making. The unique scenes created by Young deftly combine elements of classical music and technology, into which he incorporates personal experience of living in both British colonized and Chinese-ruled Hong Kong. Viewers of his video are prompted to reflect upon ordinary daily objects and accepted historical narratives.

 

鄢醒 Yan Xing

鄢醒,1986年生於中國重慶,2009年畢業於四川美術學院油畫系。創作媒材包含繪畫、行為藝術、錄像攝影、裝置等形式,透過文學、理論、藝術史的深入調查,藝術家制定了一個自我的敘事方式,經常以西方經典作為挪用、重塑並再創造,內容圍繞著時代性的大型主題進行分析,按藝術家的說法:「無論哪種情況,問題的關鍵都在於如何對名作進行拆解與重組,使它們暗示出一段從來不曾有或不可能有的歷史」。其創作無論採取何種媒材,都傾向一種饒富自傳意味的話語形式。

Yan Xing (b. 1986) was born in Chongqing, China. He graduated from the Department of Oil Painting, Sichuan Fine Arts Institute in 2009. Yan employs a wide range of creative media, including performance, video, photography, installation and painting. Through in-depth research about literature, theory, and art history, he creates an individualized narrative form. By appropriating, reconstructing, and remaking Western classics, his work analyzes profound themes that reflect our time with. According to the Yan, "in any situation, the key of the question is how to deconstruct and reconstruct masterpieces so that they can hint at a piece of history that never exists or is impossible to exist." Regardless of which media he employs to create his works, the artist tends to adopt a verbal form, rendering the works autobiographical.

 

溫馨 Wen Hsin

溫馨,1988年生於臺灣臺北,畢業於臺北藝術大學新媒體藝術學系。擅長運用攝影、錄像與裝置關注對於身體的思辨:我們身體的樣貌是什麼?當今社會的某種主流價值透過媒體形塑出一個既定框架,人們對於自身身體的認知,隨著特定價值所給予的規則,漸而化為一種共同的想像,而此種想像在無形當中試圖抹除個體的認同與價值,制約了各種的可能性。溫馨藉由作品中的各種身體樣貌呈現,試圖解構僵化的身體思維,並重新思考個體存在的價值意義。

Born in Taipei, Taiwan, Wen Hsin (b. 1988) graduated from the School of Film and New Media, Taipei National University of the Arts. The artist uses photography, video and installation to question about the body: what is the real image of our bodies? As society and media dominate mainstream values and fashion a preconceived framework, we follow certain standards of specific values when we perceive our bodies. These standards then gradually form a collective perception that unknowingly obliterates individuality and personal identity and restricts our physical possibility. Wen attempts to present a spectrum of physical appearances to deconstruct the stereotypes of bodily images, and re-define values of individual existence.

 

譚浩 Ho Tam

譚浩,1962年生於香港,畢業於紐約巴德學院電影系,長居於溫哥華生活與創作。作品媒材涵蓋繪畫、錄像、攝影及印刷,自90年代起著手於藝術家出版品的創作,基於自身對影像的著迷。2010年於中國旅行期間,譚浩開始與當地攝影師合作,而後萌生發行藝術獨立出版物的計畫,致力於介紹各地藝術家的行為活動與作品至今。譚浩曾獲紐約現代藝術博物館傑出藝術成就獎、以色列特拉維夫LGBT電影節最佳紀錄片獎、多倫多亞洲國際電影節焦點藝術家等獎項,並多次參與紐約、東京及柏林各地的藝術出版盛會。

Ho Tam (b.1962) was born in Hong Kong. He holds an MFA in Film from Bard College, New York, now lives and works in Vancouver, Canada. His work includes a wide range of media, painting, video, photography, and printing. Since the 90s, Tam has been making artist's books due to his fascination with images. During his trip to China in 2010, Tam began collaborating with local photographers and started a project of publishing an independent art publication to introduce activities and works of artists from different places. Tam has been awarded the Outstanding Artistic Achievement Award by the Museum of Modern Art in New York. He also won the Best Documentary Feature at Tel Aviv International LGBT Film Festival. He was the Featured Artist in Toronto Reel Asian International Film Festival, and has participated extensively in Art Book Fairs in New York, Tokyo, and Berlin.

 

蘇匯宇 Su Hui-Yu

蘇匯宇,1976生於臺灣臺北,2003年畢業於國立臺北藝術大學美術研究所。2004年開始錄像藝術創作,主題聚焦於大眾媒體對人們觀看的影響,以及人們對媒體的慾望投射,其中包含電視與電影的暴力美學、電影文化對於女性身體影射或明示的情色與性暗示、知識建構與傳播過程的虛幻性等等,創作內容多取材於自身被媒體環繞的相關經驗與議題。近年作品趨向自我生命情境,關於孤獨、死亡與家庭,面對文化經驗和個人生命之間的反覆辯證。

Su Hui-Yu(b.1976) was born in 1976, Taipei, and graduated with a Master’s degree from the Department of Fine Arts of Taipei National University of the Arts in 2003. Su started creating video works in 2004, mostly centered around issues such as the impact of mass media on audiences and its projection of human desire. These works touch upon the aesthetics of violence, explicit or implicit references to the female body, eroticism, sexual innuendo in film culture, and the illusory state of knowledge and its method of dissemination. The artworks are mostly inspired by personal experiences of being surrounded by media. Recent works have shifted towards the human condition and repeated interaction with culture, such as loneliness, death, and family.

 

顧福生 Fu-sheng Ku

顧福生 (1935-2017) ,生於中國上海。1948年隨父親顧祝同將軍舉家遷臺,自臺灣師範大學藝術系畢業時,即參加「五月畫會」並展出,為臺灣現代美術代表人物之一。顧福生的創作,「人」始終是主體表現的題材,經常以沒有頭或面容模糊、變形拉長的男體形貌出現,肢體上勁顯身體向度的張力;用色沉鬱而晦澀,表達了人物細膩的心理變化。畫風在淡寞之中隱含著勃鬱的脈動,詩人余光中曾評:「於平靜的表情下,潛動著內在生活的衝突與失望」。表露人性的愛慾渴望與孤寂掙扎的意象,作品帶有現代主義及存在主義的哲理色彩。

Fu-sheng Ku (1935-2017) was born in Shanghai. In 1948, Ku’s father Chu-Tong Ku moved the entire family to Taiwan. On graduating from the Art Department of National Taiwan Normal University, Ku joined the Fifth Moon Group and was showcased in the group exhibition, soon he become one of the representing figures of the modern art world in Taiwan. Ku’s works portray human beings as the central theme, often headless or with blurry facial features and elongated male torsos. These features express tension while the dark colors hint at the nuanced changes of the psychological state. Ku’s style implies a force under the seemingly indifferent outer appearance. Poet Kwang-Chung Yu once commented: “under the serene surface lies the conflict and disappointment of the inner life.” Manifesting the love, desire, longings, loneliness, and struggles of the human condition, Ku’s works are infused Modernist and Existentialist qualities. 

作品介紹 About the Artworks

廣場╱Plaza

莊志維 Chuang, Chih-Wei

莊志維,1986年生於臺灣臺中,畢業於臺北藝術大學新媒體藝術研究所,與交通大學建築研究所,雙主修的養成對莊志維各有重要的影響。他說:「創作時新媒體藝術比較是像往內挖掘;但是建築必須向外考量空間關係…」。擅於運用光與空間創造互動裝置,探討人與環境之間的相互關係,創作的命題從自身對於生命細微體驗的微觀一一向外延伸出與歷史文化的關係。如:2010年因友人離世的巨大傷痛,創作了《靈魂的重量》與《宇宙》。2014年用生命所遇的片段,如一粒粒細沙堆積成個展「浮島」的概念。2014年探討人類環境、科技與疾病關係的《感染系列》。2015年指涉宇宙秩序中之不可抗力,受制於文明與社會秩序的《轉生樹》,與揭示華麗姿態背後共生關係的「陰翳」個展等。至今於創作歷程中仍不斷追尋跨領域間的揉合,呈現理性與感性並存的藝術美學。

Born in Taichung, Taiwan, Chuang, Chih-Wei (b.1986) holds an MA in Architecture from Chiao Tung University and an MFA in New Media Art from Taipei National University of the Arts. The cultivation in two respective disciplines has had a major influence on Chuang's work. According to the artist, "in artistic creation, new media art is like digging into one's heart whereas architecture must take external spatial relation into consideration." Specializing in creating interactive installation with light and space, his work explores mutual relations between people and environment, and his artistic themes are derived from the subtle, microscopic experience in life, which he extends into discussions of relations between the experience, history and culture. For example, the traumatic pain of a friend passing away in 2010 was transformed into Weight of the Soul and Universe. In 2014, he converted his own life experiences that were accumulated like piles of tiny sand into the solo exhibition, Floating Island. In the same year, he also created the Infection Series, which examined the dynamics between human environment, technology and diseases. His Reborn Tree Series created in 2015 beckoned at the irresistible forces in the universe as well as how life is subjected to civilization and social order. His 2015 solo exhibition, Shadows, unveiled the symbiotic relationship behind seemingly glamorous appearances. In art-making, Chuang has always been exploring inter-disciplinary possibilities in his works created with aesthetics that emphasizes both rationality and sensibility.

 

《黑暗中的彩虹》以陣列形式結合廣場空間,成為一因地制宜的互動裝置作品,以此開啟一場與大眾的互動對話,觀者可以穿行其間,進入被忽視抑或不被看見的間隙中;亦可藉由尖銳物在覆上黑色塗布的作品表面,刻畫、刮繪或留下任何訊息或圖案;到了夜晚,這些被刻畫的「作品」猶如一道道的傷痕,經由內置的多彩LED燈照射下透出美麗的彩虹光線,彷彿敘事了最殘忍的亦是最美麗的影射,以此象徵同志在面臨主流社會體制壓迫時,仍團結凝聚以勇敢的姿態正視傷痕。因此藝術家所寓意的裝置作品、空間義涵及觀眾參與構成三位一體,其互動的、共構的、動態的,促使了獨特意義的產生,同時在隱含權力定向的公共場域中綻放出有意義的形式,期盼觀者省思LGBTQ所面臨的困境與傷痛,並經由象徵包容與愛的彩虹光照耀,共同朝往平權道路,為具有歷史象徵性的意義創作。

Rainbow In the Darkness is a site-specific interactive installation that makes use of a matrix form and the museum's outdoor plaza. With the installation, the artist aims to initiate a dialogue with the public. Viewers can walk into the work and make their presence unseen or ignored by people; they can also draw or scratch the installation's dark surface, leaving messages or images of their choosing. At nighttime, these wound-like "marks" will show under the colorful LED light that shines from within the installation. This unique design seems to hint at the fact that the cruelest things might also be the most beautiful, rendering this work a symbol of LGBTQ people's courage and solidarity when they are faced with oppressions in mainstream society. From this perspective, the installation, the space it occupies, and the audience participation form a metaphoric trinity as the work's interactive, multi-faceted, and dynamic presence is given unique significance. At the same time, displaying the work in a public space that denotes power is also specifically meaningful. This work conveys historical significance because it encourages viewers to reflect upon LGBTQ community's predicaments and sufferings, and by doing so, points to a future of equality under the light of a rainbow that symbolizes tolerance and love.


《黑暗中的彩虹》Rainbow In The Darkness

黑色油漆、膠合玻璃、LED、金屬  Black Paint, Laminated Glass, LED, Metal

100 x 100 x 200 cm, 8 pieces

2017


入口形象區╱Entrance Hall

席德進 Shiy De-Jinn

席德進 (1923-1981),生於中國四川。早年求學階段與藝術啟蒙在中國完成,分別受業於龐薰琹與林風眠;前者啟發席氏取法野獸派、立體派色彩氣氛的運用;後者影響他繪畫裡粗黑線質、嚴而有力的韻趣。1948年自杭州藝專畢業,因戰火輾轉來臺,短暫執教於嘉義中學,後以畫家為畢生之志,開始探索詮釋藝術表現的形式。

Shiy De-Jinn (1923-1981) was born in Sichuan, China. Shiy received his regular as well as initial art education in China, having studied under art masters, such as Pang Xunqin and Lin Fengmian. The former inspired Shiy's use of French Fauvist and Cubist colors and atmosphere whereas the latter inspired the thick, black line as well as exact and powerful characteristics in the artist's painting. Shiy graduated from Hangzhou National College of Art in 1948, and came to Taiwan due to the war. He spent a brief period of time teaching in Chiayi Junior High School, and later dedicated his life to painting, commencing a journey of exploring forms of artistic expression.

 

1950年西風東漸,席德進的創作每每符應了藝術時潮的趨向,在1957-1963年間以抽象繪畫創作為多,他說:「畫寫實的對我是一種享受,畫抽象的對我是一種發洩」。1962年赴美考察之前,以莊佳村為模特兒,畫下知名的《紅衣少年》一作,將個人情感傾向呈現在肖像畫中。1963年轉赴歐洲直至1966年,此遊歷歐美親炙西洋現代藝術的原作,促使他觀念上具現多方轉折—作品中的主體人物呈現較純粹的單一色相,背景色彩則轉向普普、歐普藝術等形式語彙,以繽紛色彩的背景烘襯主體,強烈的對比產生一種耀眼而顫動的視覺美感。

In 1950, Western art began to influence Eastern Painting. As Shiy could always capture the artistic trends of the time. from 1957 to 1963, he painted mostly abstract paintings. He once stated, "realistic painting is a pleasure for me while abstract painting is a form of release." Before the artist went to the U.S. in 1962, he used Jhuang Jia-Cun as his model and created his celebrated work, Male Youth in Red Shirt, in which he projected his personal feelings in the portrait. During his time in Europe from 1963 to 1966, Shiy was able to view the masterpieces of Western modern art, which led to various changes in how he perceived art—the predominant figures in his paintings were portrayed monochromatically, and the backgrounds were created with formal vocabularies reminiscent of PoP Art and Op Art. He used vividly colorful backgrounds to foreground his figures, creating an intense contrast that conveyed a kind of visually pleasing splendidness and vibrancy.

 

1966年回臺後尋思創作的方向與藝術精神的根源,致力於臺灣古建築與民俗文化的保存。從建築、廟宇的形/色意味中,融貫了西洋硬邊藝術的色域繪畫與東方民間建築藝術的純然色彩,將現代與傳統要素結合,轉繹出一種具原始性與裝飾感十足的形式風格。1966-67年他所描繪的青年畫像,其健康的膚色,透顯著青春、活力及野性,是他肖像畫中最為精煉的部分,也是席德進創作能量的精華期與轉捩點,如《黃衣少年》。晚期更融入東方水墨的精神與碑體法書的渾穆氣象,其所描繪的臺灣景色,充滿席氏對臺灣深切的情感,譽有臺灣鄉土美術先鋒之名。

After Shiy returned to Taiwan in 1966, he reflected on his creative direction as well as his artistic origin, endeavoring in preserving Taiwanese historic architecture and folk culture. He combined the forms and colors of architecture and temples, the color field painting in Hard-Edge movement, and the pure colors of Eastern folk architecture, integrating modern and traditional elements and translating the amalgamation into a primitive and decorative style. His portraits of young males during 1966 and 1967 show healthy skin tone and exude a sense of youth, energy, and unruliness, which form the refined essence of his portrait painting. This period marked the peak and a turning point of Shiy's creative energy; a fine example would be his Male Youth in Yellow Shirt. In the later period of his career, the artist also incorporated the spirit of Chinese ink painting and the archaic representation of calligraphy found on ancient monuments into his painting. The Taiwanese landscapes Shiy created with such features conveyed his profound affection for the land of Taiwan, rendering him a pioneer of Taiwanese native art.

 

《紅裙少女》與《黃衣少年》此兩件作品簡練之中雜揉著南島風情的氣息,從線質精神、色彩筆觸、背景經營與人物神思等,可互為品讀參照,尤其是描繪背景風格,由靜謐曠遠的抽象,轉向形色表現的硬邊藝術,可見席氏習取西方現代美術的軌跡與他對藝術深沉的思考歷程。此外,席德進曾言:「肖像畫的精神所在,是在探索對象的心靈,呈現對象的內心深層秘密」。但畫中人往往是藝術家自己的化身,《黃衣少年》透露出席德進對畫中少年投射的情感世界,是藝術家對青春的讚頌,也是自身情感的耽溺與自我救贖的抒發。

Both Young Girl and Male Youth in Yellow Shirt are delineated in a simple yet refined way, giving a sense of the Austronesian charm. The lines, colors, types of brushstrokes, backgrounds and figures' facial expressions in the paintings can be compared and studied together, especially the style employed to create the backgrounds. One can see the shift from a tranquil, deep abstract approach to the hard-edge art that emphasizes on forms and colors. The comparison reveals how Shiy has adopted the essence of Western modern art as well as his profound thinking about art. Furthermore, the artist once said, "the essence of portraits lies in the exploration of the figure's psyche, which reveals the subject's deep, inner secrets." On the other hand, figures in paintings are, to some extent, viewed as an artist's alter ego. Male Youth in Yellow Shirt reveals Shiy's emotional world projected towards the depicted young male, simultaneously displaying the artist's celebration of youth and exposing his emotional indulgence as well as pursuit of self-redemption.  

《紅裙少女》Young Girl

油彩、畫布 Oil on Canvas

91 x 65 cm

1960

(國立臺灣美術館典藏 Collection of National Taiwan Museum of Fine Arts)

《黃衣少年》Male Youth in Yellow Shirt

油彩、畫布 Oil on Canvas

91.5 x 73 cm

1967


105展間╱R105

黃馬鼎 Martin Wong

黃馬鼎 (1946-1999),美籍華裔藝術家,生於美國奧勒岡州,1968年畢業於美國洪堡州立大學藝術學院。長期活躍於舊金山灣區的藝術圈,1978年移居紐約曼哈頓下東城,因此下東城及中國城的人文景觀成為黃馬鼎重要的創作題材,作品常以磚牆、手語、監獄及消防員等元素,描繪多元種族/文化之間的樣態與風貌,更體現了自身生活經驗的寫照。1980-1990年代的作品中,描繪了下東城沉浸在棕褐、灰黑與金色的黝暗氛圍中,街頭出現形形色色的黑暗怪獸與城市英雄如:癮君子、囚犯、消防員。而顏料層層塗抹的每一塊磚如同肉體斑駁的表面,構成了黃馬鼎畫面裡絕望世界的意象,人物緊繃的肌理與精神層面之間形成強烈的對比,暗示了藝術家穿行於身體與靈魂,現實與幻覺,卑劣與神聖的創作語彙。

American Chinese artist Martin Wong (1946-1999) was born in Oregon, U.S.A. Wong graduated from the College of Arts, Humboldt State University in 1968, and had been active in the art scene of the San Francisco Bay Area ever since. He moved to the Lower East Side of Manhattan, New York in 1978. As a result, the cultural scenes of China Town and the Lower East Side became an important source of artistic inspiration for him. He often used brick walls, sign language, prison, and firemen to delineate multi-ethnic and multi-cultural realities and scenes, which were part of his life experience. From 1980 to 1990, he depicted the Lower East Side in a dark atmosphere painted with colors of dark brown, blackish gray, and gold; and the streets were filled with various gloomy monsters and urban heroes that were drug addicts, prisoners and firemen. The bricks painted in layers reminded viewers of the fading physical body as they constituted the imagery of a desolate world in Wong's art. The figures' tensed physicality created a strong contrast to the spiritual aspect of Wong's paintings, embodying the artist's artistic language posited between body and soul, reality and hallucination, the contemptible and the sacred. 

 

除了藝術家的身分,黃馬鼎同時也是位塗鴉收藏家,他於1982年前後集結55位塗鴉作者名為「黑色書」的素描本,並在1989年創立美國塗鴉博物館;無論是獨具風格的畫作或對塗鴉藝術的支持,黃馬鼎皆為後世留下深遠影響。1999年因愛滋病逝世於舊金山,時年53歲。

In addition to being an artist, Wong was also a keen collector of graffiti art. In 1982, he gathered 55 graffiti artists' sketchbooks, otherwise known as the black books, and co-founded the Museum of American Graffiti. Both his unique art and support for graffiti art have created tremendous and lasting impact on later generations. In 1999, Wong died of AIDS complications at the age of fifty-three in San Francisco. 

 

105展間展出黃馬鼎80-90年代的四件繪畫作品:《我的瘋狂人生》、《法庭手語:吉米鼬鼠像金絲雀般唱歌》、《參宿三》以及《半島玉》。畫面呈現藝術家形構創作時常見的磚牆、手語、監獄、看守塔、鐵柵欄門等元素,多為敘事黃馬鼎對於同性的慾望投射、迷戀與想像,磚牆常代表在世現實,而天文圖像則是希望與夢想的投射。其中《法庭手語:吉米鼬鼠像金絲雀般唱歌》作品中的美式手語字母符號,自80年代起開始入畫,呈現具字意表述與圖像視覺的創作,文字內容常是犯罪事件,文字圖像有如罪犯間的秘密暗語。而《半島玉》是藝術家晚期的作品,在離世的前一年藝術家於母親的花園種下畫中仙人掌,畫中深暗色佈滿絕望的氣息,隱含著沉重的意味,彷彿預示著死亡的到來。

On view in Room 105 are four paintings painted by Wong from the 1980s to 1990s; they are Mi Vida Loca, Court Room Shocker: Jimmy the Weasil Sings Like a Canary, Mintaka, and Ferocactus Peninsulae V.Viscainensis. Elements frequently employed by the artist, such as brick walls, sign language, prison, watch tower, and iron fence gate, can be seen in the paintings. Together, they form an ensemble of Wong's projection, fascination and imagination of homosexual desire, with the brick wall more than often representing the confining reality and the astronomical images his hopes and dreams. Since the 80s, Wong started painting the letters of American Sign Language depicted in Court Room Shocker: Jimmy the Weasil Sings Like a Canary. While serving as visual symbols, the words also carried semantic significance as they usually denoted illegal events, rendering the textual images a kind of secretive codes between criminals. Ferocactus Peninsulae V.Viscainensis was created in the final days of the artist's life. The year before the artist's death, his mother planted the depicted cactus in the garden. Engulfed in an atmosphere of gloom and despair, the painting seems to foreshadow the impending end of life. 

《我的瘋狂人生》Mi Vida Loca

壓克力顏料、畫布 Acrylic on Canvas

157.5 x 91.5 cm

1991

《法庭手語:吉米鼬鼠像金絲雀般唱歌》Court Room Shocker: Jimmy the Weasil Sings Like a Canary

壓克力顏料、畫布 Acrylic on Canvas

91.5 x 91.5 cm

1981

《參宿三》 Mintaka

壓克力顏料、畫布 Acrylic on Canvas

75 x 167.5 cm

1990

《半島玉》Ferocactus Peninsulae V.Viscainensis

壓克力顏料、畫布 Acrylic on Canvas

76 x 122 cm

1997-1998


1F走廊╱1F Hallway

譚浩 Ho Tam

譚浩,1962年生於香港,畢業於紐約巴德學院電影系,長居於溫哥華生活與創作。作品媒材涵蓋繪畫、錄像、攝影及印刷,自90年代起著手於藝術家出版品的創作,基於自身對影像的著迷。2010年於中國旅行期間,譚浩開始與當地攝影師合作,而後萌生發行藝術獨立出版物的計畫,致力於介紹各地藝術家的行為活動與作品至今。譚浩曾獲紐約現代藝術博物館傑出藝術成就獎、以色列特拉維夫LGBT電影節最佳紀錄片獎、多倫多亞洲國際電影節焦點藝術家等獎項,並多次參與紐約、東京及柏林各地的藝術出版盛會。

Ho Tam (b.1962) was born in Hong Kong. He holds an MFA in Film from Bard College, New York, now lives and works in Vancouver, Canada. His work includes a wide range of media, painting, video, photography, and printing. Since the 90s, Tam has been making artist's books due to his fascination with images. During his trip to China in 2010, Tam began collaborating with local photographers and started a project of publishing an independent art publication to introduce activities and works of artists from different places. Tam has been awarded the Outstanding Artistic Achievement Award by the Museum of Modern Art in New York. He also won the Best Documentary Feature at Tel Aviv International LGBT Film Festival. He was the Featured Artist in Toronto Reel Asian International Film Festival, and has participated extensively in Art Book Fairs in New York, Tokyo, and Berlin.

 

本次展出的「譚浩」系列,為藝術家從概念、設計到出版獨立執行的作品,《譚浩》雖以雜誌的形式展出,但在內容部分卻有別於一般雜誌,更像是藝術家計畫的呈現。每期特定主題涉及日常生活、種族、媒體、政治等多元豐富的議題;在《譚浩#1: 我的簡史》中,每一頁都代表著藝術家生命中的一年,藝術家將自身成長過程的照片逐一排列,輔以當年國際重要事件的大事紀,將私密照片藉由雜誌的形式流通,以探討公/私領域及個人/集體記憶間隱性的交互影響。而《譚浩#4: 美好的中國》,以中國常見的紀念瓷瓶形式,將中國21世紀重要的24個人物或事件圖像挪移至青花瓷上,其中包含愛滋病的剪報及李安的電影《囍宴》等。《譚浩#5: 亞洲性感男性》蒐集過往電影明星的海報與舊照片,藉由個人故事、詩集及小說形式思考亞洲男性的認同與定位。

The Hotam Series is a project independently created, designed and published by the artist. Though in the form of periodicals, the content of Hotam differs from ordinary magazines and is more like a publication of the art project. The theme of each issue investigates diverse issues of daily life, popular culture, media, and politics. In Hotam#1: A Brief History of Me, each magazine page represents one year of the artist's life. Tam compiles photos from his childhood to adulthood into a chronological order, adding major international events of the same year. Through the circulation of private photos in the form of a magazine, he explores the implicit mutual influence between the private and public spheres as well as individual and collective memories. In Hotam#4: Fine China, the artist transfers twenty-four significant images of figures and events in the 21stcentury China onto common ceramic vases sold as souvenirs. On these vases, audience can find paper clips of AIDS, Ang Lee's film, The Wedding Banquet, etc. Hotam#5: Hot Asian Men presents posters and old photos of old-time movie stars;discusses identities and places of Asian men in society through personal stories, poetry, and fiction.

「譚浩」系列 Hotam Series

《譚浩#1: 我的簡史》Hotam#1:A Brief History of Me

印刷品 Printing

27.3 x 20.95 cm, 64 Pages

2013

《譚浩#3: 朝西之旅》Hotam#3:Journey to the West

印刷品 Printing 

27.3 x 20.95 cm, 64 Pages

2014

《譚浩#4: 美好的中國》Hotam#4:Fine China

印刷品 Printing 

27.3 x 20.95 cm, 54 Pages

2014

《譚浩#5: 亞洲性感男性》Hotam#5:Hot Asian Men

印刷品 Printing 

27.3 x 20.95 cm, 66 Pages

2014

《譚浩#13: 鬼魂之像》Hotam#13:Ghost Images

印刷品 Printing 

27.3 x 20.95 cm, 60 Pages

2016

 

另一個系列「擺姿者」,則是譚浩旅遊時的街拍作品,以特定地點及族群,經由底片完成的攝影作品,這些人物肖像攝影是藝術家對個人及其所屬群體的研究。本次展出的《擺姿者》第一期,拍攝位於曼谷具肅穆感的和尚,與第二期多倫多遊樂園內手捧絨布娃娃的男性形成強烈對比,呈現不同地區的人文風情樣貌。「XXX」系列每一期則推出一位LGBTQ社群藝術家的獨立刊物,此次展出的《楊威廉—澳洲亞裔酷兒》藉由影像展現藝術家楊威廉的日常生活樣貌,引發讀者對背後國族及性別認同之思考。

Poser presents a series of photographs shot with film cameras on streets during Tam's travels. The series of portraits features specific communities at various specific locations, and shows the artist's study of individuals as well as the communities these individuals belong to. On view in the exhibition are the first and second issues of Poser, which reveal an intense contrast between the respected monks in Bangkok in the former issue and the men with dolls in a Toronto amusement park in the latter. XXX, on the other hand, is an independent publication that features rising artists in the LGBTQ community. XXX #2─William Yang------------Australia Asian Queer features artist William Yang's daily life through images, prompting readers to think about issues of national and gender identities.

「擺姿者」系列 Poser Series

《擺姿者1: 曼谷》Poser 1─Bangkok

印刷品 Printing 

27.3 x 20.95 cm, 64 Pages

2013

《擺姿者2: 多倫多》Poser 2─Toronto

印刷品 Printing 

27.3 x 20.95 cm, 64 Pages

2013

「XXX」系列 XXX Series

《XXX#2: 楊威廉—澳洲亞裔酷兒》XXX #2:William Yang -Australia Asian Queer

全彩雷射印刷 Full Color Laser Printing

20 x 13 cm, 24 Pages

2012


106展間╱R106

陳建北 Chen Chien-Pei

陳建北,1955年生於臺灣臺北,自國立藝專畢業後1984年赴西班牙求學,畢業於畢爾包大學藝術學院。海外求學被排擠或申請簽證被刁難時,深刻體會到母體文化對異鄉學子的重要性。1994年學成返臺執教。陳建北早期擅長使用空間裝置、複合媒材為其創作手法,擷取象徵意符的現成物以對應空間結構而營造出具宗教氣氛、或構築成遠渺的精神境界。1997年以作品《被囚禁的靈魂》參加第47屆威尼斯雙年展臺灣館。2000年後開創影像裝置新格局,將精神層次的抽象關注轉換至具體的對象作品,如2001年作品《介面》。2011年開始以童年經驗與記憶作為靈感來源,專注於「吾鄉‧吾土」系列之創作,並於2013年在台北當代藝術館展出,透過展覽探討不同世代下生命/身分的觀點差異和社會現況,並藉以重新定義臺灣與世界的關係。

Chen Chien-Pei (b.1955) was born in Taipei, Taiwan. After graduating from National Taiwan Academy of Arts (now National Taiwan University of Arts), he pursued further study in Spain and received his MFA from the Faculty of Arts, Pais Vasco University in Bilbao, Spain. Having had experience of feeling edged out by others and difficulties in applying visas when he was studying abroad, Chen has a deep understanding of the importance of maternal culture to students in a foreign country. In 1994, Chen returned to Taiwan and started teaching. He used to make spatial installations with distinctive materials in an earlier time, and often created religious atmosphere or portrayed ethereal, spiritual realms through employing symbolic signs, objects, materials, and spatial characteristics. In 1997, his work, Imprisoned Soul, was showcased in the Taiwan Pavilion, 47th Venice Biennale. After 2000, he shifted to video installations, substantiating his spiritual, abstract concerns with concrete subjects, for example his work, Interface, created in 2001. Since 2011 onward, Chen has been creating the Home‧Land Series inspired by his childhood experiences and memories, and showcased the series in a solo exhibition at MOCA Taipei in 2013. The exhibition explored varying perspectives on life/identity issues of different generations and contemporary social condition, and through these dissimilarities, he attempted to re-define Taiwan's relation with the world.

 

單頻道錄像《介面》為延續2001年的作品,屬於一個長期性的創作計畫,透過鏡頭的拍攝,以雙手作為身體語彙的傳達,呈現同處於一個身體內的不同人格、思想與情感,藝術家認為相較於靈魂之窗—眼睛,「手」更能展現一個人幽微的情感。作品拍攝的對象為藝術家多年朋友的不同人格表現,其多重的人格卻只有一個軀殼得以使用,人格彼此性格迥異、需求不同,陳建北用了相當長的時間與這位朋友溝通、取得默契與信任,讓不同人格透過身體的介面,傳達出個人的內在思維。本次展出不同於過去,透過影像重疊的呈現手法,讓手的肢體語言在交會的動態中更加凸顯其魔幻性,每個人格散發出的魅力,既真實又虛幻,居住在同一個身體內的他與她,引發觀者對於身份界定的疑問,更深層地觸及思考自我意識的認同與定位。

The work Interface is a long-term project that continues Chen's another work from 2001. The video shows different personalities within one body. Through the camera lens, the artist uses two hands to convey the body language, thoughts and emotions of each personality. For the artist, hands can reveal more subtle feelings and emotions than the human eyes. The subject demonstrating various personalities in the video is an old friend of the artist. While these personalities must share one single body, each of them is unique and has individual needs. The artist spent a long time communicating with his friend to build up their mutual understanding and trust so that these personalities could convey respective thoughts through the interface of the body. Unlike in previous displays of this work, the artist overlaps the video image to create a sense of magic with the intersecting hand movements in this exhibition. In the video, each personality exudes a unique charm, which seems so real yet illusory at the same time. The different genders in the same body make audience question how one's identity is defined and reflect upon their sense of identity.


《介面》Interface

單頻道錄像 Single Channel Video

17min. 13sec.

2001-2017


107展間╱R107

王文清 Jimmy Ong

王文清,1964年生於新加坡,畢業於美國賓州美術學院,擁有新加坡、荷蘭、紐約等地豐富的展覽紀錄,作品並獲新加坡國立大學美術館及新加坡國家美術館收藏,現往返於印尼、美國兩地創作。王文清擅於運用炭筆作為創作媒材,有意保留自動性技法的不擦去修改的痕跡,呈現具超現實主義意識流動的生動性,並以此鮮明的人像風格著稱。其創作靈感多來自周邊朋友或自身經歷的故事,特別關注家庭關係,尤以傳統華人家庭中對於性別認同的探討;而因自身同性婚姻的經驗,更將作品觸及範圍擴至婚姻角色,試圖解構婚姻配對裡由男女組成的既定印象,提出濃厚的辯證與反思。近期創作更擴及描繪歷史事件的宏觀敘事。

Born in Singapore, Jimmy Ong (b.1964) graduated from Pennsylvania Academy of the Fine Arts and has exhibited extensively in Singapore, New York, and the Netherlands. His works are acquired by the National University of Singapore Museum and the National Gallery Singapore. He currently travels between Indonesia and the U.S. to create artworks. Ong specializes in using charcoal as a medium. by preserving the traces of automatic drawing, The artist attemps to display a vivid flow of consciousness reminiscent of the Surrealism. and is wildly known for his distinctive human portraits. Ong's work is mostly inspired by his personal stories or those of his friends, particularly emphasizes on gender identity within the context of familial relation, especially traditional Chinese families. With his experience of homosexual marriage, Ong extends his artistic motif to deconstruct the gender dichotomy and stereotypes in conventional marriages, rendering his work highly dialectic and reflective. His recent work has expanded his previous scope to macroscopic narratives that portray historical events. 

 

長居於美國的王文清,於2003年至2005年間多次往返新加坡,而當時新加坡政府仍將同志視為犯罪行為,在這期間王文清歷經父親過世、與多年未見的母親會面的變故,於故鄉發生的種種帶來深刻的心靈觸動,使他更有意識地透過創作來體現關涉人類關係的本質、性別認同、家庭與刻板印象等議題。

Taking up residency in the U.S. Jimmy Ong visited Singapore frequently between 2003 and 2005. At the time, homosexuality was still regarded as a criminal offense in Singapore. During this period, Ong underwent the death of his father and the emotional upheaval of meeting his mother after long-time separation. These episodes in life inspired him to engage in issues of gender, family, and stereotype in his works.

 

本次展出的《藏愛於子》與《藏愛於女》便是在此時期所創作的作品,其畫面上皆呈現緊密結構的凝聚力—兩兩同志伴侶或環抱孩童或揹起另一伴,都以一種象徵承擔的堅毅力量,充滿濃厚愛意與和樂家庭的意象,在溫柔祥和的扶持中無懼同性婚姻的實踐,也可見藝術家對於家庭構成的想法是由成對伴侶與孩子所組合而成。透過描繪畫作人物緊密肢體的互動及打破僵化的性別角色設定,表述同性之愛的平等,具現「多元成家」的象徵意義。

Heart Sons and Heart Daughters were created during this period. Both works show a sense of solidarity embodied by the intimate and strong structure formed by the figures. Whereas the former shows one same-sex couple embracing a child, the latter depicts a woman carrying her partner on her back, conveying perseverance and strength in a symbolic way. The deeply affectionate and harmonious images of same-sex families replace doubts and fears with gentle and peaceful support in same-sex marriage, illustrating the artist's belief that a family is simply defined by a couple and their child. By demonstrating physical intimacy and re-defining gender roles, Jimmy Ong expresses the universality of love in homosexual relationships and what "diverse family formation" symbolizes.

《藏愛於子》Heart Sons

炭筆、紙 Charcoal on Paper

216 x 126 cm

2004

《藏愛於女》Heart Daughters

炭筆、紙 Charcoal on Paper

216 x 126 cm

2005


107展間╱R107

曾怡馨 Tzeng Yi-Hsin

曾怡馨,1979年生於臺灣臺北,畢業於美國沙瓦納藝術學院繪畫系。擅於運用多樣的複合媒材作為詮釋創作旨趣。思考當代藝術中的繪畫發展與創新,其創作歷程展開諸多探索與實驗:2007-2009年「流」系列,以一種半液體的形式,呈現大眾文化底層的消耗性與膚淺性。2008年駐村於紐約,創作「垃圾」系列,詮釋資本主義發展下的城市景觀,探討人類欲望的形貌。

Tzeng Yi-Hsin (b.1979) was born in Taipei, Taiwan. She holds an MFA in Painting from Savannah College of Art and Design, U.S.A. and specializes in using mixed media to create her work. Reflecting on the development and innovation of painting in contemporary art, Tzeng's creative journey has been formed with continuous artistic exploration and experimentation. Her Flow Series created during 2007 and 2009 adopted the semi-liquid form to represent the consumption and shallowness hidden under mass culture. In 2008, she created the Trash Series during an artist residency in New York, which interpreted cityscape under capitalist development and discussed the various aspects of human desires.

 

2009年「複製流行」系列,挑戰時下風尚的美麗與權威,嘲諷流行文化的假象;「去臉」系列,受美國資本主義的啟發,去除、改造或塗抹模特兒、娛樂藝人、政治人物等肖像,改變其肖像所指涉的美學、性別、政治等文化符碼。她說:「我的作品大都著重於解構『美麗』與『權威』。藉由援引與去除商業圖片中人像臉部的手段,我得以重新掌控影像並在不知不覺中創造了一種『野獸般』的形象」。

My Magazine Project Series created in 2009 challenged contemporary idea of beauty and authority, and exposed the illusion of popular culture. Her Deface Series was inspired by American capitalism, which prompted the artist to remove, remake or paint over portraits of models, entertainers, and political figures, altering the aesthetic, gender, political signifiers referred by these portraits. According to the artist, "most of my works focus on deconstructing 'beauty' and 'authority.' Through citing or removing faces in commercial images, I am able to regain control over the images and unknowingly create a kind of 'beast-like' imagery."

 

2010年,「面具」系列,以身體創作質疑「善意」的本質,以及網際網路的虛實關係。2012年雲門第八屆「流浪者計畫」,曾怡馨前往尼泊爾,觀察民間如何看待酷兒族群。

In 2010, her Mask Series created in the form of performance questioned the nature of "kindness" as well as the relationship between virtuality and reality of the Internet. In 2012, with the support of the 8th Wanderer Project by Cloud Gate Theater, Tzeng was able to travel to Nepal, to observe how people there perceived LGBTQ community.

 

2015年「超‧女孩」系列,將女孩的性感肉體形象,轉化為超越皮相表面的另類性感,模擬超寫實(hyper reality)又超現實(surreal)的視覺風格。2014-2016年「名畫」系列,邀請一般大眾共同完成,參與者依據畫作的構圖與故事背景,再加入自己的想法,重新演繹藝術史上的經典畫作。藉此探討合作關係中的實驗與互動性,並試圖建構對西方經典畫作更多元的觀看方式與解讀。

In 2015, her Hyper Girl Series re-defined the meaning of being "sexy" by transforming sensual body images with a surreal style of hyper reality. From 2014 to 2016, she invited the public to collectively create the Master Painting Series. Participants followed the compositions and background stories of masterpieces and added their own ideas to re-interpret painting classics in art history. The series explored the idea of experimentation and interactivity in collaboration, attempting to construct a diverse approach to view and read Western masterpieces.

 

《自由領導人民》援引浪漫主義藝術家德拉克洛瓦1830年作品。原作中站立於中心高處象徵自由女神的女子,奮力揮灑著法國國旗朝向自由勝利之路,在曾怡馨《自由領導人民》的攝影作品中,國旗被置換為彩虹婚姻平權及伴侶盟的旗幟,展現LGBTQ族群對自由的追尋。

Liberty Leading People appropriates French Romantic artist Eugène Delacroix's masterpiece created in 1830. In the original painting, the woman standing high in the middle symbolizes Liberty, waving the national flag of France and leading people to freedom and victory. In Tzeng's photograph, the national flag are replaced with a rainbow flag for marriage equality and of Taiwan Alliance to Promote Civil Partnership Rights, demonstrating LGBTQ community's pursuit of freedom.

《自由領導人民》Liberty Leading People

數位輸出 Digital Print

110 x 150 cm

2016

 

《奧林匹亞》擬仿了馬內1865年的同名經典之作。馬內在創作《奧林匹亞》時的社會風氣是崇尚「優雅風格」、「理想化的人體美」或神話中的人物,但馬內畫中描繪的是真實的人體,遭受到時風嚴厲的批判。「《奧林匹亞》是一份戰爭宣言,它呈現在人們面前的是一種新的觀察事物的方式和一種把觀察到的事物描繪下來的新的手法。」於此曾怡馨借寓了馬內的精神,創造《奧林匹亞》不同的觀看視角,思考當代同志平權所面臨的困境與議題。

Olympia imitates Édouard Manet's homonymous masterpiece created in 1865. When Manet painted his painting, the society adored "elegant style," "the idealized beauty of the human form," or mythological figures; Manet was severely criticized for depicting the human body in a truthful manner. Therefore, "Olympia is a declaration of war. It displays in front of people's eyes a new approach to observe things as well as a new approach to depict what has been observed." Tzeng represents Manet's spirit and creates a different perspective to view Olympia and to reflect upon the predicaments and issues involved in contemporary LGBTQ equal rights movement.

《奧林匹亞》Olympia

數位輸出 Digital Print

110 x 152 cm

2014


108展間、1F西側樓梯╱R108, Western Stairway 1F

曾吳 Wu Tsang

曾吳,1982年生於美國麻省,畢業於加州大學洛杉磯分校電影系。創作形式多以錄像及行為表演發表,作品曾於倫敦泰德現代美術館、巴塞隆納當代藝術館與休士頓當代藝術館等地展出,獲邀參加智利聖地牙哥影展及柏林影展。2005年曾吳首次踏足中國,希望了解中國籍父親的過去,尋找自身文化的根源,然而在中國她沒有任何的歸屬感,曾回憶道:「在那個關鍵的時刻,『無處為家的狀態變成了你的存在感』」。同年參觀秋瑾在紹興的故居、博物館,從中發現秋瑾和其女性友人吳芝瑛的關係,便以此為《對聯/對練》的靈感底本。

Born in Massachusetts, U.S.A, Wu Tsang (b.1982) graduated from UCLA with a major in film. Wu primarily engages in video and performance art. Her works were shown in Tate Modern, Barcelona Museum of Contemporary Art, and Contemporary Arts Museums Houston, and were nominated in San Diego Film Festival in Chile and the Berlinale. In 2005, she travelled to China for the first time, hoping to understand the past of her (Chinese) father and search for her cultural root. However, she did not feel a sense of belonging in China, and once stated that, "at that critical moment, 'being homeless becomes what validates your existence.'" That year, she also visited Qiu Jin's historic residence and museum in Shaoxing, and discovered the relationship between the female revolutionary and her female friend Wu Chih-Ing, which inspired her work, Duilian.

 

2008年曾吳在自己創作的《一篇權利宣言的形狀》作品中,援引了自閉症患者權利維護人士亞曼達‧巴格斯所創作的文本《用我的語言》,其中曾吳以語調模擬,再現了巴格斯語音溝通裝置的聲音:「只有在我用你的語言輸入溝通裝置時,你才能理解我,與我溝通。」此作促使人們去思考,因囿於有限的經驗而導致的忽視與歧視。

In 2008, Tsang cited autism rights activist Amanda Baggs' work In My Language in her own work, The Shape of a Right Statement. In this work, the artist imitated and re-uttered the words and sounds of Baggs' communication device, saying that "only when I use the communication device in your language can you understand and communicate with me." The Shape of a Right Statement prompts people to reflect on how limited experiences can lead to ignorance and discrimination. 

 

2008-2010年間與友人合辦了諮詢事務所- Imprenta協助填寫與遞交移民檔案等庶務,也提供免費的愛滋病檢測。2012年首部電影作品《野性》以 Silver Platter 為藍本,紀錄跨性別酒吧的夜,並於紐約現代藝術博物館首映。2015年駐港著手進行埋藏心底十年的「秋瑾」計劃。身為跨性別者的曾吳,時常透過作品涉及對性別認同的思辨,而父親來自中國,母親為瑞典裔美國人的家庭背景,也促使她自幼便展開對身份、文化與種族議題的思考。

Trough 2008 to 2010, Tsang and her friends founded a legal clinic called Imprenta to assist people in need with general affairs, such as filling out, submitting immigration papers, and getting free HIV tests. In 2012, her debut film, Wildness which was based on the life of Silver Platter and documented the nightlife of transgender night clubs, was premiered in MoMA, New York. In 2015, she had an artist residency in Hong Kong, and started making a project on Qiu Jin, which she had been thinking about for ten years. As a transgender artist, Tsang often discusses gender identity in her works. Influenced by her Chinese father and Swedish-American mother, she often explores issues of identity, culture, and race since childhood.

 

《對聯/對練》的作品名稱意指詩賦中的對聯,與武術中由兩人一組的劍道學員組成的對練。曾吳透過當地的社群力量翻譯秋瑾的詩詞,並將武術元素注入片中;反觀主流歷史側重於描繪秋瑾的革命運動事蹟,曾吳則企圖以「酷兒」的角度切入,透過親自扮演吳芝瑛,藉此揭露其與秋瑾兩人間似有若無的「親密情誼」。而藝術家選擇香港作為拍攝地點,也期盼藉由《對聯/對練》重提秋瑾這名歷史人物,將她對社會議題的支持與影響力延伸,與當今香港人民對逐漸逝去的民主自由之追尋相互呼應。

The title, Duilian, means “couplets” in Chinese poetry, as well as “practice with another partner” in Chinese martial art. Tsang translates the poems of Qiu Jin with the help of local social groups and adds martial elements into her film. While mainstream history often extols the heroic acts of Qiu Jin during the revolution, Tsang incorporates her “queer” perspective into the story and plays the role of Wu Chih-Ing in the film to reveal the “intimate friendship” with the female revolutionary. In addition, Tsang shoots the film in Hong Kong, a deliberate choice to express her concern on the gradual loss of freedom and democracy of the city. By reminding us of Qiu Jin, Tsang voices her support and concern on pressing social issues.

(Wu Tsang, Duilian (production still), 2016. Photo by Ringo Tang. Courtesy the artist, Galerie Isabella Bortolozzi, Berlin.)

《對聯/對練》Duilian

單頻道高解析錄像、彩色、有聲 Single Channel Video, HD color video, sound

28min 10sec

2016

 

1F西側樓梯╱Western Stairway 1F

《對於我們如何看待生活》,靈感來自導演珍妮佛麗福斯頓於1990完成的紀錄片《巴黎在燃燒》。此片探討80年代在紐約市的地下「舞廳」文化,透過拍攝和訪談舞會上的非裔及拉丁裔LGBTQ族群,呈現當時LGBTQ群體被社會壓制的背景及心理狀態。在《對於我們如何看待生活》作品中,經由重製場景、表演者肢體語言及再現《巴黎在燃燒》的對白台詞,觀者得以探討不同身份、性別認同及種族的相互關係。

For How We Perceived A Life (Take 3) is inspired by the 1990 documentary film Paris is Burning by Jennie Livingston. Livingston’s documentary depicts the underground “Ballroom” culture of New York in the 1980s. The film interviewed African and Latin-American LGBTQ groups and presented their mentality under social oppressions and the social milieu at the time. In For How We Perceived A Life (Take 3), Tsang re-creates the set, body language, and lines of Paris is Burning, allowing audiences to contemplate on the interrelation between identity, race, and gender identity.

《對於我們如何看待生活》For How We Perceived A Life (Take 3)

單頻道錄像 Single Channel Video

9 min. 34 sec.

2012


2樓 西側樓梯╱Western Stairway 2F

陶輝 Tao Hui

陶輝,1987年生於中國重慶,2010年畢業於四川美院油畫系。擅長以錄像與裝置藝術為創作形式,關注社會身份、性別地位、種族問題、虛擬關係等議題。如: 2014年在《德黑蘭的黃昏》作品中,以備受壓迫女性人權的伊朗與自由開放的香港做為對應,思索身份、種族差異等跨文化的檢視,也是陶輝對婦女自由權利的歌頌。2014年《演技教程》以一個敘事實驗與記錄的視角,透過13位演員在誇張,模稜兩可的表演情境,構建一個嚴肅又詼諧的教學現場。思索究竟是我們在模仿媒體,抑或彼此有著互為映照的影響。2016年《我們共同的形象》作品,藝術家在不同年代的中國電視影像史上,如新聞、電視劇、綜藝、選秀節目等擷取具有代表性的片段,重新演繹其場景與對白,營造出一種虛擬與真實相互交疊而荒誕的錯位感,表達對於大眾媒體和表演性的探討。

Tao Hui (b. 1987) was born in Chongqing, China. He graduated from Sichuan Fine Arts Institute with a BFA in Oil Painting in 2010. Tao specializes in video and installation to create his works that engage in issues of social identity, gender, race, and virtual relationship. In The Dusk of Teheran created in 2014, Tao juxtaposes Iran where women's rights are suppressed and Hong Kong that is free and open. In this work, the artist examines intercultural aspects that involve identity and racial differences, and creates a celebration of women's right to be free. Another work in 2014, titled Acting Tutorial, adopts the approach of a narrative experiment and documentation and uses the hyperbolic, equivocal performances of thirteen actors to construct a serious yet humorous classroom, discussing whether it is viewers that are imitating media or there exists a mutually reflective relationship between the two. In 2016, Tao created Joint Images, in which the artist reenacts various representative segments selected from news programs, TV dramas, entertainment shows, and talent shows in Chinese television history. Tao's reinterpretation of the scenes and dialogues overlaps virtuality and reality, conveying an absurd sense of anachronism while exploring media and performativity. 

 

陶輝對於社會環境之於「人」的塑造方式與影響程度極為敏感,這種感知可說是出於本然,因此他將自己置入其中以剖析自己,他說:「我試圖提供的是現象,或者我製造的情緒,並且讓這情緒混雜在一堆現象裡,你可以從裡邊挑你喜歡的部分。我很反感非此即彼、非黑即白的判斷,這其中有很大的局限性」。

Tao Hui has a keen sensibility to analyze how social environment affects the formation of human character. This sensibility is part of his nature, and he has therefore situated himself in the sensibility and stated the following analysis: "I try to provide phenomena or emotions that I have created, and blend such emotions into the phenomena. You can pick out the parts you like. I genuinely dislike a dichotomous, black-and-white way of making judgement because it is very limiting."

 

陶輝在單頻道錄像作品《談身體》中身著穆斯林女性服裝,以人類學家的口吻來解析、講述自己的身體結構、血統基因、外型特徵,以理性的分析關注自己的物質身體,進行一場身份的系譜考證,將身體視為歷史上的種族遷徙與混合下的自然形成。在這場演說表演中,穆斯林的黑色女性罩袍,有如社會及宗教給予人的制約與枷鎖,藝術家以男性的身體錯置於女性的角色,藝術家並反思傳統宗教的禁錮,互相之間的對照關係通過言語和儀式試圖讓人回歸最本質的東西:可辨識的物質身體,進而將觀者從極端的意識型態中釋放出來。

In the single channel video, Talking About Body, Tao assumes the role of an Islamic female and analyzes her own body objectively in the tone of an anthropologist, giving information about her body structure, genetic lineage, and physiognomic characteristics. The rational analysis focuses on her own body, examining her identity and genealogy by viewing her body as a natural formation of racial migration and mixture in history. In this speech performance, the black robe worn by Muslim women reminds viewers of social and religious restraints. The artist performs a female role with a male body and contemplates on the confinement imposed by traditional religions. Through language and ritual, the artist creates a comparison between the two, hoping to unite humanity with the foundation of its existence, the physical body, so that viewers can be released from extreme ideologies.

《談身體》Talk About Body

單頻道錄像 Single Channel Video

3 min. 45 sec.

2013


205展間╱R205

王俊傑 Jun-Jieh Wang

王俊傑,1963年生於臺灣臺北,畢業於德國柏林藝術學院,獲「卓越藝術家」最高文憑。作品具有理性而古典的內質與虛幻超現實意味的風格,是臺灣新媒體藝術先驅者之一。80年代臺灣解嚴社會正值解放狂潮,王俊傑即是以藝術來反映社會現狀。1984年首件作品《變數形式》,結合影像觀念與即興舞蹈,以四位西方當代藝術家為創作原型,包括杜象、波洛克、封塔納、克萊因,探討從藝術史到當代身體之間的關係。

Jun-Jieh Wang (b. 1963) was born in Taipei, Taiwan. Wang graduated from Berlin University of the Arts and completed a master class. Wang's work embodies a rational, classical spirit with an illusory, surreal style, rendering the artist a pioneer of new media art in Taiwan. As early as in the 80s, when Taiwanese society was engulfed in a wave of freedom and emancipation after the lifting of martial law, Wang has already employed art to reflect the social milieu of the time. In 1984, his first work, The Variable Form, combined video art and extemporaneous dance to explore the relationship between art history and the contemporary concept of body, using four Western contemporary artists, including Duchamp, Pollock, Fontana and Yves Klein to form the basis of the work.

 

1986年參與「息壤」,企圖在主流藝術體制之外另闢蹊徑,創作了《暴動傾向第三號:被強暴的映像管》(1986);《表皮組織的深度》、《每天播放A片的電視台》(1988)等作品以批判時下媒體與政治權力。1989年象徵冷戰的柏林圍牆倒下前半年,王俊傑來到德國深造與創作,對於當時柏林的高度政治性與臺灣的政治社會,沉澱許多觀察與靈感—1990年作品《奪命妖姬:第三代奧狄賽》以第三世界的低俗、庶民文化的形式語法,探討權力、階級以及反抗臺灣的權威式等議題。90年代中期資本主義社會,時興媚俗藝術,開啟了王俊傑虛擬商品系列,如《龍鳳富貴吉祥如意拼盤》(1992)與《十三日羊肉小饅頭》(1994)。

In 1986, he participated in the exhibition, Living Clay, attempting to create an alternative route outside mainstream art systems. During this period, he created Image, Repeat, Image (1986), The Depth of the Epidermis, and Porn Movies Show on TV Station Every Day (1988), which criticized the media and political powers of the time. In 1989, six months before the Berlin Wall was torn down, Wang began studying and making art in Germany, and as a result, gained much observation and inspiration from the similarities and differences between the highly-politicized Berlin and Taiwanese societies. In 1990, his Kill Girl: Odyssey III discussed issues of power, class and resistance against the political regime in Taiwan with a form and language derived from the lowbrow, folk culture of the Third World. In mid-1990s, as capitalist societies embraced the art of kitsch, Wang also created various series of virtual commodity installations, including The Dragon, Phoenix, Wealth and Auspicious Appetizer Plate (1992) and Little Mutton Dumplings for the Thirteenth Day (1994).

 

1999年,王俊傑思索消費或資本轉進環保以及面對未來自身處境的問題,以未來人類對於衣服的想像創作了「微生物學協會」系列,作品如《微生物學協會:衣計畫》並參加2000年臺北雙年展;以及《微生物學協會:旅館計畫》等。千禧年數位時代,現實和虛幻之間真與假的議題,於2004年發展「大衛計畫」,因一位友人的逝世,創作《大衛天堂》,探討藝術家如何重新回到作為人的本質。2009-2015年創作「若絲計畫」試圖在挪用杜象思想概念的同時,一方面再議藝術存在的根本,亦回應當代複雜化社會下人們生存環境的虛幻性。其中《冷漠的賽拉薇》則對杜象男扮女裝的系列名作《若絲‧賽拉薇》提出呼應:它既是對模糊身份與社會關係的探討,也是對當代文明的戲謔玩笑與嘲諷,更是對藝術美學的棄置。

In 1999, the society turned from consumerism or capitalism to discussing issues of environmental protection and humanity's future. So, Wang created the series of The Microbiology Association that included various sub-projects, such as the Clothing Project, which was showcased in the Taipei Biennale in 2000, and the Hotel Project. As the world entered the digital era in the millennium and became overwhelmed in issues involving reality and illusion as well as truth and falsehood, Wang created Project David in 2004. The passing of a friend inspired him to create David's Paradise, in which he contemplated on how artist could represent the intrinsic quality of humanity. From 2009 to 2015, he created Project Rrose, which appropriated Duchamp's artistic concept to revisit the issue of art's essence while responding to the illusory quality of human environment in the complicated contemporary society. Among various works in this series, Indifferent Selavy responded to Duchamp's Rrose Sélavy, in which the art master dressed as a woman. On the one hand, the work explored blurred and undefined identity and its relation to the society; on the other hand, it was a sarcastic joke played on contemporary civilization as well as a form of renunciating artistic aestheticism.

 

《激情》是一個關於狂想者日常生活的墜落。場景原型以及情節挪用來自於德國導演法斯賓達於1982年的電影作品《霧港水手》,法斯賓達以多產與粗糙的反美學創作讓觀者認識一個狂想者對時代、政治與藝術的反叛。同年法國導演高達推出了電影《激情》,其強調後設語境,這與法斯賓達的風格形成強烈對比,但又完全一致的是,對於創作的激情如同愛慾給人存活的動能。

Wang’s video, Passion, depicts the passionate fall of a larger-than-life character in daily life. Its setting and plot appropriate Rainer Werner Fassbinder's film, Querelle, created in 1982. Fassbinder's prolific career and anti-aestheticism attitude reflected the rebellion against his time and its politics and artistic trends. In the same year, French film director Jean-Luc Godard presented his film, Passion. The film's meta-structure formed a strong contrast to Fassbinder's style. However, the two directors have shared one identical trait:their creative passion, that is like desire that sustains human life.  

 

故事從一個太空人「哈爾」出現在黃昏的荒廢港口開始,三個無所事事的水手閒晃至此,本來沒有交集的幾個人邂逅了彼此,慾望的流動充滿了孤寂的碼頭,同時,哈爾手裡的珍貴礦石也成了大家共同覬覦的目標。在一陣激烈的爭奪後,血泊裡的死亡讓激情消失無蹤;激情不僅僅是來自於肉體的慾望,更是生存能量的動力。

The story is set at an abandoned dock at sunset. Hal, an astronaut, appears abruptly at the dock where he encounters three lingering, idle sailors. From that moment on, their lives become intertwined as the lonely dock becomes permeated with a sense of desire. Meanwhile, the precious stone in Hal's possession becomes a desired object for everyone. After an intense fight and struggle, Hal dies in a pool of blood as the passion disappears into thin air. As the video illustrates, passion does not merely refer to physical desire, it is what powers and motivates life.

(本作品涉及裸露、傷害內容,未滿十八歲者不宜觀賞。The Artwork contains scenes of partial nudity, intensive violence, and is not suitable for the viewers below the age of 18.

《激情》Passion

三頻道高畫質錄像、彩色、有聲 Three Channel HD Video Installation

11 Min. 40 Sec.

2017


204展間╱R204

顧福生 Fu-sheng Ku

顧福生 (1935-2017) ,生於中國上海。1948年隨父親顧祝同將軍舉家遷臺,自臺灣師範大學藝術系畢業時,即參加「五月畫會」並展出,為臺灣現代美術代表人物之一。顧福生的創作,「人」始終是主體表現的題材,經常以沒有頭或面容模糊、變形拉長的男體形貌出現,肢體上勁顯身體向度的張力;用色沉鬱而晦澀,表達了人物細膩的心理變化。畫風在淡寞之中隱含著勃鬱的脈動,詩人余光中曾評:「於平靜的表情下,潛動著內在生活的衝突與失望」。表露人性的愛慾渴望與孤寂掙扎的意象,作品帶有現代主義及存在主義的哲理色彩。

Fu-sheng Ku (1935-2017) was born in Shanghai. In 1948, Ku’s father Chu-Tong Ku moved the entire family to Taiwan. On graduating from the Art Department of National Taiwan Normal University, Ku joined the Fifth Moon Group and was showcased in the group exhibition, soon he become one of the representing figures of the modern art world in Taiwan. Ku’s works portray human beings as the central theme, often headless or with blurry facial features and elongated male torsos. These features express tension while the dark colors hint at the nuanced changes of the psychological state. Ku’s style implies a force under the seemingly indifferent outer appearance. Poet Kwang-Chung Yu once commented: “under the serene surface lies the conflict and disappointment of the inner life.” Manifesting the love, desire, longings, loneliness, and struggles of the human condition, Ku’s works are infused Modernist and Existentialist qualities. 

 

1961年受其業師朱德群的鼓勵前往巴黎學習,以大量拼貼與多媒材的運用,探索質感與空間感。此間亦曾請教趙無極指點,創作了具複合媒材與抽象語彙的作品。1963年移居紐約,是顧福生繪畫生涯重要的轉型期。1963至1965年就讀紐約藝術學生聯盟。時值紐約貼裱與繪畫混雜的多媒材藝術熱潮,在聲勢正達巔峰的美國藝術家勞森柏格的帶動下,紐約藝壇充滿現成物拼貼的創作風氣,此期間顧福生開始運用蝕刻銅版,同時延續發展拼貼技法的實驗性與創作的豐富性。

At the encouragement of mentor Teh-Chun Chu, Ku traveled to Paris to expand his career in 1961, conducting experiments with texture and spacia Perception through collages and mixed media. During this period, Ku also met with Wou-Ki Zao and created many works that involved mixed media and abstract characteristics. In 1963, Ku moved to New York; this proved to be a turning point for Ku’s artistic career. Ku enrolled in Art Students League of New York between 1963 and 1965, amid the trend of mixed media in New York. Led by American artist Robert Rauschenberg, whose career was at its peak, the New York art world was brimming with collage works combined with ready-made objects. It was during this time that Ku started using copper plate etching and experimenting with the creative outlet of collage techniques. 

 

1974年後,先後移居舊金山、波特蘭、芝加哥,2008年定居洛杉磯。2015年顧福生知情罹癌後曾云:「現在是這一生中最開心的時候,什麼事都不用再在乎了,想怎麼畫就怎麼畫」。畫面上不再只是單人的個體,色彩也愈發明朗。他早期作品呈現沉鬱蒼涼,憂悒孤絕的氛圍,中期對現實虛幻的生死意識多所反思,晚近脫怯世俗羈絆,色彩漸趨明亮呈現對生命詠嘆的描繪。2017年8月,病逝美國加州。

Around 1974, Ku moved to San Francisco, Portland, and Chicago, finally settled in Los Angeles in 2008. Ku found out that he was suffering cancer in 2015. “This is the happiest time of my life Ku stated, I can paint whatever I want, without a care in the world.” Ku’s works no longer depict single figures, and the colors have become vibrant. The melancholic and lonesome quality of his early works, the reflection of reality and illusion, life and death during the middle section of his career, all blossomed into freedom from social limitations through the bright colors of his more recent works. Ku passed away in Los Angeles in August, 2017. 

 

畫為心象,顧福生大量地汲取多層面的事物及情境,將自身潛意識情感注入創作,展現對幻想夢境的多元探索。對藝術家而言,創作是生命經驗的外化,訴諸情感思想的一切:「我畫的是人的深深內裡和外界的感受,人和人的關係,或是人和周圍環境的關係,和大自然的關係。人生是謎語,是夢幻,生命是多麼的脆弱。」、「假如每個人都必須選擇一種生活方式,畫畫就是我全部的生活,我的思想在裡面,我的情感在裡面,我的生活細節全都在裡面。」本次展出中晚期的四件作品,象徵的意味是掙脫現實?或對生命意義不停歇的追尋?或潛意識裡的自我反射?藝術家依他自身的直觀思想,以抒情柔美又強烈的筆觸,描繪出對自我身分認同及人生不同階段的展放,創造屬於自己的獨特語彙,也給予觀者詮釋的想像。

Each painting allows a peek of the soul, Ku gains inspirations from a variety of issues and scenarios, placing his subconscious into his works, expressing the journey of exploring a dreamland. For him, the creative process is a revelation of personal life experiences, emotions, and beliefs: “I depict the deep inner state and outer sensations of human being in my paintings, including the relationship between people, between mankind and the surroundings, and the connection with the natural environment. Life is a mystery, a dream, incredibly fragile and delicate.” “If every one of us needs to choose a way of living, then painting is my way and the entirety of my life. My paintings contain my philosophy, my emotions, and all details about my lifestyle” In this exhibition, four works from the middle and late stages of Ku’s career are being displayed. Are the symbols hinting to Ku’s “struggle of reality? Or an eternal pursuit of the meaning of life? Perhaps a reflection of the self in the subconscious? The artist displays his identity and different stages of his life through direct thoughts and brushstrokes that are either tender or filled with force, creating unique personal traits that also leave room for the interpretation of the viewer. 

《秘密房間》The Room at The Top of The Stairs

油彩、畫布 Oil on Canva

91 x 127 cm

1983

《青空》Blue Sky

油彩、畫布 Oil on Canvas

173 x 122 cm

2013

《罌粟夢》Poppy Dream

油彩、畫布 Oil on Canvas

127 x 117 cm

1969

《休息站》Resting Place

複合媒材、畫布 Mixed Media on Canvas

71 x 147 cm

1994


R204 R203走廊╱R204 & R203 Hallway

溫馨 Wen Hsin

溫馨,1988年生於臺灣臺北,畢業於臺北藝術大學新媒體藝術學系。擅長運用攝影、錄像與裝置關注對於身體的思辨:我們身體的樣貌是什麼?當今社會的某種主流價值透過媒體形塑出一個既定框架,人們對於自身身體的認知,隨著特定價值所給予的規則,漸而化為一種共同的想像,而此種想像在無形當中試圖抹除個體的認同與價值,制約了各種的可能性。溫馨藉由作品中的各種身體樣貌呈現,試圖解構僵化的身體思維,並重新思考個體存在的價值意義。

Born in Taipei, Taiwan, Wen Hsin (b. 1988) graduated from the School of Film and New Media, Taipei National University of the Arts. The artist uses photography, video and installation to question about the body: what is the real image of our bodies? As society and media dominate mainstream values and fashion a preconceived framework, we follow certain standards of specific values when we perceive our bodies. These standards then gradually form a collective perception that unknowingly obliterates individuality and personal identity and restricts our physical possibility. Wen attempts to present a spectrum of physical appearances to deconstruct the stereotypes of bodily images, and re-define values of individual existence.

 

她時而讓身體做出智性的表達,時而又以智性說出身體的感受。這交錯而重疊的「意識的身體性」和「身體的意向性」相互連貫。如同梅洛.龐蒂意義上的「雙重交錯」(le chiasme)或「雙重交織」(l’entrelacs)。2012年作品《手世代—記憶變異體》透過手拼出一個新的臉譜,一種人與人新的溝通工具,「手」成為一種新的詮釋情緒與符號,透過這些符號建構出一個新的語言。

She sometimes uses body to conduct intellectual expressions, and sometimes intellectually expresses bodily senses. The interlacing and overlapping of the "corporality of consciousness" and the "corporal intentionality" are mutually informing, reminding people of "le chiasme" or "l'entrelacs" discussed in Merleau-Ponty's essay. In 2012, She created a facial language with hands in The Generation of Hand—Mutant of Memory. As a new tool of communication, the faces of "hands" served as a new set of symbols to interpret emotions, and She was able to create a new language through these symbols.

 

2013年《美女與野獸》、《男朋友/女朋友》,溫馨接受了乳房切除的手術,對於性別的自我認同產生混淆:「藉由外在的符號,裝扮成社會定義下的女性,但相反的,若我抹去一切女性的物件,我就變成男人了嗎?社會長期定義下的男性/女性,習慣以二元論傳遞訊息。我運用這些訊息拍攝我以外的陌生人,讓男性裝扮爲女人,於拍攝過程中重新認識被拍攝的對象,也同時檢視自己,企圖讓創作者與拍攝對象回歸自己,重新省思主體本身。」

In 2013, Wen Hsin created Beauty and the Beast and X/Y. At the time, the artist had undergone a mastectomy and was in a state of confusion about her own identity: "I could look like a woman defined by society with external symbols; however, when I remove everything that makes me look like a woman, am I a man, then? Men and women defined by our society have long been accustomed to deliver messages in a dichotomous logic. I make use of these messages and photograph strangers other than me, dressing the men as women. During the process, I gain new knowledge about the models as well as examine myself. My intention is to allow the photographer and the photographed to just be themselves and reflect upon the idea of subjectivity."

 

「一一」系列,作品名稱來自於對性別框架「二」元的拆解,最初的創作動機,源於藝術家經歷手術後所展開對身體的反思,進而由自身經驗延伸至參與創作的被攝者,透過深度訪談了解每位參與者的成長故事及找尋自我認同的心路歷程,由此建立起的默契讓作品中主角更能於藝術家鏡頭下表露自我,而藝術家也藉此探究自體的價值,形成一種相互、試圖超越性別議題表象,並回歸身體本質的展現。

Half originates from the deconstruction of gender duality. The video series was inspired by a surgery the artist underwent. The experience and the reflection about it led the artist to create this series and relate to the experiences of the participants in the series. Through interviews, the participants revealed their personal stories and journeys of finding their own identities; and the mutual understanding built up during the process enabled them to really open up in front of the camera. In addition, the project also allowed the artist to explore the topic of self-value, and therefore, demonstrated a mutual attempt to transcend gender boundary and rediscover the nature of our bodies.

「一一」系列  The Half Series

《一一 ─ 澔》Half-Hao

數位輸出 Digital Print

180 x 90 cm

2013

《一一 ─ 藍》Half-Blue

數位輸出 Digital Print

180 x 90 cm

2013

《一一 ─ 黃》Half- Yellow

數位輸出 Digital Print

180 x 90 cm

2013

《一一 ─品》Half-Pin

數位輸出 Digital Print

180 x 90 cm

2013


203展間╱R203

蘇匯宇 Su Hui-Yu

蘇匯宇,1976生於臺灣臺北,2003年畢業於國立臺北藝術大學美術研究所。2004年開始錄像藝術創作,主題聚焦於大眾媒體對人們觀看的影響,以及人們對媒體的慾望投射,其中包含電視與電影的暴力美學、電影文化對於女性身體影射或明示的情色與性暗示、知識建構與傳播過程的虛幻性等等,創作內容多取材於自身被媒體環繞的相關經驗與議題。近年作品趨向自我生命情境,關於孤獨、死亡與家庭,面對文化經驗和個人生命之間的反覆辯證。

Su Hui-Yu(b.1976) was born in 1976, Taipei, and graduated with a Master’s degree from the Department of Fine Arts of Taipei National University of the Arts in 2003. Su started creating video works in 2004, mostly centered around issues such as the impact of mass media on audiences and its projection of human desire. These works touch upon the aesthetics of violence, explicit or implicit references to the female body, eroticism, sexual innuendo in film culture, and the illusory state of knowledge and its method of dissemination. The artworks are mostly inspired by personal experiences of being surrounded by media. Recent works have shifted towards the human condition and repeated interaction with culture, such as loneliness, death, and family.

 

2004-2005年,作品「所以我們反覆呼喊」系列以電視肥皂劇與情緒消費,將斷裂式的情境,嘲諷現今無意義語意的氾濫現像。2007年的「槍下非亡魂」系列,創作概念源於電影中槍戰場景的「暴力美學」與「身體哲學」。透過它們思索媒體時代下關於恐懼的想像與感受。

Between 2004 and 2005, work Endless Recalling uses soap operas and emotional consumption to mock current usages of meaningless language through fragmented scenes. The 2007 The Fabled Shoots Series originated from the violence aesthetics and body philosophy of gunfire scenes throughout the movie, using the images as a tunnel to reflect the imagination and experience of fear in the media age.

 

2010年,《使蒂諾斯家庭實境秀》以「失眠,早已變成一種時髦的流行病。」將藥物與電視經驗混和,再現被藥物干擾的精神狀態,指涉藥物作用下深層的自我意識。2014年,《羞恥の男性》和《與死亡為伍的羞恥男嬰》,以一個似迷途的罪人,將羞恥當成色情的引信,思索潛意識的罪惡/羞恥感,與教化系統中的關聯、相似及真實性。

In 2010, Stilnox Home Video mixes experiences of medicine and television with the statement “Insomnia has become a fashionable condition” and re-presents psychological states induced by medication. The 2014 Man Carrying Shame and Sex and Death and the Boy Infant use a man who is lost in his tracks and eroticism as a detonator to explore the sense of guilt and shame in the subconscious and its connection, similarities, and reality in the education system. 

 

2015年,《自瀆有害身心之說不可信(金賽博士)》作品,可視為個人性成長史的回溯亦映照同屬該年代性成長集體的記憶。2017年,作品《超級禁忌》源自早年俗稱「小本」的黃色刊物,邀請演員金士傑獨角戲單挑老派色情文本,帶領觀眾進入情慾場景。

Thou Shalt not Self-pollute created in 2015 can be seen as a collective memory of the generation and traces the personal history of growing up. In 2017, Super Taboo was inspired by pornography publication, which were referred to as “little books” back in the day. The challenge of interpreting the story through an one-man show was undertaken by actor Chin Shih Chieh, guiding the audience into the scenes of eroticism through his extraordinary performance.

 

《虐犬》靈感源自於2001年臺北景美發生的一件箱屍命案,兩名男子於網路相約進行窒息式性愛,不料致死意外,後遭棄屍滅跡;作品名稱《虐犬》即為嫌犯之網路暱稱。因當時臺灣各式大眾媒體興起,從案發到追查嫌犯之破案過程均於各大媒體展現,成為轟動一時的重大刑事案件。由於該案牽涉到同志、網路性愛、性虐待與行李箱棄屍等因素,被媒體賦予神祕與戲劇化的色彩,而嫌犯更是因為其同志身分飽受媒體強化放大與抨擊,突顯出大眾媒體對於此同志情殺事件的獵奇消費和汙名。此新聞事件令藝術家想起自己也曾多次在夢裡殺人,在夢中殺人當下充滿罪惡感的驚懼之後,本能反應就是棄屍。於是《虐犬》即是擬造一個「夢境化的」場景,將個人夢境與社會新聞經驗混合,重啓觀者對於性、社會、乃至道德的判斷。

Nue Quan is inspired by a gruesome "body in suitcase" homicide that took place in Taipei in 2001. A man engaged sadomasochistic sex with another man he met online, and accidentally killed him before dumping the body in a suitcase. The title of the video, Nue Quan, is taken from the convict's online pseudonym. The case was followed earnestly by Taiwanese mass media at the time that had just witnessed a tremendous growth and was hungry for sensational crime stories. Due to the nature of the case, which involved homosexuality, cybersex, S&M, and disposal of the body in a suitcase, news media had mystified and sensationalized the case, and the convict was intensely scrutinized by the media because of his homosexuality. The phenomenon also highlighted mass media's novelty-seeking mentality and stigmatization of the LGBTQ community. This piece of news reminded the artist of his own dreams during which he committed murders, and which filled him with guilt and fear. In Nue Quan, the artist creates a dream-like setting, mixing personal dreams and social news and encouraging viewers to re-examine their concepts of sex, society, and moral judgment. 

(本作品涉及裸露、傷害內容,未滿十八歲者不宜觀賞。The Artwork contains scenes of partial nudity, intensive violence, and is not suitable for the viewers below the age of 18.)


《虐犬》Nue Quan

雙頻道錄像裝置 Duo Channel Video Installation

9 min.

2015


202展間╱R202

黃漢明 Ming Wong

黃漢明,1971年生於新加坡,新加坡南洋美術學院學習中國藝術,1999年畢業於倫敦斯萊德藝術學院媒體藝術專業。對一個成長於說粵語的家庭,祖父母從華南地區移居至新加坡的他來說,多元文化和對立身份的相互碰撞與融合始終貫穿著黃漢明的創作:「『我從哪裡來』以及『我是誰』─是我提問的關鍵問題,新加坡的歷史以及我們過往快速消逝的集體記憶,則是我的創作實踐與研究中的核心元素。而最明顯的,像身分認同,則是在這個全球化的社會中一個急迫且相關議題,脈絡是地方的,但這個研究卻是普世性問題。」擅長以錄像攝影與行為表演,解構20世紀電影史上的經典藝術片,透過不同性別、年齡、種族及歷史等議題扮演故事中的各種角色,將電影、流行文化的再製與演繹,進而探討於跨文化中身份認同的經驗感受。

Ming Wong(b.1971) was born in Singapore, The artist received education on Chinese Art from Nanyang Academy of Fine Arts and graduated from the Slade School of Fine Art London in 1999, specializing in media art. Raised in a family that speaks Cantonese with grandparents that moved to Singapore from the south of China, Wong’s works are inspired by diverse culture and its effects on self-identity. “Where am I from? Who am I? These are the key questions of my works. The history of Singapore and the rapidly declining collective memory are the central themes of my artworks. The most obvious topics, such as identity, are pressing issues with local contexts amid a globalized society, and research regarding this issue is universal.” Wong specializes in deconstructing classic art movies of the 20th century through videos and performance, playing the role of different characters through varying gender, age, ethnicity, and history. These attempts re-produce and reinterpret movies and pop culture, investigating the experience of self-identification across different cultures.

 

2001-2004年,以鮮明的戲劇特質,角色錯置的情景戲劇及表演作品,如:《哈姆雷特問題》(2001)、《誰幹的?》(2003/2004)奠定了荒誕主義式的錄像風格。2007-2009年的《與裴特拉.馮.康特學德語》、《吞噬恐懼》、《華樣年花》、《一世模仿》靈感分別來自於法斯賓德、王家衛、道格拉斯.瑟克的電影,對種族、身分、性別和語言提出質疑與探討。其中《一世模仿》代表新加坡參加第53屆威尼斯雙年展,贏得了雙年展評委會特別提名獎。

Between 2001 and 2004, Ming Wong established his video style of Absurdism through distinctive theatrical qualities, plots that include misplaced characters, and performances, such as Ham & Cheesomelet (2001) and Whodunnit (2003/2004). Learn German with Petra von Kant, Eat Fear, In Love for the Mood, and Life of Imitation between 2007 and 2009 were inspired by the movies of Fassbinder, Wong Kar-Wai, and Douglas Sirk, questioning and exploring matters such as ethnicity, identity, gender, and language. Life of Imitation represented Singapore in participating in the 53rd Venice Biennale and was awarded Special Mention by the Review Committee.

 

黃漢明近期創作都與科幻保持著密切關聯。其作品《中國科幻戲曲的舞臺佈景設計》將有關科幻的戲曲電影,透過古老藝術樣式與現代都市生活之間的心理轉換,反思傳統媒介如何在現代語境下生存。

Ming Wong’s recent works are closely connected with science fiction. Scenography for a Chinese Science Fiction Opera displays opera movies relating to science fiction through the psychological transitions between ancient art forms and modern urban life, reflecting how traditional media survive under a modern context.

 

黃漢明於2009年受邀參加威尼斯雙年展的期間,開始著手研究義大利的電影藝術,威尼斯悠久的歷史文化,激起黃漢明回返歷史和身份認同的思考,而後於當地進行《生死威尼斯》的拍攝製作。本次展出的《生死威尼斯》為翻拍經典電影《魂斷威尼斯》所完成的三頻道錄像作品,黃漢明在此創作裡一人分飾兩角,同時扮演老去且即將病逝的音樂家與年輕俊俏的美少年。兩人穿梭於城市數不盡的巷弄運河中,而雙年展的展廳也成為彼此交會的場域之一;音樂家彈奏的慢版背景鋼琴曲,彷彿訴說著音樂家內心的哀愁與想觸及美少年卻躊躇的不安,反映了真實生活中對於慾望投射及無法寄託的複雜情感。對青春年華的美好與面對孤寂和死亡不同階段之生命經驗,做全新的自我解讀。

While he was invited to the Venice Biennale in 2009, Wong began researching about Italian cinema. The long history and culture of Venice inspired him to think about history and identity, and later, to film Life and Death in Venice in situ. This 3-channel video is a remake of the classic Italian film by Luchino Visconti from 1971, Death in Venice. Wong plays the two main characters in the film, both the old musician and the handsome young boy. They meander through the Venetian canals and encounter each other in the Biennale pavilions. The adagio for piano (which provided the theme music for the film) played by the musician expresses grief and hesitation towards meeting the young boy, reflecting the complex emotions of unrequited desire. In this video, Wong presents his interpretation of beautiful youth and the angst of facing solitude and death.

(本作品涉及裸露、性暗示內容,未滿十二歲者不宜觀賞。The Artwork contains scenes of partial nudity, sexual references, and is not suitable for the viewers below the age of 12.)

《生死威尼斯》Life and Death in Venice

三頻道高畫質錄像、彩色、有聲 Three channel HD video, Colored, Sound 

16 min. 08sec/12min. 33sec

2010


中樓梯╱Central Stairway

王海洋 Wang Haiyang

王海洋,1984年生於中國山東。2008年畢業於中央美術學院版畫系。以繪畫及手繪動畫發展出的「定格動畫」成為王海洋獨有的藝術風格。作品中定格的每一畫面皆有其各自的符號與意象,同時也是單獨成幅的一件作品。藝術家試圖在虛構的靜止圖像與實拍的運動影像之間建立某種聯繫,並探索之間的可行性。

Wang Haiyang (b. 1984) was born in Shandong, China. He graduated from the Printmaking Department of the China Central Academy of Fine Arts in 2008. Wang primarily engages in painting and hand-drawn animation, which he combines to develop "stop motion animation” that manifests a unique artistic vocabulary and style. In his videos, each image is also an artwork, comprising of symbols and imageries. Wang attempts to find a connection between the still images and the movements in videos, exploring their infinite possibilities.

 

2008-2013年他創作了《弗洛伊德,魚和蝴蝶》和《雙面菲克雷特》兩件作品,王海洋隨機不受約束的思路,將自我意識從技術轉化成藝術,完全顯露他馳騁於想像的快意無度,對文學的喜好也成創作靈思的來源,他偏重於意識流和超現實魔幻主義的作品,從中借鑒了文學大師在結構上如同他在動畫上組織「拼圖」的能力。他的直覺性成為動畫裡運用的語言,作品的流動轉換以及意識流傾向…,一切都是隨機的。在沒有情節式的敘事結構中,王海洋在創作上僅考慮如何處理各種細節的過渡,如何從一個形象轉換到下一個形象,就像魔術師一般帶領觀眾進入超現實的想像空間,也進入了意識深層的夢境。

During 2008 and 2013, Wang created two video works, Freud, Fish and Butterfly and Double Fikret. The artist thinks in a free and imaginative way, transforming his self-consciousness from a technique into an art form and fully demonstrating his unfettered fantasies. Literary works he loves also become a source of inspiration, particularly those of the stream of consciousness and magic realism. From literary masters, he has learned the ability to put together animation works that are organized like "puzzles." The vocabularies he uses in the animations are intuitive; the changing of scenes as well as the flow of consciousness are all created in a random way. For the plotless narrative structure of his works, Wang only needs to consider details about transitions, that is the shift from one image to another. Like a magician, he takes viewers into a surreal imaginary space as well as dream-like realms deep in the consciousness.

 

《牆上的塵埃》為藝術家「動畫三部曲」中的最後一部,前兩部作品《弗洛伊德,魚與蝴蝶》和《雙面菲克雷特》皆為藝術家代表性作品,在無敘事性的背景下,隨機的動物、植物與人物任意組合、怪異變形,時而帶有性暗示、時而平和、時而有趣。而題旨《牆上的塵埃》源於「一沙一世界」,切開一粒粉塵的內部進入無限的延伸:分子、離子、質子、中子…一粒細微的粉塵,也可以窺見世界的浩瀚,說不定其中有一個和我們一模一樣的世界;另一方面,藝術家採用的材料為粉彩,粉彩實際上就是不同顏色的粉塵所組成,因此在畫面上就是用著不同色彩的粉塵組合而成的幻象世界。

Wall Dust on view here is the last episode of Wang’s animation trilogy. The first two episodes are Freud, Fish, and Butterfly and Double Fikret, both of which are Wang’s important works. These non-narrative films randomly combine animals, plants, and human beings in peculiar forms, exuding a sense of sexuality, peacefulness, and playfulness. The title derives from a line in a well-known verse, “to see a world in a grain of sand.” A grain of sand constitutes infinity: molecules, ions, protons, neutrons. One can see the grandness of this world in a tiny speck of dust, and perhaps find a similar just like ours. In terms of medium, Wang uses colored chalk made from grains of different colors. Thus, his paintings are imaginary worlds made of iridescent grains.

 

《牆上的塵埃》延續了《弗洛伊德,魚與蝴蝶》和《雙面菲克雷特》的語言及風格,在砂紙上通過粉筆建構出一個令人眼花繚亂的想像世界,呈現了虛擬的男性形像菲克雷特的超現實世界,該世界中充滿了孤獨、古怪、荒誕與情色之間的意象。作品中的一些符號原型來自於宗教、西方文藝復興繪畫及當代攝影,藝術家將這些靈感來源賦予新的意謂,並想像再創造放入自己的虛擬世界。

Wall Dust continues the language and style of its two previous episodes. A dazzling, imaginary world created with colored chalks, this video presents the surrealist world of a fictional male character Fikret, and is filled with images of solitude, oddity, absurdity, and sexuality. Part of the imagery in the video come from Western religions, Renaissance paintings, and contemporary photography. Wang gains inspiration from theses artistic traditions and re-creates them in his imaginary world.

(本作品涉及裸露、性暗示內容,未滿十二歲者不宜觀賞。The Artwork contains scenes of partial nudity, sexual references, and is not suitable for the viewers below the age of 12.)

《牆上的塵埃》Wall Dust

單頻道錄像、彩色、有聲 Single Channel Video, Colored, Sound

7 min.

2013-2016


201展間╱R201

侯俊明 Hou Chun-Ming

侯俊明,1963年生於臺灣嘉義縣六腳鄉,慣以「六腳侯氏」署名。畢業於國立臺北藝術大學美術系,早期以裝置及版畫形式進行創作,就學時期受當時盛行的工地秀、脫衣舞等影響,作品中充斥情色文化的圖文符號,大膽挑戰情慾等禁忌題材,並融入宗教民俗美學,藝術家:「圖跟文的搭配,其實是一種共振狀態」,以一種相互加乘,在同樣的情境脈絡底下,不同方式的表現。」而這也是侯俊明獨特且為人所熟知的風格,其創作歷程與當下臺灣環境和社會現況有密切關係。

Hou Chun-Ming (b. 1963) was born in Liujiao Township, Chiayi, Taiwan. He often signs his works with "Hou of Liujiao." Graduated from the Department of Fine Arts, Taipei National University of the Arts, the artist used to create installations and engravings. Influenced by the popular culture of construction site shows and strip dancing when he was still a student, Hou started using a large amount of erotic symbols to boldly challenge social taboos. He also employs Taiwanese religious and folk aesthetics in his work. Hou once stated, "the combination of image and text creates a kind of resonance. They reinforce each other and can be expressed in different ways in the same context." The combination, therefore, forms Hou's unique and well-known style, and his creative career has closely corresponded to the social environment and situations in Taiwan.

 

1990年代,「極樂圖懺」、「搜神記」、「香港罪與罰」、「上帝恨你」等系列,寫照同性戀族群受社會迫害的處境、現代人生活種種的社會壓力、自主言論失語的殖民文化等意象、體現挑釁權威的社會批判力道。1997年經歷低潮時期,透過團體治療進行自由書寫、塗鴉創作與繪製曼陀羅。千禧年後創作方向轉為心靈的探索,隨筆書寫繪畫的形式結合臺灣民俗信仰,發展出漢字創作的畫風。2006年後作品轉向「自我敘說」解構式的轉化,如:2006年《枕邊記》;2007年《堀之龍.翔之鳳》、《侯氏八傳》、《圳鳴四十七自述》、《蕾絲鞭》、《鏡之戒》,以及2008-2009年的《亞洲人的父親》等,這些作品中表意的自我療癒、自由書寫、曼陀羅繪畫與追問亞洲父親形象等的創作,將外化的批判性精神轉為內在湧動創作的力量。 2014年《身體圖》開始進行訪談創作以及身體慾望的意象探索。

In the 1990s, Hou created various art series, including Erotic Paradise, Anecdotes About Spirits and Immortals, Hong Kong: Sin and Punishment, God Hates You, etc. These series of artworks depicted images of social predicaments faced by LGBTQ community, social pressure shouldered by modern people, and the loss of speech in a colonized context, demonstrating the force of social critique and rebellion against authorities. Hou experienced a period of slump in 1997. Through group therapy, free-writing, graffiti, and mandala drawing, his creative work took a turn towards soul searching after the millennium. He also integrated scrabbling and free writing with Taiwanese folk religion to develop a painting style based on Chinese characters. After 2006, he shifted towards a deconstructive style of "self-narrative," and created Journal by Pillow (2006), Caving Dragon and Flying Phoenix, Eight Generations of Hou, Confession by Jun-meeg at Age of 47, Lesbian's Lace Whipping, The Caution in Mirror (2007), and Asian Father (2008-2009). These works, created by converting his critical spirit into an inner creative force, revealed Hou's attempt in self-healing, free-writing, mandala drawing as well as his exploration of paternal images in Asia. In Body Map (2014), the artist conducted interviews to create the work, departing on a journey to explore the image of physical desire.

 

「身體圖」系列為2014年開始的創作,是藝術家侯俊明與受訪者身體的互文性創作。透過訪談模式回顧記憶、生命及深層的私密情慾,在為期兩天的思考性談話中,讓受訪者回到真實的身體感受,以黑白兩面紙畫下身體圖,白紙是受訪者的自我解析,黑色的部份則為藝術家聆聽講述故事後的回應,作畫的過程中藝術家要求受訪者以一絲不掛的方式趴在地上畫畫,這個動作讓畫畫的人回到最原始本能的、更加直覺的表達內在最深刻的生命經驗。

Started in 2014, Body Images references the intertextuality between the works of the artist and his interviewees. These interviews mainly involve the subjects’ retrospective look upon memory, life, and intimate desire; during these contemplative talks that would usually last two days each, the interviewees would focus on their truthful physical perception and draw their body images on pieces of two-sided paper. The white sides reveal the self-analyses of the interviewees while the black sides show the artist's responses after listening to their stories. The interviewees were then asked to be fully naked while they started drawing on the floor, as the artist believed this approach would allow the interviewees to revisit their most primitive instincts and more intuitively express their profound experience in life. 

 

展出的作品「男洞」系列,為多位受訪者其中的13位同志受訪者的身體圖,作品名稱中「洞」代表記憶的窺視與秘密,也象徵著慾望、匱乏與追尋。展出同時呈現同志們自畫像與藝術家筆下的同志模樣,讓觀者可以透過雙重的詮釋解析這組作品,探討同志身份在臺灣社會的處境,並透過圖像創作的轉化過程,讓受訪者對於身體展現強烈的自覺,進而敘述同志如何完成自我凝視。藝術家將生命及情慾以神聖的展示方式攤開,就像一場莊重的儀式一般,讓情慾不再是侷限而是一種超越與成全。

On view in the exhibition is the Man Hole Series, which comprises the body images  of thirteen LGBTQ interviewees. The word "hole" denotes a retrospective glance into memories and secrets and symbolizes desire, deficiency, and sexual quest. At the same time, the series of drawings presents the self-portraits of the interviewees and the artist's representations of them, allowing the audience to interpret and approach the drawings through different perspectives. Exploring the situation of LGBTQ people in Taiwanese society and transforming their experiences into images, the drawings enable the interviewees to demonstrate a profound sense of self-awareness while portraying how they visualized their self-gaze. As the artist displays life and desire in a sacred setting reminiscent of a religious ritual, desire is no longer equated with limitation but transcendence and fulfillment.

(本作品涉及裸露內容,未滿十二歲者需家長陪同觀賞。The Artwork contains scenes of partial nudity. Viewers below the age of 12 should be accompanied by a parent or adult guardian.)

 

《男洞》Man Hole

粉蠟筆、紙 Oil Pastel on Paper

55 x 237 cm, 一組兩件,共計13組 set of two, total 13 sets

2014-2016


201展間╱R201

西亞蝶 Xi Ya Die

西亞蝶,1963年生於中國陝西,高中畢業之後即輟學,跟從母親學習「剪紙」這項傳統的中國技藝。藝術家自稱為「西亞蝶」,意即「西亞的蝴蝶」,為一西伯利亞傳說:有種蝴蝶在冬天的時候會被凍結,經過漫長的冬季後,在來年的春天等待陽光將牠們身上的冰霜融化,再次振動翅膀,復活重生;這樣的名稱即是藝術家對於自身人生歷程的描述,也是自我的期許。

Born in Shaanxi, China Xi Ya Die (b.1963) did not pursue further education after finishing high school, and learned traditional Chinese art of paper-cutting from his mother. The artist calls himself " Xi Ya Die," which means "the Siberian butterfly." A Siberian legend speaks of a type of butterflies that can withstand the long, freezing winter and flap their wings again under the spring sunshine. The name, therefore, reflects the artist's personal journey and symbolizes his self-expectation.

 

西亞蝶的成長歷經過中國文化大革命,而同性戀在文革時期受到嚴重的迫害,直至今日中國的官方體系裡,同性戀仍是禁忌話題,因此藝術家的同性戀傾向從小即深深地被社會的傳統觀念所壓抑;西亞蝶透過自傳式的剪紙創作,來宣洩並表達內心世界的糾結、與生命經驗的苦澀。

Xi Ya Die experienced the Cultural Revolution in China, a period when homosexuals were persecuted and are still taboos in the eyes of the Chinese government today. Since childhood, the artist’s homosexual tendencies were suppressed by society’s traditional ideals, finally finding an outlet for the inner complexities and bitterness of life through autobiographical paper cuts.

 

本次展出的作品包含三個不同時期的系列「門」、「車」、「樂」,從中可看出藝術家在不同時間點的狀態,透過「門」的意象,表達同志於「櫃子」內的壓抑,更可以直接從「門」系列中看到藝術家徘徊在門內與門外的生活狀態,和對傳統異性婚姻的反抗;「樂」以及「車」系列則是藝術家在自我認同與解放後,對於同志愛情中所經驗的慾望展現。西亞蝶的剪紙作品內容多涉及男男性愛關係,透過花、草、傳統符號等元素,表達對於性的純淨與歡愉的展現;作品也同時反映了當代LGBTQ群體在傳統社會下,對於性別認同、婚姻壓力與傳宗接代的困境寫照,帶有反骨和真誠的精神火花。

This exhibition includes work series from three different periods: Door Series, Train Series, and Pleasure Series. The concept of the “closet” for the homosexual community is expressed through the image of the door, and the artist conveys doubt and uncertainty through a figure who seems to be hesitant about where to position himself/herself, at the same time fighting the traditional notion of matrimony. The Train and Pleasure Series display the desire of homosexual relationship after discovering self-identity and freedom of expression. Many paper cuts of Xi Ya Die depict two males, Showing the purity and pleasure of sexuality through elements such as flowers, grass, and traditional symbols. The works also point out the dilemma that the LGBTQ community endures when faced with the pressures of traditional society regarding gender stereotype, marriage, and bearing children, showing authenticity and an honest expression of the self. 

《縫》Sew Up

紙 Paper

118 x 140 cm

2017

《門 (屋裡屋外) 》Door Indoor Outdoor

紙 Paper

140 x 140 cm

2017

《門 (屋裡樂) 》Door Indoor Pleasure

紙 Paper

140 x 140 cm

2015

《車》Train

紙 Paper

136 x 136 cm

2017

《樂》Pleasure

紙 Paper

140 x 140 cm

2015


201展間╱R201

席時斌 Hsi Shih-Pin

席時斌,1977年生於臺灣臺北,2007年畢業於國立臺北藝術大學造形研究所。專注於雕塑與裝置創作,作品勾勒了日常物象的消逝與想像,精密的打造出多變奇麗的形態與空間。透過古典到數位時代的建築製圖學演練與自然的幻想,藝術家企圖刻劃出的不是我們有限知覺所感知的東西,而是隱喻性地超越了這些形體,傳達物件曾經感知的「記憶」。

Born in Taipei, Taiwan, Hsi Shih-Pin (b. 1977) received his MFA in Plastic Arts from Taipei National University of the Arts in 2007. Specializing in sculpture and installation, Hsi's work addresses the disappearance and imagination of daily images, transforming them into elaborate and fantastic forms and spaces. From classical and digital architectural blueprints to fantasies about nature, the artist does not aim to depict things perceived through our limited senses but to portray formless "memories" conjured up in the mind by the objects.

 

席時斌在創作的結構與形貌上,結合古典解剖學的淬鍊與傳統工藝技術的應用,作品兼容神話想像、文學詩意和科工製作等不同興味的美學物件,早期的藝術創作,圍繞著人與不同時空環境遇合而衍生的想像和思維,如:2009年竹圍駐村創作《河海建醮》、2009年《青河》以及2010年《流放》等作品。近年來創作的大型立體雕塑,以「愛情之馬」、「知識之馬」等意象,傳達生命的重要價值:「其實也是在記錄自己每個階段對人生的領悟。」選用「馬」、「鹿」做具體意象,取其自然純粹、無須刻意定義的生命型態,來表達無限可能的價值。

The structure and appearance of Hsi's work reveal a combination of classical anatomy and traditional craftsmanship, merging mythological imagination, poetry, and scientific engineering in his creations. His early works evolved around the imagination and ideas about people's encounter with different environments, for instance, his Taoist Ritual of River and Sea (2009) created during an artist residency at Bamboo Curtain Studio, Black River (2009), and Flowing Fun (2010). In recent years, he has been creating large sculptures, and used works like Horse of Knowledge and Horse of Love to convey important values in life: "in fact, it is like recording my own understanding of life at different stages of my own life." The reason why he has chosen "horse" and "deer" to create his works is because these animals have a life form that is natural, pure, and does not need any more explanation, making them suitable to express infinite possibilities in the artist's opinion.

 

本次展出作品《自由之鹿》,最初形象是兩隻連體的公鹿,藝術家在創作的過程中,雙鹿逐漸融合,共用了脖子、胸部、腰部、臀部及尾部,席時斌的雕塑同時具備簡化與複雜化的雙重可能,具體而言就是將形象簡化為幾何形狀,捨棄實體卻獲得了更多安置形象的空間。回應本次展覽的同志議題,藝術家修改了手槍、第五對鹿角的兩個部分。於公鹿胯下的手槍以金色及藍色處理,使得它更為明顯;鹿角則增加第五對角採用了更華麗、誇張更富戰鬥力的形狀。整體而言,藝術家依照自我經驗,擴展了作品中有關暴力的形態。此外,作品上的八條腿是擷取公鹿奔跑中的八個分解動作,使牠既是站立也是在奔跑。這樣混合造形使得作品在形象上越顯曖昧,既單薄又豐盈,既明確強烈又破碎模糊,既是暴力的,也是和諧的。

Buck of Freedom initially depicted two conjoint bucks. As the artist proceeded with the sculpture, the bucks gradually fused into one, sharing the same neck, chest, waist, and tail. Hsi's sculpture is the amalgamation of simplicity and complexity. He simplifies an image into geometric shapes, renounces concrete representation yet gains more leeway to delineate the image. A pistol between the buck's hind legs symbolizes desire whereas its hooves are replaced with presser feet of sewing machines to emphasize a sense of movement. On its head, the buck is carrying the upper part of another buck's head that has four pairs of antlers as if it were a glorious crown. No one knows that the strong buck's shape of head is, in fact, derived from a doe that has no antlers. Responding to the LGBTQ issues addressed in the exhibition, the artist specifically modifies two parts of the original sculpture, which are the pistol and the antlers. The pistol between the buck's hind legs is rendered in gold and blue, making it more prominent, whereas one more pair of antlers is added, bringing the total number of antlers to five pairs. This gives the buck a more glamorous, hyperbolic, and combative look. Overall, the artist follows his personal experience and stresses the violent color of the sculpture. Moreover, the buck's eight legs mimic the action sequence of eight successive movements, simultaneously showing the buck standing still and running. This hodgepodge of motion has added a sense of ambiguity to the work, rendering it simple yet rich, vividly powerful yet fragmented, violent but unifying.


《自由之鹿》Buck of Freedom

不鏽鋼、鈦金鍍膜、陶瓷、人工水晶 Stainless Steel, Titanium Plating, Ceramic, Cutting Crystal

195 x 230 x 100 cm

2015


201展間╱R201

王亮尹 Wang Liang-Yin

王亮尹,1979年生於臺灣雲林,2008年畢業於國立臺北藝術大學美術系,自大學時期便以壓克力顏料作為主要創作媒材,對於顏料的掌握、混色於畫布等縝密的處理堆疊,技法漸趨成熟。王亮尹的創作主題以甜點最具代表性,壓克力顏料流動溶解的狀態為其鮮明的標誌之一,透過甜點象徵美好的符碼,喚起觀者對於記憶/想像中的味覺,觸探甜美背後原始生物本能的慾望,以及思維與慾念間層層的隱秘關係。

Born in Yunlin, Taiwan, Wang Liang-Yin (b. 1979) received her MFA from the Taipei National University of the Arts in 2008. Since her undergraduate years, Wang has used acrylic as a medium for artistic creation and has cultivated a technique for color combination and layering on canvas. Wang is known for her portrayal of sweets. The fluidity and dissolution of the acrylic paint is her distinctive mark. Using sweets as a visual symbol, the artist evokes the sense of taste in viewers' memory or imagination, explores the primitive desires induced by sweets, and the complicated yet hidden relationship between thoughts and desires.

 

本次展出的作品為藝術家近年來的創作,在不同生活情境中記錄下甜點的獨照,可口誘人的甜食勾起觀者品嚐的慾望,藉由甜點去觀察慾望的流變以及真實性。使用滴流的技法來表現融化的過程,這樣垂墜的樣態也暗示著甜點雖有著美好的外表,仍舊隱藏著賞味期限,而不完整的畫面也揭示了慾望殘缺的本質。《有星星的杯子蛋糕》則是以臘作為雕塑作品的材質,取其如膚質般略帶透明,與將融未融的不穩定特質,來表現慾望的物質化形象。

On display in the exhibition are Wang’s recent works. These images of sweets recorded in different moment in life incite our craving. Sweets, as a result, manifest her observations of changing desires and their truthfulness. Whereas the dripping technique is employed to present the melting process, the thin, dripping traces imply that beautiful appearances of the sweets come with an expiration date, exposing the reality of desire. Furthermore, the incomplete images of sweets also beckon at the fact that desire can never be truly fulfilled. Cup Cake with Star is a wax sculpture that has a semi-transparent, skin-like surface and an unstable, melting quality, which the artist combines to delineate desire in material form.

(智邦藝術基金會收藏 Collection of Accton)

《有星星的杯子蛋糕》Cup Cake with Star

蠟 Wax

130 x 130 x 150 cm

2008

(楊琬茜先生收藏  Collection of Wan-Chien Yang)

《虛構的完整》Fictional Completion

壓克力顏料、畫布 Acrylic on Canvas

95 x 185 cm

2012

(許智堯先生收藏  Collection of Hsu, chihyao

《重複的願望_黑色火焰》The Wanted Ones _ Black Flames

壓克力顏料、畫布 Acrylic on Canvas

150 x 107 cm

2013

(國立臺灣美術館典藏 Collection of National Taiwan Museum of Fine Arts)

《重複的願望_甜美的來生》The Wanted Ones _ A Sweet  Afterlife

壓克力顏料、畫布 Acrylic on Canvas

178 x 193 cm

2014


201展間╱R201

曾廣智 Tseng Kwong Chi

曾廣智 (1950-1990),生於香港,1966年舉家移民加拿大溫哥華。在巴黎接受正規藝術訓練,進入朱利安藝術學院學習繪畫,後轉修攝影並於1975年畢業。1978年遷居紐約市,認識了凱斯•哈林等前衛藝術家,成為東村的活躍人物並記錄了1980年代紐約東村的藝術盛況。

Tseng Kwong Chi (1950-1990) was born in Hong Kong, and immigrated to Vancouver, Canada with his family in 1966. He received formal art training in Paris, where he attended the Académie Julian to study painting, and later, photography. He graduated in 1975 and moved to New York City in 1978, where he became friends with artists like Keith Haring, and lived as an active photographer in the East Village. Tseng documented the flourishing art scene of the East Village in the 1980s.

 

1970年代開始,許多的國際藝術家開始運用攝影手段,探索自己的身份認同問題,於此風潮中,美國藝術家辛蒂.雪曼即是一例。曾廣智最為人熟知的「東方遇見西方」及「遠征」系列作品,創作源自1979年藝術家於加拿大蒙特婁市的一間舊物店見到一套中山裝。從未踏入中國土地的他,對於自我身分感到好奇並開始以中山裝作為標誌,開啟了《東方遇見西方》攝影創作計畫;同一時間,藝術家將自己的名字,由英文的Joseph Tseng改為中文本名曾廣智,穿上中山裝並且在胸前別上一張附有照片的自製身份證和一副墨鏡,化身為一種東方符號。曾廣智為自己下定義:「我是一個充滿好奇心的旅行者,是一個我所處時代的見證者,也是一個野心勃勃的大使」。

Since the 1970s onward, artists in various parts of the world, including American artist Cindy Sherman, began to explore their own identity and related issues through photography. Tseng is best known for his East Meets West Series and The Expeditionary Series. The series began with a Mao suit, which the artist found in a second-hand shop in Montreal, Canada in 1979. Being a total stranger to the land of China, he became curious about his own identity and began using the Mao suit as a symbol in his photographic project, East Meets West. Meanwhile, Tseng also replaced his English name, Joseph, with his Chinese name. He then put on the Mao suit and a pair of sunglasses, and wore an identity badge on his chest, transforming himself into a cultural symbol of the East. Tseng once defined himself as the following: "I am an extremely curious traveler, a witness to the time I live in, and an ambitious ambassador."

 

他拍下自己置身於西方世界的名勝古蹟及地標建築中,從紐約的自由女神像、舊金山的金門大橋、巴黎的艾菲爾鐵塔、倫敦、義大利、巴西等地著名景點。揉合極其個人化自拍與行為藝術的藝術實踐,希望喚起人們對於隱藏物象背後主權力結構的關注。1985年後不再使用遙控快門,人物因而不再佔據影像的絕大部分,而是隱沒在壯碩的自然景觀中。1990年曾廣智因愛滋病病逝於紐約,一生從未踏足過中國大陸。

He photographed himself with a series of famous historic sites and landmarks, from the Statue of Liberty in New York, to the Golden Gate Bridge in San Francisco, to the Eiffel Tower in Paris, to other cities and countries, such as London, Italy, and Brazil. By mixing selfies in an individualized style and the artistic practice of performance, he hoped to awaken people and guide them to pay attention to power structures behind appearances. Since 1985, Tseng stop using remote-controlled camera shutter, and figures no longer dominated his photographic works but blended into magnificent natural landscape. Tseng died of AIDS-related illness in New York. Throughout his life, he had never set a foot on the Chinese soil. 

 

此次展出的作品為「東方遇見西方」及「遠征」系列的其中三件,藝術家以幾乎一致的機械式姿勢,通過自拍塑造獨特的個人形像,也逐漸的由一個外國的遊客轉化為一名發現者,勾勒出一個來自東方世界的中國人,在西方世界裡做社會探險的一項文化使命,作品創作之際,藝術家自我任命為一名藝術的外交大使;就作品另一面而言,藝術家穿上中山裝及戴上墨鏡此一行為,將自己變身成為亞洲固有形象的諷刺化身,在周遊西方著名文化景點的過程中,引發觀者對於偌大的國家集團及全球化的歷史思考。

The three photographs on view are part of the East Meets West and The Expeditionary Series, and show the artist's self-portraits in an almost identical, repeated posture, crafting a distinctive personal image. As he gradually transforms himself from a foreign tourist into a discoverer, the series portrays a cultural mission of social adventure conducted by a Chinese man in the Western world. When he was working on the series, the artist called himself an ambiguous ambassador. In terms of the work, the artist has turned himself into a stereotypical Asian image with a sense of sarcasm by wearing the Mao suit and sunglasses. Through showing the artist travelling from one cultural site to another, the series also invites viewers' reflection upon statehood and the history of globalization. 

From Tseng Kwong Chi “The Expeditionary" Self-portrait Series 1986~1989
Photograph: Tseng Kwong Chi. © Muna Tseng Dance Projects, Inc. New York.

《日本大島,1988年(沙丘)》Oshima, Japan, 1988 (Dunes)

銀鹽影像輸出 Silver Gelatin Prints

91.5 x 91.5 cm

1988

From Tseng Kwong Chi “East Meets West” Self-portrait Series 1979-1989 
Photograph: Tseng Kwong Chi. © Muna Tseng Dance Projects, Inc. New York.

《紐約州紐約市,1979年(世界貿易中心)》New York, NY, 1979 ( World Trade Center)

銀鹽影像輸出 Silver Gelatin Prints

91.5 x 91.5 cm

1979

From Tseng Kwong Chi “East Meets West” Self-portrait Series 1979-1989 
Photograph: Tseng Kwong Chi. © Muna Tseng Dance Projects, Inc. New York.

《加州舊金山(金門大橋)》San Francisco, California (Golden Gate Bridge)

銀鹽影像輸出 Silver Gelatin Prints

180 x 180 cm

1979


201展間╱R201

鄢醒 Yan Xing

鄢醒,1986年生於中國重慶,2009年畢業於四川美術學院油畫系。創作媒材包含繪畫、行為藝術、錄像攝影、裝置等形式,透過文學、理論、藝術史的深入調查,藝術家制定了一個自我的敘事方式,經常以西方經典作為挪用、重塑並再創造,內容圍繞著時代性的大型主題進行分析,按藝術家的說法:「無論哪種情況,問題的關鍵都在於如何對名作進行拆解與重組,使它們暗示出一段從來不曾有或不可能有的歷史」。其創作無論採取何種媒材,都傾向一種饒富自傳意味的話語形式。

Yan Xing (b. 1986) was born in Chongqing, China. He graduated from the Department of Oil Painting, Sichuan Fine Arts Institute in 2009. Yan employs a wide range of creative media, including performance, video, photography, installation and painting. Through in-depth research about literature, theory, and art history, he creates an individualized narrative form. By appropriating, reconstructing, and remaking Western classics, his work analyzes profound themes that reflect our time with. According to the Yan, "in any situation, the key of the question is how to deconstruct and reconstruct masterpieces so that they can hint at a piece of history that never exists or is impossible to exist." Regardless of which media he employs to create his works, the artist tends to adopt a verbal form, rendering the works autobiographical.

 

2010年作品《DADDY項目》,鄢醒向公眾剖析了自己不完整的童年,以自身的人生經歷放置在備受關注的審視和探討的核心,以此滿足被觀看、被傾聽,以及被愛的本能欲求。2011年,探討藝術史生成機制的作品《現實主義》,由自身的藝術實踐,檢驗自己與藝術權力話語的關係,並消解它們的權威及其影響力。2012年他將關注點轉移至美國藝術家梅普爾索普的攝影,從兩人的性取向到對作品的詮釋,都頗有共通之處。2013年移居美國洛杉磯,以《兩部錄影,三張照片,幾件與之相關的傑作和美國藝術》試圖闡釋自己與「美國」的關係,這個「美國」不是以地域來勾勒,而是一個被賦予了悲劇性的詞彙,可以說它是一個國家,一種精神或更像一場人類的苦役,歷經千里跋涉後得到的真理? 

In 2010, Yan revealed his incomplete childhood in his work, Daddy Project, which placed his own life story at the center of attention and discussion, in the hope that his desire to be seen, heard and loved could be fulfilled. In 2011, his Realism discussed the production mechanism of art history. In this work, he used his own artistic practice to examine his relation to the language of power used in the art world while deconstructing its authority and influence at the same time. In 2012, he turned his attention towards the photography of American artist, Robert Mapplethorpe. From their sexual orientation to the interpretation of art, the two artists have much in common. In 2013, Yan moved to Los Angeles, and created Two Videos, Three Photographs, Several Related Masterpieces, and American Art. This work was his attempt to elaborate on his relationship with "America," which was not defined in a geographical sense in the work but more like a noun invested with tragedies. It simultaneously referred to a nation, a spirit, and even humanity's suffering. The question the artist posed through this work was: would we really find the truth after the long and distant journey?

 

2015年,《賊》作品中的運動員,展現了男性氣質的暴力與情色,通過姿勢、陰影的層次與狂熱的情緒,以無聲地演繹推升出張力的呈現,將失敗、懲戒與規訓等命題,指出消極性、抵禦以及秩序在藝術語言演繹中的不同層次,並給予合理相應的位置,以此重新審視所謂「合法性」之於「賊」的界定。

The athlete in Thief, created in 2015, demonstrated violence and erotica of a masculine nature. Through the postures, layers of shadow and fierce emotion, the work built up a sense of intensity in silence and engaged in topics about failure, punishment and discipline. In the work, Yan portrayed passivity, resistance and order through the progression of artistic language, and assigned them to corresponding places, leading audience to review the hypothesis and definition of a "thief" as well as his "legitimacy."

 

《賦格的歷史》是向美國已故攝影師羅伯特.梅普爾索普的「裸體男性」系列作品致敬,藝術家錄像中身體的姿勢參考了羅伯特七件經典照片中所表現的動作;進入展場後大幅的黑白投影畫面映入觀者的眼簾,男模特兒試圖讓身體線條處於靜止狀態,但觀者透過影片的動態呈現還是可以明顯看出呼吸中的身體起伏。幾近赤裸、肌肉發達、理想化的雕塑型身體,象徵文藝復興時代力與美的結合,而在當今社會對於身體線條之主流崇拜也不例外,作品暗示了藝術家對於完美男性身體的凝視與耽迷,亦同樣顯現了羅伯特在攝影作品中所瀰漫的同性情慾。

The exhibition shows Yan's The History of Fugue, which marks the artist's tribute to American photographer Robert Mapplethorpe. The poses in seven of Mapplethorpe's classic photographs are used as references for the postures filmed in the video. Upon entering the gallery room, audience will see the large black-and-white projection. While the artist tries to remain completely still to show his physical contour, viewers can detect the heaving movement of the body. The unclothed, muscular, idealized physical form is reminiscent of Renaissance sculptures that demonstrate both strength and beauty. This work is reinterpreted and represented of Robert's photography by the artist, tracking back to the theoretical inquiry through his motion video.

《賦格的歷史》The History of Fugue

單頻道錄像、黑白、無聲 Single Channel Video, Black and White, Silent

5 min. 33 sec.

2012


201展間╱R201

楊嘉輝 Samson Young

楊嘉輝,1979年生於香港,是一位受古典音樂與專業作曲訓練的聲音藝術家及作曲家,擁有普林斯頓大學電子音樂博士學位,曾被美國CNN的環球網站選為「香港二十位矚目的名人」 之一。藝術家的創作內容涉及身分、文化、戰爭及文學等議題,透過大量至各地研究走訪、錄製並創造不同音樂元素及圖像的藝術計畫,楊嘉輝所建立起的特殊場景,巧妙融合古典音樂和科技元素,將自身所處於殖民時代與極權政體交接的身分體驗帶入作品中,給予觀者關於日常物件及回溯歷史故事的反思。

Born in Hong Kong, Samson Young (b. 1979) is a sound artist and composer. Trained in classical music and composition, Young holds a PhD in Music Composition from Princeton University. He is selected by CNN as the “Top 20 People to Watch in Hong Kong.” His works engage in issues of identity, culture, war, and literature; and he travels to many countries and conducts art projects comprised of music-recording and image-making. The unique scenes created by Young deftly combine elements of classical music and technology, into which he incorporates personal experience of living in both British colonized and Chinese-ruled Hong Kong. Viewers of his video are prompted to reflect upon ordinary daily objects and accepted historical narratives.

 

楊嘉輝開始接觸科技藝術後,重新回視美國先鋒派古典音樂作曲家—約翰.凱吉和白南準等早期藝術家的作品。他透過一個簡單操作的還原手法,進而產生的許多美學、觀念性及互動式的有趣體驗。楊嘉輝每個創作項目後面都隱藏著大量的研究工作,如:2012-2014年《暴力邊界》他以圖像記譜法,記錄了自己在兩年的時間裡,收集香港邊境地區隔離物的聲音並剪貼成聲音作品,再依據聲音作品謄寫出符號樂譜,作品依形式呈現包括:拼貼的聲音作品、符號樂譜、田野調查影像,及標誌出邊境位置的地圖。

After Young began engaging in technological art, he reviewed music written by American Avant-Garde classical composer John Cage. and artworks created by artists of the early generation, such as Nam June Paik. Through a simple act of restoration, he was able to generate fun experiences that were essentially aesthetic, conceptual and interactive. Each one of Young's projects has required a massive amount of research efforts. For example, in his Liquid Border created during 2012 and 2014, he adopted the method of graphical notation and recorded the sounds he had collected at peripheral locations around Hong Kong within two years. He then edited these sounds into a sound work and scored music according to the sound work. The finalized work, therefore, was constituted of various forms, including the edited sound work, the music scores, his field research videos and a map marked with the peripheral locations.

 

2013年《牢記〈崔斯坦和弦〉》作品中,楊嘉輝邀請了70位粵語使用者以無厘頭的聲音和文字的複雜交疊,創造可以融合瓦格納著名歌劇《特里斯坦與伊索爾德》,提出對地域性、歷史性、在地化融合的質疑。2015年為創作《喪鐘為誰而鳴:一段在衝突的聲音歷史中穿梭的旅程》,以鐘聲作為和平與衝突的象徵,造訪五大洲,研究並記錄世界各地在不同歷史階段,含蘊著特殊意義的鐘鼎,探索它們與宗教和戰爭的聯繫;《親愛的朋友啊你在想什麼》走訪了香港防空洞的地下水道,更觸動了關於邊界、特別是香港身份的思索。

In Memorizing the Tristan Chord created in 2013, Young invited seventy Cantonese speakers to create a work that was interwoven with their nonsensical sounds and words, and merged it with Wanger's Tristan und Isolde, challenging the possibility of regional, historic, and local integration. In 2015, he created For Whom the Bell Tolls: A Journey into the Sonic History of Conflict. In this work, Young used the sound of bells as a symbol of peace and conflicts. He traveled to five continents, studied and recorded special meanings of bells around the world at various times in history, exploring these bells' relations to religions and wars. For Pastoral Music (But It Is Entirely Hollow), Young conducted trips to the sewage tunnels of Hong Kong's bomb shelters, initiating an investigation into the island's boundary as well as its identity.

 

「消音狀況」系列作品,透過重新調整不同聲音層的過程,使聲音狀態以不同的形式呈現。聲音的「前景」(foreground) ― 在此意指音符的部分,被刻意地靜音或壓制,而平常較少被注意到的聲音層得以揭露顯現。此次展出的《消音狀況 #5: 消音合唱》,經由無投射出音符的方式演奏整首合唱作曲,在演出過程中,合奏、表演者身體的參與以及其他元素被保留,但音符被刪去,不被觀眾所聆聽,由於抑制「前景」發聲的成分,因此其他聲響如歌唱者的呼吸、肢體動作來回間及翻閱樂譜的聲響被更清楚地表現出來。對藝術家而言,消音並非什麼都不做的沉默;相反地,消音行為是一種對於聽覺的重新想像與建構,《消音狀況》經由有意識地抑制日常主導的聲響,抽離主要的「前景」聲,誘發觀者省思生活中習以為常的關係與態度,揭露「不被聽到」與「被邊緣化」,並為其發聲。

Muted Situations is a series of works that presents sounds in different forms after re-prioritization of different sound layers. The sonic "foreground," namely musical notes, are deliberately muted or suppressed so that sounds rarely noticed become perceptible. Muted Situations #5: Muted Chorus is a process of muted chorus singing. During the performance, the ensemble, the singers’ physical actions, and other elements are kept, but the musical notes are erased; thus, viewers cannot hear sounds coming out from the chorus. Suppressing the dominant sonic "foreground" makes other elements more conspicuous, such as the breathing, physical movements, and sounds of turning musical sheets. For Young, muting does not mean silence; contrarily, muting is a way to re-imagine and re-construct sounds. Muted Situations involves conscious suppression of dominant voices and removing the sonic "foreground." It is a piece of artwork that allows us to think about the sounds we take for granted and divert our attention to the "unheard" and "marginalized" sounds. 

《消音狀況#5:消音合唱》Muted Situations #5:Muted Chorus

單頻道錄像、彩色、有聲 Single Channel Video, Colored, Sound

6min. 45 sec.

2014

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主持:胡朝聖/策展人

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※ 歡迎點選下列連結下載取用:https://goo.gl/tkX8eE


【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。

以寓教於樂的方式,配合每檔主題展覽,開發展覽學習單及學習盒,輔助了解展覽內容,增添學習趣味。104年度新推出「親子觀察單」,讓家長能自行引導年齡較小的小朋友,參觀展覽。

※ 歡迎點選下列連結下載取用:https://goo.gl/na1cKn


 【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。

為強化美感教育、深耕藝術教育,於原有的教育設施導賞服務中,持續推出兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。

※ 歡迎點選下列連結下載取用:https://goo.gl/FZ7joz


【兒童學習盒】*適合年齡:6-15歲。歡迎至當代館一樓服務台借用。


【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。

為推動本館教育推廣之功能,讓藝術向下扎根,「U12-小玩藝教室」,憑門票開放親子入場共同體驗藝術之美。除了規劃年度主題,設計與兒童互動及遊戲的裝置之外,亦配合每檔展覽,規劃不同媒材的手作課程,希冀藉由藝教於樂的方式,激發兒童的藝術想像力與創造力。

http://www.mocataipei.org.tw/index.php/2012-01-12-05-25-27/moca-u12

 

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