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

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「華麗轉身─老靈魂的魅力重生」The Charismatic Rebirth of Yore

展覽名稱 Exhibit

「華麗轉身─老靈魂的魅力重生」
The Charismatic Rebirth of Yore

展覽時間 Date 2018/05/19 (sat.) ~2018/07/22 (sun.)
展覽地點 Venue

台北當代藝術館

門票 Admission

NT50

參展藝術家 Artists

李冠然 Kenny Li、沙布喇‧安德烈(高勝忠)Sabra‧Andre

林淑鈴 Shu-Ling Lin、范承宗 Cheng-Tsung Feng、康雅筑 Ya-Chu Kang

張美儀 Meiyi Cheung、張國威 Koyo William、陳宗萍 Tsun-Ping Chen

傅織女 Tricia Flanagan、舒米‧如妮 Sumi Dongi、楊偉林 Yang, Wei Lin

嘎瑪魯岸 Kamaro'an、、盧聲前 Singchin Lo、賴純純 Jun T. Lai

展覽介紹 About the Exhibition

「華麗轉身─老靈魂的魅力重生」
The Charismatic Rebirth of Yore
 
當代藝術有一個任務,就是企圖跳脫過去藝術分類的方式,返回生活,回到藝術的原初,回到一切正在發生、形成,無法歸類和命名的本源,再重新出發,重新看這個世界。無論是傳統與現代、工藝與設計、純藝術與應用藝術之間,經過創作者的努力,打破疆界、去除分類之後,和平寧靜之際,新的作品,就是新時代的精神。在古早智慧的引導下,反身翻轉,代表新的開始以及未來的可能性,而結果是令人驚豔的。
 
時尚、生活美學、傳統技藝一向被斥為非藝術品,但近年來卻是歐美各大美術館展覽的新趨勢,這說明了觀念的流變以及當代手法的無限可能性。本展覽的藝術家或設計者、工藝師,在傳統與現代之間來來回回地省思與手作,在讚嘆與驚覺之中,整合新的知識,並且成為時代的象徵。
 
本展覽所邀請的香港藝術家有張國威、張美儀、傅織女、李冠然、盧聲前。他們在玩一個懷舊的民間遊戲:他們回顧生活中的傳統老件,思考人生,並向老師傅學藝。老師傅不但成為他們創作上的繆思,更引導他們跳脫框架,重新審視自己,感受手作,感受自己。有些作品觀眾需要仔細觀察才會發現其中的細節,從而獲得一種「快樂的發現」,例如陶瓷、廢五金如何運用在時尚表現、陰陽五行元素俱全的衣服如何可能,同時觀眾也可以發現剪刀石頭布的遊戲在藝術中無所不在。
 
臺灣藝術家有楊偉林、賴純純、康雅筑、林淑鈴、陳宗萍、高勝忠、范承宗、嘎瑪魯岸、舒米.如妮等,他們在進行類似「螺旋運動」的行為,不斷往中心鑽研並且擴散,這個中心就是臺灣遠古文化,以及對臺灣土地的熱愛與幻想,他們樂在其中,如此而有更強大的創作活力。觀眾可以看到來自史前博物館古物的靈感以及它的華麗轉身、臺灣花布的現代設計、臺灣藍染的新魅力、青春島嶼的興起,以及古早漁筌器皿的建築化等等,令人驚喜。
 
本展覽除了表現創新作品所帶來的魅力,打破藝術、設計、工藝的分類再重新出發,同時也讓觀眾感染到藝術創作者,永遠保持活躍的心靈與創作的喜悅,而且正自信地移動中。
 
 
The Charismatic Rebirth of Yore
 
In contemporary art, one of the goals is to break free from previous categorization of art and return to life, the origin of art, and the original state when everything is happening, forming and defying classification and naming; it is an attempt to re-start and re-perceive this world from a new perspective. Between tradition and modernity, craft and design as well as fine art and applied arts, a creator must undergo a struggling process of categorization to shatter the boundary before everything can settle down and usher in new forms of artworks that represent the spirit of a new era. Seeking the guiding wisdom from the days of yore and putting it through a transformative make-over, the results will not only suggest a new beginning and possibilities for the future, but can also be quite remarkable. 
 
Fashion, lifestyle esthetics, traditional skills are used to be considered as craft, however, they brought up a new trend in major art museums in occident recent years. This phenomenon explains the variations of concepts and unlimited possibilities of contemporary art. In this exhibition, artists, designers and craftsmen have incorporated new knowledge and created works characteristic of our time through a process of self-contemplation and handcraft, a process filled with wonders and surprises. 
 
This exhibition features several Hong Kong artists, including Koyo William Cheung, Meiyi Cheung, Tricia Flanagan, Kenny Li and Singchin Lo, who have been conducting a nostalgic folk game. After contemplating on life, they have drawn inspiration from traditional, old objects found in daily life, and found elder craftsmen to learn their skills. These masters have not only become their creative muses but also guided them to think outside the box, re-evaluate themselves, and genuinely perceive the hand-making process and the self. Some of these works need to be observed closely to see the exquisite details, which offer the “joy of making discoveries.” For instance, one may find out how porcelain and scrap metal have been used in fashion design, how the concept of yin and yang as well as the five fundamental elements have been incorporated into clothing, and how the game of “rock-paper-scissors” has been integrated into different aspects of art.
 
Taiwanese artists featured in this exhibition include Wei-Lin Yang, Jun T. Lai, Ya-Chu Kang, Shu-Ling Lin, Zong-Ping Chen, Andre Kao and Cheng-Tsung Feng, Makota'ay. These artists have been conducting an art action that creates a spiraling force while rippling out its impact. At the center of this spiral is their passion and fantasies about the Taiwanese prehistoric culture and the land of Taiwan. The artists have immersed and enjoyed themselves in this project, which reciprocates them with tremendous creative energy. Therefore, in this exhibition, audience will find creatively surprising artworks inspired by and transformed from antiques in National Museum of Prehistory, modern designs of Taiwanese floral textile, the innovative charm of Taiwanese indigo dye, the rise of young generations on this island, and architecture inspired by ancient fish traps and utensils.
 
This exhibition displays the charisma of innovative artworks, providing a new beginning through redefining the classification of art, design and craft. At the same time, audiences can feel the artists’ forever active minds and creative joy, which demonstrate their confidence in the ever-changing artistic creation. 
 
 

 

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

 

范承宗  Cheng-Tsung Feng

范承宗,1987年生於臺灣。國立臺灣科技大學設計研究所畢業。他以創作承續傳統,尤其專注「竹材」之於生活器物的開發與應用。在學習的過程中,意識到傳統工藝所使用的絕頂聰明的造物方法,是經過一代代人於無數歲月中所積澱而成,其中蘊含的智慧遠遠超乎個人窮盡畢生之力所能企及。范承宗懷著謙遜的求藝之心,習道請益於耆老與匠師,如:於南投竹山學習竹編、竹管傢具;至高雄鹽埕學製蒸籠,前往伊達邵部落學做魚筌等。藉著親手製作的近距離,細賞一件件老器物。

竹之於范承宗不只定位於應用,身體裡住著老靈魂的他務求的是,探索隱藏於傳統器物中超越時間的智慧。「我所做的事大抵皆在挖掘古人在造物之中,於器物裡留下的那些無形資產」;「…堅持每件作品,都要有機器無法取代的手工技法,而此原則皆出自同一脈絡核心,即『超越時空的文化智慧』,透過創作於現代再一次應用,進而重新被時代所看見和需要,讓它始終能被流傳,這是令我真正著迷的部分」,他說。

Cheng-Tsung Feng was born in Taiwan in 1987, and graduated from the Graduate School of Design, National Taiwan University of Science and Technology. His creative objective has been to preserve and continue cultural legacy through artistic creation; and he especially excels in using bamboo to develop and create objects that can be used in daily life. In his training and learning, he has realized that traditional crafts embody extremely brilliant methods of making objects, which are the crystallization of wisdom passed down through generations that individual lifelong efforts can never match. With humility, Feng has sought to learn traditional crafts from elders and artisans, including bamboo weaving and bamboo furniture making in Zhushan, Nantou; steamer making in Yancheng, Kaohsiung; and fish trap making in Ita Thao Village. By learning these crafts, he has been able to appreciate and observe historic objects closely.

For Feng, bamboo is not simply a material used for making objects; instead, he aims to explore the time-transcending wisdom materialized by traditional objects. Feeling that he has an old soul, he once said, “What I have been doing is mostly unearthing the invisible assets hidden in historic objects made by people in the past,” “…insisting that each work I make can incorporate handicraft techniques that cannot be replaced by machines. This principle takes its root in one core concept and context. That is to make use of ‘the cultural wisdom that transcends time and space’ once again through artistic creation, and to make it visible and needed in our time. By doing so, it will be passed down continuously. This has been my real fascination.”

 

沙布喇‧安德烈(高勝忠)Sabra‧Andre

沙布喇‧安德烈 (高勝忠) 出生於臺東大武,實踐大學服裝設計學系創意組第一名畢業。來自排灣族血統的文化本源成為他創作上的靈感繆思,包括原住民各族之圖騰、神話、智慧等,他視創作是個人與文化的內化過程,透過服裝來訴說一個文化脈絡和一個故事,於解構並重新詮釋之際,傳遞出符碼箇中文化的精髓。

有時他引用建築的意象,例如哥德建築與1920年代裝飾藝術(Art Deco)的結構元素,他表示:「…其實我的服裝可以看到,非常明顯的建築結構,因為服裝它需要透過點、線、面形成一個包覆人體的空間,所以服裝它其實就是一個軟性的建築」。如飛扶壁與尖肋拱頂所強調的繁複、裝飾、雕刻的高聳峭拔,以及機械式的幾何、金屬感的濃厚色彩、異材質的拼接剪裁等。藉由個人神祕獨特的語彙,重新衍繹文化的經典詩篇,使服裝展現起承轉合的輪廓表情;柔中帶剛之中,不失復古又兼具前衛科技的未來主義特色。

喜歡挑戰和顛覆傳統印象的高勝忠,求學期間之創作均被購藏。獲獎與展演如:2009年經濟部工業局「時裝設計新人獎」冠軍;2011年受經濟部之邀,成為「西園29服飾創作基地進駐設計師」;2014台北時尚新銳設計師選拔賽銀獎;2018年「XXXX」系列於加拿大溫哥華時裝週賞展出;2018年4月以最新春夏系列作品參加杜拜世界時裝節獲首獎,沙迦公主下定禮服,可謂前所未有的殊榮,之後又奔赴越南時裝週,國際展演閱歷豐富。

Sabra · Andre (Andre Kao) was born in Dawu, Taitung. He graduated with the first prize from the Department of Fashion Design, Shih Chien University. His Paiwan lineage has been his creative inspiration, and he has always viewed and internalized the totem, mythology and wisdom of indigenous peoples as the source for his artistic work. Through fashion design, he aims to convey the cultural context and stories of the indigenous peoples, then to deconstruct and re-interpret them while deliver the cultural essence embedded in the cultural symbols.

The artist sometimes uses architectural imagery, such as structural elements from Gothic architecture and Art Deco from the 1920s. According to him, “…one can see very clearly architectural structures in my clothing design. That is because clothing needs to use dot, line and plane to create a space that covers the human body. So, it is like soft architecture.” From elaborate, decorative and architectural elements, such as buttresses and arches, to robotic geometry, to metallic colors and combination of heterogeneous materials, Sabra Andre has employed a range of mystical vocabularies to re-interpret the progressing culture and demonstrated the evolving silhouettes in fashion design. His work reveals an integration of tenderness and tenacity as well as the quality of futurism that is retro and technologically avant-garde at the same time.

Unafraid of challenges and subverting traditional impression, Sabra · Andre’s works created in school have been included in various collections. He was awarded the First Prize of Taiwan Fashion Design Award by Industrial Development Bureau (IDB) in 2009. In 2011, he was invited by IDB to be the designer-in-residency at the Fashion Institute of Taipei. In 2014, he was awarded the Silver Prize of Taipei in Fashion New Design Talent Competition. His XXXX collection was exhibited in Vancouver Fashion Week in Canada in 2018, and in April of the same year, he was awarded the First Prize in the World Fashion Festival Awards held in Dubai, during which he had the honor of receiving orders from the princess of Sharjah of the United Arab Emirates. Afterwards, he soon attended the Vietnam Fashion Week, adding one more page to his abundant experience of international exhibitions.

 

楊偉林 Yang, Wei Lin

楊偉林,1963年生於臺灣,國立臺南藝術大學應用藝術研究所纖維組畢業。目前為國立臺南藝術大學材質創作與設計系兼任講師、臺灣藍四季研究會前理事長。

大學時中文系的背景,使纖維藝術家楊偉林的作品總帶有某種詩意,彷彿是以編織代替書寫的過程,對於織品,她從最初的欣賞進而接觸纖維藝術領域,深受線性結構與多樣材質的吸引,促使她以不同的物質角度來觀察歷史與文化。她擅於運用物料的前世與今生的還原手法,在臨界本質的邊際挖掘生命的美感,例如將一本書回溯成紙漿、讓布還原為纖維,再輔以各種織、染、縫等技法,於繁複耗時的手工勞形之中,展現關涉生命經驗主題的尋訪與探查。曾獲「第四屆國家工藝獎」一等獎、「2016葡萄牙纖維藝術雙年展」評審團特別獎、「2001美國袖珍纖維藝術」首獎、「第六屆編織工藝獎」纖維藝術創作類特別獎等殊榮。

Yang,Wei Lin was born in Taiwan in 1963, and graduated from the Fiber Art Division at the Graduate Institute of Applied Arts, Tainan National University of the Arts (TNNUA). She is currently an adjunct lecturer at the Department of Material Arts and Design, TNNUA as well as the former president of Taiwan Nature Indigo.

Having majored in Chinese Literature in college, fiber artist has always infused a sense of poetry into her work, as if she is replacing the process of writing with weaving. At the beginning, she was an admirer of fiber art, and eventually became a fiber artist herself. Being drawn to linear structure and diverse media, she started to examine history and culture from the perspective of material. Yang specializes in restoring materials back to their former states to unearth the aesthetic sensibility of life in its liminal state. For example, she would restore a book back to pulp or a piece of cloth back to fiber, and apply the techniques of weaving, dyeing and sewing to reveal her investigation and exploration of life experience through the process of making elaborate, time-consuming handicraft. Yang has been awarded the First Prize of the 4th National Crafts Awards, Honorable Mentions in the CONTEXTILE 2016—Contemporary Textile Art Biennial in Portugal, the First Prize of Small Expressions 2001 in the US, and the Special Award in Fiber Art Creation of the 6th Weaving Craft Award.

 

陳宗萍 Tsun-Ping Chen

陳宗萍,1966年生於臺灣,輔仁大學應用美術系畢業。1992年開始臺灣傳統布袋戲偶復育工作,是彰化傳統布袋戲團「彰藝園」第三代「彰藝坊」的文化工作者。2005年成立偶相與花樣工作室。早期布袋戲團常以回收不用的被單花布做戲台的戲圍、3布簾與戲服…等各種傳統布袋戲演出的配件,因而走入傳統花布的花花世界,於1999年著手開發傳統花布於文化創意上的運用,自2006-2010年,四年期間她銜為使命,進行田野調查,並自費購置介於1950-2000年間,賦載時代圖像的臺灣花布,共計708款;從風格、類型、美感加以分類詮釋,著述出版,可謂民間版的臺灣花布之大全,對賡續傳承與創新未來的應用研究,具有極大貢獻。

註3:布偶戲臺下都會圍一圈布,俗稱「戲圍」。

Tsun-Ping Chen was born in Taiwan in 1966, and graduated from the Department of Applied Arts, Fu Jen Catholic University. Since 1992 onward, Chen has started her mission to restore the glory of traditional Taiwanese hand puppets. She is also a cultural worker in Chang Yi Fang, the third-generation establishment of Changhua’s traditional glove puppet theater company, Chang Yi Yuan; and in 2005, Chen founded her own studio, Puppet & Pattern Creations. In the early days, glove puppet theater companies often recycled floral bed sheets to create various props and accessories for glove puppet performances, including “xi-wei” ³ used for the performance stage, curtains and costumes. This has become the starting point of Chen’s adventure into the world of traditional floral cloth and patterns. In 1999, she started to develop traditional floral patterns and apply them to cultural and creative use. During 2006 to 2010, she spent four years to conduct a mission-like field study, and collected 708 floral patterns out of her own expense; each precious pattern is emblematic of its own time period between 1950 to 2000. She then categorized these patterns according to style, type and aesthetic presentation, and gathered her own study and interpretation in one comprehensive publication of traditional Taiwanese cloth with floral patterns, which has been a tremendous contribution to the application and research of Taiwanese cultural legacy and its innovation.

3.Traditionally, the bottom half of glove puppet performance stage is covered with drapes, which are call “xi wei.”

 

康雅筑 Ya-Chu Kang

康雅筑,1980年生於臺灣,國立臺南藝術大學應用藝術研究所纖維組畢業,為專職藝術創作者,形式涵括複合媒材雕塑、裝置藝術、繪畫、影像與織物研究等。作品主要探討全球化快速發展之於社會權力結構、地域文化、身分界定與消費現象等議題,研究不同文化之間的相異與連結,透過擬仿物的概念,意圖消融實用物與雕塑品、功能與美感、生活與藝術領域之間的界線。藉由材料本身所具有的本質意義及其歷史意涵,展現藝術家自身對所處不同社會架構下的文化觀察、回應與反思。作品曾於日本、泰國、美國、印度、孟加拉、加拿大、土耳其等地駐村展演;此外更於祕魯、泰國、印度等地研究傳統織物文化,將其交流、見聞著書出版,並從事纖維藝術教育工作。

Ya-Chu Kang was born in Taiwan in 1980, and graduated from the Fiber Art Division of the Graduate Institute of Applied Arts, Tainan National University of the Arts. A professional artist, Kang specializes in mixed media sculpture, installation, painting, and video and textile study. Her work mainly explores issues of social power structure, regional culture, boundary of identity and consumption phenomena in the context of rapidly developing globalization, and investigates the disparities and connections between different cultures. Adopting the concept of simulacra, Kang aims to dissolve the distinction between practical objects and sculptures, function and aesthetic perception, life and art, etc. Through utilizing the nature and historic implication of the material itself, she demonstrates her cultural observations, responses and reflections made within different social structures. Kang has done artist residencies and exhibited her works in Japan, Thailand, the US, India, Bangladesh, Canada, and Turkey. Furthermore, she has researched and studied traditional textile traditions in Peru, Thailand and India, published her experiences and observations of these cultures, and promoted fiber art education.

 

舒米‧如妮 Sumi Dongi

舒米.如妮在臺北闖蕩多年之後,重返家鄉―花蓮港口部落石梯坪。1999 年與馬浪.阿雄成立升火工作室,從事藝術創作和部落文史調查工作,為推動部落文化而奔走。舒米.如妮有感於土地的休耕、荒廢、屢遭建屋與變賣,憶及部落耆老曾口述,梯田坡度高從海面上看就像波浪,一層又一層的金黃稻浪,自石梯坪一帶蔓延至整個東海岸被譽為「黃金海岸」,她渴望復現往日榮景,遂於2010年至今仍堅持友善環境的耕作方式,投身水稻田復耕與輪傘草濕地的進駐與演替,為著名的「海稻米」復育發起人,其故事曾被改編成電影《太陽的孩子》。同時,為尋找傳統草蓆的日常記憶,再現傳統編織工藝與族人一起種植「輪傘草」(阿美族語為 Faho’),將花蓮原生文化和自然的餽贈轉化出各式創作與發展地方文化的生機。

After living in Taipei for many years, Sumi Dongi returned to her homeland Shitiping in Makotaay, Hualien. In 1999, Sumi Dongi established Shenghuo Studios with Ma Lang Ah Shiong for the purpose of creating artworks and carrying out cultural and historical investigations regarding the tribe, dedicating herself to promoting tribal culture. Due to the awareness of the fallowing, neglect, construction, and selling of the land, Sumi Dongi recalled that the elders in the tribe once stated that seen from the ocean, the slope of the terrace fields look like waves, layers of golden paddy extending from Shitiping to the entire East Coast, therefore known by people as the “Gold Coast.” Sumi Dongi longs for this beautiful scenery of the past and has insisted on eco-friendly farming methods since 2010. Sumi Dongi is dedicated to the re-cultivation of paddy, as well as the introduction and succession of umbrella plant wetland. The artist is the founder of Ocean Rice, and her story has been adapted into film Wawa No Cidal. Furthermore, in search of memories regarding traditional straw mats, Sumi Dongi represents the craft of traditional weaving and cultivates umbrella plants (known as ‘Faho’ in Amis) with other members of the tribe, promoting the legacy of the land by reinterpreting local culture and natural scenery into various artworks.

 

嘎瑪魯岸Kamaro'an 

Kamaro'an在阿美族語裡的意思是「住下來吧」,一方面代表產品都是港口部落年輕人手工製作的,希望多增加在地的工作機會,期許部落的年輕人返鄉住下來吧;另一層意思則是代表,嘎瑪魯岸做的是生活居家的產品與配件,用生活的角度帶大家認識更多部落的工藝與文化。對部落文化工作者舒米來說,kamaro’an這個字代表的是給予人們能量的所在;對編織工藝家的Ina Rara來說,嘎瑪魯岸是生活的空間;對漂流木創作者A’po來說,大家圍在門口一起吃飯聊天就是嘎瑪魯岸。

Kamaro’an,住下來吧,期許有一天,每個人都可以在自己的土地上認真、平靜而自在地生活。

Kamaro'an means “let’s stay” in Amis. On the one hand, the title suggests that all products are handmade by young members of the Makotaay Tribe with hopes of creating local work opportunities for young artists to stay in their homeland. On the other hand, Kamaro'an provides daily homeware and home accessories, guiding people to learn more about the craft and culture of the tribe through everyday life. For tribe cultural worker Sumi, Kamaro’an is a source of energy. For weaving craftsman Ina Rara, Kamaro’an is a space for life, while for driftwood artist A’po, moments when people gather for food and conversation is in itself Kamaro’an.

Kamaro’an; let’s stay. This concept is filled with the hope that one day, every individual will live earnestly and peacefully on their own land.

 

林淑鈴Shu-Ling Lin

林淑鈴,1968年生於臺灣,原擅長布袋戲偶的帽盔和服飾製作,於知名「亦宛然」掌中劇團,記錄傳統戲偶的服裝形式,傳承著臺灣少見的布袋戲服製作傳統。1995年,因潛水而沉潛於海洋攝影,深受海洋奧秘的生命形態所著迷,作品中總帶有海洋生命的影子。2010年移居花蓮後接觸編織,用竹、籐、打包帶等各式纖維編織出創作的另一種生命姿態。她以自由的心靈,出世的性情,悠遊於編織藝術、立體陶塑、裝置藝術等創作,作品不僅展現燦爛熱情的創造力和生命力,也是藝術家對生命「自由」價值與終極信仰的表徵。作品先後至法國巴黎文化中心、法國尼斯亞洲藝術博物館以及墨西哥瓜拿華多省民族博物館展出。

Shu-Ling Lin was born in Taiwan in 1968. An expert in making head pieces and clothing for glove puppets, she used to record the clothes of traditional glove puppets in the renowned Yiwanran Puppet Theater Troupe, passing on the precious legacy of making glove puppet clothing which is rarely seen nowadays in Taiwan. In 1995, Lin delved into the world of ocean photography because of diving. She became mesmerized by the mysterious life forms in the ocean; therefore, her works have always showed an oceanic impression. Since 2010, Lin moved to Hualien and started learning weaving. Using bamboo, rattan, packing strip, and other fibers, Lin makes sculptures of various life forms. With a free spirit and a temperament of withdrawing from the mundane world, she has been freely enjoying the art of weaving, pottery and installation, not only demonstrating splendid creativity and a passionate force of life, but also embodying an artist’s belief in life and the value of freedom. Lin’s works have been exhibited in the Centre Culturel à Paris and Musée des Arts Asiatiques de Nice in France as well as the Museo del Pueblo de Guanajuato in Mexico.

 

賴純純Jun T. Lai

賴純純,1953年生於臺北,1974年文化大學藝術學系及1978年日本多摩美術大學藝術學院碩士畢業,畢業前即於東京展開首次個展,其後踏入專業藝術創作,至今逾40年,其形式風格多元,涵括:新媒材繪畫、立體雕塑、空間裝置、觀念行動及公共藝術等各類創作,她以藝術實踐人生的創作脈絡,自低限主義的精神觀念至探索內心存在狀態,乃至公共藝術的社會性議題;海洋美學的島嶼土地與人文脈絡連結等,始終折射出她對自由精神追求的美學信仰,作品展現氣闊、悠然自若不受侷限之格局。曾獲臺北市立美術館「現代雕塑展」首獎、「現代美術新展望」優選獎,及吳三連藝術獎等;作品收藏於臺北市立美術館、國立臺灣美術館、高雄市立美術館、日本原美術館…等

Born in Taipei in 1953, Jun T. Lai graduated from the Department of Fine Arts, Chinese Culture University in 1974. In 1978, she received her MA in Graphic Design from Tama Art University, Japan. Before graduation, she already held her first solo exhibition in Tokyo, and has been a professional artist ever since. During her artist career that spans nearly four decades, Lai’s style has been diverse as she employs a wide range of media to make art, including new media painting, sculpture, installation, conceptual performance and public art. Making art as a way of living life, she has first started with the spirit and concept of minimalism to explore the inner world, and moved on to discuss social issues with her creations of public art; in addition, she is also keen in discovering the humanistic and cultural connections between the aesthetics of ocean and this island. All of these artistic goals have reflected her belief in pursuing the free spirit in art. Her work demonstrates an expansive, unrestrained scale. She has been awarded the First Prize in the Exhibition of Contemporary Chinese Sculpture Competition and the Merit Award in the Contemporary Art Trend Competition by Taipei Fine Arts Museum, the Wu San-Lien Art Award, and her works have been included in various collections, including Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, Japan’s Hara Museum of Contemporary Art, etc.

 

盧聲前Singchin Lo

盧聲前,1981年生於香港,2005年香港理工大學設計(時裝設計)系畢業不久,即創立自己的時裝品牌,對於創作風格而言:「我十分著重材質、設計手感和細節,透過設計表達自己的想法;設計要講求觀察力,對生活的各種感覺成為我的創作靈感,其中大部分的設計也是由布材和物料啟發而來。」對材質、手感、細節與工藝的追求,演繹出布料質性的多層次基理與繁複多重性的設計樣貌。在瞬變的流行時尚前,他未曾想走在時代前端以迎合潮流;反之,不疾不徐更能按照自己的心意,關注織物的紋理,將線條分明的裁製以及細節緻密的異材質拼接,充分展現於女性時裝所強調的人體身形的輪廓美感。

他曾榮獲多項獎項及入選重要比賽,包括:2005年獲香港時裝設計師協會傑出青年設計大獎,2006年入選日本東京Onward Kashiyama Co., Ltd.舉辦的New Designer Fashion Grand Prix 總決賽、2007年入圍香港時裝節香港新系列時裝創作大賽總決賽、2008年以香港代表身分參加在德國柏林舉行的INFASHION時裝展、2010年獲得香港設計中心的亞洲最具影響力設計大獎的優異設計獎等。

Singchin Lo was born in 1981, Hong Kong. Not long after graduating from the (Fashion) Design Department of Hong Kong Polytechnic University in 2005, Lo established his own fashion clothing brand. When asked about his style, Lo expressed: “I have always valued materials, textures, and details. I express my ideas through design. Design requires keen observation; the various sensations in daily life have all become inspirations for my creativity, while most designs are motivated by fabrics and materials.” This attention towards materials, textures, details, and craftsmanship, has allowed Singchin Lo to present the multiple layers, complexity, and versatility of different fabrics. Faced with the ever-changing styles of fashion, Lo never bothers with conforming to the trend of innovation, but rather concentrates on the patterns of fabrics, elegantly combining different materials through tailoring and meticulous patchwork, thoroughly expressing the aesthetics of the human form in women fashion.

Singchin Lo has been the recipient of various prizes and awards, including the Hong Kong Fashion Designers Association Young Talent Award in 2005. In addition, Lo was shortlisted for the final competition of New Designer Fashion Grand Prix organized by Onward Kashiyama Co., Ltd. Tokyo, in 2006, the final competition of Hong Kong Fashion Week New Fashion Collection Award in 2007, invited to attend the INFASHION fashion show in Berlin as the Hong Kong representative in 2008, and received the Merit Award of Design for Asia Award by Hong Kong Design Centre in 2010.

 

張美儀 Meiyi Cheung

張美儀,於香港理工大學設計學文學碩士畢業。她以「設計無界限」的信念,不斷追求設計的多元化,和突破傳統的框架,歷年來屢獲國際殊榮,如:2016年獲義大利A’國際設計大獎之設計銅獎、2015年獲美國國際設計大獎之2014年度時裝設計師大獎、分別於2015-2016年及2016-2017年度代表香港參加國際羊毛設計大獎之亞洲區決賽,2010年獲香港傳藝節提名十大傑出設計師等。其作品亦廣泛於不同設計展覽及時裝表演展出,其中她曾參與「時裝.視野」展覽,分別於2010年上海世界博覽會及2012年香港文化博物館舉行,多件作品受香港文化博物館永久收藏。

她曾任香港不同學院及時裝設計活動比賽之講者或評審,曾為香港工業及貿易署咨詢委員會成員,學術及職業資歷評審局作職業資歷評審員,香港大學專業進修學院時裝設計課程外部評審員及主考人員委員會委員,及香港設計中心設計創業培育計劃評審員。

Meiyi Cheung obtained her MA in Design from The Hong Kong Polytechnic University. Driven by her belief in “design without boundaries,” she has always pursued a multi-disciplinary design practice, participation in art related activities, and transformed the confinement of tradition through her creative work. Cheung’s work has been recognized by international awards, including the Bronze Award of the A’ Design Award of Italy. In 2015, she was awarded Fashion Designer of the Year 2014 by International Design Award of the US. She was one of the Asian finalists for the International Woolmark Prize 2015-2016 and 2016-2017. In 2010, she was a nominee of the Ten Outstanding Designers Awards of Hong Kong Art & Design Festival. Her work has been exhibited in various design exhibitions and fashion shows, including Fashion Visionaries in Shanghai World Expo in 2010 and Hong Kong Heritage Museum in 2012. Many of her works are included in the collection of Hong Kong Heritage Museum.

She has served as a guest judge or speaker for numerous local colleges and fashion industry events. She was a council committee member of the Hong Kong Trade and Industry Department, a panel member of the Hong Kong Council for Accreditation of Academic and Vocational Qualifications, an external assessor and member of the board of examiners for the fashion design courses of School of Professional and Continuing Education of The University of Hong Kong, and a juror for the Design Incubation Program of Hong Kong Design Center.

 

張國威 Koyo William

張國威,香港時裝設計師,自小深受父親影響,對中國傳統文化藝術如武術,尤為熱愛。又因成長於英國殖民統治時期的香港及經常遊走歐亞等地,他自言:「我的創作滲透著中國傳統的陰陽太極哲理與西方歌德式鬼魅藝術風格。『無陽則陰無以生,無陰則陽無以化』成為我創作的靈感,在『相生』與『相尅』影響下,將西方的野性豪放與東方的婉約柔順融合,在粗獷的牛仔布上配上印花、刺鏽等細緻手工,前衛不失簡練,時尚不失穩重,成為我的風格特色」。

其創作領域涵括:街頭時裝,舞台造形及傳統文化藝術等多元設計。曾獲譽香港傳藝中心頒發「香港十大傑出設計師大奬」之頭銜。2008年分別於在巴黎老佛爺、Etienne Marcel 以及香港海港城成立首間"KOYO"專門店。曾參與2016年東京梅賽德斯‧賓士時裝週、2015年哥本哈根時裝週、2008年香港時裝節國際品牌的個人時裝展「破滅與重生」、2006年於香港展出的「Of Mixed Blood」時裝聯展及獲邀至韓國舉行首次個人時裝展等。

Koyo William is a Hong Kong fashion designer. Influenced by his father since childhood, he has developed a passion for traditional Chinese culture and arts, such as martial art. Having grown up in Hong Kong under the British rule and frequently travelled between Europe and Asia, the artist describes his art as a combination of “the traditional Chinese philosophy of yin and yang and taichi as well as the mysterious artistic style of Western Gothic art. My creative inspiration comes from the saying that ‘without yang, yin has nothing to grow on; without yin, yang has nothing to consume.’ All things are mutually reinforcing and neutralizing. With this concept, I combine the freewheeling wildness of the West and the docile elegance of the East, mixing refined add-ons such as exquisite embroidery and prints with the coarse texture of denim to suggest a sense of edgy simplicity. It is chic and mature, which is my signature style.”

Koyo William engages in diverse creative work, including street fashion, stage look design and traditional arts. He has been awarded the Ten Outstanding Designers Award by Hong Kong Communication Art Center. In 2008, his stores “KOYO” were launched at Galeries Lafayette Paris Haussmann, Etienne Marcel and Hong Kong’s Harbour City. He participated in Mercedes-Benz Fashion Week, Tokyo in 2016 and Copenhagen Fashion Week in 2015. In 2008, his solo show, Destroy & Reborn, was launched in Hong Kong Fashion Week. In 2006, he participated in a group show, entitled Of Mixed Blood, in Hong Kong and was invited by the Council of Fashion Designers of Korea to organize his first solo fashion show in South Korea.

 

傅織女 Tricia Flanagan

傅織女先後於澳洲紐卡斯爾大學取得哲學博士學位(公共藝術)以及於德國魏瑪包浩斯大學文學碩士學位(視覺藝術);另取得榮譽美術學士(藝術)及副學士學位(時裝設計)。1996年開始從事藝術工作,作品於澳洲、德國、愛爾蘭、義大利及中國等地展出。於2003年取得公共藝術與新藝術策略碩士學位後,便專注於發展公共藝術,作品涵括場域特定的雕塑、聲音、穿戴與行為藝術裝置,亦頻繁地與其他藝術家和社區團體合作,就自身創作的範疇發表演講。作品受德國《Kunstforum》、愛爾蘭《Sculpture Society Journal》及澳洲《ArtReach》期刊所刊載;曾獲得多個獎項及成就,如:公共藝術博士研究的澳洲研究院獎學金;並曾任教於德國魏瑪包豪斯大學及澳洲紐卡斯爾大學,現為浸會大學視覺藝術院講師。

Tricia Flanagan holds a Doctorate of Philosophy (Public Art) from the University of Newcastle, Australia, a Master of Art (Visual Art) from the Bauhaus University Weimar, Germany, and a Bachelor of Arts (Fine Art) and Associate Diploma awarded with honors (Fashion Design). Since 1996, she has worked as a practicing artist, and her works have been extensively exhibited in Australia, Germany, Ireland, Italy and China. Since completing her Master’s degree in Public Art and New Artistic Strategies in 2003, her practice has focused on work in the public sphere. Her production includes site-specific sculpture, sound sculpture, wearable and performance installation. Flanagan often works collaboratively with artists and communities as well as presents lectures about her practice. Her work is published in numerous books and journals, including articles in Germany’s leading Arts Journal Kunstforum, Sculpture Society Journal in Ireland and ArtReach in Australia. Her work has been acknowledged through awards, grants and scholarships, including an Australian Postgraduate Research Award for doctoral research in the field of Public Art. She has worked for the Bauhaus University Weimar, Germany; the University of Newcastle, Australia and the Academy of Visual Art, Hong Kong Ba ptist University. She is currently a lecturer at the University of New South Wales, Art and Design.

李冠然 Kenny Li

李冠然擅長糅合時裝、平面設計及攝影元素,強調作品應具實用及藝術性,建立出賦有魅力的個人風格。2012年成立了個人時裝品牌「FAVE by Kenny Li」,以環保及生活化的概念為出發點,創作出與生活息息相關的系列作品。除服裝外,更推出手工精製的衣領系列,運用環保物料和雷射切割等技術,創作具立體感的衣領,既可做為衣服的一部份亦可成為頸鏈飾品,令穿者增添獨特的時尚元素。

歷年來屢獲殊榮,於2015年亞洲最具影響力設計獎、2013年《透視》雜誌舉辦「四十驕子」亞洲時裝/配飾設計師獎、2012年香港設計師協會環球設計大獎及香港最佳設計獎,現為香港時裝設計師協會及香港設計師協會會員。曾受邀至巴黎、哥本哈根、東京、上海、北京、臺北及新加坡時裝週;米蘭三年展設計博物館展出;獲香港文化博物館及中國絲綢博物館永久收藏。

Kenny Li excels in integrating fashion, graphic design, and photography. Li believes that works should have both practical and artistic qualities while expressing charming personality. In 2012, Li founded FAVE by Kenny Li, a fashion brand which presents a series of everyday products with an eco-friendly and down-to-earth mindset. Apart from clothing, Li also presents exquisite handmade collars using environmental-friendly materials and technologies such as laser cutting. The collars come with a design that merges clothing with accessorizing, adding stylish twists to outfits.

Kenny Li has been awarded various prizes over the years, including the Design For Asia Award in 2015, the fashion/accessories award of “40 Under 40” organized by Perspective magazine in 2013, and Global Design Award and HK Best Award by Hong Kong Designers Association in 2012. Li is currently a member of the Hong Kong Fashion Designers Association and Hong Kong Designers Association. Not only has Li been invited to Paris, Copenhagen, Tokyo, Shanghai, Beijing, Taipei and Singapore Fashion Week, but his works are also displayed in Le Triennale Museum, Milan, and among the permanent collection of Hong Kong Heritage Museum and China Silk Museum.


 

作品介紹 About the Artworks

 

廣場Plaza

范承宗

Cheng-Tsung Feng

《筌》

The Trap

 

竹、藤、不鏽鋼

尺寸因空間而異

2018年

Bamboo, Rattan, Stainless Steel

Dimensions Variable

2018

 

《筌》的創作源於范承宗曾向邵族長老Masawsang Lhkashnawanan學習傳統魚筌的製作,魚筌是置於河流中的傳統竹製捕魚陷阱,材質常為藤與竹,以絞織編法縛紮,魚蝦進入後無法逃離而被捕獲。在2017年於日月潭創作《筌屋》之後,范承宗開始收集與研究臺灣各族群的魚筌,企圖尋找跨族群間的共同造物文化語言。其造形與尺寸主要受在地「材料」、目標「獵物」與放置的「環境」等變數影響,他嘗試將這項無形資產視為一種會生長變形的活體,以當代館百年建築做為環境,將獵物視為觀眾人群,看看這項傳統智慧將會於此生成怎樣的形態。

魚筌之於邵族的古老智慧,成為用之良器;《筌》則將美術館與文化之間的關係,探索是美術館被放入文化裡,抑或文化放入美術館之模糊界線的思考。

The inspiration of The Trap comes from Feng’s learning of making fish traps from the Thao elder, Masawsang Lhkashnawanan. This type of traditional fish traps is usually made with bamboo and rattan, using the technique of twill weaving. Once fish and shrimps enter the traps, they will be trapped and cannot escape. After creating the work, entitled Fish Trap House, by the shore of Sun Moon Lake in 2017, Feng has been researching and studying different types of fish traps used by Taiwanese ethnic groups, hoping to find a common cultural language of making objects shared by these groups. The shape and size of fish traps are mainly determined by the “material” that can be locally gathered, the targeted “game,” and the “environment” that the traps are set in. Feng views this invisible cultural asset as a kind of living, transforming organism, and sees the century-old museum architecture as the environment while the visitors being the game. What he is curious about is what form this traditional wisdom will grow into in this site.

For the Thao people, the fish trap is a useful, practical object originated from ancestral wisdom. In a subtle way, The Trap explores the relationship between the art museum and culture, and examines whether it is the museum that is placed within culture, or culture is inside the museum.

 

入口形象區Entrance Hall

沙布喇‧安德烈(高勝忠)

Sabra‧Andre

《XXXX 系列─殼 / 百步蛇紋剪接印花簍空長洋裝》

XXXX Series─Shell / 100 Pacer Viper Pattern Long Dress

布料

45 x 40 x 220公分
2017年
 
Textile
45 x 40 x 220 cm
2017
 
《XXXX 系列─殼 / 百步蛇紋剪接印花簍空長洋裝》此作運用簍空的網布,表現蛇經蛻殻後的蛇皮,具有半透明又兼有鱗片肌理的手感,以此象徵脫胎換骨的全新自我。而臉上配戴著掛有不規則鐵絲頭飾的面罩,極簡且具符號性,使整體增添部落感的意象。

XXXX Series─ Shell / 100 Pacer Viper Pattern Long Dress uses the fabric’s unique feature to create an image of snake skin. Semi-transparent and with a texture of shed snake skin, the work symbolizes a renewed self. The irregular head piece made with wires is minimalistic and symbolic, adding a sense of tribal beauty into the work.

 

105展間R105

楊偉林

Yang, Wei Lin

《問靛─書七絕》

Ask Indigo─ Seven Character Quatrain

 

 

書,藍染

尺寸因空間而異

2018年

Books, Indigo Dyeing

Dimensions Variable

2018

 

《問靛─藍縷的修辭學》

Ask Indigo─ The Rhetoric of Indigotic Rags

 

棉布,藍染,棉麻線,現成物
尺寸因空間而異
2015-2018年
 
Cotton Cloth, Indigo Dyeing, Cotton Thread, Readymade
Dimensions Variable
2015-2018
 
《問靛─嗅跡》

Ask Indigo─ Foiling

布輪,藍染,棉麻線,紙漿,光碟
尺寸因空間而異
2018年
 
Cloth Wheel, Indigo Dyeing, Cotton Twine, Pulp, Disc
Dimensions Variable
2018
 

「問靛」系列裝置作品,以《書七絕》的文本爬梳、《藍縷的修辭學》之勞動再現,以及《嗅跡》的尋味踏查之三部曲,逐一展開關於藍染尋找自身的故事。

「『藍靛』,簡稱靛,藍色植物染料,主要成分是靛藍(Indigotin),將染料藍的葉子發酵,再用石灰水處理而製成。」―《天工開物》宋應星

The installation series of Ask Indigo unfolds a story about this historic art through a trilogy—Seven Character Quatrain displays a textual representation; The Rhetoric of Indigotic Rags revisits the labor work in the process of making indigo dye; and Foiling depicts an olfactory exploration of indigo.

“Indigo’ is a natural dye extracted from a plant called indigotin. One needs to first put the leaves through fermentation, and then creates the dye by processing the dye with limewater.”

           – Chinese Technology in the Seventeenth Century, Song Yingxing

 

展間中以四列七行懸掛的28本書,作為《問靛─書七絕》的文本擬態,透過藍靛浸染的藍漬書,成為雕塑的姿態,在空間裡開展演繹時間的詩句,在時間中開展閱讀的行為,讓人行步其中,引導觀者一步一印,遠觀復細審,叩問藍靛的詠史1與懷古、沒落與重生。

In the gallery, twenty-eight books are suspended in midair creating in a grid of four rows and seven columns that form a textual representation of Ask Indigo—Seven Character Quatrain. The dyed indigo books are shown as a sculpture, unfolding a poem about the interpretation of time and allowing viewers to immerse themselves in the act of reading. Audiences can appreciate the work from afar and up-close to perceive the long history1 of indigo and the nostalgic feeling it exudes as well as its decline and rebirth.

 

穿插其間或懸掛壁面的《問靛─藍縷的修辭學》,八張棉布來自製作藍靛過程中過濾石灰水的濾布,石灰質的浸透沉澱滋養了時間的色澤,再以綿延交錯曲折纏繞的縫繡線走過另一層書寫的意圖。楊偉林以編織者自況,將敘事性格以編織手法在結節、勾連、層疊、滲透之間,巧手化成纖維物語,交織出一種自我的書寫與解構,自我的縫綴與紋飾,其各種物件形構擬像如:類古字畫的界格書寫、結繩記事的鳥蟲書、仿古的赭色長軸,似乎將書法結字消解為最初的線質;而隱沒於針針刺繡的筆筆法書,是現代草聖于右任書寫―「江山如有待 天地更無私」的美好溯往;緊緊捆紮結球纍纍的是隱藏著鹿身花紋待解的「鹿子絞」…。2這些透過藝術家親自勞動的本身,去再現對自然與手工的崇敬,更是以實踐去還原藍靛的故道與新徑,於華麗轉身之中反覆錘鍊,重新註解。

Ask Indigo─ The Rhetoric of Indigotic Rags, another work installed amidst the first work and on the walls, is consisted of eight pieces of cotton fabric used as limewater filters in the process of creating indigo dye. Due to the calcium carbonate in the water, the fabric reveals a tinge of time. The artists interweave sewing thread to create another layer of writing. Viewing herself as a weaver, Yang conveys the narrative through knots, connections, layers and interlacing. Using her hands, she tells a story of textile, producing a unique writing and deconstruction of the self with creative sewing and patterns. She uses various objects to represent the grid of writing that looks similar to ancient calligraphy, the bird-and-insect script with knots, and archaic auburn scrolls, seemingly breaking calligraphy and knotting down to unadorned, simple lines. Yang also uses embroidery to mimic calligraphic strokes, showing a nostalgic representation of a couplet, “The natural landscape its admirers awaits. The firmament and earth unfold in a selfless way,” composed by the master of modern cursive calligraphy, You-Ren Yu. When untied, the fabric once tightly tied up in a spherical shape will reveal the kanoko shibori, 2 a deer skin pattern. The artist uses her own labor to represent nature and her respect for the handmade art. Moreover, her artistic practice has brought back the historic methods of indigo dye while introducing new approaches, giving this ancient form of art new meanings through a repeating yet refining process.

 

循嗅著藍染的氣味尋源問道,楊偉林《問靛─嗅跡》運用工業製程中,作為拋光物件而耗損生命的布輪,以及由紙漿捏塑而成的石頭,浸染大地提煉出的藍靛染液,穿繩結合將布輪懸掛於空間中,形構布輪似徑以供後人循跡追索的視覺意象,當觀眾走入空間,如一滴滴雨水降落在足徑旁,濺起發酵的氣味、見證走過。

Ask Indigo─ Foiling aims to invoke the memory of the smell of the indigo dye. This work uses buffing wheels, which have been used in the polishing process of industrial production, and combines them with rocks made of paper pulp colored with indigo dye. Hanging from the ceiling, the buffing wheels seem to form a path of indigo dye that later generations can follow. When audiences walk into the space, the buffing wheels are like drops of rain that have fallen along the path, invoking the memory and smell of fermentation and materializing the history they have witnessed.

註__________________________________

1.藍靛其歷史可上溯至周朝、秦漢而盛於唐宋;隨著歷史長河,17、18世紀航海殖民主義興起,荷蘭人佔領臺灣,史中載有施種藍草計劃的紀錄;而1661-1662年鄭成功擊退荷蘭人統治臺灣,便立刻發展農業。1736年(清乾隆初年)文獻記載《臺海使槎錄》:當時臺灣輸出至大陸的多項貿易品中已包括靛藍染料。1875年為鼎盛時期,臺灣藍染技術各地落地生根,於「一府二鹿三艋舺」等古老城鎮,發展形成染布行業商號,印證臺灣往昔藍染產業的風華。1930年代現代工業化,紡織工業取代傳統染織產業,藍染式微。1973年臺灣省手工業研究所成立,後改稱國立臺灣工藝研究所,推動文化創意產業發展。於1995年起正式栽植復育木藍、山藍植物;1996年建立小型沉澱法的製靛工序流程,重新找回臺灣藍靛染料的品質。2005年,工藝所組成「臺灣藍四季研究會」,倡導藍靛的文化理念至今。

馬芬妹〈臺灣藍染工藝產業的變遷與新發展〉,《臺灣文獻》,第61卷2期:頁159

 

2.「鹿子絞」,日本絞染的一種,布面上排列著整齊的點紋,因之與鹿身花紋相似而得名,多用做和服衣料。

1.This history of indigo dye can be traced back to its beginning in the Zhou, Qin and Han dynasties, and its flourishment in the Tang and Song dynasties. The 17th and 18th century witnessed the Age of Discovery and its subsequent colonization. The Dutch occupied Taiwan; and in the historical record, they planted indigo. From 1661 to 1662, Zheng Cheng-Gong defeated the Dutch and immediately developed agriculture as he became the ruler of Taiwan. In 1736, it is stated in Record of Emissary to Taiwan that indigo dye has been one of the many trade goods exported to the mainland. In 1875, the trade reached its peak, and the techniques of making indigo dye had spread to local places. In historic towns, such as Tainan, Lukang and Monga, dye-houses and fabric shops were opened, proving the glory of the indigo dye industry. In the 1930s, Taiwan underwent the process of modernization, textile industry replaced traditional weaving and dyeing industries, and indigo dye began to decline. In 1973, Taiwan Provincial Handicraft Research Institute was founded. The institution was later renamed National Taiwan Craft Research and Development Institute, and has been promoting the development of cultural and creative industry. In 1995, official restoration of various species of indigo plants began; and in 1996, the method of precipitation for making indigo was established, restoring the quality of Taiwanese natural indigo dye. In 2005, the Institute founded Taiwan Nature Indigo to advocate the cultural concept of natural indigo until the present day.

Ma, Fen-Mei. “The Changes and New Development of Indigo Dye Industry in Taiwan.” Taiwan Historica. Vol. 61. Iss. 2, p. 159.

2. Kanoko shibori is a type of Japanese tie-dye. It is known for its orderly pattern, which is similar to the deer skin pattern. It is mostly used on kimono fabric.

 

106展間╱R106

陳宗萍

Tsun-Ping Chen

《花樣台灣.日日春》

Floral Taiwan • Blooming Spring

 

複合媒材

尺寸因空間而異

2018年

 

Mixed Media

Dimensions Variable

2018

「日日春」象徵臺灣四季如春天一般花開綻放,同時具備外來種的多元適應性與強韌生命力,以此做為創新臺灣花布圖案設計的原點,透過展出傳統布袋戲戲臺的戲圍、戲偶,擴展至居家燈飾、抱枕和窗簾等生活物品的應用,形構藝術家依循臺灣傳統花布,豐富多樣的色彩與花樣軌跡,探索隱含其中的特色美學,找回屬於臺灣在地的文化基因。其中,百年老戲臺、創新戲偶、日日春花布座椅、臺灣四季原生花草圖等如觀戲般的場景,彷彿靜態演出了一幕多元且複合的時代演繹。

Blooming Spring symbolizes Taiwan’s pleasant climate with spring-like seasons and wonderful blossoms. It also suggests diversity and tolerance to adapt foreign elements and a resilience force of life. The artist uses this work as a starting point to reinvent Taiwanese floral patterns. Through incorporating various elements, from traditional glove puppet stage drapes and puppets to lighting decorations, cushions and window curtains, she retraces her journey of studying traditional floral cloth, with its rich colors and patterns, to explore the distinctive aesthetics embedded therein and rediscover the cultural genes that are characteristic of Taiwan. The combination of a century-old theater stage, newly designed puppets, seats wrapped in floral cloth and the floral patterns of Taiwan’s indigenous plants creates a dramatic tableau informed with diverse interpretations of different time periods.

布袋戲是臺灣本土代表性的藝術文化之一,又稱掌中戲。是臺灣三大偶戲(布袋戲、皮影戲、傀儡戲)劇種之一。自十九世紀中葉由漳州、泉州及潮州等地傳入臺灣,歷經百餘年的演變,致力老文化復育的陳宗萍,寄予厚望地開發DIY童玩偶布公仔,務使讓「一語道出千古事,十指搬弄百萬兵」的布袋戲走回生活,回到小孩的手上,創新與扎根並行。

Glove puppetry, also known as hand puppetry, is one of the most iconic and representative Taiwanese folk arts as well as one of the three major forms of puppetry in Taiwan, together with shadow puppetry and marionette. It was introduced into Taiwan from Zhangzhou, Quanzhou and Chaozhou in the mid-nineteenth century, and has evolved into its modern look over the past century. Endeavoring in bringing back this historic art form, which has been known as the art that “tells centuries of stories in a few lines, and deploys thousands of soldiers with ten fingers,” Chen hopes to re-introduce glove puppetry into the life of modern adults and children by developing and designing DIY children’s toy, puppets and toy figures so that the goal of both reinventing and reintroducing the tradition can be achieved.

此外,展間中以陳宗萍於進行田野調查時,研究並繪製臺灣生長的四季花草圖樣,做為輸出牆紙,再層疊拼貼老花布畫,意寓了「老葉」、「新枝」的花布演繹。臺灣花布具有多樣的有機生命,花布的圖樣,廣納不同時代的世界藝術風格元素,體現了普普拼貼藝術風。一塊塊老花布,早已把世界融入其中,並勾勒出一種多元文化混生的圖景。從傳統到自然,自然到傳統,似乎見證了一個文化生態的美麗樣貌與良性循環…我們的生活即是在傳統與自然交織而成的背景與畫面當中,形塑著自己的人文風貌﹗

In the gallery room, audience will see the wallpaper with prints of local flowers and plants in Taiwan from different seasons, which Chen has gathered and illustrated while doing field studies. With the floral wallpaper as a background, the artist displays collage and quilt works of old floral cloth; a combination of floral cloth and patterns that conveys the new interpretation of mixing legacy and innovation. The organic, diversified lives of Taiwanese floral cloth as well as its wide range of patterns have absorbed artistic elements of different times and cultures, embodying a unique pop style. From the floral cloth, one seems to glimpse into the whole world; collectively, they delineate a floral, diverse landscape of co-existing cultures. From tradition to nature, and from nature to tradition, the floral cloth and patterns witness the positive cycle and beauty of a cultural ecology. Indeed, our life is growing into its distinctive existence amidst this background and landscape interwoven with traditional culture and beautiful nature.

 

107展間R107

康雅筑

Ya-Chu Kang

《關於棉花的一切都是關於棉花》

Everything about Cotton is about Cotton

 

棉花、棉布、線、攝影、聲音、現成物、複合媒材,尺寸因空間而異
2018年
 
Cotton, Cotton Cloth, Thread, Photography, Audio, Readymade Objects, Mixed Mediums
Dimensions Variable
2018
 

《關於棉花的一切都是關於棉花》的裝置作品,是藝術家藉由我們日常生活中隱而不察卻與之息息相關的棉花,透過題旨所隱含的層疊關係,從棉花田的攝影作品引述物力、勞力等暴力剝削的生態循環;以圖片集結說明的圖鑑文本,述說與棉花有著千絲萬縷般關聯的物件故事;以及擬仿棉花株與棉盲蝽害蟲的軟雕塑裝置,娓娓敘述小小棉花背後所觸及的,關於權力、政治、經濟所交織出世界史的一個篇章。

In the installation, Everything about Cotton is about Cotton, Kang makes use of cotton, which is closely related to our daily life but largely ignored, to unfold the complex layers of the relationship suggested by the title. The photographic work of the cotton fields speaks of the cycle of material resources, labor and unreasonable exploitation in the industry; the album with images and descriptions reveal stories of objects associated with cotton in countless ways; the soft sculpture that simulates cotton plant and cotton plant bugs addresses the power, political and economic history about cotton.

其中,印度聖雄甘地(Mahatma Gandhi,1869-1948)在獄中發明的提攜式手搖紡紗機,基於印度人民不願再從英國商人的手中買回自己出產的棉花所製成的棉布,為此號召國人自己生產棉布以抵抗資本主義鏈結的貿易暴力。透過象徵民族主義運動的紡紗機,除了織機本身輪軸的連動意象,藝術家刻意由中心向外拉出物件脈絡的指引線,以此作為綜觀全球現代化的普遍現象,而以棉布為材質形塑的棉花植株與延伸出的棉線、棉球等,呈現擴散爆炸的視覺感。藝術家更以自然植物與害蟲之間的關係,透過印度紙鈔為媒材摺疊出的棉盲蝽昆蟲,深入探討材質背後所隱含的歷史觀。此作品所表述的不僅是棉花跨越多個世紀的檔案與文件,更是此媒材與創作者所連結出的溫度與想像,康雅筑藉由棉來追尋關於生命萬物的本質與勞動存在的價值。

On view in this work is also a charkha, a portable, hand-operated cotton-spinning machine reinvented by Mahatma Gandhi (1869-1948) when he was imprisoned. At that time, Indian people were no longer willing to purchase cotton cloth from British merchants, which were made from cotton they grew. Therefore, Gandhi appealed to the Indian people to produce their own cotton cloth as a way to fight against the commercial violence stemmed from capitalism. The charkha, therefore, became a symbol for the nationalistic movement. In addition to the image of the machine’s wheels, which suggest interlinking relations, the artist also visualizes the pervasive phenomenon of globalization by connecting objects with threads radiating from the wheels, using cotton plants fabricated from cotton cloth, cotton thread and cotton balls to create an explosive vision. Moreover, Kang also folded Indian bank notes into cotton plant bugs to discuss the relationship between natural plants and pests as a metaphor that hints at the historical view suggested by the material. Therefore, this work not only displays the archive and documents about cotton from past centuries, but also manifests the warmth of and imagination about the material unfolded by the artist. In short, Kang has used cotton to pursue the nature of life and all beings as well as the value of labor.

 

108展間R108

舒米‧如妮

Sumi Dongi

《星空下的我》

Me Under the Starry Sky

 

光桿輪傘莎草、木頭、石頭、棉、線
350 x 120 x 130公分
2018年
 
Cyperus alternifolius L., Wood, Stone, Cotton, Thread
350 x 120 x 130 cm
2018
 

Faho’輪傘草,編織成星空下的睡床,兒時記憶對宇宙的想像,天馬行空...我在星空下漸漸入睡,夢境中,輪傘草在水田隨風搖曳,阿嬤編織的手藝、歌聲及石頭碰撞的交撃聲...已流失的生活美學。

散文抒情式的獨白―《星空下的我》是舒米‧如妮透過手工編織,在穿經行緯之際交織出他對於大地和宇宙,自然與傳統,昔日與未來的投射寄情與喟嘆。

“The Faho is woven into a bed under the starry sky. When I was young, I had many whimsical imaginations about the universe…As I gradually fell asleep under the stars, I see Faho swaying in the water fields in my dreams and hear a mixture of sounds of my grandmother’s weaving, singing, and the rattling of stones, all beautiful elements of life that are now lost.”

This lyrical monologue Me Under the Starry Sky is artist Sumi Dongi’s praise and lament towards earth and the universe, nature and tradition, past and future through 

 

108展間R108

嘎瑪魯岸

Kamaro'an 

《大浪草燈+浪草燈》

Riyal Big Light+Riyal Light    

光桿輪傘莎草、鐵
56 x 56 x 58公分 
35 x 53 x 38公分
2016-2017年
 
Cyperus alternifolius L., Iron
56 x 56 x 58 cm
35 x 53 x 38 cm
2016-2017
 

《旋草燈》

Cidal Light

光桿輪傘莎草、鐵
28 x 28 x 29 公分
2016年
 
Cyperus alternifolius L., Iron
28 x 28 x 29 cm
2016
 

輪傘草又名車輪草、風車草,原生於非洲,普遍培植於水生植物池中,其植株像一把把傘架,因而得名。生長於清澈水梯田濕地的輪傘草,是海岸阿美族的傳統編織材料,輪傘草蓆即是居家之生活必需品,而草蓆的編織亦是部落婦女日常的技藝。

The Umbrella Plant originated in Africa and is commonly planted in aquatic pools. The appearance of the plant resembles the structure of an umbrella, hence the name. Umbrella Plants are found in the clear waters of terrace fields and are used as traditional weaving material for Amis people living in the coastal areas.Mats made by Umbrella Plants have become an everyday life necessity, while the craft of weaving straw mats is a common skill among the women of the tribe.

《浪草燈》以鐵鑄為框架,結合如浪起伏般的線條造型,加上黃銅燈的照明設計,呈現層層的迴轉之美,具有現代感的簡約風格;而《旋草燈(Cidal Light)》,Cidal在阿美族語中是太陽的意思,製作時需要捲得最緊密、直挺且均勻的輪傘草為基材,透過東海岸日曬的輪傘草,呈放射狀旋轉姿態,猶如太陽暖暖地照射一般;《旋草燈》可當吊燈亦可倒過來做為桌燈。嘎瑪魯岸的創作,不過度著墨於在地的傳統符號;以探詢來自土地的溫柔力量,在部落文化元素與設計理念之中,回歸素材本身與製程,展現素材特性、質地與美感,而輪傘草之於阿美族文化,其自身即傳遞著美好的故事。

Riyal Light is created with cast-iron as the frame, while the curved design is inspired by waves of water. The brass lighting displays the layering beauty of curves and modern simplicity. As for Cidal Light, Cidal is the Amis word for sun. The Umbrella Plants are curled tightly together, straight and evenly. The plants are dried by the sun of the East Coast and are presented with a swirling form, just like sunshine scattering on the land. Cidal Light can either be used as a chandelier or up-side-down as a desk lamp. The works of Kamaro'an do not draw too much attention to the traditional symbols of local culture, but rather depicts the gentleness of the land, using tribal culture and design as a way to return to the material and production process. These works showcase the qualities, texture, and beauty of the material, displaying the status of the Umbrella Plant among Amis culture.

他們的工藝出自淨土,始於本心。在舒米與族人的手中,輪傘草不只是一株小小的水生植物,從產業作物的經濟價值,帶動族人重視部落土地與水資源的保護意識,同時在創意上產出千變萬化的民藝之美,素樸地轉動著傳統部落文化的永續與傳承。

The works of Kamaro'an originate from the pureness of the soil and the heart. In the hands of Sumi and fellow members of the tribe, the Umbrella Plant is no longer merely a small aquatic plant but filled with economic value that encourages members of the tribe to cherish the land and protect the water resources. These works also inspire more beautiful folk art, humbly dedicating efforts to the legacy of traditional tribe culture.

 

2樓西側樓梯Western Stairway 2F

林淑鈴Shu-Ling Lin

《白色海洋》

White Ocean

 

 

複合媒材
尺寸因空間而異
2018年
Mixed Media
Dimensions Variable
2018
 

《白色海洋》以打包帶編織作為主體,藉著打包帶極佳的透光性、輕巧及質樸的性質,輔以複合媒材、投影裝置與燈光的運用,形構出一個意象式「會發光的雕塑」。此作,創作靈感緣自「臺東綠島南寮觀光碼頭發展計畫」之初,因施工泥沙與氣候暖化引發海水溫度上升等諸多因素,導致石珊瑚群聚叢生之處,呈現美麗粉彩色系―在白色的末端透著粉紅、粉橘、粉綠、粉藍……,這些美麗的色彩昭告著死亡的訊息,珊瑚蟲共生藻類的死去,僅餘生命逝去的殘影。林淑鈴見證珊瑚死亡前最後的美麗盛宴,化為《白色海洋》的記憶圖景。

White Ocean is created with packing strip. Making use of its excellent transmittancy, lightness and simpleness, the artist combines packing strip with mixed media, with projection installation and light to create a “shining sculpture.” This work was inspired by the artist’s personal experience. When the project of building a tourist dock in Nanliao Harbor on Green Island commenced, various reasons, such as the construction dirt and the warming sea water, led to a beautiful pastel-colored burst at the habitat of stony corals. At the end of the white corals, the colors of pastel pink, orange, green and blue could be seen, which were a result of dying symbiotic algae on the corals. These charming colors announced the arrival of death, leaving us what was left of fading lives. Lin witnessed this incredible burst before the death of corals and transformed this memory into White Ocean.

形如珊瑚白化的編織造型,透過慢工手藝程序的身體勞動過程,形成連續彎折,輻奏連綿的幾何架構,漸次展開與海洋的緊密連結,她說:「在陸地上高樓林立,處處都是人生活的痕跡,呼吸,不再被察覺,甚至理所當然,但是當你潛進海中,你只會感受到人類的渺小和自然的浩大與豐富,甚至每一口呼吸都是如此珍貴;那些在海裡的觸動已經內化,成為生命的一部分,在每一次的編織、陶燒、各種形式的創作中,眼睛所看見的顏色、腦海中架構的作品形狀、手部編織的動作,都不知不覺藏著海底的豐富和美麗」。以此,重新思考自身與自然的關係。

The work represents the form of bleached corals. Through slow-paced weaving and steadfast labor, the artist makes continuous folds radiating from the center of a geometric structure, gradually unfolding an imagination of intimate connection with the ocean. From the artist’s statement, we can see how she has re-examined her relationship with nature: “On land, where high-rise buildings are countless and people can be found almost everywhere, the simple act of breathing is not perceived and even taken for granted. However, when one dives into the ocean, one can clearly perceive how tiny human beings are and realize the vastness and abundance of nature. Each breath is so precious. What I felt in the ocean has been internalized as a part of my life. Every time I weave, make a pottery work, or create any other types of artworks, the colors I see, the forms that surface in my mind and the weaving movement of my hands are unknowingly informed with the richness and beauty hidden under water.”

 

205展間R205

賴純純Jun T. Lai

《青春夢》

Youthful Dream

 

複合媒材裝置、影音、不鏽鋼、
壓克力玻璃
尺寸因空間而異
2018年
 
Mixed Media Installation, 
Stainless Steel, Plexiglass 
Dimensions Variable
2018
 
 
《青春夢》為賴純純「青春島嶼」系列中,闡述海洋美學觀念之精神內核的作品之一。自千禧年曙光伊始,蟄居臺東都蘭至今,海島臺灣成為指引她生命航行的座標,受之於大山大水與海洋的薰陶,將自然與之相契的自在觀,做為回視心靈青春的駐記與創作意志的表徵。

Youthful Dream is one of the core pieces that expounds Jun T. Lai’s ocean aesthetics in the series of Youthful Island. Since the year of millennium, Lai has been living in Dulan, Taitung. As she embraces the island of Taiwan in her voyage of life, she has immersed herself in nature with her great mountains and seas. Her harmonious view of being unified with nature enables her to look into the youthful mind and express her creative will.

此作以影音、投影、雕塑以及水晶球等複合媒材裝置,營造一隅沉浸式海洋意象的環境劇場。聲、光、影此起彼落,折射交織,落映在隱喻「島嶼臺灣」歷史源起的不鏽鋼雕塑與寄予天光雲影的壓克力玻璃,以及乘載夢想許願未來的水晶球…繽紛漫漾地凝聚光點也反射環境與自身,似是凝結青春夢想的集體情感記憶,一種輕盈的、漂浮的與流動的質地表現,呈現一個舉重若輕的時代語彙―是藝術與土地的對話,是臺灣之島與海洋在歷史與命運流轉之下,不同世代的文化和短暫時間的嬗替,形構淺薄而多元豐富的文化。「青春島嶼」的狀態和處境,藉此《青春夢》的謳歌,顯隱臺灣的溯源紋理;詠嘆青春已內化為我們生活中無所不在的文化現象與環境現實;同時,反射出臺灣青春之島的多元活力與青春特質的文化內涵。

With video, projection, sculpture and crystal ball, the installation creates an immersive, theatrical space informed with oceanic imagery. Sound, light and shadow interlace and permeate the space with the stainless steel sculpture that symbolizes the historic origin of the Taiwan island, the plexiglass that forms the sunlight and clouds, and the crystal balls that hint at a future with dreams and wishes. Reflecting and overflowing with iridescent light, the installation is suggestive of its environment and itself as if it is the coagulation of collective emotions and memories from a youthful dream—a light, floating and fluid texture that embodies the dialogue between art and land in an understated, light-hearted manner. It seems to delineate the vicissitudes of generations and eras as well as superficial yet richly diverse cultures surfaced and overwhelmed in the fateful historic currents on this island of Taiwan. Through Youthful Dream, the condition and situations of this youthful island are revealed. In a way, the work praises that youth has become part of our culture, environment and reality; and in the meantime, it radiates the diversified exuberance and express the quality of the youthful culture born from this precious island.

 

204-203展間R204- R203

沙布喇‧安德烈(高勝忠)

Sabra • Andre

 

2018春夏「XXXX」系列,將排灣族象徵祖靈的百步蛇圖騰,4運用在印花及繡紋上,靈感來自原住民族傳統織品的基本工法「十字繡」,設計風格延續對族群文化基因的承載,徜徉在泛靈論(Animism)的基礎上,點石成金的揉雜對宇宙玄學與神祕學的熱情,在看似拜占庭或鍊金術的幾何圖騰中,流露出榮格式符碼再現的轉化,承先啟後連接遠古與未來的記憶/藝,成就他獨特又令人着迷的安德烈式圖紋。

His 2018 Spring / Summer collection, entitled XXXX, is informed with the pattern of the hundred-pace snake, 4 which is the Paiwan symbol of the ancestral spirit. He incorporates the pattern into print and embroidery, using the traditional technique of crosses stitching commonly seen in indigenous textile to extend his exploration of ethnic culture that takes its root in the belief of animism. The artist also adds his enthusiasm in cosmic mysticism and the occult into his work, incorporating the Byzantine or alchemic geometric shapes into his work and demonstrating a Jungian transformation of symbolic signs. Such approach to connecting the memory and arts of the past and future has given birth to his signature and mesmerizing patterns.

__________________________________

4.遠古時,阿瑪灣社有一位女神,因盪鞦韆過甚掉入穴中、降入下界,認識瑪家社人Pulaluyaluyan。一日,女神為口渴的Pulaluyaluyan外出汲水,路上撿回百步蛇蛋和龜殼花蛋各一枚。百步蛇蛋所生為頭目家祖先,龜殼花蛋所生為頭目輔臣(平民)祖先。互婚而生的孩子只有一鼻孔和半個嘴,因此頭目家與平民禁婚。同時也只有貴族才能享有裝飾的權利,貴族盡其所能美化其住屋、衣飾及器物。而紋身是貴族的特權。青銅刀、琉璃珠、古陶壺也是貴族才能持有的重要器物。值得一提的是,貴族的衣飾、家屋、日常用品及雕刻藝術上享有平民不能擁有的百步蛇紋。

〈排灣族百步蛇圖騰〉,臺北:慧炬雜誌社,580期,頁14。

 

4.In the ancient time, a goddess lived in Amawang, and accidentally fell into a pit from a swing and descended down to the human world, where she came to know a man Pulaluyaluyan. One day, the goddess went out to get some water for the thirsty Pulaluyaluyan, and picked up a hundred-pace snake egg and a brown-spotted snake egg. Born from the former was the ancestor of the tribal leaders, and the latter the ancestor of the commoners. The children of triballeaders and commoners had only one nostril and half a mouth; therefore, they were forbidden to marry each other. At the same time, only the noblemen were allowed the right to decorations, which they applied to their houses, clothing and daily objects. Tattoo was also one of the their privilege, whereas bronze knives, glass beads and pottery pots were important objects that only they could possess. One important thing was that commoners were not allowed to use the pattern of the hundred-pace snake, which noblemen used on their clothing, houses, daily objects and sculptures.

The Paiwan Pattern of the Hundred-pace Snake.” Taipei: Torch of Wisdom Monthly, iss. 580, p. 14.

 

《XXXX 系列─描 / 野獸派手繡十字鉛筆裙》

XXXX Series─ Draw / Fauvist Hand Embroidered Cross Pencil Skirt
 

布料

45 x 40 x 190公分

2017年

 

Textile

45 x 40 x 190 cm

2017

此作以粗黑織帶描框,用十字繡填色,透過隱身於粗獷之中的細膩,表現出設計師眼中的野獸派情緒。

This work applies thick black outlines and cross stitch to fill in shapes, expressing the Fauvist spirit through exquisiteness within roughness.

 

《XXXX 系列─紋 / 圖紋飛鼠袖上衣》

XXXX Series─ Veins / Patterned Tops

 
 
布料
45 x 40 x 190公分
2017年
 
Textile
45 x 40 x 190 cm
2017
 
此作以十字紋混合印花的繁複,搭配多層次的拼接,整體以短版削肩來展現柔性與輕盈。

Mixing cross stitch, printed pattern, and layered patchwork, the overall work expresses a quality of softness and lightness through this off-shoulder short dress.

 

《XXXX 系列─十 / 變形十字紋流線上衣》

XXXX Series─Cross / Deformation Cross Flow Line Clothing


布料
45 x 40 x 190公分
2017年
 
Textile
45 x 40 x 190 cm
2017
 
此作運用十字元素變形,成為類變形蟲紋。

This work recreates the cross pattern into a semi-Paisley pattern.

變形蟲圖騰(Paisley)又名佩斯里漩渦花紋,5起源於古巴比倫,後傳入印度,為一種由圓點及曲線所構成的華麗紋樣,狀若變形的水滴,因其造形狀似菩提樹葉,而有「生命之樹」的象徵,也成為印度常見的花紋圖案。輾轉傳入英國Paisley城鎮,旋即被大量製作變形蟲圖案商品而風靡歐洲,故此稱之「佩斯里變形蟲圖騰」。遞嬗過程中匯融交織的符碼,如同高勝忠帶著原民精隨,遊歷各地展現文化的異質相融。

The Paisley pattern originated in Ancient Babylon5 and was later spread to India. The splendid pattern is formed with round dots and curved lines, shaped like a waterdrop. Due to its resemblance to the leaf of the Botree, it has also become known as “the tree of life” and is commonly seen in the decorations throughout India. The pattern was later found in English town Paisley, and soon became a popular pattern among European products, hence is later known as the “Paisley Pattern.” The pattern underwent multiple transformations as it spread to different lands, just like Sabra•Andre, merging the indigenous spirit with different cultures.

__________________________________

5.〈全球經典花色圖騰―佩斯里漩渦 變形蟲圖騰〉,臺北:漂亮家居雜誌,157期。

5.‘A Classic Global Pattern: The Paisley Pattern,’ Taipei: My Home Magazine, vol. 157.

 

《XXXX 系列─飄 / 百步蛇圖騰斗篷》

XXXX Series─Flutter / 100 Pacer Viper Pattern Cloak

布料
45 x 40 x 190 公分
2017年
 
Textile
45 x 40 x 190 cm
2017
 
百步蛇圖騰斗篷截取排灣族陶壺上百步蛇圖騰,表現飄逸靈動的質感。

The 100 Pacer Viper Pattern Cloak was inspired by the depictions of the 100 pacer viper seen on Paiwan ceramic pots, expressing a quality of liveliness and motion.

 

《XXXX 系列─蝶 / 十字蝴蝶印花圖騰》

XXXX Series─ Butterfly / Cross Butterfly Totem Print


布料
45 x 40 x 190公分
2017年
 
Textile
45 x 40 x 190 cm
2017
 

蝴蝶在排灣族是象徵跑最快的人,高勝忠將十字元素轉化變形,運用印花圖騰在黑白對比中的虛實布局,於緻密處有疏朗;在疏朗中見寬闊。

In Paiwan culture, the butterfly is a symbol of the fastest runner. Sabra • Andre transforms the cross patterns and cleverly applies it to the arrangement between black and white, creating harmony between the contrasting colors and patterns.

 

《XXXX 系列─紋 / 百步蛇印花圖騰長裙》

XXXX Series─Veins / 100 Pacer Viper Pattern Long Skirt

此作,靈感來自排灣族的陶壺傳說,6擷取陶壺上百步蛇圖騰,將陶壺的立體造型與神話故事,轉化為裙擺上抽象的印花圖騰,在移步行走之中呈現圖騰搖曳的動勢;另外,在襯衫領圍上則以百步蛇背上的花紋加以抽離、簡化,成為菱形的變形紋飾,7呈放射狀的排列裝飾,在黑與白之中形成簡約俐落與繁複嚴密之對比。

This work is inspired by the Paiwan pottery pot legend.6 It uses the pattern of hundred-pace snake from Paiwan traditional pottery pots and transforms their form and mythological story into the abstract print on the flowy skirt, which creates swaying movement of the pattern when the wearer walks. Additionally, the collar of the top is decorated with simplified diamond-shaped pattern7 drawn from the back of the hundred-pace snake in a radiating manner, forming an elegant and elaborate contrast with black and white.

__________________________________

6.相傳亙古的排灣,百步蛇在陶壼裏孵了一個蛋,陶壼放置祖靈柱旁,東方的第一道陽光,每天由石板屋上的天窗,直射祖靈柱及陶壼,受太陽光的照射,陶壼漸漸長大,猶如母親懷胎十月,終至誕生了一名男嬰。長大後,被族人尊稱為Mamazangilan(部落領袖之意)。

資料來源: 臺灣原住民族文化知識網:http://tcgwww.taipei.gov.tw

7.百步蛇的圖騰紋飾在排灣族的工藝製品中相當常見,其特徵如尖頭、翹吻、寬腮、背部三角形花紋是紋飾取材的重點。蛇身的型態或彎曲或盤捲及蛇隻組合的數量也可以加以變化,發展出多樣的紋飾。再則,將百步蛇背上的花紋加以抽離、簡化,即形成三角形、菱形、方形、網狀紋等百步蛇紋飾的變形,早期此種幾何紋只有貴族家系才有資格使用;此外,百步蛇紋飾經常與人頭紋、人像紋、鹿紋、壺紋等搭配,出現比率最高的是人頭或人像與蛇紋的組合。

資料來源: 臺北原住民數位博物館。官網:http://www.dmtip.gov.tw

6.In the Paiwan mythology, the hundred-pace snake hatched an egg in a pottery pot, which was placed next to an ancestral spirit column. The first ray of sunlight from the east always shone through the skylight of the stone-slab house unto to the ancestral spirit column and the pot. With the warmth of the sunlight, the pot gradually grew, and from it, a male infant was born after ten months. The infant grew up and was called respectfully “Mamazangilan” (meaning “tribal leader”) by the people.

From the website of Indigenous Peoples’ Culture and Knowledge: http://tcgwww.taipei.gov.tw

7.The decorative pattern of the hundred-pace snake is very common in Paiwan crafts, such as the snake’s pointed head, pursed-up mouth, wide chicks and triangular spots on the back. Diverse variations are also derived from the forms of the snake body, which can be curved, coiled up or in a combination of multiple snakes. Additionally, the snake’s spots have also been extracted and simplified into triangular, diamond and square shapes or a grid pattern, which were only used by the noble families in the tribe. The snake pattern is often combined with head pattern, portrait pattern, deer pattern and pot pattern, among which the first two have been the most common ones.

From the Digital Museum of Taiwan Indigenous Peoples: http://www.dmtip.gov.tw

 

《XXXX 系列─纏 / 強烈十字繡洋裝》

XXXX Series─Wind / Strong Cross Stitch Dress

布料
45 x 40 x 190 公分
2017年
 
Textile
45 x 40 x 190 cm
2017
 

將十字繡的意象強烈化,形成雕塑的輪廓,彷彿將平面走向了雕塑空間。猶如美國雕塑家亞歷山大.卡爾德(Alexander Calder, 1898-1976)將靜態雕塑走向「動態雕塑」的輕盈與律動。

Emphasizing the pattern of cross stitches “XXXX”, the work forms the outline of a sculpture and seems to transcend two-dimensional space, just like US sculptor Alexander Calder (1898-1976), revolutionizing sculptures into mobiles that are filled with lightness and rhythm.

 

《XXXX 系列─鱗 / 百步蛇穿繩簍空洋裝》

XXXX Series─Flake / 100 Pacer Viper Pattern Dress

布料
45 x 40 x 190公分
2017年
 
Textile
45 x 40 x 190 cm
2017
 

此作運用簍空的網布,表現蛇經蛻殻後的蛇皮,具有半透明又兼有鱗片肌理的手感,以此象徵脫胎換骨的全新自我。

Hollow mesh is used in the work to portray a snake that has just shed its skin. The translucent and flake-like texture represents rebirth.

 

《XXXX 系列─縫 / 手工十字繡圖騰上衣》

XXXX Series─Sew / Hand─Stitch Totem Shirt

布料

45 x 40 x 190公分

2017年

 

Textile

45 x 40 x 190 cm

2017

 

透過網布的材質,作為蛇麟之網紋,手工十字繡圖騰像走針一般可以在矩陣之間自由穿行、遊走,立體多摺的袖領和超越二維平面的流蘇,以及兩側增添閒適感的穿繩塑型。

This work uses the texture of mesh to create patterns that resemble snake flakes. The cross stitch is woven freely between the pattern arrangements, while the folds of the collar, the design of the tassel, and the drawstrings on either side create a casual and relaxed style.

 

《XXXX 系列─跡 / 浮雕裝飾合身洋裝 2》

XXXX Series─Trace /Decoration Dress 2

布料

45 x 40 x 220公分

2017年

 

Textile

45 x 40 x 220 cm

2017

以十字印花紋表現水墨感,並利用小圓布做活褶,堆疊出蛇的身形意像,

蛇行於水墨間。將水墨畫中精妙詮釋的「計白當黑」,運用於時尚中。

Using cross patterns to express the style of ink painting, added with small rounded textiles to create folds, Sabra • Andre creates the image of a snake moving between the ink. This work applies the concept of blank spaces in fashion design.

 

《XXXX 系列─跡 / 浮雕裝飾合身洋裝 1》

XXXX Series─Trace /Decoration Dress 1

以十字印花紋表現水墨感,並利用小圓布做活褶,堆疊出蛇的身形意像,蛇行於水墨間,將水墨畫中經典詮釋的「計白當黑」,運用於時尚中。

Using cross patterns to express the style of ink painting, added with small rounded textiles to create folds, Sabra • Andre creates the image of a snake moving between the ink. This work applies the concept of blank spaces in fashion design.

 

《XXXX 系列─線 / 十字圖騰繡澎袖裙裝》

XXXX Series─Wire / Cross Totem Embroidered Sleeve Dress


布料

45 x 80 x 190公分

2017年

 

Textile

45 x 80 x 190 cm

2017

此作截取陶壺的輪廓,輔以十字繡仿壺身圖騰。

This work re-presents the contour of ceramic pots while using cross stitch to mimic the decorations on the surface.

 

《XXXX 系列─繡 / 裝飾縫繡鉛筆裙》

XXXX Series─Sew / Decorative Hand Sewing Pencil Skirt


裙面靈感來自蛇皮的肌理,刻意著重許多裝飾與手工細節,以簡化而有效的方法,處理複雜的肌理;在多層次中執簡馭繁,同時化繁為簡。

The surface of the skirt is inspired by the skin texture of snakes. With deliberate decorations and handmade details, the piece handles complex textures with simplistic and effective methods, creating harmony between simplicity and complexity.

 

203展間R203

《織 / 泰雅織布機》

Weaving / Taiya Weaving Machine

 

線、網
80 x 90 x 280 公分
2018年
 
Thread, Net
80 x 90 x 280 cm
2018
 

此作為沙布喇‧安德烈2018年最新力作,靈感來自於他對原民織布文化的深研與踏查,他親訪花蓮太魯閣族8秀林村原民藝術工坊進行田調,深受泰雅織布機的結構輪廓與紗織線條所吸引,將其延伸轉化為傳遞手工溫度的時尚創意設計。

This work is Sabre · Andre’s latest work in 2018, which is inspired by his research and study of indigenous people’s weaving culture. For this work, he visited the indigenous art workshop in Xiulin Village, Hualien, where the Truku 8 people live. Attracted to the structural contour of Atayal weaving machines and Atayal people’s yarn and thread, the artist transforms and extends what he sees into this creative work of fashion design that conveys the unique warmth of handcrafted art.

__________________________________

8.在族群分類上,太魯閣群(Truku)原屬於泰雅族賽德克亞族中的一群,經時代變遷,在當代族群成員自我主觀的認同意識下,發展出「太魯閣族正名運動」,要求成為獨立族群。遂於2004年1月14日獲中華民國政府承認,成為第12個臺灣原住民族。

資料來源:國立臺灣史前文化博物館 電子報http://beta.nmp.gov.tw/enews/no130/

 

8.The Truku people used to be considered part of the Seediq tribe, a subsidiary tribe of the Atayal people. As time changed and the identity awareness of its community evolved, the Truku people initiated a movement to rectify its name, demanding to be recognized as an independent people. On January 14, 2004, the Truku people were officially recognized by the Government of the Republic of China, and became the twelfth indigenous people in Taiwan.

Source: E-news of the National Museum of Prehistory http://beta.nmp.gov.tw/enews/no130/

 

「沙布喇‧安德烈」同名系列

Sabra • Andre Series

 

 

《沙布喇‧安德烈同名系列─茅 / 排灣族茅草屋》

Sabra • Andre Series─Thatch / Paiwan Thatched Cottage

  

羽毛、布料

45 x 40 x 190公分

2009年

Feather, Textile

45 x 40 x 190 cm

2009

 

《沙布喇‧安德烈同名系列─簍 / 排灣族竹簍》

Sabra • Andre Series─Raft / Paiwan Bamboo Raft

  

 

布料

45 x 40 x 190 公分

2009年

Textile

45 x 40 x 190 cm

2009

 

《沙布喇‧安德烈同名系列─珠 / 排灣珠飾》

Sabra • Andre Series─Beads / Paiwan Beads Decoration

  

 

布料、珠飾

45 x 40 x 190 公分

2009年

Textile, Beads

45 x 40 x 190 cm

2009

 

沙布喇‧安德烈同名系列的三件作品,為大學畢業時創作發表的經典之作,以排灣族的茅草屋意象和竹簍結構,以及傳統服上的珠飾,在時尚中轉繹排灣族傳統文化的精神象徵。

The three classic works of the Sabra • Andre Series were showcased at the artist’s graduation presentation. Inspired by the imagery of Paiwan thatched cottages, the structure of bamboo rafts, and bead decorations on traditional clothing, the works interpret the spirit of traditional Paiwan culture through fashion.

 

202展間╱R202

盧聲前Singchin Lo

 

《給‧ 與現在》

Pass and Present

 

印刷布料、皮革、瓷、複合媒材
尺寸因空間而異
2016年
 
Printed Fabric, Leather, Ceramic, Mixed Media
Dimensions Variable
2016
 

《給‧與現在》裝置作品是盧聲前與粵東磁廠第三代傳人曹志雄,陶藝家梁祖彝及盧世強共同合作的作品。盧聲前將廣彩圖案以及陶瓷的應用,充分結合時裝的設計,並刻意將裝置作品隱身在一個日常生活中居家餐廳的氛圍裡,營造出讓觀者立即感受來自日常的工藝之美,展現廣彩作為港式茶飲文化遍處所見,以及庸常被使用的案上食器,轉繹為服裝設計元素盡展時尚風華;作品中猶如花花世界般的旺盛力,當中混合了各種不同的材質,厚布、薄紗上的圖案俱現染製與刺繡,其中穿梭於不同圖案之間玩味十足的藍白色小熊,是盧聲前特意將香港人的童年回憶植入於印花圖案中,除了布亦加入陶瓷、玻璃製品,他認為必須有陶瓷才能展現廣彩的味道。陶瓷衣領上了透明釉的廣彩經典圖案,其啞色部分仿造出衣服柔軟的形態和皺褶,而腰封與手提包皆有精工巧緻的花樣。此作,多重異材質的元素結合,符應香港如廣彩一般中西合壁,匯融交織多元社會,呈現了當代藝術的時代感。

Installation work Pass and Present is the collaboration between Singchin Lo, third-generation owner of Yuet Tung China Works Joseph Tso Chi Hung, ceramic artist Joey Leung, and Louis Sai Keung Lo. Singchin Lo fully combines the patterns of Guangcai Painted Porcelain and ceramic with fashion design, deliberately hiding the installation within the regular atmosphere of a dining area to create a space that allows viewers to experience the beauty of crafts in everyday life. As a popular art form throughout Cantonese Yum Cha Culture, the designs of Guangcai Painted Porcelain and patterns of everyday utensils are transformed into fashion elements for clothing design. The artworks create a lively world that involves various materials: the thick garments and chiffon display decorations through dyeing and embroidery, with playful blue-and-white bears scattered between the different shapes. The image of the bear is Lo’s depiction of childhood memories of the Hong Kong people. Apart from fabrics, ceramic and glass are also included, because the artist believes that the charm of Guangcai Painted Porcelain can only be expressed through ceramics. The ceramic collars are classic patterns coated with transparent glaze, matte textures are used to portray the softness and creases of clothing, while the girdle and handbag are both designed with delicate patterns. This work combines the various elements of different materials, expressing the essence of contemporary art while echoing the fusion of Eastern and Western cultures in Hong Kong society.

 

2樓中樓梯/Central Stairway 2F

林淑鈴Shu-Ling Lin

《春花燦爛》

Splendid as Spring Flowers

 

 

 

 

《春花燦爛》一作使用日常的打包帶,跳脫傳統編織形制的框架,以另類視野,視編織為另一塑造雕塑的媒體―塑土為加法,雕刻為減法;之於編織藝術,因織法的選擇:輪口編是對稱圓形,挑織編為四方連續,六角編則介於加減之中,一如生物密碼般的碎形複製,在自我相似的結構裡嵌套衍化,成為變形蟲般有機曲線地自由延伸,鋪滿魔幻的連續織紋。這馳騁於自由創造的表象之下,背後本質不變的是嚴謹的計算。林淑鈴突破傳統受限於織紋計算,往往只能應用於平面,或規律對稱的造形,在經過多方嘗試而得以游刃自由不受造形侷限,交織出編織藝術繁花盛開的多重風貌。

Splendid as Spring Flowers is made with packing strip commonly seen in our daily life; yet, the artist is not limited by the forms of traditional weaving, and views weaving as an alternative medium for making sculptures. In sculpture-making, clay molding is like addition while sculpting equals deletion; in the art of weaving, there are also various methods: circle weaving creates symmetrical circles; square weaving creates continuous squares; and hexagonal weaving is somewhere in between. Like the reproduction of fractal forms in biology, weaving allows identical forms to be reproduced in the structure, freely extending organic curves without limit until the entire surface is covered with unending patterns. Nevertheless, behind this appearance of unfettered creation, there lies careful calculation, which is always necessary. Breaking free from the traditional limit of pattern counting, which is usually applied to two-dimensional work or the making of symmetrical forms, Lin has extensively experimented in weaving and is able to create free forms that represent the splendid spring blossoms.

 

201展間R201

張美儀

Meiyi Cheung


「擁有中的迷失」系列

Lost in Procession Series

「擁有中的迷失」系列作品,探討科技發展為人類帶來的便捷之時,我們是否也失去本來天生的感知與能力。她以宏觀的自然界,乃至微觀的個人自由、記憶、視覺、聽覺、觸覺等出發,重新思索時裝製作及傳統手藝應用的另類可能性,其中除了應用多種另類物料,包括:銅片、銅線、銅網、可水洗的紙、美麗諾羊毛、隔音棉和電子零件等,把科技與自然的材質交錯應用,同時放棄傳統的車縫方法,全以銅製螺絲組合作品,不用一針一線,試圖透過大量的手工製作,重啟自己與觀者的感知維度。在創作過程中,張美儀著眼於得自打銅的陸樹才、陸強才師傅,和粵劇頭飾製作的周燕雲老師所領授得來的智慧,以及手工製作過程帶給她的靈感和觸動,在物料特性與應用手法上,實驗創作出獨特的系列作品。

Lost in Procession Series discusses human being’s loss of innate perceptibility and sensation as the world becomes more and more convenient with technological advancement. Observing nature while exploring topics of individual freedom, memory, vision, audio and tactile perception, Meiyi Cheung reflects upon the potential possibilities of combining fashion design and traditional crafts. In her work, she has used various unusual materials and objects, such as copper sheet, copper wire, copper mesh, washable paper, Merino wool, soundproofing foam and electronic parts, integrating technological and natural materials. Additionally, instead of traditional stitching, she uses brass bolts and nuts to assemble her works without using needle and thread. Through an extensive handmade process, she aims to introduce a new perceptual dimension to all. Inspired by the handmade process and the wisdom of different master craftsmen, including braziers Luk Shu-Choi and Luk Keung-Choi as well as Chow Yin-Wen who produces head pieces for Cantonese opera, Cheung has experimented with the characteristics of materials and their application, and created unique series of works.

 

《擁有中的迷失─大自然之母Ⅰ》

Lost in Possession─Mother Nature


  

羊毛、黃銅網、黃銅螺絲、電子零件、玻璃珠、紅銅、聚氯乙烯
2016年
 
Merino Wool, Brass Mesh, Brass Bolts and Nuts, Electronic Parts, Glass Beads, Copper, PVC
2016
 
當山頭和樹林被高樓與發射站取代,河水被化學液體覆蓋,草原被耕地和公園佔據,我們的大自然之母還是天然的嗎?

When trees and forests are replaced by electric towers and launch stations; running rivers are replaced by chemical liquids; lands are replaced by human farms and parks. Is our mother nature still natural?

 

《擁有中的迷失─被包裹的觸感》

Lost in Possession─Enwrapped Sensation

  

超細纖維絨面、紅銅網、
黃銅螺絲、假髮、聚氯乙烯
2016年
 
Micro Fiber Suede, Copper Mesh, 
Brass Bolts and Nuts, Faux Hair, PVC
2016
 

作品以人類的皮膚與神經作為衣服結構的創作靈感,表達人類依賴科技的同時,觸感逐漸消失,猶如被重重銅網隔離,作品棄用傳統針步縫合,取而代之是以螺栓與螺帽組裝而成,並以直立的銅柱連接層層銅網,製造銅網層在空中流動飛揚的效果,與假髮製成裙擺的實體擺動互相呼應,表現觸感被虛構的感知狀態。

Inspired by human skin and nerves, this work depicts human’s loss of tactile perception as we have grown accustomed to relying on technology; it is just like we are isolated by layers of copper mesh. Replacing traditional stitching of needle and thread with bolts and nuts and connecting each mesh layer with copper stakes, the artist creates a visual effect of flowy mesh that echoes the swaying skirt made with wigs, conveying illusory, fictitious tactile perception.

 

《擁有中的迷失─偽裝的視野》

Lost in Possession─ Vision in Mask

  

聚氨脂、滌綸網眼、黃銅螺絲、玩具眼睛、
羊毛、電子零件、滌綸毛氈、銅桿、合金、聚氯乙烯
2016年
 
PU, Polyester Mesh, Brass Bolts and Nuts, 
Toy's Eye, Merino Wool, Electronic Parts, Polyester Felt, 
Copper Rod, Wool, Alloy, PVC
2016
 
當我們忙於運用先進的電子設備記錄影像,讓自己通過網絡認識世界,螢幕和鏡外的現實世界我們忽略了多少?「看」卻不「見」成為我們的日常,科技和網絡替代著我們的眼睛,我們正漸漸失去視力和視野。

As we are using more and more advanced electronic equipment to record images, create videos, and know the world via Internet, how much of the real world have we overlooked? Seeing without perceiving has become part of our daily life as technology and Internet replace our eyes, striping us of our sight and vision.

 

《擁有中的迷失─記憶以外》

Lost in Possession─ Beyond Memory

  

水洗紙、紅銅網、黃銅網、
紅銅螺絲、紅銅、聚氯乙烯
2016年
 
Washable Paper, Copper Mesh, Brass Mesh , Copper Bolts and Nuts, Copper, PVC
2016  

我們的記憶除了精確地存放於電腦中,還記得圖片中的氣味嗎?還記得文字背後的傷害嗎? 還記得上一次播放音樂時的天氣嗎?作品透過藍印技術,把植物輪廓印在可水洗紙上,輔以立體銅線植物花卉,試圖以不精準的記錄方式表達記憶裡的一草一木。

We try hard to store our memories in computers; yet can we still remember the smell in a picture? Can we still feel the hurt hidden in written words? Do we remember the weather the last time we listen to music? Using cyanotype printing, the artist records the shapes of plants on washable paper, accompanied by bouquets made of copper mesh, attempting to present the plants in the memory through an unprecise recording method.

 

《擁有中的迷失─被拘禁的自由》

Lost in Possession─ Caged Freedom

  
 
羊毛、電子零件、玻璃珠、
紅銅螺絲、紅銅桿、黃銅棒、木珠、聚氯乙烯
2016年
 
Merino Wool, Electronic Parts, Glass Beads, 
Copper Bolts and Nuts, Copper Rod, Brass Rod, Wood Beads, PVC 
2016
 
藝術家在羊毛絨上,以數位技術印製的手繪中國水墨畫山水圖案,綴以電子零件和玻璃珠代表林木和花草植物,豐裕的大地卻是人工裝置的虛擬世界,我們以為擁有自主權,每天自由地創作、思考,然而這一切的自由,原來已受制於各式程式軟件的功能,網絡的安排,資訊的操控,我們的生活其實已於無色無相的牢籠裡而不自知。

The artist prints handdrawn ink landscape on wool with digital printing technology, and uses electronic parts and glass beads to represent trees, flowers and grass. This seemingly bountiful nature is, in fact, an artificial, virtual world. We seem to have autonomy that enables us to create and think freely; however, this freedom is subject to all kinds of software functions. Internet and information control our life, and we are living in a virtual cage without realizing it.

 

《擁有中的迷失─移動的雕像》

Lost in PossessionMoving Statue

 

  

 

聚氨脂合成革、紅銅網、電子零件、
聚氨脂、羊毛、紅銅、玻璃珠、聚氯乙烯
2016年
 
PU Leather, Copper Mesh, Electronic Parts, 
PU, Merino Wool, Copper, Glass Beads, PVC
2016
 
每天端坐電腦前,只須動動指頭,我們瞬間即可旅遊玩樂、上課、工作、消費;或許我們已不再需要能活動的四肢,也不需要骨頭,只在虛擬世界馳騁。

Sitting in front of the computer every day, we only need to move our fingers to be able to travel, learn, work and shop. Perhaps we do not need nimble limbs and bones anymore. What we only need is to enter the virtual world.

 

《擁有中的迷失─接收模式》

Lost in Possession─ Receiving Mode

  
 
黃銅網、黃銅螺絲、吸音絕緣棉布、
羊毛、超細纖維皮革、電子零件、聚氯乙烯
2016年
 
Brass Mesh, Brass Bolts and Nuts, Sound-Absorbing Insulation Cotton, Merino Wool, Micro Fiber Leather, Electronic Parts, PVC
2016
 

當世界充滿資訊,混雜不同的聲音,我們的接收程式時刻啟動,為免錯過了,落後了,但我們卻分不出真偽、是非和對錯、人云亦云,每天在鍵盤上跟不同的人溝通,現實中我們卻是自言自語。此作的主要物料是吸音絕緣棉布,和沒有連接訊號與電源的通話器,像接收程式一般,我們只活在自己的話語中。

The world is flooded with information and different sounds. Our receiving mode is switched on all the time so that we do not miss something and fall behind. However, we are not able to tell what is true and fake, or right and wrong. Instead, we follow others blindly; we communicate with others through typing on the keyboard whereas, in reality, we are just talking to ourselves. This work uses soundproofing foam and disconnected intercom which receives no signals Like our receiving mode has crashed, we are only living in a world of our own words.

 

201展間R201

張國威

Koyo William

 

《尋找生命平衡點─毀滅》

Finding Balance in Life─ Destroy

 

  

 

聚酯纖維、金屬、金箔、棉布、樹枝、玻璃
2016年
 
Polyester, Metal with Gold Foil, PVC Gold, Cotton, Polyester Branches with Gold Foil, Plastic, Glass
2016
 
《尋找生命平衡點─重生》

Finding Balance in Life─ Reborn

 

  

塑膠、金屬、金箔、棉布、玻璃
2016年
 
Plastic, Metal, PVC Gold, Cotton, 
PVC Gold with Gold Foil, Metal with Gold Foil, Glass
2016
 

「尋找生命平衡點」之毀滅與重生,為一組表意生息不止,循環返復的自然之道,是一探討陰陽五行哲理的裝置作品。由張國威與香港傳統工藝,貼金箔老匠師黎裔廣的跨界創作。他驚覺這門技藝的精粹,在於拿捏時間與溫濕的平衡,以及手持金箔需剛中帶柔的學問,與陰陽五行蘊涵的哲理相契合。據此,他跳脫框架,摒棄布料,運用金箔、金屬、玻璃、塑料、樹枝等媒材,做為時裝設計上,演繹金、木、水、火、土五行的自然運行之奧義。

Finding Balance in Life─ Destroy and Finding Balance in Life─ Reborn denote the concept of endless natural cycle, in which life continues to renew and revolve rhythmically. Through this installation, the artist explores the variations of yin, yang and the five elements. Collaborating with Hong Kong gilding artisan Lai Yui-Kwong, Koyo William has realized that the essence of this unique art lies in the balance between time, temperature and humidity as well as how one could applying gold leaf with both precise strength and tenderness; all of which correspond perfectly to the philosophy of yin and yang and the five elements. Having being inspired by his discovery, he has thought outside the box and stopped using fabric but various materials such as gold leaf, metal, glass, plastic, tree branches, etc., to create his works of fashion design, forming a body of work that expounds the meaning of natural cycle through the five elements of gold, wood, water, fire, and earth.

象徵「毀滅」與「重生」的兩件品,一為高懸半空;一為著地而立;分別以金屬盔甲與塑料作為軀體的賦形,胸前安置盛水的玻璃容器象徵生命的源泉,連接鋪滿金箔的樹枝成為服裝輪廓的意象。其中,吊置半空的水、倒吊向下的樹枝;生命已逝的枯枝卻敷以貴重之金箔…等。張國威在作品中營造非同尋常的差異感,寓意了「陰陽」及「生滅」的哲學與處世之道,皆是通過萬物的陰陽(太極兩儀)配合與運轉,在平衡中相附相依,緊緊相扣。

The two works that symbolize “destroy” and “reborn” are respectively suspended in midair and freestanding on the floor. The torso is formed with metal armor and plastic material. The glassware filled with water in the front is a symbolic source of life, which is connected to the gilded tree branches below to create the form of clothing. With the water in midair and the withered yet gilded tree branches, Koyo William creates a distinctive contrast that beckons at how the concept of yin and yang as well as life and death corresponds to a person’s attitude towards life—the yin and yang of all things must match and adapt for everything to thrive, and things must be balanced as all things are interconnected.

 

201展間R201

傅織女

Tricia Flanagan

 

《織織蟀聲─晚秋:王者之歌1》

Cricket Songs─ Late Autumn: Song of Dominion No. 1

  

鋼、皮革、陶瓷、棉布、電子零件、雷射蝕刻羊毛雙重編織、合成毛皮、棉質襯料、手工棉線刺繡、熱轉印印花聚酯纖維彈力網、黃銅、假髮、竹、電線、揚聲器
2016年
 
Steel, Leather, Ceramic, Cotton, Electronics, Laser- Etched Wool Double Weave, Synthetic Fur, Cotton Lining, Cotton Hand Embroidery, Sublimation Printed Polyester Stretch Netting, Brass, Synthetic Wig, Bamboo, Electrical Wire, Speakers
 
2016
 

《織織蟀聲─晚秋:王者之歌2》

Cricket Songs─ Late Autumn: Song of Dominion No. 2

  

T恤結合熱昇華印花彈力網袖、雷射蝕刻羊毛雙重編織、黃銅、葫蘆、陶瓷、電子零件、棉編織物、酒椰葉纖維、假髮
2016年
 
Blue cotton T-shirt with Sublimation Printed Stretch Netting Sleeves, Laser-Etched Wool Double Weave, Brass, Gourd, Ceramic, Electronics, Cotton Braiding, Raffia, Synthetic Wig
2016
 
 
《織織蟀聲─初秋:追求之歌1》

Cricket Songs─ Early Autumn: Courting Song No. 1

  

日本聚酯纖維、昇華印花、蒸氣褶皺、紗布、竹、電子零件、人造鳥
2016年
 
Japanese Bridal Polyester Voile, Steam Pleated, Sublimation Printed,  Cotton Gauze, Bamboo, Electronics, Artificial Bird
2016
 

《織織蟀聲─初秋:追求之歌2》

Cricket Songs─ Early Autumn: Courting Song No. 2

  

數位印花不織布、雷射蝕刻羊毛雙重編織、酒椰葉纖維、竹、電子零件、棉編織物、黃銅蟋蟀、鋼、白色聚酯纖維、木材、玉、白紋石、琉璃珠、黃銅
2016年
 
Digitally Printed Tyvek, Laser-Etched Double Weave Wool, Raffia, Bamboo, Electronics, Cotton Braiding, Brass Cricket, Steel, White Polyester, Timber, Burned Jade, White Howlite, Lapis Lazuli, Brass
2016
 
 
《織織蟀聲─暮夏:呼喚之歌1》

Cricket Songs─ Late Summer: Calling Song No. 1

  

竹、電子零件、黃銅、日本聚酯纖維、雷射蝕刻羊毛雙重編織、假髮、鐵塊、電線、揚聲器
2016年
 
Bamboo, Electronics, Brass, Japanese Bridal Polyester Voile, Laser- Etched Wool Double Weave, Synthetic Wig, Iron Weights, Electrical Wire, Speakers
2016 
 
 

《織織蟀聲─暮夏:呼喚之歌2》

Cricket Songs─ Late Summer: Calling Song No. 2

  

陶瓷、黃銅、棉編織物、電子零件、藍色聚酯纖維和棉針織混紡品、雷射蝕刻羊毛雙重編織、棉製刺繡、假髮、藤、酒椰葉纖維、電線、揚聲器
2016年
Ceramic, Brass, Cotton Braiding, Electronics, Blue Poly-Cotton Knit, Laser-Etched Wool Double Weave, Cotton Embroidery, Synthetic Wig, Rattan, Raffia, Electrical Wire, Speakers
2016
 

《織織蟀聲─中秋:慶祝之歌1》

Cricket Songs─ Mid Autumn: Song of Celebration No. 1

  

熱壓蟋蟀圖像膚色網、雷射蝕刻羊毛雙重編織、鋼、電子零件、鋁、木與黃銅鑲嵌物、黃銅、假髮、竹、酒椰葉纖維、黃麻、聚氯乙烯塗層電線、揚聲器
2016年
 
Skin Tone Netting with Heat Press Cricket Image, Laser- Etched Wool Double Weave, Steel, Electronics, Aluminum, Wood with Brass Inlay, Brass, Synthetic Wig, Bamboo, Raffia, Jute, PVC Coated Electrical Wire, Speakers
2016
 
「織織蟀聲」系列

Cricket Songs Series

傅織女以中國古老豢養「促織」與雀鳥的文化典故做為創作靈感。蟋蟀,俗名蛐蛐;從金絲籠養鬥蟋蟀之各式精緻的蟋蟀工藝品,如盆、籠、葫蘆和鬥蟋蟀棒,它們由檀香木、翡翠、象牙、陶瓷、竹等製成,更因季節和功能而使用不同器物,足見蟋蟀在中國歷史中的重要地位。藉此文化衍生的藝術發展為底蘊,並向香港藤編師傅陳楚翹請益與合作,以編織蟋蟀籠的技法與其擅長的紡織相結合,演繹作品《織織蟀聲》所潛隱的暮夏、初秋、中秋、晚秋之時令「錦」緻。

This collection is inspired by the fascination with keeping crickets and birds in Chinese culture. Different sorts of delicate artefacts have been derived from the art of keeping crickets as pets, including pots, cages and ticklers made from sandalwood, jade, ivory, ceramic or bamboo. Various artefacts were used for different seasons and served different functions, demonstrating the historic significance of crickets in Chinese history. The artist bases this collection on this cultural heritage and collaborates with Chan Chor-Kiu, a Hong Kong rattan weaving artisan, to combine the skills of rattan weaving and fashion design. Cricket Songs displays a fascinating collection that conveys the charm of different moments in the seasonal cycle.

作品中結合了傳統與當代的技巧,歌頌豢養蟋蟀的文化與編織手藝,包括數位列印融合日本絞纈染織技術、雷射蝕刻印製山水畫意,輔以刺繡的補飾縫綴,特別的是裙襬以刺繡繡出帝王龍袍下襬的斜紋式樣,借以尊貴的刺繡圖紋歌頌勞動階層。裝置中多數來自純手工製作,例如煙燻陶製葫蘆形蟋蟀籠子和黃銅頸環;服裝與頭飾的鳥籠設計,為辛勤勞動的人們增添閒適之意。此外,除了視覺元素,更以揚聲器將集錄得來的蟋蟀叫聲和環境音,創製出一個音效環境,每一套服裝皆配屬特色的聲效,形構一場涵蓋不同季節面貌,由蟋蟀叫聲引領的視象時尚與音景之旅。

The collection combines traditional and contemporary techniques, paying homage to the cultural practice of keeping crickets and the craftsmanship associated with it. Digital prints are combined with Shibori, a Japanese manual resist dyeing technique, and laser etching with embroidery to create the imagery of landscape. The lower hems of the skirts are embroidered with the pattern commonly seen on imperial gowns, celebrating the labor class with the noble embroidery decoration. Many components in the installation are handcrafted, such as the ceramic, smoke-fired, gourd-shaped cricket cages and brass neck rings. The clothing and the head pieces with bird cages seem to suggest a sense of leisure in the life of diligent laborers. In addition to visual elements, the artist has drawn on cricket chirping and ambient sounds to craft a unique soundscape. Each costume has a signature sound, forming a journey of seasonal soundscape guided by the songs of crickets and visual fashion.

 

201展間R201

李冠然

Kenny Li

 

「觀音娘娘的六種色相」系列

The Six Hues of Guanyin Series

「觀音娘娘的六種色相」系列,設計靈感來自於李冠然遊歷敦煌石窟壁畫,順著石窟的動線,由高至低一路觀覽下來,發現洞窟中各式神佛尊像的造型,如「觀音」向來予人莊嚴、悲憫的形象,依著朝代遞嬗其形象與衣著亦呈現不同風貌,行步一遍敦煌石窟猶如經歷了千年文化的一場時裝盛會,因此設計師以現代人的視角並匯入了傳統紮作匠師冒卓祺師傅的手藝,重新塑造觀音的形象。

The Six Hues of Guanyin Series is inspired by Kenny Li’s travels to the Dunhuang Caves. As Li followed the route of the caves, the artist discovered the Buddha paintings within the caves, such as the Guanyin (Commenly known as the Goddess of Mercy) , all display solemn and compassionate expressions. Because the depictions and clothing of the Buddhas change as the dynasties go by, a walk through the caves is like a feast across the thousands of years of history. This experience inspired Li to reinterpret the image of Guanyin by merging modern perspectives with the techniques of traditional paper-crafting master Kenneth Mo.

藉由傳統技藝的精神,李冠然利用不同的技術如摺疊、印藝、紮作等,把昔日的文化演繹為觀音娘娘的衣飾。展覽裝置的形式也以佛洞石窟為靈感概念,觀者可透過洞口窺探或自由出入參觀內設的作品,感受設計師巧手下,新舊文化滙集的新氣象。此系列打造了六個當代觀音的形象―《繁體.簡体》、《垃圾.風景》、《名牌.山寨》、《女生.男相》、《環保.消費》和《數碼.手藝》,直指當代香港的眾生現象。

Through the spirit of traditional craftsmanship, Kenny Li applies different techniques, such as folding, printing, and paper-crafting, to transform culture into the clothing of Guanyin. Inspired by the caves of Dunhuang, the artist invites visitors to wander freely among the display, savoring the designs and the integration between traditional and modern cultures. This series presents six contemporary images of Guanyin: Traditional • Simplified, Garbage • Landscapes, Branded • Unbranded, A Girl's LifeA Boy's Looks, Green • Consumption, and Digital • Craft, each referring to the phenomena of contemporary Hong Kong.

 

《觀音娘娘的六種色相─繁體.簡体》

The Six Hues of Guanyin─ Traditional • Simplified

  

棉布、人造絲
2016年
 
Cotton, Viscose
2016
 
漢字文化已有數千年歷史,每個朝代也經歷不少轉變,如今我們又是在經歷一個怎麼樣的年代?

Chinese characters have existed for thousands of years, but they have also undergone different changes in each dynasty. What kind of times are we experiencing now?

 

《觀音娘娘的六種色相─垃圾.風景》

The Six Hues of Guanyin─ Garbage • Landscapes

 

 

棉布、麻布、聚氨基甲酸酯纖維、
木材、鐵、竹條
2016年
 
Cotton, Linen, Spandex, 
Wood, Iron, Bamboo Strips
2016
 

將每日棄置的垃圾如廢紙、膠袋等,以微焦距攝影技術將之轉化成一幅幅大自然美麗的印花圖案,建構出一個強烈的對比。

Waste paper, plastic bags and similar resources discarded on a daily basis are turned into prints of natural landscapes using micro photographic skills to create a strong contrast.

 

《觀音娘娘的六種色相─名牌.山寨》

The Six Hues of Guanyin─ Branded • Unbranded

 

羊毛、蕾絲、聚酯纖維、紙
2016年
 
Wool, Lace, Polyester, Paper
2016
 
名牌效應彷彿是現今社會的主流價值,從時尚到教育,為了擠身名牌門檻,無所不用其極。

Brands seem to represent mainstream values in this modern days. From fashion to education, non-branded items are regarded as sub-standard. Every action is carried out to make a name for itself.

 

《觀音娘娘的六種色相─女生.男相》

The Six Hues of Guanyin─ A Girl’s Life • A Boy’s Looks

 

絎縫棉布、棉布、鐵、
聚酯纖維、竹條、紗
2016年
 
Quilted Cotton, Cotton, 
Iron, Polyester, Bamboo Strips, Muslin
2016
 
社會規制及性別界限愈趨模糊,中性服飾潮流應運而生。做為回應觀音的色相,設計出可前後穿著的服飾,一面為女裝,另一面為男裝。

As social norms and gender boundaries become increasingly blurred, unisex clothes and trends are emerging to meet new demands. This work responds to one of the many forms of Guanyin by designing clothes that can be worn on both sides: one side for women, the other for men.

 

《觀音娘娘的六種色相─環保.消費》

The Six Hues of Guanyin─ Green • Consumption

 

木材、棉布、紙、不織布
2016年
 
Wood, Cotton, Paper, Nonwoven
2016
 
消費文化時代,製造大量的垃圾,此作品以收集自香港的舊燈柱木材,重新組合出賦立體感的服飾,將物料升級再造。

We consume every day, creating huge amounts of waste. Making use of locally sourced wood from old lamp posts, this work up-cycles and rearranges materials into stereoscopic clothes.

 

《觀音娘娘的六種色相─數碼.手藝》

The Six Hues of Guanyin─ Digital • Craft



 
棉布、竹條
2016年
 
Cotton, Bamboo Strips
2016

數位世代,電子產品成為每日不可或缺的使用物件,但是傳統手藝如紥作技術,依舊具有保留和傳承的價值。

Electronic devices have become indispensable in our lives in the digital age. But traditional crafts – such as paper crafting techniques – are still invaluable and worth preserving.

 

 

 

 

相關教育活動 Educational Programs

【華麗轉身-老靈魂的魅力重生】系列講座

當代藝術企圖跳脫過去藝術分類的形式,企圖返回生活,回到藝術的原初,帶領觀眾重新出發端詳這個世界。看藝術家與設計師們,如何把傳統生活翻轉或創新融合成新的創作。民藝,是從文化出發,才能抵達大眾的認同,透過創意新生才能看見更遠的地方。

講座將分成三大類專題引領觀者深入淺出的探討老翻新的時下顯學。

  談時尚    從傳統中淬鍊,時尚創意的新火花   

5/19(六)

14:00-15:30

-老靈魂的魅力重生-

藝術中的剪刀石頭布遊戲

與談: 張美儀、張國威、李冠然

主持: 吳妍儀 (輔大織品系助理教授)

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5/19(六)15:45-17:15

-華麗轉身的霓裳神話-

談手作時代裡的返樸歸真

與談:傅織女、高勝忠、盧聲前

主持: 盧淑芬 (《ELLE》國際中文版的總編輯 )

點我報名

 

 談設計   視覺文化與民藝交織的創造力 

6/09(六)

14:00-15:30

-生活中的工藝復興-

從柳宗悅、顏水龍到台灣人的現代日常

林承緯(國立台北藝術大學建築與文化資產研究所專任副教授) 

蕭瓊瑞(國立成功大學歷史教授)

點我報名

06/09(六)

15:40-17:30

-見微知著的綺麗日常-

漫談傳統,顛覆框架中的想像

與談: 范承宗、陳宗萍、林淑鈴、舒米‧如妮

主持: 陳高明 (臺灣竹的研究員、工藝師、地方民俗學者)

 

點我報名

 

 

 談美學    素材與造型的新視覺感動     

6/30(六)

14:00

-重喚自然與土地-

螺旋運動的在地熱愛與幻想

與談: 康雅筑、楊偉林、賴純純

主持: 黃海鳴(國立臺北教育大學文化創意產業經營學系教授)  

點我報名 

 

專家導覽

06/03 (日) 下午14:00  林曉瑛(實踐大學工業產品設計學系 助理教授)

06/24(日)  下午14:00  線加工(設計師/傳統圓仔花融入現代設計運用) 

*需購票入場

兒童專區

 「華麗轉身」兒童教育專區
 

【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,提供更進一步的問題、小知識、簡易手做,讓大小觀眾一同學習展覽,增添學習趣味。

※ 歡迎下載取用:

 

 
 
 
【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。
 
可拆解成上下半截,上半段的彩色地圖,提供小朋友進展間尋找藝術作品;下半段的文字問題,提供大朋友簡易版的問題,引導小朋友觀看作品的一種方式。
 
※ 歡迎下載取用:

 

【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。

這次搭配「華麗轉身」展,規劃設計了3個區域,親子們可自由選擇喜歡的區域進行學習活動。這次的展覽邀請14組藝術家,其中有6位服裝設計師,以及3位以編織方式進行創作的藝術家,設計了編織學習區、集體創作區、及服裝設計區,歡迎參觀完展覽後,進入U12小玩藝教室學習展覽。

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