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

【流‧變-鄭麗雲個展】Transit‧Transformation─Leigh Wen Solo Exhibition

展覽名稱 Exhibit

【流‧變-鄭麗雲個展】

Transit‧Transformation─Leigh Wen Solo Exhibition

展覽時間 Date

2016/09/15-2016/11/20

展覽地點 Venue

台北當代藝術館 MOCA Taipei 2F

門票 Admission

NT50

參展藝術家 Artists

鄭麗雲 Leigh Wen

展覽介紹 About the Exhibition

【流‧變-鄭麗雲個展】

Transit‧Transformation-Leigh Wen Solo Exhibition

 

「我常被造物者的力量震懾,並受東方哲學敬天愛地的思想影響,面對大自然,我感覺到人的渺小,也學到必須無私、包容與付出。」

我創作的主軸是地、氣、水、火─住在紐約經常看到大海,使我對海洋依戀,也引生了我對彼岸的思念…;在歐洲與美國見過的高山,不論稜線或山的結構,都是我想要讚嘆的;天空大氣的變化萬千,火焰的絢麗光明,以及蘊藏其後的大自然能量,都讓我敬仰不已…。----鄭麗雲

“I am often awestruck by the power of the creator, and am influenced by Eastern philosophies that pay respect to nature. I feel that human are small in the face of nature, and one must learn to be selfless, compassionate, and giving.” 

Earth, air, water, and fire are the center subjects of my art. I live in New York City-it is close to the ocean, and I’ve developed a deep affinity for the sea, which has also evoked sentiments in me for what has across on the other side of the ocean. Majestic mountains in Europe and the U.S. those I’ve seen with spectacular ridgelines or forms are what I want to pay homage to. The sky’s ever changing atmosphere, fire’s brilliance, and all the energies embodied in nature are the most things that I am in awe of.

---- Leigh Wen

旅美藝術家鄭麗雲,1959年生於臺灣臺北,1994年獲紐約州立大學藝術創作碩士,近二十年來,應邀擔任美國文化大使,歷經柯林頓、布希、以及現任的歐巴馬等六任總統,將其作品展示於13處美國大使館、總領事館及世界各政府機構,地點包括:約旦、馬來西亞、新加坡、納米比亞、波札那、菲律賓、香港、臺灣、丹麥及波蘭等。旅美期間,她曾獲得多項大獎殊榮,包括1999年與2005年兩度榮獲波拉克―克拉斯納基金會的傑出藝術家獎,並應第一夫人蘿拉•布希之邀約於2005年專訪白宮。白宮一年一度的藝文餐會,限邀全美約60位藝術家參與,鄭麗雲是少數能長年受邀者之一,說明了其藝術成就在美國所獲得的重視與肯定。

Born in Taipei, Taiwan in 1959, Leigh Wen is an artist that resides in the U.S. She received her MFA from the State University of New York at Albany in 1994, and has served as a cultural ambassador for nearly two decades during the Clinton, Bush, and Obama administrations. She has exhibited in 13 American embassies, consulates, and other government institutions around the world, including Jordan, Malaysia, Singapore, Namibia, Botswana, Philippines, Hong Kong, Taiwan, Denmark, and Poland. A recipient of several distinctions in the U.S., she was awarded Artist Grants by the Pollock-Krasner Foundation in 1999 and 2005, and was invited by First Lady Laura Bush to visit the White House in 2005. A frequent guest from a select list of 60 artists in the U.S. invited to the White House’s annual art and culture reception, Leigh is an artist that is recognized and valued in the U.S. for her achievements in art.

 

鄭麗雲長期旅居美國大城,矢志闖蕩國際藝壇,但也經常往返家鄉臺灣,關注國內社會發展;表面看來,她在美國和臺灣的兩個「家」之間來回移動,但她認為,人生如同一趟無止境的旅程,除了棲身地點的改變,更重大的體驗和收穫,毋寧是外部環境的覺知和個人身心的成長,以及兩者之間複雜難料的交互作用。【流‧變─鄭麗雲個展】,透過多元的作品表達形式和美學展示手法,具現了鄭麗雲個人獨特的生命經驗,也反映了她對於人生哲學的某種領悟。

Leigh lives in Big Apple- New York City in the U.S. and has great ambitions for making a mark on the international stage of art. She also frequently travels back to Taiwan and pays close attention to its social developments. On the surface, she is constantly moving between her two “homes” in the U.S. and Taiwan, but she sees life as a never-ending journey. In addition to changing one’s dwelling place, more importantly are the experiences and rewards acquired from connections with the world on the outside and one’s personal inner growth, and also the complex and unpredictable interactions between the two. Different creative expressions and presentation approaches are incorporated in TransitTransformation ─ Leigh Wen Solo Exhibition, showcase the artist’s unique personal experiences and her philosophical enlightenment for life.  

 

本展的作品鋪陳,從設置於當代館廣場的兩件裝置新作開始,引領觀眾窺探其多樣的藝術風貌和豐富的生命感受。整個展覽包括四個主題架構:花與女人的連結、山與水的對話、裝置藝術的延伸、現成物的轉用等。展出作品形式包括:平面繪畫、立體雕塑、空間裝置、影音劇場、乃至於文創設計應用等。本次個展,鄭麗雲旨在展示新作,作品呈現及展覽規劃,也相當用心地呼應了當代館的空間環境,但從某方面看來,本展的內容也鋪陳了藝術家出道三十年來,不同階段的心路歷程和藝術發展脈絡,以及貫串在作品綽約「流‧變」的風貌之下,一股堅毅不撓的女性主義精神。

The arrangement of the artworks on view begins with two of her latest installation works those are displayed at the MOCA, Taipei plaza, the audience guided on an exploration of art’s diverse features and different experiences in life. The entire exhibition is divided into the following four themes: Connections between flowers and women; Dialogues between the mountains and water; Spatial installation; and audio-visual theater, and the additional incorporation of creative design elements. Leigh’s objective for this solo exhibition is to showcase her latest artworks meticulously echoing with the space of MOCA, Taipei. Moreover, the exhibition also reflects the different phases throughout the artist’s 30-year career, including her inner journey and artistic developments, with an unwavering feminine stamina flowing through her artworks as they go through transit and transformation

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參展藝術家 About the Artists

藝術家介紹 Artist Introduction

鄭麗雲 Leigh Wen

旅美藝術家鄭麗雲,1959年生於臺灣台北,1994年獲紐約州立大學藝術創作碩士,近20年來,應邀擔任美國文化大使,歷經柯林頓、布希、以及現任的歐巴馬等三任總統,將其作品展示於13處美國大使館、總領事館及世界各政府機構,地點包括:約旦、馬來西亞、新加坡、納米比亞、波札那、菲律賓、香港、臺灣、丹麥及波蘭等。旅美期間,她曾獲得多項大獎殊榮,包括1999年與2005年兩度榮獲波拉克―克拉斯納基金會的傑出藝術家獎,並應第一夫人蘿拉•布希之邀約於2005年專訪白宮。白宮一年一度的藝文餐會,限邀全美約60位藝術家參與,鄭麗雲是少數能長年受邀者之一,說明了其藝術成就在美國所獲得的重視與肯定。

作品介紹 About the Artworks

廣場 / Plaza

當代館廣場的帆船裝置,分別呈現鄭麗雲美學典型中,代表冷、暖兩極的水、火意象,而以美術館建築為背景,就地進行了形式對照/意涵對比的展示。其中的〈水帆〉,樸素的船體配上藍色水紋三角風帆,並以「Formosa(福爾摩莎)」為船名,令人回想當年西方人在太平洋航行中一眼發現臺灣之際,對這美麗島嶼所發出的真情讚嘆!於此,〈水帆〉象徵了人生旅程中,對於停泊靠岸之地的需要、對於安身立命家園的追求;在這同時,〈火帆〉則是以較酷炫前衛的雙船體造型,搭配火熱色彩的流線型風帆,加上「Hobie Getaway」的船名,象徵了乘風破浪、向外出發、冒險犯難的另一種人生哲學和行動意志。

The sailboat installations on the museum plaza represent water and fire: the elemental embodiments of coldness and warmth in Leigh Wen's aesthetic concept. With the museum building as their backdrop, they create a comparison in form as well as a contrast in meaning. Water Sail, with its simple, triangular shape and wavy, blue lines, has been named "Formosa" – an exclamation uttered by Portuguese voyagers when they first made landfall on Taiwan in 1626. Water Sail, therefore, becomes a symbol for the pursuit of a safe harbor and a home where one belongs in the journey of life. In contrast, Fire Sail depicts the silhouette of a modern, double-hulled boat, with its streamlined sail colored in vibrant hues. Named "Hobie Getaway," this piece represents an adventurous, outgoing, and bold life philosophy and an irrepressible will to act. 

這一組廣場裝置,透過兩種對比的元素和意象,呈現/書寫了藝術家鄭麗雲30餘年來的生命航程,和一種反覆拉鋸的個人心境變化。藝術的世界正如廣闊無邊的大海,時而碧波萬頃,時而浪濤洶湧,身為藝術家就是要進入其中去徜徉感受和歷練;鄭麗雲在歲月悠悠的藝術航程中,運用色彩與線條,具象地刻劃眼前一望無際/船邊能動不已的海洋波浪,同時又抽象地捕捉個人心中不斷狂熱焚燒的一種靈魂之火。這兩艘現成物改裝的藝術帆船,在啟程歷險/歸航家園、現實環境/個人心志之間,做了象徵的著墨和耐人解讀的對照。

This set of installations represents, via two contrasting elements and images, the artist's thirty years of voyage through life and the pattern of her constantly changing state of mind. The world of art is akin to a shore-less ocean that can be tranquil on some days and yet surge intensely on others. Upon entering this world, an artist's fundamental task is to feel and experience without holding back. Throughout her long artistic journey, Leigh Wen has used colors and lines to capture her inner duality: a constant struggle to reconcile the dynamic, shifting sea waves of her imagination with the fervently burning fire of her soul. Her trademark technique has been utilized, in this series of nautical pieces, to repurpose and transform prosaic materials into an intriguing symbol of unrestrained adventuring within both reality and the mind. 

〈水帆〉Water Sail-Formosa〈火帆〉Fire Sail-Hobie Getaway

帆船 Sailboat

430 x 183 x 570 cm

2016

 


2F西側樓梯 / 2F Western Stairway 

在西側樓梯間,作為二樓展覽場域之氛圍前導的,先是藝術家鄭麗雲特意新製的互動地面投影裝置〈漫遊1〉,拾階而上迎面照見的,則是孤船在紫色汪洋中漂泊的動態影像作品〈漫遊2〉;兩側牆面搭配展出的〈尊〉和〈峻〉兩幅大畫,以高山仰止、堅巖峻壑的形式內容,對照了海洋的廣闊無邊和水的柔曲自在。於此,藝術家透過時空錯置的圖畫和意象,率先啟動觀眾的直覺感知,進而激發出各種關聯閱讀的機制。戲玩互動感應的地面水花,靜觀大海中載波獨行的帆船,以至於仰視高高在上的崇山峻嶺…,享受這些個別的山光水景之同時,似乎也可以串聯閱讀出,這個樓梯間的情境氛圍,也某種程度隱喻了藝術家早年試圖走出父權化的社會與環境制約,從而開啟自我藝術航程和世界觀的一番心路歷程。

As an introduction to the second-floor exhibition, the artist has installed in the western stairway an interactive projection, titled Odyssey 1. As visitors proceed up the stairs, they will subsequently encounter a video, Odyssey 2, which shows a lone boat drifting in a purple sea. On walls to both sides are two large-scale paintings: Yu-Shang Mt #6 and The Twin Peaks. The stolidity and majesty of these mountains stand in stark contrast to the infinite ocean and the tenderness of water. Here, through non-temporal paintings and images, the artist engages the audience's intuitive perception and encourages all manner of possible interpretation. Whether playing with the interactive projection on the ground, quietly appreciating the solitude of a boat, or looking up to the rising mountains, the audience will be able to read the atmosphere of this space, which hints at the patriarchal society and confining environment that compelled the artist to travel abroad decades ago - a decision that would eventually lead to a journey of art and the self, subsequently opening her eyes to the world. 

〈漫遊1〉Odyssey 1

單頻道錄像、互動裝置 Single Channel Video, Interactive Device

2016

〈尊〉 Yu-Shang Mt #6.

油彩、畫布 Oil on Canvas

197 x 333 cm

2014

〈峻〉 The Twin Peaks

油彩、畫布 Oil on Canvas

240 x 330 cm

2014

 

2樓玄關 / 2F Landing

牡丹向來被視為花中之王,取其花色艷麗,冠絕群華的姿容,象徵雍容華貴與繁盈昌盛,此次展出數件不同花卉畫作,而特意在入口處以花樣盛開的〈牡丹 IV〉為首,除了呼應「花王」意涵,也寓意了本展對女性主義精神的彰揚。

The Peony is the king of all flowers due to its vibrant, poignant colors and regal appearance, which together symbolize luxury and prosperity. On view in this exhibition are several floral paintings, and the depiction of blossoms in Peony IV, displayed in pride of place at the entrance to this exhibit, asserts not only the title of "flower king," but also the spirit of feminism underlying this exhibition. 

鄭麗雲表示,牡丹花是包含周圍多數雄蕊和中央少數雌蕊的雙性花,雌蕊象徵了女性的生命力和影響力,她獨立、堅強地生存在由男性主導的世界中…;她說:「回溯藝術史,甚至整個文明史,女性向來是被男性沙文主義所宰制的『她者』,她們的思想、行為被束縛,被化約為男性的一部分」。有鑑於此,她特意在花卉畫作中強化一種生命力的韌性和堅毅的意志,並以此觀照省思自己一路身兼女藝術家、女兒、人妻、母親等多重身分和角色,心中隨時懸繫著諸多不同牽掛的生命歷程。她透過繪畫紓解心懷,許多作品也因此承載了她的心緒轉變,反向地詮釋了她的創作意識,於此,牡丹花可視為她個人的另一種「自畫像」。

The peony has multiple stamens and one pistil. The pistil symbolizes the life and influence of a female – one independent and strong, living in an arena dominated by men. The artist comments, "looking back throughout art history, and even throughout the entire history of our civilization, women have always been oppressively cast as "the female other" by male chauvinists. Women's thinking and actions are bound and reduced as secondary to those of men." In light of these beliefs, she has chosen to place particular emphasis on the qualities of strength, perseverance, and endurance in her floral paintings. She has furthermore channeled her own life journey into these works; the various worries and concerns resulting from her strenuous efforts to simultaneously fulfill the roles of daughter, wife, mother, and artist have provided abundant inspiration. As these works naturally embody her thoughts and state of mind, they become an interpretation of her creative consciousness in reverse. Therefore, Peony IV can also be viewed as an unorthodox form of "self-portrait."

〈牡丹 IV〉Peony IV

油彩、麻布 Oil on Linen

173 x 186 cm

2016

 


205展間 / R205 

〈無眠夜〉以12件碗缸器型的陶瓷作品陣列結合影音裝置,將205展間營造成氛圍獨特的禪想空間。自幼生長於鶯歌陶瓷之鄉的鄭麗雲,體會到陶瓷以土和水為元素,經人手捏塑成形,再經火的淬鍊而轉化出不朽之質。陶瓷文化的薰陶,除了成為她藝術思維的根源,也啟發了她吸收東西文化、鎔鑄傳統與現代藝術的精神手法,此作讓繪畫和陶瓷器物合體,進而導入聲光元素和投影機制,即在於打破陶瓷產業歷來自成一脈和工藝本位的保守習性。

The Longest Night is an installation consisting of twelve porcelain bowls combined with audiovisual effects. The result is to transform R205 into a Zen space with a unique ambience. Having grown up in Yingge, the focal point of ceramic arts in Taiwan, the artist has from an early point possessed a deep understanding of how clay is forged into lasting artwork after being mixed with water and shaped by human hands. The influence of the local ceramics culture is an indispensable part of her artistic thinking and has inspired her to combine both Eastern and Western aesthetic traditions, casting techniques, and the spirit of modern art, to create an entirely unprecedented personal style. Being integrated with audiovisual elements and subtly arranged projections, this work transcends the conservative and craft-based practices of the traditional ceramics industry. 

在這12件造形簡約素樸、高達50公分的陶瓷作品中,藝術家以其擅長的線性刻繪手法結合釉藥色彩,將銀波蕩漾、萬頃無邊的海洋意象,化約再現於一個個陶瓷碗缸的內外層,碗缸胚體和水紋圖像的內外結合,除了巧妙呈現出無往不復、律動無窮的視覺特質,陣列集結成空間裝置的整體氣勢,則適足以詮釋道家「大象無形,有容乃大」的哲想概念。

On both the exterior and interior of these twelve fifty-centimeter-high porcelain bowls, the artist has painted her characteristic linear styles in glaze in order to represent the ocean’s silver waves and boundlessness. The combination of the bowls’ fundamental structure and the wavy lines creates and endlessly circulating and rhythmic visual effect. The spatial arrangement of this installation is intended as an assertion of a particular Taoist concept: "great form has no shape; greatness lies in the capacity."

這組作品的展出,特別搭配了水滴不定時從天花板落入水缸中,進而啟動光影延伸和聲音迴響的另一種現場效果與體驗情境。藝術家自言,想藉此召喚1959年「八七水災」時,還在襁褓之中的她,藏身鶯歌老家農舍中而渾然不覺,長大後從長輩的口頭敘述才知道,那正是他們集體記憶中「最長的一夜」!

When viewing this work, one will notice that water drops intermittently from a hidden source in the ceiling into the bowls. It produces an interplay between light and shadow while creating echoing sounds, adding an unusual effect to the viewing experience. Through this work, the artist provides a glimpse into her family's experience of the great Flood of 1959. Being an infant at the time, she was completely unaware of the disaster as her family sought refuge in a farmhouse in the town of Yingge. As she matured, she learned from her elders that the night was considered to be "the longest night" in their collective memory. 

類此,這個裝置藝術空間,從道家清淨無為的哲想情境,連結到藝術家個人的成長經驗、家族記憶和臺灣這塊海洋之島的環境意識,讓我們體驗到了藝術作為形式美感表現和情感交流的雙重可能性。

From the Taoist interpretation of tranquility and action through inaction to the association with the artist's personal childhood experience, family memory, and the environmental consciousness of Taiwan, this installation allows the viewer to experience how art can simultaneously convey aesthetic expression and facilitate emotional exchange. 


〈無眠夜〉The Longest Night

複合媒材、陶瓷 Mixed Media, Porcelain

直徑48公分、高56公分,共12件

Dia. 48cm, Height 56cm, 12 Pieces

2012

 


204展間 / R204

《引徑》系列 Side Track Series

《引徑》系列包括16件作品,在回收的木酒箱上直接繪畫而成的,是藝術家自2015年開始的實驗性創作。她將國外不同酒廠封裝葡萄酒的木箱打平,以箱板取代繪畫創作的畫布,遇到木板上原先烙印的相關文字或圖像訊息,如:酒名、品牌、年份、容量、瓶數、箭頭標記等,或使之與其畫面和諧交融,成為圖像中的表現元素,或刻意予以原樣保留,展現圖畫/符號/文字並存對話的另一種普普風味。《引徑》系列,指涉了在地化與全球化、載體與內容之間不同的連結機制:箱子裡封裝的一瓶瓶紅酒,以及木箱上的各種圖像/文字訊息,所標榜的就是某些「在地」的特色或文化,也代表了一種品牌的驕傲或自信;規則是,愈是有在地風味和自我特色的產品,愈有跨海行銷搶攻全球市場的可能。鄭麗雲在不同產地和品牌的酒箱上,分別畫出了醉人的紅海、清醒的藍海、激情的火海、迷濛的灰海、以及絢麗的天光海色…等不同景觀,讓原本規格化的包裝物,以各具特色的形貌來詮釋它們之所以跨海而來或飄洋而去的緣由。

The Side Track experimental series is of very recent inception, having been initiated in 2015. It consists of 16 pieces painted on repurposed wooden containers of varying provenance. These containers have been flattened and their flat, wooden surfaces have been utilized as canvases in lieu of the traditional linen. Where extant text and imagery have been encountered, such as wine brands, grape varieties, years, dimensions, and arrows, the artist has either incorporated them into her painting, turning them into expressive elements, or kept them in their original state to create an amusing effect in the Pop Art style, where graphics, symbols, and texts form a dialogue. The Side Track series refers to various avenues of localization and globalization as well as the containers and their contents. The images of bottles of red wine, logos, and symbols on the wooden boxes advertise regional characteristics and culture and the esteem of the displayed brands. The implication here is that a product that has more local flavor and characteristics is more likely to be highly regarded and have a larger share of the global market. The themes painted by the artist atop these unorthodox and innovative media range from intoxicating, deep red seas, and passionate, fiery waves, to sobering blue oceans, subtly misty waters, and brightly dazzling vistas. In doing so, she reinterprets how these international goods have been transported across oceans by transforming their standardized packages into unique works of art. 



《引徑》系列 Side Track Series

複合媒材 Mixed Media

2016

 


203走廊 / R203 Hallway

《野薑花》系列 Ginger Lily Series

203走廊的《野薑花》系列,以七行三列的陣列,鋪構出兼具空間性佈局和時間性演繹的視覺組曲;相同規格的畫面,各自展現了野薑花或以孤零的身影,或以群體的姿態,隨風飄落湛藍海面的詩意情境,這也是鄭麗雲透過花容、花姿、花的存在和去留樣態等,來書寫和傳達女性主義精神的另一畫作系列。

The Ginger Lily series installed in the hallway outside R203 is arranged into four rows and five columns, comprising not only a spatial formation, but a temporal interpretation as well. In these identically-sized paintings, the Ginger Lily appears poetically in solitude and in groups, being scattered onto the surface of the azure ocean. This series addresses and conveys the spirit of feminism through an examination of the different physical aspects of flowers.

清香潔白的野薑花,幽幽地在水邊、山澗、和野地裡生長、開花,花季時節,乍看如眾多蝴蝶翩翩穿梭在葉稍,也因此又名「蝴蝶花」。鄭麗雲說:「在臺灣長大的我,對於大自然懷抱著一種深刻的親密感,兒時溪邊的野薑花,最讓我不能忘懷。」但鄭麗雲的《野薑花》系列,有花而無葉,花開花落的情節並非在鄉土綠野中演出,而是以煙波流動的藍色海面為舞台,營造的毋寧是一種超現實的語境,野薑花與海的對話和陣列組合,從單數的行動擴展到一種群聚的運動,隱約也象徵了現代女性追求自由、展現自我主體意識的成長趨勢。

The fragrant, white Ginger Lilies can usually be found in fields adjoining rivers and mountain streams. During their blooming season, they can resemble an innumerable mass of butterflies among the leaves; hence, the nickname of "butterfly flower” or “butterfly ginger lily." The artist comments, "Having grown up in Taiwan, I have a profoundly intimate relationship with nature. My most unforgettable memory is that of the ginger lilies by the stream near my childhood home." However, in the Ginger Lily series, the artist portrays only the flower and omits the leaves. The flower's blooming and withering is presented not amidst the greenery of the fields but instead against the flowing, blue waves of the sea. Her aim is to construct a surreal scene, one in which the dialogue between the ginger lily and the ocean and the visual continuation from one single flower to an entire group together represent modern women's pursuit of freedom and the increasing willingness to explore and display their subjective consciousness. 


〈野薑花-4〉Ginger Lily-4

油彩、麻布 Oil on Linen

42 x 53 cm

2015

 


203展間 / R203

《盛花系列》Flowers In Full Bloom Series

油畫/成形畫布/16件

Oil on Canvas/shaped canvases/16Pieces

鄭麗雲身為女性且深受歐美「女性主義藝術」思潮的洗禮,愛花惜花的她,以自己的主觀認知和創作直覺,刻繪不同花朵獨特的生命樣態和象徵意義,並藉由此作品系列向歷來為女權運動發聲的女性藝術家們致敬。她以花喻解人生,從萌芽、盛開到凋萎的過程,印證人類生命循環的倫常;此系列透過16幅不同品種樣式的藝術花朵,各自明媚開展而齊聚一堂展出,鋪陳了個體對生命之價值意義的不同探索與追求。

As one who has been profoundly influenced by feminist art, the artist has come to love and cherish flowers. She depicts their unique aspects in life and symbolic meanings through both subjective perception and creative intuition. In the Flowers in Full Bloom series, she pays homage to her female predecessors who have fought for women's rights. From germination, to full bloom, and finally to withering, a flower bears marked resemblance to the human life cycle. The sixteen works in this series are intended not only to embody this natural cycle, but also to illustrate the artistic journeys and defining personal qualities of selected feminist artists.

文心蘭的種類繁多,唇瓣非常發達,有如瘤狀突起,盛開的唇瓣宛如一群曼妙女郎婆娑起舞的裙襬飄飄,因而又名「跳舞蘭」,並被連結到「忘卻煩惱、快樂無憂」的花語特質。

Oncidium is a genus that contains numerous sub-species. The orchid's large, protruding labella resemble the flowing skirts of dancers. As such, it is often referred to as the "dancing-lady orchid," and is associated with the quality of "forgetting troubles and being carefree."

鄭麗雲將文心蘭比擬為十七世紀義大利巴洛克女藝術家──阿特米西亞•簡提列斯基( Artemisia Gentileschi, 1593-1652)。簡提列斯基,生於羅馬的藝術世家,擁有極高的藝術天賦,畫風傾向卡拉瓦喬(Caravaggio,1571-1610)的寫實主義,在父親歐拉齊奧(Orazio Gentileschi, 1563–1639)的指導下,其創作迅速展現了過人的成就。然,卻因芳華十七時遭受性侵,而使她的人生發生悲劇性的轉折,此後她藉由創作自我救贖受創的靈魂,她的藝術也轉型為一種控訴的武器。

The artist compares Oncidium to the a baroque painter prominent in 17th-century Italy, Artemisia Gentileschi (1593-1652). Born to an artistic family in Rome, Gentileschi possessed incredible artistic talents, and her painting approached the realism of Caravaggio. Tutored by her father, she achieved outstanding results in her artistic endeavors. However, Gentileschi’s work took on a darker tone after she was tragically sexually assaulted at the age of seventeen. She would go on to use art as both an accusatory weapon and a means to redeem her traumatized soul.

〈文心飛舞〉The Dancer

油彩、麻布 Oil on Linen

180 x 160 cm

2014

     

鄭麗雲創作的三色菫花朵,以簡潔有力之形,呈現柔美又獨特的女性魅力,背後的抽象意念,則在於詮釋當代女性藝術家對於身/心/靈各方面的自由追尋。

In a simple yet powerful manner, Leigh Wen's Pansy series displays a feminine charm that is tender and unique. They are her interpretation of contemporary female artists' pursuit of freedom in body, mind and soul. 

三色菫又名人面花。義大利人解讀其花語為戀人之間的「思慕」,而鄭麗雲則以此花連結二十世紀初,美國現代藝術中最具代表的女性藝術家喬琪亞•歐姬芙(Georgia O'Keeffe, 1887~1986),表彰其開放的思想,大膽而強烈的藝術風格。歐姬芙本身最擅長的花卉圖像創作,也常被許多評論者解讀為女性身體美學的轉化與象徵。

The Pansy is also known as the "ghost face flower" or the "butterfly flower." In Italy, it  represents lovers’ "pining for one another." The artist associates the Pansy with the most representative female artist in modern American art, Georgia O'Keeffe (1887-1986). It symbolizes her unfettered mind as well as her bold and vigorous artistic style. O'Keeffe is well-known for her floral painting, which is often interpreted by viewers as a symbol of the beauty of female bodily aesthetics. 

〈三色堇III〉Pansy III

油彩、麻布 Oil on Linen

186 x 171 cm

2014

 

朱槿,馬來西亞的國花;五瓣疊出迴圈的動勢,兼具大方與纖細的視覺美感,其花語為「體貼、永保清新之美」,鄭麗雲以正面摹寫了朱槿花的迴旋花形,賦予之生命循環、永不衰竭的象徵意涵,並以此向墨西哥女畫家芙烈達•卡蘿致敬。

The Hibiscus is the national flower of Malaysia. Its five petals create a visually circular momentum that is grand, yet delicate. This flower is characterized by being "considerate, always refreshingly beautiful." The artist portrays Hibiscus's circular shape from a frontal viewpoint, emphasizing its symbolic meaning of an unending cycle of life as a tribute to the Mexican female artist, Frida Kahlo. 

芙烈達•卡蘿曾說:「我把花畫下來,這樣它們就不會死亡了。」個性強烈而一生充滿傳奇的卡蘿,生長於二十世紀初社會變革劇烈的墨西哥,適逢幾個重要新藝術運動思潮的影響,卡蘿加入政治社團,結交充滿政治熱情、勇於批判權威、關懷本土文化的人道主義者,她的藝術創作熱情,融合超現實主義和象徵主義風格,被視為最能彰顯墨西哥文化及女性主義的典型。卡蘿幼時疾患小兒麻痺,及長又經歷嚴重車禍,身心的痛楚伴隨一生,加上她與知名藝術家李維拉糾葛不已的婚姻,儘管磨蝕人心,但卡蘿仍持續地展現了她巨大的繪畫熱情和傑出的藝術成就。

Frida Kahlo(1907-1954) once commented, "I paint flowers so that they will never die." Kahlo had a strong personality and lived a legendary life. Born into a rapidly reforming Mexico in 1907, Kahlo's growth coincided with several crucial art movements. She also joined political clubs and made close associations with prominent humanitarians who were notably unafraid to criticize the local authorities. Kahlo's passion for artistic creation was realized with surrealism and symbolism, and has been deemed as most representative of the Mexican culture and emblematic of feminism. Despite numerous obstacles, including polio, chronic pain following from a car accident, and a tumultuous marriage to fellow artist Diego Rivera(1886-1957), Kahlo unflaggingly persisted in producing some of the most noteworthy works of her generation.

〈朱槿 VIII〉Hibiscus VIII

油彩、麻布 Oil on Linen

150 x 157 cm

2016

 

孤挺花,其花語為「在任何境遇中,都要堅持正確的道路」。以造型看,孤挺花植株文雅而俊秀,厚實光滑的葉片直立似劍,堅強剛毅,兼具君子之風和威武不屈的高貴品格。鄭麗雲以此喻頌法裔美籍超現實主義藝術家─露易絲•布爾喬亞,布爾喬亞早期生活的創傷,破碎家庭及獨裁的父親所造成的壓力,讓她寄情於藝術創作並開始自我療癒及探索過程。焦慮、孤獨感的意識,與童年的想像結合,開創了風格獨特的女性主義藝術,她以巨型蜘蛛雕塑征服當代藝術,外號蜘蛛女,並被推舉為當代最具影響力的女性藝術家之一。

The Amaryllis (“Hippeastrum”) is commonly referred to in Taiwan as the "knight's star lily," and represents the strength to "persist in the right path no matter the circumstances." An elegant and graceful type of orchid, the Amaryllis possesses fleshy, smooth leaves which grow upright like swords, suggesting strength and perseverance. The artist associates this flower with the French-American surrealist artist Louise Bourgeois (1911-2010). The unhappiness in Bourgeois’s early life, her broken family, and the pressure from her dictatorial father diverted the artist's attention to art, which she pursued for reasons of self-healing and exploration. Anxiety and solitude combined with her childhood fantasies gave rise to a particularly distinctive aesthetic. Bourgeois conquered the world of contemporary art with her famously gigantic spider sculptures, which earned her the sobriquet of "Spider Woman," and was named one of the most influential female artists of the contemporary era. 

〈孤挺花IV〉Amaryllis IV

油彩、麻布 Oil on Linen

150 x 148 cm

2014

 

仙履蘭(俗稱拖鞋蘭)的生物學名為Paphiopedilum,其中paphio意為「美人」,而字尾pedilon則有「鞋子」之意。鄭麗雲以此花的大肚外形,指涉女性的包容力並以此作為自身的表徵。鄭麗雲的個人生涯,經歷了與前述幾位女性藝術家相似的過程─男性主宰的環境限制、不完美的婚姻折磨,在美國求學期間所遭受的種族與文化歧視…等,她從這一重重的障礙中,激勵自己並發展出特立獨行的藝術語言,因為「能容」諸多「難忍」之人事物,反而能持續而專注地創作,直至今日。

The etymology of Paphiopedilum (also known as the Slipper Orchid) stems from the combination of paphio ("beautiful lady") and pedilon ("shoe"). Here, the artist uses the orchid's pouch-like labellum to depict women's intrinsic endurance. This particular piece is of special significance to her as it symbolizes her past endurance in the face of sexism, an unhappy marriage, and racism. Despite these obstacles, she found the strength to endure and succeed, which she channeled into her signature artistic technique. 

〈拖鞋蘭6〉Lady Slipper-6

油彩、麻布 Oil on Linen

118 x 77 cm

2014

 


202展間 / R202

202展間,同時展出鄭麗雲連結「春、夏、秋、冬」季節意象的四幅繪畫創作,以及從這四件作品衍生的「地、水、火、風」四套時尚禮服設計。身為專業的藝術創作者,鄭麗雲嘗試將自由創作的藝術與時尚設計、文化產業結合,將四季接力輪替的框架和概念,轉換為不同主色調和造型款式的女性禮服。在這當中,鄭麗雲將畫作中自然界現象與母性生命力的象徵性連結,移植轉化成為年輕女性身上隨著季節變換的時尚衣著,在此,繪畫從架上的孤芳自賞回到對身體的保護和美化;藝術從少數人收藏獨享的物件,變成了可讓大眾分享共有的文化產物,而這也凸顯了文創產業的價值和意義之所在。

In R202, the artist displays four paintings with the themes of "Spring, Summer, Autumn, and Winter" and four fashionable gowns with the corresponding themes of "Earth, Water, Fire, and Wind." In a groundbreaking collaboration, she has combined her distinctive artistic style with input from the Taiwanese fashion design industry; the spectacular result has been the manifestation of the seasonal cycle in the form of these gowns in varying color tones and styles. Here, the natural phenomena and maternal life influences that characterize her paintings are transferred onto modern clothing for young women. What once existed solely on inanimate canvas, pottery, and other media has now been transformed into a form of protection and beautification for the body. From being owned and enjoyed by a rarefied handful of individuals, the artist’s works have naturally become widely-accessible cultural products that can be shared by the public. 

〈仲夏晨光〉Mid Summer Morning Glim

油彩、麻布 Oil on Linen

300 x 210 cm

2016

●地-服裝 Dress-Earth

2015

 

〈爍〉Fire

油彩、麻布 Oil on linen

227 X 182 cm

2014

●火-服裝 Dress-Fire

2015

 

〈無涯〉Endless Edges

油彩、麻布 Oil on Linen

129 x224 cm

2014

 

水-服裝 Dress-Water

2015

 


 


201展間 / R201

五件原創的巨幅畫作,透過地、氣、水、火四個主題的詮釋和鋪陳,具現了藝術家壯闊無垠的宇宙觀和想像力,而一種無限擴展的震人氣勢,也打破了展場空間的有形限制。這是鄭麗雲藝術生命中,最具代表性的宇宙系列作品,進入這個展間的人,除了感覺自身突然變得渺小,內心也會對宇宙自然重生一種敬畏之情。

These five large-scale paintings in the themes of Earth, Air, Water, and Fire collectively demonstrate the artist's unbounded spiritual views and imagination. By conveying a sense of infinite expansion and intensity, they also, in abstract fashion, dissolve the tangible limits of the gallery space. Of all the pieces in the artist’s Universe series, this collection is the most forcefully and purely representative of the cosmic elements. The effect on the viewer is to immerse them in a sense of awe towards the sheer scale of the universe and nature. 

地、氣、水、火,是希臘時代以來,西方宇宙論中構成萬物的四個主要元素(東方的陰陽五行論,則是以金、木、水、火、土為主要元素),此雖為西方的主題,但鄭麗雲試圖以東方的精神和個人的生活體驗加以詮釋表達。她從中國書畫及西方油畫的根基出發而加以融合變化,將充滿東方美學「玄」、「寂」的意象,以及西方繪畫的光色印象與時間的概念,應用於「刻畫呈現」本身其實是一種抽象概念而不是具象風景的四大元素,讓它們各自以一種無常形而能被看見、可以被覺知和感動的樣態顯現在觀眾眼前,同時讓這四種元素/四種意象,以彼此照應/環場對話的空間佈局,將觀者攏聚、包圍在它們之中,進行一種從視覺到心靈、從存有的當下、此刻的認知到無窮宇宙觀想的藝術體驗。

Since the ancient Greek period, Earth, Air, Water, and Fire have been considered the four fundamental elements that constitute all things in the universe, according to Western cosmology (whereas the fundamental elements in the Eastern theory of yin and yang are metal, wood, water, fire, and earth). Although the artist primarily examines the Western elements in this painting series, she also incorporates aspects of Eastern philosophy, in addition to her life experience. By combining Chinese calligraphy and ink painting with Western oil painting techniques, she reconciles the themes of "otherworldliness" and "solitude" common to Eastern aesthetics and the representations of light and time in Western painting. As a result, she has rendered the intangible cosmic elements individually perceivable, and emotive, thereby hoping to envelop the viewers in an immersive space where the four elements interact with and communicate with each other. This provides the audience with an artistic experience that that moves beyond simple visuality to spirituality and even shifting temporality.

 

鄭麗雲說:「火之於我的畫,可以是灰燼、是落寞,或是暴烈怨恨的意涵;也可以是動感的音符,點燃生命的能量」。

"Fire in my painting can mean ashes, loneliness, or fierce resentment. It can also be touching music or the energy that powers life." – Leigh Wen

〈火 M〉除了是將一種宇宙元素形象化的詮釋方式,也可視為鄭麗雲抒發個人複雜心情的一種隱喻,無實體的火,被視為一種現象,指涉了激情/能量的釋放,也是回歸終極平靜或重生的常用手段。鄭麗雲畫熊熊之火,也有意表達對已逝父親的永遠懷念和敬意,畫中隱約可見燒祭給往生者的紙屋、竹架…等形象,這幅偌大的油畫,以火光和熾焰刻劃了幻滅與重生,體現了悲情和力量,鋪陳了現實和夢象。

Fire Mural is a visual interpretation of the cosmic element as well as a metaphor for the artist’s complex emotions. Fire is intangible, a phenomenon that signifies passion or the release of energy. It can also be a means to either return to ultimate peace or be reborn. Accordingly, this depiction of a raging fire conveys the artist’s remembrance and respect for her deceased father. Viewers are presented with the slightly indistinct depiction of a paper house and its bamboo structure being burned as an offering to the deceased. With burning fire and light, this enormous oil painting embodies the dualities of passing and rebirth, sadness and power, and reality and dreams. 

〈火 M〉Fire Mural 

油彩、麻布 Oil on Linen

305 x 915 cm

1999

 

〈地M〉是人類生長活動的場域,往往也是人類思想或行動的第一對象。鄭麗雲在這件彷彿造山運動的作品中,強調了一種靜謐的精神力量,一種緩緩生成的和諧秩序感;她所畫的地景,呈現溫潤祥和的整體意象,從單純的符號性線條出發,抑揚頓挫地勾勒出大小不一的山丘,由「一」進行複數衍化,在陰陽向背和群落、聚散之間,注入生生不息的律動,透過素樸的淺絳設色,營造光影的變化,一種周行不殆、流動不息的層次,體現出藝術家探索無垠大地的豐富面貌。

Earth Mural represents both the physical province of human life and activities and the primary backdrop behind human thoughts or actions. This painting seemingly depicts orogenesis while simultaneously emphasizing a tranquil, spiritual force; a sense of harmony and order that is develops gradually and irresistibly. Despite the presence of these massive underlying forces, the earthen landscape portrayed here retains a peaceful and mellow quality. The artist begins with simple, symbolic lines, and rhythmically depicts mountains and hills in various sizes, gradually distinguishing themselves from the larger mass. The simple, modest colors create an interplay of light and shadow, forming layers with a sense of lasting movement and demonstrating the fruitful results of the artist's exploration of the boundless earth. 

〈地M〉Earth Mural  

油彩、麻布 Oil on Linen

305 x 915 cm

1999

 

鄭麗雲對於汪洋的海水,有著特殊的情感,面對無邊大海,既是深慕又是敬畏!大海孕育了她的島國文化基因,也承載了她對鄉土家園的情感投射;她刻劃海水瞬息萬變、深不可測的神祕能量,捕捉水面光影分明、或深邃詭譎的色彩變化,因太陽方位的移動、時間的變化、海面水氣的厚薄等不同狀況而產生的各種天光海色,許是她樂此不疲、表現無窮的題材,但她並非單純的海景畫家,她畫中的「水世界」,並不是某時某刻某一地點的海景畫,而比較接近於中國傳統山水繪畫理論中,所特別鼓吹和強調的一種超越自然的「造境」,和一種回歸自我表達的胸中「意境」。

Being awe-inspiring, fascinating, and dynamic, the endless ocean carries a special meaning for the artist. She hails from Taiwan, an island nation, and naturally projects her nostalgia for her home onto the ocean by painting the incessant changes and unfathomable force of the sea. In this way, she captures the light and shadows in the water, its capricious changes in color, the different qualities caused by the changing angle of the sun’s rays, and the reflection of mist just above the sea’s surface. As befitting their ever-changing subject, the artist’s portrayals of the ocean are never static. Rather than focusing on a concrete scenes set in specific places and times, her works are fluid in both elemental and temporal senses. They bear similarities to the landscapes depicted in traditional Chinese ink painting, whose artists typically address and focus on an artistic landscape created to transcend nature and express oneself. 

〈水 M〉Water Mural  

油彩、麻布 Oil on Linen

305 x 1524 cm

1999

 

「氣」是沒有一定的形狀、體積,但隨時能展現能量的流動與變化,因此在宇宙四元素中也常被稱為「風」。此作以捲動雲朵的姿態,帶出風勢流動的意態,看似輕鬆自在隨意為之的線條,卻能細膩展現雲層的厚薄變化,和天象時而輕柔、鬆散,時而風雲際會、天雨欲來、風馳電掣的各種情境。此作在線刻技法和光影的表現運用,似乎剛好是水景系列作品的倒反,而這也同時反映了自然界某種運作的邏輯,和藝術家觀察自然的一種智慧,以及畫家在視覺語言的選擇和表達時,可能展現的一種動見。

Air, though invisible, can still demonstrate the movement and transformation of energy. It is interchangeable with "wind" – one of the four cosmic elements. The painting depicts rolling clouds as a materialization of the gusting spiritual wind. The seemingly carefree and spontaneous lines dynamically depict all of the subtle changes of the clouds and different conditions of the sky — depending on viewing angle, the clouds might appear to be light and ephemeral, or they might also foreshadow the arrival of a storm. In terms of delineation and the use of chiaroscuro, the painting may perhaps be the opposite of Water Mural, in a manner which mirrors the natural world. This has resulted from the artist's experience in observing natural phenomena and her insights when choosing and employing her visual vocabulary. 

〈氣 M〉Air Mural  

油彩、麻布 Oil on Linen

305 x 915 cm

2001

 

此作是以陶瓷燒製的五個圓柱組合而成,鄭麗雲以彩色釉彩為底,結合白色的線條刻劃,在陶瓷圓柱表面創造了一個上天/下海,左右循環無窮的大海景觀,同時將這傳統工藝性格的陶瓷器物,轉換成某種意義的自然紀念碑。而就宇宙系列的呈現與詮釋,此作也可視為一種集大成之作,陶瓷本身即牽涉到火、土、水、氣四種元素的應用與合成,鄭麗雲在表面完成的畫,則又進一步加強了這個物理性的實質和精神上的意涵。

This sculpture takes the form of five combined porcelain cylinders. All of these possess a colorful base of glaze upon which the artist has depicted her subject matter in white lines. The entirety of this piece reveals a seascape that encompasses the sky and the ocean in an endless cycle, rendering this porcelain work a monument to nature. As presented, this work epitomizes the entire Universe series as the porcelain itself entails the physical application and combination of fire, earth, water, and air. The artist's painting on the surface serves to reinforce the spiritual meanings underlying this work’s physical elements. 

針對此件海洋圓柱,鄭麗雲自述:「我的創作方法是從黑暗到光明的一種過程。我曾經用過數種不同的媒材,其中包括版畫陶藝與雕凹線法,雖然我的繪畫作品完全使用油畫顏料,它們卻保有這些媒材的要素,尤其是像版畫凹凸版利用瓷土的本色作為亮的白線,表面上的斲痕、抓痕肌理,就某一方面而言,這些不同的方法也表達了同時駐足在不同世界中的張力與豐富性,而世界把它「堅定的滲透力」刻畫進入我的心靈之中。」

On The Water Cylinder, the artist comments, "my creative method is like a progression from darkness to light. I have used several media and methods, including printmaking, pottery, and engraving. Although my paintings are painted with oil colors, they have actually retained certain characteristics of other media, particularly the textures of the grooves found on intaglio and engraving plates. In a way, these different methods also reveal the intensity and abundance found in the various artistic fields in this world - a world that leaves its own marks on my mind with its indelible force." 

〈海洋圓柱〉The Water Cylinder

複合媒材、陶瓷 Mixed Media, Porcelain

直徑38公分、高180公分 Dia. 38cm, Height 180 cm

2009

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兒童專區

【流‧變─鄭麗雲個展】

兒童教育專區 For Kids Children's resources

 

【兒童語音導覽】*適合年齡:5-12歲。歡迎至當代館一樓服務台借用。

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,開發兒童語音導覽服務,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:

http://www.mocataipei.org.tw/index.php/2012-01-12-05-32-59/audio-guide/2190-lla


【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。

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正面:https://goo.gl/3OBqkh

背面:https://goo.gl/N1zkRD


 【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。

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【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。


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

 

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