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

展覽專輯 Publications: 2011

《台灣新世代攝影展》

New Generation Photographers of Taiwan

發行 Published by:台北當代藝術館 MOCA Taipei

初版 First published in:2011年2月  February, 2011

ISBN:978-986-8414648

定價 Price:新台幣 NTD 550

頁數 Pages:125 頁

展覽簡介 About the Exhibition:

【台灣新世代攝影展】邀集了十三位相當活躍的攝影新秀,希望透過他們的作品呈現出新世代的影像觀,突破前人對於攝影創作傳統保守的既有認知;也希望藉由攝影與設計、繪畫與數位科技媒材的相互結合,不斷激盪出突破與轉變的可能性。這群影像創作者以「表達個人化風格」為主軸,創作的媒介選擇與過程也是自由意志的展現,作品對他們而言,是面對生活的一種態度和個人情緒的投射。

Taiwan’s New Photography Generation invites thirteen upcoming talents in the field of photography: Through their works, the exhibition aims to depict the image perspective of the new era, which goes beyond the traditional and conservative notion of photography held by past generations. By the mutual integration between designs, drawings, and digital media technology, such transformation and possibilities is marked. This group of creators place great importance in the “expression of individualism,” reflected in their work’s freedom when it comes to process and selection of the medium. For them, artworks are projections of personal emotions and attitudes towards life.


活彈藥

Live Ammo

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2011年9月 September, 2011

ISBN:978-986-8665743

定價 Price:新台幣 NTD 680

頁數 Pages:274 頁

展覽簡介 About the Exhibition:

【活彈藥】展,旨在鋪陳與重探藝術和現實的關連,這包含了藝術進入生活的轉態──藝術是一種生活的方式,也是一種生存的策略和選擇。本展除了顯示,藝術如何介入生活領域,另一方面也反應出,當代藝術的題材和技術,實踐的效果與作用,以及藝術主體化的過程等,正使得藝術與現實的界線越來越模糊。

Live Ammo connects the relation between art and reality, when art goes into the sphere of life. Art practice in such circumstance can be a new way of life and a surviving strategy in the social. In other words, the content, technique, effect and affection of art can change and, in turn, subjectivize art.


不確定的真相—李暉個展

Reality Impalpable-A Solo Exhibition by Li Hui

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2011年8月 August, 2011

ISBN:978-986-8665736

定價 Price:新台幣 NTD 800

頁數 Pages:184 頁

展覽簡介 About the Exhibition:

青年藝術家李暉的創作個展【不確定的真相】,也是藝術家本人歷來最大規模的一次個展,除了從李暉近五年來多樣化的創作中精選出12件代表作,也梳理出藝術家創作風貌的發展與其背後思想、社會之連動關係;二十一世紀的第一個十年,是中國社會環境巨變的轉型期,原本傳統封閉的社會接收到大量的外來訊息不斷衝擊著民眾既有的價值觀,幾乎可以描述為一種「膨脹與壓縮」的現象。本展一方面呈現李暉在此生長背景之下,針對這個特殊的時代而進行的藝術寫照,也反映了他想透過藝術去追求永恆的內在心意。

Reality Impalpable, the largest solo exhibition of the young artist Li Hui yet held, was planned by Nai-ming Cheng – an active curator and art critic on both sides of the Taiwan Strait. The exhibition presents twelve representative works of Li Hui from his multifaceted creations over the past five years. Also depicted is the development of the artist's creative style and its relationship with ideological and social contexts. It is well known that the first decade of the twenty-first century marked a transition period during which China’s economy took off as its social environment was radically transformed. The once traditional and closed society received a great quantity of foreign information, spreading an atmosphere of instability that continuously conflicted with the values of the population. China’s development and transformation over the last decade, whether in economy, culture or arts, could be described as a cyclical phenomenon of “expansion and compression.” Reality Impalpable is an artistic portrayal of this peculiar era in which Li Hui lived, and a reflection of his pursuit of eternity through art.


癮行者-宮津大輔:一位工薪族的當代藝術收藏展

Invisibleness is Visibleness: International Contemporary Art Collection of a Salaryman-- Daisuke Miyatsu

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2011年11月 November, 2011

ISBN:978-986-8665750

定價 Price:新台幣 NTD 880

頁數 Pages:284 頁

展覽簡介 About the Exhibition:

人們對於某些事物的偏愛與執著,往往會形成一種無法戒除的「癮」好;【癮行者】除了具現宮津大輔對當代藝術超凡的上癮行為和豐碩成果,也探討收藏家,在幕前幕後扶持新藝術家,或直接間接帶動一些新畫廊業的社會文化效應。在「藝術品─藝術家─藝術產業─美術館體制」這個生態鏈結中,同時存在著可視與不可視的種種關係,其中收藏者與藝術作品之間深厚的情感、與藝術家們之間相互扶持成長的過程、與相關藝術單位的交流參與,在在織現了藝術收藏行為在整體當代藝術機制中,隱形卻又可感的巨大影響力。

The inclination and persistence of people towards certain objects and subjects often becomes an enslaving “addiction.” The exhibition “Invisibleness is Visibleness” does not only depicts Miyatsu’s extraordinary addiction of contemporary art, but also explores the social and cultural effects brought by art collectors as they support and promote galleries and new artists. In the ecosystem of “art – artist – art industry – art institution,” there are all kinds of visible and invisible relationships, including the emotional connection between art collectors and art works, their mutual support and growth with artists, and collaboration and exchange with art institutions. These relationships weave the invisible yet exceptionally influential role of the art collector within the body of contemporary art.


台灣當潮時尚設計展 

FIT: Fashionista In Taiwan

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2011年11月 November, 2011

ISBN:978-986-8665767

定價 Price:新台幣 NTD 600

頁數 Pages:171 頁

展覽簡介 About the Exhibition:

【台灣當潮時尚設計展】的策劃主旨,立基於「台灣」這個特定的地理空間和「當潮」隱喻的流動時間概念,呈現台灣「當代/當下」繽紛多樣的設計思維,和各自演繹發展的時尚風貌。本展的規劃,一方面多元呈現設計師個人展秀與當代館既有空間的現場對話關係,另一方面,將二○一展場營造為諸家聯合展示與競秀的場域,並搭配了視覺藝術家徐薇蕙以現成衣物為材料的空中裝置作品,以及貫串全場的影像流裝置,希望讓觀者充分體驗和享受21世紀第一波的台灣當潮時尚饗宴。

The aim of this exhibition is to, based on the special geographical space that is “Taiwan” and the idea of flowing time implied by “current wave”, to display and explore diverse “contemporary/current” design thinking and the interpretation of fashion of individual designers.In terms of planning, on the one hand, the exhibition exhibits the special dialogue between individual thinking of designers and the existing exhibition space at MOCA Taipei, on the other, uses this to describe the various faces and overall power of the current creative “dynasty” in Taiwan. 


殘念的風景-陳順築個展

The Remnant Vision—Solo Exhibition by Chen Shun-Chu

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2011年 2011

展覽簡介 About the Exhibition:

【殘念的風景】是陳順築2011年的新作系列,也是本次個展的名稱。本次展出,以「一種未竟的人生風景」為主軸,敘述著陳順築由憑悼家族歷史出發,以作品抒發內在情感的缺憾與斷片逆旅,擴展人們內在集體意識的投射,乃至觸動潛藏在觀者心中對於過往記憶的情感。本展內容包括平面攝影與影像裝置,從陳順築1990年初期的創作探索、生命體悟到近期的隨興新作。藝術家針對當代藝術館建築與空間而特別製作的兩件裝置如序曲般將觀眾帶入了陳順築以影像書寫的人生風景和藝術文本;沿著紅磚走廊的四個展間,陸續呈現他之前膾炙人口的幾件複合媒材作品和裝置作品;後端的新作系列中,展現了藝術家重新投入偶發影像的凝視和純然心象的自我追求。

“The Remnant Vision” is the title of a series of new works begun by Chen Shun-Chu in 2011, as well as of this exhibition. Revolving around “incomplete visions of life,” the exhibition is an account of how Chen began with reflections on his family history, with his works expressing feelings of regret and the fragment of images on journeys and later expanded to the projections of people’s collective consciousness, even stirring feelings about memories buried deep in the viewer’s heart. The exhibition, which includes both photography and image-based installation pieces, extends from Chen’s creative exploration and meditations on life in his works from the early 1990s to his more spontaneous recent works. Based on the architecture and spaces of the Museum of Contemporary Art, the artist has specially produced two installation pieces which, like musical overtures, lead the viewer into Chen’s creative world, the scenes of life and artistic texts presented through visual language.  A few of well-known earlier mixed-media and installation works are on display in the four display room along the red brick corridor, while the series of new pieces at the end display the artist’s re-focus on suddenly occurring imagery and the pursuit of self in purely emotional images.


《末.未2013 》
 
World is Over?

發行 Published by : 台北當代藝術館 MOCA Taipei

初版 First published in:2013年12月 December, 2013

ISBN:978-986 88674-9-9

定價 Price:新台幣 NTD 500

頁數 Pages:216頁

展覽簡介 About the Exhibition:

「末‧未2013」展從「2012末日預言」出發,試圖用藝術的言說和姿態超越既有的論調和邏輯,而同時指向「末日」情境與「未來」想像。作為展覽標題的「末」與「未」,字面上只有一線之差,但意義指向正反兩極、是極為懸殊的兩種語境;以這兩個字並肩齊立作為展題,也意味了末日到來與否,也許和世人「起什麼心、動什麼念」有關,一念之差,往往變成了影響世局、轉變命運的臨門一腳;英文副標” World is over? “的用意,是以警語形式來喚起觀眾的主體感知,共同找出這個議題的焦點和重要內涵。

“World is over?” is inspired by “2012 End of Days” predictions and attempts to transcend preexisting concepts and logic via art languages and perspectives.  The exhibition is based on the dual -concept of the “end of the world” and the “future”.  The exhibition consisting of these two elements is also suggesting that perhaps whether or not the end of days is upon us is based on the mentality and action of people today.  A slight change in the mindset can ultimately alter the future of the world.  The title of the exhibition, “World is over?”, is intended to act as a warning and to call upon people’s collective awareness and for them to discover the focus and important context this exhibition is attempting to present.