TODAY’S ON

CLOSED TODAY

Monday 星期一

10AM - 6PM

Exhibition

展覽

  • 10:0018:00

    少年當代─未終結的過去進行式

    Once Upon A Time-Unfinished Progressive Past

  • 10:0018:00

    台灣!我來了

    Why did you come to Taiwan?

  • 10:0018:00

    遠方的書間

    A Bookroom Faraway Nearby—A Joint Exhibition by ADIRONG and NAOHITO OTA

  • 2019街大歡囍—呼吸容易換氣難,質感生活多簡單

    2019 Street Fun, Fun Street— Inhale! Exhale! What a Quality Life Really Entails

少年當代─未終結的過去進行式

Once Upon A Time-Unfinished Progressive Past

2019 / 07 / 20 Sat.

2019 / 10 / 13 Sun.

10:00 - 18:00

About 展覽介紹

INTRODUCTION

策展人|高千惠 「將物件保留作為系統、將生產作為鏡照、將死亡作為交換、將世界作為幻影、讓邪惡透明、讓多數沉默、讓你的誘惑活著、讓你的記憶冷卻、視自己宛如另一個自己、視完美如同一個罪行、為最終而保持幻覺、為片刻而留在線上…」  -布希亞《冷記憶 III》 我是誰?我們是誰?我的理想與我們的現實之距離,能有多近,能有多遠?


走出當代逐新思維,「少年當代-未終結的過去進行式」重返一個人文命題-究竟是什麼生命故事、日常事件、生長生態與面世態度,產生了當代藝術的面貌與其精神原型?


從「冷社會」到「冷記憶」,彷彿在邊界泛光的藝術視界背後,都有其難解的歷史黑洞。臺灣現當代藝術發展,受到原民、移民、殖民與國族主義的糾結,因文化論點而出現定義、轉譯、誤譯與踰越的過程,導致臺灣當代藝術始終處在一個無法定錨的焦慮狀態。以「台北當代藝術館」這個場域為臨時載體,「少年當代-未終結的過去進行式」藉當代創作者的記憶與想像追溯,重新檢視少年當代發生的精神根源、歷史現場與藝術語言轉換,重新叩問了「誰的當代?誰的藝術?誰的歷史?」這個未終結的議題。


「少年當代」一詞,意指當代藝術具體成形之前的重要啟蒙階段與影響性的生態。如果當代藝術的神話,仍具有尋找人類生活精神潛能的能量,藝術家們所匯集的原生家庭文化、狂飆少年紀事、看得見與看不見的社會體制、日常與傳播文化的滲透,已成為傳說的現場,也是今日當代藝術的發展線索。這些少年期的精神遺緒在夢想、禁忌、壓抑、虛無、現實的氛圍中滋長,並透過藝術家們所選擇的媒介,如藍圖、現成物、繪畫、影錄、音樂、物件、影片、建物、大眾文化、報章訊息等觀念使用的轉化,呈現出介於想像與真實之間的視覺景觀,也使其作品成為藝術與社會的橋樑。


「少年當代」一展,穿越了戰後出生三個世代的共同生活與文化記憶,與共同有過的壓抑與狂飆之社會生態,以視覺再現馴服、迷惘、模仿、反抗、自適等尋找出口的個人與群體狀態。除了形構邊界未曾清明的當代、藝術、歷史之三角地帶,也重揭長達四十年未竟的現代意識、殖民意識與機制意識。16組參展藝術家與其合作單位,分別揭示了集體記憶的衝擊與個人美學的途徑。透過異軌與漂流的連結,藝術家形塑了個人與社會的關係,以及身處當代藝術的位置之外,也再度浮現當代藝術未完成的邊界與不明的意識黑洞-那些無法逃逸的:未曾終結的國土想像、未曾終結的社會約制、未曾終結的西潮影響、未曾終結的搖滾夢想。


參展藝術家與其作品,依展覽路徑包括劉秋兒的「抵抗就是美」系列、徐瑞憲的《九個夢-跳格子》、張乾琦的新版《非戰之戰》、梅丁衍的《少年台灣》、郭俞平的《她想蓋的房子》、王逸帆的《洞兩洞六》、黃國才的《絕對空虛》裝置
、張君懿的《這很簡單我也會》、謝鴻均的《陰性空間-未能終結篇》、高俊宏的《煙》、陳泓易的《藝術法則》-當代藝評書寫的通俗文學本質、美的建設團隊(林玉婷+林建志+林君安+凌宗魁+楊佳璇+蕭文龍)的《理想房屋》、洪鈞元的《你是哪裡人-1981》、許哲瑜的《副本人》、雪克的《1989》、張立人的《戰鬥之城-SNG特別節目》。台北當代藝術館展覽研究小組,亦在展區製作了臺灣現當代藝術論戰口號與大眾文化的文獻與年表。


本展覽與台灣當代藝術研究計畫由春之文化基金會贊助支持。




Curator|Chien-Hui Kao


Keep objects as a system. Keep production as a mirror. Keep death as an exchange. Keep the world as a simulacrum. Keep the evil transparent. Keep the majorities silent. Keep your seduction alive. Keep your memory cool. Keep yourself as an other. Keep perfection as a crime. Keep illusion for the end. Keep on line for the while.


—Jean Baudrillard, Fragments: Cool Memories III
Who am I? Who are we? How close or how far can the distance between our ideals and realities be?


Moving away from the contemporary thinking of pursuing the new, Once Upon A Time-Unfinished Progressive Past revisits a humanistic topic-what exactly are the life stories, daily events, social milieu and attitude towards the world that have shaped today’s contemporary art and its spirit?


From “cold societies” to “cold memories,” we have only been able to see the glistening event horizon of art without being able to penetrate the black holes of history. The development of Taiwan’s modern and contemporary art has been under the influences of various factors, such as the indigenous, immigration, colonialism and nationalism. Cultural perspectives have led us onto a process informed by definition, translation, mistranslation and transgression, trapping Taiwan’s contemporary art in an anchorless state of perpetual anxiety. Once Upon A Time-Unfinished Progressive Past employs the Museum of Contemporary Art, Taipei as a temporary site to re-examine the spiritual origin, historic scenes and conversion of artistic language that have contributed to the emergence of contemporary art at the early stage through the memories and imagination of contemporary artists. By doing so, the exhibition re-explores the unresolved issue loaded with the following questions: “Whose contemporary? Whose art? Whose history?”


“Once upon a time” refers to the crucial germinating stage and the influential ecology before contemporary art really took shape. If the mythology of contemporary art still possesses the power of discovering the spiritual potential of the human life, artists’ primary family culture, unrestrained youthful days, the visible and intangible social systems, the infiltration of daily and communication culture have all become sites where the mythology manifests, and at the same time, served as clues to examine the development of the contemporary art today. These spiritual legacies from the early period have grown in an atmosphere charged by dreams, taboos, repression, emptiness and reality, and are converted into blueprints, readymades, paintings, videos, music, objects, films, buildings, popular culture, newspaper messages, etc., to display visual landscapes oscillating between imagination and reality and transform artworks into a bridge connecting art and society.


Once Upon A Time encompasses the life and cultural memories of three post-war generations as well as the repressed and upheaval past they have shared, employing visual art to represent taming, confusion, imitation, resistance, self-adjustment that speak individual and collective search for an outlet. In addition to delineating the triangular zone with unclear boundaries, demarcated by the contemporary era, art and history, the exhibition also reveals the unfinished modern consciousness, colonial consciousness and the consciousness of mechanism in four decades. The sixteen artists and their collaborators featured in this exhibition respectively demonstrate the impact of collective memories and their aesthetic approaches. With connections formed through détourment (rerouting) and dérive (drifting), artists have shaped the relations between individuals and society while allowing the unfinished border of contemporary art and the unknown black holes of consciousness - those that are unescapable and outside of contemporary art - to resurface - the unfinished imagination of national territory, social constraints, influences of the West and all the wild dreams.


According to the choreographic route, artists and their works on view in the exhibition include Leo LIU’s Resistance is Beautiful Series, Ruey-Shiann SHYU’s Nine Dreams -Hopscotch, a new version of The War That Never Was by Chien-Chi CHANG, Dean-E MEI’s Youthful Taiwan, Yu-Ping KUO’s The House She Wants to Build, I-Fan WANG’s 02-06, Kacey WONG’s Absolute Loneliness Installation, Chun-Yi CHANG’s This Is Very Simple So I Can Do It, Juin SHIEH’s Chora-Endless Interpretation, Jun-Honn KAO’s Smoke, Hung-Yi CHEN’s Rewriting Les règles de l'art, Ideal House created by Beautiful Construction (Yu-Ting LIN, Chien-Chih LIN, Jin-Ann LIN, Tzung-Kuei LIN, Chia-Hsuan YANG, Wen-Long XIAO). Jun-Yuan HONG’s Where Do You Come From?-1981, Che-Yu HSU’s Single Copy, Shake’s 1989, and Li-Ren CHANG’s Battle City-SNG Specials. The museum’s research team also produces a chronological timeline with rich literature about the debates and popular culture in Taiwan’s modern and contemporary art scenes.

MORE

LESS

Artists 參展藝術家

Leo LIU 劉秋兒
Ruey-Shiann SHYU 徐瑞憲
Chien-Chi CHANG 張乾琦
Dean-E MEI 梅丁衍
Yu-Ping KUO 郭俞平
I-Fan WANG 王逸帆
Kacey WONG 黃國才
Chun-Yi CHANG 張君懿
Juin SHIEH 謝鴻均
Jun-Honn KAO 高俊宏
Hung-Yi CHEN 陳泓易
Beautiful Construction (Yu-Ting LIN, Jin-Ann LIN, Chien-Chih LIN, Chia-Hsuan YANG, Tzung-Kuei LIN, Wen-Long XIAO) 美的建設(林玉婷、林君安、林建志、楊佳璇、凌宗魁、蕭文龍)
Jun-Yuan HONG 洪鈞元
Che-Yu HSU 許哲瑜
Shake 雪克
Li-Ren CHANG 張立人

1962年生於臺灣屏東,曾北上就讀復興美工科,經歷當兵、工作、再研習等在地養成過程。他於1999年在南方開辦了長達15年之久的「豆皮文藝咖啡館」,以混種主義的概念,強調勞動與人民意識的社會實踐始終是他關注的焦點,至今持續不斷地參與多場的行腳與抗爭運動。其創作涵蓋繪畫行為與存在的思索、塗抹與政治主體的探討、繪畫裝裱與消費社會背面勞動的美感反思;更多的是於日常和繪畫行為的種種思考…。作品纍結了他的思想與藝術實踐,體現他與抵抗運動間的行動關係。


Leo Liu was born in 1962 in Pingtung, Taiwan. After attending the Fu-Hsin Trade and Arts School in Taipei, he served in the army, got a job, and then proceeded to pursue a higher education. He opened the Dogpig Art Café in southern Taiwan in 1999, which was in business for 15 years. He has always paid close attention to social practice that focuses on labor issues and civic awareness, with concepts of hybridism applied in his endeavors. He remains till this day an activist that continues to take part in marches and resistance movements. Liu’s art explores gestures of painting and contemplates on the meaning behind existence, examining political subjectivity examined and reflecting on the labor that takes place behind aestheticism, as seen with the labor that goes into framing paintings and other aspects related to the consumer society. He spends a great deal of his time contemplating on everyday details and also on the act of painting. Liu’s oeuvre is a culmination of his philosophy and art practice, which shows the relationship between him and resistance movements.

1966年生於臺灣臺北。1992-1997年於法國艾克斯.普羅旺斯藝術學院主修造型藝術;1997年以第一名取得法國國家高等造型藝術表達文憑。他以動力雕塑與機械裝置的創作形式,探討生命本質與內涵,視創作為歷練生命的修行之徑;於複雜的機械結構中挹注生命情境的輕/重與冷/暖,賦予超越媒材特性的詩意哲思,呈現低限的視覺意象與精準的機械美學,並在「機械式宇宙」的世界觀之中提出對生命與環境的反思。


Ruey-Shiann Shyu was born in 1966 in Taipei, Taiwan. He studied at the Aix-en-Provence Art College in France from 1992 to 1997, majoring in plastic art, and graduated in 1997 as the first place recipient of the French National Senior Diploma in plastic expressions. Specializing in kinetic sculptures and mechanical installations, Shyu uses his art to explore life’s intrinsic qualities and inner elements and sees art making as a path for spiritual training in life. He incorporates feelings of lightness / heaviness. and coolness / warmth derived from scenarios in life into complex mechanical structures and creates artworks of poetic philosophical quality that transcend beyond the limitations of the media applied. Presenting mechanical aesthetics composed with minimal visual imageries and precision, Shyu proposes his thoughts and reflections on life and the environment through a worldview set in a “mechanical universe”.

1961年生於臺灣臺中。1990年於美國印地安納大學取得碩士學位。自1991年開始他的報導攝影生涯,為馬格蘭通訊社(Magnum Photos)會員。其作品關注人在異國他鄉的境況,含涉了自身移居美國與奧地利的生命經驗,探討分離與聚合的主題,如移民、遷徙乃至政治、經濟與環境之於生命狀態的無形囚錮。曾獲獎項,包括美國國家新聞攝影家協會年度攝影獎(1998、1999)、荷蘭世界新聞攝影獎(1998、1999)、法國影像Visa國際紀實攝影獎(1999)和尤金.史密斯的人道主義攝影獎(1999)等。


Born in Taichung, Taiwan in 1961, Chien-Chi Chang received his MA from Indiana University in 1990. He started his professional career as a photojournalist in 1991, and later joined Magnum Photos. Chang’s work centers on people living in foreign lands and refers to his own experiences of living in the US and Austria. Through his work, Chang explores separation and connection that surface in issues of immigration, migration and the formless restraints on life in politics, economy and environment. Chang is the recipient of various prestigious awards, among which are “Picture of Year” awarded by the National Press Photographers Association (1998 & 1999, USA), World Press Photo (1998 & 1999, the Netherlands), Visa d'Or at Visa Pour L’image (1999, France) and the Humanistic Photography grant awarded by the W. Eugene Smith Memorial Fund (1999).

1954年生於臺灣臺北,美國紐約普瑞特藝術學院研究所畢業。大學時就讀於文化大學美術系,畢業後深感於戒嚴體制下,關於社會議題的創作難以發揮,決定負笈美國深造。於1993年自美返臺,時值臺灣已邁入「後解嚴」時期,傳統體制與價值系統迅速崩解之時,社會、政治、文化呈現一種渾沌狀態,其創作靈感即反映長期關注政治議題以及身分認同的思考,作品充滿政治意識的符碼,是藝術家針對時下議題或已發生的事件作出幽默的回應。以化繁為簡,去蕪存菁的藝術語言,幽默地化解了矛盾的衝擊力。他運用了圖像、語言與空間的錯置排列,讓事物有了不同的詮釋邏輯。其顛覆的手法使作品俱現處處機鋒的解讀樂趣。


Born in Taipei, Taiwan in 1954, Dean-E Mei holds an MFA from Pratt Institute in New York. He studied fine art at Chinese Culture University, and after graduation, he felt the system under martial law was smothering his creative work about social issues and decided to pursue a higher education in the US. He returned to Taiwan in 1993 when Taiwan had entered a “post-martial law era,” during which traditional systems and values were rapidly collapsing and chaos prevailed in the social, political and cultural scenes. Mei draws inspiration from his observation of political issues and reflections upon the question of identity. His work is informed by symbols that are highly politically charged and represents his humorous responses to contemporary issues or events taking place at the time. His artistic vocabularies, which simplify the complicated and preserve the essential, dissolve the impact of contradictions with a sense of humor, and his seemingly paradoxical arrangement of graphic, linguistic and spatial elements allows an alternative logic for the interpretation of things. Through subversive approaches, the artist immerses his audience in incredible fun as they decipher his witty works.

1986年生於臺灣南投,臺北藝術大學藝術跨領域研究所畢業。作品多以繪畫、錄像、裝置與行為等複合形式,表達自身的生命經驗與大歷史之間一種缺憾或匱乏的關係,如個人記憶與冷戰以及自身處境等問題,以「缺」顯化既定的歷史難題,以創傷與缺憾支撐繁花般的隱喻為其創作特質,試圖把「存有」的概念推往現實與在地的修正,尋思出一種主體的敘事。曾獲台北美術獎優選獎。


Yu-Ping Kuo was born in 1986 in Nantou, Taiwan, and she received her master’s degree in trans-disciplinary arts from Taipei National University of Arts. Kuo’s art practice includes a diverse range of genres, including painting, video, installation, and performance. She uses art to express the missing elements or insufficiencies between her own experiences in life and what is considered Big History, including issues involving her personal memories, the Cold War, and the circumstances she encounters. Using the notion of “missing or lacking” to bring forth already determined historical predicaments, Kuo uses trauma and disappointments to support a medley of metaphors, which has become a notable feature in her artworks. She seeks to push or correct “existing” concepts, in order for them to be more aligned with reality and the local mentality. Through her endeavors, she searches for a subjective narrative. Kuo is a recipient of an honorable mention prize for the Taipei Art Awards.

1990年生於臺灣,臺灣科技大學資訊管理研究所畢業,幾經摸索後,因對於影像的興趣,遂又進入臺北藝術大學電影創作學系碩士班導演組,開啟了他的影視之路。其作品多以節奏感強烈的惡搞喜劇,在嘲諷之中不失機鋒之趣,兼具創意與黑色幽默感的特色。此外,他也在影視作品中擔任攝影職務,參與電影長片《盜命師》的拍攝,近年持續投身於影像創作領域。曾以短片作品《婚喪喜慶》入圍2016年青春影展。2018年以《洞兩洞六》獲得金穗獎學生作品類優等獎、單項表現獎之肯定。


Born in Taiwan in 1990, I-Fan Wang graduated from the Graduate Institute of Information Management, National Taiwan University of Science and Technology. After a period of self-exploration, his passion for films has led him to study directing in the MFA Program in Filmmaking of the Taipei National University of the Arts. Wang is known for his intensely paced nonsensical comedies that mix sarcasm and wit as well as creativity and black humor. Moreover, he has also worked as a cinematographer for films and was a member of the cinematography team of the feature film, Pigeon Tango. Wang has been consistently creating short films in recent years. His Wedding, Funeral, Birth and Celebration was nominated for the 2016 Youth Film Festival, and 02-06 won the Excellence Prize in the category of student films in Golden Harvest Awards in 2018.

1970年生於香港,美國康奈爾大學建築系學士、英國切爾西大學雕塑碩士及澳洲皇家墨爾本理工大學藝術博士。其創作多以雕塑、裝置、行為等形式,游藝於具荒誕感與黑色幽默的手法積極參與社會運動,反映政治與生活的「空間」意識以及全球化、現代化等社會議題,不斷探索並實踐「藝術家」在社會與政治性議題上的參與可能性。作品曾獲選參加2008年第11屆威尼斯國際建築雙年展香港館、「香港雕塑雙年展」獎項及香港 M+博物館永久收藏。


Born in Hong Kong in 1970, Kacey Wong holds a BA in Architecture from Cornell University, an MFA in Sculpture from Chelsea College of Art in the UK and a Doctorate in Fine Arts from Royal Melbourne Institute of Technology in Australia. Wong’s practice mainly involves sculpture, installation and performance. With a sense of absurdity and black humor, his art represents his active participation in social movements, reflects the awareness of “space” in politics and life, and explores social issues of globalization and modernization, displaying an artist’s consistent engagement in social and political issues. He has been featured in the Hong Kong Pavilion in the 11st Venice Biennale of Architecture in 2008 and a recipient of the Award of Hong Kong Sculpture Biennale. His works are included in the collection of Hong Kong’s M+ Museum.

1975年生於臺灣臺北。巴黎第一大學造形藝術創作博士、法國魯昂藝術學院藝術創作碩士,曾獲德國「格爾達・漢高」與法國「遠見與創新」獎學金,於巴黎人文之家世界研究院進行博士後研究,師從法國思想家朱利安。旅法期間創作關注如何在「遊戲/事件」之間重新複現永逝之物、在瞬息萬變之中襯托出持存的永恆;返臺後以藝術家和策展人的雙重視角,思考創作與策展相融共生的可能性、探索如何在不同藝術領域之間觸發共通創作思維及其潛在的多向連結。作品曾受邀於法國、紐約和臺灣等地展出,近期策劃的大型展覽包括「超日常—第二屆大臺北當代藝術雙年展」與「空氣草—當代藝術中的展演力」。


Chun-Yi CHANG was born in Taipei in 1975. Ph. D in Plastic Art and Science of Art, Université de Paris 1 Panthéon-Sorbonne and master in Plastic Expression, École Régionale des Beaux-Arts de Rouen. Awarded scholarships from Gerda Henkel Stiftung (Germany) and la Fondation Prospective et Innovation (France), CHANG conducted a postdoctoral research at the School of World Studies (FMSH) under the tutelage of the French thinker François Jullien. During the stay in France, her creation focuses on how to represent between “game/event” the forever lost objects and on how to foreground the persistent eternity of infinite ephemerality. After returning to Taiwan, Chang works as both curator and artist, adopting a dual perspective to reflect upon the possibilities of a mutual symbiosis between creative conception and curatorial practice while exploring ways to prompt creative thought in common and potential, multi-directional connections in various disciplines. The artist’s works have been exhibited in France, New York and Taiwan, and the recent curatorial works include the large-scale exhibitions Daily+—The Second Greater Taipei Biennial of Contemporary Art and Air Plant : Performance Ability within Contemporary Arts.

1961 年生於臺灣苗栗,臺灣師範大學美術學系畢業;美國紐約普瑞特藝術學院(Pratt Institute)藝術創作碩士;美國紐約大學(NYU)教育學院藝術系藝術博士,現職國立清華大學藝術與設計系專任教授。她的視覺風格與美學語彙多以肌肉結構與尖銳線條表現女體形象,透過繪畫性的素描表現,或素描性的繪畫表現,她應用了炭筆的擦抹與運行,油彩的清晰與游離,呈現個人符碼與隱喻。作品述說了陰性空間的畫語,從再現、衍生且延異的文脈中,記載著生命與記憶。


Born 1961 in Miaoli, Taiwan, Juin Shieh holds a BFA from National Taiwan Normal University, an MFA from Pratt Institute in New York, and a DA from New York University. She is currently a professor at the Department of Arts and Design, National Tsing Hua University. Shieh is known for her visual style and aesthetic vocabulary featuring a female body image constructed with muscular structure and distinctively pronounced linear expression. Intermixing wiping and shading of charcoal drawing with expressive and elusive oil painting, Shieh’s work surfaces as painterly drawings or drawing-like paintings mixed with distinctively personal symbols and metaphors. Her work voices her visual language of the “chora,” which carries her life and memory stemming from the context of representation, derivation and différance.

1973年生於臺灣臺北,臺南藝術大學藝術創作與理論研究所博士。創作媒介主要透過錄影、計畫型身體行動以及書寫等形式,關注歷史與諸眾、空間與生命政治的議題。他以身體作為承載觀念的「界面」,從思考藝術的主體性與創作表現方式,逐漸趨向至肉身力行,並以實際行動繪製出一張自我的政治地圖,體現從身體開始到與大地之間的連結關係,其作品就像是以雙足走踏出來的地誌書寫,耙梳著田野及遺址調查,進行另類的創作。


Born in Taipei, Taiwan in 1973, Jun-Honn Kao holds a PhD in Art Creation and Theory from Tainan National University of the Arts. His art practice mainly focuses on issues about history, the multitude, space and life politics through video art, project-based physical practice, and writing. Using body as an “interface” to convey the conceptual, his art stems from his thinking about artistic subjectivity and creative expression before gradually converting it into physical practice, in which he outlines a political map of the self with physical actions that embody the connections between body and land. His works resemble topographical writings inscribed with his travels, investigating fields and ruins and forming an alternative approach of art-making.

1963年生於臺灣,法國巴黎第五大學社會學博士,現任職於臺南藝術大學藝術創作理論研究所。其學術專長為藝術社會學與波特萊爾研究。在創作上,他專注於實踐藝術介入空間運動與對話型藝術的創作。同時也是藝術評論者和獨立策展人,曾協同策劃嘉義「北回歸線環境藝術行動」,以及高雄「貨櫃藝術節」、「後植民計畫」等其他多項策展活動。


Hung-Yi Chen was born in 1963 in Taiwan. He holds a doctoral degree in sociology from Université de Paris V, and currently teaches at the Doctoral Program in Art Creation and Theory of Tainan National University of the Arts. Chen’s area of research interest is in the sociology of art and also the works by Charles Pierre Baudelaire. Artistically, he focuses his creative practice on using art to engage in spaces and also on dialogue-based artworks. As an art critic and independent curator, Chen was one of the co-curators for the Culture Action of Tropic of Cancer, and other curatorial works he has done include the Kaohsiung international Container Arts Festival and the Post Ecolonialism Project.

林玉婷

視覺藝術家,住宅為其創作中關注的主題。2010年開始創作「蛋糕房子」系列作品,藉由蛋糕所帶來的視覺愉悅以及味覺想像,傳達臺灣常民住宅中的「家屋」意象。2016年起,以早期手繪建築形式於臺南齁空間個展「無名小路,落成誌喜」,2018年台灣美術雙年展「野根莖」發表作品《未來預想》。

Yu-Ting LIN
Yu-Ting Lin is a visual artist who creates artworks that focus on the subject of house and home. She started her House and Cake Series in 2010, using the visual delight and imaginative gastronomic appeal of cakes to convey the imagery of “home” associated with common residential houses in Taiwan. Lin presented a solo exhibition, Nameless Path, Housewarming, at the Howl Space in Tainan, with works showcasing early hand-drawn architectural renderings. Her artwork, Future Vision, was featured in Wild Rhizome: 2018 Taiwan Biennial.


林君安
建築師,臺灣大學建築與城鄉研究所博士。研究的興趣是集合住宅的建築史,著書《台北步登公寓:台北最普遍的住宅類型從何而來》。

Jin-Ann LIN
Architect Jin-Ann Lin holds a doctoral degree from the Graduate Institute of Building and Planning, National Taiwan University. His area of research interest is in the architectural history of congregate housing, and he is the author of the book, Taipei Walkups.disscussing how Taipei walkup apartments become the major type and were massively produced in Taipei.


林建志
視覺藝術家,以木材質為主要創作的手法,初期創作方向為造形語彙與消費文化的聯結,近年來關注於工作過程後所產出剩餘物的可能性。2016年高雄弔詭畫廊聯展「人造系」、2015年臺南齁空間個展「愛羅無用.夜露溪谷」與2012年臺北關渡美術館「出雲神源戰記」。

Chien-Chih LIN
Chien-Chih Lin is a visual artist that specializes in using wood as his main creative medium. He began by creating artworks that examine the associations between stylistic rhetoric and consumer culture, and in recent years, he has shifted his focus to explore different possibilities with materials left over from production processes. Lin took part in the group exhibition, Artificial Series, presented in 2016 at the Crane Gallery in Kaohsiung, and presented solo exhibitions I Love You Nice to Meet You in 2015 at the Howl Space in Tainan and Izumo VS Shen Yuan in 2012 at the Kuandu Museum of Fine Arts in Taipei.


楊佳璇
策展、藝評、自由撰稿人。2012-2018年於臺南運作藝術空間「齁空間」,策展以藝術與地方知識的生產關係為探究及關注方向。曾策劃「它方與抵抗」展覽系列(2016)、「2015臺南新藝獎—場所之間」、「微光—亞洲當代工業圖景、台日韓協力計畫」(2013)、「赤崁男孩」(2013)。

Chia-Hsuan YANG
Chia-Hsuan Yang is a curator, art critic, and freelance writer. She managed the Howl Space in Tainan from 2012 to 2018, where she curated exhibitions that explored and focused on the relations of production between art and local knowledge. Some of Yang’s curatorial work includes the exhibition series, Elsewhere and Resistance (2016); Next Art Tainan 2015─14 Artists in 14 Art Spaces; Twilight: The Prospects of Asian Industry, Korea, Japan, Taiwan Collaborative Art Project (2013); and The Province Boys (2013).


凌宗魁
現任職於博物館。畢業於中原大學建築系、臺灣大學建築與城鄉研究所。著有《紙上明治村:消失的臺灣經典建築》、《專業通才理想的實踐:臺灣大學建築與城鄉研究所訪談錄(一)》、《圖解臺灣近代經典公共建築》、《Brick Taiwan:積木臺灣經典建築,用樂高積木打造43個古蹟與地標》。

Tzung-Kuei LIN
Tzung-Kuei Lin currently works in a museum, and he holds a bachelor’s degree from the Department of Architecture, Chung Yuan Christian University, and a master’s degree from the Graduate Institute of Building and Planning, National Taiwan University. Lin is the author of the following books published: Meiji Village on Paper: Disappearing Iconic Architecture in Taiwan; Towards the Ideal of Generalist Professionals and the Failure: Interviews with Members of the Graduate Institute of Building and Planning, NTU (I); Iconic Public Buildings in Modern Taiwan Illustrated; and Brick Taiwan.


蕭文龍
任房地產手繪建築看板畫師40餘年。年輕時期任職於南部最大的文山廣告社,1990年代後因電腦製圖興起全面取代手繪看板產業,轉型繪製廟宇建築圖並於1993年成立「文龍彩繪坊」,至今繪製廟宇看板千餘幅,遍佈全臺。

Wen-Long XIAO
Wen-Long Xiao worked for over four decades making hand-painted architectural billboards for real-estate companies. He worked at Wenshan Advertising Agency in his earlier years, which was the largest firm of its kind in southern Taiwan. In the 90s, the advent of computer graphics replaced hand-painted billboards, which prompted Xiao to transition into making temple architectural renderings. He founded the Wen-Long Painting Studio in 1993, and has since painted over a thousand temple billboards, which could be seen throughout Taiwan.

1981年生於臺灣,目前就讀臺南藝術大學藝術創作理論研究所博士班,其作品主要透過創作回應自身生命經驗的折射,關注人的原生情感與社會結構的依存關係,探討破碎的原生家庭及經濟弱勢的匱乏,無論是實質上的空缺抑或是精神上的缺席,成為藝術家創作裡所探詢的—內在精神的還原與對生命的探問。


Jun-Yuan Hong was born in 1981 in Taiwan, and is currently a candidate in the Doctoral Program in Art Creation and Theory of Tainan National University of the Arts. Hong’s art practice reflects on his own experiences in life and focuses on the interdepended relations between primal human emotions and social structure. He explores inadequacies resulting from broken family of origin and financial distress, and uses art to examine the restoration of inner spirits and the questioning of life under both conditions of material deficiencies and psychological emptiness.

1985年生於臺灣臺北,臺南藝術大學造形藝術研究所畢業。其作品形式多以動畫、錄像、裝置為主,善於探討社會倫理與生命成長等議題;關注媒介與記憶之間的關係,思考個人私密及群體記憶,或許重要的不只是透過媒介所能回溯的事件歷史,更是記憶如何被建構與被觀看的過程。曾獲第14屆台新藝術獎、高雄獎、全國美術展新媒體類金牌獎以及桃源創作獎。


Che-Yu Hsu was born in 1985 in Taipei, Taiwan, and graduated from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Hsu predominately works with animation, video, and installation art, and specializes in exploring issues on social ethics and problems encountered as people go through life. He places special emphasis on the relations between media and memories, and also examines private and communal memories. He believes in addition to retracing events that had occurred in history through mediation, what is more important is the process of how memories are constructed and perceived. Hsu has been presented with several awards, including the 14th Taishin Arts Award, the Kaohsiung Award, Gold Prize for the New Media Art Category in the National Art Exhibition, ROC, and also the Taoyuan Contemporary Art Award.

1977年生於臺灣臺北,以電影書寫(cinematic writing)作為藝術實踐方法。作品多關注亞洲地緣政治歷史與個人歷史、文學、大眾流行文化等文件檔案研究;電影語言、符號和再現系統的敘事實驗;以及集體/個人記憶的關係與建構。這些研究方向以相互牽連、互為表裡的方式呈現,影像作品遊走於虛構與非虛構之間,反映出個人歷史在國家機器、教育文化與全球化秩序下的建構。多次國際駐村交流經驗,作品曾在法國、韓國、日本、美國等地展出。


Born in Taipei in 1977, Shake’s practice mainly engages in cinematic writing and involves research into Asian geopolitics and archives of personal history, literature, popular culture. The artist also focuses on the experimentation of narratives in systems of cinematic language, symbol and representation as well as relations and construction of collective/individual memory. The various directions in her multifaceted research are represented in an interconnected and mutually referencing way in her video work, which spans the virtual and the real while reflecting the construction of personal history propelled by the influential currents of state apparatus, educational culture and global order. Shake has done multiple international residencies, and her works have been shown in France, Korea, Japan, the US, etc.

1983年生於臺灣臺中,臺南藝術大學造形研究所畢業。創作多以錄像裝置、觀念計畫和動畫為主,擅長以敘事的手法,建構出介於想像與現實之間的虛擬世界,反思現實社會的百態。作品曾於東京、大阪、香港、聖彼得堡、巴黎等地展出;2013年獲台北國際當代藝術博覽會新潮賞、2010年第8屆台新藝術獎入圍、2009年榮獲高雄獎首獎、台北美術獎首獎和桃源創作奬首獎。


Li-Ren Chang was born in 1983 in Taichung, Taiwan, and he holds a master’s degree from the Graduate Institute of Plastic Arts at the Tainan National University of the Arts. Chang predominately works with video installation, conceptual project, and animation, and specializes in using narrative-based approach to formulate virtual worlds that sit at the crossroads of imagination and reality, which reflects on the different occurrences and phenomena observed in the real world. Chang has exhibited in Tokyo, Osaka, Hong Kong, St. Petersburg, Paris, and other cities. He was presented with the Young Art Award at the 2013 Young Art Taipei, shortlisted for the 8th Taishin Arts Award in 2010, and also won rhe first prize for the Kaohsiung Award, Taipei Arts Award, and Taoyuan Contemporary Art Award in 2009.

Artworks作品介紹

Resistance is Beautiful Series 「抵抗就是美」系列
Nine Dreams-Hopscotch 《九個夢-跳格子》
The War That Never Was 《非戰之戰》
Youthful Taiwan 《少年台灣》
The House She Wants to Build 《她想蓋的房子》
02-06 《洞兩洞六》
Absolute Loneliness Installation 《絕對空虛》裝置
This Is Very Simple So I Can Do It 《這很簡單我也會》
MORE

Relative Events 相關活動

與展覽相關的講座、專家導覽及工作坊體驗等系列活動 活動類型

活動名稱

活動地點

活動時間

  • 當代館一樓活動大廳

    2019/08/04 Sun.

    14:00 - 15:30

  • 當代館一樓活動大廳

    2019/08/10 Sat.

    14:00 - 16:00

  • 當代館一樓活動大廳

    2019/08/11 Sun.

    14:00 - 15:30

  • 當代館一樓活動大廳

    2019/08/25 Sun.

    14:00 - 15:30

  • 當代館一樓活動大廳

    2019/09/15 Sun.

    14:00 - 15:30

  • 當代館一樓活動大廳

    2019/09/22 Sun.

    14:00 - 15:30

  • 當代館好玩藝教室

    2019/09/29 Sun.

    14:00 - 17:00

學習單

最小型的兒童藝術刊物!

《少年當代》學習單

《少年當代》學習單

CLOSE

CLOSE

Notice 著作權&隱私權相關政策
關於當代藝術館需要注意的相關法規

著作權聲明

台北當代藝術館尊重他人著作權,台北當代藝術館服務條款亦明定,網友使用台北當代藝術館服務不得侵害他人之著作權,因此,台北當代藝術館呼籲使用者同樣尊重他人之著作權。如果您認為台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,建議您利用本處理辦法提出檢舉,台北當代藝術館客服中心將儘速為您處理:

  • 權利人檢舉著作權侵權處理辦法

    若台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,請您填寫:「 著作權侵權通知書」,且依該通知書所載提供下列資料及聲明,並以傳真的方式通知台北當代藝術館:
    1、著作權人之簽名、或著作權人之代理人之簽名、相關權利證明文件及著作權之內容,例如:已發行書籍之封面及相關頁面、發表於網路中之網頁內容列印紙本及其網址。
    2、侵害著作權之內容所在的網頁及網址。
    3、您的聯絡地址、電話等資料。
    4、書面聲明您確信該網頁內容的使用行為是未經過著作權人、其代理人或法律的授權。
    5、書面聲明您於通知書所載相關資料均為真實,且您是著作權人或著作權人之代理人而為上開聲明。

  • 台北當代藝術館處理原則

    若台北當代藝術館網站中之任何網頁內容或網友使用台北當代藝術館服務已侵害您的著作權,請您填寫:「 著作權侵權通知書」,且依該通知書所載提供下列資料及聲明,並以傳真的方式通知台北當代藝術館:
    1、著作權人之簽名、或著作權人之代理人之簽名、相關權利證明文件及著作權之內容,例如:已發行書籍之封面及相關頁面、發表於網路中之網頁內容列印紙本及其網址。
    2、侵害著作權之內容所在的網頁及網址。
    3、您的聯絡地址、電話等資料。
    4、書面聲明您確信該網頁內容的使用行為是未經過著作權人、其代理人或法律的授權。
    5、書面聲明您於通知書所載相關資料均為真實,且您是著作權人或著作權人之代理人而為上開聲明。

隱私權保護政策

台北當代藝術館非常重視用戶的隱私權,因此制訂了隱私權保護政策。請你細讀以下有關隱私權保護政策的內容。

隱私權保護政策的適用範圍

1、隱私權保護政策內容,包括台北當代藝術館如何處理在用戶使用網站服務時收集到的身份識別資料,也包括台北當代藝術館如何處理在商業伙伴與台北當代藝術館合作時分享的任何身份識別資料。
2、隱私權保護政策不適用於台北當代藝術館以外的公司,也不適用於非台北當代藝術館所僱用或管理的人員。
3、台北當代藝術館在你註冊台北當代藝術館帳號、使用台北當代藝術館的產品或服務、瀏覽台北當代藝術館網頁、參加宣傳活動或贈獎遊戲時,台北當代藝術館會收集你的個人識別資料。台北當代藝術館也可以從商業夥伴處取得個人資料。
4、當你在台北當代藝術館註冊時,我們會問及你的姓名、電子郵件地址、出生日期、性別、職位、行業及個人興趣等資料。你在台北當代藝術館註冊成功,並登入使用我們的服務後,我們就會認識你。
5、台北當代藝術館也自動接收並紀錄你瀏覽器上的伺服器數值,包括互聯網協定位址 (IP Address) 、台北當代藝術館cookie中的資料及你要求取用的網頁紀錄。
6、台北當代藝術館會使用資料作以下用途:改進為你提供的廣告及網頁內容、完成你對某項產品的要求及通知你特別活動或新產品。
7、台北當代藝術館不會向任何人出售或出借你的個人識別資料。
8、在以下的情況下,台北當代藝術館會向政府機關、其他人士或公司提供你的個人識別資料:與其他人士或公司共用資料前取得你的同意。
9、需要與其他人士或公司共用你的資料,才能夠提供你要求的產品或服務。
10、向代表台北當代藝術館提供服務或產品的公司提供資料,以便向你提供產品或服務 (若我們沒有事先通知你,這些公司均無權使用我們提供的個人資料,作提供產品或服務以外的其他用途)。
11、應遵守法令或政府機關的要求。
12、我們發覺你在網站上的行為違反 台北當代藝術館服務條款或產品、服務的特定使用指南。
13、其他依「個人資料保護法」或政府法令應公開之資料。
14、為了保護使用者個人隱私, 我們無法為您查詢其他使用者的帳號資料,請您見諒!若您有相關法律上問題需查閱他人資料時,請務必向警政單位提出告訴,我們將全力配合警政單位調查並提供所有相關資料,以協助調查及破案!
15、 台北當代藝術館會到你的電腦設定並取用台北當代藝術館cookie。
16、台北當代藝術館容許在我們網頁上擺放廣告的廠商到你的電腦設定並取用cookie。其他公司將根據其自訂的隱私權保護政策,而並非本政策使用其cookie。其他廣告商或公司不能提取台北當代藝術館的cookie。
17、當台北當代藝術館進行與其產品及服務有關的工作時,會使用 web beacons 進入我們的網站網絡,提取cookie使用。
18、台北當代藝術館賦予你在任何時候修改個人台北當代藝術館帳號資料及偏好設定的權力,包括接受台北當代藝術館通知你特別活動或新產品的決定權。