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

從“向前進”到“向錢進”，對於政治，只是一種權力的轉換，而對於個人，因為被蠱惑的狀態是同一的，所以傷害最終是永久的。 吳少湘的作品直接切入中國全民化地，由“向前進”到“向錢進”的現實，曾經莊嚴的領袖形象、中山裝，曾經的自然的山水、名勝古跡，曾經聖潔的愛情等等，如今一切都是錢，而且錢的背後依然是權力起決定性的作用。吳少湘以硬幣和鈔票為造型“單位元”，焊接出這些形象，給人一種被“錢”堆砌的視覺感受，如同中國的現狀，赤裸裸的不能掉過臉去。吳少湘巧妙把中國傳統雕刻中表現“玲瓏剔透”的鏤空方式，轉化成一種“空殼”感覺，巧用青銅氧化的綠色把綠色的美鈔，捏造成傳統中國青綠山水的樣式，寓意深刻。吳少湘的作品尖銳地刺向權力，卻充滿幽默，以近乎於搔癢的方式挑逗著權力。 蔣朔的作品姿態，彷彿人們成熟後回望自己成長過程的兒童遊戲、青春殘酷，有反省、有自嘲、有感情，但沒有居高臨下、劍拔弩張的批判。蔣朔也曾經是“紅衛兵”，是在為革命理想耗費過青春的一代，那個時代從政治上否定容易，而文化記憶對個人的信仰、經驗、感情產生的影響，是終生不可磨滅的。而十多年在歐洲的生活，時空造成的雙重距離感，足夠的時間和安靜，對問題的反省也因成熟而理性。 The transfer of “going forward” to “going for money” is just a transfer of power from the aspect of politics, yet it leads to permanent injury to the individuals due to the identical bewitched status. Wu Shaoxiang’s work directly points to the reality that China is experiencing a nationwide transformation from “going forward” to “going for money”. The once stately leader image, Chinese tunic suit, once natural landscape and places of interests, once pure love, are all for money. What is more, it is still the power which plays a crucial part behind the money. Wu Shaoxiang used coins and bills as the “unit” of modelling, making these welded images, providing a visual perception of piling up with“money”. It is just like the status quo in China, which is too bare to be ignored. Wu Shaoxiang ingeniously transferred the“exquisitely carved” hollow out in Chinese traditional carving into a feeling of “empty shell”. He tactfully used the oxidized green bronze to fabricate green U.S. dollar to traditional Chinese landscape, which had profound meanings. Wu Shaoxiang’s works poignantly aim at the power, yet are full of humour, teasing the authority in a means of tickling. The basis for Jiang Shuo’s work is similar to a grown up person reminiscing the childish games and cruel youth during the growing process with introspection, self-mockery and emotion minus the commanding and tense criticism. For one thing, Jiang Shuo herself was a “red guard”, who was in the generation of sacrificing youth for revolutionary ideal. It is easy to deny the politics of that age, yet the affection of culture memory to the personal belief, experience and emotion are indelible. However, living in Europe for decades has given her a distance, time and quietness to be mature and rational to reflect the problems.