【交X感】展覽座談:未來社 x 台韓駐村交感
本次參展的未來社員將分享未來社在藝術江湖闖蕩之路,社
座談資訊|
與談人|黃琬玲、高雅婷、林冠名、謝牧岐、崔惠宇、Ta
主持人/ 翻譯|曾馨霈
時間|9/2(六)13:30-15:00
地點|FreeS ART SPACE(台北市新生北路三段82號B1)
【交X感】展覽座談:未來社 x 台韓駐村交感
本次參展的未來社員將分享未來社在藝術江湖闖蕩之路,社
座談資訊|
與談人|黃琬玲、高雅婷、林冠名、謝牧岐、崔惠宇、Ta
主持人/ 翻譯|曾馨霈
時間|9/2(六)13:30-15:00
地點|FreeS ART SPACE(台北市新生北路三段82號B1)
展覽介紹|
藝術如何存在而被感知?你是否曾在空氣中感受著空氣的存
近年來沉浸式劇場以及各種科技虛擬實境的穿戴式裝置,讓
觀眾不再像是被動地接收參與原地不動,這樣的概念吸引著
自由人藝術公寓 x 鬧空間的首檔展覽Wallpaper,這次試著將五位不
綜觀當代藝術近來的發展,不僅僅符合多媒材、複合媒體的
展覽資訊|
展期 Duration|2017.07.12 – 09.15
地點 Location|鬧空間 NOW space (台北市延平南路58號3F)
展出藝術家 Artists|李蘄高、高昌湧、安地羊、張傑、劉士齊
開幕茶會 Opening
開幕時間 Time|2017.07.14(五) 18:30-20:30
開幕表演 Perform|2017.07.14(五) 19:30
表演嘉賓 Perform Guest|KJ Tien 田廣潤
策劃單位 Plan|自由人藝術公寓 Freedom Men Art Apartments
協辦單位 Co-organizer|鬧咖啡 NOW coffee、集人文化藝術ARTOGATHER、框外視覺設計 Kuang Wai Visual Design、藝術家工作室 Artist Studio
展覽介紹|
尊彩藝術中心即將展出台灣藝術家許常郁的個展「一座森林
Liang Gallery is pleased to present “Accomplishing a Forest,” a solo exhibition of new work created in Switzerland by Taiwanese artist Una Ursprung. The sceneries she painted in Switzerland do not refer to any particular locations. Some of these forests are near the place she resides, and some of them derive from the memories or impressions of forests seen before.
從法國、台灣到瑞士,藝術家經常式的移居豐富了她的創作
From France, Taiwan to Switzerland, Ursprung’s frequent travels have enriched her artistic expressions and divided her exploration of the forests into different stages. The artist transforms this journey into a poetic ethnography by naming herself “the flâneur at the end of the earth.” She travels not to make a checklist of tourist attractions, but personally observe and experience the life of the faraway land until she becomes one of the locals. Her travels are hallucinatory and anesthetic Le Bateau Ivre, an expression blending the forms of Romanticism and Symbolism, as in Arthur Rimbaud’s (1854-1891) poems.
藝術家以媒材和技法來探索繪畫的空間與視覺體驗,以具象
The artist enjoys a greater freedom to deal with media and techniques to study the spatial and visual experiences in her painting. Figurative painting techniques allow her to manage the space of landscape, and abstract lines allow her to represent the sense of air produced by the dual spaces more directly. In the Accomplishing a Forest series, abstract lines are combined with oil painting and spray painting. The combination of spray paint and oil paint draws a vivid contrast, creating a diverging visual effect. Spray-painted abstract lines and color blocks resemble secretive texts hovering over the surface of the oil painting, freezing a fleeting moment of floating bugs, leaves, light, and dust in a forest. However, in this case, the landscape in the oil painting and the spray-painted forest intensify and translate the visual tension of the images. We seem to follow the artist to walk into the real forest. The artist enters the forest, blends in with it, and sees the real forest which is energetic, active, and dynamic. The forest is no longer the reverse of civilization or the escape from one’s anxiety, but a natural essence.
油畫與噴漆的筆觸交錯成一種二重奏的結構模式,噴漆讓森
The oil-paint strokes followed by the spray paint form a duet. To narrate and to describe, the spray paint uncovers the invisible message of the forest. Ursprung does not recognize spray paint as destructive, but a necessary step for a complete piece of art.
藝術家簡介|
許常郁,1985年出生於台北,2007年國立台北藝術
Artist Biography|
Born in Taipei in 1985, Una Ursprung (Hsu Chang-Yu) graduated from the Taipei National University of the Arts in 2007, and Ecole Européenne Supérieure d’Art de Bretagne site Quimper in France in 2011 (from which she received Diplôme National Supérieur d’Expression Plastique, the highest honor awarded by the National Arts Councils and Culture Agencies). Currently, she lives and works in Switzerland. Her works have been exhibited in Taipei, London, and Paris. Since 2016, Ursprung has been residing in Swiss countryside where she developed new methods of painting. She employs abstract lines to create a vivid contrast through the combination of oil painting and spray painting. The visual message conveyed through the landscape does not collapse with the spray painting process but is rather expressed from the inner instead of the outer intentions. Moreover, brushstrokes that carry the body and subliminal messages float across the surface, transforming and reconstructing the visual message.
展覽資訊|
展期Duration|2017.09.02 Sat. – 2017.10.01 Sun.
媒體預展Press Preview|2017.09.01 Fri. 3:00pm
開幕Opening|2017.09.02 Sat. 3:00pm
地點Venue|尊彩藝術中心 Liang Gallery
黑天鵝效應 – 何孟娟個展
双方藝廊將於7月29日至9月3日展出何孟娟「黑天鵝效
Not The Chelsea Hotel – Isa Ho Solo Exhibition
Double Square Gallery is pleased to present Not the Chelsea Hotel – ISA HO solo exhibition, on view from July 29 to September 3. The exhibition will showcase Isa Ho’s ongoing series of the “Westbeth” project and the newly developed serial work “My Peony Pavilion.” While the subject matter of the two series seem to sit on the opposite end of a spectrum: the young and the elderly, the East and the West; the difference between the series embodies Ho’s continual focus on socio-cultural issues. The “Westbeth” series was inspired by and shot at the Westbeth Artists Housing in New York, where Ho spent over four years documenting the senior artists living there, their daily lives and environment. “My Peony Pavilion” utilizes and blends the traditional Chinese Kunqu Opera and Korean popular music K-pop to picture female self-identity in two juxtaposed temporal and spatial frameworks, by leveraging similar pop culture element. The exhibition title Not the Chelsea Hotel (Chinese Title: The Black Swan Effect) points to a key concept: the everyday mundaneness taken for granted might be overturned by a new piece of information – just as when a black swan was “discovered” by an explorer in Australia in 1697, only then people started to realize not all swans were white and their understanding was partial. The concept of the Black Swan Effect becomes the connecting thread: through presenting the two series together in this show, the artist wants to inform the audience’s preconceived notions of facts having the possibility to formulate utterly opposing meanings, once approached with a new angle with a new piece of information presented.
展覽資訊|
展覽日期Duration|2017.07.29-2017.09.03
展覽地點Venue|Double Square Gallery 双方藝廊
展覽開幕Opening|2017.07.29(六) 3:00 pm
藝術家導覽Artist Guided Tour|2017.08.12(六)3:00 pm
創作者自述|
某天看希區科克1956年的電影《擒凶記》(《The man who knew too much》),關於家庭,信仰,人性和陰謀,故事從北非
小華,2017年6月於柏林
Information|
I once watched the 1956 movie, The Man Who Knew Too Much, directed by Alfred Hitchcock. With a story about family, faith, human nature and conspiracies, the setting starts in Morocco in North Africa before continuing to England. At the end of the movie, the assassin character falls from a ledge inside a concert hall, and the heroine is finally reunited with her kidnapped son. Because a lot of scenes were filmed in Morocco, much of the movie imagery exudes strong color tones. I like such colors because they bring a certain temperature. I have never been to Morocco, but I imagine it as a place of vivid colors, high temperatures, conflict, and, of course, the famous desert. My fascination with the desert probably began when I was 15 to 16 years old. Due to it, I travelled to Dunhuang, Inner Mongolia, and Xinjiang. But, this was not enough. It will actually never be enough. Deserts are a kind of place I look forward to when not knowing where I belong. In 2013, I moved to Berlin, and my life here is as simple as when I was working in China. Or, I should say, this is the kind of life I want to have now. In Berlin, everything is placed within a 15-minute distance from home: the supermarket, gym, and my favorite restaurants. Little by little I fell in love with this life. It allows me to spend most of the time alone, thinking. Because I spend many hours working in my studio, it sometimes feels like what is inside the house is the real world, and that the world outside my building is unreal. After going outside, my brain often starts to automatically record the images I see, forming a dictionary. Sometimes it will automatically connect with my dreams, some of which are based on real life. Often a single image suddenly springs out of my mind, pairing with another. Sometimes I am in doubt, while other times this kind of seeking and thinking seems to last longer than the time I spend reflecting about the images on my own works. My paintings are more about the similar properties of different materials. Day by day, I gradually found this to be interesting. I wanted to show it in my works through large drawings. But, what hasn’t changed this year is that I am still sewing: on paper, canvas, or walls. I am still mending myself because I cannot be whole. I wish my works will touch that part of your heart which remains hidden.
Xiaohua, Berlin, June 2017.
展覽資訊|
展覽日期Duration|2017.8.19-2017.10.7
開幕酒會Opening|2017.8.19(Sat.) 18:00-21:00
開放時間Time|週二Tue-週六Sat 13:00-19:00
展覽地點Venue|十方藝術空間 GALERIE OVO(台北市中山區德惠街51號)
展覽簡介|
「若世界是一個巨大的投影,那麼我們接觸到的真實是由不
本次展覽以「城鄉」「建築」「空間」做為展覽概念,邀請
西方早期插畫集中在宗教書上,19世紀因版畫與印刷術,閱讀人口大增,報紙雜誌多以插畫作為評論政治與社會的方式。東方可追溯到西漢馬王推出土的〈導引圖〉帛畫,宋代同樣因印刷與出版工業進步,大量將插畫應於小說話本、技術著作等書籍。當代插畫在各種技巧中,衍生不同的風格與表現形式,與圖像小說、美術角色設定、繪本、漫畫、廣告、藝術、設計、天文動植物、醫學、建築等關係密切,其美學類型被歸類在時序藝術(Sequential art)項目。
本展從《維摩詰經》中「芥子納須彌」、全像宇宙論做為發想,以「城鄉」「建築」「空間」為策展概念:若世界是一個巨大的投影,那麼我們接觸到的真實是由不同人心境所投射組成;如果將手指圍起一個圈,我們透過這個圈看到的世界也可能是幻想世界作為概念。邀請來自日本、西班牙、尼泊爾、韓國、香港、澳門、臺灣等國內外藝術家的虛構原創與寫實教育作品,橫跨插畫、設計、藝術與新媒體等視覺領域,以敘事插畫的方式表達、解讀、提高選定文本段落的意義,或以補充的方式創造一種戲劇性,表達心情、氣氛、觀點、事件與情境。
本展規劃三部分,一是在視覺與思惟上探索虛擬想像與真實世界的界線,以三維的空間描述,再現或創造不同的虛/實/異/質世界,藉以呈現各式街景、建築立面、空間巷弄、異世界的地景肌理等,邀請作品分別在插畫、繪本與設計、視覺/跨領域藝術兩部分呈現。第三部分是將插畫元素應用於社造、文史保存、弱勢族裔的議題上,透過插畫形塑的世界觀,重新開啟讀者對空間細微敏感的關注與想像,藉以反思現代人對於空間、城鄉與生活周遭的複雜關係的人文主題。
展覽資訊|
展期 Duration|8/8 – 9/10 (周一公休)
開放時間 Time|09:00–17:00
開幕活動 Opening|2017.8.12 16:30
開幕表演 Perform|新媒體藝術表演 幽谷響 YUGU
地點 Location|國立臺灣藝術教育館 (臺北市南海路 43 號)
策展團隊 Curate Team|水谷藝術 Waley Art
策展人 Curator|楊雅翔
參展藝術家 Artists|
61Chi Art、 IC4DESIGN(日本)、Kim Hyung Gwa (韓國)、Nacho Fc Monereo (西班牙)、 Nuomi ‘s 諾米、Roya Bom (韓國)、Sujan Dangol (尼泊爾)、WADASI延平北路789、丁柏晏、王春子Wang Chuen Tz、田島大介 (日本) 、李御齊、周明誼、林旺廷、林書楷、建築大叔 Uncle Architecture (澳門) 、 飛天豬 Flyingpig (香港)、島的地景量度 + 詹益忠、徐至宏、 迷走工作坊 Teenage Riot、張致中、陳沛珛、黃九子、鋸子女孩、圖文不符、薛光成
展覽介紹|
熱蘭蔗城紀事以大航海時代下的史料和遺跡為考掘起點,透過不同民族在福爾摩沙島的交易活動,回溯跨國貿易在不同情境下所展開的歷史座標與經濟脈絡。在交疊和對立的歷史視角中,思考經濟地理景觀的形塑過程。
Starting from historical materials and remains from the Age of Discovery, “Zeelandia” traces the historical coordinates and economic context under different circumstances through trading activities conducted by different nationalities in Formosa, and considers the processes involved in the forming of economic geography from an overlapping and antithetical perspective.
作品〈蔗牆〉將十七世紀荷蘭東印度公司建造的熱蘭遮城(現稱安平古堡)的城牆殘跡,以甘蔗纖維製作成的紙張拓印下來,包覆絕對空間的外牆建築,成為一件戶外裝置。透過拓印舊城址上的磚紋,歷史的痕跡成為一個陰性的顯影,並以不同的形態在現代建築上復生。
Built by the Dutch East India Company (Vereenigde Oostindische Compagnie, VOC) in the 17th century, the remaining walls of Fort Zeelandia is the source for the work “Z Walls” – a crayon rubbing made of actual walls on paper made from from sugarcane fiber. The rubbing is made into an outdoors installation and covers the outer walls of the Absolute Space for the Arts. Through this rubbing, the pattern of the old walls and this trace of history becomes a negative development reproduced on modern architecture with different forms.
展場內以〈鹿革〉和〈蔗物〉兩件作品,呼應《熱蘭遮城日誌》中,荷蘭人與中國、日本多次出現的交易物品,和一件透過文本描述而模擬製作成的農具,開啟對話與想像的空間,連帶勾勒出台灣原住民與此經濟體系的隱性關係。
In the exhibition space, “Deer Rug” and “Z Tools” are reminiscent to the traded items that the Dutch exchanged with Chinese and Japanese traders recorded in De Dagregisters van het Kasteel Zeelandia. In addition, the farm tool displayed is made according to the description from this book. The concept of creation opens a space for conversation and imagination which reveals the recessive relationship between Taiwanese aboriginals and this economic system.
展場最深處呈現作品〈熱帶蒐藏〉,是一系列以台灣產業地景為主軸的木製屏風。透過對歷史檔案和照片的搜集與影像再製,耙梳台灣自海權時代以降對外出口的天然資源與原物料產地,拼貼出台灣在全球化體系中的位置與經濟縮影。
At the end of the exhibition the visitor is greeted by “Tropical Collection” which is a series of wood screens based on the industrial landscape in Taiwan. Through the collection and image reproduction of historical archives and photographs, the work arranges the data of exported natural resources and sourcing areas since the Age of Discovery in Taiwan representing the epitome of Taiwanese economics in the global world.
展覽資訊|
展覽日期Duration|2017.8.11~9.10
開幕茶會Opening|2017.8.11 15:00
藝術家座談Forum|2017/8/19 15:00
藝術家Artist|羅懿君
與談人Forum Panelists|林書楷Shu-Kai LIN、賴依欣Yi-Hsin LAI
主辦單位Host|絕對空間Absolute Space for the Arts
贊助單位Advisor|文化部Ministry of Culture、台南市政府文化局Culture Affairs of Bureau Tainan City、國藝會NCAF
創作說明|
後現代時期以後,藝術的物件化演變使藝術品從崇高無疑的
今以當下的藝術觀念再度回首關照宗教這個主題會是怎樣的
在擁擠的亞熱帶島嶼城市環境中,半透明的浪板透光明亮、
宗教是人們一種無形的精神靈魂指標,在此將不同宗教的圖
展覽資訊|
展期Duration|2017.8.16-9.23
開幕Opening|8.19(六) 15:00
座談Forum|9.1(五) 19:00 陳文祥與杜偉對談
時間Time|每週三到六 3pm~9pm Wed-Sat
地點Venue|海桐藝術中心 Haiton Art Center
展覽介紹|
本展為「違和之地」系列展,本次以《源氏物語》中「生魂
This exhibition is the series exhibition of “An Unnatural Place” which’s concept is about the “living spirit” and “astral projection”. The works in this show talk about two topics- one is the unnatural feeling out of the separation of self and consciousness. Others are about the situation and identity of sexual and gender that (physiological) females have been facing during the past centuries ( As Japanese ruled period, America’s Army stationed and Chinese Nationalist Government till now) Between the interweave of two kinds of artworks, metaphoring the time while state apparatus, social consciousness and war interact the modern history of Taiwan’s woman’s body which has been coerced and engender the dissociation of memory.
張美陵的攝影作品以 1895 年乙未戰爭的歷史照片作為創
The photography of Chang Mey-Ling use the history photo of the soul of woman and their kinsfolk who fight at the front line to resistance the aggressor of Japanese invasion of Taiwan in 1895, to become her create source. The other image is about the “Tian-Shi-Zhai Pictorial” in Guangxu of the Qing Dynasty. And the photography of Huang Zi-Ming which solicitude the history of Taiwanese comfort woman became the sex slave of Japanese army. Which reach over 2000 of victims, only two woman still alive. Japanese government hasn’t apologize to Taiwan till now.
黃孟雯的攝影與裝置作品先是顯示了美軍駐台時期因美軍有
Orlando Huang’s photography and installation works first involved the time when America’s army stationed in Taiwan, while they treat the female workers ruthless. Because the weakness of political, people in Taiwan can’t get their justice on those killing and rape by America’s army. The other work basic on the field research of normal life of female queer. Talk about the Japanese ruled period till now, female queer’s identity in life of society after marriage. And Wawa and Wong Kai Cho from Trancezone Family. Their music video works is about the self-objectifying of the women exchanging money with their body. Also extend the sexual/gender violence issue.
勸世美少女娃娃與翁會長的 MV 作品則談到以金錢交換身體
Trance beauty girl Wawa and Wong Kai Cho from Trancezone Family. Their music video works is about the self-objectifying of the women exchanging money with their body. Also extend the sexual/gender violence issue. Wen-hsin Teng made the music video by her own experience. Talk about the huge different of live between day and night. She turned herself into the state apparatus by day. The difference makes she feels split personality.
Maria Papi的影像作品與勸世美少女娃娃的MV作品,重視性
在現今國際化時代中,이수진Soo Jin Lee 的作品談到了在異地生活,身為一個女性對於自身狀
Maria Papi’s video work and Trance beauty girl Wawa’s music video witch pay attention on the sexual/gender violence and female body. Papi’s work focus on the connection between female body and water, and let audience again contemplate on female body in An abstract, poetic and metaphoric way.
In the contemporary era of globalization, 이수진 Soo Jin Lee’s work talks about a female’s awareness of an uncanniness within her state in a stranger’s life. She covered herself by plastic fabric, turned into a insulation situation.
김소영 So Young Kim 的作品談到了在各種媒體(包含繪畫、雜誌、廣告、
作為意識疏離隱喻的部分,她的另件作品說了一個孩子在衣
So Young Kim’s work talk about in each media (including illustration, magazine, commercial, comic) which woman’s body all decide by man’s vision. Those postures, body are a kind of vision angle by man. Seen woman as a single object of desire. Shows that body and consciousness are in a situation which can be apart.
As a metaphorical part of alienated consciousness, One of the work is talking about a kid in the closet imagine the world and make up story. The other is about when things remind with only by memory, usually mixed with self emotion. It makes memory like religion, nothing about it’s original shape. It’s a deformation exist.
鄧雯馨的實驗影像與音樂呈現一個意識漫遊,抽象的精神狀
Wen-hsin Teng’s experiment video and music shows a consciousness roam, abstract spirit condition. Carlos Martins’ monochromatic, experimental movie expresses a situation of complexity. Juan Miceli’s video is originally inspired by an accident, in which artist felt a sense of unfamiliarity with his own body in everyday behavior because of the injury. Rodrigo Etem’s video tries to alienated himself to become an E.T. (or alien from outer space), whose life in a desolate land is in a realistic yet not real status.
展覽資訊|
日期 Duration|2017.8.19(Sat)~9.10(Sun) 12:00-19:30
開幕 Opening|2017.8.24(四) 17:00
策展人 Curator|楊雅翔 Ya-Siang Yang
阿根廷藝術家 Argentina Artists|Carlos Martins、Juan Miceli、Maria Papi、Rodrigo Etem
韓國藝術家 Korean Artists|김소영 Kim So Young、이수진Soo Jin Lee
臺灣藝術家 Taiwan Artists|翁会長 Wong Kai Cho、張美陵 May-Ling Chang、黃子明 Tzu-Ming Huang、黃孟雯 Orlando Huang、葬詩人 You Object Poemer、鄧雯馨 Wen-Hsin Teng 、勸世美少女娃娃 Trance beauty girl Wawa
主辦單位Organizer|水谷藝術 Waley Art、VideoBardo International Videopoetry Festival
贊助單位Sponsor|文化部Ministry of Culture、台北市文化局Department of Cultural Affairs, Taipei City Government
指定輸出Print|Avocado 數位微噴輸出
設備/技術Equipment/Tech|地下車庫裝置設計工作室 、 幽谷響 YUGU
展覽介紹|
「Tell Me What You Want」是關於一段旅人和異地文化之間的視線、慾望、
“Tell Me What You Want” is about the exchanges of the gazes, desires, friendship, and wanting in between a traveler and an exotic culture. This relationship of exchange started when David was on the street in Malate, Manila. He engaged with the “marketings” on the street as a foreigner, and from this strange encounter, they developed friendship. Owing to the needs of shooting the films, the negotiation as well as transaction came along. The various relationship and processes of exchanges are intertwined with the reality, the social network, the diverse desires and imaginative gaze and illusion across cultures local to Malate. From November 2015 to June 2017, David constantly flied to Manila, shifting his identities as a traveler, a friend, and a film producer. Via these ambiguous narratives, the complex multiple meanings underneath the cross-cultural appearance is thus revealed.
在本次展覽中,藝術家以四部仿紀錄片(Mockumen
In this exhibition, the artist arranges four mockumentaries: “Malate”, “David”, “Joara”, and “The Shop”, which are intertwined and yet independent from one another. Each film respectively symbolizes the products deriving from various peoples, cultures, viewpoints, gazes, and wanting. Through the mirror of this alien character “David”, who is the intersection point implied in the four films, many of the core issues of this exhibition are exposed. “Tell Me What You Want”, a greeting on the street refers to the transaction structure on the street of Malate. The artist incorporated the negotiation on the local streets into the production of the films. He kept experimenting with the social and economic frameworks beneath this exchange relationship. At the same time, he tried to draw out the definitions of friendly exchange and transaction from the viewpoints of different cultures, disclose the bias rooted among different nations, and uncover the hidden class consciousness behind the tourism entertainment and international transaction.
筆記Note 01|https://www.youtube.com/watch?v=4VyNlH9FoWo
筆記Note 02|https://www.youtube.com/watch?v=4TkkI4ZccF0
筆記Note 03|https://youtu.be/jIDC5e3DYoA
展覽資訊|
展期Duration|2017.07.29~09.17
開幕座談Talks|2017.07.29 Sat. 3pm
開幕同樂會Videoke Party with Merienda|2017.08.06 Sun. 1pm-5pm
地點Location|鳳甲美術館 Hong-gah Museum
指導單位Advisor|文化部、台北市文化局
贊助單位Sponsor|國藝會
指定投影Projection|奧圖碼科技Optoma TW
展場影音、燈光技術整合執行Administer|千鳥藝術