大塊‧圓神II-鄭建昌創作個展

就以台灣藝術發展的脈絡來看,一些經歷戒嚴與解嚴時期的藝術家,在解嚴前後,都瀰漫著具有批判性與爆破力的後現代風潮,無論是本省籍或是外省籍的藝術家都會參與了這場控訴儀式,直接或間接地表達了他們對於威權體制的懷疑與不滿。當然藝術家鄭建昌也不例外,從他早期與幾位藝術同好組成的?台北新藝術聯盟?,並以台北都會風景為主要創作的題材,來捕捉人與都會的關聯,無形中已經可以看到鄭建昌創作所關注的視角。

隨著在1984年為了尋根、紮實的重新了解並體驗生長地的文史與生活,及不願隨波逐流於西方藝術強勢藝潮的波瀾,毅然決然回到故鄉嘉義。歷經台北都會的洗禮,在自己的故鄉才真正體會到土地的存在與歷史的定義。

因此也逐漸奠定他未來創作的思維模式­文獻創作,讓他有機會重新的思考台灣這片土地。兒時時代所歷經戒嚴時期的膽戰心驚與在參與解嚴之後控訴儀式,讓他更懂得愛惜與珍惜這塊土地。

觀察者的角色是鄭建昌從事創作的必備過程,他在觀察的同時,也重新找到自我;同時也是他觀照自身、?思生活以及發掘生命意義的一種方式。他在這片土地?尋找自己孤獨的喜悅。同時在某種反射回?的情境中,從被觀察的對象?,發現?自己真正的存在。從他的作品裡,我們可以一一的感受出來,這些情感反應更與創作者所處的「位置」有絕對的關係。

這幾年來「文獻創作」的形成,代表藝術家鄭建昌自?的能?增強,同時顯示體認到土地與人文日益消失的可怕,他藉著「文獻創作」閱?進?一次一次的心?,如同記?著臺灣土地的?亡及重生的過程,藉以呼籲人們應正視日益?化的人文與土地現象,挽救那即將消失的土地與人文。他的作品就如同日本宮崎駿的動畫作品般有扣人心弦的場景。他的語繪形式特性創造出神奇而豐富的想象空間,同時賦予作品極其深沉厚重的思想主題,並展示了他對這時代脈搏的各種社會現實的問題思考。

鄭建昌將生活全心遁入這塊土地的人文風景,在繪畫紀錄下顯現其對環境、土地、族群、文化沈默而忠實的觀察,也為現下仍舊存留的諸多議題 提供了諸多的文獻探討。他這種對台灣土地人文的關注,我們是必須要在時間上慢慢的等待才會顯現出來。

 

Solo exhibition by Zheng Jianchang

Words by Hsieh Chi-Chang

Open: May 8 2015 to June 27 2015

Location: 102 Art, Tainan

 

A notable feature in the history of the arts in Taiwan is that after the lifting of martial law, those artists who had experienced it entered a period where their focus was on critical examination of authority, their art part of a wider post-modernist movement. We see this among both Taiwanese locals and those who arrived after 1949. Directly or indirectly, they found ways to express suspicion and anger towards power.  Zheng Jianchang is one of these artists. He and a few art-loving friends founded ‘Taipei New Art Consortium’, and they used the urban backdrop as material, attempting to capture the connection between people and city.  

In 1983, in order to put down roots, and to gain some distance from the overwhelming influence at the time of western art, Zheng decided to return to his home county, Jiayi. After his experience of urban life in Taipei, he finally found meaning in the land and soil and history of his home patch. And it was there that he gradually established a mode of thinking for his future work, namely ‘Documenting Creation’. This allowed him to think deeply about Taiwan, reconsidering his past experience of Martial Law, an experience that came to help him treasure and value his birthplace.

Taking the role of observer is a necessary element of Zheng’s work. While acting as observer, he re-discovers himself. He self-reflects, seeking to explore meaning in life. He seeks to find joy in being alone in this place. At the same time he is conscious of a certain feedback in his work from daily activities, and from the objects that he observes, in which he finds his own reality.  

Over the years, ‘Documenting Creation’ shows Zheng’s growing ability in self-reflection. At the same time, he was experiencing a horror that people, culture and land were disappearing. In ‘Documenting Creation’ we see again and again his journey of the heart in recording the death and rebirth of parts of Taiwan, calling people to pay attention to processes of decay and to urge them participate in rescue and renewal. His works have similarities to Hayao Miyazaki’s manga creations, which are full of breath-taking and heart-touching scenes.  The visual language of his work is so rich and imaginative; yet at the same time there is evidence of deep thought, a demonstration of his thinking on reality and problems in society.

Zheng has devoted his life to this land and its human landscape. His paintings record his silent and faithful observations of the environments, land, people and culture. He also contributes his thoughts on important issues facing society. His concerns for Taiwan’s land and people will become more and more apparent as time passes. We are looking forward to seeing Zheng’s ‘Documenting Creation’. 

Murmullo-米莉安與謝其昌創作聯展

  本次展覽特別邀請西班牙藝術家米莉安與留學西班牙謝其昌夫妻,於1月10日到2月26日在在台南102藝術空間展出,此次主題為「Murmullo-米莉安與謝其昌創作聯展」,開幕茶會為1月10日下午14:30,歡迎大家蒞臨參觀。

   此次的展覽,民眾可以看到來自西班牙米莉安藝術家所散發出自己文化的藝術風格,同時與藝術家謝其昌在留學西班牙之後的藝術風格。作品中呈現出東方與西方的完美的結合氛圍。同時可以欣賞他們如何透過不同的形式與技法,來探求心象世界與圖騰的想像。

   藝術家米莉安,在偶然發現陶土就像是奇妙的魔術,不但可以讓自己沉醉其中,並且可以建構自己的夢想,遂全心投入立體創作。他的所有草圖有如塗鴉般的放蕩不拘,但卻是他心理的一張張地圖,透過一張張的地圖呈現出多樣性的立體作品。此次展出的作品是以透過外在與內在觀看的經驗,來探尋人與人之間的關係,藉此來找尋自己與他人內心狀態。

     米莉安作品的出發,都是來自心裡最深沉的想像,透過藝術家眼與手直接的捏塑,來傳達內在與外在環境空間的穿梭,同時在作品裡散發出個人情感的思緒及獨特的思維。

   廣告另一位藝術家謝其昌,他的創作是多年身處國外環境經驗的轉化。以旅行期間的簡單書寫與塗鴉作為基底與自己的潛藏的視覺印象相互結合,以並置、轉化與重複的表現技法,反覆在作品中推疊與覆蓋,來探討抽象形體與內在心靈之間的關聯。這系列有些作品是斷斷續續創作,在過程中有的作品畫了數月,或甚至有長達一年之久才完成之作品,歷經建設、破壞與重建等創作過程,手稿的記憶經過回想與自由的覆蓋,最後藝術家的潛意識往往成了自己作品創造表現的泉源。

  我們可以看到藝術家米莉安與謝其昌,他們透過「物」與「我」、「內在」與「外在」、「精神」與「物質」的相互滲透,互相參與的過程,來達到他們一個整體性的藝術觀。

─────────────────────────────────────

This exhibition, entitled ‘Murmullo – Myriam and Hsieh Chi-Chang Joint Exhibition’ presents the art of Spanish artist Myriam Catala Soler and her husband Hsieh Chi-Chang, who studied in Spain for some years. The exhibition is scheduled to run from 10th January to 26th February at 102 Art in Tainan. There will be an opening tea reception at 2.30pm on Saturday, 10th January, and all are welcome.

 

In this exhibition, Myriam will display her works which much exhibit a particularly Spanish style of artistic expression; at the same time, Hsieh Chi-Chang will demonstrate his own style, which was transformed after studying in Spain. Together, their works demonstrate a perfect combination of East and West. The works also illustrate use of different forms and techniques in search for their own inner worlds and imaginary totems.

 

Myriam coincidently discovered that for her, clay is like a wonderful magic which allows her to go deep inside and create forms from her dreams in three dimension expression. Although her manuscripts and sketches are created without constraints, they also serve as mental maps, bringing out the variety of her three dimension works. The works in this exhibition illustrate her practice of inward-looking contemplation of the external world. She is in search for human relationships in order to understand the internal connections between herself and others. Myriam’s works all start from her imagination, and come from the bottom of her heart. Through her hands and eyes, her work communicates interaction and transformation between external and internal worlds.

 

Hsieh Chi-Chang’s works tells of his experience of transformation after spending years abroad. Based on the graffiti he drew and the simple notes he produced on his travels, he confronted and uncovered hidden impressions in his mind, and went on to enquire into the connections between abstract shapes and mind through repeatedly transforming, co-presenting and overlaying materials in his art. Some works in this series were put away for a while and picked up for completion from several months to a year later. In the process, some of them were completed, then destroyed, and re-built. In the end, memory and sub-consciousness become the origin and source for the artist’s creation.

 

Through both Myriam’s and Hsieh’s work, an artistic philosophy is demonstrated: coherence and interaction between ‘object and self’, ‘internal and external world’, and finally ‘spirit and material’.