《異想世界》|賴美華創作個展

賴美華的創作歷程長達數十年,多半悠遊於個人天地,自由的幻想、聯想、演繹、推理,即使微小的方寸之間,也被灌注了深情、完全誠意的刻畫。「我很少用言語表達我的想法,圖像是記錄我想法的工具。」在其創作理念中開宗明義如是說。 

其實,她敏感的心有著無數的想法在醞釀,習慣以畫筆來書寫日常,一朵花、一片雲、一彎新月、海水、音樂、文學等,都是她的創作靈感。她把對人生的感受與幻想,以個人獨特的語彙表達出來。以純女性觀點為基礎,描繪超現實的潛意識活動,作品構圖鮮明多變,色調強烈大膽,形成獨特的繪畫風格,呈現出內在的生命熾情。 

102當代藝術空間於2014年與2016年分別以「異花.草」、「愛.幻想」展出其作品。睽違近三年,今年特以「異想世界」為主題,展出橫跨2014-2018年間的系列創作。這次展出的系列,許多作品都描繪著她內心世界中天馬行空的風景樣貌,風景就字面上的解釋為風光、景物之意,即是由土地、環境作為客體觀看的樣貌。外在世界的風景透過藝術家之眼去觀看,轉變成屬於自身文化背景與生活經驗的繪畫表現。11月13日至12月29日誠摯地邀請您親臨現場,體驗賴美華特有的異想世界。 

Mei-Hua Lai has got years of experience of creating art based on things which she encountered during her journey across the world, in which related to fantasy, fiction, instant ideas, perception toward her personal surrounding with emotion and reality. “Expressing ideas through language is not what I do, but reflect them on my art work” said Lai. 

In fact, she processes a sensitive heart which contains endless thoughts and feelings for her work. She chose to tell the story about her daily life through painting, with the element of a flower, cloud etc. The main purpose here is to express her philosophy of pure post-feminism through creating a breath-taking art work with the various ideas which abstracted from reality and nature, in order to define her vision of lifestyle. 

Lai’s solo exhibitions “Flower & Pasture” and “Love & Fantasy” were displayed in the open exhibition of 102ART between 2014 and 2016. After almost 3 years of hard work, she finally announced her new solo exhibition “Fantasy World.” It is a brand new work that surpasses the works from 2014 to 2018. The major focus on her art work this time is based on a view of from the eye of Pegasus flying upon the sky and gaze upon the earth. The color texture and balance of the background from the painting illustrates the connection between the nature and the environment, which is required to be comprehended with an objective, artistic view. We would like to invite you to join us in this marvelous exhibition and get the first-hand experience of Mei-Hua Lai’s new art works. 

《不一樣的角度》|蘇志徹創作個展

102當代藝術空間此次特別邀請到南部資深藝術家蘇志徹舉辦個展,這是他睽違十三年後再度於台南展出。蘇志徹自國立藝專美術科(現國立臺灣藝術大學)畢業後四十多年來,與妻子林麗華賢伉儷長期深耕於高雄畫壇,創立午馬畫會、協創高雄市現代畫學會、曾為《藝術界》及《南方藝術》雜誌編輯委員,高雄市立美術館籌備研究員及駁二藝術特區發起人之一。 

蘇志徹自學生時代開始熱衷於超現實主義,不論是他於英國倫敦大學就讀研究所時期詮釋的「空間的轉換」,或是返台後投入創作「出入之間」系列的作品,皆對空間環境表達關切與質疑,並尋找現實與幻想之間的關聯。 


此次個展《不一樣的角度》延續了之前系列作品的創作理念。每個人都有自己習慣的觀看角度,但是觀看一旦成為一種習慣之後,在觀看時極易失去專注力,無法留下觀後記憶,形成所謂的「有看沒有到」。觀看的行為本身也將不再有趣迷人,而觀看的結果也更難轉換成視覺藝術。繪畫為視覺藝術的靈魂,希冀能透過繪畫作品呈現藝術家的觀看心得與創作靈魂,以打破大眾受限的觀看角度及視覺習慣。 

102 Art is honored to invite Su Zhi-Che, the experienced artist from the South Taiwan to host his personal art exhibition in Tainan for the first time in 13 years. Su Zhi-Che was graduated in College of the Fine Art at National Taiwan University of Art. He has been dedicating to passion and work of art with his wife Lin Li-Hua in Kaohsiung for 40 years since he graduated. They established many well-known organizations for art , such as Wu-Ma Group and Modern Art Association of Kaohsiung, while being the founder of these art organizations, they were also the major editors of the National Taiwan art magazine “The Art World” and “Hot Art”, and the major researchers of Kaohsiung Museum of Fine Arts and The Pier-2 Art Center. 

Su Zhi-Che has been addicted to surrealism since he was a student. Regardless to the subject “abstraction of the space” which he drew during his time at the London University of the Great Britain, or the series of the work he was making concerning the space of art dimension between reality and fantasy. He holds a great care, passion and doubt toward any topic which related to space and environment, and seeks for the connection between the reality and the fantasy. 

In his personal exhibition “From different perspectives” this time, it contains the original artistic idea and perspectives from his previous exhibition. They explained that every person on the earth has their own behavior and the way which they see the world. However, he also defined that just how easily people lose concentration toward the details when viewing and seeing the things around them becomes a habit. Also people are incapable of recording the memory of what they saw afterward. Even if they can, the memory can be quite vague. In other words, they see the things around them, but they are unable of memorizing the details as their eyes are on the subject but their hearts are not. In regards of such a matter, watching and viewing a piece of art work are no longer intriguing but meaningless. The result toward that is that people is losing the sense of appreciating any art work as an “ART”. Su Zhi-Che claims that the visuality is considered the soul part of any art work, and it is also to be the main channel which an artist can truly to express his or her heart and personal philosophy from. He wishes to change the way of how people see and appreciate the art by showing the soul and heart of an artist through painting.

《旅.漬》|謝其昌抽象表現創作主題展

留學西班牙獲瓦倫西亞科技大學藝術博士的當代藝術中青代藝術家謝其昌老師,擁有豐富學識涵養,且積極協助推動國際藝術展覽交流活動。謝其昌老師目前任教國立嘉義大學視覺藝術學系,曾任嘉義鐵道藝術發展協會理事長,更為國際MEETA藝術團體創辦人之一,目前擔任國際MEETA藝術團體臺灣分會顧問。其繪畫風格與作品深受國、內外各大藝術代表單位肯定,作品獲文化部藝術銀行、美術館、西班牙GASETA 基金會、瓦倫西亞科技大學、IBI 文化中心、GANDIA文化中心、Canels文化中心、墨西哥MASIN博物館、新拿歐阿自治大學、Ciuda Juárez自治大學及洛杉磯X現代美術館肯定收藏。曾於臺灣、大陸、日本、墨西哥、委內瑞拉、波蘭、西班牙、葡萄牙、美國和法國等地的美術館、大學藝文中心、畫廊及藝術博覽會展出。

謝其昌分享創作自述:「我的創作脈絡與題材的構思,是藝術家多年在旅行中的感觸與省思,藉由本身創作去抒發對人、事、物與空間的虛實轉變與建構,重新審視自我內在心境與時空環境的對話,同時也是一種自由感受的直覺創作表現的方式…」。本展「旅.漬-謝其昌抽象表現創作主題展」將展出藝術家謝其昌「旅行文件漬物」、「建構性漬物」及「書寫性漬物」等三個系列性作品:旅行文件漬物系列作品-以他個人旅行過程中遭遇的人、事、地、物到環境空間的變換,牽動著他內心情緒的感受為思維,直覺的將其感受真誠的創作表現出來;建構性漬物系列作品-旅行中感受文化、風景的內化築構。書寫性漬物系列作品-以東方人獨有的書寫性特質為特色。這是對書法線條的融入蛻變,書法的線性被轉化成繪畫的線性,書與寫的過程,合而為畫的揮灑激盪。「漬」如同他創作抽象表現的繪畫蔓延,悠游揮灑於不同的內外空間中,我們也能藉由其「漬」的繪畫技法表現的引領下,去感受與體驗其創作無形有形的變換形式,那種來自藝術家渾然忘我的表現與和抒發,與大自然交融,焠煉出神秘浪漫的精神境界。

本展策展人同時也是藝評人陶文岳老師說:「中國人強調的宇宙觀來自於「自然」,自然的偉大與力量也讓東方精神孕育萬物的精華。謝其昌因為旅行去享受一種自然的狀態,就像沒有包袱的自然逍遙,享受過程,貼近自然卻又創造出屬於自己的精神自然。」

謝其昌創作領域深入研究探討抽象繪畫的創作表現,對他而言抽象的意象視覺形式,在敘述上更能超越語言的面向,讓他重新關注到繪畫的本身及繪畫過程中心靈上的狀態,謝其昌作品風格獨特,為深入介紹抽象繪畫,特於本學期開學第一檔邀請謝其昌攜35件繪畫及一些小型文件作品蒞臨展出,展期自2018年9月14日起至10月11日,並於9月19日上午9:30-11:30舉辦「激情‧抽象‧揮灑 ~ 談謝其昌的抽象創作」藝術專題講座。

裸視3.0的三種視界-張芳榜、沈信佑、劉芸柔三聯展

策展人/戴明德 Curator/ TAI Ming-Te

 

正常「裸視」範圍乃在0.9-2.0之間。而裸視3.0 即非正常視力,除了尋常事物之外,經常看到不該看到的東西,而這些我們會將視線避開的的範圍,或看不到的範圍,恰恰就是裸視3.0的視界範圍。所以3.0所隱喻象徵的是進化的印記,更是推陳出新的延展,也是跟上時代潮流的代碼。

The range of normal “visual acuity” is between 20/25 and 20/10 vision. And 30/10 vision is the abnormal vision, people who have 30/10 vision means they are able to see something they should not see besides the normal things. In this range which we try to avoid seeing something or we can’t see, is exactly the range of 30/10 vision. Hence 30/10 (3.0) is metaphorized the mark of evolution, the extension of innovation, and also the code of fashion.

看到慾望自身,使慾望可視化,年輕的藝術創作者張芳榜、沈信佑、劉芸柔,身體裡有著強烈的睪固酮或是雌激素作用著,刺激著眼球去觸及不可見的慾望,使之可視化。有的透過顯性的雄性符號、有的透過隱性的陰性書寫,無論是一種陽性的表露彰顯、抑或是陰柔的視覺觸感,都是意圖將被遮蔽的慾望,透過創作手法揭露,使之「裸」裎相見。這樣超乎常人視力與倫理規訓範圍之外的呈顯,需要特殊的視野與十足的勇氣。產出的作品令觀者在正常視力與道德邊界中,失焦與再聚焦、排斥與接受。接受後會心一笑:「太陽底下沒有新鮮事,青春無敵。」

Seeing the lust itself, and making it to be visible, young artists CHANG Fang-Bang, SHEN Xin-You, and LIU Yun-Rou have high testosterone or estrogen levels working in their own body, which affect their eyes to reach the invisible desires and make them be invisible. By dominant male symbol or recessive female writing, no matter they belong to masculine appearance or feminine visual tactility, they all intent to make the hidden desires to be seen via their creation methods. They need extraordinary point of views and extreme courage to show the conception beyond the normal visual acuity and moral principles. Thus their artworks put ordinary people into the moral boundary, being out of focus then focusing on them again; rejecting then accepting them again. After people accept those paintings, they will smile and think: “There is no new thing under the sun; youthful invincibility.”

所謂太陽底下沒有新鮮事,是指藝術史上很多藝術家都處理過慾望的問題,如畢卡索的公牛與葛飾北齋的章魚,都是慾望的化身,年輕的藝術家以網路時代的情色影像傳輸內心的慾火與生理變化轉譯成可慾望的對象與視覺觸感之裸視。張芳榜以直視慾求的經驗,幻化為對「圓」像中生滅死亡再生不斷的複製愛語符號。沈信佑以直白毫不掩飾,顯露山形人體及性徵圖像符號,自己獨自營造超自然的幻境。劉芸柔以女性特有的婉約陰柔的細緻書寫;綿延不斷的重複性與喃喃自語般編織造形的特殊能量。這三位新世代藝術家生活在媒體時代,處理慾望的手法不相同,以當前流行文化與自身處境作為創作上完成裸視3.0的可能性。

“There is no new thing under the sun”, which means many artists in art history had expressed about the desire in their artworks, such as the bull in Pablo Picasso’s Le Taureau (The Bull) and the octopuses in Katsushika Hokusai’s Tako To Ama (The Dream of the Fisherman's Wife), are the incarnations of desire. The young artists use erotic images of Generation Z to describe the horniness and physical changes, and translate into desired objects and visual tactility in “visual acuity.” CHANG Fang-Bang used the experience of viewing directly to the desire, which is transformed to the life and death in “circular” images that constantly copies the marks of love language. SHEN Xin-You used the body shape of down below and symbols of sexual images in strait, direct way, he created a supernatural fairyland by himself. LIU Yun-Rou used the exquisite writing of women in gentle way, which has the continuous repeatability and special energy of knitting models in self-mumbling way. These three artists live in the media age, they used different ways to express the desires, and compete the possibilities of 30/10 vision in visual acuity by their create works of popular culture and their own situations.

 

 

 

 

在有風的地方思想-伊誕・巴瓦瓦隆藝術個展

愛爾蘭劇作家蕭伯納提到「軀體總是以惹人厭煩告終。除思想以外,沒有什麼優美和有意思的東西留下來,因為思想就是生命。」思想是人類行為和交互作用的基礎,思想可以讓人類認知、詮釋和描述所體驗的周遭世界,並藉由抽象性、概括性的分析與整理,於生活中回應對現實世界的感知。而台灣原住民排灣族人對有思想的人,會稱他為pu-varung ,pu(有)varung(胸懷、想法、慧根),pu-varung通常是部落裡的哲人,善用雙關語諳喻對事物的理解,比如以「風很香」形容「清淨無污染的空氣」;「黎明偷看我們了」意指「時光將到,仍要繼續思索」。對排灣人而言,思想是神秘的,賦有創造性和有趣性,它隱含一個人曾經走過、現實情境和對未知世界的預測。

A famous Irish dramatist goes by the George Bernard Shaw mentioned that “The body is always in the end. In addition to thinking, there is no beautiful and interesting things to stay, because thought is life.” Thought is the fundamental element of human behavior and interaction, and it allows people discover, comprehend even describe things around the world through abstractive and conceptual analysis toward the current world. Though, these ideal philosophies may not share the common ground with the indigenous Taiwanese Paiwan tribe that is known as “Pu-Varung”. The definition of “Pu-Varung” can be comprehended through its individual meaning of each character. (The word “Pu” has the inner meaning of possessing, and the word “Varung” has the meaning of inner aspiration, thought and wisdom) Hence if two words come together, it represents a unique human character of this Taiwanese indigenous tribe. In Taiwan, there various indigenous tribes, among them, pu-varung is well-known for been the wisest philosopher. People from this tribe are well familiar with the use of idioms for things around them. For instance, sentence “the wind is fragrant” literately mean the wind smells good, but there another inward meaning for describing that the air without contamination. Also, the phrase “the dawn stole a glance at us” can be translated and understood literately as the dawn saw us. But its inward meaning stands for “time comes and goes, but people still need to continue to think. To the people of Pu-Varung, thoughts are mysterious matters that come with creativity. These hold the signs of anticipation of the things which a person is about, or will face in the reality and future.

 

《在有風的地方思想》一詞,其實是藝術家對現在台灣空氣污染嚴重的一種批判性語言,藉著展覽引述我們必須思想,靈活的思考污濁的空氣所帶來生活上的不便和危害。《在有風的地方思想》也希望激勵我們台灣人成為世界公民的一份子,共同致力友善大地的環保理念和永續價值。藝術家伊誕.巴瓦瓦隆試從其《紋砌刻畫》的創作形式和構思中,探述台灣原住民族的生態哲思,空氣、生態、自然真的無價,需要我們人類共同守護、珍惜,如果想要有清淨、馨香的風,就必須正視環境保育的永續價值,這種思想態度,正是台灣原住民留傳的、珍貴的古老智慧。

The quote “Thinking in the Nature” is the criticism which the artists have toward the air pollution in Taiwan. Artists who hold such quote generally express their thoughts concerning the damage and inconvenience which the air pollution brought for the society, with exhibition. This quote also encourages Taiwanese people to be recognized as part of the world citizen who share the common ground of preserving and perfecting the concept of nature environment and preservation. Based on this concept, the artistic piece “ve-ne-cik” by the Taiwanese artist Etan Pavavalung presents the fundamental thoughts that the people of Pu-Varung have for the nature and its pricelessness. It also defines that the nature needs to be preserved by all mankind, should people seek for a pure land without contamination. This kind of attitude and thought have become the most precious wisdom of Taiwanese indigenous people.

 

在自然環境中,空氣流動變成風,時刻陪伴、吹拂在我們的臉龐,大自然的景緻與風的紋理奧祕無窮,台灣的山、台灣的海是豐富我們生活故事的資產,而空氣和風是孕育和維繫人類生命的屬天恩賜,活在當下的我們必須給自己一個省思路徑,重新領受自然界的呵護,創造風中的和諧與純淨。

In the nature, the flow of the air becomes the wind that blow onto our face from time to time. The air and the wind are the greatest thing that were given by God to preserve and keep the balance between the mankind and the nature. Therefore, we all must hold onto this concept so that the nature may last.

安達魯斯-西班牙當代藝術交流展

西班牙與台灣的關係最早源自於1626-1642年間,西班牙短暫統治北臺灣開始,當時代的建築與境外文化,一部分也流進台灣的文化底蘊裡。西班牙孕育的三大藝術家:畢卡索、米羅、達利,亦深深影響著整個世界的藝術脈絡。

 

台灣正處在一個族群融合與文化包容的歷史地位中,102當代藝術空間與西班牙The Gallery Weber-Lutgen於2018年特將舉辦當代藝術交流展,率先於2018年1月9日至2月11日由The Gallery Weber-Lutgen帶來西班牙當代藝術的展出。

 

The Gallery Weber-Lutgen創立於 2007 年,坐落於歷史悠久的塞維利亞城(Sevilla)。在這傳統城鎮發展著許多新興藝術現象,城市進行再生,在這獨立空間裡孕育著不同領域最新藝術的發展趨勢。畫廊經營20多位藝術家,其創作涵蓋了現代與當代藝術的各種面向:視覺藝術、表演藝術、裝置藝術、油畫和雕塑等...。藉由不同面向的藝術創作,讓我們見到在文化差異的影響下,創作者所展現出不同於過往經驗的作品內涵與形式風格。

 

102當代藝術空間長期深耕當代的文化與藝術,希冀透過我們的發現讓更多創作可以被人看見與認識。我們深知許多偉大創作,經常無法讓當代的人理解、接受或喜愛,然而因為血液裡的一份理想與執著(或者是使命),讓我們願意堅持不綴。此次與The Gallery Weber-Lutgen的藝術交流展,盼能帶給觀者帶來不一樣的視覺與文化視野。