2015.6.6~7.18

日期Date           2015.06.06 – 07.18

地點Venue         朝代畫廊|台灣10678台北市大安區樂利路41號1樓

開幕暨藝術家講座 Opening & Forum      2015年6月14日下午3時

參與藝術家Artists     林餘慶&魏杏諭、張哲榕、張子晴、水谷篤司、吳佩珊、曾上杰

 

 

朝代畫廊繼Young Art Taipei成功展出《喜喜》之後,再度推薦您《喜喜:一次對於媒材性的探討》聯展。這次我們將提出對於參展作品媒材與創作方法的思考與討論,藉由藝術家研討會以及作品本身的展示,朝代畫廊希望能讓觀眾與創作者激盪出更多當代藝術創作的思路與可能性。

 

 

展覽題目《喜喜》一詞來自於藝術家張子晴的同名作品。她藉由壓克力顏料本身的黏稠性,以不同於一般繪畫的擠壓堆疊方法與近似行為藝術的反覆動作,使得藝術品本身呈現出類雕塑與機械幾何的意味;她的這種反覆動作也呈現在她的《中途》系列之中,不同的是此系列更傾向探討創作行為本身的反覆性與隨機性。

 

 

張哲榕《無限的愛》系列攝影作品,則有著藝術家本身對於宅文化的關心及探索,這同時也是一種對於自身心理與真實狀態的放大詮釋。他指揮模特兒穿戴上顯示出2D動漫圖像的螢幕,巧妙地將圖像與實際人體結合在一起,傳達出螢幕世代對於虛幻世界的倚賴與渴望。

 

 

水谷篤司的故鄉位於日本深山中的歧阜縣,而他記憶中的幼時森林與溪谷,相當真誠地藉由木頭、生漆以及岩彩等自然媒材表現在他的作品裡。他將角料拼疊成片,再以手工雕鑿出綿延的山林,最後上色完成屬於他心中大自然的色彩,令人明確從中感受到生命體與土地之間那份極為深厚的情感羈絆。

 

吳佩珊的建築系列於自然和人為的建築之間取得平衡,並思考如何提出使自然和人為建築共同存在的解決方法。她將不鏽鋼片不斷地焊接再焊接,形成宛如山巒或是動物巢穴般的有機外形,並透過材質本身的轉變讓建築及自然景觀形成聯結,而觀者則往往會對這些作品產生一種莫名的親切感。

 

 

曾上杰使用天然樟木進行雕刻並上色,並經過拼接與和不同媒材的結合,創造出誇張甚或違反力學原理的人體造型。藝術家藉此呈現出他本人內心赤裸的自我,強烈的潛意識風格讓人想起佛洛依德曾提出的「非熟悉感(uncanny)」,為近期的台灣雕刻風貌編譜出另一種可能性。

 

 

林餘慶&魏杏諭的作品以麥克筆這種最為工業化的媒材做為創作主要基底,平穩而規律的用色模式,呈現出宛若蛋彩畫和濕壁畫的氛圍,給予人們平和穩定的感受。此外,系列作品之間的物件串連,也讓他們的創作產生古時壁畫的共時性──將長篇福的故事呈現在一片牆上,讓觀者於一眼全覽的同時也能在細節裡悠遊。


 

 

 

 

張子晴1988年生台中,即將畢業於國立彰化師範大學美術學系研究所;張哲榕1983年生,畢業於嶺東科技大學視覺傳達研究所;水谷篤司1975年生,畢業於沖繩縣立藝術大學造型藝術研究所;吳佩珊&曾上杰1991年生,目前皆就讀於國立台灣藝術大學雕塑學系研究所;林餘慶&魏杏諭1983&1982年生,畢業於朝陽科技大學視覺傳達設計系。

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

After the successful exhibition of 《Xi Xi》in Young Art Taipei, we now present you 《Xi Xi: an expedition of media usage》group exhibition. In this event, we will bring up some reflections and discussions upon the media of works in display and the methods of creation. By holding this forum and exhibiting the art works, we wish to provoke ideas and possibilities about the making of Contemporary Art among both audiences and creators.

 

 

The name《Xi Xi》came from a piece of work created by artist Chnag Tzu-Ching. Focusing on the viscosity of acrylic paint, Chang used methods such as squeezing and stacking that are deviated from common paintings skills, as well as repeated movements which is similar to Performance Art, hence, enabled her art works to take on a sense of sculpture and mechanical geometry. Such repeated movement also appeared in her《Midway》series. The difference is that 《Midway》series tends to probe more into the repetition and randomness that lies within the act of creation itself.

 

 

The 《Infinite Love》photography series of Sim Chang contains the interest and exploration that the artist has had toward the otaku culture. Meanwhile, it can be seen as an magnifying interpretation of his own mind and all the genuine conditions in reality. He commanded models to put on screens showing 2D animation illustrations. By cleverly combining the illustrations and real human bodies, he unveils the attachment and yearning that the screen teens have toward the virtual world.

 

 

Mizutani Atsushi's hometown, Gifu County, locates in the mountains of Japan. Through natural media such as wood, raw lacquer, and rock painting, all the forests and valleys in his childhood memory have reappeared authentically in his works. He first piles up wood battens, then carves out the sweep of hills by hand, and lacquers the works with the colors of nature in his own mind. From which one can easily notice the solid emotional bond between an organism and its land.

 

 

The architecture series of Wu Pei-Shan has found a balance between nature and artificial constructions, and seeks to offer a solution to have them co-exist. She welded stainless steel sheets over and over again, shaping them into organic appearances that look like mountains or animal caves, while the transformation in these materials integrates architectures and natural landscapes, having the audiences to generate an indescribable cordial feeling toward the works.

 

 

By sculpting and coloring natural camphor wood, along with joining pieces and combining different media, Tseng Shang-Jie has created exaggerated or even mechanism-violating manikins, and accordingly bared his inner self. The intense style of subconscious reminds the audience of the concept 'uncanny' once posed by Sigmund Freud, and has at the same time brought a new possibility to the sculpture culture in recent Taiwan.

 

 

 Lin Yu-Ching & Wei Hsing-Yu uses the most industrial medium, marker pen, as the main base of their works. The steady and regular patterns of color-using builds up an atmosphere close to Tempera and Frescoes works, bringing people a peaceful and steady experience. In addition, the articles connecting different series has added the synchronicity of ancient murals to these work(to put a whole lengthy story on one wall), which provides the audience with an overview while they immerse in the exquisite details at the same time.

 

 

CHANG Tzu-Ching, born in 1988, who will soon receive an MA degree from the Department of Art of National Changhua University of Education. Sim CHANG, born in 1983, got a MA degree from Department of Visual Communication of Ling Tung University. MIZUTANI Atsushi, born in 1975, got a MA degree from Department of Plastic Art of Okinawa Prefectural University. WU Pei-Shan & TSENG Shang-Jie were born in 1991, both studying in the Graduate School of Sculpture of National Taiwan University of Arts. LIN Yu-Ching & WEI Hsing-Yu, born in 1983 & 1982, got a BA degree from the Department of Visual Communication Design of Chaoyang University of Technology.

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