Dynasty Gallery is glad to introduce you our newest exhibition: “Non-Traditional Imagination”. In 2015, Dynasty Gallery invited seven artists who used different material to create their works when we held “Xi Xi: an Expedition of Media Usage”, and discussed the reason why they used these media and the process and challenge. This time in “Non-Traditional Imagination”, we will exhibit the works by ten artists who are from three different countries, as WU Pei-Shan, TUNG Kai-Ming, HSU Tang-Wei, TSENG Wei-Hao, LIN Chi-Fan, Sim CHANG and CHANG Li-Ren from Taiwan, TAMURA Satoru and MATSUEDA Yuki from Japan, and Baghead form the United States. Through this exhibition, we want to invite the public to discover the edge of contemporary art.

 

In the 21st-century world today, contemporary artists have inherited the debate of modern art while continuing to propose new challenges regarding artistic creations. Especially amid the trend of globalization, artists from different countries have started presenting their personal understandings towards “culture” and “form.” Works created with the combination of the two themes further support the thought context. These works may include investigations towards the value of economics or politics, praises or lamentations regarding romantic love, or the reification of the artist’s personal conscious. Regardless of theme or media, contemporary artists seem to focus on ways of connecting creativity with the real world, more now than ever. The ten artists of Dynasty Gallery’s “Non-Traditional Imagination” exhibition each develop their artistic context from different angles. This exhibition is an attempt to narrate these artworks with keywords such as “symbol” and “space/time;” viewers may be able to catch of glimpse of the artists’ perspective towards contemporary art and their ambition to break through frameworks and boundaries.

 

TSENG Wei-Hao’s conductive graphite work emphasizes the interaction between viewer and work. “Listen” increases the element of “space limitations” so that when the viewer is interacting with the work, they are also limited by the work. The works of WU Pei-Shan continue to deconstruct architecture and reconstruct them into an imaginative land of perfection. WU’s recent works have shifted from using metal to concrete as the artist continues to explore the relationship between architecture and human beings. The video works of CHANG Li-Ren uses models that he produced himself to simulate a space that resembles the real world. “Battle City” creates the unfortunate encounters of a man; however, the incidents may have happened in a similar way to every one of us. The installations of LIN Chi-Fan view records of her own body as an ongoing creative ceremony; LIN attempts to remove all elements such as the individual, culture, and society to blur the boundary between the self and the external world. Sim CHANG’s latest photography series “Light Travel” breaks through two-dimensional animation and shifts the domain to public open spaces. The artist projects himself as the main character in the scene, turning into a futuristic traveler moving between different urban landscapes, documenting the fluidity of space and time through the viewpoint of an observer.

 

TUNG Kai-Ming’s “The Space of Time” controls the dripping of water with an apparatus and attempts to display hope within the small space. TUNG believes that the frame of mind when waiting for water drops to evaporate is similar to the sense of hope when burning incense and worshiping: there is a ceremonial aspect in the instant of evaporating/burning/disappearing. The works of Japanese artists TAMURA Satoru and MATSUEDA Yuki display the contrasting qualities of soft and firm; MATSUEDA’s small green man at the emergency exit extends in the space in a still but surprising manner, changing our usual imaginations of familiar signs and bringing a smile to the face, while the mechanic repetition of the metallic motor light bulb installation of TAMURA enchants viewers while the cycle of electricity and light lures viewers to lose the sense of time. In the early wood painting work “Celestial Body” by HSU Tang-Wei, an artist who has performed outstandingly in public art throughout recent years, viewers sense the artist’s attempt at expanding and expressing symbols of the self with creative forms that are different than previous methods. From the United States, Baghead’s “Bone Thug” emerges the graffiti and native art of the city which the artist lives in. Presenting the flat color and totem on the dimensional geometric sculpture, the artist makes the different watching taste consciously.

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很高興為您介紹由朝代畫廊所企劃的最新展覽：《非傳統想像》。朝代畫廊曾於2015年舉辦《喜喜：一次對於媒材性的探討》，當時我們邀請了7位時下以不同媒材形式創作的藝術家，來共同討論創作之初選擇特定媒材的原因與想法，以及後續創作的過程跟挑戰。2017年我們推出《非傳統想像》，將展出來自3個國家共10位藝術家的作品，他們分別是來自臺灣的吳佩珊、董凱銘、許唐瑋、曾偉豪、林芷帆、張哲榕與張立人，日本的田村悟、松枝悠希以及美國的Baghead。我們想透過這個展覽，再次邀請大眾探索現今當代藝術的輪廓邊界。

 

在工業革命之後，藝術媒材的創新一直被許多人討論且研究，我們也許可以說，如何運用「新」媒材來突破過往的藝術可能性與視覺上的美感，在現代藝術運動的變遷過程裡，是十分重要的主題之一。而在21世紀的今天，當代藝術家們繼承著現代藝術的論辯路程，對於藝術創作的想像仍舊不斷提出挑戰，尤其是處於全球化的浪潮下，來自不同國界的藝術家紛紛呈獻出他們自身感受與觀察到的「文化」與「形式」展現，此二者所結合的創作型態，讓人們的思緒脈絡進而得到佐證。這些作品有可能是檢驗經濟與政治的價值、充滿對愛情的歌頌與嘆息、或是藝術家個人意識的具象化......等等，然而無論是哪種題材或媒介，如何讓創作與真實世界串連，似乎更被現今的藝術家重視著。此次朝代畫廊於《非傳統想像》展出的10位藝術家，各自從不同的角度發展其自身創作脈絡，而我們嘗試從「符號」與「空間 / 時間」等關鍵詞來敘述他們的作品，當今創作者們對於當代藝術的視野，以及想要打破作品框架與邊界的企圖，或許我們可以從此展中略探一二。

 

曾偉豪的石墨導電作品重視人與作品的互動，而《凝聽》這件作品更是增加了「空間限制」這個要素，觀者跟作品互動的當下，同時也被作品侷限著。吳佩珊的創作一直在解構人造建築，並且將其再構築成她心目中的美好園地，她近期的創作媒材從金屬漸變為水泥，藝術家以此持續探討著建築與人之間的關係。張立人的錄像使用自行製作的模型模擬出一個類似真實的世界，《戰鬥之城》虛擬了一名男子的悲慘經歷，但也許正是你我身邊發生過的類似故事。林芷帆的裝置，把記錄下自身的身體結構視為一種完成創作儀式的行進，她盡可能的藉由去個體、去文化、去社會等因素，以此消融自我與外界的界限。張哲榕的最新《發光體行旅》攝影系列跳脫出動漫二次元，而將場域轉往公共開放空間，藝術家將自己投射成畫面主角，他像是個在不同城市景象裡穿梭的未來旅人，以觀察者的角色記錄流動的時空。

 

董凱銘《時之間》透過儀器控制水的滴落，試圖在狹小的空間裡展示人的寄託行為，他認為等待水珠蒸發的心情與燒香祭拜時的期望是相似的，在蒸發 / 燒盡 / 消失的那一瞬間，似乎也完成了某種儀式。田村悟與松枝悠希兩位日本藝術家作品，恰好呈現了一柔一剛的強烈對比：松枝悠希的緊急逃生口小綠人符號，以靜態卻出乎意料的空間延展，打破了一般我們對於熟悉符號的想像，令人莞爾；而田村悟金屬感十足的馬達燈泡裝置，機械的重複性讓人深深著迷，也很容易讓觀者在不斷循環運作的電光石火之中迷失時間感。近年於公共藝術領域有卓越表現的許唐瑋，在其較早期的木板繪畫作品《星體》中，可以感受當時藝術家試圖以不同以往的創作形式，延伸展現自身符號的可能。而來自美國的藝術家Baghead，其作品《Bone Thug》融合了藝術家所處城市的塗鴉與原生藝術，扁平圖騰色彩呈現在立體幾何雕塑上，有意識地造就成不同的觀看趣味。