GROOVING 2 ： New wave of Taiwan Contemporary Art  
熱鬥 2  —台灣當代藝術新浪潮 
2008.10.11~2008.11.22

To continue the high profile display of Grooving I, Project Fulfill Art Space brings on another, even more, highlight in October, Grooving II. 6 artists will keep showing works with vision, vitality, self-expressiveness and guts.

There are artists not only extend ideas extracted from comics and cartoons, but also sort back to their own egos and to explore human consciousness. Tu Pei-Shih is famous for her 2 dimension collage style. Her works, with farce-like openings, mix enjoyable meetings and nightmares while detecting the hidden threats in seemingly ordinary life. Opel's works imply a symbolic dialogue between the primary and the secondary with the struggle of body and work stress and unveils the murmurs of humanity through the command-flash showdown.

Another trait that makes new generation artists stand out is the way they recognize themselves. After waving good-bye to her famous Snow White series, Ho Meng Chuan chose to return to earthly life. Her work "Wen, Liang, Gong, Jian, Rang," display the contrast between "body" and a self-recognized image. From thorough self-recognition to the demonstration in life, Lin Ru Dao uses flat color blocks and geometric spaces in his search for drawer-like drifting memories that made up by fragments of life. 

Fan Chia Ling explores the original sin of traditional craftsmanship as well as industrial manufacturing with an insightful sarcasm. Based on similar self space observation, Weng Wei Hsiang, with a calm tone, carefully calculates the distance and projects a narrow and twisted environment image through unruleful interface.

Do not miss the chance to feel the heat of Taiwan Contemporary Art this time!

Ho, Meng-Chuan / I got surper strong courage 


Three series of works are exhibited here from the creative transition in 2008. A series of works with themes about Snow White from 2000-2008, narrates my individual experience as well as the world which I observed. The characters in each image are all different roles that I imagined playing in contemporary society, these play-acting come from etiquette, modern education, society…while I am “Snow White”; the series I Got Super Strong Courage has different realizations from feminine strength and facing oneself; Artificial Fur Series is a kind of gentle compromise.

Between digital photography, post-production fictitiousness, and reality, the anxiety of modern people when faced with the unreal and conflicting are presented. How to regard one’s own position and dialogue with oneself became the main axis for my works; the questions always come from thought patterns, perhaps in modern society, the self is one’s biggest enemy! 


Tu, Pei-Shih / Another Beautiful Day 


This frame-by-frame animation begins with an innocent, high-saccharine, and fiction-like view of Utopian world. However, since the characters of the film are suddenly attacked by the unknown bumps, the scenario becomes more and more ridiculous and eventually a nightmare with sex and violence. Briefly, the work starts from a typical perspective of animation - featuring childlike, happy, and imaginative sights but ends up with the shatter of illusion, emergence of disaster, and the darkness brought from the threat. 

It focuses on the links between fantasy and menace within contemporary human conditions - not only addresses issues related to golbalisation and the effects of the western capitalist system upon individuals in foreign lands, but also raises concerns about our state of anxiety, and complicity. In contrast, the form of work intends to be visually very imaginative and highly desirable in appearance.


Opel / Dark Rain 


Foreword
From the beginning to the end of the game, the super sensual excitement is just a flash in the pan, unexpectedly...Since the tragedy of life repeats as always, let me lead you to the dark corner by the dismal Expressionism.

Summary of story
A man is staging a monodrama against the loud crowd. He hates the world just like hating himself, and escapism is the only way out.
In his stolid game, he alters the head and the private of sensational place for raising to hest level of excitement. Getting into the corner of physical masochism, his lonely soul has free.


Weng, Wei-Hsiang / Space as a Limit 



When we stare at the old pictures or constantly replay the video, we see the exact moment when it was happening. We come to realize that as soon as photography had frozen the moment, all the factors that change things had also stop completely. It is the same concept as being independent outside our world; although video records the truth, it can also be beyond the reality.
However, is the space-time in the video equal to original one, or did it stop where it was? I have tried to regain the exterior effects back to the image, and it comes out in a abnormal yet extraordinary appearance that has never be seen before.

Fan, Chia-ling / A Palace Band、Motorcycle Outing 


“A Palace Band “is a painting that I took the composition of a Tang Dynasty work, and gave the characters a new style, which had created an interesting combination of the ancient and present time. In the form of creation, I used digital technology, computer, to make the draft and then hand-painted on canvas to mimic the image. By using hand-
painting and human thought, this work has had more warmth and quantity which you cannot find them in the digital printout.

Using the same form and style had I created another painting “Motorcycle Outing” a replication from Zhang Xuan in Tang Dynasty, which kept more inhuman element, I called it layer structures, and it explains more of my idea of combining hand-painting and technology. Furthermore, the contrast of past and present is more obvious which I kept the characters in Tang style riding motorcycles. I reserved the impression of Tang beauty because it was a really unique period when women had a lot more free in style and behavior comparing with other dynasty, and I think they are just like the confidence women in our present time.


Lin,Ru-Dao / Manufactured Landscapes 


A material phenomenon consisted by fragments of life, which is resting and perfect, is heading to a absolute verge and silence, and is harmoniously balancing on the surface of the earth like a calendar. There is no room for breathing, but the echoes of laden steps. These rapidly growing and changing low-dimensional material phenomena are not divine; they are emotions from the ancillas of memory and are making life as background fleeing hither and thither behind the back. Vague sight of the back, resistance appears from the bottom of heart; the merciless of the god of time. I ponder on these chaotic thoughts, and put memory on the narrow canvas in order to possess these independent Manufactured Landscapes.


​
「熱鬥」系列延續8月份開幕首展後，繼而於10月份敞開另一波高潮
「熱鬥2—台灣當代藝術新浪潮」（Grooving 2： New wave of Taiwan Contemporary Art）邀集何孟娟、杜珮詩、歐寶、翁偉翔、范家凌、林儒鐸等人共同呈現嶄新面貌。檢視台灣當代藝術進入00年代後迅速發展，當下的年輕創作者，經由沈寂、發酵，至今醞釀出一股新興浪潮。

杜珮詩以平面式剪貼風格，交疊著歡愉聚會與一場意外夢靨，如同媚俗喜劇開場，最後提出生活中隱匿的威脅憂慮。歐寶則透過肉體與工作壓力的搏鬥，暗示一場寓言式的主從對話，並從指令與肉體搏鬥中交叉出人性的胡同私語。

新生代創作的另一特質，是對於自我覺醒的認知方式。何孟娟告別白雪公主系列後，由童話寓言返回人間自省，其「溫、良、恭、儉、讓」系列再度尋找自我身體與女性形象的認知差異。林儒鐸以平塗色塊與幾何空間，找尋生活片段組合成為抽屜般的流逝記憶。范家凌以藉古諷今手法，時空差異下，提出傳統手工和機械製造的當代性原罪。對於自我空間的觀察，翁偉翔則以冷靜的角度檢視自身視點所計量的距離，透過不規則的投影介面，再次反射狹隘而扭曲的環境映像。

「就在藝術空間」等待您的現身，加入台灣當代藝術新浪潮的熱流迴旋。

何孟娟 / 我有無比勇氣-溫良恭儉讓 

將過去白雪公主系列結束，對於自身形象與女性有更清晰的想法，以『我有無比的勇氣』系列呈現一個階段性的開端。
溫、良、恭、儉、讓在現代同時也被用於對女性的標準，我用傳統的命題帶到我對於女性力量的詮釋。畫面裡武裝的黑白女性形象，與彩色的、加以描繪的屬於女性特質的形象對比，女性真正的力量或許來自對自己清晰的理解與自己特質的充分運用。
簡潔的畫面、奮戰的狀態，是對自己滿足與充滿自信的備戰狀態。戰力則來自於看似虛弱的女性特質與傳統。

杜珮詩 / 另一個美好的一天 

這部定格動畫錄像作品始於一個天真，五彩繽紛，幻想般的烏托邦世界。然而，當作品中的人物們突如期來地受到一場莫名的炸彈攻擊，原本和樂的場景便逐漸變得越來越荒謬且失去控制，最終成為一場參雜著性與暴力的夢靨。整體而論，作品起於典型動畫中天真且想像力豐富的快樂世界，止於幻想的突然破滅，災變的介入，以及呈現威脅所帶來的黑暗層面。

作品關注於當代生活中幻想與威脅的關聯性；不只碰觸全球化相關議題，以及西方資本主義對其外國家之個體的影響力，也提出對於我們當前生活地緊張狀態的種種憂慮。在作品形式上，我有意使其看起來富於想像力，同時視覺上極力媚俗。


Opel / Dark Rain 


滴答不絕的時鐘聲和著水滴，和敲擊左鍵的電腦作業員形成緊繃的畫面，這是一間高效率的辦公處。
突然地，男子的電腦被鎖住，並收到〝Deleted〞的指令。男子被無情地送入回家的電梯。
隨著電梯下降至底層，心情也跌落谷底。他回到家，對比牆外繁複的人群，牆內坐著一個上演獨腳戲的他；他厭世，也厭倦了自己僵化的食指，逃避是唯一出口。他閹割了自己專門點擊左鍵的食指，向工作的無能告別。而這是一場食髓知味的遊戲，為了達成精神亢奮的昇華狀態，他決定強勢地閹割了柔軟的舌頭，打算向老闆做無聲的抗辯！
在進入肉體自虐的胡同裡，有許多和男子相同遭遇的人，他們無人問津的心靈被釋放了。城市，掛著一紙灰天；黑雨，黯然地降落，一道光劃破天空，將哀傷的城市染得發光．．．。。


翁偉翔 / Space as a Limit 


向前跨行一步約為一公尺的距離，小於身體延展範圍的區域為狹隘的空間…我們以自身的比例計量時空，度量一切時空下事件發生的樣貌。

然而，在超脫此比例界定範圍下的世界，亦以一種近乎超越現實的狀態進行著。以現象來說，由於時空是多重向度的，若不是經由多面向的觀察，事件則有可能只是單一面向資訊所匯集的假象。而在攝影技術凝結了時空、重複事件的發生之後，影像便獨立於現象之外，無論是真實或虛構，均以一個不等同於現實的向度持續延展。

在〈Speace as a Limit〉系列作品中，我將影像時空與現實時空重新構想，再次度量。此時，影像中的形態與事件發生的動態，不再是凝結在那一刻的映像，或是一種不斷重複進行的事件，它將對應現實時空的變異而產生扭曲、加速或相互牽引等狀況。就在進行的同時，影像則返回至所見的現象，而此現象將不再是我們往常所衡量的樣貌。


范家淩 / 唐人宮樂團、虢國夫人遊春圖


「以繪畫的內容及形式架構出一體多面的和諧對比」這是我的創作一貫理念。
傳統繪畫和科技發展下的產物，對我而言皆是不可抹滅的視覺經驗，結合手工的質感和機器的當代性，發展出屬於自我的獨特風格的可能性。

一件作品仿照＜唐人宮樂團＞之構圖賦予人物新的造型，在古與今中找到某種結合的趣味。在形式方面，借助慣用的數位科技，製造草圖，再以手繪的表現方式模仿電腦給我的圖像，藉由手感及人性思緒的微調，讓作品最後呈現比起電腦輸出多了幾分溫度與量感。

另一件作品是仿照唐代張萱＜虢國夫人遊春圖＞局部畫面，整體除了同作品一＜唐人宮樂團＞擁有自我理念及風格外，更能詮釋我所傳達結合手繪與電腦繪圖的面貌，如畫面中保留更多非人的元素：圖層的結構。
另外，內容在今昔對比方面，也更加明顯，如保留唐人原有的風貌，和當今的摩托車呈現明顯的對比關係，除了強調兩者的差距，更因唐代盛世的特殊社會風氣，讓畫面中的女人不管是姿態或行為，都和其他朝代有很大的區別，而這種具有時代的強烈美感，和今日女性的自信有著異曲同工之態，因此我特地保留。


林儒鐸 / 人造風景 


人造風景，一種由生活片段組合而成的物質現象。這些不斷生成變化的低次元物象，毫無神性，而是從記憶種種流逝的附屬物裡，找出情感，使得生活如同背景在身後流竄。自我記憶的形塑，依賴於自身經歷過的外在事物，因為生活，心中內在需求與身體官能慢慢被視覺與攝影式的記憶所取代，經歷與群體的接觸，這些生活上的抽象與具象事物的洗禮，個體就像一床櫃子，當你拉開一個抽屜某些記憶便從中跑出來，拉開另一個又是其他階段的記憶，而群體複雜的歷史，則成了一棟大木屋，裡頭擺了這些無數櫃子， 只不過這棟大木屋也是無數櫃子做的，差別在於屋子建材得細看才知道都是無數櫃子的碎屑。

個體命運充滿了驚奇和意外，卻永遠逃不出群體社會法則的箝制。如果要脫離社會法則的唯一方法就是無視這些法則的存在，而仍能以一種原始的生活方式合理生存。要以「無視」的態度去面對，並非將這些法則丟著不管，而是懷著「理性的憤慨」去了解、滲透，就像昆蟲熟知環境的特性、天敵的動向、人也必須將這些看似像鐵一樣的法則訊息一一改變，才能形成自我特有的訊息，再將此種訊息丟出，慢慢將整體行為形成某一世代的獨特記憶。現實上的改變定有一個對照組，就像昆蟲擬仿也必須在環境找一個可模擬的現實事物，人會受記憶與想像此種連續體所影響，所以「理性憤慨」即是出自於某種具有反動性質的「懷舊思緒」 (nostalgia)。

我思考著這些紛亂的思緒，將記憶置於狹窄的畫布之上，以便我以懷有這自我的人造風景。

​藝術家 Artists
​
HO Meng-Chuan  何孟娟
TU Pei-Shih  杜珮詩
Opel
WENG Wei-Hsiang  翁偉翔
FAN Chia-ling  范家淩
LIN Ru-Dao  ​林儒鐸
​