Selected Works
Sean Wang | Chen Sung-Chih | Chou Yu-Cheng | Tu Pei-Shih
就在藝術精選 王璽安|陳松志|周育正|杜珮詩
2015.01.25-2015.02.14
Sean Wang | Chen Sung-Chih | Chou Yu-Cheng | Tu Pei-Shih
就在藝術精選 王璽安|陳松志|周育正|杜珮詩
2015.01.25-2015.02.14
Chen Sung-Chih Another Place Series - Borderline
Another Place Series – borderline is composed of paper and timber. It uses torn paper to form an abstract painting language of minimal substances. What the audiences see is the dilapidated state of torn substances. Destruction and assembly & recreation approaches are also used in this work to reflect the sentiment of minimal substances and perception. As for the connection and dilapidation parts, they are from the same place and both are located at the same edge line. However, they create their own meanings from different images. Chou Yu-Cheng Molyneux When Chou Yu-Cheng was an artist-in-residence at the Centre for Chinese Contemporary Art (CCCA), Manchester, United Kingdom, he issued an open call for proposals to local artists. The open call resulted in a joint exhibition by twenty local artists at different ages, among whom was Geoff Molyneux (1951), the protagonist of this project. Molyneux studied art in Liverpool and lives currently in Manchester. After the one-day exhibition, Chou investigated the details of Molyneux’s career in art by visiting his atelier. The British artist who underwent the vicissitudes of the 1970s and 1980s gave Chou a rheological sense in terms of art and time. Such an inspiring resonance led to Chou’s idea of interpreting and representing the trajectory of Molyneux’ creations, since Molyneux has never held any retrospective exhibition on his own works. The mutual trust between Chou and Molyneux was gradually fostered after the presentation of the first-phase result at the CCCA. Chou was therefore entitled to reinterpret the whole set of Molyneux’ works. They continuously communicated with each other by email after Chou returned to Taiwan. Chou presented their communication with a cinematic scene adapted from realities, introducing the British artist to the Orient from another angle. The second-phase result of this project was displayed in an alternative retrospective exhibition at Taipei Fine Arts Museum. Sean Wang Black Access, Light Merges Nature Wang Sean often uses painting, which is in relation to the representative nature, for my work. Taken from the life experiences, such as a forest half-covered by the buildings, there is an epitome correlation between the vestiges of nature and artifact. The basis materials of painting and it’s content are also based on the relationship: the nature and artifacts are represented by art works.Thus, to distinguish between figurative or abstract is not important in his works. What matters are the process of imaginations and incarnations. Tu Pei-Shih World Expositions Tu Pei-Shih utilizes the posters of World expositions in Japan as her base, also media reports on large events of these days as cross references to create this series of works“World Expositions”. The purpose of World Exposition in a way is to build a international platform for discussion, through which participants are able to communicate, however, it winded up to become a competition of national strength that notes civilized cultures and progressive ideas of human beings. Tu montages all the material sources to awaken people's memories of World Exposition, also questions us: "do we need a World Exposition?" 陳松志《別境系列-邊緣》 《別境系列-邊緣》藉以紙本、木料構成,透過撕毀的紙本行動形構出低物質的抽象繪畫語言,我們所見僅是物質撕毀後的殘狀,作品中的並陳著毀壞與組合再造的手法,進行低限物質與知覺的感性滲流。綜觀相連與離去殘(存)留的部份,它們都來自於同處、共處在相同的邊緣線,卻在各異的形象中衍生各自的意義。 周育正《莫里諾》 周育正於英國曼徹斯特華人當代藝術中心駐村時,進行了一場以當地藝術家為主的開放徵件,最後聯合展示了20位不同年齡的在地藝術家,當中的一位便是本作主角莫里諾。桀夫.莫里諾Geoff Molyneux(1951)是一位目前居住於曼徹斯特的英國藝術家,年輕時於利物浦學習藝術。在這為期一天的展覽之後,透過工作室參訪而進一步了解藝術家莫里諾過去的藝術歷程,在這個走過七、八〇年代的西方藝術家身上,周育正感受到難以言喻的藝術與時間的流動感,與一種特殊的共鳴,儘管莫里諾不曾舉辦過回顧展,但因此啟發了一個合作型態—--演繹、再現莫里諾的創作。第一階段的成果發表於當初徵件展的曼徹斯特華人當代藝術中心後,周育正與莫里諾逐漸建立起信任,也將過去一生的作品給予了周育正再演繹的權利,返回台灣後持續以郵件溝通,周育正以一種改編於真實的電影場景來呈現這個交流,試著在東方世界裡顯現另一個層次的西方藝術家莫里諾,於是第二階段以另類回顧展的形式展覽於臺北市立美術館。 王璽安《黑色的出口》《光收融了自然》 繪畫的層次,如同語言描述的句構。我要描述一種訊息不那麼多的空間畫面,來對比於我們當代處境中訊息繁複的現象。我作品裡常常出現一些幾何與自然的形態對比,例如自然的樹形與建築意味的框架。我將這些對比透過一層又一層的底色,使得意義在畫面空間內外一同被壓縮著。這就像是今日大多數人身處都會世界裡頭那些再自然不過的景觀現象。 透過作品的製作,彷彿我們可以體會並凝視這個視覺世界當中完整感與殘缺、自然與非自然之間的豐富空間。 杜珮詩《世界博覽會》 杜珮詩以日本舉辦的歷屆世博會海報作為藍本,並對照了當年的國際報章媒體對於重大事件的報導,重新創作了這系列作品。世博會的舉辦目的,是透過一個國際性的展覽平台,使參與的各國在各項議題上獲得廣泛交流,某方面來說更是各國國力的展現。記錄了人類對於社會文明的智慧和對於未來文明的前瞻性。藝術家以拼貼的蒙太奇的手法,重新喚醒世人對於世博會的記憶之外,也提出她的質問:「人類真的需要世博會嗎?」 |