Taipei Dangdai  台北當代
Galleries Booth: E01
18 - 20 January 2019
台北南港展覽館 Taipei Nangang Exhibition Center

Chen Sung-Chih ​陳松志 

​陳松志（b. 1978）專長複合媒體空間裝置，本次將展出裝置作品《倒裝的語句》藝術家收集了在一個即將被改造的舊空間的物件如燈具，陳年的灰塵，並將它們放置在暗喻新的空間需要搭建的木板上。秉其慣常對於空間材料的擺弄殘跡，在狀似無奇的生活片段中蒐集、重構出一個特異的人造視窗，透過層層相疊的物件，交織出物質在空間與時間中的歷程遺痕。在塵埃落定後的寧靜片刻，如果藝術家將它比擬成一只空間肖像，它將如是地收錄（紀念）著的那些曾存與此的意義輪廓。

Chen Sung-Chih (b. 1978) is recognized for his strong sense of spatial awareness; his works often focus on the site-specific relationships with architecture, materials, local history and community. Through his art practice he has a highly developed process of enveloping his physical self and mind set within the making of each work, absorbing the nuances that come with embodying the characteristics of a place and time. For Taipei Dangdai we present Inverted Syntax, a series of work in which the artist has collected the discarded light fixtures of an old space undergoing renovation. Employing his unique approach of manipulating the residual traces of materials, the artist gathers ordinary fragments of life and constructs an extraordinary artificial view. Objects are layered creating a fabrication of materials in the progress of space and time. These changing objects will continue to stir the viewers' mind; and in the tranquil moment that arrives afterwards, which could be compared to a spatial portrait, it would truthfully record (memorialize) the meaningful contour of what once existed.
陳松志 Chen Sung-Chih,《倒裝的語句》 Inverted Syntax, 2017, 灰塵、棉布、木料、燈具、乳膠漆/裝置 dust, cotton cloth, wood, lamp, latex paint installation, 122 x 244 x 30cm, image courtesy of the artist and Project Fulfill Art Space

Chou Yu-Cheng ​周育正 

周育正（b. 1976）的藝術計劃強調於視覺造型背後的工作程序，關注於如何在現成事物中產生出另類的操作模式，同時顯露出既定事實的問題，並在合作的各端點中產生出相對應的另類利益。本次將呈現2013年《自由生產》系列作品，作品雖是兩個畫布的一個組件，但是藝術家規定兩者不能擺放在同一個空間。藝術家在一張畫裡畫了另一張畫，而畫裡的畫則是另一個看不見（並且未完成）的作品的部份，它必須伴隨著交易事件而出場。一旦售出一張畫，他就連同畫中畫的實物一起交付給買家，而那張畫中畫將會是白色，等待買家自行（用藝術家附贈的色料）上色，整個作品才真正完成。而「兩件畫作不能夠在同一空間展出」的規定是因為特定場域對藝術家的創作是重要的，空間所涵蓋的可以是物理的、視覺的，也可以是情感的、記憶的。在兩張為一件作品的關係上，經由「選擇」一個對個人特殊的空間，再透過「分離」兩者的安置手法，產生個人與空間之間的記憶關係，而這份關係的內容便是屬於獨特的個人生產。

Chou Yu-Cheng (b. 1976) his art practice uniquely explores the procedures and operations hidden beneath the surface of his work, focusing on producing alterative modes of operation within an established reality. His previous work has involved the participation of art institutions, private enterprises, artists, writers and labor workers, developing intimate relationships between participating parties towards the realization of his work. For Taipei Dangdai we present his 2013 Yi & C Latitude Manufacture series, examining the process of exchange between artist and collector. The work is a series of paired paintings that examine the process of transaction between artist and collector. On purchase of the work, the collector receives a pair of paintings; a painting within a painting and a blank canvas, with a pre-determined set of colored paints. The collector is invited to apply the paint onto the blank canvas as depicted in the paired painting – only then is the work completed. Chou also instructs that the pair cannot be displayed in the same space, utilizing the act of separation and a physical divide to create a connection with memory that is unique to each person. 
周育正 Chou Yu-Cheng, 《自由生產》Yi & C Latitude Manufacture, 2013, 油彩、畫布 oil on canvas, 尺寸各異dimensions variable, image courtesy of the artist and Project Fulfill Art Space

Chen Chien-Jung 陳建榮

陳建榮（b. 1972）近來的創作，試圖描繪自己理想中的建築性空間，不受限於建築成規，只順服於個人的想像力。在作品裡描繪出腦海裡所預見的景像，與其形塑出之情境。其中除了少數作品植基於具體的城市場景，其餘大多是創作時憑空杜撰出的結構體，或者幾件形似房舍的雕塑，甚至真的取自某些藝術家作品的形體。儘管它們總是誘惑著觀者從中「宛若看見」城市文明的圖像，但這些建築性空間與其說是繪畫母題，毋寧說是一個繪畫語言上的起點。繪畫過程裡手的動作對於工具（拾得的木條、刻度模糊的尺規、反覆使用的遮蓋膠帶等）之倚靠或是模擬，是很重要的特質。本次將展出藝術家持續發展的《Landscape》及《Aircraft》系列全新繪畫作品。

Chen Chien-Jung (b. 1972) his art practice explores ideal architectural spaces drawn from his imagination not restricted by established conventions of construction. The works feature scenery that the artist has foreseen and the situations that play out there. In addition to urban scenes, most of Chen’s works present structures created while painting or sculptures shaped like houses, or references to shapes by well-known artists. The works allude to images of urban civilization and uses architectural spaces as a motif, or visual language. Chen uses a ruler and pen to draw shapes that he then sporadically alters or reconstructs. The compositions avoid excessive pre-planning, retaining an organic painting process that allows the motion of the hand to provide vital engagement, while introducing the use of everyday objects as paint tools such as disposable wooden sticks and masking tape that can be used repeatedly. For Taipei Dangdai we present new works from his Landscape and Aircraft series.
陳建榮 Chen Chien-Jung, Landscape 135, 2018, 壓克力顏料、綜合媒材、畫布 acrylic and mixed media on canvas, 162 x 260 x 5cm (雙拼 diptych), image courtesy of the artist and Project Fulfill Art Space

Sean Wang 王璽安

王璽安（b. 1979）作品試圖解構繪畫空間意義的問題，這些風景景緻相關的題材，是生活處境裡的觀察體現。透過繪畫的層次，他將繪畫層層的語彙透過風景題材的層次呈現。不僅為了繪畫而去畫，而是在工作過程中，思考如何保留層次關係並揭露更多的空間出來。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。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。本次將呈現今年在台北關渡美術館展出作品《一片光亮的海》。

Sean Wang, (b. 1979) deconstructs spatial meaning through his painting practice. Wang observes his everyday environment and interprets his observations into a layered visual language. His landscapes seek to preserve the relationship of the layers within his work, in doing so revealing the co-existence between minute details and the vastness of space. Often seen throughout his work is a contrast between geometric shapes and natural forms, such as the form of a tree contained within an architectural framework. Through continuous layering, the contrasts in meaning compresses both inside and outside the visual pane. The viewer becomes attune to the dichotomy of rich abundance and the expansive void that exists in the spaces between the natural and imagined visual world. Exhibited at Taipei Dangdai is his latest work A Bright Sea, Light is Everything portraying the open sea, exhibited at Kuandu Museum of Fine Arts, Taipei earlier this year.
王璽安 Sean Wang 《一片光亮的海》A Bright Sea, Light is Everything, 2018, 油彩、壓克力、麻布 oil and acrylic on linen, 259 x 182 x 5cm, image courtesy of the artist Project Fulfill Art Space

Hsieh Mu-Chi 謝牧岐

謝牧歧（b. 1981）近年創作回歸於繪畫本身，以寫生的命題展開創作，除了是希望能以一個更為輕鬆的方式介入，更希望個人 的繪畫創作能於在地環境與文化脈絡上有更深刻的銜接。本次展出作品《有椰子與芭蕉樹的風景》延續著謝牧岐如何以繪畫的方式去面對傳統風景畫自身的歷史脈絡，透過影像編輯重組及繪畫再現的方式，呈現出一個指向過去但屬於當下的風景。然而畫作中的銀白相間的方格，如同使用影像軟體中，去背的效果。如同加減的概念呈現於畫面中，疊加暗示著繪畫過程的進行，去背的銀白方格如同減法般，暗示對於過去時間的招喚與從新編輯。以及畫中出現的笑臉表情符號，初衷想表達謝牧岐個人幽默感外，也透過這樣數位的符號去呈現一個當代人表達情緒的方式，如同前輩畫家們於作畫時，所注入的感受一般。因此作品中，出現了幾位前輩畫家的作品圖像，包括《淡水夕照，陳澄波. 1935》，《獻馬圖，林玉山. 1943》 ，《有椰子樹的風景，廖繼春. 1931》，《有香蕉樹的院子，廖繼春. 1928》。它們分屬這不同時間與背景，卻也代表著台灣美術發展的一小段切片。它們所代表的不單只是一片風景，而是它背後衍生出來的歷史價值與意義。於謝牧岐作品中，透過重組與再現的繪畫表現方式，讓它呈現出一個既熟悉又陌生的位置。

Hsieh Mu-Chi, (b. 1981) has in recent years returned the focus of his art practice to the concept of painting itself, adopting a more relaxed approach through sketching as a starting point for his works. The artist hopes his work can have a deeper connection with the local community and cultural context of his environment. For Taipei Dangdai we present his latest work Landscape of Coconut and Banana Tree, continuing to explore the historical context of traditional landscape painting in Taiwan. Hsieh references notable historical artworks by the predecessors of Taiwanese painting from the early 20th Century. Through a process of editing, reconfiguration and reproduction, Hsieh creates a landscape that points to the past yet firmly belongs to the present. The silver-white checkered pattern throughout his work plays on image-editing software denoting an image where the background has been removed. Hsieh uses this concept of adding and subtracting to suggest a progression of time in the painting process, through superimposed elements added over multiple layers. Whereas the silver-white checkered areas act as a form of subtraction, recalling and re-editing the past. Hsieh’s use of the smiley-face emoji, although originally intended to express his personal sense of humor, it also portrays the use of digital symbols to express emotion in contemporary society, while injecting his emotion into the work, echoing the historical works filled with the emotion of the artists. Within this painting viewers can recognize the works of Chen Cheng-Po, Danshui Sunset, 1935; Lin Yushan, Handing Over Horses, 1943, Liao Chi-Chun, Landscape with Coconut Trees, 1931; Liao Chi-Chun, Courtyard with Banana Trees, 1928. Although they reflect a different time and context, they represent a cornerstone of Taiwan’s development of the arts, capturing the historical values of the time within the landscapes depicted. Through the manipulation and reproduction of painting, Hsieh creates a familiar yet new perspective.
謝牧岐 Hsieh Mu-Chi《有椰子與芭蕉樹的風景》 The Landscape of Coconut and Banana Tree, 2018, 壓克力顏料 畫布 acrylic on canvas, 182 x 259cm, image courtesy of the artist and Project Fulfill Art Space

Salon Sector

Yuko Mohri 毛利悠子

毛利悠子 (b. 1980) 目前生活、工作於東京，近期表現相當活躍，去年甫獲日本年度藝文重要獎項第67回藝術選獎–文部科學大臣新人賞，注目度極高在國際藝文媒體、策展人間激起討論度，受邀於國際各大雙年展、美術館展出，包括第九屆亞太三年展APT9，昆士蘭藝術博物館與現代藝術博物館，澳洲布里斯本（2018-2019）、2016印度科欽雙年展(Kochi-Muziris Biennale)、東京森美術館(Mori Museum)「Roppongi Crossing 2016」。毛利悠子的創作使用她收集的日常生活各種零件，改造成新的組構為自給自足的「生態系統」，藉此引導並處理無形的能量，看似不協調隨性感的機械裝置實際上是精心安排的結果，通過這種安排，毛利悠子展現了一個充滿魅力的場景，並探討了建立自然與人造之間新關係的可能性。
​毛利悠子的聲音裝置作品《Calls (bell)》是由藝術家從世界各地收集來的各種現成物為材料創造的：來自寮國的動物鈴，在英國礦場用作警報器的喇叭，在韓國古董店發現的宗教器具，以及日本的電話蜂鳴器; 這些物件都是曾經用聲音來傳達另ㄧ個人的存在。毛利悠子極簡的機械系統依靠機率和不可預測的環境元素的推拉，如磁力，重力和電力，發出微妙的聲音和動作。她的作品描述了我們日常環境看不見的力量與各種物體之間的關係，提高觀眾對於無形存在的敏感度。本作品於2016年科欽雙年展展出。

Yuko Mohri (b. 1980) now lives and works in Tokyo. In addition to being the 2017 New Face Award, the 67th Minister of Education Award for Fine Arts, Japan, she is a high profile figure who has sparked considerable discussions within international art communities and also become a regular guest of international biennials and museum exhibitions, including the 9th Asia Pacific Triennial of Contemporary Art, Brisbane, Australia (2018-2019), Kochi-Muziris Biennale 2016 in India and Roppongi Crossing 2016 held at Mori Museum in Tokyo. Yuko Mohri collects everyday objects and mechanical components, transforming them into new collectives. Her seemingly incoherent mechanical installations are in fact the result of an elaborate arrangement, through which she stages a charismatic scene and explores the possibility of establishing new relations between the natural and the artificial. Together they form the imagery of organic ecosystems.

Calls (bell) is an installation created from various tools that Yuko Mohri has collected from all over the world; animal bells from Laos, trumpets used as alarms in English mines, religious implements found at an antique store in Korea, and Japanese telephone buzzers; objects that once used sound to convey another person’s presence. Mohri’s elegantly simple mechanical circuits emit subtle sounds and movements through chance, relying on the unpredictable push and pull of elements such as magnetism, gravity and electricity. Her work creates a connection between the physical object and the unseen forces that shape our everyday surroundings; heightening the viewer’s sensitivity to an undefined presence. Calls (bell) was previously exhibited at Kochi-Muziris Biennale 2016.
毛利悠子 Yuko Mohri, Calls (bell) 201801-201803, 2013-2018, 混合媒材裝置，鈴、電磁鐵、緞帶、銅圈、指南針mixed media installation, bell, electric magnet, ribbon, coil, compass, 尺寸依場地而定 dimensions variable, image courtesy the artist and Project Fulfill Art Space