台北當代 Taipei Dangdai 2020
Galleries Booth B07
17 - 19 January 2020
台北南港展覽館
Taipei Nangang Exhibition Center |
Chen Chien-Jung 陳建榮
Chen Chien-Jung’s (b. 1972, Taipei, Taiwan) works contain an immediacy devoid of pre-determined design or generalized political judgment. His work mostly originates from his fine-tuned intuition developed over time. Chen clearly differentiates that what he pursues is not a ‘reproduction’, nor are his works ‘projections’ of his subjects, but rather a reflection towards the testament of painting. At first glance Chen’s choice of imagery, such as anonymous modern architectural blueprints or cross-sections of model vehicles from science-fiction, these technical drawings that emphasize proportion, accuracy and seek to project an idealized reality, gradually become displaced as they are transposed within Chen’s work. However when we attempt to analyze the architectural elements prevalent within his work, Chen explicitly responds; “my work deals with the painting ‘plane’, not an architectural façade.”
陳建榮(b. 1972台灣台北)的每一張創作起點常常是「即刻式」的,非精巧設計、歸納出的政治判斷,多數源於直觀,與仰賴藝術家長期持有的敏感。但其清楚知道他所追求的並非要「再現」,他的創作也並非是「投影」,而是為了體現「繪畫性」的某種證明。乍看陳建榮繪畫圖像的選擇,包含了不知名的現代建築透視藍圖、科幻模型載具的剖面等,這些講究比例、精準,為了投射理想現實存在的圖學,卻在他創作的轉換間逐步的位移。面對曾試圖剖析他繪畫建築性的詮釋,他也明確回應「我的繪畫就是處理一張『平面』的作品,並非是一個建築的『立面』。」 |
陳建榮 Chen Chien-Jung, Aircraft 28, 2019, 壓克力顏料、綜合媒材、畫布 acrylic and mixed media on canvas, 130×162×5cm, image courtesy of the artist
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Yuko Mohri 毛利悠子
Yuko Mohri (b. 1980, Japan) collects everyday objects and mechanical components, transforming them into new collectives. She creates artworks that radiate invisible energy such as magnetic force, gravity, light and warmth. 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.
毛利悠子(b. 1980日本)目前生活、工作於東京,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 Yuko Mohri Moré Moré [Leaky]:Cabinet, 2018, 複合媒材裝置 mixed media installation, 尺寸依場地而定 dimensions variable, image courtesy of the artist
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Sean Wang 王璽安
Sean Wang (b. 1979, Taipei, Taiwan) explores the notion of materiality through painting and the written word. His recent works focus on interpreting objects through the use of pigment and subject, particularly the treatment of fragmentation, such as in his brushwork of the sea, or the scattered particles of the stars; echoing the fragmentation of the contemporary world, where meaning cannot be determined by a single value.
王璽安(b. 1979台灣台北)近年創作將文字智性的思考與繪畫的即時性以及感性特質碰撞或融合,繪畫多了許多空間與物質上的處理,這也成到了近期作品中將顏料與題材看做物件(object)處理的契機,尤甚的是,許多作品有著對於碎片型態的處理:例如繪畫許多碎片般筆觸的海或是碎散而開的星星,這似乎也呼應了當代世界的碎形樣貌,一如我們都知道當代的生活不靠單一價值而反而有意義。 |
王璽安 Sean Wang 《森林》Forest, 2019, 壓克力顏料、油彩、樹葉、麻布 acrylic, oil and leaves on linen, 145.5×112×5cm, image courtesy of the artist
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Hsieh Mu-Chi 謝牧岐
Hsieh Mu-Chi (b. 1981, Taipei, Taiwan) focuses on establishing a deeper connection with the local community and cultural context of his environment. His work seeks to engage with the historical context of traditional landscape painting in Taiwan by manipulating time and space. Through a process of editing, reconfiguration and reproduction, Hsieh references historical works by Taiwanese artists, creating landscapes that points to the past yet firmly belongs to the present.
謝牧歧(b.1981台灣台北)近年創作專注於在地環境與文化脈絡上有更深刻的銜接。謝牧岐的創作持續探討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再現前輩畫家作品圖像的繪畫方式,呈現出一個指向過去但屬於當下的風景。 |
謝牧岐 Hsieh Mu-Chi, 《清秋泊舟》Refreshing Autumn and Mooring, 2019, 65×80cm 壓克力顏料、畫布 acrylic on canvas, image courtesy of the artist
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