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24.08.18 - Strange Wind on the Road – WANG Guan-Jhen Solo Exhibition

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上路的怪風|王冠蓁個展
Strange Wind on the Road|WANG Guan-Jhen Solo Exhibition

展期|2018.8.24 – 9.23
地點|伊日藝術台北空間
地址|台北市南港區八德路四段768巷5號4樓之1
交通|捷運松山站4號出口、台鐵松山車站東出口
電話|02-2786-3866
時間|Tue. – Sun. 13:00 – 19:00 週一休館


「上路」在遊戲裡代表的是一個「妖魔鬼怪的聚集之地」,也可理解為「在一場遊戲的進行中,那些走在路上的人」,他們多數具有強效的復原能力,是不易被打敗的難纏怪物。怪風則來自藝術家的想像,他將未來的不可預測性比擬成一陣怪風,此風之所以被稱作怪,唯獨它的存在前所未見,這便足以激發人心的不安和恐懼面,怪風不明、扭曲、爍亂著,也代表藝術家在面對未知的前景時,雖有叛逆、任性的衝動,卻也不免不了多安一份敬畏之心。

王冠蓁構築的場景,總會給人錯覺,覺得每一個畫面都那麼似曾相似。這份相似感並非觀者將自己投射為作品中的某個角色,而是翻開過往的生命經驗,在裡頭找到和畫中人物所處的狀態極為相似的一頁,作品是一則提示,幫忙喚醒沈睡於茫茫日光之下的往日記憶。如同身歷其境般的幻象來自於同理作品情感層而得的共鳴。

王冠蓁的畫面也能為我們帶來強烈的故事未完之感,就像對著一部播放中的電影按下暫停鍵,螢幕上的「頓留瞬間」。觀眾可自由地從坐落於場景裡中的任何一個物件、物件的狀態、人的行為、人與事物間的互動,尋找、推測,往過去倒帶的前一分鐘與按下播放鍵後的故事結局,會是怎麼樣的走向?這是帶著想像力走入藝術品,能帶來的樂趣與樂趣之後的自我反思。

贊助單位:國家文化藝術基金會

29.07.18 - The Last Child – Mònica Subidé Solo Exhibition

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最後的孩子 | 莫妮卡·蘇畢迭 個展
The Last Child |Mònica Subidé Solo Exhibition

展期|2018.8.4 – 9.2
地點|伊日藝術台中空間
地址|台中市精誠五街2號
電話|04-2327-4361
時間|Tue. – Sun. 13:00-19:00 週一休館

「最後的孩子;我喜歡談論童年,
因為多過於記憶,能一直陪伴在我們身邊的就是感覺和知覺。」 —Mònica Subidé

來自西班牙巴塞隆納的Mònica Subidé,今年首次於台灣舉辦個展,帶來不同系列的作品,討論著一個共同主題: 童年。多年以來,她讓自己沉浸於探討童年的世界裡,研究起童年的意義究竟是什麼 ? 是在森林裡被一群馴鹿圍繞在身旁的夢境,還是愛麗絲掉進兔子洞裡的童話故事,或是女孩手握住鳥、男孩頭頂著魚、蝴蝶停在身上的畫面,小時候曾經看見的、夢見的、發生過的、幻想的童年光景,不同時期的孩童階段,Mònica用她厚重模糊的筆觸與大量中性色調一一重擬而出,乍看像是黃綠粉黑各色色塊交叉堆疊,細看畫中的動物人類又栩栩如生般迷走於森林草地。

最後的孩子,在我們身為小孩子的最後一刻,在我們成為女人或男人之前的最後一個夢境,在要成長蛻變前的最後一個暑假,Mònica持續探討這些記憶所遺留下來的感覺和知覺。追尋童年光景看到的畫面,身旁的童話人物,豢養的想像動物,消失的親人,她將成長的時鐘指針暫停,使我們停留在長大成人前的最後一秒,靜靜感受這些專屬於孩童的敏銳知覺。

22.07.18 - Arrested Development

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發展受阻 Arrested Development

策展人|劉耀中
展出藝術家|小川希 Nozomu Ogawa、丹.布克 Dan Bourke、安德魯.瓦拉諾 Andrew Varano、吉瑪.魏斯頓 Gemma Weston、曹淳、劉耀中、盧依琳

展期|2018.7.28 – 8.26
茶會|2018.7.28 Sat. 15:00
地點|伊日藝術駁二空間
地址|駁二藝術特區大義倉群C9-14倉庫
電話|07-521-5783
時間|Tue. – Sun. 13:00 – 19:00 週一休館

不要行動,只要思考 —紀傑克
Don’t Act. Just Think. —Slavoy Zizek

《發展受阻》集結來自台灣、日本、澳洲三地七位藝術家,共同完成一場跨越地域空間的創作對話。
藝術家劉耀中因駐村結識澳洲伯斯的藝術團體「寵物計畫」(Pet Project)及日本東京Art Center Ongoing,藉由生活周遭的觀察以及兩個藝術團體的經營狀態,進而聯想至近年國內對藝術產業的批判。在紀傑克的〈不要行動,只要思考〉影片中表示對於今日的不滿狀態,或許我們已經做得夠多了,該是時候仔細思考自己的行動背後複合的脈絡與其影響為何。展覽名為《發展受阻》,雖然在這樣思考下的行動似乎是一種悖論,成為沒有答案的回答,但就如同許多的藝術創作:在過程中創造一種討論與實踐的空間來承載更多發展的可能。

20.07.18 - Gently pursuing memories, and then profoundly describing the dreams – The Art of Chen Yun’s paintings and memories

輕輕地追尋著記憶,然後深刻地描述著夢境——陳雲的繪畫・記憶之術

文/王璽安

夢境裡外,許多人都有種經驗,夢裏的時間,似乎與客觀度量上有著極大差異,睡眠中做了夢,醒來卻以為數天或是數年已過。也所以時間有種為人熟知的二分法:客觀量化的時間,如時鐘刻度。感受性的時間,如人們經歷極大壓力時,總覺得時間的行進特別慢。而繪畫則是時間最具體的見證,從開始繪畫到結束一件作品的那一刻開始,繪畫作品上的處處痕跡,都將時間軌跡具現於畫面之上,繪畫特質就是呈現出時間的凝結。頭一次看到陳雲作品時,印象最深的部分就是透過畫面技術營造出的時間感,畫面中許多的塗繪與繪畫層次的營造,被顏料壓縮在一起,時間層層貼合到了畫面裡頭,看似具象的畫面,又像是一段追尋故事或是追憶情境的過程,沒有結論,甚至也不需要結論,畫面上顏料自身狀態所顯現的繪畫技術表現,以及繪畫主題(motif)之間,兩者接合在時間的某個點,喚起了我們對於同樣畫面中人物記憶共感投射。

記憶的方法
繪畫的圖像往往是虛構的,虛構的人為事物就是繪畫的表象,在圖像之中可能不存在、或無法證明所謂的真實為何,圖像與真實世界的關係往往是透過記憶而被再現,這使得繪畫裏頭對於事件的詮釋顯得更加人為。繪畫使用圖像如同神秘學般的存在,藝術家(或是世上歷來對於圖像象徵感興趣的創作者們),他們作為不具顯著活動名目的人類社群而言,讓人想起歷史上十七世紀歐陸的「玫瑰十字會」(Rosicrucianism),他們帶有神秘的、堅定的世界觀、以及涉及許多科學與藝術領域而來的神秘哲思,甚至該會實際到底是如何運作的至今仍有爭議,玫瑰十字會所被時人傳頌的理念卻具有實實在在的影響力。藝術家的集體圖像生產脈絡與方法也仿若如此,種種形式都有它特別的、神秘的個殊意義。對於創作者來說,創作可以被看作藝術家對於世界的一種神秘研究。她不完全訴諸理性,但卻有著藝術家對世界的投射,圖像於繪畫也就不僅是種插圖般的存有:繪畫在此成了神秘學,承載著記憶與技藝間的連結了世人對於想像的創造力。記憶是種神秘的存在,人們對於記憶的表達可能是有偏誤的,但記憶的偏差卻常常是想像的開始;而藝術往往是對於世界觀察的另類路徑,對於我們已知的事物是藝術的來源,但藝術的表現卻往往不僅看似已知的事物。而也就像是夢境的回溯,人們常有種經驗,夢中醒來卻沒有對於夢的記憶,而只記得有個夢的過程;亦或我們能夠記得夢的內容,但究竟誰能以一種全然科學實證的方法證實夢的內容的每個細節呢?更深刻的提問是,一個人的夢,究竟能不能夠完全地被另個人以感官方式一同體驗呢?

在陳雲的作品裡頭,有著許多圖像的拼組,這些拼組仿彿來自於她對於記憶與夢的拼接,在這些看似具有形象的繪畫中,因為拼組並不具有故事性,同時畫面如同蒙太奇剪接的樣貌,使得她的作品在具象(figurative)的風格中產生了變化,畫面中具體的形象被獨立起來,反而成為了值得玩味的碎片狀態,圖像與圖像之間的抽象性(abstractive)關係,成了觀賞者主動參與的可能性,觀賞者必須以自己的心智活動,將這些故事串連起來。如同夢境往往片段的嫁接形成了清醒後的記憶脈絡,我們透過記憶認識了我們自己,才發現認識自己的過程裡,時間是零散而不連續的存在,甚至是無時間的狀態,陳雲畫面裡的圖像技巧是掠過時間的記憶術,而這些記憶的技術與藝術間成了她繪畫裡頭最特別的部分。我們能夠實實在在地,將記憶化作具有重量的事物嗎?還是,繪畫是對於記憶輕掠而過的保存呢?

英國文藝復興時期的思想博學者佛洛德(Robert Fludd, 1574-1637)以神秘學以及對於世界觀所持有的特殊看法而聞名於世,他在對於人們如何對記憶的技術有著特別關乎於藝術圖像的看法,在《兩個世界的歷史》(History of the Macrocosm and Microcosm)一書中,提到「圓的藝術」最能夠表達一個自然的世界觀,從黃道十二宮以至於天文地理學上而言,圓形是自然的架構,相對地,「方的藝術」是種人為的形態。

  「增進記憶只能靠技巧方法,或藉藥物,或藉想像力,在圓的藝術中對概念的運作,或透過方的藝術中的有形事物影像。」– 佛洛德 (Robert Fludd)

佛洛德對於記憶之術的看法,其實是來自於公元前一世紀左右的《獻給赫倫尼》(Ad Herrenium)一書,書中描述記憶技術可以將事物想像成放在櫃子以及建築物房間的物品,藉由這些方形物(人造的物質)的位置,使得記憶變的容易定位與分類而被深刻地以圖像化,而使得記憶變的清晰不忘。

於是記憶(甚至是夢的)需要特定形式來支撐,這也是人類智慧的經驗積累,繪畫也是如此的再表現上被人類的智慧累積著(不具智性部分思維的繪畫往往沒有長遠的價值)。陳雲作品中有著幾種容易辨識形式:拼組的畫面、打磨與壓縮的繪畫上色層次、看似不經修飾的顏料打磨後的溢出,以及許多看起來具有雕塑質地質感厚度、卻又顯得的乾淨的畫面,還有許多方形繪畫的排列組合。這些在她作品可以經常看見的形式,也成了她對於掌握藝術與捕捉記憶的體現與理性思考方式。

憂傷微微,卻可以浮華若現
神秘的事物多以一種“好似認得些什麼卻又不能或不須真正明白”的狀態吸引著人們,回憶的似曾相似,夢裡的似曾相似,醒來時對於夢境的似曾相似,還有面對來自回憶的作品的似曾相似。這些不能全然明白卻又依然追尋的圖像,如同文學與藝術所追尋的風箏,在風吹時,即將飛飄忽走卻又被人們抓著,直到風箏受控,把握細線的扎實技巧讓,讓即將走遠而被人們憂慮的布帆,成了華美飄忽的畫面。

陳雲的作品,即有這樣的特質,繪畫的高度技巧使用,卻呈現了如同文學語句的感受,不太具有過度量感的文學特質,像是對於記憶飄忽的形容,繪畫在此語句化轉換成了記憶的語彙。在〈流洩。浸漫草花的今生依戀〉畫面上下兩件拼組,上方流下的灰調上色,成了一種時間方向軸的暗示,流溢而下的顏料是時間的垂直軸,下方鮮明的人物主體,彷彿暗喻人們青春形象以及女性特質的當下現況,人物主體中,不完全的強調形象刻畫,人物身體裡的花梗散落,使得記憶片段的浮光掠影感體現,我們看到陳雲在此對於圖像語彙的熟稔,光影在記憶凝結成為繪畫時,作品是個別創造者價值的外在見證,抽象的想像特質成了具體形象繪畫的昇華結果,而這見證往往成了能被感官化的憂傷美感反而顯得華美了起來。陳雲繪畫裡頭,讓繪畫成為記憶圖像追尋的手法也關乎繪畫技巧層次的使用,原本如立體空間飄忽的夢境與回憶,成了層疊片片的色彩平面。又比如〈伴。如刻似抹的面貌依偎入心之淵〉作品畫面中,上下分開的畫面使用了許多的平面感塗繪方式,看起來平塗,實際觀看卻有著厚度與細微的質感保留,看似薄卻又帶有厚實多層的處理,使得畫面空間不再是平面之感,層層之中,如履夢境深淵,畫面的符號,清晰的被描繪予保留,但方形上下分割的畫面所顯現的卻是種近乎失語狀態而顯得神秘的斷裂故事。畫面中女性人物主體的面部,被繪畫的筆觸與色塊所塗蓋,繪畫的行為不只為了表達其顏色的特質,繪畫在此成了憂傷卻迷人的文學性方形場域。

有種許多人都認同的說法:好的文學總帶有些憂傷甚至悲劇特質,這或許因為我們明白世間的不完美,這些不完美就像是對於美好記憶僅能追尋,而這追尋過程卻是複雜多層次的,細細品味這些過程,卻可能是最讓人們感到享受的地方:我們不能在當下時空中重覆複製過往感受,但繪畫卻可以透過藝術家神秘的研究與追尋,提供一個真切的當下,如同一種記憶的技術,喚起我們共有的情感與無以名之的親切知覺與共感(sympathy),陳雲的作品在這樣的方向而言,讓我們看到繪畫可以使得回憶與不可捉模事物被體現的可能,而其中,些許憂傷的追憶與繪畫對記憶的描述,這神秘的追尋記憶過程使得不可捕捉的夢境反而顯得歡愉而是實際。

Gently pursuing memories, and then profoundly describing the dreams – The Art of Chen Yun’s paintings and memories

Text: Wang Seam

Many people have experienced a substantial difference in the perception of time inside and outside the realm of dreams. When we wake up from a dream it seems as if numerous days or even years have passed by. So there is a well-known dichotomy of time: objectively quantified time, such as the clock scale, and the time of sensibility. For instance, when people experience extreme pressure, they always feel that time travels very slowly. As a matter of fact painting is the most concrete testimony of time. From the moment you start painting to the end of a work, the traces of the paintings all show the time trajectory on the painting canvas. It can be stated that the main trait of any painting is the condensation of time.
The first time I saw Chen Yun’s paintings, I remember the most impressive trait was the sense of time created by the technique. The layers of painting and the way they are juxtaposed and added to each other create a parallel to the way time is perceived by human beings. Chen Yun’s paintings might seem figurative art but at the same time they are also like a process of pursuing a story or recalling a situation. There is no conclusion because no conclusion is needed. Time is the trait d’union between the technical representation on the canvas and the motif, evoking our resonance with the memory of the characters within the picture itself.

Memorization methods
Painting images often happen to be fictitious. Sometimes it is simply impossible to verify whether these images are authentic or not. The relationship between images and the real world is often reproduced through memory. This gives a major role to people in interpreting the event inside the painting. Images thus take on a mysterious existence of their own. Artists (or creators who have been interested in image symbolism throughout history), in the sense of a human community with no significant activity, are reminiscent of the historical 17th century European Rosicrucianism. They have a mysterious and firm worldview, as well as mysterious philosophies involving many fields of science and art. Even the actual operation of such societies is quite controversial. The influence of Rosicrucianism back in its age was very tangible. Nowadays, artists’ collective imagery and production methods are similar; in a certain sense all forms have their special and mysterious meanings. For creators, creation can be seen as an artist’s mysterious way to study and investigate the world. Chen Yun does not completely resort to reason; however, she projects her artist’s mind onto the world. The essence of images no longer solely relies on their illustrative purposes: paintings take on a mystical characteristic, bearing a connection between art and memory, thus providing human people with the ability to imagine. Memory is a mysterious existence. People may have biases as for how memory expresses itself; however, the deviation of memory is often the beginning of imagination. Art is often an alternative path to world observation. What we know is the source of art, but what it expresses often remains a mystery. It is like recalling a dream. People often have this kind of experience. When they wake up from a dream, they don’t have memories of what they actually dreamt, but they only remember having a dream. Or maybe we can even remember the content of the dream, but who can confirm every detail of the content of what one has dreamed in a completely scientific and empirical way? Yet a deeper question could be, can a person’s dream be completely experienced by another person in a sensory manner?

In Chen Yun’s paintings, many images are pieced together, which seem to come from the artist’s union of memory and dreams. In these seemingly imaginative paintings, because the composition is not story-like, and the picture is like a montage, her figurative style presents some changes. The specific images become thus independent and the whole work becomes a fragmentary state worthy of playful investigation, and the abstractive relationship between images and memories becomes the possibility of active participation of the viewers. The viewers must use their own mental activities to connect these stories together. Just like dreams grafts often forms one’s memories after waking up, and it is thanks to these memories that we get to know ourselves. It is exactly in the process of knowing ourselves that we realize that, in our memories, time is scattered and not continuous. Actually at times our memories are even timeless. Chen Yun’s paintings use a memory technique sweeping past time, and this connection between Chen Yun’s art and the use of time and memory is a peculiar aspect of her art. Can we actually turn memory into quantifiable and concrete objects? Or is painting just a preservation of memory?

Robert Fludd, a British Renaissance scholar (1574-1637) is known for his occultism and his special worldview. He has a special view on how people have a memory image. His view on artistic images is really interesting when it comes to the techniques how people memorize things. In his book History of the Macrocosm and Microcosm, Fludd describes two arts of memory: the “round art,” similar to the occult use of astrology and images symbolizing the zodiac, and the “square art,” more like the medieval system of using images of “corporeal things” like men and animals placed in memory rooms.

  “To improve memory one can rely on skill methods, or medication, or on imagination, the operation of concepts in round art, or through the tangible things in square art”.-Robert Fludd

Fludd’s perception of memory actually stems from the book Ad Herrenium around the first century BC, which describes memory techniques by way of using images of corporeal things like men and animals placed in cabinets and rooms. Through these square tangible objects, it is easy to locate and categorize our memories; hence through the use of images it is possible to make our memories clear and unforgettable.

Therefore, memory (even dreams) needs specific forms to support, which is also the accumulation of experience of human wisdom. Painting is also expressed in the accumulation of human wisdom (paintings that are not somehow linked to the wisdom of human mind in any specific time in history often have no long-term value). There are several easy-to-recognize forms in Chen Yun’s works: the piecing together of the represented objects, the polished and condensed coloring in all its layers, the overflowing of the seemingly unembellished pigments, and many representations which seem to have a sculptural thickness to them, yet clean. There are also many combinations of square paintings. These forms, which can be seen frequently in her works, have also become an expression of how she masters art and captures memories and rational thinking.

The artist transforms apprehension into a magnificent tableau
Mysterious things have the ability to attract people because we seem to understand something about them or be somehow acquainted with them but we cannot truly and genuinely understand their true nature. Memories are like dreams; they create a sense of déjà-vu. It’s like when you wake up from a dream, you seem to have a vague memory of it, the same thing happens with works of art. These images, which cannot be fully understood but are still pursued, are like the kites pursued by literature and art. When the wind blows, the kite initially drifts away but then it is held still by people, until it no longer risks flying away, in a way the same thing happens with art and literature, which through solid and detailed dexterity, transforms a worrisome canvas into a magnificent tableau.

This characteristic can also be found in Chen Yun’s works: thanks to the painting skills, the artist transforms her works of art in a fine piece of literature, without excessive rhetoric. It is like a description of how memories drift from one place to another, and painting is thus converted into a vocabulary of memory. In the two pieces composing Pouring. Possession of this life soaked in flowers,the gray color flowing down from the upper piece is a hint of the time axis. The pigment flowing down is the vertical axis of time, and the bright subject of the lower part is like a concealed analogy of people’s youthful image and femininity. In the main body of the character, the image is not completely emphasized, and the peduncle in the body of the character is scattered, which gives the memory fragment a sense of being cursory. We see Chen Yun’s familiarity with image vocabulary. When light and shadow become a painting, the works are the external witness of the value of individual creators. The abstract imagination traits have become the sublimation result of concrete image painting, and this testimony has often become a sorrowful beauty that can be sensed and which instead seems to become magnificent and resplendent. In Chen Yun’s paintings, the way in which painting becomes a memory image is also related to the use of painting techniques. The original dreams and memories, such as the three-dimensional space, become the color plane in which layers of pigments are juxtaposed one on top of another. In the painting Companion. Smeared faces comforting one another, leaning upon each other, the upper and the lower part of the work of art both use techniques conveying a flat sense of space. It seems to be flat, but when one looks at it closely, one can see a thickness and subtle texture retention. In other words, at first sight it seems to be thin but it actually has a thick multi-layered treatment, so that the picture space is no longer flat. The viewer can meander through its different layers, just as in a dream abyss. In this way, the author can clearly express the symbology behind the painting. The two distinct square pieces comprising the painting seem to convey a sense of a broken, speechless, and mysterious story. The face of the female subject in the picture is covered by the brushstrokes and color blocks. The painting is not only a means to express the characteristics of its color, but rather becomes a sorrowful yet charming literary square field.

There is a common saying that many people agree with: good literature always has some sadness and even tragic qualities to it. Perhaps this is because we understand the imperfections in the world; these imperfections are like the pursuit of good memories, which is a fairly complicated process. It is multi-level, and it requires a constant savoring of the process itself; indeed, it may be the most enjoyable place for people: we can’t repeat the past feelings in the current time and space, but the painting can provide a true sense of here and now through the artist’s mysterious research and pursuit, like a memory technique which evokes our shared emotions as well as an indescribable sense of intimacy and sympathy. Chen Yun’s works let us see the possibility that painting can make memories and can give expression to things that would otherwise be ungraspable, such as sad memories and the way paintings convey these memories. This mysterious process of pursuing memories transforms ungraspable dreams into a pragmatic and practical delight.

15.07.18 - Between sleep and wakefulness – Chen Yun Solo Exhibition

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晨絮拾影|陳雲個展
Between sleep and wakefulness|Chen Yun Solo Exhibition

展期|2018.7.21 – 8.19
地點|伊日藝術台北空間
地址|台北市南港區八德路四段768巷5號4樓之1
交通|捷運松山站4號出口、台鐵松山車站東出口
電話|02-2786-3866
時間|Tue. – Sun. 13:00 – 19:00 週一休館

闃然徘徊於寤寐與畫意之間
Quietly pacing back and forth between sleep, wakefulness and the mood of my paintings

每日晨起,醒來仍不時記得夢裡的場景、似乎還嗅得境中空氣瀰漫著的味道、或是一些聲響噪音耳語。每段極其現實或超乎常情的景象、人事物,熟悉的、陌生的交錯其中,劇情時空常在不同維度裡穿梭開展,往往於一念頃周遊各方,歷歷在目又如水月虛影…。總覺得這一幕幕影像如電影膠卷一格格映放,時而斷裂時而接續,一切人事物在燈光快速的閃動中,於視網膜留下殘影,也在心中抹下薄薄地記憶,在似與不似中交替存留。

陳雲喜歡描繪自然以及與其相關聯的人物,自然是對於理想現實的投射,無論是現實或夢中,將自我投身其中一直是一種很好放鬆方式。當生活本該清晰的事物輪廓,漸漸被許多紛擾雜亂的念頭交錯翻攪而理不出頭緒時,行於自然之間,那段段理不清的線頭就會逐漸沿著山的稜線從左右延伸舒展開來,讓一切重歸於秩序,這是喜歡山的理由。陳雲也喜歡海,一波波拍打上岸的碎浪既變動又永恆,在意的事物隨著浪花翻洗著沙灘漸漸流離擴散而去,而呼吸也跟著海浪的節拍趨於平靜,如同畫裡暈染的薄稀顏料,混合著水的色粉在一層層流動乾涸的規律行進中,層疊出如海的氤氳氣息。無論是山是海,都蘊藏著極大的生命質素,陳雲如同微細的磁粉被其牽動吸引,心懷感激地讓自己回到自然的頻率之中。

在陳雲作品中所描繪的人物身形、表情、手勢、場景或色塊幾何等,好像帶著強烈的暗示和敘事性,卻只是引導觀著進入畫面並投射演繹自己故事的媒介,劇本永遠不止一個,我們所面對的現實也不會只有一種,但也許我們以為的現實,可能僅是一場較長的夢,一場仍醒不來的夢。

04.07.18 - YIRI ARTS @ Art Taichung 2018

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伊日藝術Yiri Arts @臺中藝術博覽會 Art Taichung 2018

▌展出藝術家 |
陳漢聲 Chen Han-Sheng
邁克爾.文森特.馬納洛 Michael Vincent Manalo

▌展覽時間:
貴賓預展 | 7/19 .15:00 -20:00
公眾展期 | 7/20 – 7/21.12:00-19:00
7/22.12:00-18:00

▌展覽地址|台中日月千禧酒店(台中市西屯區市政路77號)
▌展位| Room : 1202

04.07.18 - YIRI ARTS @ Art Formosa 2018

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伊日藝術 Yiri Arts@福爾摩沙國際藝術博覽會 Art Formosa

▌貴賓預展
》7/12 (四)
台北松山文化創意園區2.3號倉庫 16:00-20:30
誠品行旅 20:00-22:00

▌公眾展期
》2018.07.13-07.14 (五~六) 11:00-19:00
》7/15 (日) 11:00-18:00

▌松山文創園區 2號倉庫 Booth C04
▌展出藝術家
》時永駿 Shih Yung-Chun

▌誠品行旅 ROOM 8010
▌展出藝術家
》 金.提爾 Guim Tió
》 平子雄一 Hirako Yuichi
》 凱爾・蒙哥馬利 Kyle Montgomery

24.06.18 - Seeding – Yuichi Hirako Solo Exhibition

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SEEDING|平子雄一個展 Hirako Yuichi Solo Exhibition

展期|2018.6.30 – 7.29
地點|伊日藝術台中空間
地址|台中市精誠五街2號
電話|04-2327-4361
時間|Tue. – Sun. 13:00-19:00 週一休館

平子雄一的作品均是以空想的植物物種、及其繁茂的混合空間作為系列創作主題。在他的作品畫面中,混雜著大自然空間、人類文化行為以及人造物等元素,也像我們生存的真實空間一樣,其實我們經常是無法清晰地劃分自然物與人造物之間的差別。平子雄一擬人化了植物,創造出類似樹精的小生物,在他的構圖佈局上也經常具有一種神聖儀式的張力特質,時而摻入較輕鬆詼諧的行為動作,使他的作品畫面充滿更多的閱讀感知。平子雄一的作品中確實具有很強烈的敘事性,但真正令他關心的並非是呈現作品中具體的故事,他意欲呈現給觀者的是那些日常生活中相當容易忽略地枝微末節、那些有關"自然植物與人類之間"的曖昧關係。

如果仔細觀察平子的作品,我們可以發現他在符號的操作上,在各個不同的面相上都具備明顯的二元性。好比說注視著作品時觀者正在疑想畫面中的「森林」場景,真像是一個「庭園」的配置形式,而當觀者得出這個論點後,又會馬上認為這「庭院」應該是「森林」才對。某些畫面具備著餐桌、書櫃等家飾品,看起來就像「室內」場景,但其室內地面及牆面上的綠意看起來卻又像是「戶外」的狀態。桌面上那些植於盆壺中的「活植物」對比著那些造型裝飾、或是被拿來當作燃料使用的漂流木,是「死植物」。融合了這些在表徵上相異、本質上卻相同的曖昧元素,平子雄一呈現出現代社會中的一種模組,也是我們早就習慣的日常生活。生命/非生命、自我/他人、理性/非理性、個體/普遍、中心/外圍。這些二元同時並存的現象,是平子雄一的作品想像力來源,也是他希望傳達給觀者的核心概念。

17.06.18 - The Euphoria – Xevi Solà Solo Exhibition

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狂喜 |塞維.索拉個展
The Euphoria | Xevi Solà Solo Exhibition

展期|2018.6.23 – 7.22
地點|伊日藝術駁二空間
地址|駁二藝術特區大義倉群C9-14倉庫
電話|07-521-5783
時間|Tue. – Sun. 13:00 – 19:00 週一休館

「我在創作時,對於將色彩重組,從沒有過任何的猶疑。雖然這聽起來很沒有科學依據,我想這就是人們口中『與生俱來的直覺』。近年來,在創作時我漸漸變得有使用色彩的強迫症,總是想要一口氣把所有的色彩都用上。但心中又反向的想要抑制自己,對於色彩使用上的狂熱。也想在使用的過程當中,找到一個平衡。」——Xevi Solà

由《雙病理學》到《狂喜》 From Dual Pathology to The Euphoria
若說西班牙藝術家塞維・索拉(Xevi Solà Serra)兩年前於台中的個展《雙病理學》是精神即將步入極端喜悅前的微微顫動;神經質、隱著隨即迸發的失控。在此次個展中,依舊誇張的筆觸與更加強烈的色彩,帶出了繪畫的精神質地,亦像是創作者在面對繪畫時的精神臨界;畫中人物已全然的落入自我世界——華豔怪誕的妝扮、豪無血色,種種奇行卻又見平靜,揭示了人類情緒最張揚的一面,如此踰矩著觀眾的感官;「狂喜」之所以為狂,因為它是一種猛然地竄升,像是一種高潮,如溫度計的測溫已來到臨界那樣,如此極端地喜悅,便是得到了真正官能上的解放。

塞維的作品中的人物,如畸人那般心懷熱烈的空洞,深入根柢自精神層面上的「怪」,如此的能量來自於過去在Santa Catarina Hospital的精神治療部門擔任攝影師與護士的工作。成為創作者之時,塞維自精神疾病與尋常世界當中創造了一個洽融的面相——脫序、誇艷、怪誕的行為鑲嵌在日常景象,看似直接的創作舉動,卻帶有一絲關懷的意味,彷彿提醒我們的生活周遭總有幾個這樣的畸人,他們直接、不造作,真切地使自己成為自己;而這樣的畸人因子,或許也潛存在我們每個人的神經中。塞維的作品像是精神官能世界的引渡者,不禁讓我們思考,理性的外殼是否涇渭分明,何謂患病與正常的界線?

09.06.18 - Antique

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古道具聯展 |Antique Group Exhibition

聯展藝術家|古道具熊川 モリソン小林 水田典寿 時永駿
展期|2018.6.15 – 7.15
地點|伊日藝術台北空間
地址|台北市南港區八德路四段768巷5號4樓之1
交通|捷運松山站4號出口、台鐵松山車站東出口
電話|02-2786-3866
時間|Tue. – Sun. 13:00 – 19:00 週一休館

明治28年(西元1895年)以杜絕盜品之買賣為原由,日本政府訂定了古物商取締法,在昭和24年(西元1949年)時,於現行法令中訂定了古物營業法,開設了古物營業許可、古物商及古物市場主等營業的相關法令,也是日本古物營業循法的最早依據。古物商在營業分類中有明確條列的13項目,除了具有工藝價值的美術品、書冊、和服、車輛等具有較高市場價格及文化價值的分類之外,一些普遍的中小型生活道具如家飾品、碗盤、電器等,在近年內也進入相當興盛的買賣熱潮之中。

不論是在70年代香港重慶大廈裏頭那些非法移工開立的二手商店,或是現在仍盛行於歐陸上的yard sale,這些物件的來源或是盜品、或是家裏不要的二手舊貨,它們以相對低廉的價格流通於市場交易之中。可是在現代的交易市場,相對珍稀的生活古道具也漸漸晉升到一如古美術般的存在價值,不只其市場價格飆高,人們對於破舊物件的青睞心理,似乎也晉升為一種特定的品味傾向。伊日藝術在這次的策展主題「古道具」中,舉薦四位鍾情古道具的參展者,分別是日本古道具熊川店主邱芷瑩、金工職人モリソン小林、木雕職人水田典寿,以及台灣藝術家時永駿。我們挑選出這四位職務身份不同的參展者,同以「古道具」作為命題,提出他們的展品中不同的詮釋角度。

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