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活動介紹

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時間:2016/07/23 - 2016/08/28 《活動已結束》

地點:亞洲藝術中心(台北一館+二館)

單位:亞洲藝術中心

展名:□

策劃: 姜毓芸

藝術家: 蔡澤濱、賀勛、鞠婷、Kim Jihee(金芝嬉)、鄺鎮禧、苗穎、彭奕軒、宋建樹、鄧國騫

主辦單位:A+ Contemporary 亞洲當代藝術空間

展期:Jul. 23-Aug. 28, 2016

開幕:Jul. 23 (Sat.) 4pm台北二館

 

地點:亞洲藝術中心(台北一館+二館)

 

A+ Contemporary榮幸地宣佈,我們即將於2016年7月23日在台北亞洲藝術中心一、二館同時展開由展覽總監姜毓芸策劃的群展「□」,參展藝術家包括來自中國的蔡澤濱、賀勳、鞠婷、苗穎、宋建樹,香港的鄧國騫、鄺鎮禧,韓國的Kim Jihee(金芝嬉)以及台灣的彭奕軒。姜毓芸聚焦年輕世代的藝術家如何質疑既有的創作形式,對身處時代保持高度感知,從中延伸出創新的介入方法,進而突破框架、與時俱進。

 

蔡澤濱、賀勳、鞠婷、鄺鎮禧以及彭奕軒的作品將於台北一館展出,在當代藝術已超越所有媒材限制的同時,繪畫能否得到新的驅動力,保持在當代藝術的範疇裡?賀勳的繪畫承載了其同為詩人對於詩意及形式美感的追求,他在圖像、觀念、語言之間不斷尋找切入點,以期達到心中圓滿的那一瞬間。蔡澤濱藉由敏銳的觀察擷取日常之物,以戲謔的方式將日常物賦予新意。版畫系出身的鞠婷,結合版畫特有的套色及刻刀技法,以刀拓展了版畫的空間緯度,同時保留過程中的手工感。鄺鎮禧以細膩的針筆層層堆疊於物體表層的痕跡,紀錄物件真實的表象,無意賦予物品任何象徵性的意義。

 

台北二館所展出的Jihee Kim、苗穎、宋建樹、鄧國騫則分別表述對生存環境和文化現象的認知。Jihee Kim從捐贈書中找尋和自身經驗相互共鳴的文字,試圖融合視覺圖像和文字進行新的文化生產。苗穎關注中國網路受限於審查制度的獨特生態,挪用網路中的原始素材呈現特有的低技術和幽默感。彭奕軒將馬祖新村的植物影像標記於白板之上,白板的易逝特質使圖像無法永久留存,猶如我們只能從植物外表看到現狀而非過往,但當地居民的生命片段曾留存於此。鄧國騫在香港圍村中長大的背景使他對主流文化的準則保持懷疑的態度,擅長以現成物引領觀者思考香港瞬息萬變的社會現象。宋建樹利用抽象的身體感官挑戰看不見卻約定成俗的美學概念,反覆測量個體和公定標準之間的誤差值。

 

任何藝術皆無法抽離歷史脈絡而成立,在前人陸續被梳理至藝術史之際,新一輩藝術家該如何找到自己的座標?上述提及的批判精神在不同時間點推進了藝術史的演進,亞洲藝術中心甫結束的「1960–台灣現代藝術的濫觴」群展,重探了台灣現代藝術家們曾經衝撞體制,跳脫學院派僵固的思維,開闢出嶄新道路。半個世紀後,卻普遍難在台灣後進身上見到過去藝術創作的生猛力道,以及對現況提出質疑的勇氣,以此做為對照的,是中、港、台、韓年輕藝術家實踐當代藝術精神的幾種可能性。或許此展可以做為一個提示,唯有深刻省思、正視問題,才有可能創造出屬於此世代的「當代」。

 

 

Title:□

Exhibition Director: Yuyun Chiang

Artist: Cai Zebin, He Xun, Ju Ting, Kim Jihee, Kong Chunhei, Miao Ying, Peng Yihsuan, Song Jianshu, Tang Kwokhin

Organizer:A+ Contemporary

Duration:Jul. 23-Aug. 28, 2016

Reception:Jul. 23 (Sat.) 4pm Asia Art Center Taipei II

Venue: Asia Art Center (Taipei I+II)

 

A+ Contemporary is pleased to announce our parallel opening at Asia Art Center Taipei on 23 rd July, 2016. The“□”exhibition is curated by Yuyun Chiang, featuring Chinese artists Cai Zebin, He Xun, Ju Ting, Song Jianshu, Miao Ying and Tang Kwokhin, Kong Chunhei from Hong Kong, Kim Jihee of Korea and Peng Yihsuan from Taiwan. Yuyun Chiang places her focus on how the young generation of artists critically questions the contemporary artistic practices and how they remain highly sensitive to our age in order to explore innovative intervening methods to break the existing boundaries.

 

Cai Zebin, He Xun, Ju Ting, Kong Chunhei, Peng Yihsun’s artworks will be exhibited in Asia Art Center Taipei I. While contemporary art has overcome the limitations in medium, how would paintings attain new momentum while continuing to play a part in contemporary art. He Xun’s paintings reflect similar poetic aesthetics as his poetries; he seeks for varying perspectives from images, concepts and language to achieve a holistic sensuality. Cai Zebin intercepts the mundane objects with his scrupulous observation and renders them satirically. Studied woodblock printing, Ju Ting incorporates layering and carving techniques in her work, which developed a sense of spatial dimensionality while preserving the handcrafted character. Kong Chunhei, on the other hand, sophisticatedly layers traces of the technical pen on object surfaces, documenting the reality of the objects, but not offering references to any meanings.

 

Meanwhile, in Asia Art Center Taipei II, Kim Jihee, Miao Ying, Song Jianshu, Tang Kwokhin each illustrate their individual perceptions to our living environment and cultural phenomenon. Kim Jihee identifies words that recall or resonates with her own experience from donated books and combines them with added images to produce a new culture and experience. Miao Ying focuses on the surveillance system that controlled internet in China; she borrowed the elements from internet to represent a black humor made of low techniques. Peng Yihsun marked the silhouettes of plants from Matsu on whiteboards. The transitory nature of images on whiteboards echoes with that of how we only see the appearances from now and often oblivious of what happened to it in the past. Grew up in the Walled Villages in Hong Kong, Tang Kwokhin is apt in representing the transient social phenomenon in Hong Kong through ready-mades while his background kept him doubtful towards mainstream culture. Song Jianshu employed abstract body senses to challenge the canon aesthetics through re-measuring the differences between object and standardized measurements.

 

Art cannot be established without history. How would the younger generation of artists find their individual coordinates before the precedents delineate an art history? The above mentioned critical spirit provided fuel to the procession of art history. The recently closed group exhibition1960-The Origins of Taiwan Modern Art in Asia Art Center, re-investigated how the Taiwanese artists had agitated the systems and escaped from academia thinking, eventually constructing a new path. After half a century, it is hard to perceive similar energy and the audacity in questioning in the younger generation, to compare and contrast is the paralleling art practitioners from China, Hong Kong, Taiwan and South Korea. Perhaps the exhibition could be an insight that provides grounds for deeper self-inspection and critical awareness, so as to create a contemporary.

 

 

 

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