Every new experience is layered upon infinite memories.
每一個嶄新體驗的當下都重疊了無數的記憶。
每一個嶄新體驗的當下都重疊了無數的記憶 樹林圍繞，草地厚實而柔軟，無盡漫延的山丘上，雲的影子飛快掠過，腳踏進石楠花叢深處，發出輕巧脆裂聲，狂風在 麗日下撞擊全身，小徑整個夏天瀰漫著甜沒葯淡淡的香味，遠山陵線上的一列風車無聲轉著，我坐在四下無人的山坡上 張開全身知覺感受自然的力量。 為了準備展覽和專輯，我重新整理將近三千張駐村期間所拍攝的照片，同時也參考手邊幾本前幾屆駐村藝術家的專輯內 容和排版，突然發現到許多相似的場景和重複的視角出現在我和其他駐村藝術家的照片中，這感覺很奇妙，原來，這個 讓我在2018年夏天三個月間天天驚喜發現新感受的地方，我早已看過圖片無數次只不過直到此刻才具有真實的意義── 我可以指認出那些場景在哪，描述當時的溫度、光線和味道；我知道除了我之外還有誰也曾經走過這裡、那裡和其他角 落，同樣凝視過這棵樹、那座山丘和某一扇窗，興奮捕捉著大麥田邊的牛羊群和植物的姿態。
我不太確定是因為全新的身體經驗感動了我而拍下照片，抑或是當時眼前的景色莫名熟悉而吸引我的視線，或許兩者都 有吧。
Every new experience is layered upon infinite memories.
The surrounding woods, the thick soft grass, the endless rolling hills and the fleeting shadows cast by passing clouds. A step into the heather is replied with a light crisp sound underfoot; a strong wind beats against the body underneath the bright sun, as the trailing path is filled with the faint scent of sweet cicely all summer. Along the mountain ridge a row of wind turbines turn silently; I sit alone on the hillside opening my senses to the living force of nature.
In preparation for the exhibition and publication, I reorganized almost 3000 photographs taken during my time as artist in residence at Glenfiddich, while also browsing through the publications of previous residency artists. It suddenly dawned on me that many of the scenery and perspectives that I photographed are similar if not the same as the ones taken by other artists. It was intriguing to discover that this place, which had continued to surprise me every day during the summer of 2018, I had already seen many times beforehand captured in photos, but only now did they have a deeper meaning. I can recognize what the places are, I can describe the temperature, quality of light and smells. I know that apart from me others once walked here, to each corner of this place, gazed at the same trees and hills or through a certain window, enthusiastically recording the cattle and sheep beside the barley fields and the characteristic plant life.
I am not quite sure if it was this new physical experience that moved me to take these photographs, or whether it was the inexplicable familiarity of the scenery in front of me that attracted my attention. Perhaps it was both.
No.96
空間、容器、薄膜、發酵、看不見的作用
兩個不同尺寸的氣囊，或說容器，造形啟發自格蘭菲迪酒廠的銅製蒸餾器。
據說沒有任何一家蘇格蘭威士忌酒廠的蒸餾器形狀相同，不同形狀的蒸餾器萃取出各自不同風味與個性的威士忌酒。當 然，除了形狀之外，時間長短、溫度火侯、原料成份等等，都能左右最後萃取出來的精華 (spirit)
一麥芽威士忌的製作過程神秘而繁複，大麥從田裡採收後，期間經過各種不同大小、形狀、材質、功能的容器，以水、 火，以木、以時間，促發產生無數看不見的作用，精密的高科技和原始手作工序穿插並行，最後成為了你手中杯裡散發 著迷人香味的神奇琥珀色液體。 不用說，這過程神似藝術創作，也和每年夏天格蘭菲迪國際藝術家駐地創作計畫運作的歷程雷同。容器的概念可以延伸 為一個空間、某個地點、一個場域、一個交流平台、某個單獨的個體、或甚至一群人；在容器裡注入不同的元素，等候 他們產生自然的變化，有些部分在控制之中、有些部分在意料之外，時間從來不輕易斷言結果，你必須在皺褶中細細翻 找微妙變化。對我而言，最好的事情幾乎都發生在看不見的過程中，和面臨無法掌握的時刻裡，那使你得以重新觀察、
。對於外行人來說，單
No.96
Space, receptacle, membrane, time, fermentation, invisible mechanism
The shapes of these two different-sized inflatable fabric installations, or receptacles, owes much of their inspiration to the copper stills in the Glenfiddich distillery.
It is said that no stills in two Scottish whisky distilleries are alike in shape. Stills in different shapes imbue the whisky with disparate flavors and signatures. Apart from the still’s shape, of course, time, temperature control and ingredients are the decisive factors as well for the final spirit. For a layperson, the distilling procedure of single malt whisky is mysterious and complicated. After being harvested, the barley should be processed in receptacles that are different in size, shape, material, and function, in which innumerable yet invisible mechanisms are activated by the interplay among water, fire, wood and time. Sophisticated high technology and traditional craftsmanship operate in tandem, ending up as the amber-colored magical liquid with a pleasant bouquet in your glass.
The process makes one think of creating works of art, which is also essentially similar to the operation of the Glenfiddich Artists in Residence Program every summer. The concept of “receptacle” can be extended to imply a space, a location, a realm, an exchange platform, an individual, or even a group of people. Just like the whisky-making procedure, infuse diverse elements into the receptacles and wait for their interaction and chemical transformation. Some changes are under control, while others are unpredictable. The result can never be easily revealed over the course of time. You need to look for the subtle variations carefully through the traces. As far as I am concerned, almost all the best things occurred in an invisible fashion at the moments when changes are beyond control, which in turn allows me to rediscover the world and my true self.
No.98
展覽98號裡包含了96號作品。96號完成於2018年9月底到10月中在格蘭菲迪國際藝術家駐地創作計畫的聯展裡，換了 時空，樣貌看起來些許不同──這與記憶運作模式很像──它重新成為98號的一部分。作品98號來自於駐村創作三個 月的生活體驗，蘇格蘭令人驚嘆的自然力量讓我留下深刻的知覺記憶，我試著描述它們，藉由身體捕捉一二。 展出空間裡將有一些高低落差和不同觸覺體驗的安排，我希望能讓觀眾在展覽空間裡上上下下、鑽進鑽出的走著，我想 讓大家爬上緩坡四處看看，讓身體帶領你探索空間。我覺得有些感受是身體能查覺也接收到的，只是暫時沒有或無法為 它命名因此而被忽略或者淡忘，但其實它們不曾消失，而累積的知覺記憶將使你下次遇見的嶄新經驗更加深刻而獨一無 二。
No. 98 Site specific installation, fabric, air blower, wood
No.98
The exhibition titled ‘No. 98’ encapsulates the artwork ‘No. 96’, which was completed and exhibited as part of the Artists at Glenfiddich 2018 International Residency group exhibition during September – October 2018. Transferring the work into a different time and space, the appearance also seems slightly different, much like how our memories operate. The work is reinterpreted as part of the site-specific installation ‘No. 98’, inspired from my experiences living and working at the artist residency for three months, ‘No. 98’ attempts to use the physical body to capture a glimpse of the breathtaking power of Scotland’s natural environment, which left a deep impression on me.
The exhibition space is constructed with a gradation of viewing heights to create a different tactile experience, inviting audiences to climb up a gentle slope and look all around, allowing the body to lead the exploration of the space. Some experiences can only be detected and received with our physical bodies, although at the time we are often unable to give the sensation a name, or sometimes it is ignored or forgotten. But in fact, the experiences have not disappeared, and the accumulated perceptual memories will render each new experience more profound and unique.
Image courtesy of Yuki Koe
1:20 scale exhibition space for No. 98
Cardboard, fabric, paper 2019
Artists at Glenfiddich
2018
王德瑜
1970 生於新竹，臺灣
個展
2019 「No.98 / 王德瑜個展」，就在藝術空間，臺北
2018 「重構對話 – 王德瑜個展」，央．美術館，北京，中國
2017 「PNEUMA – 王德瑜 凌瑋隆 雙個展」，聖路加教堂，慕尼黑，德國
2016 「No.84 / 王德瑜個展」，Apartment of Art (AoA)，慕尼黑，德國
2015 「No.80 / 王德瑜個展」，伊通公園，臺北
「相信你的感覺 / 王德瑜個展」，興巴士藝術中心，檳城，馬來西亞
2013 「No.72 / 王德瑜個展」，真善美畫廊，臺北
2010 「No.65 / 王德瑜個展」，國立臺北藝術大學關渡美術館，臺北
2003 「漫無目的 / 王德瑜個展」，臺北當代藝術館，臺北
2001 「王德瑜個展 / No.40」，帝門藝術教育基金會，臺北
1997 「王德瑜個展 / No.27」，伊通公園，臺北 「王德瑜個展 / No.18」，新樂園藝術空間，臺北
聯展
2017 「社交場」，臺北市立美術館，臺北
2016 「KENPOKU ART 2016 茨城縣北藝術祭」，茨城縣，日本
「一座島嶼的可能性－2016臺灣美術雙年展」，國立臺灣美術館，臺中
2015 「溫柔的產出」，臺北國際藝術村 百里廳，臺北
2014 「為自己做的藝術」，耿畫廊，臺北
2012 「記憶的穿越」，金雞湖美術館，蘇州，中國
2009 「雙凝 臺灣女性藝術的鏡觀視角」，國立臺灣美術館，臺中
2006 「相遇‧尋訪遊樂場 第四屆臺北城市行動藝術節」，臺北市立兒童育樂中心
2005 「2005年橫濱第二屆當代藝術三年展 / 藝術馬戲團 跳躍日常」，橫濱，日本
2002 「Paysages / 4e Biennale d'Art Contemporain, Enghien-les-Bains」, Enghien-les-Bains, 法國
2001 「亞細亞散步 CUTE」，水戶藝術館，日本
2000 「歸零」，臺北市立美術館，臺北
WANG TE-YU
1970 Born in Hsinchu, Taiwan
Selected Solo Exhibitions
2019 No.98 / Wang Te-Yu Solo Exhibition, Project Fulfill Art Space, Taipei
2018 Reconstruct Dialogue / Wang Te-Yu’s Solo Exhibition, Yang Art Museum, Beijin, China
2017 PNEUMA, St. Lukas Church, Munich, Germany
2016 No.84 / Wang Te-Yu Solo Exhibition, Apartment of Art(AoA), Munich, Germany
2015 A Solo Exhibition by Wang Te-Yu / No.80, IT PARK Gallery, Taipei
Believe In What You Feel, Hin Bus Depot Centre, Penang, Malaysia
2013 No.72 / Wang Te-Yu Solo Exhibition, Kalos Gallery, Taipei
2010 No.65 / Wang Te-Yu Solo Exhibition, Kuandu Museum of Fine Arts, Tnua, Taipei
2003 Wang Te-Yu Solo Exhibition - Adrift, Museum of Contemporary Art, Taipei
2001 Wang Te-Yu Solo Exhibition / No.40, Dimension Endowment of Art, Taipei
1997 Wang Te-Yu Solo Exhibition / No.27, IT PARK Gallery, Taipei
Wang Te-Yu solo show / No.18, Shin Leh Yuan Art Space, Taipei
Selected Collective Exhibitions
2017 ARENA, Taipei Fine Arts Museum, Taipei
2016 KENPOKU ART 2016, Ibaraki Prefecture, Japan
2016 Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichun
2015 Considerate Creations, Taipei Artist Village, Taipei
2014 Art For Oneself, Tina Keng Gallery, Taipei
2012 Passing Through Memory, Jinji Lake Art Museum, Suzhou, China
2009 Duel Regard - The View from Taiwanese Women’s Arts, National Taiwan Museum of Fine Arts, Taichung
2006 The 4th City on the Move Art Festival 2006, Taipei Children’s Recreation Center, Taipei
2005 International Triennale of Contemporary Art YOKOHAMA 2005, Yokohama, Japan
2002 Paysages / 4e Biennale d'Art Contemporain, Enghien-les-Bains, Enghien-les-Bains, France
2001 Promenade in Asia - CUTE, Art Tower Mito, Japan
2000 Zero-in, Taipei Fine Arts Museum, Taipei
NO.98 王 德 瑜 2019
展覽日期 2019年3月9日至4月18日 展覽地點 就在藝術空間
作 者 王德瑜
設 計 陳慧嶠
英文翻譯 王聖智、康瑜珊
出 版 伊通國際有限公司
臺北市104伊通街41號2-3樓
電話 (02) 2507 7243
傳真 (02) 2507 1149
http://www.itpark.com.tw
出版時間 2019年3月初版
贊 助 格蘭父子洋酒股份有限公司
特別感謝 陳慧嶠
Andy Fairgrieve
Yuki Koe
劉躍 林珮鈺
版權所有 ‧ 翻印必究
NO.98 WANG TE-YU 2019
Exhibition Date 9 March – 18 April 2019
Exhibition Venue Project Fulfill Art Space
Artist Wang Te-Yu
Designer Chen Hui-Chiao
Translator Sheng-Chih Terence Wang, Yu-San Kang
Publisher IT Park Gallery
2-3 Fl. 41 41, 2fl Yi Tong St. Taipei 104 Taiwan
Tel 886-2-25077243
Fax 886-2-25071149
http://www.itpark.com.tw
Publishing Date March, 2019 (1st edition)
Sponsor William Grant & Sons Ltd.
Special Thanks Chen Hui-Chiao
Andy Fairgrieve
Yuki Koe
Liu Yao
Pei-Yu Lin
All rights reserved
