周代焌－無為而治｜ Chou Tai-Chun－Action Through Inaction by Liang Gallery

序文

余彥良尊彩藝術中心董事長

面對人造荒野，仍願敞開等待

周代焌的實驗

周代焌「無為而治」個展

介於自然與環境、風景與事件之間的繪畫

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張晴文國立清華大學藝術與設計學系助理教授

圖版

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沈相龍美術史學博士 / 同德女子大學教授

創作自述

不真實的更加真實文

金英基 OCI 美術館策展人

簡歷

圖錄

102

Preface

YU Yen-Liang

President of Liang Gallery

In the Artificial Wilderness, We Wait without Holding Back

YU Yen-Liang President of Liang Gallery

In the Artificial Wilderness, W without Holding Back

Chou Tai-Chun’s solo exhibition Action Through Inaction

Chou Tai-Chun’s solo exhibition Action Throug

CHANG Ching-Wen

Assistant Professor at Department of Arts and Design, National Tsing Hua University

CHOU Tai-Chun’s Experiments Toward by

Assistant Professor at Department of Arts and Design, National Tsing Hua University

CHOU Tai-Chun’s Experiments Toward

Paintings in between Nature and Environment, Landscape and Incident

Paintings in between Nature and Environment Landscape and Incident

SHIM Sangyong

SHIM Sangyong Ph.D. Art History / Professor, Dongduk Women’s University

Ph.D. Art History / Professor, Dongduk Women’s University

Artworks

Artist Statement

The Unreal is Rather More Real

The Unreal is Rather More Re

KIM Younggi

Curator, OCI Museum of Art

Biography

Catalog

102

序

余彥良

序

「我的棧房既已焚毀，就沒有東西妨礙明日的景色。」

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觀看周代焌的畫作，令我想起這一首日本俳句。每一幅看似破壞滅絕後的景象裡，在我看來卻是通往另

余彥良

彩藝術中心董事長

尊彩藝術中心董事長

一個地方的入口，是心靈上的修復，或是讓你忘卻精神上的痛苦。從形式上的環境污染、生態破壞、人類惡習，這些不斷重複更替的現象當中，似乎看見了問題，而想解決問題的人，總是不斷提出令你如何

Pref by

YU Yen-L

President o

沈澱寬心的許多方法，但我們似乎忘了，人心不去或不想修正，惡意的行為與利益，再多的救援，想讓

序

心靈上做善意的填補，最後都是徒勞無功的。所幸，讓你眼前看見的，是一項警惕，是一種喚醒靈魂清澈的一種景像，顏色是喜悅的，思想是光明的，像上天所創造的宇宙浩瀚無際，帶給你有可能復活的生機。

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余彥良

彩藝術中心董事長

Pref

余彥良

凡有所失亦會有所得，在你週邊環境裡所失去的，將從別的地方獲得補償。周代焌繪製了許多保護傘，

YU Yen-L

尊彩藝術中心董事長

告訴我們張開雙臂，去迎接慢慢開始浮現的「得」，在許多的寂靜當中，去反思，去覺醒，毀滅後的廢

President o

墟是安靜的，有利你用安靜的心和安靜的場所，因為，最美妙的那一刻，都是來自最安靜的深處和心靈最安靜的住所，讓你傾聽並感受重生的聲音。以上，都取決於唯有找回純樸善良的那一顆心。

序

face

Preface by

Liang

YU Yen-Liang

of Liang Gallery

President of Liang Gallery

face

Preface by

Liang

YU Yen-Liang

of Liang Gallery

President of Liang Gallery

“My warehouse burned down. There are no things left to protect the scenery of tomorrow.” Chou Tai-Chun’s paintings remind me of this Japanese haiku. Every piece appears as a destroyed or lost scene which, in my opinion, serves as an entrance to another place, a spiritual restoration, or a mean to forget all the mental anguish. There seems to be a problem with the recurring phenomena such as environmental pollution, ecological destruction, and human vices. Those who aim to solve this problem always find the ways how to set your mind at rest. However, we seem to forget that the will of the people does not change so easily. Malicious behavior and interests, more rescue efforts, the goodwill of the soul, all are ultimately in vain. Fortunately, what you see in front of you is a kind of vigilance. It is a kind of scene that awakens the soul. The colors are joyful, the thoughts are bright, and the universe created by Heaven is vast, giving you the chance of resurrection. All losses result in gains. What you lose in your surroundings is compensated by taking it from other places. Chou Tai-Chun paints many protective umbrellas and tells us to open arms to welcome the “de” that slowly begins to surface. In the stillness of silence, he reflects and awakens the quietness of the destructed ruins. It is beneficial for you to have your heart in peace and be in a quiet place because the most beautiful moments happen in the most tranquil places and for the most modest minds. It allows you to listen to the sound of rebirth and feel it. After all, everything depends on that one person who can retrieve the good and honest heart.

荒野，等待

面對人造荒野，仍願敞開等待

為而治」個展

周代焌「無為而治」個展

地質時間上不過彈指之間，我們已由全新世進入人類世。黛安．艾克曼（Diane Ackerman, 1948-）在《人類時代：我們所塑造的世界》裡寫道，人們創造了形形色色的新風景，還唯恐眾人不知，因此慣以「景」字結尾，例如市景、城景、窗景、商場景觀、音景……1。這些殊異的風景如何成為風景？人類對於所謂風景的定義、對於自我和環境關係的認知已經有過幾番轉變。曾幾何時，災難風景也成了一種風

學系助理教授

文

景門類，它或者符應防患未然的理性思維，伴隨著科學的景觀管理需

張晴文

求，或者成為一紙憑弔自然的證據，或者成為獵奇的複雜文本。當災

國立清華大學藝術與設計學系助理教授

難成為一個可被觀看甚至描繪的對象，突如其來的毀滅性事件對於環境造成了損傷，藝術家如何面對人類巨大的不幸或失敗降臨？或者可

荒野，等待

面對人造荒野，仍願敞開等待

為而治」個展

周代焌「無為而治」個展

以問，當代藝術對於土地的關懷與思考帶來了什麼樣的自然觀？

周代焌以三部曲的形式發展出一套表現自我和環境關係的敘述。從「全球寂靜」、「崩解劇場」，到「無為而治」，這三階段的系列創作呈現了繪畫者對於大環境的觀照並思考自我在其間的位置。他的繪畫向來包含了一個重要特質，即作為繪畫它們如何反映這個時代的狀態。不同於攝影等機械影像，繪畫在這裡作為一種敘事的方式，也透露其

文

張晴文

學系助理教授

國立清華大學藝術與設計學系助理教授

寓言性的特徵。在「全球寂靜」系列裡，媒體的虛擬特性成為最重要的部分，誇張倒錯的圖像被指名為風景，在繪畫手法上刻意「製造」類仿數位機器語言的聲調，螢光色彩在闇黑的底色間迸現，人工感強

1. Diane Ackerman，《人類時代》，莊安祺譯。台北：時報，2015，頁 39。

「無為而治」個展

7 面對人造荒野，仍願敞開等待—周代焌「無為而治」個展

調出人和機器攜手共創世界的同時，也如同契約一般共同為世界帶來創傷。「崩解劇場」在幽暗的展場內藉由作品的配置，營造一個具有舞台效果的帶狀空間，畫作在空間中猶如一幕幕動態影像的定格，迫使觀者凝視這些以自然作為背景的圖像，在過度靠近卻看不清楚全貌的視野下，器械、測量、鑿取，所有可被歸納為開發的行動，伴隨著崩塌、傾圮、龜裂的意象，最後以《寂靜之外 030 －滑落的樣式》無力懸垂的畫布作結。在這裡的「崩解」，藝術家側重的是流動而非毀滅，其不斷變動的意義除了指向地表面貌變化不已的過程，更有地質基礎鬆弛癱軟的意象。這種面對自然的無力或回天乏術的無能之感，也有幾分人類歷史至此的哀嘆。以上兩個系列的創作來自天災給予周代焌的啟示，尤其日本的 311 強震引發了人類史上第二嚴重的核子災變，也因此，「全球寂靜」系列裡藝術家反省透過媒體中介而理解災難的不及物感，還能容得下幾分科幻的浪漫，直到「崩解劇場」，巨大的不幸帶來整體潰散的覺悟，套用一句近年響亮的口號──沒有人是局外人，人類與整個生態同屬土地，不僅只是一種想像。

2017 年周代焌在日本駐村期間，與藝術家友人一起造訪了福島核能災變的區域，這一場短暫而平靜的遭遇，讓他看到了劫難之後等待著振興的城鎮面貌。安穩的土地看似靜止，但凝止之際卻是混融了重重掩埋和期待新發的兩股力量。土地和人的創傷隨著汙染的泥土被厚厚刨起，躺在隔絕輻射的保護布之下，而另一方面，生命繁華的榮景必須從零開始，期待枯槁能再逢春。

2018 年周代焌在「無為而治」個展中呈現的作品，其中數件在日本駐村期間完成，包括《Back to ─載體之輕》、《Back to ─未來之詩下的羈絆》等，以不裝裱的畫布呈現出暫時性且富有流動意象的場面。它們是藝術家面對具體事件的敘事性創作，被張掛在展場高處。其意象有如風箏，又像是海上船帆，遠遠地在觀眾無法近觀的距離飄揚。這些繪畫的不可逼近，隱喻著藝術家在這一個展中所欲強調的是與此相異且較為抽象的情感呈現。在近距離事件的反饋之外，更著重沉澱省思之後的意見表達。

「前山」系列延續前面幾個創作系列的圖像語言，層層覆蓋卻保持穿透性的色彩堆疊，尤其幾件模板式構圖之作，有意在一個延續性的結構裡表現歷時性的思維變貌。在畫面中，景觀的意象總被更為剛硬而絕對的線條霸道地突穿，這些不可抵禦的線條釐定了畫面的基調，在它們所定義的空間之下，高彩度的色面如同射線縱橫其間，主導著流動和崩陷之勢無可控制的比喻，無聲而壯烈。周代焌在創作上一向擅長的動勢營造，在「前山」系列亦可見得。而他對於風景的碎片化形構，也堪為當代台灣繪畫近年頗得藝術家興趣的、如何透過重寫風景進而呈現個人的宇宙觀，其中代表性的一例。

在這次個展的作品之中，周代焌以帳篷串連起整個展場核心意象。它們不僅在畫面中出現，同時以各種隱喻的形式存在空間的陳設之中。帳篷作為臨時性的住所，它保證了最低限的居住需求，提供人們遮蔽與休憩。帳篷的機動性也暗示了游擊的生存方式，而其所對抗的可能是人力難以駕馭的荒野自然，可能是體制巨獸，在此，周代焌以掀開門片的帳篷喻示了人與外在的直面接觸。

面對幾乎無可期待的未來，他或願繼續敞開等待。

e Wait g Back

In the Artificial Wilderness, We Wait without Holding Back

tion Action

Chou Tai-Chun’s Solo Exhibition Action Through Inaction by

CHANG Ching-Wen

and

Assistant Professor at Department of Arts and Design, National Tsing Hua University

e Wait g Back

In the Artificial Wilderness, We Wait without Holding Back

tion Action

Chou Tai-Chun’s Solo Exhibition Action Through Inaction by

CHANG Ching-Wen

and

Assistant Professor at Department of Arts and Design, National Tsing Hua University

It does not take more than a snap of a finger for us to enter a new geological epoch, the Anthropocene. According to Diane Ackerman (1948-) in her The Human Age, humans have “created a bounty of new landscapes, and lest the feat be lost on anyone, we even take on the suffix ‘scape’ to describe them,” and these examples include cityscape, townscape, windowscape, mallscape, soundscape, etc 1 . How did these respectively different landscapes become landscape? Human’s definition of landscape, terminologically speaking, as well as the selfknowledge and the knowledge of one’s relationship with the environment have experienced several transitions. We do not know since when but the landscape of disaster has become a category in landscape too, no matter it is a rational thinking based upon a necessary scientific land management to prevent the yet-to-come disaster, or a proof for us to lament for Nature, or a complicated text for the eyes desiring something exotic. When disasters become the object to be viewed or even depicted, how should artists deal with such sudden and unexpected calamities – the overwhelmingly tragic defeat suffered by humans – and their harm to the environment? Or in other words, what kind of philosophy of nature can be achieved through contemporary art’s concern for and exploration of land? Chou adopts a trilogy form to develop a narrative representing the relation between oneself and the environment. The three stages of the series, as shown in “Globe Silent”, “State of Flux”, and “Action Through Inaction”, visualize painter’s take on the external world and how he reflects upon his position in it. His painting often features one important signature, which is how paintings as they are respond to the epoch. Unlike photography or other practices related to mechanically produced images, the painting here in our discussion, as a narrative,

1. Diane Ackerman, The Human Age: The World Shaped by Us, the Chinese version translated by Chuang Ann-Chi (Taipei: China Times Publishing Co., 2015) 39.

cape and Incident

9 In the Artificial Wilderness, We Wait without Holding Back-Chou Tai-Chun’s Solo Exhibition Action Through Inaction

reveals its allegorical character. In “Globe Silent” series, the virtuality of media becomes the dominant theme. The exaggerated, distorted, and absurd images are categorized as landscape, as the artist adopts a painting technique with the attempt to produce a voice by imitating the tone how digital devices speak. Fluorescent colors sparkle against the dark black base, while the manmadeness not only highlights the co-creating of the world between humans and machines but also the mutual trauma as if it were agreed in writing by the two parties. As for “State of Flux”, the exhibition layout in the obscure space with little light creates a stage-like continuity, where each painting becomes a frame as in the moving picture, forcing viewers to gaze into the nature-themed, mostly in background, images. However, since a look too close makes the panoramic view impossible, machines, measurement, mining, and any other actions categorized as “development” are surrounded by images of collapse, falling, sinking, and cracking until everything is brought into a conclusion in the feebly draping canvas in Beyond the Silence 030 – The Falling. The “collapse” here, according to the artist, emphasizes the state of flux rather than its destruction. The constantly changing significance not only points to the endless transformation of the landscape but also the weakened and softened foundation in terms of geology. Such a sense of helplessness that we seem to be so powerless in front of Nature and that there is nothing we can do to alter the situation is a lament for the doom of humans. The two projects mentioned above were inspired by the natural disasters the artist had a strong feeling for, especially the 2011 Tōhoku earthquake in Japan which resulted in the second biggest nuclear accident in human history. Therefore, the artist in his “Globe Silent” reexamines and reflects upon the intransitive experience of the mediated disaster, but the lingering sciencefiction romance in the series is later replaced by a realization after everything has been shattered by the overwhelming calamities in ”State of Flux”. Just like the activists shouting “nobody is an outsider,” the fact that humans and the whole ecological system belong to the same land means more than an imagination. During his residence in Japan in 2017, Chou and his artist friends visited the area affected by the Fukushima Daiichi nuclear disaster. The brief and peaceful encounter showed him the spirits of the towns ready to put the disaster behind them for a resurrection. The stable land seemed still and serene, but its crystallization was a mixture of the two forces – the layers of burying and the expectation of a new life. The traumas of the land as well as of humans were dug out in heaps, from deep inside, covered by the nuclear protective cloth. Meanwhile, the blossom of life had to begin from zero again, like the withered waiting for another spring.

Several exhibits for Chou’s 2018 solo exhibition “Action Through Inaction” were completed during his residence in Japan, including Back to – The Lightness of a Carrier and Back to – The Poetic Fetters of the Future. The unmounted canvases represent temporary but yet flowing scenes. They adopt a narrative-based practice in which the artist touches upon specific accidents and events. The imagery, sometimes reminiscent of kites and sometimes of sails on the sea, flaunts in the distance which is impossible for spectators to look at it closely. The unapproachable paintings imply the artist’s desire to accentuate a different, and more abstract, expression of emotions. Apart from the response to the close-range accident/event, he is concerned about the filtered and recollected opinion after a moment of contemplation. His “Beyond the Mountains” series continues the artistic vocabulary of image recurring in his previous works, featuring the amassed layers of colors which are not only to cover but also to penetrate. The modeled composition in particular intends to visualize a chronical transformation of thought within a continuous structure. In the paintings, the image of landscape is often penetrated by sharp and absolute lines in the most tyrannical way. These unstoppable lines decide the fundamental tone of the image. The planes of bright colors extend and emit radiatively until they occupy the space defined by the lines, manipulating the quiet, heroically tragic metaphors of the falling

pe and Incident

11 In the Artificial Wilderness, We Wait without Holding Back-Chou Tai-Chun’s Solo Exhibition Action Through Inaction

and flowing collapse that can no longer be controlled. Chou’s skill in creating dynamics, a signature of his artistic practice, is also noticeable in ”Beyond the Mountains“ series. Among many contemporary Taiwanese painters who show an interest in re-depicting landscape as a visualization of their personal worldview, Chou is certainly one of the most distinctive examples with his structurally fragmentized landscape. There is an icon image threading all the exhibits together – the tent. It appears in the paintings physically while its existence can also be found symbolically in the space arrangement. The tent, as a temporal residency, guarantees the minimum demand of living as it also offers humans a shelter and the place to take a rest. The mobility of the tent also suggests a guerilla way of survival, fighting against the wild Nature beyond the grasp of humans, or even the giant beast named “system.” Here, Chou’s tent, with its door lifted open, symbolizes the direct encounter between humans and the outside world. In the face of a future with little to hope for, he would like to continue the waiting without holding back.

— 境、風景繪畫

周代焌的實驗— 介於自然與環境、風景與事件之間的繪畫

周代焌作畫的出發點源於一個事實：我們不能只專注自然之美。透過經驗，藝術家了解到大自然不該總被視為美學的物件；他體認到大自然的另一個面向，是能將科技文明的進步歸零、重新開始的那一面—— 也就是我們所謂的「災難」。他目睹自然災害可以瞬間摧毀人類引以為傲的成就，偉大的紀念碑、科技的昌明等，皆可能一夕之間物換星移、混亂無章。換句話說，他觀看到許許多多如泡沫爆破、瞬逝蒸發，

文

沈相龍美術史學博士 / 同德女子大學教授

彷彿一切從未存在過的場面。在 2016 年個展主題名為「崩解劇場」，「崩解」是他從災難中得到的訊息，大自然對過度開發造成環境的報復，被資本獲利蒙蔽雙眼的文明是暴力的徵兆等等。藝術家提到：「無論建築的根基有多深、建物有多高聳，島嶼一旦超載，如災難電影般的崩塌是無法避免的。」

— 境、風景繪畫

周代焌的實驗— 介於自然與環境、風景與事件之間的繪畫

這就是周代焌為何要在他的繪畫表現中，放置濫墾的島嶼與垂直的土地，形成水平漂浮的液化風景。他的繪畫可稱為「災景」；畫面裡，都市與文明的產物都以裂解的方式分崩離析，巨大的機械結構慘不忍睹地崩塌、凌亂不堪地糾纏著。地表支離破碎，貫穿在頂端的輸油管扭曲、爆裂。山腰上的道路崩斷、阻礙重重；世人曾引以為豪的高聳

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沈相龍美術史學博士 / 同德女子大學教授

與事件之間的繪畫

13 周代焌的實驗—介於自然與環境、風景與事件之間的繪畫

水泥結構如今不復重現，僅存些許痕跡。

但在他的畫作並非盡是如此。畫面中即使沒有任何美好的元素——平和靜好的夕陽、水車、精緻的庭園、

17 世紀傳統荷蘭風景畫中的林蔭大道等等——我們也不急著將他的作品定義成「災景」，因為他的畫面結構充滿著動感與生氣，其生動、趣味盎然的筆觸色調會讓你覺得，畫面整體而言實在太活潑了，不該是份災難報告；你甚至可以稱他的畫「充滿希望」。真實的物件、純表現性的手法、抽象的元素都爽快地揉合在一起，這些貌似衝突的面相並存在他的畫作裡。

周代焌深刻地意識到，文明征服自然所造成的災害是需要被治癒的。無庸置疑，他思考的是關於崩解重建與治癒傷痛的反省智慧。為了克服時間緊迫與空間不足，整個文明被省時快速、土地侵略和預測未來給蒙蔽；災難其實深藏於世人對「尺幅、數量、品質、速度、價格、功率、速率」多方面的焦慮當中，而其造成的後果則是，我們將人生更多的可能性與自由度拒於門外——托馬斯・墨頓（Thomas Merton,

1915-1968）將此視為末日近了的生活特徵。談到「無為而治」的意義：我們要是順應自然，與大自然神秘的療癒力量呼應、天人合一，我們便可改善環境、自然亦可踏上自行修復治癒之路。如此一來，傾頹可用各種方式重建，阻礙將被排除，世人也將和平相處、互助扶持。

即便藝術家面對真實情勢、指責當今現況、提出改善方案，他仍不是中立的記者，亦不是嚴厲的批評者，或針砭時事的評論家。他的繪畫既不是災難的客觀文件、也不是知識份子的研究成果——我們也不該就此定義，相較之下其作品更為深刻、精確又廣泛。更重要的是周代焌以一位藝術家的態度，透過災難反映自然與文明；他談的不只是事件，而是含括事件的風景。他的繪畫不只與風景、事件有關，而是事件中的風景以及包裝成風景的事件；藝術家的美學意識，是由風景、事件二者，緊密維持著的平衡所構成的。他透過經歷災難，突破所謂「埋頭閉關在小工作室的現代藝術家」之窘境，成為一位觀察者、一位多面向文明事件的關注者。周代焌遊走於歷史、社會的間隔空間，企圖尋求新的美學平衡，不被美好的事物埋沒，也不被對文明批判的偏見所左右。

n’s oward

CHOU Tai-Chun’s Experiments Toward

ure and and Incident

Paintings in between Nature and Environment, Landscape and Incident

SHIM Sangyong Ph.D. Art History Professor, Dongduk Women’s University

n’s oward

CHOU Tai-Chun’s Experiments Toward

ure and and Incident

Paintings in between Nature and Environment, Landscape and Incident

SHIM Sangyong Ph.D. Art History Professor, Dongduk Women’s University

scape and Incident

Chou Tai-Chun’s paintings start from the fact that they do not focus only on the beauty of nature. Through the artist’s experience, he realizes that nature cannot always be an aesthetic object. He has experienced the other side of nature, which we generally call a ”disaster“ that can reverse the development of our civilization and technology back to square one. He has witnessed natural disasters transforming once proud achievements of human such as monumental landmarks and successful scientific, technological outcomes to uncertainty and chaos. In other words, he has seen many sites instantly bursting like bubbles like it never existed before. The main title of Chou’s solo exhibition in 2016 was “State of Flux”. ”Flux“was the message Chou received from the disasters, which meant that overexploitation of nature results in its revenge and civilization blinded by capital gain is a sign of violence... The artist mentioned, “no matter how deep the foundation is or how tall you build the buildings, at one point when the island is overloaded, the disastrous cinematic collapse is thus unavoidable“. This was the reason behind Chou’s expression of painting overharvested island and vertical land sites into a liquidized landscape of horizontal floating. Chou’s paintings seem like disastrous landscapes. In his paintings, products of urbanism and civilization are torn apart in a demassifying manner. Massive mechanical construction or facilities collapsed tragically are haphazardly entangled. The earth split apart and oil pipelines that once spread on top of it are twisted and ruptured. Winding mountainside roads are cut off here and there and the ever-high concrete structures that once boasted its height are nowhere seen anymore, its trace barely remaining.

15 CHOU Tai-Chun’s Experiments Toward-Paintings in between Nature and Environment, Landscape and Incident

Not all of Chou’s paintings are like such mentioned above. There aren’t any aesthetic elements in his paintings such as peaceful landscape of the sunset, watermill, well-groomed garden, or trees along the street that one might have seen in a traditional 17th century landscape, which originated from the Netherlands. Nevertheless, there is no rush for us to consider Chou’s paintings as ”landscape of disasters“due to the reason that his pictorial construction is very dynamic and lively and his brush strokes and color tones are often too bright to be just a disaster report. If such expression is possible, it may seem ”hopeful“. Realistic representation of objects is happily mixed with pure expressive gestures or abstract elements. In Chou’s paintings, there exists of both sides that seem to be in conflict with each other. It is clear that Chou has a deep awareness about harmful consequences of conquering civilization and its cure. There is also no doubt that his thoughts are based on reflective intelligence in regards to such awareness falling apart, reconstruction and healing of the distressed. According to this, disasters obsess about lack of space and time and in order to conquer this, it resulted in civilization blinded by timesaving, space invading, and predicting the future. Buried by the concerns of ”size, mass, quality, speed, number, price, power, and velocity“, disasters are result of exclusion from other possibilities and freedom. Thomas Merton saw this as a characteristic of living on the brink of apocalypse. Chou continues to set force meaningful discourses about “Action through Inaction”. He claims that even now if we listen to ”the course of Nature“, correspond and be in harmony with its mysterious power of healing, we can change the environment and step in the path of nature’s self-healing. Through this, the once fallen can be erected again in a different way, flowing will reoccur among the stuck, and people will comfort and help each other without any conflicts. Even if Chou faces the reality, accuses our current time, and suggests alternative ways, he is not a neutral reporter, harsh accuser or a critic of such incidents or situations. In addition, his paintings are neither objective document of disasters nor research based on intellectual foundings. The things we are dealing with from his works cannot be defined as such. It is more profound, delicate, comprehensive, and realistic than that and the most important thing is Chou’s attitude as an artist who reflects on nature and civilization through disasters. He is not dealing with just the incidents; he also deals with landscapes that are embracing the incidents in itself. As a matter of fact, Chou’s paintings are not just about incidents or landscapes, they are landscapes within incidents at the same time incidents dressed up as landscapes. The artist’s aesthetic awareness is formed upon intimate balance between the two. Through experiences of disasters, Chou Tai-Chun as an artist goes beyond the bounds of ”an artist in a modernistic sense who is confined in his or her small atelier“. He sets out to become an observer or a watcher of extensive civilizational incidents. By crossing between the space of historical and social separation, he is seeking the balance of new aesthetic that is not buried by aesthetic of objects or phenomenon and not biased by criticism on civilization.

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圖版

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Artworks

凝結在改變的時刻 Congealing at a Time of Change 鏡面不鏽鋼、桂楠木 Stainless mirror, phoebe kwangsiensis 290×103×103cm 2018

寂靜之外 031 －驀然回首 Beyond the Silence 031 – A Sudden Turn Around 壓克力、畫布 Acrylic on canvas 194×120cm 2016

前山－無法遮掩的未來 Beyond the Mountains – Cannot Hide the Future 壓克力、畫布 Acrylic on canvas 162×360cm 2017

前山－ 30 度地浪 Beyond the Mountains – 30 Degree Wave 壓克力、畫布 Acrylic on canvas 120×194cm 2017

前山－思緒的裂隙 Beyond the Mountains – The Cracking Thoughts 壓克力、畫布 Acrylic on canvas 120×162cm 2017

前山－他山之實 Beyond the Mountains – Reality Is the Best Teacher 壓克力、畫布 Acrylic on canvas 120×194cm 2017

前山－直指內心的崩流 Beyond the Mountains – Pointing at the Avalanche of Innermost World 壓克力、畫布 Acrylic on canvas 72.5×91cm 2017

前山－超現實舞台 Beyond the Mountains – Surreal Stage 壓克力、畫布 Acrylic on canvas 72.5×91cm 2017

前山－夢醒的大地 Beyond the Mountains – The Awakening Earth 壓克力、畫布 Acrylic on canvas 162×120cm 2017

星星之火可以燎原 A Single Spark Can Start a Prairie Fire 壓克力、畫布 Acrylic on canvas 194×240cm 2018

前山－大地縫合術 Beyond the Mountains – The Suture of Earth 壓克力、畫布 Acrylic on canvas 120×162cm 2018

揭開時間的厚度 Revealing the Thickness of Time 壓克力、畫布、不鏽鋼 Z 型台座 Acrylic on canvas, stainless steel Z-type pedestal 110x57x25cm 2018

前山－起初的視點 Beyond the Mountains – The First Viewpoint 壓克力、畫布 Acrylic on canvas 140×140cm 2017

前山－承載著地景之重 Beyond the Mountains – Bearing the Heaviness of the Landscape 壓克力、畫布 Acrylic on canvas 140×140cm 2017

前山－轉 Beyond the Mountains – Turn 壓克力、畫布 Acrylic on canvas 140×140cm 2017

前山－他者 Beyond the Mountains – The Others 複合媒材（壓克力、畫布、窗簾組、霓虹燈管、雷射切割鐵件冷烤、海報、鋁板裱褙） Mixed media (acrylic on canvas, curtain sets, neon lights, laser cutting and paint on iron, poster, aluminium plate backing) 尺寸依場地大小而定 Dimensions variable 2018

前山－時間裂隙 Beyond the Mountains – Rifts in Time 壓克力、畫布 Acrylic on canvas 206×40cm 2018

前山－前山 Beyond the Mountains – Beyond the Mountains FFC 清水模塗料、鏡面不鏽鋼板、木夾板、霓虹燈管 Architectural concrete painting, stainless mirror, wood, neon lights 256×328×60cm 2018

周代焌 Chou Tai-Chun Ｘ微物設計 Weiwustudio

展場一隅 Gallery View

展場一隅展場一隅 Gallery View Gallery View

加真實

不真實的更加真實

「你不清楚現在的情況嗎？」「情況」無疑是一個經常被使用的詞，然而想要精確地掌握其中的意涵卻不是件容易的事。其詞意涵蓋的範圍之廣泛，甚至可以說是由許多外在的資訊所組合而成，「外在」是「需要被改變」的事物之簡稱，改變則意味著訊息的再製，通常難以

文

保持原意。比起在傳遞過程中試圖避免扭曲原意與加油添醋，在歷經

金英基

無數個媒介進行再製的當下，其所處之位與觀點便已造成新的污染與

OCI 美術館策展人

變質，更糟的是，過程中若再有不同的意圖介入，更無法避免混淆的情形出現。

加真實

不真實的更加真實

舉例來說，地震所震盪的不只是建築物。在同一時間湧入一連串來源不明的謠言將導致混亂，而各種媒體的誤導則會引來更大的混亂。地質的震盪蔓延成為感知與訊息間的擾動，最終震盪了整個社會。「真實的地震情況」其實與我們腦海中既定的印象不大相同，真實逐漸演

文

變成為不真實。我們時常聽到經歷過災難的人說出：「這一切好不真

金英基

實。」科幻世界的情節已不再是遙不可及，切割著各個角落的那些謠

OCI 美術館策展人

言與誤導的新聞見證了真實與超現實間那條界線的消逝。不真實的畫面實際上卻是更加寫實。

不真實的更加真實

65 不真實的更加真實

1107 －牽動 1107 – Influence 壓克力、畫布 Acrylic on canvas 53×82cm 2017

1017 －在空間中的三條線（1） 1017 – Three lines in the space (1) 壓克力、畫布 Acrylic on canvas 40×60cm 2017

不真實的更加真實

67 不真實的更加真實

因此周代焌所呈現出來的災難場景中，融合了不屬於災難的炫目色彩，以及混著真實地景的超凡形式。從他在台灣所觀察到大大小小的災難中，他發覺情況會依循著這個接口而有所不同，也就是說，要視「如何傳達、接受與結合，以及傳達、接受與結合什麼」而定，而非災難本身質與量的細節。他在畫布上所揭示的正是相互接合的狀態。當謠言四散，蔥翠的綠葉蠶食著整個畫面，在那看似完美遮掩的昏暗厚帳幕後，有什麼事件正蠢蠢欲動。越是因嗅到危機的逼近而試圖抓緊與掩蓋它，它反而越容易竄出。當衝破臨界點，巨大的樹幹像是不受控的真相，狠狠岔出。那些凹痕，看起來像是植物被拉扯後在表面上留下的傷痕，被融合了各種界限與思緒的繽紛黏土和線材縫補起來。他並不是以再現或幻象為目的。如同搭帳、搭篷，或者拉起布條似的，在無框畫布上所完成的作品帶出一種為舞台揭開序幕的節奏。作品在觀者面前被「搬上銀幕或者被表演出來」，彷彿是在安全的戲院中欣賞一齣劇。白色的方塊則是觀者所面對的實際情況，而作品成了另一個將內容對調的「接口」。在首爾的秋季裡，反覆思索著展覽的命題，假想著：「若是在首爾的這段時間裡發生了無法預期的事情呢？」在他離開首爾的前幾天，浦項的確發生了地震，且傳遍整個朝鮮半島，包括首爾在內。在作品的畫面中，我們可以看見他所觀察到工作室周遭的風景碎影，而他所看見的，或許還比一個多年來天天經過鐘路區的上班族來得更加精準。在 2016 年舉辦完個展之後，周代焌便赴韓國與日本駐村。在這一年當中，他必然造訪了更多地方、遇見更多人、經歷更多事情，且感受更多。繪畫與說出的話語和寫出的文字不同，不受國家與國家之間的限制，但也並非一定無阻。即使他在生活周遭中發現許多素材，他總能有邏輯且有架構地將其運用。本次展出的作品內容更全面也更抽象。對於一位處理視覺語言，且致力於探索更廣的議題、以更自然的方式傳達訊息給更多人的藝術家而言，這無疑是一個嘔心瀝血的過程。其傳遞的訊息比起以往帶有更多希望，如俗話所說，「苦盡甘來」、「時間是撫平傷痛的良藥」，受傷後能療癒，災難後便是重建，這還是一個值得盡情去活的世界。

1025 －在空間中的三條線（2） 1025 – Three lines in the space (2) 壓克力、畫布 Acrylic on canvas 40×60cm 2017

Rather More Real

69 The Unreal is Rather More Real

“Don’t you understand the situation?” “Situation” is certainly a word often used, but it is actually not easy to grasp the meaning. The scope of the word is so comprehensive, and in addition, it is made up of a lot of information coming from outside. “Outside” is an abbreviation for something “in need of change”. Change means reproduction of information, which is usually difficult to maintain a good direction. Rather than avoiding distortion and complementing for sharing, the positions and views of the innumerable agents of reproduction act in spite of themselves as new pollution and deterioration. And to make things worse, if various intentions come in, confusion is inevitable. For example, it is not only buildings that are shaken by an earthquake. A train of rumors coming simultaneously from a myriad of unknown sources lead to confusion, and all kinds of misleading media reports invite even greater confusion. Geological perturbation spreads out to become perturbation o f p e rce p t i o n a n d co m m u n i ca t i o n , f i n a l ly to shake society as a whole. The “actual earthquake situation” is quite different from the cliché in our head, and the reality increasingly turns into the unreal. We often hear from people who have experienced disasters saying, “it was unreal.” The world of science fiction is not somewhere far away. The rumors and misleading news that crop up here and there bear witness that the boundary between the real and the surreal is not so clear. The unreal scene is actually more realistic. So the scene of disaster that Chou Tai-Chun presents is compromised by dazzling colors that would not fit in with the disaster at all, and by some transcendental forms mixed with the landscape of reality. Through the big and small disasters that he has observed in Taiwan, he realized that the situation depends on this interface, that is, on “how and what to communicate, accept, and combine”, rather than on the quantitative/qualitative details of the disaster itself. What he unfolds on the canvas is the scene that has been through the interface.

The Unreal is Rather More Real

The Unr More Re by

KIM Younggi

Curator, OCI Museum of Art

Curator, OCI Museum o

The Unreal is Rather More Real

The Unr More Re by

KIM Younggi

Curator, OCI Museum of Art

Curator, OCI Museum o

1013 －城市流域 1013 – City's Basin 壓克力、畫布 Acrylic on canvas 40×120cm 2017

As rumors spread, the lush green leaves are encroaching on the canvas. Something is about to spring up through the thick and darkish tent that seems to be perfect for covering and hiding anything. The more you try to hold on tight and press it, sensing the crisis approaching, the easier it paradoxically becomes to pierce it. The moment the threshold is reached, the giant tree trunk stretches out like a truth that can no longer be controlled. The dents, which look like scratches on the surface of a plant encroached upon by tension, are stitched up with colorful putty and thread mixed with various boundaries and thoughts.

Rather More Real

71 The Unreal is Rather More Real

He does not aim for representation or illusion. As if pulling tight a tent, a pavilion, or a banner, the work done on the frame-less canvas produces a tempo that resembles a tent or a curtain that announces the opening of the stage. The work is “screened or performed” in front of the audience as if it were a film enjoyed in a safe theater. The white cube is the actual situation that the audience is faced with, and the work becomes another “interface” to exchange the contents.

The leitmotif of the exhibition, prepared over the autumn in Seoul, is the assumption that “what if something unexpected happens in the middle of Seoul?” A few days before he left Seoul, an earthquake did occur in Pohang, and the vibration was heard throughout Seoul as well as across the Korean peninsula. Here and there in the canvas we see pieces of scenery around the studio where he stayed. Yet what he saw is probably more accurate than the scene that an office worker in Jongno saw, who had been passing by the area for a number of years. After the solo exhibition in 2016, Chou TaiChun went over to Korea and Japan to work as a resident artist. Over the year, he must have visited many more places, met more people, experienced many things, and felt a lot. Unlike spoken or written languages, painting is not bound by the barriers between nations. That does not mean it always works well. Although he has found many subject matters from his surroundings, he has always had the logic and the framework to apply universally. The images to be exhibited this time may be more comprehensive and more abstract. This is a painstaking effort of an artist who deals with visual language to cover broader issues and convey messages more naturally to more people. The message is more hopeful than before. “Sweetness follows bitterness”, “Time is a great healer,” as the saying goes. Since the wound is followed by healing and the disaster by recovery, it is still a world worth living in.

Rather More Real

73 The Unreal is Rather More Real

We Fix the Gap 壓克力、畫布 Acrylic on canvas 25.5×17.5cm 2017

1004 －我們仍是享受同樣的天空 1004 – We Still Enjoy the Same Sky 壓克力、畫布 Acrylic on canvas 60×80cm 2017

0927 －在思想中擺盪的光景 0927 – Thinking about the Scene of Swinging 壓克力、畫布 Acrylic on canvas 40×60cm 2017

Rather More Real

75 The Unreal is Rather More Real

0926 －增生在老舊之上 0926 – All the Old Things Are Built on Traditions 壓克力、畫布 Acrylic on canvas 40×60cm 2017

橫濱，日本

BankART Studio NYK

無為而治文

周代焌在我處理關於環境議題的脈絡與發展上，從 2011 年開始的《全球寂靜

001 －災難的前序》談起，就如議題發展時間軸上的首部曲，展開虛擬網路中對於觀看訊息的想像，開始對媒體所報導的災難議題產生關注，但因現實距離而僅能藉由網路媒介進而了解片段的訊息，也因為如此我對於「災場」更有一種想像，這並不是期待發生的心態，而更像是回應媒體訊息的反思。而在二部曲 2016 年個展「崩解劇場」中，呈現的是人類對環境的過度消耗，企圖去形塑一股巨大且不安定的氛圍。崩解的概念來自於災難下的瓦解，這種瓦解就像是地貌處於流動的狀態，過度開發下，島嶼上不論人工或自然物等這些植被，都像是液態般地流動。不論你挖得多深、建得多高，當無法負載的景況產生時，可能如同電影情節般崩解的畫面就會出現，而我就是正在模擬液態島嶼崩毀的種種情節。

Back to －風洞中的現實 Back to – Reality in a Wind Tunnel 壓克力、畫布 Acrylic on canvas 60×90cm 2017

來到終章的三部曲時，「無為而治」系列作品延續了多年關心的議題，進而將自身情感內化其中，抒發及關懷土地的修復與治癒。在我們觀看著表象之下的山脈，背後所潛藏的事件，這些事件指的是「環境」面對人們的超荷負載，將其擬人化後所展現的情感宣洩，在面對無止盡的耗損之下，大自然的反撲必然成為一種常態。但即使造成了傷痕，不強作妄為，順應自然的態度，自然也會循著秩序而修補治癒。而取其名也是將老子對於無為而無不為的概念挪其所用，如果人不依自然本性行事，完全按照人的功利原則去設置行動目標並為實現這一目標而採取盲目行為，那就必然導致人性的異化，產生大量的虛偽、醜惡和荒誕現象。

Back to – Pandora

我所關心的議題隨著時間軸發展轉換著不同呈現手法，雖然看似與上次的個展

壓克力、畫布

作品類似的表現方法，但這次從理性的

Acrylic on canvas

表述進而圍繞在感性的抽象氛圍中，在

145×95cm 2017

創作過程上自擬與內化，形塑深沉的情感於作品中，希望藉由畫面讓觀者反思如何達成人與人、人與自然、人與複雜多變的生活環境的和諧統一，謀求社會環境中和諧相處的最大利益。

Back to －載體之輕

Back to – The Lightness of a Carrier

壓克力、畫布 Acrylic on canvas 145×95cm ｜ 2017

Back to －未來之詩下的羈絆

Back to- The Poetic Fetters of the Future

壓克力、畫布 Acrylic on canvas 145×95cm ｜ 2017

Action Through Inaction Written by

CHOU Tai-Chun

Back to －隔離之境 Back to – Isolated Territory 壓克力、畫布 Acrylic on canvas 95×145cm 2017

The narrative of the environmental agenda in my works begins with Globe Silent 001 – The Disaster Is Coming in 2011. It is like the first episode, chronologically to develop the agenda, opening up the imagination of how we “view” the information in the virtual space. As it begins to pay attention to the disasters reported by media, the distance in reality limits our understanding to the fragmentized information offered by Internet media. Such a contrast evokes something within me to reimagine “disasters.” By saying that I do not mean to expect, but in a more precise way, to respond to and reflect on these mediated disaster-related messages. The following episode is the solo exhibition “State of Flux” in 2016, in which I try to visualize an immense, unsettling atmosphere as a result of humans’ overexploitation of Nature. The word “flux” refers to the collapse caused by disasters, reminiscent of the geological state of flux. On this overharvested island, both the artificial and natural vegetation are flowing like a liquid. No matter how deep the foundation is or how tall you build the buildings, at one point when the island is overloaded, the disastrous cinematic collapse is thus unavoidable. What I am doing in the works is to simulate every possible scenario of a liquidized island collapsing.

The third chapter, which is also the concluding one, “Action Through Inaction,” is the continuation of this long-term artistic exploration. The series features the internalization of emotions and feelings to express the concern for the land to be healed. When we are viewing the mountains, under their appearance hides the occurrence of the environment’s emotional release after it personifies the overloads with human activities. The endless exploitation makes Nature’s counter-attack the most ordinary scene. However, even though the harm is done now, if we adopt an action through inaction, following the course of Nature, Nature will heal itself in accordance with the laws of the Universe. The title of the series is borrowed from Laozi’s idea of “having arrived at this non-inaction, there is nothing that he does not do.” If human action is not motivated by true Nature but our own interest, making “benefit” our only goal and acting blindly to fulfill the goal, the result is the unavoidable alienation of humanity, followed by phenomena of hypocrisy, obscenity, and absurdity everywhere.

Back to －無法箝制的未來 Back to – The Future Cannot Be Muzzled 壓克力、畫布 Acrylic on canvas 150×130cm 2017

With the passage of time, my artistic concern has been growing into various means of visualizations. Although it seems to adopt an expression similar to the works for my previous solo exhibition, the rational rendering this time is further enveloped by the abstract emotional atmosphere. The self-personification and internalization throughout the artmaking process materialize the deep and strong feelings in the works, with an attempt to encourage viewers, through images, to reexamine how humans can have a harmonized relationship with each other, with Nature, and with a complex, constantly changing living environment, in order to achieve the greatest benefits, we can hope for from a harmonized environment and society.

Back to －我們到底還能承受多少 Back to – How Much More We Can Bear 壓克力、畫布 Acrylic on canvas 145×95cm 2017

簡

簡歷

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Biography

2012 年畢業於國立台北藝術大學美術系碩士班繪畫組，同年獲選 Made in Taiwan 新人推薦特區，2016 年於台北市立美術館舉辦「崩解劇場」個展。從 2011 年《全球寂靜》、《寂靜之外》系列到 2018 年發展迄今的《Back to》、《前山》系列等創作，周代焌逐漸建構出屬於他這個世代特有的視覺經驗與想像，從平面繪畫轉化發展為繪畫裝置，透過不同的表現手法進而呈現個人面對環境的宇宙觀。他所描繪的科幻空間及氛圍，看起來離真實雖然遙遠，卻透著現實的能指，影射當代世界的景況。曾在 2017 年駐村韓國首爾 OCI Museum of

Art 、日本橫濱 BankART Studio NYK 等，作品也曾獲得國立台灣美術館、台北市立美術館及澳洲白兔美術館典藏。現居住及創作於台灣台北。

周代焌一九八六年出生於台灣新竹

CHOU Tai-Chun 1986 born in Hsinchu, Taiwan

Chou Tai-Chun received his MFA degree with a specialization in painting from the Taipei National University of the Arts in 2012. His artworks have become a part of various domestic and foreign museum collections. Chou’s paintings have been selected for the Made in Taiwan – Art Taipei Young Artist Discovery in 2012. His solo exhibition named the “State of Flux” was installed in Taipei Fine Arts Museum in 2016. From the earlier series of works “Globe Silent” and the series “Beyond the Silence”, which the artist has been working on since 2011, to the series “Back to” and “Beyond the Mountains” so far in 2018, Chou Tai-Chun has been gradually constructing a unique visual experience and imagination manifesting itself in the era the artist is living in now. He uses different ways to expands his artworks from paintings to installation arts to represent his perspectives on the environmental issues of the universe. Although the science-fictional setting and atmosphere he is portraying seems to be remote from reality, yet there are few signifiers in his paintings alluding to the current situation of the world. He had an experience for International Residency Exchange in OCI Museum of Art, Seoul, Korea and BankART Studio NYK, Yokohama, Japan. His artworks are in the collection of the National Taiwan Museum of Fine Arts, Taipei Fine Arts Museum and White Rabbit Gallery in Sydney. He currently lives and works in Taipei, Taiwan.

學歷 2012

國立台北藝術大學美術系碩士班繪畫組碩士，台北，台灣

2008

國立台北藝術大學美術系學士，台北，台灣

經歷 2017

關渡美術館國際對等交換駐村計畫，OCI 美術館，首爾，韓國台北國際藝術村駐外出訪交流計畫，BankART Studio NYK，橫濱，日本

個展

2018

「無為而治」，尊彩藝術中心，台北，台灣

2017

「Back to」，BankART Studio NYK，橫濱，日本

2016

「崩解劇場」，台北市立美術館，台北，台灣

2012

「Made in Taiwan －新人推薦特區」，台北世界貿易中心，台北，台灣

2010

「大後方」，VT 非常廟藝文空間，台北，台灣

聯展 2018

「閱讀藝術 III －春祭聯展」，尊彩藝術中心，台北，台灣「2018 CRE8TIVE REPORT」，OCI 美術館，首爾，韓國

2017

「浮光我城 - 新竹市美術館十週年展」，新竹市美術館，新竹，台灣「2017 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣「非常持續－環保啟世錄」，銀川當代美術館，銀川，中國「三十」，誠品畫廊，台北，台灣

2016

「2016 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣

2015

「2015 高雄藝術博覽會」，駁二藝術特區，高雄，台灣

ography 簡

「2015 台中藝術博覽會」，台中日月千禧酒店，台中，台灣「三月三日天氣新」，尊彩藝術中心，台北，台灣

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「現狀與未來 I 與 II」，小畫廊，高雄，台灣

2014

「日本．台灣現代美術的現在和未來－地域性與國際性的振幅」，東京藝術大學，東京，日本「嫩天堂 2」，加力畫廊，台南，台灣「想像一個美好未來」，尊彩藝術中心，台北，台灣

2013

「日常壞軌」，尊彩藝術中心，台北，台灣「媒菌體」，FreeS 福利社，台北，台灣「海峽兩岸當代藝術展」，中國美術館，北京，中國；國立台灣美術館，台中，台灣

2012

「心動 EMU」，台北當代藝術館，台北，台灣「藝變者遊行」，關渡美術館，台北，台灣「如果阿宅讀了吉爾．德勒茲」，桃園縣展演中心，桃園，台灣「視點．觀點－觀看與被觀看」，大象藝術空間館，台中，台灣「無界地圖：台灣新銳畫家展」，Rooster Gallery，紐約，美國「凝視」，索卡藝術中心，台北，台灣

2011

「嫩天堂」，VT 非常廟藝文空間，台北，台灣「媒，這回事」，東海大學藝術中心，台中，台灣「搞空間－ VT 五週年」，VT 非常廟藝文空間，台北，台灣

2010

「Smooth －去銳利的再製造」，金車藝術空間，台北，台灣「2010 台北國際當代藝術博覽會」，王朝大飯店，台北，台灣

2009

「萬花筒」，小畫廊，高雄，台灣「實境．異想」，現代畫廊，台中，台灣「21 世紀少年」，關渡美術館，台北，台灣「露台開賣」，就在藝術空間，台北，台灣

2008

「噴射計畫／太快了」，國立台北藝術大學美術系綜合展覽廳，台北，台灣「Yes We Can College」，田園城市，台北，台灣「逆滲透－跨越領域與世代的作品交換展」，乒乓工作站，台北，台灣「第 2 屆龍顏校園藝術創作展」，金石堂，台北、台中、高雄，台灣

2007

「A4」，國立台北藝術大學美術系綜合展覽廳，台北，台灣

2006

「秒拉假高潮」，國立台北藝術大學美術系綜合展覽廳，台北，台灣「移動也不動」，華山藝文特區，台北，台灣「人在江湖－淡水河計畫」，伊通公園，台北，台灣

獲獎

2014

李仲生基金會視覺藝術創作獎，獲選，台灣台灣美術新貌展－平面創作系列，入選，台灣

2013

高雄市立美術館，高雄獎，入選，台灣

2012

Made in Taiwan －新人推薦特區，獲選，台灣

2011

世安美學獎－世安藝術創作贊助，造型藝術類，獲選，台灣高雄市立美術館，高雄獎，入選，台灣

2009

關渡美術館，美術創作卓越獎，獲選，台灣

2008

世安美學獎－世安藝術創作贊助，造型藝術類，獲選，台灣第 6 屆桃源創作獎，首獎，台灣

2007

A4 北藝大 21 屆系展，繪畫類第一名，不分類評審團獎，台灣第 2 屆財團法人龍顏基金會 96 學年度藝術創作獎，獲選，台灣台灣美術新貌展－平面創作系列，入選，台灣

典藏 2018

《1025—在空間中的三條線 2》，OCI 美術館，首爾，韓國《1017—在空間中的三條線 1》，OCI 美術館，首爾，韓國

2017

《寂靜之外 004—在地實驗室》，國立台灣美術館，台中，台灣《Back to—關於土地測量的三種方式》，BankART Studio NYK，橫濱，日本《寂靜之外 004—在地實驗室》，國立台灣美術館，台中，台灣

2016

《寂靜之外 015—忽悠地射向我心》，台北市立美術館，台北，台灣《寂靜之外 028—共振彼岸》，國立台灣美術館，台中，台灣《比爾先生說「Windows 7 由繁化簡」》，藝術銀行，台中，台灣

2015

《寂靜之外 019—超支的生活》，白兔美術館，雪梨，澳洲

2014

《全球寂靜》，藝術銀行，台中，台灣

2012

《大後方》，關渡美術館，台北，台灣

2010

《人造缺口》，國立台灣美術館，台中，台灣

2008

《有一件巨大的事件正在發生》，桃園縣政府文化局，桃園，台灣

2007

《眼睛捕捉到的一格》，財團法人龍顏基金會，台北，台灣

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EDUCATION 2012

MFA, Taipei National University of the Arts, Taipei, Taiwan

2008

BFA, Taipei National University of the Arts, Taipei, Taiwan

EXPERIENCES 2017

International Residency Exchange Program of the Kuandu Museum of Fine Arts, OCI Museum

of Art, Seoul, Korea

International Residency Exchange Program of Taipei Artist Village, BankART Studio NYK,

Yokohama, Japan

SOLO EXHIBITIONS 2018

“Action Through Inaction”, Liang Gallery, Taipei, Taiwan

2017

“Back to”, BankART Studio NYK, Yokohama, Japan

2016

“State of Flux”, Taipei Fine Arts Museum, Taipei, Taiwan

2012

“Made in Taiwan – Art Taipei Young Artist Discovery”, Taipei World Trade Center, Taipei, Taiwan

2010

“Rear Area”, VT Art Salon, Taipei, Taiwan

GROUP EXHIBITIONS 2018

“Art in the Library III – Spring Festival Exhibition”, Liang Gallery, Taipei, Taiwan

“2018 CRE8TIVE REPORT”, OCI Museum of Art, Seoul, Korea

2017

“Floating Glimpse of Our Homeland”, Hsinchu City Art Gallery, Hsinchu, Taiwan

“Art Taipei 2017”, Taipei World Trade Center, Taipei, Taiwan

“Very Sustainable – Environmental Revelation”, MOCA Yinchuan, Yinchuan, China

“An Ode to Thirty”, Eslite Gallery, Taipei, Taiwan

2016

“Art Taipei 2016”, Taipei World Trade Center, Taipei, Taiwan

2015

“Art Kaohsiung 2015”, The Pier-2 Art Center, Kaohsiung, Taiwan

“Art Taichung 2015”, Millennium Hotels, Taichung, Taiwan

“Freshness of March”, Liang Gallery, Taipei, Taiwan

“What Is & What Will Be, I and II”, Show Gallery, Kaohsiung, Taiwan

2014

“The Present and Future of Japanese and Taiwanese Contemporary Art – Amplitude of the

Global and Locality”, Tokyo University of the Arts, Tokyo, Japan

“Nintender 2.0”, Inart Space, Tainan, Taiwan

“Dream of a Better Tomorrow”, Liang Gallery, Taipei, Taiwan

2013

“Format Daily”, Liang Gallery, Taipei, Taiwan

“Matchmaker”, FreeS Art Space, Taipei, Taiwan

“Inter-vision: A Contemporary Art Exhibition Across the Strait”, National Art Museum of China, Beijing, China; National

Taiwan Museum of Fine Arts, Taichung, Taiwan

2012

“Crush on EMU”, Museum of Contemporary Art, Taipei, Taiwan

“Manifestation of Homunculi”, Kuandu Museum of Fine Arts, Taipei, Taiwan

“If Otaku Reads About Gilles Louis René Deleuze”, Taoyuan County Performing Arts Center, Taoyuan, Taiwan

“Viewpoint – Point of View: To View and to Be Viewed”, Da Xiang Art Space, Taichung, Taiwan

“Borderless Map: Taiwanese Painting Now”, Rooster Gallery, New York, USA

“Gaze”, Soka Art Center, Taipei, Taiwan

2011

“Nintender”, VT Art Salon, Taipei, Taiwan

“Why So Serious?”, Tunghai University Art Gallery, Taichung, Taiwan

“Creating Spaces – The 5th Anniversary of VT”, VT Art Salon, Taipei, Taiwan

2010

“Smooth”, King Car Art Center, Taipei, Taiwan

“Young Art Taipei 2010”, Sunworld Dynasty Hotels, Taipei, Taiwan

2009

“Kaleidoscope”, Show Gallery, Kaohsiung, Taiwan

“Reality / Fantasy”, Modern Art Gallery, Taichung, Taiwan

“About the Orientation of the 21st Century Artists”, Kuandu Museum of Fine Arts, Taipei, Taiwan

“Art on Balcony”, Project Fulfill Art Space, Taipei, Taiwan

2008

“The Pen-She Project / Too Swift”, Underground Art Museum of the Taipei National University of the Arts, Taipei, Taiwan

“Yes We Can College”, Garden City Publishers, Taipei, Taiwan

“Floating Buffer Zone”, Pingpong Artspace, Taipei, Taiwan

“The 2nd Long Yen Artistic Creation Exhibition of Arts”, Taipei, Taichung, Kaohsiung, Taiwan

2007

“A4”, Underground Art Museum of the Taipei National University of the Arts, Taipei, Taiwan

2006

“Miao La Jia Gao Chao“, Underground Art Museum of the Taipei National University of the Arts, Taipei, Taiwan

“Moving”, Huashan 1914 Creative Park, Taipei, Taiwan

“People at Jiang Hu – Plan on Tamsui River”, ITPARK, Taipei, Taiwan

AWARDS 2014

Li Chun-Shan Foundation Visual Arts Award, Selected, Taiwan

Exhibition of the Newly Emerging Artists in Taiwan – 2D Creation Series, Selected, Taiwan

2013

Kaohsiung Museum of Fine Arts, Kaohsiung Awards, Selected, Taiwan

2012

Made in Taiwan – Art Taipei Young Artist Discovery, Selected, Taiwan

2011

S-An Cultural Foundation Award, Plastic Arts Category, Selected, Taiwan

Kaohsiung Museum of Fine Arts, Kaohsiung Awards, Selected, Taiwan

2009

Kuandu Museum of Fine Arts, Outstanding Art Prize, Selected, Taiwan

2008

S-An Cultural Foundation Award, Plastic Arts Category, Selected, Taiwan

The 6th Taoyuan Contemporary Art Award, First Prize, Taiwan

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2007

A4: The 21st Exhibition of the Taipei National University of the Arts”, First Prize in Graphic

Arts, Taiwan

The 2nd Long Yen Foundation Creative Arts Award, Selected, Taiwan

Exhibition of the Newly Emerging Artists in Taiwan – 2D Creation Series, Selected, Taiwan

COLLECTIONS 2018

1025 – Three lines in the space (2), OCI Museum of Art, Seoul, Korea

1017 – Three lines in the space (1), OCI Museum of Art, Seoul, Korea

2017

Beyond the Silence 004 – Local Laboratory, National Taiwan Museum of Fine Arts,

Taichung, Taiwan

Back to – Three Ways of Surveying the Land, BankART Studio NYK, Yokohama, Japan

2016

Beyond the Silence 015 – Shooting at My Heart, Taipei Fine Arts Museum, Taipei, Taiwan

Beyond the Silence 028 – Resonating Opposite Shore, National Taiwan Museum of Fine Arts,

Taichung, Taiwan

Mr. Bill Gates Said, ”Windows 7, Simplify the Complicated”, Art Bank, Taichung, Taiwan

2015

Beyond the Silence 019 – Life Beyond, White Rabbit Gallery, Sydney, Australia

2014

Globe Silent, Art Bank, Taichung, Taiwan

2012

Rear Area, Kuandu Museum of Fine Arts, Taipei, Taiwan

2010

Man-Made Gap, National Taiwan Museum of Fine Arts, Taichung, Taiwan

2008

A Huge Thing Is Taking Place, Cultural Affairs Bureau of Taoyuan County Government,

Taoyuan, Taiwan

2007

What Can I Catch Pixel, Long Yen Foundation, Taipei, Taiwan

圖

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Catalog

凝結在改變的時刻 Congealing at a Time of Change 鏡面不鏽鋼、壓克力、桂楠木 Stainless mirror, acrylic, phoebe kwangsiensis

290x103x103cm 2018

前山－ 30 度地浪

壓克力、畫布 Acrylic on canvas

120×194cm 2017

前山－直指內心的崩流 Beyond the Mountains – Pointing at the Avalanche of Innermost World 壓克力、畫布 Acrylic on canvas

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72.5×91cm 2017

194×120cm 2016

前山－思緒的裂隙

壓克力、畫布 Acrylic on canvas

前山－超現實舞台

壓克力、畫布 Acrylic on canvas

72.5×91cm 2017

162×360cm 2017

前山－他山之實 Beyond the Mountains – Reality Is the Best Teacher

120×162cm 2017

Beyond the Mountains – Surreal Stage

前山－無法遮掩的未來 Beyond the Mountains – Cannot Hide the Future

Beyond the Mountains – The Cracking Thoughts

Beyond the Mountains – 30 Degree Wave 壓克力、畫布 Acrylic on canvas

寂靜之外 031 －驀然回首 Beyond the Silence 031 – A Sudden Turn Around

壓克力、畫布 Acrylic on canvas

120×194cm 2017

前山－夢醒的大地 Beyond the Mountains – The Awakening Earth 壓克力、畫布 Acrylic on canvas

162×120cm 2017

星星之火可以燎原 A Single Spark Can Start a Prairie Fire 壓克力、畫布 Acrylic on canvas

194×240cm 2018

壓克力、畫布 Acrylic on canvas

前山－起初的視點

140×140cm 2017

前山－他者

壓克力、畫布、不鏽鋼 Z 型台座 Acrylic on canvas, stainless steel Z-type pedestal

前山－時間裂隙

尺寸依大小而定 Dimensions variable 2018

壓克力、畫布 Acrylic on canvas

206×40cm 2018

110x57x25cm 2018

前山－轉 Beyond the Mountains – Turn 壓克力、畫布 Acrylic on canvas

140×140cm 2017

Beyond the Mountains – Rifts in Time

揭開時間的厚度 Revealing the Thickness of Time

120×162cm 2018

前山－承載著地景之重

壓克力、畫布 Acrylic on canvas

Beyond the Mountains – The Others 複合媒材（壓克力、畫布、窗簾組、霓虹燈管、雷射切割鐵件冷烤、海報、鋁板裱褙） Mixed media (acrylic on canvas, curtain sets, neon lights, laser cutting and paint on iron, poster, aluminium plate backing)

Beyond the Mountains – Bearing the Heaviness of the Landscape

Beyond the Mountains – The First Viewpoint 壓克力、畫布 Acrylic on canvas

前山－大地縫合術 Beyond the Mountains – The Suture of Earth

140×140cm 2017

前山－前山 Beyond the Mountains – Beyond the Mountains FFC 清水模塗料、鏡面不鏽鋼板、木夾板、霓虹燈管 Architectural concrete painting, stainless mirror, wood, neon lights

256×328×60cm 2018

1107 －牽動 1107 – Influence 壓克力、畫布 Acrylic on canvas

53×82cm 2017

1013 －城市流域

壓克力、畫布 Acrylic on canvas

1013 – City's Basin 壓克力、畫布 Acrylic on canvas

106

0927 －在思想中擺盪的光景

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40×60cm 2017

1004 －我們仍是享受同樣的天空 1004 – We Still Enjoy the Same Sky

25.5×17.5cm 2017

0926 －增生在老舊之上

壓克力、畫布 Acrylic on canvas

0926 – All the Old Things Are Built on Traditions

1025 －在空間中的三條線（2） 1025 – Three lines in the space (2)

40×60cm 2017

We Fix the Gap 壓克力、畫布 Acrylic on canvas

40×120cm 2017

0927 – Thinking about the Scene of Swinging 壓克力、畫布 Acrylic on canvas

1017 －在空間中的三條線（1） 1017 – Three lines in the space (1)

壓克力、畫布 Acrylic on canvas

60×80cm 2017

Back to －風洞中的現實 Back to – Reality in a Wind Tunnel 壓克力、畫布 Acrylic on canvas

60×90cm 2017

Back to – Pandora 壓克力、畫布 Acrylic on canvas

Back to －隔離之境

95×145cm 2017

Back to －載體之輕

Back to – The Lightness of a Carrier

145×95cm 2017

Back to – Isolated Territory 壓克力、畫布 Acrylic on canvas

壓克力、畫布 Acrylic on canvas

145×95cm 2017

Back to －無法箝制的未來 Back to – The Future Cannot Be Muzzled 壓克力、畫布 Acrylic on canvas

150×130cm 2017

Back to －未來之詩下的羈絆 Back to- The Poetic Fetters of the Future 壓克力、畫布 Acrylic on canvas

145×95cm 2017

Back to －我們到底還能承受多少 Back to – How Much More We Can Bear 壓克力、畫布 Acrylic on canvas

145×95cm 2017

發行人 Excutive director

余彥良 Yu Yen-Liang

總經理 Director

陳菁螢 Claudia Chen

出版者 Publisher

尊彩國際藝術有限公司 Liang Gallery Co., Ltd.

策劃編輯 Editor

修天容 Daisy Shiou

編務協力 Editor assistants 翻譯 Translation 展場執行 Display executive 燈光設計 Lighting 攝影 Photographer 設計 Designer

陳映芃、徐育婷、楊旻軒、李玉珊 Chen Ying-Peng, Yuting Hsu, Cindy Yang, Alison Lee 白斐嵐、游舒聿、 Minnie Kim Siraya Pai, Yu Shu-Yu 洪鼎鈞 Hong Ding-Jiun 何仲昌 Ho Chung-Chang 劉光智、黃嘉達 KC, JD 劉銘維 Liu Ming-Wei

展場設計 Display designer

印刷 Printing 出版 Publishing Date

109

日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd. 二零一八年四月初版 First Edition, April, 2018

ISBN

978-986-95903-2-7