蘋果核當代藝術聯展 Apple Core Contemporary Art Exhibition

蘋果核

羅禾淋 獨立策展人

「信仰」是人們心靈的依歸，也是人類畏懼大自然的一種 「象徵」，當工業革命加速科技的發展，電力時代使「科學」 開始凌駕萬物，神祉與天地慢慢被世人遺忘，科技也驅使 人們產生巨大的「慾望」，科技慾望產生的機械化「速度」， Apple Core 4

變成人們試圖擺脫上帝賦予肉體的唯一對抗之可能，如移 動的速度、生產的速度、訊息的速度等等，這些為了脫離 肉體的精神出竅，如同保羅．維希留（1932~）提到的「科 技義肢」，人們藉由科技的產物達到加速的超人化，但是 這種加速並非真實，只是某種身體感的出局，讓身體不在 信仰自然與萬物，只能不斷過度的加速，最後失速墜落， 好比毒藥般加快天地的耗滅，這種現象就像是營養的蘋果， 吃完營養的果肉之後剩下有毒的核心，不知如何是好。

當科技被資本所掌控，21 世紀科技拜物主義風行，智慧型 行動裝置與生活密不可分，人們透過行動上網得到意識流 的連結，科技以如同宗教信仰般狂熱，慾望驅動人與科技 之間的關係，信仰轉移成「科技癖」，科技於資本社會下 發揮最高的價值，「科技狂熱」加速科學進步的合理性， 武器、核能、複製生物、基因科技、電子微波、巨大數據 等等，如同瑪莉雪萊的經典名著《科學怪人》，科技與資

打亂科學的合理與自然的不真， 在反科技的同時找尋後科技時代的神性 ......

本結合成一個人們無法想像的龐大怪獸，並且沒有任何對 抗的能力，就如同東電於 311 福島核災之後，凌駕政府之 上的傲慢態度，科技資本變成突變的新自由主義，人們拋 棄自然的同時，也正在被科技所拋棄。

展覽「蘋果核」，試圖依據大眾文化所認知的神話禁果為 命題，重新討論科技與自然之間的關係，並且整理成兩 個子命題「科學唯心」與「自然唯物」，打亂科學的合理 與自然的不真，在反科技的同時找尋後科技時代的神性， 也在回歸自然的同時探索自然的理性。在科學唯心中，以 科技的產物為例，探討其產物與人之間的關係，如 Candy Bird 的塗鴉作品《蘿蔔人塗鴉系列作品》，反映了蘿蔔人

LUO He-Lin

「科學唯心」與「自然唯物」

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周育正《生物科技》

CHOU Yu-Cheng Biotechnique

2004 錄像，SD，彩色，有聲 8'30"

2004 Video, SD, color, sound 8'30"

生存在科技社會下的各種突變。周育正的錄像作品《生物 科技》，虛擬了一個科技產品，諷刺當下社會科技產物與 健康身體畫上等號，與電視廣告的真實性。林文藻的繪畫 作品《繪畫系列》把當下的城市與每天生活中的新聞載體， 透過繪畫的方式轉譯與表達，畫面中極簡卻又複雜的線條， Apple Core 6

與生活環境呼應。張立人的錄像作品《模型社區》，用類 比新聞畫面的語言方式，把武器攻擊模型假人，看似不真 實卻是真正發生的畫面，喚醒人們對於武器與媒體的省思。 許家維的錄像作品《回莫村》，紀錄著回莫村裡自強孤兒 院的一切，透過院長的口述歷史，紀錄著孤兒院的兒童與 院長互動的一舉一動，孩童對科技的新奇，但卻因科技之 害而身處當下。

在自然唯物中，以自然的真實為出發點，探討其自然與人 之間，最具體的連結。林煒翔的繪畫作品《有三棵樹的風 景》與《遊蹤系列 20~22》，刻畫著看似逝去卻又清晰的 自然風景，述說自然與生活的對照。許家維的錄像作品《鐵 甲元帥系列》，以紀錄片的方式與田野調查的步驟，紀錄 著民間信仰與在地文化，重新考據自然與人之間的連結。 陳依純的錄像作品《林水源傳奇系列》，用錄像動畫的方 式，紀錄著兒時父母訴說風水師祖父林水源的傳奇故事， 從家族、血源、日據文化為核心，回歸自然神靈的觀察。 蔡潔莘的雕塑作品《彩虹散步》與《遇見彩虹》，運用再

盧之筠的雕塑作品《無根之島》與《我們生存在那斷面之 上》，運用現成的廢棄建材、現成物，重新雕塑成一動物 的形體，以自然的返回，再次回歸自然。

「蘋果核」就如同傳聞般，有著劇毒但又可能無毒，在曖 昧不明的情況下，就如同科技對於我們，甚至科技對於自 然，我們無從知道科技是否如潘朵拉之箱，但至少福島事 變是非常重要的警惕，希望透過此次的展覽，讓大眾重新 思考廢核的重要，並且再次相信綠能科技可以取代核能的 技術實力，讓科技回歸自然，透過與自然的再次對話，找 尋科技與自然可以並存的方式。

許家維《鐵甲元帥－靖思村 》

HSU Chia-Wei Marshal Tie Jia – Jingsi Village

2013 單頻道錄像裝置 10'00"

2013 Single-channel ultra HD video 10'00"

LUO He-Lin

生紙，雕塑成其對於自然的想像，用自然的材質形塑自然。

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Apple Core LUO He-Lin Independent curator

“Faith” is not only our spiritual suppor t but also the symbol which suggests human’s fear of Nature. As the Industrial Revolution has speeded up the development of technology, the age of electricity thus places “science” above the rest of the things. Gods and Nature are gradually ignored by humans. Meanwhile, technology stimulates humans’ “huge desires,” which creates a mechanical “speed” – the only possibility for humans to get away from or to fight against the God-given flesh.

Apple Core 8

Empowered by the speed of moving, the speed of producing, the speed of information, we now welcome the escape of the spirit from the human flesh. As how Paul Virilio describes that technology makes “phantom limbs,” technological products also speed up the transformation from humans to the phantom-like beings. However, the acceleration is not realistic but is simply a rejection of physicality. If the physical body loses one’s faith in Nature, it can do nothing but to accelerate the speed until it is out of control. Soon, the final fall is expected, like how poison speeds up the consumption of Nature. The nutritious apple is a similar example.

After eating up the whole apple pulp, one is left with the poisonous core without knowing what to do with it.

When capital controls technology, materialism becomes a trend in the development of technology in the 21st Century. Smart mobile devices are the inseparable parts of our life. The mobile Internet service allows people to be connected to the stream of humans’ consciousness. People are as zealous for technology as they are for religion. Desire becomes the motivation to build up an intimate relationship between humans

“The Idealism of Science” and “The Materialism of Nature,” which reverse the rationality of science and the inauthenticity of Nature.

and technology. A fetish about technology replaces the religious belief, as technology shows its best values in a capitalist society. “Technology fever” speeds up the validity of the progress of science, demonstrated in weapons, nuclear power, clone, genetic engineering, microwave electronics, “Big Data,” and etc. In Mary Shelley’s classic Frankenstein, the combination of technology and capital creates giant monster which is

is like how TEPCO adopts an arrogant attitude which has placed itself above the government after the Fukushima Nuclear Disaster in 2011.

Technology and capital together become a mutated neo-liberalism. As humans abandon Nature, they are abandoned by technology.

The exhibition “Apple Core” attempts to highlight the theme of the forbidden fruit in the well-known myth in the popular culture, through which it reexamines the relationship between Nature and technology.

The theme is divided into two subjects: “The Idealism of Science” and “The Materialism of Nature,” which reverse the rationality of science and the inauthenticity of Nature. We intend to identify the divinity in a post–Technology Age as we oppose to technology. We also try to explore the rationality of Nature as we return to it. In the subject “The Idealism of Science,” we adopt technological products as examples to explore the relationship between the products and the human beings.

Candy Bird’s graffiti work “Carrot Man Series” reflects the mutation of Carrot Man who lives in a technological society. Chou Yu-Cheng’s video work “Biotechnology” creates a virtual technological product, mocking

LUO He-Lin

beyond our imagination, and we cannot find a way to fight against it. It

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張立人《模型社區》

CHANG Li-Ren Model Community

2008-09 影像裝置、5 頻道同步影像 4'54"

2008-09 Video installation, 5-channel real-time images 4'54"

how the society relates technological products to a healthy body and questioning the authenticity of TV commercials. Lin Wen-Tsao’s painting “Painting Series” visualizes the city of the moment and interprets the daily news through paintings. The simplistic but yet complicated contours in the images echo our life condition. Chang Li-Ren’s video work “Model Apple Core 10

Community” simulates news footage of model dummies being attacked by weapons. It does not seem real, but it really happens as shown on the image, through which it evokes people’s reflection on weapons and media. Hsu Chia-Wei’s video work “Huai Mo Village” documents the story of the orphanage at Huai Mo Village. Through the oral history of the orphanage owner, it documents the interaction between the kids and the owner. The kids feel curious about technology, but they are also suffering from it.

In the subject “The Materialism of Nature,” it begins with the authenticity of Nature to explore the most explicit connection between Nature and humans. Lin Wei-Hsiang’s paintings “The Scenery with Three Trees” and “Traces of Travel 20-22” depict the natural landscape which seems disappear but is still clearly seen to narrate a comparison between Nature and life. Hsu Chia-Wei’s video work “Marshal Tie Jia Series” adopts the procedure of documents and field studies to document the folk religion and the local culture as well as to reexamine the connection between Nature and humans. In Chen I-Chun’s video animation work

許家維 《鐵甲元帥－靖思村 》 2013 單頻道錄像裝置 10'00" HSU Chia-Wei Marshal Tie Jia – Jingsi Village 2013 Single-channel ultra HD video 10'00"

“Shui Yuan Lin Legend,” she transforms the legendar y stor y of her grandfather Lin Shui-Yuan, who was a feng shui master, as told by her parents when she was a child. Starting from family, blood, the culture and the history during the Japanese rule, she gradually returns to the observation on Nature, supernatural spirits, and deities. Tsai Chieh-Hsin’s

paper to sculpt her imagination of Nature. Nature is thus recreated through the natural material. Lu Chih-Yun’s sculptures “The Rootless Island” and “The Section Of Our Existence” use construction waste and ready-made to create an animal-like image. The returning Nature is returning to Nature again.

“Apple cores,” like what the rumor says, may either be deadly poisonous or harmless. In such an ambiguous situation, we will never know whether technology will be like Pandora’s box for us, even fore Nature, or not. However, the Fukushima Nuclear Disaster is a very important warning. Hopefully, the exhibition will invite the public to rethink about the importance to abolish nuclear power. We should believe that green technology can totally replace nuclear power, bringing technology back to Nature. Through another conversation with Nature, we are searching for a possible way for technology and Nature to co-exist with each other.

LUO He-Lin

sculpture “Strolling Along Rainbows” and “Seeing Rainbows” use recycled

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ART FORUM

座談

引言 羅禾淋 獨立策展人

這次的座談會除策展人與參展藝術家外，特地邀請了兩位 知名的策展人與藝評者：郭昭蘭老師與吳達坤老師。兩位 老師的策展都與此展覽〈蘋果核〉中的「自然」與「科技」 有關聯，如郭昭蘭老師策劃的〈離魂症：幻影神遊者〉與 Apple Core 14

錄像雙年展〈憂鬱的進步〉、吳達坤老師策劃的〈後民國〉 與〈AAA 亞洲藝術連線〉。座談會中，郭昭蘭老師精準的 說出此展覽刻意「二元化」的結構問題，此觀點即是蘋果 核的展覽起源，科學與自然的關係，狹義的類比如同後現 代主義拋開形上學與現代主義的快速發展，這個展覽試圖 往回走，從後現代的概念與藝術創作往回走到二元化的形 上學，符合「回歸自然」與「省思科學」這兩個論點，從 中找尋可以解決自然、科技和人類之間的問題，最後再重 新回到後現代的多元，進而找到三者之間可以並存的方式。 而吳達坤老師在座談會上精準說出〈蘋果核〉的構想，源 自知名日本動畫《蘋果核戰記》。日本因為二戰的核彈攻 擊，深知科技的可怕，在各種文本中都有對於科技的省思， 其中又以動漫作品最廣為人知，例如《攻殼機動隊》、《蘋 果核戰》、《機動警察系列》等等，這些作品皆反思科技 與人的關係，這觀點與此次策展概念互相吻合。

Foreword LUO He-Lin Independent curator

In this artist talk, we are happy to invite two famous curators and art critics – Guo JauLan and Wu Dar-Kuen to share their ideas with the exhibiting artists and me, the curator of the exhibition. Both Kuo’s and Wui’s curatorial practice are related to Nature and Technology, which are also the two main themes in Apple Core. Ms. Kuo has curated

Mr. Wu has curated Republic without People and Asia Anarchy Alliance. In the artist talk, Ms. Kuo has pointed out the intentional “dichotomy” in the structure of the exhibition, which is exactly the origin of Apple Core – the relation between Science and Nature. The once narrow comparison has experienced the rapid development like how post-modernism got away from metaphysics and modernism. The intention of the exhibition is to trace back to the dichotomic metaphysics through postmodernist concepts and art-making as a response to the two ideas of “returning to Nature” and “re-examining Science,” from which I attempt to find a solution to the problem among Nature, Technology, and Humans.

In the end, I return to the postmodernist multiplicity, searching for a way for the three to co-exist with each other. Mr. Wu also precisely points out that the initiate concept of Apple Core has come from the famous Japanese Sci-fi Manga Apple Seed. The nuclear bombings of Japan in the Second World War made them realize the devastating power of Technology. The reflection on Technology can be seen in movies, literature, art, and, the most well known, manga. The examples are Apple Seed, Ghost in the Shell, and Mobile Police Patlabor, which all discuss the relationship between Technology and Humans. The idea in these works is similar to the curatorial concept of Apple Core Contemporary Art Exhibition.

ART FORUM

Somnambulism: Phantasmagoric Fugue and the video art biennial Melancholy in Progress.

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與談

郭昭蘭 獨立策展人、藝評

策展人在展覽裡像一位作者，因此〈蘋果核當代藝術聯展〉不僅九位作者，加 上策展人，實際上共有十位作者。我以一個第三者的角度來談論此次展覽，因 此我也算作者之一。以往討論「蘋果核」的概念，主要著重在神話、傳說和聖 經裡的隱喻，但這次策展人以自然理性和科學感性為立論點， Apple Core

在討論自然和科學時，首先將兩者的立場對立後再去討論，即是一種十分傳統

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的辯證手法，會讓自然和科學之間的關係產生侷限性。因此，我很好奇策展人 如何處理傳統二元對立的議題。在浪漫主義時期，人們將自然類比為造物主或 是理解成一種變動不拘的概念；科學則是自序、重複性的代名詞，自然與科學 就這樣對立起來。直到二十世紀初期，社會大眾仍然將自然定義為有機的、難 以捉摸的，將科學定義為規律的、幾何結構的，以藝術風格來比喻的話，如同 幾何抽象與表現主義之間的對峙關係。

策展人巧妙運用傳統自然與科學的二元對立概念，放置於蘋果核展覽脈絡中的 每件作品，都能跨越這條陳舊的界線。例如浪漫主義時期的藝術家，對工業革 命後產生的混亂社會狀態以及干擾而感到鬱悶，轉而向大自然尋找精神寄托， 不論是具危險性或是令人肅然起敬的自然，這些景色都一一被刻畫下來，且大 部份都參雜著淡淡的憂愁及神祕感。

以浪漫主義的概念來看林煒翔的作品，與其說他在描繪作品，不如說他在進行

一場修行。林煒翔面對風景的態度，如 實呈現在畫面中，他的風景畫帶給觀者 無比寧靜，進入畫面之中，似乎可以擺 脫現實紛擾，獲得片刻喘息。

論及許家維的作品，我原先不解為何他 被歸類在自然脈絡裡，但若從風景畫的 概念來討論，詮釋方向以及閱讀觀點就 突然拓展了。作品中的風景記錄著屬於 歷史的眾生，展現的並非單一風景，而 是一個被詮釋過的風景，藝術家透過行

和主體認同有關的風景。

這次展覽有幾位藝術家十分強調手做感，例如蔡潔莘、盧之筠和陳依純。她們 使用手做的方式去強調材質的特性，但若將其作品與張立人做對比，會產生非 常有趣的現象。因為同樣是手做，張立人的手做並非指涉自然，而是透過製作 紙模型來傳遞個人自我塑造或是面對社會的一種言說方式。

最後談到林文藻的幾何抽象繪畫，這些看似理性的作品，是他將 Google Map 上 的地景圖案蒐集後進行的再製，這個過程充滿強烈的主體意識和身體感。他不 斷構思如何連結網路世界裡標記位置的數位系統和個人存在感。如果林文藻這 系列的作品能歸類於風景畫的範疇，那麼傳統風景畫將進一步深化為數位科技 層面。

原先策展人假定的問題：「自然的理性和科學的感性有了另一次的推演和變 化」，他一開始提出的自然與科技的二元對立概念，透過這些作品讓問題複雜 化，變得不再是非黑即白的概念。

ART FORUM

動或影像再製，重新建構與個人的身份

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Guest Speaker

GUO Jau-Lan Independent curator / Art critic

A curator is like the author of an exhibition. Therefore, there are ten authors in Apple Core Contemporary Art Exhibition, including the nine artists and the curator. Here, I am discussing the exhibition from a third-person point of view, so I am also one of the authors. The exhibition Apple Core explores how the general public sees the metaphor of apples in myths, legends, and the Bible.

The curator brings up the concept of dichotomy between the natural rationality and the scientific sensibility to examine Classics, both extending and challenging the public’s stereotypical imagination Apple Core

of the two. The intention is to discuss Nature and Science through another texture from the perspective of humanity.

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When one talks about Nature and Science, it is a traditional dialectical method to put the two in the opposite positions. However, it sometimes limits the potential relation between Nature and Science. Therefore, I am particularly interested in how the curator deals with the conventional dichotomy. During the Romantic era people defined Nature as the Creator or a concept of variation, while Science symbolized order and repetition. It was how the two became opposite concepts. Even when it came to the early twenty century, the public still defined Nature as organic and hard-to-grasp while Science was considered to be regular, geometric, and structural. If we use artistic styles to describe it, the relation between Nature and Science is like the conflict between Geometric Abstract Art and Expressionism.

The curator has made a clever use of the traditional dichotomy between Nature and Science.

Every exhibit included in the Apple Core crosses the outdated line. It is like how the artists in the Romantic era were troubled by the chaotic social condition after the Industrial Revolution so they turned to Nature for spiritual comfort. Being considered either dangerous or respectful, the natural scenery was revisualized with a slight touch of sorrow and mystery.

When we view Lin Wei-Hsian’s works from the perspective of Romanticism, it is more accurate to say that he is working on some religious and spiritual practice instead of painting. Lin’s attitude toward the landscape is truthfully represented in the image, bringing peace to viewers’ minds as if they can get away from the noisy reality to have a moment of peace.

As for Hsu Chia-Wei's works, at first I did not understand why they are categorized into the narrative of Nature. However, if we see the works from the concept of landscape painting, the interpretation and the reading of the works are thus expanded. The depiction of the landscape documents the lives existing in the history. What the artist attempts to capture is not a single scene of the landscape, but the landscape being interpreted. Through the action of the artist and the reproduction of the image, Lin reconstructs the landscape connected to his personal identity.

Chieh-Hsin, Lu Chih-Yun, and Chen I-Chun. The handmade highlights the texture of the materials.

However, it is interesting to compare them with Chang Li-Ren’s works. Although Chang’s works are also handmade, they are not portrayed as the reference of Nature. Instead, the making of the paper models become an expression for the artist to construct his identity and to confront the society.

Finally, we have Lin Wen-Tsao's geometric abstract paintings. These paintings, which seem to be made with rationality, are the processed images from Google Map. The art-making process is dominated by the artist’s subjective consciousness and physicality, through which he continuously explores how the sense of existence can be connected to the digital system to mark a location in the cyberspace. If Lin’s series works can be seen as landscape paintings, we can further expand the definition of landscape painting into the sphere of digital technology.

The curator has proposed a question in the beginning: “another evolution and transformation between the rationality of Nature and the sensibility of Science.” Through the question, the dichotomy between Nature and Technology he has brought out in the beginning becomes more complicated and ambiguous.

ART FORUM

Some exhibiting artists put great emphasize on the handmade quality of the artworks, including Tsai

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與談

吳達坤 關渡美術館首席策展人

我很喜歡『蘋果核』這個題目，我認為策展人找到一個可以再繼續延伸、探 討 的 題 目。 一 開 始 看 到 這 個 展 覽 主 題， 我 想 到 日 本 漫 畫 家 士 郎 正 宗（Shirō Masamune）在 1985 年的科幻漫畫作品《蘋果核戰記》（アップルシード），他 的另一部作品《攻殼機動隊》（こうかくきどうたい），成為很多以網路題材 Apple Core 20

為電影的參考範例。近年來我觀察到，從小看科幻漫畫、電影和小說的這一代 人們，長大之後，他們的世界有一個平行宇宙的存在：一邊是真實存在的世界， 而另一邊則是動漫、科幻文本架構之下的虛擬世界。《蘋果核戰記》的人物以 及城市背景是以希臘神話為基礎架構，如同禾淋把蘋果當做一個很重要的象徵， 甚至成為這次展覽的核心價值，與士郎正宗的《蘋果核戰記》產生有趣的對照。

無論是藝術家或是策展人，在策劃或創作的時候，都會擬定架構以指引自己， 如同藝術家運用特定文本作為創作的支撐和骨幹，並透過此脈絡說服觀眾。比 如說《蘋果核戰記》中所有主角的名字背後有其含意、動畫中的以希臘神話中 奧林匹斯（Olympus）為城市名字，這個地名正是奧運名稱的起源。《攻殼機動 隊》中無論是劇本架構或談論的世界觀，都可以在許多好萊塢電影中看到，例 如《銀翼殺手》（Blade Runner）、《2001 太空漫遊》（A Space Odyssey）和《普 羅米修斯》（Prometheus），這些影像都提及人和自然之間的相處和科學與自 然之間的關係，把人類提伸到造物者的高度，或是人工智慧的角色。

一般人吃蘋果會留下中間的蘋果核，這部分屬於可以吃的範圍，但大部分的人 大多會丟棄。根據統計，美國一整年丟棄掉的蘋果核，足夠支付卡翠娜風災的 重建費用。我認為這個數據統計是很有趣的調查，可以知道一般人如何看待從

當代電影或科幻小說中常提到賽博格理論（Cyborg theory），如策展人策劃的

ART FORUM

蘋果核延伸出的食物消費議題。

〈蘋果核〉，無論從宗教、神話和傳說裡，人類接受神的指引而得到智慧的角色；

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或是依尋科技演進，人類開始發展人工智慧，而後不斷挑戰、甚至僭越神的角 色。

此次展覽邀請到的藝術家十分特別，這些藝術家的組成不像是過去科技藝術展 或是新媒體藝術展，以工具理性或是生態環境為主軸的展覽，策展人羅禾淋運 用『蘋果核』的概念開�了一扇窗口，讓以往對立的兩個主題和不會同時並列 的兩種類型藝術家，能同時存在於畫廊空間，這是非常特別的嘗試，讓每個參 展的藝術家與作品能夠互相交流和對話。

Guest Speaker

WU Dar-Kuen Chief Curator of KdMoFA

I like the theme “Apple Core” very much. I think that the curator has found a subject that can be further explored and discussed. When I first saw the title of the exhibition Apple Core Contemporary Art Exhibition, I thought of the Japanese manga artist Shirō Masamune’s Sci-fi Manga Apple Seed in 1985. Ghost in the Shell, another work by Shirō Masamune with a similar topic, is so popular that many films featuring the theme of cyberspace are based on it. It is my observation in recent years that the generation who grew up with Sci-fi Manga, movies, and fictions create their own Apple Core 22

parallel universe when they are adults. The one is the world, which really exists, while the other is the universe constituted by sci-fi manga and animations. The background story and the characters in Apple Seed are based upon Greek mythology, similar to how Luo He-Lin makes apples a major symbol, or the essence, to be more precise, of the exhibition. It is indeed an interesting comparison with Shirō Masamune’s Apple Seed.

Either artists or curators will build up a structure as the instruction guidance to work on their works. It is like how artists adopt specific text as the framework of their artworks, creating the narrative to convince viewers. Therefore, the name of every character in Apple Seed has its specific meaning. The name of the city is Olympus from Greek mythology, which is also the origin of Olympic Games. The structure of the script and the Universe discussed in Ghost in the Shell can be seen in many Hollywood movies such as Blade Runner, A Space Odyssey, and Prometheus. All these works mention the relationship between human beings and Nature as well as between Science and Nature. Meanwhile, the role of human beings is portrayed as the Creator or the dominator of the artificial intelligence.

Not many people will eat apples “to the core” although apple cores are totally edible. Most of them will throw them away. Statistically, the apple cores being thrown away in the USA in one year are

sufficient to support Katrina recovery expenses. I find the statistic interesting, for that it shows how the general public sees apple cores or issues about food consumption.

A lot of contemporary movies and science fictions talk about “Cyborg theory.” It is the curator’s concept of “apple cores” – human beings receiving wisdom from gods as described in religions,

The exhibiting artists are all very special, unlike other new-media or technological art exhibitions

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myths, and legends, or challenging gods’ dominance by developing artificial intelligence.

held before which have featured mechanical rationality as well as the environment. The curator

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Luo He-Lin opens up a window through the concept of “apple cores,” juxtaposing the once contradictory themes together. Therefore, these two kinds of artists who were rarely presented in the same exhibition are speaking out through their art at the same time in the same space. It is a very special attempt, allowing every exhibiting artist and exhibited work to freely talk with each other.

回應吳達坤

羅禾淋

我原本是動漫研究者，受到動漫導演影響，例如《機動警察 OVA 系列》（パト レイバー）以震撼的角度讓觀眾瞭解科技所帶來的社會現象。這些動漫導演想 像未來的科技已經達到某種高度，如《機動警察》描述未來世界裡，公部門設 立以機械警察為主的警察單位，這些警察駕駛的不是警車而是機械人；劇情中 Apple Core 24

也提及很多核能問題，例如黑科技如何被人類濫用。又如士郎正宗《攻殼機動 隊》把公部門的權力結構中，身為一個小螺絲、小齒輪的成員之無奈感融入劇 情。

回歸『蘋果核』的策展脈絡，我在尋找參展藝術家時，刻意不作媒材分類，因 為每位藝術家都擁有自身觀點闡釋科技或自然，例如林煒翔和林文藻，同樣是 繪畫作品，煒翔以較具象方式呈現心中風景；文藻則用資訊繪畫方式轉化所面 對的風景。雖然兩個主題一樣是風景，但使用不同的媒材會讓畫面視覺效果呈 現極大差異。我希望以不同媒材來敘述同一主題，藉此打破傳統於自然與科技 的主觀認知，這個展覽最獨特的地方，在於看見許多不同媒材的作品並列一起， 讓展覽形式跳脫媒材的分類與限制，也是我策展的初衷。

Luo He-Lin’s response to Wu Dar-Kuen

I used to research comic animation, and many directors of comic animation had a great influence on me. For example, Mobile Police Patlabor visualizes the shocking social phenomena created by technology. These comic animation directors imagine that technology has already reached certain level in the future world, like how the mobile police – which is the main police force in the future

story also touches upon the nuclear issue through the metaphor that human beings misuse black technology. Shirō Masamune perfectly integrates the helplessness of a government employee who can do nothing but put oneself into the authoritative system.

Let us return to the curatorial narrative of Apple Core now. When I was deciding the artist list for the exhibition, I intentionally avoided categorizing them by media for that every artist has their own perspective to interpret Technology or Nature. For example, both Lin Wei-Hsiang’s and Lin WenTsao’s works are paintings. Lin Wei-Hsiang visualizes the inner landscape from a relatively figurative way while Lin Wen-Tsao transforms the landscape into data-like paintings. Although the theme of their works is the same – the landscape, the use of different materials presents maximum difference in the visual images. I hope to talk about the same theme with different materials to challenge the traditional subjective understanding of Nature and Technology. It is the most unique part of the exhibition that artworks of different media are placed together, allowing the form of the exhibition to go beyond the limitation and the categorization of media. It is also my original idea of the exhibition.

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world as described in Mobile Police Patlabor – operates robots instead of driving police cars. The

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The The

Idealism Materialism of of

Nature Science 從傳統形上學 中 的 唯 心 論 為 依 據 ， 重 新 解 釋 後現 代 中 ， 科學或科技時 代 下 的 各 種 現 象 ， 並 且 以 科 學 中的 「 感 性 」 為 核 心 ， 試圖從非系統 化 的 方 式 ， 解 釋 科 學 與 人 們 之 間的 關 係 。

m

科學唯心

Based on the mentalism in the traditional metaphysics, scientific mentalism reinterprets various phenomena in a postmodern, technological, and scientific age. With an emphasis on the “sensitivity” of science, it attempts to explain the relationship between science and humans from a non-systematic method.

周育正

生物科技 Biotechnique

CHOU Yu-Cheng

2004 Video, SD, color, sound 8'30"

張立人

模型社區 Model Community

CHANG Li-Ren

2008-09 Video installation, 5-channel real-time images 4'54"

張立人

武器秀 3D Weapon Show 3D

CHANG Li-Ren

2013 Video 1'26"

張立人 CHANG Li-Ren 高級武器秀 High-Class Weapon Show 2008 Video 1'10"

張立人 CHANG Li-Ren 武器秀

Weapon Show

2005 Video 2'02"

張立人 CHANG Li-Ren 武器秀卡通 Weapon Car toons 2006 Video 0'59"

許家維

回莫村 Huai Mo Village

HSU Chia-Wei

2012 Single-channel ultra HD video 8'20"

許家維的錄影和裝置構建起關於亞洲地理、歷史與文化領域的敏感視覺敘事， 在密集而複雜的多重文化與歷史中，藝術家揭示了現代人的生活是如何被根本 轉變的。

《回莫村》講述的是泰緬邊境被遺棄的軍隊所面臨的多重文化的交錯，以及不 被認可的尷尬身份。生活在歷史幽魂中的人們，最終產生的是常人所不具有的 歧義性。許家維此次創作計劃關注於泰國清萊回莫村的自強孤兒院，這些孤兒 的產生與這個地區複雜的歷史有緊密的關係。1949 年國共內戰開打，國民黨戰 敗後原屬國民黨政府的正規軍由雲南撤退至緬甸，原 20 多萬人員抵達緬甸時僅 存 2000 餘人員。緬甸於 1953 年與蘇聯在聯合國控告這支部隊「入侵」，聯合 國便經由泰國同意，安排這支部隊來到泰緬邊境的金三角與清萊美斯樂。在國 際的壓力下，蔣介石指示這支部隊撤回台灣，但事實上則是「明撤暗留」；表 面上這支部隊已解散，但私底下仍然保持戰備狀態以圖反攻。由於孤軍多數都 是雲南人，思鄉情濃，依然遵照「明撤暗留」指令。不同的是這一次形同向國 際宣告，「當地軍人」不再有任何行動，以後與中華民國政府無關。

1970 年這支孤軍因生存需要，應泰國軍方要求，出面協助遠征泰共以換取居留 權，並確定了孤軍在泰北以傭軍形式長久駐留的必要性。爾後還參與了 1978 年 與緬共的戰役及 1981 年與苗共的戰役。這段期間，許多人也開始種起滿山的罌 粟花，並協助毒梟從緬甸運送毒品以改善生計，在過去這裡的毒品的產量佔全 球產量的 80%，成為世界毒品中心。目前於回莫村自強孤兒院中有 68 位孩童， 他們的父母多是因毒品交易被判死刑或因毒品糾紛而喪命。

曾經是情報員的片中主角孤兒院院長，他的身份點出了歷史的源頭及變化的過 程。藝術家慣有的拍攝手法在本作品中仍在延續。從講故事的人、聽故事的人、 到由孤兒們組成的拍攝團隊，藝術家站在更為後方的位置，觀察著這一切。 36

Hsu Chia Wei creates videos and installations to build sensitive visual narratives about geographical, historical and cultural regions in Asia. The artist reveals how the lives of people in the modern age are fundamentally transformed by the dense and complex layers of cultures and histories.

Huei-Mo Village relates the story of remnant troops on the border regions of Thailand and Burma who face the intersection of multiple cultural identities and an unrecognised identity. People who live under the spectre of history end up producing an ambiguity absent in ordinary people. HSU Chia Wei’s project focuses on the Huai Mo Tzu Chiang House in Chiang Rai, Thailand, which shelters a generation of orphans owning close relationships to the region’s complex history. In 1949, the Chinese civil war broke out. The defeat of the KMT resulted in the perilous retreat of an army, originally belonging to the Nationalist government, from Yunnan to Myanmar, with only 2,000 among 20 million soldiers reaching the destination in the end. However, Myanmar and the Soviet Union accused the troop for having “invaded” their territory, whereupon the United Nations later on arranged for the troop to settle at the Golden Triangle at the Thai-Myanmar border and Chiang Rai, Mae Salong by making a pact with the Thai government. Due to pressure from the United Nations, Chiang Kai-shek instructed the troop to retreat to Taiwan, but in truth ordered them to Retreat on the surface, but factually remain undercover. In semblance, the troop seemed to have disbanded, but in secret they remained in a state of combat preparing for their counterattack. The Lost Army consisted mainly of soldiers from Yunnan, yet obeyed their given commands and stayed despite their longing for home. Their actions, however, were like declarations to the world that the “local soldiers” will no longer intervene, and have severed all ties with the government of the Republic of China.

In 1970, in order to sustain themselves in foreign lands and to exchange for the right to abode, the lost troop answered the request of the Thai military in assisting their expedition against the Thai communists, which then determined their prolonged stay as mercenaries in northern Thailand. Later on, they were also involved in battles against Burma communists in 1978 and Miao communists in 1981. During this period, many people grew poppies to increase their incomes for a better domestic life, or assisted drug dealers to traffc drugs from Myanmar. The drug production in this region used to account for 80% of the global supply, determining its status as the international drug trade center at the time. The orphanage at Huai Mo Village houses 68 children; most of their parents were sentenced to death for drug trade or had died during drug-related disputes.

In the video, the director of the orphanage (who was once an intelligence officer) points out the historical origins and changes. The artist’s customary style is extended in this work—the people telling the stories, the people hearing the stories, the crew made up of orphans, with the artist standing furthest back, observing it all.

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許家維

回莫村－國防部 1920 區光武部隊大陸工作組

HSU Chia-Wei

Huai Mo Village – District 1920 Guangwu Troop Department Of Defense Chinese Affairs Team 2013 Installation 450×140×120cm

隨著 1950 年代國共分裂，國民黨的孤軍輾轉來到泰國緬甸的邊境山區。在 1970 年代的冷戰架構下，美國政府秘密的支持中華民國政府在回莫村成立了 情報局，名為國防部 1920 區光武部隊大陸工作組，這支情報部隊的主要任務 在於監控大陸的共產黨活動。在藝術家許家維探訪回莫村期間，發現當地大 多數的老人都是過去的情報局老兵，於是便開始了與這些老兵的合作計畫。 老兵們先是回憶過去情報局房舍的狀態，接著便依照過去的工法、材料與樣 式，再次搭建起這個情報局的模型。這是一個由老兵們自行重建而成的建築 模型，也是他們對自身的歷史與記憶的描述。 With the divide between the Chinese Nationalist par ty and the Chinese Communist in the 1950s, a lone Chinese Nationalist army troop arrived at the mountainous region located at the Thai and Burma border. During the Cold War in the 70s, the American government secretly suppor ted the Republic of China government’s return to the Huai Mo Village to establish an intelligence base there, which was referred to as the District 1920 Guangwu Troop Depar tment of Defense Chinese Affairs Team, and the main task of the team was to monitor the Chinese Communist’s activities. During the ar tist Hsu Chia-Wei’s visit in the Huai Mo Village, he discovered that most of the elders in the village were former intelligence officers, and thus began the collaborative project with these veterans. The veterans star ted by recalling the conditions of the former intelligence bureau building, and then followed by using the same techniques, materials, and styles applied in the past to reconstruct a model of the intelligence bureau building. This is an architectural model reconstructed by the veterans, and it is also a form of narration based on their personal history and memories.

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Candy Bird

堆疊快樂 Happy Stacking 2014 Lacquer, water-based paint on canvas 200×500cm

Candy Bird

雙面人 Two-sided People 2014 Water-based paint on wood 340×290cm

The The

Idealism Materialism of of

Nature Science 以形上學的唯 物 論 出 發 ，解 釋 後 現 代 的 當 下 已經 逐 漸 被 遺 忘 的「 祖 靈 」， 並且運用自然 中 的 「 理 性 」 為 中 心 ， 以 科 學 化的 系 統 步 驟 ， 詮釋自然與人 們 的 關 係 。

m

自然唯物

Based on the materialism in the traditional metaphysics, natural materialism explains the gradually forgotten “ancestral spirit” in a postmodern age. With its emphasis on the “rationality” of nature, it interprets the relationship between Nature and humans from a scientific and systematic method.

林煒翔 LIN Wei-Hsiang

有三棵樹的風景 The Scener y with Three Trees 2013 Oil on canvas 180×100cm ×3

林煒翔 LIN Wei-Hsiang

遊蹤系列 - 20~22 Adventures - 20~22 2013 Oil on canvas 140×140cm ×3

許家維

鐵甲元帥－龜島 Marshal Tie Jia – Tur tle Island

HSU Chia-Wei

2012 Single-channel ultra HD video, photography, documents 6'35" 120×80cm×1

許家維的錄像裝置新作所表陳的主軸環繞在一座小島，該島位於台灣海峽上的 馬祖外海。此作涉及這島嶼的歷史。在清朝，這座島上有間小廟。當蔣介石撤 退到台灣後，小廟被拆解遷移至鄰近一作更大的島嶼，其原址上則建造了一座 碉堡。現在，碉堡荒廢頹圮，島嶼的所有權也再度被轉讓到原本的廟方手上。 這座島嶼受當地一位青蛙神明「鐵甲元帥」管轄。祂原本駐紮在中國五夷山上 的廟中。當文化大革命毀了那座廟後，祂就被流放到了馬祖。

在許家維的作品中，這座島嶼被當作是舞台。藝術家運用電影製作的「綠幕」 技術（一種拍攝期間使用的替代背景，而後在後製過程中以其他背景合成取 代），將虛擬的小廟重新放回島上，卻隨著攝影機緩緩地拉遠而揭露這蒙太奇 手法，讓設置在島上的綠幕一目了然。如此的寫景手法構成了一項表演場景， 其中，一位當地的老人唱著流傳於福建南方的民俗歌謠。據說，這是鐵甲元帥 在閒暇之餘最喜歡聽的曲目，只是現在已經被眾人遺忘了，而這老人是碩果僅 存的傳述者。

旁邊牆上則貼了一封許家維寫的信，陳述了他作為當代藝術的歷史代言人的願 景，請鐵甲元帥應准他的行為，並展示神祇回應的攝影。

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Hsu Chia-Wei's video installation engages with the history of a tiny island off the coast of Matsu, which is situated in the Taiwan Strait. During the Qing Dynasty, the island was the site of a tiny temple. When Chiang Kai-Shek retreated to Taiwan, the temple was dismantled and relocated to a larger neighboring island, and a bunker was constructed in its place.

At present, the bunker is a ruin and ownership of the island has been transferred again to the proprietors of the original temple. The island is also under the commandment of a local god called the " Marshal Tie Jia," a frog deity. This deity originated from a temple located on Wu-Yi Mountain in China, which was destroyed during the Cultural Revolution, at which point the deity migrated to Matsu.

In Hsu Chia-Wei's work, the island is used as a stage. Employing the cinematographic device of the "green screen" - a generic background that is replaced in the post-production process with any other background image - Hsu places a fictional version of the original tiny temple on the island. Slowly, the camera zooms out and reveals that green screen on the island. This scenography forms the backdrop of a performance in which a local senior citizen sings a form of folk opera found only in the south of Fujian Province, recounting the experience of WWII. He is the last person capable of performing the opera, which has a long tradition and was known to be Marshal Tie Jia 's favorite pastime, but which has now fallen into oblivion.

Next to the video, Hsu Chia-Wei has installed a letter on the wall, written by Hsu, in which he asks the Marshal Tie Jia for permission for his action, lays down his vision of contemporary art's historical agency, and shows documentation of the god's response.

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許家維

鐵甲元帥－白色四方桌 Marshal Tie Jia – White Square Table

HSU Chia-Wei

2013 Installation Desk: 108×106×115cm Pedestal: 148×146×40cm

鐵甲元帥－島／湖 Marshal Tie Jia – Island/Pond 2013 Oil on canvas 20×20cm

許家維

鐵甲元帥－靖思村 Marshal Tie Jia – Jingsi Village

HSU Chia-Wei

2013 Single-channel ultra HD video 10'00"

作品由青蛙神鐵甲元帥和藝術家之間一段不尋常的對話所開展，以現代性的脈 絡以及遠古神祕文本的雙重透視切入，彼此相互映照，譜繪出神話、影像、文 化與歷史的消逝和形成。

鐵甲元帥在一千多年以前出生於中國江西，其駐於武夷山的廟宇在文化大革命 的時期遭受毀壞，目前流落到在中國和台灣本島之間的龜島上。該島在蔣中正 退守台灣以後，正式歸為台灣管轄。在一場意外的相遇後，許家維決定展現此 現代性和神話的交錯節點，以夜景描繪青蛙神出生地的池塘，以日景捕捉其現 居地的島嶼。影片在兩地展開拍攝行動，前者由與青蛙神信仰同根源的驅魔儀 式儺舞一起呈現，後者則伴隨著元帥目前最喜愛的閩劇戲曲。鐵甲元帥和藝術 家的溝通往來文件也在裝置中如實展出，其中包括了元帥在神桌上寫給許家維 的一首詩。

在挖掘這則現存神話的過程中，事實與虛構的差異顯得微小，而現代國家對於 歷史與記憶的挪動支配結構則表露無疑。藝術家透過影像、文字、裝置創作出 新的敘事，以解開文化認同形塑之間的前置鏈結。影像拍攝的綠幕技巧被用來 傳輸與媒介人、神、物之間的時空感知。兩個空間的影像裝置在對話性的輪替 播放中，相互揭露其隱藏的結構。由影像、裝置、改編計畫研究材料而生的劇 本等所組成的敘事體，則成為作品《鐵甲元帥》這則新藝術神話的基石：神祕 魔幻的故事與政治背景隨海潮褪去，敘事成為譯寫生命想像的憑介。

許家維對於亞洲冷戰時期被遺忘的歷史有著濃厚的研究興趣，作品發展出對於 探究現實與幻象、歷史與當下間的敏銳知性，並透過建立鏡頭以外的事件，連 結正規歷史描述所未及的人與地方的關係。

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By drawing out unusual conversations between the frog god Marshal Tie Jia and the artist, this work is an attempt to map the creation and disappearance of myth, image, culture, and history from both the contemporary modernist context and a more ancient and mysterious perspective.

Marshal Tie Jia, who was born more than 1000 years ago in Jiangxi, China and lost his temple in the Wuyi Mountains during the Cultural Revolution, is currently exiled on Turtle Island, a tiny islet between Taiwan and China that came under the jurisdiction of the former after Chiang Kai-Shek’s retreat to Taiwan. After an accidental encounter with Marshal Tie Jia, Hsu decided to unfold the conjunction of modernity and myth by depicting the pond where the frog god was born in the night and the island where he currently resides in daylight. The film is shot in these two sites and accompanied by both Nuo dance, an ancient exorcism ritual that shares the same roots as the frog beliefs, and Min opera, the Marshal’s current favorite entertainment. Instructions and comments on the production are given by the Marshal. Documentation of the correspondence between the Marshal and Hsu are also on display, including a poem that the god wrote to Hsu on the altar table.

As the difference between fact and fiction seems to disappear and the modern nation state’s appropriation of history and memory is revealed through discovering a living myth, Hsu creates narratives through image, text, and installation to untether the formation of cultural identity from its preceding attachments. Green screen techniques are employed to transport and mediate different sensations of space-time amongst people, gods, and materials. Imagery from the film, the installation, and the play based on the project’s research become key elements of the structure of the new artistic myth of Marshal Tie Jia: the magical stories and political background ebb away, and the narrative becomes a means to transcribe an imagination of life.

Hsu is interested in the forgotten histories of the Cold War in Asia. His works develop a keen sensitivity that weaves together reality and illusion, history and the present by building a circuit of events in the hors-champ of people and places off the screen of history.

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陳依純

林水源傳奇 第一集 Shui Yuan Lin Legend – First Episode

CHEN I-Chun

2014 Color video (loop) with sound 5'00"

陳依純

林水源傳奇 第二集

CHEN I-Chun

Shui Yuan Lin Legend – Second Episode 2014 Color video (loop) with sound 5'00"

林文藻

溫度 -1、溫度 -2（洛杉磯）

LIN Wen-Tsao

Google Map Series - By Degrees Project 3-1, 3-2 (Los Angeles) 2014 Acrylic on canvas 100×100cm

林文藻

溫度 -3、溫度 -4、溫度 -5（洛杉磯）

LIN Wen-Tsao

Google Map Series - By Degrees Project 3-3, 3-4, 3-5 (Los Angeles) 2014 Acrylic on canvas 100×100cm

林文藻

似曾至此 -1-5

LIN Wen-Tsao

I Must Have Been There – 1-5 2012 Gouache, acrylic gouache on vellum paper 50×50cm

蔡潔莘

遇見彩虹 I

TSAI Chieh-Hsin

2014 Paper pulp, dyestuff 154×75×40cm

Seeing Rainbows I

蔡潔莘

遇見彩虹 II

TSAI Chieh-Hsin

2014 Paper pulp, dyestuff 87×80×30cm

Seeing Rainbows II

蔡潔莘 TSAI Chieh-Hsin

彩虹散步 Strolling Along Rainbows 2014 Paper pulp, dyestuff 23×15×66cm

盧之筠

無根之島

LU Chih-Yun

2014 Mixed media 100×60×50cm

The Rootless Island

盧之筠 LU Chih-Yun

我們生存在那斷面之上 1、2、3 The Section Of Our Existence 1, 2, 3 2013 Mixed media 35×40×15cm, 40×40×10cm, 30×40×10cm

盧之筠 LU Chih-Yun

You'll Be The Rhythm And I'll Be The Beat 2014 Mixed media Dimensions variable

盧之筠 LU Chih-Yun

白色房子 White House 2012 Mixed media 59×85cm

About the

Artists and

Curator

簡 介 ｜ Biography

羅禾淋 策展人

羅禾淋 1983 年出身於桃園，畢業於國立台北藝術大學科 技藝術研究所碩士，創作以新媒體的科技藝術為主，專 長程式設計 (C、JAVA、DirectX、OPCV...)、機械裝置製作、 動力製作、電子單晶片等等。除個人創作經常獲得國內 Apple Core

外數位藝術獎項，亦為獨立藝術策展人，並跨界動漫及

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力、互動、感應器、投影，和舞蹈與劇團結合。

表演藝術，藉由共同創作跨域的方式，讓科技藝術的動

羅禾淋的創作手法與策展概念，經常表達現今社會無機 化的一種孤寂。詮釋一種網際網路虛擬世界的「資訊落 差」，這種落差如同網路流言與匿名性的延伸，讓真實 的本文經過多次不同的載體，產生非真實的真實。

Luo He-Lin was bor n in 1983 in Taoyuan, Taiwan. He received the degree of Master of Fine Ar ts in Ar ts and

generation systems design, electronic chips. Luo has received

Curator | LUO He-Lin

many digital ar t awards abroad and in Taiwan. Moreover,

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Technology from Taipei National University of the Ar ts. He specialized in new media ar ts and technology: programming (C, JAVA, DirectX, OPCV), mechanical systems and power

he is also an independent ar t curator. As a curator and an ar tist he goes beyond the field of animation and performing ar ts and combines various methods of the interdisciplinary ar ts, such as the power of ar t and technology, interaction, induction, projection, dance and theater, to represent his ar tistic ideas.

Luo He-Lin’s creative approach and curatorial concepts often express inorganic solitude of modern society. He believes that the presence of the “information gap” in the digital world unleashes the power of the Internet rumors and anonymity extension, which leads to the phenomenon of hyper-reality.

羅禾淋 1983 年出生於台灣桃園 學歷

2013- 國立台灣大學資訊網路與多媒體研究所博士班 就讀中，台北，台灣 2010 國立台北藝術大學科技藝術研究所，台北，台灣 2007 稻江科技暨管理學院動畫與遊戲軟體設計學系，朴子市，台灣

個展

2013 「不安定的印記」，鳳甲美術館，台北，台灣 2011 「無機城市」，鳳甲美術館，台北，台灣 2010 「光之化境」，誠品藝廊，台北，台灣

聯展

Apple Core 94

2013 「2013 ACM Multimedia Art Exhibition」，FAD 美術館，巴塞隆納，西班牙 「FILE 巴西電子藝術節」，SESI 藝廊，聖保羅，巴西 「一起發酵」，金車文藝中心，台北，台灣 2012 「打開天空—當代藝術展」，長江匯當代美術館，重慶，中國 「身體—介面」，台北數位藝術中心， 台北，台灣 「2012 ACM Multimedia Art Exhibition」，國立奈良博物館，奈良，日本 「藝術家博覽會」，台中文創園區，臺北松山文創園區，台中，台北，台灣 「與時空的一場對話」，國立臺灣美術館—數位藝術方舟，台中，台灣 「新北市動漫節—電．動．漫互動展」，板橋 435 藝文特區，新北市，台灣 「ASYAAF 亞洲國際青年當代藝術節」，首爾舊火車站美術館，首爾，韓國 「燒熱血」，中原大學藝文中心，桃園，台灣 「清華大學藝術節」，國立清華大學，新竹，台灣 「敘事性」，S'day 藝術招待所，台中，台灣 「超旅程—未來媒體藝術節」，關渡美術館，台北，台灣 2011 「光子 +—國際科技藝術展」，永安美麗生活館，台北，台灣 「觀自在互動藝術展」，台北當代藝術館地下街，台北，台灣 「ACA 交流電」，高雄駁二藝術特區，高雄，台灣 「2011 台北數位藝術節」，剝皮寮藝文特區，台北，台灣 「運動體」，台北數位藝術中心，台北，台灣 「Pixilerations〔v.8〕」，羅德島城中藝廊，羅德島，美國 「一瞬之光」，都峰苑接待會館，台北，台灣

「百年繁華互動裝置展」，鳳甲美術館，台北，台灣 「遊戲中的碎形風景」，寶藏巖國際藝術村，台北，台灣 「媒這回事，東海實習雙年展」，東海大學藝術中心，台中，台灣 「超身體」，高雄應用科技大學藝文中心，高雄，台灣 「台北燈節公共藝術展」，台北國際藝術村、寶藏巖國際藝術村，台北，台灣

「台灣電虎」，永康街 Yaboo 咖啡廳，台北，台灣 「跳 Tone」，元智大學藝文中心，桃園，台灣 「FILERIO 國際策劃展」，OI 現代美術館，里約熱內盧，巴西 「Smooth 去銳利的再製造」，金車文藝中心，台北，台灣 「液化城市」，寶藏巖國際藝術村，台北，台灣 「FILE 巴西電子藝術節」，SESI 藝廊，聖保羅，巴西 「SIGGRAPH ST」，SIGGRAPH 藝廊，洛杉磯，美國 「藏」，K's Art 當代藝術空間，台南，台灣 「上上下下左右左右 BA」，東吳大學游藝廣場，台北，台灣 「非常姿態」，國立台灣美術館，台中，台灣 2009 「字摸互動藝術展」，台北數位藝術中心，台北，台灣 「人體自轉 60rpm」，金車文藝中心，台北，台灣 「大墩美展」，台中文化局動力空間，台中，台灣 「FILE 巴西電子藝術節」，SESI 藝廊，聖保羅，巴西 「機心」，台北科技大學藝文中心，台北，台灣 「錯畫」，台中文化局動力空間，台中，台灣 「超秒殺」，東吳大學游藝廣場，台北，台灣 「你看不見我」，彰化師範大學厚花園，彰化 2008 「逆滲透—跨越領域與世代的作品交換展」，乒乓，台北，台灣 「台北數位藝術節」，台北當代藝術館，台北，台灣 「國際版畫雙年展」，國立台灣美術館，台中，台灣 「朱銘美術館藝術長廊」，朱銘美術館藝術，台北，台灣 「秒殺」，南海藝廊，台北，台灣 2007 「Influx」，北藝大地下美術館，台北，台灣

Curriculum Vitae | LUO He-Lin

「超時空要塞」，關渡美術館，台北，台灣 2010 「台北數位藝術節」，剝皮寮藝文特區，台北，台灣

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當代藝術策展

2014 「蘋果核當代藝術聯展」，尊彩藝術中心，台北，台灣 「重回類比之詩」，MOT/ARTS 當代藝廊，台北，台灣 2013 「2013 藝術家博覽會策劃展—都市寄生術」，花博流行館，台北，台灣 「日常壞軌」，尊彩藝術中心，台北，台灣 「逃離仙貝教」，新樂園藝術空間，台北，台灣 2012 「廢墟 × 都市 × 怪談」，寶藏巖國際藝術村，台北，台灣 「文化記憶．典藏創新—與記憶共感互動典藏展」，華山 1914 創意文 化園區，台北，台灣

Apple Core

「與時空的一場對話」，國立台灣美術館，台中，台灣 「如果阿宅讀了吉爾．德勒茲」，桃園展演中心，桃園，台灣 2011 「微共鳴—後居所的未定」，寶藏巖國際藝術村，台北，台灣

96

「超時空要塞」，關渡美術館，台北，台灣 2010 「Smooth 去銳利的再製造」，金車文藝中心，台北，台灣 「藏」，K's Art 當代藝術空間，台南，台灣 「上上下下左右左右 BA」，東吳大學游藝廣場，台北，台灣 2009 「字摸互動藝術展」，台北數位藝術中心，台北，台灣 「超秒殺」，東吳大學游藝廣場，台北，台灣 2008 「秒殺」，南海藝廊，台北，台灣 動漫與動畫策展

2012 「新北市瘋動漫：玩動漫互動科技藝術展」，板橋 435 藝文特區，新北市，台灣 「青春澎湃影展：動畫影展」，台北當代藝術館，台北，台灣 「桃園國際動漫大展：動漫文化美學特展」，桃園展演中心，桃園，台灣

動漫與動畫策展

2011 「高雄動漫節主題展 ACA 交流電」，高雄駁二特區，高雄，台灣 2010 「金車動畫人創作祭造夢記」，金車藝術空間，台北，台灣 「金車動畫人創作祭」，金車藝術空間，台北，台灣

獲獎

2013 ACM Multimedia Art Exhibition，不分獎獲選，美國 FILE 巴西電子藝術節，不分獎獲選，巴西 2012 ACM Multimedia Art Exhibition，不分獎獲選，美國 ASYAAF 亞洲國際青年當代藝術節，不分獎獲選，韓國 2011 台北數位藝術獎，互動裝置組，獲選，台灣 Pixilerations〔v.8〕，不分獎獲選，美國 2010 台北數位藝術獎，互動裝置組，獲選，台灣 FILE 巴西電子藝術節，獲選，巴西 SIGGRAPH ST，互動裝置組，不分獎獲選，美國 2009 FILE 巴西電子藝術節，不分獎獲選，巴西 大墩美展，數位藝術類，獲選，台灣 2008 台北數位藝術獎，互動裝置組，獲選，台灣 國際版畫雙年展，獲選，台灣 朱銘美術館藝術長廊，獲選，台灣

Curriculum Vitae | LUO He-Lin

「好動記動畫影展」，金車文藝中心，台北，台灣

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LUO He-Lin Born in 1983 in Taoyuan, Taiwan EDUCATION

University, Taipei, Taiwan 2010

MFA, Graduate School of Ar ts and Technology, Taipei National University of the Ar ts, Taipei, Taiwan

2007

Bachelor of Animation Design and Game Programming, Toko University, Puzi City, Taiwan

SOLO EXHIBITIONS

2013

“Runaway Carrier”, Hong-Gah Museum of Fine Arts, Taipei, Taiwan

2011

“Inorganic City”, Hong-Gah Museum of Fine Arts, Taipei, Taiwan

2010

“Light’s Illusion”, Eslite Gallery, Taipei, Taiwan

GROUP EX HIB ITIONS

Apple Core 98

2013- PhD, College of Electrical Engineering and Computer Science, National Taiwan

2013

“ACM Multimedia Art Exhibition”, FAD Museum, Barcelona, Spain “FILE – Electronic Language International Festival”, SESI Gallery, Sao Paulo, Brazil “Fermenting”, King Car Art Center, Taipei, Taiwan

2012

“Open Sky – Contemporary Art Exhibition”, Chang Jiang Art Culture Club, Chongqing, China “Physical Interface”, Taipei Digital Art Center, Taipei, Taiwan “ACM Multimedia Art Exhibition”, Todaiji Art Center, Nara, Japan “Artist Fair”, Taichung Cultural Creative Industries Park, Songshan Cultural and Creative Park, Taichung, Taipei, Taiwan “A Dialogue with the Space and Time”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “New Taipei City Animation Festival”, Banqiao 435 Art Zone, New Taipei City, Taiwan “ASYAAF 2012”, Culture Station Seoul 284, Seoul, Korea “Young Passion”, CYCU Art Center, Taoyuan, Taiwan “Public Art by Susumu Shingu”, National Tsing Hua University, Hsinchu, Taiwan “Narrative Art”, S’day Art Hotel, Taichung, Taiwan “Transjourney – 2012 Future Media Festival”, Kuandu Museum of Fine Arts, Taipei, Taiwan

2011

“Photon+ – The International Techno Ar t Exhibition of New Taipei City”, New Taipei City, Taiwan “Being – The Digital Eye”, MOCA Taipei, Taipei, Taiwan “Animation Comics Contemporary Art”, The Pier-2 Art Center, Kaohsiung, Taiwan “Cross – 6th Digital Art Festival Taipei”, Bopiliao Historic Block, Taipei, Taiwan “Absolute Motion”, Taipei Digital Art Center, Taipei, Taiwan “Pixilerations [v.8] New Media Fringe Festival”, New York, USA “A Spark of Light”, New Urban Art, Taipei, Taiwan “100 Year Story”, Hong-Gah Museum of Fine Arts, Taipei, Taiwan

“Fractals Scenery in Game”, Treasure Hill Artist Village, Taipei, Taiwan “Why So Serious?“, Tunghai University Gallery, Taichung, Taiwan “Exceed Body”, National Kaohsiung University of Applied Sciences Ar t Center, Kaohsiung, Taiwan “Macross”, Kuandu Museum of Fine Arts, Taipei, Taiwan 2010

“Cluster – 5th Digital Art Festival Taipei”, Bopiliao Historic Block, Taipei, Taiwan “Taiwan Electronic Tiger Festival”, Yaboo Coffee House, Taipei, Taiwan “Jump Tone – Symphony of Art and Technology”, Yuan Ze University, Taoyuan, Taiwan “FILE 2010 Rio – Electronic Language International Festival”, OI Futuro, Rio, Brazil “Smooth”, Kingcar Art Gallery, Taipei, Taiwan “Liquefaction City”, Treasure Hill Artist Village, Taipei, Taiwan “FILE – Electronic Language International Festival”, SESI Gallery, Sao Paulo, Brazil “ACM SIGGRAPH S.T.”, Siggraph Gallery, L.A., USA “Hiding”, K’s Art Gallery, Tainan, Taiwan “UpUPDownDownLeftRightLeftRightBA”, Soochow University Gallery, Taipei, Taiwan “Beyond Outward Gestures”, National Taiwan Museum of Fine Arts, Taichung, Taiwan

2009

“Touch Word Interaction Art”, Taipei Digital Art Center, Taipei, Taiwan “60 RPM”, Kingcar Art Gallery, Taipei, Taiwan “Da Dun Fine Ar ts Exhibition”, Cultural Affairs Bureau Taichung City Government, Taichung, Taiwan “FILE - Electronic Language International Festival”, SESI Gallery, Sao Paulo, Brazil “Machine Core”, National Taipei University of Technology Gallery, Taipei, Taiwan “Cuo-Hua”, Taichung City Cultural Affairs Bureau, Taichung, Taiwan “Super K.O. (Chao-Miao-Sha)”, Soochow University Gallery, Taipei, Taiwan “You Don`t See Me”, NCUE Gallery, Taipei, Taiwan

2008

“Floating Buffer Zone”, PingPong, Taipei, Taiwan “Digital Art Festival Taipei 2008”, MOCA Taipei, Taipei, Taiwan “The 13th International Biennial Print Exhibition”, National Taiwan Museum of Fine Arts, Taipei, Taiwan “200m Go”, Juming Museum Art Gallery, Taipei, Taiwan “K.O. (Miao-Sha)”, Nanhai Gallery, Taipei, Taiwan

2007

“Influx”, Taipei National University of the Arts, Taipei, Taiwan

Curriculum Vitae | LUO He-Lin

“Taipei Lantern Festival”, Taipei Artist Village, Treasure Hill Artist Village, Taipei, Taiwan

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C UR AT I O N EX PER I EN CE

2014

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “The Return of Analog Poetry”, MOT/ARTS Gallery, Taipei, Taiwan

2013

“Artist Fair – Urban Parasitic Raiders”, Pavilion of New Fashion, Taipei, Taiwan “Format Daily”, Liang Gallery, Taipei, Taiwan “Escape from the Religion of Cracker”, Shin Leh Yuan Art Space, Taipei, Taiwan

2012

“Legends in City, Treasure Hill Artist Village, Taipei, Taiwan “Cultural Memory and Archives Innovation”, Huashan 1914 Creative Park, Taipei, Taiwan “A Dialogue with the Space and Time”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “If Otaku Read about Gilles Louis René Deleuze”, Taoyuan County Performing Ar ts

Apple Core

Center, Taoyuan, Taiwan 2011

“Indistinct Sympathy”, Treasure Hill Artist Village, Taipei, Taiwan “Macross”, Kuandu Museum of Arts, Taipei, Taiwan

2010

100

“Smooth”, Kingcar Art Gallery, Taipei, Taiwan “Hiding”, K’s Art Gallery, Tainan, Taiwan “UpUPDownDownLeftRightLeftRightBA”, Soochow University Gallery, Taipei, Taiwan

2009

“Touch Word Interaction Art”, Taipei Digital Art Center, Taipei, Taiwan “Super K.O. (Chao-Miao-Sha)”, Soochow University Gallery, Taipei, Taiwan

ANIMATION CURATION EXPERIENCE

2008

“K.O. (Miao-Sha)”, Nanhai Gallery, Taipei, Taiwan

2012

“New Taipei City Animation Festival”, 435 Art District, New Taipei City, Taiwan “Young Pop-Eye Film Festival”, MOCA Taipei, Taipei, Taiwan “Taoyuan International Animation Festival”, Taoyuan County Performing Ar ts Center, Taoyuan, Taiwan

2011

“Animation Comics Contemporary Art”, The Pier-2 Art Center, Kaohsiung, Taiwan

2010

“Kingcar Animation Festival Part II”, Kingcar Art Gallery, Taipei, Taiwan “Kingcar Animation Festival”, Kingcar Art Gallery, Taipei, Taiwan “Good Animation”, Kingcar Art Gallery, Taipei, Taiwan

AWARDS

2013

ACM Multimedia Art Exhibition, Selected, USA FILE – Electronic Language International Festival, Selected, Brazil

2012

ACM Multimedia Art Exhibition, Selected, USA ASYAAF, Selected, Korea Digital Art Awards Taipei, Interactive Art Work Selected, Taiwan Pixilerations [v.8] New Media Fringe Festival, Selected, USA

2010

Digital Art Awards Taipei, Interactive Art Work Selected, Taiwan FILE – Electronic Language International Festival, Selected, Brazil ACM SIGGRAPH S.T. Interaction, Selected, USA

2009

FILE - Electronic Language International Festival, Selected, Brazil Dun Fine Arts Exhibition, Interactive Art Work Selected, Taiwan

2008

Digital Art Awards Taipei, Interactive Art Work Selected, Taiwan The 13th International Biennial Print Exhibition, R.O.C., Selected, Taiwan Juming Museum Art Gallery, Selected, Taiwan

Curriculum Vitae | LUO He-Lin

2011

101

簡 介 ｜ Biography

周育正 CHOU Yu-Cheng

周育正 1976 年出生於台北，畢業於法國巴黎高等藝術學 院與國立巴黎高等藝術學院塞那河研究計畫學程，近期 各展於美國丹佛市當代美術館、巴黎 ColletPark 藝廊、臺 北 關 渡美 術 館， 近期 聯展 於 2012 臺北 雙 年展、2013 皇 Apple Core

后雙年展，2011 年獲得台新藝術獎年度視覺藝術大獎， 2012 台北美術獎首獎。

102

Chou Yu-Cheng (born in 1976, Taipei) studied at l’Ecole Nationale Supérieure des Beaux-ar ts de Paris, and did the research program at La Seine, at l’Ecole Nationale Supérieure des Beaux-ar ts de Paris. Recent solo shows include Yu-Cheng Chou, Museum of Contemporar y Ar t Denver, Colorado; Representa.tiff, Galerie ColletPark, Paris and Rainbow Paint, Kuandu Museum, Taipei. Group exhibitions include Taipei Biennial 2012, Taipei Fine Ar t Museum; Queens International 2013, Queens Museum. In 2011 Chou received Taishin Annual Visual Ar t Award and in 2012 Taipei Ar t Award.

露出既定事實的問題，並在合作的各端點中產生出相對 應的另類利益。他的創作形式因不同的計畫而異，但大

操作，例如轉移、轉讓、或是時間、地點的差異，產生

the procedure and operation behind his work. To a cer tain degree , he focuses on how to produce an alternative method of oper ation that simultaneously reflects the problems of reality and proffer s alternatives with their corresponding benefits. His intention is to reflect on the existing state of society, politics, and the economy, as well as on local issues.

CHOU Yu-Cheng

Chou’s ar t project expresses his intentions by emphasizing

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出計劃的結果，形成來源與結果間的相互辯證。

周/ 育 正

之個人、企業與機構組織，並透過一些「工作程序」的

文

多以「中介者」的角色提案或媒合了他視為「現成物」

Artist Statement | CHOU Yu-Chen

注於如何在現成事物中產生出另類的操作模式，同時顯

創作自述 ×

周 育正的藝術計劃強調於視覺造型背後的工作程序，關

103

周育正 1976 年出生於台灣台北 學歷

2008 法國國立巴黎高等藝術學院塞納河研究計畫學程，巴黎，法國 2007 法國國立巴黎高等裝飾藝術學院後文憑研究影像及特效所，巴黎，法國 2004 法國國立巴黎高等藝術學院畢業，巴黎，法國 1999 國立台灣藝術大學美術系畢業，台北，台灣

駐村經驗

2013 華人藝術中心，曼徹斯特，英國 2012 打開當代－曼谷，曼谷，泰國 2011 ISCP， 紐約市， 美國

Apple Core

2008 巴黎國際藝術村，巴黎，法國 個展

104

2010 BankArt 1929，橫濱，日本

2013 「Geoff Molyneux」，華人藝術中心，曼徹斯特，英國 「易雅居 Yi&C」，就在藝術空間，台北，台灣 2012 「霓紅」數位方舟計畫， 國立台灣美術館，台中，台灣 2011 「虹牌油漆」， 關渡美術館，台北，台灣 2010 「由於來自美國的 64 色蠟筆」，Superforg 畫廊，舊金山，美國 「東亞照明」，鳳甲美術館，台北，台灣 「遠方區域」，ColletPark 畫廊，巴黎，法國 「駐村產」，BankArt Studio NYK，橫濱，日本 2009 「再現圖像」，ColletPark 畫廊，巴黎，法國 2008 「周育正個展」，丹佛當代美術館，新媒體畫廊，克羅拉多州，美國

聯展

2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 2013 「皇后雙年展」，Queens Museum，紐約，美國 「我們是否工作過量 ?」，誠品畫廊，台北，台灣 「帕克特 X 藝術家－ 220 件合作計畫＋ 5」，台北市立美術館，台北，台灣 「真真」，台北市立美術館，台北，台灣 2012 「台北雙年展－現代怪獸 / 想像的死而復生」，台北市立美術館，台北，台灣 「理解的尺度」，曼谷藝術中心，曼谷，泰國 「台北美術獎」，台北市立美術館，台北，台灣 「台新藝術獎入圍特展」，台北當代美術館，台北，台灣 「未來事件交易所」，台北當代藝術中心，台北，台灣

獲獎

2012 台北美術獎首獎，台灣 35 藝術支持計劃新媒體類首獎，台灣 2011 台新藝術獎年度視覺藝術大獎，台灣 新加坡亞太釀酒基金會當代藝術獎提名，新加坡 2009 台新藝術獎年度五大視覺藝術，台灣 2005 法國國立巴黎高等藝術學院年度雕塑獎，法國 台北藝術獎優選，台灣

Curriculum Vitae | CHOU Yu-Cheng

「亞洲時基：新媒體藝術節－微型城市」，Stephan Stoyanov 畫廊，紐約，美國

105

CHOU Yu-Cheng Born in 1976 in Taipei, Taiwan

Research Program La Seine, l’Ecole Nationale Supérieure des Beaux-Arts, Paris, France

2007

Post-Diploma AII, l’Ecole Nationale Supérieure des Arts Décoratifs, Paris, France

2004

M.F.A., l’Ecole Nationale Supérieure des Beaux-Arts, Paris, France

1999

B.F.A., Department of Fine Arts, National Taiwan University of the Arts, Taipei, Taiwan

RESIDENC Y EX PERIENC ES

2013

Chinese Art Centre, Manchester, United Kingdom

2012

Open Contemporary Art Center – Bangkok, Bangkok, Thailand

2011

International Studio & Curatorial Program, New York, USA

2010

BankArt 1929, Yokohama, Japan

2008

Cité Internationale des Arts, Paris, France

2013

“Geoff Molyneux”, Chinese Arts Centre, Manchester, United Kingdom

SOLO EX HIBITIONS

EDU C AT I ON

Apple Core 106

2008

“Yi & C. Home Collection”, Project Fulfill Art Space, Taipei, Taiwan 2012

“Neon”, National Taiwan Museum of Fine Arts, Taichung, Taiwan

2011

“Rainbow Paint ®”, Kuandu Museum, Taipei, Taiwan

2010

“Because 64 Crayons Made in the USA”, Superfrog Gallery, California, USA “TOA Lighting ®”, Hong Gah Museum, Taipei, Taiwan “Horse Trailer Studiolo | Remote Area”, Galerie ColletPark, Paris, France “Residency Goods”, BankART Studio NYK, Yokohama, Japan

2009

“Representa.tiff ”, Galerie ColletPark, Paris, France

2008

“Yu-Cheng Chou”, Museum of Contemporary Art in Denver, Colorado, USA

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan

2013

“Queens International” Queens Museum, New York, USA “inToAsia: Time-based Art Festival – MicroCities”, Stephan Stoyanov Gallery, New York, USA “Are We Overworked?”, Eslite Gallery, Taipei, Taiwan “Parkett – 220 Artists Editions & Collaborations Since 1984”, Taipei Fine Arts Museum, Taipei, Taiwan “True Illusion, Illusory Truth”, Taipei Fine Arts Museum, Taipei, Taiwan

2012

“Taipei Biennial: Modern Monsters / Death and Life of Fiction”, Taipei Fine Ar ts Museum, Taipei, Taiwan “Thaitai: a Measure of Understanding”, Bangkok Art & Culture Centre, Bangkok, Thailand “Taipei Arts Award”, Taipei Fine Arts Museum, Taipei, Taiwan “Taishin Arts Award Exhibition”, Museum of Contemporary Art Taipei, Taipei, Taiwan “Trading Futures”, Taipei Contemporary Art Center, Taipei, Taiwan

AWA RDS

2012

Taipei Arts Awards, Grand Prize, Taiwan 35 Visual Artist Support, New Media First Prize, Taiwan

2011

Taishin Arts Award, Visual Arts Award, Taiwan Asia Pacific Breweries Foundation Signature Art Prize, Nominee, Singapore

2009

Taishin Arts Award, Top Five Final Nominee, Taiwan

2005

l’Ecole Nationale Supérieure des Beaux-Arts, Annual Sculpture Prize, France Taipei Arts Awards, Honorable Mention, Taiwan

Curriculum Vitae | CHOU Yu-Cheng

G RO U P EX HI B I T IO NS

2014

107

簡 介 ｜ Biography

林文藻 LIN Wen-Tsao 林 文 藻， 畢 業 於 美 國 加 州 州 立 大 學（California State University, Long Beach, USA），創作媒材主要以攝影及繪畫為主。作品中，以顏色和線 條的元素關注屬於人們生活環境與社會生態，從色彩與結構的語言徵 候。2003 年開始製作包括以閱讀和視覺兩部份的一系列作品；以探討 日常生活中的場域、空間、聲音、缺席為主題。向來都以城市的空間、 生活與自然環境為基礎，使用數學幾何圖形之抽象概念套入創作之中。 2009 年受邀參加花蓮洄瀾國際藝術工作坊，2010 和 2011 年於台北國 際藝術村進行藝術家工作坊，2012 年獲得美國 Vermont Studio Center Apple Core 108

International Fellowship for Ar tists and Writers，也曾獲邀稿於《藝術收 藏 + 設計》，《當代藝術新聞》，《Ar t Plus》 等雜誌報導。 Lin Wen-Tsao received Bachelor of Fine Ar ts degree from California State University in Long Beach, USA. He majored in photography and painting, therefore his main forms of ar tistic expression encompass the later two. In his ar tworks he uses elements of colors and lines to draw attention to the surrounding environment and social ecology. In 2003 Lin star ted a series of works where he integrated two components: information analysis and visual senses, and explored daily life, space, sounds and absence. In his abstract works he uses concepts of mathematics, geometr y and graphics to present urban spaces or natural environments. In 2009 Lin was invited to par ticipate in the Hweilan International Artists Workshop, in 2010 and 2011 he conducted workshops at Taipei Ar tist Village, in 2012 he received the Vermont Studio Center International Fellowship for Artists and Writers. Lin was also published in magazines, such as Art Collection + Design, Contemporar y Art News and Art Plus.

林 文藻這次的創作依舊習慣從色彩學的角度切入，並運 用數學幾何圖形之抽象概念，以城市的空間、生活與自 然環境為基礎，記錄曾經居住過的城市─以洛杉磯市為 主─和每天上下班的路程，作品將 3D 的 Google Maps 轉 換成 2D 平面的幾何圖形，透過計算出區域內房屋高矮 的平均值作為用色分界，平均值以下的採用冷色系，平

離與還原的反覆循環；意喻著林文藻對於時間上的轉變 和環境上的破壞，以及自身所面臨的陌生等感受。林文

林/ 文 藻

或權利。

文

藻試圖把抽象的圖像，轉化成為代表自己的空間、想法

Lin Wen-Tsao in his recent abstract artworks applies his knowledge in

in before (Los Angeles) and the route he used to take from his home

are the basis for his artworks. Lin uses Google Maps 3D functions and transforms buildings or streets into two dimensional (2D) geometric figures. He calculates the height of the buildings in a chosen area and demarcates them with various colors: cold color shows a building bellow the average and a warm color represents a building above the average. Lin Wen-Tsao in a process of “constructing and dismantling”, “after dismantling back to constructing” experiences a repeating cycle of construction, destruction, detachment, reduction; he implies transformation during the time and destruction of the environment. Lin attempts to depict abstract images, and seeks for transformations to become a representative of space, views or rights.

LIN Wen-Tsao

to work and back again. Urban spaces, life and natural environment

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color science and uses geometric forms to depict the city he was based

Artist Statement | LIN Wen-Tsao

解再回到建構」的行為過程中，去體驗建構、破壞、抽

創作自述 ×

均值以上的採用暖色系。林文藻從「建構和拆解」、「拆

109

林文藻 1977 年出生於台灣台中 學歷

2007 加州州立大學長堤分校美術學系，美國

經歷

2014 「打開—當代藝術工作站」，台北，台灣 2012 「藝術家論壇」，美國佛蒙特藝術中心，佛蒙特州，美國 「開放工作室」，美國佛蒙特藝術中心，佛蒙特州，美國 「美國佛蒙特藝術村—駐村藝術家」，佛蒙特州 ，美國 「藝術家論壇—春季藝術家開放工作室」，台北國際藝術村，台北，台灣 2011 「新樂園—Move Men 春季藝術家開放工作室」，台北國際藝術村，台北，台灣

Apple Core

2010

台北雙年展連動計畫「擁擠的樂園－策展記事本」，新樂園藝術空間， 台北，台灣

2009 「第五屆花蓮洄瀾國際藝術家創作營」，花蓮，台灣

110

「當代藝術家結盟動機與藝術進駐研討會」，花蓮 ，台灣 2003-08 「美國平面藝術學院（AIGA）」，美國 獲獎

2011

Artist and Writer 全額獎助學金，美國佛蒙特藝術村，美國

2001

聯展榮譽獎，SVC Gallery，美國

個展

2013 「Slightly Solid」，何兆豐數位藝術中心，台北，台灣 2012 「I Must Have Been There」，Red Mill Gallery，佛蒙特州，美國 2011 「那十年」，五七藝術工作室，台南，台灣 「The Drawer」，新樂園藝術空間，台北，台灣

聯展

2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 「文本—本事」，中山創意基地，台北，台灣 「用我的 ( ) 交換你的 ( )」，台北國際藝術村，台北，台灣 「逃離仙貝教」，新樂園藝術空間，台北，台灣 2012 「Action II—意識織錦」，Art Door Gallery，台北，台灣 「皮箱狂想曲—18 位藝術家的藝術皮箱計畫」，當代藝術館 MOCA Studio，台北，台灣 「亞洲當代藝術展」，Grand Hyatt Hotel，香港 「第十一屆藝術家博覽會」，松菸文化園區，台北、臺中文化創意產業 園區，臺中， 台灣 「林文藻、何彥樵雙人展」，新樂園藝術空間，台北，台灣 2011 「百家照性別」當代攝影藝術展，淡水漁人碼頭藝文中心，新北市，台灣 「台北人情 Way—2011 創意街區聯合展」，台北，台灣 「Annibal 21 bis Derecha」，埃爾米塔，巴塞隆納，西班牙 「時態練習」，新樂園藝術空間，台北，台灣 「吵鬧計畫 2—吵鬧紀念堂」，板橋 435 國際藝術村，台北，台灣 2010 「啾啾神功—評藝生華」，新樂園藝術空間，台北，台灣 「所在（地）計畫－林文藻、盧天心雙人展」，倉庫藝文空間，台北，台灣 2009 「Eyes on Art in Hualien」，花蓮，台灣 「Art Park」，台北國際藝術村，台北，台灣 2005

Gatov Gallery，長堤，加州，美國

2003-04 Vincent Price Art Museum，洛杉磯，加州，美國 1999-2001 Vincent Price Art Museum，洛杉磯，加州，美國

Curriculum Vitae | LIN Wen-Tsao

2013 「冬藝見暖」，光之藝廊，台中，台灣

111

LIN Wen-Tsao Born in 1977 in Taichung, Taiwan

EDUCA- R ES I DENC Y TION EX PER I ENC ES

2007 BFA, California State University, Long Beach, USA 2014 “Open – Contemporary Art Center”, Taipei, Taiwan 2012 “Artists Forum”, Vermont Arts Center, Vermont, USA “Open Studio”, Vermont Arts Center, Vermont, USA “Vermont Artist Village”, Resident Artist, Vermont, USA “Artists Forum – Spring Open Studio”, Taipei Artist Village, Taipei, Taiwan

2011 “New Paradise – Move Men Spring Open Studio”, Taipei Artists Village, Taipei, Taiwan Apple Core

2010 Taipei Biennial Structured Plan “Crowded Paradise – Curators Talk”, Shin Leh Yuan Art Space, Taipei, Taiwan

2009 “The Fifth Hweilan International Artists Workshop”, Hualien, Taiwan

112

“A New Way to Engage Artists through Art-in-Residence programs”, Hualien, Taiwan

2003-08 “AIGA – American Institute of Graphic Arts”, USA AWARDS

2011 International Fellowship for Artists and Writers, Vermont Studio Center, USA 2001 Honourable Mention Artist, SVC Gallery, USA

SOLO EXHIB ITIONS

2013 “Slightly Solid”, Ho Chao Feng Digital Arts Center, Taipei, Taiwan 2012

“I Must Have Been There”, Red Mill Gallery, Vermont, USA

2011

“Some Other Stories”, Wu-Chi Art Studio, Tainan, Taiwan “The Drawer”, Shin Leh Yuan Art Space, Taipei, Taiwan

“Retro : Context”, Chung Shan Creative Hub, Taipei, Taiwan “With My (), Trade Your ()”, Taipei Artist Village, Taipei, Taiwan

2013 “Dong Yi Jian Nuan”, Luminance Art Space, Taichung, Taiwan “Escape from the Religion of Cracker”, Shin Leh Yuan Art Space, Taipei, Taiwan

2012 “Action II – Awareness“, Art Door Gallery, Taipei, Taiwan “Case by Case – 18 Artistic Suitcases”, MOCA Studio, Taipei, Taiwan “Asia Contemporary Art Show”, Grand Hyatt Hotel, Hong Kong “2012 Ar tist Fair”, Songshan Cultural and Creative Park, Taipei; Taichung Cultural and Creative Industries Park, Taichung, Taiwan “Our Languages”, Shin Leh Yuan Art Space, Taipei, Taiwan

2011 “100 Gender Photographs”, Tamsui Fisherman’s Wharf, Taipei, Taiwan “Taipei People Love Way”, Taipei, Taiwan “Annibal 21 bis Derecha”, Ermita, Barcelona, Spain “Tenses Practice”, Shin Leh Yuan Art Space, Taipei, Taiwan “Noisy Plan 2 – Noise Memorial”, 435 International Artist Village, Taipei, Taiwan

2010 “Chirp! Chirp! – The 9th Group Exhibition of SLY’s Artists”, Shin Leh Yuan Art Space, Taipei, Taiwan “How do You Think of the Place? – Lin Wen-Tsao, Tesia T. Lu”, Artspace Warehouse, Taipei, Taiwan

2009 “Eyes on Art in Hualien”, Hualien, Taiwan “Art Park”, Taipei Artist Village, Taipei, Taiwan

2005 Gatov Gallery, Long Beach, California, USA 2003-04 Vincent Price Art Museum, Los Angeles, California, USA 1999-2001 Vincent Price Art Museum, Los Angeles, California, USA

Curriculum Vitae | LIN Wen-Tsao

G RO U P EX HI B I T IO NS

2014 “Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan

113

簡 介 ｜ Biography

林煒翔 LIN Wei-Hsiang

林煒翔，1983 年出生於新竹，台灣，2009 年畢業於國立 新竹教育大學美勞教育研究所，創作多以平面繪畫為主。 他的創作靈感源於自然界的景色，不同於學院派的寫實 風景畫，他呈現的是寫意、抽象的畫面，強調的是作品 內在的精神性而非外在形式的模仿；從他的繪畫作品可 以感受到流動的雲霧、溼潤的水氣，筆觸和用色帶入中 國水墨畫的概念。他將自己的心靈世界描繪成飄渺、虛 幻的風景，藉此訴說他無以名狀的內在感受。2005 年獲 Apple Core

李澤繁教授藝術創作獎，2004 年獲文建會青年繪畫作品

114

南瀛美展水彩類優選；作品獲台灣藝術銀行、國立台灣

典藏徵件入選、全國學生美展西畫類大專美術系組優等、

美術館及國立交通大學藝文中心典藏。

Lin Wei-Hsiang was born in Hsinchu, Taiwan in 1983. In 2009 he graduated from National Hsinchu University of Education, Graduate Institute of Fine Arts and Crafts Education. His inspiration comes from the natural sceneries, though unlike the Realists’ landscape paintings, his paintings are more impressionistic and abstract, emphasizing inherent spirituality rather than extrinsic imitation. In his paintings one can feel the movement of clouds or moist humid air. He portrays his own ethereal inner world and illusory landscapes that cannot be expressed in words.

In 2005 Lin received Professor Tze-Fan Lee Creative Award, in 2004 was selected for Young Artist Collection, received an award for excellence in National Student Art Exhibition and honorable mention in Nanying Art Exhibition. His works are collected by Taiwan Art Bank, National Taiwan Museum of Fine Arts and National Chiao Tung University Arts Center.

對 我來說，作品像一段旅行，是追尋寧靜的過程與痕 跡。在畫面中，我以簡化、單純的鋪陳，來表現個人內 在的心靈世界。

活中，與大自然親近、交往和對話的真誠體驗。

對話關係及交互作用，意圖捕捉瞬間即成的永恆。

like a journey. I present a personal spiritual world via a simplified and

I often appropriate natural scenery as the symbol of myself in order to place my longing, endorsement and admiration of nature. Through arranging the landscape, I share my wholehearted experience about my close relationship and dialogue with the nature world.

I try to extract an eternal value out of the constant transformation of the present. My paintings of scenery that show the conversation between objects and me also the interrelationship between image and spirit intend to capture the eternity within a moment.

LIN Wei-Hsiang

pure presentation in my paintings.

Written by

For me, my art practice is the progress and trace of searching for peace,

林/ 煒 翔

由對風景的描繪，表現關於物與我、視象與心靈之間的

文

我試圖在不斷變動的當下，凝鍊出一種永恆的價值。藉

Artist Statement | LIN Wei-Hsiang

然的嚮往與傾慕。透過物象的安排，傳遞自身在日常生

創作自述 ×

我經常挪借自然界的景物，做為自我的象徵，寄託對自

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林煒翔 1983 年出生於台灣新竹 學歷 個展 聯展

Apple Core 116

2009 國立新竹教育大學美勞教育研究所碩士，新竹，台灣 2005 國立新竹師範學院美勞教育學系學士，新竹，台灣 2013 「在畫裡聽見風聲」，弔詭畫廊，高雄，台灣 2009 「緩緩行」，二十號倉庫，台中，台灣 「慢板」，新竹教育大學，新竹，台灣 2008 「慢板」，中國科技大學藝文中心，新竹，台灣 2007 「林煒翔個展」新竹教育大學，新竹，台灣 「永恆」，金禧美術，台中，台灣 2005 「凝視的詩意與存在」新竹師範學院，新竹，台灣 2004 「林煒翔個展」金變堂藝術空間，新竹，台灣 2002 「單純與暗喻」新竹師範學院，新竹，台灣 2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 「台北國際當代藝術博覽會」，晶華酒店，台北，台灣 「島」，一票人票畫空間，台北，台灣 2013 「紙上作品」，臻品藝術中心，台中，台灣 「貳零壹參•集體走春」，臻品藝術中心，台中，台灣 2012 「人•獸•風景－黃海欣、林彥瑋、林煒翔三人繪畫展」，誠品畫廊，台北，台灣 2011 「夢遊」，金變堂藝術空間，新竹，台灣 「台灣新世代藝術家聯展」，國泰世華藝術中心，台北，台灣 「百年好合，心存好藝」，臻品藝術中心，台中，台灣 「這城市裡沒有兔子－ 2011 兔年特展」，一票人票畫空間，台北，台灣 2010 「後青春」，國立台灣美術館，台中；關渡美術館，台北，台灣 2009 「私•風景」，國泰世華藝術中心，台北，台灣 「台北國際藝術博覽會」，世界貿易中心，台北，台灣 2008 「蝕•宇宙」，國泰世華藝術中心，台北，台灣 「擺盪－實境」，北投公民會館，台北，台灣 「虛擬空間」，新竹教育大學，新竹，台灣 「寫時三少」，金禧美術，台中，台灣 2007 「袋袋相傳」，臻品藝術中心，台中，台灣 「台北國際藝術博覽會」，世界貿易中心，台北，台灣 「佈展中」新竹教育大學，新竹，台灣 「風景的面貌」，臻品藝術中心，台中，台灣 2006 「自己的世界－當代繪畫聯展」，金禧美術，台中，台灣

聯展

2005

2003

2002

獲獎

2005 李澤藩教授藝術創作獎 2004 全國學生美展西畫類大專美術系組，優等 文建會青年繪畫作品典藏徵件，入選 南瀛美展水彩類，優選 新竹美展水彩類特優、油畫類佳作 2003 新竹美展水彩類佳作 2002 第 57 屆全省美展水彩類，入選 交通大學荷花藝術季寫生比賽大專組首獎

典藏

2013 2009 2004 2002

台灣藝術銀行，台中，台灣 國立台灣美術館，台中，台灣 國立台灣美術館，台中，台灣 交通大學藝文中心，新竹，台灣

Curriculum Vitae | LIN Wei-Hsiang

2004

「關於我們自身的」，金變堂藝術空間，新竹，台灣 「金變堂主造像圖展」，金變堂藝術空間，新竹，台灣 「台北國際藝術博覽會」，華山文化園區，台北，台灣 「四季如藝」，南畫廊，台北，台灣 「土地．視界內的真實」，由鉅藝術中心，台中，台灣 「新聲」，新竹教育大學，新竹，台灣 「十人寫實繪畫展」，台灣藝術大學，台北；新竹師範學院，新竹；大 古文化，台中，台灣 「藝起瘋」，竹師藝術空間，新竹；新竹縣文化局，新竹；台中市文化局， 台中，台灣 「情．調」，新竹師範學院，新竹，台灣 「在乎現實」，新竹師範學院，新竹，台灣 「全國學生美術比賽優勝作品展」，台南社會教育館，台南，台灣 「靜觀，冥想－空間意境的無窮靈思」，台灣科技大學，台北，台灣 「跨越時空」，南畫廊，台北，台灣 「國泰藝術節－新世紀潛力畫展」，國泰金融中心，台北，台灣 「靜觀，冥想－空間意境的無窮靈思」，智邦藝術迴廊，新竹，台灣 「南瀛美展」，台南縣文化局，台南，台灣 「新竹美展」，新竹市文化局；新竹縣文化局，新竹，台灣 「追，尋」，新竹師範學院，新竹，台灣 「風景小品聯展」，清華大學，新竹，台灣 「心的饗宴」，交通大學，新竹，台灣 「新竹美展」，新竹縣文化局，新竹，台灣 「第 57 屆全省美展」，台中市文化局，台中，台灣 「李蔡配藝術教育基金會義賣聯展」，竹師藝術空間，新竹，台灣 「荷花藝術季作品展」，交通大學，新竹，台灣

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LIN Wei-Hsiang Born in 1983 in Hsinchu, Taiwan

EDUCATION S O L O EX HIBITIONS

Apple Core

2013

“Seeing the Stroll of Wind”, Crane Gallery, Kaohsiung, Taiwan

2009

“Stroll”, Stock20, Taichung, Taiwan

GROUP EXH IB ITION S

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MFA, Graduate Institute of Fine Arts and Crafts Education, National Hsinchu University

2009

of Education, Hsinchu, Taiwan 2005

BA, Department of Fine Arts and Crafts Education, National Hsinchu Teachers College, Hsinchu, Taiwan

“Adagio”, National Hsinchu University of Education, Hsinchu, Taiwan 2008

“Adagio”, China University of Technology Art Center, Hsinchu, Taiwan

2007

“Lin Wei-Hsiang Solo Exhibition”, National Hsinchu University of Education, Hsinchu, Taiwan “Eternity”, Arthis Fine Art, Taichung, Taiwan

2005

“Poetry and Existence of the Gaze”, National Hsinchu Teachers College, Hsinchu, Taiwan

2004

“Lin Wei-Hsiang Solo Exhibition”, Jin-Bien-Tang Art Space, Hsinchu, Taiwan

2002

“Simple and Metaphor”, National Hsinchu Teachers College, Hsinchu, Taiwan

2014

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “Young Art Taipei”, Regent Taipei, Taipei, Taiwan “The Island”, Piaopiao Gallery, Taipei, Taiwan

2013

“On the Paper”, Galerie Pierre, Taichung, Taiwan “2013 New Year Group Exhibition”, Galerie Pierre, Taichung, Taiwan

2012

“Man – Animal – Landscape: Huang Hai-Hsin, Lin Yen Wei, and Lin Wei-Hsiang”, Eslite Gallery, Taipei, Taiwan

2011

“Wandering in a Dream”, Jin-Bien-Tang Art Space, Hsinchu, Taiwan “Taiwan's New Generation Artists Exhibition”, Cathay United Art Center, Taipei, Taiwan “Forever Together, Peace Within”, Galerie Pierre, Taichung, Taiwan “There is No Rabbit in this City - Year of the Rabbit Special Exhibition in 2011”, Piaopiao Gallery, Taipei, Taiwan

2010

“Post-Adolescence”, National Taiwan Museum of Fine Arts, Taichung; Kuandu Museum of Fine Arts, Taipei, Taiwan

2009

“Desire to See – Rising Young Artists Exhibition”, Cathay United Art Center, Taipei, Taiwan “Art Taipei 2009”, World Trade Center, Taipei, Taiwan

2008

“Eclipse-Universe – Rising Young Surrealist Ar tists Exhibition”, Cathay United Ar t Center, Taipei, Taiwan “Swing - Reality”, Beitou Citizens Activities Center, Taipei, Taiwan “Virtual Space”, National Hsinchu University of Education, Hsinchu, Taiwan “Timing is Everything”, Arthis Fine Art, Taichung, Taiwan

2007

“Art Bag”, Galerie Pierre, Taichung, Taiwan “Art Taipei 2007”, World Trade Center, Taipei, Taiwan

“Layout”, National Hsinchu University of Education, Hsinchu, Taiwan “Landscape”, Galerie Pierre, Taichung, Taiwan 2006

“Own World - Contemporary Painting Exhibition”, Arthis Fine Art, Taichung, Taiwan “About Ourselves”, Jin-Bien-Tang Art Space, Hsinchu, Taiwan “The Portraits of Mr. Xu”, Jin-Bien-Tang Art Space, Hsinchu, Taiwan “Art Taipei 2006”, Huashan Culture Park, Taipei, Taiwan “Four Seasons as Art”, Nan Gallery, Taipei, Taiwan

2005

“Land . Truth Within the Horizon”, GSR Gallery, Taichung, Taiwan “New Voice”, National Hsinchu University of Education, Hsinchu, Taiwan “Realism Exhibition by Ten Ar tists”, National Taiwan University of Ar t, Taipei; National Hsinchu Teachers College, Hsinchu; Da-Ku Art Gallery, Taichung, Taiwan “Ar t from the Crazy”, NHCUE Ar t Space, Cultural Affairs Bureau, Hsinchu; Cultural Affairs Bureau, Taichung, Taiwan “Sentiment”, National Hsinchu Teachers College, Hsinchu, Taiwan “National Ar t Students Competition Winners Exhibition”, National Tainan Social Education Center, Tainan, Taiwan “Contemplation and Meditation - Infinite Spiritual Thoughts on Ambience”, National Taiwan University of Science and Technology, Taipei, Taiwan “Across Time and Space”, Nan Gallery, Taipei, Taiwan

2004

“Cathay Art Festival - Young Talents of the New Century”, Cathay Financial Center, Taipei, Taiwan “Contemplation and Meditation - Infinite Spiritual Thoughts on Ambience”, Accton Gallery, Hsinchu, Taiwan “2004 Nanying Fine Art Exhibition”, Cultural Affairs Bureau, Tainan, Taiwan “2004 Hsinchu Fine Ar t Exhibition”, Cultural Affairs Bureau of Hsinchu City, Cultural Affairs Bureau of Hsinchu County, Hsinchu, Taiwan “Pursue”, National Hsinchu Teachers College, Hsinchu, Taiwan “Small Landscape Painting Group Exhibition”, National Tsing Hua University, Hsinchu, Taiwan

2003

“Feast of the Heart”, National Chiao Tung University, Hsinchu, Taiwan “2003 Hsinchu Fine Art Exhibition”, Cultural Affairs Bureau, Hsinchu, Taiwan “57th Taiwan Provincial Fine Art Exhibition”, Cultural Affairs Bureau, Taichung, Taiwan

2002

“Tsai-Pei Lee Arts Education Foundation Exhibition”, NHCUE Art Space, Hsinchu, Taiwan “Lotus Art Festival”, National Chiao Tung University, Hsinchu, Taiwan

AWA RDS

2005

Professor Tze-Fan Lee Creative Award, Winner

2004

National Student Art Exhibition, Excellence in Western Painting Category Young Artist Collection, Council for Cultural Affair, Selected 2004 Nanying Art Exhibition, Watercolor Category, Honorable Mention 2004 Hsinchu Ar t Exhibition, Special Honor in Watercolor Category, Honors in Oil Painting Category

2003

2003 Hsinchu Art Exhibition, Honors in Watercolor Category

2002

57th Provincial Art Exhibition, Watercolor Category, Shortlist Chiao Tung University Lotus Art Festival Sketch Competition, First Prize

PUBLIC COLLECTIONS

2013

Taiwan Art Bank, Taichung, Taiwan

2009

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2004

National Taiwan Museum of Fine Arts, Taichung, Taiwan

2002

National Chiao Tung University Arts Center, Hsinchu, Taiwan

Curriculum Vitae | LIN Wei-Hsiang

“Believe in Reality”, National Hsinchu Teachers College, Hsinchu, Taiwan

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簡 介 ｜ Biography

張立人 CHANG Li-Ren 張立人，1983 年出生於台中，台灣，2011 年畢業於國立台南藝術大學 造形研究所，創作多以錄像裝置、觀念計劃和動畫為主。張立人擅長 用敘事的手法建構出介於想像與現實之間的虛擬世界，如同法國社會 學家及哲學家布希亞（Jean Baudrillard，1929-2007）提出的「擬像」 （simulacra）概念，布希亞認為現代社會創造出來的擬仿物，如電視、 電腦等數位科技製造出的影像，這些影像已超越實物本身，而且比實 物看起來還要真實，形成了一種過度真實（hyperreality）的畫面，導 致想像與真實之間的界線徹底崩解；張立人的錄像作品巧妙的掌握虛 Apple Core 120

擬與現實之間的界線，透過這些再製的影像建構出一個擬真的世界。 他的作品曾至東京、大阪、香港、聖彼得堡、巴黎等地展出；2013 年 獲台北國際當代藝術博覽會新潮賞、2012 年第 8 屆台新藝術獎入圍、 2009 年榮獲高雄獎首獎、台北美術獎首獎和桃源創作獎首獎。 Chang Li-Ren was born in Taichung, Taiwan in 1983. In 2011 he graduated from Graduate Institute of Plastic Ar ts, Tainan National University of the Ar ts. He mostly creates video installations, conceptual projects and animations. Chang is good at narrating the relationship among imagination and reality in vir tual world. French sociologist and philosopher Jean Baudrillard (1929-2007) argues that our modern society has created simulacra. Television, computers and other digital technology produce images that are the reflections of a profound reality, but these reflections appear to be more real than the reality itself. This creates hyperreality where the boundaries between imagination and reality are completely disintegrating. In his video ar t Chang Li-Ren skillfully masters these boundaries and reproduces the real world.

Chang’s woks have been on display in Tokyo, Osaka, Hong Kong, St. Petersburg, Paris and other places. In 2013 he received Young Art Taipei Award, in 2008 was selected for The 8th Taishin Arts Award and in 2009 received Kaohsiung Award, Taipei Arts Award and Taoyuan Creation Award.

「Veni, vidi, vici」（我來，我見，我征服） 尤里烏斯．凱薩 47BC 模型社區（Model Community），依據想像的平面圖，以 1：12 的比例製作， 立體建模出一個如同小人國一般的社區。它不是現實世界中任何地方的縮影， 而是一個全然想像特製的小型社群；這個小型社群被建構出來的意義在於它的 理想性而呈現出的假象特性。 在這個小人國社區中有許多脆弱的小人物、小物件，巨人槍手們以強勢不可抵

通常射擊與攝影被認為同為視覺的延伸，但在這裡狙擊手視野的介入不只是旁 觀，而是參與影像的改變；這個視野不等待事件，而是產生事件，而其它四個

張/ 立 人

“I came, I saw, I conquered”

文

圍繞的客觀鏡頭則是同步見證主視野所生產的事件。

Julius Caesar, 47 BC

easily find anywhere else in the world, it is an imaginary small-sized community. The significance of this community lies in its perfection and false impression.

In this small-scaled community there are many fragile little people, small objects, and huge gunmen attacking buildings and people with heavy firepower. The sniper in the center has an excellent field of view. Small people and objects are ruptured and exploded in front of the audience for them to witness the moment of the attack.

Often shooting and photography are considered as the means for visual extension, but here sniper is not only an observer or an onlooker, he is also a par ticipant.

Therefore, instead of waiting for things to happen, he emerges himself into action, while others gathered around are the witnesses of the happening.

CHANG Li-Ren

inhabited by small people. Its scale is 1:12. This community is not the one you could

Written by

Model Community is a three-dimensional scale model depicting a community

Artist Statement | CHANG Li-Ren

小人與物件在觀者眼前被射穿爆裂，目擊命中的瞬間。

創作自述 ×

抗的火力對建築與人物掃射。中央狙擊手的主觀視野提供了絕佳觀賞的角度，

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張立人 1983 年出生於台灣台中 學歷

2011 台南藝術大學造形研究所，台南，台灣 2006 國立台灣藝術大學美術系，台北，台灣

個展

2013 「古典小電影」，Lower Akihabara，Yod Gallery，東京，大阪，日本 「This Is a Book」，信義誠品書店，Art Studio，台北，台灣 2011 「戰鬥之城 1.1」，台新金控大樓 1F，台北，台灣 「新朋友－展它的寂寞」，非常廟藝文空間，台北，台灣 2010 「戰鬥之城」，高苑藝文中心，高雄，台灣

聯展

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2009 「Irdina」，K's 當代藝術空間，台南，台灣 2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 2013 「台灣分裂 2.0 」，Cyberfest，聖彼得堡，俄羅斯 「愛你一生一世：動漫美學雙年展」，高雄市立美術館，高雄，台灣 「NG 的羅曼史」，耿畫廊，台北，台灣 「台灣分裂 2.0 」，奧地利林茲電子藝術節，林茨，奧地利 「沒出息 3D 錄像影展」，海馬迴光畫館，台南，台灣 「蒙娜麗莎 MIT」，高雄市立美術館，高雄，台灣 「2013 Young Art Taipei」，台北喜來登飯店，台北，台灣 「真真－當代超常經驗展」，台北市立美術館，台北，台灣 2012 「安全區」，鳳甲美術館，台北，台灣 「Made in Taiwan 張立人、姚仲涵、林冠名」，Input / Output 畫廊，香港 「Turning a Blind Eye 再見 不尋常小事」，藝饌堂，台北，台灣 2011 「不可小覷：10 組藝術家對能源和災難的想像策略」，大未來耿畫廊， 台北，台灣 「Par ts and Whole – Today’s Perspectives in Ar t from East Asia」， Hiromiyoshii，東京，日本 「渾變－台日交流展」，關渡美術館，台北，台灣 「錄像台灣」，法國北部敦克爾克市 M.J.C. 青年活動中心，法國 2010 「夢土 －李佳祐、廖震平、張立人、劉芸怡 聯展」，Ultra Art Fair，

聯展

東京，日本 「唉呀的物件展 Oopject」，耿畫廊，台北，台灣 「第八屆台新藝術獎」，高雄市立美術館，高雄，台灣 「泡故宮－從後遺民到後現代」，加力畫廊，台南，台灣 「今日•當代台灣－台灣當代藝術展」，慶南道立美術館，昌原，韓國 「台灣藝術新世代」，今日美術館，北京，中國 2009 「2009 台北美術獎」，台北市立美術館，台北，台灣 「台灣藝術新世代」，上海美術館，上海，中國 「2009 粉樂町 Very Fun Park」，台北市東區，台北，台灣 「萬德秀外掛錄像展」，加力畫廊，台南，台灣 「2009 Young Art Taipei」，台北王朝大酒店，台北，台灣 「歡迎光臨真實的荒漠」，東海大學，台中，台灣 「第 7 屆桃源創作獎」，桃園市立文化局，桃園，台灣 「2009 高雄獎」，高雄市立美術館，高雄，台灣 「新高潮第二波－自由術」，新思惟人文空間、高雄，台灣 2006 「特別行政區」，華山藝文中心，台北，台灣 2005 「熊熊坦克」，台北藝術大學，台北，台灣

獲獎

2013 Young Art Taipei 新潮賞 2010 第 8 屆台新藝術獎，入圍 2009 台北美術獎，首獎 桃源創作獎，首獎 高雄獎，首獎

Curriculum Vitae | CHANG Li-Ren

「2010 Young Art Taipei」，台北王朝大酒店，台北，台灣

123

CHANG Li-Ren Born in 1983 in Taichung, Taiwan

2006

BFA, National Taiwan University of Arts, Taipei, Taiwan

“Classic Small Movie”, Lower Akihabara, Yod Gallery, Tokyo, Osaka, Japan

2013

2010

“Battle City”, Kao Yuan Art Center, Kaohsiung, Taiwan

2009

“Irdina”, K's Art, Tainan, Taiwan

GROUP EXHIB ITION S

Graduate Institute of Plastic Arts, Tainan National University of the Arts, Tainan, Taiwan

S O L O EX HIBITIONS

EDUCATION

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2011

2014

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan

2013

“Schizophrenia Taiwan 2.0”, Cyberfest, Saint Petersburg, Russia

“This is a Book”, Art Studio, Eslite Xinyi Store, Taipei, Taiwan 2011

“Battle City 1.1”, Taishin Tower 1F, Taipei, Taiwan “Neo Friends – Display Its Loneliness”, VT Art Salon, Taipei, Taiwan

“Love Love: Animamix Biennale 2013-14”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Romance of NG”, Tina Keng Gallery, Taipei, Taiwan “Schizophrenia Taiwan 2.0”, Ars Electronica, Linz, Austria “Unpromising 3D Video Festival”, Fotoaura Institute of Photography, Tainan, Taiwan “Mona Lisa Made in Taiwan”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan 2012

“Young Art Taipei”, Sheraton Taipei Hotel, Taipei, Taiwan “True Illusion, Illusory Truth – Contemporary Art Beyond Ordinary Experience”, Taipei Fine Art Museum, Taipei, Taiwan

2011

“Safe Zone for Artists”, Hong-gah Museum, Taipei, Taiwan “Made in Taiwan”, Input / Output Gallery, Hong Kong “Turning a Blind Eye”, Agora Art Project x Space, Taipei, Taiwan “Don’t Brush off What You See”, Tina Keng Gallery, Taipei, Taiwan

2010

“Parts and Whole – Today’s Perspectives in Art from East Asia, Hiromiyoshii, Tokyo, Japan “Trans-Plex: Weaving Platform”, Kuandu Museum of Fine Arts, Taipei, Taiwan “Video Taiwan”, Frac Nord – Pas de Calais, Dunkirk, France “Dream Land – By Lee Chia-Yu, Liao Zen-Ping, Chang Li-Ren and Liu Yun-Yi”, Ultra Art Fair, Tokyo, Japan

“Oopject”, Tina Keng Gallery, Taipei, Taiwan “Young Art Taipei”, Taipei, Taiwan “8th Taishin Arts Award”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Mingling the Palace Museum – Post-Motherland Sentiments”, Inart Space, Tainan, Taiwan “The Contemporary Art of Taiwan”, Gyeongnam Art Museum, Changyuan, Korea “Super Generation@Taiwan”, Today Art Museum, Beijing, China “Taipei Arts Award”, Taipei Fine Art Museum, Taipei, Taiwan “Super Generation@Taiwan”, Shanghai Art Museum, Shanghai, China “2009 Very Fun Park”, Taipei, Taiwan “Wonder Show 01 Video Show Plug-Inart Space”, Inart Space, Tainan, Taiwan “Young Art Taipei”, Taipei, Taiwan 2006

“Welcome to the Desert of the Real”, Taichung, Taiwan

2005

“The 7th Taoyuan Creation Award”, Taoyuan, Taiwan “Kaohsiung Awards 2009”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Neo Kaohsiung Wave – 2nd Wave Liberty – Techniques”, Sincewell Gallery, Kaohsiung, Taiwan “Special Administrative Region”, Huashan Creative Park, Taipei, Taiwan “Bear and Tank”, TNUA, Taipei, Taiwan

AWA RDS

2013

Young Art Taipei Award

2010

8th Taishin Arts Award, Selected

2009

Taipei Arts Award Taoyuan Creation Award Kaohsiung Award

Curriculum Vitae | CHANG Li-Ren

2009

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簡 介 ｜ Biography

許家維 HSU Chia-Wei 許家維對於亞洲冷戰時期被遺忘的歷史有著濃厚的研究興趣，作品 發展出對於探究現實與幻象、歷史與當下間的敏銳知性，並透過建 立鏡頭以外的事件，連結正規歷史描述所未及的人與地方的關係。

他不斷的嘗試融合當代藝術與電影的語言去發展作品，並關注於如 何透過影像創作介入現實，進而生產一種介於敘事世界與現實之間 的異質敘事體。同時透過一種批判的態度，透過影像的能力，將場 Apple Core 126

域帶到美術館外任何一個地方，作為影像創作在政治實踐上的可 能。

他 的 作 品 曾 在 2013 年 的 威 尼 斯 雙 年 展 台 灣 館 展 出， 同 年 也 入 圍 了 Hugo Boss 亞洲藝術大獎。另外也在許多的美術館及國際影展 展 出， 包 括 Jeu De Paume 美 術 館、 第 三 十 九 屆 鹿 特 丹 影 展（39th International Film Festival Rotterdam）、2012 的 利 物 浦 雙 年 展 （Liverpool Biennial）、2012 台北雙年展、以及在龐畢度藝術中心 （Centre Pompidou Paris）、柏林世界文化之家（Haus der Kulturen der Welt Berlin） 及 西 班 牙 的 索 菲 亞 美 術 館（Reina Sofia National Museum Madrid） 所 舉 辦 的 相 遇 國 際 錄 像 藝 術 節（Rencontres Internationales Paris/ Berlin/ Madrid）。 他同時也與一群藝術家共同經營一個藝術空間：打開－當代藝術工 作站。成立至今已有十二年的時間。這是一個由藝術家集結而成的 組織，同時具有策展、創作、論述、跨領域交流，以及藝術教育推 廣多功能之組織。策劃過幾十檔大小型涵蓋國內外藝術家的展覽、 藝術論壇、講座，和出版工作，持續地致力於當代藝術中的每一種 創造溝通的可能。

Hsu is interested in the forgotten histories of the Cold War in Asia. His works develop a keen sensitivity that weaves together reality and illusion, histor y and the present by building events outside of the lens and by linking formal history with people and places.

ar t and film into his wor ks. He is concerned with how to step into reality through filmmaking. Therefore, Hsu constructs a mythical narrative that lingers between fiction and reality. He maintains a critical attitude toward filming, and by using the power of the creation of the film he strives to bring ar t into locations other than museums. And as a filmmaker he also seeks to develop his own political practice.

In 2013, he was invited to present his works in La Biennale di Venezia for the Taiwan Pavilion. In the same year he received the Hugo Boss Asia Art Award. Besides, his works had also par ticipated in many exhibitions in museums, biennials and film festivals, such as Jeu De Paume, The 39th International Film Festival Rotterdam, 2012 Liverpool Biennial, 2012 Taipei Biennial, The 8th Taiwan Inter national Documentar y Film Festival, and Rencontres Internationales Paris/Berlin/Madrid, screened at the Centre Pompidou, Paris, Haus der Kulturen der Welt, Berlin, and Reina Sofia National Museum, Madrid.

Biography | Hsu Chia-Wei

He has been continuously trying to combine contemporary

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創作自述 ｜ Artist Statement

許家維 HSU Chia-Wei 《鐵甲元帥－靖思村》藉由青蛙神鐵甲元帥和藝術家之間一段不尋 常的對話所開展，以現代性的脈絡以及遠古神祕文本的雙重透視切 入，彼此相互映照，譜繪出神話、影像、文化與歷史的消逝和形成。

鐵甲元帥在一千多年以前出生於中國江西，其駐於武夷山的廟宇在 文化大革命的時期遭受毀壞，目前流落到在中國和台灣本島之間的 龜島上。該島在蔣中正退守台灣以後，正式歸為台灣管轄。在一場 Apple Core 128

意外的相遇後，許家維決定展現此現代性和神話的交錯節點，以夜 景描繪青蛙神出生地的池塘，以日景捕捉其現居地的島嶼。

影片在兩地展開拍攝行動，前者由與青蛙神信仰同根源的驅魔儀式 儺舞一起呈現，後者則伴隨著元帥目前最喜愛的閩劇戲曲。鐵甲元 帥和藝術家的溝通往來文件也在裝置中如實展出，其中包括了元帥 在神桌上寫給許家維的一首詩。在挖掘這則現存神話的過程中，事 實與虛構的差異顯得微小，而現代國家對於歷史與記憶的挪動支配 結構則表露無疑。

藝術家透過影像、文字、裝置創作出新的敘事，以解開文化認同形 塑之間的前置鏈結。影像拍攝的綠幕技巧被用來傳輸與媒介人、 神、物之間的時空感知。兩個空間的影像裝置在對話性的輪替播放 中，相互揭露其隱藏的結構。由影像、裝置、改編計畫研究材料而 生的劇本等所組成的敘事體，則成為作品《鐵甲元帥》這則新藝術 神話的基石：神祕魔幻的故事與政治背景隨海潮褪去，敘事成為譯 寫生命想像的憑介。

《鐵甲元帥－龜島》所表陳的主軸環繞在一座小島，該 島位於台灣海峽上的馬祖外海。此作涉及這島嶼的歷史。 在清朝，這座島上有間小廟。當蔣介石撤退到台灣後， 小廟被拆解遷移至鄰近一作更大的島嶼，其原址上則建 造了一座碉堡。現在，碉堡荒廢頹圮，島嶼的所有權也 再度被轉讓到原本的廟方手上。這座島嶼受當地一位青

馬祖。

在許家維的作品中，這座島嶼被當作是舞台。藝術家運

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背景，而後在後製過程中以其他背景合成取代），將虛

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用電影製作的「綠幕」技術（一種拍攝期間使用的替代

擬的小廟重新放回島上，卻隨著攝影機緩緩地拉遠而揭

的寫景手法構成了一項表演場景，其中，一位當地的老

帥在閒暇之餘最喜歡聽的曲目，只是現在已經被眾人遺 忘了，而這老人是碩果僅存的傳述者。

旁邊牆上則貼了一封許家維寫的信，陳述了他作為當代 藝術的歷史代言人的願景，請鐵甲元帥應准他的行為， 並展示神祇回應的攝影。

《鐵甲元帥－小廟》希望直接在島上重建這座已經消失 的廟宇，但在那次廟裡的詢問儀式中，“您”不允許我 在島上搭建任何東西，遵照“您”的指示，我選擇把這

HSU Chia-Wei

人唱著流傳於福建南方的民俗歌謠。據說，這是鐵甲元

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露這蒙太奇手法，讓設置在島上的綠幕一目了然。如此

Artist Statement | HSU Chia-Wei

的廟中。當文化大革命毀了那座廟後，祂就被流放到了

創作自述 ×

蛙神明「鐵甲元帥」管轄。祂原本駐紮在中國五夷山上

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座廟宇搭建在工作室裡。為此我詢問了廟裡長者這座廟宇過去在島 上可能的樣貌，他已回想不起，於是我便依據島上殘留的廟宇地基 來想像它的大小，而廟裡的建築樣式則是參考您所居住的芹壁村。 1970 年後這裡的漁業蕭條使居民外移，村莊因此躲過現代化的破 壞，保留了許多傳統的閩東建築，我依照這些建築裡常見的花崗岩 與大理石來刻畫廟裡牆面的質感，並用青白、黃褐與磚紅等不同的 顏色來繪製，這不僅是個拍攝用的虛構場景，同時也是個現實空 Apple Core 130

間，是對於曾發生事物的想像與記憶的物質化。

《白色四方桌》隨著鐵甲元帥引領我進入神話世界，我經歷了一段 神話與政治的旅程，在島與池塘之間慢慢形塑成了這些故事。最 後，我再次回到芹壁村的廟宇，帶了一張白色四方桌，重頭向元帥 敘述了這整個旅程，這一次元帥在桌面上寫下了一首詩：「遠來貴 客真有腳，武山尋根到溪村。情字半點心，同住石芹邊，祖孫代代 傳，萬古芹流芳。」老實說，雖然我與元帥見了很多次面，也打探 到了不少祂的事跡，但對於祂的世界我還是感到像團謎般非常陌 生。我並不能確定元帥題的這首詩是寫給我，還是寫給逐年增加的 觀光客，詩句讀來總覺得離我忽遠忽近，難不成是元帥在抒發自己 的心情？我想，唯一能讓我想像的大概只有這趟旅程中，所收集到 來自這些相遇者的故事與模糊不確鑿的記憶。

“Marshal Tie Jia – Jingsi Village”. By drawing out unusual conversations between the frog god Marshal Tie Jia and the ar tist, “Marshal Tie Jia – Jingsi Village” is an attempt to map the creation and disappearance of myth, image, culture, and history from both the contemporary modernist context and a more ancient and

and lost his temple in the Wu-Yi Mountains during the Cultural Revolution, is currently exiled on Tur tle Island, a tiny islet between Taiwan and China that came

conjunction of modernity and myth by depicting the pond where the frog god was born in the night and the island where he currently resides in daylight.

ancient exorcism ritual that shares the same roots as the frog beliefs, and comments on the production are given by the Marshal. Documentation of the correspondence between the Marshal and Hsu are also on display, including a poem that the god wrote to Hsu on the altar table.

As the difference between fact and fiction seems to disappear and the modern nation state’s appropriation of histor y and memor y is revealed through discovering a living myth, Hsu creates narratives through image, text, and installation to untether the formation of cultural identity from its preceding attachments. Green screen techniques are employed to transpor t and mediate different sensations of space-time amongst people, gods, and materials. Imagery from the film, the installation, and the play based on the project’s research become key elements of the structure of the new ar tistic myth of Marshal Tie Jia: the magical stories and political background ebb away, and the narrative becomes

HSU Chia-Wei

Min opera, the Mar shal’s current favorite enter tainment. Instr uctions and

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The film is shot in these two sites and accompanied by both Nuo dance, an

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After an accidental encounter with Marshal Tie Jia, Hsu decided to unfold the

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under the jurisdiction of the former after Chiang Kai-Shek’s retreat to Taiwan.

Artist Statement | HSU Chia-Wei

Marshal Tie Jia, who was born more than 1000 years ago in Jiangxi, China

創作自述 ×

mysterious perspective.

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a means to transcribe an imagination of life.

“Marshal Tie Jia – Tur tle Island”. This video installation engages with the history of a tiny island off the coast of Matsu, which is situated in the Taiwan Strait. During the Qing Dynasty, the island was the site of a tiny temple. When Chiang KaiShek retreated to Taiwan, the temple was dismantled and relocated to a larger neighboring island, and a bunker was constructed in its place.

At present, the bunker is a ruin and ownership of the island has been transferred again to the proprietors of the original temple. The island is also under the commandment of a local god called the “Marshal Tie Jia”, a frog deity. This deity originated from a temple located on Wu-Yi Mountain in China, which was destroyed during the Cultural Revolution, at which point the deity migrated to Apple Core 132

Matsu.

In Hsu Chia-Wei's wor k, the island is used as a stage . Employing the cinematographic device of the "green screen" - a generic background that is replaced in the post-production process with any other background image Hsu places a fictional version of the original tiny temple on the island. Slowly, the camera zooms out and reveals that green screen on the island. This scenography forms the backdrop of a performance in which a local senior citizen sings a form of folk opera found only in the south of Fujian Province, recounting the experience of WWII. He is the last person capable of performing the opera, which has a long tradition and was known to be Marshal Tie Jia's favorite pastime, but which has now fallen into oblivion.

Next to the video, Hsu Chia-Wei has installed a letter on the wall, written by Hsu, in which he asks the Marshal Tie Jia for permission for his action, lays down his vision of contemporary art's historical agency, and shows documentation of the god's response.

“Marshal Tie Jia – Temple”. At first I had hoped to rebuild this disappeared temple directly on the island, but during the ritual of inquiry in your temple you did not permit me to construct anything on the island. Acting in accordance with your direction, I chose to construct this temple in the studio. In order to do so I asked an elderly man in the temple what the original temple on the island might

have looked like, but he could no longer remember, so I could only imagine its scale based on the remains of its site on the island, and its architectural style in consideration of the Chin-be Village where you reside.

In the 1970s the decline of the fisheries here caused resident to migrate away, allowing the village to hide away from the ravages of modernism by preserving a series of traditional Eastern Min architectural structures. I carved the texture of the interior temple walls out of the marble and granite often found in this

real space, a materialization of things imagined and remembered.

“Marshal Tie Jia – White Square Table”. The mythical realm that the Marshal Tie

last, as I returned once again to the temple in Chin-be Village, I brought with me

許/ 家 維

politics, as these stories slowly take shape between the island and the pond. At

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Jia has guided me into has allowed me to experience a journey of legends and

a white square table, where I recounted my entire journey to the Marshal. The afar do have feet; root searching from the mountain to the village. The character for sentiment is comprised with a hear t, harmoniously dwelling in Chin-be, from to come.” Honestly speaking, although I have met the Marshal several times and have researched quite a bit about him, still his world remains mysterious and foreign to me. I am unsure if this poem was written specifically for me by the Marshal or is it dedicated to the increasing flow of tourists in town. To me, the poem is quite elusive; perhaps it comes from the Marshal’s own inner sentiments.

I think the only way for me to imagine or decipher it is from the stories and fuzzy inconclusive memories I’ve collected along my journey.

HSU Chia-Wei

generation to generation, with the good name of Chin-be pass down for years

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Marshal wrote a poem for me on the altar table, and it reads, “Guest(s) from

Artist Statement | HSU Chia-Wei

colors. This is not only a fabricated set for filming, but is also at the same time a

創作自述 ×

architecture, then painted it in greenish white and dark yellow among other

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許家維 1983 年出生於台灣台中 學歷 經歷

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2010 國立臺灣藝術大學造型藝術研究所，台北，台灣 2005 國立臺灣藝術大學美術系，台北，台灣 2013 「理解的尺度－台泰當代藝術交流展」，策展人，中山創意基地，台北，台灣 2012 「理解的尺度－台泰當代藝術交流展」，策展人，曼谷文化藝術中心， 曼谷，泰國 2010 文建會第 11 屆視覺與表演藝術人才出國駐村及交流計畫，紐約，美國 2009 「Dandy & Angel」，策展人，打開－當代藝術工作站，台北，台灣 2006 「文件 321 －打開當代藝術工作站五周年文件展」，策展人，打開－ 當代藝術工作站，台北，台灣 2005 「Illumination Function －作品展一件八」，策展人，打開－當代藝術工 作站，台北，台灣 2004 「情境空間」，策展人，台灣藝術大學，台北，台灣 「超・薄」，策展人，華山創意文化園區，台北，台灣

個展

2013 「SH-SY5Y」個展，台灣藝術大學文化創意產業園區，台北，台灣 2011 「疊錄」，夏可喜當代藝術，台北，台灣 2009 「3 月 14 日，紅墈體育館」個展，乒乓藝術空間，台北，台灣

聯展

2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 2013 「理解的尺度－台泰當代藝術交流展」，中山創意基地，台北，台灣 「Hugo Boss 亞洲藝術大獎」，上海外灘美術館，上海，中國 「第五十五屆威尼斯雙年展台灣館－這不是台灣館」，普里奇歐尼宮 邸，威尼斯，義大利 「Cutlog New York: Urbanity － Video Arts Film Festival」，紐約，美國 2012 「理解的尺度－台泰當代藝術交流展」，曼谷文化藝術中心，曼谷，泰國 「台灣國際紀錄片雙年展」，國立台灣美術館，台中，台灣 「台北雙年展－現代怪獸」，台北市立美術館，台北，台灣 「利物浦雙年展－台北，不可思議城：台灣藝術家與都市形態學」， LJMU Copperas Hills，利物浦，英國 「Thaitai Fever － Stage One: We're Open」，打開－當代藝術工作站曼 谷，曼谷，泰國 「曖昧的存在：是誰在懼怕認同？」，tamtamART Gallery，柏林，德國、Kav 16 － Community Gallery for Contemporary Art，台拉維夫，以色列、鳳甲美術館，台北，台灣

2011

2009

2008 獲獎

2013 Hugo Boss 亞洲藝術大獎 2009 《3 月 14 日，紅墈體育館》，獲 2009 年世安美學獎 2008 《和平島故事》，獲 2008 台北美術獎

Curriculum Vitae | HSU Chia-Wei

2010

「Rencontres à Beyrouth」，Beirut Art Center，貝魯特，黎巴嫩 「19991121 > 20130421 | Part One」，打開－當代藝術工作站，台北，台灣 「當代國際錄像藝術對話」，國立台灣美術館，台中，台灣 「第 11 屆里昂視覺藝術雙年展 活體詩學 - 驚蟄詩囚︰台灣青年藝術家 展覽」，Olivier Houg Galerie，里昂，法國 「The Empty City」，Idolon Studio，柏林，德國 「Rencontres Internationales Paris，Berlin，Madrid」，Haus der Kulturen der Welt，柏林，德國 「流感疲勞」，台北當代藝術中心，台北，台灣 「Rencontres Internationales Paris，Berlin，Madrid － New Cinema and Contemporary Art － Films And Video Screenings」，索菲亞皇后美術館， 馬德里，西班牙 「活彈藥」，台北當代藝術館，台北，台灣 「Conjecture Horizon」，Forum des Arts et de la Culture，Talence，法國 「台灣響起－超隱自由」，M�csarnok，布達佩斯，匈牙利 「Rencontres Internationales Paris，Berlin，Madrid」，龐畢度藝術中心， 巴黎，法國 「後學院」，國立台灣藝術大學藝術博物館，台北，台灣 「Faux Amis － An Ephemeral Video Library」， 法 國 國 家 藝 廊 Jeu de Paume，巴黎，法國 「2010 台北雙年展」，台北市立美術館，台北，台灣 「Rencontres Internationales Paris，Berlin，Madrid」，Haus der Kulturen der Welt，柏林，德國 「Open Studio」，ISCP，紐約，美國 「Rencontres Internationales Paris，Berlin，Madrid － New Cinema and Contemporary Ar t － Media Ar t Exhibition」，La Tabacalera － Future National Centre for Visual Arts，馬德里，西班牙 「台北當代藝術中心 TCAC 開幕展 2」，台北當代藝術中心，台北，台灣 「非常姿態」，國立台灣美術館，台中，台灣 「39th International Film Festival Rotterdam 」，De Doelen，鹿特丹，荷蘭 「Photo Taipei 2009」，六福皇宮大飯店，台北，台灣 「Rencontres Internationales Paris，Berlin，Madrid」，龐畢度藝術中心， Theatre du Chatelet，巴黎，法國 「後地方－地方性的逆轉」，台北當代藝術館，台北，台灣 「Dandy & Angel」聯展，打開－當代藝術工作站，台北，台灣 「2008 台北美術獎聯展」，台北市立美術館，台北，台灣

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HSU Chia-Wei Born in 1983 in Taichung, Taiwan

EDUCATION

2010

MFA, National Taiwan University of Arts, Department of Fine Arts, Taipei, Taiwan

2005

BFA, National Taiwan University of Arts, Department of Fine Arts, Taipei, Taiwan

EX PER I ENC E

2013

“Thaitai: a Measure of Understanding”, Curator, Chung Shan Creative Hub, Taipei, Taiwan

2012

“Thaitai: a Measure of Understanding”, Curator, Bangkok Ar t and Culture Centre, Bangkok, Thailand

2010

The 11th Artist in Residence Program, CCA, New York, USA

2009

“Dandy & Angel”, Curator, Open – Contemporary Art Center, Taipei, Taiwan

2006

“Document 321: the 5th Anniversary of Open – Contemporary Art Center”, Curator,

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Open – Contemporary Art Center, Taipei, Taiwan 2005

136

2004

“Illumination Function – One Piece Work 8”, Curator, Open – Contemporar y Ar t Center, Taipei, Taiwan “Context Space ”, Curator, NTUA, Taipei, Taiwan “Ultra Thin”, Hua Shan Culture Park, Curator, Taipei, Taiwan

SOLO EXHIBITIONS

2013

“SH-SY5Y”, NTUA Cultural and Creative Industry Park, Taipei, Taiwan

2011

“Overdubbing”, Sakshi Gallery, Taipei, Taiwan

2009

“March 14, Hong Kong Coliseum”, Ping Pong, Taipei, Taiwan

GROUP EX HIBITION S

2014

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan

2013

“Thaitai: A Measure of Understanding”, Chung Shan Creative Hub, Taipei, Taiwan “Hugo Boss Asia Art”, Rockbund Art Museum, Shanghai, China “The 55th International Ar t Exhibition – la Biennale di Venezia: This is Not a Taiwan Pavilion”, Palazzo Ducale, Venice, Italy “Cutlog New York: Urbanity – Video Arts Film Festival”, New York, USA

2012

“Thaitai: A Measure of Understanding”, Bangkok Art and Culture Centre, Bangkok, Thailand “Taiwan International Documentary Festival”, National Taiwan Museum of Fine Ar ts, Taichung, Taiwan “2012 Taipei Biennial – Modern Monsters”, Taipei Fine Arts Museum, Taipei, Taiwan “Liverpool Biennial 2012 – Taipei, Metro – Wonderland: Taiwanese Ar tists and Urban Morphology”, LJMU Copperas Hills, Liverpool, UK “Thaitai Fever – Stage One: We're Open”, Open – Contemporary Art Center, Bangkok, Thailand

“Ambiguous Being: Who’s Afraid of Identity?”, tamtamART Gallery, Berlin, Germany, Kav 16 – Community Gallery for Contemporary Ar t, Tel-Aviv, Israel, Hong-gah Museum, Taipei, Taiwan “Rencontres à Beyrouth”, Beirut Art Center, Beirut, Lebanon “19991121 > 20130421 | Part One”, Open – Contemporary Art Center, Taipei, Taiwan 2011

“Videonale: Dialogue in Contemporary Video Ar t”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “Une Terrible Poétique: Jeunes Artistes Taïwanais à Lyon”, Olivier Houg Galerie, Lyon, France “The Empty City”, Idolon Studio, Berlin, Germany “Rencontres Internationales Paris, Berlin, Madrid”, Haus der Kulturen der Welt, Berlin, Germany “Flu-Fatigue”, Taipei Contemporary Art Center, Taipei, Taiwan

“Faux Amis – An Ephemeral Video Library”, Jeu de Paume, Paris, France

Curriculum Vitae | HSU Chia-Wei

“2010 Taipei Biennial”, Taipei Fine Arts Museum, Taipei, Taiwan

137

“Rencontres Internationales Paris, Berlin, Madrid – New Cinema and Contemporary Art – Films and Video Screenings”, Reina Sofia National Museum, Madrid, Spain “Live Ammo”, Museum of Contemporary Art, Taipei, Taiwan “Conjecture Horizon”, Forum des Arts et de la Culture, Talence, France “Taiwan Calling – The Phantom of the Liberty”, Műcsarnok, Budapast, Hungary 2010

“Rencontres Internationales Paris, Berlin, Madrid”, Centre Pompidou, Paris, France “Post Academic”, Our Museum, Taipei, Taiwan

“Rencontres Internationales Paris, Berlin, Madrid”, Haus der Kulturen der Welt, Berlin, Germany “Open Studio”, ISCP, New York, USA “Rencontres Internationales Paris, Berlin, Madrid – New Cinema and Contemporary Ar t – Media Ar t Exhibition”, La Tabacalera – Future National Centre for Visual Ar ts, Madrid, Spain “Taipei Contemporary Art Center – Opening Exhibition 02”, Taipei Contemporary Art Center, Taipei, Taiwan “Beyond Outward Gestures”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “39th International Film Festival Rotterdam”, De Doelen, Rotterdam, the Netherlands 2009

“Photo Taipei 2009”, The Westin, Taipei, Taiwan “Rencontres Internationales Paris, Berlin, Madrid”, Centre Pompidou, Theatre du Chatelet, Paris, France “Post. O”, Museum of Contemporary Art, Taipei, Taiwan “Dandy & Angel”, Open – Contemporary Art Center, Taipei, Taiwan

AWA R D S

2008

“2008 Taipei Arts Awards”, Taipei Fine Arts Museum, Taipei, Taiwan

2013

Hugo Boss Asia Art Award

2009

“March 14, Hong Kong Coliseum”, S-An Cultural Foundation Award

2008

“The Story of Hoping Island”, Taipei Arts Award

簡 介 ｜ Biography

陳依純 CHEN I-Chun 陳依純 1980 年出生於南投縣竹山，2010 和 2005 年分別畢業於國立台北藝 術大學科技藝術研究所碩士和美術系油畫組，2013 年國立台南藝術大學藝 術創作理論研究所博士班肄業，目前就讀於國立台北藝術大學美術系博班。

曾駐村於寶藏巖國際藝術村及日本東京關西等地，創作主要關注於工業區、 邊陲及中下階層等社會議題及民間故事。以繪畫及錄像創作為主，並與互 動藝術家羅禾淋長年共同創作新媒體互動作品。作品曾於台灣、印度、巴 Apple Core

西、日本、中國、以色列、韓國、新加坡、澳門、美國、奧地利、德國、 俄羅斯等雙年展、藝術節、博覽會展出。作品典藏於國立台灣美術館、文 化局、國父紀念館及私人收藏。

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Chen I-Chun was born in 1980 in Nantou, Taiwan. In 2010, she finished Graduate School of Arts and Technology, Taipei National University of the Arts. Currently she is a PhD student at Department of Fine Arts, Taipei National University of the Arts.

She was a resident at several places including Taipei Artist Village in Taiwan, Tokyo and Kansai in Japan. Main Chen’s artworks are paintings and video art; in addition, she has been developing interactive new media projects with artist Lou He-Lin. Chen’s works have been selected for numerous international art exhibitions and festivals, including Illuminations – Taiwanese Media Art Exhibition (Institute of Contemporary Arts, Singapore, 2013), Taiwan Biennial (National Taiwan Museum of Fine Arts, Taichung, 2012), FILE – Brazil Electronic Language International Festival (Rio de Janeiro, São Paulo, 2010, 2011, 2012), Cologne International Video Art Festival (Beirut, Budapest, Riga, Cologne, 2011) and Pixilerations [v.8] (Sol Koffler Gallery, Rhode Island, 2011). Not only private art collectors, but also museums including National Taiwan Museum of Fine Arts, Taipei Bureau of Cultural Affairs, and National Dr. Sun Yat-Sen Memorial Hall have collected Chen’s works.

事 件的碎裂藉由僅存的文件補足，而其中尚且存有許多 裂縫，藉由口述和各自記憶去補全所謂不可見之部分。 人們身邊有時會歷經一些超脫的詭譎經驗，臨場的當下

失序中。

而受阻，牛隻害怕那座小廟，遲遲不肯經過，林水源先

陳/ 依 純

純屬個人志趣。回到台灣後，在耕田時往往經過一小廟

文

《林水源傳奇 第一集》林水源先生早年到中國學習巫術

生向小廟承諾，若往後經過順利將願意祭祀供奉。日後

源先生並無向雕刻先生要求刻像，雕刻先生說有人說是 您要的，我只是雕刻完成來收錢。水源先生大感訝異，

訝異僅收取少許分文工錢，而水源先生也一生供奉紅先 師至辭世。當時水源先生經過的小廟為清朝時的蘇將軍 和其部屬當時兵敗全軍覆沒的亂葬崗的小廟，而如今已 為當地人供奉在南投竹山的聖義廟，經常有許多警察前 往祭祀祈求破案。

《林水源傳奇 第二集》在台灣早期的農村社會裡，有許 多以天為生的農人。有一天一對母子如同往日上山採摘 果實，但其中的兒子卻不幸摔落山下身亡，鄉裡的人們 百思不知如何將山谷下的屍首拉上山來，因此找到林水

CHEN I-Chun

並突然回憶起承諾，將經過告知雕刻先生，而其也大感

Written by

當地刻佛像的先生將刻好的佛像送至林水源先生家，水

Artist Statement | CHEN I-Chun

全盤接受現下和所獲得的，亦或吞忍，在這弔詭的社會

創作自述 ×

是激烈的猛烈侵襲。而主體失控和消失的身體性，只得

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源先生協助。據傳林水源先生用引屍的方式，讓人體自 行往山上走，而重獲屍首得以安葬。如今雖已只剩傳說， 而當時也為此，使人津津樂道其神妙的法術和助人的傳 說。藉此作品希望談及所謂的法術不管是否真的神妙， 其實人智得當，有良善的心免費協助窮苦人的林水源先 生其精神使人緬懷尊崇。

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The fragmentized events are compensated by the rare documents that still remain. However, clefts are still there, waiting for each per son’s oral account and per sonal memor y to fill the gap – the invisible par t. Sometimes, we indeed have some unnatural experiences. Right at the moment, we feel the passionate and violent attack. The out-of-control subjectivity and the disappeared physicality make us fully accept, or even endure, what we have at the present situation in spite of the chaotic social disorder.

“Shui Yuan Lin Legend – First Episode”. Shui Yuan Lin in his earlier years went to China to learn witchcraft. After returning to Taiwan, he star ted working in the fields, plowing with cattle. Ever y time, on the way to the field, he used to pass by a small temple. The cattle was reluctant to enter the field, because he was afraid of the temple. Therefore, Shui Yuan Lin went to the temple and made a promise to sacrifice his future to worshiping if the cattle would be able to easily enter the fields. Not long after, Shui Yuan Lin received a statue of Buddha from a local woodcar ver, although he has not ordered one. The woodcar ver came to Lin’s house and asked to

pay money for the statue. Lin claimed that he has not asked for the statue, but woodcar ver said some people asked him to make the Buddha statue for him. Shui Yuan Lin was very surprised to hear this,

turned into a graveyard, where General Su’s defeated army was buried. Now this place is known as the San Yi temple in Zhushan,

陳/ 依 純

solving cases.

文

Nantou. Recently, many police officers visit temple to ask for help in

“Shui Yuan Lin Legend – Second Episode.” There were many farmers

picking fruits on the hillside, but, unfor tunately, the child slipped and fell down the mountain. People in the village did not know

they asked Shui Yuan Lin for help. It was known in the village that Shui Yuan Lin is able to control the body of the corpse so the body could walk up on its own, and, thus, could be buried to rest in peace. Although now it is only a legend, people are still talking about this marvelous spell of Shui Yuan Lin and his benevolence. In this work, I hope to talk about the magic regardless of whether it is marvelous or not. Shui Yuan Lin was kindhear ted and assisted poor people free of charge, therefore, people still cherish and respect his memory.

CHEN I-Chun

how to pull the dead boy out from under the mountain, therefore

Written by

in the early rural society in Taiwan. One day, mother and son were

Artist Statement | CHEN I-Chun

During the Qing dynasty, the area around Lin’s worshiped temple

創作自述 ×

but suddenly remembered the promise he had made in the temple.

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陳依純 1980 年出生於台灣南投 學歷 經歷 個展

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20142010-13 2010 2005

國立臺北藝術大學美術系博班 就讀，台北，台灣 國立臺南藝術大學藝術創作理論研究所博士 肄業，台南，台灣 國立臺北藝術大學科技藝術數字藝術組碩士，台北，台灣 國立臺北藝術大學美術學系油畫組學士，台北，台灣

2013 ACC 亞洲文化協會，東京，關西，日本 2009 435 國際藝術村，板橋，台灣 2014 2013 2012 2011

「Art Solo 藝術博覽會」，花博爭豔館，台北，台灣 「天書解密」，鳳甲美術館，台北，台灣 「泡沫遊戲－官成瓦斯爆炸案」，Chi-Wen Gallery，台北，台灣 「重工業雕塑」，寶藏巖國際藝術村，台北，台灣 「再見小工廠系列－工廠肖像」，Chi-Wen Gallery，台北，台灣 「再見小工廠系列－表皮工廠」，國立台灣美術館，臺中，台灣 「無機城市」，鳳甲美術館，台北，台灣 2010 「測量個人與他方間的距離」，國立台灣美術館，臺中，台灣 「光之行氣」，誠品畫廊，台北，台灣 2004 「筒鳥－影子的告別」文賢油漆工程行，臺南，台灣 「影子的告別」，臺北藝術大學八又二分之一，台北，台灣 2002 「解剖本體分析論」臺北藝術大學南北畫廊，台北，台灣

聯展

2014 「博羅那上海國際當代藝術展」，上海展覽中心，上海，中國 「蟲洞」，高雄市立美術館，高雄，台灣 「墜落的力量 - 女性藝術家聯展」，WAAhouse，台北，台灣 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 「此刻就活出你的疑問」，朱銘美術館藝術長廊，台北，台灣 「他方在弦上」，弔詭畫廊，高雄，台灣 「重回類比之詩」，MOT Gallery，台北，台灣 「陌生的記憶」，萬�藝術，台北，台灣 「香港亞洲當代藝術展」，巴塞爾香港亞洲藝術週，BM ART，香港 「尚．布希亞－攝影．密碼」，鳳甲美術館，台北，台灣 「台北當代國際藝術博覽會」，晶華酒店，台北，台灣 「釜山藝術博覽會」，Bexco 第二展廳，釜山，韓國 「Trans Media Festival －分裂台灣 2.0」，Collegium Hungaricum Berlin，柏林，德國 2013 「回憶的鑰匙．生命的力量－女性藝術家聯展」，新北市婦女樂活館，板橋，台灣 「致親愛的你．少遊島繪社．第二號創作聯展」，金車文藝空間，台北，台灣 「非常迪斯可 Disco Very」，駁二藝術特區，高雄，台灣 「餘地檔案研究影展策劃－龔卓軍」，誠品畫廊，台北，台灣 「Art14 London」，Olympia Grand，倫敦，英國 「親親我的寶貝－愛的禮物」，尊彩藝術中心，台北，台灣

「台南藝術博覽會」，尊彩藝術中心，台南，台灣 「森森 For for for forest」，TKG+，台北，台灣 2013 Cyberfest 新媒體藝術節 :「分裂－台灣 2.0」，冬宮，聖彼得堡，俄羅斯 「藝術家博覽會－都市寄生術」，花博流行館，台北，台灣 「ACM Multimedia」，巴塞隆納，西班牙 「Ars Electronica Festival– 分裂台灣 2.0」，林茲，奧地利

「全國美展」，國立台灣美術館，臺中，台灣 2011 「光子＋－ 2011 新北市科技藝術國際交流展」，美麗永安生活館，台北，台灣 「新北市樂活浮洲藝術嘉年華」，台藝大文創園區，新北市，台灣 「越域－第六屆數字藝術節」，剝皮寮藝文特區，台北，台灣 「臺灣數字藝術脈流計畫－脈波貳」，華山 1914 文創園區，台北，台灣 「ACA 交流電」，駁二特區，高雄，台灣 「新北市創作新人獎」，新北市政府文化局，新北市，台灣

Curriculum Vitae | CHEN I-Chun

「高雄藝術博覽會」，尊彩藝術中心，高雄，台灣 「90sec, Video Art Stonebridge Center」，維吉尼亞，美國 「ASYAAF 2013」，首爾舊火車站，首爾，韓國 「Cutlog NY」，紐約，美國 「Trans-ideology: Nostalgia, Supermarket Creative Resource Center」，柏林，德國 「日常壞軌」，尊彩藝術中心，台北，台灣 「女媧．大地 WAALAND －女性藝術家聯展」，WAAhouse，台北，台灣 「逃離仙貝教」，新樂園藝術空間，台北，台灣 「給你一個ㄓㄗㄢ ˋ」，捷運忠孝復興站，台北當代藝術館，台北，台灣 2012 「打開天空－當代藝術展」，長江匯當代美術館，重慶，中國 「第九屆釜山國際錄影藝術節」，釜山，韓國 「VAFA 國際錄影藝術節－中國視野 1」東方基金會，SKY21，澳門 「推．進」，Ku Gallery，台北，台灣 「臺北藝術博覽會」，Chi-Wen Gallery，台北，台灣 「身體．介面」，臺北數位藝術中心，台北，台灣 「廢墟＋都市＋怪談」，寶藏巖國際藝術村，台北，台灣 「潛意識共感」，覓空間，台北，台灣 「藝術家博覽會」，臺中文創園區，臺中；臺北松山文創園區，台北，台灣 「台灣美術雙年展」，國立臺灣美術館，臺中，台灣 「ASYAAF 2012」，首爾舊火車站，首爾，韓國 「曖昧的存在」，tamtamART，Kav-16 Gallery，柏林，台拉維夫，德國，以色列 「曖昧的存在」，鳳甲美術館，台北，台灣 「任我行」，北京工體北門飪我行，北京，中國 「身體意識－新媒體藝術女性創作者聯展」，女性藝術家協會，台北，台灣 「與時空的一場對話」，國立台灣美術館，臺中，台灣 「臺灣國際錄影藝術展總集」，高雄市立美術館，高雄，台灣 「城市體溫」，土思藝術，台北，台灣 「如果阿宅讀了吉爾．德勒茲」，桃源縣展演中心，桃園，台灣 「燒熱血」，中原大學藝文中心，桃園，台灣 「敘事性藝術」，S’day 藝術招待所，臺中，台灣 「The 7th Annual Carnival of E-Creativity」，Sattal Estate，印度 「巴西 File Rio 國際電子藝術節邀請展」，Oi Futuro，里約，巴西

143

Apple Core 144

「Pixilerations [v.8]」，Sol Koffler Gallery，羅德島，美國 「科隆國際錄影藝術節」，貝魯特，布達佩斯，里加，科隆，德國 「微共鳴－後居所的未定」，寶藏巖國際藝術村，台北，台灣 「一瞬之光」，都峰苑接待會館，台北，台灣 「百年繁華─臺灣漢民文物收藏展」，鳳甲美術館，台北，台灣 「巴西 File 國際電子藝術節」，Sesi 藝廊，聖保羅，巴西 「遊戲中的碎形風景」，寶藏巖國際藝術村，台北，台灣 「臺北當代藝術博覽會 Taipei Young Art」，王朝大飯店，台北，台灣 「超身體」，國立高雄應用科技大學藝文中心，高雄，台灣 「存在．不存在的城市 I-City」，臺北數字藝術中心，台北，台灣 「Tokyo Frontline」，3331 Arts Chiyoda，東京，日本 「臺北燈節－公共藝術展」，臺北國際藝術村，寶藏巖國際藝術村，台北，台灣 「超時空要塞」，關渡美術館，台北，台灣 2010 「近身潛獵－向歷史投影」，Miga 藝術空間，臺南，台灣 「串－第五屆臺北數字藝術節」，剝皮寮，台北，台灣 「跳 Tone －藝術與科技的合鳴曲」，元智大學藝文中心，桃園，台灣 「巴西 File Rio 國際電子藝術節邀請展」，Oi Futuro，里約，巴西 「Smooth －去銳利的再製造」，金車藝廊，台北，台灣 「Home 趴踢」，東海大學「東海 43 號」創藝實習中心，台北，台灣 「第二屆臺灣國際錄影藝術展－食托邦」，鳳甲美術館，台北，台灣 「城市飄移」，臺北當代藝術館，台北，台灣 「複語．腹語」，光州美術館，光州，韓國 「臺北國際藝術博覽會－新人推薦特區」，臺北世界貿易中心，台北，台灣 「巴西 File 國際電子藝術節」，Sesi 藝廊，聖保羅，巴西 「ACM SIGGRAPH S.T.」，Siggraph 藝廊，洛杉磯，美國 「城市隙縫」，MOT 藝廊，台北，台灣 「藏」，K’S Art，臺南，台灣 「上上下下左右左右 BA」，東吳大學遊藝廣場，台北，台灣 「延續．蛻變．爭奇鬥豔－繪畫名家創作聯展」，國立中正紀念堂藝廊，台北，台灣 2009 「激情心靈：7 位元台、日新世代藝術家錄影展」，臺北市立美術館，台北，台灣 「觀點與「觀」點－ 2009 亞洲藝術雙年展」，國立臺灣美術館，臺中，台灣 「只可藝會」，桃園文化局，桃園，台灣 「字摸」，臺北數字藝術中心，台北，台灣 「435 國際藝術村」駐村藝術家成果展」，435 國際藝術村，台北，台灣 「藝起攜手．重建家園」，印象畫廊當代館，台北，台灣 「機心」，臺北科技大學藝文中心，台北，台灣 「錯畫」，台中市文化局，臺中，台灣 「超秒殺」，東吳大學遊藝廣場，台北，台灣 「小心當代藝術不長眼睛！」，桃園文化局，桃園，台灣 「你看不見我」，厚花園，彰化，台灣 「逆滲透」，乒乓，台北，台灣 2008 「秒殺」，南海藝廊，台北，台灣 「臺中市大墩美展」，臺中市文化局，臺中，台灣 「200 公尺上路去」，朱銘美術館藝術長廊，台北，台灣 2007 「Influx」，臺北藝術大學地下美術館，台北，台灣

2005 2004 2003 2002

「表面功夫」，臺北藝術大學地下美術館，台北，台灣 「作品既檔展」，臺北藝術大學地下美術館，台北，台灣 「亮晶晶臺北藝術大學」，南北畫廊，台北，台灣 「我們在淡水辦了一桌」，淡水奇跡咖啡館，台北，台灣 「雕塑頭像聯展」，臺北藝術大學南北畫廊，台北，台灣 2001 「53 個避難方向」，華山藝文特區，台北，台灣 獲獎

巴西 File 國際電子藝術節互動藝術，獲選 2009 世安基金會美學獎，獲選 桃園縣文化局，桃源創作獎，入選 435 國際藝術村，駐村藝術，獲選 資策會 30 周年 Logo 設計，佳作 第 27 屆桃園美展攝影，優選 2008 台中市大墩美展數字藝術類，第三名 朱銘美術館藝術長廊，獲選 臺灣國展油畫，入選 臺北當代水墨雙年展錄影類，優選 典藏

2012 《表皮工廠》，國立臺灣美術館青年作品購藏，臺中，台灣 《再見小工廠》，國立臺灣美術館青年作品購藏，臺中，台灣 2011 《測量個人與他方間的距離》，國立臺灣美術館青年作品購藏作品，臺中，台灣 《再見小工廠》，新北市政府文化局，台北，台灣 1999 水彩寫生作品，國父紀念館，台北，台灣

Curriculum Vitae | CHEN I-Chun

2013 臺北市文化局第 102-1 期美術展覽補助 2012 財團法人國家文化藝術基金會美術類展覽補助 國立台灣美術館，全國美展媒體藝術類，入選 2011 臺北市文化局第 100-2 期美術展覽補助 美國 Pixilerations 新媒體藝術展，獲選 德國科隆第七屆國際錄影藝術節，獲選 台新藝術獎第十屆第四季提名 台新藝術獎第十屆第一季提名 財團法人國家文化藝術基金會 100-1 期美術類展覽補助 巴西 File 國際電子藝術節錄像藝術，獲選 國立臺灣美術館數字藝術創作案徵件，獲選 台新藝術獎第九屆第三季提名 高雄獎新媒體類，高雄市立美術館，入選 行政院文化建設委員會國際交流補助 臺北縣政府文化局國際交流補助 2010 世安基金會美學獎，獲選 串－第五屆臺北數位藝術節互動藝術類，入選 第二屆臺灣國際錄影藝術展－食托邦錄影，獲選 ACM SIGGRAPH S.T. 互動藝術，獲選 臺北國際藝術博覽會 Made In Taiwan －新人推薦特區，獲選 行政院文化建設委員會國際交流補助，獲選

145

CHEN I-Chun Born in 1980 in Nantou, Taiwan

PhD Candidate, Doctor Program in Ar t Creation and Theor y, Tainan National 2010-13

University of the Arts, Tainan, Taiwan

2010

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

2005

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

EXPERIENCE

2013

Asian Cultural Council, Tokyo, Kansai, Japan

2009

435 International Art Village, Banciao, Taiwan

S O L O EX H I BI TIONS

EDUCATION

2014- PhD Candidate, Department of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan

2014

“Art Solo”, Expo Dome, Taipei, Taiwan

2013

“Decoding the Heavenly Book”, Hong-Gah Museum, Taipei, Taiwan

2012

“Bubble Society”, Chi-Wen Gallery, Taipei, Taiwan

2011

“Sculpture the Heavy Industry”, Treasure Hill Artist Village, Taipei, Taiwan “Goodbye Little Factory Series – Portrait of a Factory”, Chi-Wen Gallery, Taipei, Taiwan “Epidermis Factory”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “Inorganic City”, Hong-Gah Museum, Taipei, Taiwan

2010

“Measuring Distances Between the Self and Others”, National Taiwan Museum of Fine

Apple Core

Arts, Taichung, Taiwan 2004

146

2002

“The Dissection of Ontology”, Taipei National University of the Arts, Taipei, Taiwan

2014

“BolognaFiere Shanghai – International Contemporar y Ar t Exhibition”, Shanghai

“Light Calligraphy”, Eslite Gallery, Taipei, Taiwan “Pail Bird – Goodbye My Shadow”, Paint House, Tainan, Taiwan “Goodbye My Shadow”, Taipei National University of the Arts, 8-1/2 Gallery, Taipei, Taiwan

GROUP EX HIB ITIONS

Exhibition Centre, Shanghai, China “The Wornhole Theater”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Fall, There I am Taiwanese Women Artists Exhibition”, WAA, Taipei, Taiwan “Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “At the Moment, Live out Your Questions”, Juming Museum, Taipei, Taiwan “Somewhere is There on String”, Crane Gallery, Kaohsiung, Taiwan “The Return of Analog Poetry ”, MOT/ARTS, Taipei, Taiwan “Memories of Tomorrow”, Wingrow Gallery, Taipei, Taiwan “Asia Contemporary Art Show”, BM Art, Beijing, China “Jean Baudrillard – Photography and Password”, Hong-Gah Museum, Taipei, Taiwan “Young Art Taipei”, Regent, Taipei, Taiwan “Art Fair Busan”, Bexco Second Exhibition Hall, Busan, South Korea “Trans Media Festival – Schizophrenia Taiwan 2.0”, Collegium Hungaricum Berlin, Berlin, Germany 2013

“The Memory Key, Power Life – Female Artists Group Exhibitions”, Woman Center of New Taipei City, Taipei, Taiwan “To Dear – Show Your Island”, King Car Art Center, Taipei, Taiwan “Disco Very”, The Pier-2 Art Center, Kaohsiung, Taiwan “Art14 London”, Olympia Grand, London, UK “Margin Archive & Film Fest”, Eslite Gallery, Taipei, Taiwan “Kiss My Baby – Love Gift”, Liang Gallery, Taipei, Taiwan “Tainan Art Fair”, Liang Gallery, Tainan, Taiwan

“For For For Forest”, TKG+, Taipei, Taiwan “Cyberfest – Schizophrenia Taiwan 2.0”, Hermitage Museum, Sankt-Peterburg, Russia “Artist Fair – Urban Parasitic Raiders”, Pavilion of New Fashion, Taipei, Taiwan “ACM Multimedia”, Barcelona, Spain "Ars Electronica Festival – Schizophrenia Taiwan 2.0”, Linz, Austria “Art Kaohsiung”, Liang Gallery, Kaohsiung, Taiwan “90sec”, Video Art Stonebridge Center, Woodbridge, VA, USA “ASYAAF 2013”, Culture Station Seoul 284, Seoul, Korea “Cutlog NY”, New York, USA “Trans-ideology: Nostalgia, Supermarket Creative Resource Center”, Berlin, Germany “Format Daily”, Liang Gallery, Taipei, Taiwan “WAALAND – Female Artists Group Exhibitions”, WAAhouse, Taipei, Taiwan “Escape from the Religion of Cracker”, Shin Leh Yuan Art Space, Taipei, Taiwan “Fermenting”, King Car Art Center, Taipei, Taiwan “Give You a Good Praise”, MRT Zhongxiao Fuxing Station, MOCA Taipei, Taipei, Taiwan 2012

“Open Sky – Contemporary Art Exhibition”, Chang Jiang Art Culture Club, Chongqing, China “VAFA International Video Art Festival – China Horizons 1”, Orient Foundation, SKY21, Macao “Impel And The Procession”, Ku Gallery, Taipei, Taiwan “Taipei Art Fair”, Chi-Wen Gallery, Taipei, Taiwan “Physical Interface”, Taipei Digital Art Center, Taipei, Taiwan “Legends in City”, Treasure Hill Artist Village, Taipei, Taiwan “Synesthesia”, MEME Space, Taipei, Taiwan “Artist Fair”, Taichung Cultural Creative Industries Park, Taichung; Songshan Cultural and Creative Park, Taipei, Taiwan “Taiwan Biennial”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “ASYAAF 2012”, Culture Station Seoul 284, Seoul, Korea “Ambiguous Being”, tamtamART, Kav-16 galler y, Hong-Gah Museum, Berlin, Tel Aviv, Taipei, Germany, Israel, Taiwan “Ambiguous Being”, Hong-Gah Museum, Taipei, Taiwan “Whatever You Want New Media Show”, Beijing, China “Sensoria – New Media Ar t by Taiwanese Women Ar tists”, Taiwan Women's Ar t Association, Taipei, Taiwan “A Dialogue with the Space and Time”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “Taiwan International Video Art Exhibition”, Kaohsiung Museum of Fine Art, Kaohsiung, Taiwan “Interior Climate”, Tosee Art Gallery, Taipei, Taiwan “If Otaku Reads About Gilles Louis René Deleuze”, Taoyuan County Performing Ar ts Center, Taoyuan, Taiwan “Young Passion”, CYCU Art Center, Taoyuan, Taiwan “Narrative Art”, S’day Art Hotel, Taichung, Taiwan “The 7th Annual Carnival of E-Creativity”, Sattal Estate, India “File Rio 2012 – Electronic Language International Festival”, OI Futuro, Rio, Brazil “R.O.C. National Art Exhibition”, National Taiwan Museum of Fine Arts, Taichung, Taiwan

2011

“Photon+. The International Techno Ar t Exhibition of New Taipei City 2011”, Beauty Forever Living Art Center, New Taipei City, Taiwan “Floating in the Ar t”, National Univer sity of Ar t‘s Cultural Creative Industr y Cooperation Park, New Taipei City, Taiwan “Cross – 6th Digital Art Festival Taipei”, Bopiliao Historic Block, Taipei “Next Body”, Huashan 1914, Taipei, Taiwan “Animation + Comic + Contemporary Art”, Pier-2 Art Center, Kaohsiung, Taiwan

Curriculum Vitae | CHEN I-Chun

“9th International Video Art Festival in Busan”, Busan, South Korea

147

“Arising Artist Award of New Taipei City”, Cultural Affairs Department New Taipei City Government, New Taipei City, Taiwan “Pixilerations [v.8]”, Sol Koffler Gallery, Rhode Island, USA “Cologne International Video Art Festival”, Beirut, Budapest, Riga, Cologne, Germany “Indistinct Sympathy”, Treasure Hill Artist Village, Taipei, Taiwan “A Spark of Light”, New Urban Art, Taipei, Taiwan “Hundred Years Story”, Hong-Gah Museum, Taipei, Taiwan “File – Electronic Language International Festival”, Sesi Gallery, Sao Paulo, Brazil “Fractals Scenery in Game”, Treasure Hill Artist Village, Taipei, Taiwan “Taipei Young Art”, Sunworld Dynasty, Taipei, Taiwan “Exceed Body”, National Kaohsiung University of Applied Sciences Art Center, Kaohsiung, Taiwan “I-City”, Digital Art Center, Taipei, Taiwan “Tokyo Frontline 3331 Arts Chiyoda”, Tokyo, Japan “Taipei Lantern Festival”, Taipei Artist Village, Treasure Hill Artist Village, Taipei, Taiwan “Macross”, Kuandu Museum of Arts, Taipei, Taiwan 2010

“Self Stalker – Projected History”, Miga, Tainan, Taiwan “Cluster – 5th Digital Art Festival Taipei”, Bopiliao Historic Block, Taipei, Taiwan “Jump Tone – Symphony of Art and Technology”,Yuan Ze University Art Center,Taoyuan,Taipei,Taiwan “File Rio 2010 – Electronic Language International Festival”, OI Futuro, Rio, Brazil “Smooth”, King Car Art Center, Taipei, Taiwan “Let’s Party – Home”, Tunghai University 43 Gallery, Taichung, Taipei, Taiwan “Taiwan International Video Art Exhibition – Eattopia”, Hong-Gah Museum, Taipei, Taiwan “The Video Ar t Exhibition Series on Moca Plaza No.1 Floating Cities”, Museum of

Apple Core

Contemporary Art, Taipei, Taiwan “Ventriloquized Video-Contemporary Art from Taiwan”, Gwangju Museum of Art, Korea “Art Taipei 2010 – Made in Taiwan: Young Artist Discovery”, Taipei World Trade Center Taipei, Taiwan “File – Electronic Language International Festival”, Sesi Gallery, Sao Paulo, Brazil

148

“ACM SIGGRAPH S.T.”, Siggraph Gallery, L.A., USA “Urban Crack”, MOT Gallery, Taipei, Taiwan “Hiding”, K’S Art Gallery, Tainan, Taiwan “Up Up Down Down Left Right Left Right BA”, Soochow University Art Center, Taipei, Taiwan “Continue ∙ Moit．Compete for Beauty and Fascination – An Exhibition of Ar tistic Creation”, National Chiang Kai-shek Memorial Hall, Taipei, Taiwan 2009

“Mind as Passion”, Taipei Fine Arts Museum, Taipei, Taiwan “Viewpoints and Viewing Points, 2009 Asian Art Biennial”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “The 27th Taoyuan Fine Arts Exhibition”, Taoyuan County Government Department of Cultural Affairs, Taoyuan, Taiwan “Touch Word”, Digital Art Center, Taipei, Taiwan “Fall Residency Artists Group Exhibition”, 435 International Artist Village, New Taipei City, Taiwan “Help Victims from Typhoon Morakot with Ar t Power”, Impressions Ar ts Galler y Contemporary Hall, Taipei, Taiwan “Machine Core”, Nation Taipei University of Technology Art Center, Taipei, Taiwan “Crisscross”, Cultural Affairs Bureau Taichung City Government, Taichung, Taiwan “Super K.O.”, Soochow University Art Center, Taipei, Taiwan “The 7th Taoyuan Creation Award”, Taoyuan County Coverment Depar tment of Cultural Affairs, Taoyuan, Taiwan “You Can’t See Me”, Post Garden, Zhanghua, Taiwan “Floating Buffer Zone”, PingPong, Taipei, Taiwan

2008

“K.O.”, Nanhai Gallery, Taipei, Taiwan

“Da Dun Fine Arts Exhibition”, Cultural Affairs Bureau Taichung City Government, Taichung, Taiwan “200 Meters Go”, Ju Ming Museum, New Taipei City, Taiwan 2007

“Influx”, Taipei National University of the Arts, Taipei, Taiwan

2005

“Gold-plate”, Taipei National University of the Arts, Taipei, Taiwan

2004

“Works and Documents”, Taipei National University of the Arts, Taipei, Taiwan

2003

“Sparkling”, Taipei National University of the Arts, Taipei, Taiwan

2002

“We Have Managed a Table in Tamsui”, Miracle Café, Taipei, Taiwan “Sculpture Exhibition”, Taipei National University of the Arts, Taipei, Taiwan “Take Refuge by 53 Directions”, Huashan Culture Park, Taipei, Taiwan

2013

Fine Arts Grant 2013-1st Period, Department of Cultural Affairs of Taipei City Government

2012

Fine Arts Grant, National Culture and Arts Foundation National Art Exhibition, ROC, National Taiwan Museum of Fine Arts, selected

2011

Fine Arts Grant 2011-2nd Period, Department of Cultural Affairs of Taipei City Government Pixilerations [v.8] New Media Fringe Festival, selected, New York, USA Cologne Off VII – Video in a Global Context, selected, Cologne, Germany Taishin Arts Award, 10th-4th Quarter, Visual Arts Category, nominated Taishin Arts Award, 10th-1st Quarter, Visual Arts Category, nominated 2011-1 Visual Arts Grand for Exhibition, National Culture and Arts Foundation File – Electronic Language International Festival, selected National Taiwan Museum of Fine Arts, Digital Art Creation Competition, 1st Place Taishin Arts Award, 9th-3rd Quarter, nominated New Media Art Award, Kaohsiung Museum of Fine Arts, selected

2010

Council for Cultural Affairs, Republic of China, International Communication Subsidy Cultural Affairs Department, New Taipei City Government, International Communication Subsidy S-An Aesthetics Award, selected Cluster – 5th Digital Art Festival Taipei, Interactive Art Category, selected Eattopia – 2nd Taiwan International Video Art Exhibition, selected ACM SIGGRAPH S.T. Interaction, selected, USA Art Taipei 2010 – Made in Taiwan: Young Artist Discovery, selected Council for Cultural Affairs, Republic of China, International Communication Subsidy File – Electronic Language International Festival, selected, Sao Paulo, Brazil

2009

S-An Aesthetics Award, selected The 7th Taoyuan Creation Award, Video Installation, selected 435 International Artist Village, selected 30th Anniversary Logo Design Competition, Excellent Work The 27th Taoyuan Fine Arts Exhibition, Photography, selected

2008

The 13th Da Dun – Fine Arts Exhibition, Category of Digital Art, the 3rd Place Juming Museum, selected Taiwan National Exhibition Committee for Arts, Oil Painting, selected Taipei International Modern Ink Painting Biennial, Video Art, selected

PUBLIC COLLECTIONS

2012

“Epidermis Factory”, National Taiwan Museum of Fine Arts – Young Artist Collection,Taichung,Taiwan “Goodbye Little Factor y”, National Taiwan Museum of Fine Ar ts – Young Ar tist Collection, Taichung, Taiwan

2011

“Measuring Distance Between the Self and Others”, National Taiwan Museum of Fine Arts – Young Artist Collection, Taichung, Taiwan “Goodbye Little Factory”, Cultural Affairs Department of New Taipei City Government,Taipei,Taiwan

1999

Watercolour Painting, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan

Curriculum Vitae | CHEN I-Chun

AWAR DS A ND FU N DIN G

2001

149

簡 介 ｜ Biography

蔡潔莘 TSAI Chieh-Hsin

蔡潔莘 2010 年畢業於國立臺南藝術大學造形藝術研究 所，擅長以紙漿雕塑傳遞樸實、溫潤的情感，注重當代 快速繁忙的生活基調底下，人與人之間的情感交流。相 較一般雕塑常見的石材與銅雕，蔡潔莘選擇了更具溫度 與柔軟的紙漿作為創作媒材。她關注人類獨有的情緒表 Apple Core

達方式，以紙漿捏塑牽手、微笑等肢體動作，傳遞存在

150

術基金會粉樂町藝術大使，第三屆與第五屆桃源創作獎、

你我生命中幻化無形的感知。蔡潔莘曾榮獲 2009 富邦藝

《雕刻的五．七．五》金獎、與港區立體新貌獎。

Graduating from the Graduate Institute of Plastic Ar ts at Tainan National University of the Ar ts in 2010, Tsai Chieh-Hsin is best known for her pulp sculptures which express the warm and sincere emotions communicated in the interpersonal relationship in spite of the rapid pace of life. Instead of the more common materials in sculpture ar t such as stone or copper, Tsai Chieh-Hsin chooses pulp for its warmer and softer quality. She is par ticularly interested in the expressions of emotions that are human-exclusive, using pulp to create gestures such as smile or holding hands to deliver the invisible feelings existing in our lives. Tsai Chieh-hsin has been selected by Fubon Ar t Foundation’s Ver y Fun Park as the Ar t Ambassador in 2009, received the third and the fifth Taoyuan Contemporar y Ar t Awards, the Gold Prize of HAIKU-sculpture, and the Newly Emerging Ar tists Award.

「還 記得第一次看見彩虹心中產生莫名的感動嗎？可能不是很具 體、不是很深刻，但至今只要彩虹再次出現在天際，那種熟悉的悸 動就會再度湧上心頭。」 彩虹只是簡單的物理現象，但很奇妙的，他給予了人類那麼多樣的 聯想與延伸。有人說彩虹接觸地面下方有藏黃金，也有人說彩虹可 以將戀人心繫在一起，作者則是覺得彩虹的出現，一切事情都會豁 然開朗。

For the works of this exhibition, the author uses the story of a rainbow and the concept of personification in an attempt to evoke the awe-inspiring sensations that emerge upon seeing a rainbow.

The author holds a strong preference for using paper pulp due to the straightforward and solid temperatures that paper calls to mind. The intriguing sensations drawn out by paper pulp is very similar to the “simple” and “original” sense of beauty and sentiments the author wishes to express.

Artist Statement | TSAI Chieh-Hsin

However, we may gradually forget that it is precisely because we cannot predict the moments in which they appear that makes them so precious, wonderful, and inspiring.

Chieh-Hsin

Modern technological advancements make it easy to create virtual rainbows. Yet, some people might not have ever seen a real rainbow before. The most bizarre thing is that we imitate rainbows because we think they are beautiful.

Written by TSAI

A rainbow is a simple phenomenon of physics. Yet, it has marvelously provided people with many associations and extensions. Some people say that gold lies beneath the ground of a rainbow. Other people say rainbows bind the hearts of lovers together. This author believes that when a rainbow appears, everything becomes enlightened.

蔡/ 潔 莘

Do you still remember the inexplicable sensations you felt the first time you saw a rainbow?

They might be neither concrete nor profound, but, whenever a rainbow appears across the sky, those familiar poundings of the heart always emerge once more.

文

在這次展出的作品，作者就以彩虹的故事，擬神話的概念，希望喚 起遇見彩虹的那一刻感動。慣用紙漿作創作，喜歡紙給人樸直又厚 實的溫度，而紙漿呈現的拙趣感，很貼近作者想表達“簡單”、“原 初”的美好與感動。

創作自述 ×

現今科技的發達，要虛擬一道彩虹是很簡單的事情，但或許有些人 甚至沒有看過真正的彩虹。其中很匪夷所思的是，我們因為覺得彩 虹很美而去模仿彩虹，最後可能漸漸遺忘了，彩虹就是因為無法捉 摸出現的剎那，所以那樣的珍貴、美好、感動。

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蔡潔莘 1982 年出生台灣台北 學歷

2010 國立臺南藝術大學造形藝術研究所，台南，台灣 2006 國立臺北藝術大學美術學系，台北，台灣

個展

2007 「超馬戲團」，新樂園藝術空間，台北，台灣 2005 「很高興在這裡遇到你」，南北畫廊，台北，台灣

聯展

2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 「台北當代國際藝術博覽會」，晶華酒店，台北，台灣

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「台南藝術博覽會」，台南大億麗緻酒店，台南，台灣 「台北地球日：抱抱地球」，國立台灣博物館，台北，台灣 「想像一個美好的未來」，尊彩藝術中心，台北，台灣 「親親我的寶貝－愛的禮物藝術創作義賣活動」，尊彩藝術中心，台 北，台灣 2013 「臺大粉樂町－時代的眼睛：與當代藝術對話」，國立臺灣大學藝文中 心、富邦藝術基金會，台北，台灣 「和諧」，富邦粉樂町，台北，台灣 「崎山 X 關渡 台日雕塑交流展」，也趣藝廊，台北，台灣 「從 0 開始∞無限大的小」，形而上畫廊，台北，台灣 2012 「在磨光的黃銅裡照一照曠野和天空一徐睿志、謝怡如、蔡潔莘、林慧 姮 四人展」，藝境畫廊，臺北，臺灣 「Peace and War」，Haslla Art World，韓國 「種子．集」，南海學區 / 估嶺街街區裝置，臺北，臺灣 2011 「民生主義 民民好所在」，民生社區創意街區裝置，臺北，臺灣

「臺北百年－光陰的故事」，社會教育館，臺北，臺灣 作品提供鈕承澤電影「Love」拍攝，臺北，臺灣 「Very Fun Park」，國立政治大學，臺北，臺灣 2009 「S-HOMO」，K’s Art，臺南，臺灣 「10:10 笑率效率」，富邦粉樂町，臺北，臺灣 2008 「慾火鳳凰或者愛」，臺南藝術大學，臺南，臺灣 「青年藝術家博覽會」，首爾，韓國 2007 「我媽雙魚」，臺南大學慶中街藝術特區，臺南，臺灣 「輕飄飄低調調」，臺南藝術大學，臺南，臺灣 「3L4D 動漫展」，國父紀念館，臺北，臺灣 「雕刻的五七五」，沖繩藝術大學，琉球，日本 2006 「關嬉公園」，國立臺北藝術大學，臺北，臺灣 藝術家博覽會，華山藝文特區，臺北，臺灣 「一 一」，國立臺南藝術大學，臺南，臺灣 2005 「不向畫」，關渡藝文中心，臺北，臺灣 2004 「秋季發表」，國立臺北藝術大學，臺北，臺灣 獲獎

2007 港區立體新貌獎，入選 《雕刻的五七五》，金獎 第五屆桃源創作獎，入選 2006 《手牽手》，國立臺灣美術館青年藝術家購藏 2005

第三屆桃源創作獎，優選

Curriculum Vitae | TSAI Chieh-Hsin

2010 「笑 CC」，紅樓藝術空間創作，臺北，臺灣

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TSAI Chieh-Hsin Born in 1982 in Taipei, Taiwan

EDU C AT I ON

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

2006

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

SOLO EX H I BI T I O NS

2007

“Super Circus”, Shin Leh Yuan Art Space, Taipei, Taiwan

2005

“Nice to Meet You Here”, Nan-Pei Gallery, Taipei, Taiwan

GROUP EX HIB ITIONS

Apple Core 154

2010

2014

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “Young Art Taipei”, Regent Taipei, Taipei, Taiwan “Art Tainan”, Tayih Landis, Tainan, Taiwan “Earth Day – Hug the Earth”, National Taiwan Museum, Taipei, Taiwan “Dream of a Better Tomorrow”, Liang Gallery, Taipei, Taiwan “Kiss Kiss My Baby Charity Event”, Liang Gallery, Taipei, Taiwan

2013

“Ver y Fun Park – Eyes of the Times: Dialogue with Contemporar y Ar t”, National Taiwan University Arts Center, Fubon Art Foundation, Taipei, Taiwan “Harmony”, Fubonart, Taipei, Taiwan “Sakiyama x Guandu Taiwan – Japan Sculpture Exhibition”, AKI Gallery, Taipei, Taiwan “Start form Zero – Small with Infinity Large”, Metaphysical Art Gallery, Taipei, Taiwan

2012

“Passing Through the Endless Poetic Mind and Imagination: Group Exhibition by Ruei-Jr Shiu, Chein-Hsin Tsai, Yi-Ju Hsieh, Hui-Heng Lin”, Artdoor Gallery, Taipei, Taiwan “Peace and War”, Haslla Art World, Gangneung, Korea “Seed．Set”, Creative Blocks Exhibition, Taipei, Taiwan

2011

“People’s Livelihood”, Creative Blocks Exhibition, Taipei, Taiwan “Taipei Centuries: in Our Time”, Taipei Cultural Center, Taipei, Taiwan Participated in Filming Movie “Love”, Taipei, Taiwan

2010

“Laugh CC: Tour Blocks”, The Red House, Taipei, Taiwan “Very Fun Park”, Fubonart, Taipei, Taiwan “S-Homo”, K’s Art, Tainan, Taiwan “10:10 Efficient Laughter”, Very Fun Park, Taipei, Taiwan

2008

“Phoenix, or Love”, Tainan National University of the Arts, Tainan, Taiwan “Young Artists Exhibition”, Seoul, Korea

2007

“My Mom is a Pisces”, National University of Tainan Qing-Zhong Ar t Special Zone, Tainan, Taiwan “Light Light Low Low”, Tainan National University of the Arts, Tainan, Taiwan “3L4D Animation Exhibition”, National Dr.Sun Yat-Sen Memorial Hall, Taipei, Taiwan “Sculptures of 575”, Okinawa University of the Arts, Okinava, Japan

2006

“Guan C Park”, Qing Zhong Street Art District, Tainan, Taiwan Association of the Visual Arts, Huashan Culture Park, Taipei, Taiwan “ 一 一 ”, Tainan National University of the Arts, Tainan, Taiwan

2005

“Do Not Like Painting”, Kuandu Art Center, Taipei, Taiwan

2004

“Special Mention, 2004 – 18th Fine Ar ts Depar tment Exhibition”, Taipei National University of the Arts, Taipei, Taiwan

AWA RDS

2007

Newly Emerging Artists in Taiwan 3D Creation Series, Selected “Sculptures of 575”, The Golden Prize The Fifth Taoyuan Creation Award, Selected

2006

“Hand in Hand”, Collected by National Taiwan Museum of Fine Arts

2005

The Third Taoyuan Creation Award, Selected

Curriculum Vitae | TSAI Chieh-Hsin

2009

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簡 介 ｜ Biography

盧之筠 LU Chih-Yun

盧之筠，1984 年出生於日本，2011 年畢業於國立台北藝 術大學美術創作研究所，主要以雕塑和裝置藝術為主。 她的創作動機是探討自我存在的本質，作品充滿強烈的 暗喻及象徵意涵，藉由隱晦的方式傳遞她內心的情感和 記憶；運用不同的媒材將抽象的感覺具體化，並非如實 的轉換而是刻意表現出一種失真、非現實的效果。作品 曾展於東京、首爾、紐約、上海等地展出，於 2009 年獲 Apple Core

Geisai Taiwan #1 奈良美智獎、2008 年榮獲台灣美術新貌－ 立體創作系列首獎。

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Lu Chih-Yun was bor n in Japan in 1984. In 2011 she graduated from the Depar tment of Fine Ar ts at Taipei National University of the Ar ts where she specialized in sculpture and installation ar t. Lu’s motivation for creation lies in her wish to explore the nature of self-existence. As a result her ar t works are filled with metaphoric and symbolic meanings, and in a subtle way express her inner feelings and even memories. She uses various media to concretize abstract feelings, but she is not aiming to transform reality, she only seeks to show a deliber ate distor tion and a consequence of non-reality. Her works have been exhibited in Tokyo, Seoul, Shanghai, etc. In 2009 she received the Geisai Taiwan #1, Yoshitomo Nara Personal Award, in 2008 she won the first prize in New Perspective Ar t in Taiwan 3D Creation Serious.

很 多時候，我無法確定自己是真實存在的，也不覺得什麼是我曾真 正擁有的。像蝙蝠發出聲波一樣，我不斷地分析這些來自外界回應， 藉著這些來自不同方向的反射，我才能得知自己的定位。因此，我 必須不斷的發出聲音，不斷的生產。 我通常會製作一個容器，它必須有個身份，也許是種我們熟悉的生 物，又或者是平常就能接觸到的生活物件。雕塑具有體積感的這點， 是我偏好它的原因。它一出在現有的場域之中，就會馬上奪去某種 程度的空間，同時也暗示的它內部可以容納的體積。在這樣的容器 內，我試著設定角色，編造情節，然後也許，置入一些象徵、隱喻 的符號。這是我和外界溝通的語言。

或者只是一個情感轉折的時刻。無論大小、無論影響深淺，只要是 能感受到的，我都會試著記錄下來。

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換的方式。盡可能的找尋最貼切的字眼，排列組合能使用的媒材、

盧/ 之 筠

要將原本抽象的感覺化為實體，就像翻譯文章一樣，要來回思考轉 物件，但卻不知怎麼的，總是有無法跨越的誤差。這種誤差其實是

如果這個世界是以時間來標示進行的方向，那麼我的作品可視為一 既定事實，卻也同時是無法證明的，沒有實體的東西。無法證明是 否真實存在的東西，在進行轉化時，卻會讓人明顯感受到失真的落 差。那麼或許我追求的就是這種失真甚至有些刻意地去強調其中的 非現實感。 於是我又試著提問：如果我表現自己的手法總是給人一種失真的感 覺，我是不是能反過來用這個失真來證明自身的存在呢？而在標題 中使用的 ”你”，可視為某個特定對象。在那個事件發生的當下， 那個”你“的確是某個特定人物。但也可視為我以外的所有人、任 何人，一種廣義的 “你”。 我要傳達的訊息始終只有一個：我（曾）在這裡，請標出我和 ”你” 之間的距離。

LU Chih-Yun

種標示定位的點。在時間軸上的一個點。它是標誌著一個已發生的

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美好的，躲在這和外界之間的微妙細縫中，讓我覺得有安全感。

Artist Statement | LU Chih-Yun

出來，總是攪亂所有的記憶和感覺。一個重大挫折、一個頓悟，又

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真正的誠實，也許近乎於殘忍。不斷的把內心深處隱藏的情感挖掘

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There are times when I am not sure that I really exist or that I have anything at all. Like bats use reflections of sound waves to navigate and hunt, I also analyze various reflections from the outside world. They help me understand who the real me is. Therefore, I must continue to “emit sounds� and create.

Most of the times I choose an object, which has an identity.

Mainly it is a life form we are familiar with or something we Apple Core 158

have contact with ever y day. I prefer sculpture as my main form of expression because it contains a sense of volume and weight. Once it is put in a cer tain place or position, it immediately takes up space and shows up the volume. For objects I choose, first I try to set roles, create circumstances, and later I implant symbolic and metaphoric symbols in them.

That is the language I use to communicate with the outside world.

When you are constantly digging up emotions hidden deep down in your hear t you always disturb memories and feelings.

A major setback, an epiphany or just an emotional moment, regardless of how big or small, or how affective it is, as long as it can be felt, becomes my target and my aim is to record it.

Originally feeling is a ver y abstract entity, and therefore it is not easy to find a way to express it, as it is not easy to translate an ar ticle into a foreign language – it requires lots of thinking and rethinking. There is a possibility of finding the most appropriate words or using various medias to express

your feelings, but there is always a chance of making a mistake. On the other hand, these mistakes are pleasing since they help me to connect to the outside world, and it gives

is also possible for my works to take a position in it. There is a point in a timeline marking a fact or an event that has

whether it really existed or not, I still try to make people to feel the effect of distor tion.

distor tion, in turn, am I able to use this distor tion to prove as a par ticular object, but it can also be seen as ever yone else except me, anyone or a generalized “you”.

LU Chih-Yun

my own existence? The use of “you” in the title can be seen

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I question if I express myself in a way that gives a feeling of

盧/ 之 筠

any kind of its happening. Although it is impossible to prove

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already occurred, but there might be no prove or evidence of

Artist Statement | LU Chih-Yun

If it is possible to mark the direction of time in this world, it

創作自述 ×

me a sense of security.

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盧之筠 1984 年出生於日本 學歷

2011 國立台北藝術大學美術創作研究所，台北，台灣 2007 國立台灣藝術大學雕塑學系，台北，台灣

經歷

2012 Tokyo Wonder Site Aoyama，東京，日本

個展

2013 「a.t.o」，グリルギャラリー Grill Inc. & Gallery，東京，日本 2012 「真實的存在－仰角的視界」，也趣藝廊，台北，台灣 2010 「寓言的相變」，就在藝術空間，台北，台灣

聯展

Apple Core 160

2009 「彩虹的盡頭」，乒乓，台北，台灣 2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，台灣 2013 「Drawing02 － Hyphenation」，澁谷画廊，東京，日本 2012 「高雄國際鋼雕藝術節」，駁二藝術特區，高雄，台灣 「AIR 藝術蓋台 II：台北藝術進駐藝術家聯展」，台北國際藝術村，台北，台灣 2011 「Tokyo Story」，Tokyo Wonder Site Aoyama，東京，日本 2010 「粉樂町」，台北東區，台北，台灣 「笑 CC．遊街區」，西門町，台北，台灣 「Young Art Taipei」，台北晶華酒店，台北，台灣 「春燕夏至」，上海 498 原創館，上海，中國 「Finding New Stars － Geisai Taiwan 成果展」，築空間，台北，台灣 2009 「Geisai #14」，東京，日本 「後青春」，關渡美術館，台北，台灣

「後青春」，國立台灣美術館，台中，台灣 「Geisai Taiwan #1」，華山藝文特區，台北，台灣 「台北國際藝術博覽會」，世貿展覽館，台北，台灣 「Dream in a Contemporary Secret Garden」，Taipei Cultural Center in NYC，紐約，美國 「當代價值：一個持續進行的歷史 PART2」，日升月鴻畫廊，台北，台灣 「築夢．逐夢」，上海 498 原創館，上海，中國 「Easy Plastic」，關渡美術館，台北，台灣 2008 「台灣美術新貌展－立體創作系列」，台中港區藝術中心，台中，台灣 「亞洲學生及年輕藝術家藝術節 ASYAAF」，韓國首爾鐵道車站，首爾，韓國 「藝．極棒－ 2008 視盟藝術家博覽會」，信義公民會館，台北，台灣 獲獎

2009 Geisai Taiwan #1，奈良美智獎 2008 台灣美術新貌立體創作系列，首獎

Curriculum Vitae | LU Chih-Yun

「學院祭」，台北藝大地下美術館，台北，台灣

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LU Chih-Yun Born in 1984 in Japan

EDU CATION

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

2007

BFA, Department of Sculpture, National Taiwan University of Arts, Taipei, Taiwan

EXPERIENCE

2012

Tokyo Wonder Site Aoyama, Tokyo, Japan

SOLO EX HIBITION S

2013

“a.t.o”, Grill Inc. & Gallery, Tokyo, Japan

2012

“The Existence of Truth”, Aki Gallery, Taipei, Taiwan

2010

“Phase Transition of the Story”, Project Fulfill Art Space, Taipei, Taiwan

2009

“Over the Rainbow”, Ping Pong, Taipei, Taiwan

GROUP EX HIBITION S

Apple Core 162

2011

2014

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan

2013

“Drawing02 – Hyphenation”, Sibuya Gallery, Tokyo, Japan

2012

“Kaohsiung International Steel & Iron Sculpture Festival 2012”, The Pier-2 Art Center, Kaohsiung, Taiwan “Air Overlapping II: Air Taipei Group Exhibition”, Taipei Artist Village, Taipei, Taiwan

2011

“Tokyo Story”, Tokyo Wonder Site Aoyama, Tokyo, Japan

2010

“Very Fun Park”, Taipei’s East District, Taipei, Taiwan “Culture and Creativity: Neighborhood Tour”, Hsimenting, Taipei, Taiwan “Young Art Taipei”, Regent, Taipei, Taiwan “Yen Chau”, Shanghai 498 Museum, Shanghai, China “Finding New Stars”, Arki Galéria, Taipei, Taiwan “Geisai #14”, Tokyo, Japan

“Post-adolescence”, Kdmofa Museum, Taipei, Taiwan “Post-adolescence”, National Taiwan Museum of Fine Art, Taichung, Taiwan 2009

“Geisai Taiwan #1”, Huashan 1914 Creative Park, Taipei, Taiwan

“College Festival”, Underground Museum in NTUA, Taipei, Taiwan “Dream in a Contemporary Secret Garden”, Taipei Cultural Center in NYC, New York, USA “Contemporary Value – A Processing History”, Ever Harvest Art Gallery, Taipei, Taiwan “Build Dream to Pursue Dream”, Shanghai 498, Shanghai, China “Easy Plastic”, Kdmofa Museum, Taipei, Taiwan 2008

“New Perspective Ar t in Taiwan: 3D Creation Series”, Taichung City Seapor t Ar t Centre, Taichung, Taiwan “Asia Students and Young Artists Art Festival: ASYAAF”, Korea Seoul Station Old Bldg., Seoul, Korea “Art-Fancy – 2008 Association of the Visual Arts in Taiwan”, Xinyi Public Assembly Hall, Taipei, Taiwan

AWARDS

2009

Geisai Taiwan #1, Yoshitomo Nara Personal Award

2008

New Perspective Art in Taiwan 3D Creation Serious, First Prize

Curriculum Vitae | LU Chih-Yun

“Art Taipei 2009”, Taipei World Trade Center, Taipei, Taiwan

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簡 介 ｜ Biography

Candy Bird 以台灣為出發，糖果鳥（Candy Bird）的塗鴉世界地圖正 在擴張中。他曾在柏林和北京老朽的水泥牆上留下現代 藝術印記，或是在台北、東京的個性商店的牆上作畫， 以及在巴西聖保羅的當地社區或緬甸的孤兒院，和小朋 友們一起塗鴉。

糖果鳥曾經受過油畫的訓練，現在他使用水性油漆和噴 漆為媒材。他充滿隱喻的角色，嘲諷著我們當代城市生 活的荒蕪，同時間透過他的藝術，讓精神灰暗找到新的 Apple Core 164

出路。從都市裡的大樓，到鄉村房子的紅磚牆，糖果鳥 充滿活力的原創，帶出美學上的另種可能，並散播到全 世界。

Based in Taipei, Taiwan, Candy Bird is a mural ar tist whose international por tfolio has been expanding rapidly. He has tagged decrepit concrete facades in Beijing and Berlin, filled up the walls of boutique spaces in Taipei and Tokyo, and painted with children as an outreach to communities in Myanmar and Brazil.

Trained in conventional oil paintings, Candy Bird now works with buckets and spray. His satirical characters – the largeskulled figures for which he is known – at once make a mocker y of the urban graveyards in which we walk, and at the same time revitalize them, bringing an aesthetic vibrance which he has spread across the world, from the brick bastion of megacities to the stucco siding of rural hamlets.

我 的塗鴉藝術，希望貼近人文關懷，嘗試直接介入觀者的日常 生活，並對現有體制提出質疑，揭示被遺忘但重要的價值觀。 作品主要分為三類，一是利用自身在面對諸多制約時產生的無 奈情緒，用構圖和現場環境結合，來放大影射人生當中無形的 壓迫。第二是反應時事議題，譬如正在運轉中的都市更新政策、

像。最終，我期待透過作品促使更多思考的可能，讓世界增加 誠摯的體驗，或替弱勢的一方發聲。

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the currently existing system, and brings to light already forgotten but ver y impor tant values. My graffiti ar twor ks can be mainly

depict a person confronting many constraints and experiencing

environmental sites seek to allude and enlarge invisible oppression in that person’s life. Graffiti works in the second categor y aim to represent current issues and problems, for instance, ongoing urban renewal project or radioactive wastes. Ar tworks in the last category have no par ticular meaning. I often choose to paint on the dismantled or tumbledown walls, as I believe they are an idle space to express my imagination. Finally, through my graffiti ar tworks I expect to bring more awareness, to increase sincere experiences or to be a voice for poor and lowly underprivileged people.

Candy Bird

helplessness or emotional frustration because of them; drawings on

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divided into three categories. The first category contains graffiti that

Candy Bird

to inter vene directly in the ever yday lives of viewers, questions

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My graffiti ar t aims to bring closer to humanistic solicitude, attempts

Artist Statement | Candy Bird

的斷垣殘壁上直接作畫，提出閒置空間的處理是否有更多的想

創作自述 ×

廢核電廠等等，第三則只是無厘頭的搞笑。我常選擇在被拆除

165

Candy Bird 1982 年出生於台灣台北 經歷

2009 台東鐵道藝術村，駐村藝術家，台東，臺灣

個展

2012 「運動塗鴉，塗鴉運動」，學校咖啡館，台北，臺灣

聯展

2014 「蘋果核－當代藝術展」，尊彩藝術中心，台北，臺灣 2013 「亞洲藝術雙年展」，國立臺灣美術館，台中，臺灣 「2013 Art Taipei 台北藝術博覽會」，台北世貿一館，台北，臺灣 「I Want More」，竹圍工作室，台北，臺灣

Apple Core

「台北國際當代藝術博覽會」，喜來登飯店，台北，臺灣 2012 「彼岸島」，八樓當代藝術空間，台北，臺灣 「Design Festa」設計博覽會，東京，日本

166

2010 「台灣當代藝術論壇雙年展」，台北當代藝術中心，台北，臺灣 合作

2014 「OK 塗鴉 & 潮流展」嘻哈融合體，深圳，中國 2013 「PangeaSeed」台灣海洋保育壁畫活動，圓山，台北，臺灣 大港開唱 DJ 舞台「塗鴉迷宮」紙箱塗鴉創作，高雄，臺灣 2012 「城市游牧影展」，海報視覺繪製及現場紙箱塗鴉，台北，臺灣 綠色和平組織「希望號」訪港活動合作藝術家，高雄，臺灣

獲獎

2013 雲門舞集文教基金會－第九屆「流浪者計畫」獲獎至緬甸 首屆國家文化藝術基金會「海外藝遊專案」得獎至巴西 行程計畫 :「彩色天堂－巴西塗鴉藝術之旅」

出版品

2012 Candy Bird，《等它乾：Wet Paint Drying》，台北：衛城出版社 Candy Bird 等，《社情漫畫：公民的肥皂箱》，台北：衛城出版社

Candy Bird Born in 1982 in Taipei, Taiwan

Resident Artist, Taitung Railway Art Village, Taitung, Taiwan

SOLO G ROUP EXHIBI- EX HIBITION S TIONS

2012

“Graffiti Move”, Ecole Café, Taipei, Taiwan

2014

“Apple Core Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan

2013

“Asia Art Biennial”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “2013 Art Taipei”, Taipei World Trade Center, Taipei, Taiwan “I Want More”, Bamboo Curtain Studio, Taipei, Taiwan “Young Art Taipei”, Sheraton Hotel, Taipei, Taiwan

2012

“The Other Shore of Island”, Floor 8 Art Space, Taipei, Taiwan “Design Festa”, Tokyo, Japan

2010

“Forum Biennial of Taiwanese Contemporary Ar t”, Taipei Contemporary Ar t Center, Taipei, Taiwan

PROJE C TS

2014

Mural Arts for “OK Hip-Hop Festival”, Shenzhen, China

2013

Mural Arts for “PangeaSeed Sea Wall Murals For Oceans”, Taipei, Taiwan Graffiti Arts for “Mega Port Festival”, Kaohsiung, Taiwan

2012

Graphics and Graffiti Arts for “Urban Nomad Film Fest”, Taipei, Taiwan Artist for “The Esperanza” for Greenpeace, Kaohsiung, Taiwan

AWARDS & FELLOWSHIP

2013

The Ninth Wanderer Program Award and Fellowship, Cloud Gate Dance Foundation Inaugural Project of Artistic Journey Award and Fellowship, National Culture and Arts Foundation Travel Plan: Color Paradise – Brazil Graffiti Art Tour

PU B LI CATIONS

2012

“Wet Paint Drying” by Candy Bird. Taipei: ACRO-POLIS. “Citizens’ Spokespersons” by Candy Bird, et al. Taipei: ACRO-POLIS.

Curriculum Vitae | Candy Bird

EX PER I ENCE

2009

167

Catalog

周育正 CHOU Yu-Cheng 生物科技 Biotechnique 2004 Video, SD, color, sound 8'30"

p. 26, 27

林文藻 LIN Wen-Tsao

Apple Core 170

溫度 -1~5（洛杉磯） Google Map Series – By Degrees Project 3-1~5 (Los Angeles) 2014 Acr ylic on canvas 100×100cm (50 號 )

似曾至此 -1~5 I Must Have Been There – 1~5 2012 Gouache, acr ylic gouache on vellum paper 50×50cm

p. 72, 73

p. 68-71

林煒翔 LIN Wei-Hsiang

有三棵樹的風景 The Scenery With Three Trees

遊蹤系列 - 20~22 Adventures – 20~22

2013 Oil on canvas 180×100cm×3 (300 號 )

2013 Oil on canvas 140×140cm×3 (300 號 )

p. 46, 47

p. 48, 49

張立人 CHANG Li-Ren

武器秀 3D Weapon Show 3D

高級武器秀 High-Class Weapon Show

2008-09 Video installation, 5-channel real-time images 4'54"

2013 Video 1'26"

2008 Video 1'10"

p. 28, 29

p. 30, 31

p. 32

武器秀 Weapon Show

武器秀卡通 Weapon Cartoons

2005 Video 2'02"

2006 Video 0'59"

p. 32

p. 33

Catalog

模型社區 Model Community

陳依純 CHEN I-Chun

林水源傳奇 第一集 Shui Yuan Lin Legend – First Episode

林水源傳奇 第二集 Shui Yuan Lin Legend – Second Episode

2014

2014

Color video (loop) with sound

Color video (loop) with sound

5'00"

5'00"

p. 64, 65

p. 66, 67

171

許家維 HSU Chia-Wei

回莫村 Huai Mo Village

鐵甲元帥－龜島 Marshal Tie Jia – Turtle Island

p. 34-37

回莫村－國防部 1920 區光武部隊 大陸工作組 Huai Mo Village – District 1920 Guangwu Troop Department Of Defense Chinese Affairs Team 2013 Installation 450×140×120cm

p. 38, 39

p. 52-55

鐵甲元帥－靖思村 Marshal Tie Jia – Jingsi Village

鐵甲元帥－白色四方桌 Marshal Tie Jia – White Square Table

鐵甲元帥－島／湖 Marshal Tie Jia – Island/Pond

2013 Single-channel ultra HD video 10'00"

2013 Installation Desk 108×106×115 cm Pedestal 148×146×40 cm

2013 Oil on canvas 20×20cm

2012 Single-channel ultra HD video 8'20"

Apple Core 172

p. 60-63

2012 S i n g l e - c h a n n e l u l t r a H D v i d e o, photography, documents 6'35" 120×80cm

p. 57

p. 56

蔡潔莘 TSAI Chieh-Hsin

遇見彩虹 I Seeing Rainbows I

遇見彩虹 II Seeing Rainbows II

彩虹散步 Strolling Along Rainbows

2014 Paper pulp, dyestuff 154×75×40cm

2014 Paper pulp, dyestuff 87×80×30cm

2014 Paper pulp, dyestuff 23×15×66cm

p. 74, 75

p. 76, 77

p. 78, 79

盧之筠 LU Chih-Yun

You'll Be The Rhythm And I'll Be The Beat

白色房子 White House

2014 Mixed media 100×60×50cm

2014 Mixed media Dimensions Variable

2012 Mixed media 59×85cm

p. 80, 81

p. 84, 85

p. 86, 87

我們生存在那斷面之上 1 The Section Of Our Existence 1

我們生存在那斷面之上 2 The Section Of Our Existence 2

我們生存在那斷面之上 3 The Section Of Our Existence 3

2013 Mixed media 35×40×15cm

2013 Mixed media 40×40×10cm

2013 Mixed media 30×40×10cm

p. 82, 83

p. 82, 83

p. 82, 83

Candy Bird

堆疊快樂 Happy Stacking

雙面人 Two-Sided People

2014 Lacquer, water-based paint on canvas 200×500cm

2014 Water-based paint on wood 340×290cm

p. 40, 41

p. 42, 43

Catalog

無根之島 The Rootless Island

173

Ap p l e C ore Contemporar y Ar t Exhibition

發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2014年7月初版

ISBN

978-986-90108-4-9

Executive Director

Yu Yen-Liang

Publisher

Liang Galler y Co., Ltd

Editor

Liang Galler y

Printing

Jih-Tung Ar t Pringting Co., Ltd.

Publishing Date

First Edition, July, 2014

ISBN

978-986-90108-4-9

L I A N G G A L L E RY

T +886-2-2797-1100 F +886-2-2656-0033 lianggallery@gmail.com

台北市11492內湖區瑞光路366號 No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm 週一公休 Closed on Monday