The Tender Counteroffensives
徐 薇蕙 Hsu Wei-Hui
Artist Statement
創作論述
文／ 徐薇蕙
我的創作從個人的生活經驗出發，以自身為女性的角度，探討人與
【你是我溫柔的武器】
社會價值的相關議題，以及對時尚視覺文化中其身體、容貌標準的
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質疑、焦慮與反思，表現現實與理想生活中的種種矛盾與衝突。利
由粉色、柔軟蕾絲的面膜質感，構成不同�型的槍枝組合，是由帶
用生活中的現成物為媒材，將每一物件賦予特殊的象徵意義。像是
著微笑的臉孔所組成，輕柔的媒材所構成的陽剛武器，表達一種外
一張張的面膜象徵著人的皮膚、時間與青春歲月的痕跡。透過手感
柔內剛的衝突與矛盾；一種柔美外在形象裡剛毅的堅持與力量。一
的創作方式、密集的勞力與時間的累績，將自己的情緒與情感漸進
張張紅潤且帶著微笑的臉蛋，似乎是一種攻人心防、拉近人與人之
式地植入作品中。透過複合媒材和空間裝置的方式，有時結合雕塑
間距離的最佳武器。
和攝影的表現，呈現一種對自我意識的檢視和探索。
【游擊女孩】 【笑顏如花系列】 體態嬌小的游擊女孩們上身穿著制式的軍服，右手都手持武器，象 層層堆疊的面膜，象徵人的一生和青春歲月的轉化。從年輕到枯
徵著陽剛的精神；下半身則穿著俏麗的裙裝，左手做出活潑可愛的
老，從喜悅到焦慮，刻意呈現兩種衝突對比的情緒和轉換。帶著枯
動作，如手拉裙子、手提包包等，象徵女性嬌柔的一面。同時兼具
黃、扭曲臉孔的面膜與皺紋般的漸層，猶如邁向衰老的過程，諷刺
剛毅精神與柔美形象的游擊女孩們，內心帶著衝突與矛盾的情緒，
現代人害怕變老的內心恐懼；而帶著絢爛色彩與微笑臉孔的面膜，
團結地以群體軍團的強大力量，進行對消費時尚的偷襲與游擊、雙
猶如正值青春年華與正在綻放、盛開的花朵，難掩內心燦爛的喜
手對抗生活中現實與理想的衝突及種種挑戰。
悅。看似花朵的面膜，透過鏡面反射著內心不同的情緒表情。
【偽裝．掩飾．保護色】
柔軟、蕾絲質感的面膜材質，硬化後，看似脆弱，實則帶有韌性，構 成外在的華麗服飾和現實生活裡的做飯工具，潛藏著不同的情緒表情 和慾望象徵，以及承受的重量，形成虛華的偽裝、掩飾和保護色。
The Tender Counteroffensives
The Tender Counteroffensives Artist Statement
Based upon my personal experiences, my artistic
to anxiety, the work intentionally demonstrates how
which ironically constitute a work featuring various
practice discusses the issues related to humanity
two conflicting emotions transform from one to the
models of guns made by smiling faces. The soft
and social values from the perspective as a female
other. The used facial masks suggest withered and
materials are used to create the weapon of
artist. Through my works which mostly encourage
twisted faces, while the wrinkled surface implies a
masculinity, unveiling the contradiction between the
viewers to question, to challenge, and to reexamine
process of aging, satirizing modern people’s inner
outer softness and the inner toughness – a kind of
how the fashion culture sets up a standard for the
fear of getting old. On the other hand, the facial
persistence and power to stay firm while one
perfect female body and the perfect facial
masks with splendid colors and smiling faces remind
appears to be gentle and docile. The rosy faces with
appearance, I attempt to demonstrate the various
viewers of blossom flowers, which symbolize the
smiles seem to be the best weapon to disarm others
contradictions and conflicts between an ideal life and
inner joy to celebrate the puberty. The flower-like
and to bring people closer to each other.
the reality. The readymade objects from daily life are
masks thus reflect various inner emotions and
used as materials in my artworks, while each of them
expressions on the mirror.
Guerilla Girl
Camouflage
The petite guerilla girls wear military uniforms on top
is given a unique symbolic meaning. Take the facial masks for example: every piece symbolizes human skin as well as the passing of time and the traces of
with weapons in their right hands, suggesting the
the long-gone youth. The labor-intensive handiwork
The soft lace-like quality of facial masks might seem
spirit of masculinity. However, the pretty skirts and
and the cumulative time help to immerse my emotion
fragile.
However, once it is used, it becomes
the cute gestures posed by the left hands, such as
and affection in the work bit by bit.
Featuring
stiffened with toughness. The conflicting qualities
pulling up the skirt or carrying a purse, signify the
mixed-material and space-installation, in some cases
help constitute the gorgeous dress decorating one’s
feminine side of them. These guerilla girls embrace
combined with photography and sculpture, my
appearance and the cooking utensils of the real life,
the spirit of persistence and the appearance of
artworks
revealing the various emotions, expressions, and
gentleness, revealing the contradictory emotions
symbols of desire hidden inside. The weight it carries
inside their hearts. Standing side by side as the army
has transformed into a flamboyant camouflage as a
corps, their unification demonstrates a strong power
disguise.
as if they are about to make a raid on the consumer
present
the
examination
and
the
exploration toward the self-consciousness. Smiling Face as a Flower
culture in the fashion world, fighting against the The facial masks piled up in layers represent the
You are My Tender Weapon
transformation one has experienced throughout one’s life. From one’s youth to the old age, from joy
challenge and the conflict between the real life and their ideal with their own power.
The pink facial masks have a soft lace-like quality,
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Article／ Hsu Wei-Hui
The Tender Counteroffensives
笑看人生
07
2011 複合媒材（面膜、無酸膠、染劑、不鏽鋼鏡面） 190×40×40cm
列〉時出現的光暈，只是光暈走到這裡則已經去除掉光澤；而只留下
一手則風姿綽約。在這個系列的創作表現裡，徐薇蕙還是承續了量化
色澤)的關係，使得面膜不再存在於一種美顏的生活功能；進而能夠
的繁衍性功能，好幾千個粉紅兵團鋪天蓋地的襲來，視覺在接觸的那
成為一種生命榮枯的生態。比如說，她在2011年《變…(No.1)》作品
個瞬間是一種快滿溢出來侵略，它與面膜本身所產生的視覺柔軟或輕
中，正向是很清楚的面膜模樣，但不再是慣常的白色面膜，而是蠟
撫有著截然不同的心理誘導。〈游擊女孩系列〉的身高，一方面轉譯
黃、乾枯；甚至因為數量上的堆積，使得眼前的面膜形同脫水的生命
了傳統社會對女性角色第二順位慣常認定，但卻另一方面則透過生命
歲暮模樣，如此情狀多麼尖銳又多麼具有諷刺意味。另外在《笑看人
無數量的滋長與繁衍來強壯了女性不可被忽視的龐大力量。徐薇蕙個
生》作品中，正面是美如繁花的面膜，不僅顏色出奇鮮美，也令人看
性當中潛藏著某種深沉的幽默感，在〈面膜系列〉萌芽，但卻在〈游
出面膜這項材質在徐薇蕙手中所釋放出的無限能量。有趣的是，作品
擊女孩系列〉裡獲得紓解，她慢慢從環境的轉折變化中，逐漸去體會
的底部是鏡面，使得觀者可以透過鏡面看到繁花背面人的五官(其實
到生命或者是生活本身，其實都未必是面膜就能徹底改善或得到圓
就是典型面膜的模樣)；其實也有著笑不出來的無言。
滿，所以；她反而開始懂得去笑淡自己過去的拘謹與不可救藥的偏 執，這就好像她會把面膜拿來解釋生命的四季、她會把游擊女孩放到
正如我所講的，〈面膜系列〉是對人的已知進行審視，而〈游擊女孩
現實環境彷若童話城堡的氛圍；在一種懂得自保的心理概念之下，也
系列〉則更加延展這樣的一份思維。徐薇蕙說「在美國喬治亞州唸書
沒有放棄純真與理想的憧憬。
的時候，因為那個地方的治安令人擔憂，這也促成我以現成玩具兵模 型來作改造的創作開始⋯」。徐薇蕙把玩具兵模型全都改塗繪成粉紅
徐薇蕙的藝術，從生活的自知入手，卻從創作過程裡體認到更深的自
色，上半身依舊穿著軍服、下半身則改著花色艷麗的裙子(粉紅色與
我檢視空間，正因為有了這樣的一份空間，愈加使得她的創作有了更
花裙的色彩作用，這時候則形同視覺的光暈)，一手握著武器、另外
大的寬度，也有了令人愈加期待的深度未來。
Essay | From Knowing Nothing about People to Knowing Something about Life
From Knowing Nothing about People to Knowing Something about Life An Article for Hsu Wei-Hui’s 2013 Solo Exhibition Article／ Cheng Nai-Ming
Chief Editor of CANS – Chinese Contemporary Art News
Marcel Proust (1871-1922) has once said: "Our vanity, our passions, our spirit of imitation, our abstract intelligence, our habits have long been at work, and it is the task of art to undo this work of theirs, making us travel back in the direction from which we have come to the depths where what has really existed lies unknown within us.” His words should be quoted as the prologue of Hsu Wei-Hui’s artistic practice. 08
radiating rays radiating of light. rays Likeofblood light. vessels, Like blood the lines vessels, extended the lines extended Strictly speaking, Strictly Hsu speaking, Wei-Hui’s Hsu artistic Wei-Hui’s practiceartistic can be practice regarded can be regarded forwardshe while entangling forward while withentangling each other.with The each lines other. and the Therays lines ofand the rays of as a way to reexamine as a way her to reexamine inner mind.herThrough inner mind. art-making, Through she art-making, light onhave every window light on were everyvisualized window were in different visualized ways, in different suggesting ways, suggesting keeps revealingkeeps the previous revealing wounds, the previous again wounds, and again, again which andhave again, which that the will passing that of the timepassing might have of time been might the have same,been but the traces same, but the traces already been covered already up. beenEvery covered timeup. when Every we look time into when it, we we look will into it, we which had which intohad ourcarved minds into could ournot minds be reproduced could not be again. reproduced again. be surprised to be realize surprised thattoher realize heartthat is getting her heart stronger is getting and stronger andcarved stronger in an indescribable stronger in anway. indescribable way. For those who For hadthose not gone who away had not from gone home, away it would from home, be difficult it would be difficult todegree understand tohow understand the illumination how thecould illumination evoke one’s could inner evoke one’s inner In 2005, whenInshe 2005, waswhen still pursuing she was her still first pursuing masterherdegree first master at at nostalgia for home nostalgia as if the for home strongas emotions if the strong were emotions flowing out were from flowing out from Savannah College Savannah of ArtCollege and Design of Art inand the Design United inStates the United of States of the knocked-over the cruet. knocked-over cruet. America, she had America, adopted shethe had artistic adopted vocabulary the artistic of landscape vocabularyand of landscape and installation to installation create a work to create Potential a work Cell Potential No.13 – Cell Nostalgia. No.13 – Nostalgia. The certain warmth ofThe thewarmth illumination of thethus illumination became thus one of became the major one of the major Within the sensitive Withinemotions the sensitive expressed emotions by the expressed work was by certain the work was spiritual qualities spiritual hidden qualities within throughout hidden within Hsu throughout Wei-Hui’s Hsu artistic Wei-Hui’s artistic somber sentiment. somber Observing sentiment. the moving Observing light-and-shadow the moving light-and-shadow on the on the practice. walls of her studio walls corridor, of her studio she not corridor, only saw she the not uncertainty only saw the of the uncertainty of the
practice.
chase betweenchase the light between and the theshadow, light andbut thealso shadow, relatedbut it to also therelated it to the More importantly, More she importantly, did not stop sheatdid thenot exploration stop at the of exploration the “real of the “real sweet and the sweet bitter experiences and the bitterasexperiences an alien in aasforeign an alien country. in a foreign country. objects” in the illumination. objects” in the Inillumination. the followingInseries the following works, the series works works, the works Therefore, sheTherefore, used glass shewindows used glass and windows the movement and the of movement the of the later made which herlater famous, madesuch her famous, as “Facialsuch Mask as Series” “Facial and Mask Series” and natural light to natural paint translucent light to paint blue translucent lines on the blue glass lineswindows. on the glasswhich windows. “Guerilla Girls Series”, “Guerillashe Girls gradually Series”,deconstructed she gradually deconstructed the substantial the substantial When the light was When reflected the lighton was thereflected glass windows on the glass with the windows passing with the passing existence existence illumination. of the Iillumination. was surprisedI was to realize surprised that to sherealize that she of time, the lines of painted time, thewith linesvarious painted blues withbecame various blues a cell-like became unit a cell-like unitof the
The Tender Counteroffensives
could create could the “sense create ofthequantity” “sense for of quantity” the abstract for the and abstract and unmeasurable unmeasurable illumination. After illumination. its first appearance After its first in appearance her “Facial in her “Facial Mask Series,” she Maskcontinued Series,” she her experimental continued herexploration experimental of such exploration of such a “sense of quantity.” a “senseThe of quantity.” illuminationThe in the illumination early work in the “Potential early work “Potential Cell Series” still Cell depended Series” still on depended the brightness on the of brightness the light toof the light to dominate how dominate certain emotion how certain could emotion be understood. could be understood. However,
However,
she further transformed she further such transformed a “quality”such through a “quality” coloring through and piling coloring and piling the facial masks. the facial The quality masks.of the Theillumination quality of the in her illumination early works in her early works was thus realized wasasthus “therealized embodied as “the experience embodied of life” experience in her recent of life” in her recent works.
Fromworks. the abstract Fromtothe theabstract concrete, to itthe does concrete, not suggest it does not suggest
that the artist has thatchosen the artist a mundane has chosen expression a mundane to manipulate expression the to manipulate the language. Quite language. the opposite, Quite Ithe believe opposite, that the I believe artist that againthe and artist again and again polishes again her skill polishes to visualize her skill thetolandscape visualize the carved landscape into thecarved into the Potential Cell No.18 Potential - The CellOrigin, No.18she - The hasOrigin, continuously she hasexploring continuously exploring depth of the heart depththrough of the heart simplethrough and plain simple language. and plain As language. how As how her anxiety hernoticed anxietyby to people be noticed around by people her. around her. of art to undoofthis art work to undo of theirs, this work making of theirs, us travel making backus in travel the back in the to be
09
visualize how different to visualize illumination different levels, illumination which further levels,explains which further explains Proust put it, “our Proust habits puthave it, “our long habits beenhave at work, long and beenit at is work, the task and ithow is thetotask direction from which direction we from havewhich come we to the have depths come where to the what depths haswhere what has really existed lies really unknown existedwithin lies unknown us.” within us.”
Focusing on the Focusing life extension on thethrough life extension the propagation through the of propagation cells, we of cells, we might be able to might explain be able why to she explain later uses why facial she later masks usestofacial pile up masks to pile up
a quantity-oriented a quantity-oriented structure. Even structure. in anotherEven interesting in another works interesting works Born in 1979,Born Hsu in Wei-Hui 1979, has Hsu taken Wei-Hui onehas step taken afterone another, step after another, “Guerilla Girls Series,” “Guerilla we Girls can Series,” notice we Hsucan Wei-Hui’s notice Hsu obsession Wei-Hui’s to obsession to following her own following artistic hercontext own artistic withoutcontext any diversion without from any diversion the from the the among plural organic the plural cell growth. organicHowever, cell growth. I stillHowever, perceive Ihow still she perceive how she tracks designed tracks by herself. designed Such by herself. an attitude Such is rarely an attitude seen among is rarely seen expresses of her theinner traces emotions of her inner through emotions art-making. through“Iart-making. “I the new generation the new of young generation artistsofinyoung Taiwan. artists Sheinhas Taiwan. once told She hasexpresses once toldthe traces have under had darkhave skin had colordark since skin I was colora since kid, and I was people a kid,in and the people in the me that she enjoyed me thatobserving she enjoyed the cells observing of different the cells species of different under species Easternalso societyEastern usually society laughedusually at girlslaughed with dark at girls skin,with thinking dark of skin, thinking of a microscope a since microscope she was since a child. she was Thea experience child. Thealso experience theminasher ugly, but them it never as ugly, occurred but it never to meoccurred that such toan meexperience that such an experience influenced the influenced way how the she way later how chose shethe later expression chose the in expression her would even influence would even my relationship influence my when relationship I grew up,” when says I grew Hsu up,” says Hsu artistic practice. artistic Thepractice. examples The include examples the semi-circular include theobject semi-circular object Wei-Hui. HsuTherefore, Wei-Hui told Hsu us Wei-Hui with honesty told us that with she honesty that she which is like the which cell wall is likein the Potential cell wall Cellin No.18 Potential - The CellOrigin, No.18the - The Wei-Hui. Origin, theTherefore, used facial usedasfacial her masks materials as not her only materials because not she only indeed because she indeed cell nuclei constituted cell nuclei by constituted Styrofoam cups by Styrofoam in Potential cups CellinNo.16 Potential – Cell No.16 – masks likedobjects using as daily materials, objects but as materials, also because but also facialbecause facial Parasite, or even Parasite, the work or even Potential the work Cell No.19 Potential – Fear Cell Wall No.19 – –inFearliked Wall using – in daily masks were greatly masks used werebygreatly the women used by in Asian the women countries in Asian for skin countries for skin which she began which to she use began facial masks to use as facial her masks materials as in her2006. materials in 2006. whitening. whitening. upon, however, Based upon, I believe however, that IHsu believe Wei-Hui’s that Hsu Wei-Hui’s There are two There major are rules twoin major Hsu Wei-Hui’s rules in Hsu artworks: Wei-Hui’s first,artworks: she first, she Based artistic exploration artistic canexploration be divided can intobe two divided totally into diverse two spheres. totally diverse spheres. appropriates the appropriates “growing and the spreading” “growing and quality spreading” of cells quality and fully of cells and fully transforms it into transforms the symbol it into of “plural the symbol quantity” of “plural in herquantity” works, which in her works, which The as idea Thework idea “Potential of the work Cell “Potential Series” started Cell Series” from her started from her psychologicallypsychologically suggests the propagation suggests theofpropagation life as wellofaslifetheas well theof the living and studying of livingalone and studying in the USA. alone The in change the USA. of The change of hidden sense of hidden insecurity senseinofher insecurity heart; second, in her heart; sincesecond, the worksinceexperiences the work of experiences
environment made her insecure. Therefore, she was very anxious
multi-dimensional perspective, transforming “Facial Mask Series”
about everything in her life. In other words, the uncertainty of life
from the superficial expression into a facial-mask-sculpture with
became the starting point of the series works.
various emotions inside.
As for the
development of “Facial Mask Series,” it was based upon the certainty of life – a kind of certainty that combined the
From the perspective of social psychology, a “facial mask” and a
dissatisfaction about the present situation and the desire to change
“mask” are definitely two different tools with different functions. A
it. These two major themes have affected the way Hsu chooses
facial mask helps us to construct and to pursuit an external
the materials as well as the final visualization of her works.
psychological intoxication which is represented in a relatively
Nevertheless, they indeed build up a close relationship in terms of
formalized way.
spiritual inheritance. The artistic vocabulary is eventually pushed to
mask, on the other hands, can be used as the magic potion to
the maximum when a great amount of works in “Guerilla Girls
strengthen one’s inner self – similar to the comic or cartoon heroes
Series” have been done.
who usually depend on certain costumes or masks to take off their
It is purely a temporary personal behavior.
A
identities as ordinary persons and put on the identities as heroes. After the division of Hsu Wei-Hui’s two major artistic themes has
Therefore, masks help people to escape from the ordinary reality
been completed, one can also see the subcategories in her works
and to avoid the life routine which common people are confined
decided by her arrangement of the psychological expressions.
within, offering them a possibility to go beyond the ordinary reality
Most of the works in “Potential Cell Series” were made during her
and to become someone with “super power.” On the contrary,
studies in the States. Her anxiety woven into the works is thus
facial masks are purely used with one sole purpose – the one and
clearly seen – including the worries and the hopelessness about
the only function to change the ordinary appearance while it has its
her situation and the future career as an artist. Therefore, we can
limitation within certain period of time.
see the illumination and the quantity-oriented objects which seem to reveal her desire to be warmly surrounded and to be
Facial masks’ function in daily life provides a perspective for Hsu
acknowledged by the society.
Wei-Hui’s artistic exploration.
After returning to Taiwan in 2009,
The initial inspiration might have
she created “Facial Mask Series.” It indeed provided a space for
been her identity as a female. While she grows old and becomes
her artistic expression. However, once she returned to the home
more emotionally mature, she also sees facial masks as something
country she was familiar with, the nostalgia soon turned into the
more than the daily objects for women to take care of their skin.
daily routine.
Consequently, she had to come up with a more
Instead, they can be used as the tools to write down the essence
profound contour about the self in such a situation. “Facial Mask
of life. I particularly appreciate her idea to create a mask-like body,
Series” thus started discussing something more about the female
which is slightly full in shape, by piling and accumulating the thin
beauty.
delicate facial masks. Since the “flesh/body” is being colored layer
She represented the carved traces of life from a
The Tender Counteroffensives
by layer (the coloring process in the making of the works
softness and caress. The girls’ height in “Guerilla Girls Series” on
undoubtedly replaces the illumination in “Potential Cell Series,”
the one hand transforms the social convention that the female can
while the luster of the illumination now has been removed – “color”
only take the second place; on the other hand, it strengthens
is the only thing remains), the facial masks’ function of skin care no
women’s indispensable power through the infinite growth and
longer exists. Instead, it establishes the ecology to express the
propagation of life. There is certain deep sense of humor hidden
prime and the decay of life.
inside Hsu Wei-Hui’s personality. It first appeared in “Facial Mask
For example, in her work
Transforming…(No.1) in 2011, the front clearly reveals that the
series,” and was fully expressed in “Guerilla Girls Series.”
facial masks here are longer the ordinary white ones we are familiar
and gradually, the transition of the environment has made her to
Slowly
with, but are withering and yellowing. The accumulation of a great
realize that life cannot be fully improved or fulfilled by facial masks
amount of them even reminds viewers of the wizened look of those
only.
who approach the end of their lives. It is indeed an explicit but yet
and cautiousness in a light-hearted way. It explains why she uses
ironic representation.
In the work Smiling to Life, on the other
facial masks to capture the four seasons of one’s life or why she
hands, the front is the fresh, bright, and colorful facial masks which
puts the guerilla girls in a fairytale-like reality. It is her psychological
look like flowers, revealing the infinite energy of the materials
system to protect herself when she again takes a pure and sincere
created by Hsu Wei-Hui. Interestingly, the bottom of the work is a
step toward her ideal.
Therefore, she has learned to reveal her past stubbornness
11
mirror, through which viewers can see the faces behind the blossom (in fact, it is just the typical look of a facial mask) to
Hsu Wei-Hui’s artistic practice starts from the self-knowledge
experience the moment of speechless.
about life, but she has experienced something more profound while she is given a space to reexamine herself through the art-making
As what has been mentioned above, “Facial Mask Series” is the
process. A space like this not only extends her artistic pursuit but
reexamination of what we have already known about people, while
also creates a future of profundity to be expected.
she further extends the concept in “Guerilla Girls Series.” “When studying in Georgia, the USA, I was always worried about the public security of the state, so I started the series works featuring the modified toy soldiers,” says Hsu Wei-Hui. She painted the toy soldier models in pink, having them to wear military uniforms on top as well as the exaggeratedly colorful skirts (the interrelation between the pink color and the floral skirts created a visual effect which was similar to the illumination), while each of them was holding a weapon in one hand and posed in a charming way with the other hand. In these series works, Hsu Wei-Hui continued the representation of the quantity-oriented propagation function. Thousands of the pink soldiers appear from everywhere, creating the overwhelming visual effect of invasion at the moment when we sees the image. Such an effect has a totally different psychological implication from how we associate the quality of facial masks with
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1. Potential Cell No.19 - Fear Wall 2006 Installation (facial mask, fabric stiffener, light) 318×288×220cm 2. Potential Cell No.13 - Nostalgia 2005 Installation (glossy color, natural light, time) Dimensions Variable 3. Potential Cell No.16 - Parasite 2005 Installation (foam cup, hot glue, red light, sunset light, sound mix) Dimensions Variable 4. Potential Cell No.18 - The Origin 2006 Installation (mixed media, sound mix) Dimensions Variable
5. Transforming… (No.1) 2011 Mixed Media (facial mask, acid-free stiffener, dye pigment) 100×46×12cm 6. Smiling to Life (Part) 2011 Mixed Media (facial mask, acid-free stiffener, dye pigment, stainless mirror) 190×40×40cm
7. Guerilla Girl－Fairy Tale Illusion 1 2012 C-print Mounted on Plexiglas Dia. 80cm
Essay | The Feminine Nature and Appearance – Hsu Wei-Hui’s World of Art
文／ 沈伯丞 藝評人
前言
前言
高掛的單純白T-shirt，蜿蜒連綿在展廳的天花板上形成了偌大的雪白色雲 高掛的單純白T-shirt，蜿蜒連綿在展廳的天花板上形成了偌大的雪白色雲 12
團。宛若教堂裡那雲端裡透著神光的天頂壁畫般，引領著觀者走進當代霓 團。宛若教堂裡那雲端裡透著神光的天頂壁畫般，引領著觀者走進當代霓 裳時尚的美麗想像。蜿蜒的線條在純白的光影中，打造出一條精神性的伸 裳時尚的美麗想像。蜿蜒的線條在純白的光影中，打造出一條精神性的伸 展台步道，遊走其下每件襯衫猶如一朵朵綻放的百合般，仰望間觀者似乎 展台步道，遊走其下每件襯衫猶如一朵朵綻放的百合般，仰望間觀者似乎 可以體會時尚在當代所給出的宗教性狂喜。 可以體會時尚在當代所給出的宗教性狂喜。
儘管這個龐大的空間裝置，似乎帶出了某種對流行的精神性嚮往，然則以 儘管這個龐大的空間裝置，似乎帶出了某種對流行的精神性嚮往，然則以 白襯衫作為作品的材料，卻又似乎吐露著，創作者對當代時尚那過度艷麗 白襯衫作為作品的材料，卻又似乎吐露著，創作者對當代時尚那過度艷麗 的色彩以及繁複造型的反思。一如既往徐薇蕙的新作《綻》在看似認同當 的色彩以及繁複造型的反思。一如既往徐薇蕙的新作《綻》在看似認同當 代 消 費 性 視 覺代 及消 女費 性性 身視 體覺 文及 化女 的性 同身 時體 ，文 卻化 隱的 隱同 地時 透， 露卻 著隱 淡隱 淡地 的透 反露 思著 與淡 質淡 的 反 思 與 質 疑。
疑。
在藝術家的作品中，觀者總是可以看見身為女性的創作者，對時尚視覺文 在藝術家的作品中，觀者總是可以看見身為女性的創作者，對時尚視覺文 化 中 其 身 體 、化 容中 貌其 標身 準體 的、 質容 疑貌 、標 焦準 慮的 與質 反疑 思、 。焦 無慮 論與 是反 面思 膜。 亦無 或論 者是 是面 白膜 襯亦 或 者 是 白 襯 衫，徐薇蕙的作品總是關注著身體與容貌的當代姿態以及消費社會的觀看 衫，徐薇蕙的作品總是關注著身體與容貌的當代姿態以及消費社會的觀看 視點。作品中，觀者總是可以看見那隱藏於作品內在的女性身影（㛛：音 視點。作品中，觀者總是可以看見那隱藏於作品內在的女性身影（㛛：音 偽裝．掩飾．保護色–外‧妝 I 2011 複合媒材（面膜、無酸膠、染劑） 尺寸依場地變化
同身）與容貌（㜊：音同展）浮顯於眼前，淡淡地邀請觀者反思時尚與消 同身）與容貌（㜊：音同展）浮顯於眼前，淡淡地邀請觀者反思時尚與消 費社會裡的視覺與審美暴力；柔韌地對抗著時尚視覺文化給予女性的箝制 費社會裡的視覺與審美暴力；柔韌地對抗著時尚視覺文化給予女性的箝制 與枷鎖。
與枷鎖。
The Tender Counteroffensives
綻 2011 裝置 (2000件白色T-Shirt、鐵絲) 尺寸依場地變化
13
此作品2011年於當代藝術館、高雄駁二藝術特區展出
一、面膜下的她 一、面膜下的她
月與情緒。有趣的是，作品《一天…一天…一天…》不經意地映射 月與情緒。有趣的是，作品《一天…一天…一天…》不經意地映射 了奧斯卡·王爾德 (Oscar Wilde (Oscar 1854~1900) 了奧斯卡·王爾德 Wilde)其小說《美少年格雷 (1854~1900) 其小說《美少年格雷
的畫像》(The 的畫像》(The Picture Of Dorian Gray)故事裡的描繪。故事中透過一 Picture Of Dorian Gray)故事裡的描繪。故事中透過一 當徐薇蕙首次在台北藝術博覽會展出時，最令人印象深刻的無疑地 當徐薇蕙首次在台北藝術博覽會展出時，最令人印象深刻的無疑地 張替代本人老化與衰敗的畫像，格雷得以永遠的保持著青春的容顏 張替代本人老化與衰敗的畫像，格雷得以永遠的保持著青春的容顏 乃是其以面膜進行創作的系列作品。在這令人印象深刻的系列中， 乃是其以面膜進行創作的系列作品。在這令人印象深刻的系列中， 與美貌。王爾德想像中的畫像似乎成為了當代可供消費、丟棄的面 與美貌。王爾德想像中的畫像似乎成為了當代可供消費、丟棄的面 創作者以面膜構成了某種女性的生活世界，在其裝置作品《偽裝・ 創作者以面膜構成了某種女性的生活世界，在其裝置作品《偽裝・ 膜，日日夜夜的承受著實際的蒼老與衰敗。 膜，日日夜夜的承受著實際的蒼老與衰敗。 掩飾・保護色》中，你可以看見在以面膜做成的蕾絲網的環繞空間 掩飾・保護色》中，你可以看見在以面膜做成的蕾絲網的環繞空間 中，存在著以面膜構成的衣服、高跟鞋、帽子乃至於皮包等等妝點 中，存在著以面膜構成的衣服、高跟鞋、帽子乃至於皮包等等妝點 如果說作品無意間回應了王爾德的奇想故事，那麼潛藏於作品中的 如果說作品無意間回應了王爾德的奇想故事，那麼潛藏於作品中的 女性外在的配件。儘管純白色的空間及物件讓作品似乎帶出了某種 女性外在的配件。儘管純白色的空間及物件讓作品似乎帶出了某種 便是女子的真實靈魂姿態，從而作品《一天…一天…一天…》便存 便是女子的真實靈魂姿態，從而作品《一天…一天…一天…》便存 屬於年輕女子的綺想氣質，然則那環狀包覆的蕾絲網，卻又似乎暗 屬於年輕女子的綺想氣質，然則那環狀包覆的蕾絲網，卻又似乎暗 在了回應藝術歷史的可能，從肖像繪畫與雕塑的發展脈絡上看，肖 在了回應藝術歷史的可能，從肖像繪畫與雕塑的發展脈絡上看，肖 暗地投射出了，當代女性的身體與時尚消費物件的關係，似乎唯有 暗地投射出了，當代女性的身體與時尚消費物件的關係，似乎唯有 像其所追求絕非是對外在的容貌的捕捉與描寫，而毋寧是如同格雷 像其所追求絕非是對外在的容貌的捕捉與描寫，而毋寧是如同格雷 在美容的面膜下，女性的容顏才能得到某種社會允許，似乎唯有在 在美容的面膜下，女性的容顏才能得到某種社會允許，似乎唯有在 的畫像般，捕捉內在的靈魂與氣質。從這個觀點回望作品《一天… 的畫像般，捕捉內在的靈魂與氣質。從這個觀點回望作品《一天… 流行服飾與配件中，女性的身體才能被凸顯與凝視。正是這隱藏於 流行服飾與配件中，女性的身體才能被凸顯與凝視。正是這隱藏於 一天…一天…》我們或者可以說，創作者在這件作品中，無意間承 一天…一天…》我們或者可以說，創作者在這件作品中，無意間承 面膜世界下的隱身女子，讓觀者得以理解名稱與作品之間的連結。 面膜世界下的隱身女子，讓觀者得以理解名稱與作品之間的連結。 接並發展了肖像的傳統。而面膜也成為了描繪、捕捉當代女性肖像 接並發展了肖像的傳統。而面膜也成為了描繪、捕捉當代女性肖像 的新媒材。 如果說《偽裝・掩飾・保護色》以輕柔、隱約的姿態，小聲地說著 如果說《偽裝・掩飾・保護色》以輕柔、隱約的姿態，小聲地說著
的新媒材。
創作者對時尚社會的質疑，那麼作品《一天…一天…一天…》那泛 創作者對時尚社會的質疑，那麼作品《一天…一天…一天…》那泛 在時尚極權的社會裡面膜下的她，只能在猶如美少年格雷的謊言中 在時尚極權的社會裡面膜下的她，只能在猶如美少年格雷的謊言中 黃而扭曲的五官，則赤裸裸地描繪出女子在面膜下所意欲遮掩的歲 黃而扭曲的五官，則赤裸裸地描繪出女子在面膜下所意欲遮掩的歲
Essay | The Feminine Nature and Appearance – Hsu Wei-Hui’s World of Art
The Feminine Nature and Appearance – Hsu Wei-Hui’s World of Art Article／ Shen Bo-Cheng Art Critic
16
Prologue
Prologue
In Hsu's ouevre, can how always seefrom howthe she, from the In Hsu's ouevre, viewers can viewers always see she, as a anxiously female artist, anxiously the visual culture perspective asperspective a female artist, questions the questions visual culture
the fashion – which their own standard on females in thecloud fashion in world – whichworld imposes their imposes own standard on females pureiswhite is hung as white if it is cloud a huge white The pure whiteThe T-shirt hung T-shirt high above as high if it isabove a huge to and define facial and bodily attractiveness. No matter bodily attractiveness. No matter whether it is whether it is spreading onthe theexhibition ceiling of space. the exhibition space. It is also like to thedefine ceilingfacial spreading on the ceiling of It is also like the ceiling about or facial masks or Hsu whiteWei-Hui's shirts, Hsu Wei-Hui's artistic practice about facial white shirts, artistic practice mural in while a cathedral, while divineis ray of light isthe penetrating the masks mural in a cathedral, the divine ray the of light penetrating always the emphasizes the contemporary of the female always emphasizes contemporary portraits of portraits the female clouds, us into a beautiful world of the contemporary fancy clouds, leading us intoleading a beautiful world of the contemporary fancy attractiveness well as the viewpoint of the consumer as well as theas viewpoint of the consumer society. In society. In clothes.lines Theinwinding in the lightahave createdattractiveness a spiritual clothes. The winding the purelines white lightpure havewhite created spiritual her work, viewers notice can always noticenature the female nature and the her work, viewers can always the female and the catwalk, offeringrunway an imagined runway show shirts blossoming catwalk, offering an imagined show featuring shirtsfeaturing blossoming femalehidden appearance behind the works, inviting viewers female appearance behindhidden the works, mildly inviting mildly viewers lilies. who The look viewers who upseem to thetoshow seem to experience like lilies. Thelike viewers up to thelook show experience the visual violence in world the fashion world and the visual violence in the fashion and the certain religious ecstasy provided by contemporary fashion in the contemporary world. tothereexamine certain religious ecstasy provided by fashion in the world. to reexamine consumer With her soft thefighting artist keeps fighting consumer society. With society. her soft resolution, theresolution, artist keeps against on thewomen pressure on women imposed by the visual the pressure imposed by the visual culture in the culture in the Although seems that thespace large-scale spacesuggests installationagainst suggests Although it seems that it the large-scale installation fashion world.fashion world. spiritual the current fashion trend, the artist's choice certain spiritualcertain yearning for theyearning current for fashion trend, the artist's choice to useaswhite shirts asmeanwhile, its material, meanwhile, implies on her reflection on to use white shirts its material, implies her reflection
I. The Woman behindMask the Facial Mask I. The Woman behind the Facial the over-exaggerated colors and theshapes elaborate shapes in the the over-exaggerated colors and the elaborate in the world. her previousHsu exploration, Hsu contemporary contemporary fashion world. fashion Following her Following previous exploration, When exhibited Hsu Wei-Hui ART When Hsu Wei-Hui her exhibited works at her ARTworks TAIPEIatfor theTAIPEI first for the first Wei-Hui reveals her almost-unnoticeable and reexamination Wei-Hui reveals her almost-unnoticeable question and question reexamination time,impressive the mostimage impressive must her haveartistic been her artistic time,bodily the most must image have been whiletoshe appearsthe to consumerism celebrate the and consumerism the female while she appears celebrate the femaleand bodily exploration with facial masks. In thisseries, impressive series, the artist exploration facial masks. In this impressive the artist in the contemporary her recent work with attractiveness attractiveness in the contemporary visual culture visual in her culture recent in work Bloom.
Bloom.
uses to facial masksatoworld construct a world kindInof women. In uses facial masks construct of certain kindofofcertain women.
The Tender Counteroffensives
Bloom 2011 Installation (2000 T-Shirts、iron wire) 尺寸依場地變化
17
Displayed in MOCA Taipei and The Pier-2 Art Center Kaohsiung.
to Oscar Wilde's (1854~1900) novel ofThe Picture of Dorian Gray, (1854~1900) novel The Picture Dorian Gray, installation work Camouflage, in the lacebyweb madetobyOscar facial Wilde's her installationherwork Camouflage, in the lace web made facial it is not by purpose. In Wilde's story, the main character although not by purpose. In Wilde's story, the main character masks female exist various femalemade accessories of facial suchit is although masks exist various accessories of facialmade masks, such masks, Dorian Gray remains through a portrait Dorian Gray remains forever youngforever throughyoung a portrait which ages aswhich ages as as clothes, high or heels, or even purses. the pure as clothes, high heels, hats, evenhats, purses. Although the Although pure Gray’sThe substitute. portrait in Wilde’sseems imagination Gray’saura substitute. portrait inThe Wilde’s imagination to turnseems to turn white space and object seemscertain to highlight certainaura fantasy-like white space and object seems to highlight fantasy-like
into the purchasable and facial disposable masks in the the purchasable and disposable masksfacial in the whichassociated is usually with associated with young lace web which is usually young women, the women, lace webthe into contemporary women contemporary society, whichsociety, replacewhich these replace women these to suffer from to thesuffer from the a circular shape, the insinuates other hand,theinsinuates the wrapped in awrapped circular in shape, on the other on hand, pressure of aging and decaying every pressure and decaying every night and day.night and day. relationship between the in female body in the contemporary societyof aging relationship between the female body the contemporary society and the consumer the fashion world. It seems to suggest and the consumer objects in the objects fashion in world. It seems to suggest
Ifunintentionally the artwork unintentionally echoes the story Iffaces the artwork echoes the story created from created Oscar from Oscar it isthe only under the cosmetic masks can women’s be that it is onlythat under cosmetic masks can women’s faces be Wilde's imagination, hidden the also workbecan also be Wilde's what hidden what in the work incan by or theit society; or it iswearing only when wearing canimagination, approved by approved the society; is only when fashion can fashion
as the truewoman. spirit of the Day by understood the true spirit of the Day woman. by Day…Day by Day…Day by women’s bodies and be noticed and emphasized. It is this secret asunderstood women’s bodies be noticed emphasized. It is this secret given the to maketoa the response to the art Day… the is thusDay… given isthethus possibility to possibility make a response art woman who in hides the world of revealing facial masks woman who hides herself the herself world ofinfacial masks the revealing link work between work and its title. link between the and the its title.
history.to According to the historical context of portrait history. According the historical context of portrait painting and painting and
sculpture, what a portrait simplyortotodescribe or to sculpture, what a portrait pursues is notpursues simply isto not describe
capture the appearance. what it captures is the inner spirit the appearance. Instead, what Instead, it captures is the inner spirit If we soft and indistinct posture in thecapture artwork If we describe the describe soft andthe indistinct posture in the artwork auralike of aDorian person like Dorian Gray’s the aura and of a the person Gray’s portrait. If weportrait. view theIf we view the as whisper the artist’s whisper to Camouflage Camouflage as the artist’s to question thequestion society theandsociety work Day by Day… Day…Day Day… fromwe this aspect, we might say that fromby this aspect, might say that by fashion, then thefaces yellowing DayDay by by Day…Day manipulated manipulated by fashion, then the yellowing in Dayfaces by inwork the artist unintentionally inherits the traditionpaining, of portrait paining, theeagerly artist unintentionally inherits the tradition of portrait by Day… reveal theofnaked truth of eagerly how women Day…Day by Day…Day Day… reveal the naked truth how women while are facial masks are thus adopted as the new materials to create facial masks thus adopted as the new materials to create cover the inner and traces of the aging under while the facial cover the inner emotions andemotions the traces of the aging under facial portraits of contemporary women. portraits ofthe contemporary women. masks.Day Interesting, Day by by Day… makes a the response masks. Interesting, by Day…Day by Day…Day Day… makes a response
Essay | The Feminine Nature and Appearance – Hsu Wei-Hui’s World of Art
Left to right
Camouflage-External I
Day by Day…Day by Day…Day by Day… II ~ IV
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment) Dimensions Variable
2009 Mixed media (facial mask, fabric stiffener, tea) 50×50×10cm
18
The masks become the become metaphorthe of metaphor a society of manipulated their petite this game-like installation, Wei-Hui dresses theirInpetite size. In this game-likeHsu installation, Hsu Wei-Hui dresses The masks a society by manipulated by size. fashion, and the woman within hidden can only survive the survive lies these skirts made herself, the pink these with little soldiers with by skirts madeputs by on herself, puts on the pink fashion, andhidden the woman within caninonly in the little lies soldiers which have once deceived the forever-young Dorian Gray. Through everywhere the space.in the space. makeupandforplaces them, them and places them ineverywhere which have once deceived the forever-young Dorian Gray.makeup Throughfor them, these facial masks, a soft and pure whiteand space Through of colors, costumes, postures, the Through the contradiction of colors,or costumes, or postures, the these Hsu facialWei-Hui masks, builds Hsu Wei-Hui builds a soft pure white spacethe contradiction for the unknown to protect herself, while she alsowhile uses she facial artist facial thus creates child-like stubborn cuteness. artistcertain thus creates certain child-like stubborn cuteness. for woman the unknown woman to protect herself, also uses masks to visualize thetowoman’s anxiety. inner In theanxiety. work, the masks visualize inner the woman’s In artist the work, the artist adopts the concept disguise,asthrough whichthrough she Such an artwork constituted byconstituted toys showsby ustoys the artist's unyielding Such an artwork shows us the artist's unyielding adopts ofthe“fashion” conceptasof a“fashion” a disguise, which she unceasingly reveals the woman’s truewoman’s nature sealed within sealed the nature hidden within the pink. Although the work title isthe based nature hidden within the pink. Although workupon title is based upon unceasingly reveals the true nature within the yellowing twisted maskstwisted in frontmasks of viewers. yellowing in front of viewers.
II. The Guerilla in the Fashion World II. The Guerilla in the Fashion World
the models ofthe themodels little soldiers, we can also trace it toalso a group of the little soldiers, we can trace of it to a group of women artistswomen as pioneers thepioneers feministinmovement in the 1980s ifin the 1980s if artistsinas the feminist movement we reexaminewe thereexamine term morethe carefully. These female These artists female wore artists wore term more carefully. gorilla (whichgorilla sounds like "guerrilla") and made (which sounds likemasks "guerrilla") masks public and made public
appearance the art society as art wellsociety as the as artwell system. chose They chose If we understand the soft qualitythe of soft the masks a position in the as theThey art system. If we understand quality series of the as masks series to as a position to inappearance a witty, humorous buthumorous yet insinuating way to make their art,make through fight against the objectification of women in the fashion culture, then culture, a witty, but yet insinuating way to their art, through fight against the objectification of women in the fashion then which they series of guerrilla raids on a patriarchal we might be able to predict it intoHsu's previous works before works the whicha they started a series of guerrilla raids onsociety a patriarchal society we might be able predict it in Hsu's previous before the started which oftentimes went astray. Therefore, theTherefore, work Guerilla masks series that theseries softness used aswill a raid on the which oftentimes went astray. the Girls workcan Guerilla Girls can masks thatwill thebe softness be used as fashion a raid on the fashion culture.
culture.
also be regarded dedication to these pioneering female artists. female artists. alsoasbethe regarded as the dedication to these pioneering
In Hsu Wei-Hui's installation work Guerilla Girls 2005, viewers can viewers However, the Guerilla Girls’ the patriarchal society in In Hsu Wei-Hui's installation workinGuerilla Girls in 2005, canunlike However, unlike the attack GuerillaonGirls’ attack on the patriarchal society in see little pink soldiers skirts attackinfrom of regardless the 1980s, Wei-Hui to attack is more aboutisthe see little inpink soldiers skirtseverywhere attack fromregardless everywhere of what the Hsu 1980s, what attempts Hsu Wei-Hui attempts to attack more about the
The Tender Counteroffensives
Far from Home－ Errant Alien Girl
2005 Installation (plastic army soldiers,acrylic,napkin) 100×280×13cm
2008 Installation, Performance (Chinese brocade, SUV), Photograph Dimensions Variable
Far from Home - Because of a Dream 2006 Mixed Media (art supply suitcase, art supplies, Chinese brocade, map, pillow, red light ) 43×35×40cm 19
Guerilla Girls
a pillow and aamap which put which in a toolbox with covered with “beautiful” illusion constructed the visual culture the consumer features pillow and are a map are putcovered in a toolbox “beautiful” illusionbyconstructed by the in visual culture in the features consumer cheongsam Thesefabric. works These might seem theirfeminine, inner society. In other words,Inthe artist invites usartist to see the hidden criticism cheongsam worksfeminine, might seem their inner society. other words, the invites us to see the hidden criticism fabric. nevertheless, reveals the artist’s of her spirit of her insinuated in the masks series. The work Guerilla provides quality, nevertheless, revealsunyielding the artist’sspirit unyielding insinuated in the masks series. The Girls workthus Guerilla Girls thusquality, provides individuality. viewers with aviewers vision which and questions the questions fashion world individuality. with acriticizes vision which criticizes and the fashion world through the guerilla battles in her following Or, weworks. might say through the guerilla battles in works. her following Or, we might say Itcreates is the unyielding nature hidden nature within hidden the softness that it is in Guerilla that we Girls see that how we the see artisthow creates a It is the unyielding withinthat the reveals softnessthe that reveals the that it isGirls in Guerilla the artist a explicit determination from the gentle touch. If we see through guerilla-like game to fight the visual culture the fashion explicit determination from the gentle touch. If wethe see through the guerilla-like game to fight the in visual culture world. in the fashion world.
III. The Unyielding of theNature Softness III. TheNature Unyielding of the Softness
softness, we will soon discover the persevering of toughness Hsu softness, we will soon discover thetoughness persevering of Hsu Wei-Hui’s artistic practice. It ispractice. also the Itduality by visualized the Wei-Hui’s artistic is alsovisualized the duality by the masks.
masks.
People usually associate feminist artists with superwomen who People usually associate feminist artists with superwomen who
make strong and organized arguments to fight for their Unlike Conclusion make strong and organized arguments tobelief. fight for their belief. Unlike Conclusion them, Hsu Wei-Hui looksWei-Hui more like a fashion girl awho lives girl in awho lives in a them, Hsu looks more like fashion metropolitan –metropolitan gentle, graceful, and always making herselfmaking to appear a woman, Hsu looks into the female body the body and the – gentle, graceful, and always herself As to appear As aWei-Hui woman,always Hsu Wei-Hui always looks into theand female beautiful.
However, hidden what withinhidden the artist's prettyartist's female face female in the contemporary fashion world.fashion Her world. oeuvre, Her oeuvre, beautiful. what However, within the pretty face in the contemporary
appearance isappearance her unyielding resolution. is her unyielding resolution.
meanwhile, continuously invites viewers to adopt meanwhile, continuously invites viewerstheto critical adopt the critical perspective while examining theexamining objectification of women in ofthewomen in the perspective while the objectification
In her work Errant the "Far from Home viewers can viewers fashioncan worldfashion throughworld its gentle appearance. In Hsu Wei-Hui’s In herAlien workinErrant Alien in the "FarSeries," from Home Series," through its gentle appearance. In Hsu Wei-Hui’s see a SUV wrapped with wrapped cheongsam travelingfabric around the land artistic practice, the practice, guerilla girl the facial masks see a CRV withfabric cheongsam traveling around the land artistic thehidden guerillabehind girl hidden behind the facial masks of snow.
The of aBecause Dream inof the same series keeps fightingkeeps the manipulation fashion. of artwork snow. Because The artwork a Dream in the same series fighting the of manipulation of fashion.
About
薇蕙 Hsu Wei-Hui
1979年生於中壢，畢業於新竹教育大學美術教育系，並赴美攻讀
Hsu Wei-Hui was born in 1979, Chungli, Taiwan. She received her
繪畫系（喬治亞州的莎凡納藝術學院）和纖維系（密西根州的克連
BFA degree with a major in Painting from National Hsin-Chu
布魯克藝術學院）的藝術創作雙碩士學位。
University of Education in Taiwan. She came to US in 2004 and received her MA degree in Painting from Savannah College of Art and
20
在2007年和2009年分別至韓國和美國參與藝術家駐村。紐約藝術
Design in Savannah, Georgia. Later on, she received her MFA degree
雜誌《Creative Quarterly》評選為2008年優秀獎得主，2009年更獲
from Cranbrook Academy of Art, Bloomfield Hills, Michigan.
得紐約Joyce Dutka藝術基金會頒發Lenora Segan藝術獎。 Wei-Hui joined artist-in-residence programs to Seoul, Korea in 2007 她的作品以複合媒材和裝置藝術為主，有時會與攝影或行為表演結
and to Vermont, US in 2009. She received a merit award given by
合。於台灣、中國、日本、韓國、美國、加拿大及義大利等地的美
Creative Quarterly Magazine from New York in 2008, and also
術館、畫廊和替代空間都曾展出。
received Lenore Segan Arts Awards given by the Joyce Dutka Arts Foundation, New York. She makes full-scale installations as well as smaller mixed-media pieces.
Her works have been exhibited at alternative spaces,
galleries, and museums in Taiwan, China, Japan, Korea, the United States, Canada and Italy.
21
The Tender Counteroffensives
徐薇蕙攝於工作室 Taken in Hsu Wei-Hui’s Workshop 攝影／陳逸書 Photography / Chen Yi-Shu
01
Smiling Face as a Flower 01
笑顏如花－燦 I Smiling Face as a Flower – Resplendent-I
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment, aluminum plastic board ) 150×150×12cm 34
笑顏如花－燦 II Smiling Face as a Flower – Resplendent-II
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment, aluminum plastic board ) 220×150×12cm 36
生命之花 Flower of Life
38
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment, stainless mirror) 52Ă—52Ă—52cm 39
笑看人生 Smiling to Life
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment, stainless mirror) 190×40×40cm
40
42
笑看人生（局部）
2011
Smiling to Life (Part)
Mixed Media (facial mask, acid-free stiffener, dye pigment, stainless mirror) 190×40×40cm
笑看人生（局部）
2011
Smiling to Life (Part)
Mixed Media (facial mask, acid-free stiffener, dye pigment, stainless mirror) 190×40×40cm 45
變…(No.1) Transforming… (No.1)
46
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment) 100Ă—46Ă—12cm 47
變…(No.2) Transforming… (No.2)
48
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment) 77Ă—46Ă—12cm 49
變…(No.3)
2011
Transforming… (No.3)
Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12cm
50
變…(No.4)
2011
Transforming… (No.4)
Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12cm 51
變…(No.5)
2011
Transforming… (No.5)
Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12cm
52
變…(No.6)
2011
Transforming… (No.6)
Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12cm 53
變…(No.7)
2011
Transforming… (No.7)
Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12cm
54
55
肖像拼圖 Portrait Puzzle
2011 Mixed Media (facial mask, cheek mask, neck mask, breast mask, acid-free stiffener, dye pigment, mirror acrylic) 68×52×12cm 56
02
Camouflage 02
偽裝．掩飾．保護色–外‧妝 I Camouflage-External I
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment) Dimensions Variable 60
偽裝．掩飾．保護色–外‧妝 II Camouflage-External II
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment) Dimensions Variable 61
偽裝．掩飾．保護色–內．裝 Camouflage-Internal 2012 Mixed Media (facial mask, acid-free stiffener, dye pigment) Dimensions Variable 62
63
03
You are My Tender Weapon 03
你是我溫柔的武器 No.1-5 You are My Tender Weapon No.1-5
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment) 88×30×8cm, 67×30×8cm, 86×15×8cm, 26×16×8cm, 20×15×8cm, 66
你是我溫柔的武器 No.2 You are My Tender Weapon No.2
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment, cosmetic case) 22×18×22cm 68
你是我溫柔的武器 No.3 You are My Tender Weapon No.3
2011 Mixed Media (facial mask, acid-free stiffener, dye pigment, cosmetic case) 22×18×22cm 71
04
Guerilla Girl 04
游擊女孩－少女戰時代 Guerilla Girl－Girls War Era 2012 Installation (fiberglass、binoculars) Dimensions Variable 74
02
游擊女孩－承受之輕？重？ Guerilla Girl - Bear Light? Heavy?
2012 Installation (fiberglass, mirror acrylic, rice) Dimensions Variable 76
78
游擊女孩－童話幻境 1
2012
Guerilla Girl-Fairy Tale Illusion 1
C-print Mounted on Plexiglas Dia. 80cm
游擊女孩－童話幻境 2
2012
Guerilla Girl-Fairy Tale Illusion 2
C-print Mounted on Plexiglas Dia. 80cm 79
80
游擊女孩－童話幻境 3
2012
Guerilla Girl-Fairy Tale Illusion 3
C-print Mounted on Plexiglas Dia. 80cm
游擊女孩－童話幻境 4
2012
Guerilla Girl-Fairy Tale Illusion 4
C-print Mounted on Plexiglas Dia. 60cm 81
82
游擊女孩－童話幻境 5
2012
Guerilla Girl-Fairy Tale Illusion 5
C-print Mounted on Plexiglas Dia. 60cm
游擊女孩－童話幻境 6
2012
Guerilla Girl-Fairy Tale Illusion 6
C-print Mounted on Plexiglas Dia. 60cm 83
84
游擊女孩－童話幻境 7
2012
Guerilla Girl-Fairy Tale Illusion 7
C-print Mounted on Plexiglas Dia. 60cm
游擊女孩－童話幻境 8
2012
Guerilla Girl-Fairy Tale Illusion 8
C-print Mounted on Plexiglas Dia. 60cm 85
86
游擊女孩－童話幻境 9
2012
Guerilla Girl-Fairy Tale Illusion 9
C-print Mounted on Plexiglas Dia. 50cm
游擊女孩－童話幻境 10
2012
Guerilla Girl-Fairy Tale Illusion 10
C-print Mounted on Plexiglas Dia. 50cm 87
Curriculum Vitae
薇蕙 1979年生於中壢
學歷
聯展
88
2008
美國克連布魯克藝術學院纖維系，藝術創作碩士
2006
美國莎凡納藝術設計學院繪畫系，藝術創作碩士
2002
國立新竹教育大學美術教育系學士
2012
「2012台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，台北，台灣 「兩個端點—近東，遠東」，馬格拉要塞當代藝術園區，威尼斯， 義大利
經歷
「亞洲頂級畫廊飯店藝術博覽會」，首爾，韓國
2011
板橋435國際藝術村，新北市，台灣
「粉樂町當代藝術展」，台北市東區，台灣
2009
佛蒙特駐村，美國
「Spoon Art Fair HK香港飯店藝術博覽會」，君悅飯店，香港
2007
GA畫廊，藝術家駐村，首爾，韓國
「台北國際當代藝術博覽會」，喜來登飯店，台北，台灣 「女人們的白色房間」，駁二藝術特區，高雄，台灣
個展
「集合物語—藝術的日常遊戲」，20號倉庫，台中，台灣 2011
2012
「粉紅逆襲」，尊彩藝術中心，台北，台灣
2011
「保護色」，壢新藝術生活館，桃園，台灣
「台灣當潮時尚設計展」，台北當代藝術館，台北，台灣
2010
「潛在因子」，國立台中第一高級中學藝術中心，台中，台灣
「大阪當代藝術博覽會」，格蘭比亞飯店，大阪，日本
「介…」，紐約台北文化中心，紐約，美國
「台北國際當代藝術博覽會」，王朝飯店，台北，台灣
「百家照性別」，淡水漁人碼頭藝文空間，新北市，台灣
「遠離家園」，Azarian-Mccullough Art畫廊，St. Thomas Aquinas
「聚賢迎春—十位當代藝術家聯展」，尊彩藝術中心，台北，台灣
大學，美國
「2011香港–亞洲頂級畫廊飯店藝術博覽會」，香港
2009
「美麗與哀愁」，毓繡藝術空間，新竹教育大學，新竹，台灣
2008
「偽裝‧掩飾‧保護色」，Amos Eno畫廊，紐約，美國
2007
「自相矛盾」，Museum of New Art，底特律，美國
台北，台灣
「偽裝‧掩飾‧保護色」，GA畫廊，首爾，韓國
「質‧變─青春組曲」，大象藝術空間館，台中，台灣
「東京Frontline新觀念藝術博覽會」，東京，日本 2010
「2010台北國際藝術博覽會—Made in Taiwan新人推薦特區」，
「台北國際當代藝術博覽會」，王朝飯店，台北，台灣 「台灣藝術新世代」，今日美術館，北京，中國 2009
「台灣藝術新世代」，上海美術館，上海，中國
「With What We Can Carry」，多倫多藝術中心，加拿大
「她：台美藝術家之女性想像」，紐約台北文化中心、天理藝廊， 紐約，美國
2005
「2009粉樂町台北東區當代藝術展」，台北，台灣
「春季開放工作室」，莎凡納藝術設計學院，喬治亞州，美國
「布布為ㄧㄥˊ」，台北當代藝術館地下實驗創意秀場，台北，台灣 「童話」，AG畫廊，紐約，美國
「Incident」，Pei Ling Chan畫廊，莎凡納藝術設計學院， 喬治亞州，美國
2002
「竹塹美展」，新竹文化局，新竹，台灣 「原型」，華山藝文特區，台北，台灣
「內在與外在—書本藝術」，Foundry藝術中心，密蘇里州，美國 「THREADS」，125畫廊，紐澤西州，美國
2008
「距離與零時差當代纖維藝術展」，國立政治大學藝文中心，
獲獎
台北，台灣
2009
《偽裝．掩飾．保護色》、《一天…一天…一天…》，
2008
《偽裝．掩飾．保護色》、《遠離家園—漂泊遊子》、《遠離
「纖維藝術展」，Monmouth美術館，紐澤西，美國 「轉化元素—國際競賽展」，維吉尼亞州藝術中心，美國
家園－流浪異鄉女孩》，美國紐約創意季刊第12期藝術創作類
「第三屆新纖維藝術雙年展」，William Bonifas藝術中心，
競賽，優選，紐約，美國
密西根州，美國
2002
新竹美展應用設計類，優選，新竹市立文化中心，新竹，台灣
「底特律藝術家2008獎助金競賽展」，底特律藝術空間，底特
2001
新竹市箱中密戲競賽展，優選，新竹，台灣
律市，美國 「Un-Shelved:書本創作展」，Bloomfield Hills市立圖書館， 密西根州，美國 2007
「國際女性藝術展」，Wallace Smith Theatre畫廊，Oakland 大學，密西根州，美國 「Show Me What You’re Work’n with」，Forum畫廊，克連 布魯克藝術學院，美國
2006
Lenora Segan藝術獎，Joyce Dutka 藝術基金會，紐約，美國
「玩具之外」，Sylvia White畫廊，洛杉磯市，美國
「Xchange」，Community Arts畫廊，Wayne州立大學，底特律，美國
Curriculum Vitae
Hsu Wei-Hui 1979 born in Jungli, Taiwan
EDUCATION 90
2008
MFA, Fiber, Cranbrook Academy of Art, Bloomfeild Hills, MI, USA
2006
MA, Painting, Savannah College of Art and Design, Savannah,
2002
GROUP EXHIBITIONS 2012
“ART TAIPEI 2012”, World Trade Center, Taipei, Taiwan “Exploring with a Balloon-Taiwan Contemporary Art Exhibition”,
GA, USA
Liang Gallery, Taipei, Taiwan
B.Ed., Fine Art, National Hsin Chu University of Education,
“Two Points–Near East, Far East”, Forte Marghera Contemporary
Hsinchu, Taiwan
Art Park, Venice, Italy “Asia Top Gallery Hotel Art Fair”, The Westin Chosun, Seoul, Korea
EXPERIENCE
“Very Fun Park”, Eastern Taipei Contemporary Art Exhibition,
2011
Banciao 435 Artist Village, New Taipei City, Taiwan
Taipei, Taiwan
2009
Art-Residency, Vermont Studio Center, VT, USA
“Spoon Art Fair HK”, Grand Hyatt Hotel, Hong Kong
2007
Art-Residency, GA Gallery, Seoul, Korea
“Taipei International Contemporary Hotel Art Fair”, Sheraton Hotel, Taipei, Taiwan
SOLO EXHIBITONS 2012
“The Tender Counteroffensives”, Liang Gallery, Taipei, Taiwan
2011
“Camouflage”, Li Shin Gallery, Taoyuan, Taiwan
2010
“Potential Cell”, National Taichung First Senior High School,
“The Room of Her Own”, Pier-2 Art Center, Kaohsiung, Taiwan “Daily Collection of Abstract Play”, Stock20 In Taichung Railway Station, Taichung, Taiwan 2011
“Celebrating Spring Together-Group Exhibition of Ten Contemporary
Taichung, Taiwan
Artists”, Liang Gallery, Taipei, Taiwan
“In-Between”, Taipei Cultural Center, NY, USA
“100 Gender Photographs”, Tamsui Fisherman Pier Art Gallery,
“Far From Home”, Azarian-Mc Cullough Art Gallery, St. Thomas
New Taipei City, Taiwan
Aquinas College, Sparkill, NY, USA
“Fashionista In Taiwan”, Museum of Contemporary Art Taipei,
2009
“Beauty and Sadness”, Yu-Hsiu Art Space, Hsinchu, Taiwan
Taiwan
2008
“Camouflage”, Amos Eno Gallery, NY, USA
“Art Osaka 2011”, the Hotel Granvia, Osaka, Japan
2007
“Contradiction”, Museum of New Art, Pontiac, MI, USA
“Taipei International Contemporary Hotel Art Fair”, Sunworld
“Camouflage”, GA Gallery, Seoul, Korea
Dynasty Hotel, Taipei, Taiwan
Catalog
變…(No.3) Transforming… (No.3) 笑顏如花－燦 I Smiling Face as a Flower – Resplendent-I 2011 複合媒材 (面膜、無酸膠、染劑、鋁板) Mixed Media (facial mask, acid-free stiffener, dye pigment, aluminum plastic board)
2011 複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12 P. 50
150×150×12 P. 35
變…(No.4) Transforming… (No.4) 2011
笑顏如花－燦 II Smiling Face as a Flower – Resplendent-II
複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12 P. 51
2011 複合媒材 (面膜、無酸膠、染劑、鋁板) Mixed Media (facial mask, acid-free stiffener, dye pigment, aluminum plastic board) 220×150×12 92
P. 37
變…(No.5) Transforming… (No.5) 2011
生命之花 Flower of Life 2011
複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12 P. 52
複合媒材 (面膜、無酸膠、染劑、不鏽鋼鏡面) Mixed Media (facial mask, acid-free stiffener, dye pigment, stainless mirror) 52×52×52 P. 38
變…(No.6) Transforming… (No.6) 2011 複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment) 45×45×12 P. 53
肖像拼圖 Portrait Puzzle 2011
變…(No.7) Transforming… (No.7)
複合媒材 (面膜、頰膜、頸膜、胸膜、無酸膠、 染劑、鏡面壓克力) Mixed Media (facial mask, cheek mask, neck mask, breast mask, acid-free stiffener, dye pigment, mirror acrylic)
2011
68×52×52
45×45×12
P. 57
P. 54
複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment)
The Tender Counteroffensives
變…(No.2) Transforming… (No.2) 2011 複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment) 100×46×12 P. 46, 47
變…(No.1) Transforming… (No.1) 2011 複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment) 77×46×12 P. 48, 49
2011 複合媒材 (面膜、無酸膠、染劑、不鏽鋼鏡面) Mixed Media (facial mask, acid-free stiffener, dye pigment, stainless mirror) 190×40×40 P. 41
偽裝．掩飾．保護色–外‧妝 I Camouflage-External I
偽裝．掩飾．保護色–外‧妝 II Camouflage-External II
2011
2011
複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment)
複合媒材 (面膜、無酸膠、染劑) Mixed Media (facial mask, acid-free stiffener, dye pigment)
尺寸依場地變化 Dimensions Variable
尺寸依場地變化 Dimensions Variable
P. 60
P. 61
93
笑看人生 Smiling to Life
Catalog
游擊女孩－童話幻境 1 Guerilla Girl－Fairy Tale Illusion 1 2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas Dia. 80cm P. 78
偽裝．掩飾．保護色–內．裝 Camouflage-Internal 2012 複合媒材（面膜、無酸膠、染劑） Mixed Media (facial mask, acid-free stiffener, dye pigment) 尺寸依場地變化 Dimensions Variable P. 62, 63
游擊女孩－童話幻境 2 Guerilla Girl－Fairy Tale Illusion 2 2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas Dia. 80cm P. 79
你是我溫柔的武器 No.1-5 You are My Tender Weapon No.1-5 2011 94
複合媒材（面膜、無酸膠、染劑） Mixed Media (facial mask, acid-free stiffener, dye pigment)
游擊女孩－童話幻境 3 Guerilla Girl－Fairy Tale Illusion 3 2012
88×30×8、67×30×8、86×15×8、 26×16×8、20×15×8
攝影輸出（水晶裱） C-print Mounted on Plexiglas
P. 67
Dia. 80cm P. 80
你是我溫柔的武器 No.2 You are My Tender Weapon No.2 2011 複合媒材（面膜、無酸膠、染劑、化妝箱） Mixed Media (facial mask, acid-free stiffener, dye pigment, cosmetic case) 22×18×22 P. 69
你是我溫柔的武器 No.3 You are My Tender Weapon No.3 2011 複合媒材（面膜、無酸膠、染劑、化妝箱） Mixed Media (facial mask, acid-free stiffener, dye pigment, cosmetic case)
游擊女孩－童話幻境 4 Guerilla Girl－Fairy Tale Illusion 4 2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas Dia. 60cm P. 81
游擊女孩－童話幻境 5 Guerilla Girl－Fairy Tale Illusion 5 2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas
22×18×22
Dia. 60cm
P. 70
P. 82
The Tender Counteroffensives
游擊女孩－童話幻境 6 Guerilla Girl－Fairy Tale Illusion 6 2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas Dia. 60cm P. 83
游擊女孩－少女戰時代 Guerilla Girl－Girls War Era 2012 裝置（玻璃纖維、望遠鏡） Installation (fiberglass、 binoculars) 尺寸依場地變化 Dimensions Variable P. 74, 75
2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas Dia. 60cm P. 84
游擊女孩－童話幻境 8 Guerilla Girl－Fairy Tale Illusion 8 2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas
游擊女孩－少女戰時代 II Guerilla Girl－Girls War Era II 2012 裝置（玻璃纖維） Installation (fiberglass) 120×75×31 P. 74, 75
游擊女孩－少女戰時代III Guerilla Girl－Girls War Era III 2012
Dia. 60cm
裝置（玻璃纖維） Installation (fiberglass)
P. 85
50×35×25 P. 74, 75
游擊女孩－童話幻境 9 Guerilla Girl－Fairy Tale Illusion 9 2012 攝影輸出（水晶裱） C-print Mounted on Plexiglas Dia. 50cm P. 86
游擊女孩－童話幻境 10 Guerilla Girl－Fairy Tale Illusion 10 2012
游擊女孩－承受之輕？重？ Guerilla Girl－Bear Light? Heavy? 2012
攝影輸出（水晶裱） C-print Mounted on Plexiglas
裝置（玻璃纖維、鏡面壓克力、米） Installation (fiberglass、mirror acrylic、rice)
Dia. 50cm
尺寸依場地變化 Dimensions Variable
P. 87
P. 76, 77
95
游擊女孩－童話幻境 7 Guerilla Girl－Fairy Tale Illusion 7
徐 薇蕙 Hsu Wei-Hui
The Tender Counteroffensives
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
攝影
陳文榮 廖書毅 劉光智
印刷
日動藝術印刷有限公司
出版
2013年1月初版
ISBN
978-986-88331-6-6 （平裝）
Executive Director
Yu Yen-Liang
Publisher
Liang Gallery Co., Ltd
Editor
Liang Gallery
Photography
Chen Wen-Rong, Liao Sweety, K.C.
Printing
Jih-Tung Art Pringting Co., Ltd.
Publishing Date
First Edition, January, 2013
ISBN
978-986-88331-6-6 (Paperbound Edition)
www.lianggallery.com‧Tel +886-2-2797-1100‧Fax +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