黃頤勝個展－包裝一場荒謬｜HUANG Yi-Sheng Solo Exhibition – Wrapping Absurdity by Liang Gallery

目錄 CONTENTS

序

/ 余彥良

Preface / YU Yen-Liang

藝評文章

/ 白適銘

Article / PAI Shih-Ming

創作自述

/ 黃頤勝

Artist Statement / HUANG Yi-Sheng

圖版 Artworks

藝術家簡歷 Biography

圖錄 Catalog

102

序 PREFACE

人類所認知的世界，經常積累出許許多多的經驗和價值判斷，什麼是大？何謂為小？好像都是固定的道理，但事實上的真理呢？我一直在想，這並非如此，天地生成萬物各有所用，有時我們所認知的大小恰恰剛好相反，所以麻雀是小嗎？老鷹是大嗎？小就為弱？大即是強？其實答案並不一定的。

我特別喜歡鳥是因為《莊子》，鯤化為鳥形成鵬，大鵬一飛搏扶搖而直上九萬里。這般由小而大，好似在教我們去掉自我小聰明，終將能獲取大智慧的故事。而黃頤勝所繪製的主角－麻雀，喜悅自在地穿梭於想像與現實之間，儼然更像這篇意義深遠的《逍遙遊》。

麻雀雖小五臟俱全，麻雀是個引子，牠很知趣，知道生活不必好高騖遠，異常遠大、不切實際的目標是毫無意義的，若真想突破，最後只會使自己失望，加深挫折感而已，所以人要自知自己的極限，不違反自然規律；但也可以說，凡事從小事做好開始，做好小事真不容易，因為我們容易忽略，將小事做好做細是需要耐心和毅力的，要成為萬人所矚目的鷹，又豈可輕視任何鳥類。麻雀總是成群，要出眾較無可能，就像是一個人容易被環境所影響，被眾人的言語所迷惑，生活總跟隨輿論空忙空轉，如同麻雀整天嘰嘰喳喳，人餵就食，毫無自我。

我們都想感受俯瞰蒼穹的樂趣，這樣的心態很重要，我們只需做好自己，任何人都操縱不了你，任何人都無法代替你生活，所以別人亦完全取代不了你。在生活中修練自己，改正自己人云亦云的缺點，修正自身不好的行為缺失，這樣自助天助，肯定有一天你會如同大鵬一般地飛躍起來，因為「心單純」很重要，專注自己的力量，專注自己的優點，這樣才會有完美無瑕的狀態，任何事務會成功也就是如此。

In the world, often over-packed with a vast of experiences and value judgments, the questions arise: What is big? What is small? There seems to be a universal truth, but what is the real truth? I think that everything what has been created in this world has its purpose. Sometimes the size we are aware of is actually the opposite of what we know, therefore I am asking – is a sparrow small? Is an eagle big? Does small mean weak? Does big mean strong? Actually, there is no absolute answer. I particularly like birds mainly because of Chuang Tzu and his story about a fish named Kun who turned into a bird named Dapeng. Dapeng was very long, with a body length of thousands miles. This story how a small fish turned into a big bird teaches us to eliminate our own self-cleverness in order to be able to understand the wisdom of the great stories. Huang Yi-Sheng’s created protagonist is a sparrow, a bird joyfully and freely shuttling between imagination and reality. It also symbolizes a deep meaning just as the text of The Flying. A sparrow may be small, but it has all vital organs. The sparrow is like an opening word: he knows that it is not necessary to aim too high, and that having very ambitious and unrealistic goals is meaningless. If you are really aiming for a breakthrough, at the end you will make yourself disappointed, your frustration will get deeper, therefore people should be aware of their own limits, they should not violate the laws of nature. Saying that everything starts from small might be a right remark: it is not easy to do small things well, because we easily ignore details. It takes patience and perseverance to do small things well. If one wants to become an eagle achieving attention of millions, s/he should not despise any other birds. Sparrows always are in groups where it is hardly possible to be in a position of superior. People easily get affected by the environment, they get confused by the words coming from the crowd, and they often follow the public opinion. All of us want to experience the joy of overlooking the sky. This way of thinking is very important, we have to do it ourselves, no one can manipulate you, no one can replace your life, no one can replace you. Discipline yourself, correct the views of your own, correct your own bad behavior – this is the way to help yourself. Surely, one day you will leap up just as Dapeng did. “Simple heart” is very important, so focus on your own strength, your own advantages, only then you will be in a perfectly flawless state and you will be successful in everything you do.

尊彩藝術中心董事長余彥良 President of Liang Gallery, YU Yen-Liang

作為旁觀者的社會介入— 黃頤勝有關生存荒謬及其「包裝」邏輯的思考文│白適銘國立台灣師範大學美術系教授

在當代社會中，藝術面對社會的方式，除了透過所謂的大眾化、生

遷的必然性。（《美學的面向》，1977）

活化進行推廣之外，是否另有他法？社會實踐，若成為一種不可逃

馬庫色認為，藝術家必須以一種超乎社會，或者說是統治

避的當代現實，藝術家將如何介入並「成為」其中的一部分？隨著

權力階級的高度，藉以接近「人民」，同時又保有自我之所以存在

後工業時代的開啟，資訊社會對藝術造成的衝擊之一，在於現實中

的「真理」。另一方面，不論社會中的階級如何流動，藝術必須在

無所不在的視覺文化，已然迫使其邊界不斷被重新定義，而藝術大

此前提下反抗現實規律 — 亦即權力宰制，藉以維持並鞏固自身的規

眾化的爭論頓時成為明日黃花。然而，在當代環境中談論藝術與社

律—亦即美學主體。

資本

會關係的同時，必須注意的是藝術家的背景養成問題。亦即，與過往數百年前最大的差異，在於當今多數的藝術家來自於大眾，或受

馬庫色所謂藝術接近「人民」，意指必須清楚說出特定階級的經

教於大眾化的公共體制，非由少數階級所壟斷，其所代表的意義已

驗，並顧及被壓迫者；同時，藝術的「真理」並非僅指風格，更重

非簡單的菁英、俗眾二元論可以涵蓋。

要的是美學自主性的建立。換句話說，藝術並非等於純然的現實，依舊是一個「虛構」的世界，藉由反現實秩序的方式，投入改變世

法蘭克福學派學者馬庫色（Herbert Marcuse，1898-1979）認為高

界的鬥爭之中。「藝術的自主性，反映了不自由社會中個體的不自

資本化社會所形塑的階級壟斷，透過資本主義的同化，已然模糊下

由， …… 藝術與不自由對抗，因此獲得它的自主性」，亦即，藝術

層階級的實際需求及利益，故而在藝術範疇中，所謂的大眾基礎，

透過對已建置現實規範的否定，進行超越式的保存與揚棄，以減輕

亦僅能體現在通俗藝術（pop art）及暢銷書等之上。又說：

來自壓迫性現實的苦痛。在現實社會或日常生活中，基於某種原始

被剝削階級，即「人民」，越是屈從於權力，藝術就越離「人

生存欲求所引發的鬥爭，以超乎人類想像極限 — 既荒謬又近乎合

民」越遠。藝術的規律，就是為了反抗實在的規律，只有藝

理 — 的方式不斷上演。處於社會弱勢的藝術家，是否得以如馬庫色

術服從自己的規律，它才能保存自己的真理，才能意識到變

所謂般，與任何形式的不自由或權力宰制兩相抗衡，並保有其美學

甜蜜的負荷 SWEET BURDEN 2014 油彩、畫布 Oil on canvas 115×175cm

的自主性？

附帶結果。尤其是對於由學院所樹立的權威，進行某種脫離、解構與自我異化 —「第二異化」的行動，更將此種對話關係推向文化語

不論如何鬥爭或其結果如何，藝術仍無法脫離充滿幻想和表象—「虛

權重構的層次之上，跳脫戰後以來寫實主義繪畫過度注重視覺愉悅、

構」世界 — 的本質，然而，正因為得以將現實轉化為幻想和表象，

輕視社會參與的侷限，並藉此找到某種當代化的可能性。

「而且只有在這種過程中，藝術的顛覆性真理才顯現出來」，此即所謂「美學的轉化」。或許我們該說，「虛構」已成為藝術與現實

在他的筆下，肉食性與草食性動物（掠食者與獵物）「和平共存」，

體制、大眾生活維持一種平衡關係的最大資本，透過不真實虛構世

體型懸殊之不同物種「同台競演」，麻雀生息於海域，駱駝遊走於

界的營造，從自已建置的現實中異化出來，藉以「傳達自己的真

山巔，看似亂了方寸的異境世界，極度違反生態體系的運作原理。

理」，並形成所謂的「第二異化」（second alienation）。（馬庫色，

再者，怪異不自然的生態關係，奇妙地被鋪陳於山明水秀、色彩斑

《藝術與革命》，1972）

斕的魔境幻景之中，祥和甜蜜有如童話慶典，詭譎乖張卻似角力戰場。在此，寫實並非為了提供滿足偷窺狂或戀物癖等感官宣洩而存

出生於解嚴年代的藝術家黃頤勝，自 2008 年起至今已舉辦五次個展

在，而是透過「擬真」般的展演，提供一種現實「在場性」的視覺

及諸多聯展，一直以來，他擅長以清新雅致、嚴謹細膩卻意趣盎然

介入，對台灣社會中長期存在的體制宰制或權力失衡等進行質疑、

的技法語彙，透過動物及風景母題的交錯，營造某種帶有矛盾、戲

反動。例如，麻雀與駱駝或同種間同時爭奪從天而降的美味漿果、

謔般的超現實情境，荒謬又近乎合理，疏離又彼此親近。此種帶有

甜甜圈時（2011、2014），體型大小或工具技巧絕非致勝關鍵，透

警世寓言意義的議題式探討，一方面象徵台灣錯綜複雜的社會現狀，

過「弱肉並非強食」生態寓言的反思，黃頤勝「平反」了現實中既

另一方面又代表藝術家自主選擇的社會介入模式，可以視為後解嚴

存已久的陋規，同時也間接「洞見」了物種鬥爭中的明來暗去。

時期的政治、思想鬆綁，對藝術與社會進入全新對話關係所產生的

那是一個頂點的天空 THAT IS A SUMMIT SKY 2011 油彩、畫布 Oil on canvas 112×162cm

此外，場景的變換亦值得特別關注，從由天光雲影、婆娑海洋及蓊

在著，所以不論我說些什麼，一切都有詼諧包裝著；包裝，

鬱山林的寫生組合，轉向純白雲海冰原、屋牆一隅或單鉤墨線示意

是現代社會常見的狀態， …… 只要是與人相關的一切行為，

景物的單一化，象徵宛若劇場布景的生存舞台，從具體可視到簡化

感覺都脫離不了「包裝」。（《包裝一場荒謬》，2016）

抽象的目的，在於強化動物主角的辨識性及主導地位。隨之轉變的

透過「包裝」，兇猛的掠食者得以以平靜而優雅的外表隱藏內心的

劇情角色，在包含「菁英與俗眾」、「壓迫者與被壓迫者」、「掠

貪婪、慾望及暴力攻擊，瘦小獵物亦可同時被誇大成與掠食者相同

食者與獵物」或「同類異種間」在內的全新平衡關係中，根據此部

的體積大小，成為得以抗衡的個人或群體，完成弱勢者的反攻。

社會象徵主義寫實劇本的再度排演，產生聚光式的全新競爭關係。不論「以寡敵眾」或是「眾志成城」，當代社會的競爭關係已非遠

我們可以說，黃頤勝企圖藉由此種矛盾共存、人我相依的「異境」

古時代般的一成不變，成敗得失不再是絕對值，而是相對值，階級

景緻，形塑成長過程中所經歷的一切，展示其對生存戰場、社會現

與權力同樣具有流動性。

實中種種光怪陸離現象的自我投射，尤其是對生存競爭及其荒謬性的關注。於此，藝術家因為建構視覺性論述、對話機制，不僅因此

事實上，與其凸顯人際鬥爭中的刀光劍影、血流成河，黃頤勝更像

「成為」社會的一部分，更使其社會實踐得到落實的可能，化解了

是以「旁觀者」的角色來進行參與，冷靜、專注而保持距離。故而

自身走向通俗、暢銷與難以融入群眾的兩難。透過所謂「包裝」的

在其作品之中，並無掠食者與獵物的生死搏鬥或不同物種間地盤爭

手法—亦即馬庫色上述「虛構」世界的營造，面對無所不在的有形、

奪的激情場面，反而更加注重描寫隱藏其中、有如隨時爆破的彩色

無形宰制並進行視覺性反諷，藉以彰顯個人美學的自主性，並在顛

氣球或乘坐雲端般的危險性、緊張感。或許，此種吹彈可破的「表

覆既有藝術價值體系的前提下，建構所謂當代寫實的視覺「真理」，

面張力」，正是他對當今社會人性價值的稀薄所下的個人註解，一

達到具備社會性對話基礎的「美學轉化」目的。

種「以生活經驗為藍本」的隱喻劇場或故事文本，真實而冷血。他說：我想虛構一個以麻雀為主的故事，我希望牠們都是有趣的存 6

A Bystander’s Social Engagement – How HUANG Yi-Sheng Gives His Take on the Absurdity of Survival and His Logic of “Wrapping” Written by PAI Shih-Ming Professor, Department of Fine Arts, National Taiwan Normal University

In our contemporary society, is there an alternative way for art to confront

public” can only be witnessed in pop art or best-selling books. He further

society if not pandering to the public or pursuing an everyday practice?

explains that:

When social practice becomes an unavoidable contemporary reality, how

And the more the exploited classes, "the people," succumb to the

artists can participate and ultimately become a part of it? As we step into

powers that be, the more will art be estranged from "the people."

the post-industrial age, the information society has its impact on art by filling

Art can preserve its truth, it can make conscious the necessity of

the reality with visual images, forcing art to keep redefining its border. For

change, only when it obeys its own law as against that of reality. (The

art, popularization or not is the discussion for yesterday. However, when we

Aesthetic Dimension: Toward a Critique of Marxist Aesthetics, 1977)

talk about the relation between art and society within the contemporary

According to Marcuse, artists should maintain an independent perspective

context, we should never overlook the artists’ cultural, educational, and

above the society, similar to that of the ruling/capitalist/authoritative class,

artistic background. Since we live in a society very different from hundreds

to approach the “people,” while it is also necessary for them to maintain

years ago, most of the artists come from the public and receive education

the “truth” of the self, the essence of their existence. On the other hand,

from a public system which is no longer limited to a small group of privileged

no matter what social mobility they may have experienced, art has to fight

class. Therefore, what they represent should not be understood by a simple

against the law of reality – power monopoly in this case – on such a premise

dichotomy which separates elites from the public.

to uphold and strengthen its own law, which is the aesthetic essence.

Herbert Marcuse (1898-1979), a member of the Frankfurt School, believes

When Marcuse talks about “art approaching people,” he is referring to a clear

that the ruling class’s monopoly in a highly capitalist society causes a capitalist

gesture to specify the experience of a particular class without leaving out the

assimilation which has already obscured the substantial needs and interests

exploited group. Meanwhile, the “truth” of art is not merely about its style

of the lower class. Therefore, when we talk about art, the presence of “the

but to establish the aesthetic autonomy. In other words, art is not a pure 7

reality but a fictitious world which throws itself into the conflict to change the

become the strongest capital to balance art with reality’s system and public

world through a rebelling force against the law of reality. “The autonomy of

art. By establishing an unreal, fictitious world, art alienates itself from its self-

art reflects the unfreedom of individuals in the unfree society… Art remains

created reality for “the expression of its own truth.” The result is the “second

marked by unfreedom; in contradicting it, art achieves its autonomy,” says

alienation” in Marcuse’s words (Art and Revolution, 1972).

Marcuse. By negating the law of the existing reality, art either preserves or abandons it in a transcendental way to relieve the suffering one may feel in

Born in a time when Taiwan was still under martial law, Huang Yi-Sheng has

an oppressing reality. In our daily reality, we are surrounded with conflicts

accumulated five solo exhibitions and numerous group exhibitions in his

stimulated by certain primitive desire for survival, like a recurring repertoire

curriculum vitae since 2008. Throughout his artistic career, he has been known

beyond all our imagination, almost absurd but still reasonable enough. As

for an expressive technique which is fresh, elegant, exquisite, meticulous,

an artist, the unprivileged in a society, is it really possible like how Marcuse

and full of charming humor. The alternating subjects related to animals and

believes that s/he can win the power play against any form of unfreedom and

landscape create a surrealistic scenario in a contradictory but yet sarcastic way

maintain the aesthetic autonomy?

that we can almost feel its sensible absurdity as well as the alienated intimacy. The prophetic and metaphoric subjects discussed in the works on the one

Whatever the conflict is and what results it has, art still fails to shake off

hand symbolize the complicated social reality of Taiwan and, on the other

its nature – the illusion and appearance which relates it to the “fictitious

hand, represent artists’ free choice in social engagement as a repercussion

world.” However, as long as the reality is turned into illusion and appearance

of the lifting of martial law that the unleashed civil society, politically and

that an aesthetic transformation is fulfilled, as how Marcuse explains it: “by

intellectually, now welcomes a new dialogue with art. One of the major

virtue of this truth (which art alone can express in sensuous representation)

targets is the academic authority. Through separation, deconstruction, and

the world is inverted.” Perhaps we may say that “fictitiousness” has already

self-alienation, the “second alienation” pushes the dialogue into the sphere of

國王的花園 THE GARDEN OF THE KING 2014 油彩、畫布 Oil on canvas 115×175cm

cultural discourse reconstruction. The post-war realistic painting which overly

the existing misconception in the real world but also indirectly confronts the

focuses on visual pleasure and overlooks social engagement is thus replaced

subtle power play among species.

by a more contemporary artistic approach. Another highlight is its scene transition. The landscape directs our gaze from His brushwork creates a harmony between carnivores and herbivores (the

the shimmering sky and brooding cloud to the rhythmic ocean and lush forest,

predators and the prey). Animals of various species and of very different sizes

until it turns itself into the monotone as seen in the pure white of the ocean-

take the same stage, with sparrows above the ocean and camels around the

like clouds, the icefield, a corner of the house, or any object visualized by a

mountain peaks. The surrealistic world seems “inverted” as it contradicts

single ink stroke. It is like a theatrical setting where the battle for survival takes

every known ecological law. However, the bizarre and unnatural environment

stage. The figurative scene is transformed into a simplified abstraction, with

is amazingly rendered with opulent, picturesque, almost magical illusion –

animals spotlighted as the leading roles. The cast for the new plot reaches a

as serene and dolce as the festival in a fairytale, as capricious and fierce as a

new balance between elites and philistines, oppressors and the oppressed,

battle. Here, realism is not to satisfy one’s sensual desire to become a voyeur

predators and prey, even among the species under the same biological family.

or fetish lover. Instead, the represented truth in the artworks provides a visual

The realistic play is staged with social symbolism, bringing a new competition

engagement, which can be understood as the “presence” in the reality, to

under the spotlight. No matter what the size of the military troupe is, the

challenge and negate the power imbalances and dominance hierarchy the

competition in a contemporary society is no longer what we have learned in

Taiwanese society has long suffered. As in the case of sparrows and camels

history books. Since the idea of “win” and “lose” is not absolute anymore, but

which fight for the sweet fruits and donuts from sky (2011, 2014), the deciding

relative, power and class should be defined as a concept of mobility.

factor of the battle is never their sizes, tools, or techniques. Huang presents a fable to convert the law of the jungle, through which he not only “corrects”

Rather than emphasizing the daggers and swords in these brutal, 9

bloodshedding interpersonal conflicts, Huang is more like a bystander who

To summarize, Huang intentionally takes advantage of such an alienation –

keeps a distance from the event with perfect calmness and concentration.

a perfect balance of contradiction and a harmony between the self and the

Therefore, his artworks intend not to excite us with life-threatening fights

others – to visualize what he has experienced when growing up, particularly

between predators and prey or territory battles among species but accentuate

the absurdity of the battle for survival. Consequently, the visual discourse

the hidden risk and implicit tension like a skyfall or a ready-to-explode color

and dialogue mechanism established by the artist not only “become” a

balloon. We may assume that the ready-to-explode “surface tension” is how

part of the society but are given a possibility to be fulfilled through social

he footnotes the thin and diluted humanity one feels in our contemporary

practices as they avoid the dilemma between the risk of kitsch and the ivory-

society. His art becomes a metaphorical play or literary story based on “life

tower inaccessibility. The artistic technique of “wrapping” – which we may

experiences,” creating a sense of cold-blooded realism:

understand as the creation of the fictitious world in Marcuse’s words – fights

I want to make up a story about sparrows. For me, they are

back against the omnipresent dominance, tangible or intangible, with its visual

fascinating beings, so no matter what I say, I package it with humor.

mockery to stoplight the autonomy of personal aesthetics. By inverting the

Packaging is a common practice in a modern society. I have a feeling

existing aesthetic values and system, Huang reconstructs the visual “truth”

that anything humans do is about packaging. (Wrapping Absurdity,

of contemporary realism and fulfills his “aesthetic transformation” which is

2016)

equipped with a social dialogue.

Because of wrapping, the fierce predators can hide their inner greed, desire, and violent intention with a serene and elegant appearance, while the weak prey can be exaggerated into the size as large as their predators. Individually or collectively, they are empowered to fight back from the side of the unprivileged. 10

聖戰的開端 BEGINNING OF THE HOLY WAR 2015 油彩、畫布 Oil on canvas 176×176cm

創作自述文｜黃頤勝

一種常見的鳥類，一隻小小的看似沒什麼了不起，我卻讓牠像細胞般地存在。

麻雀其實如同你我一般，或許有天你靜心看看、一整群的看，你會發現牠們也是個小社會，似人的小社會。你可以試著抓把米糧往地上敲打，牠們將像一個個小人物般的出現，行動似乎是集體的、一窩蜂地出現在你面前，好像台灣的蛋塔效應一般。相信牠們對於餵食者是完全摸不著頭緒的，至於來者善與不善在當下似乎也不是該考量的。這也讓我想起了「齊國併魯梁」這個故事，而當他們一大群的出現在你面前，那樣子的數量龐大，相信你也不會特別的注意到誰；能得到你青睞眼光的，也只是肢體較誇張或是離你較近的，讓你多向那邊灑下一些米糧。這又讓我不禁想起歌手陳奕迅的「浮誇」，其實牠們還有許多的行為，讓我相信那像極了一個社會大眾的縮影。

在我個人的想像或情感投射裡，麻雀可以是身體裡的一個細胞、社會裡的一個人，牠們可以組成任何我們社會所知的人事物，牠是無限大也是無限小，既然我想虛構一個以麻雀為主的故事，我希望他們都是有趣地存在著，所以不論我說些什麼，一切都有詼諧包裝著；包裝，是現代社會常見的狀態，舉凡在新聞媒體、商業活動、政治選舉等等等，只要是與人相關的一切行為，感覺都脫離不了「包裝」。老子《道德經》中曾提到：「信言不美，美言不信」，在這個紛紛擾擾的世界裡，有時只因為想達到特定的目的，而抹殺一切的真實性，種種外界有意或刻意所營造的「包裝」，不間斷地擾人思緒，甚而改變人們的想法；似真似假，孰對孰錯，讓人霧裡看花，也難以尋求一個定論。

我以旁觀者的角度來包裝一切，第一眼的感覺就是那個大包裝，如果你拆開了包裝，或許你會發現那是一場你我長久以來就熟悉的劇場，那是以生活經驗為藍本，可能在報章媒體或是身旁的朋友甚至是自己本身，都能找到一些似曾相識，裡面所說的事物或許並沒有要獲得所謂的絕對認同，其實都只是我想要分享的隱喻事件罷了；裡頭沒有絕對的答案，只有我有感而發所闡述的，些許小小的故事。

ARTIST STATEMENT Written by HUANG Yi-Sheng

初生 NEWBORN 2015 玻璃纖維 Fiber glass reinforced plastics 36×20×20cm

A tiny small bird, nothing really terrific about it, but I want it to exist just like cells exist in human's body. Sparrows actually are just like us, ordinary people. If one day you have a chance to quietly and undisturbedly observe them, you will notice them to be in a tiny community, similar to small communities of people. If you through some rice on the ground, they will start appearing one by one like miniature figures, they will move collectively and swarm towards you in a manner that can be compared with the rise of custard tart phenomenon in Taiwan. They are completely perplexed about the feeders and it does make no difference to them whether they are good or bad people – at that moment they do not seem to be concerned about anything, which reminds me of a story named Qi, Lu and Liang States. At the moment when the sparrows appear in front of you in a large group you are not able to notice any of them particularly, find the favorite one, bigger one or the one to be closest to you – the number of them is simply too large. This also reminds me of the singer Eason Chan’s song Exaggerated. In fact, there are many different ways in which the sparrows act, thus I think of them as an epitome of the society. In my imagination, I think of a sparrow as a cell in the body or a person in the society. Together sparrows can form any personage or anything we know of in our society. When alone sparrow might seem very small, but when there is a group of them, they suddenly become infinitely big. I want to make up a story about sparrows. For me, they are fascinating beings, so no matter what I say, I package it with humor. Packaging is a common practice in a modern society. I have a feeling that anything humans do is about packaging. Lao Tsu in The Eternal Tao Te Ching said: “Trustworthy words may not be fine-sounding; fine-sounding words may not be trustworthy.” In this troubled world, sometimes just because we aim to achieve a specific purpose, we obliterate the authenticity of things and believe in all kinds of “packaging” that is intentionally or deliberately created by the outside world. All that result in an uninterrupted disturbance of our state of mind and even influence our thoughts. Confusion between real and fake, right and wrong makes people’s vision blurred and limits their willingness to seek for conclusions. I look at every happening from the standpoint of spectator. If you open that big package, perhaps you will see that all this is a theatre you and I have been familiar to for so long – it is a replica of our life experiences. You might even discover the person in the print media or your friend to actually be you and it will bring you déjà vu feeling. All what is mentioned in the story not necessarily should be recognized as absolute. In fact, these are only metaphorical events which I want to share with others. There is no absolute answer, there is only a short story, which I wish to tell.

表面友善的集結 SEEMINGLY FRIENDLY GATHERING 2016 油彩、畫布 Oil on canvas 132×220.2cm

通往光明的路徑 THE PATH LEADING TO THE LIGHT 2016 油彩、畫布 Oil on canvas 115×175cm

解藥製造 MANUFACTURING ANTIDOTE 2016 油彩、畫布 Oil on canvas 91×116.8cm

何處的飄盪不安 WHERE INTRANQUILITY IS DRIFTING 2016 油彩、畫布 Oil on canvas 132.4×75cm

彼岸的希望 HOPING TO SEE THE OTHER SIDE 2016 油彩、畫布 Oil on canvas 115×175cm

荒謬劇場 THE THEATRE OF THE ABSURD 2016 油彩、畫布 Oil on canvas 115×175cm

一個普通的夢想 AN ORDINARY DREAM 2016 油彩、畫布 Oil on canvas 86×86cm

截然不同的相同 DIFFERENT SAME 2016 壓克力、畫布 Arcylic on canvas 74×147×4.5cm

心裡心外 HEART INSIDE OUT 2016 油彩、畫布 Oil on canvas 72×135×4.2cm

逃離神聖的救贖 ESCAPE FROM DEVINE SALVATION 2015 油彩、畫布 Oil on canvas 176×176cm

迷霧中踏尋 SEARCHING IN THE FOG 2015 油彩、畫布 Oil on canvas 86×86cm

輕輕地存在 GENTLE EXISTANCE 2015 油彩、畫布 Oil on canvas 53×72.5cm

聖戰的開端 BEGINNING OF THE HOLY WAR 2015 油彩、畫布 Oil on canvas 176×176cm

安心的依託 EASY RELIANCE 2015 油彩、畫布 Oil on canvas 86×86cm

看那後方 LOOK BEHIND 2015 油彩、畫布 Oil on canvas 86×86cm

謎團中的相遇 THE MYSTERY OF THE ENCOUNTER 2015 油彩、畫布 Oil on canvas 53×72.5cm

瀰漫 FAR-FLUNG 2015 油彩、畫布 Oil on canvas 27×16cm

限制的限制 LIMITED LIMITS 2015 油彩、畫布 Oil on canvas 115×175cm

特殊關係 EXCEPTIONAL RELATIONSHIPS 2015 油彩、畫布 Oil on canvas 175×115cm

繆思的傳承 MUSE'S HERITAGE 2014 油彩、畫布 Oil on canvas 65×130cm

一樣的風向 LIKE THE WIND 2014 油彩、畫布 Oil on canvas 80×145cm

一個話語的開端 THE BEGINNING OF A DISCOURSE 2014 油彩、畫布 Oil on canvas 31cm in diameter

優雅的姿態 GRACEFUL STANCE 2014 油彩、畫布 Oil on canvas 43cm in diameter

也有這麼一段 A PERIOD OF TIME 2014 油彩、畫布 Oil on canvas 55cm in diameter

一縷奮力的守護 STRIVING GUARDIAN 2014 油彩、畫布 Oil on canvas 30×70cm

通往嚮往的路徑 THE PATH TO ASPIRATION 2014 油彩、畫布 Oil on canvas 75×132.5cm

堆砌的夢想 A PILE OF DREAMS 2014 油彩、畫布 Oil on canvas 100×100cm

藩籬之後的意義 MEANING AFTER THE BARRIER 2014 油彩、畫布 Oil on canvas 91×65cm

國王的花園 THE GARDEN OF THE KING 2014 油彩、畫布 Oil on canvas 115×175cm

背後的曙光 BEHIND THE DAWN 2014 油彩、畫布 Oil on canvas 100×100cm

甜蜜的負荷 SWEET BURDEN 2014 油彩、畫布 Oil on canvas 115×175cm

莫名的自由狀態 INEXPLICABLE FREEDOM 2014 油彩、畫布 Oil on canvas 115×175cm

另一種圈套 ANOTHER TRAP 2014 油彩、畫布 Oil on canvas 65×130cm

像雲一樣的日子 DRIFT LIKE THE CLOUDS 2014 油彩、畫布 Oil on canvas 65×91cm

不一樣的未來 DIFFERENT FUTURE 2013 油彩、畫布 Oil on canvas 150×150cm

未知的綺麗 UNKNOWN BEAUTY 2013 油彩、畫布 Oil on canvas 72.5×53cm

是出發也是抵達 DEPARTURE AND ARRIVAL 2013 油彩、畫布 Oil on canvas 40×70cm

在那緘默的路上 THAT LONG SILENCE 2013 油彩、畫布 Oil on canvas 81×81cm

遊趣 IT'S A JOURNEY 2013 油彩、畫布 Oil on canvas 33×45.5cm

靜默之外的自然 QUIET GETAWAY 2013 油彩、畫布 Oil on canvas 75×132cm

那段充滿思緒的遠方 RECALLING BEAUTIFUL TIMES 2012 油彩、畫布 Oil on canvas 175×115cm

踏上繽紛的階梯 SET FOOT ON THE LADDER OF COLORFUL 2012 油彩、畫布 Oil on canvas 132×220cm

遙遠的一端 THE OTHER SIDE 2013 油彩、畫布 Oil on canvas 60×30cm

初生 NEWBORN 2015 玻璃纖維 Fiber glass reinforced plastics 36×20×20cm

藝術家簡歷 BIOGRAPHY

黃頤勝 HUANG Yi-Sheng

1981 年生於台灣高雄，畢業於國立台灣師範大學美術研究所西畫創作組（MFA）。研習寫實繪畫多年，擅長較為細膩的表現手法，慣用較為平緩隱喻的方式鋪成述說。期待作品能供養精神一種新的慰藉，不在於靈巧的畫技有多精湛、或是色彩鋪陳的畫面有多舒適，而是希望創作能混攪某種清淡卻寬廣的想像空間，讓所有觀者能知道自己正踏入一片安靜無擾的淨土，能夠冥想或稍作喘息。 2016 年與 2012 年於尊彩藝術中心舉辦個展「包裝一場荒謬」、「那天我開了一扇門」。作品曾於大阪、香港、倫敦、威尼斯、上海以及台灣地區展覽。國立台灣美術館、高雄縣政府文化局、聯邦文教基金會、台灣國展委員會皆有收藏其畫作。現居住、創作於台灣桃園。

Born in Kaohsiung, Taiwan in 1981, Huang Yi-Sheng graduated from the Department of Fine Arts at National Taiwan Normal University with a specialization in Western Painting. Having worked on realistic painting for many years, Huang is best known for his delicate expression as well as a gentle metaphoric narrative style. Throughout his artistic practice, Huang has expected that his works can provide a spiritual consolation. It is not his intention to demonstrate the skillful technique in his paintings or to create the comfortable atmosphere through the images painted with various pinks. Instead, he believes that art-making should stir the space of imagination which used to be motionless but yet extensive, encouraging viewers to realize that they can either meditate or take a break in this peaceful and undisturbed land. In 2016 and 2012, he held solo exhibitions named “Wrapping Absurdity” and “When the Door Opens” at Liang Gallery. Huang’s works have been exhibited in Osaka, Hong Kong, London, Shanghai, and Taiwan. His paintings have been collected by the National Taiwan Museum of Fine Arts, the Bureau of Cultural Affairs of Kaohsiung City Government, Bamboo Curtain Studio, the Taiwan National Exhibition Committee of Arts. He currently lives and works in Taoyuan, Taiwan.

黃頤勝 HUANG Yi-Sheng

1981 年出生於台灣高雄

「飛行熱氣球－台灣當代藝術展」，尊彩藝術中心，台北，台灣「2012 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣

學歷 2009

國立台灣師範大學美術研究所西畫創作組碩士，台北，台灣

2004

國立台南師範學院（今國立台南大學）美勞教育學系學士，台南，台灣

2011

「聚賢迎春－十位當代藝術家聯展」，尊彩藝術中心，台北，台灣「台灣寫實新銳－手感」，晴山藝術中心，台北，台灣

2010

「台灣當代寫實繪畫－延續與再造」，華瀛藝術中心，台北，台灣「高雄市美術家聯展」，高雄市立文化中心，高雄，台灣

個展

「悸動 • 心之歌－陳文福、楊騰集、陳臻、黃頤勝」，

2016

「黃頤勝個展－包裝一場荒謬」，尊彩藝術中心，台北，台灣

2014

「Art Solo 14 藝術博覽會」，花博爭豔館，台北，台灣

2012

「那天我開了一扇門－黃頤勝個展」，尊彩藝術中心，

漢鄉畫廊，高雄，台灣 2009

一畫廊，台北，台灣「風情萬種－創作 • 現實與想像結合的重現」，漢鄉畫廊，

台北，台灣 2010

「無菌室－黃頤勝個展」，一畫廊，台北，台灣

2009

「黃頤勝油畫個展」，Lili 藝術空間，台北，台灣

2008

「靜謐之域－黃頤勝創作個展」，國立台灣藝術教育館，

「界線 • 延續－陳俊華、周佳正、黃頤勝、陳宏群聯展」，

高雄，台灣「幸福年代－春神來了」，觀想藝術中心，台北，台灣「 R e v o l u t i o n 藝術祭－ 2 0 0 9 Ta i p e i 展覽」，台北世界貿易中心，台北，台灣

台北，台灣

「看見幸福的感動－聯邦藝術十年回顧展」，國父紀念館，

「思維 • 印記－黃頤勝創作個展」，台北縣立藝文中心，

台北，台灣

「金車新生代藝術家創作聯展」，金車文藝中心，台北，台灣「輪廓線－另一種遼闊，油畫創作聯展」，金車文藝中心，台北，台灣 2007

「靜默之外的自然－七人春季聯展」，國立台灣藝術教育館，

「2015 台北國際藝術博覽會」，台北世界貿易中心，

2004

「全國彩墨藝術大展」，台中市文化局，台中，台灣

台北，台灣

2003

「高雄市美術家聯展」，高雄市立美術館，高雄，台灣

聯展 2015

台北，台灣

「Art15 London」，奧林匹亞展會中心，倫敦，英國 2014

「2014 高雄藝術博覽會」，翰品酒店，高雄，台灣「2014 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣「2014 博羅那上海國際當代藝術展」，上海展覽中心，

典藏 2008

「2014 台北當代國際藝術博覽會」，晶華酒店，台北，台灣「Art14 London」，奧林匹亞展會中心，倫敦，英國「致親愛的你－少遊島繪社第 2 號創作聯展」，金車文藝中心，台北，台灣 2013

「第七屆拉古娜藝術獎」， Te s e d i S a n C r i s t o f o r o A rs e n a l e o f Ve n i c e ，威尼斯，義大利「春遊油彩」，國立台灣藝術教育館，台北，台灣「2013 高雄藝術博覽會」，高雄翰品酒店，高雄，台灣「繁星閃閃－代理藝術家聯展」，尊彩藝術中心，台北，台灣「閱讀藝術」，尊彩藝術中心，台北，台灣

2012

100

「喜形於色」，尊彩藝術中心，台北，台灣

《靜思話語》，國立台灣美術館，台中，台灣《遙想》，台灣國展委員會，高雄，台灣

上海，中國 2006

《國度》、《夢境》、《信仰》、《歸宿》、《枯》，聯邦文教基金會，台北，台灣《綠韻》，高雄縣政府文化局，高雄，台灣

1 9 8 1 b o r n i n K a o h s i u n g , Ta i w a n

“Exploring with a Balloon – Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “Art Taipei 2012”, Taipei World Trade Center, Taipei, Taiwan

EDUCATION 2009

BFA in Art and Craft Education, Department of Education,

“Forever Young ”, Imavision Gallery, Taipei, Taiwan 2010

“Kaohsiung Artists Exhibition”, Kaohsiung Cultural Center, Kaohsiung,

Tainan, Taiwan

Taiwan “Song of the Heart Throb – Chen Wen-Fu, Yang Teng-Chi, Chen Jen,

SOLO EXHIBITONS “Huang Yi-Sheng Solo Exhibition – Wrapping Absurdity“,

“ Taiwan Continuation of Contemporary Realist Painting and Recreation”, Golden Aries Art Center, Taipei, Taiwan

National Tainan Teachers College (now National University of Tainan),

2016

“Celebrating Spring Together – Group Exhibition of Ten Contemporary Artists”, Liang Gallery, Taipei, Taiwan

MFA in Western Painting, Department of Fine Arts, National Taiwan Normal University, Taipei, Taiwan

2004

2011

Huang Yi-Sheng ”, Hang Shiang Gallery, Kaohsiung, Taiwan 2009

“Boundary˙Continued – Chen Jun-Hwa, Chou Jia-Jeng,

Liang Gallery, Taipei, Taiwan

Huang Yi-Sheng, Chen Hung-Chun”, A Gallery, Taipei, Taiwan

2014

“Art Solo 14”, Expo Dome, Taipei, Taiwan

“Customs – Creative Combination of Reality and Imagination and

2012

“When the Door Opens – Huang Yi-Sheng Solo Exhibition”,

Reproduction”, Hang Shiang Gallery, Kaohsiung, Taiwan

Liang Gallery, Taipei, Taiwan

“Age of Happiness – Chunshen’s Coming ”, Conceptive Art Center,

“Sterile Room – Huang Yi-Sheng Solo Exhibition”, A Gallery,

Taipei, Taiwan

“Revolution Art Festival – 2009 Taipei Art Exhibition”, Taipei World

“Huang Yi-Sheng Oil Painting Exhibition”, Lili Art Space,

Trade Center, Taipei, Taiwan

Taipei, Taiwan

“See the Sense of Gratitude – Federal Art 10 Year Retrospective

“ The Quiet Domain – Huang Yi-Sheng Solo Exhibition”,

Exhibition”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan

National Taiwan Arts Education Center, Taipei, Taiwan

“New Generation of Artists King Car Exhibition”, King Car Culture and

“ Thinking˙Mark – Huang Yi-Sheng Solo Exhibition”,

Art Center, Taipei, Taiwan

Taipei County Arts Center, Taipei, Taiwan

“Contour Line – Another Vast Oil Painting Exhibition”, King Car Culture

2010 2009 2008

and Art Center, Taipei, Taiwan

GROUP EXHIBITIONS 2015

“Art Taipei 2015”, Taipei World Trade Center, Taipei, Taiwan

2007 2004

“Art15 London”, Olympia Grand, London, UK 2014

“Art Kaohsiung 2014”, Chateau de Chine, Kaohsiung, Taiwan

“Silence Outside Nature – Seven Spring Exhibition”, National Taiwan Arts Education Center, Taipei, Taiwan “National Color and Ink Art Exhibition”, Taichung City Cultural Affairs Bureau, Taichung, Taiwan

2003

“Art Taipei 2014”, Taipei World Trade Center, Taipei, Taiwan

“Artists Exhibition in Kaohsiung ”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

“2014 BolognaFiere Shanghai – International Contemporary Art Exhibition”, Shanghai Exhibition Centre, Shanghai, China “Young Art Taipei 2014”, Regent Taipei Hotel, Taipei, Taiwan “Art14 London”, Olympia Grand, London, UK “Devoted to You, Dear ”, King Car Culture and Art Center, Taipei,

COLLECTIONS 2008

Taiwan 2013

“Spring Colors”, National Taiwan Arts Education Center, Taipei, Taiwan “2013 Art Kaohsiung ”, Chateau de Chine, Kaohsiung, Taiwan “Beautiful Starry Night Sky ”, Liang Gallery, Taipei, Taiwan “Art in the Library ”, Liang Gallery, Taipei, Taiwan 2012

Rethinking, Taiwan National Exhibition Committee for Arts, Kaohsiung,

“7th Arte Laguna Prize”, Tese di San Cristoforo Arsenale of Venice, Venice, Italy

Retreat and Words, National Taiwan Museum of Fine Arts, Taichung,Taiwan Taiwan

2006

State, Dream, Belief, Fate, Guaisui, Dry, Union Culture Foundation Collection, Taipei, Taiwan Green Melody, Kaohsiung County Cultural Affairs Bureau, Kaohsiung, Taiwan

“ The Delightful Color of Spring ”, Liang Gallery, Taipei, Taiwan

101

圖錄 CATALOG

表面友善的集結 SEEMINGLY FRIENDLY GATHERING 2016 油彩、畫布 Oil on canvas 132×220.2cm P.14-15

彼岸的希望 HOPING TO SEE THE OTHER SIDE 2016 油彩、畫布 Oil on canvas 115×175cm P.22-23

通往光明的路徑 THE PATH LEADING TO THE LIGHT 2016 油彩、畫布 Oil on canvas 115×175cm P.16-17

荒謬劇場 THE THEATRE OF THE ABSURD 2016 油彩、畫布 Oil on canvas 115×175cm P.24-25

解藥製造 MANUFACTURING ANTIDOTE 2016 油彩、畫布 Oil on canvas 91×116.8cm P.19

一個普通的夢想 AN ORDINARY DREAM 2016 油彩、畫布 Oil on canvas 86×86cm P.27

何處的飄盪不安 WHERE INTRANQUILITY IS DRIFTING 2016 油彩、畫布 Oil on canvas 132.4×75cm P.21

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截然不同的相同 DIFFERENT SAME 2016 壓克力、畫布 Arcylic on canvas 74×147×4.5cm P.29

心裡心外 HEART INSIDE OUT 2016 油彩、畫布 Oil on canvas 72×135×4.2cm P.31

逃離神聖的救贖

聖戰的開端 BEGINNING OF THE HOLY WAR 2015 油彩、畫布 Oil on canvas 176×176cm P.39

安心的依託

ESCAPE FROM DEVINE SALVATION

EASY RELIANCE

2015 油彩、畫布 Oil on canvas 176×176cm P.33

2015 油彩、畫布 Oil on canvas 86×86cm P.41

迷霧中踏尋

看那後方

SEARCHING IN THE FOG

LOOK BEHIND

2015 油彩、畫布 Oil on canvas 86×86cm P.35

2015 油彩、畫布 Oil on canvas 86×86cm P.43

輕輕地存在

謎團中的相遇

GENTLE EXISTANCE

THE MYSTERY OF THE ENCOUNTER

2015 油彩、畫布 Oil on canvas 53×72.5cm P.37

2015 油彩、畫布 Oil on canvas 53×72.5cm P.45

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一樣的風向 LIKE THE WIND 2014 油彩、畫布 Oil on canvas 80×145cm P.55

瀰漫 FAR-FLUNG 2015 油彩、畫布 Oil on canvas 27×16cm P.47

一個話語的開端 THE BEGINNING OF A DISCOURSE

限制的限制 LIMITED LIMITS

2014 油彩、畫布 Oil on canvas 31cm in diameter P.56

2015 油彩、畫布 Oil on canvas 115×175cm P.49

優雅的姿態 GRACEFUL STANCE 2014 油彩、畫布 Oil on canvas 43cm in diameter P.57

特殊關係 EXCEPTIONAL RELATIONSHIPS 2015 油彩、畫布 Oil on canvas 175×115cm P.51

繆思的傳承

104

也有這麼一段

MUSE'S HERITAGE

A PERIOD OF TIME

2014 油彩、畫布 Oil on canvas 65×130cm P.53

2014 油彩、畫布 Oil on canvas 55cm in diameter P.58

一縷奮力的守護 STRIVING GUARDIAN 2014 油彩、畫布 Oil on canvas 30×70cm P.59

國王的花園 THE GARDEN OF THE KING 2014 油彩、畫布 Oil on canvas 115×175cm P.66-67

通往嚮往的路徑 THE PATH TO ASPIRATION 2014 油彩、畫布 Oil on canvas 75×132.5cm P.61

背後的曙光 BEHIND THE DAWN 2014 油彩、畫布 Oil on canvas 100×100cm P.69

堆砌的夢想 A PILE OF DREAMS 2014 油彩、畫布 Oil on canvas 100×100cm P.63

甜蜜的負荷 SWEET BURDEN 2014 油彩、畫布 Oil on canvas 115×175cm P.70-71

藩籬之後的意義

莫名的自由狀態

MEANING AFTER THE BARRIER

INEXPLICABLE FREEDOM

2014 油彩、畫布 Oil on canvas 91×65cm P.65

2014 油彩、畫布 Oil on canvas 115×175cm P.72-73

105

另一種圈套 ANOTHER TRAP

是出發也是抵達 DEPARTURE AND ARRIVAL

2014 油彩、畫布 Oil on canvas 65×130cm P.75

2013 油彩、畫布 Oil on canvas 40×70cm P.83

像雲一樣的日子 DRIFT LIKE THE CLOUDS 2014 油彩、畫布 Oil on canvas 65×91cm P.77

在那緘默的路上 THAT LONG SILENCE 2013 油彩、畫布 Oil on canvas 81×81cm P.85

不一樣的未來 DIFFERENT FUTURE 2013 油彩、畫布 Oil on canvas 150×150cm P.79

106

遊趣 IT'S A JOURNEY 2013 油彩、畫布 Oil on canvas 33×45.5cm P.87

未知的綺麗

靜默之外的自然

UNKNOWN BEAUTY

QUIET GETAWAY

2013 油彩、畫布 Oil on canvas 72.5×53cm P.81

2013 油彩、畫布 Oil on canvas 75×132cm P.88-89

初生 NEWBORN

那段充滿思緒的遠方 RECALLING BEAUTIFUL TIMES 2012 油彩、畫布 Oil on canvas 175×115cm P.91

2015 玻璃纖維 Fiber glass reinforced plastics 36×20×20cm P.97

踏上繽紛的階梯 SET FOOT ON THE LADDER OF COLORFUL 2012 油彩、畫布 Oil on canvas 132×220cm P.92-93

遙遠的一端 THE OTHER SIDE 2013 油彩、畫布 Oil on canvas 60×30cm P.95

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發行人

余彥良

總經理

陳菁螢

出版者

尊彩國際藝術有限公司

策劃編輯

修天容

美術設計

涂維真、陳瑾蓉

翻譯

白斐嵐、李樂蓉

展場執行

洪鼎鈞

展場燈光

何仲昌

劉光智

攝影

印刷

日動藝術印刷有限公司

出版

2016 年 10 月初版

ISBN

978-986-92798-8-8

Executive Director

Yen-Liang Yu

Director

Claudia Chen

Publisher

Liang Gallery Co., Ltd

Editor Daisy Shiou Design

Wei-Chen Tu , Wendy Chen

Translation

Siraya Pai, Laura Lygaityte

Display Executive

Ding-Jiun Hong

Lighting Chung-Chang Ho Photographer

KC Liu

Printing

Jih-Tung Art Printing Co., Ltd

Publishing Date

First Edition, October, 2016

ISBN 978-986-92798-8-8