L E O WA N G
S T A R G A Z E R EXHIBITION
椟 䐮 倁
目
錄 4
序 文
余彥良
尊彩藝術中心 董事長
持續拓延的現世寓言—閱讀王建文的「觀星者」 文
孫曉彤
獨立藝評人
14
觀 星 者 文
6
王建文
序 章｜文明篇
18
第二章｜自然環境篇與人文社會篇
30
第三章｜回歸星塵篇
48 62
詩序—觀星者 文
伊格言
小說家、詩人
2014-2016 歷年創作
70
簡 歷
98
圖 錄
105
CONTENTS Preface
5 YU Yen-Liang / President of Liang Gallery
by
An Extension of the World’s Ongoing Fable – A Reading of Leo Wang’s Stargazer
10
SUN Xiao-Tung / Freelance Art Critic
by
Stargazer
15 Leo WANG
by
Prologue/ Civilization
19
Chapter Two/ Nature Environment, Humanity and Society
31
Chapter Three/ Return to the Stardust
49
Foreword to Stargazer by
65
Egoyan ZHENG / Novelist, poet
2014-2016 Past Works
70
Biography
99
Catalog
105
序
文
從各類星象所窺探的背後，其實參雜了「必然」與「偶然」，因為宇宙萬物的一切皆有規律的軌道和磁 場運行，起承生滅殞落重生，皆有其奧妙天機。人類從質樸單純趨向於多元複雜，也因此王建文的新作 當中，增加很多地球與宇宙之間的變數。黑格爾說：「凡是存在的，都是合理的。」然而這些合理，卻 都是源於人類自身的自私或無理，濫墾濫伐、環境污染、武器競技、宗教戰爭，這些都已經為我們的未
余 彥 良 尊 彩 藝 術 中 心
來啟動了任何可能性的消失與滅絕。文明很美，尤其是以藝術的手法來呈現。王建文長期旅居巴黎，自 然吸收了各大家最前端的美學素養，承先啟後為營造出當代文明應有的迷人色彩，然而觀看此次個展的 作品細節裡，卻隱藏了大量高端走向衰竭的訊息，那是一種整體性的警覺、反省與吶喊，祈求從畫布裡 獲得救贖和希望，等待黎明的到來，等待一個新國度的生成，更等待全人類靈性的提升，藉以消除你我 可能即將面臨的種種困境。
董 事 長
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Preface / 序
PREFACE
Written by
YU Yen-Liang President of Liang Gallery
Various configurations of the stars are a combination of “inevitable” and “accidental” because everything in the universe has a regular track and operates in a magnetic field. From life and death to rebirth, everything has its mysterious secrets. People tend to complicate simple things, just as Leo Wang increased the number of variables between the earth and the universe in his new works. Hegel once said, "What is rational is real." This is reasonable, but everything has derived from the selfishness or irrationality of human beings. Deforestation, environmental pollution, religious war, all of these have already opened a possibility of disappearance and extinction for our future. Civilization is very beautiful, especially when art is used to express its beauty. Wang has been a resident in Paris for a long time and has naturally imbibed the best qualities of aesthetic. The forming of a bridge between the past and the future has resulted in an enchanting contemporary civilization, yet the details of works in this solo exhibition reveal a message signaling a failure. This is a holistic warning, self-reflection, and a shout encouraging to pray for salvation and hope. We are waiting for the dawn to come, for a new nation to be born, and yearning for a spiritual ascension to eliminate all kinds of difficulties we might face.
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持續 拓延的 現世 寓言 閱讀王建文的 「觀星者」
文
距離上一次的個展「視覺邊境」，長期旅居法國的台灣藝術家王建文，睽違四年後，帶著十幾件的新作， 在台北的尊彩藝術中心推出個展「觀星者」，展出創作為 2016 年至 2017 年的作品；除了創作者一貫使 用的油畫媒材之外，這次也發表了一件名為觀星者系列 II －傑克與魔豆的立體作品，延展了新作「觀星 者」系列的表現形式。不同於以往純粹視覺的表現，藝術家特意編寫了幾段關於「觀星者」系列的文字
孫 曉 彤 獨 立 藝 評 人
情節：一艘並未按照預定行程進入軌道的星際觀測船，在無故失蹤數年後突然出現，陸續傳回一些關於 地球可能未來的奇異影像—那可能是某種記錄文獻，也可能是未知將來的預言。王建文以此為起點，展 開了一場關於文明、自然環境、人文社會等種種現象的探索過程，以繪畫為敘述方式，在介於具體和抽 象的視覺呈現中，描述帶有科幻意味的個人想像。 王建文的「觀星者」系列的故事根源，來自於上個世紀的 70 年代，美國所執行的無人太空探測衛星計劃 之中的「航海家計畫」（Voyager program），其中的兩個探測衛星「航海家 1 號」與「航海家 2 號」皆於
1977 年發射；原本這兩個衛星的任務是針對太陽系的行星進行探測，但至今它們仍持續航行，成為距離 地球最遠的人造物體—其中，「航海家 1 號」已經距離太陽超過 186 億公里，抵達了太陽系邊緣的星際 空間；而「航海家 2 號」則距離太陽 152.4 億公里。目前，天文學家們持續與這兩個持續旅行中的探測器 保持聯繫，它們仍不斷回傳數據，提供更多關於神秘宇宙的訊息。 值得一提的是，「航海家 1 號」與「航海家 2 號」被賦予的「任務」不僅是單向地蒐集資料，同時也是 人類文明的微型載具：這兩個人造衛星各自攜帶了一張鍍金的唱片，其中包含了來自地球的圖片和聲音， 在封面上有符號和圖示說明如何操作這張唱片和詳細指示地球所在的位置1 —這些訊息能夠讓取得這張 金唱片的任何一個星際文明、外星人、甚至是未來的人類，還原並獲取其中的內容—就像投入宇宙汪洋 的瓶中信，在無垠的黑暗中等待被開啟與知悉的可能。
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持續拓延的現世寓言—閱讀王建文的「觀星者」
1. 參考維基百科（https://zh.wikipedia.org/wiki/%E8%88%AA%E6%B5%B7%E5%AE%B6%E8%A8%88%E7%95%AB）
客觀世界裡的探測衛星，被賦予了理性科學的觀測任務，以及對於未知感性懷想的期待；藝術家則透過 個人的行動，持續延展這介於真實與虛構之間的渾沌。關於時間和空間交織構成的複雜維度，顯然是王 建文長期以來在創作中實踐的議題，他在 2013 年「視覺邊境」的創作自述中，曾如此寫道：「我在畫布 上創造了一個世界，一個形體抽離的世界；一個無從知曉何處是自己、何處是他人的曖昧世界；也是一 個處處是自己，沒有邊境的世界。畫布上的世界裡有各種元素，光與影、空氣與聲音、文化與文明。我 在畫布上藉由形體的剝離，讓色彩融入彼此的邊境，試著編製出我腦海中那個模糊又清楚的世界。」
創作者主觀的介入，是對於客觀世界的唯一理解方式；所有來自外在的訊息都必須經過內在的理解與詮 釋，而後轉化為表達的內容。如果說王建文在「視覺邊境」的系列發表中，選擇以光、影和色彩作為主 要的繪畫元素；那麼在「觀星者」系列裡，藝術家則是在先前完成的基本架構上，滲入了更為多元的視 覺符碼，增加了個人語言的厚度與層次感。這些隱藏在真實和虛構的間隙中的情節，王建文選擇了帶有 科幻小說意味的文字和標題，使得那些景致迷離的色彩畫面，彷彿被注入些許細瑣的不安與焦慮，那些 藝術家提及關於城市光害、海洋生物滅絕、沙漠化、核污染動植物變異、全球暖化、火山岩漿填地、人 工智能興起、人口的銳減、人性思維怠惰等的種種現象，折射出的其實是所有當代人類對於未來的無所 適從。
因為濾除了絕大部份可辨認的具體符號，王建文的繪畫經常容易被理解為純粹的抽象風格，然而不可忽 略的是人們在觀看時，經常油然而生的似曾相識；如此的視覺經驗，在「觀星者」系列中，更加明顯— 保留了他在繪畫中擅長營造的水氣氤氳，那些光團般有機瀰漫的色塊，與錯落於其間之水平或垂直界線， 形成某種猶如稜鏡的折疊痕跡，讓人聯想到不斷重複與交會的時空皺摺，擴展了二度空間的視覺維度；
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在這次發表的新作中，藝術家在上述的表現之外，加入更多「看似」具象的元素—之所以強調為「看似」， 原因來自那些遠觀有如城市燈火或建築聚落的造型，在觀眾趨向前去之後，卻化約為像是化石層疊斑駁 或恣意流淌的抽象痕跡—人們必須保持距離才能窺見全貌，靠得太近反而模糊失焦。耐人尋味的是，這 種與作品間特定之有效觀測的曖昧關係，恰好呼應了作品的主題—「觀星者」指的究竟是活動於地球表 面，以肉眼或儀器觀測宇宙的人類；抑或是遙望著自己所來自的藍色星球，然而自身卻超越已知邊界之 外的探測衛星？
與其說王建文以文字作為此繪畫系列的發想起點，倒不如說他是利用了文字所能提供的想像空間，豐富 了畫面本身的詩性意涵—將文學性視為媒材的一種，融匯運用於既有的視覺形式中，象徵了藝術家對於 創作邊界的拓延，更進一步地執行出具體的實踐。那些關於宇宙、文明、神話與歷史的仍未完結，而創 作者既參與又觀測的多重身份也將不斷地延續轉換—在那些無所不在的寓言中恆久地流傳，而藝術就是 個人表述生存時代的真實表達。
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持續拓延的現世寓言—閱讀王建文的「觀星者」
岓䔅沃䉘 Oil on canvas 102×198.5cm / 2016
觀星者系列 — 徑 Stargazer Series – Chemin
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AN EXTENSION OF THE WORLD’S ONGOING FABLE A READING OF LEO WANG’S STARGAZER
Written by
SUN Xiao-Tung Freelance Art Critic
Four years since his previous solo exhibition Visual Frontier, Leo Wang, the French-based Taiwanese artist, presents his latest works in his upcoming solo exhibition Stargazer on view at Taipei’s Liang Gallery. This collection consists of Wang’s creative exploration between 2016 and 2017. Aside from oil paint, Wang’s typical medium, the exhibition also presents a three-dimensional piece – Stargazer Series: Jack and the Beanstalk. This particular piece diverges from his past mediums and fosters a new creative expression for his Stargazer series. Setting apart from his simple visual expressions of the past, the artist intentionally wrote a couple paragraphs depicting scenes of his Stargazer series: an unexpected appearance of a long-missing starship, one that failed to follow the orbits on schedule, begins to bring possible odd futuristic images of the Earth. These images might be some sort of documentary, or perhaps prophecies of the future. Based on the narrative, Wang began an odyssey exploring the variety of phenomenon of civilization, natural environment, humanities, and societies. Through the means of painting, Wang presents his sci-fi imaginations among the visual borders between figurative and abstract art. The story of Wang’s Stargazer series can be traced back to the Voyager program, an unmanned American space exploration mission executed in the 1970s. Voyager 1 and Voyager 2, two space probes from the Voyager program, were launched in 1977. The original mission for these two space probes was to study planets of our system, however, they are still operating even to this day, becoming the farthest manmade objects from Earth. Voyager 1 has already reached the outer rims of the Solar System, about 18.6 billion kilometers from the Sun, while Voyager 2 has traveled around 15.24 billion kilometers from the Sun. Currently, astronomers are still in touch with both traveling probes as they continue to transmit data of the mysterious universe. Something noteworthy – the fact that both Voyager 1 and Voyager 2 were assigned not only to collect data of the universe but also to carry the microcosm of human civilization. Both voyagers bear a golden phonograph record, which contains pictures and sounds from Earth, along with directions of how to use the record and trace the location of our planet.1 This information serves as a guide for anyone – be it an interstellar civilization, aliens, or even the future human beings – to decipher our very own planet. This record resembles a time capsule thrown in the deep ocean as a
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An Extension of the World’s Ongoing Fable – A Reading of Leo Wang’s Stargazer
1. Cited from Wikipedia: https://zh.wikipedia.org/wiki/%E8%88%AA%E6%B5%B7%E5%AE%B6%E8%A8%88%E7%95%AB.
message in a bottle, waiting for the possibility of rediscovery in the unknown loops of the dark. In the objective world, space probes are given the mission to explore rationales of science and prophesize about the unknown future with sensibilities. Through Wang’s independent actions, he extends the chaos between reality and fabrication. The complex dimensions between time and space have clearly been Wang’s creative inspiration throughout his career. In his artist statement from his solo exhibition Visual Frontier in 2013, he wrote: I create a world on my canvas, one where spirit and body are disconnected. The ambiguity makes it impossible to define the border between one another. It is a boundless world where the self appears everywhere. The world on canvas consists of various elements, for instance, light and shadow, air and sounds, cultures and civilizations. By alienating the soul and body, I allow colors to blend into both borders, attempting to weave the world of my imagination, which is obscure yet crystal clear. The artist’s subjective intervention is the only way to interpret the objective world. Every message from the external world ought to go through an internal realization and comprehension, then transformed into an expression. If we agree that Wang adopts light, shadow, and colors as primary elements of paintings in his Visual Frontier series, his Stargazer series is built with an established structure, layered with complex visual symbols of his personal language. These scenarios hidden in the rifts between reality and fiction are given sci-fi texts and titles, as if the bewildering scenes, especially the colors and images, were immersed in a subtle sense of insecurity and anxiety. Phenomenon such as a city’s light pollution, endangered ocean species, desertification, plant and animal mutations caused by nuclear pollution, global warming, environmental impact of volcanic eruptions, the rapid development of artificial intelligence, and the lazy thinking in humanity are issues that refract a sense of inadaptability experienced by contemporary human beings toward the future.
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If we filter out most of the identifiable figurative symbols, Wang’s paintings are usually considered abstract. However, we cannot ignore the spontaneous feeling of an intriguing familiarity we often experience in viewing an artwork. A visual experience like this is particularly conspicuous in Stargazer series. The foggy, watery, misty atmosphere typical of Wang’s artistic style remain in this series, while the creation of organic color blocks as if they are sources of light, is situated between vertical and parallel lines. These clashing elements form wrinkled folds resembling the surface of a prism. Reminiscent of the repetitive rendezvous of space and time, these folds extend visual confines of the second dimension, developing complex dimensions of intertwined space and time. Apart from those mentioned above, the new works in the exhibition feature a greater amount of “figurative” elements, at least at the first sight. The reason I emphasize “at first sight” is that if you walk closer, the lights of the city or the cluster of buildings which you identify from the distance are soon transformed into abstract marks like layers of fragile fossils or a spontaneous flow. We need to keep a distance to see the whole picture. If we stand too close, we will lose our focus. Interestingly, the ambiguous way to facilitate an effective observation, unique to these work somehow echo the theme – “Stargazer” characterizes a human on the Earth who studies the Universe with either naked eyes or scientific devices. On another hand, perhaps a space probe that gazes at a distant blue planet, where it came from, as it reaches beyond the borders of the known world? Rather than concluding that Wang based his collection on written texts, it would be more fitting to say that Wang utilized the imaginative dimension of words skillfully, elevating the original poetic nature of paintings, utilizing the element of literature as a medium and applying them to existing visual forms. An indication of Wang’s extended creative boundaries, his play with established forms, executes his fantasies into actual practice. Those fables about the universe, civilization, myths, and history have not yet drawn their ends. The artist, with his multiple identities as both a participant and observer, brings these omnipresent stories into perpetuity. Art is truly Wang’s candor expression in an age of survival.
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An Extension of the World’s Ongoing Fable – A Reading of Leo Wang’s Stargazer
觀星者系列 — 蹤跡 1 Stargazer Series – Voltiger 1
岓䔅沃䉘 Oil on canvas
60×81cm / 2016
觀星者系列 — 蹤跡 2 Stargazer Series – Voltiger 2
岓䔅沃䉘 Oil on canvas
60×81cm / 2016
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觀星者
文
三年前，偶然的機會促成了一趟冰島之旅，去追尋小時候嚮往的極光。在漆黑的夜空中，望向整片如瀑 布般的極光，讓我在零下 15 度的空氣中感受到光的溫暖，而從遍佈星辰的夜空返回工作室之後，我開始 構思如何在創作中留住當下所感受到的「溫度」。
王 建 文
在構思的同時，我所在之地發生了重大恐攻事件，身邊的友人受到了波及，而這難忘的不安感，開始潛 伏在日常生活之中，也讓人加以思索。回溯許多歷史事件，再反思現今社會環境，總覺得有某層面的重 覆及相似。人類文明發展至今不斷持續地演進，留下許多美好事跡，但令人灰心的是戰爭從未曾改變， 工業革命後對環境的破壞也從未停止，這點深深抵觸了我內心追求和諧的思想。
在過去的創作中，我以光影與色彩作為主要的創作元素，嘗試讓畫面呈現如同音符般和諧之感，也許是 自己的一廂情願，認為世間萬物能夠如色彩般互相融合，但在經歷恐攻事件後，才真正地體會到現實與 理想的差距，然而傷痛與恐懼隨著時間慢慢癒合與散去後，我重新安排了手邊原有的創作，開始構思一 個建立於現實的幻想故事－「觀星者」：故事主角是個衛星，由於不明的原因進入了未知的平行時空， 觀察那方的你我，經過數年後回傳訊息，而在那平行世界所記錄下來的一切正是現實生活變向的影射， 人類文明將無法延續下去，歸還於虛無星塵中。在故事中的最後，科學家們選擇相信未來預言，著手尋 找可移民的星系。
也許生活在現今的你我也是在某個平行世界的劇本架構之中，我們該如何寫下故事的結局？ 如何讓迎向未來的生活變得更和諧與美好？
我們故事還在進行中，相信還有機會做出選擇。
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Artist Statement / 創作自述
STARGAZER
Metamorphoser 岓䔅沃䉘 Oil on canvas
60×81cm / 2015
Written by
Leo WANG
Three years ago, I set out on a voyage to Iceland in search of the Northern Lights – a natural phenomenon I have yearned to see since childhood. In utter darkness, I stared at what looked like a great waterfall – an aura that brought me the warmth of light in the thin air of minus 15 degrees Celsius. Returning from a night sky filled with countless stars to my studio, I started to brainstorm how I could possibly keep the “warmth” I felt and implement it in the creative process of my work. In the midst of planning my work, large-scale terrorist activities took over where I reside. People close to me suffered from these attacks and I began to feel a profound uncertainty that permeated my daily life. This uncertainty led me to look back at several historic events and connect them to the world I live in today. I felt duplicity and layering between the past and present. Despite the evolution of human civilization and its beautiful byproducts, war remains unchanged. Moreover, the constant destruction of the environment since the Industrial Revolution deeply conflicted with my philosophy of seeking peace. In the past, I mostly utilized light, shadows and colors as essential elements for my work. I tried to display a harmonic panorama like beautiful musical notes. Perhaps it is of my own sensibilities, thinking that all things on earth could merge without chaos just like colors. However, after witnessing these terrorist attacks, I realized the seemingly unbridgeable gap between reality and ideal. With the passing of time, my wounds and fear started to heal slowly and dissipate. I restarted with original plans for my works. I began brainstorming a fantasy set in reality – “Stargazer.” The main character is a satellite that has entered an unknown parallel universe, observing us from a distant location. After several years, the satellite resends messages. These messages from the parallel universe are a metaphor of a twisted reality and an indication that human civilization will eventually perish. At the end of the story, scientists choose to believe the prophecies of the future and begin to search for other potentially habitable galaxies. Perhaps we are living within the construct of a parallel universe play. How should we write the last act? Our stories are currently ongoing; for I believe there still lay chances to make right decisions.
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天堂與地獄交介之處，有一處稱為靈薄的混沌空間， 安排這一生中無所作為的人，無法上天堂安置， 也無法下地獄處治，永遠懸浮於混沌之中 .
源自於《神曲》但丁・阿利格耶里
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Limbo, a chaotic space, lays at an intersection between heaven and hell. There suffer those who did not sin, yet cannot be placed in heaven, and cannot go to hell. Their punishment is the eternal floating in chaos. Adapted from Dante Alighieri’s Divine Comedy
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觀星者
序 章 —文明篇— 二十世紀初期，星際觀測船（STR01） 於冬季來臨前的午夜 3 點 33 分升空， 12 分鐘後進入地球軌道。 環繞地球一圈半後，第三子火箭點火， 觀測船開始遠離地球航行， 但不知原因為何它尚未出現在預定地軌道中， 也從地面的觀測螢幕上消失⋯⋯
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STARGAZER SERIES PROLOGUE —Civilization— In the early twentieth century, star observation ship STR01 was launched at 3:33am the night before winter came. STR01 entered the orbits and circled the earth for one and a half round. After the circling the third rocket was ignited and STR01 started to travel away from earth. However, the ship did not appear at its original orbit and suddenly disappeared from the observation screen on land.
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岓䔅沃䉘 Oil on canvas
觀星者系列Ⅰ — 文明的上升 Stargazer Series I – Launch
130×324cm / 2016
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觀 星 者 系 列 Ⅰ
—
Stargazer Series I – Lost Starry Sky
Oil on canvas
岓 䔅 沃 䉘
88×230cm / 2017
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迷 失 的 星 空
—
Oil on canvas
遠 行 97×145cm / 2017
岓 䔅 沃 䉘
Stargazer Series I – Depart
觀 星 者 系 列 Ⅰ
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88.5×116.5cm / 2017
— 歸 鄉
Stargazer Series I – Return
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觀 星 者 系 列 Ⅰ Oil on canvas
岓 䔅 沃 䉘
—
Oil on canvas
未 知 的 淨 土
60×81cm / 2017
岓 䔅 沃 䉘
觀 星 者 系 列 Ⅰ
Stargazer Series I – Other Land
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第二章 —自然環境篇與人文社會篇— 幾年後，STR01 在月球軌道上突然出現， 科學家們嘗試與它聯絡， 它開始慢慢地傳回一些圖片。 在這幾年之中，此衛星除了傳送通訊以外， 其他運作機能正常， 地面上所傳送的電視訊號一一地被記錄下來。
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CHAPTER TWO —Natural Environment, Humanity and Society— After a few years, STR01 suddenly appeared in the orbit of the moon. Scientists attempted to connect with the ship and it started to transmit some photographs. During these past few years, the ship not only communicates, but also functions normally and records all the television signals sent from Earth.
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岓䔅沃䉘 Oil on canvas
觀星者系列Ⅱ — 紅色海洋 Stargazer Series II – Red Tide
130×324cm / 2016
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Stargazer Series II – Sky Desert
— 黃 色 的 天 空
Oil on canvas
88×230cm / 2017
觀 星 者 系 列 Ⅱ
岓 䔅 沃 䉘
— 傑 克 與 魔 豆
384×102cm / 2017
Mixed media (oil and acrylic on wood with acrylic sheets)
鐁 ⻉ 㪿 包 岓 䔅 㛇 ⩴ ⲇ 䔅 勏 卆 㛇 ⩴ ⲇ 曪
Stargazer Series II – Jack and the Beanstalk
觀 星 者 系 列 Ⅱ
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Oil on canvas
180×276cm / 2017
Stargazer Series II – Jack and the Beanstalk
—
傑 克 與 魔 豆
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岓 䔅 沃 䉘
觀 星 者 系 列 Ⅱ
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— 人 造 冰 山
Stargazer Series II – Artificiel Iceberg
Oil on canvas
岓 䔅 沃 䉘
161×258cm / 2017
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觀 星 者 系 列 Ⅱ
97×145cm / 2017
—
消 失 的 山 谷
Stargazer Series II – Lost Valley
觀 星 者 系 列 Ⅱ Oil on canvas 岓 䔅 沃 䉘
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—
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Stargazer Series II – The Second Renaissance
第 2 次 文 藝 復 興
Oil on canvas
161×258cm / 2017
觀 星 者 系 列 Ⅱ
岓 䔅 沃 䉘
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— 人 口 的 銳 減
Stargazer Series III – Population's Steep Decline
Oil on canvas
觀 星 者 系 列 Ⅱ 102×198.5cm / 2017
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岓 䔅 沃 䉘
第三章 —回歸星塵篇— 最後， 傳回些許影像之後， STR01 慢慢地遠離地球， 在暗啞的空間中航行， 執行新的計畫， 尋找下一個可以居住的星系。
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CHAPTER THREE —Return to the Stardust— Lastly, after sending several photographs, STR01 slowly left Earth and traveled in the darks and hollows of the universe. While seeking to execute new plans, STR01 was also on the lookout for the next livable galaxy.
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Oil on canvas
102×198.5cm/ 2017
— 森 Stargazer Series Ⅲ – Forest
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岓 䔅 沃 䉘
觀 星 者 系 列 Ⅲ
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觀 星 者 系 列 Ⅲ
Oil on canvas
102×198.5cm/ 2017
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岓 䔅 沃 䉘
Stargazer Series Ⅲ – Ocean
— 洋
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— 炙
Oil on canvas
102×198.5cm/ 2017
Stargazer Series Ⅲ – Heat
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觀 星 者 系 列 Ⅲ 岓 䔅 沃 䉘
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—
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Oil on canvas
102×198.5cm/ 2017
Stargazer Series Ⅲ – Earth
觀 星 者 系 列 Ⅲ
地
岓 䔅 沃 䉘
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觀 星 者 系 列 Ⅲ
—
Stargazer Series Ⅲ – Light
Oil on canvas
102×198.5cm/ 2017
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岓 䔅 沃 䉘
光
後 記 STR01 原定計畫是探索未知的星系， 在消失的幾年之中，進入了我們目前無法到達的緯度之中， 記錄下的畫面有 1/2 的可能性， 將成為我們的未來：城市光害、海洋生物滅絕、沙漠化、 核污染動植物變異、全球暖化、火山岩漿填地、 人工智能興起、人口的銳減、人性思維怠惰⋯⋯， 科學家們在接收到這些資訊後， 將其任務修改為尋找可居住星系。 現今社會的你我，該如何面對這些可能發生的未來， 又該做出什麼樣的選擇？
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EPILOGUE STR01 was originally launched for the purposes of discovering unknown galaxies. During the several years when the ship disappeared, it entered latitudes human beings could not reach. Of the photographs STR01 recorded, half of them could turn from possibilities into realities in the future: city light pollution, marine extinctions, desertification, animal and plant variation from nuclear pollution, global warming, volcano magmatic filling, the rise of artificial intelligence, decline of population, and cognitive laziness. After scientists received these predictions, they altered STR01’s mission to search for another galaxy suitable for human beings. How could you and me, citizens of the modern society, face these possible prophecies of the future? And how do we make the right decisions?
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詩序 觀星者
第一章 文明篇 如何成為一隻獨行的狼？ 當季風吹過
文
花開滿曠野 去年的死亡在
伊 格 言
雪與冰中融化 枯草葉沙沙親吻小腿 傷痕在心上降落，如此 親切纏綿
小 說 家 、 詩 人
風中我凝望遠方 世界啊，你像一個 一再失約的人
第二章 自然環境篇與人文社會篇 如何仰望 如何仰望星辰？ 當潮浪來回 脊骨於時間中硬化 美人魚的歌聲凝結於 永不解凍的遠方 下沉，仰躺，深海無光 一萬公尺的寂寞啊
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驀然想起 前世，我亦或曾 死於海洋 活著，誠實地複製 某些表情： 眼睛的遲疑 眉毛的耳語 鼻梁的憤怒 唇瓣的羞恥 每日晨起，凝視鏡中的自己 爽快承認：生命除此之外 別無長物 如何信仰愛與真誠？像是 一顆蘋果樹誠實地結出蘋果 一個橘子誠實地 被榨取汁液── 如何信仰活著？在一個 一切皆死去的世界裡 睡著時張開雙眼，輾轉反側 夢中確診所有 來年的病症： 眼睛的遲疑 眉毛的耳語 鼻梁的憤怒 唇瓣的羞恥 ..... 世界啊，你像一個 處心積慮的謊言
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第三章 回歸星塵篇 記住我 記住未來 記住歌唱 因為它唱出了月亮 記住海洋，因為它 沒有翅膀卻能飛翔 記住魚，記住轉瞬即逝的浪花 記住渴望 記住早晨的鳥聲裡 宿命的歡愉 與悲傷 而生活始終比失水的皮膚更乾燥啊不是嗎 擁抱失約的戀人一如 擁抱群星： 生長，盛開 腐爛，消亡 俯瞰舷窗 你是地球的昨日 回頭，島嶼在我的心上
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FOREWORD TO STARGAZER
Written by
Egoyan ZHENG Novelist, poet
Chapter One Civilization How to become a lone wolf ? As the seasonal winds blow, And flowers blossom around the wilderness The death of last year Is melting in snow and ice. The dried leaves rustle to kiss the calves A wound lands on the heart, with such Sweet gentleness and intimacy In the wind I look into the distance. Oh World, you are like The one who never kept a promise.
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Chapter Two Natural Environment, Humanity and Society How to gaze How to gaze into the stars? When the wave comes and goes The spine stiffen in the passage of time. Mermaids’ singing crystalized in The never-melting faraway land Sinking, lying down, the deep sea where no light penetrates. Ten-thousand meters of loneliness. Then I am suddenly reminded Of my previous life, that I have once Died in the ocean. To live, is to duplicate with sincerity Of certain expressions: Hesitation of the eyes Whisper of the eyebrows Anger of the nose bridge Shame of the lips As I wake up every morning, I stare at myself in the mirror Ready to confess: there is nothing about life Other than this. How to believe in love and sincerity? Like An apple tree that is faithfully bearing apples An orange Squeezed with sincerity How to believe in being alive? In a world Where everything is dying slowly With the eyes open in the sleep, tossing and turning The dream has confirmed The syndrome of all these years: Hesitation of the eyes Whisper of the eyebrows Anger of the nose bridge Shame of the lips‌ Oh world, you are like A carefully-schemed lie.
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Chapter Three Return to the Stardust Remember me Remember the future Remember the singing Because it sings about the Moon Remember the Ocean, because it Flies without wings Remember the fish, remember the ephemeral splashes Remember the desire Remember the destined pleasure And sorrow From the chirping tunes of morning birds But is not life always rougher than the dried skin? To embrace the lover who fails to keep the promise Is like embracing the stars To grow, to blossom To decay, to perish Looking out from the ship window You are the yesterday of the Earth Looking back, the island is right here on my heart.
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2014-2016 歷年創作
PAST WORKS
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岓䔅沃䉘 Oil on canvas
冷山
162×520cm / 2014
Cold Mountain
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藍 色 結 構
Composition en Blue
Oil on canvas
162×390cm/ 2014
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岓 䔅 沃 䉘
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靛 青 結 構
Composition en Indigo
Oil on canvas
162×390cm/ 2014
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岓 䔅 沃 䉘
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Composition en Rouge
Oil on canvas
岓 䔅 沃 䉘
162×390cm/ 2014
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紅 色 結 構
綻放 1 En Fleur 1
綻放 3 En Fleur 3
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岓䔅沃䉘 Oil on canvas
綻放 2 En Fleur 2
72.5×53cm / 2014
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岓䔅沃䉘 Oil on canvas / 97×145.9cm / 2014
Possibilités
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岓䔅沃䉘 Oil on canvas / 112×162cm / 2014
Varier
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岓䔅沃䉘 Oil on canvas / 112×162cm / 2014
Aube
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岓䔅沃䉘 Oil on canvas / 112×162cm / 2014
Reunir
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岓䔅沃䉘 Oil on canvas / 98×183cm / 2015
Composition en Espace
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岓䔅沃䉘 Oil on canvas / 98×183cm / 2015
Composition en Temps
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岓䔅沃䉘 Oil on canvas / 96×145cm / 2015
Composition en Space Temps ρ
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岓䔅沃䉘 Oil on canvas / 96×145cm / 2015
Composition en Space Temps λ
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岓䔅沃䉘 Oil on canvas / 60×81cm / 2015
Reaction I
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岓䔅沃䉘 Oil on canvas / 60×81cm / 2015
Reaction II
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Atlantis
Oil on canvas
80×80cm×3/ 2015
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岓 䔅 沃 䉘
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Oil on canvas
80×115cm×2/ 2015
La Sérénade
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岓 䔅 沃 䉘
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Oil on canvas
81×116cm×2/ 2015
Odeur
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岓 䔅 沃 䉘
岓䔅沃䉘 Oil on canvas / 60×81cm / 2015
Chanson
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岓䔅沃䉘 Oil on canvas / 81×60cm / 2015
Odeur(S)
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王建文 1981 年出生於台灣台北，長年旅居法國巴黎，2012 年自法國國 立巴黎第八大學取得新媒體藝術歐盟碩士學位，2006 年至 2011 年曾多 次受邀參展法國首都藝術展（Art en Capital Salon du Dessin et de la Peinture à
l'Eau），並參與台北君品酒店手繪壁畫，作品曾於台北、巴黎、倫敦、 新加坡展出。尋著古老建築、街道光影、音樂為線索，拆解及重建出的 平行世界，充滿寧靜且優雅的氛圍。
王建文 Leo WANG
Leo Wang was born in 1981 in Taipei, Taiwan. Currently, he lives and works in Paris, France. In 2012, he received a Master’s degree in Contemporary Art and New Media from the Université de Paris VIII, France. Wang exhibited in Art en Capital Salon du Dessin et de la Peinture à l'Eau at Grand Palais, France, from 2006 to 2011. He also participated in designing the art wall murals in Palais de Chine Hotel in Taipei. His artworks have been exhibited in Taipei, Paris, London, and Singapore. He looks at old buildings, streets, light, and music in different cities, dismantles and reconstructs the images of a new parallel world. The atmosphere in Leo Wang’s artworks is full of elegance and is very welcoming.
b.1981
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學歷 2012 法國國立巴黎第八大學，新媒體藝術歐盟碩士，巴黎，法國 2006 法國國立巴黎第八大學，造型藝術系碩士，巴黎，法國 2004 法國國立巴黎第八大學，造型藝術系學士，巴黎，法國 2003 法國國立高等美術學院，版畫工作室進修，巴黎，法國
個展 2017 「王建文個展－觀星者」，尊彩藝術中心，台北，台灣 2013 「視覺邊境－王建文個展」，尊彩藝術中心，台北，台灣 2007 「印象」， Galerie Étienne de Causans ，巴黎，法國 2006 「距離」， Galerie Étienne de Causans ，巴黎，法國 「距離」， Galerie La Compagnie des Arts ，巴黎，法國
2005 「印象」， Galerie La Companie des Arts ，巴黎，法國
聯展 2017 「 2017 福爾摩沙藝術博覽會」，松山文化創意園區，台北，台灣 2015 「 2015 高雄藝術博覽會」，駁二藝術特區，高雄，台灣 「閱讀藝術 II —夏祭聯展」，尊彩藝術中心，台北，台灣 「 2015 台中藝術博覽會」，台中日月千禧酒店，台中，台灣 「 Art15 London 」，倫敦奧林匹亞展會中心，倫敦，英國 「三月三日天氣新」，尊彩藝術中心，台北，台灣
2014 「 2014 高雄藝術博覽會」，駁二藝術特區，高雄，台灣
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「 2014 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「台灣美術散步道： 1927-2014 」，尊彩藝術中心，台北，台灣 「 Art14 London 」，倫敦奧林匹亞展會中心，倫敦，英國 「親親我的寶貝－愛的禮物」，尊彩藝術中心，台北，台灣 「藝術登陸新加坡藝術博覽會」，濱海灣金沙會展中心，新加坡
2013 「 2013 台北國際藝術博覽會」，台北世界貿易中心，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
2012 「 2012 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「光與詩人－郭英聲、王建文聯展」，尊彩藝術中心，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 「如果是小王子－七位新銳藝術家聯展」，尊彩藝術中心，台北，台灣
2011 「法國首都藝術展」，巴黎大皇宮，巴黎，法國 2010 「法國首都藝術展」，巴黎大皇宮，巴黎，法國 「這個時代對靜物的看法」，一票人票畫空間，台北，台灣
2009 「故事島」，一票人票畫空間，台北，台灣 「法國首都藝術展」，巴黎大皇宮，巴黎，法國
2008 「羅浮宮現代藝術展」，巴黎羅浮宮，巴黎，法國 「法國首都藝術展」，巴黎大皇宮，巴黎，法國
2007 「法國首都藝術展」，巴黎大皇宮，巴黎，法國 2006 「法國首都藝術展」，巴黎大皇宮，巴黎，法國
典藏 2017 《觀星者系列－蹤跡 2 》，藝術銀行，台中，台灣 2016 《 Rugir 》，藝術銀行，台中，台灣 2014 《冷山》，國立台灣美術館，台中，台灣
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EDUCATION 2012
MSc, Contemporary Art and New Media, Université de Paris VIII, Paris, France
2006
MSc, Plastic Arts, Université de Paris VIII, Paris, France
2004
BA, Plastic Arts, Université de Paris VIII, Paris, France
2003
CAS, Printmaking, École Nationale Supérieure des Beaux-Arts, Paris, France
SOLO EXHIBITIONS 2017
“Leo Wang Solo Exhibition – Stargazer”, Liang Gallery, Taipei, Taiwan
2013
“Visual Frontier”, Liang Gallery, Taipei, Taiwan
2007
“Impréssion”, Galerie Étienne de Causans, Paris, France
2006
“Distance”, Galerie Étienne de Causans, Paris, France “Distance”, Galerie La Compagnie des Arts, Paris, France
2005
“Impréssion”, Galerie La Compagnie des Arts, Paris, France
GROUP EXHIBITIONS 2017
“ArtFormosa 2017”, Songshan Cultural and Creative Park, Taipei, Taiwan
2015
“Art Kaohsiung 2015”, The Pier-2 Art Center, Kaohsiung, Taiwan “Art in the Library II – Summer Festival Exhibition”, Liang Gallery, Taipei, Taiwan “Art Taichung 2015”, Millennium Hotels, Taichung, Taiwan “Art15 London”, Olympia Grand, London, UK “Freshness of March”, Liang Gallery, Taipei, Taiwan
2014
“Art Kaohsiung 2014”, The Pier-2 Art Center, Kaohsiung, Taiwan
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“Art Taipei 2014”, Taipei World Trade Center, Taipei, Taiwan “Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan “Art14 London”, Olympia Grand, London, UK “Kiss Kiss My Baby Charity Event”, Liang Gallery, Taipei, Taiwan “Art Stage Singapore 2014”, Marina Bay Sands, Singapore 2013
“Art Taipei 2013”, Taipei World Trade Center, Taipei, Taiwan “Art Kaohsiung 2013”, Chateau de Chine, Kaohsiung, Taiwan “Beautiful Starry Night Sky”, Liang Gallery, Taipei, Taiwan
2012
“Art Taipei 2012”, Taipei World Trade Center, Taipei, Taiwan “Eternal Light: Joint Exhibition of Quo Ying-Sheng and Leo Wang”, Liang Gallery, Taipei, Taiwan “Exploring With a Balloon: Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “Le Petit Prince”, Liang Gallery, Taipei, Taiwan
2011
“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France
2010
“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France “Still Life”, Piao Piao Gallery, Taipei, Taiwan
2009
“Island of Story”, Piao Piao Gallery, Taipei, Taiwan “Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France
2008
“Exposition d'Art Contemporain”, The Carrousel du Louvre, Paris, France “Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France
2007
“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France
2006
“Art en Capital Salon du Dessin et de la Peinture à l'Eau”, Grand Palais, Paris, France
COLLECTIONS 2017
Stargazer – Voltiger 2, Taiwan Art Bank, Taichung, Taiwan
2016
Rugir, Taiwan Art Bank, Taichung, Taiwan
2014
Cold Mountain, National Taiwan Museum of Fine Arts, Taichung, Taiwan
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Catalog 圖錄
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13
13
9
觀星者系列 — 徑
觀星者系列 — 蹤跡 1
觀星者系列 — 蹤跡 2
Stargazer Series – Chemin
Stargazer Series – Voltiger 1
Stargazer Series – Voltiger 2
油彩 / 畫布 Oil on canvas
102×198.5cm 2016
60×81cm 2016
油彩 / 畫布 Oil on canvas
Metamorphoser 油彩 / 畫布 Oil on canvas
60×81cm 2015
60×81cm 2016
觀星者系列Ⅰ — 文明的上升
觀星者系列Ⅰ — 迷失的星空
Stargazer Series I – Launch
Stargazer Series I – Lost Starry Sky 130×324cm 2016
油彩 / 畫布 Oil on canvas
油彩 / 畫布 Oil on canvas
88×230cm 2017
28 25
26 23
24
Oil on canvas
22 25
20 23
15
油彩 / 畫布
觀星者系列Ⅰ — 遠 行
觀星者系列Ⅰ — 歸 鄉
觀星者系列Ⅰ—未知的淨土
Stargazer Series I – Depart
Stargazer Series I – Return
Stargazer Series I – Other Land
油彩 / 畫布 Oil on canvas
97×145cm 2017
88.5×116.5cm 2017
油彩 / 畫布 Oil on canvas
- 102 -
油彩 / 畫布 Oil on canvas
60×81cm 2017
36
34
32
觀星者系列Ⅱ — 紅色海洋
觀星者系列Ⅱ — 黃色的天空
Stargazer Series II – Red Tide
Stargazer Series II – Sky Desert
油彩 / 畫布 Oil on canvas
130×324cm 2016
88×230cm 2017
油彩 / 畫布 Oil on canvas
複合媒材（油彩、壓克力彩、木板、壓克力片） Mixed media (oil and acrylic on wood with acrylic sheets)
42 25
40 23
38
觀星者系列 II －傑克與魔豆 384×102cm/2017 Stargazer Series II – Jack and the Beanstalk
觀星者系列Ⅱ — 傑克與魔豆
觀星者系列Ⅱ — 人造冰山
觀星者系列Ⅱ — 消失的山谷
Stargazer Series II – Jack and the Beanstalk
Stargazer Series II – Artificiel Iceberg
Stargazer Series II – Lost Valley
油彩 / 畫布 Oil on canvas
180×276cm 2017
161×258cm 2017
油彩 / 畫布 Oil on canvas
Oil on canvas
觀星者系列Ⅱ — 第 2 次文藝復興
觀星者系列Ⅱ — 人口的銳減
觀星者系列Ⅲ — 森
Stargazer Series II – The Second Renaissance
Stargazer Series III – Population's Steep Decline
Stargazer Series Ⅲ – Forest
油彩 / 畫布 Oil on canvas
161×258cm 2017
97×145cm 2017
50 25
46 23
44
油彩 / 畫布
102×198.5cm 2017
油彩 / 畫布 Oil on canvas
- 103 -
油彩 / 畫布 Oil on canvas
102×198.5cm 2017
54
52
56
觀星者系列Ⅲ — 洋
觀星者系列Ⅲ — 炙
觀星者系列Ⅲ — 地
Stargazer Series Ⅲ – Ocean
Stargazer Series Ⅲ – Heat
Stargazer Series Ⅲ – Earth
油彩 / 畫布 Oil on canvas
102×198.5cm 2017
102×198.5cm 2017
油彩 / 畫布 Oil on canvas
68
58
油彩 / 畫布 Oil on canvas
70
觀星者系列Ⅲ — 光
冷山
藍色結構
Stargazer Series Ⅲ – Light
Cold Mountain
Composition en Blue
油彩 / 畫布 Oil on canvas
102×198.5cm 2017
162×520cm 2014
油彩 / 畫布 Oil on canvas
74
72
油彩 / 畫布 Oil on canvas
靛青結構
紅色結構
綻放 1
Composition en Rouge
En Fleur 1
Oil on canvas
162×390cm 2014
162×390cm 2014
76
Composition en Indigo 油彩 / 畫布
102×198.5cm 2017
162×390cm 2014
油彩 / 畫布 Oil on canvas
- 104 -
油彩 / 畫布 Oil on canvas
72.5×53cm 2014
77
76
78
綻放 3
綻放 2
En Fleur 3
En Fleur 2
油彩 / 畫布 Oil on canvas
72.5×53cm 2014
油彩 / 畫布 Oil on canvas
Possibilités 72.5×53cm 2014
80
79
Varier 油彩 / 畫布 Oil on canvas
112×162cm 2014
Composition en Espace 98×183cm 2015
97×145.9cm 2014
81
Reunir 112×162cm 2014
油彩 / 畫布 Oil on canvas
83
Oil on canvas
Oil on canvas
Aube
82
油彩 / 畫布
油彩 / 畫布
油彩 / 畫布 Oil on canvas
112×162cm 2014
84
Composition en Temps 98×183cm 2015
油彩 / 畫布 Oil on canvas
- 105 -
Composition en Space Temps ρ 油彩 / 畫布 Oil on canvas
96×145cm 2015
86
85
Composition en Space Temps λ 油彩 / 畫布 Oil on canvas
87
Reaction I
96×145cm 2015
Reaction II 60×81cm 2015
油彩 / 畫布 Oil on canvas
90 25
88 23
Atlantis 油彩 / 畫布 Oil on canvas
Chanson 油彩 / 畫布 Oil on canvas
80×115cm×2 2015
油彩 / 畫布 Oil on canvas
Odeur(S) 60×81cm 2015
60×81cm 2015
Odeur
95 25
94 23
Oil on canvas
92
La Sérénade 80×80cm×3 2015
油彩 / 畫布
81×60cm 2015
油彩 / 畫布 Oil on canvas
- 106 -
油彩 / 畫布 Oil on canvas
81×116cm×2 2015
- 107 -
發行人 Executive Director
余彥良 YU Yen-Liang
總經理 Director
陳菁螢 Claudia CHEN
出版者 Publisher
尊彩國際藝術有限公司 Liang Gallery Co., Ltd.
策劃編輯 Editor 翻譯 Translation
修天容 Daisy SHIOU 白斐嵐、李樂蓉 Siraya PAI, Laura LYGAITYTE
展場執行 Display Executive
洪鼎鈞 HONG Ding-Jiun
燈光設計 Lighting
何仲昌 HO Chung-Chang
攝影 Photographer 設計 Designer 特別感謝 Special Thanks
印刷 Printing
劉光智、黃嘉達 KC, JD 劉銘維 LIU Ming-Wei 伊格言 Egoyan ZHENG
日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd.
出版 Publishing Date
2017 年 8 月初版
ISBN
978-986-94070-4-5
First Edition, August, 2017