王建揚宅境漫遊 | Wang Chien-yang A House Odyssey by Liang Gallery

2012 A House Odyssey Introduction

2012 宅境漫遊文 / 車守彬

宇宙少女太空歷險記 2012 噴墨輸出藝術相紙 110×185cm

「宅」（House）是人生出發的起始點，是寒冬溫暖的歸宿，也是可靠「宅」（House）是人生出發的起始點，是寒冬溫暖的歸宿，也是可靠信賴的堡壘。然而，在信賴的堡壘。然而，在 2012 年 2012 12 月年 21 12 日過後，你我熟悉的「宅」月 21 日過後，你我熟悉的「宅」是否依舊？能否依舊？當末日降臨，每個人所擁有獨一無二的「宅」是否依舊？能否依舊？當末日降臨，每個人所擁有獨一無二的「宅」，，都將面對上天最最公平的對待—無差別的毀滅、歸零。不論你的身家都將面對上天最最公平的對待—無差別的毀滅、歸零。不論你的身家財產，也不問你的天賦才情，更不計量你的社會價值，財產，也不問你的天賦才情，更不計量你的社會價值，「末日」展現「末日」展現出大自然真正的公義無私，且毋須顧慮民意。出大自然真正的公義無私，且毋須顧慮民意。

2012 年，是古瑪雅文明預言末日發生的一年，2012 2012 年，是古瑪雅文明預言末日發生的一年，2012 年，同時也是王年，同時也是王建揚藝建術揚創藝作術內創涵作劇內烈涵轉劇變烈的轉一變年。史的一年。史丹利庫丹伯利力庫克（Stanley 伯力克（Stanley 作者簡歷

Kubrick）在 Kubrick）在其執導其的執經導典的科經幻典片「2001 科幻片「2001 太空漫太遊」空（2001：A 漫遊」（2001：A Space Space

車守彬，台北人，2008年畢業於國立臺南藝術大學建築藝術研究所理論創作組（MFA）。現為獨立設計師，擅長跨領域理論創作，涉足建築、室內、產品、平面…等各式設計領域之創作、顧問及論述，並擔任馬偕醫護管理專科學校兒童環境規劃課程講師。

Odyssey）中，透過精闢的影像語言，述說關於智慧生命起源的探尋 Odyssey）中，透過精闢的影像語言，述說關於智慧生命起源的探尋與回歸課題；而藝術家則希望透過本次展覽體系，呈現出自身對作品與回歸課題；而藝術家則希望透過本次展覽體系，呈現出自身對作品概念、創作行為與藝術生涯上，多重面向的脈絡漫遊。概念、創作行為與藝術生涯上，多重面向的脈絡漫遊。

004

喪失了邁步向前的勇氣？〈宅〉系列是王建揚藝術生涯的起點，也是喪失了邁步向前的勇氣？〈宅〉系列是王建揚藝術生涯的起點，也是社會大眾對他熟悉的符號，更是種快速尋求世俗認同的捷徑。然而，社會大眾對他熟悉的符號，更是種快速尋求世俗認同的捷徑。然而，對 2012 對瑪雅末日預言的深思，引發了藝術家對自身創作轉型的靈感： 2012 瑪雅末日預言的深思，引發了藝術家對自身創作轉型的靈感：藝術家之於作品就有如造物主般的存在，倘若〈宅〉系列要終結，也藝術家之於作品就有如造物主般的存在，倘若〈宅〉系列要終結，也

2012 A House Odyssey Introduction

人會懷舊，因為惦記過往的單純與穩定；但在緬懷的過程中，是否也人會懷舊，因為惦記過往的單純與穩定；但在緬懷的過程中，是否也

就相當於作品末日的降臨吧，藝術家如此思索著…。就相當於作品末日的降臨吧，藝術家如此思索著…。

末日前夕，日出依舊— 末日前夕，日出依舊— 〈宅外傳澳洲篇〉〈宅外傳澳洲篇〉

當還不確定末日是否降臨之前，太陽還是會盡職地昇起吧！此系列是當還不確定末日是否降臨之前，太陽還是會盡職地昇起吧！此系列是西班牙鬥牛女孩 2011

〈宅〉系列作品的延續，一樣的住宅環境、一樣的居家物件、一樣的〈宅〉系列作品的延續，一樣的住宅環境、一樣的居家物件、一樣的噴墨輸出藝術相紙裸體姿態，唯一的差別在於，取景國度開拔到了澳洲；澳洲的住宅、裸體姿態，唯一的差別在於，取景國度開拔到了澳洲；澳洲的住宅、

100×90cm

澳洲的居家、澳洲的人物，相同的創作形式，差異化的內容布局，讓澳洲的居家、澳洲的人物，相同的創作形式，差異化的內容布局，讓人感受「異國宅」魅力。人感受「異國宅」魅力。

饗宴、慶典，說好的末日呢？—〈幻想世界〉饗宴、慶典，說好的末日呢？—〈幻想世界〉

都要末日了，盡情宅下去吧— 都要末日了，盡情宅下去吧— 〈宅境〉〈宅境〉

是夢境？還是真實？這喧鬧的鬥牛慶典，這豐盛的甜點饗宴，這漫步是夢境？還是真實？這喧鬧的鬥牛慶典，這豐盛的甜點饗宴，這漫步雲端的天上人間，這如同老影集中的西部牛仔場景，末日有來過嗎？雲端的天上人間，這如同老影集中的西部牛仔場景，末日有來過嗎？

有別於以往的〈宅〉系列，常透過模特兒高超的肢體技巧與空間環境有別於以往的〈宅〉系列，常透過模特兒高超的肢體技巧與空間環境末日過去了嗎？一連串的〈幻想世界〉，是繼〈宅〉系列後的全新系末日過去了嗎？一連串的〈幻想世界〉，是繼〈宅〉系列後的全新系互動，達成驚豔的視覺感受。本系列作品的肢體表現較為靜態，更多互動，達成驚豔的視覺感受。本系列作品的肢體表現較為靜態，更多列作品。藝術家透過「編導式攝影」手法，從主題、搭景、劇情、角列作品。藝術家透過「編導式攝影」手法，從主題、搭景、劇情、角是將人體也視作眾多物件與布置的一部分，強調模特兒與其喜愛的生是將人體也視作眾多物件與布置的一部分，強調模特兒與其喜愛的生色，全盤掌控；不同於早前〈宅〉系列受限現成居家環境條件，〈幻色，全盤掌控；不同於早前〈宅〉系列受限現成居家環境條件，〈幻活物件間如何產生互動；畢竟末日來臨前，大多數人還是會想擁抱著活物件間如何產生互動；畢竟末日來臨前，大多數人還是會想擁抱著想世界〉採取更自主的空間場域布局，與更全方位的情境式安排，帶想世界〉採取更自主的空間場域布局，與更全方位的情境式安排，帶自己喜愛的事物進入夢鄉吧！自己喜愛的事物進入夢鄉吧！

給觀者沉浸式的想像世界。給觀者沉浸式的想像世界。

005

2012 A House Odyssey Introduction

〈宅視訊〉系列 2012 燈箱 21×35cm (一件)

遠古壁畫，末日紀實？— 〈20121222〉繪畫遠古壁畫，末日紀實？— 〈20121222〉繪畫

給後世的瓶中信— 〈宅視訊〉給後世的瓶中信— 〈宅視訊〉

方舟、逃亡、爆炸？這就是我們祖先的樣貌？他們是這樣逃出來的？粗糙、模糊、直接而真實，透過視訊鏡頭，遠端遙控而成的〈宅〉作粗糙、模糊、直接而真實，透過視訊鏡頭，遠端遙控而成的〈宅〉作方舟、逃亡、爆炸？這就是我們祖先的樣貌？他們是這樣逃出來的？牆壁上一連串的手繪圖畫告訴我們，末日真的降臨過，世界真的毀滅品。缺乏細膩感與精準度，卻更強而有力地傳達出作品拍攝的臨場品。缺乏細膩感與精準度，卻更強而有力地傳達出作品拍攝的臨場牆壁上一連串的手繪圖畫告訴我們，末日真的降臨過，世界真的毀滅過，我們不是無中生有，我們是從一個叫地球的地方逃難移民出來的。感；如同〈宅〉系列的側拍紀錄般，保留了藝術家在創作當下最原始感；如同〈宅〉系列的側拍紀錄般，保留了藝術家在創作當下最原始過，我們不是無中生有，我們是從一個叫地球的地方逃難移民出來的。地球還存在嗎？毀滅如何發生的？除了我們，廣闊的宇宙中還有其他的創作精髓。的創作精髓。地球還存在嗎？毀滅如何發生的？除了我們，廣闊的宇宙中還有其他倖存者嗎？這些疑問無人能解，我們知道的，是壁畫告訴我們的：我倖存者嗎？這些疑問無人能解，我們知道的，是壁畫告訴我們的：我們有故鄉，我們並不孤單。們有故鄉，我們並不孤單。

壁畫上末日發生前的世界是何樣貌？末日後的人們應該會提出這些疑壁畫上末日發生前的世界是何樣貌？末日後的人們應該會提出這些疑問吧，一切一切的疑問，就讓這些紀錄影像來為他們解答吧！希望人問吧，一切一切的疑問，就讓這些紀錄影像來為他們解答吧！希望人

對創作者而言，一系列作品的創作與思考醞釀，就如同在自己的內心們能看到這些，希望這關於〈宅〉的一切不會被遺忘，現在是2012年們能看到這些，希望這關於〈宅〉的一切不會被遺忘，現在是2012年對創作者而言，一系列作品的創作與思考醞釀，就如同在自己的內心創造一齣史詩巨作，在安排每一個作品結構與自身創作歷程間的關係。 12月21號的凌晨，親愛的朋友，我們明天見…。 12月21號的凌晨，親愛的朋友，我們明天見…。創造一齣史詩巨作，在安排每一個作品結構與自身創作歷程間的關係。〈末日〉系列繪畫可說是藝術家這一年來創作歷程的總結；身為一個〈末日〉系列繪畫可說是藝術家這一年來創作歷程的總結；身為一個攝影藝術家，卻提起畫筆，使用最直觀而必須漫長繪製的油畫媒材，攝影藝術家，卻提起畫筆，使用最直觀而必須漫長繪製的油畫媒材，透過詼諧逗趣的玩具物件與嚴肅恐怖的末日預言的轉喻結合，闡述著透過詼諧逗趣的玩具物件與嚴肅恐怖的末日預言的轉喻結合，闡述著自身創作思緒與情感的轉化。自身創作思緒與情感的轉化。

006

2012 A House Odyssey Introduction

2012 A House Odyssey Statement Article / Che Shou-Pin

A house the starting point for a person’s is a shelter A house is the is starting point for a person’s life. Itlife. is a It shelter that that protects us against the seasons, as a reliable fortress. protects us against the seasons, as wellasaswell a reliable fortress. Yet,December after December 21, 2012, our perception the house Yet, after 21, 2012, will ourwill perception of the of house the same? it be the same? theofend the world remainremain the same? Can it Can be the same? As theAs end the of world approaches, willthe face the same fate:will they approaches, every every househouse will face same fate: they allwill be all be

Universe Adventure 2012 Inkjet on Art Photography Paper 110×185cm

About the Author:

obliterated into dust. Regardless of wealth, or social obliterated into dust. Regardless of wealth, talent,talent, or social

exhibition, the presents artist presents an odyssey that explores a exhibition, the artist an odyssey that explores a

are equal theof eyes of nature when doomsday status,status, all areall equal in the in eyes nature when doomsday hits. hits.

multitude of directions in terms of artistic concepts and creative multitude of directions in terms of artistic concepts and creative

opinion becomes irrelevant. PublicPublic opinion becomes irrelevant.

processes. processes.

C h e S h o u - P i n , Ta i p e i . G r a d u a t e d from Graduate Institute of A r c h i t e c t u r e , Ta i n a n N a t i o n a l University of the Arts with a major in Theoretical Art (MFA). Currently, an independent designer specializing in

to reminisce thebecause past because everything like to like reminisce about about the past everything According the ancient civilization, 2012 marks the year PeoplePeople According to the to ancient MayanMayan civilization, 2012 marks the year that the world will This end. happens This happens to coincide with the year that the world will end. to coincide with the year

Involved in the creation, consultation,

purermore and stable more stable our memories. However, seemsseems purer and in our in memories. However, does adoes aan d

of nostalgia from ﬁnding the courage to of nostalgia hinderhinder peoplepeople from ﬁnding the courage to that marks a turning point in Wang Chien-Yang’s artworks. that marks a turning point in Wang Chien-Yang’s artworks. In the In the sense sense Odyssey, directed by Stanley Kubrick, movie,movie, 2001: 2001: SpaceSpace Odyssey, directed by Stanley Kubrick,

interdisciplinar y theoretical ar t.

forward? The House marked the beginning to move move forward? The House series series marked the beginning to

discussion of projects in

architectural, interior, product, planar, and other various ﬁelds of design. Also, a lecturer for a children’ s environment planning course at

Wang’s It isthe also the series that made him famous artisticartistic career.career. It is also series that made him famous brilliant language is to used to narrate story about a search Wang’s brilliant visual visual language is used narrate a storya about a search a return the origins of intelligent life. for And, for andfora and return to the to origins of intelligent life. And, thisfor this

and publicly recognized. Yet, reﬂecting upon the Mayan and publicly recognized. Yet, reﬂecting upon the Mayan

Mackay Medicine, Nursing and Management College.

007

2012 A House Odyssey Introduction

prediction of the in world in the 2012, thefound artist the found the prediction for the for endthe of end the world 2012, artist

performed performed by models by models with a spatial with a spatial environment. environment. This series, This series,

inspiration he needed to change his artistic style: anisartist however, features features static poses. static poses. The human The human ﬁgure is ﬁgure treated is treated like a like a inspiration he needed to change his artistic style: an artist like is like however, a creative their works. If the House series is coming prop the within scene. the scene. This emphasizes This emphasizes the interaction the interaction between between a creative god of god theirofworks. If the House series is coming to an to an prop within end,isn’t then it bit a little of the from worldanfrom end, then it aisn’t little like bit thelike endthe of end the world art an art

modelsmodels and their and favorite their favorite items initems dailyinlife. daily When life. the When endthe is near, end is near,

creation perspective? Theapparently artist apparently thinks so... creation perspective? The artist thinks so...

most people most people would probably would probably want towant holdto onto hold their onto favorite their favorite items items before before they die! they die!

On theOn eve the of eve Doomsday, of Doomsday, the Sun theRises Sun Rises as it Always as it Always Has —Has — Melbourne Melbourne HouseHouse

Let us Let Feast us Feast and Celebrate! and Celebrate! WhereWhere is the supposed is the supposed end ofend of the world? the world? - Universe - Universe Adventure Adventure

Spanish Bullfighter 2011 While itWhile is unclear it is unclear when the when endthe willend come, will come, every sunrise every sunrise continues continues Inkjet on Art Photography Paper to appear to appear the same! the same! This series This is series a continuation is a continuation of the House of the House Is 100×90cm

series, series, with it is with useit of is home use ofscenery, home scenery, household household objects, objects, and and

this aIsdream this a dream or reality? or reality? A celebration A celebration of bullfighting of bullfighting filled with filled with

commotion commotion and a feast and awith feast allwith kinds allofkinds desserts of desserts - is this- life is this life

nudity. nudity. The only The difference only difference is that itis was that shot it was in shot a different in a different country. country. amongst amongst the heavens? the heavens? These are These scenes are scenes from a from classic a classic Western Western Australian Australian residences, residences, homes,homes, and people and people are featured are featured in the in the

movie. movie. Did theDid endthe of end the world of thealready world already happen? happen? Did doomsday Did doomsday

same way same asway theyas were theyinwere the previous in the previous series. series. Only the Only the

occur already? occur already? The Universe The Universe Adventure Adventure series is series an entirely is an entirely new new

arrangement arrangement appears appears different, different, which invokes which invokes a sensea of sense charm of charm

series following series following the House the House series. series. Using “directorial Using “directorial techniques techniques to to

with “homes with “homes in a exotic in a and exotic distant and distant land.” land.”

shoot photos,” shoot photos,” the artist thetakes artistfull takes control full control of the theme, of the theme, setting,setting, scene, scene, and cast. andUnlike cast. Unlike previous previous House House series that series were thatrestricted were restricted

The End TheisEnd Near. is Near. Why Not Why Just NotStay JustatStay Home: at Home: HouseHouse Stay Stay to indoor to indoor settings, settings, Universe Universe Adventure Adventure uses autonomous uses autonomous spacesspaces for its settings, for its settings, and features and features more comprehensive more comprehensive scenarios scenarios that that Previous Previous House House series achieved series achieved amazing amazing visual sensations visual sensations createdcreated by an interaction by an interaction of extremely of extremely difﬁcultdifﬁcult movements movements

immerse immerse the viewer the viewer into a world into aof world imagination. of imagination.

008

HouseHouse SkypeSkype Arks, escapes, Arks, escapes, explosions? explosions? Was this Was how this thehow world the was world like was for like for our ancestors? our ancestors? Did they Did make theyan make escape an escape like this? likeOn this? the On wall, the wall,

Rough,Rough, fuzzy, direct, fuzzy, direct, yet realyet - through real - through the lens the of lens a camera, of a camera, the the

there isthere a series is a of series hand-painted of hand-painted pictures pictures that tellthat us about tell us the about the

House House series was series created was created remotely. remotely. Lacking Lacking a sense a of sense delicacy of delicacy

comingcoming of doomsday. of doomsday. The world The really worldhad really ended had ended once. once. We didWe did

and level andoflevel precision, of precision, it manages it manages to moretoforcefully more forcefully conveyconvey the the

not come not from comenothing. from nothing. We hadWe ﬂed had from ﬂeda from placea called place called Earth. Earth.

telepresence telepresence captured captured by the by work. the For work. example, For example, the House the House

2012 A House Odyssey Introduction

AncientAncient Murals,Murals, Documentaries Documentaries of Doomsday? of Doomsday? - 20121222 - 20121222 Painting Painting To Leave To Leave FutureFuture Generations Generations a Message a Message in a Bottle in a Bottle -

Does the Does Earth thestill Earth exist? still exist? How was How it destroyed? was it destroyed? Aside from Asideus, from us, series documentary series documentary style ofstyle shooting of shooting manages manages to retain to the retain most the most are there areany there other anysurvivors other survivors out there outinthere the vast in the universe? vast universe? No No

originaloriginal creative creative essence essence of the artist of theduring artist during the process the process of of

one can one answer can answer these questions. these questions. What we What know weisknow whatisthe what the

creating creating the work. the work.

murals murals tell us: tell we us: have wea have hometown, a hometown, we are we notare alone. not alone. What did What thedid world the on world the on mural the look mural like look before like before it ended? it ended? The The For theFor artist, the creating artist, creating and thinking and thinking about aabout series a of series works of is works is

post-apocalyptic post-apocalyptic peoplepeople would probably would probably raise such raisequestions. such questions.

much like much creating like creating an epicanmasterpiece epic masterpiece within your withinown your mind. own mind. By By For all For these all questions, these questions, let these let recorded these recorded imagesimages provideprovide the the arranging arranging the compositions the compositions of eachofwork, eachhe work, forms he relationships forms relationships

answers! answers! I hope Ithat hope people that people will seewill these. see these. I hope Ithat hope that

within his within ownhis creative own creative process. process. The painting The painting series, series, Doomsday, Doomsday, everything everything concerning concerning House House will notwill be not forgotten. be forgotten. It is now It is the now the can becan considered be considered a summary a summary of the artist’s of the artist’s creative creative process process for for

dawn of dawn December of December 21, 2012. 21, 2012. My dear Myfriends, dear friends, we will we seewill each see each

this year. this As year. a photographer As a photographer who also who paints, also paints, he useshethe uses most the most

other tomorrow... other tomorrow...

intuitiveintuitive yet necessarily yet necessarily drawn-out drawn-out media media of oil painting. of oil painting. By By combining combining the metonymy the metonymy of wittyofand witty funand toys fun with toys that with of that the dark of the dark and terrifying and terrifying doomsday doomsday prophecy, prophecy, he describes he describes transformations transformations

“House Skype” Series 2012 Lightbox 21×35cm per unit

of his own of his creative own creative thoughts thoughts and emotions. and emotions.

009

2012 A House Odyssey The Stor y Behind the House

宅後物語－王建揚的藝術驚奇藝評人 / 陸蓉之

聶永真工作室 2012 噴墨輸出藝術相紙 80×120cm

1981年出生的王建揚，從國立臺灣藝術大學美術系畢業以後，專業從 1981年出生的王建揚，從國立臺灣藝術大學美術系畢業以後，專業從事創作，是臺灣近年來竄紅最快的年輕藝術家之一，他不但在藝壇倍事創作，是臺灣近年來竄紅最快的年輕藝術家之一，他不但在藝壇倍受矚目，而且也是時尚、媒體界的寵兒。從「宅」出發的王建揚，是受矚目，而且也是時尚、媒體界的寵兒。從「宅」出發的王建揚，是典型的網路時代新人類，他的創作反映了他們這一代年輕人對於自己典型的網路時代新人類，他的創作反映了他們這一代年輕人對於自己私密空間那個小宇宙，無時無刻都存在著無限的想像力，虛擬與真實私密空間那個小宇宙，無時無刻都存在著無限的想像力，虛擬與真實難以劃清界限，遐想與實踐可以同時進行。難以劃清界限，遐想與實踐可以同時進行。

我們華語世界今天對於「宅」的概念，其實源自於日本的「御宅族我們華語世界今天對於「宅」的概念，其實源自於日本的「御宅族（otaku）」概念，從而產生「宅人」、「宅男」、「宅女」等名詞，（otaku）」概念，從而產生「宅人」、「宅男」、「宅女」等名詞，甚至還有了所謂「宅經濟」的說法，「宅」就是網路新人類的個人宇甚至還有了所謂「宅經濟」的說法，「宅」就是網路新人類的個人宇宙。但是，王建揚的〈宅〉系列作品，不止是御宅族的「宅」概念，宙。但是，王建揚的〈宅〉系列作品，不止是御宅族的「宅」概念，

010

間，進而延伸到網路視訊的虛擬與現實混淆的空間。間，進而延伸到網路視訊的虛擬與現實混淆的空間。

或重複大眾傳播影像的模擬行為。流行文化透過電視、電影、雜誌、或重複大眾傳播影像的模擬行為。流行文化透過電視、電影、雜誌、報章、廣告、海報、時裝資訊、錄影帶.....等等，所傳輸的大量的大眾報章、廣告、海報、時裝資訊、錄影帶.....等等，所傳輸的大量的大眾

華特‧班傑明（Walter 華特‧班傑明（Walter Benjamin）在他1936年的〈機械複製時代的藝術 Benjamin）在他1936年的〈機械複製時代的藝術圖像，和其他平面、電子媒體所產生的巨量視覺影像，都成為今天攝圖像，和其他平面、電子媒體所產生的巨量視覺影像，都成為今天攝作品〉文章裡，像先知一般預言了經由攝影複製圖像對藝術創作的影作品〉文章裡，像先知一般預言了經由攝影複製圖像對藝術創作的影影藝術家挪用的重要素材來源。影藝術家挪用的重要素材來源。響。他認為藝術品的價值，不再是作品本身是否屬於真確的原件，而響。他認為藝術品的價值，不再是作品本身是否屬於真確的原件，而

2012 A House Odyssey The Stor y Behind the House

也是真正意指人的日常生活所安身的住宅或房子，是那個實體的空也是真正意指人的日常生活所安身的住宅或房子，是那個實體的空術家卻是在製造現實提供給鏡頭來捕捉，成為藝術家發抒表現個人，術家卻是在製造現實提供給鏡頭來捕捉，成為藝術家發抒表現個人，

是在於藝術品的「展出價值（exhibition 是在於藝術品的「展出價值（exhibition value）」，也就是所謂被觀看 value）」，也就是所謂被觀看後現代的著名攝影藝術家珊蒂‧斯哥朗德（Sandy 後現代的著名攝影藝術家珊蒂‧斯哥朗德（Sandy Skoglund），她精心 Skoglund），她精心形象的價值。當代人的生活不知不覺在各方面經過照相機、攝像機、形象的價值。當代人的生活不知不覺在各方面經過照相機、攝像機、打造預設的場景裝置，一連串複雜的綜合繪畫、雕塑、黏貼等各種手打造預設的場景裝置，一連串複雜的綜合繪畫、雕塑、黏貼等各種手電影攝影機、掃描器的拍攝與複製，所形成的一種新現實，是一種介電影攝影機、掃描器的拍攝與複製，所形成的一種新現實，是一種介法，經過多重階段處理後才提供攝影鏡頭拍攝，還牽涉到再攝製的畫法，經過多重階段處理後才提供攝影鏡頭拍攝，還牽涉到再攝製的畫於真實與虛構之間的曖昧現實。王建揚的主要創作是他的攝影，攝影於真實與虛構之間的曖昧現實。王建揚的主要創作是他的攝影，攝影面，充分表現出在實際環境中不可能產生的空間感覺，似真亦假的景面，充分表現出在實際環境中不可能產生的空間感覺，似真亦假的景師是實現他的想像必要的工具和手段，數位技術更使他如虎添翼般，師是實現他的想像必要的工具和手段，數位技術更使他如虎添翼般，象，是斯哥朗德作品的特色，而且她的作品內容，多半是以美國當代象，是斯哥朗德作品的特色，而且她的作品內容，多半是以美國當代創造了他不可思議的異想世界。雖然攝影技術的發明，是西方近代文創造了他不可思議的異想世界。雖然攝影技術的發明，是西方近代文日常生活的熟悉活動為背景，透過鏡頭而轉現成既熱悉又陌生的另度日常生活的熟悉活動為背景，透過鏡頭而轉現成既熱悉又陌生的另度明的重大成就之一，然而，這一百多年以來藝術家和圖像、影像之間明的重大成就之一，然而，這一百多年以來藝術家和圖像、影像之間空間。斯哥朗德這類預設場景的攝影，最接近的名稱也許可以借用空間。斯哥朗德這類預設場景的攝影，最接近的名稱也許可以借用的錯綜複雜關係與矛盾的愛恨情仇，在進入數位化的年代，其實是更的錯綜複雜關係與矛盾的愛恨情仇，在進入數位化的年代，其實是更「擺拍攝影（Staged 「擺拍攝影（Staged Photograph）」的說法，她又比一般的擺拍攝影 Photograph）」的說法，她又比一般的擺拍攝影加撲朔迷離、真假難辨了。王建揚正好是創造這類虛擬真實的熱愛加撲朔迷離、真假難辨了。王建揚正好是創造這類虛擬真實的熱愛要複雜許多。要複雜許多。者，他的作品價值，也正是班傑明所謂的藝術品「展出價值」，在原者，他的作品價值，也正是班傑明所謂的藝術品「展出價值」，在原件以外創造的新價值。件以外創造的新價值。

另一位著名的後現代攝影藝術家雷斯‧克林姆斯（Les 另一位著名的後現代攝影藝術家雷斯‧克林姆斯（Les Krims），他的 Krims），他的攝影具有爭議性和爆炸性的威力，他曾經拍攝自己裸身撫摸他母親裸攝影具有爭議性和爆炸性的威力，他曾經拍攝自己裸身撫摸他母親裸

1977年美國現代美術館展出的「鏡與窗」（Mirrors 1977年美國現代美術館展出的「鏡與窗」（Mirrors and Windows）的攝影 and Windows）的攝影露的乳房，而且他鄙視婦女運動者，以貶損女性裸體作為他一貫作露的乳房，而且他鄙視婦女運動者，以貶損女性裸體作為他一貫作分析展，是造成攝影藝術氣候轉佳的關鍵大展，明顯地展示出攝影作分析展，是造成攝影藝術氣候轉佳的關鍵大展，明顯地展示出攝影作風。另外像尼克‧尼可西亞（Nic 風。另外像尼克‧尼可西亞（Nic Nicosia）和亞瑟‧特瑞斯（Arthur Nicosia）和亞瑟‧特瑞斯（Arthur Tress）Tress）品的轉向，由傳統的社會性記錄，變成為個人的表現。如果說現代主品的轉向，由傳統的社會性記錄，變成為個人的表現。如果說現代主他們皆取材自日常生活，然後以精心安排或製作的預設場景拍攝像舞他們皆取材自日常生活，然後以精心安排或製作的預設場景拍攝像舞義的攝影藝術家，透過鏡頭重現或捕捉一種現實，那麼後現代攝影藝義的攝影藝術家，透過鏡頭重現或捕捉一種現實，那麼後現代攝影藝臺劇照一般的圖像。這些藝術家在1980年代新攝影發展過程中，扮演臺劇照一般的圖像。這些藝術家在1980年代新攝影發展過程中，扮演

011

2012 A House Odyssey The Stor y Behind the House

著執導者的角色，有別於忠實記錄者的角色。王建揚的攝影，他也是著執導者的角色，有別於忠實記錄者的角色。王建揚的攝影，他也是

高中時代喜歡跳街舞的王建揚，能夠做出一些高難度的體操動作，

扮演了執導者的角色，但是他有別於他的前輩，在他的時代裡，數位扮演了執導者的角色，但是他有別於他的前輩，在他的時代裡，數位

2009年夏天，王建揚在家中脫光衣服，鑽進家中的大書櫃，讓女友按

化攝影和圖像製作的軟體日新月異，他很可以運用軟體後製作處理他化攝影和圖像製作的軟體日新月異，他很可以運用軟體後製作處理他

下快門，開始了他的〈宅〉系列。這次王建揚在尊彩藝術中心個展

的擺拍攝影，可以在視覺的效果方面，做到傳統攝影技術在暗房中所的擺拍攝影，可以在視覺的效果方面，做到傳統攝影技術在暗房中所

「2012宅境漫遊」中的〈宅境〉系列（先前命名為〈疊疊樂〉），是

不能夠製造的驚奇程度，但是他還是選擇以實地拍攝來達到他要的效果。不能夠製造的驚奇程度，但是他還是選擇以實地拍攝來達到他要的效果。

他早期〈宅〉系列的延伸，長期喜愛收藏公仔與玩偶的王建揚，收藏品充斥在他的日常生活裡，他選擇了一些具有某種情感的兒時玩具，大量地將玩具堆疊在人體上，讓他的戀物癖和他對卡通動漫的情感擠壓到一種滿溢的狀態，讓彼此產生一種對話的模式。《聶永真工作室》是比較特殊的一件作品，王建揚拍攝的不是他家裡堆疊的玩具，而是聶永真工作室裡的雜物和設計圖紙。

〈幻想世界〉系列是王建揚的成名作，他同時結合了「擺拍攝影」和「抓拍攝影（candid photography 或 snapshot）」的兩種狀態，先搭景營造出動漫的遊戲空間，再與模特兒以遊戲的方式進行創作，跳躍的人物是這一系列的特色，模特兒看起來像是開心地跳躍著、飛馳著，很難想像這些沒有拍攝經驗的素人模特兒，往往得來來回回跳了五、六十次，王建揚才能抓拍到他滿意的鏡頭。〈幻想世界〉系列主要以卡通、甜美作為出發點，將空間營造成劇場式的佈景，以歡樂、青春、嬉鬧、甜美的元素架構出他們這一世代年輕人的青春美學。 ET 男孩的玩具店歷險記 2011 噴墨輸出藝術相紙 80×120cm

王建揚拍攝的「宅」，不只是他自己的家，也有的是朋友的家、他合作的模特兒的家、從網上結識的網友的家，他不斷潛入某一個人私領

012

原本就是學畫的王建揚今年又開始畫畫了，內容延續了他在攝影中對

眾領域之間的界限，造成一種虛擬與現實混淆曖昧的空間，這樣的

於玩具的戀物癖，他把玩具視為他的幻想世界與現實人生的連結管

「宅空間」其實可以是任何地方，任何人的空間，於是王建揚向外拓

道。這次展出的四幅繪畫以2012世界末日的傳言為主題，他設定人類

展，這次展出的〈宅外傳—澳洲篇〉就是他接受澳洲畫廊的邀請，到

把靈魂轉換到玩具上，讓玩具乘坐傳說中的諾亞方舟與太空船逃生。

當地進行在地的創作與發表。王建揚延續他的〈宅〉系列概念，他一

地球末日的毀滅過程中核子紛紛引爆，代表核爆的蘑菇雲，被王建揚

如既往地在拍攝前和被拍的模特兒進行充分的溝通，在東西不同文化

歌頌成毀滅性的美。好像王建揚畫的這些玩具能夠代替人類逃離荒誕

的衝擊下，讓他的創作增添了更多神秘的氛圍。王建揚表示，他交涉

的世界，喻示另一種新的生機會劫後重生。

2012 A House Odyssey The Stor y Behind the House

域的「宅」，然後公然地在公共空間展出，就已經打破了私領域與公

拍攝地點與約定模特兒也是一種溝通和實驗的過程，其中還有當地的藝術家提供他們的住宅空間讓他進行拍攝。另外，在當地雜誌樣品屋

回顧王建揚自從創作〈宅〉系列以來，形成的常見元素：居住／生活

的住宅情境拍攝時，他和模特兒溝通，請他們加大身體與表情的張

空間、裸體／姿態、生活物件／玩具，經由他精心安排作品的環境，

力，達到劇場照的效果，傳達非現實、虛幻想像的情境。

他自己擔任指揮者或導演，讓模特兒演出高難度技巧的姿態，甚至親身演出，裸體喻示生命的原生狀態，不但演繹了人類文化教養的軌

〈宅視訊〉系列進一步執行空間虛擬化的展出形式，王建揚透過網站

跡，也不斷探索生命的源起與其依歸的場所。不論是王建揚的攝影或

交友的連結，結識了各行各業的人，透過視訊聊天他和陌生人討論他

繪畫，都是他所設計的遊戲，他自訂規則與機制，負責指導角色扮

的創作理念與動機，讓他們瞭解他的作品以後，邀請對方成為他的創

演，編撰敘事流程，然後藉由場景道具作為象徵符號，引導觀眾投入

作夥伴。但是由於透過視訊遠距拍攝必定有其侷限性，所以網上溝通

他戲劇般的情境，其實，他才是那永遠的仲裁者，在網際網路時代的

非常關鍵，王建揚必須得到對方的信任與合作意願，讓對方安排空

媒體萬花筒裡，他企圖掌握那繽紛的萬紫千紅。

夾娃娃機女孩 2012 噴墨輸出藝術相紙 165×110cm

間、打光與拍攝的時候，能夠達到王建揚的要求。這種互動的過程，讓他與被拍攝者獲得更平等的合作關係。而且，由於兩方的實體並未真實接觸，王建揚將〈宅〉系列作品真正延伸到一種虛構的關係裡，和他平日的工作方式剛好相反，透過視訊是對方滿足了自己的表演欲，王建揚實際上反而處於比較被動的身份。

013

2012 A House Odyssey The Stor y Behind the House

The Story Behind the House The Artistic Wonders of Wang Chien-Yang Art Critic / Victoria Lu

Designer Aaron Nieh 2012 Inkjet on Art Photography Paper 80×120cm

Born in 1981, Chien-Yang to create art Born in 1981, Wang Wang Chien-Yang beganbegan to create art professionally after graduating from National University of professionally after graduating from National TaiwanTaiwan University of Arts. Within he is of the fastest risingamongst stars amongst Arts. Within Taiwan,Taiwan, he is one of one the fastest rising stars its young of recent He only is notthe only the center of its young artists artists of recent years. years. He is not center of attention of the art community, buta also a darling of the fashion attention of the art community, but also darling of the fashion and media industries. With House, Wang represents a typical and media industries. With House, Wang represents a typical new breed the of the Internet. His works the new breed borne borne by the by age of age the Internet. His works reflect reflect the imaginations that this generation of youths has towards the small imaginations that this generation of youths has towards the small universe theirprivate own private An unlimited imagination universe of theirofown space.space. An unlimited imagination persists constantly, in which clear boundaries separating the persists constantly, one in one which clear boundaries separating the and the real are difficult to distinguish, and where virtual virtual and the real are difficult to distinguish, and where reveriereverie and practice occur simultaneously. and practice occur simultaneously.

014

scanners everycausing day, causing new reality to be formed. scanners every day, a new areality to be formed. It is anIt is an

actually originates from the Japanese of an “otaku.” ambiguous ambiguous that crosses between the real and the virtual. (zhai)”(zhai)” actually originates from the Japanese notion notion of an “otaku.” reality reality that crosses between the real and the virtual. And,there, from there, the slang, “stay-at-home (zhai ren),” And, from the slang, “stay-at-home personperson (zhai ren),”

Photography is Wang’s primary art. Forit him, Photography is Wang’s primary form ofform art. ofFor him, is a it is a

“stay-at-home boynan),” (zhai nan),” “stay-at-home girlnu),” (zhaiand nu),” and necessary necessary tool and means for materializing his imagination. “stay-at-home boy (zhai “stay-at-home girl (zhai tool and means for materializing his imagination. And, And, even, the so-called “stay-at-home economy (zhai ji)” came even, the so-called “stay-at-home economy (zhai jing ji)”jing came

now, digital technology gives himmore evenpower more power to create now, digital technology gives him even to create

into being. A “house” is the personal universe of people from the incredible incredible of fantasy. The invention of photography into being. A “house” is the personal universe of people from the worldsworlds of fantasy. The invention of photography is one is one

2012 A House Odyssey The Stor y Behind the House

In the Chinese language of today, the concept In the Chinese language of today, the concept behindbehind “house“house

Internet age. However, of works, does not of the crowning of the crowning achievements of modern Western civilization. Internet age. However, Wang’sWang’s series series of works, House,House, does not achievements of modern Western civilization. just invoke the concept otaku concept of “house,” buttruly alsopoints truly points to just invoke the otaku of “house,” but also to

However, the complex and conﬂicting love-hate relationship However, the complex and conﬂicting love-hate relationship that that

the residence or house that people take shelter in for their the residence or house that people take shelter in for their

have hadimages with images and images video images overthan morea than a artists artists have had with and video over more

everyday It is that substantive everyday lives. lives. It is that substantive space space which which enters enters and and

century hasentered now entered the digital age. inThis, fact, makes century has now the digital age. This, fact,inmakes

extends the images video images of the Internet the virtual extends into theinto video of the Internet - wherewhere the virtual

more complicated and confusing, blurring things things more complicated and confusing, blurring the linethe line

becomes confused with the real. becomes confused with the real.

between true and false. And, just Wang just happens love creating between true and false. And, Wang happens to lovetocreating thisoftype of virtual The of value of his works is indeed this type virtual reality.reality. The value his works is indeed what what

In Walter 1936, Walter Benjamin foretold the impact In 1936, Benjamin foretold the impact that that

Benjamin calls an artwork’s “exhibition new value Benjamin calls an artwork’s “exhibition value” value” - a new- avalue

photographically reproduced have on works created apartoriginal from original versions. photographically reproduced imagesimages would would have on works of art of art created apart from versions. in his essay, “Theof Work of the Art Age in theofAge of Mechanical in his essay, “The Work Art in Mechanical Reproduction.” He believed that gauging the of value of an art Reproduction.” He believed that gauging the value an art

In the 1977, the Museum of Modern Art United in the United exhibited In 1977, Museum of Modern Art in the States States exhibited

work would no longer lie in determining whether work would no longer lie in determining whether it was it a was truly a truly

a photography analysis exhibition, and Windows. a photography analysis exhibition, MirrorsMirrors and Windows. It was It a was a

version. Instead, it would be based art work’s originaloriginal version. Instead, it would be based on the on artthe work’s

key exhibition that improved the artistic for photography key exhibition that improved the artistic climateclimate for photography

exhibition in words, other words, the of value of the image exhibition value; value; in other the value the image being being

and clearly demonstrated a change in direction for its works. and clearly demonstrated a change in direction for its works.

viewed. Unknowingly, modern are captured viewed. Unknowingly, modern peoplepeople are captured and and

Through traditional recordings, they became personal Through traditional social social recordings, they became personal

replicated by cameras, video cameras, cameras, replicated by cameras, video cameras, movie movie cameras, and and

forms of expression. If modernist photographers reproduce forms of expression. If modernist photographers reproduce and and

015

2012 A House Odyssey The Stor y Behind the House

capture a type aoftype reality through a lens,athen capture of reality through lens,postmodern then postmodern

photographic techniques. Skoglund’s use of use prearranged photographic techniques. Skoglund’s of prearranged

photographers capture them by creating the lens by photographers capture them by creating theprovided lens provided by

settings in her works is similar to techniques used inused staged settings in her works is similar to techniques in staged

reality.reality. In this In way, a form aofform self-expression or a or a thisthey way,become they become of self-expression

photography. However, her version is much in photography. However, her version is more muchelaborate more elaborate in

simulation of replicating mass media images. Through television, simulation of replicating mass media images. Through television, nature.nature. movies, magazines, newspapers, advertisements, posters, movies, magazines, newspapers, advertisements, posters, fashionfashion news, news, video tapes, and more, massive amounts of video tapes, and the more, the massive amounts of

Another well-known postmodern photographer, Les Krims, draws draws Another well-known postmodern photographer, Les Krims,

visual images consisting of popular cultureculture produced by the by the visual images consisting of popular produced

upon the controversial and explosive nature nature inherent in upon the controversial and explosive inherent in

mass media and other and electronic forms of media have have photography to invigorate his works. Once, Once, he photographed mass media andplanar other planar and electronic forms of media photography to invigorate his works. he photographed all become an important sourcesource of material for photographers all become an important of material for photographers

himselfhimself touching his mother’s breaths. His works have ahave a touching his mother’s breaths. His works

today. today.

tendency to humiliate feminists since they tendency to humiliate feminists sinceoften theyfeature often feature derogatory imagesimages of nude Other photographers, such such derogatory ofwomen. nude women. Other photographers,

Renowned postmodern photographer, Sandy Sandy Skoglund, carefully Nicosia and Arthur Tress, Tress, ﬁnd their from daily Renowned postmodern photographer, Skoglund, carefully as Nic as Nic Nicosia and Arthur ﬁndtopics their topics fromlife, daily life, crafts the scenes she uses her works. She utilizes a widea wide crafts the scenes sheinuses in her works. She utilizes

and carefully arrange or construct theatre-like settings for their and carefully arrange or construct theatre-like settings for their

range range of techniques, such as painting, sculpture, and collages, of techniques, such as painting, sculpture, and collages,

works.works. These These photographers playedplayed a pivotal role in role the in the photographers a pivotal

to create her works. Only after a series of to create her works. Onlycompleting after completing a series of

development of NewofPhotography duringduring the 80s, the development New Photography theand 80s, and the

preparatory steps does actually begin photographing. preparatory stepsshe does she actually begin photographing.

scopesscopes of theirofworks transcend the original function of recording their works transcend the original function of recording

Sometimes the process even involves some ﬁlming to fullyto fully Sometimes the process even involves some ﬁlming

for photography. Although Wang also the on rolethe of role a of a for photography. Although Wangtakes also on takes

express spatialspatial realmsrealms that cannot be found reality. These These express that cannot be in found in reality.

director in the creation of his works, he stands apart from director in the creation of his works, he stands apartthose from those

seemingly realistic yet fake have become a hallmark to seemingly realistic yetscenes fake scenes have become a hallmark to

before before him because he comes from the digital era - aera time- awhen him because he comes from the digital time when

Skoglund’s artworks. The topics of her works mostlymostly relate to Skoglund’s artworks. The topics of her works relate to

imagesimages and photographs can becan digitally manipulated. Wang Wang and photographs be digitally manipulated.

common aspects of contemporary American life, which are common aspects of contemporary American life, which are

could very use image editingediting software to create stagedstaged couldwell very well use image software to create

transformed into something familiar, yet alien transformed into something familiar, yetthrough alien through

photography, or evenoradd special effects.effects. Due toDue suchtoadvances photography, even add special such advances

016

with elements with elements of surprise of surprise that could that not could be not achieved be achieved in a in a

photography, photography, the Universe the Universe Adventure Adventure series series is whatisbrought what brought

traditional traditional darkroom. darkroom. Nevertheless, Nevertheless, Wang chooses Wang chooses to sticktotostick to

Wang to Wang fame. to fame. A cartoonish A cartoonish and game-like and game-like space space is constructed is constructed

photography photography techniques techniques to achieve to achieve the special the special effectseffects in his in his

where where modelsmodels are in state are inofstate play.of People play. People jumping jumping are a are a

works.works.

recurring recurring theme theme within this within series. this series. The models The models look aslook if they as ifare they are happilyhappily leapingleaping and ﬂying and through ﬂying through mid-air.mid-air. It is hard It istohard imagine to imagine

2012 A House Odyssey The Stor y Behind the House

in technology, in technology, it would it would be verybeeasy veryfor easy Wang for to Wang endow to endow his works his works Comprised Comprised of works of works that combine that combine stagedstaged and candid and candid

DuringDuring high school, high school, Wang enjoyed Wang enjoyed break dancing, break dancing, and was and able was able that thethat amateur the amateur modelsmodels used for used these for photo these shoots photo shoots had to had jumpto jump to accomplish to accomplish some difﬁcult some difﬁcult gymnastic gymnastic movements. movements. In the In the

aroundaround the space the space for more forthan moreﬁfty than or ﬁfty sixtyortimes sixty before times before Wang Wang

summer summer of 2009, of Wang 2009, stripped Wang stripped naked naked and crawled and crawled into a into a

would would feel satisﬁed feel satisﬁed with a with shot.a Cartoons shot. Cartoons and candies and candies form the form the

bookshelf, bookshelf, and had and hishad girlfriend his girlfriend take pictures take pictures of him.ofThis him. This

underlying underlying theme theme for the for Universe the Universe Adventure Adventure series.series. They They

markedmarked the beginning the beginning of the series, of the series, House.House. For thisFor exhibition, this exhibition,

provideprovide the background the background with joyous, with joyous, youthful, youthful, playful,playful, and sweet and sweet

2012 A2012 House A House Odyssey, Odyssey, hostedhosted at Liang at Gallery, Liang Gallery, the work, the Stay work, Stay

Girl in Toy Claw Crane Machine characteristics characteristics while capturing while capturing the aesthetics the aesthetics for thisfor generation this generation

House House (previously (previously titled, Stacker), titled, Stacker), will be will putbe on put display. on display. This This

of youths. of youths.

work iswork one is of one his earlier of his earlier piecespieces in the House in the House series.series. In his daily In his daily

2012 Inkjet on Art Photography Paper 165×110cm

life, Wang life, surrounds Wang surrounds himselfhimself with a with collection a collection of toysofand toys action and action

For theFor work, the House, work, House, Wang not Wang only notphotographed only photographed his own hishome, own home,

ﬁguresﬁgures he avidly he avidly collected collected over a over long aperiod long period of time.of In time. his In his

but also butthose also of those his friends, of his friends, participating participating models, models, and even and even

work, he work, compiles he compiles toys that toys allude that allude to childhood to childhood memories memories onto a onto a peoplepeople he methe viamet thevia Internet. the Internet. He captures He captures a person’s a person’s privateprivate personperson to express to express an overwhelming an overwhelming fetish for fetish cartoons, for cartoons, opening opening a a realm, realm, their house, their house, and puts andthem putson them display on display in public in public to create to create dialogue dialogue within the within work. the work. Designer Designer Aaron Aaron Nieh isNieh a rather is a rather

works works that trespass that trespass acrossacross the boundary the boundary between between privateprivate and and

uniqueunique piece. piece. InsteadInstead of taking of taking photosphotos of his toys, of hisWang toys, shoots Wang shoots public public space.space. The end The results end results are ambiguous are ambiguous spacesspaces that are that are miscellaneous miscellaneous objectsobjects and design and design drawings drawings found at found Aaron at Aaron

neitherneither totally totally virtual virtual nor realistic. nor realistic. Such “inside Such “inside spacesspaces of a of a

Nieh’s Nieh’s designdesign studio.studio.

house”house” could be could from bea from homea belonging home belonging to anyone, to anyone, prompting prompting

017

2012 A House Odyssey The Stor y Behind the House

Wang to travel to shoot outsideoutside of Taiwan. Also Also Wang to abroad travel abroad to homes shoot homes of Taiwan.

Wang’sWang’s creative process. However, due to due the limitation of creative process. However, to the limitation of

shown shown at this at exhibition, the series, Melbourne House,House, features this exhibition, the series, Melbourne features

web-cameras, effective communication became critical.critical. Wang Wang web-cameras, effective communication became

works he shotheand debuted in Australia under the auspices of a of a works shot and debuted in Australia under the auspices

had to had gaintothe trust the other them be willing to gain theoftrust of theparty otherfor party fortothem to be willing to

gallerygallery there. there. Continuing the theme and concepts behindbehind his Continuing the theme and concepts his

work with him. was It also for himfor to him convey to the to the work withIthim. wasnecessary also necessary to convey

House House series,series, Wang engaged in a dialogue with the models Wang engaged in a dialogue with the models

online online friend how they arrange and light home thatso that friend howshould they should arrange andhis light his so home

before before the photo Drawing from a from clasha between EasternEastern the shoot. photo shoot. Drawing clash between

Wang could desireddesired conditions. Through such such Wang achieve could achieve conditions. Through

and Western culture,culture, Wang was able endow an extra of interaction, Wang ensured that hethat stood equal and Western Wang wastoable to endow ansense extra sense of cooperative cooperative interaction, Wang ensured he on stood on equal mysteriousness to these According to him,toeven mysteriousness to works. these works. According him,the even the

groundground with the people being photographed, which is contrary to with the people being photographed, which is contrary to

negotiations regarding photo shoot and theand selection of Through a web-camera session, the party the on the negotiations regarding photo locations shoot locations the selection of his usual his style. usual style. Through a web-camera session, theon party modelsmodels was a form exchange and experimentation. Even local was also satisfy their desire to be intoabe photo was aofform of exchange and experimentation. Even local other end other end wasable alsotoable to satisfy their desire in a photo artists artists voluntarily offeredoffered their homes as locations for Wang voluntarily their homes as locations for to Wang to

shoot. shoot. This was a process in which a more This was a process in Wang which took Wangontook on apassive more passive

conduct his work. Furthermore, while he washe shooting in a in a conduct his work. Furthermore, while was shooting

role.

simulated home created by a local he once thetold the simulated home created by amagazine, local magazine, hetold once modelsmodels to exaggerate their poses and expressions to create to exaggerate their poses and expressions to create

HavingHaving ﬁrst studied painting at the onset his artistic career,career, ﬁrst studied painting at the of onset of his artistic

dramatic effectseffects that convey an imaginary scene scene of fantasy. dramatic that convey an imaginary of fantasy.

Wang began to painttoagain year. photographic Wang began paint this again this Like year.his Like his photographic works, works, Wang’sWang’s paintings featurefeature a theme regarding a fetisha for paintings a theme regarding fetish for

The House Skype Skype series series is a continuation of the presentation of The House is a continuation of the presentation of

toys. In them, portrays toys astoys a gateway to a fantasy world. world. toys. In he them, he portrays as a gateway to a fantasy

virtualized spaces. Connecting with people via thevia Internet, virtualized spaces. Connecting with people the Internet,

For thisFor exhibition, four paintings are based on the on theme, “2012 “2012 this exhibition, four paintings are based the theme,

Wang came contact with allwith sorts individuals. Through Wang into came into contact allofsorts of individuals. Through

marks marks the endthe of end the world.” With toy ﬁgurines taking taking the rolethe of role of of the world.” With toy ﬁgurines

video chat, discussed the concepts and motivations behindbehind videohe chat, he discussed the concepts and motivations

peoplepeople in his works, the paintings portrayportray these figurines fleeingfleeing in his works, the paintings these figurines

his works total Only after his with works withstrangers. total strangers. Onlythese after newly these made newly made

from the endthe of end the world mythological Noah’sNoah’s Ark or Ark or from of the using world the using the mythological

friendsfriends understood his works to taketopart in part in understood his were worksthey wereinvited they invited take

space space shuttles. Mushroom cloudsclouds from thermonuclear explosions shuttles. Mushroom from thermonuclear explosions

018

2012 A House Odyssey The Stor y Behind the House

ET in Toys Store 2011 Inkjet on Art Photography Paper 80×120cm

rising into rising theinto skies theare skies Wang’s are Wang’s way of way glorifying of glorifying destruction. destruction.

interpretation interpretation of the evolution of the evolution of civilization, of civilization, but also butcontinuously also continuously

Toys, instead Toys, instead of humans, of humans, escaping escaping a dyinga world dying seems world seems to allude to allude explores explores life’s origins life’s origins and natural and natural habitats. habitats. Both his Both photography his photography to the possibility to the possibility of a rebirth of a rebirth after this after great thisexodus. great exodus.

and paintings and paintings are a kind are aofkind game of designed game designed by the by artist theartist one in- one in which he which setshethe sets roles theand roles rules andofrules game of play. game The play.artist Thedirects artist directs

Looking Looking back atback Wang’s at Wang’s works by works starting by starting with the with House the House series,series, his cast hisofcast actors of actors to narrate to narrate a story.a story. Then, through Then, through the usethe of use of recurring recurring visual themes visual themes can becan found, be found, such as: such home/living as: home/living

symbolic symbolic props, props, he guides he guides the audience the audience into game-like into game-like scenesscenes

space,space, nudity/gestures, nudity/gestures, and daily andobjects/toys. daily objects/toys. Through Through a a

within his within works. his works. But, atBut, the end, at theonly end,the only artist theisartist the true is the arbiter true arbiter

meticulous meticulous arrangement arrangement of his scenes, of his scenes, the artist thebecomes artist becomes both both

who attempts who attempts to capture to capture the dazzling the dazzling colors colors of the Internet of the Internet age. age.

conductor conductor and director. and director. As his As actors, his actors, the models the models are given are the given the chancechance to perform to perform highly highly difﬁcultdifﬁcult poses.poses. Sometimes, Sometimes, the artist the artist enters enters the photo the shoot photo himself. shoot himself. In these In works, these works, nudity nudity alludesalludes to to the original the original state ofstate mankind. of mankind. He notHe only notprovides only provides his ownhis own

019

2012 A House Odyssey Extreme Expressions of Innocence

赤子之心的極端表現—王建揚文 / 黃子佼

前往下一個星球 2012 壓克力 110×200cm

認識他，有多個契機與交流！認識他，有多個契機與交流！

2009年村上隆把GEISAI活動搬來台灣，王建揚以攝影作品得到日本知 2009年村上隆把GEISAI活動搬來台灣，王建揚以攝影作品得到日本知名設計品味雜誌CasaBrutus總編輯龜井誠一評審個人獎，〈宅〉系列名設計品味雜誌CasaBrutus總編輯龜井誠一評審個人獎，〈宅〉系列幾乎是一戰成名！隔年村上隆K 幾乎是一戰成名！隔年村上隆K A I K A I KAI IKKI A 藝廊在台北開幕，在樓下同 I K I K I 藝廊在台北開幕，在樓下同一體系的築空間，GEISAI為第一屆得主辦作品聯展，他的作品像一個一體系的築空間，GEISAI為第一屆得主辦作品聯展，他的作品像一個美麗的櫥窗，內有攝影作品，也有實體玩具公仔，布置得充滿誠意與美麗的櫥窗，內有攝影作品，也有實體玩具公仔，布置得充滿誠意與吸引力！當時我到場參觀，還拍了幾張相片並張貼在我當時的部落格吸引力！當時我到場參觀，還拍了幾張相片並張貼在我當時的部落格無名小站相本裡，後來竟被不知名網友檢舉為情色圖片，並被強制刪無名小站相本裡，後來竟被不知名網友檢舉為情色圖片，並被強制刪除，真是讓我啼笑皆非，更對台灣專業網路人士與一般網友的藝術常除，真是讓我啼笑皆非，更對台灣專業網路人士與一般網友的藝術常識與觀識念與感觀到念擔感心到！擔當心然！，當我然從，未我想從過未我想的過網我路的地網盤路會地與盤情會色與有情色有關？！哈∼只能怪王建揚鏡頭下的世界太過赤裸裸！關？！哈∼只能怪王建揚鏡頭下的世界太過赤裸裸！

020

《宅》，再到他的攤位與他交流，這回他帶來了他的畫作參展，再次《宅》，再到他的攤位與他交流，這回他帶來了他的畫作參展，再次挑戰這個年輕藝術家的競爭舞台！沒想到幾小時後的主舞台頒獎典禮挑戰這個年輕藝術家的競爭舞台！沒想到幾小時後的主舞台頒獎典禮舉辦時，當他聽到銀獎得獎者的攤位號碼，竟一馬當先的從群眾裡衝舉辦時，當他聽到銀獎得獎者的攤位號碼，竟一馬當先的從群眾裡衝出，身為主持人的我其實當時已知他是金獎得主而非銀獎，情況很有出，身為主持人的我其實當時已知他是金獎得主而非銀獎，情況很有趣但又難解，我得假裝沒事地請誤聽攤位號碼的他回位，而眾人已發趣但又難解，我得假裝沒事地請誤聽攤位號碼的他回位，而眾人已發出了笑聲與另類的掌聲安慰他，接下來我得快快邀請正確得主上台領出了笑聲與另類的掌聲安慰他，接下來我得快快邀請正確得主上台領

2012 A House Odyssey Extreme Expressions of Innocence

2 0 1 0 下2 半 0 1年 0下，半在年台，灣在第台二灣屆第 G E二 I S屆 A IG活E 動 ISA 裡I 活，動先裡買，了先他買的了作他品的集作品集

獎、物歸原主繼續流程，但當時很怕建揚會感覺失落，因為，誤以為獎、物歸原主繼續流程，但當時很怕建揚會感覺失落，因為，誤以為自己得銀獎的他當時真的好雀躍地衝向前，或許回位後的他，會以為自己得銀獎的他當時真的好雀躍地衝向前，或許回位後的他，會以為銀獎之後的第一金獎絕對不是他？會不會覺得自己出糗、很丟臉，而銀獎之後的第一金獎絕對不是他？會不會覺得自己出糗、很丟臉，而甜點世界的奇幻旅程喪氣掃興？我為何這樣糾結呢？因為我知道他將登上更高的巔峰…可喪氣掃興？我為何這樣糾結呢？因為我知道他將登上更高的巔峰…可2011 是又不能暗示或請他留步，但真的很期待他將再度上台的全場高潮… 是又不能暗示或請他留步，但真的很期待他將再度上台的全場高潮…

噴墨輸出藝術相紙 110×165cm

這個夜晚，他以畫作再上GEISAI舞台，而且是更勝去年的金獎首獎得這個夜晚，他以畫作再上GEISAI舞台，而且是更勝去年的金獎首獎得主！爾後，我們越來越熟稔，畢竟∼這一天，真的留下難忘回憶了… 主！爾後，我們越來越熟稔，畢竟∼這一天，真的留下難忘回憶了…

後來在2011年華山「一克拉的夢想」聯展，再次看到他的作品與玩具後來在2011年華山「一克拉的夢想」聯展，再次看到他的作品與玩具會有藝術家的高傲與骨氣，文人自古相輕不是嗎？沒想到他陸續收藏會有藝術家的高傲與骨氣，文人自古相輕不是嗎？沒想到他陸續收藏裝置；同年，我還邀請他為我組的美少女萌系團體「小隻的」寫真書裝置；同年，我還邀請他為我組的美少女萌系團體「小隻的」寫真書很多作品，不分大小牌藝術家，他也很欣賞與鼓勵這些比他更新的新很多作品，不分大小牌藝術家，他也很欣賞與鼓勵這些比他更新的新擔任攝影師（除此，他還替「好好先生」與關詩敏等人拍攝專輯封擔任攝影師（除此，他還替「好好先生」與關詩敏等人拍攝專輯封人，花費可不在少數，讓我很感動！當然我們也都很喜歡大牌藝術家人，花費可不在少數，讓我很感動！當然我們也都很喜歡大牌藝術家面），是較商業的合作案，也是我與他創意合作的一次交集！我們更面），是較商業的合作案，也是我與他創意合作的一次交集！我們更奈良美智，還會互送奈良美智的周邊商品，與用WhatsApp熱烈地討論奈良美智，還會互送奈良美智的周邊商品，與用WhatsApp熱烈地討論會一起相約看藝術展覽，也曾蹲在A 會一起相約看藝術展覽，也曾蹲在A R T T A IP R TEI新秀作品前挑選畫作收 T AIP E I新秀作品前挑選畫作收奈良美智藝術品的售價，而為了今年這回的個展，我甚至還有幸幫他奈良美智藝術品的售價，而為了今年這回的個展，我甚至還有幸幫他藏，這一點倒是讓我很驚喜！我以為已經在中外得獎無數的他，應該藏，這一點倒是讓我很驚喜！我以為已經在中外得獎無數的他，應該介紹模特兒…以上都是我與他的交集史，我真心相當喜歡這位朋友！介紹模特兒…以上都是我與他的交集史，我真心相當喜歡這位朋友！

021

2012 A House Odyssey Extreme Expressions of Innocence

業畫作與攝影雙重出擊創作的人，世上無多，但他可以！他持續以幽業畫作與攝影雙重出擊創作的人，世上無多，但他可以！他持續以幽默、律動、多彩、童真的方式呈現創意，一路以來都非常吸睛！默、律動、多彩、童真的方式呈現創意，一路以來都非常吸睛！五月天的歌曲〈諾亞方舟〉表現了末日的寄托與失落，他的末日相關五月天的歌曲〈諾亞方舟〉表現了末日的寄托與失落，他的末日相關作品，雖也有諾亞方舟，但依然以玩具當主軸，讓這樣的末日悲哀議作品，雖也有諾亞方舟，但依然以玩具當主軸，讓這樣的末日悲哀議題，或相關的核爆主題都變得輕盈了！這種反差，反而可能加深了觀題，或相關的核爆主題都變得輕盈了！這種反差，反而可能加深了觀者留步的機會，畢竟生活與生命已經擁有很多困頓，藝術的陶冶不就者留步的機會，畢竟生活與生命已經擁有很多困頓，藝術的陶冶不就是適度放鬆心靈的避風港嗎？更何況是這些七彩的玩具！那些玩具，是適度放鬆心靈的避風港嗎？更何況是這些七彩的玩具！那些玩具，不都是我們單純歲月裡的伙伴嗎？你我是否已經丟棄遺忘它們？那些不都是我們單純歲月裡的伙伴嗎？你我是否已經丟棄遺忘它們？那些瘋狂遊戲 2011 噴墨輸出藝術相紙 80×120cm

當年垂手可得的單純喜悅，建揚幫我們保留與帶回來了！一個個不同當年垂手可得的單純喜悅，建揚幫我們保留與帶回來了！一個個不同時代的玩具，或畫或拍，屬於場景靜物，或是與模特兒把玩互動堆時代的玩具，或畫或拍，屬於場景靜物，或是與模特兒把玩互動堆疊，個個都活起來了！畫面豐富又飽滿，除此，還有他也挺愛用的雲疊，個個都活起來了！畫面豐富又飽滿，除此，還有他也挺愛用的雲朵或繽紛零食大道具，也都和玩具一樣頗有療癒人心的功能呢！朵或繽紛零食大道具，也都和玩具一樣頗有療癒人心的功能呢！

一路以一來路，以總來看，到總他看別到上他大別大上的大蝴大蝶的結蝴，蝶或結是，穿或上是海穿賊上王海的賊 T恤王現的T恤現身，粗框的眼鏡相當敦厚，笑容則帶著純真感，而他的作品裡，無論他過往成功的基底就是主題定調明確，且甚具感染力！玩具與童真的身，粗框的眼鏡相當敦厚，笑容則帶著純真感，而他的作品裡，無論他過往成功的基底就是主題定調明確，且甚具感染力！玩具與童真的是畫作或是攝影，都有無數個玩具出現在影像裡…他和我一樣喜歡收交織是其一，赤裸年輕男女解放在生活空間的合體是其二，幻想與快是畫作或是攝影，都有無數個玩具出現在影像裡…他和我一樣喜歡收交織是其一，赤裸年輕男女解放在生活空間的合體是其二，幻想與快集各類卡通或設計師的公仔玩具，但他更善用它們，運用在模特兒身樂的情調是其三，這些甚至是可以影響新一代創作人或觀者的！在他集各類卡通或設計師的公仔玩具，但他更善用它們，運用在模特兒身樂的情調是其三，這些甚至是可以影響新一代創作人或觀者的！在他邊場景，甚至畫入作品與布置在展場中，這樣的人，應該是我認識最的〈宅視訊〉系列或〈宅外傳—澳洲篇〉系列裡，即可看到他的粉絲邊場景，甚至畫入作品與布置在展場中，這樣的人，應該是我認識最的〈宅視訊〉系列或〈宅外傳—澳洲篇〉系列裡，即可看到他的粉絲具童心的藝術家了！許多偉大的藝術家或當紅高身價的藝術家，都慢或是學習者，看來他的影響力與渲染力皆大，建揚應該已是這一輩年具童心的藝術家了！許多偉大的藝術家或當紅高身價的藝術家，都慢或是學習者，看來他的影響力與渲染力皆大，建揚應該已是這一輩年慢開始在作品與職場生涯裡置入一些算計或是公式吧？難免離純真之輕藝術家裡最容易被追隨的吧？當大家在他的作品裡得到了滿足與快慢開始在作品與職場生涯裡置入一些算計或是公式吧？難免離純真之輕藝術家裡最容易被追隨的吧？當大家在他的作品裡得到了滿足與快路越來越遠∼畢竟他們壓力大，任重且道遠！他們應該也不會收藏一樂？便願意傳承這類態度與風格，獨樂不如眾樂，他帶來的可真是另路越來越遠∼畢竟他們壓力大，任重且道遠！他們應該也不會收藏一樂？便願意傳承這類態度與風格，獨樂不如眾樂，他帶來的可真是另幅3500元台幣的新人一號小作品吧？但建揚還停留在這樣的赤子之類福音啊！就連他去演講，都有同學願意當起他的模特兒！我相信，幅3500元台幣的新人一號小作品吧？但建揚還停留在這樣的赤子之類福音啊！就連他去演講，都有同學願意當起他的模特兒！我相信，心，然後繼續用他的鏡頭與畫作表現出來，況且，一個同時可以用專大家都是因為覺得看他或跟隨他∼真的很FUN！心，然後繼續用他的鏡頭與畫作表現出來，況且，一個同時可以用專大家都是因為覺得看他或跟隨他∼真的很FUN！

022

界，看看那些元素組合出來的畫面：包括跳躍感或歡喜臉孔，可愛道界，看看那些元素組合出來的畫面：包括跳躍感或歡喜臉孔，可愛道具及色彩堆砌，肯定都是我們內心懷念渴望卻幾乎遺忘放棄的！最具及色彩堆砌，肯定都是我們內心懷念渴望卻幾乎遺忘放棄的！最後，感謝他在畫攝雙領域的專注表現，喚回了我們的赤子之心！後，感謝他在畫攝雙領域的專注表現，喚回了我們的赤子之心！

HAVE FUN！ HAVE FUN！

2012 A House Odyssey Extreme Expressions of Innocence

當我們漸漸因成長變得世故與複雜，真心推荐大家快快走進建揚的世當我們漸漸因成長變得世故與複雜，真心推荐大家快快走進建揚的世

023

2012 A House Odyssey Extreme Expressions of Innocence

Extreme Expressions of Innocence ~ Wang Chien-Yang Article / Mickey Huang

Knowing Knowing him leads himtoleads manytoopportunities many opportunities and exchanges! and exchanges! Heading to Next Planet 2012 Acrylic on Canvas 110×200cm

In 2009,InTakashi 2009, Takashi Murakami Murakami introduced introduced the GEISAI the GEISAI event toevent to Taiwan. Taiwan. His photographic His photographic works were works recognized were recognized with thewith Seiichi the Seiichi Kamei Personal Kamei Personal Award, an Award, award annamed award after named theafter chiefthe editor chiefofeditor of the renowned the renowned Japanese Japanese lifestyle lifestyle magazine, magazine, CasaBrutus. CasaBrutus. Murakami’s Murakami’s House series Househad series made hadhim made instantly him instantly famous famous overnight! overnight! A year later, A year Murakami’s later, Murakami’s KAIKAI KAIKAI KIKI opened KIKI opened a gallerya gallery in Taiwan, in Taiwan, a uniform a uniform architectural architectural space situated space situated on the ground on the ground floor. The floor. firstThe GEISAI first GEISAI fair consisted fair consisted of a jointofexhibition. a joint exhibition. His His works are works like are a beautiful like a beautiful window,window, consisting consisting of a mixofofa mix of photography photography and action andfigures action with figures sincere with sincere and attractive and attractive adornments! adornments! A few photos A few Iphotos took ofI the tookevent of thethat event I posted that I on posted my on my blog were blog removed were removed becausebecause they were they reported were reported for containing for containing

024

and disappointed and disappointed becausebecause of his embarrassing of his embarrassing actions?actions? Why Why

laugh, cry, laugh, or be cry, worried or be worried about the about knowledge the knowledge of Taiwanese of Taiwanese

was I in was suchI in a bind suchbecause a bind because of this? ofAlthough this? Although I knew he I knew would he would

webmasters webmasters on the application on the application of art! Iofcould art! have I could never have never

achieveachieve much more, muchI could more, not I could havenot suggested have suggested for him to forstay him to stay

imagined imagined that my that blogmy would blogbe would associated be associated with pornographic with pornographic on the podium. on the podium. Yet, I was Yet, eagerly I was eagerly anticipating anticipating his ecstatic his ecstatic content!content! Ha... This Ha... canThis onlycan be only blamed be blamed on WangonChien-Yang’s Wang Chien-Yang’s reactionreaction when hewhen reappeared he reappeared on the podium... on the podium... overly nude overly images! nude images!

Dessert Adventure 2011 For this For evening, this evening, he oncehe again oncestood againonstood the GEISAI on the GEISAI podium podium due due

During the During second the second GEISAI GEISAI fair in Taiwan fair in hosted Taiwan in hosted the second in the second

2012 A House Odyssey Extreme Expressions of Innocence

sexual content. sexual content. In response In response to this, Itodid this, notI know did not whether know whether to to

Inkjet on Art Photography Paper

110×165cm to his paintings. to his paintings. And, this And, timethis he time had outdone he had outdone himself,himself, reachingreaching

half of 2010, half ofI purchased 2010, I purchased Wang’s Wang’s work, House. work, House. I also ventured I also ventured to toa level beyond a level beyond that of last thatyear of last when year hewhen won he gold! wonAfter gold!that After that his booth histobooth talk with to talk thewith artist. theFor artist. that For year’s thatevent, year’she event, also he also

year, weyear, got to weknow got to each know other each better. other After better.all,After it was all,an it was an

showcased showcased his paintings, his paintings, which marked which marked the young theartist’s young artist’s

unforgettable unforgettable moment... moment...

attempt attempt to enter to the enter competitive the competitive arena ofarena art! Aoffew art!hours A fewlater, hours later, when the when awards the awards ceremony ceremony began, Wang began,rushed Wang towards rushed towards the the

At the joint At the exhibition, joint exhibition, Stay Real Stay Dreams, Real Dreams, I viewedI his viewed works hisand works and

podium podium once theonce second the second place winner place was winner announced. was announced. As the As the toy installations. toy installations. During that During same thatyear, same I asked year, IWang askedtoWang be the to be the host of the hostshow, of theI already show, I already knew heknew had won. he hadThis won. wasThis an was an

photographer photographer for the photo for thebook photo forbook Smallsize, for Smallsize, a girl band a girl I had band I had

interesting, interesting, yet obscure yet obscure situation. situation. I stayedI calm stayed and calm toldand himtold to him to put together. put together. He also He shot also theshot album thecovers album for covers Mr. Nice for Mr. and Nice and return toreturn his booth, to hiswhile booth, bystanders while bystanders laughedlaughed and consoled and consoled him. him. Sharon Kwan. Sharon These Kwan. would Thesebe would somebeofsome his more of his commercial more commercial I quicklyI quickly asked the asked true the second true second place winner place to winner cometoclaim cometheir claim theirworks, which works,also which marked also marked the first the timefirst I worked time I worked with him! with Wehim! We prize, while prize, a downbeat while a downbeat Wang had Wang returned had returned to his seat. to hisHaving seat. Having later acquired later acquired the habitthe of habit goingoftogoing art exhibitions to art exhibitions together.together. At At been mistaken been mistaken that he had that won he had second won second place and place rushed and on rushed to on to the event, theART event, TAIPEI, ART TAIPEI, we would wepark would in front park of in works front ofby works up and by up and the podium, the podium, would he would be sohediscouraged be so discouraged that he did thatnot he think did not hethink hecoming coming artists, choosing artists, choosing ones weones wanted we wanted to add to to our add to our could possibly could possibly win first win place? first place? Would he Would become he become so frustrated so frustrated collections. collections. This made Thisme made pleasantly me pleasantly surprised! surprised! Having Having

025

2012 A House Odyssey Extreme Expressions of Innocence

received numerous both Taiwan and abroad, shouldn’t the artist thewith artist with thechildlike most childlike haveknown! ever known! received numerous awardsawards in bothinTaiwan and abroad, shouldn’t the most heart I heart have Iever Many Many he be arrogant and unapproachable like other manyartists other artists great artists or popular ones high net are worth are slowly he be arrogant and unapproachable like many of his of his great artists or popular ones with a with high anet worth slowly stature? Isn’t this always it goes? I was surprised stature? Isn’t this always how it how goes? I was surprised that hethat he

beginning to ainsert a calculation or formula intoworks their and works and beginning to insert calculation or formula into their

collected many artworks by renowned along with those collected many artworks by renowned artists artists along with those

careers. It is difﬁcult to ending avoid ending up further and further careers. It is difﬁcult to avoid up further and further

whoyet have yet to amake name for themselves. Headmires often admires away from awaythe from theofroad of innocence. After the pressure who have to make namea for themselves. He often road innocence. After all, theall, pressure they they Wicked Game 2011 Inkjet on Art Photography Paper 80×120cm

and encourages artistyounger from younger generations, which has cost face isface greatthey whileundertake they undertake arduous tasksa over long road and encourages artist from generations, which has cost greatiswhile arduous tasks over long aroad himaquite bit of money. This moved Of course, him quite bit ofamoney. This moved me! Ofme! course, we arewe are

to success! They probably not collect smallby work to success! They probably would would not collect a smalla work a by a

both bigoffans Nara Yoshitomo. Notwould only would weeach give each both big fans NaraofYoshitomo. Not only we give

newworth artist only worth3500 onlyNew 3500Taiwan New Taiwan However, new artist Dollars.Dollars. However,

other merchandise featuring Yoshitomo’s works asbut gifts, but also Chien-Yang Chien-Yang this innocence, andcontinues then continues other merchandise featuring Yoshitomo’s works as gifts, also retainsretains this innocence, and then to use to hisuse his passionately discuss theof price of Yoshitomo’s works over passionately discuss the price Yoshitomo’s works over

to express through his paintings. Moreover, anwho artist who lens tolens express through his paintings. Moreover, an artist

WhatsApp. this exhibition, year’s exhibition, even the opportunity can create can create both professional paintings and photography WhatsApp. For thisFor year’s I even Ihad thehad opportunity both professional paintings and photography is rare,is rare, to introduce for him... This would describe my interaction but he but can! He continues to present his creativity a sense of to introduce modelsmodels for him... This would describe my interaction can!heHe continues to present his creativity with a with sense of with Wang, a true of friend of mine! with Wang, a true friend mine!

and childlike innocence. And, humor,humor, rhythm,rhythm, colors,colors, and childlike innocence. And, all his all his works are extremely eye-catching! works are extremely eye-catching!

can always bewearing seen wearing largeorbow or aPiece One Piece He canHe always be seen a largeabow a One asframe thick glasses frame glasses an innocent t-shirt, t-shirt, as wellas aswell thick and anand innocent smile. smile.

Mayday’s song, Noah’s Ark, expresses the sustenance and Mayday’s song, Noah’s Ark, expresses the sustenance and loss of loss of

in his works, whether be paintings or photography, And, inAnd, his works, whether they bethey paintings or photography,

doomsday. his whose works whose are related to doomsday. ThoughThough his works themesthemes are related to

there are always numerous toys littered throughout the image.... there are always numerous toys littered throughout the image....

doomsday also feature Ark,are they still mainly focused doomsday also feature Noah’sNoah’s Ark, they stillare mainly focused

Welike both to collect all of kinds of toyfrom dollsvarious from various cartoons on toys. on This toys.enables This enables the depressing of doomsday We both to like collect all kinds toy dolls cartoons the depressing subjectsubject of doomsday and and and designers. he makes of placing them, placing and designers. But, heBut, makes better better use of use them, them them

to nuclear explosions more light-hearted themesthemes relatedrelated to nuclear explosions to gaintoa gain morealight-hearted

within scenes to models, andpaints even paints them within scenes next tonext models, and even them into hisinto his

tone!contrast This contrast might actually the opportunity tone! This might actually deependeepen the opportunity for a for a

works or places them throughout exhibition He is probably viewer viewer to After stay. all, After all,are there are already hardships in works or places them throughout exhibition sites. sites. He is probably to stay. there already enoughenough hardships in

026

PeoplePeople are able aretoable gaintoa gain sense a sense of fulﬁllment of fulﬁllment and happiness and happiness from from

their soul? their soul? Moreover, Moreover, those are those colorful are colorful toys! Weren’t toys! Weren’t those toys those toys his works, his works, and ﬁnd and themselves ﬁnd themselves willing willing to inherit to inherit this type thisoftype of just ourjust companions our companions during during our years our of years innocence? of innocence? Have we Have we

attitudeattitude and style. and style. A common A common happiness happiness is greater is greater than anthan an

abandoned abandoned and forgotten and forgotten them? them? Chien-yang Chien-yang helps us helps retain us and retain and individual individual happiness. happiness. It seems It seems he trulyhebrings truly brings an alternative an alternative bring back bringthe back pure thesense pure sense of joy that of joy had that come had to come us so to easily us so easily

gospel!gospel! Even when Even he when conducts he conducts a lecture, a lecture, there are there always are always

during during those years! those years! The toys, Thepaintings, toys, paintings, and ﬁlms andacross ﬁlms across

students students willing willing to be models to be models for him! forI him! believe I believe that this that is this is

different different eras belong eras belong to a still-life to a still-life scene,scene, or an interactive or an interactive

because because everyone everyone ﬁnds itﬁnds reallyit fun really to just fun to see just or see follow or him! follow him!

2012 A House Odyssey Extreme Expressions of Innocence

life. Isn’t life.the Isn’t mold theofmold art just of art a haven just a haven where where a person a person can relax can relax

stacking stacking of models of models that come that to come life one to life byone one!byThe one!image The image is is rich and rich full. andAdditionally, full. Additionally, he likes hetolikes use to clouds use clouds or colorful or colorful

As we As gradually we gradually become become more sophisticated more sophisticated and complex and complex with with

snackssnacks as props, as props, which, which, like toys, likeare toys, able aretoable soothe to soothe people’s people’s

age, I sincerely age, I sincerely recommend recommend you to you quickly to quickly enter Chien-yang’s enter Chien-yang’s

hearts!hearts!

world and world take anda take look aatlook those at images those images composed composed from a from a combination combination of elements, of elements, such as such jumping as jumping sensations, sensations, happy happy

The basis The for basis his for previous his previous success success lies in the lies clear in thesetting clear setting of his of his faces, faces, cute props, cute props, and piled andcolors. piled colors. These These are all are certainly all certainly themes’ themes’ tones, tones, which are which very areinfectious! very infectious! The intertwining The intertwining of toysof toys things things we desire we desire and miss andwithin miss our within hearts, our hearts, yet, seem yet, to seem haveto have and childhood and childhood innocence innocence is one is example, one example, while naked while naked young young

almostalmost forgotten forgotten and abandoned! and abandoned! Finally,Finally, thanksthanks are accorded are accorded to to

men and men women and women liberated liberated within a within combined a combined living space living space is is

his focus his on focus the on dual theﬁelds dual of ﬁelds painting of painting and photography, and photography, which which

another. another. Yet another Yet another example example is the mood is the of mood fantasy of fantasy and and

lets us lets recall us the recall innocence the innocence of our childhood! of our childhood!

happiness. happiness. These These can even caninﬂuence even inﬂuence a new a generation new generation of artists of artists and viewers! and viewers! In bothInhis both House his House Skype Skype and Melbourne and Melbourne House,House,

HAVE FUN! HAVE FUN!

one can one see can hissee fans hisand fans students. and students. From this, Fromit this, seems it seems he hashe a has a great ability great ability to inﬂuence to inﬂuence people.people. With that With said, thatChien-yang said, Chien-yang is is probably probably the easiest the easiest artist ofartist this of young this young generation generation to follow. to follow.

027

2012 A House Odyssey About Wang Chien-Yang

王建揚

1981年生於台北，畢業於台灣藝術大學美術系，是專業攝影師和藝術創作者，擅長將歡樂想像的異想世界，構築於現實情境。目前居住、創作於台北。

「攝影，是我與世界溝通的方式。」

王建揚著迷於拍照能捕捉「現在進行式」的直接特性，藉由攝影傳達他對世界的感覺，也是實踐藝術夢的起點。2009年開始的〈宅〉系列是王建揚追求夢想的翅膀，在「GEISAI TAIWAN #1 藝術祭」贏得「龜井誠一評審個人獎」後，開啟了他的藝術之路，陸續得到無數重要的國際攝影賽的獎項，諸如：美國IPA國際攝影比賽純藝術總類的首獎、法國國際攝影比賽 PX3 表演藝術類的第二名、日本寫真家協會JPS攝影比賽優秀賞⋯等，王建揚勇敢逐夢的勇氣，讓他躍上國際的攝影界舞台；不只在攝影屢獲佳績，油畫作品〈玩具〉系列也獲得「GEISAI TAIWAN #2 藝術祭」的第一名。

2011年王建揚獲邀和阿信、聶永真、不二良、古又文共同在華山創意園區舉辦「一克拉的夢想—當代美學展」，三個月的展期共有九萬人次的觀眾購票參觀，更將他的人氣和聲勢推到最高點！〈宅〉系列攝影作品並先後獲邀於台北、東京、美國聖地牙哥、上海、北京、香港、澳洲墨爾本等地展覽。

028

Wang Chien-Yang was born in 1981, Taipei, Taiwan. He has a

Photographers Society- Photo Competition. Wang’s courage in

Bachelor’s Degree in Fine Art from National Taiwan University of

pursuing his own dreams led him to the world stage of

Arts. Wang is expert in constructing his joyful fantasy

international photography. He not only received awards and

imagination in the real-life situations. Currently he is a

recognition in photography, but also won ﬁrst place at GEISAI

professional photographer and an artist. Lives and works in

TAIWAN # 2 for his series of oil paintings, Toys.

2012 A House Odyssey About Wang Chien-Yang

Wang Chien-Yang

Taipei, Taiwan. In 2011, Wang was invited to join Ah Shin, Aaron Nieh, “Photography is my way of communicating with the world.”

NO2GOOD, and Johan Ku in hosting STAY REAL DREAMS - A Contemporary Art Exhibition at Huashan Creative Park. Over a 3

Wang is fascinated with the camera’s ability to directly capture a

month period, the exhibition attracted a total of 90,000 visitors,

“present progress.” Through photography, he conveys his

elevating his popularity and momentum to even greater heights!

feelings toward the world as well as uses it as a starting point to

The photography work of the House series has also received

practice his artistic dreams. In 2009, he began to work on the

invitations to be exhibited at Taipei, Tokyo, San Diego, Shanghai,

House series, which pursued the wings for his dreams to take

Beijing, Hong Kong, Melbourne, and other locations.

ﬂight. After receiving the Seiichi Kamei Jury Award at GEISAI TAIWAN #1, he embarked on his road to art, and went on to win countless international photography competitions, such as First Prize in the general category of Fine Art at the International Photography Awards in the United States, Second Place in the category of Performing Art at France’s Prix de la Photographie, Paris (PX3), and the Award for Excellence at JPS-Japan

029

2012 宅境漫遊 2012 A Space Odyssey

攝影 Photography

2012 A House Odyssey

宅境 Stay House

宅境漫遊 A House Odyssey

2012 Inkjet on Art Photography Paper 110×165cm

046

夾娃娃機女孩 Girl in Toy Claw Crane Machine

2012 Inkjet on Art Photography Paper 165×110cm

048

兔子疊疊樂 Rabbit Jenga

2011 Inkjet on Art Photography Paper 120×85cm

050

廚房機器人 Cooking Robot

2011 Inkjet on Art Photography Paper 120×80cm

052

童心未泯 Childhood

2012 Inkjet on Art Photography Paper 120×80cm

054

聶永真工作室 Designer Aaron Nieh

2012 Inkjet on Art Photography Paper 80×120cm

056

2012 A House Odyssey

幻想世界 Universe Adventure

宇宙少女太空歷險記 Universe Adventure

2012 Inkjet on Art Photography Paper 110×185cm

060

雲之國 Up the Sky

2011 Inkjet on Art Photography Paper 110×165cm

062

甜點世界的奇幻旅程 Dessert Adventure

2011 Inkjet on Art Photography Paper 110×165cm

064

糖果女孩樂團 Sweetie Band

2011 Inkjet on Art Photography Paper 80×120cm

066

泡珍珠奶茶 Pearl Milk Tea Bath

2011 Inkjet on Art Photography Paper 135×90cm

068

西部牛仔女孩 American Cowgirl

2011 Inkjet on Art Photography Paper 100×80cm

070

西班牙鬥牛女孩 Spanish Bullfighter

2011 Inkjet on Art Photography Paper 100×90cm

072

2012 A House Odyssey

宅外傳—澳洲篇 Melbourne House

維多利亞式的決戰 Victoria Duel

2011 Inkjet on Art Photography Paper 80×120cm

076

雙胞胎 Twin Nest

2011 Inkjet on Art Photography Paper 110×155cm

078

客廳的有氧運動 Dinning Arabic's

2011 Inkjet on Art Photography Paper 80×120cm

080

搖滾男孩 Rock Boy

2011 Inkjet on Art Photography Paper 80×120cm

082

後花園的板球遊戲 Cricket in Garden

2011 Inkjet on Art Photography Paper 80×120cm

084

瘋狂遊戲 Wicked Game

2011 Inkjet on Art Photography Paper 80×120cm

086

天使 The Angel

2011 Inkjet on Art Photography Paper 165×110cm

088

你看不到我 You Can't See Me

2011 Inkjet on Art Photography Paper 80×53cm

090

書房裡的戰爭 Study Battle

2011 Inkjet on Art Photography Paper 80×60cm

092

ET 男孩的玩具店歷險記 ET in Toys Store

2011 Inkjet on Art Photography Paper 80×120cm

094

老虎愛冰淇淋也愛美女 Tiger Loves Ice Cream and Beauty

2011 Inkjet on Art Photography Paper 165×110cm

096

玩具店歷險記 Toys Adventure

2011 Inkjet on Art Photography Paper 165×110cm

098

2012 A House Odyssey

宅視訊 1 House Skype 1

2012 Lightbox 21×35cm

宅視訊 House Skype

102

左至右

宅視訊 2、3、4、5 House Skype 2, 3, 4, 5

2012 Lightbox 21×35cm

103

104

左至右

宅視訊 6、7、8、9 House Skype 6, 7, 8, 9

2012 Lightbox 21×35cm

105

106

左至右

宅視訊 10、11、12、13 House Skype 10, 11, 12, 13

2012 Lightbox 21×35cm

107

108

左至右

宅視訊 14、15、16、17 House Skype 14, 15, 16, 17

2012 Lightbox 21×35cm

109

110

左至右

宅視訊 18、19、20、21 House Skype 18, 19, 20, 21

2012 Lightbox 21×35cm

111

112

左至右

宅視訊 22、23、24、25 House Skype 22, 23, 24, 25

2012 Lightbox 21×35cm

113

繪畫 Painting

2012 A House Odyssey

20121222 繪畫 20121222 Painting

讓我們漂浮在蘑菇雲的頂端吧 Floating on the Top of Mushroom Cloud

2012 Acrylic on Canvas 300×330cm

118

末日前的審判 The Last Judgment

2007-2012 Oil on Canvas 120F (194×130cm)

120

諾亞方舟 Noah's Ark

2012 Acrylic on Canvas 250×270cm

122

前往下一個星球 Heading to Next Planet

2012 Acrylic on Canvas 110×200cm

124

裝置 Installation

夾飛彈 Missile Claw Machine

2012 Mixed Media 160×62×57cm

128

飛碟來了 UFO Coming

2012 Mixed Media 35×90×90cm

130

20121222

2012 Mixed Media 300×130×180cm

132

2012 A House Odyssey Curriculum Vitae

王建揚 1981年生於台北

學 2006

獲

歷「香港國際藝術展ART HK 2011」，國際會議展覽中

國立臺灣藝術大學美術系學士

2010

獎

〈玩具〉油畫系列，第二屆GEISAI TAIWAN藝術祭，金獎

心，香港，中國

〈宅〉系列，美國IPA國際攝影比賽，非專業組純藝

「兩岸當代藝術家邀請展」，M50 gallery，上海，中國

術總項目，首獎；非專業組純藝

第21屆南瀛美展攝影類評審委員

「GEISAI TAIWAN #2 得獎者聯展」，Kaikai Kiki

術類裸體項，第一名；非專業組純人物類其他項，第一名

受邀擔任「意識顯影 —Epson百人攝影聯展」之五

Gallery，台北，台灣

〈宅〉系列，美國Art takes Miami，TOP 50

「編導式攝影」主題代表攝影師

「聚賢迎春 —十位當代藝術家聯展」，尊彩藝術中

〈宅〉系列，美國攝影比賽 Artists Wanted，Top 50

2011

「第三屆NIKON透過亞洲之眼」年度推薦攝影師

心，台北，台灣

〈宅〉系列，美國The Art of Photography Show國際

2006

出版攝影集「王建揚《宅》攝影作品選輯」

「T-art 台中飯店博覽會」，長榮飯店，台中，台灣

攝影比賽，榮譽入選

「PHOTO TAIPEI台北攝影博覽會」，王朝飯店，

〈Unique〉系列，法國國際攝影比賽PX3，專業組表

台北，台灣

演藝術類，第二名

「2012宅境漫遊—王建揚個展」，尊彩藝術中心，

「第二屆GEISAI TAIWAN藝術祭」，華山創意文化園

〈future, pursuing〉系列，第四屆美國PHOTOGRAPHY

台北，台灣

區，台北，台灣

Masters Cup，非專業組裸體類，第二名，及一項榮譽

「宅—王建揚攝影個展」，Ausin Tung Gallery，

「The Art of Photography Show」，The Lyceum

入選

墨爾本，澳洲

Theatre Gallery，聖地牙哥，美國

〈發光體〉系列，日本寫真家協會JPS攝影比賽，優

「宅趴—王建揚攝影個展」，一票人票畫空間，

「GEISAI—Finding New Stars」，築空間，台北，

台北，台灣

台灣

經 2012

歷

2010 個 2012 2011 2010

2011

秀賞 2009

〈宅〉系列，GEISAI TAIWAN藝術祭，龜井誠一評審

「日本寫真家協會JPS攝影展」，寫真美術館，

個人獎

東京，日本

〈Gunpower〉系列，法國國際攝影比賽PX3，非專

「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，

「GEISAI #14受邀展」，TOKYO BIG SITE，東京，

業組廣告音樂類，第二名

台北，台灣

日本

聯 2012

展

「意識顯影—Epson百人攝影聯展」，TIVAC，

「王建揚—『發光體』& 陳長志—『素度』雙個展」，

台北，台灣

BIG APPLE，台北，台灣

「PHOTO

TAIPEI台北攝影博覽會」，神旺大飯店，

2009

「2009 PHOTO TAIPEI攝影博覽會」，六福皇宮，

台北，台灣

「一克拉的夢想當代美學展」，華山1914文創園區，

「第一屆GEISAI TAIWAN藝術祭」，華山創意文化園

台北，台灣

區，台北，台灣

134

1981 born in Taipei, Taiwan

EDUCATION 2006

BA of Fine Art, National Taiwan Art University, Taiwan

“Stay Real Dreams”, Huashan 1914. Creative Park,

2009

Taipei, Taiwan

“PHOTO TAIPEI 2009”, Taipei, Taiwan “GEISAI TAIWAN”, Taipei, Taiwan

EXPERIENCE

“ART HK 2011”, Hong Kong International

Served as juror for the 21th Nan-Ying Art

Exhibition Centre, Hong Kong, China

Exhibition (Photography category)

“Contemporary Art in Taiwan and China”,

Invited to serve as representative photographer

Moganshan M50, Shanghai, China

House, 1 st Place of Fine Art; 1 st Place of Nudes; 1 st

for the theme “Choreography Photography” for the

“GEISAI TAIWAN #2 Awarders’ Joint Exhibition”,

Place of People -Others (Non-pro), International

joint exhibition, “EPSON Photo Expo 5th

Kaikai Kiki Gallery, Taipei, Taiwan

Photography Awards, New York, USA

Exhibition”

“Celebrating Spring Together— Joint Exhibition of

House, Top 50 of ART TAKES MIAMI, Miami, USA

Recommended photographer at the third annual

Ten Contemporary Artists”, Liang Gallery, Taipei,

House, Top 50 of ARTISTS WANTED, New York,

NIKON “Through Asian Eyes”

Taiwan

USA

Published photography collection, “Photographic

“T-ART Art Fair, TaiChung, Taiwan”

House, Honorable mention of the Art of

“PHOTO TAIPEI 2010”, Taipei, Taiwan

Photography Show, San Diego, USA

“GEISAI TAIWAN #2”, Taipei, Taiwan

Unique, 2nd Place, Photojournalism (pro)-

SOLO EXHIBITON

“The Art of Photography Show”, The Lyceum

Performing Arts, France Prix de la photographie

“2012 A House Odyssey, Piaopiao Gallery, Taipei,

Theatre Gallery, San Diego, USA

Paris (Px3), France

Taiwan

“35th Japan Photographers Society Exhibition”,

Future, pursuing, 2nd Place of Amateur Nude, 4th

2011

“House”, Ausin Tung Gallery, Melbourne, Australia

Tokugawa Art Museum of Nagoya & Kyoto

Photography Masters Cup, New York, USA

2010

“House”, Piaopiao Gallery, Taipei, Taiwan

Municipal Museum of Art, Japan

Illuminator, Grand Price of Japan Photographers

2012

2011 2006

Works of the House”

2012

2010

“GEISAI – Finding New Stars”, ARKI Gallery, 2012

2011

2012 A House Odyssey Curriculum Vitae

Wang Chien-Yang

AWARDS 2010

2009

Toys, 1 st Place, GEISAI Taiwan #2, Taiwan

Society Competition, Japan

GROUP EXHIBITIONS

Taipei, Taiwan

“Exploring with a Balloon— Taiwan Contemporary

“35th Japan Photographers Society Exhibition”,

(Japanese Mag. Casa Brutus), GEISAI TAIWAN

Art Exhibition”, Liang Gallery, Taipei, Taiwan

Tokyo Metropolitan Museum of photography,

#1, Taiwan

“EPSON Photo Expo 5th Exhibition,

Tokyo, Japan

Gunpower, 2 nd Place, Non Professional

Choreography”, TIVAC, Taipei, Taiwan

“GEISAI #14”, Tokyo, Japan

Advertising Music, France Prix de la Photographie

“PHOTO TAIPEI 2011”, Taipei, Taiwan

“Illuminator”, Taipei, Taiwan

Paris (Px3), France

House, Judge Prize from Mr. Seiichi Kamei

135

童心未泯 Childhood 2012

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

Index

120x80cm P.55

2012 A House Odyssey Index

聶永真工作室 Designer Aaron Nieh 2012

宅境 Stay House

噴墨輸出藝術相紙 Inkjet on Art Photography Paper 80x120cm P.57 宅境漫遊 A House Odyssey 2012 噴墨輸出藝術相紙 Inkjet on Art Photography Paper

幻想世界 Universe Adventure

110x165cm P.47 夾娃娃機女孩 Girl i n To y C l aw C ran e Mach i n e

宇宙少女太空歷險記 Universe Adventure

20 12

2012

噴墨輸出藝術相紙 I nkj et o n Art Ph o to graph y Paper

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

16 5x110cm

110x185cm

P. 49

P.61

兔子疊疊樂 R ab bi t Jen ga

雲之國 Up the Sky

20 11

2011

噴墨輸出藝術相紙 I nkj et o n Art Ph o to graph y Paper

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

12 0x85cm

110x165cm

P. 51

P.63

廚房機器人 Cooki n g Ro bo t

甜點世界的奇幻旅程 Dessert Adventure

20 11

2011

噴墨輸出藝術相紙 I nkj et o n Art Ph o to graph y Paper

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

12 0x80cm

110x165cm

P. 53

P.65

136

雙胞胎 Twin Nest

2011

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

80x120cm

110x155cm

P.67

P.79

泡珍珠奶茶 Pearl Milk Tea Bath

客廳的有氧運動 Dinning Arabic’s

2011

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

135x90cm

80x120cm

P.69

P.81

西部牛仔女孩 American Cowgirl

搖滾男孩 Rock Boy

2011

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

100x80cm

80x120cm

P.71

P.83

西班牙鬥牛女孩 Spanish Bullfighter

後花園的板球遊戲 Cricket in Garden

2011

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

100x90cm

80x120cm

P.73

P.85

2012 A House Odyssey Index

糖果女孩樂團 Sweetie Band

瘋狂遊戲 Wicked Game 2011

宅外傳—澳洲篇 Melbourne House

噴墨輸出藝術相紙 Inkjet on Art Photography Paper 80x120cm P.87

維多利亞式的決戰 Victoria Duel

天使 The Angel

2011

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

80x120cm

165x110cm

P.77

P.89 137

你看不到我 You Can’t See Me 2011 噴墨輸出藝術相紙 Inkjet on Art Photography Paper

宅視訊 House Skype

80x53cm P.91

2012 A House Odyssey Index

書房裡的戰爭 Study Battle 2011 噴墨輸出藝術相紙 Inkjet on Art Photography Paper 80x60cm P.93

宅視訊 House Skype 2012 燈箱 Light Box 170x230cm P.100

ET男孩的玩具店歷險記 ET in Toys Store

宅視訊 1 House Skype 1

2011

2012

噴墨輸出藝術相紙 Inkjet on Art Photography Paper

燈箱 Lightbox

80x120cm

21x35cm

P.95

P.101

老虎愛冰淇淋也愛美女 Tiger Loves Ice Cream and Beauty

宅視訊 2 House Skype 2

2011

2012

噴墨輸出藝術相紙 Inkjet on Art Photography Paper 165x110cm P.97 玩具店歷險記 Toys Adventure 2011 噴墨輸出藝術相紙 Inkjet on Art Photography Paper 165x110cm P.99

燈箱 Lightbox 21x35cm P.102 宅視訊 3 House Skype 3 2012 燈箱 Lightbox 21x35cm P.102 宅視訊 4 House Skype 4 2012 燈箱 Lightbox 21x35cm P.103

138

宅視訊 11 House Skype 11

2012

燈箱 Lightbox

21x35cm

P.103

P.106

宅視訊 6 House Skype 6

宅視訊 12 House Skype 12

2012

燈箱 Lightbox

21x35cm

P.104

P.107

宅視訊 7 House Skype 7

宅視訊 13 House Skype 13

2012

燈箱 Lightbox

21x35cm

P.104

P.107

宅視訊 8 House Skype 8

宅視訊 14 House Skype 14

2012

燈箱 Lightbox

21x35cm

P.105

P.108

宅視訊 9 House Skype 9

宅視訊 15 House Skype 15

2012

燈箱 Light Box

燈箱 Lightbox

21x35cm

P.105

P.108

宅視訊 10 House Skype 10

宅視訊 16 House Skype 16

2012

燈箱 Lightbox

21x35cm

P.106

P.109

2012 A House Odyssey Index

宅視訊 5 House Skype 5

139

2012 A House Odyssey Index

宅視訊 17 House Skype 17

宅視訊 23 House Skype 23

2012

燈箱 Lightbox

21x35cm

P.109

P.112

宅視訊 18 House Skype 18

宅視訊 24 House Skype 24

2012

燈箱 Lightbox

21x35cm

P.110

P.113

宅視訊 19 House Skype 19

宅視訊 25 House Skype 25

2012

燈箱 Lightbox

21x35cm

P.110

P.113

宅視訊 20 House Skype 20 2012 燈箱 Lightbox 21x35cm P.111 宅視訊 21 House Skype 21 2012 燈箱 Lightbox 21x35cm P.111 宅視訊 22 House Skype 22 2012 燈箱 Lightbox 21x35cm P.112 140

繪畫—20121222 Painting-20121222

裝置 Installation

夾飛彈 Missile Claw Machine

2012

壓克力、畫布 Acrylic on canvas

複合媒材 Mixed Media

300x330cm

160x62x57cm

P.119

P.129

末日前的審判 The Last Judgment

飛碟來了 UFO Coming

2007-2012

2012

油彩、畫布 Oil on canvas

複合媒材 Mixed Media

194x130cm

35x90x90cm

P.121

P.131

諾亞方舟 Noah's Ark

20121222

2012

複合媒材 Mixed Media

壓克力、畫布 Acrylic on canvas 250x270cm P.123

2012 A House Odyssey Index

讓我們漂浮在蘑菇雲的頂端吧 Floating on the Top of Mushroom Cloud

2012

300x130x180cm P.133

前往下一個星球 Heading to Next Planet 2012 壓克力、畫布 Acrylic on canvas 110x200cm P.125

141

發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2012年9月初版

ISBN

978-986-88331-2-8 （平裝）

Executive Director

Yu Yen-Liang

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, September, 2012

ISBN

978-986-88331-2-8 (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

王建揚 宅境漫遊 | Wang Chien-yang A House Odyssey

王建揚宅境漫遊 | Wang Chien-yang A House Odyssey