這裡有所有的名字 Here are all the "Names"

這裡有所有的名字 Here are all the "Names"

目 錄

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展覽 序 Introduction

07

薛保瑕

Dr. Ava Hsueh

國立臺南 藝 術 大 學 視 覺 藝 術 學 院 院 長 藝術創作 理 論 研 究 所 博 士 班 教 授 / 所 長 08

龔卓軍

Dr. Jow Jiun Gong

國立臺南 藝 術 大 學 視 覺 藝 術 研 創 中 心 主任 藝術創作 理 論 研 究 所 博 士 班 副 教 授

陳泓易

Dr. Hung Yi Chen

國立臺南 藝 術 大 學 藝 術 創 作 理 論 研 究 所 博 士 班 助 理 教 授

09

文貞姬

Dr. Junghee Moon

韓國美術 研 究 所 研 究 員 國立臺南 藝 術 大 學 藝 術 創 作 理 論 研 究 所 博 士 班 客 座 教 授

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展覽論述 Exhibition Discourse

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再現的歷險——重構客體、城市與記憶的形象 陳維峰 Wei-Feng Chen

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世界盡頭的彼岸演算法 邱俊達 Yves Chiu

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繪畫的顏料質地、塗層與基底 郭璧慈 Bi-Tsz Guo

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記憶的風景 — 談馬匡霈、林盈秀與吳佩珊的作品意象 蔡尚政 Shung-Cheng Tsai

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觸摸時間，書寫「日常生活」中的光影瞬間 蕭伊伶 Yi-Ling Hsiao

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你留不住我，我帶不走你 ？ — 水墨媒材與書畫傳統在當代的角力關係 沈裕昌 Yu-Chang Shen

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測度感受：內在性的創作表述 沈裕融 Yu-Rong Shen

3

藝術家 Artists

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57

吳佩珊

Pei-Shan Wu

76

蕭卓宇

Cho-Yu Hsiao

60

洪鈞元

Jun-Yuan Hong

80

莊宗勳

Tsung-Hsun Chuang

64

郭家勳

Chapman Kuo

84

黃柏皓

Bo-Hao Huang

68

蕭雅心

Ya-Hsin Hsiao

88

袁慧莉

Hui-Li Yuan

72

林盈秀

Ying-Hsiu Lin

92

陳奕彰

Yi-Chang Chen

96

顏寧志

Andy Yen

118

馬匡霈

Kuang-Pei Ma

1 00

丁昶文

Chaong-Wen Ting

122

鄭秀如

Hsiu-Ju Cheng

1 06

吳梓寧

Tzu-Ning Wu

126

陳宛伶

Wan-Ling Chen

1 09

郭嘉羚

Ring, Chia-Ling Kuo

129

林青萱

Ching-Hsuan Lin

1 14

賴珮瑜

Pei-Yu Lai

133

簡歷 Biography

5

展覽 序 Introduction

薛保瑕

・國立臺南藝術大學視覺藝術學院院長・藝術創作理論研究所博士班教授 / 所長

國立臺南藝術大學藝術創作理論研究所博士班已邁入 12 年頭了，無論是創作為主的學生或是理論背 景的學生，都試圖邁向與自己藝術信念相關的探究路途。這期間，研究與實踐的發展始終是相輔相 成的。 「這裡有所有的名字」是本所博士生 2015 年在校本部的創作與論述的發表 (19 位創作實踐發表；7 位論述發表 )。就博士班而言，我們希望不斷的補充這個不同的「有」，因此進入此學程的每位博 士生，皆有各自專精探究的領域，也形成了博士班的特色。再者，這個展覽可以看到博班學生創作 與深化研究蛻變的過程，有它的意義。作為教師，我們樂見這個必要的過程發生。 然而面對創作，「有」或許是暫時的，因為作品都是特定階段的一項紀錄。踏實的實踐了，清楚的 理會了，也當掠過再往下發展。因此，對參展的博士生而言，這個展覧的「有」同時也指向尚沒有 提出的「有」。是創作者需要更審慎、更積極的在「有」中思考尚未推進與發現的。一如展覽會場 中存有的各種聲音，它們始終存在，但容易被忽略。「有什麼」? 或「什麼沒有」? 就是這個展覽最 值得深思與學習的。

Dr. Ava Hsueh Dean of College of Visual Arts, Tainan National University of the Arts Professor /Director of Doctoral Program in Art Creation and Theory, Tainan National University of the Arts It is now 12 years since Tainan National University of the Arts (TNNUA) established its Doctoral Program in Art Creation and Theory. The Program has made it possible for both doctoral students who are oriented mainly towards art creation and those who are more interested in art theory to explore paths linked to their own artistic vision and beliefs. Throughout this 12-year period, the development of research and of practical art creation has been complementary and mutually-reinforcing.

The “Here are all the” Names” ” exhibition is the 2015 group exhibition, held at TNNUA itself, of the artworks and doctrinal theses created by the students enrolled in the Doctoral Program in Art Creation and Theory. (19 art pieces and 7 thesis titles will be presented in the exhibition.) From the perspective of the Doctoral Program, our goal is to constantly expand the range of creative and research works covered by the Program; the fact that every doctoral student enrolled in the Program has their own unique area of specialization is one of the Program’s most important features. The meaning of the exhibition also lies in the light it sheds on how students evolve their abilities in making artworks and researches over time. As instructors, this process of evolution is very gratifying for us.

When it comes to artistic creation, an artist’s work is always, in some sense, transitory, because each work is a record of a particular stage in the artist’s development. Once an artist has put their ideas into practice and developed a clear understanding of the results achieved, it is time to move on to the next stage in their artistic progression. For the participating doctoral students, the work presented in this exhibition thus points forward to the work they have not yet created. It is important for an artist to think carefully and proactively, while they are creating art, about the progress and discoveries that their current work can lead on to. A metaphor for this would be the different voices that can be heard talking at an exhibition venue; these voices all exist, but many of them are ignored. Does this work offer the potential for future development, or does it not? That is the most important question that should be considered in relation to this exhibition, and the question that offers the greatest potential for learning and progress.

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龔卓軍

・國立臺南藝術大學 視覺藝術研創中心主任・藝術創作理論研究所博士班副教授

法國導演高達 (Jean-Luc Godard) 曾在 1976 年的影片「此處，他方」中，討論了消費影像與大眾媒體， 其實把他方與他者的現實存在加以碎片化、景觀化的問題，經過 40 年後，在亞洲高度現代化景觀之 中的我們，又如何看待我們的「此處，當下」呢 ? 也許，不同於高達身處的歐洲脈絡的是，我們對 於亞洲自身的「此刻，當下」不但不熟悉，反而因為長期西方現代性的殖民模式、冷戰結構與話語 輸入，我們並不熟悉「我們」：台灣、東南亞、東亞與中國之間，在長期的地緣政治、語言文化和 族種宗教的分隔下，我們並不真正了解「我們」的潛在共通之處，這正是為什麼，我們今天仍然需 要從「此處，當下」重新出發，運用當代藝術的穿透力，創造一個相互聯結與對話的亞洲，進而重 新反省我們投入世界藝術的身形與能量。 Dr. Jow Jiun Gong Director of Research and Innovation Centre of Visual Art College of Visual Arts, Tainan National University of the Arts Associate Professor, Doctoral Program in Art Creation and Theory, Tainan National University of the Arts In his 1976 film Ici et ailleurs, the French film director Jean-Luc Godard explored issues relating to the mass media and the consumption of visual images. Four decades on, the question of how the existence of the “Other” and of other places tends to become fragmented and transformed into a “spectacle,” encourages those of us living in Asia (with its high level of “modernization”) to consider our own “here-and-now.” It may be that, unlike the situation that applies in the European context of Godard’s work, we in Asia are not only unfamiliar with our own here-and-now, we are in fact unfamiliar with ourselves, due to our extended period of exposure to the neo-colonialist impact of Western modernism, and to our having absorbed the structure and vocabulary of Cold War thinking. When one considers the relationship between Southeast Asia, Taiwan, China and other parts of East Asia, it is apparent that, because of years of separation (in geopolitical, linguistic, cultural, ethnic and religious terms), we do not truly comprehend the latent similarities between ourselves. This is precisely why we need, today, to take the here-and-now as the starting point for setting out again to use the penetrative power of contemporary art to create a new Asia characterized by inter-linkage and dialog, and to reexamine the form that our engagement with the wider global art world should take, and the potential that such engagement offers.

陳泓易

・國立臺南藝術大學藝術創作理論研究所博士班助理教授

這次展覽「這裡有所有的名字 」是台南藝術大學藝術創作與理論研究所博士班於 2015 年首次的聯 合展覽。本所創立十多年來，一直在豐富研究生的內容，並且在創作與藝術理論與評論策展領域有 越來越多元的發展 . 創作者在這樣的影響下，作品的思辨層次不斷的被開發，這些成果也在這次展 覽中顯現出來。這次展覽的內容，除了展出當下最具代表性的當代展的主要藝術呈現形式之外，更 是在水墨領域等傳統類型 , 有了更深思與更革新的創見概念與形式呈現，將一般傳統當代二分法歸 類的項目融合，並呈現出屬於當下的樣貌 . 這也是本所最關注的重點之一，即 artist as a researcher ， 並且以創作與概念並行的跨領域當代藝術語言表現，讓創作、研究與概念同時成為藝術的內容，以 研究為基礎，讓藝術家具有自主的創作語言與深度內涵，此次展覽因而粗略而完整的表達了本所這 些年來努力的部分成果。 Dr. Hung Yi Chen, Assistant Professor, Doctoral Program in Art Creation and Theory, Tainan National University of the Arts

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This exhibition, Here are all the "Names", is the first joint exhibition organized by the Doctoral Program in Art Creation and Theory, Tainan National University of the Arts (TNNUA) in 2015. It is now more than a decade since the Doctoral Program was first established, and during this time there has been a steady improvement in the quality of work created by the doctoral students enrolled in the Program, accompanied by a continued diversification of approaches in terms of artistic creation, art theory, art appraisal and exhibition curation. This in turn has led to a steady enrichment of the currents of thought underpinning the doctoral students’ work, the impressive results of which can be seen in this exhibition. The content of this exhibition reflects some of the major trends in contemporary art; at the same time, the works presented in more traditional art forms such as ink brush painting etc. display deep reflection and innovative concepts and forms, and the conventional dichotomy between traditional and contemporary is thereby transformed into a fusion that reflects the nature of art today. This is one of the areas to which the Doctoral Program pays particular attention; the concept of “artist as researcher.” The utilization of an interdisciplinary contemporary artistic lexicon that gives equal weight to creativity and conceptualization ensures that the work incorporates creation, research and theoretical concepts. The adoption of a research-based approach gives the artists their own autonomous creative vocabulary and gives added depth to their work. This exhibition thus embodies, in a rough yet comprehensive manner, the hard work that has been put into the development of this Doctoral Program over the past few years.

文貞姬

・韓國美術研究所研究員・國立臺南藝術大學藝術創作理論研究所博士班客座教授

本展「這裡有所有的名字 」，既是南藝博士班的創作歷程，也是創作研究其藝術概念與思維方式的 新意展覽。參加博士班的創作者執著自由活潑的藝術作品與實驗工作，從入學發展至今，從今天走 向明天，伴隨當代藝術的各個性面貌。 藝術家運用多媒體的實踐，除了表達形式上的藝術框子與藝 術名字外，亦有種以此對各個脫離藝術範疇將命名消逝之特性的意味。本次展覽之展出品包括：油 畫、水墨、裝置、混合媒體、影像， 跨領域藝術呈現多樣風貌。藝術家慾望著將藝術修行凝結於當 下的渴望，感想了其作品中不能消失潛力與魔幻世界的視覺，帶來很重要的視覺經驗，也帶來很大 的另類世界。 Dr. Junghee Moon Researcher, Center for Art Studies, Seoul, Korea Gest Prof. Doctoral Program in Art Creation and Theory, College of Visual Arts, Tainan National University of the Arts The “Here are all the "Names"” exhibition is both a record of the creative development of the doctoral students in the Doctoral Program in Art Creation and Theory, Tainan National University of the Arts (TNNUA) and also a presentation of innovative creative research into artistic concepts and ways of thinking. The students enrolled in the Doctoral Program display a lively, independent approach to artistic creation. In their progress from entering the Program through to the present time, and in the future progress from today into the future, their individual unique styles also reflect the changes taking place in contemporary art. In these artists’ experimentation with multimedia techniques, besides their presentation of the formal “framework” and “names” of art, there is also a special sense in which their work goes beyond the boundaries of art as conventionally perceived. The works on display in this exhibition include oil paintings, watercolors, installation art, mixed media works, video art, and interdisciplinary works; the diversity of the works is breathtaking. It is clear that the artists have sought to fuse their artistic cultivation with current needs; their work embodies an irrepressible potential and a magical view of the world that makes the exhibition an important visual experience, leading us as it does into a different world.

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展覽論述 Exhibition Discourse

再現的歷險—重構客體、城市與記憶的形象 陳維峰 / 國立臺南藝術大學藝術創作理論研究所 103 學年度博士生

如果我們一不小心便可能掉進柏拉圖的洞穴，那麼圖像就是我們如影隨形的宿命， 也是歷險。這是人的終結，也是永恆回歸—一旦我們都開始真正地生活的話。

不斷附加的客體 客體形象一直是陳宛伶（頁 128）創作的主軸，而「連接」（conjunction）則為《小自然》展覽的 重心。「連接」意謂在面對客體對象（比如崑山街盆栽）之時，不依從因果律原則支配的物與物 之間的關聯，作者使自己附加（adding on）為訊息時代的身體的一個「補充」。《小自然》的創 作歷程乃接連經由攝影、雕塑與繪畫等不同方式來呈現。首先，在攝影部分，陳宛伶拍攝數十張 盆栽的各個角度的照片，接次經由陶土捏塑合成一株株微型盆栽，帶著不同時間的光線情況之下， 一盆盆徹底寂靜卻又可愛拙樸的植物雕塑。最後，這一相同主題，同樣的內容及呈現企圖，彷彿 經由藝術家之手的旋入，分別表達出極度潔癖又古典的氣息，呈現出一種寧靜而假掰的繪畫作品， 殘餘著美學幻覺（aesthetic illusion）。在訊息化環境中，《小自然》的隱喻顯示，我們如果困陷在 簡單形式與複雜本質之中，亦即意義的訊息化兩極，自我往往需要試圖調節兩極來接應世界。沒 無法調節兩極就不可能有現實。讀與寫孕育了因果，要不就是產生思考或概念。電子化過程與不 確定性需要我們對兩者與思考賦予更多關注，所有媒體均將經驗轉變為其他的認知模式。我們今 天的生活在虛擬與真實、簡單與複雜中，如今簡明的真理對我們而言，就如同在夢中驚擾我們的 原型一樣複雜。訊息化以虛擬的單純改變了我們原本自然的人生。訊息秩序如果是無法逃逸的， 它不再給我們一個在它之外的立足之地，但是做為補充並且曝露其間地在訊息媒體中運行，批判 試圖是對訊息的重組、科技之物及其邊界的重構作出貢獻。構成《小自然》的主要成分不再是二 元關係之中由敘事、論說與影像所構成的表述，乃同在科技中的文化物品來經受的卡通化或刪格 化，從而形成自我對遭切斷之經驗的彌補。藝術家透過無法避免的訊息媒體加以連接附加，以換 取凝視觀想，也藉由這樣的歷程來確認身體的再生產。再生產讓我們美好和有所差異。從我們知 道什麼到我們如何知道的過程，當我們開始以一種自我省思的態度來質疑事物為什麼必須如此地 存在之際，我們便開始了我們對生活的創作。對生命而言，總會有它者的呼喚。再生產不是虛無， 而是一種繼續的動作，目的在越出現況之外，使生活出現流動性的實驗。思考現況，重新產生現 象的情境，開放差異，開放它者，釋放出一些縫隙，以便我們的生活擁有一種新的身體感。

看不見的城市 符號的使用（use）和提及（mention）的區分是丹托（Arthur C. Danto）據以說明藝術如何依賴「思

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考」的判準，這樣的影響延續自 1984 年發表論文〈藝術終結〉。這兩個概念是丹托沿用自邏輯學 的成果，丹托說道：「當我們以『聖保羅』一詞造一個關於聖保羅本人的陳述句，即是該符號的 使用；如果以『聖保羅』造一個關於『聖保羅』一詞的陳述句，則為該符號的提及。使用與提及 的區分也是用在畫作。我們使用一幅畫來陳述該畫面所呈現的一切。而提及一幅畫，就是用這幅 畫來劃一幅關於它自身的畫，表達出『那幅畫看起來就像這樣！』的看法」。 1. 筆者認為這樣符 號與其再現的意義一直是賴珮瑜（頁 116）關注的，最為人熟知的是城市系列作品。在創作自述中， 賴珮瑜做了以下的分析：「一幅幅乍看之下是城市風景的圖像在細看之後才發現是由大小不一的 圓點符號所構成，而這些圓點像是被極簡化的燈光，因此在觀看的同時觀者必須對應符號與記憶 中的景像以拼湊完整的城市面貌，並在對應的過程中進而思考符徵與符旨的關係。不同的城市景 觀在藝術家再現過後卻顯得單一相似，以此試圖探討現今全球化下的同質性議題。」2. 從賴珮瑜 來說，各處城市意象的提及，對於觀者而言，這些無法區辨而迫出的再思考已然是必須的。從 2005 年開始的城市系列，藝術家試圖去描寫當下的處境感，出現在作品中的「●」，尤如城市語 言的轉譯與再次閱讀，真實何在與符號的轉載是創作的主要動機。所有城市招牌上的文字被「●」 所隱含，文明膨脹的脫序感使作品中的「●」不斷流變，在單一的平面空間裡，卻承載與相鄰著 不同的多重空間，符號在瞬時的語意被城市的壓縮感所炫惑，而身體感卻在無人的多重空間裡穿 透、遊走、超越單一空間懸浮。作品裡「●」的出現，在排列、複製、符號的意義流轉中，使城 市以一種自身的姿態再次現身；或者，是在現代文明的霓虹劇場裡，我們為閃爍的燈光產生狂喜 而昇華出一股無言的隱匿安全感，於是，被人們所建立起的消費文明，成為另一種「原鄉」的所在。 在此的「原鄉」，恍若已悖離真實，而是一種異地遊走產生的處境感，其「地」不再是一個地圖 座標上的真實地，或是一個雙目可視的地，而是一種不斷變遷、不斷追尋的處境感的標示。3.

記憶的承諾 反抗歷史是已逝者的工作，逝者就是要喚醒被時間遺忘的東西，對逝者的回應就是要承擔起那分 責任，無論歷史文化教條將它掩埋得多深。記憶與承諾本身是片面的，且如果它們之間暗含的關 係沒有被揭露出來的話，就潛在地存在使暴力合法化的傾向。一連串對物件、檔案、文化進行 考掘與再現，丁昶文（頁 102）試圖建立一種已逝者解放的敘事，探索物質記憶如何與現代社會 的承諾相關聯。為此藝術家曾經寫下這樣的註腳 :「故事存在於展示的元素之中，每一件物品都 是一個獨立的劇本，並包含源自各個領域的線索（藝術、工業、城市規劃、政治、經濟）。作品 替材料本身重新引入不確定性、不可預測性與流動性。」「使用有限物質來探究時間的普遍性， 以及觀察文化記憶的痕跡，我將關注的焦點轉向了現代生活的內在結構。」以出土的牛腿骨化石 （《佐證人計畫》；The Tsuo Chen Man Project, 2012）、老宅的破瓦殘塊（《於今無所處》；Now is Nowhere, 2014）或飆車族喚名「白玫瑰」的少女車手為名（《義女：尋找白玫瑰》；Heroine: Searching for White Rose, 2014），構築感性詮釋的途徑，凝視物件的細微感知，將空間想像延伸到 該歷史時間，從而建立它們的美學制域（regime）。形象的飽和使現代記憶擦亮了眼睛，記憶從遺 忘中解脫出來，並在種種分別昭示著各自一段時間的同一性中，與藝術家空洞同質的時間交織在 一起，阻止單一性的到來。承諾的現實化過程是否必然招致苦難的到來，這是連續性思想轉變而

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來的關聯，如同班雅明想要避開的危險 :「歷史的連續統一體也就是壓迫者的連續統一體。」藝術 家渴望解除諾言的暗面的話，批判的中心問題是消逝與諾言的關係。如果沿誕生於生產力支配的 歷史規律，那麼藝術有關解放的承諾需要脫離「生產力」和歷史發展中的技術從而獲得自由，在 歷史的未來與「我們」的相互呼應之中，漸漸地變成了「我們」。值得注意的是，問題的焦點卻 不在我們的未來上，而是一個「源於歷史」或「在歷史之中」的未來轉折點上。承諾的記憶象徵 著記憶的承諾，那個與現實密切關聯的歷史意象才能夠獲得實現的機會。一切歷史行為、確定性、 變遷，都不會消逝甚至死亡，它將未來開啟，卻不依靠任何目的作為引導，每個現實都被賦予了 創造的反向力道，丁昶文想要做的往往就是去發現並繼承這個瞬間。

1. 丹托（Arthur C. Danto）；林雅琪、鄭慧雯 譯，《在藝術終結之後：當代藝術與歷史藩籬》，台北市： 麥田，2004，pp.285-286。 2. 參見賴珮瑜創作自述。http://www.laipeiyu.com/about.html 3. 參見賴珮瑜，〈異地遊走的處境感〉。http://www.laipeiyu.com/9679words.html

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The Adventure of Representation—The Reconstruction of Objects, the City and Recollection Wei-feng Chen

2014- Doctoral Program in Ar t Creation and Theor y, Tainan National University of the Ar ts

If we accidently fall into a Platonic cave, then the imageries will be our unavoidable fate, or an adventure. This is the end of human life, and might be eternal returns, as long as we begin to live truthfully.

Added-on Objects Objects are the usual primary pursuit of artist Wan-Ling Chen(p.128), while in her exhibition entitled “Little Nature,” she placed emphasis on the concept of “conjunction”. The notion of conjunction refers to a connection made by the artist when one is faced with an object (such as a potted plant seen in Kun Shan Street). This connection does not necessarily have anything to do with the causal relationship between object A and object B, but an add-on note that corresponds to the spirit of the information age by the artist.

The creation process of “Little Nature” has involved photography, sculpture, and painting. Initially, Chen shot dozens of photos of potted plants from all angles, and then used pottery clay to create tiny, simplystyled potted plants, and took pictures at different times of day. Finally, the completed artwork conveys a classical, serene, transcendental atmosphere with an aesthetic illusion. In this way, “Little Nature” conveys metaphorical thinking to the audience: when people live in an information-ridden environment, it is pivotal to coordinate the two poles of information—simple form and complicated essence—in order to create a reality of our own. Reading and writing begets thinking and conception. The process of electronification and uncertainty requires us to pay a closer attention on the aforesaid two activities and thinking, as contemporary media tends to transform regular experiences into other forms of cognition. Modern people live in a hybrid environment, where virtual reality and truth, simplicity and complexity co-exist; where the simplest truth would seem hard to decipher just as the archetypes emerged in our dreams. Imformatization has changed old lifestyles into virtual simplicity. If the order of information is unavoidable, then we are no longer allowed to live outside of its sphere. On the other hand, criticism means to be supplementary to the existing information, while personal judgment aims to re-organize information and technological devices and re-construct boundaries. Hence, what constitutes “Little Nature” is not a dualistic discourse comprising narratives, arguments, and imageries, but rather a cartoonized or rasterized version of cultural commodities in this highly technological world, which becomes one’s atonement for interrupted experience. Artists make efforts to “add to” the existing information, in order to receive the right of “gazing” and “thinking,” and to ascertain a re-production of the body through such a process. Re-production contributes to transformation, giving us the opportunity to embrace a better world. When we begin to adopt a reflective attitude and question the core meaning of many things in the physical world, we have begun our own creation in daily live. From the perspective of life, there always exists a beckoning from the “Other”; therefore, re-production is not equivalent of negation, but an action of continuance. Its purpose is to make flowing experiments occur in our daily life that transcend our current condition. This deep thinking of the current circumstances and being open to the other or discrepancy brings some “chasm” for our lives to have gained a new sense of physicality.

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Invisible Cities Arthur C. Danto proposed that the “use” and “mention” of signs help to explain how art thrives on the ground of “thinking”, and shortly after published a paper entitled “The End of Art”, as borrowed from the aforesaid two concepts of logistics. According to Danto, when we used the name of “Saint Paul” to make a declarative sentence about Saint Paul himself, then it is the “use” of the sign. When we mentioned the name of “Saint Paul” to make a declarative sentence, then it is the “mention” of the sign. This division can also be referred to painting. We would use a painting to describe what the painting aims to present, yet when we mention a painting, we want to make this painting a “re-production” that refers to itself, and express our opinion that “That painting looks like this!”1. We think the meaning of signs and re-production has always been the top concern for Pei-Yu Lai(p.116). The best known of her works should be the City Series collection. In her self-narrative of creation, Lai remarked, as follows: “Upon closer examination, the paintings that at first resemble urban landscapes would be discovered to be stringed dots, big or small. These dots are very much like simplified lamplights. Therefore the gazer has to make the sign correspond to the imageries in their memory in order to put together a completed urban landscape, while pondering over the relationship between the signifier and signified. Since the re-production of various cities look very much alike in the hands of the artist, I intend to explore the issue of homogeneity under today’s globalization circumstances.”2. For Lai, the mention of cities all across the globe would inspire the gazers to rethink the essence of the world as they have discovered the indiscrimination of all the cities presented in the artworks. The artist aimed to describe “presentness” in her City Series collection of artworks starting from 2005. The sign “●”, which commonly appears in her artworks, can be regarded as a re-translation or re-reading. The seeking of the truth and redistribution of signs are what motivates the artist to create works of art. All the words on the signboards above city streets are symbolized with “●”. This indicates that the disorderly state of today’s magnified civilization had brought alterations to the sign of “●”. This single two-dimensional space borders on various multi-dimensional spaces, as the meaning of symbol is misled by the compression of the city, and our bodies are permeating, roaming, or even floating in these soulless multi-spaces. Does the appearance of “●” make the city re-emerge through parallels, reproduction, or transformation of signs, or is it because we have felt ecstasy over the sparkling lamplights and gained a sense of security thereafter? The consumption civilization, as built by contemporary people, has thus become a “native land,” where the “presentness” brought by roaming in a foreign land is far from the truth. The “place” is not an actual spot on a map, or a location that can be regarded with human eyes, but an ever-changing, always-seeking-after sign of “presentness”.

3.

The Promise of Memory The deceased are the ones opposing history. The deceased tend to awaken something that is hidden in the flow of time, while people who are alive take up the responsibility as a way to respond to the deceased.

Even if they are buried deep in history textbooks or old customs, memory and promise might be complicit in rendering violence a legitimate tool if the relationship of the two is not yet uncovered. Artist Chaong-Wen Ting(p.102) endeavored to excavate old objects, documents, and cultural items for the sake of representation, in order to build a narrative targeting the emancipation of the deceased and explore how memories of the physical world relate to the promise given by modern society. Ting was careful to note that “Stories exist in the elements of the display, as every object is a screenplay that can be addressed independently and comprises all the clues of other fields, such as art, industry, urban planning, politics, or economics. It is the artwork that re-introduces uncertainty, unpredictability, and permeability.” He also remarked that “by using

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physical objects to explore the generality of time, and observe the footpaths of cultural recollection, I’ve turned to the internal structure of modern life.” He tried to construct a path of sentimental interpretation by a number of works, such as “The Tsuo Chen Man Project” (2012), “Now is Nowhere” (2014), and “Heroine: Searching for a White Rose” (2014), in order to extend spatial imagination to the historical sphere, thus, creating a regime of aesthetics. As the saturation of these images have polished modern people’s recollection, memory is reborn from oblivion, which becomes intertwined with the artist’s homogeneous sense of time. Thus, they collaboratively prevent homogeneity from becoming a reality. We do not yet know if the realization of promise necessarily brings forth ordeals, as Benjamin wanted to shun risk, saying “the continuity of history is the continuity of the oppressor”. In other words, if an artist wishes to dissolve the negative side of a promise, then she/he must address the relationship between disappearance and the promise.

If the promise of the emancipation of art is correlated with the reign of production force, then it is essential to note that art creation should be disconnected from “production force” and developing technologies. In the future of history and the resonance of “us”, it gradually turns into “us”. The point is that the problem lies not in our future, but in a turning point that is derived from history and will be located in the future. The memory of a promise signifies the promise of recollection, as the past imagery of history will be actually realized. All historical occurrences, certainties, and even transformations will never disappear or perish, but will open up to the future at random. Every reality is given a counter-force that makes “creation” possible, and all Ting wants to do is to rediscover and be a witness to the precious moment.

1. Arthur C. Danto; Lin, Y.C. and Cheng, H.W.(trans.), After the End of Art. Taipei City: Rye Field, 2004, pp.285-286.

2. See Lai’s self-narrative of creation at http://www.laipeiyu.com/about.html 3. See Lai, P.Y., “The Sense of Being Created by Journeying into a Foreign Land” at http://www.laipeiyu. com/9679words.html

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世界盡頭的彼岸演算法 邱俊達 / 國立臺南藝術大學藝術創作理論研究所 98 學年度博士生

你的存在不會結束，只是進入另一個世界而已…… 你所有失去的東西，都會在那邊。 ─村上春樹，《世界末日與冷酷異境》

我們活在屏幕的世界之中，甚至，屏幕之後並無一物？ 契機之下，對吳梓寧的《虛境公民》（2008-9）（頁 108）、鄭秀如的《空間裡的空間－壁紙》（2015） （頁 124）、莊宗勳的《造景工程－草地上的午餐》（2015）（頁 82）這三者乍看之下鮮乏關連 的作品的同時閱讀，不僅讓我想到一種布希亞式對屏幕時代「過度真實」（hyper-reality）的悲觀 宣稱，亦喚起對日本小說家村上春樹以資訊時代為背景所寫下的《世界末日與冷酷異境》（1985） 的記憶。這本小說，可以說預示著今日以數碼基礎建構起的現實世界與虛擬平台之間，既親密又 弔詭的關係，而上述作品則以一種指向異質彼岸的演算法的開發，來對屏幕時代的現實與生命狀 態做出回應。

「世界盡頭」1. 是一處「冷酷異境」之後、「我」所不得不進入、也無可能逃離的類烏托邦世界。 村上以一種交叉剪輯（cross-cutting）式的文體，敘寫著以「私」表徵活在「現實世界＝冷酷異境」， 以及「僕」表徵活在「潛意識＝世界盡頭」這兩個世界的「我」的故事。2. 在「冷酷異境」中，「私」 是一名將資料進行編碼、加密的「計算士」，與對立組織的「記號士」進行爭鬥。在「世界末日」中， 「僕」是一位進入到高聳圍牆包圍起、類烏托邦的「街」生活並成為「夢讀」的人。他每天進到 圖書館裡解讀盛載在獨角獸頭骨中的古老的夢。故事尾端，計算士「私」不得不陷入到永恆的潛 意識之中，而夢讀「僕」則在逃離街的臨門一刻決定留下、終生流放在「森林」中。這部寫就於 八〇年代中期的小說，如今看來，書中所論及的演算法（algorithm）、編碼－解碼、夢境、烏托 邦以及兩個世界的關係，既回應著七〇年代因積體電路技術成熟、電腦進入量產與普及化的歷史， 也預見了九〇年代進入網際網路時代後，整體社會生活奠基在一種資訊編碼，而屏幕則成為一種 集體無意識之媒介的現實景況。

這種景況，同時展現為一種資訊時代下的狂喜與虛無，特別是以網際網路技術平台為基礎所建構 的屏幕關係與資訊地景，無疑為困頓於種種社會現實下的個體開啟一道類烏托邦的出口，而透過 「演算法」為中心的現實生產技術，在架構起自我設計式主體的實驗空間的同時，也持續不斷地 將世界「樣板化」為一種服膺演算邏輯的認識「對象」。然而，恰如想要逃離「世界盡頭」的「僕」 所意識到烏托邦與惡托邦的一體兩面，屏幕之後並無一物恰恰暗示著屏幕之「外」彼岸的可能性， 我們因此需要開發一種逃逸而非穿透、朝向某種異質彼岸的演算法…

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資訊貼皮的身分演算法 當無數資訊以一種神祕波長訊號飛快地被編譯、傳輸、解譯並閃現於眼前屏幕─電腦、手機、平 板、電視…─時，這些過分擁擠、過度即時又過於親密的「資訊皮層」，同時開展了一種允許主 體的重新造型卻也無可避免地被資訊所侵蝕、滲透的處境。吳梓寧的《虛鏡迴圈》（2008-2009）， 即透過主體身分流變與樣板化集體無意識的他者的演算法，來展現這一弔詭中的狂喜與危機。

狂喜，並非單純的愉悅或欣喜之情，而是對看似虛擬的「資訊與網路空間」作為一種充分寬容的 欲望投射的精神空間之可能性的想望與歇斯底里。吳梓寧以主體與他者兩種面向闡述這種狂喜。 在《網路原民》中，吳梓寧示範一種踏入資訊地景後「身分」被演算與反覆流變的主體樣態：一 位她以自畫像形繪出的小女孩，初始踏著輕快腳步逡巡於由各種社群網站、網頁構成的資訊城市 地景，逐漸這些地景中的「數位皮層」開始附著在小女孩身上，說不上是主動或被動、吸付或入 侵的模糊狀態中，小女孩在一種資訊貼皮的主體編碼工作中逐步完成「更新」。在這無止盡的過 程中，資訊貼皮的圖騰效果因剝除了精神性與文化內涵，更像是一種不合時宜的紋身─不是超前， 而是早已轉瞬死去的資訊殘骸─以及在純粹資訊生產與瞬息更迭的年代中所生產的一種無精神 性、不穩定性、暫時性的拼湊主體。

在《虛境公民》中，吳梓寧則以「人性」演算出七種「去性別、結合動物形象並隱含七宗罪寓意」 的創生物，以此示例網路世界中「他者」的典範角色。這一由四不像的創生物所組成的「美怪新 世界」，一方面展現網路身分生成的機制以及自我設計的欲望內涵，另一方面，卻也指出在這種 易容、整型工程中同時推強了一種純粹化的「人性」（特別是惡）。這種兩面性，具體地展現在 虛擬平台上同時提供「私」的自我創造的「高容許度」與「僕」的自我經營的「低倫理感」上。 換言之，「網路空間」這一由運算法與通訊設備構成的「虛擬世界」，在一定程度挪用著社會規 範形式以建構虛擬社群運作準則時，因著一種超社會、超生物的妄想，而對「身分」（identity） 予以最大程度的開放，比如性別顛倒、虛構背景乃至人格的分裂與重塑等，皆可輕易達成。新的 身分在新的社群認同中，更加肯認著整型主體的滿足與愉悅。然而，在身分生成與流變的任意性 中，「人性」開始成為或取代「身分」時，等待我們的究竟新的美好彼岸，還是的一場蓄勢待發 的末日危機？

「去－留空間」的「誤判」演算法 面對於屏幕時代的冷酷異境，鄭秀如開發了一種迴返「肉身」以「捕捉事物存在」與「尋回溫度」 的另類演算法。這種以「身體」對「存在形體」進行拓樸或者說「印跡化」的演算工作，展現在 她「輪廓線系列」中一種乍看近似於電腦繪圖軟體運算生成的「物件圖層」，實則完全由創作者 的「在場身體」與高度勞動的勉強中，一個個描繪出的事物「存在」的「印跡」，也就是一種將 身體主體對客體對象的「再現」活動轉為對「存在痕跡」的重拓行動。弔詭的是，在創作過程中 極強的身體感，卻在「印跡化」的結果生產出與繪圖運算程式相似的圖像與透視法的聯想，乃至

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將觀者引向「辨識」乃至「誤判」的模糊地帶。

「輪廓線系列」是鄭秀如長期對「視覺－身體」間辯證關係進行探索的作品，特別是在空間感知 與形體辨識的問題上，對佔主導性的「理性化的視覺」質疑，與被忽略的「身體化的視覺」的表現， 成為她作品中逼向兩者之間的模糊地帶，也就是一種「去－留空間」的獨特感性顯現。她透過「自 身（身體）」將「空間」與日常生活「事物」重新演算後，創造出展覽空間中乍看不合理、歪曲、 變形的種種事物的簡化圖示，並在現場悄悄埋下「解碼」的關鍵位置：一種「身體主體的印痕」。 透過「辨識」的遊戲過程，觀者亦可能在身體的運動與細微擺動中，略微體驗創作者所經受的身 體感。然而，這一過程與其說是要「還原」或「喚回」物件的真實感、熟悉感，或是進入到創作 者的身體主體位置，不如說是引導著一種面對影像現實與自然現實之「誤判」後的雙重反省。

誤判，首先是面對輪廓線化的圖象傳來一種疏離、扁平、冷漠、漂浮的「圖層風景」時，不禁讓 人想到原先具有生活感與歷史文化脈絡的物件，被科技化的圖像運算法給剝除而拋入了冷酷異境， 而已顯距離的冷漠、溫度，似乎在身體「刻意」的操演中更加遠離。最終，我們透過身體活動來 達成「辨識」這件事的同時，似乎重新印證了視覺中心的安全感，以及事物在身體經驗中的遠離。 這種對作品的理解或「誤判」，與其說是作品的失誤，不如說是這一演算法以逼近臨界點的模糊 性為結果所必然招致的風險，也是創作者篤信細膩感性的賭注所在。這可從「空間裡的空間」系 列（2015-）來闡明。在這系列作品中，她將「身體作為事物存在之拓樸」的方法，轉移到一種「空 間紋理（壁紙）」作為含納存在、構連身體、保存溫度的「地質考掘學」問題。透過「影像皮層」 如將壁紙、磨石子地面的影像化與一種含納性、有厚度感的「地層」的製造，創作者展開或是對 印跡、或是對原始空間的空間再造，來開啟一種既非為引渡回原始的空間記憶、感知內容，亦非 對數位時代生產「虛擬真實」頌揚，而是以「誤判」模糊兩者來打開、在虛－實之間、在去－留 之間僅以「印痕」存在的溫度空間。

換言之，《壁紙》透過對「壁紙」的「在」、被各種事物遮蔽的「不在」，以及時間性中表徵著 事物「曾在」痕跡的這三種地層組成某種「厚度」而非「層疊」的思考與操作，才為過往被「誤判」 為以物件辨識來引導身體經驗的一種單向解答遊戲，轉成為一種對殘存溫度痕跡的「視觸覺考掘」 而非認知導向的獨特格式塔活動。在這裡，稍嫌華美的壁紙既是干擾、亦是保存與含納的角色， 乃至為的是扮演起勾引觀者的空間文化記憶的角色；而物件從一種為「完成遊戲」的挑戰，轉為 一種發散著文化記憶與私密存在的餘溫，暖活了身體，也驅動著一種對痕跡的探尋慾望。在世界 盡頭的轉進處，在「去－留」的無數折返中，鄭秀如將我們引向一種對餘溫的保存而非變遷的感 傷的彼岸。

異景蔓延的「遠攝」演算法 相較於吳梓寧的狂喜、鄭秀如的抗拒，莊宗勳則彷彿站在一種怪異的─一種看似客觀，卻又身在 其中─的疏離位置，來「遠攝式」地描繪屏幕時代的冷酷異境。從他《丁丁的理形》（2010-）到「圖

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像磚」繪畫的發展來看，屏幕時代首先推強了一種模型化與樣板化的世界圖像：如同電視電影中 的高空拍攝、電腦桌面與智慧型手機的圖示等，我們漸趨習慣於模型化的「距離視野」（也暗示 著全知式的窺視癖），而整日相處、點擊、碰觸─不論目的為何─的「圖像磚」，作為屏幕世界 的入口與「對象」（object），顯然造就了專屬這一時代的符號互動與感知結構。

在《造景工程—草地上的午餐》（2015）中，莊宗勳將「模型化」、「樣板化」的日常生活圖景（特 別是中產階級）與「屏幕化」、「圖像磚」基礎的屏幕圖景進行整合，以一種蟲洞視野遠攝與再 屏幕化的方式，創造出更為複雜的異層共疊的世界圖景。換言之，「丁丁系列」中創作者意圖透 過樣板化羅列當代有限數量─因為某種程度的同質化─的種種圖景的工作，在《造景工程》進一 步將樣板化的問題延展至歷史、文化、自然、人工等各種圖層的拼組中，批判性地描繪一種更為 複雜、更為無意識的當代的生活圖景。只是，令人不安的是，相較於「丁丁」操演著觀者熟悉的 日常生活的怪異折射，《造景工程》則指明這些異景已然蔓延到現實世界中這件事。

首先，相較於過往表徵當代休閒娛樂的人工化空間為主的場景，《造景》更多引入某種看似自然 地景、卻反而凸顯出人造感的場景；另一幅以挪用日本文化中，表現精神傳統、創造精神空間的「枯 山水」，卻在抽離的放置與模型化中，彷彿一處公園中堆沙丘的遊樂場，精神性不復存在。與此 同時，「敏銳」的觀者可能早就發現到馬內、莫內的《草地上的午餐》、傑夫．昆斯的普普雕塑 作品、國畫典型的松樹筆法，都成為「造景」的圖層之一。面對著這些圖景拼湊出的怪異空間， 心理不免感到一陣悲哀，因為這些圖景都是我們或隱或顯且早已結構化的現實世界。透過疏離化 與遠攝式的觀看，我們方能指認一種文化輸入以及「一切都已經被休閒娛樂化」的處境：熟悉的 公園、歷史建築與地區的活化、拔山涉水而到的大自然，原來都屬於當代一種「造景工程」的範疇， 而諷刺的是，所謂的彼岸不過是由世界盡頭折回、具現、層疊拼湊起的現實圖景。

面對屏幕時代的冷酷異境與投入世界盡頭的狂熱，吳梓寧、鄭秀如、莊宗勳各自透過另類演算法 的開發，來對資訊地景、透視地景與樣板地景，並以身份、身體、生活圖景來進行重新演算，以 展開一種對世界的「盡頭」與「末日」、烏托邦與惡托邦一體兩面的反省與挽救工作。在這裡， 演算法與密碼學不僅僅關乎「意義」與某種事實性，還是關於能量保存與釋放的活動，因此所謂 的挽救，毋寧是直面一種投入網路世界以尋找溫度的根本的弔詭，希冀在一體兩面、動態生成的 「冷酷異境」與「世界盡頭」中演算出「彼岸」的可能性，不論是透過「心」的尋回、影子的拯 救或是責任承擔的宿命。

1. 在賴明珠的譯本中，「世界末日」之原文為「世界の終り」，大陸譯者林少華則譯為「世界盡 頭」。筆者認為，「世界末日」會讓人聯想到某種「世界的毀滅」，但故事中並無這種情境，因 此採用林少華的翻譯。 2. 「私」與「僕」都是日文的第一人稱，並在日文原著中分別作為「冷酷異境」與「世界末日」 的主角，「私」屬於較為正式的自稱，「僕」則屬是較不正式的男性自稱，但因中文的第一人稱 只有「我」這一個語詞，因此中文翻譯本皆以「我」譯之。

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The Algorithm to the Other Side in the End of the World Yves Chiu

2009- Doctoral Program in Ar t Creation and Theor y, Tainan National University of the Ar ts

Your being will not end, but only transported to another world ... where all you have lost will be. ďź? Haruki Murakami, Hard-Boiled Wonderland and the End of the World

We are living in a world of screens, or even a world of screens behind which there is nothing?

By mere accident, I simultaneously read three seemingly unrelated artwork, Cyberbeings by Tzu-Ning Wu (2008-9)(p.108), A Space within Space --- Wallpaper by Hsiu-Ju Cheng (2015)(p.124), and A Landscaping Construction --- Lunch on the Grass by Tsung-Hsun Chuang (2015)(p.82). This not only reminded me of Baudrillard's pessimistic claim on the hyper-reality featuring the screen generation, but also recalled my memories of Hard-Boiled Wonderland and the End of the World (1985), a book set in the information age by Haruki Murakami. This is a novel that well predicts the close yet ironic relationship between the digitallybased real world and the virtual platforms in our time, while the other works mentioned above are attempts to deal with reality and life in the screen generation by developing an algorithm to the heterogeneous Other Side.

The "End of the World"

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is a quasi-utopian world behind the "Hard-boiled Wonderland", into which

"I" have to enter, but from which I cannot escape. In a cross-cutting style, Haruki tells the story of the narrator "I" as living in "the real world = the Hard-Boiled Wonderland" with his "watashi" self and in the "unconscious = the End of the World" with his "boku" self. 2. In the "Hard-boiled Wonderland", "watashi" is a "Calcutec", a human data processor/encryption system that fights with the "Semiotecs" from the opposition.

In the "End of the World", "boku" is a person that enters a quasi-utopian "Town" that is surrounded by a perfect and impenetrable wall, lives there, and eventually becomes a "Dreamreader", whose job is to read dreams from the skulls of unicorns every day. At the end of the story, the Calcutec "watashi" is forced to delve forever into the world that has been created in his subconscious mind, where the Dreamreader "boku" decides to stay in the "Town" at the last minute and is thus forever exiled in the "Shadow Grounds". Looking back now, this novel is written in the mid-1980s, with such fabricated concepts of algorithm, encryptiondecryption, dreams, utopia, and the relationship between the two worlds, which on one hand corresponds to history when computers began to be mass produced and popularized in the 1970s due to the development of IC technologies, and predicts the realities of life after the 1990s when humans entered the age of the Internet, where overall social life is founded on encryption and screens become an unconscious collective medium.

This reality is also featured by ecstasy and emptiness in the face of the information age. In particular, the screen relationships and information landscape, as established on the basis of Internet technology, have undoubtedly provided individuals stuck in the various social realities with a quasi-utopian exit. Algorithmcentered real-life production technologies, on the other hand, have constructed an experimental space featuring self-design, while continuously templating the world into an object of cognition that could be

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subjected to calculational logic. However, as "boku" realizes that utopia and dystopia are the two sides of the same coin when he tries to escape from the "End of the World", the nothingness behind the screens indicate exactly the possibility of the Other Side lying "beyond" the screens. It is necessary for us, therefore, to develop an algorithm that helps us to escape from, rather than penetrating and heading toward, this certain heterogeneous Other Side...

The identity algorithm featuring information skin growth

When a myriad of information is rapidly encrypted as mysterious signals of certain wave lengths, and transmitted, decrypted, and presented on screens in front of you --- computer, tablet, handset, and television --these overcrowded, disproportionately real-time, and overly close "information skin" allows for a subject's reshaping while creating an environment where the subject could be unavoidably eroded and penetrated by information. Tzu-Ning Wu's Cyber-ring (2008-2009) is a perfect reflection of the ecstasy and crisis contained in this paradox with the subject's identity change and an algorithm demonstrating the templated communities and unconscious "Other".

This ecstasy is not pure joy or pleasure, but rather a longing and hysteria regarding the seemingly virtual "information and cyberspace" as a spiritual space tolerant enough of the projections of their lusts. TzuNing Wu portrays this ecstasy from the two aspects of self and other. In Cyber--Native, she illustrates a self, whose "identity" is subjected to calculation and repeated evolutions once entering the information landscape: A little girl, which can be considered as a self portrait of the artist, is seen to be ambling around in the various communities and websites, and the information landscape and cities constituted by the websites.

Gradually, however, the "digital skin layers" in this landscape begin to be attached to the little girl voluntarily or involuntarily. In this blurry state, which could be termed as either absorption or invasion, the little girl is gradually "updated" in this subjective encryption featuring information skin growth. In this endless process, information skin growth, which totem effects are deprived of spirituality and cultural connotations, is more like an inappropriate tattoo --- comprised not of advance information, but rather the remains of the information that has died in a blink --- and the self here is therefore a non-spiritual, non-stable, and temporary patchwork produced in an age featuring pure information production and instantaneous alternation.

In the Cyberbeings series, Wu derived seven creatures on the basis of "humanity", which "are desexualized and indicative of a combination of animals and of the Seven Deadly Sins" in order to illustrate the typical "Other" in the cyberspace. This "Brave New World of Monsters", which is comprised of these neither-fishnor-fowl creatures, reflects on the one hand the mechanism by which virtual identities come into being and the lusts contained in one's self design, and points out that this disguise or reshaping project could reinforce certain purified "human nature" (especially vices). This dual character is specially manifested as the "high tolerance" of self-recreation that is provided to "watashi" by the virtual platform, and the "low sense of ethics" offered to "boku" in self-management. In other words, given the super social and super biological delusions, "cyberspace", a "virtual world", as constructed by algorithms and communication devices, boasts the highest degree of openness toward identities via the appropriating social conventions as the operational guidelines of virtual communities. It is easy, for example, to achieve sex reversals, fictitious backgrounds, and even personality splitting and reshaping, etc. During identification with the new community, the new identity will prefer to identify with the satisfaction and joy of the reshaped self. With this randomness of identity generation and evolution, however, will the things waiting ahead be a beautiful other side, or an upcoming final crisis when "humanity" becomes or takes the place of "identities"?

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A misjudgment algorithm reflecting the "space for going --- staying" In the face of the Hard-boiled World featuring the age of screens, Hsiu-Ju Cheng develops an alternative algorithm with the aim to "capture physical existence" and "recover warmth" through the return to the "human body". This algorithm, which is designed to "trace" "physical existences" through the "human body", is similar at first glance to the "object layers" generated by CAD calculations. However, it is in fact a series of "traces" of "existence" left behind by the author in the reluctance of the "present body" to work intensively.

In other words, it is an act converting the body's "reproduction" of the object into the "traces of existence".

The irony here, however, is that the sense of body, felt so greatly by the author during the creative process, produces as its "traceability" results images and perceptive associations very similar to those generated by CAD programs, and leads the audience to the grey area of "recognition" and even "misjudgment".

The "Contour Series" has always been the place where Cheng attempts to investigate the dialectical relationship between "vision and body". In terms especially of spatial perception and corporeal identification, her skepticism toward the dominating "rational vision" and expression of the ignored "somatized vision” have become a grey area to approximate the two visions, as well as a unique sensual expression of a "space of staying and going". By recalculating "space" and everyday "things" through her "self (body)", she is able to create the simplified illustrations of the various things within the space of the exhibition, which seem to be sensible, distorted, and deformed at first glance, but whose decoders have been quietly hidden at some key locations on the spot: a "trace on the body as the subject". Through the gaming process of "identification", it is possible for the audience to experience some of the somatic sensations felt by the author in the movement and slight swaying of their bodies. This process, however, is aimed more to lead the audience toward a double reflection after making "misjudgments" in the face of image reality and natural reality, than to "restore" or "recall" their sense of familiarity or authenticity toward the objects, or to be transported to the position where the author's body is located.

The misjudgment refers firstly to the fact that alienated, flattened, disinterested, and floating “layers scenery”, and the result of images featuring contours will remind people that the original objects of life and historical and cultural contexts, after being exposed by the scientific algorithm, have been thrown into a Hard-boiled Wonderland. Under the “intentional” body operations, it seems that this alienated disinterestedness and warmth are going yet farther. The corporeal activities we do to reach “recognition”, in the end, will seem to be verifying the sense of security provided by the vision, as well as the fact that things are going away from our body experiences. This understanding or “misjudgment” of the works is more of a risk that is sure to be incurred by the objective of this algorithm (which is to approximate the grey area around the critical point), a result of the author’s firm belief in delicate sensuality, than of a mistake. This could be well illustrated by the series of “A Space within Space” (2015-) in which she attempts to transform the method of “using body as the topology of things” into an “archeological” issue of “spatial patterns (wallpaper)” as a place that is featured by existence, connected to the human body, and aimed to preserve warmth. By exploiting such features of “visual layers” as the visualization and connotation of wallpaper and a terrazzo floor, and the creation of “ground layers” emanating a sense of thickness, the author recreates on the basis of either the traces or the space of the original space, in order that neither can recall one’s spatial memories and perceptions of original space, nor praise the “virtual reality” generated in the digital age, but rather to open a space of warmth featuring only traces between reality and virtuality, staying and going exactly by this

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“misjudgment” and blurring the boundaries between the two.

In other words, through the thinking and operations of the “thickness” of the ground layers constituted by the “presence” of the wallpaper, the “absence” of all the things that have been covered and the traces indicating the “faded presence” of things in temporality, rather than the “overlapping” of the three, Wallpaper converts the one-way game, which aim is “misjudged” to be seeking solutions through corporeal activities (guided by object recognition), into a “visual and tactile archeology” of remaining traces of warmth, rather than a unique cognitive-oriented schemata activity. In this case, the slightly ostentatious wallpaper is not only supposed to interfere, but also to preserve and contain, and even to recall the views’ spatial and cultural memories. The object is also converted from the challenges established before the “completion of a game” to something emanating the remaining temperature of cultural memories and privacy, thus, warming the body and instigating an urge to probe into the traces. At the turning points to the End of the World, in the numerous to and fro between “staying and going”, Cheng leads us to the Other Side, where some remaining temperature is preserved, without the sentimentalism to changes.

A "long range shot" algorithm displaying the spread of weird scenes Compared with Tzu-Ning Wu's ecstasy and Hsiu-Ju Cheng's resistance, Tsung-Hsun Chuang seems to be portraying the hard-boiled wonderland in the age of screens from a bizarrely alienated position --- a seemingly objective yet inside position. From his development of the Ideal Life of Tintin (2010-) to the painting of "image bricks", the age of screens mean firstly the reinforcement of modeled and templated world images: just like the aerial shoots in movies and television, the icons on the screens of computers and smart phones, etc., we are gradually accustomed to modeled "distanced perspective" (implying an omniscientaimed scopophilia). The "image bricks" --- whatever their purposes --- that we live with, click, and touch all day long, as the entrance and "object" of the world of screens, are clearly what make the symbol interactions and perspective structures featuring this age possible.

In his Landscaping Construction --- Lunch on the Grass (2015), Chuang integrates the "modeled", "templated" scenes of daily life (especially those of the middle class) with the "screen-based", "image-brickbased" screen images, and creates yet more complicated, heterogeneously overlapped world images from a long range wormhole perspective and rescreen-based manner. In other words, with the "Tintin Series", the author's aim is to list a limited number of templated scenes --- given the homogeneity of these scenes to a certain extent. In the Landscaping Construction, however, templates are further extended to the image combination in such various stratifications as history, culture, nature, and artificiality, in order to portray the more complicated and unconscious scenes of contemporary life in a critical manner. What is upsetting here, however, is that compared with "Tintin", who is only a weird reflection of the person familiar with the operations in our daily life, the Landscaping Construction clearly points out that these weird scenes have spread to the real world.

Firstly, compared with the scenes concerned mostly with artificial spaces that are supposed to be the embodiment of contemporary entertainment, the Landscaping Construction introduced a greater number of scenes featuring seemingly natural landscapes that highlight artificiality. A picture of this series, while appropriating the "dry landscape", which is a symbol of Japanese spiritual tradition to create a spiritual space, resembles a playground in a park dotted with sand dunes due to the detached arrangement and modeling, but

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with none of the originally intended spirituality. "Sensitive" viewers, at the same time, might have noticed from the very beginning that Monet's Lunch on the Grass, Jeff Koons's sculptures of pop art, and the typical strokes to draw pine trees in traditional Chinese paintings are all included as the layers of the "landscaping".

In the face of the eccentric spaces patched by these scenes, the audience will be gripped with a sadness, in that these scenarios are covertly or overtly the reflection of the structured world. Only with this alienated and long range shot perspective could we point out the cultural inputs, and the fact that "everything has been subjected to entertainment": The familiar parks, the revitalization of historical buildings and regions, and nature, which we take pains to embrace, are in fact merely part of the "landscaping construction. The irony here, therefore, is that the so-called Other Side is nothing more than the scenes of realities that are refracted from the End of the World, as specified and patched layer by layer.

In the face of the Hard-boiled Wonderland, which was made possible by screen generation and the ecstasy of plunging into the End of the World, Tzu-Ning Wu, Hsiu-Ju Cheng, and Tsung-Hsun Chuang have all attempted to perceive and template the information landscape, via their uniquely developed algorithms, and recalculate it via such concepts as identity and the human body. All these attempts are supposed to be a reflection on and salvation from the "End" and "Doom" of the world, as well as the fact that utopia and dystopia are actually two sides of the same coin. Under such context, algorithm and cryptology are not only crucial to "meaning" and certain factuality, but also to the activities of energy preservation and release. The so-called salvation, therefore, is in fact an act of facing up to the fundamental paradox of seeking warmth by plunging into the virtual world. The hope is that the possibilities of the "Other Side" could be derived in these dynamically generated two sides of the "Hard-boiled World" and the "End of the World", and whether the fate ahead is to reclaim one's "heart", save the shadows, or shoulder the responsibility.

1. In Ming-chu Lai's translation, the equivalent of " 世界の終り " is " 世界末日 (Shijie mori, the doom of the world)", while the mainland translator, Shao-hua Lin, chooses the phrase " 世界盡頭 (Shijie jintou, the end of the world)". As the author thinks that " 世界末日 " could be associated with "the doom of the world" to a certain extent, a context that is not reflected by the story, Lin's translation is thus adopted here.

2. "Watashi" and "boku" are both first-person pronouns in Japanese and refer respectively to the protagonists in the "Hard-Boiled Wonderland" and the "End of the World" of the original text. "Watashi" is a more formal pronoun for males, while "boku" is more intimate. Since there is only one first person pronoun in Chinese, namely " 我 (wo, I, me)", both pronouns are translated as " 我 " in the Chinese translations.

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繪畫的顏料質地、塗層與基底 郭璧慈 / 國立臺南藝術大學藝術創作理論研究所 102 學年度博士生

繪畫是什麼？中文的「繪畫」一詞，既可作名詞，表示圖畫（picture），也可作動詞，指構作的過 程（the process of making）。與繪畫一詞相對應的英文「paint」，同樣有名詞畫作的用法，以及塗 抹、描繪的動作之意。更重要的，還包含第三種意思―顏料（pigment）。 假若還原繪畫最簡要的構成，繪畫實際上是顏料在基底上塗畫的動作，以及三者和時間長短作用 後的結果。本文擬不以既有的繪畫類分框架，來討論以下將舉出的三位畫家，他／她們的作品屬 於何種畫類與風格脈絡下的創作？【註 1】我關切的是，這三位以平面繪畫為主的創作者，如何著 眼於繪畫的顏料質地、塗層和基底，並琢磨時間的長短在其自身創作中的重要性？

礦之結晶 首先是黃柏皓（1981-）（頁 86），自 2014 年開始，他將天然礦石粉末混合少量的動物膠，再將 之溶於大量清水，產生一種顏色稀薄的色水。他經由水平、垂直的運筆動作，一遍一遍緩慢將色 水塗佈於日本鳥之子紙（Torinoko Japanese paper）上。因為不斷重複將色水透過筆觸疊加上紙面， 紙面反覆歷經飽吸水分又再次風乾的過程，最後纖維產生了皺摺的紋理。這系列名為《空色》 （Ultramarin, 2014）、《煉丹》（Alchemy, 2014）的近年之作，遠看是一片單色的色面，近看則可 見到石青顏料之藍銅礦（Azurite）、青金石（Lapis lazuli）與硃砂（Cinnaba），在浮凸的紙面上， 閃爍著燁燁結晶之光。

畢業於國立臺灣藝術大學，黃柏皓將書法用筆當作其繪畫創作的基因。早年他的作品《小宇宙》， 是密布的書法筆鋒在紙上演練各式粗細、長短、乾濕、濃淡、遲速、使轉、提頓、暈染與飛白不 一的痕跡。現在，他提取毛筆和水墨畫的單一特點，專注於顏料的可表現性來加以發揮。上面舉 出的《空色》和《煉丹》，便是他謬力將稀薄的顏料，長時間累積成一定的厚度。時間，與他 選用承載時間劃痕的基底―鳥之子紙，決定著他運筆的次數與顏料積澱後的呈現。而《飛白練》 （2015），遠看是一片身墨黑包圍著兩道白色的線痕，近看卻在白痕中發現他如何藉由墨色的質 地，去突顯書法的「飛白」。

層疊之間 第二位同樣關注繪畫顏料的畫家是蕭雅心（1982-）（頁 70）。不過，蕭雅心不同於黃柏皓，對於 繪畫的顏料質地，她對繪畫顏料層疊的組合或編輯更感興趣。《層疊之間 1-6》（Between layers to layers 1-6），是蕭雅心完成於 2015 年春夏之際的實驗之作。創作的發想，一開始來自於她欲望拓 展繪畫空間表現上的可能性。《層疊之間 1-6》是一組六件的作品，蕭雅心使用透明、輕薄的裝潢 用防塵膠布，來進行繪畫顏料層的分解。擁有電腦繪圖能力的蕭雅心，將原本傳統上一幅需層層

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堆疊、覆蓋顏料的油彩畫，以「塗層」的概念一一將顏料層抽取出來。 蕭雅心表示：以帶有透明性質感的疊合來進行物質及繪畫上的疊層，此疊層分為三種：一、顏料 和顏料之間的疊層，二、疊層錯位（透明性材質的疊層及移位），三、疊層的兩面性（透明性材 質的正、反面）。目的是實驗顏料和顏料之間附著在多層透明膠布之間的重疊和錯位，並試著在 畫面中找到和諧。一張一張防塵膠布，所形成之各自獨立的塗層，猶如電腦繪圖之可編輯和消減 的圖層（layers）。【註 2】 由於蕭雅心通常會就展出空間的牆面規模，調整作品的塗層數量多寡。而塗層的先後順序也沒有 固定。因此，《層疊之間 1-6》每一次的展出，都帶有隨機更換的可變化性。繪畫，不再以靜態的 完滿樣態示人，而是機動性的、可隨時間與地點而置換的塗層。同時，蕭雅心也揭示了塗層動作 所留下的每一道畫痕，含藏有時間物換星移的力量。【註 3】

時間之漬 最後，是袁慧莉（1963-）（頁 90）的作品。一直以來，袁慧莉以植物、石頭作為其繪畫母題。《孤 山水》是 2007 年就開始的系列畫作。2013 年，她對傳統中國水墨畫皴法作出提問：即，用來表達 表達山石、樹木肌理的皴法，究竟可以疊加到何種層次？又如果不再依附山石的造型，皴法能作 何種表達？從而由《孤山水 30》（Clumps landscape, 2013）開始，發展出《時間之漬 no.01》（more is less no.01）、《時間之漬 no.03》（more is less no.03）。 材料方面，袁慧莉選用 1990 年自北京榮寶齋購得的蟬翼宣紙，和澄心堂出品的超細油煙墨、日本 古梅園紅花墨、日本鳳凰水干之黑、群青、群綠、白群綠、白綠、黃、紅，還有姜思序的赭石、 石青、石綠，宋國華研製的硃標等顏料。作法上由淡至濃逐次皴染石頭的造型輪廓。我們可以說， 皴法在《孤山水 30》中還是構築造型的配角，到了《時間之漬 no.01》，山石造型已明顯泯滅在由 上列墨與顏料點畫出的漬痕之中。《時間之漬 no.03》，更進一步翻轉皴法為成主角，畫上只剩毛 筆沾染顏料畫出的筆跡，以及這一筆又一筆彼此疊加而成的斑斑漬痕。

與黃柏皓的塗佈色水的作法類似，袁慧莉的創作耗費大量的心神，精工細謹地進行一層漬痕作業。 且每一次作業，都必須等待紙張風乾的時間。這也是作品為何名為「時間之漬」之由。 以袁慧莉的作品作為小結，回到本文一開始的提問：繪畫是什麼？就以上舉出的黃柏皓、蕭雅心， 與袁慧莉的作品而言，繪畫很大程度地上意指顏料質地在構作過程中，與時間或緊或鬆的關係。

【註釋】 1. 既有繪畫分類的框架，指關於藝術史在繪畫方面的研究，嘗依據顏料取用的來源，和調和顏料 使之附著於基底（support）的方式不同，將繪畫表現冠以文化或地理的名稱，區分成中國畫、西 洋畫、東洋畫等，由此再細分出歷史分期上的風格沿革的繪畫史脈絡。 2. 蕭雅心創作自述，〈層疊之間〉，未發表，2015。 3. 此指蕭雅心另一組圍繞風景與心境變化議題的系列作品《這河》（The River）、《閉鎖的園》 （Enclosed Garden）。參看蕭雅心，《在花園裡》（In The Garden），新竹：作者自印，2014。

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Pigment texture, layers, and support of painting Bi-Tsz Guo

2013- Doctoral Program in Ar t Creation and Theor y, Tainan National University of the Ar ts

What is painting? In Chinese, the word " 皪畍 (huihua, paint)" is both a noun (meaning pictures) and a verb (meaning the process of making a painting). As its English counterpart, the word "paint" is also both a noun (meaning paintings) and a verb (meaning the act of brushing and portraying). More importantly, it has a third meaning --- pigment.

Restored to its simplest composition, painting is actually an act of applying pigments onto a support, as well as the result of the interaction between the three for a certain time period. This paper attempts to discuss the works of three painters under a non-orthodox classification framework in order to unveil their generic and stylistic context. [Note 1] The author is concerned with how the following three mostly graphic type painters exploit this interaction between the pigment texture, layers, and support of painting, and the importance they attach to the time duration during their process of creation.

Mineral crystallization The first of the three is Bo-Hao Huang (1981-)(p.86), since 2014, he has been using a kind of light pigmented water, which is the product of dissolving a mixture of natural mineral powder and a tiny amount of animal glue with a great amount of water. He will then apply and reapply the pigmented water horizontally and vertically on Torinoko Japanese paper. Being repeatedly applied with the pigmented water, the paper will be saturated with water and dried alternatively, during which process a wrinkled pattern will appear to feature its fiber. At the first glance, both of his recent two series, titled Ultramarin (2014) and Alchemy (2014), will strike the audience as monochromatic color fields. Looking more closely, however, the audience could see a dazzling light of crystals on the embossed surface, as caused by the glitter of minerals, such as azurite, lapis lazuli, and cinnabar.

A graduate of the National Taiwan University of Arts, Huang has always based his painting on the brush strokes of Chinese calligraphy. One of his early works, Microcosm, was the product of his deployment of the brush strokes of Chinese calligraphy, which was filled with traces of different thickness, lengths, wetness, and shades, and resulted from different speeds of strokes, movements, turnings, upward strokes, pauses, smudges, and flying white effects. However, he is currently exploiting a single feature of brushes, water and ink, meaning he focuses on the expressiveness of pigments to achieve his purposes. The Ultramarin and Alchemy, as mentioned above, are precisely his efforts to achieve a certain thickness with diluted pigments through long-time accumulation. It is the time and choice of Torinoko Japanese paper as the base of his painting, which decides the number of strokes and the final shape of the pigments after precipitation. If viewed from a distance, Flying White Bands (2015) might appear to be two white linear traces in the middle of black background; however, a closer look at the white traces will reveal how he highlights the "flying white" of Chinese calligraphy through the black texture.

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Between layers to layers Another painter into pigments is Ya-Hsin Hsiao (1982-)(p.70). Different from Bo-Hao Huang's focus on pigment texture, Hsiao is more interested in the combination or compilation of pigment layers. Between layers to layers 1-6 is an experimental work completed by Hsiao between the spring and summer of 2015, which originated from her desire to extend the painting's possibilities of spatial expression. Between layers to layers 1-6 is a work series that constitutes six paintings, in which the pigment layers are divided from each other by thin decorator's duck tape. Proficient in Computer Aided Drawing, Hsiao is able to retrieve the pigment layers from oil paintings that are traditionally covered by layers of pigments through the concept of "layers".

Ya-Hsin Hsiao said: The layering effects of the substance and on the paintings are made possible by transparent materials. There are three kinds of layers: 1) layers between the pigments; 2) displaced layers (layers and displaced layers made possible by the transparent materials); 3) the two-sidedness of the layers (as presented on the front and back of the transparent materials). The aim is to demonstrate that the layers, the displaced layers of pigments, and the experimental pigments adhered between the multiple layers of duck tape, achieve a sense of harmony in the painting. The layers on the duck tape, which are independent from each other, resemble the layers on CAD, which can be edited and deleted. [Note 2] Given that Hsiao is used to modifying the number of layers according to the size of walls in the exhibition area, and leaving the order of the layers unfixed, Between layers to layers 1-6 is randomly different in every exhibition. Paintings are therefore not presented to the audience in a complete state, but as dynamic layers that could change with time and place. In addition, Hsiao is very conscious of leaving behind every trace of painting in the process, thus, revealing the power of changing times. [Note 3]

More is less The last works to be introduced here belong to Hui-Li Yuan (1963-)(p.90), for whom the motif has always been plants and stones. Clumps landscape is a series of paintings that she began in 2007 and 2013, and she started to ask questions regarding the wrinkle method of traditional Chinese water and ink paintings: namely, to what extent could the wrinkle method, which is designed to express the texture of mountain stones and trees, be overlaid? How could the wrinkle method be used as a means of expression if it is independent from the mountain stones? Bearing these questions in mind, she has produced more is less no.01 and more is less no.03 since Clumps landscape 30 (2013).

In terms of materials, Yuan purchased 1990 super-thin Xuan paper from Rong Bao Zhai in Beijing, and applied various pigments, such as the ultra-delicate oil soot ink developed by Cheng Xin Tang, Japanese ancient plum saffron ink, Kusakabe black, ultramarine, azuromalachite, white azuromalachite, white green, yellow, and red inks, the ochre, azurite and mineral green of Jiangsixu Tang, and the vermillion hue developed by Guo-hua Song. The shapes and contours of the stones were then wrinkled consecutively with the lighter and darker pigments. While the wrinkle method played only a supporting role in Clumps landscape 30; in more is less no.01, the mountain stones could well be said to have been hidden among the stains and traces left behind by the above inks and pigments. By the time she created more is less no.03, the wrinkle method was further elevated to a leading role, leaving the painting with only the brush strokes and

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the myriad stains and traces generated by these strokes.

Compared with Bo-Hao Huang's generous application of the pigmented water, Yuan has been substantially consumed by her works in creating rigorously refined layers of stains and traces, each of which could only be applied after the paper is dried, which is why the works are titled more is less.

This paper concludes with the works of Yuan, and returns to the question asked at the very beginning: what is painting? In terms of only the works of Bo-Hao Huang, Ya-Hsin Hsiao, and Hui-Li Yuan, it is to a great degree dependent on the relationship between pigment texture and the either loose or tight time schedule of the painting process.

[Notes] 1.The orthodox categorization framework of paintings refers to the cultural or geographical nomenclatures of paintings, as based on the pigment sources and the manners in which they are mixed and applied to the support according to the paintings studied in art history. Paintings are thus firstly categorized into Chinese paintings, western paintings, and oriental paintings, and then further classified according to the stylistic traditions of the different historical periods in painting history.

2.Ya-Hsin Hsiao's account of her works, Between layers to layers, Unpublished, 2015.

3.Regarding The River, Enclosed Garden, another work series of Ya-Hsin Hsiao that focused on the change of landscape and mental state, please refer to Hsiao's work, In The Garden, Hsinchu for details (Printed by the author, 2014).

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記憶的風景 — 談馬匡霈、林盈秀與吳佩珊的作品意象 蔡尚政 / 國立臺南藝術大學藝術創作理論研究所 102 學年度博士生 如果說藝術創作所營造出來的作品情境，是一個讓我們可以處身其間而找回感動之記憶的所在， 而記憶的喚起需要一個重新經歷的感受片段來觸發，那麼這個由藝術家所營造的處境，恰好提供 一個時空的縫隙與通道，讓我們可以尋回那段記憶，那個「心裡的風景」。生活在周遭環境急速 變動與人際關係脆弱浮動的時代裡，人們深深地了解到原本緊密互動的情感牽繫已不再平常，那 曾經深刻動人的當下情景，也已經在時空場景的快速切換下，成為破碎的記憶與殘缺的風景。或 許藝術創作的力量就在於給出一個虛構化 (fictionalized) 的情境，讓觀者不再只是觀者，而是一個 參與者，在與作品的遭遇、互動過程中，生發情緒與思緒並產生情意的共鳴。創作者透過作品來 召喚參與者「具體而真實的感受」(feeling)，期望藉由作品的中介與轉化，讓彼此能超越時空的限 制而進行對話，最終達成彼此情意上的相通。藝術 ( 品 ) 作為一個中介與轉圜的所在，將重新締結 人與人、人與場所，乃至於人與土地之間失去的情感脈絡，找回那「可聞而不可見」、「可睹而 不可取」的「心裡的風景」。或許你會問 : 心裡是哪裡 ?」、「記憶與風景又在哪裡 ?」其實，「心」 就在你與你所關心的對象之間。只要你關心某一對象，你所關心的對象，包含藝術作品與整個展 演的場所，就會有和你發生關係。這個 「心」，就是同理心 (empathy)，它是「身體」這個眾人所 擁有的無可替代的「中介裝置」所具有的作用。所以當你「設身處地」地去感受人事物的情緒與 狀態時，你就是一個有「心」人， 你關心，因為你認為你和它們之間有著彼此牽連的「共構關係」。 而藝術 ( 品 ) 則是緊緊依附在「同理心」這種同情共感的作用之上，作為身體與外在事物之間的中 介，讓人與人、人與世界之間發生關係，甚至是轉化與改變原有的關係。這或許就是藝術的中心 價值所在，也是美學中最值得標舉的倫理學面向。同樣的，記憶與風景恰好也是介於心與物、感 受與對象之間，而不能以「主觀的內在記憶」和「客觀的外在風景」如此地截然二分。所以藝術 無非就是要讓這個介於之間而不可見不可感的記憶與風景，變得能見而能感。或許我們可以說， 藝術作為一種技藝，其所呈現的無非是一個「記憶的風景」或「風景的記憶」，這種技藝的關鍵 所在，就在於如何巧妙地轉化記憶與風景之間，既內外反轉又交織縷合的空間拓樸關係。  在馬匡霈（頁 120）的動畫作品裡，我們看到藝術家如何讓一種個人內在的，隱而難顯的幽微情感， 具體呈顯為具有情緒感染力而讓人感同身受的動畫作品。做為一個優秀的動畫創作者，馬匡霈確 實是透過某種特殊的「意造」方式，他個人稱之為「刻意的安排」，來營造一部能與觀眾互動， 讓人在文字意義的流轉與畫面意象的轉變中找到一種類應關係，因而開啟一個帶動想像的通道， 讓某種豐富的，溢於言語和圖畫表象之外的意蘊和情感，自然地在觀眾的心中產生餘韻繚繞、耐 人尋味的美學效果。筆者傾向把這種「刻意的安排」視為一種「意象式的象徵手法」。對意象式 的圖像來說，圖像與其所指涉的意義之間沒有固定的符號對應關係，而只有某種基於類比而得以 連結的類應關係。因此這種象徵的關係是在特定的情境場所之中，才會落實為某個具體的象徵意 義。正因為意象式的象徵緊緊依附著其所寓居的場所，所以象徵化的效果就仰賴於畫面的情境化 過程。在馬匡霈的作品中，透過一鏡到底的動勢牽引與畫面風格肌理的設定，它給出的不是一個

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個定義明確的場所，而毋寧是一處處讓意義與情感得以發生的處身情境。在場景的流動變化中， 「畫面」有如一個永遠處於轉變過程之中的「通道」，一個不是特定場所卻又能讓「象徵」成其 所是的「意義的所在」，所以在馬匡霈的作品中，一個四方型因為被從另一個方形容器中取出而 成其為包裹，同時那個四方型 ( 包裹 ) 的所在地 ( 方形容器 ) 才成其為郵筒。因此，畫面做為一個「意 義的所在」總是讓意象所蘊含和指涉的意義與情感得以自然而然地在觀者的內心被領會，一鏡到 底的手法則適當地發揮了某種維繫的作用，它不但承載著作品整體的情緒基調，也讓這個情調貫 穿整個情節發展與轉折的過程，扮演某種引導觀眾情緒的作用。因此，作品本身有了生命，成為 一個能與觀眾互動的有機體，因為它經由創作者的安排給出了雙主體的位置，一個位置讓觀眾能 入乎其內，當其所在成為處境中的感受者 ; 另一個位置又讓感受者得以出乎其外，使意義與情感 能成其所是，因而觀眾不再只是感受者，更是擁有雙主體的一個感受的詮釋者。所謂有主體意識 的生命體，不就是一個能夠去感受又同時能夠對自己的感受做出回應與詮釋的個體嗎 ? 談到生命 與有機體，我們不禁思索，記憶的風景不就是一個情感與意義膠合、編織而構架起來的有機體嗎 ? 吳佩珊（頁 59）的創作長久以來思考著「物」的中介性，人如何透過「物」來看待自身與世界的 關係，總是吳佩珊作品中最具啟發性的一個面向。「寓情於物」與「以物喻人」是筆者感受與思 索其作品意念的兩個觀念載具。「物」以其物性，除了視覺的形式之外，還有特殊的質地與氣味， 在與人的相處之中，也往往以其獨特的聲響，觸動著人們的情感與思緒。所以我們說，物與人一 樣是有個性的，是一個可以承載記憶的有機體。在吳佩珊的作品中，我們看到物與物之間雖然彼 此編織著、綁縛著、膠固著、拉扯著，卻也維繫著一幅獨樹一格的存在樣態。這個存在樣態呈現 的不只是情緒的狀態，人際關係的處境，甚至可能是某種個體生命感受之記憶的風景。它讓我們 看到了情感關係中既維繫又牽絆，既支持又拉扯的逆反性，然而人與人之間的情感矛盾，不正是 在奮力扭轉一段段荒謬而苦澀的關係後，而轉圜為深刻的生命記憶嗎 ?

同樣是基於對情感關係的探討，林盈秀（頁 74）的創作重心則是著重在對主觀情感的客觀化上。 藝 術作品的中介性除了彰顯在寓意的間接轉化之外，也顯露於感官感覺的直接類應。林盈秀透過 細密而精巧的筆觸，成功地將個人主觀的感受，藉著客觀外顯的「筆觸」，觸動觀者之「身體」 ─ 這個感覺的「中介裝置」，引出其自身具體而真實的感受。肢體姿態具體外化了人處世 應物的 態度，而人的四肢手腳則在人與世界綿長的相處過程中，用一道道傷痕與皺摺，留下許 許多多真 實感受的烙印。這些烙印無疑都是我們記憶所棲之處。綜觀三位藝術家的作品，處處可見舞動跳 躍於「心物」之間的「關係」與隨之而來的「感動」，這是否正是藝術家所要述說的生命記憶與 分享的迷人風景呢 ? 在與作品相處的片刻，或之後的思索回味，亦或是一段時間後不經意地感發， 我們將有所體會。

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The Landscape of Memories : The image of works in Ma Kuang-Pei, Lin Ying-Hsiu and Wu Pei-Shan's Creations Shung-Cheng Tsai

2013- Doctoral Program in Ar t Creation and Theor y, Tainan National University of the Ar ts

If we say that the context of works created in art is a place where we can go to rediscover memories that moved us, and the retrieval of memory requires stimulation from a re-experienced segment of sensations, then the location created by the artist happens to provide a gap and path of time and space allowing us to reclaim that memory of the “inner landscape.” Living in an age with rapidly changing environments and fragile and variable interpersonal relationships, people have come to understand that the originally intimate emotional connections are no longer as they were. The landscape that was deep and moving also became fragmented memories and a broken landscape due to the rapid changes of space and time. Perhaps the power of artistic creation is in giving a fictionalized context, so that the viewer is no longer just a viewer, but a participant who has emotions and thoughts with emotional resonance in encountering and interacting with the work. The creators use their works to call upon the “concrete and real feelings” of participants, hoping to use the mediation and conversion of the work in order that each person can dialog beyond temporal and spatial limitations, ultimately achieving emotional connections. Art(work) is the place for mediation and conversion, which can reconnect emotional contexts lost between people, between people and locations, and between people and land, rediscovering the “inner landscape” that “can be heard but not seen” or “can be seen but not grasped.” Perhaps you would ask, “What is ‘inner’?” or “Where are the memories or landscapes?” Actually, the “inner heart” is between you and the things you care about. As long as you care about something, the thing that you care about, including artworks and the entire exhibition area, would be in a relationship with you. The “heart” is empathy, which is the function of the irreplaceable “mediating device” in the “body” that everyone has. So when you “put yourself in someone else’s shoes” in sensing the attitudes and states of people, events, and objects, you are someone with “heart.” You care, because you think that you have an interconnected “co-construction relationship” with them. Art(work) is closely attached to the effect of “empathy,” with the same emotions and feelings, serving as the intermediary between the body and external objects, causing relationships between people, and between people and the world, even transforming and changing original relationships. This may be the central value of art, and the most noteworthy ethical aspect in aesthetics. Similarly, memory and landscape happen to be located between the heart and the object, between the sensation and the target; thus, they cannot be simply bifurcated into “subjective internal memory” and “objective external memory.” Therefore, the very point of art is to make the memory and landscape between invisible and insensible visible and sensible. Perhaps, we can say that as a craft, art demonstrates no more than “the landscape of memory” or “the memory of landscape.” They key to this craft is how to intricately convert the internal, external, reversed, yet connected spatial topological relationship between memory and landscape.

In the animation works of Kuang-Pei Ma (p.120), we see how the artist specifically demonstrates the internal and obscured emotions as emotionally infectious and empathetic animation works. As an outstanding animation creator, Kuang-Pei Ma indeed used a unique kind of “meaning production,” which he personally referred to as “deliberate arrangements,” in order to create something that can interact with the audience, and people can find a correspondence relationship between the flow of textual meaning and transformations

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of images, thereby opening a channel that drives and motivates the imagination, allowing the rich meaning and emotion beyond the language of the images to naturally achieve resonating and provocative aesthetic effects in the minds of the audience. The author is inclined to view this kind of “deliberate arrangement” as a sort of “image symbolic method.” For symbolic images, there are no fixed semiotic correlations between images and their signified meanings; it only has an analogous connection relationship. Therefore, this symbolic relationship is only realized as a specific symbolic meaning in specific contexts and locations.

Because image symbols are closely attached to the sites they inhabit, the effect of symbolization is reliant on the contextualization of the image. In the works of Ma Kuang-Pei, the dynamic drive of one single shot and settings of the image styles and textures, does not offer a definitively defined site, but is rather a situation in which meaning and emotions can occur everywhere. In the flows and changes of the scene, “image” seems to be a “channel” that is always evolving, a “site of meaning” that is created by “symbolism” without being a specific site. Therefore, in the works of Kuang-Pei Ma, a rectangle was removed from another rectangular container to become a package, and at the same time, that rectangle (object) in the location (rectangular container) becomes a mailbox. Therefore, as the “location of meaning,” the image always allows the meanings and emotions naturally contained and involved in the images to become understood by the mind of the viewer. The single-shot method suitably realizes a certain connective effect, which not only bears the emotional tone of the overall work, but also allows this tone to penetrate the entire process of story development and movement, playing the role of guiding the viewers’ emotions. Therefore, the works themselves have life, and become organic entities that can interact with the audience because the creator arranged a dual-subject location; one allows the viewer to enter it to become a sensor in the location; while the other one allows the sensor to be outside, thus, meaning and emotion can coexist. This is because the viewer is not only a sensor, but an interpreter with feelings for the dual-subject. Aren’t so-called life forms with subjective consciousness also able to sense and respond to and interpret their own sensations?

Regarding life and organic entities, we must think and consider – isn’t the landscape of memory an organic entity with adhered emotions and meaning, woven in construction? Pei-Shan Wu’s works(p.59) have long considered the mediation of “objects,” and one of the most inspiring aspects of the works of Pei-Shan Wu is how people view the relationship between themselves and the world through “objects.” “Placing emotions in objects” and “using objects as metaphors for people” are two conceptual vehicles through which the author senses and considers the intent of the works. The characteristics of “objects,” other than visual forms, also involve unique qualifiers and scents. In human interaction, they often touch human emotions and thoughts through their unique sounds. Thus, we can say that objects, like people, have personalities, and are organic entities that can bear memories. In the works of Pei-Shan Wu, we can see that, although objects mutually weave, tie, congeal, and pull one another, they also maintain unique forms of existence. These forms of existence demonstrate not only the emotional states and situations of interpersonal relations, but may also be landscapes of memory sensed by a certain entity life. It helped me see the for-and-against characters that bind and tie, support and pull, in emotional relationships. However, aren’t emotional contradictions between people the deep life memories created after struggling to overturn various absurd and bitter relationships?

Similarly based on the exploration of emotional relationships, the creative focus of Ying-Hsiu Lin (p.74) is only the objectification of subjective emotions. The intermediary characters of artworks are not only expressed in the indirect conversion of metaphoric meaning, but are also shown in the direct perceptions of sensory feelings. Through nuanced and intricate touch, Ying-Hsiu Lin successfully used personal subjective feelings to touch the “body” of the viewer though objective and existent “touch,” as this “mediating device”

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of feeling induces specific and true feelings. Physical gestures specifically externalize the attitudes through which people deal with the world and things, while human limbs leave behind many imprints of true feelings, in the forms of scars and folds, during the process of dealing with the world. Without a doubt, these marks are where our memories reside.

An overview of the works of these three artists show “relationships” and “being touched” between the dances of “heart and objects,” does this also happen to be the life memories and enticing landscapes narrated and shared by the artists? In being with the works, the contemplation of them, or the unintentional feelings arising a period of time later, we will sense these things.

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觸摸時間，書寫「日常生活」中的光影瞬間 蕭伊伶 / 國立臺南藝術大學藝術創作理論研究所 103 學年度博士生 「瞬間不會平白無故地出現於某時或某地。它是一種節慶，一種驚奇，但不是一種奇跡。…( 瞬間 ) 這樣一個節慶，輝煌光照了日常生活中沉悶的悲傷領地，…」 1.。法國都市理論家列斐伏爾 (Henri Lefebvre) 於 1947 年發表了《批判日常生活》(The Critique of Everyday Life) 第一卷，將日常生活轉 化為嘉年華式的想像，第二卷則提出了打斷「日常生活」時間流的概念－「瞬間」(moment)。1924 年提出《超現實主義宣言》的法國詩人安德烈•布烈東 (André Breton) 以及同時期達達運動 (DaDa) 關於時間的概念「在場瞬間」(moments of presence) 都強烈影響了列斐伏爾的日常生活批判哲學， 他因此提出了「日常生活」(Everyday Life ) 中單調性 (banality) 與在場 (presence) 的辯證。列斐伏爾 批判二次戰後日趨規律化與庸俗化的歐洲文化生活與現代的「日常生活」已為資本主義商品的消 費邏輯與「異化」（alienation）所浸漬，透過「日常性」(everydayness) 的陳腐與神奇，企圖在日 常生活的規律中，挖掘「去熟悉化」(defamiliarization) 與「陌生化」(strangeness) 之後的震撼與擾動， 讓美學糢糊「日常生活」中「常規」與「異質性」(heterogeneous) 的分野，他所提出的「瞬間」便 是打破日常生活的循環與僵硬使其獲得解放。

列斐伏爾的「瞬間」概念具有強烈的詩意，亦是對於法國哲學家亨利•柏格森著名的「綿延」( durée ) 思想進行批判與繼承的結果，「瞬間不能藉由、也不能在日常生活之中加以定義，也不能 由日常生活的外部或特殊性來定義之。它形塑了日常生活的輪廓，但在此脈絡下推論，這個形狀 是空的。」。2. 柏格森認為科學上由鐘錶齒輪度量的時間只是抽象的幻覺，他稱之為「空間化的 時間」，而通過直覺所感知到的時間，叫作「綿延」( durée )。柏格森認為「綿延」是唯一的實在， 是一個彼此滲透、交融，永遠處於變化中的運動過程；在此時間概念影響下，列斐伏爾指出瞬間 是由選擇所構成的，通過選擇將其從混亂與困惑中逃逸，並擺脫初始的模糊狀態。瞬間具有特定 的綿延性，並且有著它自己的記憶，瞬間具有其內容，同樣的，瞬間有其形式，每一個瞬間都成 為絕對，為了要解除日常生活瑣碎所造成的異化，以及日常生活所生成的零碎活動，瞬間必須異 化其自身。3.

我們如何觸摸時間 ? 如何在那日常生活的瞬間捕抓光影的痕跡 ? 有如在陽光長期曝曬下的螁色痕跡，也像是在陽光烙印下的皮膚，壁紙上是物件空缺的輪廓，時 間靜止、凝固在這些痕跡中。藝術家鄭秀如 ( 頁 124）作品〈去在留中、留在去裡〉以電腦設計並 且利用印刷製造出仿真的壁紙圖案，再利用 3D 壓製布紋，建築工法施作在木造牆面，在抓對視點 的頃刻，空間產生平面化。日常生活中的物件一一的「去熟悉化」(defamiliarization)，衣架、洋裝、 壁燈只剩下輪廓，反射了藝術家在描摹過程中的身體感知與主體存在，這些空缺的形象，討論著

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事物存在的曖昧性，由於身高與視點不一，觀者的視角永遠處於測不準的狀態下。藝術家寫道：「空 間因為時間宛如一張顯影的相紙」，鄭秀如試圖「藉由生活物件烙印於空間中顯影的痕跡，表現 空間中時間的滯留、延宕與迴盪。」，這些滯留、延宕與迴盪所產生的痕跡，呈顯了列斐伏爾「瞬 間」中的綿延。

同樣的時間感知與「去熟悉化」，也出現在洪鈞元（頁 62）錄像作品《宿 》 中，寂靜的角落，滿 佈著灰塵的陳舊氣味，鏡頭緩慢來回移動在每個細節，時間在沉默中消逝，觀者的視線觸摸著鏡 頭所到之處，是羅蘭•巴特 (Roland Barthes) 筆下的「此曾在」(That-has-been)，也如同普魯斯特 (Marcel Proust) 在《追憶似水年華》( 法：À la recherche du temps perdu；英：In Search of Lost Time) 第一部《在斯萬家那邊 》 第一卷中所描述：「軀殼的記憶，兩肋、膝蓋和肩膀的記憶，走馬燈似 的在我的眼前呈現出一連串我曾經居住過的房間。肉眼看不見的四壁，隨著想像中不同房間的形 狀，在我的周圍變換著位置，像漩渦一樣在黑暗中轉動不止。」，4. 藉由日常性的影像陳述，在 來回巡視的鏡頭引領之下，觀者的視線跟著逼近每個細節進行閱讀，鏽蝕的車體或者是信件上的 文字，彷彿蒐集著記憶，銘刻這個場景，藝術家以他者的身分介入這個角落空間，臆想著歲月， 或許人聲鼎沸，「這裡」也曾喧嘩雜沓。影像即將終結時，煙霧飄起，是藝術家對他者生命、地 方記憶與身分想像的註解與植入。

在洪鈞元另一件作品中，時間感同樣被拉長，長約一分鐘的錄像剪輯，被拍攝者的動作經過刻意 放慢。彷彿站在岸邊，冰冷與窒息感襲來，觀者凝望著沉入水面像是溺水的年輕女孩，感受到身 體在水中下沉的重量，閉起雙眼聆聽，世界只剩下氣泡聲與拍打水面的聲音，聲音引起幻覺，有 如大量的水灌入耳中，擠壓著耳膜，觀者彷彿也一起飄浮在冰冷水中。在《當身體超越紀念 》 短 暫卻循環播放的錄像作品中，雖然，藝術家引用了新約聖經，提出一種形而上的神學操作：「這 是我的身體，為你們捨的。你們應當如此行，為的是紀念我。」5.，透過編導式的影像語彙，藝術 家試圖從耶穌「肉身成道」( Incarnation ) 中重新定義身體，藉由紀念性的文字描述，作為影像實 體與語言敘述的交叉辯證。然而，當隨著水波漂蕩的高中制服帶著過多指涉時，我們該如何判讀 藝術家的意圖。高中制服除了具有社會階層區隔與權力政治的指涉，意義更在青春與慾望間擺盪， 藝術家藉由他者的身體建構其影像語言，在曖昧與模糊間，完成其自身記憶的召喚。

是瞬間的視覺衝擊，在潮起潮落間，觀者預期的是轟然巨響的海浪聲，那些海浪拋擲的結實力道， 然而，黑暗的場域中，只有一片寂靜與光影。「我想觸摸海。」是郭嘉羚（頁 111）創作《海動作》 (Sea Move) 的動機：「當時，凝視著大海，這個即時的反射回應，成為這件作品的靈感來源。」。 當海浪湧來，觀者不免倒退腳步，雖然，腳底沒有流逝的海砂，只有堅實的地面，視覺成為進入 作品的唯一媒介，白色布幕包裹著巨幅牆面，召喚著身體記憶與日常生活經驗，是過往海岸的影 像與身體記憶，是帶著沙粒迎面刮擦皮膚的海風，是鼻息間空氣中無處不在的淡淡鹹味，《海動 作 》 在光影變幻間挑起身體其他感知，皮膚彷彿也跟著黏濕了起來。當觀眾習慣海浪在眼球前來 回反覆擊打的運動頻率時，投影布幕的凸起物勾起人們想走向前去並且伸手觸摸的肢體動作，創 作自述對於想像的觸摸進行了解釋，「這個觸摸，毋寧說是一種觸視（Haptical visuality）的動作，

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是一種未被身體實踐的真實動作，他必不能以現實世界的身體與海肉體碰觸。像是從腦海中將觸 摸的思考動態影像切片擷出、獨立展示，…」。

在《海動作》中，真實世界在藝術家的削減下，熟悉的影像被陌生化，再現了「它性」(otherness)， 觀者卻被剝去了聽覺，凸顯出身體不自覺的前傾動作。如同列斐伏爾在《什麼是現代性》(What is Modernity?) 一文中指出：「一些藝術家意識到了真實世界的陌生和它的『它性』(otherness)，企圖 在其中或其外巡漫遊。通過取代異化的現實，他們獲得了另外的現實，並重新發現那些年代久遠 的象徵。這些象徵，雖被分裂勞動、信號系統和技術的漫長而辛酸的世紀所粉碎，但仍然是我們 意識的晦暗根基。」6.。

藝術家挖掘著幽微意識中的晦暗根基，列斐伏爾詩意語言下的「日常性」、「在場瞬間」以及「它 性」，成為串起三位藝術家的關鍵詞，鄭秀如在自述中提到日常性與「家」的意象為其所關注的 創作核心：「藉由日常性的探討與符號的建構，試圖鬆動對於『熟悉』既有的看法，假若熟悉早 已存在，如何從這熟悉的日常符號去探討熟悉之外，…」，如前述，洪鈞元與郭嘉羚的作品也掌 握了「日常性」與「在場瞬間」，利用生活隨處可見的場景，進行影像語言的敘事重構，帶領觀 者觸摸時間，書寫「日常生活」中的光影瞬間。

參考書目： Henri Lefebvre ,The Everyday and Everydayness, trans.Christine Levich. Yale French Studies, No. 73, Everyday Life,1987.

Henri Lefebvre, Introduction to modernity: Twelve Preludes, trans.John Moore, London:Verso 1995.

Henri Lefebvre, Critique of Everyday Life, Volume II, Fundations for a Sociology of the Everyday, trans.John Moore, Verso, London, NewYork, 2002.

Henri Bergson, Matter and Memory, trans. N. M. Paul and W. S. Palmer ,Cambridge: Zone Books, 1990.

Rob Shields, Lefebvre, Love & Struggle: Spatial Dialectics. New York: Routledge, 1999. 包亞明主編，《現代性與空間的生產》，上海：上海教育出版社，2003 年。 亨利 ‧ 柏格森 (H.Bergson) 著，蕭聿譯，《材料與記憶》，北京市：華夏出版社， 1999 年。

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1. Henri Lefebvre, Critique of Everyday Life, Volume II, Fundations for a Sociology of the Everyday [M].

Verso, London, NewYork, 2002.pp356. 原文如下：The moment does not appear simply anywhere,at just any time. It is a festival, it is a marvel,but it is not a miracle.It has its motives, and without those motives it will not intervene in everyday.Festival only makes sense when its brilliance lights up the sad hinterland of everyday dullness,and when it uses up,in one single moment, all it has patiently and soberly accumulated.

2. Henri Lefebvre, Critique of Everyday Life, Volume II, Fundations for a Sociology of the Everyday, trans.

John Moore, Verso, London, NewYork, 2002.pp356. 原 文 如 下：The moment cannot be defined by the everyday or within it, but nor can it be defined by what is exceptional and external to the everyday. It gives the everyday a certain shape,but taken per se and extrapolated from that context, this shape is empty.

3. Henri Lefebvre, Critique of Everyday Life, Volume II, Fundations for a Sociology of the Everyday, trans.

John Moore, Verso, London, NewYork, 2002. pp344-347.

4. 普魯斯特 (Marcel Proust) 著，沈志明選編，《普魯斯特讀本》，北京：人民文學出版社，2012 年。 頁 5。 5. 歌林多前書 11：24。 6. Henri Lefebvre,State, Introduction to modernity: Twelve Preludes, trans.John Moore, London:Verso 1995,pp.181. 此 段 落 英 文 全 文 為：In art, some artists reveal the way the abstract and the concrete,and antinature and nature, have interpenetrated each other, and their works are attempts to grasp the presence of discontinuous signs and signals within the palpable world. They deliberately replace perceived continuity by constructed discontinuity, making room for a freedom which will be (or will assume itself to be) pure creativity.

They mould the signs existing within the palpable world into a language, into writing. Other artists remain aware of the strangeness of the real world and of its ' otherness', and try to journey within or beyond it; by superseding alienated reality they will attain alternative realities, and rediscover those age-old symbolisms which long and bitter centuries of fragmented labour, technology and systems of signals have shattered, but which, like it or not, still form the dimly perceived foundations of our consciousness. 譯文參照：包亞明主編， 《現代性與空間的生產》，上海：上海教育出版社，2003 年。頁 15。

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Touch time, write the moments of light and shadow in “everyday life” Yi-Ling Hsiao

2014- Doctoral Program in Ar t Creation and Theor y, Tainan National University of the Ar ts

“The moment does not appear simply anywhere, at just any time. It is a festival, it is a marvel, but it is not a miracle. Festival only makes sense when its brilliance lights up the sad hinterland of everyday dullness…”

In 1947, French urban theorist Henri Lefebvre published the first volume of The Critique of Everyday Life, converting daily life to carnivalesque imagination. The second volume proposed the concept of the broken flow of time in “daily life” – the “moment”. In 1924, French poet André Breton’s Surrealist Manifesto and the contemporary Dadaist concepts of time, “moments of presence,” both strongly affected the Lefebvre philosophical critique of everyday life; he proposed the dialectic of banality and presence in “everyday life”. Lefebvre criticized European cultural life and modern “everyday life” as gradually regularized and vulgarized for having become immersed in the consumption logic of capitalist products and “alienation.”

Through the banality and magic of “everydayness,” he attempted to find shock and disturbance after “defamiliarization” and “strangeness” in the rhythm of everyday life, thus, aesthetics can blur the boundary between “conventional” and “heterogeneous” in everyday life. The “moment” that he proposed broke the circulation and rigidity of everyday life, releasing them.

Lefebvre’s concept of “moment” is strongly poetic, and is the outcome of the critique and inheritance from French philosopher Henri Bergson’s well-known thought of “durée.” “The moment cannot be defined by the everyday or within it, nor can it be defined by what is exceptional and external to the everyday. It gives the everyday a certain shape, but taken per se and extrapolated from that context, this shape is empty”.

Bergson believed that time measured scientifically in clock gears is only an abstract illusion, which he called “spatialized time,” while time perceived though the senses is called “durée.” Bergson believed that “durée” was the only reality, and was a process of action that was mutually infiltrating, mixing, and always in flux.

Under the influence of this temporal concept, “moment”, as defined by Lefebvre, has a considerable unique durée character, which contains all similarities and differences, and was not a harmonious linear process. Nor is it fully fragmented. It has its own memory as an instant and as an eternal.

How do we touch time?

How are traces of light and shadow captured in the moments of everyday life?

Like fading traces with long-term exposure under the sun, and like sun-branded skin, the wallpaper shows outlines of missing objects. Time is frozen and congealed in these traces. The artist Hsiu-Ju Cheng’s works(p.124) “There is a going in my staying and there is a staying in my going” were designed by computer, realistic wallpaper images were printed, and then 3D presses were used to create fabric patterns; architectural methods were applied to the wooden walls. In the moment when visual points are grasped, the space becomes flattened. Objects in everyday life become “defamiliarized,” as only outlined remains of clothes hangers, dresses, and lamps, reflecting the artist’s bodily sensations and subjective existence in the drawing process. These omitted images discuss the obscurity of existence. Because of different heights and perspectives, the viewing angle of the viewer can never be accurately measured. The artist wrote, “Because

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of time, space is like a developed photograph.” Hsiu-Ju Cheng attempted to “use the traces braded by objects in life in space to show the staying, lingering, and echoing of time in space.” The traces of staying, lingering, and echoing demonstrate the durée of “moments” for Lefebvre.

The same perception of time and “defamiliarization” also appeared in Jun-Yuan Hong’s video (p.62) work “Stay,” where quiet corners are full of old dusty scents, as the screen slowly pans over each detail, time disappears in silence. The viewer’s sight touches what the screen shows, such as “That-has-been” written

by Roland Barthes, or Marcel Proust’s volume 1 of Swann's Way in the first part of In Search of Lost Time, “the composite memory of its ribs, knees, and shoulder-blades offered it a whole series of rooms in which it had at one time or another slept; while the unseen walls kept changing, adapting themselves to the shape of each successive room that it remembered, whirling madly through the darkness.” Described by the images of everydayness, and guided by the patrolling lens, the viewer’s line of sight reads every detail, such as rusted car bodies or text on letters; as if collecting memories, carved into this scene. The artist, as an other, intervenes in this corner space, remembering the past; perhaps it was bustling, and “here” has also been filled with noise. When images are about to end, smoke rises as the annotation and implantation of the artist’s imagination about the lives, local memories, and identities of others.

In another work by Jun-Yuan Hong, the sense of time was similarly lengthened. An edited video of about one minute in length was deliberately slowed by the filming person. As if standing on a shore, the suffocating cold comes, the viewer gazes at the young girl sinking underwater, seemingly drowning, sensing the weight of the body in the water, listening with eyes closed, with only the sound of bubbles and slapping of the water left in the world. The sounds cause illusions, like a large amount of water pushing into the ears, pushing against the eardrums, as if the viewer was also floating in the cold water. In the short and repetitively played work, When The Body Beyond The Memorial, the artist cited the New Testament, proposing a metaphysical theological operation: “This is my body, which is for you; do this in remembrance of me.”

Through guiding image vocabulary, the artist attempted to redefine the body through the “incarnation” of Jesus. Commemorative textual descriptions serve as cross-dialectics of images and language. However, when the high school uniform flowing with the water involves too much signifying, how should we interpret the artist’s intent? The high school uniform not only signifies social differentiation and power politics, but its meaning also vacillates between youth and desire. The artist uses the body of the other to construct its image language; calling for the personal memory between obscurity and vagueness.

It was the visual impact of the moment, between the rising and falling tide, the viewer anticipates loud crashing waves and strong tossing by the waves. However, in the dark location, there was only quiet, light, and shadows. “I want to touch the water,” was Chia-Ling Kuo’s motive (p.111) in creating Sea Move: “At the time, staring at the ocean, the instant reflexive response became the source of inspiration for this work.”

When waves come, the viewer would tend to take a step back. Even though there was no flowing sand under one’s feet, only solid ground, the sight becomes the only medium into the work. The white canvas covers the massive wall, calling for physical memory and everyday life experiences, which are seashore images and physical memories, the sea winds carrying sands that brush against the skin, the light saltiness everywhere in the air one breathes in. Sea Move stimulates other physical sensations in the changes of lights and shadows, and skin also seems sticky and wet. When the viewer is used to the rhythm of waves in front of the eyes, the bulges in the canvas makes people want to walk forward and touch, in a physical action. The creative selfnarration has interpreted the imagined touch. “This touch may be said to be a haptical visuality action, a real

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action that has not been practiced by the body. He is unable to touch the body of the sea with his real body. It would be like separating the thought of touch in the mind for independent exhibition…”

In Sea Move, the real world was whittled away by the artist, as familiar images became strange, displaying “otherness,” but the viewer was stripped of hearing, accentuated in unconscious forward-leaning of the body.

As Lefebvre pointed out in What is Modernity?: “Other artists remain aware of the strangeness of the real world and of its ' otherness', and try to journey within or beyond it; by superseding alienated reality they will attain alternative realities, and rediscover those age-old symbolisms which long and bitter centuries of fragmented labour, technology and systems of signals have shattered, but which, like it or not, still form the dimly perceived foundations of our consciousness”.

The artist digs the foundations of darkness in the subconscious. In Lefebvre’s poetic language, “everydayness,” “moments of presence,” and “otherness” became the keywords linking the three artists.

Hsiu-Ju Cheng’s self-introduction mentioned that everydayness and the image of “home” are the creative cores of concern: “via the exploration of everydayness and the construction of symbols, I attempted to loosen existing views of ‘the familiar.’ If the familiar already exists, how can we explore what is beyond the familiar from these familiar daily symbols…” As previously mentioned, the works of Jun-Yuan Hong and Chia-Ling Kuo also grasped “everydayness” and “moments of presence,” in which scenes visible everywhere in life are narratively reconstructed in terms of image and language, bringing the viewer to touch time and write the light and shadow moments of “everyday life.”

References : Henri Lefebvre ,The Everyday and Everydayness, trans.Christine Levich. Yale French Studies, No. 73, Everyday Life,1987.

Henri Lefebvre, Introduction to modernity: Twelve Preludes, trans.John Moore, London:Verso 1995.

Henri Lefebvre, Critique of Everyday Life, Volume II, Foundations for a Sociology of the Everyday, trans.

John Moore, Verso, London, NewYork, 2002.

Henri Bergson, Matter and Memory, trans. N. M. Paul and W. S. Palmer ,Cambridge: Zone Books, 1990.

Rob Shields, Lefebvre, Love & Struggle: Spatial Dialectics. New York: Routledge, 1999.

Bao, Y.M.(Ed.), Modernity and the Production of Space, Shanghai: Shanghai Education Press, 2003.

Bergson, H., Xiao, Y.(trans.), Matter and Memory, Beijing: Huaxia Publishing, 1999.

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1. Henri Lefebvre, Critique of Everyday Life, Volume II, Fundations for a Sociology of the Everyday [M].

Verso, London, NewYork, 2002.pp356. 原文如下：The moment does not appear simply anywhere,at just any time. It is a festival, it is a marvel,but it is not a miracle.It has its motives, and without those motives it will not intervene in everyday.Festival only makes sense when its brilliance lights up the sad hinterland of everyday dullness,and when it uses up,in one single moment, all it has patiently and soberly accumulated.

2. Henri Lefebvre, Critique of Everyday Life, Volume II, Fundations for a Sociology of the Everyday, trans.

John Moore, Verso, London, NewYork, 2002.pp356. 原 文 如 下：The moment cannot be defined by the everyday or within it, but nor can it be defined by what is exceptional and external to the everyday. It gives the everyday a certain shape,but taken per se and extrapolated from that context, this shape is empty.

3. Henri Lefebvre, Critique of Everyday Life, Volume II, Fundations for a Sociology of the Everyday, trans.

John Moore, Verso, London, NewYork, 2002. pp344-347.

4. 普魯斯特 (Marcel Proust) 著，沈志明選編，《普魯斯特讀本》，北京：人民文學出版社，2012 年。 頁 5。 5. 歌林多前書 11：24。 6. Henri Lefebvre,State, Introduction to modernity: Twelve Preludes, trans.John Moore, London:Verso 1995,pp.181. 此 段 落 英 文 全 文 為：In art, some artists reveal the way the abstract and the concrete,and antinature and nature, have interpenetrated each other, and their works are attempts to grasp the presence of discontinuous signs and signals within the palpable world. They deliberately replace perceived continuity by constructed discontinuity, making room for a freedom which will be (or will assume itself to be) pure creativity.

They mould the signs existing within the palpable world into a language, into writing. Other artists remain aware of the strangeness of the real world and of its ' otherness', and try to journey within or beyond it; by superseding alienated reality they will attain alternative realities, and rediscover those age-old symbolisms which long and bitter centuries of fragmented labour, technology and systems of signals have shattered, but which, like it or not, still form the dimly perceived foundations of our consciousness. 譯文參照：包亞明主編， 《現代性與空間的生產》，上海：上海教育出版社，2003 年。頁 15。

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你留不住我，我帶不走你 ？ —水墨媒材與書畫傳統在當代的角力關係 1.

沈裕昌 / 國立臺南藝術大學藝術創作理論研究所 101 學年度博士生 無論面對作者，或是面對畫作，袁慧莉（頁 90）、黃柏皓（頁 86）、蕭卓宇（頁 78），皆願意聲 稱他們的「水墨畫家」身份，也同意將他們的作品歸類於「水墨畫作」。有鑒於三位作者在各方 面的背景差異，這些聲稱與同意的背後緣由，或許未必如其表面劃一，亦非「水墨」一詞可以簡 單蔽之。另一值得注意的問題是，「當代水墨」一詞，在台灣已行之有年，引起的爭議與討論不 曾歇止，然而三位作者在其文字與話語中，皆無有提及；在其畫作中，亦未見積極對話的意圖。 雖然三位作者在本次展覽展出的作品，或者因其材質技法、或者因其地緣文化，極易讓人聯想到 「水墨」，卻顯然與傳統書畫作品大相逕庭。縱然袁慧莉畫作《孤山水》中的山石主題與顯而易 見的「山水」畫題、黃柏皓畫作《生生》中肖似山石的筆觸質地與極易令人聯想到《繫辭傳》「生 生之謂易」的畫題，甚至如《飛白練》般暗示筆法與傳統飛瀑主題的畫題，皆看似對書畫傳統有 所回應，亦見二人對傳統文人書畫美學具備一定程度以上的知識與素養；然而無論袁慧莉的《時 間之漬》系列、黃柏皓的《小宇宙》系列，乃至蕭卓宇的《內外視境》、《液態創生》、《陸海 動境》等奇異的畫題，甚至三人之間更多的《無題》畫題，在其畫作中所欲喚起的思想討論，與 其選擇的術（俚）語概念或修辭，皆與傳統書畫美學相背離。更有意思的是，三位作者對書畫傳 統的認知與涵養，或許因為學習背景與個人價值判斷的關係，固然差異甚大；但面對此傳統，卻 皆不持強烈否定或與之割裂的態度。三人之中，對此傳統涵養愈深者，愈希望自己的底藴能若有 似無、非直接地讓同樣具備此涵養的觀者，在其作品中識讀；反之則希望藉由特殊技法與畫面母 題，營造較高的個人辨識度。最後，三位作者皆不約而同地大量創作非具象、去主題的畫面，卻 不直接承認自己的作品為抽象畫作；亦不約而同地大量關注材質、技法問題，在其上發展自身的 創作與問題意識，更以此回應各自對「水墨」、甚至「水墨媒材」的各種問題。此中異同，有待 下文逐一討論。

袁慧莉本次展出的作品，以數件《時間之漬》系列為主，輔以一件年代較早的《孤山水》作為創 作發展之參照。袁氏聲稱此一系列作品所關注的，是「筆墨材質的時間性與轉—形（Trans-shape） 的生成過程」。她在其創作論述中提到： 傳統山石多層次的皴染法本身就存在著時間堆疊的因素， 但過去山石皴染多半著重於筆墨的造型結果，而使水墨材質之皴染技法所獨有的時間性特質並未被 彰顯，皴染只是作為一種造型的手段被看待。而本系列則希望將皴染的時間性特質彰顯出來，成為 造型的目的自身。原本作為繪形的皴法筆墨，從繪形的配角變成造形的主角。在《時間之漬》長時 間的點漬過程中，借助熟宣紙性的材質特性，毛筆墨色留下手勢、水分、空氣濕度與時間互為的漬 痕。石在不斷點漬的漫延中，輪廓被破形，因此不再是穩定不變的造型象徵，從原本堅硬與明確輪 廓的山石屬性，轉形成沒有確定輪廓的柔軟流動之物。

從袁氏較早的諸多畫作與其題畫詩來看，無論山石佈局、筆墨質地與遣詞用字，皆見其人具備良 好的書畫功底，以及與傳統書畫作品遙相對話的意圖。或許袁氏為突顯本次創作的核心關懷「皴

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染的時間性特質」，故而言稱傳統皴染為「著重筆墨的造型效果」，此話所言頗重，或者有過其 實，不似其人之議。從材料學與傳統技法的角度視之，無論基底材為絹、紙、生、熟，用色為水墨、 淺絳、重彩，乃至如壁畫、帛畫般雙鉤填彩的平塗作品，皆可見其時間性。若排除一般觀眾較難 區辨時間性的勾勒填彩作品，只論袁氏所稱的「時間特質」，至少在以生宣為基底材的作品上， 作者落於紙上的一筆一墨，其先後次序，是清晰可辨、一目瞭然的。所以，我們應當擱置其批評， 只視其創作意圖為：針對「作為一種造形手段的皴染」，從材料學的角度進行反思。其結果是， 若能彰顯「皴染的時間性特質」，即可使其「成為造形的目的本身」，使「皴染筆墨」得以反賓 為主；易言之，「使皴染筆墨脫離山石之形質，成為皴染筆墨自身」。暫且不論這番推論如何地 脫離中國傳統思想與美學脈絡、與啟蒙理性和現代主義思想有多麼驚人的相似性；為了將其反思 結論落實於創作（或者相反），袁氏除了回到其最熟悉的書畫媒材上深究，更回到個人生命經驗、 甚至集體記憶上來。袁氏在其論述中提到： 在《易經》卦形中「山石」表為「艮」，意指靜止不動 的性質。但 921 地震造成臺灣中部走山災難的震憾，瞬間瓦解了山石是永恆不變的穩定印象，自然 的變解受到無常因素的影響，穩定的形也會在瞬間變成不定的形。因此破形、不完整與不穩定成為 此後我看待山石的角度。時間變遷推移造成萬物的形態變化可說是世界生成的一種本質，然而，這 種世界的生成本質如何透過山水畫表現出來？《時間之漬》系列正是試圖結合「時間」與「轉 - 形」 的創作思考。

將「艮」解作「山石」，是《大象傳》「兼山，艮。君子以思不出其位」的發明，《易》經文中 並無此說。然而傳統《易》學家已習於以「山」解「艮」，我們暫循《易傳》的意思繼續討論。《彖 傳》更進一步以「艮，止也。時止則止，時行則行，動靜不失其時，其道光明」將「艮」、「山」、 「止」三者，透過意象一以貫之。《易傳》的作者或生活於中國內陸，故有此說。袁氏因其在台 灣的生命經驗，對山石有了全然不同的感受。我極願意相信她對傳統山石文化意義與審美經驗的 反思；較之皴染技法與造形問題，這樣的反思顯然更加深刻與誠厚。因此，她選擇使用的那些品 質極佳的紅星老蟬翼宣、日本鳳凰生產的水干繪具，固然能夠透過上好熟紙適度的排水特性，讓 帶有土質特性的顏料，透過飽含豐富水分的筆墨皴染，以極緩慢的時間，逐次淤積在畫面上；然 而我們或許更應關注她亟欲崩解山石造形背後的獨特山水觀。可以想見，作者畫下的一筆一墨， 起初應當是在紙上積如水窪、甚至相互推擠奔流的；直到漫長的時間過去，水分蒸發，留下周邊 一圈漬痕，亦是其畫題所來自。袁氏的畫作或許不只可懸於粉壁上遠觀，更應如其人作畫時般俯 視。所能見者，再非可觀可遊的山水，或為《淮南子》〈覽冥訓〉「往古之時，四極廢，九州裂， 天不兼覆，地不周載」般女媧補天時的景象罷。

黃柏皓本次展出的作品，有《生生》、《飛白練》、《無題》，輔以兩件尚處於實驗階段的畫作。 黃氏的作品，無論就其媒材或形式，皆可簡單區分為兩個系列。其一是以書法般的筆觸在尺幅較 大的紙張上作極大面積的點畫；另一是以膠彩畫獨有的低號數粗顆粒天然岩繪具作單色平塗。與 袁慧莉相較，黃柏皓在其創作中的核心問題或許更單純，或者更不明顯。黃氏在其創作論述中提 到： 猶如呼吸，筆墨書寫幾乎成為台灣水墨畫家黃柏皓自然而然的生活方式與生命狀態。筆法作為 水墨的基因，滲透在他系列的畫作的各個方面。猶如時間藝術，在創作過程中他的繪畫牽涉了筆觸

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的堆積時間以及生命經驗的變化。時間往往也在線條牽動的書寫性中被呈現，猶如我們可以經由靜 態的畫面看見時間和生命的流動。在他的作品中，經由書法筆鋒的提按頓挫所繪製線性痕跡，以及 筆墨運動，均被轉化為視覺圖像。這些圖像供觀者可以專注於粗細、長短、乾濕、濃淡、遲速、使轉、 提頓、暈染與飛白等顯露出筆墨嚴謹結構和力度的線條，使觀者可以專注於筆墨自身豐厚的精神深 度和文化深度。

從黃氏較早的畫作及其書法作品來看，其傳統書畫功底較之袁氏毫不遜色，相較於同時代的年輕 水墨創作者，堪稱具備絕佳的筆墨質地。袁氏對筆墨工夫以外的文人書畫傳統，例如詩文藝術與 生命觀，較有探究的興趣；相較之下，黃氏的筆法看似更深入於傳統，其人卻更專注於水墨媒材 的物質性、甚至物理性探究，只在畫題上約略回應此一傳統、點到輒止而已。他彷彿將自己化為 筆墨、化為書寫，化為書畫傳統在物質形式上可見的最小單位。如此，他彷彿便能消解創作者的 創作意圖、甚至消解自我意識，放心的將自我交付與筆墨書寫，使筆墨藉由其身體，書寫筆墨自 身。能如此創作的前提是，他必需對自己的筆墨素養極有自信，同時抱有較單純的藝術觀與創作 觀，否則無以成此。

蕭卓宇本次展出的作品，有《內外視境》、《陸海動境》、《液態創生》、《液態創生（一）》、《液 態創生（二）》等作品。蕭氏的作品非常單純，從其較早的作品一路往下看來，雖有畫面逐漸複 雜化的傾向，形式亦漸趨完整成熟，整體而言，其發展仍是在意想中按部就班前進的。蕭氏在其 創作論述中提到： 筆者在濕的紙張（宣紙）上下墨，根據不同的水量與水流方向，運用不同的下墨 方式，點、寫、畫、甩、潑等，讓墨在濕紙中作用，畫面最後形成的造形，不是墨畫下去的那個模樣， 而是透過時間的等待，墨狀逐漸成形，在此成形的過程中，筆者運用不一樣的下墨方式與濕的紙張 進行對應，面對此充滿變動可能的介面（濕紙），每一次的下墨皆是一種挑戰，這也是筆者覺得創 作有意思的地方。

袁慧莉與黃柏皓皆為學院體系出身、筆墨訓練精實、傳統書畫功底深厚的創作者。縱然二人面對 傳統的態度與取徑有別，對於書畫史與材料學皆有極專業的知識與能力，並能妥善運用於創作。 相較之下，蕭卓宇的水墨作品，素人色彩極為濃厚，與兩人形成鮮明對比。即使蕭氏宣稱其作品 為水墨畫作，且不願意被稱為墨水畫，然其亦承認，自己並不關心書畫史與書畫傳統，反而希望 與傳統保持距離，從而達到相對獨立的創作意識。蕭的作品完全不見傳統筆墨；或許因此，他能 更無所顧忌的專注於探索飽含水分的厚紙與濃厚墨汁間的種種物理性關係，從而營造出在視覺上 富有強烈流動感與戲劇性張力的畫作。

從以上三位水墨創作者面對書畫傳統與水墨媒材的態度，似可略見一明顯共通之處：在三位創作 者與其畫作上，不約而同地出現「書畫傳統」與「水墨媒材」間的角力關係。這一現象，既可深 切地質疑所有將「水墨」視為「藝術形式」或「創作媒材」的天真觀點，亦可進一步對所有宣稱「傳 統已不復在」的現實論斷，要求提出可信論據與帶有學術責任的反省。袁慧莉與黃柏皓的作品， 確實未必能直白地「回應時代」；然而袁慧莉對於自然山水的深刻感受，源自其在台灣的生命經 驗與災難記憶，確實喚醒我們關注山水主題在恬靜幽遠外的另一面，這種令人惕懼的山水，或亦

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見於古代典籍，久已為人所忘，卻又無比真切；黃柏皓將自己的肉身存在化為筆墨書寫，此一行 為本身已使筆墨成為當代性的存在。然而，袁黃二氏之所以能如此創作，觀者之所以能領略袁黃 二氏作品的「當代性」，卻非具備書畫史、書畫傳統素養與材料學知識不可。將較之下，蕭卓宇 的作品確實將「墨水」在紙面上可能延展出的形貌推離書畫傳統最遠，從而取得畫作極高的個人 辨識度，但也因此犧牲了種種從傳統到當代的「對話」機會。水墨如何回應當代，與時代對話？ 或許正從毫不逃避地面對傳統開始。

1. 引自袁慧莉 1999 年畫作《山與雲的對話》題畫詩：「你不動如山，我飄渺如雲，偶然在你山頭 小歇，明日又將與風遠行，你留不住我，我帶不走你。」此處更改標點，文意有所更動。

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You Cannot Keep Me, I Cannot Take You Away.

—Wrestling between Ink Wash Materials and Chinese Painting and Calligraphy in This Time and Age Yu-Chang Shen

2012- Doctoral Program in Ar t Creation and Theor y, Tainan National University of the Ar ts

Hui-Li Yuan(p.90), Bo-Hao Huang(p.86), and Cho-Yu Hsiao(p.78) do not object to being called “ink wash painters,” or have any qualms about their artworks being classified into the category of “ink wash paintings”.

Considering that the three artists are from very different backgrounds, and have received dissimilar disciplinary training, the so-called “ink wash painting” seems to have gained an interesting twist in this regard. Meanwhile, what is noteworthy is that the term “ink wash of this age” has been widely discussed and hotly debated for years in Taiwan, yet none of them mentioned this in spoken words or in writing, nor did they take the initiative to initiate a conversation with others. Even if their exhibits unanimously remind the audience of the ink wash painting, due to their techniques, materials, geographical, or cultural factors, their works in nature are very different from the traditional Chinese painting and calligraphy. The hills and rocks depicted in Yuan’s “Secluded Sansui” (sansui as the theme of the painting), and Huang’s imitation of rocks and hills painting theme of “reproduction and transformation” (first proposed by Xi Ci Zhuan in his “Reproduction and Multiplication,” or even the “Flying Taffeta”, which echoes the theme of waterfalls with similar techniques)—all of this seemed to have responded to traditional Chinese painting and calligraphy, and demonstrated their advanced knowledge and skills in traditional Chinese aesthetics. Paradoxically, whether it is Yuan’s “The Stain of Time” series, Huang’s “Little Universe” series, or Hsiao’s “Perspective from Within or Without,” “Creation from the Liquid,” and “Moving Boundary of the Land and Sea,” all bear singular themes, or other paintings without an explicit theme (by all of them), the presentations of these works have a system of evoked thoughts, conceptions, or terminologies that differ greatly from traditional Chinese painting and calligraphy. More interestingly, all three artists have divergent backgrounds in education and upbringing, yet they are unanimously demonstrating sympathy toward this tradition. Among them, the one with the best cultivation of Chinese painting tends to create their art creations in an undefined vague fashion, in order to allow a like-minded audience to freely appreciate their paintings. On the other hand, the one with the least cultivation of traditional Chinese art is more inclined to employ extraordinary techniques or specific themes to create a signature style of their own. The three artists have made a collective effort to create intangible, themeless paintings, but neither one of them would concede that these are abstract paintings. Intriguingly, they all have a concern regarding the materials and techniques with which they create their artworks, and on the ground of which they develop a consciousness behind creation. They have tried to respond to questions regarding the “ink wash” or other materials of the same kind. We will explore this area in the following paragraphs.

In this exhibition, Yuan takes several pieces of the “The Stain of Time” series and a piece entitled “Secluded Sansui” as a referential point. She claimed that what she cared about in this series was “the process of creation in which the temporality and trans-shape of artistic materials (pen and ink)”. She stated explicitly in her discourse in art creation: Traditionally the multi-layered cracked dyeing technique indicates the truth that time passes. The

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difference lies in that artists of old times used cracked dyeing to present the style of pen and ink, and thus, the sense of temporality produced from this technique was not properly demonstrated. Cracked dyeing was seen by people in the past as one of basic pen and ink techniques. This series, therefore, aims to accentuate the characteristics of temporality. By so doing, cracked dyeing has turned from a secondary role to a leading role in painting. During the process of dot blotting, due to the characteristic of the non-absorbent cooked Xuan paper, the brush pen’s ink left large amounts of stains over an extended period of time. The boulders in the painting are gradually becoming mellow, soft, formless, and flowing, which is very different than the rocks we often see in other paintings.

Many of Yuan’s paintings, and her poetry on paintings of earlier times, have shown the composition of the mountainous landscapes and a highly refined rhetorical expression, indicating that she has been equipped with excellent cultivation of traditional Chinese painting and calligraphy, and has a desire to respond to the calligraphic works and paintings of old times. The reason why Yuan stated that traditional cracked dyeing was merely used to create a style of pen and ink might be derived from her intention to stress her core concern for “the temporality of cracked dyeing”. This statement seems an exaggeration, as Yuan has a low-key personality. From the angle of traditional techniques and materials science, paintings made with materials, such as spun silk or cooked or uncooked paper with ink wash, shallow crimson or heavy paints, or even “outlines filled with colors”, as mostly seen in frescos or Chinese silk paintings, manifest a sense of temporality. If the factor of filled colors is not considered, then any viewer can easily perceive the “temporality” in the paintings using uncooked rice paper. Every touch or brush by the artist can be clearly recognized by any common audience. Therefore it would be best to put aside her critiques, and regard her creation as a reflection of the old-time concept of cracked dyeing. Hence, by stressing “temporality conveyed by the technique of cracked dyeing,” we understand that the artist intends to point out that this technique will no longer be used only for the sake of mountainous landscapes, and may very well assume a leading role in modern paintings. This statement seems not merely out of line with traditional Chinese thinking and aesthetics, but bears a strikingly strong resemblance with western enlightenment philosophy and modernism.

In order to put her thinking into the execution of art creation (or vice versa), Yuan has purposefully conducted intensive research into Chinese painting and calligraphy, while drawing from her personal life or even collective experience to seek the desired truth. She remarked in her discourse, as follows: In I Ching, the hexagram of “rocks and mountains” is shown in “Gen,” which suggests “inaction or quietude”. However, a tragic incident, such as the 921 Earthquake, massively destroyed Taiwan in no time, and shattered the delusion that mountains and rocks are a constant existence. Mountains and rocks might be transformed into irregular forms due to natural forces. What the artist intends to convey to the audience is the progress of reproduction and transformation, as transformation is actually the essence of an ever-changing world. The problem was how could the artist communicate this notion of transformation to the audience? “The Stain of Time” series is thus a perfect representation that incorporates “time” and “trans-shape”.

The interpretation of “Gen” as “mountains and rocks” was invented by Da Xiang Zhuan rather than the text of I Ching. However, as this interpretation has been accepted by scholars of later generations, we use this interpretation for discussion. In Tuan Zhuan, “Gen” was further interpreted as “Gen is an act of stopping.

When the time comes, we stop; when the time comes, we start to walk again. We act as the time dictates us to do, and have a bright future ahead.” Here “Gen,” “mountains,” and “stopping” are intertwined and

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have consistent imagery. The author of Yi Zhuan was from mainland China, but Yuan develops a very dissimilar life experience in Taiwan. Hence, this is a totally new perspective of mountains and rocks. I am deeply convinced that she has a deep comprehension of traditional Chinese culture in depicting mountains and rocks, and has therefore sincerely reflected upon the aesthetic meaning of “sansui”. That is why she chose top-quality “red-star cicada’s wing cooked rice paper” and muddy pies (a Japanese artistic material) produced in Japan. Since the attribute of “draining off” of such top-quality cooked rice paper works best with a painting tool made from muddy soil, the pigments can drain away slowly on the paper, leaving small stains over the painting. More importantly, however, should be the painter’s extraordinary perspective of “sansui”, as she paints the mountains and rocks in total wreckage. It is imaginable that these imageries were at first small puddles, in which drizzles of water can be seen. After long hours passed, the painting exhibited a circle of water stains, hence, the title of the painting. Yuan’s paintings can be hung on the wall for spectators to appreciate from afar, and will provide an excellent view from below. At this time, the spectator may observe a piece of painting that looks very similar to the ancient destruction when Goddess Nuwa patched up the sky, just as “In most ancient times, the four poles of the earth crumpled down, the mass of the continent was destroyed, while the skies and the land cracked open and could not protect people anymore”, as written in Huainanzi.

Bo-Hao Huang sent artworks entitled ”Reproduction and Multiplication,”, “Flying Taffeta”, “No Name”, and two other paintings that featured experimental themes. Huang’s paintings could be divided into two categories: dotted paintings on expensive paper; and gouache paintings that are painted with natural mineral pigments (in single-color and with coarse grains). Compared to Yuan, Huang has a simpler view toward his artworks, as he once said in his discourse of art creation: Painting in ink has nearly become a living style and life for Taiwanese ink wash painter, Bo-Hao Huang, who used ink wash to manifest the nature of temporality. He presents the sense of time in his linear painting as the brushes of a pen depict the transformation of life and the fleeting nature of time.

His artworks are constituted with all sorts of pen brushes, such as a lifting mark, pressing dots, or strokes, in hopes that the movement of the pen can be turned into visual images. These imageries are made of lines, strong or thin, long or short, heavy or feeble, prompt or slow, turning, tip-in, stained strokes, or fancy white, in order to attract an audience with spiritual depth and cultural flavor.

Huang’s earlier artworks have proved his unparalleled ability as an ink wash painter and calligrapher.

Undoubtedly, he is an equal to Yuan in this time and age. While Yuan demonstrates a keen interest in the poetry and philosophy of the universe, Huang has followed the materiality of ink wash, and tried to explore physicality as a main pursuit. In other words, his association with tradition seems shallower than Yuan’s, and he turned himself into the tiniest particle of writing (or painting), in the hope of abolishing his artistic intentions or self-consciousness, and subjecting himself into pen and ink. He writes about himself (his body included) through the brushes of a pen. The prerequisite to this endeavor lies in his strong confidence in his manipulation of the pen and a simpler view on art; otherwise, this would not have been realized.

Cho-Yu Hsiao’s artworks in this exhibition include “Perspective from Within or Without,” “Moving Boundary of the Land and Sea,” “Creation from the Liquid,” and its sequels. The composition of Hsiao’s artworks is basically simple at the earlier phase, while he has managed to become a bit more complicated and sophisticated in the composition of his current paintings. He, as an artist, proved to be progressing at a steady pace. Hsiao once wrote in his discourse of art creation:

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I spread ink over a piece of soaked paper, and painted according to the direction and amount of water, using a number of methods, such as dotting, writing, drawing, splashing, and spattering drops of ink for the ink to form its shape slowly. After a certain period of time, the imageries of ink took shape, and I, as an artist, tried to converse with the paper before me with different ways of painting on the drenched paper. Faced with wet paper, which provides limitless possibilities, I felt I have taken on a big challenge. This is why I always think art creation is so much fun.

Both Hui-Li Yuan and Bo-Hao Huang received proper art education, and are equipped with advanced skills in Chinese painting and calligraphy. Even though they hold a different attitude toward tradition and the employment of approaches, they are nonetheless adroit in painting. Cho-Yu Hsiao, on the other hand, is a stark contrast to them, as he has been a self-trained artist without academic training. Even if Hsiao claimed himself as an “ink wash painter,” he also conceded that he could not have cared less about the history and tradition of painting. On the contrary, he wanted to stay away from old tradition, and thus, acquired a relatively independent stance in art creation. Hsiao’s artworks rarely presents the old-time atmosphere of Chinese paintings, but rather, they are a free pursuit of the physical relationships between soaked heavy paper and sea-like ink, in order to convey dramatic force and a flowing sensation on paper.

A remarkable similarity seems to have existed among the aforesaid three artists regarding their attitudes toward the tradition of Chinese painting, calligraphy, and ink wash as materials for art creation. In other words, a strained relationship, referred to as wrestling, has occurred between this aforesaid tradition and the material of ink wash. This attitude is not only seen as a rebellious posture toward a somewhat naïve viewpoint, which views “ink wash” as a form of art or simply a material, but also as an assertion that defies the previous affirmations stating “tradition already perished” and demands solid argumentation and academic judgment. While Yuan and Huang’s artworks might not be able to directly respond to the age and time, Yuan has had a string of emotions for natural landscapes, which is regarded as being derived from her life experience in Taiwan, an island often subjected to earthquakes. It reminds us that, hidden in the serene tranquility of landscapes is a beast-like nature. Ancestors have warned us against the nature of classical editions, yet we are easily oblivious of these warnings until they are prophesied into reality. Huang takes his own body as the canvas for writing, which makes his works contemporary products. Yet an audience cannot fully appreciate the “contemporary merits” of the artworks by Yuan and Huang unless they have sufficient knowledge of art, Chinese art history, and materials science. By comparison, Hsiao is an artist who is distanced himself from old traditions by using ink on paper as freely as possible, thus, gaining a singular style of his own at the stellar price of having a conversation with tradition. How on earth could ink respond to the voice of the contemporary world and have a conversation with this age? The answer can possibly be found in bravely facing tradition.

1. This is quoted from Hui-Li Yuan’s poem in a painting entitled “The Conversation between the Mountain and the Cloud”: “You are as stillness as a mountain; I am as free as a cloud. Accidentally taking a rest on top of your mountain, I will be drifting away with the wind tomorrow. You cannot keep me, I cannot take you away.” Here the author makes alterations of the punctuation mark and meaning of the original poem.

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測度感受：內在性的創作表述 沈裕融 / 國立臺南藝術大學藝術創作理論研究所 103 學年度博士生 世上一切物件、行為或事件，或許皆有藝術化而成為藝術的可能，然而唯獨藝術家終究不可能排 除以「人」作為基礎的生存事實，迴避內心對生命的嚮往與探求，更不可能在面對種種變化不 定的人事時，否定內部情感的真誠性。本文嘗試藉由《這裡有所有的名字》展覽中洪鈞元（頁 62）、蕭雅心（頁 70）、林青萱（頁 131）三位創作者的參展作品進行提問：以生命作為核心所 揭示的內在性，究竟如何作為創作之表述行動？在此一表述行動中，所開展的面向又為何？

首先，關於洪鈞元《當身體超越紀念》一作，我們若對身體全然被湛藍的水所包覆、籠罩的種影 像有某種熟悉度，或許可能聯想到張作驥《美麗時光》中的阿傑和阿偉，他們抱著憤怒與創傷， 縱深躍入湖水後，被熱帶魚、珊瑚所環繞；也可能想到李玉《觀音山》中的丁波與南風，或者陳 映蓉《十七歲的天空》片頭中，小天與幻想中的「他」。有別於上述例子，對洪鈞元來說，「水」 並不作為一個在現實之外、獨屬兩人，且與外部全然隔絕的自由世界；而是一個無法呼吸、將世 界所給予的支撐之力全然撤離，轉而集中、聚攏於自身的失重場域。

該作品雖是多件式的裝置作品，支撐整件作品的核心，應屬以斜射的方式投映於牆面的錄像。此 一錄像由三種不同的畫面循環播放，首先起於空無一人的水面，波紋搖曳其上，接著畫面以分割 銀幕的方式並置兩位不同年輕女性的身影，身著學生制服般的白襯衫與黑褶裙，仰躺漂浮在水面 上，不久後，左側女子屏息將身體潛入水面下；第二種是兩人純粹漂浮的畫面；第三種是兩人皆 沉入水中，在水中掙扎，與浮力和水流的壓力相抗衡的肢體擺動影像。三種畫面之間皆以黑幕作 為區隔，同時響起沈入水中的悶聲。兩人的身體在水面上的平靜與沉沒於水中的躁動、掙扎，形 成強烈對比；正在此對比中，水面下的身體顯得如此耀眼。它不再屬於世界之中的某物，它的每 一次掙扎擺動，都極強烈的宣示著它自身的存在：「身體」—這一不斷處於變動中的「場所」（le lieu），就是由生命的內在本能向外極力呼喊的共鳴體，它藉由行動築造自身，並成為力之聚攏與 歸屬；它就是我的家園，我唯一的依歸。創作者在錄影拍攝的過程中，同時以相機進行側拍。他 挑選了一個沉水瞬間的影像，在後製調整後放置於燈箱上。這個完美的定格瞬間挾帶著我們的共 有記憶—羊水經驗。它似乎也象徵著某種原初而永不可復返的美好時光。人在現實生存中必然承 受著孤獨，它卻擺脫現實束縛、欲重返那最美好而純粹的錨點。

林青萱展出的是其動畫作品《氣息》。創作者在持續三個多月的拍攝期間，待在緊閉的車內空間， 藉著提升車內溫度與製造熱蒸氣，使完全不透風的玻璃窗在內熱外冷的物理現象下，凝結成一片 薄霧。她以手指在起霧的車窗玻璃上繪製近 3000 餘次，透過一張張繪製、拍攝，直接結合當下車 窗外的現實背景，以此製成逐格動畫。整部片所欲談論的議題固然涉及孤獨、恐懼、誕生與死亡， 以及擁有的突然失去等生命面對世界變動的無奈與哀嘆；然而特別值得我們提出討論並予以關注 的，應是她如何處理時間的問題。首先，創作者在該片中最少有四條明確的時間軸線：第一條時

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間線是由創作者在畫框中透過對著玻璃窗呵氣的那一瞬間所給出；第二條時間線是由出現兩次的 錶作為明確的分割點；第三條時間線起於全片之始，在清楚對焦下閃爍紅燈，終結於片末由交通 錐所包圍的區域，懸掛於其上的警示紅燈依然持續閃爍；第四條時間線則是隱藏於主圖像背後， 那些在每一瞬間被拍攝到的失焦背景。

時間在這部作品中看似被切割為無數斷點，以一種線性的時間觀，藉由點到點間的躍行，進行某 種慣性的影像敘事；然而實際上卻不僅如此。在影片起始之際，車輛倏地單向行駛而過，路上卻 是杳無人煙，瀰漫著濃烈的孤獨氣息。閃爍的路燈漸漸開始失焦，頻率也漸趨極速，此刻，創作 者背對著觀者進入畫框進行擦拭，而後以輕緩的呵氣為銀幕染上一抹紅暈，揭示了畫面中的創作 者與外部失焦的光點間的另一層存在。然而，呵氣所形成的薄霧並非只是使動畫影像呈顯的銀幕 載體，而毋寧說，它的顯形就是銀幕自身。換言之，銀幕並不首先顯現它自己而為我們所意識， 而是在被導演召喚進入的情況下方得以現身。同樣地，我們所看見的，也不只是創作者徒手繪製 的影像；實際情況是，從一開始我們就在被導演暗示的情況下，將自身投注於銀幕，甚至與之相 融一體。我們既不屬於溫熱的車內空間這一側，也不屬於寒冷的車外空間那另一側。我們被夾在 冷與熱之間，我們就是那片交界的銀幕。我們被要求去意識自身生命的耗損，去感受所有孤獨感 的包圍與纏繞，而她所選擇的途徑並不在說一個故事，而是早在故事開始前，觀者就已經成為等 待被她所書寫的那片薄霧。呵氣的影像雖然只出現了一次，但它也同時暗示了一次又一次的反覆 發生。薄霧的消退就是我們的消退，我們如同從熊熊紅焰漸漸微弱為殘燭，等待新的氣息再一次 注入。事實上，整部片如同一個氣息的循環，從來就沒有開始與結束，這種呼吸的交換，形構起 真正的「生機」（animation），我們也只是在等待當中，體驗於時間之流，在每一轉瞬即逝的瓦 解與重構中形塑新的銀幕、新的自我。它一再地以自身為出發點，然後又落回自身。從一開始， 導演的手指碰觸在銀幕上所畫下的第一個圓點就已經道說了一切：時間不可擁有，我們也不可能 在河岸上對水花激起的某一片刻進行指認，因為我們的雙腳就踏在河中。《氣息》給予我們的， 正是「現—在」（être présent）。

最後討論的是蕭雅心《Between layers to layers》的系列作品。從媒材與形式手法來說，這組作品不 僅延續著過去對空間的疊層與透視的關注、從顏料的堆疊透視、歷經描圖紙的等距間格層疊，更 在長時間的摸索下，嘗試這種實驗性的新媒材上—養生膠帶（或名遮蔽膠帶）進行繪畫。養生膠 帶常被使用於裝潢整修工程，它的功能原是便於阻隔、屏蔽與保護，此時卻變成了最便利、有效， 最具立即性的平面大幅畫布。這種媒材的優點，在於每一疊層之間的累加與削減，使畫作立體化， 讓圖層間的畫面即便相互屏蔽、交錯，也會因為良好的透光性，而使整體的能見度依然。然而它 卻有一個難以抗拒的缺點：雖然因為表面張力的緣故，第一層塑膠面雖能盡可能平整浮貼於牆面 上，但從第二層開始，層與層之間的空氣就越來越難以排除，而造成繪畫過程當中的不平穩，以 及筆觸的中斷。只要層疊的越多，膠布離牆面越遠，繪畫過程所遭遇的阻力就會越高。為了盡可 能避面外因干擾造成膠帶的晃動與不平穩，創作者必須緊閉門窗，讓繪畫空間成為不通風的狀態。

如此，繪畫過程所呈現那筆觸線條的不完美，層疊之間不斷錯位所造成的誤差，顏料與顏料在膠

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布上的重疊，膠布的兩面性（透明材質的正反面）所產生的非預期視覺感，都成為形構最後畫面 和諧感的必要條件。它顯現出一場與媒材物質條件的角力，與不可見的空氣相互拉扯、磨合的歷 程。若從更內部的創作經歷來說，相比於前兩者，她的作品似乎更涵藏著一種宗教性的迫近之詩 意。對於精神嚮往的攀升歷程，她以爬山來比喻這件作品創作過程的感受。面對張貼於牆面的龐 大膠布，由畫下第一筆前的猶豫到下筆的過程，握著畫筆的手感受到空氣與膠布的摩擦力所給予 的反抗力，每一筆似乎都帶著一種對超越者的虔敬言說。此種開端性的言說，都涵藏著內部的狂 熱（délire）。每一張畫布成為以自身生命登山所形成的路徑圖，而所有的路徑圖的疊層，更接近 於對生命越出的行動實踐。

總結上述而論，三人的作品主旨都緊扣著自身內在的生命狀態，不同之處則在面對生存時他們所 選擇的回應方式：或者從人面對生存之現實性揭示自身之境況，在感嘆生命的流逝中重探時間的 意義；或者由人欲超越現實性而對過去的美好產生懷舊之情，透過所有由外部世界支撐的重力回 返自身，以此確立生存之真實感受；或者從內在之致力作為藝術實踐，並從現實轉向超越現實的 神聖性探尋。如上所述，三位創作者皆一致的傳達了這個時代下的人們普遍面臨的生存處境，更 從未停止探問自我的生存意義。所謂內在性的創作表述，或許正是創作者誠實面對自身的反省與 審視後，對自身所「是」再一次的回應。正如巴塔耶所說，要是有人問他「我們是什麼？」無論 如何他會如此回答：「 我們是對所有可能的開放；我們是任何物質滿足無法減輕、文字遊戲無法欺 瞞的盼望！我們在尋找巔峰⋯⋯唯有此一巔峰能給人類定義、賦予他存在的理由與意義。」

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Evaluation of Feeling: Discourse in Creation Targeting at Internal Pursuits Yu-Rong Shen

2014- Doctoral Program in Ar t Creation and Theor y, Tainan National University of the Ar ts

Every object, behavior, and incident can be transformed into a piece of artwork, yet an artist cannot ignore the fact that human existence depends primarily on our internal pursuits. It is impossible to overlook this pursuit of the meaning of life and the authenticity of our innermost emotions hidden in contemporary everchanging circumstances. In the exhibition entitled “Here are all the "Names"”, three artists— Jun-Yuan Hong(p.62), Ya-Hsin Hsiao(p.70), and Ching-Hsuan Lin(p.131)—intend to ask questions through their art creations: How can the authenticity uncovered by one’s life’s meanings be a “discourse in action” of art creation? What are the dimensions to be developed by this discourse in action?

Initially, Hong’s “When The Body Beyond The Memorial” presents the body to be entirely surrounded by deep blue waters, which reminds us of The Best Of Times, a movie directed by director Chang Tso-chi, in which two leading roles, A-Jie and A-Wei, after jumping into a lake with fury and hurt feelings, were surrounded by coral reefs and tropical fish. Some viewers might be reminded of Buddha Mountain, a movie

by Li Yu, or Formula 17 (by director Yin-Jung Chen), in which Xiao-tien had a sweet daydream about “that person”. Yet for Hong, “water” does not represent a totally free world for “us” apart from the rustling outer world. Rather, it represents a weightless domain where one can hardly breathe since the support of the realistic world is taken away.

Even though this is a multi-pieces installation, the core component of the work should be the visual images diagonally projected onto the wall. This video, comprising three versions of scenes, is played over and over again. The still lake is initially shown with slight ripples, then two young women donned in uniformlike white shirt and black skirt, are shown in split screens lying in a face-up posture over the still water.

Shortly after, the woman on the left side holds her breath, and dives below the surface of the lake. This is the first version of the video. The second version involves two women floating over the surface of the waters; whereas, the third version depicts two women sinking into the lake while struggling with the currents and vortex. The three versions are separated by a symbolic black curtain. When the women sink into the waters, a muffled sound is signified that it is placed as a contrast to the leisurely floating bodies of the second version. The audience will see the sinking body as dazzling white and beautiful, which seems otherworldly and claims its own independent existence whenever the body makes a heroic effort of struggle. “Body,” the “spot” (le lieu) that constantly undergoes changes, is a resonant organ that cries with one’s inner impulse.

The body tries to build the existence of its own and create itself as the pivot of life’s force. It is the homeland of every individual, the sole return of myself. While recording the video, the photographer also took a side shot with a camera, and recorded an image showing the instant of drowning in the water, and after finishing post-production, placed the image on the illuminated display panel. This perfect freeze-frame seems to have brought us back to our collective experience—when we are as fetuses surrounded by amniotic fluid.

This seems to symbolize a kind of beautiful time that can never come back. Human existence is basically a solitary one, yet in this video, the artist takes us back to that anchoring point to find pure happiness devoid of the fetters of reality.

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Ching-Hsuan Lin’s animation work “Breathe” was finished with painstaking efforts. In over three months of shooting, she stayed in a totally shut-up automobile, and the temperature within the vehicle was increased as high as possible to obtain hot steam, in order that the glass window may be fully covered with drops of mist. Then she drew more than 3000 times on the vehicle’s glass window and added video; this stop motion technique perfectly presented the contrasting worlds between “the world outside the car” and “the world inside the car”. This video aims to tackle various issues, such as solitude, fear, birth, death, and lamentations toward sudden losses or abrupt alterations of world affairs. What is worthy of discussion is how the artist addresses the problem of time sequence. First, the photographer sets four explicit lines of time sequence: the first timeline starts with the artist’s blowing breath over the glass window; the second timeline lies with the repetitive appearance of the watch; the third timeline starts with the instant that this video was focused, a blinking red light, and ends with a zone surrounded by traffic pylons, while the warning red light continues blinking. The final timeline is hidden behind the main imagery, as a good number of out-of-focus shots, as shot as many per moment, were connected.

As the photographer used a linear temporal perspective to start her narrative of constant images, it seems that “time” was segregated into numerous dots in this video. However, this is far from the truth. At the very beginning of the video clip, vehicles hurriedly drive by, without a single soul in the street, which indicates loneliness and solitariness. Flickering streetlamps gradually fade out of focus, whilst the frequency goes faster and faster. At this moment, the artist enters the frame with her back toward the audience and begins to wipe over the window, softly blowing her breath over it to add some tinge of light crimson, indicating another layer of existence between the artist and the outside world featuring out-of-focus imageries. Yet the mist serves not only as a carrier of animation images, but also as the screen itself. In other words, the screen is beckoned by the director to appear before the eyes of the audience. To put it differently, what we see is not the images hand-painted by the artist, but our projection onto the screen—an act that is inspired by the hint of the director. We neither belong in the enclosed indoor space (of the vehicle), nor belong in the cold air of the outside world. We, sandwiched between warmth and coldness, are integrated into the screen, and are required to be aware of the diminishing process of our life, and to feel how loneliness surrounds us in our everyday lives. She did not mean to simply tell a story. Instead, long before the whole story unfolds, the audience is unconsciously becoming the mist that waits to be written by her. Although there is only a single scene of blowing breath, this scene implies repetitive occurrences. The gradual disappearance of the mists is equivalent to our life, just as we are transformed from sparkling flames into dwindled candles, waiting for a whiff of breath (symbol of rebirth) to come. As a matter-of-fact, the entire video can be seen as a cycle of breaths, without a beginning or an end. This exchanging of breaths leads to “animation”, a form of vitality, and we experience the concept of life when we are kept waiting. In short, we formulate a new screen and create a new identity at every fleeting moment of destruction and reconstruction. With repetitive cycling, the scene repeats itself over again and again. From the director’s very first touch on the screen to draw a dot, the story aims to tell the audience that time cannot be owned, nor can we put our fingers at a certain spray, since our feet are immersed in the flowing river. “Breathe” shows us what it is like to be in the present (être présent).

Ya-Hsin Hsiao’s “Between layers to layers” series are made with innovative techniques and materials.

The artist pays special attention to the layering and perspective of a certain space, as she did previously.

From the thick layers of pigments to the interval layers of the drawing papers, the artist has made longtime efforts to try masking tape as an experimental material in painting. Masking tape has been commonly used

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in construction or interior decoration, as it functions well as partitions, blockages, and protection. It later is employed as a most convenient, immediate tool for a spread-out canvas. The advantage of this material lies in the easiness of adding or deducting each layer, and the canvas looks more dimensional with excellent perspective due to good transmittance. The hard-to-overcome downside of this material comes from the air squeezed into the conjunction of layers. The result is that only the first layer of the plastic tape can be well pasted onto the wall, which causes difficulty in the process of painting with uninterrupted strokes. The further the tape is from the wall, the more difficult it is for the artist to continue with the work. In order to reduce such conditions as much as possible, the artist could only shut the door and windows up lest too much ventilation became a factor of hindrance.

Therefore, the imperfect strokes, the incessant errors due to constant layer mislocation, the overlapping of pigments, the unexpected effect produced from the two-sided tape—all contribute to the harmony of the constitution of the canvas. This is no less than a wrestling or a process of reconciliation with the physicality of the material and unseen air. From the viewpoint of the artist’s inner process, her artwork seems to contain imminent poetics that signify religious spirit. She makes an analogy of mountain climbing as her experience as an artist, and considers her painting progress to be a pilgrimage that starts with hesitant indecision and ends with a sense of overcoming the resistance of the tape on the wall and trembling air. Every stroke seems to represent a tribute to the predecessor. This discourse consists of an innermost desire (délire), as each canvas is a route map is formed by one’s life experiences. The overlapping of all the route maps is similar to action/execution of one’s life.

In summation, all three artists have begun with their own individualistic life experiences, but choose different ways to respond. One addresses the meaning of time when facing up to the reality of one’s own condition of existence; while the other adopts a reminiscent way to remember the good old times and seek the support of the outer world to return to oneself, in order to ascertain the real feeling of being alive. The third one adopts a religious pilgrimage toward a transcending reality in the execution of art creation. As mentioned above, three artists have endeavored to portray the current state of existence of this time and age, and diligently ask questions about the meaning of life on earth. Undoubtedly, the so-called internal discourse of art creation derives from the “being” of oneself upon examination of one’s life experience. As Georges Bataille stated, whenever someone asks him “What are we?” he would definitely say: “We are what opens to all possibilities. We are expectations that can either be satisfied by material possessions or beguiled by word plays. We are constantly seeking the peak of the mountain…Only this peak gives us definitions of who we are, and grants she/he the meaning of and reason for existence on earth.”

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藝術家 Artists

吳佩珊

Pei-Shan Wu

國立臺南藝術大學藝術創作理論研究所 98 學年度博士生

作品組裝暗喻事件的未完成與某個不具名

解相思

的現場。「對比與衝突」是一條可依循的 線索。這條線索即是感覺與記憶。選擇相

刺繡，樹脂，鐵件，裝置

異的材質凸顯記憶的戲劇性，切割與跳脫

尺寸視現場而定

人們對材質本身印象中的功能及意義。材

2015

質的物質性及功能性再組裝的過程中進行 編碼，觀者再轉譯重新組構後的材質。

半完成的鐵架組織、細緻的花朵刺繡由樹 脂封存，兩者的組合就像是在過去中處理 遺骸，從過往沉重的生命經驗到現在的重 新組裝與配置的無聲無息。

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Assembly work unfinished metaphor events and a unnamed site. "Contrast and conflict" is a clue to follow. This line is the feeling and memory. Select distinct memories of the dramatic highlights of the material, function and significance of cutting and escape the impression that the people on the material itself. Material and functional material in the process of re-assembly is coded, the viewer then re-translated material fabric after.

Semi-finished metal framework organization and meticulous flower embroidery made of a resin sealed, like a combination of the two in the past handled the remains, silent life experience from the past to the present heavy reassembly and configuration.

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洪鈞元

Jun-Yuan Hong

國立臺南藝術大學藝術創作理論研究所 101 學年度博士生

當身體超越紀念 投影錄像 / 1 分 02 秒 / 2014

或許，身體成為感性知覺的回應載體，於自身過往的影像語言中不斷出現，並且成為 感知記憶的前提。我試圖重新定義身體的感覺面對，藉由紀念性的描述，作為影像實 體與語言敘述的交叉閱讀。 自身影像於系列作品中提供的是日常性的經驗陳述，一個身體成為操作系統的影像提 問。無論是關乎工具、技術或載體的生產精神，皆是透過感性在前的身體經驗來喚起 記憶的影像碎片，換言之，身體成為自身創作系統中的時間介質，利用影像獲得某種 暫時性的穿透，並在感知記憶的缺口縫補中，成就影像語言的身體超前。

當身體超越紀念 單頻錄像 / 2 分 49 秒 / 彩色無聲 / 2014

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Perhaps, my body became sensual perception load in response to something, uninterrupted image appeared in my past works, but also a prerequisite for perception and memory. I try to redefine the body feels faced by the description of a memorial, to become true images and language about the staggered reading.

Images in my series of works, there is the daily experience of body into the operating system image to creation question. Whether the use of tools, techniques or mental load, which are on the front of the body through the emotional experience to wake up debris monumental image, in other words, the body becomes my own authoring system interface, using images obtained with respect to time some temporary penetration, and make up the gap that detects memory, become front body image language.

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郭家勳

Chapman Kuo

國立臺南藝術大學藝術創作理論研究所 102 學年度博士生

人類的生存空間拓展壓縮了生態的棲息地，而其中有許多政商間的協議，以便於經濟 上的利益掠取，抑或以開發公共建設之名，以耗揭自然資源的方式開發，就如同構築 巴別塔的寓意一般，人類最終仍要面對這一切非永績的開發與破壞自然生態的惡果。 Natural habitat destruction across the world is caused almost entirely by human activity. Urban expansion has the greatest impact, but governmental policy on farming, forestry and road planning also has a very profound effect on the distribution and abundance of natural spices.

The unsustainable development as building the Babel tower which will bring bad effects to human living environments and condition in return.

右｜ 左｜

巴別塔 X Babel Tower X 91 x 72.5 cm 壓克力顏料、布面畫布

右｜

巴別塔 II Babel Tower II

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116.5 x 91 cm 壓克力顏料、布面畫布

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巴別塔 III Babel Tower III 91 x 72.5 cm / 壓克力顏料、複合媒材、布面畫布

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巴別塔 IX Babel Tower IX 91 x 72.5 cm / 壓克力顏料、布面畫布

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蕭雅心

Ya-Hsin Hsiao

國立臺南藝術大學藝術創作理論研究所 103 學年度博士生

疊層之間 Between layers to layers

Between Layers-5 我對繪畫裡的色彩疊層、組合、編輯感興趣。繪畫內容從個人的記憶去尋找形體，大 多是由第一筆帶動下一筆至結束。作品《Between layers to layers 1-6》是一系列探 討繪畫上的空間，藉由媒材的特性和繪畫上疊層（layers）的方式，探討平面繪畫上 由形、色及筆觸展現空間感的可能性。使用防塵膠帶此種具有透明性及輕薄的特性來 實驗繪畫，將原本於一張畫布裡由一層層顏料的疊加及削減可完成的繪畫，將此動作 抽出來一層層剖析。 以帶有透明性質料的疊合來進行物質及繪畫上的疊層，此疊層分為三種：一、顏料和 顏料之間的疊層，二、疊層錯位（透明性材質的疊層及移位），三、疊層的兩面性（透 明性材質的正、反面）。目的是實驗顏料和顏料之間附著在多層透明膠帶之間的重疊 和錯位，並試著在畫面中找到和諧。如《Between layers to layers -5》，使用兩種不 同的遮蔽膠帶（綠色布料遮蔽膠帶及黃色牛皮紙遮蔽膠帶）之外，並思考在繪畫裡兩 面性的方式，即在平面繪畫上使用透明性材質，出現正面及背面兩種不同的繪畫結果。

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右上｜

Between Layers-1

右下｜

Between Layers-4

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The layers, composition and arrangement of colors exercised in painting fascinate me immensely. The content of a painting resides in personal memories. Most of the time, it is the first stroke that inspires the next to the end when the motif finally forms.

The art series, Between Layers to Layers 1-6, is to explore the space of painting. Via the distinctive nature of mixed mediums and the layer method practiced in painting, the possibilities of illustrating the sense of space presented by shapes, colors and lines on 2D paintings can be investigated.

Dust prevention tape is utilized as a masker in this painting experiment for its light and translucent qualities. The increase and reduction of layers of paint on a canvas form a painting.

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Between Layers-6

This very action, adding or ridding colors by applying paint, is being scrutinized with each layer. Translucent mediums were painted and overlaid to exemplify the series. The layers can be classified into the following three: layers of colors, layers of mediums (the layers and relocating of the translucent mediums) and layers of the duel sides (the front and the back sides of the translucent mediums). The purpose of this experiment is to explore the relationships between colors and the mediums when the paint-attached translucent mediums are overlaid and then flipped over while attempting to create the congruity with the presented colors and composition in the painting. As two different kinds of tape maskers were employed in Between Layers to Layers – 5, green fabric tape and yellow Kraft paper tape. In addition, the duel-sided painting style is being tested by applying the paint to the translucent medium to demonstrate various results on the front and the back sides.

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林盈秀

Ying-Hsiu Lin

國立臺南藝術大學藝術創作理論研究所 100 學年度博士生

感知的縫合─肉身異態 The Bodily Abnormality: The Suture of Perception

肉身異態的系列作品，創作者從身體出發，思索自我的生命特質與處境，關注個體的 身體感知，以及自處感受與對應外部世界的反芻，開展個人的創作。在創作歷程裡， 透過長時間，多次曲扭自身各異的局部身軀，進一步觀看，尤其是挖掘膚層的內部脈 動，以及把握創作當下身處其中的身體感受，看著自己的身體，感受身體內部的感知， 畫著自身生命狀態的演變。在實踐過程中，經由不同視角的聯通，逐步地縫合 (Suture of Perception) 視覺觀看中肉身與肉身之間的關係，與歷時性身體感知的串聯，回望 自我多感的肉身。 在創作過程中，創作者同時關注內部身體感知與作品之間的對應狀態，其間呈現的過 渡性 (transition) 是筆者探究的重要問題意識。特別在感知的過渡狀態 (Perception of the transition state) 中，自我意識的操控，筆者壓抑著自我的身軀，感受著最直接的 存有，經由立即性顯著的彩色鋼珠筆，即刻把握當下的身體感受，並且在長時間之後， 特有的抑制身體微妙地轉為不可控的身體狀態─不可控的震盪，筆者掌握其中的身體 經驗與肉身的視覺反應，在此身體壓抑的過程裡，領略肉身的緊繃、擠壓、鬆放、扭 曲、變形、虛化、輕柔、心靈糾結、靜謐情境、延異與身軀色變等過渡處境，進入肉 身內在詩性的異域想像。在此，視覺、身體感、意識與創作工具的共同激盪下，開展 個人多重對應肉身異變的創作情境風貌。

肉身異態 I The Bodily Abnormality I ｜上 彩色鋼珠筆 / 230x133cm / 2014 color rollerball pen / 230 x 133 cm / 2014

肉身異態 II The Bodily Abnormality II ｜下 彩色鋼珠筆 / 133x170cm / 2014 color rollerball pen / 133x170cm / 2014

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The series of work of The Bodily Abnormality attempts to ponder over the life characteristic and situation of the self from the standpoint of the body. With a focus on the individual’s bodily perception, self’s perception, and its correspondence toward the external world, this series stages the author’s work. In the process of creation, I spend long time twisting every part of the local body many times, and further take a closer look at the internal movement of the skin.

Moreover, I try to capture the bodily perception of the present moment of creation. I look at my body; I feel the internal perception of the body; and I draw out the becoming of life status of the self. In the process of realization, I try to suture the relation between bodies under the visual observation through different perspectives, and look back to sensible body of the self by linking the diachronical bodily perception.

In this process, I pay attention to the dialogue between the perception of the internal body and the work, which serves as the transition, or the problematic that I am trying to explore.

I try to repress the self’s body to perceive the immediate being, particularly the transitional status of the perception, through the control of my conscious. Through the color rollerball pen that immediately shows its effect, I attempt to capture the bodily perception of the moment, and, after a long time, the body once repressed is subtly transformed into the uncontrollable bodily status—the uncontrollable agitation. I seize its bodily experience and bodily visual response, and in the process of bodily repression, I understand the transition of body’s tensions, repulsions, relaxations, distortion, deformation, virtuality, lightness, spiritual intertwinement, tranquility, différance, and color changes of body—and then I delve into the exterior imagination of the bodily internal poetics. As such, the mutual correspondence among the visual, the bodily, the conscious and the tool of creation—all demonstrates the situational landscape of the personal multiple correspondences to the bodily abnormality.

左｜ 肉身異態 III The Bodily Abnormality III 彩色鋼珠筆 / 73x133 cm / 2015 color rollerball pen / 133x170cm / 2015

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蕭卓宇

Cho-Yu Hsiao

國立臺南藝術大學藝術創作理論研究所 101 學年度博士生

液態創生—對應與等待的創作思維 The Liquid Creation: The Concept of Response and Waiting

液態創生 The Liquid Creation 水墨 / 363 x 143 cm / 2015 ink painting / 363 x 143 cm / 2015

筆者關注水墨媒材的表現，特別是對於其中液態特質的關注，思索水特質的表現活力。 筆者選擇在濕的宣紙上下墨，根據不同的水量與水流方向，運用各種下墨方式，進行 點、寫、畫、甩、潑等方法，讓墨在濕紙中作用，通過時間的前行，水、墨、紙三者 相互牽引，畫面最後形成的造形，不是墨畫下去的模樣，而是通過時間的緩緩等待， 經由墨在濕紙中的滲透與流動，於水份逐步乾涸中，墨狀逐漸成形，在此成形的過程 裡，筆者透過各式各樣的下墨方式與濕紙上的狀態進行對應與調控，每一筆，皆牽動 下一筆的方式。筆者感受畫面當下迎面而來的氛圍與態勢，思維畫面的發展，面對此 充滿不確定性與變動潛能的濕紙介面，筆者每一次的下墨皆是一種挑戰，筆者靜觀其 變，思索對應，運用各種控制水性的方式與水對應，在此畫面元素不停變動的介面上 進行創作，探究液態創作的可能性。 畫面的偶然性與隨機特質鮮明，永遠無法畫一即一，難以複製，充滿潛能，如同生命， 這是筆者珍視的特質，畫面的變化令筆者期待。因此，如何用墨對應濕紙面上的狀況？ 何以創作更多可能？如何顯現生命力？何以在畫面中自由？是筆者關注的重要面向， 讓畫面流動變化起來，展現各式各樣的生命能量，在液態中創造—液態創生。

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水墨 / 180 x 90cm / 2014 ink painting / 111 x 55cm / 2014

液態創生 ( 一 ) The Liquid Creation I

陸海動境 Mobility and Milieu between Lands and Seas 水墨 / 308 x 145 cm / 2014

ink painting / 180 x 90 cm / 2014

I am concerned about the expression of ink painting as the medium, especially about the liquid characteristics, and then ponder over the vitality of water. I choose to dot the ink on the wet paper in accordance with the amount of water and the direction of water flow in a variety of manners of dotting the ink, such as the manners of dotting, writing, painting, dropping, and spreading. These manners enable the ink on the wet paper to enact the mutual tensions caused by water, ink, and paper. Then, through the process of time, the effect made by these tensions is no longer the shape of ink painting as it is, but the slow waiting of time by the seeping and flowing of the ink on the wet paper. As the wet paper becomes dry, the status of ink is formed.

In this process, I employ all kinds of manners of dotting the ink on the wet paper to embark on the correspondence and control. Each stroke will cause the following stroke. I can perceive the milieu and situation of the image of the paper at that particular moment coming toward me, and then I think the development of the painting image in the face of the uncertainty and changing

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potentials on the wet paper. Each stroke, for me, is a challenge, and I silently wait and think to respond by all sorts of manners of controlling the water and the response to water. I begin my work on the changeable surface to explore the possibilities of liquid creation.

The contingency and randomness on the surface of paper makes each stroke become changeable and cannot be copied. It is the potential, like life. This is the characteristic that I cherish: the changeability of the surface on the paper awaits my expectation. Hence, how to use ink in response to the wet surface? How to make the creation have more possibilities? How to demonstrate the vitality of life? How to be free on the surface?—these questions are the important dimensions I pay great attention to. We should make the surface flow and change, and make it stage the power of life in the liquid creation, the liquid re-creation.

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莊宗勳

Cho-Yu Hsiao

國立臺南藝術大學藝術創作理論研究所 98 學年度博士生

圖像磚系列：《一個城市六個朋友》，《偶們都是好朋友》 閱讀螢幕中分佈的圖像磚，於我們現今的生活已經成為另一種閱讀狀態， 當代的生活 模式被微縮與扁平化於一格一格的圖像磚裡（Graphical User Interface， GUI）。居 住於城市生活的人們過著全球化無差異的生活狀態，消遣與娛樂乃是我們共同的日常 生活。淺薄無深度的圖像磚可以帶出即刻的閱讀，不可諱言的，這就是所謂的當代生 活。集結許多生活的圖像碎片，鋪展成一組由切片所構成的某種當代生活指南。

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GUI series: <A city with six friends>, <We are all good friends> Reading graphic user interface on screen has become our another reading state, The contemporary lifestyles are miniatured and flattened into images as icon (Graphical User Interface, GUI). People living in urban life lives with the same globalized conditions of no difference, recreation and entertainment is our common everyday life. The Flattened graphical user interface can bring out the message for prompt understanding. which is the so-called contemporary life that assembled many of life's image fragments, spreading into a group of some contemporary life guide composed by the slice.

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《造景工程－草地上的午餐》 我們所居住的亞熱帶氣候裡，卻隱藏著溫帶花園的結構。 悠閒的下午，草地上的午餐，卻獨缺台灣原生植物在這當代生活的場景之中。

< Landscape construction - Luncheon on the Grass > Taiwan is a subtropical climate, but includes a hidden structure of temperate garden. In this scene of contemporary life, a leisurely afternoon lunch on the grass, but without Taiwanese native plants.

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黃柏皓

Bo-Hau Huang

國立臺南藝術大學藝術創作理論研究所 102 學年度博士生

小宇宙系列 14 水墨、宣紙 / 192 x 252 cm / 2014

猶如呼吸，筆墨書寫幾乎成為台灣水墨畫家黃柏皓自然而然的 生活方式與生命狀態。筆法作為水墨的基因，滲透在他系列的 畫作的各個方面。猶如時間藝術，在創作過程中他的繪畫牽涉 了筆觸的堆積時間以及生命經驗的變化。時間往往也在線條牽 動的書寫性中被呈現，猶如我們可以經由靜態的畫面看見時間 和生命的流動。在他的作品中，經由書法筆鋒的提按頓挫所繪 製線性痕跡，以及筆墨運動，均被轉化為視覺圖像。這些圖像 供觀者可以專注於粗細、長短、乾濕、濃淡、遲速、使轉、提頓、 暈染與飛白等顯露出筆墨嚴謹結構和力度的線條，使觀者可以 專注於筆墨自身豐厚的精神深度和文化深度。

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生生 水墨、宣紙 / 192 x 252 cm / 2014

As breath, the use of a brush to write has been a natural condition for Taiwanese ink painter Huang Bo-Hao. The brush stroke technique has existed in the genes of ink, permeating every aspect of series of his works. Like an art of time, His painting involves the accumulating layers of burshstrokes and changes in life experience during the creative process. Where time is often depicted in the rhythmic movement of the linear brushwork, is like seeing time and a floating life through a still frame. In his is work, the linear drawn traces with the conventional applications of brush in Chinese calligraphy, and with the sliding movements of the ink and brush are transformed into visuals. Those visuals enable the viewers to engross in the thickness, length, wetness, shades, speed, movements and turnings, upward strokes and pauses, smudges and flying white effects of the carefully constructed powerful lines that demonstrate profundity of culture and spirit of brush and paint itself.

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飛白練 ｜右上 水墨、宣紙 / 134 x 134 cm / 2014

練丹 ｜左上 硃砂、鳥之子紙 / 153 x 213 cm / 2014

空色 ｜左下 天然群青、鳥之子紙 / 153 x 213 cm / 2014

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袁慧莉

Hui-Li Yuan

國立臺南藝術大學藝術創作理論研究所 98 學年度博士生

《時間之漬》創作主要關注：筆墨材質的時 間性與轉 - 形（Trans-shape）的生成過程。

在《 易 經 》 卦 形 中「 山 石 」 表 為「 艮 」， 意 指 靜 止 不 動 的 性 質。 但 921 地 震 造 成 臺 灣中部走山災難的震憾，瞬間瓦解了山石是 永恆不變的穩定印象，自然的變解受到無常 因素的影響，穩定的形也會在瞬間變成不定 的形。因此破形、不完整與不穩定成為此後 我看待山石的角度。時間變遷推移造成萬物 的形態變化可說是世界生成的一種本質，然 而，這種世界的生成本質如何透過山水畫表 現出來？《時間之漬》系列正是試圖結合「時 間」與「轉 - 形」的創作思考。

堆疊的因素，但過去山石皴染多半著重於筆

左｜ 時間之漬 no.01 Ink stains and Time series no.01

墨的造型結果，而使水墨材質之皴染技法所

蟬翼宣彩墨 / 65.5 x 66 cm / 2013

傳統山石多層次的皴染法本身就存在著時間

獨有的時間性特質並未被彰顯，皴染只是作 為 一 種 造 型 的 手 段 被 看 待。 而 本 系 列 則 希 望將皴染的時間性特質彰顯出來，成為造型 的目的自身。原本作為繪形的皴法筆墨，從 繪 形 的 配 角 變 成 造 形 的 主 角。 在《 時 間 之 漬》長時間的點漬過程中，借助熟宣紙性的 材質特性，毛筆墨色留下手勢、水分、空氣 濕度與時間互為的漬痕。石在不斷點漬的漫 延中，輪廓被破形，因此不再是穩定不變的 造型象徵，從原本堅硬與明確輪廓的山石屬 性，轉形成沒有確定輪廓的柔軟流動之物。

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右｜ 時間之漬 no.03 Ink stains and Time series no.03 蟬翼宣彩墨 / 104 x 65.5 cm / 2013

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"The Stains of Time" Creation focuses: the timing of Chinese ink material, and transfer shaped of brushstrokes process becoming.

In the I-Ching (The Book of Change), the triagram that represents mountains and stones is also written as the character " 艮 " which signifies characteristics of immovable stillness. The stable impression of eternally immutable mountains was crumpled in an instant with the 921 Earthquake that led to catastrophic disasters in the mountain regions of Central Taiwan. Changes in nature are at the whim of unpredictable factors; even stable forms may suddenly become mercurial. Hence, irregularities, incompleteness, and instability have informed my perspective on mountain and boulders ever since. Essentially, the creation of the world may be said to be based on the transformation of all things with the passage of time. However, how can this essence of creation be expressed through shanshui landscape painting? “The Stains of Time” series is an attempt to combine “time” and “trans-formation” in a creative contemplation.

By their very nature, the multi-layered texturizing stain techniques of traditional boulder paintings intrinsically embody layers of time. However, as most of the texturizing stain techniques applied to mountain boulder paintings tend to emphasize stylized brushstrokes, the embodied unique temporal characteristics are often overlooked and texturized staining is regarded merely as a stylistic method. This series hopes to highlight the inherent temporal characteristics of texturing stain technique as an end goal of design. The brush and ink texturizing method that has relegated to a supporting role in the creation of form will be recast in a starring role. Over the course of the spot staining process in "The Stains of Time", the unique characteristics of mature rice paper lends itself to the preservation of markings made by brush gestures, by water content, humidity, and the passage of time that the inked brush leaves behind. With gradual repeated applications of spot staining, the stones become misshapen, and hence are no longer stylized symbols of stability and immutability. The original hard, defined outlines that characterize mountain boulders are transformed into flowing objects without defined contours.

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孤山水 30 Clumps landscape no.30 蟬翼宣彩墨 / 65.5 x 113 cm / 2013

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陳奕彰

Yi-Chang Chen

國立臺南藝術大學藝術創作理論研究所 104 學年度博士生

全球暖化的問題隨著文明的進步日趨嚴重，儼然已成為一門極欲重視且人人關注的環 境議題，「暖化」問題更造成了石油能源的危機。自身對於此問題的發生亦感同身受， 因此在創作材料上，刻意選用代表工業化產品的材料 -「軟性塑膠—聚氯乙烯」做為 創作的材質元素，運用塑膠布本身的柔軟性與可延伸之特性，將工業化的產品做一種 藝術性的保存，刻意選用透明無色澤的表現形式，是不希望有顏色的塑膠布，帶給觀 賞者有更多的心裡層面的感知，單純地藉由透明的穿透感融合了空間場域氛圍，在欣 賞透明作品同時，另一方面檢視、反思因石油的原料浩劫危機對於自然環境所造成的 種種傷害。

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對自身而言，塑膠材料製成的吹氣嘴，是一個「元素」，這個元素可以意指一個物件、 可以象徵任何「突物」之處，眾多元素的構成，也可說是對某種圖案的象徵，吹氣嘴 這個元素在作品中的表現，企圖拉近與觀眾間的關係，將吹氣嘴的「吹」字提出，象 徵著一個行為模式，讓觀眾在欣賞之同時，感染這個模式之氛圍，回憶起兒時吸允母 體的記憶，用一種「接觸美學」與觀眾產生互動關係。其次，對於軟體雕塑作品而論， 吹氣嘴算是媒介，它是空氣進出的關鍵，因為有了這個物件，讓雕塑品膨脹、消逝而 軟化，因為這個元素的存在，改變了作品形的變化，對自身而言，「吹氣嘴」已是不 可缺少的創作的元素之一。

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The issue of global warming become increasingly serious as the progress of civilization, seems to have become a depravity importance and concern for all environmental issues, "global warming" issue caused more oil energy crisis.

This problem occurs itself also for empathy, so the creation of materials, deliberately chosen materials representative of industrial products - "soft plastic - PVC 'as a material element of creation, use plastic cloth itself softness and can extend the properties the industrialization of products that do save an artistic, non-transparent color deliberately chosen form of expression, is undesirable colored plastic sheeting, to bring the viewer more aware of heart level, simply by transparent penetration sense of atmosphere combines the space field, in appreciation of the work at the same time transparent, on the other hand view, reflect the raw material for a variety of injuries oil catastrophe crisis caused by the natural environment.

For its part, made of plastic material blowing mouth, is an "element", this element may mean an object that symbolizes any place of "protrusions" constitute many elements it can also be said for certain symbol pattern, inflatable mouth this element in the performance of work, an attempt to narrow the relationship between the audience, the blowing mouth "blow" the word made, symbolizes a behavior pattern, while the appreciation of the audience, this infection Model of the atmosphere, recalled childhood memories of sucking the mother, with an "engagement aesthetics' and the audience interaction. Secondly, in terms of soft sculptures, inflatable mouth regarded as medium, it is the key out of the air, because of this thing, let sculptures expansion, disappear and soften, because of the presence of this element, changing the shape of the change work, for itself, "blowing mouth" is one of the indispensable elements of creation.

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顏寧志

Andy Yen

國立臺南藝術大學藝術創作理論研究所 104 學年度博士生

Organs without body No.83 Acrylic on canvas / 72.5 x 60.5 cm /2011

主要發展的「沒有身體的器官」系列，作品創作特色在於透過色彩、造型及線條，使 之生命樣態化，解放出作品的自主性。希望由感性支配畫面，讓色彩支配整個平衡效 果，使點線面回歸到一個純粹性的有機世界，以濃郁飽滿的色彩表現出類有機物，讓 組織 / 器官自行蔓延在畫面之中，並且隨其自然擴張至其他作品。這些組織的衍生流 動，最後必定導向某種意義。但這意義卻不是一個固定的實體，會隨著創作的時間累 積，有機、有生命、有形態地持續生長；從細胞到組織，從組織到器官，再從器官到 系統，最後變成一個完整的軀體。而它們看作是正在不斷持續成生的生命體，藉由在 這樣的一種概念中，創作一種充滿生命力的藝術型態。

Organs without body No.89 ｜右 Acrylic on canvas / 22.5 x 15.5 cm /2011

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"Organs without body ," features works of creation is through color, shape and line, so life-like state of the liberation of work autonomy. Hope dominated by the emotional pictures, so that colors dominate the whole balance of effects, so that a return to a point, line and surface purity of the organic world, to rich full color to show organic matter, so that tissue / organ spread themselves into the picture, and with its natural expansion to other works.

This series of works like a body organ, body and spirit through dress and image vocabulary continue. Dominate the screen and color from the emotional to the rational so that the「Point, line and plane」a return to a pure organic world, a life, a form of sustainable growth; from the cell to the organization, from the organization to the organ from the organ to the system , and finally turned into a full body.

左上｜ Organs without body No.165

右｜ Organs without body No.167

左下｜ Organs without body No.182

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八十年代的臺灣飆車族，以傳說勾勒一種時代精神，若將飆車手視為”義理”的歧義 (ambiguity)，自然不能錯過當時圈內人稱“白玫瑰”的少女車手：她每每總能贏過賽 場上的男性，放浪與愁讓她的形象流變成為藝術造形的可能。作品《義女：尋找白玫 瑰》藉由另一位嗜好玩車的年輕女性（阿琍 ) 的故事：來向“白玫瑰”致敬。影像紀 錄的是一段試車過程，阿琍加足油門甩尾，她 16 歲刺在背上的鯉魚紋身，猶如路徑 圖已預示車行軌跡，急駛揚起的紅土塵埃，在慢動作的畫面中不斷重複，透過機械、 速度與現代圖騰，呈顯人類學式的影像檔案裝置。

義女：尋找白玫瑰 Heroine: Searching for White Rose 擋風玻璃、礦石、相紙輸出、單頻道錄像 / 尺寸視現場而定 / 2014 Windshield, Ore, Lustre/Glacier Paper, Single-channel video / Dimension variable / 2014

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丁昶文

Chaong-Wen Ting

國立臺南藝術大學藝術創作理論研究所 99 學年度博士生

The motorcycle drag racers that used to roam the streets of Taiwan in the 80’s created a certain spirit of the time through the production of legends. If a drag racer could ambiguously stand for the virtue of loyalty and reasoning, one could not fail to identify the story of the teenage racer by the name of “White Rose” at the time: she triumphed over the male racers in every single game back then. A sense of exile and sorrow transformed her persona into a source image for artistic adaptation. Heroine: Searching for White Rose pays homage to White Rose through the tale of a young woman, A-Li, who is also fond of racing. The video shows the process of testing a ride, in which A-Li accelerated in preparation for a drift. The lines of a koi fish that was tattooed onto A-Li’s back when she was 16 reflect the tire tracks like traces on a map. Clouds of red dust are blown from the dirt path over and over again in slow motion. An anthropological file of imageries is revealed through machinery, momentum, and modern day motif.

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《佐證人計畫》為一連串對物件、檔案、文化所進行之考古學工作。由環繞七十年代 在台南左鎮菜寮溪挖掘出土的牛腿骨化石，及後續於左鎮資源回收場所尋獲的廢棄唱 片，共同組織之大型裝置。裝置內透過顯微儀器對其影像監測展示，以其構築一條非 關理性的感性詮釋途徑，凝視物質之細微感知，將地理概念的想像延伸至該區域拾獲 之現成物組合之中，建立其想像治域。

Tsuo Chen Man Project, the main thread of my work can be regarded as a series of archeological tasks towards objects, archives and culture. The work revolves around fossils of a cattle leg excavated in the Tsai-Liao Stream in Tsuo-Chen, Tainan in the 1970s as well as discarded phonograph records found in a re- cycling processing plant in Tsuo-Chen afterwards. In the installation, images were shown through the monitoring of a microscope to construct a way of sensible inter- pretation beyond reason and to gaze upon the intricate perception of substance.

Imagination over geographical conception is thus extended to a combination of ready- mades found in the area. An imaginary regime is thus created.

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佐證人計畫 The Tsuo Chen Man Project 顯微鏡、唱盤、化石、相紙輸出 / 尺寸視現場而定 / 2014 Microscope, Turntables, Fossil, Lustre/Glacier Paper / Dimension variable / 2012

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於今無所處 Now is Nowhere 混凝土、吸管、相紙輸出、日光燈管 / 尺寸視現場而定 / 2014 Concrete, Straw, Lustre/Glacier Paper, Fluorescent lamp / Dimension variable / 2012

作品《於今無所處》與早幾年在柏林展覽的作品《味覺記憶》並置一塊，它們處理的 都是對物的寄情，存有著個人生命的故事片段。構成作品的不同物質：吸管貫穿了家 族老宅強拆後的破瓦殘塊，檳榔汁噴濺在垂吊著的閃爍燈管，故里消逝與被輕賤的物 質均是悲劇性的斷裂，然則這些破敗之物尚存一動情之可能，它們即是我在作品中欲 以捕捉的造形原貌。

Now is Nowhere is paired with Taste Memory, which was shown in Berlin, Germany a few years back. They both deal with one’s emotional attachment to certain objects that contain fragments of personal stories. Different materials are present in the pieces: straws that pierce through the remnants of an old, heritage home left from a government forced removal; betel nut juice splattered over a flickering fluorescent tube that dangles in the air. The disappearance of a home as well as the mortification of an object are both processes that stimulate a tragic breach within an emotion or a material. Despite their precarious condition, these objects retain a possibility for human affection. This emotive sense of existence presents the core “matter” that I attempt to capture within the pieces.

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吳梓寧

Tzu-Ning Wu

國立臺南藝術大學藝術創作理論研究所 99 學年度博士生

《虛鏡迴圈》，是以作者 2008-2009 年於國立臺灣美術館展出 360°環景影像創作個展。作者認為 3D 電腦動畫所生成的非物 質性數位影像， 最貼近網路虛擬世界由純粹數碼所組成的概念。 作品呈現各種網路虛擬分身與 網路空間場域的想像，從去性別、 結合動物形象並隱含七宗罪寓意的《虛境公民》系列，到《網路 原民》以自畫像呈現「類原住民」形象的小女孩。網路科 技快 速成長，影響全球人類的生活形態，並發展出越來越快速傳遞 流通的網路 流行文化，網路族群發展出獨特的溝通語言與人際 互動方式，如今已跨越國家種族、性別、年齡…等界線，全球化 的網路文化後殖民現象，也早已經悄悄滲入我們的生活與認同之 中。 作 品 延 伸 自 2004 年 以 來 的 創 作， 作 者 搭 配 國 美 館 首 次 使 用 360°環景投影的裝 置，以鏡面地板與懸吊的環形屏幕，在折射 與反射的數位影像間，創造出中介 的虛擬空間。透過環形的「虛 境 / 虛鏡」系列影像，此迴圈展場的設計，試圖引 導觀眾進入 一個永生不滅與數位輪迴的奇幻世界。

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虛鏡迴圈

Cyber-Ring

鏡面壓克力地板、環形螢幕、環景影音校正裝置、3D 動畫 / 尺寸視現場而定 / 2008 Acrylic mirror floor, Cyclorama screen, panorama video calibratesystem, 3D animation / Dimension variable / 2008

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Cyber-Ring is artist’s former work as the first series of Cyclorama Digital Art Creation Series exhibited in NTMOFA (National Taiwan Museum of Fine Arts) in 2008-2009. There are diversified imaginations on cyber virtual identities and cyber spatial fields, including her Cyberbeings Series which consists of images of desexualized figures, of a combination of animals, and of implying the Seven Deadly Sins. In addition, in Cyber Native Series a little girl is represented in the “Aboriginal-like” images through the artist’s self-portraiture. Ambling around in the cyberspace, the little girl, as if a giant Godzilla, a Flâneur wanders alone in the cyber world. Growing rapidly, the Internet technology has not only affected global lifestyles, but also developed a cyber popular culture, which circulates faster and faster. Netizens invent a distinctive language to communicate and develop a unique way to interactive among one another, and therefore they have transcended the boundaries of nation, race, gender, age, and so on. The postcolonial phenomenon of globalized cyber culture has already permeated through our daily lives and Cultural identities.

This work extends the “Cyberbeings” series since 2004. With the new 360° projection devices of NTMOFA and the mirror floor, a virtual space are created through the refractions and reflections of digital images. From the ring of cyber-images, this design tries to guide the audiences into a fantasy world with digital transmigrations and immortal logics of eternal life.

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郭嘉羚

C h ia- L i ng K uo

國立臺南藝術大學藝術創作理論研究所 99 學年度博士生

郭嘉羚過往的創作擅長捕捉日常的片段微觀，以身體行為做為創作的媒介，運用行為 錄像的手法形式，擴張視覺的影像，並傳遞出心理的感知經驗；在她過往的作品 例如 《Red Lip》(2006)，畫面中被放大的嘴唇重複誦讀「我們這裡沒什麼特別的，就是菜 很新鮮」，其具體的身體影像經由語言的通道，構成了影像的弦外之音，在 郭嘉羚作 品當中這些被微觀放大的局部身體，同時也碰觸了感知的詮釋。 Kuo tends to capture fragments of daily life from a microcosmic view. Using human body as media, she documents the performance in the form of video and manipulates visual images to express psychological perception of experience. Through interplay of images of body and languages, her previous works often create an overtone of perception. A personal interpretation of perception is embodied in the enlarged image of partial body. Like Red Lip(2006), a video work shows large lips along with a repeated sound of reciting a sentence “We get nothing special here, but the vegi is really fresh.”

You Can’t Talk with Other People Single Channel Video, Color without Sound 8” 2014

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Sea Move Single Channel Video Setting, Color without Sound Dimension of Screen: Variable, Duration of Video: 33’41”2014

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作為一個以身體行為作為創作思索脈絡的創作者， 我要對眼前這幅景象做些什麼？能做什麼？ 我想觸摸他

當時，凝視著大海，這個即時的反射回應，成為這件作品的靈感來源。究竟是海浪 迎來、凸起的那個螢幕點迎來，抑或是我欲迎向海？這個觸摸，毋寧說是一種觸視 （Haptical visuality）的動作，是一種未被身體實踐的真實動作，他必不能以現實世界 的身體與海肉體碰觸。

於是，我以萊卡布製作了一幅螢幕，投以海浪拍打湧至的影像；並在螢幕後方架設了 一條軌道，上有一支機械滑輪從後方向前將螢幕撐凸，且水平地左右來回移動，此裝 置的位置、移動速度是象徵以一種手指在腰間左右輕緩水平劃過的高度，他被賦予暗 示動作主體情緒的任務。

像是從腦海中將觸摸的思考動態影像切片擷出、獨立展示，那個在海浪上移動的凸起 點迎向觀者，在浪起浪落之間以幾不可察覺的方式展現其姿態。 As an artist whose concerned with body action, what will I do if I take the scenery in front of me as a subject of my artwork?

I want to touch it.

I remembered that when I stared at the sea, an instant and nearly impulsive thought came up.

I wondered whether the incoming sea waves approached me (like convex point of the video screen) or I desired to get closer to the sea. If I touch the sea waves, the touch can be regarded either as a haptical visuality or as a unrealized action; and, thus, the touch can never be a physical one. The imagination became my inspiration of this piece of artwork.

Therefore, I made a large screen out of Lycra fabric and projected a video image of sea waves onto it. Behind the screen, I built a track along with a mechanical device on the track, which also supports the screen and makes a convex point when the device moved back and forth horizontally from left side to the right side. Both of the position and the moving pace of this device symbolized a gentle touch on the sea horizon with a suggestion of the subject’s emotion.

The convex point on the screen that constantly approached viewers showed its own stance in an imperceptible way. The movement seems like to slice my brain and put my thinking mode on display.

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這件作品係將連續快門所拍攝到的 3 分鐘時長海浪照片經數位軟體處理後，依序串接 成逐格動態影像。對於在拍攝現場及照片原始檔案中皆看不清楚、幾不可辨識的景象， 數位處理的步驟作為作品中揭示 ( 或揭密 ) 的手法，企圖暗喻看不見，但一直永恆存 在的動作。

The video, a motion picture, was made of series of single images of sea waves, which was shot for three minutes long by using burst mode. Via digital processing techniques, series of images were stitched together and merged into one video clip. By doing that, those unrecognised part of the image, implying invisible eternity, in the original photo were revealed (disclosed).

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左上｜ 3 Minutes Sea Wave at Night Single Channel Video, B&W without Sound 3' 2014

下｜ Sea Glance Digital Print / 235x55cm / 2014

倘若我看海一眼，是看見整面海、一片波光，還是一條浪？ 在按下連續快門的同時，順時針旋轉身體所拍得的照片，在這件作品中按照原景象 重新拼接疊合並做了數位處理，影像中，那些凝固不動作的地景 ( 堤坊、沙灘、天 空 ...) 的接合線被抹去，僅留下被快門留下的瞬時波浪以每禎照片的疊合線條生硬相 隔，這些區段作為快門與身體動作速度結合後所顯現的時延；並且，作為全幅作品 中唯一對焦至靠近攝影者的定位，畫面正前方的消波塊亦點出此前景象與拍攝者的 空間維度。

If I glance at the sea, what will I see? a whole surface of the sea, ocean waves or a shimmer of sunlight?

When I moved my body, I simultaneously pressed the shutter button by means of burst mode shooting. I later used digital image processing techniques to stitch the captured pictures together and merge image of the landscape part (the embankment, the beach, the sky).

Another part of image (sea waves) was stitched together with obvious overlapping areas in between each photo, which were like evidences of duration as a result of the body movement and the shutter speed. The precisely focus image of tetrapods (concrete blocks used in coastal engineering) in the centre implied its shallow focus different from entire image and pointed out the spatial dimension of the photographer and the environment.

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賴珮瑜

Pei-Yu Lai

國立臺南藝術大學藝術創作理論研究所 100 學年度博士生

作品《Another Sky-Meteor》的內容是台北城市空間的電光速度，畫面中所有光源依 據拍攝素材轉換成 ● 的符號，將真實城市的光與速度反映在動態影像畫面中，電照 明書寫了我們生活空間的景觀，在燈光亮起的同時，塑造出一個屬於人為的感官世界， 電光可以詮釋為地球村 (global village) 當中的一個景觀圖層，「光」的資訊透露出城 市的空間是如何地被部署在我們面前，電光資訊也包含了現代地景與生活速度。 作品試圖再現出高度展示自身的城市景觀，城市的快速感在距離中產生抽離，進而藉 由影像當中的觀看距離翻轉速度的時間，車流於眼前似流星般一閃即逝，城市夜晚尤 如點點繁星，身體感隨著速度時間而產生感知上的變化，而此感知，則需藉由真實經 驗的通道，進行知覺的詮釋。

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《Another Sky-Meteor》shows the flow and the speed of electricity and light in the urban city Taipei. In the video, the artist interprets every light source shown in the footage into a symbol as ●, which embodies the physical light and speed. Light and electricity construct the spectacle of our living space. When all are lit up, an artificial world of senses is created. We can see light and electricity as one layer of spectacles of the global village. The datas of light reveal how people deploy the urban space. Electricity and light suggest modern urban landscape and speed of life.

The work intends to represents the urban landscape itself. As a result of distances and scales, the speed of urban life disappears in the video and the vehicle flashes like meteors in an starry night. Perception of speed changes at the same time when an interpretation of perception occurs through a real viewing experience.

Another Sky-Meteor 單頻道錄像 single channel video 3'20" 2014

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作 品《Land value-Taipei》 以 台 北 市的平面地圖為基礎，包含了台北 市的十二個行政區，作品中的台北 市不再是原本自然盆地的地形，而 是以地價做為指標的數據地形，在 雕塑作品中的金色區域，則是十年 間土地地價的漲幅指數，因此每一 區域的變化，同時也指涉出一種價 值指標的增長速度與落差間距。 《Land value-Taipei》藉由價值的 高低，一方面試圖呈現出土地價值 的彼此相對比例與現況，另一方面 藉由消費價值的因素，將自然地形 轉化成為一種數據地形，由人文世 界所建構出的消費景觀包含普遍的 社會現象，例如資本經濟的運作模 式、貧富的差距、中心與邊陲的關 係以及我們賴以生存的空間，或者 也可以說，作品的城市地貌是由數 據構成的，地理的測量不僅只於外 在的景觀，還包括了內部的起伏不 定的人為操作。 Land Value- Taipei 玻璃纖維、烤漆、強化玻璃、不鏽鋼 glass fiber, coating, enhance glass, stainless steel 105x135 x141 cm (w)x(l)x(h) 2014

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《Land value-Taipei》is created based on the Taipei city map of twelve administrative divisions. Taipei city located in Taipei basin where low-lying terrain of the central area bordered by higher terrain. In the work, Taipei is presented as an information map of land value rather than topographical map. The golden area indicates that the index of land price which has been raising within the past ten years. Each sculpture piece implies the raising speed and the values in different administrative division varies. 《Land value-Taipei》 tries to present land value at the present time as well as the disparity among the administrative areas by urban land prices. Taking the form of information map, the artis visualizes a consuming landscape which suggests general social issues, such as capitalized economy, the gap between the poor and the rich, centralization and marginization, and dwelling spaces. In other words, instead of geographical measurement, datas with a de facto manmade manipulation design the urban landscape design the urban landscape.

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馬匡霈

Kuang-Pei Ma

國立臺南藝術大學藝術創作理論研究所 102 學年度博士生

1981 生於臺灣桃園 畢業於國立高雄師範大學美術系、國立臺南藝術大學音像動畫 研究所。 現就讀於國立臺南藝術大學藝術創作理論研究所博士班。 作品以插畫、動 畫創作為主，喜歡具詩意性的超現實風格，擅長平面手繪質感的創造。 動畫創作有 2008 年 ” 山 水 歷 ” (The Landscape tour)、2009 年 ”「 我 說 啊，」 我 說。”(The Soliloquist)， 並 參 與 國 片 2010「 不 倒 翁 的 奇 幻 旅 程 」 動 畫 製 作、2014 國 科 會 專 案「阿母的老照片」製作，現從事動畫研究與獨立創作。 作品曾入圍台北電影獎 (Taipei Film Festival)、4C 數位創作競賽 (4C Digital Design Awards)、東京 Tokyo AsiaGraph、 香 港 獨 立 短 片 與 錄 像 影 展（Hong Kong ifva Festival）、 法 國 安 錫 影 展 (Franch Annecy Animation Film Festival)、日本廣島動畫影展 (The Hiroshima International animation film festival) 等國際性影展。

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1981 Born in Taoyuan, Taiwan Graduated from Tainan National University of the Arts Majored in Graduate Institute of Sound and image Studies in Animation Now study in Tainan National University of the Arts for Phd degree Majored in Doctoral Program in Art Creation and Theory My works are mainly illustration and animations, interested in surreal poetic style and good touch in hand drawing. The animation work has nominated by Taipei film award(Taipei Film Festival), 4C Digital Design Awards, Tokyo AsiaGraph, Hong Kong ifva Festival, and won special distinction prize in 2009 Annecy Animation Film Festival.

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「我說啊，」我說。

The Soliloquist

劇情大綱 / 一個失戀之人，在寂寞低潮的日子裡收到寄給某人的信與包裹，在無法退還 的情況下，主角似有心無意的拆閱信件，隨著不斷累積的數量，漸與那未曾 露面出現的那人，發生一段曖昧詭異的另類妄想。 Synopsis of the film / Of all those lonesome days, a heart broken man had received letters and packages stating with the wrong addressee. Unable to return those letters, he started to read them. As the letters piled up, leading him fell in to a fictitious love with an imaginary character.

創作概念 / 『寂寞啊，當我感覺到你存在時，便讓我不想存在這世界。』 一個關於寂寞、人際、感情、妄想、幻覺交錯的現代寓言。 Director’s Statement on the Film / “Loneliness, sensing your existence makes me want to disappear.”

A modern fable about the loneliness, fantasy, and illusions.

年份：2009 拍攝規格：35mm、HDV 導演編劇製片：馬匡霈 Ma Kuang Pei 監製：余為政 Yu Wei Cheng 音樂音效：宋兆永 Sung Chao Yung 影片發音：( 中英字幕 ) 立體聲 影片長度：6 分 06 秒 出品學校：國立臺南藝術大學 音像動畫研究所

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鄭秀如

Hsiu-Ju Cheng

國立臺南藝術大學藝術創作理論研究所 97 學年度博士生

空間裡的空間－壁紙 Among the space of place-Wallpaper 空間裝置 / 掛衣架 148 × 109 cm / 2015

我利用居家空間內的裝飾－「壁紙」，探討家屋與私密空間事 物之「留」與「去」的主要圖像。我們的身體在日常空間經 驗中，當傢俱、物件放置於空間裡，物件的形狀會遮住後方壁 紙的圖案，若我們將物件移開，被遮住的壁紙圖案則會顯露出 來，另外，物件長時間置放於空間裡，也會與空間產生一種位 置、形狀的隱跡。 在《空間裡的空間－壁紙》中，我將這樣的隱跡現象相容於壁 紙圖案裡，藉由壁紙表現物件不在場之後仍呈現物件形狀遮 住「部份」的壁紙圖案，藉由生活物件烙印於空間中的痕跡， 試圖表現時間的滯留、延宕與迴盪。因此，壁紙圖案形成雙重 語彙：一為原本作為空間裝飾的元素；另一，隱含著物件既在 （留）又不在（去）的圖像關係。 生活空間因為時間宛如一張顯影的相紙，空間同時承載身體活 動（我們的身體透過時間而出現），空間成為承載身體運動的 載體。身體的感知感覺經驗宛如圖層般地被疊合在一起，這個 持續被累加的「我」成為容納現實與想像的複合身體。 形式：以木板隔間的工法製作裱貼壁紙的牆面，並以區塊的方 式裁切出三個空間的局部，這三個空間的局部在展覽空間裝置 的位置（這烙有物件形狀的壁紙物件的尺寸與高度）近似我與 它們日常關係的尺度。

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左上｜ 空間裝置（局部） 洋裝 168×51 × 57 cm / 2015

左下｜ 空間裝置 / 壁燈 52 × 68 cm / 2015

右上｜ 空間裝置 / 洋裝 168×51 × 57 cm / 2015 One of the decoration elements, wallpaper, is the object which I direct attention specifically to “remain” and “removed” subject matter. When these furniture and household goods are placed in the physical environment, some are along the wall and cover part of wallpaper, as days goes by, after we move these furniture away, there are some shapes and stains on wallpaper.

Therefore, objects stay in the environment for amount of time, they leave some certain “traces” of how furniture specifically located and other details such as volume and size.

In “Among the space of place”, by showing these traces from staining wallpapers, these details in the traces have showing trail of time, even though without actual physical furniture, but the stained of these certain shapes on wallpaper have given the meaning on invisible objects, have formed and contained the detail and trail in time. Consequently, wallpaper, a practical material for decorations, now contains the definition and the relationship of existence and inexistence, which are “remain” and “removed”.

The living environment is like a photographic paper being developed as time goes by, physical body activities have been recording and developing through time, the three dimensional space has loaded with all the senses and perceptions, they are piling up like one layer above another, and the layer itself, as “one”, represents as the complex loaded subject with reality and imagination.

Installation: Wallpaper over plywood is the basic materials for the exhibition, by that we remodel three areas from the space we have, and the areas show similar measurement of how we actual live in.

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陳宛伶

Wan-Ling Chen

國立臺南藝術大學藝術創作理論研究所 100 學年度博士生

這系列作品試圖呈現出個人對於現代城市中 人造自然的視覺感知。《崑山街盆景》作品 是描繪居家附近的盆栽，它們原被用於美化 環境或路障等功用，而逐漸地形成整個社區 的自然景觀，個人紀錄下它們的形貌、用超 輕土捏塑成微縮模型，再分別以靜物、模擬 它們在原本道路上的位置、以及植物圖鑒的 方式組裝它們，並描繪它們。而《金針山》 作品則是發想自一張過去個人到金針山旅遊 時所拍攝的照片，並藉由上述的方式，形構 出一幅幅人造自然的圖像。

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I want to express personal visual perception of the artificial nature in modern urban in the series of works. <Miniascape of Kunshan street>, the work shows miniascape around my neighborhood, they are used to beautify the environment, or barricade etc. function. And gradually formed the natural landscape of the community. I recorded their appearance, with super light soil form a miniature model. Then put them in the forms of still lifeă&#x20AC; simulate them in the position of the original road ă&#x20AC; botanical illustrations respectively, and drew them. Another work <Daylily Mountain> was ideated by a piece of the past I went to Daylily mountain tourist photo, and with the above approach to form a series of artificial nature images.

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林青萱

Ching-Hsuan Lin

國立臺南藝術大學藝術創作理論研究所 103 學年度博士生

個人創作專注於將日常生活中的感受轉化為動態影像，當面臨生離死別、生老病死， 那些與之相關的回憶，在經過多少年後，留下的是什麼樣的痕跡？透過《氣息》捕捉 「畫霧」，結合物理科學與動畫，實驗以一種作為「霧」稍縱即逝卻又看似永恆的活 動證據，所衍生的影像創作方式；結合科學與動畫「觀看看不見的東西（seeing the unseen）」。 本創作計畫《氣息》拍攝期為三個多月並於密不透風的車內進行，利用熱凝結之結霧 現象本身稍縱即逝的特性，在起霧的車窗玻璃上繪製近 3000 餘次，以逐格方式結合 現場實景，同時進行繪製與拍攝。影片主要欲表現眼神中的恐懼幻化成杳無人煙的單 行道，車子劃破寂靜的夜晚匆促駛去，孤獨地只留下車燈閃爍的光跡。時間像是走在 擁擠的大樓中，一去不復返。關於旅行、愛情、出生或死亡，想要蒐藏停留於過去的 美好時光，像是靜止的照片或是烙印於記憶中的影像，然而卻終究存在於一層又一層 的時間之中。即便如此，還是鼓起勇氣且不間斷地迎向那即將稍縱即逝，或如夢幻如 泡影般的片刻時光。

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氣息

Breathe

完成年份 / Completion Year：Aug. 2012 片長 / Running Time：06 mn 26 sec 類型 / Genere：手繪動畫 (Hand-drawn Animation) 規格 / Format：HD

The good things that we try to keep; eventually vanished somehow. However, they still exist in our memory. The drawings on the foggy glass always disappeared quickly as time goes by.

Like fleeting memories, such as traveling, love, life, birth and death. Some of them come from personal experiences and feelings but I think they can be extended to most of people. And the condensation on the window has the similar quality and the characteristic of the main idea of this film. In this film, I made the drawings more than 3000 times on car windows through the condensation with frame-by-frame camera shooting. The scenes in this film are surroundings when I studied in Tainan.

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蝪⊥風 Biography

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吳佩珊 展出紀錄 2006 不諳 - 吳佩珊個展 , 高雄豆皮文藝咖啡館 2006 天公之巧 . 染采之美 - 台灣染織新活力特展 , 國立傳統藝術中心 2006 咖啡館裡的布花紀念日 - 吳佩珊個展 , 台中胡同咖啡館 2006 五者之歌 - 德國 TALENTE2006 暨立陶宛 Textile05 台灣入選者聯展 , 台灣工藝研究所台北展示中心 2007 工藝有夢 - 總統府文化台灣系列特展 , 總統府藝廊 2007 九十六年度行政院文建會美化空間展 , 台北 , 文建會 2008 二 00 八染織藝術節 , 台中縣立文化中心編織工藝館 2008 花蓮創意文化園區 --1+1=1 纖維藝術展 , 花蓮創意文化園區 2008 庇護所 - 吳佩珊纖維藝術個展 , 台中胡同咖啡館 2008 國際工藝競賽入選者特展 , 台灣工藝研究所台北展示中心 2009 國際工藝競賽入選者特展 , 台灣工藝研究所台北展示中心 2009 台灣工藝精品展 , 台北世界貿易中心 2010 HaaT*Fiber art 吳佩珊纖維藝術展，台中新光三越 Issey-Miake HaaT 專櫃 2010 潛抑時空 - 吳佩珊＊鄭秀如聯展，台中 107 畫廊 2010 fiberscape 吳佩珊個展，高雄豆皮 2011 綠探險，台中創意文化園區國際展演聽 2011 空城 - 聯展，Glogauair 畫廊，德國柏林 2011「借力 - Tooling」 物件特展，南書坊，台灣台南 2012 旅埕 - 翰品高雄當代藝術展，翰品酒店，台灣高雄 2012 烏托邦，竹圍工作室，台灣台北 2013 經緯交織 - 纖維藝術創作展，國立台灣工藝研究所發展中心，台灣台北 2013 迷宮 - 聯展，臻品藝術中心，台灣台中 2014 空間角落 - 測量親密 - 臻品 24 周年建築 & 藝術策劃展， 臻品藝術中心，台灣台中 2014 臺灣當代纖維藝術的蛻變，國立臺灣工藝研究發展中心，臺灣草屯 2015 我不屬於…，恆畫廊，臺灣台北

Pei-Shan Wu Exhibition Record 2006 “Incomprehension” Wu Pei-shan Solo Exhibition, DOGPIG art café, Kaohsiung, Taiwan 2006 “Exquisite & Splendors” - Taiwanese New Dye and Weave Vitality Exhibition, National Center for Traditional Arts, Taiwan 2006 “Celebrating Buhau at a café”-Wu Pei-shan Solo Exhibition, Whotogether art café, Taichung, Taiwan 2006 “Wanderlust”-Group Exhibition for five Artists selected to “TALENTE 2006” in Germany and “Textile 05” in Lithuania, Taipei Exhibition Center of National Taiwan Craft Research and Development Institute, Taiwan

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2007 “Dream of Craft” -Cultural Taiwan Exhibition Series, Presidential Office Art Gallery, Taiwan 2007 “Embellishing Space Exhibition 2007”, Council for Cultural Affairs, Taipei, Taiwan 2008 “Dye and Weave Art Festival 2008”, Weave Craft Museum of Taichung Cultural Center, Taiwan 2008 “1+1=1 Fiber Art Exhibition”, Hualien Creative and Cultural Park, Taiwan 2008 “Sanctuary “- Wu Pei-shan Fiber Art Solo Exhibition, Whotogether art café, Taichung, Taiwan 2008 “Joint Exhibition for Selected Taiwanese Submissions in International Craft and Design Competitions 2008, Taipei Exhibition Center of National Taiwan Craft Research and Development Institute, Taiwan 2009 “Joint Exhibition for Selected Taiwanese Submissions in International Craft and Design Competitions 2009”, Taipei Exhibition Center of National Taiwan Craft Research and Development Institute, Taiwan 2009 “Craft Taiwan 2009”, Taipei World Trade Center, Taiwan 2010 “HaaT*Fiber art” - Wu Pei-shan Fiber Art Solo Exhibition, Issey-Miake HaaT Department, Shin Kong Mitsukoshi Department Store, Taichung, Taiwan 2010 “Latent space-time” - Group Exhibition of Wu Pei-shan and Zheng Xiu-ru, Gallery 107, Taichung, Taiwan 2011 Green Adventure,Tada Center B11, Taichung, Taiwan 2011 The Empty City,Glogauair space,Berlin,Germany 2012 The 1st Anniversary of Chateau de Chine Kaohsiung, Chateau de Chine, Kaohsiung,Taiwan 2012Utopia,Bamboo Curtain Studio,Taipei,Taiwan 2013Interwining Warp and Wefts Exhibition of Creative Fiber Art,National Taiwan Craft Research and Development Institute 2013 Labyrinth,Galerie Pierre,Taichung,Taiwan Ecolution of Taiwan Fiber Art, National Taiwan Craft Research and Development Institute

洪鈞元 個展 2014 當身體超越紀念 / 台中自由人藝術公寓 2011 再記錄 / 台南文創園區、台北覓 MEME 藝文展演空間 2009 任意 與在另一方面 / 台南五七藝術工作室 2007 祂既像我側耳 / 臺南大學藝術特區 2006 想自由的呼吸著 / 台中二十號倉庫點子空間 白色七度 / 台南文賢油漆工程行 2005 如果我能唱 / 台中市文化局動力空間 聯展 2015 全國美術展 / 國立臺灣美術館 2014 黑金段藝術節 King Style 青世代藝術展 / 嘉義市鐵道藝術村 陳澄波佳藝薪傳文化季 / 嘉義市二二八紀念公園藝文館 東海作為形容詞 / 台中東海大學藝術中心 2013 台灣 - 墨西哥當代藝術交流展 / 嘉義市鐵道藝術村 2012 跳境：亞洲生活手勢 / 國立臺南藝術大學、北京中央美術學院 2010 接點：一場青年藝術家的跨域接觸 / 美國馬里蘭藝術大學

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2008 「略」聯展 / 彰化師範大學 2007 桃源創作獎聯展 / 桃園縣立文化局 空集合 - 臺南大學美術所評圖聯展 / 臺南大學藝術特區 2006 心有靈犀 - 藝術嘉年華 / 台中 TADA 台灣設計 ‧ 建築與藝術展演中心 進駐 ‧ 位移 - 游走於工作室內外的敘事 / 高雄新濱碼頭 失 重 / 臺南大學藝術特區 藝術．秀．櫥窗 - 二十號倉庫第六屆駐站藝術家聯展 / 台中二十號倉庫

Jun- Yuan Hong Solo Exhibition 2014 ˙When the body beyond Memorial / Taichung Freedom men Art Apartment 2011 ˙re-recording / Taipei MEME arts exhibitions space 2009 ˙arbitrarily and on the other hand / 57 art studio Tainan 2007 ˙He not only like my ear / National University of Tainan Art District 2006 ˙wanted to breathe free / Taichung stock20 idea space ˙White seven degrees / Tainan Wenxian painting project row 2005 ˙If I could sing / Taichung City Cultural Affairs Bureau of dynamic space Exhibition 2015 ˙National Taiwan art exhibition / National Taiwan Museum of Fine Arts 2014 ˙black gold segment Festival King Style Green Generations Art / Chiayi Railway Art Village ˙Chen Cheng-po Jiayi Heritage Cultural Season / Chiayi City 228 Memorial Park Arts Museum ˙The TUNGHAI as an adjective / Taichung TUNGHAI UNIVERSITY Center for the Arts 2013 ˙Taiwan - Mexico Contemporary Art Exhibition / Chiayi Railway Art Village 2012 ˙DELTA: The Living Gesture in Asis Ⅱ -Trans-territory On-Site Art Creation Project / Tainan Arts the of University National, China Central Academy Of Fine Arts 2010 ˙Contact: cross-border contact with a young artist / Maryland University of the Arts USA 2008 ˙"slightly" Exhibition / National Changhua University of Education ˙Taoyuan Creation Award 2007 Exhibition / Taoyuan County Cultural Affairs Bureau ˙Empty -National University of Tainan Master of Fine Arts Exhibition Review Figure / Tainan University of Arts, DC

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郭家勳 目前就譚於國立臺南藝術大學藝術創作理論研究所博士班，其過去曾經擔任高雄市駁二藝術特區的 執行長，並亦曾分別任職於高雄市政府文化局及高雄市立美術館。其相關文化行政經歷，除 2004 至 2005 年的駁二藝術特區經營管理外，另包括協辦過 2003 年高雄國際貨櫃藝術節、2005 年高雄國 際鋼雕藝術節、2005 紐約授權展及參與 2005 年全球藝術村聯盟 ResArtis 於德國柏林召開的會議。 此外，郭家勳也是一名視覺藝術工作者，其作品曾獲得 2015 Art Olympia Cécile Debray 評審獎 ( 學生 組 )。

Chapman Kuo Chapman Kuo now study at Doctoral Program in Art Creation and Theory Tainan National University of the Arts.Besides,Chapman Kuo was former Director of Kaohsiung Pier 2 Arts District during 2004-2005 and worked as one of the organizers of the Kaohsiung International Container Arts Festival 2003 and Kaohsiung International Steel&Iron Arts Festival 2005 which hosted by Kaohsiung Museum of Fine Arts and Bureau of Culture Affairs Kaohsiung City Government.Furthermore,Chapman Kuo has participated the New York Licensing Trade Show 2005 and ResArtis Berlin conference 2005 .Chapman Kuo is also a visual artist whose work won the 2015 Art Olympia Cécile Debray Judge Award(Student Category).

蕭雅心 展覽經歷 2015

「Yellow - 你所做的每件事，都閃耀著一種金黃色」創作個展，321 蔚龍，台南，臺灣

2014

「在花園裡」創作個展，沙湖壢藝術村，新竹，臺灣

2013

「關鎖的園」工作室開放展，巴巴楊文化基金會，卡帕多西亞，土耳其 佛蒙特藝術村工作室開放聯展，佛蒙特藝術村，美國 「青春嶺」聯展，科元藝術中心，台中，臺灣 「Young Art Taipei」，台北國際當代藝術博覽會，喜來登飯店，台北，臺灣

2012

「土壤以下，浮光以上」個展，金變堂，新竹，臺灣 「Young Art Taipei」，台北國際當代藝術博覽會，喜來登飯店，台北，臺灣 「敘事性藝術」聯展，S'day 藝術招待所，台中，臺灣

2011 2009

「怎麼才不會忘記你」雙個展，嘉義新港文教基金會，嘉義，臺灣 「她 ( 他 ) 的翅膀妳 ( 你 ) 的飛翔我我的想像」個展，嘉義鐵道藝術村，嘉義，臺灣 「Young Art Taipei」，台北國際當代藝術博覽會，王朝大酒店，台北，臺灣 「Geisai#12」藝祭博覽會，Big Sight，東京，日本 「芝麻開門 驚奇多多」聯展，新思惟人文空間，高雄，臺灣 「我們，和我們的」聯展，嘉義鐵道藝術村，嘉義，臺灣

2008

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「Let The Air Blow」蕭雅心創作個展，新竹市文化局，新竹，臺灣

「那些乳牛都不肯走」新竹教育大學美研所、東海美研所和彰師大美研所跨校際聯展， 東海大學 43 號創藝中心，臺中，臺灣 「釀一個酒窩」7 人聯展，新濱碼頭，高雄，臺灣 「飛」蕭雅心創作個展，臺中市文化局，臺中，臺灣 「新竹教育大學及東海大學美研所跨校際聯展」，新竹教育大學，新竹，臺灣 「浩蕩畫 / 話紐約」，新竹教育大學，新竹，臺灣

Ya-Hsin Hsiao [Solo Exhibitions] 2015 〈Yellow〉Hsiao Ya-Hsin solo exhibition / Lane 321 Art space / Tainan, Taiwan 2014 〈In the Garden〉Hsiao Ya-Hsin solo exhibition / Safulakart Village / Hsinchu, Taiwan 2013 〈Enclosed Garden〉Hsiao Ya-Hsin solo exhibition / Babayan Culture House / Cappadocia, Turkey 2012 〈The earth beneath, the light above〉 Hsiao Ya-Hsin solo exhibition / Jin-Bian art site / Hsinchu, Taiwan 2009 〈Her/His wings&your fly&My imagination〉Hsiao Ya-Hsin solo exhibition / Art Site of Chiayi Railway Warehouse /Chiayi, Taiwan 2008 〈Let The Air Move〉Hsiao Ya-Hsin solo exhibition / Bureau of Cultural Affairs Hsinchu City / Hsinchu, Taiwan 〈FLY〉Hsiao Ya-Hsin solo exhibition / Bureau of Cultural Affairs Taichung City / Taichung, Taiwan 2007 〈Lightness and Heaviness inexpressive state of being〉Hsiao Ya-Hsin solo exhibition / Taichung country seaport art center / Taichung, Taiwan

林盈秀 個展 2006 「足紀我錄」，臺南大學藝術特區第二空間，台南，臺灣 2004 「ㄓㄨ腳面線」，大葉大學第一藝廊大葉大學第一藝廊，台南，臺灣 聯展 2015 「這裡有所有的名字」，臺南藝術大學視覺一館一樓大扇形展廳，臺南，臺灣 2015 「23.3 回游計畫」，澎湖文化中心，澎湖，臺灣 2013 「異－景」，臺南藝術大學視覺一館一樓大扇形展廳，臺南，臺灣 2012 「不賴皮」聯展 /Miga、臺南藝術大學二樓扇形空間，臺南，臺灣。 2012 「旅行的開端」，Z 書房，臺中，臺灣 2011 「林盈秀－間距」，臺南藝術大學視覺館一樓，臺南，臺灣 2011 「成長的喜悅」聯展，臺南大學第一藝廊，臺南，臺灣 2009 「綻放」，倫敦藝術大學聖馬丁學院二樓展廳，倫敦，英國 2007 「台灣新藝 「『快閃迷你』造形展」聯展，台灣新藝 2F 實驗展場，臺南，臺灣

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2007 國立臺南大學「空集合」聯展，臺南社教館，臺南，臺灣 2006 「內視境」，員林立庫，員林，臺灣 2006 國立嘉義大學．國立臺南大學視覺藝術研究所聯合展覽 / 嘉義大學，嘉義，臺灣 2005 國立臺南大學「 奇．幻．現．實」評圖聯展 / 藝象藝文中心，臺南，臺灣 2005 「玖捌種解讀方式」, 臺南社教館，臺南，臺灣 2005 「玖捌種解讀方式」, 大葉大學校內，員林，臺灣 2004「 搞 3 P」中區三校聯展 / 台中二十號倉庫，臺中，臺灣

Ying-Hsiu Lin Solo Exhibition 2006 “The records of what I’ve walked.”Lin Ying-Hsiu Individual Exhibition in the 2nd Space of Special Art Area at National University of Tainan, Tainan, Taiwan.

2004 “The Description of the Feet.” Lin Ying-Hsiu Individual Exhibition at DAYEH University 1st Gallery , Tainan, Taiwan.

Joint Experience 2015 “ All names are here. ” College of Visual Arts on the first floor large fan-shaped space, Tainan National University of the Arts, Tainan, Taiwan.

2015 “23.3 migration plan”, Penghu Cultural Center, Penghu, Taiwan 2013 “Different － View” College of Visual Arts on the first floor large fan-shaped space, Tainan, Taiwan.

2012 “Do not Rascally” College of Visual Arts on the first floor large fan-shaped space/ Miga space, Tainan National University of the Arts ,Tainan, Taiwan.

2012 “Travel beginning” Z Gallery, Taichung , Taiwan 2011 “Lin, Ying-Hsiu: L’écart”, College of Visual Arts on the first floor large fan-shaped space, Tainan National University of the Arts, Tainan, Taiwan.

2011 “Joy Growth”, in the1nd Space of Special Art Area at National University of Tainan, Tainan, Taiwan.

Taiwan.

2009 “The Efflorescence of flowers” The second floor of St. Martin's College at University of the Arts London.

2007 Taiwan New Arts Union Exhibition “The Flash Mini” on the Second Floor Experimental Exhibition at Tainan New Arts Union.

2007 National University of Tainan Review Union Exhibition “Empty Gathering”at National Tainan Living Art Center.

2006 The Union Exhibition of the Graduate Institute of Visual Art of National Chiayi University & National University of Tainan.

2006 The Laparoscope. Three People Union Exhibition at Yuanlin Three-D Warehouse.

2004 Have Three Ps. The Three Schools Union Exhibition in Stock No.20, central area, Taichung.

2005 National University of Tainan Review Union Exhibition “The Fantastic Reality” at Art Center.

2005 Dayeh University Graduation exhibition. The Ninety-Eight Interpreting Ways at National Tainan Living Art Center.

2005 Dayeh University Graduation Exhibition. The Ninety-Eight Interpreting Ways at Dayeh University.

2004 “Do 3 P” Exhibition of three schools in the area / warehouse on the 20th Taichung, Taichung, Taiwan.

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蕭卓宇 1983 年出生於台中市清水區 國立臺南藝術大學藝術創作理論研究所博士班在學 個展 2014

態─ 2014‧ 春─蕭卓宇水墨創作個展，國立臺南藝術大學

2010

玄想的疆界─蕭卓宇水墨創作個展，屏東市立美術館

聯展 2015

高雄漾藝術博覽會─當代新星，駁二藝術特區

2014

「東經傾斜：北回與南歸的城影對話」─台南藝術大學博士班與中央美術學院 博士班交流展 -，臺南藝術大學

Cho-Yu Hsiao Born in Taichung, Taiwan Currently Ph.D. Student in the Doctorial Program of Art Creation and Theory at Tainan National University of the Arts Solo Exhibition 2014 Tai: On-going Condition-2014, Spring, A Creative Research of Ink Art-Solo Exhibition by Cho-Yu Hsiao, Tainan National University of the Arts, Tainan 2010 Fantastic Border, A Creative Research of Ink Art-Solo Exhibition by Cho-Yu Hsiao, Pingtung Art Museum, Pingtung Joint Exhibition

2015 Young Art Kaohsiung 2015: Contemporary New Stars, The Pier-2 Art Center, Kaohsiung 2014 Slope of East Longitude: Dialogue of City Image between Northern Tropic and Southern Tropic, Exhibition of Doctoral Programs between Tainan National University of the Arts and China Central Academy of Fine Arts, Tainan

莊宗勳 個展 2011 一票票畫廊，「境況模型」，台北。 2009 逢甲藝術中心，「丁丁的理型」，台中。 2005 豆皮藝文咖啡館，「About head」，高雄。 2002 打開當代工作室，「尋找 . 遺落的 . 那個」，台北。

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聯展 2015 SAATCHI GALLERY，「POST POP」，倫敦，英國。 2014 高美館，「聲語繞境—台灣與北愛爾蘭交流展」，高雄。 2013 福利社，「媒菌體」，台北。 2013 臻品藝術，「玩具總動員」，臻品二十三周年展，台中。 2013 國立台灣美術館，「標新．立意」，館藏青年藝術家作品展，台中。 2012 大東藝文中心，「看向南方—南方熱思維」，大東藝文中心開幕展，高雄。 2010 小室畫廊，「KNOW HOW」，台北。 2010 107 畫廊，「經度： 120.657778, 緯度： 24.153333」，台中。 2009 寒舍空間，「微 . 新 . 密 . 奇」，台北。 2009 鳳甲美術館，「一閃而過 - 七零世代藝術家群像」，台北。 2008 台北市立美術館，「2008 台北獎」，台北。 2007 台北市立美術館，「2007 台北獎」，台北。 2007 高雄市立美術館，「24 屆高雄獎」，高雄。 2007 北京 798 藝術特區新瑞藝術計畫，「範式轉向 - 台灣新世代藝術的契機」， 北京。 2006 台北國際藝術村，「遼闊的漣漪與合音 ─ 位移、重組、連結」，台北。 2006 嘉義鐵道藝術村，「cold Q」，嘉義。

Tsung-Hsun Chuang 2001 graduated from Nation Taiwan University of Arts.

2007 graduated from Graduate Institute of Plastic Art ,Tainan National University of The Arts (M.F.A) 2009 studying in Doctoral Program in Art Creation and Theory, Tainan National University of The Arts.

SOLO EXHIBITION 2011 " Situation Models ", Piaopiao Gallery, Taipei, Taiwan 2009 " Model of TinTin ", Feng Chia University Art Center, Taichung, Taiwan 2006 " No Sense of Humor " , Grain Warehouse, Kaohsiung, Taiwan 2005 " Abort Head ", Dogpig Art Café, Kaohsiung, Taiwan 2002 " Looking for the Lost ", Open Contemporary Art Center, Taipei, Taiwan SELECTED GROUP EXHIBITION 2015 "POST POP",SAATCHI GALLERY , London, UK. 2014 "Voices Travel" - Taiwan and Northern Ireland Exhibition, Kaohsiung Museum of Fine Art, Kaohsiung, Taiwan.

2013 " Innovation and Re-creation ", National Taiwan Museum of Fine Arts, Taichung, Taiwan.

2012 " Eyes on the South-Hot Thought Symptoms ", Dadong Art Center, Kaohsiung, Taiwan.

2009 " flash by –Portraits of 70sArtists ",Hong-gah Art Museum，Taipei, Taiwan.

2008 " Taipei Award ", Taipei Fine Arts Museum, Taipei, Taiwan.

2007 " Taipei Award ", Taipei Fine Arts Museum, Taipei, Taiwan.

2007 " Kaohsiung Award ",Kaohsiung Museum of Fine Art, Kaohsiung, Taiwan.

2007 " Paradigm Shift ", Beijing 798 Art Special Zone , Beijing, China.

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2006 " Boundless Ripples and Harmonies ", Taipei Artist Village, Taipei, Taiwan.

2006 " cold Q ", Art Site of Chia-yi Railway, Chia-yi, Taiwan.

黃柏皓 個展﹕ 2013 年 Nothing is Something- 黃柏皓個展 伊通公園 2012 年 黃柏皓書寫個展 巴黎西帖藝術中心 2010 年 [ 時 ‧ 常 ]- 黃柏皓創作個展 布查國際當代藝術空間 2008 年 [ 須彌芥子 ] 黃柏皓個展 布查國際當代藝術空間 2006 年 黃柏皓創作個展─簡 淡 空 白 南北畫廊 聯展 : 2015 巨視與微視－韓國．台灣水墨畫現象 韓國首爾大學美術館 2015 年 PARADISE BITCH 澳洲白兔美術館 2015 年 PARADISE BITCH 韓國首爾大學美術館 2014 年 跟著我的節奏 博藝畫廊 2013 年 第四紀 - 更替與新生 北京中央美院 2011 年 風泉滿清聽 華山藝文中心 2009 年 [ 彷彿 ] 布查國際當代藝術空間 2008 年 七年級生線條主義 杜邦當代藝術空間 2007 年 [ 藝門好傑 ] 關渡美術館 2006 年 軌跡大化─解碼筆墨新次元 關渡美術館

Bo-Hao Huang SOLO EXHIBITIONS 2013 Nothing is Something, ITPARK, Taipei, Taiwan.

2010 Orbit around Time, Butchart International Contemporary Art Space. Taipei, Taiwan.

2008 An Extraordinary Glimpse Of The Galaxy, Butchart International Contemporary Art Space.

Taipei, Taiwan.

2006 Thus, The Space Owns The Zen Soul, Nan-Bei Gallery, Taipei, Taiwan.

GROUP EXHIBITIONS 2015 Visions of Macro and Mico：Phenomena in Korean and Taiwanese Ink Paintings Museum of Art , Seoul National Univeristy 2015 PARADISE BITCH White Rabbit Gallary, Sydney, Australia 2014 Moving To My Rhythm , Bo Art Gallery, Taipei, Taiwan.

2012 Chinese Calligraphy, Writing, The Cité Internationale des Arts-Paris, Paris, France.

2014 The Fourth Period: Supersession and New Life, Central Academy of Fine Arts CAFA, Beijing, China.

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2011 The Wind And Springs are Full Of Peaceful Sounds, Huashan Creative Park, Taipei, Taiwan.

2009 Vague, Butchart International Contemporary Art Space. Taipei, Taiwan.

2008 The Seven Grade Lineism. Duband Art, Taipei, Taiwan.

2007 Dare to Art: The Genealogy of TNUA Fine Arts College, Kuandu Museum of Fine Arts, Taipei, Taiwan.

2006 The New Twist Of Chinese Painting, Kuandu Museum of Fine Arts, Taipei, Taiwan.

AWARDS 2012 Chosen as an artist in residence at Cite internationale des arts Paris for the 12th Visual Arts Talent Exchange Program conducted by the Taiwan Ministry of Culture.

2006 The 12th international biennial print and drawing exhibition, R.O.C. 2006 The winner of the 7th annual calligraphy calligraphy competition , Taiwan. (1st place) 2006 Taoyuan Contemporary Art Award, Taoyuan, Taiwan.( Merit Award) 2006 Zhang Xin-long Fine Arts Award, Taiwan (1st place)1999, 2000, 2003 and 2010 Guang Hua Lions Club sketching competition (1st place) 2005 National Youth Water Color Painting Sketch Competition (1st place) 2001 Nokia Art Awards Asia-Pacific, Taiwan area (1st place)

袁慧莉 個展 2014「複數世界 -- 袁慧莉 2014 個展」, 耿畫廊 , 台北 , 台灣 2011「陰性山水 -- 袁慧莉筆墨個展」, 東吳大學游藝廣場 , 台北 , 台灣 2010「元素 ˙ 意韻 -- 袁慧莉個展」, 恆廬美術館 , 杭州 , 中國 2009「袁潄濃淡山水作品展」, 圓緣版畫館 , 杭州 , 中國 2009「心靈結構 -- 袁潄水墨個展」, 月臨畫廊 , 台中 , 台灣 2008「軌跡 ----1985-2008 袁潄水墨創作展」, 新竹教育大學竹師藝術空間 , 新竹 , 台灣 2007「點點滴滴 - 張光賓 ˙ 袁潄 ˙ 董心如三個展」, 一票人票畫空間 , 台北 , 台灣 聯展 2014《典藏 ˙ 對話—演繹台灣當代水墨》, 高雄市立美術館 , 高雄 , 台灣 2014 台灣藝術家博覽會，台北，台灣 2013 總統府藝術銀行首次聯展。作品陳列于總統府外賓接待室。 2013《伊通百人聯展》伊通生活空間，台北 ˙ 台灣 2013 台灣藝術家博覽會，台北，台灣 2013《高士迎春》高士畫廊，台北 ‧ 台灣 2012「高雄美術獎」, 高雄市立美術館 , 高雄 , 台灣 2011「香港 2011 當代藝術暨古玩博覽會聯展」, 國際會議廳 , 香港 2011「當代平淡繪畫展」宋莊書譜美術館，北京 ‧ 中國 2010《三人聯展》台中 ‧107 畫廊，台灣 2009《筆墨的當代性》東海大學藝術中心，台中 ‧ 台灣 2009《新象－２００９兩岸當代水墨展》 國立台灣美術館，台中 ‧ 台灣

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2008《形 . 意 . 質 . 韻 - 東亞國際水墨創作邀請展》 台北市立美術館，台北 ‧ 台灣 2007《藝門好傑 - 國立台北藝術大學傑出校友展》關渡美術館，台北 ‧ 台灣

Hui-Li Yuan Solo Exhibition 2014 Plural Landscape, Tina Keng Gallery, Taipei, Taiwan 2011 Maternal Landscape, Soochow University Arts center, Taipei, Taiwan 2010 Element&Rhythm, Han House Museum , Hangzhou ,China 2009 YuanShu Dense Light landscape, Yuan Yuan Chinaprints Gallery, Hangzhou, China 2009 Solitary Phantasma, Moon Gallery, Taichung, Taiwan 2008 Track: 1985-2008, NHCTC Artist space ,National Hsinchu University of Education, Taiwan 2007 Dribs and Drabs: Three artist’ solo, PiaoPiao Painting Space, Taipei, Taiwan Group Exhibitions 2014 Collection and Dialogue—Taiwan’s Contemporary Ink Painting, Kaohsiung Museum of Fine Arts, Taiwan 2014 The 13th Artist Fair Taiwan, Taipei, Taiwan 2013 Ministry of Culture Collection Artwork, Office of President, Taipei, Taiwan 2013 Look for 101 painter, ITPark 2 Gallery, Taipei, Taiwan 2013 Lofty Spring, Loftyart Gallery, Taipei, Taiwan 2012 Kaohsiung Art Award, Kaohsiung Museum of Fine Arts, Taiwan 2011 2011 FINE ART ASIA Hong Kong, Art Fair in Hong Kong International Convention Center 2011 Contemporary Bland Painting-Exhibition &Symposium, Supu Art Museum, Beijin, China.

2010 Three artists in 107, 107 Galley, Taichung, Taiwan 2009 The Contemporaneity of Brushwork, Tunghai University Art Gallery, Taichung, Taiwan 2009 The new space:2009 Exhibition of Contemporary Cross-Strait Ink Paintings, National Taiwan Museum of Fine Arts, Taichung, Taiwan 2008 Form, Idea, Essence, Rhythm: Contemporary East Asian Ink Painting, Taipei Fine Arts Museum, Taipei, Taiwan 2007 Prominent Alumnus Exhibition, Kuandu Museum of Fine Arts, Taipei, Taiwan

陳奕彰 個展 2012

〈鐵水泡泡〉2012 陳奕彰創作個展，高苑科技大學藝文中心，高雄

2011

鋼彈—2011 陳奕彰創作個展，新濱碼頭藝術空間，高雄

2011

春季東和鋼鐵廠駐廠藝術家成果發表會，苗栗

2010 〈空氣城形〉陳奕彰裝置藝術體驗展，西門町城中藝術街區，台北 Balloon World- 陳奕彰創作個展，屏東美術館 203 展覽室，屏東 接觸 ‧ 蔓延創作個展，台東鐵道藝術村 261 展覽室，台東 2009

接觸 ‧ 蔓延創作個展，新濱碼頭藝術空間，高雄

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2008

陳奕彰氣球個展，台灣藝術大學新香藝廊，台北 聯展

2014

【禮藏】袖珍精品展，新思惟人文空間，高雄

2013

認定法人京都藝際交流協會當代雕塑展，日本京都

｢2013 FORMOSA 雕塑雙年展 ｣，駁二藝術特區，高雄 活力亞洲—2013 亞洲現代雕塑家協會 第 22 屆作品年展，中國廣州 高雄藝術博覽會，駁二藝術特區，高雄 2013

美濃國池田山麓物語“願成寺古墳群美術展” 日本岐阜 桃園美術家聯展，桃園縣政府文化局，桃園 高雄鋼雕藝術節，駁二藝術特區，高雄

2012

文化鏡相 - 台灣、沖繩藝術交流展，高雄市立美術館，高雄 合體不設限，高雄市立文化中心至真三館，高雄 「私域」環境藝術創作，都蘭糖廠，台東

2011

桃園縣美術家聯展，桃園縣政府文化局，桃園

2011

粉樂町台北東區當代藝術展 “點亮”，台北

2010

陸橋之後 - 分類混合共生後的反芻再現，高苑藝文中心，高雄 “氣象萬千”當代藝術展，萬華 406 廣場，台北

2010

粉樂町台北東區當代藝術展 “仰望”，台北 “黑潮”沖繩台灣國際交流展，日本沖繩 都參拜靖國神社展覽“山守人池田” ，日本岐阜

2009

當心藝術不長眼 - 桃園創作獎，桃園 〈空氣介入…… 而後發生〉，台灣新藝藝術空間，台南 承先啟後迎春特展，新濱碼頭藝術空間，高雄

2008

台灣立體新貌展，台中清水 〈聽雨的聲音〉台、日藝術交流展，駁二藝術特區，高雄 邂逅的門扉—沖繩與台灣當代藝術交流展，嘉義鐵道藝術村

Yi-Chang Chen Exhibition 2012 Cultural Mirror - Taiwan, Okinawa Art Exhibition, Kaohsiung Museum of Fine Arts, Kaohsiung Fit unlimited, Kaohsiung Cultural Center to the true three Museum, Kaohsiung "Private domain" environmental art, sugar Dulan, Taitung 2011 Artists Exhibition, Taoyuan County, Taoyuan County Government, Taoyuan 2011 Fun Park East Taipei Contemporary Art Exhibition "light", New York 2010 Bridge after - Classification after mixing symbiosis ruminant reproduction, Kao Yuan Art Center, Kaohsiung "Meteorology" Contemporary Art Exhibition, 406 square Wanhua, Taipei 2010 Fun Park East Taipei Contemporary Art Exhibition "looking", New York "Kuroshio" Okinawa International Exchange Exhibition of Taiwan, Okinawa, Japan Have visited the Yasukuni Shrine Exhibition "Yamamori people Ikeda," Japan Gifu Prefecture

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2009 Beware arts do not have eyes - Taoyuan Creation Award, Taoyuan <Air intervene ...... then occurred> Taiwan New Art Art Space, Tainan Continuity Spring Exhibition, the new Waterfront Art Space, Kaohsiung, TainanCounty

顏寧志 1985 年生於台中 國立臺南藝術大學藝術創作理論研究所博士班 實踐大學時尚與媒體設計研究所畢業 自由人藝術公寓，435 藝術家工作室駐村藝術家、勤美文創聚落 LAB 藝術家、新樂園藝術空間第 十屆藝術家。身為一位跨領域創作藝術家，有著強烈的個人視覺風格，除了主要在視覺創作外，也 積極的延伸以各種不同類型的媒材來進行創作。目前已舉辦過數次個展，參與過國內外各種不同的 展覽以及駐村，像是「Asia Contemporary Art Show 香港亞洲當代藝術展」、「Young Art Taipei 台北 國際當代藝術博覽會」、「Art Taipei 台北國際藝術博覽會」等其他國際藝術博覽會。 2009 年成立 「Freedom Men Studio 自由人工作室」，嘗試和不同領域的創作者文化創意、媒體應用、展演策劃、 跨領域整合創作發展。2012 年成立了自己的「Organs without body」服裝品牌，將創作延伸至另一個 領域，同年也與十多位藝術家成立展演替代空間「自由人藝術公寓」。

Andy Yen Andy Yen is an artist based in Taiwan. He has exhibited his works in numerous group and solo exhibitions in Taipei, Tokyo, New Delhi, Hong Kong, Shanghai and Shenzhen. including “Asia Contemporary Art Show", “Young Art Taipei", “Art Taipei", and other international Art fair. Also been selected in many of the prestigious competitions around the Taiwan. Besides visual art, Andy Yen also approached multidisciplinary fields of creation, such as fashion, multimedia, installation, and photography. As an interdisciplinary creative artist, With his strong personal visual style, he is very keen on creating different forms of arts and also specializes in interdisciplinary integration. He organized “Freedom men Art Organization”, an active young artist collective in 2006. Furthermore, in 2012, he created his own clothing brand “Organs without body" taking his creativity to a new field. In the same year, he has made his way towards art and creativity and founded an alternative art space “Freedom Men Art Apartments".

丁昶文 丁昶文擅長處理影像及聲音等混合媒材所製作的空間裝置。丁氏的作品常常由他自己的經驗啟發， 通常包括現成物，並通過特定的展示情況，成為一個特定的歷史敘述部分。因此，藝術家以令人驚 訝的創新方式，解構和重新詮釋我們的共同歷史。他考察了主流價值，歷史衝突，如殖民主義，移 民，文化的集體記憶和跨境存在等議題。

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近期展覽包含：「於今無所處」，伊通公園，台北，2014；「日日」，費利曼圖藝術中心，費利曼 圖，2014；「混種文化運動史」，CAI 現代芸術研究所，札幌，2014；「城市魅感」，築空間，台北， 2012；「味覺記憶」，歐亞藝術網路組織，柏林，2010；「家 - 台灣美術年展」，國立臺灣美術館， 台中，2008。並且陸續受邀於許多國際藝術村進行駐村創作，包含：衿川藝術空間，首爾，2015； 悉尼藝術空間，悉尼，2014；日本白鬼藝術村，東京，2014；亞洲連結駐村計畫，墨爾本，2014； S-AIR 札幌藝術村，札幌，2013；台北國際藝術村，台北，2012；法國西帖藝術村，巴黎，2010。作品持 續獲邀於美國、法國、德國、日本、澳洲等地展出。他目前居住在台灣台中。

Chaong-Wen Ting Ting Chaong Wen is skilled in dealing with mixed media, such as space installations which mixed with images and sounds. TING's works are often inspired by his own experiences and often include ready-made objects, which through the context of a particular exhibition, become part of a particular historical narrative.

Thus artist deconstructs, interprets, and reinterprets our shared history in surprising and innovate ways.

He examines dominant values, historical conflicts such as colonialism, migration, and cultural collective memory and their cross-border existence.

Recent exhibitions include Now Is Nowhere, ITPARK, Taipei, 2014; Day After Day, Fremantle Arts Centre, Fremantle, 2014; History of Hybrid Culture Movements, Contemporary Art Institute 2, Sapporo, 2013; URBAN SYNESTHESIA, ARKI GALERIA, Taipei, 2012; Taste Memory, idolonstudio, Berlin, 2010; Kuroshio Campur, Okinawa Prefectural University of Arts, Okinawa, 2010; Home - Taiwan Biennial, National Taiwan Museum of Fine Arts, Taiwan, 2008; Have You Eaten Yet? - Asian Art Biennial, National Taiwan Museum of Fine Arts, Taiwan, 2007. His artist-in-residence projects include Artspace, Sydney, 2014; Shiro Oni Studio Arts Residency Program, Japen, 2014; Asialink's Arts Residency Program, Fremantle, 2014; S-AIR Artist-In-Residence Programme /Sapporo2™ Project, Sapporo, 2013; Cité Internationale des Arts, Paris, 2010. Currently, He lives in Taichung, Taiwan.

吳梓寧 創作聯展 2015 「Ｎ分鐘影像藝術節」，上海 CAC 新時線媒體藝術中心、上海 21 世紀民生美術館， 上海，中國 2015 「龐畢度／日本東京前衛影像藝術節 2015」，UPLINK，東京，日本 2015 「當。滲透影像媒體藝術節」，空場 ( 台北 )、自由人藝術公寓 ( 台中 )、院子劇場 ( 高雄 )、 江山藝改所 ( 新竹 )，台灣 2015 「形 ‧ 動─國際文字影像藝術展」，國立台灣美術館，台中，台灣 2014 「聲語遶境：兩個港口的對話─ 臺灣與北愛爾蘭交流展」，高雄市立美術館，高雄 2014 「藝術家的養成之道」，高師大 116 藝術中心，高雄 2013 「第四紀：交替與新生」中央美院 x 南藝博士生交流展覽，中央美術學院，北京，中國

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2013 「Cutlog 藝術節 - 巴黎」，黎塞留工作室 60，黎塞留街，巴黎，法國 2013 「Cutlog 藝術節 - 紐約」，克萊門特 107 薩福克街，紐約，美國 2013 「從邊境出發」，弔詭畫廊，高雄 2013 「空想教室之奶油貓貓實驗室 - 當代女性藝術家聯展」，台灣女性藝術學會 台北市政府文化局藝響空間，台北。 2012 「DELTA 亞洲生活手勢Ⅱ - 跳境」，台南藝術大學視覺館，台南 2012 「大家的公共藝術」教育展，高雄市立美術館 - 兒童美術館，高雄 2012 「Motherhood 모성」，梨花女子大學美術館，首爾，韓國 2011 「DELTA 亞洲生活手勢 -2011 亞洲藝術學術論壇網路展覽」，DELTA 亞洲生活手勢線上藝廊 2011 「聯想鬆弛 derailment - 出軌聯展」，台中二十號倉庫主展場，台中 2011 「ACA 交流電 - 駁二動漫祭」，駁二藝術特區，高雄 2010 「虛擬身體 i-body」，TDAIC 線上藝廊 2010 「近身潛獵＿向歷史投影」聯展，MIGA 藝術空間，台南 2010 「大女圖」聯展，TAMTAM8 Art Space，柏林，國 2009 「原色風情．東方不敗」亞洲國際藝術節，國立東華大學，花蓮

WU Tzu-Ning Selected Group Exhibitions 2015 N-Minutes video art Festival 2015, Chronus Art Center, Shanghai 21st Century Minsheng Art Museum, Shanghai, China.

2015 HORS PISTES JAPON 2015, UPLINK, Tokyo, Japan.

2015 (CON)TEMPORARY OSMOSIS - Audiovisual Media festival 2015, Polymer(Taipei), Freedom Men Apartments(Taichung), Yard / Theatre(Kaohsiung), Jiang Shan Yi Gai Suo(Hsinchu), Taiwan.

2015 TYPEMOTION. Type as Image in Motion, NTMOFA, Taichung, Taiwan 2014 Voices Travel: Conversation Between Two Harbours, Kaohsiung Museum of Fine Arts, Kaousiung, Taiwan 2014 The Way to Cultivate An Artist, 116 Art Center, NKNU, Kaohsiung 2013 The Quaternary: Alternating & Regeneration-CAFAxTNNUA, CAFA, Beijing, China 2013 Cutlog Art Fair – Paris, Atelier Richelieu 60, rue de Richelieu, Paris, France 2013 Cutlog Art Fair - New York, The Clemente 107 Suffolk St, New York, USA 2013 Man on wire – yes, you can swing, CRANE Gallery, Kaohsiung 2013 Fantasy Classroom-The Butter Cat Laboratory-Contemporary Women Artists exhibition, Taiwan Women's Art 2013 LOOP Ⅱ , tamtamART TAIPEI IPIX, Taipei 2013 Kaohsiung Awards 2013, Kaousiung Museum of Fine Art, Kaohsiung, Taiwan 2012 DELTA: Living Gesture in Asia II- Trans-territory, Tainan National University of the Arts, Tainan, Taiwan 2012 Public Art for All, Kaousiung Museum of Fine Art, Kaohsiung, Taiwan 2012 Motherhood - Mother Images in Asian Art, Ewha Womans University Museum, Seoul, Korea 2011 DELTA: Living Gesture in Asia- ASIA ART FORUM 2011, DELTA online gallery 2011 Derailment, Stock 20 in Taichung railway station, Taichung, Taiwan 2011 ACA-Animation + Comic + Contemporary Arts, The Pier-2 Art Center, Warehouse C5,

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Kaohsiung 2010 2010 2010 2009

i-Body, TDAIC online gallery Self Stalker_ Projected History, MIGA Art Space, Tainan, Taiwan 8Femmes, TAMTAM8 Art Space, Berlin, Germany A Riot of Colors: Invincible East, National Dong Hwa University, Hualien, Taiwan

郭嘉羚 個展 2014「動作 MOVE」郭嘉羚個展，竹師藝術空間，新竹 2010「VISITOR」郭嘉羚個展，MOT ARTS，台北 2009「OPEN KUO CHIA LING IN PARIS」，巴黎西帖國際藝術村，法國 2007「Condition#4 血肉身體與精神淚涕」郭嘉羚個展，新樂園藝術空間，台北 2006「Red Lip」郭嘉羚個展，台中鐵道二十號倉庫點子空間，台中 2002「嘻嘩嘻嘩轟去凄」，彰化師大藝薈館，彰化 聯展 2015「彼岸」，福利社，台北 2015「月津港燈節」，月津港親水公園，鹽水 2014「聲語遶境：兩個港口的對話－台灣與北愛爾蘭交流展」，高雄美術館，高雄 2014「∞」彰化師大美術系 20 周年校友聯展，彰化師範大學，彰化 2013「擁抱庶民美術～寫在台灣新藝十週年」，高雄文化中心至真堂，高雄 2011「DELTA 亞洲生活手勢」線上展覽，www.delta2011.asia 2011「逃逸線：機器運作中！」，彰化師範大學藝薈館白沙藝術中心，彰化 2011「聯想鬆弛 derailment—出軌聯展」，台中鐵道二十號倉庫，台中 2010「近身潛獵 - 向歷史投影」，國立臺南藝術大學與 MIGA 藝文空間，台南 2010「含英咀華 - 閱讀與書房」藝術家紀錄片訪談，國立台灣藝術大學藝術博物館，台北 2009「PHOTO TAIPEI 2009」，六福皇宮，台北 2009「蔓流體」，國立台灣美術館，台中 2008「述 ‧ 光」數位影像建築投影，亞緻大飯店 (Hotel one) 前廣場，台中 2008「超作品」，高苑技術大學，高雄 2008「永恆的成人遊戲工廠」新樂園十週年紀念展，關渡美術館，台北 2008「第二種視野」，國立台灣美術館，台中

Ring, Chia-Ling Kuo Solo Exhibitions 2014 “MOVE” Kuo Chia-Ling Solo Exhibition, NHCUE Art Space, Hsinchu 2010 “VISITOR” Chia-ling, Kuo Solo Exhibition, MOT ARTS, Taipei

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2009 “OPEN KUO CHIA LING IN PARIS”, Cite' Internationale des Arts, Paris, France 2007 “Condition#4 Flesh and Blood” Chia-ling, Kuo Solo Exhibition, SLY art space, Taipei 2006 “Red Lip” Chia-ling, Kuo Solo Exhibition, Stock 20 Idea Space, Taichung 2002 “SHI-HUA-SHI-HUA-HOM-CHU-CHI”, NCUE E-HUAY Hall, Changhua Group Exhibitions 2015 “Immersing in”, FreeS Art Space, Taipei 2015 “2015 YUEJIN LANTERN FESTIVAL”, YueJin of YanShui, Tainan 2014 “Voices Travel: Conversation Between Two Harbours”, Kaohsiung Museum of Fine Arts, Kaohsiung 2014 “∞”, NCUE, Changhua 2013 “Embrace the Plebeian Art”, Culture Center in Kaohsiung Chi-chen Hall, Kaohsiung 2011 “Line of Flight”, NCUE E-HUAY Hall, Changhua 2011 “DELTA: Living Gesture in Asia”online exhibition, www.delta2011.asia 2011 “Derailment”, Stock 20, Taichung 2010 “Self Stalker - Projected History”, MIGA + Tainan National University of Art, Tainan 2010 “Reading and Its Space”Artist Documentary Film, NTUA Art Museum, Taipei 2009 “PHOTO TAIPEI 2009”, Westin Hotels & Resorts, Taipei 2009 “The Organic Flux”, NTMFA, Taichung 2008 “Narrate．Light” digital projecting on building, Hotel One, Taichung 2008 “Hyper-works”, KYU Art Center, Kaohsiung 2008 “ETERNAL ADVENTURELAND”the SYL art space 10th anniversary exhibition, KDMOFA, Taipei 2008 “SECOND VISION”National Taiwan Museum of Fine Arts, Taichung

賴珮瑜 個展節錄： 2014 《路徑》賴珮瑜個展 / 非常廟藝文空間 / 台北 2012 《尋找中心點》賴珮瑜個展 / 台灣新藝 / 台南 2010 《VISITOR》賴珮瑜 . 郭嘉羚雙個展 /MOT.ARTS/ 台北 2009 《某處》賴珮瑜個展 / 長庚大學藝文空間 / 台北 2007 《藉物思物》賴珮瑜個展 / 新樂園藝術空間 / 台北 2007 《另 / 原鄉》創作個展 /BankArt NYK/ 日本 . 橫濱 聯展節錄： 2015 《藝術與都市 橫濱與台北》/ BankArt NYK / 橫濱 / 日本 2015 《顯│隱：這個○○的世代》/ 彰化縣立美術館 / 彰化市 2015 《城市藝術 - 台灣製造》/ Noisy le Grand 文化中心 / 巴黎 / 法國 2015 《2015 月津港燈節》/ 月津港 / 台南鹽水 2014 《台灣報到》台灣美術雙年展 / 國立台灣美術館 / 台中 2014 《轉檔：一種數據圖像地理》聯展 / 台灣數位藝術知識與創作流通平台 / 線上展覽 2013 《覓蜜》聯展 / 總爺防空洞藝術計畫 / 台南 2013 《擁抱庶民美術 - 台灣新藝十週年》聯展 / 高雄文化中心 / 高雄 2012 《南潮美展》聯展 / 台灣新藝 / 台南

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2011 《城市肖像》聯展 / 中原大學藝術中心 / 桃園 2011 《亞洲高端畫廊》藝術博覽會 / 香港 2010 《後青春》聯展 / 國立台灣美術館 . 關渡美術館 / 台中 . 台北 2010 《台灣當代藝術展》聯展 / 慶南道立美術館 / 韓國 2009 《Photo Taipei》藝術博覽會 / 六福皇宮 / 台北 2009 《New Open Exhibition》聯展 /Union gallery/ 美國 . 紐約 2009 《古街文化節：剝皮寮藝條通 混搭—當代藝術展》聯展 / 萬華 . 剝皮寮 / 台北 2009 《Fresh Asphalt》聯展 /Satori gallery/ 美國 . 紐約 2009 《ISCP Open Studio 》/ISCP/ 美國 . 紐約

Pei-Yu Lai Selected Solo exhibitions 2014 《Path》Pei-Yu LAI Solo Exhibition/ VT Artsalon/ Taipei 2012 《Find The Center》Solo Exhibition/ Taiwan New Art Union/ Tainan, Taiwan 2010 《VISITOR》Solo Exhibition/ MOT.ARTS/ Taipei 2009 《Somewhere》Pei-Yu LAI Solo Exhibition/ Chang Gung University Art Center/ Taipei 2007 《Transfer》Solo Exhibition / SLYart / Taipei 2007 《Another Homeland》Solo Exhibition /Bank Art NYK / Yokohama, Japan Selected Group Exhibitions 2015 《Art and City in Yokohama and Taipei》/ Bank Art NYK / Yokohama/ Japan 2015 《Explicit & Cryptic:The○○Age 》/Chang Hua County Museum of Fine Art/ Taiwan 2015 《City Art-Made in Taiwan》/Ville de Noisy le Grand / Paris/ France 2015 《2015Yuejin Lantern Festival》/Yuejin Yanshui/Tainan 2014 《YES, TAIWAN – 2014 Taiwan Biennial》/ National Taiwan Museum of Fine Art / Taiwan 2014 《Transcoding: The Geography of Digital Image》On-line exhibition / Taiwan Digital Art and Information center 2013 《Seeking Sugar》/ Tsung-Yeh Arts and Cultural Center / Taiwan 2013 《Embrace the Civilian Art》/ Kaohsiung Cultural Center / Taiwan 2012 《South Wave》/ Taiwan New Art Union/ Taiwan 2011 《Portrait of the City》/ CYCU Art Center / Taiwan 2011 《AHAF HK11》Asia Top Gallery Hotel Art Fair/ Hong Kong 2010 《Post-Adolescence》/ National Taiwan Museum of Fine Art. Kuandu Museum of Fine Arts / Taiwan 2010 《The Contemporary Art in Taiwan》/Gyeongnam Art Museum/ Korea 2009 《Photo Taipei》Hotel Art Fair / The Westin / Taipei 2009 《New Open Exhibition》/Union gallery/ New York, U.S.A 2009 《Fusion Folks》Contemporary Art Exhibition/Bo Pi Liao/ Taipei 2009 《Fresh Asphalt》/Satori gallery/ New York, U.S.A 2009 《ISCP-open studios》/ISCP/ New York, U.S.A

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馬匡霈 參展 2014 行政院 103 年全國公教美展 新北市府中 15 畫 ‧ 時代 台灣原創動畫展 台南 321 巷藝術聚落「來我家吧」創作聯展 2013 行政院 102 年全國公教美展 匈牙利 KAFF 影展台灣動畫專區 2012 桃園影展 動畫單元參展 法國龐畢度中心亞洲動漫台灣週 2010 金車文藝 / 動畫人創作季 2010 第十三屆國際廣島動畫藝術節 2010 第 32 屆金穗獎影展 2009 日本 TBS Digicon 6+ 動畫展 2009 第六届中國（常州）動漫藝術周组委會 2009 亞洲藝術雙年展 2009 南方影展 2009 第八届北京電影學院國際學生影視作品展 2009 德國柏林短片電影節 2009 高雄電影節 2009 德國萊比錫影展 2009 羅馬尼亞動畫影展（Romania ANIMEST） 2009 亞洲青年動漫大賽 (AYACC) 2009 英國倫敦 (LIAF) 動畫節

Kuang-Pei Ma

Exhibition & Film Festival / 2012 Le cinéma d'animation taïwanais contemporain au centre Pompidou, France 2010 The Hiroshima International animation film festival,Japan 2010 The Golden Harvest Award 2009 TBS The Digicon 6+, Japan 2009 The 6th China International Animation and Digital Arts Festival (CICDAF 2009) 2009 The 2009 Asian Art Biennial 2009 The South Taiwan Film Festival, Taiwan 2009 The 8th ISFVF of Beijing Film Academy, China 2009 Berlin International Short Film Festival(interfilm) , Germany 2009 The Kaohsiung Film Festival, Taiwan 2009 DOK Leipzig Film Festival, Germany 2009 The 4th ANIMEST international animation film festival, Romania 2009 Asian Youth Animation & Comics Cont, China 2009 LIAF London Animation Film Festivel, Uk 2009 Ottawa International Animation Festival, Canada

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2009 Taipei Film Festival Animation Program 2009 “Made in Taiwan / The anime-art from newcomers”, Taitung Art Museum 2009 Taiwan Youth Film Festival, Kaohsiung Film Archive 2009 Urban Nomad Film Festival, Taipei 2009 Annecy International Animation Festival, France 2009 “Ifva” Independent Short Film and Video Awards「Asian New Force」, Hong Kong 2008 ASIAGRAPH / The Division II, Japan 2008 The Third Aniwow Animation Film Festival, China Beijing 2008 The 8th Beijing Animation Academy Awards Awards 2010 The Golden Harvest Awards / Outstanding Award 2009 TBS The Digicon 6+, Japan/ Outstanding Performance Award 2009 The 6th China International Animation and Digital Arts Festival (CICDAF 2009)/ Special Mentions 2009 Asian Youth Animation & Comics Cont, China/The Best Work 2009 Annecy International Animation Festival, France/ Special Distinction 2009 Taiwan Youth Film Festival, Kaohsiung Film Archive / The Best Work 2009 Urban Nomad Film Festival, Taipei / The Little Nomad 2009 Independent Short Film and Video Awards「Asian New Force」, Hong Kong / Special Mentions 2009 4C Digital Design Awards/ CG Company Special Award 2008 ASIAGRAPH / The Division II, Japan / The Best work 2008 Kaohsiung Digital Design Awards / Animation / The Third Price 2008 The Taiwan Student Creativity Internet contest / The First Price

鄭秀如 個展 2015 「去在留中 _ 留在去裡」個展，齁空間，台南 2009 「存在的條件 -7」主題展，泰郁 ･ 美學堂，嘉義 2007 「熟悉的陌生感」個展，台北市立美術館，台北 2006 「Looking for」個展，新濱碼頭，高雄 2005 「Open studio」，International studio & Curatorial Program， 紐約 ISCP 國際藝術工作室，美國 2003 「找人」個展，新濱碼頭，高雄 聯展 2015 「學院時代」，國立台灣藝術大學「九單藝術實踐空間」，板橋 2013 「從邊境出發」，弔詭畫廊，高雄 2012 「2012 粉樂町」，台北東區當代公共藝術展，台北 2011 「亞洲生活手勢」亞洲藝術學術論壇網路展覽，網路展覽網址：http://www.delta2011.asia 2011 「客廳的箴言」，二十號倉庫，台中 2010 「近身潛獵－向歷史投影」， 國立臺南藝術大學與 MIGA 藝文空間，台南 2010 「潛抑時空」，107 畫廊，台中 2010 「小時候 - 台灣七零世代藝術家族群 part ㄊㄨ ˋ」，土思藝術，小畫廊，台北，高雄

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2010 「KNOW HOW」，小室畫廊，台北 2010 「那ｅ差這嚜多！－『新南方』貳勢力」，高雄市文化中心，高雄 2009 「空間，這個搗蛋鬼」，高雄兒童美術館，高雄 2008 「吃情女」，花蓮文化創意園區，花蓮 2007 「超現實的奇思幻境」，高雄兒童美術館，高雄

Hsiu-Ju Cheng SOLO EXHIBITIONS 2015 "There is a going in my staying and there is a staying in my going.", Howl Space, Tainan 2009 "The Condition of Existence NO.7", TAIYU Beaux Arts Salon, Chiayi 2007 "Familiar with the unfamiliarity", Taipei fine arts museum, Taipei 2006 "Looking for", Sinping Dock Gallery, Kaohsiung 2005 "Open studio", International studio & Curatorial Program, New York City, USA 2003 "Someone here?", Sinping Dock Gallery, Kaohsiung GROUP EXHIBITIONS 2015 "In the Time of the Academy", NTUA 9 Singles Arts Practice Space, Banqiao 2013 "Man on wire - yes, you can swing", Crane Gallery, Kaohsiung 2012 "Very Fun Park 2012", Taipei 2011 "The Living Gesture in Asia", 2011ASIA ART FORUM, online exhibition website: http://www.delta2011.asia 2011 "The Proverbs in The Living Room", stock 20, Taichung 2010 "Self stalker-Projected History", Tainan National University of the Arts & MIGA, Tainan 2010 "Quodlibet of Time-Space", 107gallery, Taichung 2010 "a childhood-the artist of Taiwan seventy generations Ⅱ ", TOSEE art Agency, show gallery, Taipei, Kaohsiung 2010 "KNOW HOW”, a chamber art gallery, Taipei 2010 "Why the difference ！ ", Kaohsiung Cultural Center, Kaohsiung 2009 "Play Tricks with Space", Children's museum of art, Kaohsiung 2008 "The Love of fool", Hualien Creative & Cultural Park, Hualien 2007 "Fantasy is Beauty Enjoy a Surrealist Adventure", Children's museum of art, Kaohsiung

陳宛伶 聯展選錄 2015 《都市與藝術 橫濱與台北》，BankART1929，日本橫濱 2014 《東經傾斜》，國立臺南藝術大學，台南 2013 《圓地打轉》，東海大學藝術中心，台中 2013 《空想教室之奶油貓貓實驗室 - 當代女性藝術家聯展》，WAA House，台北 2013 《標新．立意－館藏青年藝術家作品展 》，國立台灣美術館，台中

155 00

2012 《他人的風景》，圓廳藝術空間，法國巴黎 2012 《WEEKENDHAUS － PARIS: UNE JOURNÉE DE LA VIE》，巴黎西帖國際藝術村，法國巴黎 2010 《香港攝影節－四度空間－兩岸四地當代攝影展》， 香港藝術中心，香港 2010 《SMOOTH －去銳利的再製造》, 金車藝術空間，台北 2010 《城市隙縫》， 台北市錦西街 MOT/ARTS，台北 2010 《飯店博覽會》，王朝大酒店，台北 2009 《PHOTO TAIPEI 台北攝影與數位影像藝術博覽會》，台北六福皇宮大飯店，台北 2009 《非 20 度 C －台灣當代藝術的「常溫」影像》，何香凝美術館，中國深圳 2009 《I'll Be There Forever 》常設展，軍事用廢棄空間，台南 2009 《飯店博覽會》，王朝大酒店，台北 2009 《電子錄像 - 日常事變》，台北世貿，台北 2009 《變動中的城市》，德鴻藝廊，台南 2008 《2008 粉樂町》，忠孝敦化站，台北 2008 《非 20 度 C 》，國立台灣美術館，台中 2008 《Co Q 》，關渡美術館，台北 2008 《亞洲學生及年輕藝術家藝術節 / ASYAAF 》，首爾火車站舊大樓，韓國首爾

Wan-Ling Chen Selected Group Exhibitions 2015 《Art and City in Yokohama and Taipei》, BankART 1929, Yokohama, Japan 2014 《East longitude tilt》,Tainan National University of Art, Tainan, Taiwan 2013 《The Circle Game》,Tunghai University Gallery, Taichung, Taiwan 2013 《Fantasy Classroom-The Butter Cat Laboratory-Contemporary Women Artists Joint exhibition》,WAA House, Taipei, Taiwan 2013 《Innovation & Re-creation : Selected Works from the NTMOFA Young Artist Collection》,National Taiwan Museum of Fine Arts, Taichung, Taiwan 2012 《Patrimoine connection: Les paysages des autres》, La Rotonde Place Stalingrad, Paris, France 2012 《Weekend house-Paris: UNE JOURNÉE DE LA VIE》,Cité international des Arts Paris, France 2010 《Hong Kong Photo Festival 2010-Four Dimensions-Contemporary Photography from China, Hong Kong, Taiwan & Macau》,Hong Kong Arts Centre, Hong Kong 2010 《Smooth》, King Car Education Foundation, Taipei, Taiwan 2010 《City Crack》, MOT/ARTS, Taipei, Taiwan 2010 《Young Art Taipei》,Sunworld Dynasty Hotel, Taipei, Taiwan 2009 《Beyond 20 Degree Celsius-Room- Taiwanese》 Contemporary Imaging Art”, HeXiang Ning Art Museum, Shenzhen, China 2009 《I'll be there forever》Permanent Exhibition ,Tainan, Taiwan 2009 《Art Taipei 2009》,Taipei World Trade Center, Taipei, Taiwan 2009 《Young Art Taipei》,Sunworld Dynasty Hotel, Taipei, Taiwan 2009 《Changes in the Cities》,Der-Horng Art Gallery, Tainan, Taiwan 2008 《Very Fun Park》,Zhongxiao Dunhua matro station, Taipei, Taiwan 2008 《Asia Students and Young Artists Art Festival》, Seoul Station Old Building, Korea

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林青萱 / 教育背景 / 國立臺南藝術大學，藝術創作理論研究所博士班博士生 國立臺南藝術大學，動畫藝術與影像美學研究所動畫藝術組（原音像動畫所），藝術創作碩士 加拿大謝爾丹學院，電腦動畫研究所，碩士證書

/ 曾獲獎項 / 2013 文化部 102 年度參與文化創意類國際性展賽「獎勵金」獎助 2013 第 13 屆南方影展頒「南方動畫獎」 2013 第 15 屆臺北電影節頒「最佳動畫獎」 2013 文化部 102 年度參與文化創意類國際性展賽「參賽」獎助 2013 德國第 25 屆德勒斯登國際短片影展頒「國際評審團特別推薦獎」 2012 教育部 101 年度藝術與設計菁英海外培訓計畫「數位媒體組」獎助

Ching-Hsuan Lin /EDUCATIONAL BACKGROUND/ ．Doctoral Program in Art Creation and Theory, Tainan National University of the Arts, Tainan, Taiwan ．Master of Fine Arts/ M.F.A Graduate Institute of Animation and Film Art, Tainan National University of the Arts, Tainan, Taiwan ．Post-Graduate Certificate Computer Animation, Sheridan College Institute of Technology and Advanced Learning, Ontario, Canada /PRIZE RECORD/ 2013 Ministry of Culture Grant of International Cultural and Creative Competitions Award, Taiwan 2013 Award “Best Animation” - 13th South Taiwan Film Festival, Taiwan 2013 Award “Best Animation” - 15th Taipei Film Festival, Taiwan 2013 Ministry of Culture Grant of Attending International Cultural and Creative Competitions, Taiwan 2013 Award “Special Mentions of the International Jury” - 25th Fimfest Dresden - International Short Film Festival (International Competition), Germany 2012 Ministry of Education Scholarship Program for Overseas Study in Arts and Design (Digital Media Design), Taiwan

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國 立 臺 南 藝 術 大 學 藝 術 創 作 理 論 研 究 所 博 士 班 2015 年 聯 展

這裡有所有的名字

Here are all the "Names"

發行單位 |

國立臺南藝術大學

主辦單位 |

國立臺南藝術大學藝術創作理論研究所博士班

指導教授 |

薛保瑕、龔卓軍、陳泓易、文貞姬

展覽論述 |

陳維峰、邱俊達、郭璧慈、蔡尚政、蕭伊伶、沈裕昌、沈裕融

行政助理 |

林芳珍

畫冊設計 |

黃盈瑄

封面圖片 |

改編自 吳梓寧作品《植物的沈默》影像截圖（2013）

地

址 |

72045 臺南市官田區大崎里 66 號

電

話 |

06-69301005 轉 2321

傳

真 |

06-6930531

網

址 |

http://doctor.tnnua.edu.tw/

出版日期 |

2015 年 11 月

Published by ｜ Tainan National University of the Arts Organizer ｜ Doctoral Program in Art Creation and Theory Advisor ｜ Dr. Ava Hsueh, Dr. Jow Jiun Gong, Dr. Hung Yi Chen, Dr. Junghee Moon Exhibition Discourse ｜ Wei-Feng Chen, Yves Chiu, Bi-Tsz Guo, Shung-Cheng Tsai, YiLing Hsiao, Yu-Chang Shen, Yu-Rong Shen

Executive Assistant ｜ Fang-Jhen Lin Album Design ｜ Ying-Hsuan Huang Cover Image ｜ Edit from artwork of Tzu-Ning Wu, THE SLIENCE OF PLANTS (2013) Address ｜ NO,66 Daci Village, Guantion District, Tainan City, 72045 Taiwan Tel NO. ｜ +886-6-69301005 ext. 2321 Fax NO. ｜ +886-6-6930531 Website ｜ http://doctor.tnnua.edu.tw/ Publish Date ｜ November 2015