2
2
目次 Contents
序 │ 李政勇 Preface | Andre Lee 7
鄉愁的邊緣：談李明則的「拾到寶」 │ 陳水財 The Verge of Nostalgia: on Lee Ming-tse’s Serendipity | Chen Shui-tsai 10
圖版 │ Plates 30
李明則談「拾到寶」 │ 採訪整理／陳之熙
A Discussion about Serendipity with Lee Ming-tse | Zhixi “Jake” Chen 98
藝術家簡歷 Artist’s Biography 112
目次 Contents
序 │ 李政勇 Preface | Andre Lee 7
鄉愁的邊緣：談李明則的「拾到寶」 │ 陳水財 The Verge of Nostalgia: on Lee Ming-tse’s Serendipity | Chen Shui-tsai 10
圖版 │ Plates 30
李明則談「拾到寶」 │ 採訪整理／陳之熙
A Discussion about Serendipity with Lee Ming-tse | Zhixi “Jake” Chen 98
藝術家簡歷 Artist’s Biography 112
序
安卓藝術很榮幸能呈現台灣 60 多歲這輩的重要藝術家李明則於畫廊空間
李政勇
的首次個展「拾到寶」，這場個展我們前後等待了五年，終於在 2020 年這個 關鍵的歷史時刻裡將它具體地落實出來，心中充滿著無數的喜悅和感動。還
記得 2015 年初，我在藝術家石晉華的引薦下來到李明則的工作室拜訪，然
後很幸運地從 2015 年夏天的「ReVision：安卓藝術五周年特展」開始合作，接 著又於 2018 年的香港巴塞爾「亞洲視野」單元推出李明則個展「遊俠戲影」，
直到現下的這場「拾到寶」。
這幾年因為展覽項目的合作，我經常到訪李明則的工作室，而每隔一段
時間去到藝術家座落於大樹的工作室，我總會發現一些藝術家撿拾、收藏或 再創作出來的「寶」。這些「寶」不只印刻著某種舊時代的痕跡，也投射出李明 則「愛惜」與「迷戀」物件的情結與記憶，甚至還存在著他從物件到作品的轉換 過程裡所隱藏和諭示的人生哲理。可以說，李明則這一系列以紙漿作為媒合 介質的創作，是從物的收集開始，經由收藏、凝思、再創的過程，轉向了人 類生活與社會的一種觀照。而藝術家的這種凝視與觀照，不僅為那些曾經輝 煌如今已然失落的物件，重新召喚與延展出新的生命，也以斷簡殘篇的體裁 和形式，繼續在畫面上交融出李公子式的文人生活與江湖天地。
李明則經由物件收集發展出來的這些藝術形式，也非常不同於西方從達
達藝術以降，經歷戰後的新達達、普普、集積藝術中對「物」的使用方式與其 中有關消費文化的批判；李明則在物件的使用上，顯然是從一種本地固有的 「惜物」傳統，輔以當代藝術的手法轉換融會出台灣美學的新風貌，為台灣當 代藝術的發展，提供了另一番嶄新的面向與可能…
6
序
安卓藝術很榮幸能呈現台灣 60 多歲這輩的重要藝術家李明則於畫廊空間
李政勇
的首次個展「拾到寶」，這場個展我們前後等待了五年，終於在 2020 年這個 關鍵的歷史時刻裡將它具體地落實出來，心中充滿著無數的喜悅和感動。還
記得 2015 年初，我在藝術家石晉華的引薦下來到李明則的工作室拜訪，然
後很幸運地從 2015 年夏天的「ReVision：安卓藝術五周年特展」開始合作，接 著又於 2018 年的香港巴塞爾「亞洲視野」單元推出李明則個展「遊俠戲影」，
直到現下的這場「拾到寶」。
這幾年因為展覽項目的合作，我經常到訪李明則的工作室，而每隔一段
時間去到藝術家座落於大樹的工作室，我總會發現一些藝術家撿拾、收藏或 再創作出來的「寶」。這些「寶」不只印刻著某種舊時代的痕跡，也投射出李明 則「愛惜」與「迷戀」物件的情結與記憶，甚至還存在著他從物件到作品的轉換 過程裡所隱藏和諭示的人生哲理。可以說，李明則這一系列以紙漿作為媒合 介質的創作，是從物的收集開始，經由收藏、凝思、再創的過程，轉向了人 類生活與社會的一種觀照。而藝術家的這種凝視與觀照，不僅為那些曾經輝 煌如今已然失落的物件，重新召喚與延展出新的生命，也以斷簡殘篇的體裁 和形式，繼續在畫面上交融出李公子式的文人生活與江湖天地。
李明則經由物件收集發展出來的這些藝術形式，也非常不同於西方從達
達藝術以降，經歷戰後的新達達、普普、集積藝術中對「物」的使用方式與其 中有關消費文化的批判；李明則在物件的使用上，顯然是從一種本地固有的 「惜物」傳統，輔以當代藝術的手法轉換融會出台灣美學的新風貌，為台灣當 代藝術的發展，提供了另一番嶄新的面向與可能…
6
PREFACE Andre Lee
Mind Set Art Center is honored to present “Serendipity”, the first-ever solo exhibition of Lee Ming-tse, one of the most important senior artists in Taiwan. After waiting for five years, the team at the gallery is delighted to finally bring the exhibit to life in 2020, a pivotal year for many. Artist Shi Jin-Hua first brought me to Lee’s studio in early 2015. Later on that summer, our gallery was fortunate enough to present Lee’s work for the first time in “ReVision: MSAC 5th Anniversary Special Presentation”. In 2018, we launched “The Play of a Taiwan Ranger”, a solo show of Lee’s artwork, at Art Basel Hong Kong. All the previous collaborations have led us to “Serendipity”. My collaborations with Lee in recent years gave me the opportunity to frequent his studio in Kaohsiung City’s Dashu District. Every time I visited, I’d see new treasures in his studio, including the many scavenged items and the artworks he’s made based on them. These “treasures” not only carry traces of a bygone era, they allow Lee to project his memories and love for objects. Furthermore, Lee implicitly expresses his life philosophy in the process of turning waste into treasure. Lee has created a series of artworks by forming paper pulp around different objects. In the process of collecting, planning and transforming the objects, Lee expresses his care for humanity and society. His attention and care not only breathes new life into the objects that have long lost their luster, the creative process also allows him to continue to explore the story of “Dandy”, his trademark character, in the martial arts world known as Jianghu. While Lee’s creative process starts with the collection of vintage items, it is vastly different from western art philosophy. Object-based art creation in the west started in Dada, and it evolved into post-WWII Neo-Dada, to Pop Art, to Assemblage. Its core focus is the criticism on consumerist society and the objects are used and interpreted at their face value. On the other hand, Lee’s philosophy is rooted in the centuries-long Chinese tradition in which people develop and project a profound sense of affection onto objects that accompany them for a long time. Lee expresses such sentiment with contemporary creative techniques. And by doing so, his work has presented new facets and possibilities for Taiwan’s contemporary art.
8
PREFACE Andre Lee
Mind Set Art Center is honored to present “Serendipity”, the first-ever solo exhibition of Lee Ming-tse, one of the most important senior artists in Taiwan. After waiting for five years, the team at the gallery is delighted to finally bring the exhibit to life in 2020, a pivotal year for many. Artist Shi Jin-Hua first brought me to Lee’s studio in early 2015. Later on that summer, our gallery was fortunate enough to present Lee’s work for the first time in “ReVision: MSAC 5th Anniversary Special Presentation”. In 2018, we launched “The Play of a Taiwan Ranger”, a solo show of Lee’s artwork, at Art Basel Hong Kong. All the previous collaborations have led us to “Serendipity”. My collaborations with Lee in recent years gave me the opportunity to frequent his studio in Kaohsiung City’s Dashu District. Every time I visited, I’d see new treasures in his studio, including the many scavenged items and the artworks he’s made based on them. These “treasures” not only carry traces of a bygone era, they allow Lee to project his memories and love for objects. Furthermore, Lee implicitly expresses his life philosophy in the process of turning waste into treasure. Lee has created a series of artworks by forming paper pulp around different objects. In the process of collecting, planning and transforming the objects, Lee expresses his care for humanity and society. His attention and care not only breathes new life into the objects that have long lost their luster, the creative process also allows him to continue to explore the story of “Dandy”, his trademark character, in the martial arts world known as Jianghu. While Lee’s creative process starts with the collection of vintage items, it is vastly different from western art philosophy. Object-based art creation in the west started in Dada, and it evolved into post-WWII Neo-Dada, to Pop Art, to Assemblage. Its core focus is the criticism on consumerist society and the objects are used and interpreted at their face value. On the other hand, Lee’s philosophy is rooted in the centuries-long Chinese tradition in which people develop and project a profound sense of affection onto objects that accompany them for a long time. Lee expresses such sentiment with contemporary creative techniques. And by doing so, his work has presented new facets and possibilities for Taiwan’s contemporary art.
8
鄉愁的邊緣：談李明則的「拾到寶」
古物 老物 棄物 李明則以「拾到寶」概括他近期的系列創作。「拾到寶」仿佛是一部描寫老
物件的影片，時光在上面緩緩流淌著，許多記憶悄悄浮現，空氣中飄散著零 星的傳說，打破了日常的庸俗。
李明則幾年前開始在高雄大樹打造了一處僻靜的宅居，盆景、植栽、老
誕，迷人心竅。《蚌殼精》似乎把我們推進了一片奇異幻境中，在那裏，時間 無限寬闊，物件碎片轉為純淨。李明則透過創作進行一場淨化儀式，藝術家 任意穿行其中，進行替換、修補、重構，荒蕪的歲月轉為精純的懷想，產生 深深的依戀。
《騎虎難下》以電動馬達啟動童年的歡聲笑語和單純的快樂。李明則使出
物件以及拾得的各式各樣的棄物，散滿整個空間，以一種獨特的癖性與品味
渾身解數，透過不斷的操作和轉換，將「張天師騎虎」的民俗圖像，以「騎虎
活與藝術的邊界模糊；畫家終日游移在時光之中，在老物件裡搜尋歲月的痕
文本，渴望一個天眞爛漫的彼處，尋找一種返老還童的可能。
自成世界，而把塵俗阻絕在竹圍籬之外。這似乎是一個與世隔絕的所在，生 跡，也在生活中品嘗光陰的餘味。他的空間裡盡是些鏽蝕的鐵物、龜裂的水
難下」的雙關語，用「詼諧」彌補敍事的遺漏，將童年的片段疊合為一完整的 《蚌殼精》與《騎虎難下》都以象徵的手法與多愁善感的語調，懸宕在鄉愁
陳水財
泥板、紋理深邃的朽木和斑駁的老物件；而那個滄桑的老火缽以及襯墊小茶
的邊緣；而《那鶴》、《大展鴻圖》、《鳳凰春意鬧》、《開滿了花》則訴諸常民語
們看到他似乎終日耽溺在物件中，緩緩咀嚼自己的歲月。
戀是一種即刻懷舊，那都曾經是藝術家熱情、溫馨童年的一部分；而漫畫裡
壺的破裂陶片，更襯托出老茶的淳潤與山茶的苦甘。走進畫家的日子裡，我 以「拾到寶」作為展覽主題，不僅指出創作的素材與主題，同時也揭示了
他的藝術調性。李明則一向熱中於老物蒐集，凡存在記憶深處的物件都是他 獵取的目標，「收藏」可以說是他生活中重要的一部分；他是一個「老物痴」。 他的「老物」除了民俗物件外，也包括經絡圖的雕板、道教圖像等，甚至還有 破鐵鍋、鏽蝕的鐵物、椅子的骨架、碎裂的水泥板等四處蒐尋來的「棄物」。 對藝術家而言，「民俗物」、「老物」、「朽木」、「棄物」……，撿拾回來的都是 「寶」。
物件因著時間的淬鍊而顯得獨一無二，就像每一個不同的人生一樣。浪
漫主義者認為，廢墟能激起強烈的情感，因為面對往昔歲月讓人產生震顫； 而老物則在不斷流失的時間中敍述著過往的故事，讓人懷念依賴。或許時光 彷彿可以回溯，只是鮮艷、濃重的色彩，已然被稀釋、淡化，掩藏老物深處 的是遺落在那個破敗世界中的種種人情世故；而零星飄散的傳言，卻打亂了 庸俗的現實。李明則的世界似乎帶著幾分孤寂感，卻也更接近自己的憂思。
鄉愁的邊緣 《蚌殼精》尺幅不大，卻是一件史詩般的巨構。此作以紙漿塑成蚌殼半張
開的形狀，裡裡外外鑲滿各類物件，其中不乏他蒐集來的珍玩；刺繡老虎及
10
仙鶴、瓷器仙桃花瓶、玩具奔馬、泳裝玩偶，以及皮偶的剪影……奇詭荒
彙，那些喜氣洋洋的刺繡、吉祥的圖像，直接挑起了對昔日的依戀之情。依 的諸葛四郎及蒙面刀客、疊羅漢等皮偶身影，更是那個年代不可缺少的戲 分。《自己的武林》、《俠客》則重新架構了一個夢幻場景，試圖敍述那個已然 模糊的童年記憶。《自己的武林》中現身的都是偶戲人物，「月光假面俠」充塞 著整個童年，形成一方「自己的武林」；《俠客》隱身在一團生鏽的鐵線間，以 素色線描細細闡述一段江湖傳奇，而出沒在山林間的「劍俠」，神秘詭譎，彷 彿各大門派論劍江湖，各顯絕學。
對童年的迷戀，揭示一種鄉愁，也揭示人到中年的普遍憂鬱。
物的輪迴轉世 在「拾到寶」系列中，李明則援引「神物」――紙漿――發展出獨門的藝術
手法，進行創生化育，開鑿出一片洞天。他以紙漿在老物上圍塑出一方方可 供馳騁的「江湖」。「江湖」是遠離現實的所在，是俠客們的活動空間、藝術家 揮灑的天地；那裡存在著一種無限，既是藏身之所，也是邊緣地帶，那裡是 眞正的烏托邦。
他用紙漿修補木頭殘片，接續已然失落的那一段生命史；紙漿也用來塡
補腐朽的老物，重新建構那曾經的輝煌歲月。紙漿以新的「造物」強力介入朽 敗的自然物或破毀的棄物中，轉化其物質的調性，引發可能的重生。這種強
鄉愁的邊緣：談李明則的「拾到寶」
古物 老物 棄物 李明則以「拾到寶」概括他近期的系列創作。「拾到寶」仿佛是一部描寫老
物件的影片，時光在上面緩緩流淌著，許多記憶悄悄浮現，空氣中飄散著零 星的傳說，打破了日常的庸俗。
李明則幾年前開始在高雄大樹打造了一處僻靜的宅居，盆景、植栽、老
誕，迷人心竅。《蚌殼精》似乎把我們推進了一片奇異幻境中，在那裏，時間 無限寬闊，物件碎片轉為純淨。李明則透過創作進行一場淨化儀式，藝術家 任意穿行其中，進行替換、修補、重構，荒蕪的歲月轉為精純的懷想，產生 深深的依戀。
《騎虎難下》以電動馬達啟動童年的歡聲笑語和單純的快樂。李明則使出
物件以及拾得的各式各樣的棄物，散滿整個空間，以一種獨特的癖性與品味
渾身解數，透過不斷的操作和轉換，將「張天師騎虎」的民俗圖像，以「騎虎
活與藝術的邊界模糊；畫家終日游移在時光之中，在老物件裡搜尋歲月的痕
文本，渴望一個天眞爛漫的彼處，尋找一種返老還童的可能。
自成世界，而把塵俗阻絕在竹圍籬之外。這似乎是一個與世隔絕的所在，生 跡，也在生活中品嘗光陰的餘味。他的空間裡盡是些鏽蝕的鐵物、龜裂的水
難下」的雙關語，用「詼諧」彌補敍事的遺漏，將童年的片段疊合為一完整的 《蚌殼精》與《騎虎難下》都以象徵的手法與多愁善感的語調，懸宕在鄉愁
陳水財
泥板、紋理深邃的朽木和斑駁的老物件；而那個滄桑的老火缽以及襯墊小茶
的邊緣；而《那鶴》、《大展鴻圖》、《鳳凰春意鬧》、《開滿了花》則訴諸常民語
們看到他似乎終日耽溺在物件中，緩緩咀嚼自己的歲月。
戀是一種即刻懷舊，那都曾經是藝術家熱情、溫馨童年的一部分；而漫畫裡
壺的破裂陶片，更襯托出老茶的淳潤與山茶的苦甘。走進畫家的日子裡，我 以「拾到寶」作為展覽主題，不僅指出創作的素材與主題，同時也揭示了
他的藝術調性。李明則一向熱中於老物蒐集，凡存在記憶深處的物件都是他 獵取的目標，「收藏」可以說是他生活中重要的一部分；他是一個「老物痴」。 他的「老物」除了民俗物件外，也包括經絡圖的雕板、道教圖像等，甚至還有 破鐵鍋、鏽蝕的鐵物、椅子的骨架、碎裂的水泥板等四處蒐尋來的「棄物」。 對藝術家而言，「民俗物」、「老物」、「朽木」、「棄物」……，撿拾回來的都是 「寶」。
物件因著時間的淬鍊而顯得獨一無二，就像每一個不同的人生一樣。浪
漫主義者認為，廢墟能激起強烈的情感，因為面對往昔歲月讓人產生震顫； 而老物則在不斷流失的時間中敍述著過往的故事，讓人懷念依賴。或許時光 彷彿可以回溯，只是鮮艷、濃重的色彩，已然被稀釋、淡化，掩藏老物深處 的是遺落在那個破敗世界中的種種人情世故；而零星飄散的傳言，卻打亂了 庸俗的現實。李明則的世界似乎帶著幾分孤寂感，卻也更接近自己的憂思。
鄉愁的邊緣 《蚌殼精》尺幅不大，卻是一件史詩般的巨構。此作以紙漿塑成蚌殼半張
開的形狀，裡裡外外鑲滿各類物件，其中不乏他蒐集來的珍玩；刺繡老虎及
10
仙鶴、瓷器仙桃花瓶、玩具奔馬、泳裝玩偶，以及皮偶的剪影……奇詭荒
彙，那些喜氣洋洋的刺繡、吉祥的圖像，直接挑起了對昔日的依戀之情。依 的諸葛四郎及蒙面刀客、疊羅漢等皮偶身影，更是那個年代不可缺少的戲 分。《自己的武林》、《俠客》則重新架構了一個夢幻場景，試圖敍述那個已然 模糊的童年記憶。《自己的武林》中現身的都是偶戲人物，「月光假面俠」充塞 著整個童年，形成一方「自己的武林」；《俠客》隱身在一團生鏽的鐵線間，以 素色線描細細闡述一段江湖傳奇，而出沒在山林間的「劍俠」，神秘詭譎，彷 彿各大門派論劍江湖，各顯絕學。
對童年的迷戀，揭示一種鄉愁，也揭示人到中年的普遍憂鬱。
物的輪迴轉世 在「拾到寶」系列中，李明則援引「神物」――紙漿――發展出獨門的藝術
手法，進行創生化育，開鑿出一片洞天。他以紙漿在老物上圍塑出一方方可 供馳騁的「江湖」。「江湖」是遠離現實的所在，是俠客們的活動空間、藝術家 揮灑的天地；那裡存在著一種無限，既是藏身之所，也是邊緣地帶，那裡是 眞正的烏托邦。
他用紙漿修補木頭殘片，接續已然失落的那一段生命史；紙漿也用來塡
補腐朽的老物，重新建構那曾經的輝煌歲月。紙漿以新的「造物」強力介入朽 敗的自然物或破毀的棄物中，轉化其物質的調性，引發可能的重生。這種強
品上形構時間的虛實，生命經驗在記憶中拼貼、覆蓋，組織這些斷裂的罅 隙，重新找回自己，並藉由時間的堆疊而輪迴轉世，終於展開眞正屬於自己 的那一方方的「江湖」。
此外，《牧谿柿子》摒棄繁瑣的敍述，藉助紙漿讓物件還魂重生，卻指涉
了遙遠的南宋時代，《皺紋》則將年輪延伸為歲月痕跡；兩者都饒富禪機，讓
人會心。《格陵蘭望遠鏡》、《串珠之間，我尋找》、《牡丹花》中，老物歷經 幾番輪迴，均已改頭換貌，全新面世。《露出馬腳》、《黑與白》、《黑桃 K》、 《站在枯樹上》、《觀音圈》……等，也都透過紙漿的神奇化育，意藴顯得飄忽 而耐人尋味。物件的新貌總是跌出時空的邊緣，進入過去和未來，最終卻散 落在我們於腦海中，揭顯某種微細而曖昧的心思。
在物件中尋找自己 對於年少時經驗的懷念，那種曾經的繁華，還有街坊市井的味道和童年
的五光十色――老店街的人物、色彩、氣味、聲音――那些鄉愁碎片似乎散 發著微光，歷歷如縷，宛若就在眼前。畫家以離奇的鑲嵌手法及隱喻的思維 方式，喚引出一片如詩如幻的光景，讓我們思慮千縷，通向莫大的空虛；另 一方面，其開展的物件奇觀，總和現實之間保持著某種拉扯與張力，形成反 思空間，我們得以在其中尋找自己。
「拾到寶」是一部詩集，一部難以被翻譯的詩集。
The Verge of Nostalgia: on Lee Ming-tse’s Serendipity Chen Shui-tsai
行介入，令依附其上的老物或斑痕得以征服時間的傾頹。物件上的紋理在作
Antiques, Vintage Objects, Junk Artist Lee Ming-tse presents his new creations in Serendipity, his latest solo exhibit. It is arranged like a film about vintage objects, where memories quietly emerge as time slowly passes by in the story. Folklore permeates the air and breaks the staleness of everyday life. A few years ago, Lee Ming-tse built his own reclusive residence in Kaohsiung City’s Dashu District. He fills his space with potted plants, vintage objects and all kinds of deserted items that he randomly picked up. The room, along with the scattered items, becomes an isolated space that blurs the boundaries between art and life. The artist wanders around in this space all day long to search for the traces of time among the vintage items while savoring each remaining bits of it. The surfaces on most of the vintage items have begun to peel off due to age, including rusted metal pieces, cracked concrete boards, and rotten tree with deep grooves. The seasoned fire bowl and the cracked teapot accentuate the purity and bitterness of different tea leaves. As we spend some time with the artist, we can see that he’s enamored with the beauty of vintage objects while savoring the passing of time.
Serendipity, as the title of the exhibition, not only outlines the materials and theme of his artistic creation, it also hints at the tone of his art in general. Lee has always been fascinated with collecting vintage objects, he searches for anything that connects to his memories. Collecting objects is an essential part of life for Lee, a man who’s obsessed with these items. Other than objects of folk art tradition, his collection also includes a sculpted board of meridian chart, Taoism images, as well as deserted items such as a broken iron pot, pieces of rusted metal, the skeleton of a chair, cracked concrete boards, among others. For the artist, everything he scavenges is considered treasure, whether it is folk artworks, vintage objects, rotten trees and discarded items. Objects forged in time ends up being unique, much like the life of every individual. Romanticists believe that ruins can evoke strong feelings because remnants of the past are shocking to the senses. As time passes by, vintage objects keep telling old stories to keep the memories alive. Even if the clock somehow could be turned back, the vibrant colors would have still faded over time. Hidden inside the vintage objects are the interpersonal connections that once were in an old, decrepit world. The sporadic rumors
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品上形構時間的虛實，生命經驗在記憶中拼貼、覆蓋，組織這些斷裂的罅 隙，重新找回自己，並藉由時間的堆疊而輪迴轉世，終於展開眞正屬於自己 的那一方方的「江湖」。
此外，《牧谿柿子》摒棄繁瑣的敍述，藉助紙漿讓物件還魂重生，卻指涉
了遙遠的南宋時代，《皺紋》則將年輪延伸為歲月痕跡；兩者都饒富禪機，讓
人會心。《格陵蘭望遠鏡》、《串珠之間，我尋找》、《牡丹花》中，老物歷經 幾番輪迴，均已改頭換貌，全新面世。《露出馬腳》、《黑與白》、《黑桃 K》、 《站在枯樹上》、《觀音圈》……等，也都透過紙漿的神奇化育，意藴顯得飄忽 而耐人尋味。物件的新貌總是跌出時空的邊緣，進入過去和未來，最終卻散 落在我們於腦海中，揭顯某種微細而曖昧的心思。
在物件中尋找自己 對於年少時經驗的懷念，那種曾經的繁華，還有街坊市井的味道和童年
的五光十色――老店街的人物、色彩、氣味、聲音――那些鄉愁碎片似乎散 發著微光，歷歷如縷，宛若就在眼前。畫家以離奇的鑲嵌手法及隱喻的思維 方式，喚引出一片如詩如幻的光景，讓我們思慮千縷，通向莫大的空虛；另 一方面，其開展的物件奇觀，總和現實之間保持著某種拉扯與張力，形成反 思空間，我們得以在其中尋找自己。
「拾到寶」是一部詩集，一部難以被翻譯的詩集。
The Verge of Nostalgia: on Lee Ming-tse’s Serendipity Chen Shui-tsai
行介入，令依附其上的老物或斑痕得以征服時間的傾頹。物件上的紋理在作
Antiques, Vintage Objects, Junk Artist Lee Ming-tse presents his new creations in Serendipity, his latest solo exhibit. It is arranged like a film about vintage objects, where memories quietly emerge as time slowly passes by in the story. Folklore permeates the air and breaks the staleness of everyday life. A few years ago, Lee Ming-tse built his own reclusive residence in Kaohsiung City’s Dashu District. He fills his space with potted plants, vintage objects and all kinds of deserted items that he randomly picked up. The room, along with the scattered items, becomes an isolated space that blurs the boundaries between art and life. The artist wanders around in this space all day long to search for the traces of time among the vintage items while savoring each remaining bits of it. The surfaces on most of the vintage items have begun to peel off due to age, including rusted metal pieces, cracked concrete boards, and rotten tree with deep grooves. The seasoned fire bowl and the cracked teapot accentuate the purity and bitterness of different tea leaves. As we spend some time with the artist, we can see that he’s enamored with the beauty of vintage objects while savoring the passing of time.
Serendipity, as the title of the exhibition, not only outlines the materials and theme of his artistic creation, it also hints at the tone of his art in general. Lee has always been fascinated with collecting vintage objects, he searches for anything that connects to his memories. Collecting objects is an essential part of life for Lee, a man who’s obsessed with these items. Other than objects of folk art tradition, his collection also includes a sculpted board of meridian chart, Taoism images, as well as deserted items such as a broken iron pot, pieces of rusted metal, the skeleton of a chair, cracked concrete boards, among others. For the artist, everything he scavenges is considered treasure, whether it is folk artworks, vintage objects, rotten trees and discarded items. Objects forged in time ends up being unique, much like the life of every individual. Romanticists believe that ruins can evoke strong feelings because remnants of the past are shocking to the senses. As time passes by, vintage objects keep telling old stories to keep the memories alive. Even if the clock somehow could be turned back, the vibrant colors would have still faded over time. Hidden inside the vintage objects are the interpersonal connections that once were in an old, decrepit world. The sporadic rumors
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disrupt the bland reality. Lee’s own world seems to contain a sense of loneliness which, at
wires, where Lee depicts a legend of Jianghu with monochrome drawings: a mysterious
the same time, allows him to get closer to his inner self.
swordsman wonders in the mountain and forest, where those from different martial art schools are set to showcase their distinct skills.
On the Verge of Nostalgia
The obsession with childhood reveals a sense of nostalgia, it also reveals a more common anxiety of people entering middle age.
Clam Fairy is a medium-sized installation piece, however its structure and intricacy is nothing short of epic. The work is made of paper pulp and it’s shaped to look like a half-
Reincarnation of Physical Objects
open clam, and various objects are mounted on both the inside and outside of the clam. These are mostly items that Lee has collected over the years, including embroidered tiger and cranes, ceramic vases, toy horses, a bathing beauty figurine, and shadow puppets…
material, the paper pulp, which allows him to develop distinct techniques and explore
all are enticing in their own bizarre and absurd ways. Clam Fairy brings us into a fantasy
new possibilities. He forms the paper pulp around the vintage objects to build a “Jianghu”,
world where time is endless, and all the objects are purified. Lee’s creative process is
a world where he can let loose his creativity. It’s a realm outside the real world where
like a ritual of purification where he can enter and leave at will, where he can replace,
swordsmen and fighters live, where the artist can freely portray his imagination. It is a
tinker and rebuild. The wasted years are ultimately transformed into refined yearning,
place of endless possibilities; it is both the hideout and the frontier, a true utopia.
provoking a profound sense of attachment.
By mending wood shreds with paper pulp, Lee prolongs the lost history of their lives.
As the motor in Holding a Tiger by the Tail turns, it brings back the laughter
Paper pulp is also used to fix and fill the cracks on the rotten vintage objects to return
and pure joy of childhood. Lee used everything in his repertoire. Through incessant
them to their glory days. Paper pulp is a new creative element that forcefully intervenes
manipulation and transformation, he managed to turn the famous folk art image of
in the aging process of various objects and changes their nature, thus triggering a
Celestial Master Zhang into an artwork that also encapsulates childhood stories. This is
potential resurrection. This vigorous intervention permits the vintage objects and stains
his way of expressing his yearning for a place of naivety, a possibility of returning to his
to overcome deterioration brought by time. The texture of objects shapes the various
younger years.
traces of time on Lee’s artwork. He overlays and makes collages with pieces of his life
Clam Fairy and Holding a Tiger by The Tail are both dangling on the verge of nostalgia in a symbolic manner and sentimental tone. On the other hand, That Crane,
Riding on The Crest of Success, Phoenix Horse playing in Spring, and Full Blossom appeal
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To create the artworks of Serendipity, Lee Ming-tse resorts to an unconventional
experince, and reorganises the fractures of memory as a way to find himself again. With the accumulation of time, they reincarnate and finally begin to employ their own “Jianghu”. Besides, Mu Xi Persimmon abandons the tedious descriptions and instead revives
to pop culture languages. Those joyous embroidery and auspicious imagery provoke an
objects with paper pulp as a way to connote the Southern Song dynasty. Wrinkles extend
affection for the past. Affection is a type of immediate nostalgia, it is part of the artist’s
the growth rings to describe the passing of time. Both are overflown with allegorical
energetic and warm childhood. Still, the images of Zhu Ge Si Lang, of a masked daoke
gestures to implicitly convey the messages to the audience. In Greenland Telescope,
and a human pyramid in comic books are indispensible parts of his early memories. In
Among Beads, I Search and Subshrubby Peony, all the vintage objects have reincarnated
My Own Wulin and Ranger, Lee reconstructs a fantasy stage on which he tries to to
and reappear with new apperance. Showing the Cloven Hoof, Black and White, Spade
describe that fuzzy childhood memory. All the characters in My Own Wulin are from
K, Standing on A Dead Tree and Ring of Guanyin have all added intriguing significance
puppet theare. Moonlight Mask occupied Lee’s entire childhood, and helps establish
to the objects with the use of paper pulp. The new look of an object always falls out of
the world in My Own Wulin. The heroes in Ranger are hidden within a lump of rusty
the normal realm of space-time continuum and enters the past as well as the future.
disrupt the bland reality. Lee’s own world seems to contain a sense of loneliness which, at
wires, where Lee depicts a legend of Jianghu with monochrome drawings: a mysterious
the same time, allows him to get closer to his inner self.
swordsman wonders in the mountain and forest, where those from different martial art schools are set to showcase their distinct skills.
On the Verge of Nostalgia
The obsession with childhood reveals a sense of nostalgia, it also reveals a more common anxiety of people entering middle age.
Clam Fairy is a medium-sized installation piece, however its structure and intricacy is nothing short of epic. The work is made of paper pulp and it’s shaped to look like a half-
Reincarnation of Physical Objects
open clam, and various objects are mounted on both the inside and outside of the clam. These are mostly items that Lee has collected over the years, including embroidered tiger and cranes, ceramic vases, toy horses, a bathing beauty figurine, and shadow puppets…
material, the paper pulp, which allows him to develop distinct techniques and explore
all are enticing in their own bizarre and absurd ways. Clam Fairy brings us into a fantasy
new possibilities. He forms the paper pulp around the vintage objects to build a “Jianghu”,
world where time is endless, and all the objects are purified. Lee’s creative process is
a world where he can let loose his creativity. It’s a realm outside the real world where
like a ritual of purification where he can enter and leave at will, where he can replace,
swordsmen and fighters live, where the artist can freely portray his imagination. It is a
tinker and rebuild. The wasted years are ultimately transformed into refined yearning,
place of endless possibilities; it is both the hideout and the frontier, a true utopia.
provoking a profound sense of attachment.
By mending wood shreds with paper pulp, Lee prolongs the lost history of their lives.
As the motor in Holding a Tiger by the Tail turns, it brings back the laughter
Paper pulp is also used to fix and fill the cracks on the rotten vintage objects to return
and pure joy of childhood. Lee used everything in his repertoire. Through incessant
them to their glory days. Paper pulp is a new creative element that forcefully intervenes
manipulation and transformation, he managed to turn the famous folk art image of
in the aging process of various objects and changes their nature, thus triggering a
Celestial Master Zhang into an artwork that also encapsulates childhood stories. This is
potential resurrection. This vigorous intervention permits the vintage objects and stains
his way of expressing his yearning for a place of naivety, a possibility of returning to his
to overcome deterioration brought by time. The texture of objects shapes the various
younger years.
traces of time on Lee’s artwork. He overlays and makes collages with pieces of his life
Clam Fairy and Holding a Tiger by The Tail are both dangling on the verge of nostalgia in a symbolic manner and sentimental tone. On the other hand, That Crane,
Riding on The Crest of Success, Phoenix Horse playing in Spring, and Full Blossom appeal
14
To create the artworks of Serendipity, Lee Ming-tse resorts to an unconventional
experince, and reorganises the fractures of memory as a way to find himself again. With the accumulation of time, they reincarnate and finally begin to employ their own “Jianghu”. Besides, Mu Xi Persimmon abandons the tedious descriptions and instead revives
to pop culture languages. Those joyous embroidery and auspicious imagery provoke an
objects with paper pulp as a way to connote the Southern Song dynasty. Wrinkles extend
affection for the past. Affection is a type of immediate nostalgia, it is part of the artist’s
the growth rings to describe the passing of time. Both are overflown with allegorical
energetic and warm childhood. Still, the images of Zhu Ge Si Lang, of a masked daoke
gestures to implicitly convey the messages to the audience. In Greenland Telescope,
and a human pyramid in comic books are indispensible parts of his early memories. In
Among Beads, I Search and Subshrubby Peony, all the vintage objects have reincarnated
My Own Wulin and Ranger, Lee reconstructs a fantasy stage on which he tries to to
and reappear with new apperance. Showing the Cloven Hoof, Black and White, Spade
describe that fuzzy childhood memory. All the characters in My Own Wulin are from
K, Standing on A Dead Tree and Ring of Guanyin have all added intriguing significance
puppet theare. Moonlight Mask occupied Lee’s entire childhood, and helps establish
to the objects with the use of paper pulp. The new look of an object always falls out of
the world in My Own Wulin. The heroes in Ranger are hidden within a lump of rusty
the normal realm of space-time continuum and enters the past as well as the future.
Ultimately, it would scatter around in our mind and reveal certain kind of subtle and ambiguous thoughts.
Searching for Self among Objects Lee yearns for his childhood years. The once flourishing cityscape, the atmosphere among the streets and the colorful memories, such as the sight, sound and smell of the characters on old streets‌ these fragments of the past seem to be shimmering and emerging right in front of his eyes. The artist has used peculiar techniques to mount items to express his rather implicit thoughts. He ends up summoning a poetic fantasy world that leads us, the viewers, into an endless void. On the other hand, the sheer spectacle of the world creates a certain tension and distance from the real world. This in turn creates a space within which we can search for our true selves. Serendipity is a collection of poems that are difficult to interpret.
16
Ultimately, it would scatter around in our mind and reveal certain kind of subtle and ambiguous thoughts.
Searching for Self among Objects Lee yearns for his childhood years. The once flourishing cityscape, the atmosphere among the streets and the colorful memories, such as the sight, sound and smell of the characters on old streets‌ these fragments of the past seem to be shimmering and emerging right in front of his eyes. The artist has used peculiar techniques to mount items to express his rather implicit thoughts. He ends up summoning a poetic fantasy world that leads us, the viewers, into an endless void. On the other hand, the sheer spectacle of the world creates a certain tension and distance from the real world. This in turn creates a space within which we can search for our true selves. Serendipity is a collection of poems that are difficult to interpret.
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《自己的武林》 My Own Wulin 2019 木頭、紙漿、樹脂、壓克力顏料 Wood, paper pulp, resin, acrylic 73.5 x 56 cm
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《自己的武林》 My Own Wulin 2019 木頭、紙漿、樹脂、壓克力顏料 Wood, paper pulp, resin, acrylic 73.5 x 56 cm
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《諸葛四郎》 Zhu Ge Si Lang 2020 現成物、紙漿、樹脂 Found object, paper pulp, resin 13 x 9 cm
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《諸葛四郎》 Zhu Ge Si Lang 2020 現成物、紙漿、樹脂 Found object, paper pulp, resin 13 x 9 cm
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《飛機》 Aircraft
《開滿了花》 Full Blossom
《走自己的路》 Going Your Own Way
2019 紙漿、樹脂、壓克力顏料、鋁 Paper pulp, resin, acrylic, aluminum 11 x 34 cm
2020 紙漿、樹脂、壓克力顏料、花布 Paper pulp, resin ,acrylic, floral fabric 20 x 20 cm
2020 紙漿、樹脂、鐵片 Paper pulp, resin, iron sheets 59 x 39 cm
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《飛機》 Aircraft
《開滿了花》 Full Blossom
《走自己的路》 Going Your Own Way
2019 紙漿、樹脂、壓克力顏料、鋁 Paper pulp, resin, acrylic, aluminum 11 x 34 cm
2020 紙漿、樹脂、壓克力顏料、花布 Paper pulp, resin ,acrylic, floral fabric 20 x 20 cm
2020 紙漿、樹脂、鐵片 Paper pulp, resin, iron sheets 59 x 39 cm
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《磁磚》 Tile 2020 紙漿、樹脂、壓克力顏料、磁磚 Paper pulp, resin, acrylic, tile 110 x 47 cm
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《磁磚》 Tile 2020 紙漿、樹脂、壓克力顏料、磁磚 Paper pulp, resin, acrylic, tile 110 x 47 cm
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《牡丹花》 Subshrubby Peony 2020 塑膠、鋁、紙漿、樹脂、壓克力顏料 Plastic, aluminum, paper pulp, resin, acrylic 65 x 65 cm
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《牡丹花》 Subshrubby Peony 2020 塑膠、鋁、紙漿、樹脂、壓克力顏料 Plastic, aluminum, paper pulp, resin, acrylic 65 x 65 cm
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《桌子的骨架 〈一〉》 The Bone Structure of a Table I
《桌子的骨架 〈二〉》 The Bone Structure of a Table II
2019 紙漿、樹脂、鋁、木條、壓克力顏料、現成物 Paper pulp, resin, aluminum, wood, acrylic, found object 54 x 51 cm
2019 紙漿、樹脂、鋁、木條、壓克力顏料、現成物 Paper pulp, resin, aluminum, wood, acrylic, found object 54 x 51 cm
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《桌子的骨架 〈一〉》 The Bone Structure of a Table I
《桌子的骨架 〈二〉》 The Bone Structure of a Table II
2019 紙漿、樹脂、鋁、木條、壓克力顏料、現成物 Paper pulp, resin, aluminum, wood, acrylic, found object 54 x 51 cm
2019 紙漿、樹脂、鋁、木條、壓克力顏料、現成物 Paper pulp, resin, aluminum, wood, acrylic, found object 54 x 51 cm
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《俠客》 Ranger 2020 紙漿、樹脂、壓克力顏料、 鐵絲網 Paper pulp, resin, acrylic, iron net 136 x 130 cm
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《俠客》 Ranger 2020 紙漿、樹脂、壓克力顏料、 鐵絲網 Paper pulp, resin, acrylic, iron net 136 x 130 cm
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《站在枯樹上》 Standing on a Dead Tree 2020 紙漿、樹脂、壓克力顏料、水泥、 不銹鋼、彈殻 Paper pulp, resin, acrylic, cement, stainless steel, cartridge 107 x 69 cm
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《站在枯樹上》 Standing on a Dead Tree 2020 紙漿、樹脂、壓克力顏料、水泥、 不銹鋼、彈殻 Paper pulp, resin, acrylic, cement, stainless steel, cartridge 107 x 69 cm
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《那鶴》 That Crane 2020 刺繡、紙漿、樹脂、水泥、磁磚 Embroidery, paper pulp, resin, cement, tile 60 x 34 cm
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《那鶴》 That Crane 2020 刺繡、紙漿、樹脂、水泥、磁磚 Embroidery, paper pulp, resin, cement, tile 60 x 34 cm
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《大展宏圖》 Riding on the Crest of Success 2020 木頭、紙漿、樹脂、刺繡 Wood, paper pulp, resin, embroidery 94 x 53 cm
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《大展宏圖》 Riding on the Crest of Success 2020 木頭、紙漿、樹脂、刺繡 Wood, paper pulp, resin, embroidery 94 x 53 cm
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《觀音圈》 Ring of Guanyin 2020 鐵 、紙漿、樹脂、壓克力顏料 Iron, paper pulp, resin, acrylic 110 x 88 cm
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《觀音圈》 Ring of Guanyin 2020 鐵 、紙漿、樹脂、壓克力顏料 Iron, paper pulp, resin, acrylic 110 x 88 cm
56
《串珠之間．我尋找》 Among Beads, I Search 2020 珠子、鐵鍋、紙漿、樹脂 Beads, iron pot, paper pulp, resin 67 x 65 cm
58
《串珠之間．我尋找》 Among Beads, I Search 2020 珠子、鐵鍋、紙漿、樹脂 Beads, iron pot, paper pulp, resin 67 x 65 cm
58
《黑桃 K》 Spade K 2020 紙漿、樹脂、 鐵、不鏽鋼、墨水 Paper pulp, resin, iron, stainless steel, ink 113 x 90 cm
60
《黑桃 K》 Spade K 2020 紙漿、樹脂、 鐵、不鏽鋼、墨水 Paper pulp, resin, iron, stainless steel, ink 113 x 90 cm
60
62
62
《騎虎難下》 Holding a Tiger by the Tail 2020 馬達、不銹鋼、紙漿、樹脂 Motor, stainless steel, paper pulp, resin 120 x 120 cm
64
《騎虎難下》 Holding a Tiger by the Tail 2020 馬達、不銹鋼、紙漿、樹脂 Motor, stainless steel, paper pulp, resin 120 x 120 cm
64
66
《菊花公子》（左上） Chrysanthemums Dandy
《露出馬腳》（左中） Showing the Cloven Hoofs
《設計書法》（左下） Designing Calligrahpy
2020 紙漿、樹脂、瓷器、現成物 Paper pulp, resin, china, found object 33 x 33 cm
2020 紙漿、樹脂、鋁、鐵 Paper pulp, resin, aluminum, iron 29 x 26 cm
2020 紙漿、樹脂、鐵圈 Paper pulp, resin, iron loop 19 x 19 cm
66
《菊花公子》（左上） Chrysanthemums Dandy
《露出馬腳》（左中） Showing the Cloven Hoofs
《設計書法》（左下） Designing Calligrahpy
2020 紙漿、樹脂、瓷器、現成物 Paper pulp, resin, china, found object 33 x 33 cm
2020 紙漿、樹脂、鋁、鐵 Paper pulp, resin, aluminum, iron 29 x 26 cm
2020 紙漿、樹脂、鐵圈 Paper pulp, resin, iron loop 19 x 19 cm
《疊羅漢》 Human Pyramid 2020 麥克筆、紙板 Marker pen, paperboard 53 x 38 cm
68
《疊羅漢》 Human Pyramid 2020 麥克筆、紙板 Marker pen, paperboard 53 x 38 cm
68
《多．寶．格》 Curio Box 2020 紙漿、樹脂、刺繡、 鐵絲網、鋁、塑膠、 瓷器、鐵片、現成物 Paper pulp, resin, embroidery, iron net, aluminum, plastic, china, iron sheet, found object 100 x 124 cm
70
《多．寶．格》 Curio Box 2020 紙漿、樹脂、刺繡、 鐵絲網、鋁、塑膠、 瓷器、鐵片、現成物 Paper pulp, resin, embroidery, iron net, aluminum, plastic, china, iron sheet, found object 100 x 124 cm
70
《一份禮物》 A Gift
《花瓶》 Vase
2020 紙漿、樹脂、塑膠 Paper pulp, resin, plastic 18 x 12 cm
2020 瓷器、紙漿、樹脂 China, paper pulp, resin 16 x 9.5 cm
72
《長久》 Forever and Ever
《鐵羅漢》 Iron Arhat
2020 紙漿、樹脂、刺繡、 鐵片 Paper pulp, resin, embroidery, iron sheets 36 x 16 cm
2020 鐵片、紙漿、樹脂 Iron sheet, paper pulp, resin 20 x 15 cm
《一份禮物》 A Gift
《花瓶》 Vase
2020 紙漿、樹脂、塑膠 Paper pulp, resin, plastic 18 x 12 cm
2020 瓷器、紙漿、樹脂 China, paper pulp, resin 16 x 9.5 cm
72
《長久》 Forever and Ever
《鐵羅漢》 Iron Arhat
2020 紙漿、樹脂、刺繡、 鐵片 Paper pulp, resin, embroidery, iron sheets 36 x 16 cm
2020 鐵片、紙漿、樹脂 Iron sheet, paper pulp, resin 20 x 15 cm
《有意思》 Interesting 2020 紙漿、樹脂、刺繡、 鐵絲網、鋁 Paper pulp, resin, embroidery, iron net, aluminum 18 x 18 cm
《黑與白》 Black and White 2020 紙漿、樹脂、壓克力顏料、鐵線 Paper pulp, resin, acrylic, iron wire 19 x 15 cm
74
《有意思》 Interesting 2020 紙漿、樹脂、刺繡、 鐵絲網、鋁 Paper pulp, resin, embroidery, iron net, aluminum 18 x 18 cm
《黑與白》 Black and White 2020 紙漿、樹脂、壓克力顏料、鐵線 Paper pulp, resin, acrylic, iron wire 19 x 15 cm
74
《通路〈一〉》 Channel I
《通路〈二〉》 Channel II
2019 紙漿、樹脂、壓克力顏料、木板 Paper pulp, resin, acrylic, wood board 21 x 10 cm
2019 紙漿、樹脂、壓克力顏料、木板 Paper pulp, resin, acrylic, wood board 21 x 10 cm
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《通路〈一〉》 Channel I
《通路〈二〉》 Channel II
2019 紙漿、樹脂、壓克力顏料、木板 Paper pulp, resin, acrylic, wood board 21 x 10 cm
2019 紙漿、樹脂、壓克力顏料、木板 Paper pulp, resin, acrylic, wood board 21 x 10 cm
76
《龍眼》 Longan 2020 水墨、紙漿、壓克力、現成物 Ink, paper pulp, acrylic, found object 20 x 12 cm
78
《龍眼》 Longan 2020 水墨、紙漿、壓克力、現成物 Ink, paper pulp, acrylic, found object 20 x 12 cm
78
《蒙面刀客》 Masked Daoke 2020 鋁片 Aluminum 91 x 61 cm
80
《蒙面刀客》 Masked Daoke 2020 鋁片 Aluminum 91 x 61 cm
80
《蚌殻精》 Clam Fairy 2020 刺繡、電子零件、鋅片、水泥磁磚、馬口鐵、 紙漿、樹脂、珠子、玻璃 Embroidery, electronic component, zinc, cement tile, tinplate, resin, beads, glass 135 x 64 x 50 cm
82
《蚌殻精》 Clam Fairy 2020 刺繡、電子零件、鋅片、水泥磁磚、馬口鐵、 紙漿、樹脂、珠子、玻璃 Embroidery, electronic component, zinc, cement tile, tinplate, resin, beads, glass 135 x 64 x 50 cm
82
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《走路字》 Walking Characters 2020 紙漿、樹脂、刺繡、 鐵絲 Paper pulp, resin, embroidery, iron wire 31 x 59 cm
86
《流行》 In Fashion 2020 木頭、紙漿、樹脂、馬口鐵、鋅合金、塑膠、 珠子、不銹鋼網 Wood, paperpulp, resin, tinplate, zinc, plastic, beads, stainless steel 45.5 x 45.5 cm
《走路字》 Walking Characters 2020 紙漿、樹脂、刺繡、 鐵絲 Paper pulp, resin, embroidery, iron wire 31 x 59 cm
86
《流行》 In Fashion 2020 木頭、紙漿、樹脂、馬口鐵、鋅合金、塑膠、 珠子、不銹鋼網 Wood, paperpulp, resin, tinplate, zinc, plastic, beads, stainless steel 45.5 x 45.5 cm
《皺紋》 Wrinkles 2020 木頭、紙漿、樹脂、壓克力顏料 Wood, paper pulp, resin, acrylic 95 x 67 cm
88
《皺紋》 Wrinkles 2020 木頭、紙漿、樹脂、壓克力顏料 Wood, paper pulp, resin, acrylic 95 x 67 cm
88
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《格陵蘭望遠鏡》 Greenland Telescope 2020 紙漿、樹脂、壓克力顏料、鐵圈 Paper pulp, resin, acrylic, iron loop Φ 57 x 8 cm
92
《格陵蘭望遠鏡》 Greenland Telescope 2020 紙漿、樹脂、壓克力顏料、鐵圈 Paper pulp, resin, acrylic, iron loop Φ 57 x 8 cm
92
《牧谿柿子》 Mu Xi Persimmon 2020 木頭、紙漿、樹脂、壓克力顏料 Wood, paper pulp, resin, acrylic 65 x 56 cm
94
《牧谿柿子》 Mu Xi Persimmon 2020 木頭、紙漿、樹脂、壓克力顏料 Wood, paper pulp, resin, acrylic 65 x 56 cm
94
《鳯凰春意鬧》 Phoenix Horseplaying in Spring 2020 紙漿、樹脂、刺繡 Paper pulp, resin, embroidery 66 x 50 cm
96
《鳯凰春意鬧》 Phoenix Horseplaying in Spring 2020 紙漿、樹脂、刺繡 Paper pulp, resin, embroidery 66 x 50 cm
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李明則談「拾到寶」
您小的時候非常喜歡看連環畫和武俠作品。這些故事最初吸引您地方是什
您後來在高中的時候看到了塞尚，梵谷和高更，您第一次接觸到那些作品有
小學三年級的時候，有一次放學，在漫畫書店裏看到那個漫畫，就覺得很吸
那時候應該是高三，剛好同學從外面書店買了三本畫冊，日本講談社出版
房子的上面，然後走在屋簷上面，又跳下來，還發出那個劍光。覺得，哦，
哇～第一次看到，因為平常接觸的只有美術課本，根本不知道還有其他的畫
麼？
引我。那時候主要看的是武俠，覺得那武俠（人物）可以跳的很高， 跳到
跟我們現實生活完全 不一樣。心裡覺得很好玩，就學漫畫裡的線條，故事
採訪整理／陳之熙
上來講就比較沒那麼重要，其實（重心）在怎麼畫那個東西出來。
那些作品，對您後來的創作有什麼樣的影響呢？ 就是生活跟漫畫就結合在一起這樣。我在小學五年級的時候，看完漫畫就回 家，照著它的四格，六格，八格這樣漫畫的形式，配上自己想說的那個故事 性，畫給同學看。然後在班上大家就搶著看，覺得很好玩。
您各種各樣的作品中充滿了台灣本地的鄉土的元素，像是廟堂畫和裡面各種
什麼感覺？
的，高更、梵谷和塞尚的畫冊。然後同學剛好帶來學校，我們大家輪流看， 冊，畢竟南部資訊沒那麼發達，那個年代靠畫畫養活自己基本沒有可能。第 一次看到，唉，畫畫也可以這樣，按照自己所喜歡，自己想要表現的方式去
表現，而不是說按照臨摹。像以前我們開始，都是用臨摹的，畫山石，畫 水，都是用傳統的方法來畫。都是用臨摹的。
那時候有國畫，我們是按照芥子園畫譜那樣的，畫樹就要這樣畫，像寫「芥」 字這樣，畫石頭也有一定畫法。看到印象派的感覺就是說，你也可以按照自 己想說，想怎麼畫，就來表現。也有比較深刻的，像是梵高，他的線條很清 楚，不是色塊，用線條來表現他的畫面。當時就覺得也可以用這樣的畫法來 表現你想畫的畫，這樣。
各樣的人物。您選擇各種各樣的主題來做作品的時候，為什麼覺得這些元素
您早期的藝術生涯充滿了不定性 ---- 從高雄北上之後，為了生計做過很多雜
這個其實可以從我以前的住家來講。我以前住在岡山鎮的後紅里，它是一個
在北部大概有十年的時間，那時候自己的感覺像是在吸收新的知識一樣。講
會活動。小時也看過布袋戲，皮影戲，還有大仙的戲，七爺八爺，走起路來
托車去陽明山，去書店，去看二輪的電影，大部分都是做這種東西。那時候
是最吸引您的？
農村的小村莊。我的家的前面剛好是一間廟，三不五時就會有迎神賽會的廟 搖搖晃晃。那時候蠻小的，就好奇那是什麼東西？很好玩。
廟會裡面有彩繪，剛好他們整理彩繪，在畫那個門神，我看到了就覺得很厲 害。那些歌仔戲和布袋戲就會演一些歷史故事，就影響到我日後的創作。我
事。這些生活的經歷對您日後的創作有什麼樣的影響或啟發？
不好聽，到處去玩樂，其實應該是生活，生活比去賺錢還重要。所以我騎摩 最大的感觸就是拼命的學習新的東西。去接觸畫圖，畫冊，吸收以前沒有吸 收到的東西。十年大概都是吸收新的東西了。我可能把它覺得是玩樂，在別 人眼中可能是不上進（笑）。
在生活上面找它的題材，養分，這樣。
談談您的繪畫技法。您的畫絕大部分不遵循透視規則，（沒有）近大遠小， 從上往下看的牆的角度，人和景物的比例，等等，它都不是現實的風格。您 採取了很天馬行空的感覺。是隨興而為，還是想要製造一種荒誕的感覺？
98
李明則談「拾到寶」
您小的時候非常喜歡看連環畫和武俠作品。這些故事最初吸引您地方是什
您後來在高中的時候看到了塞尚，梵谷和高更，您第一次接觸到那些作品有
小學三年級的時候，有一次放學，在漫畫書店裏看到那個漫畫，就覺得很吸
那時候應該是高三，剛好同學從外面書店買了三本畫冊，日本講談社出版
房子的上面，然後走在屋簷上面，又跳下來，還發出那個劍光。覺得，哦，
哇～第一次看到，因為平常接觸的只有美術課本，根本不知道還有其他的畫
麼？
引我。那時候主要看的是武俠，覺得那武俠（人物）可以跳的很高， 跳到
跟我們現實生活完全 不一樣。心裡覺得很好玩，就學漫畫裡的線條，故事
採訪整理／陳之熙
上來講就比較沒那麼重要，其實（重心）在怎麼畫那個東西出來。
那些作品，對您後來的創作有什麼樣的影響呢？ 就是生活跟漫畫就結合在一起這樣。我在小學五年級的時候，看完漫畫就回 家，照著它的四格，六格，八格這樣漫畫的形式，配上自己想說的那個故事 性，畫給同學看。然後在班上大家就搶著看，覺得很好玩。
您各種各樣的作品中充滿了台灣本地的鄉土的元素，像是廟堂畫和裡面各種
什麼感覺？
的，高更、梵谷和塞尚的畫冊。然後同學剛好帶來學校，我們大家輪流看， 冊，畢竟南部資訊沒那麼發達，那個年代靠畫畫養活自己基本沒有可能。第 一次看到，唉，畫畫也可以這樣，按照自己所喜歡，自己想要表現的方式去
表現，而不是說按照臨摹。像以前我們開始，都是用臨摹的，畫山石，畫 水，都是用傳統的方法來畫。都是用臨摹的。
那時候有國畫，我們是按照芥子園畫譜那樣的，畫樹就要這樣畫，像寫「芥」 字這樣，畫石頭也有一定畫法。看到印象派的感覺就是說，你也可以按照自 己想說，想怎麼畫，就來表現。也有比較深刻的，像是梵高，他的線條很清 楚，不是色塊，用線條來表現他的畫面。當時就覺得也可以用這樣的畫法來 表現你想畫的畫，這樣。
各樣的人物。您選擇各種各樣的主題來做作品的時候，為什麼覺得這些元素
您早期的藝術生涯充滿了不定性 ---- 從高雄北上之後，為了生計做過很多雜
這個其實可以從我以前的住家來講。我以前住在岡山鎮的後紅里，它是一個
在北部大概有十年的時間，那時候自己的感覺像是在吸收新的知識一樣。講
會活動。小時也看過布袋戲，皮影戲，還有大仙的戲，七爺八爺，走起路來
托車去陽明山，去書店，去看二輪的電影，大部分都是做這種東西。那時候
是最吸引您的？
農村的小村莊。我的家的前面剛好是一間廟，三不五時就會有迎神賽會的廟 搖搖晃晃。那時候蠻小的，就好奇那是什麼東西？很好玩。
廟會裡面有彩繪，剛好他們整理彩繪，在畫那個門神，我看到了就覺得很厲 害。那些歌仔戲和布袋戲就會演一些歷史故事，就影響到我日後的創作。我
事。這些生活的經歷對您日後的創作有什麼樣的影響或啟發？
不好聽，到處去玩樂，其實應該是生活，生活比去賺錢還重要。所以我騎摩 最大的感觸就是拼命的學習新的東西。去接觸畫圖，畫冊，吸收以前沒有吸 收到的東西。十年大概都是吸收新的東西了。我可能把它覺得是玩樂，在別 人眼中可能是不上進（笑）。
在生活上面找它的題材，養分，這樣。
談談您的繪畫技法。您的畫絕大部分不遵循透視規則，（沒有）近大遠小， 從上往下看的牆的角度，人和景物的比例，等等，它都不是現實的風格。您 採取了很天馬行空的感覺。是隨興而為，還是想要製造一種荒誕的感覺？
98
因為剛開始（得獎的作品）就是《中國風》嘛，後來就慢慢畫了幾張以後，就
同一個畫幅裡，您融入過很多不同的技法，寫實的人物也有，抽象的人物也
的房子，我會爬到房子的屋簷上面，往前面看過去，就好像是多點透視這
您當時是自然而然的覺得這些元素就可以放在畫裡嗎？
找到那個那個多點透視（的感覺）。我家鄉後紅里的房子是長條形的四合院 樣。當我站在屋簷上，我可以看到我家全景。我覺得是因為環境無形中影響 到一個人作畫的認知。然後經過不一樣的美術的技巧，就會有一點跟環境搭 上關係。
有一個繪畫篇幅的問題，無論當時獲獎的作品《中國風》，還是後來的《四十 不惑》，《藝術家的一天》都選了超寬幅的畫，幾乎有卷軸的感覺。為什麼選 擇這樣的篇幅來表達？
其實是因為看到以前中國畫，畫萬里長城啊，或是捲軸那些，都是從故宮看 到的。後來我想說，我作畫應該跟漫畫也有點關係，長軸可以一下子就把它
表達出來。譬如說漫畫有第一集、第二集、第三集，這樣。其實我就用一 張畫來講它全部的故事，其實有一種漫畫的各式的樣子，就是第一集、第二 集、第三集這樣的方式來作畫。
這些長幅的作品包含的內容的非常非常的豐富，有很多，十幾種幾十種不同
的人物，場景，擺設 ... 您在組織這些元素的時候過程是怎樣的？是想到哪 裡畫哪裡，還是提前設計好，把這些元素比較有機的放在一起？
當我畫《四十不惑》的時候，我就是以住在十全路的場景做主要的主題，把
有，有的地方是純黑白的，有的是彩色的，畫面不同部分這些元素都會有。
對，其實是隨遇而安。我就不喜歡太強迫自己。我就想，唉，這個也可以畫 進來，這種畫法也可以把它那進來。覺得這樣的畫面跟別人有一點不一樣的 樣子，越自然我就越想要去表現。
「公子」這個人物從哪裡來？ 這個人物嘛，小時候就是看那些歌仔戲，布袋戲的劇情裡面，就會（看到） 有「公子」這樣拿著扇，好像很悠閒。我就覺得他的生活我蠻喜歡的。不是剛
開始就畫出公子哥，而是慢慢摸索慢慢改進這樣子，（在過程中）就可以 發揮，講說公子怎麼樣怎麼樣。「公子哥」的意思就好像很花天酒地這樣的， 後來有的（圖畫裡）他光著屁股，我就想這個人也可以這樣生活。也可以讀 書，拿著傘，到處玩樂。
這種很悠閒，閒散，不受拘束的生活方式是您內心某種映射嗎？ （笑）應該也是這樣子啦，因為我比較不受拘束。我自己也不是科班出身
的，可以想做什麼就做什麼。跟傳統比較不一樣的地方就是，我想表現什 麼，就可以做什麼。這跟科班的不一樣。
「公子」放在最中間，從生活上面去取材這樣子。就是我當時住在高雄，我會 去爬山，有的時候去半屏山，就把半屏山的一些景，把它畫下來。畫我小時 候的住家，遭到小偷，整個就好像一個，喝綜合果汁，把它想知道的，以前 經歷過的，現在生活上的，直接把它想打果汁一樣打一打，然後把它畫在畫 面上。我作畫的過程大概都是這樣，生活上的，還有現在的進行式，全部想 到哪裡畫到哪裡。
100
從技法的角度看來，您的作品充滿了挑戰規則的視覺元素：不遵循三維透
視的房屋和外景（例 : 《明德新村》, 2004），人物和景物的大小也不成比例 （例 : 「公子」系列畫作）。選擇這樣的畫風是為了營造一種荒誕的感覺嗎？
當然就是有體驗才會有作品嘛，環境影響我的生活。像那個顛倒的作品，因 為畫公子哥畫了一段時間，覺得老這樣畫也沒意思，畫了一半就放著。後來
因為剛開始（得獎的作品）就是《中國風》嘛，後來就慢慢畫了幾張以後，就
同一個畫幅裡，您融入過很多不同的技法，寫實的人物也有，抽象的人物也
的房子，我會爬到房子的屋簷上面，往前面看過去，就好像是多點透視這
您當時是自然而然的覺得這些元素就可以放在畫裡嗎？
找到那個那個多點透視（的感覺）。我家鄉後紅里的房子是長條形的四合院 樣。當我站在屋簷上，我可以看到我家全景。我覺得是因為環境無形中影響 到一個人作畫的認知。然後經過不一樣的美術的技巧，就會有一點跟環境搭 上關係。
有一個繪畫篇幅的問題，無論當時獲獎的作品《中國風》，還是後來的《四十 不惑》，《藝術家的一天》都選了超寬幅的畫，幾乎有卷軸的感覺。為什麼選 擇這樣的篇幅來表達？
其實是因為看到以前中國畫，畫萬里長城啊，或是捲軸那些，都是從故宮看 到的。後來我想說，我作畫應該跟漫畫也有點關係，長軸可以一下子就把它
表達出來。譬如說漫畫有第一集、第二集、第三集，這樣。其實我就用一 張畫來講它全部的故事，其實有一種漫畫的各式的樣子，就是第一集、第二 集、第三集這樣的方式來作畫。
這些長幅的作品包含的內容的非常非常的豐富，有很多，十幾種幾十種不同
的人物，場景，擺設 ... 您在組織這些元素的時候過程是怎樣的？是想到哪 裡畫哪裡，還是提前設計好，把這些元素比較有機的放在一起？
當我畫《四十不惑》的時候，我就是以住在十全路的場景做主要的主題，把
有，有的地方是純黑白的，有的是彩色的，畫面不同部分這些元素都會有。
對，其實是隨遇而安。我就不喜歡太強迫自己。我就想，唉，這個也可以畫 進來，這種畫法也可以把它那進來。覺得這樣的畫面跟別人有一點不一樣的 樣子，越自然我就越想要去表現。
「公子」這個人物從哪裡來？ 這個人物嘛，小時候就是看那些歌仔戲，布袋戲的劇情裡面，就會（看到） 有「公子」這樣拿著扇，好像很悠閒。我就覺得他的生活我蠻喜歡的。不是剛
開始就畫出公子哥，而是慢慢摸索慢慢改進這樣子，（在過程中）就可以 發揮，講說公子怎麼樣怎麼樣。「公子哥」的意思就好像很花天酒地這樣的， 後來有的（圖畫裡）他光著屁股，我就想這個人也可以這樣生活。也可以讀 書，拿著傘，到處玩樂。
這種很悠閒，閒散，不受拘束的生活方式是您內心某種映射嗎？ （笑）應該也是這樣子啦，因為我比較不受拘束。我自己也不是科班出身
的，可以想做什麼就做什麼。跟傳統比較不一樣的地方就是，我想表現什 麼，就可以做什麼。這跟科班的不一樣。
「公子」放在最中間，從生活上面去取材這樣子。就是我當時住在高雄，我會 去爬山，有的時候去半屏山，就把半屏山的一些景，把它畫下來。畫我小時 候的住家，遭到小偷，整個就好像一個，喝綜合果汁，把它想知道的，以前 經歷過的，現在生活上的，直接把它想打果汁一樣打一打，然後把它畫在畫 面上。我作畫的過程大概都是這樣，生活上的，還有現在的進行式，全部想 到哪裡畫到哪裡。
100
從技法的角度看來，您的作品充滿了挑戰規則的視覺元素：不遵循三維透
視的房屋和外景（例 : 《明德新村》, 2004），人物和景物的大小也不成比例 （例 : 「公子」系列畫作）。選擇這樣的畫風是為了營造一種荒誕的感覺嗎？
當然就是有體驗才會有作品嘛，環境影響我的生活。像那個顛倒的作品，因 為畫公子哥畫了一段時間，覺得老這樣畫也沒意思，畫了一半就放著。後來
就把它顛倒過來，其實是畫不下去了以後，把它顛倒過來，怎麼這麼吸引
關於您的創作的大方向，無論是作品還是靈感來源，永遠離不開一個地點：
要規規矩矩這樣子，這是後來自己一個小體驗。
年，最終也還是回到這邊來。您在個展中說過，《我愛台灣，更愛南台灣》。
人。經過這個經驗以後，覺得說，可以另外走一條比較不一樣的路，不一定
除了傳統畫布，您創作的媒介也非常不一樣，這次展出的作品，有的是畫在 紙漿上，木頭上，有些甚至是揀來的作品。是為什麼選擇了這麼多的媒介？ 剛開始沒發表的時候，可能別人看到（作品），馬上就跟你學，給你 COPY 過去了。所以，我為了要讓大家沒辦法 COPY，我就想去找最新的體裁，新
的素材來做表現這樣。剛開始，我去回收場，或是民藝店去找一些舊的材 料，然後先去找材料，回來以後在那邊思考說怎麼做。後來就有想說，唉， 可以用一些材料，用紙漿做表現這樣。
我這種年紀，算老畫家了（笑）。如果要改變作畫方式的話，也可能也要考
慮到說怎麼賣畫。一般畫家很少要一直做一樣的畫，可能就不敢做一個改 變。我想說我去一個回收廠，然後去民藝店找一些新的素材嘗試一下。就好 像「拾到寶」，所以我覺得一種心得上，可以做新的嘗試，可以比較有新的生 命在流動。這是後來，我有了這批作品作品以後體驗的。可以不要做拘束這 樣子，各種材料，也可以垃圾變藝術品，是蠻有意思的。
台灣的南部。您小時候在南部長大，您看的素材也來自那邊，去了台北很多 南部什麼地方這麼吸引您？
其實應該是在北部已經混不下去了，才搬回來（笑）。其實是比較自在啦，
那個生活上跟環境上，《我愛台灣 更愛南台灣》是因為那個時候住在左營明 德新村，在那邊生活真的是相當的好，以後都比不上了。我在那邊生活，那 邊有很多的作品都是畫當地做題材。像那個《明德新村》和《我愛南台灣》也是 在那邊完成的。
所以南部（的生活）其實比較隨心所意，作品也是這樣長出來的。環境和生 活就變成我作品的主要養分。
距離您第一次獲得雄獅獎，已經 40 年了，您在之後的創作中有什麼樣的追 尋，什麼樣的變化？還是仍然自然而然（的創作）就好？
對啊，當然就是有禪慧嘛，這是我比較追尋的東西。就好像和尚一樣，不用 講話，就可以了解對方談的是什麼，他的心思。我慢慢要寡言，因為自己口 才也不是很好，就用自己的心思去了解這個世界。這是目前想要自己去實行 的。
這些媒材，比如木頭和紙漿，他們表面都坑窪不平。這對您的創作有什麼影 響，或者給您了什麼靈感呢？
我的作品都是按照那個鐵的造型上面弄紙漿。我（先）看鐵的造型是怎樣， 然後上面那個紙漿跟著鐵的造型來做結合，去配合它的造型。我像變成第三 者一樣，我讓自己在另一個世界，就讓他們兩個對話那樣。是這種心態來做 那張畫。
102
就把它顛倒過來，其實是畫不下去了以後，把它顛倒過來，怎麼這麼吸引
關於您的創作的大方向，無論是作品還是靈感來源，永遠離不開一個地點：
要規規矩矩這樣子，這是後來自己一個小體驗。
年，最終也還是回到這邊來。您在個展中說過，《我愛台灣，更愛南台灣》。
人。經過這個經驗以後，覺得說，可以另外走一條比較不一樣的路，不一定
除了傳統畫布，您創作的媒介也非常不一樣，這次展出的作品，有的是畫在 紙漿上，木頭上，有些甚至是揀來的作品。是為什麼選擇了這麼多的媒介？ 剛開始沒發表的時候，可能別人看到（作品），馬上就跟你學，給你 COPY 過去了。所以，我為了要讓大家沒辦法 COPY，我就想去找最新的體裁，新
的素材來做表現這樣。剛開始，我去回收場，或是民藝店去找一些舊的材 料，然後先去找材料，回來以後在那邊思考說怎麼做。後來就有想說，唉， 可以用一些材料，用紙漿做表現這樣。
我這種年紀，算老畫家了（笑）。如果要改變作畫方式的話，也可能也要考
慮到說怎麼賣畫。一般畫家很少要一直做一樣的畫，可能就不敢做一個改 變。我想說我去一個回收廠，然後去民藝店找一些新的素材嘗試一下。就好 像「拾到寶」，所以我覺得一種心得上，可以做新的嘗試，可以比較有新的生 命在流動。這是後來，我有了這批作品作品以後體驗的。可以不要做拘束這 樣子，各種材料，也可以垃圾變藝術品，是蠻有意思的。
台灣的南部。您小時候在南部長大，您看的素材也來自那邊，去了台北很多 南部什麼地方這麼吸引您？
其實應該是在北部已經混不下去了，才搬回來（笑）。其實是比較自在啦，
那個生活上跟環境上，《我愛台灣 更愛南台灣》是因為那個時候住在左營明 德新村，在那邊生活真的是相當的好，以後都比不上了。我在那邊生活，那 邊有很多的作品都是畫當地做題材。像那個《明德新村》和《我愛南台灣》也是 在那邊完成的。
所以南部（的生活）其實比較隨心所意，作品也是這樣長出來的。環境和生 活就變成我作品的主要養分。
距離您第一次獲得雄獅獎，已經 40 年了，您在之後的創作中有什麼樣的追 尋，什麼樣的變化？還是仍然自然而然（的創作）就好？
對啊，當然就是有禪慧嘛，這是我比較追尋的東西。就好像和尚一樣，不用 講話，就可以了解對方談的是什麼，他的心思。我慢慢要寡言，因為自己口 才也不是很好，就用自己的心思去了解這個世界。這是目前想要自己去實行 的。
這些媒材，比如木頭和紙漿，他們表面都坑窪不平。這對您的創作有什麼影 響，或者給您了什麼靈感呢？
我的作品都是按照那個鐵的造型上面弄紙漿。我（先）看鐵的造型是怎樣， 然後上面那個紙漿跟著鐵的造型來做結合，去配合它的造型。我像變成第三 者一樣，我讓自己在另一個世界，就讓他們兩個對話那樣。是這種心態來做 那張畫。
102
A Discussion about Serendipity with Lee Ming-tse by Zhixi “Jake” Chen
You had a particular interest in reading comic books and Wu Xia (Martial Arts) novels when you were young. What about these stories that fascinate you? When I was in the third grade, I came across some comic books in a bookstore and I
You came across the work of Van Gogh, Gauguin and Cézanne for the first time
was instantly hooked. I mostly read Wu Xia comics in those days. The characters in the
when you were in high school. What was your first impression of their work?
comics can jump onto buildings and run on rooftops. And when they clash swords, light rays would burst out. I thought, whoa, their world looked totally different from ours. I thought those books were really interesting, and I began to mimic the lines in the comic books. The story wasn’t that important to me, I simply wanted to recreate figures (similar to those in the comic books).
When I was in the twelfth grade, one of my classmates brought three painting albums to school, and we were in awe as we took turns to read them. At the time, we had only seen text books for art classes. We had never seen other types of painting since the southern regions of Taiwan were really underdeveloped and it was impossible for anyone to have a career as a painter. When I first laid eyes on those paintings, I thought, whoa, someone
could actually paint in their own distinct styles instead of just imitating a certain example. How did the comic books influence your work? It’s a way of mixing my own world with that in the comic books. When I was in the fifth grade, I would go home after reading comic books and create my own stories in comic book layouts, with four, six or eight panels per page. My comic book was a big hit in my class, my friends fought to their hands on my books.
All we did in art classes at the time was imitation. We painted landscapes and water in a traditional manner. The main trend at the time was traditional Chinese paintings. We imitated the examples in “The Manual of the Mustard Seed Garden”, where a tree needs to be painted like
the Chinese character “ 芥 ( Jie)”, and there was a certain way of painting rocks as well. However, when I saw the impressionist paintings, I felt that I could paint however I want, in my own ways. Some of the paintings in those albums left a profound impression
Your paintings consist of a lot of visual elements that are rooted in Taiwan’s folklore,
on me, such as Van Gogh’s paintings. He used clear lines instead of large color palettes
such as characters that are similar to the deities in local temples. What about these
to make his paintings. I was impressed that someone could express themselves in such a
elements that attract you and make you incorporate them in your work?
manner.
The influence (of folklore) can be traced back to my childhood home. I used to live in Houhong Borough, in Kaohsiung City’s Gangshan District. It was a small village. There
Your early artistic career was rife with uncertainties. After moving from Kaohsiung
was a temple right in front of my yard where religious gatherings were often held. I
to Taipei, you had to do some odd jobs to stay afloat. How did this experience
remember watching glove puppetry and shadow plays and seeing different characters
influence your creative journey later on?
wobbling back and forth on stage. I was quite young at the time, and I remember thinking, who are they? This looks so much fun. There were many brush paintings on the walls inside the temple. I sometimes ran into artists who touched up those paintings, and I was really impressed with their skills. The stories in the glove puppetry were mostly about historical events. These all had an impact
104
on my artistic creations later on. I keep coming back to folk arts to seek inspiration.
I spent about 10 years in Taipei. During that period, I felt that I absorbed lots of new knowledge. To be frank about it, I just played around a lot. It was my way of life, and living life was more important than making money. So I spent most of my time riding a motorcycle to Yangming Mountain, reading at local bookstores and watching movies at discount theatres. My main goal was to learn and absorb as much new information
A Discussion about Serendipity with Lee Ming-tse by Zhixi “Jake” Chen
You had a particular interest in reading comic books and Wu Xia (Martial Arts) novels when you were young. What about these stories that fascinate you? When I was in the third grade, I came across some comic books in a bookstore and I
You came across the work of Van Gogh, Gauguin and Cézanne for the first time
was instantly hooked. I mostly read Wu Xia comics in those days. The characters in the
when you were in high school. What was your first impression of their work?
comics can jump onto buildings and run on rooftops. And when they clash swords, light rays would burst out. I thought, whoa, their world looked totally different from ours. I thought those books were really interesting, and I began to mimic the lines in the comic books. The story wasn’t that important to me, I simply wanted to recreate figures (similar to those in the comic books).
When I was in the twelfth grade, one of my classmates brought three painting albums to school, and we were in awe as we took turns to read them. At the time, we had only seen text books for art classes. We had never seen other types of painting since the southern regions of Taiwan were really underdeveloped and it was impossible for anyone to have a career as a painter. When I first laid eyes on those paintings, I thought, whoa, someone
could actually paint in their own distinct styles instead of just imitating a certain example. How did the comic books influence your work? It’s a way of mixing my own world with that in the comic books. When I was in the fifth grade, I would go home after reading comic books and create my own stories in comic book layouts, with four, six or eight panels per page. My comic book was a big hit in my class, my friends fought to their hands on my books.
All we did in art classes at the time was imitation. We painted landscapes and water in a traditional manner. The main trend at the time was traditional Chinese paintings. We imitated the examples in “The Manual of the Mustard Seed Garden”, where a tree needs to be painted like
the Chinese character “ 芥 ( Jie)”, and there was a certain way of painting rocks as well. However, when I saw the impressionist paintings, I felt that I could paint however I want, in my own ways. Some of the paintings in those albums left a profound impression
Your paintings consist of a lot of visual elements that are rooted in Taiwan’s folklore,
on me, such as Van Gogh’s paintings. He used clear lines instead of large color palettes
such as characters that are similar to the deities in local temples. What about these
to make his paintings. I was impressed that someone could express themselves in such a
elements that attract you and make you incorporate them in your work?
manner.
The influence (of folklore) can be traced back to my childhood home. I used to live in Houhong Borough, in Kaohsiung City’s Gangshan District. It was a small village. There
Your early artistic career was rife with uncertainties. After moving from Kaohsiung
was a temple right in front of my yard where religious gatherings were often held. I
to Taipei, you had to do some odd jobs to stay afloat. How did this experience
remember watching glove puppetry and shadow plays and seeing different characters
influence your creative journey later on?
wobbling back and forth on stage. I was quite young at the time, and I remember thinking, who are they? This looks so much fun. There were many brush paintings on the walls inside the temple. I sometimes ran into artists who touched up those paintings, and I was really impressed with their skills. The stories in the glove puppetry were mostly about historical events. These all had an impact
104
on my artistic creations later on. I keep coming back to folk arts to seek inspiration.
I spent about 10 years in Taipei. During that period, I felt that I absorbed lots of new knowledge. To be frank about it, I just played around a lot. It was my way of life, and living life was more important than making money. So I spent most of my time riding a motorcycle to Yangming Mountain, reading at local bookstores and watching movies at discount theatres. My main goal was to learn and absorb as much new information
as possible. I read books, I saw paintings, I learned from everything that was new to me,
These scroll paintings contain a particular rich set of visual elements. We often see a
that’s how I spent that 10 years, I saw it as having fun. Maybe others would say that I
few dozen different characters, scenes and furnishings. How do you organize these
simply had no ambition. (Laughs)
elements? Do you randomly place them as you paint, or did you plan their placement ahead of time in an organized manner?
Most of your paintings don’t follow the traditions rules of perspective. The sizes of
When I painted “Never Doubting after the Age of Forty”, the setting was my old place
the objects don’t change according to their distance, the angles of walls as and the
on Shiquan road, in Kaohsiung City. And a dandy is placed right in the middle of the
proportions of human subjects and their surroundings don’t appear realistic. Do you
frame. Most of the moments shown on canvas are from my own life. For instance, I often
naturally gravitate towards such a style, or are you intentionally trying to create a
climbed Banping Mountain when I lived in Kaohsiung, so I painted the mountain in the
sense of absurdity?
frame. I also painted the time when a burglar broke into my home. The entire painting
My first award-winning painting was “Chinese Style”. And as I made more and more paintings, I began to get a feeling for the multi-point perspective. My childhood house in Houhong Borough was a Siheyuan, a traditional rectangular Chinese style courtyard. I often climbed onto the roof, and when looking at the entire yard from above, it looks
is like a bowl of mixed fruit juice, I simply threw the events of my past and current life into a blender, mixed them up, and poured it onto paper. This is how I make most of my paintings. I take inspirations from life and what’s currently going on, and I paint whatever I think about.
similar to a painting in a multi-point perspective. I feel that the environment somehow shapes an artist’s consciousness. And an artist develops different techniques over the
You applied different painting techniques within the same painting. Some figures are
years, the artworks would in turn be connected to the surroundings.
painted in a realistic manner, whereas others appear to be abstract. Some areas are painted in black and white, whereas others show vibrant colors. Did you naturally
Some of your most acclaimed paintings, including the award-winning “Chinese
incorporate different techniques in the painting?
Style”, and your later paintings, such as “Never Doubting after the Age of Forty”
Yes. I tend to go with the flow, and not pressure myself too much. I thought, well, I could
and “One Day of an Artist”, were all made on extremely wide canvas. Why did you
use this technique, I can also add that technique in the painting. I think this makes my
specifically choose this kind of aspect ratio?
paintings different from others’. I want to express what comes natural to me.
I saw a lot of traditional Chinese scroll paintings, such as the one about the Great Wall in the National Palace Museum. I later on thought that, since my paintings share some similarities with comic books, painting on long scrolls would allow me to flesh out an entire story on just one piece of paper. For instance, many comics are shown in a series, as episode one, two, three, and so on. So I paint the entire story on a single piece of scroll paper and it resembles the episodic format of comic books. It is as if I draw episode one, two, three, and go from there.
106
The “dandy” character is a mainstay of your paintings. Where does he come from? About this character … I often saw a character like him when I watched local theatre and glove puppetry during my younger days. The character often appeared nonchalant, waving a fan and enjoying his day. I felt that I like his lifestyle quite a lot. My earliest version of the “dandy” doesn’t look like the current iteration. I experimented with different variations in my paintings, and make changes along the way. Being a “dandy”
as possible. I read books, I saw paintings, I learned from everything that was new to me,
These scroll paintings contain a particular rich set of visual elements. We often see a
that’s how I spent that 10 years, I saw it as having fun. Maybe others would say that I
few dozen different characters, scenes and furnishings. How do you organize these
simply had no ambition. (Laughs)
elements? Do you randomly place them as you paint, or did you plan their placement ahead of time in an organized manner?
Most of your paintings don’t follow the traditions rules of perspective. The sizes of
When I painted “Never Doubting after the Age of Forty”, the setting was my old place
the objects don’t change according to their distance, the angles of walls as and the
on Shiquan road, in Kaohsiung City. And a dandy is placed right in the middle of the
proportions of human subjects and their surroundings don’t appear realistic. Do you
frame. Most of the moments shown on canvas are from my own life. For instance, I often
naturally gravitate towards such a style, or are you intentionally trying to create a
climbed Banping Mountain when I lived in Kaohsiung, so I painted the mountain in the
sense of absurdity?
frame. I also painted the time when a burglar broke into my home. The entire painting
My first award-winning painting was “Chinese Style”. And as I made more and more paintings, I began to get a feeling for the multi-point perspective. My childhood house in Houhong Borough was a Siheyuan, a traditional rectangular Chinese style courtyard. I often climbed onto the roof, and when looking at the entire yard from above, it looks
is like a bowl of mixed fruit juice, I simply threw the events of my past and current life into a blender, mixed them up, and poured it onto paper. This is how I make most of my paintings. I take inspirations from life and what’s currently going on, and I paint whatever I think about.
similar to a painting in a multi-point perspective. I feel that the environment somehow shapes an artist’s consciousness. And an artist develops different techniques over the
You applied different painting techniques within the same painting. Some figures are
years, the artworks would in turn be connected to the surroundings.
painted in a realistic manner, whereas others appear to be abstract. Some areas are painted in black and white, whereas others show vibrant colors. Did you naturally
Some of your most acclaimed paintings, including the award-winning “Chinese
incorporate different techniques in the painting?
Style”, and your later paintings, such as “Never Doubting after the Age of Forty”
Yes. I tend to go with the flow, and not pressure myself too much. I thought, well, I could
and “One Day of an Artist”, were all made on extremely wide canvas. Why did you
use this technique, I can also add that technique in the painting. I think this makes my
specifically choose this kind of aspect ratio?
paintings different from others’. I want to express what comes natural to me.
I saw a lot of traditional Chinese scroll paintings, such as the one about the Great Wall in the National Palace Museum. I later on thought that, since my paintings share some similarities with comic books, painting on long scrolls would allow me to flesh out an entire story on just one piece of paper. For instance, many comics are shown in a series, as episode one, two, three, and so on. So I paint the entire story on a single piece of scroll paper and it resembles the episodic format of comic books. It is as if I draw episode one, two, three, and go from there.
106
The “dandy” character is a mainstay of your paintings. Where does he come from? About this character … I often saw a character like him when I watched local theatre and glove puppetry during my younger days. The character often appeared nonchalant, waving a fan and enjoying his day. I felt that I like his lifestyle quite a lot. My earliest version of the “dandy” doesn’t look like the current iteration. I experimented with different variations in my paintings, and make changes along the way. Being a “dandy”
means he gets to live a rather epicurean life. I also drew him naked in some paintings,
picked other media to paint on. I began gathering materials from recycling factories and
simply because I imagine he could act this way some time. In other paintings, he appears
folk art stores. I then thought about what I can do with what I had. Then I realized that
to read books or lollygag around while holding an umbrella.
I could make paintings on non-conventional media, such as paper pulp. I can be considered a senior artist at my age. (Laughs) If I were to change the way I
Is such an unrestrained way of living a projection of your ideals?
paint, I need to take into consideration how it would affect sales. Most painters tend to make the same type of paintings over and over, they don’t dare to make drastic changes.
(Laughs) It could be. I tend to be unrestrained. And because I’m not a classically trained
I wanted to try other media, to try and paint on the stuff I gathered from the recycling
artist, I get to do whatever I want to do. My paintings are different from traditional
factory and fold art store. The act is quite similar to finding treasure among trash. I think
ones because I get to express and paint in whichever ways I want to, which is different
these new experiments breathe new life into my creativity. This is what I felt after the
compared to someone who comes from an art program.
experiments. The key is not being limited. And it’s really fun to turn different materials, including trash, into artworks.
Your paintings are filled with elements that break traditional rules: all paintings, such as “Ming Der New Village”, don’t follow the three-point perspective, and the
The surface of paper pulp and chopped wood tend to be very uneven and grainy.
subject in the “Dandy” series are all disproportionately sized. Are you intentionally
How does this influence your work?
trying to create a sense of absurdity? Each piece is made by covering the metal frame with paper pulp. I first gauge the Artworks are rooted in real-life experiences, and my life is shaped by my environment.
shape of the frame and think about how I can shape the paper pulp to cover the metal
Let’s take the painting “The Dandy Goes for an Outing” (1992) as an example: the
structure. In the process, I feel like a third party in a different universe, witnessing the
entire world appears up-side-down because I felt stuck halfway through the painting
two different media having a conversation.
process and didn’t know how to continue. So, I left the painting unfinished for a while. And out of the blue, I turned the canvas up-side-down and found a new and interesting angle. After this experiment, I felt that could walk a different path and there’s no need to conform to conventions. (Making the up-side-down painting) was an important little experience.
The southern region of Taiwan has been a source of inspiration for your work. You grew up in the south, and much of your media is gathered in the south, and you returned to settle in the south after spending years in Taipei, in northern Taiwan. You once even said that “I love Taiwan and love southern Taiwan even more” at your exhibition. What is it about southern Taiwan that attracts you so much?
Outside of traditional canvases, you often choose very different media - some of your paintings are made on paper pulp and chopped wood, some are even painted on scavenged materials. Why are you media so varied?
I came back because I couldn’t make it in the north. (Laughs) It’s actually because the environment and the pace of life here in the south is more relaxed. I said I loved southern Taiwan because I once lived in Mingde Village in Kaohsiung, and the quality of life was
108
In the early days of my career, certain artists came to my studio and probably copied
really great, much better than the life I had afterwards. I live in the south and I made lots
some of the ideas in my paintings. To prevent this from happening again, I deliberately
of work based on local culture, such as the painting “Ming Der New Village” and “I Love
means he gets to live a rather epicurean life. I also drew him naked in some paintings,
picked other media to paint on. I began gathering materials from recycling factories and
simply because I imagine he could act this way some time. In other paintings, he appears
folk art stores. I then thought about what I can do with what I had. Then I realized that
to read books or lollygag around while holding an umbrella.
I could make paintings on non-conventional media, such as paper pulp. I can be considered a senior artist at my age. (Laughs) If I were to change the way I
Is such an unrestrained way of living a projection of your ideals?
paint, I need to take into consideration how it would affect sales. Most painters tend to make the same type of paintings over and over, they don’t dare to make drastic changes.
(Laughs) It could be. I tend to be unrestrained. And because I’m not a classically trained
I wanted to try other media, to try and paint on the stuff I gathered from the recycling
artist, I get to do whatever I want to do. My paintings are different from traditional
factory and fold art store. The act is quite similar to finding treasure among trash. I think
ones because I get to express and paint in whichever ways I want to, which is different
these new experiments breathe new life into my creativity. This is what I felt after the
compared to someone who comes from an art program.
experiments. The key is not being limited. And it’s really fun to turn different materials, including trash, into artworks.
Your paintings are filled with elements that break traditional rules: all paintings, such as “Ming Der New Village”, don’t follow the three-point perspective, and the
The surface of paper pulp and chopped wood tend to be very uneven and grainy.
subject in the “Dandy” series are all disproportionately sized. Are you intentionally
How does this influence your work?
trying to create a sense of absurdity? Each piece is made by covering the metal frame with paper pulp. I first gauge the Artworks are rooted in real-life experiences, and my life is shaped by my environment.
shape of the frame and think about how I can shape the paper pulp to cover the metal
Let’s take the painting “The Dandy Goes for an Outing” (1992) as an example: the
structure. In the process, I feel like a third party in a different universe, witnessing the
entire world appears up-side-down because I felt stuck halfway through the painting
two different media having a conversation.
process and didn’t know how to continue. So, I left the painting unfinished for a while. And out of the blue, I turned the canvas up-side-down and found a new and interesting angle. After this experiment, I felt that could walk a different path and there’s no need to conform to conventions. (Making the up-side-down painting) was an important little experience.
The southern region of Taiwan has been a source of inspiration for your work. You grew up in the south, and much of your media is gathered in the south, and you returned to settle in the south after spending years in Taipei, in northern Taiwan. You once even said that “I love Taiwan and love southern Taiwan even more” at your exhibition. What is it about southern Taiwan that attracts you so much?
Outside of traditional canvases, you often choose very different media - some of your paintings are made on paper pulp and chopped wood, some are even painted on scavenged materials. Why are you media so varied?
I came back because I couldn’t make it in the north. (Laughs) It’s actually because the environment and the pace of life here in the south is more relaxed. I said I loved southern Taiwan because I once lived in Mingde Village in Kaohsiung, and the quality of life was
108
In the early days of my career, certain artists came to my studio and probably copied
really great, much better than the life I had afterwards. I live in the south and I made lots
some of the ideas in my paintings. To prevent this from happening again, I deliberately
of work based on local culture, such as the painting “Ming Der New Village” and “I Love
Southern Taiwan”. The lifestyle in southern Taiwan tends to be nonchalant, and the work I made is like this as well. The environment and life have become the main source of inspiration for me.
It has been 40 years since you won your first award. How has your work evolved during this time? And are you still following your inspiration naturally? Yes, I try to adhere to a Zen-like attitude, much like a monk would. I’m trying to understand what others are thinking without a conversation. I’m trying to speak less since I’m not good at talking. At this stage of my life, I am looking to understand this world through thoughts and feelings. This is what I’d like to achieve at this stage of my life.
110
Southern Taiwan”. The lifestyle in southern Taiwan tends to be nonchalant, and the work I made is like this as well. The environment and life have become the main source of inspiration for me.
It has been 40 years since you won your first award. How has your work evolved during this time? And are you still following your inspiration naturally? Yes, I try to adhere to a Zen-like attitude, much like a monk would. I’m trying to understand what others are thinking without a conversation. I’m trying to speak less since I’m not good at talking. At this stage of my life, I am looking to understand this world through thoughts and feelings. This is what I’d like to achieve at this stage of my life.
110
李明則
簡歷 1957 1977 1989
1998
共組「外畫會」
高雄市立美術館推薦至美國佛羅里達州駐村藝 術家
「One Piece Room 李明則個展」，關渡美術館，台
2010
「後桃花源記：蘇旺伸李明則雙個展」，山藝術．
2009
「我愛台灣．更愛南台灣」，高雄市立美術館，
2004
「四海一家─李明則 2004 年個展」，大趨勢畫
2001
「看透自己─裝置藝術展」，豆皮文藝咖啡館，
1996
「台灣頭 • 台灣尾」，台北市立美術館，台北；
1994
「起心動念─李明則畫展」，串門藝術空間，高
1993
「公子春遊」，新生態藝術環境，台南；臻品藝
1991
「李明則畫展」，串門藝術空間，高雄，台灣
1988 1986 1984
2014
2008
「英雄本色」，形而上畫廊，台北 ，台灣
2007
112
2004
義鐵道藝術村，嘉義，台灣
臺灣美術館，台中，台灣
「食飽未？—2007 亞洲藝術雙年展」，國立台灣
「正言時代：台灣當代視覺文化」，台北市立美 術館，台北，台灣 ；康乃爾大學美術館，美國
「打開八○年代台灣美術發展」，台北市立美術 館，台北，台灣 2003
多元異見展」，索卡當代藝術空間，台北，台 灣
「未來的軌跡—台灣當代藝術展」，拿波里當代
「李明則個展」，台北功學社，台北，台灣
美術館，義大利；高雄市立美術館，高雄，台
「武俠世界」，美國文化中心，台北，台灣
灣
「移動—台灣當代壹拾伍人行」，大未來畫廊， 北京，中國
「藝術家說法」，上雲藝術中心，高雄，台灣 「東門．當代」，東門美術館，台南，台灣 2006
展」，長流美術館，桃園，台灣 心，台中，台灣
「藝術家的花花世界—玩花樣」，月臨畫廊，台 「激進意志的風格—九〇年代台灣當代藝術的
「 時 間 的 刻 度 — 台 灣 美 術： 戰 後 五 十 年 作 品 「渡．十三不變．瞬變．潛變」，臻品藝術中
美術館，台中，台灣 中，台灣
南，台灣
則、蘇旺伸、蕭文輝、鄭建昌四人畫展」，嘉
「後解嚴與後八九，兩岸當代美術對照」，國立
當代館，台北，台灣
「美麗新世界—海安路藝術造街」，海安路，台 「內省的符碼—台灣新具象的藝術風貌：李明
「世代．對話—臺灣當代多元呈現」，印象畫廊
「李明則個展」，天母陶舍，台北，台灣
台灣
博物館，美國；國立台灣美術館，台中，台灣
台灣
術中心，台中，台灣
「林中路當代藝術展．上篇」，安卓藝術，台北，
布州立大學畫廊，美國；加州洛杉磯亞太藝術
「印象當代開幕展」，印象畫廊當代館，台北，
聯展
2016
文美術館，加拿大；喬治亞州哥倫布市，哥倫
「第二種視野」，國立臺灣美術館，台中，台灣
雄；臻品藝術中心，台中，台灣
「與自然對話」，安卓藝術，台北，台灣
「原鄉與流轉—台灣三代藝術展」，溫哥華列治
台北，台灣
新生態藝術環境，台南，台灣
台灣
廊，台北，台灣
「喆園春宴」，環境裝置藝術，台南歸仁，台灣
「親潮—兩岸架上繪畫新流向」，關渡美術館，
高雄，台灣
2018
「蓬萊圖鑑—世紀末台灣歷史意象」，大趨勢畫
灣
代館，台北，台灣
廊，台北，台灣
「雅努斯」香港巴塞爾項目展，安卓藝術，台北，
台北，台灣
「帝國大反擊首部曲：王者再現」，印象畫廊當
北京林正藝術空間，北京，中國
2020
「平行輸入—前駭客藝術」，台北當代藝術館，
「保庇．保庇—當下描
「新高潮—後工業」，新思惟人文間，高雄，台
北，台灣
高雄，台灣
「藝術與信仰」，成大藝坊，台南，台灣
述」，大趨勢畫廊，台北，台灣 2009
化中心，美國；高雄市立美術館，高雄，台灣 美術館，高雄，台灣
「張望法則──吳天章、蘇旺伸、李明則」，弔 詭畫廊，高雄 2011
「渡—當代高雄．芝加哥 10 人展」，芝加哥文 「五行．五形—台灣當代常民劇場」，高雄市立
北，台灣
「拾到寶」，安卓藝術，台北，台灣
2013
台北，台灣
2005
吳天章、鄭建昌、李明則」，大趨勢畫廊，台
台南崑山高中第一屆美工科
與蔡獻友、陳隆興、吳寬瀛、王武森、黃文勇，
「ReVision—安卓藝術五周年特展」，安卓藝術， 「蓬萊圖鑑—原鄉．印記：郭振昌、盧明德、
生於台灣高雄縣岡山鎭後紅里
個展 2020
2015
2002
「福岡亞洲三年展」，福岡亞洲美術館，日本
「旅行—台灣藝術六人展」，紐約中華新聞文化
中心，美國；奧克拉荷馬州首府畫廊，美國； 高雄市立美術館，高雄，台灣
「台灣當代藝術全集Ⅰ：關鍵報告」，鳳甲美術 館，台北，台灣
「高雄神話．打狗傳奇」，博覽會高雄主題館， 高雄，台灣
「我與我—藝術家自我探索與刻畫展」，高雄市 立美術館，高雄，台灣
「2002 福岡亞洲三年展返台邀請─塑膠人 VS
「 巨 視． 微 觀． 多 重 鏡 反 — 台 灣 當 代 藝 術 特
看門狗：李明則 • 彭弘智」，新濱碼頭，高
「2006 昌黎祠韓愈文化祭」，內埔老街風華再現
「性情劇本的符碼」，高雄駁二藝術特區，高
展」，國立台灣美術館，台中，台灣， 藝術造街計劃，屏東，台灣
雄，台灣 雄，台灣
李明則
簡歷 1957 1977 1989
1998
共組「外畫會」
高雄市立美術館推薦至美國佛羅里達州駐村藝 術家
「One Piece Room 李明則個展」，關渡美術館，台
2010
「後桃花源記：蘇旺伸李明則雙個展」，山藝術．
2009
「我愛台灣．更愛南台灣」，高雄市立美術館，
2004
「四海一家─李明則 2004 年個展」，大趨勢畫
2001
「看透自己─裝置藝術展」，豆皮文藝咖啡館，
1996
「台灣頭 • 台灣尾」，台北市立美術館，台北；
1994
「起心動念─李明則畫展」，串門藝術空間，高
1993
「公子春遊」，新生態藝術環境，台南；臻品藝
1991
「李明則畫展」，串門藝術空間，高雄，台灣
1988 1986 1984
2014
2008
「英雄本色」，形而上畫廊，台北 ，台灣
2007
112
2004
義鐵道藝術村，嘉義，台灣
臺灣美術館，台中，台灣
「食飽未？—2007 亞洲藝術雙年展」，國立台灣
「正言時代：台灣當代視覺文化」，台北市立美 術館，台北，台灣 ；康乃爾大學美術館，美國
「打開八○年代台灣美術發展」，台北市立美術 館，台北，台灣 2003
多元異見展」，索卡當代藝術空間，台北，台 灣
「未來的軌跡—台灣當代藝術展」，拿波里當代
「李明則個展」，台北功學社，台北，台灣
美術館，義大利；高雄市立美術館，高雄，台
「武俠世界」，美國文化中心，台北，台灣
灣
「移動—台灣當代壹拾伍人行」，大未來畫廊， 北京，中國
「藝術家說法」，上雲藝術中心，高雄，台灣 「東門．當代」，東門美術館，台南，台灣 2006
展」，長流美術館，桃園，台灣 心，台中，台灣
「藝術家的花花世界—玩花樣」，月臨畫廊，台 「激進意志的風格—九〇年代台灣當代藝術的
「 時 間 的 刻 度 — 台 灣 美 術： 戰 後 五 十 年 作 品 「渡．十三不變．瞬變．潛變」，臻品藝術中
美術館，台中，台灣 中，台灣
南，台灣
則、蘇旺伸、蕭文輝、鄭建昌四人畫展」，嘉
「後解嚴與後八九，兩岸當代美術對照」，國立
當代館，台北，台灣
「美麗新世界—海安路藝術造街」，海安路，台 「內省的符碼—台灣新具象的藝術風貌：李明
「世代．對話—臺灣當代多元呈現」，印象畫廊
「李明則個展」，天母陶舍，台北，台灣
台灣
博物館，美國；國立台灣美術館，台中，台灣
台灣
術中心，台中，台灣
「林中路當代藝術展．上篇」，安卓藝術，台北，
布州立大學畫廊，美國；加州洛杉磯亞太藝術
「印象當代開幕展」，印象畫廊當代館，台北，
聯展
2016
文美術館，加拿大；喬治亞州哥倫布市，哥倫
「第二種視野」，國立臺灣美術館，台中，台灣
雄；臻品藝術中心，台中，台灣
「與自然對話」，安卓藝術，台北，台灣
「原鄉與流轉—台灣三代藝術展」，溫哥華列治
台北，台灣
新生態藝術環境，台南，台灣
台灣
廊，台北，台灣
「喆園春宴」，環境裝置藝術，台南歸仁，台灣
「親潮—兩岸架上繪畫新流向」，關渡美術館，
高雄，台灣
2018
「蓬萊圖鑑—世紀末台灣歷史意象」，大趨勢畫
灣
代館，台北，台灣
廊，台北，台灣
「雅努斯」香港巴塞爾項目展，安卓藝術，台北，
台北，台灣
「帝國大反擊首部曲：王者再現」，印象畫廊當
北京林正藝術空間，北京，中國
2020
「平行輸入—前駭客藝術」，台北當代藝術館，
「保庇．保庇—當下描
「新高潮—後工業」，新思惟人文間，高雄，台
北，台灣
高雄，台灣
「藝術與信仰」，成大藝坊，台南，台灣
述」，大趨勢畫廊，台北，台灣 2009
化中心，美國；高雄市立美術館，高雄，台灣 美術館，高雄，台灣
「張望法則──吳天章、蘇旺伸、李明則」，弔 詭畫廊，高雄 2011
「渡—當代高雄．芝加哥 10 人展」，芝加哥文 「五行．五形—台灣當代常民劇場」，高雄市立
北，台灣
「拾到寶」，安卓藝術，台北，台灣
2013
台北，台灣
2005
吳天章、鄭建昌、李明則」，大趨勢畫廊，台
台南崑山高中第一屆美工科
與蔡獻友、陳隆興、吳寬瀛、王武森、黃文勇，
「ReVision—安卓藝術五周年特展」，安卓藝術， 「蓬萊圖鑑—原鄉．印記：郭振昌、盧明德、
生於台灣高雄縣岡山鎭後紅里
個展 2020
2015
2002
「福岡亞洲三年展」，福岡亞洲美術館，日本
「旅行—台灣藝術六人展」，紐約中華新聞文化
中心，美國；奧克拉荷馬州首府畫廊，美國； 高雄市立美術館，高雄，台灣
「台灣當代藝術全集Ⅰ：關鍵報告」，鳳甲美術 館，台北，台灣
「高雄神話．打狗傳奇」，博覽會高雄主題館， 高雄，台灣
「我與我—藝術家自我探索與刻畫展」，高雄市 立美術館，高雄，台灣
「2002 福岡亞洲三年展返台邀請─塑膠人 VS
「 巨 視． 微 觀． 多 重 鏡 反 — 台 灣 當 代 藝 術 特
看門狗：李明則 • 彭弘智」，新濱碼頭，高
「2006 昌黎祠韓愈文化祭」，內埔老街風華再現
「性情劇本的符碼」，高雄駁二藝術特區，高
展」，國立台灣美術館，台中，台灣， 藝術造街計劃，屏東，台灣
雄，台灣 雄，台灣
「造佛運動」，觀想藝術中心，台北，台灣
「府城文化復興．文化復興府城」，原型藝術，
1997
台南，台灣 2001
「土地辯證．壁畫製作」，竹田鄉米倉藝術社 「千濤拍岸—台灣美術一百年」國立藝術學院關
1996
「戀戀 20—戀靑春．戀事物」，帝門藝術中心，
立美術館，台北，台灣
「南台灣新文化圖象」，新生態藝術環境，台 南，台灣
「新生代的崛起」，臻品藝術中心，台中，台灣 「情愛」，高高畫廊，台南，台灣
「阿普畫廊開幕聯展」，阿普畫廊，台北，台灣 「紅色酵素」，台灣畫廊，台北，台灣
生態藝術環境，台南；龍門畫廊，台北，台灣
1991
「高雄當代藝術聯展Ⅱ」，阿普畫廊，高雄，台
聯展」，興福寮，淡水，台灣
1990
「現代美術新展望」，台北市立美術館，台北，
「台灣傳奇—現代繪畫在台灣」，臻品藝術中
台北，台灣
大利亞
「心淨則國土淨特展」，龍門畫廊，台北，台灣
1994
「尋找桃花源的六種方法」，帝門藝術中心，台
「類似水墨畫—李明則．蘇旺伸雙人聯展」，台 灣畫廊，台北，台灣
「歲首話春姿」，龍門畫廊，台北，台灣
北，台灣
「閱讀台灣美術都會性格」，玄門藝術中心，台
「美術高雄與社會脈動」，高雄市立美術館，高
北，台灣
台灣
「阿普畫廊開幕聯展」，阿普畫廊，高雄，台灣
「台灣當代藝術」，雪梨當代美術館，雪梨，澳
灣
灣
「外—聯展」，串門藝術空間，高雄，台灣
心，台中，台灣
「決了堤的慾望山水」，大未來畫廊，台北，台
1985
「雄獅美術新人獎十年回顧展」，台北歷史博物 館，台北，台灣
博覽會
「亞洲雙年展」，亞洲藝術中心，台北，台灣
2020
台北當代藝術博覽會，安卓藝術展位，台北，
「李明則．張新丕聯展」，臻品藝術中心，台
2019
Artissima，安卓藝術展位，杜林，義大利
1999」，山美術館，高雄；國立歷史博物館，
「台灣美術新風貌」，台北市立美術館，台北，
2007
臺北國際藝術博覽會，印象畫廊、大趨勢畫廊
「後花園二」，大未來畫廊，台北，台灣
「時代與意象」，新生態藝術環境，台南，台灣
1993
第二屆香港亞洲藝術博覽會：台灣主題館，香
雄，台灣
「末世紀—台灣當代圖像展」，中華新聞文化中 心台北藝廊，紐約，美國
「 複 數 元 的 視 野： 台 灣 當 代 美 術 1988 ～ 台北，台灣；中國美術館，北京，中國
「你說．我聽」，台北市立美術館，台北；台北
市立兒童育樂中心，台北，台灣；畢松當代藝 術中心，法國
「凝視與形塑—後二二八世代的歷史觀察」，台 北市立美術館，台北，台灣
114
「延續與斷裂—宗教 • 藝術 • 自然」，台北市
「解放與逃脫—黃榮禧、李明則’95 聯展」，新 「高合順─李明則、劉高興、蘇旺伸、蔣永發
台灣
1998
國；柏林世界文化中心，德國
同與記憶」，台北市立美術館，台北，台灣 1995
「當代浮世繪」，串門藝術空間，高雄，台灣 展」，新生態藝術環境，台南，台灣
「1996 年台北雙年展—台灣藝術的主題性─認
雄市立美術館，高雄，台灣
1999
「台灣．今日藝術」，阿享市路德維美術館，德
中，台灣
「美術高雄 2001—後解嚴時代的高雄美術」，高
「外─聯展」，高高畫廊，台南，台灣
「台灣藝術新生態—新生態藝術環境開幕聯
「發現台灣美術的新力量」，臻品藝術中心，台
畫廊，台北，台灣
心，台中，台灣
1992
館，布里斯本，澳大利亞
「航向新世紀—大趨勢畫廊開幕聯展」，大趨勢
「經過≧存在—十週年慶特展」，臻品藝術中
心，高雄；台北，台灣
「90 年代台灣具象繪畫樣貌展」，帝門藝術中
「第二屆亞太當代藝術三年展」，昆士蘭美術
館，台北，台灣
2000
心，巴黎，法國；法蘭德斯省立美術館比利
「邁向巓峰大展」，積禪 50 藝術空間，高雄，
「堅持與延續」，臻品藝術中心，台中，台灣
「大音希聲—鳳甲美術館週年特展」，鳳甲美術
畫廊，台北；正修技術學院藝術中心，高雄，
台灣
「兒童樂園」，新生態藝術環境，台南，台灣
灣，
「心靈轉譯—精神醫學與藝術的對話」，大趨勢
大利
尼斯雙年展台灣館，普里奇歐宮，威尼斯，義
時；高雄市立美術館，高雄，台灣
渡美術館，台北；國立台灣美術館，台中，台
館，高雄，台灣
「迎新特展」，阿普畫廊，台北，台灣
「意象台灣．當代藝術展」，台北新聞文化中
區，屏東，台灣
「藩籬之外—藝術的原創世界」，高雄市立美術
「台灣，台灣：面．目．全．非」，第 47 屆威
「美術高雄」，阿普畫廊，台北，台灣 1993
中，台灣 台灣
2018
「當代藝術新春大圍爐」，新生態藝術環境，台 南，台灣
台灣
香港巴塞爾藝術展，安卓藝術展位，香港 展位，世界貿易中心，台北，台灣 港會議中心，香港，中國
「中華民國畫廊博覽會」，台中，台灣
獲獎
灣
1981
「年年有餘新生代的魚」，臻品畫廊，台中，台
第六屆雄獅美術新人獎
「造佛運動」，觀想藝術中心，台北，台灣
「府城文化復興．文化復興府城」，原型藝術，
1997
台南，台灣 2001
「土地辯證．壁畫製作」，竹田鄉米倉藝術社 「千濤拍岸—台灣美術一百年」國立藝術學院關
1996
「戀戀 20—戀靑春．戀事物」，帝門藝術中心，
立美術館，台北，台灣
「南台灣新文化圖象」，新生態藝術環境，台 南，台灣
「新生代的崛起」，臻品藝術中心，台中，台灣 「情愛」，高高畫廊，台南，台灣
「阿普畫廊開幕聯展」，阿普畫廊，台北，台灣 「紅色酵素」，台灣畫廊，台北，台灣
生態藝術環境，台南；龍門畫廊，台北，台灣
1991
「高雄當代藝術聯展Ⅱ」，阿普畫廊，高雄，台
聯展」，興福寮，淡水，台灣
1990
「現代美術新展望」，台北市立美術館，台北，
「台灣傳奇—現代繪畫在台灣」，臻品藝術中
台北，台灣
大利亞
「心淨則國土淨特展」，龍門畫廊，台北，台灣
1994
「尋找桃花源的六種方法」，帝門藝術中心，台
「類似水墨畫—李明則．蘇旺伸雙人聯展」，台 灣畫廊，台北，台灣
「歲首話春姿」，龍門畫廊，台北，台灣
北，台灣
「閱讀台灣美術都會性格」，玄門藝術中心，台
「美術高雄與社會脈動」，高雄市立美術館，高
北，台灣
台灣
「阿普畫廊開幕聯展」，阿普畫廊，高雄，台灣
「台灣當代藝術」，雪梨當代美術館，雪梨，澳
灣
灣
「外—聯展」，串門藝術空間，高雄，台灣
心，台中，台灣
「決了堤的慾望山水」，大未來畫廊，台北，台
1985
「雄獅美術新人獎十年回顧展」，台北歷史博物 館，台北，台灣
博覽會
「亞洲雙年展」，亞洲藝術中心，台北，台灣
2020
台北當代藝術博覽會，安卓藝術展位，台北，
「李明則．張新丕聯展」，臻品藝術中心，台
2019
Artissima，安卓藝術展位，杜林，義大利
1999」，山美術館，高雄；國立歷史博物館，
「台灣美術新風貌」，台北市立美術館，台北，
2007
臺北國際藝術博覽會，印象畫廊、大趨勢畫廊
「後花園二」，大未來畫廊，台北，台灣
「時代與意象」，新生態藝術環境，台南，台灣
1993
第二屆香港亞洲藝術博覽會：台灣主題館，香
雄，台灣
「末世紀—台灣當代圖像展」，中華新聞文化中 心台北藝廊，紐約，美國
「 複 數 元 的 視 野： 台 灣 當 代 美 術 1988 ～ 台北，台灣；中國美術館，北京，中國
「你說．我聽」，台北市立美術館，台北；台北
市立兒童育樂中心，台北，台灣；畢松當代藝 術中心，法國
「凝視與形塑—後二二八世代的歷史觀察」，台 北市立美術館，台北，台灣
114
「延續與斷裂—宗教 • 藝術 • 自然」，台北市
「解放與逃脫—黃榮禧、李明則’95 聯展」，新 「高合順─李明則、劉高興、蘇旺伸、蔣永發
台灣
1998
國；柏林世界文化中心，德國
同與記憶」，台北市立美術館，台北，台灣 1995
「當代浮世繪」，串門藝術空間，高雄，台灣 展」，新生態藝術環境，台南，台灣
「1996 年台北雙年展—台灣藝術的主題性─認
雄市立美術館，高雄，台灣
1999
「台灣．今日藝術」，阿享市路德維美術館，德
中，台灣
「美術高雄 2001—後解嚴時代的高雄美術」，高
「外─聯展」，高高畫廊，台南，台灣
「台灣藝術新生態—新生態藝術環境開幕聯
「發現台灣美術的新力量」，臻品藝術中心，台
畫廊，台北，台灣
心，台中，台灣
1992
館，布里斯本，澳大利亞
「航向新世紀—大趨勢畫廊開幕聯展」，大趨勢
「經過≧存在—十週年慶特展」，臻品藝術中
心，高雄；台北，台灣
「90 年代台灣具象繪畫樣貌展」，帝門藝術中
「第二屆亞太當代藝術三年展」，昆士蘭美術
館，台北，台灣
2000
心，巴黎，法國；法蘭德斯省立美術館比利
「邁向巓峰大展」，積禪 50 藝術空間，高雄，
「堅持與延續」，臻品藝術中心，台中，台灣
「大音希聲—鳳甲美術館週年特展」，鳳甲美術
畫廊，台北；正修技術學院藝術中心，高雄，
台灣
「兒童樂園」，新生態藝術環境，台南，台灣
灣，
「心靈轉譯—精神醫學與藝術的對話」，大趨勢
大利
尼斯雙年展台灣館，普里奇歐宮，威尼斯，義
時；高雄市立美術館，高雄，台灣
渡美術館，台北；國立台灣美術館，台中，台
館，高雄，台灣
「迎新特展」，阿普畫廊，台北，台灣
「意象台灣．當代藝術展」，台北新聞文化中
區，屏東，台灣
「藩籬之外—藝術的原創世界」，高雄市立美術
「台灣，台灣：面．目．全．非」，第 47 屆威
「美術高雄」，阿普畫廊，台北，台灣 1993
中，台灣 台灣
2018
「當代藝術新春大圍爐」，新生態藝術環境，台 南，台灣
台灣
香港巴塞爾藝術展，安卓藝術展位，香港 展位，世界貿易中心，台北，台灣 港會議中心，香港，中國
「中華民國畫廊博覽會」，台中，台灣
獲獎
灣
1981
「年年有餘新生代的魚」，臻品畫廊，台中，台
第六屆雄獅美術新人獎
Lee Ming-tse
1957 Born in Gangshan Town, Kaohsiung, Taiwan
2014 Rules Out the Rules – Wu Tien-chang, Su Wong-shen and Lee Ming-Tse, Crane Gallery, Kaohsiung, Taiwan
1977 Graduated from Art and Design Division, Kuen-Shan Senior High School, Tainan, Taiwan
1999 Visions of Pluralism-Contemporary Art in Taiwan, Mountain Arts Museum, Kaohsiung; National Museum
2011 Bo-Bee, Bo-Bee:A Straightaway Depiction, Main
of History, Taipei; National Art Museum of China,
Trend Gallery, Taipei, Taiwan
Solo Exhibition
2009 New Orgasm-Post Industrialization, Since-Well
2020 Serendipity, Mind Set Art Center, Taipei, Taiwan
2008 Tangerine Orchard Spring Banquet—Environmental Installation Art, Guiren, Tainan, Taiwan
2010 Post-Utopia-Exhibition of Su Wong-Shen & Lee Mingtse, Mountain Art Beijing & Frank Lin Art Center,
1996 The Front & Rear Ends of Formosa, Taipei Fine Arts
Taiwan 2015 ReVision: MSAC 5th Anniversary Special Presentation, Mind Set Art Center, Taipei, Taiwan
116
Penglai Illustration, Main Trend Gallery, Taipei, Taiwan
Footprint into the Future: Contemporary Art
1995 Liberation and escape : the joint exhibition of Tony Wong and Lee Ming-tse, New Phase Art Space, Tainan, Lung Men Art Gallery, Taipei, Taiwan
1994 Ink & Wash Painting Resembling: Lee Ming-tse, Su Wang-Shen Joint Exhibition, Kevin Haung Art Gallery, Taipei, Taiwan 1993 Lee Ming-tse, Zhang Xin-Pi Joint Exhibition, Galerie Pierre, Taichung, Taiwan
Museum of Art, Cornell University, USA
Imagery Paintings in 1990s in Taiwan, Dimension Art Center, Kaohsiung; Taipei, Taiwan
1992 Opening Exhibition of New Phase Art Space, New
2000 Art in Kaohsiung & The Pulsation of The Society, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
Times & Imagery, New Phase Art Space, Tainan, Taiwan
Arts, Kuandu Museum of Fine Arts, Taipei; National Taiwan Museum of Fine Arts, Taichung, Taiwan
Taiwan Art: 1945-1993, Taipei Fine Arts Museum, Taipei, Taiwan
Museum, Japan 2001 Waves Striking: One Hundred Years of Taiwanese
Contemporary Art in Taiwan, Museum of Contemporary Art, Sydney, Australia
2004 Contemporary Taiwanese art in the era of
2002 Fukuoka Asia Art Triennale, Fukuoka Asian Art
Legend of Taiwan: Modern Painting in Taiwan, Galerie Pierre, Taichung, Taiwan
Pseudo Hackers’s Art in Parallel Zones, Museum of
contention, Taipei Fine Arts Museum, Taipei, Taiwan;
1996 Taipei Biennial : The Quest For Identity, Taipei Fine Arts Museum, Taipei, Taiwan
Fine Arts, Kaohsiung, Taiwan
Contemporary Art, Taipei, Taiwan
To Discovery The New Energy in The Art in Taiwan, Galerie Pierre, Taichung, Taiwan
Crossings : 10 artists from Chicago & Kaohsiung, Chicago Cultural Center, USA; Kaohsiung Museum of
2016 The Road Not Taken Ch.1, Mind Set Art Center, Taipei,
Brisbane, Australia
Contemporary Art, Taipei, Taipei, Taiwan
Taiwan
Taiwan
Have You Eaten Yet? ─ 2007 Asian Art Biennial,
2005 Pseudo Hackers’s Art in Parallel Zones, Museum of
Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art,
Taiwan Museum of Fine Arts, Taichung, Taiwan
1984 Chivalrous World, American Cultural Center, Taipei,
Taipei, Taiwan
- Contemporary Art in Taiwan since 1987, National
1988 Lee Ming-tse, Tianmu Ceramics House, Taipei, Taiwan
2018 Dialogue with the Nature, Mind Set Art Center, Taipei,
International Culture Center, Germany
2006 Macro Vision, Micro Analysis, Multiple Reflections
Galerie Pierre, Taichung, Taiwan
2020 Janus: ABHK Booth at MSAC, Mind Set Art Center,
1996 Taiwan:The Art of Today, Germany; Berlin
Fine Arts, Taichung, Taiwan
Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
1993 Mr. Lee’s Spring Tour, New Phase Art Space, Tainan;
Selected Group Exhibition
Italy
from Taiwan, PAN-Palazzo delle arti Napoli, Italy;
Space, Kaohsiung ; Zhen-Ping Art Center, Taichung,
1986 Lee Ming-tse, Taipei KHS, Taipei, Taiwan
delle Prigioni and Palazzo Ducale S. Marco, Venice,
Second Vision, National Taiwan Museum of Fine Arts,
Taiwan
1994 What Is In Your Mind: Lee Ming-tse, The Doors Art
1991 Lee Ming-tse, The Doors Art Space, Kaohsiung, Taiwan
Taiwan
National Taiwan Museum of Fine Arts, Taichung,
Dog Pig Art Café, Kaohsiung, Taiwan
Taiwan
1997 La Biennale di Venezia, 47th Esposizione Internazionale d’Arte - Taiwan: Facing Faces, Palazzo
in Taiwan and China, National Taiwan Museum of
Lee Ming-tse, Kaohsiung Museum, Kaohsiung, Taiwan
Museum, Taipei; New Phase Art Space, Tainan, Taiwan
Contemporary Art Center, France
2007 Post-Martial Law vs. Post-’89: The Contemporary Art
2004 We are family, 2004, Main Trend Gallery, Taipei, Taiwan 2001 To Know Yourself Well: Installation Art Exhibition,
Children’s Recreation Center, Taipei; Bissoon
Intimate Trend, Kuandu Museum of Fine Arts, Taipei,
Taichung, Taiwan
Beijing 2009 I Love Taiwan and Love Southern Taiwan Even More:
1998 You Talk, I Listen, Taipei Fine Arts Museum; Taipei
Gallery, Kaohsiung, Taiwan
2013 One Piece Room: Lee Ming-tse Solo Exhibition, Kuandu Museum of Fine Arts, Taipei, Taiwan
Beijing
Phase Art Space, Tainan, Taiwan
Dis\Continuity: Religion, Shamanism, Nature, Taipei
Lee Ming-tse
1957 Born in Gangshan Town, Kaohsiung, Taiwan
2014 Rules Out the Rules – Wu Tien-chang, Su Wong-shen and Lee Ming-Tse, Crane Gallery, Kaohsiung, Taiwan
1977 Graduated from Art and Design Division, Kuen-Shan Senior High School, Tainan, Taiwan
1999 Visions of Pluralism-Contemporary Art in Taiwan, Mountain Arts Museum, Kaohsiung; National Museum
2011 Bo-Bee, Bo-Bee:A Straightaway Depiction, Main
of History, Taipei; National Art Museum of China,
Trend Gallery, Taipei, Taiwan
Solo Exhibition
2009 New Orgasm-Post Industrialization, Since-Well
2020 Serendipity, Mind Set Art Center, Taipei, Taiwan
2008 Tangerine Orchard Spring Banquet—Environmental Installation Art, Guiren, Tainan, Taiwan
2010 Post-Utopia-Exhibition of Su Wong-Shen & Lee Mingtse, Mountain Art Beijing & Frank Lin Art Center,
1996 The Front & Rear Ends of Formosa, Taipei Fine Arts
Taiwan 2015 ReVision: MSAC 5th Anniversary Special Presentation, Mind Set Art Center, Taipei, Taiwan
116
Penglai Illustration, Main Trend Gallery, Taipei, Taiwan
Footprint into the Future: Contemporary Art
1995 Liberation and escape : the joint exhibition of Tony Wong and Lee Ming-tse, New Phase Art Space, Tainan, Lung Men Art Gallery, Taipei, Taiwan
1994 Ink & Wash Painting Resembling: Lee Ming-tse, Su Wang-Shen Joint Exhibition, Kevin Haung Art Gallery, Taipei, Taiwan 1993 Lee Ming-tse, Zhang Xin-Pi Joint Exhibition, Galerie Pierre, Taichung, Taiwan
Museum of Art, Cornell University, USA
Imagery Paintings in 1990s in Taiwan, Dimension Art Center, Kaohsiung; Taipei, Taiwan
1992 Opening Exhibition of New Phase Art Space, New
2000 Art in Kaohsiung & The Pulsation of The Society, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
Times & Imagery, New Phase Art Space, Tainan, Taiwan
Arts, Kuandu Museum of Fine Arts, Taipei; National Taiwan Museum of Fine Arts, Taichung, Taiwan
Taiwan Art: 1945-1993, Taipei Fine Arts Museum, Taipei, Taiwan
Museum, Japan 2001 Waves Striking: One Hundred Years of Taiwanese
Contemporary Art in Taiwan, Museum of Contemporary Art, Sydney, Australia
2004 Contemporary Taiwanese art in the era of
2002 Fukuoka Asia Art Triennale, Fukuoka Asian Art
Legend of Taiwan: Modern Painting in Taiwan, Galerie Pierre, Taichung, Taiwan
Pseudo Hackers’s Art in Parallel Zones, Museum of
contention, Taipei Fine Arts Museum, Taipei, Taiwan;
1996 Taipei Biennial : The Quest For Identity, Taipei Fine Arts Museum, Taipei, Taiwan
Fine Arts, Kaohsiung, Taiwan
Contemporary Art, Taipei, Taiwan
To Discovery The New Energy in The Art in Taiwan, Galerie Pierre, Taichung, Taiwan
Crossings : 10 artists from Chicago & Kaohsiung, Chicago Cultural Center, USA; Kaohsiung Museum of
2016 The Road Not Taken Ch.1, Mind Set Art Center, Taipei,
Brisbane, Australia
Contemporary Art, Taipei, Taipei, Taiwan
Taiwan
Taiwan
Have You Eaten Yet? ─ 2007 Asian Art Biennial,
2005 Pseudo Hackers’s Art in Parallel Zones, Museum of
Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery | Gallery of Modern Art,
Taiwan Museum of Fine Arts, Taichung, Taiwan
1984 Chivalrous World, American Cultural Center, Taipei,
Taipei, Taiwan
- Contemporary Art in Taiwan since 1987, National
1988 Lee Ming-tse, Tianmu Ceramics House, Taipei, Taiwan
2018 Dialogue with the Nature, Mind Set Art Center, Taipei,
International Culture Center, Germany
2006 Macro Vision, Micro Analysis, Multiple Reflections
Galerie Pierre, Taichung, Taiwan
2020 Janus: ABHK Booth at MSAC, Mind Set Art Center,
1996 Taiwan:The Art of Today, Germany; Berlin
Fine Arts, Taichung, Taiwan
Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
1993 Mr. Lee’s Spring Tour, New Phase Art Space, Tainan;
Selected Group Exhibition
Italy
from Taiwan, PAN-Palazzo delle arti Napoli, Italy;
Space, Kaohsiung ; Zhen-Ping Art Center, Taichung,
1986 Lee Ming-tse, Taipei KHS, Taipei, Taiwan
delle Prigioni and Palazzo Ducale S. Marco, Venice,
Second Vision, National Taiwan Museum of Fine Arts,
Taiwan
1994 What Is In Your Mind: Lee Ming-tse, The Doors Art
1991 Lee Ming-tse, The Doors Art Space, Kaohsiung, Taiwan
Taiwan
National Taiwan Museum of Fine Arts, Taichung,
Dog Pig Art Café, Kaohsiung, Taiwan
Taiwan
1997 La Biennale di Venezia, 47th Esposizione Internazionale d’Arte - Taiwan: Facing Faces, Palazzo
in Taiwan and China, National Taiwan Museum of
Lee Ming-tse, Kaohsiung Museum, Kaohsiung, Taiwan
Museum, Taipei; New Phase Art Space, Tainan, Taiwan
Contemporary Art Center, France
2007 Post-Martial Law vs. Post-’89: The Contemporary Art
2004 We are family, 2004, Main Trend Gallery, Taipei, Taiwan 2001 To Know Yourself Well: Installation Art Exhibition,
Children’s Recreation Center, Taipei; Bissoon
Intimate Trend, Kuandu Museum of Fine Arts, Taipei,
Taichung, Taiwan
Beijing 2009 I Love Taiwan and Love Southern Taiwan Even More:
1998 You Talk, I Listen, Taipei Fine Arts Museum; Taipei
Gallery, Kaohsiung, Taiwan
2013 One Piece Room: Lee Ming-tse Solo Exhibition, Kuandu Museum of Fine Arts, Taipei, Taiwan
Beijing
Phase Art Space, Tainan, Taiwan
Dis\Continuity: Religion, Shamanism, Nature, Taipei
Fine Arts Museum, Taipei, Taiwan 1990 Contemporary Art Trends in the Republic of China, Taipei Fine Arts Museum, Taipei, Taiwan 1985 10 Years of Hsiung Shih New Artists Prize, National Museum of History, Taipei, Taiwan
Art Fair 2020 Taipei Dangdai, Mind Set Art Center booth, Taipei, Taiwan 2019 Artissima, Mind Set Art Center booth, Torino, Italy 2018 The Play of a Taiwan Ranger, Mind Set Art Center booth, Art Basel in Hong Kong, Hong Kong
Award 1981 The 6th Hsiung Shih New Artists Prize, Taiwan
118
Fine Arts Museum, Taipei, Taiwan 1990 Contemporary Art Trends in the Republic of China, Taipei Fine Arts Museum, Taipei, Taiwan 1985 10 Years of Hsiung Shih New Artists Prize, National Museum of History, Taipei, Taiwan
Art Fair 2020 Taipei Dangdai, Mind Set Art Center booth, Taipei, Taiwan 2019 Artissima, Mind Set Art Center booth, Torino, Italy 2018 The Play of a Taiwan Ranger, Mind Set Art Center booth, Art Basel in Hong Kong, Hong Kong
Award 1981 The 6th Hsiung Shih New Artists Prize, Taiwan
118
拾到寶：李明則個展
Serendipity - A Solo Exhibition by Lee Ming-tse 2020/07/04-2020/08/08 作者
李明則
主編
李政勇
發行人 校訂
李政勇 郭朝淵
設計
Marco Liu
發行處
安卓藝術股份有限公司
翻譯
陳之熙、朱倢瑢
106 台北市大安區和平東路一段 180 號 7 樓 tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com 印刷 定價
崎威彩藝有限公司 新台幣 900 元
出版日期 中華民國 109 年 9 月
版權所有，未經許可不得刊印或轉載 Author Lee Ming-tse Publisher Andre Lee Mind Set Art Center 7F., No.180, Sec. 1, Heping E. Rd., Da’an Dist., Taipei City 106, Taiwan tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com Editor Andre Lee Proofreader Dean Kuo Designer Marco Liu Translator Jake Chen, Queena Chu Printed by Kiwi Printing Co., Ltd. Price NTD 900 Copyright © 2020 Mind Set Art Center. All images © of the artist. All essays © of the authors. All rights reserved. Printed in Taiwan, September 2020. ISBN 978-986-98820-1-9
120
國家圖書館出版品預行編目 (CIP) 資料
拾到寶：李明則個展 = Serendipity : a solo exhibition by Lee-Ming-tse / 李明 則作．臺北市：安卓藝術，民 109.09 120 面 ; 19×26 公分 ISBN 978-986-98820-1-9( 平裝 ) 1. 現代藝術 2. 作品集 902.33
109013043