烏托邦 亞洲當代藝術聯展 Utopia-Asian Contemporary Art Group Exhibition
2010. 12/10~12/23
鳴謝 Acknowledgements 本展覽活動承蒙以下人事、藝術空間協助 與支持，安卓藝術特此由衷表示感謝︰ We would like to thank the following organizations and individuals who have contributed in various ways to the realization of the exhibition:
陳泊文
Chen Bo-Wen
陳傳宗
Chen Chuan-Tsung
陳海濤
Chen Hai-Tao
陳榮泉
Chen Rong-Chuan
誠品畫廊 Eslite Gallery 許義偉
Hsu Yi-Wei
何瑋玲
Ho Wei-Ling
龔若靈
Keong Ruoh Ling Numthong Gallery
站台中國 Platform China 謝鴻均
Juin Shieh
土思藝術 TOSEE Art Agency Co., Ltd.
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蔡宜靜
Tsai Yi-Ching
王鈺芬
Wang Yu-Feng
目錄 Contents 08
序｜翁明顯
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Preface ｜ Wong Min-Hsien
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烏托邦 – 藝術世界裡的永恆追尋｜李政勇
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Utopia - The Eternal Quest in the Art World ｜ Andre Lee
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裘馬迪．艾爾菲 Jumaldi Alfi
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阿弗列多 與 伊莎貝．阿奎立山 Alfredo & Isabel Aquilizan
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賈靄力 Jia Aili
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蔡國強 Cai Guo-Qiang
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潔拉丁．賈維爾 Geraldine Javier
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李艾晨 Lee Ai-Chen
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林明弘 Michael Lin
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翰迪懷爾曼．蘇普塔拉 Handiwirman Saputra
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石晉華 Shi Jin-Hua
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謝鴻均 Juin Shieh
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黨若洪 Tang Jo-Hung
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納堤．尤塔瑞 Natee Utarit
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尼堤．瓦度亞 Niti Wattuya
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張遠 Zhang Yuan
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周軼倫 Zhou Yilun
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費爾南多．索維爾 Fernando Zobel
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序
收藏，是一種雅好。透過凝視絢爛瑰麗的藝術品，感受創作者的匠心獨運，令觀者的心靈得到撫慰與感動。收藏展， 則是把這種靜靜沉浸在藝術之美的樂趣，與更多人一同分享。
我與安卓藝術的淵源，也與收藏有關。2005 年政勇任職於中環美術館（CMC Art Museum），為中環管理藝術收藏。這 一批包括油畫與雕塑的西洋藝術品收藏，歷經十餘載的蒐集保存、數位管理者的執行規劃，到了今天的規模。在這好 幾位的管理者中，政勇是任職時間最長的一位。對工作細心敏銳、全心投入的他，基於對現代藝術收藏市場的擘劃藍 圖，在離開中環美術館藝術總監一職後創立了安卓藝術顧問公司，朝另一塊藝術收藏領域開拓。
對於藝術收藏，有人傾心古典藝術的優雅雋永，有的人偏愛當代藝術的實驗創新，這也是收藏耐人尋味的樂趣所在。 這次展覽聚焦於亞洲當代藝術家的作品，這些藝術家針對當下生活的社會，在藝術中提出省思與反詰，傳遞時代精神。 如同這次展覽中蔡國強的作品《第 143 號計劃 – 九二一的烙印》（Project No.143–The Mark of 921），記錄下影響深遠的 時代事件；而另一些年輕藝術家，或在作品中反映身旁社會的騷動不安，或用藝術表達自身生命歷程的凝思體會。
這些層次豐富、內蘊深遠的藝術品，讓我們透過藝術家的眼，回頭再一次凝視自己置身的世界。而今日的當代藝術， 經過時間的淬煉，也將成為明日的經典作品。在此祝福安卓藝術的朋友們，本著收藏藝術的熱情，藉著對藝術的追求 與分享，實現打造美好的藝術理想國。
財團法人中環文化基金會董事長
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Preface
Art collecting is a decent hobby. Through splendid artworks, the audience appreciates authors’ creativity and feels comforted and touched in their hearts. An exhibition of a collection means to share this pleasure of soaking oneself in the beauty of arts with more people. My connection with Mind Set Art Consulting(MSAC) starts with collecting as well. In 2005, Andre Lee worked as the manager of the art collection in CMC Art Museum. This collection includes oil paintings and sculptures of Western art. It is after collecting and conserving artworks for more than ten years, programmed and executed by our several managers, that we achieved this scale today. Among these managers, Andre is the one with the longest experience. He is a man enthusiastic and sensitive for his work. With his perspective on the market of contemporary art collecting, he established Mind Set Art Consulting Co., Ltd after he left CMC Art Museum to develop another area of art collecting. In respect of art collections, some enjoy the elegance and permanence of classical arts, others prefer the experiment and innovation of contemporary arts; this is the interesting part of art collecting. This exhibition focuses on works of contemporary Asian artists who, based on the present society, bring out questions via their arts and reveal the spirit of the age. For example, Project No.143- The Mark of 921 of Cai Guo-Qiang marks the influential event of the epoch. Other young artists either reflect the uncertainty of their surroundings, or express thoughts upon their own life experiences in their works. Through these profound artworks, we reexamine the world we live in with an artist’s eye. As time goes by, contemporary art will become classical art tomorrow. With the enthusiasm of art collecting, I sincerely wish those of Mind Set Art Consulting can realize their art utopia by the sharing and pursuit of the arts.
Chairman, CMC Cultural Foundation Wong Ming-Hsien
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烏托邦 藝術世界裡的永恆追尋 文｜李政勇
「烏托邦 - 亞洲當代藝術聯展」 (Utopia – Asian Contemporary Art Group Exhibition)，是一檔由安卓藝術策劃，與收藏家、 藝術家、畫廊共同合作，也是成立以來首次向公眾展示的一次藝術收藏顧問上的專業成果。在這檔以亞洲當代藝術為 範疇的展覽，超過半數的展品是安卓藝術從成立前就陸續為藏家們購藏的重要創作，其餘作品則屬我們最新推薦的藝 術家或合作畫廊所提供。展覽的藝術家來自中國、台灣和東南亞，展出作品涵蓋繪畫、素描、複合媒材與觀念藝術等 多種類型，展覽主題「烏托邦」尤其希望凸顯安卓藝術與藝術家、收藏家、畫廊共同打造一座理想世界的目標，以及 我們對於完美價值的堅持。儘管「烏托邦」一詞經常用於指涉一種難以企及的美好，但是透過藝術家對完美的不斷追 求，收藏家們在藝術領域裡的學習、累積與分享，我們其實已經在藝術世界的耕耘中建構起一所人間的樂土。
本次展覽的 20 多件作品，其創作年代相距甚遠，最早的一件是參與 1950 年代歐洲抽象藝術運動的菲律賓籍西班牙畫 家費爾南多．索維爾（Fernando Zobel, 1924-84）的《Erenos》，而最新的作品則由謝鴻均、石晉華、黨若洪等三位台灣 藝術家甫為此展完成的新作。展出作品的題材與風格看似諸多不同，其實卻都離不開藝術家對於自身的探索和對生存 時代與環境的省思，不論是已經被寫入藝術史的索維爾與蔡國強，或未滿三十歲的中國青年藝術家周軼倫。
與社會互動下的藝術火花 蔡國強於 2000 年完成的《第 143 號計劃 - 九二一的烙印》（Project No 143-The Mark of 921），用其獨特的爆破藝術回應 1999 年 9 月 21 日台灣所發生的嚴重天災，在同為能量釋放的過程中以藝術創作連結起台灣人民共有的歷史與情感，是
藝術家以創作回應社會的一次計劃，也是從事爆破藝術多年的他，將其宇宙與精神的連結主張實踐得最為徹底的一次。 這次的創作計畫，蔡國強在眾多的現場觀眾面前設計、引爆、終至完成此深刻凝結人民情感與記憶的《九二一的烙印》， 以藝術跟人類社會、自然環境進行了一次深刻的對話。
身為中國新生代中最受矚目的藝術家之一，賈靄力也以他的創作關注和回應中國社會的發展，此次展覽的兩件作品《杜 伊諾哀歌》（Duino Elegies）與《米奇的救贖》（Mickey's Redemption），以精彩的繪畫語言反映這一代中國青年面對 社會主義發展中曾經信仰的理想與經歷的失落。賈靄力揉合列寧照片圖像與奧地利詩人里爾克（Rainer Maria Rilke）的 詩歌靈感而成的繪畫裝置《杜伊諾哀歌》1，將繪畫和機械裝置巧妙串連，兩者在抽象意涵上互為表徵，將社會主義的 烏托邦理想與實踐上的困難成功地展現，深具詩意的畫面中同時隱含有藝術家的批判和反思精神。而同樣回應中國社 會快速發展的，還有出身杭州的藝術家周軼倫，周軼倫的創作以完全不同的音調發出，透過一種近似達達般的拼貼手 法與質疑態度，在戲謔與放肆的複合媒材創作中拼湊出另一種中國社會的樣貌。
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泰國藝術家尤塔瑞 (Natee Utarit) 近年也以創作回應政治多所波動的泰國社會，2008 年的作品《貪婪與幻象之球編號 三》（The Ball of Greed and Illusion no. 3）延續藝術家在 2007 年發表的「夢想、希望與完美的娛樂」（The Amusement of Dreams, Hope and Perfection）系列，是藝術家以繪畫語言探討泰國社會與文化問題的作品。此深具政治寓意的標題， 有藝術家希望探討的殖民主義問題 2，透過幾面有如旗幟的色塊拼接出一顆消氣的氣球，隱喻一場政治信仰與生存真理 之間的矛盾和衝突。
相對於前述藝術家以創作關注和反思社會的方式，出身台灣的藝術家林明弘與來自菲律賓的夫妻檔藝術家阿弗列多與 伊莎貝．阿奎立山（Alfredo & Isabel Aquilizan）的創作則從另一種社會介入與文化元素運用的角度出發。林明弘擷取花 布元素所轉化的多元創作，不僅實踐他一直將藝術融入生活的主張，也模糊生活元素與文化圖像之間的界線，為藝術 與生活各自轉化出新的色彩。而移民澳洲的菲律賓籍藝術家阿奎立山夫婦，其創作深刻連結著自身的生活經驗，他們 涵蓋雕塑、裝置與繪畫的創作深入探討移民、社群、家庭與記憶的主題；揉合建築、雕刻、繪畫與拼貼概念而成的《雙 塔》(Twin Tower)，在層層疊疊的物件與房子結構中展現藝術家對於生活的細膩觀察，與一份連結著家庭、社群與土地 的濃厚感情。
創作同樣深刻連結環境與土地的還有在繪畫中借景抒情的尼堤．瓦度亞（Niti Wattuya）與張遠 。瓦度亞出身泰國，作 品多從家鄉的文化風俗、自然地理出發，擅長描繪水景的他，以風景畫表達有關人類與自然之間的看法，他雜揉寫實 手法與抽象風格的描繪方式，賦予風景圖像一種當代的詩意。而類似的手法和創作關懷也在中國藝術家張遠的《亮甲 店：穿天猴》中出現，張遠看似寧靜而詩意的圖像背後，潛藏著一種不安與孤寂，而這也與藝術家描繪住所附近遭受 污染的土地有關 3。
心靈世界的語言和風景 1950 年代的藝術對於視覺語言純粹性的高度追求，在索維爾 1959 年的《Erenos》中清晰可見，索維爾在最單純的黑色
線條與淺灰色底的畫布上結構出完全抽象的世界，他充滿速度感的線條與簡潔的用色在洋溢音樂性的氛圍中流露東方 意境。同樣具現此種生命情境的還有台灣藝術家李艾晨與石晉華的作品，李艾晨擅長在鋁板上以油彩創作，用兼具寫 實和抽象的畫風模糊繪畫與影像的界線，描繪一種質地獨特的影像風格，在看似平面的肌理中刻畫出深邃的精神空間。 而創作最初源於一種對自身存在測量與探索的石晉華，則藉由不斷反覆行走的身體和來回塗畫的鉛筆，在畫紙上刻出 一段又一段的生命，看似抽象繪畫的《走筆 #80》（Pen Walking #80），其實是藝術家融合觀念藝術、行為藝術與個人 生命的高度結晶。
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兩位從女性角度出發描繪內在風景的藝術家謝鴻均與潔拉丁．賈維爾（Geraldine Javier），分從知性與感性角度建構她 們的藝術。謝鴻均的創作一直具現女性意識，從過去有關陰性空間的描繪到近期著墨於女人「內囿性」（Immanence）4 的系列 ，新作《慢騰騰，虛怯怯》（Slowly and Scary）中借用居家壁紙上的繁複藤蔓圖紋與人體形象的交織，在層層 油彩的塗抹中傳達其匍匐前進的生命哲學，充滿陰性的圖飾更對比著既存的父權體制。有別於謝鴻均充滿知性的建構 方式，出身菲律賓的賈維爾則透過比較感性與傳統的手法，持續在繪畫語言和女性空間裡實驗，近期結合繪畫與刺繡 手法的《守護者》（The Guardian），在美麗的畫面中透露一股神祕的詩意，在昆蟲標本與油彩顏料的運用中述說一份 對於環境的關注與情感。
相較於前述藝術家對於心靈風景的刻畫，出生於 1970 年代的裘馬迪．艾爾菲（Jumaldi Alfi）、翰迪懷爾曼．蘇普塔拉 （Handiwirman Saputra）與黨若洪三人，則從自身的關注和繪畫語言的創新中發展藝術。出身印尼重要當代藝術團體 「窗」（Jendela Art Group）的艾爾菲和蘇普塔拉，經常從繪畫和影像語言的摹擬與對話中，辯證視覺藝術的真理。艾 爾菲的《向馬丁．齊本伯格致敬》（Homage to Martin Kippenberger）或蘇普塔拉的《心靈系列 編號八》（Mental Series No. 8）皆透過繪畫形式討論視覺藝術的定義與界線：艾爾菲在一幅畫布上同時呈現手繪和影像的兩種視覺肌理，蘇普 塔拉在日常物體和繪畫隱喻的轉換中顛覆觀者的視覺經驗。此外，喜歡在密集板上作畫的台灣藝術家黨若洪，以融會 中西繪畫的技巧，揉和線性的筆法與厚實的油彩，在描繪、塗抹、勾勒、刮痕、黏貼等豐富技法中，建構他個人獨創 一格的雙位一體（Twinity）式生命，用自我的多重面向持續發展出新的對話。
藝術家以創作觀照自身，也以創作回應時代。經由藝術家對於完美的不斷追尋和努力，人間有了一所烏托邦的存在， 而我們也獲得一處精神休憩與享樂的美好園地。
註 1 里爾克（Rainer Maria Rilke, 1875-1926）為奧地利的抒情詩人，生於布拉格，卒於瑞士。其重要的詩歌創作包含三部曲詩集《時光之書》（Das Stundenbuch, 1905)、《詩歌集》 （Gedichte, 1907-1908）、《獻給俄耳甫斯的十四行詩》（Die Sonette an Orpheus, 1922）、《杜伊諾哀歌》（Duineser Elegien, 1912-22）等。 註 2 參見策展人貝弗利．楊（Beverly Yong）對納堤．尤塔瑞所做的訪談〈夢想、希望與完美〉（Dreams, Hope, and Perfection）一文，收錄於藝術家的展覽圖錄。Natee Utarit, “Dreams, Hope, and Perfection＂, VWFA, 2008. P. 27 註 3 亮甲店是畫家居住地之地名。根據張遠的說法，亮甲店蓋了一間垃圾處理場，且離北京的水源很近，附近居民抗議無效，不僅常聞到刺鼻的垃圾味也深怕飲用水被污染，所以《亮 甲店》被畫家引申為對環境忽視和破壞環境問題的比喻。 註 4 源自法國女性主義哲學家西蒙．波娃（Simone de Beauvoir, 1908-86）的內囿性一詞，謝鴻均在她的創作自述〈囿〉中有清楚說明，她這些探討女人內囿性的創作並非單純地呼應 西蒙．波娃對女性身體的悲觀閱讀，而是繼楊（Iris Marion Young, 1949-2006) 凸顯女性身體經驗與身體語彙的立論中，對於女人天生內囿性的積極回應與實踐，進而從中獲得個 人生命的另一種昇華。
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Utopia The Eternal Quest in the Art World by Andre Lee In cooperation with numerous collectors, artists, galleries and media, “Utopia - Asian Contemporary Art Group Exhibition” is the first public exhibition of our collection consulting managed by Mind Set Art Consulting Co., Ltd. (MSAC). More than half works in this Asian contemporary art exhibition are gradually purchased by MSAC for our collectors ever since its establishment; others are provided by our cooperated galleries or newly recommended artists. Based in China, Taiwan and Southeast Asia, artists in this exhibition have presented works of various categories, including paintings, drawings, mixed media and conceptual arts. The theme of “utopia” emphasizes on our insistence upon a perfect value, and the goal of building up an ideal art world by MSAC together with all artists, collectors and galleries. Despite the fact that the word “utopia” usually refers to an ideal impossible to be realized, however, through artists’ constant quest for perfection, as well as collectors’ sharing and accumulation, we are actually constructing an ideal paradise in the art world step by step. More than 20 pieces on exhibition range over a wide period, from Erenos by the Philippine painter Fernando Zobel (1924-84) who participated in the European abstract art movement in the 50s, to recent works created specifically for this exhibition by Taiwanese artists Juin Shieh, Shi Jin-Hua and Tang Jo-Hung. Though different in their subjects and styles, these exhibited works all discuss the exploration of the self and the reflection upon their time and surroundings, either by the established masters Zobel and Cai Guo-Qiang, or the rising young artist Zhou Yilun in his twenties.
Art Sparkles in the Interaction with the Society With the unique explosion art, Project No 143 - The Mark of 921 (2000) produced by Cai Guo-Qiang responds to the catastrophe in Taiwan on the 21st of September, 1999. As the artist’s project in response to the society, the artwork adopts a similar process of energy release, and is hence connected with the common history and emotion of Taiwanese people. Having worked with explosion arts for years, this time Cai realizes his conception of the connection between the universe and the spirits in a most thorough way. In this project, Cai makes an explosion in front of a live audience to complete The Mark of 921. It not only concentrates people’s emotion and memory, but also starts a conversation about art, human society and the natural environment. As one of the most well-known artist in the new generation, Jia Aili also shows his concerns and responses to the development of Chinese society via his works. With his brilliant vocabulary of painting, his two pieces Duino Elegies and Mickey's Redemption in the exhibition reflect how Chinese youth in his generation face the fact that those once-believed ideals and experiences are lost during the development of Socialism. In his painting installation Duino Elegies1, Jia mixed Lenin’s photo with inspiration from Rilke’s poetry. The painting and the mechanism are integrated delicately and thus symbolize each other in an abstract sense. It successfully represents both the utopian ideals of Socialism and the difficulties
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of its practice; this poetic image implies the artist’s criticism and reflection. Similarly, Hangzhou-born artist Zhou Yilun also responds to the rapid development of Chinese society. However, Zhou’s works are voiced in a totally different tone. With the Dada-like collage and a doubting attitude, Zhou assembles another image of Chinese society in a bold and lax work of multi-media. In recent years, Thai artist Natee Utarit also responds to Thai society’s political turbulence via his works. Continuing his series "The Amusement of Dreams, Hope and Perfection" (2007), the work The Ball of Greed and Illusion no. 3 (2008) discusses problems in Thai society and cultures through his painting vocabulary. The title with strong political implication reveals problems of colonialism which the artist would like to discuss2. A flattened balloon assembled with several flag-like color blocks serves as the metaphor of the conflict between political belief and life truth. In contrast with the approach of social concerns and reflection via art creation, works by Taiwan artist Michael Lin and Philippine artist couple Alfredo & Isabel Aquilizan take another approach of intervening in the society and applying cultural elements. Michael Lin transforms the patterns of printed cloth into various creations. This not only realizes his affirmation that art should be integrated into life, but also blurs the boundary between daily elements and cultural images; hence he creates new colors for art and for life. On the other hand, works by Australia-based Philippine artists Alfredo & Isabel Aquilizan are tightly linked with their own living experiences. Consisting of sculpture, installation and painting, their creations discuss themes of immigration, community, family and memory. Combining architecture, sculpture, painting and collage, Twin Tower displays the artists’ subtle observation towards life, as well as their deep emotion towards family, community and the earth, with those multi-layered objects and the building structures. On the same path, works by Niti Wattuya and Zhang Yuan are strongly linked with the environment and the earth. Born in Thailand, Niti Wattuya’s works usually start with the cultural customs and natural geography of his hometown. Talented in water views, he expresses his concepts of the relationship between humans and the nature through his landscapes. The way he mixes realistic depiction with abstract styles gives his landscapes a sense of contemporary poetics. A similar approach and concern also appears in Chinese artist Zhang Yuan’s Liangjiadian - Monkey King. Beneath the seemingly peace and poetic image, there conceals a sense of uncertainty and solitude which is related to the polluted earth around the artist’s dwelling. 3
Language and Landscape of the Mind Set In Zobel’s Erenos (1959), it is clear to see the high quest for the purity of visual languages in the 50s arts. On the canvas of purest black lines and light-gray ground, Zobel constructs an absolutely abstract world where he expresses an Oriental conception with his rapid brushes and simple colors in a musical atmosphere. Works by Taiwanese artists Lee Ai-Chen and Shi Jin-Hua have embodied this life concept as well. Skilled at oil paints on aluminum plates, Lee Ai-Chen blurs the boundary between paintings and media images with her half-realistic, half-abstract style to depict an image with unique textures. In this way, she represents the profound space of the mindset on a seemingly flat texture. As for Shi Jin-Hua, his works originate from the measurement and exploration of the existence of the self. By walking back-and-forth and drawing repeatedly with a pencil, he marks life records one by one on paper. In the look of an abstract painting, Pen Walking #80 is
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the artist’s combination of concept arts, behavior arts and an individual life. Two female artists, Juin Shieh and Geraldine Javier, construct their inner landscapes from sensible and sentimental angles respectively. From the previous depictions of female space, to recent series of women’s “Immanence” 4, Shieh’s works always convey a feminist awareness. In her new creation Slowly and Scary, she interweaves human images with complicated vinery patterns on her wallpaper at home, in order to express the life philosophy of struggling to progress with layers of oil paints. The female patterns form a contrast against the existing patriarchal system. Different from Shieh’s sensible approach, Philippine-born Javier continues to experiment in painting vocabulary and female spaces in a more sentimental and more traditional way. Her recent work The Guardian consisting of paintings and embroidery, reveals a mysterious poetic from the beautiful surface, and narrates the concerns and emotions towards the environment through her adoption of insect specimens and oil paints. Contrary to the above-mentioned artists who focus on the depiction of the mindset, three artists who were born in the 70s, Jumaldi Alfi, Handiwirman Saputra and Tang Jo-Hung, choose to develop their arts from the concerns of the self and the innovation of the painting language. With the background from the primary Indonesian contemporary art group ”Jendela”, Alfi and Saputra often explore the truth of visual arts through the imitation of painting vocabulary. Both Alfi’s Homage to Martin Kippenberger and Saputra’s Mental Series No. 8 discuss the definition and boundary of visual arts via the form of painting itself: Alfi presents two visual textures of hand drawings and media images on the same canvas, while Saputra confronts the audience’s visual experiences in the transformation between daily objects and paintings. Furthermore, Taiwanese artist Tang Jo-Hung who paints on medium-density fiberboard integrates linear brushes with thick oil paints in a way combining eastern and western painting techniques. In his diverse skills of drawing, painting, silhouetting, scratching, gluing, etc, he establishes his unique life of Twinity, in which he continues to develop a new dialogue with his own multiple dimensions. Artists reflect themselves and respond their times with their creations. Owing to artists' constant quests and efforts made for perfection, we have an existing utopia where we can relax our mind and enjoy. (translated by Jessie Kuo)
1
Born in Braque and ended up in Switzerland, Austrian lyrical poet Rainer Maria Rilke (1875-1926) is well known for his poetry Das Stundenbuch (1905), Gedichte (1907-1908), Die Sonette an Orpheus (1923), Duineser Elegien (1912-22), etc.
2
See the curator Beverly Yong's interview with Natee Utarit, "Dreams, Hope, and Perfection", VWFA, 2008, p. 27.
3
Liangjiadian is the place where the artist lives. According to Zhang Yuan, in Liangjiadian a garbage dump was built near the water source of Beijing. Since the objection from the neighbors failed, they have to smell the stinky garbage and worry about the pollution of the water. This is why Liangjiadian is implied here as the ignorance and destruction of the environment.
4
The term "immanence" comes from the French feminist philosopher Simone de Beauvoir (1908-86). In her creation statement, Juin Shieh clearly points out that her works on female immanence are not merely a response to the pessimistic readings of Simone de Beauvoir, but follows Iris Marion Young's (1949-2006) affirmation that emphasizes female body experiences and languages, in order to actively respond to women's inner immanence and hence achieve another sublimation for one's life.
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Jumaldi Alfi 裘馬迪．艾爾菲
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《向馬丁．齊本伯格致敬》 Homage to Martin Kippenberger 2005-2007 油彩畫布 Oil on canvas 195x250 cm
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Jumaldi Alfi
2007
裘馬迪．艾爾菲 1973 1993 1999
Born in Lintau, West Sumatera, Barat, Indonesia Indonesian Institute of Art, Yogyakarta, Indonesia Indonesian Institute of Arts (ISI), Yogyakarta, Indonesia
Selected Solo Exhibitions 2010
"Life/Art #101: Never Ending Lesson", Valentine Willie Fine Art, Singapore; Black Box, MAP, Kuala Lumpur, Malaysia; Sangkring Art Space, Yogyakarta, Indonesia
2006 "ICON: Retrospective", Jogja Gallery, Yogyakarta, Indonesia "Wedding: Tobacco & Art", Tri Juang tobacco warehouse, Magelang, Indonesia 2005
2008 "Color Guide Series", Nadi Gallery, Jakarta, Indonesia 2006 "ALFI", Ipreciation, Singapore 2003
"Cover", French Cultural Center (CCF), Yogyakarta "Current Trend", Regent Hotel, Jakarta
2001
"Alfi-Lukis", Lontar Gallery, Jakarta, Indonesia "Derau-Noise", Bentara Budaya (BBY), Yogyakarta, Indonesia
1998
"Rekonstruksi", Aikon Art Space, Yogyakarta, Indonesia
Selected Group Exhibitions 2010
"Utopia – Asian Contemporary Art Group Exhibition＂, MSAC, Taipei, Taiwan "Tramendum", Philo Art Space, National Gallery, Jakarta, Indonesia "Homo Ludens", Emmitan Contemporary Art, Surabaya, Indonesia "Reach for the Heart - A Beginning", Sin Sin Annex, Hong Kong Hong Kong Art Fair with Nadi Gallery, Hong Kong "The Grass Looks Greener Where You Water It", Art Paris, France "Space & Image", Ciputra World Marketing Gallery, Jakarta, Indonesia "Transfiguration", Grand Indonesia, Jakarta, Indonesia "Masih Ada Gus Dur", Langgeng Gallery, Magelang, Indonesia "Bakaba", Sakato Art Community, Yogya National Museum, Yogyakarta, Indonesia
2009 "Biennale Jogja X", Sangkring Art Space, Yogyakarta, Indonesia "Kado#2", Nadi Gallery, Jakarta, Indonesia "Two Sides of Solitude: Jumaldi Alfi & Andy Dewantoro", Garis Art Space, Jakarta, Indonesia "Diverse - 40 x 40", Sin Sin Fine Art, Hong Kong "2nd Odyssey", Srisasanti Gallery, Yogyakarta, Indonesia "The Topology of Flatness", Edwin Gallery, Yogyakarta, Indonesia "AWARENESS, Indonesian Art Today", Canvas International Art, Netherlands "Jendela, A Play of The Ordinary", NUS Museum, Singapore "Friendship Code", Syang Art Space, Magelang, Indonesia "In Rainbow", Esa Sampoerna Art House, Surabaya, Indonesia Shanghai Art Fair with Nadi Gallery, Shanghai Hong Kong Art Fair with Nadi Gallery, Hong Kong "Reach For The Heart", Sin Sin Fine Art, Hong Kong 2008
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"Commond Grounds - A Glimpse of Indonesian Contemporary Art", National Gallery, Jakarta, Indonesia "Dari Penjara ke Pigura", Gallery Salihara, Jakarta, Indonesia "Nostalgia - Indonesia Contemporary Art Exhibition", Michael Ku Gallery, Taipei, Taiwan "Persamaan Mendasar, Sekilas Seni Kontemporer Indonesia", Galeri Nasional , Jakarta, Indonesia "Indonesian Invasion", Sin Sin Fine Art, Hong Kong "Manifesto", The National Gallery of Indonesia, Jakarta, Indonesia "Expose #1, A Presentation of Indonesian Contemporary Art by Deutsche Bank & Nadi Gallery", Four Season Hotel, Jakarta, Indonesia "Tribes", Sin Sin Fine Art, Hong Kong "Slide", Soka Art Gallery, Beijing "A Decade of Dedication: Ten Years Revisited", Selasar Sunaryo, Bandung, Indonesia "Loro Blonyo Kontemporer", Tri Juang tobacco warehouse, Magelang, Indonesia China International Gallery Exposition (CIGE), Beijing
Shanghai Art Fair with Langgeng Gallery, Shanghai "Peekaboo", Valentine Willie Fine Art, Kuala Lumpur, Malaysia "Fetish Part I", Biasa Gallery, Bali, Indonesia "Contemporary Indonesian Art Now", Nadi Gallery, Jakarta, Indonesia "Time", V-Art Gallery, Yogyakarta, Indonesia "Common Grounds - A Glimpse of Indonesian Contemporary Art", National Gallery, Jakarta, Indonesia
"Open View", Biasa Gallery, Seminyak, Bali, Indonesia "Beauty & Terror", Loft Gallery, Paris, France "Indonesian Contemporary Art", Ipreciation Fine Art, Singapore "Re-Reading-LANSCHAAP", Sakato Group, Nadi Gallery, Jakarta, Indonesia "The Ordinary, Jendela Group", Nadi Gallery, Jakarta, Indonesia "Urban Culture, 2nd Biennale Jakarta", Museum Bank Indonesia, Jakarta
2004 "Multi Sub Culture", Federal Foreign Office Berlin, Germany "Wings of Words, Wings of Color", Bentara Budaya (BBY), Yogyakarta, Indonesia "Wings of Words, Wings of Color", Langgeng Gallery Magelang, Indonesia "Concept Behind Artwork", Gaya Fusion Gallery, Ubud, Bali Singapore Art Fair with Sun Jin Gallery, Singapore "Sanggar Sakato", National Gallery, Jakarta, Indonesia "Barcode", 16th FKY (Yogyakarta Arts Festival), Taman Budaya, Yogyakarta, Indonesia "Get the Book!!!", Fund Raising, Kedai Kebun Forum (KKF), Yogyakarta, Indonesia 2003
"Read Art Project", Cemeti Art House, Yogyakarta, Indonesia "Read Art Project", Gadjah Mada University (UGM) Library, Yogyakarta "No Body", MonDecor Gallery, Jakarta, Indonesia "Borobudur Art Festival", Museum H. Widayat, Mungkid, Magelang, Indonesia "Bazart", 15th Yogyakarta Art Festival, Museum Benteng Vredeburg, Yogyakarta "Membaca Ruang-Ruang", Cemeti Art House, Yogyakarta "Exploring Vacuum I", Cemeti Art House, Yogyakarta, Indonesia "Drawing", Sanggar Dewata Indonesia, Yogyakarta "Interpellation", CP Open Biennale, Nasional Gallery, Jakarta, Indonesia "10 th Indonesian Art Awards", Building ASEAN, Jakarta, Indonesia "Infatuated", Sun Jin Gallery, Singapore "Passion: Etno Identity", Shanghai, Beijing, Jakarta
2002
"Bertiga", Jogjakarta Fine Art Community, Yogyakarta "Re-Reaksi", Museum H. Widayat Mungkid, Magelang, Central java, Indonesia "Estetica Mundi, Jendela Group", Selasar Seni Sunaryo, Bandung, Air Art House, Jakarta, Indonesia "Pose", Museum Affandi, Yogyakarta, Indonesia "Read", British Council, Jakarta, Indonesia "Expression an Ear", Hotel Padma, Bali, Indonesia "Bertiga, Alfi, Antonius Widodo, Gusbardian", Kupu-Kupu Art gallery, Jakarta
2001
"Three Sumatran Artists", Chounard Gallery, Hong Kong "Not just Political", H. Widayat Museum, Mungkid, Magelang, Central Java , Indonesia
2000 "Keras kepala", Cemeti Art House, Yogyakarta, Indonesia "Gaya Fusion" Gaya Gallery, Bali, Indonesia "Art Festival & Bursa", Bizzete Gallery, Jakarta, Indonesia "Sanggar Dewata", The National Gallery of Indonesia, Jakarta, Indonesia
Awards 2003
Finalis Indonesian Art Award X
1998
Karya Lukis Terbaik FSR ISI, Yogyakarta Finalis Indonesian Art Award V
Alfredo Juan Aquilizan & Maria Isabel Gaudinez-Aquilizan 阿弗列多與伊貝莎．阿奎立山
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《雙塔》Twin Tower 2004 油彩、複合媒材 Oil on mixed media 197x87x19cmx2
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Alfredo Juan Aquilizan 阿弗列多．阿奎立山 1962
3rd Echigo Tsumari Triennial. Necklace Project, "Dream Blanket Project": Japan. Doichi Tokamachi. Japan 2005
Born in Cagayan Valley, Philippines
Master of Arts in Fine Arts Anglia Polytechnic University Norwich School of Arts and Design Norwich, United Kingdom
2004 " Grain of Dust, Drop of Water", Gwangju Biennale, Gwanju, Korea "Quantum Leap", Biwako Biennale, Shiga, Japan 2003
"Zone of Urgency", La Biennale de Venecia, Viewers Dictatorship, ZOU, Arsenale Venice, Italy
2002
"Culture Meets Culture", Busan Biennale, Busan, Korea "Under Construction" (New Trends in Asian Contemporary Art) Tokyo, Japan-Japan Foundation
Professional Fine Arts The Art Student League of New York New York City, N.Y. U.S.A.
Education Units in Teaching University of the Philippines College of Education Diliman Quezon City
2000 "Comunicacion", Septa Biennale de la Havana, Havana Cuba 1999
"Beyond the Future", 3rd Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia "Communication Channels for Hope", 1st Asian Art Triennial, Asian Arts Museum, Fukuoka, Japan "1999 Phillip Morris Asian Arts Awards", National Art Gallery, Kuala Lumpur, Malaysia
Maria Isabel Gaudinez-Aquilizan
1997
"Individuo Y la Memoria", 6th Biennale de la Havana, Havana Cuba "Asa Nisi Masa", MAFA Degree show, Norwich Gallery, Norwich, England
伊莎貝．阿奎立山
1991
"Manila-Pisa Mail Art Exhibition", Exchange Program, Pisa, Italy
1988
"Merit Award Exhibition", Art Student League, New York, U.S.A.
1987
Bachelor of Communication Arts Major in Theatre Arts Production Assumption College Makati City, Philippines
Verna Luz Gallery, New Jersey, U.S.A. "Annual Exhibition", Ysmael Gallery, Soho, New York, U.S.A.
1986
4th ASEAN Youth Painting Workshop, CCP Manila
Selected Group Exhibitions Collaborative Projects
"Wonder", 2008 2nd Singapore Biennale, Marina, Singapore "Filipinas" Jaime Gil Biedma Fellowship, Casa Asia, Barcelona "Code Share", 10 biennales, 20 artists, Contemporary Arta Centre, Vinius, Lt.
Bachelor of Fine Arts The Philippine Women's University College of Fine Arts and Design
1965
2010
Born in Manila, Philippines
"Utopia - Asian Contemporary Art Group Exhibition", MSAC, Taipei, Taiwan "Erinnerungen (Memories)", Kunstpavillion, Munich, Germany "In God We Trust: Project Another Country", Jan Manton Art, Brisbane "Last Words", Gallery 4A, Sydney "6th Asia Pacific Triennial of Contemporary Art", In-Flight (Project Another Country) Queensland Art Gallery, Brisbane, Australia "Homeless Home: Project Address", Museum on the Seam, Socio Political Museum, Jerusalem, Israel "Stock: Project Another Country", Vargas Museum, University of Philippines Liverpool Biennial, Liverpool, London, UK
2009 Hong Kong Art Fair 09, Hong Kong "CODE SHARE", Contemporary Art Centre, Vilnius (CAC) Biennale Cuvee 09, OK Centre for Contemporary Art, Upper Austria "Scope", New York Lincoln Centre, New York, USA 2008 "Project Be-longing,｀Dream Blanket´", Logan Regional Art Gallery, Logan, QLD "Concrete Culture-Another Country: Project｀Address´", Ivan Dougherty Gallery, COFA Sydney "BE-longing: Last thing", National Museum of the Philippines, Danas, Cultural Center of the Philippines 2007
"HANDLE WITH CARE", Adelaide Biennial of Australian Art, Art Gallery of South Australia, SA "Project Be-longing,｀In-Transit´", Jan Manton Art, Brisbane, QLD
2006 Filipiniana, Be-longing Project: "Homebound" Centro Conde Duque, Madrid, Spain Biennale of Sydney, Zone of Contact, "Be-longing Project:｀In-transit´", Ivan Dougherty Gallery / Tin Shed Gallery, Sydney Australia
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"Ten Days On The Island HWY#1 Project,｀Manufactured History´", The Railway Station, Penguin, Tasmania, Australia "Dreaming Now,｀Dream Blanket Project´", America The Rose Museum, Waltham, Mass. USA
Current Projects
Institutional Collections Singapore Art Museum, Singapore; Asian Arts Museum, Fukuoka Japan; The Cultural Center of the Philippines; The Lopez Museum Foundation; The Drawing Room Manila; The Podium Manila; GMA Network Channel 7, Quezon City; Philippine Long Distance Telephone Company, Makati City; Art Association of the Philippines; ABS-CBN Channel 2, Quezon City