Project Fulfill Art Space 2008-2013 by Project Fulfill Art Space

2008-2013

04 PREFACE BY THE DIRECTOR 序言

07 REPRESENTED ARTISTS 代理藝術家

41 ARTIST'S BIOGRAPHIES 藝術家簡歷

51 PROJECTS 2008-2013 展覽計畫

94 EXHIBITION LIST 過往展覽列表

序言

就在藝術空間 Project Fulfill Art Space 於2008年成立於台北，旨在提供一個當代藝術交流平台。「就在」 (英文意即 "right here, right now" )，而英文取名 PROJECT FULFILL，則意指「專案實踐」，這兩個名字看似迥異，其實互補；前者是一種劍及履及的行動力，代表我們對這個空間的想像，後者是一種此時此地的當下感，反映的則是我們對受邀作品的期待。成立五年來就在藝術皆以「計畫」(Project)形式邀請藝術家展覽，呈現作品類型多元從平面到錄像、到裝置、再到聲音，這樣的展覽方式不僅凸顯藝術家創作特色，甚至能突破個人以往創作的限制。本次畫冊收錄就在藝術4位代理藝術家：王璽安、吳長蓉、杜珮詩、陳松志，並精選出過往 10個國內外合作的重要展覽計畫。

就在藝術空間總監

林珮鈺

PREFACE BY THE DIRECTOR

In 2008, Project Fulfill Art Space was established in Taipei as a platform for the exchange of contemporary art. Although Project Fulfill Art Space’s Chinese name, “Jui Zai,” (meaning “right here, right now”) might seem different from its English name, “Project Fulfill”, the two names actually complement each other. One refers to a quick and resolute execution, representing our imaginations surrounding this space. The other refers to the sensations found right here, right now, which echo our eager and welcoming embrace of art. Since its establishment 5 years ago, Project Fulfill Art Space has been inviting artists for exhibitions in the form of projects, showing diverse art forms, from painting, to video, to installation, to sound art. This approach not only emphasizes the characteristics of artists, it also dissolves the limit of individual artists in their artistic creation. This catalogue includes four artists represented by Project Fulfill Art Space: Sung-chih Chen, Pei-shih Tu, Sean Wang, and Chang-jung Wu; and it proudly presents 10 essential exhibition projects by Taiwan and foreign artists .

Project Fulfill Art Space Director

Pei-Yu LIN

REPRESENTED ARTISTS 代理藝術家

Sung-Chih CHEN

陳松志

根莖之室─初探陳松志作品中的毀壞、氣味與記憶

談論陳松志的作品往往會陷入於一種面臨雙重

具有氣味的情感記憶

性的拉扯當中，例如若以詞藻去試圖捕捉、描

在藝術領域中，嗅覺也一直未若視覺、觸覺或

述那些處理廉價、粗鄙媒材的藝術手法與內

是聽覺那樣受到重視，但陳松志歷來的創作

容，便可能會失卻與作品相符的樸實之感；又

裡，卻曾經出現過幾件值得一提的作品，無論

或是作品的意義實已經由創作者主觀的圈圍、

是加入嗅覺因素所引發的特殊記憶，或是嗅覺

決定留下可供明確討論的輪廓範圍，但卻又同

即為作品內容主體等，皆令人印象深刻，例如

時與一種意義的缺席僵局相為並陳。那些經由

《奢侈的墮落》（2003）從這件作品也可觀

人為行動後的殘跡，排拒了手工技藝的喧賓奪

察到至今仍為陳松志創作關懷的幾個核心，一

主，僅具有功能性的簡單直述可能，並在藝術

如進入這個所謂作品的空間中，視覺上幾乎空

家「毀壞」與「建構」的對比交織當中，形構

無一物，貧瘠的只剩下維持一個（空）房間所

出在日常經驗中顯易忽略的詩意片段。

必須擁有的最低限度，而少數可見的口香糖物質卻早已不再保有原有面貌，它變形、失去

具有時間的毀壞記憶

色彩，被人踐踏到甚至失去黏性，在參觀者

做為謎底的「時間」卻被強大的張力凹摺壓進

的觀賞和介入過程中，成為相反、面目全非的

謎題本身，因而解謎本身同時也是建構謎題本

物質。一方面，已經極簡回返至媒材的物質屬

身，當中，「毀壞」成為線索，而藝術家的敏

性，但藝術家卻仍嫌不夠似的持續以消減、清

銳與美感，便在這些建構破壞的藝術手法上顯

除之邏輯，致力於追求能夠「增添到最少」的

現。例如在牆面上所拼組出木片風景的《微弱

極限；另一方面，在陳松志作品中所出現的物

的美感》（2012），這些顏色深淺與形狀不一

質，每每都能以微弱軀體釋放出強大眩目的力

的木碎片來自拆除舊建築後的廢棄物質，且因

量，就像是在《奢侈的墮落》的嗅覺一般，它

長期使用以致纖維早已脆化，以徒手之力便能

微小到甚至無法捉摸、指稱它的所在，但在空

輕易撕下表皮，並於表層被撕開之餘，讓我們

間中卻無一能遺漏掉它的氣味，其強烈的穿透

得以目睹原先隱現在那時間模層表面之下的物

性，以及對於記憶與情感的連結啟動。

體，在此，內外因而進行了一個翻轉的動作。另一件作品則是《無題—房間1》（2008）在或是加速時間導致外表物質崩落的過程，或是

被認為具有殿堂神聖感的美術館中，聞到這樣

將來自不同時空所所拆卸下來的牆面，以勞力

私密而無序的氣息（尿味），無論是對於身體

體現的方式，重新組合在一片新構牆面當中，

控制所出現的反常，或是在都市空間的治安死

皆讓我們得以窺見那一幕幕關於時間膜層的存

角時常可觸及的經驗，由於污穢所形成的失序

在，以及原先須耗費曠時才得以見到自然法則

感，都讓我們從中意識到這種對於破壞規則、

消耗後的殘狀。對於毀壞、變質的偏愛，陳松

系統而感到焦慮的反應，其背後所存在社會約

志總是在平淡無奇的日常生活中，尋求那些背

束個人行為的規範力量。

離審美慣性、散落在我們日常經驗裡的「殘存」美感。

《微弱的美感》木料、現地裝置│尺寸依場地而定│路易威登台北藝文空間│台北 DelicateSensibilities, timber, site specific installation, 248x665cm, Espace Louis Vuitton Taipei, Taipei, 2012

特別是，陳松志藉由嗅覺元素的加入，使作品

身體─作品關係的重新置換

往往暗藏了對於以視覺經驗為基礎的一個推翻

陳松志的作品有著低限主義的外觀與面向材質

與省思。在一般的傳播機制當中，隱含著大量

本身的還原性質地，然而，卻是以取徑變形的

「看」的範式，今日借助更高倍能的器材，延

方式顯現在作品當中，亦即是，低限的面貌僅

伸了人的視覺能力，可以將遠在天邊的景象拉

為其創作實踐當中，諸多複合、融混手法的其

近至眼前，看到難以想像之外的物象，然而，

一選項，故而得以具備原低限主義當中，並不

若以視覺觀察周圍事物，觀看主體與被觀看之

存有的時間性軌跡。每一次的觀看、甚至是每

物體之間，必然因為兩者之間的距離，故而製

一次的呼吸，個人存在於內心最深層的過往記

造出一種深度感，但嗅覺卻是沒有距離感或空

憶，都在陳松志對於習以為常之觀看關係的竄

間感的，深陷其中，氣味與身體的嗅覺器官相

改之下，以身體性參與的感知模式所召喚而出。

互刺激並引起無意識的記憶。氣味在空間中徘徊不去，也在記憶裡留連忘返。

《典藏‧今藝術》雜誌總編輯

高子衿

《無題-日常的雕塑》明鏡、紙本、工程用砂│現地裝置│尺寸依場地而定│ 就在藝術空間│台北 Untitled-Daily Sculptures, paper, glasses, 3 tons of construction sand, site specific installation, Project Fulfill Art Space, Taipei, 2010

Sung-Chih CHEN Rooms of Rhizome—On the Destruction, Smell and Memory in Sung-Chih Chen’s Artworks When talking about Sung-Chih Chen’s works, a dilemma usually presents itself. If one tries to capture or describe with words the artistic method and content that he expresses through the inexpensive, coarse media, one might fail to arrest the simple essence of his works. On the other hand, if one says the meaning of and the discussion about the works have been subjectively determined by the artist at first, one could not help but noticing the absence of meaning in the works at the same time. The artificial traces eliminate the iridescence of craftsmanship and retain a kind of simple statement of functionality. Poetic fragments of the daily life are delineated in the interweaving process of the “destruction” and “construction” by the artist. Time-embedded memory of destruction “Time” was the answer to the puzzle, but it was transformed into the puzzle itself by this powerful force here and represented as the wrinkles. The process of solving the puzzle became simultaneously the construction of the puzzle itself. At the meantime, the “destruction” served as a piece of clue that enabled the revelation of the artistic method of the artist when he constructed the deconstructed. A wooden landscape, titled “Delicate Sensibilities” (2012), was collaged by wooden pieces that varied in color and shape came from the debris of an old, torn-down building. The fibrous tissues were already very flimsy due to the longterm use, so the surface could be peeled off easily by hands. The removal of the surface allowed us to see the previously hidden interior covered up by the membrane of time; and therefore, the inside and the outside were reversed. We had a glimpse of the existence of time that covered everything like a membrane; and we also had a chance to see the ruinous state of materials that usually would take a long time to reveal itself, whether it was in the process of speeding up the collapsing of material surface, or in the new wall composed of old materials from different time and space manually. With an inclination towards the destructed and degraded, in the common and ordinary daily life, Sung-Chih always looks for the “surviving”

beauty that deviates from the norm of beauty and exists in our daily experiences. Olfactory memory of affections In the fields of art, the olfactory sense is rather downplayed comparing to the attention the visual or tactile sense has received. Nevertheless, in Sung-Chih’s series of works, there are a few works that are worth our attention because the element of the olfactory sense in the works is the key to unique memories; or the olfactory sense is precisely the essence of the work. One of these impressive examples was “Luxurious Degradation” (2003) on which some topics Sung-Chih has consistently focused and they were visible in this work as well. As one stepped into this space that was the work itself, there was virtually nothing inside. It was kept in its most minimalistic way as a(n) (empty) room. The chewing gum could no longer remain its original form. They were deformed, pale, tramped on until it was stiff. During the visitor’s appreciation of and intrusion into the space, the gum was changed into something beyond recognition. On the one hand, even though the work had returned to the material base of the media, the artist still continued to lessen or eliminate it in his pursuit of “maximizing the minimum.” On the other hand, the materials appeared in Sung-Chih’s works could always emit dazzling, forceful power with their insignificant existence. Just like the smell in “Luxurious Degradation,” it was so subtle that it was impossible to capture or pinpoint its existence, but somehow the smell filled every corner of the space. It penetrated everything and elicited the connection between memory and emotion. Another example would be “Untitled—Room 1” (2008). In a respectable, almost sacred, space such as a museum, the private, disruptive appearance of the smell (urine), whether it was due to the lost of the control over one’s body, or the sense of disorder caused by the filth that was common in the dark corners of an urban space, all made us realize the breaking of a certain system and rules. It also reminded the visitors of the anxiety this realization induced as well as the normative power behind this anxiety, which was projected on individual by the social norm.

The more unique thing is that by adding the element of the olfactory sense in his works, Sung-Chih transforms his works into a kind of subversion of and contemplation on the other works that usually center on visual experience. However, if one only relies on the sight, the distance between the seeing subject and the seen object would remain fixed as the distance between the two, creating a sense of depth in-between. However, the olfactory sense erases the sense of distance or space, encompassing the subject. The smell and the olfactory organ of the body interact with and stimulate each other, evoking memories from the unconscious. The smell lingers in the space as well as in memory.

Reversion of the body-work relation Sung-Chih’s works always carry the elements of looking minimalistic and employing the fundamental essence of the material. Nonetheless, these elements are usually presented in a unique, unexpected way. In other words, the minimalistic look is simply one of the combined, integrating methods in creating his works. Therefore, there are the traces of time in his works that do not exist in minimalism. Each glance, or even each breath, exists in the deepest memory in the mind, and each of them is conjured up through the senses of the body that participates in viewing of the works when Sung-Chih transforms the habitual way of viewing artworks. Editor-in-chief of Artco Monthly

Tzu-Chin Kao

《無題-房間2》明鏡、木料裝置│台北當代藝術館│台北 Untitled-Room 2, mirror, timber, installation, 780x610x300cm, Museum of Contemporary Art, Taipei, 2008

《無題2013》聚苯乙烯、水性螢光塗料│現地裝置│尺寸依場地而定│關渡美術館│台北 Untitled 2013, styrofoam, fluorescent acrylic, dimensions variable, 1352x360x60cm Kuandu Museum of Fine Arts, Taipei, 2013

Pei-Shih TU

杜珮詩

杜珮詩的歷史生態影像

動畫的動人之處在於創作者如何在物質之間創

治化兩個極端間的生態生命，但又不是存在和

造出指向「生命」的動態。這裡「生命」的意

空間的生命，而是歷史的生態生命：同時具有

涵不只是材料的生命、角色或形象的生命、時

無價值階級（普世等價）的生滅狀態和常民的

間的生命，還包含著敘事（歷史）的生命，甚

碎裂世界。藝術家通過動畫所拼組成的常民宇

至我們可以說動畫就是一種將材料動態化為影

宙，回溯到一個基本的民主位置上：即消費生

像的創作。動畫不是活動圖像或是記錄動態的

命底下真實的感性結構。

影像，也不是再現動態的影像，而是因為動態而產生影像。

從《玉山迷蹤之一》到《玉山迷蹤之五（從米歇爾．傅柯到我們的美好未來）》，這個歷

杜珮詩的動畫從《另一個美好的一天》、《誰

史生態世界出現了一種擴張，從指涉台灣的歷

在乎真實》便呈現出以手作的拼貼場景作為影

史碎片與事件碎片，一直到世界歷史的收集，

像的主題，其中的角色或活動物件都必須與色

這項擴張的意義不只是材料的擴增，或是增加

光同等強烈的背景環境「等價」、「共處」。

國際化的溝通性，更富趣味的是即使是一種斷

這樣的基本模式讓可能出現的各種敘事元素

裂、神經質、機械式、錯亂的歷史生態景象，

（通常是一些擷取的歷史圖像）散置在影像

當置入這些擴增的異國歷史碎片時，圖顯的並

中，因此構成一種既存在歷史碎片（事件的暗

非世界的擴張，而是文化脈絡與知識情境上的

示）卻又是錯亂的脫脈絡歷史場域；杜珮詩雖

交疊與交錯更形複雜。換言之，動畫的敘事生

然不直接呈現任何政治議題或歷史敘事，但事

命不是通過動態的巧妙設計，而是碎片的特質

實上，卻直接地表達出台灣的歷史情境。

與這些特質所交錯召喚出的文化知覺，一個脫脈絡的生態影像自然地生成殖民情境。

歷史對我們而言究竟是什麼？杜珮詩從回國後至今的作品，都存在著政治性的圖像元素，但

生成，是一種複雜的動態，這種動態不是單靠

其創作核心並非形塑或提出政治訴求，而是回

材料與手法的連結即可，而需要對當代歷史情

到一種常民位置：歷史從未是連續的，甚至大

境有更直接的領會，並企圖呈現出幻象自身的

量刺激的日常知覺如土石流般已經沖散、甚至

思考與構成。這是杜珮詩所創造出的歷史生態影

淹沒歷史感的可能性。在這種狀況下的政治知

像中最值得我們期待的面向：生態關係的生命。

覺其實是生態式的，主導我們情感調性的環境知覺，而不是任何即時或後設的政治「觀」。

台北藝術大學美術系副教授

黃建宏脫離歷史脈絡的人物剪影，在這個常民的歷史生態世界中，僅能機械式地動作，歷史生命與動態生命之間產生了極大的矛盾。所以，她的動畫影像所活化的生命，是一種在美學化和政

《玉山迷蹤之五（從米歇爾．傅柯到我們的美好未來）》HD 定格動畫單頻道投影 The Adventures in Mount Yu V (From Michel Foucault to Our Glorious Future), HD video projection, 7'00", 2011

Pei-Shih TU Pei-Shih Tu’s Images of Historical Ecology

The beauty of animation lies in the methods of how the artist creates the dynamics of in between materials that mimics “life.” This “life” refers not only to the life of materials, characters and figures, or time, but also includes the life of narrative (history). One can even claim that animation is a type of creation that transforms materials into action. Animation is not a group of images that move, or those that record movements; neither is it a group of images that represent movements—it is a group of images that are produced because of movements. Since "Another Beautiful Day" and "Who Cares About The Real", Tu has based her theme on using collage scenes created by hand. The characters or moving objects all have to be “equally important” and “coexist” with the background that carries strong colors and light. This approach allows various kinds of narrative elements (usually captured historical images) to be scattered in the animation, and forms a site that carries existing historical fragments (implications of historical events) but is incoherent to the historical context. In fact, although Tu does not blatantly tackle any political issues or historical narratives, she directly states the situation of Taiwan in history this way. What is history for us? Since her return to Taiwan, Tu’s work all contains political images. However, the core of her creation is not to influence or voice any political statements; instead, it aligns with a position shared by common people. History is never continuous. Our senses are stimulated so much everyday that our sense of history seems to be drowned in the avalanche of stimulation. Given this situation, our political awareness is actually ecological and related to the environment—a kind of awareness to the surrounding environment that eventually dominates our emotions, instead of any instant or structured political “point of views.” Silhouettes of characters that are no longer associated with the historical contexts could only move in a mechanical fashion in this historical ecology of the common people. Lives existed in history and the animated life become extremely conflicting. Therefore,

the life created by Tu’s animation is a form of life related to the environment caught between the two opposites of aesthetics and politics. Furthermore, it is not a life of existence and space, but a form of life of historical ecology. It simultaneously embodies the vicissitude of a non-discriminating class (universal and equal) and represents the fragmented world of the common people. This universe of the common people that Tu creates through animation could trace back to a fundamental position of democracy: it takes advantage of the real structure of senses hidden in life. F r o m " T h e A d v e n t u r e s i n M o u n t Yu I " t o " T h e Adventures in Mount Yu V (From Michel Foucault to Our Glorious Future)", this historical eco-world appears to be expanding, from representing fragments referring to Taiwanese history and historical events to a collection of world history. This expansion is not simply an addition of materials, or the increase of internationality. The more intriguing part lies in the broken, psychotic, mechanical and anachronistic representation of historical eco-context. When these historical fragments of other countries are embedded, the image does not emphasize the expansion of the world but the increasing complexity of cultural context and knowledge due to constantly overlapping and endless interweaving. In other words, the narrative life of Tu’s animation is not through some subtle designs of movements. It comes from the characteristics of these fragments and the cultural awareness consecutively summoned by them. The ecological images of an incoherent context organically grow into a colonial condition. Formation implies complex dynamics, which is not simply achieved by materials and techniques; it relies on a direct understanding of contemporary historical context and an attempt to show the thinking and structuring of fantasy. This is the aspect that we should expect most in Tu’s images of historical ecology: the life of ecological relations. Taipei National University of the Arts Assistant Professor

Chien-Hung Huang

《遺願》HD 定格動畫單頻道投影 Last Wills, HD video projection, 7'15", 2013

《可見的敘事》HD 定格動畫三頻道投影│鳳甲美術館│台北 The Visible Story, triple-channel HD video projection, 5'18", Hong-Gah Museum, Taipei, 2012

《玉山迷蹤之一》 HD 定格動畫單頻道投影 The Adventures in Mount Yu I HD video projection, 7'20", 2010

《可見的敘事》HD 定格動畫三頻道投影 The Visible Story, HD triple-channel video projection, 5'18", 2012

《誰在乎真實》 HD 定格動畫單頻道投影 Who Cares About The Real, HD video projection, 4'50", 2008

Sean WANG

王璽安

裂解的風景、振顫的眼讀王璽安的「繪畫—物件」

從觀者踏入展覽空間的第一步開始，其觀看經

簡言之，藝術家訴諸的是一種動態的觀看，以

驗的每個細節都涉及一種觀念性的迴返，這是

及不同認知方式之間的交叉辯證，這使得他的

王璽安此次個展「盒子：深邃的世界」特意準

作品製造出極不安定的視域，而繪畫也由單純

備的思考維度。他的作品儘管仍擁有極為感性

的再現，翻轉為三種層次的視覺性「晃動」。

而細膩的一面，卻不提供任何甬道，使觀者陷

三者之間相互纏繞，共構出這檔展覽所埋藏的

溺在奇觀與敘事的無限欲求裡，而是訴諸意識

繪畫之思。首先，觀察者位置與視角的改變，

層次的展開與提升，讓觀者清晰面對一連串關

是王璽安賦予作品的第一種「晃動」。其作品

於「看的認知結構」的議題；他透過最基礎的

總是要求觀眾注意到畫作與身體之間的相互關

透視問題、作品與作品之間的對話關係、畫布

係，這使得繪畫從再現的問題，過渡為「觀

的表面和基底（support），以及觀看位置與知

看—行動」的問題。第二種「晃動」，是將繪

覺模式的切換，反覆扣問吾人「將經驗對象視

畫翻轉為「觀看—認知」的問題。王璽安的繪

為（see as）何物」的理解基礎。

畫時常要求觀者進行不同認知模式的切換，在

我們如何理解「畫外」與「畫內」之關係？如何思考「描繪」之於繪畫實踐的根本意義？如何認定繪畫的「完成性」？類似的問題，被藝術家以隱而不顯的形式巧妙編織在「盒子」展的思考軸線裡。王璽安在這檔展覽中更為關切繪畫的反身性面向，意即繪畫實踐本身的環節與過程，而不是將自己劃限在如何描繪一幅圖像（picture）或風景（landscape）的狹隘範圍裡，無論外在或內在、現實或想像。換言之，對他而言，繪畫並不是預先設定一套緻密嚴謹的作畫程序，接著便只要按部就班地「完稿」即可。相反的，他往往是有限度的、極盡節制地處理作畫的每個步驟。從打底、勾勒、填色到覆蓋，目的皆不是為了成就描繪的對象（無論那是屋舍、樹林、飛鳥、花瓣，或者透過枝葉灑下來的光），而是藉由步驟之間所形成的關係與縫隙，逼現所有可以進行「繪畫之思」的刻度。可以說，他並不將繪畫視為單純的再現工具，或作為處理俗常生活經驗材料的手段，甚至也不以此粗淺地回應現實議題或社會關係，而僅僅執著於展示「以繪畫自身」作為思考繪畫本體論的可能途徑。

表面之間，提示出一種媒介性的「晃動」。

沈浸專注與疏離跳脫之間，在景物幻覺與畫布

第三種晃動，則是將繪畫進一步推導為「觀看—歷程」的問題。王璽安的畫面時常以極為節制、寡言的稀疏物象給予一種隱晦的「期待」，彷彿總有事物即將被召喚，它們只是尚未出現在我們眼前，進而創造一種過程性的「晃動」。遮蔽與在場、流逝與變形、橫越與進出、懸停與延續，這些是王璽安透過繪畫所試圖拓展的動態關係。他讓繪畫不再只是對於「再現—成像」過程欠缺思考的執行（純粹的技術展演、圖像描繪），也不再只是影像時代裡，創作者用以排解其實踐焦慮的工具（任意的議題嫁接），而是對於「繪畫作為一種行動∕踐履」的特質本身進行反覆質問與回應。藝術家的目光或許沒有停留在那些充滿迫切感的時局議題，但這遠非背對現實，或者對於那些社會現場顯得冷感或疏離。其繪畫之思試圖重申的是一塊原本就至關重要的美學疆域，意即，繪畫這項古老技藝本身的問題意識史。但這並非藝

《紅色裡的光》壓克力顏料、畫布 Lights in the Red, acrylic paint on canvas, 100x100cm, 2012

術的本位主義，相反的，藝術家的創作實踐很可能是一種警醒。他指引的不只是「繪畫仍有必要以自身對其脈絡進行批評」這個事實。更重要的是，這些「繪畫—物件」清楚揭示了：什麼是藝術既有歷史脈絡中，依然很重要的美學議題，儘管它們未必具有很強的社會性或及時性。換言之，若要再次催生嶄新的觀看經驗，並追尋徹底異質的表達方式，當代繪畫終究要從這樣的反身性考察開始。可以說，這檔展覽為我們提供了一次嚴肅而深刻的清晰示範。藝評人

王聖閎

《天空》油彩、壓克力顏料、畫布 Sky, acrylic paint on canvas, 145.5x112cm, 2012

Sean WANG Breaking Landscape Trembling Eyes : Reading Sean Wang’s Painting—Objects

When audience first step into the exhibition, each detail of their viewing experience seems to be involved in a type of returning to the conceptual. This is the contemplative space Sean Wang has prepared in the solo exhibition, Box: the Profound World. Although his paintings possess an extreme sensible and exquisite side, he does not offer any possibility that allows the viewers to be submerged in the unlimited desire of spectacles and narrative. Instead, he appeals to the development and elevation of the consciousness level so that the viewers could better face a series of issues regarding “the cognitive structure of viewership.” Through the most elementary question of linear perspective, the dialogue between artworks, what is in between the surface and support of the canvases, and the switching between viewer’s positions and consciousness modes, he repeatedly asks about the basic understanding of “what the objects are seen as.” How should we grasp the relation between the “outside” and the “inside” of a painting? How should we contemplate on the fundamental meaning of “delineation” in terms of paintings? How should be define the “completion” of a painting? These questions are subtly and implicitly embedded in the concept of the "Box" exhibition. What Wang cares about more is the reflective aspect of paintings in this exhibition, meaning the procedures and processes of the action of painting itself, instead of confining himself within the circumscribed spheres of how to delineate a picture or landscape, be it outward or inner, real or imaginary. In other words, painting is not a series of pre-meditated, delicate and meticulous procedures, which one only has to follow the steps to “complete” a painting. On the contrary, he usually takes care of every step of painting with incredible self-restraint and reservation. From laying the foundation, creating the outline, filling in the colors to finally painting the work, his objective is never to present the objects he paints (no matter it is a house, a forest, a flying bird, a petal or light shown through branches and leaves). What he pays attention to is to bring out the depth of “the contemplation of painting” through the relations and interstices formed in between all the

steps. It is safe to say that he does not take painting as a simple tool of representation, or a mean to deal with materials found in everyday life experience, or even as his tool to simplistically respond to some practical issues or social relations, but mainly and merely as a possible way to demonstrate the fact of using “painting itself” to contemplate on the ontology of painting. Simply speaking, Wang appeals to a type of dynamic viewership and the dialectics between different ways of cognition. This approach allows him to create very unstable viewsheds in his work, and transforms painting from pure representation to a type of “oscillation” that is comprised of three levels. These levels are intertwined, and together they construct the thinking behind this exhibition. The first level of oscillation is the change between the viewer’s positions and his perspectives that the artist has given to his work. His paintings always demand the viewers’ attention to the correlation between the artworks and the viewers’ bodies. This method transforms paintings from a question of representation to a question of “viewing—moving.” The second level of oscillation is to address the question of “viewing—cognition” in paintings. Wang’s paintings often demand that the viewers should switch in between different cognitive modes, moving between submerging concentration and distancing objectivism, which proposes a kind of media oscillation in between the illusion of landscape and the surface of canvases. The third oscillation further advances the question to the level of “viewing—journey” in paintings. Wang often provides a kind of ambiguous “expectation” from his utter reservation and the few and scattered objects in his images. As if there is always something that is called upon but has not yet appeared in front of our eyes, he creates an “oscillation” in process. Covering and presence, disappearing and metamorphosis, crossing and in-and-out, abrupt pause and continuation, these are the dynamic relations that Wang attempts to develop in his paintings. He no longer stays in the execution of “representation—formation” that lacks the process of thinking (i.e. pure demonstration of

techniques, delineation of images). Neither does he take paintings as a tool that some artists use to deal with their artistic anxiety (arbitrarily connecting art to any issues). Instead, he repeatedly questions and responds to the characteristic of “painting as a kind of action/ execution.” Maybe the artist does not pay attention to the pressing issues of the time; however, it does not mean that he turns his back on reality or that he is senseless and detached to the social scenes. The philosophy of his art is to appeal to the essential aesthetic domain, which has always been important ever since the beginning—the history of the consciousness question of this ancient art that we call painting. This is not the egoism of art. On the contrary, the artistic action of artists can be a kind of caution. What Wang points out is not only the fact

that “it is necessary that painting has to conduct selfcriticism of its own history.” More importantly, these “paintings—objects” clearly reveal the crucial aesthetic issues in the historical context of art although they might not be pressing or connected to the society. In other words, if one wishes to create a new way of viewing, and to search for a fundamentally different way of expression, contemporary art eventually has to start from a type of reflective investigation. It is obvious that this exhibition has provided for us an austere and profound demonstration. Art Critic

Sheng-hung Wang

"盒子"王璽安個展│展覽現場│就在藝術空間│台北 "Box" Sean Wang solo exhibition view, Project Fulfill Art Space, Taipei, 2011

上/《雪白下的山》油彩、壓克力顏料 Mountain under Snow White, acrylic paint on canvas, 72.5x60.5cm, 2011 下/《風景》油彩、壓克力顏料 Scene, acrylic paint on canvas, 72.5x60.5cm, 2009

《有金黃色的建築》油彩、壓克力顏料、畫布 Building with Gold Yellow, acrylic paint on canvas, 162x130cm, 2011

Chang-Jung WU

吳長蓉

生命中的不可承受的輕盈節拍

錯拍的糧食供需

錯拍的城市節奏

出自生活歷練體驗而以每日照顧的豬為主題，

藝術家以影像紀錄無數台北市街道上的U-Bike

吳長蓉以豬為題材，成功地讓豬在「糧食實

騎士與人迎面相遇、互相閃身的尷尬瞬間。都

料」和「象徵符號」之間滑動。藝術家的靈感

會的交通不僅代表移動，它是城市的輸送帶，

來自沉重的現實壓力，作品卻處理掉了日常的

是社會網絡、經濟命脈、是生息流動、能近遠

冗長雜質。在金融風暴之際，《紀錄片III-Slot

疏親；是無數的錯身、能不期而遇；是重複的

Machine》（吃角子老虎機）這件作品一方面

陌生、是沒有問答的熟悉。都會的相逢永遠不

指的是育種的成功率，一方面又暗示所有產業

會因為交通行為的規律和大量的重複經驗而鈍

也都被捲入金融投機遊戲中，無一倖免，即使

化，城市裡永遠有意外，意外卻總是有規律，

連最基本的生計供養產業，飼料和養殖，也都

而形成偶爾走音的城市旋律，在音籟雜沓的交

受到波及。當民生資源都被席捲在全球金融遊

通網絡中日日傳唱。

戲中，任何地點、任何原料都在資本相生的循環中，任何人也都可能承受了無端的風險和後果。

U-Bike是觀光或便民設施，卻製造了城市的意外遭遇，藝術家將城市相遇的社會和心理因素抽離，紀錄U-Bike騎士和一般交通常規交錯

吳長蓉創作動機來自全球經濟的荒謬性，在

時，雙方措手不及的際遇。藝術家將城市的現

「小豬五花」等系列中，藝術家以萬花筒的斑

實抽離，以音樂的流動性和節拍感來比擬都會

斕、節奏輕快的清脆配樂、賭博機器的響亮金

移動的物理關係，也同時用人潮往返的節奏關

屬聲，既呈現資本主義在累積資本、迅速複製

係，比擬音樂性的平行和交叉、抑揚和頓挫。

繁衍和倍數化利潤的真相，也呈現它創造的絢

但這音樂並非圓滑旋律，而是DJ刮唱片的即興

爛、短暫、遮蔽的繁華。吳長蓉用視覺美學的

音樂，不可預期的規律、規律的偶然。流動交

手法創造出一種對世界微觀巨視的方式，而發

通的錯拍成為城市生活中的「心律不整」，卻

明了她的「萬花筒經濟學」。

是吳長蓉的錯拍視覺樂曲。

大地四季還慷慨地供養物種，然而糧食供需鏈

錯拍的生命脈動

卻失了節奏。吳長蓉的藝術將現實拉遠，將

觀眾還沉浸在吳長蓉的在地遁世美學中，卻又

規模遠超過我們理解範圍的荒謬性，處理成無

被她的錯拍所驚擾。藝術家製作了一個既像血

關世俗的視覺和聽覺美學，在展覽空間中像教

液循環、又代表樂譜音符的節拍影像，以音樂

堂般地投影放送，以浪漫派時期的「沉浸」美

作品的封閉性和視覺作品的示意性，呈現了一

學包圍觀眾，以電音派對麻醉式的歡樂驅逐日

件「生命圖徵表」。而從飽滿絢爛的萬花筒視

常，藝術創造和避世主義彼此成就、相互安慰。

覺美學，走向樂譜式、數學式的簡約美學的同時，藝術家還留下暗記做為伏筆－象徵超人的紅色披風，符號能引發無名的秘密力量，在最關鍵的生命轉折點牽引出拍擊血脈的美學。

《On the Road》HD單頻道錄像 HD single-channel video, 6'00", 2013 33

生命中最難以承受的輕重緩急，莫過於身體錯拍時，等待康復、等待身體的自主節奏。藝術家在陪伴就醫的父親時，醫療機器調節藥物注射劑量的規律節奏，讓等待成為無限延長的節拍。吳長蓉創造了「機械命體流程」的視聽作品，延展出一般狀態下，眾人官能不會察覺的敏銳，為生命的慌亂節奏譜寫配樂，我們數算著連結生命的強弱節拍，以最卑微的美學心願等待樂章完成。善於將視覺音樂化的吳長蓉，而同義互喻的生命影像和音樂，即使單調也有不捨不棄的依戀，即使輕盈也有難以承受的沉重。吳長蓉的音符改變了時間流動之中立性，而讓生命中的每吋光陰都有不一樣的節奏和重量。彰化師範大學美術系助理教授

吳介祥

《紀錄片VII - 眠花》單頻道錄像│就在藝術空間│台北 Documentary IV-Night Night Flower, single-channel video, 3'10", Project Fulfill Art Space, Taipei, 2010

Chang-Jung WU The Unbearable Light Rhythm in Life

The erroneous rhythm of food demand and supply Inspired by life experiences and the pigs that she looks after everyday, Chang-jung Wu bases her theme on pigs, and successfully integrates the pigs that are actual food and those that are symbolic signs. The artist finds her inspiration from the heavy pressure of reality, but her work is exempt from the everyday dullness. When the financial crisis happened, her piece, “Documentary III—Slot Machine,” signaled at the successful rate of breeding on the one hand, and hinted at the fact that all industries were affected by the speculative financial games. None of them were free from the influence—not even the most fundamental food supply industry, feeds and breeding industries alike. When even living resources were caught up in the global financial games, any places and raw materials became parts of the capitalist cycles, and everyone had to bear unnecessary risks and consequences. Wu’s inspiration arises from the absurdity of the global economy. In “Pig Five Flower” series, while demonstrating the accumulation of capital, fast reproduction and exponentially maximizing profits in capitalistic manipulation, she also reveals the opulence, ephemerality, blinded prosperity of capitalism by using kaleidoscopic iridescence, upbeat and cheerful music, and the metal clang of gambling machines. Through her visual aesthetics, Wu creates a unique way of observing the macroscopic world with a microscopic point of view, and starts her very own “kaleidoscopic economics.” Nature and its four seasons generously offer food to its inhabitants. However, the food demand and supply chain has lost its balanced rhythm. Wu’s art distances us from reality, and metamorphoses the large-scale problem and its absurdity that is way beyond our comprehension into otherworldly visual and audio artworks. The projection in the exhibition space is like the constant chanting in churches, encompassing the audience with the “submerging” aesthetics of the Romantic period. Her work expels the everyday dullness with the numbing joy of rave parties, allowing artistic creation and escapism to mutually embody and console each other.

The erroneous rhythm of the city Wu documents the countless encounters between U-Bike riders and pedestrians in Taipei, and the awkward moments of them avoiding bumping into each other. Urban traffic not only represents a kind of mobility, it is also the city’s conveyor belt signaling the social network and the economic bloodline. It is the flow of life, connecting people near by and far away; it implies infinite moments of people passing each other as well as encounters by chance; it is uncanny repetition as well as familiarity without questions and answers. Urban encounters will never become senseless because of the regularity of traffic and massive repetitious experience. There are always surprises in the city, but the surprises always form a sense of rhythm, an urban rhythm that is sometimes off-key but always detectable in the boisterous traffic network day after day. U-Bike is a facility for tourists and the locals, but it also creates many unexpected urban encounters. The artist removes the social and psychological aspects of these encounters, and focuses on documenting the accidental, unprepared encounters of the U-Bike riders and other common traffic. Removing the urban reality, Wu employs a sense of continuity and the rhythm of music to simulate the physical relations in urban mobility. She also uses the rhythm of the coming and going crowd to simulate the parallel and interweaving structure of music as well as its modulation in tone. However, this music is not constituted of smooth rhythm but a type of improvised rhythm similar to DJ’s scratching sound—an unpredictable rhythm and a regular chance encounter. The erroneous rhythm of the flowing traffic forms the “arrhythmia” of urban life and Wu’s visual music. The erroneous rhythm of life While audiences are submerged in Wu’s local escapist aesthetics, they would be disturbed by her erroneous rhythm. She creates rhythmic images that simultaneously resemble blood circulation and music scores, demonstrating a piece of “diagram of life” with the enclosure of musical work and the signification of visual work. From the dazzling, rich visual aesthetics of the

kaleidoscope to the musical, mathematical, minimalistic aesthetics, the artist also embeds in her work a secret mark—the red cape of Superman, a symbol that is expected to trigger anonymous secret power that points to the pulsating aesthetics at the crucial turning point of life. The most unbearable rhythm in life is when the body misses its usual rhythm and becomes ill with the wait for recovery as well as the autonomous, bodily rhythm. While accompanying her father during his illness in the hospital, Wu discovered the regular rhythm of machine administering medicine injections that seemed to prolong the wait into one infinite beat. Therefore, she creates an audio-visual work, called "Mechanical Bodily Process" , scoring music for the chaotic rhythm of life through the sharpness uncommon and undetected by ordinary senses under normal circumstances. As we count the beats and

off beats that connect our lives, we are also waiting for the grand finale of the music with the humblest aesthetic wish. Being excellent in transforming the visual into the musical, Wu mirrors the images of life with the music of life, seemingly monotonous but constantly lingering, simultaneously feather-light but also unbearably heavy. Wu’s music alters the neutrality of the flowing of time, and bestows each moment of life with different rhythm and weight. National Changhua University of Education, Department of Art Assistant Professor

Chieh-hsiang Wu

《不好意思》HD單頻道錄像 Excuse Me, HD single-channel video, 3'30", 2013

《紀錄片IV-小碎肉布》單頻道錄像 Documentary IV- Little Mince Cloth, single-channel video, 2'30", 2010

ARTIST'S BIOGRAPHIES 藝術家簡歷

陳松志 1978 生於台灣南投，目前居住工作於台中、台北學歷 2005 國立台南藝術大學造形藝術研究所藝術碩士獲獎 2013 Spirit of Travel 路易威登台北藝文空間藝術徵件計畫，首獎 2012 第二屆35視覺藝術家支持計畫易雅居藝術獎得主第12屆李仲生基金會視覺藝術獎得主 2005 第三屆台新藝術獎2004年度七大視覺藝術 2003 台北美術獎，優選 2001 財團法人世安文教基金會，世安藝術創作獎重要個展 2013 識物，路易威登藝術空間，台北 2012 2012陳松志個展，就在藝術空間，台北微弱的美感，Art Fair Tokyo，東京 2010 極地，就在藝術空間，台北 2008 你在，台北當代藝術館，台北 2007 從前．從前，Cit Internationale des Arts Gallery，巴黎 2006 星期天的早晨，The Townhouse Gallery，開羅重要聯展 2013 精神性怪獸，索卡藝術中心，台北 2012 軟實力─形態與趨向，大趨勢畫廊，台北尋找101，伊通公園，台北 2011 粉樂町，富邦藝術基金會，台北複感．動觀-海峽兩岸當代藝術展，國立台灣美術館/中國美術館，台中/北京 2010 白駒過隙─山動水行，台北市立美術館，台北 2009 一日十年，二十號倉庫，台中 2008 2008台北美術獎，台北市立美術館，台北小甜心，伊通公園，台北 2007 感知相變，現代畫廊，台中 2006 台北二三，台北市立美術館，台北城市曼波，Chrissie Cotter Gallery，雪梨 2005 最藝．醉藝─第三屆台新藝術獎入圍特展，新光三越A9，台北 2004 再看我一眼，伊通公園，台北 2003 台北美術獎，台北市立美術館，台北收藏國立台灣美術館、朱銘美術館、私人收藏等 42

Sung-Chih CHEN 1978

born in Nantou, Taiwan, lives and works in Taichung and Taipei, Taiwan

Education 2005

M.F.A, Institute of Plastic Art, Tainan National University of The Arts, Taiwan

Awards 2013

Spirit of Travel – Espace Louis Vuitton Taipei Audition – First Prize

2012

35 Visual Artist Support Winner The 12th Visual Arts Prize of Li Chun-shan Foundation

2005

2004 Taishin Arts Award – Top 7 of Visual Arts

2003

2003 Taipei Arts Award – Honorable Mentio

2002

S.A.N art creativity Sponsored Reward of S.A.N Foundation

Selected Solo Exhibitions 2013

Undercover, Espace Louis Vuitton, Taipei

2012

Sung-Chih Chen 2012, Project Fulfill Art Space, Taipe Delicate Sensibilities, Art Fair Tokyo, Tokyo

2010

Polar Region, Project Fulfill Art Space, Taipei

2008

You to Be, Museum of Contemporary Art, Taipei

2007

Once Upon a Time, Cité Internationale des Arts Gallery, Paris

2006

The Sunday Morning, The Townhouse Gallery, Cairo

Selected Group Exhibitions 2013

Mental-Logue / Monster-Logue”, Soka Art Center, Taipei

2012

Soft Power-The Intangible Indicator, Main Trend Gallery, Taipei

2011

Very Fun Park 2011, Fubon Art Foundation, Taipei

Looking for 101, IT Park Gallery, Taipei Flourishing and Flowing, National Taiwan Museum of Fine Arts, Taichung Flourishing and Flowing, The National Art Museum of China, Beijing 2010

Time Unfrozen, Taipei Fine Arts Museum, Taipei

2009

One Day One Decade, The Stock 20 , Taichung

2008

Taipei Arts Award, Taipei Fine Arts Museum, Taipei Sweeties, IT Park Gallery, Taipei

2007

Transformation in Perception, Modern Gallery, Taichung

2006

Taipei Taipei, Taipei Fine Arts Museum, Taipei City Mambo, Stone Villa, Sydney

2005

Best of 2004 Taishin Arts Award Exhibition, Shin Kong Mitsukoshi A9, Taipei

2004

One more glance, IT Park Gallery, Taipei CO4 Taiwan Avant – Garde Documenta, Huashan Art District, Taipei Taipei Arts Award, Taipei Fine Arts Museum, Taipei

2003

Collections National Taiwan Museum of Fine Arts, Juming Museum, private collection, etc. 43

杜珮詩 1981 出生於台灣苗栗，目前居住工作於新竹、台北學歷 2007 倫敦大學金匠學院藝術創作碩士 2003 國立台中教育大學美勞教育學系學士獲獎 2012 BACC當代藝術獎提名候選人 2009 亞洲文化協會《台灣獎助計畫》重要個展 2013 想像的製造，就在藝術空間，台北，台灣 2012 可見的敘事，鳳甲美術館，台北，台灣杜珮詩個展，藝術登陸新加坡博覽會，濱海灣金沙展會中心，新加坡 2010 玉山迷蹤，就在藝術空間，台北，台灣 2009 另一個美好的一天，台北市立美術館，台北，台灣重要聯展 2013 啟蒙之光─台灣媒體藝術展，新加坡當代藝術中心，新加坡轟動之宮，白兔中國當代藝術美術館，雪梨，澳洲我們看見什麼，大阪國立國際美術館，大阪，日本 2012 移動中的邊界：跨文化對話─台灣，以色列交流展，以色列赫茲里亞當代美術館赫茲里亞，以色列 2011 後民國─沒人共和國，高雄市立美術館，高雄，台灣複感．動觀─2011海峽兩岸當代藝術展，中國美術館，北京，中國 2010 記憶的總和─2010關渡雙年展，關渡美術館，台北，台灣收藏國立台灣美術館、高雄市立美術館、澳洲白兔美術館、大阪國立國際美術館、私人收藏等

Pei-Shih TU 1981 born in Miaoli, lives and works in Hsinchu and Taipei, Taiwan Education 2007

Goldsmiths, University of London, MFA Fine Art, London, UK

2003

National Taichung University, BA Fine Arts and Crafts Education, Taichung, Taiwan

Awards 2012

BACC Award for Contemporary Art Nominee

2009

Taiwan Fellowship Award, Asian Cultural Council, New York, USA

Selected Solo Exhibitions 2013

Making Fantasies, Project Fulfill Art Space, Taipei, Taiwan

2012

The Visible Story, Hong-gah Museum, Taipei, Taiwan Tu Pei-Shih Solo Exhibition, Art Stage Singapore, Marina Bay Sands Convention and Exhibition Centre, Singapore

2010

The Adventures in Mount Yu, Project Fulfill Art Space, Taipei, Taiwan

2009 Another Beautiful Day, Taipei Fine Arts Museum, Taipei, Taiwan Selected Group Exhibitions 2013

Illuminations : Taiwanese Media Art Exhibition, Institute of Contemporary Arts, Singapore Smash Palace, White Rabbit Gallery, Sydney, Australia What We See, The National Museum of Art, Osaka, Japan

2012

Boundaries on the Move : Taiwan – Israel, a Cross-culture Dialogue, Herzliya Museum of Contemporary Art Herzliya, Israel

2011

Republic without People, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan Dual Senses and Dynamic Views – Contemporary Art Exhibition Across the Taiwan Straits of 2011 National Art Museum of China, Beijing, China

2010

Memories and Beyond – 2010 Kuandu Biennale, Kuandu Museum of Fine Arts, Taipei, Taiwan

Collections National Taiwan Museum of Fine Arts, Kaohsiung Museum of Fine Arts, White Rabbit Gallery, The National Museum of Art, Osaka, private collection, etc.

王璽安 1979 出生於台灣台北，目前工作居住於台北學歷 2006 國立台北教育大學藝術研究所畢業 2003 台北藝術大學美術系畢業獲獎 2003 台灣美術新貌展，平面類首獎，港區藝術中心，台中，台灣重要個展 2011 盒子個展，就在藝術空間畫廊，台北 2009 視線的零度，就在藝術空間畫廊，台北重要聯展 2013 餐桌上的未來：家與藝術家，關渡美術館，台北，台灣標新‧立異：館藏青年藝術家作品展，國立台灣美術館，台中，台灣 2012 心動EMU，台北當代藝術館，台北，台灣 2011 Local Realities:From Oneself，東京設計週 Art 特展：小山登美夫畫廊策劃展，東京，日本 2010 生活的藝術—台日當代藝術展，易雅居，台北，台灣 2009 二十一世紀少年─遊牧座標，關渡美術館，台北，台灣 2008 帝國大反擊—台灣當代藝術三部曲：威脅潛伏，印象當代畫廊，台北，台灣收藏國立台灣美術館、澳洲白兔美術館、小山登美夫畫廊、私人收藏等

Sean WANG 1979

born in Taipei, lives and works in Taipei, Taiwan

Education 2006

M.F.A., Postgraduate School of Arts, National Taipei Education University

2003

B.A., Department of Fine Arts,Taipei National University of the Arts

Awards 2003

The first award of "Taiwanese Art New Face", Taichung Country Seaport Art Center

Selected Solo Exhibitions 2011

Box, Solo Exhibition, Project Fulfill Art Space, Taipei

2009

Vision’s Ground Zero, Solo Exhibition, Project Fulfill Art Space, Taipei

Selected Group Exhibitions 2013

Futures on the Table: Home, Artist, Relationship, Kuandu Museum of Fine Arts, Taipei, Taiwan Innovation & Re-creation – Selected Works from the NTMoFA, National Taiwan Museum of Fine Art, Taichung, Taiwan

2012

Crush on EMU, Taipei Contemporary Art Museum, Taipei, Taiwan Play Zero, Zero Plan, Nanhai Gallery, Taipei

2011

Local Realities : From Oneself , TDW – ART (Tokyo Design Week) curated by Tomio Yamako Gallery, Japan, Tokyo

2010 Living with Art Exhibition – Contemporary Art in Japan and Taiwan, Yi&C Furniture & Project Consulting, Taipei 2009

21th. Century Young Artist – Nomad Coordination, Kuan-Duo Museum, Taipei

2008

The Empire Strike Back, Impression Contemporary Gallery, Taipei The Collection Exhibition

Collections National Taiwan Museum of Fine Art, White Rabbit Gallery, Australia, Tomio Koyama Gallery, private collection, etc.

吳長蓉 1984 出生於台灣屏東，目前工作居住於台北學歷 2013 國立台南藝術大學造形藝術研究所獲獎 2012 第58屆奧柏豪森國際短片節─北萊茵威斯特法倫州家庭，兒童，青年，文化和體育部評審團獎，奧柏豪森，德國 2010 2010 台北獎優選，台北市立美術館，台北，台灣 2010 高雄獎新媒體類優選，高雄美術館，高雄，台灣重要個展 2011 Tap-Tap，台北數位藝術中心，台北，台灣 2011 家興，就在藝術空間，台北，台灣重要聯展 2013 青年藝術100，798藝術特區，北京，中國亞洲時基：新媒體藝術節─微型城市，斯蒂芬•斯托揚諾夫畫廊，紐約，美國無藏盡，誠品畫廊，台北，台灣 2012 不倫瑞克國際電影節，不倫瑞克，德國曖昧的存在：是誰在懼怕認同？，柏林，德國共性與差異─宮津大輔亞洲當代新媒體藝術收藏展，釜山展覽會議中心，釜山，韓國家非家─島嶼的短篇故事，曼徹斯特華人當代藝術中心，曼徹斯特，英國第58屆奧柏豪森國際短片影展，奧柏豪森，德國未來通行證，國立台灣美術館，台中，台灣 2011 現在我在這裡的意思-脆弱的現實─AQA計畫，九州，日本第六屆台北數位藝術節，剝皮寮歷史街區，台北，台灣 Cutlog當代藝術博覽會，巴黎，法國癮形者-癮行者─宮津大輔：一位工薪族的當代藝術收藏展，MOCA台北當代藝術館，台北，台灣 2011 第54屆國際藝術展─威尼斯雙年展平行展覽─未來通行證─從亞洲到全球，威尼斯，義大利 2011 新加坡當代藝術博覽會Art Stage Singapore展覽企劃區個展，濱海灣金沙會展中心，新加坡 2010 第七屆釜山國際錄像藝術節，釜山，韓國 2010 2010香港國際藝術展，香港會議展覽中心，香港島灣仔區，香港 2010 2010台北獎，台北市立美術館，台北，台灣收藏國立台灣美術館、高雄市立美術館、私人收藏等

Chang-Jung WU 1984

born in Pingtung, lives and works in Taipei, Taiwan

Education 2013

MFA, Tainan National University of the Arts,Taiwan

Awards 2012

The 58th International Short Film Festival Oberhausen-The Jury of the North Rhine – Westphalia Ministery of Family, Children, Youth, Culture and Sport will award a prize, Oberhausen, Germany

2010

2010 Taipei Arts Awards, Taipei Fine Arts Museum, Taipei, Taiwan Excellent Art Award, 2010 Kaohsiung Fine Arts Award (New Media Art), Kaohsiung, Taiwan

Selected Solo Exhibitions 2011

Tap-Tap, Taipei Digital Art Center, Taipei, Taiwan

2011

Jia Hsin, Project Fulfill Art Space, Taipei, Taiwan

Selected Group Exhibitions 2013 ART NOVA 100, Beijing 798 Art Zon, Beijing, China 2013

InToAsia: Time-based Art Festival 2013 – MicroCities, Stephan Stoyanov Gallery, New York, U.S.A

2013

Endless collection, Eslite Gallery, Taipei, Taiwan

2012

Braunschweig International Film Festival, Braunschweig, Germany Ambiguous Being:who is afraid of identity? , Berlin, Germany ”Similarities and Differences” – Asian Contemporary Media Arts from Daisuke Miyatsu Collection, Busan Exhibition & Convention Center, Korea Unhomely: Tales of the Island, Manchester Chinese Centre for Contemporary Art, Manchester, Britain The 58th International Short Film Festival Oberhausen, Oberhausen, Germany The Future Pass – From Asia to the World, National Taiwan Museum of Fine Arts, Taichung, Taiwan

2011

Fragile reality-AQA Project 2011, Kyushu, Japan 6th Digital Art Festival Taipei 2011, Taipei, Taiwan Cutlog Contemporary art fair", Paris, France International Contemporary Art Collection of a Salaryman – Daisuke Miyatsu, MOCA Taipei, Taipei, Taiwan Collateral Event of the 54th International Art Exhibition – la Biennale di Venezia – Future Pass – From Asia to the World, Venezia, Italy Singapore Contemporary Art Fair Art Stage Singapore 2011, Exhibition Exhibition planning Area, Marina Bay Sands Exhibition and Convention Centre, Singapore

2010

The 7th Busan International Video Festival Schedule, Media Center, Busan, Korea ARTHK10 Hong Kong International Art Fair, Hong Kong Convention and Exhibition Centre (HKCEC), Wanchai, Hong Kong Taipei Arts Awards, Taipei Fine Arts Museum, Taipei, Taiwan

Collections National Taiwan Museum of Fine Art, Kaohsiung Museum of Fine Arts, private collection, etc.

PROJECTS 2008-13 展覽計畫

《A Voiceover》紙板畫、錄像、現成物件│尺寸依場地而定 Cardboard painting, video, readymade objects, dimensions variable, 2013

'Not Swinging' Lee Kit Solo Exhibition 沒有擺動李傑個展

沒有擺動 'Not Swinging'

這是有關走進房子的時候，開燈以前的那一下；或者是，你離開客廳、關燈的那一刻。在一個房子裏面，儘管是在不同的時間裏，開燈與關燈之間。那不只是一刻。它並非只是現實上讓你看或者看不見房子裏的景像。那不是一般所謂的安靜。這處景下，坐著跟站著是一樣的。一張椅子在你面前讓你站著，無法坐下。你看到時間的實在，因為當下所發生的比你設想的還實在（如果你在這之前有曾經設想過）。好了。最後，你只可以，出門了，經歷一些事情；或者，你重複聽著一首歌，然後關上了燈。如果你想到甚麼，請發短訊給我，0988-666XXX

《Johnny and Mary》顏料繪於布上、現成物件│尺寸依場地而定 Cloth painting, readymade objects, dimensions variable, 2013

This is about the moment right after entering a house and before turning on the light; or, it could be about the moment when you leave the living room and switch the light off. In a house, although it happens at different moments, between lights-on and lights-off, it is not simply one moment. It is not simply allowing you to see or not see the surrounding of the room in reality. It is not the so-called silence. At this moment, sitting down is not different from standing up. A chair in front of you makes you stand, and cannot sit down. You witness the reality of time because what is happening at the moment is more real than what you have expected (if you had expected it before). Alright. At the end, you can only—go out—to gather some experiences; or, you listen to one song over and over again, and then, turn off the light. Please text me if you think of anything. 0988-666XXX

《Howl》層板繪畫、現成物件│尺寸依場地而定 Plywood painting, readymade objects, dimensions variable, 2013

INSPORTSRATION Curator / Sean C.S. Hu Artists / Riyas Komu Shaun Gladwell Ching-Yao Chen Wan-Jen Chen Chi-Yu Liao Cheng-Ta Yu

動見

胡朝聖瑞亞斯．柯穆尚恩．格萊德維爾陳擎耀陳萬仁廖祈羽余政達

動見 INSPORTSRATION

『動見』展覽從當代運動比賽的概念出發，企圖重新觀看、詮釋運動，以及其背後所延伸的多重意涵，從台灣的廖祈羽、陳擎耀、余政達、陳萬仁、印度的Riyas Komu到澳洲的Shaun Gladwell等三國藝術家的創作，從各式運動如體操、足球、舞蹈、瑜珈、極限運動所延伸出包含行為藝術、後殖民主義、國家認同、國際政治、階級鬥爭、次文化、性別認同等的多重語境，來重新審視運動之定義。我們知道每四年一次全球最為關注的奧運盛會，不僅是各國在運動競賽上的國力展現與文化交流，更成為主辦國大興土木、開創商機以及城市行銷的大好機會，也是各國政治角力的舞台。奧運在此成了一個複雜的名詞與動詞，成了全球化下的巨大奇觀：奧運不再是奧運，而運動也不再只是運動而已。在台灣，球員近年在海外的精采表現、到2012年奧運成績引起國內輿論的不滿、再到NBA林書豪現象等等，這些運動員的成功與否，牽動著整個國家民族的情緒起伏，在在凸顯出運動與我們生活息息相關的方方面面，背後投射的更是全球化或是國家意識下的集體慾望與現實處境。期待『動見』的提出，能在運動產業、環境和思維背後為當代社會開拓出另一條思緒蹊徑與

“Insportsration”, which was inspired by the Olympics, it attempts to review and reinterpret sports and the multiple meanings behind them. Six artists, Shaun Gladwell from Australia, Riyas Komu from India and Liao ChiYu, Chen Ching-Yao, Chen Wan-Jen, and Yu ChengTa from Taiwan will redefine the cultural meanings of sports, and integrate various sports such as gymnastics, soccer, dancing, yoga, and ultimate sports into the diverse languages of behavioral art, post-colonialism, national identity, international politics, class conflict, subcultures, and gender identity, etc. There will be 12 brand new artworks, never been shown in Taiwan, and also previous works that have the sequence idea about this theme. As we know, every four years the Olympics return as the biggest sports event that captivates the world. It is not only a form of demonstration of the host country’s capability and interactions between cultures but also a necessity to create a domestic market through massive construction projects as well as a great opportunity profits and promoting the host city. Moreover, it has also become a stage for the political struggle between nations. Therefore, the term, the Olympics, has become a complex noun as well as verb and manifested as an encapsulating spectacle in the era of globalization: the Olympics is not simply a sports event, and sports are no longer athletic games. In recent years, Taiwan has gained some particular insights on athletic competitions, from the criticism following the unexpected setbacks in the 2012 Olympics, to the excellent performance Jeremy Lin, etc. All these evidence point out that our lives are closely connected to sports and make visible our collective desire and reality in the era of globalization.

多元方向。 “Insportsration” hopes to suggest an alternative direction as well as way of thinking for contemporary society in terms of the sports industry, environment and thinking.

上/ 陳萬仁 Wan-Jen Chen《我只是到了一個來不及沮喪的地方》投影裝置│尺寸依場地而定 I Have Come to a Place Where Depression Caught Me out of the Blue, video installation, dimensions variable, 2013 下/ 尚恩．格萊德維爾 Shaun Gladwell《Pacific Undertow Sequence》HD彩色有聲單頻錄像 HD video, color, sound, 11'21", 2010

右上/ 瑞亞斯．柯穆 Riyas Komu《Tribute to a Footballer》再生木料、銅 Recycled wood and copper, 22.86x60.96x137.16cm, 2010 左上/ 瑞亞斯．柯穆 Riyas Komu《Subrato to Cesar》數位相紙 Print on archival paper, 54.2x43.7x3cm(with frame), 2010 左中/ 瑞亞斯．柯穆 Riyas Komu《Subrato to Cesar》數位相紙 Print on archival paper, 54.2x43.7x3cm(with frame), 2010 下

/ 陳擎耀 Ching-Yao Chen《國際收音機體操台灣篇-國民健康操》彩色有聲單頻錄像 International Radio Exercise Taiwan Version, single channel video, color, sound, 3'30", 2013

上

/ 尚恩．格萊德維爾 Shaun Gladwell《BMX Channel》HD彩色有聲單頻錄像 HD video, color, sound, 12'42", 2013

左中/ 尚恩．格萊德維爾 Shaun Gladwell《Midnight Traceur》HD彩色無聲單頻錄像 HD video, color, silent, 23'00", 2011 左下/ 廖祈羽 Chi-Yu Liao《Heavy Rain-Man/Woman》彩色有聲單頻錄像裝置、鏡面 Single-channel, color, sound, video installation, mirror, 2'00", 2013 右下/ 余政達 Cheng-Ta Yu《余政達作品：網球好手》數位攝影、燈箱 Yu, Cheng-Ta's work：Tennis Players, digital photography, light box, 96x136x11.7cm, 2013

'Yi&C.' Yu-Cheng CHOU Solo Exhibition 易雅居周育正個展

易雅居 Yi&C.

藝術生態作為一個總體資源系統，當中乃是由大大小小不同的子系統所構成與支撐，無論是《東亞照明》(2010)中的燈管與《虹牌油漆》 (2011)、《TEMCO》(2012)中的油漆。這些繁複交替的連鎖作用使得身居其中的藝術家很難輕易感受到資源的流向。周育正的觀念操作恰如畫出一張圖表，把這些外顯與隱匿的關係直接了當的鋪陳出來，類似資訊美學的視覺化語言，顯露而不評價（或者，引出觀者自己的評價）。

As a general resource system, art ecology is in fact constituted and supported by various large and small subsystems, whether it be the lighting equipment in "TOA Lighting" (2010), or the paint in "Rainbow Paint" (2011) and "TEMCO" (2012). These complex alternating chain reactions make it difficult for the artist to easily perceive the distribution of resources. Chou's operation of this concept is analogous to the mapping of a chart, which directly illustrates the explicit and hidden relations in a way similar to the visual language of informational aesthetics, bringing everything to light without critical judgement (or, inducing the viewers to make their own evaluations).

這種態度也再一次表露在這次《自由生產》中。他在一張畫裡畫了另一張畫，而畫裡的畫則是另一個看不見(並且未完成)的作品的部份，它必須伴隨著交易事件而出場。一旦售出一張畫，他就連同畫中畫的實物一起交付給買家，而那張畫中畫將會是白色，等待買家自行(用藝術家附贈的色料)上色，整個作品才真正完成。我們可以看到，在這拗口的一連串程序中，畫作本身不斷地自我指涉，把內容掏空，最後「作品」就成為一個類似代名詞的概念，使藝術家＋藏家＝等作品的關係呈現為再單純不過的直述句。周育正每一次對藝術生態剖白的過程中，都重新界定了它的經濟面孔；在價值與交換這樣的問題上，他試著以直白的有點荒謬的態度創造出在今天資本主導藝術世界中，藝術家的一種特殊的經濟位置。徐建宇

This approach is once again illustrated in his new work " Latitude Manufacture ".Chou painted paintings within paintings, and the paintings within the paintings are invisible (yet unfinished) parts of the work which may only come to surface through transactions. Once a painting is sold, it would be delivered to the buyers along with entities of the picture-in-picture. The picturein-picture will not be colored, as it awaits for the buyers to paint them (with pigment supplied by the artist), and only then would the work be truly complete. Therefore, in this toilsome articulation of the procedure, we witness the paintings making constant self-references, which eventually strip them of their own contents. As a result, the word "artwork" becomes but a similar concept to the synonym, causing the relation between "artist + collector = artwork" to be nothing more than a simple declarative sentence. The significance lies in how each process of Chou's art ecological analysis has a way of redefining its economic facet. In respect to matters of value and exchange, he attempts at a somewhat comically straightforward attitude in creating a particular economic role for the artist within the capital-dominant world of contemporary art. Jian-Yu XU

上/《TEMCO》壓克力、畫布、文件置於框內 (包含合約書、證書、圖樣、色樣、廣告複本) TEMCO, acrylic on canvas, a set of documents in a frame (including contract, certificate, pattern, color swatch, reproduced advertisement), 200x200cm, 2012 下/《自由生產》木造漆面層櫃、油畫、畫布 Latitude Manufacture, wood drawer(111x113.5x96cm), oil on canvas(100x100cm), 2013

'Gourmet Drama' Yin-Ling HSU Solo Exhibition 料理劇許尹齡個展

每放進嘴裡的任何一樣東西都有意義。 Everything you eat means something.

此次創作以「食」作為主軸發展出一系列對社會的觀察，將人與人、人與社會之間的關係剖析出與主題「食」相關的見解並轉化、集結成為形同戲劇片段般的『料理劇』情節。飲食這件事從填飽飢餓到追求美好生活的想像，都背負著人類所積累的龐大經驗，作品傳達出的訊息是：既然人類不進食便無法生活下去，那不如就這麼一次認真地面對發生在我們周遭不得不去在乎的事，頓時之間，飲食彷彿揭發了人類的一切慾望，誠實地訴說著社會現狀。另一個原因來自於食物的意象長久以來一直被賦

This work centers on “food” and develops a series of observations on our society. It focuses on the relationships between individuals as well as those of between individuals and the society. It further analyzes them in terms of the theme, “food,” gathers and transforms them into plots of gourmet dramas. Human being’s diet is an accumulation of vast experiences, ranging from the mere need to stop hunger to a manifestation of pursuing a better life. These paintings hopefully convey a message—because human being could not survive without food, we might as well sincerely face what is inevitably happening around us. At such a moment, as if revealing human being’s every desire, our diet honestly represents the current state of our society.

予著強加的關聯性，更隨著時代的進化人類賦予食物的感情也更加濃厚，進食這一件事更是人與人之間建立關係的不二手段，因為用食物作為理解這個世界的方法很容易，但一如往常將食物社會化之後，它也可以變得跟人心一樣複雜，因為它隱晦，因為它不一定名符其實，它很容易腐敗也很容易在腐敗前一刻予以醃漬封存，但有時候人們也吃腐敗的那一種。就是在諸如此類種種生活中熟悉與不驚異的事故、社會事件之中，令人觀察到其中蘊藏著最通俗卻又最深刻的情感強度，一直希望可以透過繪畫表現這種強加的關聯性，這些不可見才是被隱藏在現實之下最真實的場景。

上

Another reason that this work centers on food is because of the associations that have been imposed on the images of food. As time changes, people have formed strong attachments to certain food. Dining has become a vital means to bond with people because it is rather simple to interpret the world through food. It could be easily associated with various characters, classes, and circumstances. Nevertheless, it is also quite often that once a type of food is thus associated, it becomes more complicated like the human heart. It might hide behind a certain degree of ambiguity, or it might not live up to its name. It could go bad easily, or it could be pickled for longer preservation. Sometimes, people even prefer the fermented. It is exactly among these familiar, unsurprising incidents and accidents, the most common yet profound emotions are camouflaged and observed. I have always been hoping to express this kind of established connection through paintings because these invisible scenes are usually the most truthful concealed in the reality.

/《最後的檸檬派》油畫、畫布 The Last Lemon Pie, oil on canvas, 116.5x91cm, 2012

左下/《騎士誕生的地方》油畫、畫布 The Place Where a Knight was Born, oil on canvas, 260x194cm, 2012 右下/ "料理劇"許尹齡個展│展覽現場 "Gourmet Drama" Yin-Ling Hsu solo exhibition view, 2012

'Quiet Noise' Fujui WANG Solo Exhibition 靜噪王福瑞個展

靜噪，存在但不明的狀態。 Quiet noise is in an existent but opaque state.

存在但不明的狀態，是這一系列對都市聲音與空間流離關聯的探索。電磁音景電力的發明，帶來第二次的工業革命。電流在都市有如人體血管般的密佈漫流，透過線圈將聽不見的流竄電磁波轉換成聲音，有如都市的電磁音景。過去人們運用電磁的技術記錄聲音，得以將「原音」拷貝抽離進行時間和空間的分裂重製，也就是聲音文化學者R. Murray Schafer所提「聲音分裂」（schizophonia）概念。這作品將錄製的電磁音景，運用電磁技術將聲音與空間再度解構建造與人互動的電磁音場。感知音景在都市長期生活我們經常一直重複一樣的交通路線，這作品錄製100天同樣路線的坐在捷運車廂的聲音，持續、紛雜、模糊、重覆、機械的聲音，我們似乎聽見很多聲音，但好像什麼聲音都聽不進，聽覺與視覺不一樣，可以閉上眼睛說不看就不看，我們一直感受的存在聲音狀態，或許不具任何清晰的認知狀態，但一直影響著我們。這些在都市無所不在的但無法聽覺的電磁波或我們不斷接收但不專注意識的都市環境聲音，呈現著某種都市空間的聲音狀態，它雖紛吵但也相對平靜。

Quiet noise is in an existent but opaque state, a form of exploration of the sporadic connections between the urban sounds and the space. Electromagnetic soundscape The discoveries regarding the using of electricity precipitated the Second Industrial Revolution. Electricity ran through cities like blood in the veins in human bodies, converting dashing, invisible electromagnetic waves into sounds through coils and shaping electromagnetic soundscapes of the cities. In the past, people used the technology of electromagnetism to record sounds so that they could copy the original recording, split and reproduce previous time and space. This is how the audio-culture scholar, R. Murray Schafer, has defined the concept of “schizophonia.” This unique work deconstructed the recorded electromagnetic soundscape, the recorded sounds and space, and built an interactive one through the employment of electromagnetic technology. Perceived Soundscape People living in the city often take the same routes day after day. This work recorded the sounds in the MRT cars of the same line for 100 days, Continuous, boisterous, blurry, repetitious, mechanical sounds. We seem to hear infinite sounds without really hearing anything. Audio sense differs from the visual that could be turned off when the eyes close. We might not be able to make sense of The existing sounds that we hear all the time, Yet they are always affecting us nonetheless. These undetectable, ubiquitous electromagnetic waves in the city, Or the sounds of the urban environment that we keep receiving without awareness, Form the audio state of a certain urban space. Noisy as it might be, it is also tranquil.

《電磁音景》8組鋁製支架、12個接收器│聲音裝置│尺寸依場地而定 Electromagnetic Soundscape, sound installation with 8 aluminum frames and 12 transmitters, dimensions variable, 2012

'On Asphalt' Jompet Kuswidananto Solo Exhibition 印尼第一當代藝術代表強派特．庫斯納托台灣首次個展

這條柏油路上，文化擱淺、佇足，躁動而恆久。 On asphalt, culture stranded and stays. Restless and endured.

由荷蘭人Herman Willem Daendels在1808年修築的大驛路，沿著爪哇北部海岸綿沿長達1000公里。歐洲殖民文化在東南亞隨處可見，大驛路亦是依其邏輯而建，原本是為殖民者之間的軍隊和商務交通目的所修建。超過二個世紀以來，大驛路不只是運送物資的道路，更是文化傳播的要角，而爪哇在大驛路的出現後，更迅速地成為全球架構中的一部份。都市隨著大驛路出現而興起，人口倍增對於滿足各種需求的競爭也愈顯激烈，文化間的接觸和交流快速進行，改變了交織其中的生活面貌。猛暴的殖民時代結束後，大驛路在當地被稱為「Pantura」，意思是土地的背脊，它是爪哇持續改變、永無休止的交通要道，這個名稱同時也映照出一個喧騰的新時代：印尼。 1998年「烈火莫熄」運動後的印尼風貌，多多少

The Great Post Road built by Herman Willem Daendels in 1808 extends 1000 km along the north coast of Java. Rationally built from the boisterous European history that spilled on South East Asia, the road was intended to fulfill the need for military and trade traffics among colonists. Over 2 centuries, the road has not been only a mean for transporting goods, but also dissemination of culture. And Java after that is Java that was prepared in a rush for a new connected global structure. Cities grow along the road, population multiplies and the battle to make ends meet hardens. Contact and exchange of cultures take place swiftly and keep changing the face of life within. After the rambunctious colonization era, The Great Post Road locally named as 'Pantura', a given name referring the backbone of land transportation in Java that constantly changes and being changed and never enough. The name which also reflects a new boisterous era: Indonesia

自面對世界的失敗勇者所發出的吶喊。

The face of Indonesia after the Reformasi 1998 is more or less mirrored on all things happen on the asphalt of Pantura: A crowd on a lively road waiting for a vehicle to come and take them away; All kinds of competition over a piece of life; All kinds of negotiations among cultures; All festive of those who wins it; and all losing cries from the braves who have faced the world unaccompanied.

這條柏油路上，文化擱淺、佇足，躁動而恆久。

On asphalt, culture stranded and stays. Restless and endured.

少反映在「Pantura」上所發生的人、事、物：在生氣蓬勃的道路上等待車輛接送的人群、為生活糊口的各種競爭、文化之間的互動妥協、贏得發聲權力的文化及其代表節慶，還有那些必須獨

左上/《Contingent #1》衣物、樹酯纖維│聲音裝置│現地裝置 Installation, clothes, fiber resin, digital sounds, 3 human size figures, 2012 左下/《On Asphalt #3》單頻道錄像 Single-channel video, 5'00", 2012 右上/《Contingent #3》衣物、樹酯纖維│聲音裝置│現地裝置 Installation, clothes, fiber resin, javanese pillar, horn speaker, digital sound, 2012 右下/《Long March to Java #5》皮革馬鞍、轡頭、合成鬃髮│現地裝置 Installation, leather horse saddles and bridles, synthethic hair, h184cm, 2010

《一天表演》謝德慶作品：一年行為表演1978-79 版畫第150/365版日曆、桌子、錄像第150/265版、單頻道錄像 One Day Performance, Print of "The Cage Piece, 1978-1979"(Edition of 150/365) by Teh-ching Hsieh, calendar, table, video edition of 150/365, 2012

LuxuryLogico's Project Woodpecker The Fruition Project 豪華朗機工「照顧計畫：福」

Artists / LuxuryLogico 豪華朗機工 Chih-chien Chen Llunc Lin Keng-hau Chang Geng-hwa Chang

陳志建林昆穎張耿豪張耿華

貼上個「福」字，以表達對美好生活的嚮往。 To paste the Chinese character, Fu (meaning good fortune), is an action that symbolizes the longing of a life with abundance.

2012年，豪華朗機工「照顧系列」之下的一項計畫「福」，為探求藝術環境的發現之作。「福」計畫主動挑選了我們共同喜愛的藝術家／作品，我們盡可能地親自與藝術家取得聯繫，並透過見面晤談進一步理解相關作品，之後進行購買作品的程序，就像一個收藏家一樣。最終在我們的收藏名單裡的九位藝術家跨越了不同世代，選擇的唯一共同原因是「喜愛」，也指涉著關係於「投資」可能的想像。以豪華朗機工之名進行發表的九件「新作」各自包含三個部份：一、作品觀點：我們如何思考做為藏品的作品及其作者帶來的意義，它們同時也是我們藉以將之創為新作的主要背景。二、收藏方式：我們的收藏品被安置於我們藉其所發展出的新作中，於是這件作品將並置著「靈感」、「藏」與「販賣」的三層形象。三、文件：包括我們所收藏的作品的證書、福作品的證書及其他相關文件，集合成與收藏家進行交流的基礎文件。在為我們的收藏品量身創作之後，也希望能夠為個別收藏者發展出一個足以相互認識的對話方式。其可能是開放或封閉性的對談，對象是經過我們選擇且願意接受邀請的個別收藏家，談話的內容將是藝術家與收藏家對彼此渴望瞭解的一切，當終極目的並不指向交易時，我們期待這裡面的交換有相當的真實性。豪華朗機工

In 2012, LuxuryLogico come up with a sub-project of Project Woodpecker—the Fruition Project in order to explore the art environment. In this project, we selected artists/works that we all admired, and tried our best to contact the artists in person to conduct a talk that furthered our understanding of their works. Afterwards, like an art collector, we acquired the works. At the end, the nine artists on our list of collection were from different generations. Their works stand for divergent methods of expression. Although the only shared reason of why we have chosen these works is our admiration of them, there might be an underlying possibility referring to a certain degree of investment. Regarding the nine “new works” created by LuxuryLogico, each of the new works includes three parts: 1. The point of view: it is what we think about the work as an item of our collection as well as the inspiration their original creators have brought us. This is also the chief background of our re-interpretations. 2. The collection: our collections of other nine artists are placed within the new works. Therefore, the meaning of each new work is threefold—“the inspiration,” “the treasure within,” and “the selling.” 3. The documentation: the documentation for the collector consists of the guaranties from the artists, whose works were previously acquired by us, the guaranty and related papers of the new work from the Fruition Project. After we have re-interpreted our nine collected treasures, we would like to form a way of dialogue between the collectors of our new works and the artists, who have accepted our invitations and whose works we have chosen. It could be either private or public. The main objective of the dialogue will be to exchange everything the artists and the collectors want to know about each other’s roles. When the final destination of an artwork does not lie in business transaction, we expect such a dialogue could be truthful and sincere.

LuxuryLogico

《自由信仰機》機複合媒材裝置│內含洪東祿作品 The Machine of Beliefs, Installation of electro-mechanic media, including Tung-lu Hung's work 124.8x184.4x26.7cm, 2012

《擁有者圍牆》繪畫複合媒材裝置│內含許尹齡作品 The Owner's Wall, Installation of painting and compound media, including Yin-ling Hsu' work 127.4x101.8x13.5cm(L), 130.7x105x15.6(R), 2012

《安息》蠟│內含高倩怡作品 Rest in Peace, Wax sculpture, including Jojo Kao's work, 48x37x89.5cm, 2012

《藏寶涂》益智遊戲│內含涂維政作品 T(u)reassure Map,Puzzle, including Wei-cheng Tu's work, 72x12x12cm, 2012 81

'Beautiful World : SURVIVAL DANCE' Chim↑Pom Solo Exhibition 美麗世界：倖存之舞 Chim↑Pom 台灣首次個展 82

上/《SUPER RAT》於涉谷捕捉的老鼠作成的標本 Rat(stuffed after caught at Shibuya Center Street), 2012

《Chim↑Pom Come Around the World in Taipei》輸出 Lambda print, 105x64.5cm, with frame, 2012

Curator / Chien-Hung Huang 黃建宏 Artists / Chim↑Pom Ellie Ryuta Ushiro Yasutaka Hayashi Masataka Okada Toshinori Mizuno Motomu Inaoka

卯城龍太林靖高岡田將孝水野俊紀稻岡求

日本當代藝術最具爭議性的團體─Chim↑Pom The most controversy contemporary art group from Japan--Chim↑Pom

「美麗世界：倖存之舞」是就在藝術空間與策展人黃建宏，以及日本藝術團體Chim↑Pom合作展出的實驗性計劃。這個計劃企圖與國外藝術家共同面對當下的社會處境：「倖存狀態」的常規化。對Chim↑Pom而言，社會狀況、社會議題與社會悲劇不會只是環境的一部分或填充新聞的內容，而是藝術創作要去面對的問題。Chim↑Pom以「超鼠」帶出的展覽計畫，他們尖銳地觀察人的當下處境，正面而快樂地面對這一切。台灣，這塊被稱為「美麗島」的地方跟日本一樣，位在板塊斷層帶上，面對著地震的威脅，也同樣因為高度重商主義，有著難以消弭的城市貧富差距、自然環境的污染和許多的核電廠。無論是土地還是人，「美麗」這件事都顯得如此弔詭而困難，在這些環境條件下，生活總是離不開「倖存之味」。「重返素人」不僅是面對倖存之味的行動，素人必須起而反對社會菁英造成的貧富不均與價值觀扭曲，也是改變藝術關懷的重要時刻，素人特質如何讓制式化的藝術創作獲得新的活力與能量。這個包含展覽與現地製作的計劃，一方面聚焦在Chim↑Pom如何在災難與動物生命之間，開啟出一種新的藝術位置，並整理出藝術團體更為清晰的脈絡。另一方面在現地調查創作上， Chim↑Pom也展現了相當的敏感度與創造力，以行動介入了臺灣的日常生活跟城市景觀。

“Beautiful World : SURVIVAL DANCE” is a experiment project in collaborate with curator Huang Chien-Hung, Japan art collective Chim↑Pom, and Project Fulfill Art Space. This project attempted to discuss the situations we all tackle right now: the routine of survival. As far as Chim↑Pom’s concern, social conditions, issues, and tragedies do not just pertain to the environment or content to fill the news, but, also problems that should be addressed by artistic works. By using “Super Rats” as the starter, the works of Chim↑Pom confront all of this with a positive and happy outlook, publicly displaying a response to current issues. Taiwan, a place that Europeans once named, “Formosa (beautiful island),” sits over a fault line like Japan and faces the constant threat of earthquakes. Additionally, due to heavy commercialism, a widening gap between rich and poor remains difficult to close. On top of all this, pollution taints natural environments and numerous nuclear power plants remain in operation. Whether in the land or people, “beauty” seems almost paradoxical and difficult to accept. Under these environmental conditions, life will always be inseparable from the “taste for survival.” This action is not only an action that involves this notion of a taste for survival. An armature must rise against and challenge a world filled with inequality, poverty, and twisted moral values created by an elitist social structure. Additionally, it is an important moment for changing the focus of art, and finding methods in which amateurish characteristics are able to breathe renewed vitality and energy into the regularized field of art. Therefore, this project that includes an exhibition and artworks produced on-site, on the one hand, focuses on how Chim↑Pom creates a new artistic position in between disasters and the lives of animals, and theorizes a more clear strain of philosophy for the art collective; on the other hand, in terms of the exploration and production on-site, Chim↑Pom also shows extreme sensitivity and creativity, infiltrating the everyday life in Taiwan and its cityscape.

左上/ 《台北 Gas Panic》單頻道錄像 Taipei Gas Panic, single-channel video, 4'9", 2012 左下/ 《Breaking Piece(Peace)》石膏板│現地裝置Plasterboard, installation, 280x280cm, 4 pieces, 2012 右上/ 《K-i-s-s-i-n-g》錄像裝置 Video installation, 2'7", 2011 右下/ 《熱烈!忠烈士!!》輸出 Lambda print, 24.6x30cm, with frame, 2012

The More The Merrier 多多益善

【工作坊-噪音與他者】Workshop-Noise and the Other 王褔瑞 Fujui Wang

【工作坊-哼哈二將】 Workshop-Two is alright 饒加恩 Chia-En Jao

Organizers

/ Hong-Kai Wang Jens Maier-Rothe Workshop Hosts / Fujui Wang Steve Chen Mu-Ching Wu Chia-En Jao Huei-hwa Cheng Jeph Lo

王虹凱王褔瑞陳史帝吳牧青饒加恩鄭慧華羅悅全 87

多多益善實驗計畫 LISTEN! The More The Merrier

『多多益善』是一個強調與著重過程的實驗計劃，邀請來自不同領域的藝術工作者，將就在藝術空間轉換為一間為期四週的臨時錄音工作室，並做為公開分享及討論台灣當代文化行動主義者及藝術論述實踐，兼具集體反思、生產創作和舉辦工作坊、研討會的多功能空間。在台灣是否需要更多的論述性及批判性藝術？我們需要什麼樣的社群和什麼樣形式的建制化脈絡？我們的社會角色、政治信念和論述性訓練，如何與我們集體的主觀聽覺體驗產生關聯？那反過來看呢？「聆聽」如何透過主觀組織性的體驗，形塑我們對集體記憶與公共空間的見解？是什麼讓錄音成為一個具批判性的實踐，或是，什麼讓資料庫成為一個批判的場域？在台灣，我們如何面對並挑戰掌握主導權的西方思考模式？

"The More The Merrier" is a process-driven experiment that turns Project Fulfill Art Space into a sound recording studio.For the duration of four weeks, the gallery will be transformed into a site of collective reflection, reception and production. We want you to get involved in this experiment by joining us for the opening night, our workshop sessions, the symposium, or any of the other upcoming activities. During all events we will use the recording studio as a site to publicly share and discuss our different perspectives on the current status of activist struggle and discursive art practice in Taiwan's contemporary cultural landscape. Do we need more discursive and critical art in Taiwan? What kind of communities are necessary, what kind of institutional contexts do we imagine? How do our social roles and political convictions link up to our collective listening experiences, and vice versa? How is listening organised to shape notions of collective memory and public space? What makes recording a critical practice, or the archive itself a site of critique? Is there a dominance of Western thinking models that needs to be challenged in Taiwan?

『多多益善』嘗試利用音響設備做為概念化及文本化的工具，創造一個集體思考架構，進而有效討論各種可行的實踐行動模式。從以下三個彼此息息相關的主題為起點進行討論：(一) 錄音和聆聽做為教育學習的工具 (二)開放性的交換 (三)畫廊空間性格的持續轉換。希望我們的集體經驗能進一步協助學習探究「聆聽」和「錄音」的社會政治面向，以及它們如何成為空間、歷史與意識形態的論述性生產過程的一部分。

Following questions like these, "The More The Merrier" attempts to employ audio devices as conceptual and contextual tools to provide a framework for fruitful debates on functional working models of resistance within local struggles in Taiwan. Our discussion process will be inspired by three strands: recording and listening as pedagogical tools, mutual exchange, an ongoing transformation of the gallery space. Ultimately, we hope that our collective experience will help to gain further knowledge about the social and political dimensions of listening and recording, and their embedments in the discursive production of spaces, histories, and ideologies.

【工作坊-談聆聽 Workshop-About Listening】鄭慧華 Huei-hwa Cheng、羅悅全 Jeph Lo 參與者請攜帶一段你希望在現場播放給大家聆聽的聲音錄音檔，任何聲音都可以，分享與學習「什麼是聆聽」、「聆聽如何影響身體」、「聆聽與日常生活的關係」。 Participants are encouraged to bring any type of audio clips of 5 minutes or less to the workshop. We will listen to them together. The workshop will invite the participants to share and discuss "what is listening", "how listening affects the body", "how listening functions in daily life" etc., and to engage listening as a shared, communal and critical practice.

飯田龍太 Iida Ryuta

Contemporary Airy Craft from Japan to Taiwan 手感的妙

岩崎貴宏 Iwasaki Takahiro

金氏徹平 Kaneuji Teppei

Curator / Kaneshima Takahiro Artists / Iida Ryuta Kaneuji Teppei SHIMURABROS. Llunc Lin Iwasaki Takahiro Izumi Keiji Mia Liu Wen- Hsuan

金島隆弘飯田龍太金氏徹平志村姐弟林昆穎岩崎貴宏泉啟司劉文瑄 91

透過手工，使物質的存在感和意義呈現更為輕快。 The sense of substance and significance of materials becomes more lighthearted through handicraft.

21世紀日本x台灣嶄新工藝性質的當代藝術聯展『手感的妙』是結合新日本人的感覺，以及與之同步的台灣新世代藝術家，橫跨「物質」、「媒材」、「領域」，型體相異錯綜複雜的作品群展。本次參展藝術家都出生於1970年代之後，他們經歷大量生產、大量消費的時代，被包圍在大量商品和情報中成長。即使他們的作品的製作過程和「物派」的方法相像，但是由於對「物」的感受不同。他們傾向將「物」重新構築、更注重「物」和將之包圍的環境，兩者之間相互依存的關係、他們挑戰崩解物質的既定概念，重新建構新的關係。他們所創作出的作品，看來就像是輕巧的現代工藝。飯田龍太以雕刻作為創作手法，仔細地切割書本；金氏徹平利用在身邊的異質性素材，組合成帶有韻律感的作品；SHIMURABROS.則橫越了不同領域的創意。在『手感的妙 PART1』當中，展示了在「媒材」和「領域」間輕盈來回的三組日本藝術家的作品，這些以紙、塑膠、漆、攝影和影像等不同素材創造的作品錯落在展示空間中。而『手感的妙 PART 2』，創作出不可思議的幻想人型木雕的泉啟司；將毛巾和書的分段帶的線頭拆解後再建構另一個世界的岩崎貴宏，搭配巧妙運用紙素材的劉文瑄和將壓克力等科學素材完美組合的林昆穎兩名台灣藝術家，共同創造了這個展覽，讓木頭、線段、紙張和科學素材等相異「物質」充滿在這個空間。

“手感的妙” unites a new Japanese mentality along with two new age Taiwanese artists to exhibit a body of artworks that extend over “materials,” “media,” and “fields.” The artists participating in this exhibition were all born in the 70’s, where they experienced the eras of mass production and mass consumption, and grew up surrounded by numerous consumer products and information. Although the production process of their artwork is similar to “Mono-ha,” but they hold different feelings toward “materials.” Artists tend to re-build “materials,” and also pay attention to the environment that surrounds it. They recreate new relationships based on the interdependent relationship between the two elements and challenging the established concept of collapsing material. The artwork they create appears similar to Contemporary Airy Crafts. Iida Ryuta sculpts as a creative means, carefully cutting up books. Kaneuji Tep pei takes advantage of the heterogeneity of materials and combines them to form rhythmic works. The creativity of SHIMURABROS. extends over various domains. In “手感的妙PART1”, the works created from different materials such as paper, plastic, paint, photography, and videos by these three Japanese artists exhibiting the playful exchanges between "media" and "field" are scattered around the exhibition space. I n t h e “ 手感的妙 PA RT 2 ” , I z u m i K e i j i c r e a t e s unbelievable wood sculptures of imaginary people; Iwasaki Takahiro takes towels and the threads from book bindings to create a new world; and Taiwanese artists Mia Wen-Hsuan Liu who cleverly uses paper materials as well as Llunc Lin who can create through the perfect combination of scientific materials such as acrylic, gather their works to form this exhibition. Different “materials” such as wood, thread, paper, and scientific materials fill this open space.

左上/ 金氏徹平 Kaneuji Teppei《White Discharge》塑料人偶、熱融膠、木材 Plastic figure, hot glue, wood, 2008 左中/ 志村姐弟 SHIMURABROS.《Eicon》系列│錄像裝置 Video installation, 24x25x5cm(each), 75'00", 2008 左下/ 劉文瑄 Mia Liu《一面倒三連作之二》紐約古根漢美術館空白門票、壓克力 Falling into One Side 02, Guggenheim Museum blank tickets, acrylic, 35x35x15cm, 2009

右上/ 泉啟司 Izumi Keiji《Squid Ink》銀杏木、樹脂、色鉛筆、墨水、鐵 Wood(gingko), epoxy resin, color pencil, indian ink, iron (base) 149x24x29.5cm, 2010 右中/ 金氏徹平 Kaneuji Teppei《Teenage Fan Club #12,#14》塑料人偶、熱融膠 Plastic figure, hot glue, 36x21x12cm, 22x13x10cm, 2008 右下/ 林昆穎 Llunc Lin《養一處風景-就這陣風嗎?》壓克力、珊瑚化石 'Is This That Wind ?', acrylic, coral fossil, 12xl35x15cm, 2009

EXHIBITION LIST 2008-13

2013

過往展覽列表

沒有擺動 - 李傑個展動見 INSPORTSRATION - 台、印、澳聯展甜蜜家庭 - 黃海欣個展易雅居 - 周育正個展 SHORTCUT - 饒加恩個展

2012

料理劇 - 許尹齡個展靜噪 - 王福瑞個展 On Asphalt - Jompet Kuswidananto 首次台灣個展 2012 陳松志個展「福– Fulfill Arts」豪華朗機工計畫展美麗世界:倖存之舞 - Chim↑Pom 台灣首次個展複製人墓 - 林俊良個展

2011

Bagahe:Excess Baggage - Don Salubayba 個展盒子—深邃的世界 - 王璽安個展屈尺 - 吳東龍個展勇者的獨白 - 王挺宇個展縫隙中的幽微 - 董心如個展多多益善 - 聲音實驗計畫家興 - 吳長蓉個展

2010

寓言的相變 - 盧之筠、永岡大輔聯展玉山迷蹤 - 杜珮詩個展 LV森林 - 卜樺個展拼湊的微處極地 - 陳松志個展 PART 2 拼湊的微處極地 - 陳松志個展 PART 1 臨界空間 - 邵樂人個展未命名—1%時間輪廓之粉碎與再重製 - 林俊良個展手感的妙 - 21世紀日本X台灣的嶄新工藝當代藝術聯展 PART2 手感的妙 - 21世紀日本X台灣的嶄新工藝當代藝術聯展 PART1

2009

視線的零度 - 王璽安個展純真x頑皮世界之謎 - 王挺宇個展快樂泡沫生活 - 杜珮詩個展行走在消逝之中 - 陳伯義、許旆誠雙個展 Art On Balcony 露台開賣

2008

Boys Gone Wild 熱鬥 2 GROOVING - 台灣當代藝術新浪潮熱鬥 GROOVING - 台灣當代藝術新浪潮

2013

Not Swinging - Lee Kit Solo Exhibition INSPORTSRATION "A Better Future~Home, Sweet Home." - Hai Hsin Huang Solo Exhibition Yi&C. - Yu Cheng Chou Solo Exhibition SHORTCUT - Jao Chia En Solo Exhibition

2012

Gourmet Drama - Yinling Hsu Solo Exhibition Quiet Noise - Fujui Wang Solo Exhibition On Asphalt - Jompet Kuswidananto Solo Exhibition Chen Sung-Chih - 2012 Solo Exhibition Fruition : Fulfill Arts - LuxuryLogico Exhibition Beautiful World : SURVIVAL DANCE - Chim↑Pom Solo Exhibition Tomb of Human Cloning - Jun Liang Lin Solo Exhibition

2011

Bagahe : Excess Baggage - Don Salubayba Solo Exhibition Box : The Profound World - Sean Wang Solo Exhibition Quchi - Tung Lung Wu Solo Exhibition Monologue of the brave - Wang Ting Yu Solo Exhibition The Glimmer from The Chink - Hsin Ru Tung Solo Exhibition The More The Merrier JIA-HSIN - Chang Jung Wu Solo Exhibition

2010

Phase Transition of the Story The Adventures in Mount Yu - Pei-Shih Tu Solo Exhibition LV Forest - Bu Hua Solo Exhibition The delicacy of collage : Polar Region - Sung Chih Chen Solo Exhibition PART 2 The delicacy of collage : Polar Region - Sung Chih Chen Solo Exhibition PART 1 LIMINAL PLACES - Larry Shao Solo Exhibition Unname : 1% Smash and Revive the Profile of The Time - Lin Jun Liang Solo Exhibition 手感的妙 - Contemporary airy crafts from Japan to Taiwan PART2 手感的妙 - Contemporary airy crafts from Japan PART1

2009

Vision' s Ground Zero - Wang Sean Solo Exhibition Between Pure and Naughty World Mystery - Tin Yu Wang Solo Exhibition Happy Bubble Life- Pei Shih Tu Solo Exhibition Toward the Twilight - Po I Chen and Pei Cheng Hsu Solo Exhibition Art On Balcony - contemporary art under NT$60,000

2008

Boys Gone Wild Grooving 2 - New wave of Taiwan Contemporary Art Grooving - New wave of Taiwan Contemporary Art

2008-2013 發行人

林珮鈺

Publisher

Pei-Yu Lin

專文

黃建宏

Writers

Chien-Hung Huang

吳介祥

Chieh-hsiang Wu

徐建宇

Jian-Yu XU

胡朝聖

Sean C.S. Hu

王聖閎

Sheng-hung Wang

高子衿

Tzu-Chin Kao

黃亮融

Translators

視覺設計

王承翊

Visual Designer Cheng-I Wang

出

版

就在藝術國際有限公司

Published by

地

址

10658台北市大安區信義路3段

翻

譯

147巷45弄2號1樓

Liang-Jung Huang Project Fulfill Art Space International Co., Ltd.

Address

1F., No.2, Alley 45, Lane 147,

電話 (T)

886-2-2707-6942

傳真 (F)

886-2-2755-7679

Printed in Taiwan

E-mail

infopfarts@gmail.com

ISBN: 978-986-88820-1-0

網

址

www.pfarts.com

印

刷

日動印刷

出版日期中華民國一零二年十一月(初版)

Sec. 3, Sinyi Rd.,Taipei 10658, Taiwan

Publishing Date Nov.2013

國家圖書館出版品預行編目(CIP)資料就在藝術空間.2008-2013 / 黃建宏等專文. --初版.-- 臺北市 : 就在藝術國際, 民102.11 96 面 ; 18.2 x 25.7公分 ISBN 978-986-88820-1-0 (平裝) 1.藝術 2.作品集 902.33

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