2015 TAIPEI ARTS AWARDS 2015
臺北市政府 TAIPEI CITY GOVERNMENT 指導單位 Official Support
主辦單位 Organized by
承辦單位 Executed by
指定投影機 Projectors Exclusively Sponsored by
序言 Preface
藝術文化是城市的人文資產與創意象徵，而城市的活力與反省力，則顯 現於藝術家源源不絕的創作。臺北美術獎為臺北市政府鼓勵創作者所設 立的重要獎項，是臺灣當代藝術的最高指標，提供給藝術家一個競賽和 創意展現的平臺，讓他們在有限的條件下激發自身藝術能量，與參賽者 一同角逐此份榮耀，同時亦是藝術家在專業生涯晉升的資源與管道。
倪重華 Chung-Hwa NI 臺北市文化局 局長 Commissioner of Department of Cultural Affairs, Taipei City Government
「2015 臺北美術獎」的 16 位入選者具體展現了當代藝術的開放特質， 從這次的展覽中，我們可以看到多元和引人驚訝的作品，藝術家不再只 是喃喃自語的創作思維，除了身體力行的藝術表現，更積極地表達對社 會現況的體察與關懷。期許藉由這次入圍作品的展現，能挑戰觀眾對現 實經驗的認知。 本次「2015 臺北美術獎」得以順利圓滿，感謝所有評審委員的辛勞， 以專業評選出 16 位具有發展潛力的藝術新秀與作品。希望臺北美術獎 持續作為藝術家相互爭鳴的競技平臺，讓臺灣藝術專業人才在此累積作 品的能見度，奠定良好的基石，未來在全球藝壇與其他作品相互競爭、 共同創造更具爆發力的藝術能量，同時發揮其改變城市生活型態和觀看 視野的潛能。
Art and culture represent a city’s cultural heritage and creativity; a city’s vitality and ability of reflection are revealed through artists’ continuous practice. The Taipei Arts Awards are important awards offered by the Taipei City Government to encourage artists; they are also the utmost criterion of contemporary art in Taiwan. By providing a platform of competition and showing creativity, the awards allow artists to stimulate their own creative energy within designed conditions and compete for the awards with other opponents. The awards also pave the way for artists’ professional career and provide possible resources for their art-making. The 16 nominated artists of Taipei Arts Awards 2015 concretely express the openness of contemporary art. The exhibition showcases diverse and surprising works. What the artists present as creative ideas is no longer a kind of murmur to themselves. Their artistic expressions not only involve their own actions but also actively deliver what they observe and experience about the current society, as well as their concern for it. It is hoped that the exhibition of nominated works will challenge the viewer’s cognition of his/her experience of reality. Thanks to all the jury members’ hard work in selecting the 16 potential emerging artists and works with professionalism, leading to the satisfying results of the Taipei Arts Awards 2015. We wish the awards continue to be an arena for artists to accumulate experiences of exhibition and to build a solid base. In the future, their works would be in competition with other works internationally, creating an even more dynamic artistic energy together, while fully bringing out their potential of changing urban life styles and visions. 3
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Juror's Review
States of Things Tai-Song CHEN Temporary Associate Professor, Commercial Design Department of Chung Yuan University
Where to locate existence? What are captured here are states of life, not its status quo, neither simple representations of living. In the capitalist world of consumption, Musquiqui Chihying, one of the nominated artists of Taipei Arts Awards this year, attempts to outline man's situation in tension therein. In The Jog, he carries out an actionperformance recorded by photography, playing the role of someone jogging on a conveyor band of a convenience store’s cash desk, as if the latter were a treadmill in a gym. The situation is somewhat ambiguous. What is seen as jogging is not really jogging; neither do the images appear cheerful or playful through the displaced action of the performer. With the performer's correct gestures and serious expressions, the conveyor band here is transformed into a fatalist metaphor: we are drawn into the logistics of commodities and can only chase accordingly, falling into endless cycles. Similarly, Yi-Chun Lin's To the Family, the Stranger is set in supermarkets as narrative contexts. There, she picks up receipts left by customers, finds commodities listed on the receipts, puts them into a cart, leaves the cart in the section to which the objects belong, and records the process with photos, sound-recording and documents which are displayed in the exhibition. Yi-Chun Lin considers commodity a medium that marks the existence of others while traces and evidences of consumption left here are traces of existence that allow her to excavate states of living of others. Basically, such excavation is operated through object. Although the titles of the two works imply a sense of delivery (just like To All Residents and To People Who Missed Each Other, other works in the same series), these works indicate human absence through traces of consumption. Furthermore, such traces are like symptoms indicating man has been sentenced to disappearance in the world of commodity/economy. One might say that in the case of Musquiqui Chihying, his work demonstrates alienated states intertwined with commodity economy whereas in the case of Yi-Chun Lin, it is about the last elegy when all tension is lost: searching for warmth of life of those who owned the goods from of their relic, creating illusions of reconstructed living scenes of people, or falsely considering ticket receipts left by a crowd in a station to be a kind of scenario of missing one another and encounter, or a kind of code being composed into various significant narrative texts, etc.
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評審專文 Juror's Review
Ting-Jung Chen's Milchstraße 29c and Tigers Gather are also about consumption. They focus on capturing the pleasure of consumption, revolving around strolling in the city, wandering perception and encounters. Whether it’s through an indoor installation of wood pathway as a metaphor for urban space, or by traversing city streets, or peddling with a bike as vehicle, the point is developing visual elements and recording street sound. Ting-Jung Chen's art vocabulary is clever and delicate. With the peddler's wagon, she attempts to convey what she describes as exoticism and the post-colonial state of Taiwan, shifting the system of objects that objectifies humanity, and focus on phenomenology of perception of fetichism. Lai Tsung Yun’s iMachine: Refurbish Your Apples is a device of bottoms. One can repeatedly manipulate bottoms of an i-phone until it breaks. According to Apples’s articles in the warranty of an i-phone, one can get a new phone with a broken one instead of asking for repair. By quoting Slavoj Zizek, “We are forced to take pleasure in what we called the post-modern society”, Lai conveys his idea of art: art is to resist the capitalist system of products and its incorporation strategy of driving desire and aesthetic tastes, and to devote to a resistant mode of production. The work actually implies issues of bio-politics in our world of technology: just like objects and commodities, it is hard to tell whether if a damaged human body can be declared abandoned and be renewed without any cure. However, how to dig into politics and economics of commodity through local history? Art is not a thesis or writing. Rather, it operates through material, organization or action, etc. Yu-Ping Guo’s Eastern Messiah (literal translation of the Chinese title: Sun Yat-Sen Freeway) is made with an assemblage of drawings, documents, video and objects. The narrative revolves around the Sun Yat-Sen Freeway and ruins, the latter being represented as virtual scenes made with fragments of a Hitachi electric appliance dismantled by the artist. The fragments are colored and assembled into a setting. The "Sun Yat-Sen Freeway” the artist talks about particularly refers to the section of the highway between Keelung and Taipei. It is the first highway in Taiwan; the construction began in 1962 with the aid of the U.S. Since it was for augmenting fighting capacity, it was named after an American military leader, Douglas MacArthur. The freeway implies the multiple political, economic and military contexts involved in infrastructural construction, namely: the 27
cross-strait antagonism, the situation in the East Asia during the Cold War between the U.S. and the U.S.S.R., Taiwan’s participation in the global manufacture system led by the U.S. and how people in Taiwan lead a life of consumption and modernize industries under an authoritarian regime. Quite naturally, commodities follow the same logic of logistics. For example, Hitachi, a famous label of electric appliances, has been a manufacturer of military aircrafts during the World War II. YuPing Guo’s Eastern Messiah is a warning in the form of a parable about catastrophic ruins after Taiwan’s modernization. It makes one think of Ruins of Taiwan, a novel written in the 1980s by Sung Tse-Lai. Even though the global situation today differs from the past, the post-colonial structures of culture, education, politics, economy and military affairs still occupy the island like ghosts. Regarding this, historically, the Japanese colonial empire published lots of landscape postcards in Taiwan. Shiu Sheng-Hung made paintings on the basis of the postcards. According to him, this is also a process of comprehension through re-viewing. Painting certainly involves effects of textures on the surface. Yet what is to be perceived here is not the painting itself but disciplining landscape art which implies domesticating the land, naturalizing the territory of an empire, where reigning eyes of colonial rulers who once resided in Taiwan are hidden. This is never merely a retrospective look toward the past and more or less casts a doubtful hint at Taiwan's current or future political subjectivity. Rae-Yuping Hsu’s Falling out of Love can probably be considered an echo of Shiu Sheng-Hung’s work and a confession about the possible end of the country of Republic of China. The kinetic sound installation allegedly has 48 strings; each representing a musical scale of the national song. When the motor runs, a knife the strings and makes sounds. When a rotation is completed, a national song is played completely. In this way, strings gradually wear and tear and the song becomes incomplete. In the end, when all strings are broken, there will be nothing but silence. Rae-Yuping Hsu demonstrates this through the title of one of his works: “The Phantom Limb in Pain”. How to estimate the politicalness of Chi Chien's series titled Passing through the Post-Garden? It is better to first investigate flower and garden separately. In Chi Chien’s work, flower is far from a plant that pleases the eyes. Rather, one may call it an installation for occupying a space. It is seduction and can also be a mechanism of domestication. According to the artist, the garden is “a wish devastated by wars, a margin of the system where public and private realms are in interference.” In other words, the public and the private here are not opposite spaces of power. Rather, this is about political tricks of externalizing internal problems and internalizing external problems. Passing through the Post-Garden tackles various issues. One of the works in the series that attract attentions is a painting titled “There is one interpretation for which each side has its own interpretation” that implies the games played by Taiwan, the U.S. and China in the geopolitics of East Asia. Chi Chien’s painting is like a bird's-eye view, a disposition of political regarding Taiwan’s location in East Asia. The airplane in the painting is particularly interesting, especially when being compared to 28
評審專文 Juror's Review
Rae-Yuping Hsu’s Falling out of Love. Regarding Weng I-Hsuan’s photography about “what broken photos are like”, it is actually to mess up photos! Not taking bad photos but spoiling photos themselves by applying paint onto them, leaving the strokes here and there, etc. More precisely, this is drawing by smearing that messes up representations through photographic images. It is like staining and disturbing existent order of representation. In fact, it is such disturbance that incites our gaze, turning the banal content of the photo (usually lifeless concrete buildings or interior corners) into something unusual. However, the point of such gaze is not about interpreting or finding out the particularity of the photos. Rather, the point is the action of smearing on photos, signifying destroying the cognition system of the images while the artist’s intention is to resist our daily dependence on graphics in today’s world of information through mass communication, and even to hinder the rapid consumption of images, to decrease of the quantity of the contained information, in short, to create obstacles in consuming images. Regarding this, Peng Yi-Hsuan’s series titled Impermanent Marks foregrounds the problem through direct drawing: ordinary landscape or images of local news such as catastrophic scenes(crash of TransAsia what he calls marks. Although the painting technique is realistic and delicate, they are vulnerable and can be damaged by just a slight touch. They are fragile in the sense that their images are not durable. Besides, because of their extreme picturesqueness, information of mass communication is rendered ambiguous instead. This involves white board as a vehicle for hand-painting, and integration with images of mass communication in an attempt to foreground the fleeting nature of the latter. Rather than offending the eye incites the viewer to stop and contemplate. The work is about temporal persistence of images of mass communication as well as the desolation and void behind. Actually, among the nominated works, Weng I-Hsuan’s work is not the only one that offends the eye. Liao Chao-Hao’s Wasteland offers another kind of spectacle. Here, Jersey barriers used as partition on the road or outside a construction site are not made of concrete but counterfeits made with pulp which facilitates installation, allowing the artist to enhance the artificiality of the setting. With a sad feeling of being forsaken, the work offers a metaphor for broken facilities in our civilization, the dysfunctional modern instrument rationality beyond control. A sign is supposed to be transparent with clear semantic function and does not require our gaze. Yet in Liao Chao-Hao’s work, a sign becomes an object under gaze. In the visual sense of semiology, it becomes an eyesore and is not transparent. Through its thick and solid bluntness and materiality, the work directly confronts and questions modern civilization's existence in vain, although the objects are merely counterfeits of pulp. On the environmental and ecological dimension, Lin Tay-Jou’s My Body is an Air Quality Monitoring Station indicates the ongoing-ness of problem. With a fabulous idea, the artist reverses a bird's eye view of petrochemical industry districts in Southern Taiwan to 29
form a surreal grand industrial spectacle that covers up the sky and the earth. The industrial world of machine reigns high up like military force descending from the air, governing the world where we exist. While such reversal intensifies visual power, it faithfully reveals ecological crisis and catastrophe. In addition to demonstrating issues through texts and actual social movements and intervention, the work further intensifies the accusation that we witness through operating visual aesthetics. Although technology is a potential cause of civilization crisis, the situation prompts us to reflect on life and explore nuances of perception. Chuang Chih-Wei and Chang Yung-Ta are two examples. In Reborn Tree, Chuang Chih-Wei uses a kinetic installation of motor to drag branches and leaves of plants, causing the latter to waver regularly and repeatedly. They waver slowly while the trembling light and shade turn plants into a sort of dummy that implies an implicit and ghostly vitality in a state of agitation. Kinetic force is not equal to vitality, yet when being becomes problematic and what is in motion is an object, one can no longer be sure about whether if it does contain a ghost inside, even though this can be merely a myth. As for Chang Yung-Ta’s Relative Perception N°1 [ver.2], an ordinary physical phenomenon is installed as an object of perception that requires extreme attention regarding its mechanism and spatial dimension. The overvalued object seems to demand that we heighten our visual and audio perception altogether and correspondingly feel and observe the nuanced changes of our senses in the process. In this way, Relative Perception N°1 [ver.2] is like physical and mental preparation and exercise for some micro-advanced technology, envisioning a totalization of super technology system in the future. What the perception demands here is not self-evident. Rather, this is like a self-training when the body is not yet totally turned into data. In other words, the work focuses on the future. We should not consider it simply some outdated product of minimal art, etc. Hsiang-Lin Wang pushes her photography toward personal contexts. The texture of images of Metamorphosis is gloomy and cold. One barely sees the day but spotlight in the night or some dim light in the thick fog. Mostly with plants as their backgrounds, the images represent the solitary state of something. If, like what the artist Wang says, she currently lives in solitude and draws ideas from solitude for her photography-making, we shall say that the work in turn offers such solitude or enjoys such giving. In other words, when solitude becomes something that is represented, it becomes sharing at a moment during the show. Especially the light emitted from something, it is such light that leads us into a contemplation enjoyed by both parties, like the metamorphosis of solitude: being alone, confronting one's own consciousness by oneself. On such a basis, we shall not over-idealize the so-called solitude for we are always in it, and even basically imagine that we exist within the scope of others' gaze. This is what Lacan meant by “gaze”, yet here the real significance is: being gazed at. In another kind of world, gaze implies political economy about gender. Hsia-Fei Chang’s Pacific Princess is exemplary in this regard. The work is an action-performance; the 30
評審專文 Juror's Review
performer is an entirely naked woman wearing a Mickey Mouse headgear. There is no dramatic action; she simply stands or casually sits on a sofa. Forcing you into orgasm? Yes, if you think so! Yet before making moral criticism, one has to confront the question of desire, and vice versa. And still, one should not negligently skip the moral issue just because his/her desire is fulfilled. In that way, we would miss the critical issues which Pacific Princess attempts to treat: women as objects, entertainment, commodity, product packaging, capitalism, male pleasure and patriarchal incarnation of media. Undoubtedly, this is addressed to man's gaze and what is being gazed at here is male consumption/gaze. This is displaying a sex object. If anyone feels uneasy with Pacific Princess, this would be where it exerts its artistic power. If one does not, it does not matter since it arouses seduction for the conspirator, inviting us to see a performance about gender system while also reserving a place for those who are curious. What do you (male/female) want to see after all?
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Grand Prize
2015 TAIPEI ARTS AWARDS 2015
臺北美術獎 Grand Prize
《質變》 Metamorphosis 無酸相紙輸出 尺寸依場地而定，12 件 Archival Inkjet Print Dimensions Variable, 12 pieces 2014
王湘靈 Hsiang-Lin WANG
王湘靈，1984 年出生，2013 年取得紐約市立大學音樂演奏碩士學位， 2014 年完成國際攝影中心學習，2015 年獲得捷克布拉格攝影年度獎第 一名，並於臺北關渡美術館舉辦個展「質變」，以及參與紐約「零界線」 聯展等。 Hsiang-Lin WANG, born in 1984,obtained her M.A. in Music Performance from City University of New York, Queens College in 2013 and completed general studied in International Center of Photography in New York in 2014. In 2015, she won the First Prize of Photo Annual Awards in Prague, held a solo show titled “Metamorphosis” at Kuandu Museum of Fine Arts in Taipei and participated in a group show titled “Zero Boundaries” in New York, among others.
王湘靈以自然為主體，為 12 張攝影作品《質變》設定構圖，嘗試撥開人與人之間複雜的共生關係，坦承面對 人處於孤獨時刻的真實感受，以及從現實生活體悟到人的孤獨本質。誠如王湘靈所述：「拍攝這段時間我刻 意把自己與外界隔絕起來，幾乎是獨自一個人生活，後期因為做得太徹底，本以為心無所住，此刻卻反倒成 為最孤獨之人。」 Hsiang-Lin WANG set the composition of Metamorphosis series (comprising 12 photographs) on the basis of nature as subject, attempting to unravel the complicated symbiosis among people. It is about honestly confronting man’s real feeling in solitary moments, and grasping man’s solitary nature from real life. As HsiangLin WANG put it, “During the shooting period, I purposely isolated myself from the outside and almost lived by myself. In a later period, I was in such an absolute solitude. I thought I didn’t care about anything anymore but in fact I had become the most solitary person.”
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臺北美術獎 Grand Prize
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臺北美術獎 Grand Prize
《質變》於臺北市立美術館 Metamorphosis at Taipei Fine Arts Museum 2015 37
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臺北美術獎 Grand Prize
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Honourable Mention
2015 TAIPEI ARTS AWARDS 2015
優選 Honourable Mention
《太平洋公主》 Pacific Princess 行動藝術 Performance 2015
張夏翡 Hsia-Fei CHANG
張夏翡，1973 年生於臺灣臺北，現居於巴黎，1999 年取得法國國立波 爾多美術學院，國家高等造型表達文憑 (DNSEP) 與國家造型藝術文憑 (DNAP) ( 畢業成績優異榮獲評審讚譽 )。 展覽經歷包含：2015 埃及「開羅雙年展」、2015 盧森堡杜德隆渠市立 奈尼提藝術中心「我生命中最糟的一天」個展、2015 臺南海馬迴光畫 館「那年夏天，我去台北了」個展、2014 瑞典高登堡藝術中心「現場 行動 9」、2014 伊斯坦堡「國際藝術博覽會」、2014 巴黎東京宮美術 館「最後告別」之行動藝術表演、2009 巴黎國立美術學院「臺灣當代 文件大展」、「2000 台北雙年展：無法無天」。 Hsia-Fei CHANG was born in Taipei, Taiwan in 1973 and currently lives in France. Holder of a DNAT (National Diploma of Arts Plastic) with honors, she graduated from Ecole des Beaux-Arts of Bordeaux in 1999 with a DNSEP (National Superior Diploma of Plastic Expression). Her exhibition experiences include the 2015 OFF Biennale Cairo in Egypt; Worst Day of My Whole Life solo exhibition at Centre d’art Nei Liicht, Dudelange, Luxembourg (2015); Once in a Summer, I Go to Taipei solo exhibition at Fotoaura Institute of Photography, Tainan, Taiwan (2015); Live Action 9 in Göteborgs Konsthall, Gothenburg, Sweden (2014); the 2014 ArtInternational in Istanbul; performance The Last Goodbye at Palais de Tokyo, Paris (2014); taïwanpics.doc at Ecole Nationale Supérieure des Beaux Arts, Paris (2009); the 2000 Taipei Biennial The Sky is the Limit.
張夏翡藉由行動／表演作品《太平洋公主》反思女性在當今社會的身份定位與形象認同。臺灣酒店稱呼女服 務生為公主，與皇室或童話的公主稱號一樣但意義相差甚遠；而作品名稱 Pacific Princess 實為美國公主郵輪系 列之一，1999 年首航，有目前最長的環遊世界航線。表演者以幽默的方式，頭臉藏蔽於象徵主流符號的米老 鼠布偶裡，在公共領域裸體，展現挑戰公權力及輿論的姿態。靜靜等待的表演動作，帶出現場的尷尬、壓力、 羞恥與無助感，讓人對生命的脆弱性不知所措。 Through action and performance, Hsia-Fei CHANG’s Pacific Princess rethinks female identity and image identification in contemporary society. Female hotel attendants in Taiwan are dubbed as “princesses,” yet the connotation of the word is far removed from those in royal families or fairy tales. In fact, Pacific Princess is the name of a cruise ship of the American company Princess Cruises. Since its maiden trip in 1999, she is cruising along the longest round-the-world route. Face hidden behind a Mickey Mouse puppet--a symbol of mainstream signs--the performer exhibits nudity in public sphere in a humorous manner, a gesture challenging public power and opinion. Sense of embarrassment, pressure, shame and helplessness unfold on spot as the performative gesture of silent waiting persists. The audience is at a nonplus to the fragility of life.
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優 選 Honourable Mention
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《太平洋公主》於臺北市立美術館 Pacific Princess at Taipei Fine Arts Museum 2015 56
優 選 Honourable Mention
《林志玲簽名》 霓虹燈
Star's Signature Neon 20 × 60 cm 2015 57
《太平洋公主》於海馬迴光畫館 Pacific Princess at Fotoaura Institute of Photography 2015
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優 選 Honourable Mention
攝影：蘇育賢 Photograph: Yu Hsien SU
〈迪士尼的牆－藝術家的進場與退場〉 水泥漆 尺寸依場地而定 Disneywall - the Entrance and Exil of Artists Wall Painting with Water-Soluble Cement Paint Dimensions variable 2015
本作品特別感謝：李珮瑜、李旭彬、曾伯豪、張盈兮、張譽鐘、張茂欣、鄭蕙香、 黃鈴珺、寧寧、黃書庭、詹慈恩、楊邵安、 胡筠筠、吳汶憶、張元臻、黃雅云、 陳琬蓉、詹陳嘉蔚、林韋伶、林可樺、陶人碩、海馬迴光畫館、巴黎羅蘭高登畫廊。 This work specially thanks: Pei-Yu LEE, Hsu-Pin LEE, Po-Hao TSENG, Ying-Hsi CHANG, Yu-Chung CHANG, Mao-Hsin CHANG, Huei-Hsiang CHENG, Ling-Chun HUANG, Feiiiccc, Shuze HUANG, Tzu-En CHAN, Shao-An YANG, Yun-Yun HU, Wenyi WU, Yuan-Chen CHANG, Ya-Yun HUANG, Wan-Rong CHEN, Chia-Wei CHAN CHEN, Wei-Ling LIN, Ke-Hua LIN, Alan TAO, Fotoaura Institut of Photography, Galerie Laurent Godin, Paris. 59
Judges' Award
2015 TAIPEI ARTS AWARDS 2015
入選 Judges' Award
《相對感度 N°1 [ver.2]》 Relative Perception N°1 [ver.2] 黑鐵、鋼索、客製化電加熱片、水、 電磁閥、抽水馬達、微電腦控制晶片 Iron, Stainless Steel Wire, Customized Electric Heater, Water, Solenoid Valve, Microchip Controller 790 × 480 × 450 cm 2015
張永達 Yung-Ta CHANG
張永達 2003 年畢業於銘傳大學商業設計學系，2008 年至日本山口情報 藝術中心實習，2009 年取得臺北藝術大學科技藝術研究所碩士學位。 近期駐村：2014 菲律賓 Transi(en)t 馬尼拉計畫、2013 日本山口縣秋吉 台國際藝術村。 獲獎紀錄包含：2014 全國美展銅牌獎、2013 臺北美術獎入選、2013 臺北數位藝術節首獎、2012 高雄美術獎優選。 展覽經歷：「2015 臺北數位藝術節」、比利時國際聲音藝術節「城市 聲 2015」、2015 高雄駁二藝術特區「在世界終結之後」、2014 臺北 關渡雙年展「識別系統」、2014 臺北 TKG+ 耿畫廊「森森」。 Yung-Ta CHANG graduated from Commercial Design Dept. Of Ming Chuan University in 2003, did an internship in Yamaguchi Center for Arts and Media in Japan in 2008 and graduated from Graduate School of Art and Technology of Taipei National University of the Arts in 2009. He has been an artist in residency for “Transi(en)t Manila:Project Glocal” in Manila in 2014 and Akiyoshidai International Art Village, Yamaguchi in Japan in 2013. He has won the following awards: National Art Exhibition in 2014(Bronze Medal Award), the 8th Taipei Digital Art Awards in 2013(First Prize), Kaohsiung Awards in 2012(Merit Award) and was nominated for Taipei Arts Awards in 2013. He participated in the following exhibitions: Digital Art Festival Taipei(2015), City Sonic 2015 - International Sound Art Festival in Mons, “After the End of World” in Pier-2 Art Center in Kaohsiung(2015), “Recognition System - 2014 Kuandu Biennale” in Kuandu Museum of Fine Arts and “For for for Forest” in TKG+ Gallery in Taipei in 2014.
《相對感度 N°1 [ver.2]》是張永達基於 2011 年聲音裝置《相對性 +/-》所發展的新系列作品，主要思考聲音、 溫度、視覺、空間與身體感知之間可能形塑的關係，開拓視覺以外的身體感知，以及觸診視覺所無法察覺的 變化。在極簡的空間裝置中，張永達透過定時滴水於加熱鐵板產生的穿透性聲響，試圖喚起觀者下意識在觸 覺、聽覺的感知狀態。整件作品緩慢發展的時間性概念，則顯現於水在鐵板表面汽化產生的層層水垢與鏽痕， 這也使作品的發展時間拓延至展期結束為止。 Relative Perception N°1 [ver.2] is a new series by Yung-Ta CHANG on the basis of his sound installation Relativity +/- (2011). The idea is mainly about possible relations among sound, temperature, the visual, space and body perception, opening up body perception beyond the visual, as well as diagnosing changes that are imperceptible with sight. In the minimalist spatial installation, Yung-Ta CHANG attempts to invoke the viewer’s unconscious perception of touch and hearing through penetrative sound produced by water drops falling on heated iron plate at regular intervals. The slowly-evolving temporal idea within the whole piece is manifested through levels of water incrustation and rust traces produced by vaporized water on the plate, which extends the development period of the work until the end of the show. 74
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《相對感度 N°1 [ver.2]》於臺北市立美術館 Relative Perception N°1 [ver.2] at Taipei Fine Arts Museum 2015
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《相對感度 N°1 [0°-N°]》於關渡美術館 Relative Perception N°1 [0°-N°] at Kuandu Museum of Fine Arts 2014
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《研究什麼是壞掉的照片》系列 Studying Destroyed Photos Series
翁翊軒 I-Hsuan WENG
翁翊軒，1992 年出生，2015 年畢業於國立臺灣藝術大學美術學 系。 近期獲獎項目包含：2015 全球華人藝術網臺灣藝術新銳、2015 臺灣藝術大學師生美展紙上創作類佳作、2014 聯邦印象獎優選。 展覽經歷：2015 宣藝術「慈善 × 藝術」個展、2015 臺灣藝術 大學第二校區紙廠工作室「過敏」個展、2015 Gallery 101 藝廊 「詩的空間」聯展、2015 大墩藝廊「藝術新聲 十校畢業生推薦 展」、2013 臺北教育大學臥龍二九「劣根性」聯展。 I-Hsuan WENG was born in 1992, graduated from Dept. of Fine Arts of National Taiwan University of Arts. He has won the following awards: Taiwanese emerging artists selected by www.artlib.net.tw (2015), works on paper by teachers and students of National Taiwan University of Arts(Honorable Mention, 2015), Federal Impression Fine Arts Award(Merit Award, 2014). He has held solo shows including “Charity × Art” in Show Art in Taipei(2015), “Allergy” in National Taiwan University of Arts(2015) and participated in group shows including “The Poetic Space” in Gallery 101 (2015), “New Art Voice. Recommended Graduates of 10 Schools” at Dadun Cultrual Center in Taichung (2013) and “Bad Nature” in National Taipei University of Education (2013).
翁翊軒以行為藝術呈現《研究什麼是壞掉的照片》系列作品，這標題，本身就是對普羅大眾價值觀及觀看動 作的諷喻說詞，透過藝術行動來詮釋這個題目的核心精神，使用顏料直接塗抹於各種生活周遭景物，試圖探 討人對日常生活事物慣性的觀看模式。翁翊軒也嘗試提問：在充斥大量圖像、快速訊息的時代，觀者是否能 透過此作反思自身關注影像時的篩選標準；也就是停下步伐、觀察周遭熟悉的環境，進而分析自身的「影像 截取價值觀」。 I-Hsuan WENG represents Studying Destroyed Photos series through action art. The title itself is a sarcastic expression about values of the masses and the act of viewing. The artist interprets the core spirit of the topic through artistic action. By applying paint directly onto various objects and scenes of our surroundings, he attempts to explore man’s habitual pattern of viewing things in ordinary life. He also tries to question whether if through the work, the viewer would reflect on his/her selection criteria regarding images in an age of abundant images and rapid information. This means making a stop and observing the familiar surroundings before further analyzing one’s “values about the capture of images”.
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〈研究什麼是壞掉的照片之我塗抹了椅子、照片、展場〉 壓克力顏料、木板隔間、椅子、相紙
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Studying Destroyed Photos: I Smeared the Chair, the Photos and the Exhibition Hall Acrylic, Wooden Compartment, Chair, Photo Paper 700×350×360 cm 2015
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〈研究什麼是壞掉的照片之我塗抹了雕塑中庭〉 壓克力顏料、膠膜 尺寸依場地而定 Studying Destroyed Photos: I Smeared the Sculpture Courtyard Acrylic, Plastic Film Dimensions Variable 2015
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《研究什麼是壞掉的照片》系列於臺北市立美術館 Studying Destroyed Photos Series at Taipei Fine Arts Museum 2015 85
Exhibition
展覽 館長
林
Director
Ping LIN
展覽督導
方美晶
Exhibition Supervisor
Mei-Ching FANG
展覽執行
蘇子修、高如萱
Exhibition Executive
Tzu-Hsiu SU, Ju-Hsuan KAO
空間執行
簡伯勳、支涵郁
Exhibition Display
Bohsin CHIEN, Han-Yu CHIH
視覺設計
覃世雯
Art Direction&Visual Identity Shih-Wen TAN
技術執行
千鳥藝術有限公司
Technical Executive
Thousand Birds Art Installation Engineering and Design
場務協力
鄭瑞瑜、陳宏圖、游玉蓮
Installation Assistants
Juei-Yu CHENG, Hung-Tu CHEN, Yu-Lien YOU
影片
216 巷工作室
Video
Lane 216, East
公關
林忠憲、李于一、齊子涵
Public Relations
Chung-Hsien LIN, Nana Yu-I LEE, Tzu-Han CHI
總務
饒德順、張銘育
General Affairs
Der-Shun RAU, Ming-Yu CHANG
會計
蔡儀君、林宜玫
Accounting
Yi-Chun TSAI, Yi-Mei LIN
發行人
林
Publisher
Ping LIN
執行督導
方美晶
Executive Supervisor
Mei-Ching FANG
編輯
蘇子修
Editor
Tzu-Hsiu SU
編輯協力
高如萱
Assistant Editor
Ju-Hsuan KAO
平面設計
覃世雯
Graphic Designer
Shih-Wen TAN
攝影
陳泳任、簡子鑫
Photographer
Yung-Jen CHEN, Zih-Sin JIAN
譯者
林辛雅、林郁庭 / 中翻英
Translator
Cynthia LIN, Yu-Ting LIN / Chinese to English
印刷
佳信印刷有限公司
Printer
Chia Shin Printing CO., LTD
著作權人
臺北市立美術館
Published by
Taipei Fine Arts Museum
發行處
臺北市立美術館
平
Catalogue
專輯 平
181 ZhongShan North Road Section 3 Taipei 10461 Taiwan Phone: +886-2-2595-7656 Fax: +886-2-2594 4104 www.TFAM.museum
10461 臺北市中山北路 3 段 181 號 電話：886-2-2595-7656 傳真：886-2-2594-4104 www.TFAM.museum
版權所有，未經許可不得刊印或轉載。 作品 / 藝術家；文章 / 撰稿者；圖片 / 攝影者
© 2015 All right reserved. Copyright of the works reserved for the artists; of the texts for the authors; of the photographs for the photographer.
中華民國 104 年 12 月 初版
Publishing Date
December 2015 First Edition
國際標準書號
978-986-04-7575-3 ( 平裝 )
ISBN
978-986-04-7575-3
統一編號
1010403408
GPN
1010403408
定價
新臺幣 200 元
Price
NT$ 200
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國家圖書館出版品預行編目 (CIP) 資料 臺北美術獎 . 2015 / 蘇子修編輯 . -- 初版 . -- 臺北市 : 北市美術館 , 民 104.12 面 ; 公分 ISBN 978-986-04-7575-3 ( 平裝 ) 1. 美術 2. 作品集 902.33
104028212
本書為「2015 臺北美術獎」展覽出版，展覽日期為 2015 年 12 月 19 日至 2016 年 3 月 13 日於臺北市立美術館地下二樓 D、E、F 展覽室展出。 This catalogue is published for 2015 Taipei Arts Awards Exhibition, which runs from December 19, 2015 to March 13, 2016 at the galleries D, E, F of Taipei Fine Arts Museum.