DOUBLE IMPRINT TSONG PU
雙重痕跡 莊普
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莊普 │ 雙重痕跡
目次 Contents
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序
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專文
極限及其外延 – 莊普當代創作中有關「 後審美式 」的本體投射 │ 白適銘 Boundary and Its Extension — On the Noumenal Projection of " Post-Aesthetics " in Tsong Pu's Contemporary Creation │ Pai Shih-Ming
Foreword
Essays
重返於密契的生命敬畏 – 論莊普《 巨蛋外的噴泉 》作品 │ 朱文海 Revisiting the “ Reverence for Life ” Concept of the Mysticism : A Discussion on Fountains outside the Dome by Tsong Pu │ Chu Wen-Hai
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莊普：雙重痕跡 │ 游崴 Tsong Pu : Double Imprint │ Yu Wei
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作品 Artworks
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附錄
簡歷 Biography
Appendix
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作品索引 List of artworks
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Tsong Pu │
極限及其外延 – 莊普當代創作中有關「後審美式 」的本體投射 文 | 白適銘
從現代到後現代的轉化過程中，藝術創作所面臨的挑戰，來自於日常意識對觀看／審美主宰的強化， 觀眾與藝術家的位置互換，成為作品意義產出的主體。過度宏觀或極度菁英化的藝術論述，易於帶 來困惑、怪異、壓迫與不安，反而阻礙創作與社會大眾之間的距離。在此種矛盾之中，藝術經常以 一種「物質化的人造物 」而展現於日常生活，成為融混其中的一種延續。換句話說，作為日常化的結 果，亦即超越既有體制、拉近與社會現實之間的疏離關係，透過跨越族群、階級等任何有形意識的 同化過程，逐漸導致傳統或現代藝術的終結，使其成為物質及視覺文化的純粹歷史樣本。 追求公共經驗及民主性，已然成為批判現代主義藝術最重要的思想指針， 「 藝術家自願成為日常價值 的代表」、「藝術也變成社會融合的工具 — 一個社會屬性的符號 」( Donald Kuspit, The End of Art, 2004 )，審美不再是一種特權，而成為個人化、具有瞬時性的身心體驗，思考維度亦逐漸走向單一。 然而，問題所在，意即藝術品的日常化可能導致社會抵抗性的喪失，失去具有創造性的「靈光」或「審 美滲透」( esthetic osmosis )，容易模糊何謂藝術品的焦點，失去對其產生批判性的反應。此種歷程 — 從高藝術到非藝術的轉化，或稱為「 後現代終結 」 ，象徵二十世紀百年來西方美術面臨的世紀課題， 日常、大眾化可能導致審美價值的喪失，社會融合亦可能成為平庸、凡俗化的託辭口實。 故而，藝術家應如何在兩權中取得平衡？一方面兼顧審美價值，另一方面又不至於過度偏離社會？ 現代與後現代之間的矛盾，是否可能被克服或超越？杜象 (Marcel Duchamp) 最膾炙人口的創舉，莫 非將日常生活中平凡無奇的現成物，轉化成具有美學價值及前衛精神的藝術品，反轉了前述觀念上 的壁壘，曾說： 「像我這樣的日常科學家，觀看一件藝術品，是為了在其中感同身受地體會那些藝術 家的感受」(Observing the Erotic Imagination, 1985)，注重溝通與理解作品中創造性行為自身的意 義，目的並非在於提出任何形式的社會性或審美性評價。杜象的反美學思維，更正確地說，藝術品 不應具備美學目的或品味框限，而成為反映創作者精神現象、主體存在的「相關物」，藝術家「從超越 時空的迷宮中，尋得他的出路」，獲取真正的自由。 純粹面對媒材、去／非審美性或美學中立、去分化 (dedifferentiation)、追求無趣味、還原至非藝術 之前的狀態等等，目的在於跳脫常規，走向慣例之外。現成物，兼具日常生活的功能性以及發揮「審 美滲透」、「審美轉移」作用的創造性，已成為超越藝術框架的代表。或者說，將精神上的藝術與物質 上的非藝術統整為一，尋求融合又跨越彼此，已然成為此中最重要的意義核心，其先驅啟示及時代影 響至今猶存。杜象的反藝術、反美學理論特質，被視為反映一種抽離審美價值的「後審美性」( Donald Kuspit，同上 )，亦即「對審美的有意冷漠」，對審美慾望進行觀念性的破壞，返回藝術家個人「智性 表達」的純粹層次。 台灣現當代美術的發展，因應二戰之後的全新國際局勢，從來自以現代主義為目標的抽象幾何繪畫 風潮開始，開啟戰後現代化運動的起點，並在政治解嚴、體制鬆綁的過程中，基於一種反抗精神， 逐漸走向身體、意識解嚴的實驗階段，跨越媒材以及具觀念、空間及行為特質的當代藝術於焉興起。 此種轉化，代表藝術創作不再侷限於畫面上的二維角度，得以不斷向多維、多元的層次拓展，進而 衍伸出跨域、跨界等的前衛型態，對於前一階段進行批判及反思。一九八○年代，反體制、關注社 會現實以及追求自主主體價值，已成為主流，在反傳統或現代主義既有的美學框架中，原本處於邊 緣的當代性創作遂取而代之。 莊普即在此社會解嚴轉向過程中成長及摸索前進的藝術家，早自一九七○年代留學西班牙時期開始，
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莊普 │ 雙重痕跡
關於西方繪畫在現代主義之後究竟走向何方等問題仍一片朦朧時，他即開始針對何謂繪畫／繪畫性 進行重新檢視。繪畫走向純粹的形式主義 — 亦即在點、線、面、結構等元素探討之外，究竟還有 何種可能？此時，他開始發展出一種在機械式的結構操作中，尋找形式元素單位極小與極大之間的 有機對話。看似習慣性或無目的性地任由鉛筆、畫筆在指尖滑動，在由小方塊或條塊所排列出的大 型畫面中，單位與整體之間，彷彿已一種近似脈搏或呼吸的模態般地，在兩端之間，演練著身體、 意識與基底材之間的互動關係。 這些或許規律或許凌亂的筆觸，被來回往復的指尖運動統一在由小而大的塊面之中，又時而被拼貼、 隨興塗鴉或幾何造型所壤動、破壞，既衝突又看似和諧，呈現創作過程中最接近日常真實的生命現 象 — 時而平穩、時而激切的情感波動。一九八○年代初期，莊普的作品風格逐漸走向更為純粹、極 簡及對比強烈，雖然對於空間分割的興趣猶在，然過往略顯紛亂或刻意保留的不規整性／模糊性， 此時都被更為統一的線條、色塊所涵攝，呈現前所未有的寧靜、秩序與極致。色彩或線條在畫面中 的位置及面積的對比性加劇，突然消失的細線或擠壓在畫面邊緣的條狀色塊，物理性的縝密計算與 哲學性的突發奇想合而為一，此時，想像取代了勞動，身體及意識彷若同時進入無形合體之境，悠 游於浩瀚宇宙般的自由與開闊。 此種動向，反映莊普此時對於何謂繪畫的全新認識，意即透過化繁為簡、化零為整又不斷增生、持 續演繹的重合轉化，抽離過剩的情緒、意念與思辯，逐漸走向帶有冥想、無語、空性狀態的「後審美 情境 」 。基於此種全新的認識，不論是線條、色塊或鋁製物，過度的人為操作都可能對彰顯人性本質、 現實存有等帶來阻礙，同時為達到更為純粹的創作狀態，捨棄繪畫，走向捺印或點描，似乎已無法 迴避。他自言：「 我的時代是七○年代末觀念藝術的氛圍，我的表達方式，以一公分見方的印章，代 替畫筆去章印出色彩和內容」 ，在機械式單一又持續往覆的過程中，畫面彷若有機體般地不斷地生成、 改變下去，「我與畫布的距離更近 」 ，呈現出被其自稱為「自為存在」的「一種自性思維之能動投射」。 對他來說，這些看似單一、反覆甚或意義不明的押印、戳記、肌理或描點，必須透過身體及意識的 雙向調和才得以完成，並非純粹的勞動，而最終目的，亦非在創造一個「圖像」，而是透過圖像目的 的超越進行「 審美轉移 」，顯示其中所蘊含的「 認知意義 」。此處的「認知意義」，與上述「自性思維之 能動投射」互為果因，前者是結果，後者是過程。亦即，對他來說，當代觀念藝術所致力追求的，並 非被動式地創造任何形式 ( 即其所謂「 製造一個圖像」) 可能喚起的審美價值，而是超越此種被制約的 絕對性美學框限，探索有限之外的體感覺知，在對媒材、行動等的意識交錯下，產生主動性、隨機 性的再發現、再自覺。 圖章與戳印看似一體兩面，卻具備全然不同的概念、功能，又說： 「 就是用一個很小的氛圍，一種小 圖章的氛圍，小小東西成為一個能量，累積大了之後，繁殖成為一個世界或宇宙的概念」。可以知道， 圖章象徵宇宙間最小的內部單位，戳印則是使其產生繁殖、延異的外部運行力量，二者之間有賴作 者自性思維的連結與觸發，創作過程如同從小宇宙到大宇宙的演化一般，隨著各種因緣具合產生變 幻多端的形態及意義。這個被發現或發明的宇宙，並無法以單一制式的美學判准而被解釋，其意義 即在於超越框架自身。故而，此種藝術產生，並非在製造另一個排斥性的邊界或框限，而是透過簡 單易懂的日常動作、實踐觀念，使觀眾回歸到最基本的身體認知狀態進行參與，承認規律與不規律、 精確與不精確 — 模糊性 ( 或稱人性 ) — 的並存共有，並從其中發現或發明屬於自己的大小宇宙。
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Tsong Pu │
對具備長久平面訓練背景的莊普來說，繪畫像是一種藝術史的、被動的、根深蒂固的「鄉愁」，然而， 卻同時也是一種得以「 調整我們比較內在精神的活動 」 ，上述所謂「自為存在」 、「思維投射」、「認知 意義」等說法，莫不源自於此。與平面繪畫的精神性、內覺性相對，八○年代初期，由於加入由林壽 宇返國主持的「異、超度空間」計畫之故，莊普同時開始摸索如何透過三維或多維方式，與環境、空 間、時間、場域產生關連，因而進入所謂的立體裝置時期。空間裝置遠較平面繪畫自由，媒材運用、 概念呈現或展示形式更不受拘限，創作像是如虎添翼般地大大擴展開來。包含樹枝、麻繩、玻璃、 木床、燈檯、捕蚊燈、樓梯、水桶、板凳、石頭、磚塊等等，看似平凡卻無奇不有的現成物、人造品， 已成為在這個空前新奇的人造宇宙中穿梭突進的「未來」材質。 走向空間裝置，或許更能突顯其作為一位當代藝術家的時代特質，然而，此種出走，亦可說是對於 前一階段的平衡所致。他說：「 平面就脫離不了傳統美學的基礎」，「 因為你走平面的東西，不管怎 麼樣都是一種視覺上的幻覺，就物理現象來講，他還是欺騙你的眼睛。所以我希望從另外的裝置上 面，它的物質性比較強，比較接近我們的生活面。」從現實中汲取物質及觀念的目的，在於展現「人 性的溫度 」 ，同時遠離統美學冰冷虛幻的教條，進而回到生活面的基礎之上。平面繪畫和空間裝置， 都是其數十年創作生涯中所兼採並行的，理由在於「 希望一個是內在世界與外面的對應，另一個就是 藉生活的東西去表現另外一種世界。」 從現代到後現代，藝術創作不論是從媒材工具、美學判準到社會實踐，都存在著截然不同的差異。 藝術走入生活、反映日常價值，甚或成為社會融合的工具，並非是指藝術的庸俗化、純然商品化， 而是被重新定義為「 一個社會屬性的符號 」 ，不再設限於美學的象牙塔之中，讓作者與觀眾皆能從超 越時空的障礙中尋得彼此，並藉以獲得真正的審美自由。我們可以說，任何社會都存在著牢不可破 的歷史或美學制約，牽動或影響著人們觀看、詮釋藝術的思維與判斷，然而，隨著現代到後現代文 化語境的變遷，何謂藝術與非藝術已難劃分，尋求融合又跨越彼此，才是其真正的意義及價值所在。 故而，平面或裝置並不是問題，不論是內心理念、抽象世界，或是外在物質、現實世界，彼此平等、 互為體用，「 我希望兩個都可以發展 」。亦即，莊普承認世界或藝術史上曾經存有的不同樞軸，但其 中的排他性與體制僵化則須避免。當代藝術在走向跨越框架、尋求外延可能的同時，更注重藝術家 如何透過重返生活、現實及本體的自我實踐，反映當下的認知感受，突顯創作本體及精神存有等問 題，最終進入「智性表達」的純粹層次 。 一個方塊、一抹筆觸、一件物品，都能夠透過莊普的點石成 金，成為建構宇宙之大、天地萬有的基本元素，並在與身體、意識不斷地謀合感應中，創造出宛若 循環吐納般自由揮灑、自成格律的前衛風貌。或許，這就是他的作品中，為何總能不斷地在平凡無 奇中滲透著超越、自由及無限想像等引人本質之所在。 —
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莊普 │ 雙重痕跡
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Tsong Pu │
Boundary and Its Extension — On the Noumenal Projection of "Post - Aesthetics" in Tsong Pu's Contemporary Creation Professor of the Department of Fine Arts, National Taiwan Normal University Pai Shih-Ming
The challenge during the transition from modernism art to postmodernism art comes from the reinforcement of one's consciousness to view / regard artistic creation, in which an exchange between the roles of audience and artist is the subject embedded in the message behind the works. Overly macro or extreme artistic interpretations are prone to confusion, weirdness, oppression and unease, thus hindering the distance between the creation and the society at large. Caught in this contradiction, art is often expressed in everyday life as a kind of "materialized artifact" that becomes a continuation of this synthesis. In other words, the objective of integrating art into everyday life is to break apart from the existing system as a mean to reconcile the relationship between art and society. The assimilation of any tangible consciousness, such as ethnic groups, classes, etc., gradually leads to the end of traditional or modern art, and renders them pure historical samples of materialistic and visual culture. The pursuit of public experience and democracy has become the most significant criticism to the notion of modernism art. "Artists voluntarily become representatives of everyday values" and "Art has become a tool for social integration - a symbol of social attributes." (Donald Kuspit, The End of Art, 2004). Art critique is no longer a prerogative, but a personal and instantaneous experience of the body and mind. The dimensions of critical thinking gradually reduce to a solitary act. Yet, the problem lies in the fact that art in the mainstream may lead to diminishing social resistance. When the focus of art is clearly blurred, so does the critical response to the creation. This process—from high art to non-art, or "end of postmodernism", symbolizes the age-old predicament of Western art in the 20th century. Accessibility and popularization may lead to the loss of aesthetic value. Social integration may also become an excuse for mediocrity and vulgarization. Therefore, how should artists attain a balance that takes aesthetic value into account without deviating too much from society at large? Could the contradiction between modernism and postmodernism truly be overcame or surpassed? Marcel Duchamp's most pioneering achievement is his ability to transform ordinary things in everyday life into works of art with aesthetic value and avant-garde spirit that reverse the barriers of the aforementioned concept. He once said, “An everyday scientist such as myself observes a piece of art to feel the feelings of those artists in it.” (Observing the Erotic Imagination, 1985). The emphasis on communication and an understanding of the purpose subjected to the creative process is not to propose any form of social or aesthetic evaluation. Furthermore, Duchamp’s anti-aesthetic philosophy correctly affirms that art should not be compelled by an aesthetic purpose or a certain taste that causes the work to become a “relevant object” merely reflecting the creator's frame of mind. An artist gain true freedom when he "find his way out from the maze beyond time and space". Unadulterated media, aesthetic displacement or aesthetic neutrality, dedifferentiation, inartistic pursuit, restoration of non-art configuration, etc., resolve to detach from the routine and go beyond the convention. Ready-made products has both the functionality of everyday life as well as the creative potential of “esthetic osmosis” and “esthetic transfer”. In other words, combining the artistic spirit of the creator and the inartistic element of the material to transcend the individual value of each component has emerged as the core value of artistic creation. The influence of this pioneering revelation is still prevalent today. The anti-artistic and anti-aesthetic characteristics of Duchamp are regarded as a kind of "post-aesthetic beauty" (Donald Kuspit, The End of Art, 2004) that indicates a departure from aesthetic value. That is, "intentional indifference to aesthetics" leading to the conceptual destruction of aesthetic desires and the return to a basic level of the artist's personal "intellectual expression".
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莊普 │ 雙重痕跡
In response to the new international situation after World War II, the development of contemporary art in Taiwan begins with the wave of abstract geometric paintings that served as the starting point of the country's modernism movement. Based on the spirit of physical and conscious resistance to the imposition of martial law and subsequent liberalization of Taiwan, it gradually progressed to an experimental stage that transcends media, concept, space and behavioral characteristics. This transformation suggests that artistic creation is no longer limited to the two-dimensional angle on the screen. It is able to expand to a multi-dimensional and multi-layered level, fostering the crossdomain and cross-border avant-garde that scrutinize and contemplate on the previous stage. In the 1980s, anti-institutional values, attention to social reality and pursuit of independence have become mainstream. In the existing aesthetic framework of anti-traditionalism or modernism, the contemporary creations that were originally marginalized were replaced. Tsong Pu is an artist who grew and advanced while Taiwan shifted toward democracy. Studying in Spain during the 1970s, he began to re-examine the essence of painting at a time when Western painting lacked a clear direction following the end of modernism. As painting moves toward pure formalism, could there be other possibilities beyond the discussion of elements such as points, lines, faces, and structures? At this juncture, Pu began to develop an organic dialogue between the minimal and maximal units of compositional elements through mechanical methods. He let pencil and brush slide at his fingertips in a seemingly habitual or purposeless rhythm, arranging small squares or lines into a collectivity in its entirety. It is as if each individual unit carries a pulse that breathes life into the integrated whole, creating a sense of dynamic interaction between body, consciousness and raw material. Whether his strokes are consistent or erratic, Tsong Pu's fingertips roam back and forth, unifying the small blocks into a grid pattern that is sometimes altered or disrupted by collage, graffiti or geometric shapes. The end result is irregular and harmonious, displaying a phenomenon closest to the everyday life of the creative process— emotional swings that are sometimes smooth, sometimes intense. In the early 1980s, Tsong Pu's style gradually became more pure, minimal, and contrasting. Although his interest in spatial segmentation still lingered, the slightly chaotic or deliberately reversed irregularity / distortion often seen in the past were more uniform. As a result, there was an unprecedented tranquility, order and refinement. The contrast of the position and area of the colors or lines in the painting is intensified. Lines that suddenly disappear are squeezed along the edges of the color blocks. The rigorous calculation of physics is combined with philosophical whimsy. In this moment, imagination has replaced labor. Body and consciousness seem to enter a state of uniformity, soaring in the vast universe of freedom and openness. This progression reflects Tsong Pu's new understanding toward painting at this time. As such, it is a continuous transformation through the elimination of superfluous details and the integration of accumulated components. Redundant emotions, thoughts and debates are removed to enable a progressive shift toward the contemplative, mindful and lucid essence of "post-aesthetic beauty". Whether they are lines, blocks or aluminum materials, excessive human manipulation may inhibit the manifestation of human nature and the perception on reality. Based on this new understanding, painting is unable to achieve a purer creative state, and the use of printing and pointillism seems inevitable. He remarked, “The mood of my era resides in the conceptual art of the late 70s. My artistic expression is conveyed inside 1-centimeter grids, where brushes are replaced by stamps. The latter supplies the color and content.” In the single and repetitive process of his mechanical methods, the image is constantly generated and revised with an organic approach. “I am closer to the canvas.” Pu calls this the “active thought projection” of “inherent existence”.
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Tsong Pu │
For Pu, these seemingly distinct, repetitive or even ambiguous embossing, stamping, texture or depiction must be accomplished through corresponding reconciliation of the body and consciousness instead of pure labor. The ultimate goal is not to create an "image", but to carry out "aesthetic transfer" through the transcendence of the image's purpose, showing the "cognitive interpretation" contained therein. The "cognitive interpretation" here is the result of the above-mentioned "active projection of self-aware reasoning". The former is the result, the latter is the process. That is to say, his pursuit of contemporary conceptual art is not to passively create the aesthetic value that any form may evoke (essentially "making an image"). Rather, it goes beyond the restrictive definition of aesthetic frameworks to explore the senses of bodily perception. As one's understanding of media and behavior is altered, it initiates an active and random rediscovery of self-awareness. Stamps and seals seem to be two sides of the same coin, but they have completely different concepts and functions. Pu added, "It is the humble feeling evoked by a small stamp. The energy possessed by each of the little things accumulates to produce a whole world or universe. The stamps symbolize the smallest internal units in the universe. The seals are the external force that causes them to assemble and extend. The relation between the two is the association made by the author's own deduction. The creative process is like the evolution from the small universe to the big universe. Through all kinds of karmic connection, a variety of forms and meanings is generated. Whether this universe is discovered or invented, it cannot be explained by the aesthetic standard of a single system, and its meaning is to transcend the framework itself. Therefore, this kind of art is not intended to create another exclusionary boundary or frame. Instead, the audience is returned to the most basic physical and cognitive state through simple and easy-to understand daily tasks and practical concepts. To recognize the coexistence of regularity and irregularity, precision and inaccuracy — ambiguity (or humanity) — is to discover or invent a universe belonging to one's self. For Tsong Pu, who has an extensive background in graphic painting, painting is a passive form of art history, deep-rooted in "nostalgia". However, it is also an "activity that adjust our inner spirit". The so-called "inherent existence", "projection of self-consciousness" and "cognitive interpretation" mentioned are not derived from this. In the early 1980s, Tsong Pu participated in the "Altered, Excess Space" project hosted by Richard Lin. In contrast to the spiritual and introspective aspects of graphic art, he began to explore three-dimensional or multidimensional methods to connect location, space, time and domain. As a result, he entered what is known as the three-dimensional device period. Installation art is far more unrestrained in comparison with graphic art in terms of media, concept and presentation. It enabled greater flexibility in his creation, like adding wings to a tiger. Seemingly ordinary yet inconceivable ready-made objects and artifacts, including branches, hemp rope, glass, wooden beds, lampstands, mosquito lamps, stairs, buckets, benches, stones, bricks, etc., have become materials of the "future" in this unprecedented man-made universe. A shift toward installation art may better highlight the characteristics of a contemporary artist. However, this kind of departure can also be attributed to the stability of the previous stage. "Graphic art is inseparable from the foundation of traditional aesthetics." Pu said. "In terms of physical phenomena, graphic art is a visual illusion that deceives your eyes. Therefore, I hope installations will introduce the elemental aspect that is closer to our lives." The purpose of extracting matter and concept from reality is to show the "temperament of human nature" and break away from the rigid and dogmatic teaching of aesthetics in order to restore a sense of life. Graphic art and installation art are parallel in Pu's career that spanned many decades. The reason is that "one is a correspondence between the inner self and the outside world, and the other is to display another world through the relics of life".
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莊普 │ 雙重痕跡
From modernism to postmodernism, there is an inherent distinction in artistic creation that can be observed from media tools, aesthetic judgements to social practices. As art enters everyday life, reflects common values, or even becomes a tool for social integration, it does not imply vulgarization and commercialization. Rather, art is redefined as "a symbol of social attributes". It is longer confined to the ivory tower of aesthetics. The artist and the audience can find each other without the limits of time and space. As such, they obtain true aesthetic freedom. We can say that any society has unbreakable historical or aesthetic constraints that affect or influence people's thinking and judgment in viewing and interpreting art. However, with the changing cultural context from modernism to postmodernism, it is increasingly difficult to make a distinction between art and non-art. Thus, the true meaning and value of artistic creation is found through integration and cross-pollination. Therefore, the comparison of graphic art and installation art is not to be made. They are equal and mutually beneficial, whether in core concept, abstract world, or the material world and the real world. "I hope to refine both." Pu recognizes the different pivots that existed in the history of the world or art, as well as the exclusivity and institutional rigidity must be avoided. As contemporary art crosses the aesthetic boundaries, more attention should be paid to how artists can reflect the cognitive experience and highlight the creative ontology of spiritual existence through the return to life and reality, finally entering the unadulterated evel of "intellectual expression". Every block, brush stroke and object can all become the basic elements of the universe through Tsong Pu's touch. He creates a cycle of harmony between body and consciousness, revealing an avant-garde style that is both liberated and self-contained. Perhaps this is why a sense of transcendence, freedom and infinite imagination always permeates his work. —
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重返於密契的生命敬畏 – 論莊普《巨蛋外的噴泉》作品 文 | 朱文海 北京大學哲學系美學專業博士
《 巨蛋外的噴泉 》是莊普 2016 年秋季的新作，此件作品延續了 2005 年《 抽屜裡的山水 》 （圖一）一 作所使用的魯班尺作為基本元素，相較之下前者是將中國自古以來作為製作工具的魯班尺，其背後 所代表的形上意義更為放大誇張，甚至於超越了作品的視覺形構，以此招致了我們對於神秘的東方 自然觀（天人合一）如何影響人生以及藝術創作的思維，這是莊普近年來的作品中不斷地使用西方的 創作形式，但是卻在作品的內涵上引入了傳統東方的精神與形上意義，成為具有混喻特徵的當代藝 術現象。 （ 圖二 ） 從上帝決定到重返天人合一的形構特徵 西方的現代美學肇端於鮑姆嘉通（ A. G. Baumgarten，1714-1762 ） ，然而系統性的學說卻是在哲學家 康德（ Immanuel Kant, 1724 ~1804 ）那裡完成。康德的美學理論圍繞著天才特有的品味，而絕美作 品的創作形式正是天才生而有之的先天（先驗）能力，從而我們可以說：這是一種上帝的創作觀。然 而，與西方不同的是中國的天人合一思想，使得藝術的創作生成不會著眼於藝術家自我主體上的品 味與造型能力，而是將自我融攝於萬物自然的道體當中，這個形而上的道體從而根本上決定了他們 看待世界以及審美的方式，這個審美的道體在日本是 ‘ 物哀（物のあはれ） ’ 與 ‘ 幽玄（ゆうげん） ’ （註 一），在中國便是‘ 易經 所 ’ 衍生下的天人合一暨其流瀉於生命的遭遇與可能的宿命。然而，我們會去質 疑：藝術不就是藝術作品本身，何以需要那些旁枝末節的生命宇宙觀來干擾我們對於純然的藝術之 認識？事實上，這是一個藝術起源的問題（所有的東方藝術至今仍然是處在這種起源的脈絡上）而不 是那種十八世紀以來由觀念論（ Idealism ）而起的純藝術（ Fine Art ）問題。近現代以來的藝術發展， 基本上是奠基於康德而起的觀念論，儘管這樣的美學觀也產生了以表現人類生存逆境之美的浪漫 派（ Romanticism ），但是它的根基（道體）仍然是處於內在精神層次而不是與自然世界共融的生存模 式。因此康德以來精神的形式化直到現代主義的‘ 形式即精神 創 ’ 作觀，從本質上來說仍是以天才品味 為主的上帝創作觀，至於二次戰後的新表現主義，才能見到其返回生存脈絡。 如果我們可以從當今的創作角度去探視莊普在《 巨蛋外的噴泉 》，那麼便可以發掘他將神秘的東方自 然觀（生命宇宙觀）運用在藝術上的意義與影響，這個連結使得他對於現代主義以來的精神形式藉由 自然神秘的內在連結而解放，使得自己得以從一個更為宏觀的角度去看待藝術，而不是由視覺形構 的形式感並可能導致的形式主義危機。在此我們必須進一步地去理解，莊普身為八〇年代的現代主 義健將，其所信奉的藝術被反映於精神與作品上的內在與外在純粹性，在後來的藝術觀察中他意識 到了人的精神是和外在文化相互連結，因此那便是一種具有理解性質的表現，而不是封閉於人的內 在品味。如此思考，使得他會尋求古老的易經所具有的自然神秘性質作為詮釋與理解的文本，也就 是我們在近年來經常看見何以他的作品《 召喚神話 》、《 斜角上遇馬遠 》等總是向著具有時間和歷史 內在的解釋性質去尋求一種解釋性的表現，因此這樣的作品分別蘊含了創作者的生命經驗或是歷史 視域，而得以作為作品的內在意義，然而更重要的是創作者經歷了現代主義的主體性思維，其經由 自身文化的形上內涵影響而重返於自然精神的合一所顯現的聆聽狀態。 將藝術置於 ‘ 重返密契的生命敬畏 ’ 對於藝術的起源方式在上一個世紀初，曾經在人類學的領域中引起了廣大的流行性探討。其中的巫術 起源說，直到了今天依然是一個處於藝術範疇內值得深思的學說。若是我們能夠理解弗雷澤（ James
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莊普 │ 雙重痕跡
George Frazer ）在《 金枝 》 （ The Golden Bough ）一書，以及愛德華 · 泰勒（ Edward Tylor ） 在他的著作 《 原 始 文 化》 （ Primitive Culture: Researches into the Development of Mythology, Philosophy, Religion, Art, and Custom. ）一書，對於萬靈論的想像力來源是立基於非審美動機的現實緊迫性，那麼將會助 於去理解莊普《 巨蛋外的噴泉 》作品中，《 易經 》象徵的天人合一，事實上是被生命處境的現實性與 緊迫性所圍繞。莊普好奇於春秋末年魯班尺（約公元前四百多年前）所具的“ 數 ”竟 然主宰著中國人在實 用以及美感上的雙重特徵。如同人類學研究古代氏族圖騰代表的福祉和禁忌，魯班尺當中的 “ 數 ” 是 能丈量人生的生、老、病、死等吉厄，它成功的建造了當時的皇宮、傢俱，至今仍是華人區域普遍 使用的建造工具，《 巨蛋外的噴泉 》是用魯班尺上的各個不同吉祥的刻度，去製作了似八卦的底座及 似噴出的每條水柱，以表達現在及未來仍使用有歷史有文化的尺寸可以帶來 平安、財富、健康及幸 福的可能性。我們可以觀察到莊普在此作品中所採用的思維方式，與原始民族在對於現實世界混入 萬物有靈的表象類同，而與赫伯特 里德（ Herbert Read ）所說的 “ 泛靈主義藝術 ” 思維極為近似，這 在原始時代是被表現為 “ 將精靈崇拜的恐懼意識，朝向將看不見世界的力量與現實世界的對等替換。” 但是在莊普的《 巨蛋外的噴泉 》作品卻與原始藝術有著文化上的些許差異而被表現於：在一方面是由 於人類文明造成的意義平面化過程；而在另一方面則是中國人對於天人合一的理解方式，始終是處 於一種樂觀積極的態度。上述這兩種文明過程和文化差異，使得創作者對於此件作品的過程與外界 發生的現象產生想像性的連結（樂觀的想像） ，他說：台北大巨蛋的過程如此的坎坷，而此作品製作期 間卻恰巧是遠雄與台北市政府達成共識，因此我將它命名為《 巨蛋外的噴泉 》。如果大巨蛋能夠按照 魯班尺去丈量設計，那麼就不會如同現在那麼坎坷。儘管這樣的說法看似無稽或是一廂情願，但是 我們還是得進一步地看待藝術創作脈絡時，關於藝術的想像性思考不同於我們的日常邏輯性。因為 啟動泛靈論的動因是涉及到一個二元世界，一個靈與肉相互關聯的世界，存在觀象背後是神秘的力 量，這種力量只有通過 “ 想象性感知 ”（ conceivedimaginatively ）才能被看見。因此，我們也可以理 解為何莊普並不竭力表現任何現實和任何存在，而是竭力跨越現實，達到超然存在。那麼，莊普如 何表現這種超然存在呢？他只能通過對現實進行抽象，只能通過尋求一種基本結構和物體的骨幹才 能表現超然存在，他藉由魯班尺拉伸去描繪噴泉，並停格於最吉利的數字中去想像精神與現實的結 合，他相信如此的結合將會使得每一滴噴出的水都會是甘泉。 （圖三） 每一個人心中都有著一種共同的冀求，就是對於希望、成長、幸福、平安 … 的切盼，古代的中國現實 是一個天災頻仍的社會，因此將自己不可改變的命運透過想像力結合於自然神秘力量，而得以說服 我們生命是可能超越並值得追尋。以此我們也重新發現了想像力的根本是源生於和生命搏鬥的過程， 其與現代藝術著重於物質造型的視覺理論，有著根本不同的想象力源頭，莊普將藝術置於密契的生 命敬畏中，提醒了我們一直以來創作天才論以外，藝術本來是源於自然生存中生命的繁衍與禁忌， 因此它總是與文化性的生成因素相互關聯而不能自落於純粹性的追求，並足以成為我們在創作中的 想像性來源。 —
註一 ‘ 物哀 （物のあはれ） ’ 與 ‘ 幽玄’（ ゆうげん）為日本古代已有的美學概念，主要的內涵是將人的感嘆發展成為複 雜的感動，從而深化主體情感。這種審美方式至今仍然影響著日本民族的審美觀。
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Tsong Pu │
Revisiting the “Reverence for Life” Concept of the Mysticism : A Discussion on Fountains outside the Dome by Tsong Pu Chu Wen-Hai – Doctor of Aesthetics at the Philosophy Department of Peking University
Fountain outside the Dome is Tsong Pu’s latest art work in fall of 2016. This art work is the extension of Landscape in the Drawer in 2005 (Pic. 1). It continues the use of Lu Ban Chi, carpenter’s ruler, as its key element. When comparing the two pieces, one can see that Tsong’s work in 2005 made use of the traditional Chinese carpenter’s ruler as a tool to exaggerate the metaphysical meaning behind it. This was done to the point that it surpassed the visual structure of the art work. This provoked our thoughts of the way the mysterious Eastern concept of “unity between nature and human” influences life as well as artistic creativity. In recent years, Tsong Pu has continuously adopted the western creative style while in substance, he introduces the underlying traditional Eastern spiritual and metaphysical meaning. This has hence developed the modern artistic phenomenon of mixed metaphors (Pic. 2). Characteristics of “From God’s Will to the Unity of Nature and Human” Modern aesthetics of the Western world originated from A. G. Baumgarten (1714 – 1762). However, systematic theory of aesthetics is not complete until Immanuel Kant (1724 – 1804 ) . Kant 's aesthetic theory revolves around the unique taste of genius. The unique style of the creation of all stunning masterpieces is the innate ability genius was born with. One can therefore conclude this is God’s view of creation. Unlike the West, Chinese have always valued the concept of “unity of nature and man”. It is because this unity of nature and man, the focus of all artistic creation, is not the artist’s individual taste, style and ability to create. Rather, it is focused on the artist’s self-assimilation with the nature. This metaphysical way of thinking fundamentally has determined the way artists view the world and his aesthetic style. This aesthetic view in Japan is the so-called ‘Mono No Aware’, mourning, and 'Yugen', profoundness (Note 1). Whereas in China, it is “ the unity of nature and man” from the Book of Changes (I-Ching) together with its potential encountering with fate. Nevertheless, one might wonder: isn’t art itself a form of art work? Why does it need to be bothered with unnecessary life cosmology to interfere our understanding of art in its purest form? In reality, this is the question of the origin of art (all Eastern art is currently still at this stage) rather than the issue of fine art generated by Idealism since the eighteenth century. Modern art development is basically based on the Idealism of Kant. Even though this aesthetic view expresses the beauty of the human survival in adversity (Romanticism ), its foundation, however, still resides at the internal spiritual level rather than at the “human and natural in one” survival mode. Hence, the theory of “ formalization of essence” since Kant up to the “style is essence” of modern creative concept is in essence the same genius taste-based concept of God's creation. It is not until the Neo-Expressionism after World War II, one can begin to see the “return to survival” mode. As we explore Tsong Pu’s Fountains outside the Dome from the angle of today's art creation, we will then discover the way he utilizes the mysterious Eastern view on nature, i.e., life cosmology to maneuver its meaning and influence on art. This connection frees Tsong Pu from the spiritual form of the Modernism. It also enables him to look at art from a much broader perspective rather than through the mere visual form of the structural sensation which may eventually lead to Formalism crisis. Tsong Pu is a key player of the Modernism of the 80’s. The art he embraced is reflected on the essence as well as the internal and external purity throughout his works. Through his future observations, Tsong Pu realizes that human spirit is closely interwined with its surrounding cultures. Art thus becomes a logical manifestation and therefore is no longer confined to the inner taste of individuals. Based on this philosophy, Tsong Pu turns to ancient I-Ching as the text to interpret and understand mysterious characteristics of nature. For this reason, we have often seen how Tsong Pu’s recent works, such as Summoning Myths and Meeting Ma Yuan at the Corner, always have
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the inherent interpretive nature of time and history. As a result, those works contain the creators’ life experience or historical perspective which act as the intrinsic meaning of the works. Yet more importantly, the creator gets to experience the mainstream thinking of the Modernism. Through the influence of his own cultural understanding, he finally returns to a state of listening which is demonstrated through the unity of nature and essence. Adopt “Reverence for Life” Concept of the Mysticism for Art In reference to the origin of art, there was a wide range of discussions in the field of anthropology at the beginning of the last century. Among which, the origin of the witchcraft is still a theory worth pondering within the scope of art up to this date. Once we understand that the source of all imagination comes from the urgency of reality forced by non-aesthetic motives as conveyed in James George Frazer’s book ‘The Golden Bough’ and Edward Tylor’s book ‘Primitive Culture: Researches into the Development of Mythology, Philosophy, Religion, Art, and Custom’, we will then understand Tsong Pu’s Fountains outside the Dome in which the concept of ‘unity between nature and human’ as symbolized in I-Ching ( ‘Book of Changes ’ ) is in fact, surrounded by the reality of various life events as well as their urgencies. Tsong Pu is fascinated by the fact that the number markings on a construction tool Lu Ban Chi, carpenter’s ruler, that was invented at the end of the Spring and Autumn Era (circa 770 – 476 BC), has surprisingly dominated Chinese people’s practical side as well as their sense of aesthetics. The "number markings" on the carpenter’s ruler can be considered as the measurements of major human life events -- birth, aging, illness, and death. They are just like the fortunes and taboos of the ancient clans and totems that have long been studied by anthropologists. Lu Ban Chi has successfully built palaces and furniture in the past. It is still commonly used for construction in various Chinese regions. Fountains outside the Dome makes use of the scales for fortune on the carpenter’s ruler to build an Eight-Trigrams installation very similar to the base of a Bagua diagram. It produces pillars of water spouting out of the base. This is to symbolize all the peace, wealth, health, and happiness that can potentially be achieved by using historical and cultural measurements today as well as in the future. It is noticeable that Tsong Pu adopted the same concept when creating his Fountains outside the Dome. It is similar to primitive people’s view on unity of human and nature. It is also very similar to Herbert Read’s “Animistic Art” concept that is expressed as “the conscience of fear of spirits” and is interchangeable between the invisible world and the real world in the primitive ages. However, Tsong Pu's Fountain outside the Dome is somewhat deviated from the primitive art in its cultural presentation. On one end, there is the simplification of worth as a result of human civilization. On another end, there is the optimistic attitude of Chinese people’s view on the unity between heaven and human. With these civilization processes and cultural differences, the creator uses his imagination to make the optimistic and imaginary link between the process of this work and all the stormy occurrences of the current events. According to Tsong Pu, during the production of this art work, all the disagreements between the Farglory Group and Taipei Municipal Government on the building of the Dome finally began to settle. It thus inspired him to name this piece of art Fountains outside the Dome. Should Taipei Dome be built following the measurements on carpenter’s ruler, the journey probably wouldn’t be as bumpy. For as seemingly nonsense and wishful thinking as this argument is, when we further exam the context of this artistic creation, we need to bear in mind to separate the imagination of art from our everyday logic. Since the driving force of Animism involves duality, a world where body and spirit are interrelated; and a mysterious power behind the appearance that can only be seen through "conceivedimagatively", we can thus understand why Tsong Pu doesn’t strive to represent any reality nor any existence. Rather, he strives to cross reality in order to achieve the ultimate transcendent existence. So, how does
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Tsong Pu show this transcendence? Only by extracting abstraction out of reality can he express the transcendence after searching through the fundamental structure and physical skeleton of the object. He takes advantage of the expansion of the carpenter’s ruler to represent the fountain. Then he stops at the most auspicious figures to fantasize the unity of spirit and reality. He is convinced that such a unity will turn every drop of water into oasis (Pic. 3). Inside every human mind, there lies a similar desire, a desire for peace, happiness, growth and hope etc. For the ancient Chinese society, the reality is the constant threat of natural disasters. Therefore, through imagination, people entrust their inexorable destiny to the mystical power. In the end, they convince themselves that life most likely can be transcended and therefore is worth pursuing. Therefore, we have discovered once again the root of imagination originated from the journey of the struggle with life itself and the source of imagination is fundamentally different from the modern visual art which focuses on the physical material modeling. Tsong Pu puts his art in the mystical reverence for life and it reminds us that besides the theory of creative genius which we have had all along, art is originated from the reproduction and taboo of life in the natural existence. It always interrelates with the generation of cultural factors and should not be separated from the pursuit of pureness. That alone is sufficient enough to be considered the source of imagination in creating any art work. —
Note 1: “ Mono No Aware （物のあは ” れ）and “ Yugen（ ” ゆうげん）are aesthetic concepts from ancient Japan. They mainly denote the development of a person’s exclamation into something complex and moving, thus deepening the emotions related with a subject. This aesthetic method still affects the aesthetic views of Japanese people.
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圖一 | Picture 1
圖三 | Picture 3
圖二 | Picture 2 圖一 《 抽屜裡的山水 》為首次嘗試使用魯班尺作為創作素材，其意向的也是具有流瀉或是噴發性質的水。 圖二 《 巨蛋外的噴泉 》蘊含著中國人對於天人合一的樂觀積極，這種態度使得莊普將此件作品的過程與外界發生 的現象產生想像性的連結。 圖三 由泛靈論啟動的想象性感知，使得我們相信藉由魯班尺的吉利數字，其每一滴噴出的水都會是與我們的希 望、成長、幸福、平安相契合。 — Picture 1: In Landscape Within the Drawer, the Lu Ban Chi was used for the first time as creation material with the purpose of recreating the feeling of water pouring down or erupting. Picture 2: Fountains Outside the Dome embodies the optimism and positivity of Chinese people concerning the unity between people and nature. This attitude allowed Tsong Pu to build an imaginary link between the creative process of this work and phenomena of the outside world. Picture 3: The driving imaginative perception of animism makes us believe in the lucky numbers of the Lu Ban Chi with every drop of water streaming out (of the fountain) corresponding to our hopes, growth, happiness and peace. — 017
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莊普：雙重痕跡 文 | 游崴
看見一棵樹 《 弗里德里希的一棵樹 》是莊普對 19 世紀浪漫派畫家弗里德里希（ Caspar David Friedrich ）的致敬之 作。在我們眼前的，乍看仍是莊普一直以來所擅長的、以格子與印痕交織的抽象繪畫表面，但當我 們站得足夠遠，將會察覺到畫面中那些宛若形體不定的深色區域，其實是一棵樹。 莊普再現的是一棵橡樹，也是弗里德里希畫中最常見的母題之一。如此具象的再現物，在莊普作品 中並不常見。這棵樹無疑是以一種特殊的方式被描繪。它首先並不具備堅實的輪廓線，而是相反地 形體渙散。當我們遠觀時，它看來更像是晃動的影子。同時，我們也無法不意識到，這一方樹影仍 毫無疑問地建構在矩陣結構之上 ─ 莊普繪畫裡幾乎從未消失的元素。莊普用一種混雜著模糊與堅 實的繪畫語言，再現了這一棵橡樹。 在這次個展中，莊普對西方近現代藝術史的致敬與回應 1，不只流露了他自己在藝術養成上的偏好， 另一個值得關注之處，是他的簽名式風格如何穿透這些被致敬的對象，從而創造出一種新的閱讀意 義。在《 弗里德里希的一棵樹 》之中那棵擺盪在模糊與堅實外表的橡樹，除了關於浪漫主義畫家對於 大自然的偏愛，也讓人想起他們對於雲的著迷。模糊、沒有固定形體、令人捉摸不定的雲、霧與大氣， 在浪漫主義畫家眼中，成為一種帶著特殊文化意義的母題，以崇高的模糊性，遙遙相對於傳統追求 穩固與理性的社會規範。 19 世紀藝評家羅斯金（ John Ruskin ）曾以「雲的祝禱」 （ the service of clouds ）一詞形容浪漫派畫家 近乎宗教信仰般對於雲的迷戀、頌讚與描寫，並將之視為現代風景畫的重要象徵。 2 在這樣的信仰之 下，被雲霧所虛掩因此若隱若現的物體，比起堅實的外表更接近世界的真理。莊普對於「弗里德里希 的橡樹」的再詮釋，暗含著這種浪漫主義的視覺性，但這一棵如同幻影般的樹，卻又是建立在嚴謹的 矩陣之上。 《 弗里德里希的一棵樹 》在莊普的作品系譜中多少是一個特異的作品。那一棵擺盪在模糊與堅實之間 的橡樹，凝聚著我們的觀看注意力，變成了主題，並誘惑我們將它的周遭當成背景。這種「主題／背 景」二元關係構成的畫面，在莊普的作品中很少出現。幾乎他所有的作品裡，都向觀者需索一種均質 的觀看。他已成簽名風格的矩陣印畫手法，展示的是一種平均分散的勞力，乍看是精準控制下的結 構，但細看每個小方塊，我們又會訝異於在方塊中充滿手感、差異、不精準所帶來的微小繪畫性。 在低限之後該怎麼辦？ 但重點並不只是那一個個繪畫方塊內部，更包括每個方塊的外部關係。這完全體現莊普對於複數性 的偏好。他自述道： 回想起來，不管是平面或立體作品，我都會讓它至少有個量感，要有複數性。我做作品時， 很難做一件東西就解決了，總是一跟二、二又三、三跟四 … …，一直疊下去。你要我就做一 件，我好像很難說服自己，都得做上很多件，感覺它們會量化成為一個場域 3 莊普對於複數性的著迷很早就確立了。當 1980 年代初期，莊普從西班牙返台定居，與林壽宇分享了
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對於複數性的共同興趣。4 莊普在本次展覽特別囊括了一件自己的早期作品《 遨遊四方 》（1983）， 完全反映了如此的複數性。作品中，全黃色的畫面完全由矩陣線條創造的肌理所構成，主宰畫面律 動感的，是貫穿中央的直條方塊列，由一塊塊裱貼的方塊畫布從對角線翻起所造成的不同變化。類 似的手法，在展覽中為數眾多的近作中延續。它們都是某種形式的淺浮雕，由大量的小方塊及其對 角線造就出的不同肌理所構成的繪畫表面。這些作品展現了莊普如何巧妙地用自我繪畫語言，承接 並轉化 20 世紀西方抽象主義藝術的龐大遺產，包括蒙德里安（ Piet Mondrian ）的幾何結構、歐普藝 術的視覺性、與低限主義的概念。 在 1980 年代的台灣，莊普被視為受到西方戰後低限主義影響的主要藝術家。但他的作品卻幾乎落在 美國評論家葛林伯格（ Clement Greenberg ）對於現代繪畫的線性史觀之外。莊普並不是透過不斷地 削減，把繪畫萃取為純然的支架表面，最後僅僅指稱了物自身。反倒像是微小數值的累加，關於「在 低限之後該怎麼辦？」，在本質上一種複義的生產，並不斷暗示著繪畫的外在─關於日常生活現實、 約定俗成的符號意義、或是具體的藝術史參照。 正是在這一點上，莊普對於格子矩陣的著迷，即便在形式上讓人想起美國抽象藝術家馬汀（ Agnes Martin ）的格子繪畫，但作品底蘊卻很不相同。馬汀的格子畫是對 1960 年代開始勃興的美國消費社 會之抵抗，以避世主義為驅力，對手勢、物質與內容一路削減。如果馬汀最終要實現的，是繪畫中的 徹底寂靜，莊普則像是捕捉著白噪音，將所有雜音收納、堆疊、規整化為一種持續的嗡嗡聲。在莊普 那裡，格子總是關於加法。它們是一個個「等待被填充」的小單元，裡面是各種充滿手勢（ gestural ） 的內容 ─ 色塊、印痕、筆觸或是折線。最後，無數個微型的繪畫單位，在矩陣排列中構成一片充滿 律動感的畫面。他的「微小加法」策略，與 1960-70 年代的日本物派（ Mono-ha ）藝術家「將虛空視 為存有」的思考頗有共鳴。都試圖從西方低限繪畫的減法策略中另闢蹊徑。 意味深長的幾何學 矩陣結構的主宰力量，在莊普的平面作品中幾乎沒有例外。這些作品中的構圖，完全是正矩形結構 的延伸，遠觀之下，所有的色塊，如果不是依水平及垂直的準則、也是依循著 45 度的對角線在畫面 中部署。當我們的目光逼近作品，一格一格地看，每一個小單位中的印痕、短筆觸，也依循著這個 正矩形為基礎的幾何學典律。 與繪畫相比，莊普的立體作品在形式上似乎自由得多。最令人印象深刻的是線條的多樣表現。在《 城 過草木生 》、《 疊音 》是從幾塊平面夾縫中竄出的不規則折線； 《 人形公園 》裡則是角度各異的直線支 架與一圈如人形般的曲線造形，甚至還交織著一條色彩活潑的曲線。這些形式多樣、線條歧出的雕 塑物，雖然都是以金屬材質焊接組裝而成的堅實結構，但比起其他平面作品，卻份外帶有一種自由、 即興、不加思索的意味，有時幾乎像是把快意的素描直接立體化。我們並不難在其中看到 20 世紀歐 美現代雕塑的抽象轉折 — 揚棄厚重量體，擁抱縮減形式（ reductive form ），迎向一個通透的、開放 的場域。它們也都是帶著擴張場域精神的低限主義雕塑，取消了臺座，召喚著作品四周的環境。
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《 疊音 》是由兩塊金屬板面與黑、紅色鋼條組合而成。這件作品倚著展場中一道被漆成怡人的膚色牆 面。然而，與雕塑物相接之處，莊普刻意將牆面漆成一片白色色塊。以至於這件雕塑看起來就像是 從牆上剝開來的狀態。當然，莊普並不是真的將牆面切出一塊，甚至也不是透過加工來模擬這種剝 離狀態，視覺效果其實是暗示。用幾何學去指涉。某種程度上，這個雕塑物就像是一個圖示。你需 要動用一些想像力，去「意會」這個雕塑物帶給我們的種種暗示─關於擴張空間場域、關於剝離的 動勢。不難理解這片牆為何被特別刷成宜人的膚色，「 想像這面牆就像一片皮膚被剝開來 」，莊普說 道。 這種帶著暗示的幾何學造形，是莊普作品裡一個迷人的特質。它讓看似靜態的構圖，像是多了一點 什麼難以言喻的部分。《 世界朝自身敞開 》、《 喚醒的白 》等一系列淺浮雕作品中，長短不一的角鐵 棒為畫面帶來主要形式節奏變化。我們同時注意到，原本佈滿方眼格紋、細微肌理的白色畫面上， 也分佈著一些不帶肌理的白色方塊。它們無疑是形式編排的一部分，但又偶爾帶著動作暗示─有時 看來就像鐵棒刷過表面留下的痕跡。 如何在看似極簡的幾何造形中，捕捉這些微小的暗示？很多時候變成了面對莊普作品時不自覺生成 的觀看習慣。這讓莊普的作品在顯眼的抽象性之外，透露了奇怪而隱微的再現性。 但重點是，這個動作暗示並不來自於藝術生產過程遺留下的手勢痕跡。換言之，莊普並不真的將鐵棒 刷過表面削減了畫面肌理，亦如他並沒有讓雕塑從牆面中剝離出來，而是完全是透過純粹視覺符號 的語義運作「安排」出來的。它們是一種表意語言裡所暗示的「 假動作」，相對於他在格子裡填充的「真 手勢」。 被拉長的時間 據此，我們在莊普作品中看到兩種動作痕跡：第一種奠基在繪畫性的手勢，即關於那些在一個個小 方格內，以單元化的真實勞力所創造出的繪畫行為痕跡。另一種則是透過表意符號所暗示，關於那 些「具有暗示的造形」。如何攪拌這兩種動作痕跡，變成了莊普作品重要的技藝。 他在 1996 年發表的裝置作品《 六月裡的後花園 》是對此一個經典的例子：作為帶著暗示的造形，我 們首先看到數十根立在地上的鐵鎚宛若各自打碎了數十個花盆，花盆碎片以一種優雅到不可思議的 物理曲線在地面散開，如花朵或星體。但同時這背後又包含著真實的單元化勞動痕跡，即藝術家確 實用鐵鎚敲碎了數十個花盆。 在此次展覽中，《 曬日子 》同樣攪拌著這兩種動作痕跡。我們看見一條繩索串起 365 顆石頭，召喚著 人類最古老的計時手段。這件像是以觀念主義為基底的集合（ assemblage ），首先是一個具有暗示的 造形，若有似無地指涉了一個以日為單位、長達一年的規律勞動（每天串起一顆石頭）。但藝術家真 實的動作痕跡，其實來自另一套不同的工作倫理，更寬鬆、更閒散、更隨機，所有石頭無非都是莊 普在過去十年間，在自家附近的新店溪畔斷斷續續收集而來。《 曬日子 》裡充滿暗示一顆石頭象徵一 天，但這些日子卻不被嚴謹的時間單位、勞動紀律所界定。莊普把自己花費數年撿石頭的勞力單元 化，並進一步壓縮、排序成為《 曬日子 》裡所暗示的一年。
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但我猜想莊普可能更樂於反過來說：《 曬日子 》裡一年 365 天的時間軸線其實是被拉長的。這或許更 貼近他的創作狀態─ 所有預設的計畫與規則，乍看精準如矩陣格線，但卻終究不敵日常生活該有的 節奏。莊普的藝術實踐並不朝向一個由絕對抽象法則決定的精神世界。在那些雙重的動作痕跡之中， 他更樂於擁抱的一直是那個充滿差異、偶然與意外的現實。 在灰撲撲的現實中談論絕對與永恆，有時讓人挫折。但莊普卻很早就看出這個挫折其實是藝術的起 點。莊普笑著提醒我《 曬日子 》裡一個意外狀態： 「 因為繩子用的不太對，那串石頭會慢慢垂下去。 到展覽結束時剛好就離地板一點點。」5 —
1 除了《 弗里德里希的一棵樹 》之外，這次展覽中有數件作品分別回應了其他藝術家的作品，如三連幅的《 晴日換 雨 》中的三種不同顏色基底的畫布，據莊普的說法，分別取自三位他所景仰的藝術家作品，包括哥雅（ Francisco Goya ）畫裡的黑色、莫內（ Claude Monet ） 「 睡蓮 」 （ Water Lilies ）系列中的粉紅色、羅斯科（ Mark Rothko ）裡的 橘色。另外，展中亦有幾件作品是向昔日故友藝術家林壽宇致敬之作，兩人在 1980 年代初期同為台灣抽象與低 限主義的開拓者。 2
J. Ruskin and J. D. Rosenberg, ‘Of Modern Landscape’, in The Genius of John Ruskin: Selections from His Writings (University Press of Virginia, 1964), 83–91.
3
引自我與莊普於 2017 年 7 月 12 日的訪談。
4
莊普談到林壽宇當時的創作也有類似的複數狀態：「 （畫線條） 不能只是一條，而是很多條。他的雕塑也是，也是 要由好幾個物件組成，像是建築體。總是一群的，無法只做一個。我跟他狀況有點差不多，沒辦法只做一棟摩天 大樓，都要拆開變群組，成好幾個。」，出處同前註。
5
同註三。
021
Tsong Pu │
Tsong Pu : Double Imprint Yu Wei Translator 譯者
|
Banyi Huang 黃半衣
To see a tree Friedrich’s Tree is Tsong Pu’s tribute to Caspar David Friedrich, a 19th century Romantic painter. At first glance, it appears to be a work of abstract painting consisting of interwoven grids and imprints that Tsong has always been skilled at. However, standing further away, we will notice that the darker regions with indeterminate forms in fact make up the shape of a tree. The oak tree that Tsong portrays is the most common theme painted by Friedrich. Such a figurative representation is not very typical of Tsong’s work. Therefore, this tree is undoubtedly portrayed in a particular kind of way. First, it lacks a solid outline, and instead has a somewhat dispersed form. When we look at it at a distance, it resembles swaying shadows. At the same time, it is impossible to ignore that the tree-shadow is built upon the grid structure— an element that has almost never disappeared from Tsong’s paintings. Using a painting style that blends obscure and solid forms, Tsong was able to reproduce this oak tree. In this solo exhibition, Tsong’s tribute and response to the history of Western modernism reveals not only his personal preferences in terms of his artistic cultivation, but also how his signature style broke through these subjects of homage, in turn creating new interpretive meanings. In Friedrich’s Tree, the oak tree that vacillates between blurry and solid forms recalls not only the Romanticism’ love for nature, but also their fascination with clouds. In the eyes of Romantic painters, vagueness, shifting forms, elusive clouds, fog, and the atmosphere are motifs that hold special cultural significance. Such sublime ambiguity forms a deep contrast with traditional pursuits for stability and rational social norms. The 19 th century art critic John Ruskin once used the phrase “the service of clouds” to describe Romantic painters’ almost-religious obsession, adulation, and portrayal of clouds, seeing it as an important emblem of modern landscape paintings. In light of this religiosity, these partly visible objects hidden by cloud and mist are closer to the truth than solidly-outlined forms. Tsong’s reinterpretation of “Friedrich’s oak tree” implies such a Romantic visuality, yet this phantasmic tree is also constructed upon a rigorous grid. In the genealogy of Tsong’s oeuvre, Friedrich’s Tree is more or less an anomaly. Grabbing most of our attention, that oak tree vacillating between obscurity and concreteness becomes the main subject, tempting us to view its surroundings as the background. A composition dependent upon a ‘subject/ background ’ binary structure is actually very uncommon in Tsong’s works. Almost all of his paintings require a uniform viewing experience. His signature style of grid-pattern imprints showcases a kind of evenly-distributed labor. What appears to be a meticulously-controlled structure, when examined closely, is actually made up of small squares, characterized by a minute painterly quality by virtue of their texture, heterogeneity, and imprecision. What happens after Minimalism? However, the key point is not what resides inside each square in the painting, but rather that which connect them to one another externally. It demonstrates Tsong’s penchant for plurality. He explains as follows:
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莊普 │ 雙重痕跡
Looking back, whether two dimensional or three-dimensional works, I consider it important for them to have a sense of quantity. When I make work, it is hard for me to simply finish at one, that one is almost always followed by two, then three, then four…and so on. If you ask me to just make one work, it is hard for me to convince myself to do so. I need to make multiple ones, so that they quantify into a field. Tsong’s fascination with plurality was established from very early on. In the early 1980s, he returned to settle down in Taiwan from Spain, sharing with Richard Lin their common interest in plurality. This exhibition includes Nomadic Grey, an early work by Tsong that embodies this notion of plurality. Its yellow canvas is entirely composed of a grid texture. Vertical blocks running through the center dominate the composition and create a sense of rhythmic movement, caused by the changes created by pieces of mounted square canvases folding up diagonally. This method continues in the majority of recent works in the exhibition. Constituting some form of shallow relief, each of these paintings are made up of large quantities of small blocks and the different textures created by their respective diagonals. These works demonstrate how Tsong cleverly employed his own artistic language to advance and transform the vast lineages of Western abstract art in the 20th century, including Piet Mondrian’s geometric structures, the visuality of Op Art, and the concept of Minimalism. Tsong was seen as a major Taiwanese artist in the 1980s to be deeply influenced by Western Post-war Minimalism. Yet his works seem to fall outside of the linear historical view held by the American critic Clement Greenberg on the subject of modern painting. Instead of a reductive approach that understands painting to be a pure surface that ultimately refers back to objecthood itself, Tsong’s approach is more like a miniscule accumulation responding to ‘what happens after Minimalism.’ His practice is in essence a production of hidden connotations, and continues to point to the outside of painting — relating to the reality of everyday life, commonly agreed-upon signs and meanings, or even specific references to art history. On this, Tsong’s obsession with grid formations, at least in the formal aspect, is reminiscent of American abstract artist Agnes Martin’s grid paintings. Yet the essence of their works is very different. Martin’s grid paintings are a form of resistance against a type of consumerism that started to emerge in American society in the 1960s. Motivated by asceticism, it is reductive in terms of gesture, matter, and content. If what Martin wanted to ultimately realize was a complete silence in painting, Tsong wanted to capture white noise, incorporating, accumulating, and categorizing all kinds of static to form a sustained droning sound. For Tsong, grids are always about a process of addition. Brimming with gestural content, they are small units ‘waiting to be filled up’— whether by color blocks, imprints, brushstrokes, or folded lines. Ultimately, an infinite number of painting units, arranged in a grid formation, constitute a rhythmic, moving image. Tsong’s strategy of ‘miniscule addition’ resonates with the idea of seeing the void as existence proposed by Japanese Mono-ha painters in the 1960s and 70s.
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Tsong Pu │
Profound Geometry The force that dominates Tsong’s grid structures is almost always consistent in his two-dimensional works. The composition of these works is a strict extension of proper grid structures. Viewed at a distance, all the color blocks, either abide by horizontal or vertical principles, or are laid out according to 45-degree diagonals. As our eyes get closer to the painting, block by block, all the imprints and short brushstrokes in each tiny unit also function according to geometric laws based on the regular square. Compared to his paintings, Tsong’s three-dimensional works seem to be much more unrestrained. Its most impressive feature is his diverse presentations of lines. Grasses Grow Over the City and Resonating Note feature irregular folded lines that emerge out of cracks between converging planes; Silhouette Park is made up of straight lines posed at differing angles, a winding curve resembling a human form, as well as a brightly-colored curve that intersect the former. While these sculptures of diverse forms and irregular lines are solid structures composed of melded metal, they are imbued with a sense of freedom, improvisation, and lack of hesitation not found in his two-dimensional works. At times, it seems as though he simply extruded quick sketches into physical space. It is not hard to recognize in them a transition into abstraction that took place in 20th century Euro-American contemporary sculpture — an effort to get rid of heavy forms, embrace reductive forms, and herald an open and expansive field. These minimalist sculptures embodied the spirit of the expanded field: they eliminated the podium, and interacted with the surrounding environment. Resonating Note is composed of two metal sheets assembled with a black and red steel bar. The work leans upon a wall painted with a pleasant-looking skin tone in the exhibition space. However, where the sculptural components came into contact with the wall, Tsong deliberately painted the point of intersection into a white block, making it seem as though the sculpture was peeled back from the wall. Of course, Tsong did not truly cut a piece out of the wall, nor did he fabricate anything to simulate a state of being stripped apart— the visual effect is simply an effect of suggestion, using geometry to imply. To a certain extent, this sculpture is like a graphic representation. The viewer needs to use his or her imagination, to ‘sense’ the intimations that the sculpture offers us—whether relating to the expanded spatial field, or the kinetic potential embedded in the act of peeling apart. It is not hard to understand why the wall was deliberately painted a delightful flesh color. As Tsong says, “imagine this wall like a flesh being peeled apart”. This type of suggestive geometric form is one of the charismatic characteristics of Tsong’s oeuvre. It adds an indescribable quality to seemingly static compositions. In a series of relief sculptures including The World Opens Up to Itself and Awakened White, aluminum sticks of different lengths are primarily responsible for bringing rhythmic changes to the canvas. We can also notice that on the original white background filled with check patterns and minute textures, there are also a number of white squares with no particular texture. They are undoubtedly a part of the formal layout, yet they also imply a gestural suggestiveness— at times they look like marks that the aluminum sticks could have made when brushing over the surface. How do we capture such miniscule suggestiveness in what appears to be minimal geometric forms? Often times this awareness becomes a part of our unconscious habit of viewing Tsong’s work. This reveals a bizarre yet hidden representational dimension to Tsong’s art, on top of its evident abstract quality.
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莊普 │ 雙重痕跡
But more importantly, this gestural suggestiveness does not spring from traces of the hand left by the artistic production process. In other words, Tsong did not truly use aluminum sticks to brush over the surface to reduce the surface texture, just like he did not peel the sculpture away from the wall. On the contrary, these effects were achieved by semantically ‘arranging’ pure visual symbols. They are ‘ fake movements ’ generated by a kind of ideographic language, paralleling the ‘real gestures’ meant to fill his grids. Stretched-Out Time As such, we see two types of gestural imprints in Tsong’s work: one is based on the painterly gesture, namely the imprints of painting created by units of real labor inside each small square. The other is the ‘suggestive shape’ implied by ideographic signs. Finding ways to blend these two types of gestural imprints becomes an important technique in Tsong’s work. Backyard in June, an installation piece made in 1996 is a classic example of the above: our eyes are first drawn to a number of hammers resting on the floor, as though they had each smashed a flower pot into pieces. The flower pot fragments are spread out along an impossibly elegant physical curve on the ground, like flower petals or celestial bodies. Yet these appearances contain real traces of unitized labor—the artist did truly use the hammers to smash over a dozen of flower pots. In this exhibition, Days Airing Under the Sun equally blends these two gestural traces. We see a piece of rope stringing together 365 stones, calling upon the most ancient method of timekeeping. Seemingly based on conceptualism, this assemblage first uses a suggestive shape to signify a routine year-long labor, with each day as its basic unit (putting a stone on the rope everyday). However, the artist’s real gestural imprints in fact stems from a different kind of work ethic, one that is looser, more leisurely, and random. All the stones were intermittently collected by Tsong at Xindian riverside near his home throughout the past 10 years. In Days Airing Under the Sun, each stone signifies a day, yet these days are not defined by strict units of time or labor. In a sense, Tsong has unitized the labor that he put into collecting stones for the past few years, further condensing and sorting it into what the work suggests as one year. But I guess conversely, Tsong might prefer to say: the temporal axis of 365 days per year in Days Airing Under the Sun is in fact stretched out. Perhaps this explanation is closer to his mode of working—all the pre-defined planning and configurations appear at first glance to be precise like lines in a grid, yet ultimately, they can’t help but be defeated by the necessary rhythms of everyday life. Tsong’s artistic practice does not strive for a spiritual realm determined by absolute rules of abstraction. Amidst the double gestural imprints, he prefers to embrace a reality that has always been filled with difference, chance, and accidents. It is at times frustrating to talk about absolutes and eternity in the grey drabness of reality. But Tsong has realized very early on that this feeling of frustration is actually the starting point for art. He smilingly reminded me of an unforeseen state that occurred in Days Airing Under the Sun: “Because I didn’t use the right rope, the string of rocks slowly started to droop. When the exhibition ended, the rocks were only a tiny distance away from the floor.” —
025
Tsong Pu │
1
In addition to Friedrich’s Tree, a number of other works in the exhibition respectively respond to works by other
artists. For example, according to Tsong, the three different-colored canvases in the triptych The Poetics of the Quotidian are respectively taken from works by three artists that he admires, including Francisco Goya’s black, pink from Claude Monet’s Water Lilies series, as well as Mark Rothko’s orange. Furthermore, there are also a few works that make tribute to artist Richard Lin, Tsong’s former good friend who had since passed away. During the early 1980s, both of them were pioneers of Taiwanese abstract art and minimalism. 2
J. Ruskin and J. D. Rosenberg, ‘Of Modern Landscape’, in The Genius of John Ruskin: Selections from His Writings (University Press of Virginia, 1964), 83–91.
3
Cited from my interview with Tsong Pu on July 12, 2017
4
When talking about Richard Lin’s work, Tsong also refers to multiples: “(drawing lines) is not about drawing one
line, but multiple. This also applies to Lin’s sculptures, which are composed of numerous objects, like a building. It always comes in a group, never just one. My mode of working is similar to his. I cannot just make one skyscraper, I have to break it down into different groups, and make many of them”. See footnote 3 5
026
莊普 │ 雙重痕跡
See footnote 3.
027
Tsong Pu │
028
莊普 │ 雙重痕跡
029
Tsong Pu │
030
莊普 │ 雙重痕跡
031
Tsong Pu │
032
莊普 │ 雙重痕跡
033
Tsong Pu │
034
莊普 │ 雙重痕跡
035
Tsong Pu │
036
莊普 │ 雙重痕跡
037
Tsong Pu │
038
莊普 │ 雙重痕跡
039
Tsong Pu │
040
莊普 │ 雙重痕跡
041
Tsong Pu │
天地線是宇宙最後的一根弦 │ Horizon, the Last String of the Universe │ 2017 042
莊普 │ 雙重痕跡 | 雙重痕跡
043
Tsong Pu │
斜照 │ Oblique Illumination │ 1995 044
莊普 │ 雙重痕跡
世界劇場 │ The World Theater │ 1995
045
Tsong Pu │
你就是那美麗的花朵 - 線型記事 │ You are the Beautiful Flower- Linear Memory Formation │ 2007 046
莊普 │ 雙重痕跡
047
Tsong Pu │
懸置 │ Suspension │ 2016 048
莊普 │ 雙重痕跡
共同善 │ Common Good │ 2016 049
Tsong Pu │
050
莊普 │ 雙重痕跡
城過草木生 │ Grasses Grow Over the City │ 2017
051
Tsong Pu │
疊音 │ Resonating Note │ 2017
疊音 │ Resonating Note │ 2017 052
莊普 │ 雙重痕跡
城過草木生 │ Grasses Grow Over the City │ 2017 053
Tsong Pu │
054
莊普 │ 雙重痕跡
人形公園 │ Silhouette Park │ 2017 055
Tsong Pu │
送給河流的一張床 │ A Bed for the River │ 1998
056
莊普 │ 雙重痕跡
在遼闊的打呼聲中 │ In a Distant Snoring Sound │ 2005 057
Tsong Pu │
頑固幾何 │ Stubborn Geometry │ 2016
時空與範疇 │ Time, Space and Categories │ 2016 058
莊普 │ 雙重痕跡
朗道 │ Colonnade │ 2017
059
Tsong Pu │
獨立宣言 │ Declaration Independence │ 1996
060
莊普 │ 雙重痕跡
061
Tsong Pu │
曬日子 │ Days Airing Under the Sun │ 2016
062
莊普 │ 雙重痕跡
063
Tsong Pu │
六月裡的後花園 │ Backyard in June │ 1996 064
莊普 │ 雙重痕跡
065
Tsong Pu │
看不見的風景層 │ Invisible Layers of Scenery │ 2014 066
莊普 │ 雙重痕跡
067
Tsong Pu │
鳴 │ Ring │ 2014
068
莊普 │ 雙重痕跡
弗里德里希的一棵樹之一 │ Friedrich's Tree-1 │ 2016 069
Tsong Pu │
弗里德里希的一棵樹之二 │ Friedrich's Tree-2 │ 2016
弗里德里希的一棵樹 │ Friedrich's Tree │ 2016 070
莊普 │ 雙重痕跡
071
Tsong Pu │
兔子耳朵狐狸尾巴 │ Rabbit Ears , Fox Tail │ 2006 072
莊普 │ 雙重痕跡
073
Tsong Pu │
一從空來 │ One Comes from Emptiness │ 2009 074
莊普 │ 雙重痕跡
只取一瓢 │ I Take One Only │ 2008
075
Tsong Pu │
076
莊普 │ 雙重痕跡
help me │ 2012
077
Tsong Pu │
help me │ 2012
078
莊普 │ 雙重痕跡
079
Tsong Pu │
烏有之地 │ Non-existent Place │ 2016
080
莊普 │ 雙重痕跡
五指之間 │ Between the Five Fingers │ 2016 081
Tsong Pu │
井然 │ Rectangular Unit │ 2013 082
莊普 │ 雙重痕跡
名字與倉庫 │ Name and Warehouse │ 1994
083
Tsong Pu │
高下相傾 │ Abstracted from Depth │ 2014
084
莊普 │ 雙重痕跡
無滅 │ Avyaya │ 1993 085
Tsong Pu │
086
莊普 │ 雙重痕跡
意識的流變 │ Fluid Changes of Consciousness │ 2015 087
Tsong Pu │
自由的幻影 │ The Phantom of Liberty │ 2012 088
莊普 │ 雙重痕跡
089
Tsong Pu │
090
莊普 │ 雙重痕跡
091
Tsong Pu │
092
莊普 │ 雙重痕跡
093
Tsong Pu │
094
莊普 │ 雙重痕跡
095
Tsong Pu │
096
莊普 │ 雙重痕跡
097
Tsong Pu │
098
莊普 │ 雙重痕跡
099
Tsong Pu │
召喚神話 │ Beckoning to a Myth │ 2013 100
莊普 │ 雙重痕跡
101
Tsong Pu │
最愛 │ Most Beloved │ 2015 102
莊普 │ 雙重痕跡
103
Tsong Pu │
ㄧ些人 │ Some People │ 2015 104
莊普 │ 雙重痕跡
105
Tsong Pu │
一些名詞，一堆動詞，以及一點點形容詞 │ Some Nouns, a Lot of Verbs and a Few Adjectives │ 2001 106
莊普 │ 雙重痕跡
107
Tsong Pu │
咕嚕咕嚕│ Gi Li Gu Lu │ 2007
108
莊普 │ 雙重痕跡
天空走向幸運的大海 │ Sky Goes Toward the Lucky Sea │ 2016 109
Tsong Pu │
老子曰 │ Lao-Tzu Says │ 2008 110
莊普 │ 雙重痕跡
111
Tsong Pu │
截彎取直 │ Straightening │ 1992 112
莊普 │ 雙重痕跡
遨遊四方系列之三 - 順其自然 │ Nomadic series III-Follow the Nature │ 1987
113
Tsong Pu │
光與水的移位 │ Transposition of Light and Water │ 1992
114
莊普 │ 雙重痕跡
115
Tsong Pu │
116
莊普 │ 雙重痕跡
日落 · 日出 │ Sunset and Sunrise │ 1986 117
Tsong Pu │
宇宙中只是一個「有」│ The Universe Comes from “ Something ” │ 2001 118
莊普 │ 雙重痕跡
精神之塔 │ Spirit Tower │ 2013
119
Tsong Pu │
120
莊普 │ 雙重痕跡
巨蛋外的噴池 │ Fountains Outside the Dome │ 2016
121
Tsong Pu │
巨蛋外的噴池 │ Fountains Outside the Dome │ 2016 122
莊普 │ 雙重痕跡
123
Tsong Pu │
金光映住 │ Golden Light Falling on the Door │ 2008 124
莊普 │ 雙重痕跡
閃亮的對抗 │ Sparkling Fight │ 2008
125
Tsong Pu │
不是 X 就是 Y │ Either X or Y │ 2016 126
莊普 │ 雙重痕跡
白色的雪花愉快的吹著口哨 │ White Snowflakes Blowing Whistle Merrily │ 2016 127
Tsong Pu │
破碎的光 │ The Broken Light │ 2012
128
莊普 │ 雙重痕跡
129
Tsong Pu │
130
莊普 │ 雙重痕跡
破碎的光 │ The Broken Light │ 2012 131
Tsong Pu │
破碎的光 │ The Broken Light │ 2012
132
莊普 │ 雙重痕跡
133
Tsong Pu │
火與蒸氣 │ Fire and Steam │ 2014
134
莊普 │ 雙重痕跡
藍色的瑜珈 │ Blue Yoga │ 2013 135
Tsong Pu │
光榮戰役 │ The Glory War │ 2012 136
莊普 │ 雙重痕跡
小政府 │ Small Government │ 2016
137
Tsong Pu │
138
莊普 │ 雙重痕跡
燈把自己傳達給誰？ Where Does the Light Transmit to? 2015
139
Tsong Pu │
落日的嘆息 │ Sighed the Setting Sun │ 2017 140
莊普 │ 雙重痕跡
141
Tsong Pu │
冬籬下 │ Under Dong Li │ 2015
142
莊普 │ 雙重痕跡
烘雲托月 │ Clouds Covering the Moon │ 2014 143
Tsong Pu │
深夜王朝 │ Dark Dynasty │ 2016 144
莊普 │ 雙重痕跡
躺著的白色巨人 │ White Giant in Repose │ 2015
145
Tsong Pu │
斜角上遇馬遠 │ Ma Yuan at a corner │ 2012 146
莊普 │ 雙重痕跡
147
Tsong Pu │
心靈的角落 │ The Corner of Spirit │ 2012
148
莊普 │ 雙重痕跡
夏夜消遣 │ Summer Pastime │ 2016 149
Tsong Pu │
有逗點句點的風景 │ Scenery with Commas and Periods │ 2009 150
莊普 │ 雙重痕跡
151
Tsong Pu │
七日之修 │ Seven Days of Practice │ 1984
152
莊普 │ 雙重痕跡
153
Tsong Pu │
吉祥花園 │ Auspicious Garden │ 2015
154
莊普 │ 雙重痕跡
155
Tsong Pu │
新氣味 │ Sense Refresh │ 2012 156
莊普 │ 雙重痕跡
淺出 │ Concepts Simply │ 2012 157
Tsong Pu │
異境下的獨白 │ Monologue in a Foreign Realm │ 2015
158
莊普 │ 雙重痕跡
黑色相對十三論 │ Black Thirteen Relativity │ 2009 159
Tsong Pu │
和光同塵 │ A space, where the same dust is seen in the light │ 2017 160
莊普 │ 雙重痕跡
161
Tsong Pu │
顛覆與重建 │ Deconstruct and Reconstruct │ 2007
162
莊普 │ 雙重痕跡
平滑狀態 │ Gliding Here and There │ 2016 163
Tsong Pu │
164
莊普 │ 雙重痕跡
方如其真 │ Square Does Exist │ 2008 165
Tsong Pu │
166
莊普 │ 雙重痕跡
新境主義 │ Frontierism │ 2018
167
Tsong Pu │
未完成的黑色建築 │ The Unfinished Black Structure │ 1990
168
莊普 │ 雙重痕跡
勞動紀念碑 │ The Monument of Labour │ 1990 169
Tsong Pu │
170
莊普 │ 雙重痕跡
櫻花樹上的多邊形 │ Polygons of the Cherry Tree │ 1989
171
Tsong Pu │
脫序與規範 │ Chaos and Order │ 2015
172
莊普 │ 雙重痕跡
木紙 │ Wood-Paper │ 1993 173
Tsong Pu │
你就是那美麗的花朵系列 - HO DA LA │ You are the Beautiful Flower - HO DA LA │ 2007 174
莊普 │ 雙重痕跡
175
Tsong Pu │
偶爾 │ Sometimes │ 2018 176
莊普 │ 雙重痕跡
177
Tsong Pu │
臉景 │ Facescape │ 2016 178
莊普 │ 雙重痕跡
彩色雙眼 │ Multi-Coloured Eyes │ 2018
179
Tsong Pu │
見焰火撕裂的世界 │ Looking the World Split by Flame │ 2007 180
莊普 │ 雙重痕跡
181
Tsong Pu │
心在 │ Mindful │ 2005 182
莊普 │ 雙重痕跡
純粹意識 │ Pure Consciousness │ 2016
183
Tsong Pu │
184
莊普 │ 雙重痕跡
極光 │ Aurora │ 2010
185
Tsong Pu │
水平線上的紅 │ Red on the Horizontal Line │ 2018 186
莊普 │ 雙重痕跡
187
Tsong Pu │
意味 │ Implication │ 2018 188
莊普 │ 雙重痕跡
189
Tsong Pu │
拾穗 │ Gleaning │ 2006
190
莊普 │ 雙重痕跡
191
Tsong Pu │
192
莊普 │ 雙重痕跡
附錄 Appendix
193
Tsong Pu │
簡歷 攝影 │ 林柏梁 1985
莊普 1947
上海出生
1978
西班牙馬德里大學畢業
1981
回台定居
得獎紀錄 2014
第四屆公共藝術獎，卓越獎
2012
第三屆公共藝術獎，台北市政府捷運工程局
2009
伊通公園獲得第十三屆台北文化獎，台北市政府文化局
2007
文建會第一屆公共藝術獎，最佳創意表現獎
1992
台北現代美術雙年展獎，台北市立美術館
1984
中國現代繪畫新展望台北市長獎，台北市立美術
近年個展 2017
晴日換雨 緩慢焦點，誠品畫廊，台北
2015
五彩竹 — 莊普的拾貳獨白，北京現在畫廊，北京 光陰的聚落 — 莊普個展，大趨勢畫廊，台北
2014
第 8 屆深圳雕塑雙年展，深圳，中國 召喚神話 — 莊普個展，大趨勢畫廊，台北
2013
閃耀的星塔 — 莊普個展，Apartment of Art，幕尼黑
2012
斜角上遇馬遠 — 2012 莊普個展，大趨勢畫廊，台北 末日漂流，關渡美術館，台北 7,034,071,329 之 1，加力畫廊，台南
2011
粼粼 — 莊普個展，國家藝術園區美術館，新竹
2010
莊普地下藝術展，台北市立美術館，台北 疏遠的節奏，大趨勢畫廊，台北 遠方的座標 — 莊普創作展，國立中興大學藝文中心，台中
2008
我討厭村上隆，伊通公園，台北 弱水三千，只取一瓢，大趨勢畫廊，台北
2005 194
莊普 │ 雙重痕跡
在遼闊的打呼聲中，伊通公園，台北
Biography
Tsong Pu 1947
Born in Shanghai, China
1978
Graduated from La Escuela Superior de Bellas Artes de San Fernando de Madrid, Spain
1981
Returned to Taiwan, lives and works in Taipei
Prizes and Awards 2014
“ The 4th Public Art Awards ”, Excellence Award , Taiwan
2012
“ The 3rd Public Art Awards ”, Department of Rapid Transit Systems, Taipei City Government, Taiwan
2009
“ The 13th Taipei Culture Award ”, for IT Park Gallery, Taipei City Government Department of Cultural Affairs, Taiwan
2007
“ The Best of Creativity ” , The 1st Public Art Awards, Council for Cultural Affairs (CCA), Taiwan
1992
“ Taipei Biennial of Contemporary Art Award ” , Taipei Fine Arts Museum, Taipei, Taiwan
1984
“ Taipei City Mayor Award for A New Vision of Contemporary Chinese Painting ”, Taipei Fine Arts Museum, Taipei, Taiwan
Solo Exhibitions 2017 2015
“ Against the Quotidian Tug ” , Eslite Gallery, Taipei “ Tsong Pu ’s Twelve Monologues-Multicolored Bamboo ”, Beijing Art Now Gallery, Beijing “ Settlement of time ” , Main Trend Gallery, Taipei
2014
“ The 8th Shenzhen Sculpture Biennale ” , Shenzhen, China “ Beckoning to a Myth ” , Main Trend Gallery, Taipei
2013 2012
“ Der Turm der Leuchtenden Sterne ”, Apartment of Art, Munich, Germany “ Ma Yuan at A Corner: 2012 Tsong Pu Solo Exhibition ” , Main Trend Gallery, Taipei “ Drifting Towards An End ”, Kuandu Museum of Fine Arts, Taipei “ One of 7,034,071,329”, Inart Space, Tainan
2011
“ Gleamingly Gleaming — Tsong Pu Solo Exhibition ”, Art Museum at The Art Park, Hsinchu
2010
“ Art from the Underground: Tsong Pu Solo Exhibition ” , Taipei Fine Arts Museum, Taipei “ Estranged Rhythm ” , Main Trend Gallery, Taipei “ Coordinates of The Distance: Tsong Pu Solo Exhibition ”, National Chung Hsing University Art Center, Taichung
2008
“ I Hate Takashi Murakami ” , IT Park, Taipei “ A Flood of Tender Water, I Take One Scoop Only ” , Main Trend Gallery, Taipei
2005 195
“ In The Spectacular Snore…” , IT Park, Taipei Tsong Pu │
簡歷
莊普 近年聯展 2018 2017
「低限冷抽－九人展」，耘非凡美術館，台南，台灣 上海 021，誠品畫廊，上海 星際迷航 — RED 新店男孩，雙方藝廊，台北
2016
上海 021，誠品畫廊，上海 一座島嶼的可能性 新店男孩，國立台灣美術館，台中 未來請柬當代藝術展，人文遠雄博物館，台北，汐址
2015
超驗與象徵，尊彩藝術中心，台北
2014
誠品畫廊 25 週年展，誠品畫廊，台北
2013
山海線上 — 五人聯展，荷軒新藝空間，高雄 2013 關渡藝術節 亞洲巡弋，關渡美術館，台北
2012
當空間成為事件 台灣，1980 年代現代性部署 高雄市立美術館，高雄 新店男孩 — 生活的決心，非常廟藝文空間，台北
2011
第 26 屆亞洲國際美展，首爾藝術中心漢嘉阮美術館，首爾，韓國 「返本歸真」台灣當代抽象繪畫展 I，赤粒藝術，台北 複感 動觀 — 2011 海峽兩岸當代藝術展，中國美術館，北京，中國
2010
每一個花萼都是棲息之所 — 第十三屆台北文化獎「伊通公園」推廣活動， 台北市政府大樓中庭，台北 異象 — 典藏抽象繪畫展，國立台灣美術館，台中 台北現代畫展，淡江大學文錙藝術中心展覽廳，台北 忠誠祝福 — 臻品藝術中心二十週年策劃展，臻品藝術中心，台中
2009
觀點與「觀」點：2009 亞洲藝術雙年展，國立台灣美術館，台中
2008
家 — 台灣美術雙年展， 國立台灣美術館，台中 Art is Alive — 釜山雙年展，2008 釜山當代藝術館，釜山，韓國 抽象與材質的當代開拓，印象畫廊當代館，台北 不設防城市 — 藝術中的建築展，台北市立美術館，台北
2007
世代 對話，印象畫廊當代館，台北 散步 — 莊普、賴純純、陳慧嶠 三人展，伊通公園，台北 形色版圖 — 顛覆與重建，大趨勢畫廊，台北
196
莊普 │ 雙重痕跡
Biography
Tsong Pu Group Exhibitions 2018
“ Minimalism Cold Abstraction - Contemporary Abstract Art in Taiwan ” , Chini Art Gallery, Taipei, Taiwan
2017
“ ART021” Eslite Gallery, Shanghai “ Interstellar-RED Xindan Boys ” Xindian Boys , Double Square Gallery, Taipei
2016
“ ART021” Eslite Gallery, Shanghai “ Taiwan Biennial the Possibility of an Island ”, National Taiwan Museum of Fine Arts, Taichung “ The Future Invitation ” , Farglory Museums, Taipei
2015
“ Transcendence And Symbol ”, Liang Gallery, Taipei
2014
“ Eslite Gallery ’ s 25th Anniversary Exhibition ” , Eslite Gallery, Taipei
2013
“ A Joint Exhibition by Five Artistson the Mountain - Coastal Lines ” Lotus Art Gallery, Kaohsiung “ Asia Cruise ” Kuandu Museum of Fine Arts, Taipei
2012
“ When Spaces Became Events… Dispositive of Modernity in the 1980s, Taiwan ” Kaohsiung Museum of Fine Arts, Kaohsiung “ Xindian Boys - The determination of Life ” , VT Artsalon, Taipei
2011
“ 26th Asian International Art Exhibition ” , Hangaram Art Museum of Seoul Arts Center, Seoul, Korea “ Return to the Essence —Survey of Contemporary Abstract Painting in Taiwan I ” , Red Gold Fine Art, Taipei “ Dual Senses and Dynamic Views — Contemporary Art Exhibition across the Taiwan Straits of 2011” , National Art Museum of China, Beijing, China
2010
“ Every Chalice is a Dwelling Place – Thirteenth Taipei Culture Award ‘ IT Park ’ Promotional Event ” , Taipei City Hall, Taipei “ Beyond Vision: Highlights of Abstract Paintings from the National Taiwan Museum of Fine Arts Collection ” , National Taiwan Museum of Fine Arts, Taichung “ Taipei Modern Art Exhibition ”, Carrie Chang Fine Arts Center of Tamkang University, Taipei “ Loyalty Blessing ” , 20th Anniversary Exhibition, Galerie Pierre, Taichung
2009
“ Viewpoints & Viewing Points – 2009 Asian Art Biennial ” , National Taiwan Museum of Fine Arts, Taichung
2008
“ HOME-Taiwan Biennial 2008 ”, National Taiwan Museum of Fine Arts, Taichung “ Art is Alive ” , Busan Biennale 2008, Busan Museum of Modern Art, Busan, Korea “ Contemporary Explorations in Abstraction and Materials ” , Impressions Art Gallery, Taipei, Taiwan “ Architecture in Art－OPEN CITY ” , Taipei Fine Arts Museum, Taipei
2007
“ Generation Dialog ” , Impressions Art Gallery, Taipei “ STROLL” , IT Park, Taipei “ Beyond the Frontier of Color and Form－Subversion and Reconstruction ” ,Main Trend Gallery, Taipei
197
Tsong Pu │
作品索引
List of artworks
2018
166
新境主義 Frontierism 鉛筆、壓克力、紙、畫布、鋁製品 Sketch, Paper, Acrylic and Aluminum on Canvas 130 × 194 cm
179
彩色雙眼 Multi-Coloured Eyes 壓克力顏料、畫布 Acrylic on Canvas 72.5 × 60.5 cm
176
偶爾 Sometimes 壓克力顏料、畫布 Acrylic on Canvas 130 × 130 cm
186
水平線上的紅 Red on the Horizontal Line 壓克力顏料、畫布 Acrylic on Canvas 60.5 × 72.5 cm
188
意味 Implication 壓克力顏料、畫布 Acrylic on Canvas 130 × 130 cm
2017
042
天地線是宇宙最後的一根弦 Horizon, the Last String of the Universe 鉛筆 Sketch 150 × 1,610 cm
050
城過草木生 Grasses Grow Over the City 鋁、烤漆 Aluminum, Enamel Paint 262 × 172 × 125 cm
051
疊音 Resonating Note 鋁、烤漆、乳膠漆 Aluminum, Enamel Paint, Emulsion 270 × 140 × 83 cm
054
人形公園 Silhouette Park 鋁、鋼繩、烤漆、噴漆 Aluminum, Steel Cable, Enamel Paint, Spray Paint 270 × 502 × 465 cm
059
朗道 Colonnade 鋁、鐵、烤漆 Aluminum, Iron, Enamel Paint 242 × 205 × 96 cm
198
莊普 │ 雙重痕跡
062
曬日子 Days Airing Under the Sun 鵝卵石365顆、繩、乳膠漆 365 Rocks, Emulsion, Rope 150 × 1,610 cm
140
落日的嘆息 Sighed the Setting Sun 壓克力顏料、畫布 Acrylic on Canvas 194 × 259 cm
160
和光同塵 A space, where the same dust is seen in the light 壓克力顏料、畫布 Acrylic on Canvas 130 × 130 cm
2016
048
懸置 Suspension 紙、壓克力顏、畫布、鋁製品 Paper, Acrylic and Aluminum on Canvas 73 × 91 cm
049
共同善 Common Good 紙、畫布、鋁製品 Paper, Aluminum on Canvas 73 × 91 cm
058
頑固幾何 Stubborn Geometry 紙、壓克力顏料、畫布、鋁製品 Paper, Acrylic and Aluminum on Canvas 60.5 × 72.5 cm
058
時空與範疇 Time, Space and Categories 紙、畫布、鋁製品 Paper and Aluminum on Canvas 73 × 91 cm
069
弗里德里希的一棵樹之一 Friedrich's Tree-1 壓克力顏料、畫 布 Acrylic on Canvas 72.5 × 60.5 cm
069
弗里德里希的一棵樹之二 Friedrich's Tree-2 壓克力顏料、畫 布 Acrylic on Canvas 72.5 × 60.5 cm
070
弗里德里希的一棵樹 Friedrich's Tree 壓克力顏料、畫 布 Acrylic on Canvas 1405 × 210 cm
199
Tsong Pu │
作品索引
080
List of artworks
烏有之地 Non-existent Place 紙、壓克力顏料、畫布、鋁製品 Paper, Acrylic and Aluminum on Canvas 45.5 × 53 cm
120
巨蛋外的噴池 Fountains Outside the Dome 複合媒材裝置 Mixed Media Installation 尺寸依場地而定
126
不是 X 就是 Y Either X or Y 壓克力顏料、畫布 Acrylic on Canvas 130 × 130cm
127
白色的雪花愉快的吹著口哨 White Snowflakes Blowing Whistle Merrily 壓克力顏料、畫布 Acrylic on Canvas 130 × 130cm
137
小政府 Small Government 壓克力顏料、畫布 Acrylic on Canvas 44.5 × 52 cm
144
深夜王朝 Dark Dynasty 紙、壓克力顏料、畫布、鋁製品 Paper, Acrylic and Aluminum on Canvas 60.5 × 72.5 cm
081
五指之間 Between the Five Fingers
紙、壓克力顏料、畫布、鋁製品 Paper, Acrylic and Aluminum on Canvas 60.5 × 72.5cm 149
夏夜消遣 Summer Pastime 紙、壓克力顏料、畫布、鋁製品 Paper, Acrylic and Aluminum on Canvas 45.5 × 53.0 cm
163
平滑狀態 Gliding Here and There 紙、畫布、鋁製品 Paper and Aluminum on Canvas 97 × 130 cm
178
臉景 Facescape 壓克力顏料、畫布 Acrylic on Canvas 90.5 × 116 cm
183
純粹意識 Pure Consciousness 紙、畫布、鋁製品 Paper and Aluminum on Canvas 73 × 91cm
200
莊普 │ 雙重痕跡
2015
086
意識的流變 Fluid Changes of Consciousness 壓克力顏料、畫布 Acrylic on Canvas 169 × 112cm (2pcs)
102
最愛 Most Beloved 複合媒材裝置 Mixed Media Installation 尺寸依場地而定
104
ㄧ些人 Some People 壓克力顏料、畫布 Acrylic on Canvas 72.5 × 91 cm
138
燈把自己傳達給誰？ Where Does the Light Transmit to? 壓克力顏料、畫布 Acrylic on Canvas 200 × 300 cm
142
冬籬下 Under Dong Li 壓克力顏料、畫布 Acrylic on Canvas 162 × 130 cm
145
躺著的白色巨人 White Giant in Repose 壓克力顏料、畫布、鋁製品 Acrylic and Aluminum on Canvas 72.5 × 91 cm
154
吉祥花園 Auspicious Garden 壓克力顏料、畫布、鋁製品 Acrylic and Aluminum on Canvas 130 × 194 cm
158
異境下的獨白 Monologue in a Foreign Realm 壓克力顏料、畫布 Acrylic on Canvas
162 × 130 cm 172
脫序與規範 Chaos and Order 畫布、鋁製品 Acrylic and Aluminum on Canvas 72.5 × 91 cm
201
Tsong Pu │
作品索引
List of artworks
2014
066
看不見的風景層 Invisible Layers of Scenery 壓克力顏料、畫布 Acrylic on Canvas 200 × 200 cm
068
鳴 Ring 壓克力顏料、畫布 Acrylic on Canvas 200 × 300 cm
084
高下相傾 Abstracted from Depth 畫布、壯紙、鋁製品 Mixed Media with Mulberry Paper and Aluminum on Canvas 50 × 60.5cm
134
火與蒸氣 Fire and Steam 壓克力顏料、畫布 Acrylic on Canvas 60.5 × 50 cm
143
烘雲托月 Clouds Covering the Moon 壓克力顏料、畫布 Acrylic on Canvas 53 × 78 cm
2013
082
井然 Rectangular Unit 畫布、壯紙、鋁製品 Mixed Media with Mulberry Paper and Aluminum on Canvas 53 × 45.5 cm
100
召喚神話 Beckoning to a Myth 複合媒材裝置 Mixed Media Installation 尺寸依場地而定
119
精神之塔 Spirit Tower 複合媒材裝置 Mixed Media Installation 69 × 69 × 360cm
135
藍色的瑜珈 Blue Yoga
壓克力顏料、畫布 Acrylic on Canvas 97 × 130 cm
202
莊普 │ 雙重痕跡
2012
076
help me 複合媒材裝置 Mixed Media Installation 170 × 132 cm (6pcs)
088
自由的幻影 The Phantom of Liberty 壓克力顏料、畫布 Acrylic on Canvas 168 × 728 cm
128
破碎的光 The Broken Light
複合媒材裝置 Mixed Media Installation 360 × 935 × 20 cm 132
破碎的光 The Broken Light 壓克力顏料、畫布 Acrylic on Canvas 130 × 130 cm
136
光榮戰役 The Glory War 壓克力顏料、畫布 Acrylic on Canvas 170 × 130 cm
146
斜角上遇馬遠 Ma Yuan at a corner 壓克力顏料、畫布 Acrylic on Canvas 168 × 448 cm (4pcs)
148
心靈的角落 The Corner of Spirit 壓克力顏料、畫布 Acrylic on Canvas 130 × 170 cm
156
新氣味 Sense Refresh 壓克力顏料、畫布 Acrylic on Canvas 130 × 162 cm
157
淺出 Concepts Simply 壓克力顏料、畫布 Acrylic on Canvas 130 × 162 cm
2010
185
極光 Aurora 壓克力顏料、畫布 Acrylic on Canvas 112 × 112 cm
203
Tsong Pu │
作品索引
List of artworks
2009
074
一從空來 One Comes from Emptiness 複合媒材裝置 Mixed Media Installation 675 × 710 × 1075 cm
150
有逗點句點的風景 Scenery with Commas and Periods 鉛筆素描 Skech 52.1 × 37.5cm (23pcs)
159
黑色相對十三論 Black Thirteen Relativity 壓克力顏料、畫布 Acrylic on Canvas 27 × 22 cm (10pcs)、35 × 27 cm (1pcs)、25.5 × 17.5 cm (2pcs)
2008
075
只取一瓢 I Take One Only 複合媒材裝置 Mixed Media Installation 560 × 1175 × 250 cm
110
老子曰 Lao-Tzu Says 壓克力、紙、火柴棒 Acrylic on Paper and matchstick 29.5 × 39.5 cm (10pcs)
165
方如其真 Square Does Exist 壓克力顏料、畫布 Acrylic on Canvas 150 × 200 cm
124
金光映住 Golden Light Falling on the Door 壓克力顏料、畫布 Acrylic on Canvas 150 × 200 cm
125
閃亮的對抗 Sparkling Fight 壓克力顏料、畫布 Acrylic on Canvas 130 × 193 cm
2007
046
你就是那美麗的花朵 - 線型記事
You ar e the Beautiful Flower- Linear Memory Formation 壓克力顏料、紙張 Acrylic on Paper 29.5 × 39 cm (6pcs)
204
莊普 │ 雙重痕跡
108
咭哩咕嚕 Gi Li Gu Lu 壓克力顏料、畫布 Acrylic on Canvas 130 × 194 cm
162
顛覆與重建 Deconstruct and Reconstruct 壓克力顏料、畫布 Acrylic on Canvas 41 × 74.5 cm (3pcs)
174
你就是那美麗的花朵系列 - HO DA LA You are the Beautiful Flower - HO DA LA 壓克力顏料 紙本 Acrylic on Paper 29.5 × 39 cm (4pcs)
180
見焰火撕裂的世界 Looking the World Split by Flame 壓克力顏料、畫布 Acrylic on Canvas 41 × 74 cm (9pcs)
2006
072
兔子耳朵狐狸尾巴 Rabbit Ears , Fox Tail 複合媒材裝置 Mixed Media 725 × 430 × 288 cm
190
拾穗 Gleaning 複合媒材 Mixed Media 90 × 130 cm
2005
057
在遼闊的打呼聲中 In a Distant Snoring Sound 複合媒材裝置 Mixed Media Installation 420 × 600 × 360 cm
150
有逗點句點的風景 Scenery with Commas and Periods 鉛筆素描 Skech 52.1 × 37.5 cm (23pcs)
182
心在 Mindful 霓虹燈 Neon Light 130 × 22 cm
205
Tsong Pu │
作品索引
List of artworks
2001
106
一些名詞，一堆動詞，以及一點點形容詞
Some Nouns, a Lot of Verbs and a Few Adjectives 水桶、透明片、板凳、枕頭、被子、燈、麻繩、黑色水泥漆 Mixed Media 720 × 280 × 220 cm 118
宇宙中只是一個「有」 The Universe Comes From “ Something ” 複合媒材裝置 Mixed Media 150 × 220 × 10 cm
1998
056
送給河流的一張床 A Bed for the River 43 張木床、檯燈、相片 Bedside Light, Photograph 尺寸依場地而定
1996
060
獨立宣言 Declaration Independence 複合媒材裝置 Mixed Media Installation 480 × 260 × 360 cm
064
六月裡的後花園 Backyard in June 複合媒材裝置 Mixed Media Installation 420 × 420 cm
1995
044
斜照 Oblique Illumination 線、紙 Mixed Media 106.2 × 75.2 cm
045
世界劇場 The World Theater 線、畫布 Mixed Media 106.5 × 86.5 cm
206
莊普 │ 雙重痕跡
1994
083
名字與倉庫 Name and Warehouse 複合媒材裝置 Mixed Media Installation 500 × 1757cm
1993
085
無滅 Avyaya 壓克力顏料、畫布 Acrylic on Canvas 190 × 322cm
173
木紙 Wood-Paper 壓克力顏料、紙本 Acrylic on paper 79 × 110 cm
1992
112
截彎取直 Straightening 複合媒材裝置 Mixed Media Installation 尺寸依場地而定
114
光與水的移位 Transposition of Light and Water 複合媒材裝置 Mixed Media Installation 640 × 360 × 60 cm
1990
168
未完成的黑色建築 The Unfinished Black Structure 空間裝置 Mixed Media Installation 3620 × 200 × 250 cm
169
勞動紀念碑 The Monument of Labour 鐵板、鋤頭 Steel Plate, Hoes 262 × 120 × 128 cm
207
Tsong Pu │
作品索引
List of artworks
1989
170
櫻花樹上的多邊形 Polygons of the Cherry Tree 樹枝、鋁漆 Installation 視場地而定
1987
113
遨遊四方系列之三 - 順其自然 Nomadic series III-Follow the Nature 複合媒材裝置 Mixed Media Installation 2250 × 780 × 400cm
1986
116
日落 · 日出 Sunset and Sunrise 鐵板 Mixed media installation 450 × 300 × 220cm
1984
152
七日之修 Seven Days of Practice 合板、螺絲釘、水泥漆 Mixed Media installation 180 × 240 × 4 cm (7pcs)
208
莊普 │ 雙重痕跡
209
Tsong Pu │
210
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211
Tsong Pu │
212
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213
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214
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Tsong Pu │
DOUBLE IMPRINT TSONG PU
雙重痕跡 莊普
出版者 ︱ 誠品股份有限公司
Publisher ︱ The Eslite Corp. 藝術家 ︱ 莊普 Artist ︱ Tsong Pu 監製 ︱ 王昱淳 Executive Producer ︱ Wang Yu-Chun 美術設計 ︱ 紙霧設計 鄭詔蓉 Designer ︱ paperfog.studio@gmail.com 地址 ︱ 台北市松高路 11 號 5 樓 Address ︱ 5F, No. 11 Songgao Road, Taipei 11073 Taiwan 電話 Telephone ︱ 02-87893388 ext.1588 印刷 ︱ 日動藝術印刷有限公司 Printing ︱ Sunrise Art Printing Co., Ltd. 特別感謝 ︱ 出版日期 ︱ 中華民國 107 年 11 月 初版 Publishing Date ︱ November 2018 First Edition ISBN ︱ 978-957-8599-58-1
國家圖書館出版品預行編目 (CATLOGING IN PUBLICATION) 資料
定價 Price ︱ NT 1200 元
雙重痕跡 DOUBLE IMPRINT ／ 莊普 TSONG PU
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