【開館首展】存在的情境─東亞當代寫實藝術展

＜ 依展場動線順序 ＞

SITUATION OF EXISTENCE Contemporary Realistic Art in East Asia

存

在

的

情

境

東

亞

當

代

寫

實

藝

術

展

Index

目錄

Preface

館長序

Curatorial Concept

策展理念

Chu-Hsin Lee

李足新

06

Ming-Jiun Tsai

蔡明君

09

Plates

圖錄

25

Biographies

簡歷

123

Preface

館長序

寫實藝術的桃花源

毓繡美術館館長

李足新

歷經四年的辛勤努力，一座隱身山林的寫實美術館終於誕生了。 這座以當代寫實美術為研究主軸的私人美術館，座落於南投草屯九九峰山下，群山 環繞，風景優美，地理條件得天獨厚，像是遠離塵囂的桃花源。 創辦人侯英蓂、葉毓繡賢伉儷，以「一輩子做一件有意義的事」為理念，集合眾人 齊心努力，形塑出這座建築與環境完美結合的美術館。 建館四年期間，我們也在平林社區推動巷弄美學，遊客可在散步的同時欣賞巷弄間 的藝術，並且體驗悠閒的鄉間生活。當您進到平林社區，就好比進入了一個沒有邊 際的美術園區，既可沉浸在美術館裡觀看藝術家細膩寫實的作品，又可以在閒散之 間欣賞藝術與生活相互融合的巷弄藝術。 毓繡美術館以寫實藝術為依歸，欲透過館內的展覽、典藏、研究、教育等，讓大家 共同欣賞全世界的寫實藝術。並且讓更多人了解臺灣的寫實藝術，還可以透過美術 館將臺灣的寫實藝術推展到全世界！ 開幕首展邀請年輕策展人蔡明君規劃「存在的情境：東亞當代寫實藝術展」，以臺、 港、日、韓等國藝術家為主，展出各類的寫實藝術，我們希望藉由這種多元媒材與 異文化結合的形式，介紹當代東亞的寫實藝術風貌。透過清楚的脈絡爬梳與跨媒材 的豐富性，改變觀者長期以來對寫實藝術的窄化認知。 美術館除了持續規劃優質的展覽之外，也相當重視臺灣本土的寫實藝術研究，我們 特別規劃一間研究室，蒐集臺灣一九六〇年以後的寫實藝術相關論述與藝術家畫 冊，提供學者及有興趣的民眾進館研究，讓更多人了解臺灣寫實藝術的發展脈絡。 這座全新的寫實美術館於二〇一六年一月九日開幕，我們以喜悅、感恩的心情，歡 迎您的蒞臨。和我們一起在美術館遇見令人驚豔的寫實藝術，看見人類手感創作的 極致與美好。

6

Situation of Existence : Contemporary Realistic Art in East Asia

Preface

The Shangri-La of Realistic Art

Director of Yu-Hsiu Museum of Art

Chu-Hsin Lee

After four years of diligent efforts, a secluded, mountain-surrounded museum of realistic art was finally born.

This private museum is a realistic art museum that focuses on research, and is located at the foot of Ninety-nine Peak in Caotun, Nantou. It is embedded in mountains with superb surrounding sceneries. The exceptional natural environment makes the museum the Shangri-la away from the mundane hustle and bustle.

For an ideal of “one should accomplish one meaningful thing in life,” the founders as well as husband and wife, Mr. Ing-ming Hour and Mrs. Yu-hsiu Ye have united many people’s hearts and efforts to create this museum, of which the architecture and the surroundings are perfectly integrated.

During the four years of the museum’s construction, we have also been promoting alley aesthetics in Ping-Lin Neighborhood. While tourists take a walk in the neighborhood, they could appreciate artworks on the streets and in the alleys and experience the leisurely country life. When you enter the neighborhood, it is like visiting a wall-free, borderless artistic zone. As visitors immerse in the delicate, realistic artworks in the museum, they could also unhurriedly admire the harmonious integration of art and life in the alley art.

Yu-Hsiu Museum of Art solely concentrates on realistic art, and its main objective is to enable the public appreciation of realistic art worldwide through the exhibitions, collection, research, and education activities in the museum. Meanwhile, the museum aims to increase people’s comprehension of realistic art in Taiwan, and to introduce Taiwanese realistic art to the world through this artistic institution.

For the opening exhibition, the museum has invited Ms. Ming-jiun Tsai, a curator of the younger generation, to present Situation of Existence: Contemporary Realistic Art in East Asia, which included artists from Taiwan, Hong Kong, Japan and Korea, and displayed different kinds of realistic artworks. We hope to introduce the realistic art of contemporary East Asia through combining diverse media and heterogeneous cultures.

With a clear presentation of the context and the abundant diversity in media, the exhibition hopes to expand the audience’s long-lasting limited understanding of realistic art.

In addition to consistently presenting excellent exhibitions, the museum emphasizes on the research of Taiwanese realistic art as well, for which we have specially created a library that contains theoretical publications and artistic catalogues of Taiwanese realistic art after 1960. It is open to researchers and intrigued public to study in the museum and will allow more people to understand the historical development of realistic art in Taiwan.

This brand new museum of realistic art was open on 9 January 2016. We welcome you with joy and gratitude, and together, we shall encounter remarkable realistic artworks and witness the ultimate achievement and greatness of mankind’s artistic creation.

7

策展理念

Curatorial Concept

Curatorial Concept

策展理念

存在的情境：東亞當代寫實藝術展

蔡明君

「那能夠觸動天才，或者說，給予他們作品靈感的，並不是新穎的點子，而是他們 對於已經被講述過的仍然不夠的這個想法的執念。」1.

—— 德拉克洛瓦

視覺，可說是多數人賴以認識、體驗這世界最重要的途徑。在經過不斷進步的科學 探索之後，我們知道，人類的視力在動物界中就構造而言並不特別突出，我們無法 如鷹望穿千里、不像貓有夜視能力、也沒有蜻蜓複眼的色彩捕捉能力、亦不能學變 色龍三百六十度轉動眼球。但是，人類的眼睛能夠辨認色彩與立體關係、並依此能 力創造出在視覺上如真的圖像。這樣的條件，讓寫實藝術的創作，成為了在人類各 類型精彩的藝術創意表現中，獨特屬於視覺藝術這個領域無可取代的表現形式。

1. Eugène Delacroix (17981863), ‘The Journal of Eugène D e l a c r o i x ’, e d . H u b e r t Wellington (London and New York: Phaidon Press, 1995) 41 ‘What moves men of genius, or rather, what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough.’

我們無可避免得由繪畫談起—— 這個最原始也有著最長遠歷史的藝術創作形態。 從遠史岩壁上的紀錄，孩童抓著筆四處塗鴉，到具象或抽象的美學創作，畫畫幾乎 是人類一種與生俱來在溝通、記憶與創意上最基礎的直覺表現。作為藝術的形式， 繪畫從作為服務性的工具、美學上的追求、觀念上的討論甚至在十九、二十世紀被 宣告過死亡，但「它」卻從未在藝術創作的媒材裡消失，未來的藝術史也將繼續有 其身影的紀錄。也許是因為繪畫的直接性（筆與平面），也許是它永遠有讓人探究 不盡的角度與層次，也或許因為它是二元純粹的呈現。但，繪畫卻從來不單純停留 在平面上，不像攝影將某一個時刻「確實地」留存了下來、並成為一個永久靜止的 影像，繪畫雖然最終為靜態的呈現，但當中其實含括了時間、空間等四維經驗的總 和。 文化藝術評論者約翰 ‧ 伯格（John Berger）在《畫下那一刻》（Drawn to that moment）中說道：「素描是為了觀看和檢視形貌的結構。樹的素描所顯示的，並 非一棵樹，而是一棵被注視的樹。儘管看到一棵樹幾乎是眨眼的功夫，但檢示我們 對一棵樹的看法（一棵被注視的樹）就不只是一秒鐘的事情，可能得花上好幾分鐘 或好幾小時，此外，這還牽涉到先前的許多觀看經驗，包括先前的經驗如何影響這 次的觀看，以及這次的觀看如何回饋先前的經驗。因此，在看到樹的那一剎那，也 同時確立了一種生命經驗。素描就是藉由這種方式拒絕形貌消失，並呈現出同時存 在的多重時刻。」2. 因為，就算是照相寫實，繪畫的表現不應被理解為重現一個被 定止的時刻，畢竟繪畫的過程，是透過眼睛的觀看、大腦的分析、再到手指所握著 的畫筆（或任何其他工具）去觸碰到讓顏料覆蓋的載體。藝術家在不同的時刻、生 命階段裡，儘管面對同樣的對象物，仍不可能畫出一模一樣的作品。創作的過程當 中，每一次雙眼的觀看、精神的條件、經驗的積累甚至肌肉的狀態，都能影響繪畫 的呈現，而最終成果以及其「接近或喚醒真實經驗」的程度更是與創作者腦中預期 的影像有著不能忽視的重要關係。 由此想像出發，或許我們得以理解需要充分時間、技巧以及觀察和經驗累積而成的 10

2. 約翰 ‧ 伯格，《畫下那一 刻》於「觀看的視界」，吳 莉 君 譯（ 臺 北 市： 麥 田， 城 邦 文 化 出 版，2010） 211-212〈Drawn to that moment〉原文最初發表於 New Society, 8 July 1976

Situation of Existence : Contemporary Realistic Art in East Asia

寫實藝術，是如何獨特且無可取代。在繪畫已經死過好幾回的當代，寫實藝術已不 再滿足於欺眼技術的追求或模擬現實的表現，而可以被認知為隨著各個不同時期與 技術的發展，在藝術創作上最能表現人類視覺與身體協調之完美性的藝術表現類 型；以及，在當代藝術表現形式中，作為被「製造」出來的影像得以透過視覺的傳 達與接收「直接」地邀請每一位「觀」眾與之無礙對話的語彙之一；「寫實」，在 當代藝術創作脈絡裡，它或者是已成為作品當中被討論的主題、或者是成為討論概 念的一個過程，皆不僅止於美學的討論或擬真的目的了。

3 .V i j a Ce l m i n s a n d Cuck Close, 1992,‘In Conversation’in Painting, ed.

Terry R. Myers (London and Cambridge: Whitechapel Gallery and The MIT Press, 2011) 85 ‘Who knows why people l i ke wo r k ? At a ce r t a i n point, you’re very happy that people look at it at all; in that way it’s good.

My feeling is, however, that oft e n p e o p l e o n l y l o o k at the image. I feel that the image is just a sort of armature on which I hang my marks and make my art. […] I have been interested in building a form in the painting. It’s hard to define the word form, but I wanted to make a work that was multidimensional and that went back and forth in space yet remained what it was: a small, concentrated area that was essentially flat.’ 本文作者翻譯

在一段與美國寫實藝術家查克 ‧ 克洛斯（Chuck Close）的對話當中， 同樣身為 寫實藝術家的維耶 ‧ 塞敏斯（Vija Celmins） 回應她是否會認為觀眾為了錯誤的理 由喜歡她的作品這個問題：「天知道人們為什麼喜歡作品。在某種程度上，只要人 們還願意看作品你就很高興了，從這個角度來看，這是很不錯的。然而，我的感覺 是，人們通常只看到影像。我認為影像只是一種骨架，而我在上頭放上我的標誌做 我的藝術。[…] 我一直都對於在繪畫中建造出形式感興趣。形式這個詞很難界定， 但我想要創造一個在空間中穿梭流動、卻仍然維持其原貌的多次元世界：那是一 個本質上為平面，小巧而集中的地域。」3. 在同一段對話中，克洛斯亦說到他喜歡 將自己的創作視為編織一幅畫，而不是「畫」一幅畫。這兩位寫實藝術家對於自身 創作的想像，都充滿了身體與動作。這裡所說的動作，當然與如波洛克（Jackson Pollock）抽象表現主義的作品所傳達出身體感不同，而是一種更貼近創作者內心 場景中的建構、舞動。在重覆仔細如著魔般地觀察、認識，在精準之中融合個人視 覺和經驗上的記憶影像去進行毫米之間的描繪，我們幾乎可以從畫面中看到那個在 畫布或紙張之前的人的身影：藝術家必然得放棄的整個身體狀態與其伸展性，而僵 直於同一姿勢，從腿、身體、手臂、脖子到手指與眼睛，進行他們極小幅度、重複、 卻高密度的運動行為。 從此，我們可以想像，寫實藝術作品中所傳達而出的存在感。那是觀眾可以從畫面 中延伸出去「看見」的身體，展現了紮實堆疊的時間與視覺賴以存在的光線痕跡。 畫面中那「真實」的樣子是經由藝術家的想像、投射、抒發、期盼去重組而成，原 初只完整存在他們腦中虛擬的場景，不再是一定有著固定對象物的具象描繪，而更 像是一齣齣安排好的情境，在不同的時空背景中，被建構、被編織出來。這些似乎 要企圖拐騙我們相信的影像，成為了比現實世界更細膩、且可被討論不止的存在， 裡頭的敘事因此從虛擬轉變為真實，其中的空間和時間可能要較我們任一人的經驗 都要豐富且長久，這皆因他們為寫實的視覺表現，將所有符號、經歷、流光化作了 永恆的語彙不斷與人言談 。 約翰 ‧ 伯格（John Berger）在《繪畫的居所》（The place of painting）中說道：「可 見之物始終是我們對於這世界最主要的資訊來源。我們透過可見事物讓自己辨清方 向。[…] 拜可見物之賜，我們將空間視為物質存在的先決條件。可見之物把世界帶 11

Curatorial Concept

到我們面前。但與此同時，他也不斷提醒我們，那是一個我們可能會迷失其中的世 界。」4. 這一切是因為我們有著一雙獨特的眼睛以及與之有著完美協調的身體。在 此時，這個可見之物同時是我們的世界也是寫實藝術作品展現於我們面前的世界， 我們以雙眼走入走出，或說它們走入走出我們的視覺經驗。於是，我們從人——是 藝術家、也是自己——開始探索。我們看見李足新的古典技法以陰蘊濕氣包覆著老 農；對望著，羅展鵬作品中同樣浸淫在黑暗裡卻是詭譎的青春肉身；再看向朴勝模 相似黑灰色調，充滿柔性魅力的鐵雕；相應張漢明雖有明亮色彩，卻回應了老農帶 著些許倉悲氣息所描繪身旁親友的喃喃細語。 在這其中，李足新的老農系列，以最能代表農夫辛勤的雙手為主要描繪對象，穿梭 在背景與主角之間大片大片的姑婆芋與香蕉葉帶著我們確實地踏上了臺灣這塊土 地。藝術家在創作脈絡主題的轉換之間，於此刻回到了鄉土，也像是反映了自身的 年齡的增長與視野關懷之間拉近的距離，透過寫實的技術讓我們不須看見臉龐，而 是透過雙手便感受到了描繪對象、臺灣土地，也是藝術家自身歲月的痕跡。同樣有 著精湛古典寫實技術，羅展鵬用粉餅為筆，使用罩染技術以一層層透明油彩疊出正 值青春年華男女孩的臉龐。透過劇場編導式的概念再以攝影記錄下來的每個畫面， 是一場簾幕早已拉起的敘事劇場景。藝術家以大量時間貼近刻畫與自身年紀相仿的 對象，就像是描繪自己一般，透過這些青年男女在冷冽中帶著微溫曖昧情愫的表 情，扮演出一場站在這個當下，回看並遠望臺灣歷史進程所交織出關於土地、政治 與文化的戲碼。 同樣在創作過程中與作品對象有著極度親密交往的創作，朴勝模以讓人難以想像堅 硬且冰冷的金屬素材，編織勾勒出彷彿存在夢境中充滿柔情與纖細輪廓的人物。除 了對臉龐與身型的精確掌握，穿梭在虛實之間的雕塑作品充滿時間與身體感，觀眾 似乎可以感覺手指輕觸過年輕女孩眼皮、鼻尖與嘴唇所產生的悸動。而以生活當中 身旁親密的夥伴為主角的張漢明，作品畫面中充滿豐富色彩並結合歷史、傳說的想 像去敘說情感，在看來淡然的人物姿態與表情和物件之間，平穩的筆調和肌理穿梭 出一股感覺壓抑的澎湃感情，由人與物之間的互動關係，引我們進入屬於藝術家私 密的世界。 接續著，物件便蜂擁而來。充滿了使用情感的皮件，在楊北辰與木頭的對話中活了 起來；而本來無生命的塑膠玩具，在李瀚卿的收藏中幻化成了一段段奇異故事的主 角；常存在創作環境中的堆高機，在廖建忠的轉化後不再是有著壓迫感的冰冷機械； 而李錠雄則是讓伴隨藝術家創作的筆墨，成為主角在紙上舞動了起來；已經逝去的 昆蟲與鏽件，讓于軒永久封存在觀看的罩子當中；然真正被凝止在觀景窗裡的電子 舞臺車，在沈昭良的作品中卻在流轉的時光裡傳出了熱鬧的樂聲。 人與物之間的情感經常不比人與人的關係來得淺薄。像是寄宿在物件當中，楊北辰 12

4. 約翰 ‧ 伯格，《繪畫的居 所》於「觀看的視界」，吳 莉君譯（臺北市：麥田，城 邦文化出版，2010）299， 斜體部分為本文作者修改 後 的 翻 譯 ＜ The place of painting ＞ 原文最初發表於 New Society, 7 October 1982

Situation of Existence : Contemporary Realistic Art in East Asia

的木雕是會呼吸的皮件，將持有者使用習慣所留下的摺痕、曾經與皮膚接觸而形成 的汗漬、生活經歷及都市塵土劃印上的刻痕都細細地磨了出來，在寫實表現的呈現 後頭，讓人難以想像藝術家在創作過程中所面對的不是一片片銜接而成的柔軟皮 革，而是要從一塊木頭中去完整長出個體。同樣像是收藏作為紀念所留存的檔案， 李瀚卿反映了一個大男孩成長過程中的經驗，日日夜夜與他為伴的玩具們，雖然是 大量製造的商業產物，但進到了他的房間後進一步地走進了他的作品裡，從他們眼 中發出了慧黠的光芒，我們在這樣看似無序堆疊實則細膩安排的集合裡，幾乎可以 閱讀到玩具與藝術家之間的互動。就像那總停在工作室旁，重要時刻必得出場的堆 高機，是廖建忠校園創作生涯難以忽略的奇特夥伴。藝術家以同樣的身形、比例、 色彩進行複刻，它身上噴灑上的泥漿、刮痕也許如實，但更添加了記憶與帶著戲謔 色彩的情感，藝術家反轉了這像守護神服務機械的身分，讓它成為了被小心呵護送 至聚光燈下的主角。 同樣是工具變身為作品的主題，李錠雄以油彩在韓國紙上將毛筆與墨揮灑的過程留 存了下來，幾乎像是大筆揮毫後興之所致便將那筆刷遺留於畫框當中，刷毛與墨暈 彷彿還帶著光澤與水氣。繪畫在此成了被繪畫的題目，而物件在此成為了被頌讚的 對象而不再是創造過程的幫手，讓人不由得想進一步知道藝術家真正用來描繪此影 像的筆刷生得什麼模樣。然而，在于軒那像是透過顯微鏡頭便可以看見蝴蝶翅膀鱗 片與別針上鏽蝕的鐵屑的作品裡，我們已無法透過我們的經驗去想像、理解藝術家 筆刷如何動作，或是眼睛要怎麼穿透層層空氣的阻隔進到組構物件的元素當中。在 透明罩子裡頭的物件看來被石膏凍結困住，但我們彷彿看得到藝術家穿越了時間的 進程，見證繪製對象物從完美無瑕的生命高峰到逝去的殘破變化。而以紀實攝影留 下特屬臺灣舞臺車景象的沈昭良，在作品中則透過鏡頭寫下了屬於舞臺車與它們演 出之地的故事、聲音及氣味。清晰而細膩的影像、與主體和背景之間的聚焦關係， 傳達出藝術家對土地、文化、自然與時代的視角與關心。透過拍攝的內容與其美學 上的精彩樣貌，將攝影作為寫實藝術表現的媒介而非僅作為記錄的工具，在視覺的 傳達和與觀眾的對話中有了精彩的闡述。 於是我們從人到物，然後跳著舞臺車與社區、田野輕鬆而親密的舞步進到了自然 裡。就如裝載著表演者的舞臺，在一個個精緻木盒中悠游的金魚是深堀隆介的情感 依附；一樣從自然來到身邊，觸手可及卻帶有明星光芒的主角則是顧何忠筆下的靜 物；須田悅弘的花草則是毫無扭捏姿態，低調卻讓人無法停止注視靜靜綻放於角落； 在徐睿甫的作品中，花草蟲鳥與動物則是大方與人融合成了一個完整的自然樣態； 最能勾起回憶與情感時光流轉的景緻，則是在黃銘昌捕捉了一整日天光變化的稻田 記寫裡頭；接著我們在金昌謙那口彷彿包容了整個天空的石池子裡，看到了四季迷 人的變化；然而要說最魔幻的關係，莫過於小林敬生細緻的版畫中人與時空及萬物 共舞的場景。 13

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就像是用著實際一層層回憶去堆疊出來一樣，深堀隆介筆下在木盒裡頭不疾不徐的 金魚留住了確切的時間進程。作品的剖面就像樹木年輪或甚至是地底下各個時期的 土層，將立體進行平面的拆解，再由平面的描繪重組回立體的存在，藝術家腦中的 成品想像是來自於對於金魚可能比起自身還要更瞭解的完整狀態。顧何忠則是將生 活周遭可觸碰把玩物件的結構給刻印在了腦中，在與之相處的過程裡，藝術家於平 面的畫布上留下了生活經驗中不僅是立體的認識，還加入了時間在物品身上經過所 留下的痕跡，細細描繪後所呈現的光澤，讓我們再一次認識了這些鮮少讓我們目光 駐足反覆玩味的靜物。須田悅弘的作品亦如是，秀麗而細膩彷彿生着氣孔與絨毛還 散發出清新花香與草味的木雕。身上帶著溫度與水氣、天生樸實而堅毅的木頭 ， 成為了這些含蓄卻讓人難以忽略的花草最佳的媒材。從刻刀到上色的畫筆，這些充 滿變化的自然生命在藝術家的手上停在了一個最值得回味的姿態，為我們帶來了徐 徐微風。 但人與自然萬物也許實為一體。徐睿甫以簡單的鉛筆與紙勾勒出的植物、昆蟲、動 物與山林，皆有著吸引人往裡頭走去的靈氣，那幾乎如同百科圖鑑般的細緻描繪所 傳達出的是藝術家對於自然以及人與其關係的深刻理解，也由此帶領觀眾走入田野 花叢之間，成為當中的一分子。但大自然是如何的瞬息萬變，黃銘昌以幾十年的光 陰與天光、稻田、叢樹交往，從自家窗外的景緻到東南亞的原野，藝術家將自然風 光當中的片片綠葉、粒粒稻穗都植進了身體裡頭，在一汪遠望的稻海與遠山近樹的 距離裡遊走，我們從曙色清晨時微涼的風，散步來到下午暖意十足的日頭，再走入 帶有炊煙氣息的暮靄時分，藝術家不是留下他所看到的景色，而是畫下他所知道的 畫面。如沒入在金昌謙那沈沈石池子的四季流轉，誰人能知道各季節天色必定為 何，但藝術家以精準的意象、寫實的物件及光線與水紋互動，春夏秋冬的色彩、溫 度與日光都給這一窪水抱在了懷中。在作品中像是快轉過著的一年到頭，竟是那樣 引人駐足流連忘返，像是可以在裡頭走盡一生那般。然而最美好的也許還是存在夢 境當中，小林敬生以木刻版畫如此複雜且間接的技術，呈現了人與物及自然之間盤 根錯雜的關係想像。人、花、鳥、樹、魚、建築等，對於形體結構的精準勾勒直接 與觀眾認識的經驗相接後，看來天馬行空的世界瞬時都在我們腦中曾經飄忽而過的 日夢與夜夢銜接了起來，藝術家與我們虛幻的印象，就這麼樣轉換成為了一個確實 存在的影像。 《存在的情境》邀請了十七位來自東亞的當代寫實藝術創作者，作品當中，這些 情境多數人都認識，然它們透過了寫實藝術家之手真切的存在了這裡。在不少討 論中我們曾經陷入何須再談寫實的困境，但就因寫實表現創作與敘事得以傳達， 也因我們視覺的特質讓寫實是那樣迷人且可以永無止盡的被探索下去。毓繡美術 館以當代寫實藝術為收藏、展示與研究為主軸，希望《存在的情境》一展得以作 為一個起始，從臺灣、東亞向外擴展，持續對於寫實藝術創作雖被講述、卻永遠 不夠的執念與探索。 14

Situation of Existence : Contemporary Realistic Art in East Asia

蔡明君，1981 年出生於臺灣高雄，家鄉在南投，從 16 歲離家唸書之後，生活就處 於不斷移動的狀態，加上觀察者的性格，造成了她的藝術創作與策展計劃多半與當 時或當地的現象、地方、空間、或者合作的人有緊密的關聯。在策展方面的發展， 2009 至 2010 年倫敦《Beyond The Map》，2010 年柏林《Mirror, mirror on the wall》，2011 年臺中 20 號倉庫《翻轉吧！倉庫》，2012 年東海藝術中心的《院》， 藝術家博覽會裡的《群聚》，2013 年台新藝術獎入圍展的《院》展區，臺北市立 美術館《斜面連結—實驗典藏展計劃》中的《待續》，以及 2014 年受悍圖社委託 所策劃的《書圖》與《畫譜》等，皆為特定發想的策展計畫，包含了針對場域、對 象、時間、事件、策展方法學及策展本身發展的討論。

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Curatorial Concept

Situation of Existence Contemporary realistic art in East Asia

Ming-Jiun Tsai

What moves men of genius, or rather, what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough.1.

—— Eugène Delacroix

1. Delacrois, Eugène (17981863). Wellington, Hubert Ed. 1995. The Journal of Eugène Delacroix. London and New York: Phaidon Press, 41.

The sense of sight is arguably the most important means for the majority of people to know and experience the world. After constantly advanced scientific investigation, we have come to realise that the human vision is not particularly outstanding in terms of its physical structure in the Kingdom Animalia. We cannot see as far as eagles or as clearly as cats in darkness; our eyes cannot capture colours as dragonflies’ compound eyes can do, nor can we roll our eyeballs three hundred and sixty degrees like chameleons.

However, human eyes are able to distinguish colours and process dimensional relations, and consequently, create realistic images as we see. This ability allows the creation of realistic art to become an irreplaceable expressive form unique to the domain of visual arts among human being’s diverse expressions of artistic creativity.

We have to start from the art of painting—the most primitive artistic expression that also bears the longest history. From the records on ancient stonewalls, where children did random graffiti with brushes, to figurative or abstract artistic creation, painting has always been human’s most primary, intuitive expression in terms of communication, remembrance and creativity. As an art form, painting has been through the stages of being a service instrument, a pursuit of aesthetics, and a conceptual discussion; it was even declared dead in the 19th and 20th century. However, it has never disappeared from all the array of media for artistic creation, and one could be certain that it will continue to exist in art history in the future. Perhaps, it is because of painting’s directness (a brush and a surface), or the countless perspectives and levels that one would find in exploring this art expression; or it is due to the fact that painting is a pure twodimensional presentation. Nevertheless, painting has never just remained on the level of two-dimensionality. Unlike photography, which ‘truthfully’ captures and retains a certain moment, making it an ever-lasting still image, although painting is eventually an still image, it is nonetheless a full integration of four-dimensional experiences of time and space.

In ‘Drawn to That Moment’, art and cultural critic, John Berger, said ‘to draw is to look, to examine the spectrum of appearance. A drawing of a tree shows, not a tree, but a tree being-looked-at. Whereas the sight of a tree is registered almost instantaneously, the examination of the sight of a tree (a tree being-looked-at) not only takes minutes or hours instead of a fraction of a second, it also involves, derives from, and refers back to, much previous experience of looking. Within the instant of the sight of a tree is established a life-experience. This is how the act of drawing refuses the process of disappearances and proposes the simultaneity of a multitude of moments.’2. This is because, even in Photo Realism, the expression of painting should not be understood only as the representation of a fixed moment. After all, the process of painting includes a series of actions: from the observation with the eyes, to the analysis of the brain, to holding the brush (or other instruments) between the fingers and to touching the surface that is covered in colours. At varying moments and stages in life, even though 16

2. Berger, John. Wu, Li-chun trans. 2010. ‘Drawn to That Moment’ in The Sense of Sight. Taipei City: Rye Field Publishing, CMH Group, 21112. ‘Drawn to That Moment’ was first published on New Society, 8 July 1976.

Situation of Existence : Contemporary Realistic Art in East Asia

facing the same subject, an artist would never produce a work that is exactly the same to the previous one. During the process of painting, the final presentation of the work is influenced by each single observation made by the eyes as well as the psychological circumstances and the accumulation of experience, and even the condition of the muscles. The final outcome and its potentiality to ‘approach or awaken the real experience’ have an indispensable relation with the expected image in the mind of the artist.

From this perspective, we maybe able to grasp how unique and irreplaceable Realistic Art is, which requires sufficient time, techniques, observation as well as experience to be mature. In the contemporary era when painting has already been declared dead several times, Realistic Art is no longer satisfied with technical expressions that fool the eyes or presentations that simulate the reality; as a matter of fact, Realistic Art has evolved as time changes and the technique develops, and it might just be the artistic form that best represents the human vision and the perfect physical coordination in terms of artistic creation. Moreover, in the array of contemporary artistic forms, as ‘image’ that is ‘produced’, it is also an artistic language to ‘directly’ invite ‘viewers’ to have a conversation without any barriers through its visual presentation and reception. ‘Realistic’ expression in the context of contemporary art practice may have already become as a subject matter of the work, or a process in terms of discussing concepts; it is no longer a simple aesthetic discussion or an attempt to simply simulate the reality.

3. Celmins, Vija and Close, Chuck. Myers, Terry R. ed.

2011 ‘In Conversation’ in Painting.

London and Cambridge: Whitechapel Gallery and The MIT Press, 85

In a conversation with American realist artist Chuck Close, Vija Celmins, who is also a realist artist, responds to a question asking her whether she thinks the audience might appreciate her works for the wrong reason ‘Who knows why people like work? At a certain point, you’re very happy that people look at it at all; in that way it’s good. My feeling is, however, that often people only look at the image. I feel that the image is just a sort of armature on which I hang my marks and make my art. […] I have been interested in building a form in the painting. It’s hard to define the word form, but I wanted to make a work that was multidimensional and that went back and forth in space yet remained what it was: a small, concentrated area that was essentially flat.’3. Close also mentions in this conversation that he likes to see the way he works like knitting a painting instead of ‘painting’ one. Both artists imagine their works in a sense that is very physical and full of movements. The movement discussed here is naturally different from the sense of body conveyed in Abstract Expressionism, like Jackson Pollock’s works; it is something closer to establishing construction and fabrication in the mind of the artists, as well as the incessant, obsessed observation and familiarization, precisely integrating personal vision and remembrance of image from previous experience to conduct delineations of minute details. We could almost see the artist’s figure in front of the image from the work: he or she must have remained still and become stiff in a posture, renouncing his or her body and its flexibility, from the legs, to the body, to the arms, to the neck, and to the fingers and the eyes while carrying on with the meticulous movements in repetition and in highdensity.

From this, we can imagine the sense of existence delivered by realistic artworks. It is a 17

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body that the audience can further ‘see’ from the image. It displays solid layers of time and traces of light, on which our vision functions dependently. The ‘realistic’ image is reconstructed through the artist’s imagination, projection, expression and expectation.

The unreal scenes that originally existed only in the artist’s mind are no longer concrete delineations of fixed subjects but more like various arranged scenes, constructed and fabricated under the circumstance of a different time and space. These images that are created in the attempt to allure us have become existences more exquisite than the real world, and are worth of lasting exploration. The embedded narrative, therefore, transforms from fictitious to realistic, and the time and space therein might be more abundant and enduring than any one of us has ever experienced. It is all because these images, these realistic visual expressions, have transformed all symbols, experiences, and fleeting light into a permanent language that enables unceasing dialogues with the audience.

In ‘The Place of Painting’, John Berger states ‘The visible was always and still remains our principal source of information about the world. Through the visible we orientate ourselves. Even perceptions coming from other senses, we translate into visual terms. […] It is thanks to the visible that we recognize space as the precondition for physical existence. The visible brings the world to us. But at the same time it reminds us ceaselessly that it is a world in which we risk to be lost.’4. These all become possible because we have a pair of unique eyes and a body of perfect coordination. In the meantime, the visible is both our world and the world that the realistic art displays in front of our eyes, with which we are able to shift in and out of the two worlds; or, it is they that move in and out of our visual experiences. So, now, we start to explore from the human being – artists as well as ourselves. Chu-Hsin Lee’s works created with classic techniques come into view with their subjects, the old farmers, shrouded in a succulent, dusky glow. On the opposite side, Chan-Peng Lo’s works depict peculiar youthful bodies also with a sense of darkness. Then, there is a Seung-Mo Park’s iron sculpture in a tone of black and grey with a charm of feminine touch. Comparatively, Christopher Cheung’s works are in vivid, bright colours, yet they respond to the old farmers that give off a sense of sorrow while depicting all the whispers from surrounding friends and relatives.

In this group, Chu-Hsin Lee’s Old Farmers series features the hands of farmers that best represent their diligence. Large leaves of both Alocasia macrorrhiza (aka Giant Elephant’s Ears) and banana trees in the background and between the painted characters remind us that we are surely standing on the land of Taiwan. In the shifting of motif in his artistic career, Lee returns back to the native land, which might reflect his growing age and the shortened distance between those he cares about and himself. Through his realistic techniques and by showing those hands without revealing the faces, his works allow the audience to reach the depicted subjects, the land of Taiwan, and the traces of time left on the artist. Equally capable of outstanding classic realistic techniques, Chan-Peng Lo uses powder puffs as his chosen instrument, and applies the glazing technique to delineate, with layers upon layers of transparent oil paint, the youthful faces of boys and girls at the prime of their youth. By means of a theatrical approach that includes composing and directing, and then, using photography to record each image, the artist constructs mise18

4. Berger, John. Wu, Li-chun trans. 2010‘Drawn to That Moment’ in The Sense of Sight. Taipei City: Rye Field Pu b l i s h i n g , C M H G r o u p, 299. ‘The Place of Painting’ was first published on New Society, 7 October 1982.

Situation of Existence : Contemporary Realistic Art in East Asia

en-scènes with visual narratives. He spends much time to know and depict the subjects in similar age range to his as if he were depicting himself. Through the facial expressions of these youthful men and women that are seemingly aloof with lukewarm, ambiguous feelings, the artist puts on a dramatic play, in which he is taking a retrospective look from this present moment and gazing afar into the intertwining fabrication of land, politics and culture in the historical progress of Taiwan.

Also forming an intimate relationship with the subject of his works in the creative process, Seung-Mo Park reverses our preconception of the hard and cold metal material and utilizes it to weave characters with tenderness and delicate contours as if they exist in the realm of dreams. Apart from his precise grasp of the human faces and figures, his sculptures bordering on the boundary between the real and the unreal emanate a sense of time and body. The audience could almost feel the palpitation as if their fingers were gently brushing against the young girl’s eyelids, nose tip and lips. Christopher Cheung, who paints his close partner in life, fills his works with rich colours, and incorporates history and legends to por tray his feelings. In between the postures and facial expressions of the nonchalant characters and the objects, contained by his steady style and smooth texture there is a sense of surging emotions, leading the audience into the artist’s personal world through the interactions between the characters and the objects.

Next, we see a swarm of objects. Leather objects brimming with feelings seem to come to life in Pei-Chen Yang’s dialogue with wood. Inanimate plastic toys are transformed into the main characters of spectacular stories in Han-Ching Lee’s treasure collection.

Through Chien-Chung Liao’s transfiguration, the forklift often seen around the artist’s creative environment is no longer a lifeless machine emitting a feeling of oppression.

Jung-Woong Lee makes the companions to artists, ink and brushes, take the leading role and dance lively on paper. On the other hand, dead insects and rusty metal objects are eternally sealed in covers by Siuan Yu. However, what is really frozen in time through a viewfinder is the mobile stage in Chao-Liang Shen’s works, which are sending out boisterous music despite the changing times.

The relations between people and objects are often equivalent to the relations between people. As if inhabiting in the objects, Pei-Chen Yang’s wooden sculptures are leather objects that breathe; the folding marks left by their owners, the sweat stains from where the object have come into contact with the skin of the users, life experience and dust are all minutely carved out and polished. Behind the realistic presentation, it is very difficult to perceive how the artist has faced an entire block of wood to sculpt his work instead of soft, joined leather sheets. Similarly, the collection of souvenirs that serves as an archive reflects the young artist Han-Ching Lee’s growth experience. Although they are commercial products of mass production, the toys that used to keep the artist company day and night have become part of his works after being placed in his room. In their eyes, one could almost detect the animated intelligence. From this ensemble, which first appears to be randomly assembled but is actually carefully arranged, it is not hard to notice the interaction between the artist and the toys. Just like the forklift, which is always parked outside the artist’s studio and needed at important moments, is a peculiar 19

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companion one can never neglect during Chien-Chung Liao’s creative days in school.

Liao replicates the forklift in the same size, proportion and colours; the traces of mud and scratches on the machine are as realistic as they can be, but they also carry Liao’s memory and a touch of playfulness. He reverses the role of this guardian-like mechanical instrument, turning it into the primary role that is carefully protected under the spotlight.

Similar to the theme of transforming instruments into artworks, Jung-Woong Lee applies oil paint to retain the painting process of brushes and ink on Korean paper. It seems the artist has painted the work and left the brush spontaneously within the frame on high spirit afterwards, and the brush hair, and it is as though the hair of the brush and the ink still preserved the sheen and moisture. The act of painting has become the painted subject, and the objects, instead of being assistive instruments for the creation, are converted into the praised subject of the painting. It makes the audience wonder what the real brush that the artist uses to create this picture is like. However, when viewing Siuan Yu’s works, which, when put under a microscope, the details of the scales on the butterfly wings and the corrosion on the pins become visible, we cannot try to imagine and fathom, with the help of our experience, how the artist’s brush works, or how our eyes could penetrate barriers of air and see the components of the works. Under the transparent covers, the objects seem to be captured with plaster; nevertheless, it is as if we were witnessing the artist’s travelling through time to sketch out how the subject’s life has moved from the flawless peak to its dilapidated demise. In addition, applying the approach of documentary photography to encapsulate the distinct images of Taiwanese mobile stage trucks, through his camera lens, Chao-Liang Shen uses his works to record the stories between the mobile stages and the venues where the performances have taken place while also capturing their sounds and smells. The vivid and subtle images as well as the emphasized relations between the subjects and the various backgrounds reveal the artist’s perspective and concerns towards the land, culture, nature and time.

Through the content of the photos and the marvellous aesthetic presentations, Shen uses photography as his medium for realistic art instead of as a mere instrument of documentation, creating an outstanding voice in terms of the visual communication and the dialogue with the audience.

We have moved on from the human characters to objects, to the light-footed, intimate dance between the mobile stage trucks and the communities and field, and to nature now. Similar to the stage that bears the weight of the performers, the carefree goldfish in each delicate wooden box carries Riusuke Fukahori’s feelings. Also bringing nature to us as if it were tangible is Ho-Chung Ku’s still life that stands out like a shining star.

In comparison, Yoshihiro Suda’s flora looks extremely modest as they bloom quietly in corners, extremely low profile but equally eye-catching. In Jui-Fu Hsu’s works, all the flora and fauna as well as humans are integrated into one complete presentation of nature. As for the scenery that instantly evokes our memories and feelings of the fleeting time, it would have to be Ming-Chang Huang’s painting of the rice field that captures the change of light in the whole day. Next, we see Chang-Kyum Kim’s stone basin that appears to have encompassed the entire sky, showing the intoxicating transitions of four seasons.

However, the most magical relations would be Kobayashi Keisei’s exquisite, fantastical 20

Situation of Existence : Contemporary Realistic Art in East Asia

woodblock prints, depicting the scenes of people, all living creatures as well as the time and space in a dance.

As if constructed with layers upon layers of memories, Riusuke Fukahori’s leisurely goldfish have encapsulated precise progresses of time in the wooden boxes. One could even imagine that a cross-section of the work would reveal growth rings of trees or various sedimentary deposits of different time. As the artist breaks the three-dimensional into two-dimensional elements, and then, reconstructs the two-dimensional delineations back into the three-dimensional work, it is suffice to say that the artist’s imagination of the final work comes from his well-rounded comprehension of the goldfish, which might be more thorough than what he has about himself. As for Ho-Chung Ku, he inscribes in his mind the structures of the objects one might come across in everyday life; after close observation, what the artist has created on the flat canvas is not merely his grasp of the three-dimensional based on his life experience but also the physical traces of time surfaced on these objects. The shine created with elaborate depiction allows the audience to once again comprehend the still life we have rarely stopped to appreciate. Yoshihiro Suda’s works function in the same way. The elegant, exquisite wooden sculptures seem to have pores and fine hair and exude whiffs of floral and grassy scent. Simple, strong wood that carries a sense of warmth and moisture becomes the best material for these bashful plants with arresting presence. From the carving to the colouring, these natural existences filled with changes are frozen in the state that is most worthy of our pondering, sending us gentle, calming breeze.

Perhaps humans and everything in nature are simply one unity. With only pencils and paper, Jui-Fu Hsu delineates plants, insects, animals, mountains and woods that all emit an alluring sense of spirituality, calling out to the audience. The minute depiction, which is only paralleled by the encyclopaedia, shows us the artist’s profound understanding of the relationship between nature and man, through which he guides us into the field and flowers as a member of nature. When talking about the transient changes of nature, one could not ignore Ming-Chang Huang’s decades of study of the natural light, rice fields and trees. From the view outside his windows at home to the fields in Southeast Asia, Huang has memorized each green leaf and ear of rice in the natural landscape. Lingering in the vast rice field embraced by the mountains afar and trees nearby, we move from the cool breeze at dawn, to the warm sunlight in the afternoon, to the evening when families are getting ready for dinner; the artist does not portrait the scenes in front of him but the ones inscribed in his mind. Now, we shall dive into the turning of seasons in Chang-Kyum Kim’s heavy stone basin. Who would know exactly what the colour of sky in each season should be? However, the artist makes use of precise images, realistic objects, and light to interact with the water ripples. The colours, temperature and light of the four seasons are all contained in this pool of water. To fast forward through a year becomes as fascinating as the work has shown as if one could spend a lifetime in the piece. Having said that, the most wonderful things might still only exist in dreams. With a complex yet indirect approach and technique such as woodblock printing, Kobayashi Keisei lays out the elaborate, rhizomatous relation between humans, things and nature.

The artist’s precise delineation of forms and structures, such as that of the human beings, 21

Curatorial Concept

flowers, birds, trees, fish and architecture, immediately conjures up what the audience has experienced; therefore, what appears to be an wildly imaginative world soon emerges with all the daydreams and fantasies that have once crossed our minds. The artist has transformed all the illusory impressions in our minds into a real image that exists.

Situation of Existence invites seventeen realist artists from East Asia. Most people would recognize the situations in these exhibited works; however, they have become truthful existences through the hands of the artists. In quite a few discussions and debates, we have fallen into a dilemma of whether realism should remain a worthy topic of discussion; but it is precisely because what could be conveyed by the realistic expression and narrative as well as the characteristics of our vision, realistic art is as intoxicating as it is and could be endlessly explored. Yu-Hsiu Museum of Art focuses on the research in as well as collection and exhibition of realistic art, and hopefully Situation of Existence would be a starting point that expands from Taiwan to East Asia as we continue one's obsession and research of realistic art, which has never been and will ever be fully explored.

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Situation of Existence : Contemporary Realistic Art in East Asia

Ming-Jiun Tsai was born in Kaohsiung, Taiwan in 1981, and Nantou is her hometown.

Both her experience of constantly moving and personality as an observer result in her art and curatorial practice, which is closely associated with local phenomena, places, spaces events and collaborators. From her projects including <Beyond The Map> in London from 2009 to 2010, <Mirror, mirror on the wall> in Berlin, 2010, <In/side/out> at Stock 20 in Taichung, 2011, <Yard> at Tunghai University Art Gallery also <A Gathering> at AVAT Artists Fair in Taichung, 2012, <Yard> in The 11th Taishin Arts Award Exhibition and <To Be Continued> in Intersecting Vectors â&#x20AC;&#x201C; Experimental Projects from the TFAM Collection in 2013 and also <RE WRITING> and <RE EXHIBITING> commissioned by Hantoo Art Group in 2014, which are all specifically developed projects focus on research of curating in relation to site, collaborators, time, events, methodology and the development of curating.

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圖錄

Plates

Plates : About the exhibition

展覽簡介

About the exhibition

蔡明君

Ming-Jiun Tsai

Situation of Existence : Contemporary Realistic Art in East Asia

毓繡美術館以當代寫實藝術為收藏、展示與研究的主軸。正式開幕的第一檔展覽 邀請到來自東亞十七位藝術家，透過《存在的情境：東亞當代寫實藝術展》這個 主題，以寫實藝術作為視覺藝術中獨一無二的表現形式來出發，帶領觀眾從作品 中探索藝術家經驗感受之累積聚合，並體驗作品如何直接地將可見之物與現實、 概念、記憶等元素與觀眾連結，且藉由感官經驗拉近個人與藝術品之間關係。 美術館三層樓的觀看順序，規劃出由「人」、進入到「人與物」、最終是「人與自然」 的次序，邀請觀眾透過作品、由自身步入與環境所產生的關係探討。無論透過模擬 或想像，寫實藝術作品所呈現出以假亂真的圖像及物件，是藝術家結合了個人的經 驗情感、對社會的關懷、文化的認識與政治的反省等元素作為視覺幻象的延伸。透 過藝術家的創作，這個展覽希望觀眾能從這些如真的情境中，發現自己的存在，加 以檢視，並重新理解自身與環境的關係。

Yu-Hsiu Museum of Ar t concentrates on the collection, exhibition and study of contemporary realistic art. The museum’s opening exhibition, Situation of Existence: Contemporary Realistic Art in East Asia, has invited seventeen East Asian artists. Based on the idea that realistic art is a unique expressive form in visual art, the exhibition guides the audience to explore the accumulation and crystallization of these artists’ experience and feelings. It also leads the audience to experience how the artworks have directly connected the audience with the visible as well as elements of reality, concept and memory, and shortened the relationship between individuals and art through sensory experience.

Through the viewing sequence in the three floors of the museum, the exhibition is organized in the order of ‘humans’, ‘humans and objects’ and finally, ‘humans and nature’, inviting the audience to explore their relationships formed with and after stepping into the environment through the artworks. Whether through imitation or imagination, realistic artworks present genuinely realistic images and objects, which are creations brought forth by visual illusions made by these artists with their personal experiences and affections, cares for the society, understanding of the culture, and reflection upon politics. With these artists’ creations, the exhibition hopes the audience could discover their own existence in those realistic situations, look into what they find, and have a new understanding of the relationship between themselves and the environment.

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Plates : Seung-Mo Park

朴勝模

Seung-Mo Park 韓國 / Korea

1998 年畢業於韓國東亞大學雕塑系，在倫敦、紐約、 中國、韓國及臺灣等地舉辦多次個展，現居紐約。 朴勝模擅長以金屬作為創作的媒材，藉由交疊、穿 插、疏密的線條，創造出似真似假的作品。朴勝模 的創作源自於旅居印度的生活經驗，他從觀察修行 人們的生活修為及冥想，參悟出個人的創作方向。 因此作品中常出現不斷錯綜纏繞的金屬線，象徵一 種近乎修行的狀態與勞力付出。 本次展出〈MAYA846〉，是藝術家將人物攝影幻化 為一種以鋼絲網及光影共築而成的立體雕塑。乍看 之下像是平面素描，近距離細看可觀察出藝術家對 於光影、材質的準確拿捏，同時也保留了金屬材料 本身真實且樸質的美感。

Seung-Mo Park graduated from the Depar tment of Sculpture, Dong-A University, Korea, in 1998. He has had several solo exhibitions in London, New York, China, Korea, Taiwan, etc. , and currently lives in New York.

Specializing in using metal as his creative medium, Park creates realistic yet fantastic works through overlapping, interweaving, and controlling the spacing of lines. He had drawn inspiration from his travel and living experience in India as he observed the daily practice and meditation of the spiritual people and realized his own creative direction. Therefore, the constantly intertwining metal wires in his work symbolize the state bordering on spiritual practice and the investment of labor.

MAYA846 is a sculpture based on portrait photography and made with metal wires while incorporating the element of light and shadow. At first glance, the work reminds of a two-dimensional sketch; however, taking a closer look, one could see how the artist has captured the interplay between light, shadow, and the material with maximum precision while maintaining the realistic and unostentatious beauty of the metal material.

MAYA846 不鏽鋼絲 320( 高 ) x 320( 寬 ) 公分 2011 年 28

MAYA846 Stainless Wire Mesh 320(H) x 320(W) cm 2011

Plates : Christopher Cheung

張漢明

Christopher Cheung 香港 / Hong Kong

1970 年畢業於香港嶺海藝專，長年旅居法國。張漢 明筆下的作品帶有濃厚的東方氛圍，善於營造出超 現實的意境。細膩的寫實技巧更將人物身上的穿搭、 毛髮及皮膚的紋理、光澤，描繪得絲絲入扣。其作 品主要多以象徵或隱喻的手法，闡述人生的經歷， 以及對生活的諸多提問與感受。 〈張老媽演〉與〈孟婆嘗湯〉兩件一組的作品是轉 借中國傳說〈孟婆湯〉的故事，描繪藝術家面對患 有失憶症母親的感嘆，而〈孟婆嘗湯〉似乎隱喻著 讓母親忘卻生病的苦痛與一切憂傷。〈虹臉〉為綁 著紅色頭巾的藝術家本人，全身赤裸地坐在格子狀 的地板上，雙眼望向地面上如同自己的金色面具， 一道彩虹串聯起物我之間的相互觀照。〈痕〉以金 黃色絲帶束縛著雙眼，雙手後背、席地而坐於東方 氛圍的宮殿前，呈現一種超現實的時空錯置，彷彿 述說著張漢明旅居法國的生活經歷，而那斑白的髮 絲映照出漫長的歲月無情地在他身上留下了痕跡。

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Graduated from Ling Hai Art School, Hong Kong, in 1970, Cheung has been living in France throughout the years. His works possess a distinctive atmosphere of the East, and he excels in creating a surreal ambience. With delicate, realistic techniques, he is able to minutely delineate the clothing, hair, skin texture and shine of the characters. In his works, by employing symbols or metaphors, he elaborates on the experiences in life as well as questions and feelings towards life.

M a m a C h e u n g P l a y s a n d D a m e M a n g Ta s t i n g t h e Forgetfulness Potion is an artwork comprised of two pieces. The artist employs the Chinese myth of “the forgetfulness potion of Dame Mang” to express his laments when facing his mother’s dementia; and the fact that Dame Mang herself drinks the forgetfulness potion in the painting seems to hint at a possibility of making his mother forget the suffering of illness and all the sorrows. Rainbow_Mask is a self-portrait of the artist wearing a red headscarf; while the artist sits in nudity on the harlequin floor and stares into a golden mask reminiscent of his own face, a rainbow forms the mutual relation between the self and the object. Stigma portrays a man sitting in front of a seemingly oriental palace with his eyes blindfolded and hands tied behind his back with golden ribbons. As the work displays a surreal ambience with anachronistic displacement, it seems to voice the living experience of the artist being an expatriate in France whereas the gray hair reveals time’s unrelenting marks on his body throughout the years.

痕 油彩、畫布 97( 高 ) x 130( 寬 ) 公分 2011 年

Stigma Oil on Canvas 97(H) x 130(W) cm 2011

Plates : Christopher Cheung

虹臉 油彩、畫布 100( 高 ) x 100( 寬 ) 公分 2011 年 Rainbow_Mask Oil on Canvas 100(H) x 100(W) cm 2011

張老媽演 、 孟婆嘗湯 油彩、畫布 41( 高 ) x 33( 寬 ) 公分 每件 / 兩件一組 2011 年

Mama Cheung plays and Dame Mang tasting the forgetfulness potion Oil on Canvas 41(H) x 33(W) cm / each 2011

Plates : Chan-Peng Lo

羅展鵬

Chan-Peng Lo 臺灣 / Taiwan

2009 年畢業於國立臺灣師範大學美術研究所西畫創 作組，曾在德國柏林、美國洛杉磯駐村創作。《霧 行者》系列作品的畫面調性及銀色背景的氛圍是延 續《白面者》系列而來，欲藉由創作為當下的臺灣 現況與臺灣人的心境加上時代性的註解。 〈霧行者－用餐〉是《霧行者》系列展覽〈新娘的 一天〉中的用餐場景。羅展鵬在《霧行者》系列中， 打造了一段關於臺灣的史詩敘事，像是電影三部曲 般，每一幅作品都有相互關聯、連貫承接，同時又 各自獨立。每一件作品都像是創作者對臺灣當下的 社會反思，表達對這片土地的歷史、政治、文化及 未來的感受。此心情透過藝術家的畫筆，轉化為霧 中漫遊的一艘小船，看不清過去與未來，漂浮於某 種不安定的狀態下。

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Chan-Peng Lo holds an MFA degree in Western Painting from the Department of Fine Arts, National Taiwan Normal University, and has attended residency in Berlin and Los Angeles. The series, Wanderer in the Mist, follows the series, Ashen Face, in terms of the tone of the image and the atmosphere created with the silver-toned background. It marks the artist’s efforts in interpreting the current condition of Taiwan and Taiwanese people’s state of mind through artistic creation.

Wanderer in the Mist-Dining depicts the scene of dining in the exhibition The day of a bride which is a part of the Wanderer in the Mist series. In this series, Lo creates an epic narrative of Taiwan. As if adopting the structure of a movie trilogy, each painting is interrelated in successive themes; meanwhile, every piece could also be viewed independently. Each of the paintings in this series represents the artist’s reflection on the current state of the Taiwanese society, expressing how he has perceived this land’s history, politics, culture, and future. His feelings are expressed through his brushes, transformed into a small boat wandering in the mist as it is unable to see clearly the past as well as the future and could only float in an unanchored state.

霧行者 - 用餐 油彩、畫布 218( 高 ) x 291( 寬 ) 公分 2014 年

Wanderer in the Mist - Dining Oil on Canvas 218(H) x 291(W) cm 2014

Plates : Chu-Hsin Lee

李足新

Chu-Hsin Lee 臺灣 / Taiwan

1994 年畢業於美國密蘇里州芳邦大學藝術研究所， 現任國立新竹教育大學藝術與設計學系教授，毓繡 美術館館長。過去擔任臺中大墩美展、全國美展、 高雄獎、新竹美展、臺南南瀛美展等評審，作品獲 臺北市立美術館、國立臺灣美術館、奇美博物館及 臺灣藝術大學等藝文機構典藏。 本次展出《老農》系列〈獨處 (I)〉、〈獨處 (II)〉兩 件作品。一路走來李足新目睹了臺灣由農業社會轉 變成工業社會的過程，雖然整體社會由貧困逐漸地 富足，但也眼睜睜地看著上一輩的農夫們一個接著 一個的凋零。因此，他轉化悲傷與愛莫能助的感受， 在作品中將老農們的上半身漸逝於幽暗裡，掩蓋住 身影的，是他們最熟悉之農作物，同時刻意焦點化 手部與象徵身分認同的衣褲，揉合了土地與老農的 關係，成為一種密不可分的情感鏈結。

Chu-Hsin Lee obtained his MFA degree from Fontbonne University, Missouri, USA. He is currently a professor in the Department of Arts and Design, National Hsinchu University of Education, and the director of Yu-Hsiu Museum of Art. He has been a judge for Da Dun Fine Arts Exhibition, National Art Exhibition, Kaohsiung Awards, Hsinchu Art Exhibition, Nanying Award, etc.

His works have been collected by art institutions, such as Taipei Fine Arts Museum, National Taiwan Museum of Fine Ar ts, Chimei Museum and National Taiwan University of Arts.

This exhibition includes Live Alone (I) and Live Alone (II) from the Old Farmers series. Along the way, Lee has witnessed the progress of Taiwan’s transformation from an agricultural society into an industrial one.

Although the entire society has gradually shed poverty and enjoyed the ensuing wealth, it has simultaneously witnessed the disappearance of the farmers from an older generation. Therefore, Lee transforms his sorrow and helplessness in his paintings, in which the upper halves of the old farmers gradually fade into gloomy shadows as their familiar crops and plants cover their figures. Meanwhile, he deliberately emphasizes the hands and the clothes that symbolize their identity, integrating the relationship between the land and the farmers into an inseparable tie of intimate affection.

獨居 (I) 油彩、畫布 200( 高 ) x 150( 寬 ) 公分 2008 年 38

Live Alone (I) Oil on Canvas 200(H) x 150(W) cm 2008

Plates : Chu-Hsin Lee

獨居 (II) 油彩、畫布 200( 高 ) x 150( 寬 ) 公分 2008 年 Live Alone (II) Oil on Canvas 200(H) x 150(W) cm 2008

Plates : Chu-Hsin Lee

最後的據點 油彩、畫布 200( 高 ) x 150( 寬 ) 公分 2009 年 Last Posr Oil on Canvas 200(H) x 150(W) cm 2009

Plates : Chu-Hsin Lee

獨居 (III) 油彩、畫布 150( 高 ) x 200( 寬 ) 公分 2008 年 Live Alone (III) Oil on Canvas 150(H) x 200(W) cm 2008

Plates : Jung-Woong Lee

李錠雄

Jung-Woong Lee 韓國 / Korea

韓 國 美 術 協 會 會 員， 分 別 在 1985 年、1992 年、 1993 年獲得大韓民國美術大展特選，除了已經舉辦 逾 20 幾次的個展外，並在 1996 年到 2005 年間參 加法國 Start 展、西班牙 ARCO 展、日本 NICAF 等 展覽，且連續五年參加上海藝術博覽會，活耀於各 國藝術界。 李錠雄的《毛筆》系列作品，是「行為藝術－抽象 美學－寫實主義」等藝術表現的集合。作品中不但 融合理性的西方透視立體繪畫技法，及感性的東方 繪畫寫意風格，同時以簡約的畫面構成，傳達強烈 的禪意氣韻。李錠雄於韓國紙上描繪出非常寫實的 毛筆，同時對應著揮灑毛筆而留下的筆跡。其作品 受到海內外藝界的肯定，無外乎是因為作品中所蘊 涵的強烈對話性，遠觀可見撼動人心的潑墨氣勢， 近看可知藝術家描繪功力與追求畫面平衡的完美安 排，準確地掌握力與美的藝術表現。

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J u n g - Wo o n g Le e i s a m e m b e r o f t h e Ko r e a A r t Association, and has won the Special Selection Prize in Korean Great Art Exhibition in 1985, 1992, and 1993.

Active in the international art scene, in addition to having held over twenty solo exhibitions, during 1996 to 2005, Lee attended Start Art Fair in France, ARCO Art Fair in Spain, NICAF in Japan, and consecutively participated in the Shanghai Art Fair in five years.

Jung-Woong Lee’s Brush series combines the artistic expressions of “Performance Ar t – Abstract Ar t – Realism.” In his works, he not only integrates the rational perspective of Western painting and the sensibility and style of freehand brushwork in Eastern painting, at the same time, Lee also uses succinct structures of images to convey the profound air of Zen. On traditional Korean paper, Lee depicts ultra-realistic brushes, corresponding to the brushstrokes of calligraphy. His works have received critical acclaims around the world because of the intense dialogue embedded in the works. Viewing his works from a distance, one could appreciate the astounding momentum of the splash-ink; and when taking a closer look, one would be amazed by the artist’s skills of delineation and the perfect arrangement of a balanced image, which is the artistic expression achieved with utmost mastering of power and aesthetics.

毛筆 油彩、高麗紙 122( 高 ) x 218( 寬 ) 公分 2008 年

Brush Oil Painting , Korea Paper 122(H) x 218(W) cm 2008

Plates : Jung-Woong Lee

Brush Oil Painting , Korea Paper 200(H) x 80(W) cm 2008

毛筆 油彩、高麗紙 200( 高 ) x 80( 寬 ) 公分 2008 年

Plates : Jung-Woong Lee

毛筆 油彩、高麗紙 140( 高 ) x 202( 寬 ) 公分 2008 年 Brush Oil Painting , Korea Paper 140(H) x 202(W) cm 2008

Plates : Chien-Chung Liao

廖建忠

Chien-Chung Liao 臺灣 / Taiwan

1996 年畢業於國立臺北藝術大學美術學系，退伍後 與其他五位藝術家共同組成「國家氧」當代藝術團 體。近年廖建忠以「表面工程法」這般的技術工法 名稱做為創作主題，試圖透過實體物件表面的擬仿， 諷刺虛有由其表的藝術真實性。 本次展出的作品〈堆高機〉，看似一組正在進行佈 展工程的作業機械，藝術家依照實際比例仿造出一 臺外觀齊備，但卻毫無實際功能的大型機具，狀似 正在「處理」一個似是而非的石雕作品。這一切都 是廖建忠蓄意創造出的假真實；透過這件作品不斷 地向觀眾提出一個大哉問：「在美術館看到栩栩如 生的真實事物（藝術品），似乎不見得是當下所感 知到的，那麼藝術的本質到底是什麼？」

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Chien-Chung Liao graduated from the Department of Fine Arts, Taipei National University of the Arts. After finishing the military service, he and the other five artists formed the contemporary art collective “Nation Oxygen”. In recent years, Liao calls his artistic theme by the name of “Surface Engineering,” with an attempt to satirize the hypocrisy of the so-called ar tistic authenticity through the approach of mimicking the appearance of real objects.

His Forklift Truck in this exhibition seems like a machine in use in the middle of installing an exhibition. Liao creates a large machine in realistic ratio and size but has no actual function whatsoever; it seems to be “dealing” with a stone sculpture, of which its authenticity remains undetermined. The entire scene is actually a pseudo-reality constructed by the artist.

Through this work, he continues to ask the audience an essential question, “the lifelike, realistic objects (artworks) one sees in the museum might not be what one perceives at the moment. What is the essence of art, then?”

堆高機 木頭、不銹鋼、塑膠 240( 高 ) x 110( 寬 ) x 360( 長 ) 公分 2013 年

Forklift Truck Wood, Stainless steel, Plastics 240(H) x 110(W) x 360(L) cm 2013

堆高機 局部圖 Forklift Truck Detail

Plates : Pei-Chen Yang

楊北辰

Pei-Chen Yang 臺灣 / Taiwan

1999 年畢業國立臺北藝術大學美術學系，1999 年 至 2003 年留學並旅居西班牙，期間於 2001 年獲得 西班牙艾里薩國際雕塑大獎優選，且於 2014 年取 得西班牙瓦倫西亞科技大學當代雕塑藝術研究所博 士。 楊北辰的雕塑作品並非僅在於對形象和肌理的直接 複製，而是將某種意義由一種物質（物件）傳遞到 另一種物質（木材）之間的過程；本次展出的六件 作品〈皮衣 3 號〉、〈皮衣 4 號〉、〈皮衣 5 號〉、〈包 4 號〉、〈鞋 10 號〉、〈鞋 11 號〉，都是由一塊木 頭當中完整地擷取而出，藝術家再透過油彩繪製， 企圖「寫實描繪」生活中隨手可得的物件，透過物 件來訴說人物的故事，希望讓觀者自行探索某種關 於記憶與時間的人文意涵。

Pei-Chen Yang graduated from the Department of Fine Arts, Taipei National University of the Arts, in 1999, and studied and lived in Spain from 1999 to 2003. In 2001, he was awarded the Excellence Prize of ELISA International Sculpture Award in Spain. He obtained his PhD degree in Fine Art in Sculpture from Polytechnic University of Valencia, Spain, in 2014.

Yang’s sculpture does not simply recreate the form and texture of its objects; instead, his work embodies the transferring process of certain meanings from one material (the object) to another material (wood). The six sculptures in the exhibition are Leather Jacket No. 3, Leather Jacket No. 4, Leather Jacket No. 5, Leather Bag No. 4, Leather Shoes and High Heels. Each of the works is entirely shaped from one single piece of wood, and painted with grease paint by the artist. Yang aims to “realistically depict” the objects easily found in the everyday life and to speak the stories of the characters through these objects, allowing the audience to explore the cultural meanings about memory and time by themselves.

皮衣 3 號 桂楠木、油畫顏料 100.6( 高 ) x 67.5( 寬 ) x 13.3( 長 ) 公分 2011 年 Leather Jacket No.3 Phoebe Kwangsiensis, Oil Painting 100.6(H) x 67.5(W) x 13.3(L) cm 2011 56

Plates : Pei-Chen Yang

皮衣 4 號 高山樟木、油畫顏料 76( 高 ) x 56.5( 寬 ) x 14.3( 長 ) 公分 2013 年 Leather Jacket No.4 Camphorwood, Oil Painting 76(H) x 56.5(W) x 14.3(L) cm 2013

Plates : Pei-Chen Yang

包4號 桂楠木、油畫顏料 26.3( 高 ) x 51( 寬 ) x 21.5( 長 ) 公分 2011 年 Leather Bag No.4 Phoebe Kwangsiensis, Oil Painting 26.3(H) x 51(W) x 21.5(L) cm 2011

鞋 10 號 桂楠木、油畫顏料 左：10.8( 高 ) x 11.3( 寬 ) x 32( 長 ) 公分 右：10.4( 高 ) x 11.5( 寬 ) x 32( 長 ) 公分 2014 年

Leather Shoes Phoebe Kwangsiensis, Oil Painting Left：10.8(H) x 11.3(W) x 32(L) cm Right：10.4(H) x 11.5(W) x 32(L) cm 2014

鞋 10 號 桂楠木、油畫顏料 左：16( 高 ) x 8.2( 寬 ) x 22( 長 ) 公分 右：16.1( 高 ) x 8.3( 寬 ) x 21.8( 長 ) 公分 2014 年

High Heels Phoebe Kwangsiensis, Oil Painting Left：16(H) x 8.2(W) x 22(L) cm Right：16.1(H) x 8.3(W) x 21.8(L) cm 2014

Plates : Chao-Liang Shen

沈昭良

Chao-Liang Shen 臺灣 / Taiwan

1968 年生於臺灣臺南，畢業於臺灣藝術大學應用媒 體藝術研究所。歷任報社攝影記者、副召集人、中 央大學專任駐校藝術家，及臺北國際藝術博覽會攝 影專家面對面計畫召集人。目前除從事專題影像創 作、評述與研究，同時兼任政治大學、臺灣科技大 學助理教授。 《STAGE》（舞臺車）系列作品為 2006 年至 2014 年間，於全臺各地所拍攝編輯而成。除了冀望其中 獨特的產業類型與豐厚的文化信息，馳騁的發想與 絢麗圖騰，堪為誘發大眾對於臺灣這項特有產業與 娛樂文化，含括時間、空間，橫向、縱向，平面及 立體架構的理解與想像，同時藉由《STAGE》（舞 臺車）系列作品中，以傳統直接形式，複合當代語 彙，聚焦於臺灣當下社會文化景況，所進行的視覺 描寫，進一步提供觀者，作為審視臺灣當代攝影發 展進程中，可能衍生的另一種轉折與關注。

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Born in Tainan, Taiwan, in 1968, Shen received his MA degree from the Graduate School of Applied Media Arts, National Taiwan University of Arts. He used to work as a newspaper photojournalist, deputy chief photographer, artist-in-residence at National Central University, and was the convener of the Photo Portfolio Review Project in Young Art Taipei. At the moment, in addition to his work in feature photography, criticism and research, he is also an assistant professor at both National Chengchi University and National Taiwan University of Science and Technology.

The series of works, STAGE, are created during 2006 to 2014 as Shen travelled and photographed around Taiwan. Representing this unique industry and its rich cultural message with unrestrained imagination and iridescent, totemic images, the artist hopes to encourage the public’s comprehension and imagination of this special industry and enter tainment culture i n Tai wan, bot h i n t he tem poral and the spatial aspect in its vastness and depth as well as in the two-dimensional form and its three-dimensional structure. Meanwhile, in the STAGE series, combining a traditional, straightforward form and the contemporary language, Shen’s visual delineation that emphasizes on the current social and cultural condition in Taiwan provides the audience another possibility and focus in examining the development of Taiwanese contemporary photography.

STAGE ＃ 1 雲林 . 臺灣 數位噴墨 118( 高 ) x 143( 寬 ) 公分 2008 年

STAGE ＃ 1 Yunlin County, Taiwan Lightjet C Print 118(H) x 143(W) cm 2008

Plates : Chao-Liang Shen

STAGE ＃ 2 雲林 . 臺灣 數位噴墨 118( 高 ) x 143( 寬 ) 公分 2008 年 STAGE ＃ 2 Yunlin County, Taiwan Lightjet C Print 118(H) x 143(W) cm 2008

Plates : Chao-Liang Shen

STAGE ＃ 4 嘉義 . 臺灣 數位噴墨 118( 高 ) x 143( 寬 ) 公分 2008 年 STAGE ＃ 4 Chiayi County, Taiwan Lightjet C Print 118(H) x 143(W) cm 2008

Plates : Yu Siuan

于軒

Yu Siuan 臺灣 / Taiwan

2002 年畢業於復興商工美工科，曾獲得日本高校國 際藝術美術展入賞。于軒的作品中常見愛情、缺憾 與淒美的意象元素，他認為淒美是淒涼和美麗的結 合，「美」是因為愛情所存在，如果把愛情抽離那 剩下的只有淒然與傷悲，美就不存在了；而殘缺、 破損與死亡，亦能透過個人的美感哲學，用藝術創 作的形式重新進行詮釋並有意義地敘述且表達出殘 缺的美感，而非消逝的本意。 本次展出于軒的《鐵幕》及《溫室風景》兩組作品， 他於平面寫實繪畫中延伸出立體的意像型式，看似 日常的鐵件物質其實是由藝術家拼貼繪製而成。藝 術家刻意製造出嬌弱與剛強之間的衝突感，透過看 似研究室中的培養器皿，封印住凋零中的蝴蝶羽翼 及殘缺的鐵製零件，剛強與柔美在其中互相呼應。 這般不存在的世界裡，反映出于軒的淒美美學觀， 欲帶給觀者凝結中的奇想。

Graduated from Fu-Hsin Trade and Ar ts School in 2002, Yu Siuan has won the Selection Prize of the 7th Japan International High School Arts Award. The visual elements of love, regrets and desolate beauty are often seen in Si’s work. In his opinion, desolate beauty comes from the combination of the desolate and the beautiful.

“Beauty” exists because of love; if love were to be removed, beauty would be lost, leaving only desolation and sorrow. As for imperfection, damage and death, through individual aesthetics and philosophy, they could be re-interpreted meaningfully to state the aesthetics of imperfection, making it different from loss.

Two sets of Si’s works, Iron Curtain and The View of Greenhouse, are presented in the exhibition. He extends the two-dimensional realistic painting to the threedimensional form. The seemingly ordinary metal material is actually collaged and painted by the artist.

He intentionally creates the sense of contradiction between the frail and the strong; withering butterfly wings and damages metal parts are sealed in what s ee m s to b e t h e Pe t r i d i s h e s f r o m l a b o r a to r i e s , displaying a dialogue between the strong and the soft.

The unreal world reflects Yu’s aesthetics of desolate beauty, surfacing as frozen fantasies in front of the eyes of the audience.

NO.4070228 溫室風景 油彩描繪、木板、金屬、壓克力顏料 60( 直徑 ) ｘ 14( 厚 ) 公分 2008 年 NO.4070228 The View of Greenhouse Oil on Canvas, Board, Metal, Acrylic Painting 60(D) ｘ 14(W) cm 2008 70

Plates : Yu Siuan

NO.4070200 溫室風景 油彩描繪、木板、金屬、壓克力顏料 60( 直徑 ) ｘ 14( 寬 ) 公分 2008 年 NO.4070200 The View of Greenhouse Oil on Canvas, Board, Metal, Acrylic Painting 60(D) ｘ 14(W) cm 2008

Plates : Yu Siuan

NO.3 鐵幕 油彩描繪、木板、金屬、壓克力顏料 130( 高 ) x 52( 寬 ) x 15( 長 ) 公分 2008 年

NO.3 Iron Curtain Oil on Canvas, Board, Metal, Acrylic Painting 130(H) x 52(W) x 15(L) cm 2008

NO.7 鐵幕 油彩描繪、木板、金屬、壓克力顏料 130( 高 ) x 52( 寬 ) x 15( 長 ) 公分 2008 年

NO.7 Iron Curtain Oil on Canvas, Board, Metal, Acrylic Painting 130(H) x 52 (W) x 15(L) cm 2008

Plates : Yu Siuan

Plates : Han-Ching Lee

李瀚卿

Han-Ching Lee 臺灣 / Taiwan

2014 年畢業於國立新竹教育大學藝術與設計系碩士 班。李瀚卿成長於動漫蓬勃發展的 90 年代，當時漫 畫中的連環圖畫，不僅展現出各個漫畫家流暢的筆 下功夫，誇張的肢體與劇情，再再成為他仰慕及創 作的養分。他不但開始揣摩裡頭的人物角色，後續 還跟著自創故事，漸漸地成為他最重要的創作元素。 本次展出的三張《收 ‧ 藏之間》系列，畫面中布滿 了藝術家多年累積蒐藏的鋼彈扭蛋玩具及從小保存 至今的樂高玩具，某日他起了心念，想要藉由繪畫 再現，留住玩具們帶給他的喜悅。因此，以隨意擺 放的方式，遍布整個畫面，遠看的時候，視覺上是 繽紛的色塊，充滿色彩，近看時卻可以細數裡面的 各個角色。藝術家於創作過程中，透過對喜愛之物 的描繪，方能抽離現實生活中的不順心、逃離壓力， 獨自沉溺於這私密的時空中，幻化為藏物中的角色 並遨遊其中。

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Han-Ching Lee obtained his MA degree from the Depar tment of Ar ts and Design, National Hsinchu University of Education in 2014. He grew up in the 90s when the culture of animation and comics started to boom. The pictorial strips in comic books not only displayed the matured skills and fluent styles of each comic artist, the exaggerated actions and storylines also became the object of Lee’s admiration and his creative nutrients. On top of imitating the characters in the comic books, he started to create his own stories, which have gradually become the key elements in his works.

Three works from the series, Between Collecting and Treasuring, are exhibited in this exhibition. The images of the works are filled with the ar tist’s Gundam capsule toys collected throughout the years as well as the Lego toys carefully kept since his childhood.

One day, inspiration struck, and he started to bring back and preserve the joy brought by these toys through painting. As a result, he recreated the random placement of the toys that filled the entire images.

From a distance, they look like miscellaneous blocks filled with colors; viewing closely, one can appreciate individual characters embedded in the paintings. In artistic creation, through painting the cherished objects, the artist is able to escape the frustration and pressure in reality, submerging in this private time and space and transforming himself into one of the characters to travel in his own collection.

NO.5 油彩、畫布 91( 高 ) x 116.5( 寬 ) 公分 2010 年

NO.5 Oil on Canvas 91(H) x 116.5(W) cm 2010

No.3 油彩、畫布 91( 高 ) x 116.5( 寬 ) 公分 2009 年

No.3 Oil on Canvas 91(H) x 116.5(W) cm 2009

No.1 油彩、畫布 91( 高 ) x 116.5( 寬 ) 公分 2009 年

No.1 Oil on Canvas 91(H) x 116.5(W) cm 2009

No.20-2 油彩、畫布 97( 高 ) x 162( 寬 ) 公分 2014 年

No.20-2 Oil on Canvas 97(H) x 162(W) cm 2014

Plates : Yoshihiro Suda

須田悅弘

Yoshihiro Suda 日本 / Japan

1992 年畢業於日本多摩美術大學，曾在原美術館、 芝加哥藝術學院、國立國際美術館、檀香山現代美 術館、千葉市美術館等地舉辦個展。出生於日本富 士山腳山梨縣的他，從小生長在好山好水的田園景 致中，大學離開家鄉前往東京念書後，紛擾的都市、 快速的步伐，讓他想念起兒時的故鄉田野風光與幽 靜的生活情調，路邊或角落裡的小花小草時常成為 他觀察的對象，等比例的植物刻劃，每一絲毫的細 節，都反映出須田對微物的細膩觀察與關愛之情。 本展覽為了呼應清水模建築，須田特地來了一趟本 館，觀察容易被忽略的角落，如何安置他的三件木 雕作品〈朝顏〉（2015）、〈雜草〉（2015）與〈葉〉 （2015），他擅長將作品巧妙安置於建築物中被遺 棄或是一道不經意的裂縫中，透過孤挺一方的小植 物，所產生地強大生命力，表現出植物雖小但內蘊 著強大生存的意志，藉由渺小與空間的對映，交相 激盪出虛與實的對話。

Graduated from Tama Art University in 1992, Yoshihiro Suda has held solo exhibitions at Hara Museum of Contemporary Art, School of the Art Institute of Chicago, T h e N a t i o n a l M u s e u m of A r t , T h e Co n te m p o r a r y Museum in Honolulu, Chiba City Museum of Art, etc.

Born in Yamanashi at the foot of Mt. Fuji, Suda grew up in an idyllic environment of nature. After leaving his hometown to study in Tokyo, the bustling city with its fast pace made him nostalgic of the countryside and tranquil life of his childhood. The flowers and grass on the roadside or in the corners were often the objects of his observation. His depiction of the plants in equal ratio and the minute detailing all reflected his subtle attention and affection towards the delicate existences.

In order to create a dialogue with the fair-faced concrete architecture that houses the exhibition, Suda took a special trip to visit the museum in advance, investigated the corners that were easily overlooked, and designed how his three wooden sculptures, Morning Glory(2015), Weeds(2015), and Leaf(2015), could be installed. Suda is good at positioning his works subtly at an abandoned place or in an accidental crevice. The powerful force of life embodied by the individual tiny plants demonstrates the will of survival despite their petite size. Through the contrast of the microcosm and the space, a dialogue between the real and the unreal is achieved.

雜草 木刻、顏料 依場地而定 2008 年 84

Weeds Painted on Wood Dimensions Variable 2008

朝顏 木刻、顏料 依場地而定 2008 年 Morning Glory Painted on Wood Dimensions Variable 2008

葉 木刻、顏料 依場地而定 2007 年 Leaf Painted on Wood Dimensions Variable 2007

Plates : Keisei Kobayashi

小林敬生

Keisei Kobayashi 日本 / Japan

1964 年畢業於日本國際設計研究所視覺傳達設計專 攻。現任多摩美術大學美術學院繪畫學系版畫專攻 教授。 小林敬生近年來主張「簡單就是最好」，他將此觀 點表現在木刻版畫中，同時也是他觀察當今社會狀 態的看法。他覺得現代的社會狀態過於複雜，而且 判斷事情的標準更加多元，每個人都處在混沌不明 裡，很容易輕蔑了耗時費工，腳踏實地的寫實創作 手法。現代人活在科技高度發展的社會，時常忘記 了「人類只不過是生物體系中的一小部分」，卻依 舊無知地活在「君臨天下」的錯覺裡。過去，人們 擁抱大自然、汗流浹背地耕耘大地，與花鳥樹木及 動物們共生共息，這種簡單的生活方式，才是不能 被遺忘的呀！所以透過他的版畫作品，希望帶給觀 者沉靜心靈與萬物共生的反思與賞析。

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In 1964, Kobayashi graduated from International Design Institute, Kyoto, Japan, specialized in visual communication design; he is currently a professor of printmaking at the Department of Painting, Faculty of Art and Design, Tama Art University.

In recent years, Kobayashi has upheld the idea of “the simple is the best,” and carried out this concept in his wood engravings; this idea also represents how he approaches the contemporary society. In his opinion, the modern social condition is rather complex as the factors in making any judgments have become more diverse.

While everyone lives in a chaotic, uncer tain state, people are prone to scorn the approach of realistic art that is time-consuming and carried out steadfastly.

Modern people live in a technologically advanced society, which often makes them forget that “human being is just a tiny part of the entire ecosystem” and continue to live ignorantly in the illusion of “being the ruler of the world.” In the past, people embraced nature, diligently plowed the field, and co-existed with the flora and fauna in nature. Such a simple lifestyle should indeed never be forgotten! Therefore, through his wood engravings, Kobayashi hopes to offer the reflection and appreciation of the tranquil mind and the symbiosis of all living beings.

復甦的時刻 - 群舞 99‧3A 木刻版畫 版次 9/10 90( 高 ) x 105( 寬 ) 公分 1999 年

Transferred soul - Gunbu99‧3A Wood-engraving Edition NO. 9/10 90(H) x 105(W) cm 1999

Plates : Keisei Kobayashi

日又升 - 綠色之星．08D 木刻版畫 版次 5/5 100( 高 ) x 258( 寬 ) 公分 2008 年

Sunrises again - Illsional planet．08D Wood-engraving Edition NO. 5/5 100(H) x 258(W) cm 2008

Plates : Keisei Kobayashi

被遺棄的房間 .a 木刻版畫 版次 6/10 16.5( 高 ) x 17.6( 寬 ) 公分 1984 年

The Chamber.a Wood-engraving Edition NO. 6/10 16.5(H) x 17.6(W) cm 1984

Plates : Riusuke Fukahori

深堀隆介

Riusuke Fukahori

1995 年畢業於日本愛知縣立藝術大學美術學院媒體 設計學系。數年前因心愛的金魚逝去，引發深堀隆 介開始透過立體繪畫法，寫實記錄金魚游動及存在 的痕跡。深堀作品獨到之處在於，其作品是將透明 樹脂淋至容器中，表面乾燥之後從容器的底部分層 往上彩繪，藉由反覆堆疊的過程打造出栩栩如生的 魚群悠游貌。 本次展出《四個桶》系列，包括首次嘗試寫意揮毫 的紅色金魚群〈和金〉、背上帶有月亮色澤般藍色 條紋的〈月光〉、白色身軀帶有紅色冠頂，像是雪 中紅花的〈雪丹〉，以及首次挑戰描繪水草與魚兒 互動貌的〈草影〉。〈月光〉及〈雪丹〉中的金魚 造形都是藝術家創造而生，並非市面上可見的金魚 品種，同時他也不斷地在創作中挑戰及克服各種畫 面構成和俯視點作畫的技巧。

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Fukahori graduated from the Department of Media Design, College of Arts, Aichi University of the Arts, Japan, in 1995. A number of years ago, the passing of his beloved goldfish inspired the artist to realistically d o c u m e n t t h e s w i m m i n g of g o l d f i s h a l o n g w i t h their living traces through the techniques of threedimensional painting. The uniqueness of Fukahori’s work lies in his creative processes. He first pours transparent resin into a container; after the surface dries, he starts painting from the bottom level and works his way upward; with multiple layering, he is able to create lifelike, swimming swarms of fish.

The series, Four Tubs, displayed in the exhibition includes the swarm of red goldfish created with free strokes, Nikikogane, the blue-striped goldfish with a moonlight shine on the back, Gekkou, the white-bodied, red-headed goldfish reminiscent of sanguineous flowers in snow, Settan, and Kusakage, which shows the artist’s first attempt in depicting the interaction between water plants and goldfish. The forms of the goldfish in Gekkou and Settan are imagined by the artist, so they are breeds to be found in the current market. Meanwhile, Fukahori has been constantly challenging himself in artistic creation, overcoming the difficulties in constructing the image and perfecting the techniques of painting from a bird’s eye view.

四個桶 - 月光 日式壽司木盆、樹脂、壓克力顏料 27.5( 直徑 ) x 8.5( 高 ) 公分 2009 年 Four Tubs - Gekkou Japanese Wood Tub, High Quality Epoxy Resin , Acrylic 27.5(D) x 8.5(H) cm 2009

四個桶 - 和金 日式壽司木盆、樹脂、壓克力顏料 27.5( 直徑 ) x 8.5( 高 ) 公分 2009 年 Four Tubs - Nikikogane Japanese Wood Tub, High Quality Epoxy Resin , Acrylic 27.5(D) x 8.5(H) cm 2009

四個桶 - 雪丹 日式壽司木盆、樹脂、壓克力顏料 27.5( 直徑 ) x 8.5( 高 ) 公分 2009 年

Japanese Wood Tub, High Quality Epoxy Resin , Acrylic 27.5(D) x 8.5(H) cm 2009

四個桶 - 草影 日式壽司木盆、樹脂、壓克力顏料 27.5( 直徑 ) x 8.5( 高 ) 公分 2009 年

Four Tubs - Kusakage Japanese Wood Tub, High Quality Epoxy Resin , Acrylic 27.5(D) x 8.5(H) cm 2009

Plates : Ho-Chung Ku

顧何忠

Ho-Chung Ku 臺灣 / Taiwan

1990 年畢業於中國文化大學美術系西畫組，2003 年國立臺北藝術大學創作研究所畢業。1997 年獲第 4 屆巴黎大獎選拔優選；2010 年獲中國文藝藝術創 作獎章（油畫類）獎。顧何忠的作品，常見對生活 靜物細膩的描繪，透過直接對物寫實的創作過程， 彷彿透過畫作傳遞作者所欲訴說的人生體悟與哲 理。 本次展出作品之一〈蘊藏〉，是一個玻璃器皿裝滿 了色澤飽滿的蛋黃果。顧何忠認為水果或食物都有 生命的週期，觀察它生老病死的狀態，就像自身經 歷了一趟生命之旅。因此，作品想要傳遞生命中最 寶貴的智慧，不外乎是經過了歲月的焠鍊，才顯得 更加豐厚。〈無垠之音〉作品表達一種物我合一的 狀態，他認為主與客之間的橋梁，在天人合一或萬 物皆有情的觀念引導、薰陶中，自然必有所成就。 因此靜物畫中所描繪的物件本身（包括作品本身） 是物質，也是精神的載體，二者合為一。

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Ho-Chung Ku obtained his BFA degree in Western painting from the Department of Fine Arts, Chinese Culture University in 1990, and received his MA degree from Taipei National University of the Arts in 2003.

In 1997, Ku was awarded Honorable Mention from the 4th Annual Paris Prize in Taiwan; in 2010, he won the Chinese Literature and Art Award in the oil painting category. In his work, one often sees detailed delineations of still life. Through direct, realistic depiction of objects, he expresses his understanding and philosophy of life through his paintings.

Underlay, one of the two displayed works in the exhibition, portraits a glass vessel filled with egg fruits in ripe color and luster. In his mind, all fruit or food has a cycle of life; and observing its condition from its beginning to the end is like experiencing a journey of life. Therefore, through his work, Ku hopes to convey the most precious wisdom of life—things would be matured and enriched only after the refining of time. Boundless Sound depicts a state of unison of the self and things.

For Ku, the connection between the subject and the object could definitely be forged through following and cultivating the idea of “the unison of man and the universe” or the idea that “all living beings are sentient.”

Consequently, an object depicted in his still life painting (the work itself included) is both a substance and a bearer of the spirit, and the two things consequently become one.

蘊藏 油彩、畫布 120( 高 ) x 120( 寬 ) 公分 2012 年

Underlay Oil on Canvas 120(H) x 120(W) cm 2012

Plates : Ho-Chung Ku

無垠之音 油彩、畫布 150.2( 高 ) x 140.1( 寬 ) 公分 2013 年

Boundless Sound Oil on Canvas 150.2(H) x 140.1(W) cm 2013

Plates : Ho-Chung Ku

定 油彩、畫布 80( 高 ) x 80( 寬 ) 公分 2006 年 Monk Oil on Canvas 80(H) x 80(W) cm 2006

Plates : Chang-Kyum Kim

金昌謙

Chang-Kyum Kim 韓國 / Korea

1994 年 畢 業 於 義 大 利 Accademia di Belle Arti di Carrara，獲得雕塑碩士學位，1995 年前往德國杜 塞朵夫藝術學院進修，豐富的展覽經驗遍及美國、 德國、中國、日本及韓國。金昌謙的作品中常見把 客觀存在的實體空間，巧妙地融入虛幻的數位影像， 幻化觀者的視聽經驗。他不斷地追求和探索事物本 體與數位影像之間的關係問題，並在其中投注對時 代性創作媒材與藝術的體悟。 〈水影 - 四季〉是金昌謙透過錄像設備記錄居家附 近山坡上的水窪映像，觀眾可以在大石缽中看見四 季漸遞的樹木、天空和過客倒影映像，不時的還會 呈現水波蕩漾貌。藝術家透過實物投影的手法，將 影像與現成物結合，打造了一座仿真的幻像石缽， 揉合出寫實視界中的超現實貌，再現了虛幻的奇異 時空。

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I n 1 9 9 4 , K i m r ece i ve d h i s M A i n s c u l p t u r e f r o m Accademia di Belle Arti di Carrara, Italy, and continued his study in Kunstakademie Düsseldorf, Germany, the next year. He has had exhibitions in the United States, Germany, China, Japan, Korea, etc. In Kim’s work, one often sees the objective existence of real space subtly integrated with virtual digital image, creating illusory visual and audio experience for the audience.

He continuously pursues and explores the relations between the existence of things and digital image while combining his efforts with his understanding of contemporary creative media and art.

W a t e r S h a d o w - F o u r S e a s o n s i s K i m ’s v i d e o documentation of a puddle on a hill near his home; the audience can see in a large stone basin the changes of the four seasons, the sky, and the reflection of passersby. Occasionally, there are even ripples on the surface of the water. With projection on real object, the artist is able to combine his video and the object, fashioning a simulated stone basin of illusion and fabricating the surrealistic out of the realistic to create a fantastic time and space of illusion.

水影 - 四季 錄像裝置 21( 高 ) x 93( 寬 ) x 130( 長 ) 公分 2006-2007 年

Water Shadow - Four Seasons Video installation 21(H) x 93(W) x 130(L) cm 2006-2007

Plates : Jui-Fu Hsu

徐睿甫 Jui-Fu Hsu 臺灣 / Taiwan

2009 年畢業於國立新竹教育大學美勞教育研究所。 徐睿甫擅長使用最單純的鉛筆、炭精筆完成他的創 作。本此展出的四件作品〈共生 - 2〉、〈共生 - 3〉、 〈群山前的我 - 2〉、〈山景 - 2〉皆繪製出繁複的 植物與動物間的共融景象。藝術家一直關注著仿擬 自然界中的腐敗物，高密度滋長的樣貌，觀察大自 然物種間互動的奧妙和無聲息的溝通是他創作的起 源。 徐睿甫常處於山林之間，彷彿聆聽見叢野間的絮絮 叨叨之音，且深刻體悟著與動植物眾生同在的奇妙 感受；他作畫的同時也把人類的那股動物本能之魂， 嵌入其間的世界裡，將「我」變得像孢子、黴菌般 肆無忌憚的地滋長，任意地與蟲林鳥獸共存於一體， 這些總和不僅是觀察後的紀錄，同時更是潛藏意識 的彰顯。

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Obtaining his MFA from the Graduate School of Fine Arts and Crafts Education, National Hsinchu University of Education, in 2009, Hsu specializes in creating his ar tworks with the simplest media, such as pencils and charcoal pencils. This exhibition includes four of his works, Symbiosis-2, Symbiosis-3, Mountainscape-2, and I Am, in Front of the Mountain-2, which all contain elaborate drawings of the symbiosis between flora and fauna. Hsu has been paying close attention to the decaying existences in nature and their appearances in high density. The observation of the amazing interaction between different species in nature and their silent communication form the origin of his art.

Hsu spends a great amount of time in the mountains, listening to the incessant chirping and chittering in the woods and immersing himself in the wonderful feelings in realizing his co-existence with all the animals and plants. When he paints, he also transforms the animal nature of human beings into a part of his artistic world through turning “the self” into spores or fungi that grow unlimitedly and unifying with all begins into one. His works are not simply documentation of his observations, but also the manifestation of the subconscious.

群山前的我 - 2 鉛筆、碳精粉、無酸棉紙 82.5( 高 ) x 80( 寬 ) 公分 2014 年

I Am, in Front of the Mountain - 2 Pencil, Carbon Powder, Acid-free Paper 82.5(H) x 80(W) cm 2014

Plates : Jui-Fu Hsu

山景 - 2 鉛筆、碳精粉、無酸棉紙 50.25( 高 ) x 81.8( 寬 ) 公分 2014 年 Mountainscape - 2 Pencil, Carbon Powder, Acid-free Paper 50.25(H) x 81.8(W)cm 2014

Plates : Jui-Fu Hsu

共生 - 2 鉛筆、碳精粉、無酸棉紙 79( 直徑 ) 公分 2014 年 Symbiosis - 2 Pencil, Carbon Powder, Acid-free Paper 79(D) cm 2014

Plates : Jui-Fu Hsu

共生 - 3 鉛筆、碳精粉、無酸棉紙 79( 直徑 ) 公分 2014 年 Symbiosis - 3 Pencil, Carbon Powder, Acid-free Paper 79(D) cm 2014

Plates : Ming-Chang Huang

黃銘昌

Ming-Chang Huang 臺灣 / Taiwan

1984 年畢業於巴黎國立高等美術學院，獲高等油畫 文憑。2000 年受邀參加上海、北京「二十世紀中國 油畫展」、2013 年參加第 55 屆威尼斯國際雙年展。 藝評人高千惠曾提到，「黃銘昌秉持著對於傳統古 典之美的崇仰與現代生活靜觀的沉思，前瞻後顧中 完成了這二十年來的時代遠眺，於 90 年代成為臺灣 唯一接續鄉土寫實詩情而又賦以大格局式觀照的本 土畫家。黃銘昌的作品從有時間、地域性的鄉土寫 實邁向無時間隔閡的土地延伸……，他的鄉土寫實 不再是攝影鏡頭獵取下的切面空間，而是透過細緻 描繪與嚴謹結構組合出的鄉土意象，一吋吋貂毛筆 所犁過的畫布，似乎意欲攫取住每一吋畫面所能擁 有的寂靜，似幻似真地抗拒了外來世界的侵擾。」 藝 評人王嘉驥讚譽黃銘昌，「放進臺灣藝術史的脈絡 來看，《水稻田》和《海看》兩大系列確實填補了 臺灣風景繪畫部分的不足。……黃銘昌建立了自己 在臺灣風景史上的一家之言。」文豪白先勇也曾讚 嘆，「……臺灣鄉土文化的成就，『花蓮之子』黃 銘昌的田園畫，應該列為代表之一。」

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Ming-Chang Huang obtained his advanced diploma in oil painting from the National Superior School of Fine Arts (École nationale supérieure des Beaux-Arts) in Paris in 1984. In 2000, he was invited to participate in Exhibition of 21st Century Chinese Oil Painting in Shanghai and Beijing. He also participated in the 55th Venice Biennial in 2013.

Art critic Chien-Hui Kao once said, “With his reverence of the traditional, classic beauty and reflections about the modern life,Ming-Chang Huang has attentively achieved a surveyal mission of the era in the past twenty years, transforming himself into the only Taiwanese painter that simultaneously continues the poetry of local realism and attends to the grand structure and style. From the local realism that is usually preoccupied with a certain time and region, Huang’s work has ventured into the vastness of land and is free from the confinement of time… . His local realism is no longer a slice of the space captured by the camera lens; it is the local imagery constructed with minute delineation and careful structure. As he inchby-inch cultivates on the canvas with his sable brush, he intends to capture the tranquility in every inch of the image, resisting the disturbance from the outside world with illusions bordering on reality.” Art critic Chia-Chi Wang also spoken highly of Huang’s work, “Putting in the context of Taiwanese art, Huang’s Rice Fieldseries and Sea View series have indeed filled up the gaps in Taiwanese landscape painting… . MingChang Huang has formed a master voice in the history of Taiwanese landscape painting.” Master of literature, Hsien-Yung Pai, praised Huang’s achievement, “Among the Taiwanese local cultural achievements, the idyllic paintings of Ming-Chang Huang, “the son of Hualien,” should be ranked as one of the representatives.”

綠豔 油彩、畫布 130( 高 ) x 194( 寬 ) 公分 2001 年

Beautiful Green Oil on Canvas 130(H) x 194(W) cm 2001

Plates : Ming-Chang Huang

秋日禾 油彩、畫布 140.5( 高 ) x 202( 寬 ) 公分 1994 年 Paddy in Autumn Oil on Canvas 140.5(H) x 202(W) cm 1994

國巨基金會收藏

Plates : Ming-Chang Huang

晚晴 油彩、畫布 130( 高 ) x 194( 寬 ) 公分 1999 年 Sunset Oil on Canvas 130(H) x 194(W) cm 1999

簡歷

Biographies

Biographies

朴勝模

1969 1998

2013 2012

2010 2008 2005

2014 2012

2011

2010 2009

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出生於韓國 畢業於韓國東亞大學學士 個展 「Prologue －朴勝模個展」，藝術計劃，臺北，臺灣 BUNDO GALLERY，大邱，韓國 HADA contemporary gallery，倫敦，英國 BLANK SPACE GALLERY，紐約，美國 KIPS GALLERY，紐約，美國 「朴勝模個展」，Lotte Gallery，釜山，韓國 Dosi gallery，釜山，韓國 Ever Harvest Art Gallery，臺北，臺灣 Gallery Artside，首爾，韓國 Gallery Artside，首爾，韓國 聯展 「K-P.O.P. －韓國當代藝術展」，臺北當代藝術館，臺北，臺灣 韓國國際藝術博覽會，COEX，韓國 「韓國當代之眼」，Fairmont Bar Al Bahr，阿布達比 中藝博國際畫廊博覽會，北京，中國 Hangaram 美術館，首爾藝術中心，韓國 「韓國當代之眼」，藝術設計美術館，紐約，美國 「韓國當代之眼」，國會議事堂，首爾，韓國 臺北藝術博覽會，臺北，臺灣 「韓式觀點：新月世代」，菲利普司拍賣行，沙奇藝廊當代空間，倫敦，英國 「韓式美學」，Albemarle 藝廊，倫敦，英國 倫敦藝術博覽會，倫敦，英國

韓國 / Korea

Situation of Existence : Contemporary Realistic Art in East Asia

Seung-Mo Park

1969 1998

2013 2012

2010 2008 2005

2014 2012

2011

2010 2009

Born in Korea BFA, Dong-A University, Korea Solo Exhibitions Prologue—Seungmo Park Solo Exhibition, Art Issue Gallery, Taipei, Taiwan BUNDO Gallery, Daigu, Korea HADA contemporary gallery, London, England BLANK SPACE Gallery, New York, USA KIPS Gallery, New York, USA Park Seungmo Solo Exhibition, Lotte Gallery, Busan, Korea Dosi Gallery, Busan, Korea Ever Harvest Art Gallery, Taipei, Taiwan Gallery Artside, Seoul, Korea Gallery Artside, Seoul, Korea Group Exhibitions K-P.O.P.—Korean Contemporary Art Exhibition, MOCA, Taipei, Taipei, Taiwan Korean International Art Fair, COEX, Seoul, Korea Korean Eye, Fairmont Bar Al Bahr, Abu Dhabi CIGE, Beijing, China Aha! Moment, Hangaram Art Museum; Seoul Art Center, Seoul, Korea Korean Eye, Museum of Arts and Design, New York, USA Korean Eye, The National Assembly, Seoul, Korea ART TAIPEI, Taipei, Taiwan Korean Eye—Moon Generation, Phillips de Pury; Company Space at The Saatchi Gallery, London, England Korean Aesthetics, Albemarle Gallery, London, England London Art Fair, London, England

125

Biographies

張漢明

1945 1967-70 1970

2013 2012 2008

2010-12 2006 2004

2001

126

生於香港 就學香港嶺海藝專 定居法國巴黎

個展 「彩排」，大趨勢畫廊，臺北，臺灣 「旅程」，月臨畫廊，臺中，臺灣 「新朝戲像」，季節畫廊，新加坡 聯展 臺北國際藝術博覽會，月臨畫廊，臺中，臺灣 「六位畫家的具像世界」，月臨畫廊，臺中，臺灣 「雙文化 - 斷裂 - 連結」，大趨勢畫廊，臺北，臺灣 「今日藝術漫步」，瓦兹河上奧維爾，法國 「秋季沙龍」，巴黎，法國 「顏料未乾」，國立中央大學，桃園中壢，臺灣 「遊戲與藝術」，托斯市，法國

香港 / Hong Kong

Situation of Existence : Contemporary Realistic Art in East Asia

Christopher Cheung

1945 1967-70 1970

Born in Hong Kong Studied at Ling Hai Art School in Hong Kong Lives and works in France

2013 2012 2008

Solo Exhibitions Dress Rehearsal, Main Trend Gallery, Taipei, Taiwan Journey, Moon Gallery, Taichung, Taiwan New Era Play, Art Seasons Gallery, Singapore

2010-12 2006 2004

2001

Group Exhibitions ART TAIPEI, Taipei World Trade Center I, Taipei, Taiwan The Figurative Universe of Six Artists, Moon Gallery, Taichung, Taiwan Duo-Culture-Rupture-Liaison, Main Trend Gallery, Taipei, Taiwan Promenade dans I’Art d’aujourd’hui, Auvers-sur-Oise, Paris, France France Salon d’Automne, Paris, France Wet Paint, National Central University Art Center, Chung-Li, Taiwan Jeu & Art, Torcy, France

127

Biographies

羅展鵬

1983 2009 2004

生於嘉義 畢業於國立臺灣師大美研所西畫創作組 畢業於中國文化大學美術系學士

2013 2011

駐村 駐村美國洛杉磯 ESMoA 美術館 駐村德國柏林

2014 2013 2010 2009

個展 「人間草紙－靈魂的墨漬」，也趣藝廊，臺北，臺灣 「黑的邊緣」，也趣藝廊，臺北，臺灣 ART HK 2010，香港會議中心，香港 「草莓族工作室入侵」，也趣藝廊，臺北，臺灣

2015

2014

2013

2008 2007 2006

2013 2008 2007 2005 128

聯展 ART BUSAN 2015，BEXCO，釜山，韓國 倫敦藝術博覽會，Olympia Grand Hall，倫敦，英國 東京藝術博覽會 2015，東京，日本 臺北國際藝術博覽會，世貿一館，臺灣 「亞洲具象 II」，也趣藝廊，臺北，臺灣 「亞洲具象 II」，YOSHIAKI INOUE 藝廊，大阪，日本 「界：臺灣當代藝術展 1995-2013」，康乃爾大學強生美術館，美國 倫敦藝術博覽會，Olympia Grand Hall，倫敦，英國 臺北國際藝術博覽會，世貿一館，臺灣 「EXPERIENCE03 － TRUTH」，ESMoA 美術館，洛杉磯，美國 獲獎 溫世仁百合獎美術類水彩寫生比賽金獎 高雄美術獎得主 奇美人材培訓計畫獎 桃源美展油彩類佳作 警察節美展西畫類第一名 典藏 ESMoA 美術館作品典藏，洛杉磯 獲文建會 97 年青年繪畫作品典藏徵件計劃作品典藏，國立臺灣美術館，臺中 獲奇美文化基金會 96 年奇美藝術獎作品典藏，奇美博物館，臺南 獲奇美文化基金會 94 年奇美人才培訓計畫作品典藏，奇美博物館，臺南 獲警察專科學校 94 年警察校慶美展作品典藏，警察專科學校，臺北

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Chan-Peng Lo

1983 2009 2004

Born in Chiayi MFA, Department of Fine Arts, National Taiwan Normal University BA, Department of Fine Arts, Chinese Culture University

2013 2011

Residency Artist Residency in Berlin, Germany Artist Residency in El Segundo Museum of Arts (ESMoA), Los Angeles, USA

2014 2013 2010 2009

Solo Exhibitions The Spiritual Portrait, AKI Gallery, Taipei, Taiwan The Edge of Darkness, AKI Gallery, Taipei, Taiwan Art HK10: HONG KONG INTERNATIONAL ART FAIR 2010, Hong Kong Strawberry Generation Studio, AKI Gallery, Taipei, Taiwan

2015

2014

2013

2008 2007 2006

2013 2008 2007 2005

Group Exhibitions ART BUSAN 2015, Bexco, Busan, South Korea ART 15 London’s New Modern and Contemporary Art Fair, Olympia Grand Hall, London, UK ART FAIR TOKYO 2015, Tokyo, Japan Art Taipei, Taipei World Trade Center I, Taipei, Taiwan Asian Realism II, AKI Gallery, Taipei, Taiwan Asian Realism II, YOSHIAKI INOUE GALLERY, Osaka, Japan Jie: Boundaries of Self in Contemporary Art from Taiwan 1995-2013, Herbert F. Johnson Museum of Art, Cornell University, USA ART 14 London’s New Modern and Contemporary Art Fair, Olympia Grand Hall, London, UK Art Taipei, Taipei World Trade Center I, Taipei, Taiwan EXPERIENCE03: TRUTH, ESMoA, Los Angeles, USA Awards Golden Award, The Sketching Competition of Sayling Wen Cultural & Educational Foundation Kaohsiung Awards The Chi-Mei Art Cultivation Awards Excellent Painting, 24th Tao Yuan Arts Exhibition of Tao Yuan County First Prize, Taiwan Police College Anniversary Art Exhibition Collections Ashen Face -Strolling in the Fog, ESMoA, LA Youth Diary of the Strawberry Cell Division 3, National Taiwan Museum of Fine Arts, Taichung Chimei Museum, Tainan Chimei Museum, Tainan Taiwan Police College, Taipei 129

Biographies

李足新

1966 1994

2013 2010 2008 2005 2003 2000

2012 2012 2011 2011 2010

2009

出生於臺灣新北市土城市 美國密蘇里州芳邦大學藝術研究所 現任國立新竹教育大學藝術與設計系所專任教授 現任毓繡美術館館長 個展 「記憶的溫度」，大象藝術空間館，臺中，臺灣 「消逝的年代」，大象藝術空間館，臺中，臺灣 「塵事記憶」，由鉅藝術中心，臺中，臺灣 「微型劇場的寓言」，靜宜大學藝術中心，臺中，臺灣 「輕忽的祕密」，竹師藝術空間，新竹，臺灣 「洩密的託辭」，臻品畫廊，臺中，臺灣 聯展 「A3 計畫」臺日交流展，新潟，日本 「跨寫實」，大象藝術空間館，臺中，臺灣 「兩個端點－臺灣寫實＋義大利觀念藝術展」，阿索羅，義大利 / 新竹，臺灣 ARCO 西班牙國際藝術博覽會，西班牙 「臺藝大．跨世紀薪傳－教授創作展」，國父紀念館，臺北，臺灣 「臺灣報到－ 2010 臺灣美術雙年展」，臺灣美術館，臺中，臺灣 「2010 南瀛獎雙年展－歷屆南瀛獎邀請展」，臺南，臺灣 「紙｜手感」當代素描，毓繡藝術空間，新竹，臺灣 「具象演繹」，清華大學藝術中心，新竹，臺灣 上海藝術博覽會國際當代藝術展，上海，中國 臺北國際藝術博覽會，臺北，臺灣 典藏 臺北市立美術館 / 國立臺灣美術館 / 奇美博物館 / 臺灣藝術大學

130

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Chu-Hsin Lee

1966 1994

2013 2010 2008 2005 2003 2000

2012 2012 2011 2011 2010

2009

Born in Tucheng District, New Taipei City, Taiwan MFA, Fontbonne University, Missouri, USA Professor, Department of Art and Design, National Hsinchu University of Education Director, Yu-Hsiu Museum of Art Solo Exhibitions Born from the Memory, Da Xiang Art Space, Taichung, Taiwan The Lost Age, Da Xiang Art Space, Taichung, Taiwan Chu-Hsin Lee Solo Exhibition, GSR Gallery, Taichung, Taiwan Allegory Subtle and Dramatic, Providence University Art Center, Taichung, Taiwan Chu-Hsin Lee Solo Exhibition, NHCTC, Hsinchu, Taiwan The Pretense of Divulging the Secret, Galerie Pierre, Taichung, Taiwan Group Exhibitions A3 Project Taiwan-Japan Exchange Exhibition, Niigata, Japan Cross Realism, Da Xiang Art Space, Taichung, Taiwan Two Points—Taiwan + Italy, Asolo, Italy; Hsinchu, Taiwan ARCO Madrid, Madrid, Spain A Legacy across the Centuries—An Exhibit of Art by NTUS Professors, National Dr. Sun Yet-sen Memorial Hall, Taipei, Taiwan Yes Taiwan—2010 Taiwan Biennial, Taichung, Taiwan 2010 Nan-Ying Biennial, Tainan, Taiwan Paper | Feel, Yu-Hsiu Art Space, Hsinchu, Taiwan Interpretation of the Concrete, The Arts Center NTHU, Hsinchu, Taiwan SH Contemporary 2009, Shanghai, China Art Taipei 2009, Taipei, Taiwan Collections Taipei Fine Arts Museum / National Taiwan Museum of Fine Arts / Chimei Museum / National Taiwan University of Arts

131

Biographies

李錠雄

1963

2007 2006 2005 2004

2007

2006

2005

1995 1993 1992

132

韓國慶北人 個展 Lee Hwaik 畫廊，首爾，韓國 WIL 畫廊，首爾，韓國 M Daegu 畫廊，大邱，韓國 INSA 藝術中心，首爾，韓國 Gongsan 畫廊，大邱，韓國 聯展 La Case 藝術空間，北京，中國 ARCO 西班牙藝術博覽會，馬德里，西班牙 韓國國際藝術博覽會，COEX，首爾，韓國 北京藝術博覽會，麥香畫廊，北京，中國 臺北藝術博覽會，麥香畫廊，臺北，臺灣 ARCO 西班牙藝術博覽會，馬德里，西班牙 「畫」，首爾市立美術館，首爾，韓國 新加坡藝術博覽會，新加坡 臺北藝術博覽會，臺北，臺灣 上海藝術博覽會，上海，中國 獲獎 韓國卓越藝術展特選獎 韓國卓越藝術展特選獎 Sinla 卓越藝術展特選 韓國卓越藝術展特選獎 Sinla 卓越藝術展特選

韓國 / Korea

Situation of Existence : Contemporary Realistic Art in East Asia

Jung-Woong Lee

1963

2007 2006 2005 2004

2007

2006

2005

1995 1993 1992

Born in Wooleung-Gun, Korea Solo Exhibitions Lee Hwaik Gallery, Seoul, Korea Gallery WIL, Seoul, Korea Gallery M, Daegu, Korea Ina Art Center, Seoul, Korea Gongsan Gallery, Daegu, Korea Group Exhibitions La Case Art Space, Beijng, China ARCO Art Fair, Madrid, Spain Korea International Art Fair (KIAF), COEX, Seoul, Korea Art Beijin - Booth.Gallery Maek-Hyang, Beijin, China Art Taipei - Booth.Gallery Maek-Hyang, Taipei, Taiwan ARCO Art Fair, Madrid, Spain Draw, Seoul Museum of Art, Seoul, Korea Singapore Art Fair, Singapore Taipei Art Fair, Taipei, Taiwan Shanghai Art Fair, Shanghai, China Awards Special Selection, Korea Great Art Exhibition Special Selection, Korea Great Art Exhibition Special Selection, Sinla Great Art Exhibition Special Selection, Korea Great Art Exhibition Special Selection, Sinla Great Art Exhibition

133

Biographies

廖建忠

1972 1996

出生於臺灣 畢業於國立臺北藝術大學美術學系

2013 2011

個展 「2013 年的表面工程法廖建忠個展」，非常廟藝文空間，臺北，臺灣 「作為一種例外於現實的狀態－廖建忠」，誠品畫廊，臺北，臺灣

2014 2013 2012 2009 2008

聯展 「臺灣報到－ 2014 臺灣美術雙年展」，國立臺灣美術館，臺中，臺灣 「我們的前面是什麼」後擴展時代的臺灣當代雕塑—2013 FORMOSA 雕塑雙年展，駁二藝術特區，高雄，臺灣 「心動 EMU」，臺北當代藝術館，臺北，臺灣 「抬頭一看，生活裡沒有任何美好的事」，誠品畫廊，臺北，臺灣 「砍錯 -Z」，inFIDI 藝術空間，臺北，臺灣

2013 2011 2008

134

典藏 〈大白鯊〉，白兔中國當代藝術美術館，雪梨，澳洲 〈變電箱〉，白兔中國當代藝術美術館，雪梨，澳洲 〈垃圾車〉，白兔中國當代藝術美術館，雪梨，澳洲 〈機車人生〉，白兔中國當代藝術美術館，雪梨，澳洲

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Chien-Chung Liao

1972 1996

Born in Taiwan BFA, Department of Fine Arts, Taipei National University of the Arts

2013 2011

Solo Exhibitions Surface Engineering Method of 2013—Liao Chien-Chung Solo Exhibition, VT Artsalon, Taipei, Taiwan An Exception to Reality—Liao Chien Chung, ESLITE GALLERY, Taipei, Taiwan

2014 2013 2012 2009 2008

Group Exhibitions Yes Taiwan—2014 Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan What’s Ahead : Contemporary Sculpture of Taiwan in Post-Expansion Era—FORMOSA Sculpture Biennial 2013, Kaohsiung, Taiwan 2012 CRUSH on EMU, Museum of Contemporary Art, Taipei, Taiwan LOOKING UP! LOOKING DOWN ESLITE GALLERY, Taipei, Taiwan Ctrl Z, inFIDI Space, Taipei, Taiwan

2013 2011 2008

Collections WHITE SHARK, White Rabbit Contemporary Chinese art Collection, Sydney, Australia TRANSFORMER BOX, White Rabbit Contemporary Chinese art Collection, Sydney, Australia GARBAGE TRUCK, White Rabbit Contemporary Chinese art Collection, Sydney, Australia GOD DAMN LIFE, White Rabbit Contemporary Chinese art Collection, Sydney, Australia

135

Biographies

于軒

1984 2002

生於臺灣 畢業於復興商工美工科

2012

個展 「溫室計畫」，Roentgenwerke AG，東京，日本

2010 2002

聯展 「我倆之眼」双方藝廊開幕首展，双方藝廊，臺北，臺灣 Galleryseoul12- 首爾頂級藝博，首爾，韓國 「亞洲具像－四國聯展」，YOSHIAKI INOUE 畫廊，大阪，日本 +PLUS 東京藝術博覽會，東京，日本 「新生的夢土與實境－當代青年寫實繪畫十三人」，由鉅藝術中心，臺中，臺灣

2001

獲獎 第七屆日本高校國際藝術美術獎入賞

2002

典藏 聯邦文教基金會，聯邦新人獎作品

2015 2012

136

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Yu Siuan

1984 2002

Born in Taiwan Fu-Hsin Trade and Arts School

2012

Exhibitions The Project of Greenhouse, Roentgenwerke AG, Toyko, Japan

2010 2002

Group Exhibitions Our Eyes, Double Square Gallery, Taipei, Taiwan Galleryseoul12, Seoul, Korea Asian Realism, Yoshiaki Inoue Gallery, Osaka, Japan +PLUS Tokyo Contemporary Art Fair, Tokyo, Japan The Newborn Dream and Reality—Contemporary Realist Painting by 13 Young Artists, GSR Gallery, Taichung, Taiwan

2001

Awards Selection Prize, 7th Japan International High School Arts Award

2002

Collections Prized work of Young Artist Award, Union Culture & Art Foundation

2015 2012

137

Biographies

楊北辰

1970 2014 2001 1999

生於臺灣 瓦倫西亞科技大學當代雕塑藝術研究所博士，西班牙 薩拉曼卡大學美術創作研究所碩士，西班牙 臺北藝術大學美術系學士，臺灣

2012 2010

個展 「雕刻記憶 II」，華山 1914 文化創意產業園區，臺北，臺灣 「雕刻記憶」，寒舍空間，臺北，臺灣

2012-14 2011 2010 2008 2007 2001

聯展 臺北國際藝術博覽會，臺北國際世貿中心，臺北，臺灣 首爾國際雕塑藝術博覽會，首爾藝術中心，首爾，韓國 「改造歷史十年中國新藝術展―第一屆中國當代藝術文獻展」，北京國家會議中心，北京，中國 「夢蝶―第二屆上海當代藝術館文獻展」，上海當代藝術館，上海，中國 C.I.G.E.―北京國際畫廊博覽會，國際貿易大樓，北京，中國 「西班牙艾里薩國際雕塑大獎專題展」，西班牙

2001 2000

獲獎 西班牙艾里薩國際雕塑大獎優選 西班牙薩拉曼卡大學雕塑榮譽註冊獎學金、素描榮譽註冊獎學金 典藏 國立臺灣美術館 / 三義木雕博物館

138

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Pei-Chen Yang

1970 2014 2001 1999

Born in Taiwan PhD for Fine Art in sculpture, Polytechnic University of Valencia, Spain MFA, University of Salamanca, Spain BFA, Taipei National University of Arts, Taiwan

2012 2010

Solo Exhibitions Engraving Memories, Huashan 1914 Creative Park, Taipei, Taiwan Engraving Memories, My Humble House Art Gallery, Taipei, Taiwan

2012-14 2011 2010 2008 2007 2001

Group Exhibitions Art Taipei Art Taipei, Taipei World Trade Center, Taipei, Taiwan International Sculpture Festival 2011 in Korea, Seoul Museumf of Art, Hangaram Art Center, Seoul, Korea Decade of Reform New Chinese Art History: First Exhibition of Chinese Contemporary Art, Beijing National Convention Center, Beijing, China Second Documentary Exhibition of Contemporary Art in Shanghai, Shanghai Museum of Contemporary Art, Shanghai, China C.I.G.E.—China International Gallery Exposition 2007, China World Trade Center, Beijing, China Exhibition of ELISA International Sculpture Award, Palace Robert, Barcelona, Spain

2001 2000

Awards Excellent Prize, ELISA International Sculpture Award Honorary intuition scholarship in sculpture and honorary intuition scholarship in sketching, Salamanca University Collections National Taiwan Museum of Fine Arts / Sanyi Wood Sculpture Museum

139

Biographies

沈昭良

1968 2005 1995 1989

2013 2012 2011 2006

2013 2012 2011 2008

2012

2010 2006 2004 2002 2001 2000

生於臺灣臺南 臺灣藝術大學應用媒體藝術研究所畢業，臺北，臺灣 日本工學院專門學校映像科畢業，東京，日本 世界新聞專科學校 ( 現世新大學 ) 三專電影科編導組畢業，臺北，臺灣 個展 「STAGE」，Dina Mitrani Gallery，邁阿密，美國 「幻影現實」，臺北市立美術館，臺北，臺灣 「STAGE」，駐紐約臺北經濟文化辦事處，紐約，美國 「STAGE」，湖濱中心攝影藝廊，多倫多，加拿大 「臺灣綜藝團」，東江攝影博物館，寧越郡，江原道，韓國 聯展 「凝視自由：臺灣當代藝術展」，佛伊弗迪納 (Vojvodine) 當代美術館，諾威薩，塞爾維亞 「STAGE」，貝爾法斯特國際攝影雙年展，貝爾法斯特，英國 「STAGE」，新加坡國際攝影節，新加坡 「複感 ‧ 動觀」2011 海峽兩岸當代藝術展，中國美術館，北京，中國；國立臺灣美術館，臺中，臺灣 「STAGE」，2008 大邱當代攝影雙年展，大邱，韓國 獲獎 美國 IPA 國際攝影獎 ( International Photography Award ) ( 職業組 ) 紀實攝影集首獎及獨立出版攝影集第二名，洛杉磯，美國 行政院文化部雜誌影像類金鼎獎，臺北，臺灣 紐約 Artists Wanted － 2011 年度攝影獎，紐約，美國 臺北美術獎優選獎，臺北，臺灣 韓國東江國際攝影節，最佳外國攝影家獎，寧越郡，江原道，韓國 日本相模原攝影亞洲獎，相模原市，日本 行政院新聞局雜誌影像類金鼎獎，臺北，臺灣 臺北市新聞記者公會社會光明面新聞攝影報導獎，臺北，臺灣 行政院新聞局雜誌攝影類金鼎獎，臺北，臺灣 典藏 國立臺灣美術館 / 臺北市立美術館 / 高雄市立美術館 / 921 地震教育園區 / 韓國東江攝影博物館 / 日本相模原市民藝廊

140

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Chao-Liang Shen

1968 2005 1995 1989

2013 2012 2011 2006

2013 2012 2011 2008

2012

2010 2006 2004 2002 2001 2000

Born in Tainan, Taiwan MA, Graduate School of the Applied Media Arts, National Taiwan University of Arts, Taipei, Taiwan Department of Visual Art, Nippon Engineering College, Tokyo, Japan Department of Motion Pictures Production Program, The World College of Journalism, Taipei, Taiwan Solo Exhibitions STAGE, Dina Mitrani Gallery, Miami, USA Illusion Reality, Taipei Fine Arts Museum, Taipei, Taiwan STAGE, Taipei Economic and Cultural Office in New York, New York, USA STAGE, Harbourfront Centre Photo gallery, Toronto, Canada Taiwanese Vaudeville Troupes, Dong-gang Photo Festival, Dong-gang Museum of Photography, Yeongwol-gun County, Gangwon-do Province, Korea Group Exhibitions Gazing into Freedom: Taiwan Contemporary Art Exhibition, The Museum of Contemporary Art Vojvodina, Novi Sad, Serbia STAGE, 2013 Belfast Photo Festival, Belfast, UK STAGE, Singapore International Photography Festival, Singapore Flourishing and Flowing, 2011 Contemporary Art Exhibition across the Strait, National Art Museum of China, Beijing, China & National Taiwan Museum of Fine Arts, Taichung, Taiwan STAGE, 2008 Deagu Photo Biennale, Deagu, Korea Awards International Photography Award (IPA) (PRO) (1st Place, Book of Documentary Category) & (2nd Place, Self Published Category), LA, USA The Golden Tripod Award, Best Photography (Magazine Category), the Ministry of Culture, Taiwan Artists Wanted: Photography Category Award (Year in Review 2011), New York, USA The Honorable Mention of 2010 Taipei Art Award, Taipei, Taiwan Dong-gang Photography Award, Dong-gang Photo Festival, Korea Asia Prize, General Photography Festival, Photo City Sagamihara, Japan The Golden Tripod Award, Best Photography (magazine category), the Executive Yuan, Taiwan Bright Side of Society Award for photojournalism, Taiwan The Golden Tripod Award, Best Photography (magazine category), the Executive Yuan, Taiwan Collections National Taiwan Museum of Fine Arts / Taipei Fine Arts Museum / Kaohsiung Museum of Fine Arts / 921 Earthquake Museum of Taiwan / Dong-gang Museum of Photography, Korea / Sagamihara City Gallery, Japan, 141

Biographies

李瀚卿

1983 2014 2005

生於臺灣臺北 畢業於國立新竹教育大學美勞教育研究所 畢業於國立新竹師範學院美勞教育學系

2015 2014

個展 「純真年代－李瀚卿個展」，大葉高島屋 4F 小畫廊，臺灣 「收藏之間－李瀚卿創作個展」，新竹教育大學毓繡藝術空間，新竹；南投，臺灣

2015 2013 2012 2011 2010

2008 2007 2005

142

聯展 「荒謬劇」，伊日藝術，高雄，臺灣 「驚奇四超人」，伊日藝術，臺北，臺灣 「日本 Geisai#16」，東京，日本 「彼方的溫度－臺灣青年藝術家聯展」，上海、臺中 「Two Point 兩個端點－臺灣寫實繪畫 + 義大利觀念藝術」，阿索洛，義大利 「Forever Young －手感 臺灣寫實新銳展」，晴山藝術中心，臺北，臺灣 「臺灣寫實繪畫－延續與再造」，華瀛藝術中心，臺中，臺灣 「塞悶－你來聞」，國立新竹教育大學藝術與設計學系藝術教育與創作碩士班聯展，新竹，臺灣 「青年寫實繪畫－身體｜慾言」，新思維人文空間，高雄，臺灣 「平行世代－兩岸青年藝術家交流展」，上海大學美術學院 99 創意中心，上海，中國

獲獎 青年藝術家遊學計畫，獲獎 54 屆中部美展油畫類，第一名 第八屆聯邦美術新人獎，首獎

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Han-Ching Lee

1983 2014 2005

Born in Taipei, Taiwan MFA, Master Program of Arts Education and Creation, NHCUE, Hsinchu, Taiwan BFA, Department of Fine Arts and Crafts Education, National Hsinchu Teachers College, Hsinchu, Taiwan

2015 2014

Solo Exhibitions The Age of Innocence, DAYEH Takashimaya, Taipei, Taiwan Between Collecting and Treasuring Solo Exhibition of Lee Han-Chang, Yu-Hsiu Art Space, Hsinchu, Taiwan

2015 2013 2012 2011 2010

2008 2007 2005

Group Exhibitions The Theatre of the Absurd, YIRI ARTS, Kaohsiung, Taiwan SSSSUPER:4, YIRI ARTS, Taipei, Taiwan Geisai#16, Tokyo, Japan Other Side Temperature, Shanghai, China/ Taichung, Taiwan Two Point, ASOLO, Italy Forever Young, Imavision Gallery, Taipei, Taiwan Realistic Painting in Taiwan: Continuation and Reform, Golden Aries Art Center, Taichung, Taiwan Smell It, Simon, NHCUE, Hsinchu, Taiwan Realistic Painting by Young Artist, Sincewell Gallery, Kaohsiung, Taiwan Generation Paralleled, Shanghai, China Awards Study Abroad Program of Young Artist, Taiwan First Prize, Oil Painting, 54th ASOTC, Taiwan First Prize, The 8th Rising Artist Award, Taiwan

143

Biographies

須田悅弘

1969 1992

2015 2014 2013 2012 2011 2010 2009

2015

2014

出生於日本山梨縣 畢業於日本多摩藝術大學 現居住並工作於日本東京 個展 Loock 藝廊，柏林，德國 Elvira González 藝廊，馬德里，西班牙 Faggionato，倫敦，英國 千葉市立美術館，千葉，日本 Manggha 日本藝術與科技美術館，克拉科夫，波蘭 Koyanagi 藝廊，東京，日本 D’Amelio Terras 藝術，紐約，美國 亞洲協會美術館，紐約，美國 René Blouin 藝廊，蒙特婁，加拿大 檀香山當代美術館，檀香山，美國 Loock 藝廊，柏林，德國 聯展 「十個房間、三條長廊與一座大廳」，漢挪威 Sprengel 美術館，漢挪威，德國 「鏡像神經元：高橋收藏展」，東京歌劇院畫廊，東京，日本 「Wabi Sabi Shima」，Espace H18，布魯塞爾，比利時 「燕子花與紅白梅：尾形光琳的創作與日本現代藝術」，MOA 美術館，熱海，日本 「拼裝藝術：老鼠和鸚鵡」，亞森別墅，尼斯，法國 「生命風景」，資生堂藝廊，東京，日本 「視覺謊言 II：前進未來」，Bunkamura 美術館，東京；兵庫縣立美術館，神戶；名古屋市立美術館，愛知，日本 「房子」，Faggionato，倫敦，英國 「卡塔赫納當代藝術國際雙年展」，卡塔赫納，哥倫比亞 典藏 21 世紀美術館，金澤，石川 / 新南威爾斯藝廊，雪梨 / 朝日啤酒大山崎山莊美術館，京都 / 千葉市立美術館，千葉 / 工藝藝廊， 國立現代美術館，京都 / 福岡亞洲美術館，福岡 / 原美術館，東京 / 廣島市立當代美術館，廣島 / 石卷縣立文化中心，宮崎 / 以色列美術館，耶路撒冷 / 日本基金會，東京 / LEEUM 三星美術館，首爾 / 倫巴赫博物館，慕尼黑 / 正木美術館，大阪 / 三菱信託銀行集團，神奈川 / 國立龐畢度現代藝術中心，巴黎 / 東京當代美術館，東京 / 直島美術館，香川 / 加拿大國家藝 廊，渥太華 / 國立美術館，大阪 / 國立現代美術館，東京 / 練馬區立美術館，東京 / 紐倫堡新美術館，紐倫堡 / 沃爾索新藝 術畫廊，柏明罕 / 大林組株式會社，東京 / 資生堂藝術館，靜岡 / 資生堂藝廊，東京 / 高松市美術館，香川 / 豊田市立美術館， 愛知 / 山梨縣立美術館，山梨

144

日本 / Japan

Situation of Existence : Contemporary Realistic Art in East Asia

Yoshihiro Suda

1969 1992

2015 2014 2013 2012 2011 2010 2009

2015

2014

Born in Yamanashi, Japan BA, Tama Art University, Tokyo, Japan Lives and works in Tokyo, Japan Solo Exhibitions Loock Galerie, Berlin, Germany Galería Elvira González, Madrid, Spain Faggionato, London, UK Chiba City Museum of Art, Chiba, Japan The Manggha Museum of Japanese Art and Technology, Krakow, Poland Gallery Koyanagi, Tokyo, Japan D’Amelio Terras, New York, USA Asia Society Museum, New York, USA Galerie René Blouin, Montreal, Canada The Contemporary Museum, Honolulu, USA Loock Galerie, Berlin, Germany Group Exhibitions Zehn Räume Drei Loggien und Ein Saal, Sprengel Museum Hannover, Hannover, Germany Takahashi Collection: Mirror Neuron, Tokyo Opera City Art Gallery, Tokyo, Japan Wabi Sabi Shima, Espace H18, Brussels, Belgium Irises & Red and White Plum Blossoms: Korin’s Art, Korin & Japanese Modern Art, MOA Museum of Art, Shizuoka, Japan Bricologie: La souris et le perroquet, Villa Arson, Nice, France Sei no Motode: lifescape, Shiseido Gallery, Tokyo, Japan The Visual Deception II: Into the Future, Bunkamura the Museum, Tokyo; Hyogo Prefectural Museum of Art, Kobe; Nagoya City Art Museum, Aichi, Japan The House, Faggionato, London, UK The International Biennale of Contemporary Art of Cartagena de Indias, Cartagena, Colombia Collections 21st Century Museum of Contemporary Art, Kanazawa, Ishikawa / Art Gallery of New South Wales, Sydney / Asahi Beer Oyamazaki Villa Museum, Kyoto / Chiba City Museum of Art, Chiba / Crafts Gallery, The National Museum of Modern Art, Tokyo / Fukuoka Asian Art Museum, Fukuoka / Hara Museum of Contemporary Art, Tokyo / Hiroshima City Museum of Contemporary Art, Hiroshima / Ishinomaki Cultural Center, Miyagi / The Israel Museum, Jerusalem, Israel / The Japan Foundation, Tokyo / Leeum Samsung Museum of Art, Seoul / Lenbachhaus Kunstbau, Munich / Masaki Art Museum, Osaka / The Mitsubishi Trust and Banking Corporation, Kanagawa / Musée National d’Art Moderne Centre Georges Pompidou, Paris / Museum of Contemporary Art Tokyo / Naoshima Contemporary Art Museum, Kagawa / National Gallery of Canada, Ottawa / The National Museum of Art, Osaka The National Museum of Modern Art, Tokyo / Nerima Art Museum, Tokyo Neues Museum, Nurnburg, Germany / The New Art Gallery Walsall, Birmingham / Obayashi Corporation, Tokyo / Shiseido Art House, Shizuoka / Shiseido Gallery, Tokyo / Takamatsu City Museum of Art, Kagawa / Toyota Municipal Museum of Art, Aichi / Yamanashi Prefectural Museum of Art, Yamanashi 145

Biographies

小林敬生

1944 1968

2013 2007 2005 1994

2006 2004 2002 2001

2007 2006 1991 1989 1983 1982

生於日本島根縣松江市 京都國際設計研究所視覺傳達設計專攻 個展 「木刻與版畫：1967-2012」，多摩藝術大學美術館，東京，日本 「木刻版畫：1978-2005」，Woo Jae Gil 美術館，光州，韓國 「木刻版畫回顧展：1977-2004」，大津現代美術館，滋賀，日本 「木刻版畫：1977-2005」，Alhondiga de Granaditas 美術館，墨西哥 「幻視：木刻版畫 1977-1993」，東廣島市立美術館，廣島，日本（展出 73 幅作品） 「木刻版畫：1977-1993」，鳥羽志摩美術館，三重，日本 聯展 「黑色迷宮」，石川縣立美術館，石川，日本 「日本木刻版畫一百年：從創作版畫到新式版畫表現」，名古屋市美術館，名古屋，日本 「版畫—東西友誼交流浪潮」，山口縣立萩美術館，東京藝術大學大學美術館，三重縣立美術館，日本 「線之迷宮—微型版畫的魅力」，目黑區美術館，東京，日本 「日本 2001」，布里斯托市立美術館，布里斯托，英文 獲獎 山口源首獎 紫帶勳章 大阪三年展，版畫特別獎 第十九屆日本當代藝術展，普利司通美術館獎（1993 年獲收藏獎） 東京中央美術館版畫首獎大展，佳作及收藏獎 第二屆韓國首爾國際微型版畫雙年展，首獎

典藏 （國際） 大英博物館，倫敦 / 皇家藝術學院，倫敦 / 新南威爾斯藝廊，雪梨 / 紐西蘭美術館，威靈頓 / Diego Rivera 美術館，瓜納華托， 墨西哥 / Pueblo 美術館，瓜納華托，墨西哥 / 國立師範大學美術館，臺北 / 國立臺北藝術大學關渡美術館，臺北 （日本） 現代美術館，東京 / 現代美術館，鎌昌 / 濱美術館 / 大阪現代藝術中心 / 大阪國立美術館 ... 等 46 個美術館

146

日本 / Japan

Situation of Existence : Contemporary Realistic Art in East Asia

Keisei Kobayashi

1944 1968

2013 2007 2005 1994

2006 2004

2002 2001

2007 2006 1991 1989 1983 1982

Born in Teramachi, Matsue-city, Shimane Prefecture, Japan Completed the visual design course at the International Design Institute, Kyoto Solo Exhibitions Woodcut & wood engraving 1967-2012, Tama Art University Museum of Art, Tokyo, Japan Wood engraving 1978-2005, Art Museum of Woo Jae Gil, Gwangju, Korea Retrospective wood engraving 1977-2004, Museum of Modern Art, Otsu, Shiga Wood Engraving 1977-2005, Alhondiga de Granaditas Museum, Mexico Illusionary Vision: Wood Engraving 1977-1993, Higashihiroshima City Museum of Art, Higashihiroshima, Japan (Exhibited 73 works) Wood engraving 1977-1993, Shima Museum, Toba, Mie, Japan Group Exhibitions Labyrinth of Black, Ishikawa Prefectural Museum of Art, Ishikawa Prefecture, Japan A Century of Japanese Woodcut Print from Sosakuhanga to New Print Expression, Nagoya City Art Museum, Nagoya, Japan Hanga-Wave of Friendship Exchange between the East and West, Hagi Uragami Museum; The University of Art Museum, Tokyo University of The Arts; Mie Prefectural Art Museum, Japan Labyrinth of Lines: The Charm of Miniature Print, Meguro Museum of Art, Tokyo, Japan JAPAN 2001, Bristol City Museum, Bristol, UK Awards Gen Yamaguchi Grand-Prize Received a Purple Ribbon Medal Organizer’s Special Prize, Osaka Triennale 1991 Print Bridgestone Museum of Art Prize (1993 Purchase Prize), 19th Contemporary Art Exhibition of Japan Fine Work Prize and Purchase Prize, Central Art Museum Print Grand-Prize Exhibition Tokyo Grand Prize, 2nd Seoul International Miniature Print Biennale Seoul Korea

Collections (Overseas) British Museum, London / Royal Academy of Arts, London / Taipei Fine Art Museum, Taipei / Japan Foundation, Bangkok / Art Gallery of New South Wales, Sydney / Museum of New Zealand, Wellington / Diego Rivera Museum, Guanajuato, Mexico / Pueblo Museum, Guanajuato, Mexico / National Taiwan Normal University Art Museum, Taipei / Taipei National University of the Arts Kuandu Museum of Fine Arts, Taipei (Japan) Asahikawa Museum of Art, Shibetsu City / Museum of Modern Art, Tokyo / Museum of Modern Art, Kamakura / Yokohama Museum of Art / Osaka Contemporary Art Center / National Museum of Art, Osaka and 46 museums in Japan.

147

Biographies

深堀隆介

1973 1995 2002

2014 2013 2012

2014 2013 2012 2011 2010 2008

2013 2012 2006 2003 2001 2000

148

出生於日本愛知縣 日本愛知縣立藝術大學美術學院設計學系 發表獨創的容器中樹脂彩繪金魚作品 個展 「深堀隆介個展」，ICN 藝廊，倫敦，英國 「深堀隆介個展」，大分，日本 「深堀隆介個展」，Joshua Liner 藝廊，美國紐約 「深堀隆介個展」，國立新美術館，東京，日本 「深堀隆介個展」，池袋西武，東京，日本 聯展 「暑假 ! 生物圖鑑展」，群馬縣立館林美術館，群馬，日本 「池袋陽光水族館 x 深堀隆介協作展」，東京，日本 聯展，Joshua Liner 藝廊，紐約，美國 聯展，Joshua Liner 藝廊，紐約，美國 The Solo Project Art Fair，巴塞爾，瑞士 現代工藝藝術嘉年華，東京，日本 Art KARLSUHE 2010，卡斯魯爾，德國 Asia Top Gallery Hotel Art Fair，香港 ART TAIPEI 2008，臺北，臺灣 上海藝術博覽會，上海，中國 獲獎 獲選 MY MODERN MET Top 10 Cutting-Edge Artist of the 21st Century Perspective 透視 40under40 2012 ART 部門受賞，香港 第九屆岡本太郎現代藝術大賞展入選 金井祝雄賞 京都嵯峨藝術大學美術比賽特別賞 富士銀行 ‧ 瑞穗銀行街道藝術廊採用

日本 / Japan

Situation of Existence : Contemporary Realistic Art in East Asia

Riusuke Fukahori

1973 1995 2002

2014 2013 2012

2014 2013 2012 2011 2010 2008

2013 2012 2006 2003 2001 2000

Born in Aichi Prefecture, Japan BFA, Faculty of Art (Design), Aichi University of the Arts, Aichi Prefecture, Japan Publish unique works of goldfish painted on resin in containers.

Solo Exhibitions Fukahori Riusuke Solo Exhibition, ICN Gallery, London, UK Fukahori Riusuke Solo Exhibition, Oita, Japan Fukahori Riusuke Solo Exhibition, Joshua Liner Gallery, New York, USA Fukahori Riusuke Solo Exhibition, The National Art Center, , Tokyo, Japan Fukahori Riusuke Solo Exhibition, Ikebukuro Seibu, Tokyo, Japan Group Exhibitions Summer Vacation! Illustrated Book of Living Creatures, Gunma Museum of Art, Tatebayashi, Gunma, Japan Sunshine Aquarium x Fukahori Riusuke Exhibition, Tokyo, Japan Group Exhibition, Joshua Liner Gallery, New York, USA Summer Group Exhibition, Joshua Liner Gallery, New York, USA 2011 The Solo Project Art Fair, Basel, Switzerlnd Modern Crafts Art Fair, Tokyo, Japan Art KARLSRUHE 2010, Karlsruhe, Germany Asia Top Gallery Hoter Art Fair, Hong Kong Art Taipei, Taipei, Taiwan SHANGHAI ART FAIR2008, Shanghai, China Awards MY MODERN MET Top 10 Cutting-Edge Artist of the 21st Century Perspective 40under40 2012 ART, Hong Kong Selected for 9th Okamoto Taro Contemporary Art Grand Prize Exhibition Turner Acryl Award 2003 Imai Norio Prize Special Prize, Kotyo Saga University of Arts Art Competition Nomination for Fuji Bank/Mizuho Bank, Street Gallery

149

Biographies

顧何忠

1962 2003 1990

2008 2004 2003 2001

2008 2007 2006 2005 2001 2000

出生於臺灣臺北 國立臺北藝術大學美術學系兼任講師 畢業於國立臺北藝術大學創作研究所 畢業於中國文化大學美術系西畫組 個展 「靜 ‧ 不靜－靜物之外 顧何忠個展」，雅逸藝術中心，臺北，臺灣 「觀象－顧何忠個展」，竹師藝術空間，新竹，臺灣 「揭露與存在－顧何忠油畫個展」，鳳甲美術館，臺北，臺灣 「揭露與存在－顧何忠油畫個展」．雅逸藝術中心，臺北，臺灣 「觀象－顧何忠個展」，雅逸藝術中心，臺北，臺灣 聯展 臺北國際藝術博覽會，世貿三館，臺北，臺灣 「藝門好傑－國立臺北藝術大學校友展」，關渡美術館，臺北，臺灣 臺北國際藝術博覽會，華山藝文特區，臺北，臺灣 「關渡英雄誌－臺灣現代藝術大展」，關渡美術館，臺北，臺灣 臺北國際藝術博覽會，世貿三館，臺北，臺灣 「美麗島 2001 當代寫實展」，科元藝術中心，臺中，臺灣 「理性與感性：古典油畫技法彰化地區巡迴展」．彰化，臺灣 「北臺北藝術家聯展」．雅逸藝術中心，臺北，臺灣 「美麗島 2000 當代寫實展」，科元藝術中心，臺中，臺灣

1991 1988

獲獎 中國文藝藝術創作獎章 ( 油畫類 ) 得獎者，中國文藝藝術協會，國立臺灣文學館 第 4 屆臺北縣美展，版畫類，第三名 第 5 屆奇美文教基金會，西畫類，首獎 第 18 屆臺北市美展，版畫類，第二名 文化大學師生美展，油畫類，第一名

2014 1996 1991

典藏 臺北市立美術館 神奈川藝術文化財團 臺北市立美術館

2010 1992

150

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Ho-Chung Ku

1962 2003 1990

2008 2004 2003 2001

2008 2007 2006 2005 2001 2000

Born in Taipei, Taiwan Lecturer, Taipei National University of the Arts MFA, Taipei National University of the Arts BFA (Western Painting), Chinese Culture University Solo Exhibitions Be Tranquil or Not—Ho-chung Ku Solo Exhibition, Julia Gallery, Taipei, Taiwan Observed Phenomenon: Ho-Chung Ku Solo Exhibition, NHCTC Artist Space, Hsinchu, Taiwan Revelation and Existence—Ho-Chung Ku Solo Exhibition, Hong-Gah Museum, Taipei, Taiwan Revelation and Existence—Ho-Chung Ku Solo Exhibition, Julia Gallery, Taipei, Taiwan Observed Phenomenon, Julia Gallery, Taipei, Taiwan Group Exhibitions Art Taipei, Taipei World Trade Center III, Taipei, Taiwan Dare to Art—The Genealogy of TNUA Fine Art College, Kuandu Museum of Fine Arts, Taipei, Taiwan Art Taipei, 1914 Huashan Creative Park, Taipei, Taiwan Inaugural Exhibition—2005 Kuandu Extravaganza, Kuandu Museum of Fine Arts, Taipei, Taiwan Art Taipei, Taipei World Trade Center III, Taipei, Taiwan Formosa 2001: Contemporary Realistic Art Exhibition, Ke-Yuan Gallery, Taichung, Taiwan Sense and Sensibility: Touring Exhibition of Classical Oil Painting Techniques in Changhua, Changhua, Taiwan Group Exhibition of Northern Taipei Artists, Julia Gallery, Taipei, Taiwan Formosa 2000: Contemporary Realistic Art Exhibition, Ke-Yuan Gallery, Taichung, Taiwan

1991 1988

Awards Medal of Chinese Literature and Arts (Oil Painting), Chinese Writer’s and Artist’s Association, National Museum of Taiwan Literature Third Prize (Woodblock Printing), 4th Taipei County Art Exhibition First Prize (Western Painting), 5th Chi-Mei Culture Foundation 2nd Prize (Woodblock Printing), 18th Taipei City Art Exhibition First Prize (Oil Painting), Chinese Culture University Teacher’s and Student’s Art Exhibition

2014 1996 1991

Collections Taipei Fine Arts Museum Kanagawa Arts Foundation Taipei Fine Arts Museum

2010 1992

151

Biographies

金昌謙

1961 1987 1994 1995

1999-00 2001 2003 2005

2008 2007 2003 2000

2014 2007

2006

152

出生於韓國驪州 畢業於韓國宗大學繪畫科 畢業於義大利克拉拉藝術學院雕塑系 進修於德國杜塞朵夫藝術學院，受教於 Jannis Kounellis 駐村 Ssamzie 工作室藝術家駐村計畫 Ssamsung Unni 工作室藝術家駐村計畫 ILju 藝術空間工作室計畫 Changdong 藝術家駐村計畫 Art Omi 藝術家駐村計畫 個展 「金昌謙個展」，韓之演當代空間，北京，中國；陳綾蕙當代空間，北京，中國；臺北，臺灣 「影子」，青森當代藝術中心，青森，日本 「金昌謙個展 」，Savina 美術館，首爾，韓國 「Sarubia Dabang」, Project Space Sarubia，首爾，韓國 「金昌謙個展」，Keumsan 畫廊，首爾，韓國 聯展 「K-P.O.P.」，臺北當代藝術館，臺北，臺灣 「INVISIBLE VISION」，韓之演當代空間，北京，中國 「意在言外」，索卡當代藝術中心，北京，中國 「Future is Haje」，新藝術中心，阿沙芬堡，德國 「當代韓國藝術」, 中國美術館，北京，中國 「名畫的再發現」，Savina 美術館，首爾，韓國 「新進氣銳」，Kunho 美術館，首爾，韓國 「IASK 國立美術創作 Studio 5 周年展」，國立美術館，果川，韓國 「色彩敘事」，阿特塞帝畫廊，首爾，韓國 「跨界經驗」，Spool mfg，強森市，美國 「無盡的複製」，Ieum 畫廊，中國，北京

韓國 / Korea

Situation of Existence : Contemporary Realistic Art in East Asia

Chang-Kyum Kim

1961 1987 1994 1995

1999-00 2001 2003 2005

2008 2007 2003 2000

2014 2007

2006

Born in Yeoju, Korea BFA in Painting, Se-Jong University, Korea Sculptirem, Accademia di Belle Arti di Carrara, Italy Studied at Kunstakademie Düsseldorf by Jannis Kounellis, Germany Residency Ssamzie Artist-in-Residence Project Ssamsung Unni Artist-in-Residence Project ILju Art Space Project Changdong Artist-in-Residence Project Art Omi Artist-in-Residence Project Solo Exhibitions Solo Exhibition, HAN JI YUN Contemporary Space, Beijing, China; Chen Ling Hui Contemporary Space, Beijing, China and Taipei, Taiwan Shadow, Aomori Contemporary Art Center, Aomori, Japan Mirror, Savina Museum, Seoul, Korea Chang-Kyum Kim: Sarubia Dabang, Project Space Sarubia, Seoul, Korea Kim Changkyum Solo Exhibition, Keumsan Gallery, Seoul, Korea Group Exhibitons K-P.O.P.—Korean Contemporary Art Exhibition MOCA, Taipei, Taipei, Taiwan INVISIBLE VISION, HAN JI YUN Contemporary Space, Beijing, China Beyond Language—Chinese Japan Korea Multimedia Exhibition, Soka Art Center, Beijing, China Future is Haji, Neur Kunstverein, Aschaffenburg, Germany Contemporary Korea Art, National Art Museum of China, Beijing, China Translated Beauty—Reconstruction of Master Piece, Savina Museum, Seoul, Korea Up-and-Comers, Kunho Museum , Seoul, Korea IASK National Art Creative Studio 5th Anniversary Exhibition, National Museum, Guochuan, Korea Color of Narrative, Artside Gallery, Seoul, Korea Transboundary Experiences, Spool mfg, Johnson City, USA Endless Clone, Ieum Gallery, Beijing, China

153

Biographies

徐睿甫

1979 2009 2001

出生於臺灣苗栗 畢業於新竹教育大學美勞教育研究所碩士 畢業於新竹師範學院美勞教育系畢業學士

2013 2011 2010 2009

個展 「尋常瑣事－徐睿甫個展」，靜宜大學，臺中，臺灣 「我與我自己－徐睿甫個展」，大象藝術空間館，臺中，臺灣 「感傷的虛擬－徐睿甫個展」，雲林縣立文化局，雲林，臺灣 「陰影下的樣貌巡迴個展」，臺中港區藝術中心，臺中，臺灣

2014

2013

2014 2013

2012

154

聯展 洛杉磯藝術展，洛杉磯，美國 「一塵不染」，大象藝術空間館，臺中，臺灣 邁阿密當代藝術博覽會，邁阿密，美國 成都城市藝術博覽會，成都，中國 邁阿密亞洲藝術博覽會，邁阿密，美國 東京藝術博覽會，東京，日本 臺北國際當代藝術博覽會，喜來登大飯店，臺北，臺灣 「桃城美展」，嘉義文化局，嘉義，臺灣 「苗栗美展」，苗栗縣藝文中心，苗栗，臺灣 「臺灣美術新貌展」，臺中港區藝術中心，臺中，臺灣 獲獎 國父紀念館 公教美展水彩類，第二名 臺中市文化局臺灣美術新貌展，平面類，第二名 苗栗縣文化局苗栗美展，應用媒材與設計類，首獎 嘉義縣文化局桃城美展西畫類，首獎 臺東美術館南島美術獎，西畫類，優選

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Jui-Fu Hsu

1979 2009 2001

Born in Miaoli, Taiwan MFA, Department of Arts and Crafts Education, Hsinchu University of Education BFA, Department of Arts and Crafts Education, Hsinchu University of Education

2013 2011 2010 2009

Solo Exhibitions Daily Things, Art Center of Providence University, Taichung, Taiwan I and Myself, Da Xiang Art Space, Taichung, Taiwan Virtual Sentimental, Cultural Affairs Department, Yulin County Government, Yulin, Taiwan The Shadow, Taichung County Seaport Art Center, Taichung, Taiwan

2014

2013

2014 2013

2012

Group Exhibitions LA ART SHOW 2014, LA, USA Immaculate, Da Xiang Art Space, Taichung, Taiwan CONTEXT Art Miami 2014, Miami, USA Citizen Art Chengdu 2014, Chengdu, China Art Asia Miami 2013, Miami, USA ART FAIR TOKYO 2013, Tokyo, Japan YOUNG ART TAIPEI, Sheraton Hotel, Taipei, Taiwan The Art Exhibition of Chia-Yi City, Chiayi Cultural Bureau, Chiayi, Taiwan The Art Exhibition of Miaoli County, Miaoli County Culture Center, Miaoli, Taiwan Exhibition of the Newly Emerging Artists in Taiwan - 2D Creation Series, Taichung City Seaport, Art Center, Taichung, Taiwan Awards Second Prize (Watercolor), National Civil Officers Art Exhibition, National Dr. Sun Yet-sen Memorial Hall Second Prize, Exhibition of the Newly Emerging Artists in Taiwan - 2D Creation Series, Cultural Affairs Bureau, Taichung, Goverment First Prize (Applied Media and Design), The Art Exhibition of Miaoli County, Miaoli County Culture Affairs Bureau First Prize, The Art Exhibition of Chia-Yi City, Chiayi County Culture Affairs Bureau Excellence Prize (Western Painting), Austronesian International Arts Award, Taitung Art Museum

155

Biographies

黃銘昌

1952 1975 1977 1984

出生於臺灣花蓮 畢業於臺灣中國文化學院美術系 入學巴黎國立高等美術學院 畢業於巴黎國立高等美術學院，獲高等油畫文憑

2012 1994 1991 1985

個展 「一方心田－黃銘昌個展」，臺北市立美術館，臺北，臺灣 「臺灣史詩大展－七○．八○年代雙個展」，皇冠藝文中心，臺北，臺灣 「黃銘昌個展」，龍門畫廊，臺北，臺灣 「黃銘昌個展」，雄獅畫廊，臺北，臺灣

2016 2014-15 2014

2013

2012 2011 2010

聯展 「存在的情境：東亞當代寫實藝術展」，毓繡美術館，南投，臺灣 「Guess What? Hardcore Contemporary Art's Truly a World Treasure：國巨基金會典藏展」，國巨基金會、日本東京國立 近代美術館、名古屋市美術館、廣島市現代美術館、京都國立近代美術館聯合主辦 「界：臺灣當代藝術展」，康乃爾大學強生美術館，伊薩卡，美國 「見微知萌→臺灣超寫實繪畫」，臺北市立美術館，臺北，臺灣 「臺灣美術家『刺客列傳』1951 ～ 1960 － 四年級生」，國立臺灣美術館，臺中，臺灣 臺北國際藝術博覽會，世界貿易中心，臺北，臺灣 第 55 屆威尼斯國際雙年展，慈悲聖母院，義大利威尼斯 「打卡 ‧ 跟著藝術家去旅行」，高雄市立美術館，高雄，臺灣 「零度狀態－臺灣寫實藝術家作品聯展」，寒舍艾美酒店藝文空間，臺北，臺灣 「美麗臺灣」，中國美術館，北京；中華藝術宮，上海，中國 「畫家風景 ‧ 國民風景－百年臺灣行旅」，國立臺灣美術館，臺中，臺灣 臺北國際藝術博覽會，世界貿易中心，臺北，臺灣 臺北國際藝術博覽會，世界貿易中心，臺北，臺灣 「詩與藝的邂逅」，高雄市立美術館，高雄，臺灣 「改造歷史－ 2000 ~ 2009 年的中國新藝術」，國家會議中心，北京，中國 「旅人 ‧ 記憶－北美館典藏作品展」，臺北市立美術館，臺灣 「今日 ‧ 當代臺灣－臺灣當代藝術展」，慶南道立美術館，韓國 臺北國際藝術博覽會，世界貿易中心，臺北，臺灣 獲獎 第三屆雄獅美術新人獎，佳作 典藏 巴黎市政府文化部 / 臺北市立美術館 / 國立臺灣美術館 / 高雄市立美術館

156

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Ming-Chang Huang

1952 1975 1977 1984

Born in Hualien, Taiwan Graduated from the Department of Fine Arts, Chinese Culture University Studied at National Superior School of Fine Arts in Paris (Ecole National Superieure Des Beaux-Arts De Paris) Graduated from Ecole National Superieure Des Beaux-Arts De Paris and received the diploma in Superior oil Painting.

2012 1994 1991 1985

Solo Exhibitions A Field in the Heart – Solo Exhibition by Huang Ming-Chang, Taipei Fine Arts Museum, Taipei, Taiwan History of Poetry in Taiwan, Crown Art Gallery, Taipei, Taiwan Solo Exhibition by Huang Ming-Chang, Lung Men Art Gallery, Taipei, Taiwan Solo Exhibition by Huang Ming-Chang, Lion Art Gallery, Taipei, Taiwan

2016 2014-15

2014

2013

2012

2011 2010

Group Exhibitions Situation of Existence: Contemporary Realistic Art in East Asia, Yu-Hsiu Museum of Art, Nantou, Taiwan Guess What? Hardcore Contemporary Art's Truly a World Treasure: Selected Works from YAGEO Foundation Collection, The National Museum of Modern Art, Tokyo; Nagoya City Art Museum; Hiroshima City Museum of Contemporary Art; The National Museum of Modern Art, Kyoto, Japan Jie (Boundaries): Contemporary Art from Taiwan, Herbert F. Johnson Museum of Art, Cornell University,Ithaca, U.S.A. Telling Details: Photorealism in Taiwan, Taipei Fine Arts Museum, Taipei,Taiwan The Pioneers of Taiwanese Artists, 1951-1960, National Taiwan Museum ofFine Arts, Taichung, Taiwan Art Taipei 2013, Taipei World Trade Center, Taipei, Taiwan 55th VENICE BIENNIAL, Santa Maria della Pietà, Venice, Italy Check-in, Traveling with the Artist, Kaohsiung Fine Arts Museum, Kaohsiung, Taiwan State of Zero – Taiwan Realism Artists Group Exhibition, Le Meridien Taipei Art Gallery, Taiwan Majestic Island – The Development of Modern Art in Taiwan, National Art Museum of China, Beijing; China Art Museum, Shanghai Scenery and Vistas of Taiwan through the Eyes of Artists: A Century of Taiwanese Landscape and Scenic Art, National Taiwan Museum of Fine Arts, Taichung, Taiwan Art Taipei 2012, Taipei World Trade Center, Taipei, Taiwan Exploring the Museum Collection: Poetry Meets Art, Kaohsiung Fine Arts Museum, Kaohsiung, Taiwan Art Taipei 2011, Taipei World Trade Center, Taipei, Taiwan Reshaping History: China Art from 2000-2009, China National Convention Center, Beijing, China Memory of a Journey: Permanent Collection of TFAM, Taipei Fine Arts Museum, Taipei, Taiwan Contemporary Art in Taiwan, Gyeongnam Art Museum, Korea Art Taipei 2010, Taipei World Trade Center, Taipei, Taiwan Awards Masterpiece, Award for the Third Lion New Art Collections Collection of Paris Municipal Government Ministry of Culture / Taipei Fine Arts Museum / National Taiwan Museum of Fine Arts / Kaohsiung Fine Arts Museum 157

Biographies

蔡明君

2010 2006

倫敦大學金匠學院美術系策展學研究所（MFA） 東海大學美術學系研究所（MFA）

2013-14 2012-13 2011-12 2009

工作經歷 弔詭畫廊，展覽執行，臺灣高雄 Derive Art + Café Amarcord 衍空間，空間創辦人（展覽策劃＆行政統籌），臺灣臺中 20 號倉庫 – 鐵道藝術網絡臺中站「有寬藝術策展團隊．微型創意推展計畫」，展覽策劃與國際連絡人，臺灣臺中 第七屆 British Art Show，展覽研究團隊成員，英國倫敦

2015 2014 2014 2013 2013 2012 2012 2011 2011 2011 2010 2010 2010 2009-10

策展計畫 共同策展人，有影切片於「2015 台北數位藝術節 – 動畫展」，松山文創園區，臺灣臺北 策展人，畫譜 RE EXHIBITING：悍圖社聯展，高雄駁二藝術特區 P3 倉庫，臺灣高雄 策展人，書圖 RE WRITING：悍圖社聯展，福利社，臺灣臺北 策展人，待續於「斜面連結 – 典藏展實驗計畫」，臺北市立美術館，臺灣臺北 策展人，院｜ Yard 於「第十一屆臺新藝術獎入圍特展」，臺北當代藝術館，臺灣臺北 策展人， 群聚 A Gathering 於「視覺藝術聯盟 2012 藝術家博覽會」，臺中文化創意產業園區，臺灣臺中 策展人，院 | Yard，東海大學藝術中心，臺灣臺中 策展人，翻轉吧！倉庫 | In/side/out，20 號倉庫，臺灣臺中 策展人，Burcu was here，C.A.M. Gallery，土耳其伊斯坦堡 策展人，伯沁曾在那裡 | Burcu was there，永春堂美術館，臺灣臺中 策展人，Mirror, mirror on the wall，TAMTAM8（現 tamtamART），德國柏林 共同策展人，The dictionary of received ideas，the Q Art Space，英國倫敦 策展人，The Journey to the West – Chu ChunTeng Solo Exhibition，倫敦大學金匠學院，英國倫敦 策展人，Beyond The Map，英國倫敦 http://curatingbeyondthemap.wordpress.com/

2015 2013 2012 2010

獲獎 2015 ／亞洲文化協會 2015 台灣獎助計畫 2013 ／第十一屆台新藝術獎視覺藝術類入圍：院 | Yard 2012 ／國家文化藝術基金會美術類展覽計畫補助：院 | Yard 2010 ／國家文化藝術基金會美術類國際文化交流計畫補助：大女圖

158

臺灣 / Taiwan

Situation of Existence : Contemporary Realistic Art in East Asia

Ming-Jiun TSAI

2010 2006

2013-14 2012-13 2011-12 2009

MFA in Curating Department of Art, Goldsmiths College, University of London, UK MFA in Fine Art Department of Fine Arts, The College of Fine Arts and Creative Design, Tunghai University, Taichung, TAIWAN Employment Exhibition producer, Crane Gallery, Kaohsiung, TAIWAN Founder (Exhibitions Curator & Administration Manager), Derive Art, Taichung, TAIWAN Exhibitions Curator & International Contact, The Quan Curatorial Team . Micro-Creative Extension Programme at Stock 20 – Art Network of the Railway Warehouses in Taichung, Taichung, TAIWAN Member of the Reflection Committee, British Art Show 7, London, UK

2013 2012 2012 2011 2011 2011 2010 2010 2010 2009-10

Curatorial Exhibitions / Projects Co-curator, Slices of film ‘Animation section in 2015 Digital Art Festival Taipei’, Songshan Cultural and Creative Park, Taipei,TAIWAN Curator, RE EXHIBITING: Hantoo Art Group, P3 Warehouse at The Pier 2 Art Centre, Kaohsiung, TAIWAN Curator, RE WRITING: Hantoo Art Group, FreeS Art Space, Taipei, TAIWAN Curator, To Be Continued at ‘Intersecting Vectors – Experimental Projects from the TFAM Collection’, Taipei Fine Arts Museum, Taipei, TAIWAN Curator, Yard at ‘The 11th Taishin Arts Award Exhibition’, Museum of Contemporary Art, Taipei, TAIWAN Curator, A Gathering at ‘AVAT (Association of the Visual Arts in Taiwan) 2012 Artists Fair’, Taichung, TAIWAN Curator, Yard, Tunghai University Art Centre, Taichung, TAIWAN Curator, In/side/out, Stock 20, Taichung, TAIWAN Curator, Burcu was here, CAM Gallery, Istanbul, TURKEY Curator, Burcu was there, Everspring Museum of Fine Arts, Taichung, TAIWAN Curator, Mirror, mirror on the wall, Tamtam 8 (Now tamtamART), Berlin, GERMANY Co-curator, The dictionary of received ideas, Q Art Space, London, UK Curator, The Journey to the West – Chu ChunTeng Solo Exhibition, Goldsmiths College, London, UK Project Curator, Beyond The Map, London, UK http://curatingbeyondthemap.wordpress.com/

2015 2013 2012 2010

Texts & Publications AWARDS 2015 Grantee, Asian Cultural Council 2013 Visual Arts Finalists, Yard, The 11th Taishin Arts Award, Taishin Bank Foundation for Arts and Culture 2012 Winner, Yard, Funding for International Art Project, National Culture and Arts Foundation 2010 Winner, 8 Femmes, Funding for International Art Project, National Culture and Arts Foundation

2015 2014 2014 2013

159

發行人 總編輯 執行編輯 設計師 翻譯

葉毓繡 李足新、徐子涵 黃翔 許瑋筌 黃亮融

存在的情境 : 東亞當代寫實藝術展 李足新 , 徐子涵總編輯 . -- 初版 . -南投縣草屯鎮 : 毓繡文化基金會 160 面 ; 23 x 27.5 公分 ISBN 978-986-89922-2-1( 精裝 )

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1. 現 代 藝 術 2. 作 品 集 3. 東 亞

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2016 年 01 月 978-986-89922-2-1（精裝） 藝術家 作者

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特別感謝 借展協助單位 林美蕙、施俊兆、陳成達、陳俊明、蔡賢嶔、GRS 藝術空間、大象畫廊、也趣畫廊、木易工房、月臨畫廊、國巨基金會、雅逸藝術中心、藝術計畫