消費奇談 | 楊博堯 Shopping Oddity | Yang Bo-Yao by YUHSIU MUSEUM of ART

2017. 02. 02 - 04. 23

目錄 CONTENTS

館長序 Preface

創作論述 Artist statement 消費奇談 | 楊博堯 Shopping Oddity | Yang Bo-Yao

圖錄 Plates 藝術家簡介 Biography

序 Preface

李足新 Lee Chu-Hsin 毓繡美術館館長 The Executive Director of Yu-Hsiu Museum of Art

2017 年的開春首展檔期，邀請了四位專注於不同領域的當代寫實新銳藝術家，舉辦各自表述的特展。主要呼應毓繡美術館長久以來努力的方針之一：「致力於提升臺灣當代寫實藝術的能見度」，且也藉由作品中的手感溫度，勾動更多國內外的藝文同好們，帶領觀者關懷當代環境及社會樣態。

一開始乍看楊博堯的畫作，難免會露出對於他在畫面配置上的會心一笑，但仔細了解作品背後每一個與社會真實事件鏈結的調侃與諷刺後，才深知他希望透過作品提醒觀者們更重視從生產端到餐桌進食的飲食議題，包含基改食物、罐頭食品或食品安全等。因此，在個展《消費奇談中》他延續了隱藏自我形象的「樂高蜜蜂人」虛構角色，再次展現在番茄園中的勞動生活，以此暗喻現今社會中的勞動階層。楊博堯在作品中除了拼命提醒大眾在追求食的小確幸之於，在日月如一的日常裡，更希望大眾能夠更重視食品的源頭，別一味無知的任由商人屠害我們的健康與人生。

For the first exhibition after the Chinese New Year holiday in 2017, Yu-Hsiu Museum of Art has invited four promising contemporary artists of realist art from different fields to hold four respective exhibitions. The attempt corresponds to one of the museum's long-term objectives, which is to "strive for increasing the visibility of Taiwanese contemporary realist art." We also hope that the artistic warmth of the works would capture the attention of international and domestic art lovers and lead our audience to care about the contemporary environment and society.

At the first sight of Yang Bo-Yao's painting, one cannot help but smiling at his design of the image. However, taking a closer look at his work and learning about the real social events behind his sarcastic representation, one realizes that he sincerely hopes to remind his audience to pay more attention to the issues of food from its production to our consumption of food on the table. These issues include genetically engineered food, canned food, food safety, etc. Therefore, in his solo exhibition, Shopping Oddity , he continues to employ the fictional character, "Lego Bee Man," which is viewed as his alter ego, to depict a laboring life in a tomato garden. Through this metaphor, he portrays the labor class in modern society. In his work, the morphed artist endeavors to remind the public to be aware of the source of food while pursuing all the little happiness of eating in the changeless daily life and not to unknowingly allow merchants to endanger our health and life.

創作論述

Artist statement

Shopping Oddity

消費奇談

Text / Yang Bo-Yao

撰文 / 楊博堯消費奇談（Shopping Oddity）展名概念源自英國藝人 David Bowie 在 1969 年發表的單曲「Space

The title, Shopping Oddity, originated from the 1969 music single, "Space Oddity," by the British singer, David Bowie, who

Oddity」，當年鲍伊看完《2001 太空漫遊》後寫下此曲，九天後阿波羅 11 號成功登月寫下人類對地球以外

wrote the song after watching 2001 Space Odyssey, nine days prior to Apollo 11's successful landing on the moon that was

探索的新頁。此種受科幻電影啟發而創作出的太空搖滾歌曲，再對照真實世界中登月場景，讓我對這當中的

the overture of human being's extraterrestrial exploration. Comparing this rock song about the space that was inspired by a sci-fi movie to the scene of man landing on the moon in the real world, the coincidental and surprising connection is

巧合與意外連結深深著迷。從幻想中搭建出另一個虛構的身分與場景，組成元素來自對現實生活中的觀察與

fascinating for me. Therefore, I have created a fictional identity and setting in my imagination by observing and researching

考證，尤其當真假之間充滿矛盾卻又彼此相呼應的關係兌現時，往往讓人有種會心一笑的超現實體驗。此次

on the real life. When the contradictory yet corresponding connections between the real and the fictional take place, it is

展出作品的概念源起於再平凡不過的「消費與飲食經驗」。生產的最終目的即是消費，消費行為的產生來自

usually a surreal experience that makes one smile because of understanding. The underlying concept of this exhibition comes from the ordinary "experience of consumption and eating." The ultimate goal of production is consumption, and the behavior

於內在需求與外來刺激；而飲食作為人類維持基本生理運作的方式，除了動物性的生理需求外，經由飲食行

of consumption is motivated by psychological needs and external stimulations. Moreover, as a means to sustain the basic

為來觀察生產到消費過程中不同的面向，除了幫助我們認識眼前的食物外，也更進一步的理解生產端到消費

function of human physiology and to satisfy physical needs on a biological level, one can also observe the various aspects of

端當中的發展脈絡及權力關係。

the production process through the behavior of eating. Such observation not only helps us understand the food in front of our eyes, it also enables us to comprehend the context of development and power relations from the production end to the consumption end.

高度工業化與規格化往往讓人聯想到的是高耗能、缺乏人性溫度與鮮少創意等字眼。然而樂高玩具這個最具全球化以及規格化的代表性品牌，卻在本身的制式結構條件中讓人感受到大量生產與嚴格品管下帶來的樂

High industrialization and standardization are often associated with terms like high energy consumption, the lack of human warmth, and less creative stimulation. However, the representative toy brand, Lego, which is extremely globalized and

趣、穩定及創意發展可能。因此當提及全球與在地、工業化量產與小規模手工製等無論是規模或生產方式差

standardized, can allow people to have fun, stability, and creative development provided by mass production and strict

異幾乎落在光譜兩端的議題時，從樂高的例子即可察覺此類的觀察不應落在單純優與劣或是與非的二元討論

quality control with its standard structural specifications. When discussing the issues of global versus local and industrialized

下。因此，僅由表象或是某種時代趨勢與特定團體來告訴我們，應當支持或是去消費某種生產方式取得的產物，都可能不夠客觀，甚至帶有風險。

mass production versus small-scale handcrafted production, whether it is about the difference of scale or difference of production methods, the discussion tends to be dichotomized. However, because of the example of Lego, we realize that our observation should not fall into the binary trap of good and bad or right and wrong. Therefore, it is not objective, or even risky, to give our support or to purchase a product made from a certain production mode based on its appearance, any trend,

工業化生產某方面來說呈現的是穩定的品質與味道，以及這項產品從被生產開始即確立的標準配方與風味。

or the words of any specific groups.

這些大量生產的加工食品在文化層面來說，也可能是經典風味與食品製造、行銷文化的開創與建立者。許多

Industrialized production, on the one hand, ensures stable quality, taste, and standard formula and flavor of the product

美食愛好者無法忍受罐頭食品，認為那是平庸風味、廉價原料與缺乏用心製造的集合物。但若回溯其在物資

established at the beginning of production. On the other hand, culturally speaking, the mass produced processed food also

缺乏年代提供良好保存及平價食物，以供食物普及的貢獻和功能，轉念間必然會有不同的見解。

represents a certain classic flavor and production of food as well as the creation and founder of the marketing culture. Many gourmands do not accept canned food, and consider it a combination of mediocre flavor, cheap ingredients, and a lack of commitment. Nevertheless, our opinion might change instantly when we think about the era of food shortage when canned

因此，「認真的飲食」代表的不僅是好好吃頓飯將肚子填飽，或是從中獲得滿足與樂趣，更重要的是從生產端到餐桌進食的過程中，試圖去了解這個複雜消費網路的建構方式。什麼樣的生產與消費方式合乎道德、永

food provided nicely preserved and inexpensive sustenance as well as its contribution and function of making food available to most people.

續與公眾利益？在資訊搜尋普及的現今，只要透過適當的方法即可取得大量的資料與發掘鮮為人留意的事

"Conscientious eating," therefore, not only means to eat well, to appease one's hunger, or to derive satisfaction and fun

實，然而這些兩難的討論並無法僅是察覺事實就能得到絕對的判斷標準。唯有透過不斷地質疑與提問，方能

from eating. The more important thing is to try to understand this complicated network of consumption and how it is

不落入特定的迷思與選擇。因此，了解消費過程所涵蓋的完整面向，能幫助我們更貼近這個社會運作的方式；試著去理解飲食對自我的意義，除了豐富生活的滋味外也增添對於個人生命的認識。

constructed through the process from the point of food production to the serving of food on the table. What production and consumption methods are ethical, sustainable, and beneficent to the public? In the modern time when information search prevails, one only needs to go through appropriate means to get access to massive information and discover facts less noticed by others. However, the discussion of such dilemma could not reach any absolute criterion for judgment simply by knowing the facts. The only way to do so is through continuous challenging and questioning to sidestep any specific myths and choices. Therefore, having a comprehensive understanding of the consumption process allows us to come closer to how the society functions. Trying to comprehend what eating means to ourselves enriches our life as well as improve our understanding of individual lives.

圖錄 Plates

Tomato Garden Series Yang Bo-Yao disguises himself as the "Lego Bee Man" in this series, guiding audiences into a wonderfully strange surreal theatre while discussing various phenomena of contemporary consumption society. Yang mimics the factory of processed food with a tomato garden, and portrays a spectrum of scenes that constructs the cycle from the production line, to the delivery system, to the hands of consumers. Tomato is one of the crops that represents globalization. Originally a crop in Central America, tomato arrived in Europe after the Columbian Exchange in 1492.

The artist also creates a fictional character based on himself, called the "Lego Bee Man." As an eco-indicator, bees ensure the spreading and growth of crops as well as maintain the ecological balance. Meanwhile, bees also represent the working class in the colony, just like most consumers, who do different jobs in the work space and put their knowledge, time, and efforts into the production cycle to earn wages and make a living. In the market of consumption, the Bee Man represents common consumers, who face thousands of products and can only rely on advertisements to choose. Since the can label reads "Ratatouille de Provence," it seems like he can only know if it tastes like what he imagines when opening and tasting the product.

番茄園 2 Tomato Garden 2 油彩、麻布 Oil Color, Linen | 60.5 x 72.5 cm | 2011

《番茄園》系列透過此系列作品，楊博堯以「樂高蜜蜂人」隱藏自我形象，引領觀者進入奇異的超現實劇場，一同探討當代消費社會的各種現象。楊博堯將番茄園擬仿成加工食品業，從生產線一路經過產銷體系直到消費者手中的各種場景。番茄是全球化的代表作物之一，原為中美洲的作物，但於 1492 年後經歷哥倫布大交換，從此運達歐洲。

另外，創作者虛構了一個以自身為模寫對象的「樂高蜜蜂人」角色。蜜蜂除了做為一種生態指標、維繫作物散佈生長與維持生態平衡的功能外，同時也是蜂群社會中的勞動階級代表。如同多數消費者般，在特定的工作場域中執行手邊的工作，將自己的知識技能與時間勞務投入生產環節裡，獲得報酬以換取生活所需。在消費的市場中，蜜蜂人像是一般消費者，看著面前成先上萬的商品，似乎只有依靠廣告印象來選擇，標籤上寫著普羅旺斯燉菜口味，看來也只有買回家開罐品嚐的那一刻，才有辦法兌現心中想像的味道了！

番茄園 1 Tomato Garden 1 油彩、麻布 Oil Color, Linen | 60.5 x 72.5 cm | 2010

番茄園 3 Tomato Garden 3 油彩、麻布 Oil Color, Linen | 112 x 162 cm | 2011

番茄園 4 Tomato Garden 4 油彩、麻布 Oil Color, Linen | 112 x 162 cm | 2012-13

番茄園 3 1950 年代的美國剛步入現代化生活的追求階段，各種產業相繼投入更多的資金與技術來打造符合消費者需求及快速生活步調的產品。時任通用食品公司的執行長查爾斯．莫提瑪（Charles Mortimer）擁有資深的行銷背景，看出了消費者的需求，率先提出「便利食品」一詞，不斷的鼓吹食品業創造出新的即食產品。此外，各種能夠提升產品包裝運輸或快速食用的衍伸產品也相繼問世。紙杯淋膜技術讓咖啡外帶成了方便時髦的日常景觀，利樂包的出現讓消費者能在結帳後即可插入吸管飲用，這些方便的發明創造了每年數以億計的外帶飲料與包裝飲料產值。然而，我們究竟願意用什麼樣的籌碼及對生態環境的迫害，來換取這輕鬆方便的一小片刻呢？

Tomato Garden 3 America in the 1950s had just entered a stage of pursuing modernized life. Different industries invested more money in technologies to create products that meet the demands of consumers and the fast-faced life. The CEO of General Foods, Charles Mortimer, had sufficient experience in marketing and spotted consumers' needs. He was the first person to coin the phrase, "convenience food," and continuously promoting the idea that food industry should create more instant food. Moreover, there were more derivative products for improving product packaging, shipping, or immediacy of instant food. Technology of coating paper cup makes coffee take-outs convenient and a trendy daily scene; the invention of Tetra Pak allows consumers to immediately drink their beverages with a straw right after payments are made. These convenient inventions create an annual production value of hundreds of millions of dollars for take-out and packaged beverages. However, what are we willing to pay and what damages are done to the eco-environment for this moment of convenience?

番茄園 5 面容扭曲的「樂高蜜蜂人」正使勁力氣將開瓶器的鑽頭由番茄中拔出，此舉看似荒謬，卻是楊博堯呈現當代消費社會樣貌的象徵性表現手法。在生產過剩的時代，銷售商品有賴於商業與媒體攜手形塑特定階級的生活方式以供人們追尋，透過購買不同商品，無需任何理由的來滿足個人心理所需。因此，把番茄想像成昂貴的進口酒，購買後用開瓶器一拔而飲，這不也是一種生活中的小確幸？

Tomato Garden 5 “Lego Bee Man” is using its full strength to pull the corkscrew out of tomato which distorted its face. It seems ridiculous but is a symbolic expression technique to reveal contemporary appearances in consumer society by Yang Bo-Yao. In the era of overproduction, product marketing lies in the way of living of specific class, shaped by commercialism along with the media, for people to pursue and particularly fulfill one’s mental demands by means of buying and using different products regardless of any logic or reason. Therefore, isn’t it such a kind of little things in life to take tomatoes as luxurious import wine and enjoy this to one’s content with wine opener after buying?

番茄園 5 Tomato Garden 5 油彩、麻布 Oil Color, Linen | 112 x 162 cm | 2012-13

番茄園 7 溫室的筆直走道比擬了商店的貨架陳列，消費者可在其中輕鬆地選購商品。然而，當人們在其中購物時，能否不被商業和媒體形塑的特定形象與價值所迷惑，買到真正需要的商品？能否不將便利性做為購買的唯一準則，只因這個時代講求效率？畫面中，手拿罐頭、推著購物車的「樂高蜂蜜人」，其蹙眉的神情似乎也訴說著對此消費場域的質疑與無奈，帶給觀眾無限的省思。

Tomato Garden 7 The straight aisles of the greenhouse draw comparison to the arrangement of shelves in a store, where consumers can conveniently shop for goods. However, as they are shopping, can people remain unaffected by the specific images and values shaped by commercialism and the media, and purchase the goods they actually need? Can’t convenience be the only criterion for the purchase, simply due to the focus on efficiency nowadays? In the picture, the “Lego Bee Man,” who is holding some cans and pushing a shopping cart, carries a frown as if it to express the suspicions and helplessness felt by consumers, prompting endless reflection in viewers.

番茄園 7 Tomato Garden 7 油彩、麻布 Oil Color, Linen | 112 x 162 cm | 2012-13

番茄園 6

Tomato Garden 6

「樂高蜜蜂人」手持理貨工具來回穿梭在仿若現代化商店的番茄園，處理貼著 SALE 字樣的罐頭。這既熟悉

Yang Bo-Yao conceals his self-image within a “Lego Bee Man,” shuttling back and forth in a tomato garden with

卻又不合理的場景，影射了當代消費社會中，消費者看似擁有購物主導權，卻經常買到由媒體與商業包裝具

tools in hands and handling cans labeled “SALE” as if in a modernized shop. Such familiar yet illogical scene

特定形象與價值的商品，而難以在購物當下得知商品本質及生產端資訊，讓人不禁反思消費與自身的關係究

reflects that consumer seems to have the initiative in shopping while they often buy products with specific

竟為何。

images and values packaged by the media and commercialism in consumer society of the time. Thus, it’s hard to realize product nature and information from production end at the moment of purchase which arouses reflection on what the relationship between consumption and self is.

番茄園 6 Tomato Garden 6 油彩、麻布 Oil Color, Linen | 97 x 194 cm | 2013-14

伸展台在全球追求規模經濟的前提下，眾多食品加工業者藉由規格化製程與大量生產，來達到追求利潤的目標。因此，消費者在選購某樣商品時，就可能同時存在數十種以上的選擇，若是沒有強力的品牌識別或吸引人的行銷策略，對有選擇困難的消費者而言便是一場考驗與困擾。因此，在媒體操作下，消費者往往倚賴廣告的視覺印象來挑選，雖然拯救了人們的選擇障礙，但卻也落入消費者心理學的陷阱之中。這就像是觀看時裝伸展台般，我們欣賞的究竟是服裝本身呈現的創意巧思及形式美感？又或者僅是粉末登場的設計師（品牌）就代表了一切！

Runway As the world strives for economic scale, many processed food manufacturers are chasing more profits through standardized production process and mass production. Therefore, when consumer is looking for one type of products, there are usually more than a dozen of similar items available at the same time. Without a strong brand identity or eye-catching marketing strategy, purchase becomes a challenge and trouble for consumers who have difficulty finding suitable products. Therefore, manipulated by media, consumers often reply on the visual impression from advertisements to choose. Although this helps people with their difficulty in shopping, they also fall into the trap of consumer psychology. Like viewing a fashion runway, are we admiring the creativity revealed by the clothing or the aesthetic beauty of this form? Perhaps, the designer (brand) that walks onto the runway has represented everything.

伸展台 Runway 油彩、麻布 Oil Color, Linen | 130 x 162 cm | 2008

溫室此作代表性地呈現了《產地到餐桌》系列的概念起源。透過描繪溫室的環境與培育活動，楊博堯將飲食議題拉回基點，引領觀眾從最原初的作物生長場所來思考當代食品工業帶給人類的影響。戴著食品帽的樂高人仿擬了食品加工生產線的作業員，其手持針筒注射作物則反映了人工育種的當代農業景觀。200 號的巨幅尺寸極為醒目且張力十足，帶給觀眾深刻的視覺意象。

Greenhous This creation typically expresses the primary concept of “From Place of Origin to the Table ” series. By portraying the environment and cultivation activity in the greenhouse on the basic discussion of diets, Yang Bo-Yao leads the audiences to think over the impact on human which is resulting from contemporary food industry, starting from the growth place where planting crops. It shows selective breeding as contemporary agriculture scene that Lego Man injects crops with syringes in hands, wearing a food prep hat as a production line operator. The enormous 200M painting is extremely attractive and full of tension, bringing visual imagery to the audiences profoundly.

溫室 Greenhous

居心地 Comfortable Place

油彩、麻布 Oil Color, Linen | 162 x 260 cm | 2014-15

瓷土、磚 Porcelain, Brick | 120x80x10 cm | 2016

日本料理罐頭方便且易於保存的特性，滿足了人們的飲食需求也解決了糧食不足的問題。然而，在格外重視食材季節性與新鮮度的日本料理餐廳中，壽司吧台竟擺放罐頭食品而非新鮮食材，這般錯置的奇異景象凸顯了兩者具有極大反差的衝突。透過這幅細膩且逗趣的作品，我們得以反思飲食的本質及加工食品所帶來的各種影響。

Japanese Cuisine Cans are convenient and easy to use for preservation. They not only help meet people’s needs for sustenance, but also resolve problems with any food shortage. However, a Japanese restaurant places a strong emphasis on the seasonal aspects and freshness of ingredients. The sushi bar displays canned foods instead of fresh ingredients unexpectedly. This type of strange and mismatched scene highlights an extreme contrast and conflict. Through this exquisite yet amusing work, we are prompted to reflect on the nature of diets and various impacts brought by processed foods we consume.

日本料理 Japanese Cuisine 油彩、麻布 Oil Color, Linen | 112 x 162 cm | 2015-16

日光浴機身著實驗室配備的樂高人正對烤箱中的玉米進行測試與紀錄，這般超現實的場景反映了人工育種的當代農業景象。生物科技的進步提高了農業的產能與報酬，但其中牽涉到的基因改造、藥劑使用與種苗壟斷等問題，卻也引發上游生產端至下游消費者等相關團體的爭議。一如躺進日光浴機便能擁有理想的健康古銅膚色，放進烤箱中的基改玉米，是否也體現了人類憑其意志改造自然的生存智慧？

Sunbathing Machine The Lego Man, with laboratory equipment, is facing a corn in the oven and doing tests and recording. Such surreal scene reflects selective breeding in contemporary agriculture. The progress in biotechnology enhances the productivity and rewards of agriculture; however, it also triggers the controversy over GMO, usage of pesticide, and monopolization of seeds from upstream end of production to downstream of consumers, as well as other related groups. Does the GMO corn in oven, the same as one lies down in sunbathing machine for getting ideal and healthy tanned skin, show the living wisdom on human will to transform Nature as well?

日光浴機 Sunbathing Machine 油彩、麻布 Oil Color, Linen | 112 x 162 cm | 2015-16

自助吧象徵生產線勞動者的「樂高蜜蜂人」，勤奮工作卻也疲憊不堪，只能待下工後至吃到飽自助式餐廳消費，大肆犒賞自己一番。這弔詭的畫面反映了資本主義社會中的異化現象，勞動者的生產使其自身成了商品後再進入市場自我消費，爾後再回頭投入生產來穩固此自我消費；這般生產與消費的循環使人們逐漸失去自我、認不清自己的真正需求。而吃到飽所衍生的生產過剩及過度消費現象，甚至是加工食品對人類的影響等飲食議題，亦值得觀者細細省思。

Buffet Restaurant The hardworking yet exhausted “Lego Bee Man” symbolizes the laborers of a production line. He rewards himself after work by feasting at all-you-can-eat buffet restaurants. This paradoxical picture reflects a phenomenon of alienation in a capitalist society. Laborers’ production has made themselves become goods that are introduced into the market to be consumed by themselves. Then, these laborers go back to producing so that this selfconsumption is stabilized. This cycle of production and consumption is causing people to lose themselves, and without recognizing their real needs. And, the overproduction and excessive consumption derived from allyou-can-eat habits, as well as the impact of processed foods on people’s diets are all topics worthy of careful reflection by viewers.

自助吧 Buffet Restaurant

居心地 Comfortable Place

油彩、麻布 Oil Color, Linen | 112 x 162 cm | 2015-16

瓷土、磚 Porcelain, Brick | 120x80x10 cm | 2016

浴室 3 法國小說家讓 - 菲利浦．圖森在 1985 年的作品《浴室》中描述一位男子因為無法適應外在世界快速變動的步調，有天將自己的生活全部搬進了浴室，在浴缸裡閱讀，透過觀察與思索日常細節，在對外隔絕的寧靜中找尋自我生命的本質。樂高人首次登場於《浴室 3》中，楊博堯試圖用輕鬆的方式提出日常觀察裡所引發的疑問，以一種幽默且嚴肅的切入點耙梳自我與真實世界的鏈結。

Bathroom 3 In his novel, The Bathroom , published in 1985, Jean-Philippe Toussaint depicts a man who cannot get used to the fast-paced world outside and decides to move into a bathroom. He reads in the bath tub, and searches for the essence of life through observing in secluded tranquility while pondering on details in daily life. The Lego Man appeared in Bathroom 3 for the first time. Yang Bo-Yao attempts to pose a question introduced by his daily observation in a lighthearted way, humorously analyzing his connection with the real world through a serious perspective.

浴室 3 Bathroom 3 油彩、麻布 Oil Color, Linen | 72.5 x 91 cm | 2008

原地的旅行在獨處許久後，楊博堯嘗試與外界接軌，然而擔憂自我無法適應複雜的人際關係與價值觀分歧的社會期待，最終那份出走與遨遊真實世界的熱情，只能退回到出發的原點。就算已經準備好交通工具，打點一切路途中所需的行李，戴上安全帽並繫上扣環，想了想……或許再籌備個幾年就可以放膽出發了！

A Journey Without Leaving After spending a long time of solitude, Yang Bo-Yao tried to connect himself with the external world. However, burdened by the complexity of human relationships that he might not be used to and the social expectation from values different from his, the enthusiasm to begin a journey to see the real world faded away. Although he has taken care of the transportation and all the luggage needed for the trip with a helmet on and the belt buckled up, after a second thought, he might be truly ready after a few more years.

原地的旅行 A Journey Without Leaving 油彩、麻布 Oil Color, Linen | 72.5 x 91 cm | 2008

Hair Salon 1, Hair Salon 2 This set of works portrays the relationship between modern people and their pets. Pets are not ordinary small animals but family members. In the fast-paced society, in which human relationships are aloof, many people treat their pets like family. They can drop down their defense, hold their pets, and spend an entire afternoon talking to them. After taking a leisure walk with pets in the park, they feel tired and go to a hair salon for a relaxing hair shampoo. Later, they will think about which restaurant to go to in the evening.

美髮沙龍 2 Hair Salon 2 油彩、麻布 Oil Color, Linen | 60 x 60 cm | 2012

美髮沙龍 1 、美髮沙龍 2 此組作品描述現代人與寵物之間的關係，牠們並非只是一般的小動物，而是家裡不可缺的一份子。在步調快速與人際疏離的社會中，許多人對待家中的小動物如同自己的家人般，和牠們相處無需任何的防備，只需抱著牠們聊上一整個午後。與牠們悠閒的在公園裡散步，走累了到美髮沙龍裡洗個頭紓壓，等會兒再想想晚上要去哪家館子吧！

美髮沙龍 1 Hair Salon 1 油彩、麻布 Oil Color, Linen | 60 x 60 cm | 2012

藝術家簡介 Biography

楊博堯 YANG BO-YAO 1981 年出生的楊博堯，以象徵性的創作手法，將自身轉化為物件來與外在世界連結，透過各種不同角色的扮演，引領觀者參與一幕幕詭異、挑釁又逗趣的超現實劇場。那些既熟悉卻又不合理的畫面除了引發好奇與質疑，也讓人們得以重新審視個人與社會的關係，以及日常行為背後所蘊含的文化現象與社會意義。 Born in 1981, Yang Bo-Yao uses a figurative approach to transform himself into an object to connect with the external world. Through playing multiple roles, Yang guides audiences to engage in scenes of a surreal theatre that are simultaneously strange, provocative, and amusing. Such familiar yet illogical scenes not only trigger curiosity and skepticism, but also invite viewers to re-examine the relationship between self and society along with the cultural phenomena and social significance behind our daily behaviors.

學歷

Education

2009

國立新竹教育大學美勞教育研究所創作組碩士，新竹，臺灣

2004

國立新竹師範學院美勞教育學系學士，新竹，臺灣

個展 2016

「產地到餐桌」，臺北國際藝術博覽會，臺北世貿一館，臺北，臺灣

2009

「變異 & 模擬」，思空間，國立新竹教育大學，新竹，臺灣

2008

「疏離的凝視」，新竹市立鐵道藝術村，新竹，臺灣「從室內到室外」，桃園縣政府文化局，桃園，臺灣

2004

Solo Exhibition 2016 2009 2008 2004

2012 「山 ‧ 意」三義開幕展，大河美術，苗栗，臺灣

「YOUNG ART 台北國際當代藝術博覽會」，王朝大酒店，臺北，臺灣

2011 2010

「百年好合 ‧ 心存好藝」臻品二十一週年策劃展，臻品藝術中心，臺中，臺灣 2010

「忠誠祝福」臻品二十周年邀請展，臻品藝術中心，臺中，臺灣「寓言／微觀」四個青年的寫實繪畫，臻品藝術中心，臺中，臺灣

2009

2009 2008

「寫實｜歧觀」從古典到動漫，大象藝術空間館，臺中，臺灣「ART TAIPEI 台北國際藝術博覽會」，臺北世貿一館，臺北，臺灣

2008

「第十一屆北京國際藝術博覽會」，北京國際貿易中心，中國北京「新竹美展」，新竹縣政府文化局，新竹，臺灣

2006

「新竹教育大學 X 東海大學跨校際聯展」，國立新竹教育大學，新竹，臺灣「油畫論壇」，國立台中教育大學，臺中，臺灣 2006

「國泰藝術節－新世紀潛力畫展」，國泰綜合醫院汐止分院藝文中心，臺北，臺灣

2004

「屏東美展」，屏東縣政府文化局，屏東，臺灣「媒 ‧ 事幹」，國立新竹師範學院，新竹，臺灣

2003

「全國大專院校交流展」，台中縣立港區藝術中心，臺中，臺灣

2002

「新竹美展」，新竹縣政府文化局，新竹，臺灣

典藏 2016

2004 2003 2002

“From Place of Origin to the Table,” ART TAIPEI, Taipei World Trade Center Hall 1,Taipei, Taiwan “Variation & Mimicry,” Think Space, National Hsinchu University of Education, Hsinchu, Taiwan “A Gaze of Alienation,” Art Site of Railway House, Hsinchu, Taiwan “From Interior to Outdoors,” the Cultural Affairs Bureau of Taoyuan County, Taoyuan, Taiwan “Inner Landscape,” the Exhibition Hall of New Building of National Hsinchu Teachers College, Hsinchu, Taiwan

「番茄園 6」，國立臺灣美術館，臺中，臺灣

2009

「存在」，國立新竹教育大學，新竹，臺灣

2008

「獨白」，國立新竹教育大學，新竹，臺灣

2007

「返示」，國立新竹教育大學，新竹，臺灣

“Mountain·Spirit” the Opening Exhibition in Sanyi, River Art, Miaoli, Taiwan “T-ART in Taichung,” Evergreen Laurel Hotel, Taichung, Taiwan “YOUNG ART TAIPEI,” Dynasty Hotel, Taipei, Taiwan “Love for All Seasons·Art in Heart” the 21th Anniversary Project Exhibition, Gallery Pierre, Taichung, Taiwan “Honest Blessing” the 20th Anniversary Invited Exhibition, Gallery Pierre, Taichung, Taiwan “Fable / Microscopic View” the Realistic Paintings of Four Young Artists, Gallery Pierre, Taichung, Taiwan “Reality | Difference” from Classic to Cartoon, Da Xiang Art Space, Taichung, Taiwan “ART TAIPEI,” Taipei World Trade Center Hall 1, Taipei, Taiwan “the 11th Beijing International Art Exposition,” International Trade Center, Beijing, China “Hsinchu Art Exhibition,” the Cultural Affairs Bureau of Hsinchu County, Hsinchu, Taiwan “NHUE x Tunghai University Cross-School Group Exhibition,” National Hsinchu University of Education, Hsinchu, Taiwan “Tribune of Oil Painting,” National Hsinchu University of Education, Hsinchu, Taiwan “Cathay Art Festival” the Exhibition of Paintings from Potential Artists in the New Century, Sijhih Cathay General Hospital, Taipei, Taiwan “Pingtung Art Exhibition,” the Cultural Affairs Bureau of Pingtung County, Pingtung, Taiwan 2004 “Nothing to Do,” National Hsinchu University of Education, Hsinchu, Taiwan 2003 “Interchange Exhibition by National Association of Schools of Department of Fine Arts,” Taichung City Seaport Art Center, Taichung, Taiwan 2002 “Hsinchu Art Exhibition,” the Cultural Affairs Bureau of Hsinchu County, Hsinchu, Taiwan

Collection 2016 2016

「番茄園 4」，毓繡美術館，南投，臺灣

M.F.A., Graduate Institute of Fine Arts and Crafts Education, National Hsinchu University of Education, Hsinchu, Taiwan B.F.A., Department of Fine Arts and Crafts Education, National Hsinchu Teachers College, Hsinchu, Taiwan

Group Exhibition

「T-ART 台中藝術博覽會」，長榮桂冠酒店，臺中，臺灣 2011

2004

「內在風景」，國立新竹師範學院新館展覽廳，新竹，臺灣

聯展 2012

2009

2009 2008 2007

“Tomato Garden 6,” 120M Oil Painting executed during 2013~14 National Taiwan Museum of Fine Arts, Taichung, Taiwan “Tomato Garden 4,” 100P Oil Painting executed during 2012~13 Yu-Hsiu Museum of Art, Nantou, Taiwan “Existence,” 30F Oil Painting executed in 2005 National Hsinchu University of Education, Hsinchu, Taiwan “Monologue,” 30F Oil Painting executed in 2004 National Hsinchu University of Education, Hsinchu, Taiwan “Reflection,” 50F Oil Painting executed in 2003 National Hsinchu University of Education, Hsinchu, Taiwan

消費奇談─楊博堯個展 Shopping Oddity - Yang Bo-Yao Solo Exhibition 2017. 02. 02 - 04. 23

展覽執行發行人

葉毓繡

毓繡美術館

總編輯

李足新

創辦人

葉毓繡

執行編輯

黃翔

館長

李足新

美術編輯

林志遠

執行長

黃翔

翻譯

黃亮融

副館長

林志遠

出版單位

財團法人毓繡文化基金會 / 毓繡美術館

展覽策劃

黃翔

地址 | 542 南投縣草屯鎮平林里健行路 150 巷 26 號

展覽專員

李杰勳

電話 | 049-2572999

教育推廣

陳雨農、黃尹珊

傳真 | 049-2572020

公關行銷

胡文翠

網址 | www.yu-hsiu.org

美術設計

林志遠

印刷

興臺彩色印刷股份有限公司

行政業務

丁慧玲、蔣鴻濱

定價

150 元

文創推廣

洪淑惠、葉宇眉

初版一刷

2017 年 2 月

Working Team of the Exhibition Publisher: Yeh Yu-Hsiu

Yu-Hsiu Museum of Art

Chief Editor: Lee Chu-Hsin

Founder: Yeh Yu-Hsiu

Executive Editor: Huang Hsiang

Executive Director: Lee Chu-Hsin

Designer: Lin Jaakan

CEO: Huang Hsiang

Translator: Huang Liang-Rong

Deputy Director: Lin Jaakan

Publisher: Yu-Hsiu Cultural Foundation / Yu-Hsiu Museum of Art

Exhibition Organizer: Huang Hsiang

Address | No.26, Ln. 150, Jianxing Rd., Caotun Township, Nantou County 542, Taiwan

Exhibition Specialist: Lee Chieh-Hsun Communication & Education: Chen Yu-Nong, Huang Yin-Shan

Telephone | +886-49-2572999

PR and Markeing: Hu Wen-Tsui

Fax | +886-49-2572020

Designer: Lin Jaakan

Website | www.yu-hsiu.org

Administrators: Ding Huei-Ling, Jiang Hong-Bin

Printed by Hsing Tai Color Printing Co., Ltd. Price: NTD 150

First Published in February 2017

Cultural and Creative Marketing: Hong Shu-Hui, Yeh Yu-Mei