臺灣聯手馬來西亞—打造跨國藝術網絡

今年6月28日至8月28日,非常廟八位成員在文化部與駐馬來西亞台北經濟文化辦事處的大力支持與主辦下,有史以來首次在馬來西亞舉辦展覽「Very Image」。地點在Shalini Ganendra Fine Art藝廊(簡稱SGFA),由非常廟的成員胡朝聖策畫,程少鴻擔任協同,展出其他七位非常廟成員: 陳文祺、姚瑞中、涂維政、陳浚豪、吳達坤、蘇匯宇、何孟娟的作品 — 這個展覽可以說是結合八個人的力量進軍東協 — 以非常廟藝文空間和成員們的創作為主題,透過展覽與座談的形式向馬來西亞的觀眾介紹台灣當代藝術的發展,同時期待在未來有更多與當地空間的合作。

台灣當代藝術的發展相較於馬來西亞更為活躍與成熟,馬來西亞則有較佳的國際化條件。在交流、結盟的概念下,除了讓台灣當代藝術在經濟穩定上升的馬來西亞有更高的能見度,更企圖取得在當地發展當代藝術的先機。

本次的展演計畫包含三場講座 : 第一場講座在馬來西亞藝術學院(Malaysian Institute Of Art),策展人胡朝聖、參展藝術家蘇匯宇、何孟娟將針對”在地和國際藝術的發展”、”商業和純粹創意的平衡”這兩組議題和學院的學生分享。第二場講座位於SGFA藝廊,VT的成員將在論壇的形式中,和九位在地青年藝術家互動,針對兩地藝術發展的現況和未來做討論。在最後一場馬來西亞國家美術館 (National Visual Arts Gallery)的座談裡,VT的成員將從異地策展、展出、創作及駐村的角度,和馬來西亞藝術圈分享他們藝術實踐的理念。

非常廟近年來積極推動與各國藝術空間和學術單位的交流,除了此次在進軍東協的展覽,於此同時間也在德國展出由非常廟與慕尼黑藝術公寓(Apartment der Kunst)合作的「切片- 凌瑋隆個展」。此外,非常廟更將交流的觸角伸向中國、香港、韓國、墨西哥、捷克、法國等地,期能藉由與各國藝術機構的合作網絡,推廣台灣藝術與文化,增強國際能見度與影響力。

SGFA藝廊位於鄰近吉隆坡的八打靈再也,使命是推動馬來西亞當代藝術的發展,積極拓展馬來西亞與國際的連結。此次非常廟與SGFA合作,打造台灣前進東南亞的力量。展覽將是台灣藝文空間在國際發展上的重要里程碑!也因此,非常廟以空間的精神和成員們的創作為主題,首先為台―馬兩地藝術文化的交流打造引線。展覽主題「Very Image」除了指向非常廟成員作品中的影像,更指涉其帶有的個人與文化映像。

非常廟八位成員不只經營空間有成,各自在創作、策展、學術研究、出版等領域也都有相當出色的表現: 陳文祺為現任實踐大學媒體傳達設計學系所主任,曾在台灣、美國、義大利、日本、韓國、瑞士、德國、西班牙、俄羅斯、中國等地舉辦個展與聯展。

姚瑞中的創作廣邀於國內外美術館及大型雙年展,曾代表台灣參加1997年威尼斯雙年展、2005年橫濱三年展、2009年亞太三年展、2010年台北雙年展聯動計劃、2012上海雙年展、2016雪梨雙年展,策畫的《海市蜃樓-台灣公共閒置設施》拍攝計劃,出版品及展覽引起社會高度關注。

涂維政曾獲得台北美術獎、世安基金會獎學金、台新藝術獎評審團特別獎等獎項,在作品中一手包辦了藝術生產、策展、行銷者等角色,具有十項全能的表現。

胡朝聖為策展人,現任双方藝廊總監以及胡氏藝術公司執行長。曾獲選「2009 Vogue雜誌 People 101」;「上海藝術博覽會 亞洲特區策展人代表」;及法國文化部「台法藝文行政人才短期參訪交流-視覺領域藝文人代表」等獎項,在策展和跨界整合方面有高度的成就。

陳浚豪曾擔任台北國際藝術村視覺藝術經理以及台灣藝術村(聯盟)發展協會秘書長,作品以蚊釘山水得名,創作展出於台灣、美國、泰國、澳洲、韓國等地,受到各地的藝術人士青睞。

吳達坤為策展人、藝術家,具有國立臺北藝術大學關渡美術館首席策展人資歷,現任台北國際藝術村總監。策畫的展覽曾獲得第十屆台新藝術獎評審團大獎,並於2016年參與日本森美術館三年一度的三年展的策畫。

蘇匯宇專長於影像類的創作,個展曾獲台新藝術獎年度五大視覺藝術入圍,以及ACC「國巨科技藝術獎」獎助前往紐約駐村。作品曾先後展出於台北、北京、上海、香港、紐約、柏林、巴黎、馬德里、慕尼黑與首爾等地。

何孟娟為現任非常廟藝文空間總監,台灣視覺藝術協會理事,曾獲亞洲協會受獎人、高雄獎首獎並入選台北獎。受邀至法國、德國、西班牙、捷克、印度、韓國、中國、美國、馬來西亞等地展出,活躍於本土及國際藝壇。

非常廟成員們的藝術成就,象徵台灣當代藝術力量逐漸在國際上拓展影響力,也讓這次於馬來西亞的展覽精彩可期!

「Very Image」— 臺灣藝文空間及當代藝術的映像:非常廟與它的成員

展 期:2016/06/28 - 2016/08/28
開幕酒會:2016/06/28 (二) 19:30
展覽地點:馬來西亞Shalini Ganendra Fine Art藝廊(No. 8 Lorong 16/7B, Section 16, 46350 Petaling Jaya, Selangor, Malaysia)
非常廟網站:http://www.vtartsalon.com
SGFA網站: http://www.shaliniganendra.com/

「Very Image」— 臺灣藝文空間及當代藝術的映像:非常廟與它的成員

2016/06/27(一)11:00-12:00 (本講座僅對學院學生開放)
座談地點:馬來西亞藝術學院(Malaysian Institue of Art) (299, Jalan Bandar 11, Taman Melawati, 53100 Kuala Lumpur, Selangor, Malaysia)
與談人:胡朝聖、蘇匯宇、何孟娟
馬來西亞藝術學院網站: http://www.mia.edu.my/

講座:「Very Image」 – 藝術家論壇

2016/06/27(一) 16:00 - 17:30
座談地點:Shalini Ganendra Fine Art藝廊
與談人:蘇匯宇、何孟娟

講座:異地觀點 – 從展覽、駐村、創作談異地的藝術實踐

2016/06/28 (二) 10:00 -11:30
座談地點: 馬來西亞國家美術館 (National Visual Arts Gallery) (2 Jalan Temerloh, Off Jalan Tun Razak, 53200 Kuala Lumpur)
與談人:胡朝聖、蘇匯宇、何孟娟
國家美術館網站: http://www.artgallery.gov.my/home


主辦單位:駐馬來西亞臺北經濟文化辦事處
指導單位:中華民國文化部
承辦單位:非常廟藝文空間
協辦單位:Shalini Ganendra Fine Art藝廊

Very Image: VT Artsalon’s Maiden Voyage to Malaysia

VT Artsalon will stage the exhibition Very Image in June at Shalini Ganendra Fine Art in Malaysia. Curated by Sean C. S. Hu, this exhibition features the tours de force by the other seven founding members of VT Artsalon (i.e. Jui-Chung Yao姚瑞中, Wen-Chi Chen陳文祺, Wei-Cheng Tu涂維政, Chun-Hao Chen陳浚豪, Dar-Kuen Wu吳達坤, Hui-Yu Su蘇匯宇 and Isa Ho何孟娟). By virtue of this exhibition followed by an open forum, VT Artsalon will introduce itself and the development of contemporary art in Taiwan to the audience in Malaysia.

SGFA situated in Petaling Jaya, it is an important facilitator engaging cross cultural development within and with South East Asia. In recent years, VT Artsalon has been a mover and shaker in promoting reciprocal exchange with foreign counterparts and academic institutions. In addition to SLICE: Wei-Lung Ling Solo Exhibition, a collaborative project between VT Artsalon and Apartment der Kunst, which is on view now in Munich, we have forged close bonds with many institutions in China, Hong Kong, South Korea, Mexico, Czech Republic and France. Malaysia will be our first stop for establishing a strong presence in Southeast Asia. Following VT Artsalon’s founding philosophy and based on its members’ magnum opuses, Very Image seeks to set the fuse for the artistic and cultural exchange between Taiwan and Malaysia.

The title of this exhibition refers not only to the images shown in the works by these artists par excellence, but also to the personal and cultural imagery evoked by them.

Jui-Chung Yao presents Mirage V: Disused Public Property in Taiwan, a project completed in collaboration with Lost Society Document, and Rainbow over the Ruins, the fly-on-the-wall documentary on this project directed by Sandy Luo. In the two works, the viewers will see how the artist show the ultimate of photography’s political function and its exhibition value. This project consists of a concatenation of activities including field survey, public dialogue, documentary production and publication, successfully pinpointing the social, political and economic problems in our Lebensraum.

Isa Ho displays her Girls series. By means of the figures and the objects in these photographic works, the artist tries to investigate individuals’ coping strategy of identity construction in different environments, as well as the consequences and the desires it reflects. To vividly present figures and images, the artist uses Dibond and employs the technique of multilayer printing. Superimposing these materials, the artist extends graphic images to three-dimensional effigies, indicating the transcending presence of the photographed figures vis-à-vis their backgrounds, which offers the viewers a new possibility of admiring images.

Wen-Chi Chen exhibits his image installation Authenticity Temporal Memory, in which he visualizes the memories of figures, events and objects of “that-has-been” with the diary entries sealed in specimen boxes. Images and texts thus transcend the confines of flat planes, referring to the memories of different space-time. Besides, the artist leaves a mark of “falseness” in such referenece, thereby expressing his disbelief at “that-has-been” and questioning the authenticity of the images.

Wei-Cheng Tu brings on the rubbings of the Remains of Bu Num Civilization (卜湳文明遺跡). The artist invokes a fabricated civilization, along with its icons and mythological system, as an allegory of the modern world’s radical reform in the Internet Age. This seemingly illogical way of production and experience, namely the ancient civilization created at the present, exactly represents that contemporary media and images have broken away from traditional understanding of history, changed the way humans sense and interpret the real world, and responded to the virtual and real meanings that co-exist in the social realities.

Chun-Hao Chen presents Imitating the Paintings by Zhu Da, Qing Dynasty, XI, “Landscape” (臨摹清八大山人書畫冊之十一『山水』), a piece from his pin-nail painting series. The artist drives pin-nails (0.1 cm in diameter) commonly used in interior decoration into a white canvas. On a more specific basis, he mimics the thickness and thinness of ink on paper through the density and spacing of pin-nails on canvas, thereby perfectly imitating the works by Zhu Da, a renowned Chinese classical ink-painting master. Using a staple gun and pin-nails instead of brushes and ink, the artist not only shapes a sui generis thinking on the media for ink paintings, but also gives the graphic painting an industrial, materialistic quality, making this piece a traditional ink painting with a touch of contemporary zeitgeist.

Hui-Yu Su screens his video artwork Whale Mass Suicide (鯨魚集體自殺), showing himself and his daughter in the same scene where the daughter in the foreground is happily occupied in playing with sand without noticing her father lying like a stranded whale on the beach in the lapping of the waves. This scene expresses the artist’s personal attitude towards life and his reflections on the being of other species. It also draws a sharp contrast between death and life with the artist’s performance and his daughter’s youthful insouciance.

Dar-Kuen Wu exhibits his photographic series Mi-Lou. The artist employs the metaphor of the title to suggest the Janus-faced features of contemporary cities: they are every bit as flamboyantly enchanting as unspeakably cruel. The cities metamorphose into stages in the images, and the coquettish people in front of the camera into actors on these stages. They collectively demonstrate the viewers’ imagination of elsewhere. Through such imagination, however, these images reveal not only their presence but also the opposite; to wit, their absence.

We cordially invite you to join the maiden voyage with VT Artsalon and its eight founding members to Malaysia this June!