悄聲騷動|5.12-7.15|TKG+ Projects

悄聲騷動|5.12-7.15|TKG+ Projects

 

 

悄聲騷動 Quiet Riot

時間 Dates|2018.05.12 – 2018.07.15
開幕 Reception|2018.05.12 (Sat.) 4:30 – 7:00 p.m.
地點 Venue|TKG+ Projects
主辦單位 Organizer|TKG+ Projects
贊助單位 Sponsor|台北市政府文化局

策展人|陳韋晴
Curated by Chen Wei-Ching, Joanne

參展藝術家Participating Artists:
青崎伸孝 Nobutaka Aozaki
邱承宏 Chiu Chen-Hung
洪惟永 Euyoung Hong
李明學 James Ming-Hsueh Lee
劉和讓 Liu Hojang
辛西亞.馬塞爾 與 齊亞哥.馬塔.馬沙杜 Cinthia Marcelle & Tiago Mata Machado


本展以《悄聲騷動》(Quiet Riot)為題,思索在面對焦慮、失控與威脅的社會現狀下,如何以小而輕的姿態進行社會參與並發展成攪動社會的藝術形式;在看似順從實而隨機伺動的預備狀態下,觀察不穩定時局中成長的資本主義全球化擴張,從各個角度重新審視熟悉的常態與事物,考察日常語言的迫蔽與偽飾以及現代生活的認知與矛盾。邀請來自巴西、韓國、台灣與日本等地共五位藝術家參展,本展不著力於直接的批判姿態,而是透過間接或甚至是詼諧的角度敘事,尋找有序中的失序缺口並試圖以柔軟的姿態反動,呈現表層下不安的頑強性情與那股暗藏的抗世情緒,嘗試找出緩衝的協調可能與共存適應的轉化方式。

在生活幽處中免除不了的緊張與騷動情緒下,激進反抗換來的可能是強迫性的抵制,冀望軟性抗爭的和緩語態能引發延效性的思考。巴西藝術家辛西亞.馬塞爾(Cinthia Marcelle)與導演齊亞哥.馬塔.馬沙杜(Tiago Mata Machado)共同製作的錄像《The Century, 2011》影射著社會不公與理想的淪喪,無數的日常雜物從街道角落不斷丟擊而出,在激烈粗暴敲響下著反映著時代主權的醜陋與脆弱,宛如一首批判巴西快速興建的社會實踐曲。李明學慣以幽默手法重新閱讀生活周遭中的物件,對於既定意義與價值進行新探索,作品《隱性的暴力》檢驗人與物、物與物在不同場域間束縛的拉鋸關係與緊繃狀態。劉和讓新作《預拌水泥》藉由長期的修繕行動進行對藝術表現的代換方式、對生態崩壞的生成與除去、對材料不受控的慣性等積累未排的問題進行收納,攪拌未完的水泥如同不安定的動態系統,爭取著固化前的最後頑抗。而邱承宏新作《光跡》試圖擴展日常物品和空間進程的相遇,展場中原有的自然光與刻劃光影曖昧並存,將對空間的感知隱藏在不同的時空凹槽中,保留一種直接但溫和的衝突,曖曖分佈於展場角落

藝術家們透過日常物質探討以行動抵抗資本主義的社會實踐,企圖揭露當代生活的慣性思維能如何應對社會的巨變,進而內省與尋求存在價值。青崎伸孝(Nobutaka Aozaki)持續進行中的行為作品《Value_Added #240950》質疑日常的消費系統,試圖透過干預尋找系統中狹小的想像空間,於110家超商重覆購買的玉米罐頭在量販的市場流通中、在有序的結構裡,系統嚴重固定且無法辨識物件歸屬性,而不同區域的售價揭示了城市的經濟構成。韓國藝術家洪惟永(Euyoung Hong)裝置作品《(Un)balanced》探討資本主義制度中與價值體系相關物件的功能與意義的變化,等價不等量的商品置於鋼板的角落取得脆弱的平衡,產品價值依據複雜的社會和經濟條件如工資、勞動力、技術創新、土地價格和市場操作而擺動,不對稱結構與價值失衡意旨資本主義中社會基本不平等的根源。

參展藝術家藉由不同文化養成與日常生活機制的干預經驗,體悟全球化所帶來的社會、經濟與政治等的失衡與感應,試圖摒棄傳統實體製作,對形式主義做出反動,透過顛覆性非正式的實踐、各種審美操作、挪用城市空間、發明新的語言,強調藝術與現下生存的接觸,亦不忽視對哲學表達和語言討論的特權、探索話語之外的內修精神該如何體現,提出系統性變革的可能性、存在之必要性與共處的基礎。

關於參展藝術家
青崎伸孝(Nobutaka Aozaki)
1977年出生於日本鹿兒島,自2005年起定居於紐約。2007年畢業於紐約視覺藝術學院(School of Visual Arts)、2012年取得紐約市立大學亨特學院(Hunter College)碩士學位。他的創作通常是經由他人製造或激發的,這種方法對二分法提出質疑,並在藝術和非藝術勞動之間進行秘密交流與創造機會。透過與他人合作,他亦試圖使自身創作者身份概念複雜化,企圖擺脫創作者對於一個藝術作品的堅實身份;他的創作與紐約市生活中最平凡的日常互動同步發生,如雜貨店購物、街頭肖像畫家、或購買一杯咖啡,平凡無奇的日常與消費行為構成的日記或測量裝置。

邱承宏(CHIU Chen-Hung)
1983年生於台灣,2008年畢業於國立台灣藝術大學造形藝術研究所。他的創作多以裝置、雕塑的方式呈現,就像是進行一場考古探險般,他善於挖掘生存時空曾經存在的身影與軌跡,並透過抽象的手法重新演繹那些被合理化及設計過的邏輯規則,將它們生動地重塑,藉此發展出一套巨大的記憶修補術。

洪惟永(Euyoung Hong)
1975年生於韓國首爾。1998年畢業於首爾梨花女子大學雕塑系,2002年於愛荷華大學獲得雕塑碩士和美術碩士學位,2013年於倫敦大學金匠學院完成博士學位。曾獲得華盛頓韓國文化中心2018年「年度藝術家》殊榮。於2016年出版「雕塑藝術空間政治:藝術,資本主義與城市空間」一書,目前任教於首爾梨花女子大學。她的創作著重於對城市空間感的實驗,特別是關於如何在不同的結構和權力關係中改變事物和想法,反應和抵制不同的結構和權力關係,如何透過複雜的關係產生新的內容。

李明學(James Ming-Hsueh Lee)
1978年生於台灣,現居於台北。2005年曾獲台北美術獎首獎。2013年取得英國羅浮堡大學(Loughborough University)博士學位。李明學的作品關注商場中的各式物件,找尋在藝術脈絡上的潛在意義。藉由幽默的手法與重新閱讀生活周遭中的物件,檢視被媒體、教育與社會框架中對各種事物/物件的慣性理解。透過反轉各項物件的使用方式、轉換外觀的造型或是被觀看的角度,在探索當代藝術的可能性上,創造出輕盈感受的另類解讀。

劉和讓(Liu Hojang)
1972 年生於台灣,現居住、工作於台北。1994年畢業於國立藝專雕塑科,2002年於紐約市立大學皇后學院取得藝術創作碩士學位。在劉和讓的透視下,攝影和創作並非僅僅涉及影像自身或技術操作問題,其藝術實踐方式往往映照出對象物相屬之社會關係和政治性意義;一個物件、地方、社群的顯影是在勞動、時間種種因素的疊置下展現獨一無二的特殊和差異性。藉由挪動可見與不可見的關係,他對藝術的社會機能、感知介質鋪陳了新的想像,將聯繫在人與人之間的無形價值代換出來,成為藝術持續的動力。

辛西亞.馬塞爾 與 齊亞哥.馬塔.馬沙杜(Cinthia Marcelle & Tiago Mata Machado)
1974年生於巴西貝洛奧里藏地市,現居住於貝洛奧里藏地市與聖保羅。身兼藝評與藝術家的馬塞爾與導演馬沙杜兩人於2008年組成夥伴關係,同年他們與策展人兼導演João Dumans共同成立了Katásia Filmes製作公司,致力於研究電影與藝術發展。2017年新作Nau/Now代表巴西國家館參與第57屆威尼斯雙年展,並榮獲該屆「國家館特別提名獎」殊榮,同年於芝加哥洛根藝術中心展示雙人組的首次個展。

策展人簡歷

陳韋晴 Chen Wei-Ching, Joanne,1978年生於台灣,英國倫敦藝術大學傳播學院行銷系畢,現為紐約inCube Arts非營利藝術中心執行總監。2007 – 2010年,陳韋晴擔任中華民國畫廊協會及台北國際藝術博覽會(Art Taipei)總監,長期關注國際藝術產業發展;於2012年創辦紐約inCube Arts非營利藝術中心,現為該中心創辦人、獨立策展人,致力推動亞洲藝術在美發展。陳氏創辦與統籌北美地區首要關注亞洲新媒體創作之最大藝術節 — 「亞洲時基:新媒體藝術節」(inToAsia: Time-based Art Festival),該藝術節兩年一屆以紐約為展出據點,每屆展出於3 – 4個不同展場。陳氏策展經歷如:2016年與郭瑛共同策展「嫑緊張」(No Cause for Alarm)於紐約拉瑪瑪藝術中心(La MaMa La Galleria);「2013亞洲時基:新媒體藝術節 — 微型城市」展出於紐約皇后美術館、Stephan Stoyanov畫廊、紐約NARS基金會、Residency Unlimited藝術中心;2012年「陳張莉:不止」個展於紐約伊勢藝術基金會(ISE Cultural Foundation)、「倫敦.呼喚 London Calling」巡迴中國與台灣兩地……等。陳氏文章發表於眾多華人藝術雜誌如:《典藏今藝術》、《藝術與投資》、《台北藝術產經研究室電子報》、《藝術收藏+設計》、《藝外雜誌》以及《國藝會電子報》等;於2013年合著《全球藝術博覽會指南》一書。曾擔任紐約NARS基金會2016年駐村計畫評審委員、受邀擔任紐約藝術基金會(New York Foundation for the Arts)專家諮詢項目顧問。

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Quiet Riot explores how to engage in social practice in a nuanced and subtle manner, and to develop it into an art form of social intervention, in the face of the current social predicament of anxiety, uncontrollability, and threats. In a seemingly conforming, but in fact tactful and adaptable preparatory state, the works on view embody the artists’ observation of the encroaching global capitalism in today’s unstable political situation. The exhibition re-examines our familiar state of affairs and objects from diverse points of view, investigates the construction and camouflage of the everyday, as well as our perception of contemporary life and the inconsistencies therein. Featuring five artists, respectively from Brazil, Korea, Taiwan, and Japan, this exhibition adopts an indirect and lighthearted — rather than critical — approach in an attempt to identify disorder within order, to react and adapt, to manifest a tenacity and a reactionary spirit, in the hope of finding possibilities for systematic change, reasons for existence, and ways for coexistence.

In the covert corners of life, encroached by anxiety and disturbance, radical rebellion may lead to forced repression, but alleviated voices that resist flexibly could elicit prolonged thinking. Brazilian artist Cinthia Marcelle and director Tiago Mata Machado coproduced the video The Century, 2011, reflecting social injustice and lost ideals. In the video, countless everyday objects are thrown out from the street corner, to reveal the filthy and fragile sovereignty of our time through their violent beats and strikes. The video resembles a piece of music of social practice that condemns the rapid development of Brazil. James Ming-Hsueh Lee has long been known for his humorous revisits of objects in life’s surroundings and his new venture on established meanings and values. His work Imperceptible Violence studies the bounded seesaw relationship and tense situation of men and objects, of objects and objects in varied spheres. The new work of Liu Hojang, titled Premixed Cement, collects unresolved questions such as the substitution of artistic expressions, the beginning and ending of ecological collapse, and the unceasing uncontrollability of the material. The unset concrete is analogous to the restless equilibrium system, striving for final resistance before solidification. Chiu Chen-Hung’s new work light trail aims at enhancing the possibilities of encounter between everyday objects and space. The natural light in the exhibition space fuses with the light and shadow created by the artist, hiding our perception of the space underneath various temporal and spatial grooves. The work preserves a direct but gentle confrontation, mistily scattered around the exhibition area.

The artists investigate actions of social practice taken against Capitalism through everyday materials. They also expose how habitual thinking in contemporary life responds to the radical changes in society and then proceed to self-introspection in search of the value of existence. Nobutaka Aozaki’s Value_Added #240950 is an ongoing performance. It questions the daily system of consumption, trying to find a limited space of imagination within the mechanism through the artist’s intervention. The artist takes a can of corn to 110 supermarkets and repurchases it. In the hyper-marketed product circulation and the orderly structure, the system is severely ossified and we cannot identify where the item belongs. The selling price of the item at different locations reveals the economic structure of the city. Korean artist Euyoung Hong’s installation (Un)balanced explores the changing meaning and function of objects in particular relation to the system of value in the regime of capitalism. Commodities of equal price but unequal quantity are placed on two ends of the steel plates to achieve a fragile balance. The value of the products fluctuates according to complex social and economic factors such as wages, labor maintenance, technological innovation, the price of land use, and market conditions. The asymmetrical structure of economic domination and the unbalance of value system denotes the origin of social injustice in capitalist society.

Through different cultural upbringings and experiences of intervention into daily life’s mechanism, the five participating artists examine and respond to the social, economic, and political unbalances triggered by globalization. They counteract formalism and bring art into contact with our life at the moment through subversive and informal practices, various aesthetic operations, the appropriation of urban spaces, and the creation of new languages. In addition, they propose the possibility and necessity of systematic revolution, and the condition of our coexistence, regarding the privilege of philosophical expression and discursive language, as well as how to manifest our reflexive spirit outside of the existing discourse.

About the artists

Nobutaka Aozaki
(b. 1977 in Kagoshima, Japan) lives and works in New York
Nobutaka Aozaki is a New York-based artist born in Kagoshima, Japan. He completed his MFA at the Hunter College in 2012. He has been awarded the Artist Files Grant from A Blade of Grass Foundation, the C-12 Emerging Artist Award from the Hunter College, and the Artists’ Fellowship from the New York Foundation for the Arts.

Chiu Chen-Hung
(b. 1983 in Taiwan) lives and works in Taipei and Hualien, Taiwan
Chiu Chen-Hung completed the graduate program in plastic arts at National Taiwan University of Arts in 2008. His works are primarily presented in the framework of installation and sculpture. Like conducting an archeological expedition, he is especially proficient in excavating remaining outlines and imprints from bygone time and space. Through his practice of abstraction and reinterpreting both designed and rationalized logics, he vividly reshapes these existed objects and thus develops a vast memory restoration.

Euyoung Hong
(b. 1975 in Seoul, Korea) lives and works in London and Seoul.
Euyoung Hong, Ph.D. is an artist and researcher. Hong graduated in sculpture from the Ewha Womans University, Seoul in 1998, and was awarded an MA and MFA in sculpture by the University of Iowa, U.S.A. in 2002. She completed her PhD without any amendment at the Goldsmiths College, University of London in 2013.

James Ming-Hsueh Lee
(b. 1978 in Taiwan) lives and works in Taipei, Taiwan
James Ming-Hsueh Lee is the 2005 Taipei Arts Award First Prize winner and received his Ph.D in 2013 from the Loughborough University, U.K. He has rich experience in exhibitions both at home and abroad. James Ming-Hsueh Lee’s works often center on the objects found in the stores. He searches for alternative meanings in relation to art contexts. With a penetrating sense of humor, he reexamines and reflects upon the habitual understanding of ‘things’ indoctrinated by the media, education and society. Through reversing the usage of the objects, transforming their appearances or people’s perceptions of them, the artist is able to offer refreshing and amusing interpretations, creating relaxing feeling to asset other possibilities for the exploration of contemporary art.

Liu Hojang
(b. 1972 in Taiwan) lives and works in Taipei, Taiwan
Liu Hojang graduated from the Sculpture Department of Taiwan Academy of Fine Arts in 1994 and received an
M.F.A. at Queens College, the City University of New York in 2002. Liu’s photographic works and projects is concerned with more than image making or technology quality. His peculiar artistic practice often reflects the social context and politics behind the surface — may it be an object, a place, or a community, his works shed light on their individualities and differences. By appropriating the relation between the visible and the invisible, he provides an authentic narrative to the social functions and sensibility of art to transform the values of human network into forces that sustains art in its becoming.

Cinthia Marcelle & Tiago Mata Machado
(b. 1974 in Brazil) lives and works in São Paulo and Belo Horizonte, Brazil
The Brazilian duo was formed in 2008 by the artist Cinthia Marcelle and the critic and filmmaker Tiago Mata Machado. In the same year they founded Katásia Filmes, with the curator and filmmaker João Dumans, a production company dedicated to the creation and study of cinema and art based in Belo Horizonte, Brazil. In 2017 they produced a new video Nau/Now for the Brazilian Pavilion at Venice and their first solo show at the Logan Center Exhibitions, Chicago, with a group of previews videos.

About the curator

Chen Wei-Ching, Joanne
(b. 1978 in Taiwan) lives and works in New York
Chen Wei-Ching, Joanne is an independent curator, widely published critic and founder of an art organization. She is the former Director of Taiwan Art Gallery Association and Art Taipei Art Fair from 2007 to 2010. Currently, she is the founder of inCube Arts, a non-profit art organization founded in 2012 in New York City with a focus on art from Asia, South Asia and a commitment to exhibition-led enquiry. In addition, she is the organizer of inToAsia: Time-based Art Festival, the first and most important art festival that dedicate to Asian time-based art in North America. Chen has also curated international exhibitions such as No Cause for Alarm with Ying Kwok at La MaMa La Galleria in New York (2016), inToAsia: Time-based Art Festival 2013 — MicroCities at the Queens Museum, Stephan Stoyanov Gallery, the NARS Foundation and Residency Unlimited in New York (2013), Jenny Chen: Without End at the ISE Cultural Foundation, New York (2012), London Calling a touring exhibition (China/Taiwan, among others. She has written and published her articles in Artco, Art Investment, Art Collection+Design, Artitude Magazine, Art Taipei Forum Media, and the National Culture and Arts Foundation Online Media. She was a contributing writer for the Global Art Fair Guide in 2013, covering the North and South American art market. She is also the jury for the NARS Foundation residency program in 2016, an invited consultant for the New York Foundation for the Arts’ Doctor’s Hours program in 2016.