現實伏流 |10.6-11.25|TKG+ Projects

現實伏流 |10.6-11.25|TKG+ Projects

 

現實伏流 
Reality | Undercurrent

展期 Dates|2018.10.06 – 2018.11.25
地點 Venue| TKG+ Projects
開幕座談 Art Talk │ 2018.10.06(Sat.) 2:00 – 4:00 p.m.
與談人 Speaker|賴依欣 LAI Yi-Hsin Nicole、李旭彬 LEE Hsu-pin、蔡宛璇 TSAI Wan-Shuen、楊季涓 YANG Chi-Chuan、楊雨樵 YANG Yu-Chiao
開幕 Opening Reception|2018.10.06 (Sat.) 4:30 p.m.
更多資訊|www.tkgplus.com


展覽「現實伏流」藉由重新回看成立於1960年代台灣的笠詩(社)與其時代處境、詩文創作、對物的隱喻,以及其所面對的各種政治、社會和文化的現實議題,試圖想像和理解在不同的時代脈絡中,今日藝術創作和創作者們與現實之間有著什麼樣的距離和關係。

笠詩的創作內涵,呈現了其創作者在不同的年代中所面對的許多「現實」議題,包含表達和詮釋社會、政治和生活的現實,以產生回應和不滿的聲音,以及當面對集體意識的現實洪流時,創作的姿態與作品中的思考,又如何與整體文化社會的意識形態產生牽引或擾動。這當中所延伸而出的討論和細微繁瑣的議題,一直到今日亦是創作者們在面對自身創作的內涵和整體時代潮流時,非常重要的思考課題與挑戰。

此次參展的四組藝術家李旭彬、蔡宛璇、楊季涓和楊雨樵,以笠詩所面臨的各現實議題和詩文創作為底藴,回應到在當代生活和創作的情境中,各自所面對的不同層面的現實處境為出發,重新連結自身身份、藝術創作、生活和大環境的環境和影響,探索表象之下的「伏流」,作為回應「現實」在各面向中的隱匿、造成的變動和不安,以及思考個體必須面對並調節的自身姿態,甚至進一步的解構並產生擾動的可能性。李旭彬的作品回應社會的意識形態,《廖武東》藉由影像中回到不同場景拍攝和小說敘事的組成,構成一虛構的故事,開展出自身對於民族、正義和社會環境的討論。而蔡宛璇和楊雨樵的作品分別從語言的不同面向,對文字、話語、聲音、字形等進行拆解和重構,蔡宛璇的《經過一盞叫笠的燈》,以中文字作為一套視覺表意系統,透過念讀的形式,試圖找回一絲口語特質的動能、重塑一種感官經驗;楊雨樵的《易》,則延伸自身創作脈絡中對於文字的解構,連結笠詩中對於物的隱喻,藉由探索身邊日常之物展開其能指與所指的意義延伸,除了現場的作品展示外,亦有一系列工作坊的討論。而楊季涓的《九條線》,以住家周邊小巷子裡高掛空中的電纜線和電線桿佇立在喧囂街頭的姿態為開端,藉由其上頭所掛置的新舊夾雜的物件呈現混亂卻帶有詩意的風景,並隱隱反映出現代生活中的種種無法言說。

關於藝術家

李旭彬|LEE Hsu-pin
出生於台灣台南,三十歲之前是一個土木工程師,經歷台灣經濟奇蹟、社會、政治運動高峰。曾投身各種社運場景進行參與、紀錄、觀察。從營建顧問工程領域撤退之後,轉向攝影創作。作品著重反身性思考,以及影像與文字的共生對接。

蔡宛璇|TSAI Wan-Shuen
創作媒介從裝置、圖像、錄像和詩文著手。2004年與聲音藝術工作者Yannick Dauby合作「拾景人」系列,並先後於歐陸及台灣,透過駐村、展覽、出版、錄像或小型演出等形式,陸續發表共同作品或個人創作。著有詩文集《潮 汐》、《陌生的持有》詩圖集、三語親子活版印刷詩集《我想欲踮海內面醒過來》(2017)。及駐地影音書出版《村落,遺跡》、《寶 藏》。

楊季涓|YANG Chi-Chuan
1985年出生,2011年取得法國國立巴黎高等藝術學院國家高等造型藝術文憑,2007年畢業於國立臺灣藝術大學雕塑學系。近年的創作,透過個人式的綿延呢喃,渲染觀者自身的相似場境,開啟時間、空間與事物的記憶。她的記憶資料庫即為創作軀幹,內容廣泛涉及於家庭、政治、動物、食物等人文科學複式範疇。近期個展於臺北國際藝術村(2017)、香港咩事藝術空間(2017)、朱銘美術館(2017)。近期聯展於就在藝術空間(2018)、弔詭畫廊(2018)。駐村計畫:香港咩事藝術空間(2017)、新加坡Grey Projects(2016)。獲獎經歷:2017台北美術獎入選。

楊雨樵|YANG Yu-Chiao
喜歡散步,喜歡樹的屍骨。除兼任日、英文翻譯外,專職為口頭傳統民間譚(oral traditional folktale)的言說藝術表演者以及文字創作者。致力於彙整各國古代文字、神話譜系與民間譚。著有甲骨文異譚集:《藝》–字中事(2014),《易》–字中事(2016),與畫家陳澈合作出版版畫詩集《Counterpoint Archive》(2017),並創辦表面雜誌《COVER》(2017-)。

關於策展人

賴依欣 LAI Yi-Hsin Nicole
1980年出生於台灣。2011年於英國西敏大學視覺文化研究所取得博士學位後,回台於台南成立草埕文化藝術工作室,並於2018年成立「草苞實驗室」-工作坊平台計劃,期盼以系列性活動工作坊的形式,激發參加者對藝術和創作的興趣和想像,更發展出具有⽂化⼒的思考和⾏動。策展研究長期關注後殖民空間歷史、城市紋理和嵌入的⽂化意涵;近期策展研究「沈默之間-藝術的抵抗與避難」思考被壓抑的聲音和不被討論的歷史,以及藝術如何藉由不同形式的創作方法和策展⽅式表現超越政治性的語⾔和結構內涵,喚起思考、探索和想像的可能性。重要策劃展覽包括「破碎的神聖」(2017)、「末⽇再⽣─台灣。澳⾨」(2016)和「此曾在」(2015)等。

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The exhibition Reality|Undercurrent looks back on the circumstances of Li Poetry (Society) at different times, along with its poetic creations, metaphors of objects, and various realistic political, social, and cultural issues the poets have faced. The exhibition imagines and probes into the distance and relationships between reality and art creations/creators in different eras.

The poems of Li Poetry reflect the many “realistic” issues its poets have faced throughout different ages. The issues include the expression and interpretation of social, political, and everyday life realities, which further result in responses and voices of discontent. Also, in the torrents of reality composed of collective consciousness, the poets have written about how they could connect with or disrupt the ideologies in culture and society through contemplating on the mindsets behind their creations as well as the ideas dealt with in their own works. These expanded discussions and subtle, detailed issues have still been, to this day, critical food for thought and challenges for creators when facing their own creations and holistic trends.

Based on the realistic issues faced by Li Poetry and their poems, the four participating artists present their respective realistic situations in their current lives and the mental processes behind their creations. By reconnecting their own identities, art creations, lives, and the impacts brought by society, they investigate the social “undercurrents.” These artists’ works respond to the disguise of “reality” in all respects, along with the changes and anxiety it causes. In the meantime, they ponder how they should face and adjust their mindsets, and even the possibilities of further deconstruction and creating disruptions. To begin with, LEE Hsu-pin’s works respond to the ideologies in society: The Mysterious Vanishing of (2018) combines images of different scenes with storytelling to construct a fictitious story and to initiate a discussion on the ideas of nation, justice, and social environment. Meanwhile, the works of TSAI Wan-shuen and YANG Yu-chiao dismantle and reconstruct the written words, verbal expressions, sounds, orthography of languages. TSAI’s Passing Through a Dim Light Named “Li” (2018) uses Chinese characters as a visual presentation system, and through reading aloud, she rediscovers the dynamic energy of verbal communication and reshapes a sort of sensory experience. Simultaneously, YANG Yu-Chiao’s Yi (2018) comes from the deconstruction of words in his works. He connects the metaphors of objects in Li Poetry to look into the meanings and connotations of objects in daily life. Apart from the works on display, there will be a series of workshops. Last but not least, YANG Chi-Chuan’s Nine Lines (2018) starts with the overhead power lines and utility poles standing in the bustling alleys in her neighborhood. Through the chaotic yet poetic scene of new and old objects hanging on the lines and poles, the work subtly reflects the many nondescript things in modern life.

About Artists

LEE Hsu-pin
LEE was born in Tainan, Taiwan. He was a civil engineer that had gone through Taiwan Economic Miracle and the pinnacle of social and political movements before turning 30. Also, he is an avid participant in many social movements. Following his withdrawal from the field of construction consulting, LEE shifted toward photography. His works focus on reflective thinking as well as the symbiosis and connection between image and text.

TSAI Wan-shuen
TSAI works across mediums from mixed-media installation, drawing, video, to poetry. Her installations are ephemeral and constitute a specific relationship to the physical space and architecture. Her images suggest an opening of narration and transform a landscape into a mental space. She has published poetry collection titled Tide (2006), A Collection Of Poems and Drawings (2013), Je voudrais me réveiller dans la mer (2017).

In parallel of her personal projects, she has collaborated with sound artist Yannick Dauby since 2004. In 2008, they founded Atelier Hui-Kan developing activities related to pedagogy, publication, and communities.

YANG Chi-chuan
Born in 1985, YANG Chi-chuan graduated from the National Taiwan University of Arts in 2007 with a BFA in sculpture and obtained in 2011 a National Superior Plastic Arts Diploma (DNSAP) from Ecole Nationale Supérieure des Beaux-Arts in Paris, France. YANG’s work utilizes sound-based personalized murmurings that have been extended to call upon people’s own similar experiences, seeking to open up memories related to time, space, objects, and events. The core of her work is based on personal memory, connected to family, politics, animals, food, and other areas related to humanities and social sciences. Recent solo exhibitions include Have a Good Day, Taipei Artist Village, Taipei. (2017); Things That Can Happen, Hong Kong (2017); and Essays During the Night, Juming Museum, Taipei. (2017). Recent group exhibitions include 10th anniversary, Coconut, Banana tree, Memorial, Sulfur, Storytelling, Arrangement, Perfect, Hyper trace, Third., Project Fulfill Art Space, Taipei (2018); and Limited by Words, Crane Gallery, Kaohsiung (2018). YANG has participated in residency programs at Things That Can Happen in Hong Kong (2017) and Grey Projects in Singapore (2016). In 2017 YANG was selected for the Taipei Art Award Judges Award.

YANG Yu-chiao
YANG likes to go for a walk and is fond of the remnants of trees. Apart from being a Japanese-Chinese and English-Chinese translator, he is also a writer and a verbal art performer of the oral traditional folktale by profession. He collects characters used in ancient days of different countries, the genealogy of mythic figures, and folklores. His published works include tales of oracle-bone inscription: Yi-Tales in Characters (2014 and 2016), and a collection of printmaking artworks and poems, Counterpoint Ar-chive, together with the artist, CHEN Che (2017). He is also the founder of COVER magazine (2017- ).

About the Curator

LAI Yi-Hsin Nicole
Born in 1980 in Taiwan, LAI received her doctorate degree in 2011 from the Visual Culture of the University of Westminster. After returning to Taiwan, she founded Art Square Taiwan as a curatorial studio, and established Project School for planning and conducting various art and culture workshop programs for different public groups. LAI’s long-term curatorial research focuses on post-colonial space and history, as well as urban space and the embedded cultural implications. Her recent curatorial project Amongst the Silence-In Search of Art as Resistance and Shelter explores how contemporary artists work with different concepts and forms to explore art as resistance and shelter, and to evoke possibilities of thinking, exploration and re-imagination that transcend political language and social structure.