非池中藝術網

非池中藝術網

疊藝術 Telling Arts:【7號(房)特刊:Un Nomade】

  • 展期:2016-07-16 ~ 2016-08-28
  • 地點:疊藝術:台中市西屯區朝馬路76號2樓 近朝馬轉運站
  • 參展藝術家:Cindy,黃向藝,黃至正
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7號(房)特刊:Un Nomade
開幕茶會 2016/07/16(六) 15:00
b. LAB 基礎實驗
台中市西屯區朝馬路76號2樓 近朝馬轉運站
(展場開放時間 每日10:00至18:00)

「來來往往之間,我們在不同的地方注入了情感。 而人透過記憶與感知,將一個又一個真實的房間納為自己腦海中永存的回憶。」 — 「7號(房)」展覽於台北和香港

延續(房)的概念中對於空間與人類的情感探索,展覽名稱取自共同策展人Yen游離於台灣,正處於法國離鄉背井的生存狀態。Nomade在法文中代表著游牧者、流浪者。而Un是一個的意思。

透過觀看三位藝術家Cindy、黃至正、黃向藝的作品,映照出游牧般的生存形式和生活經驗。從地理到心理的環境,經歷數百年歷史的文明洗禮,台灣這塊土地亦猶如游牧者,游移於尋根溯源、自我認同,包容汲取各種相異的文化。「7號(房)特刊:Un Nomade」意指「一個游牧者」,泛指觀看者、策展人、藝術家,或是民族國家,連結人們腳下熙熙攘攘,自身流動於不同文化、土地之間的情感交流,作為召喚獨有記憶的媒介,探索周遭社會文化環境和價值觀。

Cindy 自幼隨家人移居馬來西亞開始,似乎就決定了她表達情感的方式。回台後以隨手取得的原子筆,塗鴉模仿童年所見的坎貝爾濃湯罐,複製重現商品符號等大眾流行文化主題,一筆一劃產生印刷般效果的墨水筆痕。Cindy透過人為機械的方式,在西方圖像語言中,注入亞熱帶高飽和色彩,回應圖像可被大量生產,從機械複製到數位複製的時代,反思並找回最原始而單純、根本的人性感動。

黃至正 接觸東方宗教思想,透過圖像拼貼、手繪、縫線手工製作的方式,確認動物的血肉和植物彼此之間的連結,心念使其靈魂在輪迴中續存。將物件以金箔之身顯現於深墨畫紙,體現生命的珍貴、脆弱與永恆,對應著游牧精神,人與自然共生,生命循環呼應四季更迭、人生喜悲。並利用金箔在光線下會反射周遭環境的特性,反映現世的人生課題。作品中以舞台上的鴿子比擬人類的生活,有著愛好自由的天性,卻逃不過被訓練眷養成賽鴿命運,就像是台灣社會規範的縮影。

黃向藝 脫離遷徙至馬來西亞的華人家庭,赴香港和台灣留學、旅居,游移於僵化的性別框架之外,將自身的女性慾望寄居在美少年的身體裡。在亞洲三地父權體制下,黃向藝的水墨筆觸來自於女性的視角、情慾壓抑和妄想,藉由描繪日本動漫文化男性角色間的情愛,重置窺看中的主客體相對位置和權力,墨色深淺的變化呈現濃烈的自主慾望和隱身姿態,試圖衝撞社會的道德高牆卻又臣服於身體規訓的邊界。

(Room) No.7 Special Issue : Un Nomade
Opening Party 2016/07/16(Sat) 15:00
@b. LAB 基礎實驗
2F, No.76, Chaoma Rd., Xitun Dist., Taichung City( the exhibit hall open every day from 10 a.m. to 6 p.m.)

‘Between the travelling, we inserted personal emotions into each stops passed. Through memories and senses, the rooms have had, one by one, become a part of our eternal memory forever stored in our minds.’ — ‘(Room) No.7’ Taipei & Hong Kong exhibition

Carrying on the idea of the (room) in relation to the connection between spaces and the search for human emotions, the exhibition received its name from the current status of our collaborating curator Yen, who is currently away from Taiwan and living in France. In French, ‘nomade’ means ‘traveller’ or ‘wanderer’, and ‘un’ means ‘a’.

The works of the three artists — Cindy, Huang Chih-Cheng, Wong Xiang-Yi — reveal the nomadic living experiences together with their similar existential manners. Throughout centuries of historical and cultural nourishment regarding both aspects of the geographical environment and the psychological environment, Taiwan is a nomadic piece of land constantly in search of its fundamental roots as well as its self-identity while simultaneously absorbing and digesting cultures from around the world. The exhibition name ‘Un Nomade’ of the ‘(Room) No.7 Special Issue’ literally means ‘a nomad’ and widely refers to the identity of the audience, the curators, the artists, or even the nation, connecting the ever-flowing figures from all walks of life and their emotional communications travelling through lands and territories. The artists summon the very medium of memory, exploring the surrounding cultural environment and the ultimate value of today’s society.

Cindy moved to Malaysia with her family at a young age and has since established her dual identity constantly travelling between Malaysia and Taiwan. Using the familiar ball-point pens to create print-like images, the artist illustrates the Campbell’s Soup cans she grew up with since childhood, reproducing iconic images of modern day culture and popular commodity of the current time. Through the technique of repetitive brushstrokes and the subject of western icons, Cindy embodies the highly saturated colour palette of the subtropics, reacting to the reproducibility of images in the time of mechanical and digital reproduction, in search of the utmost humble yet essential human qualities in the less and less human-engaging reality of the present.

Huang Chih-Cheng embraces the Eastern religious beliefs, through handmade collages, illustrations and sewings, respecting the connections between the anatomies of animals and plants and the immortal spirits of thoughts within reincarnations. Echoing the nomadic spirits of human cohabiting with nature, his works on paper of objects covered with gold foil pieces represent the essence, fragility and eternity of life itself, a systematic cycle going arounds with the four seasons as well as man’s emotional ups and downs. Moreover, the trait of the gold foil reflecting present surroundings under light creates a symbolic reference to the spontaneous yet destined life lessons. In Huang Chih-Cheng’s works, the pigeons born with an innate admiration for freedom are inevitably captured to perform for pigeon races. The animals on the stage refer to the life of human beings and especially epitomise the finite standards of the Taiwanese society.

Wong Xiang-Yi left her family home in Malaysia to study and travel in Hong Kong and Taiwan. The ambiguous inner adjustment between the stern gender boundaries led the artist to eventually position her female desire onto the bodies of the beautiful yaoi boys. Under the Asian patriarchal regime, Wong Xiang-Yi’s ink brush stokes derive from the distinctive female gaze, the suppression of desires and the following fantasies. Through portraying the love relationship between male characters from Japanese manga, the artist aims to reposition the subject’s opposite position and power. Her artworks present camouflaged figures and the independent desires through the dynamic restraint of the lightness and darkness of the ink, with the attempt to grip the balance between defying the bounded moral standards set by society and yielding to the borderline of bodily limitations.