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開幕 | 12.05.2020 (Sat.) 4:30 p.m.

「這是一位『藝術家』楊俊在一段相同時間佔領了三個空間的展覽，由三個空間裡『楊俊』的主題、三個楊俊所揭開『機構』的差異，開啟了這次的對話。當畫廊（TKG+ Projects）、學院美術館（關渡美術館）、公立美術館（台北當代藝術館）所展示的『楊俊』轉換為一個符號向藝術機構提問，在這觀念挪移下所勾勒出由藝術家、作品、機構交織而成的社會網絡，也正是一個當代藝術的樣貌。」
— 策展人 許峰瑞

楊俊一系列個展，從2018年韓國首爾善宰藝術中心（Art Sonje Center）「The Overview Perspective」作為起始，延續至2019年於奧地利格拉茨美術館（Kunsthaus Graz）「藝術家、藝術作品與藝術展覽（Jun Yang: The Artist, the Work and the Exhibition）」，透過回顧過去及重製作品、與其他藝術家的共同創作，探討關於身份的單一性及複數性，以及藝術與商業機制的相互關係。延續先前展覽概念至今，於台灣的個展「楊俊—藝術家，合作者，他們的展覽與三個場域」，將其複數性延伸至三個空間。在這其中，楊俊所代表的意義，是透過一個藝術家個展的具體實踐，作為一項工具、一種途徑，扮演「中介（Agency）」的角色來呈現這整體機制，刺激我們思考當代藝術生態系中，藝術作品、藝術家、畫廊、美術館之間的權力結構及相互關係，開啟我們檢視現今的當代藝術產業機制的不同視角，並延伸彼此對話的出發點。

這次於三個場域先後開啟的展覽中，首先開幕的TKG+ Projects展如同一段楔子、一個電影預告，為整體三個展覽開啟序幕；關渡美術館將延續去年個展主軸，較為完整地呈現楊俊過去至今的創作脈絡，並開展其三個展覽敘事及文本，而台北當代藝術館作為壓軸開展，透過三展所發酵的議題，延伸相關活動並展開對話。其中TKG+ Projects主要從「作品／藝術即產品（Art as a product）」的概念延伸，從室外建築體看見窗上豎大的Jun Yang，彷彿建立品牌的logo作為開啟展覽的起始點，有別於關美館「楊俊」、當代館「杨俊」的大型招牌，「Jun Yang」也是國際間、他與畫廊合作所最常使用與識別的名稱。窗上的Jun Yang一方面有意識地創造了畫廊周邊的城市景觀，展名中楊俊所定義的「場域」，並非只限於展覽空間本身，而是更廣義地泛指其周邊地區的特質及所處機構的特性；另一方面在視覺空間上，作為室外與室內展場的轉換及連結。

位於二樓的展場空間中，從一般對於展覽「白盒子」的想像作為開端，分成兩大部分：一是以水平桌面作為開展「陳列」作品的視覺想像，展示十二件實際作品等比例縮小的模型作品，象徵三個展覽的作品索引（Index），作為三展敘事的線索。模型同於實際作品的版次及定價概念，並非為量產之商品，同樣乘載其作品概念，更濃縮微型的呈現，延伸出作品版次及其原創性的討論，且同時呼應常見於藝術家作品之於美術館與畫廊的操作機制：在美術館展出之作品，可以在畫廊場域中被購買及收藏，在畫廊機制中藏家也同時享有「預展」的優先權利，甚至作品在美術館未展出前即被收藏的當代藝術現象。第二展區楊俊選擇了如同商店架上陳列產品的展呈方式，以垂直視覺的層架作為主體，展出於美術館裝置作品的部份現成物件，刻意地僅呈現從實體作品中抽離的片段元素，觀者需要同時參觀美術館展覽，才能更為理解整體作品之架構及概念。對楊俊而言，此如同藝術家作品的生產模式，在美術館展覽場域中可較完整呈現其創作脈絡，而在畫廊、博覽會場域，甚至作品被收藏後的私人藏家家中，都是一種作品被去脈絡化的過程。

當「楊俊」成為一種符號，所延伸討論身份的複數性，同樣體現於耿畫廊、TKG+、TKG+ Projects三個品牌的不同機制上。一個商業經濟體，如何透過內部組織，進行商業及學術資源的循環，達到具歷史、文化、當代觀點及實驗的多項目標？耿畫廊於1992年成立之時，負責人耿桂英從九○年代西方抽象繪畫的歷史切面中，挖掘吳大羽、常玉、朱沅芷、趙無極等藝術家，耕耘建立如今的成熟市場，也創造華人現代藝術的美學觀點，成為台灣畫廊產業中，具時代意義的指標。TKG+延續其精神，由二代吳悅宇於2009年創立當代藝術品牌，從現代藝術延伸，注入新的元素及能量。其方向從錄像藝術、裝置、行為到觀念藝術等，在展覽生產機制的思考及時間的積累上，持續深根學術並拓展更多元的市場。在這些的基礎上，延伸出TKG+ Projects計畫空間，雖為跳脫畫廊市場機制的展演平台，仍延續畫廊中的組織文化。由於機構策展人的加入，重視策展實踐，將藝術生產過程的經驗回饋給產業機制，使不同品牌間產生循環及流動，也同時定位出不同的目標觀眾。

三個品牌不同的定位及方向，也在自身組織的機制中進行相互的資源共享、循環共生，開創台灣畫廊產業中獨特的模式及力量。TKG+ Projects除了自身空間的實驗性，也體現了一間商業畫廊、三個品牌，在經濟與學術交互作用、內化生產機制的一場試驗。

關於楊俊
#01
藝術家楊俊工作、生活於維也納、台北及橫濱。他的作品涵蓋多樣媒材，包括電影、裝置、表演及公共空間計畫，表述機構、社會及觀者的關係。由於在多元文化環境下成長與生活，楊俊在作品中探討刻板印象與媒體圖象對於身份認同的影響。
過去展覽包括2018年雪梨雙年展、2018年及2012年光州雙年展、2008年台北雙年展、2006年利物浦雙年展、2005年第51屆威尼斯雙年展和2002年第四屆歐洲當代藝術宣言雙年展。他於2005年榮獲第25屆Otto Mauer藝術獎，2017年獲得維也納市美術獎。
#02
楊俊於1975年出生於中國青田。他的家庭背景橫跨台灣海峽兩岸-他的祖父母為1949年撤退至台灣的國民黨軍隊的一份子，而他四歲時全家自中國移民至奧地利。2007年他移居台北，製作短片作品《關於遺忘與記憶的一則短篇》，同時為台北當代藝術中心創辦人之一，延續自2008年台北雙年展所提出的作品計畫。
#03
楊俊長期以來探討當代視覺藝術、商業、政治三者交疊與交互作用的關係，從他許多的餐廳或機構計畫中可見一斑。在此結構下，他發起不同計畫，如萊比錫當代藝術博物館的gfzk花園、咖啡館，以及旅館「巴黎症候群」，或如2008年台北雙年展他所提出的「一個當代藝術中心（提案）」，而後於2009年創立台北當代藝術中心。
他與哥哥楊傑和吳東2002年開設了餐廳/酒吧ra'mien，2012年延伸經營為連鎖ra'mien go。近年與合夥人經營位於李奧波特美術館內的李奧波特咖啡館，皆位於維也納。
#04
楊俊為Martin Janda畫廊（維也納）、維他命藝術空間（廣州、北京）之代理藝術家。
#05
楊俊近年創作一系列個展／回顧展，從2018年韓國善宰藝術中心，延續至2019年奧地利格拉茨美術館，及2020/2021年於台北關渡美術館、TKG+ Projects與台北當代藝術館三個空間的個展。

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Jun Yang
The Artist, His Collaborators, Their Exhibition, and Three Venues
Exhibition Dates｜12.05.2020–01.30.2021
Reception｜12.05.2020 (Sat.) 4:30 p.m.
Venue｜TKG+ Projects (2F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan 114)
This exhibition by “the artist” Jun Yang is held in three different spaces simultaneously. The theme of “Jun Yang” in each of the three spaces serves to expose the differences among the three “institutions”, and in so doing opens up a new dialogue. “Jun Yang” is exhibited respectively in a commercial gallery, a university gallery and a public art museum; thus is transformed into a symbol, encouraging the audience to question the nature of the art institution itself. Under this shift of concepts, the shape of the constructed social network of artists, artworks, and institutions becomes delineated, and what emerges is precisely the face of contemporary art.
— Curator Hsu Fong-Ray
Beginning with The Overview Perspective at the Art Sonje Center, Seoul, Korea in 2018, followed by Jun Yang: The Artist, the Work, and the Exhibition at the Kunsthaus Graz, Graz, Austria in 2019, the series of Jun Yang’s solo exhibitions investigates identity’s singularity and plurality, as well as the relationship between art and commercial mechanisms, through a look back on the past, the remaking of his works, and collaboration with other artists. A continuation of his previous oeuvre, The Artist, His Collaborators, Their Exhibition, and Three Venues, Jun Yang’s latest solo exhibition in Taipei, Taiwan, expands the sense of plurality in three spaces. In this particular exhibition, Jun Yang stands for a tool, a means, an agency, which allows us to examine the power structure and interrelationship among artworks, artists, galleries, and museums from fresh vantage points that ultimately initiate a dialogue among all participants in the art world.
Taking place at TKG+ Projects, the first installment of this solo exhibition serves as a prelude that raises the curtain on Jun Yang’s three-part venture. The second installment at the Kuandu Museum of Fine Arts surveys the artist’s past and present body of work that expands on the narrative of this three-part solo exhibition, while the third and final installment at the Museum of Contemporary Art, Taipei, or MOCA, Taipei, introduces activities and projects relevant to the issues that are explored across the three venues. The presentation at TKG+ Projects pivots around the concept of "art as a product." The enormous letters of "Jun Yang" on the façade of the building act as a brand logo that unveils the exhibition. Distinct from 楊俊 and 杨俊, the traditional and simplified characters of the artist’s Chinese name, transformed into large signboards that stand erect in front of the Kuandu Museum and MOCA Taipei, Jun Yang is the common name the artist adopts when he exhibits internationally. The letters "Jun Yang" on the second-floor window of the building that houses TKG+ Projects, on one hand, consciously shape the cityscape around the gallery: The sphere defined by the exhibition title "Jun Yang" does not limit itself to the exhibition venue, but refers more broadly to the nature of its surrounding area and the nature of the institution where the exhibition takes place. On the other hand, the letters "Jun Yang" become a visual cue that collapses the boundary between indoor and outdoor.
In the second-floor space, the exhibition unfolds in an imagination of the typical white box. First the viewer is greeted with a display of 12 scaled-down models of his actual works, which are placed on a horizontal tabletop. Intended as an index of the works on view across the three venues, this serves as a clue to the narrative that weaves through the three-part solo exhibition. Just as the archetype it models, each miniature — rather than a piece of mass-produced merchandise — is a work in and of itself, with editions and prices. The embodiment of the original work’s concept in the miniature prompts a discussion on the originality, as well as editioning of artworks; it also echoes the museum and gallery mechanisms in which artworks oft find themselves entangled. Works on view at the two museums can be purchased at the gallery, while collectors have the privilege of previewing the works at the gallery, or even collecting the works they like before these go on view at the museums. Resembling product presentation in a store, parts of the installation works on view at the two museums are displayed on shelves that occupy the exhibition space. By partially presenting elements of actual works, the artist nudges the viewer into visiting the exhibitions at the two museums in order to better understand the overall concept of his work. For Jun Yang, showing at the museum accentuates the artist’s work on a more comprehensive level, while showing at the gallery, the art fair, or the private home of a collector who has purchased the work, decontextualizes the work.
When "Jun Yang" becomes a signifier for the plurality of identity, the same idea is manifested in the three brands of the Tina Keng Gallery, TKG+, and TKG+ Projects. How does a commercial gallery cultivate its historical, cultural, contemporary, and experimental status through the circulation of business and academic resources in its internal organization? When the Tina Keng Gallery was established in 1992, founder Tina Keng unearthed Greater Chinese artists, such as Wu Dayu, Sanyu, Yun Gee, and Zao Wou-Ki, from the school of Western abstract art in the 1990s. Her endeavors saw the Tina Keng Gallery blossom and rise on the vanguard of Greater Chinese modern art. TKG+ was founded in 2009 by Ms. Keng’s daughter Shelly Wu as a contemporary platform for artistic practices in video, installation, performance, and conceptual art, through which exhibition production mechanisms are experimented in an effort to further reach academia and expand the art market. It is upon this basis that TKG+ Projects was later conceived: a platform that exists outside the bounds of gallery mechanisms. This particular space runs in parallel to the main gallery’s organizational culture, while curatorial practice is highly emphasized with an in-house curator as part of the staff. The experiences of art production are shared among the three spaces, allowing each to define and reach its target audience.
Different positioning of the three brands, coupled with the circulation of shared resources in its organization, opens up a window to the possibilities in the Taiwanese gallery industry. TKG+ Projects, in a way, encapsulates the experiment of a commercial gallery with three brands to internalize art production mechanisms through the interplay of economic drive and academic thought.

　
About Jun Yang
#01
Jun Yang is an artist based in Vienna, Taipei and Yokohama. His works encompass various mediums, including film, installation, performance, and projects in the public spaces, while addressing institutions, societies, and audiences. Having grown up and lived in various different cultural contexts, in his artistic work Jun Yang examines the influence of clichés and media images on identity politics.
Previous exhibitions include the Biennial of Sydney 2018, Gwangju Biennale 2018 and 2012, Taipei Biennial 2008, Liverpool Biennial 2006, 51st Biennale di Venezia 2005, and Manifesta 4 in 2002. He is the recipient of the 25th Otto Mauer Art Award in 2005, and the Award for Fine Arts of the City of Vienna in 2017.

#02
Jun Yang was born 1975 in Qingtian, Mainland China. With the background of having family on both sides of the Taiwan straits - his grandparents were part of the Kuomingtang army, who retreated to Taiwan in 1949; his family left the P.R. China for Austria when he was four.
In 2007 he moved to Taipei to focus on working on a short film A Short-Story on Forgetting and Remembering. He is also one of the founders of the Taipei Contemporary Art Center, which evolved following a project he initiated in the Taipei Biennial 2008.

#03
Jun Yang has always been interested in the overlapping and intersection of contemporary visual arts, business, and politics. This can be found in many of his gastronomic and institutional projects. Within this frame, he initiated projects, such as the gfzk garten, the café and the hotel Paris Syndrom, all at the Museum of Contemporary Art Leipzig (GfZK); or a contemporary art centre, Taipei (a proposal) at the Taipei Biennial 2008, which led to the founding of the Taipei Contemporary Art Center in 2009.
With his brother Tie Yang and Dong Ngo, he is founder of the restaurant/bar ra'mien, 2002 and the ra'mien go chain, 2012. Most recently, Yang has been working with his partners on Café Leopold at the Leopold Museum. All of them are located in Vienna.

#04
Jun Yang is represented by Galerie Martin Janda, Vienna; Vitamin Creative Space, Guangzhou, Beijing.

#05
Jun Yang is currently working on a series of solo-exhibitions/retrospectives that started at the Art Sonje Center, Seoul (2018), continued at Kunsthaus Graz (2019), and will be shown in Taipei at the Kuandu Museum of Fine Arts 2020, TKG+ Projects 2020/2021, and MOCA, Taipei 2021.