非池中藝術網

台北國際藝術村

【出訪藝術家聯展—「平成之後」】

  • 展期

    日期:2020-12-04 ~ 2021-01-03

  • 地點

    北平東路7號

  • 參展藝術家

    陳亮璇、彭奕軒

  • ::Please scroll down for English version ::
    ● 展期/12.4(五)-2021.1.3(日) (週一公休)
    ● 開放時間/11:00-18:00
    ● 開幕茶會/12.5(六) 15:00
    ● 地點/台北國際藝術村,百里廳
    ● 藝術家/陳亮璇、彭奕軒
    台北|寶藏巖國際藝術村每年選出十多位台灣藝術家出訪,至世界各國的交流單位進行駐地創作。2020年度百里廳以「旅行文學」的角度出發,規劃了整年度的出訪藝術家聯展。循著荷馬史詩《奧德賽》,在「旅行」和「返鄉」之間的成長敘事線,讓藝術家透過展覽,提供經驗和思想的再次傳遞。藝術村的交流單位橫跨亞洲、歐洲、大洋洲等國家,本年度以地理區域劃分各檔展出,呈現藝術家因當地歷史、人文、地理等,所啟發的計畫和作品,除了進一步完成這一趟完整的駐村創作旅程外,也讓觀者在觀展的過程中,有如閱讀了一段一段的旅途日誌。
    展覽「平成之後」邀請分別於2019年和2020年出訪日本秋吉台國際藝術村(The Akiyoshidai International Art Village)的陳亮璇以及彭奕軒。兩人在相隔一年的時間造訪位於山口縣的秋吉台,陳亮璇的作品從當地的特產「梨」出發,揭開都市人日常於超市隨處可見的農產品,其背後細膩複雜的勞動力和產業生態。彭奕軒則從地貌和傳統習俗中,聚焦在「火」此一元素的特性觀察,以及與人類社會的互動關係。
    在山口縣的小村莊中,當地人憑藉面對梨樹的尊敬和嚴格的生產時程,成功打造「秋芳梨」的品牌和口碑,卻也不得不面對農村的消逝和老化,甚至是政策、資源分配更大的考驗。陳亮璇在2019年的駐村當中用鏡頭記錄了農村景象,而鏡頭轉回到生長地台灣,在這裡農民為求種植出更符合消費者傾向的產品,時常嫁接物理條件截然不同的日本梨種,經過複雜的農業科技和所有細碎的流程步驟,才將梨子送至消費者的手中。藝術家的作品並非抽絲剝繭的將每個碎片揭開,反倒運用產業中的現成物和空間設計,帶領觀眾藉由窺探、感知「梨」的敘事。
    火,是人類文明社會的重要元素之一,有了火才能轉化成熱能,而同時社會也總是免不了提醒它的危險性,就如同它的能量一樣不可忽視。每年2月的第3個星期日,以焚燒不斷滋生的雜草來孕育新芽為目的,秋吉台會舉行燒山的活動。伴隨著警笛聲,一齊放火,火焰可高達5~6公尺,僅僅數小時就將1500公頃的草原燃燒殆盡,此情景總帶給觀賞者極大的震撼,不自覺地凝視一片燃燒的景象。彭奕軒藉由複合媒材的交互運用,讓觀眾得以用不同視點感受火、人和自然間的關係,同時更加入自身與火的經驗,描繪結束駐村後喚起與創作的新連結。
    展覽「平成之後」將從2020年12月4日至2021年1月3日在台北國際藝術村展出。2019的5月1日過後日本進入新的元號,可謂一個時代的結束。但是紀年法的改變卻沒有將屬於平成的記憶帶走,藉由陳亮璇和彭奕軒兩位藝術家彼此在平成年交界的駐村記憶,帶領觀者走過秋吉台再回到自身,打開平成之後新的可能。
    --------------------------------------------
    ● Exhibition Period/12.4(Fri.) – 2021.1.3(Sun.) (Closed on Monday)
    ● Open Time/11:00-18:00
    ● Opening Reception/12.5(Sat.)15:00
    ● Venue/Taipei Artist Village, Barry Room
    ● Artists/CHEN, Liang-Hsuan, PENG Yi-Hsuan
    Taipei Artist Village selects more than ten Taiwanese artists to participate in the three-month residency abroad in organizations worldwide every year. In 2020, Barry Room starts from the perspective of “Travel Literature”, organizing Artists Exchange Group Exhibition throughout the year. Following Homeric epic “The Odyssey”, artists provide retransmission of experience and thoughts in the narrative line that grows between “travel” and “back home”. The exchange organizations of artist village span across Asia, Europe, Oceania, and other countries. This year, the exhibition will be divided based on geographical areas, showing the projects and works inspired by local history, culture, geography.Besides bringing a complete end to the entire residential creative journey the exhibition also creates multiple paragraphs of traveling journal to viewers in their process of visiting.
    Exhibition Post- Heisei is presenting the works of Chen Liang-Hsuan and Peng Yi-Hsuan, two artists who visited The Akiyoshidai International Art Village in 2019 and 2020. With one year in between, Chen and Peng both visited Akiyoshidai in Yamaguchi Prefecture. Chen’s work is inspired by the pears of Akiyoshidai, a local specialty, and unveils the delicate and complex labor and the production environment behind the commonly-seen agricultural products. Peng focuses on the element of fire and its interaction with human society from the perspective of geological scenery and tradition.
    The people of the small village in Yamaguchi Prefecture created the brand and reputation for the Akiyoshi pear, which is constructed with a deep sense of respect and the strict production process involved. However, they are in no way immune to the disappearance of the agricultural way of life and the aging population, or challenges regarding policies and the distribution of resources. Chen Liang-Hsuan recorded the village scenes during her residency in 2019 and is now pointing her lens at Taiwan, the land where she grew up in. To create products that cater to the taste of customers, Taiwanese farmers often graft Japanese pear species that originally grew in completely different climates, sending the products into the hands of customers after complex agricultural methods and procedures. Instead of dissecting each step, the artist’s work uses readymades and spatial design to guide viewers to peek and uncover the narrative of pears.
    Fire is an important element in human civilization. With fire comes heat, which society cautions against. The danger and power of fire are impossible to ignore. On the third Sunday of every February, a mountain burning event is held in Akiyoshidai, setting fire to weeds to bring new life. Flames reaching as high as five or six meters tall are ignited at the sound of a siren. A 1,500-hectare field is burned out within a few hours’ time, which never fails to impress onlookers who are unable to take their eyes away from the view. By interchanging mixed media, Peng Yi-Hsuan allows the audience to perceive the relationship between fire, humans, and nature from different angles. The work is also added with personal experiences with fire, displaying new creative associations that were ignited after the residency ended.
    Exhibition Post- Heisei will be presented between December 4th ,2020 to January 3rd ,2021 at Taipei Artist Village. Japan adopted a new official calendar on May 1st, 2019, announcing the end of an era. However, changes in the calendar do not alter the memories of Heisei. Through artists Chen Liang-Hsuan and Peng Yi-Hsuan’s memories of their residence, viewers are guided on a journey to Akiyoshidai and back to the self, exploring new possibilities of the post-Heisei era.

台北國際藝術村陳亮璇彭奕軒旅行文學平成

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