參展藝術家：洪少瑛、何采柔
展覽日期：2021.03.06 - 04.24
開幕酒會：2021.03.06 4:30 p.m.
地點：耿畫廊

「Plus」系列展是以時間脈絡下流動的藝術語言為命題，意圖探討時代脈動下的美學延異。其精神由TKG+所具備的顛覆性視野作為對話起點，並納入溯源的紋理脈絡裡尋找與耿畫廊經典美學中類同的內在觀點與文化符碼，以此擴展圖像視覺外的感知與經驗，開啟不同世代之間美學及思想對話的光譜。本次「Plus IV」將以藝術家洪少瑛、何采柔的組合作為呈現。
耿畫廊代表藝術家洪少瑛的作品常以條紋與格線作為基礎，其反覆出現於構圖中的線格亦隱喻著現實世界的制約，透過符號拆解與重構所形成的繪畫正是她實踐創作思考的過程。洪少瑛慧黠、靈巧地處理符號與圖像間的關係，就如同作為一個觀察者看待世界之方式，即便圖像中所指涉的現實往往令人不安，但其作品卻能在這不穩定的現實狀態中，為觀者鋪設出一個平衡且得以停下腳步的片刻。
TKG+代表藝術家何采柔，其創作同樣善於拆解符號重構，從圖像到現成物的使用，總令觀者在面對作品的瞬間感到一絲詫異與緊張感，這源自對日常生活形式化的刺點，衝擊著現代社會對個體急速收攏與制約的警鐘。何采柔冷冽、理性對世界的觀看，反映在其作品中的特質，是一種「距離」的表現，對事物思考的距離、對身體在空間中的距離、對觀看所擁有的距離，都是她藉以打破符號的縫隙，以此創造出具有選擇和決定的瞬間。
洪少瑛、何采柔在創作過程所面對社會及符號的堡壘，不約而同地關注著細微的存在及意義，觀者得以在看似斷裂卻又熟悉的圖像與物件前，踏入那凝視的時空，以自身觀點詮釋當中的面貌與關係。

◎ 藝術家：洪少瑛
1958年生於香港
現居住，創作於紐約
1980年畢業於香港中文大學藝術系，1983年赴紐約進修，1987年獲普拉特藝術學院（ Pratt Institute ）碩士，後定居紐約持續創作。
洪少瑛在繪畫、雕塑及紙上作品中，結合圖像、符號和抽象元素，創造出她所認知的真實世界，文化歷史記憶和社會鋭變的觸動是她創作的主要動力。藉由重组、並置或重疊的手法去呈現新的敍事畫面或詮釋的可能性，有時，則運用漫畫式的誇張語言帶出嘲諷意味和一種抽離的生存樣態。洪少瑛的作品猶如一系列拼圖，喚起複雜而對比的感覺官能：具威脅力卻詼諧、美麗卻混亂、庸俗卻神祕，呈現一個文明已變形的世界。
其作品曾在世界各國展出，包括紐約，台灣及中國等地。1983年參加香港藝術中心主辦的「藝術雙年展」後，自1986年起陸續在紐約畫廊及美術館展出，包含 PS1（1990年聯展）、布朗士美術館（2000年聯展）。1994年迄今，亦多次受邀於台灣的美術館及畫廊舉辦聯展、個展，如2013年朱銘美術館「她們 — 凝視與對話」、耿畫廊「恆旅」（2010）、「神思與物遊 — 洪少瑛個展」（2019）。

◎ 藝術家：何采柔
1983年生於台灣台北
現居住、工作於台北
台灣跨領域藝術家，加州大學國際關係學士，愛荷華大學藝術研究所碩士，除了繪畫、雕塑作品，自2010年開房間戲劇節亦開始嘗試編導工作。
無論是以繪畫、裝置或影像的方式創作，何采柔的作品總能以局部分解的動作、日常習慣的切片與豐富迷離的光影來呈現人與現實之間某種既親密又疏離的緊張關係。而這些獨特而強烈的創作一方面包圍著觀眾，卻又與其保持對峙的狀態，幾乎讓日常的片刻直接成為了一道風景或儀式。
重要展歷包括「暗光」（昊美術館，上海，中國，2020）；「橫濱三年展：餘暉，捕捉光的碎片」（橫濱美術館，橫濱，日本，2020）；「緊急中的沉思」（UCCA尤倫斯當代藝術中心，北京，中國，2020）；「事故 NO ON：何采柔個展」（TKG+，台北，台灣，2019）；第九屆亞太當代藝術三年展（昆士蘭藝術博物館與現代藝術博物館，布里斯本，澳洲，2018）；「觀海中：釜山雙年展亞洲特別策劃展」（高麗制鋼水管工廠，釜山，韓國，2014）；「返常：亞洲雙年展」（國立台灣美術館，台中，台灣，2013）等。
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Plus IV
Participating Artists │ Ying Hung, Joyce Ho
Exhibition Dates │ 03.06.2021–04.24.2021
Reception │ 03.06.2021 (Sat.) 4:30 p.m.
Venue │ Tina Keng Gallery (1F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan 11492)

Centered on artistic vocabularies evolving through generations, the “Plus” series investigates varying aesthetics that pulsate with time. Refracted through the subversive lens of TKG+, this series chronicles perspectives and cultural codes that echo the Tina Keng Gallery’s classic aesthetics, in an attempt to expand sensory experience beyond visual imagery, and initiate dialogue and spur thought between different generations. For this year’s edition, Plus IV presents the works of artists Ying Hung and Joyce Ho.
Represented by the Tina Keng Gallery, Ying Hung is known for the streaks and grid lines that underpin her work, where recurring grids serve as a metaphor for constraints in the real world. The deconstruction and reconstruction of symbols in her painting informs her creative process. Suavely Hung navigates the relationship between symbology and imagery, much like how an observer sees the world: Despite the unsettling reality portrayed in the painting, the work allows the viewer to stop and savor a balanced moment conjured through gestural brushstrokes.
Represented by TKG+, Joyce Ho has shaped a practice around the deconstruction of symbols. Her use of imagery and found objects triggers in the viewer an odd sense of surprise and suspense, eliciting the punctum of everyday homogeneity that underscores the alarming rate at which modern society straightjackets the individual. The artist’s dispassionate observation of the world is a commentary on the idea of distance: Distance from which to contemplate, to engage one’s body within a space, to watch and discern — a crevice through which Joyce Ho delves into symbology and concocts a moment of choice and decision that warps the viewer’s perception.
The practices of Ying Hung and Joyce Ho coincide in their attention to the particulars of sociocultural symbology. The world they invoke beckons the viewer to stop and gaze into images and objects at once foreign and familiar, recapitulated through the distinct lens of each individual.

About the Artists
◎ Ying Hung
Born in 1958 in Hong Kong, Ying Hung received her BA from the fine arts department of the Chinese University of Hong Kong in 1980, and her MFA from the Pratt Institute in New York in 1987. She now lives and works in New York.
Hung combines images and abstract elements in her paintings, sculptures, and works on paper to create the reality that she perceives. Cultural and historical memory and societal changes are the triggers for her artistic motivation. She uses the techniques of superimposition, juxtaposition, and re-contextualization to invoke new narratives. Sometimes she employs comic pictorial language of exaggeration to emphasize the existence of alienation and vulnerability.
Hung has exhibited internationally, including in New York, Taiwan, and China. She participated in the Art Biennale hosted by the Hong Kong Arts Centre in 1983, and her work has been shown in New York, including PS1 (1990) and the Bronx Museum of the Arts (2000). Since 1994, Hung has participated in group and solo exhibitions in major museum and galleries in Taiwan, such as Mind and Matter: Derivation (2019) and Perpetual Journey (2010), Tina Keng Gallery, Taipei, Taiwan; and Turning Gazes: Woman and Arts in Dialogue, Juming Museum, Taipei, Taiwan (2013).

◎ Joyce Ho
Born in 1983 in Taipei, Taiwan, Joyce Ho received her M.A. in studio arts from the University of Iowa. She is an interdisciplinary artist, focusing specifically on painting, sculpture, and theater. Ho has worked as a script writer and theatre director since 2010.
She works across diverse mediums from painting, video, to installation. By integrating the deconstruction of movements and fragmentation of daily rituals with rich and illusory light and shadow, the artist demonstrates the intimate and isolating tensions between people and reality.
Ho has exhibited internationally, including Noire Lumière, How Art Museum, Shanghai, China (2020); Yokohama Triennale: Afterglow, Yokohama Museum of Art, Yokohama, Japan (2020); Meditations in an Emergency, UCCA Center for Contemporary Art, Beijing, China (2020); NO ON: Joyce Ho Solo Exhibition, TKG+, Taipei, Taiwan (2019); 9th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery and Gallery of Modern Art, Brisbane, Australia (2018); Inhabiting the World, Busan Biennale, Busan Museum of Art, Korea (2014); and Everyday Life — Asian Art Biennale, National Taiwan Museum of Fine Arts, Taichung, Taiwan (2013).