非池中藝術網

台北國際藝術村

【出訪藝術家聯展—「存與未存的過往」】

  • 展期

    日期:2021-04-01 ~ 2021-06-02

  • 地點

    北平東路七號,百里廳Barry Room

  • 參展藝術家

    劉芸怡、李承亮

  • 出訪藝術家聯展—「存與未存的過往」
    (Non) Existent Past -Artists Exchange Group Exhibition
    ::Please scroll down for English version::
    ● 展期Exhibition Period/2021.4.1(Thu.) – 2021.5.2(Sun.) (週一公休Closed on Monday)
    ● 開放時間Open Time/11:00-18:00
    ● 開幕茶會Opening Reception/4.10 (Sat.) 15:00
    ● 地點Venue/台北國際藝術村Taipei Artist Village,百里廳Barry Room
    ● 藝術家Artists/劉芸怡LIU, Yun-Yi、李承亮 LI, Cheng-Liang

    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。2021年度百里廳出訪藝術家聯展邀請策展人侯昱寬作為展覽顧問,以「沿岸採集」之概念揭開了今年出訪藝術家聯展的序幕。藝術村的交流單位橫跨亞洲、歐洲、大洋洲等國家,本年度的展覽將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,有如跟著藝術家一起踏足到世界的某一角,一同體驗不同文化所帶來的感受。
    展覽「存與未存的過往」邀請了分別於英國曼徹斯特及日本橫濱駐村的兩位藝術家:李承亮、劉芸怡。兩人在駐村期間,從自身長時間的創作脈絡出發,探查了當地歷史或日常景觀與自身創作間的關聯,建構對於當地地方的想像。李承亮在橫濱路上行走,從日常行走擷取靈感,連結日本現代大眾文化中出現的科幻場景,創造自我臆想的世界;劉芸怡前往了英國謝佩島,從當地自然史、戰爭史所遺留的殘骸,抓捕了一個關於過往創傷的地理空間。兩者不盡相同的創作思考,卻也同時展現了我們對於過往想像的差異。這是一場對照,映照著的是物質的探查與心理的臆想,在存與不存的過往中,兩人沿著海岸、港邊,藉由手與眼的採集,沿著海岸不斷前行。
    橫濱是日本的海港,沿著島與海的邊界,在李承亮的巨幅作品中,獸的剪影從遠方一躍而出,鮮紅的天空映照著橫濱港的海面,港邊的房子如同即將或正處於災難電影場景中,連結著哥吉拉造型的陶製器皿,將所見之日常轉化成科幻的想像。李承亮此次展出了他在日本駐村時的所創作的作品,連結著日本科幻片中所記憶中的場景及怪獸,建構了自我的科幻電影。他將陶製品的燒製連結怪獸的誕生;將日常行走的步道上,連結周遭所見建築與物品與科幻片中的毀滅場景。李承亮的創作在晃蕩於當下日常與過往科幻,將不曾出現的故事,置換入他日常所經的場景。
    劉芸怡在駐村期間前往泰晤士河口的謝佩島。謝佩島四面環海,是一處不被重視的戰事聚集地,因為地質適合,保存了許多的黏土,周遭也因為早期戰爭,留下了戰爭的遺跡。藝術家藉當地的歷史紋理的撿拾,重新堆疊探尋追求具時間縱深的地表勘查。此次展出的作品,以她長時間關注的創傷地景關聯,從戰爭遺跡、軍事建築中,思考過往創傷如何留存,如何持續地對人產生影響。實體留存的建築總充斥的消逝之物,劉芸怡在物質、建築、地圖及空間之中,反覆地回望過往歷史中的挫敗。劉芸怡將創作作為重新鏈結、挖掘過往創傷的文件檔案。
    展覽「存與未存的過往」將從2021年4月1日至2021年5月2日在台北國際藝術村的百里廳展出。藉由李承亮、劉芸怡兩位藝術家的作品,呈現不同創作角度的二人,在駐村時,連結著岸邊的景觀,對眼所見之物、手所碰觸之物時,對過往的思考及回應。
    Taipei Artist Village selects more than ten Taiwanese artists to participate in the three-month residency abroad in organizations worldwide every year. The first exchange artists exhibition at Barry Room in 2021, (Non) Existent Past, invited curator Ho, Yu-Kuan as the exhibition consultant, making a start for the artists exchange group exhibition. The exchange organizations of artist villages span across Asia, Europe, Oceania, and other countries. This year, the exhibition will be 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 a chance for the viewers to follow the artists to several places in this world, enjoy the experiences of the journey together when viewing their artworks and projects.
    Exhibition (Non) Existent Past is presenting the works of Li Cheng-Liang and Liu Yun-Yi, two artists who visited The Bank ART1929 in Yokohama and Manchester, UK respectively in 2019 and 2020.
    During their residencies, the two artists embarked from their personal creative contexts and explored the relationship between themselves and local history or daily sceneries, which led to imagined imageries of the local landscape. Li Cheng-Liang found inspiration from his strolls on the streets of Yokohama and created an imaginary world through the sci-fi scenes based on Japanese popular culture. Liu Yunyi traveled to the Isle of Sheppey and captured images of the wounded geography in the context of its natural history and traces left behind by warfare. Although the works illustrate the slightly different creative mindsets of the artists, both tackle the differences in our imaginations of the past. The exhibition is a contrasting display of the disparity between material exploration and psychological fantasy. The two artists collected the sceneries of (non)existent pasts through touch and sight, walking along the shores and harbors, continuing onward.
    Yokohama is a Japanese port located on the edge of the island. Li Cheng-Liang’s large scale work illustrates the profile of a beast rising in the distance, the crimson sky reflected on the water surface of Yokohama port. The buildings at the side of the port seem to be in a scene from a disaster movie, while the ceramics designed as Godzilla transform the mundane into sci-fi imaginations. Li will be presenting the works created during this residence, which were inspired by sceneries and beasts from Japanese sci-fis, constructing a sci-fi of his own. Li connects the creative process of ceramics to the birth of the monster, associating the buildings and objects from his everyday walks with scenes from films. Li’s works sway between mundane presentness and the scientific fantasy of the past, placing new narratives into everyday settings.
    During her residency, Liu Yun-yi visited the Isle of Sheppey, a disconsidered battlefield surrounded by sea and located near the Thames Estuary. The geology of the Isle of Sheppey made it possible for clay soil to be preserved, while the surroundings of the island show traces of past warfare. By collecting and sorting the historical traces of the land, Liu reorganizes and pieces the past together by inspecting the local geology. The works displayed in this exhibition are pertinent to the artist’s longstanding creative theme of wounded landscapes and discloses how trauma roots in traces of war and military buildings and how they continue to affect the land and its people. By shining a light on the past that haunts physical buildings, Liu repeatedly reflects on the frustrations and defeats of history through materials, architecture, maps, and space. Here, the artist’s works become connections and archives into past traumas.
    Exhibition (Non) Existent Past will be presented between April 1st ,2021 to May 2nd, 2021 at Taipei Artist Village. Through artists Li Cheng-Liang and Liu Yun-yi’s projects, it will lead the viewers to see the different perspectives of the two artists, interpretations of the shore with its surroundings, scenes that meet the eye, objects that are perceived through touch, and contemplations and reflections of the past.

台北國際藝術村出訪藝術家聯展駐地創作劉芸怡李承亮

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