非池中藝術網

台北國際藝術村

【散策,-2021】黃琬玲個展

  • 展期

    日期:2022-04-02 ~ 2022-05-08

  • 地點

    台北國際藝術村,百里廳

  • 參展藝術家

    黃琬玲

● 展期/04.02(六)-05.08(日) (週一公休)
● 開放時間/11:00-18:00
● 開幕茶會/04.09(六) 15:00
● 座談會/04.23(六) 14:30
● 地點/台北國際藝術村,百里廳

散策 - 散步時不單只是漫無目的地走,而是在行走間發現並投射新的情感與詮釋,是散步的另一種境界。中國自唐朝至元朝,都有詩人寫下關於散策的詩詞,是為一種生活哲學,一種切入現實的方法。疫情以來,封閉的狀態下時間彷彿慢轉,更多的細節躍於眼前。

此次展出在疫情期間製作的作品 :〈消失的粉紅色〉受Koganecho Bazzar邀請創作。遠距離觀察與回溯黃金町歷史,昭和時期的色情產業讓粉紅色成為當地居民最厭惡的色彩,作品中將粉紅色代表的動漫人物和各地吉祥物的色彩抽換,或以窗簾布遮擋、拼貼。

〈有噴水池的風景〉是全球化下文化輸出的面貌,戰後工業革命大量翻製與建設的物件總能喚起我的興趣,衝突的美學,出鏡的風景,恍如間離效果的轉場,這些刻意填加的符號都讓風景顯得不太真實。日治時期興建的歐式噴水池,充斥在風景區的熱帶植栽,可創造另一個空間的拍照板,輸入的勞動人口,透過一個個並置的對象物,成為了台灣被全球化的日常風景。然而能夠代表臺灣的文化、景觀究竟為何?

展覽中播放的影像C_link: Click our Studio_Taiwan-Taipei受國立亞洲文化殿堂邀請,策劃拍攝。從工作室出發,介紹藝術家、社團、替代空間、公辦藝術村以及私人藏家空間,同樣以散步的模式,透過影像紀錄台北的視覺藝術生態。

———————————— English version ————​————​———​—

● Exhibition Period/04.02(Sat.) –05.08(Sun.) (Closed on Monday)
● Open Time/11:00-18:00
● Opening Reception/04.09(Sat.)15:00
● Talks/04.23(Sat.)14:30
● Venue/Taipei Artist Village, Barry Room

Taking a stroll is more than just wandering around aimlessly; it is discovering and projecting new sentiments and interpretations while walking. In other words, it takes walking to another level. From the Tang to Yuan dynasty, Chinese poets have composed poetry on taking strolls, and the activity is deemed a life philosophy and way of engaging with reality. Since the pandemic, our states of being isolated from others have led to the slowing down of time, allowing nuances to emerge before us.

The paintings that are presented in this exhibition were created during the pandemic. The Pink Color is Vanished was created at the invitation of Koganecho Bazzar in Japan. The works observe and trace the history of Koganecho area and centers around how locals detested the pink color due to the porn industry during the Showa Period. In these paintings, the pink color in the characters from animation and the mascots of different cities are replaced or covered and collaged with curtain cloth.

The Landscape with a Fountain shows the cultural export under globalizaion. I have been always intrigued by the massive number of artifacts after the post-war industrial revolution. Many times, these small artifacts in Taiwan makes the landscape unnatural, showing conflicting aesthetics on the camera, like the transition of the defamiliarization effect. The European-style fountain built during the Japanese occupation period, the tropical plants that filled in the local places, the photo zone that created another spaces, and imported labors are very common and just placed side by side in many sightseeing places and have become the daily landscape of the globalized Taiwan. However, what is the culture and landscape that can truly represent Taiwan?

The video that is played during the exhibition, C_link: Click our Studio_Taiwan-Taipei, was invited by and created at the Asia Culture Center. The video begins with the studio and introduces artists, groups, alternative spaces, government-organized art villages, and spaces of private collectors. By strolling through these spaces, the video captures images of the visual art ecology in Taipei.

台北國際藝術村黃琬玲消失的粉紅色散策有噴水池的風景

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