非池中藝術網

鳳甲美術館

【「 」邱子晏個展 Ciou Zih-Yan Solo Exhibition】

  • 展期

    日期:2023-08-12 ~ 2023-10-08

  • 地點

    台北市北投區大業路166號11F

  • 參展藝術家

    邱子晏

  • 「 」邱子晏個展 Ciou Zih-Yan Solo Exhibition

    展期|2023.08.12-10.08(週二至週日,10:30-17:30)
    開幕導覽|2023.08.12(六)15:00
    展覽座談|2023.09.02(六)15:00
    與談人|邱子晏、倪祥、簡志峰
    地點|鳳甲美術館


    2023年暑期,鳳甲美術館將推出錄像藝術家邱子晏個展。邱子晏常以其在苗栗客家的成長背景為起點,回望戒嚴時期的歷史記憶,並持續思考如何透過影像敘事來處理對台灣歷史的經驗與理解。他的作品試圖跨越大歷史和個人生命經驗的框架,並嘗試從80年代台灣新電影的影像美學推進,以新歷史主義式的影像語言作為主要的敘事結構,在不斷辯證的過程中回應台灣碎塊化的歷史意識。

    本次展覽標題「 」(空白引號),指向藝術家的創作方法,以「填補空白」的影像辯證手法回應個人對於戒嚴歷史的理解與記憶。出生於解嚴前兩年的邱子晏自學生時代便深受台灣新電影的影響。對藝術家來說,80年代和90年代產出的新電影準確地回應了戒嚴時期的歷史情境。這些影像有意識地還原過去的歷史場景,並以寫實的手法回訪並詮釋過去的歷史經驗。然而,對於解嚴前後出生的創作者來說,他們雖然對台灣政治和戒嚴歷史有著知識性的理解,卻缺乏戒嚴時期的經歷和感受。這種歷史經驗的斷裂和對這段歷史記憶的空白,驅使藝術家開始思考如何銜接80年代台灣新電影的影像美學,並創造能回應自身處境的影像敘事,從而展開了「填補空白」的系列創作,以填補空白的方式連結自己與那段歷史的關係。

    本次展覽延續藝術家在這方面的思考脈絡,推出三件全新的錄像作品:《車廂》、《曼德拉記憶》、《鐵軌上的男人》。這三件獨立但相互補述的作品,以不同影像語言和敘事結構探問戒嚴時期的歷史記憶,在搭景、實拍、寫實與虛構之間遊移,創造出想像的歷史現場。藝術家運用影像敘事和填補空白的辯證手法,以獨特的視角探索台灣歷史經驗中的空白,不僅透過虛構情節展現了集體記憶的模糊性,同時融合了戒嚴時期的歷史記憶和生命政治,反映了不同個體的經歷和觀點,以及對台灣歷史記憶的多重解讀。



    指導單位:文化部
    主辦單位:財團法人邱再興文教基金會 鳳甲美術館
    贊助單位:財團法人國家文化藝術基金會、 客家委員會、台北市政府文化局
    特別感謝:人之初幼兒園、其實你不懂我的心、穆行者藝術工作室、複耳工作室、簡志峰
    館長:葉佳蓉
    展覽統籌:李蝶衣 展務行政:范荷青 行銷宣傳:錢思穎
    視覺設計:倪祥
    實習生:林玟伶、翁逸云、黃銘樂、王孝誠、林秀好、柯勝緯、邱俞融
    影音技術執行:無名小鎮工作室
    展場製作:達漢室內裝修設計工程有限公司
    指定投影:奧圖碼科技



    「 」Ciou Zih-Yan Solo Exhibition
    Dates|2023.08.12-10.08
    Opening & Guided Tour|2023.08.12 (Sat.) 15:00
    Artist Talk| 2023.09.02 (Sat.) 15:00
    Venue|Hong-Gah Museum

    In the summer of 2023, Hong-Gah Museum is proud to present the solo exhibition of video artist Ciou Zih-Yan. Ciou often draws inspiration from his upbringing in Miaoli’s Hakka region to reflect on the historical memories of the Martial Law period and consistently contemplates how to use video storytelling to address our experiences and comprehension of Taiwan's history. His works attempt to transcend the framework of grand history and individual life experiences, embarking from the aesthetics of Taiwan's New Wave Cinema during the 1980s, and adopting neo-historical visual narratives to address Taiwan's fragmented historical consciousness.

    The exhibition’s title,「 」(Blank Quotation Marks), refers to the artist's creative approach of "Filling in the Blanks," in response to one’s comprehension and recollection of Martial Law history. Born two years prior to the lifting of Martial Law, Ciou Zih-Yan has been deeply influenced by Taiwan's New Wave Cinema since his days as a student. To the artist, the films produced in the 80s and 90s precisely responded to the historical context of the Martial Law era. Liberated from the constraints of Martial Law and censorship, Taiwanese New Wave films deliberately reconstructed past historical scenes, revisiting and reinterpreting historical experiences through an authentic lens. However, for filmmakers and artists born before and after the era’s cessation, while they possess knowledge of Taiwan's politics and Martial Law history, they lack the firsthand encounters and emotions tied to that period. This rupture in historical experience and void in historical memory compelled the artist to contemplate how to evolve from the aesthetics of Taiwan's New Wave Cinema and create visual narratives that resonate with their own circumstances, resulting in the series titled "Filling in the Blanks".

    This exhibition continues the artist's contemplative exploration by presenting three brand-new video works: The Railcar, Mandela Memory, and Man on the Rails. These three works use different cinematic languages and narrative structures to delve into the historical memories of the Martial Law era, oscillating between set scenes, live-action, realism, and fiction to create imagined historical scenarios. Through dialectical narratives and filling in the blanks, the artist explores the gaps in Taiwan's historical experience from a unique perspective. These works not only demonstrate the ambiguity of collective memory through fictionalized scenarios but also interweave the historical reminiscences and life politics of the Martial Law era to reflect different individuals’ experiences and perspectives, presenting varied interpretations of the period’s historical memories.



    Organizers: Chew’s Culture Foundation, Hong-Gah Museum
    Sponsors: Ministry of Culture, National Culture and Arts Foundation, Hakka Affairs Council, Taipei City Government Department of Cultural Affairs
    Special Thanks:
    RenZhiChu Kindergarten, You Don't Know Me At All, Oh.oo Studio, Mothra Productions, Chih-Feng Chien
    Director: Zoe Yeh
    Exhibition Producer: Daisy Li
    Exhibition Coordinator: Ho-Ching Fan
    Public Relations: Jessica Chen
    Visual Design: Ni Xiang
    Interns: Lin Wen-Ling, Weng I-Yun, Danson Wong, Sam Wang, Lin Shiu-Hao, Ke Sheng Wei, Chew Yu-Rong
    Technical Installation: Middle of Nowhere Art
    Onsite Production: Dahan Interior Design Engineering Co., Ltd
    Projector Sponsership: Optoma

鳳甲美術館邱子晏「 」錄像藝術家影像語言

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