2015 東京藝術博覽會 2015

主辦 : 東京藝術博覽會
預展 :
3月19日（四）18:00-21:00
舉辦日程 :
3月20日（五）11:00-21:00
3月21日（六）11:00-21:00
3月22日（日）10:30-17:00

Public Open:
March 20 Fri. 11:00-21:00
March 21 Sat. 11:00-20:00
March 22 Sun. 10:30-17:00
First Choice:
March 19 Thu. 16:00-18:00

Opening Preview:
March 19 Thu. 18:00-21:00

Press Preview:
March 19 The. 16:00-21:00

※First Choice and Opening Preview and Press Preview are for invited guests only.
※Last admittance: 30 min. before closing.

德鴻畫廊 展位 : S26

展出藝術家 : 林書楷
| 島嶼戲臺 | mixed media 240 x 220 cm ,2011
飄浮的島嶼與圖騰島民系列會發展出「戲臺」的概念，一系列的作品其實不單純是要將宗教意義或文化傳統的元素重新拿出來做藝術創作的詮釋與改變，而是要把藝術家對於島嶼的概念，不管是藝術家或是台灣島上的居民生活上的體悟，然後創作者以「說故事」的方式重新講述一個繪畫語言的敘述性，並且從生活在台灣島上的居民那種共同的記憶，透過創作者把這種詭譎的記憶感，假想「戲臺」就是一間島嶼上人民共同信仰的廟，而基本上創作者所創造出來的「戲臺」就是一個「迎神」與「造神」的儀式，創作者也就是期望發展出「神格新品牌」的再擬定，使文化圖像擁有一份嶄新的歷史族譜。

整個戲台的呈現方式創作者以「盒子」的概念為出發，其實是創作者除了想把在工作室創作的狀態轉移出來，並且期望讓觀者能夠從「空間場域」的面向去閱讀，生活在島上的人們面對整體環境與空間所給的感受，使我們在探討空間性思維時，不得不去面臨到一個地域性所給我們啟蒙的歷史脈絡，以彰顯各地方的特色，展現出一個地方的構成過程中，所蘊含之人文活動的足跡。唯有如此才能掌握與創造一個最自然空間，並能轉變為一個凝積深厚歷史意義之人存在的空間性的架構與更具有內涵的特質。進而面對我們生活在完全充滿著不同特質和奇想的世界裡面。

Lin Shu-Kai | Island Stage

In the Floating Island and Totem Islander Series, the concept of the “traditional theatre stage” is elaborated. It is not merely the transformation or the reinterpretation of the religious, cultural, and traditional symbols in an artwork, but also the visualization of how the artist and the general public perceive the island as well as the life in Taiwan. Through “story-telling,” the artist expresses the narratives of painting, evoking the collective memories of the inhabitants of Taiwan. The artist captures the surrealistic memory, imaging the “stage” as a temple on the island that all the Taiwanese are its worshipers. Basically speaking, the “stage” created by the artist can be realized as a ritual to “greet the deity” and to “apotheosize.” The purpose of the artist is to redefine the “brand of the deity”, creating a new genealogy for the cultural images.

The representation of the “stage” is based on the idea of “box.” The artist transfers the art-making in the studio and expects viewers to look at it from the perspective of “spaces.” How the people on the island deal with the general environment and the “spaces” has interested me to discuss the historical context enlightened by regions while we explore the idea of spaces. The regional uniqueness cannot exist without the historical context. When we examine the constitution of a region, we should not ignore the traces of human activities. It is how we create and develop the most natural space, turning it into a “state of being” with profound historical meanings and humanity. We can thus deal with the world with various qualities and fantasies.

德鴻畫廊介紹 http://www.derhorng.com/index/news/59
2015東京藝術博覽會網站 http://artfairtokyo.com/cn/