就在藝術空間將於十一月份推出國際知名藝術家黎光頂在台灣首次個展。藝術家將展出其最具代表性的「照片編織」(photo weaving)系列作品共七件新作，此手法來自越南傳統草墊編織。藝術家讓攝影圖像以重複圖案來分層編織，創造出巨型蒙太奇作品，內容描繪歷史事件和集體記憶的觀念轉變。另外，黎光頂近年受到矚目的大型攝影捲軸系列裝置，也將在展覽空間呈現！作品中的影像透過藝術家的後製被延展至五十米長，再運用中國古代捲軸畫的形式，展示被扭曲拉長的影像局部，挑戰我們對於具象藝術形式的看法。

《人間樂園》
黎光頂個展命名為《人間樂園》，取自15世紀荷蘭藝術家Hieronymus Bosch 的三聯幅畫作「The Garden of Earthly Delights」，這幅具有五百多年歷史的油畫內容在藝術史學家間產生解釋的分歧，從一方解釋為世俗世界各種誘惑的道德警告，到另ㄧ方解釋為慶祝性愉悅與生活的快樂。黎光頂的作品反映了這個探討“性狀態”上的二分法，並指向越南透過網路情色文化的擴散對性觀念的影響與發展。

越南的網絡仍然是世界上審查最厲害國家之一，許多網站被越南共產政府封鎖。然而，越南政府唯一決定不控制的範圍是情色網站，雖然越南的法律禁止擁有或製作色情影像及影片，但這些法律的執行機率非常小。越南在二十年前開始有網路系統，讓大量情色內容上線，這種不受控制狀態完全改變了越南人對性觀念的看法：從原本是禁忌的話題到開放的享受和分享。許多越南年輕人熱烈在線上分享自己拍攝的色情影片，以及透過“Blued”等App直播他們的性生活。這種現像不僅發生在越南，也延伸到世界各地。藝術家觀察道『也許，「人間樂園」是對性愉悅的慶祝，因為事實上我們還在這裡，並沒有全部下地獄。』

‘Dinh Q. Lê: Earthly Delights’
Dates: 17 November 2018 – 21 December 2018
Opening: 17 November (Sat) 4-7pm
Venue: Project Fulfill Art Space (1F., No. 2, Alley 45, Lane 147, Sec. 3, Sinyi Rd, Taipei 10658)

Internationally acclaimed artist Dinh Q. Lê returns to Project Fulfill Art Space for his first solo exhibition in Taiwan, opening this November. Exhibited will be seven new works from his renowned ‘photo weaving series’, inspired by traditional Vietnamese grass mat weaving, photographic images are layered in a repeating pattern, creating large-scale photo-montages, portraying altered perceptions of historical events and our collective memory. A central feature of the exhibition will be his monumental photo scroll work, where the artist stretches an image to create a 50 meter long photographic scroll. Drawing on ancient Chinese scroll paintings, only a distorted partial view of the work is revealed to the viewer, challenging our perceptions of representation.

‘Earthly Delights’
Dinh Q. Lê’s solo exhibition titled ‘Earthly Delights’ references 15th Century Netherlandish master Hieronymus Bosch’s triptych painting ‘The Garden of Earthly Delights’. Painted over 500 years ago, historians are divided on the interpretation of the painting, ranging from a moral warning to worldly temptations, to a celebration of sexual joy and life’s pleasures. This dichotomy in the approach to sexuality is reflected in Lê’s work, addressing the development of Vietnam’s sexual culture through the proliferation of online pornography.

The internet in Vietnam is still one of the most censored in the world with many websites are blocked by the Vietnamese communist government. Yet the one area in which the Vietnamese government decided not to control are pornography websites. Although Vietnam’s laws forbid the owning or creating of pornographic images or videos, it is extremely rare that these laws are enforced. The arrival of the internet to Vietnam twenty years ago allowed access and an abundance of online pornography. This access has completely changed Vietnam’s view on sexuality, from something that was originally taboo, to something that is openly enjoyed and shared. Many young Vietnamese are now actively creating their own sex tapes and sharing them online, as well as live-streaming their activities through apps like ‘Blued’. This phenomenon is not just happening in Vietnam but extends worldwide. Lê observes, “the fact that we are still here and have not all gone to hell should be taking into consideration. Perhaps, ‘The Garden of Earthly Delights’ is a celebration of sexual pleasure.”