第四十二次對摺｜何彥諺 個展
　　　
日期｜2020 年 5 月 17 日至 6 月 14 日
時間｜週一至週日 12:00 - 19:30
地點｜水谷藝術
地址｜臺北市萬華區萬大路 322 巷 6 號
　　　
開幕｜2020 年 5 月 17 日（日） 14:00
座談｜2020 年 6 月 6 日（六） 15:00　與談人 朱盈樺、簡子傑
贊助單位｜台北市文化局 國藝會
水谷藝術獲國藝會 109 年「視覺藝術組織營運補助專案」補助
　　　
　　某次在船上待到天黑了，船體的搖晃變得劇烈，連接岸上的階梯也被推出近一公尺的位差，海水正在漲潮。抬頭看見月亮，一顆渾圓的沒有立體感的光球，平貼在黑幕中失去距離和方位。就在維持平衡而稍覺吃力的某刻，我忽然意識到腳踩著的起伏正來自於它的牽引，海潮、地球上的我、星辰間的月，不需一絲想像，我和月亮從來不曾感覺這麼親近。
　　　
　　一次在遠洋漁船上的偶然，輕易地將抽象概念和生活經驗連繫了起來，廢棄的船艙像是現實過渡到虛構的岔口，由空間場景開啟一場想像的敘事。透過舷窗遙望月球，能拉出一串文明與太空科技的宏觀距離，或者把重力引力、光影間的聯想收納進一個房間裡，看作一段成長小史的自我回看。依展場本身的民宅屬性，我將船艙空間和家屋空間對位，此二種或多重密閉的場所經驗中，有著時間／個人生命在空間與物件上留下的痕跡，關乎我和我之外（暫且稱為世界）建立起邊界的初始，就像回到學齡時候被拉長的某日空白，同時封存而寄居於現實時序之中。
　　　　
何彥諺
1993 年出生並居住於台北，現就讀於國立臺北藝術大學美術學系碩士班創作組。創作多來自個人感性經驗於當下之觀察，常擷取科普知識作為心理狀態的隱喻；透過空間裝置、物件及影像等複合媒材，理解空間與敘事的關聯，捕捉現實和虛構之間的連繫和鬆脫。作品曾獲高雄獎入選（2020）、臺南新藝獎（2017）、桃源創作獎優選獎（2016）等，於首爾藝術空間－衿川（2017）駐村。
　
　　
　　
The Forty-Second Time of Folding
Ho, Yen-Yen Solo Exhibition
　　
Duration | 17 May – 14 June, 2020
Opening Hours | Monday to Sunday 12:00 - 19:30
Venue | Waley Art
Address | No.6, Ln. 322, Wanda Rd., Wanhua Dist., Taipei City 10868, Taiwan
　
Opening | 17 May, 2020 (Sun) 14:00
Artist Talk | 6 June, 2020 (Sat) 15:00　
Commentators | Chu, Yin-Hua, Jian, Tzu-Chieh
Supported by |
Department of Cultural Affairs Taipei City Government
National Culture and Arts Foundation　　　
　　
There was once, when I was on a ship till the darkness arrived. The shaking of the hull was extremely severe, creating a one-meter gap between the shore and the stairs connected to it. The tide was rising. The moon, a perfectly round light ball with no stereopsis, lay flat on the curtain of night, created a sense of lost in distance and direction. The strain hit while I was trying to keep balance, as it hit me with the realization of the rise and fall underneath came from the traction of tide. The interrelation between tide, the ground I stood on, and the moon in the stars, provided an identical sense of the distance between us. It took me closer to the moon, which I had never been so close to before. 　 　
　　　
A fortuity on an offshore fishing ship connected the imaginary concept and the life experience effortlessly. The abandoned hull played the roll of a fork in the road between reality and fiction, opening up the narrative of imagination. Watching the moon through the porthole created the macroscopic distance between civilization and space technology; meanwhile converged the associate of gravity, light and shadow into a room, building a place for one to look back on the private personal growth history. To correspond to the residential household as an exhibition space, I counterpointed the space of a cabin and a house. The objects and surrounding I encountered in multiple confined spaces marked the trace of personal experience, built the boundary of my self and the world outside of me. It brought back the sense of sealed time one lived in, just like the stretched emptiness I encountered during the school-age time. 　
　　　
Ho, Yen-Yen
Ho, Yen-Yen was born in 1993, Taipei, currently studying M.F.A. in School of Fine Arts, Taipei National University of Arts. Her works are often inspired by personal experience through observation of the present. With the knowledge on science, specifically astronomy and geography, she presents the metaphorical state of mind through works. By putting together objects into site-specific works, grasping of connection between space and narrative, the works capture the connectivity and looseness between reality and fiction.
Ho was awarded the 2017 Next Art Tainan Award, shortlisted for the 2020 Kaohsiung Award, and received the 2016 Taoyuan Contemporary Art Award. She had participated residency in Seoul Art Space Geumcheon, Korea in 2017.