中國宋莊(台灣群落-另一本書)展10.09-10.10.2010,北京宋莊貴點 藝術中心

 


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H/1026cm ,重/約3噸

宋莊憲地創作是一個有趣而艱鉅挑戰的經驗,終於領略到因著這件作品的製作而連帶需要面對的各種人'事'時'地'物

我也學了一點點的霸道,只一點點,只因為對方的無理也因為製作時間的有限,或是耳濡目染吧,十天來做了此作品還

有一張150號的平面作品,如果時間多些,如果有一個屬於我的空間臨時的也好,將會有更多作品出現,下次吧,希望

雖然那是一個滿奇怪的地方,不過不也是一種現象,一種在這裡永遠的不可能

生物動物的本質與規範及方法

孰是

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一種厭惡因兩者的出入

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2010.0910

 

2010/0909

王強王澤,邱秀堂與美慧作品臨時展出設置.H/1021cm

2010/0908

作品安裝,

2010/0907

最後檢視作品與現場佈展,作品將於隔日安置

2010/0906

國族使然圈圍的異音是今天的清新,在半個月的僵化思惟對話後,我了解在那哪裡都是一樣,差別只在生命體感知的需求刻度被刻畫的密度與深度與否相對所謂的集體眾生象度,

輕鬆如是,差別日暖風清在草織屋簷下,荷花香白就著缽裡下午溢滿的雨水,為何?差別????? 觀察位置吧,位置問題,期盼不入污流的堅持.

200x150cm, 墨,混丙烯液,中國粉彩,畫布參公分厚板壓邊框為鐵雕底板,

2010.0905

藝術的行進過程與市場構成關係時就已經漸漸失去他的原旨

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當一個人失去了,一種被後設分瓜前的,那他應該自惕,當一個人寧願如是而為,那他形同行屍與腐肉,

形式被販賣,生命是可以被交換,是的一群悲哀,

小心

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2010.0904

是然'藝術源於生活執行於生命體,執行者居處期間,面對所有.執是,執不是,端看我執所悟之於形上與下間識別能量的廣距,於發生的場域進行另一場活動,切斷出入象的識別灰帶是功課,

.

一個被壓迫在草莽與所謂的專業間的,在利益無分高下低賤時,動物性的廝殺正搬演著,在不挑明前似乎是的藝術像似高尚,其實?

其實?那也只是的另一場悲哀.悲哀大戲

2010.0903

一個不能說,不能用所謂經驗或是經驗操作法則解釋的地方,如同中國的眼下所有,只能說是,所有的必然現象的時空顛覆自主組合,

尋的所知就是你的所智或而能所致,不想以所謂的人類所謂的良痞推移序列做我思為所有,但?

尋得的護體真空,是一件事,

是說?

是說質實   是有標準?  不能放諸是因為相互以存著已然,

貴點藝術空間G-Dots,

2010.09.02

給工廠工人一日的修整,所以一日無事換來生活的拖磨,看人與看事,,,,與睡覺,交通的不方便與身置異域的牽制,胸悶絞痛,明日將面對最後的作品底臺的狀況可能,想去雍合宮,也不知時間可否?再說?????只希望作品一切順利,

2010.0901完成整體構成,細部接工將於後天完成,作品控制於原先預定的十工作天,礙於日後活動期 程現實,停止已然的創作慾望可能,中止技術的磨合的理想以及材料等的完備,  目前作品高1050cm, 尚未知歸處.另外,平面作品亦已完成,是一張理想之作,是我一年多來在恁多的鐵焊已然後的結果,亦是我放送同時的軟調維度的正面成就,在異地與全然它屬空間的所有氛圍下形成, 是生命中的難得.

狀況下,一些人的執著,不知道?為什麼?生命就是,那麼一回事,當然,無關了.地域,這地域包含了文化歷史時間區隔後的目下,誰能在所謂的底下暗自操作,誰能?

不知?我想生命.                   就向強勢的掌握一編總是影響著另依邊一樣,   人與人   男與女     群體之於群體       恁大一塊之於 ……..

                         2010   9  1  午夜的中國宋莊

使用吳以強工作室做平面創作可欣工作室林墨,曹維,張可欣 及夫人,王強,策展人李居儒,於可欣工作室

27.08原訂六公尺高度,計畫趕不過變化.目前為十公尺.

初步材料取得廢鐵處無所需型式24.08大清早 藝促會小兄弟幫忙取得轉手廢鐵25.08

中國最大規模藝術作品接製廠之ㄧ廠房,展望,等藝術家製作基地

門裡為未來製作場地,如工班等配合順利,作品計劃於十日後完成,期間希望同時完成一件大畫26.08

藝術家展望創作材料

Prologue

     The island of Taiwan has a relatively small land area not exceeding 35000 square kilometres. Being surrounded by the ocean, it has historically been relatively isolated. In theory, such isolation should be a hindrance to Taiwan's overall cultural environment, though this far from being the fact. Besides the nourishment from the prevailing Chinese culture, the people of Taiwan have also been baptized under the influence of the Western and Japanese culture. From a demographic point of view, the population of Taiwan is composed of a diverse range of people. Besides the predominant Han Chinese population, the majority of whom migrated from Mainland China in the Ming and Qing Dynasty as well as during the 1950s, Taiwan also has a strong minority population of Hakka and Aborigines resulting in a dynamic sociocultural ecosystem, with each group representing a specific way of life and habit. To look deeper into Taiwan's cultural fabric, we have to consider the fact that Taiwan has moved from a agriculture (primary sector) based industry nation to a primarily tertiary and quaternary sector industry based nation is as little as thirty years. Such shift also signifies that the people who once respected the lands are now more concerned with aspirations at a more personal and materialistic level. Between the two points of radical differences  lie the spectrum of the culture along with thousands of families. The artists who were brought up in these families were determined to be different. They let their imagination run wild amongst the striations of culture. Each of the artists, through various techniques and various mediums, shall share with the world their intimate worlds.

     In this exhibition, eighteen Taiwanese artists will have their works shown in a show titled “The Other Book” In this “book” there will be eighteen chapters representing each of the artists own backgrounds, as well as their specialized fields in art. Lin Chuang-Ju, an installation artists who was brought up in a farming family and whose work includes a farm in the middle of urban Taipei ; Yuen Shuen-Ping, who still holds onto the simplicity of Chinese art even after thirty years of studying and living in New York City; Hong Yi, who has never had any formal academic training in art, but whose sculptural works are like toys for the giant;  Ho Meng-Chuen, the only women in this show, and whose photographs portray the inner passions of a metropolitan women; Lin Hong-Wen, a metal sculptor living out in the countryside, and with a passion for nature.

     If we were to come up with a correlation between all of the eighteen artists, then we have to say that all of them pursue a contemplative pureness in creativity and originality in the multifaceted sociocultural environment of Taiwan.     

     Here I sincerely thank all of the participating artists, as well of the invitation from the sponsoring committee. Historically, although Taiwanese artists are known to reach out beyond their own realms of understanding, most place an emphasis on the western cultures. However, the fact that this exhibition will take place withing the Songzhuang Artists Community symbolizes an important reconnection to the Chinese culture. As a team, we look forward to this special opportunity for cultures from China and Taiwan as well as abroad to intermingle, which surely would make “The Other Book” a great book.

Mr. Lee Ju-Ru

Convenor, Taiwanese Representative

Representing Taiwan, Mr. Lee Ju-Ru  will coordinate 18 artists in an exhibition to be called “The Other Book”. Like its name suggests, the exhibition emphasizes on the changes that have occurred within the cultures between Taiwan and Mainland China due to their separation. Painting, sculpture, installation, video and photography works will be shown in the exhibition. All of the artists are contemporary in their practice, and many have had the chance to study under the influence of the Western culture. Due to their unique upbringing, the participating artists are more capable at interpreting their own stance and role in the Chinese culture from a third-person point of view. Most of the artists choose to express their works through the concept of the Zen with a more Oriental from of abstraction. The age and experience of the artists vary, resulting significantly different approaches to the same concept, which may be savoured by the viewers. The following participating artists will be in the show: Kuo Hong-Shen, Ho Meng-Chuen, Hong Yi, Huang-Zhi-Yang, Lee Ju-Ru, Liang Zhi-Ching, Lin Hong-Wen, Lin Chuang-Ju, Lin Shen-Jun, Luo Chiang-Wu, Hsiao Chung-Cheng, Hsu Yi-Ren, Chou Cheng-Liang, Tsung Yun-Ning, Cheng, Chuen-Diang, Yang Chun-Shen, Yuen Shuen-Ping,  Gang Dan. The exhibition will run from September 10 until October 11, 2010 at the G-Dot Art Space in Beijing, under the sponsorship of the Songzunag Artists Community.

本次台湾群落由李居儒先生策划18位艺术家展出,展出名称定为《另一本书》,故名思义是两岸的文化时空分隔一段时间而产生的差异性,而两岸本为同文同种,所以应该以同样的态度去面对应当看得懂的另一本书。展出内容包括绘画、雕塑、装置、录像、摄影等,全部是台湾中青代杰出的艺术家,他们大多曾留学欧美国家,所以比较能以第三者立场来体会自己在中国文化里面的位置及责任,大部分艺术家能以中国的禅意及比较东方抽象意境的风格来展现自我的特色,因为年龄与经验的差异,呈现出的成果也截然不同,形式风格的多样化是令人可细细品味的。展出的名单有郭弘坤、何孟娟、洪易、黄致阳、李居儒、梁志青、林鸿文、林铨居、林贤俊、罗建武、萧长正、许雨仁、周成梁、曾雍宁、郑君殿、杨春森、袁宣平、甘丹,时间为2010910日至1010日,展出地点北京宋庄贵点美术馆。

前言

台灣本島的面積不過三萬五千多平方公里,四周是大海包圍,人不容易進來,要出去也不容易,照理說它應該是個相當封閉的地方,但事實並非如此。這裡的人們,自幼受華夏文化的滋養,同時也深受西方文化、日本文化的衝擊。往更深一層來看,台灣人民由多種族群組成,有最早的十二族原住民,明清時代大量渡海到台開墾的閩南、客家族群,以及也代表中原文化但在晚近才移居台灣的外省族群,各族群各代表著不同的生活習慣與觀念,因地窄人綢而密集交流,彼此間深受影響。再進一步剖析,台灣在短短三十年間,從以農業為主、敬天敬地的社會,發展到以服務業跟科技業為首、個人意識抬頭的社會,在此兩端之間包含著整片的文化光譜,以及千千萬萬的家庭。在這些家庭中長成的藝術家,不拘一格,任想像力在交錯的文化紋理上奔馳,以各路招式,分享個人的內心世界。

這次台灣群落由十八名來自於台灣的中青代藝術家,提供主題為「另一本書」的展覽。這本書共分十八篇「章節」,由十八名藝術家各唱各的調,以其所熟悉的繪畫、雕塑、攝影、裝置語言,呈現五花八門的生活背景與精神面向。像是出身於農家,曾在台北都會中心墾地種稻推出「晴耕雨讀」裝置藝術的林銓居; 旅居紐約三十年,作品仍堅持中國藝術留白精神的袁宣平; 未曾接受學院教育,雕塑饒富童趣如同巨人玩具的洪易; 攝影呈現都會女性內心熱情與多樣面貌、亦是本群落中唯一女性的何孟娟;獨居於鄉間,以看野草為樂,作品卻鋼鐵堅實的林鴻文等等…。若要說這十八篇章節有什麼共通性,那便是追求在台灣多元文化的沖激下,仍能發出一些純粹原創的想像及反省。

    我謹代表這次參展的台灣群落藝術家,感謝主辦單位的邀請。台灣藝術家慣於走出侷限的環境,體驗多彩的世界,多數人過去都走向西方,很高興這次是走向中國藝術重鎮宋庄。期待與大陸及國際友人的交流,為這「另一本書」添上精彩的註腳。

台灣群落召集人

李居儒