© COPYRIGHT YIRI ARTS 2012-2017

Art Fair

25.09.17 - ART Taipei 新人推薦特區 | 伊日藝術@吳家昀 Chia-Yun WU

YIRI ARTS @ ART TAIPEI 2017 貴賓預展|2017.10.19 公眾展期|2017.10.20– 2017.10.23 展覽地點|台北世界貿易中心展覽大樓一館

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MIT新人特區|伊日藝術@吳家昀 Chia-Yun WU
貴賓預展|10/19 (四) 15:00-21:00、10/20 (五) 11:00-14:00
公眾展期|2017/10/20~23
10/20 (五) 14:00-19:00
10/21-22 (六-日) 11:00-19:00
10/23 (一) 11:00-18:00
展覽地點|台北世界貿易中心展覽大樓一館
展位 Booth|M05
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《時間的風》以一種哲學性的思維探究影像與時間的關係。人類的記憶和幻想常以影像的形式存在於腦海,並依時間的座標垂直或平行漂浮於一虛幻的空間中。藉著時間的線性累積,逐漸模糊的記憶可能轉化為印象,若印象被幻想介入,這些介於真實和想像間的影像可能成為如夢般的抽象情境;反之,若在未來尚未抵達之前以「回憶」的方式組織關於未來的影像,這些游移於未知時空中的幻想即可能化為「存在的事實」。

此展為一個影像與物質媒材交織的裝置系列,源於藝術家吳家昀於國外求學時,因身處離家近一萬公里遠的異地而對過去的記憶產生質疑,也對未來的想像浮現錯亂之感,進而經歷撿拾或重製影像、研究時間的存在、自我文化認同等過程。經由己身經驗,從「影像的本質」探究起「時間的形狀」至「記憶與現實的空間」再到「穿越時空的內在層面」發展出三件創作:〈時空線〉、〈孤島〉和〈空〉,並透過風的概念將之串連,如文學領域的意識流實踐了揉合文本、情感、空間、時間與記憶間的關係,賦予觀者自由探索的空間。

In Search of Inexistent Time navigates the relationships between imagery, time and philosophical thought. The human mind often stores memories and phantasies together, floating in an imaginary sea mapped by the coordinates of time, the linear accumulation of which gradually erodes memories into impressions. When our imaginations interfere with these impressions – already adrift as they are in the penumbra between memory and phantasy – they can become dreamlike, open-ended scenarios that we play-out within ourselves. However, if we dip into our imaginations and process pictures from the future as we might process memories, we risk anchoring those images, hitherto inhabiting a space and time as yet unknown, into land-locked, “established fact”.

The installation is comprised of images and found objects, and draws its inspiration from the artist’s doubts and questions about her memories whilst studying 10,000 miles away from home; uncertainties rendered more confusing by her imagination of the future. And so she began to gather images and to re-process them and, through this voyage, research her cultural identity and question the very existence of time itself. Cross-examining her uncertainties under headings such as “the shapes of time”, “the space of memory and reality”, and “the journey of the spirit travelling through time and space” regarding the essence of image, she produced three works entitled A Line Tells, Lonely Island and darkness within darkness. This triptych is bound by the presence of the wind. Much like the stream-of-consciousness writing of the early twentieth century, this In Search of Inexistent Time slips between text, emotions, memories, time and space, still elusively and ephemerally leaving the audience free to explore uncharted territory within the work.

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25.09.17 - The Shining |伊日藝術Yiri Arts@台北藝術博覽會ART Taipei 2017

YIRI ARTS @ ART TAIPEI 2017 貴賓預展|2017.10.19 公眾展期|2017.10.20– 2017.10.23 展覽地點|台北世界貿易中心展覽大樓一館

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The Shining | YIRI ARTS @ ART TAIPEI 2017

展出藝術家 Artists|
陳雲 Yun CHEN、邱懷萱 Huai-Hsuan CHIU、鄭先喻 Hsien-Yu CHENG、 丹尼爾.蘇維勒斯 Daniel Sueiras FANJUL、邱承宏 Chiu- Cheng HONG、蓮輪友子 Tomoko HASUWA、李瀚卿 Han-Ching LEE、賴威宇 Wei-Yu LAI、凱 蒙哥馬利 Kyle MONOTGOMERY、寧森 Sen NING、時永駿 Yung-Chun SHIH、孫培懋 Pei-Mao SUN、寺澤伸彥 Nobuhiko TERASAWA、平子雄一 Hirako YUICHI、金.提爾.撒拉路基 Guim Tió ZARRALUKI

貴賓預展|10/19 (四) 15:00-21:00、10/20 (五) 11:00-14:00
公眾展期|2017/10/20~23
10/20 (五) 14:00-19:00 、10/21-22 (六-日)11:00-19:00、10/23 (一) 11:00-18:00
展覽地點|台北世界貿易中心展覽大樓一館
展位 Booth|G04
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「藝術家在直覺中尋求神性的共鳴,但是為了創作,他不能停留在這個令人神往的無形國度裡,他必須回到物質世界去完成他的作品。藝術家的責任,便是在神秘的交流和創造的行動中尋找平衡。」- Patti Smith, Just Kids

我們以導演-庫柏力克的「The shining」為題,邀請觀眾一起進入我們的鬼店,找尋那些未果的記憶。庫柏力克在鬼店中交織著龐大且細膩的符號元素。具有同志傾向的父親、被暴行給孤立的母親、丹尼的通靈、還有圍繞著整部電影的阿波羅火箭政治詭計。這些藏在細節裡的魔鬼,便是人們在生命經驗中累積下的各個節點,或許我們不曾說出來,甚至並不確定那些回憶是否真正存在。庫柏力克用象徵性的符號記錄下每一段他的經歷,藝術家的一勾一筆,都隱藏著創作者個人最深層的秘密。就像姜太公一般,藝術的閱讀總是願者上鉤的,觀看者捧著自己的生命經驗,尋覓著作品與自己之間的連結。伊日藝術在今年的台北國際藝術博覽會架構一座 Overlook Hotel,邀請國內外多位藝術家進駐。

“The artist seeks contact with his intuitive sense of the gods, but in order to create his work, he cannot stay in this seductive and incorporeal realm. He must return to the material world in order to do his work. It’s the artist’s responsibility to balance mystical communication and the labor of creation.” -Patti Smith, Just Kids

Diretor Kubrick weaves subtle yet immense symbolism throughout “The Shining”. The father’s homosexual tendencies, the mother’s violent isolation, Danny’s psychic powers, and the political conspiracy theories regarding the Apollo space program derived from the film…the devil is in the details here – we accumulate all sorts of nodes in life, even if we doubt the veracity of our memories and never speak of them. Kubrick uses symbolism effectively in chronicling each segment of his life, much like each stroke of the brush contains the deepest secrets of an artist. Like the Great Duke of Qi, the reading of art is a voluntary process of ensnarement, as viewers seek to connect their own life with the work in front of them.

At Art Taipei 2017, YIRI ARTS has constructed an “Overlook Hotel”. With “The Shining” as an overarching theme, we invite viewers to visit our Hotel, in search of memories yet to be fully developed.
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11.07.17 - 伊日藝術 YIRI ARTS@ Art Osaka大阪藝術博覽會2017

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伊日藝術 YIRI ARTS@ Art Osaka大阪藝術博覽會2017

展出藝術家 Artists|蓮輪友子 Tomoko Hasuwa、蕭旭凱Hsiao Hsu-Kai、NORMAN
貴賓預展|2017/7/7
公眾展期|2017/7/8~7/9 
展位 Room|2699
展覽地點|HOTEL GRANVIA OSAKA

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17.06.17 - Tomoko Hasuwa 蓮輪友子|伊日藝術 YIRI ARTS@ Art Formosa福爾摩沙國際藝術博覽會2017

Art Formasa 福爾摩沙國際藝術博覽會2017 2017.6.30– 2017.7.2 台北松菸文化創意園區2.3號倉庫 展位 Room|C05

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Tomoko Hasuwa蓮輪友子|Yiri Arts Art @Formosa福爾摩沙國際藝術博覽會2017

展出藝術家 Artists|蓮輪友子 Tomoko Hasuwa
貴賓預展|2017/6/29 13:00 -21:30
公眾展期|2017/6/30~7/1 11:00-19:00
| 7/2 11:00-18:00
展位 Room|C05
展覽地點|台北松山文化創意園區2倉庫

「在一個廣闊浩大的綜合中,我們應該會同時夢見一棟有翅膀的家屋,在細若游絲的微風中嘎嘎作響,精煉著風的能量。」(加斯東˙巴舍拉,《空間詩學》。)
In a large and integrated space, we should, at the same time, dream of a house with wings, creaking in a weak and imperceptible wind, refining its force. -Gaston Bachelard, The Poetics of Space (La Poetique de l’espace)

日本藝術家蓮輪友子將自己的熱烈投注於跨國界的行旅中,擁抱著壯遊的開闊性格,輕盈地將感受收納進畫作裡。由一次摩洛哥的旅行而開展的平行系列,呈現對於平行世界體悟的詮釋。從觀察摩洛哥婦女傳統回教服飾的樣貌,使用頭巾、面紗來包覆女性身體的方式,將形象的邊界模糊後,看似如同日本女孩們穿戴帽T與口罩的模樣,相同的包覆原理,卻在不同的文化當中有著截然不同的意涵與實踐。
或許,我們太過於重視彼此之間的差異,甚至刻意拉大距離、強調衝突,直至平行而不再相互交集。即便平行是人們畫地自限的局勢,蓮輪透過圖像之間的共振,找回平行中的對應點,環環地緊扣住那些根植於我們內心的共同意識、那股足以與過去、與未來一同揚帆啟航的力量。

Japanese Artist Hasuwa Tomoko embraces international travel, which fits her outgoing personality and passion, absorbing experiences and transferring them onto canvas. A trip to Morocco sparked inspiration for the Parallel Series, portraying her interpretation and understanding of a parallel world. She noted how traditional Moroccan Muslim garb utilizing hijabs and purdah to veil women at a certain level resembled the masks and hoodies popular among Japanese girls. The same principle reflected a different meaning once seen in a different culture.

Perhaps we are overly focused on diferences, to the extent of exaggerating them and fomenting conflict, until we live in parallel paths with no intersection. Even if the parallel world is a self-created one, Hasuwa uses resonance between her works to creats links and points of references, connecting and interlinking a shared inner awareness, a force that combines the past, present, and future.

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19.04.17 - 伊日藝術 Yiri Arts @ 藝術北京 Art Beijing 2017

2017.4.30– 2017.5.2 全國農業展覽館

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潛行者 S.T.A.L.K.E.R.|藝術北京 Art Beijing 2017
展出藝術家 Artists|
侯辰璐 Hou Chen-Lu
孫培懋 Sun Pei-Mao
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貴賓預展|2017/4/29 18:00 -22:00
公眾展期|2017/4/30~5/1 11:00-19:00
5/2 11:00-18:00
展位|Booth: A3
展覽地點|全國農業展覽館

在塔可夫斯基的影片《潛行者》中,潛行者是帶領人前往神秘區的嚮導,似一個游離在導演架構的兩個空間中的接駁者,帶著身份各異的人開啟對據傳可以滿足人願望的神秘房間的探尋。這一不可邏輯化的探索過程與目標在同行的人看來意味著災難,甚而是為罪惡源泉,對於嚮導而言,這恰是人躲避理性侵襲的避難所。這一對人類處境的終極探索似乎是外向的,對實體的座標定位,實則是各人對於困境的逃離與對未來的懷疑。毫無疑問,創作過程於創作者而言即為探索與逃離的出口,期間的踟躕或矛盾最後都經由篤定的視角的建立而被記錄與呈現。此次參展的創作者的作品,都在作品中置入了潛行者似的對於各人神秘區探尋的視角,培懋的作品多呈現一種由衝突與大量對比色運用構建的詭譎的場域,觀者的視角即為創作者表明意圖的敘事視角,窺視,旁觀,甚而提供的是一種僅可能由物質傳達的視角。辰璐則在作品中通過構置相互關聯的小場景引導觀者焦點的流動,同時借由陶藝這一材料對截取於畫中的要素進行還原。兩位創作者亦如潛行者,在前行中構建第二個世界-充滿不確定與非言說性。

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19.02.17 - 當代女性Feminism | 伊日藝術 Yiri Arts @ 台北當代藝術博覽會Young Art Taipei 2017

貴賓預展|2017/4/14 16:00 -20:00 公眾展期|2017/4/15~16 12:00-20:00 展位 Room|938 展覽地點|台北喜來登大飯店

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伊日藝術 Yiri Arts @ 台北當代藝術博覽會Young Art Taipei 2017

展出藝術家 Artists|
陳雲 Chen Yun
林宜姵 Lin Yi-Pei
邱君婷 Chiu Chun-Ting
袁心元 Yuan Hsin-Yuan
沈思坦 Shen Stein
蓮輪友子 Tomoko Hasuwa
淺野綾花 Asano Ayaka
莫妮卡·蘇畢迭 Mònica Subidé
努里雅·法瑞 Núria Farré
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貴賓預展|2017/4/14 13:00 -20:00
公眾展期|2017/4/15~16 12:00-20:00
展位 Room|938
展覽地點|台北喜來登大飯店

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21.11.16 - 考古學家 Archaeologist |YIRI ARTS @ Art Kaohsiung 2016

貴賓預展 | 2016.12.08 .12:00 -20:00 公眾展期 | 2016.12.09 - 2016.12.11.11:00-19:00 駁二藝術特區 蓬萊倉庫   城市商旅 高雄市鹽埕區大義街1號 展 位 | Booth : B24  Room:238  VIP Room

考古學家 Archaeologist | YIRI ARTS @ Art Kaohsiung 2016

展出藝術家 Artists:
Booth B24:
李瀚卿 Lee Han-Ching
許嘉宏 Hsu Chia-Hung
張淳皓 Chang Chun-Hao
Room 238:
陳立穎 Chen Li-Ying
黃至正 Huang Chih-Cheng
陳彥智 Chen Yen-Chih
VIP Room:
丹尼爾.蘇維勒斯 Daniel Sueiras

貴賓預展|2016.12.08 12:00 -20:00
公眾展期|2016.12.9-2016.12.11 11:00-19:00
(12/11至18:00)
展覽地點|駁二藝術特區 蓬萊倉庫
城市商旅 高雄市鹽埕區大義街1號

伊日藝術於2016年以「藝術圖鑑百科」為各藝術博覽會策展主軸,系統式地串連與呈現合作藝術家的作品。藝術圖鑑項目含括植物學家、人類學家、動物學家、占星學家、考古學家等,採取跨領域的角度,進行各式的觀點介入,豐富藝術視覺上的多重思維。

考古學家 Archaeologist
今年高雄藝博以「考古學家」為題,展出陳立穎、黃至正 、張淳皓等藝術家的作品,以平面繪畫與陶器等媒材,透過重建與分析物質文化、地景場域以致對美學認知等思考。就宏觀的視野來看,考古學仰賴跨學科分析,以便更瞭解人類的過往;藝術家汲取人類歷史中的某些片段,從不同面向觀察,重新組構當代社會下的文化脈絡。

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05.10.16 - MIT新人特區|伊日藝術@莊志維 Chuang Chih-Wei

貴賓預展 | 2016.11.11 .15:00 -21:00 公眾展期 | 2016.11.12 - 2016.11.15.12:00-19:00 台北世界貿易中心展覽大樓一館 展位 Booth|X4

MIT新人特區|伊日藝術@莊志維 Chuang Chih-Wei

貴賓預展|2016/11/11 15:00 -21:00
公眾展期|2016/11/12~15 12:00-19:00
(11/15至18:00)
展覽地點|台北世界貿易中心展覽大樓一館
展位 Booth|X4

藝術家莊志維創作的動機來自東京駐村的一段經驗,感受到自然萬物因季節、時間,重複不斷消長的生命輪迴。記得那時遇到一個花藝家說道:植物藉由花藝延續下一段奇異生命。在黑夜,植物從土壤中被剪下,當清晨陽光升起的那一霎那,斷根的花朵一齊轉向陽光,完成他最魔幻的美麗時刻。這一段帶著殘忍動作卻充滿詩意的敘述,為物件的重生與賦予存在的意義下了另一個提問:究竟「被操作」重生後,還是本質嗎?

「東西自有它們的生命,只要喚醒它們的靈魂就行了。」馬奎斯在《百年孤寂》說道。

關於生命的轉化與復生,東西方有許多類似的敘述。在神話裡,一口氣息給了原先無生命的物件有了動力,有如早晨的一道光、四季變化的一刻溫度,讓生物體從死亡到甦醒。工業時代後,一度電、一滴石油讓精密的機械開始運作,外來的自然力量猶如魔法,施展一場華麗的轉生術,使物件產生生命。

《轉生樹》的系列創作中,藉由人工/非自然的機械外力牽引著生命體;並同時強調作品呈現的時間性,隨著展期的推進,緩慢地呈現自然消長。裝置設置中,植物體上安置許多繫線,藉由動力機械裝置牽動植物,使植物體的葉脈和花朵如受控的傀儡般,產生緩慢細密的規律位移。試圖透過如生物般蠕動的有機動態,在“人造的機械運動”與“時間”、空間投射出的“光影變化”中,讓時間的變化,從表象看似優雅的狀態緩慢地、漸層地釋放出背後殘忍的哀傷。

Motivation for this work began during my 2014 residency in Tokyo, Japan. I encountered seasons drastically different from my homeland of Taiwan, and the change in all things brought about by spring, summer, fall, winter, day, and night; the never-ending cycle of life. I recall meeting a floriculturist who said floral arts bring plants into the next phase of their lives. They are cut from the soil in the darkness, and these pruned flowers turn to face the sun as it rises in the morning, completing their most magical moment of beauty. This simultaneously cruel yet poetic depiction is another perspective of an object’s rebirth and redefining of existential meaning.

“Things have a life of their own. It’s simply a matter of waking up their souls.” Gabriel García Márquez puts it thusly in One Hundred Years of Solitude.

All civilizations have similar descriptions of life’s changes and revival. The Bible says, “Then the LORD God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being.”, while Chinese legend depicts the Goddess Nuwa breathing life into mud figures and turning them into people. The breath of life is like a ray of light in the morning, a degree of warmth in the changing of seasons, awakening what was once dead. With industrialization, we now have a kilowatt, or a drop of oil spurring complex machines to action; external power as if by magic – life.

This creative project extends exploration of the link between biological and non-biological materials, further observing how external manmade forces guide living things. For this installation, I arranged for motors to move lines suspended on the plants, manipulating them like puppets, creating slow, refined movements. Through movement crudely imitating life, created by machine operation and changing of time, it gradually expresses a warped elegance both cruel and sad.

 

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05.10.16 - 占星學家Astrology | 伊日藝術 YIRI ARTS @ ART TAIPEI 2016

貴賓預展 | 2016.11.11 .15:00 -21:00 公眾展期 | 2016.11.12 - 2016.11.15.12:00-19:00 台北世界貿易中心展覽大樓一館 展 位 | Booth : M1    MIT新人特區展位 | Booth : X4

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占星學家Astrology|伊日藝術YIRI ARTS@ ART TAIPEI 2016

展出藝術家 | 陳雲 Chen Yun、賴威宇 Lai Wei-Yu、
李瀚卿 Lee Han-Ching、李承亮Lee Cheng- liang
邱承宏Chiu Cheng-hong、 金˙提爾Guim Tió Zarraluki

展覽時間:
貴賓預展 | 2016.11.11 .15:00 -21:00
公眾展期 | 2016.11.12 – 2016.11.15.12:00-19:00 (11/15至18:00)
展覽地址|台北世界貿易中心展覽大樓一館
展 位 | Booth : M1

「每一個人都有自己的星星,但其中的含意卻因人而異。對旅人而言,星星是向導;對其他人而言,它們只不過是天際中閃閃發光的小東西而已;對學者而言,星星則是一門待解的難題;對我的商人而言,它們就是財富。不過,星星本身是沉默的。你,只有你,了解這些星星與眾不同的含意。」—《小王子》

伊日藝術於2016年以「藝術圖鑑百科」為各藝術博覽會策展主軸,系統式地串連與呈現合作藝術家的作品。藝術圖鑑項目涵蓋植物學家、人類學家、動物學家、占星學家、考古學家等等,採取跨領域的角度,進行各式樣的觀點介入,豐富藝術視覺上的多重思維。

此次藝博展出將以台灣藝術家陳雲、賴威宇、邱承宏、李承亮、金˙提爾來詮釋藝術圖鑑概念中「占星學家」的角度。「占星術」(astrology) 起源於三千年前,原是用來預測君王與國家的運勢,而後將一般百姓也納入占卜對象,從星象運行的圖像解構,透析出集體中的共有與感通以及個體性中的諸多命定,誘發人們對於未知領域的渴求、盼望。然而面對生活中的許多不可遇與渴求間的矛盾,儼然成為一種觀天地萬物的修行,走在追尋自身信仰的路上。藝術家擁有著感受靈動的體質,懷抱著浪漫的最高態度與冒險精神,引領我們踏上一段奇幻旅程。

“All men have the stars, but they are not the same things for different people. For some, who are travelers, the stars are guides. For others they are no more than little lights in the sky. For others, who are scholars, they are problems. For my businessman they were wealth. But all these stars are silent. You–you alone–will have the stars as no one else has them–"

In 2016, YIRI Arts used the concept of an “Illustrated Encyclopedia of Art” as a uniting theme and inspiration for the curation of its exhibitions, systematically connecting the artists it represents. The Encyclopedia includes botanists, anthropologists, zoologists, astrologers, archaeologists and others in an interdisciplinary exploration of various perspectives, providing multiple lines of thought and enriching the medium of visual art.

This exhibition features Taiwanese artists Chen Yun, Lai Wei-yu, Chiu Cheng-hong, and Li Cheng-liang, accompanied by Guim Tio of Catalonia. Together, they interpret the entry on “Astrologist” in the Encyclopedia. The roots of Astrology can be found 3000 years ago, originally as a way for kings to predict the fate of their nations. Gradually, everyday people became subjects as well, as interpretation of constellations above for glimpses of the future and destiny awakened a hunger for knowledge of the unknown. Faced with the contradiction between desire and fulfillment, we can interpret this as a path of self-cultivation guided by the stars. Artists are sensitive by nature, blessed with adventurous spirit and idealized perspectives, guiding us on a fantastic journey.

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05.10.16 - ART FAIR Cologne 2016 | YIRI ARTS

2016.1027-2016.10.30  科隆國際展覽中心

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Art Cologne 2016 | YIRI ARTS
參展藝術家 Artist | 賴威宇 Lai Wei Yu
時間 Time | 2016.10.27(Thu.) – 10.30(Sun.)
地點 Venue |koelnmesse, Hall 1 and 2 Booth:F07

因繪畫而繪畫

賴威宇的創作大部分都透露的一股玩世不恭,畫面的建構紛雜熱鬧,你能從中閱讀到大量的資訊,關於記憶的、關於情緒的、關於超脫於這個世界的,在一片看似毫無系統的狀態下,組成賴威宇的奇想境地。

而賴威宇創作中的其中一個面向,「羅曼小史」系列作品,社會議題色彩濃厚,內容回到了現實,描寫人於社會活動中的形象,這些社會化的演變過程中所產生的各種衝突、摩擦,刻畫了一個時代的共通經驗。透過黑白速寫的方式,日常生活中那些莫名的緊張、恐慌與打擊,彷彿雲淡風輕卻又直擊底心。我們從畫面中所能擷取到的一瞬靈光,也許來自身邊的親友、工作或是喧鬧的媒體,隨著時間的流逝,或是消散、或是縈繞在生活周遭,久未離去。

在賴威宇的觀察裡,生活中的吉光片羽,承載了來自外界無法抵禦的入侵壓力,隱約連自己對自己都感到陌生,將這些歷歷在目的過往記憶提取並封存在畫面中,透過儀式般的大量紀錄,一方面釋出對社會快速變遷下種種不歡快的反應,另一方面又幽默輕巧的承受了生命中的重量。

Drawing to draw
Most of Lai Wei-yu’s works reveal a sense of cynicism. In the busy, bustling scenery, you can gather considerable hints of information – of memory, emotions, breaking free from this world – this place of apparent disorganization is his whimsical fantasyland.

His “Petit Romances” series of creations are heavily colored with social commentary, as subject matter returns to reality, depicting daily activities and the friction and clashes caused throughout the process of societal change, resulting in the shared experience of an era. Through black and white sketches, the inexplicable fear, anxiety, and setbacks of each day seem light and ethereal, yet strike at our feelings with precision. In each scene, we glimpse sudden inspiration, perhaps from friends, work, or the media – and with the passage of time, it dissipates or revolves amongst us, lingering.

In Lai’s observations, inklings of life bear unstoppable external pressures, to the point where we are strangers even to ourselves. Collecting these memories in a visual archive, this nearly ceremonial chronicling is a reaction to the turmoil caused by rapid societal change, while at the same time easing the burdens of life in a humorous way.

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