© COPYRIGHT YIRI ARTS 2014

Art Fair

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
__________________________
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

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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12.07.16 - 動物學家 Zoologist 2.0 | 伊日藝術Yiri Arts @臺中藝術博覽會 Art Taichung 2016

2016.8.19-2016.8.21 台中日月千禧酒店 Room:1410

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【動物學家2.0 Zoologist | 臺中藝術博覽會 Art Taichung】

展出藝術家 |

李世文Li-Shih-Wen、邱君婷 Chiu Chun-Ting

楊宗嘉 Yang Zong-Jia、蕭聖健 Hsiao Sheng-Chien

蕭聖健 Hsiao Sheng-Chien 、蕭旭凱 Xiao Xu-kai

陳聖文 Chen Sheng-Wen、Haha Hazen 、Stephanie Chambers

 

展覽時間:

公眾展期 | 2016.8.19 – 2016.8.21.12:00-19:00

展覽地址|台中日月千禧酒店(台中市西屯區市政路77號)

展位 | Room : 1410

延續「動物學家」中七位藝術家的創作,藉由動物形態賦予象徵意涵,用藉此喻彼的說書技法,點醒人類在巨大的宇宙脈絡下,自稱萬物之靈的我們,該如何維持自身內在性靈的平衡,並與我們所生存的環境和諧共存。現實生活總是一團亂,我們都有極限的,我們都會犯錯,而當我們試圖更瞭解彼此,我們會發現彼此特別的差異,但是我們一定要去嘗試,不論你是什麼動物,嘗試去讓世界變為一個更好的地方,好好看透你自己並瞭解到改變由你開始,從我開始,也從我們所有人開始。

今年的台中藝術博覽會,伊日藝術以「動物學家2.0」為名,透過專精於不同媒材的藝術家,從平面繪畫、陶、金工、動力藝術及複合媒材等,藝術家化為動物姿態,因應於人類社會中的各種儀式,無論是懷念著過往時光的輝煌,或是從各方的壓力中尋覓一絲慰藉,進而對於自我人生的想像、探討生命恆久的意象等,這些不同生命經驗的碰撞,建構了對於生命價值的體悟,在每段不可言說的故事裡顯現昇華的人性溫度。

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28.06.16 - 伊日藝術YIRI ARTS@大阪藝術博覽會Art OSAKA 2016

伊日藝術YIRI ARTS@大阪藝術博覽會ART OSAKA 2016 VIP Preview | 2016.7.1 Open to the Public | 2016.7.2 - 2016.7.3 BOOTH | Room 6106 Venue | Hotel Granvia Osaka, 26th Floor

【伊日藝術YIRI ARTS@大阪藝術博覽會Art OSAKA 2016】

展出藝術家 |
蓮輪友子 Hasuwa Tomoko
陳聖文 Chen Sheng-Wen

VIP Preview | 2016.7.1
Open to the Public | 2016.7.2 – 2016.7.3
BOOTH | Room 6106
Venue | Hotel Granvia Osaka, 26th Floor

OLYMPUS DIGITAL CAMERA

蓮輪友子 Hasuwa Tomoko — 平行、光線

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開展出此個展的平行系列,呈現對於平行世界體悟的詮釋,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,並採取讓原本所有環繞在具象物件的深色勾勒,轉而為留白的手法,彷彿於留白的裂縫之處,靈魂才得以湧出,從留白中獲得意志的滿實,形成表達上的實存。

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陳聖文 Chen Sheng-Wen— 嘗試著用一根針來描繪世界的模樣

台灣藝術家陳聖文藉由創作表達對環境的關懷,參展藝術家陳聖文與「淨愛高山」團隊合作,以撿拾自北大武山、玉山等海拔三千公尺以上高山的垃圾作為媒材,透過細微的處理與刺繡巧妙結合,旨在於宣揚山林環境保育的重要性。希望喚起共同身為地球一份子的大家,彎下腰伸出手,一起還原最純淨的山林美。透過紀錄片誠實的表現了台灣山林目前的環境遭遇,並透過設計精準的傳達了人類與自然間的關係連結,深受評審親賴,勇奪新一代等國內設計節設計首獎。

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18.06.16 - 時絮之內 / 陳雲個展&伊日藝術YIRI ARTS@港都國際藝術博覽會KAOHSIUNG TODAY

陳雲個展&伊日藝術YIRI ARTS@港都國際藝術博覽會KAOHSIUNG TODAY 貴賓預展 | 2016/6/23 (四)15:00-20:00 公眾展期 | 2016/6/24 (五) 至 6/25 (六) 12:00-20:00 | 6/26(日) 17:00-19:00 BOOTH   | C09 展覽地址 | 高雄展覽館 | 高雄市前鎮區成功二路39號

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【陳雲個展&伊日藝術YIRI ARTS@港都國際藝術博覽會KAOHSIUNG TODAY】

時絮之內 / 陳雲個展 | Whispering of the hours / Chen Yun Solo Exhibition

展覽時間 |
貴賓預展 | 2016/6/23 (四)15:00-20:00
公眾展期 | 2016/6/24 (五) 至 6/25 (六) 12:00-20:00 | 6/26(日) 17:00-19:00
BOOTH | C09
展覽地址 | 高雄展覽館 | 高雄市前鎮區成功二路39號

將記憶具象化的藝術家-陳雲

Time and memory are true artists; they remould reality nearer to the heart’s desire.
時間與記憶是真正的藝術家;他們重塑現實更接近內心的渴望。
—約翰·杜威John Dewey( 1859-1952)

藝術家陳雲的作品大多數在描繪那些同時是抽象且具象的,必須利用蒙太奇的敘事去捕捉的。過去的記憶、和夢境中的體驗,都是自我曾經經歷過,卻無論如何都無法證明是真實的存在。而陳雲的創作,即是捕捉自己遙遠的記憶,也試圖喚醒觀者感知的總和。

陳雲的畫作有個特色,大多是以二到三幅組件的方式拼接而成,去年開始,從橫式的拼接逐漸轉向直式的拼接,從地平線的展開,轉變為拔地而起向下扎根的直式構圖,探索視覺心理、與向度上的衝擊。而她精心規劃的構圖,像是一首詩作,隱藏了現實與時空,僅留下一些有限的線索,像是定焦的場景、手的特寫、女人的背影,和微觀的物件或符號的畫面,讓觀者自行拼接組合獨立閱讀。陳雲像是一個領路人,打著微弱的光帶領觀者走入記憶深處。

Chen Yun’s works depict that which is both abstract and figurative, in the style of a montage. Past memories and dreams are things experienced before, yet their true existence is utterly improvable. In addition to capturing her own faraway memories, Chen’s works are an attempt to awaken the viewer’s own perception.

In her low-key style, viewers may find it difficult to read the figures clearly, yet there is the high degree of emotional concentration is clearly conveyed. In her words, it is as if you dream of someone, and while you cannot see clearly, your conscious knows exactly who it is.

There is a distinguishing feature to her works, which is that they are generally comprised of two to three works pieced together. Starting last year, she began to favor vertical placement over horizontal, a composition growing from the roots, exploring a new visual space expanding upward. Her carefully composed works are like poetry, hiding limited clues of space and reality, like a fixed-focus scene, the close-up of a hand, the silhouette of a woman, a microscopic view, or the image of a symbol, allowing viewers to piece together the work themselves. She is like a guide swinging a dim lantern, leading us into the depths of consciousness.

Chen is a faithful creator, a practical and hardworking person – picking out and removing key moments in everyday life with the expert precision of a surgeon, grinding and reconstituting them into works that appear new, yet also familiar and close to the viewer’s heart. In reading her works, there is never a sense of unfamiliarity – rather, it is as if our memories and dreams have been dug up from the deep, and given a new life.

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19.05.16 - Art16 London UK | 倫敦Art16藝術博覽會

2016.5.20-2016.522 英國倫敦  London OLYMPIA

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【 YIRI ARTS IN ART16 】
展覽 Fair | ART16 London
參展藝術家 Artist | 賴威宇 Lai Wei Yu . 時永駿 Shih Yung-Chun . 侯辰璐 Hou Chen-Lu . 金.提爾.撒拉路基 Guim Tió Zarraluki
時間 Time | 2015.05.19(Wed.) – 05.22(Sun.)
地點 Venue | Olympia London Stand:C9

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賴威宇 Lai Wei Yu  
藝術家賴威宇的繪畫世界,就像費里尼那匹暗藏禍心的木馬,呈現的是一張張千奇百怪的我城眾生相,奇幻誇張的情節,洋溢著叮叮咚咚嘉年華式的歡樂。從早期較為寫實的人物畫,到逐漸走向富幻想、象徵、劇場氣息的創作路線,賴威宇將看似荒謬的事件,以孩子般的遊戲心,將畫布塗抹得像費里尼的彩色萬花筒,邀請觀者進入其中一起狂歡、喧囂,但在陽光照不到的角落,我們同時也看到了人生的無奈與荒涼。

賴威宇的創作人生就如同一部又一部的電影,題材則是成長過程中不斷上演的精彩冒險。所有的希望、失落、驚懼、歡樂,就像不斷變換的蒙太奇,跳脫傳統敘事軸線,自由穿梭現實與夢境之間。藝術家從現實中汲取靈感然後綻放出燦爛的火花,在夢境的霧靄中翱翔以尋找現實的通道,在諷刺的布幕後掩藏一抹同情的悲涼,看似情理之中,卻又是虛構出來的浮世畫卷。也許這世界並不美好,甜蜜的生活下是分崩離析的殘片,於是我們需要電影大口呼吸,於是我們在這裡繼續做夢,以畫筆屠城。

Artist Lai Wei-yu’s world of art is like Fellini’s Trojan Horse, depicting the strange masses in exaggerated festive celebration. Transitioning from realistic portraits to the fantastic, symbolic, and dramatic style seen now, Lai takes seemingly absurd situations and explores them with a childish wonder, creating paintings reminiscent of Fellini’s rainbow kaleidoscopes, inviting viewers to revel and celebrate. However, in the dark corners neglected by the light, we also catch a glimpse of life’s frustration and desolation.

Lai’s creative life has been movie-like, featuring the exciting adventures encountered while growing up. Hope, disappointment, shock, and joy change constantly in a montage, breaking from traditional linear storytelling, traversing freely between reality and dreamworld. The artist derives inspiration from life, turning it into brilliant sparks, groping through the fog in search of a path, hiding a sad sympathy behind the veneer of satire. What appears rational upon first glance turns out to be fabricated Ukiyo-e. Our world may be a flawed one, broken pieces beneath seemingly sweet life – and so we need movies that allow us to breath. And thus we dream, sieging the city through art and brush.

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時永駿 Shih Yung-Chun
時永駿作品的獨特之處,在於他對時間流逝的滄桑感的表現力,不但在二維平面上巧妙地鋪陳出三維立體空間的向度,同時以擦拭、拼貼、暈染或磨損等手法,來製造一種第四度空間的聯想。他捨棄華麗鮮明的現實表象,刻意去挖掘人性深處所恐懼的許多不確定的記憶,那種不明就裡的模糊,深藏在每個人午夜夢迴的夢魘中,不能自主地浮現,卻又無法完全記憶,更不可能去掌握全貌。在時永駿多數的繪畫作品中,那些看似百般無聊的生活瑣碎事物,往往暗藏了他自己的突兀解讀,那些種種不合乎常規的情節,正是現實生活中經常被人們所忽略的。其實,那正是上一世紀超現實主義那一輩的藝術家,他們所表現出對於夢境的詮釋。時永駿以他獨特的視角,表達各種荒謬、怪誕的生活百態,以繪畫作為一個逃避現實的出口,將一切的不可思議、荒唐虛構都合理化了。他那貼近平淡題材中出人意表的駭人情節,更像是推理恐怖片裡的故弄玄虛,比超現實主義的藝術家所表現的夢境更遠離了現實。

The uniqueness in Shih Yung Chun’s works is the sense of vicissitudes of the fleeting time. Shih Yung Chun not only skillfully lays out three-dimensional spatiality in a two-dimensional space; further, by using techniques of abrasion, mosaic, color-gradation and rubbing, he creates an association to fourth-dimensional space. He discards the vivid surface of reality; instead, he deliberately digs the fear from blurred memories buried in humanity. Such bewildered gloom is hidden deeply inside every horror in the middle of the night. It emerges unconsciously yet can never be totally grasped, much less captured of its clear contour. Shih Yung Chun conceals his fanciful interpretations in the vagueness of the most trivial things appearing in his works, setting up irrational plots we often overlook in real life. This coincidentally corresponds with the interpretations of dreams from the surrealists in last century. From his unique perspectives, Shih Yung Chun expresses “life” in various quirky and grotesque ways. “Painting” is his exit for fleeing from reality. Here, he is able to rationalize every fantasy and fictional creation. The thrilling plots hidden under ordinary materials in his works are more like the mystifying tricks in horror movies, and are more deviant than from the surrealists’ dreams.

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侯辰璐 Hou Chen-Lu 
每個時代都會有主流的美感,什麼才是美?侯辰璐在雕塑作品中呈現出的三個乳房的女性雕塑,探討著什麼才是美,在美國影集美國恐怖故事畸形秀(American Horror Story:Freak Show)中的黛西莉.杜普里(Desiree Dupree)是為擁有三個乳房的女人,透過三個乳房來吸引男性的目光,在現實社會中Jasmine Tridevil(假名)為了上電視真人實境秀花了60萬台幣元整型多了一顆乳房,她的目的是希望讓自己不在吸引男人,她不希望再有任何約會。這樣的女性天生和後天的改變,三個乳房,是為了什麼?侯辰璐透過醺燒的方式讓陶塑本身可以呈現一種原始的樣貌,沒有釉色的包覆,透出陶瓷本身的材質感,讓看似考古出土的雕塑,女性的美,三個乳房的審美觀。

Every era has its own opinion regarding beauty of the female form; a mainstream view. Hou’s sculpture depicting a woman with three breasts explores our definition of this beauty; Desiree Dupree featured in American Horror Story: Freak Show is one such woman, attracting the gaze of countless men. In real life, Jasmine Tridevil (pseudonym) spent NT 600,000 on plastic surgery for a third breast in order to win a spot on a reality TV show – her goal was to make herself completely unattractive, with no desire to date. Three breasts, one from birth and the other through surgery – why? Hou utilizes smoldering technique to create raw pottery, choosing to forgo a glaze coating, displaying the original texture. The end result is sculpture that looks like an archaeological aesthetic relic, a beautiful woman with three breasts.

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金.提爾.撒拉路基 Guim Tió Zarraluki
金.提爾對於人性的透析已遠遠超乎僅對於臉部表象的刻畫,人們對於漂亮卻又令人不自在的東西感到視覺上的舒適與情感認同,深陷於景觀之中,而金就是個觀景人。金.提爾的化妝儀式是場盛典,讓所有捕獲的成為失去的,而後平衡。透過他,所有肖像都獲得了永生,不再有名字、名氣與其所賦予的權力等標籤附註,令迷失的靈魂有了全新的妝容。

Guim Tió’s understanding of human nature goes far beyond depictions of faces. People resonate visually with beautiful yet unsettling things, finding themselves deeply engrossed. And Guim? He’s an observer. His process of makeup is a ceremony, creating balance by discarding what was captured. Through him, all portraits are blessed with eternal life; nameless, without labels and corresponding baggage, giving lost spirits a new appearance.

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