Taipei Dangdai 2022

古老的大鐘 My Grandfather’s Clock|台北當代 Taipei Dangdai 2022

伊日藝術計劃2022年台北當代藝術博覽會將以19世紀美國童謠「古老的大鐘」為主題,帶來兩位藝術家分別與「時間」這個題材為之對話。「古老的大鐘」描述一個古老的擺鐘因為主人們的相繼離世,而時鐘的報時功能也相繼震盪直到停擺。二位藝術家皆以自身或周遭的時光去討論歷史的物換星移與人們間的情感關係,藝術家平子雄一關注城市與叢林間的時間與空間,呈現出人類與自然間的社會行為與不同的互動心理狀態。而在時永駿作品中則對時間的流淌與驟變有著深刻的感知。  

平子雄一在英國求學的旅居期間,將作品核心落在紀錄各種不同國族民情的不同綠化習性。人類踏出了叢林進入城市定居,卻又在休假日回到了叢林。然而這樣的城市時間並未影響到人類的生物性本能以及與自然連結之本能,在時間與空間的不停轉換中達到了專屬現代人的迷幻平衡。

時永駿的父親是一位來自中國的軍官,在父親的影響下,時永駿的生命中經歷了文化的熔接與地域的解構與重組。而他透過蒐藏老件、結合裝置、搭設場景後進行攝影、繪畫,進行了從三維跨向二維的全媒材創作,用他的方式記錄下時間的流動與生命存在的痕跡。

For the 2022 edition of Taipei Dangdai, YIRI ARTS will presents a two-person presentation of new and significant works by Yuichi Hirako, and Shih Yung-Chun.  

The personal selection, made by YIRI ARTS and titled ‘My Grandfather’s Clock’, draws inspiration from a 19th century American nursery rhyme. The song depicts an ancient pendulum clock which has lost its function due to the successive deaths of its two owners and the pendulum stopped swinging eventually. Correspondingly, this presentation brings together two artists with a strong emphasis on ‘time’. It seeks to explore the multiple meanings and historical relationships between objects and people.

Japanese artist Yuichi Hirako’s paintings draw attention to the constant shifting of time and space between the urban city and the wild forest, presenting the distinct behaviour and psychological register of human beings. Taiwanese artist Shih Yung-Chun’s works have a deep perception of the flow and unexpected changes of time. 

Yuichi Hirako, during his studies in the UK, started focusing on recording the various types of greening habits among different cultures and nationalities. Humans stepped out of the jungle and entered the city, and return to the jungle during the holidays. The city in time has not affected the biological instinct of human beings in terms of the pursuit of their natural instincts. Somehow, the constant shifts taking place between the urban city and the wild forest have reached a distinct balance for modern people in his works. 

Shih Yung-Chun, his father was an army officer from China; under his father’s influence, Shih experienced the cultural fusion and reorganisation of regional alienation. He underwent the process of collecting vintage pieces, combining them into an installation, staging the scenes, and documenting them in photography and paintings. From three-dimensional to two-dimensional all-media creation, he uses his unique style to record the flow of time and the traces of life.



平子雄一 Yuichi Hirako

頭部為樹叢,下半身穿著各式衣類,似人非人似怪非怪的小樹人,正是平子雄一作品中的主要角色,而相伴在小樹人身旁的是黑貓白貓或是其他動物,背景則環繞著不同品種的樹叢花草,色彩繽紛的森林畫面讓人看得目不轉睛,待仔細細看後又能沉醉於畫面中的氛圍。藝術家就像是自然童話的守護者,在他畫筆下的大自然、森林樹木、花朵種子、動物昆蟲、人類樹人,共組成一個個富含故事性的畫面,吸引我們走入通往森林自然的道路,開始反思人類、植物、大自然三者之間的相處模式。

平子雄一「植物系列」作品的出發點,始於他在英國留學時的生活經驗,在倫敦當地十分盛行人造庭園的風氣,從公園、博物館、美術館、住家陽台等皆有著經由人工精心整治過的綠地植栽。平子有感於當地都市人對於這些「人造自然環境」的喜愛,與自己出生成長於佈滿林木和山丘「天然自然環境」的日本岡山縣相比,他將這兩個現象融合於作品中,繁盛茂密的樹叢葉片、張狂彎曲的樹幹枝節、五顏六色的花朵線條,充分展現天然自然環境的全貌,而點綴其中的則是精緻的人工造物,如書本、花瓶、盆栽、樂器、木船等物件,畫面像是森林的自然景色細看則又如人工庭院般的造景。平子將「天然」與「人工」兩個元素融於作品內,藉此重新檢視現代都市人與植物關係之間的模糊地帶。

Yuichi Hirako, born in 1982 in Okayama Prefecture and now working primarily in Tokyo, has been producing art for which themes include the uncertainty and questions raised by coexistence between humans and the natural world. He intentionally portrays a vague representation of the boundaries between the internal (human society) and the external (the natural world), such as a human with a plant head or the inside of a room filled with overgrowing plants. A situation in which people and man-made objects coexist at the same level with nature could be a utopian world or a chaotic one.

We have various relationships with plants. We live together with house plants indoors, or we longingly re- create quasi-forests in gardens or parks. Some of our ancestors also gave special meaning to them. In my country, Japan, even plants have been given a God-like symbol of worship called “Shinboku.” Although plants live so close to us and share our living space with us, we might not be as conscious of their presence compared to other living beings that coexist with us. We do not share a bed with plants, nor do we directly communicate with them as we might do with other living beings. Despite their close presence, there is a clear boundary between humans and plants in the physical world.

The forests have been identified as both a place of sacredness and a habitat for devils. They have been viewed as uncivilized, barbaric objects of hate in Christianity and as holy sanctuaries among Animists in my country Japan, although such associations might not be as prevalent today. Nevertheless, these associations have something to do with the supernatural, something that transcends our human understanding.

If the plants are the children of the forests, they might really be the incarnations and more easily accessible versions of spirits, the Divine, or the Devil. Since plants are so unconsciously part of our daily life in our modern society, I see a lot of instances where the relationship between the plants and us humans is very ambiguous. The ambiguity stirs up my imaginations and imageries of various rich contexts between the human beings and the plants, and it inspires my works a great deal.


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.


古老的大鐘 My Grandfather’s Clock |台北當代 Taipei Dangdai 2022

Participating Artists|
平子雄一 Yuichi Hirako
時永駿 Shih Yung-Chun

2022.05.20-05.22
Booth | D10
Venue | 台北世界貿易中心展覽一館
Exhibition Hall 1 of Taipei World Trade Center