YIRI ARTS 伊日藝術計劃

Current

1F /

All Her Bright Times|Peihang Benoit Solo Exhibition
她山|黃沛涵個展

策展人 Curator |賴駿杰 Jay Chun Cheih Lai
展期|2021.04.29–05.22

有時候,我們必須透過想念,才能真正開始理解一個人。
Sometimes we could only fully understand a person, when we miss him/her.

我們總是在回望過去時,才意識到自己成長的經驗,與「國/家」或「父權」等意識形態始終脫離不了關係。那些所謂「不想長大」而延伸出的對於父權之抵抗,也隨著歲月移轉而銘刻在生命經驗之中,這也是藝術家黃沛涵一路走來的創作核心:從過去明顯帶有女性主義色彩的「肉身童話」系列、到後來關注歐陸移民/難民與國家政策的系列畫作等,皆是此脈絡下的思想成果。而此次展出的新作,則是透過「(救國團)青年活動」連結了母親的成長歷程,在「她山」的兩相對照下,有些風景彷彿似曾相識,歷歷在目於藝術家對於自我的理解與記憶。陽光、明亮且風光明媚的山林景色,對於未來充滿憧憬的「青年」,漫步在過去由黨國所設定的教化場景,挑戰的是「需要被征服的山岳」;征服它才是有為青年。而美好家庭,更要親近自然以培育身心健康的下一代。自然與風景,成為某種國家教化所必須的人格設定場景,而如今,它透過家庭相本被流傳下來,展示的是青春有為的「國家青年」。

It is most often that looking back to the past wakes in us the realisation of how our coming of age experience is tightly tied to ideologies like ‘nation/family’ or ‘patriarchy’. As time passes by, the resistance to patriarchy that derives from the ‘reluctance to grow up’ has left a deep mark in one’s life experience. This has become the core of Peihang Benoit’s artistic practice, a notion developed under the same context and manifested in the Fleshy Fairytale series which has an obvious feminist approach, and her later series of paintings that focus on the issues of European immigrants/refugees and the government policies (in the Wonderland series). Looking at Peihang’s new works for this exhibition, the artist manages to perceive connections with her mother’s process of growth through “(China Youth Corps) Youth Activities”. Encompassed in the pun and contrast in the title of the exhibition All Her Bright Times (她山) are landscapes almost seem to be a Déjà vu and vividly present in the artist’s self-knowledge and memories. To ‘the youth’ who were full of aspirations for the future, the bright and beautiful mountains and waters were a disguise of the setting built by the party-state system for political enlightenment. In order to be one of the promising, one had to conquer the ‘mountains that needed to be conquered. To a family that is loving and supportive, one should be close to nature to raise and nurture healthy children. Nature and landscapes have become the necessary setting for a certain kind of national indoctrination, and now it is passed down through family albums, showing us the promising ‘youth of the nation’.

黃沛涵的創作本就有著細膩且多層次的情感,而在離開臺灣一段時間後,歐洲的生活歷練與重要生命轉折都在各種意義上豐富了她的表現手法。「她山」將展出其更臻至成熟且全新面向的作品,揭露黃沛涵與其母親之間的各種羈絆:如何影響她對於女性與專業工作者在家庭與社會上的角色認知,特別是在經歷了喪母之慟與初為人母的喜悅之後,如何能剝除附加在身上的假面「肉身」。削肉,除了回應藝術家過去的肉身童話系列脈絡外,在此也指涉同時帶有喜悅與極度苦痛之「新生」所卸下的心頭之肉;斥出母親在自身沉宕已久的欲望之不可得(某種缺陷),也弔詭地,藉由「成為母親」來填補身上可能有的孔洞。以時間的堆疊與破碎為方法,再次回頭、由外而內地審視自身,想望與紀念其母親。我們將訝異地發現,時間絕不是單純地前行,而是在無數的重複與相互掩映下, 揉雜而出總是相似的面貌。正如同其畫作所運用的方法,場景被重組,而現在潛行於未來。女孩/ 女兒如何理解母親的時代與記憶,以及黃沛涵對於過去的想像與未來憧憬,皆被潛在地編織、交纏在此系列畫作裡。

Peihang’s oeuvre embodies delicate and complex emotions, and after some time away from Taiwan, major life transitions and life in Europe have enriched her artistic approach in various senses. All Her Bright Times features her more sophisticated new works with new aspects, revealing the intertwined ties between the artist and her mother. The mother-daughter relationship influences her perception of the role of a woman and a professional in the family and the society, and takes off the mask made by ‘human flesh’ attached to her, especially after experiencing the grief of losing her mother and the joy of becoming a mother herself for the first time. The slashing of flesh not only echoes the artist’s earlier series Fleshy Fairytale but also refers to labouring (‘new-born’), the process of giving birth and pushing off the precious flesh of one’s child in great joy and extreme pain. It exposes the artist’s long desire of attaining the unattainable from her mother. The pain has encroached on her yet paradoxically by ‘becoming a mother’, she has filled the void in her. By overlapping and scattering time, Peihang looks back and scrutinises herself from inside out in memory of her mother. We would be surprised to find that time does not simply move forward, but under countless repetitions and piling, kneading into similar faces. Just like her paintings, the setting is reorganised and traces of the present would sneak into the future. The way a daughter understands her mother’s times and memories, Peihang’s imagination of the past and the vision for the future are woven and intertwined in this series of painting.

濃郁、不透徹且帶有高度白粉顏料的色彩,恰與那清晰、彷彿歷歷在目的「相簿」成顯著對比;明亮的戶外場景被抑鬱的天空所取代,而澄澈溪流也成為靜默的一片藍色。
不可能走過第二次的藍色河流,或許,才是人生與記憶真正的顏色。

The rich, opaque and chalky colours are in sharp contrast to the clear, seemingly vivid ‘photo album’. The bright outdoor sceneries are replaced by an overcast sky, and the clear stream becomes a glide of silent blue.
The blue river that cannot be walked past twice is, perhaps, the true colour of life and memory.

撰文 Text / 賴駿杰 Jay Chun-Chieh LAI

B1 /

Dark Wall|Wei Po-Jen Solo Exhibition
黑牆|魏柏任個展

展期|2021.04.29–05.22

行為場次|Performance session times
01/04.30 Fri. 13:00-17:00
02/05.07 Fri. 13:00-17:00
03/05.14 Fri. 13:00-17:00
04/05.21 Fri. 13:00-17:00


「考察來自原始部落及過去偉大文明的許多怪異儀式時,這些儀式引導人們跨越那些艱難的轉化門檻—同時要求意識以及無意識生活模式的改變…。在原始社會生活中佔有顯著地位的所謂成長儀式(出生、命名、成人、結婚、喪葬等禮儀),藉由正式且非常嚴格的隔離練習(exercises of severance)而凸顯出來;透過這種練習,心識與前一階段的態度、執著和生活模式全然切斷。

接下來會有一段或長或短的隱退間隔,此時制定好的儀式將引介生命歷險者,進入他生命的形式及固有的感受中,所以最後當回歸日常世界的時機成熟時,被啟蒙者便有如再生一般。」 ――喬瑟夫.坎伯《千面英雄》

牆內和牆外是兩種不同階段的歷程,身處其中感受周遭事物,辨明所在之處。跨越了牆,認清了牆的樣貌。

過往的創作中,嘗試以自身身體體認家庭關係之於人的影響,在每個創作階段,重新回望,再次經歷那些特定記憶的時刻。這次,嘗試將自身融入在萬物之中,以聲音傳導,喚醒細微記憶。


魏柏任,一九九三年出生於新竹,畢業於國立臺北藝術大學美術學系、國立臺北藝術大學美術學系碩士班創作組。作品由一卷家庭出遊錄影帶作為開端,使其真正開始思考家庭關係、家庭之影響,對於如何理解自我主體、個人歷史、情感傷痛和親屬關係的再思考與詮釋。並且著重在成長過程中特定記憶所帶來的感性激發,透過身體表演、影像、裝置、雕塑、素描與物件,塑造具個人經驗、記憶拼湊、情感投射、劇場性、儀式性與延續性的心理空間,藉由矛盾、痛苦、創傷、變態和私密的內在情緒,成為一種自我理解、消化、填補以及再詮釋的方法,一種此刻對於過去種種疑惑的轉化與挖探。

A home videotape recording travel memories with families triggers the rethinking of his relationship with family and the influence it brings, which further encourages him to rethink and explicate himself, his private life experience, sorrow in relationships, and family. With a focus on sentimental stimulation brought from his growing stage, he transfers the trauma from his family into physical performances, videos, installations, sculptures, sketches and objects. He builds up a theatrical, ritual and continuity inner space with personal experiences, fragments from memories and emotion reflection.Through the contradictory, painful, traumatic, metamorphic and private inner emotions, he concludes a method to understand oneself, digest, fill up and reinterpret the doubt he has been digging from the current stage.

Rooftop /

Horseman on The Roof 屋頂上的騎兵

一個出身貴族的義大利革命青年,因為企圖暴動失敗,被奧地利秘密警察組織追殺,一路躲避到了普羅旺斯。沒想到,當地爆發了嚴重的霍亂,一個村莊蔓延到另一個村莊,滿目瘡痍、屍橫遍野。封城、隔離、人心惶惶、自生自滅。被懷疑下毒的男主角,在當地居民失去理智的瘋狂追捕下,倉惶狼狽地躲上了建築物的屋頂。然後,他遇見了一隻流浪的貓、也遇見了故事裡的女主角⋯⋯⋯⋯

這是法國作家尚·吉歐諾的小說作品;1995年,曾經改編拍攝成電影;也是我們今年度天台空間的策展主題。

就像翻閱一本小說,必須一個章節一個章節地慢慢閱讀;也像是拼圖遊戲,直到每一塊都出現,畫面才會完整。
這個展覽裡的八組作品,將會在今年裡,一件一件地,出現在這座天台上。

第一件作品,是藝術家王煜松用保麗龍空箱、水泥、磚塊、野草、廢棄木板,現地搭建出的一座微型城市。這組作品的前身,是2020年潮藝術節,他在基隆正濱漁港碼頭展出的《一層層-丘陵,集散地,漁網,魚貨,鳥,港口》。拆解、移動、重組、新生。

第二件作品是李承亮「月球太空計劃」,藝術家認為我們被大量的生活用品包圍。生活便利,事情變得快速。食物有即食包裝,只要微波加熱。衣服冬天heat-tech夏天cold-tech。住在標準化的水泥方格裡,看電視、上網。
交通工具將時間和距離壓縮扭曲。生活方式十年一巨變,與幾億人一起被動地無感、停滯、不知所措。日復一日的重複或許已將我剝離了所在之地,所處之境,像是生活在漂浮著的單人星系。

第三件作品蕭有志「自由小屋」,這座在台南鴿舍工廠、用預製工法、手工製作、底座安裝了九個滑輪的可移動微型建築,透過旅行,由北到南、從西到東,在不同的場域裡,介入、探索、實驗、打破、連結,總是在尋找建築與空間的更多可能性。

第四作品陳聖文「十米外的自由」,以伊日藝術計劃周遭的鐵件加工廠為發想,座落在其頂樓的鳥籠與其周遭的高樓環境看似相似又反差。此空間內飼養的紅腹錦雞源自中國甘肅,18世紀後因外型亮眼具觀賞價值而被出口各國,其生存環境從無邊際的自然場域逐漸被限縮,如今這看似限制行動的狹小牢籠,儼然已成為他們遮風避雨的家。當時的藍天及綠地,如今雖然不具意義,但那徜徉天地的自由,是否也隨著生活場域的不斷變遷、轉換,失去了意義?抑或是因著眷養的模式,籠內生命的消逝與新生,自由有了不一樣的詮釋方式?

以常見的不鏽鋼紗網作為材料,其穿透的材料特性表示不願被束縛的內在流動本質,亦與紗網的限制及隔絕用途特性相對映,在渴求自由與安逸生活中相互穿梭對話。腳部的材料取自鐵件工廠的剩材,凹曲彎折厚型塑成各式造型,傳達紅腹錦雞在代代繁衍後落地生根的現況。

相隔著10米的距離遙遙相望,嘗試透過創作思考非人生命與我們之間應有的理解與尊重。

歡迎步上天台,用小說中男主角的視角與心情,靜靜地欣賞、感受這一件作品。

‘Horseman on the Roof’ group show is now open!

An idealistic revolutionary and an indomitably fearless soldier of noble character who had to go into exile for some time due to a duel. The journey home took him to Provence, unexpectedly he found the region ravaged by a cholera epidemic, in which one village spread to another, devastated and corpses all over the field. The lockdown, the isolation, the fear and the agonizing deaths of the victims.

The inhabitants of one village are convinced that someone is infecting their water deliberately. To escape the mob, he climbs onto the roof of a nearby building, where he is forced to spend the night, with a street tabby for company, as well as stumbles upon the leading actress of the story……

The Horseman on the Roof is a 1951 French novel by Jean Giono;
In 1995, it was made into a film of the same name.

It is also the curatorial concept for an exhibition being organized in our gallery rooftop-space this year.

Just like flipping through a novel, you must read it chapter by chapter, slowly.

Or, like a jigsaw puzzle. The picture will not be complete until every piece appears in place.

In this exhibition, the eight unique works will be revealed in the rooftop-space one by one.

Cabinets of curiosities /

呼應博物館的前身概念,以大廳後方的常設珍奇櫃,巧妙連結畫廊空間的演進脈絡,展示動植物標本、老式電影放映機等各地蒐羅的珍稀收藏,

而坐落轉角處的巨型書櫃藝術作品,則是透過黃檜樑柱櫃體,裁切鐵皮屋頂化為書本及早期外銷的大理石藝品,解構轉化重組,傳遞花蓮大理石產業的悠悠歷史。

The cabinet at the back of the hall contains responses to the history of displays, pertaining to the evolution of the gallery concepts. By displaying species specimens, vintage projectors, and various types of rare collections, we are attempting to remind viewers about the history of exhibition making.

The large bookcase installation sits around the corner and is made of Taiwanese cypress, several pieces of metal roofing, and export-products of marble statues; in particular, all these objects are from a Hualien’s marble factory. Through the actions of deconstruction and transformation, the artist conveys the long history of East Taiwan’s marble industry.

Collection of YIRI ARTS/

穿梭於飾以幾何雕花的復古階梯,猶如身處「艾蜜莉的異想世界」電影場景,強烈視覺撞色烘托奇幻氛圍,而歐洲老房屋內常見階梯牆面掛滿家族照片。

以此為發想靈感,眼前所見集結多位來自多國長期合作藝術家的平面繪畫及雕塑作品,遊逛其中便可窺知「伊日藝術計劃」的獨特風格。

Walking through the retro stairs decorated with geometric carvings, these are somehow immersed in the movie scene of ‘Amélie’ (2001), with strong visual clashing and a sense of an old European family photo wall to which enhance the fantasy atmosphere. Through this inspiration, we present a collection of paintings and sculptures by our represented artists across multiple countries. You can catch a glimpse of the unique style of YIRI ARTS.

Free Art
Petit Garden/

自由應是一個使自己變得更好的機會!

打造一個平台,破除所有限制,試圖開啟一個對話性的場域、視覺界域之外的想像空間,讓藝術自由的在這裡發生。

Freedom should be an opportunity to make oneself better!

To create a platform that breaks restrictions and attempts to open up a dialogue field, an imagination space, let the art be created here freely.


About 詹詠幀 CHAN Yung-Jen

藝術家詹詠幀的一件水循環裝置,當水盈滿赤燒紅陶人像的內部時,將化為人偶的眼淚流洩而出。創作者用我們最原始的本能探究在一片正向肯定到病態的社會中,這種只能做不能說的示弱小動作,關係著自我到群體、個體至社會中情緒微弱的細膩流動。

水循01
複合媒材|2016|尺寸依場地而定

地點|伊日藝術計劃
地址|台北市內湖區新明路86巷1號
電話|(02) 2786-3866
信箱|gallery@ms.yiri.com.tw
時間|Tue. – Sat. 13:00 – 19:00 週日、一休館