YIRI ARTS 伊日藝術計劃

Current

1F /

萬華鏡 kaleidoscope

展期|2021.11.25–12.11

「在色彩斑斕的畫作裡,我們窺見的是藝術家各自精彩的生命故事!」

每次的旋轉都讓眼前的世界變得未知,有時猜想的到;時而出乎意料,一面鏡接著一面鏡,是我們小時候熟悉的萬花筒,也是生命每段時刻的風景,日日月月、年年歲歲。

藝術家各自作品的詮釋像是人們遊走在一座森林。無論運用什麼媒材,他們的色彩、形體、解構與重組,平衡了自己面對社會或人生的議題。每個意境都是內心的投射;而每一個轉角都是新的開始。

叢叢的樹木也讓每一束光透射的耀眼,藝術家真誠創作的表達形成童趣的視覺,而線條的流動似水,色塊大膽地恣意停留,種種的看似違和,卻成就了每件獨有的作品。有動物與人的相處,有獨自陪伴著自然,無論什麼樣的姿態,保有赤子之心,我們都會是自己最精彩的萬花筒人生。

Each rotation of the kaleidoscope makes the world in front of us unknown unexpectedly. Where one mirror after another is the kaleidoscope that we were familiar with when we were young, just like the scenery of every moment in life.

Looking at the nine participating artists works seem as if immersed in the woods. Where they used colours, shapes, deconstruction and reposition somehow relieve and comfort the worries in our lives. Every artistic conception is a projection of the inner world; and every corner is a new beginning.

The clumps of trees also make every beam of light dazzling. The artist’s sincerely created expressions form a childlike vision, while the lines flow like water, and the colour blocks stay bold and arbitrary. All of which seem conflicted, yet have made every piece a unique work. With animals getting along with humans and surrounded by nature, no matter what kind of posture, we will be our most wonderful kaleidoscope of life.

_

參展藝術家 Participating Artists|
平子雄一 Yuichi Hirako
伊藤 彩 Aya Ito
柏原由佳 Yuka Kashihara
小出ナオキ Naoki Koidei
工藤麻紀子 Makiko Kudo
蘿拉・琳伯格 Laura Limbourg
中屋敷智生Tomonari Nakayashiki
楊・紹馬爾 Jan Soumar
莫妮卡.蘇畢迭 Mònica Subidé

B1 /

下午三點三十四分到六點十六分,一個時間可見的三角形
A triangle, 3:34 to 6:16 pm, a time-visible triangle

侯辰璐小個展 Hou Chen-Lu Solo exhibition

展期|2021.11.25–12.11

榮獲無數獎項的冷色調電影《鋼琴教師》(La Pianiste, 2001),悲劇式的詮釋壓抑及慾望。在控制慾望強烈的母親管教下成長,造就了嚴肅、莊重的鋼琴教師Erika Kohut。然而長期壓抑的她,內心充滿矛盾、憧憬著被虐待、被征服的快感。她流連於色情綠影帶店、透過沾染精液腥味的衛生紙上獲得滿足、躲在浴室自虐來感受自我陰道的掌控權。

Erika是壓線的那位,她壓的是心中那條道德和禁忌線,而這條線正是那父權社會下產品。

侯辰璐的作品更有種歇斯底里,你說她壓線嗎?畫中的女人騷動卻又安份。你說她壓抑嗎?我會說她創造的更像是當代女性的風景百態,各自焦慮,各自生存,各自囂張。

侯辰璐以山東老家中的公共澡堂為背景,建構出一系列令人引發好奇心的誘人空間。值得注意的是,畫面大量出現日常生活中常見的磁磚,格狀線條的描繪就像是鐵籠般的存在,也是侯辰璐在展示「控制」的隱喻符號。她企圖傳遞的是對社會框架的諷刺,以及在框架下卻又擋不住女性的慾望漫延。作為觀看者,我們變成了偷窺者,我們似乎是從外面觀看這些場景。侯辰璐巧妙的操弄社會對女性的放大凝視,但她筆下的女人,是享受著嗎?

鋼琴教師病態的壓抑慾望最終形成毀滅性的結局,而侯辰璐則遊走在那壓抑中,細碎而緊張的走動著。態度相較於Erika更為大膽與不耐,無視著她所指的控制者並繼續過著獄中生活。她的畫面儼然成為一種掌握控制者的生態系,對於控制這件事的習慣已是生活一部分。

The process of creation is one of exploration and escape. Any hesitation or paradox throughout ultimately finds itself chronicled and depicted in a final viewing perspective. The artist’s childhood memories include accompanying her parents to the factory where they worked, a collective production environment typical of the 90s, where everyone would go to the public baths after work before returning home.

She remembers the wafting steam in the baths, and the plump middle-aged bodies of the women from the factory. In her works, Hou Chen-lu constructs small interrelated scenes to guide the viewer’s perspective, restoring elements of the painting through pottery. Heat from the hands leaves its mark in the sculpting process, creating a sense of warmth and time. The jet-black ink strokes on coarse grass paper also create something familiar and close.

The emotional release from creation manifests itself in a sense of madness permeating her works , in which she has created a “garden” both for the viewer and for herself, in which we find things of her imagination – a woman with three breasts, transactions, complete remains… these “archaeological” finds are a reexamination of our modern beauty standards, as societal values overcome personal tastes and preferences. As such, Hou seeks to challenge these definitions, to see if they are indeed so absolute.

畫廊公告 / Announcement

為方便大家觀展便利,我們已取消線上預約制。

其他:
1.請配合實聯制。
2.體溫超過37.5度,不得入場。
3.參觀時需全程配戴口罩
4.若有頭痛、咳嗽、其他不適,請勿前往參觀!

為守護大眾與畫廊人員健康安全,敬請體諒。

In accordance with the COVID-19 prevention measures, visitors must complete the CDC contact registration,
temperature check and sanitize hands on entry. A mask must be worn at all times.
Visitors without a mask or have a fever will not be admitted. Thank you for your cooperation.

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。

第四件作品Félix Blume「Horses Talk: Dii, Hai, O and other horse words」,在羅馬尼亞境內有一個小村莊—貝內蒂(Benesti),位於距離首都布加勒斯特(Bucharest)以西要數小時的車程。當地人會拖著馬車到田野、河畔旁,帶著剛割下的乾草與沙子回家。路途中駕馬人和馬之間彷彿有著特殊的語言,已指示該遵循的方向與速度,像是Dii(前進)、Hai(加速)、O(停下來)。

藝術家帶著錄音機於田野中騎著馬兜風。對於羅馬尼亞語不熟悉的前提下,菲力斯語馬之間的交流是透過聲音和手勢,而這種特殊的「馬語」溝通也就成為了他與在地的交流方式。以往人們與動物都是以自己的方式邏輯來了解彼此,但就在藝術家語馬之間的交流過程中發現,聲音的感知力更勝於文字或其他語言。作品引導我們仔細聆聽人類與自然交織的語調、節奏與旋律。

自古以來人們對於跨越族群兩端的方式皆是艱辛且進步緩慢的,藝術家以「馬語」和自然聲音轉換為溝通方式,同時也對人類的語言作為首要溝通之地位提出了質疑。

第五件作品謝佑承「裁判椅」,在日常的物我關係中,人與物件不只具有功能性的關係,觀察文化與物的連結,藝術家同時在想像自身在群體社會中有關身為「人」的存在處境。在這件作品裡,謝佑承再製了一張裁判椅,使一張帶有權力視角的高椅失去平衡而具有危險性,意圖從邊界上試探其他方法作為回應現實的可能性。

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