「心靈越界與歸返－臺南市美術館2020年典藏主題展」是基於臺灣當前社會與國際面對不可預期的衝突焦慮現狀，意圖跳脫地理邊界，越向心靈遠方，藉由本館典藏作品中的「觀世界回應世界觀」作為當代藝術與現實生活互動的辯證。微觀個人自嬰孩到年邁的生命各個階段轉變，亦即從體能、外觀、心態、意志之種種變化。當意念處於自身未明的曖昧狀態，飄盪起伏不定的思緒便無法找到安身立命的座標，人作為萬物之靈憑藉觀察自身與取樣他人經驗，如同逐步探索的地理疆界，推敲出生命的一幕幕場景，創造自我心靈邊界。

近年臺南市美術館典藏來自各方的作品，從單一媒材的精熟掌握，到穿透表層感知並發展至情意拓展的複合運用，皆可發現藝術家的動機與巧思。本次展覽精選本館典藏作品共計 53 組件，分兩階段展出，由「線引遊境」、「童年鏡相」、「盛美．凋零」、「凝心．意志」等四個子題作為檢視生命持續發生轉變的過程。

第一展區「線引遊境」的作品多可看見藝術家透過回憶為主題進行創作，編織、越界既有的空間及時間維度，彷彿回憶的時間線得到自由的舒展；第二展區「童年鏡相」，藝術家利用創作溯源兒時家鄉的自我生長認同與感受，想望與追憶孩提時代的「家」；日邁月征、流年似水，第三展區「盛美．凋零」的作品表現人與自然受造物面對時光流逝時，生命是如此短暫、渺小如微塵，但人的生命觀卻可以宏大與豁達。第四展區「凝心．意志」展現藝術家面對當代急速變遷的社會，透過創作技巧的運用，希望讓觀眾放慢步伐、凝聚心神，察覺因文明發展而造成的環境問題，以及在詭譎多變的國際情勢下，沉澱自己並勇敢往前。

當代人們生活依存的環境有著緊密的聯繫，當其中一環產生改變，就有可能破壞原本的生活模式，氾濫的訊息也有可能讓局勢持續擺盪在未明的泥淖狀態。藝術家的創作是一種凝視、探索與行動，再以作品多元表現，喚醒或舒緩人們麻木和疲憊的心靈；而策展是一種檢視、彙整、梳理、反省與回應，透過策展可發現那些多元表現的作品有著共同關注的議題。作品的世界觀可視為藝術家回應社會的自我生命的觀察，而本展精神，或許可視為透過藝術品展現人類面對有限的時間與不可測的未來時，那溫柔而勇敢的心靈狀態。

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As a response to the current situation of unexpected conflicts and anxiety that both Taiwan and the world are facing, Back & Beyond – Selected Works from the TAM Collection attempts to reach beyond geographical borders toward the spiritual faraway land, while the “world-viewing with a worldview” exhibits from the museum collection offer a dialogue between real life and contemporary arts. If we closely examine the stage-by-stage transformation of life from birth to old age, the changes can be noticed everywhere, including physical strength, appearance, attitude, and will. When one’s will remains in a state of unidentifiable ambiguity, the floating thread of thoughts will fail to find its own reassuring coordinates. Human beings, with their spiritual superiority to all creatures, have the ability to observe the selves and learn from others’ experiences, like a slow journey exploring beyond the geographical borders to speculate on the continuous scenes of life and to create the border for one’s own minds and spirits.

Tainan Art Museum (TAM)’s collection in recent years features a wide range of artworks, from the skilled command of a particular medium to the mixed media that penetrate the surface perceptivity and expands the sentiments, while all of them are characterized by artists’ unique motifs and clever creativities. The exhibition this year will proceed in two phases and present a total of 53 pieces/sets of artworks from the museum collection, categorized into four subtopics “The Scene of Flowing,” “The Mirrored Childhood,” “Flourish and Wither,” and “Will and Concentration” to investigate into the constantly transformative process of life.

The exhibition starts with the section “The Scene of Flowing,” where we see most of the works drawing on the theme of memories, either weaving with or reaching beyond the existing dimension of time and space as if the timeline of the memory is liberated and relaxed. In the second section “The Mirrored Childhood,” the exhibiting artists trace their childhood feelings and the awareness-building of growing up, intimately attached to the native land, via art-making to envision and to memorize the “home” of their childhood. The third section “Flourish and Wither” features artworks that emphasize the immense possibilities of our philosophy of life in its own magnificence and grandeur regardless of the dust-like ephemerality, be it the human’s or any other creature’s, in the passage of time. “Will and Concentration” in the fourth section demonstrates how the artists deal with today’s rapidly-changing society through their artmaking techniques, allowing audience to slow down, to concentrate their attention to the environmental problems resulted from a progressive civilization, and to recollect their minds as they march toward the turbulent international situations with courage.

Our life is closely interconnected with the environment. A changing link can easily destroy the lifestyle we have, while the overloading messages may also keep the situation dangling in the muddy obscurity. The artists’ work is a gaze, an exploration, and an action visualized as multiples artistic expressions to wake up the sleeping mind and to offer a relaxing recovery from exhaustion. Meanwhile, curating becomes a way to examine, to structure, to compose, to reflect upon, and to respond. By curating, the diverse artistic expressions seen in a wide range of artworks may reveal the same concern they share. The worldview carried by an artwork can be taken as the artist’s self-observation in response to the world, and the spirit of the exhibition is likely to unveil the gentle but yet risk-taking mind of human beings in the face of the fathomable time and the unfathomable future.

吳繼濤 Wu Ji-Tao
杉浦康益 Sugiura Yasuyoshi
李足新 Lee Chu-Hsin
周永忠 Chou Yung-Chung
邱國峻 Chiu Kuo-Chun
洪碩甫 Hung Shou-Fu
翁資雄 Weng Zi-Xiong
許雨仁 Hsu Yu-Jen
陳水財 Chen Shui-Tsai
陳典懋 Chen Tien-Mao
陳建發 Chen Chien-Fa
陳春祿 Chen Chun-Lu
黃文英 Huang Wen-Ying
黃郁生 Hwang Yue-Sheng
黃智陽 Huang Chih-Yang
楊順發 Yang Shun-Fa
蔡宏霖 Tsai Hong-Lin
盧明德 Lu Ming-Te

（依姓氏筆畫排序）