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碰觸到風景背後的那一刻—在地連結展

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名稱 碰觸到風景背後的那一刻—在地連結展

類型 展覽 類型檢索

時間 2021/09/18 09:00 ~ 2022/02/06 18:00 時間檢索

地點 2館2樓展覽室E、2館2樓展覽室F、2館2樓展覽室G、2館2樓展覽室H 地點檢索

  •  臺南市美術館的建築本體與位置有其地理上的歷史脈絡,透過在「在地化」的經營方針下,本館的象徵意義不僅是藝術作品展現的物質空間,也是形塑、討論城市文化風景的歷史現場。過往多樣的展覽中,「風景」與「風土」是本館較為鮮明的展覽主題和關鍵字,如「島嶼生活與地景-檳榔、香蕉、甘蔗、椰子樹」特展研究臺灣經濟產業與政策影響形塑了以南台灣為主的日常風景;「向眾神致敬-宮廟藝術展」展示臺南特有的宮廟藝術的文化景觀;「再現傳奇-洪通百歲紀念展」以「風土」為方法探討藝術家的造形表現與文化底蘊來源。

     

      延續上述本館關注風景與風土的脈絡,以及在地化的方針下,本展以國立台南第二高級中學美術班(設立於1988年)與國立新營高級中學美術班(設立於1992年)之畢業校友並仍持續創作與公開展覽發表的藝術家作為選件範圍,以「風景」、「對風景的感知可能」為主題作為選件條件,邀請藝術家李欣芫、林書楷、陳妍伊、張婷雅參與本展。

     

      此次特別不透過子題展開論述,而是讓四位藝術家的作品在本展四個展間內相繼出現,分別以「對城市的想像」、「對風景的疑惑」、「多元的視點感知空間」、「意識到風景裡的歷史感」、「自然元素與都市文明」等展出作品的內涵之特色為關鍵句作為發想的起點,以此安排展覽動線與樣貌,再搭配展間外虛構的敘事文字,希望能讓觀眾聯想到展間內的作品所提問的問題與彼此呼應的面向,以此感受藝術家意識到風景不只是表面上看到的風景的那一時刻的樣貌。

     

     

      There are geographical and historical contexts underlying the building and location of the Tainan Art Museum. With the "localization" policy, the museum serves as a physical space showing artworks and as a historical site of formulating and exploring the city's cultural landscape. In previous exhibitions, "landscape" and "terroir" are distinctive thematic concepts and keywords. For instance, Everyday Life and Landscapes of the island: Betel Nuts, Bananas, Sugar Cane, and Palms examines how Taiwan's economic sectors and policies shaped everyday life in Southern Taiwan. Paying Tribute to Gods: The Art of Folk Belief showcases the cultural landscape of folk belief art that is exclusive to Tainan. Re-presentation of a Legend: Centennial Celebration of HUNG TUNG adopts "terroir" as the curatorial method to explore the artist's expression and the source of his cultural implications. 

     

      Continuing the context of focusing on landscape and terroir with the guideline of localization, this exhibition includes artists who are graduates of the Art Talent Class of National Tainan Second Senior High School (founded in 1988) and Art Talent Class of National Sinying Senior High School (founded in 1992) and continue their career as artists. With the theme of "landscape" and "the possibility of perceiving landscape," Lee Hsin-yuan, Lin Shu-kai, Chen Yen-yi, and Chang Ting-ya are invited to participate in this exhibition. 

     

      Instead of developing the exhibition through sub-themes, the exhibition organizes works of the four artists in a particular order in four galleries. Key phrases that describe the connotation of the works function as the point of departure, and the artists arrange the flow with those key phrases: "imagination of the city," "doubts about the landscape," "perceiving space from multiple viewpoints," "awareness of the historical quality in the landscape," and "natural elements and urban civilization." They aim to remind the audience of the inquiries raised by the artworks and the responding aspects with the fictional descriptions on the gallery walls, showing an alternative landscape hidden in everyday life. 

     

     

  • 李欣芫

    1981年臺南出生,現居臺南

    2000年新營高中美術班畢業

    2008年國立台南藝術大學造形藝術研究所畢業

    2004年國立新竹師範學院93級美勞教育系畢業

     

    林書楷

    1983年臺南出生,現居臺南

    2002年新營高中美術班畢業

    2007年國立台北藝術大學美術系畢業

    2012年畢業於國立台北藝術大學美術系碩士班畢業

     

    陳妍伊

    1977年高雄出生,現居臺南與臺北

    1996年臺南第二中學美術班畢業

    2000年國立台灣藝術大學雕塑學系畢業

    2004年國立台南藝術大學應用藝術研究所金屬工藝創作組畢業

     

    張婷雅

    1983年出生臺南,現居臺北

    2002年臺南第二中學美術班畢業

    2007年國立高雄師範大學美術學系學士
    ​2010年國立臺灣藝術大學版畫藝術研究所碩士

     

    Lee Hsin-yuan

    Born in Taipei, Taiwan

    Lives and works in Tainan, Taiwan

    2008    M.F.A, Gradual Institute of the Plastic Art, Tainan national university of the art, Taiwan

    2004    B.A, Fine Art and Crafts Education(Major in oil painting), National Hsin-chu Teachers College, Taiwan

    2000   Art Talent Class of National Sinying Senior High School

     

    Lin Shu-kai

    Born in Tainan, Taiwan

    Lives and works in Tainan, Taiwan

    2012 MFA Department of Fine Arts, Taipei National University of the Arts
    2007  BFA Department of Fine Arts, Taipei National University of the Arts

    2002 Art Talent Class of National Sinying Senior High School

     

    Chen Yen-yi

    Born in Kaohsiung, Taiwan

    Lives and works in Tainan and Taipei, Taiwan

    2004 MFA Graduate Institute of Applied Arts, Tainan National University of the Arts

    2000 BFA Department of Sculpture, National Taiwan University of Arts

    1996 Art Talent Class of National Tainan Second Senior High School

     

    Chang Ting-ya

    Born in Tainan, Taiwan

    Lives and works in New Taipei City, Taiwan

    2010 MFA Graduate School of Printmaking, National Taiwan University of Arts

    2007 BFA Department of Fine Arts, National Kaohsiung Normal University

    2002  Art Talent Class of National Tainan Second Senior High School

     

  • 莊東橋

  •   李欣芫過往對於日復一日出現在眼前的日常風景產生疑惑,直到多年後貌似看見了它們自己的秩序和節奏,開始探究如何意識到風景背後的歷史現場,如她於臺南市議會民治議事廳現地製作作品〈一池水、一群錦鯉、敲〉,或以南科園區污水處理為出發點鎖定園區的「水工程」及「水處理」作為切入的創作〈奇蹟-經濟、物理與生物指標〉。

     

      林書楷以「自家因都市更新計畫而被拆毀的經驗」為動機開始創造出一系列他記憶和想像中的城市,近期的作品〈陽台城市文明-積木城市語錄(空山祭)〉亦吸收了臺南廟宇豐富的色彩文化,描繪隱喻了人們在都會文明中的壓抑與殘酷的現實壓力所需要的精神寄托。

     

      陳妍伊的近年的創作關心人與自然最終的和諧,作品多以將物件比擬為生命體作為形式表現,如攝影作品「CCTV Birds」系列,監視器群聚於電線桿上與其具有歷史、政治等象徵的建築物背景的景色,或許可以隱喻政府的監控視線與權力。2021年本展首度發表的全新創作〈七股的維納斯〉、〈楠西的維納斯〉與〈安南的維納斯〉則是藝術家以蜂蠟1:1翻模自身懷孕期間的身形後,加入電子零件再讓蜜蜂築巢後成形,作品上胸部上方的幾何量體與電子零件像是大型建築施工現場或是有機的城市遠景。

     

      張婷雅近年以水墨畫的「臥遊」概念為創作底蘊,她的近期作品「內外之間」系列以屏風為主題,藉由階梯、氣流、植物等元素穿插其中,進一步探究生活中的內外空間變化。她的作品富含山水文化底蘊的視覺感知趣味性,然而在本展脈絡下,其作品內的風景的穿梭性與曖昧性,空間被屏風或牆面遮蔽住的神秘性,彷彿讓觀眾視點游移其中之時,也暗示了有多種感知與理解空間與風景的方式。

     

     

      Lee Hsin-yuan used to be disgusted and puzzled by the everyday landscape. However, after “sound” came into her thinking, she saw the order and rhythm of landscape and presented it in her photographic works “Everything in its place here” and “Collection of Understanding: Listen, everything is in its place here.” Through entering different sites, Lee began to explore the interwoven significances of consciousness and history behind the landscape, such as her site-specific and performance work “A Pool, a Group of Koi, Knocking” in Minzhi Civil Center of Tainan City Council. Recently, she has been using the basic element of nature, water, as the core of her practice and developed sound-oriented works. Through the imagery and metaphor of “water,” she considers the various connection between the environment and life. “The Miracle,” which is recently done, follows the traces of water to explore the environmental cost of the technology industry and the relationship between the local green energy industry and human’s life.

     

      Lin Shu-kai’s motivation came from “the experience of his home being demolished due to the urban renewal plan.” He also draws on the unique patterns found in local temples, alleys, and city gates of Tainan. With the molds of his family-run mold casting factory as the medium, he develops a series of work from his memory and imagination of the island landscape “the Balcony City Series” through graphic and spatial installation. The works selected for this exhibition are “the Balcony City Civilization— The Building Blocks City Quotation” and “the Red Civilization of Balcony City - Day and Night  Glowing Wonderland,” which have a strong visual experience of temple vibes. In the work “the Balcony City Civilization Series - The Fenced Village Will Reborn When The Balcony People Return To His Birthplace Here,” the buildings in the painting equip eyes, creating an associate of human facial expressions with the surroundings, making the city seem to reveal curious and exploratory gaze, as well as a lovely and joyful appearance. 

     

      In recent years, Chen Yen-yi has been concerning with the ultimate harmony between human beings and nature and she often draws a parallel between objects and living being in her practice. For example, in her photographic works “A Fine Fowl Perches Only On a Fine Tree” and “CCTV Birds” series, Chen looks at the surveillance devices on the streets as if they are birds that used to flock on the power poles. Buildings carrying historical and political symbols often appear in her photographic works, which may function as a metaphor for governmental surveillance and power. “Venus of Qigu,” “Venus of Nanxi,” and “Venus of Annan,” which are new works presented for the first time in this exhibition, are 1:1 beeswax replica of Chen’s body shape during pregnancy. Chen installs electronic components and has bees build their nest and shape the work. The geometric mass and electronic parts above her chest resemble large construction sites or organic urban landscape, interrogating the harmonious and conflicting relationship between human civilization and nature.

     

      Chang Ting-ya’s works are mainly woodblock prints. In recent years, she has adopted the notion of “dream journey” in ink painting as the basis for her works, such as “Stopover” and “Set Off.” Her recent work “In Between” series take “screen” as the main element, exploring the changes of the inner and outer space in everyday life through elements such as starts, airflows, and plants. Her works contain rich visual perception of oriental allure, manifesting the shuttling nature of the landscape and the ambiguous and mysterious quality of the space hidden by screens or walls. In the context of this exhibition, it seems to suggest that the viewer can learn space and landscape with alternative perceptions and imaginations, thus responding to other works in this exhibition.