Polymer Annual Production: Untitled. 空場年度藝術家聯展

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Polymer 空場年度藝術家聯展《Untitled.》
Annual Production: Untitled

2016/09/03-2016/10/09

策展人:吳季璁、吳虹霏、黃偉倫、葉佳蓉
Curators: Wu Chi-Tsung, Hung Fei Wu, Huang Wei-Lun, Zoe Yeh

參展藝術家:高雅婷、郭奕臣、蔡宜儒、鄭君殿、施彥君、王璽安、鄭柏潔、洪司丞、朱駿騰、柯良志、Tim Budden
Attending artists: Kao Ya-Ting, Kuo I-Chen, Tsai Yi-Ju, Cheng Chun-Tien, Shih Yen-Chun, Wang Sean, Jasmine Cheng, Hung Shih-Cheng, Chu Chun-Teng, Ke Liang-Chih, Tim Budden

相關活動 Related activities:
2016/09/17
16:30 空場式瑜伽大會 presented by 楊詩吟
Open space yoga assembly presented by Victori Shin Yang
19:00 台灣史晚餐會 presented by Elia Nurvista (with assistance from Khairunnisa and Gatari Surya)
Feast on the Evolution of Taiwan presented by Elia Nurvista (with assistance from Khairunnisa and Gatari Surya)
展覽簡介:
呼應2016台北雙年展以「檔案的演繹」和「典範轉移」為主題,空場藝術聚落將從在地的角度,透過自身地理與歷史脈絡的重新梳理,提出台灣/空場作為一個空間與時間參考點,作為喚起討論、開啟想像的關鍵字。一方面進行對政治書寫的「正史」的反思,同時擴充「檔案」本身的定義。當檔案的詮釋權被開放,創作者開始思考各自生命歷史當中的參照點,並重新定義自己和周圍環境的關係。在本展覽當中將以「空場」與「台灣」作為出發點,地理上從自己身處的環境開始,歷史上從島嶼的發展為軸線,拉出個別創作的主題,透過不同主題發散、不聚焦的特質,產生隨機抽樣,進而呈現出屬於時代的歷史詮釋樣貌。

Exhibition Introduction:
Echoing the 2016 Taipei Biennial with the themes of “Perform the Archive" and “Cultural Paradigm Shift", Polymer Art Space will take a local perspective to re-organize their own experiences in the context of geography and history, and propose the topic of Taiwan/art space as a consideration of space and time for discussion, with the terms of the topic as the basis of inspiration. On one hand engaging in reflection on the politics of the written “official history", while also expanding the definition of “archives" itself. When the right of interpretations of archives becomes open to the public, creators begin to reflect on the reference points of their individual life histories, and redefine their own relationship with their environment. In this exhibition, “art space" and “Taiwan" will serve as the starting points, with the geography of one’s own environment as the setting, and the historical development of the island as the axis, to draw individual creative themes from. Through the divergence of different themes and the unfocused nature of these themes, a random sample is generated which can be used to manifest a historical interpretation belonging to the current era.

特別活動介紹 Special Events Information:

2016/09/17 16:30
空場式瑜珈大會 Open space style yoga assembly
每週三下午於空場舉行的瑜珈課已經持續約莫半年,Mystery生活瑜珈教師楊詩吟透過和藝術家的相處,不僅滋潤了空場工業風冷調、粗獷的空間,也對自己的身體表現有了更多思緒和層次。本次瑜珈大會將加入人體描軌的環節,在瑜珈過程當中,透過身體的律動,將軌跡留在空白畫紙上,閉上眼睛將精神放在身體上,讓每一吋皮膚和肌肉都成為表現的媒介。
Through her interactions with the artists for the past six months every Wednesday of the week during the yoga classes she holds at Polymer Art Space, Mystery Life Yoga coach Victori Shin Yang has not only given new life to the cold-tone of the industrial style setting and the previously rough, unkept space, she has also been able to further increase the level of her understanding of her mind and body. This yoga assembly will take the axes of the body and through the rhythmic movement of the body and have them traced them onto a piece of white paper. Close your eyes and focus your spirit on the body, allow every inch of your skin and muscles to become a performance media.

2016/09.17 19:00
台灣史晚餐會 Feast on the Evolution of Taiwan
Elia Nurvista來自印尼,擅長以食物為切入點進行文化、社會相關議題研究。藝術家相信食物不僅能用於烹飪、歷史、對話及國際交流,更能夠作為討論更深刻議題的媒介,例如政治、社會、藝術及文化。Elia同時為藝術團體Bakudapan成員,由來自不同經歷背景,包括攝影師、研究員、大學生、商人,及藝術家所組成。本次空場與Elia Nurvista合作,並透過Bajudaoan成員Khairunnisa and Gatari Surya的協助,以晚餐會的形式,將不同時代、共同生活在台灣島嶼上的不同族群與他們帶來的食物用線性時間軸串起,進行另類的詮釋。
Elia Nurvista is from Indonesia, and is a researcher who uses food as the starting point to extend to relevant cultural and social issues. She believes that food can not only be used to nurture historical discourse and international exchange, it can also serve as a medium for the discussion of deeper issues such as politics, society, art and culture. Elia is also a members of the Bakudapan, an artist collective whose members are all come from different backgrounds, including photographers, researchers, college students, businessmen, and artists. In collaboration with Polymer Art Space, Elia will present her project “Feast on Evolution of Taiwan" for this exhibition using a dinner banquet format. With assistance from Bakudapan member, Khairunnisa and Gatari Surya, they will engage in and provide an alternative interpretation and linear timeline of the different eras and ethnic groups which live together on the island of Taiwan.

作品介紹 Introduction of works:

洪司丞 Hung Shih-Cheng
在求學過程當中經歷過師大美術系、台灣藝術大學和台北藝術大學三所不同學校迥異的教學風格和教育系統,洪司丞以學習者的角度,對於不同學院體制,吸收各繪畫領域的觀念。網羅不同繪畫教育,以虛構腦眼畫家美院的縮影,詮釋當今繪畫的可能性。在本展覽中洪司丞將從個人經驗出發,反思台灣藝術教育的發展和演化的過程。
Hung Shih-Cheng experienced the different teaching styles and educational systems of National Taiwan Normal University, National Taiwan University of Arts, and Taipei National University of the Arts as a one-time art student of all three, allows him to take the perspective of a student trying to absorb the different styles and philosophies of painting under different academic settings. Thereby capturing different painting teaching styles and interpreting the possibilities of painting in the modern day using the vision of the artist’s brain to create a microcosm of art in academy. In this exhibition, Hung Shih-Cheng sets off from the vantage of personal experience, and reflects on the development and evolutionary process of arts education in Taiwan.

王璽安 Wang Sean
回應本展覽主題,王璽安跳脫既有繪畫表現手法,以文件檔案之形式,將參與空場成立初期所撰寫或蒐集的各種文件,包括營運計畫、組織架構甚至內部會議記錄等,以一貫多層次的細膩堆疊展現。觀眾將能從中窺見藝術家參與經營之想法與及對此空間之最初的期待,在同樣的空間中做出今昔對照的觀察體現。
In response to the theme of this exhibition, Wang Sean diverges from existing painting techniques and uses an archival format to present the archives written or collected from the early stages of the establishment of the Polymer Art Space, including operation plans, organizational structure documents and internal meeting records in a detailed stacked, multilayered structure. The audience will be able to get a glimpse of the original ideas and expectations of the artists involved in the early stages of operation, and see a comparison between the past and present manifested in the same space.

郭奕臣 Kuo I-Chen
透過不同的媒材型式,創造出一種詩意兼具情境式的獨特語彙,郭奕臣作品的核心關注於環境與內心歸屬感的消逝與飄盪的精神狀態,並透過不存在的狀態去顯現對生命本質的探索。呼應本次展覽對檔案的思考,郭奕臣以藝術作品的「作品牌」為參考點,思考藝術創作者的作品,面對作品持有者的轉換,重新反思自己在創作之路上和觀眾、收藏者之間所產生的關係。做為自我創作之路的檢視,同時也在反芻藝術作品獨立於創作者之外的發展。
Kuo I-Chen uses different types of mediums to create a unique vocabulary which is both poetic and provides situational learning. His piece focuses on the sense of belonging in the environment and the disappearing psychological state, then through the state of non-existence, he presents the exploration of the essence of life. In this way echoing with this exhibition’s reflections on archives, Kuo I-Chen’s artwork “brand" can be used as a reference point. Giving thought to the works of the artist, confronting the transformations of the artist’s artworks, rethinking the relationship created during one’s own creative journey with the audience and collectors. Serving as a view of the artist’s creative journey, while also ruminating the idea of the artwork developing into something independent of the artist.

施彥君 Shih Yen-Chun
擅長運用不同的媒介物及創作形式去試探、測量自身跟人、空間、物件的關係。將不可見的情感、記憶、慾望透過創作被敘述出來,施彥君本次以自己生活於空場工作室的兩年經驗為藍本,透過模型表現出平行時空中已經「不再」的景象,並屆此重新檢視自己和空場這個藝術空間之間產生的關係
Specializing in the use of different mediums and creative forms to test and measure the relation between self, space and objects, the artist takes the intangibility of emotions, memories, and desires and expresses them through the act of artistic creation. For this exhibition, Shih Yen-Chun uses the experiences of her past two years at Polymer Art Space as the blueprint for a model which demonstrates the “non-existence" of parallel time, while also taking the opportunity to re-examine the relationship created between herself and the Polymer Art Space.

蔡宜儒 Tsai Yi-Ju
蔡宜儒透過大膽直率的筆觸、強烈的色彩,勾勒出令人印象深刻的作品。過去以植物、盆栽為繪畫主題的蔡宜儒,在前年個展「獸醒」當中,改以動物為探討對象。透過畫筆展現對人類行為的反思,傳達出對於動物的關懷。本次展覽更進一步,從日常生活的經驗出發,面對每年越來越炎熱的夏天,越來越劇烈的氣候變化,反思當代社會各種發展或進步的開發活動所造成的後果。暖色系的顏料和帶有寓意的動物形象,將溫度用視覺表現出來。
Tsai Yi-Ju uses bold direct strokes with rich strong colors to sketch out a deeply impressive piece. Tsai Yi-Ju who previously used potted plants as the theme of his works, began instead to use animals as the subjects of his work as seen in his work “The Animal Awakens" during last year’s exhibition. Through the brush he presents a reflection of human behavior and expresses concern for animals. He takes it one step further in this exhibition and sets off from the experiences of his daily life, confronted by the increasingly hotter summers each year and the increasingly dramatic consequences of climate change to reflect on the consequences of development for the sake of economic growth. Warm colors are used to create forms in the shape of animals, creating a visual manifestation of temperature.

鄭君殿 Cheng Chun-Tien
鄭君殿以近乎素樸純淨的「色線」作為繪畫單元,讓線性的色彩筆跡交錯,捨棄填實空間而營造出一種新的靜謐的圖像,是他令人最印象深刻的創作風格。本次展覽推出新作「紫花藿香薊」,依循個人創作當中對光線的探討,描繪一個日治時期因日軍的植物研究來到台灣的南美洲植物,在光復後從植物園溫室中蔓延到台灣一般社會中,意外地記錄了台灣史當中的一段。外來種大舉入侵的現實,隨著植物可愛的外表被忽略,輕易進入了藝術家的日常當中,甚至成為兒時記憶的一環,將一段沉重的歷史輕輕舉起,化作現代人生活樣態的切片。
Cheng Chun-Tien uses simple and unadulterated “colored lines" as the units of his paintings. By staggering the lines of colored pencil, he creates a new image style which abandons the filling in of space, and is his most representative creative style. For this exhibition he presents a new piece titled “Bluemink flower", which follows with his creative style of using different lighting to depict a plant which arrived in Taiwan from Central America during the Japanese colonial era. After Taiwan re-gained its independence, the plant gradually made its way from greenhouses into Taiwanese society, inadvertently serving as a record of a period of Taiwanese history. The reality of the invasion of a foreign species was overlooked on behalf of its lovely appearance, and become a common appearance in the works of Taiwanese artists, to even become a part of childhood memories. Thus gently lifting the pages of a turbulent history to become a slice of the state of modern day life.

鄭柏潔 Jasmine Cheng
島內旅行是鄭柏潔閒暇之餘的重要活動,同時也作為關照台灣土地的行動,每次旅行她會特別拍攝山與海在各個鄉鎮不同的風貌,逐步累積身體踏查的環境檔案。此次展出她將挑選北海岸(台灣最北端)、花蓮、台東、墾丁(台灣最南端)、台南與苗栗的海平面攝影作品,透過環繞型的展示,體現台灣作為一個海島國家之事實與樣貌。
Traveling across the island is an activity which takes up the majority of Jasmine Cheng’s free time, is is also something she does as a way of examining Taiwan’s land. Everytime she goes on a trip around the the island, she makes a special effort to photograph the different views of the mountains and the sea as seen from different towns. In this way she has accumulated her own environmental archive. For this exhibition, she will select photographs of the sea level taken from North Shore (Taiwan’s northernmost tip), Hualien, Taitung, Kenting (Taiwan’s southernmost tip), Tainan and Miaoli to be displayed in a circular layout to present the appearance and reality of Taiwan as an island nation.

高雅婷 Kao Ya-Ting
作品以多條路徑描繪出對於自身信仰和歷史認同的想像地圖,從個人尋找和世代的連結,呈現方式包含平面繪畫、錄相、裝置和聲音。近年繪畫作品使用古典圖像、新聞攝影、家庭相片等多元素材,佐以臨摹做為顯像的手段,定影自身認同的不確定性。本次展覽高雅婷將透過不曾嘗試過的創作方法,以台灣原生種的構樹為思考媒介,萃取出構樹精油並將氣味散發在展場之中,無色無形體的作品,映照日常生活中一般民眾對於「台灣原生種」的不知與冷漠,並透過物種的適性重新思考島嶼的特性。
Her works are composed primarily through the depictions of multiple paths which serve as a map of her thoughts on her own faith and historical identity. The search for a connection between self and the generations before and after her, are presented using drawings, video recordings, installations and sound. In recent years, vintage images, news, video recordings, family photos and so on have been used as creative elements. Using the paper mulberry tree native to Taiwan as a vehicle of inspiration by extracting the oils of paper mulberry trees and releasing the aroma during the exhibition. This formless and colorless work reflects the indifference the general public has for “native Taiwanese species" in their everyday lives, and provides a chance for a rethinking of the adaptability of species on the island.

朱駿騰 Chu Chun-Teng
《Taiwan Taiwan》作品創作於建國百年。兩個影像是分開拍攝的, 演員們事先並不知道將要表演的台詞直到開機的那一刻, 作品最後呈現的是一百分鐘一鏡到底的即興演出. 影像中的男女不間斷地用各種情緒, 動作與方式來詮釋他們認知的“台灣“。兩個影像並置後,雙方隨機不可預期的詮釋與節奏所造成的關係/對答產生了一個無止盡的辯證。在政黨再度輪替的2016年,這件作品持續地拋出對國家的想像與對現況的焦慮。
The work “Taiwan Taiwan" was created on the centennial of the nation. The two videos were recorded separately. The actors are not given their lines until right before the camera starts shooting. The final work is presented as one hundred minutes of impromptu performances. The actors and actresses in the video are attempting to interpret “Taiwan" through different emotions and motions using their own pre-existing perceptions. After the two videos are played side by side, the relation between the responses of the actors and actresses and their preconceived notions becomes apparent. After the switching of power of political parties in 2016, this work continues to express the imaginations and anxieties of the public towards the current state of the nation.

柯良志 Ke Liang-Chih
創作多傳達其成長過程的記憶、生活中的細微觀察與體會,無論兒時記趣、求學回憶,乃至工作、旅行、日常瑣事等,都是他創作所關心的議題。此次特別為展覽創作《北投物語》,檢視生活與工作了八年的北投,以物件搭配書法,交織成自身的生活縮影,這過程可能是自己的,也或許是在地文化、生活時空、歷史背景等等,進一步省思一路創作以來的文脈語彙,透過創作更關心與關注當下。
The majority of his creations achieve the observations and realizations from the artist’s memories of growing up and daily life. Regardless of whether they’re childhood memories, memories as a student, to memories of work, travels, or the running of everyday errands, all of these are subjects of his works. The artist created a piece titled “Beitou Story" specially for this exhibition. This work explores the eight years of his life working in Beitou, and pairs objects with calligraphy to create a microcosm of his own life. This process may draw from the individual self, or local culture, the artist’s living environment, or historical background to engage in a reflection of the vocabulary used throughout his creative career, thus further taking the present into consideration.

Tim Budden
來自英國的藝術家Tim Budden融入台灣、英國兩地的生活經驗進行剪紙藝術創作。迥異的東西文化背景帶出作品裡認同與存在的議題。他目前創作的方式結合畫與刻兩步驟,視作品需求有時須先精細構圖,有時則以即興靈感創作呈現。作品中經常用蝴蝶、孩童來象徵自由無拘束的行動和思考,同時也透過形而上的象徵連結自己和土地之間的關係。
Tim Budden is a British artist who uses paper cutting art to express his experiences from his life in England as well as his assimilation into Taiwanese society. The differences between Eastern and Western cultural backgrounds highlight the topics of identity and existence in his work. His current creative style combines drawing and carving into a two-step process. Some of his works first require the composition of a detailed layout, whilst other works are the results of improvisation from a spurt of inspiration. His works often use butterflies and children to symbolize the unfettered freedom of action and thought, while at the same time symbolizing a connection between self and the land.

●以上活動皆為免費參加,但名額有限,請致電空場或於空場臉書上報名。

The above events are all free to enter, but spots are limited. Please call our offices at the Polymer Art Space or visit our Facebook page to register.