2020台北當代藝術館_合力組裝米克斯_計畫發起人:陳泊文

展覽名稱│合力組裝米克斯 Assembly of Communities:MIX
展覽時間│2020 / 02 / 22 (Sat.) ~ 2020 / 05 / 10 (Sun.)
展覽地點│台北當代藝術館 MOCA Taipei
計畫總發起人│ 陳愷璜 CHEN Kai Huang
計畫協作團隊│ 林裕軒 LIN Yu Hsuan、陳佳暖 CHEN Chia Nuan、廖思涵 LIAO Suhan
計畫發起人群│ 思嘎亞.曦谷 Skaya SIKU
       藍保・卡路風 Langpaw Kaljuvung
       安魂工作隊 Libera Work-Gang
       開放教室 Open Classroom
       徐文瑞 HSU Manray
       高俊宏 KAO Jun Honn
       陳泊文 CHEN Bo Wen
       吳叡人 WU Rwei Ren
       未竟影展 Unfinished Ambitions
       書寫工廠 X 獨立臺灣會 Writing FACTory X Taiwan Independence Association
       陳愷璜 CHEN Kai Huang

計畫發起人│陳泊文 CHEN Bo Wen
參展作品│隔離與對話 Segregation & Dialogue

策展人:陳泊文
策展概念:
在此全球化漸漸軟弱無力的年代,各種獨特認同的群體紛紛崛起衝撞體制;而象牙塔裡的左派精英依舊鼓吹著眾生平等的烏托邦幻想,如好萊塢的類型電影般,娛樂著同溫層裏的知青小眾;同時遠處中東的戰亂,以及難民危機依舊無解;還有歐美所謂的「民粹」政權興起,夾雜著法國黃背心運動的騷亂;而真正標記歷史大轉折的美中對抗才剛登場,北韓的核武威脅和香港反送中的時代革命更是緊鄰著我們;最後最切身的是,臺灣自身命運的糾葛:獨統右左的綿延鬥爭⋯⋯疆界如何形成?可否打破?隔離是否必要?又如何劃定?對話是否可能取代衝突和避免互相毀滅?是這個小展所嘗試開啓的一些思考。

參展藝術家:
馬琳.杜馬斯生於南非開普敦,作品主題圍繞在身體、性慾、情愛、死亡、政治、歷史和媒體。取材幾乎來自媒體相片和私人日常生活照,她探索著繪畫和照片之間曖昧豐富的關係,尤以水彩和墨的紙上作品,有準確的西方素描線條,更迷人的是,她對水和顏料的出色控制,有東方潑墨撞水的氣韻和趣味。

孫原和彭禹是中國70年代後出生的藝術家组合,作品形式多元不拘。在深刻了解人、動物抑或物體本性後,再挖掘出令人驚悚戰慄的深沉力量,關注著死亡、競爭、衝突、失衡以及人類本性的矛盾,用創作挑戰人們的慣性思維和潛在禁忌。

夏爾芭.古普塔的藝術內容聚焦在人類社會荒唐卻必要的、可見及不可見的疆界:為何存在?由誰建立?如何維持?藝術家在千絲萬縷的問題之中,梳理出群眾在生活當中所流露出的認同、身分、記憶、恐懼、夢想和無奈等狀態,她往往能從各種媒材探討私密的、個人的生活日常,細膩且詩意地窺見背後錯綜複雜、沉重壓迫的國族歷史。

蔡佳葳創作的核心,始終關注著生命與物質的無常和流動,並且以一種細膩的感性來呈現。此作是「7 Ideas in 7 Days」(2008)計劃當中的《肉片地圖 一至四》探討政治和社會的問題。她將中共的一個中國政策,書寫在用肉片鋪成的臺灣和中國的地圖上,在那一天的計畫完成後,將肉片捲起,燃燒殆盡,曖昧地隱喻政治制度的短暫;由於肉片會漸漸腐敗,指涉人類肉身及文明的必然質變。起初藝術家跪坐在白雪地上,用筆在紅色肉片上書寫黑色文字,接著我們看到在斑駁的雪地上完成的肉片地圖,在安定構圖和優雅配色的氛圍裡透露出詭異的詩意,最後捲起,焚燒成灰。她以個人的生活訴說集體的歷史,以輕盈的情懷解放沉重的政治,表現自身的藝術觀點。

鍾江澤,是臺灣新生代備受矚目的畫家之一,其創作以斷裂、挪用、即興、跳躍,拼貼出一種神秘無邏輯的影像繪畫,裂片的時空隨性交織,喧嘩的油彩隨意四射,他說自己不喜歡定義太過清楚的命題,或許未來藝術的生機就從這裡孕育!

Curator : CHEN Bo Wen
Curatorial Concept: In an era when globalization is in decline, various groups with unique identifications are emerging and challenging the system. Ivory tower left-wing elites remain delusional about an utopia where everyone is equal. Like a Hollywoodesque film, they dwell in an echo chamber, entertaining a small crowd of young intellectuals, whilst wars and chaos continue in the distant Middle East, where refugee crises remain unresolved.
Furthermore, populist regimes rise in Europe and the United States, and the Yellow Vests Movement breaks out in France. On top of it all, a historical trade war breaks out between the U.S. and China, and nuclear threat from North Korea and Hong Kong’s anti-China extradition revolution feel ominously close. The most pressing of them all is Taiwan’s own uncertain destiny with independence or unification. How should borders be defined? How are borders formed? Can they be broken? Is isolation necessary? How to delineate such plan? Is it possible for dialogue to replace conflicts and for mutual destruction to be avoided? These are some of the issues and thoughts that this exhibition is seeking to open up.

Artists:

Marlene Dumas was born in Cape Town, South Africa, and she creates art that focuses on the body, sexual desire, love, death, politics, history, and the media, working largely with photographs from mass media and also personal everyday pictures. She explores the ambiguous and rich relationships between painting and photography, and her creations made with watercolor and ink on paper show precise lines of Western sketches and drawings but also demonstrate exceptional control of water and pigments, showcasing interesting gestures of Eastern expressions with splashes of ink and water.

Sun Yuan and Peng Yu are a duo of Chinese artists whom were born in the 1970s. Known for their diverse and unbounded creative formats, they engage in profound learning on the intrinsic qualities of people, animals, and objects and then uncover deep and powerful energies that are shocking and appalling. Focusing on paradoxes in death, competition, conflict, imbalance, and human nature, they use art to challenge people’s inertial thinking and potential taboos.

Shilpa Gupta’s art focuses on the ridiculous but necessary, the visible and invisible boundaries that are present in human society, as she asks why do such borders exist? For whom have they been established for? How should they be maintained? Gupta sorts through these complexly entangled questions to reveal conditions associated with identification, identity, memory, fear, dreams, and feelings of helplessness. She skillfully uses various media to explore private and personal everyday details, exquisitely and poetically examining a complexly entangled and heavily suppressed national history.

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