"TIME CAPSULE" Selected Works Exhibition
展期 | 2018 / 08 / 08 - 09 / 30
地點 | Telling Arts | 疊藝術 台北市光復南路415巷40號
開放時間 | 星期一至日，下午1時至8時
本檔展覽以「時間囊」為名，試圖將展場視為一個展示藝術文化產品用的容器，貯藏人們在此空間裡所度過的時光。Telling Arts | 疊藝術 即將邁入第五年，期望透過「時間囊」，有意無意地埋下具有實驗與開創性質的作品，等待機緣令它們再次被發現。藝術文化產品描述我們所生活的複雜圖景，留下歷史性的印記，經由人們所選擇和支持的藝術品暸解過去的記憶和理解未來，使藝術的運作成為與未來互動和對話的一種溝通形式。
「時間囊」展出旗下十位合作代理藝術家的精選作品，創作時程橫跨2013至2018年，創造者承載自身的世界觀和呈現身處的時代，喚起觀者的共鳴和自我投射。蔡瑞恒創作於《小悠遊》畫面中的小人物，面對生命的迷茫與自身的無能，發展出各種無關解決之道的消遣娛樂或是些歇斯底里的行為；鄭宜欣 (Cindy Cheng I-Hsin) 的「重現安迪沃荷」長期計畫以人為機械的方式，反思並探索關於視覺影像中的靈光（aura）以及人（性）的軌跡；黃至正《夢遊者》是「饗宴」系列的延續，發想來自柏拉圖的作品《饗宴》，人們的血肉與植物結合，而靈魂在輪迴中續存，繼續守盼另外一半；范格斯 (Miguel Angel Vargas) 藉由煙捕捉了可見與不可見，作品 “Kabuto” (兜) 以日本武士戰盔為題顯現藝術修行者的內在精神、堅定力量和勇氣；許聖泓在一系列風景畫作品中以《森林》作為隱喻，讓四散的生命經驗在此相遇，每一個風景都是與不同的人在不同的時間點彼此交織構成所留下的痕跡；溫佳寧針對商業影像中女性角色的演繹進行探究，其作品《衝出屠人島》企圖以幽默的方式對社會價值建構出的『美』和『性別角色』提出質疑；作品《小房間》裡看到似曾相識的空間場景，温孟瑜以私人回憶為創作的核心，透過畫作保留生活中的事物，是藉此對於場域中所留下的物件寄予思念；黃向藝《假期》和《搖籃曲》作品中透露對浴缸場所的著迷，如同對於BL的初衷，讓自身對於慾望和身體經驗所受到的拘束與不滿發洩；吳芊頤實地走訪巷弄蒐集舊時代的環境元素，變成其作品中很重要的意義和訊息，《條通窗景詩》因時間片段和窗花光影所形成的日常風景和時代樣貌，喚起屬於常民的台式鄉愁；Yuka Otani《輪迴》(Anicca) 由小型佛陀雕像、鏡面、燈光裝置所組成，運用糖的物質轉化作為敘事媒介，探討日常與無常、過去與現在、真實與再現。
With the name “Time Capsule” we try to see the exhibition hall as a container to show artworks and to store the time people spent in this space. Telling Arts is going to welcome its fifth year. Through the “Time Capsule” we wish to bury the experimental and pioneering art, where they will wait for the opportunity to be discover again. Artworks depict the complicated pictures of our lives and leave the historical marks. We can not only understand memories in the past, but also the future through art works which are chosen and supported by people to make the operation of arts become a communication form while interacting and talking with future.
“Time Capsule” displays the special work collection from ten subsidiary proxy artists in cooperation. The time they spent on creation is from 2013 to 2018. Creators arouse the resonance and self reflection by carrying the world view of themselves and presenting the times they are. The small potatoes in the images of Cai Ruei-Heng’s work “Small Swimming” develop various kinds of leisure or hysteric behaviors which are not related to solutions at all while facing the perplexity toward lives and their inabilities. Cindy Cheng I-Hsin’s long-term project “Living Andy Warhol” reflects and explores the aura in the visual images and the tracks of human(ity). Huang Chih-Cheng’s “Dream Wanderer” is a kind of continuance of "Feast” series. It is inspired by “Symposium” by Plato. Blood and muscles of human beings are combined with plants, and the souls will exist in samsara to protect and yearn for their partners. Miguel Angel Vargas catches the visible and invisible things through smoke, and his work “Kabuto” (Helmet) shows the inner spirit, firm strength and courage of art cultivators with the theme of war helmets of Japanese warriors. Shiu Sheng-Hung uses “Forest” as a metaphor among his landscape painting series to let separated life experiences meet here. Each landscape is a mark. It is left while interacting with different people at different time points. Wen Chia-Ning explores the interpretation of female roles in commercial images. Her work “Please Don't Eat the Babies” tries to question toward “beauty” and “gender roles” which are built by society value in hilarious way. Wen Meng-Yu makes private memories as the core of her creations and keeps daily things through paintings. She shows her thoughts toward objects which are left in this area. “Vacation” and “Rockabye”, these works of Wong Xiang-Yi show the obsession toward bathtubs, just like her original motives toward boys love. It can help herself to release the restraint and dissatisfaction from desires and body experiences. Wu Chien-Yi visited streets and collected environmental elements of old times, and then turns them into very important meanings and messages in her works. “Gojodori Window View Poem” arouses Taiwanese style homesickness which belongs to common people because of daily scenery and what times shows. They are formed by some periods of time, lights and shadows of window grilles. Otani Yuka’s work “Anicca” is formed by small sculpture of Buddha, mirror, and lighting equipment, and the media of narration is substance transformation of sugar. These things can be helpful to discuss daily life and impermanence, the past and the present, and the truth and the reappearance.