2011OUTSTANDING ART PRIZE
2011.03.11～3011.04.24
09:00 - 17:00
The
Outstanding Art Prize” is a very significant award for the students of Taipei National University of the Arts (TNUA). Recipients of the award earn the chance to travel and study abroad, as well as showcase their works at TNUA’s Kuandu Museum of Fine Arts. It is no wonder that for each year’s awards, we witness great artists from across various disciplines create some of their best works. And this year’s contest was no different. However, the evaluation method this year differed from previous ones. Non-TUNA affiliated instructors and critics had been invited to take part in the review process, encouraging objectiveness and fairness in the judgment of the contestants’ works. Furthermore, for this year’s competition, eclectic artworks fully presented TNUA’s diversity. For this year’s
Outstanding Art Prize,” seven contestants won the award. The creative media used by the winners included ink paintings, drawings, and video installations. Carefully analyzing the works, one finds that the themes explored no longer focus solely on the body, and its experiences or weariness. Rather, the artists take an observational approach, evaluating their social interactions to reflect on human co-existence and
society’s” issues. (1) Their works mainly focus on the following five topics: 1. Discussion on Taiwan’s geography and political issues: e.g. Lo,Shao-Hui’s
Country Slave”, Huang Ko Wei’s
Deception Point-A Big hole under the Peace Hill” 2. Discussion on Taiwan’s social issues: e.g. Liu Chih Hung’s
Another modus of the happy life”,
The game they played”, Chen,Liang-Hsuan’s
Falling” and
Daily” 3. From an art creating perspective, exploring the relations between an artwork and its images: e.g. Chen Yun’s
Dastilbe” and ”Untitled”, Huang Ko Wei’s
The Other Siden” and
Deception Point-A Big hole under the Peace Hill” 4. Deep thoughts on Creating Artwork: e.g. Hsu Yin-Ling’s
At The Injured Point” Series and
See You Winter” 5. Usage of Eastern Thinking: E.g. Wu Hsuan-Hui’s
Original World I, II, III” Abstrcted from Hsiao Yu Chen
Outstanding Art Prize” is a very significant award for the students of Taipei National University of the Arts (TNUA). Recipients of the award earn the chance to travel and study abroad, as well as showcase their works at TNUA’s Kuandu Museum of Fine Arts. It is no wonder that for each year’s awards, we witness great artists from across various disciplines create some of their best works. And this year’s contest was no different. However, the evaluation method this year differed from previous ones. Non-TUNA affiliated instructors and critics had been invited to take part in the review process, encouraging objectiveness and fairness in the judgment of the contestants’ works. Furthermore, for this year’s competition, eclectic artworks fully presented TNUA’s diversity. For this year’s
Outstanding Art Prize,” seven contestants won the award. The creative media used by the winners included ink paintings, drawings, and video installations. Carefully analyzing the works, one finds that the themes explored no longer focus solely on the body, and its experiences or weariness. Rather, the artists take an observational approach, evaluating their social interactions to reflect on human co-existence and
society’s” issues. (1) Their works mainly focus on the following five topics: 1. Discussion on Taiwan’s geography and political issues: e.g. Lo,Shao-Hui’s
Country Slave”, Huang Ko Wei’s
Deception Point-A Big hole under the Peace Hill” 2. Discussion on Taiwan’s social issues: e.g. Liu Chih Hung’s
Another modus of the happy life”,
The game they played”, Chen,Liang-Hsuan’s
Falling” and
Daily” 3. From an art creating perspective, exploring the relations between an artwork and its images: e.g. Chen Yun’s
Dastilbe” and ”Untitled”, Huang Ko Wei’s
The Other Siden” and
Deception Point-A Big hole under the Peace Hill” 4. Deep thoughts on Creating Artwork: e.g. Hsu Yin-Ling’s
At The Injured Point” Series and
See You Winter” 5. Usage of Eastern Thinking: E.g. Wu Hsuan-Hui’s
Original World I, II, III” Abstrcted from Hsiao Yu Chen
The
Outstanding Art Prize” is a very significant award for the students of Taipei National University of the Arts (TNUA). Recipients of the award earn the chance to travel and study abroad, as well as showcase their works at TNUA’s Kuandu Museum of Fine Arts. It is no wonder that for each year’s awards, we witness great artists from across various disciplines create some of their best works. And this year’s contest was no different. However, the evaluation method this year differed from previous ones. Non-TUNA affiliated instructors and critics had been invited to take part in the review process, encouraging objectiveness and fairness in the judgment of the contestants’ works. Furthermore, for this year’s competition, eclectic artworks fully presented TNUA’s diversity. For this year’s
Outstanding Art Prize,” seven contestants won the award. The creative media used by the winners included ink paintings, drawings, and video installations. Carefully analyzing the works, one finds that the themes explored no longer focus solely on the body, and its experiences or weariness. Rather, the artists take an observational approach, evaluating their social interactions to reflect on human co-existence and
society’s” issues. (1) Their works mainly focus on the following five topics: 1. Discussion on Taiwan’s geography and political issues: e.g. Lo,Shao-Hui’s
Country Slave”, Huang Ko Wei’s
Deception Point-A Big hole under the Peace Hill” 2. Discussion on Taiwan’s social issues: e.g. Liu Chih Hung’s
Another modus of the happy life”,
The game they played”, Chen,Liang-Hsuan’s
Falling” and
Daily” 3. From an art creating perspective, exploring the relations between an artwork and its images: e.g. Chen Yun’s
Dastilbe” and ”Untitled”, Huang Ko Wei’s
The Other Siden” and
Deception Point-A Big hole under the Peace Hill” 4. Deep thoughts on Creating Artwork: e.g. Hsu Yin-Ling’s
At The Injured Point” Series and
See You Winter” 5. Usage of Eastern Thinking: E.g. Wu Hsuan-Hui’s
Original World I, II, III” Abstrcted from Hsiao Yu Chen
Outstanding Art Prize” is a very significant award for the students of Taipei National University of the Arts (TNUA). Recipients of the award earn the chance to travel and study abroad, as well as showcase their works at TNUA’s Kuandu Museum of Fine Arts. It is no wonder that for each year’s awards, we witness great artists from across various disciplines create some of their best works. And this year’s contest was no different. However, the evaluation method this year differed from previous ones. Non-TUNA affiliated instructors and critics had been invited to take part in the review process, encouraging objectiveness and fairness in the judgment of the contestants’ works. Furthermore, for this year’s competition, eclectic artworks fully presented TNUA’s diversity. For this year’s
Outstanding Art Prize,” seven contestants won the award. The creative media used by the winners included ink paintings, drawings, and video installations. Carefully analyzing the works, one finds that the themes explored no longer focus solely on the body, and its experiences or weariness. Rather, the artists take an observational approach, evaluating their social interactions to reflect on human co-existence and
society’s” issues. (1) Their works mainly focus on the following five topics: 1. Discussion on Taiwan’s geography and political issues: e.g. Lo,Shao-Hui’s
Country Slave”, Huang Ko Wei’s
Deception Point-A Big hole under the Peace Hill” 2. Discussion on Taiwan’s social issues: e.g. Liu Chih Hung’s
Another modus of the happy life”,
The game they played”, Chen,Liang-Hsuan’s
Falling” and
Daily” 3. From an art creating perspective, exploring the relations between an artwork and its images: e.g. Chen Yun’s
Dastilbe” and ”Untitled”, Huang Ko Wei’s
The Other Siden” and
Deception Point-A Big hole under the Peace Hill” 4. Deep thoughts on Creating Artwork: e.g. Hsu Yin-Ling’s
At The Injured Point” Series and
See You Winter” 5. Usage of Eastern Thinking: E.g. Wu Hsuan-Hui’s
Original World I, II, III” Abstrcted from Hsiao Yu Chen
陳亮璇 1985生於台北 2008台北藝術大學美術系畢 現就讀台北藝術大學美術研究所 Chen,Liang-Hsuan 1985，Born In Taiwan Taipei 2008，Graduated From Taipei National University Of The Arts，Taiwan Taipei 2010，Currently a student at Taipei National University of the Arts M.F.A. Program,Department of Fine Arts 聯展： 2010 〈微影像〉乒乓/文賢油漆行，台北/台南（復興漢工作室） 2010 〈2010台灣當代藝術論壇雙年展〉當代藝術中心，台北（復興漢工作室） 2010 〈每日製作〉關渡美術館，台北（復興漢工作室） 2010 〈好妙〉非常廟藝文空間 VT Artsalon，台北 2009 〈POST.O後地方〉台北當代藝術館，台北（復興漢工作室） 2009 〈海綿湯〉網際網路線上展覽http://www.sponge-project.com/spongesoup/（復興漢工作室） 2009 〈透抽5-棘皮王者定番戰〉非常廟藝文空間 VT Artsalon，台北（復興漢工作室） 2008 〈海參展2.0〉國立台北藝術大學，台北 2007 〈海參展〉國立台北藝術大學南北藝廊，台北 2010 PingPong/PaintHouseStudio,Taipei/Tainan(FuXinghen Studio)2010 VT Art salon,Taipei 2010 Taipei Contemporary Art Center,Taipei(FuXinghen Studio) 2010 Kuandu Museum of Fine Art,Taipei(FuXinghen Studio) 2010 VT Art salon,Taipei 2009 Taipei Moca,Taipei(FuXinghen Studio) 2009 http://www.sponge-project.com/spongesoup/, World Wide Web(FuXinghen Studio) 2009 VT Art salon,Taipei(FuXinghen Studio) 2008 Taipei National University of Arts,Taipei 2007 Taipei National University of Arts,Taipei 經歷： 第三屆紐約遊歷計畫補助 2010 Acquisition the 3rd session《 New York studies away from home the plan》
陳亮璇 1985生於台北 2008台北藝術大學美術系畢 現就讀台北藝術大學美術研究所 Chen,Liang-Hsuan 1985，Born In Taiwan Taipei 2008，Graduated From Taipei National University Of The Arts，Taiwan Taipei 2010，Currently a student at Taipei National University of the Arts M.F.A. Program,Department of Fine Arts 聯展： 2010 〈微影像〉乒乓/文賢油漆行，台北/台南（復興漢工作室） 2010 〈2010台灣當代藝術論壇雙年展〉當代藝術中心，台北（復興漢工作室） 2010 〈每日製作〉關渡美術館，台北（復興漢工作室） 2010 〈好妙〉非常廟藝文空間 VT Artsalon，台北 2009 〈POST.O後地方〉台北當代藝術館，台北（復興漢工作室） 2009 〈海綿湯〉網際網路線上展覽http://www.sponge-project.com/spongesoup/（復興漢工作室） 2009 〈透抽5-棘皮王者定番戰〉非常廟藝文空間 VT Artsalon，台北（復興漢工作室） 2008 〈海參展2.0〉國立台北藝術大學，台北 2007 〈海參展〉國立台北藝術大學南北藝廊，台北 2010 PingPong/PaintHouseStudio,Taipei/Tainan(FuXinghen Studio)2010 VT Art salon,Taipei 2010 Taipei Contemporary Art Center,Taipei(FuXinghen Studio) 2010 Kuandu Museum of Fine Art,Taipei(FuXinghen Studio) 2010 VT Art salon,Taipei 2009 Taipei Moca,Taipei(FuXinghen Studio) 2009 http://www.sponge-project.com/spongesoup/, World Wide Web(FuXinghen Studio) 2009 VT Art salon,Taipei(FuXinghen Studio) 2008 Taipei National University of Arts,Taipei 2007 Taipei National University of Arts,Taipei 經歷： 第三屆紐約遊歷計畫補助 2010 Acquisition the 3rd session《 New York studies away from home the plan》
LIU CHIH HUNG 1985 born in Hsinchu, Taiwan 2008 Taipei National University of the Arts 2010 M.F.A. Program, Department of Fine Arts, TNUA Solo Exhibition 2009「Why Don’t You Swimming On The Rooftop」LIU CHIH HUNG Solo Exhibition， Yi-Piao-Ren Gallery，Taipei 2010 「DOLDRUM : a route to a distant place 1」 Solo Exhibition，VT artsalon，Taipei Group Exhibition 2006「National Youth Engraving Exhibition 」，Angel Gallery and Kuandu Museum of Fine Arts , Taipei 2007「A4」,TNUA , Taipei 「Tester4」，TNUA Nan-Bei Gallery ，Taipei 2008「HUANG SHANG WEI and LIU CHIH HUNG Associated Exhibition」，VT Art salon，Taipei 「After Nothing」，Yi-Piao-Ren Gallery，Taipei 「The Second View」，Taiwan National Museum of Fine Arts，Taichung 2009「2009 New Arts Talents」Ke-Yuan Gallery，Taichung 「The Ground Expression」，Ke-Yuan Gallery，Taichung 「3rd Anniversary of VT」，VT art salon，Taipei 「Young Art Taipei 」． Sunworld Dynasty Hotel/MOT/ARTS ．Taipei 「YAO RUI ZHONG, LU FANG and LIU CHIH HUNG Associated Exhibition」， MOT/Arts ，Taipei 「MOT/ARTS × Absolute Vodka」，MOT/ARTS，Taipei 2010「Young Art Taipei 」． Sunworld Dynasty Hotel/MOT/ARTS ．Taipei 「Art Taipei 」． Taipei World Trade Center．Taipei Awards 2006「Taipei Fine Arts Award 」Honorable mention，Taipei Fine Arts Museum 「Chang Xin Lung Fine Arts Awards」，Traditional Creative Center in TNUA 2007「2007 Taiwan Painting Arts Awards 」，Taichung County Seaport Art Center 「5th Tao-Yuan Creation Awards 」Honorable mention，Taoyuan County Government, Department of Cultural Affairs , Taoyuan 「Youth Art Work Collections」，Taiwan National Museum of Fine
LIU CHIH HUNG 1985 born in Hsinchu, Taiwan 2008 Taipei National University of the Arts 2010 M.F.A. Program, Department of Fine Arts, TNUA Solo Exhibition 2009「Why Don’t You Swimming On The Rooftop」LIU CHIH HUNG Solo Exhibition， Yi-Piao-Ren Gallery，Taipei 2010 「DOLDRUM : a route to a distant place 1」 Solo Exhibition，VT artsalon，Taipei Group Exhibition 2006「National Youth Engraving Exhibition 」，Angel Gallery and Kuandu Museum of Fine Arts , Taipei 2007「A4」,TNUA , Taipei 「Tester4」，TNUA Nan-Bei Gallery ，Taipei 2008「HUANG SHANG WEI and LIU CHIH HUNG Associated Exhibition」，VT Art salon，Taipei 「After Nothing」，Yi-Piao-Ren Gallery，Taipei 「The Second View」，Taiwan National Museum of Fine Arts，Taichung 2009「2009 New Arts Talents」Ke-Yuan Gallery，Taichung 「The Ground Expression」，Ke-Yuan Gallery，Taichung 「3rd Anniversary of VT」，VT art salon，Taipei 「Young Art Taipei 」． Sunworld Dynasty Hotel/MOT/ARTS ．Taipei 「YAO RUI ZHONG, LU FANG and LIU CHIH HUNG Associated Exhibition」， MOT/Arts ，Taipei 「MOT/ARTS × Absolute Vodka」，MOT/ARTS，Taipei 2010「Young Art Taipei 」． Sunworld Dynasty Hotel/MOT/ARTS ．Taipei 「Art Taipei 」． Taipei World Trade Center．Taipei Awards 2006「Taipei Fine Arts Award 」Honorable mention，Taipei Fine Arts Museum 「Chang Xin Lung Fine Arts Awards」，Traditional Creative Center in TNUA 2007「2007 Taiwan Painting Arts Awards 」，Taichung County Seaport Art Center 「5th Tao-Yuan Creation Awards 」Honorable mention，Taoyuan County Government, Department of Cultural Affairs , Taoyuan 「Youth Art Work Collections」，Taiwan National Museum of Fine
許尹齡 Hsu Yin-Ling 1987 出生於台灣 屏東 2009 畢業於台北藝術大學美術系 2010就讀於台北藝術大學美術創作研究所 獲獎經歷 2008台北美術獎 入選 2008美術創作卓越獎 優選 2008龍顏藝術創作獎 2008 BenQ真善美獎數位創意大賽 参獎 2008系展 繪畫類第一名│系展 首獎 2008 入選第六屆桃源創作獎 2005 獲選「朱銘美術館藝術長廊」創作者 個展 2010 eslite—ART STUDIO 「我們到了，如果你還跟著我的話」 台北 2009 The Breast Stroke Gallery gallery 高雄 聯展 2009亞洲藝術雙年展—觀點與觀點 國立台灣美術館 2009理想的世界-亞洲新興藝術家群展 SAKSHI Gallery 2009弱繪畫 關渡美術館 2009藝術七門町 MOT arts 2009台灣 X 以色列青年藝術家交流展 關渡美術館 2009美術創作卓越獎─【】 關渡美術館 2008台北美術獎 台北市立美術館 2008 聯展「肉色未來」 南北畫廊 2008 入選第六屆桃源創作獎 2008 聯展 「long lonely e more」SALT PEANUTS展覽空間 2007 聯展 「Any How 」 澎湖科技大學展覽廳 2006 徵件展 「睡痕」 ILOST 展覽空間 Hsu Yin-Ling 1987 Born in Pingtung , Taiwan 2009 Graduated from Taipei National University of Art │Finearts 2009 Currently studies at Taipei National University of Art│ Achievements 2008 Taipei Arts Awards Selected Award 2008 Outstanding Art Work Prize of Fine Arts Department 2008 Long Yen Foundation Award 2008 TNUA Fine Art Faculty Art Exhibition first award 2008 BenQ Digital Originality competition third place 2008 General Mention 6th Taoyuan Creation Award 2005 〝Juming Museum art corridor〞artist Solo exhibition 2010 eslite—ART STUDIO 「At last we arrived」 Taipei 2009 〝The Breast Stroke〞 Gallery gallery Kaohsiung Associated exhibition 2009 “2009 Asian Art Biennial—Viewpoints ＆ Viewing Points ”—National Taiwan Museum of Fine Arts 2009“Wonderland—Asian Emerging Artists Group Exhibition”—SAKSHI Gallery 2009“Weak Painting” ─ Kuandu Museum of Fine Arts 2009 “Mot/arts X Exploding Generation” ─MOT/ARTS 2009 Taiwan X Israel Young Artists Interchang Exhibition Kuandu Museum of Fine Arts 2008 Outstanding Art Work Prize of Fine Arts Department─【】Kuandu Museum of Fine Arts 2008 Taipei Arts Awards Taipei Fine Arts Museum 2008 associated exhibition〝Skin Color Future〞 Nan Bei gallery 2008 6th Taoyuan Creation Award Taoyuan County Govermment Cultural Affairs Bultural 2008 associated exhibition〝long lonely e more〞 SALT PEANUTS exhibition space 2007 associated exhibition〝Any How〞 National Penghu University 2006 associated exhibition 〝mark of sleep〞 ILOST exhibition space
許尹齡 Hsu Yin-Ling 1987 出生於台灣 屏東 2009 畢業於台北藝術大學美術系 2010就讀於台北藝術大學美術創作研究所 獲獎經歷 2008台北美術獎 入選 2008美術創作卓越獎 優選 2008龍顏藝術創作獎 2008 BenQ真善美獎數位創意大賽 参獎 2008系展 繪畫類第一名│系展 首獎 2008 入選第六屆桃源創作獎 2005 獲選「朱銘美術館藝術長廊」創作者 個展 2010 eslite—ART STUDIO 「我們到了，如果你還跟著我的話」 台北 2009 The Breast Stroke Gallery gallery 高雄 聯展 2009亞洲藝術雙年展—觀點與觀點 國立台灣美術館 2009理想的世界-亞洲新興藝術家群展 SAKSHI Gallery 2009弱繪畫 關渡美術館 2009藝術七門町 MOT arts 2009台灣 X 以色列青年藝術家交流展 關渡美術館 2009美術創作卓越獎─【】 關渡美術館 2008台北美術獎 台北市立美術館 2008 聯展「肉色未來」 南北畫廊 2008 入選第六屆桃源創作獎 2008 聯展 「long lonely e more」SALT PEANUTS展覽空間 2007 聯展 「Any How 」 澎湖科技大學展覽廳 2006 徵件展 「睡痕」 ILOST 展覽空間 Hsu Yin-Ling 1987 Born in Pingtung , Taiwan 2009 Graduated from Taipei National University of Art │Finearts 2009 Currently studies at Taipei National University of Art│ Achievements 2008 Taipei Arts Awards Selected Award 2008 Outstanding Art Work Prize of Fine Arts Department 2008 Long Yen Foundation Award 2008 TNUA Fine Art Faculty Art Exhibition first award 2008 BenQ Digital Originality competition third place 2008 General Mention 6th Taoyuan Creation Award 2005 〝Juming Museum art corridor〞artist Solo exhibition 2010 eslite—ART STUDIO 「At last we arrived」 Taipei 2009 〝The Breast Stroke〞 Gallery gallery Kaohsiung Associated exhibition 2009 “2009 Asian Art Biennial—Viewpoints ＆ Viewing Points ”—National Taiwan Museum of Fine Arts 2009“Wonderland—Asian Emerging Artists Group Exhibition”—SAKSHI Gallery 2009“Weak Painting” ─ Kuandu Museum of Fine Arts 2009 “Mot/arts X Exploding Generation” ─MOT/ARTS 2009 Taiwan X Israel Young Artists Interchang Exhibition Kuandu Museum of Fine Arts 2008 Outstanding Art Work Prize of Fine Arts Department─【】Kuandu Museum of Fine Arts 2008 Taipei Arts Awards Taipei Fine Arts Museum 2008 associated exhibition〝Skin Color Future〞 Nan Bei gallery 2008 6th Taoyuan Creation Award Taoyuan County Govermment Cultural Affairs Bultural 2008 associated exhibition〝long lonely e more〞 SALT PEANUTS exhibition space 2007 associated exhibition〝Any How〞 National Penghu University 2006 associated exhibition 〝mark of sleep〞 ILOST exhibition space
「prattle」創刊發表會： 我們樂於開拓各式閱讀路徑，期待著意義生產的另類可能。這一次，「prattle」透過一些私人的友誼嘗試連結出一個「想像的藝術圈」，刊物透過漫無邊際的對談方式，穿越台北獎、高雄獎，一路聊到東京獎，以此回視著校內獎項如何可能。 “prattle”: New Publication Announcement We’d love to discover any kind of reading methods, trying to prospect an alternative of production. In this case, “Prattle” try to create an “imagined art community” by some private friendships. The publication is combined of some borderless chats of Taipei Fine Art Award, Kaohsiung Fine Art Award, all the way to Tokyo Art Award Marunouchi. Thus, we try to rethink the possibility of a campus art award. 刊物文章節錄： Excerpts from prattle: 一種電影場景的調度與形式的偷渡 文｜吳思嶔 乍看之下，劉玗的作品在形式上幾乎抓不著風格化的操作，更甚的說，每件作品之間好像無法捕捉到一條貫穿頭尾的脈絡，但我想從我與她談作品的經驗來找一個切入觀點，或許是跟藝術家本人的嗜好有關，她很常看電影，但並不是做電影研究，而是像我們一般人一樣的「觀賞」影片，或許在這樣子大量的瀏覽之下促成他所習慣生產的模式。在劉玗的作品裡面，如果細看，都會有一種類似電影的質性，這個類比的電影條件它並不是專業知識性的，是一個我們都能捕捉到的電影最基礎或籠統的狀態，我們總是把電影經驗延伸到個人經驗的投射，劉玗的＜我不曾用擁有未來城市＞這件作品則是在對這種個人經驗投射的消遣，藝術家蒐集了大量科幻片裡頭有關於「未來城市」的場景，將這些場景的影像製作成明信片然後將這些明信片與科幻電影交給她的朋友們，並委託朋友們揣摩自己是一位身處於那個未來城市裡面的一人，書寫手上的明信片交還或寄送回給藝術家。我們看見這件作品的心理狀態，當劉玗採用這些「未來城市」的影像來作為明信片，其實這在同時已經中止了我們對於未來城市的想像，它訴說著一件事實：或許，我們對未來城市的想像許多都來自於我們所看過的電影。這些寫明信片的人為這個作品置入了「共感」，當我們在閱讀著這些人抒發自己的幻想對這個城市做出詮釋時，我們可以不需轉譯的看見文字中的浪漫與幽默，並得到一個跳脫開原本電影脈絡之外的個人化未來城市… A kind of deploy of movie scenes and a pirate of form Wu, Sih-chin At the first sight, we can barely grasp any stylish operation of form in Liu, Yu’s artwork. We can even say that it’s hard to find any consistent thread in each artwork. But I would like to use a different point of view which comes from my experiences of talking with her on artworks. Maybe we can trace back to the artists personal habits, she likes to watch movies. Unlike a research of movie, she watches movies like every one of us. Maybe the habit of watching a lot of movies contributes to the art-creating model she is used to. In Liu, Yu’s artworks, if we pay close attention, we will find a feature similar to movies. This analogue to movies is not based on any professional knowledge, but rather a basic or general understanding of movie that we all have. We all reflect our personal experience to the movie stories. Liu, Yu’s artwork “The future cities which I have never owned” is actually a parody of “the reflection of personal experience”. The artist collected many scenes of “future cities” from the movies. Then she printed those scenes on postcards and handed the postcards with the sci-fi movies to her friends. She asked her friends to imagine themselves as the people who live in those future cities, write down their words on the postcards and then send back or return to her. We can see the psycho status of this artwork. When Liu, Yu uses the image of “future cities” on the postcards, she actually terminates our imagination of those future cities. We can thus realize a fact: Maybe our imaginations of cities in the future actually come from the movies we watched. The writers of postcards place a common sense into the artworks. When we read the words of the writer’s personal imaginations and interpretations of inexistent cities on the postcard, we can see the romantics and humors in the words without any translation and receive an individualized future city apart from the original movie… 吳思嶔作品的幾個軸線 ／ 反對吳思嶔作品的幾個軸線 文｜五味小貓GomiKitten（我們這裡有五種口味＋無痛苦小貓） 文｜無痛苦小貓PainFreeKitten 關於縮小的視覺意義的討論： 首先「縮小」在吳思嶔這邊是透過雕塑的構成方式，進行對於影像的討論，更精確的說，意味著從雕塑到影像的移動；如一系列的災難模型，及對墳墓進行的攝影，都是把所有喚起情感的事物（pathos）進行除魅的動作，也就是取消任何關於對象的深度與其神秘感，而讓觀者離開「觀看的動情距離」。這是蘇育賢談到吳思嶔在進行觀者感性的「調距」之理由… 文｜我們這裡有五種口味Gomi 縮小所產生的一個軸線，兩個世界： 吳思欽利用縮小實體物的尺寸來生產關於任何一場你永遠無發身歷其境的災難。而縮小的建築物的確造成了一種距離感，這種距離感就像是「最遙遠的距離是當我就站在你面前，但是你卻不存在我這個世界上。」（我們存在於1:1的世界，《蔡先生的家》存在於1:25的世界）一種人鬼殊途的距離感。所以這條軸線更像是包圍在「災難發生，現實造成我們天人永隔，但是也造成情感上的人鬼疏途。」這個距離並非彌留的距離，並非試圖去體會災難與悲劇的距離；而是原本就無法理解／體會，帶著一種冷眼旁觀、戴著近視的陰陽眼… Axis of Wu, Sih-chin’s artworks / Anti-axis of Wu Sih-chin’s artworks GomiKitten (Gomi+PainFreeKitten) The visual meaning of diminution by PainFreeKitten: First of all, Wu, Sih-chin uses the forming of sculpture to perform diminution, trying to discuss the image making. To be more precisely, it means the movement from sculptures to images. For example, the disaster model series, and the photos of thumbs, all try to wipe away the pathos which can arouse emotional feelings. It is a cancellation of the depth and mystery of the objects. He sets apart the viewers from the “distance of an affected viewing experience”. This also recalls Sam Su’s points of view on Wu, Sih-chin’s intention to “modify the distance”. “One axis, two worlds” by Gomi: Wu, Sih-chin creates a minified disaster which you can never be on the spot. The minified buildings actually create a feeling of distance. The feeling of distance is like the description “The longest distance is when you are in front of me but you are not in my world.” (We live in a 1:1 world but “Mr. Tsai’s home” is in a 1:25 world.) It’s a feeling like the different worlds of human-beings and ghosts. So the axis actually presents a situation in which “The disaster has happened, the fact separated us from someone we love, it also created a different world emotionally.” The distance is not the distance seen by people who’s dying, nor a simulation of the distance between disaster and tragedy. It is at the beginning not understandable, so we can only observe it indifferently. A short-sighted eye which can see the ghost… 聊蔡奕勳 訪談｜陳璽安 你在製造著冷的介面與熱的內容之間的拉扯，不過其中介面的疏離感會被重複操作的風格取代，你怎麼看？ 我在＜跑龍套篇＞裡面有很多人是運用了疊影的效果，我一直想要透過這種影像拉回來談其中的距離感。另外，我在影像製作完成最後會用個表面模糊的遮罩，我會期待它有一種類似繪畫性的溫度在裡面。而整體來說，其實更關注的反而是種兩者之間的曖昧性。 你會很細的去談各種你所操作的影像以及其效果，我會覺得這是關乎於內容的閱讀，不過你如何決定運用這種十分冷冽的風格來操作你的影像？ 其實我一直想很久，從創作過程來看，現在我拿滑鼠的經驗比實際拿筆還更熟悉。3D建模在作畫過程中，是可以立體轉動的，對我來說這就是個視覺的觸摸，因為更全面的照顧他的三個維度，這反而比手繪的感覺更真實，其實越是要營造虛擬空間，越是需要認識真實景物，才能達到真正的「寫生」效果，當時我覺得手繪無法做到。 你的佈展每個畫面都有個壓克力罩去框限一個畫面，壓克力框大約半個人大小，而裡面的人物幾乎都是十公分大，你如何安排兩者的比例？ 我碩一時有輸出過比真人小一點的尺寸，那個作品的光線打得有點像Ｘ光，後來發現很像是一種診斷行為，但不是生理上的診斷，而是心理的診斷，我近來則將展呈方式做了個調整，是有點以聚焦、窺視的方式來提供給觀者，必須近看、去找、分辯、解析，更接近一種診斷的狀態。而壓克力的厚度則是保證了一種質感，我想透過厚的東西去類比螢幕或者光暈的介面感覺… Talks with Tsai, Yi-hsun Interviewer Chen, Zi-an Q: You have been creating the tension between cold forms and hot content. But the distance between factors tends to be replaced by the constant operation style. What do you say about it? A: In the work “Play an insignificant role”, I overlap the shape of human bodies. I always want to use the overlapping images to discuss the sense of distance. Besides, I put on a blurry cover after finishing the images, trying to create the warmth similar to paintings in my work. Q: You talk about your operation of images down into details. I would consider that as a reading of the work’s content. But how do you decide to use this cold style to operate images? A: I’ve been thinking of it for a long time. In my creation experience, I am more used to computer mouse than real pen. The 3D model could be turned over up side-down in the screen. This is for me a real touch by seeing. I can take care of 3 dimensions more thoroughly. This is even real than hand paintings for me. To be honest, in creating virtual spaces, it takes more detail observation to reach the effect of “real”. I don’t think hand-painting is able to do that. Q: You use acrylic covers to constrain every picture. The acrylic cover is around half-human size while the bodies inside are all around ten centimeters. How do you decide the portion of the two? A: I used to print out the size only slightly smaller than real human in my first year of graduate school. The light shed on the works like X-rays. I found out that it looks like a m
「prattle」創刊發表會： 我們樂於開拓各式閱讀路徑，期待著意義生產的另類可能。這一次，「prattle」透過一些私人的友誼嘗試連結出一個「想像的藝術圈」，刊物透過漫無邊際的對談方式，穿越台北獎、高雄獎，一路聊到東京獎，以此回視著校內獎項如何可能。 “prattle”: New Publication Announcement We’d love to discover any kind of reading methods, trying to prospect an alternative of production. In this case, “Prattle” try to create an “imagined art community” by some private friendships. The publication is combined of some borderless chats of Taipei Fine Art Award, Kaohsiung Fine Art Award, all the way to Tokyo Art Award Marunouchi. Thus, we try to rethink the possibility of a campus art award. 刊物文章節錄： Excerpts from prattle: 一種電影場景的調度與形式的偷渡 文｜吳思嶔 乍看之下，劉玗的作品在形式上幾乎抓不著風格化的操作，更甚的說，每件作品之間好像無法捕捉到一條貫穿頭尾的脈絡，但我想從我與她談作品的經驗來找一個切入觀點，或許是跟藝術家本人的嗜好有關，她很常看電影，但並不是做電影研究，而是像我們一般人一樣的「觀賞」影片，或許在這樣子大量的瀏覽之下促成他所習慣生產的模式。在劉玗的作品裡面，如果細看，都會有一種類似電影的質性，這個類比的電影條件它並不是專業知識性的，是一個我們都能捕捉到的電影最基礎或籠統的狀態，我們總是把電影經驗延伸到個人經驗的投射，劉玗的＜我不曾用擁有未來城市＞這件作品則是在對這種個人經驗投射的消遣，藝術家蒐集了大量科幻片裡頭有關於「未來城市」的場景，將這些場景的影像製作成明信片然後將這些明信片與科幻電影交給她的朋友們，並委託朋友們揣摩自己是一位身處於那個未來城市裡面的一人，書寫手上的明信片交還或寄送回給藝術家。我們看見這件作品的心理狀態，當劉玗採用這些「未來城市」的影像來作為明信片，其實這在同時已經中止了我們對於未來城市的想像，它訴說著一件事實：或許，我們對未來城市的想像許多都來自於我們所看過的電影。這些寫明信片的人為這個作品置入了「共感」，當我們在閱讀著這些人抒發自己的幻想對這個城市做出詮釋時，我們可以不需轉譯的看見文字中的浪漫與幽默，並得到一個跳脫開原本電影脈絡之外的個人化未來城市… A kind of deploy of movie scenes and a pirate of form Wu, Sih-chin At the first sight, we can barely grasp any stylish operation of form in Liu, Yu’s artwork. We can even say that it’s hard to find any consistent thread in each artwork. But I would like to use a different point of view which comes from my experiences of talking with her on artworks. Maybe we can trace back to the artists personal habits, she likes to watch movies. Unlike a research of movie, she watches movies like every one of us. Maybe the habit of watching a lot of movies contributes to the art-creating model she is used to. In Liu, Yu’s artworks, if we pay close attention, we will find a feature similar to movies. This analogue to movies is not based on any professional knowledge, but rather a basic or general understanding of movie that we all have. We all reflect our personal experience to the movie stories. Liu, Yu’s artwork “The future cities which I have never owned” is actually a parody of “the reflection of personal experience”. The artist collected many scenes of “future cities” from the movies. Then she printed those scenes on postcards and handed the postcards with the sci-fi movies to her friends. She asked her friends to imagine themselves as the people who live in those future cities, write down their words on the postcards and then send back or return to her. We can see the psycho status of this artwork. When Liu, Yu uses the image of “future cities” on the postcards, she actually terminates our imagination of those future cities. We can thus realize a fact: Maybe our imaginations of cities in the future actually come from the movies we watched. The writers of postcards place a common sense into the artworks. When we read the words of the writer’s personal imaginations and interpretations of inexistent cities on the postcard, we can see the romantics and humors in the words without any translation and receive an individualized future city apart from the original movie… 吳思嶔作品的幾個軸線 ／ 反對吳思嶔作品的幾個軸線 文｜五味小貓GomiKitten（我們這裡有五種口味＋無痛苦小貓） 文｜無痛苦小貓PainFreeKitten 關於縮小的視覺意義的討論： 首先「縮小」在吳思嶔這邊是透過雕塑的構成方式，進行對於影像的討論，更精確的說，意味著從雕塑到影像的移動；如一系列的災難模型，及對墳墓進行的攝影，都是把所有喚起情感的事物（pathos）進行除魅的動作，也就是取消任何關於對象的深度與其神秘感，而讓觀者離開「觀看的動情距離」。這是蘇育賢談到吳思嶔在進行觀者感性的「調距」之理由… 文｜我們這裡有五種口味Gomi 縮小所產生的一個軸線，兩個世界： 吳思欽利用縮小實體物的尺寸來生產關於任何一場你永遠無發身歷其境的災難。而縮小的建築物的確造成了一種距離感，這種距離感就像是「最遙遠的距離是當我就站在你面前，但是你卻不存在我這個世界上。」（我們存在於1:1的世界，《蔡先生的家》存在於1:25的世界）一種人鬼殊途的距離感。所以這條軸線更像是包圍在「災難發生，現實造成我們天人永隔，但是也造成情感上的人鬼疏途。」這個距離並非彌留的距離，並非試圖去體會災難與悲劇的距離；而是原本就無法理解／體會，帶著一種冷眼旁觀、戴著近視的陰陽眼… Axis of Wu, Sih-chin’s artworks / Anti-axis of Wu Sih-chin’s artworks GomiKitten (Gomi+PainFreeKitten) The visual meaning of diminution by PainFreeKitten: First of all, Wu, Sih-chin uses the forming of sculpture to perform diminution, trying to discuss the image making. To be more precisely, it means the movement from sculptures to images. For example, the disaster model series, and the photos of thumbs, all try to wipe away the pathos which can arouse emotional feelings. It is a cancellation of the depth and mystery of the objects. He sets apart the viewers from the “distance of an affected viewing experience”. This also recalls Sam Su’s points of view on Wu, Sih-chin’s intention to “modify the distance”. “One axis, two worlds” by Gomi: Wu, Sih-chin creates a minified disaster which you can never be on the spot. The minified buildings actually create a feeling of distance. The feeling of distance is like the description “The longest distance is when you are in front of me but you are not in my world.” (We live in a 1:1 world but “Mr. Tsai’s home” is in a 1:25 world.) It’s a feeling like the different worlds of human-beings and ghosts. So the axis actually presents a situation in which “The disaster has happened, the fact separated us from someone we love, it also created a different world emotionally.” The distance is not the distance seen by people who’s dying, nor a simulation of the distance between disaster and tragedy. It is at the beginning not understandable, so we can only observe it indifferently. A short-sighted eye which can see the ghost… 聊蔡奕勳 訪談｜陳璽安 你在製造著冷的介面與熱的內容之間的拉扯，不過其中介面的疏離感會被重複操作的風格取代，你怎麼看？ 我在＜跑龍套篇＞裡面有很多人是運用了疊影的效果，我一直想要透過這種影像拉回來談其中的距離感。另外，我在影像製作完成最後會用個表面模糊的遮罩，我會期待它有一種類似繪畫性的溫度在裡面。而整體來說，其實更關注的反而是種兩者之間的曖昧性。 你會很細的去談各種你所操作的影像以及其效果，我會覺得這是關乎於內容的閱讀，不過你如何決定運用這種十分冷冽的風格來操作你的影像？ 其實我一直想很久，從創作過程來看，現在我拿滑鼠的經驗比實際拿筆還更熟悉。3D建模在作畫過程中，是可以立體轉動的，對我來說這就是個視覺的觸摸，因為更全面的照顧他的三個維度，這反而比手繪的感覺更真實，其實越是要營造虛擬空間，越是需要認識真實景物，才能達到真正的「寫生」效果，當時我覺得手繪無法做到。 你的佈展每個畫面都有個壓克力罩去框限一個畫面，壓克力框大約半個人大小，而裡面的人物幾乎都是十公分大，你如何安排兩者的比例？ 我碩一時有輸出過比真人小一點的尺寸，那個作品的光線打得有點像Ｘ光，後來發現很像是一種診斷行為，但不是生理上的診斷，而是心理的診斷，我近來則將展呈方式做了個調整，是有點以聚焦、窺視的方式來提供給觀者，必須近看、去找、分辯、解析，更接近一種診斷的狀態。而壓克力的厚度則是保證了一種質感，我想透過厚的東西去類比螢幕或者光暈的介面感覺… Talks with Tsai, Yi-hsun Interviewer Chen, Zi-an Q: You have been creating the tension between cold forms and hot content. But the distance between factors tends to be replaced by the constant operation style. What do you say about it? A: In the work “Play an insignificant role”, I overlap the shape of human bodies. I always want to use the overlapping images to discuss the sense of distance. Besides, I put on a blurry cover after finishing the images, trying to create the warmth similar to paintings in my work. Q: You talk about your operation of images down into details. I would consider that as a reading of the work’s content. But how do you decide to use this cold style to operate images? A: I’ve been thinking of it for a long time. In my creation experience, I am more used to computer mouse than real pen. The 3D model could be turned over up side-down in the screen. This is for me a real touch by seeing. I can take care of 3 dimensions more thoroughly. This is even real than hand paintings for me. To be honest, in creating virtual spaces, it takes more detail observation to reach the effect of “real”. I don’t think hand-painting is able to do that. Q: You use acrylic covers to constrain every picture. The acrylic cover is around half-human size while the bodies inside are all around ten centimeters. How do you decide the portion of the two? A: I used to print out the size only slightly smaller than real human in my first year of graduate school. The light shed on the works like X-rays. I found out that it looks like a m
Works
