關渡美術館2007勁秀系列-I ---侯怡亭個展
2007.03.02～2007.04.08
09:00 - 17:00
關渡美術館2007勁秀系列-I ---侯怡亭個展 展期: 2007-03-02 ~ 2007-04-08
地點: 週二至週日 上午10:00-下午5:00 我的作品一向以自身的身體執行「去中心」行為，也就是將自身的身體空間，納入、粘合到異質空間中。這裡存有的意識以及身體感，並非決然經由身體自發。雖然在作品形式上，如此的行徑是以主動者的身分，進入扁平的異空間，但是在作品意念上，處於媒體中且被消費的「膜」，才是具有主動襲擊能力的，意即：我們才是被箝制住的，主體是薄弱的、冷感的、僵化的、被操作的。身體與媒介物產生拉鋸，將自身化身為媒體物，經由眼睛進入大腦的是消費文明中最熱門的美好。當身體踏入由光所組成的虛影，我們靠著鏡像，在虛影中檢視自己，檢視自身的軀殼與想像的光體，是否達成更完滿的超越境界。
我透過「虛擬身體」和「現實身體」的相互介入，表達當代社會中，媒體物質以及流行符號對於我們身體的影響。任何介面的消費、視網膜、螢幕，都是當代人賴以維生的養分，但是誰才是主動篡位的一方？在我的作品中，二者皆是。 In this series of work, the main concept is the relation between abstract images and actual substance. These images come from a fictitious world, and they then become animated and exist in modern people’s mind. It brings about a phenomenon that in Asia, some young people like to wear make up exaggeratedly, and dress up as their idols in caricature. They wish to transform a fictitious world into a real world, and establish their own stage. However, the appearance of a role is not so significant here; what I am trying to express in this work is fusion and intervention. In this world of globalization, it is a trend to have a whole new outward look. In other words, a new life could be brought up through a new outfit. One could have a totally new identification, which is irrelevant to knowledge, experience and age. What matters is the mixture of materials and fictitious. The prevalence of mass media and communication influences us a lot. That is to say, media creates new idols and spread these new images to people immediately. AN OBJECT MAY NOT BE A REAL ONE. From my point of view, only the mixed production could be regarded as a completion in this new age. Fictitiousness covers substance, and substance covers fictitiousness. This is a New HYBRID.
地點: 週二至週日 上午10:00-下午5:00 我的作品一向以自身的身體執行「去中心」行為，也就是將自身的身體空間，納入、粘合到異質空間中。這裡存有的意識以及身體感，並非決然經由身體自發。雖然在作品形式上，如此的行徑是以主動者的身分，進入扁平的異空間，但是在作品意念上，處於媒體中且被消費的「膜」，才是具有主動襲擊能力的，意即：我們才是被箝制住的，主體是薄弱的、冷感的、僵化的、被操作的。身體與媒介物產生拉鋸，將自身化身為媒體物，經由眼睛進入大腦的是消費文明中最熱門的美好。當身體踏入由光所組成的虛影，我們靠著鏡像，在虛影中檢視自己，檢視自身的軀殼與想像的光體，是否達成更完滿的超越境界。
我透過「虛擬身體」和「現實身體」的相互介入，表達當代社會中，媒體物質以及流行符號對於我們身體的影響。任何介面的消費、視網膜、螢幕，都是當代人賴以維生的養分，但是誰才是主動篡位的一方？在我的作品中，二者皆是。 In this series of work, the main concept is the relation between abstract images and actual substance. These images come from a fictitious world, and they then become animated and exist in modern people’s mind. It brings about a phenomenon that in Asia, some young people like to wear make up exaggeratedly, and dress up as their idols in caricature. They wish to transform a fictitious world into a real world, and establish their own stage. However, the appearance of a role is not so significant here; what I am trying to express in this work is fusion and intervention. In this world of globalization, it is a trend to have a whole new outward look. In other words, a new life could be brought up through a new outfit. One could have a totally new identification, which is irrelevant to knowledge, experience and age. What matters is the mixture of materials and fictitious. The prevalence of mass media and communication influences us a lot. That is to say, media creates new idols and spread these new images to people immediately. AN OBJECT MAY NOT BE A REAL ONE. From my point of view, only the mixed production could be regarded as a completion in this new age. Fictitiousness covers substance, and substance covers fictitiousness. This is a New HYBRID.
關渡美術館2007勁秀系列-I ---侯怡亭個展 展期: 2007-03-02 ~ 2007-04-08
地點: 週二至週日 上午10:00-下午5:00 我的作品一向以自身的身體執行「去中心」行為，也就是將自身的身體空間，納入、粘合到異質空間中。這裡存有的意識以及身體感，並非決然經由身體自發。雖然在作品形式上，如此的行徑是以主動者的身分，進入扁平的異空間，但是在作品意念上，處於媒體中且被消費的「膜」，才是具有主動襲擊能力的，意即：我們才是被箝制住的，主體是薄弱的、冷感的、僵化的、被操作的。身體與媒介物產生拉鋸，將自身化身為媒體物，經由眼睛進入大腦的是消費文明中最熱門的美好。當身體踏入由光所組成的虛影，我們靠著鏡像，在虛影中檢視自己，檢視自身的軀殼與想像的光體，是否達成更完滿的超越境界。
我透過「虛擬身體」和「現實身體」的相互介入，表達當代社會中，媒體物質以及流行符號對於我們身體的影響。任何介面的消費、視網膜、螢幕，都是當代人賴以維生的養分，但是誰才是主動篡位的一方？在我的作品中，二者皆是。 In this series of work, the main concept is the relation between abstract images and actual substance. These images come from a fictitious world, and they then become animated and exist in modern people’s mind. It brings about a phenomenon that in Asia, some young people like to wear make up exaggeratedly, and dress up as their idols in caricature. They wish to transform a fictitious world into a real world, and establish their own stage. However, the appearance of a role is not so significant here; what I am trying to express in this work is fusion and intervention. In this world of globalization, it is a trend to have a whole new outward look. In other words, a new life could be brought up through a new outfit. One could have a totally new identification, which is irrelevant to knowledge, experience and age. What matters is the mixture of materials and fictitious. The prevalence of mass media and communication influences us a lot. That is to say, media creates new idols and spread these new images to people immediately. AN OBJECT MAY NOT BE A REAL ONE. From my point of view, only the mixed production could be regarded as a completion in this new age. Fictitiousness covers substance, and substance covers fictitiousness. This is a New HYBRID.
地點: 週二至週日 上午10:00-下午5:00 我的作品一向以自身的身體執行「去中心」行為，也就是將自身的身體空間，納入、粘合到異質空間中。這裡存有的意識以及身體感，並非決然經由身體自發。雖然在作品形式上，如此的行徑是以主動者的身分，進入扁平的異空間，但是在作品意念上，處於媒體中且被消費的「膜」，才是具有主動襲擊能力的，意即：我們才是被箝制住的，主體是薄弱的、冷感的、僵化的、被操作的。身體與媒介物產生拉鋸，將自身化身為媒體物，經由眼睛進入大腦的是消費文明中最熱門的美好。當身體踏入由光所組成的虛影，我們靠著鏡像，在虛影中檢視自己，檢視自身的軀殼與想像的光體，是否達成更完滿的超越境界。
我透過「虛擬身體」和「現實身體」的相互介入，表達當代社會中，媒體物質以及流行符號對於我們身體的影響。任何介面的消費、視網膜、螢幕，都是當代人賴以維生的養分，但是誰才是主動篡位的一方？在我的作品中，二者皆是。 In this series of work, the main concept is the relation between abstract images and actual substance. These images come from a fictitious world, and they then become animated and exist in modern people’s mind. It brings about a phenomenon that in Asia, some young people like to wear make up exaggeratedly, and dress up as their idols in caricature. They wish to transform a fictitious world into a real world, and establish their own stage. However, the appearance of a role is not so significant here; what I am trying to express in this work is fusion and intervention. In this world of globalization, it is a trend to have a whole new outward look. In other words, a new life could be brought up through a new outfit. One could have a totally new identification, which is irrelevant to knowledge, experience and age. What matters is the mixture of materials and fictitious. The prevalence of mass media and communication influences us a lot. That is to say, media creates new idols and spread these new images to people immediately. AN OBJECT MAY NOT BE A REAL ONE. From my point of view, only the mixed production could be regarded as a completion in this new age. Fictitiousness covers substance, and substance covers fictitiousness. This is a New HYBRID.
侯怡亭
侯怡亭 「超高難度限制級瑜珈」Super Dirty Yoga 創作自述 Artist Statement 本展覽的命題以2006台北雙年展為發想動機，挪用字面上以更直接明白的方式作一回應，試圖改變展覽向來艱澀難理解的操作模式，作品內容也以真實的身體伸展及拉扯作為一個顯而易見的形式，並與展覽命名相謀合。 我的作品一向以自身的身體去執行一個去中心行為，將自身的身體空間納入粘合到一個異質空間中。這裡存有的意識及身體感並非絕對全然經由身體自發的，雖然在作品形式上那樣的行徑是以主動者去進入那樣扁平的異空間，但是在作品的意念上，媒體中的那被消費的膜其實才具有主動襲擊的能力；我們也許才是被箝制住的，主體是薄弱的、冷感的、僵化的、被操作的，身體與媒介物產生拉鋸，將自身化身為媒體物，經由眼睛進入大腦置入的是消費文明中最熱門的美好。當身體踏入到一種光組構成的虛影中時，靠著鏡像在一次的虛影檢試自己，自身的軀殼與想像的光體是否達成更完滿超越的境界。我的作品裡一直以來的命題，是以一種對於虛擬身體和現實身體相互介入之形式來表達當代社會中媒體物質及流行符號對於我們身體的影響。任何介面的消費、視網膜、螢幕都是當代人倚賴維生的生存養分，但是誰才是主動篡位的一方？在這裡二者都是。 SUPER DIRTY YOGA, the idea of this exhibition comes from 2006 Taipei Biennial. It employs “real” yoga to body relationship with fictitious idols. The body is ductile but hard to make some movements into the fictitious space in my works. In this series of work, the main concept is the relation between abstract images and actual substance. These images came from a fictitious world, and they then become animated and do exist in modern people’s mind. It brings about a phenomenon that in Asia, some young people like to make up exaggeratedly, and dress up like their idols in caricature. They wish to transform a fictitious world into a real world, and establish their own stage. However, the appearance of a role is not so significant here; what I try to express in this work is the condition of fusion and intervention. In this globalization world, it is a trend to have a whole new outward look; in other words, a new life could be brought up through a new outfit. One could have a totally new identification, which has no concern of knowledge, experience and age. What matters is the mixture of materials and fictitious. The spread of mass media and communication influence us a lot. That is to say, media creates new idols and spread this to people as soon as possible. AN OBJECT MAY NOT BE A REAL ONE. From my point of view, only the mixed production could be regarded as a completion in this new age. Fictitious to cover substance, substance to cover fictitious, this is a New HYBRID. 簡歷 Resume 1979年出生於高雄，畢業於國立台北藝術大學美術系及台南藝術大學造形藝術研究所。1999年開始參與多項個展與聯展，2006年獲高雄獎複合媒材類優選，於同年獲國立台灣美術館青年藝術作品典藏。 Born in 1979, HOU I-ting graduated from Taipei National University of the Arts and Tainan National University of the Arts. She participated many group exhibitions since 1999, and had had her solo exhibition. She won Honorable Mention of mix media category of 2006 Kaoshiung city Fine Arts Award, and her work was collected by National Taiwan Museum of Fine Arts in 2006. 重要展覽經歷Selected Exhibitions 2006《 Excess 超度》 CO6台灣前衛文件展徵件展 國立台灣美術館 台中 《2006 高雄獎展覽》 高雄市立美術館 高雄 《侯怡亭個展 》文賢工程油漆行 台南 2005《林志玲大展》 誠品敦南藝文空間 台北 《慢活_ City Net Asia》漢城、大阪、臺北、上海城市交流展，首爾市立美術館，韓國 2006 Excess, CO6 Avant-garde Documents in Taiwan, National Taiwan Museum of Fine Arts, Taichung The Artist show in Kaoshiung, National Kaoshiung Museum of Fine Arts, Kaoshiung Hou,I-Ting, Wen-xian Painters House, Tainan, Taiwan 2005 Chiling Lin, Art space of Eslitebook store, Taipei City_net Asia 2005, The Praise of Slow(Taipei), Seoul, Tokyo, Taipei, Beijing, exhibition to interflow,Seoul Museum of Art, Korea 侯怡亭摺頁用作品圖說 看我七十二變 行為錄像 4分37秒 2005 MAGIC Video 4 min 37sec 2005 流行音樂歌手蔡依林 「看我七十二變」： 「矇矓中完美的臉，慢慢的出現，再見醜小鴨再見，我要洗心革面，…今天、新鮮、改變、再見，美麗極限，愛漂亮沒有終點。…讓鼻子再高一點，空氣才新鮮，再見單眼皮再見，腰圍再小一點，努力戰勝一切，…再見醜小鴨再見，自卑留給昨天，女大要十八變看我七十二變。」 (Pop Singer Jolin Tsai, lyrics for “Magic”) Immaculate features, slowly emerging from obscurity. Farewell, ugly duckling, farewell, I want to change. Today, pristine, changes, farewell, limits of beauty, without an end to the desiring of splendor…Get the nose lift, freshen the air. Farewell single eyelids. A smaller waist, Overcoming everything…Farewell ugly duckling farewell, save the inferiority for yesterday. A woman must change like magic. ------------------------------------------------------------------------------------------------------- Usurper 影像輸出 113×155cm (10件) 2005 看著鏡中自己的影像，那模樣早已被虛擬電傳下的訊息加註自身意識而先被網羅住，新的世紀、新的偶像，都是電傳電訊的介面，而實體身軀的我們也不過是另一種即將要和它相容的介面，這個互相相容，在實體上覆蓋上虛擬，在虛擬上覆蓋上實體，這二者之間的關係無法清楚二分為一，他們即是新世紀的真理。 Looking at myself in the mirror, the figure has been caught and covered by the message caused from tele-communication. New era, new idols are the interface of tele-communications, so does our bodies. Our bodies will soon be compatible with this interface. The actual and virtual are covered with each other, and the limit between them disappears. This is the truth of the new era. ----------------------------------------------------------------------------------- 超高難度限制級瑜珈 影像輸出壁紙 2007 身體（小我），作為一個需要被拉扯或者融合到非現實世界的精神空間（梵，大我，最高意識），也就是另一種「內在真我的統一」。在這過程中，我們進入入世的禪意境界，以及更形複雜的當代世界。 影像中的肉體像是萬花筒般，絢麗鋪張，鏡像的接黏和不斷的複製，如同單一的『我』，拉扯或者融合到巨大的『我』之中。 Body (I) has to be pull, dragged or merged into a non-realistic spiritual world (i.e. self-consciousness), and make a “Unity of real-self”. During the process, we enter a state of Zen and a much more complicated modern world. Bodies in this image work are like a kaleidoscope. The image is magnificently brilliant and gorgeous. The continuity and duplication of the image symbolize that a single “I” is dragged into a immense “I”.
侯怡亭
侯怡亭 「超高難度限制級瑜珈」Super Dirty Yoga 創作自述 Artist Statement 本展覽的命題以2006台北雙年展為發想動機，挪用字面上以更直接明白的方式作一回應，試圖改變展覽向來艱澀難理解的操作模式，作品內容也以真實的身體伸展及拉扯作為一個顯而易見的形式，並與展覽命名相謀合。 我的作品一向以自身的身體去執行一個去中心行為，將自身的身體空間納入粘合到一個異質空間中。這裡存有的意識及身體感並非絕對全然經由身體自發的，雖然在作品形式上那樣的行徑是以主動者去進入那樣扁平的異空間，但是在作品的意念上，媒體中的那被消費的膜其實才具有主動襲擊的能力；我們也許才是被箝制住的，主體是薄弱的、冷感的、僵化的、被操作的，身體與媒介物產生拉鋸，將自身化身為媒體物，經由眼睛進入大腦置入的是消費文明中最熱門的美好。當身體踏入到一種光組構成的虛影中時，靠著鏡像在一次的虛影檢試自己，自身的軀殼與想像的光體是否達成更完滿超越的境界。我的作品裡一直以來的命題，是以一種對於虛擬身體和現實身體相互介入之形式來表達當代社會中媒體物質及流行符號對於我們身體的影響。任何介面的消費、視網膜、螢幕都是當代人倚賴維生的生存養分，但是誰才是主動篡位的一方？在這裡二者都是。 SUPER DIRTY YOGA, the idea of this exhibition comes from 2006 Taipei Biennial. It employs “real” yoga to body relationship with fictitious idols. The body is ductile but hard to make some movements into the fictitious space in my works. In this series of work, the main concept is the relation between abstract images and actual substance. These images came from a fictitious world, and they then become animated and do exist in modern people’s mind. It brings about a phenomenon that in Asia, some young people like to make up exaggeratedly, and dress up like their idols in caricature. They wish to transform a fictitious world into a real world, and establish their own stage. However, the appearance of a role is not so significant here; what I try to express in this work is the condition of fusion and intervention. In this globalization world, it is a trend to have a whole new outward look; in other words, a new life could be brought up through a new outfit. One could have a totally new identification, which has no concern of knowledge, experience and age. What matters is the mixture of materials and fictitious. The spread of mass media and communication influence us a lot. That is to say, media creates new idols and spread this to people as soon as possible. AN OBJECT MAY NOT BE A REAL ONE. From my point of view, only the mixed production could be regarded as a completion in this new age. Fictitious to cover substance, substance to cover fictitious, this is a New HYBRID. 簡歷 Resume 1979年出生於高雄，畢業於國立台北藝術大學美術系及台南藝術大學造形藝術研究所。1999年開始參與多項個展與聯展，2006年獲高雄獎複合媒材類優選，於同年獲國立台灣美術館青年藝術作品典藏。 Born in 1979, HOU I-ting graduated from Taipei National University of the Arts and Tainan National University of the Arts. She participated many group exhibitions since 1999, and had had her solo exhibition. She won Honorable Mention of mix media category of 2006 Kaoshiung city Fine Arts Award, and her work was collected by National Taiwan Museum of Fine Arts in 2006. 重要展覽經歷Selected Exhibitions 2006《 Excess 超度》 CO6台灣前衛文件展徵件展 國立台灣美術館 台中 《2006 高雄獎展覽》 高雄市立美術館 高雄 《侯怡亭個展 》文賢工程油漆行 台南 2005《林志玲大展》 誠品敦南藝文空間 台北 《慢活_ City Net Asia》漢城、大阪、臺北、上海城市交流展，首爾市立美術館，韓國 2006 Excess, CO6 Avant-garde Documents in Taiwan, National Taiwan Museum of Fine Arts, Taichung The Artist show in Kaoshiung, National Kaoshiung Museum of Fine Arts, Kaoshiung Hou,I-Ting, Wen-xian Painters House, Tainan, Taiwan 2005 Chiling Lin, Art space of Eslitebook store, Taipei City_net Asia 2005, The Praise of Slow(Taipei), Seoul, Tokyo, Taipei, Beijing, exhibition to interflow,Seoul Museum of Art, Korea 侯怡亭摺頁用作品圖說 看我七十二變 行為錄像 4分37秒 2005 MAGIC Video 4 min 37sec 2005 流行音樂歌手蔡依林 「看我七十二變」： 「矇矓中完美的臉，慢慢的出現，再見醜小鴨再見，我要洗心革面，…今天、新鮮、改變、再見，美麗極限，愛漂亮沒有終點。…讓鼻子再高一點，空氣才新鮮，再見單眼皮再見，腰圍再小一點，努力戰勝一切，…再見醜小鴨再見，自卑留給昨天，女大要十八變看我七十二變。」 (Pop Singer Jolin Tsai, lyrics for “Magic”) Immaculate features, slowly emerging from obscurity. Farewell, ugly duckling, farewell, I want to change. Today, pristine, changes, farewell, limits of beauty, without an end to the desiring of splendor…Get the nose lift, freshen the air. Farewell single eyelids. A smaller waist, Overcoming everything…Farewell ugly duckling farewell, save the inferiority for yesterday. A woman must change like magic. ------------------------------------------------------------------------------------------------------- Usurper 影像輸出 113×155cm (10件) 2005 看著鏡中自己的影像，那模樣早已被虛擬電傳下的訊息加註自身意識而先被網羅住，新的世紀、新的偶像，都是電傳電訊的介面，而實體身軀的我們也不過是另一種即將要和它相容的介面，這個互相相容，在實體上覆蓋上虛擬，在虛擬上覆蓋上實體，這二者之間的關係無法清楚二分為一，他們即是新世紀的真理。 Looking at myself in the mirror, the figure has been caught and covered by the message caused from tele-communication. New era, new idols are the interface of tele-communications, so does our bodies. Our bodies will soon be compatible with this interface. The actual and virtual are covered with each other, and the limit between them disappears. This is the truth of the new era. ----------------------------------------------------------------------------------- 超高難度限制級瑜珈 影像輸出壁紙 2007 身體（小我），作為一個需要被拉扯或者融合到非現實世界的精神空間（梵，大我，最高意識），也就是另一種「內在真我的統一」。在這過程中，我們進入入世的禪意境界，以及更形複雜的當代世界。 影像中的肉體像是萬花筒般，絢麗鋪張，鏡像的接黏和不斷的複製，如同單一的『我』，拉扯或者融合到巨大的『我』之中。 Body (I) has to be pull, dragged or merged into a non-realistic spiritual world (i.e. self-consciousness), and make a “Unity of real-self”. During the process, we enter a state of Zen and a much more complicated modern world. Bodies in this image work are like a kaleidoscope. The image is magnificently brilliant and gorgeous. The continuity and duplication of the image symbolize that a single “I” is dragged into a immense “I”.
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