 新苑藝術—【人間再造天堂──在台北與巴黎之間】陳美岑個展 展期2014/06/13 - 07/13 開幕 2014/06/13 19 :00 地點 新苑藝術 Galerie Grand Siècle 台北市八德路三段12巷51弄17號1樓
新苑藝術六月十三日將展出旅法藝術家陳美岑最新油畫系列作品「天堂」(展至7月13日)，睽違四年，陳美岑再次在台灣舉辦個展，透過以風景畫手法表現的「天堂」，向觀者揭露記憶中的城市地圖。 Galerie Grand Siècle is about to present Chen Mei-Tsen’s latest oil painting series Paradise on June 13th and the exhibition ends on July 13th. She is a Taiwanese artist living in France. After nearly four years, her works will be shown in Taiwan again. Through landscape-formed Paradise, she will reveal the city maps projected from her memories in front of the audience.
「天堂」系列中，陳美岑將城市類比為樹木的盤根錯節，藉以觀望城市這座「人間再造的天堂」，它是系統完整的有機保護體，也是在精神與結構上持續延展蛻變的組織。本系列的每件作品均代表一座城市，包括出生地台北、現居地巴黎，及曾漫遊造訪的世界大城，香港、新加坡、東京、北京、倫敦、柏林、馬德里、蒙特婁、斯德哥爾摩等。「天堂」的畫面主體，由血肉膚質的樹幹、觸手式的枝椏，和蜘蛛網狀的城市街道構成。膚色、紅色、紫色三個色彩基調象徵人體肌膚、動靜脈血管與神經系統。 In Paradise seriese, Chen Mei-Tsen metaphorized cities as a tree’s extensive twisted branches to depict city this "reinvented earthly paradise". City is a well-systemized organic cocoon and an organization that kept widening and transforming in phychology and its composition. Each of the series represent a city, including her birth place Taipei, current home Paris and the metropolises she ever traveled by, HK, Singapore, Tokyo, Beijing, London, Berlin, Madrid, Montreal and Stockholm. Paradise is mainly consisted of trunks of blood-and-flesh texture, tentacled branches and spiderwebbed city streets. The three keynote colors skin color, red and violet symbolized human skin, arteries, veins and neural system.
陳美岑認為繪畫的行為通往異域。透過繪製──任憑身體連結至神經系統，向上蔓延至大腦情感思緒──使人得以再訪異域。針對作品美岑自云：「或許在我的天堂世界裡，我像是個隱形的蜘蛛在織網，建築連線並期待著什麼事情將會發生；或者更像個微小的蟲子，迷失在這個多元多變的世界網絡中。」
本次個展【人間再造天堂──在台北與巴黎之間源自她對自我深層的質問，係以回應「現處何時何地」、「什麼是個人的藝術家觀點」、「為何還需要做作品」、「身處異國他鄉如何文化認同」等疑問。 【Reinvented Earthly Paradise— Between Taipei and Paris】is originated from the deep self-questions and the answer to those questions: "Where and when she is”, "what her artist perspectives are", "Why she needs to continue creating artworks", and "How she defines cultural identity in a foreign land” --------------------------------------------------------------------------------------------------------------------  Realization of Visual Perception- A Solo Exhibition by Wang Ting Chao 展期Duration：2014/05/02 – 06/01 開幕Reception：2014/05/02 19:00 地點Venue：新苑藝術 Galerie Grand Siècle, Taipei 台北市八德路三段12巷51弄17號1樓 1/F, No.17, Aly.51, Ln.12, Ba-de Rd. Sec.3, Taipei, Taiwan, 10559 新苑藝術五月展覽藝術家王鼎超，已於YOUNG ART TAIPEI 2014亮相，接下來5月2日將於新苑藝術舉行個展《履 行小視界》，展覽到6月1日。王鼎超作品曾數次獲得平面 創作有關獎項，例如2011年台灣美術新貌展—平面創作 系列、2011年高雄獎入選獎與2011年北縣美展油畫 類首獎。其繪畫創作體現某種從表面到深層的途徑，由「視 點」締結成個人獨特的「視界」，反映自我到他者、群體之 於環境的體驗與試煉。王鼎超筆下的人物，由大量的人體構 造物所組成：肌肉、血液、軀幹等，搭配性質對立的媒材： 墨水、鉛筆、水性顏彩與手工桐木木板，展現「以薄切深」 、「以輕承重」的創作精神，並揭露其身處當代社會所萌生 的人生價值觀。 本次展覽以《履行小視界》陳敘主題，藉著對照人物與山、 草地、樹木、都市景觀，建構自身與所處城市之間的私密空 間並進行反思。《履行小視界》作品以大量的自然景觀元素 --草地、漂移的山石、肉體纏繞生長的樹木、雨後碧綠的 湖水--形成符號，符號在藝術家的內心空間游移、拼湊與 重組過後，產生新的故事情節。作品起始於旅行帶來的感動 ，臨觀自然的美感與色彩，遊走於傾倒在都市一角的山區角 落，王鼎超將得到的反思投射於作品中，以細緻魔幻的圖像 ，表現居住於繁華都市的人們在享受過後，如何對環境帶來 衝擊與破壞。 Wang Ting Chao’s painting works followed a path through surface layer to depth, from a viewpoint to a surface, which reflects relationship and trials between self-otherness and humans-environment. The characters he painted were constructed by veins, blood vessels and limbs by media seem to be contradictory in art expression: ink and water, pencil, water-based pigments and solid wooden board made by paulownia, revealing his spiritual belief in the cotemporary world—holding up the weight by making light of it. Wang Ting Chao’s painting works followed a path through tended to paint muscles, veins, and skins to reconstruct the inner of the subject. This technique extended the theme from surface to the dissection and creation of structure. As his main media, ink and water, pencil, water-based pigments, lack the expression of thickness and skin texture, he chose solid wooden boards as base, which is hard to permeate by pigments. This contrast in the selection of media revealed the artist’s embodiment of a self-value – holding up the weight by making light of it This exhibition is narrated by the title Realization of Visual Perception. The artist contrasted the character with mountains, grasslands, trees and urban landscape, projecting his thoughts and concerns onto where he lives, and opening up a private space of reflection of urban-human relationship. Realization of Visual Perception encapsulates abundant landscape elements, such as grasslands, drifted mountains and rocks, flesh-twined trees and dark green lake after rain, ＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿  大島成己攝影個展 Solo Exhibition by Naruki Oshima全新攝影集《Haptic Green》新書發表會暨開幕茶會New Album “Haptic Green” Release and Reception展期Duration：2014/03/21 – 04/18開幕Reception：2014/03/21 18:30地點Venue：新苑藝術 Galerie Grand Siècle, Taipei台北市八德路三段12巷51弄17號1樓 1/F, No.17, Aly.51, Ln.12, Ba-de Rd. Sec.3, Taipei, Taiwan, 10559新苑藝術將於3月21日舉辦大島成己 Naruki Oshima 攝影個展暨全新攝影集《Haptic Green》發表會。長年專注攝影創作的藝術家大島成己，作品屢次展出於歐洲、日本重要藝廊，深獲好評。其作品也廣為公私立機構、美術館收藏。大島於德國杜賽朵夫美術學院研習攝影時，師承德國當代攝影家托馬斯魯夫Thomas Ruff，回國後於京都市立美術學院擔任教職，並持續創作至今。對於攝影，他認為「影像只單獨存在於意義、價值、分類或統合之外」。本次展出的作品「Haptic Green」、「Reflections」，他有什麼新訊息要分享？ Haptic Green 綠色觸覺 人們會發現視覺現象是短暫的，例如穿越茂林時，人能隱約辨別出一個物體，因為當眼睛看不清楚時，人會在無意識中使用全部的感官。 這個視覺現象使人在進入森林時，就彷彿已經碰觸到纏繞的枝葉與樹幹。 不是明白的「綠樹」影像，而是交纏的綠色團塊。 Reflections反映 人對距離的知覺就是一種視覺依賴，必須使之中斷才能顯現影像的陌生。 影像若沒有體積和視角，就像光與影的混和物。為了探索與影像的新關係，不再依賴熟悉的情境意義，大島刻意使影像中難以辨識的陌生增加，並強調組成相片的元素，例如光、顏色、觸感，大島將這種方法稱作蒙太奇。 Galerie Grand Siecle is going to hold an opening reception for Naruki Oshima’s solo exhibition and new album “Haptic Green” release. Long been dedicated to photographical creation, Oshima has held several exhibitions in Europe and Japan’s significant galleries, and his works were widely collected by public and private institution, including museums in Germany and Japan. When Oshima was studying photography in Kunstakademie Düsseldorf, he studied under the master of contemporary photographer, Thomas Ruff. After he came back to Japan, he held a teaching position in Kyoto City Art University and continued creating until now. Speaking to photography, he thinks images are just floating independently of meaningfulness, valuation, classification or integration. This time the two series “Haptic Green” and “Reflections” will be exhibited in Galerie Grand Siecle, the messages behind which are waited to be discovered. Haptic Green People observe visual phenomenon ephemeral, as they push through to a dense forest, they experience a moment when you subtly recognize an object. They unconsciously use all senses while their eyes are ambiguous towards it. The visual phenomenon exists as a tactility of a touch, a part of intertwining leaves, branches or the trunks upon entering the forest. And it is apart from a total image as “green trees”; however, its parts are interwoven into a green mass. Reflections Oshima thinks when the optical dependency on the perspectivistic perception of the distance between oneself and the other is interrupted, the strangeness of the image will come to emerge. Furthermore, he thinks when the volume and perspective of an image is lost, it appears to people just as a mixture of light and shadow. In order to explore a new relationship with other images, which will no longer be dependent on the context of meaning, Oshima emphasizes the elements such as light, color and tactility which constitute a photographic image. That is what he calls montage. ＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿  還有梅花暗自香 柳依蘭個展 The Fragrance of Plum Blossom Secretly Giving Off 展覽期間 2013.11.01-11.29 開幕時間 2013.11.01 Fri 19:00 展覽地點 新苑藝術 台北 （台北市八德路三段12巷51弄17號1樓） 因為有了不甘被禁錮的靈魂，真誠與勇氣是生命的所依。 如此! 方能淬鍊出生命的質地。 人生如此美好! 因為，我們對自己仍有夢想與期許! 愛恨未了 繁花未盡 還有梅花暗自香 Because of the soul, which is unwilling to be confined, life relies on sincerity and courage. Therefore, the true essence of life can be extracted. Life is so wonderful, because we still get dreams and hopes for ourselves. Love and hate is not finished. A mass of flowers is not ending. There is still the fragrance of plum blossom secretly giving off. 沈澱兩年，柳依蘭2013全新系列作品將於新苑藝術的最新個展「還有梅花暗自香」中精彩呈現， 展期自2013年11月01日至11月29日。十一年前，柳依蘭開啟了自己的創作生命，從創作中碰觸潛藏在社會和倫理下更深層的人性，不斷用繪畫拋出人與自我、人與社會的問題。白天，她忙於菜市場的筍乾生意，收攤後即將自己沉澱再藝術創作裡，因為這樣的成長環境，柳依蘭將苦澀的美感經驗漫延至作品，輪廓獨特的人物，大氣華麗的濃烈色彩，詭譎靜謐的抽象空間，構成柳依蘭的獨特風格，未受學院影響的特殊風格，更為作品蒙上了獨特的氛圍。 柳依蘭的作品緊扣著最根本的創作元素-〝人〞。藝術依附著人而存在，柳依蘭不留於形式主義，她提出觀看這社會的一個角度，一種看法，也觀察人性與自身的生命經驗，獻祭藝術。在藝術中追求的”美”，扎扎實實的與”真”做結合，從中追尋的是本質性的問題，創作中用著柳依蘭式的美學和語言，書寫人與情慾之間，人與家庭之間，人與社會之間，如此，建構與人溝通之橋梁。 「愛，原來那麼苦惱」、「前撲後繼的真相」、「冷眼繁華」，在這裡我不說倫理，說人性的本質。在人類的社會裡必須遵守著共同的規範與制約，但在新聞媒體裡，不就常常在〝滴血認親〞嗎?!「前撲後繼的真相」說的是豪門，當了豪門的外遇對象還懷孕，這或許是我從陰性的思維切入，也點出了上層社會仍是以父權為主導，傳宗接代，仍可保障豪門外遇第三者的家庭地位，母憑子貴。古代的餘韻仍在有權勢的大戶人家上演著。「對聯」、「妳嫁的是一個人還是一家人」、「她的名字叫婆婆」、「熬成婆」，都在說人與家庭之間。較值得一提的是「熬成婆」講的是時間，一個女人從青澀少女到走入婚姻到老的過程。中國的長卷，在閱讀時彷彿就有一種時間的流動，我把時間的線變成立軸，「熬」本身就是時間。 「美人圖系列」的構思始於清代十二美人圖，圖中的女子看起來都像一件件雅致的擺設，倚在琴棋書畫間，歎華堂高貴歎皇家寂寥，美學的觀點是富裕所致，莫如憂鬱，無端惆悵最高級。因此啟發藝術家用不同的創作語彙轉換新十二美人圖，扣到當代的社會潮流，形塑當代美人的十二種樣貌，觸碰或探討現代美人從事什麼活動，於是它變成十二個議題。此系列創作持續進行中，於個展搶先曝光三幅，分別是「咬耳朵」、「馴夫記」、「方寸之間」。 -------------------------------------------------------------------------------------------------------------------------------------------------  展覽期間 2013.09.27-10.25 開幕時間 2013.09.27 Fri 19:00 展覽地點 新苑藝術 台北
睽違兩年，新苑藝術將於2013年09月27日至10月25日舉辦耿晧剛最新個展「差異之間」。耿晧剛在此次展覽中呈現的作品形式多元，除了具視覺效果的畫作和物件，亦包含了大件數位輸出。此展覽中的三項中心主題以英文大寫縮寫涵蓋，簡稱為G.S.Z. The Difference Between: 我們也許可詮釋為Green colonialism (或colonial Green) - 綠色式殖民主義，Skull - 溫柔甜蜜的死亡， Zebra - 草原斑馬生命力。 無論是在「征服意志慾望」、「人世虛榮」、「意識形態衝突」等議題上，新展覽更反映出了藝術家面對多項關注議題之時，產生論述的思考進程。 耿晧剛1969年生於台灣，現居台北，1993年畢業於台灣東海大學美術系。1997~2002就讀於義大利米蘭布雷拉藝術學院Accademia di belle arti di Brera跟隨Diego Esposito教授，主修繪畫與裝置，開啟觀念藝術的思考，其後返台從事德國Hugo Boss時尚流行品牌數年，獨特的成長背景與留學工作經驗，影響其後的創作風格，作品曾受邀於台北新苑藝術、貝瑪畫廊個展、大阪藝術博覽會、台北當代藝術博覽會等展出。
藝術家此次的裝置藝術與攝影作品延續Readymade的基本精神，卻企圖在挪用、轉移、再複製物件的同時，伸展個人的創作概念並且影喻物件可附有的雙重含意。除了使用已存在取得的現有品項組合成型的裝置物件外，再將斑馬繪畫、 殖民綠色系衣件裝置與人頭裝置原件拍照成為攝影作品，成為加強效果、放大尺寸、 以數位藝術噴墨單一版大圖創作，放大的攝影作品也成為單一版畫輸出，成為Readymade of readymade ! 玩味的當然還有原件與輸出作品大小物件間的視覺差異效果、大眾習慣的尺寸大小與價格高低間的迷思，攝影成為破除既有概念與挑戰視線焦點的手段，企圖讓觀眾留下物件放大後的深刻印象。
當創作者完成作品後， 他們與作品間關係的第一階段似乎暫時終止， 作品在面對大眾的同時將走出屬於作品自身未來的道路。 以用心觀畫者的心情 我們可以試著解釋分析所感所想，也擁有無限自由的空間去詮釋、 想像創作的權利，建立與作品一對一的私密對話，感受如同無形的樂音對聽覺所帶來無形的喜悅；所有觸動的感覺、 突然浮現交織於眼前的影像都屬於個人，無關對錯也沒有絕對，所有的詮釋均能成立也都有存在的理由。 因為耿晧剛習慣的思維也天馬行空，不眷戀固定的表現形式，習慣轉換新的創作方式，更喜歡讓人跌破眼鏡。 因為他認為藝術的趣味在於藝術本身的真實與曖昧性， 在於挑戰觀者的偏見，甚至使其陷入一種不安狀態下的質詢與疑問。 耿晧剛如此談及自己的作品 : "我想將很大很沉重的議題隱藏在弄得像小巧可愛卻又可把玩於股掌之間的現成物後面，但有時又透過放大數十倍的呈現處理觀看的角度與視野。 在大小之間與真假之間，也許可以延伸討論貧富之間、 強弱之間、 階級之間、 生死之間、神鬼之間的問題... 或終究還是回到思考差異之間... (The Difference Between) "。 以裝置作品與放大攝影版畫輸出的對照與對比，藝術家希望處理兩者對立間模糊的尺寸關係，或者是為重申其實媒材的選擇牽涉到藝術家想分享的經驗 ;攝影並不完全取代繪畫，攝影也可以再創裝置作品真實與虛幻間的魅影世界。
The Difference Between A Solo Exhibition by Keng Hao Kang 2013 Duration 2013.09.27-10.25 Reception 2013.09.27 Fri 19:00 Venue Galerie Grand Siècle,Taipei,Taiwan
After nearly two years, Keng Hao Kang will hold a solo exhibition at Galerie Grand Siècle to showcase his newest works. The exhibition, named The Difference Between, will be held from September 27 to October 25, 2013. The exhibition will feature a wide range of works, including paintings, visual art, and large scale digital works, and revolve around the three themes: G.S.Z. “G” stands for “Green colonialism (or colonial Green)”; “S” is short for “Skull” - symbolic of a sweet death; and, “Z” is the abbreviation for “Zebra” - symbolic of the vitality of a zebra. The artworks echo the artist’s thoughts on issues that lie close to his heart, including “overcoming desires,” “mankind’s vanity,” and “ideological conflicts.”
Born in 1969 in Taiwan, Keng Hao Kang currently resides in Taipei City. He graduated from Tunghai University’s Department of Fine Arts in 1993. From 1997 to 2002, he studied at Italy’s Accademia di belle arti di Brera under Professor Diego Esposito, while majoring in painting and installation art. His period there inspired a flow of thought regarding conceptual art. After returning to Taiwan, he worked for the German fashion label, Hugo Boss, for several years. His unique background of development, along with his experiences studying abroad and working, influenced the subsequent creative styles of his works. Since 2008, he has been teaching at Ming Chuan University’s Department of Product Design and Tunghai University’s Department of Fine Arts. His works have previously been featured for a solo exhibition at Taipei’s Galerie Grand Siecle,and Pema Lamo Gallery as well as at Art Osaka and Young Art Taipei.
The installation art and photography featured by the artists continues the fundamental spirit of readymade, yet also attempts to divert, transfer, and then copy the objects at the same time. This not extends his own creative concepts, but also echoes the double meanings that can be attached to the objects themselves. In addition to acquiring and using readymade items for the purpose of composing installation objects, the artist also transforms paintings of zebras along with a colonial green series of clothing and human busts into works of photography. The resulting effect is enhanced and the dimensions are magnified. Through digital art, a work consisting of a large image is created through the spraying of ink. A magnified work of photography is also outputted as a single edition print that becomes a type of “readymade of readymade”! Of course, what is also interesting is the contrasting visual effects invoked the original objects and the various-sized objects outputted by the work. The public is accustomed to the myth amongst dimensions, sizes, and price levels. And, photography has become a method for getting rid of the focus of attention on both concept and challenge, as it attempts to leave a deep impression on viewers with magnified objects.
When an artist completes a work, it marks a temporary end to the first stage of the relationship between them and the work. Then, when the work is shown to the public, the work takes on a destiny of its own. With a bit of introspection, we can attempt to grasp the meaning and thoughts behind the works, while we let our imagination run unrestrained. This leads to the establishment of an intimate dialogue between the viewer and the artwork. It is as if one is listening to a pleasant tune. All sensations suddenly intertwine to form a visual persecution that is not absolute in terms of its correctness. Any interpretation has its legitimacy. Unrestrained in his imaginations and thoughts, Keng is not sentimentally attached to a particular form of art style. Rather, he likes to surprise people. According to him, it is art’s ambiguous yet distinct nature that makes it so interesting. By challenging people’s preconceptions, art provokes and questions.
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 「有意無意」-廖文豪個展
INTENTIONALLY OR OTHERWISE- A solo exhibition by LIAO Wen Hao 展期Duration│2013/07/26-08/25
開幕Reception│2013/07/26 19:00
地點Venue│新苑藝術 Galerie Grand Siècle, Taipei
（台北市八德路三段12巷51弄17號1樓 1/F, No.17, Aly.51, Ln.12, Ba-de Rd. Sec.3, Taipei, Taiwan, 10559） 廖文豪個展「有意無意INTENTIONALLY OR OTHERWISE」將於台北新苑藝術舉辦，展期自2013年07月26日至08月25日。
本次將展出藝術家廖文豪 2013年的全新創作作品。畢業於華梵大學美術研究所書法組的廖文豪，長久以來所受的美學培育與藝術養成，與書法有很深刻的連結，他從歷代書畫名家之作的書帖中汲取養分，轉化成水墨的創作。在構圖與筆墨的運用上，雖不見傳統水墨中常見之皴擦技法，卻非常講究書法用筆和意境的追求。在媒材的選用上，廖文豪不採用書畫最基本的紙張，而選擇自唐代及相當盛興的「絹本」，運用媒材的特性，不僅在創作的發揮上，能以薄彩設色逐層重複敷染，同時透如蟬翼的媒材特色，更加強了在創作意境上的追求，虛實幻真似有非無。 在廖文豪的創作中，『山、水、人』的本質不只是意象上、更是精神上的探究。廖文豪認為，人以外的環境，是大自然；而在人的本身，也是個自我運作中的小自然，能自成一世界。無論是以小窺大、或是以大觀小，就像芥子納須彌，無所增減。意識能量的消長，在外在的大世界與內觀的小世界中流轉，看似流動，卻又若有似無。 廖文豪創作山水，也創作人。他將人承載於偌大的山水之中，以有限包含無限，但無限的本質不變。他時而將藝術家的個人生活描繪成自在悠閒的清曠意境；時而隱喻地將七情六慾投射於美足轉型成江山美景的官能之美；時不時又帶有著當代幽默詼諧的玩味逸趣。或許遊走仙山，混合精神與形體，山水人之構成，是有意也是無意。 「INTENTIONALLY OR OTHERWISE」- A solo exhibition by LIAO Wen Hao will take place during 26th July, 2013 to 25th August in Galerie Grand Siècle, Taipei. The newest series of LIAO Wen Hao’s creation in 2013 wil be shown in this solo exhibition. Graduated from HUAFAN University Dept. of Fine Arts & Culture Creative Design Graduate Institute, Calligraphy group, LIAO Wen Hao has been cultivated by arts and aesthetics, which deeply connects to Calligraphy. He absorbs nutrients from traditional calligraphy masterpieces and transfer it to his art works. Although the traditional skills are not appeared in his art works composition, the calligraphy techniques and the artistic conception are what LIAO Wen Hao particularly pursues. Instead of selecting paper which is normally used in Chinese painting and calligraphy, LIAO Wen Hao chooses silk scrolls, which was the common media for artists in Tang dynasty. Due to the material, it can be painted the colors repeatedly; meanwhile still remained the characteristic of itself which is as thin as a cicada's wings, which enhances the ability of pursuing the artistic conception of fantasy and reality. In LIAO Wen Hao’s works, the essence of “Mountain, Water and Human” is not only image itself but also spiritual exploration. He believes that the environment outside of people is the big nature, while people ourselves are the small nature which creates a system of our own. Whether observing huge things from small sides or otherwise, it is such as an old saying- Put the a huge mountain into a mustard seed. The power of consciousness is growing and declining, floating between the big nature outside and the small nature inside. It seems to be there but sometimes it is not. LIAO Wen Hao creates mountains and waters, and also human. The human he creates bear the big mountain and water. He makes limit contain infinity and the essence of infinity remain the same. He sometimes portrays his personal life as leisurely and tranquil artistic conception; sometimes projects emotions and desires metaphorically onto the beautiful foot transforming into the mountain and water; sometimes possess the humor and playfulness of contemporary. He might travel around the spiritual mountain and merge the form of shape with the spirit. The composition of mountain, water and human are both intentional and unintentional. --------------------------------------------------------------------------------------------------------------------------
 畫廊週【交响計劃】 Taiwan Gallery Week Inter-Sonic Project 2013/06/09-06/16 x
【Seen/Unseen-hyper.data】 張永達個展 2013/06/07 - 07/07 Reception 2013/06/07 19:00
--------------------------------------------------------------------- 「地球考古學」張騰遠個展
earth archeology - A solo Exhibitiom by CHANG Teng Yuan 2013/05/03-06/02 開幕 Reception : 2013/05/03 Fri. 19:00  在地球末日的數千年後，那時候的地球上還有著甚麼?
本創作計畫中，在遙遠銀河邊緣的鸚鵡人，旅行到光年之外的地球，並研究千年之前地球的面貌。我想要藉由一個對末日之後的想像，開啟我們對許多事情重新思考的可能性， 而也企圖藉由鸚鵡人，從未來看現在的考古研究，將一些我們早已麻痺無感的事情再畫上重點，標註出許多其實曖昧不清的當代狀態。
After the end of the earth after thousands of years, what has been left?
In this artwork, the parrot men from remote edge of galaxy, have traveled to Earth light-years way and looked into the possible pattern of Earth thousands of years from now. I want to reopen our visions of thinking toward the possibility of many things by the imagination and assumption from parrot men’s prospective. Besides, from their new interpretation from the archaeology, they can remark things we are numb and aloof with now and highlight the ambiguous modes of contemporary. ---------------------------------------------------------------------
「暖暖」-邱銍韋個展 「Warm」- A solo exhibition of Chiu Chih Wei 展期Duration:2013/03/15-04/21開幕Reception:2013/03/15 19:00
心的溫度，如何了解? 如何觸摸感受? 每個人對於生活感受都有自身的界定與答案 藝術家-邱銍韋獨問自己，「溫」與「不溫」的標準在那? 這次展出的作品，透過小女孩與色彩呈現心中溫度感
心中美麗的淨土是真實存在的，有時躲藏起來透過藝術創作的形式，思考創造成為我不斷追尋的課題與真理。這樣的尋覓，過去從原始圖騰創作慢慢轉化為明確的形態，心目中的小女孩在這尋覓的過程中浮現出來，不再只是隱藏於內心的小房間；個性細膩多變的大眼女孩成為我觀看現實與內心世界最稱職的發言人。
瞳孔中的景色，是剎那間的美，轉眼間就消失躲藏了起來，調皮的個性如同心中的小女孩，唯一不會消失的是那動人美麗真誠的心，即是我在新的大眼女孩創作中所特別著迷的地方，更希望呈現出我心中小女孩的內心，尋訪最美的國度，而這美麗的國度存在於你我每個人的心目中；如同生活中，總是在尋找一個令人感到安穩自在的角落，在這完美的角落細細品味著一杯專屬的飲品，欣賞現實中的美，與內心世界的超現實美，瞳孔中的未來等著你我一起去發掘與創造。
How do you feel the warmth of heart? I believe everyone got an answer for him/herself , given to different life experiences. Chiu Chih Wei the artist asked himself another question. “How to tell warmth?” By the solo exhibition this time, Chiu Chih Wei will provide the clues of warmth through the image of the big-eyed little girls and the colors referred to. Deep in my mind exists a beautiful pure land; sometimes I would hide in there pursuing the truthfulness via conceptualizing and visualizing art. One time during the process, the totem in my mind started forming a certain image and I found the big-eyed little girl. She, sensitive and capricious little girl, thereafter became the most appropriate character speaking to my perspectives on real world and my inner-world. The scenery in the little girls’ eyes is an instant beauty, which usually slips away from beholders’ eyes. The thing that will never vanish is the purity of the big-eyed little girls. It is the purity and beauty in the little girls that keep me painting, creating, and seeking for a better pure land. In daily life, people are always seeking for a place which is secured and comfortable to take a rest and drink a cup of their favorite coffee. Similarly, people all need a pure land in mind. Let the big-eyed little girls bring you to appreciate the beauty in real world and your inner world.
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 「_____之間的距離」-鄭亭亭個展 Distance in Between-A Solo Exhibition by CHENG Ting-Ting
展期 Duration：2013/01/04-02/08 開幕Reception：2013/01/04 Fri. 19:00
活耀於台灣及倫敦的新銳藝術家-鄭亭亭(CHENG Ting-Ting)，將於台北新苑藝術｜舉辦個展「____之間的距離」- 鄭亭亭個展，展期自2013年01月04日至02月08日。 「_____之間的距離」為藝術家鄭亭亭繼2011 年於臺北市立美術館「物件奇想」後，在台灣的第二個個展。該展覽包含她去年於德國柏林以及越南胡志明市駐村時的創作。延續她一貫對於外來者與在地者之間關係與互動的探討，在「沒關係，你可以跟我說」裡，她以接收訊息者的身分，凸顯外來者與在地者之間，語言不同所形成的距離，而在「在你和你以為你知道的地方之間」中，她藉由傳遞的混雜的訊號，試圖發掘印象及真實之間的距離，進而討論人對於國家/城市的認知從何而來？
「在你和你以為你知道的地方之間」是鄭亭亭於胡志明市Zero Station駐村時，與當地藝術家La Huy合作下的作品。在該計畫中，鄭亭亭利用自己以及當地朋友所拍攝的影像製作了一套明信片，明信片的背面有著兩種不同的語言 – 越文以及英文，但有別於傳統的明信片，這兩個語言並不是彼此的翻譯，語言的隔閡，在這裡代表現實生活中人們在接收資訊時，被語言所過濾的過程。除了明信片之外，鄭亭亭同時展出她從ebay以及奇摩拍賣，搜尋 “Vietnam / 越南”所出現的商品，包括旅遊書藉、遊戲光碟、明信片等等，反映出外來者對該國家所形成印象的來源以及反應。
而房間裡的「沒關係你可以跟我說」 是鄭亭亭於柏林GlogauAIR駐村時的創作。語言隔閡，這個長期出現在她作品中的議題，這邊又再度被討論。在長時間困擾於不同國家的語言隔閡之下，她思考，有什麼辦法可以將這個隔閡轉化成正面的力量？於是，在駐村期間，她在柏林的街頭牆面上張貼小廣告，徵求當地居民，以他們的母語 – 德文，跟藝術家訴說一個自己的祕密。
最後，連結兩個作品的是「Kunst (this is what we do)」。它同時也是鄭亭亭於柏林駐村時的創作。該系列延續她在先前作品「非志願性讀者」中，對於免費資訊流通的探討，這些資訊是怎麼傳達到我們手中、我們如何接受、它們又為何存在？Kunst是德文 “藝術” 的意思。她收集柏林藝術相關的傳單資訊，以非尋常的方式歸類整理，像是大小、郵遞區號、顏色、字母順序等等，試圖在柏林這個藝術被高度渲染及過度重視的城市中，顛覆一般大眾對於分類的定義以及思考的邏輯，並質疑藝術與大眾之間的關係、其對於社會的貢獻以及所運行的方程式。
藉由本次的展覽，她將兩個距離9300公里的城市並列於此，而在這兩個城市之間，台灣的位置在哪裡？距離又是什麼（多少）？
上述於越南胡志明市的駐村計畫，是受奧賽德工廠之邀，與Zero Station所進行的「南國．國南－ 台越藝術家交流計畫」之一，感謝丹麥文化發展及交換基金、國家文化藝術基金會、台南市政府文化局以及中華民國外交部贊助。上述於德國柏林的駐村計畫，是受Idolon Studio之邀，與GlogauAIR所進行之合作駐村計畫，感謝國家文化藝術基金會贊助。
Distance in between is the artist Ting-Ting Cheng’s second solo show in Taiwan, after Object Fantasy at Taipei Fine Art Museum in 2011. The exhibition includes three projects made during her artist in residency in Berlin and Ho Chi Minh City last year. Continuing her interest in relationship and interaction between outsiders and insiders of a city, “It’s fine, you can talk to me” embodied the language distance between foreigners and local residents. And in “Between you and the place you believe you thought you knew”, she explored the distance between the impression and the reality, questioning the formation of impression in our perception.
“Between you and the place you believe you thought you knew”, is made during Cheng’s artist in residency at Zero Station in HCMC with local artist La Huy. In the project, Cheng applied images taken by her local friend and herself to make a set of postcards. On the back of the postcards, there are two languages – English and Vietnamese. However, not like traditional postcards, the texts here are not the translations for each other. The gap between the two languages and the texts mirrors the filter of language in the process of receiving information in our society. Apart from the postcards, Cheng also exhibits the archive of objects that she bought from ebay and yahoo auction by searching the word “Vietnam”, projecting the sources of the impression and people’s reaction towards it.
The project inside the room is “It’s fine, you can talk to me”, which was made during Cheng’s artist in residency in GlogauAIR in Berlin. Language barrier, the theme that constantly appeared in her works, here is being discussed again. In the project, she tried to transform the negativity of language barrier into a positive connection. During the residency, she posted advertisements on streets to invite German local residents to tell her a secret in German, the language that she cannot understand.
The photography work that connects the two projects in the gallery is “Kunst (this is what we do)”, which was also realized during her artist in residency in Berlin. Following her interest in free information from her previous project “Involuntary Reader”, here she collected art related information, such as flyers, gallery maps, exhibition information…etc., and then categorized them in an unusual way, including by alphabet, date, postcode, size, with or without the word “kunst”…etc. She intended to explore the relationship between art and the society, questioning the meaning, logic and contribution of art in the city where “art” is overrated and overloaded.
By presenting two cities 9300km away from each other here in Taipei. Cheng asked: Between the cities, where is Taiwan? And what is the distance?
The artist in residency in Zero Station, HCMC, Vietnam, was invited by Outsiders Factory, as part of the “South Country, South of Country – Vietnamese & Taiwanese Artists”. Thank Cultural Development & Exchange Fund (DK), National Culture and Arts Foundation (TW), Cultural Affairs Bureau, Tainan City Government (TW), Ministry of Foreign Affairs, Republic of China (Taiwan) for the sponsorship. The artist in residency in GlogaAIR, was invited by Idolon studio, as part of the long-term collaboration. Thank National Culture and Arts Foundation (TW) for the sponsorship. --------------------------------------------------------------------------  空場下的迴道 - 丁建中個展 Loops in the Vacancy - A Solo Exhibition by Din Chin-Chung 2012.11.02 - 11.25
Recepting 2012.11.02 19:00
Venue Galerie Grand Siècle 新苑藝術 機械、影像與聲音，透過媒材間的重複運動，將一遍遍的動作，淡化、消融生活中習以為常的微觀，復刻成某種巨量深刻的閱讀經驗。1983年出生於台北的丁建中，大學學過多媒體與動態影像，研究所畢業於台北藝術大學新媒體藝術研究所，近期作品 透露對「圓」所建構的軌跡及反覆性之關注。 首次個展「Loops in the Vacancy」整理了近期動力裝置與錄像作品，再到今年夏天於法國的駐村創作。在創作過程中，透過儉約不多餘的媒材處理，呈現裝置作品中物理性的類比雕琢，再到動態影像裡數位電子消弭下的真空場域，建構一種變異、暈眩的時空關係。
作品「Ordinary Instruments」構想來自黑膠唱盤利用唱針讀取的類比聲響，裝置中透過對木板紋理的反覆耗損，以換取聽覺、觸覺、視覺及摩擦下溫度的細微辨識，而長時間執拗的動作，成為無止盡的時間風景。
「Vacant Room Series」與法國駐村期間拍攝的「Église Vide」，則是將冷冽、懸浮的光圏雕塑，建置於漆黑幽暗的廢棄空間，高速拋擲下的凝視，透過數位電子訊號讀取場域中古老的記憶。
在此次「Loops in the Vacancy」個展中集結了裝置、攝影、錄像，以及創作過程中的物件與紀錄，作為近期創作階段的概念
發表。 Through the repetition of movements, the actions of machines, in videos, within sounds can weaken the tiny accustomed
view in our life, which can be merged into certain huge and intensive reading experience. Born in Taipei in 1983, because ever taking the courses of New Media and Motion Graphics at college, Din Chin-Chung finished
his graduate degree in the department of New Media Art. Recently, his works focus on the orbited track of circle and its prominent characteristic of repetition. His premiere solo exhibition, “Loops in the Vacancy”, is comprised from his recent series of kinetic installations and videos to the works completed during his residency in France, every medium of which is facilitated under the principle of simplicity. Therefore, the essence of the installation is purely elaborated by the physical analogies and the digital electrons embedded in the motion graphics are drawn out of the vacuum space. This way, the spatial-temporal variety and sensuous dizziness are shown. His installation “Ordinary Instrument” is based on the analog sound produced by the LP record player. He developed the mechanism which would inscribe the board of the installation over and over to evoke the subtle consciousness of the sound, the touch, the vision, and the heat from the friction through the repetition of inscribing. It is the obstinate nonstop inscription that realized the spatial-temporal eternity.
“Vacant Room Series” and “Église Vide” finished during his residency in France were both established in the deserted pitch-black places with luminous sculptured loops in pursuit of the image of “gaze” being thrown onto the vacant floor and the memories of the places’ being read by the digital electronic signals.
The premier solo exhibition “Loops in the Vacancy”, as the disclosure of his present stage, is constituted by installations, photography, videos, and items that denoted his process of creating.
----------------------------------------------------------  【The appearance of Era 時代表象】
A solo exhibition by Kao Yuan 高媛 個展
2012.05.11 - 06.15
Recepting 2012.05.12 20:00
Venue Galerie Grand Siècle 新苑藝術 ----------------------------------------------------------
 INSIGHTS 洞見
A solo exhibition by Zhang Qikai
2012.03.09 - 04.01
Recepting 2012.03.09 19:00
Venue Galerie Grand Siècle 新苑藝術 ------------------------------------------------------------
 耿晧剛 近作與繪畫展
Recent Work and Painting
A solo exhibition by KENG HAO KANG
2011.11.19 - 12.09
Recepting 2011.11.19 16:30
Venue Galerie Grand Siècle 新苑藝術
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 展名：Double Impact--Recent Works 雙重衝擊 耿晧剛個展
展地：板橋多功能文教館 開幕：2011.09.09 (五) 14:30 展期：2011.08.12 (五)-10.16 (日) 地址：新北市板橋區府中路15號 秩序的省思。 --------------------------------------------------------------------------------
Art Taipei E04新苑藝術 隱遁者—陳永賢個展
The Recluse－Chen Yung-Hsien solo exhibition
2009年夏天，陳永賢在美國影像劇場大師羅伯‧威爾森（Robert Wilson）的水磨坊藝術中心〈Watermill Center〉進行駐村。這一處佔地六英畝的水磨坊空間，四周環境除了建築物外，戶外空間充滿田園、樹林、藍天白雲，而且在林園間還有羅伯‧威爾森的私人收藏，四處令人震驚的巨石和木造雕刻巧妙地羅列於茂密森林裡。當時，陳永賢思考以身體行為介入這個空間，讓身體和環境產生對話，於是有了「隱遁者」的創作靈感。
「隱遁者」猶如身體行為與外在環境的延展，陳永賢將自身依附於森林、寄託於田園，讓身體回歸於自然恬靜的境域。這同時也意味身體在都市忙碌游移後的覺醒，指涉他的身體從認同到頓挫、移置到重置的過程中，且在多重共時的空間裡，找尋新頓悟。「隱遁者」讓迂迴懸宕的身體迴圈，在疆界中心與邊陲地帶的夾縫中，尋找一種心靈上的歸屬。  預展 Preview： 2011/08/25(Thu) 15:00-18:30 (with VIP Card only)
開幕 Opening： 2011/08/25(Thu) 18:30-21:00 (with VIP Card only)
展期 Exhibition Date： 2011/08/26(Fri)~08/29(Mon) from11:00 to 19:00 (to18:00 on 08/29)
地點 Venue： Art Taipei台北國際藝術博覽會／E04新苑藝術
地址 Address： 台北市世界貿易中心展覽大樓一館 （台北市信義區信義路 五段五號）
畫廊 Gallery： 新苑藝術
聯絡Contact: +886-2- 2578-5630 --------------------------------------------------------------------------------
Solo exhibition by LIN PEY CHWEN The Portrait of Eve Clone Series II
林珮淳個展 夏娃克隆系列 II
展期 Exhibition 2011.08.12 - 09.02
開幕 Opening 2011.08.12 19:00
 《夏娃克隆肖像》
 《透視夏娃克隆》
 《量產夏娃克隆》
 《夏娃克隆啟示錄文件》
The Portrait of Eve Clone Series II is inspired by the beast’s mark in Genesis in Bible, which prophesies that every race,
people and nation sealed the beast’s mark 666 on forehead or right hand cannot escape the beast’s control. Lin Pey Chwen criticizes that human want to be the Creator and use genetic technology to create unnatural artificial life. 2011 August 12 to September 2, in Lin Pey Chwen’s solo exhibition in Gallery Grand Sicle, there will exhibit four series
works: The Portrait of Eve Clone, Mass Production of Eve Clone, Eve Cone No.4 and The inspection of Eve Clone.
《夏娃克隆系列 II》啟發於聖經〈啟示錄〉記載的獸印，喻表各族、各民、各國在末世大災難中凡在額頭與右手被蓋有獸印666的皆無法逃脫獸的挾制。 林珮淳批判人類欲扮演造物主，利用基因科技創造非自然的人工生命。2011年8月12日至9月2日，林珮淳於新苑藝術的個展， 將展出四大系列作品《 夏娃克隆肖像 》、《量產夏娃克隆》、《夏娃克隆啟示錄》及《透視夏娃克隆》 。 ------------------------------------------------------------------------------ 清水里147號
No.147, Ching-Shui Li
黃博志個展 A solo exhibition by Huang, Po-Chih 展期 Exhibition : 2011.07.01 – 2011.07.31 開幕 Opening: 2011.07.01 19:00 她的母親去世了， 她回到了清水里， 那裡有很多婦女 、黑狗 、福壽螺。 她是計畫經濟體制中的一員， 她的職業流變間接反映了50年來台灣的農業經濟體制改革和社會變遷 那她的記憶將被如何安置？
When her mother passed away, She returned to Ching-Shui Li. There have been quite a few women, black dogs, and apple snails. She has been one of the members of planned economy system. The change of her occupations reflected, indirectly, the agriculture economic reform and social transformation in Taiwan (that has been taking place) over the past fifty years. Then, how would she ever retrieve all her memories that have been transformed, altered, or even lost? -------------------------------------------------------------------------------
藝術品酒會 
新苑藝術與Glenfiddich共同策畫
新苑藝術 攜台灣藝術家, 陳永賢, 柳伊蘭, 郭奕臣, 及王建揚 作品參展ART HK2011。
ART HK11 participating artists of Galley Grand Siecle includes Weng Chien-Yang, Wang Ke-Ping, Liu Yi-Lang, Chen Yung-HsienI-Chen and Gu Gan.
展覽地點: 香港灣仔博覽道香港會議展覽中心/ 新苑藝術展位:1C06
Venue: Wanchai, Hong Kong1 Expo Drive / Stand 1C06 Hong Kong Convention & Exhibition Centre ⋯⋯ 公眾開放:5月26日星期四 至 5月29日星期日 (中午12時 – 下午7時) General Opening: Thursday, May 26 to Sunday, May 29 (12noon-7pm)  詳情請點選以上博覽會logo 觀賞更多新苑藝術展出作品資訊  請點選觀看展場照片
Please click the on the logo for the photos.
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[若絲計畫: 愛與死] 王俊傑個展 展覽時間：2011.05.20 – 2011.06.19 開幕酒會：2011.05.20 (五) 18:00 展出地點：新苑藝術 / 台北市八德路三段12號51弄17號1樓 開放時間：13:00–18:00 週二至週日（週一休館） [Project Rose: Love & Death]
A solo exhibition by Jun-Jieh Wang Exhibition duration: 2011.05.20 – 2011.06.19 Opening: 2011.05.20. 18:00 Venue: Galerie Grand Siècle No.17, Alley 51, Lane 12, Bade Rd., Sec.3, Taipei Time: Open Sunday–Thursday, 13:00–18:00 Closed Monday 「人可以無憂無慮的死去，只要他們知道，他們所愛的東西沒有遭受痛苦和被人忘卻。」
－Herbert Marcuse，《愛慾與文明》 「若絲計畫」是王俊傑繼2009年獲台新藝術獎視覺藝術類百萬大獎作品《大衛計畫第三部：大衛天堂》後，開始進行的最新系列創作。它涵蓋了高畫質錄像、攝影及複合媒體裝置等多重表現形式。《若絲計畫：愛與死》，挪用了杜象《給予》一作的隱晦意象，除了將它動態影像化與延伸想像之外，還探究了敘事與視點的議題，在窺孔內外潛行的慾望，指涉了愛慾與文明的關係。被壓抑的愛慾正如同被異質化的文明，藝術的位置在其間也更趨模糊。藝術在當代社會中是否真的可能得到解脫而免受壓抑？通過對當代藝術先知杜象的再詮釋，「若絲計畫」是向冷漠致敬的系列之作，它一方面思考著藝術存在的本質，另一方面，也試圖回應當代複雜化社會下人們生存環境的虛幻性。 "Men can die without anxiety if they know that what they love is protected from misery and oblivion." －Herbert Marcuse，Eros and Civilization Project Rrose was Jun-Jieh Wang's following art work after the 2009 Taishin Arts Awards Project David III: David's Paradise, the start of the latest series of creation. It covers the HD video, photography and mixed-media devices, such as multiple manifestations. Love & Death, appropriates obscure visual elements from Marcel Duchamp work "Given". In addition to extension of its dynamic image of the imagination, but also to explore the issues of narrative and point of view. The desire to sneak inside and outside of the peephole, owes much to eros and civilization. Where the role of Art is located within an increasingly heterogeneous society becomes ambiguous, as it is ambiguous in the repression of Eros. Through the re-interpretation of Duchamp, Project Rrose is a series of work that pays homage to indifference, which essences of the art thinking, on the other hand, have tried to be on behalf of the people living under complex society illusion of the environment. 請點選觀看展場照片 Please click on the logo for the photos. ---------------------------------------------------------------------------------------------------- 近期博覽會參展資訊 Art Fair Participation  王朝大飯店962房。 Sunworld Dynasty Hotel Room962 詳情請點選以上博覽會logo 觀賞更多展出作品照片 Please click on the art fair logo for more pictures. ------------------------------------------------------------------------------- 【聲音生物】聲音藝術展 Sound Creature – a feature exhibition on sound art 王福瑞、張永達、姚仲涵、斉田一樹、三原聡一郎、Hiroko Mugibayashi
展出期間 2011.04.16 – 2011.05.08 開幕酒會 2010.04.16 19:00 – 20:30 地點 新苑藝術 / 台北市八德路三段12號51弄17號 13:00 – 18:00 週二至週日 （週一休館） T｜ 02-25785630 E｜xinyuangallery@gmail.com 細微的鼻息、砰砰的心跳，聲音往往超越了視覺，是生命的線索，也是存在的憑據。就算是現代生活中無所不在的機械聲響--交通工具、工廠儀器、電器等等，這些無性、沒有生命的產品，透過重複或瑣碎的聲響，傳達「它」也是有其運作規律與生命週期，一如人們呼吸或心臟傳送血液的聲音，微小不易察覺，卻標記著自我、為存在發聲。此次【聲音生物】，邀集來自台灣以及日本的聲音藝術家，共同激盪發想/響，呈現精彩而難得的聲音藝術展。
本展覽力邀來自日本的斉田一樹、三原聡一郎、以及Hiroko Mugibayashi等三位聲音藝術家，呈現與奧地利編碼文化節（Coded Cultures Festival）的跨國合作創作計畫《Moids 2.0》。該作品甫結束於德國ISEA2010的展出，透過數百個電子發聲元件偵測環境的聲音，由電子感應裝置的串連，創造出朦朧而綿延的聲音循環，令人聯想到自然界池塘蛙鳴或是蟻丘般的音景。
在台灣方面，本展覽則集結了三位活躍於國內外的聲音藝術家。身為北藝大「藝術與科技中心」未來聲響實驗室主持人，王福瑞不僅是台灣聲音藝術的推手，更是積極的創作者，此次展出作品《聲點 2.0》由數百個喇叭所構成，每個喇叭經由晶片運算而產生不同音頻，視覺上是隱喻這時代意識感知與機器運算的流動，聽覺上則有如森林中無數聲點的互相流竄衍生。
張永達勇於嘗試跨領域合作，創作包含聲音-影像、實驗聲響、裝置和現場演出，足跡更橫跨劇場與舞蹈，在細膩風格中帶著爆發力，他以時間性雕塑的方式將環境錄音和數位調變的素材，並試圖在極簡、環境和複雜之間找尋可能性與平衡。
以「日光燈管」而樹立了個人標誌的姚仲涵，擅長串連聲音、光及空間等非物質媒材，不論是即興演出或裝置創作，光與聲響形成的落差彷彿帶領觀眾踏上了奇妙的感官之旅，姚仲涵讓各種元素以觀眾的身體為交叉點，呈現強而直接的感染力。
放下常規、放大感官，新苑藝術【聲音生物】聲音藝術展將撥動觀/聽眾最細微的感官經驗與想像空間。 近期博覽會參展資訊 Art Fair Participation  2.17 - 2. 20 / 2011詳情請點選以上博覽會logo Please click on the art fair logo for more information ---------------------------------------------------------------------------------------------------- 當期展覽 Currently on View 「異」「想」軌跡 Traces of Wandering Thoughts 游克文、陳羅克、耿皓剛三人聯展 Kevin YU, Luoke CHEN, KENG Hao-Kang 01/21 - 02/20/2011 2.1 - 2.10 春節公休 closed for Chinese New Year  展覽期間 Exhibition：2011/01/21 - 2011/02/20，13:00 - 18:00 週一休館 closed on Monday 活動地點 Venue：新苑藝術 / 台北市八德路三段12巷51弄17號 Galerie Grand Siècle 17, Alley 51, Lane 12, Ba-de Rd. Sec.3, Taipei 開幕酒會 Opening Reception： 2011/01/21 (Fri) 18:30-20:30 「只要曾經旅行過，這趟旅程便永遠不會結束--即使回到靜悄的房裡，途中種種依舊一遍又一遍地播放，我們的心靈不曾真正踏上歸途。」 派特康洛伊（Pat Conroy），美國小說家
不論當初踏上陌生土地的原因為何，藝術家旅居海外，將「異鄉」經驗鑲嵌於創作「意象」、啟發了靈感「異想」，在開闊的視野與寬廣的精神空間中悠遊，顏料跟隨著思緒、抑或是思緒融進顏料，揮灑出一方豐沛之美，更是自我完成之展現。新苑藝術於新年度的首檔展覽，邀請三位旅居歐洲的台灣藝術家游克文、陳羅克、以及耿皓剛，共同呈現其繪畫創作中的馳騁與寄情。 抽象與影像、畫作與畫框、筆刷與鏡頭、靜與動…這些涇渭分明的切割，在長年旅法的游克文的創作中都有了嶄新的詮釋，游克文翻轉了欣賞畫作之經驗，以框為畫布，開放了一奇妙的觀看小窗--「畫」框中可見窺見一顛倒放置的影像或照片，在在都挑戰著觀者「閱讀」畫作的嘗試，因此能回歸最純粹的境界：審美之感動。 陳羅克則是在德國學習期間，為紓解異鄉遊子的孤單而重新拾起停頓已久的畫筆，密集的旅行深深影響了他的創作，從冷冽的北歐到神秘的沙漠，再再都是靈感。陳羅克面對自我內心的誠實、以及真切的旅行經驗均成為他創作的養分，風格強烈的「人體風景」系列因此誕生，大膽的筆觸、充滿生命力的線條，深受歐洲知名畫廊與重要藝術機構之肯定。 義大利人文與自然互相激盪出的魅力，深深吸引著耿皓剛，在米蘭求學期間，義式天馬行空的想像與浪漫的生活態度都如呼吸般自然。其創作反應了古典題材的根基、並結合時尚意象的挪用與並置，豐富多變的畫面組構，極簡中見與動感的力量，不論媒材、色彩和形式都見其實驗性，形塑出耿皓剛跨越多重領域的創作特質。 2011年，新苑藝術誠摯邀請您共同參與一場藝術感官的壯遊。 Once you have traveled, the voyage never ends, but is played out over and over again in the quietest chambers. The mind can never break off from the journey. Pat Conroy, American novelist
Galerie Grand Siècle is pleased to announce that the first group exhibition for the new year will present Kevin Yu, Luoke Chen and Keng Hao-Kang, all of whom deem their experiences of living and traveling in European cities a source of inspiration. Living and working in France, Kevin Yu conceives an original juxtaposition in his work. After a period of "reduced painting," he looks into the relationship between the painting and images, considering his painting a " frame" to frame images and screen. Yu reverses ordinary viewing experiences of a painting by installing an intriguing “window” in his work. While the attempts to “read” or “interpret” are challenged, the audience is granted an opportunity to return to pure appreciation of beauty. When studying in Germany, Luoke Chen picked up his paint brush again as he sought to express the lonely feelings of living far away from home. Influences from intensive travels abound in his paintings—from the frozen land of Scandinavia to mysterious dessert. The series “Body Landscape,” permeated with distinctive personal style, is a result of his honest and diligent reflections through the journeys he has taken. The charm of Italian history, culture and nature all fascinate Keng Hao-Kang. While studying in Milan, Keng naturally breathed the unrestrained imagination and passionate attitude towards life in the city. His paintings reflect a root in classic themes with an integration of fashion imagery, revealing a dynamic character in his creative process with minimalist touches. Galerie Grand Siècle cordially invites you to join this grand tour of art at the beginning of 2011. | 上期展覽 Exhibition Archive  The Edge of Sight -- After 張騰遠個展 ｜CHANG Teng Yuan's Solo Exhibition 2010.12.18 - 2011.01.09  郭奕臣個展｜KUO I-Chen's Solo Exhibition 2010.11.05 - 2010.12.10 ...世界，對我們來說，是什麼樣的存在？ 城市失格--蕭北辰、許旆誠、廖震平創作聯展 Lost in the City--Shiau Bei-chen, Hsu Pei-cheng, and Liao Zen-Ping 城市，如此界定不清又缺乏明確界線的空間， 在失格中尋找歸屬。 2010.05.07 - 06.15  彩虹與弓 Rainbow & Bow : A Solo Exhibition by Wang Ya-Hui 王雅慧個展 2009.11.20 - 12.27  流水席：林昆穎‧陳志建雙個展 The Flowing Feast : Llunc Lin and Chih-chien Chen 2009.10.02 - 11.08   奧村雄樹x江忠倫．祕密生活 日常感知的召魂師 X低限趣味的生產者 2009.05.29~06.28 |
