藝術台北 & VOICES 2024
ONE ART Taipei & VOICES 2024
2024.01.26 - 01.29
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藝術台北 ONE ART Taipei 2024
2024.01.26 - 01.28
地點Venue：JR東日本大飯店 台北
HOTEL METROPOLITAN PREMIER TAIPEI
展位Booth：1001
藝術家Artists：草間彌生、林餘慶&魏杏諭、董旻晋、曾上杰、三友周太、上出由紀
Yayoi KUSAMA, LIN Yu-Ching & WEI Hsing-Yu, TUNG Min-Chin, TSENG Shang-Jie, SYUTA, Yuki KAMIDE
VOICES 2024
2024.01.26 - 01.29
地點Venue：瓶蓋工廠台北製造所
POPOP TAIPEI
展位Booth：A2
藝術家Artists：水谷篤司、洪郁雯
Atsushi MIZUTANI, Julia HUNG
官方票務 Tickets: https://www.onearttaipei.com/buyticket
農曆年前必看的藝術盛事：《ONE ART Taipei》&《VOICES》台北同城雙展會！
很高興向您宣布，朝代畫廊即將參展亞太最具指標性的飯店藝博會《ONE ART Taipei》，1月26日至28日在台北JR東日本大飯店1001展間，展出草間彌生、林餘慶&魏杏諭、董旻晋、曾上杰、三友周太、上出由紀等藝術家的精彩作品。同個時段，由ONE ART Taipei團隊所主辦的《VOICES》亦將在南港車站正對面的瓶蓋工廠台北製造所隆重登場！展期1月26日至29日，朝代畫廊將攜手水谷篤司與洪郁雯兩位藝術家，在南港瓶蓋工廠A2棟展出最新大型作品。首屆《VOICES》展出畫廊採邀請制，是台灣首次強調無展板、無隔間，主打大型立體、錄像及新媒體藝術作品的展會，並邀請資深策展人王焜生居中學術策劃，注重作品與場地的協調融合，將藝術家創作理念完整展現。期許再次透過新的展會模式，為台灣藝術產業掀開新篇章。
《ONE ART Taipei》&《VOICES》乃今年台灣第一波大型藝術活動，為2024年拉開精彩藝文序幕，大會也特地安排了接駁車往返兩個展會，方便觀眾欣賞。龍年即將到來，想趕在春節前好好幫自己充個電嗎？千萬不要錯過這兩場熱鬧慶典嘍！
"ONE ART Taipei" & "VOICES," the must-see art events before the Lunar New Year in Taipei!
Dynasty Gallery is pleased to announce that we will participate "ONE ART Taipei," the iconic hotel art fair in Asia-Pacific area, from January 26th to 28th at HOTEL METROPOLITAN PREMIER TAIPEI. We will exhibit exciting works of artists such as Yayoi KUSAMA, LIN Yu-Ching & WEI Hsing-Yu, TUNG Min-Chin, TSENG Shang-Jie, SYUTA, Yuki KAMIDE. Simultaneously, Dynasty Gallery will also participate "VOICES," organized by ONE ART Taipei team, will make its grand debut at POPOP TAIPEI! The event runs from January 26th to 29th, and we will collaborate with artists Atsushi MIZUTANI and Julia HUNG to present their latest large-scale works at Building A2 of the zone. The inaugural "VOICES” features an invitation-only system for participating galleries, marking Taiwan's first art event emphasizing no panels, no partitions, and focusing on large-scale sculptures / installations, videos, and new media arts. The event has invited the seasoned curator Emerson WANG, to centrally responsible for academic planning, emphasizing the coordinated integration of artworks and venue, to fully display the creative concepts of the artists. We hope that through this new art fair style, a new chapter will be opened for the Taiwanese art industry.
The twin art fairs in Taipei, "ONE ART Taipei" & "VOICES," mark the first round of big art events in Taiwan this year, kicking off the exciting cultural scene for 2024. The organizer has arranged shuttle bus to transport attendees between the two fair sites, making it convenient for everyone to enjoy both. With the Year of the Dragon approaching, would you like to recharge yourself before the Spring Festival? Don’t miss them!
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水谷篤司 Atsushi MIZUTANI《幻影風景 Phantom landscape》
70x280x380cm, 木、壓克力顏料、水性日本畫顏料, 2022
水谷篤司的雕刻是在做「似曾相識的風景」。這裡的「風景」，可以是指眼前的、殘留在印象中的、被遺忘、從以前就潛藏在人類之中的、過去的、虛有的、現實的、未來的，這些各式各樣的風景混和在一起，形成了作品的形體。他想製作的風景，是將他的作品與藏在他人心中的風景混合在一起，形成一種巨大磅礡的樣子。這刺激了人類心中的部份深處，或許也成為了某些事物浮出表層的關鍵。而他自己的風景，雖然是肉體通過勞動而產生的雕刻行為，但他覺得也是一種接觸人們心中深處的方式。
水谷篤司本次展出的作品，是以朝向幻影風景與人類所抱持的夢想與希望的道路前進的想法來製作的。在這個善惡不分的價值觀每天重複往返的日常之中，夢想與希望也出現並消失。我們在自身與社會中探尋著藏著最好的風景的地圖，眺望著若隱若現的形體，這就是連繫著了解你的風景的方式。
Atsushi MIZUTANI's sculptures aim to create a "familiar landscape." The term "landscape" here refers to what is in front of us, lingering in our impressions, forgotten, hidden within humans since ancient times, past, virtual, real, and future. These diverse landscapes blend together to form the structure of his works. The landscapes he wants to create involve merging his artworks with the landscapes hidden in the hearts of others, forming a grand and imposing appearance. This stimulates the depths of the human heart and may become a key to bringing certain things to the surface. Although his own landscape is a carving activity produced by the body through labor, he feels it is also a way to touch the deep aspects of people's hearts.
Atsushi MIZUTANI's works exhibited this time are created with the idea of moving towards the phantom landscapes and the paths of dreams and hopes that humanity holds. In the daily repetition of a value system where good and evil are indistinguishable, dreams and hopes also emerge and disappear. We explore the map that conceals the best landscapes within ourselves and society, gazing at elusive forms. This is the way that connects to understanding the landscape that is you.
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洪郁雯 Julia HUNG《21g》
尺寸依場域而定, 彩漆銅線, 2024
在《21g》中，藝術家洪郁雯探討人類通過標準化追求控制的慾望，並反思在這種過度簡化測量中，所失去的質性層面。
古希臘人相信生命是可測量、且注定的，其概念體現於命運三女神之一 ── 拉克西斯（Lachesis） ── 測量人類命運之線的神話中，顯示了人對測量及量化的執念。
在20世紀初，鄧肯·麥克道格爾博士試圖測量靈魂的重量，將靈魂的離去，與臨終患者在死亡時，難以解釋的體重減輕 ── 21 克，聯繫起來。「21」源於印度-阿拉伯數字系統，以及「克」為一種計量單位，起源於法國大革命期間的公制系統；這兩者都象徵著全球通用的溝通和計算工具，徹底對數學、科學和商業便利性發揮了關鍵作用。
如今，對測量和標準化的過度依賴常導致對質性層面的忽視。《21g》邀請觀者深思這種對量化的執迷，探索人類對標準化及控制的追求中，可能忽略了生命中不可測量且複雜細緻的層面。
In "21g," artist Hong Yuwen explores humanity's desire for control through standardization, reflecting on the qualitative aspects lost in this excessive pursuit of simplification and measurement. The ancient Greeks believed in a measurable and predetermined life, embodied in the myth of Lachesis, one of the three Fates who measured the threads of human destiny, revealing humanity's obsession with measurement and quantification.
In the early 20th century, Dr. Duncan MacDougall attempted to measure the weight of the soul, connecting the departure of the soul with the unexplained weight loss of dying patients—21 grams. "21" originates from the Indian-Arabic numeral system, and "grams" as a unit of measurement, originating from the metric system during the French Revolution; both symbolize globally accepted tools for communication and calculation, playing a crucial role in mathematics, science, and business convenience.
Today, excessive reliance on measurement and standardization often leads to the neglect of qualitative aspects. "21g" invites viewers to contemplate this obsession with quantification, exploring how humanity's pursuit of standardization and control may overlook the immeasurable and intricately complex dimensions of life.
草間彌生 Yayoi KUSAMA《哈囉! Hello!》
45.4x52.8cm, 絲網版畫, Ed.100, 1989
草間彌生為當代藝術史上舉足輕重、影響深遠的亞洲藝術家。草間素以豐富多產的創作而著名，其作品涵蓋繪畫、雕塑、行為表演、錄像和大型裝置。她原本修習傳統日本畫，1957年移居美國，很快就以破格而別樹一幟的藝術語言，在美國和歐洲前衛藝術界打響名堂，在藝壇贏得一席之地。草間於1973年返回日本，之後一直創作不輟，推陳出新，與自己身處的時代呼應共鳴。草間彌生堅持不懈地追求前衛藝術實踐，使她成為二十一世紀的全球文化偶像。她在逾七十年的創作生涯中發展出獨樹一幟的核心美學和人生哲學。其作品展示浩瀚無垠之境，反思大自然的生命形態與循環，擄獲世人的目光。
Yayoi KUSAMA is one of the most important and influential Asian artists in the history of contemporary art. She is renowned for her prolific and ground-breaking practice, spanning paintings, sculptures, performances, moving images, and large-scale installations. Trained in traditional Japanese painting, she moved to the United States in 1957 and soon established herself in the American and European avant-garde for her unique and radical artistic language. She returned to Japan in 1973 and has relentlessly reinvented and created art that resonates with the time in which she lives. Yayoi Kusama emerged as a global cultural icon for the twenty-first century by pursuing her uncompromising avant-garde vision. Over the past seven decades, she honed a singular personal aesthetic and core philosophy of life. Kusama’s work captivates millions by offering glimpses of boundless space and reflections on natural cycles of regeneration.
林餘慶&魏杏諭 LIN Yu-Ching & WEI Hsing-Yu
《灰星體33號-蝠司林 Gray Star No.33-Fusilin》
110x80cm, 複合媒材 Mixed media, 2023
林餘慶＆魏杏諭共同創作至今已超過十五年，在他們創造的世界觀裡，以平均穩定的色調分配，讓畫面豐富而溫潤，也因此效果非常規律平整，藝術家耐心分配色調和色塊，在繁忙緊湊的節奏中，公平地分配色彩，創造了均衡生態。此外，系列作品之間的物件串連，也讓他們的創作產生古時壁畫的共時性──將長篇幅的故事呈現在一片牆上，讓觀者於一眼全覽的同時也能在細節裡悠遊。藝術家筆下的主要角色「Wulala」就像是他們的化身，不斷出現在作品畫面之中，像是導遊般引領我們徜徉在林餘慶和魏杏諭為作品所創作的心情詩海中，盡情探索。
LIN Yu-Ching & WEI Hsing-Yu starting to co-create have more than fifteen years. In the world they built, the fixed and regular patterns of color-using make an atmosphere close to Tempera and Frescoes works, bringing people a peaceful and steady experience. In addition, the articles connecting different series has added the synchronicity of ancient murals to these work (to put a whole lengthy story on one wall), which provides the audience with an overview while they immerse in the exquisite details at the same time. The main character “Wulala” is like an avatar of the artists and always appeared in the works. As a guide, Wulala brings us to discover and wander about unhurriedly in LIN & WEI’s poems which are created for the artworks.
董旻晋 TUNG Min-Chin《皮相構思-心》
24x21x14cm, 台灣紅檜 Taiwan red cypress, 2023
董旻晋從事藝術創作二十餘年，不間斷地研究各種表面質感與造型間的衝撞對話，尋求木材質創作的任何可能性。早先的雕塑作品多注重量體與強調造形平滑順暢的線條；近年則因生活的轉變，內心嚮往放鬆的輕盈感與欣賞古沉木風化的質感，遂創作上逐漸轉向將木材挖空、鏤空，減輕材質重量，揣摩物件自然風化的有機線條，且仍保留雕刻手感，讓觀者得以感受藝術家創作中的思考過程。董旻晋的創作理念總是從日常生活出發，無論是人與物品之間的關係，個人情感與自我形象的投射，自身於家庭、教學的心路歷程等，我們皆能從中感受到他對於木雕的全心投入。
TUNG Min-Chin has been engaged in artistic creation for over two decades, continuously exploring the interplay between various surface textures and forms, seeking any potential in wood as a creative material. His earlier sculptures often focused on mass and emphasized smooth, flowing lines in their forms. In recent years, due to changes in his life, he has yearned for a lighter, more relaxed feeling and an appreciation for the weathered textures of ancient wood. Consequently, his creations have gradually shifted towards hollowing out and carving the wood, reducing the material's weight, and embracing organic lines that mimic the natural weathering of objects. He still retains the tactile sense of carving, allowing viewers to experience the artist's thought process in his creations. TUNG's creative philosophy always starts from everyday life, whether it's the relationship between people and objects, the projection of personal emotions and self-image, or his own journey through family and teaching. In all of these aspects, we can feel his wholehearted dedication to wood carving.
曾上杰 TSENG Shang-Jie《Swinger No.71 (TOKYO)》
39x12.5x21cm, 樟木、壓克力顏料 Camphor, acrylic, 2023
曾上杰專攻木作雕刻，他並不追求形體的精準重現，而是傾向如何將精神感受再演繹。曾上杰認為，從繪畫角度看待自己的立體作品，更能表達他的內心對世界的感知，其顏料上色覆蓋著刀痕所產生的隨機性，以及上色後再刻掉的曖昧感，皆是呼應藝術家對於雕刻「減法」的認知，也是一種虛實之間的探索。他的《Swinger》系列，看似是曾上杰對年紀相仿的都市青春眾生研調報告，其實是對於路上行人的匆匆一瞥與隨之帶來的延伸想像；《公園》系列為藝術家在觀察玩滑板的人們，對其獨自一人挑戰阻礙的精神感到欽佩而致敬的創作，同時也思考了如何以趨近幾何的立體形式擴張出空間場景。
TSENG Shang-Jie specializes in wood carving, and he doesn't aim for precise reproduction of forms but rather seeks to reinterpret the spiritual essence. TSENG believes that looking at his three-dimensional works from the perspective as paintings allows for a better expression of his inner perception of the world. The randomness created by the knife marks covered with pigments and the ambiguity resulting from coloring and then carving out again all echo the artist's understanding of sculpture as "subtraction," representing a exploration of the interplay between reality and illusion. His "Swinger" series may appear to be a study or investigation of the youthful urban population of similar ages, but it is, in fact, a fleeting glimpse at pedestrians on the street and the extended imagination that follows. The "Park" series, on the other hand, represents the artist's admiration and tribute to individuals who courageously take on challenges while skateboarding, as well as a contemplation of how to expand spatial scenes through geometric three-dimensional forms.
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上出由紀 Yuki KAMIDE《懸崖 Clif》
27.3x19cm, 複合媒材 Mixed media, 2022
上出由紀欲以作品表達「記憶」之於人的意義，她認為記憶是過去確實存在的集合，而它們在任何的時空下都可以被反覆回想，以支撐「現在」，而藝術品便是對「現在」的表達，通過觀看藝術品這一行為，觀眾和藝術家便是在共享當下。上出由紀在不斷疊加的照片上繪畫，看似多重曝光的照片，空間失去了特定性，而人物花鳥等元素則隨機被強調、符號化或隱沒於模糊之中。從這些過程中呈現出來的場景擺脫了所謂的「時間不斷前進」的概念，超越了藝術家的個人記憶。
原本對她來說攝影不過是一種自言自語，平常她只是按下快門，而不會在社群上發文說「它很美」，就像一本永遠不會被他人看到的日記。然而，在上出的作品則將攝影延伸出來，吸收了各種時間，為自我和他人敞開了大門，它可以成為一個不僅僅是藝術家自己，而且也是觀眾的對話場所。
Yuki KAMIDE aims to express the significance of "memory" in human experience through her artwork. She believes that memories are collections of the past that truly existed, and they can be recalled repeatedly in any time and space to support the "present." Artworks, in her view, are expressions of the "present," and through the act of viewing art, both the audience and the artist share the current moment. KAMIDE paints on continuously layered photographs, creating images that appear like multiple exposures. In these images, space loses its specificity, while elements such as figures, birds, and flowers are randomly emphasized, symbolized, or obscured in the blur. The scenes presented in these processes break free from the concept of "time constantly moving forward," transcending the artist's personal memories.
Originally, for her, photography was just a form of soliloquy. Usually, she simply pressed the shutter without posting on social media, saying "it's beautiful," like a diary that would never be seen by others. However, in her recent works, photography has been extended, absorbing various moments in time, opening doors for both herself and others. It can become not only a dialogue for the artist but also a conversation space for the audience.
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三友周太 Syuta MITOMO《Ring Fluoro Momo 002》
20x20cm, 石蠟紙 Paraffin paper, 2023
三友周太從2011年開始使用螢光色透過反射表現顏色陰影，此作品系列被稱為「Fluoro Reflex」，為螢光色Fluorescent Color和反射Reflection 的造語。2011年福島核災期間，日本各地每天都有放射線量的報導，導致人心惶惶，擁有生命科學背景和處理放射性同位素的經驗，三友周太希望人們能正確理解輻射如何影響我們的身體，並希望將這種本質融入作品中。
擁有藥劑師身分的三友周太在參與藥物開發的業務之餘，同時從事藝術家的創作活動，以社會與藝術的相互關係為主題進行相關活動。製作和活動的基礎中存在著多樣性以及日常與非日常的交匯，他在學生時代學習的生物化學、生命科學和作為藥劑師的經驗，都對他的藝術工作產生了影響。以藝術將人與人之間的聯繫以及對社會的貢獻作為主題，舉辦針對兒童、老年人和需要特殊照護的人的工作坊。在日本，他參與了地方振興計畫，並透過藝術提出有關地區吸引力和與人相關的建議。
Mitomo SYUTA began using fluorescent colors to express color shadows through reflection in 2011. This series of works is called "Fluoro Reflex," a coined term combining Fluorescent Color and Reflection. During the Fukushima nuclear disaster in 2011, there were daily reports of radiation levels across Japan, causing widespread concern. With a background in life sciences and experience working with radioactive isotopes, SYUTA hopes that people will accurately understand how radiation affects our bodies and aims to incorporate this essence into his artworks.
As a pharmacist, Mitomo SYUTA is involved in drug development while actively participating in artistic creation. His diverse background in biochemistry, life sciences, and pharmacy influences his artwork, focusing on the intersection of society and art. Conducting workshops for children, the elderly, and those in need of special care, Mizutani uses art to explore connections between people and contributions to society. In Japan, he contributes to local revitalization projects, suggesting ideas related to regional attractiveness and human connections through art.