覓金山鴻爪 鄭森池個展

覓金山鴻爪 鄭森池攝影個展

Walking The Grade
Shen-Chih Cheng Photo Exhibition

地點:國立台北藝術大學 關渡美術館 1 1/2F展覽室
展覽日期:2009/07/15-09/20
展覽開幕: 2009/07/15/(三)5:00PM
藝術開講:2009/07/15(三)3:00PM

鄭森池先生為70年代帶動台灣現代攝影潮流的「V-10視覺藝術群」（Group Visual-10）成員之一,曾經在一九七六年與胡永、謝春德、李啟華共同主編結合寫實攝影與現代觀念,頗具開創性卻短命的「現代攝影」雙月刊(共出版四期),目前居住在美國洛杉磯。

此次受邀至國立臺北藝術大學關渡美術館駐館創作為期兩週(自7月6日至7月17日),將帶來一系列以探尋一八四九年到一八八二華工在金山,即美國加州,上山下海淘金開礦,甚至參與工程艱鉅史無前例的中太平洋鐵路構築所留下具民族特色例如廟、工寮、中藥舖、雜貨店甚至乱葬崗、賭塲、妓院等遺蹟的攝影創作。

鄭森池先生自2005年起結合攝影與歷史，尋覓這些先民在金山所遺鴻爪,在三年間長途拔涉九回,完成全長六百九十英哩中太平洋鐵路的行程,並以傳統的大型相機和銀盬黒白底片,自己操作暗房,儘可能以史詩的形式來表現這段百年的華工血淚史。

此次駐館期間鄭森池先生除了展出上述鐵路部分的攝影創作之外並將於7月15日舉辦座談會分享個人的創作歷程與創作理念。

*圖: 佈門隘口(Bloomer Cut)東向,鐵路工程初期面臨的挑戰,八百餘呎長,六十三呎高, 近四十名葡萄牙和愛爾蘭移民的白種工人以手工和黒火藥施工.一八六四年二月動工,一八六五年四月始完工,因此決定大量引進華工.且前鐵路仍在使用.此處有一紀念華工的紀念碑

日本駐館藝術家丸山純子---藝術開講

2009 I 駐館藝術家 I 駐館計劃 I Artist -In -Residence Program I 卓越計劃 I A.R.T.S



日本籍駐館藝術家丸山純子在關注自然的循環再生想像上，一直以不同的媒材發表其蘊含哲思的反省。並以日本特有的潔淨禪意，呈現她的美感於她的作品之中。此次運用台灣特有的兩項產物:「油炸到成暗黑色的廢油」以及「到處都有的塑膠袋」，丸山將如何透過她的巧手與運轉，讓兩種常被丟棄的人造產物，轉化為充滿生氣的活化物質，再度存現於你我的生活空間。她過往的思考經驗又是如何，歡迎一同來探尋討論。

演講時間:2009/06/10/ (三) 2PM
演講地點:1 1/2F 策展室

<展覽簡介>
“CanCam” 一直是日本少女流行雜誌的指標，源自於”Campus(校園)”的青春洋溢，延伸到流行文化，這次日本駐館藝術家丸山純子取用“CanCam”一詞，卻是試圖在校園生活中取樣，來自校園自助餐廳的廢油，在與流行文化的反差作用下，卻仍是呈現生生不息的模樣。透過丸山的裝置，這些看似無關，卻有著奇妙聯想的游移液體，恰好呼應著生活中的循環與演變。

“CanCam”, the fashion magazine icon in Japanese young girls’ culture, was formed from campus life to show infinite youth. Japanese artist Maruyama Junko, however, uses the word “CanCam” as a way to sample campus life. She employs used oil from the campus cafeteria as a contrast to fashion and to express an ongoing circulation through her installation.

展覽地點：關渡美術館1 1/2F展覽室+1F洗手間
Venue: Kuandu Museum of Fine Arts 1 1/2F Gallery + 1F disabled bathroom
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「丸山花店」是一個再生利用的計劃，以期能從相互矛盾的元素裡像是「生態學」、「經濟學」以及「藝術」連結人與事物。日本藝術家丸山純子運用日常生活中隨手可得的各色塑膠袋，將之分解、再塑、組合成繽紛的塑膠花朵。重複著如此繁複的手工，將一個平凡無奇的人為日常物轉化為自然產物的再現。她試圖製造與自然真花之間的美麗競比，並喚醒人們對自然的循環省思。歡迎光臨「丸山花店」，請為自己選一朵充滿哲思的花，妝點自己的家吧!

"Maruyama Florist” is a project that to make a new circulation from transforming the used objects. Japanese artist Maruyama Junko hopes to connect people and things from the conflicting elements such as “ecology”, “economy”, and “art”.Maruyama de-constructs various kinds of plastic bags from daily life to reconstruct and compose into colorful flowers. By the repetition of complicated handcrafting of the flowers, she transforms these artificial objects from ordinary usage into a reproduction of nature. She also attempts to create a competition between real flowers and plastic flowers and to evoke thoughts of the circulation of nature.Welcome to the “Maruyama Florist”. Pick one profound flower to decorate your resort home!

「丸山花店」地點：國立臺北藝術大學「北藝風」概念店
“Maruyama Florist” Venue: TNUA “KD ARTS GALLERY SHOP”

關渡美術館∣駐館藝術家各展 丸山純子/ MARUYAMA JUNKO

關渡美術館∣駐館藝術家 2009∣Artist-In-Residence Program ∣卓越計畫 A.R.T.S

展覽時間：2009/06/05-06/21
展覽地點：關渡美術館1 1/2 F展覽室、「北藝風」概念店
開幕茶會：2009/06/05 3:00 PM

“CanCam” 一直是日本少女流行雜誌的指標，源自於”Campus(校園)”的青春洋溢，延伸到流行文化，這次日本駐館藝術家丸山純子取用“CanCam”一詞，卻是試圖在校園生活中取樣，來自校園自助餐廳的廢油，在與流行文化的反差作用下，卻仍是呈現生生不息的模樣。透過丸山的裝置，這些看似無關，卻有著奇妙聯想的游移液體，恰好呼應著生活中的循環與演變。


“CanCam”, the fashion magazine icon in Japanese young girls’ culture, was formed from campus life to show infinite youth. Japanese artist Maruyama Junko, however, uses the word “CanCam” as a way to sample campus life. She employs used oil from the campus cafeteria as a contrast to fashion and to express an ongoing circulation through her installation.

展覽地點：關渡美術館1 1/2F展覽室+1F洗手間
Venue: Kuandu Museum of Fine Arts 1 1/2F Gallery + 1F disabled bathroom

--------------------------------------------------------------------------------------------
「丸山花店」是一個再生利用的計劃，以期能從相互矛盾的元素裡像是「生態學」、「經濟學」以及「藝術」連結人與事物。日本藝術家丸山純子運用日常生活中隨手可得的各色塑膠袋，將之分解、再塑、組合成繽紛的塑膠花朵。重複著如此繁複的手工，將一個平凡無奇的人為日常物轉化為自然產物的再現。她試圖製造與自然真花之間的美麗競比，並喚醒人們對自然的循環省思。歡迎光臨「丸山花店」，請為自己選一朵充滿哲思的花，妝點自己的家吧!

“Maruyama Florist” is a project that to make a new circulation from transforming the used objects. Japanese artist Maruyama Junko hopes to connect people and things from the conflicting elements such as “ecology”, “economy”, and “art”.
Maruyama de-constructs various kinds of plastic bags from daily life to reconstruct and compose into colorful flowers. By the repetition of complicated handcrafting of the flowers, she transforms these artificial objects from ordinary usage into a reproduction of nature. She also attempts to create a competition between real flowers and plastic flowers and to evoke thoughts of the circulation of nature.Welcome to the “Maruyama Florist”. Pick one profound flower to decorate your resort home!

「丸山花店」地點：國立臺北藝術大學「北藝風」概念店
“Maruyama Florist” Venue: TNUA “KD ARTS GALLERY SHOP”

LOOKING FOR LEE MING 尋找李明

關渡美術館∣駐館藝術家 2009∣Artist-In-Residence Program

展覽時間：2009/ 5/15-5/31
展覽地點：關渡美術館1 1/2 F展覽室
開幕茶會：2009/ 5/15/15:00 PM

在2008年夏天裡一位名叫李明（音譯Lee Ming）的人，自台北寄了一封電子郵件給Seth Lower。沒有更近一步的介紹，她(他)說她(他)認識他甚至在夢中看過他未出生前的樣子。自然地，他感覺這是個奇怪、令人不由驚嚇的訊息。她(他)描述她(他)的夢，也就是在她(他)的人生裡重複出現了好幾次，就像是那種發燒會做的夢，總是給予她(他)一種悲傷的奇妙感受。在夢裡，一個蒼白帶著斗篷的形體拯救了她(他)的性命，但也犧牲了自己。在形體倒向她(他)的懷中後，他在她(他)的手掌上用血寫下了他的名字。而那正是Seth Lower的名字。在這之後她(他)是怎麼找到他，她(他)並沒有說，只說她(他)在網路上看見Seth的影像便立即地認出了他。這是她(他)所說的全部，儘管Seth怎麼回覆她(他)，她(他)自後再也沒寄給他任何東西。

Seth Lower的企劃以這封電子郵件作為在台北多媒體調查計畫的一個起始點，在與關渡美術館與北藝大成員合作之下，他將重建李明的夢之錄像。他也將於關渡美術館展現其在台北尋找李明的調查過程。

During the summer of 2008 Seth Lower received a strange message from someone in Taipei named Lee Ming. With no further introduction, she (or he) told him that s/he knew who he was and that s/he had met him in a dream before he was ever born. S/he described the dream, which had recurred numerous times throughout her/his life, as something like a fever dream, always giving her/him a strange feeling of sadness. In the dream, a cloaked figure saved her/his life from a band of murderers, but only at the expense of his life. As he lay dying in her/his arms, he wrote his name in blood on the palm of her/his hand. It was Seth’s name. How s/he found him after this s/he didn’t say—only that s/he saw one of Seth’s images on the Internet and immediately recognized it. That was all s/he said, and despite subsequent replies, s/he never sent anything further.

Working with members of the KdMoFA and Taipei National University of the Arts community, Lower creates a video reconstruction of Lee Ming’s dream and searches for people in Taipei named Lee Ming, creating an investigative project in the process. From May 15, the Kuandu Museum of Fine Arts will present you Seth Lower’s latest conclusion to the search project.

展覽承辦人/Exhibition enquiry:何明桂/Ho Ming-Kuei聯絡電話/Contact tel:02-28961000ext2412

新聞聯繫人/Press contact:蔡佩穎/Tsai Pei-Ying聯絡電話/Contact tel:02-28961000ext2416

跨領域──未來的藝術先驅

【參展創作團隊】

方彥翔 / 王福瑞 / 何璨紋 / 吳依凡 / 宋艾凌 / 林欣美 / 胡瑞真 / 范思琪 / 張　凌 / 張鳳詩 / 莊依琪 / 莊毅柔 / 許馥凡 / 陳長志 / 陳俊文 / 陳致宇 / 陶亞倫 / 程　頤 / 黃昕誼 / 黃博志 / 潘娉玉 / 蔡坤霖 / 鄭姬真 / 賴俊泓 /饒祗豪 / Mary Sherman / Yannick Franck

【展覽說明】

對瑪莉而言，跨領域合作不僅提供相互理解、分享思考與文化思絡實踐的機會，跨領域在世界與日漸增的連結效應下，同時也爭議性地被視為未來的潮流。

自5月11日至7月13日，關渡美術館駐館藝術家暨美國傅布萊爾獎助金資深專家授獎人－瑪莉．雪曼(Mary Sherman)，講授美國藝術史上跨領域的合作例子，並和北藝大師生共同合作，展現此次的跨領域成果展。五組來自不同領域與背景的藝術家成員們透過會議、工作坊、討論發想出作品。這個組成過程目標在於：延伸藝術家受限於身體孤立、特定地域與歷史的個人工作模式，並推展跨界作用以及自處於21世紀中對藝術的新思維。

在這過程中，不意外地引起如下的討論議題，也就是在這連結相對容易卻也困難的世界裡，對溝通的渴望；破碎又具渴求的意圖；對在越來越難發現宇宙真理的世界裡反映意義的意象探索。

因此，為了表達他們團體的構思，B組藝術家製作了一個孤立會響的電話亭，期待美術館觀眾能接起電話，建構與他們之間的連結。A組藝術家提供觀者看似是空白的框架，卻其實是可自行創造的移動式世界倒影。D組藝術家提供能反映自身慾望的天空。E組藝術家建構一個獨立物件永不能相遇，卻只能從交錯中的倒影連結的抽象舞蹈。而最後，C組藝術家用脫離現實的聲音，描述我們無條理的世界。於此，他們呈現辛苦工作的果實。


Introduction
For Mary Sherman, collaboration not only provides hands-on opportunities for understanding and sharing ideas and cultural mindsets, but collaborative work is arguably - as our world becomes increasingly interconnected - the wave of the future.

From May 11 to July 13, as an artist-in-residence at the Kuandu Museum of Fine Arts and Fulbright Senior Scholar, Ms. Sherman presented lectures on the history of collaboration in American art and worked with the Taipei National University of the Arts’ students and faculty to create this exhibition of collaborative art.Each work grew out of talks, workshops and meetings between the five teams of artists from diverse disciplines and backgrounds. The aim of the process was to expand the artist’s traditional studio practice beyond that of a physically isolated, geographically specific and historically limited enterprise in order to promote cross-fertilization, and new ways of thinking about art in the 21st century.

Not surprisingly some of the themes that arose from the process was a desire to communicate in a world in which connections are both easier and more difficult; a sense of fragmentation and longing; and quest for new images that reflect meaning in a world in which universal truths seems harder and harder to find.

Thus, to express their group's ideas, Team B has created a lone telephone booth that they will call, hoping the museum visitors will answer their ringing plea to connect to them. Team A has generously provided viewers with what seems to be blank frames; but in actuality are moveable reflections of worlds that we can create ourselves. Team D offers us the sky where we can project our own desires; Team E has constructed an abstracted choreography where the individual elements can never really meet, but only reflect one another in passing; and, finally, Team C describes our fragmented world through disembodied voices. The fruits of their labors are shown here.

KdMoFa跨領域藝術工作坊 網站

場景‧Scene

日本藝術家牛島光太郎運用文字敘說進行裝置創作，他以營造出來的場景呈現故事，但他避免形成構造故事的意圖，因此故事沒有發展的絕對方向也沒有結局的設定。他選擇日常生活中不著邊際的場景、景色、事件，並與之產生聯結，發展成故事的形態。牛島的作品自2003年以來即以完成的順序命名，如：「場景-1」、「場景-2」、「場景-3」…，至2008年已發展至「場景-35」。他期望以這些場景作為找尋他自己，以及連結外界的線索，並能對他人產生意義。

牛島光太郎於關渡美術館的駐館期間（2008/4/8-5/18）將延續其「場景-35」的製作，並以台灣的素材作為他創作日記範本的原素。

Scene

The Japanese artist Ushijima Koutarou creates his works based on the narrative texts within his installation. He presents stories by setting up the scenery but avoids the intention of trying to construct a story. Therefore, the story goes nowhere and has no specific ending. Ushijima picked the rambling scenes and events from everyday life around him and tried to make connection with them then to develop a story in his installations. From 2003,Ushijima started to entitle his works in order of completion as “Scene- 1”,”Scene- 2”, “Scene -3”,,,,and now is approaching “Scene- 35” in 2008. He expects that these scenes can be the clues of finding himself and as well of connecting to the outer world and finally can produce meaning to the others.

Ushijima will continue his production of “Scene -35” during his stay in the Kuandu Museum of Fine art (2008/4/8-5/18) and will take the local materials as the creative elements in his diary in Taiwan.