李暉作品 被理性釋放的靈魂 手術工具的數量

維度之間---李暉個展 Between Dimensions- Li Hui Solo Exhibition

展覽時間：2009/ 6/12-7/19
展覽地點：關渡美術館4F展覽室
開幕茶會：2009/ 6/12/17:00 PM

1977年出生於中國北京，2003年畢業於中央美術學院的李暉，以精密的層疊壓克力雕塑、空間性的激光雷射在中國新媒體藝術裡展現了中國新世代的獨特性與開拓性。相較於中國當代藝術中佔絕大比例的主流架上繪畫形式，更顯這位七○後青年藝術家的重要性與前衛性。

本次在關渡美術館的李暉個展由索卡藝術中心所籌辦，李暉將以雷射激光裝置來重新詮釋關美館的空間，作品《被理性釋放的靈魂》將運用鐳射、煙霧、醫用紗布、醫療設備等在裝置藝術中不常規的材料來組合、再塑、創造出一種充滿變化、迷幻、神秘，甚至宗教式的視覺效果的手術現場。期待觀眾能在這無中生有的煙霧中，體會這不可言說、卻又充滿想像的空間知覺。

去年上海藝術博覽會上，李暉以作品<琥珀>展現上海F1賽車與當代藝術結合的另一種精確性，在本展中，另一件作品<橋>，同樣是李暉以精密的透明壓克力層板的切割技術，形構出深具內涵與反思意義的空間性立體作品，李暉說到「在我的觀念裏，如果世界上沒有戰爭那這些武器都將成為廢物，那時就可以把武器改裝成建築、橋樑、路標等公共設施。」 李暉對材質的運用皆別具巧思，如用壓克力與LED燈做為創作材質的雕塑作品，構思出他的概念性裝置作品。這兩種材料具備同一種特性：視覺上的透明度。壓克力本身可以形成不同的空間；LED燈則可以將空間轉變成為一層一層的視覺深度，營造出雕塑作品神秘難測的氛圍，表達與速度及生命變遷相關的主題。

當材質性過於強烈時，藝術家往往更須謹慎在創作背後所堅持的思想核心為何?在李暉的過程中，作品材質上從不鏽鋼、壓克力，到雷射及LED燈等，李暉皆淋漓盡致地、精準地發揮這些西方工業材質的特性與美感價值，一次又一次營造出一個如夢似真的夢幻世界，但重要的是，在李暉創作的核心價值仍能保有極具東方思惟的反思空間，並誠如李暉所說「回顧我的學習生涯，我認為，我們接受的是西方的技巧訓練，但就內容、甚或骨子裡，我們仍跳脫不開東方傳統。我要在我的作品裡呈現這樣的現象，而這正是今日存在於中國一種相當典型的現象」。

若創作本身也是實驗，李暉以獨特的創作形式，透過精密的藝術實驗，讓東方唯心思維與西方形式美學有了一場難得的當代際遇。歡迎您來關渡美術館，一同進入李暉夢工廠。

Li Hui was born in 1977 in the city of Beijing, and he graduated from the China Central Academy of Fine Arts in 2003. Li shows the uniqueness and new boundaries of the new age of Chinese New Media art in his sculptures made of precisely-cut acrylic and artworks created from spatial lasers. Chinese contemporary art is centered around paintings and portraits, thus Li, as a young artist born in the 1970’s, is of great importance to the Chinese art world, and his works are considered very avant-garde.

The Li Hui personal exhibition at the Kuangdu Museum of Fine Arts is organized by the Soka Art Center. Li uses laser installations to reinterpret the exhibitions space in the Kuangdu Museum of Fine Arts. The work “The Soul Released by Rationality” uses lasers, smoke, gauze, medical equipment and other materials not commonly seen in artworks to construct and create a surgical operation scene full of changing, fantastic, mysterious and religious visual effects. Li hopes that viewers can understand the spatial sensation that is indescribable yet full of imagination in this fabricated smoke.

In the work “Amber”, which was on exhibition at the Shanghai Art Exhibition last year, Li Hui showed the precise integration of Shanghai F1 races with contemporary art. In the work “Bridge” which will be shown at the Kuangdu exhibit, Li uses his skills in forging stainless steel and cutting with a fruit knife to create a spatial three-dimensional work that has deep connotative and introspective meanings. Li Hui says that “In my opinion, if there are no wars, all weapons will become useless, and then we can use weapons to construct buildings, bridges, road signs and other public infrastructure.” Li uses materials in unique ways, and an example is the way

in which he uses LED lights and acrylic planks to create his sculptures and conceptual installations. These two materials have a common trait: they are both transparent. Acrylic can be molded into different shapes, and LED lights can transform space into layers of visual depth to create an aura of mystique around the sculpture and express themes related to speed and the changes in life.

When the materials in artworks start to become more unique and eye-catching, artists need to put more emphasis on the core ideals behind the work. In his works, Li Hui is able to precisely and fully bring out the aesthetics and traits of Western industrial materials such as stainless steel, acrylic, lasers and LED lights and create many times a fantasy world that is dreamlike and almost real. But more importantly, Li is able to retain an Eastern style introspective space in the core values of his works. Li said that “Looking back at my artistic life, I believe that we Chinese artists receive Western art training, but the content of our works and our spirits are still rooted in traditional Chinese culture. I want to portray this phenomenon in my works, because this is a classic phenomenon that exists in China today.”

If art creation is an experiment in itself, Li Hui has used his unique creativity and createed a precise art experiment that integrates Eastern idealism and Western-style aesthetics. We welcome you to the Kuangdu Museum of Fine Arts and enter Li Hui’s dream factory.

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
------------------------------------------------------------------------------------------------
「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”

實習生李昭慶終於畢業了！！

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

21世紀少年──遊牧座標展覽訊息

國立臺北藝術大學關渡美術館2-5F

2009/4/10-5/24
開幕式:2009.04.10.(五 Fri.)5:00PM


丁昶文 Ting Chaong-Wen / 王璽安 Wang Sean / 江忠倫 Chiang Chung-Lun /
李欣芫 Li Hsin-Yuan / 周代焌 Chou Tai-Chun / 林峰毅 Lin Feng-Yi /
南里朋子 Tomoko Nanri / 高雅婷 Kao Ya-Ting / 許唐瑋 Hsu Tang-Wei /
陳怡潔 Agi Chen / 陳敬元 Chen Ching-Yuan / 黃琬玲 Huang wan-ling /
廖震平 Liao Zen-Ping / 蕭筑方 Shiao Chu-Fang /謝牧岐 Hsieh Mu-Chi /
鍾順達 Chung Shung-Ta
（按照姓氏筆劃）

一 件事物的開端似乎總是讓人預期些什麼，彷彿一本空白的書冊，許多的空白等待書寫者填入內容。而每個時代的開頭，也似乎總有些讓人期盼的氣氛：今夕何夕，來 日可期。而在這二十一世紀時間區分的開端，我們要以什麼樣的立場去看待這樣的問題，那麼屬於立場的問題，也就是對這個角色位置的討論。這個展覽，是由一群 剛自二十一世紀完成學院高等教育過程的創作者發起討論而來的行為活動，它的開端是不那麼明確的，我們自我提問一群創作者展出除了能把作品排列出來，找出某 些視覺觀念串連之外，還有沒有其他的展覽工作是可以提出的？而時間點正好是這個問題的某種解答，我們來試圖"看待這個世紀初"或許是這個展覽可以提供的意 義以及對於藝術環境的另類回饋。 (文╱王璽安)

關渡美術館「POWER SHOWS」系列隆重推出第二波申請展，此次展出藝術家以南北藝術大學之傑出校友及在學生共同聯合製作「給藝術界的禮物」。透過各自的創作論說，形成各自 發言與對話的拋接。面對21世紀，這群初出茅頭的年輕世代，將如何對世代現象的過去與未來作一完整銜接？在他們看似鬆散的座標對話裡又將傳達出什麼訊息? 關渡美術館邀請你一同進入他們的世界。

※展覽地點/國立臺北藝術大學關渡美術館1F展覽室 ※開放時間/10:00-17:00（週一休館） ※地址/臺北市112北投區學園路1號 ※Transportation/Take the MRT Danshui Line to the Kuandu Station (Exit No. 1), then take TNUA shuttle bus or Da-nan Bus Red 35 to the museum

新聞聯繫人：蔡佩穎
28961000#2416
zivatsai@gmail.com

21世紀少年──遊牧座標