她。說故事-許碧梅&陳靜智雙個展

    此展覽是「她」兩個生活背景不同的女人，同樣身為母親有著相同堅毅不服輸的性格，「說」像是喃喃自語說給自己聽，「故事」人生故事與童話，來聽聽她們說……故事。

    碧梅她說:「創作不一定需要理念，它也許只是生活中的一部份」。早上賣早餐的女孩俏麗又叛逆，但精準的算帳方式令人會多看一眼。中午到了賣麵的店，老闆已是從我認識的潮男，到了肌肉鬆弛的老男人吃完麵後。到對面的超商買飲料，見到了那一年365天全身黑的善心流浪樣男子。回到家，又見到我家隔壁那位身穿補釘衣，腳有鐵絲綁的害羞老男人，快速地又鑽進他家深處。偶而我那老朋友又來我家告訴我她剛從市場回來，或有時說著它如何抓到拉小提琴的訣竅，言語中充滿喜悅。而我偶而在安靜的左邊，思想起那一年的那一天在埃及所見到，那位如此俊的酷男，只是我不知道他的故事。

    靜智她……的故事，她20歲走進另一個家庭，她34歲重拾畫筆，她39歲進入學院在藝術中如魚得水享受各類媒材的創作，她43歲走入玻璃色彩繽紛的世界，此次展出作品有兩個系列，琉璃詩篇系列以窯燒玻璃創作的實驗性出發，使用能包容萬物的圓為造形，嘗試在玻璃中加入各種接駁的可能，小紅帽之動物戲­-…系列以個人出發每個女人心中都住了個小女孩，小女孩與動物間有愛護/守護/趣味/詼諧/反諷，透過玻璃晶亮濃烈的色彩，表現小女孩的天真純潔與浪漫，而玻璃材質經窯爐燒製過程中的不確定性，也代表小女孩與動物間的相對危險緊張的關係……(文/陳靜智)

The works of Cheng Chien-Chang are centered around the theme of “land,” which refers to not only the native land of the living but also the Land Deities, guardians in Heluo language. Cheng’s concern and sentiment for the land include environmental considerations as well as historical and cultural reflections, which further refer to social and political critique. However, Cheng’s works always contain simple, mild, and constrained methods, qualities which reflect that artist’s temperament, determination, and persistence without exaggeration and deafening exhaustion.

In the works of Cheng Chien-Chang, humans and land, gods and history, are one, a universal state of coexistence and circulation. Sometimes, the fates of people are etched on the island; sometimes, the motionless gods are like towering mountains. Human beings move between space, cultivating the lands, sometimes resembling the short life spans of ephemera, but other times reminding us of the eternal Tree of Life, new branches sprouting from the old, withered trunks, and transforming into dirt after death, nurturing new life and blooms. This cycle of life and the colossal wheel of history go on and on. In the works of Cheng Chien-Chang, we catch a glimpse of the sentiment towards the land, love for the people, forgiveness towards the past, and hope for a beautiful new world.

Cheng’s land is the dwelling for the Original Spirit, while the Original Spirit enables perfection among all things. Chang’s love for the land and contemplation towards life originated from his early life experience in the city. The artist contemplated on civilization and finally returned to nature and became an avid learner of history. Cheng read historical books and fiction on Taiwanese ancestors, understanding the difficult past of our forbearers as they cultivated the wildland. The artist also understands the pressure from power and the struggles of life, which led to a caring, humorous sentiment that endures sadness without complaint, resistance without violence, and satire without ridicule. Cheng’s works inspire warmth, contemplation, serenity, and a peaceful state of mind.

The works of Cheng Chien-Chang merge folk legends and symbols, conveying mystical ideas of Animism and the cycle of life and death. However, Cheng is a devout Christian, and Christianity upholds land justice and people’s right to self-determination, which is often misunderstood as political paranoia. In truth, the works of Cheng Chien-Chang are manifestations of the central belief in faith, hope, and love.

Land Flavor: Hsieh Chi-Chang Abstract Creation Exhibition

The concept and work-foundation of “Land Flavor” was formed by Hsieh Chi-Chang as a recap after his previous artwork series “Natural Overture” and “Travel Trace”.

By going through all the working experience and process repeatedly with the personal life experience which he had been through, he was able to unleash a true side of his feeling toward the nature and reevaluate the gap between him and the environment as a human being but not as an environmentalist.

The ideas of his art work are based on freedom and self-intuition. In every artwork of him, a pure focus and simplicity were expressed by interaction between the nature and harmony to wake every hidden part of how the humanity might have based on what they saw at their surroundings. The mix between Calligraphy and graffiti were combined and used as one on the paintings is to demonstrate the balance and connection between Eastern and Western art, and also to show the ideal “inner map” for everyone based on the way they look at the nature.

There are couple thing which the audience could discover from the exhibition. For instance, the writing and symbol that based on random graffiti and calligraphy etc. They stood out as the trace and inner memory that humanity and the nature ever shared. Each brash stroke shows the multiple combinations between how human life is intertwined with what they have experienced through natural and how and what they seek to perfect their work for the nature or environment. In other word, it is like viewing an ambiguous vibe from everything that has been existing for a long time to “How” they are perfected to be a better piece of art work.

Mei-Hua Lai has got years of experience of creating art based on
things which she encountered during her journey across the world,
in which related to fantasy, fiction, instant ideas, perception toward
her personal surrounding with emotion and reality. “Expressing
ideas through language is not what I do, but reflect them on my art
work” said Lai.
Truth to be told, she processes a sensitive heart which contains
endless thoughts and feelings for her work. She chose to tell the
story about her daily life through painting, with the element of a
flower, cloud etc. The main purpose here is to express her
philosophy of pure post-feminism through creating a breath-taking
art work with the various ideas which abstracted from reality and
nature, in order to define her vision of lifestyle.
Lai’s solo exhibitions “Flower & Pasture” and “Love & Fantasy” were
displayed in the open exhibition of 102ART between 2014 and 2016.
After almost 3 years of hard work, she finally announced her new
solo exhibition “Fantasy World.” It is a brand new work that
surpasses the works from 2014 to 2018. The major focus on her art
work this time is based on a view of from the eye of Pegasus flying
upon the sky and gaze upon the earth. The color texture and
balance of the background from the painting illustrates the
connection between the nature and the environment, which is
required to be comprehended with an objective, artistic view. We
would like to invite you to join us in this marvelous exhibition and
get the first-hand experience of Mai-Hua Lai’s new art works.

From Different Perspectives: Solo Exhibition by SU Zhi-Che

102 Art is honored to invite Su Zhi-Che, the experienced artist from the South Taiwan to host his personal art exhibition in Tainan for the first time in 13 years. Su Zhi-Che was graduated in College of the Fine Art at National Taiwan University of Art. He has been dedicating to passion and work of art with his wife Lin Li-Hua in Kaohsiung for 40 years since he graduated. They established many well-known organizations for art , such as Wu-Ma Group and Modern Art Association of Kaohsiung, while being the founder of these art organizations, they were also the major editors of the National Taiwan art magazine “The Art World” and “Hot Art”, and the major researchers of Kaohsiung Museum of Fine Arts and The Pier-2 Art Center.

Su Zhi-Che has been addicted to surrealism since he was a student. Regardless to the subject “abstraction of the space” which he drew during his time at the London University of the Great Britain, or the series of the work he was making concerning the space of art dimension between reality and fantasy. He holds a great care, passion and doubt toward any topic which related to space and environment, and seeks for the connection between the reality and the fantasy.

In his personal exhibition “From different perspectives” this time, it contains the original artistic idea and perspectives from his previous exhibition. They explained that every person on the earth has their own behavior and the way which they see the world. However, he also defined that just how easily people lose concentration toward the details when viewing and seeing the things around them becomes a habit. Also people are incapable of recording the memory of what they saw afterward. Even if they can, the memory can be quite vague. In other words, they see the things around them, but they are unable of memorizing the details as their eyes are on the subject but their hearts are not. In regards of such a matter, watching and viewing a piece of art work are no longer intriguing but meaningless. The result toward that is that people is losing the sense of appreciating any art work as an “ART”. Su Zhi-Che claims that the visuality is considered the soul part of any art work, and it is also to be the main channel which an artist can truly to express his or her heart and personal philosophy from. He wishes to change the way of how people see and appreciate the art by showing the soul and heart of an artist through painting.

Youth Amazing: Group Exhibition Part II of 8th Project One

102Art Contemporary Art Space cooperates with Art Lee Center, holding the group exhibition of the artists whom are chosen from the 8th “Project One.” Art Lee Center

LEE Yi-Hsuan, CHOU Hsin-Yi, LIN Huan-Chia, HUANG Yu-Wei, Da Chun, LOU Ying-Jia, CHIU Chun-Peng, the artists who exhibit their magnificent works in “Youth Amazing: Group Exhibition Part II of 8th Project One”, will display various works which are interesting and meaningful that fully expresses the conception of “art without borders”. Art works not only have been drawn their materials from real life and culture, but have been inspired by the souls. Each artist

Young artists

誠摯邀請旅居西班牙或在西班牙旅遊的朋友蒞臨Galería Weber-Lutgen觀賞《岱員‧福爾摩沙 藝術文化交流展》萬中選一的佳作～

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【 Galería Weber-Lutgen╳102ART】

岱員‧福爾摩沙 藝術文化交流展

Daiyuan-Formosa Arts and Culture Exchange Exhibition

參展藝術家｜

鄭建昌 CHENG, Chien-Chang

蔡獻友 TSAI, Hsien-Yiu

莊連東 CHAUNG, Lien-Tung

謝其昌 HSIEH, Chi-chang

陳建大明 C.C. Da Ming

范思琪 Fan, Sih-Ci

開幕｜2018.05.30 WED 20:30

展期｜2018.05.30 - 06.30

地點｜Galería Weber-Lutgen

Curator/ TAI Ming-Te

The range of normal “visual acuity” is between 20/25 and 20/10 vision. And 30/10 vision is the abnormal vision, people who have 30/10 vision means they are able to see something they should not see besides the normal things. In this range which we try to avoid seeing something or we can’t see, is exactly the range of 30/10 vision. Hence 30/10 (3.0) is metaphorized the mark of evolution, the extension of innovation, and also the code of fashion.

Seeing the lust itself, and making it to be visible, young artists CHANG Fang-Bang, SHEN Xin-You, and LIU Yun-Rou have high testosterone or estrogen levels working in their own body, which affect their eyes to reach the invisible desires and make them be invisible. By dominant male symbol or recessive female writing, no matter they belong to masculine appearance or feminine visual tactility, they all intent to make the hidden desires to be seen via their creation methods. They need extraordinary point of views and extreme courage to show the conception beyond the normal visual acuity and moral principles. Thus their artworks put ordinary people into the moral boundary, being out of focus then focusing on them again; rejecting then accepting them again. After people accept those paintings, they will smile and think: “There is no new thing under the sun; youthful invincibility.”

“There is no new thing under the sun”, which means many artists in art history had expressed about the desire in their artworks, such as the bull in Pablo Picasso’s Le Taureau (The Bull) and the octopuses in Katsushika Hokusai’s Tako To Ama (The Dream of the Fisherman's Wife), are the incarnations of desire. The young artists use erotic images of Generation Z to describe the horniness and physical changes, and translate into desired objects and visual tactility in “visual acuity.” CHANG Fang-Bang used the experience of viewing directly to the desire, which is transformed to the life and death in “circular” images that constantly copies the marks of love language. SHEN Xin-You used the body shape of down below and symbols of sexual images in strait, direct way, he created a supernatural fairyland by himself. LIU Yun-Rou used the exquisite writing of women in gentle way, which has the continuous repeatability and special energy of knitting models in self-mumbling way. These three artists live in the media age, they used different ways to express the desires, and compete the possibilities of 30/10 vision in visual acuity by their create works of popular culture and their own situations.