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展覽名稱 | 出神入畫-華人攝影新視界
Exhibition | Spellbound Aura
展覽時間 Date | 2004/02/14-05/02
展覽地點 Venue | 當代館主展場 MOCA Taipei
策展人 Curators | 朱其 + 姚瑞中
參展藝術家 Artists | 吳達坤、吳小軍、王俊傑、翁培俊、李大方、薛力愷、崔岫聞、陳羚羊、何成瑤、陳界仁、郭慧禪、林新怡、陳擎耀、李詩儀、蒼鑫、陳敬寶、可樂王、陳文祺＋陸蓉之、陳順築、黃子欽、繆曉春、吳天章、洪磊、王慶松 (Wu Dar-Kuen、Wu Xiaojun、Wang Jun-jieh、Wwng Peijun、Li Dafang、Sit Lik-hoi、Cui Xiuwen、Chen Lingyang、He Chengyao、Chen Chieh-jen、Kuo Hui-chan、Lin Hsin-I,Eva、Chen Ching-yao、Lee Shih-yi、Cang Xin、Chen Chin-pao、Cola King、Mickey&Vickie、Chen Shun-chu、Huang Tzi-chin、Miao Xiaochun、Wu Tien-chang、Hong Lei、Wang Qingsong)
展覽簡介 Exhibition Introduction
In the past few years, the dramatic changes brought on by globalization have also affected changes in structures of all human societies. Under the swelling tide of culture driven by economic forces, the scope of Chinese art in Asia has also expanded. Art by Chinese people will inevitably play an important role in this century’s inter-national exhibitions, and their museums will also become places where the art of all peoples will dance side-by-side. When I was in my early career, I gained the opportunity to have some comings-and-goings with the Mainland’s art world due to a change of occupation, and through my contacts I got to know many of the artists on the other side of the Taiwan Strait. I visited many artists’ studios, and learned that under a culture and set of policies entirely different from our own there was a more mysterious, unknown area of art that deserved to be explored and uncovered.
“Spellbound Aura: The New Vision of Chinese Photography” was another exhibition idea that emerged in 1999 after the Taiwanese curator, Prof. Victoria Lu, and I introduced contemporary Taiwanese art in Beijing (“Visions of Pluralism: Contemporary Art in Taiwan, 1988-1999”). If one were to describe the former exhibition’s unidirectional output as an expression of a personal goal in the field of art administration, than the “dual” curatorial arrangement of the present exhibition comes from a desire, which developed after my understanding of art on both sides of the Taiwan Strait deepened to use my position to create and give the cross-strait contemporary art community an opportunity for cross-reference and shared glory. Under the shade of post-modernism, multimedia uptake and cross-identity have become the common vocabulary of contemporary art, Photography will inevitably become the best surface feature of the era of optoelectronic technology. For its speed, reproducibility and convenience, its ability to simulate things and capacity for a multiplicity of memories, it has become a much-favored medium for this century’s contemporary artists.
Here, I would like to represent Taipei MOCA in extending our sincerest thanks to Zhu Qi and Tao Jui-chung, the Mainland Chinese and Taiwanese curators of this exhibition. They started our as strangers, and as they became acquainted with each other, resolving the various conceptual and practical difficulties generated from their geographic separation, they eventually brought to concrete reality an idea that MOCA and I had hatched: giving “photography,” this means of artistic expression, a new Oriental interpretive viewpoint. In addition, MOCA and I would like to thank all the participating artists and the Japanese art critic, Mr. Nanjo Fumio, who generously agreed to write an introductory essay despite a busy schedule. Mr. Nanjo’s observations on Chinese contemporary art and his expectations for this exhibition deserve to be contemplated by everyone participating in this exhibition. Now we are encountering an era when the territory of Asia is being rearranged, but it is also a great turning-point when our culture is reflecting present trends of thought. Contemporary art has cast off the handicraft tradition’s expressive techniques and putting full effort into reorganizing visual memories and reversing roles. Such things always herald the down of a new era, and we too are amongst those who have yearned for it.
出神入畫 - 華人攝影新視界 X 1
台北當代藝術館是台灣第一座以當代藝術為導向的藝術專門機構，本館館舍原為日據時代的建成小學校， 1945 ~ 1993 年間轉為台北市政府辦公廳舍。市府於 1994 年遷往信義計畫區新廈後，基於古蹟再利用之政策，於 2001 年 5 月將市府舊廳舍轉化為「台北當代藝術館」及建成國中之用，不僅是台灣第一座由古蹟轉型為美術館的成功案例，也是全台唯一與校園共構的藝文展館。
Opened in May 2001, the Museum of Contemporary Art (MOCA Taipei) is the first museum in Taiwan devoted entirely to contemporary art practice. Our mission is to provide access to contemporary art from Taiwan and around the world to an increasingly globally-oriented, technologically-savvy audience.
The building which houses the museum is a designated Municipal Historical Relic. Built in the late 1920s, this Japanese colonial-style red brick structure served as an elementary school for two decades before a fifty-year stint as the site of the Taipei City Hall.
MOCA Taipei exemplifies a coming together of contemporary art, historical architecture, and high technology – resulting from the joint efforts of the Taipei City Government, the local community, artists, and corporate supporters.
As the world moves toward globalization, digitalization and technologically advancement – Contemporary Art provides an arena for artistic exchange and for the expression of cultural identity. From its inception, the museum has always recognized as main task to transcend the boundary that exist between art and the community at-large, constantly looking for new ways where art and the community interact, and striving to bring art beyond the confines of the museum walls and into the everyday lives of the community. MOCA Taipei will continue to move in this direction in the future. By stimulating inter-disciplinary creativity through multifarious and diverse artistic exhibition and performances, we hope to bring art into our community, and ultimately, to catalyze a spirit of innovation in the city of Taipei.
地址｜台北市 103 長安西路 39 號
週二至週日，每日上午 10:00 開館，下午 6:00 閉館，下午 5:30 停止售票