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搞破壞:王德瑜個展

■ 「台北當代藝術館」商品館 所有商品  特別宣告


在極簡的媒材裡思考人於空間裡的存在形式與狀態!

■ 商品說明

展覽名稱 | 搞破壞:台灣藝術家個展 ─ 漫無目的:王德瑜個展

Exhibition | TAT @ mocataipei : Taiwanese Artists Today─ Adrift:Wang Te-yu Solo Exhibition

展覽時間 Date | 2003/10/07-11/30

展覽地點 Venue | 當代館1F兩側展間,MOCA Taipei

策展人 Curator | 黃舒屏 Iris Huang

參展藝術家 Artists | 王德瑜 Wang Te-yu

 


 

策展論述 Curatorial Statement

王德瑜的作品一向訴求簡單的概念,她一直嘗試著在極簡的媒材裡探索空間的存在感,並進而思考人於空間裡的存在形式與狀態。從一九九0年開始,利用不同材質的布料,張羅一個純粹的空間形式,成為王德瑜創作中的主要母題,在她一系列以作品序號為標題的空間創作裡,呈現了對空間主題的持續性研究,轉換空間與人的主體/客體關係,並讓身體的感官經驗取代視覺經驗,以觀眾與作品的互動體驗值作為一個藝術家提供「進入」作品精神的入門之徑-一個表徵藝術家主觀意識的作品卻包容了參與觀眾的主觀經驗,在互動的機制裡築構了一個共感空間。

在強調影像理論的新媒體藝術發展逐漸建構當代藝術的樣貌之時,以虛擬的互動裝置模擬人的感官經驗,經由視覺進而營造出來的錯覺,成為虛擬世界的幻象,而當代藝術的發展途徑也似乎正朝著這視覺主導隻決的方向前進,人們仰靠視覺來理解眼前所見的事物,藝術從畫布的平面到螢幕的平面,乃至於著重身如其境的視覺場域,藝術家們所表現的空間感,反映了視覺主導感官經驗的狀態。王德瑜一系列以不同質材所創作的空間裝置,反量感、反視覺,以另外一種異於傳統的視覺消失點為出發點,探討真實與虛幻,存在與消失。她企圖拋卻所有既有認知的智瀟統(而這個智識系統又多數是經由視覺的理解方式所架構的,所謂的去視覺化,也就是將視覺感官的認知降到最低),讓人與作品經驗直接回歸於原始感官經驗,這作品是關於你/妳如何感受週遭的空間,誠如王德瑜所說:「走入我的作品中,不要看,不要想,只要走和觸摸。」而進入這空間所感受到的一切,就是作品的全部。藝術家客一開放了作品的詮釋權,並強調作品的參與機制和共構性,許多人可能會提問:這作品究竟表現甚麼?究竟藝術與美的感知,是否端仰賴藝術家那舌粲蓮花的說明解釋?那麼面對作品,觀眾的直覺感官經驗又當放在怎麼樣的定位屆H觀眾們期待的藝術及一個滿意的詮釋又是甚麼呢?當每一個互動的因子成為藝術品中無可取代的說明,而紀錄成為一意義的感官體驗值,作品的樣貌與其內涵意義也就不斷增值,如同每一個觀眾的參與,每一個時間點上的動態,都有機地改變空間的形式,如何為這恆變空間裝置給予一個明確的闡釋?藝術家與觀眾、空間與人都互為作品中的主體,而各種的客觀經驗、主觀感知,隨著動態進行交流,交融在這一大片甚麼也沒明白的空間場域中。

這次於台北當代藝術館所展出的《作品50號》,延續藝術家對於充氣空間的作法,使用半透明的塑膠布,並在空間中充滿氣體,讓原先當代館內的『硬體』空間消失,她利用氣體的流動,連同你/妳的平衡感作奮力的協調,又或者可鑽入空間的內部,潛行在的平面之下,在這個甚麼也不存在的純白場域,頂上那因他人走動而不斷向前塌陷的空間,使你/妳不斷地改變行走的方位,彎腰低走或爬行,不同的方位,不同的動態,影響著內與外的空間,也反映了人與人,人與空間的互動包容力。王德瑜降低作品的表現形式,包括他對媒材的單一性,低調的顏色,極繙布材,單純的表現手法,卻把詮釋的空間,表現的張力,全都開放給參觀的人們,比起高科技媒材的互動機制,王德瑜所展現的感官互動直接而強烈,真實而單純,她所營造的空間,因為光影與布材上的穿透,比虛擬還要虛幻,空無一物的空間感彷彿進入一個原始感知空間,所有熟悉的既有認知被強迫拋下,所能依靠的是原始感官本能的探索能力,以及協調力,在冒險中捕捉一種抽象的存在感。而在此作品之中,藝術家讓觀眾重新喚回對於原始感官本能的記憶,她要觀眾直接相信自己的感官本能與原始的感知,並以此去理解周圍空間,理解作品。

作為一個單純呈現空間的作品,《作品50號》沒有太多複雜的概念去牽絆觀眾直接接觸作品,藝術家說:我作了一件作品,它就是你所看見、摸到的那個樣子,就這樣了。就如她這番率性而簡單的宣告,這作品是進入之後所看到,摸到的一切。

進入虛擬之後的藝術場景,不管是不是回歸到原始的單純,來抗衡影像語言的深沉不可測,又或者這反視覺主導的表現風格,是否還可以將藝術的極致帶往何處,都無關乎我們以直關經驗感受當代藝術的單純動機,王德瑜的作品強調進入與介入(intervention),以及作品與每個人獨一無二的密切互動關係,而愈是架構完整的詮釋理論,愈是阻隔了感官經驗與作品的直接對流,少了直觀的體驗,藝術也就不吸引人了。

Wang Te-yu’s works have always sought simple ideas. She has always tried to explore the feeling of spatial presence with an extreme economy of media, and go on to meditate on the existential form and situation of people in these spaces. In 1990 she began spreading out a pure spatial from with fabrics of different material , and this has become a primary motif in the in the artist’s work. In a series of spatial creations whose titles begin with a number, she has pursued continuous research into the spatial theme, transforming the subjective/objective relationship between spaces and people, and letting the body’s sensory experience replace visual experience. In this way the interactive experience between viewers and work functions directly as a pathway that the artist provides for “entry”into the spirit of the work- a work that symbolizes the artist’s subjective consciousness. The work also unexpectedly encompasses the participating viewer’s subjective experience and constructs a commonly-sensed space through the mechanism of interaction.

While the face of contemporary art has gradually evolved through the development of new media art, with its emphasis on theories of the image, the use of virtually interactive installations simulate human sensory experience, and the visual illusions thus created become the fantasies of a virtual world. The pathway of development in contemporary art also seems to be heading in this direction, where the visual directs cognition. People rely on vision to understand the things before their eyes, and art- from the flat surface of the canvas to the flat surface of the screen-still seeks to depict visual realms that “seem as if you are there.”The spatial sense expressed by artists reflects the condition in which vision leads sensory experience. The spatial installations of Wang Te-yu’s series, which are created by different kinds of fabric, go against one’s sense of volume and vision. They use as their starting point a kind of vanishing point unlike the kinds in traditional visual perception in order to explore reality and illusion, existence and disappearance. She aims to get rid of all existing known cognitive systems ( and most of these cognitive systems are constructed from visual means of understanding; the so-called abandonment of visualization is the minimization of knowledge sensed through vision) to let people’s experience with works revert directly to primal sensory experience.

These works are concerned with how you sense the space around you. Indeed, as Wang Te-yu has said, “When you enter my works , don’t look, don’t think, just walk and feel. “And everything that one senses upon entering these spaces is the totality of the work. The artist has deliberately let go of the power to interpret her might wonder what these works really express. After all, does one’s artistic and esthetic sense depend on artists’ glib explanations? And the art and the satisfying interpretation that viewers expect-what are they? When every interactive factor becomes an irreplaceable explanation within the work, and when recording becomes a meaningful value in sensory experience, the woks’ outer appearance and their content also constantly increase in value. If each viewer’s participation, and the dynamic state of each moment, organically changes the spaces’ forms, then how can these constantly changing spaces be given a definite interpretation? The artist and the viewers, the spaces and the people, all become subjects within the work, and as each objective experience and subjective sensation in this dynamic state flow across one another, they blend into a spatial region where nothing is understood or explained.

The Taipei Museum of Contemporary Art’s display of No. 50 extends the artist’s method of working with inflatable spaces. She fills translucent plastic materials with air, which causes the original “solid” space of museum’s interior to vanish. She uses air flow and the free movement of viewers to create the work’s randomly interactive state. People can walk freely on the uneven, buoyant floor. Even your sense of balance is challenged by the flowing spaces and air, and perhaps you can worm into the space’s interior and go under the floor, in this pure white area. Where nothing exists, the space over your head, which is constantly collapsing toward you as a result of other people’s movement, causes you to change where you walk, to bend, or to crawl.

Different positions and different movements affect the spaces inside and outside, reflecting the interactive, accommodating power between one person and another, and between people and space. Wand Te –yu’s reduction of the work’s expressive forms includes her use of a single material, understated color, a bare minimum of material , and simple techniques. In this way the full force of expression is released and given to those who participate. Compared with interactive devices of high-tech media, wand Te-yu’s work allows for direct, powerful, real, plain sensory interaction, because of light’s penetration through the material, the space she has created is more hallucinatory than virtual reality.

The empty space makes you feel as if you have entered a realm of sensation. Since you are forced to abandon all familiar, existing knowledge, you can only depend on exploring your original sensory capability and ability to adjust, capturing an abstract feeling of existing within an adventure, the artist causes viewers inside this work to recall memories of their original sensory capability. She wants viewers to believe directly in their own sensory capability, and to use it to understand the space around them, to understand the work.

As a work that purely represents space, No. 50 does not have too many complicated ideas to constrain viewers’ direct contact with it. The artist has said: “I did a work, and it’s exactly the way you see it and touch it, that’s all.” in this straightforward, simple way, this work is everything that you see and other after entering.

When entering the world of post-virtual art, whether we return to primitive simplicity as a counterbalance to the profound unfathomable language of images, or whether an expressive style which goes against eh primacy of vision will take the best of art anywhere, neither concerns our direct experience of sensing the pure motivation of contemporary art. Wang Te-yu’s work emphasizes entry and intervention. The work stimulates a unique, intimate, interactive relationship with each person, the more we attempt to construct a complete explanation or theory for it, the more we block the direct cross-flow between sensory experience and the work and lose the directly perceived experience, the work in that case is no longer engaging.


王德瑜

王德瑜

王德瑜

王德瑜

王德瑜


■ 商品規格

  • 出版單位:財團法人當代藝術基金會
  • 作者姓名:里昂.巴洛希德(總編輯)
  • 出版日期:2003/10
  • 內容語言:中文、英文
  • ISBN:9572895745
  • 出版規格:平裝 / 26.20 x 19.20cm,247 g / 普級 / 全彩 / 最後頁碼:55
    (最後頁碼數字並非本書實際頁數;實際頁數通常更多)

■ 商品配備

搞破壞:王德瑜個展 X 1

 


■ 關於「台北當代藝術館」

簡介

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。

自開館以來,在這個組合了古蹟建築與當代藝術、兼容了歷史記憶與當代文化的場域之中,展演著國內外最創新前衛的視覺造型、媒體科技、建築設計、時尚流行……等多元的藝術展演,刺激國內跨界域的創作火花,把創意帶進台北、把美感帶進社區、用日新月異的藝術展演創造歷史建築的新生命。


Introduction

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.


參觀資訊

地址|台北市 103 長安西路 39 號
電話|+886-2-2552-3721
傳真|+886-2-2559-3874
網址|http://www.mocataipei.org.tw


開館時間

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
每週一休館,國定假日照常開館


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