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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
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.
搞破壞：王德瑜個展 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.
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