仲夏 狂歡 - 葉錦添個展 Summer Holiday - A Solo Exhibition by TIM YIP
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仲夏 狂歡 - 葉錦添個展 Summer Holiday - A Solo Exhibition by TIM YIP

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奧斯卡「最佳藝術指導」大師葉錦添臺北個展忠實全紀錄!

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展覽名稱 | 仲夏 狂歡 - 葉錦添個展

Exhibition | Summer Holiday - A Solo Exhibition by TIM YIP

展覽時間 Date | 2010/06/11-08/08

展覽地點 Venue | 台北當代藝術館 MOCA TAIPEI

策展人 Curator | 王玉齡

參展藝術家 Artists | 葉錦添 TIM YIP

 


 

展覽介紹 About the Exhibition

以電影《臥虎藏龍》榮獲 2001 年奧斯卡「最佳藝術指導」而揚名世界的葉錦添,不僅在電影界表現超凡,於舞台劇、電視劇、服裝設計、空間設計、攝影、繪畫、文學等各方面的創作,也有相當的涉獵和個人的特色,葉錦添多元廣泛的興趣和做什麼都「樂此不疲」的一種專注精神,以繼時性的累積和共時性的連結,產生了總體的傲人成果。前《中國時報》副刊主編高信疆曾經指出:「葉錦添是一個難以歸類的名字」,稱許的也就是長期以來,葉錦添在不同的創作媒材、藝術類型、專業領域和文化時空中自由穿梭、跨界揮灑而縱橫無礙的一種個人成就。

葉錦添為台北當代藝術館量身打造的《仲夏狂歡》個展,除了植根於多年來他對台灣這塊土地的親身體驗和深刻觀察,也全面反映了他對於個人創作美學的堅持與反思。本展所有「作品」的呈現,貫串融合了當代館的歷史建築空間;所有的故事,都圍繞著一個虛構的女主角「莉莉」而發生和推演。展覽的軸線從小我拉到大我,藉由象徵自我特殊化的莉莉出發,去觀看這整個社會。就某方面來說,這個虛構的女主角,也可能就是你、我、或他,乃至於生活在這城市中的每一個人,也因此,每一個進到展場的觀眾,都將是葉錦添這場夏日嘉年華的意中人和真正主芋I

此次的《仲夏狂歡》個展,葉錦添視之為體現自我心念、鋪陳眾人夢想的一種社會文化工程,為此,他刻意以劇場的概念來規劃和設計整個展場,劇場的空間和氛圍是他所擅長營造的,也是觀眾最好奇而難得有機會親自體驗的。從黑暗寧靜到光亮喧鬧的空間氛圍,從開放的生活場域到私密的心理空間,葉錦添混用了多樣的敘述元素和表現材料,併用了包括靜態照片、動態影像、服裝、雕塑、裝置藝術等,整個展覽的動線邏輯是,以我們所不知道的另一個葉錦添為觀想的出發點,進而轉換到一個有待我們去認識與探索的新莉莉。

本次個展,葉錦添特意在作品中加入在地的元素和意象,他精挑細選臺北市的某個時間和某個場所,作為莉莉諸般影像和多部短片的拍攝場景,期望觀眾能透過葉錦添書寫的《仲夏狂歡》文本,一面感受女主角莉莉的台北故事,同時編想著自己的城市夢象。

Tim Yip’s rise to worldwide fame began after obtaining the Academy Award for Best Art Direction for the movie Crouching Tiger, Hidden Dragon in 2001. His multidisciplinary works maintain consistent aesthetics while exploring fields such as film, theater, television, costume design, space design, photography, painting, and literature. Hsin-chiang Kao, former editor-in-chief of the China Times literary supplement section, once referred Tim Yip as “a name difficult to be labeled.” The artist’s cross-media, cross-domain, and cross-cultural experiences have made him one of the most prominent Chinese art designers.

Summer Holiday is a solo exhibition by Tim Yip designed exclusively for the Museum of Contemporary Art, Taipei. In this exhibition, the artist not only incorporates his observations of Taiwan over the years, but also reflects his ideology and faith in the aesthetics of individual creativity. The works are integrated together with the historic building that is the museum, telling stories of a fictional girl named Lili, a symbol of the individual self who serves as a medium to examine the “I” as an individual versus the “I” as part of society. In truth, this fictional character represents you, me, and everyone living in this city; each visitor becomes the protagonist of Tim Yip’s summer festival.

Tim Yip sees this solo exhibition as an opportunity to realize a socio-cultural project that represents his ideals and those of the people. With this objective in mind, he planned and designed the exhibition space from a theatric perspective. Tim Yip’s expertise in theatrical elements – such as space and atmosphere – allows the audience to have the rare opportunity to experience them firsthand. From outdoor to indoor and from public to private spaces, Tim Yip merges a wide variety of artistic elements including static photography, video, costume, sculpture, and installation. Each work shown in this exhibition follows a certain logic, showing the audience a Tim Yip they have never seen before and concluding with a Lili waiting to be introduced to the audience.

In this exhibition, Tim Yip integrates local elements and images within his works. He captures Taipei at different hours of the day, serving as the background of Lili’s photographs and videos. It is the artist’s intention that through his design of Summer Holiday, the audience can participate in Lili’s story and at the same time draft their very own stories in the city.

 


 

參展藝術家 About the Artist

葉錦添,1967年出生於香港,是位遊走於服裝、視覺藝術、電影美術、和當代藝術的全方位創作者。他在完成香港理工學院的攝影專業訓練後,先後從事舞臺佈景繪製、香港《電影雙週刊》雜誌專欄攝影師等工作;1986年因得到名導演徐克的賞識,而出任電影《英雄本色》的美術設計,從此開始了他與電影的不解之緣。

1987年,葉錦添在香港的電影工業界已經嶄露頭角,但他毅然放下在香港的事業,以一種孤獨甚至艱辛的方式,遊歷整個歐洲,完成了一趟心靈充電的旅程。回到香港後,因為個人對藝術的理念和堅持,一度沈寂了七年之久,直到1992年參與電影《誘僧》拍攝,結識了該片男主角吳興國,並以本片拿下金馬獎最佳美術設計之後,葉錦添再度全面性地進軍電影、舞台劇、和電視劇,並得到了各方的肯定與認同。

大多數人認識「葉錦添」這個名字,是因為他擔任電影《臥虎藏龍》的藝術指導,獲得了2001年奧斯卡金像獎的肯定,也是電影史上首位獲此殊榮的華人藝術家。

奧斯卡的光芒,為葉錦添帶來了更多的工作和展覽機會,2002年起,葉錦添陸續於臺北、荷蘭、法國、美國、西班牙、北京、香港、上海等地舉行個展,展出內容多以其服裝設計創作為主,他也藉由這些展覽,成功地將「新東方美學」概念推介到全世界;但在這榮光背後,他始終沒有忘記本身對於自由創作的高度期許。為了落實這個信念,他在北京先後作了二次個展

── 2007年的《寂靜.幻象》與2009年的《無憂》──正式宣示了他從應用美術邁向當代藝術創作的決心和行動。 2010年於台北當代藝術館舉辦的《仲夏狂歡》,也將是葉錦添有史以來最大型、最完整、且最純粹的個人創作展。

 

不論從事的是戲劇、電影、服裝、或是純藝術創作,葉錦添一貫重視的是,對於「新東方美學」的想像與建構,以及從整體到細節上對藝術品質的堅持態度。和他有過 完美合作關係的名演員吳興國即說過:「葉錦添從一個喝咖啡也得從口袋湊出零錢的窮藝術家,到備受推崇禮遇的奧斯卡最佳藝術指導,這過程是極其掙扎和辛酸 的。最可貴的是,他從沒有放棄自我充實和堅持完美的努力。不管在哪種媒體,高等的、主流的、實驗的、大小類型的舞臺上,他總是刻苦勤奮,拖著一車的書,嚴 肅地闡述,辯論自己的觀念。」──這就是盛名與光環背後,一個更真實的葉錦添,一個有待我們從這次的展覽去重新認識、好好理解的葉錦添!

Tim Yip, born in Hong Kong in 1967, is a multidisciplinary artist who works mainly in the fields of film, costume design, visual art, and contemporary art. He received professional training in photography at Hong Kong Polytechnic University. In his early career years, he worked in scene painting and as a photographer for the Hong Kong magazine City Entertainment. In 1986, renowned film director Tsui Hark offered him a job as art director for the movie A Better Tomorrow. Since then, Tim Yip and film have been inseparable.

In 1987, Tim Yip was gaining more and more recognition in the Hong Kong film industry. Despite that, he put a hold on his career and traveled alone across Europe in search of inspiration and spirituality. After returning to Hong Kong, his artistic ideology and persistence silenced him for approximately seven years(??I’m not sure what he stopped doing for seven years. “Silenced” is the wrong word. Maybe “kept him from pursuing gallery and museum exhibitions for approximately seven years”? This last sentence can be dropped without hurting the article.). In 1992, he participated in the shooting of the film Temptation of a Monk and became acquainted with the lead actor Hsing-kuo Wu. Tim Yip won the Best Art Direction Award at the Golden Horse Awards for the film. Afterwards, he returned fully committed to the world of film, theater, and television, welcomed with support and recognition.

Tim Yip is best known for his work on Crouching Tiger, Hidden Dragon, which won an Academy Award for Best Art Direction in 2001. He became the first Chinese artist to obtain such an award.

The glory of the Academy Awards brought Tim Yip even more job and exhibition offers. Since 2002, he has held solo exhibitions in Taipei, Holland, France, the United States, Spain, Beijing, Hong Kong, and Shanghai. The content of the exhibitions focuses mainly on costume design; he successfully uses them to promote the concept of “Neo-Orientalism” aesthetics worldwide. Behind the glory, the high expectations Tim Yip has for personal creativity never diminished. To fulfill his artistic aspirations, he conducted two solo exhibitions in Beijing: Illusion of Silence in 2007 and Carefree in 2009. These exhibitions served as Tim Yip’s announcement of his determination to migrate from applied art to contemporary art. In 2010, the Summer Holiday exhibition at the Museum of Contemporary Art, Taipei is his largest, most complete, and purest exhibition yet.

No matter whether it is theater, film, costume design, or pure art creation, Tim Yip insists that his works follow the ideology and architecture of “Neo-Orientalism” to the smallest of details. Hsing-kuo Wu once said: “Tim Yip came all the way from a poor artist who barely had money for coffee to a well-respected Academy Award winner for Best Art Direction. His journey has been hard and bitter. The amazing thing is that he never abandoned self-fulfillment or the pursuit of perfection. In every media – mainstream, experimental, large or small – he always worked diligently, and continuously read books to challenge and elaborate his personal philosophy.” This description of Tim Yip gives an insight into the artist behind the reputation and glory. Let this exhibition be an occasion for the audience to obtain a new and better understanding of Tim Yip.

 


 

策展論述 Curatorial Statement

不生不滅的生命記憶載體 文/王玉齡

多年來,遊走於跨領域的藝術創作,葉錦添是位創作力豐沛而旺盛,生產力源源不絕的全方位藝術家,不論是電影的場景、服裝造型、劇場的舞台設計和服裝隨時都有令人讚嘆之作,他不僅是華人第一位獲得美國奧斯卡金像獎殊榮的創作者,同時也是「新東方主義」的美學風格創立者。

葉錦添美術設計才華洋溢,很早就成名於電影界和劇場界,此外,他也出書,多本有關美學與創作的隨筆,獲得廣大讀者的迴響,有一回葉錦添在桃園國際機場準備搭機離台時,一位女海關人員在檢查完他的香港護照時,對他說:「葉先生,我剛讀完您的『神思陌路』這本書,寫得真好!」 2003 年開始發表攝影作品和視覺藝術創作展覽,讓人看到他的藝術創作天分,更加肯定他的美術設計成就,其實是來自於他對藝術性的堅持和表現,才能成為個中翹楚。

近年來,遊居於香港、台北和北京,兩岸三地的華人城市發展和文化變遷,更成為觀察力敏銳的葉錦添的藝術創作泉源。從香港理工大學高級攝影專科畢業之後,即養成隨時隨地攝影紀錄影像的創作習慣,長年下來,累積了數萬張的攝影作品,也造就他獨特的影像風格和視覺美學。葉錦添所捕捉的是一般人無法預期的角度和觀點,畫面充滿無聲繾綣的感傷和慾望、或是將一種難言與曖昧的情懷,交織在飽滿抒情的艷色間。葉錦添的影像反映了法國當代著名的哲學家和符號學家羅蘭.巴特(Roland Barthes)在《明室.攝影札記》(La Chambre Claire)中,引用另外一位法國大思想家莫里斯.布朗修(Maurice Blanchot)對影像的觀點:「影像的本質完全在於外表,沒有隱私,然而又比心底的思想更不可迄及,更神秘;沒有意義,卻又召喚各種可能的深入意義;不顯露卻又表露,同時在且不在,猶如美人魚的誘惑魅力」。

換言之,葉錦添的影像應證了巴特的看法,攝影從來不是為捕捉光影和畫面而來,它比任何描繪工具更能展現內心與情感的真實性。巴特認為攝影的外在真實並不重要,而是影像提供了:「此曾在」的意義,使它蘊含了「追想」和「記憶」的甜美魔力。在葉錦添獨特的影像美學觀中,我們感受到這種巴特所推崇的影像魅力,是來自一種「隨意」與「深刻」的交融,也就是看似隨意的取景,卻充滿深刻的情感記憶描繪。所有的影像沒有明顯的時空感,有時輕淺地難以有明確的形象;然而這些沒有形象的意象,卻又如同夢境般喚醒不同觀者內心中深藏的雜陳記憶〝颽O,儘管是純粹的偶遇,葉錦添也能隨時取鏡,在充滿未知的可能性中瞬間鎖定,脫去既有的成見,將生活裡的人、事、物與景之間的所有細節重新定義,讓內心想像的追尋永不靜止下來,如同德國哲學家馬丁‧海德格(Martin Heidegger)所說:「人的每一刻的思維、意念,不外乎是對過去(曾經)的記憶叩問,賦予新的意義,並將這意義帶向未來」。

葉錦添藝術創作的發展是漸進式的,從平面攝影繪畫開始,進入立體雕塑,進而空間裝置。如果說葉錦添的平面影像或錄像作品表達出一種似不經意又深沉的模糊回憶氛圍,那麼他的雕塑和裝置作品則是更多塵封記憶和內化情感的延伸,令人無限尋味,並讓觀眾產生心理的共鳴。若以形式來說,葉錦添的雕塑作品已經打破了傳統的雕塑形式,除了單件式的雕塑作品之外,亦可以一種多重組合的裝置性的雕塑、或是一種雕塑性的裝置作品來呈現,將分屬於不同時間和空間的視覺影像和情感經驗重疊和壓縮在同一個場景中,創造更豐富的作品意涵。葉錦添選取不曳掍顗瑰J塑,將它們放置在特意營造的錯亂時空中,形成一種情境的塑造和回溯,以戲劇式的場景畫面,將我們過去生活中曾經有過的情感和經驗的記憶,從近乎遺忘中重新翻找出來,那種剎那間產生了一種恒定美感,是令人動容的。例如看到「原欲」這件單純的雕塑作品時,年輕的女體和她慢慢滴落的眼淚,使我們重拾生命中青春的種種美麗--青澀卻充滿想望的軀體,敏感而容易觸動的心靈。而然,在這次的展覽中,葉錦添將「原欲」置入一個充滿頹廢迷惑的廢墟中,對照於兩邊有鮮豔怪異衣服的人形卻沒有人,彷彿年輕的「原欲」經歷了幾世的滄桑,雖然用力掙脫世俗的一切,同時也充滿了失落情懷與惆悵,因此,那一滴滴的清淚深刻悼念著生命中無限的傷感和逝去的記憶。

葉錦添對藝術表現形式有著非常大的企圖心。他創造了這種由單件作品進而組件式場景裝置,可以是攝影和雕塑、錄像與雕塑或是雕塑與雕塑的對照融合,每一件平面影像、或雕塑物件都是生命中交雜的記憶載體,葉錦添因地因主題隨時組合出不同意涵與解讀的新作品。此次台北當代館「仲夏狂歡」展中,葉錦添更透過不同形式組合的「莉莉」,來呈現很多台北不同角落的影像。莉莉是每一個人的投射,也就是集體記憶的反映,因此當她進入到一個空間中、城市中,她就記錄了不斷交疊的記憶,葉錦添藉由莉莉的一舉一動,牽引著觀眾為她著迷,然而,對她播k不清的生活,又何嘗不是觀者自身的寫照。

莉莉沒有脈搏,卻讓每個人感受到她游絲生命力,她可以有遊走於不同層次的時間與空間中,成為存在於過去與未來的不生不滅的生命記憶載體,帶領每個人去觀照和重組自己生命中許多的殘片記憶,特別是在仲夏時刻和狂歡之後的肢體的濕汗與虛脫所帶來的孤寂感,是葉錦添的莉莉最終要帶領我們從台北的表象中,走入每個人最深沉的內心世界裡。


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■ 商品規格

  • 出版單位:財團法人當代藝術基金會 / 台北當代藝術館
  • 作者姓名:石瑞仁(總編輯)
  • 出版日期:2010/07
  • 內容語言:中文、英文
  • ISBN:9789868529489
  • 出版規格:平裝 / 28.10 X 23.10 cm, 1092 g / 普級 / 全彩 / 最後頁碼:231
         (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

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■ 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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