展期：2013年9月21日至10月13日

開幕時間：2013年9月21日(六) 6:00 pm

幻燈秀：2013年10月13日(日) 3:00~4:30 pm

與談人：鄭文琦(數位荒原總編)

座談會：2013年10月13日(日)5:30~7:00 pm

與談人：徐秋宜(原生創藝事業有限公司藝術總監、亞洲大學時尚設計學系助理教授)、鄭文琦(數位荒原總編)

地點：新樂園藝術空間 Shin Leh Yuan Art Space

聯絡方式：電話/ 02-25611548 傳真/ 02-25683667 E-Mail/ info@slyartspace.com

三個展： 許鳳玉「日常事物__旅行」、 黃莉婷「Archi-textiles 肢 | 織 」和郭慧禪「遊戲迷宮 II」，將在2013年9月21日起，於新樂園藝術空間舉行，三位女性藝術家以她們熟悉素材如織物和日常生活材料、多媒體錄像等，作品語彙如一種從主體連結到環境、內在到外部世界的的閱讀，她們分別以不同主題與素材，探討她們自身與如日常生活、空間與身體和虛擬世界等關係。                                                                             

藝術家許鳳玉從服裝設計的養成訓練裡，在「日常事物__旅行」展出中，融合服裝的設計概念和素材，與生活裡最稀鬆平常、隨手可得之物，如服裝物件、象徵開合與內外的拉鍊或者廢料作為創作材料，這場超越這層對「物」的功能性框架的創作裡，她試圖從日常之物轉開一種綺想（fantasy），如果日常生活是平淡的、規律或者勞動的消耗，那麼這份綺想，正是讓我們發現某些潛藏其中、經常被忽視之物，如旅人之所以戒不掉對旅行的需求，正是因為旅途過程裡隨機蹦出的新奇感，錯亂人們在日常生活裡因循的規則、既定架構的規範。

鳳玉使用服裝設計的概念與日常生活素材的結合，正如藝術家黃莉婷連結起織物（textile）和人的環境般，都透過某種關係性的想像。莉婷過去有建築和空間設計的專業訓練，她將織物視為環境與人之間的一種介質，織物從作為衣著材料 - 皮膚的延伸，從蔽體之物到傳遞符號與功能性的社會訊息，它可以被可被標示、被分析、被解釋，也同時在精神的建構上，重現關於空間及其生活意義的形態；「Archi-textiles 肢 | 織」展出作品裡，莉婷試圖用色彩的流動性，創造某一個無限延展的空間，鮮明的色彩在虛構的空間裡舞動，律動感是身體擴張的方式，當它構成現實生活的尺度和幅度時，所欲尋求的，是在抽象與似具象之間，如「建築織物（Archi-textiles）」般，在虛擬與實在的遊戲裡，試圖跨越一種不可確定性。

如果說，莉婷的作品是身體感知空間、創造空間尺幅的可能性，那麼藝術家郭慧禪則試圖從另一種抽象的空間尺度 - 虛擬的網絡世界，來探討個體內在的存有意義。在「遊戲迷宮 II」展覽裡，慧禪以錄像為媒材，從近年的生活經驗和兒童玩具的造型結構中，發展象徵內在世界的迷宮，在有機式的遊走中，反映環境與人的關係，思考個體的存在價值與方向；這來自人們身處一個訊息流竄的社會，新媒體的啟用改變人類獲取知識、與他人交流的方式，重新分配人類感知與對外部世界的認知，這場生活方式的革命，如慧禪在創作中思考著，關於新媒體工具的使用和人類感性基礎並存的矛盾：「當電腦成為創作工具時，創作者除了傳統藝術美學和直覺外，操作電腦時所需具備的理性邏輯思維、整合能力，是否會影響或提供創作者其他有別於圖像思維的創作方向？」

的確，網絡時代給人們一擊重拳，人們將越發現他們身處一個更扁平、更解構、更斷裂的社會時，不禁重新細索來自日常生活的各種信息，它們被何承載？被擴張？麥克．魯漢（Marshall McLuhan）一層層剝開作為「人的延伸」的媒介內幕時，他曾提到，「藝術家是唯一覺察到當前本質之人。」當人與人的交往不再需要透過直覺性的感觸，而是經由去感官化的交流經驗時，虛擬時空裡自身形象的設計，如人們身穿的衣著，由圖像和文字建構一系列等待被社會認可的符碼，人際交流建立在虛構的身體上，人們逐漸身處的是去邊界化的空間；世界重新被感知、也被重新定義，藝術家以特殊的身體轉化物質材料、創造某些質感，在三個展裡，或許如一種流動感的閱讀，在關於人們感知的生活與其意義、身體與其抽象或似具象和實在到虛擬的空間關係，似乎讀到了藝術家們不是在覺察世界，就是在創造新的感知。

財團法人國家文化藝術基金會 行政贊助

台北市文化局 維護贊助

特別感謝
財團法人數位藝術基金會 贊助 

Date: 2013/9/21-10/13

Opening Reception: 2013/9/21 (Sat.)6:00 PM

Slide Show: 2013/10/13(Sun.) 3:00~4:30 pm

Panelist: Wen-Chi Cheng (Editor-in-chief, No Man's Land)

Panel Discussion: 2013/10/13(Sun.) 5:30~7:00 pm

Panelist: Chiu-I Hsu(Naif Creative Enterprise Co., Ltd., ASIA UNIVERSITY Departiment of Fashion Design Assistant Professor), Wen-Chi Cheng (Editor-in-chief, No Man's Land)

Venue: Shin Leh Yuan Art Space
 

Three exhibitions –Daily Things—Feng-Yu Hsu Solo Exhibition, Archi-textiles -- Li-Ting Huang Solo Exhibition, and Puzzle Games II—Hui-Chan Kuo Solo Exhibition – will be held starting on September 21, 2013 in the Shin Leh Yuan Art Space. The three female artists use familiar materials such as textiles, everyday materials, and multimedia videos, and the vocabularies of their works seem to be exploring from the subject to the outer environment, and from the interior to the exterior. Although they use different topics and source material, they all explore the relationship between their selves and everyday life, space, the body, and virtual worlds.

 Artist Feng-Yu Hsu relies on her formation training as a clothing designer to incorporate clothing design concepts and materials, and uses the most trivial and commonplace objects, such as clothing items, zippers symbolizing opening/closing and inner/outer, and waste as her creative materials. She relies on transcendence of objects' functional frames to create fantasies from everyday objects. If everyday life is plain, repetitive, or laborious, these fantasies can enable us to discover certain things that are hidden in life and usually neglected. It's like a traveler who cannot give up travel because the novel experiences randomly encountered on a journey shake up her everyday rules and pre-established frameworks.

Hsu's juxtaposition of her clothing design concepts and materials from everyday life is similar to artist Li-Ting Huang's pairing of textiles with the human environment, which also evokes certain visions concerning relationships. Huang has passed professional training in architecture and spatial design, and regards textiles as mediating between people and their environment. Textiles have gone from using clothing as an extension of the skin and a covering for the body to transmitting signals and social messages. Textiles can be marked, analyzed, explained, and can represent space and its meaning in life at the level of psychological constructs. In the works displayed in "Archi-Textiles," Huang attempts to use the fluidity of colors to create a boundlessly expansive space. Her vibrant colors dance in an imaginary space, and sense of rhythm is the body's means of expansion. When it reaches the real size and extent, what is sought lies in between the abstract and the seemingly concrete. Like "Archi-Textiles," these works attempt to traverse uncertainty in a game of virtual and real.

If we say that Huang's work is the body's sensory space, and creates possibilities in a confined space, then Hui-Chan Kuo attempts to investigate an individual's inner existential meaning on another set of abstract spatial dimensions—the virtual online world. In the exhibition "Puzzle Games II," Kuo uses video as a medium, and develops a maze symbolizing her inner world based on her recent life experiences and the structures of children's toys. Organic roaming in the maze reflects the relationship between the environment and humans, and ponders individuals' existential value and directions. Information is everywhere in today's society, and the emergence of new media has changed how people obtain knowledge and interact with others, causing people to re-allocate their awareness and perception of the external world. In Kuo's artistic thinking, there is a contradiction caused by the coexistence of new media tool use and human perceptual foundations in the wake of this lifestyle revolution: "When computers become creative tools, the artist needs rational, logical thinking and integration ability in addition to conventional artistic aesthetics and intuition. Will this give the artist other artistic directions apart from visual thinking?"

The Internet age has indeed dealt people a heavy blow, and the more people realize that they live in an even more flattened, deconstructed, fractured society, the more they cannot help rethinking all the messages they obtain from everyday life: What carries them? How are they spread? After peeling away the inner layers of the media, which serves as the "extension of man," Marshall McLuhan suggested: "Artists are the only persons who perceive the current real essence." When the interaction between individuals no longer depends on intuitive feelings, but proceeds by way of desensualized exchanged experiences, the design of one's image in virtual space, such as the clothing a person wears, consists of series of symbols constructed from pictures and text and awaiting society's approval. When human interaction is grounded in fictional bodies, people have gradually come to exist in a deterritorialized space. The world is reperceived and redefined. Artists use a special body to transform material substances, creating certain textures. In these three exhibitions, perhaps like a fluid reading, people's perceived lives and their meaning, and the body and its abstract or apparently concrete relationship with virtual space, reveal that the artists' are not perceiving the world, but rather creating new perceptions.

Sponsored by

National Culture and Arts Foundation

Department of Cultural Affairs Taipei City Government

Special Thanks

Digital Art Foundation