光塵摺角—賴志盛、李傑、徐瑞謙、黃萱四人展

主辦人/單位: 絕對空間
活動類別: 展覽

首次展演日期: 2023-06-17    結束展演日期: 2023-07-30
詳細時間說明:
2023.06.17（六）-2023.07.30（日）

活動地點: 絕對空間 Absolute Space
活動地址: 台南市中西區民生路一段205巷11號

【展覽論述】／許遠達

絕對十年，就是一個光塵裡的摺角，用隱微的方式為流動著的生活作註，提醒著喜愛藝術的絕對態度，也提醒著過生活的絕對態度。因此，十周年展邀請創作樣貌很絕對，作品很日常的藝術家，像是日閒散步途中跳起的小石頭，不影響步伐，卻有個摺角。
李傑隨意撿拾著日常時光的破片當現成物，在生活的現實空間裡彷彿不經意地投影，貼著膠帶的牆提醒這些僅僅是生活的摺角，還有那麼多的那些是真的。賴志盛的作品有著絕對的物性減法，一減再減，減到碰觸感覺、碰觸生活、碰觸生命。看似空無一物，原來只是生活翻了個身。徐瑞謙原本跟材質拼了命，把敲鐵當成木魚，用著力想頓悟。卻發現原來四方俱寂的絕對，才看得見生活的摺角，順勢地也就乾乾淨淨清清爽爽地，看著生活裡偶而捲起的毛球。黃萱把自己的身體畫上重點，再放回生活，有著想全部看見的重。作品偶而在穩定的生活旋律裡輕鬆的換拍，微小的突起，卻忍不住一再地盯著看。
時間不動聲色的流動著，揚塵在日光下緩慢的移動，等到藝術家來折了個角，日常的詩就這樣寫下。

【關於策展人許遠達】
1973年生於台灣宜蘭，於 1996 年畢業於國⽴中興⼤學公共⾏政系，2004年畢業於國⽴台南藝術學院藝術史與藝術評論研究所評論組，2015年以論⽂《記憶與認同---郎靜山與陳順築攝影作品中的鄉愁比較與分析》獲美國德州州⽴理⼯⼤學藝術跨領域博班美術博⼠學位。目前生活工作於台灣台南，現為國立臺南藝術大學藝術史學系助理教授兼臺灣藝術史暨檔案研究中心。
研究領域著重於台灣當代藝術評論、台灣美術史、台灣雕塑、攝影評論研究及台南地方美術史研究，曾策劃「闢境─烏山頭藝術部落田調」（2004）、「甜吻吻—蕭壠國際當代藝術節」（2016）、「起駕回鑾─主體現形」（2016）、「自成徑-台灣境派藝術」系列一至三（2018-2019）、「TAKAO．台客．南方 HUE：李俊賢」（2021）與「所在：境與物的前衛藝術1980-2021」（2021）等關於台灣自然、文化、歷史與生活等展覽。

【關於藝術家賴志盛】
1971年出生於臺灣台北，目前生活與工作於台灣台北。
賴志盛在空間或風景中進行細膩的干預性藝術實踐——繃緊的線索，收集水珠的小孔，或是破牆而出的樹木等。其創作以裝置及雕塑等多種媒介探索了張力、日常生活及個人經驗。賴志盛關注細節， 常在特定空間的不同元素之間創造新關係，直接與觀眾的身體及存在感知相溝通，作品帶有一種輕鬆、富有玩樂意味的極少主義傾向。其作品因此特定創作語境而帶有一系列顯著的特點：富有環境或空間親近性，帶有強烈拓展性，也帶有一種與觀眾好奇心直接對話的抒情細膩感。

【關於藝術家李傑】
1978 年生於香港，現居住和工作於台灣。
近期個展包括台灣台北鳳甲美術館(2023)、台北關渡美術館（2022）、荷蘭海牙West Den Haag藝術中心(2021)、韓國首爾 Art Sonje 中心（2019）、日本東京原美術館（2018）、義大利聖喬瓦尼瓦當諾 Casa Masaccio （2018）、中國深圳 OCAT （2018）、台灣台北立方空間（2017），比利時根特 S.M.A.K. 當代美術館（2016）、美國明尼阿波利斯沃克藝術中心（2016）、日本東京資生堂藝廊（2015）、第 55 屆威尼斯藝術雙年展（2013），上海民生美術館（2012）），加拿大溫哥華西前線藝術空間（2011），香港Para/Site藝術空間（2007）等。

【關於藝術家徐瑞謙】
1994年出生苗栗，創作於臺灣，臺北。身體帶領著我們感受了這個世界，創作回應對於觸碰與動作後對物質產生影響的好奇，物質本身的精神性，來回的構作，是直接、親密，似乎在喚醒未明的意識，或許模糊矛盾，從中探索著。

【關於藝術家黃萱】
1995年生於台北，創作內容多為行為及錄像。以自身身體為材料，用簡單而持久的動作作為環境中測試的衡準，探勘日常裡許多隱微限制和生活作息的運作。也關注生活中物件與其功能，去發覺它們與人體姿勢、形象在使用中的相互關係，並試圖透過錯誤的使用來翻轉觀眾感知。

Lighting of life
A decade in Absolute Space is like a folded page in the dawn. Throughout the past decade, the constant flow of life has been noted in ways obscure, yet reminding all the absolute love not only for art, but also for life. Therefore, for our tenth anniversary, we’ve invited artists, who even with their absolute idiosyncrasies in creative forms, manage to radiate the daily norms of life. Their works are like the loose chippings underfoot, folding the pages of life without causing the slightest hindrance.
Lee Kit picked fragment pieces he randomly collected in his daily life. These things stand as unintentional projections of real life. The tapes on the wall remind the audience that these are simply the folds that mark the countless pages in life. Behind what is real hides so much more that are just as real. The works of Lai Chih-Sheng have subtracted the absolute physical matters. One by one, Lai took away matters in each subtraction to make feelings and life tangible, in order for the audience to touch what is alive. What appears to be empty is simply the other dimension of life. On the other hand, Hsu Jui-Chien first worked hard in fighting against the nature of his materials, envisioning the iron stick as the beater for temple blocks. However, Hsu ended up discovering the folds of life in absolute silence. Therefore, he stood calmly observing the hairballs in life in tranquility. For Huang Xuan, she marks her body and places it back in life to mirror her strong desire to see it all. Her works create breaks in the constant rhythm of life. The protrusions may be trivial, but unignorable.
Time flows silently as dust slowly swirls under the sun. Here, the poetry concerning ordinary life is noted as each artist comes around, creating folds to mark the pages in life.
A decade in Absolute Space is like a folded page in the dawn. Throughout the past decade, the constant flow of life has been noted in ways obscure, yet reminding all the absolute love not only for art, but also for life. Therefore, for our tenth anniversary, we’ve invited artists, who even with their absolute idiosyncrasies in creative forms, manage to radiate the daily norms of life. Their works are like the loose chippings underfoot, folding the pages of life without causing the slightest hindrance.
Lee Kit picked fragment pieces he randomly collected in his daily life. These things stand as unintentional projections of real life. The tapes on the wall remind the audience that these are simply the folds that mark the countless pages in life. Behind what is real hides so much more that are just as real. The works of Lai Chih-Sheng have subtracted the absolute physical matters. One by one, Lai took away matters in each subtraction to make feelings and life tangible, in order for the audience to touch what is alive. What appears to be empty is simply the other dimension of life. On the other hand, Hsu Jui-Chien first worked hard in fighting against the nature of his materials, envisioning the iron stick as the beater for temple blocks. However, Hsu ended up discovering the folds of life in absolute silence. Therefore, he stood calmly observing the hairballs in life in tranquility. For Huang Xuan, she marks her body and places it back in life to mirror her strong desire to see it all. Her works create breaks in the constant rhythm of life. The protrusions may be trivial, but unignorable.
Time flows silently as dust slowly swirls under the sun. Here, the poetry concerning ordinary life is noted as each artist comes around, creating folds to mark the pages in life.

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Lai Chih-Sheng, Born 1971 in Taipei, Taiwan; based in Taipei, Taiwan
Delicate interventions in space and the landscape - a pulled thread, a hole gathering droplets of water, a tree emerging from the walls. Lai Chih-Sheng (b. 1971, Taiwan) pursues a practice that plays with tension, the everyday and personal encounters across multiple mediums in particular installation and sculpture. There is a playful minimalism in the way he observes detail and creates relationships between different parts of a room, engaging the viewer’s sense of body and presence. During the 1990s Lai Chih-Sheng was a member of the conceptual art group National Oxygen, presenting his early work in disused structures around the periphery of Taipei, which often involved seemingly futile labour. As such, there are certain pervading traits throughout his work: an affinity to environment and space, a sense of expanse, a lyrical delicacy that engages our curiosity.

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Lee Kit, Born in 1978 in Hong Kong, Lee Kit lives and works in Taiwan.
Recent solo exhibitions include: Hong-gah Museum, Taipei, Taiwan (2023), Kuandu Museum of Art, Taipei, Taiwan (2022), West, Den Haag, the Netherland (2021), Art Sonje Centre, Seoul, Korea (2019), Hara Museum, Tokyo, Japan (2018), Casa Masaccio, San Giovanni Valdarno, Italy (2018), OCAT, Shenzhen, China (2018), The Cube, Taipei, Taiwan (2017), S.M.A.K., Ghent, Belgium (2016); Walker Art Centre, Minneapolis, U.S.A. (2016), Shiseido Gallery, Tokyo (2015), and the 55th Venice Biennale, Italy (2013), Shanghai Minsheng Museum of Art (2012), Western Front, Vancouver, Canada (2011), Para/Site, Hong Kong (2007), among others.

Group shows include: Kunstverein in Hamburg, Germany (2021), Lyon Biennial, France (2019); Honolulu Biennial, Hawaii (2019); Palais de Tokyo, Paris, France (2017); Kathmandu Triennale, Nepal (2017); National Gallery in Prague, Czech Republic (2016); Sharjah Biennial, UAE (2015); Ural Industrial Biennial, Yekaterinburg, Russia (2015); Staatliche Kunsthalle, Baden Baden, Germany (2014); Bonnefantenmuseum, Maastrich, Netherlands (2014); Hugo Boss Asia Art, Rockbund Museum, Shanghai, China (2013); MoMA, New York, U.S.A. (2012); New Museum, New York, U.S.A.(2015 & 2012), among others.

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Hsu Jui-Chien, Born 1994 in Miaoli. Work in Taipei, Taiwan. We feel the world with our bodies and senses. Only creation can make the answer of the curiosity of the materials after the impact and actions. The spirit of the materials itself and the influence between the circulation are directly intimacy. It seems like they are awaking the unknown consciousness or exploring the ambiguous contradiction.

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Huang Xuan was born in 1995 in Taipei, Taiwan. With most of her works being performance and film, she uses her own body as the material, and uses simple but persistent movements as a scale for testing in the environment, exploring the many subtle limitations and the operations of routine in daily life. She also focuses on objects and their functions in life to discover their interrelationship with human gestures and images in use and tries to reverse the audience's perception through misuse.

主辦單位｜絕對空間
空間營運贊助｜國藝會
展覽贊助｜國藝會、臺南市政府文化局

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活動聯絡電話: 06-2233508    活動聯絡人: 許小姐

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【光塵摺角】賴志盛、李傑、徐瑞謙、黃萱四人展–生活中的輕輕重 邱霈恩