「2020臺南新藝獎」策展以《參差的平行》為名，參差取自《詩經．關雎》中的名句：「參差荇菜，左右流之」，引用了張愛玲「參差對照」的美學觀點，取其「相生相成」、「疊合歧出」、「對映互涉」之意。策展集結十名臺南新藝獎新銳得主與邀請來自臺灣、法國、日本的藝術家，以「1+1」的方式，跨不同世代與文化背景的當代藝術家共同展出，類型包括繪畫、雕塑、複合媒體與新媒體結合空間裝置、In Situ 等多元形式展出，透過媒合臺南十個展覽空間進行對話與交流，不僅藉此探索個人記憶與時空的關係，記憶的片段也重組新的閱讀可能，包括了傳統與現代的延異（Différance）、記憶與未來的想像、生命經驗與歷史的對話、現世喧鬧與孤獨以及各種情境的摺疊。

 

《參差的平行》在觀者的參與下將影響觀察現象，試圖建立主體與另一主體間的對話關係；同時邀請觀眾，以「位移」作為此次探索十個展覽、場外連結擴展出的In Situ與一個會外展的方法；觀眾在臺南參與具有特性的移動，將可能與展出者共構平行世界中的多元理解、觀察、記錄與書寫。「2020臺南新藝獎」藉由參差的多重涵義，試圖呈現從微觀到宏觀、從整體到片段、從心靈到物質之間的連結關係，而非兩種事物的截然對立，期待將差異共存且不排他的互為主體經驗，經由影像、繪畫、材質的轉化，書寫出空間或是物質間相互對照的層次感，藉此給予周圍現實的一些想像與啟示。

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2020 Next Art Tainan

Uneven Parallel

 

The theme of the 2020 Next Art Tainan Awards Uneven Parallel is named from a verse, “Uneven amaranths flowing on the water, and I only search for the one I want,” in Guan Ju – a poem in the famous ancient anthology, Shi Jing (Classic of Poetry). The verse implicates searching the best and most suitable thing for a person. The naming also combines themes from author Ai-Ling Chang’s aesthetic viewpoint “uneven contrast” – symbiosis, layering, and contrast.

 

The exhibition invites winners of the Next Art Tainan Awards and artists of different generations and cultural backgrounds from Taiwan, France, and Japan, to present their artworks. The artworks, including paintings, sculptures, mixed media, new media, are displayed diversely through space installations and “In Situ”. By gathering 10 exhibition venues in Tainan to converse and interact, personal memories and their relations with time and space are explored. Fractions of memories also reorganize the new possibilities of reading, including “Différance” between tradition and modernism, memories and imagination of the future, conversations between life experiences and history, the hustle and loneliness of the modern day, and layers of all kinds of circumstances.

 

This exhibition Uneven Parallel, with the participation of the audience, will influence the observation phenomena while attempting to construct the conversing relationship between two subjects. At the same time, the audience is invited to use “displacement” as their method to explore these ten exhibitions, external extensive “In Situ” displays, and an individual exhibition. By taking part in distinctive movements in Tainan, along with the exhibitors, the audience can construct a parallel universe with diverse understanding, observation, record and writing.

 

The Next Art Tainan Awards 2020 will use the multiple interpretations of “Uneven” to present the connecting relationships between a microscopic scale to an enormous one, entirety to fragment, and soul to existing matter, instead of two complete opposites. We hope to offer an experience of being the subjects mutually, accepting differences and being inclusive. Also, through the conversion of images, paintings, and materials, the contrasted layering of space and material is depicted, offering imagination and inspiration to the surrounding reality.

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關於藝術家 ▍

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林盈秀  LIN Yin-hsiu

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出生於嘉義，在北中南漫遊生活，體認生命的本真，並且不斷辯證於個人與外在世界的多元感知。進修於臺南藝術大學藝術創作理論研究所博士班，兼任授課於大學及藝術講座等。作品《山經》、《天體—叢》典藏於藝術銀行，獲獎紀錄包含：2019 年「中信新銳美術獎」優選，2017 年「桃源創作獎」入圍，參與2016 年「高雄漾藝術博覽會」，並作品獲私人收藏。

 

藝術創作關心抽象語彙水墨繪畫的新可能，注視生命多面向的弔詭、美好與衝突，以多樣的抽象語彙與多視點時空縫合，探索從A與B之間，不斷生成轉換的可能向度—「間性」創造邏輯。同時，思索生命中的隱微與原初能量，以極小的精神性筆觸為基調，凝聚與綻放出生命中的輕重力度，呼應宇宙母體法則、演繹涵化，創造多元殊異的新自然景致。

 

 

Born in Chiayi, Ying-hsiu Lin lives across Taiwan and experiences the truth of life. She continues her academic pursuit in the Doctoral Program in Art Creation and Theory Tainan National University of the Arts. She never ceases the dialectical between self and external world’s dynamic perception. Now she teaches in a university and gives art lecture from time to time. Her works—both Classic of Mountains and The Celestial Unity—have been collected in ‘Art Bank’ in Taiwan. She won the prize of CTBC Arts Award in 2019, Taoyuan Contemporary Art Award in 2017, and Kaohsiung Young Art in 2016. Also, her works are in the private collection.

 

She has concerned about the new possibilities of abstract expression in ink painting. She also focuses on the paradox, beauty, and conflict of life multiplicity. She explores the possible dimension of continuous transformation between A and B by weaving the diverse abstract lexicons and multi-perspective time and space, which is the creative logic of the “interval.” Meanwhile, reflecting on the subtle and original energy in life, she employs the infinitesimal spiritual strokes as the leitmotiv to agglomerate and disclose the weight and strength in life. Her oeuvre also echoes the laws of the universe, deduces cultivation theory, and creates diverse and different new natural landscapes.

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王紫芸  WANG Tzu-yun

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1966年出生於彰化員林，1996年畢業於法國國立巴黎高等藝術學院。1997年返台，現任教於大葉大學造形藝術系。1991年至今，曾於美、加、法與台灣等地舉辦及參與多場個展及主題聯展，2008年獲文建會表演暨視覺藝術人才出國駐村創作計劃補助前往美國紐約ISCP駐村創作。

創作以繪畫、裝置、複合媒材運用等多元形式作為表達，近年多以繪畫結合空間裝置的複合形式呈現。作品透過不斷的削弱物質，形與形彼此相互滲透的無名狀態，產生某種無法清楚辨識的似曾相識。其作品的色彩調性則處於不斷度量輕盈與沉重之間的曖昧關係，尋找創作與情感間適當的距離與詩意。她認為創作猶如日常的散步，在「這」與「那」的距離間之細微小事所引發的思維。

 

Tzu-yun Wang

 

Born in Changhua in 1966, Tzu-yun Wang is graduated from the École Nationale Supérieure des Beaux-Arts de Paris in 1996. After returning to Taiwan in 1997, she taught at the Department of Visual Arts at Dayeh University. Since 1991, she has participated numerous individual and group exhibitions as well as international exhibitions. In 2008, she was invited to the ‘ISCP artistic residence’ in New York.

 

The creation from Tzu-yun Wang is expressed through various mediums such as painting, installation and the use of composite supports. In recent years, she combines very diluted water paintings with space installations. The tone and transparency of the colors of her paintings, their superimposition at the same time creates a certain evanescence or visual lightness and an effect of heaviness charged by the resurgence of buried emotions which seems to seep or diffuse in the canvas, the paper, and between the canvases and in our space. By the continuous weakening of materials such as the use of erasure and washing, the forms are no longer contained in their own outline but constantly penetrate into the state of others, creating a kind of tenacious and amorphous anonymity. An unrecognizable "already seen".

 

Tzu-yun Wang thinks that creation is like a daily walk amazed by the little things we met in life.

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