依藝術家姓名筆畫排序
兔子眼 Rabbit Eyes
藝術家|李冠宜(Lee,Kuan-Yi)單頻道錄像裝置|03’05”
藝術家|李冠宜(Lee,Kuan-Yi)單頻道錄像裝置|03’05”
兔子挖洞,將偷來的四個面具放了進去。一天,牠選了一個紅唇大眼的面具戴了出去,興奮地對女孩說:「看!我變得跟你一樣了。」女孩睜著眼,看著兔子再戴換上其他的面具,小聲地對兔子說:「那些都是假的,大家都戴著細心粉飾的面殼也沒有比較開心,為何你還要跟他們一樣?」 火光燒呀燒,兔子晃著頭,轉向其他人炫耀去。
The rabbit dug a hole and hid four stolen masks in it. One day he wore a mask with big eyes and red lips, he was filled with excitement and exclaimed to a girl “Look! Now I’m exactly like you!” The girl watched him put on different masks, eyes wide open, she whispered to him “None of this is real, no one is happy wearing these carefully decorated masks, why do you imitate their behavior?”The fire burned and burned, the rabbit bobbed his head and went off show casing his new masks.
The rabbit dug a hole and hid four stolen masks in it. One day he wore a mask with big eyes and red lips, he was filled with excitement and exclaimed to a girl “Look! Now I’m exactly like you!” The girl watched him put on different masks, eyes wide open, she whispered to him “None of this is real, no one is happy wearing these carefully decorated masks, why do you imitate their behavior?”The fire burned and burned, the rabbit bobbed his head and went off show casing his new masks.
這不是一部愛情電影 This is not a romance movie
藝術家|吳玉麗(Wu,Yu-Li)單頻道錄像|07’27”
藝術家|吳玉麗(Wu,Yu-Li)單頻道錄像|07’27”
1974年電影《面具》中,盧倫說那個領著他進入同性戀情的李察是魔鬼;《東宮西宮》裡的阿蘭直截地告白「我是同性戀」;阿蝶在《蝴蝶》中對丈夫說「我是lesbian從來沒有變過」…儘管這一個個電影故事無法寫盡個殊真實生命的複雜維度,我仍舊對同性戀的看與被看感到好奇。並且相信著,在愛情裡每個人都有著相似的慾望與恐懼;在愛情裡沒有界線,這個簡單的道理張國榮早在《金枝玉葉》說過:「男的也好,女的也好。我只知道我喜歡你。」。
In the 1974 film Masks, Lu-Run described Lee-Cha, the man that led him into homosexuality, as a monster; in East Palace, West Palace A-Lan bluntly proposed “I’m gay.”; in the movie Butterfly A-Dei told her husband “I’ve always been a lesbian.”…Although none of these movies are capable of captivating the complexity and various dimensions of individual lives, I’m still curious about the notion of visibility in homosexuality. I believe, in love everyone has similar desires and fears; love holds no limits, this has been clearly stated before by Chang Guo-Rung in He's a Woman, She's a Man, “Be it a man or a woman, all I know is that I like you.”
In the 1974 film Masks, Lu-Run described Lee-Cha, the man that led him into homosexuality, as a monster; in East Palace, West Palace A-Lan bluntly proposed “I’m gay.”; in the movie Butterfly A-Dei told her husband “I’ve always been a lesbian.”…Although none of these movies are capable of captivating the complexity and various dimensions of individual lives, I’m still curious about the notion of visibility in homosexuality. I believe, in love everyone has similar desires and fears; love holds no limits, this has been clearly stated before by Chang Guo-Rung in He's a Woman, She's a Man, “Be it a man or a woman, all I know is that I like you.”
日常。合成
Synthetic Daily
藝術家|林欣美(Lin,Hsin-Mei)動畫裝置、文本|依場地調整
藝術家|林欣美(Lin,Hsin-Mei)動畫裝置、文本|依場地調整
微觀性別的身體想像,成了「合成景觀」裡的線索,拼湊輕觸之感官知覺,刻畫生活的切片,以超現實的手法結合實物與手繪,連接身體的模糊界線與跨越藩籬的的生活經驗。
Corporeal imaginations in the micro gender spectrum provide clues for “synthetic landscape”, where daily perceptions are collaged along with slices of daily life. The story connects bodily boundaries with life experiences by the use of surrealism to combine ready-mades with drawings.
Corporeal imaginations in the micro gender spectrum provide clues for “synthetic landscape”, where daily perceptions are collaged along with slices of daily life. The story connects bodily boundaries with life experiences by the use of surrealism to combine ready-mades with drawings.
14號的道別 No.14
藝術家|陳漢聲(Chen,Han-Sheng)攝影、物件|依場地調整
藝術家|陳漢聲(Chen,Han-Sheng)攝影、物件|依場地調整
14是初戀的生日,也是我的生日倍數,相信數字關係是註定的緣分,源自雙親生日同為彼此倍數而來。然而十多歲的無忌之談,情感終究變數,自此開始對於「14」的日常影像收集。或許是一種執念,亦或許是寄託與尋覓,800張的目標,從底片、數位到平板,時間陪伴記憶後退,過往的移情,變成了推進的力量,這些影像的收集,從聯想、治療、習慣到結束,像是ㄧ場儀式,也是對純真信仰的道別。
The 14th is my first love’s birthday; it is also double the number of my own birthday, I believe the numbers represent destiny because my parents have birth dates double of each other. However, we were young and time changed our relationship, I began collecting daily images I’ve encountered related to no.14. It might be a form of obsession, a kind of reliance or investigation, I set a goal of 800 images, from film to digital, time rewound with memory, past betrayal fused my motivation to move forward. This collection likens a ritual, from connection, remediation, habituation until the end; it was also a farewell to faith in purity.
The 14th is my first love’s birthday; it is also double the number of my own birthday, I believe the numbers represent destiny because my parents have birth dates double of each other. However, we were young and time changed our relationship, I began collecting daily images I’ve encountered related to no.14. It might be a form of obsession, a kind of reliance or investigation, I set a goal of 800 images, from film to digital, time rewound with memory, past betrayal fused my motivation to move forward. This collection likens a ritual, from connection, remediation, habituation until the end; it was also a farewell to faith in purity.
綿綿 Puff
藝術家|徐叡平(Hsu,Rae-Yuping)動力裝置|依場地調整
藝術家|徐叡平(Hsu,Rae-Yuping)動力裝置|依場地調整
將兩杯牛奶倒入一杯 旋旋 將之乳再將之酪 高溫使成酥 夏日的遊樂園裡 旋轉鞦韆上 那風呼呼吹得臉酥綿 向心使上全力 將我倆乳之酪之 綿密的你我 一口酥。
We’re two cups of milk poured into one, whiffed and whipped. Creamed. On a carousel swing we rode the wind, gave in to the centripetal force, slipped into a spin of intimacy. There your otherness was me. I was not there, I was we. We were us, cream puff.
We’re two cups of milk poured into one, whiffed and whipped. Creamed. On a carousel swing we rode the wind, gave in to the centripetal force, slipped into a spin of intimacy. There your otherness was me. I was not there, I was we. We were us, cream puff.
口愛 Cute
藝術家|彭徵維(Peng,Jheng-Wei)互動影像裝置|依場地調整
藝術家|彭徵維(Peng,Jheng-Wei)互動影像裝置|依場地調整
閉上雙眼,誠然地面對自我的感情,在盲目的愛情世界裡,我們享受、沈浸在那情感間的歡愉。然而,真愛是什麼?是能攤在陽光下供人評論,還是彼此真心的對待?愛情不是是非題,而是在睜開雙眼時,能勇敢面對自己。
Close one’s eyes, sincerely confront one’s affections. In the blind cosmos of love we saturate ourselves in pleasure, in love. What is true love anyway? Is it an issue to be laid out and criticized, or is it a sincere exchange of hearts? Love isn’t a true or false question, it is the courage to be who we are, love who we love, the moment we open our eyes.
Close one’s eyes, sincerely confront one’s affections. In the blind cosmos of love we saturate ourselves in pleasure, in love. What is true love anyway? Is it an issue to be laid out and criticized, or is it a sincere exchange of hearts? Love isn’t a true or false question, it is the courage to be who we are, love who we love, the moment we open our eyes.
無辜、紫癒、雙辮子的拉扯 Innocence、purple healing、pull between two braids
藝術家|楊宗嘉(Yang,Zong-Jia)陶瓷雕塑、毛線|30x30x47cm、30x24x40cm、42x39x20cm
藝術家|楊宗嘉(Yang,Zong-Jia)陶瓷雕塑、毛線|30x30x47cm、30x24x40cm、42x39x20cm
1992/喜歡天藍色/喜愛陶瓷創作
以雙生的概念闡述遺憾之後殘留的不是遺憾,是勇氣。在我的作品當中,不停的運用小時後所存在的微薄記憶是紀錄著我們共同存在的痕跡。曾經努力追回逝去的純真,到後來我發現,在摯弟身上我得到了一份禮物,是用創作治癒人的天賦,用最純真的力量,撫慰曾經受傷的傷口,並且告訴你:其實你沒有錯,只是這個社會擁有傷害人的權利。
1992/likes the color sky blue/likes ceramics
I utilized the concept of twins to make the statement: the leftover of regret isn’t regret, it’s courage. I repeatedly retrace the pieces of memory of our coexistence in my work, it was my struggle for chasing back a lost childhood, until one day I realized that the traces of my brother left in me is a gift, it is a gift of therapy through creation. I calm your wounds with my gift and reassure you: you haven’t done anything wrong, it’s just this society and its right to hurt people.
以雙生的概念闡述遺憾之後殘留的不是遺憾,是勇氣。在我的作品當中,不停的運用小時後所存在的微薄記憶是紀錄著我們共同存在的痕跡。曾經努力追回逝去的純真,到後來我發現,在摯弟身上我得到了一份禮物,是用創作治癒人的天賦,用最純真的力量,撫慰曾經受傷的傷口,並且告訴你:其實你沒有錯,只是這個社會擁有傷害人的權利。
1992/likes the color sky blue/likes ceramics
I utilized the concept of twins to make the statement: the leftover of regret isn’t regret, it’s courage. I repeatedly retrace the pieces of memory of our coexistence in my work, it was my struggle for chasing back a lost childhood, until one day I realized that the traces of my brother left in me is a gift, it is a gift of therapy through creation. I calm your wounds with my gift and reassure you: you haven’t done anything wrong, it’s just this society and its right to hurt people.
我的父親母親 My
Parents
藝術家|劉星佑(Liu,Shing-You )錄像|依場地調整
藝術家|劉星佑(Liu,Shing-You )錄像|依場地調整
愛是恆久忍耐,又有恩慈;愛是不嫉妒;愛是不自誇,不張狂,不做害羞的事,不求自己的益處 ,
不輕易發怒,不計算人的惡 ,不喜歡不義,只喜歡真理;凡事包容,凡事相信,凡事盼望,凡事忍耐。愛是永不止息。
"Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails."
"Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails."
潮汐|The tides
藝術家|歐靜雲(Ou,jing-yun )油彩、畫布|72.5X91 cm、130X97 cm、141X79 cm、116.5X91 cm
藝術家|歐靜雲(Ou,jing-yun )油彩、畫布|72.5X91 cm、130X97 cm、141X79 cm、116.5X91 cm
利刃劃開皮肉,濺出新鮮的腥味,那是被深愛過的血液,當血從流動的血管流出的時候,是否能描繪出愉悅的、富有愛的圖像?我們;存在著有愛與被愛的動物,帶著流過身體的血,跳動的臟器與生肉,卑微地在這個世界上生存,我們深愛的人、摯愛的事物:回憶的圖像,慢慢地雋刻在強壯後隨即衰敗的肉體,回憶圖像被溫暖的生肉包圍著,存在於世。回到神話故事的美好世界裡,映射著存在著現實的世界。被釋放的愛可以閃耀,然後成為灰燼。
Flesh tore open as a knife ran through it, fresh blood oozed out with the stink of metal, it is blood once deeply beloved, as it gushes out of its vessel, could it tell us of pleasures and joy of the love it bore?We exist as beings with the capability to love and be loved, pulsating with blood and organs, humbly dwelling on this earth, the people and things we so deeply love: images of memory slowly etches its way onto a body that is once strong and deteriorates incessantly, memory dwells in this world by being enveloped in warm, live meat of the body. Returning to the wondrous world of myth that reflects the real world. Love that is emitted can shine, and burn to ashes.
Flesh tore open as a knife ran through it, fresh blood oozed out with the stink of metal, it is blood once deeply beloved, as it gushes out of its vessel, could it tell us of pleasures and joy of the love it bore?We exist as beings with the capability to love and be loved, pulsating with blood and organs, humbly dwelling on this earth, the people and things we so deeply love: images of memory slowly etches its way onto a body that is once strong and deteriorates incessantly, memory dwells in this world by being enveloped in warm, live meat of the body. Returning to the wondrous world of myth that reflects the real world. Love that is emitted can shine, and burn to ashes.
Sailor 少女 Penis
藝術家|飛飛飛、甫嵐嬌、愛的幻覺 錄像|03’20”
藝術家|飛飛飛、甫嵐嬌、愛的幻覺 錄像|03’20”
少女畫會...... 再度啓動.......... 三人團體為偶像文化下為補足單人魅力不足而產生,常於動漫、影視、日常生活中友誼中啟發組成,藉由多樣性來詮釋三男的少女情懷,透過藝術創作的變身行為,轉化為集體力量。書寫、紀錄、繪畫、立體創作則為水手陽具之變身力量,透過展覽活動傳達三人愛的信念。
The girls art club….launched again……the trio idol culture has arisen from the need to compensate for insufficient charisma of the single idol, it is often seen in anime, movies, cliques. We take on multiple dimensions to interpret the maiden complex of three men through an artistic cosplay, group power. Literature, documentary, painting, and sculpting are the super powers of sailor penis, and through exhibitions we pass on our love.
The girls art club….launched again……the trio idol culture has arisen from the need to compensate for insufficient charisma of the single idol, it is often seen in anime, movies, cliques. We take on multiple dimensions to interpret the maiden complex of three men through an artistic cosplay, group power. Literature, documentary, painting, and sculpting are the super powers of sailor penis, and through exhibitions we pass on our love.