YIA#02 – 黃建樺 Chien-Hua HUANG

YIA ART FAIR#02

October 31 – November, 4 2019

Le Rivoli Building – 118 Rue de Rivoli,75001, PARIS

Opening: October 31, 12pm (Invited Guests Only)

V&E ART Stand: N1

黃建樺,2003年畢業於台灣藝術大學雕塑學系,2003至2006年於國立台南藝術大學造形藝術所就讀時轉而趨向影像創作,試圖將對實體時間空間的存在獨有看法帶入當代科技影像。現於國立台南藝術大學藝術創作理論研究所攻讀博士學位,持續對人類存在於影像時代的身分定位做探討。

近年來參與國內外各項主要展出包括《2005高雄獎》於高雄市立美術館、《INDEPENDANT@RICE+》於東京(日本,2005)、《城市曼波》於雪梨Stone Villa(澳洲,2006)、《第二種視野》於國立台灣美術館(台中,2008)、《永恆的成人遊戲工廠》於關渡美術館(台北,2008)、《粉樂町當代藝術展》(台北富邦藝術基金會,2008)、《2009YOUNG ART TAIPEI–台北國際當代藝術博覽會》及《輕度》於國立台灣美術館數位藝術方舟(台中,2009)。並於2008年於日本岐阜文化中心舉辦個展《我不乖》。主要獲獎紀錄為2003年台北美術獎優選、2005年高雄美術獎首獎、2008年國家文化藝術基金會國際交流補助。作品並獲高雄市立美術館、國立台灣美術館等典藏。

面對當代,黃建樺提到「我們在一個越出的變形弔詭世界中游移,我們樂在其中,而且已經樂到失去辨別判準的能力。」近年來,他持續觀察類閾界現象於媒體時代,由符碼、語言戲局、表徵體系所產出的影像動勢,在這數位時代視野的切換與相對應的生存經驗中,如何以直接而親密的方式和世人的智慧建立了關聯,進而凝塑出帶有脫序趣味的人性寓言。

Huang Chien-Hua received his BFA in 2003 from National Taiwan University of Arts, Department of Sculpture, and MFA in 2006 from Graduate Institute of Plastic Arts at Tainan National University of the Arts.  During the time in Tainan, his work shifted towards image making.  Huang conveys his view on time and space with contemporary digital photography.  Currently he is a PhD candidate at the Tainan National University of the Arts, Department of Art Creation and Theory, continuing his investigation on the identity of human existence in an image driven age. His works are being exhibited internationally and are in the collection of Kaohsiung Museum of Fine Arts and National Taiwan Museum of Fine Arts.

In regard to contemporaneity, Huang Chien-Hua commented: “We are drifting in a paradoxical world. We find pleasure in it, but we lost our ability to discern.”  He has extensively observed the liminoid phenomena through signage, word play, and representation in the media era; with experiences existing in a digital age and shifting perspectives, Huang relates to the world’s wisdom in the most intimate and direct way, and tells a disorderly yet delightful parable of human nature.

展出系列作品:編 碼 者 Transcoder

群眾們彼此駐足觀看,於眼神交集的瞬間引起了對多方關係的好奇,也在人們心中留下期待的景象。人們對於世界的想望,使遊樂園成為一座啟幕的舞台。

樂園機制的運作猶如社會架構的縮影,眼前的場景映現著對世界樣貌的想像與夢想的追尋,事件的描述源自於社群媒體的演繹與人們解讀訊息的自由,並透過遊戲體現出日常生活的行為與集體效應,成為反映文化樣態的詼諧模型。對應於動物們所呈顯的是人們存在於社會機制的身分關係,行為中隱藏著多重意圖與曖昧隱喻,情緒上更著微妙的自溺、戲謔與不合時宜的角色認同,而人們的臆測則開啟了對象與體制的權力劇場,劇情的開展於此邁向了自我價值的辨證旅程。

攝像操控所帶出的意識滑動與和影像所召喚出意外情感,引導著人們透過擬像自體再造的視覺經驗與無可定論的集體行為,持續地編寫著故事,透過漫遊與映射瞬時變換內心意象,部署迷人閃動的星叢語體。這是多幕彼此疊映與場景交錯的當代寓言,之中隱含著關於社會形態、生存機制與角色身份的相互指涉。透過聚集與現身,光、迴旋、動物們似乎在預告著人們將進入一個社群文化重新編碼的時代。

Exhibited Series of work: Transcoder

People make a stop to look at one another. Their eye contact arouses their genuine curiosity about such multilateral relationships that go so far as to conjure up visions for the future. The visualization people have of this world has turned the amusement park into a stage behind a rising curtain.

The operation of this amusement park is little less than a microcosm of the society. The scenes unfold before us, showing people’s mental power to picture the world and their pursuit of dreams. The descriptions of multifarious events are based on the algorithms of social media and users’ interpretations of messages. They embody quotidian routines and collective effects by means of games, thereby serving as the models that parody our cultural modality. The animals in this amusement park express people’s social identities; and their actions brim with deliberate intentions and ambiguous metaphors. Besides, they take on self-indulgent, bantering and mistimed role identities, and the game of power between the referents and the system begins with the viewers’ speculations. The plot unfolds thereafter as a dialectical voyage of defining self-value.

The consciousness-altering photo manipulation and the sentiment-arousing images shepherd the viewers to continuously write stories by means of autopoetic visual experiences and inconclusive collective actions, and to develop a fascinating, starry constellation of styles by conjuring up sudden visions through rambling and mapping. This is a contemporary allegory in which acts overlap and scenes intersect with one another. It contains mutual references among social structures, survival mechanisms and role identities. By virtue of rendezvous and appearance, the light, the carousel and the animals lingering in the amusement park seem to portend an era of re-coded social media culture.

主要個展

2018 《FOTOFEVER》,CARROUSEL DU LOUVRE,巴黎,法國。

2016 《編碼者》,INART SPACE,台南,台灣。

2015 《The Manipulator》,Okinawa Contemporary Art Center,沖繩,日本。

2012 《雜碎寓言》,INART SPACE,台南,台灣。

2010 《空景》,奧克蘭 UNITEC 大學,奧克蘭,紐西蘭。

2008 《我不乖》,岐阜文化中心,日本。

主要聯展

2019 《透視假面–甜楚現代性》,克拉斯諾亞爾斯克美術館,克拉斯諾亞爾斯克,俄羅斯。

2019 《影像焦慮》,國立台灣美術館,台中,台灣。

2018 《生活動物園》,人文遠雄博物館,新北,台灣

2018 《Fotofever – Photography Art Fair》,Carrousel du Louvre,巴黎,法國。

2018 《盛放台灣》,駐新加坡台北辦事處, 新加坡市,新加坡。

2018 《台北國際攝影節 – 境外・內爆》,中正紀念堂,台北,台灣。

2017 《Fotofever – Photography Art Fair》,Carrousel du Louvre,巴黎,法國。

2017 《「非常時期」非常廟二十週年展》,VT Artsalon,台北,台灣。

2017 《動物派對》,駁二藝術特區,高雄,台灣。

2016 《Fotofever – Photography Art Fair》,Carrousel du Louvre,巴黎,法國。

2016 《連州國際攝影年展》,廣東,中國。

2016 《時代的位移》,高雄市立美術館,高雄,台灣。

2015 《台北國際藝術博覽會》,台北世界貿易中心,台北,台灣。

2015 《夢・棲地 – 館藏青年藝術主題展》,國立台灣美術館,台中,台灣。

2014 《台北國際藝術博覽會》,台北世界貿易中心,台北,台灣。

2014 《日本台灣新世代藝術家交流展》,Artislong Gallery,京都,日本。

2003 《2003 台北美術獎》,台北市立美術館,台北,台灣。

獲獎

2012 獲選國立台灣美術館 Yes, Taiwan! 2012 Taiwan Biennial「台灣報到-台灣美術雙年展」參展藝術家。

2011 獲選國立台南藝術大學「DELTA 亞州生活手勢」出訪北京中央美術學院交流藝術家。

2010 獲選出訪亞洲紐西蘭基金會 Asia New Zealand Foundation 藝術家駐村計劃,台北國際藝術村。

2005 高雄美術獎,首獎。

2004 第 58 屆全省美展,雕塑類第三名。

2003 台北美術獎,優選。

典藏

白兔美術館,澳洲。

Psychic Temple,美國。

文化部藝術銀行,台灣。

高雄市立美術館,台灣。

國立台灣美術館,台灣。

Selected Solo Exhibitions

2018 FOTOFEVER – Photography Art Fair, Carrousel du Louvre, Paris, France.

2016 Transcoder, INART Space, Tainan, Taiwan.

2015 The Manipulator, Okinawa Contemporary Art Center, Okinawa, Japan.

2012 Trivial Fables, INART Space, Tainan, Taiwan.

2010 BLANKSCAPE, UNITEC university, Auckland, New Zealand.

2008 I don’t follow the rules, Gifu City Culture Center, Japan.

Selected Group Exhibitions

2019 Behind the Mask: Rose of Modernity, Museum Center Krasnoyarsk, Krasnoyarsk, Russia.

2019 Anxiety of Images, National Taiwan Museum of Fine Arts, Taichung, Taiwan.

2018 Beyond Zoology:Humans and Animals, Farglory Museums, New Taipei, Taiwan.

2018 FOTOFEVER – Photography Art Fair, Carrousel du Louvre, Paris, France.

2018 Taiwan in Full Bloom, Taipei Representative Office in Singapore, Singapore City, Singapore.

2018 TAIPEI PHOTO – External Impact X Internal Explosin, National Chiang Kai-Shek Memorial

Hall, Taipei, Taiwan.

2017 FOTOFEVER – Photography Art Fair, Carrousel du Louvre, Paris, France.

2017 Very Period, VT Artsalon, Taipei, Taiwan.

2017 PIER ZOO, The Pier-2 Art Center, Kaohsiung, Taiwan.

2016 FOTOFEVER – Photography Art Fair, Carrousel du Louvre, Paris, France.

2016 Lianzhou Foto Fastival, Guangdong, China.

2016 Transition of Times, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan.

2015 Dreams – Habitations, , National Taiwan Museum of Fine Arts, Taichung, Taiwan.

2015 ART TAIPEI 2015, Taipei World Trade Center Hall, Taipei, Taiwan.

2014 The 2nd International Young Artists Exchange Exhibition JAPAN x TAIWAN, Artislong Gallery,

Kyoto, Japan.

2014 ART TAIPEI 2014, Taipei World Trade Center Hall, Taipei, Taiwan.

2003 Taipei Arts Award, Taipei Fine Arts Museum, Taipei, Taiwan.

Awards & Honors

2012 Participating Artists.Yes, Taiwan-Taiwan Biennial, National Taiwan Museum of Fine Arts.

2010 Residency artist, 2010 Internation Residence project for Asia New Zealand Foundation, Taipei

Artist Village.

2005 First Prize, Kaohsiung Awards 2005.

2004 Bronze Prize, The 58th Taiwan Provincial Fine Arts Exhibition.

2003 Honorable Mention, Taipei Arts Award.

Public Collection

White Rabbit Gallery, Sydney, Australia.

Psychic Temple,U.S.A.

Art bank, Ministry of Culture, Taiwan.

National Taiwan Museum of Fine Arts, Taiwan.

Kaohsiung Museum of Fine Arts, Taiwan.

YIA#02 – Seven YCH

“他深刻的圖像,就像音樂和節奏一樣優美”

“ His profound images, as beautiful as music and rhythm”

YIA ART FAIR#02

October 31 – November, 4 2019

Le Rivoli Building – 118 Rue de Rivoli,75001, PARIS

Opening: October 31, 12pm (Invited Guests Only)

V&E ART Stand: N1

Seven YCH,台灣藝術家,同時也是獲獎作家和策展人。從90年代上大學起就開始練習現代藝術攝影。於2002年畢業於北京電影學院電影導演專業,獲碩士學位。目前攝影作品已經常於國際上展出,並被多間私人企業及全世界的藏家收藏。

Seven YCH, Taiwanese Artist, literature-award-wining poet/writer, and the curator. He started to practice his modern art photography while he was at the university in the ’90s. He graduated with M.A. in film-directing from Beijing Film Academy in 2002. His photography has been exhibited internationally and has been collected by private corp. and collectors all over the world.

Seven YCH 喜歡探索事物的矛盾之處。他擁抱寒冷中的溫暖,接受混亂中的偶然,從微觀通往宏觀,從確定性中喚起抽象性。他認為唯一能夠實現空虛的是詩意感。近年來,他潛心研究混合內在與外在景觀的新領域,描繪心理狀態的現實,並提出了有趣的無邊際的故事的獨特圖像。

YCH is interested in exploring the contrariety of the objects. He likes to embrace the warmth in the coldness and to accept the serendipity amidst the chaos, to evoke the immensity from the insignificance as well as the abstract from the certainty. He believes the only thing that can fulfill the emptiness is the poetic sentiment. In late years, he dives into a new territory of mixing inner and outer landscapes, depicting the realities of mental state, and comes out with intriguing unique images of spacious stories.

此次展出的系列作品,藝術家持續進行對於「質地」的思考。而在人類腦袋裡迂迴飛轉並脫俗超凡的,是名為想像力的透明「質地」,深深吸引著他。運用想像,可以讓水成為鏡子再成為自我的虛像;想像可以是從前是現在也是以後;想像墊高了科學、藝術、以及文明的維度;想像是隱喻的也是象徵的;想像是藝術家欣然接受並戴上的一頂王冕,而這頂神聖的王冕,讓宇宙中任何人,皆有能力往來俗世和宇宙時空之間,不費微力。人,生為一種俗世裡的「物質」,卻被給予了超越俗世位階的權柄,詩意因此存在。

From the exhibited series of works, YCH continues the exploration of “Texture”. He is trying to see through the “Substance” in mankind with the collage images and the poetic shadows. In his images, referring the imagination as the “Texture", lead the viewers to fly effortlessly into a transparent spacious land. From the artist’s point of view, the ability of mankind to imagine can be considered as a marvelous gift that allows us to travel through time and space, from a momento to eternity, from the beginning till the end.

EXHIBITION:

2018  HOLY CROWNS / NO. TWO : THE ANIMALISM IN ANIMA | group | A Day Gallery | Taipei City Taiwan

2017  HOLY CROWNS / NO. ONE : THE TEXTURE OF IMAGINATION | solo | A Day Gallery | Taipei City Taiwan

2014  BEING | solo | 73 Gallery | Taipei City Taiwan

2008  LOW | the New York Asian Art Fair | group | Lincoln Center | NYC USA

2007  LE VOYAGE AU PRINTEMPS | solo | Whotogether Gallery | Taichung City Taiwan

2007  ELEVATION | solo | Sofitel Hotel Gallery | Bangkok Thailand

AWARD:

2007  International Photography Award | honorably mentioned | categories in architecture/ interiors, fine art/ still life, special/ other, nature/ trees, people/ children, people/ family, people/ portrait, etc.

2006  the National Art Museum collection project | finalist 

CURATOR:

2019  TEA READING | Eslite Bookstore & 73 Gallery | Taipei City Taiwan

2019  THE CARNIVAL IN BABEL | Woolloomooloo Gallery | Taipei City Taiwan

2018  HOLY CROWNS / NO. TWO : THE ANIMALISM IN ANIMA | A Day Gallery | Taipei City Taiwan

2017  HERMES X BVL | Bellavita Boutique | Taipei City Taiwan

OTHER :

2006  TO BE MEMORIZED, OR FORGOTTEN | officially screening | categories in documentary | Austin Film Festival | Texas USA

2002  THE OTHER MOON | silver prize | categories in documentary | East International TV Station Award | Shanghai China

1998  THE TALE OF SENSIBILITY | golden prize | categories in poetry | Golden Camel Award | Taipei City Taiwan

YIA#02 – Isabel Devos

«Her landscapes are not born of reality but are sublimated and brought to life by small details.»

「 她的風景並非源於現實,而是通過微小的細節而昇華並賦予了生命。 」

YIA ART FAIR#02

October 31 – November, 4 2019

Le Rivoli Building – 118 Rue de Rivoli,75001, PARIS

Opening: October 31, 12pm (Invited Guests Only)

V&E ART Stand: N1

Isabel Devos, Belgium Artist, graduated at the KASK & CONSERVATORIUM School of Arts Gent. After several years of functional work, she presented her ‘Contemplative Landscapes’ at Casa Argentaurum in Ghent, Belgium. In 2015 she was one of the laureates of Urbanautica Institute’s portfolio review. In March 2017, she showed a selection of her images at Mi Galerie, Paris.

The series ‘Contemplative Landscapes’ pushes the viewer on the border between human and nature to a point that made possible to imagine landscapes from single traces of water on sluices and shores, ready-made details, crops of reality. An expanded view of the world, a further dimension, more open and contemplative. As well said by Dieter Debruyne «by isolating these parts from its context, a peculiar and abstract image arises, referring to the possibility of a landscape and the multi-layered characteristics of a painting». This is not just meant to re-discover the universe in a microcosm; in this act of recognition of the beauty of nature there is something redeeming. «Because it’s in our nature, humans tempt to control nature by building waterways, sluices, and artificial lakes. Hence nature reacts on these borders by leaving remnants behind.» The impact of certain artists is inevitable.

Through photography Isabel gives us a pictorial view of the world, with an open and therefore contemplative mind. This is not just meant to re-discover the universe in a microcosm; in this act of recognition of the beauty of nature, there is something redeeming. Beauty is in the eye of the beholder people say. And maybe it is, and there is no artifice, bank, wall, or anything that can truly contain it. Her landscapes retain an expressionist attitude, with a reminder of the cross-references to the color field research of Rothko, the dull and somewhat dramatic palette of William Congdon landscapes, the attention on daily subjects of Richter, and the ability to mislead the viewer and to cause distraction on “what it is” of Rudolf Stingel. All these elements feed Isabel Devos’s vision, an expressive synthesis of rare beauty. An operation of abstraction that is not new. Still the results of Isabel are impressive and of rare beauty.

– Partly excerpts from the article of Steve Bisson on the website of Urbanautica

伊莎貝爾·德沃斯(Isabel Devos)比利時藝術家 , 畢業於根特 KASK & CONSERVATORIUM 藝術學院。經過幾年對自身藝術理論的積累與探索之後,她在比利時根特的Casa Argentaurum展出了她的“沉思景觀”系列作品。 2017年3月,她在巴黎的Mi Galerie展出多幅個人作品。

<沉思景觀>系列作品將觀者推向人與自然關係的邊界,並使之能夠透過微觀景物去聯想宏觀景物的樣貌 。從此一概念出發 , 邀請觀者放寬對世界的視野,經過沉思的過程,以獲得對這個世界的維度更加開放性的理解。正如Dieter Debruyne所說的,“從主體的上下文中分離出部分細節,就自然產生了奇特而抽象的圖像,而這部分可以被指認為是風景中蘊含的可能性和作品中潛在的多層特徵”。這不僅僅意味著我們將有機會在一個微觀世界中重新發現浩瀚宇宙;我們還可能因為承認自然之美的過程中尋回那些人類與自然關係中闕漏的平衡關鍵。藝術家無可避免地必須以他們的方式表達出這樣的衝突「由於這是我們的本性,人類會試圖建造水路,水閘和人工湖來控制自然。因此,自然界就會因此在此一平衡關係上做出反應。」

通過攝影作品,伊莎貝爾用開放的,因此而具有沉思性的方式為我們提供了這個世界的圖像性。自然之美是個人主觀的,的確,沒有任何人工產物,河堤,牆壁或任何能夠真正容納自然之美。從她的風景當中我們可以發覺表現主義的態度,以及一些藝術史上可以參考的依據:如Rothko一般的色彩領域研究,William Congdon風景畫中沉悶且同時又戲劇性的顏色表現方法,也發現如Richter日常主題的關注以及誤導觀者的能力。抽像繪畫手法或許並不新穎,但從伊莎貝爾的獨特藝術論述之中融合了這些元素,可以說是一種稀有美感的綜合表達,讓伊莎貝爾的作品仍然令人印象深刻,而且罕見。

YIA#01 – 鄭崇孝 Chong Xiao ZHENG

鄭崇孝,油畫藝術家,1988年出生於台北。以「摹寫」、「改造」為主要創作概念,挪用中國或者西方經典藝術名作之元素,並安排人物「嘟嘴男孩」生活於其中,進而重塑成反映當代生活景況新作,並利用這人形符號勾勒出畫面的敘事性跟趣味性;其後,鄭崇孝逐步將系列創作的「重製」素材延伸,從攝影作品、垃圾場回收畫布,至近期的中國古代山水之作,帶給觀眾視覺豐富的體驗。2017曾在台北市立美術館舉辦個展<嘟嘴男孩:重製計劃>。

Zheng Chong-Xiao, painter, 1988 born in Taipei。 With the concepts of “imitation” and “transformation,” Zheng makes use of the classical elements in both Chinese and Western arts and add the character “Pouting Boy” in the composition to reflect the contemporary life in nowadays. After that, Zheng keeps exploring his material for reproduction, from photograph to recycled canvas, and even the traditional Chinese landscape painting in his latest series. All the elements of reproduction enrich the visual experience. In 2017, he had his solo exhibition <Pouting Boy: Reproduction Plan> in Taipei Fine Arts Museum.

鄭崇孝在嘗試再造中國古畫的過程中,以中國文人山水畫為主,先經過水彩實驗,而後研究了芥子園畫譜,再以油畫繪製成卡漫風格。這些古代名家的畫作在中國文人畫主張「畫家初以古人為師,後以造物為師」的臨摹學習過程中,早已成為一種「圖示」(pattern)。鄭崇孝認為,中國山水畫所著重抽象的、氣韻的、文人氣質等觀念與現今我們生活中的美感經驗有極大的落差,因此現在,他以色塊層層堆疊出山石肌理,再描繪出漸層而濃密的綠葉,試圖透過卡通漫畫的方式來再製中國山水畫,在製作中試圖尋找一個古今之間的美感平衡。

In the process of trying to recreate Chinese ancient paintings, Zheng mainly used Chinese literati landscape paintings, first through the watercolor experiment, and then studied the Manual of the Mustard Seed Garden, and then finish the oil painting in Japanese comic and animation style. Zheng believes that the concept of abstract, and literati temperament in Chinese landscape paintings has a great gap with the aesthetic experience in our lives today. Therefore, now he stacks the texture of the mountains with color blocks and then draws the layers of thick green leaves, trying to reproduce Chinese landscape painting through comic style, in order to find a balance between beauty and ancient times in production.

而他將自己的形象轉換為自畫像「嘟嘴男孩」悠遊於畫中,取代了古代的點景人物,並以來科技及能源為主題介入古代山水,將原本古代山水畫中藉自然尋道、觀瀑、昗想的文人思惟,轉化為年輕世代熟悉的電玩遊戲風格,造成畫面的多重衝突感,同時也提供了新的視覺經驗,使觀者在其中投射自身為自然的「守護者」。

He converted his image into a self-portrait “Pouting Boy “, who traveled in the paintings and replaced the ancient figures, and he has intervened in ancient landscapes by the elements of the technology and energy as the theme, therefore, the traditional literati thinking such as the natural exploration and meditations are transformed into a familiar video game style of the younger generation, which creates a sense of multiple conflicts in the picture, and also provides a new visual experience in which the viewer projects himself as a natural “guardian."

而從小在土城工業區長大的鄭崇孝,對河濱旁生態綠地、污染工廠並存的衝突感有著很深的印象,也在他心中種下關心環保議題的種子。因此在畫面的安排上,加以置入自然、環保、能源等主題,試圖在時空移轉之間尋求科技與生態的平衡點。其作品特別關注人類、機器與環境之間的關係,其明快的敘事手法,引領觀者遊歷於山水中,思索未來文明發展與環境共生的可能性。

Zheng, who grew up in the Industrial Zone, was deeply shocked by the coexistence of the ecological green park and polluting factories along the riverside. Therefore, in the composition of his artworks, the theme of nature, environmental protection, energy, etc. is a major part of it, and attempt to seek a balance between technology and ecology in time and space. His works also pay special attention to the relationship between human beings, machines and the environment, and his narrative approach is leading the viewers to travel in the mountains and waters in his works, to figure out the possibility of future civilization development and environmental symbiosis.

學歷 Education

2014 國立臺灣藝術大學美術系

           Graduated from Department of Fine Art,

           Nation Taiwan University of Arts, Taipei, Taiwan, BFA

2019. 國立台灣藝術大學美術系 碩士

     Graduated from Department of Fine Art,

          Nation Taiwan University of Arts, Taipei, Taiwan, MFA

獲獎 Awards

2018. 107年全國美術展 油畫類 入選

           2018 National Exhibition, ROC Oil painting

2018   2018 高雄獎 油畫類 入選

           2018 Kaohsiung Award, Oil painting

2017   2017 文化部MIT新人特區

            2017 Made In Taiwan

2016   2016臺灣美術新貌展 入選

           The 2016 Taiwan Emerging Art Awards

2015 第13屆桃源創作獎 入選

            The 13th Taoyuan Contemporary Art Award

2013   2013台北美術獎 優選

           2013 Taipei Art Awards, Honorable Mention

典藏 Collection

2016 105年度藝術銀行典藏

            Art Bank, Taichung, Taiwan

2015   獲台北市立美術館典藏

            Taipei Fine Museum, Taiwan

2015   104年度藝術銀行典藏

            Art Bank, Taichung, Taiwan

個展 Solo Exhibitions

2019.8 <小芳妮>鄭崇孝個展 |台灣 台北 藝星藝術中心

      <Little Bit Funny>Zheng Chong-Xiao Solo Exhibition, Star Gallery Taipei, Taiwan

2019.4. <嘟嘴男孩在西子灣> 鄭崇孝個展|台灣 高雄 中山大學蔣公行館

        <Pouting Boy In Sizihwan>Zheng Chong Solo Exhibition,

      ,  Art Center National Sun Yat-sen University ,Kaohsiung ,Taiwan

2018.8 <第三次工業革命> 鄭崇孝個展|台灣 新北 宏達國際電子總部大廳

       <The Third Industrial Revolution> Zheng Chong-Xiao Solo Exhibition,

High Tech Computer Corporation headquarters hall, New Taipei, Taiwan

2018.8 <山水普拉斯> 鄭崇孝個展|台灣 台北 藝星藝術中心

<Landscape Plus> Zheng Chong-Xiao Solo Exhibition, Star Gallery Taipei, Taiwan

2017.7 <嘟嘴男孩:重製計劃> 鄭崇孝個展|台灣,台北,台北市立美術館

            <Pouting Boy: Reproduction Plan> Zheng Chong-Xiao Solo Exhibition,

            Taipei Fine Arts Museum, Taipei, Taiwan

2015.9. <嘟嘴男孩> 鄭崇孝個展|台灣,新北,板橋435藝文特區

            <Pouting Boy> Zheng Chong-Xiao Solo Exhibition, 435 Art Zone, New Taipei, Taiwan

2014.11. <1987> 鄭崇孝作品展|台灣,台北,水谷藝術中心

              <1987> Zheng Chong-Xiao Solo Exhibition, Waley Art, Taipei, Taiwan

2013.3. <笑笑> 鄭崇孝個展|台灣,新北,板橋435藝文特區

            <Big Smile> Zheng Chong-Xiao Solo Exhibition, 435 Art Zone, New Taipei, Taiwan

How prestigious the YIA Art Fair is?

Founded in 2010, P/CAS – PARIS CONTEMPORARY ART SHOW by YIA Art Fair – is a special event in the contemporary art world, which plays an important part in providing opportunities for galleries, collectors, artists, art professionals and art lovers to establish new business relations and discover new art.

It has been 17 editions of successful experience in exhibiting well-known and emerging international artists. Each year, the YIA Art Fair presents more than 200 artists to different capitals of art such as Paris, Lille, Brussels, Basel, Maastricht since 2010.

During the fair, more than 20,000 visitors keen on contemporary art will be invited (collectors, journalists, curators, artists, professionals, and art lovers) to appreciate the quality and artistic diversity of the fair, which is definitely how YIA is so important for the market to share the art of talented artists to the public.

With the globalization of the art market, the influential Art Fairs will be one of the major approaches for all the art-lover to reach their future collection. YIA has a great history to show the collectors the quality of the fine art should be, and they will be doing more with no doubt.

成立於2010年,由YIA Art Fair舉辦的P/CAS – PARIS CONTEMPORARY ART SHOW是當代藝術界的一項重要活動。主辦方YIA Art Fair也扮演著當代藝術市場上的關鍵腳色,透過每年提供畫廊,藝術收藏家,藝術家和藝術專業人士一個平台去共同開創藝術市場上嶄新機會。

具有17年成功經驗的YIA Art Fair,自2010年以來,曾在巴黎,里爾,布魯塞爾,巴塞爾,馬斯特里赫特等藝術之都,每年展出超過200名來自世界各地的知名與新興藝術家。

每年博覽會期間,有超過20,000多名參觀者(收藏家,媒體,策展人,藝術家,專業人士和藝術愛好者)一同參與此展會,YIA不遺餘力地透過展會將優秀的藝術與藝術家介紹給也喜愛藝術的大眾。隨著藝術市場全球化的到來,藝術博覽會將成為所有藝術愛好者接近其未來收藏的主要方式之一。17年輝煌的歷史可以向當代藝術市場證明,YIA未來也將持續地向藏家們展出最高品質的藝廊及藝術。

Image 3

P/CAS #18 by YIA ART FAIR

 

En cette année, V&E ART va participer aux 3 Foires d’art avec YIA International Art Fair.

La première sera dans la semaine de FIAC , le 17-20 Octobre 2019.

Nous vous présentons 2 excellents artistes venant de Taiwan et Japon – Gary TU et Yumi WATANABE.

Après un grand succès de la série de “Street art in fashion” au P/CAS #17 en 2018. Gary TU va présenter sa nouvelle série- Sous la Néon, qui est combinée l’aquarelle et la néon. Gary apportera sa nouvelle vision de l’illustration de mode.

 

Yumi WATANABE, qui vient de Kagoshima du Japon, mais habite à Dusseldorf en Allemagne. Elle conservait ses épisodes de la mémoire de la vie par les images, à les rassembler à un autre nouveau, éternel temps et espace.

 

今年V&E ART 與巴黎青年藝術博覽會YIA International Art Fair 合作, 於FIAC當代藝術週開始,連續三週帶來不同藝術家, 致力於國際市場的推廣。

第一檔於10月17-20日, V&E ART 帶了兩位藝術家, 台灣的Gary TU 塗至道以及日本的Yumi WATANABE。

當時尚插畫家遇上以將想像中的風景製成片狀裝置的攝影作品, 兩者將如何對話? 連續第三年在巴黎展出的時尚插畫家Gary TU, 將每次展覽成為突破自我創作的出口, 去年以塗鴉的方式呈現作品大受好評。今年更以霓虹燈管為構思, 試圖創造更多關於時尚插畫的可能性。

Yumi, 來自日本鹿兒島, 定居於德國杜賽道夫, 她的片狀作品代表著片段的記憶, 經過裝置的堆疊,形成另外一個形式的風景。影像透過傳統的暗房沖洗, 再以樹脂將作品塑形成圓片, 以靈活的方式呈現,能夠讓參觀者和作品更有互動。

 

P/CAS Paris Contemporary Art Show #18

2019.10.17-20

Le Rivoli Building – 118 Rue de Rivoli ,75001,PARIS 

V&E ART Stand : N3 

Artistes Present :GARY TU. Yumi WATANABE 

 

Artexpo New York-Deng Hong CAO

-Thriving with no spring coming, Deng-Hong Cao
One vigorous hare that break through the paintings of predecessors –
Just like the artist himself, who explored the world with his artistic ideal and enthusiasm, proudly and ambitiously, in dedicating to make a breakthrough in this art world.
The exhibition in New York makes a representative statement of his short but remarkable artistic life.
“Where come from" –
This series introduces the Taiwanese folk culture, which is closely connected with the artist’s own childhood memories. As time goes, the conflict between the tradition and the modernity has made the artist wondering what is the value and the convention of the society that is worth preserving.
 – “It’s needed to reflect on where we come from, therefore the culture exists."
“Where to go" –
The portrait works reflect the artist’s humanistic care for the international situation. The artist projected his feelings through the way he portrays two figures with different characteristics, black and white, one old and one young, one man and one woman.
“Reflection of ourselves paves the path to eternity" –
The old tree is the iconic symbol of the artist and also the projection of the artist’s spiritual thoughts. In this series of four withered trees, the struggling but persistent gestures depict how the artist defending himself as the artist and as a human being.
One of his final paintings – Spring comes to the withered tree
The artist was normally painting the trees without any leaves on it. He believes that the leaves are a symbol of success, however, that the time has not yet arrived, just like the tree’s waiting for the spring coming.  From the last piece of his work reveals the calmness and the will of freeing himself from the rule of the world. The growing sprouts on the exhausted tree indicate the artist was expecting to reborn and somehow being memorized by this world in another way.
Yet, the spring did come while such the talented and splendid life of Deng-Hong Cao has been painting us the world with his own true color.

 

– 致 未能夠茁壯的藝術家  曹登閎 

衝破前人畫作的兔子-
他,是曹登閎,初探世界,懷抱滿滿的藝術理想與熱情,像隻目中無人的兔子,想對自己的藝術世界,做一番突破。
紐約的展覽,將他短暫的藝術生命做代表性的陳述。
『從何而來』-
反映了台灣民俗文化,從藝術家自身的童年記憶到台灣社會追求進步、利益進而產生的文物破壞與衝突,到探討傳統社會,人對於生死的想法。
-『從何而來、反思自己、反思故有文化』
『往何而去』-
人像作品,反映了藝術家對國際世局的人文關懷。同時也是藝術家自己本身對於他生涯的寄託與憧憬。
『往何而去、反思自己』-
老木,是藝術家的代表符號,同時也是藝術家心靈狀態的投射。
遺作-枯木逢春
從藝術家過往的作品中,是沒有葉子出現的。他認為,樹葉是成功的象徵,同時也覺得時候未到、尚待努力。
最後一張作品,呈現出平靜,掙脫世俗之標準,用盡所有力氣長出的新葉,期盼的是重生。
用精神上的重生,為短暫的人生留下一點紀錄。

 

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