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。

Yumi WATANABE

Yumi WATANABE
After Image of Love 愛的殘影
攝影.樹脂,10×10 cm

生於鹿兒島,目前居住在德國杜賽道夫的Yumi,
打破傳統攝影作品的框架,闡述記憶在我們內心不存在的時間感,並與大自然的演進做對比。

以創作來探索自然之間的空白,非自然的、有形的存在,無形的象徵、有機體和一些消失的狀態,透過作品尋找、拼湊物體間永恆記憶和不斷改變自然的界面。

 

Our memory remains inside of us without any sense of time,while the nature proceed with complete sense of time.I use my work to explore this void between something naturaland something unnatural, something visible and something invisible, and something living and something disappearing in order to find inter- section of our timeless memory and constantly changing nature.

                                                                                            -Yumi WATANABE

 

 

ART FUTURE 藝術未來
2019.1.18-20

賦樂旅居 Hotel Proverbs Taipei
台北市大安區大安路一段56號
Room 1107

Taiwan Color Stage Fest – Tai Hong PENG

Tai-Hong PENG1.001

Everyone in Tai-Hong PENG’s eyes has extraordinary and sacredness. He like to use the camera to brighten up the dust accumulated by the soul and show everyone’s heart and nature as a child. The objects he photographed no longer exist after one hundred years, and the images left behind will become an intangible magical reality. Each of us is a touch of dust in the universe. Everyone is finally seen. He use photography to witness the extraordinary light in the dust and show it before the eyes of the world. We can see the greatness of each life in its honor.

跌進 包德納 Bernard Bordenave Vikram 的時光隧道

IMG_4174

經由卡卡 Guillaume Cadihac的介紹, 今日一整個下午待在法國藝術家包德納的工作室。

家中佈滿了他的收藏、創作,各式各樣小巧可愛的明、清茶杯、古董老件、

藝術家于彭、朱銘的作品等等。

品了茶,吃了他做的素食點心(焦糖味道也太濃郁了),卡卡便烙跑了……

我們先從最新的創作,四月份即將在亞億藝術空間展出的『神明與現代社會』多媒體展覽

聊了一下台灣最近的宗教現象以及一些自身的見解後

包德納和我一一介紹了他的各個類型的創作。

雕塑、畫作、攝影、以及那些小古董擺件的攝影,每件構圖的背後都有它的故事和他停留的時空。

很奇妙的,我也掉入了那個時光。

當我看到水青湛藍色的木邊窗戶,那種霧面老玻璃,在開窗的時候會喀喀作響的老窗戶,

我想起學甲的爺爺家也有那樣的窗戶,窗戶邊會擺ㄧ兩隻刮鬍刀,小時候手賤拿來刮自己的臉,

以為自己跟男人一樣有鬍子,下一秒下巴被劃破流血…..

自己不知道多久沒好好細看那幢老三合院的樣子,因為我在高中後莫名的不喜歡回去的感覺。

豆花扁擔, 我懷疑我是否有經歷過這段扁擔豆花時期, 但我特別喜歡那個金屬的扁平圓形挖勺,

一片一片舀起來的豆花,加入黑糖水,有的還會丟一小片金桔。

小時候下課時間,偷偷學老師寫黑板, 甲乙丙丁,以及一筆一筆的正字記號,然後再一口氣用板擦煙滅證據。

包德納說他來台灣30幾年,等於他記錄的時代,恰恰好,我成長記憶的年代。

一下子回憶全湧進腦海,不可思議。

他說,30幾個年頭,社會轉換的好快,往往他拍的東西,10幾年後已經煙消雲散。

我又想起了以前家裡樓下的小雜貨店-榮芳號。

20元零用錢的記憶,每個星期三下午睡午覺起來,我會拿著媽媽給的20元,到雜貨店去買一瓶鋁箔包的立頓奶茶、一包牛排口味的波卡或是北海鱈魚香絲,然後帶著零食飲料們去隔壁巷子的畫畫教室上課。

後來巷口出現了7-11,漸漸的我們的消費模式慢慢的轉變, 小雜貨店經營不下去了,一個時代就這樣漸漸消失…….取而代之的是越來越多功能的便利生活,而這些微小的變遷,慢慢的從我們記憶裡淡出,而我竟然毫無察覺,而將其畫面保存下來的則是一名異鄉人。

包德納繼續從櫃子裡拿出一落落作品,印度的、尼泊爾的、中國的。

法國人眼中的亞洲、眼中的台灣是這樣子的。

我,沒有太欣賞這個自己生長的地方,也沒有太多的眷戀,而心心念念的遠赴他人的家鄉。

所謂的文化交流大概就是如此吧?

我很喜歡一整個下午的對談, 喜歡用另外一個語言去探討自己的土地的發生的變化,

喜歡聽藝術家說故事-深沉又富饒趣味。

 

 

 

 

Yu Pu Pin- SPORTSCAPE AT NIGHT

Tennis
Tennis, 36.6x65cm, Edition of 6, 2015, chromogenic colour print face-mounted on acrylic glass in artist’s frame

Night-Complete 24 Hours

Photography as a record of each aspect in our lives. Portraits, street, landscape and humanistic photography have been the subjects of outstanding photographers such as Ansel Adams, who developed the zone system to construct sophisticated black and white landscape photography, and Henri Cartier-Bresson, who captured the simultaneous flash through the decisive moment. With the transformation of photographic technology, along with advertising and magazines, the era of color photography has gradually replaced the previous black and white photography. With William Eggleston’s Guide in 1976, the era of color photography was started.

However, due to the technical limitation, photographer’s concern about the night photography is still lacking in the 21st century. In fact, human is not only active in the day time, but move and work 24 hours whole day. In the past, black and white or color photography still focus on day time activities. To freeze the people’s action at night, we need to use flash light, which restricts the application in shooting, and hinders its universality.

Human activity continued at night in 21 century . Life is full of a variety of ambient light, such as sunbeam-like soft light or complex hard light. Such lighting environments have been familiar to human eyes, but  still have a significant difference with flash lights. With technical revolution, photographers now have the opportunity to capture human activity more clearly by decisive moment at night. As a result, photographers can record human behavior for completely 24 hours, keeping the civilisation of photography still evolving.
–  Yu Pu Pin

Volleyball
Volleyball, 36.6x65cm, Edition of 6, 2015, chromogenic colour print face-mounted on acrylic glass in artist’s frame

 

夜晚-完整的24小時

攝影從發明的初始便開始紀錄了我們生活的各個層面。肖像、街頭、地景與人文攝影等都已經是過往年代每位攝影大師抓取的題材。安瑟 · 亞當斯(Ansel Adams)透過分區曝光法建構精密的黑白風景攝影,而亨利 · 卡蒂爾 · 布列松(Henri Cartier-Bresson)則是透過決定性瞬間抓取那轉瞬的靈光乍現,隨著攝影科技的轉變,伴隨著廣告與雜誌的流通,彩色徹底地扭轉了過去黑白攝影的想法,讓攝影正式走向所見即所得的時代,於是我們在1976年有了威廉 · 艾格思頓(William Eggleston)的Guide,開啓了彩色攝影的時代。

然而,攝影關注的事物卻因為科技與環境的侷限一直缺乏一個區塊。人類的活動時間不是僅有白天而已,尤其是進入全球化的21世紀,這24小時裡人們的生活方式,更是不斷的運作進行著。縱觀過去黑白紀實到持續演進的彩色攝影,仍舊將主軸放置在白天的人類活動裡,過去是因為技術性的問題,在黑夜中要清晰將人的動作定格,需要閃光燈才有可能得以實現,卻也侷限了拍攝的限制,削弱了紀實攝影的普遍性,實屬可惜。

當代人類的文明活動持續在黑夜裡竄動,生活裡充滿了各種環境光源,例如有近似日光的柔和光源,或複雜的都市硬光柵。這樣的光源環境都已經為人眼所熟悉,卻又與閃光燈所發出非自然光有著明顯區別。加上攝影科技日新月異,讓攝影師更有機會以更清晰手法對黑夜中的人類活動做出決定性瞬間的抓取。於是完整的24小時行為紀錄得以實現,讓攝影文明的時間進化軸線繼續進行。

                             -久方武

Information:
Vernissage
Vendredi 1er décembre de 18h-21h
 
Date de Expo
Samedi 2 décembre: 10h-19h
Dimanche 3 décembre : 10h-18h
 
Centre Expo Congrès 
836,Boulevard des Ecureuils, 06120 Mandelieu  
Stand C2-C3  V&E ART