Chan-Peng LO 白面者

創作自述

Artist

Statement

我一直覺得，人類存在在地球上是一件很矛盾的事，人類主宰其它的生物，將花草按照自己的喜好種植，按照自 己的意志將動物圈養起來，武斷地決定各種生物的命運及成長方式，總體來說，人類是惡的，這種邪惡甚至延伸 到了人類自身，我們發展了政治、貨幣、貿易，以及許多的道德觀或價值信仰去規範、框架自身，固然是基於保 持一種普遍地、差強人意的平衡，但什麼才是人真正探尋的價值？我想，人類之中，唯一擁有純善的結晶是人類 漫長歷史中累積的文化，然而諷刺的是，這種結晶的美，也只有人類獨享就是了，這種結晶在我看來，它們壓縮 了歷史上無數的偉大人們最純粹的一部分，有些人一生可能只堆疊了一小塊，有些人也堆置了巨大的地基，然而， 無論如何，它已經形成了一個尖錐般的、各種大小不一的結晶塊累積而成的塔，這就是人類存在在世上，五千年 來累積的最純粹的精華。

我真正期待的是，透過各種方式的鍛鍊，有一天能夠將自我中真正純粹的唯一那一塊，也小心翼翼地放置在這尖 錐的塔上，任憑它自由的跌落，我放在偉大的人們累積的塔上，未來，也有無數的天才會把他們一生所粹煉的結 晶放上來堆砌在我的成就之上，這一切化、一個統一的意志，一個整體，最終進化、純淨無瑕的光，這是我能夠 想像到在人類的惡中，我所能夠做到的善，雖然，也只是自私的人類所享用而已。

不過，這種諷刺性，雖是人類特有的矛盾，卻也是人類力量的泉源，就如同我近期對自我的評價，我作品中完美 表像的苦心孤詣，在天光初現，靈魂最清晰的時刻看來，是如此的表像，如此的遠離真正的自我，此刻我強烈地 意識到，自己距離結晶塔是多麼地遙遠，但又意識到自己或許已經找到了隱藏在靈魂深處的鎖頭，只差親手鍛造 一把貼合齒輪的鑰匙，輕輕打開，取出其中之物。

然而，這樣地執著於靈魂表層的表面薄膜，我也必須悲哀地承認，它正也是我達到多數人無法達到的境界的力量， 這所有的一切，都是不斷剔除自身雜質地必要工作，我要像螞蟻一樣，緩慢地爬過一切，逐步前往那神聖之光的 源頭，即使看來實在狼狽不堪，只要真正純粹，又有何妨，即使充滿諷刺，又有何妨。

I have been thinking that human’s existence on earth is quite contradictory. Humans manipulate other creatures, planting whatever they like and penning up animals whatever they want. They arbitrarily decide the destiny of every creature as well as how these creatures should grow up. In general, humans are evil, and the evil goes back to humans themselves. We develop politics, currencies, trade, morality, values, and religions to regulate and to frame ourselves out of the purpose to maintain a well-accepted but yet far-from-satisfying balance. However, what are the true values humans are searching for? In my opinion, the only thing good about humans is the culture accumulated and crystalized throughout history. Ironically, the crystal-like beauty is exclusively shared among humans. I believe it crystalizes the purest part of the greatest people in history. Some might pile a small block in their lives, while some build a giant foundation. No matter what, these crystalized elements in various sizes have all together formed a pyramidal tower. It is the purest essence extracted from humans’ five-thousand-year history.

I am expecting that after all kinds of practice I can finally place the purest part of me on top of the tower, handling it with care and allowing it to fall freely. I put my share on the tower of great men. In the future, numerous geniuses will put the essence of their life on my achievements, until all are integrated into a unified conviction and becoming a stainless ray of light. It is the good deed I can think of that we might accomplish among humans’ evil – although, it is another selfish reward exclusive to humans only.

Even though such an irony might be a contradiction which is unique to humans, it is also where humans’ power comes from. Like my recent self-evaluation and the painstaking effort in capturing the perfect appearance in my painting, they both seem so superficial and so distant from my true self when dawn breaks, the moment when our spirits are clearest. It is when I strongly realize how far I am away from the crystalized tower, while I also realize that I may find the lock hidden in the depth of my soul. All I need is to cast a key which is fit to the gear wheel, unlock it, and take out whatever inside.

However, my addiction to the superficial membrane in the skin of the souls makes me sadly admit that it is the power driving me to the state where most of the people cannot set a foot on. All these are necessary for continuous refinement and polish. I should work like an ant, passing through all of it, slowly toward the origin of the holy light. I might look awkward at the moment, and it might be full of contradictions, but why worries if it is pure indeed.

作品圖說 Template

白面者 - 來自霧中 Ashen Face-From the Mist 油彩、畫布 Oil on Canvas 80 x 65 cm 2014

白面者 - 重曝 Ashen Face-Multiple Exposure 油彩、畫布 Oil on Canvas 112 x 162 cm 2014

白面者 - 路西法的新娘 Ashen Face-Lucifer's Bride 油彩、畫布 Oil on Canvas 80 x 65 cm 2014

白面者 - 霧中漫遊 Ashen Face-Fog Walker 油彩、畫布 Oil on Canvas 91 x 116 cm 2013

白面者 - 金小姐 Face-Ms. Kim Ashen Face-Ms.Kim 油彩、畫布 Oil on Canvas 145 x 145 cm 2014

白面者 - 霧隱 Ashen Face-Hide in the Fog 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2013

白面者 - 蜘蛛之絲 Ashen Face-Spider Web 油彩、畫布 Oil on Canvas 162 x 97cm 2013

白面者 - 凝視的對象是你我之間 的那團空氣 Ashen Face-I am Staring at the Air between You and Me 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2013

白面者 - 對不起 Ashen Face-I am Sorry 油彩、畫布 Oil on Canvas 72.5 x 91cm 2013

白面者 - 覓路 Ashen Face-Find the Way 油彩、畫布 Oil on Canvas 91 x 116 cm 2014

白面者 - 神所取下的肋骨 Ashen Face-The Rib Taken by the LORD God 油彩、畫布 Oil on Canvas 182 x 227 cm 2013

白面者 - 黑暗靈魂 Ashen Face-Dark Soul 油彩、畫布 Oil on Canvas 65 x 80 cm 2013

白面者 - 兩種閱讀的方式 2 Ashen Face-Two Ways of Reading 2 油彩、畫布 Oil on Canvas 227 x 182 cm 2013

白面者 - 銀角 Ashen Face-Silver Horn 油彩、畫布 Oil on Canvas 91 x 116 cm 2012

白面者 - 女孩的秘密 Ashen Face-Girl's Secret 油彩、畫布 Oil on Canvas 91 x 116 cm 2012

白面者 - 關於白色的精準度 Ashen Face- The Precise Point of White 油彩、畫布 Oil on Canvas 130 x 162 cm 2012

白面者 - 帶骷髏戒指的女孩 Ashen Face-Girl with a Skull Ring 油彩、畫布 Oil on Canvas 145 x 145 cm 2012

白面者 - 遊戲 Ashen Face-The Game 油彩、畫布 Oil on Canvas 145 x 145 cm 2012

白面者 - 張果子 Ashen Face-Kelly 油彩、畫布 Oil on Canvas 91 x 116 cm 2012

白面者 - 帶骷髏戒指的女孩 2 Ashen Face-Girl with a Skull Ring2 油彩、畫布 Oil on Canvas 130 x 162 cm 2012

白面者 - 偏頭痛 Ashen Face-The Migraine 油彩、畫布 Oil on Canvas 145 x 145 cm 2012

白面者 - 雨中行者 Ashen Face-Strolling in the Rain 油彩、畫布 Oil on Canvas 90 x 117 cm 2013

白面者 - 貓一樣的少女 Ashen Face-The Cat-like Girl 油彩、畫布 Oil on Canvas 91 x 162 cm 2013

白面者 - 哀傷的精準度 Ashen Face-The Precise Point of Sorrow 油彩、畫布 Oil on Canvas 91 x 116 cm 2013

白面者 -Melancholy Ashen Face-Melancholy 油彩、畫布 Oil on Canvas 91 x 116.5 cm 2013

白面者 -6 Ashen Face-6 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2010

白面者 -8 Ashen Face-8 油彩、畫布 Oil on Canvas 91 x 116.5 cm 2011

白面者 -1 Ashen Face-1 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2010

白面者 - 雞 Ashen Face-Chicken 油彩、畫布 Oil on Canvas 162 x 130 cm 2011

白面者 -7 Ashen Face-7 油彩、畫布 Oil on Canvas 130 x 162 cm 2010

白面者 -2 Ashen Face-2 油彩、畫布 Oil on Canvas 130 x 162 cm 2010

白面者 -4 Ashen Face-4 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2010

白面者 - 台灣的孩子 Ashen Face-Children of Taiwan 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2012

白面者 - 銀雪 Ashen Face-Silver Snow 油彩、畫布 Oil on Canvas 194 x 259 cm 2012

白面者 - 憤怒的年輕人 Ashen Face-Furious Young Person 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2011

白面者 - 瞭解 Ashen Face-Understand 油彩、畫布 Oil on Canvas 72.5 x 91 cm 2011

白面者 - 台灣之歌 2 Ashen Face-The Song of Taiwan 2 油彩、畫布 Oil on Canvas 162 x 97 cm 2013

白面者 - 方嘟嘟 Ashen Face -Aiko Fang 油彩、畫布 Oil on Canvas 194 x 259 cm 2011

服 裝 設 計 師

Fashion Designer

林 國 基

Goji LIN

鄭 森 雨

Sen YU

化

妝

師

Makeup Artist

李 孟 書

Meng-Shu LEE

髮

型

師

Hair Stylist

黃 哲 隆

Anko HUANG

金屬工藝設計師

Metal Craft Designer

高 志 文

Faven KAO

模

特

兒

Model

方 嘟 嘟

Aiko FANG

模

特

兒

Model

林 經 哲

Ching-Che LIN

模

特

兒

Model

金 藝 晉

Ye Jin KIM

模

特

兒

Model

張 果 子

Kelly CHANG

模

特

兒

Model

陳 品 卉

Cora CHEN

模

特

兒

Model

陳 聖 萱

Sheng-Syuan CHEN

模

特

兒

Model

詹 晴 棻

Ching CHAN

攝

影

師

Photographer

李 天 賀

Tien-He LEE

彭 宜 凡

Evan PENG

劉 光 智

KC LIU

羅 展 鵬

Chan-Peng LO

藝

術

家

Artist

藝評論述 Statement

真實與虛置的遊戲化方式 - 關於羅展鵬藝術的視覺合成 文 馮博一

這是一個充滿混雜的碎片化時代，不知所終地帶向何方的現代化過程，使一切都變化的急速而撲朔迷離。社會是那 樣的複雜，許多邊緣都變得模糊，人的價值觀、信仰、欲望、相互間的交往、權力的運作，包括我們以為透徹的政治、 經濟關係其實都並非那麼清晰可辨；人與人之間，性別的中性化，甚至倒錯，情感的無法劃分定位，造就了我們漂 浮的無所歸期的遊離狀態。 藝術家羅展鵬的藝術創作可以視為這一時代青年生存狀態的一個視覺樣本。他繪畫作品的圖像基本上是他周圍的朋 友，而這些朋友又都是通過 Facebook 相識、交往的，她們對自我實現、提高生活品質的“後物質主義＂有著更強烈 的偏好。他將具有類似“調性＂的女孩，通過網路會議聚合在一起，以自帶行頭，化妝造型，現場拍攝等一系列過程， 構成了他藝術創作的基本方式、過程和作為他繪畫創作的主要形象來源。這樣的創作過程、呈現方式已經不能簡單 地評價說是從某種地域的、傳統的現實文化中派生出來的某種現代性，而是文化全球化、網路化的一種再現形式。 因為當下年輕人越來越多的交往、行動是通過互聯網的社交網站組織和動員的。這種以網路接受資訊後的一個隨機 反應，與以往深思熟慮後採取的行動方式完全不同。雖然，社交網站所促成的網路是分散式，邊界難以捉摸。而且， 互聯網讓我們的生活更加“碎片化＂，讓注意力更加分散，但是，這也令年輕人關注公眾話題的方式發生了根本的 轉變。他們不是依靠媒體、學者、官員等來關注公眾話題，而是靠社交網路中的朋友。互聯網能夠呈現並急速激發 情緒，善於把某種情緒彙聚與散播，年輕人參與社會活動的熱情也會很高。這種情緒化使網路上的交往既帶有真實 的成份，又具有遊戲化虛置的意味。在啟蒙時代的理性實踐有許多被隱藏的情感或情緒因素在運作，而網路交友令 理性思辨無法再隱藏情感與情緒。新型的社會化媒體和社交網站帶來了一種新型的社會關係，這種社會關係又反過 來會影響一個個獨立的個體。羅展鵬的作品恰恰以他的這種新型方式，以共同的趣味導致的這種圈子化互動的快感， 形成了眾多粉絲的趨之若鶩，並以一種超寫實的肖像，給予這個時代年輕一代生存特徵，展現了真實的寫照，也相 對應於年輕人身處這個時代個體共同的視覺與心理體驗。 在羅展鵬繪畫的圖式結構中，具有照相寫實般的具象人物和行為背景，之間有著一種真實、虛置與重構的間離效果， 呈現出一種魅惑、曲折，甚至懸疑的語境。在一種直觀而又別具一格的視角中，促成了觀者與作者之間超越現實的 相互追問與對話。所謂羅展鵬的“視覺合成＂指的是其作品更多的是以一種圖像、化妝與行為再造的一種視覺樣式， 充滿著叛逆、頹廢，以及華麗、強烈的視覺刺激，將動漫的自由表現，黑色幽默的消解的組合在一起，調成一杯滋 味難言的雞尾酒。而且置放在一種刻意追求的放任、荒誕的場景，取得最佳視覺效果為目的的表現與傳播。這種特 立獨行氣質的歸宿，以及低廉、豔俗、做作、誇張的風格，構成了他自成體系的“邪典＂的、“惡之花＂的繪畫語言。 “邪典＂指涉的是一種創作題材與情節的離奇怪誕，手法的自由放肆，風格樣式的異常，帶有強烈的個人化標示， 且富有爭議性。雖然不是主流，但往往卻會被主流所吸附，或從另類走向流行。這些作品中所反映出亞洲生態文化 的年輕人，對藝術極端個人化的選擇，其魅惑就在於那種恍惚的，對感官刺激迷戀的和勇敢而熱烈地宣洩，呈現出 癲狂般的自由和異類的趣味。她們總是用一種傷害的、悲情和宿命的眼神注視著你的觀看，將星星點點的美麗與浪 漫鑲嵌在黑暗之間，偶爾地顯露詭異的崢嶸，卻足以讓我們伴著突如其來的驚悚而被打動。由此構成了羅展鵬在這 些作品中荒誕不經的意味——貌似真實，甚至逼真；其實虛構，甚至虛構得你都找不到！這就產生了一種強烈的對 比、矛盾與懸疑，以及各種可能發生什麼的想像空間。我以為這是評介羅展鵬繪畫藝術的關鍵之處，也是判斷其作 品的起點。 同時，在以往現代性的宏偉敘事中被忽略和壓抑的日常生活趣味，卻在羅展鵬藝術創作中被賦予了不同尋常的價值。 這種日常生活體驗的再發現，尋求自我的存在價值，主導了他新的藝術創作。而這種日常生活又是以消費為中心的， 只有在消費中，個人才能彰顯個體生命的特殊性，消費行為成為個性存在的前提，個體生命的歷史和個體生命的運 行，也就被賦予了越來越大的意義。這並非是原來概念與意義的宏大主體的展開，而是一種個人生存實在經驗的描 述。這種經驗不是一種對於現實的徹底反抗，而是同現實世界的一種辯證關係中的獲得。這種走向，其實也是對當

下現實境遇的憑附，因為東方的“現代性＂對深刻的歷史悲情的超越，是通過一種與全球化相聯繫的進程來完成的。 具體而言，這些作品是將與自己日常生活密切相關的人物、景致、器物、用品即時入畫，畫中角色扮演的是各自喜 好的髮型，五花八門的服飾和不加掩飾的神情與狀態。就主題結構而言，絕非宏大敘事，而是其生活的一個組成部 分。或者說，他們是以自娛自樂的遊戲化方式來直面並呈現日常生存的願望與想像。因此，儘管他不是簡單直接地 表現現實的複雜，不過這也許反而成就了他的創作，遠離喧囂的現實使他的藝術保留了寓情的細末微節，凸現了他 和她們的質感與神秘，我們在觀看他的作品時常常會遭遇到這樣的細末微節。他是從現實的個人經驗中剪裁物質的 碎片去排遣、釋懷他的記憶、愛好和趣味。從這一點來說，他又是非常真實地表現臆想狀態下的內心世界，可謂是 一種在內心折射的抽象現實。 我以為這是一種處理現實的新方法。因為，一方面具有藝術與現實複雜想像關係的重構；另一方面是關注現實生活 的具體性，致使一種日常生活的特色開始呈現出來。所以，他表現的不僅是一種“物化＂的情感，而且具有了某種 具體的可量度的空間。這裡的消費主義已經超越了它原來的含義，消費不僅僅消費具體的物品，而且消費具有高度 虛擬性的感情和私生活世界。從某種程度上動搖了有關藝術創作的許多宏偉想像。長久以來，不僅日常生活經驗一 直被那些追求宏大命題的藝術家所輕視，而且它所表達的價值和渴求，以及它營造意義的可能性也不斷地受到質詢 和懷疑。但這恰恰從另一方面給予日常生活經驗的藝術一種存在的理由，說明它應該在藝術創作或藝術想像中佔有 一席之地。事實上，正是由於宏大的歷史敘事常常陷入一種空洞的尷尬，才賦予藝術對日常生活經驗的表達以必要 性和價值。它對日常生活中殘缺和傷痛的檢視及體察，使得現代城市生活所帶給我們的焦慮，以及由此產生的苦悶 和枯寂的不良心境被呈現出來，使之成為一個值得思考的意義範疇和思辨對象。 每一個時代所依存的文化背景、經濟狀態，決定著這一代人的思維、價值取向和行為方式，造就著存身於其中人的 不同活法。在每個時代終結或交錯之際，都有那麼一些存活著的精靈，自知而又茫然地存在於邊緣世界。他們是一 些尷尬的、不願與世俗苟同的年輕人。同時有著相同狀態的藝術創作，以各種表現形式存在著。他們無論做人還是 創作上保持著疏離的狀態，想像的同時嘗試著實驗。無論現實生活如何變遷，藝術還是要做的。雖然作為一種表達 手段在藝術創作中運用，難以界定，沒有極端，沒有具體表現什麼意義，只是一個沒著沒落的遊戲化狀態。這種自 我抑制或自我放縱的藝術轉化，觸及了一種情感上或者心理上的真實，就像孤絕的情感和自我尊重的態度。或許， 羅展鵬所強調的只是在不確定中張望著不確定的環境，而並非如以往藝術那樣只重視“確定的意義＂本身。只是這 種摩棱兩可的迷茫，著實只能是靜觀其動了。或許我們也在詢問，怎樣的社會情勢反映了他們的價值取向和審美趣 味？當然，我這裡的言論只是透露出我個人的思考、判斷，故也只是聊備一格而已。

The Gamification of Reality and Virtual Placement - A Reading of the Composite Imagery in Lo Chan Peng’s Art

by Bo-Yi FENG

This is a chaotic age of fragments. The modernization process without a destination mystifies the world where everything is changing rapidly. The society is so complicated that the border becomes vague.

Our sense of values, religion, desire, relationship, power play, or the politics and the economics which are considered to be well-understood are not clearly identifiable. Gender neutrality, gender reversal, or the uncategorized emotions in relationship make us rootless without a place to dwell in.

Chan-Peng Lo’s Art can be regarded as a visual example to present the life of the young generation.

The images in his paintings are his friends, whom he has met and acquainted on facebook. They have a strong preference for “post-materialism” of self-realization and life quality improvement. He gathers the girls of similar quality together through online meeting, asking them to take care of their costume, makeup, and accessories for photo shooting. It is the basic method and process for his art-making, while the images become the resource for his art. Such an art-making process or representation can no longer be simplified and understood as certain modernity developed from a particular area, a particular tradition, and a particular realistic culture. Instead, it is the representation of a globalized and cyberized culture. It is more and more often that the young generation organize an event or make friend with each other through social network. The random reaction after receiving online information is totally different from the action taken after a thorough consideration. Although the cyber space on social network sites is fragmentized without a clear border, and social network further “fragmentizes” our life as well as distracts our focus, it still fundamentally changes how the young generation finds their voice in public issues. They do not depend on media, scholars, or government officials, but their friends on social network sites.

Social networking can rapidly excite one’s emotions, demonstrate the emotions, concentrate on the emotions, and spread the emotions, encouraging the young generation to participate in social activities with passion. The emotion-based relationship on the Internet is not only realistic but also features a gamified sense of virtual placement. The realization of rationality in the Age of Reason is effected by the functioning emotions which are hidden beneath, while social networking makes it impossible for rational thinking to conceal emotions. The new socialized media and social network sites create a brand new social relationship, which, in turn, influences each independent individual. Chan-Peng Lo’s artworks are the perfect examples that they demonstrate a new way to capture the sensation of the small circle interaction through collective interest. While these fans crazily go after it, the artist presents the surrealistic portraits to offer a realistic visualization of the life characteristics of the young generation and to make a response to their collective visual and psychological experience.

In the imagery structure in Chan-Peng Lo’s paintings, there is an alienation effect between the figurative characters, which are almost photorealistic, and their action/background. Such an alienation effect is realistic, virtually placed, and recomposited, creating a bewitching, twisted, or even unsettled atmosphere. Based on an intuitive but yet unique perspective, the artist thus creates a two-way Q&A between viewers and the author which takes place somewhere beyond reality.

The so-called “composite imagery” in Chan-Peng Lo’s artworks is referred to a visual style in his paintings which features rebellion, decadence, and the strong splendid visual excitement – represented through images, makeup, and reenactment – to mix the free expression of comic animation and the disperse of black humor together into a hard-to-describe cocktail. Meanwhile, it is intentionally placed in a whimsical and absurd scenario, which is created particularly for the style, to present and to achieve the best visual effect. Such a cheap, garish, exaggerative, and kitsch-like style is unique to his artistic practice, establishing a “cult-like” and “les-fleurs-du-mal” sort of artistic narrative. The cult is a genre featuring weird themes, strange and absurd plots, unrestrained styles, abnormal styles, strong personal signatures, and controversy.

Although it is not the mainstream, but it is either attached to the mainstream or gaining its popularity from its alternative quality. The works reflect the subcultures of the young generation, who make extremely personal choices about art. It is fascinating because of the addiction to sensation, the trance, and the brave and passionate expression, which show the freedom with madness and the fun of being different. They always look into your gaze with their wounded, sad, and fated eyes, decorating the darkness with the beautiful and romantic stars. The bizarre brilliance is occasionally revealed, but it is enough for us to be intrigued by the unexpected shock. It is how the absurdity is formed in Lo Chan Peng’s works – it seems realistic, even real, but it is so fictitious that you cannot even find it! It thus creates a strong contradiction and suspense – a space of imagination that everything can happen. I believe it is the most crucial point to discuss Lo Chan Peng’s paintings as well as the place where we should start with.

Meanwhile, the flavor of the daily life which used to be ignored and oppressed by the modernist grand narrative is now given extraordinary values in Lo Chan Peng’s art.

The rediscovery of daily experiences and the pursuit of the values of one’s existence play a dominant role in his recent works. Consumerism becomes the center of our daily life. Only when someone purchases can he/she demonstrate the individual uniqueness of that “someone.” Consumer behavior is the premise for the existence of one’s personality. The history and the passing of an individual’s life are thus given more significance. It is not the elaboration of the original concept, the original meaning, or the grand “Subject,” but a depiction of one’s substantial life experiences. The experiences are not a radical resistance against reality, but the acquisition of a dialectical relationship with reality. The tendency is also the affiliation with reality, since the Eastern “modernity” transcends the engraved historical wounds through a process connected to globalization. To be more precise, the artist paints the characters, scenery, objects, and tools from his daily life, while the characters in his paintings wear different hairstyles and costumes which each of them favors and demonstrate an undisguised emotions and states. It does not provide a grand narrative in terms of subject or structure, but a fragment of life. It can also be said that they confront and present the wish and the imagination of their daily life through a self-entertaining game. Therefore, although he seldom visualizes the complexity of reality in a straightforward way, it becomes his artistic signature. The reality removed from the noises of the world helps maintain the exquisite details of implications and emotions, highlighting the mysterious quality of both the artist and the characters in his painting. We often encounter similar details when looking at his works. He digests, releases, and filters his memory and affection by cutting material fragments from personal real life experiences. Judged from that, he realistically expresses the inner world of his imagination as the inner reflection of the abstract reality.

I believe that it is a new way to deal with reality. First, it reconstructs the imagined relationship between art and the complicated reality. Second, it focuses on the substantiality of real life to reveal the characteristics of daily life. Therefore, he not only expresses a materialized emotion but also creates certain substantial and fathomable space. The “consumerism” mentioned here transcends its original meaning. We not only consume substantial objects but also affection and private life which are highly virtual. It somewhat shatters our grand imagination about art-making. Since long ago, the daily experiences have always been depreciated by artists who are pursuing a majestic theme and a grand narrative. What daily experiences signify and desire have been continuously questioned and challenged, so has its possibility to create meaning. However, it perfectly offers us a reason why art of daily experiences should exist and why daily experiences matter in art-making or artistic imagination. In fact, it is exactly because the grand historical narrative often risks itself of emptiness and embarrassment, the artistic visualization of daily experiences become necessary and significant. Its examination on the wounds and the damages of our daily life highlights the anxiety caused by modern life as well as the melancholic withering state of mind resulted from it, making itself a subject to be discussed and explored.

The cultural background and the economic condition of each era decide the way of thinking, the sense of values, and the behavior model of the generation, allowing people living in that era to have their own styles of living.

At the end of every era or at the beginning of a new one, some genies survive in the marginalized gray area with self-knowledge mixed with confusion.

They are some

awkward young people who do not want to follow the trend of the world.

Their artistic practice share similar

state and they exist in various expressions. As an artist or a person, each one of them remains alienated, working on their experiments with imagination.

No matter how

reality changes, art-making should not be abandoned – even though it is merely an artistic expression which is hard to be defined. It has no boundary, and it never creates any substantial meaning. It is like a game that cannot be categorized. The self-restrained or self-indulgent artistic transformation touches upon an emotional or psychological reality, like a self-alienated emotion or a self-respecting attitude. Perhaps, what Lo Chan Peng emphasizes is to look into the uncertain situation in uncertainty, instead of capturing the “verified meaning� like what art used to do. The puzzling ambiguity invites us to observe it with patience. We might ask, what kind of social reality reflects their sense of values and aesthetic taste? Of course, my words here only carry my personal thinking and judgment.

論寫實繪畫與羅展鵬 文 黃亞紀

第一問，我們如何認識繪畫？ 現在，我們認識世界的方法已經完全改變，我們透過圖鑑了解生物、透過博物館了解自然、透過搜尋引擎了解文學、 透過網路了解藝術，這似乎是一種預兆，提示著我們世界上存在著的某些自然或人文，將從世界消失而去，這是一 種預先的悼念，是一首安魂曲。 如此不再透過自己，卻透過他者媒介、透過意義詮釋才能接觸的世界，我們開始仰賴解釋、仰賴意義、說文解字， 我們不再透過眼睛或身體觀看，不再透過感覺領悟。至於繪畫，我相信我們也面對同樣問題，數位帶領我們穿越時 空限制，自古至今、由東至西、我們可以看盡所有藝術的可能，緊接著解釋、理論爭相揭示繪畫的新意，有說政治、 也有說解構，但是我們反而變得無法理解什麼是單純的一幅好畫。 因此，我的第一論（問）就是，現在的我們究竟如何認識繪畫？比起探究何謂「代表這個時代的繪畫」，我必須先 對繪畫、對作為觀者的你我、以及對作為創作者的藝術家，提出這個疑問。 第二問，我們如何認識寫實繪畫？ 寫實，是一個模糊且充滿矛盾的現代詞彙。攝影中，寫實攝影被歸結為真實拍攝社會情狀，特別是因此揭露社會灰 暗慘痛的報導作品，它們被當代攝影歌頌者稱為上個世紀的亡魂。繪畫中，寫實繪畫被認為是精雕細琢的描寫，特 別是對於已過時的美的再現，它們被當代藝術信徒評為技巧的過剩與觀念的欠如，甚被視為取悅市場的東西。無論 如何，這些針對寫實主義的評價，其實都只描述藝術作品的寫實形式，卻無法提出藝術家與寫實形式之間的關係， 更無法解釋藝術家選擇寫實主義的原因。不過，如文首所述，若我們正在失去親身體驗真實的經驗，那我們又該如 何認識寫實繪畫呢？藝術家與寫實繪畫之間的關係為何呢？ 照相寫實 寫實繪畫所根據的現實必來自觀察的技術，技術的改變絕對引導藝術家風格上的演進。攝影評論家飯澤耕太郎曾說 過發人省思的一段話，「大家都悼念底片的消失、反對數位的興起，但我們現在也沒有人在使用攝影發明之初所使 用的技法。」從肉眼到暗箱，從暗箱到數位。事實上，我認為照相寫實是一個充滿矛盾，且完全無法描述藝術家關 於藝術的實踐的詞彙──雖然大眾已習慣將所有可類比於照片的繪畫稱為照相寫實。 我對當下創作者使用數位技術沒有任何質疑，因為這就是我們所認識的真實，尤其對羅展鵬如此年輕世代的藝術家 而言，存活攝影、影像、時尚的完全充斥，遠遠是一個超越海德格論中的世界圖像時代。羅展鵬在攝影棚中讓模特兒、 化妝師擺造心中形象，然後以電腦數位處理成為繪畫的參考底稿，這樣的「製作（Production）」幾乎是一個必然 的結果。我認為比起過去的照相寫實型態，羅展鵬的「製作」讓藝術家參與整個真實的再創造過程，意即不再是一 種距離的旁觀，而是身處其中。 藝術家的體驗不僅限於觀看，也包括知覺。我想起笛卡爾曾如此論及十七、十八世紀的暗箱時代繪畫：「知覺，也 就是我們用以感知的動作，並不是視覺作用……而完全只是心靈所作的檢視。」笛卡爾認為人並非由視覺認識世界， 而是「獨特地以心靈的知覺」認識世界，而認識外在世界的一個前提條件，就是將自我置於空無一物的內部空間 ──暗箱的空間：封閉、黑暗、與外界隔離。這難道不是與現代的攝影棚、電腦的空間感也有所相似嗎？也就是說 外界不應該是透過直接的感官檢視，而應該是以心靈查看房間裡「清晰明白」的再現物，即只有將內外的主體和外 部世界加以區隔，才有能力認識真實的外部世界。 羅展鵬向我提到他近來觀看安東尼奧 • 羅培茲（Antonio L'opez）展覽的感想，「羅培茲在西班牙的回顧展相當程 度地影響了我。由創作的觀點來說，當我看到他的作品，我立即想像出一個老頭子每天下午一到固定時間，就拿杯

咖啡坐到陽台上畫畫的畫面，日復一日、年復一年。……真正感動我的是，這種面對生命及面對繪畫的狀態，我認 為年復一年的做某件事，到達某個階段，就像是三萬小時的訓練才能達成某種的成就的法則一般。超過十年的重複 動作，會讓畫家對於身處的環境，達到協調般的理解，也就是說，對於顏料廠牌的特性、油的黏稠度、空氣中的濕度、 季節的變化、筆毛的彎曲度、顏料乾燥的時間，都會到達如同呼吸一般自然，而且都處在藝術家的意識控制之下。 在這種境界下的畫家，就有可能讓作品跟作者是一模一樣的性格，人就是畫，畫就是人。也就是說，只有用我自己 的手做出來的作品才能如此直接地、完整地傳遞我生命中的一個部分到畫布裡。……通常我都很欣賞這樣的藝術家， 因為我自己追求的也是到達這樣的境界。」 這段話印證了羅展鵬與寫實繪畫的關係，並不如一般人認為寫實繪畫的目的，是透視覺的直接檢視、技巧性的再現， 來傳達外部世界的輪廓，寫實繪畫的最終「寫實」，是為了達到繪畫與藝術家的合而為一，再現藝術家「獨特地以 心靈的知覺」認識的世界，也就是說，寫實繪畫的最終寫實對象，事實上是「藝術家本人」。 羅展鵬繼續說到，「就是達到畫筆等於手指、顏料等於血肉、作品等於自身的一種狀態。既然作品跟人一樣，那麼 也無所謂東方、西方，純粹是每個人對於生命、價值觀、性格上的差異而已。」，「至於流派、主義等等的邏輯， 對我來說都是附加的，我不太去在乎這些，因為若太去在乎，會讓我對於周遭環境的感知劃上界限，但是，創作是 要不斷地隨著我自身的成長而變動，是無法有界限的。」 這使我想起今年四月份我在紐約畫廊觀看保羅 • 麥卡錫（Paul McCarthy）個展，麥卡錫由模特兒身上取下鑄模 直接，製作帶有毛髮、皮膚質感的鉑金矽膠人偶。以假亂真。儘管麥卡錫衝突的就是真實與再現的極限，但這樣的 寫實過程是完全的「包覆」，完全去除了藝術家個人的血肉與狀態，只留下對象的血肉與輪廓。對於羅展鵬這樣一 名年輕藝術家而言，他已理解寫實繪畫與自己的關係，也已確立超越寫實兩字背後，關於畫家與繪畫之間最根本的 關係，他選擇的路徑可能是最為艱難的──正如他已領悟，一旦仰賴起任何流派、主義、主題、引用，一旦象徵與 意義超越他與繪畫之間的平衡，一道界線將會被牽引出來：無論是對於他的創作、或是對於觀者如何看待他的創作。 一如海德格所言：「什麼是藝術？這應從作品那裡獲得答案。什麼是作品，我們只能從藝術的本質那裡獲知。任何 人都能覺察到，我們這是在繞圈子。」理性與邏輯教導我們要避免這樣的圈子，但若藝術缺少這份無法辯證，將會 是多麼理所當然。從〈草莓族〉到〈白面者〉，羅展鵬已朝著他與藝術之間最單純的關係、最不需解析的繪畫本質 前進，而這層關係必須更加精鍊，同時更加加深對繪畫本質的探索，最後不但將呈現藝術家的內面，也將能自然而 然完成代表這個時代的繪畫。

Realistic Painting and Lo Chan Peng

by Yaji HUANG

Question One: How Do We Know about Painting?

Nowadays, the way we understand the world has completely changed. We learn about creatures through illustrated handbooks; we learn about Nature in museums; we learn about literature with the help of search engines; we learn about art on the Internet. It is like a prophecy that some ideas about Nature or humanity which we once knew about are leaving us for good. It is the mourning in anticipation of the loss, with a requiem as its background music.

Therefore, we no longer get in touch the world through ourselves but through third party media as well as references. We start to depend on definitions, the meanings of words, rather than our senses such as bodies and eyes. I believe that we are facing the same problem when it comes to painting. In a digital world, we travel beyond space and time. From the ancient day to the present time, from the East to the West, we can savor all possibilities of art, and then we are eager to interpret, to discuss, to reveal, and to provide a new definition of painting. We talk about ideas like politics or deconstructionism, but we no longer see what simply makes a good painting.

Therefore, my first question is how we should learn about art now. Instead of discussing “the paintings of the age,” I need to raise this question to painting, to viewers (which include you and me), and to artists.

Question Two: How Do We Know about Realistic Painting?

Realism is a modern term with ambiguity and contradiction. In photography, documentary photography is categorized as a genre to capture the social reality, especially the photojournalistic works which reveal the darkest, the most tragic, and the most miserable scenes of a society. It is regarded as the ghost from the last Century by modern photography’s advocates. In painting, realistic painting is always referred to a detailed depiction, particularly the revisualization of the outdated beauty. For the supporters of contemporary art, realism shows off skills and is short of concepts. Some even believe that realism should be one of the best forms to win the favor of the market. No matter what, all these judgments on realism as mentioned above only touch upon the realistic form of an artwork instead of the relationship between an artist and the realistic form, not to mention the reason why artists choose realism.

However, as mentioned in the beginning of the article, how can we know about realistic painting if we are gradually deprived of our experiences of reality? Furthermore, what is the relationship between artists and realistic painting?

Photorealism The “reality” in realistic painting bases on the observation skill. Changes of techniques definitely influence the progress of an artist’s style. Iizawa Kotaro, a Japanese photography critic, has once mentioned that “everyone mourns the death of photographic film and opposes digital photography, but none of us is

still using the most primitive technique when photography was just invented.” It is a journey from the naked eyes to camera obscura, and from camera obscura to digital photography. In fact, I think that photorealism is a selfcontradictory term which cannot describe artists’ artistic practice at all – although it has been a well-accepted fact that photo-like paintings are considered “photorealistic.”

I am not questioning contemporary artists for adopting digital technique because it is the reality we know. A young artist like Lo Chan Peng is no exception, since we survived in a world filled with photos, video, and fashion in a world that Martin Heidegger could never imagine in his “age of world picture.” In the photo studio, Lo Chan Peng lets models and makeup designers hold a pose, based on the images in their minds, and digitally processes the images on his computer to create reference sketches for paintings. The “production” process of his art seems to be an inevitable result. In my opinion, compared with the conventional photorealist style, Lo Chan Peng’s “production” allows the artist to participate in the whole process of “reality reenactment.” The artist is involved in it, instead of observing it from a step away.

Artists’ experience is not limited to seeing but also perceiving. I think of how René Descartes talks about paintings in the age of camera obscura in the Seventeenth and Eighteenth Century: “perception, the action of how we perceive, is not visual… but the exploration of one’s mind.” Descartes believes that humans do not know the world through visuality, but through “the unique perception of one’s mind.” The basic premise to explore the external world is to place oneself in an inner space with nothing inside – the dark chamber: enclosed, dark, and isolated from the outside. Is it not similar to the photo studios or computer programs nowadays? It shows that the external world is not being visualized through direct senses.

Instead, only when we use our minds to get a clear picture of the room and separate the Subject in the inner world from the external world can we really know the real world outside.

Chan Peng Lo has once told me about what he thinks of Antonio López’s recent exhibition: Antonio López’s retrospective exhibition in Spain has significantly influenced me. In terms of art-making, every time when I see his works, I imagine an old man bringing a cup of coffee to the balcony and starting to paint every afternoon, exactly at the same hour, from day to day, from year to year… What really touches me is how he faces life and painting. I believe that when you have repetitively practiced for years, you will reach certain state as if you completed thirteen thousand hours of training to accomplish something. Repeating the action for more ten years allows painters to know more about the surroundings and become in accordance with it. To be more precise, painters get to know the different qualities of various paint brands, the viscosities of oil paint, the humidity in the air, the seasonal changes, the curves of brushes, or the time for the paint to dry, like they know how to breathe, and everything is under artists’ control with consciousness. For painters who have already reached the state, their artworks may share the same personality of the authors. They are what they paint, and they paint what they are. In other words, only those works created by these hands of mine can directly and completely transfer a part of my life onto the canvas… These artists are usually the ones I admire, because it is the state I am trying to achieve.

The passage above verifies that Lo Chan Peng’s relationship with realistic painting is more internal rather than external. Most of the people believe that the purpose of realistic painting is to represent the appearance of the external world through visual examination and artistic skills. However, Lo argues that the ultimate “realism” in realistic painting is to bring artists and paintings into harmony, revisualizing the world known by artists through “the unique perception of one’s mind.” It means that the real target of realistic painting is “artists.”

Lo Chan Peng then goes on his argument: Painting brushes become your fingers; paint becomes blood and flesh; artworks become the self. Since an artwork is equated with a person, it is meaningless to define it as Eastern of Western. The differences are merely the result of one’s life, sense of values, and personality… Concepts, theories, or art movements are supplementary for me. I do not care much about these ideas. If I did, I would set a limitation to my perception of the surroundings. However, artmaking needs to adjust itself anytime with my self-transformation. A boundary won’t work.

It reminds me of this April when I went to Paul McCarthy’s solo exhibition at a gallery in New York, McCarthy creates platinum silicone casts of models, perfectly copying the skin tone and the body hair of the real persons. One can hardly distinguish between artificial and real. Although McCarthy challenges the extreme of reality and representation, the production process to copy the realistic images is completely “wrapping and covering.” It absolutely removes artists’ flesh and state of mind, while the

only thing remains is the flesh and the appearance of painting objects. For a young artist like Lo Chan Peng, he has been well aware of the relationship between realistic painting and himself. He has also established the most fundamental relationship between painters and paintings – which is beyond the so-called realism. He might choose the most difficult path, but he has already foreseen it. Once he bases his artistic practice on any movement, school, appropriation, and subject, or, once symbolic meaning trumps the balance between painting and the young artist, a boundary will be drawn: no matter it is about his artworks, or how viewers see his artworks.

“What is art? Art is real in the artwork. What is artwork? We can only find the answer in the essence of art. Anyone can perceive that we are running in circles. ” says Martin Heidegger. Reasons and logics teach us to avoid circles like this. However, without a dialectical relationship, art loses its surprises. From Strawberry Generation to Ashen Face, Lo Chan Peng is working toward the true essence of painting, which requires no interpretation, and the purest relationship between art and himself. The relationship needs to be further polished, as the artist needs to further explore the essence of painting. Ultimately, he not only visualizes the inner side of the artist but also brings “the paintings of the age” into existence.

來自黑暗的幽微之光 - 從羅展鵬「白面者」系列談當代圖像書寫的變貌 文 賴駿杰

看：每樣東西都泛溢出它的邊界、輪廓、範疇，泛溢出它的名稱。 ----John Berger 黑盒子與發光體 羅展鵬向來以寫實技巧為人熟知，過去他以「草莓族」系列作品開始受到矚目，草莓族之後，我們可以觀察到一些 對類似題材感興趣的年輕藝術家，多少帶有點羅展鵬的味道，在內容上，他習慣使用的扮裝導演式舞台場景，以及 時下流行的大眼正妹、輕柔草食男等，成為許多人筆下的共同內容。他的畫作經常被罩染以似乎不處於人間的、幽 暗的、隱微的粉紫色調，然而，卻沒有多少人真正能揣摩出那彷彿動作凝結的表面效果，那才是真正帶有魔幻力量 的原因。 沿續至今，羅展鵬的「白面者」系列，除了描寫技巧的愈加成熟，以及構圖、模特兒氣質的掌握更加準確外，畫面 空間的氣氛更是被突顯出來而投映於觀者的眼睛。這裡所謂的投映，不是一種虛幻、不切實際的用詞，而是我想藉 此比擬為影像投影的「投映力」（projectile）：那是一個觀者眼睛與其畫中人賴以對望的「虛擬裝置」，如同一個 劇院，在之中，觀者被全部投入目光的交換。 宣稱繪畫作品能擁有劇院、發光體與黑盒子的「沉浸」（immersion）體驗，或許被以為言過其實，但就圖像自現 代主義藝術以降與動態影像縈縈纏繞的系譜脈絡，以及當代繪畫本身所追求的自身之「滿溢」（superfluous）這項 任務而言，我認為這樣的類比是可行的；更何況兩者都企圖攫取觀者全神的注視經驗。具體言之，當我在注視羅展 鵬的畫作時，因為也接收了當時（某種程度而言，現在也是）受到卡漫風潮論述的流行，自然也帶著所謂「扁平」 的知識加以觀看，事實上，他的畫作確實受到日本卡漫（特別是「繪畫性」的線條表現）影響很深，但那並不表現 在於他畫面獨有的「扁平」。他的扁平更多地是來自於當代視像機器的影響，一種視覺空間的濃縮（不是壓縮）， 筆下人物彷彿存活在畫布所承載的「薄膜」中，透過內部迸射的光而表現出情緒的凝動、生命的存在。 只消回頭想想過去劇院給人們所帶來之「看不見」的絕妙體驗，或許更能理解這樣的畫面效果，1970 年由 Peter Kubelka 所設計的 Invisible Cinema 透過影像前置、投映、音響、全黑一片的空間之「不可見」，消解了觀者的存 在感，而有了所謂的沉浸體驗之論述。經典闡述則來自於 Jean Goudal，他的說法也被認為影響了後來人們對於 70 年代 Invisible Cinema 的詮釋：讓我們走進一個電影膠片於黑暗中低沈顫動作響的劇院。一進入，我們的凝視被 發光線導引至那將持續緊密結合達兩小時的螢幕上……我們的問題蒸發了，我們的鄰座消失了。我們的身體自身奉 給了一種暫時的「去個人化」（depersonalization），它帶走身體自身存在的感覺。我們只是被牢釘在十平方公尺 大小的白色帆布上的兩隻眼睛。……觀眾席的黑暗摧毀那可能使觀者牴觸螢幕的對於真實影像之抵抗。 圖像的轉逸╱譯空間——在表面之中 隨著電影進入前衛藝術的論域與博物館展示的脈絡，我們越來越強調影片本身的物質性，「looking at rather than looking through」的觀念於是被標舉，對動態影像的討論開始由所謂「不可見性」（invisibility）到「可見性」 （visibility）。我要說的是，正是這種對於螢幕自身的關注，才是當代「平面」繪畫可能生產豐饒意義之所在。誠如 Eric de Bruyn 所爭論，「觀者被傳送到另一個世界，只是這世界與那受制於觀者之批判性判斷的影片自身相同」。 意即，影片自身（在此指的是屏幕）一方面受制於觀者，卻也掌握了觀者對於它的理解。這樣的雙生弔詭（twin paradoxes）現象，藝評人 Anne Friedberg 認為它被體現於當觀者面對螢幕時所表現的「移動性╱非移動性」與 「物質性╱非物質性」。而我認為，此謂雙生弔詭中所帶出的主體交換、目光流動與畫布表面空間及劇院影像效果 空間之轉移，也是羅展鵬畫作中的關鍵點；特別是在新作「白面者」系列裡，總體的空間調性與近乎發亮的銀白色 屏幕，不正是將我們拉進一個黑色的世界？ 黑盒子所建構的新藝術類型——電影，自然地指向了典範的建構，而其所承襲的遺產，很大一部分來自於影像與圖 像之間的內在連結；繪畫與電影之間的親屬類比，從藝術史論述的脈絡來看，則有一條沿襲自維也納學派藝術史學 者 Alois Riegl 的軸線，他從視覺形式的研究中，拉取出其特有的形式主義路徑，視角集中於藝術史中圖像的「空間」 流變：其借用自早期藝術史學者 Adolf von Hildebrand 的概念，提煉出觸覺性（tactility）與視覺性（opticality） 的光譜，以及所謂「藝術意志」（Kunstwollen）的關鍵概念。大抵而言，藝術意志啟發了風格分析學派，而觸覺 性觀看與視覺性觀看之間的相對性空間，則使後繼的圖像學研究有了更靈活的可能。 所謂「觸覺的」圖像，以及「視覺的」，觀者如我們或許已然熟悉，但今日重提其概念所延展出的感官光譜，對於 理解羅展鵬的「平面」繪畫有很重要的提示作用，特別是我認為其畫作的動情力（affection）之來源，在於鏡頭╱ 觀者眼睛、攝像╱鏡像，以及清晰可觸與魔魅靈光的兩種並存空間中的連綿辯證與翻轉。圖像中觀看的流轉空間之 所以重要，在於被描繪的客體永遠不可能等於於客體自身，這距離不僅來自於所謂本真性（authenticity）的距離， 也來自於觀看主體與作品之間的距離。

不可說與不可讀——肖像中樣貌的即顯 Angela Dalle Vacche 在一篇談論電影理論與藝術史理論的導論中，認為班雅明的靈光概念承襲自 Alois Riegl 之 觸覺性與視覺性的區分，靈光相對於所謂觸覺性或特寫觀看（close-up view），它指的是「一個距離的獨特氛圍」， 其召喚的是一個獨有的介於觀者與作品之間、一對一的「互補式沉浸」（complementary immersion）。論者對 班雅明靈光論的批評，多半在於靈光總是只能被少數菁英所理解與傳遞，它並且有著過於獨有、不可再現的特質； 就我對於羅展鵬繪畫的觀看經驗而言，這也是其作品「不可讀」的原因之一。另外，沒有故事性、沒有邏輯，甚至 可能無個性（被畫者）的主角，很多時候也是臉部特寫，也從來不提供任何可以被觀者知識所理解的內容；不可讀， 同時也意謂著無法言說——所以我們只能不斷逼視。 進一步言之，這也是所謂視覺可讀性，與可見性同樣不可靠的關鍵。電影理論學者 Jacques Amount 在一篇談電 影中臉部特寫的文章中，就開門見山地指出：宣稱一個客體是可見的僅僅是曖昧的宣稱。可見的可能是純粹的顯像 主宰於其中之無為的領域，是持續未被建構完成的，它先於加諸（被觀看的）客體之上的知覺行動之智能。而這知識， 以及意識的一面，也是感覺的另一面。 其所言之純粹的顯像，指的是「樣貌的即顯」（immediacy of appearance），它不需要符號的覆蓋；不同於劇 場裡那精心配置的多面具之角色扮演，電影中的臉（Amount 稱其為 the classical face）是立即的、有機的、反 符號與反語言的。意思是，其可見不需要被闡述與說明，「這可見者源自於其自身，它不需要為了存在而說話，或 使其顯現被知道」。這可見性的反轉與詭譎，基本上也只有在「臉」（作為身體的一部分）成為肖像的精神來源才 有意義；被繪者與其自身的疏離、肖像與被繪者之間「貌似」的游離空間，以及觀者對於被繪者性格的期待與其自 身之間的距離等衝突性空間，都是圖像意義層次翻轉的所在。在這層意義上，羅展鵬的白面者系列繪作，與過去草 莓族系列最大的不同在於，它去除了更多符號的、語言的外在框架，從扮套的角色圖譜，真正地轉移至流動的空間： 那不是一種扮裝，畫中人並非為了扮演誰，而是「在其自身的有限中演出」（play “within his limits”）。 寫實之外——變動的面容 Angela Dalle Vacche 認為肖像的理想遊走於「可被捕獲的相似與總是逃逸的個性」之間，而電影理論所證明與 定義的是，寓居於表面的臉之意義所在，總是處於移動中。某種程度而言，繪畫總是理所當然地被認為致力於捕捉 時間的凝結之瞬間，然而，我們如何能在一個根本不可能存於任何一個瞬間的面容中，感受情感的渲染與交換？我 的意思是，正因為如此，或許我們應該將羅展鵬的人物畫視為可被類比於電影影像那持續變動的造形，而不僅是人 物角色的靈光撂取。 這樣的概念一方面顯示出當代圖像史（亦即我們說的繪畫已死之後）的建構，某部分也產生了一種內在的崩解，這 也是我們從事平面影像研究與生產者正面臨的困境：我們根本不可能抓取那消逝的本質，那麼，我們要的是什麼？ 當藝術批評面對這些可能（被相信）靜止的圖像時，如何能產生積極能動的意義，或許值得我們思考。這部份的思 考，我認為也可以從電影史的書寫困境來做反思。電影學者 Paolo Cherchi Usai 精闢地點出電影史存在的弔詭狀 態，他說：在影片的製作過程中，或許還可能設想它實際存在的模樣。不妨把這個假想的狀況定義為潛在影像（the potential image）。一旦放映，影片便開始遭受影像的物理衰亡，而完美的記憶也就開始遺失，這就產生了電影 的歷史。 那不可捕捉與再現的徒勞努力，真正書寫了歷史，對我而言，繪畫何嘗不是如此？所以我們只能不斷地朝向那消逝 在精神層面的完美記憶，改造自身的雙眼，帶上足以看錯╱錯看的眼鏡，才可能看到表面以外的事物；而我相信， 那永遠都是影像所吸引我們的地方。 最後，既然重點不是在於相似（神似），那他的繪畫還可以被稱為「寫實」嗎？神似，僅止於其感官圖繪的其中一 個節點而已，藝術家在這裡給了其作品配置觀者目光的機會，我們總是對其作品投射以它們對觀者所意圖召喚者。 若我們稱之為「寫實之外」呢？我們並無法即刻將其歸於任一新的藝術類型，所謂外於寫實，毋寧將其視為寫實主 義藝術的變種，能否無需依賴其內在的父母，則需留待時間來說明。進一步推之，問題就會從技巧與神似（包括個 性的捕捉）等外圍層次，來到了圖像的內在欲望：它到底對我們索求了什麼？當我們凝視著其畫中人物的雙眼時， 不是你肯認、指認了他╱她，而是他╱她主動地跟你確認了你們之間那一對一的關係；它成為一個主動的發光體， 向觀者投映了主動的目光。然而，在這樣的流動空間裡，成就發光體的條件在於黑色空間裡的邊緣性體驗，它不是 全然暗穢無彩的，所以它能夠被看見；它不是被觀者目光所瞄準的中心，而是一道流洩的光。

A Spark of Light from the Dark – A Discussion on the Transformation of Contemporary Imagery in Chan Peng LO’s Ashen Face Series

by Chun-Chieh LAI To look: at everything which overflows the outline, the contour, the category, the name of what is.

--John Berger Black Box and Luminary Lo Chan Peng is best known for his figurative painting skill. From Strawberry Generation Series, people started noticing this young artist and paying attention to his artistic talent. After the series, we see many young artists who are interested in the similar form or subject show a slight touch of Lo’s style in their works. The staged scene which is commonly seen in Lo’s paintings, big-eyed girls in fashion, and the harmless men become the favorite subjects of many other young artists. The imagery in pink purple create an ambiguous and mysterious world which seems different from the real one we are living in.

However, not many people can figure out that the real magic comes from the surface of the frozen movement.

In his recent works of Strawberry Generation Series, Lo shows improved skills in composition and depiction, while he perfectly captures the aura of his models. Moreover, he cleverly highlights the atmosphere of the space in the paintings and has it reflected in viewers’ eyes. The reflection here is not an illusionary and unrealistic term, but a comparison to the “projectile” of video projection. It is a virtual device for viewers and the model in the painting to look into each other’s eyes, like how viewers throw themselves into the exchange of gaze in a cinema.

It seems exaggerative to claim that painting offers “immersive experiences” like a cinema, a luminary, or a black box. However, based on the context of how moving images have gradually surrounded everywhere since the birth of Modernism and how contemporary painting attempts to pursue its “superfluousness,” the analogy works for me. Moreover, both of them intend to catch viewers’ undisturbed attention. Specifically speaking, when I first saw Lo Chan Peng’s paintings, I had already had some knowledge of comic-animation studies which was very influential during the time (and it is still influential in some way) so I associated his works with my understanding of “flat.” In fact, Japanese comic-animation indeed has a great influence on his paintings (especially on the contours), but it is not why he creates the unique “flat” of his images. The “flat” in his painting is more likely to come from the influence of contemporary visual machine, which condenses (not compresses) the visual space and allows figures to live in the “membrane” of the canvas with the reflected light inside to express the existence of life and the flow of emotions.

Thinking of the wonderful experiences of “invisibility” in cinema, we might have a better understanding of the visual effect. In 1970, Invisible Cinema, which was designed by Peter Kubelka, created a dark space of “invisibility” by using video processing, projection, and amplifiers to dissolve viewers’ sense of existence. The studies of immersive experience started from here. The key argument came from Jean Goudal, whose study was believed to influence the interpretation of Invisible Cinema in the 1970s: Let’s go into a cinema where the perforated celluloid is purring in the darkness. On entering, our gaze is guided by the luminous ray to the screen where for two hours it will remain fixed… Our problems evaporate, our neighbors disappear. Our body itself submits to a sort of temporary depersonalization which takes away the feeling of its own existence. We are nothing but two eyes riveted to ten square meters of white sheet…

The darkness of the auditorium destroys the rivalry of real images that would contradict the ones on the screen1.

The Trans-formation/interpretation of Imagery – Within the Surface As movie gets involved in the context of avant-garde studies and museum exhibitions, we put more emphasis on the materiality of film itself by highlighting the concept of “looking at rather than looking through.” It is when the discussion about moving images switches from “invisibility” to “visibility.” My point is that it is the emphasis on screen allowing contemporary “flat” painting to enrich the meaning.

1.

The passage is not the original words by Eric de Bruyn, but translated by the English translator.

As how Eric de Bruyn argues, “viewers are transmitted into another world, but the world is the same with the one in the film subject to viewers’ critical judgment. ” In other words, the film itself (which means the screen) is on one hand subject to viewers but on the other hands manipulates viewers’ understanding of it. Art critic Anne Friedberg believes that the twin paradoxes are embodied in the contradiction between “movability” and “immobility” as well as “materiality” and “immateriality” when viewers confront the screen. In my opinion, the twin paradoxes create subject exchange, flow of gaze, and the transition between the space of the canvas’ surface and the space of cinema’s visual effect, which become the core concept of Lo’s paintings. The perfect example is the recent works of Ashen Face Series. Aren’t the atmosphere of the whole space and the shining silver screen pulling us into a world of darkness?

Movie, a new art genre built in the black box, naturally becomes a paragon, while its heritage mainly comes from the internal connection between video and image.

From the perspective of art history, the affinity between painting and movie can be examined on the basis of Alois Riegl’s theory. The Austrian art historian, who is considered a member of the Vienna School of Art History, extracts a particular narrative of formalism from his studies of visual forms and switches the focus onto the transformation of “space” in the images throughout the art history. He borrows the idea of Adolf von Hildebrand, an early art historian, to establish a spectrum of tactility and opticality, while he also brings up the core concept of Kunstwollen (artistic will). In general, Kunstwollen inspires the development of “formal analysis”. The space between “tactile viewing” and “optical viewing” provides greater possibilities for future studies in iconology.

Viewers may be as familiar as we with the so-called “tactile images” and “optical images,” but the sensory spectrum extended from our reexamination on Riegl’s concept offers us some crucial clues to interpret Lo’s “flat” painting. Particularly, I believe the affection of his paintings originates from the continuous dialectic and reversals between kino-eye and viewers’ eyes, the photographed and the mirror image, as well as the touchable clarity and the mysterious aura which exist in the same space-time. The transition space in images is so important for viewing because the depicted object will never be equal to the object itself. It is not merely the distance from authenticity, but also the distance between viewers’ subjectivity and the works.

The Inexplicable and the Unreadable – the Immediacy of Appearance in Portraits In an introductory article on film theory and art history/theory, Angela Dalle Vacche writes about how Walter Benjamin’s idea of “aura” has been developed from Alois Riegl’s differentiation between tactility and opticality. “Aura,” compared with tactility or close-up view, is referred to “a unique atmosphere within certain distance” as it evokes the one-to-one “complementary immersion” which is exclusively between viewers and artworks. Vacche further criticizes Benjamin’s concept of “aura” for that “aura” usually can only be understood and communicated by a small group elite. It is exclusive and ephemeral.

According to my experiences of viewing Lo’s paintings, it is also one of the reasons why these paintings are “unreadable.” Additionally, neither storyline nor characters (of personalities) are provided and we see no logics in these paintings. Most of them are merely close-up portraits of their faces while viewers are given no knowledge for further interpretation. Unreadability means inexplicability – so we can only push our visual perception to the extreme.

Furthermore, it is what makes visual readability as unreliable as visibility. Film scholar Jacques Amount has once stated in an article on close-up shots in movies:

The claim that an object is visible only is an

ambiguous claim. The visible would be that inert realm, still unconstructed, in which pure appearances reign, predating the intelligence that the act of perception imposes on them. But this side of the intellect, of the conscious, is also the other side of sense.

The “pure appearances” in Amount’s words mean “the immediacy of appearance.” Since it does not require coverage of symbols, unlike an actor who has to put on various masks to play different roles in theatre, “faces” (“the classical face” as how Amount puts it) are immediate, organic, anti-symbolic, and anti-linguistic. In other words, its visibility needs no further explanation for that “the visible comes from the self, and it does not need to speak in order to verify or to reveal its existence.” The reversal and the paradox of visibility are only meaningful when “face” (as a part of body) becomes the spiritual origin of portraits; there is an ambiguous area between the depicted and their own alienation, between the portrait and its similarity with the depicted, or, between viewers and how they anticipate the personality of the depicted. The meanings of the imagery are reversed here. It is the biggest difference between Lo’s Ashen Face Series and Strawberry Generation Series for that it is released from the frame of symbols and languages. It is no longer about fitting-in characters or embodiment. There is no role-playing in the paintings, and the images are transmitted in a space of mobility to “play within his limits.”

Beyond Realism – the Chancing Face Angela Dalle Vacche believes that an ideal portrait should work between “the similarity which can be captured and the personality which has always escaped.” The film theory verifies and defines that the meaning of face, which exists in the appearance, is always on the move. To some degree, painting has always been considered to be the best way to capture the movement and to freeze the time. However, how can we exchange or savor our feelings through a face which never exists at any moment? Therefore, I am arguing that it is why we should think of Lo’s portraits as the moving images in films which continuously transform rather than capturing the aura of the figures.

On the one hand, the concept shows how the history of contemporary iconology (after the socalled “the death of painting”) is constructed. Meanwhile, it creates some inner collapse, which happens to be the challenge we – as scholars, researchers, or creators of two-dimensional images – are facing at the moment: since it is impossible for us to catch the dying essence, what do we exactly want? When art critics are dealing with these still images (or images which are considered to be still), how can they create positive and motivated meanings? These are the questions to be explored.

I believe that the difficult situation in the studies of film history might provide us some reflection.

Film scholar Paolo Cherchi Usai clearly points out the paradoxical existence of film history: When making a film, perhaps we can foresee what it will be like. We shall define our imagination as the potential image. Once the film is shown on the big screen, it witnesses the physical decline of the image and we are losing the perfect memory. It is how the history of cinema has been created.2 The lost labor for those which can neither be captured nor represented is where the history is based upon. For me, painting is the same. Therefore, we can only keep focusing on the perfect memory which has disappeared in the spiritual sphere. Only when we change the way of seeing with glasses which allow us to make mistake can we see something beyond the appearance. I believe it will always be the reason why images are attractive.

In the end, since the point of the discussion is not about similarity, can we still think of his paintings as realistic? “Similarity” only plays a small role when we depict what we perceive. The artist here offers his paintings a chance to adjust viewers’ gaze. A painting always attempts to evoke viewers’ feelings, and we always project its evocation back to the painting. What if we call his painting “beyond realism?”

We cannot categorize it as any new art genre. It is more like a variation of realism rather than “beyondrealism,” but it takes time to prove whether it can be independent from its ancestry. It further brings up a question, from the external sphere such as techniques or similarity (including the depiction of personality) to the inner desire of images: what does it want from us? When we are gazing into the eyes of figures in Lo’s painting, it is not us who are willing to identify and have identified him/her. Instead, it is he/she actively confirms the one-to-one relationship with us. It becomes an active luminary who emits its rays of gaze to viewers. However, in such a space of mobility, the marginalized experience in the darkness is the first necessity to make a luminary. It is not completely dark, colorless, dirty, and filthy – it is why we can see it. It is not the target of viewers’ gaze, but a flowing ray of light

2

The passage is not the original words by Paolo Cherchi Usai, but translated by the English translator.

羅 展 鵬

2013

駐村美國洛杉磯 ESMoA 當代美術館

2011

駐村德國柏林

1983

生於嘉義，台灣 國立台灣師大美術系西畫創作組 碩士 中國文化大學美術系

學士

個 展 2014

人間草紙 - 靈魂的墨漬，也趣藝廊，台北，台灣

2013

黑的邊緣，也趣藝廊，台北，台灣

2010

ART HK 2010，香港會議中心，香港，中國

2009

草莓族工作室入侵，也趣藝廊，台北，台灣

聯 展 2014

ART TAIPEI 2014 台北國際藝術博覽會，世貿一館，台北，台灣 亞洲具像 II，也趣藝廊，台北，台灣 界：臺灣當代藝術展 1995-2013，美國康乃爾大學強生美術館 亞洲具像 II，YOSHIAKI INOUE Gallery，大阪，日本 ART 14 LONDON 倫敦藝術博覽會，Olympia Grand Hall，倫敦，英國

2013

EXPERIENCE03:TRUTH，ESMoA(El Segundo Museum of Arts)，洛杉磯，美國 ART TAIPEI 2013 台北國際藝術博覽會，世貿一館，台北，台灣 ART TAINAN 2013 台南國際藝術博覽會 ，台南，台灣 共生 - 台日德藝術聯展，也趣藝廊，台北，台灣

2012

ART TAIPEI 2012 台北國際藝術博覽會，世貿一館，台北，台灣 Tokyo Art Fair 東京藝術博覽會，東京，日本 亞洲具像 - 四國聯展，YOSHIAKI INOUE Gallery，大阪，日本 YES Taiwan IV-Young Emerging Stars, Taiwan，也趣藝廊，台北，台灣 Galleryseoul 12 首爾頂級藝術博覽會，首爾，韓國 Mancy’s Art Night , Tokyo，東京，日本

2011

James Reid Printshop，Artlab21，波昂，德國 有感，台北當代藝術中心，台北，台灣 白日夢，Lower Akihabara Gallery，東京，日本 ART TAIPEI 2011 台北國際藝術博覽會，世貿一館，台北，台灣 Art Stage 新加坡藝術博覽會，Mariner Bay Sands，新加坡

2010

台灣報到 2010 台灣雙年展，國立台灣美術館，台中，台灣 ShContemporary 10，上海當代藝術博覽會，上海，中國 汽球人間，Lower Akihabara Gallery，東京，日本 ART TAIPEI 2010 台北國際藝術博覽會，世貿一館，台北，台灣 後青春，國立台灣美術館，台中 / 關渡美術館，台北，台灣 Mancy’s Art Night Tokyo，東京，日本

2009

ShContemporary 09，上海當代藝術博覽會，上海，中國 Art OSAKA, 2009，大阪，日本 ARTO Art Fair BUSAN, 2009，釜山，韓國 YOUNG ART TAIPEI 台北國際當代藝術博覽會，王朝大飯店，台北，台灣 SMALL WORLD，E105 Gallery，波恩，德國

2008

ART FAIR 21，德國科隆當代藝術博覽會，科隆，德國 ART TAIPEI 2008，台北國際藝術博覽會，世貿一館，台北，台灣 Play Stadium in 2008 ，香港藝術公社，香港，中國 高雄美術獎，高雄市立美術館，高雄，台灣 ID：新世代的自我識別，也趣藝廊，台北 / 金禧美術，台中，台灣 星八客 當代新秀聯展，首都藝術中心，台北，台灣 第十一屆 北京國際藝術博覽會，中國國際貿易大樓，北京，中國

2007

自以為是台灣人，也趣藝廊，台北，台灣 2007 年兩岸藝術交流展，國父紀念館，台北，台灣 世代 . 對話 台灣當代世代展，印象當代館 , 台北，台灣

2005

全國美展巡迴展，台中，台北，高雄，台灣 聯邦新人獎全省巡迴展，台中，台北，高雄，台灣

2004

非典寫實徵侯群，太平洋文化中心，台北，台灣

獲 獎 2008

高雄美術獎 首獎 溫世仁百合獎 金獎 國立美術館 青年藝術典藏計畫

2007 2006

奇美人材培訓計畫獎首獎 桃源美展油彩類佳作 警察節美展西畫類 第一名 中國文化大學寫生比賽 第二名 警察節美展西畫組 第一名 國泰藝術獎新世紀潛力畫展 銀獎

2005

雙和美展社會組 第二名 第 23 屆桃源美展水彩類 第一名 全國百號油畫大展 優選 行天宮人文獎全國美術創作比賽西畫成人組 第三名 警察節美展西畫 第一名 全省美展油畫類 優選 中國文化大學美術系系展西畫組 第一名 奇美人才 培訓獎

2004

全國青年寫生比賽大專組 第一名 聯邦新人獎首獎 警察專科學校校慶美展西畫 第二名 第六屆新莊美展水彩類大專組 第一名 第九屆大墩美展水彩組 優選 雙和美展西畫部雙和獎 第一名

2003

警察節美展西畫部 第三名 國際藝術獎油彩部 優選 光華獅子盃寫生大專社會組金獅獎 第一名 全省美展油彩部 入選 中國文化大學美術系系展 第一名 & 校長獎 台陽美展水彩類 優選 警察節美展水彩 入選 全國油畫大賞 入選

2002 2000

全國學生美展西畫部大專美術系組 第一名 全國青年寫生比賽高中組 第二名 緬懷楊三郎寫生高中組 優選 風野藝術協會寫生社會組 第一名 北縣七縣市寫生比賽社會組 第二名 敏盛杯寫生比賽社會組 第二名 後輩軍人親子寫生社會組 第三名 基隆市畫家鄉寫生比賽高中組 第二名 北縣七縣市寫生社會組 佳作 桃園百景高中組 佳作 第八屆風野寫生高中組 佳作 台灣區我愛河川高中組 佳作 九十二學年度張其昀先生獎學金 -- 特殊才藝或傑出表現獎學金

典 藏 2013

洛杉磯 ESMoA(El Segundo Museum of Arts) 作品典藏，洛杉磯，美國

2008

獲文建會 97 年青年繪畫作品典藏徵件計劃作品典藏，國立台灣美術館，台中，台灣

2007

獲奇美文化基金會 96 年奇美藝術獎作品典藏，奇美博物館，台南，台灣

2005

獲奇美文化基金會 94 年奇美人才培訓計畫作品典藏 奇美博物館，台南，台灣 獲警察專科學校 94 年 警察校慶美展作品典藏，警察專科學校，台北，台灣 獲行天宮文化基金會 94 年行天宮美術獎作品典藏，行天公文化基金會 , 台北，台灣 獲桃園縣文化局 94 年桃園美展作品典藏，桃園縣文化局，桃園，台灣

2004

獲國父紀念館 93 年全國青年寫生比賽 作品典藏，國父紀念館 , 台北，台灣 獲中和庄文史研究協會 93 年雙和美展作品典藏，中和庄文史研究協會，台北，台灣 獲聯邦文教基金會 93 年聯邦新人獎首獎 作品典藏，聯邦文教基金會，台北，台灣

2003

獲光華獅子會 92 年光華獅子盃寫生比賽作品典藏，光華獅子會，台北，台灣

Chan- Peng LO

2013 Artist Residency in ESMoA (El Segundo Museum of Arts) , Los Angeles, USA. 2011 Artist Residency in Berlin 1983 Born in Jia Yi, Taiwan MA National Taiwan Normal University, Department of Fine Arts Chinese Culture University, Department of Fine Arts Solo Exhibitions 2014

The Spiritual Portrait -(Solo Exhibition by LO Chan-Peng), AKI Gallery, Taipei, Taiwan

2013

The edge of darkness -(Solo Exhibition by LO Chan-Peng), AKI Gallery, Taipei, Taiwan

2010

ART HK 2010, Hong Kong Convention Center, Hong-Kong, China

2009

Strawberry Generation Invaders-(Solo Exhibition by LO Chan-Peng), AKI Gallery, Taipei, Taiwan

Group Exhibitions 2014

ART TAIPEI 2014, Taipei World Trade Center I, Taipei, Taiwan ASIAN REALISM II, AKI Gallery, Taipei, Taiwan Jie : Boundaries of Self in Contemporary Art from Taiwan 1995-2013, Herbert F. Johnson Museum of Art, Cornell University ASIAN REALISM II, YOSHIAKI INOUE Gallery, Osaka, Japan ART 14 London’s New Modern and Contemporary Art Fair, Olympia Grand Hall, London, UK

2013

EXPERIENCE03:TRUTH, El Segundo Museum of art(ESMoA), Los Angeles, U.S.A ART TAIPEI 2013, Taipei World Trade Center I, Taipei, Taiwan ART TAINAN 2013, Tainan, Taiwan Symbiosis, AKI Gallery, Taipei, Taiwan

2012

ART TAIPEI 2012, Taipei World Trade Centre I, Taipei, Taiwan Tokyo Art Fair 2012, Tokyo, Japan ASIAN REALISM, YOSHIAKI INOUE Gallery, Osaka, Japan YES Taiwan IV-- Young Emerging Stars, Taiwan, AKI Gallery, Taipei, Taiwan Galleryse oul12, Seoul, Korea Mancy’s Art Night, Tokyo, Japan

2011

James Reid Printshop, Artlab21, Bonn, Germany Perceive, TCAC, Taipei, Taiwan Daydream, Lower Akihabara Gallery, Tokyo, Japan ART TAIPEI 2011, Taipei World Trade Centre I, Taipei, Taiwan Art Stage Singapore, Mariner By Sads, Singapore

2010

YES TAIWAN, 2010 Taiwan Biennial, National Taiwan museum of Fine Arts, Taichung, Taiwan ShContemporary 10, Shanghai, China Balloons Wrold, Lower Akihabara Gallery, Tokyo, Japan ART TAIPEI 2010, Taipei World Trade Center I, Taipei, Taiwan Post-Adolescence National Taiwan Museum of Fine Arts,Taichung/ Kuandu Museum of Fine Arts, Taipei, Taiwan Mancy’s Art Night Tokyo, Tokyo, Japan, Japan

2009

ShContemporary 09, Shanghai, China Art OSAKA 2009, Osaka, Japan ARTO Art Fair BUSAN 2009, Busan, Korea YOUNG ART TAIPEI, Sunworld Dynasty Hotel, Taipei, Taiwan SMALL WORLD E105 Gallery, Bonn, Germany

2008

Art Fair 21 2008, Cologne, Germany ART TAIPEI 2008, Taipei World Trade Center I, Taipei, Taiwan Play Stadium in 2008, Artist Commune, Hong Kong, China Kaohsiung Arts Award, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan ID: Identification of new generation, AKI Gallery, Taipei/ARTHIS Fine Art, Taichung, Taiwan New Eight Stars Show, Capital Art Center, Taipei, Taiwan 11th Beijing International Art Exposition, China World Trade Center, Beijing, China

2007

Fancying self as Taiwanese, AKI Gallery, Taipei, Taiwan 007 Cross strait Exchange Exhibition, Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Contemporary Dialogue, Impressions Art Gallery, Taipei, Taiwan

2005

National Art Exhibition of the Republic of China traveling exhibition, Taichung, Taipei, Kaohsiung, Taiwan Union Culture & Art Foundation traveling exhibition, Taichung, Taipei, Kaohsiung, Taiwan

2004

Atypical realistic syndrome, Pacific Cultural Foundation Art Center, Taipei, Taiwan

Awards 2008

Kaohsiung Awards 2008 The Sketching Competition Of Sayling Wen Cultural & Educational Foundation, Golden Award National Taiwan Museum of Fine Arts, the Collection Plan for Young Artists

2007 2006

The Chi-Mei Art Cultivation Awards The 24th Tao Yuan Arts Exhibition of Tao Yuan County, Excellent painting Taiwan Police College anniversary Art Exhibition, Frst Prize The Sketching Competition of CCU, Second Place Taipei County Police Bureau Art Exhibition, Frst Prize The Cathay New Age Potential Art Award, Silver Award

2005

Shuang-He Art Exhibition, Second Place The 23rd Tao Yuan Arts Exhibition of Tao Yuan County (water color), First Prize National Large-Sized Oil Paintings Exhibition , Honorable Mention Award The National Art Award Of Xing Tian Temple , Third Place of Adults Taipei County Police Bureau Art Exhibition, Frst Prize National Fine Arts Exhibition, Honorable Mention Award CCU Fine Arts Exhibition (western painting), Frst Prize The Chi-Mei Art Cultivation Awards

2004

The Sketching Competition of National Youth, Frst Prize of University Union Culture &Art foundation Young Artist Award, Top Prize Taiwan Police College Anniversary Art Exhibition, Second Place The 6th Xin Zhuang Art Exhibition Of Xin Zhuang City, Frst Prize of Aater Color of University The 9th Da-Dun Art Exhibition Of Tai Chung City(water color), Honorable Mention Award Shuang-He Art Exhibition, Shuang-he Award, Frst Prize

2003

Taipei County Police Bureau Art Exhibition, Third Place International Art Prize of Oil Painting, Honorable Mention Award Guang Hua Lions Club Sketching Competition, Golden Lion Award, Frst Prize National Fine Arts Exhibition, Finalist CCU Fine Arts Exhibition (Western Painting), Frst Prize & Principal Prize Tai Yang Art Exhibition(water color), Honorable Mention Award Taipei County Police Bureau Art Exhibition, Finalist National Oil Ppainting Prize, Finalist

2002 2000

National Student Arts Exhibition, Frst Prize of University National Youth Sketching Competition, Second Place of Senior High School Yang San Lang Memorial Water Painting Sketching Competition, Honorable Mention Award of Senior High School The Sketching Competition of Feng Ye Art Association, First prize The Sketching Competition of the Seven County of Taipei County, Second Place Min Cheng Cup Sketching Competition, Second Place Reserve Serviceman Sketching Competition, Third Place The Painting Hometown Sketching Competition Of Kee Lung City, Second Place of Senior High School Taipei County Seven Counties Sketching Social Group, Award of Merit Taoyuan Hyakkei High School Group, Award of Merit Eighth Funo Painting School Group, Award of Merit I love the river Taiwan high School Group, Award of Merit The Special Talent scholarship of The Zhang Qi Yun Scholarship of 2000

Collection 2013

El Segundo Museum of Arts, Los Angeles, USA

2008

National Taiwan Museum of Fine Arts, Taiwan

2007

Chi-Mei Museum, Tainan, Taiwan

2005

Chi-Mei Museum, Tainan, Taiwan Taiwan Police College, Taipei, Taiwan Hsing Tian Kong Cultural Foundation, Taipei, Taiwan Department of Cultural Affairs of Tao Yuan County, Taipei, Taiwan

2004

Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Zhonghe Village History Research Association, Taipei, Taiwan Union Culture & Art foundation, Taipei, Taiwan

2003

Guang Hua Lions Club, Taipei, Taiwan

藝術家

羅展鵬

Artist

Chan-Peng LO

發行人

王瑞棋

Publisher

Rick WANG

總

顏瑜

Director

Emily YEN

也趣藝廊

Published by

AKI Gallery

監

發行所

台北市民族西路 141 號

141, Min Tsu W. Rd., Taipei 103, Taiwan

Tel +886 2 2599 1171

Tel +886 2 2599 1171

Fax +886 2 2599 1061

Fax +886 2 2599 1061

www.galleryaki.com

www.galleryaki.com

info@galleryaki.com

info@galleryaki.com

akigallery@gmail.com

akigallery@gmail.com

陳姵君

Dsigned by

Pei-Chun CHEN

ISBN

978-986-90157-4-5

ISBN

978-986-90157-4-5

發行日

2014 年 10 月

Published in October 2014

設

計

初版第一刷 500 本

First Edition, 500 copies

版權所有

Copyright©2014 by AKI Gallery. All rights reserved.

翻印必究