經紀潛力 ( 優質 ) 藝術家，推薦經典大師作品 The great artists, agent great aritst
青雲畫廊 Cloud Gallery since 1997
Company Profile
雲藝術 配置團隊 C.A.D since 2010
藝術配置企劃，打造當代美美學空間 Creat the morden space, plan an art plan
Contents
目錄 經營人介紹
P.1
青雲畫廊簡介
P.2-3
雲藝術配置團隊簡介
P.4
青雲畫廊經營項目
P.5
雲藝術配置團隊經營項目
P.6
台灣藝術概況
P.7-9
藝術家介紹
P.10-23
展覽企劃介紹
P.24-25
大師作品交流
P.26
品牌合作交流
P.27
配置企劃介紹
P.28-29
配置企劃流程圖
P.30
藝術空間設計
P.31-32
藝術工坊
P.33-34
藝術講座
P.35
文創商品
P.36
藝術智庫
P.37
聯繫我們
P.38
版權頁
P.39
About Cloud Gallery 經營人介紹 創辦人 李青雲 收藏家出身，收藏過許多國內外經典大師作品。放棄原先志業，全心 投入推動台灣藝術發展，參加台灣畫廊協會，並連任畫廊協會常務監 事多年，把關台灣藝術博覽會，聯合台灣多家畫廊，一同協力帶動台 灣藝術圈的發展，將台灣藝術核心連動起來，讓台灣藝術產業的脈絡 逐漸建構起來。
總監 李宜洲 企業管理碩士畢業，即繼承父親的畫廊事業，結合父親對於台灣經典藝 術家的堅持及熱愛，也積極開發台灣當代藝術的優秀藝術家。除了參加 國內外各大博覽會，帶領藝術家們拓展國際視野及展覽經驗，並致力於 推廣收藏、美學、藝術這三大項目至各企業單位及大專院校。
1
About Cloud Gallery
青雲畫廊簡介 青雲畫廊 (Cloud Gallery) 成立於 1997 年，地點座落於台北大直重劃
我們認為展覽的質應重於量，因此每年用心策劃 8 至 10 檔內部展覽，
區明水路上，也是台灣第一間設立於臺北市藝術產業協會 (Taipei Art
並每年積極參與國內外 4 至 6 個藝術博覽會，帶領藝術家走出國際；
Industry Association) 的 畫 廊， 在 過 去 20 年 的 日 子， 我 們 經 營 出 許
近年為拓展台灣當代藝術的國際能見度，也與國內外畫廊、學界或企業
多台灣經典藝術家及華人當代藝術作品，透過亞洲藝術史的耙梳，我們
單位聯盟組織藝術家交流展，透過同 / 異業的結盟，創造另一推廣模式，
整理出以台灣為坐標，觀看世界藝術脈絡的觀點。
也透過各方單位的耕耘使藝術在地化。
有鑒於全球當代藝術發展，非大敘述時代的來臨，藝術哲學與多元化，
亞洲區政經局勢轉變及中國崛起，造成藝術文化板塊之遷徙，台灣藝術
因此我們於 2012 年在原址旁多成立一跨領域空間，定期舉辦論壇並提
走過高峰也走過低潮，我們相信透過潮流的洗禮後會留下雋永，作品的
供年輕當代藝術家作為實驗舞台，透過不同媒材與形式的展覽產生對
深度最終會反饋回市場價值，而畫廊的使命是要走在潮流的前端，並挑
話，並與不同單位進行跨界品牌合作，企圖也為年輕的當代藝術家找尋
選出歷久彌新的作品，浪潮退去後，藝術史必會給予證明。
更多的合作平台；藝術的推廣並非一蹴可幾。 藝術產業之經營率重眼光的前瞻，青雲畫廊以後設角度，並佐以全球藝 術脈動為參考，長期經紀在當代潮流中具有獨特風格的藝術家，並為合 作的每位藝術家以策展、論壇、研究、出版做為記錄並拍攝訪談影片， 企圖在藝術家創作的歷程中，留下後人可以研究的路徑；台灣的當代藝 術萃取了厚實的中國文化，海島型的國家以自身為坐標，觀看全球文化 之演變，我們提出一份屬於自身品味的展覽，並堅持推薦最好的藝術作 品。
2
About Cloud Gallery Founded in 1997, Cloud Galler y is located on Ming Shui Road, Dazhizhong
Changes in the political and economic situation in Asia and the rise of China
District, Taipei. It is also the first galler y in Taiwan to be established in the
have led to the migration of the ar ts and culture sector. Taiwan ’s ar t has
Taipei Art Industry Association. It has been in the past 20 years. In the past, we
passed its peak and it has also reached its ebb. We believe that af ter the
managed many classic Taiwanese artists and Chinese contemporary art works.
baptism of the trend, it will remain lasting, and the depth of the work will
Through the rake of Asian art histor y, we sorted out the viewpoint of taking
eventually return to the market value. The mission of the gallery is to be at the
Taiwan as a coordinate and watching the world's art context.
forefront of the trend and to pick out works that have lasted for a long time. When the tide recedes, art history will certainly prove it.
In view of the development of global contemporar y ar t, the advent of the era of non-large narratives, ar tistic philosophy and pluralism, we set up an
The vision of the art industry's operating rate is focused on the future. Qingyun
interdisciplinar y space next to the original site in 2012. We regularly hold
Galler y will set up an angle and take the global ar t pulse as a reference. It
forums and provide young contemporary artists as experimental stages through
will long-term broker ar tists with unique styles in contemporar y trends, and
different media. The exhibitions of materials and forms generate dialogues, and
curate, forum, Research and publish as records and shoot inter view videos in
cross-border brand cooperation with different units, in an attempt to find more
an attempt to leave a path that future generations can study in the process of
cooperation platforms for young contemporary artists; the promotion of art is
artist creation; contemporary art in Taiwan extracts a thick Chinese culture, and
not a mere few clicks.
island-based countries use themselves as the coordinates to watch the world
We believe that the quality of the exhibition should be more important than
The evolution of culture, we propose an exhibition of our own taste, and insist
quantity. Therefore, we plan 8 to 10 internal exhibitions every year and actively
on recommending the best works of art
participate in 4 to 6 art fairs at home and abroad each year to lead artists out of the world. In recent years, in order to expand the international visibility of contemporary art in Taiwan, Organize artist exchange exhibitions with domestic and foreign galleries, academia, or business unit alliances. Through alliances with different industries, create another promotion model, and localize ar t through the cultivation of various units.
3
About C.A.D
雲藝術配置團隊簡介 隨著台灣居民居住水準提高，居民對於住宅的品質要求不再只針對建物
With the improvement of the living standards of Taiwan residents, the residents'
硬體本身，空間中的價值提升、品味軟體的元素置入更是生活美學的基
quality requirements for residences are no longer limited to the building
本訴求；近年來台灣居住環境也同步在成長，居住使用的空間不單具有 實質功能，更需要讓居住者本身有更高層次的享受並與建築同步成長；
hardware itself. The increase in the value of space and the insertion of taste software elements are the basic requirements of living aesthetics; in recent years, the living environment of Taiwan has also been synchronized. In growth,
在社會普遍價值觀影響下，過去對於手工藝與生活用品的收藏，也逐漸
the space used for living not only has substantial functions, but also requires
轉為對藝術品擁有的渴望。
the occupants to enjoy a higher level of enjoyment and grow in sync with the building; under the influence of the universal values of the society, the
亞洲近現代藝術市場的發展可以分成幾個階段及區塊，日本工業、經濟 現代化發展的早，因此也是亞洲藝術市場最早興起的地區；其次是亞洲
collection of handicrafts and daily necessities in the past has gradually been transformed into The desire for artwork.
四小龍的台灣、香港、南韓、新加坡，而最具發展潛力，爆發力的新興
The development of the Asian modern art market can be divided into several
地區則是中國大陸與印度，其中從新加坡、香港、台北、上海到北京所
stages and blocks. Japan ’s industrial and economic modernization has
形成的華人藝術市場是目前亞洲最大、最具引響力的藝術市場。
developed early, so it is also the region where the Asian ar t market first
自 2004 年以來亞洲地區的藝術市場投資報酬率幾乎以平均高達二位數
emerged. This is followed by Taiwan, Hong Kong, South Korea, and Singapore. The emerging areas with the most potential for development are China and India. The Chinese ar t market formed from Singapore, Hong Kong, Taipei,
以上的成績向上攀升，遙遙領先歐美的藝術市場，隨著亞洲經濟的持續
Shanghai and Beijing is currently the largest and most influential art market in
成長，這一波行情可望持續締造歷史新高，亞洲熱依然是 2010 年的熱
Asia.
門話題。
Since 2004, the return on investment in the art market in the Asian region has almost risen by an average of more than double digits. It is far ahead of the art market in Europe and the United States. With the continued growth of the Asian economy, this wave of market conditions is expected to continue to set a record high The Asian fever is still a hot topic in 2010.
4
青雲畫廊經營項目
展覽策劃
收藏規劃
藝術顧問
品牌合作
5
雲藝術配置團隊經營項目
6
About Taiwan Art Circle
台灣藝術概況
1
產業生態圈 Circle of Industrial ecology 政府機構
藝術產業發展至今，已具有相當的成熟度，產業內 角色多元化，因此經營一個藝術家的品牌推廣，需 要藉由不同角色的專業與協助，使經紀的藝術家有 更多舞台空間；產業生態圈如下圖 :
學術單位 設計公司 藝術內涵
修復師 藝術運輸
修復師 藝術保險
博物館
藝術家
藝術顧問公司
藝評家 媒體
替代空間
金三角
策展人
畫廊
藝術網站
藝術投資基金
收藏家
美術館
藝術家品牌交集
文化廣場
藝術出版
企業單位
建設公司 拍賣公司
畫商 作品表現
藝術掮客 收藏協會
基金會
私人收藏單位
7
About Taiwan Art Circle 2
藝術家成名要件 Ar tists famous requirement
要在茫茫藝海中發光發熱，成為明日的大師，並非易事； 今日的經典必然是過去的時尚，因此觀察藝術家的未來性 可透過以下幾點： 1. 藝術性：開創性觀點、文化精神、作品深度。 2. 學術性：獨特技法、材質創新、歷史脈絡之了解。 3. 市場性：世界觀、材質保存、收藏展示性、精緻、流通性高。 4. 創作能量：專業、提升、持續、良好特質、用生命創作。 5. 伯樂 v.s. 千里馬：藝術經紀。
3
畫廊的重要性 The impor tance of galleries
1. 守門員角色：畫廊對於藝術家的未來性進行研究，只代理優質藝術家。 2. 藝術經紀商：畫廊猶如一經紀人公司，開拓更多舞台，使藝術家發光。 3. 售後服務：針對銷售出的藝術作品，定期追蹤，提供作品收藏服務。 4. 維持價格每年增值：藝術品保值、增值性，有賴畫廊對於價格曲線的掌控。 5. 品牌保證：畫廊為代理的藝術品開立保證書，並杜絕贗品買賣。 6. 藝術品顧問：針對收藏家進行空間配置，並對於藝術性進行服務。 7. 藝術家發掘者：定期關注藝術圈新秀，爭取優質藝術家。
8
About Taiwan Art Circle
觀念 哲學 美學 學術理念
技術 材料 獨特性 手法個性
藝術內涵
01
作品表現
藝術品牌
02
03
時代性 藝術性 品牌效益 藝術經紀
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Artist Sanlang YANG 楊三郎 B.1907 D.1995 楊三郎 (1907~1995) 生於台北縣，1923 年 ( 年 16 歲 ) 不顧家人反對獨自乘船赴日進 入日本京都美術工藝學校，1924 年轉入關西美術學院，1932 年 ( 年 25 歲 ) 與劉啓祥 乘船五十天抵達法國，留學深造，學成返台積極推動台灣美術發展，與前輩大師陳澄波、 廖繼春、藍蔭鼎、郭柏川等十四人組成「赤島社」，並與多位前輩畫家創設「台陽美術 協會」使台灣藝壇增加了頗具規模組織的美術團體與發表作品園地。 1991 年成立「楊三郎美術館」，楊氏一生獲獎無數，屢次入選台展、府展，並榮獲「第 十一屆國家文藝獎」特別貢獻獎，國家頒贈「文化勳章」最高榮譽。並擔任「全國油畫 學會」「台陽美術協會」多屆理事長，作品曾受台北市立美術館、臺灣省立美術館、高 雄市立美術館典藏。 楊三郎喜愛大自然熱愛土地之情常表現於創作中，更因為藝術創作的執著，楊氏畫遍了 台灣的高山與海洋、日本深秋的楓紅、險峻的「東峋坊」、歐洲的風景及海港，楊氏創 作常以現場寫生，如高山雲霧流動的雲海，及充滿生命力的日出，迴盪舒氣的山勢和穿 梭於樹林間的「阿里山姊妹潭」，巧妙的神乎其境，讓人觀其創作常至心底延伸出共鳴 迴唱，愈看愈進入於畫中神怡之間。楊氏崇高的藝術理念，更奠定了不朽的國寶級地位， 其一生的成就不僅是個人更是整個台灣美術運動的傳承與記錄。
西班牙城鎮 1988 12F(50x60.5cm) 油畫
歐洲莊園 1987 25F(65x80cm) 油畫
Born in 1907, Yang San Lang is a remarkable painter from Wangshih village in Taiwan. Yang’s grandfather, Yang Ke Chang, was scholar in the Qing Dynasty and his father was a famous poet. Ever since he was a child, he had always been fond of the arts. Instead of communicating to his childhood friends with text, he communicated with pictures. To continue his enthusiasm for the arts, at the age of 17, Yang San Lang ran away from home and went to Japan to start his career in painting.He graduated in 1929 from Kansai School of Fine Arts. His works was repeatedly chosen in the Taiwan Exhibition and Japan Chun Yang Exhibition. When Yang returned to Taiwan, he continued to run his father’s wine and tobacco business. During this time he continued to study different painting techniques with his friends, Chen Zhi Qi and Chen Cheng Po, mutually supporting and encouraging each other, but this was not enough to satisfy him. In 1931, to further enrich his skills, Yang traveled to France to study French Impressionism. In the following year, his works were selected for the Autumn Salon in Paris. When he returned to Taiwan, he brought over 100 pieces of artwork with him, which were highly acclaimed by Japan Chun Yang Exhibition and Taiwan Exhibition. This further established him as an elite artist. In 1934, Yang and six other artists established the Tai-Yang Fine Art Association, in order to further develop the creativity and passion for the arts and give new talent opportunities. Yang’s main works are of landscapes. His works also include still life and figures. All of his pieces contain many colorful layers and different gradation of tones. 10
Artist Renjye WANG 王仁傑 B.1962 王仁傑，1962 年生於台中，於學生時代即展現對繪畫的高度興趣和天份，並於文化 大學與同好組成台北畫派─屬台灣 80 年代畫壇中引領新觀念藝術風潮的發聲團體， 早期創作以照相寫實活躍於台灣藝壇，畢業後與妻子遠赴法國巴黎，於法國各大藝 術村駐村，畫風轉為抒情抽象，有別於其它藝術家，其繪畫獨樹一格，兼蓄東西方 美學底蘊，並強調哲學觀念與情感；早期受到嶺南派大師─歐豪年的指導，其創作媒 材雖西方，但畫面中也置入了東方書寫線條的元素；創作內涵則融入自我對生命的 觀照與記憶的軌跡，將其化為「共時性」的符號拼貼。 凝視王仁傑作品，畫面多以單一主色調鋪成，加上藝術家獨有的東方線條，累積推 疊的線條如皴法線條。作品中線條與色調表現出王仁傑超然而入世的藝術思維，藉 色調與線條交揉生命經驗的累積。作品線條時而如植物般生機盎然，時而如巍巍山 巒起伏。王仁傑在運用色粉與油料的比例調和之間，顯出作品在色調跨度的細膩變 化與巧思。
綠蘊 2014 80F(112x145.5cm) 油畫
Wang Ren-Jye was born in 1962 in Taichung, Taiwan. He demonstrated his extraordinary talent in the arts at an early period and while attending Chinese Culture University, he joined many art groups, which renewed his aesthetic thoughts and concepts. He also demonstrated his talent at the“Photo-Realism”by receiving praise for his work. After graduation he moved with his wife to Paris, where his art transformed into a lyrical abstraction. Unlike other artist, his painting techniques are quite unique. He intertwines Eastern and Western concepts into his paintings. His early mentor, master of calligraphy at Lingnan School, Au Ho-Nien, taught him Chinese painting, which he uses within his paintings. Although most of his paintings like the use of calligraphic lines. Wang RenJye’s paintings are symbolic to his contemplation of life, emotions, and a trajectory of his memories.
來時路 1 2017 48 號 (80x120cm) 油畫
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Artist Chiouyue HUANG 黃秋月 B.1962 1995 至 2004 年間是黃秋月繪畫風格的轉換期，性的解析組合，從早期的「關於花朵」、 「關於商店」、「建築風景」、「觀想形色」建構出新的繪畫語言。此階段可以看到畫家 的用心、用功、成功的一段探索過程，也是每一個畫家成長必經之路。2005 年至 2006 年 是她最大的轉變期。從具象形體的抽離以及形體的簡化中逐漸邁入造型、理性排列，純以 點、線、面繪畫元素建構的畫面，出現隱約的形體暗示，更具現代感的個性化和對比強烈 的色彩，黃秋月穩定的繪畫風格開始普遍獲得畫界肯定和繪畫市場青睞，這一階段的作品 也造成了轟動 , 這樣的畫風使得有些人看到她的畫，都不相信出自女性藝術家的手，黃秋 月以感人的力度和內涵征服所有的欣賞者。 藝術家黃秋月 ─ 被譽為臺灣中青代最具代表性的女性畫家；被譽為現代畫壇上的廖繼春。 乍見黃秋月的畫，會立即被隨性散漫的筆觸所揮灑出來的豐富色彩深深吸引。純粹而飽和 的各種顏色富含著旺盛的生命力，各以其自由的舞姿迴旋在畫布上，猶如一場繽紛的嘉年 華。 Huang Chiou Yue changes her painting style from 1995 to 2004, she through the vision, inner feelings conversion, Combination of rational analysis, she constructs the new language of painting from the early period "about flowers "," about the stores "," building and landscape". In this stage, her paintings tell us that her intentions, diligent and successful period of the explorative process, and also the special process are the gateway to success for every artist. 2005-2006 was her greatest change of period, From the simplified figurative to the shape, rational arrangement, pure point, line, surface construction elements of the painting appears faint hint of body, more modern, personalized and strong contrasting colors . Huang Chiou Yue’s painting style began affirmation of universal access to the art community and painting market favor, at this stage her artworks also causes a great sensation, people hard to believe this painting style from female artist, Huang Chiou Yue conquers all of the viewer with touching intensity and her mind. Huang Chiou Yue’s painting style began affirmation of universal access to the art community and painting market favor, at this stage her artworks also causes a great sensation, people hard to believe this painting style from female artist, Huang Chiou Yue conquers all of the viewer with touching intensity and her mind.
漂泊 2 2013 30F(72.5x91cm) 油畫
記憶光影 1 2015 50F(91x117cm) 油畫
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Artist Yufan CHAN 詹喻帆 B.1983 詹喻帆，1983 年生於台北，對藝術的熱誠，開啟了他堅定不移的繪畫生命，一路成長經過國立台灣藝 術大學的奠基及國立台灣師範大學美術研究所頂尖藝術學府的淬練，為他的創作生涯有了美好的開端。 維納斯 3, 2014, 100F(130x162cm), 油畫
在求學期間積極參與各大、小型比賽累積實力與經驗，如第二十五屆奇美獎得主、第六屆大墩美展第一 名、第九屆新莊美展第一名…等，都受到評審及藝術界的肯定。並於 2011 年台北國際當代藝術博覽會 〈YOUNG ART TAIPEI、簡稱 YAT 〉中榮獲新潮賞第一名，他的作品也受到澳洲白兔美術館、國立台 灣美術館的典藏，近幾年來並在澳洲白兔美術館、國立台灣美術館、中正紀念堂展出，是新生代中頂尖 的新銳藝術家。 Yufan CHAN, born in Taipei in 1983, enthusiasm for art has opened up his unwavering painting life. He has grown all the way through the foundation of the National Taiwan University of Arts and the training of the top art institutes of the National Taiwan Normal University Institute of Fine Arts. Career has a good start. During his studies, he actively participated in major and small competitions to accumulate strength and experience, such as the first place at the 6th Dadun Art Exhibition, the first place at the 9th Xinzhuang Art Exhibition, etc., all of which have been judged and recognized by the art world. And in 2011 Taipei International Contemporary Art Fair (YOUNG ART TAIPEI, referred to as YAT) won the first place in the trendy awards, is the new generation of top emerging artists. 拿著貂娃娃的貂少女
2018 年台北藝博展覽現場
2018 54x39cm 絹印版畫
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林浩白 1983 年生於台北，2008 年取得中國文化大學藝術研究所西畫創作組碩士學位，同年獲台北縣美術創作新人獎優 選；曾獲獎包括 2009 年全國百號油畫展第二名、2010 年聯邦美術新人獎首獎、2012 年奇美藝術獎（具像美術創作類西 畫組）、2013 年全國美術展油畫類銅牌獎、2014 年第二次獲得奇美藝術獎（具像美術創作類西畫組）。透過古典寫實油 畫技法，林浩白用人們看似「傳統」的主題，以「花」作為題材，傳達出一種沉澱、靜謐的氛圍，其內斂而穩靜的畫筆， 將細緻嬌美的花卉呈現出最動人的微妙姿態及氣質，賦予作品新世代的潛藏意涵；同時，經由縝密、精緻的安排，內在 情感和外視經驗交織再現，也演繹了探索生命意義及自我反思的深度對話。曾多次參與博覽會展出，包括台北國際藝術 博覽會 (2013、2012) 及 Young ART Taipei (2010、2011、2012、2013、2014)。其作品先後被國立台灣美術館、台中港區
Artist Houbai LIN
藝術中心、新北市政府文化中心、新北市政府警察局、奇美博物館及聯邦文教基金會等機構典藏。
林浩白 B.1983
溫暖的信息 2015 30F(102x64cm) 油彩木板裱麻
邊際 2017 120 號 (110x219cm) 油彩木板裱麻
Haobai LIN was born in Taipei in 1983, graduated from Chinese culture university in 2008, got the master of Chinese Culture University Art Institute of Western paintings group, the same year got the New Taipei City Fine Arts Award ; including the award-winning 2009 No. 100 National Oil Painting Exhibition second Award , in 2010 the federal Art Newcomer Award First Prize, 2012 Chi Mei Arts Award , 2013 National Exhibition painting class Bronze Medal, 2014 Award for the second time Chimei Arts . Through classical realist painting techniques, Lin Hao Bai seem to use the theme "traditional" to "spend" as the object, convey a precipitate, the quiet atmosphere, its restrained and graceful pen, the charming flowers showing detail The most touching gestures and subtle qualities, giving the work a new generation of potential implications; same time, through careful, delicate arrangements, internal and external,as the experience of emotion ntertwined reproduction, but also interpretation of the meaning of life and depth dialogue to explore self-reflection. Taipei International Art Fair (2013,2012) and Young ART Taipei (2010,2011,2012,2013,2014). His works have been collections of National Taiwan Museum of Fine Arts, Taichung County Seaport Art Center, New Taipei City Cultural Center, New Taipei City Police Department, Chi Mei Museum and Cultural Foundation and other federal agencies. 14
Artist Shuchi CHU 朱書麒 B.1985
異界風景 - 一種控制的絕對表現 2016 80P(112x145.5cm) 油畫
朱書麒出生於 1985 年，國立台灣師範大學美術系、國立台灣師範大學美 術系西畫創作研究所畢業。 獲獎經歷：中華民國第 21 屆版印年畫，國美館典藏，2005 年。第 57 屆 台灣師範大學美術系系展版畫第一名，2006 年。台中港區藝術中心百號 油畫獎入選，2007 年。 2014 年榮獲台北國際當代藝術博覽會 YOUNG ART TAIPEI 新潮獎評審獎。 朱書麒從小對恐龍、蜥蜴這類爬蟲生物著迷，這是他選用變色龍來做為食 物鍊頂端巨獸的主因，變色龍的視力極差，對於環繞在他周圍的蝴蝶，只 要牠順從不動 ，變色龍也不會有反應，但若是脫離了群體而單獨飛舞，就 很快成為了變色龍的晚餐。回頭想想，那吃人的政府財閥和媒體，又豈不 這畫中的變色龍一般？在看似只是很可愛的變色龍和美麗蝶翼構組的畫面 中，朱書騏有更多的故事和寓言融於其中。又像是達利的超現實組合，將 自我對社會議題的探討和心情的感觸轉化為符號重組成一個既現實又超現 實的異界風景。
Chu was born in 1985. He was graduated from the department of Arts in National Taiwan Normal University. In childhood, he was fascinated by reptiles for example dinosaurs and lizards. This is the reason why he chooses a chameleon as the creature on the top of food chain. Chameleon has poor eyesight, so it won’t have any reaction to the group of butterflies around it. But if it is just one butterfly, it is more possible that this butterfly will become the dinner of chameleon. As a result, he thinks that the government and media nowadays are like chameleon. He mixes his own experiences with social issues and transferred them into symbols then put it in paintings. 異界風景 - 其實你容不下眼中的分歧者 2016 60P(89x130cm) 油畫
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維度，一個無法想像卻只存在於想像的場域。 站在物理學的角度來看，維度是描述空間與時間的方式，在人們僅能 感知到的四維時空之外的更高維度空間中，是一種無從經驗且無法描 述的狀態。在穿越著「物理學」這一極為理性的領域，轉化在繪畫創 作上，航向著兩種不同層次的向度，巨觀外在世界的基本架構與微觀 內心形塑自我主體認識的途徑；將只存在「不可說」中的「不可見的 存在」透過顏料遺留在畫布上的堆疊、磨除、軌跡與情緒表現出來， 讓繪畫自身的存在得以顯現。維度之間，一個只能想像在想像的場域 裡不可見的存在。
陳宏群 B.1982
維度之間 XIII, 2018, 100M(97x162cm), 壓克力顏料
Artist Hungchun Chen
Dimensions, a field incredible hard to imagine which only exists in the imagination, in physical terms, dimensions refer to the constituent structure of all space and its position in time. Going beyond what humans perceive as four dimensions into a higher dimensional space, is a state deemed impossible to describe or experience. Creating paintings within the extremely rational field of physics, it transforms the two different levels of dimensions from science and art. A clear view of the structure of the outer world, sculpting the subtle inner path of self-realization, expressing “an invisible existence inside the unspeakable” through layers of paint, adding scratches, tracks, and emotions into the canvas; which highlights the existence of the painting. Between dimensions, something that is left only in the existence of the invisible imagination.
維度之間 X, 2018, 30F(72.2x91cm), 壓克力顏料
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Artist Qiangxu Chen 棲息 2 2017 20P(53x72.5cm) 油畫
光之道 2015 100F(162x130cm) 油畫
光之道 5 2017 50F(116.5x91cm) 油畫
陳鏘旭近年以風景繪畫作為創作主軸。 他在創作的過程中，從東方美學裡找到一股能 量，一股相對穩定的力量，並以此轉換了過往 的創作心態和形式，包括技法、形式、內涵， 希望能秉持開放的 創作態度，持續不斷地相互 融合與延伸。技法上藝術家運用古典油畫技法 中的多層次技法，使這種古典技法在當代的繪 畫表現上能有一種新的可能性，由於這種適合 多次堆疊並且細細描繪琢磨的基底，使得樹叢 的表現上形成一堆堆微 小而綿密的超現實單 位。陳鏘旭將東方繪畫中趨向中庸而沉默的內 在精神，緩緩注入有別於西洋風景繪 畫的形式 上，使畫面內涵中凝結出一種緩慢而寧靜的意 境與狀態。
陳鏘旭 B.1982
In recent years, Qiangxu Chen has used landscape painting as the main axis of his creative work. In the process of creation, he found an energy and a relatively stable power from Eastern aesthetics, and in this way transformed his previous creative attitude and form, including techniques, forms, and connotations. He hoped to maintain an open creative attitude. Continue to merge and extend with each other. Artists use the multi-layered techniques of classical oil painting techniques to make this classical technique a new possibility in contemporary painting performance. Because of this suitable for multiple stacking and detailed depiction of the polished base, the tree's Formed in piles of tiny and dense surreal units. Qiangxu Chen slowly infused the inner spirit of oriental paintings into the mean and silent, which is different from western landscape painting In the form of painting, a slow and peaceful mood and state are condensed in the connotation of the picture.
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藝術的存在，往往並非只是為了展現複雜或折服時代觀點的渴望，更多時候，當藝術被產生的那一刻，從事藝術者並未 察覺他創造了驚人的事物，一些足以媲美生命萌芽初喜的顫動、一些鋪天蓋地氣勢恢宏驚人的感動。在遠赴日本拜大師 門下專研十數年雕塑的余連春眼中，這一切如同賦予萬物生命的神祇，累積了紮實的技藝與對美的堅持，在要求開創全 新樣貌與型態的創作一瞬間，摒發出生之花火，連自己都感到驚異萬分，因為那是自然元素融合後，展現出全新價值的 藝術。 「速塑」是余連春近年發展出來的創作手法。以繪畫素寫的概念轉化在雕塑上快速精準的掌握住人體動態下的構造，沒 有多餘的來回，轉變成現在連春創作之ㄧ。
Artist Lianchun Yu
雕塑作品的精神絕對是來自於內在力與「架構」。「架構」是雕塑重要的基礎，人體的變化會隨著身體的擺動而牽動整 體架構，凹凸肌理會呈現出耐人尋味的脈動。
余連春 B.1961 The existence of art is often not just a desire to express complex or submissive views of the times. More often, when art is produced, the artist does not realize that he has created amazing things, some of which are comparable to the nascent life. Trembling, some overwhelming momentum and magnificent touch. In the eyes of Yu Lianchun, who went to Japan to study sculptures for more than a dozen years under the masters, this is like a god that gives life to all things, accumulates solid skills and persistence in beauty, and demands the creation of a new look and style. I was amazed at the fireworks, because it was the art of bringing out new values after the integration of natural elements. "Speed Plastic" is the creative method developed by Yu Lianchun in recent years. The concept of painting is transformed into a fast and accurate grasp of the structure of the human body under the dynamics of the human body. There is no extra back and forth, and it has become the shackles of the current Lianchun creation. The spirit of sculpture is definitely derived from internal strength and "architecture." "Architecture" is an important foundation of sculpture. The changes in the human body will affect the overall structure as the body oscillates. The texture of the embossing will show intriguing pulsations. 微醺 2006 42x18x18cm 不銹鋼、玫瑰金
暖暖的秋天 2010 65x22x26cm 高溫陶
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1954 年出生於台灣雲林縣口湖鄉海邊的金湖村，本名楊象。 小學四年級立志要成為藝術家，在母親的支持下，國小畢業即北上自我學習、追逐夢想。 非學院背景出身的他卻有多種類型的創作，如 : 雕塑、繪畫、建築設計、公共景觀、裝置藝術；而銅鐵、不鏽鋼、
Artist Polin Yang
石頭、竹子、蚵殼、馬賽克、氣球布…皆是他塑造空間美感或批判生活環境的創作材質，作品屢獲公共藝術比 賽第一名 ( 文化部 )，且為各大美術館典藏，在台北、台中、高雄、上海、北京等多處的住宅、飯店、廣場皆 可見其作品。青少年時期在書店打工，接觸文學，養成大量閱讀的習慣，也常於報章雜誌發表散文及新詩創作。 2012 年出版半自傳「是時候了」。 作家蔣勳 :「楊柏林只是在本能的、直覺的世界裡孕育他的藝術」，並被國立台灣美術館館長倪再沁形容為「在 學院內外遊走的天才」。 十七歲以「青年」得到全省美展水彩第三名，1986 年獲選為雲林縣十大傑出青年，2009 年度任中國文化大學 駐校藝術家，現為台灣亞細亞雕刻家協會會長。
楊柏林 B.1954
Born in 1954 in Jinhu Village, Kouhu Township, Yunlin County, Taiwan, his real name is Yang Xiang. The fourth grade of elementary school is determined to become an artist. With the support of her mother, she graduated from elementary school and went north to study and pursue her dream. He comes from a non-academic background but has many types of creations, such as sculpture, painting, architectural design, public landscape,Installation art; and copper, iron, stainless steel, stone, bamboo, crust, mosaic, balloon cloth ... Aesthetic materials or creative materials that criticize the living environment. The work has repeatedly won the first place in the public art competition (Ministry of Culture), and isCollections from major art galleries, available in residences, restaurants, and squares in Taipei, Taichung, Kaohsiung, Shanghai, Beijing, etc. See its work. As a teenager, I worked in a bookstore, exposed to literature, and developed a habit of reading a lot, often in newspapers and magazines. Published prose and new poetry. Published semi-autobiography "It's time" in 2012. Writer Jiang Xun: "Berlin Yang only nurtured his art in an instinctual and intuitive world", and was described as "a genius to travel inside and outside the college" by the director of the National Taiwan Museum of Fine Arts, Ni Zaiqin. At the age of 17, he won the third place in the province's watercolor exhibition with "Youth". He was selected as one of the Ten Outstanding Young People in Yunlin County in 1986. In 2009, he was an artist on campus at China Culture University.
( 左 ) 晴空 2012 126x95x46cm 不銹鋼
( 右 ) 大願飛行 2007 86x66x55cm 銅
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從 1980 年獲得《亞洲太平洋女童軍徽》世界首獎後，便與藝術結緣。 1992 第一次雕塑油畫個展持續創作至今，創作類別涵蓋詩文、雕塑油畫、水墨、攝影、舞蹈、裝置 藝術 ... 等跨領域創作。 1998 年受邀朱銘美術館兒童藝術活動藝術顧問 2005-2007 年受台北市立美術館邀請擔任《年水墨桃花源》《快來 ! 拍張好照片》 兒童教育展導覽教學設計、及聘任《書寫之美 - 兒童書法教育展》諮詢委員 藝術帶領我走入屬於藝術的”宗教”裡，覺得藝術創作者都是物質界、自然界、精神界的轉譯者，
Artist Jinlieng Chang
我們看見別人沒看見的，沒感受到的，再內化它變成文字，圖像。 無論是具象或抽象，如實表達自己的看見，這真是令人著迷的世界，它永遠沒有終點，在裡面不斷 架構，開創自己的新世界，並把他呈現出來，這是藝術對我重要意義所在…我看見、我發現、我創造、 我消失。我的各項創作都有不同的心識流露在其中，交織交替著關於攝影作品，我只是拿相機當畫 筆，用大量的時間與花靜靜交心融合，是我純淨的哲思。時而具象時而抽象的精神面，畫水墨卻是 知與未知的意識與世間的新奇與歡喜；做雕塑則是展現赤子天馬行空與堅韌的生命流動。 這些構成了一個真實我，創作的喜悅，來自舊的已死，叛逆那枯燥無味的現實與體制，讓生命盡情 展現，當下打破時間、情感的束縛，在一時空內幽遊絢麗漂浮…… After getting the world's first prize for the Asian Pacific Girl Scout emblem in 1980, she became associated with art. Since 1992, the first solo sculpture oil painting exhibition has continued to be created. The creative categories include poetry, sculpture oil painting, ink painting, photography, dance, installation art, etc. In 1998, he was invited by Zhu Ming Art Museum as an art consultant for children's art activities. 2005-2007 Invited by Taipei Museum of Art to be the "Ink of the Year" and "Come! Take a Good Photo" Guided teaching design for children's education exhibition, and hired an advisory member of "The Beauty of Writing-Children's Calligraphy Education Exhibition" Art led me into the "religion" that belongs to art. I feel that the creators of art are translators in the physical, natural, and spiritual worlds. We see what others don't see and feel, and then internalize it into words. image. Whether it is figurative or abstract, it is a fascinating world to express your views truthfully. It never has an end. It constantly constructs in it, creates its own new world, and presents it. This is where art is important to me. ... I see, I find, I create, I disappear. I have different minds in all my creations, interweaving and interchanging about photography. I just use the camera as a brush, and spend a lot of time with flowers quietly, which is my pure philosophy. Sometimes figurative and sometimes abstract spiritual aspects, ink painting is the consciousness of the unknown and the unknown, and the novelty and joy of the world; sculpture is used to show the imagination and tenacity of life. These constitute a real self, the joy of creation, from the old dead, rebellious boring reality and system, let life to fully display, break the constraints of time and emotions, and float in a beautiful space in time and space ...
張金蓮 B.1958
知音 2012 50x40x25cm 銅雕
沉思的白雲 2002 47x25x16cm 銅雕
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Artist Pingcheng Liang
梁平正 B.1958
非書非椅 2013 45x107x37cm 樟木
當代雕刻家梁平正擅長以化輕、擬具象、擬實用與異媒材複合為創作手法，產生作品的「混種」與「擬生」 特質。梁平正創作生涯的多元面向為切入點，論及作品形式表現如同介於有機與無機之間，似有神靈附體 的超自然生物，而其使用媒材的混搭也超越傳統與現代的邊界，擴充了雕塑的可能性。另外，梁平正順勢 而雕的技法展現作品中流動光影的視觸感，將身體性重新召喚回以不鏽鋼 為表現媒材的雕刻創作之中。 梁平正透過媒介與形式解構了虛擬／真實、超常／日常、神話／歷史等二元論的界限，更進一步地呼應人 類最本源的宇宙觀，在萬物與己身的生命聯繫中想像生命與藝術的各種可能。
contemporary sculptor Liang Pingzheng is good at creating the techniques of“mixing”and “preparing”with the combination of lightening, figurative, practical and heterogeneous materials. Liang Pingzheng's multi-faceted career is the starting point. He talks about the form of works as if it is between organic and inorganic, like supernatural creatures with the spirit of the body, and the use of media mix also surpasses the boundary between tradition and modernity. The possibility of sculpture. In addition, Liang Pingzheng's technique of carving along the trend reveals the visual touch of the flowing light and shadow in the work, and recalls the physicality back to the sculpture creation with stainless steel as the medium of expression. Liang Pingzhen deconstructed the boundaries of duality 祥鷹坐騎 2007 60x173x50cm 樟木
of virtual/real, supernormal/daily, myth/history, etc. through media and form, further echoing the most primitive cosmology of human beings, imagining the possibilities of life and art in the connection of life between all things and oneself. . 21
老師畢業於台灣藝術大學與西班牙馬德里藝術學院雕塑系碩士，具備了扎實 的學院訓練，前期他一直著力於大型公共藝術。 直到他的第一個小孩出生以後，內心受到小孩成長過程的觸動，小孩天真燦 爛的表情與可愛的肢體動作，給了他很多的靈感，其能量的充沛，從而讓他 創作出以精靈為主題的系列作品。 他的精靈系列作品都洋溢著生命力，自由自在及喜悅，更具有幾個很特別的 亮點，有別於其他藝術家。首先是肢體動作跨度極大，例如「風精靈 I, II」衣
Artist Chengwei TSAI
裙被風吹拂的動感，半扭轉的身軀，單點的腳部支撐點，塑造了強烈的視覺 衝擊力。 其次，再來他更採用新的多層次的烤漆技術，因每件銅雕不同的表現，而賦 與不同的色彩，因而使得作品更具有現代感與時代性。 更極有創意的是保留一些手塑的質感與其他部分的光滑面作對比，形成特別 的視覺觸感，並將肢體適當的拉長，從而表現出精靈優美的體態，而使其「靈 氣」更具說服力。 蔡老師 B.1966
Tsai was graduated from National Taiwan University of Arts and went to Spain for further study. He got his MA degree of sculpture art in Universidad Complutense de Madrid and polished his academic skills. Tsai devoted himself in large-scale public art designs after he returned to Taiwan. While parenting his first baby, Tsai was deeply touched and inspired by the innocent and carefree faces and body motions of the baby, thus he created a series of creations by the topic of fairy. Tsai' s fairy creations are full of energy and some important characters that differ him from other artists, such as big movements of body motions, half-twist moving bodies, single-leg hold, etc. All of these characters create intense visual impacts. Moreover, he uses new multi-layer painting skill and chooses different colors depending on various designs of every bronze sculptures. Therefore his works are modern and reflect the spirit of the present time. The contrast between hand-sculpture texture and smooth surface is his creative technique and thus create special tactile feelings through vision. The stretch of bodies present fairy' s beautiful body figure and intensify the spirit.
風精靈 2011 90x30x20cm 銅雕
謐精靈 2011 66x43x17cm 銅雕
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Artist Minglong Dong
雲卷 2014 31x59x37cm 花蓮白大理石
董明龍 B.1975 在董明龍的創作裡，可以看見一位藝術家對故鄉的熱情，不僅出於對大自然的喜愛，還有從花蓮的美景當中 所帶給他的感動。 「日昇」系列源自於董明龍個人的生活經驗，因居住在美麗的花東沿岸，看見日出海平面緩緩升起，陽光透 過雲層如光束投射在寬廣的太平洋上，閃耀著光芒。藝術家觀察到日出的光線劃破寂靜的黑，從遠處逐步爬 升，帶來光明與溫暖，海水與天空也因為光線折射，呈現絢爛的美景，這種相當自然樸實的原始感動，自古 以來常可以在許多文化裡頭看見對太陽的崇拜，人們受到自然的光影變化，而觸動到內心的情感，進而衍伸 出美感與美學經驗，透過文字、詩詞、音樂或舞蹈，來表達內心對太陽的歌頌。 董明龍的「日昇經驗」同時也結合了花東人的共同記憶，無論是就業或求學所搭乘往來東西的火車，在火車 移動的過程當中，窗外的海岸景色，隨著火車流轉，看著美麗的東海岸。山脈、陽光、雲與海等自然的天地 大美，再再刺激著董明龍的創作。
In Dong Minglong's creation, one can see an artist's enthusiasm for his hometown, not only for his love of nature, but also for the impression he brought from the beauty of Hualien. The "Rising Sun" series is derived from Dong Minglong's personal life experience. He lived on the beautiful Huadong coast and saw the rising sea level rise slowly. The sun shines through the clouds like a beam of light on the broad Pacific Ocean. The artist observed that the light of the sunrise cut through the silent black, gradually climbed from a distance, bringing light and warmth. The sea and the sky are also reflected by the light, showing a gorgeous beauty. This kind of natural and primitive original touch has been 游移 2008 39x47x18cm 花蓮黑大理石、白大理石
used since ancient times. You can see the worship of the sun in many cultures, people are affected by the natural light and shadow, and touch the inner feelings, and then spread the beautySense and aesthetic experience, through words, poetry, music or dance, to express the inner song of the sun. 23
展覽策劃介紹 青雲畫廊從 1997 年成立至今，已舉辦過超過上百場的藝術展覽。從台灣前輩藝術家、中壯輩藝術，新一代
About Exhibitions
年輕藝術家的作品，都是我們青雲畫廊願意規劃以及提拔的。在藝術產業，畫廊及策展人占著極大的重要性， 我們除了扮演著藝術經紀人的角色，也扮演著將台灣最好、最優質的藝術家以及作品推廣出去，讓台藝術生 態蓬勃發展，也讓台灣人對於藝術文化這一塊能更即時、更零距離的得到訊息。
2016 大內藝術節展覽現場
林浩白 2015 個展現場－「花前絮語」
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About Exhibitions Cloud Gallery since its establishment in 1997, it has hosted more than hundreds of art exhibitions. The works of Taiwanese predecessors, Taiwanese contemporary art, and a new generation of young artists are all willing to be planned and promoted by Qingyun Gallery. In Taiwan's art industry, galleries and curators are of great importance. In addition to acting as an art dealer, we also play the role of promoting Taiwan's best and best quality artists and works to make Taiwan's art ecology. The flourishing development has also enabled Taiwanese to get information on the art and culture in a more immediate and even distance.
2015 年林浩白個展與觀眾合照
2018 年「雲．想．藝」展覽局部照
2016 年台北藝博展覽現場
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Communication with Pre-Artist’s works
大師作品交流
朱德群 - 田園 , 2008 , 68x86cm 版畫
朱德群 - 凱旋歸 (65/150) , 2002 , 81x64cm 版畫
朱銘 - 單鞭下勢 , 1991 , 43x23x28cm 銅雕
青雲畫廊擁有前輩藝術大師之作品，涵蓋了油畫、版畫、書畫作品數件， 件件都極具欣賞和收藏價值。 為推廣無形文化資產，這些作品的交流豐富了市民的文化藝術生活，助推 了民間藝術品收藏熱潮，將為台灣文化中心、 建設起到積極的推動作用。
佐藤公聰 - 呢喃 , 1993 , 20F(60.5x72.5cm), 油畫
楊三郎－ 淡水碼頭 , 1976, 30F(72.5x91cm), 油畫
Cloud Gallery has the works of senior art masters, covering several pieces of oil paintings, prints, paintings and paintings, all of which have great appreciation and collection value. In order to promote intangible cultural assets, the exchange of these works has enriched the cultural and artistic life of citizens, boosted the upsurge of folk art collections, and will play a positive role in promoting the construction of Taiwan 's cultural center.
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品牌合作交流
Brands Comunivation 除了在展覽及推動當代藝術的投入上，我們也時常與企業及各大品牌合作，將台灣的藝術更能融入我們的生活。跨領 域的合作除了挑戰藝術家的能力以及創造力外，也讓我們更加期待每一次合作呈現出來的結果。「品牌形象」除了該 品牌原有的樣貌外，多重的突破及發展，會讓人看出該企業的企圖心以及對台灣藝術的支持，青雲畫廊除了致力於藝 術家經濟、展覽及博覽會的舉辦和參與外，也期待兩個甚至三個、四個不同領域的合作，讓喜歡繪畫作品或是雕塑作 品的人同時也能共同享受音樂、視覺、流行、時尚、文化…等的結合。 In addition to the exhibition and the promotion of contemporary art, we also often cooperate with companies and major brands to integrate Taiwanese art into our lives. In addition to challenging the artist's ability and creativity, cross-disciplinary cooperation also makes us look forward to the results of each cooperation. In addition to the brand's original appearance, the "Brand Image" will showcase the company's ambitions and support for Taiwanese art. The Qingyun Gallery is dedicated to the artist's economy, exhibitions and fairs. In addition to participation, we also look forward to the cooperation of two or even three or four different fields, so that people who like paintings or sculptures can also enjoy the combination of music, vision, fashion, fashion, culture, etc.
六福萬怡酒店邀請詹喻帆一同展出 2020 台北燈節活動
2019 青雲畫廊 x 詩特莉手工餅乾品牌合作案 2016 詹喻帆 x MOMA 品牌合作案
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Layout Planning Introduce
配置企劃介紹
雲藝術配置團隊將以客戶中或是公司整體視覺配置為主，嘗試透過繪畫作品或雕塑作品，拉近藝術與生活的距 離，並推廣藝術在生活美學及視覺美感經驗的重要性。 隨著台灣居民居住水準提高，居民對於住宅的品質要求不再只針對建物硬體本身，空間中的價值提升、品味軟 體的元素置入更是生活美學的基本訴求；近年來台灣居住環境也同步在成長，居住使用的空間不單具有實質功 能，更需要讓居住者本身有更高層次的享受並與建築同步成長；在社會普遍價值觀影響下，過去對於手工藝與 生活用品的收藏，也逐漸轉為對藝術品擁有的渴望。 亞洲近現代藝術市場的發展可以分成幾個階段及區塊，日本工業、經濟現代化發展的早，因此也是亞洲藝術市 場最早興起的地區；其次是亞洲四小龍的台灣、香港、南韓、新加坡，而最具發展潛力，爆發力的新興地區則 是中國大陸與印度，其中從新加坡、香港、台北、上海到北京所形成的華人藝術市場是目前亞洲最大、最具引 響力的藝術市場。 自 2004 年以來亞洲地區的藝術市場投資報酬率幾乎以平均高達二位數以上的成績向上攀升，遙遙領先歐美的 藝術市場，隨著亞洲經濟的持續成長，這一波行情可望持續締造歷史新高，亞洲熱依然是 2010 年的熱門話題， 許多歐美藝術投資專家的目光皆專注在亞洲，尤其中國與台灣的藝術氛圍和市場受到了世界各地的重視，其所 衍生出來的經濟效益更是不可小覷，近年來由於 7 9 8 藝術園區 ( 北京大山子 ) 的興起，也帶動週邊的藝術市場、 藝術村及其它行業如：保險、運輸、畫材、印刷等的業務，藝術產業未來將會持續發光發熱。 藝術作品不僅為室內空間增加份量、提升建物品味，更可收保值收藏之效果，營業場所之畫作佈置除可帶動整 體房價行銷，置於企業總部更是可提振員工士氣帶動工作氣氛，也附帶提升企業形象。
豪宅藝術品置入
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Layout Planning Introduce The cloud art configuration team will focus on the customer or the company's overall visual configuration, trying to draw closer to art and life through paintings or sculptures, and promote the importance of art in life aesthetics and visual aesthetic experience. With the improvement of the living standards of Taiwan residents, the residents' quality requirements for residences are no longer limited to the building hardware itself. The increase in the value of space and the insertion of taste software elements are the basic requirements of living aesthetics; in recent years, the living environment of Taiwan has also been synchronized. In growth, the space used for living not only has substantial functions, but also requires the occupants to enjoy a higher level of enjoyment and grow in sync with the building; under the influence of the universal values of the society, the collection of handicrafts and daily necessities in the past has gradually been transformed into The desire for artwork. The development of the Asian modern art market can be divided into several stages and blocks. Japan's industrial and economic modernization has developed early, so it is also the region where the Asian art market first emerged. This is followed by Taiwan, Hong Kong, South Korea, and Singapore. The emerging areas with the most potential for development are China and India. The Chinese art market formed from Singapore, Hong Kong, Taipei, Shanghai and Beijing is currently the largest and most influential art market in Asia. Since 2004, the return on investment in the art market in the Asian region has almost risen by an average of more than double digits. It is far ahead of the art market in Europe and the United States. With the continued growth of the Asian economy, this wave of market conditions is expected to continue to set a record high. The Asian fever is still a hot topic in 2010. The eyes of many European and American art investment experts are focused on Asia. In particular, the artistic atmosphere and markets of China and Taiwan have received attention from all over the world, and the economic benefits derived from it are even more important. Alas, in recent years, due to the rise of the 7 9 8 Art Park (Beijing Dashanzi), it has also driven the surrounding art market, art village, and other industries such as insurance, transportation, painting materials, and printing. Glowing fever. Artistic works not only add weight to the interior space, enhance the taste of the built-in items, but also collect the effect of value-preserving collections. In addition to the layout of paintings in the business place, it can promote overall house price marketing. Being placed in the corporate headquarters can also boost the morale of employees and promote a working atmosphere. Improve corporate image. 巨型畫作安裝現場
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藝術配置流程圖 簽約 ( 設計約 ) Contract
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Art Space Design
藝術空間設計
「美學」一詞在近幾年來漸漸地開始被大家重視，也更加提 倡將美學融入生活，可以看到現在的餐廳、公園、街道 ... 等， 越加地強調視覺享受，未來的都市規劃，藝術品的置入和空 間的融合，會是一項趨勢，也是被大家重視的一環項目。當 藝術品與空間結合時，能夠整體提升空間的氣氛和風格。近 幾年來我們曾和建設公司、設計公司、高級俱樂部、私人藏 家 ... 等多項合作，共同規劃藝術品和空間的搭配，評估整 體空間的色調和風格，去尋找適合的藝術作品，創造空間新 的價值。
各類型藝術空間配置
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Art Space Design
CAD 藝術空間設計從接案開始分為四個循序漸進之步驟 : CAD art space design is divided into four step-by-step steps from the beginning of the case:
STEP 04
STEP 01 了解業主需求 Understanding owner needs
開始設計、執行施工 Start designing and execution
CAD 藝術空間設計 CAD art space design
STEP 03
STEP 02 整理空間資料 Organize space data
確認藝術品與室內設計的融合度 Confirm the integration of artwork and interior design
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Art Studio
藝術工坊 藝術工坊將以發揚藝術品為主，嘗試透過藝術產品拉進藝術與生活的距離，並對傳統的文化內涵重新進行詮釋與演繹。首先，結合繪畫技 術與現代化生產線，改良作業程序，尋找作業人員與作業空間之最佳配置狀態，提供既快速又有效率的作畫與製作流程。再者，融合傳繪 畫技法與現代生活美學，在產品設計上進行新的詮釋和分享，並與現代人的生活結合、符合平價精品市場需求，開創與顛覆傳統技術的刻 板印象，提供大眾生活藝術品的一項新選擇。 The art studio will mainly carry forward the art, try to draw the distance between art and life through art products, and reinterpret and interpret the traditional cultural connotation. First, combining painting technology with modern production lines, improving the operating procedures, finding the best configuration of workers and working space, and providing a fast and efficient painting process. In addition, it combines the techniques of painting and modern life aesthetics, new interpretation and sharing in product design, and integrates with the lives of modern people, meets the needs of the affordable boutique market, and creates and subverts the stereotypes of traditional technology to provide the art of public life A new choice of products.
來自空無，歸於虛曠 2019 30F(72.5x91cm) 壓克力顏料
止水之間 2019 30F(72.5x91cm) 壓克力顏料
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Art Studio 藝術 ( 雕塑 ) 產業由過去「加工製造業型」經過「藝品銷售業型」轉為「文化創意產業型」， 創造建立新附加價值。不論於文化、藝術、產業經濟層面，給予消費者正面印象的評價，且透 過感性行銷、核心價值建立、體驗式活動運用、交易買賣公平化、環境保護永續經營、分享文 化氛圍等方式，獲得消費者內心共鳴。 以木雕為例，一般人對木雕的印象多半停留在傳統傢俱、廟宇建築的雕龍刻鳳等等看似通俗的 木雕工藝；然而，寫實木雕工坊試圖扭轉這些刻板印象，思考著如何呈現木雕之藝術性而又不 流於匠氣或落入俗套中，一方面呈現臺灣在地文化，另一方面推動木雕藝術之「在地國際化」， 拓展台灣木雕藝術在國際語彙中的詮釋，並期待被廣泛地解讀。唯有如此，才能加速拓寬台灣 木雕藝術在國際場域的能見度。 The art (sculpture) industry has changed from a "processing manufacturing type" to a "cultural product sales type" to a "cultural creative industry type" in the past, creating new added value. Regardless of cultural, artistic, industrial and economic aspects, consumers are given positive impressions, and obtained through perceptual marketing, core value building, application of experiential activities, fair trading, environmental protection, sustainable management, and sharing of cultural atmosphere. Consumers resonate. Take woodcarving as an example. Most people's impressions of woodcarving are mostly in traditional furniture, carving of dragons and phoenixes in temple buildings, and other seemingly popular woodcarving crafts; however, the writing woodcarving workshop tries to reverse these stereotypes and think about how to present woodcarving It is artistic but does not flow into craftsmanship or fall into the cliche. On the one hand, it presents the local culture of Taiwan. On the other hand, it promotes the "local internationalization" of wood carving art. It also expands the interpretation of Taiwan wood carving art in the international vocabulary. Extensive interpretation. Only in this way can we broaden the visibility of Taiwan's woodcarving art in the international arena.
桃園大溪笠復威斯汀度假酒店委託雲藝術團隊之藝術品訂製計畫
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Art Lecture
藝術講座
邀請藝術家共同參與藝術類型之講座，加強民眾對於當代藝術的了解，與企業或品牌合作，提升品 牌形象，或是可做為回饋 VIP 客戶的活動，針對高端客戶，提升生活美學。 Artists are invited to participate in art-type lectures to strengthen people's understanding of contemporary art, cooperate with companies or brands to enhance brand image, or it can be used as an activity to give back to VIP customers, aiming at high-end customers, and improving life aesthetics.
青雲畫廊總監李宜洲受邀至雃博股份有限公司的藝術講座
資深拍賣官陸潔民與藝術家詹喻帆 2013 於青雲畫廊之講座
青雲畫廊總監李宜洲受邀至 2012 台北藝術博覽會論壇主持
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Cultural and Creative Product
文創商品
1. 以智庫的概念，整合跨界 2. 設計團隊研發 3. 生產製造 4. 通路行銷 藝術家詹喻帆周邊文創產品，圖為手機保護殼
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青雲畫廊 x 雲藝術配置團隊企劃 Cloud Galler y x C.A.D Company Profile 出版者 : 青雲畫廊
Publisher : Cloud Gallery
地址 : 台北市中山區台北市中山區明水路 469、471 號
Address : No.469 & 471, Mingshui Rd., Zhongshan Dist., Taipei City 104, Taiwan
電話 : 02-25332839 網址 : http://www.cloud-gallery.org/ 信箱 : cloudgallery1@gmail.com
Tel : +886-2-25332839 Web : http://www.cloud-gallery.org/ Email: cloudgallery1@gmail.com
總編輯：李宜洲 Executive Director : Gary LEE
視覺設計：李宜洲
Visual Designer : Gary LEE
美術設計：楊鈞淯 資料彙集：張家馨 文字校對：張家馨
Designer : Nic Yang Data collection : Chiahsin CHANG Proofreading : Chiahsin CHANG
攝 影：青雲畫廊
Photography：Cloud Gallery
版 本 ：2020 年
Version： 2020 Edition
© 2020 Cloud Gallery. All text and photography in this Ebook if not otherwise credited is the copyright of © Cloud Gallery, 2020 All rights reserved. No part of this Ebook may be reproduced in any form or by any means, electronic or mechanical, including photocopy, recording, or by an information storage or retrieval system, without permission in writing from the publisher. All the reproduced artworks are © the artist, Cloud Gallery, reproduced by kind permission, and made available by Cloud Gallery, Taipei. Should there be copyright holders of any work in this publication whose due claims have not been cleared, such claims should be addressed to the publisher. 未註明版權出處之圖像或文章，其版權均屬青雲畫廊所有。未經出版者同意，不得以任何方式， 包括電子、影印、攝影、或任何資訊系統拷貝或轉載。所有圖像版權屬於青雲畫廊，青雲畫廊 經由藝術家授權使用。若有任何版權上的疑問，請洽青雲畫廊。 39