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作品 參與採訪新聞 (東森財經新聞) 展覽介紹-台北魅力展 Taipei In Style (China Post) 展覽介紹-雕塑家李真個展 (China Post) 活動介紹-小招牌製造所 (China Post) 寶藏巖 Sdf 飛象西西-缺席英雄領路 志工證明 靜態攝影作品


參與採訪新聞 (2015/7-2016/1) 日期

新聞標題

採訪對象

2015.7.17

批 UNIQLO 血汗!勞團衝

抗議勞團

店面貼字條聲援慶盛罷 工 2015.7.17

港壹週刊恐收攤?藝人們

戴愛玲 黃小琥

感慨多 2015.7.29

辣媽孫瑩瑩露背洋裝亮

孫瑩瑩

相 凍齡術大公開 2015.8.3

綜藝王曾國城買房有一

曾國城

套 挑內湖 50 坪自住宅 2015.8.10

風吹鷹架塌飛百尺遠 大

台北市議員

巨蛋變大"炸彈" 2015.8.12

台幣貶值出口良藥?機

機械公會理事長

械公會:貶到 36 元才 有效 2015.9.3

新老戲來囉! 京劇大師李

李寶春

寶春再推新作 2015.9.4

年金要改革!張盛和:

民眾

老婆退休後卻領更多

2015.10.15

勞工週休二日明年上路

抗議勞團

勞團憂變相減薪

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台北魅力展 Taipei IN Style Taiwan fabric manufacturers can have edge in China market: Expert With years of experience in the fashion industry, Deborah Peng, general manager of Fablead Consulting, analyzed the status quo marketing strategy in China, giving some advices to Taiwanese fabric manufacturers interested in expanding in the Chinese market. For the current condition of China’s fashion industry, the lack of strict regulation leads to the price war in which fabric suppliers compete to win, she points out. Exclusive agents are on the loose. And the rising fast fashion is hurrying the pace of the fashion industry. “Fabric manufactures in Taiwan must set a clear merchandising plan,” Peng said in the seminar on April 15. Chinese people, as air-conditioning is more ubiquitous now, need more mid-range clothing, such as knitwear, than before. Blended fabric is therefore an advantage for Taiwanese fabric suppliers, as Chinese suppliers are not good at producing the type of textile. Another strength of Taiwanese suppliers is that they have stable quality when it comes to fabric production. To ensure the rights of Taiwan fabric suppliers, Peng wants to cooperate with Taiwan Textile Federation (TTF) to establish an industrial union, encouraging more manufactures to enter the Chinese market. ■ 專家給臺灣布料廠商的幾點建議 時尚界資深經理人菲力咨詢總經理彭斐立,在 Taipei In Style 第二天研討會分析 中國當前市場現況,並給予想進入中國市場的臺灣布料商建議。 彭斐立指出,目前中國市場缺乏嚴謹制度,廠商競相砍價出售布料,代理商訂貨 制度也很混亂。近年興起的快時尚加速了整個時尚產業的步調。 「臺灣的布料商需要設定明確的商品企劃。」隨著空調設備愈來愈普及,中等厚 度的服飾(如針織),中國市場需求比以往更大。然而中國廠商不擅長製作混紡布 料,相比之下,臺灣廠商在這點占有利基,又布料品質穩定,比中國廠商更有競 爭力。 為保障臺灣布料廠商的權益,彭斐立計畫與紡拓會合作,鼓勵臺灣廠商進軍中國 市場。

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雕塑家李真個展 How do we define the realm of our existence? Does it equal with the realm of our civilization? What is the meaning of eternity in Western and Eastern cultures? These are some of the themes Li Chen has developed in art for more than two decades. But, are these topics equally relevant to the viewers and the artworks themselves? The answer is simple. In order to appreciate Li Chen’s work, we need to see beyond the resulting aesthetic of his creations toward the context of his own personal and spiritual motivations. By opening up to alternative possibilities, we can open the viewer’s perspective on art regardless of his or her own preferred styles and subjects. 我們該如何定義我們的存在?存在和文明又是否相等?永恆的意義在東西方文化中有 何差異?這些問題都是李真花費超過二十年,在藝術中探索的主題。然而,這些問題 對觀者和藝術品本身具有同等重要性嗎?答案很簡單。我們需要以超越美學的觀點, 從李真個人的心靈脈絡欣賞他的作品。重啟其他可能性後,即便喜好不同的風格和主 題,觀者能以共同的視角觀賞藝術品。

This is the subject of this chapter: a carful introduction of Li Chen’s various series. More importantly, we aim to show the artist’s commitment to the dignity of human beings, while stressing the centrality of human choice in the creation of all values. We will also show that his works capture the optimism usually associated with art in which the absence of preestablished objective values makes us entirely responsible for what we become, and this puts our future in our own hands, like in French essayist and poet Francis Ponge’s famous quote: “Man is the future of man.” Without a doubt, there is a future for every man on Earth whatever his or her “nature” as long as his or she exercises “free will” with care and tries to retrieve the meaning of life through art. ■ 這個章節的主題:一個對李真多樣系列作品的導讀。最重要的是,我們的目標是 呈現藝術家對人類尊嚴的承諾。強調人類中心的選擇之外,我們也將會從他的作 品中捕捉常常在藝術作品中缺少的樂觀,就像法國現代詩人法蘭西士‧彭暑有名的 引用:「我們就是自己的未來。」每一個在地球上的人都會隨著自己的自由意志 從藝術中檢索生命的意義。

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While trying to understand the whys and wherefores of life, Li Chen takes you in a quest for self-awareness and spirituality that spans so far in eight distinct series

在試圖了解生命的因果的同時,透過八個各具特色的系列作品,李真將帶領你追求自 我意識和靈性圓滿。

Over the last two decades, Li Chen has developed a visual signature that spans from monumental figurative sculptures inspired by a mixture of Buddhist philosophy and contemporary art practice, to abstract sculptures made of wood, clay and wire highlighting the material decay of our society and selfish aspirations in light of the Buddhist interpretation of the concept of “eternity.” 在過去二十年間,李真發展出一套視覺特徵,從結合佛道和當代藝術的指標性雕塑, 到由木﹅黏土﹅金屬絲的抽象雕塑,李真以佛教教義中對「永恆」的詮釋映照出現今 社會的物質腐敗與自私。

Reality vs. Spirituality While trying to understand the whys and wherefores of life, Li Chen takes you in a quest for self-awareness and spirituality that spans so far in eight distinct series distributed along a Reality vs. Spirituality axis. As we observe each series through this dichotomy however, the path toward understanding both the artist and our own place in this world unfolds before our eyes. 在試圖了解生命的因果的同時,透過八個各具特色﹅分別位處現實到靈性光譜上的系 列作品,李真將帶領你追求自我意識和靈性圓滿。在我們以現實和靈性兩個對立角度 觀賞各個系列作品的同時,藝術家和我們相互理解的世界就在我們眼前展開了。

On the one hand, the artist pursues a quest for various levels of “Spirituality” through six series, namely “The Beauty of Emptiness” 1992-1997, 空靈之美), “Energy of Emptiness” (1998-2000, 虛空中的能量), “A Spiritual Journey Through the Great Ether” (2011-,大氣神 遊), “Soul Guardians” (2008-2009, 神魄), “The Beacon” (2009-2010, 天燧), and “Ethereal Cloud” (2011-, 青煙) series. On the other, the artist highlights the bewilderment and contradictions of “Reality” through the sculptures of “The Immortality of Fate” (2008-, 不生 不滅) and “Ordinary People” (2010-, 凡夫) series. 一方面,李真在其中六個系列作品中追尋各個不同階段的「靈性」-「空靈之美」 (1992-1997)﹅「虛空中的能量」(1998-2000)﹅「大氣神遊」(2011-)﹅「神魄」 (2008-2009)﹅「天燧」(2009-2010)﹅「青煙」(2011-)。另一方面,在另兩個系列 的雕塑中,李真強調「現實」中的困惑與矛盾-「不生不滅」(2008-)和「凡夫」 (2010-)。 頁5


Like the two sides of a single coin, these approaches bring you to more self-awareness and consciousness on societal issues by highlighting the human values that we each hold in common as well as our shortcomings when interacting with others in the community. 如同硬幣的兩面,這八個系列作品刻劃出人們所秉信的人性價值,以及在社會中與他 人互動時所顯露的短處,藉此加強觀者在社會議題中的自我意識與認知。

A Critical Look at Society and its Leaders Fully aware of the significance of his approach, Li also uses his art to lay forth a critical reading of our modernity. He understands that we, humans, do not always act logically and or in the interest of the group but rather through our own self-interest. Mankind, and by extension society, includes dark impulses such as self-love, passions, desires and impulses toward narcissism and destructive behavior. 李真非常清楚其作品的重要性,因此他也視藝術作品為一種對現代性的批判閱讀。李 真了解,人並不總是理性行事,也會選擇自身利益而枉顧團體利益。人類,和人類的 延伸-社會,都囊括著黑暗的脈動,如自溺﹅熱情﹅慾望﹅自戀和毀滅性行為衝動。

That isn’t a new concern though. In one of his earliest works, “Butterfly Kingdom” (1999, 蝴 蝶王國), for instance, Li voiced such concerns through a sculpture with 12 outstretched arms, each hand arranged in a different gesture, growing from a central body, in a shape that recalls a butterfly with its wings spread. The hand signs indicate victory, approval, criticism, questioning, warning or an impending attack. Back then, he was already using one sculpture, to talk about an array of social concerns in Taiwan, which is also known as the real “butterfly kingdom.” 而對人性黑暗面的描述也非新鮮事。在李真的早期作品「蝴蝶王國」(1999)中,李真 塑造出一個具有十二隻手臂的雕塑,每隻手臂的姿態皆不同,從軀幹延伸而出,形成 一個如蝴蝶展翅一般的形象。這些手勢代表著勝利﹅認可﹅批判﹅質疑﹅警告﹅迫近 的攻擊。在當時,李真便已用過一個雕塑探討台灣社會議題,台灣,名符其實的「蝴 蝶王國」。

Another of Li’s works with a “societal perceptive” is “Collective Consciousness” (2006, 糜 糜) from the “Spiritual Journey through the Great Ether” series. Again, this seminal work looks into Taiwanese society and the actions of our leaders in a sarcastic way. You can see the leader sucking on a pacifier with antennas like a snail’s. “They will draw back whenever you touch them,” Li explained. “Yet the leader pretends he’s strong and powerful, and funnily enough, he’s got quite a few followers. They blindly follow the leader, covering their eyes and ears.” The leader can be interpreted as a politician, entrepreneur, or any other figure in the viewer’s imagination. ■

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李真的另一個帶有「社會觀點」作品則是「大氣神遊」系列 (2001-) 中的「糜 糜」(2006)。再一次,李真透過這個影響深遠的雕塑作品,以挖苦的方式探討台 灣社會和其領導人。在這個雕塑上,可以見到領導人在吸奶嘴,而他們的頭上有 著如蝸牛一般的觸角。李真表示,「你只要一碰,他們就會縮回去。」「然而領 導人仍假裝自己既強壯而有力量,還有幽默感。他有一些盲目的追隨者,矇住他 們的眼耳跟隨他。」這個領導人可以被視為政客﹅企業家,或是任何觀者想像的 人物。

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小招牌製造所 Small Shop Signboard Manufacturer Shop signboard takes a part in city landscape, in which traditional market presents lively locality. World Design Capital Taipei 2016’s activity, “Meet Taipei: Design,” raised by Department of Cultural Affairs, Taipei City Government, aims to integrate design and tradition, by redesigning shop signboards, rejuvenating Taipei City. Nine shops of the Dazhi Market, an important section of “Meet Taipei: Design,” participate in the activity, respectively designed by three artists: Yu Feng (馮宇), WeiDa Lin (林韋達), and Aaron Nieh (聶永真). Yu Feng says that he hopes these signboards will last in children’s minds, making tradition transcends generation. The new signboard of Wan De Meat Shop (萬德瘦肉號), designed by Yu Feng, is characterized by black and gold, in which black stands for genuine black pork, and gold for high equality. Wei-Da Lin designs the shop signboard of “A9 Taiwanese Premium Meats (鼎 A9 台灣 肉類食品名產) ,” selling different kinds of pork floss and meat jerky. After knowing these products are cooked by ancient Chinese cooking vessel, she designs a pattern in which meat is inside vessel. Lin says that through this activity, citizens can slow down their pace and start to revalue tradition. “After growing up, I seldom shop in traditional market. But it is friendlier,” says Aaron Nieh, who has taken part in the plan since 2013. The new signboard of Chia-Lin Handmade Dumpling (佳齡手工水餃), designed by Aaron Nieh, features a dangling dumpling action figure. The three-dimensional design is lively and recognizable, enhancing vitality of the surroundings. Taipei City Department of Cultural Affairs Commissioner, Pei-Ni Hsieh, says that we can help others through the sense of beauty. “Meet Taipei: Design” will finish 100 signboards within 4 years, aiming to change citizen’s perspective toward things usually taken for granted. They look forward to endow streets, alleys, and traditional blocks with the sense of beauty. ■

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