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雙城記-浮城過影/陸先銘個展 A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

目次

CONTENTS

序文 PERFACE

圖錄 PLATES

6   執行總監序 / 石瑞仁

46  藝術家陸先銘 About Lu Hsien-Ming

94  勿忘影中人 Forget not People in the Picture

125  曖曖內含光 Beaming Light in the Dimness

47  展覽簡介 Introduction

96  生 • 活  Birth • Life

126  春風 Spring Wind

50  浮城 The Cities

98  飄飄何所似  Drifting As...

127  秋月 Autumn Moon

Foreword from J.J. Shih, Executive Director from Museum of Contemporary Art, Taipei

專文 ESSAYS 10   雙城記-陸先銘、郭維國雙個展 / 崔燦燦 A Tale of Two Cities—Lu Hsien-ming & Kuo Wei-kuo Duo Solo Exhibitions/ Cui Can-can

52  奔 Running

104  斜陽  Tilting Sun

64  玄穹  Firmament

106  含笑 Smile

66  過影 The Glimpses

107  躇 Hesitation

72  碑 Monument

108  袱 Bundle Wrapped in Cloth 

78  潛龍 Hidden Dragon

109  飲 Drink

80  歸 Return

110  閒 Caref ree

82  雨後 After Raining

112  近覷  The View of Near

86  迷 Myth

114  遠眺 The View of Near

89  蒼茫 Vastness

117  輦 Handcar

130  活動紀實 MOCA, Taipei Event photos

90  阿公的預言 Grandpa’s Stories

118  青山依舊在 Green Mountains Remain

134  藝術家訪談  Interview

92  瀟灑走一回 Stroll

120  幾度夕陽紅 Under Pink Sunsets

144  藝術家手稿 Manuscript

93  領悟 Sudden Comprehension

122  為歡幾何 How Much Happiness Can We Have?

154  藝術家簡歷 Biography

20   藝術家 / 蔡明君 Artist / Tsai Ming-jiun

34   浮城過影-陸先銘的城市寓言 / 吳垠慧 Glimpses of Cities - L u Hsien-ming ’s Ur ban Al legor y / Ericamigo Wu

附錄 APPENDIX


台北當代藝術館 Museum of Contemporary Art, Taipei

【雙城記】- 展出與展覽專輯序

A Tale of Two Cities – Perface to Exhibition and Catalogue

石瑞仁 / 台北當代藝術館總監

J.J. Shih / Executive Director of the Museum of Contemporary Art Taipei

台北當代藝術館 2015 年的開春首展,推出《雙城記》:【浮城過影—陸先銘】與【萬園

A Tale of Two Cities is the first exhibition presented at MOCA, Taipei for the spring season of 2015, and it’s a two-part exhibition consisting of Lu Hsien-ming Exhibition: Glimpses of Cities. and Kuo Wei-kuo Exhibition: Gardens of Spirits The format of the exhibition, which focuses on dialogues and contrasts, stands out amongst the different exhibitions presented at the museum since its opening in 2006. Two “middle generation” Taiwanese artists are invited to present their art at exhibition areas on the 1st and 2nd floors of MOCA, Taipei or to create new artworks specific for the space, with their endeavors presented and juxtaposed at the same time to showcase their unique creative developmental contexts. Curated by Chinese art critic Cui Can-can, the title of the exhibition borrows from 19th century English author Charles Dickens’ literary masterpiece of the same title, with the exhibition showcasing exceptional and prolific artworks by Lu Hsien-ming and Kuo Wei-kuo, while also comparing drastically different creative philosophies and artistic directions opted by the two artists of the same generation and who are also good friends. The objective is to reflect the different ways that contemporary art interacts with history, society, and life in general.

有靈—郭維國】雙個展。本展屬於當代館 2006 年以來,一個強調「對話與對照」的特殊 展覽項目,此次邀請兩位臺灣中生代藝術家分別就當代館一、二樓展場空間規劃展覽或創 製新作,同時呈現、對應各自的創作發展脈絡。展覽由大陸藝評人崔燦燦擔綱策劃,展名 引用 19 世紀英國小說家狄更斯的名作《雙城記》,展出內容除了鋪陳陸先銘和郭維國各 自豐富精采的藝術作品,也有意對照兩位藝術家身為同代人和至交好友,卻有截然不同的 創作思維和藝術取向,從中映照當代藝術與歷史、社會、人生的不同互動模式。 在這個號稱「最好同時也是最壞的時代」中,兩位藝術家各自以繪畫語言和裝置手法書寫 了生活當下所面對的現實以及存在的可能。策展人崔燦燦的策劃與論述,從全球語境下華 人藝術脈絡的縱橫切剖,探討這兩位臺灣藝術家的獨特性格,以及他們和臺灣社會時代的 不同對話模式,從而勾勒出藝術與社會息息呼應、時時鏡照的多重互動關係。 陸先銘的作品涉及兩個重要的歷史背景,一方面是從上世紀 80 年代以來,臺北的城市現 代 化 進 程 的 快 速 發 展, 所 帶 來 的 種 種 社 會 變 遷 和 現 實 問 題; 另 一 方 面, 植 根 於 上 世 紀 80 年代的臺灣地區對現代主義變革的自覺意識,對於形式主義和綜合材料、表達手法的不斷 探 索 與 實 驗 。這 兩 點 構 成 了 其 作 品 的 主 要 線 索 ,互 為 表 裡 ,而 又 相 互 啟 示 。無 論 是《 路 橋 》 系列,還是《城市居民》系列,陸先銘以見證和批判的雙重角色,通過藝術的語言寫照和 呈現城市景觀與內在人文的變遷。 相對於陸先銘創作的城市書寫導向,郭維國的作品一路從社會文化的觀照省思,轉向自我 心 性 的 探 索 與 自 我 形 象 的 臆 造 ,乃 至 於 自 然 題 材 的 應 用 和 傳 統 畫 境 的 轉 化 。在 他 的 作 品 中 , 歷史與現實的課題被巧妙地融入微觀的思考與個人的角色想像中,既有的價值信仰、社會 框架和政治邏輯…,全然被神秘的夢相或想像所權充與替代,由是為觀者提供了一個更開 放、多元、自由的觀世方式。 本次展出,陸先銘與郭維國兩人除了展出他們最代表性的架上繪畫作品,也針對當代館的 空 間 場 域 製 作 了 一 批 雕 塑 作 品 和 據 地 裝 置 ,這 些 新 作 ,一 方 面 印 證 了 他 們 跨 界 創 作 的 實 力 , 另一方面對於串聯個人藝業發展脈絡和核心旨趣,也有相當的作用。 本檔展覽的籌辦、實際展出和社會回應,相當的成功和圓滿順利,對此,首先要歸功於兩 位藝術家提供的精采作品,以及備極辛勞的展前工作和展場投入;其次,要感謝策展人崔 燦燦對展出內容的用心規劃和創意安排,以及本館同仁的努力執行,還有眾多志工、工讀 生的參與服務,而本展的空間和氛圍呈現能有重大改變,則要感謝大未來林舍畫廊的特別 贊 助。 最 後 要 再 次 感 謝 EPSON 臺 灣 愛 普 生、 文 心 建 設、 臺 灣 Samsung 三 星 電 子 等 民 間 企業對本館的長期支援,由於眾人的熱心奉獻和支持,讓當代館以有限的空間、資源與人 力,再次完成了一個富有美感創意和社會口碑的展覽 !

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專文 | Essays

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

In a time referred to as “the best of times and the worst of times”, with their own unique approach to painting and installation, the two artists have proceeded to express possibilities pertaining to the reality at hand and also to one’s existence. The curating and the discourse presented by Cui Can-can are executed through vertical and horizontal dissections of the context of Chinese art under a global setting, exploring the unique qualities embodied by these two Taiwanese artists and also the distinctive ways they engage in dialogues with the Taiwanese society, resulting in multifariously interactive relationships of intricate exchanges and constant reflections between art and society. Two important historical backgrounds are dealt with in Lu Hsien-ming’s art, with one encompassing Taipei’s rapid urban modernization since the 80s and the various social shifts and realistic issues the phenomenon has evoked. On the other hand, constant explorations and experimentations with formalism, mixed media, and methods of expression are also dealt with while bearing in mind Taiwan’s self-awareness towards the reforms propelled by modernism that began in the 80s. Critical clues to the art by these two artists are formed based on these two factors – they are complementary to each other but also reciprocally enlightening. Lu plays a duo role of witness and critic in both of his Road Bridge series and Urban Dweller series, using the language of art to depict and present shifts and changes with urban landscapes and the humanity within. Compared with Lu’s urban direction, Kuo’s art has transitioned from social and cultural observations and reflections to explorations of the internal self and fabrications of his own personal image, while also showcasing transformations with applications with subject matters relating to nature and traditional painting compositions. Intricate thoughts and imaginative role-playing are ingeniously incorporated with issues related to history and reality in Kuo’s art, with existing values, faith, social doctrines, political logics, and other agendas usurped and replaced by the artist’s enigmatic dreamscapes or imaginations. Viewers are, thereby, provided with a more open, diverse, and liberating way to see the world. In addition to presenting iconic paintings by the two artists, site-specific sculptures and installations are also created for the space at MOCA, Taipei. These new artworks demonstrate the artists’ cross-disciplinary capabilities, with an active synergy also created connecting the artists’ individual contextual development and core interest in art. The planning, exhibition, and feedbacks from society-at-large have proven the exhibition to be quite successful and well received, and first and foremost, the exceptional artworks provided by the two artists and their dedication prior and during the exhibition are the reason for the success. Curator Cui Can-can’s meticulous planning and creative curating are also greatly appreciated, and a big thank-you also goes out to MOCA, Taipei’s hardworking staff, volunteers and part-time workers. We also want to thank Lin & Lin Gallery for its special sponsorship, which made the dramatic changes with the exhibition’s space and ambiance possible. Lastly, long-term support from private corporations including Epson Taiwan, Win Sing Development, Samsung Taiwan are always tremendously appreciated. Because of the devotion and encouragement from everyone, despite our limited space, material and human resources, MOCA, Taipei is able to once again present a creative and well-received exhibition! 7


台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

專文 Essays

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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MuseumofofContemporary ContemporaryArt, Art,Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

專文 | Essays

雙城記-陸先銘、郭維國雙個展 策展人 崔燦燦

「這是最好的時代,這是最壞的時代;這是智慧的年代,這是愚蠢的年代;這是信仰的時期, 這是懷疑的時期;這是光明的季節,這是黑暗的季節;這是希望之春,這是絕望之冬;我們擁 有一切,我們一無所有;我們正走向天堂,我們都在奔向與其相反的地方…」 ─ 查 理 斯•狄 更 斯《 雙 城 記 》

A Tale of Two Cities

Lu Hsien-ming & Kuo Wei-kuo Duo Solo Exhibitions

In t ro du c t io n

C ur a t o r / C ui C a n- c a n It was the best of times, it was the worst of times, it was the age of wisdom, it was the a g e o f f o o l i s h n e s s , i t w a s t h e e p o c h o f b e l i e f , i t w a s t h e e p o c h o f i n c r e d u l i t y, i t w a s the season of Light, it was the season of Darkness, it was the spring of hope, it was the w i n t e r o f d e s p a i r, w e h a d e v e r y t h i n g b e f o r e u s , w e h a d n o t h i n g b e f o r e u s , w e w e r e a l l g o i n g d i r e c t t o H e a v e n , w e w e r e a l l g o i n g d i r e c t t h e o t h e r w a y. . . ─ A Ta l e o f Tw o C i t i e s , C h a r l e s D i c k e n s

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雙城記-浮城過影/陸先銘個展 A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

狄更斯在《雙城記》中敘述了他所處的那個矛盾的、鮮活的時代。在那個時代中,人們遭遇

專文 | Essays

陸先銘:浮城過影

著前所未有的困境,它既來自於它自身的歷史沿襲,也不斷的接受著當下不斷發生的改變。 「雙城記」做為此次陸先銘和郭維國雙個展的歷史隱喻,所指涉的正是在今天我們所面對的

城市是每一個現代人所生存的特有空間,它承載著現代人的文明成果,也承載著夢想與失

現實以及存在的可能。

望。沒有一座城市只是建築,每一座城市都是由無數鮮活、曲折的個體共同組成。

每一個人心中都會有一個理想的社會或者家園,這種理想往往是對一種積極模式的尋求。

在陸先銘的作品中,城市的現代化發展與個體之間的關係不斷顯現。路橋系列是他從上世

在此次展覽中,陸先銘和郭維國的共同展出,正是對人的生存語境和現實遭遇的探討,兩

紀 90 年代臺灣的城市建設迅速發展開始,他將目光聚焦於這座城市中崛起的現代建築紀

位藝術家從上世紀 80 年代始終從臺灣本土的現實社會所發生的變遷出發,以審視的態度將

念碑。這個工業化的產物象徵著一座城市的精神,然而在這個宏大敘事的現代精神背後,

社會問題轉為藝術語言的表達動力。或者說,陸先銘和郭維國在通過藝術的方式對現實的

陸先銘將視角拉回這座城市的主體,城市中的人與光陰的變遷。現代化加快了人的生活便

回應過程中,都涉及到社會空間、歷史空間、文化空間對個體的擠壓,以及這種擠壓所導

捷能力,也加快了現代經濟的高速運轉,它在地球的任何一個角落,似乎都成為勢不可擋

致的變異。

的必然趨勢。在這個趨勢背後,在這些光鮮亮麗的榮耀背後,無數個體仍然經歷、承受著 自身的流變。

在 藝 術 手 法 上 ,兩 位 藝 術 家 的 作 品 都 具 有 極 強 的 象 徵 性 ,對 形 象 、空 間 、符 號 的 錯 置 與 混 合 , 通過戲劇化和場景化的方式將現實中的事物進行再次編排,從而使得現實問題集中化,物與

一個偉大的時代的出現,必然是無數個體默默的付出。陸先銘作品中的那些原住居民或是

物之間構成了一種新的張力關係,這種關係既構成了一種藝術風格的獨特性,也將對現實問

城市流民,一方面作為現代城市的付出者、參與者、受惠者;另一方面又在遭遇這種變遷

題的思考再次深入。

所帶來的不安、動盪與失落。現代速度使得人們的時間被縮短,人們在應接不暇中經歷著 劇烈的動盪,時間被濃縮為效益,個體成為集體利益的工具。事實上,陸先銘的作品正是

無論是陸先銘還是郭維國,此次展覽都試圖勾勒出一個關於臺灣社會發展的線索,在城市化

從這種雙向的矛盾出發,這種高速發展模式的未來是什麼?它對生活在這裡的人們意味著

和現代化的進程之中,臺灣本土所映射出的關於人的困境、生存的困境。他們都指向在現實

什麼?它和歷史文明之間如何延續?誰來承擔這些延續之間的斷裂?

之外的理想家園,關於這個時代的種種切片,人與社會的沉浮、個體與群體的失落和幻想, 那些發生和正在發生的改變。

陸先銘使用了一些現代城市中特有的材料,例如不鏽���、霓虹燈、鋼鐵板等,這些材料作

In A Ta l e o f Tw o Ci t i e s , Di c k e n s re c o u n t e d t h e c o n f l i c t i n g , v i b r a n t e r a h e l i ve d i n . Pe o p l e a t that time experienced unprecedented difficulties, which, on the one hand, originated from i n h e r i t i n g t h e p a s t h i s t o r y, a n d o n t h e o t h e r h a n d , w e re a g g r a v a t e d b y h a v i n g t o a c c e p t t h e cea seless changes that had been taking pl ac e at th at time . A s a h is to r ic al re f e re n c e to th e du o ex h ibit i ons of Lu Hsien-ming and Kuo We i-k u o , "A Tal e of Two C itie s " re f e r s to th e re al itie s we a re facing as well as the p ossibili ties of e xis te n c e today.

B o t h Lu a n d Ku o h a ve l e f t c l u e s t h a t re ve a l e d t h e d e ve l o p m e n t o f Ta i w a n e s e s o c i e t y i n t h e i r e x hi b i t i o n s , a n d d e p i c t e d p e o p le’s d i f f i c u lt i e s , o r t he d i f f i c u lt i e s o f e x i s t e n c e , i n t he p ro c e s s o f u r b a n i za t i o n a n d m o d e r n i za t i o n i n Ta i w a n e s e s o c i e t y. T he y p o i n t e d t o t he i d e a l ho m e t ha t d i d n o t e x i s t i n re a li t y, a n d e x a m i n e d t hi s e r a , p e o p le’s li f e a n d s o c i a l d e ve lo p m e n t , i n d i v i d u a l a n d c o lle c t i ve lo s s e s a n d f a n t a s i e s , a n d a ll t he c ha n ge s t ha t ha ve t a k e n p la c e a n d a re ha p p e n i n g a t t he m o m e n t .

In ea ch indivi dual’s mind, there is an ide al s oc ie ty or h ome ; an d th is ide al o f te n c ome s f ro m t h e pursuit of an active mode of life. T h is e xh ib itio n is a c o -e xh ib itio n o f Lu H s ie n -min g an d Kuo Wei -kuo; it is also their exp lorati on s of th e l ivin g c on dition an d re al itie s th at pe o pl e h ave b e e n e n c o u n t e r i n g . Si n c e t h e 8 0 s , t h e t w o a r t i s t s h a ve s t a r t e d f ro m t h e c h a n g e s i n Ta i w a n e s e s o c i e t y, a n d w i t h a n a n a l y z i n g e y e , t r a n s f o r m e d t h e o b s e r v e d s o c i a l p r o b l e m s i n t o t h e m om entum of ar ti sti c exp ression. One c ou l d al s o s ay th at, th ro u g h an ar tis tic appro ac h , as Lu a nd Kuo reacted and resp onded to the s o c ial re al itie s , th e y h ave b oth tou c h e d u po n th e s o c ial , h ist orical and cultural supp ression of in dividu al s , an d th e c on s e q u e n t adaptation s tr ig g e re d by such su p pressi on. In terms of artistic techniques, both artists adopt powerful symbolism as well as an anachronism and a mixture of images, space and symbols. Through a theatrical approach a n d c re a t i ve s c e n e s , t h e y re a r r a n g e t h e t h i n g s a n d o b j e c t s i n re a l i t y s o t h a t t h e p ro b l e m s a re foregrounded, and a new tensional relationship between each object is formed. While the crea t ion of thi s relationshi p constr uct s th e u n iq u e n e s s of th e ir ar tis tic s tyl e s , it al s o e n ab l e s a d eeper i nvesti gati on i nto those problem s in re al ity.

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

L u H s ien - m in g : Glim p s es o f C it ies A city is a unique space that each modern individual inhabits. It carries the cultural achievements of modern people, as well as their dreams and disappointments. No city is a mere m u lt i t u d e o f b u i ld i n gs b u t r a t he r a f u s i o n o f c o u n t le s s e x u b e r a n t , c o m p li c a t e d i n d i v i d u a ls . I n L u’s w o r k , t h e r e l a t i o n s b e t w e e n t h e d e v e l o p m e n t o f u r b a n m o d e r n i z a t i o n a n d t h e i n d i v i d u a l s h a v e k e p t a p p e a r i n g . He s t a r t e d R o a d B r i d g e s e r i e s i n t h e 1 9 9 0 s a s t h e c i t i e s i n Ta i w a n b e g a n t o d e v e l o p i n a f a s t p a c e a n d w h e n h e t u r n e d h i s e y e s t o t h e r i s i n g m o d e r n a rc hi t e c t u r a l m o n u m e n t s i n t hi s c i t y. T hi s p ro d u c t o f i n d u s t r i a li za t i o n s y m b o li ze s t he s p i r i t o f a c i t y. Howe ve r, b e hi n d t he gr a n d n a r r a t i ve o f t hi s m o d e r n s p i r i t , Lu p la c e d hi s e m p ha s i s o n t he c i t y i t s e lf a s we ll a s t he c ha n ge s o f i t s i n ha b i t a n t s a n d t he p ro gre s s o f t i m e . Mo d e r n i za t i o n h a s m a d e p e o p l e ’s l i v e s m o r e c o n v e n i e n t a n d e a s i e r, a n d h a s a c c e l e r a t e d t h e o p e r a t i o n o f m o d e r n e c o n o m y. I t s e e m s t o h a v e b e c o m e a n u n s t o p p a b l e t r e n d a r o u n d t h e g l o b e . Ne v e r t h e l e s s , s u b m e r g e d i n t h i s t r e n d a n d b e h i n d t h e d a z z l i n g a n d g l o r i o u s a p p e a r a n c e s ,

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台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

為文化的雙向性存在,在視覺系統和物質中,不鏽鋼的反光特性和光滑表面與繪畫顏料形

當我們走過那幾扇鏡門,兩邊的窗景,我們似乎有些恍惚,哪些是真實?哪些又是藝術家的

成了強烈的對比關係;霓虹燈的閃亮、電子光感和沉悶、壓抑的畫面色調構成了一種極大的

創作?在此刻在此地,每個人都是一座城池。「你站在橋上看風景,看風景人在樓上看你。

反差;鋼鐵板組成的底座或者是畫面的外框,沉重的、毫無溫度的材質在無形中壓迫著畫面

明月裝飾了你的窗子,你裝飾了別人的夢。」

中的人物。在文化系統中,這些物品又象徵著現代科技的成果與重大變革,它隱喻著現代精 神的剛毅與創新精神,同樣也標示著一座城市的堅固與永恆。在這些豐富的悖論關係之中, 陸先銘用戲劇化的手法使得作品在空間形態上具有了一種特殊感染力,將那些真實存在的,

郭維國:萬園有靈

但又因種種尷尬而無法直視的現實,通過視覺化的手法交付於觀眾。 在每座城市中,都有閃爍著靈光的故事,也都有曲徑通幽的歷史。一座城市即是一本關於 當觀眾開始進入陸先銘作品中的場景時,畫面中天空似乎帶著某種時間或是歷史的流動性不

時間、記憶、個體與生命延展的百科全書。這之中記載著那些奇妙的發生和在現實之外的

斷湧動,而巍然不動的陸橋和現代化建築似乎像是不朽的豐碑。然而在這種戲劇化的場景之

無數幻想,悲歡離合、愛恨情仇。每一個人都有一個故事,它們既在自己的世界之中,也

中,那些城市流民或是老人卻正經歷著這些變化,他們似乎不知所從,也無處安放,他們就

在無形中成為現實世界中的某個角色,在一個並沒有樂理可循的奏鳴曲中遊蕩。一千個人

這樣孤獨而又無法磨滅的在城市中漂浮。這些無名者成為了陸先銘的主要關注對象,它象徵

就有一千個樂章,也有一千個版本的城市傳記。

著在這個城市中的一個特殊群體,在充滿野心的積極時代中的邊緣人群和孤獨者。陸先銘在 此次展覽中的裝置作品,那些正在「生長」的柱子,參雜著各種材質,它屹立在城市的每一

在郭維國的許多作品中,一些現實中從未出現的「精靈」時常湧現。它們似乎來自於歷史

個角落,而在歷史的大潮中,人們沿著這些生長的道路走向遠方,他們有的留下了英雄般的

典故、神話遊記或是現實的某個角落,這些「小怪物」在畫面中行色各異,既像是對於現

背影,有的默默無聞,有的只能停留著原地。無論是現代化的崛起,還是城市的豐碑,或是

實的隱喻,又像是藝術家心中的奇異世界。郭維國的作品極具想像力,似乎在他的心中有

無數個體,在這樣一個快速發展的時代中,泥沙俱下,它襲捲著無數人的希望和失望朝著未

著一個別人從未踏入的獨有世界。像是故事的開始,也像是故事的結束,而在漫長的歷程

知的遠方湧動。

中,郭維國用畫筆編織了這個「人獸走足」共存的大千之園。

然而,在這個城市的角落,那些生動而又真實的個體身上,我們卻看到任何一個時代的矛盾與荒誕

然而,這些看似喜悅的童話世界,並非是美妙的,它似乎暗含著某種現實的殘酷與無奈。

最終都要由個體來承擔,它對每個生活在這個時代的個體的影響是結實的、沉痛的、也 是 有 力 的 。

或者說,這些從未真實存在「精靈」來源於現實與歷史的交匯處,來源於這個時代的困境

count less indivi duals have been forced to e xpe r ie n c e an d b e ar th e b u rde n s o f th e c h an g e s th at h a ve h ap pened to them.

to display to the audience the actual, existing realities, which people are unable to face directly simply because they are embarrassed to.

The making of a great era requires the silent dedication of unnumbered individuals. In Lu’s work, those city dwellers, or urban vagrants, were modern cities’ givers, participants and recipients of benefits on the one hand, while on the other, they have suffered from all the anxieties, chaos and losses brought about by the changes. The speed of modern times is faster in a way that it compresses people’s time. While feeling helpless in coping with so many things, people have been experiencing drastic changes as time is compressed for better efficiency, and as individuals are treated like instruments for the greater good. In fact, Lu’s work has been looking into this dual contradiction. What is the future of this pattern of development in such a fast pace? What meanings does it bear for the people that live in this city? In what way does it sustain and continue our history and civilization? Finally, who is there to mend the breaks that, more than often, take place in the sustainment and continuation?

When the audience step into the scenes of Lu’s works, the sky in the images seem to be embedded with a sense of time or a kind of fluidity in histor y, and is constantly moving; nonetheless, the towering, fixed road bridges and modern architecture are like permanent monuments. In such dramatic scenes, the urban vagrants or elders are actually experiencing these changes. They look u n s u re o f w h a t t o d o o r w h e re t o s e t t l e , a n d m ove a ro u n d i n t h e c i t y, l o n e l y ye t re m a i n i n g . These unknown people have grasped the attention of Lu Hsien-ming as they symbolize a unique community in this city, a group of marginalized people and loners in an active time brimming with ambitions. One of Lu’s installations in this exhibition is a group of “growing” pillars that have been affixed with various materials. They have stood tall in different corners in the city as people tried to climb up to their goals in the massive waves of histor y. Some of them have l e f t h e ro i c m e m o r i e s i n o u r m i n d s w h i l e o t h e r s re m a i n e d s t i l l a n d u n k n ow n . Be i t t h e r i s i n g of modernization, the monuments of the city, or the numberless individuals, in such an era of fast-paced development, it forcefully swirls up, with all its might, countless people’s hope and disappointment, and moves towards the unknown afar.

Lu has employed some materials that are characteristic to modern cities, such as stainless steel, neon light and steel plates; and these materials actually hint at the duality of culture. In terms of the visual system and material, the reflective quality and smooth surface of the stainless steel create an intense contrast against the paint. The bright electronic neon light also goes against the dull, repressive tone of colors in the works. Steel plates used to construct the artwork bases and the frames of the works are heavy and cold, implicitly imposing upon the characters in the image. In terms of cultural discourse, however, these objects represent the achievements and major breakthroughs of modern technology, symbolizing the persistence and innovation of the modern spirit, and are markers of the durability and permanence of a city. With these paradoxical relationships, Lu’s dramatic approach imbues the works with a certain efficacy in terms of its spatial presentation. Through means of visualization, Lu is able 14

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

However, in the corner of this city, we can see on the bodies of those lively and real individuals that the contradictions and absurdities of any era would eventually be shouldered by individuals. Its influence to every individual living in this era is realistic, profound, and powerful. In the exhibition, when we walked through the mirror doors, the views outside the windows on both side seemed to have confused us. Which ones were real, and which ones were created by the 15


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台北當代藝術館 Museum of Contemporary Art, Taipei

和矛盾之中,它是現代版本的社會寓言。這種寓言所指向的是個體的慾望與時代的焦灼, 它像一顆變異的細菌,不斷的侵襲著一個原本美好的童話,而這些童話所象徵的美好正在 逐漸消失,走向一個充滿荒誕性的人間喜劇。在這個意義上,郭維國更像是一個歷史典故 或是童話世界的改編者,它將現實和經典進行嫁接,以童話之名,再現了一場怪異而又荒 誕的萬物狂歡。郭維國用藝術家特有的視覺方式,創造了一個不斷變化更新的現實圖志。 在這個圖志中,沒有無根之木,每一個特殊的物象都有它所從屬的現實系統。這個現實系 統集合了這個時代中的種種歡娛與不幸,它像是個體在撞擊這個無形的世界之時,所遺留 的印痕,這個印痕夾雜著流淌的液體和帶有傷疤的身軀,移花接木,衍生出郭維國所想像 的一個奇異新世界。 郭維國的作品具有一種特殊的宗教感,這種宗教感像是某種神秘的儀式,它既是現代社 會對個體的儀式化閹割,一種成人禮式的制度壓迫;也是個人在現實遭遇之外殘存的幻 想與浪漫,在童話之中保留的一絲溫存,它指向一種擺脫現實束縛的形而上學追求:在 這個時代,日趨同質、平庸、單一的生活之中,如何尋找生活之外的想像力與可能性。 實質上,郭維國的作品試圖通過對現實的象徵,對寓言的再寓言,尋找那些看似殘酷背 後的生活詩學。 在展廳之中,郭維國設計了一個類似於教堂一樣的白色通道,在這個通道的間歇處,我們 可以進入藝術家所創造的奇異的想像世界,尋找現實的殘存和幻想的依據。而在通道的盡 頭,郭維國又重新將我們引回一個個體的世界,一個巨大的肖像,一顆象徵著鮮活的生命 的心臟。我們從這裡開始思考,也從這裡開始結束,它是幻想的起源之地,慾望的滋生之 床,也是所有幻想破滅的伏筆。本質上,在這條尋找靈光的路上,人們匆匆而過,驚鴻一 瞥,每個人的一生都是一個童話,一個開始追逐自我和不斷想像自我的歷程。在這個歷程 之中,精靈相伴,穿園而行。 郭維國作品中的每一個精靈都有一個獨立之園,而在這些園與園的交匯之處,總有一些精 靈在時光中穿行,它們都擁有兩個身份,美好的想像與存在的荒誕,同在雙城之間。

artist? Here, at this moment, each individual became a city. “As you stand on the bridge to see the view, people that are watching the view upstairs are also looking at you. As the moon outside your window becomes a decoration to you, you have become a decoration to another person’s dream.”

Kuo Wei -ku o: G ard ens of S pir its In each city, there exist stories that are flickering with spirits and embedded with history with hidden, winding paths. A city is an encyclopedia about time, memories, individuals, and the spans of life. It has recorded those wonderful happenings and numerous fantasies excluded by the reality, and all the sorrow, joy, partings and reunions, as well as the love, hatred, passion and enmity. Every person has a story, which is itself a world; each individual also imperceptibly becomes a character in the real world, lingering in a sonata that no one can predict its next note. A thousand people form a thousand musical chapters as well as a thousand urban biographies.

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

專文 | Essays

In many of Kuo’s works, one can often see some “spirits” that do not exist in reality. They seem to originate from historical allusions, mythological literature, or certain corners of the real world. These “little monsters” appear in disparate forms and looks in the images; they are like metaphors to the reality on the one hand, and seem to embody some peculiar worlds in the artist’s mind on the other. Kuo’s works are injected with superb imagination as if there existed a unique world in his mind that no one has ever stepped into. The works could be seen as the beginnings as well as the end of some stories. In the long process of histor y, Kuo uses his brushes to weave a garden of the universe, in which humans and animals co-exist. Howe ve r, t h e s e s e e m i n g l y j oy f u l w o r l d s o f f a i r y t a l e s a re n o t a c t u a l l y w o n d e r f u l ; t h e y s e e m t o imply a certain cruelty and helplessness of the reality. One could also say that these non-existent “spirits” come from the intersection of the reality and the histor y as well as the difficulties and contradictions of this era. In short, it is a social allegory of a modern version. This allegory signifies the desires of individuals and the anxieties of this time. Like a mutating germ, it is perpetually attacking an originally beautiful fairy tale, gradually eating away the wonderfulness represented by the fairy tale and introducing a mundane comedy filled with absurdities. From this perspective, Kuo is more like someone that adapts and revises the historical allusions or fairy tales, as he grafts the realistic onto the classic, and represents a bizarre and absurd revelry of all beings under the pretense of fair y tales. Utilizing a unique visual means to artists, Kuo has created a continuously renewing iconography of the reality, in which everything belongs in this frame of reference and every special object and form have their equivalents in the reality. In this system of the reality, one finds all the joy and misfortune specific to this era. It is like an imprint created when each individual clashes with this invisible world; and with oozing fluid and a body full of scars, this imprint is grafted to create a peculiar, fresh world imagined by the artist. Kuo’s work carries a distinctive sense of religion, which reminds the audience of a certain mysterious ritual, which resembles simultaneously a ritualistic castration of individuals done by modern society, and a systematic oppression evocative of the coming-of-age ceremony. At the same time, it also represents individuals’ residual fantasies and romantic feelings that do not exist in the realm of reality; it is a shred of gentle warmth kept within the realm of fair y tales. It points to a kind of metaphorical pursuit that aims to escape the shackles of reality: in this era, as people’s lives are becoming more and more homogenous, mediocre, and single-sided, how could we search for the imagination and potentiality outside of life? Substantially, through the symbolization of the reality and the allegoricalization of allegories in his works, Kuo attempts to find out the poetics of living underneath the seemingly cruel appearances. In this solo exhibition, Kuo has designed a white tunnel reminiscent of a church, and in between the beginning and end of the tunnel, the audience could enter the fantastic world of imagination created by the artist and find the residues of the reality as well as the references of his fantasies. At the end of the tunnel, once again, Kuo guided the audience back to a world of individuals, where there were a gigantic portrait and a heart that symbolized the vibrant life. Our thinking started as well as ended here. It was where the fantasy originated, where the desires bred, and where that foreshadowed the eventual disillusionment. In essence, on this path to search for the spirits, people’s journeys are as short as a glimpse; and everyone’s life is a fairy tale, a beginning in pursuing the self, and a constant process of imagining the self. In the process, we are accompanied by the spirits as we journey through the gardens. In Ku o’s w o r k , e a c h s p i r i t h a s a n i n d i v i d u a l g a rd e n , a n d a t t h e i n t e r s e c t i o n o f t h e s e g a rd e n s , there are always some spirits travelling among them. They possess dual identities, the wonderful imagination and the absurdity of existence, and are always in between the two cities.

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台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

臺北雙城記

策展人簡介

「 這 是 最 好 的 時 代 ,這 是 最 壞 的 時 代 … 我 們 擁 有 一 切 ,我 們 一 無 所 有;我 們 正 走 向 天 堂 ,

崔 燦 燦 , 1 9 8 7 年 出 生 於 江 蘇 徐 州 , 2 0 0 8 年 畢 業 於 南 京 藝 術 學 院 , 曾 任 《 畫 刊 》( 原 《 江

我們都在奔向與其相反的地方。」陸先銘和郭維國用這個展覽演繹了一個雙城記,這兩

蘇畫刊》)雜誌社策劃編輯,目前從事藝術史論研究與寫作、藝術批評實踐及藝術展覽策

座個體之城相互重疊,它是彼此的矛盾,也是彼此的寄託。在台北當代藝術館的建築之

劃等多面向的工作。

中,我們既能看到這座城市經歷的歷史,也能看到兩位藝術家心中的城池,他們都共同 指向關於這個時代在這座城市中生活的人們,所遭遇的發生,那些無聲無息的浮城過影

他的藝評寫作,曾獲 2013 年 CCAA 中國當代藝術評論青年提名榮譽獎,以及 2013 加拿

與萬園有靈。

大 YISHU 中國當代藝術批評獎。近年參與的學術活動,包括:擔任【第十三屆德國卡塞 爾文件展】特邀觀察員、【第三十屆巴西聖保羅雙年展】特約評論員、【2013 年威尼斯 雙年展】德國館特約觀察員…等。

“It was the best of times, it was the worst of times…. we had ever ything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the o t h e r w a y.” W i t h t h i s e x h i b i t i o n , L u H s i e n - m i n g a n d K u o We i - k u o p r e s e n t e d a t a l e o f two cities. These two cities of individuals overlapped with each other; they have been o n e a n o t h e r ’s c o n t r a d i c t i o n a s w e l l a s s u p p o r t . I n t h e b u i l d i n g o f M O C A , Ta i p e i , t h e a u d i e n c e c o u l d s i m u l t a n e o u s l y s e e t h e h i s t o r y o f t h i s c i t y a n d t h e c i t i e s i n t h e a r t i s t s’ minds, which all referred to the people that have been living in this city in this era and w h a t h a v e b e e n h a p p e n i n g t o t h e m ; a l l t h o s e s i l e n t , u n d e t e c t e d “g l i m p s e s o f t h e c i t i e s” a n d “g a r d e n s o f s p i r i t s .”

崔燦燦在藝術策展這個面向尤其活躍,2009 以來所策劃的展覽多達 30 餘項,近年代表 性的如:【鄉村洗剪吹】2014 年跨年大趴(中國北京元典美術館);【一個夢想】造空 間實驗計畫(上海世博會藝術博物館廣場);【MADE IN CHINA】威尼斯雙年展特別 專案(中國廣州 53 美術館)…等。

A b o u t t he C u r a t o r Cu i C a n - c a n w a s b o r n i n Xu z h o u , Ji a n g s u Pr ov i n c e i n 1 9 8 7 . A f t e r g r a d u a t i n g f r o m Na n j i n g University of the Arts in 2008, he served as managing editor at Art Monthly magazine (Jiangsu Art Monthly). Currently he devotes in various artistic careers: producing research in art histor y and criticism, working as an art critic and curating art exhibitions. His art criticism has received much recognition, including the shortlist for the Young Critic Award at the 2013 Chinese Contemporary Art Awards; he was also the winner of the 2013 Yishu Journal of Contemporary Chinese Art’s Art Criticism Award. Some of his recent academic activities include ser ving as special obser ver for the 13th Documenta Exhibition in Kassel, Germany, contributing art criticism for the 30th São Paulo Art Biennial as guest critic, and working as guest observer at the 2013 Venice Biennale's German Pavilion. Cui is especially prolific in his curatorial work, curating over 30 exhibitions since 2009. Recent m a j o r w o r k s i n c l u d e B e i j i n g - R u ra l - St y l e B l o w D r y : A C o u n t d o w n Pa r t y ( Yu a n A r t Mu s e u m , Beijing), One Dream: Space-making Experimental Project (Power Station of Ar t, Shanghai), and MADE IN CHINA : Venice Biennale Special Feature (53 Art Gallery, Guangzhou).

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

藝術家

藝術家的教育

「從小喜歡畫畫,然後也參加很多兒童畫畫比賽,會得獎。就會有老師問說長大要當畫家 嗎?我就說不要。我心想還有很多美好的事可以追求,為什麼要當畫家?」

若看過台北當代藝術館為雙城記所作的訪談,大概很難忘記人稱陸仙的陸先銘帶著圓 圓的黑色眼鏡、爽朗地說著自己今天走上這條路得感謝美術老師的那段故事。那是一 個距離今日約四十年之久、只有兩所大學有美術科系的年代,能夠在高中遇到鼓勵學

—陸先銘 那天訪談結束忘了問陸仙,若能選擇,下輩子還要當藝術家嗎? 文/蔡明君

生走藝術創作之途的老師,在我這個晚了二十幾年時間、且從國中開始一路都讀美術 相關班級與科系的後輩眼中,仍是種難以想像的提點與支持。 陸先銘國中畢業後候補上私立的延平中學,對於讀書不擅長也沒有興趣的他,遇到了 兩位對他影響重大的美術老師。第一位是高一的簡克明老師,『老師這樣跟我講:出 社會要跟人家競爭,功課不好的話,選其它行業跟人家競爭的話對手很多,你要出頭 不容易。但是你畫畫這個能力已經贏過那麼多人,那出去的話你的對手就會很少。我

Ar t ist

就有點突然開竅了,從那時候開始,唸書比較有目標跟方向,知道為什麼要唸書,書

I h a v e l i k e d t o p a i n t s i n c e I w a s a c h i l d , a n d j o i n e d m a n y c h i l d r e n’s d r a w i n g c o m p e t i t i o n s a n d w o n a w a r d s . Na t u r a l l y, t h e r e w o u l d b e t e a c h e r s a s k i n g m e i f I w a n t e d t o b e a p a i n t e r w h e n I g r e w u p . I a l w a y s a n s w e r e d “n o ,” t h i n k i n g t h a t w h y s o m e o n e w o u l d w a n t e d t o b e a painter when there were so many wonderful things to pursue. — Lu Hsien-ming

就比較唸得進去。』 在幾乎完全以考試與分數定奪一個人的價值與出路的臺灣教育體制下,唸書的壓力以 及考試制度所造成不會唸書的人的困境在這幾十年來未曾消失,不過是被一次次的教 改作弄得扭曲變形。國高中甚至國小的學子,生活唯一的中心幾乎就是唸書,成績不 好便等於將來沒有出息的定論,到今天仍存在於不少家長與老師心裡。然而學習不應

I f o r g o t t o a s k L u H s i e n ( t h e C h i n e s e w o r d “ h s i e n” i s a h o m o n y m , r e f e r r i n g t o a celestial being) after the interview that day: if he could choose again, would he still want to be an artist in his next life?

等於背誦、教育也不該只是灌輸。以唸書、考試去分高低是一種方式,但有許多特質

Te x t b y Ts a i M i n g - j i u n

美術專任老師,但這些課堂時數也經常被其他學科有「借」無還地挪移去做其他重要

或專業,是在這樣的制度裡無法被啟發或培養的。創意或哲學等思考在臺灣的初等教 育中總被犧牲,就藝術而言,國小少有美術專任老師,多半由導師上陣;國高中雖有 學科的加強或小考使用。陸先銘回憶起高中,也許因為是私校,也許因為遇到了有理

T he Edu c a t io n o f a n Ar t is t Pe o p l e w h o h a v e w a t c h e d t h e i n t e r v i e w c r e a t e d s p e c i a l l y f o r t h e e x h i b i t i o n a t M O C A , Ta i p e i , t i t l e d A Ta l e o f Tw o C i t i e s — L u H s i e n - m i n g E x h i b i t i o n : G l i m p s e s o f C i t i e s , w o u l d definitely recall Lu Hsien, as most people would call him, expressed brightly wearing a pair of round, black-framed spectacles, his gratitude towards his art teachers for sending him on to the path of becoming an ar tist. It was about for ty years ago when there were only t w o u n i v e r s i t i e s t h a t h a d f i n e a r t s d e p a r t m e n t s . To t h i n k t h a t L u w a s a b l e t o m e e t t e a c h e r s who encouraged students to pursue a career in art is still an incredible awakening and support for someone like me, a person from a younger generation twenty years behind and had studied in art classes and fine arts departments since junior high school. A f t e r f i n i s h i n g h i s j u n i o r h i g h s c h o o l e d u c a t i o n , L u g o t i n t o t h e p r i v a t e Ya n p i n g H i g h S c h o o l , a f t e r w a i t i n g a s a c a n d i d a t e f o r a v a c a n c y. F o r s o m e o n e w h o w a s n o t g o o d a t s t u d y i n g , t h e t w o a r t t e a c h e r s t h e r e h a d m a j o r i n f l u e n c e s o n h i m . T h e f i r s t t e a c h e r w a s M r. C h i e n K e - m i n g , w h o t a u g h t L u i n h i s f r e s h m a n y e a r. “ T h i s w a s w h a t t h e t e a c h e r s a i d t o m e , ‘y o u’ l l n e e d t o c o m p e t e w i t h o t h e r s w h e n y o u s t a r t w o r k i n g . S i n c e y o u c a n n o t g e t g o o d grades, you will have many competitors if you choose any other professions, and it will not b e e a s y f o r y o u t o s t a n d o u t a m o n g o t h e r s . H o w e v e r, y o u a r e a l r e a d y s o m u c h b e t t e r t h a n m a n y p e o p l e i n p a i n t i n g . Yo u w i l l h a v e m u c h f e w e r c o m p e t i t o r s i n t h i s f i e l d . ’ T h a t w a s 20

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

21


台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

想並有所堅持的美術老師,他得以無缺地享受每一堂美術課。而或許也是因為遇到了對

的心情。對於當「藝術家」這件事情根本是懵懂的。那個年代要賣畫根本是不可能,而收入要

的老師,讓他對於未來的選擇沒有太多遲疑,且親身體驗了教育環節中美育的重要程度。

從何處來這個問題也沒有多想,他說當時腦袋比較清楚、比較有能力(英文、經濟)的人,就 會準備要出國。而他每日就是畫畫,由於外面比賽多半沒機會,比較會認真準備的就是學校系

現在錄取率超過百分之百的大學考試,在陸先銘的那個年代並不是人人有獎。由於只有兩所大

展。大三寒假為系展準備的作品由於系展延期,因而有了空檔就去投了〈雄獅美術新人獎〉 ,

學有美術系,他笑說別人花了好幾天想破頭在填志願卡,他五秒鐘就完成了。跟多數人一樣他

沒想到得了首獎。得獎的獎金也許說多不多、說少也不少,但也沒有讓他認為可以靠著獎項來

還是以分數高低來做為志願順序,差幾分沒能上第一志願師範大學、而是進了文化大學,他本

賺錢,對他而言『得獎的好處是,會有信心。獎金,我只記得,請客喝酒少不了,外面一個院

來沮喪到想要直接重考,住家裡附近、他高二高三的美術老師黃才郎就是文化畢業,此時就鼓

子滿地的酒瓶,請一堆人來吃吃喝喝很高興。』

勵他先去念,真的不喜歡再休學重考,是第二位助他離藝術家之路更近一步的老師。 當時文化大學美術系分為設計、國畫及西畫三個組別總共六十個學生,陸先銘說自己選擇了 『 結 果 一 念 ,就 喜 歡 上 了 。歪 打 誤 撞 ,那 幾 年 其 實 文 化 是 很 O K 的 ,因 為 文 化 完 全 沒 有 包 袱 。』

西畫組一方面是自己的興趣,另一方面是完全沒有想到畢業後謀生與工作的考量。當時考進

改變了陸先銘想法的不是別的,正是大學作為一個教育機構能夠提供給學生其中一個重要養分

美術系,選擇西畫或國畫組的人,抱著與陸先銘同樣志業的人有多少無從得知。然而現在與

─學系整體、尤其是學長姊所帶領出的氛圍。再也不需為考試而練習畫靜物或石膏像,對於創

他同一屆西畫組仍在創作的就他一個人了,而國畫組的同學也只有一個。從當時只有師大與

作的自由度,是多半進到大學美術系學生最期待的事情之一。然而自由的創作帶來的是另一個

文大有美術系,到約十年前還有師範學院,今日,除了三所藝術大學,所有的學院、與專校

挑戰:要如何從「以老師提供的主題來習作」轉變到「發展出自己的創作方向」;是否要跟隨

都已轉型加起來共二十幾所大學有美術相關科系。陸先銘提到:『我們那一代師大的,要不

當時流行的鄉土寫實、與彼時多數從師大畢業的知名畫家走一樣的路線,或者還有別的方向可

就都當老師,要不然就埋沒掉了。其實他們是很厲害的,參加省展、美展都得獎,我們都在

以著手?陸先銘說:『那時候我們一年級,吳天章他們大三,大四的話有蘇旺伸、鄭建昌還有

門 外 看 而 已 。』在 十 年 前 師 範 大 學 與 師 範 學 院 仍 為 美 術 系 多 數 選 擇 的 時 候 ,仍 有 相 同 的 狀 況:

楊茂林這一些。看到他們的作品,就跟我們外面看到的不一樣,蠻新鮮的,自己也想要創作,

考試分數高而進到師大、師範的學生,絕大多數畢業後都成為了老師。對於陸先銘而言,雖

就會想要以他們為榜樣。』

然他教學的時候是很認真,但由於一方面自己沒有教學的教育養成背景,所以說去教學,其 實是一種換麵包的方式;另一方面創作還是他自己認為最重要的事情,因此當初沒有進到師

也因為如此,文化大學美術系那一段時間的學生們,成為了後來臺灣藝術領域裡很重要的一群

大,也許才是適合他的。

中堅創作者。『那個時候(文化大學)的好處是,管的不嚴,能翹的都可以翹。大二開始在陽

22

明山上(租畫室),那是一個四合院,叫做巫雲山莊,就一人一間。在那邊就兩件事,一個是

這麼看來,藝術教育環境的養成過程當中,成為藝術的專職或教育工作者,似乎不知不覺在

喝 酒 聊 天 ,一 個 是 畫 畫 。』當 時 高 中 決 定 要 考 美 術 系 ,陸 先 銘 抱 持 著 一 種「 就 是 要 走 這 一 條 路 」

大學考試時便由分數做了某種程度的分類。然而,大學的教育與文憑,在過去幾十年儼然被

when I became aware, and since that moment, I was more goal-oriented in school. I knew w h y I s h o u l d s t u d y, a n d w a s a b l e t o l e a r n .”

and had the chance to experience and witness the importance of cultivating aesthetics in the system of education.

I n s u c h a n e d u c a t i o n s y s t e m i n Ta i w a n , w h i c h a l m o s t o n l y a s s e s s e s a n i n d i v i d u a l ’s v a l u e by exams and grades, the pressure of cramming for tests and the frustration of feeling trapped in a system of exams and being poor at studying have never been eliminated but simply distorted by the educational reform. The lives of junior high and high school students, and even those of the elementary school students, almost center single-mindedly on studying. The idea that one would not be able to achieve anything without good grades s t i l l e x i s t s i n t h e m i n d s o f m a n y p a r e n t s a n d t e a c h e r s t o d a y. H o w e v e r, l e a r n i n g s h o u l d n o t b e e q u a l e d t o m e m o r i z i n g , a n d e d u c a t i o n s h o u l d n o t b e m e r e l y c r a m m i n g . To e v a l u a t e a student according to his or her academic performance and exam grades is just one of many a p p r o a c h e s . N o n e t h e l e s s , m a n y o f t h e s t u d e n t s’ c h a r a c t e r i s t i c s o r t a l e n t s a r e s u p p r e s s e d or dormant in a system like this. Creative or philosophical thinking is always the first t h i n g t o b e s a c r i f i c e d i n t h e p r i m a r y e d u c a t i o n i n Ta i w a n . I n t e r m s o f a r t i s t i c e d u c a t i o n , there are rarely proper art teachers in elementary schools, and the subject is usually taught by homeroom teachers. In junior high and high schools, although there are full-time a r t t e a c h e r s , a r t c l a s s h o u r s a r e c o m m o n l y “ b o r r o w e d ” o r t a k e n f o r e n h a n c i n g s t u d e n t s’ learning in other subjects or even for quizzes. Remembering his high school years, perhaps because it was a private school or his art teachers had their own ideal and insisted on their belief, Lu was able to fully enjoy ever y single art lesson; and maybe it was because he met the right teachers, Lu did not have much hesitation in terms of his choice for the future,

A l t h o u g h t h e a c c e p t a n c e r a t e o f u n i v e r s i t i e s i s m o re o n e h u n d re d p e r c e n t t o d a y, i t h a s n o t b e e n t h e c a s e i n Lu’s t i m e . In t h o s e d a y s , t h e re we re o n l y t w o u n i ve r s i t i e s t h a t h a d f i n e a r t s d e p a r t m e n t s . He l a u g h i n g l y s a i d t h a t w h i l e i t w o u l d t a k e o t h e r s q u i t e s o m e d a y s t o f i l l o u t t h e i r p r e f e r e n c e c a rd s , i t o n l y t o o k h i m f i v e s e c o n d s . L i k e m a n y o t h e r s , h e a l s o r a n k e d h i s p re f e re n c e s a c c o rd i n g t o t h e a c c e p t a n c e g r a d e s , a n d f a i l e d t o e n t e r h i s f i r s t c h o i c e , Na t i o n a l Ta i w a n No r m a l Un i ve r s i t y, a n d go t i n t o Chi n e s e Cu lt u re Un i ve r s i t y. He w a s s o d e p re s s e d t ha t he wanted to immediately start preparing for retaking the entrance exam. At that time, his a r t t e a c he r i n t he j u n i o r a n d s e n i o r ye a r, M r. Hu a n g Ts a i - la n g, w ho ha p p e n e d t o b e a Chi n e s e Cu lt u re Un i ve r s i t y gr a d u a t e a n d li ve n e a r Lu’s f a m i ly, e n c o u r a ge d hi m t o e n ro ll f i r s t t o s e e i f he li k e d t he s c ho o l b e f o re c o n s i d e r i n g d ro p p i n g o u t a n d re t a k i n g t he e n t r a n c e . Hu a n g w a s t he s e c o n d t e a c he r t ha t he lp e d Lu b e o n e m o re s t e p c lo s e r t o b e c o m e a n a r t i s t .

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

“A s a r e s u l t , I f e l l i n l ov e w i t h i t r i g h t a f t e r I b e g a n . I l u c k e d o u t . I n t h o s e d a y s , C h i n e s e Cu lt u re Un i ve r s i t y w a s a c t u a lly qu i t e n i c e b e c a u s e i t d i d n o t ha ve a n y b a gga ge .” T he k e y t ha t c h a n g e d L u’s m i n d w a s t h e c r u c i a l n o u r i s h m e n t o f w h a t a n y u n i v e r s i t y c o u l d p r ov i d e f o r i t s s t u d e n t s a s a n e d u c a t i o n a l i n s t i t u t i o n — t h e a t m o s p h e re o f t h e e n t i re d e p a r t m e n t , w h i c h Lu’s senior schoolmates played an integral part in its creation. Without having to practice still l i f e o r p l a s t e r p a i n t i n g f o r e x a m s p rov i d e d a s e n s e o f f re e d o m , w h i c h w a s n o r m a l l y t h e m o s t e x p e c t e d t h i n g f o r c o l l e g e f re s h m e n o f f i n e a r t s m a j o r. Howe ve r, t h i s f re e d o m a l s o p ro m i s e d 23


台北當代藝術館 Museum of Contemporary Art, Taipei

塑造成為了一個保障生涯或職業發展的必要門檻、甚至是保證。然而作為一個分為不同科目

專文 | Essays

藝術家的生活

系所進行高等知識教育的場所,大學以及研究所中所含括的學門其實並不是被設計來滿足一 個社會運行所需的種種人才培育,而是針對特定學問或技術來進行專業的知識與技術訓練。

有 更 多 畫 廊 空 間 、展 覽 舞 台 等 大 概 是 陸 先 銘 比 較 現 在 與 年 輕 時 期 最 大 的 差 異 。『 我 覺 得 差 別 在 ,

若從今日大學林立、專職技術學院轉型等現況來觀察,也許可以發現,在今日臺灣社會中,

我們年輕比較辛苦是第一個舞台少,第二個資源有限。那個時候還是得過獎,才有畫廊願意跟

大學文憑已然成為社會新鮮人的基本配備,但進入這些科系,是否就代表未來將往此領域發

我合作。那現在學生不太一樣,第一個舞台多,不只是美術館,就大畫廊都從學校就開始找,

展,藝術相關科系亦然。高雄師大美術系的教授蔡佩桂在去年便以此為題策劃了一個藝術計

然後替代空間也很多。』 還在學的時候,美術館還沒有成立,較學術的展出空間只有美國新聞

劃《藝術家的養成之道》,從高師大美術系歷史以及現況去討論大學美術系作為一個專門領

處。畢業後入伍當兵,在這期間臺北市立美術館成立,對於他們而言退伍立刻有一個合適的舞

域的系所能夠如何培養藝術家、或藝術專業人材的種種面向。再者,從另一個角度看,社會

台,是最讓人開心的事。由於當時文化大學的風氣、態度、風格甚至尺幅都適合美術館的空間

中許多必須且重要的專業、原本就被劃分在學術領域門外的種種行業,因為這個學士、碩士

和 走 向 ,無 論 是 參 加 比 賽 、美 術 館 的 主 題 展 邀 約 、或 是 當 時 大 夥 兒 一 起 成 立 的 畫 派 去 做 申 請 展 ,

滿街跑的現象而陷入了人才荒,從展覽製作時會配合的產業現況如製作展覽時合作的運輸、

能夠躬逢其盛那個被稱為美術館時代的風光年代,應該是陸先銘一段美好的記憶。

木工、油漆、電工、媒體技術人員等等,就可得知一二。在美術系中學習的人們,是不是都 要成為藝術家,或者有沒有其他細分領域專業的可能?

畢業後第一次個展,陸先銘其實用了許多裝置的手法,但一次展覽就把儲蓄都花光後,他發現 繪 畫 是 他 唯 一 支 付 得 起 的 創 作 媒 材。 也 可 從 此 去 認 識 何 以 他 早 期 專 注 於 繪 畫, 到 後 期 開 始 加 入

儘管提問中帶著這樣的焦慮,當我問陸先銘會不會認為現在大學美術科系太多時,他以一貫正

其 他 媒 材 ,甚 至 在 雙 城 記 展 覽 中 做 出 大 型 立 體 雕 塑 裝 置 。也 原 來 藝 術 家 的 創 作 屬 性 ,有 些 時 候 ,

面的思考、並由美育的觀點回應了我:『我覺得說其實以臺灣來講,我們的美術教育還是一般

除 了 與 興 趣 、專 長 有 關 ,也 與 現 實 狀 況 脫 離 不 了 關 係 。退 伍 後 和 多 數 人 一 樣 ,陸 先 銘 開 了 畫 室 。

般。這麼多的藝術科系學生出來,當然大家不見得都當藝術家,但如果大家都可以融在社會裡

但因為心在創作,每當有比賽或展覽、畫室就停課專心做作品,畫室的學生便三三兩兩,有段

面去啟發對美的認知,整體環境對美的瞭解,其實是正面的。我們的問題是出在大學太多,所

時 間 入 不 敷 出, 幾 乎 撐 不 下 去 。 那 時 剛 好 有 位 同 學 要 離 開 復 興 美 工 , 他 受 到 父 母 側 面 的 影 響 ,

以我是覺得這是整個教育制度的問題。那藝術家當然不可能那麼多,因為我們就這麼小,人口

就決定進到學校教書。雖然教書與畫室兩份收入讓生活過得不錯,但創作的時間大量減少,因

就這麼少。所以我覺得我不排斥有太多的美術科系,就一個搞文化的人我覺得這是 OK 的。只

此兩年後就放棄了,而在那之後,他自己挨家挨戶去接各式各樣的小案子、還有設計公司等工

是說,這些美術科系出來的學生,怎麼樣去融到這個社會裡面。因為其實不只是現在,其實我

作都做過,他也說幸好當時設計公司老闆對他不好,不然他也許就繼續作設計了。

們那時候我們那班六十個人,勉強知道還有一個在畫國畫的,其他人都是在各行各業裡面。』 然而由於美術系所增加,在比例上,藝術家的數量當然比起幾十年前要來得多許多,而在藝術

『後來(西元)九二年吧,女兒出生前,那時候因為我又得了一個新展望的大獎,有個比較年

領域中的其他專業也出現了較細緻的分工。對於當代藝術家仍可能與受過藝術教育但轉為分佈

輕 的 畫 廊 找 上 門, 叫 臺 灣 畫 廊 , 就 開 始 跟 畫 廊 有 關 係 , 算 是 經 濟 有 來 源 了 。 [… ] 那 個 時 候 雖 然

在社會中、或擔任教育者角色對於藝術的認識有一段距離,陸先銘也很明確的認知,藝術家必

說我們有(展覽)空間,但市場還是,那個時候,算是西元九零年代,經濟有一波起來,比較

須要是較為突破、前瞻的角色,做文化與教育的部分才有著力的地方。最後他補了一句:『想

主 流 的 還 是 楊 三 郎 、 李 石 樵 這 些 。 像 臺 灣 畫 廊 這 樣 做 比 較 當 代 藝 術 的 , 還 是 算 少 數 。 [… ] 那 段

起來是好的啦,某種程度(藝術家)多,就會有更多畫廊空間出現 。 』

時 間 也 沒 有 說 多 好 , 因 為 那 個 時 候 畫 價 也 便 宜 , 大 概 就 是 賣 的 量 抵 經 紀 費 , 他 們 也 賺 不 到 什麼

a not h er challenge: how should one p ro g re s s f rom “th e matic pr ac tic e s c omman de d by te ac h e r s” t o “self-developed ar tistic orientati on.” Sh o u l d o n e f ol l ow th e l oc al re al is m th at was po pu l ar at t h e t ime, and take the p ath that many f amo u s ar tis ts g r adu ate d f rom Nation al Taiwan No r mal Un i v e r s i t y h a d t a k e n ? O r, w e r e t h e r e o t h e r o p t i o n s ? T h u s , L u s t a t e d , “ b a c k t h e n , w e w e r e fresh m en. Wu Ti en-chang w as one of th e ju n ior s tu de n ts wh e re as Su Wan g -s h e n , C h e n g C h ie n c h a n g , a n d Ya n g Ma o - l i n w e r e s e n i o r s . Se e i n g t h e i r w o r k s , w h i c h w e r e c o m p l e t e l y d i f f e r e n t f ro m w h a t we s a w o u t s i d e , w a s q u i t e f re s h f o r u s . It m a d e u s w a n t t o c re a t e a n d s e e t h e m a s our m odels.”

t ho u ght s a b o u t t he qu e s t i o n o f w he re hi s i n c o m e w o u ld c o m e f ro m . Ac c o rd i n g t o hi m , s m a r t e r a n d m o re c a p a b le ( En gli s h- s p e a k i n g a n d f i n a n c i a lly e qu i p p e d ) we re a ll p re p a r i n g t o go a b ro a d . A s f o r h i m , h e d i d n o t h i n g e xc e p t p a i n t i n g e v e r y d a y. B e c a u s e t h e r e w a s n o r m a l l y n o t m u c h c ha n c e t o w i n o u t s i d e c o m p e t i t i o n s , he p u t m o s t o f hi s e f f o r t s i n t o p re p a r i n g f o r t he s t u d e n t e x hi b i t i o n i n s c ho o l. Du e t o a p o s t p o n e m e n t o f t he e x hi b i t i o n , howe ve r, t he w o rk he c re a t e d f o r t he e x hi b i t i o n d u r i n g t he w i n t e r va c a t i o n o f t he j u n i o r ye a r b e c a m e a va i la b le f o r t he Ne w Ta l e n t Aw a r d o f H s i u n g - S h i h Fi n e A r t s , w h i c h u n e x p e c t e d l y w o n t h e f i r s t p r i z e . T h e p r i z e m o n e y w a s n e i t h e r o f a s u b s t a n t i a l a m o u n t n o r i n a d e q u a t e . E i t h e r w a y, i t d i d n o t m a k e L u t hi n k t ha t he c o u ld m a k e m o n e y by w i n n i n g a w a rd s . Fo r hi m , “t he go o d t hi n g a b o u t w i n n i n g t he s e p r i ze s i s t ha t i t gi ve s yo u c o n f i d e n c e . A s f o r t he p r i ze m o n e y, I c o u ld o n ly re c a ll t ha t i t w a s i n e v i t a b le t o p a y f o r f o o d a n d w i n e . T he c o u r t y a rd w a s c ove re d w i t h e m p t y b o t t le s , a n d I w a s ha p p y t o i n v i t e a b u n c h o f p e o p le ove r t o e a t a n d d r i n k .”

It w a s a l s o t h e re a s o n w h y a r t g r a d u a t e s o f C h i n e s e Cu l t u re Un i v e r s i t y f r o m t h a t p a r t i c u l a r period have become an i mp or tant grou p o f e l ite ar tis ts in th e ar t f ie l d o f Taiwan . “Bac k th e n , a g o o d t h i n g ( a b o u t C h i n e s e Cu l t u re Un i v e r s i t y ) w a s t h a t t h e s c h o o l w a s n o t s t r i c t , a n d w e c u t c l a s s e s w h e n e ve r p o s s i b l e . Si n c e t h e s o p h o m o re ye a r, we b e g a n t o re n t a s t u d i o s p a c e o n Ya n g m i n g M o u n t a i n . I t w a s a f o u r - s e c t i o n c o m p o u n d c a l l e d W i t c h C l o u d V i l l a . We e a c h o c c u p i e d o n e s e c t i o n , a n d o n l y d i d t w o t h i n g s t h e re . On e w a s d r i n k i n g a n d t a l k i n g , a n d t h e o t h e r p a i n t i n g .” W h e n h e d e c i d e d t o t a k e t h e e x a m t o s t u d y f i n e a r t s i n h i g h s c h o o l , Lu w a s “d e t e r m i n e d t o t a k e t h i s p a t h ,” e ve n t h o u g h h e w a s c o m p l e t e l y u n a w a re o f w h a t i t m e a n t t o b e “a n a r t i s t .” In t h a t e r a , i t w a s i m p o s s i b l e t o s e l l p a i n t i n g s ; a n d Lu d i d n o t g i ve a n y e x t r a 24

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

At t ha t t i m e , t he De p a r t m e n t o f Fi n e A r t s o f Chi n e s e Cu lt u re Un i ve r s i t y ha d s i x t y s t u d e n t s i n t hre e gro u p s , i n c lu d i n g d e s i gn , Chi n e s e i n k p a i n t i n g a n d we s t e r n p a i n t i n g. Lu e x p la i n e d t ha t he c ho s e we s t e r n p a i n t i n g o u t o f hi s ow n i n t e re s t a s we ll a s t he f a c t t ha t he d i d n o t t a k e i n t o consideration his future livelihood and career options after graduation. As for those others that got into the fine arts department and chose western painting or Chinese ink painting, 25


台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

錢,所以大概也是這樣(三年)就收掉了。後來我就到印象(畫廊), […] 跟印象畫廊結束之後,

在【雙城記】展覽中,一直以來是陸先銘心中主角的小人,終於能如願成了展覽的中心。然而

就是靠到處兼課,亂七八糟的教,去大學、帶寫生、各種各樣。那也有一個勉強的好處,就是萬

這回負債近百萬才完成的大型不鏽鋼雕塑,與二十幾年前的大作同樣面臨必須「借放」他處的

一要停課,我稍微可以掌控。』

處境。背着藝術家這個職稱到今日,國內外美術館個展聯展以及作品收藏的經歷看來風光,陸 先銘這位在我心中已是臺灣藝術史中佔有一席之地的前輩,仍然日日在面對、處理經濟的問

其實在那之後,陸先銘又得過兩個大獎,也有與畫廊合作,但還是避不掉每辦一次展覽就得借錢

題。談到近十幾年來臺灣藝術市場逐漸蓬勃、成熟,年輕創作者多了能以藝術家的身份販售作

的宿命。問他創作時會不會想到市場需求,他說這是他辛苦悲哀的地方,因為對他而言在創作時

品來維生這個選項,但陸先銘說市場的成熟對他們沒有太大的影響,因為這把年紀,已經是畫

就是傻傻地一股衝動,面對現實狀況,想的總是「要怎麼讓我這條路繼續走」,而不是「這條路

廊管不動的老油條了。另一方面他卻也觀察到,進入市場後的穩定似乎也為年輕藝術家帶來一

還要不要繼續」。他說,同一輩能夠留下來的藝術家,大概差不多也都是這樣想吧!對於市場的

些影響,例如可能漸漸失去野心與實驗性、因合作對象而有所配合甚至妥協。其實就算如此,

觀察,他覺得臺灣在八九零年代那一波藝術收藏的風潮沈澱之後,理當對臺灣的當代藝術要有正

藝術學院的畢業生若被未能畫廊賞識、支持,通常仍必須尋求其他能帶來收入的工作以維持

面的幫助。但忽然之間中國很快的發展起來,讓臺灣這邊受到了影響。而他又發現自己的作品總

創作(而多數人在此時便會慢慢遠離這條路),並努力以參與獎項、申請補助、多展覽增加曝

在創作的當下缺乏收藏家賞識,大概要等七八年後才有人搶著要。現在又是一個停滯期,他只好

光等方式來繼續藝術之路。這個現象國內外都一樣,而且顯然從四十年前到今天也未必差異太

自省藝術家創作的關心似乎都走在時代的前面,收藏者們無法總是立即就能夠支持與欣賞。因此

大。能夠靠著作品維生的藝術家,其實相當少數。時間過去,改變最大的部分也許是因為美術

只能繼續做,等合適的時間到來。

館與畫廊的增加,而讓藝術家作為一個職業的可能性以及被理解的程度增加了;另一個部分則 是獎項與補助的增加。然而今日從事藝術創作的人也增加了、競爭者眾,且在這個領域中的專

早期大量出現在陸先銘創作中的小人,是他觀察社會與環境後產生的反射人物,也算是某種自身

業分工越來越細,藝術家漸漸不是藝術專職從業人員中唯一個角色,藝術家的創作也可能會因

的反映。在後來成為陸先銘最著名的《陸橋系列》裡,或是之後描繪社會中下階層人們的《城市劇

為補助的對象、合作的畫廊、策展人、甚至是身邊的創作者有所不同。然在過去四十年間,對

場系列》,這個小人仍常以一種藝術家簽名的姿態出現在一些不起眼的角落、頂著一頭飛揚的頭髮

於陸先銘而言,要做一位什麼樣的藝術家他卻從來沒有變動、猶疑過。

奔馳着。在訪談過程中,陸先銘提起了一件生涯中重要、卻鮮少有人親眼看過的作品。那是在西元 八九年天安門事件的隔年,美術館舉辦了一個比賽,秉持着那時年輕又有一種征戰的自信,他訂做 了一體成型、長將近三公尺、高兩公尺的木作畫布板底,並將家中落地窗給拆了直接在客廳做畫。

藝術家的位置

以小人為主角、六四為主題,這件作品完成後以為送去參賽就會得獎留在美術館了,沒想到失算。

26

作品退回來之後輾轉幾處、最後借放在朋友工作室,沒想到在朋友搬家後,才從搬運商那兒聽說他

大多關於陸先銘創作的文章總與他生活的城市與環境相關,而這確實也是他創作的重要主軸,

朋友把那件作品給了搬運商,而搬運商就將作品給燒掉了。那件名為《一個殺死了自己兒子的父親,

但 我 發 現 ,他 關 心 的 是 社 會 、以 及 在 其 中 的 人 ,並 且 是 站 在 歷 史 脈 絡 中 在 觀 看 與 思 考 。我以為,

在這夜又凌辱了他的女兒》的大作,充滿了戲劇性的光影與象徵性符號場景的配置,是藝術家一件

做為藝術家,除了得大獎、在重要的場地舉辦展覽、作品可以被收藏之外,總還是會希望能夠成為

充滿自信的時代之作,因未能被獎項青睞,竟最終落得這與主題同樣不堪的命運,是他心裡的痛。

大師、獲得某種學術上的認可、被寫入藝術史裡等等成就。但陸先銘從臺北畫派討論的一番話,說

we would not know how many of them h ad th e s ame amb ition as Lu’s . Un til today, amo n g h is cla ssm ates from the western pai nting g rou p, h e is th e o n l y o n e th at s til l work s as an ar tis t, an d t h e re i s o n l y a n o t h e r o n e f ro m t h e C h i n e s e i n k p a i n t i n g g ro u p t h a t s t i l l p a i n t s . Ba c k t h e n , o n l y Ta i w a n No r m a l Un i v e r s i t y a n d C h i n e s e Cu l t u r e Un i v e r s i t y h a d f i n e a r t s d e p a r t m e n t s ; a n d u n t i l t e n y e a r s a g o , t h e r e w e r e Te a c h e r s C o l l e g e s , t o o. No w a d a y s , i n a d d i t i o n t o t h r e e universities of the arts, if you count all colleges and junior colleges, which have mostly transformed into universities, there are more than twenty universities that have art-related d e p a r t m e n t s . L u m e n t i o n e d , “o u r g e n e r a t i o n o f Ta i w a n No r m a l Un i v e r s i t y g r a d u a t e s e i t h e r b e c a m e t e a c h e r s o r d i d n o t p u r s u e a r t a n y m o re . In f a c t , t h e y we re ve r y g o o d , w i n n i n g p r i ze s in provinci al exhibiti ons or other fi ne ar ts e xh ib ition s wh il e we c ou l d o n l y admire .” Th e s ame s i t u a t i o n c o n t i n u e d u n t i l t e n y e a r s a g o w h e n Ta i w a n No r m a l Un i v e r s i t y a n d t h e Te a c h e r s C o l l e g e s we re s t i l l m a n y p e o p l e’s c h o i c e s f o r s t u d y i n g i n f i n e a r t s . Mo s t o f t h e s t u d e n t s t h a t g o t g o o d g r a d e s a n d e n t e r e d Ta i w a n N o r m a l Un i v e r s i t y o r t h e Te a c h e r s C o l l e g e s b e c a m e t e a c h e r s a f t e r g r a d u a t i o n . Fo r L u , a l t h o u g h h e w a s a d i l i g e n t t e a c h e r, b e c a u s e o f l a c k i n g a t e a c h i n g e d u c a t i o n , t h e j o b o f a t e a c h e r w a s a c t u a l l y m o re o f a m e a n s t o m a i n t a i n l i ve l i h o o d inst ea d of something he fully commi tte d to. On th e oth e r h an d, ar tis tic c re atio n h as re main e d t h e m o s t i m p o r t a n t t h i n g f o r h i m . T h e r e f o r e , n o t b e i n g a b l e t o g e t i n t o Ta i w a n N o r m a l Universi ty mi ght have turned out to be th e b e s t th in g f or h im.

Fro m t hi s a s p e c t , m a y b e b e f o re t he e n v i ro n m e n t o f t he a r t e d u c a t i o n c o u ld gr a d u a lly n u r t u re the students into professional artists or educators, at the time of the university entrance exams, students have been unknowingly classified according to their grades to a certain e x t e n t . In t h e p a s t d e c a d e s , a c o l l e g e e d u c a t i o n a n d d e g r e e h a s b e e n d e e m e d a s a n e c e s s i t y, o r e v e n a g u a r a n t e e , f o r o c c u p a t i o n a l o r p r o f e s s i o n a l s u c c e s s . H o w e v e r, a s i n s t i t u t i o n s f o r conducting higher education based on differentiated subjects, universities and graduate s c ho o ls d e s i gn t he i r p ro gr a m s f o r t he t r a i n i n g o f p ro f e s s i o n a l k n ow le d ge a n d s k i lls s p e c i f i c t o p a r t i c u la r s u b j e c t s o r t e c hn i qu e s , i n s t e a d o f t he t r a i n i n g o f d i f f e re n t s k i lle d p e r s o n n e l n e e d e d f o r t h e o p e r a t i o n o f a s o c i e t y. To e x a m i n e t h e c u r re n t s i t u a t i o n a s t h e c o u n t r y i s f i l l e d w i t h universities as well as transformed technological and vocational colleges, one could see that a c o l l e g e d e g re e h a s b e c o m e a b a s i c re q u i re m e n t f o r f re s h g r a d u a t e s i n t h e c u r re n t Ta i w a n e s e s o c i e t y. C o n t r a d i c t o r i l y, e n t e r i n g a c e r t a i n u n i v e r s i t y d e p a r t m e n t d o e s n o t n e c e s s a r i l y l e a d t o a f u t u re c a re e r i n t h e re l a t e d f i e l d s . T h e s a m e g o e s f o r a r t - re l a t e d d e p a r t m e n t s . L a s t ye a r, Ts a i Pe i - k u e i , a p r o f e s s o r f r o m t h e D e p a r t m e n t o f Fi n e A r t s , Na t i o n a l K a o h s i u n g No r m a l Un i ve r s i t y, ha s i n i t i a t e d a n a r t i s t i c p ro j e c t b a s e d o n t hi s p he n o m e n o n , t i t le d T h e Pro d u ct io n o f Ar t is t s . Ba s e d o n t he hi s t o r y a n d c u r re n t s i t u a t i o n o f t he d e p a r t m e n t o f f i n e a r t s i n K a o hs i u n g No r m a l Un i v e r s i t y, t h e o b j e c t i v e w a s t o e x p l o r e a n d d i s c u s s h o w a u n i v e r s i t y’s d e p a r t m e n t of fine arts, as a department of a specialized field, could nurture artists or professional p e r s o n n e l i n t h e a r t f i e l d . Fu r t h e r m o re , f r o m a n o t h e r p e r s p e c t i v e , t h e re a re m a n y n e c e s s a r y

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台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

起他將自己看作是如何「小」的人的態度,幾乎讓我心驚。『那時候我們在臺北畫派其實常常開會,

到很多東西、去瞭解到人類走過的軌跡、人類留下來的一些精神,那我希望成為裡面的一部

三十歲左右,我們就已經有體悟說:我們這一代也不可能有多偉大的成就。所謂成就就是說好像當

分,人類的文化史裡面我可以貢獻,給將來的人看,我留下來的這些東西。不管是豐富未來

一個多偉大的藝術家。而是,我們希望自己作成一個磚頭,給後面的人踩,能夠墊高上去。將來踩

的人,或者說是詮釋我們生活過的時間、所經歷過的事、生活的空間、一些我們發生過的狀

在我們身上的人能發光發熱,但沒有我們這些磚頭,後面的人上不去。因為那時候臺灣的環境比現

態,這就是我要做的,就是這樣。沒有其它什麼更偉大的想法,因為鑑往知來,看以前的藝

在差多了,又沒舞台又沒資源。假如要能發光發熱,就是年輕人在學校學的就很棒,然後一出來有

術就是看這些,那我做的就是這些。』在文化發展的歷史中透過藝術家敏銳的感官與覺察、

很棒的舞台、社會資源、後盾,然後再加上他的才氣,全部加在一起他很快就能發光發熱,變成一

以他所擅長的事將現在留存給將來,這是他作為藝術家的位置。其實若我們將藝術上的成就

個巨星,然後帶動、開啟一個什麼樣的事情。我們沒有嘛,做到現在快六十歲了,資源就那麼少,

留 待 藝 術 研 究 者 去 討 論 ,也 許 這 樣 的 想 法 表 面 上 聽 來 與 其 他 攝 影 、文 字 、影 音 等 媒 介 無 差 別 ,

靠著一股傻勁在繼續做下去。其實年輕的時候我們就已經有這樣的認知,做了,就繼續做,但知道

不過,透過各種媒材與表現、以不同的方式去與社會中、我們身邊、未來的人們對話溝通,

自己的格局會有限。』

不僅僅是記錄或再現,留下的,是當代創作者的反芻與回應,對我而言正是藝術無人能取代 的地方。

這將自己化身為底層不受光芒照射的根基的思考模式,像極了他的個性,也許亦跟當年從五 月東方、臺北畫派開始都試圖在跟國外做連結,總在研究國外的潮流的狀況有關。當時他對

也許對於陸先銘這一輩的創作者,藝術家作為職業這件事情他們沒有想過太多,因此

這個現象反省、便反對,認為一直追人家,永遠在追,沒有必要,並努力將創作回歸到自己

他們有人跑單幫賣玉、有人兼職畫工程結構圖,卻從未質疑兼差賺錢以繼續創作是否

的生活與這塊土地上。在那個還有風格潮流的時代,台灣缺少資源、舞台,面對著紛亂的政

讓人難過。今天的環境雖然有所不同,藝術家似乎是個可想像的職業選擇,不僅有指

治 與 社 會 變 動 ,藝 術 家 的 創 作 ,經 常 是 從 環 境 中 長 出 來 ,並 正 面 看 著 身 處 的 一 切 並 做 出 反 應 。

導該如何作一個新興藝術家的書、藝術家在博覽會與藏家社交介紹自己作品越來越常

當我問他怎麼看現在年輕一輩藝術家的創作多半是從自身、從一些學術理論、或是由媒材去

見、有不少畫廊或經紀人入學院開講或當獎項評審、在課堂上市場取向、作品包裝或

做出發、討論,他坦言他不知道這算不算是世代的轉折、以及為什麼現在的藝術會這樣與社

生涯規劃的討論也幾乎少不掉,但許多相同的困境仍未改變太多。經過三年多爭取,

會沒有連結。對他而言到現在都還是很難割捨『創作的養分是生在整個社會裡面、臍帶連在

藝術家職業工會於 2011 年成立,正式名稱為臺北市藝術創作者職業工會的成立算是

外面』的狀態,當年還年輕的大家是整個投注進去,日夜面對這件事情,深刻地咀嚼過後再

爭取到了藝術家作為職業的正式地位。然而,藝術家作為一個職業,除了作為工作的

將這些觀察與關心轉化出來。但作為年輕世代的一份子,我想也許是我們這一輩,因為未曾

認定、除了藝術上的成就,陸先銘作為一位藝術家的經驗,讓我更想討論的是「藝術

參與過動蕩的那段歷史,又恰巧成長在一段社會經濟尚稱穩定的時代,加上面對資訊與媒體

家與文化架構的關係」。藝術作為文化的一環,對於社會、環境、大眾以及歷史之間

爆 炸 的 衝 擊 ,便 成 就 了 現 在 的 模 樣 。然 而 ,我 問 到 ,從 過 去 幾 年 開 始 ,臺 灣 再 經 歷 一 次 變 動 ,

的緊密關係,或許是藝術的發展似乎因為專業化以及市場蓬勃發展後趨於小眾的一塊。

經濟與政治成了這一代不得不面對的課題,是否又將有另一波與社會緊密相連的創作者出現

在今天,無論是學院中的教育或環境的結構,藝術家作為職業已然不是一個問題,但

呢?他仍不敢確定。我猜,這樣的問題與身為藝術家的定位有著相當的關係。在我眼中,

我相信仍是一個需要被討論的主題。將近四十年的距離,老派念舊的我與陸仙有同樣

陸先銘對於自己位置的認識,不僅是一位藝術家,還更像一位社會文化工作者。

的期待,讓藝術家的價值,可以持續在社會與文化歷史的檢視中被看見。那麼也許會 有一天,當小學老師問美術方面有天份的孩子將來要不要當畫家時,那孩子會雙眼露

『我不敢說別人,我自己給自己的定位是說,我們看人類過去留下來的藝術,從藝術裡面得

出希望光芒地用力點頭微笑。

and important professions and trades that have been excluded from the academic field. H o w e v e r, t h e y h a v e b e e n f a c i n g t h e p r e d i c a m e n t o f t a l e n t s h o r t a g e b e c a u s e e v e r y o n e is pursuing a bachelor or master degree. This phenomenon could be detected from the current condition of industries involved in exhibition production, such as logistics, woodwork, painting, electricians, media technicians, etc. Should every student of the fine arts departments become artists? Is it possible to have a more detailed categorization of specialized skilled?

entire education system. Of course, it is unlikely to have so many artists because we a r e a s m a l l c o u n t r y w i t h a s m a l l p o p u l a t i o n . S o , p e r s o n a l l y, i t i s f i n e t o h a v e m a n y depar tments of fine ar ts. For someone who works in the field of culture, I think it is good. It is just how these students majoring in fine arts should integrate with the s o c i e t y. P u t t i n g a s i d e t h e c u r r e n t s i t u a t i o n , a m o n g t h e s i x t y s t u d e n t s f r o m m y c l a s s , I only know one of them is still painting Chinese ink painting. The others are all w o r k i n g i n d i f f e r e n t t r a d e s n o w.” N o n e t h e l e s s , b e c a u s e o f t h e i n c r e a s e i n t h e n u m b e r of fine arts departments, the number of artists should be much more in proportion compared to the number decades ago. There is also more specific division of labor in other professions in the field of art. Lu is also distinctively aware of that there a re s t i l l c o n s i d e r a b l e d i f f e re n c e s b e t we e n t h e c o n t e m p o r a r y a r t i s t s’ u n d e r s t a n d i n g of the arts and that of those who have received an artistic education but work in different fields in the society or work as educators. Being an artist means playing an innovative and pioneering role so that there is a foothold for culture and education. At the end, he added, “it is still a good thing, though. When there are more (artists), t h e r e a r e m o r e g a l l e r i e s .”

Although there were obvious anxieties in my questions, when I asked Lu if he thought there were too many fine arts departments in universities nowadays, he answered me with his usual positive outlook and from a perspective of aesthetic education, “in my o p i n i o n , t h e a e s t h e t i c e d u c a t i o n i n Ta i w a n i s s t i l l n o t g o o d e n o u g h . N a t u r a l l y, n o t e v e r y s t u d e n t f r o m t h e s e d e p a r t m e n t s o f t h e a r t s w o u l d b e c o m e a r t i s t s . H o w e v e r, i f t h e y c o u l d i n s p i r e p e o p l e ’s a e s t h e t i c a w a r e n e s s i n d i f f e r e n t p a r t s o f t h e s o c i e t y a n d e n h a n c e t h e s o c i e t y ’s u n d e r s t a n d i n g o f b e a u t y, i t w o u l d s t i l l b e a g o o d t h i n g . O u r p r o b l e m lies in the fact that there are too many universities. It is eventually a problem of the 28

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

T h e Li f e of an A r t i st The appearance of more galleries and exhibition possibilities is probably the most obvious disparity between the time of Lu’s youth and the present. “I think the difference is, firstly, when we were young, it was more difficult because there were not many chances to be seen. Secondly, the resources were limited. Galleries were willing to work with me only after I won the award. The students today have more chances. Not just museums. Even large galleries are looking for talents when they are still in schools. There are also many alternative spaces. ” When Lu was still in college, Taipei Fine Arts Museum had not been built. United States Information Service was the only exhibition space for academic exhibitions. After he graduated, he served the military service, and it was during that time when Taipei Fine Arts Museum officially opened. For these artists, they were thrilled to have an appropriate space for exhibitions right after finishing the military service. Because Chinese Culture University’s atmosphere, tendency, style, and even the size of artworks were suitable for the museum space and orientation, these artists were able to personally participate in the grand era that was later called the museum era, whether they were participating in competitions, invited for thematic exhibitions by the museum, or applying for exhibitions as a painting school. It was a wonderful memory for Lu Hsien-ming.

In the first exhibition after graduation, Lu actually incorporated many installations. However, after the exhibition that had cost all his savings, he realized that painting was the only creative medium he could afford. This also explained why he focused on painting in his early career, and has only added other media later, including the large sculptural installations in the exhibition, A Tale of Two Cities. It also revealed the fact that an artist’s creative choice, in addition to personal interests and specialties, would sometimes be affected by the reality. Like many others, after his military service, Lu opened his own studio. Nevertheless, because artistic creation was where his heart lied, whenever there were competitions or exhibitions, he would stop classes in the studio and concentrated on making his artworks. The number of students in the studio, therefore, remained scant, causing financial difficulties for Lu to the point that he could barely survive. At that time, a classmate of his was about to leave his teaching position at Fu-Hsin Trade and Arts School. Influenced by his parents, Lu finally decided to teach at the school. Although the double incomes allowed Lu to live a decent life, his time for making art had significantly decreased. As a result, he gave up two years later, and started taking various small cases from different sources by himself. He had also worked in a design company. According to him, it was fortunate that the boss of the design company was mean to him; otherwise, he would have stayed and remained a designer then. “It was probably in 1992, before the birth of my daughter, I won the award called, Contemporary Art Trends in the Republic of China. After that, a relatively new gallery, Taiwan Gallery, contacted me. That was when I started working with galleries, and got more financially secured… At that time, although we had (exhibition) space, the market was limited. It was in the 1990s when the economy was rising. Artists like Yang San-lang and Lee Shih-chiao were the popular mainstream. Contemporary galleries such as Taiwan Galler y were ver y few… So, it was still not a great time. Paintings were inexpensive and sold to compensate for the agent fees. The gallery did not really profit, and was closed (after three years) due to this reason. Then, I worked with InSian Gallery. After my collaboration with InSian, I taught as a part-time teacher here and there without any proper plans; teaching in universities, taking students out to sketch, all kinds of stuff. It worked for me in a way that if I needed to stop classes, I could sort of manage it.” After that period, Lu actually won another two major awards and continued to work with galleries. However, he could not escape from the fate of borrowing money for making exhibitions. When asked if he had ever thought about the market demand, he replied that it was precisely the reason 30

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

專文 | Essays

why he had to work so hard in such pitiable state. For him, making art has always been based on a single-minded impulse. When he really considered the reality, he always has thought about “What do I do to continue this path I have taken?” instead of “Should I continue in taking this path?” Lu said that ar tists from his generation and have sur vived shared his belief more or less. From his obser vation of the market, he thought that the wave of artistic collection from the 1980s to 1990s should have had some positive effect on the contemporary art in Taiwan. However, China’s sudden emergence has influenced the Taiwanese market. He also realized that, instead of having an immediate welcome, his works have always become quite popular and appealing to collectors only after seven or eight years of their creation. At the moment, it is another static period for him. So, he could only comfort himself with the idea that an artist’s theme and concerns are always ahead of his time. Collectors have rarely been able to support and appreciate the artworks at the time. Hence, he could only continue his work and wait in patience for the right time to come. The little human figure that largely appeared in Lu’s early works was a character that reflected his observations on the society and environment as well as a kind of self-reflection. In his later, most renowned Road Bridge series, or in Urban Theater series that depicted the middle and lower class people, this little figure still appeared as a form of the artist’s signature in some insignificant places of the paintings, seemingly running with his hair flowing behind. In this interview, Lu mentioned a significant work that only a few people had seen. It was after 1989, the Tiananmen Square protests, the museum held a competition. Young and confident about winning, Lu ordered a large all-in-one-piece wood panel that was three-meter long and two-meter high, and painted directly in his living room after he removed the French windows to accommodate the piece. He used the little man as his key character and based the painting on the theme of the June Fourth Incident, anticipating that the painting would win a prize and be collected by the museum afterwards. Things turned out to be otherwise. After the work was returned, it was kept at a few different places and ended up stored at a friend’s studio. After his friend moved away, Lu heard from the mover that his friend left the painting to him, who burned the work later. The significant piece, titled A Father, Who Has Killed His Own Son, Defiled His Daughter Tonight, with a dramatic scene of light and shadow and was filled with symbols, had been a work of the time that showed the confidence of the artist. It still pained Lu to think that because the painting did not win any prize, it had come to an aggrieving end similar to its theme. In A Tale of Two Cities, the little man that has always played a leading role in Lu’s mind finally became the center of the exhibition as he wished. However, this large-scale sculpture in stainless steel that has created a debt of nearly a million dollars was still needed to be “lent a place for storage,” just like that great painting completed more than twenty years ago. Being called an artist throughout the years and with the glory of solo and group exhibitions and works collected by domestic and international museums, Lu still needs to face and deal with financial problems everyday, even though he is already one of the prominent artists in Taiwanese art history in my mind. Speaking about the booming, maturing art market in Taiwan in recent decades, we talked about how young creators could sell their works as artists to make a living. However, as Lu stated, the maturing market did not really change much for them because, at this age, they were no longer inexperienced artists that galleries could control. On the other hand, he has also observed that young artists might have been influenced once they could have a stable life after entering the art market. For instance, their ambition and tendency to experiment might gradually weaken as they start to accommodate, and even make compromises for, their collaborators. Nevertheless, even though this might be the case, art graduates who do not have the patronage and support of galleries would often need to seek out other works that provide a steady income to sustain their artistic work (and most of them would slowly disappear from this path at this moment); they would also need to actively participate in award competitions, apply for subsidies and grants, and maximize their exposure in exhibitions, etc., to carry on their artistic careers. It is the same in Taiwan as well as around the world, and apparently, the situation has stayed relatively unchanged throughout the forty years. Only a handful of artists could make a decent living by selling artworks. As time has passed, the most visible change might be the multiplication of museums and galleries, in which the possibility of working as an artist has formed and people’s understanding of 31


台北當代藝術館 Museum of Contemporary Art, Taipei

it has increased. Additionally, the number of awards and subsidies has grown more. Yet, there are more people working in artistic creation today, creating more competition. As the division of labor becomes more specific and specialized, little by little, the role of an artist is not the only choice for art personnel. Artists might also tailormake their works according to the providers of subsidies, collaborating galleries, curators, or even other creators around them. In the past four decades, however, Lu has never changed or wondered what kind of artist he wanted to be.

A n Ar t i st ’s Posi t i on Most of the articles that talked about Lu’s work emphasized on its relation to the city he lived in and the urban environment, which has been essential in his work indeed. However, I found that what Lu cared about was the society and its people; furthermore, he observed and contemplated on these issues from a perspective that encompassed the entire historical context. I have always thought that, apart from winning prestigious awards, holding exhibitions at respectable venues, having works collected, an artist would always hope to become an academically recognized master and be recorded in art history. However, what Lu had said regarding the Taipei Art Group, talking about how he has deemed himself “little,” has left me surprised and shaken. “At that time, members of the Taipei Art Group often had gatherings. At around thirty years old or so, we had already realized that our generation could never have had great achievements. The achievement I am referring to is something like becoming a great master of art. What we could do was to become stepping-stones for later generations so that they could climb up and high and become outstanding and renowned on our shoulders. Without us being stepping-stones, they could not get to the top because the environment in Taiwan was a lot worse than it is now. There were neither chances nor resources. If an artist wanted to become famous and exceptional, he would have to be excellent in school so that he could have good opportunities, resources and supporters after graduation. With all these elements and his own talent, such an artist would be seen and known very fast and become a superstar that was able to guide or initiate something. It was not the case for us. At nearly sixty years old, we still have very little resources and rely on such a stubborn passion to carry on. The truth is that we have been aware of this since our youth. Once we start, we will continue, accepting that our achievement would reach a limit.” This kind of thinking, in which Lu willingly transformed himself into the roots at the bottom that received little light, was identical to his personality. Perhaps, it had something to do with the past that they had tried to link with the international art scene and had studied the international trends since they were in the May Painting Society, the Eastern Painting Society, and the Taipei Art Group. Since then, Lu has been reflecting and opposing this phenomenon, believing that it was unnecessary to keep following other’s steps, and endeavoring in re-emphasizing his own life and this land in his work. In that era when styles and trends were still visible, as artists in Taiwan lacked resources and opportunities while facing chaotic political conditions and social changes, their works mostly originated from the surrounding environment, directly faced everything around them, and responded accordingly. When I asked his view on the current situation, in which young artists’ works nowadays usually started from and discussed the artists themselves, some academic theories, or the chosen artistic media, he disclosed that he did not know whether this should be taken as a generational change and wondered why today’s art has been severed from the society. For him, he found it difficult to break from the status that “the entire society provided artistic creation its nourishment as its umbilical cords connected it to the outside.” As young artists, they were completely submerged in artistic creation all the time, giving it profound contemplation and transforming their observations and concerns into works. As a member of the younger generation, I think the reason of this might be because our generation has never experienced that chaotic time of the history and happened to grow up in a era with social and economic stability; with the impact of information and media explosion, our generation has become 32

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

專文 | Essays

what it is like now. However, when I asked whether there would be another wave of artists whose works would be closely related to our society given the fact that Taiwan has experienced another social change in the past few years, which forced this generation to face issues of economy and politics, Lu still could not be certain. In my mind, such a question was linked to the position of an artist. From my point of view, Lu not only sees himself as an artist, he also recognizes himself as a social and cultural worker. “I can only speak for myself. I have positioned myself in this way that as we see the art created by the people in the past, we have gained a lot from it, understood the trodden paths of the human race and its spirit. I hope to become part of it and be able to contribute to the cultural history of mankind so that the future generations can see what I have created and left; whether it is to enrich the future, or it is to interpret the time, the events, the space that we have experienced or things that have happened to us, this is what I want to do. That’s it. I do not have any other greater thoughts. As we review the history, we know the future. We review the past art to know this, so this is what I would do.” In the cultural development in history, through the acute sensibility and observation of an artist, Lu tries to preserve the present for the future by doing what he is good at. This is the position he has taken as an artist. As a matter of fact, if we leave the artistic achievements for art scholars to discuss, such a position may seem similar to the other means like photography, writing or video. Nevertheless, through various media and forms of expression, dialogues and communication in multiple ways with the people in the society, around us and in the future could be created; instead of mere documentation or representation, what the art preserves is the reflections and responses of contemporary artists. Personally speaking, this is exactly why art is irreplaceable. Pe r ha p s , i n c lu d i n g Lu H s i e n - m i n g, hi s ge n e r a t i o n o f a r t i s t s d i d n o t gi ve m u c h t ho u ght a b o u t b e i n g a r t i s t s a s t h e i r o c c u p a t i o n . So , s o m e o f t h e m t r a v e l a r o u n d t o t r a d e j a d e , w h i l e s o m e of them work part-time and draw engineering structural drawings; but none of them has e ve r c o n s i d e re d t he s i t u a t i o n p i t i a b le t ha t t he y ha ve t o d o o t he r j o b s t o e a r n m o n e y f o r t he i r artistic work. The environment today might have been different, and being an artist seems t o b e a v i a b l e c a re e r o p t i o n . No t o n l y t h e re a re b o o k s t h a t g u i d e t h e u p - a n d - c o m i n g a r t i s t s , t he re a re a ls o m o re a n d m o re a r t i s t s t ha t i n t e r a c t w i t h c o lle c t o r s a t a r t f a i r s t o i n t ro d u c e t he i r w o r k s . Mo r e g a l l e r i e s a n d a g e n t s h a v e g o n e i n t o s c h o o l s t o g i v e l e c t u r e s o r s e r v e a s j u d g e s in competitions. Market orientation, packaging of artworks, and career planning are topics d i s c u s s e d i n c l a s s . How e v e r, m a n y s i m i l a r d i f f i c u l t i e s h a v e p e r s i s t e d u n t i l t o d a y. A f t e r t h re e ye a r s o f u n y i e ld i n g d e m a n d , A r t i s t Tr a d e Un i o n w a s o f f i c i a lly e s t a b li s he d i n 2 0 1 1 . Wi t h Ta i p e i A r t Cre a t o r Tr a d e Un i o n a s i t s o f f i c i a l n a m e , i t s e s t a b li s hm e n t w a s a va li d a t i o n f o r t he o f f i c i a l re c o gn i t i o n o f a r t i s t s b e i n g a n o c c u p a t i o n . Howe ve r, i n t e r m s o f b e i n g a r t i s t a s a n o c c u p a t i o n , a p a r t f ro m b e i n g re c o gn i ze d a s a re a l j o b a n d a ll t he a r t i s t i c a c hi e ve m e n t s , Lu’s e x p e r i e n c e a s a n a r t i s t ha s p ro p e lle d m e t o t hi n k a b o u t “t he re la t i o n s hi p b e t we e n a r t i s t s a n d t he f r a m e w o rk o f c u l t u r e .” A s a l i n k i n c u l t u r e , a r t h a s a n i n s e p a r a b l e r e l a t i o n s h i p t o t h e s o c i e t y, t h e e n v i ro n m e n t , t h e p u b l i c a s we l l a s t h e h i s t o r y. Ma y b e i t i s d u e t o t h e s p e c i a l i z a t i o n a n d t h e f lo u r i s hi n g o f t he a r t m a rk e t , t he d e ve lo p m e n t o f a r t s e e m s t o ha ve b e c o m e a n i s s u e f o r a s m a ll g ro u p o f p e o p l e . Now a d a y s , w h e t h e r i n t e r m s o f t h e e d u c a t i o n i n s c h o o l s o r t h e s t r u c t u re o f t he e n v i ro n m e n t , a r t i s t a s a n o c c u p a t i o n i s n o lo n ge r a p ro b le m . No n e t he le s s , I s t i ll b e li e ve i t i s a to pi c wo r thy of our discussion. Although there is an age difference of forty years, old school and nostalgic as I am, I have the same expectation as Lu Hsien, which is to continuously enable the value of artists to be seen in the examination of the society and cultural histor y. This way, maybe some day in the future, when an elementary school teacher ask an artistically talented child if he or she wanted to become a painter, there would be sparkling hope in the child’s eyes, and the child would smile and nod eagerly.

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台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

浮城過影-陸先銘的城市寓言

從陸橋說起

最初,創作影像是為了用幻想勾勒那不在眼前的事物的形貌,逐漸地,影像比原來

提及陸先銘創作的關鍵字,「陸橋」肯定位居第一,自一九九零年代開始,陸先銘便投入以

的事物更能經得起歲月的磨煉:它還提供某物或某人舊日的模樣——從而也隱含別

陸橋為題材的繪畫創作:他畫施工中的陸橋,見證它們的興起;他以仰角視點描繪陸橋,曲

人的一度對這一題材的看法。此後,人們又承認影像還記錄了製作者的具體觀點。

線蜿蜒的流動感令人不安;他描繪巨大的橋墩,並凸顯它們的高聳迫人。陸先銘往往將陸橋

影像成為某甲如何看待某乙的實錄。

的造型簡化成一道道俐落線條,讓建築主體顯現的更為簡潔,也讓觀者的視線不受畫面其他 —約翰•貝加《藝術觀賞之道》

枝枝節節干擾,目光直接聚集在建物之上,彷如舞台的聚光燈,凸顯這道龐然大物的陰暗、 詭譎和予人的不安感受。

文/吳垠慧

這些年來,陸先銘的畫筆未停,他記錄臺灣環境發生的劇烈改變,和人們在現代化進程下的 無奈生存處境,依此,「陸橋」只是一個媒介、一個代名詞、一個象徵物,陸先銘透過這些 在城市崛起的現代建築紀念碑,指涉人們內在心理情境。

Glimpses of Cit ies - L u Hsien-ming ’s Ur ban Al legor y Images were first made to conjure up the appearances of something that was absent. Gr a d u a l l y i t b e c a m e e v i d e n t t h a t a n i m a g e c o u l d o u t l a s t w h a t i t r e p r e s e n t e d ; i t t h e n s h owe d h ow som et h ing or somebody had once looked – an d th u s by impl ic ation h ow th e s ub j e c t h a d once been seen by other peop le. Later sti l l th e s pe c if ic vis io n o f th e imag e m a k e r w a s a l s o re c o g n i z e d a s p a r t o f t h e re c o rd . A n i m a g e b e c a m e a re c o rd o f h ow X h a d s e en Y. — Wa y s of Se e i ng, Jo h n Be r g e r

這 次 台 北 當 代 藝 術 館 個 展【 雙 城 記:浮 城 過 影 】,從《 陸 橋 》系 列 延 伸 的 作 品〈 雨 後 〉、〈 歸 〉 和〈潛龍〉,不同於以往的是,陸先銘以不鏽鋼板取代畫布,選擇直接在鋼板上繪圖畫色, 讓顏料和鋼板兩種異材質之間相互碰撞,試圖開拓不同的畫面肌理與質感,畫面上微微顯露 的金屬光澤,也反映出現代人的視覺經驗當中,對於工業材質打造的語彙更為融入與感應。 《陸橋》系列發展廿年,陸先銘從純然的繪畫性,逐步加入不鏽鋼、LED 等現代性媒材,使 其和顏料、畫布這些傳統繪畫材料,拼組出一幅幅看似堅不可摧的城市景觀——無論材料之 間如何具衝突性,在陸先銘的畫面中,它們始終被維持在一種平衡和穩固的狀態,影射我們 當下的生活環境,混雜中似乎已然出現一種秩序。而過去像張牙舞爪的怪獸,在這三幅新作

. Te x t b y E r i c a m i g o Wu

S t a r t in g w it h t he Ro ad Br idge When thinking about Lu Hsien-ming’s work, “road bridge” must be the first thing that comes into mind. Since the 1990s, Lu ha been using the road bridges as his artistic theme: he painted the road bridges that were under construction while bearing witness to their rise. He delineated the road bridges from a low angle, creating unsettling feelings with their fluid, winding curves. He depicted the colossal bridge piers, emphasizing their imposing presence. He always simplified the form of the road bridges, giving them succinct lines and making the architectural body more simple and pure. By doing so, the audience’s gaze would not be distracted by other minor details but directly focused on the architecture. It was like using the stage light to give prominence to the massive presence with its gloominess, strangeness and a sense of uncertainty it conveyed to people. T h ro u g h o u t t h e ye a r s , Lu h a s n e ve r s t o p p e d p a i n t i n g . He d o c u m e n t e d t h e d r a s t i c c h a n g e s i n Taiwan as well as the helpless existence of people in the progress of modern development. So, the “road bridge” is simply a medium, a pronoun, a symbol; and through the appearances of these modern architectural monuments in the cities, Lu has exposed people’s psychological state. In A Ta l e o f Tw o Ci t i e s : Gl i m p s e s o f Ci t i e s a t Mu s e u m o f C o n t e m p o r a r y A r t , Ta i p e i , a r t w o rk s d e r i v e d f r o m R o a d B r i d g e s e r i e s , s u c h a s A f t e r R a i n i n g , Re t u r n , a n d Hi d d e n D ra g o n , d i f f e re d f r o m L u’s p r e v i o u s w o r k s . He h a s r e p l a c e d c a n v a s e s w i t h s t a i n l e s s s t e e l p l a t e s , a n d d i r e c t l y p a i n t e d o n t h e m e t a l p l a t e s , c re a t i n g a d i f f e re n t c h e m i s t r y b e t we e n t h e p a i n t a n d t h e m e t a l . A s t h i s a t t e m p t f a b r i c a t e d a d i s t i n c t i ve t e x t u re a n d q u a l i t y w i t h t h e s u b t l e s h i n e o f m e t a l , i t 34

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

當中反倒沈靜下來,陸橋底下那荒涼冷漠的空間,像是莊嚴寧靜的無人劇場,富含詩意。

樸的環境生態「回不來了」,這樣的視覺和心理衝擊,根植在陸先銘的創作裡。

一零一大樓過去是廢棄的兵工廠,兵工廠遷走後現在變成臺北的地標,過去那附近一帶很荒

陸 先 銘 早 期 的 陸 橋 作 品 ,多 將 顏 料 層 層 堆 疊 ,藉 以 表 達 建 築 物 的 厚 實 與 重 量 感 ,並 以 藍 、白 、

涼,臺北幾乎是低矮房子,我住在眷村,人們彼此關係密切。—陸先銘

灰、黑等顏色為主要基底,營造出冷調與鬼魅的氛圍,而劇場式的聚光燈投射,更像是對此 龐然大物的放大檢視:面對城市建設還有太多未知,藝術家毋寧選擇一個觀察的距離。

陸 先 銘 一 九 五 九 年 出 生 在 臺 北 ,他 的 成 長 歷 程 ,正 逢 臺 灣 從 農 業 走 向 工 業 化 社 會 的 劇 烈 轉 變 , 幼年記憶中的農田、荒地,在數十年光陰中逐漸消失,取而代之的是高聳的現代化建築櫛次

然而,到這次展出的〈雨後〉、〈歸〉和〈潛龍〉,從建築呈現的狀態可知這三件畫作描繪

鱗比。一九七零年代,政府領導下的十大建設中,交通建設也名列重要項目。

的是發展已臻成熟的城市景觀——向外延伸的陸橋融入周遭環境,成為城市景致的一部分, 與 他 早 期 的 質 疑 態 度 略 有 不 同 。除 此 ,畫 面 中 冷 峻 的 高 架 道 路 上 ,也 開 始 出 現「 人 」的 蹤 跡 ,

所謂的高架道路包含高速公路、環快道路乃至跨河岸、連結行政區域的大小橋樑等。及至今

如〈雨後〉畫面左上方有一支「散步」的小紅傘;〈歸〉畫面的右上方,有一輛急速通過的

日,興建道路仍被各地政府當成解決交通阻塞的硬體政策,和施政功績,因此,各種量體巨

貨車等,陸橋從獨自存在的冷硬建設物,現開始和人們的生活產生了交集。

大、橫越城市地平線的高架道路「觸角」,才會如此四通八達地「入侵」城內城外,甚至人 們認為,一個城市的道路高架化程度,也是現代化高低、先進與否的一項指標,認同這些灰 撲撲、不起眼的工業化產物,象徵著一座城市的進步。

其實,都是關於人

對於一九七零年代後出生的臺灣人來說,高架道路的存在可謂理所當然,因為它們就座落在

「無論畫面中有沒有人物,『人』都是我最關心的議題」。—陸先銘

日常生活裡,舉目望去歷歷可見,為人們帶來快速與便利。然而,如陸先銘這一輩的臺灣人 而言,他們是高架道路的工程建設從無到有的「見證者」。

陸橋之外,人物是陸先銘創作的另一主軸,他偏好以平凡百姓入畫,不知名的老伯翹腿遠望、神 情木然,推資源回收車的阿嬤,經營麵攤的大嬸,藝術家友人等,這些面孔我們天天可見,但也

雖然政府興建陸橋的目的,是為了打造交通的便捷性,但這樣看似冠冕堂皇的理由,顯然並

正因為平凡,我們不會多看一眼。

未能說服所有人。高架道路重新塑造了都會的景觀,改變人們對城市的印象和感受,而當環 境改變了,人們的視覺經驗也隨之改變,生活空間被高架化的道路幹線分割又分割,過去純

在當代館外牆壁面裝置的〈浮城〉,是陸先銘從一九九八年至二零零六年間創作的人物肖像畫裡,

a lso reflected modern p eople’s acceptan c e o f an d re s pon s e to an ar tis tic l an g u ag e c re ate d o u t of ind ust ri al materi als in thei r visual exp e r ie n c e .

The so-called elevated roads included highways, peripheral expressways, and bridges in va r i o u s s i ze s t h a t c ro s s e d r i ve r s a n d c o n n e c t e d a d m i n i s t r a t i ve d i s t r i c t s . Eve n u n t i l t o d a y, t h e c o n s t r u c t i o n o f r o a d s r e m a i n s a l o c a l g o v e r n m e n t’s b a s i c i n f r a s t r u c t u r e p o l i c y t o s o l v e t h e p ro b le m o f t r a f f i c j a m s a n d i s v i e we d a s a k i n d o f a d m i n i s t r a t i ve re s u lt . T he re f o re , a ll k i n d s o f m a s s i ve , s k y li n e - c ro s s i n g “t e n t a c le s” o f e le va t e d ro a d s i n u r b a n a re a ha ve “ i n va d e d” c i t i e s f ro m a l l d i re c t i o n s . Pe o p l e e v e n c o n s i d e r t h e e x t e n t o f a c i t y’s e l e v a t e d r o a d s a n i n d i c a t o r f o r t h e c i t y’s m o d e r n i z a t i o n a n d a d va n c e m e n t , a g re e i n g w i t h t h e n o t i o n t h a t t h o s e g r a y, u n f l a t t e r i n g i n d u s t r i a l p ro d u c t s a re s y m b o ls o f a c i t y’s p ro gre s s .

During the twenty years of developing Road Bridge series, Lu started from purely painting to gradually adding modern media, like stainless steel and LED, which were combined with traditional painting materials, like paint and canvases, to construct seemingly indestructible scenes of urbanscape one after another. Nonetheless, no matter how conflicting these materials were, Lu has always been able to maintain a state of balance and stability in the images he created. They referred to our contemporary living environment and a type of order that has arisen from the disorder. The threatening, monstrous presence in these three new works became rather quiet and calm; and the desolate, indifferent space under the road bridge was like a solemn, tranquil theatre without human existence; it was extremely poetic. The site of Taipei 101 used to be the abandoned munitions factory. After the relocation of the factory, there is now the landmark of Taipei. There used to be nothing in that area. Back then, there were almost only low-rises in Taipei; and I lived in a military dependent’s village, in which people’s relations were intimate. ─ Lu Hsien-ming Lu Hsien-ming was born in Taipei in 1959. He grew up in a time of dramatic changes as Taiwan was shifting from an agricultural society to an industrial one. The rice fields and wasteland in his childhood memory had slowly disappeared in decades, replaced by well-aligned, concentrated multitudes of modern high-rises. In 1970s, traffic construction was also one of th e main pro je c ts amo n g th e Te n Majo r C o n s tr u c tio n Proj ect s led by the government. 36

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

Fo r t h e Ta i w a n e s e b o r n a f t e r 1 9 7 0 s , t h e e l e v a t e d r o a d s a r e f o r g r a n t e d b e c a u s e t h e y s i m p l y exist in their daily life and are always there when they look up, providing speed and c o n ve n i e n c e f o r p e o p le . Howe ve r, f o r p e o p le f ro m Lu’s ge n e r a t i o n , t he y a re t he “w i t n e s s e s” o f t he c o n s t r u c t i o n o f t he s e e le va t e d ro a d s a s t he y ha ve grow n o u t o f n o t hi n g. A lt ho u gh t he gove r n m e n t b u i lt t he ro a d b r i d ge s t o f a c i li t a t e a m o re c o n ve n i e n t t r a f f i c s y s t e m , s u c h a j u s t i f i e d re a s o n i s o b v i o u s l y n o t c o n v i n c i n g e n o u g h f o r e v e r y o n e . T h e e l e v a t e d r o a d s ha ve re - s ha p e d t he u r b a n s c a p e , a lt e r i n g p e o p le’s i m p re s s i o n a n d p e rc e p t i o n o f t he c i t y. A s t he e n v i ro n s c ha n ge , p e o p le’s v i s u a l e x p e r i e n c e c ha n ge a c c o rd i n gly. W he n t he li v i n g s p a c e ha s b e e n re p e a t e d ly d i s s e c t e d by t he e le va t e d ro a d s , t he s i m p le e n v i ro n m e n t a n d e c o lo gy o f t he p a s t a re “ lo s t f o re ve r.” T hi s v i s u a l a n d p s yc ho lo gi c a l i m p a c t i s d e e p ly ro o t e d i n Lu’s w o rk . Lu’s ro a d b r i d ge w o rk s f ro m a n e a r li e r p e r i o d we re c re a t e d w i t h t he la ye r i n g o f p a i n t t o e x p re s s 37


台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

挑選出其中十六個人物,以數位噴印再製成黑白人像,一一嵌入當代館外牆的十六扇木窗內。這些

這 件 作 品 涵 蓋 陸 先 銘 過 去 經 常 使 用 的 媒 材 語 彙 ,像 是 人 去 樓 空 的 老 屋 、向 地 平 線 延 展 的 陸 橋 、

人物包括流動攤販、老人、身障者和藝術家朋友,陸先銘以寫實技法描繪出栩栩如生的面容及身體

LED 跑馬燈、不鏽鋼板切割的枯樹,和放在展場中的竹板凳等。陸先銘以不鏽鋼這種人造材

姿態,人物的神情多半苦悶地迎向茫然空洞的未來,人生路途上踽踽獨行。

質製作自然物(樹木),並以現代科技 LED 跑馬燈和畫面主體的繪畫相呼應,利用材質之 間的互悖反差,反映當代社會文化的雙向性,而巨大的陸橋和閒置的水泥建造老屋分置畫面

陸先銘將平凡子民鑲嵌在建築物的門面上,這樣的形式,令人聯想到西方教堂將聖徒排列在壁龕

兩側,無形中壓縮了兩位人物角色的空間,影射當代人的生活被水泥金屬等人造物取代大自

或玻璃窗上的聖像傳統,藉由小人物地位的反轉,對照於巨大卻空曠荒涼的工程建設,意喻為生

然,成為「第二自然」。

活打拼的人們,才是推動社會向前運行的基石。 換言之,〈飄飄何所似〉以看似相互牴觸的材質,創造出彼此間不違和的並存方式,藉以表 這 個 意 圖, 體 現 在 貫 穿 當 代 館 內 一、 二 樓 的 巨 大 裝 置〈 奔 〉, 這 組 作 品 由 八 十 多 個 肢 體 動 作 不

達當代生活的現實情境。而當觀眾坐在展場內放置的那把竹椅凳時,彷如加入兩位老人家的

盡 相 同 的 不 鏽 鋼 打 造 的「 小 人 」 所 組 成。「 小 人 」 造 型 源 自 於 象 形 文 字, 首 次 出 現 在 陸 先 銘

聊天之列,一種令人莞爾的另類互動方式。

一九八八年的畫作〈一個長大的夢〉當中,此後成為一種象徵式的人物。被簡化的人形概念,出 自當年陸先銘自身對生活疲於奔命的體悟,人猶如螻蟻般為生活打拼、日夜勞碌的困頓心境。

消失的地景 這次小人們躍出畫布、成為立體雕塑,被賦予廿五種變奏造型,前後接力的穿越樓層彷如人形立 柱往上爬升到了二樓,二樓展場中赫然出現一尊高達兩公尺半的小人造型的「巨人」。這樣的場

「記憶的潮水繼續湧流,城市像海綿一般把它吸乾而膨脹起來。描述今天的采拉,應該包含

景安排意指著人們被迫不停向前衝衝衝,或不斷向上爬升的社會處境,而巨人小人一則意謂著集

采拉的整個過去:然而這城不會洩露它的過去,只會把它像掌紋一樣藏起來,寫在街角、在

結眾人之力,最終匯集成的一股巨大的人民力量,抑或可解釋為,巨人小人是眾小人的領袖人物,

窗格子裡、在樓梯扶手上、在避雷針的天線上、在旗杆上,每個環節依次呈現抓花的痕跡、

人們服膺在它的領導之下,它同時也可能意味著叛離和逃脫現狀,追求自由、建構自我的另一種

刻鑿的痕跡、塗鴉的痕跡」。—卡爾維諾《看不見的城市》

「類群眾運動」,推動著時代之輪。 二零一三年底,高速公路計程收費正式上路,原來的收費站多數被拆除,只剩下三個收費站 關 注 著 為 生 存、 生 活 打 拼 的 人 們, 一 方 面 呼 應 陸 先 銘 的 個 人 經 驗, 隨 著 年 紀 增 長, 在 近 作〈 飄

的 部 分 站 體 保 留 下 來 作 為 紀 念, 收 費 站 正 式 走 入 歷 史。 陸 先 銘 二 零 零 八 年 的 作 品〈 碑 〉 , 卻 意

飄 何 所 似 〉 中, 我 們 看 到 悠 閒 的 老 人 們, 在 夕 陽 西 下 時、 坐 在 公 園 長 椅 上 話 家 常, 緊 繃 的 氣 氛

外留駐收費站的翩然身影。

至此得以稍稍紓緩。

t h e t h i c k n e s s a n d h e a v i n e s s o f t h e a rc h i t e c t u re . He u s e d b l u e , w h i t e , g r a y a n d b l a c k a s b a s i c colors to produce a cold and ghostly atmosphere. The theatrical spotlighting represented a close examination of the gigantic existence: the artist would rather remain at a distance of obser vati on w hen facing so much unkn own in u r b an c o n s tr u c tio n . Having said that, in After Raining, Return, and Hidden Dragon, judging from the representation of the architecture, one would see that the paintings depicted maturely developed urbanscape — the expanding road bridges have been integrated into the surrounding environment and became part of the cityscape, which was dissimilar from the i n t e r r o g a t i v e a t t i t u d e i n L u’s e a r l y w o r k s . I n a d d i t i o n , t r a i l s o f “p e o p l e” c o u l d b e d e t e c t e d i n t h e i m a g e s o f t h e c o l d , t o w e r i n g e l e v a t e d r o a d s . Fo r i n s t a n c e , a s m a l l r e d u m b r e l l a c o u l d b e s e e n “t a k i n g a w a l k” o n t h e u p p e r l e f t s i d e i n A f t e r R a i n i n g ; t h e r e w a s a t r u c k r u s h i n g by on the upper right corner in Return. The road bridges were no longer cold concrete a r c h i t e c t u r e o f s o l i t a r y e x i s t e n c e a n d h a v e b e g u n t o c r o s s p a t h s w i t h p e o p l e’s l i v e s .

Ac t u al l y, i t ’s A l l abou t Pe ople. W h e t h e r o r n o t t h e re i s a n y h u m a n f i g u re i n t h e p a i n t i n g s , “p e o p l e” a re t h e t o p i c I ’m m o s t concern ed wi th.  ─ Lu Hsien-ming

38

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

Apart from the road bridges, human figures have formed another axis in Lu’s art. He prefers to paint ordinary people, such as a nameless old man crossing his leg on top of another with a vacant face, a grandma pushing a recycle cart, a mid-aged woman running a noodle stand, the artist’s friends, etc. These faces could be seen in our daily life; however, precisely because of their ordinariness, we have rarely cast a glance at them. The Cities, a work installed on the exterior walls of the museum, was comprised of sixteen figures selected from the portraits Lu painted from 1998 to 2006. They were printed digitally and made into black-and-white portraits, and then, fitted into the sixteen wooden window frames of the museum facade. These figures included mobile stand owners, elderly people, physical challenged individuals as well as Lu’s friends. Delineated with realistic techniques, Lu represented their lifelike faces and physical postures. Most of them looked dejected, staring into an empty future as they walked alone in life. Lu installed the images of these ordinary people on the facade of the building, which were reminiscent of the images of saints inlaid in niches or glass windows in Western churches. Through reversing the position of these nobodies and contrasted them with large-scale, empty and desolate construction projects, Lu stated that people who have been fighting for their lives were the foundation, on which the society progressed. Hi s i n t e n t i o n w a s a ls o e m b o d i e d by t he e n o r m o u s i n s t a lla t i o n , Ru n n in g, w hi c h ha s p e n e t r a t e d

39


台北當代藝術館 Museum of Contemporary Art, Taipei

專文 | Essays

高速公路啟用開始,途中各收費站便成 了 用 路 人 再 熟 悉 不 過 的 風 景 之 一 ,它 是 道 路 分 段 的 依 據 ,

十九世紀工業化迅速發展,所向披靡的工業巨輪,對任何社會都帶來翻天覆地的變化,將生活

也 標 示 城 市 地 名, 它 能 提 醒 用 路 人, 還 有 多 久 能 回 到 故 鄉 或 抵 達 目 的 地。 在 高 速 公 路 上 披 星 戴

周 遭 發 生 的 現 象 與 現 實 化 為 藝 術 創 作 ,重 現 社 會 情 景 的 理 論 與 實 踐 ,構 成 寫 實 主 義 的 思 想 核 心 ,

月 的 開 車 經 驗, 也 是 臺 灣 人 共 同 的 記 憶。 〈 碑 〉 的 兩 側 豎 立 著 以 黑 鐵 板 、 結 實 的 大 螺 絲 釘 , 以

藝術家的創作目的,是為揭櫫眼睛觀察所得的人事物,不加以理想化或美化,即使不符合人們

及 映 照 四 周 環 境 及 光 影 流 變 的 曲 面 不 鏽 鋼 板 製 成 的 巨 大 橋 柱 群, 藉 以 指 涉 水 泥 高 架 道 路 橋 柱 和

對「美」的認知也要忠實呈現。即使寫實主義歷經多次轉折變化,然其反映生活的核心精神依

橋墩。

舊堅定。

畫 面 中 央, 一 輪 不 鏽 鋼 鏡 面 做 成 似 日 似 月 的 光 圈 高 懸, 四 周 以 手 繪 出 如 鬼 魅 般 的 光 芒 照 射 四 周

從事創作迄今近三十年,陸先銘始終圍繞在對臺灣城市現代化的關注,他在展間外的長廊上,

空 蕩 蕩 的 無 垠 天 際, 雖 然 不 鏽 鋼 是 現 代 科 技, 仍 需 透 過 人 手 繪 製 才 能 散 發 光 芒。 畫 面 下 方 是 一

展示創作生涯以來拍攝的照片、繪畫手稿、動態影像紀錄等,上百張紀錄鑲嵌在小小窗格中,

座 縮 小 版 的 收 費 站 建 築 體 剪 影 , 也 有 人 認 為, 這 個 剪 影 看 起 來 很 像 日 本 神 社 的 門 面 牌 樓, 兩 者

構 成〈 過 影 〉 這 組 文 圖 檔 案。 觀 者 不 難 發 覺, 部 分 影 像 最 後 變 成 畫 布 上 的 場 景, 成 為 正 式 作 品

不約而同都意指了進入另一段時空的介 面 。

的一部分,亦可比對出藝術家是如何增減改造這些元素,以符合理想的構圖安排。

對 照 今 日 收 費 站 的 消 失,〈 碑 〉 彷 彿 也 成 了 一 則 時 代 預 言。 陸 先 銘 特 意 讓 光 輪 的 高 度 接 近 成 人

隨身帶相機拍照,是陸先銘從年輕至今保有的習慣,本身就喜愛攝影的他,數十年來已累積出

頭 部 的 高 度, 讓 站 在 作 品 前 的 觀 眾 將 自 己 投 射 在 畫 面 中, 想 像 是 冷 眼 觀 看 社 會 輪 轉、 變 遷 的 時

一 座 小 小 的 私 人 影 像 資 料 庫, 透 過 這 些 照 片 可 窺 探 到 台 灣 工 程 建 設 幾 十 年 來 的 演 變。 因 而〈 過

代「巨人」。

影 〉可 說 是 雙 向 道 的「 回 溯 」,一 方 面 這 些 私 影 像 提 供 觀 者 回 溯 臺 灣 城 市 發 展 的 線 索 ,另 一 方 面 , 也予人回溯陸先銘的創作軌跡。

寫實的浮城社會

陸先銘自承像劇場導演,從照片中選出最適宜的角色、造型、動作、材質和情境,逐一安排 在畫面最適當的位置上,嘗試組成臺灣社會景致的一面面拼圖。透過冷硬無情的工程建設,

「 繪 畫 藝 術 只 在 於 表 現 藝 術 家 看 得 見、 摸 得 著 的 物 體, 藝 術 家 的 想 像 在 於 為 一 個 存 在 的 對 象 找

陸先銘更想傳達的是對人們生活處境的人文關懷,以及對兒時美好回憶的緬懷,即使歲月終

尋最完整的表現,但絕不是想像出、或 創 造 出 這 個 對 象 本 身 」 。 — 庫 爾 貝

究是浮城過影,一去不復返。

a n d c o n n e c t e d t h e f i r s t a n d s e c o n d f l o o r o f t h e m u s e u m . T h i s s e t o f w o rk c o n s i s t e d o f m o re than eighty stainless steel “small figures” in different postures. The forms of these small figures w e r e d e r i v e d f r o m h i e r o g l y p h s , a n d w e r e f i r s t s e e n i n L u’s p a i n t i n g , A G r o w n Up D r e a m , pa int ed in 1988. Si nce then, they have b e c o me s ymb ol ic in Lu’s wo rk s . Th e s impl if ie d h u man fig ure ori gi nated from the ar ti st’s refle c tion o n a b u s y an d tire s ome l if e as we l l as th e f e e l in g of being trap ped and that human bei ng s we re l ik e an ts l ab o r in g f o r a l ivin g day in , day ou t.

s t e e l p l a t e , a n d a b a m b o o s t o o l p l a c e d i n t h e g a l l e r y. T h r o u g h u s i n g a r t i f i c i a l m a t e r i a l , l i k e s t a i n l e s s s t e e l , t o m a k e n a t u r a l o b j e c t s ( t re e s ) a n d j u x t a p o s i n g m o d e r n t e c h n o l o g y, l i k e L E D s c ro lli n g t e x t , w i t h t he p a i n t i n g, Lu u t i li ze d t he c o n t r a s t b e t we e n d i s p a r a t e m a t e r i a ls t o re f le c t the duality in contemporary society and culture. The colossal road bridges and the vacant c o n c re t e o ld ho u s e s a t o n b o t h s i d e s o f t he p a i n t i n g, a n d i m p li c i t ly c o m p re s s e d t he s p a c e f o r t h e t w o h u m a n f i g u re s , s i g n a l i n g t h e re a l i t y t h a t t h e n a t u re i n m o d e r n p e o p l e’s l i f e h a s b e e n re p la c e d by t he “s e c o n d n a t u re” o f c o n c re t e a n d m e t a l.

In t h i s e x h i b i t i o n , t h e s m a l l f i g u r e s j u m p e d o u t o f t h e c a n v a s a n d i n t o t h e s c u l p t u r a l f o r m w i t h t we n t y - f i ve va r i a n t l o o k s . A s i f i n a re l a y, t h e y c l i m b e d t h ro u g h t h e f l o o r t o t h e s e c o n d f l o o r i n h u m a n f i g u r e t o t e m s ; a t w o - a n d - a - h a l f - t a l l “g i a n t” i n t h e f o r m o f t h e f i g u r e s t o o d re s p e c t i ve l y i n t h e s e c o n d - f l o o r s p a c e . T h e d e s i g n o f t h e w o rk h i n t e d a t t h e f a c t t h a t p e o p l e were forced to continuously get ahead or climb up in society; and the small figure giant w a s t h e l e a d e r o f a l l t h e o t h e r s m a l l f i g u re s , g u i d i n g p e o p l e w i t h i t s l e a d e r s h i p. Me a n w h i l e , it could also refer to desertion and an escape from the current condition, as the pursuit of f r e e d o m a n d t h e c o n s t r u c t i o n o f t h e s e l f f o r m e d a k i n d o f “q u a s i - s o c i a l m o v e m e n t ” t h a t powered the turning w heel of ti me.

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In other words, in Drifting As…, the apparently conflicting materials represented a way of acceptable co-existence, exposing the reality of contemporary life. When the audience sat o n t h e b a m b o o s t o o l i n t h e g a l l e r y, a s i f p a r t i c i p a t e d i n t h e c o n v e r s a t i o n o f t h e t w o e l d e r s , it became an amusing means of alternative interaction.

T he D is a p p ea r in g U r b a n s c a p e

Lu’s c a re s f o r p e o p l e w h o we re f i g h t i n g f o r l i f e a n d f o r a l i v i n g c o r re s p o n d e d t o h i s p e r s o n a l e x p e r i e n c e . A s h e g r e w o l d e r, w e b e g a n t o s e e t h e l e i s u r e l y e l d e r l y i n h i s r e c e n t w o r k , Drift ing As…, as they chatted relaxin g l y wh il e s ittin g o n a park b e n c h at s u n s e t. Th e in te n s e a t m osphere seemed to be soothed a litt l e h e re .

As this wave from memories flows in, the city soaks it up like a sponge and expands. A description of Zaira as it is today should contain all Zaira’s past. The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the flags, every segment marked in turn with scratches, indentations, scrolls. ─ Invisible Cities, Italo Calvino.

This work included material and language Lu has often used, such as an unoccupied old house, road bridges extended towards the horizon, LED scrolling text, a withered tree cut out of stainless

At the end of 2013, the distance-based toll system on national highways was officially launched, and the toll stations were removed and really became history, except parts of three toll stations that were

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kept as monuments. However, Lu’s work in 2008, Monument, has accidentally captured the modest silhouette of the toll station. The launch of highways turned the toll stations along the way into landscape that people were a c c u s t o m e d t o. T h e y h a d s i g n a l e d d i f f e re n t s e c t i o n s o f t h e h i g h w a y s , m a rk e d e a c h c i t i e s a n d places, and reminded the drivers how much longer it would take to get back home or get to the destination. Driving at night on the highways was part of Taiwanese people’s collective memory. In Monument, the black iron plates on the two sides, the large strong screws, and the curved stainless steel plates that formed the massive bridge columns while reflecting the surroundings and flowing light all referred to the bridge piers and columns of the concrete highways.

專文 | Essays

one could get a glimpse of the evolving engineering and construction in Taiwan. Therefore, The Glimpses also served as a dual “retrospection,” in which viewers could look into the development of Taiwanese cities in these private images while tracing the artistic career of the artist. Lu Hsien-ming compared himself to a theater director that selected the most appropriate characters, styling, postures, materials and circumstances from his photos, and bit by bit placed the elements on the most suitable spots, putting together one after another the scenes of Taiwanese s o c i e t y. W h a t Lu h a s w a n t e d t o c o n ve y t h ro u g h h i s d e l i n e a t i o n o f t h e c o l d , e m o t i o n l e s s c i v i l c o n s t r u c t i o n w a s h i s h u m a n i s t i c c a re s a n d c o n c e r n s f o r p e o p l e’s l i v i n g c i rc u m s t a n c e s a n d t h e wonderful remembrances of his childhood, even though time was eventually like the glimpses of the cities, which, once passed, would never return.

In t h e m i d d l e o f t h e p a i n t i n g , a s t a i n l e s s s t e e l h a l o w i t h a m i r ro r s u r f a c e re s e m b l e d t h e s u n o r t h e m o o n . A ro u n d t h e h a l o , p h a n t a s m a g o r i c h a n d - p a i n t e d l i g h t i l l u m i n a t e d f ro m t h e h a l o a nd sh o ne i nto the surroundi ng emp ty, in f in ite s k y. Eve n th ou g h s tain l e s s s te e l was pro du c e d by m o d e r n t e c h n o l o g y, i t s t i l l re q u i re d h u m a n h a n d p a i n t i n g t o r a d i a t e l i g h t . At t h e b o t t o m of the image lied an architectural silhouette of a miniature toll station. Some also thought t h e s i l h o u e t t e w a s e vo c a t i ve o f t h e g a t e w i t h i n a Sh i n t o s h r i n e i n Ja p a n . Ei t h e r re f e re n c e h a s sim ila rly p ointed to an i nter face leadin g to an o th e r time an d s pac e . Considering the disappearance of the toll stations, Monument seemed to have become a p r o p h e c y o f t h e e r a . L u’s i n t e n t i o n a l a r r a n g e m e n t o f p o s i t i o n i n g t h e h a l o a r o u n d t h e h e i g h t of a n a dult’s head enabled the vie w ing au die n c e in f ro n t of th e pain tin g to proje c t th e ms e l ve s int o t h e i mage, imagi natively transformin g th e ms e l ve s in to “g ian ts” wh o in dif f e re n tl y o b s e r ve d t h e ch anges i n society and i n ti me.

T h e Real i st i c U r ban S oci et y The art of painting can consist only in the representation of objects visible and tangible to the painter…. Imagination in art consists in knowing how to find the most complete expression of an existing thing, but never in inventing or creating that thing itself. ─ Gustave Courbet During the rapid industrial development in the 19th century, the invincible industrialization triggered extraordinary changes in all societies. Converting phenomena and realities in life into artistic creation and representing the theory and realization of social conditions have formed the quintessential idea of realism. The artistic purpose of artists has been to reveal the people, events and things they have seen with their own eyes without any idealization or beautification but only with truthful representation, even though it might not fit people’s preconception of “beauty.” Although realism has undergone multiple changes in time, its core spirit of reflecting life remained steadfastly unaltered. In his thirty-year artistic career, Lu has always been attentive to the modernization of Taiwanese cities. In a hallway outside one of the exhibition galleries, he displayed the photos, sketches, video documentation produced along his artistic journey. More than a hundred documents were framed in small window grids, constituting a work of texts and images, titled The Glimpses. It was not difficult to see that some images eventually became the scenes on canvases and were integrated into the final works. One could also compare how the artist has manipulated these elements to adapt to the ideal composition. It has been Lu’s habit since his youth to always carry his camera with him. Being a photography enthusiast, he has created a small personal image archive throughout the decades. From these photos,

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圖錄 | Plates

圖錄 Plates

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圖錄 | Plates

藝術家簡介

陸先銘,1959 年生於臺北市,1982 年畢業於中國文化大學美術系,歷任「華岡現

展覽簡介

城市是每一個現代人所生存的特有空間,它承載著現代人的文明成果,也承載著

About the Artist

代藝術協會」、「臺北畫派」、「悍圖社」會長,曾獲 1981 年〈 雄獅美術新人獎〉

Introduction

夢想與失望。沒有一座城市只是建築,每一座城市都是由無數鮮活、曲折的個體

首獎、1992 年〈 臺北現代美術雙年展〉 首獎、2002 年〈 廖繼春油畫創作獎〉 。陸

共同組成。然而,在這個城市的角落,那些生動而又真實的個體身上,我們卻看

先銘的展覽紀錄豐富,涵蓋國內外各大美術館、畫廊,多年來已逾百餘次,作品且

到任何一個時代的矛盾與荒誕,最終都要由個體來承擔,它對每個生活在這個時

獲德國路德維美術館等各大美術館、博物館及私人收藏。陸先銘的藝術志業,一直

代的個體的影響是結實的、沉痛的、也是有力的。

鎖定在他生活環境中糾結的文化省思,自期以創作積極介入社會脈動,落實在地人 文關懷,並延伸到歷史詮釋和時代觀照。

在陸先銘的作品中,城市的現代化發展與個體之間的關係不斷顯現。《路橋》系 列是他從上世紀九零年代臺灣的城市建設迅速發展開始,他將目光聚焦於這座城 市中崛起的現代建築紀念碑。這個工業化的產物象徵著一座城市的精神,然而在

L u H s i e n - m i n g w a s b o r n i n Ta i p e i i n 1 9 5 9 , a n d g r a d u a t e d f r o m t h e F i n e A r t s Department of Chinese Culture University in 1982. He was a member of the Huagang Chinese Modern Ar ts Society, Taipei Ar t Group, Hantoo Ar t Group. Lu was also the winner of the New Talent Award of the 6th Hsiung-Shih Fine Arts Awards in 1981, First Prize of the Taipei Biennial of Contemporary Art in 1992, and First Prize of Liao ChiChun Oil Painting Awards in 2002. He has shown over 100 exhibitions in established museums and galleries both in Taiwan and abroad during past few years. His work has been acquired by museums, such as Ludwig For um for International Ar t, and private collections. Lu Hsien-ming’s work has always revolved closely around his thoughts on culture, which form in his living environment. He hopes to positively engage with the t e n d e n c y o f t h e s o c i e t y, a d d re s s l o c a l a f f a i r s , a n d e x t e n d s h i s s u b j e c t m a t t e r s o f h i s works to historical interpretation and reflection on the present time.

這個宏大敘事的現代精神背後,陸先銘將視角拉回這座城市的主體,城市中的人 與 光 陰 的 變 遷 。現 代 化 加 快 了 人 的 生 活 便 捷 能 力 ,也 加 快 了 現 代 經 濟 的 高 速 運 轉 , 它在地球的任何一個角落,似乎都成為勢不可擋的必然趨勢。在這個趨勢背後, 在這些光鮮亮麗的榮耀背後,無數個體仍然經歷、承受著自身的流變。

The city is the defining space for all modern people. It carries the cultural a c hi e ve m e n t s o f m o d e r n m e n a s we ll a s t he i r d re a m s a n d d i s a p p o i n t m e n t s . No c i t y i s j u s t t h e b u i l d i n g s a l o n e , r a t h e r e ve r y c i t y i s m a d e u p o f c o u n t l e s s a n d c o m p l i c a t e d i n d i v i d u a ls . In t he c o r n e r o f t hi s c i t y, o n e a c h li ve ly a n d re a l i n d i v i d u a l, we s e e t he c o n f li c t s a n d a b s u rd i t i e s o f a n y gi ve n p e r i o d o f t i m e . T he s i t u a t i o n i s s o li d , p a i n f u l a n d p owe r f u l f o r e ve r y i n d i v i d u a l li v i n g i n o u r t i m e s . I n L u H s i e n - m i n g ’s w o r k s , t h e r e l a t i o n s h i p b e t w e e n t h e d e v e l o p m e n t o f u r b a n m o d e r n i za t i o n a n d t he i n d i v i d u a ls c o n s t a n t ly re a p p e a r. Hi s Ro a d Br id g e s e r i e s s t a r t e d i n t h e 1 9 9 0 s w h e n Ta i p e i w a s r a p i d l y d e ve l o p i n g , w h e n h e t u r n e d h i s g a ze t ow a rd s the raise of modern architectural monuments, the product of industrialization s y m b o l i z i n g t h e s p i r i t o f t h e c i t y. A g a i n s t t h e b a c k d r o p o f t h e g r a n d n a r r a t i v e o f m o d e r n i t y, L u t u r n e d h i s a t t e n t i o n t o t h e m a i n f i g u r e o f t h e c i t y - t h e c h a n g e s o f t h e p e o p l e a n d t h e t i m e s . M o d e r n i z a t i o n h a s s p e d u p p e o p l e’s c a p a c i t i e s t o l i v e c o n ve n i e n t ly a s we ll a s t he o p e r a t i o n o f e c o n o m y. It i s a n e v i t a b le t re n d e ve r y w he re i n t h e u n i v e r s e . H o w e v e r, b e h i n d t h e g l a m o r o u s t r e n d , t h e r e a r e e n o r m o u s i n d i v i d u a ls e x p e r i e n c i n g t he i r ow n c ha n ge s .

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台北當代藝術館 Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum

浮城

〈 浮 城 〉 是 陸 先 銘 本 次 展 覽 中 特 別 為 當 代 館 現 地 創 作 的 壁 面 裝 置。 全 作 剪 輯 了

The Cities

1998 至 2006 年不同作品系列中的 16 個人物圖像與城市背景,以數位噴印再製 成黑白人像,然後一一嵌進當代館外牆的 16 扇木窗。這些人像包括街頭的流動攤 販、獨行老人、藝術家好友扮裝的觀光客、攝影者和身障者等,他們寫照了時代 轉進與環境變化中,不同身分、境遇與生活態度的各種都市人物。一個個寫實的 面容表情與栩栩如生的身體姿態,彷彿正述說著他們在都會生活劇場中所演出的 不同角色;陸先銘將他們對稱地集結呈現在當代館古蹟建築的窗框中,圖像陣列 與建築門面對話的形制,讓人聯想到西方教堂將使徒形象排列在壁龕中或玻璃窗 的聖像畫傳統。陸先銘歷年的創作,不斷觀察探討社會環境對人們生活的影響, 透過畫作,他一方面凸顯了冰冷無情、空無人跡的工程建設大場景,另一方面卻 又聚焦關注在街頭孑然現身、在角落孤獨存在的各種弱勢小人物;前者看似歌頌 實充滿批判,後者狀似同情而不乏尊重。這件在當代館正門口與觀者進行第一類 接觸的壁面大裝置,隱約透露了讓觀者用心眼去重新注視觀想日常周遭各色人物 的一種人文意識和藝術意圖。

The installation The Cities is a site-specific work created by Lu Hsien-ming for the exhibiti on at MOCA. Si xteen f ig u re s an d th e s ame n u mb e r o f u r b an e n viron me n ts f rom selected works by the artist from 1998 through 2006 are reorganized and presented

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圖錄 Plates 圖錄 || Plates

帆布輸出 共 16 件 C-print 16 pieces 256x153 cm 2015

in sixteen new black and white portraits, produced as digital prints. Each portrait is m o u n t e d i n o n e o f t he s i x t e e n w i n d ow s o n t he f a c a d e o f t he m u s e u m . T he i n s t a lla t i o n i n c lu d e s p o r t r a i t s o f p e d d le r s , t he e ld e r ly, a n d a f e w c ha r a c t e r s p o r t r a ye d by t he a r t i s t’s fr i en ds , in clud i ng t o ur is t s, phot ogr ap he r s, an d t he p hys ic a lly d is ab led . A lt o ge the r, they re p re s e n t m a n y m e m b e r s o f a c i t y, w h o s e i d e n t i t i e s , e x p e r i e n c e s a n d a t t i t u d e s t ow a rd li f e va r y i n t he f lu i d a n d e ve r - c ha n gi n g u r b a n e n v i ro n m e n t . The countenances and vivid poses of the sitters tell eloquent stories about unique individuals who play their roles in the near-theatrical setting of urban life. The p o r t r a i t s a r e a r r a n g e d s y m m e t r i c a l l y o n t h e b u i l d i n g ’s f r o n t , e v o k i n g a v i s u a l a s s o c i a t i o n w i t h s t a t u e s o f t he a p o s t le s o r i m a ge s o f s a i n t s o n t he s t a i n e d gla s s w i n d ow s o f a c h u r c h . I n a l l o f L u’s w o r k s , o n e f i n d s h i s o b s e r v a t i o n s a n d e x p l o r a t i o n o f t h e i m p a c t o f s o c i a l s u r r o u n d i n g s o n t h e l i v e s o f i n d i v i d u a l s . Fo r t h i s i n s t a l l a t i o n i n p a r t i c u l a r, L u H s i e n - m i n g o p t s t o d e p i c t l a r g e c o n s t r u c t i o n s i t e s a s i n d i f f e r e n t a n d d e s o l a t e p l a c e s , w h i l e d r a w i n g a t t e n t i o n t o u n d e r p r i v i l e g e d p e o p l e i n d i f f e re n t u r b a n settings. In effect, the images of construction sites mask a sharp critique under the gu i s e o f o s t e n s i b le p r a i s e , a n d t he i m a ge s o f p e o p le a b o u n d w i t h re s p e c t , t ho u gh t he y s e e m t o e x p r e s s p i t y. P l a c e d i n t h e v e r y f r o n t o f t h e m u s e u m , t h i s l a r g e i n s t a l l a t i o n confronts viewers as they enter or pass by MOCA. This work makes a declaration of hu m a n i s m a n d a s k s t he a u d i e n c e t o p a y a t t e n t i o n a n d t hi n k a n e w a b o u t t he n u m e ro u s i n d i v i d u a ls a ro u n d t he m i n t he i r d a i ly li f e .

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Plates 圖錄 || Plates 圖錄

一指向天 Po i n t i n g t o t h e S k y

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台北當代藝術館 Museum of Contemporary Art, Taipei

此作也是陸先銘針對當代館空間格局而構想創製的新作,畫家跳脫了本身擅長熟練的藝術

Running

語言和媒介材料,而大膽地結合雕塑、影像、空間裝置等異質的材料和形式,在當代館的 入 口 形 象 區 到 二 樓 大 展 間 中, 就 地 建 構 了 一 件 規 模 巨 大 而 貫 穿 樓 層, 組 件 眾 多 而 意 象 綿 延的超大型裝置。此作主要的符號元素和情境表達,是用一種象形文字式小人物(首見於 1988 年 的 畫 作〈 一 個 長 大 的 夢 〉 ) 的 25 款 變 奏 造 型, 搭 配 了 不 同 尺 寸 規 格 的 台 座 與 穿 越樓層的立柱,加上二樓地面不規則展示台構成的圍牆,以及牆面中反覆播出的小人物動 畫,從中所鋪展出來的景觀,指涉了在有限的空間環境中,人們或被迫不停向前衝刺、或 自我強迫不斷向上爬升的一種社會情境。

綜合媒材 尺寸因場地而異

此一意念,來自陸先銘年輕時期創作發展的個人境遇,描述生活在社會重重壓力下的眾多

Mixed Media Dimensions Variable 2015

族群迷走在社會大環境中的一種困頓心境。然而,它也可能意味著叛離和逃脫現狀,追求

小人物,猶如螻蟻般為生活打拚和日夜勞碌,週而復始的工作循環與壓力累積,以及弱勢 自由、建構自我的另一種「類群眾運動」。事實是,在這大型裝置中,所有的符號元素群 和空間結構物,都流動匯聚到展場正中央,一個高達兩公尺半、由鏡面不鏽鋼打造而成的 大型雕塑,它的造型樣式和現場的近 80 多個小人物雖如出一轍,但感覺比較像英雄領導 或引路者,是整場最引人注目的造型符號,也是捍衛自由、鎮守人性的一種精神表徵。

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

圖錄 | Plates

This new work by Lu Hsien-ming is created specifically for the space of MOCA. Lu moves away from his usual choices of media and artistic expressions, experimenting with an unfamiliar and bold combination of art forms that incorporates sculpture, video art and space-transforming installation art. The colossal installation composed of a multitude of components rises from the first floor near the museum’s entrance and extends high into the second floor. It alludes to symbolism and contextual expressions to create a work rich with imagery. Numerous sculptures of fifteen variations of hieroglyphic figures, reincarnations of the commoner character first appearing in his painting A Grown Up Dream (1988), are mounted on round platforms of various sizes and affixed on a two-story tall post. A series of irregular pedestals on the second floor are arranged to form a wall, inlaid with screens, where animations of the hieroglyphic figures play on repeat. A visual landscape is thus assembled to visualize the phenomenon where members of a society are forced to continue battling or climbing up in order to survive in a social environment where resources are limited. This evocative work draws on Lu’s personal experience in his early creative career. It suggests an all-too-familiar story where ordinary people, pressured by various social factors, repeat the cycle of stressful workdays to achieve something or just to make ends meet. It also conveys the distressing struggle of the underprivileged who try to survive in a social environment where they are marginalized. The work seems to imply the possibility of a potential movement in which members of society abandon everything and escape the status quo to find their freedom and construct a new self. All components of this large installation converge on a massive stainless steel sculpture, 2.5 meters tall, at the center of the museum. It presents a character nearly identical to that represented by the over eighty smaller sculptures. The large sculpture, however, embodies the most distinctive symbol, a hero-like leader or prophet who safeguards freedom and defends humanity. 55


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 台北當代藝術館 Museum

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Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 雙城記-浮城過影/陸先銘個展 AA Tale

Plates 圖錄 圖錄 || Plates

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台北當代藝術館 Museum of Contemporary Art, Taipei

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雙城記-浮城過影/陸先銘個展

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A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 台北當代藝術館 Museum

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

Plates 圖錄 圖錄 || Plates

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台北當代藝術館 Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum

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A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 雙城記-浮城過影/陸先銘個展

圖錄 Plates 圖錄 || Plates

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台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

玄 穹 Firmament 綜合媒材 Mixed Media / 140x240 cm / 2009 64

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

過影

本次展出陸先銘將當代館 106 到 108 展間外面的長廊,特意改造成為一個體驗式的空

The Glimpses

間裝置;使用的兩種元素和手法,一是將走廊現有木窗於對面牆重新仿製,以營造一

圖錄 | Plates

種左右完全對稱的空間架構,進而啟動窗外的實景觀看,以及窗內的文件閱讀—包括 藝術家的手繪圖稿、靜態的影像和動態的錄像等;這些在小小窗格上與觀眾最先接觸 的「創作文件」,實際都關聯到接下來進入展間所遇見的「藝術作品」。於此,觀賞 動線和空間設施的整合,文件閱讀和作品欣賞的貫串,對創作者來說是歷史的回溯, 對欣賞者來說則是全新的探索。其二是在走廊前中後段等距設置了四片鏡屏,透過觀 眾自行操控轉動鏡屏,鏡子與鏡子之間的相互照映,賦予這個古老懷舊的紅磚廊道, 一種人影憧憧、景物交錯的視覺效果,和時光流變的氛圍。

綜合媒材 尺寸因場地而異 Mixed Media Dimensions Variable 2015

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雙城記-浮城過影/陸先銘個展

In this exhibition, Lu Hsien-ming repurposes the corridor that connects Rooms 106 to 108 into a space that engages the audiences in different participatory activities. In the new space, Lu replicates existing windows on one side of the wall along the corridor and places them in mirroring positions on the opposite side. The now perfectly symmetrical passageway provides two possible viewing activities. One is to look out the real windows. The other is to look at the documents and videos displayed on the artificial window grids. The works on display include sketches, images and videos. The materials that represent the process of making the works of art would be seen later by the viewers. A connection is created between the documents and the artworks through the transitional space of the corridor leading to its destination, the galleries. Two layers of meaning are produced. For the artist, the installation looks into the past as his creative process is deconstructed. For the audience, on the other hand, it is a prelude to an exploration of works of art completely new to them. The artist also installed four evenly spaced revolving mirrors along the corridor. As the mirrors are turned to face each other, the reflections of the audience multiply, bringing about a shadowy, illusory atmosphere in the historical red brick pathway where the definition of time now becomes nullified.

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

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A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 雙城記-浮城過影/陸先銘個展

圖錄 | Plates

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台北當代藝術館 Museum of Contemporary Art, Taipei

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A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 雙城記-浮城過影/陸先銘個展

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台北當代藝術館 Museum of Contemporary Art, Taipei

二 十 一 世 紀 的 臺 灣, 城 鄉 快 速 發 展, 大 規 模 的 道 路 建 設 工 程 , 具 現 了 社 會 躍 進 的 企

Monument

圖,如網絡般串聯各地的高架 建 設 ,也 同 時 分 割 形 塑 了 許 多 空 寂 疏 離 的 空 間 和 角 落 ,

圖錄 | Plates

此 作 描 繪 高 架 陸 橋 底 下, 透 過 巨 大 的 橋 柱 群 透 視 遠 方 的 一 種 超 現 實 景 觀, 天 空 中 分 不 出 日 / 月 的 一 輪 光 圈 , 正 照 著 下 方, 泛 指 高 速 公 路 收 費 站 的 建 築。 這 道 看 來 也 很 像 日 式 神 社 門 面 牌 樓 的 黑 色 剪 影, 對 照 今 日 臺 灣 高 速 公 路 收 費 站 的 完 全 消 失, 彷 彿 也變成了藝術家當年寫下的一 個 時 代 預 言 。 陸 先 銘 以 低 調 的 黑 鐵 板、 結 實 的 大 螺 絲 釘 和 映 照 四 周 環 境 及 光 影 流 變 的 曲 面 不 銹 鋼 板,再現了通常是混凝土質感的高架道路橋柱和橋墩,襯著手繪的天空和遠景事物, 將高架橋下的荒僻冷漠的空間,轉化為莊嚴寧靜而隱有一種詩意的無人劇場。誠如策 展人崔燦燦指出的,每個藝術家心中都有一個理想家園,這種景境亦可視為藉由正向 思考、藝術想像和創作實踐,將荒廢的角落、幽暗的場域,打造為光明和救贖聖殿的 一個樣例。此作的大小尺寸、媒材應用和展示方式也隱藏了互動的概念和機制—畫面 中上方用鏡面不銹鋼做成的日/月,貼附在和成年人頭部約略同一高度的位置,站在 畫面前方的觀眾因而可體驗自身面容與畫面融合的視覺秘境。

綜合媒材 Mixed Media 230x422 cm 2008

In the 21st century, Taiwan’s urban and rural areas alike are developing at high speed. Largescale highway construction projects embody the ambition of social advancement; while linking the elevated infrastructures of the nation into a network, these roadways are also cutting apart and creating spaces and corners of disconnection, emptiness and loneliness. This painting depicts a surreal landscape under an overpass, a view towards the faraway horizon through massive columns. In the sky is a circle of light (impossible to say if it’s the sun or the moon) shining down on a structure signifying the generic highway tollbooth. Now that the tollbooth has become extinct in Taiwan, the black silhouette of the tollbooth structure, also reminiscent of a Japanese Shinto shrine, can also be read in the present day as the artist’s prophesy of the times to come. With low-profile dark iron plates, large sturdy screws and steel plates that reflect the shapes and sights of their surroundings with a curved surface, Lu recreates the ordinarily concretemade buttresses and columns of an overpass. Setting the scene with the hand-painted sky and the structure in the distance, Lu transforms the abandoned, disconnected space under the overpass into an empty theatre spectacle — solemn, serene and full of poetry. As curator Cui Can-can mentioned, there is an ideal homeland in the heart of every artist; we can very well see the presented scene as an example of the artist re-creating dark places and dilapidated corners into the sacred temple of light and salvation through positivity, artistic vision and creative practice. The size, material and presentation of the piece also harbor the concept and apparatus of an interactive experience: the sun/moon made from mirror-finish stainless steel is placed at the height of the average adult’s head, so the viewer can experience the visual fantasy of seeing oneself as part of the art work, when standing in front of it.

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

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Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 AA Tale 雙城記-浮城過影/陸先銘個展

Plates 圖錄 || Plates 圖錄

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Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 台北當代藝術館 Museum

Plates 圖錄 圖錄 || Plates

107 展出的三幅繪畫,包括〈雨後〉、〈歸〉和〈潛龍〉,都是以不鏽鋼板取代畫布,藝 術家直接在上面繪圖畫色,有意讓線條顏料和作為載體的鋼板互相試探遊說,從中開拓出 特殊的肌理、質感、和光色效果。這三件作品除了實際尺寸特大,畫面的布置經營也刻意 強化了建設的宏偉、空間的延伸、和一種視覺對比的張力。 1990 年初,高架化的道路建設,開始從郊外的高速公路擴展到都會地區,除了作為聯外 交通之用,也被官方正視為解決市區交通阻塞的便捷之道。量體巨大、以車河姿態縱貫或 橫越都市地平的高架道路,四處侵入都會空間,不斷地重塑都會的景觀,同時也改變了人 們對都市的印象和環境的感覺。陸先銘即是當時臺灣藝壇中,最早對這種時代發展和社會 跡象有所感悟,且長程地透過創作來刻畫檢視,進而從中抒發個人想像與見解的畫家。 相較於陸先銘的早期畫作,以濃厚、低調、焦慮的性格,表達了城市建設的未知狀態與失 序感覺;這三幅近作屬於現代化已發展完成的城市,雖仍疏離冷漠卻隱藏著溫度,訴說在 急速奔騰中仍不可忽視的人性。如〈雨後〉畫面左上方,悠游散步的小紅傘;〈歸〉畫面 右 上 方 ,急 速 通 過 的 送 貨 車 ,都 輕 輕 點 出 了 四 處 流 動 在 大 城 市 裏 的 人 文 和 生 機;而〈 潛 龍 〉 遠處堤岸上如國家口號、公共標語般浮現的「金劍沉埋、壯氣蒿萊」(引自李後主 -《浪 淘沙》,卻好像檯面下的無聲吶喊,註記了過去的滿懷壯志和胸襟理想。

The three pieces in Room 107, After Raining, Return and Hidden Dragon, are painted directly onto stainless steel plates. Foregoing the traditional canvas, the artist intentionally orchestrates a two-way investigation/conversation between the lines and strokes of paint and the steel-plate-as-receptacle, creating a distinct texture, shine and color effect. Aside from being grand in size and scale, the three pieces also feature compositions that deliberately emphasize the majesty of the structures, the extension of space, and a visual tension created by the juxtaposition. At the beginning of the 1990s, the construction of elevated infrastructures started expanding from rural highways towards urban areas. In addition to providing a means of transportation between different places, these roadway structures were also viewed by the government as an easy solution to the congested traffic in metropolitan areas. The massive elevated pathways, crisscrossing the landscape and skyline of the city in the shape of endlessly streaming traffic, encroached upon urban spaces and continuously reshaped the view of cities. At the same time, they also changed the way we see and feel about the impressions and environment of a city. Lu was the first painter amongst his contemporaries in the Taiwanese contemporary art community to be inspired by the development and social sea change of the age, to examine the phenomenon on a long-term basis, and to articulate his vision and findings through his work.

Lu’s earlier works express the unknowable status of and feeling of disorder towards urban construction through thick, anxious and subdued textures. In comparison, these three recent pieces depict a modern and developed urban landscape which, while detached and cool, still harbors a sense of warmth, pointing towards a necessary humanity even in a furious rush. The serenely wandering little red umbrella at the upper left corner of After Raining and the delivery truck speeding past the upper right part of Return both bring to mind the humanity and energy flowing freely through big cities. As for the propagandaesque words on the pier in the far ground of Hidden Dragon “The golden sword has sunken, and the hero’s ambitions abandoned in the grass”, from Li Yu’s poem, Waves Scouring the Sands), they can be seen as a silent scream under the table, a footnote to heroic ambitions and ideals long since disappeared. 76

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

潛 龍 Hidden Dragon 綜合媒材 Mixed Media 222x286 cm / 2011

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

歸 Return 綜合媒材 Mixed Media / 142x236 cm / 2010 80

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

雨 後 After Raining 綜合媒材 Mixed Media / 142x236 cm / 2010 82

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

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A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 雙城記-浮城過影/陸先銘個展 A

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台北當代藝術館 Museum of Contemporary Art, Taipei

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迷 Mythtories 綜合媒材 Mixed Media / 111x260 cm / 2011 86 86

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 雙城記-浮城過影/陸先銘個展

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台北當代藝術館 Museum of Contemporary Art, Taipei

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蒼 茫 Va s t n e s s 綜合媒材 Mixed Media / 108x200 cm / 2012 88

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

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阿 公 的 預 言 G r a n d p a ’s S t o r i e s 綜合媒材 Mixed Media / 275x450x66 cm / 1996 90

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A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

瀟 灑 走 一 回 Stroll

領 悟 Sudden Comprehension

綜合媒材 Mixed Media / 205x180x7 cm / 1996

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雙城記-浮城過影/陸先銘個展

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綜合媒材 Mixed Media / 190x277x14 cm / 1996

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum

圖錄 Plates 圖錄 || Plates

勿 忘 影 中 人 Fo r g e t n o t P e o p l e i n t h e P i c t u r e 綜合媒材 Mixed Media / 188.5x402 cm / 2008

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雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of Contemporary Art, Taipei

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生 ‧ 活 Birth‧ Life 綜合媒材 Mixed Media / 181x450x8.5 cm / 1998 96

雙城記-浮城過影/陸先銘個展

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台北當代藝術館 Museum of Contemporary Art, Taipei

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飄飄何所似

此作混搭了陸先銘過去創作中慣用的圖像元素和異質材料,包含寫實的人像、人去

Drifting As...

樓 空 的 老 屋、 從 頭 頂 伸 向 遠 處 地 平 線 的 陸 橋、 鋼 板 切 割 擬 造 的 枯 樹、 如 假 包 換 的 L E D 跑 馬 燈 、直 接 置 入 現 成 物 的 竹 板 凳 等 。陸 先 銘 以 這 些 元 素 建 構 一 種 舞 台 場 景 , 用來烘顯夕陽餘暉的畫面中央,兩位長者倚坐在長椅兩端正在交談的日常畫面。 策展人特別點出,陸先銘的材料應用影射了文化的雙向性,例如,在視覺系統中, 不銹鋼的光滑表面和反光特性與繪畫顏料形成了強烈的對比關係;數位跑馬燈的閃 亮及電子光感,也和顏料繪製的沉悶、壓抑畫面構成了一種極大的反差;畫中沉重 的、毫無溫度的布景元素也在無形中壓縮著主角人物的空間。在文化系統中,這些 物品又象徵著現代科技的成果與重大變革,它隱喻著現代精神的剛毅與創新精神, 同樣也標示著一座城市的堅固與永恆。在這些悖論關係之中,陸先銘用戲劇化的手 法使作品產生了一種特殊感染力,讓我們凝神注視那些真實存在但又因種種尷尬而 無法直視的現實,或靜坐畫前,參與想像傾聽從畫面人口中隱約傳來的心聲。

綜 合 媒 材 M i xe d M e di a 270x615x150 c m 2014

In t h i s p i e c e , t h e a r t i s t re m i xe s v i s u a l e l e m e n t s a n d n o n - t r a d i t i o n a l m a t e r i a l s o f t e n s e e n i n h i s p re v i o u s w o rk s , s u c h a s re a l i s t i c a l l y d e p i c t e d f i g u re s , a n a b a n d o n e d o l d h o u s e , a n ov e r p a s s s t r e t c h i n g ov e r h e a d t o w a rd s a f a r - a w a y h o r i z o n , a s k e l e t a l t r e e c u t a n d m o ld e d f ro m s t e e l p a n e ls , a n a c t u a l L E D n e w s t i c k e r, a n d a b a m b o o f o o t re s t p la c e d i n f ro n t a s p a r t o f t he c o m p o s i t i o n . Wi t h t he s e e le m e n t s , Lu c o n s t r u c t s a s o r t o f s t a g e s e t , f r a m i n g t h e e ve r yd a y s c e n e o f t w o s e n i o r c i t i ze n s c h a t t i n g t o g e t h e r o n t he s a m e b e n c h, u n d e r t he glow o f t he s e t t i n g s u n . A s t h e c u r a t o r o f t h e e x h i b i t i o n p o i n t e d o u t , L u’s u s e o f m a t e r i a l s h i n t s a t t h e b i d i r e c t i o n a l i t y o f c u l t u r e . Fo r e x a m p l e , i n t e r m s o f t h e v i s u a l s y s t e m o f t h i s p i e c e , t he s m o o t h t e x t u re a n d re f le c t i ve qu a li t y o f t he s t e e l p la t e f o r m s a n i n t e n s e c o n t r a s t against the paint; the bright, flickering electronic feel of the digital ticker also c l a s h e s i n t e n s e l y a g a i n s t t h e d u l l , r e p r e s s e d c o m p o s i t i o n c r e a t e d w i t h p a i n t . Ev e n t h e h e a v y a n d w a r m t h - l e s s “s e t p i e c e s” i n t h e p i e c e a re s i l e n t l y i m p o s i n g u p o n t h e c h a r a c t e r s , t a k i n g ove r t h e i r s p a c e . In t e r m s o f c u l t u r a l d i s c o u r s e , t h e s e o b j e c t s a re embodiments of the results and major breakthroughs of modern technology; they h i n t a t t h e p e r s i s t e n c e a n d i n n ova t i o n o f t h e m o d e r n s p i r i t , a n d a re m a rk e r s o f t h e d u r a b i l i t y a n d p e r m a n e n c e o f a c i t y. A m o n g t h e s e p a r a d o x i c a l r e l a t i o n s h i p s , L u’s u s e o f d r a m a t i c p re s e n t a t i o n i m b u e s t h e p i e c e w i t h a c e r t a i n e f f i c a c y, a n a t t r a c t i o n t h a t m a k e s u s e i t h e r s t a re i n t e n t l y a t s o m e p re - e x i s t i n g re a l i t y w h i c h we c o u l d n o t p re v i o u s l y s e e o r c o n f ro n t h e a d - o n d u e t o e m b a r r a s s m e n t , o r s i t q u i e t l y i n f ro n t o f t h e p a i n t i n g t o i m a g i n e a n d l i s t e n t o t h e o b s c u re d d i a l o g u e f ro m t h e c h a r a c t e r s i n t he p a i n t i n g.

98 98

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 雙城記-浮城過影/陸先銘個展 A

99 99


台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

飄 飄 何 所 似 Drifting As... 綜合媒材 Mixed Media / 270x615x150 cm / 2014

100

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 台北當代藝術館 Museum

102 雙城記-浮城過影/陸先銘個展 102

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

Plates 圖錄 圖錄 || Plates

103 103


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北���代藝術館 台北當代藝術館 Museum

Plates 圖錄 圖錄 || Plates

斜 陽 Tilting Sun 綜合媒材 Mixed Media / 89x130 cm / 2014

104

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

105 105


台北當代藝術館 Museum of Contemporary Art, Taipei

含 笑 Smile

躇 Hesitation

綜合媒材 Mixed Media / 189x237x7,5 cm / 1998

106

雙城記-浮城過影/陸先銘個展

圖錄 | Plates

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

綜合媒材 Mixed Media / 189x236x7.5 cm / 1998

107


台北當代藝術館 Museum of Contemporary Art, Taipei

袱 B u n d l e Wr a p p e d i n C l o t h 綜合媒材 Mixed Media / 189x237x7,5 cm / 1998

108

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

圖錄 | Plates

飲 Drink

綜合媒材 Mixed Media / 188x139 cm / 1999

109


台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

閒 Caref ree 綜合媒材 Mixed Media 226x310.5x8 cm / 2003 110

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

111 111


台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

近 覷 The View of Near 綜合媒材 Mixed Media / 189x236x7,5 cm / 2003

112

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

113


台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

遠 眺 The View of Afar 綜合媒材 Mixed Media / 189x236x7,5 cm / 2003

114

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

115


台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

輦 Handcar 綜合媒材 Mixed Media / 188x138.5 cm / 2003

116

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

117


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 台北當代藝術館 Museum

圖錄 | Plates

青 山 依 舊 在 Green Mountains Remain 綜合媒材 Mixed Media / 直徑 170 cm / 2010

118

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

119


台北當代藝術館 Museum of Contemporary Art, Taipei

Plates 圖錄 圖錄 | | Plates

幾 度 夕 陽 紅 Under Pink Sunsets 綜合媒材 Mixed Media / 直徑 170 cm / 2010

120

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

121 121


台北當代藝術館 Museum of Contemporary Art, Taipei 台北當代藝術館 Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum

圖錄 | Plates

為 歡 幾 何 H o w M u c h H a p p i n e s s C a n We H a v e ? 綜合媒材 Mixed Media / 直徑 170 cm / 2013

122 122

雙城記-浮城過影/陸先銘個展 雙城記-浮城過影/陸先銘個展

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities A

123


台北當代藝術館 Museum of Contemporary Art, Taipei

圖錄 | Plates

曖 曖 內 含 光 Beaming Light in the Dimness 綜合媒材 Mixed Media / 280x300 cm / 2008

124

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

125


台北當代藝術館 Museum of Contemporary Art, Taipei

春 風 Spring Wind

秋 月 Autumn Moon

綜合媒材 Mixed Media / 162x259 cm / 2010

雙城記-浮城過影/陸先銘個展 126 126 126

圖錄 | Plates

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

綜合媒材 Mixed Media / 162x259 cm / 2010

127


台北當代藝術館 Museum of Contemporary Art, Taipei

附錄 | Appendix

附錄 Appendix

128 128 128

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

129


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 台北當代藝術館 Museum

130 130

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

Appendix 附錄 附錄 | | Appendix

131


Museum of of Contemporary ContemporaryArt, Art, Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 132 雙城記-浮城過影/陸先銘個展 132 132

Appendix 附錄 附錄 | | Appendix

133 133


台北當代藝術館 Museum of Contemporary Art, Taipei

附錄 | Appendix

藝術家訪談 Interview

雙城記-浮城過影/陸先銘個展 134 134 134

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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台北當代藝術館 Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum

附錄 | Appendix

從小就喜歡畫畫 畫的自認為也還不錯 但是呢 那個時候還沒有 立志要當畫家 那功課不好 在那個時候碰到一個 美術老師叫簡克明 那我一直對他很感恩 就是他啟發了我決定走向美術這一條路 他說你 書念不好 那將來到社會上去跟人家競爭 那如何去跟功課比你好的人競爭 是不容易的 但是你的畫畫在學校裡面就贏過所有的人 那將來到社會上比你畫的好的人一定少多 所以你需要競爭的對手相對會少很多 你為什麼不在自己拿手的這個部份去下功夫 那將來出人頭地的機會比較大 那他這句話就點醒了我 我就想通了以後 我回去就跟我母親講說我決定要走美術這一條路 當時的 70 年代西方很流行的是「照相寫實」 這個 這個畫派 就是那個時候有幾個老師 一個是許坤成 一個謝孝德 一個陳世明 這三個老師因為當時都從歐洲回來 那他們把這一個不一樣的技巧 跟觀看藝術的方式帶回到臺灣來 剛好都在文化 ( 大學 ) 任教 加上文化又很自由的一個學風 老師有點就是放牛吃草 那我們上課的時候老師也不教怎麼畫畫 但是他們會介紹觀念 而且他會鼓勵我們不要畫 舊的印象派的東西 所以那時候大家就會嘗試各種不同的表現方式 那當然最主流的就是還是以寫實入手 因為剛剛提到的這三位老師他們當年都是畫寫實的 那我們做學生當然多少還是會受老師影響

136 136

雙城記-浮城過影/陸先銘個展 雙城記-浮城過影/陸先銘個展

A A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities

就會從寫實這個部份去切入 所以在大學的四年 大部分的學長學弟 他們的表現手法 百分之九十都是從寫實入手 作品因為得到雄獅新人獎 啊作品就歸雄獅 它是一個有一點像舞台的一個場景 一個年輕人的背影背對著觀眾 只有畫他半身 就是往斜前方走過去 然後棺材前面放了一面鏡子 一面鏡子 那我在談就是說 人是不是一定要到了 走到最後那一步 面對鏡子的時候 才審視到自己存在的意義跟價值 談的大概是這樣子的問題 現在回憶起來 基本上還是在摸索 就是感覺 一直 覺得說藝術家他所具備的一個使命 那個時候因為年輕總是會有一種使命感肩上 因為藝術除了形式的開拓 那個是在美術史上會留下痕跡 就是在視覺領域的一個創新開拓 退而求其次的話就是在內容上 那這個意義的話 在我自己的認知就是 跟你活過的當下 活過的這一段時間 的時間空間都能產生對應關係的話 這藝術品才會有價值 留下來 那退伍回來就脫節兩年是有點慌恐 雖然在大學時後就得了雄獅新人獎 可是退伍回來以後我就 決定把我過去的熟悉的那套創作 形式跟內容通通丟掉 跟以前不一樣的就是 過去在念書的時候還是 台灣的社會相對還是保守 很多話是 不敢講的 那退伍回來以後 因為是比較屬於解嚴前靠近的那個時候 那會對社會上的 尤其是自己年輕很多社會上的不滿的事情 就說 覺得這個社會不公義的事情 就像太陽花學運那些學生一樣 看這個也不順眼看那個也不順眼 那年輕嘛 會有很多東西就容易不順眼的話 就會想要用藝術來做敘述 所以那個時候的作品會 就比較批判性 所以會有一些很潦草的筆觸 很強烈的色彩 來敘述這個社會裡面的不安的氣氛

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台北當代藝術館 Museum of Contemporary Art, Taipei

剛好那個時候的 Bad P a i n t i n g 這個表現形式也是 都是往自己的歷史 裡 面 去 找 題 材 都是往自己的 土地 跟過去的 發生過的人 情 歷 史 產生關係 所以跟我們創作的 脈 絡 跟 方 向 都 能 夠 吻 合 所以很自然地會受 到 些 許 的 影 響 剛剛講前面是因為 批 判 色 彩 比 較 重 但是到了復興教書 以 後 會 又更深刻地去思考 就會覺得說 生活在這社會上 大多數的人都被生 活 所 壓 迫 常常做一些自己不 見 得 喜 歡 的 事 情 因為這個反省就是 我大概自己在復興 教 書 你就會覺得每天早 上 七 點 就 要 到 學 校 然後下課回來 做創作 然後第二天起來又 要 重 複 去 學 校 就是 這個生活是有點 機 械 化 制式化的 有點像螞蟻行列裡 面 的 一 隻 螞 蟻 一 樣 不得已 前面的往前走 後 面 的 往 前 推 你夾在中間 你也只能 一 直 往 前 走 所以有了這些體悟 以 後 就創作了這個三根 毛 的 小 人 早期剛開始創作的 時 候

138

雙城記-浮城過影/陸先銘個展

附錄 | Appendix

這個人都比較垂頭喪氣 因為那個時候會覺得 給自己很大的痛苦 所以我就創作這些人生活在一些隧道裡面 每個人都是往前 但是那個隧道上會有反方向的箭頭 反方向的箭頭 的意思是說 也許正確的方向是在後面 但是 你沒有辦法回頭 你前面的人跟後面的人 大家都是這樣子往前推 所以你只能夠夾在中間跟著往前走 所以從那時候開始 這個人就存在我的畫面裡面 離開復興的時候 民國 78 年 就是解嚴之後 整個經濟快速的一個發展 那個時候我的工作室在中和 所以我從臺北要過橋到永和到中和 那在這一段路上騎摩托車來來回回 就會觀察到整個城市劇烈的一個變化 那一個城市的進步 當然我們做粗淺的敘述是它會高樓大廈 當然我們最粗淺的敘述就是它會 高樓大廈就蓋起來 無數的橋也架設起來 為了讓交通更順暢 然後我感受很深的就是說 以前的時候 我騎著機車在臺北大街小巷跑的時候 那個時候民國 70 幾年的時候 臺灣名貴的車還很少

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

所以我可能騎一天車 看不到一輛兩輛的 所謂的 BENS 跟 BMW 這樣等級的車 可是到了民國 70 多年 末期的時候 突然發現到 奇怪我 一條街還沒騎完怎麼 旁邊全部都是 BMW 跟 BENS 突然覺得說 臺灣 變有錢了 有錢人變多了 所以整個社會很快速的這樣的進步 那就想說 從那個頹廢中走出來 如何去面對這個城市的轉換跟進步 所以就 開始創作了跟都市景觀有關的這些議題的作品 一開始在畫陸橋 在畫城市的時候 我是希望傳達出 在這個建設的過程中是有點混沌 沒有秩序感的 然後但是呢 又很有生猛有力 所以用一些比較粗曠的 我用畫刀 用厚的油彩去堆疊 讓這個筆觸 比較跳躍式的 閃動的 那這種方式來呈現我所要表達的內容跟企圖 那個時候也反省到 我的大命題 人跟環境的一個關係 就是說 這個都市快速的進步人的角色到底是甚麼

那其實是需要去關切去關心的 但是如何去讓大家注意到這樣一個命題 所以我把畫面上的人通通抽走 讓大家在面對作品的時候會驚覺到說人到哪裡去了 整個社會在經濟起飛進步的一個狀態 大家都在追求 追求功利追求名利的時候 所以在街上的人 跟你都是無關的 但是這些人確實存在 所以我畫面上把這些人突然都通通抽走以後 你會驚覺到 人到哪裡去了 希望說觀眾在面對這樣的命題的時候去反思 人的存在的意義跟價值 人跟環境關係的一些價值 我退伍回來不安於過去的技巧 所以我一直在找新的表現方式跟出路 包括了裝置 包括了影像 包括很多的表現方式 其實在 20 世紀末都百花爭鳴 所以我的創作早期的時候也有一些 簡單的一些行為的藝術 也有裝置的藝術 我第一次的個展就是裝置 做了一個大型的裝置作品 但是那一次展完以後 我就欠了一屁股債 就反省說 不對 這樣下去我沒有辦法 創作沒辦法長久

139

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台北當代藝術館 Museum of Contemporary Art, Taipei

所 以就回到油畫 那 回到油畫畢竟 我 原始的想法還有很多 還 沒 有 完 成 所 以到了若干年前 啊 自己比較有能力就覺 得 說 可 以玩一些材質了以後 就 覺得說我平面繪畫 一 方面是也打破平面繪 畫 的 舊 有 的 形 式 也 希望加上一些新的素 材 跟 油 畫 去 做 結 合 這 是最早的發想 作 品裡面會想到跟當代 的 元 素 去 做 結 合 像 LED 燈 因 為我十幾年前加的時 候 這 算 是 一 個 新 的 媒 材 所 以我覺得把新的媒材 加 進 去 那 加上因為它會動 讓 畫 面 更 有 時 間 感 那 加了大量的不鏽鋼跟 鐵 進 去 的 時 候 是 因 為 覺 得是這個社會進入一 個 比 較 科 技 的 時 代 讓 這些比較現代感的媒 材 加 到油畫裡面 讓 材質去說話 去 說 訴說這個畫面的 當 代 性 跟 現 代 感 所 以這些東西加進去油 畫 了 以 後 可 以豐富油畫它原本的 單 調 平 面 那 變成具有半立體 具 有 時 間 性 也 能夠豐富畫面想要說 的 那 種 企 圖 所 以這些元素是這樣的 理 由 慢 慢 加 進 來 剛 講說退伍回來經過一 段 批 判 看不順眼罵人的 時 期 然 後到畫三根毛以後 就 有點 好像被打擊到 有 點 受 傷 然 後再振作起來面對這 個 城 市 的 時 候 我 就 希 望 說 我 不要再做批判 因 為批判也沒用 都 年輕過都罵人過 但 是 罵 人沒有用 還 是要冷靜客觀地去面 對 問 題

140 140

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 雙城記-浮城過影/陸先銘個展

附錄 | Appendix

所以我希望我的作品是一種忠實客觀的紀錄者角色 所以你提到說 希望若干年後 呈現給後面的人來觀看 現在我生活過的臺北 其實最 最希望他們看到我眼睛看到的東西 那我眼睛看到的東西用很誠懇 跟真實的 的一個很 雖然畫面也許不冷靜 但是這是 這是當下的一種情緒 就是我希望我 客觀的 忠實的記錄當下的臺北的一些 不管是形式也好 情感也好內容也好 的一個真實的一個狀態 建築會比較冷靜

因為它不動在那裡嘛 那你就觀看它覺得它 有那個結構的價值的話你就會去拍 啊人物的畫是因為 生活裡面就會存在這些人嘛 那這些人 你 你看到了以後 你關注它 你可以從他身上讀到它生活的氣味跟軌跡 那自然就會想要把它留下來 把它拍下來 因為這些人生活在大家的周圍 可是一般人看到不會去注意到它 因為看都是看帥哥美女 誰會去看底層的人 但是這些人從他身上又可以讀到 他紮紮實實在這個社會生活過的氣味跟軌跡 每個人他身上都有他自自己不同的故事 那你去想到背後的那個 他生活過的脈絡跟故事 你自然會覺得這個人是很 很有價值 是需要留下來的 當代藝術館它是顛覆一個古蹟建築 把它改成一個美術館的一個概念和形式 那���們這一次的展覽希望進入美術館以後 能夠再把美術館去做一個顛覆 就是我們藝術家近來又把一個 現有的一個 美術館的型態去做一個改變 所以呢 我就從我的作品裡面 抽出我的元素來 設想如何去改變這個美術館 這次為當代館做的這三件作品

141 141


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

Appendix 附錄 | | Appendix 附錄

都是針對這個 主 旨 去 做 設 想 而創作的新的 作 品 外觀這件是 作 品 是 浮 城 那用 16 個小 人 我 平 常 畫 過 的 小 人 物 把它放大 然 後 站 在 窗 框 上 來 佔 領 美 術 館 大部分的人都 沒 有 關 注 我 畫 的 這 些 人 所 以 它 變的是有種飄 飄 渺 渺 的 那 種 存 在 感 然後我用黑白 方 式 去 呈 現 它是 又跟真 實 產 生 距 離 感 所以就更符合 這 次 的 主 題 浮城的這個主 題 然後又有佔領 跟 顛 覆 美 術 館 的 企 圖 都 給 達 到 那我裡面走廊 的 過 影 這 件 作 品 是 我創作的內容 的 一 些 線 索 一些線索背後 的 線 索 用這些線索 然 後 透 過 假窗 跟走廊真窗的 一 個 對 話 關 係 來敘述這個 空間改變的一 個 現 狀 跟 事 實 然後從一樓 跑到二樓的蔓 延 的 這 個 奔 的 這 些 作 品 是 我就把我的這 些 小 人 把它集合起來 變 成 很 多 的 小 人 然後從一樓開 始 就 蔓 延 到 二 樓 因為為了要顛 覆 美 術 館 然後甚至要佔 領 美 術 館 所以我必須要 有 一 個 巨 大 的 這 個 小 人 的 頭 頭 在最後 所以就有了一 批 的 小 人 從 一 樓 衝 上 二 樓 最後呈現出一 隻 很 巨 大 的 小 人 把自己的理想 跟 夢 想 做一個最偉大 的 釋 放 跟 呈 現 然後佔領美術 館 這 樣 子 畢竟是我二十 幾 年 前 在 畫 面 上 創 造 出 來 的 一 個 造 型 因為這個小人 一 開 始 的 時 候 並不討喜因為 他 垂 頭 喪 氣 因為當時創作 並 沒 有 考 慮 到 賣 畫 的 問 題 那他完全是很 忠 實 地 呈 現 藝 術 家 當 時 的 心 境 所以那個心境 是 灰 色 的 所以呢 作品 的 形 式 自 然 也 就 很 灰色 很藍調 那後來雖然說 是 他奔跑起來了 但是因為這個 形 式 並 不 優 美 不具備所謂的 市 場 地 賣 像 所以他常常都 偷 偷 躲 在 我 畫 面 的 角 落 可是因為我剛 剛 有 講 過 因 為 我 對 他 有 感 情 那這一次呢 因 為 在美術館展 不 用 考 慮 到 這 些 市場的問題 那我可以純粹 的 面 對 藝 術 性 的 發 揮 所以我就把這 小 人 把他拉出來變 成 主 角 因為他一直是 我 心 目 中 的 主 角 那 利用這樣 的 場 域 我 讓 他 發揮的淋漓盡 致 我 也 蠻 開 心 的

142 142

雙城記-浮城過影/陸先銘個展 雙城記-浮城過影/陸先銘個展

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities A

143 143


台北當代藝術館 Museum of Contemporary Art, Taipei

附錄 | Appendix

藝術家手稿 Manuscript

144

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

145

145


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

146 146

雙城記-浮城過影/陸先銘個展 A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A

Appendix 附錄 附錄 || Appendix

147


台北當代藝術館 Museum of Contemporary Art, Taipei

148

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

附錄 | Appendix

149


台北當代藝術館 Museum of Contemporary Art, Taipei

150

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

附錄 | Appendix

151


台北當代藝術館 Museum of Contemporary Art, Taipei 台北當代藝術館 Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum

152 雙城記-浮城過影/陸先銘個展 A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities 152 152 雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Kuo Wei-Kuo Exhibition / Gardens of Spirits

附錄 Appendix 附錄 | | Appendix

153


台北當代藝術館 Museum of Contemporary Art, Taipei

附錄 | Appendix

藝術家簡歷 Biography

154

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

155


台北當代藝術館 Museum of Contemporary Art, Taipei

附錄 | Appendix

陸先銘 1959   

出生於臺北,臺灣

2008

學歷 1982       

中國文化大學美術系畢業

個展 2015 2014 2010 2009 2008 2005 2003 2000 1998 1996 1993 1985

【雙城記:浮城過影】,台北當代藝術館,臺北,臺灣 【無聲之城:1984 -- 2014 年的臺北】,大未來林舍畫廊,臺北,臺灣 【無聲之城:1984 -- 2014 年的臺北】,今日美術館,北京,中國 【城市隨筆】,大未來林舍畫廊,臺北,臺灣 【意念.程式.感官的對話 - 陸先銘、何孟娟雙個展】,基隆市文化局,基隆,臺灣 【城市 ‧ 劇場】,大未來畫廊,臺北,臺灣 【厝邊筆記】,京華城生活廣場,臺北,臺灣 【臺北 ‧ 新 ‧ 人類】,臺北市立美術館,臺北,臺灣 【人文速寫】,東海大學藝術中心,臺中,臺灣 【都市邊緣的主流意志】,印象畫廊,臺北,臺灣 【環保 -- 都市 ‧ 浪漫 -- 衝突】,臺北國際藝術中心,臺北,臺灣 【都市美學】,臺灣畫廊,臺北,臺灣 【藍色的驚悸】,嘉仁畫廊,臺北,臺灣

聯展

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【紙上絮語見風華 II】,大未來林舍畫廊,臺北,臺灣 【臺灣美術家『刺客列傳』1951-1960- 四年級生】,國立臺灣美術館,臺中,臺灣 【普普藝術 + 工廠 -- 熱塑 ‧ 冷壓 ‧ 當代臺灣】,高雄市立美術館,高雄,臺灣 【第二十八屆亞洲國際美展】,金門文化園區,金門,臺灣 【同文之變 III】,大未來林舍畫廊,臺北,臺灣 【從顛覆真實到創造真實 -- 解嚴以後的臺灣當代藝術】,亞洲現代美術館,臺中,臺灣 【悍圖入厝 -- 漂泊後凝練的浪漫魂魄】,福利社,臺北,臺灣 【重回『新展望』:北美館當代脈絡的開拓】,臺北市立美術館,臺北,臺灣 【第二十七屆亞洲國際美展】,泰國曼谷拉加達曼仁當代藝術中心,泰國 【中華畫院藝術大展】,國父紀念館,臺北,臺灣 【現代 ‧ 迭起 -- 2013 臺灣的當代藝術】,國父紀念館,臺北,臺灣 【斜面連結】,臺北市立美術館,臺北,臺灣 【臺韓現代繪畫交流展】,淡江大學文錙藝術中心,新北市,臺灣 【在地對在地 -- 臺北在釜山】,OpenSpace Bae Gallery,釜山,韓國 【國美無雙 II】,國立臺灣美術館,臺中,臺灣 【廣東 ‧ 翠亨海峽兩岸藝術家美術作品交流展】,廣東中山翠亨美術館,廣東,中國 【新表現的衍化】,臺灣文化會館基金會,臺中,臺灣 【百歲百畫 -- 臺灣當代畫家邀請展】,國立臺灣美術館,臺中;國立國父紀念館,臺北,臺灣 【廖繼春獎 10 年聯展】,臺北市立美術館,臺北,臺灣 【多情兄:悍圖社】,高雄市立美術館,高雄,臺灣 【第二十六屆亞洲國際美展】,首爾藝術中心漢嘉阮美術館,首爾,韓國 【路 ‧ 不只在兩點之間】,大未來林舍畫廊,臺北,臺灣 【2010 當代 TAIWAN ART RAISE】,大未來林舍畫廊,臺北,臺灣 【撼&懾 -- 悍圖社西遊記】,四川重慶美術館,四川,中國 【第一接觸 -- 臺北 ‧ 昆明 ‧ 香港當代藝術聯展】,昆明九九藝術空間,四川,中國 【後少年硬派 2009 悍圖社聯展】,鳳甲美術館,臺北,臺灣 【惡童力 2009 悍圖社聯展】,大未來畫廊,北京,中國 【夏藝朓 --2009 視盟藝術家博覽會】,京華城,臺北,臺灣 【臺北國際藝術博覽會】,臺北世界貿易中心,臺北,臺灣 【藝有所思】,鳳甲美術館,臺北,臺灣

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

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2000

1999

【延續 ‧ 跨越 ‧ 心未來】,大未來林舍畫廊,臺北,臺灣 【東南亞與臺灣的對話】,高雄縣政府文化局,高雄,臺灣 【延 ‧ 革】,耿畫廊,臺北,臺灣 【老幹新枝又一春】,大未來畫廊,臺北,臺灣 【綿延若存】,臺北市立美術館,臺北,臺灣 【英雄本色】,形而上畫廊,臺北,臺灣 【親潮】,關渡美術館,臺北,臺灣 【帝國大反擊二部曲 -- 長驅直入】,印象當代藝術館,臺北,臺灣 【藝術北京博覽會】,全國農業展覽館,北京,中國 【拓展與融合 -- 中國現代油畫研究展】,中國油畫學會全國巡迴展,中國 【藝 ‧ 極棒 -- 2008 視盟藝術家博覽會】,臺北信義公民會館,臺北,臺灣 【悍圖 ‧ 印象】,印象當代館,臺北,臺灣 【家 --2008 臺灣美術雙年展】,國立臺灣美術館,臺中,臺灣 【叛離異象 -- 後臺北畫派】,臺北市立美術館,臺北,臺灣 【風景的面貌】,臻品藝術中心,臺北,臺灣 【MOU.I.KAI 魔 - 藝 - 尬 - 悍圖 2007】,關渡美術館,臺北,臺灣 【移動 -- 臺灣當代壹十五人行】,大未來畫廊,北京,中國 【袋袋相傳】,臻品藝術中心,臺中,臺灣 【激進意志的風格 -- 九 O 年代臺灣當代藝術的多元異見】,索卡藝術中心,臺北,臺灣 【臺灣當代藝術大展】,印象當代館,臺北,臺灣 【臺北國際藝術博覽會】,華山文化園區,臺北,臺灣 【臺灣當代藝術特展 -- 巨視微觀多重鏡反】,國立台灣美術館,臺中,臺灣 【臺北二三:二三觀點】,臺北市立美術館,臺北,臺灣 【臺灣美術發展 1950-2000】,中國美術館,北京,中國 【臺灣美術與社會脈動 2-- 寶島曼波】,高雄市立美術館,高雄,臺灣 【遊於憶】,中央研究院近代史研究所檔案館,臺北,臺灣 【臺灣的新寫實主義】,建國科技大學藝術中心,彰化,臺灣 【MS8 + 5 悍圖曼波】,國立臺灣美術館,臺中,臺灣 【異境 -- 城市變奏曲】,臺北市立美術館,臺北,臺灣 【臺灣具象繪畫】,臺北市立美術館,臺北,臺灣 【正言世代:臺灣當代視覺文化】,康乃爾大學強生美術館,紐約,美國 【開新 -- 八 O 年代臺灣美術發展】,臺北市立美術館,臺北,臺灣 【立異 -- 九 O 年代臺灣美術發展】,臺北市立美術館,臺北,臺灣 【藝術與環境特展】,成功大學藝術中心,臺南,臺灣 【第十九屆亞洲國際美展】,福岡亞細亞美術館,福岡,日本 【凝視的詩意 -- 臺灣當代攝影與繪畫的多重現實景觀】,巴黎臺北新聞文化中心,法國; 渥太華市政府藝術廳,加拿大 【金剛芭比十三摸】,臺中 20 號倉庫,臺中,臺灣 【金剛摸芭比】,鳳甲美術館,臺北,臺灣 【時間的刻度 ‧ 臺灣美術戰後五十年作品】,長流美術館,桃園,臺灣 【第十八屆亞洲國際美展】,文化博物館,香港,中國 【金剛芭比打狗轉馬達】,新濱碼頭,高雄,臺灣 【大家一起來金剛芭比摸】,駁二藝術特區,高雄,臺灣 【64 種愛的欲言在 SARS 漫延的年代】,伊通公園,臺北,臺灣 【藝術游牧與社會情愫】,大趨勢藝術空間,臺北,臺灣 【臺灣政治藝術聯展】,觀想藝術中心,臺北,臺灣 【第十七屆亞洲國際美展】,大田美術館,大田市,韓國 【首屆中國藝術三年展】,廣州藝術博物院,廣東,中國 【大音希聲特展】,鳳甲美術館,臺北,臺灣 【彩蝶墨香衣世紀】,臺中市文化局動力空間,臺中,臺灣 【第十六屆亞洲國際美展】,廣東美術館,廣東,中國 【2000 畫廊開幕展】,臺北 2000 畫廊,臺北,臺灣 【2000 臺灣新時代繪畫】,臺南梵藝術中心,臺南,臺灣 【美麗新世界 -- 親愛臺灣】,景薰樓藝文空間,臺中,臺灣 【第十五屆亞洲國際美展】,臺南縣文化局,臺南,臺灣 【尋找桃花源的 6 種方法】,帝門藝術中心,臺北,臺灣 【臺灣社會人文檢驗】,積禪 50 藝術空間,高雄,臺灣 【挑動圖碼】,大未來畫廊,臺北,臺灣 【臺港現代藝術交流展】,光華新聞文化中心,香港 【硬頸臺灣】,永都藝術館,臺南,臺灣 【複數元的視野-臺灣當代美術 1988 - 1999】,中國美術館,北京,中國 【臺北國際藝術博覽會】,臺北世界貿易中心,臺北,臺灣 157


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

1998

1997

1996

1995

1994

1993

1992

1991

158 158

【兩岸新聲 -- 當代畫語】,藝術中心,香港;國立臺灣藝術教育館,臺北,臺灣 【戀情臺灣】,大都會藝術環境,臺灣 【臺北現代畫家聯展】,阿波羅畫廊,臺北,臺灣 【臺北現代畫展】,世宗文化會館,漢城,韓國 【悲情昇華 -- 二二八美展】,臺北市立美術館,臺北,臺灣 【臺北現代畫展】,國父紀念館,臺北,臺灣 【堅持與延續】,瑧品藝術中心,臺中,臺灣 【臺北國際藝術博覽會】,臺北世界貿易中心,臺北,臺灣 【鼠來寶 - 週年展】,新樂園藝術空間,臺北,臺灣 【臺灣本土與大陸邊疆的對話】,臺北縣立文化中心,臺北,臺灣 【臺灣 -- 今日藝術】,路德維國際藝術論壇館,德國 【1996 雙年展 ‧ 臺灣藝術主體性】,臺北市立美術館,臺北,臺灣 【發現臺灣美術的新力量】,瑧品藝術中心,臺中,臺灣 【臺北 -- 北京 -- 烏魯木齊名家畫展】,新莊文化藝術中心,臺北,臺灣 【1996 臺北現代畫展】,上海美術館,上海,中國 【臺灣的傳承與展望 -- 漢雅軒精選】,漢雅軒,臺北,臺灣 【臺北縣美術家聯展】,臺北縣立文化中心,臺北,臺灣 【印象畫廊 PART II 開幕展】,印象畫廊 PART II,臺北,臺灣 【臺北國際藝術博覽會】,臺北世界貿易中心,臺北,臺灣 【當代臺灣繪畫風貌思考】,臺北新莊文化藝術中心,臺北,臺灣 【臺灣的新興潮流】,印象畫廊 PART II,臺北,臺灣 【圖像後現代 -- 集體式的獨立情感】,日升月鴻藝術畫廊,臺北,臺灣 【花花世界】,臺灣畫廊,臺北,臺灣 【1995 文化大展】,印象畫廊,臺北,臺灣 【臺灣當代藝術展】,雪梨當代美術館、黃金海岸立市畫廊、坎培拉藝術學院畫廊、臥龍岡市立畫廊,澳洲 【臺灣傳奇 -- 現代繪畫在臺灣】,臻品藝術中心,臺中,臺灣 【第十屆亞洲國際美展】,國家博物館,新加坡 【人權海報展】,臺北市立美術館,臺北,臺灣 【藝術家的精神素寫】,伊通公園,臺北,臺灣 【臺北國藝術博覽會】,世界貿易中心,臺北,臺灣 【臺灣鄉土的現在進行式】,形而上畫廊,臺北,臺灣 【新語言展 -- 臺北畫派 95 年宣言】,民生畫郎,臺北,臺灣 【藝術家的剪貼簿】,臺灣畫廊,臺北,臺灣 【帝門迎春雅品推薦展】,帝門藝術中心,臺北,臺灣 【1994 文化大展】,印象畫郎,臺北,臺灣 【1994 臺北現代美術雙年展】,臺北市立美術館,臺北,臺灣 【閱讀臺灣美術的都會性格】,玄門藝術中心,臺北,臺灣 【第九屆亞洲國際美展】,國立歷史博物館,臺北,臺灣 【臺北畫派系列展 -- 進入群眾】,民生畫廊,臺北,臺灣 【中華民國畫廊博覽會】,臺北世界貿貿易中心,臺北,臺灣 【紅色酵素展】,臺灣畫廊,臺北,臺灣 【風雲際會 -- 邁向顛峰大展】,積禪 50 藝術空間,高雄,臺灣 【臺灣 90 年代新觀念族群】,漢雅軒,臺北,臺灣 【臺北畫派 93 系列 -- 認識自己】,民生畫廊,臺北,臺灣 【臺灣美術新風貌】,臺北市立美術館,臺北,臺灣 【中華民國畫廊博覽會】,世界貿易中心,臺中,臺灣 【第八屆亞洲國際美展】,福岡市立美術館,福岡,日本 【'93 群英展】,臺北綺麗藝術中心,臺北,臺灣 【第六屆亞洲國際美展】,田川市美術館,日本 【臺北畫派聯展】,臺灣畫廊,臺灣 【關心臺灣海報展】,伊通公園,臺北,臺灣 【1992 台北現代美術雙年展】,臺北市立美術館,臺北,臺灣 【臺灣力量大展】,臺北市立美術館,臺北,臺灣 【人文的省思】,臺北縣立文化中心,臺灣 【覺悟的邀宴】,伊通公園,臺北,臺灣 【新浪漫繪畫展】,新展望畫廊,臺中,臺灣 【二十世紀末的臺灣美術】,現代藝術空間,臺中,臺灣 【1992 中韓現代美術展】,國立歷史博物館,臺北,臺灣 【1992 畫廊博覽會】,松山外貿展覽館,臺北,臺灣 【第七屆亞洲國際美展】,萬隆,印尼 【臺北情事】,木石緣畫廊,臺北,臺灣

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 雙城記-浮城過影/陸先銘個展

Appendix 附錄 || Appendix 附錄

1990 1989 1988 1987

1986

1985

1984 1983

【中華民國現代美術新展望】,臺北市立美術館,臺北,臺灣 【1989 臺北畫派大展】,臺北市立美術館,臺北,臺灣 【中韓現代美術交流展】,大田市現代畫廊,韓國 【中華民國美術發展展覽】,臺灣省立美術館,臺中,臺灣 【中華民國現代美術新展望】,臺北市立美術館,臺北,臺灣 【中華民國現代繪畫新貌展】,國立歷史博物館,臺北,臺灣 【1987 新繪畫大展】,國產藝術中心,臺北,臺灣 【釜山青年雙年展】,釜山市立會館,釜山,韓國 【第三屆中韓現代繪畫交流展】,寬勳美術館,漢城,韓國 【中華民國現代繪畫新展望展】,臺北市美術館,臺北,臺灣 【息壤 - 專題展】,金帝大廈,臺北,臺灣 【第二屆中韓現代繪畫交流展】,臺北縣立文化中心,臺灣 【風格 22 展】,臺北市立美術館,臺北,臺灣 【新具象繪畫展】,臺北市立美術館,臺北,臺灣 【新人獎十年回顧展】,雄獅畫廊,臺北,臺灣 【藝術原子彈宣言】,臺北西門町,臺北,臺灣 【臺北畫派第一屆大展】,國產藝術中心,臺北,臺灣 【新繪畫大展】,臺北市立美術館,臺北,臺灣 【當代抽象大展】,臺北市立美術館,臺灣 【新銳展】,今天畫廊,臺北,臺灣

獲獎與榮譽 2002 1992 1988 1981

第二屆〈廖繼春油畫創作獎〉首獎 一九九二〈台北現代美術雙年展〉首獎 一九八八〈中華民國現代美術新展〉望優選 第六屆〈雄獅美術新人獎〉首獎

典藏記錄 澳洲雪梨白兔美術館,作品:〈昂揚〉 臺北市立美術館,作品:〈含笑〉 臺灣省立美術館,作品:〈阿公的寓言〉 高雄市立美術館,作品:〈生 ‧ 活〉 臺灣省立美術館,作品:〈對她的仰望〉 德國路德維國際藝術論壇館,作品:〈黑橋〉 Art in America 年度當代藝術精選 200 件作品幻燈全集,獲選作品:〈新時代之一起、承、轉、合〉,四連作油畫 國立歷史博物館,作品:〈臺北風景〉 臺北市立美術館,作品:〈黎明肇始的醞釀〉 臺北市立美術館,作品:〈臺北早晨〉 臺北市立美術館,作品:〈一個長大的夢〉

159


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

Appendix 附錄 || Appendix 附錄

Lu Hsien-ming 1959 

Born in Taipei, Taiwan

Educational Background 2008 1982

B. A. in Fine Art, Chinese Culture University, Taipei, Taiwan.

Selected Solo Exhibitions 2015 2014 2010 2009 2008 2005 2003 2000 1998 1996 1993 1985

A Tale of Two Cities: Glimpses of Cities, Museum of Contemporary Art, Taipei, Taiwan A City of Silence: Taipei, 1984 to 2014, Lin & Lin Gallery, Taipei, Taiwan A City of Silence: Taipei, 1984 to 2014, Today Art Museum, Beijing, China Urban Memoir, Lin & Lin Gallery, Taipei, Taiwan The Dialogue Between Thought Program Sense, Keelung City Cultural Affairs Bureau, Keelung, Taiwan City‧Theater, Lin & Keng Gallery, Taipei, Taiwan Neighborhood Sketch, Living Lounge Gallery, Taipei, Taiwan Taipei‧New Image‧People, Taipei Fine Arts Museum, Taipei, Taiwan Cultural Sketch, Tunghai University Art Gallery, Taichung, Taiwan Bold Designs, Impressions Art Gallery Part II, Taipei, Taiwan City-Nature: Harmony or Collision?, Masterpiece Art Center, Taipei, Taiwan City Aesthetics, Taiwan Art Gallery, Taipei, Taiwan. Blue Tremble, Chiaug Ren Gallery, Taipei, Taiwan

2007

2006

Selected Group Exhibitions 2014

2013

2012

2011

2010

2009

160 160

Master Works on Paper, Lin & Lin Gallery, Taipei, Taiwan “ The Pioneers” of Taiwanese Artist, 1951 – 1960, National Taiwan Museum of Fine Arts, Taichung, Taiwan Pop Art Factory - Heating‧Cooling‧Contemporary Art in Taiwan,Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan The 28h Asian International Art Exhibition, Kinmen Cultural Park, Kinmen, Taiwan Derivations III, Lin & Lin Gallery, Taipei, Taiwan From Upending Reality to Creating Realty: Contemporary Taiwanese Art After the Martial Law Era, Asia Museum of Modern Art, Taichung, Taiwan Toughened Hantoo Souls Sentimentally Settled Here After Their Drift, FreeS, Taipei, Taiwan Revisiting New Horizons Exhibition: Origins of TFAM’s Contemporary Context, Taipei Fine Arts Museum, Taipei, Taiwan Start from Zero, Metaphysical Art Gallery, Taipei, Taiwan The 27th Asian International Art Exhibition, Rajchadamnern Contemporary Art Center, Bangkok, Thailand Chinese Academy of Fine Arts Exhibition, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Modernity, the Ever-rising New Wave-Taiwan Contemporary Art 2013, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Revisiting New Horizons Exhibition: Origins of TFAM’s Contemporary Contexp, Taipei Fine Arts Museum, Taipei, Taiwan Reality‧Imagery-Taiwan New Realism, Chienkuo Technology Museum, Taipei, Taiwan Oil Paintings Exhiition, National Arts Education Center, Taipei, Taiwan Taiwan‧Korea Morden Art Exchange Exhibition, Carrie Chang Fine Arts Center of Tamkang University, New Taipei City, Taiwan Local to Local - Taipei in Busan, OpenSpace Bae Gallery, Busan, Korea Unique Vision II, National Taiwan Museum of Fine Arts, Taichung, Taiwan Cross-Strait Artists Invitational Exhibition, Tsuiheng Museum, Zhongshan, Guangdong, China Evolvement of Neo-Expression, Foundation of Taiwanese Culture, Taichung, Taiwan Taiwan Modern Artist Exhibition, National Taiwan Museum of Fine Arts, Taichung; National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan 10 Year On : Liao Chi-Chun Oil Painting Awards, Taipei Fine Arts Museum, Taipei, Taiwan The Sentimental Boys! Hantoo Joint Exhibition, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan The 26th Asian International Art Exhibition, Hangaram Art Museum of Seoul Art Center, Seoul, Korea Intimate Views, Lin&Lin Gallery, Taipei, Taiwan The WAY is not merely between two points, Lin&Lin Gallery, Taipei, Taiwan 2010 Contemporary Taiwan Art Raise, Lin & Lin Gallery, Taipei, Taiwan Amazement and Astonishment – Hantoo Art Group’s Adventure to the West, Chongqing Art Museum, Sichuan, China First Contact, Kunming 99 Art Space, Yunnan, China Post Little Tough Guys:Hantoo Art Group 14, Hong – Gah Museum, Taipei, Taiwan

A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A 雙城記-浮城過影/陸先銘個展

2005

2004

2003

2002

2001

2000

Akudou Power-2009 Hantoo Art Group, Lin & Keng Gallery, Beijing, China Art‧Summer 2009 Art Fair, Living Lounge Gallery, Taipei, Taiwan Taipei Art Fair 2009 International, Taipei World Trade Center, Taipei, Taiwan Art Thinks, Hong – Gah Museum, Taipei, Taiwan Continuance Stride New Generation, Lin&Lin Gallery, Taipei, Taiwan Dialogue in Art between East Asia and Taiwan, Cultural Affairs Bureau of Kaohsiung County ‧Government, Taipei, Taiwan Revolution, Tina Keng Gallery, Taipei, Taiwan New Year Exhibition Opening Ceremony – Space B, Lin & Keng Gallery, Taipei, Taiwan Boundless Visions, Taipei Fine Arts Museum, Taipei, Taiwan Truly Hero, Metaphysical Art Museum, Taipei, Taiwan Intimate Trend, Kuandu Museum of Fine Arts, Taipei, Taiwan The Empire Strikes Back Episode II – Surprise Attack, Impressions Art Gallery, Taipei, Taiwan Art Beijing Fair, National Agricultural Exhibition Center, Beijing, China Expand and Fusion – Chinese Modern Oil Painting Exhibition, Nationwide travelling exhibition, Chinese Oil Painting Academic Society Art‧Fancy 2008 Art Fair, Xinyi Public Assembly Hall, Taipei, Taiwan Hantoo Impressions, Impressions Art Gallery, Taipei, Taiwan Home – 2008 Taiwan Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan Madden Reality: Post – Taipei Art Group, Taipei Fine Arts Museum, Taipei, Taiwan Landscape, Galeric Pierre, Taichung, Taiwan Mou.i.kai – The Exhibition by Hantoo Art Group, Kuandu Museum of Fine Arts, Taipei, Taiwan Hantoo Art Group, Lin & Keng Gallery, Taipei, Taiwan City to City, Lin & Keng Gallery, Beijing, China Let`s go Bag to the Life Circle, Galeric Pierre, Taichung, Taiwan Styles of Radical Will – The Multiform Nineties: Taiwan`s Contemporary Art, Soka Art Center, Taipei, Taiwan Impressions Contemporary, Impressions Art Gallery, Taipei, Taiwan International Art Fair, Hwa Shan Art District, Taipei, Taiwan Macro Vision, Micro Analysis, Multiple Reflections – Contemporary Art in Taiwan since 1987, National Taiwan Museum of Fine Arts, Taichung, Taiwan Taipei / Taipei: Views and Points, Taipei Fine Arts Museum, Taipei, Taiwan Art in Taiwan 1950~2000, China National of Art Museum, Beijing, China Formosa MamboArtistic Development and Social Transition in Taiwan II, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan A Moving Memory, Institute of Modern History, Academia Sinica, Taipei, Taiwan The Moment of Concentration – Taiwan New Realism, Chienkuo Technology, Changhua, Taiwan MS 8+5 Handtoo Manbo, National Taiwan Museum of Fine Arts, Taichung, Taiwan Alien Land- Metropolitan Variations, Taipei Fine Arts Museum, Taipei, Taiwan Figurative Painting in Taiwan, Taipei Fine Arts Museum, Taipei, Taiwan Contemporary Taiwanese Art in the Era of Contention, Johnson Museum of Art, Cornell University, New York The Transitional Eighties - Taiwan's Art Breaks New Ground, Taipei Fine Arts Museum, Taipei, Taiwan The Multiform Nineties – Taiwan's Art Branches Out, Taipei Fine Arts Museum, Taipei, Taiwan Environment & Art Exhibition, National Chang Kung University Art Gallery, Tainan, Taiwan ms-14 Hantoo Art Group 2004 Taipei Exhibition, Nan Gallery, Taipei, Taiwan The 19th Asian International Art Exhibition, Fukuoka Asian Museum of Art, Fukuoka, Japan Eye Dream – Multiple Realities in Contemporary Photographies and Painting from Taiwan, Taipei Information & Culture Center, Paries King Kong and Barbie 13 Touch, Stock 20, Taichung, Taiwan King Kong Touching Barbie, Hong–Gah Museum, Taipei, Taiwan The Trails Time‧50 Years Taiwanese Art since the End of World War II, Chang Liu Art Museum, Taoyuan, Taiwan The 18th Asian International Art Exhibition, Hong Kong Heritage Museum, Hong Kong, China King Kong and Barbie Turn Motor in Kaouhsiung, Sinpink Pier Art Space, Kaohsiung, Taiwan King Kong, Barbie and Together to Touch, The Pier-2 Art District, Kaohsiung, Taiwan Discourses on Love:64 Conversations in SARS' Era, IT Park Gallery, Taipei, Taiwan Gypsy Art & Social Sentiment, Main-trend Art Space, Taipei Taiwan Taiwan Political Art Exhibition, Jeff Hsu's Art Gallery, Taipei, Taiwan The 17th Asian International Art Exhibition, Dejeon Municipal Museum of Art, Korea The First Triennial of Chinese Arts, Guangzhou of Art, Guangzhou, China Sound of Silence, Hong–Gah Museum, Taipei, Taiwan Butterfly‧Fragrant Ink‧Clothing World, Power Space, Taichung Cultural Center, Taichung, Taiwan The 16th Asian International Art Exhibition, Guangdong Museum of Art, Guangdong, China 2000 Gallery Inauguration Exhibition, 2000 Gallery, Taipei, Taiwan 2000 New Era Taiwan Modern Painting, Fine Art Center, Tainan, Taiwan A Beautiful New World, Ching Shiu Art Space, Taichung, Taiwan The 15th Asian International Art Exhibition, Tainan County Cultural Affairs Bureau, Tainan, Taiwan Six Ways to Look for Shangri-La, Dimensions Art Center, Taipei, Taiwan

161


台北當代藝術館 Museum of Contemporary Art, Taipei

1999

1998

1997

1996

1995

1994

1993

1992

162

An Examination of Taiwan's culture, G. Zen 50 Art Gallery, Kaohsiung, Taiwan Unraveling the Code of Images, Lin & Keng Gallery, Taipei, Taiwan Modern Painting Exchange Exhibition, Kwangwa Information & Culture Center, Hong Kong Perseverance Taiwan, Yeong Du Museum, Tainan, Taiwan Visions of Pluralism Contemporary Art in Taiwan 1988--1999, China Art Museum, Beijing Taipei Art Fair International, Taipei World Trade Center, Taipei, Taiwan New Voices: Contemporary Art Dialogue Among Taipei, Hong Kong and Shanghai, China; Hong Kong Arts Center and National Taiwan Arts Education Institute, Hong Kong, China Love Taiwan, Metropolitan Gallery,Taichung, Taiwan Taiwan Modern Artist Exhibition, Apollo Art Gallery, Taipei, Taiwan Taipei Modern Art Exhibition, Seoul Sejong Cultural Center, Korea Sadness Transformed-228 Commemorative Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan Taipei Modern Art Exhibition, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Consistency & Continuation, Galecie Pierre,Taichung, Taiwan Taipei Art Fair 1997 International, Taipei World Trade Center, Taipei, Taiwan Good Luck with Mouse, Shin Leh Yuan Art Sapce, Taipei, Taiwan A Dialogue Between Taiwan and Chinese Captured Provinces, Taipei County Cultural Center, Taipei, Taiwan Taiwan Modren Art Pioneers Exhibition, Yin Shiuan Gallery, hong Kong, China Taiwan---Present Art, Ludwig Forum of the International Art, Germany Taipei Biennial: The Quest for Identity, Taipei Fine Arts Museum, Taipei, Taiwan Discovering the New Power of Taiwanese Art, Galeric Pierre,Taichung, Taiwan Taipei-Peiking-Urumchi, Masters Exhibition, Hsin Chuang City Culture Center, Taipei, Taiwan 1996 Taipei Modern Art Exhibition, Shang Hai Museum, Shanghai, Taiwan A Contemporary View of Taiwanese Arts---Hanart’s Choice, Hanart (Taipei) Gallery, Taipei, Taiwan Taipei County Artist Exhibition, Taipei County Cultural Center, Taipei, Taiwan Impressions Art Gallery Part II Inauguration Exhibition, Impression Art Gallery Part II, Taipei, Taiwan Taipei Art Fair 1996 International, Taipei World Trade Center, Taipei, Taiwan Contemporary Art Trends in Taiwan, Hsin-Chuang City Culture Center, Taipei, Taiwan Taiwan Burgeoning Trend, Impressions Art Gallery Part II, Taipei, Taiwan Postmodern Paintings, Ever Harvest Art Gallery, Taipei, Taiwan The Dazzling Outside world, Taiwan Gallery, Taipei, Taiwan 1995 Chinese Culture Exhibition, Impressions Art Gallery, Taipei, Taiwan The Contemporary Art of Taiwan, Museum of Contemporary Art, Sydney, Australia Taiwan legend Contemporary Painting in Taiwan, Galerie Pierre, Taichung, Taiwan The Tenth Asian International Art Exhibition, Singapore Human Rights Poster Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan Artists’ Spirit sketch, IT Park Gallery, Taipei, Taiwan Taipei Art Fair 1995 International, Taipei World Trade Center, Taipei, Taiwan Modern Taiwan Folk Art Progresses, Metaphysic Art Gallery, Taipei Taiwan New Language-Taipei Painting School '95, Min Sheng Gallery, Taipei, Taiwan Artist'Scrapbook, Taiwan Gallery, Taipei, Taiwan Dimensions Welcome to Spring Exhibition, Dimensions Art Center, Taipei, Taiwan 1994 Chinese Culture Exhibition, Impressions Art Gallery, Taipei, Taiwan The Taipei Biennial of Contemporary Art, Taipei Fine Arts Museum, Taipei, Taiwan Examining Taiwan City Life via Art, Gate Gallery, Taipei, Taiwan The 9th Asian International Art Exhibition, National Museum of History, Taipei, Taiwan Taipei Painting Art Group ’94---Into the Crowd, Min Sheng Gallery, Taipei, Taiwan Taipei Art Fair 1994 International, Taipei World Trade Center, Taipei, Taiwan Red Enzyme, Taiwan Gallery, Taipei, Taiwan The Art Exhibition Toward Apex, G. Zen 50 Art Gallery, Kaohsiung, Taiwan New Art, New Tribes-Taiwan Art in the Nineties, Hanart (Taipei) Gallery, Taipei, Taiwan Taipei Painting Art Group ‘93---Knowing Myself, Min Sheng Gallery, Taipei, Taiwan Taiwan Art: 1945-1993, Taipei Fine Arts Museum, Taipei, Taiwan Art Galleries Fair R.O.C. 1993 Taichung, Taichung World Trade Center, Taipei, Taiwan The Eighth Asian International Art Exhibition, Fukuoka, Japan 93 Brilliant Minds Exhibition, Pretty Art Center, Taipei, Taiwan 6th Asian International Art Exhibition, Fukuoka Museum of Art, Japan Inauguration Exhibition, Taiwan Gallery, Taipei, Taiwan Concerning Taiwan Poster Exhibition, It Park Gallery, Taipei, Taiwan The Taipei Biennial of Contemporary Art, Taipei Fine Arts Museum, Taipei, Taiwan Taiwan Power Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan

雙城記-浮城過影/陸先銘個展

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

附錄 | Appendix

1991 1990 1989 1988 1987

1986

1985

1984 1982

Taipei Painting Art Group in Taichung, Modern Art Gallery, Taichung, Taiwan A Humanity Introspective, Taipei County Cultural Center, Taipei, Taiwan An Invitation to an Epiphany, IT Park Gallery, Taipei, Taiwan New Romanticism Exhibition, New Trends Gallery, Taichung, Taiwan Taiwan Art of the End of the 20th Century, Modern Art Space, Taichung, Taiwan 1992 Sino-Korean Modern Painting Exchange Exhibition, National Museum of History, Taipei, Taiwan Art Galleries Fair R.O.C. 1992 Taipei, Taipei World Trade Center, Taipei, Taiwan 7th Asian International Art Exhibition, Bandung, Indonesia Taipei Sentiment, Muh Shyr Yuan Gallery, Taipei, Taiwan Contemporary Art Trends in the Republic of China, Taipei Fine Arts Museum, Taipei, Taiwan Taipei Painting Art Group Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan Sino-Korean Modern Painting Exchange Exhibition, Seoul, Korea Art Development Exhibition of the Republic of China, Taiwan Museum of Art, Taipei, Taiwan Contemporary Art Trends in the Republic of China, Taipei Fine Arts Museum, Taipei, Taiwan The New Outlook of Contemporary Painting of the Republic of China, National Museum of History, Taipei, Taiwan 1987 New Painting Exhibition, Domestic Art Center, Taipei, Taiwan Pusan Youth Biennial Exhibition, Pusan, Korea Third Sino-Korean Modern Painting Exchange Exhibition, Seoul, Korea Contemporary Art Trends in the Republic of China, Taipei Fine Arts Museum, Taipei, Taiwan Exhibition of the Theme His-Jang, King-Ti Building, Taipei, Taiwan Second Sino-Korean Modern Painting Exchange Exhibition, Taipei Cultural Center, Taipei, Taiwan Style 22 Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan New Representative Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan Ten Years Retrospective Exhibition of Inventive Artists, Hsiung Shih Art Gallery, Taipei, Taiwan Made Atomic Bomb of Art Statement, His-Men-Ting, Taipei, Taiwan The 1st Taipei Painting Art Group Exhibition, Domestic Art Center, Taipei, Taiwan New Painting Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan Modern Abstract Exhibition, Taipei Fine Arts Museum, Taipei, Taiwan Inventive Artists Exhibition, Today Gallery, Taipei, Taiwan

Award and Honors 2002 1992 1988 1981

Liao Chi-Chun Oil Painting Award, First Prize The Taipei Biennial of Contemporary Art, 1992, First Prize Contemporary Art Trends in the Republic of China 1988, Honorable Mention The 6th New Talent Award of Hsiung-Shih Fine Arts, First Prize

Collection ‧Soaring, Collected by White Rabbit Gallery-Sydney ‧Smile, Collected by Taipei Fine Arts Museum ‧Grandpa’s Stories, Collected by Taiwan Museum of Art ‧Birth‧Life, Collected by Kaohsiung Museum of Fine Arts ‧Respects to Her, Collected by Taiwan Museum of Art ‧Black Bridge, Collected by Ludwig Forum for the International Art, Germany ‧Art in America’s 1995 Slides Survey of Contemporary Art” by Art in America, “New Era” , Four Pieces Oil Painting ‧Brewing at Dawn, Collected by Taipei Fine Arts Museum ‧Views of Taipei, Collected by National Museum of History Republic of China ‧Taipei in the Morning, Collected by Taipei Fine Arts Museum ‧A Grown-Up Dream, Collected by Taipei Fine Arts Museum

163


Museum of of Contemporary Contemporary Art, Art, Taipei Taipei 台北當代藝術館 Museum 台北當代藝術館

164 164

雙城記-浮城過影/陸先銘個展 A Tale Tale of of Two Two Cities Cities -- Lu Lu Hsien-ming Hsien-ming Exhibition: Exhibition: Glimpses Glimpses of of Cities Cities 雙城記-浮城過影/陸先銘個展 A

Appendix 附錄 || Appendix 附錄

165


台北當代藝術館 Museum of Contemporary Art, Taipei

雙城記-浮城過影/陸先銘個展 A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

專輯執行

Pro d u c t i o n Te am

發行者:財團法人台北市文化基金會 總編輯:石瑞仁 編輯顧問:林羽婕 執行編輯:王雪妮、許翼翔、張數滿 美術編輯:蔡汶澄、蘇丰健 攝影:陳立瑋 翻譯:王莛頎、勁凱、劉微明、黃亮融、廖蕙芬

Publisher:Taipei Culture Foundation Chief Editor:J.J.Shih Edited Consultant:Maple Yu-chieh Lin Executive Editors:Shirney Wong, Ian Hsu, Shu-man Chang Designer:Wen-Cheng Tsai, Feng-jian Su Photography:Li-Wei Chen Translator:Tingchi Wang, Kevin Lax, Wei-ming Liu, Liang-jung Huang, Anna Hui-Fen Liao

出版者:財團法人台北市文化基金會台北當代藝術館 地址:103 台北市大同區長安西路 39 號 電話:+886-2-2552-3721 傳真:+886-2-2559-3874 網址:www.mocataipei.org.tw 印刷:泓品印刷事業有限公司 定價:新台幣 700 元 初版一刷 2015 年 11 月 ISBN:978-986-91757-3-9

Published by:Taipei Culture Foundation/Museum of Contemporary Art, Taipei Address:NO.39 Chang-An West Road, Taipei 103, Taiwan Telephone:+886 2 25523721 Fax:+886 2 25593874 Website:www.mocataipei.org.tw Printed by Hopeson Color Printing Co.,Ltd Price:TWD.700 First Published in April 2015 ISBN:978-986-91757-3-9 All Rights Reserved by the Museum of Contemporary Art, Taipei

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展覽執行

Wo r k i n g Te am o f E x hi b i t i o n

台北當代藝術館 執行總監:石瑞仁 顧問:林羽婕

Museum of Contemporary Art, Taipei Executive Director:J.J. Shih Consultant:Maple Yu-chieh Lin

展覽組團隊成員 組長:黃翔 副組長:許格元 專員:許翼翔、王雪妮、黃俊璋、吳尊慎、王妍珳、黃香凝

Department of Exhibition Supervisor: Hsiang Huang Deputy Supervisor: Ge-yuan Hsu Specialists: Ian Hsu, Shirney Wong, Gino Huang, Liang-jung Huang, Simon Wu, Yen-wen Wang, Anita Huang

視覺設計團隊成員 副組長:周文婷 專員:蘇丰健、林玟彤、賴美如

Department of Visual Design Deputy Supervisor: Dwadi Chou Specialists: Feng-jian Su, Swa Lin, Meiru Lai

發展行銷與推廣教育組團隊成員 組長:謝伊琳 副組長:陳思安 專員:呂易穎、辛怡澄、王瑋婷、陳筱筠、章綺芸、詹筑涵 行政組團隊成員 副組長:曾清琪 專員:陳貞蓉、郭宜茵、陳忠成、葉芷伶

166

雙城記-浮城過影/陸先銘個展

指導單位 Supervisor

主辦單位 Organizar

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特別感謝

Department of Communications and Education Supervisor: Lyn Hsieh Deputy Supervisor: San Chen Specialists: Yi-ying Lu, Shandi Hsin, Wei-ting Wang, Xiao-yun Chen, Eran Jang, Heather Chan

Special Thanks

Department of Administration Deputy Supervisor:Kate Tseng Specialists:Anita Chen, Vivian Kuo, Ryan Chen, Tsz-Ling Ip

年度教育贊助

A Tale of Two Cities - Lu Hsien-ming Exhibition: Glimpses of Cities

雙城記 : 浮城過影 / 陸先銘個展 石瑞仁總編輯 . -- 初版 . -臺北市 : 臺北當代藝術館出版 : 臺北市文化基金會發行 , 2015.11 面 : 25 x19 公分 ISBN 978-986-91757-3-9( 精裝 ) 1. 複合媒材繪畫 2. 裝置藝術 3. 作品集

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