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雙城記-萬園有靈/郭維國個展 A Tale of Two Cities

目次

- Kuo Wei-kuo Exhibition / Gardens of Spirits

CONTENTS

序文 PERFACE

圖錄 PLATES

6

執行總監序 / 石瑞仁

45  展覽簡介 Introduction

80  蓮蓮有魚 Lotus and Fishes

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

47  藝術家簡介- 郭維國 About the Artist-Kuo Wei-kuo

84  月光下福祿雙俠的壽喜

50  一指向天 Pointing to the Sky

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

88  吉祥如意 As the Goat Wishes / 鼠來寶 Mice Hoard Treasure

110  慾望郎君的場域 A Wanderer of Desire’s Domain

56  白兔望月圖 Moon Gazing Rabbit

89  長頸如意百吉圖 Blessings and Ruyi

112  天鵝游泳圈 Swan Swim Ring

60  花鳥走獸 Flora and Fauna

90  牛仔今晚有約 Cowboy Has a Date Tonight

114  鯉魚知道我的心 The Carp Knows My Heart

62  2003 - 自塑像 Portrait, 2003

92  自我形象系列 Series of Self Image From 1997 to 2005

116  我親愛的褪色 Armchair My Dear Faded Armchair

66  慾圖吉祥- 四君子〈 梅〉〈 蘭〉〈 竹〉〈 菊〉

93  茶花鯉魚一路相隨

120  2015 - 自塑像 Portrait, 2015 /

Forbidden Wishes –The Four Gentlemen, Plum Blossom, Orchid, Bamboo, Chrysanthemum

70  雙喜戲梅圖 Two Magpies Play with Prunus Blooms 20

晶體在碎落一地之前-郭維國畫布上的陰翳凝結 / 沈柏丞 Crystal before falling apart - The Shadowy Coagulation on Kuo Wei-kuo’s Canvases / Bo-cheng Sheng

30

Calling Under the Purple Colorful Umbrella

108  我的青春小鳥 My Little Bird of Youth

Fleshly Aquarius, Glamour Peaches

11

100  紫色傘下的呼喚

Joy and Longevity Under the Moon

86  白馬公子 Mr. Charming

52  肉「水瓶座」/ 仙桃花燦燦

專文 ESSAYS

99  紅色小飛機- TW1688 Red Little Plane - TW1688

71  富貴平安圖 The Fortune and the Peace 72  三多圖 The Symbols of Exuberance

Accompanied by the Carp with a Camellia All Along

94  戲水天使的不告而別 Farewell to the Angel Playing with Water

  我的一顆心 My Only Heart   

附錄 APPENDIX

95  黑色布簾下的偷閒天使 Resting Angel with Black Drapes

134  活動紀實 Event Blog Photos

郭維國:入世制慾,永劫復歸 / 高子衿

74  大喜石 Great Joy Rock

96  漂浪暗夜的蒼白郎君 A Night Drifting Pale Man  

140  藝術家手稿

Manuscript

Kuo Wei-kuo: Inner - worldly Asceticism and Eternal Recurrence / Kao Tzu-Chin

76  報喜圖 Reporting the Good News

98  無法逃離的巨塔 Inescapable Jumbo Tower

156  藝術家簡歷

Biography


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 !

6

專文 | Essays

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

8

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

9


Museum of of Contemporary Contemporary Art, 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

10

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

11


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

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

上世紀 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

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

紀 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,例如不鏽鋼、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, spaces 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-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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 . In Lu’s work, the relations between the development of urban modernization and the individuals have kept appearing. He started Road Bridge series in the 1990s as the cities in Taiwan began to develop in a fast pace and when he turned his eyes to the rising modern architectural monuments in this city. This product of industrialization symbolizes the spirit of a city. However, behind the grand narrative of this modern spirit, Lu placed his emphasis on the city itself as well as the changes of its inhabitants and the progress of time. Modernization has made people’s lives more convenient and easier, and has accelerated the operation of modern economy. It seems to have become an unstoppable trend around the globe. Nevertheless, submerged in this trend and behind the dazzling and glorious appearances, countless individuals have been forced to experience and bear the burdens of the changes that have happened to them. 13


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,它席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

T h e m a k i n g o f a g re a t e r a re q u i re s t h e s i l e n t d e d i c a t i o n o f u n n u m b e re d i n d i v i d u a l s . In L u’s w o r k , t h o s e c i t y d w e l l e r s , o r u r b a n v a g r a n t s , w e r e m o d e r n c i t i e s’ g i v e r s , p a r t i c i p a n t s a n d r e c i p i e n t s o f b e n e f i t s o n t h e o n e h a n d , w h i l e o n t h e o t h e r, t h e y h a v e s u f f e r e d f r o m a l l t h e a nx iet ies, chaos and losses brought ab o u t by th e c h an g e s . Th e s pe e d of mode r n time s is f as te r in a way that it compresses people’s time. While feeling helpless in coping with so many things, people have been experienci ng drasti c c h an g e s as time is c o mpre s s e d f o r b e tte r e f f ic ie n c y, an d a s i n d i v i d u a l s a re t re a t e d l i k e i n s t r u m e n t s f o r t h e g re a t e r g o o d . In f a c t , L u’s w o r k h a s b e e n look ing into thi s dual contradicti on. Wh at is th e f u tu re of th is patte r n of de ve l o pme n t in s u c h a fa st p ace? What meanings does i t bear f o r th e pe o pl e th at l ive in th is c ity? In wh at way doe s it sust ai n and conti nue our histor y and c ivil iz ation ? Fin al l y, wh o is th e re to me n d th e b re ak s t h a t , more than often, take p lace i n the s u s tain me n t an d c on tin u ation ?

r e a l i t i e s , w h i c h p e o p l e a r e u n a b l e t o f a c e d i r e c t l y s i m p l y b e c a u s e t h e y a re e m b a r r a s s e d t o.

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 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 i n t h e i m a g e . I n t e r m s o f c u l t u r a l d i s c o u r s e , h o w e v e r, t h e s e o b j e c t s r e p r e s e n t t h e a c h i e v e m e n t s a n d m a j o r b r e a k t h r o u g h s o f m o d e r n t e c h n o l o g y, symbolizing the persistence and innovation of the modern spirit, and are markers of the 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. W i t h 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 d r a m a t i c approach imbues the works with a certain efficacy in terms of its spatial presentation. Through means of visualization, Lu is able to display to the audience the actual, existing 14

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

W h e n t h e a u d i e n c e s t e p i n t o t h e s c e n e s o f L u’s w o r k s , t h e s k y i n t h e i m a g e s s e e m t o b e e m b e d d e d w i t h a s e n s e o f t i m e o r a k i n d o f f l u i d i t y i n h i s t o r y, a n d i s c o n s t a n t l y m o v i n g ; nonetheless, the towering, fixed road bridges and modern architecture are like permanent m o n u m e n t s . In s u c h d r a m a t i c s c e n e s , t h e u r b a n v a g r a n t s o r e l d e r s a re a c t u a l l y e x p e r i e n c i n g t he s e c ha n ge s . T he y lo o k u n s u re o f w ha t t o d o o r w he re t o s e t t le , a n d m ove a ro u n d i n t he c i t y, lo n e ly ye t re m a i n i n g. T he s e u n k n ow n p e o p le ha ve gr a s p e d t he a t t e n t i o n o f Lu H s i e n - m i n g a s t h e y s y m b o l i z e a u n i q u e c o m m u n i t y i n t h i s c i t y, a g r o u p o f m a r g i n a l i z e d p e o p l e a n d l o n e r s i n a n a c t i ve t i m e b r i m m i n g w i t h a m b i t i o n s . On e o f Lu’s i n s t a l l a t i o n s i n t h i s e x h i b i t i o n i s a gro u p o f “grow i n g” p i lla r s t ha t ha ve b e e n a f f i xe d w i t h va r i o u s m a t e r i a ls . T he y ha ve s t o o d t a ll i n d i f f e re n t c o r n e r s i n t he c i t y a s p e o p le t r i e d t o c li m b u p t o t he i r go a ls i n t he m a s s i ve w a ve s o f h i s t o r y. So m e o f t h e m h a ve 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 he r i s i n g o f m o d e r n i za t i o n , t he m o n u m e n t s o f t he c i t y, o r t he n u m b e r le s s individuals, in such an era of fast-paced development, it forcefully swirls up, with all its m i ght , c o u n t le s s p e o p le’s ho p e a n d d i s a p p o i n t m e n t , a n d m ove s t ow a rd s t he u n k n ow n a f a r. H o w e v e r, i n t h e c o r n e r o f t h i s c i t y, w e c a n s e e o n t h e b o d i e s o f t h o s e l i v e l y a n d r e a l i n d i v i d u a ls t ha t t he c o n t r a d i c t i o n s a n d a b s u rd i t i e s o f a n y e r a w o u ld e ve n t u a lly b e s ho u ld e re d by i n d i v i d u a l s . It s i n f l u e n c e t o e ve r y i n d i v i d u a l l i v i n g i n t h i s e r a i s re a l i s t i c , p ro f o u n d , a n d p owe r f u l. In t h e e x h i b i t i o n , w h e n we w a l k e d t h ro u g h t h e m i r ro r d o o r s , t h e v i e w s o u t s i d e t h e w i n d ow s o n b o t h s i d e s e e m e d t o ha ve c o n f u s e d u s . W hi c h o n e s we re re a l, a n d w hi c h o n e s we re c re a t e d 15


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。

by t h e ar ti st? Here, at this moment, ea c h in dividu al b e c ame a c ity. “A s yo u s tan d o n th e b r idg e to see the vie w, people that are watching the vie w upstairs are also looking at you. As the moon o u t s i d e yo u r w i n d ow b e c o m e s a d e c o r a t i o n t o yo u , yo u h a ve b e c o m e a d e c o r a t i o n t o a n o t h e r person’s dream.”

Ku o Wei -ku o: G ard ens of S pir its In ea ch city, there exi st stories that are f l ic k e r in g with s pir its an d e mb e dde d with h is to r y with h i d d e n , w i n d i n g p a t h s . A c i t y i s a n e n c yc l o p e d i a a b o u t t i m e , m e m o r i e s , i n d i v i d u a l s , a n d t h e spa ns of life. It has recorded those w on de r f u l h appe n in g s an d n u me ro u s f an tas ie s e xc l u de d by t h e rea li ty, and all the sorrow, joy, p ar tin g s an d re u n ion s , as we l l as th e l ove , h atre d, pas s io n and enmity. Ever y person has a stor y, which is itself a world; each individual also imperceptibly b e c o m e s a c h a r a c t e r i n t h e re a l w o r l d , l i n g e r i n g i n a s o n a t a t h a t n o o n e c a n p re d i c t i t s n e x t note. A thousand people form a thousand musical chapters as well as a thousand urban biog ra phies.

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

專文 | Essays

I n m a n y o f Ku o’s w o r k s , o n e c a n o f t e n s e e s o m e “s p i r i t s” t h a t d o n o t e x i s t i n r e a l i t y. T h e y seem to originate from historical allusions, mythological literature, or certain corners of the r e a l w o r l d . T h e s e “ l i t t l e m o n s t e r s” a p p e a r i n d i s p a r a t e f o r m s a n d l o o k s i n t h e i m a g e s ; t h e y a re l i k e m e t a p h o r s t o t h e re a l i t y o n t h e o n e h a n d , a n d s e e m t o e m b o d y s o m e p e c u l i a r w o r l d s i n t h e a r t i s t’s m i n d o n t h e o t h e r. Ku o’s w o rk s a re i n j e c t e d w i t h s u p e r b i m a g i n a t i o n a s i f t h e re e x i s t e d a u n i qu e w o r ld i n hi s m i n d t ha t n o o n e ha s e ve r s t e p p e d i n t o. T he w o rk s c o u ld b e s e e n a s t he b e gi n n i n gs a s we ll a s t he e n d o f s o m e s t o r i e s . In t he lo n g p ro c e s s o f hi s t o r y, Ku o u s e s hi s b r u s he s t o we a ve a ga rd e n o f t he u n i ve r s e , i n w hi c h hu m a n s a n d a n i m a ls c o - e x i s t . 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. K u o’s w o r k c a r r i e s a d i s t i n c t i v e s e n s e o f r e l i g i o n , w h i c h r e m i n d s t h e a u d i e n c e o f a c e r t a i n m y s t e r i o u s r i t u a l, w hi c h re s e m b le s s i m u lt a n e o u s ly a r i t u a li s t i c c a s t r a t i o n o f i n d i v i d u a ls d o n e by m o d e r n s o c i e t y, a n d a s y s t e m a t i c o p p re s s i o n e v o c a t i v e o f t h e c o m i n g - o f - a g e c e re m o n y. A t t h e s a m e t i m e , i t a l s o re p re s e n t s i n d i v i d u a l s’ re s i d u a l f a n t a s i e s a n d r o m a n t i c f e e l i n g s t h a t d o n o t e x i s t i n t he re a lm o f re a li t y ; i t i s a s hre d o f ge n t le w a r m t h k e p t w i t hi n t he re a lm o f f a i r y t a le s . It p o i n t s t o a k i n d o f m e t a p h o r i c a l p u r s u i t t h a t a i m s t o e s c a p e t h e s h a c k l e s o f re a l i t y : i n t h i s e r a , a s p e o p le’s li ve s a re b e c o m i n g m o re a n d m o re ho m o ge n o u s , m e d i o c re , a n d s i n gle - s i d e d , how c o u ld we s e a rc h f o r t he i m a gi n a t i o n a n d p o t e n t i a li t y o u t s i d e o f li f e ? Su b s t a n t i a lly, t hro u gh t he s y m b o l i z a t i o n o f t h e re a l i t y a n d t h e a l l e g o r i c a l i z a t i o n o f a l l e g o r i e s i n h i s w o rk s , Ku o a t t e m p t s t o f i n d o u t t he p o e t i c s o f li v i n g u n d e r n e a t h t he s e e m i n gly c r u e l a p p e a r a n c e s . In this solo exhibition, Kuo has designed a white tunnel reminiscent of a church, and in b e t we e n t h e b e g i n n i n g a n d e n d o f t h e t u n n e l , t h e a u d i e n c e c o u l d e n t e r t h e f a n t a s t i c w o r l d o f i m a g i n a t i o n c re a t e d b y t h e a r t i s t a n d f i n d t h e re s i d u e s o f t h e re a l i t y a s w e l l a s t h e re f e re n c e s o f hi s f a n t a s i e s . At t he e n d o f t he t u n n e l, o n c e a ga i n , Ku o gu i d e d t he a u d i e n c e b a c k t o a w o r ld of individuals, where there were a gigantic portrait and a heart that symbolized the vibrant li f e . Ou r t hi n k i n g s t a r t e d a s we ll a s e n d e d he re . It w a s w he re t he f a n t a s y o r i gi n a t e d , w he re t he desires bred, and where that foreshadowed the eventual disillusionment. In essence, on this p a t h t o s e a rc h f o r t he s p i r i t s , p e o p le’s j o u r n e y s a re a s s ho r t a s a gli m p s e ; a n d e ve r yo n e’s li f e i s a f a i r y t a le , a b e gi n n i n g i n p u r s u i n g t he s e lf, a n d a c o n s t a n t p ro c e s s o f i m a gi n i n g t he s e lf. In t he p ro c e s s , we a re a c c o m p a n i e d by t he s p i r i t s a s we j o u r n e y t hro u gh t he ga rd e n s . 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 , t he re a re a lw a y s s o m e s p i r i t s t r a ve lli n g a m o n g t he m . T he y p o s s e s s d u a l i d e n t i t i e s , t he w o n d e r f u l i m a gi n a t i o n a n d t he a b s u rd i t y o f e x i s t e n c e , a n d a re a lw a y s i n b e t we e n t he t w o c i t i e s .

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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 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-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

專文 | Essays

晶體在碎落一地之前-郭維國畫布上的陰翳凝結

前言

Cr y stal bef ore fal ling apar t -T he S hado wy Coagulat ion on Kuo Wei-kuo’s Canvases

玻璃窗外,北臺灣午後滯重的雲層,伴隨著空氣中那濕黏難忍的溼度與蒸騰暑氣,暗示 著即將到來的午後雷陣雨。這預知著某種即將激變的環境場景中,似乎十分適合與郭維

文/沈柏丞 藝評家 Te x t b y B o - c h en g S he ng, Ar t C r i ti c

國聊聊作品,談談人生乃至於所謂「藝術」。 郭維國總是掛著笑意在臉上,圓形鏡片後方的雙眼總是在笑意中瞇成了一條線,配上本 就是圓顱、大耳、略為渾圓的身形與短平頭的髮型,那神態竟有著幾分布袋和尚 ( 胖彌 勒 ) 的福態與喜氣。看著這笑意盈盈的郭維國,很難去想像關於任何死亡、暴力、焦慮 乃 至 於 惶 惑 不 安 的 狀 態 ,甚 至 難 以 想 像 ,眼 前 這 位 藝 術 家 那 藝 術 生 命 乃 是 從 死 亡 的 陰 翳 、 暴力的嚎喊以及無處可逃的壓抑中,所迸發出的精神能量。 望著他的畫作,總是讓我禁不住聯想起從空中墜落的晶體,一方面宛如清透明鏡般映照 著外在世界,另一方面那經過內在衍射、偏折的光線又讓影像扭曲、形變,而不再是如 實地的影像重現。晶體上的影像儘管看似光鮮、華美,但那多變的影像卻始終指向重力 墜落的方向,隱約地預示著晶體即將碎落一地,而一切即將分崩離析不復存在。然而, 郭維國那看似即將墜落崩解的晶體,卻固執地永遠停在崩解的前一刻,永遠地在靜止中 運作。 物理學的假說中,存在著一種怪異卻永恆的狀態-「時間晶體」,其跳脫了常態的時間 線,以一種自我重複性模式在運動著,根據假說「時間晶體」的要素像萬花筒一樣,其 中的碎片一直在循環往復地旋轉形成各種美麗的圖案;並且在自己的永動機制中持續自

In t ro du c t io n Outside the glass window, the unmoving, low-hanging clouds in the afternoon sky of Northern Taiwan, with unbearable humidity and steamy heat in the air, hinted at an impending thundershower. It indicated some kind of drastic changes that were about to take place in the environs, which seemed quite appropriate for a talk about Kuo Wei-kuo’s work as well as about life and the so-called “art.” Kuo is always smiling, and his smiling eyes behind the round glasses always narrow into thin lines. Along with his round head, big ears, slightly chubby figure and closely cropped hair, his look surprisingly reminds people of the full-figured and joyous Budai Monk (Maitreya Buddha). Looking at Kuo with his beam of joy, it is hard to think about the state of death, violence, anxiety, perplexity and apprehension. It is even harder to imagine that the artistic life of this artist before your eyes stems from the spiritual energy spurred from the shadow of death, outcries of violence, and inescapable repression. Looking at his paintings, they always make me think of a falling crystal from the sky: on the one hand, it reflects the outside world like a clear mirror; on the other hand, the light that is reflected and deflected inside distorts and twists images instead of truthfully representing them. The images on the crystal might seem glamorous and beautiful, but the varying images have always pointed to the direction where gravity pulls, implicitly forewarning that the crystal will soon fall apart on the ground, and everything will collapse and exist no more. However, Kuo’s crystal, which looks like it is about to

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

專文 | Essays

我運動著。從「時間晶體」這個角度上,來思考郭維國的作品,則我們可以說其藝術創

郭維國的青春裡相遇。郭維國的父親在其大學就學期間罹癌,並開始接受治療,那如影

作的基礎構成元素始終一致 ( 古典、愛慾、死亡、符號象徵、超現實、暴力 ),卻總是

隨形的死亡訊息讓年輕的郭維國,開始對生命、無常產生了抹不去的灰色陰翳觀點,正

持 續 地 變 化 出 不 同 的 面 貌 ,藝 術 家 的 每 一 件 作 品 都 彷 彿 是 在 那 脆 弱 ( F r a g i l e ) 的 寧 靜 中 ,

是在這個生命困惑與翦厄中,郭維國無意間遇上了培根,那扭曲、變形的肖像在郭維國

揭露了一個稍縱即逝的真理 (Transient Truths),並且固執地將那稍縱即逝處凝結成畫

口中充滿了暴力與死亡的作品,讓郭維國心中的陰翳與壓抑有了流瀉的出口,也正式與

布上的陰翳作品。

培根的相遇,讓郭維國相信了藝術以及其注定要成為藝術家的人生。沒有理性的邏輯辯 證過程只是固執地相信,郭維國就這麼走上了成為藝術家之路。

藝術或許就是一種晶體,藝術家將外在世界的種種在靈魂深處繞轉、折射,並凝結成觀 者眼前的作品。而郭維國其藝術凝鍊的晶體,總是在即將碎落一地前,折射出了這世界

或許另一個讓郭維國的生命與世界觀始終以灰暗作為基礎的原因在於,臺灣社會在整個

即將崩解前的一刻,永恆地在晶體中,寧靜而不休止地運作著,那稍縱即逝卻又凝然運

80 年代的不確定與壓抑。如果說美麗島事件 (1979/12) 的噤聲,建構了 80 年代的低

轉的畫面世界。

迷氛圍,那麼鄭南榕事件 (1989/04) 的烈火,則燒破了那籠罩於社會中的無形界限。 這個從壓力到力爭的十年,所構成的社會氛圍成為了郭維國構成獨立思辨及價值觀的背 景。80 年代那透明卻難以突破的界限和年輕人的關係,或許可以郭維國半裸著身子壓

一、培根、癌症以及多愁善感的青春

在大片玻璃上因而臉部變形的照片為例,人的變形、扭曲對於郭維國而言,不僅僅是一 種對培根的致敬,或許還存在著藝術家本人的生命觀察。

午後的雲層將窗外的視野壓得越來越低,遠方的烏雲裡隱隱地出現了幾道閃電劃過,悶 悶地沉重雷聲,從遠方緩緩傳來,而雷雨也即將朝著這窗邊的丘陵而來…。郭維國隨著

壓抑的年代裡,消費主義成為了政治高壓中唯一的解脫與喘息,儘管個體的生命,實際

記憶,緩緩地從復興美工開始談起自己的藝術之路,從一個不愛讀書只愛畫畫的孩子,

上依舊被牽制與拉扯。在藝術家 1983 年的作品〈冥想〉( 圖一 ) 中,那凝聚擠壓的水泥

到放棄數學堅持以術科見真章的大學聯考,乃至於在陽明山上遇見了自己未來藝術之路

團塊,纏繞著數條牽引在白細紙上的麻繩,白紙一端還繫著妝點用的緞帶蝴蝶結,而水

上一路相伴的夥伴們,聽藝術家說臺北 101、笨鳥、臺北畫會乃至於其後的悍圖社,關

泥團塊上則錯落著與水泥團塊一起擠壓變形的可樂罐。作品中或無心或有意的將臺灣人

於臺灣當代藝術發展的口述歷史,就這麼從藝術家輕鬆地的談天中流瀉而出,而這一切

的身體處境 ( 纏繞牽制拉扯於不明的規範中 ),以及消費文化的植入及變形,在畫面中

都是郭維國難忘的青春與 80 年代。那多愁善感的青春歲月中,人生的兩個重大衝擊在

組構成一個魔幻的寫實場景。而作品〈肉食蒼蠅〉那畫於鐵板上如陽具般扭曲的肉塊,

f a l l a n d s h a t t e r, h a s a l w a y s o b d u r a t e l y s t o p p e d a t t h e m o m e n t b e f o r e t h e c o l l a p s e , f o r e v e r staying in its quiet motion.

1. Bacon, Cancer, and the Sentimental Youth

A h y p o t h e s i s i n p h y s i c s p o s i t s t h e r e e x i s t s a s t r a n g e b u t p e r p e t u a l s t a t e — “t i m e c r y s t a l s .” They are physical structures that break the normal symmetry of time and move in selfr e p e a t i n g p a t t e r n . A c c o r d i n g t o t h e h y p o t h e s i s , c o n s t i t u e n t s o f t h e “t i m e c r y s t a l s” a r e l i k e kaleidoscopic bits that swirl on loop, creating all kinds of pretty patterns. Fur thermore, t h e y m o v e c o n t i n u o u s l y i n a p e r p e t u a l m e c h a n i s m . C o m p a r i n g K u o’s w o r k t o t h e “t i m e c r y s t a l s ,” w e m i g h t b e a b l e t o s a y t h a t t h e b a s i c c o n s t i t u e n t s o f h i s a r t h a v e a l w a y s remained consistent (classic, lust, death, symbolism, surrealism, violence), but are able t o p e r p e t u a l l y c r e a t e d i f f e r e n t l o o k s . Ku o’s e v e r y w o r k i s l i k e a r e v e l a t i o n o f t h e t r a n s i e n t t r u t h s i n f r a g i l e t r a n q u i l i t y, a n d u n c o m p r o m i s i n g l y c o a g u l a t e s t h e t r a n s i e n t t r u t h s i n t o t h e shadowy images on canvases.

The afternoon clouds were getting lower and lower, crowding out the view outside the window. A few lightening seemed to have flashed in the dark clouds afar as some delayed, muffled sounds of thunder were heard. The thunderstorm would soon arrive at the hills outside the window. Tracing his memory, Kuo started to talk about his artistic career at a slow pace, which began with his days at Fu Hsin Trade and Arts School. From being a child who did not like studying but drawing, to giving up a pursuit in mathematics and insisting on taking the university exam on arts, to meeting his future companions of this artistic journey on Yanmingshan, to the stories about Taipei 101, Ban Niao Art Group, Taipei Painting School and Hantoo Art Group, the oral history about the development of Taiwanese contemporary art was simply outlined in the artist’s relaxing words; and all of it was Kuo’s unforgettable youth and the eighties. During the years of a sentimental youth, two major impacts took place in Kuo’s life. When Kuo was studying in the university, his father was diagnosed of cancer and began medical treatments. The presence of death, since then, has followed the youthful Kuo as he started to develop a gloomy, shadowy point of view on life and its impermanence. It was around this period of confusion a n d d i f f i c u l t y i n l i f e , Ku o a c c i d e n t a l l y f o u n d Fr a n c i s Ba c o n , w h o s e t w i s t e d , d e f o r m e d p o r t r a i t s , w h i c h Ku o i n t e r p r e t e d a s s y m b o l i z a t i o n o f v i o l e n c e a n d d e a t h , a llowe d a re le a s e o f t he s ha d ow a n d re p re s s i o n i n Ku o’s m i n d . T hi s e n c o u n t e r w i t h Ba c o n a ls o e n a b le d Ku o t o e m b r a c e hi s f a i t h i n a r t a n d c o n f i r m e d hi s f a t e t o b e c o m e a n a r t i s t . So , e ve n

Art is, perhaps, a kind of crystallization. Artists ponder and reflect all that is of the external world in the depth of their souls, and finally coagulate it as the artworks before t h e a u d i e n c e ’s e y e s . K u o’s a r t i s t i c a l l y r e f i n e d a n d c o a g u l a t e d c r y s t a l h a s a l w a y s r e f l e c t e d the moment of this world prior to its collapse before the crystal is about to fall apart, permanently and quietly but ceaselessly manipulating the transient yet tranquilly operating images of the world in the crystal.

22

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

23


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

專文 | Essays

與下方閉目 ( 盲目 ) 卻逐氣味而神往的人物,在腥紅色的慾望線條間纏繞一起,如預言

( 圖 五 ) 系 列 巧 扮 偽 裝 的 角 色 乃 至 其 後 的 種 種 妝 點, 都 彷 彿 是

般預示著那即將到來的腐化與死亡終點,而這種高度晦暗的社會觀察,在其後的作品諸

藝術家在認同焦慮中的追尋,無論是藝術、社會、政治;更甚

如〈逃離〉(1993)( 圖二 )、〈臺灣島〉(1993)( 圖三 ) 等依舊可見其觀看世界的灰色

是文化的身分追尋,猶如藝術家所言 :「1998 年起,我回歸寫

基調。而這個晦暗的基調構成了郭維國其藝術晶體的基礎。

實繪畫方式,營造一個孤離、晦暗、不安的情緒,提供一個可 以任我裝扮與戲謔的虛擬場域。藉此,堆疊個人生命經驗中支 離破碎的記憶片段,強抑或暫時遺忘、塗改、不經意地隱藏於

二、熱錢、解嚴和認同的解離與焦慮

潛意識底層,是對生命存在意義的渴望與困惑。…渾沌、虛無、 曖昧的時代氛圍裡,一個美好又危險的不確定年代…。」

窗外的烏雲越來越近,雲中透出的閃電也越來越頻繁沉悶的雷聲更形厚重,一場雷電交加的滂沱 大雨,顯然已無可避免,望向窗外那濃厚的預告性場景,我與郭維國繼續談著他的藝術、作品以

如果說 80 年代的壓抑社會氛圍和培根、癌症,共構了郭維國

圖一、1983〈冥想〉

及關於他的生命故事…。

藝術晶體的基礎,那麼隱藏在古典巴洛克矯飾美好中的危險,

Quiet Thinking (1983 ; figure 1)

則 是 其 藝 術 晶 體 的 新 元 素。 猶 如 在 苦 汁 中 加 入 了 幾 滴 甜 膩 過 8 0 末 9 0 初 的 臺灣 , 整 體 社 會 捲 入 了 一 個 全 新 的 價 值 風 暴 中 , 所 有 封 建 的 、 戒 嚴 的 、 黨 國 的 價

度的糖漿一般的美好矯飾,竟讓郭維國的畸異世界與 90 年代

值 系 統 開 始 瓦 解 崩 裂 , 而 全 球 化 所 帶 入 的 國 際 資 本 開 始 在 臺灣 的 各 種 商 品 市 場 中 漫 流 。 在 這 看

後 的 怪 誕 臺 灣 有 了 相 應 的 節 奏。 而 危 險 與 刺 痛 似 乎 也 有 了 可

似全新而充滿機會的年代裡,藝術家的眼光所看見的卻是那盲目的慾望竄流更加張狂的驅使著

以 忍 受 的 理 由, 好 似 真 實 臺 灣 上 演 的 慾 望 劇 場, 物 質 生 活 上

臺灣 漫 無 目 的 的 衝 撞 , 然 而 或 許 更 為 深 沉 的 哀 戚 或 許 還 在 於 關 於 「 我 」 的 身 分 失 落 , 過 往 威 權

的小確幸足以短暫的麻痺那無可尋覓處的漂浪靈魂。

所加諸的身分認同已然遭到質疑,但新的身分認同卻又難以追尋,走入而立之年以後的郭維 國,遠離青春歲月的壓抑社會,但卻開始對「我」的身分產生了質疑,這其中或許包含著自己

圖二、1993〈逃離〉

並未一直線朝著專業藝術家前進的生命惶惑,或許還包含幾許對於物質拜金社會的迷惘…。

三、遺像、標本與死亡的知識論

正 是 在 這 難 以 釐 清 自 我 的 焦 慮 中, 他 開 啟 了 奠 定 藝 術 地 位 的 作 品 – 那 些 曖 昧 的 自 我 肖 像 畫 。 從

大雨終於還是伴隨著閃電、雷鳴轟然而至,方才遠方那帶

1998 年的〈我在空中飛呀!飛!〉( 圖四 ) 那 茫 然 的 眼 神 和 流 淌 慾 望 的 粉 紅 豬 身 軀 ,到〈 暴 喜圖〉

著幾分奇魅氛圍的烏雲、閃電,終於在滂沱大雨及陣陣雷

t h o u g h w i t h o u t a r a t i o n a l , l o g i c a l d i a l e c t i c a l p r o c e s s , K u o’s o b s t i n a t e c o n v i c t i o n h a d s e t him on the path of an artist.

block of cement was wrapped with several hemp r o p e s t h a t w e r e a t t a c h e d t o a p i e c e o f w h i t e p a p e r. Ribbon bow ties were tied on the ropes on the paper; and scattered cola cans were squeezed along with the cement block. Whether it was unintentional or intentional, the painting represented the p h y s i c a l c i r c u m s t a n c e o f Ta i w a n e s e p e o p l e ( a s t h e y were bound, tied-up and struggling in unknown restrictions); and along with the insertion and d e f o r m a t i o n o f the consumerist culture, it constructed a m a g i c r e a l i s t s c e n e i n t h e i m a g e . In C a r n i v o r o u s Fl i e s , a p e n i s - re s e m b li n g, t w i s t e d lu m p o f m e a t p a i n t e d o n a n i ro n p l a t e , b y t h e s a n g u i n e o u s s t r i n g s o f d e s i re , w a s c o n n e c t e d a n d i n t e r t w i n e d w i t h t h e f i g u r e s b e l o w, w h o c l o s e d t h e i r eyes as if intoxicated and entranced by the smell; the i m a g e , a s a p r o p h e c y, f o r e s h a d o w e d t h e a r r i v a l o f d e c a y a n d t he f i n a l d e a t h. Su c h hi ghly o b s c u re o b s e r va t i o n o f t he society could still be detected from the grayish tone and p e r s p e c t i v e o f v i e w i n g t h e w o r l d i n K u o’s l a t e r w o r k s ,

A n o t h e r r e a s o n t h a t c a u s e d t h e g l o o m y k e y n o t e i n K u o ’s l i f e a n d w o r l d v i e w w a s t h e u n c e r t a i n t y a n d r e p r e s s i o n o f t h e Ta i w a n e s e s o c i e t y d u r i n g t h e e n t i r e e i g h t i e s . I f o n e c o n s i d e r e d t h e s i l e n c i n g i n t h e Fo r m o s a I n c i d e n t h a d l e d t o t h e d e p r e s s i v e a t m o s p h e r e o f t h e e i g h t i e s , t h e f i e r c e f i r e o f t h e C h e n g Na n - j u n g I n c i d e n t h a d b u r n e d d o w n t h e i n v i s i b l e c o n f i n e s t h a t h a d e n c l o s e d t h e w h o l e s o c i e t y. W i t h i n t h e t e n y e a r s b o o k e n d e d b y s u s t a i n i n g g r e a t p r e s s u r e a n d f i g h t i n g v i g o r o u s l y, t h e d e c a d e ’s s o c i a l a t m o s p h e r e h a d c o n s t r u c t e d t h e b a c k d r o p o f K u o’s i n d e p e n d e n t t h i n k i n g a n d v a l u e s . T h e r e l a t i o n b e t w e e n t h e y o u t h people and those transparent yet impenetrable boundaries of the eighties might have been e m b o d i e d b y K u o’s p h o t o , i n w h i c h h e w a s h a l f - n a k e d w h i l e p r e s s i n g h i s b o d y o n t o a l a r g e s h e e t o f g l a s s , f o r c i n g h i s f a c e t o t w i s t o u t o f s h a p e . Fo r t h e a r t i s t , t h e d e f o r m a t i o n and distortion of humans not only pays homage to Bacon, but also substantiates his observations of life. In that repressive era, consumerism became the only relief and respite from political oppression, even though individuals were still restricted and struggling. In one of K u o ’s p a i n t i n g s c r e a t e d i n 1 9 8 3 , Q u i e t T h i n k i n g ( f i g u r e 1 ) , a c o n c r e t e d , c o m p r e s s e d

Escape (1993 ; figure 2)

圖三、1993〈臺灣島〉 Taiwan Island (1993 ; figure 3)

圖四、1998 〈我在空中飛呀!飛!〉 I Am Flying in the Sky (1998 ; figure 4)

24

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

25


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

鳴中化為模糊,隨著雨點落下時那詭異的美麗世界隨之沖刷殆盡。而郭維國的藝術故事乎也 已經走進了當下此時,而故事的時態也從過去式變成了現在式、未來式…。 2 0 1 3 年 的 個 展【 慾 圖 ‧ 吉 祥 】( 圖 六 ) ,郭 維 國 的 奇 魅 劇 場 將 情 調 更 進 一 步 的 揉 雜 、操 弄 東 、 西文化符號,從而更一步的將其繪畫場景從「劇場」情境往「符號」系統的方向前進,在這 個跨越中藝術家已然將個人的作���操作成一個佈署知識的結構,有其獨特的語用和句法,而 或許更為精準的是,郭維國藉由「標本」、「殘件」乃至於所構成的畫面,將死亡以及隱含 其中的暴力更進一步的凝結成一個幾許妖媚的美感。 例如作品〈報喜圖〉中,那近乎博物學紀錄般的生態摹寫邏輯,夾帶著傳統東方文字的吉 祥寓意,畫面中的金錢豹在一個東方盆景構圖中,殘酷捕獵喜鵲,二者的對峙與叫囂,讓 整 個 畫 面 的 肅 殺 更 具 張 力 。而 作 品〈 吉 祥 如 意 〉( 圖 七 ) 的 雞 、羊 相 爭 以 及 如 意 的 斷 裂 等 等 , 在在的指涉這些看似祝賀的話語裡所隱含的生態博物學式的殘酷現實。【慾圖 ‧ 吉祥】中 的郭維國有心或無意的諷刺了東、西方將知識論建構在「死亡」的基礎上,而由此肖像、 物象全成為了死亡暴力的見證其發生在畫面的下一刻,而諷刺的是 這 些 物 象 本 身 即 是 以 既 死之物所填充出的存在,由是而死亡如影隨形,正是在這永遠存在著一個不會發生的 「死亡」下一刻,讓我們得以欣賞那隱喻裡的危險及暴力,而在這永不休止卻未曾前 進的時間晶體裡,死亡、暴力乃至於不可預期的危險與惶惑竟奇異的構成的一個負面 烏托邦的美麗境界。這一瞬間,我們乍然發現原來晶體碎落之前的詭譎與美好如是令 人著迷,而郭維國始終都知道這一切。

s u c h a s E s c a p e ( 1 9 9 3 ; f i g u r e 2 ) a n d Ta i w a n I s l a n d ( 1 9 9 3 ; f i g u r e 3 ) , a n d t h i s o b s c u r e k e y n o t e h a s formed the foundation of Ku o’s artistic crystal.

2. Hot Money, the Lifting of Martial Law, and the Dissociation and Anxiety of Identification As the nimbus clouds came closer and closer, the lighting in the clouds also became more frequent and the muffled thunders seemed louder. Apparently, a thunderstorm with pouring rain was unavoidable. Taking a glimpse at the forewarning scene outside the window, I continued to talk to Kuo about his art, works and life stories… The entire Taiwanese society in the late eighties and the early nineties was caught in an unprecedented storm of shifting values. All value systems of the feudalism, the martial law, the party-state began to disintegrate and crumble as international capital introduced by globalization started to inundate all the commercial markets in Taiwan. In this era that seemed brand new and full of opportunities, the artist’s eyes were instead focusing on the overflowing desire that had relentlessly driven Taiwan’s aimless conflicts. However, the deeper sorrow might still lie in the loss of “self-identity.” The identification imposed by the authoritarian power was already questioned and destabilized, but the new identification was nowhere to be found. As Kuo stepped into his thirties and bade goodbye to the repressed society

專文 | Essays

of his youth, his questioning of his self-identity surfaced nonetheless. Part of his doubts might originate from the anxiety that he was not moving towards being a professional artist, and part of them came from the disorientation precipitated by the materialist and mammonistic society. Yet, it was exactly in this confusing anxiety that blurred the self, Kuo created the series of his ambiguous self-portraits that e s t a b l i s h e d h i s a r t i s t i c s t a t u s . Fro m t h o s e p u z z l e d e ye s a n d the pink pig body brimming with desire in I Am Flying in the Sky in 1998 (figure 4), to the clever role playing in the series o f D i a g ra m o f C o m m o t i o n a n d D e s i re a s w e l l a s h i s s i m i l a r attempts later, they have represented the artist’s pursuit due to his anxiety of identification, whether it was his artistic i d e n t i t y, s o c i a l i d e n t i t y, p o l i t i c a l i d e n t i t y, o r e ve n c u l t u r a l i d e n t i t y. Ju s t l i k e w h a t t h e a r t i s t s a i d , “ Si n c e 1 9 9 8 , I h a ve returned to realistic painting, nurturing an ambience that was isolated, gloomy and restless that provided a virtual site for my free willing disguise and cheeky playfulness. Through it, I layered the fragmented pieces of memory from my personal e x p e r i e n c e s i n l i f e . T h o s e t h a t w e re re p re s s e d , t e m p o r a r i l y forgotten, altered, or unintentionally hidden in the bottom o f t h e s u b c o n s c i o u s n e s s we re a c t u a l l y t h e l o n g i n g s f o r a n d confusions about the meaning of existence…. The chaotic, nihilistic, ambiguous atmosphere of the times formed a wonderful, dangerous, and uncertain era.” If t h e e i g h t i e s’ re p re s s i ve s o c i a l a t m o s p h e re , Fr a n c i s Ba c o n and cancer jointly constructed the foundation of Kuo’s artistic crystal, the danger lurking in the beauty of the Baroque decorativeness served as the new element for the artistic crystal. The beautiful decoration was like a few drops of overly sweet syrup added into the bitterness. It surprisingly produced a synchronous rhythm between Kuo’s strangely deformed world and the peculiar Taiwanese society after the nineties. Because of this, there seemed to be a reason to bear the dangers and pain. As if a theater of desire were really presented in Taiwan, a little happiness in the materialistic life seemed suffice to briefly numb the drifting soul that has found no harbor.

圖五、2012〈報喜圖〉 Reporting the Good News (2012 ; figure 4)

圖 六 、 2013 年的個展【 慾圖 ‧ 吉祥】 Exhibition of Forbidden Wishes (2013 ; figure 6)

3. Portrait of the Dead, Specimen, and the Epistemolog y of Death The anticipated rain was finally upon us with flashing lightening and deafening thunders. The dark clouds and lightening that ha d b e e n f a r a w a y a n d s o m e how ha d c a r r i e d a n e n c ha n t i n g 圖 七 、 2 0 1 3 〈 吉祥如意〉 As the Goat Wishes (2013; figure 7)

26

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

27


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

專文 | Essays

a t m o s p h e re e ve n t u a l l y d i s s o l ve d i n t h e t h u n d e r s t o r m ; a n d t h a t s t r a n g e l y b e a u t i f u l w o r l d w a s washed away completely as the rain fell down. As of now, Kuo’s art story stepped into the present moment, and the tense of the stor y also changed from the past tense into the present and the future tense. In his solo exhibition in 2013, Forbidden Wishes (figure 6), Kuo’s incorporated and manipulated the symbols in the Eastern and Western cultures into the sentiments of his charismatic theater, further transforming his painting scenes from being a setting of “theater” to a system of “symbols.” In this leap, the artist has obviously turned his works into a configuration of positioning knowledge, which carried its unique language and structure. Perhaps, to be more precise, through “specimens,” “remnants,” and the image they composed, Kuo was able to congeal death and its implied violence into a kind of beauty that was somehow bewitching as well. For instance, in Reporting the Good News, the ecological delineation was reminiscent of a naturalist’s documentation. Although embedded with the auspicious meanings of the traditional Chinese words, the leopard was actually cruelly hunting the magpies in a composition of Oriental potted landscape. The two parties’ confrontation as well as their shrieks and roars produced more tension in the atrocious scene. In As the Goat Wishes (figure 7), the fight between the pheasant and the goat as well as the broken ruyi all referred to the naturalistic cruel reality in the eco-system implied by the supposedly auspicious words. In Forbidden Wishes, intentionally or otherwise, Kuo satirized the fact that the epistemology of both the East and the West was founded on “death”; and from this, his portraits and paintings have all witnessed the death and violence that would take place at the moment to come in the images. Ironically, these images were themselves existences created out of dead things. Death became an inseparable shadow that followed; a n d it was pre c is e l y in th is mome n t o f “de ath” th at wou l d f o re ve r e x i s t b u t n e ve r t a k e p l a c e t h a t we we re a b l e t o a p p re c i a t e t h e d a n g e r a n d v i o l e n c e i n the metaphor. In this time cr ystal that never stopped yet never moved for ward, death, violence, and the unpredictable dangers, doubts and fears have wondrously fabricated a dazzlingly b e a u t i f u l re a l m o f a d y s t o p i a . In t h a t i n s t a n t , w e s u d d e n l y re a l i z e d t h a t t h e s t r a n g e n e s s a n d bea ut y prior to the falling ap ar t of th e c r ys tal we re in c re dib l y f as c in atin g ; h owe ve r, Ku o We ik uo h a s always know n ever ythi ng abou t it.

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

郭維國:入世制慾,永劫復歸

專文 | Essays

生命只有一件事是肯定的,一切都會發生,一切都會死去。

Kuo Wei-kuo: Inner-wor ld l y Ascet icism and Eter nal Recur rence

— 英 國 藝 術 家 培 根( F r a n c i s B a c o n ,1 9 0 9 - 1 9 9 2 )( 註 )

文/高子衿 《典藏 ‧ 今藝術》雜誌總編輯 Te x t b y Kao Tzu-Chin, Chief Editor of ARTCO magazine 1980 年代,在政治高壓的牢籠瓦解之後,過去異議思想的隔絕與對於人民身體的規訓,轉而 成為在「民主化」的包裝下,於臺灣推進資本主義全球化的擴張,而受制於以經濟或是外交壓 力來擴展國際市場、進而達成自由貿易目的,使得受宰制地區在消費主義所帶來的零碎化狀態 影響下,只能長期處於一種永恆且無法滿足的消費慾望當中,喪失了歷史感與在地脈絡。隱藏 於外在權力機制中的操控,混合轉化為個人的感受經驗,郭維國以帶有警世寓言的繪畫手法, 描繪著這些飽滿著無論是情慾還是政治慾求的身軀,一步步被質變為今日的生命狀態,而由於 白日夢的基調屢屢出現在作品當中,一貫的紫灰色調營造出帶有情節般的衝擊力,以及劇場中 超現實的氛圍。

註 : 出自於 1998 年培根的傳記電影《情迷畫色》(Love Is the Devil: Study for a Portrait of Francis Bacon)最末,培根所做的陳述。

T h e o n l y t h i n g i n l i f e t h a t’s c e r t a i n i s t h a t i t’s a l l r u n n i n g d o w n , i t’s a l l d y i n g . — Fr a n c i s B a c o n , B r i t i s h a r t i s t , 1 9 0 9 - 1 9 9 2 ( No t e ) After the cage of political oppression disintegrated in the 1980s, the exclusion of political d i s s e n t s a n d t h e d i s c i p l i n e o f p e o p l e’s b o d y i n t h e p a s t a s s u m e d t h e l o o k o f “d e m o c r a c y” t o a d v o c a t e t h e e x p a n s i o n o f c a p i t a l i s t g l o b a l i z a t i o n i n Ta i w a n . Ne v e r t h e l e s s , b e i n g r e s t r i c t e d by economic or diplomatic pressure in enlarging international market to achieve the objective of free trade, and under the influence of the fragmented condition effectuated by consumerism, the dominated region was always in a kind of lasting and insatiable consumerist desire, gradually losing its sense of history and local context. Manipulation and control from the external power mechanisms mixed and transformed into individual p e r c e p t u a l e x p e r i e n c e . K u o We i - k u o h a s a d o p t e d a m a n n e r o f c a u t i o n a r y a l l e g o r y i n h i s painting to depict the body that has been brimming with desire and political longing a n d s l o w l y a l t e r e d i n t o t h e i r l i v i n g c o n d i t i o n t o d a y. D u e t o t h e c o m m o n a p p e a r a n c e s o f a daydreaming quality in the paintings, the constant tone of purple-gray has created a n a r r a t i v e i m p a c t a n d a t h e a t r i c a l , Su r r e a l i s t a t m o s p h e r e .

* No t e : T h i s c i t a t i o n c o m e s f r o m t h e e n d i n g s t a t e m e n t o f Fr a n c i s B a c o n i n h i s b i o g r a p h i c a l m ov i e p u b li s he d i n 1 9 9 8 , L ove is t h e De v il : St u d y f o r a Po r t ra it o f Fra n cis Ba co n .

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

溯源與存有

專文 | Essays

能量連結線,一條無形的臍帶牽引著母親與我們之間,甚至是限制著我們的意志與舉動,在 〈 我 親 愛 的 褪 色 Armchair〉(2007) 一 作 中, 主 角 的 身 體 被 捆 綁 在 背 後 的 樹 枝 十 字 架 上,

對於上一代情感的投射,成為中年的郭維國所梳理的作品內在糾結,「家族裡的男丁,祖

故而制約在大岩石前的一塊方寸之地中,漂浮在空中的黑色皮製扶手椅則象徵已不在人世的父

父、伯父、自己的父親,無論是生病或者意外總是早逝…」,真實的生命經歷,隨時誘發

親;多年之後,父母親對於當時業已近半百、做為人子也為人父的郭維國來說,仍然具有剪

他的恐懼,郭維國試圖緊抓著某些東西,解脫潛藏在心中的那份壓力;由於害怕逝去、害

不斷理還亂的多重混合角色與意涵,而借用自家中的老家具物件,亦可顯見從「選詞」到「詮

怕遺忘,於是用「我記得」為準備面對未來,以「我真實存在」作為奮力抗衡,一如具現

釋」,無一不與藝術家自身的生命經驗有所牽連。

在畫冊《暴喜圖》中那個在最末部分的年表一般,不同於尋常情況所呈現出的條理方式, 它超乎了關於個人的學經歷與展覽資歷,而是上溯至祖父一輩,詳述從祖父、父親到自己

或許為了彌補對於母愛的依戀慾求,使得郭維國的自畫像作品多了一份陰性特質作為補償,

這 1881 年至 2002 年,100 年來家族血脈的記事,在某種程度上,更為接近記載本族世系

例如姿勢上的婀娜或是帶有神秘氣息的微笑,又或是在每張裸露自我胴體的圖像當中,刻意

事蹟、同時注入家族情愫的家譜。從哪來,到哪去,一直是長存於每個人心中永恆的命題,

隱藏了象徵男性權威的陽具,呈現出雌雄同體的曖昧擬態。郭維國指出,「我身體結構的性

無論個人多平凡卑微,無論多少年過去,後人還是能藉由家譜而得知你的存在,以及記住

象徵是『陽性』,但在我的內心深處隱藏著一個必須遵循社會的道德觀念、而被壓抑不允許

你的曾經,它賦予了每位普通人一個歷史的地位。得以捕捉涵育家族文化精神的家譜,對

肆意彰顯的『陰性特質』,它是男性心靈陰性的部份…尤其是母親對我內心『陰性特質』部

於郭維國的重要性無可言喻,他試圖以一種中年懷舊的筆觸,找尋自己在這個人生中、社

分影響最深。」

會中與時空中的具體面貌,書寫著個人與集體,共同對於歷史記憶遺失的憂懼,同時,正 視必然會到來的宿命。

在 作 品〈 白 兔 望 月 圖 〉( 2 0 1 2 )中 ,後 方 的 藤 蔓 糾 結 著 歷 史 終 結 的 斷 柱 ,一 個 雌 雄 莫 辨 的 人 , 套進了量身縫製的兔子裝扮,雖然穿上男性樣式的黑色皮鞋,但兔子的意涵在西方語境中卻

另一方面,已逝的父親來不及成為他學習與談心的對象,母親則需兼代父職,我們可以在

十分地鮮明:在許多國家都是月亮的象徵,因而成為陰性屬性的動物;其高度的繁殖力也令

畫面上看到這般家族記事的影響,例如作品中常出現的藤蔓、絲帶等指涉身心連屬與情感

牠們成為富饒多產與新生命的創造者,與再生、春天、生育意象連結,和彩蛋一同成為���活

糾葛的象徵符號,有如每個人與母親產生連結並獲得滋養的臍帶或血管,如今它仍是一條

節(Easter)的吉祥物。郭維國選擇這個童話式的角色扮裝,來詮釋外剛內柔的自覺體認。

Tracing the Origin and the Existence The projection of his affection toward the older generations in his family surfaced as an inner entanglement, which the mid-aged painter tried to sort out in his work. “The m a l e s i n m y f a m i l y, i n c l u d i n g m y g r a n d f a t h e r, m y u n c l e , a n d m y f a t h e r a l l p a s s e d a w a y a t a f a i r l y y o u n g a g e d u e t o s i c k n e s s o r a c c i d e n t .” T h i s r e a l e x p e r i e n c e i n l i f e s o m e h o w f o l l o w e d K u o a s a k i n d o f f e a r. H e w o u l d t r y t o c l i n g o n t o s o m e t h i n g i n o r d e r t o release himself from the lurking pressure inside. Because of his fear of dying and o b l i v i o n , h e w o u l d p r e p a r e h i m s e l f f o r t h e f u t u r e w i t h t h e i d e a o f “ I r e m e m b e r,” a n d t r y t o a c h i e v e a b a l a n c e w i t h t h e n o t i o n o f “ I t r u l y e x i s t .” J u s t l i k e t h e c h r o n o l o g i c a l table at the end of his catalogue, Diagram of Commotion and Desire, which depar ted from the ordinary way of organization and went beyond personal experience and e x h i b i t i o n h i s t o r y, h e t r a c e d b a c k t o h i s g r a n d f a t h e r ’s g e n e r a t i o n a n d d e t a i l e d l y l i s t e d t h e e v e n t s h a p p e n e d t o h i s g r a n d f a t h e r, h i s f a t h e r a n d t o h i m i n h i s f a m i l y f r o m 1 8 8 1 to 2002. On a certain level, it was more similar to a genealogical chart that chronicled g e n e r a t i o n a l a c h i e v e m e n t s i n t h e f a m i l y f i l l e d w i t h a f f e c t i o n f o r t h e f a m i l y. “ W h e r e does one come from, and where is one going to?” It has always been the eternal topic in e v e r y o n e ’s m i n d . N o m a t t e r h o w o r d i n a r y a n d h u m b l e a p e r s o n i s , t h e l a t e r g e n e r a t i o n c a n s t i l l l e a r n a b o u t h i s o r h e r e x i s t e n c e a n d r e m e m b e r t h e p e r s o n’s l i f e f r o m t h e f a m i l y c h a r t d e s p i t e t h e p a s s i n g y e a r s ; i t i n s c r i b e d e v e r y o r d i n a r y p e r s o n’s n a m e i n

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

h i s t o r y. B e i n g a b l e t o m a p o u t t h e g e n e a l o g i c a l c h a r t t h a t c o n t a i n e d t h e c u l t u r e a n d s p i r i t o f t h e f a m i l y w a s s o m e t h i n g o f g r e a t i m p o r t a n c e t o K u o We i - k u o . W i t h a s e n s e of nostalgia in his mid-age years, he tried to paint out some concrete aspects in life, in society and in this existence, expressing individual and collective fear of losing history and memory while facing upright the coming fate. On t he o t he r ha n d , Ku o’s d e c e a s e d f a t he r c o u ld n o t b e t he p e r s o n he le a r n e d f ro m a n d t a lk e d t o , a n d hi s m o t he r ha d t o s ho u ld e r t he re s p o n s i b i li t i e s o f a f a t he r. A s a re s u lt , we c o u ld s e e t he i n f lu e n c e o f s u c h a f a m i li a l i n c i d e n t i n hi s p a i n t i n g. Fo r i n s t a n c e , t he v i n e s a n d r i b b o n s i n hi s w o r k s w o u l d s e r v e a s s y m b o l s re f e r r i n g t o p h y s i c a l c o n n e c t i o n a n d e m o t i o n a l e n t a n g l e m e n t . Like an umbilical cord or blood vein that connected people to their mothers and offered n u r t u r a n c e , i t ha s re m a i n e d a p owe r f u l c o n n e c t i o n u n t i l t o d a y, a n i n v i s i b le u m b i li c a l c o rd t ha t h a s l i n k e d o u r m o t h e r s a n d u s , e ve n t o t h e e x t e n t o f re s t r a i n i n g o u r w i l l a n d a c t i o n s . In My De a r Fa d e d Ar m ch a ir ( 2 0 0 7 ) , t he f i gu re’s b o d y w a s t i e d t o t he c ro s s f o r m e d w i t h t re e b r a n c he s at his back, confining him to the tiny spot in front of the huge rock. The floating blackl e a t h e r a r m c h a i r i n t h e a i r s y m b o l i ze d h i s f a t h e r w h o w a s l o n g g o n e . Eve n a f t e r m a n y ye a r s , hi s p a re n t s s t i ll re p re s e n t e d a n e n t a n gle m e n t o f m u lt i p le a n d m i xe d ro le s a n d m e a n i n gs t o t he s o n , w ho i s n ow ove r f i f t y ye a r s o ld a n d ha s a lre a d y b e c o m e a f a t he r. Fro m hi s s e le c t i o n o f o ld o b j e c t s a n d f u r n i t u re f ro m hi s f a m i ly ho m e , we c o u ld a ls o s e e t ha t , f ro m t he “s e le c t i o n” t o hi s “ i n t e r p re t at io n,” e ve r y t h i n g c o u l d l i n k b a c k t o t h e a r t i s t ’s o w n l i f e e x p e r i e n c e .

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

專文 | Essays

的注意力,然而,雖然《暴喜圖》系列看似每一張都是郭維國的自畫像,卻非現實生活的模樣 男性氣概是女人與男人之間權力關係的策略,故而一個男性合宜的表達著普遍認同的男性氣

重現,而是以自我省思的態度,勇於揭發本我意識的真實面貌,所以「畫中自我裸露的形象,

概是受到褒揚的,而女性氣質則是遭受貶抑,此舉也致使在傳統意識下的男性不敢去探視自

是 一 種『 自 我 意 識 』的 自 信 表 現 ,並 非 是 對 自 己 的 容 貌 與 身 體 的『 自 戀 』表 現 。」郭 維 國 陳 述 。

己的傷口,以及自己不是那麼男性的經驗;他們選擇壓抑女性氣質,因而喪失了自我解放與

自 1998 年起到 2011 年之間,出於對自身的興趣與陌生感,從一張自畫像看到內在的自我,

表達情感能力的可能。然而,根據生理性別可以狹義地界定為男或女性,但是陰性和陽性特

而後畫出超乎自己想像的狂放表現慾望,「得以隨心所欲地在裡頭化身為各種角色,講述不

質卻可能同時存在於每個男人和女人之中,若有一方被刻意壓抑,都將導致失衡,因而人們

同的故事情節」,讓郭維國重拾了創作的興味與快感,恐怕是連當初的他也未料想到的。近

總是無法避免在暗地裡跌跌撞撞。郭維國藉由扮裝將自身完全暴露在創作文本中的手法,打

期逐漸轉向穿戴著動物頭套與毛皮服飾的扮裝畫作(例如 2013 年的〈月光下福祿雙俠的壽

破男性陽剛身體的印象,展現出雌雄同體的模糊時刻,進而試著尋求與重新價值自身本然具

喜〉或〈白馬公子〉),以及融合卻也顛覆西方靜物畫與東方吉祥畫的人跡未至作品(如四

備的陰性特質。

君 子〈 梅 〉、〈 蘭 〉、〈 竹 〉、〈 菊 〉( 2 0 1 3 ) 或〈 大 喜 石 〉( 2 0 1 4 ) ),郭 維 國 對 於 自 我 的 剖 析 , 並未隨著身影消失於畫面之中而結束,因為那一份心靈的療癒「仍是個謎,我覺得不可能看

多重角色與自我

得清楚、講明白的,也正因為這樣創作的動力與靈感,才能不時地在腦中蘊釀浮現。」具體 有形的形象僅是被掩蓋,但無止盡地追尋探索自我之情還是埋伏在「作品的某個角落與物件

自 1997 年觀看鏡中形象繪製自我開始,當年的〈自畫像〉一作標誌出了郭維國創作生涯中的

之中,伺機而動」。

重要轉折點,從此之後,我們看到郭維國的身影不斷進出、穿梭在他的畫作當中,他曾詳盡的 描述這一系列透過刻繪自我形象來探索、揭露自我心性的作品創作方式,「把預想好的姿態與

反映物質對象與意義製造

眼神,經過攝影的過程把自我形象的基本樣態固定在照片之上,方便於對自我形象做長時間的 觀察與描繪。接著我單純的先把裸露的自我形象畫出,再逐一的把裝扮的物件加上,以利於長

17 世紀荷蘭的靜物畫,源由於對於美好生活的表現與追求,並將普通的對象物轉化成為富於

時間的思考身上裝扮物件的選擇,並且賦予他們象徵性或隱喻性的意義。」

美感的畫作主題,更為貼近世俗生活與文化。花卉的含苞待放、絢麗滿開,或是餐桌上琳琅滿

主角位於畫面焦點位置,整場戲彷彿只為了他一人而演出,故而使得觀者沒有辦法轉開對於他

目的食物與精緻的器皿,散發著富裕社會對豐富物質與悠然生活的歌頌。然而,新教哲理卻仍

Pe r h a p s t o m a k e u p f o r h i s u n s a t i s f i e d l o n g i n g f o r m a t e r n a l l o v e , K u o ’s s e l f - p o r t r a i t revealed a sense of femininity as a kind of compensation. In the images of the feminine p o s t u r e , t h e m y s t e r i o u s s m i l e , o r t h e n a k e d , e x p o s e d b o d y, Ku o d e l i b e r a t e l y h i d t h e p h a l l i c s y m b o l o f m a l e a u t h o r i t y a n d d i s p l a y e d a n a m b i g u o u s , a n d r o g y n o u s s t a t e . “A l t h o u g h t h e s e x u a l s y m b o l o f m y p h y s i c a l b o d y i s ‘m a s c u l i n e ,’ d e e p i n s i d e m y h e a r t t h e r e e x i s t s a ‘f e m i n i n e q u a l i t y,’ w h i c h h a s b e e n s u p p r e s s e d a n d f o r b i d t o b e e x p r e s s e d a t w i l l b e c a u s e o f t h e m o r a l c o n c e p t d i c t a t e d b y t h e s o c i e t y. It i s t h e f e m i n i n e s i d e o f a m a n’s m i n d a n d p s y c h o l o g y ; I w a s e s p e c i a l l y i n f l u e n c e d b y m y m o t h e r i n t e r m s o f t h i s ‘f e m i n i n e q u a l i t y’ ,” s a i d Ku o We i - k u o .

a p p r o p r i a t e l y a c t s i n a m a s c u l i n e w a y w o u l d b e p r a i s e d a n d a c c e p t e d . C o n t r a r i l y, h e w o u l d b e b e l i t t l e d i f h e d e m o n s t r a t e s h i s f e m i n i n e s i d e . Su c h t e n d e n c y a l s o p r e v e n t s m e n w i t h a traditional mindset from exploring their own wounds and their less masculine experiences. T h e y w o u l d c h o o s e t o s u p p r e s s t h e i r f e m i n i n i t y, w h i c h r e s u l t s i n t h e m l o s i n g t h e p o s s i b i l i t y to a kind of self-liberation and the ability to express their emotions. Biological sexes might b e a b l e t o h e l p d e f i n e a p e r s o n’s g e n d e r i n a n a r r o w s e n s e ; h o w e v e r, e v e r y m a n a n d w o m a n w o u l d h a v e b o t h f e m i n i n e a n d m a s c u l i n e q u a l i t i e s . I f e i t h e r s i d e o f a p e r s o n’s c h a r a c t e r w a s intentionally suppressed, a loss of balance could be expected, which would unavoidably cause people to explore in the dark at the end. Through assuming the disguise of characters, K u o We i - k u o c o m p l e t e l y e x p o s e d h i m s e l f i n h i s c r e a t i v e w o r k s . T h e a p p r o a c h h a s b r o k e n t h e g i v e n i m p r e s s i o n o f t h e m a l e’s m a s c u l i n e b o d y a n d r e v e a l e d t h e a m b i g u o u s m o m e n t o f a n d r o g y n y, t r y i n g t o f i n d a n d r e - d e f i n e t h e i n n a t e f e m i n i n i t y o n e i s b o r n w i t h .

In M o o n Ga z i n g R a b b i t ( 2 0 1 2 ) , v i n e s w e r e c r a w l i n g o n t h e b r o k e n p i l l a r t h a t r e p r e s e n t e d t h e e n d o f h i s t o r y. A n a n d r o g y n o u s m a n w a s w e a r i n g a t a i l o r e d r a b b i t s u i t w h i l e p u t t i n g o n a p a i r o f m a n’s b l a c k - l e a t h e r s h o e s . Ne v e r t h e l e s s , t h e r e f e r e n c e t o r a b b i t s i s e x t r e m e l y v i v i d i n t h e We s t e r n c o n t e x t : i n m a n y c o u n t r i e s , r a b b i t i s a s y m b o l o f t h e m o o n a n d i s a f e m i n i n e a n i m a l ; r a b b i t ’s s t r o n g r e p r o d u c t i v e c a p a c i t y a l s o m a k e s i t a c r e a t o r o f a b u n d a n c e a n d n e w l i f e , l i n k i n g i t t o t h e i d e a o f r e g e n e r a t i o n , t h e Sp r i n g , a n d f e r t i l i t y, a n d r e n d e r i n g t h e a n i m a l a s y m b o l o f t h e E a s t e r w i t h t h e E a s t e r e g g . T h e r e f o r e , Ku o c h o s e t o a s s u m e t h e role of this fairy-tale character to interpret his awareness of being soft and tender within d e s p i t e t h e m a n l y, t o u g h a p p e a r a n c e . Masculinity is a strategy in the power relation between men and women. A man who 34

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

Multiple Roles and the Self Since Kuo star ted painting his self-por trait by looking at his own image in the mirror in 1 9 9 7 , t h e w o r k , S e l f - Po r t ra i t , h a s m a r k e d a c r u c i a l t u r n i n g p o i n t i n h i s a r t i s t i c c a r e e r. A f t e r t h a t , w e b e g a n t o s e e Ku o’s i m a g e c o n s t a n t l y a p p e a r i n g i n h i s p a i n t i n g s . H e o n c e e x p l a i n e d i n d e t a i l h i s c r e a t i v e p r o c e s s i n d e l i n e a t i n g h i s o w n i m a g e t o r e v e a l h i s d i s p o s i t i o n . “A s s i s t e d b y p h o t o g r a p h y, I f i r s t p h o t o g r a p h e d m y i m a g e s , t h e p r e m e d i t a t e d p o s t u r e s a n d e x p r e s s i o n s 35


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

專文 | Essays

不免地暗喻其中,以鮮花比喻生命,從美好走向頹圮,是一場必然的週期,故而人生如花一

另一方面,原應和諧喜慶的畫面,藝術家卻在當中暗藏了許多弦外之音,例如兩種不同品

般的脆弱、轉瞬即逝,人世間美麗的表象都是虛幻的,這些由畫家將自身對於生活的理解、

種的喜鵲站在枝頭相互叫囂對峙,或是貓撲殺攻擊八哥鳥,美麗的事物與吉祥的象徵符號

生命與死亡等精神層面的思考帶入繪畫中,也讓畫作脫離了原本作為室內擺設的地位,因而

在瞬間變了調,上演了最原始的慾望——受獸性驅使的爭鬥與殺戮,歷歷幻影,其實是再

有了畫以載道、說教寓言的成分。

現實不過的人生寫照。在此,郭維國借用了吉祥畫的樣式,進行著他對於現世再深入一層 次的隱喻與啟示,可貴之品行與暴力的激情,故而使作品並存了理想性與俗世性的雙重面

郭維國在近期的靜物畫包括《慾圖吉祥》系列,技法上雖看似愈趨向傳統古典寫實,但內容

向,正如同今日遭逢著質變與挑釁的當代社會。

卻放入如對社會政治的關懷,或是人性慾望的理解更多等當代元素,在〈四君子〉的四連屏

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畫作中,細膩的筆法描繪著以雙關、象徵與諧音等表現手法,寄託美好寓意、消災免難的吉

一個影像對於郭維國來說,並非是視覺所僅見的認知、辨別之意義,如同他的自畫像,

祥畫樣式,乍看一如尋常呼應自然四季風情的古典優雅之作,然而一方面,自然界成為人們

更重要的在於「自我究竟是什麼」的內在省視;又或是揭示吉祥畫中一套有其運作慣例

的審美對象,梅蘭竹菊的凌霜雪而稱勁、入室自成芳、虛心而求進與凌霜自行不趨炎勢等四

的規則,透過此一特定的文化脈絡進而再造意義。如同美國的視覺文化研究學者史特肯

種美好品行,讓四君子從供人玩賞的植物轉變成為繪畫題材,更甚之,作為感物喻志的象

(Marita Sturken)曾指出,對於這個世界的反射,並不僅止於像是以鏡子映照出形體的

徵,如同荷蘭繪畫一般帶有載道精神,用來砥礪文人高士所應具備的正直氣節與清高拔俗

擬態或仿像一樣,而是經由我們所部署的再現系統,透過諸如語言和視覺媒體這類媒介來組

的情趣。

織、表達與詮釋,進而才能建構意義,也才能真正被我們所「看見」。

o f t h e e y e s , s o t h a t I c o u l d o b s e r v e a n d d e p i c t m y o w n i m a g e s i n l o n g h o u r s . Ne x t , I w o u l d simply paint my self in nude, and gradually added those objects for disguise; it allowed me to take time and think about what objects to put on for disguise and give them symbolic or m e t a p h o r i c m e a n i n g s .”

n u r t u r e d i n m y m i n d a n d a p p e a r f r o m t i m e t o t i m e .” C o n c r e t e , v i s i b l e f o r m s w e r e o n l y c o v e r e d u p ; t h e n e v e r - e n d i n g p u r s u i t o f t h e s e l f h a s a l w a y s b e e n s t a y i n g h i d d e n i n “s o m e c o r n e r a n d o b j e c t i n t h e p a i n t i n g w a i t i n g f o r a c h a n c e t o a p p e a r.”

Being the main character at the focal point of the work rendered the entire scene about Ku o a n d c o m p l e t e l y c a p t i v a t e d t h e a t t e n t i o n o f t h e v i e w e r s t h a t t h e y c o u l d n o t m o v e t h e i r e y e s a w a y. H o w e v e r, e v e n t h o u g h e v e r y p a i n t i n g o f D i a g ra m o f C o m m o t i o n a n d D e s i re s e r i e s l o o k e d l i k e Ku o’s s e l f - p o r t r a i t , h i s i m a g e d i d n o t a p p e a r t o b e a n i d e n t i c a l r e p r e s e n t a t i o n o f t h e r e a l i t y. I n s t e a d , w i t h a n i n t r o s p e c t i v e a t t i t u d e , t h e s e r i e s w a s a c h a l l e n g e t o e x p o s e t h e r e a l i t y o f h i s o w n a w a r e n e s s . T h e r e f o r e , Ku o s t a t e d t h a t “t h e s e l f - e x p o s i n g i m a g e i n t h e p a i n t i n g s w o u l d b e a c o n f i d e n t e x p r e s s i o n o f ‘t h e s e l f - a w a r e n e s s ,’ r a t h e r t h a n a ‘n a r c i s s i s t i c’ e x p r e s s i o n o f o n e’s o w n l o o k a n d b o d y.” Fr o m 1 9 9 8 t o 2 0 1 1 , b e c a u s e o f h i s o w n i n t e r e s t i n a n d a s e n s e o f u n f a m i l i a r i t y t o w a r d h i s o w n b o d y, h e s a w h i s i n n e r s e l f f r o m a s e l f - p o r t r a i t and began to continuously express his wild desire through painting, which exceeded his o w n i m a g i n a t i o n , a l l o w i n g h i m t o “a s s u m e a l l k i n d s o f c h a r a c t e r s a t w i l l t o t a l k a b o u t d i f f e r e n t s t o r i e s .” It e n a b l e d Ku o t o r e g a i n h i s i n t e r e s t a n d t h r i l l i n a r t i s t i c c r e a t i o n , w h i c h w o u l d d e f i n i t e l y b e s o m e t h i n g h e h a d n o t e x p e c t e d a t t h e f i r s t p l a c e . R e c e n t l y, K u o h a s shifted to paint figures in disguises with animal headgears and fur clothing (for example, Jo y a n d L o n g e v i t y Un d e r t h e M o o n a n d M r. C h a r m i n g p a i n t e d i n 2 0 1 3 ) ; h e h a s a l s o b e g u n p a i n t i n g s w i t h o u t a n y f i g u r e s t h a t h a v e s i m u l t a n e o u s l y i n t e g r a t e d a n d s u b v e r t e d We s t e r n still paintings and Oriental auspicious paintings (such as Forbidden Wishes—The Four G e n t l e m e n , P l u m B l o s s o m , O r c h i d , B a m b o o , C h r y s a n t h e m u m p a i n t e d i n 2 0 1 3 a n d G r e a t Jo y R o c k o f 2 0 1 4 ) . Ne v e r t h e l e s s , K u o’s i n s p e c t i o n o f t h e s e l f h a s n o t d i s a p p e a r e d a l o n g w i t h t h e r e m ov a l o f h i s ow n i m a g e i n t h e p a i n t i n g s b e c a u s e t h e h e a l i n g o f t h e m i n d h a s “r e m a i n e d a m y s t e r y, w h i c h w o u l d n e v e r b e c l e a r l y u n d e r s t o o d a n d e x p l a i n e d , i n m y o p i n i o n . Ye t , it is precisely because of this, that creative momentum and inspiration would always be

Reflecting the Material Object and the Production of Meaning

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

The Dutch and Flemish still life painting in the 17th century originated from the expression and pursuit of a wonderful life, and transformed its ordinary object into its beautiful theme of painting, closely associated with the worldly life and culture. Floral buds ready to bloom, the blossoming flowers, or an abundant array of food and exquisite u t e n s i l s o n a t a b l e , a l l s p o k e a b o u t a n o p u l e n t s o c i e t y’s p r a i s e f o r a m p l e m a t e r i a l c o m f o r t s a n d a l e i s u r e l y l i f e . Ho w e v e r, Pr o t e s t a n t i s m s t i l l f o u n d i t s w a y i n t o a r t , w h i c h u s e d f l o w e r s as a metaphor of life that would always degrade from its wonderfulness to dilapidation to fulfil the fateful cycle. Life was as fragile and ephemeral as a flower; all the beautiful appearances in this world were nothing but illusions. The painters conveyed their spiritual understanding of existence, life and death through the paintings, and elevated the artworks from their original purpose of simply being a room decoration to s o m e t h i n g t h a t e x p r e s s e d m o r a l t e a c h i n g s i n t h e f o r m o f a l l e g o r y. K u o ’s r e c e n t s t i l l l i f e , i n c l u d i n g t h e s e r i e s o f F o r b i d d e n W i s h e s , m i g h t t e n d t o m o v e t o w a r d s t h e t r a d i t i o n o f c l a s s i c a l r e a l i s m i n t e r m s o f t e c h n i q u e s ; h o w e v e r, i n t e r m s of content, Kuo added more contemporary elements, such as his political concern for society and his interpretation of human desire. In the four panels of The Four Gentlemen, Kuo used minute delineation to create a set of auspicious paintings that delivered the meaning of good-wish allusions and avoidance of disasters with the use of double entendre, symbolism, and homonym. At first glance, the paintings appeared

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

專文 | Essays

to be classical, elegant works that corresponded to the four seasons. Nonetheless, on the one hand, nature became the object for the appreciation of beauty as the plum blossom, the orchid, the bamboo and the chrysanthemum represented the four qualities o f a C h i n e s e g e n t l e m a n — t h e t e n a c i t y i n f r e e z i n g s n o w, t h e e l e g a n t b e a u t y d e s p i t e surrounding environment, the humbleness in making progress, and the integrity without r e p l y i n g o n p e o p l e i n p o w e r. B y d o i n g s o , K u o t u r n e d t h e f o u r g e n t l e m e n f r o m t h e p l a n t s f o r a p p r e c i a t i o n i n t o a s u b j e c t o f p a i n t i n g s . M o r e o v e r, a s s y m b o l s f o r e x p r e s s i n g o n e ’s i d e a l s , t h e y h a v e b e c o m e s i m i l a r t o t h e D u t c h s t i l l l i f e p a i n t i n g t h a t c o n v e y e d moral teachings and encouraged scholars and the educated people to have moral integrity and be above worldly and material pursuits. On the other hand, Kuo embedded multiple implications in the supposedly harmonious and joyful images; for example, two kinds of magpies hooted at each other from their individual perches, or a cat preyed on a mynah bird. As scenes of beautiful appearances a n d a u s p i c i o u s s y m b o l s s u d d e n l y w e n t a w r y, t h e p r i m a l d e s i r e b e g a n t o s u r f a c e — v i v i d images like the fights and killings driven by animal nature were simply representations of the reality of life. In this series, Kuo appropriated the form of the traditional auspicious painting to further portray his metaphors and revelations of this world with i t s q u a l i t i e s o f n o b l e c h a r a c t e r a n d i n t e n s e e m o t i o n o f v i o l e n c e . C o n s e q u e n t l y, h i s w o r k retained a duality of idealization and mundaneness, which would be reminiscent of the contemporary society that has undergone drastic changes and challenges. F o r K u o We i - k u o , a n i m a g e i s n e v e r j u s t w h a t t h e e y e s p e r c e i v e a n d r e c o g n i z e . T h e m o r e c r u c i a l t h i n g w o u l d b e t o a s k t h e i n t r o s p e c t i v e q u e s t i o n o f “ w h a t i s t h e s e l f ,” a s h e h a s d o n e w i t h h i s s e l f - p o r t r a i t s ; o r, t h r o u g h r e v e a l i n g t h e u n d e r l y i n g r u l e s i n t h e t r a d i t i o n of auspicious painting, he could reinvent its meaning by appropriating its specific c u l t u r a l c o n t e x t . A m e r i c a n s c h o l a r o f v i s u a l c u l t u r e s t u d y, M a r i t a S t u r k e n , h a s o n c e s t a t e d t h a t t h e re f l e c t i o n o f t h i s w o r l d d o e s n o t s i m p l y re f e r t o o b j e c t s’ s i m u l a t i o n s and simulacra in mirrors; it is through systems of representation employed by us, such as languages and visual media, that we could organize, express, interpret, and finally c o n s t r u c t m e a n i n g s ; t h u s , t h e r e f l e c t i o n o f t h i s w o r l d c o u l d r e a l l y b e “s e e n” b y u s .

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

專文 | Essays

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

圖錄 | Plates

圖錄

Plates

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

圖錄 | Plates

展覽簡介

每一個城市中,都存在著靈光閃爍的故事,關聯到一些曲徑通幽的歷史

Introduction

和人物。一座城市即是一本關於時間、記憶、個體與生命延展的百科 全書。這之中記載著一些奇妙的事實,和超脫現實的無數幻想、悲歡離 合、愛恨情仇。每一個人都代表一個故事,它存在自我的世界中,也在 無形中成為現實世界裡的某個角色,生活在都市中,也彷彿是在一個沒 有樂理可循的奏鳴曲中遊蕩。 本次個展,郭維國將連接各個展廳的紅磚走廊,改造成一個融合古典美 學和宗教性格的純白空間,讓觀者從這個通道的幾個節點,進入藝術家 以近年畫作和全新的立體作品,串聯而成的奇想空間與夢幻世界。這個 白色通道,既是一種精神旅程,也是一條尋找靈光之路。人生的路程, 即使只是驚鴻一瞥,每個人的一生都可以成為一個童話,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。

萬園有靈-郭維國個展 Gardens of Spirts – Kuo Wei-kuo Exhibition

T he re e x i s t s a s p i r i t s t o r y i n e ve r y c i t y, li n k e d w i t h a p a t h t ha t c o n n e c t s history and characters. A city is an encyclopedia that covers time, m e m o r i e s , i n d i v i d u a l s a n d l i v e s . In s i d e i t re c o rd s s o m e w o n d e r f u l f a c t s , a n d n u m e r o u s o t h e r - w o r l d l y re a l f a n t a s i e s , t h e v i c i s s i t u d e s o f l i f e , l ov e , h a t re d , p a s s i o n a n d a n i m o s i t i e s . Eve r y p e r s o n re p re s e n t s a s t o r y, e x i s t i n g i n t h e w o r l d o f e g o s , t h e y b e c o m e i m p e r c e p t i b l y a r e a l c h a r a c t e r, a l s o s e e m i n gly a s i f w a n d e r i n g t hro u gh a s o n a t a w i t ho u t m u s i c t he o r y. I n t h i s s o l o e x h i b i t i o n , K u o We i - k u o w i l l t r a n s f o r m a l l t h e r e d - b r i c k corridors linking together the exhibition rooms into a pure white space mixing together classical and religious aesthetics, to allow viewers to enter into the illusionary world of artists from recent years and threedimensional works of art. This white thoroughfare is both a kind of s p i r i t u a l j o u r n e y a n d a p a t h s e a rc hi n g f o r t he d i v i n e . Eve n i f t he j o u r n e y o f l i f e a l l o w s u s b u t a f l e e t i n g g l i m p s e , e v e r y o n e ’s l i f e c a n b e c o m e a fairytale, the beginning of a course in a search, and an unending i m a g i n i n g o f t h e s e l f. In t h e p r o c e s s , t h e s p i r i t a c c o m p a n i e s y o u a s y o u t r a ve l t hro u gh t he e x hi b i t i o n .

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-Kuo Exhibition Wei-kuo Exhibition

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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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郭維國

1960 生 於 臺 北,1984 年 畢 業 於 文 化 大 學 美 術 系, 是 臺 灣 當 代 藝 術

Kuo Wei-kuo

重 要 團 體「 臺 北 畫 派 」 與「 悍 圖 社 」 的 核 心 成 員。 曾 獲 2000 年 美 國 Freeman 基金會亞洲藝術獎首獎,2004 年李仲生基金會現代繪畫獎, 以及 2006 年第五屆廖繼春油畫創作獎。綜觀郭維國的創作發展,從表 現手法到形式風格,每實踐一個時段即自我突破並全然改變,但某種藝 術堅持、美學特質、和精神內涵卻能貫徹其中。透過油畫技法的精熟掌 控,對矯飾美學的特別偏好、以及對象徵與隱喻手法的巧妙應用,他自 由無礙地拼湊個人情感、時代記憶、和集體慾望,一面訴說生命的殘酷 與缺憾,一面彈唱著自我的迷戀與超越。

Ku o We i - k u o , w h o w a s b o r n i n Ta i p e i i n 1 9 6 0 , g r a d u a t e d f r o m t h e Fi n e A r t s D e p a r t m e n t o f C h i n e s e Cu l t u r e Un i v e r s i t y, i s a c o r e m e m b e r o f t h e Ta i w a n C o n t e m p o r a r y A r t s c e n e’s “ Ta i p e i A r t Gr o u p” a n d t h e “ H a n t o o A r t G r o u p” . H e w o n t h e Fi r s t Pr i z e o f t h e Fr e e m a n Fo u n d a t i o n A s i a n Aw a rd s U S A i n 2 0 0 0 , t h e L i C h u n - s h a n A r t Fo u n d a t i o n ' s Mo d e r n Pa i n t i n g Aw a r d i n 2 0 0 4 , a s w e l l a s t h e 5 t h L i a o C h i - C h u n O i l Pa i n t i n g Aw a r d i n 2 0 0 6 . Ku o We i - k u o’s a r t i s t i c d e v e l o p m e n t , f r o m h i s s k i l l s t o style, continuously breaks through the existing styles and completely transforms from time to time, but some kind of art perseverance, aesthetic quality and spirit content can be involved. Through his familiarity with the skill of oil painting, he freely puts together his individual feelings, remembrances of a time, and collective desires through his preference for a decorative style, as well as the clever application of ingenious metaphors and symbolism. One side tells of the cruelty and regrets of life, the other sings of infatuations and transcendence.

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雙城記-萬園有靈/郭維國個展 Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale

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

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雙城記-萬園有靈/郭維國個展 TaleofofTwo TwoCities Cities--Gardens GardensofofSpirits Spirits/ /Kuo KuoWei-kuo Wei-kuoExhibition Exhibition 雙城記-萬園有靈/郭維國個展 AATale

圖錄 圖錄 || Plates Plates

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

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一指向天

〈一指向天〉,是郭維國此次展出,針對當代館的入口門廊,量身製作

Poi nti ng to the Sky

的現地雕塑裝置。一隻矗立在大門左上方的左手,挺起食指指向天空, 拇指和其餘三指扣抓在當代館正門橫楣;整體造型,有如佛陀手印般, 兼具偉岸的視覺意象和神聖的符號意味,但在表面處理時,藝術家刻意 置入一些解剖的肌理和血肉的細節,似乎有意激發一種衝突矛盾或不和 諧的感受。

保麗龍、鋼 Styrofoam, Steel 600x325x254 cm 2015

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Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 AA Tale

Po i n t i n g t o t h e Sk y i s a s i t e - s p e c i f i c s c u l p t u re i n s t a l l a t i o n c re a t e d f o r t h e e n t r a n c e o f M OCA , Ta i p e i . A gi a n t le f t ha n d s p r i n gs a t t he u p p e r le f t s i d e o f t h e e n t r a n c e ; w i t h i t s i n d e x f i n g e r p o i n t i n g t o w a rd s t h e s k y a n d t h e o t he r t hre e c le n c hi n g t he t o p o f t he d o o r f r a m e , t he ha n d m a k e s a ge s t u re re m i n i s c e n t o f a Bu d d h i s t m u d r a . W h i l e v i s u a l l y g r a n d a n d s y m b o l i c a l l y mystical, the stylized sculpture framework is offset by the surface treatment details depicting flesh, muscle and blood, as though under v i v i s e c t i o n . In t hi s w a y, t he a r t i s t s e e m s t o i n t e n t i o n a lly t r i gge r a s e n s e o f c la s hi n g c o n t r a s t a n d d i s ha r m o n y.

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

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骨肉「水瓶座」

在門口兩邊的花圃中,郭維國同時各設置了一座大型雕塑,〈骨肉「水

仙桃花燦燦

Fle s hly Aqu a ri u s

瓶座」〉和〈仙桃花燦燦〉,有機的兩款造型,各以紅和綠為主色調,

Glamour Peaches

感覺上像是人體器官和自然果實的混合體,它們和這個空間場域呼應對 話的同時,也賦予現場一種詭異迷離的氛圍。 保麗龍 Styrofoam 262x100x90 cm 2015

郭維國向以繪畫見長,本次展出的一系列立體雕塑,可視為他自我擴充 與突破之作。事實上,早在 2006 年北美館個展之後,他已開始醞釀跨 足雕塑創作,希望更多元化地呈現其創作觀念。這些雕塑作品,一面延 續他畫作中不斷出現的象徵,例如曖昧不明的器官、血淋淋的心臟、糾 纏不清的藤蔓…等,一面以無可遁逃的實體感,讓觀者面對和洞視人性 中幽微卻無所不在的種種慾望。

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

保麗龍 Styrofoam 190x103x93 cm 2015

The artist installs two large sculptures on the flower patches to the right and left of the entrance, Fleshly Aquarius and Glamour Peaches The two organic shapes, one in shades of red and the other in shades of green, seem like the conglomeration of human organs and fruits. As they engage and reflect upon their surroundings, the sculptures also give off an atmosphere of haunting uncanny-ness. Kuo Wei-kuo is known for his paintings; the series of three-dimensional sculptures on display this time can be seen as his attempt to challenge personal boundaries and search for a breakthrough. In fact, since as early as the conclusion of his solo exhibition at Taipei Fine Arts Museum in 2006, he has been building up the momentum of crossing over to the realm of sculpture, hoping to diversify the expression of his creative impetus. The sculptures featured here are extensions of the symbols in his paintings, such as ambiguous organs, bloody hearts and clinging, entangled vines; at the same time, they present the viewers with an inescapable sense of solidity so that the viewers must confront and perceive the subtle but all-enveloping desire in humanity.

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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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Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 AA Tale

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

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白兔望月圖

一個雌雄莫辨的人,套進了看來是量身縫製的兔子裝,穿上了明顯是

Moon Gazi ng R ab b i t

男人用的大皮鞋,郭維國以這種童話式的角色扮裝來寫照自我,用以 詮釋自覺外剛內柔、女性氣質遠多於男人特質的一種體認。此作圖像 參考了童話故事《愛麗絲夢遊仙境》裡,手持懷錶,成天喊著「來不 及了!來不及了!」的兔子角色,但是牠已不再急忙追趕什麼,而是 靜靜佇立在月光下,感念著時間的流逝與飄零的愛情。兔子後方,一 些物件的集合拼湊出了女性的意象和母性的聯想,又同時連結到歷史 終結的斷柱和生命擴張的藤蔓。畫面右下角的斷翼天使,像是不忍面 對自身和現實的殘缺般,似欲逃離卻又猶疑不前。左下角玩具化的小 房子與小白鴿,連成一體似欲共同守護這些殘存的浪漫與幻想。

油彩、畫布 Oil on Canvas 194x112 cm 2012

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

A p e r s o n , i m p o s s i b le t o t e ll i f i t i s m a le o r f e m a le , ge t s i n t o w ha t a p p e a r s t o b e a r a b b i t c o s t u m e , a n d p u t s o n w ha t i s o bv i o u s ly p a i r o f la r ge m e n’s l e a t h e r s h o e s . K u o We i - k u o u s e s t h i s k i n d o f f a i r y t a l e - t y p e c h a r a c t e r to imagine a portrait of the ego, so as to comment and explain the a w a r e n e s s o f “a p p e a r i n g t o u g h o n t h e o u t s i d e s o a s t o m a s k o n e ' s i n n e r v u l n e r a b i l i t y” , a n d a l s o t h e r e a l i z a t i o n t h a t t h e f e m a l e c h a r a c t e r i s t i c s w i t h i n h i m s e l f a re f a r m o re t h a n t h e m a l e o n e s . T h i s i m a g e re f e r s t o t h e p o c k e t - w a t c h c a r r y i n g r a b b i t i n Al i c e i n Wo n d e r l a n d w h o a l l d a y s h o u t s “ I ’m l a t e ! I ’m l a t e ! ” Howe ve r, i t i s n o l o n g e r c h a s i n g a n y t h i n g ; r a t h e r i t i s s t a n d i n g u n d e r t h e m o o n l i g h t re m e m b e r i n g t h e p a s s a g e o f t i m e f o n d l y a n d t h e d r i f t i n g o f l ove . Be h i n d t h e r a b b i t , s o m e o b j e c t s a re a r r a n g e d i n t h e s h a p e o f a w o m a n o r i n a s s o c i a t i o n w i t h t h e i m a g e o f m o t h e r, w h i c h c o n n e c t w i t h t he b ro k e n c o lu m n s a n d t he v i n e s o f li f e . In t he lowe r r i ght c o r n e r o f t he s c e n e i s a b ro k e n - w i n ge d a n ge l lo o k i n g a s i f i t c a n n o t b e a r to face itself or the reality of its injuries, like escaping passion yet in hesitation. In the lower right corner stands a playfully imagined house and small white dove, connected together to protect these surviving ro m a n c e s a n d f a n t a s i e s .

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

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TaleofofTwo TwoCities Cities--Gardens GardensofofSpirits Spirits/ /Kuo KuoWei-kuo Wei-kuoExhibition Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 AATale

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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 圖錄 || Plates Plates

花鳥走獸

205 展間正中間的台座上,在聚光燈下孤自呈現,展期中將

Flora an d Fa u n a

以不同角度環視四周牆面的一座銅像,是藝術家以自己的面 容為塑型基礎,加上尖聳的獸耳後,以「精靈化的肖像」之 概念來自我觀照、自我定義、和自我呈現的頭像雕塑。這也是 郭維國狂熱繪製以自身形象為主題的《暴喜圖》系列期間,他 一 度 嘗 試 透 過 雕 塑 手 法 ,將 自 我 形 象 立 體 化 呈 現 的 第 一 件 作 品 。

保麗龍、LED 燈 Styrofoam, LED Light 175x135x25 cm 共 4 件 4 pieces 2015

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Po r t ra i t , 2 0 0 3 , t h e s c u l p t u r a l h e a d a t t h e c e n t e r o f Ro o m 2 0 5 , i s a m y t h o l o g i ze d s e l f portrait of the artist Kuo Wei-kuo. While its countenance is a realistic casting of the artist’s face, the tapered ears recall the features of an elf. It speaks for Kuo’s reflection, definition a n d p re s e n t a t i o n o f h i m s e l f. Is o l a t e d i n t h e s p o t l i g h t , t h e c o p p e r h e a d w i l l b e ro t a t e d to face different directions through the exhibition’s duration. This unusual self-por trait represents the artist’s first attempt at portraying himself in a three-dimensional rendering, at a t ime when he cre ated , in a near fre nzy, a ser ies of p aint ings us ing his own ima ge, known as the Diagram of Commotion and Desire.

相對於這個具像的、以藝術家為主體和中心的頭像,在 205 展 間 四 周 牆 面 呈 現 的 是 ,以「 花 、鳥 、走 、獸 」四 個 字 進 行 鋪 陳 , 結合了立體的美術字、數位燈光、創作筆記、文字觀念和隨想 塗鴉的創作概念牆。花鳥走獸是中國傳統美術中,早在唐代即

Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 AA Tale

Surrounding Portrait, 2003 at Room 205 are four walls lit by digital lighting, displaying notes, sketches and statements related to the artist’s creative practices. In contrast to the pictorial representation of the bust, each of the walls has in its center a sculptural Chinese character, which read individually as flower, bird, and running animal. Collectively, they form a phrase

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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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2003

自塑像

Por trai t, 2003

已獨立成科的繪畫類種,擅長繪製花卉、翎毛、動物的畫家,除了 與人物畫家、山水畫家分庭抗禮,在御用的宮廷畫家名單中,也占 了相當大的比例。以花鳥走獸為主題的繪畫,除了客觀展現自然生 物的造型美感和生態情境,慢慢也結合人類思想的表達、情感的抒 發,乃至於慾望的填補,而開創出具有象徵寓意的特殊表達方式, 風行於中國宮廷與民間的吉祥畫,有不少即是從「花鳥走獸」的原 型中發展出來的。

銅 Copper 48x19.5x23 cm 2003

郭維國的近作,開始從自我心性的探索和自我形象的臆造,轉向自 然題材的應用和傳統畫境的轉化。觀察閱讀這四面牆上斗大的「花 鳥走獸」文字、聯想和他的創作思維之間的呼應和對話,尋找他們 從初次碰撞到互相擴大延伸的痕跡,是接著進入觀賞解讀他更多近 期原作的一個門鑰。

t h a t c a n b e t r a n s l a t e d a s f l o r a a n d f a u n a , a s p e c i f i c a r t g e n re e s t a b l i s h e d before the Tang Dynasty (618-907 AD) in China. The flora and fauna painters specialized in depicting plants, flowers, birds and terrestrial animals and were often held in great reverence, enjoying the same reputation as portraitists and landscape painters. In Chinese history, a good percentage of court artists were flora and fauna painters. In addition to the objective representation of living things and their behaviors, the flora and fauna painters gradually learned to incorporate their own interpretations and emotional expressions into their work, including their desires. Eventually, the genre came to be characterized by symbolism and allegory and served as one of the most important origins of the practice of auspicious painting in the Chinese imperial court and among the civilian population. In his recent works, Kuo Wei-kuo has shifted from explorations of his inner state of mind and representations of self-image to depictions of nature and the reinterpretation of traditional Chinese art forms. The four large-scale sculptural characters are therefore critical in understanding the artist’s recent works. Through them, the audience can grasp the dialogues and reverberations in Kuo’s creative process, and follow the artist's trajectory as he multiplies and expands upon the concept of flora and fauna.

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雙城記-萬園有靈/郭維國個展 Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-KuoExhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale

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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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Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale 雙城記-萬園有靈/郭維國個展

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

慾圖吉祥-四君子 〈梅〉、〈蘭〉、 〈竹〉、〈菊〉

圖錄 | Plates

〈四君子〉是郭維國《慾圖吉祥》系列中最具代表性,尺寸也最大 的四連屏畫作。此作融合了中國藝術體系中,以工筆畫法結合花卉 翎 毛 主 題 和 吉 祥 美 滿 訊 息 的 宮 廷 畫 ,以 及 用〈 梅 〉、〈 蘭 〉、〈 竹 〉、 〈菊〉四種植物來呼應自然四季風情,同時藉以象徵君子德性的文 人繪畫傳統。這四個畫面各有主題、敘事和獨立場景,但彼此之間 也有某些元素具體相連,透過中國繪畫特有的平行移動視覺,巧妙 地鋪陳了不同季節的時間流動,和不同場域的空間延異。

油彩、畫布 Oil on Canvas 200x90 cm 共四件,4 pieces 2013

這件作品,乍看是古典優雅、瑞氣祥和的四個畫面,細讀卻不難發 現其中隱匿了許多弦外之音。例如,在中國花鳥繪畫傳統中,自然 生機的表現和萬物和諧的情境,向來是美學表現的重點,但在郭維 國的《慾圖吉祥》系列中,無論舞台的正中或角落,伴隨著美麗事 物和德性符號的呈現而不斷演出的,比較是激情、鬥爭、殺戮等, 訴 諸 獸 性 而 隱 喻 人 性 的 行 動;但 見:寵 物 貓 撲 殺 了 愛 放 聲 的 八 哥 鳥 , 代表兩邊不同品種的喜鵲站在枝頭相互叫囂對峙;兩隻家燕於蘭花 庭園中,在寫著「春暖花開」的瓷器碎片前,為了爭食蝴蝶而相互 廝殺;一群麻雀為了生存和延續,在竹林的梢頭和地面相互爭食、 糾纏。正如郭維國本身所指出的,長久流行於民間的「吉祥畫」,其實 象徵著一種普遍的慾望不滿足和生活的缺憾,他創造了這些畫面,同時 流露了本身對於傳統美學的吸收,人性普同慾望的理解,和當代社會政 治的關懷。

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

For b i d d en Wi s hes – The Four Gentlemen, Plum Blos s om, Orchi d , Bamb oo, C hr ys anthemum

The Four Gentlemen, a quadriptych, is the most representative and largest w o rk f ro m Ku o We i - k u o’s p a i n t i n g s e r i e s Fo r b i d d e n Wi s h e s. In t h i s w o rk , Kuo draws on the traditional art forms of auspicious Chinese court painting and bird-and-flower subject matters, rendering in fine brushwork the “four gentlemen”, that is, the plum blossom, orchid, bamboo and chrysanthemum, which not only represent the four seasons in Chinese culture, but also the qualities of a noble gentleman and therefore a common theme of Chinese literati paintings. Each of the work’s four panels can stand alone, depicting a unique scene with a specific theme and narrative. Collectively, the panels become one work, connected through shared style and visual elements. Shown in a row, the four paintings are arranged to emulate the horizontal l a yo u t t y p i c a l t o m a n y C h i n e s e l a n d s c a p e p a i n t i n g s . Fo r t h e s e p a i n t i n g s , the viewer is invited to look from one end of the short side to another, as if re-experiencing the journey the painter took in the nature. For Kuo’s The Four Gentlemen, the viewer instead travels through both space and time as his or her vision moves through the plants that represent the four seasons. At a glance, these paintings are characteristic of an elegant propitious c l a s s i c a l C h i n e s e p a i n t i n g . A c a re f u l s t u d y re v e a l s t h e p a i n t i n g s’ h i d d e n m e s s a g e s . Un l i k e t r a d i t i o n a l b i rd - a n d - f l owe r p a i n t e r s , Ku o d o e s n o t s e e k t o c o n s t r u c t b e a u t y by d e p i c t i n g t h e v i t a l i t y o f l i f e a n d h a r m o n y a m o n g a l l l i v i n g t h i n g s . I n Fo r b i d d e n W i s h e s , a l l p l e a s a n t s c e n e s a n d v i r t u o u s symbols are accompanied by the brutish nature of human beings, such a s lus t, c o n fli c t a n d violence. For instance, a pet cat may be found preying on a loud mynah, while two angr y magpies hoot at each other from their individual perches. In one of the paintings, two swallows are engaged in a violent battle over a butterfly in an orchid garden. Near them, a porcelain vase is broken into shards as an auspicious sign formally decorating the vase reads, “A warm spring brings blossoming flowers”. Still, in another example, a group of sparrows fight with one another viciously over food and space. As Kuo Wei-kuo points out, the popularity of auspicious painting in Chinese f o l k t r a d i t i o n s p e a k s o f t h e s t a rk re a l i t y o f c o m m o n d i s s a t i s f a c t i o n w i t h unmet desires and a constant sense of deficiency in life. These works show the influence of traditional Chinese aesthetics on Kuo, but also reflect his understanding of shared human desires and his concerns for the society and politics of today.

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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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開門拉頁 68

A Tale Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 A 雙城記-萬園有靈/郭維國個展

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

雙喜戲梅圖 Two Magpies Play with Prunus Blooms 油彩、畫布 Oil on Canvas / 193x113 cm / 2012

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雙城記-萬園有靈/郭維國個展

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A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

圖錄 | Plates

富貴平安圖 The Fortune and the Peace 油彩、畫布 Oil on Canvas / 200x118 cm / 2011

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

圖錄 | Plates

三多圖

〈 三 多 圖 〉 的 形 式 格 局, 基 於 西 方 美 術 的 靜 物 畫; 內 容 元

The Symb ols of Exub erance

素, 則 是 參 考 了 東 方 美 術 的 吉 祥 畫。 畫 中 以 寫 實 手 法 呈 現 的 三 樣 古 典 吉 祥 物, 包 括: 象 徵 多 子 多 孫 的 石 榴、 象 徵 延 年 益 壽 的 蜜 桃、 以 及 象 徵 福 氣 綿 延 的 佛 手 柑 等。 在 這 三 種 食 物 之 外, 畫 中 也 添 加 了 兩 種 諧 音 上 也 關 聯 到「 福 」 的 生 物: 一 隻 展 翅 空 中 正 俯 瞰 著 甜 美 瓜 果 的 大 蝙 蝠, 一 隻 停 在 蜜 桃 頂 端 品 香 休 息 的 小 蝴 蝶。 在 這 些 意 象 美 滿、 訊 息 明 確 的 事 物 當 中, 藝 術 家 顛 覆 尋 常 的 靜 物 畫 和 傳 統 的 吉 祥 畫, 而 注 入 某 種 神 秘、 超 現 實 感 的 手 法, 一 是 讓 室 內 的 桌 上 靜 物 出 現 在 一 種 荒 郊 野 外、 人 跡 未 至 的 貧 瘠 地 面; 二 是 以 細 如 手 指 但 是 加 長 的 骨 頭 和 絲 線, 將 三 種 吉 祥 物 做 了 暴 力 式 的 貫 穿 和 鎖 定; 三 是 在 瓷 盤 上 的 吉 祥 物 之 間, 穿 插 了 藝 術 家 本 人 睜 眼 露 臉 ,卻 又 被 遮 掩 壓 抑 的 一 種 視 覺 謎 語 。類 此 , 郭 維 國 的 畫, 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。

油彩、畫布 Oil on Canvas 140x130 cm 2012

Created with a Western still-life composition, the content of this painting is, nonetheless, comprised of elements derived from Eastern auspicious paintings. The three realistically depicted classic auspicious items include a pomegranate, which symbolizes bountiful offspring; a peach, which represents longevity; and also a symbol of endless good fortune in the form of a bergamot. In addition to the three food items, two creatures known as auspicious animals because they are homophones for the Chinese character "fu" or "good fortune" are also depicted; one of them is a big bat hovering over the sweet and succulent fruits, and the other is a small butterfly resting on top of the peach. The ar tist has injected a sense of mystique and surreal quality to what would have been a conventional still-life with traditional auspicious objects of distinctively grand and positive symbolisms. For one, he has moved these still-life objects from being placed on a table indoor to a barren land out in the wild that seems untouched by humans, and secondly, bones and threads that are thin like extended fingers are used to violently connect and hold down the three auspicious items. Thirdly, sandwiched between the auspicious items on the plate is a partly covered image of the artist with his eyes wide open, making it a visual riddle that is concealed and suppressed. Through these ar tistic gestures, this painting by Kuo Wei-kuo transcends symbolism found in reality and presents an added layer of allegory on top of existing allegories, as a search is embarked upon for life’s poetic quality behind its seemingly cruel surface.

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

圖錄 | Plates

大喜石

〈大喜石〉融合中國傳統吉祥畫的概念、花鳥畫的內容、和庭園造景的

Great Joy Rock

空間,從中鋪陳了一個從寫實物件到變形物象到隱喻意象的視覺劇場。 畫面中間的太湖石,常見於中國蘇州庭園,為長壽智慧的象徵,蝕透峻 削的質感結合了「喜」字的造型,左側伴隨的是華麗盛開、象徵榮華富 貴 的 一 樹 牡 丹 花;但 右 側 相 鄰 的 ,卻 是 以 人 類 肢 骨 為 莖 幹 、鹿 角 為 樹 枝 , 上面吊掛著家族老照片,連結死亡與感傷意象的一棵枯樹。 於此,有限的空間場景和表現元素,卻能激發人們觀想生活現實和生命 意 義 的 幾 種 面 向 。例 如:畫 面 右 上 方 ,正 在 空 中 翩 翩 起 舞 的 一 對 小 粉 蝶 , 可聯想到人們對浪漫愛情與生命活力的普遍期望;左側牡丹花間,正在 演出送食與救援戲碼的兩隻家燕,可正向解讀為共同奮鬥追求幸福的人 間男女;右下方地面上,正試圖攫食盤中上市紅柿的另一對飛鳥,也象 徵了為捍衛自身權益挺身而戰的社會族群;畫面中上方,高倨在大喜石 上頭的一隻燕鳥,彷彿獨立於環境和現實之外的超然觀世者,但也可能 暗示了能夠左右現實世界往好或壞發展進行的某種權力機制。

油彩、畫布 Oil on Canvas 200x150 cm 2014

This painting creates a visual theater that brings together traditional Chinese auspicious painting concept, bird-and-flower painting elements, and garden landscaping composition, as the objects of realism are mutated and transformed into metaphorical imageries. The Taihu stone in the center of the image is a kind of porous limestone commonly used for garden landscaping in Suzhou, China, and it bears the symbol of longevity and wisdom. This particular stone is in the shape of the Chinese character for joy, with a magnificently blooming peony bush that represents prosperity to its left. To the right of the stone is a dried up tree with its trunk comprised of human bones and deer antlers as its branches. A connection between death and sentimental imageries is made, as old family photographs are dangled on the withered tree. Within its limited space and elements of expression, the painting still sparks multiple thoughts on life’s reality and its significance. For instance, a pair of small butterflies fluttering in the air is depicted on the upper right hand side of the painting, which incites the association of people’s common hope for romantic love and strength in life. Amidst the peonies to the left are two swallows carrying out acts of feeding and rescuing, which can be read as a man and a woman working hard for their joint pursuit of happiness. On the foreground to the right is another pair of birds attempting to snatch the persimmons on the plate, representing people in society that are willing to take risks to fight for their rights. There is another swallow standing atop the great joy rock, which appears to be someone who has transcended above the mundane world and is independent from the surroundings and the reality; however, it could also symbolize an authoritative institution that can dictate the real world towards good or evil.

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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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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郭維國許多作品的標題和內容,都結合了諧音轉義的戲法和顛覆「正典」的 概 念 ,〈 報 喜 圖 〉 、〈 蓮 蓮 有 魚 〉 , 就 是 明 顯 之 例 。 在 傳 統 古 畫 中 ,「 報 喜 」 指的是美事一樁,常見以枝頭上的喜鵲,結合盛開的梅花,傳達春天蒞臨、 美事將近的外部訊息,並延伸為「喜上眉梢」的心理概念。然而在此作中, 郭維國卻將古雅和諧的「報喜」圖,顛覆轉換成了雲豹撲殺喜鵲,血濺當下 的一種暴力場面。在當代藝術中,歌功頌德式的「報喜」變成批判嘲諷式的 「報憂」,其實是很常見的一個現象。 細看此畫中的圖像元素和表現手法,可以找出更多象徵的細節,讀出一些隱 晦的趣涵。例如:施暴的雲豹,其實是一隻蒙皮偽裝的猛獸;腳上繫著身分 套環的喜鵲,看來也經過馴養訓練,本身也是食物鏈中層的獵食者;在這邊 陲 角 落 的 場 景 中 ,斷 翅 摔 落 地 面 的 青 花 瓷 和 平 鴿 ,似 是 中 國 文 化 意 象 的 寫 照 , 而旁邊形如蟲蛹,上面長出防衛性尖刺的肉塊,則是台灣意象的又一次呈現 ( 此 意 象 造 型 最 早 出 現 在 1994 年 的〈 台 灣 春 秋 〉)。 畫 面 右 邊, 一 座 無 頭 的裸女雕塑背影,伴隨著一株盛開綻放的扶桑花,暗示了西方文化的影響; 左下方的陳年石臼,伴隨著一棵老朽的枯樹和千年靈芝似的奇特造型物,又 隱約是東方文化傳承的一種徵兆。

The fundamental concept of many Kuo Wei-kuo’s works is subversion of orthodox norms through wordplay. Reporting the Good News and Lotus and Fishes are two good examples. In a traditional Chinese painting, “reporting good news” usually refers to the arrival of happiness. Pictorially, it is often represented by magpies on the branches of a blossoming plum tree. It depicts an image reminiscent of early spring and alludes to hope and positive developments that are bound to follow. Conceptually, it is a literal visualization of the expression, “happiness around one’s eyebrow,” which means being radiant with joy. In Chinese, “plum blossom” and “eyebrow” are homophones and the magpie is commonly called the “magpie of happiness.” However, in this painting, Kuo turns a classical representation of harmony into a bloody scene in which a clouded leopard preys upon a magpie. Here one sees a familiar approach in contemporary art where the “good news,” that is, glorification of accomplishments and virtues, is replaced by the “bad news,” namely, critique and sarcasm. A careful examination of the elements and details of the painting reveals more symbolism and hidden messages. The leopard, for instance, is actually some beast disguised as a clouded leopard. The identification tag on the magpies is a sign of domestication, but also suggests that the victims too are predators in the food chain. A blue-and-white porcelain dove representing Chinese culture is found near the border of the painting with a broken wing. On the side one sees a piece of meat, in the shape of a pupa, with defensive thorns growing out of it. This is a representation of Taiwan, which first appeared in Kuo’s Taiwan’s Annal from 1994. On the right in the background, a headless nude sculpture has its back facing the viewer, with a few hibiscuses blooming nearby. To the artist, these represent Western influence. In the lower left, an antique stone mortar, a dried-up tree stump, and a strange object shaped like a Lingzhi mushroom a re a l s o s y m b o l i c , s p e a k i n g o f t h e c h a l l e n g i n g p r a c t i c e o f p a s s i n g d ow n a n d continuing Eastern cultural traditions.

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Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale 雙城記-萬園有靈/郭維國個展

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

圖錄 | Plates

報喜圖 Repor ti ng the Good News 油彩、畫布 Oil on Canvas 200x150 cm / 2012 78

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

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蓮蓮有魚

相較於〈報喜圖〉對於政治現象與社會衝突的指涉,乃至於披露了一股批

Lotus and Fi s hes

判的意念,〈蓮蓮有魚〉乍看似乎反映了另一種較單純、唯美和耽逸的藝 術路線。事實上,這裡仍然應用了兩面性的語言,和障眼的表現手法。 從圖像元素切入閱讀此作,清麗脫俗、出淤泥而不染的蓮花,自古受到 文人雅士的喜愛;光鮮亮麗、溫馴合群的錦鯉,一直是民間最喜愛的觀 賞魚,被視為引動活水財源的吉祥物。蓮花和鯉魚的搭配,是美好事物 的組合與祥瑞意涵的共構,同時也應和了「年年有餘」的文字音韻,和 社會大眾的心聲。然而,在此作品中,「有餘」似乎正在走向「不足」看來快成死水的一個小池子,青黃不接的幾株蓮花,棄置在塘邊的傳統 青花瓷、以「鯉魚跳龍門」的卓越姿態,演出和大卷尾鳥在空中爭奪一 口 食 物 的 低 階 戲 … ,這 些 徵 象 都 顯 示 了 ,許 多 美 麗 的 詞 藻 和 美 好 的 事 物 , 其實都面臨了境變與質變、典型將不再或不存的一種處境。

油彩、畫布 Oil on Canvas 200x170 cm 2013

Compared with the direct representation of brutality in Reporting the Good News and its sharp critique of political events and social conflicts, Lotus and Fishes presents seemingly simple and pleasant imagery with an air of contentment. Yet, once again it proves to be a mere disguise for the loaded questions Kuo Wei-kuo hopes to address by playing on words and perceptions. The choice of subject matter for this painting, lotuses and variegated carps, is likely to lead the beholder to view it as a typical auspicious Chinese painting. Traditionally, the lotus is well-loved by Chinese literati as a symbol of grace and integrity. The variegated carp, in contrast, is the most popular pet fish at common homes for its bright and appealing colors as well as its docile and gregarious nature. It is often viewed as a sign of good luck because of its association with running water, which is believed to boost fortune in the Chinese tradition. The depiction of lotuses and variegated carps in one image is presumably extra propitious. It evokes the classical Chinese New Year greeting phrase, nian nian you yu, literally, “having surplus every year,” for “fish” and “surplus” are homophones in Chinese. The phrase can be extended as “prosperity through the years,” a common wish for people. But in reality, Kuo’s painting appears to imply the opposite. Instead of surplus, it shows an image of shortage. A few unhealthy lotuses grow in a small pond of stagnant water. A Chinese blue-and-white porcelain vase is discarded and abandoned by the pond. Although leaping carps represent another Chinese totem that means great progress and promotion, those in the painting are engaged in combat with a black drongo for a small piece of food. The symbolism serves the artist’s intention to subvert the over-exaggerated rhetoric and goodness in modern society. To the artist, much of it faces great changes in context and meaning and many paradigms no longer stand relevant.

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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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-萬園有靈/郭維國個展 A Tale Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 A

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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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月光下福祿雙俠的壽喜

〈月光下福祿雙俠的壽喜〉,描寫了滿月之夜,在荒郊

Joy and L o n gevi t y Un d e r th e Mo o n

野外的一個簡陋小舞台上,兩個動物裝扮、屬性截然不 同的角色,不知是在路上偶然遇合,或相約在這個定點 聚會,雙方正同時進行某種表態、宣誓、或盟約的儀式 場面。圖中,蝙蝠俠裝扮的黑衣人,右手食指正指著天 空,同時護持著一隻黃色粉蝶;穿著梅花鹿裝的另一人, 手持青花瓷淨瓶正在進行灑水儀式(或澆灌著底下水泥 板中的一棵樹),兩人相互靠攏而眼神同時望向畫外的 觀者,彷彿邀約觀畫者見證這場神秘的聚會及儀式,參 與解讀此中所有事物的作用或意涵,包括:同時出現在 此畫中的一顆大壽桃、兩隻喜鵲、以及在路旁的月夜中 進行生死接力的一叢臺灣野百合…等。

油彩、畫布 Oil on Canvas 200x150 cm 2013

84

Joy and Longevity Under the Moon depicts a full moon night, with two completely different characters in animal costumes standing on a crude stage out in the wilderness. It is unclear if the two have met by chance or the meeting was pre-arranged. The scene appears ritualistic, as the two are engaged in an act of announcement, declaration, or alliance. The person dressed as batman is pointing his right index finger towards the sky, while propping up and guarding a yellow butterfly. The other person in a deer costume is performing a water ceremony with a Chinese blue and white ceramics water vase in his hand (or is pouring water on a tree growing from the cement platform underneath him). With the two leaning closely by each other’s side, they are both looking out from the painting toward the audience, seemingly inviting those looking at the painting to witness this mysterious gathering and ritual. Spectators are also invited to decipher the purposes and meanings behind the painting’s various components, including the giant peach, the pair of magpies, and the Formosan lilies at the side going through a cycle of life and death in this moonlit night, and etc.

A Tale of Two Cities Gardens of Spirits Kuo Wei-kuo Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 A Tale Tale of of Two Two Cities Cities --- Gardens Gardens of of Spirits Spirits /// Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 A

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

圖錄 | Plates

白馬公子

〈 白 馬 公 子 〉 的 扮 相 和 造 型, 同 時 顛 覆 了 東 西 方 兩 種 理 想 情 人 的 形

Mr. Char m ing

象。一是西方童話故事中,英俊而富有、勇敢而浪漫,騎著白馬救出 落難美女的少年英雄;二是東方愛情故事中,風流倜儻、溫文儒雅、 有情有義的書生公子。於此,郭維國以坐騎白馬代言王子本人,用書 畫摺扇代替文人公子出場,創造了一個東西合體、人獸不分的「白馬 公子」,像個說書演員一樣,正攤開他貝殼形的道具箱,對著觀眾訴 說著他的陳年愛情故事。貝殼中展示的,實際是與藝術家個人情感記 憶連結的一些生活物件,如筆記本、舊式刮鬍刀、照片、人造花…等, 以及一些指涉身心連屬與情感糾葛的象徵符號,如臍帶、血管…等。 背景中那個由具體物件拼組而成,隱約可看出是女人形象的造型,既 像是這個一人劇場、獨角演員幕後的伴奏者,也像是故事中主角人物 意象的一種浮現。

油彩、畫布 Oil on Canvas 200x170 cm 2013

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

T h e p o r t r a y a l i n t h e p a i n t i n g M r. C h a r m i n g s u b v e r t s d i f f e r e n t We s t e r n a n d E a s t e r n i d e a l s f o r w h a t a p e r f e c t l ov e r s h o u l d b e l i k e . O n e o f t h e m i s t h e h e r o f i g u r e d e p i c t e d i n We s t e r n f a i r y t a l e s , f o u n d i n s t o r i e s w i t h a young, handsome, rich, courageous, and romantic prince, as he sets out to rescue a beautiful girl while riding on a white horse. The other i d e a l i s i n t he f o r m o f a n e d u c a t e d li t e r a t i f ro m Ea s t e r n love s t o r i e s , a n d he is someone who is charismatic, charming, gentle, sophisticated, and r i g h t e o u s . Ku o We i - k u o h a s p e r s o n i f i e d t h e w h i t e h o r s e t o re p re s e n t t h e p r i n c e h i m s e l f, a n d a f o l d e d f a n w i t h c a l l i g r a p h y w r i t t e n o n i t i s u s e d i n p l a c e o f t h e intellectual literati. The result is Mr. Charming, a man-beast hybrid of fusing elements from the East and the West. Like a storyteller, with his shell-shaped prop box opened, he tells of his old love tale to the audience, with objects contained in the shell displaying items that are connected to the artist’s personal emotions and memories, including a notebook, an old razor, photographs, an artificial flower, etc. Also on display are symbols that signify physical and psychological connections and emotional entanglements, such as an umbilical cord and blood vessels. In the background is a form composed of various objects and seems to be in the shape of a woman. It appears like an accompanist for this one-man show, but is also a possible representation of the character from the story being told.

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

(上) 吉 祥 如 意  As the Goat Wishes

油彩、畫布 Oil on Canvas / 150x200 cm / 2013

圖錄 | Plates

(下) 鼠來寶 Mice Hoard Treasure

油彩、畫布 Oil on Canvas / 130x200 cm / 2013

長頸如意百吉圖 Blessings and Ruyi 油彩、畫布 Oil on Canvas 194x112 cm / 2012

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

牛 仔 今 晚 有 約 Cowboy Has a Date Tonight 90

雙城記-萬園有靈/郭維國個展

圖錄 | Plates

油彩、畫布 Oil on C an vas / 200x300 cm / 2010-2012

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

圖錄 | Plates

自 我 形 象系列- 從 19 9 7 年到 2 0 05 年間

從 1997 年- 2005 年間,郭維國不斷透過各種「自我形象」的臆

S er ies o f S elf I mage - From 1 9 9 7 t o 2 0 0 5

自信與數量上,都來的完整與深入。讓我享受創作時前所未有的滿

想 與《 暴 喜 圖 》系 列 的 創 作 ,展 開 與 自 我 內 心 乃 至 深 層 意 識 的 對 話 。 他 曾 自 言 :「 這 段 創 作 過 程 , 比 起 以 往 其 他 階 段 , 無 論 在 作 品 意 念 、 足 與 喜 悅 。」這 個 階 段 的 創 作 主 軸 ,依 他 自 己 的 回 顧 觀 點 ,就 是「 用 矯飾、象徵、隱喻的手法,來表現隱藏於潛意識中的真實角色。畫 中裸露的自我形象姿態、表情、妝扮和物件,建構出來的是一種戲 謔、曖昧、無奈、自我嘲諷的意識。某種層面上,也是一種自信與 解放的宣告。」 2005 - 2011 年 之 間,「 自 我 造 像 」 的 創 作 進 入 另 一 階 段, 最 明 顯 的 是 從 個 人 內 在 意 識 的 挖 掘 ,和 虛 幻 如 夢 的「 個 人 式 寓 言 故 事 」, 立 意 轉 進 到 一 個 比 較 社 會 性 的 大 方 向 ,按 郭 維 國 自 己 的 說 法 ,就 是: 「內容上有著當代性議題強度,隱喻知識性與曖昧性,使之產生一 種有趣弔詭、曖昧錯置的『混雜式的戲劇性』繪畫」。

From 1997 to 2005, Kuo Wei-kuo conducted a ceaseless conversation with his own inner voice and deep conscious through various simulations of his self-image and the creation of the Diagram of Commotion and Desire series. According to the artist, “This creative journey is far more complete and in-depth than any of my previous phases in terms of everything from the message of the works, my confidence in the works, and their sheer amount. I enjoyed such satisfaction and joy the likes of which I’ve never felt before when making art.” Looking back at the main subject matters of his works during this period, he described it as “using disguises, symbols and metaphors to express real characters within the subconscious. The postures, expressions, makeup and objects of self-imaging exposed in the paintings come together to construct a kind of playful, ambiguous, resigned and self-satirizing consciousness. In some ways, they are a declaration of self-confidence and liberation.” From 2005 to 2011, his creative motif of “self-imaging” clearly turned from the excavation of his personal inner consciousness and a sort of dreamy, fantastical personal fable towards a more socially aware direction. In Kuo’s own words, “the content of the works hold power in addressing contemporary and timely issues, while implicitly pointing to knowledge and ambiguity, so that [the works] become a kind of “remixed dramatics” painting, which are intriguing, contradictory, and ambivalent and displaced.”

茶 花 鯉 魚 一 路 相 隨 Ac c om panie d by the Car p with a Cam el l ia A l l A l ong 油彩、畫布 Oil on Canvas / 195 x 150 cm / 2008 92

Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-KuoExhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale 雙城記-萬園有靈/郭維國個展

93


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

戲水天使的不告而別 Fa r e w el l to t h e A n gel P l a yi n g w ith Wate r 油彩、畫布 Oil on Canvas / 200x138 cm / 2006 94

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

圖錄 | Plates

黑色布簾下的偷閒天使 Re s ting A ngel with Bl a c k D rape s 油彩、畫布 Oil on Canvas / 200x138 cm / 2006-2011

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

漂浪暗夜的蒼白郎君 A Night Drifting Pale Man 96

雙城記-萬園有靈/郭維國個展

圖錄 | Plates

油彩、畫布 Oil on C an vas / 200x300 cm / 2009

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

無 法 逃 離 的 巨 塔 I n e s c apa bl e J u mbo To w e r 油彩、畫布 Oil on Canvas / 200x300 cm / 2009 98

雙城記-萬園有靈/郭維國個展

98

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

圖錄 | Plates

紅 色 小 飛 機 - T W 1 6 8 8 Re d Littl e P l ane

- T W1688

油彩、畫布 Oil on Canvas / 200x150 cm / 2010 99


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

紫色花傘下的呼喚 Calling Under the Purple Colorful Umbrella 100

雙城記-萬園有靈/郭維國個展

圖錄 | Plates

油彩.畫布 Oil on C an vas / 150x200 cm / 2010

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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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

102 102

雙城記-萬園有靈/郭維國個展 Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale

圖錄 圖錄 || Plates 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

104 104

Tale ofofTwo Two Cities Cities -- Gardens Gardens ofof Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AATale 雙城記-萬園有靈/郭維國個展

圖錄 圖錄 || Plates 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

圖錄 圖錄 || Plates Plates

202 展 間 的 5 件 作 品, 即 是 這 第 二 階 段 的 代 表 作。 郭 維 國 對這些畫的自我期許是:「為自己以及觀賞我的作品而有所 感應與共鳴者,繪製一幅幅現實生命中不可得的扮演角色, 這是夢想與慾望填補的場域和療傷的地方,也是逃脫現實生 活,顯露『原我』面貌的秘密後花園。」 The five pieces in Room 202 are distinguished examples of this period. The artist’s expectation for these paintings is to “paint the characters and roles that myself and those who find resonance in my work cannot play in real life. This is the domain of dreams and fulfilled desire, a place for healing, and the secret garden where we can escape everyday living and reveal our true self.”

Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 AA Tale 106 106

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

圖錄 | Plates

我的青春小鳥

〈我的青春小鳥〉寫照了即將邁入半百之際,藝術家對少年歲月的緬懷

My Littl e Bir d of Youth

之情。青春何其短暫,暮然回首浮現更多的卻是焦慮。於此,郭維國把 自己的頭部面容,嫁接在助手 20 來歲的軀體上,乍看寫實如真,細看又 覺詭異不凡。側頭凝視前方的郭維國,身如古典雕像般優雅站立,赤裸 的左腳似欲邁步前行,但纏著繃帶的右腳卻是遲疑不動姿態;右手拿著 咬剩一半的水蜜桃,左手停著一隻有翅未展的黑鸚鵡。畫面右邊以柳樹 和曠野連結生生不息的造化自然,左邊以被時間穿透的太湖石和正在落 幕的布幔,指涉個人生命的必然結局,也是人類終須面對的共同宿命。

油彩.畫布 Oil on Canvas 185.5x135 cm 2007

My Little Bird of Youth illustrates the artist’s nostalgia for youth as he is in his fifties. The youth fades so quickly, and as one looks back, what one sees is anxiety more than anything else. To express this, Kuo Wei-kuo tacks his own head and face onto the 20-something body of his assistant; the picture may seem realistic and ordinary at first glance, but is unsettlingly bizarre when examined closely. Looking straight ahead with a tilted head, the Kuo Wei-kuo in the picture stands as elegantly as a classical sculpture; his bare left foot looks to be in mid-stride, but the bandage-wrapped right foot seems steady and still. In his right hand is a half-eaten peach, and a blackbird with wings folded perches on his left hand. On the right side of the composition, a willow tree and the wilderness in the background work together to point to the circular, unending nature of life; on the left, the river rocks penetrated by time and the falling fabric, like the curtain being dropped at the end of a play, signify the inevitable ending of the individual life, as well as the common destiny that mankind as a whole must face at the end.

雙城記-萬園有靈/郭維國個展 108 108

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

圖錄 | Plates

慾望郎君的場域

〈慾望郎君的場域〉以遠景的山巒和近景的大地,構成女性軀

A Wanderer of Desire’s Domain

體與生殖器官意象,中景綻放著一朵代表愛情的玫瑰花,左上 方飛著象徵聖潔心靈的白鴿,近前處是藝術家扮演的撒旦,手 裡拿著代表骨肉親情的象徵物,正浸立在精子外型的水池中, 以神秘的微笑和睥睨的眼神,挑弄著觀者的心理。

油彩、畫布 Oil on Canvas 195x135 cm 2008

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雙城記-萬園有靈/郭維國個展

In A Wa n d e re r o f De s i re’s Do m a i n, t h e a r t i s t a s s e m b l e s a l a n d s c a p e suggestive of the female body and genitalia with the mountain range in the b ac k g ro u n d an d th e dir t g ro u n d in th e f ore g ro u n d. In the mi ddle dis tan c e , a ro s e s ymb o l iz in g l ove s tan ds in f u l l b l oom. A t t h e u p p e r l e f t c o r n e r, a w h i t e d o v e s y m b o l i z i n g p u r i t y a n d holi ness in s pir it h ove r s in f l ig h t. Up an d c l o s e is th e ar tis t in th e role of Satan, soaking in a sperm-shaped pool, flirting with the vie wer’s p s yc h e with a mys te r iou s s mil e an d an impe tu o u s l ook .

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

圖錄 | Plates

天鵝游泳圈

〈天鵝游泳圈〉中,藝術家化身為一個頭上戴著絨毛禦寒帽,身上套著

S wa n S wim Ring

天鵝型泳圈的水中漂游者,畫面左上方與他逆向航行的是,一艘上面躺 著骷髏人的浴缸船;後方透過牽引帶隨他往前流動的,是一座遊樂園的 模型漂島。藝術家在這三者之間,營造了一種若即若離的視覺關係,和 價 值 辯 證 的 邏 輯。 死 亡, 是 人 所 不 欲, 生 不 帶 來 死 不 帶 去 的 自 在 與 輕 鬆,是凡人無法體會的;快樂和財富,為眾人所渴望,在生命大海中拉 著慾望的城堡往前航行,再重再遠也不以為苦,卻是人間常見的現象。 換個角度閱讀,此作也許可以為生命與機緣解密-遠處漂流而去的銅製 浴缸,隱喻死亡之船,飄揚著絲帶為亡靈送葬。而接連在天鵝游泳圈後 方,是一個充滿幻想希望沒有傷痛的樂園,希望無論飄蕩至何處,都能 保有童年的純真和歡愉。

油彩、畫布 Oil on Canvas 150x200 cm 2009

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

In Swan Swim Ring, the artist takes the role of someone floating in the water with a fuzzy cap on his head and a swan-shaped, inflated swim ring on his waist. At the upper left corner of the composition, steering past him in the opposite direction, there is a bathtub-boat with a skeleton onboard. Behind the artist and carrying him forward through momentum is a model-sized floating island of an amusement park. With these three entities, the artist creates a lukewarm and ambivalent visual relationship, as well as a discursive logic. Death is something no one wants, and the freedom and lightness of the lack of burdens in death is incomprehensible to the average human; at the same time, it is a common phenomenon among men that joy and wealth are desired by all, and we can drag the castle of desire forward in the vast sea without complaining about how heavy it is or how far we have to go. Seen from another angle, this piece of work may also provide the solution to the mystery of life and chance: the brass bathtub floating away towards the unknown is a metaphor for death and departure, a funeral boat with flying ribbons, honoring the dead. Right behind the swan swim ring, there is a happy, painless land of fantasy and hope, signifying the hope that no matter where one drifts towards in the sea of life, one can retain the innocence and pure happiness of childhood.

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

圖錄 | Plates

鯉魚知道我的心 The Carp Knows My Heart

〈鯉魚知道我的心〉,以舞台演出的 情境和戲劇性的燈光氛圍,喻寫了藝 術家與雙親之間,不因生或死而斷滅 的情感關聯。畫面中間的拱門,象徵 了生死兩界的分隔,右方以被繩索綑 綁而綴著串珠的一顆巨大心臟,和披 著半套西裝、掛著領帶、仍然冒著蒸 氣的人台等,象徵並追悼勞碌一生的 父親。畫面左方,一條離開水域的大 鯉魚象徵了母親,在畫家細心的護持 下緩緩前行,魚腮邊的一條藍綠色的 絲線,寫照了鯉魚和另一世界的大心 臟之間,從未斷離的情感關係。

In The Carp Knows My Heart, the artist uses a stage performance scenario and dramatic lighting to hint at his relationship with his parents, an emotional connection untarnished and unbroken by death. The arch in the middle of the painting symbolizes the division between life and death; at the right, the rope-bound, bead-adorned giant heart and the still steaming mannequin wearing half a suit and a loosely draped tie symbolize the artist’s ever-working father and his grief at losing him. On the right, a big carp away from water symbolizes the artist’s mother, moving slowly ahead under the artist’s careful ministrations. The bluegreen line next to the fish’s gill is the embodiment of the unbroken emotional connection between the carp and the heart in another world. 油彩、畫布 Oil on Canvas / 200x300 cm / 2008

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

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

圖錄 | Plates

我親愛的褪色 Armchair My Dear Faded Armchair 〈我親愛的褪色 Armchair〉藝術家孤獨地置身雲 霧迷濛、陽光無法透射、常人無法抵達的一個奇 特地理角落,他身穿一件手工粗製的獸皮衣,以 無辜的眼神望著畫外,似乎正在向觀者展示左手 中,象徵權力或血緣身份的晶球骨棒,但是他也 像個受刑者般,被綁架制約在大岩石前的一塊方 寸之地中 -- 身體被繩線穿刺,雙手被綑綁在背後 的樹枝十字架上,兩腳浸泡在一個指涉慾望的圓 形小池中…,在水池正前方的坡地上,一副女性 意象的舊面具掛在小枯樹上,喻寫了因慾望被管 控,生命未受灌溉,愛情失去滋潤的一種感傷情 境。在這個畫面的左上方,一張黑色皮製的扶手 椅漂浮在空中飄零著緞帶,如臍帶班連結到藝術 家 ,郭維國借用這個家中的老物件,象徵已不在 人世的父親,同時寫照父親在記憶中,混合了威 權者、監督者、管控者、教訓者、供養者、勞動者、 陌生者…的多種角色和意涵。

In My Dear Faded Armchair, the artist is alone in a nook of some strange landscape where fogs and clouds blur the vision, the sun doesn’t shine through, and that no one can get to. He wears a roughly made, handcrafted animal skin outfit, looking out from the painting with an innocent expression. He seems to be showing off the crystal ball-tipped scepter, symbolizing power or status, in his left hand; at the same time, he gives off the air of a tortured sufferer, being constrained in a tiny spot in front of a huge rock, with his body penetrated by a rope, hands tied on a cross made of branches behind his back, and feet soaked in a small round pool signifying desire. On the slope in front of the pool, an old mask with a feminine countenance hangs on a tiny dead tree, referencing a sentimental scene of love neglected and a life lacking irrigation, all because of a controlled and manipulated desire. At the upper left of this composition, a black leather armchair floats in midair. The artist uses this long-used item from his household to symbolize his deceased father, depicting the many roles his father played in his heart, including the oppressor, the monitor, the controller, the trainer, lecturer, the provider, the laborer, and the stranger. 油彩、畫布 Oil on Canvas / 150x200 cm / 2009

116

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

117

117


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

Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Kuo Wei-Kuo Exhibition / Gardens of Spirits

118

圖錄 圖錄 || Plates Plates

119 119


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

120 120

Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 AA Tale

圖錄 圖錄 || Plates Plates

( 左 ) 2015- 自塑像 Portrait, 2015

保 麗 龍 、 鋼 St yro f o am , St e e l 400x245x235 c m / 2015

( 右 ) 我 的 一 顆 心 My Only Heart

保 麗 龍 、 鋼 St yro f o am , St e e l 200x152x152 c m / 2015

121 121


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 圖錄 || Plates Plates

進入 201 展間,郭維國重新將我們引回個體的世界,展場正中 央,是一個刻畫了藝術家個人容貌特徵、指涉主體思維和個性特 質的大頭像,策展人從宏觀角度,從這座個人頭像中提出了適用 於世上任何人的一段詮釋: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。

Entering Room 201, the viewers are brought back to the realm of individualism. A large-scale bust vividly presenting the features of its creator, ar tist Kuo Wei-kuo, is found at the center of the gallery, alluding to a human-centered perspective. However, the curator invites the audience to withdraw from the artist’s point of view and examine this work from a general perspective, thus making the following interpretation that stands true universally: “Our thinking activity both starts and ends here. It is the origin of illusion, the incubator of desires and a hint that foreshadows the eventual disillusionment of all.”

122

雙城記-萬園有靈/郭維國個展 Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale

123 123


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

圖錄 | Plates

2015 -自塑像

在這個高達四公尺、量體巨大、炯炯有神直視前方的頭像中,郭維國

Po r t ra it , 2015

將長久在畫布上浸淫演繹的自畫像,抽離再造為大型人物雕像,形制 上雖轉進到一種比較古典風格和簡潔造型的創作方向,但是也延伸了 他所偏好擅長的藝術象徵手法。以這個自塑像而言,人面獸耳的怪異 長相,隱喻了人性內心無法抹滅的某些獸性,而緊套在頭上、感覺往 內 促 縮 而 像 金 箍 咒 的 小 皮 帽 ,也 象 徵 了 社 會 體 制 對 於 個 體 思 想 、情 感 、 慾望等所施加的種種束縛。 註:此頭套之樣式造型,最早出現在郭維國 2007 年之作〈受驚嚇的黑傘俠〉, 藝術家自言,即連皮帽前方開口的小洞,也都是腦海中性慾望無時不在的一種 象徵符號。

保麗龍、鋼 Styrofoam, Steel 400x245x235 cm 2015

To create this work, Kuo Wei-kuo draws inspiration from the many self-portraits he has indulged himself in painting over several years and re-imagines a self-image in the form of a massive 4-meter tall sculpture. The expression of the head Sculpture is solemn with the gleaming eyes staring straight ahead. The sculpture, static and classical in style, appears unusual to the artist’s oeuvre, a closer look will reveal the familiar symbolism for which Kuo is best known. The pointy beast-like ears growing from a human face imply the inerasable brutish nature of the human being. The leather cap fits tightly on the head Sculpture, creating a visual effect resembling the Incantation of the Golden Hoop in the Chinese classic Journey to the West, which tightens on the wearer as a punishment when necessary. To the artist, it embodies the restrains of society on independent thinking, emotions and desires of individuals. *Note: The cap was first seen in Kuo’s painting Horrified Knight with a Black Umbrella in 2007. According to the artist, the opening on the front of the cap epitomizes the sexual desire that hovers over one’s mind at all times.

雙城記-萬園有靈/郭維國個展 124 124 124

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

125 125


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

126 126

A Tale Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 A 雙城記-萬園有靈/郭維國個展

圖錄 圖錄 | | Plates Plates

127 127


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

圖錄 | Plates

我的一顆心

位於這個大頭像正前方,被雕像雙眼中射出的光芒掃描注視的,是一座

My Onl y He ar t

高四公尺象徵永恆不滅的線性金字塔,和一顆懸吊在金字塔框架之中, 指涉了人類身體動能、情感泉源和有限生命的大紅心臟。除了駐足或悠 遊觀看這些個別的藝術元件,藝術家也邀請觀眾步入大心臟底下的草皮 區, 從 宏 觀 角 度 去 凝 視 和 觀 想, 自 古 以 來, 人 類 以 生 涯 有 限 之 軀 追 求 死後永恆存在的歷史志業,或以短期記憶拼組的概念,將散置現場的頭 像、心臟,加上在當代館門口初見的人手、肢體、器官等雕塑,在腦海 中 自 行 想 像 -重 構 出 一 個 更 具 體 、 或 更 完 整 的 人 的 意 象 。

保麗龍、鋼 Styrofoam, Steel 200x152x152 cm 2015

128 Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale 128 雙城記-萬園有靈/郭維國個展 128 128

In front sits the framework of a pyramid symbolizing eternity, gazed upon by the shining eyes of the bust. A large scarlet human heart—a sign of energy, emotion and, conversely, a limited life span—is hung from the 4-meter-tall pyramid. The audience may wander around the individual components that constitute the piece, or they may step onto the artificial meadow inside the pyramid, as the artist encourages them to do, and gaze up at the work. From under the heart, one may contemplate the universal pattern of human pursuits, which seek immortal accomplishments and historic acts by means of transient bodily existence. The work also suggests a possible totality made from fragmented memories, just as the complete image of a human may be imagined and reconstructed in the viewers’ minds from the human organs scattered throughout the exhibition. These include the head and heart in the gallery, but also sculptures of hands, limbs and other body parts on view by the entrance of the museum.

129 129


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

雙城記-萬園有靈/郭維國個展 Tale of of Two Two Cities Cities -- Gardens Gardens of of Spirits Spirits // Kuo Kuo Wei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 AA Tale

圖錄 圖錄 || Plates Plates

131 131


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

雙城記-萬園有靈/郭維國個展 132 132 132

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

附錄 | Appendix

133


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

雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition 雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Kuo Wei-Kuo Exhibition / Gardens of Spirits

134 134

| Plates 圖錄 | Appendix 附錄

135 135 135


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

136 雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition 136 雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Kuo Wei-Kuo Exhibition / Gardens of Spirits 136

| Plates 圖錄 | Appendix 附錄

137 137


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

雙城記-萬園有靈/郭維國個展 138 138 138

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

附錄 | Appendix

139


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

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

附錄 | Appendix

141


143 143


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

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雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

附錄 | Appendix

145


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

146

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

附錄 | Appendix

147


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

148 148

Tale ofofTwo Two Cities Cities -- Gardens Gardens ofof Spirits Spirits // Kuo KuoWei-kuo Wei-kuo Exhibition Exhibition 雙城記-萬園有靈/郭維國個展 雙城記-萬園有靈/郭維國個展 AATale

| Plates | Appendix 附錄圖錄

149 149


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

150 150

雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

| Plates | Appendix 附錄圖錄

151


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

152 152

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

| Plates 圖錄 | Appendix 附錄

153 153


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

154 154 154

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Exhibition

附錄 | Appendix

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

附錄 | Appendix

郭維國 1960   

生於臺北,臺灣

2008   

2007   

學歷 2004    1984       

國立臺北藝術大學美術系美術創作碩士班畢業 私立中國文化大學美術系西畫組畢業

2006   

2005   

個展 2015    2014    2013    2009    2008    2006         2005    2004           2002    2001    2000    1999          1996          1993   

2004    【雙城記:萬園有靈】,台北當代藝術館,臺北,臺灣 【眾生之園:異化的新世界】,今日美術館,北京,中國 【慾圖.吉祥】,大未來林舍畫廊,臺北,臺灣 【郭維國】,大未來林舍畫廊,臺北,臺灣 【暴喜造境 -- 世俗郎君的難隱 Show】,北京大未來畫廊,北京,中國 【世俗難隱】,竹師藝術空間,國立新竹教育大學,新竹,臺灣 【暴喜圖 -- 柳暗與花明】,臺北市立美術館,臺北,臺灣 【暴喜圖之柳暗花明】,大未來畫廊,臺北,臺灣 【暴喜四十】,國立臺北藝術大學綜合展覽廳,臺北,臺灣 【第八屆「李仲生現代繪畫文教基金會」獲獎作品展】,大趨勢畫廊,臺北,臺灣 【暴喜圖 3】,大未來畫廊,臺北,臺灣 【Finished 80%】,Vermont Studio Center,美國 【暴喜圖 2】,臻品藝術中心,臺中,臺灣 【郭維國個展】,東海大學藝術中心,臺中,臺灣 【暴喜圖 1】,臺北竹圍工作室,臺北,臺灣 【夜慾風景】,臺北市立美術館,臺北,臺灣 【郭維國個展】,國際藝術中心,臺北,臺灣 【冷冽張力】,臺灣畫廊,臺北,臺灣

2003   

2002   

2001   

2000    1999         

聯展 2014         2013     

2012   

2011    2010   

2009   

156 156

【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 【同文之變 III】,大未來林舍畫廊,臺北,臺灣 【天人五衰】,關渡美術館,臺北,臺灣 【悍圖入厝 -- 漂泊後凝練的浪漫魂魄】,福利社,臺北,臺灣 【零度狀態 -- 臺灣寫實藝術家作品聯展】,寒舍藝術中心,臺北,臺灣 【美麗臺灣 -- 臺灣近現代名家經典作品展(1911-2011)】,中國美術館,北京,中國 【轉動藝臺灣】,首爾市立美術館,首爾,韓國 【北藝大三十年校慶「感性知識」展覽】,關渡美術館,臺北,臺灣 【藝變者遊行 -- 國立臺北藝術大學傑出校友策畫展】,關渡美術館,臺北,臺灣 【在地對在地 -- 臺北在釜山,悍圖社聯展】,OpenSpace Bae Gallery,釜山,韓國 【蓄勢 ‧ 續勢】,大未來林舍畫廊,北京,中國 【路.不只在兩點之間】,大未來林舍畫廊,臺北,臺灣 【改造歷史】2000-2009 的中國新藝術,北京國家會議中心,北京,中國 【憾&懾《悍圖社 -- 西遊記》】,重慶美術館、四川美術學院美術館,重慶,四川,中國 【2010 當代 TAIWAN ART RAISE】,大未來林舍畫廊,臺北,臺灣 2009 【喜劇】,關渡美術館,臺北,臺灣 【臺北 101 藝圖不軌 2009 亞太國際藝術特展】,臺北 101 景觀臺,臺北,臺灣 【講 ‧ 述 --2009 海峽兩岸當代藝術展】,國立臺灣美術館,臺中,臺灣

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Kuo Gardens Wei-kuo of Spirits Exhibition / Kuo Wei-kuo / GardensExhibition of Spirits

1998    1997    1996    1995    1994    1993    1992    1991    1990    1989    1988    1987    1986    1985    1984   

【惡童力 --2009 悍圖社聯展】,北京大未來畫廊,北京,中國 【後少年硬派 --2009 悍圖社聯展】,鳳甲美術館,臺北,臺灣 【叛離異象:後臺北畫派】,臺北市立美術館,臺北,臺灣 2008 【中間視界 --2008 兩岸當代藝術交流展】,上海 800 藝術區秋季藝術週,上海,中國 【親潮 -- 兩岸架上繪畫新流向】,關渡美術館,臺北,臺灣 【浮動】,鳳甲美術館,臺北,臺灣 【激進意志的風格 -- 九十年代臺灣當代藝術的多元異見】,索卡藝術中心,臺北,臺灣 【男男自娛】悍圖社聯展,大未來畫廊,臺北,臺灣 【移動 -- 臺灣當代壹拾伍人行】,北京大未來畫廊,北京,中國 【Mou.i.kai. 魔 . 藝 . 尬 -- 悍圖 2007】,關渡美術館,臺北,臺灣 【巨視.微觀.多重鏡反 -- 臺灣當代藝術特展】,國立臺灣美術館,臺中,臺灣 【原鄉與流轉:臺灣三代藝術展】北美地區巡迴展,路易維爾大學美術館,路易維爾市,肯塔基州,美國/ 國立臺灣美術館,臺中,臺灣 【凝視的詩意 -- 臺灣當代攝影與繪畫的多重現實景觀】,渥太華市政府藝術廳,加拿大 【MS 8+5 悍圖曼波】悍圖社聯展,國立臺灣美術館,臺中,臺灣 【凝視的詩意 -- 臺灣當代攝影與繪畫的多重現實景觀】,高雄市立美術館,高雄,臺灣 【立異 -- 九○年代臺灣美術發展】,臺北市立美術館,臺北,臺灣 【開新 -- 八○年代臺灣美術發展】,臺北市立美術館,臺北,臺灣 【凝視的詩意 -- 臺灣當代攝影與繪畫的多重現實景觀】,巴黎臺灣文化中心,法國 【原鄉與流轉:臺灣三代藝術】,路易維爾大學美術館,路易維爾市,肯塔基州,美國 【正言世代展:臺灣當代視覺文化】,康乃爾大學強生美術館,美國 【金剛芭比 13 摸】悍圖社聯展,20 號倉庫,臺中,臺灣 【複數大未來】,大未來畫廊,臺北,臺灣 【64 種愛的欲言】,伊通公園,臺北,臺灣 【第一屆臺新藝術獎視覺藝術類入圍】特展,誠品藝文空間,臺北,臺灣 【金剛摸芭比】悍圖社聯展,鳳甲美術館,臺北,臺灣 【金剛芭比打狗轉馬達】,悍圖社聯展,新濱碼頭,高雄,臺灣 【大家一起來金剛芭比摸】,悍圖社聯展,駁二藝術特區,高雄,臺灣 【90 年代臺灣「類古典繪畫」特展】,大趨勢藝術空間,臺北,臺灣 【臺灣當代藝術全集 1 /關鍵報告】,鳳甲美術館,臺北,臺灣 【我與我/藝術家自我探索與刻畫】,高雄市立美術館,高雄,臺灣 【後花園 2 -決了堤的慾望山水】,大未來畫廊,臺北,臺灣 【大音希聲】,鳳甲美術館,臺北,臺灣 【粉樂町 VERY FUN PARK】,伯斯,澳州 【臻品 10 周年慶特展─手稿與創作展】,臻品藝術中心,臺中,臺灣 【粉樂町 VERY FUN PARK】,香港藝術中心,香港,中國 【局部灌漿 -- 冷熱交替的文化成型作用】,帝門藝術基金會/山美術館,高雄,臺灣 【複數元的視野,臺灣當代藝術 1988-1999】,北京美術館,北京,中國/山藝術基金會,高雄,臺灣 【挑動圖碼】,大未來畫廊,臺北,臺灣 【臺灣美術進化觀】,臻品藝術中心,臺中,臺灣 【悍圖社 -- 臺灣文化展】,積禪 50 藝術空間,高雄,臺灣 【捍.悍.鬥陣】,悍圖社首次展,積禪 50 藝術空間,高雄,臺灣 【悲情昇華.二二八美展】,臺北市立美術館,臺北,臺灣 【臺灣藝術的主體性】,臺北市立美術館 1996 雙年展,臺北,臺灣 【臺北傳奇 1980~1995 現代藝術在臺灣】,臻品藝術中心,臺中,臺灣 【臺北藝術群 95 年展】,臺北,臺灣 【臺北藝術群 94 年展】,Ming Shan 畫廊,臺北,臺灣 【1994 臺北市美術雙年展】,臺北市立美術館,臺北,臺灣 【第八屆亞洲國際美術展】,福岡,日本 【風雲際會─邁向顛峰】,積禪 50 藝術空間,高雄,臺灣 【第七屆亞洲國際美術展】,萬隆市,印尼 【臺灣後現代繪畫展】,帝門藝術中心,臺北,臺灣 【中華民國現代美術新展望】,臺北市立美術館,臺北,臺灣 【臺北畫派大展】,臺北,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 【1986 風格 22 展】,臺北畫派,臺北市立美術館 【中華民國當代繪畫展】,韓國國立現代美術館,首爾,韓國 【臺北畫派第一屆大展】,臺北國產藝展中心,臺北,臺灣 【第一屆中華民國現代繪畫新展望】,臺北市立美術館,臺北,臺灣 【臺北前進者現代藝術群】,美國新聞處,臺北,臺灣

157 157


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

附錄 | Appendix

Kuo Wei-kuo

獲獎與榮譽 2005    第五屆〈廖繼春油畫創作獎〉 2004    第八屆〈李仲生現代繪畫文教基金會〉創作獎 2003    第一屆〈臺新藝術獎視覺藝術類〉入圍 2001    美國 freeman 基金會〈亞洲藝術獎首獎〉 1984    〈中華民國青年版畫創作展〉佳作 1983    〈雄獅美術新人獎優選〉

1960    

Born in Taipei, Taiwan

Educational Background 2004     1984    

M.F.A of National Taipei University of the Art, Taipei, Taiwan Graduated from Private Chinese Culture University, Taipei, Taiwan

Selected Solo Exhibitions

典藏記錄 臺北市立美術館,作品:〈黃絲袍〉2005 高雄市立美術館,作品:〈菩提樹下〉2000 國立臺灣美術館, 作品:〈芭蕉樹下〉2002、〈盪鞦韆〉2000 帝門藝術教育基金,作品:〈新樂園〉1994 臺北市立美術館,作品:〈臺灣〉1992

2015 2014 2013 2009 2008 2006 2005 2004 2002 2001 2000 1999 1996 1993

A Tale of Two Cities : Gardens of Spirits, Museum of Contemporary Art, Taipei, Taiwan Sentient Garden: Alienation in a New World, Today Art Museum, Beijing, China Forbidden Wishes, Lin & Lin Gallery, Taipei, Taiwan Kuo Wei-Kuo, Lin & Lin Gallery, Taipei, Taiwan Theater of Commotion and Desire - The Secret Made Visible, Lin & Keng Gallery, Beijing, China Difficult to Concealed from Earthliness, National Hsinchu University of Education, Hsinchu, Taiwan Diagram of Commotion and Desire, Taipei Fine Arts Museum, Taipei, Taiwan Diagram of Commotion and Desire - From Gloominess to a Brand New Bright Start, Lin & Keng Gallery, Taipei, Taiwan Diagram of 40, National Taipei University of the Art, Taipei, Taiwan Award of the 8th "Li Chun Shen Foundation of Contemporary Painting", Main Trend Gallery, Taipei, Taiwan Diagram of Commotion and Desire 3, Lin & Keng Gallery, Taipei, Taiwan Finished 80%, Vermont Studio Center, USA Diagram of Commotion and Desire 2, Galerie Pierre, Taichung, Taiwan Solo Exhibition, Tunghai University Art Center, Taichung, Taiwan Diagram of Commotion and Desire 1, The Bamboo Curtain Studio, Taipei, Taiwan Scenery of Desire in the Dark, Taipei Fine Arts Museum, Taipei, Taiwan Solo Exhibition, Masterpiece Art Center, Taipei, Taiwan Luminescence and Tension, Taiwan Gallery, Taipei, Taiwan

Group Exhibitions 2014

2013

2012

2011 2010

2009

2008

158 158

雙城記-萬園有靈/郭維國個展

A Tale of Two Cities - Gardens of Spirits / Kuo Wei-kuo Kuo Wei-kuo Exhibition / GardensExhibition of Spirits

Master Works on Paper, Lin & Lin Gallery, Taipei, Taiwan "The Pioneers of Taiwanese Artist, 1951 - 1960", National Taiwan Museum of Fine Arts, Taichung, Taiwan Derivations III, Lin & Lin Gallery, Taipei, Taiwan The Decay of the Angel, Kuandu Museum of Fine Arts, Taipei, Taiwan Toughened Hantoo souls sentimentally settled here after their drift, FreeS, Taipei, Taiwan Painting Degree Zero- Realism Artists in Taiwan, My Humble House Art Gallery, Taipei, Taiwan Majestic Island- The Development of Modern Art in Taiwan, National Art Museum of China, Beijing, China Rolling! Visual Art in Taiwan, Seoul Museum of Art, Seoul, Korea Sensible Knowledge, Kuandu Museum of Fine Arts, Taipei, Taiwan Manifestation of Homunculi, Kuandu Museum of Fine Arts, Taipei, Taiwan Local to Local 'Taipei in Busan'-Hantoo art group exhibition, OpenSpace Bae Gallery, Busan, Korea Momentum, Lin & Lin Gallery, Beijing, China The WAY is not merely between two points, Lin & Lin Gallery, Taipei, Taiwan RESHAPING HISTORY Chinart from 2000 to 2009, China National Convention Center, Beijing, China Amazement and Astonishment - Hantoo Art Group's Adventure to the West, Chongqing Art Museum, Sichuan, China 2010 Contemporary Taiwan Art Raise, Lin & Lin Gallery, Taipei, Taiwan Comedies, National Taipei University of the Art, Taipei, Taiwan TAIPEI 101 Top of the World : 2009 Asia Art Link Exhibition, TAIPEI 101 Observatory, Taipei, Taiwan SPEAK . DESCRIBE - 2009 Cross-Strait Contemporary Art, National Taiwan Museum of Fine Arts, Taichung, Taiwan Akudou Power - 2009 Hantoo Art Group, Lin & Keng Gallery, Beijing, China Post Little Tough Guys : Hantoo Art Group 14, Hong-Gah Museum, Taipei, Taiwan Madden Reality : Post- Taipei Art Group, Taipei Fine Art Museum, Taiwan Mix & Match Vision - Contemporary Art Communication Across Taiwan Straits, The Fall Art Week in Shanghai 800 Art Zone, Shanghai, China INTIMATE TREND - Painting from Sichuan and Taiwan, Kuandu Museum of Fine Arts, Taiwan 159 159


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

2007

2006

2005

2004

2003

2002

2001

2000 1999

1998 1997 1996 1995 1994 1993 1992 1991 1990 1989 1988 1987 1986 1985 1984

160 160

FLO A T , H ong-Gah Museum, Taipei, Taiwan S t y l e of Radical Will - the Multiform Nineties : Taiwan's Contemporary Art , Soka Art Center, Taipei, Taiwan Hant o o A rt Group , Lin & Keng Gallery, Taipei, Taiwan Ci t y t o Ci ty , Lin & Keng Gallery, Beijing, China Mou. i . k ai - The Exhibition by Hantoo Art Group , Kuandu Museum of Fine Arts, Taiwan Macr o V i s ion , Micro Analysis, Multiple Reflections-Contemporary Art in Taiwan Since 1987, National Taiwan Place/ Displace : Three Generations of Taiwanese Art, University of Louisville, Kentucky, USA; National Taiwan Mul t i p l e R ealities in Taiwan Contemporary Photography and Painting , Ottawa, Canada Dr e a m Multiple Realities in Taiwan Contemporary Photography and Painting, Ottawa, Canada MS 8 + 5 Hantoo Manbo, Hantoo Art Group , National Taiwan Museum of Fine Arts, Taichung, Taiwan Dream Multiple Realities in Taiwan Contemporary Photography and Painting, Kaohsiung Museum of Fine Art, K aohsi u n g , Taiwan The Mu l t i form Nineties : Taiwan' s Art Branches Out , Taipei Fine Arts Museum, Taipei, Taiwan The Tr ansitional Eighties : Taiwan' s Art Breaks N ew Ground , Taipei Fine Arts Museum, Taipei, Taiwan Dr e a m- Multiple Realities in Taiwan Contemporary Photography and Painting , Paris, France P l a c e/ Di s place: Three Generations of Taiwanese Art , University of Louisville, Kentucky, USA The E r a o f Contention : Contemporary Taiwanese Visual Culture , Herbert F. Johnson Museum of Art, USA K i n g K ong & Barbie 13 , Hantoo Art Group Major Exhibition, Taipei, Taiwan Fut u r e P l urality , Lin & Keng Gallery, Taipei, Taiwan 64 K i nds of Love Words , IT Park, Taipei, Taiwan Tai s hi n A rts Award Visual Arts Top 8 , Eslite Galle ry, Taipei, Taiwan K i n g K ong Touch Barbie , Hantoo Art Group, Hong -Gah Museum, Taipei, Taiwan King Kong & Barbie Start Motor in Kaohsiung, Hantoo Art Group, Sin Pin Pier - Absolutely Art Space, Kaohsiung, Taiwan P l a y wi t h King Kong & Barbie , Hantoo Art Group, Pier 2 Art District, Kaohsiung, Taiwan The 9 0 s C lassical Paintings, Main Trend Gallery, Taipei, Taiwan O euvr e of Contemporary Art in Taipei, Part1 : Critical Reports, Hong-Gah Museum, Taipei, Taiwan I - ness : A bout Me, Kaohsiung Museum of Fine Art , Kaoshiung, Taiwan I n t h e B ackyard 2 - Overflowing Landscape of D esire , Lin & Keng Gallery, Taipei, Taiwan Has No S ound , Hong Gah Museum, Taipei, Taiwan V E RY FU N PARK Contemporary Arts in Taiwan, P erth, Australia E t c hes & Original Works Exhibition, Galerie Pierr e , Taichung, Taiwan V E RY FU N PARK Contemporary Arts in Taiwan, T he Hong Kong Arts Center, Hong Kong, China P l a s t e r i n Segments - The Shaping of Cultural in Turmoil , Dimension Endowent of Art, Kaohsiung, Taiwan V i s i o n s of pluralism 1988-1999 , Museum of Beijing, Beijing, China/ Mountain Art Cultural & Education Foundation K aoshi u n g , Taiwan Unr a v el i ng the Code of Images , Lin & Keng Gallery, Taipei, Taiwan Tai wa n e s e Art Evolution, Galerie Pierre, Taichung, Taiwan Hant o o A rt Grounp - An Exhibition on Taiwanese Culture , G.Zen 50 Art Gallery, Kaoshiung, Taiwan The A r t Exhibition OF Defense, G.Zen 50 Art Gall ery, Kaohsiung, Taiwan S adness T ransformed-2.28 Commemorative Exhibition, Taipei Fine Arts Museum , Taipei, Taiwan The Q u e s t for identity , 1996 Taipei Biennial, Taip ei Fine Arts Museum, Taipei, Taiwan Tai p e i l egend Contempprary Painting in Taiwan 1 980-1995 , Calerie Pierre, Taichung, Taiwan Tai p e i A r t Grounp 95 Exhibition , Taipei, Taiwan Tai p e i A r t Group 94 Exhibition, Ming Shan Gallery, Taipei, Taiwan The Ta i pei Biennial of Contemporary Art , 1994, T aipei Fine Arts Museum, Taipei, Taiwan The 8 t h A sia International Art Exhibition, Fukuoka , Japan The A r t Exhibition Toward Apex, G.Zen 50 Art Ga llery, Kaohsiung, Taiwan The 7 t h A sian International Art Exhibition , Bandung, Indonesia E xhi b i t i on of Postmodern Painting , Dimensions Art Center, Taipei, Taiwan Cont e mp o rary Art Trends , Taipei Fine Arts Museu m, Taipei, Taiwan Tai p e i A r t Group Exhibition , Taipei Fine Arts Museum Taipei, Taiwan Cont e mp o rary Art Trends , Taipei Fine Arts Museu m, Taipei, Taiwan The Ne w Outlook of Contemporary Painting of Republic of China, National Museum of History, Taipei, Taiwan 1987 Ne w Painting Exhibition , Domestic Art Exhib ition Center, Taipei, Taiwan 1986 S t yle 22 Exhibition, Taipei Fine Arts Museum , Taipei, Taiwan E xhi b i t i on of Chinese Contemporary Painting, Na tional Museum of Contemporary Art, Seoul, Korea The Fi r s t Art Exhibition by Taipei Art Group, Dom estic Art Exhibition Center, Taipei, Taiwan Cont e mp o rary Art Trends in the Republic of China 1984 , Taipei Fine Arts Museum, Taipei, Taiwan The Ta i pei Arant-Grarde modern Art Group joint Exhibition, American Cultural center, Taipei, Taiwan

Gardens of Spirits / Kuo /Wei-kuo Wei-kuo Exhibition GardensExhibition of Spirits 雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Kuo

附錄 | Appendix

Award and Honors 2005 2004 2003 2001 1984 1983

Creative Award, Liao Chi-Chun Oil Painting Award, Taiwan Creative Award of Contemporary Painting, Li Chun-shen Foundation of Contemporary Painting, Taiwan Taishin Arts Award Visual Arts Top 8, Taiwan First Prize of Freeman Foundation Asian Awards, USA Excellency of Young Printmark Artist Exhibition of Taiwan, Taiwan Honor of "New Artist Award of Hsiung Shih Art", Taiwan

Collection ‧ Yellow Silk Robe, Taipei Fine Arts Museum, Taiwan ‧ Under a Pipal Tree, Kaohsiung Museum of Fine Arts, Taiwan ‧ Under a Banana Tree, "Playing on the Swings", National Taiwan Museum of Fine Arts, Taichung, Taiwan ‧ New Paradise, Dimension Endowment of Arts, Taipei, Taiwan ‧ Taiwan, Taipei Fine Arts Museum, Taiwan

161 161


雙城記-萬園有靈/郭維國個展 A Tale of Two Cities - Kuo Wei-kuo Exhibition / Gardens of Spirits

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:陳立緯

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

翻譯:王莛頎、勁凱、劉微明、黃亮融、廖蕙芬

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:978-986-91757-2-2 版權所有 請勿翻印

Published by:Taipei Culture Foundation/Museum of Contemporar y 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:978-986-91757-2-2 All Rights Reserved by the Museum of Contemporary Art, Taipei

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 發展行銷與教育推廣組團隊成員 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

Department of Visual Design Deputy Supervisor: Dwadi Chou Specialists: Feng-jian Su, Swa Lin, Meiru Lai 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 Department of Administration Deputy Supervisor:Kate Tseng Specialists:Anita Chen, Vivian Kuo, Ryan Chen, Tsz Ling Ip

雙城記 : 萬園有靈 / 郭維國個展 / 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 978-986-91757-2-2( 精裝 ) 1. 複合媒材繪畫 2. 裝置藝術 3. 作品集 947.5 104018476

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