在藝起．焦興濤 Art Together．JIAO xingtao

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焦興濤 個展 JIAO Xingtao Solo Exhibition 03

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Art Together

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Being Together

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"Stool" Apocalypse

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「凳子」啟示錄

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「

子」啟示錄 文 / 藝評家 熊宜敬

焦興濤認為：「當代藝術除了視覺和形式的呈現，

作，成為「藝術事件」中的一份子。

最激動人心的部分，就在於和我們此時此地生存經 驗的貼身聯繫。生命感不是一個抽象的命題，它是

這種「隨機式」的藝術表現形式，數年前延續至今

由每個人此時此刻具體的經驗和感受組成，藝術不

的「羊磴鎮計畫」可作為偏遠鄉鎮的代表，今年六

是形式的冒險和視覺的遊戲，它必須要和我們

月下旬同時於成都太古里中央廣場與上海喜馬拉雅

的日常經驗建立直接的聯繫，觸動人們最敏感部分

美術館舉行的〈在一起—雕塑．裝置〉，則是現代

的刺點。或許，在網絡和信息氾濫的時代，藝術只

都會的範式；今年 10 月下旬至 12 月初，這項〈在

有與公共性相聯繫，才有可能重新成為今天社會化

一起〉展覽更名為〈在藝起〉，移師台北地標 101

生活的主角。」

大樓前的「水舞廣場」（同步於「采泥藝術」畫廊 與「台北國際藝術博覽會—公共藝術展區」展出），

這些年，焦興濤以「隨機式」的藝術形態深入各類

探索海峽兩岸大都會群眾對待公眾藝術與生活藝術

型的社會群聚生活，完全不設定諸如「藝術下鄉」

的態度。

之類的刻板命題，而是每到一地即就地取材、實地

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發掘源自於當地當下生活現狀所衍生或激盪出的藝

專精於高度寫實雕塑的焦興濤，這次的〈在藝起〉

術驚奇；從偏遠鄉鎮到現代都市，融入群眾生活，

展出主角，選擇了不論鄉村或城市大街小巷中經常

觀察社會現象，而後採取最能引起群眾共鳴、吸引

出現的塑料四腳凳子，根據塑料凳子原形鑄銅後上

民眾互動的藝術表現方式，讓常民百姓都能融入創

漆，整齊排列於公共空間，讓群眾自由入座休憩，

「在藝起」於上海陸家嘴綠地公園展出 “Art Together” is on display in Shanghai's Lujiazui Park.

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「在藝起」於上海陸家嘴綠地公園展出 “Art Together” is on display in Shanghai's Lujiazui Park.

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並不限制在椅上刻畫文字，試圖留下群眾於當下參

灣的社會生態，即是圍繞著「政治」，藍色與綠色

與這項創作的印象話語心得感想。

各半，恰恰符合台灣的政治與選舉版圖分配，而這 種於台灣各地極為明確的政治色彩劃分，在台北市

這項有趣的展覽，具有多元化的意義。

卻又是民眾最為淡然的思考，「選人不選黨」跨越 藍綠的現象，是台北市有別於其他縣市的政治認知，

其一，材料性：塑料凳子原本即以輕巧取勝，堆疊

因此，焦興濤試圖以這 101 條具有群眾休憩功能的

收納極為方便，所以才會成為大型表演或廟會喜慶

「凳子」，藉由明顯的政治性色彩來探索台北市群

的最愛，而焦興濤將其轉化為鑄銅，成為極為笨重

眾感性與理性間的社會性，進而與成都、上海的展

的材質，一般人從外表完全無法分辨是銅鑄還是塑

出效果來檢驗海峽兩岸不同人文環境養成下的「社

料，當人們下意識慣性地想去挪動椅子時，即會產

會學」和「行為學 」。

生對於視覺第一印象判別上所衍生難以置信卻又極 為有趣的驚奇感，這種「眼見不為憑」的特殊經驗，

其三，文獻性。所謂「文獻」，一般認知都是後世

讓大眾藉由藝術達到不同的人生體驗。虛與實，輕

對於前代遺留的整理彙集和撰寫，而這組「凳子」，

與重，真與假，雖然材質有異，若以純粹供應人們

焦興濤並不限制群眾於其上自由刻寫文字圖案，試

休憩功能而言卻又一致，成為一種矛盾中的共性，

圖當場即留下當下人們對這項藝術作品最直接的感

衝突中的和諧。

想心得，成為當代群眾書寫當代事件的第一手「文 獻」，而不須後人的取捨。這種對於「文獻」的思考，

其二，社會性。在成都與上海展出時，前者在遊人

打破了既定的歷史承襲，也突破了時空制約。或許，

如織的公共空間，後者在專業的美術館展演空間，

是否能改變「歷史」這個名詞約定俗成的概念還言

同樣一組作品，面對同樣的人群，只因在不同的環

之過早，但是在科技文明急速發展的今天，當「智

境氛圍下，即會產生截然不同的行為模式來對待這

慧型手機」的出現已打破了時空限制、改變了社交

一組作品。上海展覽開幕時，焦興濤在成都展區架

慣性、顛覆了生活方式，「歷史」的解讀和意涵也

了一個錄影機，將成都展區的現場影像即時於上海

將被科技文明急速的壓縮，而焦興濤這件「凳子」

展廳的螢幕上播放，讓兩個城市的群眾相互觀看對

所產生的當下紀錄，就使「文獻」的解讀更加具有

方對待這組「凳子」的不同態度，使這件作品產生

想像空間了。

了同一時間卻跨越空間的特殊「社會性」。 期待〈在藝起〉的展出，能為台灣的藝術人文環境 而在台北，焦興濤製作了 101 條凳子，一條是鑄銅

與泥淖般的政治氛圍帶來輕鬆、有趣卻又發人深省

本色，其他是藍色與綠色，焦興濤敏銳的觀察過台

的新議題。 15

"Stool" Apocalypse Text / Art Critic Hsiung Yi-Ching

Jiao Xingtao said: "Besides contemporary art’s visuals

the contemporary life there. From remote towns to

and forms, the most exciting part is the personal connection

modern cities, he delves into the life of the masses,

with our own existence and experiences. Living is not an

observing social phenomena to find that which

abstract proposition, rather it is formed by every person’s

has most resonance with people, and attracting

concrete experiences and feelings in the here and now. Art

them to interact with artistic expression, so they

is not just an adventure into visuals and a game of forms,

can integrate with the creation, and make the

it must establish a direct link with our daily experiences,

"artistic event" one part.

and touch people’s most sensitive points. Perhaps, with the proliferation of networks and the information age, only when

This form of “random” art form – the "Yangdeng

art contacts with the public will it be possible for it to once

Town Plan" – of a few years ago continues to

again play a major role in people’s social lives today".

this day, and can be a representative of remote towns. “Together – Sculpture, Installation” held

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In recent years, Jiao Xingtao has taken "random"

in the central square of Taikooli in Chengdu and

art forms into the lives of all kinds of social groups,

at the Shanghai Himalayas Art Museum in late

and rather than using stereotypes such as "art in

June this year is a paradigm of the modern city.

the countryside", instead uses local materials, and

The “Together” exhibition which will run from late

draws from the artistic wonders that are found in

October to early December has been renamed

“Art Together – Stool Stories”, and will be moved to

to distinguish that the stools are bronze from just

the " Fountain Square" in front of Taipei’s landmark

looking at them, when they subconsciously go

101 building (simultaneously held at the "Chini

to move them, the first impression is a sense of

Gallery" and " Art Taipei 2015 - Public Art Pavilion"),

incredulity and a sense of wonder brought about

exploring attitudes towards the treatment of

by the difference between the outer appearance

public art – and the art of living by the urban

and actuality. This kind of "seeing is believing",

masses in Taiwan and China.

gives people different kinds of life experience through the medium of art. Real and fake, light

Specialising in highly realistic sculpture, Jiao

and heavy, true and false; although the materials

Xingtao, the protagonist of the “Art Together”

are different, they are still able to fulfil their original

exhibition, selected the plastic four-legged stools

function of seating people, whilst also becoming

that so often appear on the streets in the city and

a contradiction; a conflicting harmony.

countryside. He cast the original stools in bronze and painted them, then neatly arranged them

2. Society. In the Chengdu and Shanghai

in public spaces so that people are free to sit on

exhibitions – the former in a crowded public

them, not restricting the chairs to be depicted

space, the latter in a professional art gallery

in text, in an attempt to give people the feeling

exhibition space – the same work, facing the

of participation in the creation of the current

same crowd, produced very different behaviour

discourse.

patterns due to the different atmospheres. At the opening of the Shanghai exhibition, Jiao Xingtao

This interesting exhibition is open to a wide range

set up a video camera at the Chengdu exhibition

of interpretations.

and showed live footage on a screen so that people could observe the different attitudes

1. Materials: The plastic lightweight stools came

towards the "Stools" in the two cities. This gave

out as the winner, they are convenient to stack

a sense of “society” as the work simultaneously

and store, which is what makes them so popular

spanned the two different spaces.

at large per formances and temple fairs. Jiao Xingtao converted them to bronze making them

In Taipei, Jiao Xingtao produced 101 stools, one in

extremely heavy, and as most people are unable

its original bronze colour, and others in blue and 17

green. Jiao Xingtao’s keen observation of social

historical adoption, as well as breaking through

ecology in Taiwan, which is built around the half

the constraints of time and space. Whether it

blue and green of “politics”, happens to exactly

is able to change the accepted usage of the

match the political and electoral map in Taiwan;

term “history" it is too early to say, but with rapid

this political division is very clear across Taiwan,

developments in technology today "smart phones"

however, in Taipei is largely disregarded; "vote for

have already broken the constraints of space and

the person not the party" which spans the blue-

time, transformed social inertia, and subverted

green divide, shows that the political cognition

ways of life. The interpretations and implications

of Taipei citizens is very different to other cities/

of “history" will also be rapidly compressed by

counties. Therefore, Jiao Xingtao has tried with his

technology, and all the records that Jiao Xingtao’s

101 “stools” – which are for seating the masses and

"Stools" generate, lend more imaginative space to

coloured in obviously political colours – to explore

interpretations of the "literature".

the sociology of the emotional and the rational in Taipei. Then, by displaying the results in Chengdu

The “Art Together – Stool Stories” exhibition is

and Shanghai he is testing the "sociology" and

relaxing and fun but also brings about thought-

"behaviours" that have developed under different

provoking new topics to Taiwan's arts and

cultural environments across the Taiwan Strait.

humanities environment and the mud-like political atmosphere.

3. Literature. So-called "literature" is generally acknowledged to be the collections and writing of later generations regarding that which has been left behind by previous generations. With his group of "Stools", Jiao Xingtao does not limit the freedom of the people in their writings, but tries to give people the most direct experience with the work of art, and become first-hand "literature" in contemporary writing without the need to be accepted or rejected later generations. This reflection on "literature" breaks the established 18

民眾一同參與「在藝起」的展出活動 The public were joining the activity of “Art Together ”.

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在「藝」起—凳子的故事 文 / 藝術家 焦興濤

我常常想，倘若時空跨越一千年，假如那時的人們

的具體經驗和感受組成，藝術不僅僅是形式的冒險

要為我們今天這一百年的藝術選擇一件作品來代表，

和視覺的遊戲，它必須要和我們的日常經驗建立直

對，只能選一件！他們會選擇什麼呢？一部電影？

接的聯繫，並觸動人們最敏感部分。或許，在網絡

一張畫？一尊雕塑？一齣戲劇—好像都沒有令人信

和信息氾濫的時代，藝術只有通過與公共性的聯繫，

服的理由。但是假如我說最有可能選擇的「藝術品」

才有可能重新成為今天社會與文化生活的主角，就

是一部 iphone 手機！相信你可能不會意外。是的，

像古典時期的雕塑，因為佔據廣場和廟堂而成為公

極簡的形式和最科技的材料—它不僅凝聚了這個時

共生活中最重要的部分一樣。

代的審美，還是每個人的日常之用，並且改變了信 息傳播和溝通模式甚至我們的生活方式。

在華人社會隨處可見的塑膠凳子，鮮豔，輕巧，無 處不在，但又幾乎沒人注意。它們可以用上千條的

藝術不應該只是在白盒子的聚光燈下成為某種「一

規模構築整齊劃一的集會方陣，也可以在竹林酒舍，

動不動」的存在，只有真正「活」在此時此刻的生

長街陋巷，零星散亂地出沒，它不僅充滿了一種獨

活與日常中的「形式」，才有可能成為今天的藝術。

特的集體主義的情緒，還因為司空見慣而成為生活 的一部分。它們看起來是那麼的明快、亮麗、喜聞

當代藝術除了視覺和形式的呈現，最激動人心的部

樂見、旁若無人。

分就在於和我們此時此地生存經驗的貼身聯繫。生 命感不是一個抽象的命題，它是由每個人此時此刻 20

塑膠凳所具有的特殊的公共記憶和台灣獨特的「色

「在藝起」首次展出於成都太古里中央廣場 The debut of “Art Together” was in the central plaza of Taikooli, Chengdu.

彩政治」，通過公眾的參與和行為的疊加，包括展 覽一段時期後時間引起的作品變化，以及各種可能 在凳子上刻寫的話語和針對凳子的行為動作，以此 呈現日常與現實政治的敏感性，在這些元素的共同 書寫中，構成作品完整的意義。 21

Being Together - A Story of Stools Text / Artist JIAO Xingtao

A question is always concerned by myself - Which

in he “form” of our daily routine life can be art

work should we choose as a typical example from

today.

the history of art during the past one thousand years? A movie? A painting? A sculpture? A

Except for a visual and formal displaying, the most

drama? The reasons for our selecting seem not

exciting part of art is an interconnection with our

easy to be trusted. However, the result will be

existential experiences at the very moment. The

rational, if I consider an iPhone. Indeed, an iPhone

sense of life is not an abstract proposition. Instead,

with Minimalist form and up-to-date scientific

it is composed of everyone’s concrete experiences

materials not only shows our aesthetic perception

and feelings here and now. Moreover, art is not

in our times, but also used by everyone as our

merely an adventure of form or a game of our

daily tool. Undoubtedly, it changes the mode of

vision, it must directly link to our daily experiences

our information transmission and communication,

in order to touch people’s most sensitive spur.

even the way of our life.

Perhaps, at our information overload time, art is only able to play a major role in our social and

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Art should not merely be static status displayed

culture life, if it links itself to publicness like the

under the spot lamp in a modernist ‘white cube’.

works which installed in various public squares,

Only the “form” living at the very moment and

cathedrals and public halls in classical time.

Colourful and bright plastic stools set everywhere in Chinese communities are hardly noticed.

Thousands of them can be gathered as an assembly matrix, or scattered casually in restaurants and streets. They are not only full of a collectivist emotion, but also become a part of our daily life. They are colourful, bright, genial and self-sufficient.

Through participation of audiences, including words and sentences carved on the surfaces, actions to these stools, and the fade colour and traces resulted from their long-time displaying, the significance of this work is from a mix of our public memory and the unique “colourful politics” 「在藝起」於上海陸家嘴綠地公園展出 “Art Together” is on display in Shanghai's Lujiazui Park.

of Taiwan as well as sensitivity of ordinariness and politics.

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子的美好年代

The Year of the Beautiful Stool 文 / 采泥藝術總經理 林清汶 Text / Vincent LIN, Director of the Chini Gallery

小時候，我在台南鄉下的廟宇旁長大。廟前如有歌

展出時，民眾可以坐在銅凳子上休息、聊天，也可

仔戲或廟會演出，在廣場擺幾十張塑膠凳子，觀眾

以在凳子上留言，落實了公共互動藝術的精神。當

就坐，跟隨台上演出哄堂大笑或是鼓掌叫好，是兒

我看到這些凳子在成都、上海展出的情況，民眾認

時熟知的生活場景。那時，街坊鄰居也常凳子一拉，

真、熱切的參與表情，我知道，焦興濤以材質的巧

坐在涼亭或大樹下喝茶話家常，一張張塑膠凳子儘

妙轉變，並透過公共分享的精神，讓那張不起眼、

管不起眼，卻是低調、沈默又可靠的存在，陪伴我

卻有著重要情感意義的塑膠椅，重新有了生命力。

們度過鄉下的童年時光。 再一次，我又見證了藝術無疆界的潛力。這次「在 隨著時代的轉變，文創、設計的概念促使生活傢俱

藝起」移師到臺北，我特別安排在「采泥藝術畫廊」、

的美學化。現代社會所生產的椅子，講求功能性，

「臺北 101 水舞廣場」、「臺北國際藝術博覽會公

也注重設計美感。塑膠凳子遂在時代美學的浪潮下

共藝術展區」同步展出，讓更多人體驗銅凳子的分

被逐漸遺忘。儘管如此，塑膠凳子所承載的年少回

享精神，生活與藝術零距離。對於焦興濤關心常民，

憶，註記人生時期珍貴的單純質地，始終是我在茲

從生活物件出發的藝術創作，我非常欣賞。一張銅

念茲的事。

椅觸發四、五年級生共有的集體記憶，那個我們曾 有的單純年代。的確沒錯，無論世事如何轉變，唯

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40 年後，焦興濤創作了「在藝起」這件作品。他以

有回歸初心與本質，才是真正價值。「在藝起—凳

塑膠凳子為原型，並以銅鑄成一張張銅凳子。作品

子的故事」，如是說。

I grew up next to a temple in the countryside

also write a message on them, thereby realizing

near Tainan. If there was an opera show or a

the spirit of public interactivity in art. When I saw

temple fair going on, we would set out a few

these stools being exhibited in Chengdu and

dozen plastic stools in the courtyard of the temple

Shanghai and I witnessed how the public were

for the audience to sit on. They would roar with

interacting with them in a serious and enthusiastic

laughter at the performance on stage, clapping

way, I realized that by changing the material they

and cheering - this was a familiar scene in my

are made from and inviting the public to share

childhood. Back then, our neighbors would often

in the experience, Jiao Xingtao had given those

pull up a stool and sit in the shade of a pavilion

unremarkable and yet emotionally significant

or a big tree to sip tea and chat. While those

plastic stools a whole new lease of life.

stools might not be particularly remarkable, their existence was quietly reliable as they

Once again, I was witnessing how there are no

accompanied me through my childhood in the

boundaries to art; art possesses limitless possibility

countryside.

and potential. When Art Together moved to Taipei, we specially exhibited it in three places at once

Times have changed, and the concepts

- the Chini Gallery, Taipei 101 Fountain Square

of creativity and design have triggered a

and the Art Taipei 2015 Public Pavilion - to give

'beautification' of furniture. In this modern tide of

even more people the opportunity to experience

beautification, plastic stools have been gradually

the spirit of those bronze stools and the coming

forgotten. Even so, those plastic stools bear the

together of art and daily life. I also hugely admire

weight of memories, representing a pure and

Jiao Xingtao's compassion for ordinary people,

precious period of our lives, something they always

expressed in his creation of art using everyday

remind me of.

objects. A bronze stool can trigger a memory of Taiwanese adults, that time of innocence and

40 years later, Jiao Xingtao created the work Art

purity, a thing of beauty. That's right - no matter

Together . Using plastic stools as his model, he cast

how our worlds transform, only a return to our real

several stools in copper. When the work opened,

selves and original nature can hold true value.

members of the public were free to sit on the copper stools to chat or have a rest, and could

“Art Together – the Story of Stools� is it.

25

26

「在藝起」首次展出於成都太古里中央廣場 The debut of “Art Together” was in the central plaza of Taikooli, Chengdu.

27

民眾一同參與留言活動 The visitors were leaving the message on the stools.

28

29

藝術家焦興濤在作品上留言 Jiao Xingtao was leaving the message on the stool.

30

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“You can see plastic stools anywhere in a Chinese community; brightly colored, light and easy to use, they're found almost everywhere, but nobody pays them any attention. They can be arranged into formations of thousands of stools for large assemblies, conveying a particular sense of collectivism. They are bright, vibrant, and a delight to behold, utterly unselfconscious in their elegance.”

— JIAO Xingtao

在華人社會隨處可見的塑膠

子，鮮豔，輕巧，幾乎無處不在，

但又幾乎沒人注意。它們可以用上千條的規模構築整齊劃一的集會方陣， 充滿了一種獨特的集體主義的情緒， 它們明快、亮麗、喜聞樂見、旁若無人。 ̶ 焦興濤

32

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Next Stop, Taipei

下一站，台北

「在藝起」於台北 101 展出 “Art Together” is on display at Taipei 101

34

台北市長柯文哲的簽名銅椅凳、台北市文化局長倪 重華的簽名銅椅凳及台北 101 董事長宋文琪的簽名 銅椅凳。 The signatures of Wen-je KO, Major of Taipei City, Chung-Hwa NI, Commissioner of Department of Cultural Affairs, Taipei City Government, and Christina SUNG, the chairman of Taipei 101, are on the stools.

35

36

L. 台北市長柯文哲在作品上簽名 Wen-je KO, Major of Taipei City, was signing his name on the stool.

M. 台北 101 董事長宋文琪在作品上簽名 Christina SUNG, the chairman of Taipei 101, was signing her name on the stool.

R. 台北市文化局局長倪重華在作品上簽名 Chung-Hwa NI, Commissioner of Department of Cultural Affairs, Taipei City Government, was signing his name on the stool.

37

JIAO Xingtao And His Works

38

19992014

焦興濤與其作品

39

詠物—焦興濤轉述「物」的方式 文 / 高名潞 （藝術批評家及策展人，美國哈佛大學博士， 現為匹茲堡大學藝術史暨建築學系助理教授）

藝術創作中最複雜的問題就是物的問題。首先，它

包裝的物品造型。正是這種製作意識，使焦興濤和

離不開用什麼材料和用什麼題材的問題。如果，我

正在表現的物之間產生了距離。恰恰是這個距離體

們把材料和題材看作客觀之物或者客觀事物，那麼

現了藝術家、物和在場之間的關係。實際上，當藝

藝術家如何再現這個客觀之物就引發了唯物和唯心

術家看到、關注、進而思考和表現一個物的時候，

之爭。現實主義 (Realism) 和波普 (Pop) 認為自己

那個物已經打上了藝術家的烙印，物已經不是所謂

是唯物的，而象徵主義和浪漫主義則被認為是主觀

的純然之物了。

唯心的。最後，由於藝術作品必須承載意義，那麼 這個藝術的物又被引申為對另一個物的比興、隱喻、

我也不想在這裡根據焦興濤的這些包裹物來抒發我

轉喻、象徵等等。但是，這種討論特別容易進入解

對這些物的社會意義的想像，比如消費文化的隱喻

讀者的主觀想像乃至偏激的臆想之中，雖然這種想

意義，消費社會的物慾橫流與人性異化等。這些可

像是允許的，但是它有一個走向庸俗社會學的危險。

能確實是作品所給予我們的啟示。但是，這種解讀 只說出了意義的一般性。這些隱喻不但可以從焦興

所以，當我看到焦興濤的那些包裝袋和打上符號的

濤的作品中找到，也可以從奧登博格、安迪沃霍或

那些「物」的雕塑的時候，我不願意把它們看做波

者是其他人那裡找到類似的聯想，並不能指出焦興

普現成品的「唯物」，因為，焦興濤既不直接用現

濤對物的特殊性看法和感受。

成品做作品，也不用翻製現成品的手法製作那個物 的標本，他總是用傳統雕塑的塑造手法去為那些被 40

應當說，藝術作品的唯物或者唯心的問題，是一個

來來往往 Coming and Going 不鏽鋼、漆 Stainless steel、paint 350x345x650cm, 2003

無法到達 Unreachable 漢白玉、漆 Marble 、paint 82x45x41cm, 2009

現代主義時期的老問題。這種二元分離的角度主要

不安。這種誠惶誠恐是對物的一種禮讚，禮讚是一

強調了藝術家的優越地位。無論抽象還是寫實都是

種儀式。這個儀式是對人、物、場「和會」狀態的

藝術家的大腦和眼睛的產物。後現代主義試圖賦予

再現。因此，在中國古代，禮儀是對人的社會關係

物以更多的人性，但是，不論是讓這些物有生活的

以及人與自然的關係的一種讚頌形式。在這個意義

原汁原味（就像波普的現成品），還是讓它們像人

上，雕塑似乎要比繪畫更有儀式意味。焦興濤在重

一樣具有獨立性和自律性（比如注重生態的後現代

慶鬧市區做了一個公共雕塑《塑料袋》，通過尺度、

建築和日本物派），都還是把物和人視為一種二元

方位和材料的質感，焦興濤不但表現了塑料袋的自

的疏離關係。

足、自在和自尊，也表現了中國式購物的國情特點， 同時，焦興濤還賦予了成千上萬批量生產的塑料袋

中國傳統美學講究人與自然的互動關係，山水樹石

一個儀式感，或者禮讚形式。這樣，他就可以復原

因此都有靈性。所謂詠物就是詠嘆自然和萬物的靈

它的靈性。有意思的是，焦興濤一方面在作品中隱

性。這個靈性不是唯物所屬，亦非唯心所給與，而

藏了物（塑料袋）的使用者，但是，那些出現在商

是人、物和場「和會」的情境（context）。這個靈

廈廣場上的千千萬萬的「使用者」們卻每時每刻都

性不是可衡量的物理性指標，也不是靜態的可以用

環繞在這個《塑料袋》身邊，這就是詠物，對物的

眼睛一覽無遺地捕捉到形，它是時刻處於運動中的

禮讚。只不過對於這些購物者的芸芸大眾而言，他

人、物、場三者之間的關係。其實，我們通常所說

們所參與的詠物和禮讚可能是無意識的，甚至是被

的意境也就是這個意思。焦興濤說：「我一直保持

迫的，而對於藝術家而言，則是有意識地創造出來

著對材料的熱情，所以，對於『重量』、『肌理』、『軟

的「和會」。

硬』等概念的固有理解方式總是心存疑慮。」 也就 是說， 他對物理屬性表示懷疑，而對材料的生命屬

2007 年 10 月 30 日於北京酒仙橋

性感興趣。所以，焦興濤不會用現成品，他「一定 要通過泥塑的方式進行轉述，才感覺完整」。轉述 建立在藝術家對物的靈性的理解和體驗之上，因此， 焦興濤的手工製作的觸覺感就不單單是一種模擬形 體的再造活動，同時也表達了藝術家努力轉述靈性 之物的強烈慾望和過程。有時候，焦興濤還會惋惜 和同情那些被自己強行打上商品記號（他稱之為「強 行紋身」）的木頭等物質，為自己的極端行為感到

43

Requiem for Matter – The Transformation of Material by JIAO Xingtao Text / GAO Minglu (Associate Professor, Department of History of Art and Architecture, University of Pittsburg, Visiting Professor, Sichuan Fine Arts Institute (Ph.D., Harvard University)

The most complex question in the creation of

personal cynical imagination. Although such

art is a question of “material”– what particular

subjective interpretation is permitted in reading

material(s) to use and what to make of it? If we

art, it risks converting art into a form of superficial

look at raw material or subject matter as objective

sociological re-interpretation.

subjects or external objects, then the way by

44

which an artist “re-present” objective subjects

Therefore when I read Jiao Xingtao’s sculptures

would entail

a conflict between objective

of shopping bags and other “matters” with

materialism and subjective idealism. Realism and

various markings, brands and labels on them,

Pop Art schools deem themselves “materialists”,

I did not want to view them as “materialism’

while Symbolism and Romanticism are viewed

found in ready-made objects

as “subjective idealism”. Some may believe that

context. For Jiao does not use any readymade

objects of art must have meanings and hence,

or found objects to create his art, nor would he

artworks would be re-interpreted and seen as

simply “make” a replica of objects by using a

comparisons, inductions, metaphors, metonymies

simple method of duplication. Instead, he would

or symbols . But any discussion or interpretation of

always apply traditional sculpting techniques and

art as such would very easily infuse the reader’s

methods to shape those objects to be created,

own subjective conception or turn it into his own

and it is this sense of creation that sets a distance

in the “Pop”

between Jiao and the objects he creates. It is this

work of art is always the end product of an artist’s

distance that reflects the relationship between

imagination, sight and touch. Postmodernism

the artist, the objects he creates and their settings.

attempts to enrich objective matters with

In fact, when an artist sees, regards, ponders and

humanity, but whether objects of art can in

goes further to interpret an object; the subject

fact be enriched with the essence and spirit of

matter has already been “branded” by the

contemporary life (as in the readymade or found

artist’s own marks to become no longer a natural

objective matters used in Pop Art) or enlivened

objective matter.

with life-like individuality and discipline (such as post-modern architecture with a focus in its

I would not want to interject my personal

relation with nature or Japan’s Mono-ha school

imagination or sociological interpretation on Jiao

which adopts found or natural materials in the

Xingtao’s works or his “packaged objects” – such

works), either methodology could still only be seen

as consumerism, the exuberance in materialism

as a polar separation between human and his

or human alienation in a consumer society.

objects.

Although Jiao might have actually intended to hint through his works such sociological criticisms,

Traditional Chinese aesthetics emphasizes the

any such personal interpretation would only be

interactive relationship between man and

a superficial analysis of the meanings of Jiao’s

nature, thereby projecting

works. Similar message can also be found in works

natural objects, materials and even landscapes.

by Claes Oldenburg, Andy Warhol or others, but

“Requiem for Matter” is an article dedicated to

such interpretation cannot highlight the unique

the appreciation and yearning for the spirituality

viewpoints and feelings of Jiao towards his

of nature and all things beautiful. The spirituality as

objects.

such does not belong only to objective matters,

spirituality into

nor is it a blessing from idealism; instead, it is Perhaps the question of materialism or idealism

resonated in the context in which man, his objects

as reflected through works of art is an age-old

and their environment mingle and intertwine. Such

question in the modern world; and such polar

spirituality is not a quality measurable by physical

separation serves the purpose of labeling the

rules , nor has it a still form comprehensible at one

superiority of artists. Be it abstract or realistic, a

single glance. It is but a relationship formed among 45

man, his objects and their environment, in which

and nature. In such context, sculptures usually

all components are in constant interaction. And

appear to be more ritualistic than paintings.

this is what we usually mean by “context”. Jiao

Jiao has created in Chongqing city centre the

Xingtao says: “I have always been interested in

sculpture “Coming and Going” (which displays

matters and materials, and have therefore been

a large plastic shopping bag) . Through the

querying the conventional way of understanding

measure, position and contextualization of this art

different material’s mass, texture, hardness and

work in Chongqing city centre, Jiao re-presents

etc.” In other words, Jiao questions the physical

the self-fulfillment, self-contentment and self-

attributes of different materials and fancies

respect of all plastic shopping bags , which not

the life-like properties in them. Therefore Jiao

only reflects the characteristics of consumerism

would never use found materials in the creation

in modern China, it also transforms the billions

of his work. He would “never feel complete

of mass-produced plastic shopping bags as a

without transforming the material by sculpting it”.

whole into a monument. By doing so, Jiao restores

Transformation in an artistic sense is founded in

the spirituality of plastic shopping bags, and at

a spiritual comprehension and experience with

the same time, users of such plastic shopping

the material. Hence, Jiao’s artwork is not merely

bags, unknowingly circle around the sculpture

a re-presentation of objects, but it is the actual

“Coming and Going” day and night to take a

realization of his strong desire and execution

closer look and in fact pay tribute to such artwork.

which perseveres in his transformation of materials

This is a requiem, a tribute to matter, an object

with spirituality. Sometimes, Jiao would even pity

and materialistic idealism. Yet, for the numerous

and sympathize his artworks which have been

users of plastic shopping bags in the city, their

“branded” unwillingly by him with his marks

participation in this requiem for matter and

(which he terms “coercive tattooing”), and feel

tribulation of material may be unconscious — if

guilty for his intrusive behavior. Such perception of

not compulsive. But for the artist, it is a consciously

respect and fear of material is in fact an ode or

created “harmonious resonance”.

rite extolling the harmonious relationship between man, his objects and their environment. In ancient China, rituals were a form of laudation to extol the relationship between man and society and man 46

October 30, 2007 at Jiuxianqiao, Beijing, China.

蜿蜒的形體 Winding Form 玻璃鋼、漆 Fiberglass、paint 240x39x25cm, 2005

47

綠色日記 Green Diary 玻璃鋼、漆 Fiberglass、paint 108x108x124cm, 2005

48

Requiem for Matter

49

拱 Arch 玻璃鋼、漆 Painted Fiberglass 130x71x73cm, 2008

50

橙 Orange 銅、漆 Painted Bronze 101x90x80cm, 2005

51

52

天堂的禮物 A Gift from Heaven 玻璃鋼、漆 Fiberglass、paint 220x220x210cm, 2007

53

54

軟著陸 Landing 玻璃鋼、漆 Fiberglass 、paint 800x720x350cm, 2008

55

56

龍行天下 The Powerful Dragon 複合媒材 Mixed media 258x38x170cm, 2011

57

“For Jiao does not use any readymade or found objects to create his art, nor would he simply “make” a replica of objects by using a simple method of duplication. Instead, he would always apply traditional sculpting techniques and methods to shape those objects to be created, and it is this sense of creation that sets a distance between Jiao and the objects he creates. It is this distance that reflects the relationship between the artist, the objects he creates and their settings.”

— GAO Minglu

焦興濤既不直接用現成品做作品， 也不用翻製現成品的手法製作那個物的標本， 他總是用傳統雕塑的塑造手法去為那些被包裝的物品造型。 正是 恰恰是

種製作意識，使焦興濤和正在表現的物之間產生了距離。 個距離體現了藝術家、物和在場之間的關係。 ̶ 高名潞

天堂的禮物 ( 局部 ) A Gift from Heaven（Detail） 玻璃鋼、漆 Fiberglass、paint 220x220x210cm, 2007

59

Requiem for Matter

來來往往 Coming and Going 不鏽鋼、漆 Stainless steel、paint 650x320x365cm, 2003

61

JIAO Xingtao Biography

62

焦興濤簡歷

63

焦興濤 1970

生於四川成都

1996

畢業於四川美術學院 獲碩士學位 現任教於四川美術學院雕塑系教授、主任

個展 2014

「真實的贗品—焦興濤的雕塑」，華山文創產業園區 & 當代美術館，臺北

2012

「常·藏·場—焦興濤 2012 作品展」，白盒子藝術館，北京 「Present-Perfect-Tense — 焦興濤雕塑作品展」，東亞藝術博物館，英國

2010

「在— 焦興濤 2010 作品展」，“器”空間，重慶 “Wraped Desire”，Canvas International Art，荷蘭

2008

“Breaking the Waves” ，Opera Gallery，倫敦

2007

「詠物」— 焦興濤雕塑作品展，香港藝術中心，香港 「物語」— 焦興濤雕塑作品展，季節畫廊，北京

聯展 2015

「Copyleft- 中國挪用藝術」，PSA 當代美術館，上海 「教學的力量」當代藝術展，喜馬拉雅美術館，上海 「空中樓閣—藝術與 3D 打印」當代藝術展，成都當代美術館，成都

2014

第十二屆全國美展優秀作品展，中國美術館，北京 「再雕塑—三官殿一號」當代藝術展，湖北美術館，湖北 「日常之名—成都藍頂藝術節主題展」，藍頂美術館，成都 「生態—成都錦江濕地雕塑展」，錦江濕地雕塑公園，成都 「文明第二回：榆林」當代藝術展，西安當代美術館，西安

2013

「景觀再造—中國當代藝術展」，德布勒森美術館，匈牙利 「延伸—大同國際雕塑雙年展」，和陽美術館，大同 「未曾呈現的聲音 —中國當代藝術展」，威尼斯，義大利 「Scope Art Basel」，巴塞爾，瑞士

2012

「西部雙年展」，寧夏美術館，銀川 「當代藝術意義範式的轉移」邀請展，藍頂美術館，成都 「去魅中國想像—廣州三年展項目展」，廣東美術館，廣州 「CANTUS FIRMUS—固定旋律」， W139 藝術中心，荷蘭

2011

「破碎的文化 = 今天的人？」中國當代藝術展，威尼斯，義大利 「天下海牙—中國當代雕塑展」，海牙，荷蘭 「清晰的地平線—1978 年以來的中國當代雕塑」，寺上美術館，北京

64

「無法缺席—當代藝術展」，文軒美術館，成都 2010

「南京雙年展」，江蘇美術館，南京 「傳播的圖和轉譯的像」，伊比利亞當代藝術中心，北京 「中國性—2010 當代藝術研究文獻展」，本色美術館，蘇州 「改造歷史—2000-2009 年中國新藝術」，國家圖書館，北京

2009

「意派—世紀思維」當代藝術展，今日美術館，北京 「未來．同行」提名展，阿拉里奧畫廊，北京 「首屆重慶青年雙年展」，重慶會展中心，重慶

2008

「中國金—中國當代藝術展」，馬約爾美術館，法國 「OPEN 國際雕塑裝置藝術展」，威尼斯，義大利 「南京三年展」，南京博物院，南京

2007

「從西南出發—西南當代藝術展 1985—2007」，廣東美術館，廣東 「浮游—中國藝術新一代」，韓國國立現代美術館，首爾 「能量—精神、身體、物質」 今日文獻展，今日美術館，北京 「後先鋒—中國當代藝術展」，香港

2006

「首屆中國當代藝術年鑑展」，中華世紀壇世界藝術館，北京 「人文．山水」—中國惠州當代雕塑藝術展，惠州，廣東

2005

「景觀．世紀與天堂—成都雙年展」，成都國際會議展覽中心，成都 「雕塑百年」邀請展，城市雕塑規劃展覽館，上海

2004

「中國．想像—中國當代雕塑展」，杜伊勒里公園，巴黎

2003

「北京首屆國際美術雙年展」，中國美術館，北京

2001

「重慶辣椒—中國當代藝術展」，卡塞爾大學藝術學院，卡塞爾

2000

「第二回青年雕塑家邀請展」，中國美術學院美術館，杭州 ; 青島雕塑藝術館，青島 ; 深圳雕塑院，深圳

1999

「99 青年雕塑家邀請展」，重慶，上海

獲獎 2015

獲重慶市第五屆美術作品展覽，一等獎

2014

獲第十二屆全國美術作品展覽，銅獎 獲中國雕塑學會，公共藝術獎

2013

獲全國城市雕塑評選，優秀獎

2012

獲全國城市雕塑評選，優秀獎

2009

獲重慶市首屆青年雙年展，優秀獎

2002

獲北京國際城市雕塑邀請展，提名獎

2001

重慶市首屆文藝專項獎

1999

作品《魂．韻》獲第九屆全國美術作品展覽，銅獎

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JIAO Xingtao 1970

Born in Chengdu, Sichuan Province

1996

Sichuan Fine Arts Institute, Master’s Degree Sichuan Fine Arts Institute Department of Sculpture, Professor

SOLO EXHIBITION 2014

“The Real Counterfeit - Jiao Xingtao’s Sculpture”, MOCA Taipei

2012

“Chang·Cang·Chang” - The Solo Exhibition of JiaoXingtao, Gallery of White Box, Beijing “Present-Perfect-Tense-Jiao Xingtao’s Sculpture”, Museum of East Asia, Bath, Britain

2010

“Be” by Jiao Xingtao, Organhaus Art Space, Chongqing “Wraped Desire”, Canvas International Art, Amsterdam

2008

“Breaking the Waves” , Opera Gallery, London

2007

“Requiem for Matter” by Jiao Xingtao, Hongkong Arts Centre, Hongkong “Matter Morphosis” by Jiao Xingtao, China Art Seasons, Beijing

EXHIBITION 2015

“Copyleft—Appropriation Art”, Power Station of Art, Shanghai “Power of Education”, Himalayas Museum, Shanghai “Castles In The Air—Art and 3D Printing”, MOCA, Chengdu

2014

“The Twelfth National Fine Arts Works Exhibition”, National Art Museum of China, Beijing “By the Name of Dailiness-Contemporary Art Invitation Exhibition” , Blue Roof Museum, Chengdu “Ecology-Jinjiang Wetland Public Sculpture Exhibition”, Chengdu “Civilization 2th: Yulin”, OCT Contemporary Art Terminal, Xi’an

2013

“Spectacle Reconstruction Chinese Contemporary Art”, Debrecen, Hungary “Datong International Sculpture Biennial”, Da Tong “Chinese Independent Art 1979-Today” Collateral Event of the Biennale Arte 2013, Venice “Scope Art Basel”, Basel

2012

“Cantus Firmus”, W139, Amsterdam “Diversion of Contemporary Art Value Paradigm”, Blue Roof Museum, Chengdu “Guangzhou Triennial”, Guangdong Museum of Art, Guangzhou “West Biennale”, Yinchuan Museum of Art, Yinchuan

2011

“Cracked Culture - The Quest for Identity in Contemporary Chinese Art”, Collateral Event of the Biennale Arte 2011, Venice “The Hague Under Heaven - Contemporary Sculpture from Chin”, Hague “Start from the Horizon - Chinese Contemporary Sculpture from 1978”, Si Shang Art Museum, Beijing “No Absence - Inaugural Exhibition of Wenxuan Art Museum 2011”, Wenxuan Art Museum, Chengdu

2010

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“The Big Bang - Contemporary Chinese Art from the White Rabbit Collection” , Beijing

“Nanjing Biennale”, JiangSu Art Museum, Nanjing “Nature of China : Contemporary Art Documenta”, True Color Museum, Suzhou “Reshaping History” Chinart from 2000 To 2009, China National Convention Center, Beijing 2009

“Yi Pai - Century Thinking” Contemporary Art Exhibition, Today Art Museum, Beijing “Future - Together” Nomination Exhibition, Arario Gallery, Beijing “First Chongqing Young Artists Biennale”, Chongqing Convention Center, Chongqing

2008

“China Gold” - Chinese Contemporary Art Exhibition, Musee Maillol, Paris “OPEN - International Exhibition of Sculptures and Installations, Venice “Nanjing Triennial”, Nanjing Museum, Nanjing

2007

“Set From Southwest: Exhibition of Contemporary Art”, Guangdong Museum of Art, Guangdong “Floating : New Generation of Art in China”, National Museum of Contemporary Art, Korea “Energy – Spirit ,Body and Matter” , Today Art Museum, Beijing “Concord But Diverse” China Contemporary Sculpture Art Exhibition, Yanhuang Art Museum, Beijing

2006

“First Annual China Contemporary Art Exhibition”, Beijing World Art Museum, Beijing “Humanity · Landscape: An Exhibition of Contemporary”, Huizhou,

2005

“Scenery, Century and Heaven” Chengdu Biennale, Chengdu International Exhibition & Convention Center, Chengdu “100 Years of Sculpture” Invitation Exhibition, Shanghai Urban Planning Exhibition Hall, Shanghai

2004

“No Boundary” Construction Site Art Exhibition. Chongqing “China · Imagine” China Contemporary Sculpture Exhibition, Jardin des Tuilleries, France

2003

“First Beijing International Biennale”, National Art Museum of China, Beijing

2001

“Chongqing Chilis” Contemporary Art Exhibition, Germany School of Arts and Design, University of Kassel, Kassel

2000

“The 2nd China Youth Sculpture Invitation Exhibition”, China Academy of Art Museum of Art, Hangzhou; Qingdao Sculpture Museum, Qingdao; Shenzhen Sculpture Academy, Shenzhen

1999

“Young Sculptors Invitation Exhibition”, Chonqging, Shanghai

AWARDS 2015

5th Chongqing Art Exhibition, First prize

2014

12th National Art Exhibition, Bronze Medal

2013

National City Sculpture Award, Excellence Prize

2012

National City Sculpture Award, Excellence Prize

China Sculpture Institute, Public Art Prize

2009

First Chongqing Biennale for The Youth Artists, Excellence Prize

2002

Beijing International Urban Sculpture Invitation Exhibition, Nomination Prize

2001

Chongqing Inaugural Art and Literature Specialty Prize

1999

9th National Art Exhibition, Bronze Medal

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Ⅰ.

采泥藝術畫廊

主辦單位：

Chini Gallery 10.24-12.06.2015 Ⅱ.

合辦單位：

臺北 101 水舞廣場

Fountain Square, Taipei 101 10.30-11.15.2015 Ⅲ.

台北藝術博覽會 Art Taipei 2015 10.30-11.02.2015

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特別感謝：

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