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在時光裡舞蹈 ..... 時光是嚴苛的舞台,我們總是以肉身迎撞。於是,有了愛,慾,以及種種情愁, 在時間的擦洗下,軀體會斑駁,而靈魂卻愈發明亮。

Dance in the course of time...... We always bump into the time with our own flesh, while the time sets up a stage where we are shown no mercy. Accordingly, there appear love, lust, and all kinds of sentiments.  The flesh erodes by the rubbing of Time, while the soul is glistening all the more

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跟繁華艷麗的歲月說再見 在寂靜中踽踽行走

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< 2017 台灣最美的一道藝術風景 >

策展人 蔡詩萍

身為 21 世紀的台灣畫家,李昕無疑是幸運的。 比起上世紀,八九零年代的喧囂,以及隨之而來的一段藝壇低迷時期,那期間李昕雖然仍在作畫,不過她埋 首解決自己生命遭逢的際遇,使她閃過了那段期間不少台灣藝術家必須面臨的「認同問題」,家國的,土地的, 性別的,身份的,等等。 而李昕,埋首作畫,昂揚跳舞,倔強的,向舊世紀之末告別既往,對新世紀之始宣告未來,2017 年其實是 這份告別與宣告的延續,她去了威尼斯雙年展衛星展,她去了日本福岡亞洲藝術博覽會,而總其成的報告,則是 這次的個展「身體。時光之舞」。 李昕是誰?她是一個努力追尋自我的女人。 她是牙醫師。這證明她有專注於專業的知識與能力。 但,她並不很快樂。 對,「不快樂」這件事,構成了她生命裡激盪不已的成分,也是她的創作裡,時隱時現的,充滿張力的原因。 為什麼不快樂呢? 因為,生命短暫(即便曾經那麼輝煌),肉身脆弱(即便曾經那麼青春),世事總不那麼如意(即便曾經也 有得意),因為她的靈魂深處,飄著一股浮蕩的,迴旋的,總不那麼踏實的創作的衝動。 這樣的焦躁,不安,男性藝術家普遍也有。不過,唯有在自我意識特別敏銳的女性藝術家身上,我們會更為 鮮明的注意到。 李昕的畫,洋溢著手舞足蹈,身體擺盪的音樂性,這是很多人都感受到的。 因而,她同時也是一位佛郎明哥舞者的身份,使人很輕易的就會把舞者與畫家兩種身份,透過畫面的舞蹈性, 因而連結在一塊。 然而,在我看,這樣的連結若太過簡化,會讓我們忽略了,一位創作者,尤其是她出入於舞蹈與繪畫之間, 從容不迫的某種更為根本的內在氣質。 依我看,李昕的畫,跟她的舞蹈,都不過是她生命裡流動性的一以貫之。她的畫風,不具體卻也不完全抽象。 在具體的形象思維中,你可以看到她漂流的筆觸,總想破繭而出。而在不具體的掌握裡,你又可以明白察覺到, 她掙扎的,想告訴你有一股限制,有一種框架,始終在那,尤其對一個思慮敏捷的女人,尤其是! 她的畫,不僅僅是舞蹈風格的,而根本是流動意識的奔騰。 唯有把握住那股奔騰的內在,我們才知道畫面的流動,舞者的狂放,原來都不過是在詮釋那種內在,突顯那 種內在。 有趣的是,藝術評論家在觀察這種藝術家內在的焦躁不安時,若創作者是男性,通常他們會忽略性別,而指 4


出那是個性使然,或甚而直指這是一種創作的手法,或狀態,而往往歸之於所謂的音樂性。 沒錯,我注意到,許多在抽象,半抽象之間移動的男性藝術家,最容易被詮釋成他們的作品充滿音樂性。那 麼,女性藝術家呢?不多,真的不多。 因為,在古典音樂,現代音樂的世界裡,剛好「音樂性」這描述,普遍都發生在男性創作者身上,因而, 很自然的,把音樂性套用在男性藝術家身上,似乎也就理所當然了。 但李昕的流動性,絕不是看來非常典雅的音樂性,非常超然性別的音樂性,所能一筆概括的。 李昕的流動性,是女性自覺,在長期婚姻,家庭,女性角色結構化、呆板化的處境下,一種發乎本能的反抗, 但李昕選擇的路,在現實生活裡,是勇敢的出走,勇敢的做抉擇;在藝術的殿堂裡,李昕選擇的,是奔騰的舞蹈, 是雅俗皆能共賞的比才筆下《卡門》式的佛郎明哥堅毅的舞步,是流動的筆觸下,女人奮起的軀體,以及意志, 如何超克男性,把玩男性,甚至凌虐男性的種種可能! 「身體。時光之舞」創作的年代,橫跨 1990 年代直到近期。這剛好是台灣畫壇,在八零九零,配合著社會 劇變,迎合著股市萬點,從高峰逐漸滑落,而中國藝壇挾其「中國崛起」,成為舉世矚目之焦點,台灣藝術界在 自我認同之後,繼續找尋下一步的新階段。 李昕很幸運,她並非學院畫家,亦非畫壇的公共知識份子,她只是埋首跳她的舞,作她的畫,解決她生命情 境所遭逢的各式挑戰。反而讓我們有機會,完整看到她流動的筆觸下,一個台灣現代女人的前半生故事,以及反 思這些故事的流動的畫面。 每一位創作者,都是心靈異想世界的神,每一段藝術創造的體驗,都是邁向無限可能的試探。但,藝術家 畢竟是生活世界裡的凡人,他們只能可歌可泣的,以創作來完成他們自身有限的體驗,以喚起我們對無垠,對無 限,對可能的極致,有一股堅強不屈的眺望。 沒錯,我們的心靈與身體,都在時間之河裡,不斷的摩擦與碰撞。 於是,我們有了愛與追尋的記憶。 李昕的「身體。時光之舞」,見證了一位女性的現代生活歷程,見證了肉身在戀與恨,在癡與怨,在悲與歡 之間,不得不迎向歲月的種種痕跡。 生命是短暫的,肉身是有限的,然而,藝術,女性藝術家,則穿越時空,為我們捕捉了定格的永恆! 李昕,當然會是台灣 2017 年之後,最美的一道藝術風景!

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Words by the Curator of the Exhibition By Shiping Tsai Henceforth, She, Lee Shin, has become the most beautiful chapter of Taiwan’s Arts world. If I have to sum up my ideas about her in one sentence, the above would suffice! But it always lingers in my mind what Walter Benjamin has done for Charles Baudelaire in “The Storyteller.” A good critic, just like a good curator, should play his role well, to treat the artist’s works as a key, and help the viewers to open as many windows as possible. In the windows of Lee Shin, you should be able to notice that, she is a down-to-earth “woman artist.” I am a feminist sympathizer, for which I take the risk of saying that. However, it would be difficult to delineate the uniqueness of Lee Shin if we don’t regard her artworks from woman’s viewpoint. Furthermore, we can even understand how she would have overpassed many men artists and won her fame of her own character in the Taiwan’s art world. Here is how I understand Lee Shin, her life, her art. Some women artists have dedicated themselves to being artists since very early and treated as opportune events their love, their marriage, their families, in favor of their artist career. Not Lee Shin. She had the talents and opportunities of being artist since childhood, but she has been doing well in the academic, and she is good-looking, too. Under her parents’ caretaking in education, she had been going to schools of high esteem, studied dentistry in a well-known medical school, and went on naturally to practice the medical profession, as well as got married and had a daughter. What went on then? The fairytale of prince and princess went to an end. She plunged in the lowest ebb of her life, and painting became her consolation. Her turmoil mind, apparently banged the wall for exodus, and thereafter, scenes after scenes of the two sexes kept reoccurring on her canvases. Her colors are either dazzling and enchanting, or saddening and trembling. Her compositions are either bold and intimidating, or intense and horrifying. Without gazing at her paintings, you would never understand how a turbulent soul would hide inside her under her slender body and delicate facial contours. Once you understand her contradiction between outside and inside, her fiery bulging energy, it all becomes

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reasonable that she took flamenco dancing as self-catharsis later on. She needed an out flux from inside, and an impetus from outside. Being immersed in the flamenco dancing, roaming romantic, colorful and rhythmic, satisfied her desire deep down in her soul, which she tried very hard to subdue and found no way to hide. Life is a pathway of no return. A metaphor everybody knows. However, life’s pathway can also be a palette. You paint on the way various colors you want, and sometime in your life you sit down and look back at where you come from, and you will be surprised: ”wow, my life wasn’t monotonous after all. Lee Shin’s paintings, from my observation, showed her mind and feelings, which has undergone a tremendous change since her thirty something when she devoted herself to flamenco dancing, matured body albeit. The flamboyant undulant tonality of flamenco dancing has contributed to her current style. The discipline in dancing on expressive body movement stands out, transcribed into her painting skills, particularly in her porcelain paintings. Her delineation of dancing movements is extremely precise, lines vibrant, and colors rich in hues. Lee Shin, by no means, is a woman artist. Precisely as a woman, she sees through the body, elevates the soul, waves the limbs, startles the canvases, and writes down a marvelous chapter of her life as an artist. Thereafter, she has made herself a Taiwanese artist of her own characters.

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< 時光流逝,奮力前行 >

李昕 自述

我看見 我跳舞 1996 年,「我看見 我跳舞」, 第二次畫展,全國巡迴展。當時,剛剛認識林耕,剛剛開始跳舞;我們決定在 畫展中,跳一段佛拉明哥舞蹈,由林耕編舞,找了六個男生 ( 連林耕 ),在我的畫「最後的晚餐」前面舞蹈。當時, 台灣沒有佛拉明哥,大家都好好奇,有點小轟動,也從此,在我人生中,從牙醫、畫畫,岔出一條完全是意外的 路舞蹈。 跳舞其實好難,還好當時錄影不是那麼普遍,youtube 也不流行,因此舞蹈初期,只留下照片,沒有甚麼影片, 因此,肢體僵硬的ㄔㄨㄛ ’ 樣,沒有太多的流傳,留下的都是浪漫的記憶。 女性的翻轉,在當年,並不是那麼理所當的。媽媽一再告誡,女人的貞操是多麼嚴重的事,因此,” 壞女人 ” 的 罪惡感,在腦海裡 ” 嗡嗡 ” 敲個不停。 開始畫畫,不是故意標新立異或是抗議,但是,畫畫的時候,純然的自己,沒有管別人的眼光,於是,情人, 女牙醫師,女畫家與模特兒,男與女系列,最後的晚餐,男人洗澡,男人洗頭,一幅幅有點情色的畫,從我年輕 的身體及心,噴湧而出。還記得,一堆女性朋友,看到我的畫的驚訝、竊竊私語、呵呵笑的表情,好像說出他們 心裡喜歡,卻講不出來的部分,而男生們,被偷窺似的,大部分一臉的尷尬。 30 歲的我,內心的獸釋放在畫布,恣意張狂的舞著。

潘金蓮 2006 年,「台北地圖之尋找潘金蓮」,迷火佛拉明哥舞坊第一個製作的舞劇,與楊世平導演及音樂劇王子王 柏森合作,倒不是想把卡門這樣的角色,藉著潘金蓮直接搬到台北,而是當年情感的飄泊,一段不愉快的婚姻, 對潘金蓮產生投射,潘金蓮是壞女人嗎 ? 我是壞女人嗎 ? 第一次的舞劇,舞蹈及演技表現都不成熟,但是我終於可以藉著這次舞劇,大聲的喊,” 潘金蓮不是壞女人, 他是正常的女人 ”,而潘金蓮是一個精力充沛有創造力的,認真的活,當自己心靈、身體、情慾的主人的女人。 我這個舊時代的女性,總算藉著藝術創作,畫畫、跳舞,一次又一次的心靈洗滌,從罪惡感的深淵慢慢爬出來。

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貓腳印 養貓 20 年。在新店的舞蹈室旁,撿到了喵喵,豆西跌及花花,母貓帶著兩隻小貓,後來豆西跌跟花花趁大人 不在,做了那事,生了四隻小貓,之後,我又陸續撿了好幾隻貓,最多的時候,家裡三十隻貓。 貓到我家,剛開始都瘦瘦髒髒的,一段時間,就變得胖胖的,毛蓬蓬的,但幾年後,又開始變瘦,然後不吃, 然後形如枯槁,最後,尿溼禁 ….,貓咪是最愛乾淨的,最自愛,走到這一步,是多麼的無奈悽慘。每一隻貓都 在我懷裡嚥下最後一口氣。我知道他們很戀家,不喜歡離開家,在他們剛走,身體還溫熱的時候,將腳掌用油畫 顏料印在畫布上,這樣他們就永遠待在家裡,不會離開我。 喵喵、豆西跌、花花、阿海、NICO、臭小貓、灰豆、古錐、公主、NANI、小黑、斑斑、阿財、NICO、 GUAPO、豬頭妹、黑頭、點點、大眼、阿灰、夢娜、小虎,LION,都已經當了小天使 ……,目前家裡還有 17 隻貓。 在養貓的過程中,跟貓玩耍 …..,凝視死亡 …..。

時間 被 時間 上了銬, 就只能當他的俘虜,被他押著走,沒有反抗能力, 直到有一天,突然跟你說, 終點到了,就這樣了 ....

從小,對時間就很有感覺。28 歲時,就感嘆自己已經老了。 跳舞需要年輕的身體。38 歲,擔心再不拚搏就來不及了,於是放下所有的事,包括牙醫、畫畫,全心投入舞蹈。 一轉眼又過 20 年。現在,時間又更加緊迫了,有把握再活二十年嗎? 接下來的歲月,充滿不確定。五年前,髖關節受傷,驚覺身體不一樣了。 人生有如夸父追日,從白天追到日落,最後只能望著令人窒息的殘紅,對著即將到來的黑暗,發出長長的嘆息。 在我人生的最後,要做甚麼呢?甚麼是非做不可的呢? 9


前夫在剛滿 60 歲的時候說,他還要奮力工作到 90 歲,說完兩星期,突然中風,人生突然被迫畫下句點,如今, 攤在床上已經 8 年,全身插著管,不能說話,看不清楚。看著他悲傷的眼睛,日漸縮小的身軀,我已經擠不出半 句鼓勵的話 ….. 。 面對命運殘酷無常,只能低頭。 爸爸有寫日記的習慣,我們整理成一本書,並不是曠世巨作,裡面都只是記載日常雞皮蒜毛的事,但是爸爸走 後,卻是一件留下來最貼近他身影的遺物,他在字行裡仍然活靈活現。 電影「星際效應」,主角說,父母是兒女的 ghost,父母仍然藉著各種可能,夢、文字、氣味、畫、遺物等等, 跟兒女溝通,好像是藏在另一個次元,偷偷的進行密碼輸送。 在畫畫時,我有這樣的想像,顏料一點一滴的堆疊,歲月都駐足在我的筆觸裡。生命的片段在畫布上繼續舞躍 著,每一幅畫都藏著一段秘密,都住著一個 ghost,等著跟關注者進行超越時空的對話。

美 2013 年,跟陳明芳辦了一個聯展「玻陶之歌」,我終於又拾起畫筆。 能夠靜下心畫畫,是多大的福份,莫名的孤獨感及慌張,被油彩隱藏了,轉化了,溶解了 ....。跳舞是個繁華艷 麗的世界,雖然多采多姿,卻也被喧鬧弄得疲累不堪。髖骨的受傷,反而讓我停下來,沉澱省思。 面對內心的各種聲浪,及幽微的變化,如何轉化成為藝術呢 ? 甚麼是美呢 ? 真實的,純粹的,還有,我希望是 ” 不一樣 ” 的,或許這算是一種藝術家的妄念,想要 ” 不一樣 ”, 有時會把自己弄得很焦慮;但是,如果是天生不一樣呢 ? 我喜歡不一樣,從小就是這樣,大家嘰嘰聒聒搶著說話,我選擇沉默;全家聚在一起看電視,我一個人悶在房裡; 教官規定襯衫要塞到裙子,我偏偏拉出來;大家都在晚自習,我趴在課桌睡覺;大家回寢室睡覺,我躲在棉被裡, 用微弱手電筒燈光讀書 ….。不要一樣,我的生命不要一樣,我的作品不要一樣。

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多媒體舞蹈劇場 我想要不一樣,因此,這次的畫展,要不一樣。它不只是一個平面的畫展,也不只是加了立體的瓷器,我還想把 自己的身體也成為展演一部分,因此用舞蹈展現。每個人,都是上帝跟自己合作的傑作,我希望把肢體的美,及 藉著肢體傳遞靈魂的情感,也成為展品,成為一個三度空間的展出;然後,加上多媒體製作,希望藉著影像,超 越空間,甚至超越時間,能夠是一個四度空間的展演。 只要面對時光,都是充滿負面自憐,但是在這次多媒體創作過程,靖傑導演不要我傷感,詩萍也鼓勵我迎擊, 名煒靈慧的目光啟動我超越肉身另一層的生命能量。 我們在海邊拍攝四天,中間還碰到颱風,巨浪的壯闊給了我好大的能量。對生命有一種不同的啟發,突然覺得, 大天大地大海的能量,或許更能承載著我,到達另一種精神境界。或許接下來的創作會有不同。 「我看見 我跳舞」,1996 年的舞畫展,我舞得好ㄔㄨㄛ ’,但對我而言,是一個舞畫創作的開始,而 20 年後, 這次的多媒體舞畫劇展,「身體。時光之舞」,雖然跳舞進步許多,卻因年歲的增長,舞得有點吃力了。 不過, 我想,我會繼續,在時光流逝當中,奮力前行,舞畫到完全不能動為止。

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“I Strive Forward as Time Flies” By Lee Shin I Saw, I Danced At my second exhibition “I Saw, I Danced,” in 1996, I danced with six male dancers at the inauguration. I had met Lin Keng a while back then, and barely started to dance. We decided to dance a flamenco number, choreographed by Lin Keng, in front of my painting “The Last Supper.” At that time, no much flamenco was around in Taiwan, and people were a bit amazed at this event. My life has since detoured to another path, away from dentist practice, away from painting, and danced flamenco ever since. Dancing is really difficult. Luckily, filming was not easy and youtube was not invented yet, my awkward dance movements weren’t remembered very much. What are left are some photos capable of euphemism and some romantic remembrance. The transition of female role wasn’t easy, and the equality between sexes wasn’t taken for granted. My mom used to warn me of woman’s virginity, which should be treasured and guarded. I have been haunted by the guilt of “bad woman” since early. When I started to paint, I wasn’t thinking of being different or posing protests of some kind. The feelings and ideas just came out, and happened to be about lovers, woman dentist, models and female painter, man and women series, the last supper, man in shower, man washing hair. Piece after piece of a little bit erotic paintings formed through my fingers and out of my still young body. Some women friends giggled to see my paintings and seemed to be amused that something deep down in their heart was depicted and related. On the other hand, men friends reacted a little uncomfortable as if they were lurked by a woman voyeur. I, as the age of 30, was like a beast, waving the paws on the canvases. Pan Jin-lian, femme fatal In 2004, I worked hard to produce a musical theatrical piece, “In Search of Pan Jin-lian on the Map of Taipei”. This production called for the best artists, including the director Yang Shiping, actor-singer Wang Boseng, and composer Lee Cheyi…etc.. It was intended, as some might have thought, to place the classical Spanish femme fatal, Carmen in the scene of Taipei. It was more like a reflection of my actual life: was I a bad woman, fleeing from the unhappy marriage? Was Pan a bad woman? First time in the theater, immature dance techniques and acting notwithstanding, I finally cried out: “Pan Jin-lian

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wasn’t a bad woman. She’s normal!” She is a woman full of energy and creativity. She lives full-heartedly and willfully intends to be the master of her own mind and body, and why not, her own desires. I kept painting and dancing again and again. By way of the catharsis of artistic creation, gradually and eventually, being a woman from the earlier age, I finally climbed out of the abyss of sins. Cats’ paw prints 20 years ago, I started to keep cats. They were strayed cats near the dance studio we had in Hsintian. Two of them had baby cats before I realized that I should have them castrated. Since then, I grew the habit of feeding strayed cats, and finally catching them back home to take care of. I had at most thirty cats at home. All the cats were dirty and skinny when they first came to my house. After a while they became fluffy and chubby. But years later on they turned to be skinny again, and stopped eating, and lost control of their own peeing. Cats love to be clean. When they are at this stage, they are not far from passing away. Every cat in my house died in my arms. I know they love being at home. When their souls are leaving their bodies, their bodies still warm, I place their paws on my canvases to leave prints on my paintings. In this way, I know they will always stay at home, and will never desert me. “Meow-meow,” “Doshide,” “What-what,” “Gesundheit,” ”Nichol,” ”Stinky,” “Grey bean,” “Mignon,” “Princess,” “Nani,” “Blackie,” “Stripes,” “Stravinsky,” “Guapo,” “Blackhead,” “Judomal,” “Dot-dot,” “Gray,” “Mustafa,” “Mona,” “Tiger,” and “Lion” are all angels in the heaven. May they rest in peace! There are 17 cats left at home for the moment. In the process of keeping cats, I play with cats and ……stare at the death. Time Cuffed by the time, powerless to resist, I became its prisoner, held in its custody. And it comes one day, It said to you all of a sudden: That’s it. It’s finished. I have been sensitive to time since I was very little. I felt aging when I was 28. Dancing demands young body. When I was 38, I was worried and I needed to catch up. So I decided to give up

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everything, practicing as a dentist, and painting. I dedicated all myself to dancing. In a blink of time, another 20 years have passed. Time is pressing ever more. Do I have another 20 years? Uncertainty reins in the following years. My pelvis was injured 5 years ago, and I was startled to realize that my body was different. Life is like Kuafu, in the ancient Chinese mythology, chasing the sun in vain, from sunrise to sunset, and ends up in gazing the choking faint red, facing the upcoming darkness, issuing his despaired sigh. At the final stage of my life, what is the uttermost important thing that I have to accomplish? My ex-husband told me at his sixty that he would work hard till ninety. And he had a stroke two weeks later. His life was forced to put on a period. It has been eight years that he was bed-bound, piped-in, unable to utter a word, failing in eyesight. I tried to give encouragement but failed to say anything, watching his shrinking body and sadness in his eyes. You can only bow to the caprice of fate. My father used to keep diary. It was not of any kind of literary masterpiece. What he wrote was only some trivial things in his daily life. However, after he was gone, we published this diary, and it became the closest thing we can ever have to feel his presence. His spirit springs among the words. In the film â&#x20AC;&#x153;Interstellarâ&#x20AC;? they say parents are ghosts of their children. Parents can communicate with their children by way of any means, dreams, words, aroma, paintings, and relics. They seem to hide in another sphere, forwarding the encoded message in secret. I have this vision when I was painting: time was fossilized under layers and layers of paints. Fragments of life keeps dancing in the strokes. Each painting holds a secret, a ghost, which is there to strike a conversation with its beholders beyond time and space. Beauty In 2013, the co-exhibition with Chen Mingfang rekindled my passion in painting and I started to paint again. It is a blessing to be able to settle down and paint. Solitude and panic out of nowhere was hidden in colors, resolved in colors, and transformed in colors. Dancing world is pompous and flurry, full of sounds and fury, yet tiring to a great extent. The pelvic injury happened to allow me to pause and ponder.

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How do I transfer the waves of various inner thoughts into art forms? What is beauty? It should be true, pure, and hopefully, distinct. Maybe that is part of an artist’s stubborn fantasy. It can be worrisome when one tries hard to be different. And yet, what if you are born “different”? I like being different since I was little. I chose to be quiet when everybody was blabbering. I chose to be secluded in my own room when the whole family was watching TV. I refused to stick my shirt into the skirt when the school regulation says so. I took a nap on the desk when everyone was indulged in the evening studies. I read with a flashlight in bed when all the classmates were asleep in the dormitory. I refuse to be regular, not my life, not my works. Multimedia Dance Theater I want to be different. This exhibition is different. This is not only a display of two dimensional paintings, and it is not different only with the addition of tri-dimensional porcelain pieces. I also put my body to be part of the display, through dancing. Each person is a masterpiece of god and herself. I wish to show the beauty of the torso and limbs, which carry the soul and feelings, and they become part of the artworks in exhibition. With the assistance of multimedia I trespass into four dimensions and the images cross over beyond time and space. I have been negative and pessimistic in the face of time. However, during the production of the multimedia, the director Lin Jingjie told me not to be sentimental, and the curator Tsai Shiping told me to brace it. The gazes of Mingwei and Linhui incepted another layer of energy beyond my corporal capacity. We shot the scenes by the sea for four days, including during one typhoon’s visit. The huge waves infused in me a lot of energy. I was enlightened to see life in another way. It dawned upon me that the sky and the sea, so immense and powerful, may host me and shift me to a higher spiritual sphere. My following works of creation may be quite different. My dancing was awkward though, in the exhibition “I See I Dance” in 1996. After all, it was the beginning of the joint display of my dancing and paintings. Twenty years later, in this present multimedia dancing-painting exhibition “Torso, a Dance forged by Time”, I may be improved in dancing technique and yet my body feels its limits because of aging. Nevertheless, I shall go on with the strife, I believe, regardless of the cruel time, and continue to paint, to create, to dance until I am totally burned out.

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李昕簡歷 三十歲前,李昕是個牙醫師 , 擁有美國加州牙醫執照,公立醫院醫師。三十歲以後,李昕在 繪畫中探索自己,她的繪畫呈現女性生命火焰般的熱情及狂放,三十五歲以後,認識了佛拉 明哥舞者林耕, 多次到西班牙研習佛拉明哥舞蹈。1994 與林耕成立迷火佛拉明哥舞坊。並推 廣佛拉明哥藝術,在台灣造成風潮。2013 年以後,接觸陶瓷,成為油畫兼陶瓷藝術創作者。 2017,將多媒體,舞蹈,融入繪畫,成為多元肢體繪畫表演藝術家。 繪畫展出 1994 台北美國文化中心個展 " 不明區域 " 1996 台北、台中、高雄文化中心巡迴個展 " 我看見我跳舞 " 1996 參加台北市立美術館雙年展 “ 權力與慾望 ” 1998 台南文化中心個展 " 閣樓女子 " 陸蓉芝教授將李昕畫作 ” 女牙醫師 ” 收錄在台灣女畫家當代年鑑 2000--- 迷火藝術中心常態展出 2013 台華窯瓷器聯展 玻陶之歌 ….. 台北社教館 2014 昕瓷器時代 工作室開幕 2016 十全十美聯展 2017 威尼斯雙年展衛星展聯展 日本福岡藝術博覽會

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繪畫作品介紹 李昕的繪畫色彩絢麗,2000 年以前,繪畫呈現女性生命火焰般的熱情及狂放,並企圖以一個 從傳統解放的女性眼光,重新審視男人,顛覆男女情慾關係。目前以畫貓及舞蹈及愛為主。 李昕的瓷畫善用各種不同質地的釉藥,光 / 無光,粗 / 細,黑 / 白,凹 / 凸,亮金 / 霧金,構 成拼貼趣味,濃烈的顏色表達音符的跳躍及生命的律動。 瓷畫多了油畫裡面沒有的火的淬煉,色彩多了一層神祕的窯變,這種無法完全預期的變化, 更加吸引李昕,一邊要去掌握它、駕馭它,卻又有股神祕的力量帶著色彩自由奔馳,李昕認 為,那是上帝之手,每一個作品都有上帝的鑿斧。 走入任何一種藝術領域,都帶著敬畏的心情。佛拉明哥是一個五光十色,喧鬧繁華的世界, 而畫畫,清澈如水,自在優游。 油畫,畫個人的生命感動,而瓷畫,畫舞蹈的音律,舞裙的搖曳,還有李昕家 30 隻貓咪各種 可愛的姿態。 2017,十月,李昕將在個展安排一個多媒體舞畫小劇場,結合肢體與畫與多媒體,表達對情 慾,死亡,時間與美的愛恨糾葛。

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李昕 アメリカ • カリフォルニア州の歯科医師免許を有し、30 歳までは医師として公立病院に勤務していた。

その後、絵画の中に自身を追い求め、女性の生命の炎のような情熱と奔放さを表現するようになった。 35 歳を過ぎてからフラメンコダンサーの林耕氏と出会い、フラメンコを学ぶため何度もスペインへ渡

る。1994 年に林耕氏とともにフラメンコスタジオ mi-fuego を設立、同時にフラメンコ芸術を押し広め、

台湾で潮流を巻き起こした。2013 年から陶磁器をはじめ、油画と陶磁器芸術の創作者となる。2017 年 にはダンスを絵画に溶け込ませ、フィジカル絵画演技芸術家となった。 絵画出展

1994 年 「不明区域」台北アメリカ文化中心センター

1996 年 個展「私は私のダンスを見た」台北、台中、高雄文化センター巡回 1996 年 「権力と欲望」台北市立美術館ビエンナーレ 1998 年 個展「屋根裏女子」台南文化センター

  陸蓉芝教授が李昕の作品「女性歯科医」を台湾女画家現代年鑑に収録 2000 年 --- mi-fuego アートセンター正規出展

2013 年 グループ展「台華窯磁器」

  Gracias a la Vida….. 台北市立社会教育館 2014 年 昕磁器時代 スタジオ開始 2016 年 グループ展「完全無欠」

2017 年 グループ展「ヴェニスビエンナーレ衛星展」   

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絵画作品紹介 李昕の絵画は色彩がきらびやかで美しい。2000 年までは、絵画において女性の生命の炎のような情熱 と奔放さを表現し、伝統から解放された女性の目線で男性を観察し直し、男女の情欲の関係を覆すこ とを試みていた。現在は主に猫とダンスをする人と愛を描いている。

李昕の磁器画ではさまざまな質感の釉薬がうまく用いられており、光と影、粗さと細かさ、黒と白、 凹と凸、明るいゴールドとマットなゴールドといったコラージュのおもしろみを作り上げ、濃厚で強 烈な色で音符の躍動と生命のリズムを表現している。

磁器画では油画にはなかった火の鍛錬が加わり、色彩には神秘的な窯変が加わった。このように完全

に予期することができない変化がより一層李昕をひきつけ、それをコントロールしようとする一方で、 色彩の自由な疾走感を有した神秘的な力を持つ。「それは神の手であり、どの作品にも神の意志があ るのだ」、李昕はそう考えている。

どの芸術分野においても、常に畏敬の念を持ち続けている。フラメンコは色鮮やかで多様性に富み、

騒々しく賑やかな世界であり、そして絵を描くことは、水のように透き通り、悠々自適なものである。 油画では個人の生命の感動を描き、磁器画ではダンスの音律、衣装のスカートの揺らめく様子、さら には李昕が家で飼っている 30 匹の猫たちのかわいらしい姿を描いている。

2017 年 10 月、李昕は個展においてマルチメディアダンス絵画ミニステージを配し、フィジカルとマル チメディアを結びつけ、情欲、死、時間、美に対する愛憎といざこざを表現する。

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Lee Shin Biography She had been a dentist, certified by the California Dentist Bar, working at a reputed public hospital, before she reached the age of 30. After the age of 30, she explored herself in the paintings, whereas female vitality with fervor and freedom was omnipresent and out of any bounds. When she was 35, she met a flamenco dancer Lin Keng, and traveled with him in Spain to start her journey in quest of the essence of the flamenco art.

In 1994, they started Mi Fuego

Flamenco Dance Company, promoting this particular art form and created a flamenco dance trend in Taiwan. In 2013, she was introduced to the ceramic painting and deeply impressed with its expressiveness. She continued her oil painting on canvases and started to express her creativity on ceramics. In 2017, she fused her paintings with her dances and became an artist with the ability to perform with her torso and limbs. Paintings exhibitions 1994

“Unknown Territory” at American Culture Center in Taipei

1996

“I See I Dance” circular exhibitions at Taipei, Taichung, and Kaohsiung, Taiwan

1996 Invited to the Biennial exhibition “Power and Desire” held by Taipei Modern Art Museum 1998 “Woman at the attic” at Tainan Culture Center; “Woman Dentist” was included in the Annual Collection of Taiwanese Female Artist edited by the famous curator Lu Rong-ju. 2000 Constant exhibition at MiFuego Art Center 2013 Joint Exhibition of Ceramics at Tai-Hwa Pottery Showroom “The Songs of Glass and Ceramics” at Taipei City Arts Promotion Office 2014 Inauguration of Shin’s Chinas 2016 Joint exhibition of Ten Women Artists 2017 Fringe Exhibition of Venice Biennale Fukuoka Art Expo, Japan

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Lee Shinâ&#x20AC;&#x2122;s Paintings Before the year 2,000, her paintings exhibited the flaming and wild passion of women. She tried to reexamine the men from the point of view of a woman liberated from traditions, and subvert the traditional carnal relations between the sexes. For the time being, Lee Shin lives near the beach of Tamshui, Taipei, and keeps painting her cats, her moods, and her love. Her ceramic paintings make the best use of different porcelain glazes, contrast in illuminant/haze, coarse/fine, black/white, etched/engraved, blazing gold/mist gold, creating an interesting interplay of collage. Saturated colors embody the rhymed dance of music notes and impulse of life. In her ceramic paintings one more element is found which in her oil paintings is not present. The scorch of fire in the oven causes a mysterious transformation in colors. Lee Shin is attracted to this unharnessed power, believing it is the Godâ&#x20AC;&#x2122;s will who creates the final product, albeit the artistâ&#x20AC;&#x2122;s intent to harness the glazes. Lee Shin has been in awe of any artistic fields: the flamenco world is full of many colors and vivid in any corners, while the paintings world is lucid and static, allowing people to flow in it without worries. Her paintings represent her sentiments in life, while her ceramic paintings, outlines the rhythms of dance, undulant motions of skirts, and, the various lovely life forms of her 30 strayed cats kept at home. In the month of October of 2017, she will be holding an exhibition, comprised of multimedia dance theater, juxtaposing dancing and paintings, and through it, she will be declaring her ideas of love, death, time and beauty.

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有一天,要把以前所有交往過的男友找來, 做一頓晚餐,請他們吃飯。

最後的晚餐

22

The Last Supper

194.0×112.0cm 120P 1995


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女畫家與模特兒 1

24

Woman Artist and Model No.1

145.5×97.0cm 80P 1997


25


1996 受邀參加台北市立美術館雙年展 " 權力與慾望 "

女畫家與模特兒 2 Woman Artist and Model No.2 116.5×72.5cm 50M 1995

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27


女畫家總是邀請男模特兒上樓畫畫

女畫家與模特兒 3

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Woman Artist and Model No.3

194.0×130.0cm 120F 1995


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1996 受邀參加台北市立美術館雙年展 " 權力與慾望 "

男人洗澡

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Man Taking Shower

116.5×72.5cm 50M 1995


31


林耕有交代,要我說這不是他

男人洗頭

32

Man Washing Hair

91.0×60.5cm 30M 1995


33


琴弦的舞踊

34

Dance of Strings

162.0×97.0cm 100M 1995


35


吉普賽歡宴

36

Feria

53.0×41.0cm 10P 1998


吉他手

Guitarist

131X50cm 1999

37


舞蹈是繁華炫麗喧鬧的世界 , 而畫畫讓我好平靜, 在寂靜中行走,卻一點都不孤獨 .....

漂泊

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Wandering

130.0×89.0cm 60P 1994


39


沉思

40

Pondering

72.5×50.0cm 20M 1995


趴在心上

Sprawling on the Mind

116.5×72.5cm 50M 1997

41


他又進加護病房,每次去看他,他眼睛都睜很大看著我, 但他是看不清楚的,無法說話,只能看著我,我在想, 他想說甚麼,想說恨我嗎,還是,無限悔恨……,還是 .... 為了生命的脆弱,我只能更用力的活

42

regret

53.0×45.5cm 10F 1992


葬情

Love Buried

91.0×65.0cm 30P 1994

43


只要進入繪畫世界, 整個宇宙像是靜止,無聲無息, 只有自己與繪畫的碎碎細語

閣樓女子

44

Attic Woman

130.0×80.0cm 60M 1997


45


男舞者

46

Male Dancer

72.5×50.0cm 20M 1997


捕捉春天的男人 Man Catching the Spring 100.0×65.0cm

40M 1887

47


天亮了,鳥叫,遠處海濤聲,蒼穹由深藍轉變成濛濛的灰藍, 然後,漸漸泛紅 生命又將有新的悸動。捨不得睡。

海風的探索

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Sea Wind Probing

80.0×65.0cm 25F 1996


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很多東西,錢買不到。 愛情,買不到 。 青春,買不到 。 友情,買不到。 時間,買不到 。 健康,買不到 。 命,買不到。 上天堂,買不到。 那我們又何必為錢拼命,為錢煩惱呢

50


男人喝咖啡 Man Having Coffee 116.5×72.5cm 50P 2006

51


女兒彈鋼琴

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Daughter on the Piano

72.5×53.0cm 20P 1998


53


女兒彈吉他

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Daughter Playing Guitar

65.0×53.0cm 15p 2011


55


母與子

56

Mother and Sun

53.0×33.0cm 10M 1993


女兒看電視

Daughter Watching TV

53.0×41.0cm 10P 1998

57


寒夜

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Cold Night

53.0×41.0cm 10p 1998


男人愛女人,女人愛貓 Man Loving Woman, Woman Loving Cats 145.5×89.5cm 80M 2006

59


常常都會懷念 " 以前 ",總想著 " 以前 " 多好,但其實 " 現 在 " 是 " 以後 " 的 " 以前 ",所以 " 現在 " 就是最好的。我 們一直在最好的狀態卻不知道 ... 都要等 " 以後 " 才來說 " 以前 " 多好。

跟貓玩耍

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Playing with Cats

72.5×53.0cm 20p 2007


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晚秋,枯枝,盧草,男人與貓 明明是蕭瑟的季節 我偏偏好想狂野

風中之戀

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Love in the Wind

116.5×80.0cm 50P 2016


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婚前 一支小雨傘 婚後 兩支大雨傘

一支小雨傘

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A Small Umbrella

72.5×53.0cm 20P 2016


65


男人與貓

66

Man and Cat

60.5×45.0cm 12p 2014


LION 貓的走, 好像也帶走了我一條魂魄 ... 心 破了一個洞 ....。 鑽到創作裡,或許能把魂魄重 建起來。

貓撒嬌 Spoiled Ca 65.0×50.0cm 15p 2011

67


雨下個不停,台北城好像淹沒了,天空灰到你以為永 遠不會有晴天,但我知道,沉重的雲會有散去的時候, 雨會停,陽光終究會出現。

台北雨

68

The Rain in Taipei

72.5×53.0cm 20P 1995


人生一定要大醉過一次 在雨中狂奔過, 在海浪裡放肆大笑, 在寒風中哭泣 還要瘋狂的愛過 ....

死亡之吻 The Kiss of Death 60.5X45.5cm 12P 2015

69


陽光臨走前最後奮力的搔首弄姿。 好像人生,一切的準備及能量蓄積,就為最後的時刻;要用 什麼姿態,什麼妝扮,讓人驚嘆,讓人思念。 太陽已經整個隱沒,留下殘紅,及因恐懼而相擁的我們…

觀音山之歌

70

The Song of Mt. Guanyin

162.0×112.0cm

100P 2017


71


抱歉!不再去迷火了 ! 老公, 你自己加油,以後,只想做淡 水阿嬤,遊蕩山林海邊,用繽 紛顏料舞蹈……

與貓共舞 ( 二 )

72

Dancing with cat-2

72.5×53.0cm 20p 2016


木棉花之舞 Dancing in the Kapoks 60.5×45.0cm 12p 2016

73


愛是甚麼呢 ? 愛 ,或許是前世的記憶,累世的糾纏。 愛,讓人狂喜,也讓人心痛

夜空星語

74

Stars Talking in the Night Sky

53.0×41.0cm 10F 1992


75


或許,女人嬌弱的背膀也可以讓男人得到堅定的力量

睡吧我的愛

76

Sleep, My Love

60.5X45.5cm 12P 2015


夕陽的美總給我一種絕望的感覺 但,海濤可以安撫不安的靈魂

暮光 Twilight 91X65cm 30P 2015

77


總覺得男人是喜歡裝成大人的小孩 女人是喜歡裝成小孩的大人 女人的靈魂比男人成熟,但總還是想當小女生 男人從小被迫當大男人,但心智其實永遠長不大

眼眸流轉

78

Glimpsing and Glaring

72.5X53cm 20P 2015


79


不知道是否變得較勇敢,不論再多的努力,很多東西都 無法留下,就像火車外的窗景,美麗的風景不斷從眼前 飛逝,朝 " 未知 " 飛奔。 戀棧,只會不斷有撕裂的苦痛。

櫻花樹下

80

In the Shades of Sakura

72.5×53.0cm 20p 2016


81


望出去就是一片大海, 海給我歡欣,激盪,平靜,傷感,落寞 ..... 五味雜陳,而畫畫,就像料理心情, 酸甜苦辣,用色彩拼盤

夕陽下

82

Sunset

72.5×50.0cm 20M 1997


午后

Afternoon

116.5X80cm 50P 2015

83


與貓共舞 ( 一 ) Dancing with Cat(1) 45.5×33.0cm 8p 2017

84


彩虹之舞 Dance of Rainbow 65.5X53cm 15F 2015

85


其實不是真的很窮, 只是 " 沒有安全感 " 的感覺,讓人覺得自己 " 貧窮 "。 大部分的人都為了 " 沒有安全感 " 死命工作。 不管了 ! 反正我今天要去玩耍 !!

百合之夢

86

Dream of Lily

60.5×45.0cm 12p 2017


87


下午在庭院拔雜草,汗水像雨一樣,然後喝杯咖啡,沖澡,發楞 ... 其實日子可以很單純,很平靜 ......

吃花的貓

88

Cat Biting Flower

53.0×41.0cm 10P 2011


89


錢可以省著用,但是,時間呢 ? 如何省。 時間像流水,眼看著嘩啦嘩啦地,完全不回頭的, 越來越快地,流向盡頭。

褪色的溫柔

90

Faded Tenderness

53X41cm 10P 2015


2014 ,搬到淡水,住在海邊,成為看海的女人, 學習孤獨,褪去表面的金碧輝煌,面對赤裸的原我 學習愛,多付出一些,這必須常常提醒 學習老,對著自己的皺紋微笑,這不容易 學習感恩,老天給我好多,思考如何回饋

遠方的寧靜

Tranquility in the Distance 53X33cm 10M 2014

91


曼飛

92

Fly

60.5×50.0cm 12F 1992


黯黑之舞 Dance of the Darkness 53.0×41.0cm 10p 2017

93


女人是缺了一角的月亮, 總想要找尋那塊缺角,讓自己更圓滿 男人是背著烏雲的太陽, 總想把揮之不去的烏雲掃除,讓自己更閃亮 於是,女人要抓,抓不到; 男人來了,又走了。

潮浪迴吟

94

Echo of the Tidal Waves

145.5X97cm 80P 2015


95


貓爬樹

96

Cat climbing the Tree

53.0×33.0cm 10M 2006


在雲端的貓

Cat in the Clouds

72.5×53.0cm 20P

2006

97


貓玩耍

98

Naughty Cats

45.5×33.0cm 8P 2006


早晨醒來,有如新生,不知昨夜的惆 悵是怎麼回事。 感謝生命,讓我感知一切的美與愁, 欣喜與痛

貓看夕陽 Cat Watching Sunset 53.0×33.0cm 10m 2006

99


抓蝴蝶的貓

100

Cat Catching Butterfly

53.0×41.0cm 10p 2009


喵喵 Meow, meow 72.5×53.0cm 20P 2006

101


昕瓷器 瓷畫又是生命裡一次奇妙的邂夠。琳瑯滿目的各種不同質地的釉藥,讓 我可以在細緻與粗曠,璀璨與低調之間穿梭,而在同一個器皿上塗抹不 同質感的釉藥,讓作品有拼貼的趣味。瓷畫還多了油畫裡面沒有的火的 淬煉,色彩多了一層神祕的窯變,這種無法完全預期的變化,更加吸引 我,一邊想要去掌握它、駕馭它,卻又希望那股神祕的力量帶著色彩自 由奔馳,我的感覺,那是上帝之手,每一個作品都有上帝的鑿斧。開窯 的時候,每每充滿期待與驚喜。

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書名

身體。時光之舞

作者

李昕

策展人

蔡詩萍

版面構成

洪婷麗 常玲美

攝影

吳毅平 楊上賢

英文翻譯

林耕

發行人

李昕

發行日期

2017 10 10

發行地址

台北市南京東路三段 303 巷 8 弄 3 號 1F

電話

02 27182011

e-mail

leeshin@flamenco.com.tw


Profile for leeshinsolea

2017 李昕 身體。時光之舞 多媒體舞蹈舉場+畫展  

在時光裡舞蹈..... 時光是嚴苛的舞台,我們總是以肉身迎撞。於是,有了愛,慾,以及種種情愁,在時間的擦洗下,軀體會斑駁,而靈魂卻愈發明亮。

2017 李昕 身體。時光之舞 多媒體舞蹈舉場+畫展  

在時光裡舞蹈..... 時光是嚴苛的舞台,我們總是以肉身迎撞。於是,有了愛,慾,以及種種情愁,在時間的擦洗下,軀體會斑駁,而靈魂卻愈發明亮。

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