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新苑藝術 Galerie Grand Siècle
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風輕日暖-作為一席風景
 
展出藝術家|柳依蘭,張騰遠,廖文豪,蘇子涵
開幕時間|2016/03/18 6:30pm
展覽時間|2016/03/18 – 2016/04/24
展覽地點|新苑藝術
開放時間|1pm - 6pm (Tue - Sun),週一與國定假期休

The Silver Lining of Art
Artists|LIU Yi-Lan, CHANG Teng-Yuan, Liao Wen-Hao, Su Tzu-Han
Opening|2016/03/18 6:30pm
Time|2016/03/18 – 2016/04/24
Venue|Galerie Grand Siècle
Open Hours|1pm - 6pm (Tue - Sun),Closed on Monday.
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風輕日暖── 作為一席風景 The Silver Lining of Art新苑藝術三月份隆重推出旗下藝術家聯展:柳依蘭、張騰遠、廖文豪、蘇子涵。四位藝術家於去年仍持續其亮眼表現,並在創作內容、展出空間、形式均有突破。屆此,各界或許獲得較多關於藝術家創作結果的資訊,然而,本次聯展將使用「抽象比喻」,從側面描述藝術家,描述藝術家的創作環境以及生活理念,試圖描繪藝術家們如何作為台灣當代藝術的風景,甚或是台灣溫暖環境下「土地的」、「未來的」、「意念的」、「城市的」風景。

  柳依蘭將於新苑藝術首度展出雕塑作品。柳依蘭筆下的人物符號及表現手法,近年臻於成熟,她也以漸進的方式探討其對土地、家庭、社會的愛,一次探討一個議題。她期許,雕塑作品的登場不僅僅是表面上跨領域的嘗試,而能以更加「人性化」的角度,讓心裡的藝術與觀眾溝通,期許溝通能更加直接、真誠和雋永。

  張騰遠在2015年赴德國科隆Art.Fair展出,紐約媒體Studio International 以「亮眼」、「令人莞爾」等形容詞撰寫張騰遠相關報導,去年張也在Café Showroom展出小雕塑系列,彈性活潑地延展其作品理念,關於末日地球的再創造 (Reinvention),張將以更無厘頭、跳接的方式呈現。本次聯展,張騰遠將發表尚未曝光的全新系列。

  廖文豪近期關注水墨工筆與寫意之間的過渡區域,作品帶有魔幻寫實的味道。毛筆為創作的載體,流著中國美術史的血液,儘管如此,廖文豪仍試圖打破水墨的既定藩籬與觀念,順從心的律動,追求「點畫信手煩推求」的境界。去年廖也發行集結10年創作的作品集《一思一念》,除了透過文字、圖像了解藝術家,本次聯展也將營造其工作室空間,邀請觀眾一同品味水墨創作的韻味。

  蘇子涵,一月剛在洛杉磯LAM Gallery、新加坡Art Stage Singapore兩地展出,她利用環氧樹脂建造的城市小故事,具體剖析巨大都市裡的共時性 (Synchronicity),她的表現手法不僅觸及人內心最柔軟的地方,啟發對甜美的想像,同時也能嚴肅探討快速演化的資訊社會。她的新作裡住進了小動物,舒適與危機並存,輕聲道出都市裡的危險存在。

  本次聯展《風輕日暖──作為一席風景》將提供更多互動形式,深入觀眾與藝術家的交流。藝術家的創作環境、生活理念能為作品提供更多說明,甚至補足觀眾在原先的解讀裡缺失的那一條線索。將藝術家視為藝術的主體,以及藝術的一部分,於此同時,觀眾亦將融入藝術的風景裡。



Galerie Grand Siècle excitedly presents its first exhibition of the year 2016— group exhibition in March, The Silver Lining of Art: LIU Yi-Lan, CHANG Teng-Yuan, LIAO Wen-Hao and SU Tzu-Han. These four artists have made remarkable progress last year in terms of expression, form and exhibition experience. For now, it is fair to say that audience from all walks of life receives the information about the artistic results of them; however, it could be supplemented by a more comprehensive perspective on the artists as part of the scenery of Taiwan’s contemporary art. This exhibition draws the narratives of the artists extending to their primary thoughts and faiths in lives, trying to look into the artists as part of the scenery of Taiwan’s contemporary art, which features “local”, “future”, “contemplative”, “urban” scenery of Taiwan.

LIU Yi-Lan’s sculpture work will be firstly exhibited in Galerie Grand Siècle. These years, LIU’s brushes and symbols of figures turn more euphemistic, walking gradual steps to unfold the serious topics of love toward local land, family and society; one issue tackled per work. Through sculpture, she expects herself, not merely overcoming dimensions, but reach deeper communications with audience, eliciting “humane” concerns on artists for a lasting communicative experience.

CHANG Teng-Yuan went to Art.Fair, Cologne Germany in 2015. Studio International published in NY described CHANG as “brilliant” and “amusing”. CHANG also presented his small sculpture series in Café showroom, elastically expanding his artistic concepts based on the reinvention of earth after the doomsday. In this exhibition, his latest series will flip over audience’s imagination by jumpcuting the genres of humor.

LIAO Wen-Hao is currently challenging and experimenting on the transitional area between fine brush and free sketch. His works reflect the gleams of magical realism. It is reasonable to track the ink brush with its background of Chinese art history; nevertheless, LIAO insists on surpassing the boundaries and stereotype on ink painting. He follows the mind flow in pursuit of ancient Chinese literati’s ideal “letting nature guides the wilding of brush”. This exhibition will re-present a part of his studio, trying to provide clues behind artist’s creation. It also encourages contemporary audience to taste the essence of historical ink painting. 

SU Tzu-Han just came back from the exhibitions at LAM Gallery, LA and Art Stage Singapore 2016. Her epoxy-built cities accommodate interesting stories sharing the synchronicity of the whole entity. Her techniques of expression not only touch one’s pure heart with lovely embellishment, but bring up the serious concern on the fast-evolving city. In her latest works live a few ignorant animals, implying the jeopardy in the co-existence of civilization and nature.

This group exhibition The Silver Lining of Art provides interactive artistic environment for audience. It is believed that perceiving the artist as a part of his or her works could probably make up the missing point in one’s interpretation. In addition, we hope the scene of this exhibition could be further completed by the silhouette of audience.

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日本重量級現代抽象藝術大師木村秀樹,台灣首次個展隆重豋場! 隨著甫落幕的高雄藝術博覽會,木村秀樹作品已獲得許多迴響與讚賞。此次新苑藝術將於2016年初呈現一系列完整抽象大師的作品,開幕時間於2016年1月8日晚間6點半,木村秀樹將親臨現場。1948年於京都出生的木村秀樹,畢業於京都市立藝術大學,主修西洋繪畫,1988年獲得日本政府資助獎學金,前往美國賓州大學藝術學院進修,年輕時即獲英國國際版畫雙年獎,此後更獲京都文化獎、京都當代藝術獎,重點收藏單位包括日本、美國、加拿大與德國等美術館機構。

木村秀樹熱愛朦朧的存在,能隱隱悠遊於兩種不同的事物之中, 卻又不隸屬於任何一方。本次展出作品《Misty》,是理性下的線條交織,亦是感性渲染裡的堆疊,營造出曖昧的模糊氛圍及衝突性,不知不覺使感官進入緊繃狀態。那像緩緩移動、不受拘束的迷霧有著神秘危險的張力,觸及了觀者內心底層的感受。 

我們看見這個世界的真實空間,卻掌握不住無邊無際的朦朧感。觀者隨著《Misty》雲霧走進另一個空間,啟動了另一個想像,然而,我們仍舊身處在這真實又清晰的世界裡。

The master of Japanese abstract artist- Hideki KIMURA is going to make his debut in Taiwan!  Galerie Grand Siècle will hold Hideki Kimura’s solo exhibition following up the popularity at 2015 Art Kaohsiung Fair. The opening ceremony will begin at 6:30 p.m. on Jan. 8, 2016. Kimura-san will come and join the opening ceremony.  

Hideki KIMURA, born in 1948, Kyoto, Japan, was graduated from Kyoto City University of Arts with majors in oil painting and printmaking.  In 1988, he was sponsored by Japanese Government to study Fine Arts at University of Pennsylvania USA. In his early 20s, he was awarded the British International Print Biennale. In 2009, he was honored by Culture Prize and Kyoto Fine Art Culture Prize by Kyoto Prefectural Government. His works are mainly collected by National Museums in Japan, Germany, USA and Canada.  

Hideki KIMURA is obsessed with ambiguity in existence, where the subject can sway in between two different sides but not confined to anyone. Misty, the exhibiting series feature the interweaving of rational moves and the overlapping of sentiments, which brings about the ambiguous atmosphere and provokes contradiction behind. His works could create a sense of unknown tension without advanced awareness of audience by the expression of misty, which moves slowly and unrestrictedly, carrying the sinister implication that could touch the deepest nature of beholders.

The physical world stands in front of our eyes every day; however, it always conceals an endless sense of ambiguity. As audience follows the movement of Misty and walks into a different space, imagination is given birth. Nevertheless, as audience turns around, the real world appears.

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ART KAOHSIUNG 2015, Kaohsiung, Taiwan
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Art Fairs 藝博會|Art Kaohsiung 高雄藝術博覽會 12/11-12/13
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ART TAIPEI 2015 台北國際藝術博覽會
2015.10.30-11.02
展位 Booth : D08 F01

參展藝術家 Artist : 鄭亭亭 Cheng TingTing、廖文豪 Liao WenHao、張騰遠 Chang TengYuan  、柳依蘭 Liu YiLan、蘇子涵 Su TzuHan
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Art Fairs 藝博會 │ Art Taipei 台北藝博 10.30 - 11.2
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Post-,鄭亭亭個展 Post- Solo Exhibition by CHENG Ting-ting
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ART TAIPEI|Booth D08 F01|10/30-11/2 2015
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「Post -」是藝術家鄭亭亭繼2013年初在新苑藝術個展「___之間的距離」後,在台灣暌違兩年的個展。本次展覽展出藝術家這兩年內,於英國倫敦進修時所創作的新作品—This is so last year、Colour Chart以及尋找中國城,其中This is so last year是繼今年二月在西班牙ARCO展出後,第一次回亞洲展覽,而Colour Chart則在今年初贏得了日本舉辦的亞洲創意獎(Asian Creative Award),在本次展覽中與尋找中國城一起於全球首次展出。

Post-在英文中,代表著某個被認定時段之“後”的時代,這次的展覽藉由裝置、錄像以及攝影,探討人(This is so last year)地(尋找中國城)物(Colour Chart)三者在當下後殖民、後身份認同(Post-Identity)時代中之間的關係。當一切都變成了“之前”的“之後”,那我們對未來又期待著什麼?而相對於那些那些不遠的歷史,我們真的已經到了Post-everything的時代嗎?

展覽以貼在落地窗上的This is so last year開始,透過漸層量表,突顯種族分類模式的荒謬。走進了展覽空間之後,觀眾會先看到Colour Chart,Colour Chart包含五對攝影作品。為了該系列,藝術家在倫敦的亞洲超市尋找帶有“東方”符號,充滿“異國風情”“不尋常”的食材,搭配不同物件在不同顏色的背景前拍攝。
最後進入暗室中,則是錄像作品尋找中國城。以及其搭配的燈箱與壓克力塊。在尋找中國城中,藝術家探討倫敦已消失的中國城—Limehouse,它的存在與否以及它消失的原因。

從人、物,到地,我們與近代歷史的關係為何?我們是否真的走出了文化所帶來的歧異,又或是其實我們還是在原地打轉?

藝術家鄭亭亭自2009年於英國倫敦西敏大學攝影學系碩士畢業後,在當年馬上獲得當地該年度的Signature Photography Award,其作品開始在歐洲各地展出,並在2011年時回到台灣於台北市立美術館展出國內首次個展「物件奇想」,並在2012年繼續回到倫敦金匠大學進修,於2014年完成純藝術碩士學位。鄭亭亭於2011年開始與新苑藝術合作,於2013年初展出在該空間的第一次個展「__之間的距離」。其他個展包括Nomart Gallery (日本大阪,2014)、Luis Adelantado(西班牙瓦倫西亞,2013)、 Identity Gallery(香港,2013)、Rowan Art(英國倫敦,2012)、Addaya Art Centre(西班牙馬略卡,2011)等等。其作品利用攝影、文字、錄像與裝置,探討不同文化之間的互動,在建構出的歷史架構之下的交互關係。


“Post –” is a solo exhibition by artist CHENG Ting-Ting since her previous solo exhibition “Distance in Between” two years ago in early 2013 at Galerie Grand Siècle in Taiwan. This exhibition presents the artist’s latest series – “This is so last year”, “Colour Chart” and “Looking for Chinatown” created during her further study in London. “This is so last year” is presenting its first time in Asia after exhibited in ARCO, Spain. And “Colour Chart” has won the Asian Creative Award earlier this year in Japan, this exhibition is its first time exhibiting with “Hunt for Chinatown” worldwide.

The word “Post” in English implies a time after a specific time. And this exhibition is employing installation, video and photography, to discuss issues among the relations between people (This is so last year), land (Looking for Chinatown) and objects (Colour Chart), within Post-Colonial context and Post-Identity era. When everything has become “the after” of “the before”, what do we expect for the future? Yet, compared to the histories that weren’t that far away, have we truly arrived at a Post-everything era?

The exhibition starts with the words “This is so last year” on the window, through the gradually layer, highlighting the absurdness of the racial classification system. Entering the venue, the audience would firstly confront “Colour Chart”, which included five pairs of photography. To accomplish the series, the artist searched for objects that have “Oriental” symbols, “exotic” or “uncommon” foods, then shot them at backgrounds with different colours.
Lastly the audience may enter the darkroom and watch the video work – “Looking for Chinatown”, along with the light boxes and acrylic blocks. In this video, the artist discussed the vanished Chinatown – Limehouse, whether it exited and why it’s vanished.

From people, objects to land, what is our relationship with modern history? Have we truly walked out of the divergence of cultures, or we are just spinning around where we were?

Artist CHENG Ting-Ting has won the Signature Photography Award the same year right after her graduated from her master degree of Photography in Westminster College, London. Her works were widely exhibited around Europe afterwards, and she presented her first solo exhibition “Object Fantasy” in 2011, then returned to pursue further study at Goldsmiths College in 2012, London. CHENG started cooperating with Galerie Grand Siècle in 2011, and presented her first solo exhibition “Distance in Between” at Galerie Grand Siècle. Other solo exhibition venues including Nomart Gallery (Osaka, 2014), Luis Adelantado (Valencia, 2013), Rowan Art (London, 2012), Addaya Art Centre (Mallorca, 2011) etc. She is good at exerting photography, text, video art and installation, to explore interactions between different cultures, and relations between built histories. 

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Added photos to 島嶼的深情容顏 - 柳依蘭個展 An Affectionate Portrait of the Island - Yi-Lan LIU Solo Exhibition.
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