參觀粉樂町:大安舊宅 I Have Come to a Place Where Depression Caught Me out of the Blue

即將被拆的舊屋包裹著竹片






大安舊邸 
Daan Old Mansion
信義路四段30巷21弄25號 
25, Aly.21, Ln.30, Sec.4, Xinyi Rd.
11:00-18:00 (Tue.-Sun.)
週一公休 Closed on Mon.
日本藝術家岸本真之以日常物件為創作素材，一般家庭中回收不使用的杯、碗、盤、茶壺、花瓶、甕等陶瓷器具，以日本傳統的「金繼」修補工法，將破損或裂痕處接合，使之物命得以延續、並以新的形態重生。這些器皿雖已棄置不用，卻曾經與每個家庭的生活密不可分，早已傾空的容器依舊盛滿回憶。本作品正是將「人」與「物」之間的回憶，重新連結而成結晶，亦藉此表達日本人「惜物」的觀念。
Based in Tokyo, Japan, Masayuki Kishimoto takes ordinary ceramic objects as the creative medium for his sculptural works. After collecting unwanted cups, bowls, plates, pots, vases, and jugs, he treats the cracks and chips on them with a traditional Japanese technique called "kintsugi", an art of fixing broken pottery with lacquer mixed with powdered gold. Although no longer in use, these ceramic articles were once household essentials, and therefore these seemingly empty containers are still loaded with memories of the past. Kishimoto's works intend to revive such memories by "crystallizing" the used ceramics in the form of art. The process also embodies the Japanese philosophy of appreciating and respecting the objects used in everyday context.


我只是到了一個來不及沮喪的地方
I Have Come to a Place Where Depression Caught Me out of the Blue
藝術家
陳萬仁
Wan-Jen Chen

媒材
木箱、梯、警示牌、複合媒材錄像裝置
Wood crate, ladder, warning cone, B&W video without sound
大安舊邸 
Daan Old Mansion
信義路四段30巷21弄25號 
25, Aly.21, Ln.30, Sec.4, Xinyi Rd.
11:00-18:00 (Tue.-Sun.)
週一公休 Closed on Mon.
藝術家陳萬仁運用實體物件，結合虛擬創作影像，在空間內組架出一個「建構中」的場景，大型梯具、運輸木箱、工程圍欄…等實體物品遮擋了投影的光線，映照於牆面彷如城市高樓剪影，再細瞧光影樓房之上，則搭疊一個個正在進行各種不同運動的小人物影像。
城市的發展隨著時代需求不斷演進，街景樣貌也在日常生活的中緩緩改變。而運動，不僅止於身體的勞動，還是種生命力、創造力的語彙，既關乎生活態度、也連結著流行趨勢。作品以此雙面向交疊著人與城市的發展互動，是場「靜止」與「建構」、「虛擬」與「真實」的多層次對話，也延伸出一段動靜間永不終止的循環。
In this installation artist Wan Jen Chen has built an "under construction" scene with ready-made objects and video projection. Large ladders, shipping wood crates and construction barricades are placed in front of the light to create shadows that seem to be buildings of a city. If one observes closely, in between these architectural shadows are some small figures playing different types of sports.
A city is constantly developing in response to the needs of the time. The familiar streets are also slowly changing day after day. Sports are not simply physical exercises; they are games of energy and creativity. Sports are also about lifestyle and cultural trend. The installation layers all these aspects of the interaction between man and city. It is a dialogue on a never-ending loop between the static and the on-going construction, the intangible and the reality.



藝術家尹秀珍的創作經常以獨特的視角與創作手法，將自身在生活中體驗到的各種問題，以實驗性的裝置呈現出來。尹秀珍長期關注於自我經歷、記憶與時代之間的關係，擅長以生活中習以為常的物件，卻仍能象徵個人的私人物件或代表該時代的現成物等作為創作材料，並植入她對於此議題的獨特見解。其中，她經常使用舊衣物作為材料，以此強調生命的個體化記憶。
在作品《書籍》系列中，利用舊衣物轉化為書籍的書脊；如同人身上第二層皮膚的衣服，以舊衣物創作而成的書脊凸顯了書與個人特質。藝術家以書本隱喻人為知識的載體，在日常經驗與對於知識的崇拜，在如書冊的裝置間細細閱讀。
Artist Xiu Zhen Yin’s creative works often include a unique point of view and creative methodology, which invariably involve her showcasing problems she has encountered in life through experimental installations and photography. She is also extremely sensitive to her surroundings and has long focused on the relationship between personal experience, memory and the era in which she lives. She is particularly adept at taking objects that are perfectly ordinary in their normal environment, private items that still have personal meaning or finished objects that represent the current era, and using them as creative materials while simultaneously imbuing them with her own distinctive viewpoint on various issues. Among the objects employed, she often uses second-hand clothes as a material that showcases memories of individuals.
In the series titled Books, second-hand clothes, which in a way represent their original owners' identities and personal experiences, have been transformed into books kept on the shelf for the audience to read. The colorful book spines also stress on their individuality. While clothes are often viewed as the "second skin" to us, in this work they have been transformed into books that carry erudition. In between everyday experiences and rational knowledge, the work o ers the audience a chance to "read", both visually and tactilely, the multiple possibilities in di erent people's life.










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