禽獸不如-2020台灣美術雙年展

國立臺灣美術館,姚瑞中

關於策展

展覽方

國立臺灣美術館 National Taiwan Museum of Fine Arts

國立臺灣美術館於民國77年(1988年)開館,民國93年7月整建後重新開館。本館以視覺藝術為主導,典藏並研究臺灣現代與當代美術發展特色;除提供各項展覽、長期與國外美術館交流、積極參與國際性重要展覽,並致力於多樣性的主題規劃特展與藝術教育推廣活動,提供民眾多元化欣賞藝術的環境。本館佔地面積約有102‚000平方公尺(含園區雕塑公園),館舍空間為地下一層、地上三層,總樓地板面積37‚953平方公尺,其中館內展覽面積15‚601平方公尺。展覽空間包含展覽室、美術街、資訊轉運站、數位藝術方舟-數位創意資源中心等。在展覽空間的使用上,一、二樓為特展區,三樓為臺灣美術典藏常設展,戶外廣場則陳列雕塑精品。 本館建築強調開闊性與親和性,除展覽室外,並增設兒童繪本區、兒童遊戲室、影音藝術廳、教師資源室,以及各項學習、休閒空間,面積共5‚319平方公尺(1,609坪)。二十多年來已辦理近千檔展覽及數千場相關活動。 The National Taiwan Museum of Fine Arts (NTMoFA) was founded in 1988. It was temporarily closed for rebuilding in 1999 due to widespread devastation caused by the September 21st earthquake that year, and reopened in July 2004 with a brand new look. The NTMoFA is dedicated to the education and promotion of visual arts. It places great emphasis on collecting works by Taiwanese artists and exploring unique characteristics of modern and contemporary Taiwanese arts. Its aims are: to organize the most diverse range of themed visual art exhibitions, to foster long-term art exchanges with overseas institutions, to actively participate in major international events, to promote art education, and to provide the public with a pleasing and multi-faceted environment for viewing art. The outdoor courtyard of the Museum comprises a total area of 102,000 square meters (inclusive of the Public Outdoor Sculpture Park), making the NTMoFA one of the largest art museum in Asia. The NTMoFA main building has three floors and a basement, with a total land area of 37,953 square meters covering an exhibition space of 15,601 square meters. The exhibition area consists of Galleries, the Gallery Street, E-Transit and Digital Arts Creativity and Resource Center. The first and second floors are devoted to themed exhibitions, the third floor holds a permanent exhibition of the Museum's collection, and the outdoor courtyard is showcases exquisite sculptural works. The newly-renovated museum building provides an open and friendly educational environment. The newly added Picture Book Area, the Family Room, the Media Art Center, the Teacher's Resource Center and other educational and recreational areas cover a total of 5,319 square meters. During the twenty years since its establishment, the NTMoFA has held close to 900 exhibitions and thousands of related events.

展覽方

姚瑞中 Curator:YAO Jui-Chung

1969年生於臺灣臺北,現生活與工作於臺灣臺北。1994年畢業於國立臺北藝術大學美術系,專長為攝影、錄像、裝置及繪畫,早期以幽默手法對冷戰期間威權統治進行顛覆,關注場所、歷史、國族認同、台灣主體性等問題。自1990年起長期投入臺灣廢墟拍攝,2010年再從廢墟轉向「公有閒置空間」踏查計畫,揭露全臺各地在全球化潮流中因各種意識形態黑洞應運而生的奇觀化社會,引起社會高度關注並間接促進政府改革。近來挪用及改寫中國美術史經典畫作,將其轉化為私自傳敘事,以「偽山水」策略對正統性進行篡位。曾代表臺灣參加1997年威尼斯雙年展、2005年橫濱三年展、2009年亞太三年展、2012年上海雙年展、2013年北京攝影雙年展、2014年深圳國際雕塑雙年展、威尼斯建築雙年展、首爾國際媒體藝術雙年展、英國曼徹斯特亞洲藝術三年展、2015年亞洲雙年展、2016年雪梨雙年展、2019年巴西庫里提巴雙年展、俄羅斯克拉斯諾亞爾斯克雙年展、2020年臺北雙年展等。著述甚豐,其中《臺灣裝置藝術1991-2001》(2002)、《臺灣當代攝影新潮流Since 1999》(2003)、《臺灣行為藝術檔案1978-2004》(2005)、《海市蜃樓Ⅰ、Ⅱ、Ⅲ、Ⅳ、V、Ⅵ、Ⅶ-臺灣公共閒置設施》(2010、2011、2013、2014、2016、2018、2019)等持續對臺灣當代藝術發展進行歷史梳理與議題開展。策展經歷包括:「末世漫遊」(1997,三芝非常廟)、「幻影天堂:臺灣當代攝影新潮流」(2002,臺北大趨勢畫廊)、「酷斃了」(2002,高雄新濱碼頭空間)、「非常不廟之漫畫一代」(2002,臺南原型藝術)、「金剛不壞—臺灣當代行為藝術錄像展」(2003,高雄豆皮藝文空間)、「出神入畫—華人攝影新視界」(2004,臺北當代藝術館)、「臺灣行為藝術檔案展」(2005,臺北鈷嶺街小劇場)、「好自在:行為錄像接力展」(2005,臺北當代藝術館)、「臺北藝術博覽會:超時空連結—臺灣當代藝術空間與藝術村網路」(2005,臺北世貿二館)等。近年重要個展:「從迷走到見證:姚瑞中前蚊子館影像紀事展」,(2014,威尼斯建築雙年展)、「腦殘遊記」(2015,耿畫廊)、「山水幻境」(2015,倫敦葛豪士當代畫廊)、「巨神連線」(2016-17,TKG+)、「犬儒共和國」(2020,空總C-LAB)等。 Born in Taipei, Taiwan in 1969, YAO Jui-Chung lives and works in his hometown currently. He graduated from the Department of Fine Arts, Taipei National University of the Arts, and specializes in photography, video, installation and painting. His early works featured a humorous approach that subverts the authoritarian regime during the Cold War, and revolved around the issues concerning place, history, national identity, and Taiwan’s subjectivity. He has invested long-term effort in taking pictures of ruins around Taiwan since 1990. In 2010, he embarked upon the survey project on disused public property in Taiwan, which not only unmasked the society of the spectacle arising from the assorted ideological black holes on this island under globalization, but also heightened the social awareness of this problem and accelerated the governmental policy reform in this regard. Recently, the artist has appropriated Chinese artistic masterpieces and recreated them in his own way as his autobiographical narratives, seeking to usurp the orthodoxy with his strategy of “pseudo-landscapes.” He has partaken on behalf of Taiwan in many prestigious events, including Venice Biennale (1997), Yokohama Triennale (2005), Asia Pacific Triennial of Contemporary Art (2009), Shanghai Biennale (2012), Beijing Photo Biennial (2013), Shenzhen Sculpture Biennale (2014), Venice Biennale of Architecture (2014), Seoul International Media Art Biennale (2014), Asia Triennial Manchester. (2014), Asian Art Biennial (2015), Biennale of Sydney (2016), Curitiba Biennial (2019), Krasnoyarsk Biennial (2019), and Taipei Biennial (2020). Yao is also a prolific author, foremost Installation Art in Taiwan, 1991-2001 (2002), The New Wave of Contemporary Photography in Taiwan since 1999 (2003), Performance Art in Taiwan, 1978-2004 (2005), and Mirage: Disused Public Property in Taiwan I, II, III, IV, V, VI, VII (2010, 2011, 2013, 2014, 2016, 2018, 2019) that collate the history of and address the issues about Taiwanese contemporary art. His curatorial works include Doomsday Roaming (VT Artsalon, Sanchi, 1997), The Realm of Illusion: The New Wave of Contemporary Photography in Taiwan (Main Trend Gallery, Taipei, 2002), Be Cool (SinPinPier - Absolutely Art Space, Kaohsiung, 2002), Abnormal Comics (Prototype Art Space, Tainan, 2002), Super King Kong: Taiwan Contemporary Performance Video Arts (Dogpig Art Café, Kaohsiung, 2003), Spellbound Aura: The New Vision of Chinese Photography (MoCA, Taipei, 2004), Performance Art in Taiwan (Guling Street Avant-garde Theatre, Taipei, 2005), Carefree: Performance Art Relay (MoCA, Taipei, 2005), and Hyperspace Connections: The Networks of Taiwan Contemporary Art Spaces and Artist Villages (Art Taipei, Taipei Nangang Exhibition Center, Hall 2, 2005). His recent noteworthy solo exhibitions include The Space that Remains: Yao Rui-Chung Ruins Series (Venice Biennale of Architecture, 2014), Brain Dead Travelogue (Tina Keng Gallery, 2015), Golden Land (Goedhuis Contemporary, London, 2015), Incarnation (TKG+, 2016-17), and Republic of Cynic (C-LAB, 2020).

藝術家

林鉅 LIN Ju、吳其育 WU Chi-Yu、紀凱淵 CHI Kai-Yuan、張徐展 ZHANG XU zhan、陳建泯 TAN Kian-Ming、Meuko! Meuko! & NAXS Corp. 涅所開發、Meuko! Meuko! & NAXS Corp.

第一品 獻祭與救贖 The First Genre: Sacrifice and Salvation

藝術家

許家維 HSU Chia-Wei、盧昱瑞 LU Yu-Jui、朱駿騰 CHU ChunTeng、羅晟文 LO Sheng-Wen、張欣 Sheryl CHEUNG、李亦凡 LI Yi-Fan、羅智信 LUO Jr-Shin、莊培鑫 CHUANG Pei-Xin、鄭先喻 CHENG Hsien-Yu

第二品 生物經貿潛史 The Second Genre: The Sub-history of Wildlife Trade

藝術家

李立中 LEE Li-Chung、區秀詒 AU Sow Yee、歐靜雲 OU Jing-Yun、吳權倫 WU Chuan-Lun

第三品 無名戰爭肖像 The Third Genre: Portrait of Unknown Heroes

藝術家

顧廣毅 KU Kuang-Yi、宮保睿 Paul GONG、魏澤 WEI Ze、陳懋璋 CHEN Mao-Chang、彭奕軒 PENG Yi-Hsuan、張辰申 CHANG Chen­Shen、杜韻飛 TOU Yun-Fei、陳聖文 CHEN Sheng-Wen

第四品 實驗室/手術室/標本室 The Fourth Genre: Laboratory/Operating Room/Specimen Room

藝術家

廖健行 Jeff Chien-Hsing LIAO、楊順發 YANG Shun-Fa、彭一航 PENG Yi-Hang

第五品 節慶/沙洲/綠覆率 The Fifth Genre: Festivals/Sandbanks/Green Coverage Ratio

藝術家

賴九岑 LAI Chiu-Chen、耿晧剛 KENG Hao-Kang、張騰遠 CHANG Teng-Yuan、許尹齡 HSU Yin-Ling、陳昱凱 CHEN Yu-Kai、圖顥程+孫懿柔 Martin TOKÁR+ SUN Yi-Jou、吳秉聖 WU Ping-Sheng

第六品 獸倣者/獸形人 The Sixth Genre: Beast Mimic/Torured Beastnoid

藝術家

蕭聖健 HSIAO Sheng-Chien、黃可維 HUANG Ko-Wei、孫培懋 SUN Pei-Mao、潘信華 PAN Hsin-Hua、曾建穎 TSENG Chien-Ying、顏妤庭 YEN Yu-Ting

第七品 棲息地/動物園/國家公園 The Seventh Genre: Habitat/Zoo/National Park

藝術家

瓦旦塢瑪 WatdanWuma、葉子啓 YEH Tzu-Chi、孫懿柔 SUN Yi-Jou、傅雅雯(表演者:周書毅) FU Ya-Wen、(Performer : CHOU Shu-Yi)、鬼丘鬼鏟 Ghost Mountain Ghost Shovel、林人中 River LIN

第八品 行為暨臨場藝術 / 多媒體裝置表演 The Eighth Genre: Performance & Live Art/Multimedia-Installation & Performance

為你推薦的展覽

Exhibitions for you