姚瑞中「INVIDIA」個展導覽(Yao Jui-chung Talks about The "INVIDIA" solo Exhibition) скачать в хорошем качестве

姚瑞中「INVIDIA」個展導覽(Yao Jui-chung Talks about The "INVIDIA" solo Exhibition)

藝術家姚瑞中於耿畫廊最新個展「INVIDIA」以曬圖方式，呈現一系列探索個人慾望、精神信仰與創造力之間有機關係的創作。本次展出作品主要源於藝術家自2022年夏天於慕尼黑藝術公寓（AOA）駐村起，延續至今的「秘密客」（2022-23）系列創作，並從中精選八十餘件紙上作品展出。這些作品涉及宗教和各種神話圖像學創作，部分源於藝術家對既有神怪形象視覺文化的臨摹，並結合駐村生活中的日常遭遇，其中包括生態失衡的高溫熱浪、在偌大古堡空間中，精靈仙魔現身的遭遇、以及在這座以修道士為市徽的城市空間之中隨處可見的歷史宗教圖像。 本次展覽延續了藝術家自2019年的個展「離垢地」、2022年的個展「地獄空」以來，對於佛教思想史、宗教聖像和個人內在精神空間相互關係的探索。展覽標題源於城市流行文化對佛教的貪嗔痴概念所進行的創意詮釋，並且間接折射了姚瑞中在創作中經常出現的個人化幽默。展覽的外語標題使用天主教七宗罪之一的「嫉妒」的拉丁文（Invidia），則源於藝術家在去年駐村期間參觀一系列天主教教堂的宗教聖像。 為了呈現藝術家在媒材的實驗探索面向，姚瑞中也以生成藝術角度，重新回顧作品中描繪的聖像，並歸納為包括：人、獸、鬼、神、傳說生物等十二種類型圖像，配合行為錄像作品進行展示。其次，展覽也呈現了另一系列未發表的版畫創作，包括2015年的「小天下」系列、2018年的「乖乖」系列以及2020年以來的「天龍（國）八部」系列版畫。這些作品或追憶他個人寵物陪伴的編年史，或對個人出外旅行境遇展開創造性的幻想。 值得關注的是，藝術家自90年代以來，便持續以公路攝影探索旅行和創作的雙重變奏。在若干創作中，他也展示山水畫如何作為一種旅行文學。其中，藝術家在生涯中多次駐村創作，這期間近乎於隱居的珍貴經歷，都促成了其創作範式轉向。為了呈現駐村創作在他藝術生涯的獨特意義，展覽匯集藝術家生涯早期兩度的駐村創作—包括四件創作於1997年舊金山海得嵐藝術中心駐村期間的四件大型紙上作品，以及2001年於倫敦Gasworks駐村期間製作的兩件大型紙上作品。這些創作單純以拼接紙張以及簡單的單色簽字筆，這些低限材料，除了回應今日創作的若干風格，同時，也回應了當時個人旅行的孤寂感，以及這種感受與工作室創作所產生的張力。 Tina Keng Gallery is pleased to present Yao Jui-Chung: Invidia, featuring a comprehensive collection of nearly 90 works, with the majority created following the artist’s Munich residency at the Apartment of Art (AoA) during the summer of 2022. Yao’s residency wove a mesmerizing tapestry of experiences: navigating through intense heat waves, encountering ethereal beings within the grandeur of castles and villas, and immersing himself in the ever-present medieval Catholic imagery that permeated Munich. The city’s coat of arms, resembling its German name “Home of Monks,” adds a symbolic touch to this immersive ambiance. The resulted “Mimike” series (2022–23) draws rich references to various historical iconographies from mythic geography and classical paintings. Acting as a painterly travelogue to document his residency, the series ingeniously merges elements of fiction into everyday life, creating a captivating blend of artistic expression and storytelling. A parallel to his previous solo exhibitions, Vimalā-bhūmi (2019) and Hell Plus (2022), where the artist meditates on the ontological question of death and decaying, the current exhibition takes its title from the Latin expression of envy, one of the seven sins in Catholicism. This expression captivates the artist as a focal point during his visits to historical sites adorned with a plethora of Catholic iconographies, marking a continuation of his ongoing exploration into spiritual beliefs and human desires. What sets this show apart is the return of Yao’s characteristic humor, which extends the tone from the previously perceived monotonous mourning in Vimalā-bhūmi and Hell Plus to a vibrant liveliness, thus forging a dynamic space of negotiation with the contemplative nature of the themes explored. Also on view in this exhibition is the artist’s first foray into crypto art and blockchain-based art. These include: performance video Moon–Block–Chain, which delineates the link between traditional divination practices and computerized cryptography; The Twelve Disciples, a depiction of12 distinct digital icons ranging from human figure to animal, spirit, god, and mythical creature, referenced from the artist’s past body of work. The exhibition also presents a selection of previously unseen print series, including “Fairyland” , “Pet” , and “Hedonist” series. Some of these works evoke personal memories of his cherished pet; others conjure fantasy stories inspired by his travels. To underscore the productive dynamics between travel and studio practice, wherein Yao’s approach as wanderlust is manifested across artistic mediums and literary expressions, the exhibition also showcases the artist’s early large-scale works on paper, including “Beyond the Blue Sky” series (1997), and There is Nothing But Loneliness (1997), both completed during his residency at the Headlands Center for the Arts in Sausalito, California, and “Beyond the Human Being” series (2001) made during his residency at Gasworks in London. In these pivotal residency experiences, the artist employs simple mediums — sheets of paper assembled together — to recreate the scale of the murals he used to paint at abandoned industrial ruins back in Taipei. The repeated brushstrokes of ink pen skillfully capture the sense of seclusion during his residency. Although seemingly uncomplicated, these works hold a profound significance as they represent key moments that mark paradigm shifts, enriching his formal and artistic styles. Yao Jui-Chung further responds to a long-standing tradition of documenting travel experiences in Chinese classical landscape painting. During his residency at the Headlands Center for the Arts, Yao utilized individual sheets of paper to cover the entire wall, creating a visually immersive experience. This display approach is now adopted in the current exhibition, offering viewers an encompassing view of the distinct stages of the artist’s career while preserving a subjective glimpse into the decisive moment of each individual stroke and subtle undertones.