2016 福爾摩沙101國際藝術博覽會 FORMOSA 101 ART FAIR
梁任宏 個展【被動式】
Jen-Hung Liang Solo Exhibition - Waiting for Activication
展出日期：2016年5月13日 – 2016年5月15日
開放時間：11:00 - 19:00
展 館：台北市花博爭艷館
展 位：C14
加力畫廊 InArt Space將參加五月舉辦的「福爾摩沙101國際藝術博覽會」，於策展區特別邀請許遠達策劃「梁任宏個展 - 被動式」(Jen-Hung Liang Solo Exhibition - Waiting for Activication)，展出「反ㄧㄥˋ派」、「我思故我不在」、「人機繪」三個系列作品。梁任宏的創作長久以來藉著力與動能等不同方式思考著自然與人、信仰與人的哲理。在「反ㄧㄥˋ派」中，以鏡面不鏽鋼製成形的動力雕塑，在不同枝節單位間有著相應的運動。「ㄧㄥˋ」蘊含三個意思：「應」、「映」、「硬」，雕塑的動感隨著觀者動作有所「反應」；鏡面不鏽鋼「照映」著觀者的面容；同時藉著名稱傳達創作中「硬質」的不鏽鋼材質，思索著人參與雕塑中，從自身感官釋放的動態。自5/13至5/15期間每日11:00~19:00，地點於台北市花博爭艷館C14展位，歡迎各位媒體朋友前來欣賞梁任宏的創作。
「機械禪」說法---談梁任宏《被動式》個展
策展人｜許遠達
自然、機械與宗教間的關係思索，一直都是梁任宏創作中極度關懷的議題。 他認為:
世界應該是ㄧ種流態， 這樣的觀念也符合我在作品裡頭去用流體力學這樣的東西，去詮釋生命狀態，去詮釋整個環境狀態。流態它變動性是非常有機的，你不可預期，所以他的不確定性太高了。所以，你如何去面對一個不可預測的流態狀態，我覺得就是生命課題。
有趣的是梁任宏表達這流態的形式，卻是以至剛的不鏽鋼構件，來呈現那樣無法捉摸的流態狀態的至柔。以機械構件的重，去呈現流態的輕。這樣自然與人工、輕與重、堅實鋼材對比出能量流態狀態。
《反ㄧㄥˋ派》系列的驅動能量是參觀者，不鏽鋼雕塑本身只是被動地依照觀者的推動而運轉。另外，在形體上，梁任宏以不確定的形體及植物花草的造型作為自然的抽象及寫實象徵。若以「機械禪」的概念來觀看這一系列的作品，作品傾向於佛渡有緣人作為出發點。
《我思故我不在》系列以極度扭曲的鋼鐵料焊接而成，裝載於鐵製的佛身上，有佛本無相的意思 。梁任宏說在系列裡，要造成這樣厚度鋼材的扭曲勢必要使用極大的能量撞擊或熔化。因此，在佛身以上，自動性技法所形成的不確定造型的鋼材塊體再現了極大的量能，加上其自然有機的造型，將作品引向了自然、宗教與工業關係的探討。
《人機繪》呈現的是人與機器間的自動性技法，他藉由這樣技法展現了一種莫名的繪畫圖像。 在這個循環裡，梁任宏的我消失在無限的循環裡，當機械轆轤停止轉動，在畫面上呈現的只是像無窮盡的迴圈。
在《被動式》個展裡，梁任宏所欲呈現的並非是自然的流態狀態，而藉由「機械禪」與觀者說自然，傳達人與宗教及自然間的關係。藉由作品的被動性，藉由觀者對作品的驅動提醒觀者，關於「我」的存在與自然的關係。
- 節錄自許遠達 <「機械禪」說法---談梁任宏《被動式》個展 >
Mechanical Zen Meditation: On Liang Jen-Hung’s Waiting for Activation
Curator by Hsu Yuan-Ta
The relationship between nature, machinery and religion has always been an extremely significant subject matter in Jen-Hung Liang’s work. In Liang’s own words:
The world is a liquid state. This is an idea that meshes well with the way I use fluid mechanics in my pieces to interpret the state of life; to interpret the state of the entire environment. A fluid changes organically, and the change isimpossible to anticipate -- the uncertainty is too high. So, the ways you choose to face an unpredictable fluid state, that’s your life lesson.
The Reactionary series follows the movement pattern of the Aesthetics of Natural Energy series, moving in an endless cycle. The steel sculpture only passively moves with the viewer’s push. Other than that, Liang used organic forms and plant/flower images to symbolize the abstraction and realism of nature. If we were to look at this series through the lens of the mechanical Zen meditation, we can see that it begins with the idea that the Buddha only teaches those who are brought to the Buddha via serendipity.
The I Think, Therefore I am Not series consists of extremely twisted metal materials welded onto an iron Buddha. The piece connotes the formlessness of the Buddha, and is one of the simplest and strongest pieces in the Waiting for Activation exhibition. Liang said that in order to create the twists and bends in the thick metal parts, he had to use an incredible amount of energy to either ram into the metal or melt it. And so, the unregulated metal shapes, formed by chance atop the Buddha’s body, represent an extremely large amount of energy. This, along with the organic lines of the sculpture, guides the artwork towards an exploration of the connection between nature, religion and industry.
Drawing by Man and Machine series brings forth each moment that the artist and his moving machines encountered together. In this series, “circle” or “cycle” is the most prominent motif. Within this cycle, Liang Jen-Hung’s self has disappeared into an everlasting circle, and when the mechanical windless stops turning, all one sees on the page is a spiraling, seemingly unending circle.
In Waiting for Activation, it is not Liang’s intention to simply present the liquid state of nature. Instead, with his mechanical Zen meditation, he shares his findings of nature with the viewer, and expresses the relationship between human life, religion, and nature. Through the passive quality of the artwork, Liang uses the viewer’s triggering activation of the artwork to remind the viewer of the relationship between nature and the existence of the self.
- Excerpt from Hsu Yuan-Ta, Mechanical Zen Meditation: On Liang Jen-Hung’s Waiting for Activation
Jen-Hung Liang Solo Exhibition - Waiting for Activication
展出日期：2016年5月13日 – 2016年5月15日
開放時間：11:00 - 19:00
展 館：台北市花博爭艷館
展 位：C14
加力畫廊 InArt Space將參加五月舉辦的「福爾摩沙101國際藝術博覽會」，於策展區特別邀請許遠達策劃「梁任宏個展 - 被動式」(Jen-Hung Liang Solo Exhibition - Waiting for Activication)，展出「反ㄧㄥˋ派」、「我思故我不在」、「人機繪」三個系列作品。梁任宏的創作長久以來藉著力與動能等不同方式思考著自然與人、信仰與人的哲理。在「反ㄧㄥˋ派」中，以鏡面不鏽鋼製成形的動力雕塑，在不同枝節單位間有著相應的運動。「ㄧㄥˋ」蘊含三個意思：「應」、「映」、「硬」，雕塑的動感隨著觀者動作有所「反應」；鏡面不鏽鋼「照映」著觀者的面容；同時藉著名稱傳達創作中「硬質」的不鏽鋼材質，思索著人參與雕塑中，從自身感官釋放的動態。自5/13至5/15期間每日11:00~19:00，地點於台北市花博爭艷館C14展位，歡迎各位媒體朋友前來欣賞梁任宏的創作。
「機械禪」說法---談梁任宏《被動式》個展
策展人｜許遠達
自然、機械與宗教間的關係思索，一直都是梁任宏創作中極度關懷的議題。 他認為:
世界應該是ㄧ種流態， 這樣的觀念也符合我在作品裡頭去用流體力學這樣的東西，去詮釋生命狀態，去詮釋整個環境狀態。流態它變動性是非常有機的，你不可預期，所以他的不確定性太高了。所以，你如何去面對一個不可預測的流態狀態，我覺得就是生命課題。
有趣的是梁任宏表達這流態的形式，卻是以至剛的不鏽鋼構件，來呈現那樣無法捉摸的流態狀態的至柔。以機械構件的重，去呈現流態的輕。這樣自然與人工、輕與重、堅實鋼材對比出能量流態狀態。
《反ㄧㄥˋ派》系列的驅動能量是參觀者，不鏽鋼雕塑本身只是被動地依照觀者的推動而運轉。另外，在形體上，梁任宏以不確定的形體及植物花草的造型作為自然的抽象及寫實象徵。若以「機械禪」的概念來觀看這一系列的作品，作品傾向於佛渡有緣人作為出發點。
《我思故我不在》系列以極度扭曲的鋼鐵料焊接而成，裝載於鐵製的佛身上，有佛本無相的意思 。梁任宏說在系列裡，要造成這樣厚度鋼材的扭曲勢必要使用極大的能量撞擊或熔化。因此，在佛身以上，自動性技法所形成的不確定造型的鋼材塊體再現了極大的量能，加上其自然有機的造型，將作品引向了自然、宗教與工業關係的探討。
《人機繪》呈現的是人與機器間的自動性技法，他藉由這樣技法展現了一種莫名的繪畫圖像。 在這個循環裡，梁任宏的我消失在無限的循環裡，當機械轆轤停止轉動，在畫面上呈現的只是像無窮盡的迴圈。
在《被動式》個展裡，梁任宏所欲呈現的並非是自然的流態狀態，而藉由「機械禪」與觀者說自然，傳達人與宗教及自然間的關係。藉由作品的被動性，藉由觀者對作品的驅動提醒觀者，關於「我」的存在與自然的關係。
- 節錄自許遠達 <「機械禪」說法---談梁任宏《被動式》個展 >
Mechanical Zen Meditation: On Liang Jen-Hung’s Waiting for Activation
Curator by Hsu Yuan-Ta
The relationship between nature, machinery and religion has always been an extremely significant subject matter in Jen-Hung Liang’s work. In Liang’s own words:
The world is a liquid state. This is an idea that meshes well with the way I use fluid mechanics in my pieces to interpret the state of life; to interpret the state of the entire environment. A fluid changes organically, and the change isimpossible to anticipate -- the uncertainty is too high. So, the ways you choose to face an unpredictable fluid state, that’s your life lesson.
The Reactionary series follows the movement pattern of the Aesthetics of Natural Energy series, moving in an endless cycle. The steel sculpture only passively moves with the viewer’s push. Other than that, Liang used organic forms and plant/flower images to symbolize the abstraction and realism of nature. If we were to look at this series through the lens of the mechanical Zen meditation, we can see that it begins with the idea that the Buddha only teaches those who are brought to the Buddha via serendipity.
The I Think, Therefore I am Not series consists of extremely twisted metal materials welded onto an iron Buddha. The piece connotes the formlessness of the Buddha, and is one of the simplest and strongest pieces in the Waiting for Activation exhibition. Liang said that in order to create the twists and bends in the thick metal parts, he had to use an incredible amount of energy to either ram into the metal or melt it. And so, the unregulated metal shapes, formed by chance atop the Buddha’s body, represent an extremely large amount of energy. This, along with the organic lines of the sculpture, guides the artwork towards an exploration of the connection between nature, religion and industry.
Drawing by Man and Machine series brings forth each moment that the artist and his moving machines encountered together. In this series, “circle” or “cycle” is the most prominent motif. Within this cycle, Liang Jen-Hung’s self has disappeared into an everlasting circle, and when the mechanical windless stops turning, all one sees on the page is a spiraling, seemingly unending circle.
In Waiting for Activation, it is not Liang’s intention to simply present the liquid state of nature. Instead, with his mechanical Zen meditation, he shares his findings of nature with the viewer, and expresses the relationship between human life, religion, and nature. Through the passive quality of the artwork, Liang uses the viewer’s triggering activation of the artwork to remind the viewer of the relationship between nature and the existence of the self.
- Excerpt from Hsu Yuan-Ta, Mechanical Zen Meditation: On Liang Jen-Hung’s Waiting for Activation