未知的國度 - 莎賓娜費洛奇 二〇一五亞洲個展
Unknown Boundary - Sabina Feroci Solo Exhibition 2015
未知的國度 文｜蕭佳佳
每一個人的記憶，因應著經驗與環境，組合出不同的樣貌，牢牢地影響人格發展，隱身成為潛意識，躲在我們的身體裡面，遙控每個人的外在行為。我十分好奇，全人類的天真無邪，究竟是如何在長大成人的過程中，一點一滴地消逝成麻木與仇恨，或是幸運地在漫漫時光中，保留住這股難能可貴的赤子之心，有機會帶給世界一份屬於純真的美好。
一九六〇年代之後出生的當代藝術家，不約而同地在作品中，描述各式各樣的孩子，為世界獻上他們的的藝術，作為彌補全人類提早逝去童年的補夢網。東方中國的張曉剛，以家庭肖像畫，捕捉文革時代中國的創傷。唐志岡繪出公會堂上身穿黨服的胖小孩正襟危坐在會議桌上，腳邊散亂的玩具汽車，直擊政治的幼稚。嚴培明藉由飄旗上的孤兒，希冀讓觀者正視孩子們應有的權力。日本的奈良美智以三歲小女孩的形象，表達孤寂與發自內在的生存力量。川島小鳥花費一年的時間，記錄四歲女孩未來在北海道的生活日常，鄉間大自然與家庭生活傳達出來的天真與活力，幾乎就是觀者內心所嚮往的童年。西方澳洲藝術家Ron Mueck的寫實雕塑，被等比例放大的嬰孩，確立了孩童內在力量理應如此龐大。義大利藝術家Gehard Demetz以受暴力傷害孩子的形象，逼視當代兒童所受的苦難。
孩子，是每個成人成長的初始，這些藝術家為何回歸童年，以孩子的形象，作為探討當代世界屬於全人類的疑問。一個能夠正視兒童基本人權的社會，才是一個真正步入文明的社會。女性藝術家如何為世界提供另一個視野？來自義大利翡冷翠的Sabina Feroci，以她細膩的作品，為這個世代提供另一個答案與方向，身為母親的女性藝術家在長時間與孩子相處之後所創作出來的作品，提醒著我們，是不是應該重新思考，練習以孩子長大的方式，向人類的最初與原始學習，不帶有偏見與恐懼的方式去認識世界，看清楚世界真正的模樣。在身邊日常的人們，是藝術家們最關懷的對象。這些創作出以孩子作為形象的藝術家們，彷彿在驗證，童年的力量，究竟能有多大。......
Unknown Boundary Hsiao Chia-Chia
Every one of us, with our various experiences and surroundings, pieces up our memories in a different way. They become our subconsciousness hidden within our bodies, determining who we are and what we do. I have always been fascinated by how the natural innocence of humankind is dispersed and corrupted into apathy and hatred, or, if we are lucky, kept alive in our hearts to enlighten the world with its beauty.
Many of the contemporary artists born after the 1960s coincidently make “children” the subject of their works. Through the art they offer to the world, these various depictions of children become the dream catchers to seize the long-gone childhood for all of us. Zhang Xiaogang from China visualizes the wound of the country punctured by the Chinese Cultural Revolution in his family portraits series. The chubby kid dressed in Communist Uniform in Tang Zhigang’s painting sits at the conference table with toy cars scattered around his feet, symbolizing how childish politics can be. Yan Peiming highlights the flying flag with an image of an orphan, encouraging viewers to acknowledge children’s rights. Through the portraits of the three-year girl, the Japanese artist Nara Yoshitomo expresses one’s loneliness and the inner struggle to survive. Kotori Kawashima has spent one year to document the daily life of the four-year girl Mirai-chan living in Hokkaido, evoking the ideal childhood in viewers’ heart with the innocence of Nature and the energy of family life. The Australian artist Ron Mueck’s hyperrealist sculpture of a giant baby reassures that the inner power of a child should be as tremendous. The Italian artist Gehard Demetz portrays the kids victimized by violence to unveil the suffering of some contemporary kids. ......
一九六〇年代之後出生的當代藝術家，不約而同地在作品中，描述各式各樣的孩子，為世界獻上他們的的藝術，作為彌補全人類提早逝去童年的補夢網。東方中國的張曉剛，以家庭肖像畫，捕捉文革時代中國的創傷。唐志岡繪出公會堂上身穿黨服的胖小孩正襟危坐在會議桌上，腳邊散亂的玩具汽車，直擊政治的幼稚。嚴培明藉由飄旗上的孤兒，希冀讓觀者正視孩子們應有的權力。日本的奈良美智以三歲小女孩的形象，表達孤寂與發自內在的生存力量。川島小鳥花費一年的時間，記錄四歲女孩未來在北海道的生活日常，鄉間大自然與家庭生活傳達出來的天真與活力，幾乎就是觀者內心所嚮往的童年。西方澳洲藝術家Ron Mueck的寫實雕塑，被等比例放大的嬰孩，確立了孩童內在力量理應如此龐大。義大利藝術家Gehard Demetz以受暴力傷害孩子的形象，逼視當代兒童所受的苦難。
孩子，是每個成人成長的初始，這些藝術家為何回歸童年，以孩子的形象，作為探討當代世界屬於全人類的疑問。一個能夠正視兒童基本人權的社會，才是一個真正步入文明的社會。女性藝術家如何為世界提供另一個視野？來自義大利翡冷翠的Sabina Feroci，以她細膩的作品，為這個世代提供另一個答案與方向，身為母親的女性藝術家在長時間與孩子相處之後所創作出來的作品，提醒著我們，是不是應該重新思考，練習以孩子長大的方式，向人類的最初與原始學習，不帶有偏見與恐懼的方式去認識世界，看清楚世界真正的模樣。在身邊日常的人們，是藝術家們最關懷的對象。這些創作出以孩子作為形象的藝術家們，彷彿在驗證，童年的力量，究竟能有多大。......
Unknown Boundary Hsiao Chia-Chia
Every one of us, with our various experiences and surroundings, pieces up our memories in a different way. They become our subconsciousness hidden within our bodies, determining who we are and what we do. I have always been fascinated by how the natural innocence of humankind is dispersed and corrupted into apathy and hatred, or, if we are lucky, kept alive in our hearts to enlighten the world with its beauty.
Many of the contemporary artists born after the 1960s coincidently make “children” the subject of their works. Through the art they offer to the world, these various depictions of children become the dream catchers to seize the long-gone childhood for all of us. Zhang Xiaogang from China visualizes the wound of the country punctured by the Chinese Cultural Revolution in his family portraits series. The chubby kid dressed in Communist Uniform in Tang Zhigang’s painting sits at the conference table with toy cars scattered around his feet, symbolizing how childish politics can be. Yan Peiming highlights the flying flag with an image of an orphan, encouraging viewers to acknowledge children’s rights. Through the portraits of the three-year girl, the Japanese artist Nara Yoshitomo expresses one’s loneliness and the inner struggle to survive. Kotori Kawashima has spent one year to document the daily life of the four-year girl Mirai-chan living in Hokkaido, evoking the ideal childhood in viewers’ heart with the innocence of Nature and the energy of family life. The Australian artist Ron Mueck’s hyperrealist sculpture of a giant baby reassures that the inner power of a child should be as tremendous. The Italian artist Gehard Demetz portrays the kids victimized by violence to unveil the suffering of some contemporary kids. ......
DATE｜2015.06.28 (SUN.)～ 08.08 (SAT.)
OPENING PARTY｜2015.06.28 (SUN.) 15：00
OPENING PARTY｜2015.06.28 (SUN.) 15：00