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यह सामग्री अभी आपकी भाषा में उपलब्ध नहीं है (हिन्दी )

पहचान

नाम

《陳美玲》

अवधि

2025-03-22 ~ 2025-05-11

कार्यक्रम का स्थान

國立臺灣藝術大學有章藝術博物館

पता

新北市板橋區大觀路一段59號

-「你都沒有夢想嗎？」 -「不是每個人都跟你一樣有夢想，你要接受有些人就只是想經營一個家庭，安安靜靜地過日子。」這是我16歲之後反覆與母親進行的對話，直到我30歲才真正接受她的答案，我發現有一些「對話」並不能透過語言傳達，問答之間，從好奇開始，參雜著生活的閱歷與與情感的依託，觸發輕微的共鳴，才有可能進入真正意義上的溝通。這個展覽起源於我迫近30歲的疑惑。望著照片中那位精心打扮的文藝女青年，我開始好奇是什麼讓她決定走進婚姻、決定用她的子宮承載我、決定放棄對於自我的訴求？好奇那一代的女人是否都無法避免的要面對社會的招撫？好奇我對母親的偏見會不會是一個世代的偏見？好奇這個對話能否透過展覽產出的過程，擴及更廣泛的人群？在2023年，我開啟了名為「陳美玲」的計畫，這位女人的名字擷取自我與母親的名字中各一個字，冠上百家姓中最高人數的姓氏，創造了在出生於50年代女性排行第三的「菜市仔名」。對話的開始是「傾聽」，在展覽的前期研究階段，我採訪了8位現今60至70歲身處不同原生家庭環境、教育背景、婚姻狀況的女性生命經驗，再透過拼貼構成「陳美玲」的人生以及她所經歷的台灣社會大事紀；以小說家高博倫書寫的短篇小說《黑麻雀》作為策展論述。本次展覽以小說文本為骨，藝術家為肉。我透過不斷的揣摩文本、一步步抽絲剝繭「陳美玲」的過程，尋找到了一位酷兒與八位不同世代的女性藝術家加入這場對話，她們的身份包含視覺藝術家、兒童繪畫老師、紀錄片導演、劇場導演、食物設計師，透過作品的多重視角與維度共同描繪出50年代出生的台灣女人集體群像，「陳美玲」的身份切換於紡織廠女工、公娼、家庭主婦、女畫家之間，她是台灣母親的時代縮影。展覽中的策展註腳所呈現的是社會檔案，包含口述歷史、報紙、短影音報導，以及一本囊括了一名女人一生紀錄的相冊。歷史是隻無形的手，編導了一切，在其中的我們都在面對大環境下的「不得不」，做著別無選擇的選擇。這次，以「傾聽」為起手式，交融事實的述說與隔代的想像，期待尋找到世代差異間理解的交匯處。長椅小姐寫於府中家中 2025.1.7. "Don’t you have dream?" "Not everyone has dreams like you do. You need to accept that some people just want to have a family and live an ordinary life. " This was a conversation I had with my mother over and over again since I was 16. It wasn’t until I turned 30 that I truly accepted her answer. I realized that some "conversations" cannot be fully conveyed through language. Between questions and answers, it begins with curiosity, intertwined with life experiences and emotional attachments, triggering subtle resonance—only then does true communication become possible. This exhibition stems from my uncertainty as I approached 30. Looking at a photograph of that elegantly dressed young lady, I began to wonder—what led her to choose marriage, to carry me within her womb, and to give up the pursuit of herself? I wondered if my prejudice against my mother was, in fact, a generational bias. Was her generation of women inevitably drawn into the embrace of societal expectations? Could this conversation, reach a broader audience through exhibition? In 2023, Miss Bench started a project titled "Michelle Chen"—a fictional feminine name created by combining one character from my own name and one from my mom’s, paired with the most common surname in Taiwan. The result is a classic name that ranked third among the most popular women’s names of the 1950s–60s. The conversation starts with "listening". In the preliminary research stage of the exhibition, I interviewed eight women between the ages of 60 and 70 with different family environments, educational backgrounds, and marital statuses, and then constructed a collage of Michelle Chen's life and her experiences of major social events in Taiwan’s history; The curatorial statement was further shaped by novelist Brian Po-lun Kao’s short story Black Sparrow. This exhibition takes the novel as its skeleton and the artists as its flesh. By continuously engaging with the text and unraveling " Michelle Chen " layer by layer, I brought together a queer artist and eight female artists from different generations. Their roles span visual artists, children's painting instructor, documentary filmmakers, theater directors, and food designer. Through multiple perspectives and dimensions, their works collectively portray a generation of Taiwanese women born in the 1950s. " Michelle Chen " shifts between identities—textile factory worker, licensed prostitute, housewife, and painter— embodying the generational portrait of Taiwanese mothers. The curatorial footnotes in this exhibition present social archives, including oral histories, newspapers, short video reports, and a photo album documenting a woman's entire life. History, an unseen hand, directs everything. We are forced to flow following the wave, making the choices without a choice. Starting from “listening”, blending factual narratives with cross-generational imagina- tions, we hope to find a communicative language that bridges generational gaps. Miss Bench Written at home in Fuzhong 2025.1.7. 展覽執行團隊主視覺設計｜姜山、李芳吟、張晏慈平面設計及手冊編輯｜張晏慈空間及策展註腳設計｜杜依玲布展技術人員｜李宜庭執行製作｜陳毅哲行銷顧問｜修天容木作工程｜廖文建運輸｜諄顏企業有限公司教育推廣規劃｜杜依玲展場攝影｜王世邦會計｜柯美雪有章藝術博物館館內統籌｜李宗仁展務執行｜羅景中、王瑋琳教育推廣執行｜李斐瑩、莊喬媞、王瑋琳主辦單位｜國家文化藝術基金會「策展人培力@美術館」、有章藝術博物館線上展覽合作｜ARTOGO 贊助單位｜春之文化基金會、寶台機構、柯永璋、郭美淑特別感謝｜柯振良、黃步青、李英哲、許雪謹、朱晏禛、楊仁豪、創價美術館王治國、臺北市立美術館王釋賢、廖家誠、陳瑋萱、林裕軒、林承緯、陳郁婷、陳威成、黃繼賢、黃靖中、張儷齡、陳韋綸、雨絲咖啡、立方計劃空間、大觀國小六年級七班（依姓氏筆畫排序）展覽前期研究受訪者｜王秀慧、林阿有、李淑枝、吳瑪悧、郭美淑、柯美雪、黃茵、葛蓁沂

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#001

#002

#003

#004

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卡葳塔· 瓦卡娜嫣恩 Kawita Vatanajyankur

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《缺席的存在 3》、《絮語 8》、《絮語 9》

莊馨怡

#010

《家》、《進行中的自畫像》

李錦繡

संकलन के बारे में

अधिक जानकारी के लिए परिचय देखें

प्रदर्शक

長椅小姐

長椅的一端坐著公爵，另一端坐著無家可歸的流浪漢，一段對話正要開啟。這就是展覽的存在，向上面對購買藝術品的百萬富翁，向下面對對藝術感興趣的普羅大眾。這一刻，它將一個線性的二維關係轉化成存在於三維空間的平台，無論你是誰，歡迎加入這場談話。這有可能是現存改變世界最平和的方式了。 On the end of the bench sits the Duchess, with the homeless tramp at the other end, thereby a conversation is about to begin. This is the existence of the “Art Exhibition”, facing upwards to the millionaires who purchase art, and downwards to the general public who are interested in it. At this very moment, it transforms a linear two-dimensional relationship into a platform that exists in three-dimensional space. No matter who you are, welcome to the conversation. This may be the most peaceful way to shift the world. “Miss Bench” is an art curator addicted to travel, a civilian art critic, and an observer of daily spectacles. The following content is her experience and thought sharing, which is only for individuals with independent thinking to read. Those who are seeking the correct fixed answers should not enter. 其策展實驗包含： 2018年，「異常狀態」，切爾西藝術學院，倫敦 2018年，「//」，切爾西藝術空間，倫敦 2019年，「儀式性動物」，柳美術館，台中 2019年，「O//O」，柳美術館/窯座，台中 2021-2022年，「以島為家系列」，ARTOGO/臺北國際藝術村/窯座/鹽埕黑白切，雲端/台北/台中/高雄 2023年，「陳美玲的房間」，立方7F，台北 2025年，「陳美玲」，有章藝術博物館

प्रदर्शक

高博倫

高博倫，1992年台北市出生，東海大學外文系畢業、中文研究所碩士。著有小說集《其實應該是壞掉了》。目前定居台南從事寫作與教學。 Brian Po-lun Kao was born in Taipei, Taiwan, in 1992. He embarked on his artistic journey at Tunghai University in Taichung, where he earned both his B.A. and M.A. degrees. He is the author of Cracked Stories and currently resides in Tainan, working as both a writer and teacher.

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李錦繡

1953年生於台灣嘉義，後定居於台南。其為人樸實親切，淡泊名利不與人爭勝，人稱天才藝術家，於繪畫、多媒材裝置中，擅長表達空間轉換、色彩變化及精神意涵，曾與同儕創自由畫會、現代眼畫會、麒麟畫會、2號公寓等。1976年國立台灣師範大學美術系畢業，其中影響至深的名師有廖繼春、席德進、廖修平，及私人畫室李仲生。1977年與大學同學黃步青成婚，育有一子，1984年入法國國立巴黎高等裝飾藝術學院造形藝術碩士空間藝術部，1986年畢業返國定居台南，在弟弟引薦下向陳丁奇學習書藝，師承蔡肇祺修道，同時兼任省立台南師範學院美勞教育系講師及橡樹子藝術兒童教育機構藝術總監，2003年因乳癌病逝。 Born in 1953 in Chiayi, Taiwan, and later settling in Tainan, Lii Jiin Shiow was known for her humble and kind nature, indifferent to fame and competition. Often regarded as a genius artist, she excelled in painting and mixed-media installations, skillfully exploring spatial transitions, color variations, and spiritual depth. She graduated from the National Taiwan Normal University’s Department of Fine Arts in 1976, studying under esteemed mentors such as Liao Chi Chun, Shiy De Jinn, Liao Shiou Ping, and private studio master Lee Chun Shan. In 1977, she married her classmate Hwang Buh Ching, with whom she had a son. In 1984, she pursued a Master’s degree in Spatial Arts at the École nationale supérieure des arts décoratifs in Paris. graduating in 1986 before Returning to Taiwan and settling in Tainan, Introduced by her brother, she studied calligraphy under Chen Ding Chi and practiced spiritual practice under Tsai Chao Chi. she also served as a lecturer in the Department of Art Education at Tainan Normal College, and as the artistic director of the Acorn Children's Art Education Institution. She died of breast cancer in 2003.

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席德進

1923年生於四川，家境富裕。在成都技藝專科學校就讀時，接觸到⾺蒂斯、畢卡索等畫家，開始嘗試抽象藝術風格。1943 年進入重慶國立藝術專科學校，受教於林風眠，並與趙無極、李仲生諸畫家多所往來。歷經戰亂，1948年輾轉來台，任教於嘉義中學，四年後辭去教職移居台北專職創作。1962至1966年應美國國務院之邀，走訪歐美各地，受普普、歐普、硬邊藝術的影響。1969年擔任國立臺灣師範大學美術系兼任副教授。晚期回歸到最原始而自然的本土家鄉。立志以中國人的情感來表達中國的藝術，開始全島寫生，描繪民間風物與生活百態。席德進的繪畫創作融合傳統與鄉土、使用水彩、水墨與油畫，兼納東方與西方繪畫的特長，開創出他個人雄渾動人的獨特風格。1980 年發現患有胰臟癌，於1981年過世。 Born in 1923 in Sichuan, he grew up in a wealthy family. While studying at the Chengdu Technical School, he was exposed to artists like Matisse and Picasso, which led him to explore abstract art. In 1943, he entered the Chongqing National Art College, where he studied under Lin Feng Mian and interacted with artists such as Zao Wou Ki and Li Chung Sheng. After the war, he moved to Taiwan in 1948. From 1962 to 1966, Shiy traveled across Europe and America at the invitation of the U.S. State Department, influenced by Pop and Hard-edge art. In 1969, he became an associate professor at the National Taiwan Normal University. In his later years, he returned to his roots, and began island-wide sketching, capturing local customs and daily life. His work combined traditional and local, Eastern and Western art styles to create a distinctive, powerful style. He passed away in 1981 after being diagnosed with pancreatic cancer in 1980.

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