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逍×遙×遊– 當代工藝合創展 - Crossover Crafts. Values and Practices. Mix and Regeneration.

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2022-03-03 ~ 2022-06-05

Địa điểm

臺南市美術館2館展覽間E、F、G、H　Tainan Art Museum Building 2 Gallery E、F、G、H

Địa chỉ

臺南市中西區忠義路二段1號

逍×遙×遊– 當代工藝合創展 Crossover Crafts. Values and Practices. Mix and Regeneration. 總策展人 Chief Curator 張仁吉 CHANG,JEN-CHI 策展人 Curator 程湘如 STONY CHERNG 「在我們一生當中，平凡無奇的日子裡，總有一些特殊的時刻。在那些時刻，我們似乎有了非比尋常的發現，也感受到無以倫比的幸福，並領悟到無上甚深的智慧。要是我們能藉由某種記號，召喚出自己心中的這般願景，那該有多好！藝術，就是在這種期望下誕生的。藝術，引導我們向未知的世界前進，也指點我們朝更偉大的知識追尋…」，美國藝術家暨藝術教育家羅伯特‧亨萊（Robert Henri, 1865-1929）在其著名的藝術啟蒙經典《藝術精神》（The Art Spirit）一書中倡導藝術與生活密切相關，也跟每個人都有關。他認為藝術讓人邁向平衡與秩序，判斷相對價值，了解成長法則，檢視經濟生活，這一切都是值得人們探究的美好事物。「工藝」則是兼具藝術精神本質與實踐的體現。從因應生存的生活需求出發，演進至現代具有美學哲思的藝術自我實現，更走向當代強化公共意識及利他的社會價值，完整呼應羅伯特‧亨萊對藝術精神的倡議。又隨著時代推進與社會環境變遷，工藝從就地取材的便利轉向對自然、循環與永續觀念的奉行；後疫情時代（Post Pandemic Era）顛覆國家治理、經濟運行和社會交往的方式，革新固有認知，促使對未來生活的想像，反思工藝的價值與新機；知識經濟崛起，有形的利潤轉化成強調無形的社會價值和競爭力，工藝不再只是製造產品和提供服務，而是深化意義、建立關係以及藉以拓展新的經濟模式（例如智慧財產權授權、數位科技創新應用…），尤其是「創造經驗」，即是宣告工藝「體驗時代」(the Age of Access)來臨。因應種種社會趨勢，工藝越趨開放的適變能力，透過跨界、複合、無框架等合作模式，嘗試各種可能，除了拓展觀者的新視野，更誘發大眾對未來工藝的想像與生活關係的思辨。〈逍×遙×遊–當代工藝合創展〉即是工藝以當代之姿回應社會趨勢的新創實驗。「合創」源於「跨域」（Crossover）概念，即是合作創新，資源共享。但並非僅是雙邊領域的交流，而是多邊領域（例如跨族群、跨技術、跨材料、跨地域、跨文化、跨世代、跨時間、跨國際、跨產業…）的交會，所探討的不是物件本身的結果，而是物件產出過程中的激盪、融合、辯證及衝突…等，去中心化的多元觀點，經由知識交換與共學，逐步累積及形塑各自獨有的生命經驗及新創靈感，過程也是工藝合創的目的。展覽以「逍」、「遙」、「遊」為命題，分別表示「時間」、「空間」及「速度」三個維度。第一個維度「逍–時間」即是創作者感知「時間」的議題和情感，透過梳理再以工藝創作傳達新意。例如作品《集體記憶》，紅磚是臺灣傳統建築文化的象徵，磚塊交錯疊砌除了結構考量也形成獨特的視覺意象。該系列作品將過去深具集體記憶及情感的文化意象、材質及技法於當代以石雕打磨技法轉化再現，亦是一種傳統文化的創作紀錄寫照。第二個維度「遙–空間」即是創作者探討「空間」形成的意義和所在的對話。例如作品《夜間飛行》，是經常飛行世界各地的創作者看到工藝黑漆撒金粉末的表現，如同夜間飛行中看到每個城市獨特的閃閃光點，以機械錶的錶盤顯示世界各地不同城市的光景，每一個都是獨特且唯一的存在，將自身所處空間的美好經驗，藉由工藝材質、技法表現結合機械科技的載體相互幫襯，充滿驚喜。第三個維度「遊–速度」即是關注生活的節奏、生命進程的積累。同時亦是工藝創作「頂真」的態度表徵，注重步驟、工序及細節，講究慢工出細活的精神。例如作品《飄》即是表現走進竹林的感官的經驗，也是一種慢活的心靈狀態。藉由一片片手工取彎竹片的流暢線條，逐一疊加構築成如風輕飄的路徑，經由坐臥的行為產生磨擦，有如竹子被吹得聲聲大作，融合聽覺、視覺和觸覺多元的感知，傳遞風的流動。工藝在「逍–時間」、「遙–空間」及「遊–速度」三個維度中各自展開，也互為碰撞、融合，產生工藝能量的激盪、匯聚與再生，形構成三維的文化量體，透過自由、多元的跨域合創，當代工藝逐步且持續豐厚生活的文化內容。本次展覽以「逍」、「遙」、「遊」為名，強調創作者在合創過程中對未知領域的探索，作品不僅是視覺所見，更是內心深層的感受。恰與莊子美學思想《逍遙遊》中所追求的「自由觀」契合，莊子認為萬物自有時空格局，想要獲得自由，要學會換位思考，衝破固有的認知和格局，不受任何時空限制以獲得超然物外的絕對自由。打破唯物的制約思惟，當代工藝藉由合創過程挖掘生命經驗的感動、提升知識量能、強化與當代議題辯證的思惟、發現差異中的創意靈感，從中發揮工藝的價值、美學精神與社會實踐力。當代工藝合創的「物件」不只是個人情感的傳遞介面，更是人們思緒的延伸、具有靈魂氣息的媒介，猶如超現實主義（Surrealism）的作品，在造型的描繪上是寫實的，但不具合理性也不現實，猶如夢境所見，表現縈繞腦際的潛意識活動，實驗性的過程將是未來工藝新創不可缺的催化劑（Catalyst）。 ‘There are moments in our lives, there are moments in a day, when we seem to see beyond the usual- become clairvoyant. We reach then into reality. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. It is in the nature of all people to have these experiences; but in our time and under the conditions of our lives, it is only a rare few who are able to continue in the experience and find expression for it.’ American artist and educator, Robert Henri (1865-1929) advocate art is close related to life and art is related to everyone in his famous art enlighten classic book, The Art Spirit. He views art as a way to make people toward balance and be in good order. Art makes people able to judge relevant value, understand the rule of growing up, inspect economic lives, above all these are wonderful things that deserves people devote themselves to explore. ‘Craft Art’ is the reflection of art spirit essence and practice. It starts from daily life needs and evolve into art self-practice with aesthetic philosophy nowadays, and now towards strength public awareness and altruism social value. This fully echoes the initiative that Robert Henri towards art spirit. Within time passes and the vary of society, craft art changes from the conveniences of collecting material on site to the pursue of circulating sustainable concept to natural. Post Pandemic Era subvert how countries govern, economic run and social intercourse. It revolute the inherent understandings and prompt the imagination of future lives, rethink and value and new developments of craft art. With the rise of knowledge economics, tangible profit convert into emphasizing invisible social values and competitiveness. Craft art no longer just produce products and provide services, but tend to deepen meanings, establish relationships and expand new economics models (Such as Intellectual property rights authorize, digital technics innovative applications.) Especially ‘Age of Access’ is announcing its advent. Responding all kinds social trends, craft art becomes to be more open in the ability of adapting, through the cooperation model of transboundary, complex, frameless and attempt all possibilities. Except expanding viewers new sights, induce publics’ imagination and speculate of life relationships. This exhibition, Crossover Crafts. Values and Practices. Mix and Regeneration, is a new creation of craft art responding society trends in contemporary way. Collaboration origins from Crossover, it is innovation cooperation and resources shared. It is not just the communication between both fields, it is an interdisciplinary rendezvous (Such as cross-ethnic, cross-technology, cross-material, cross-region, cross-cultural, cross-generation, cross-time, cross-international, cross-industry, etc.) This explores not only the results of objects but the agitation, fusion, dialectics and conflict in the process of objects being outputted. Decentralization’s various points of view are accumulated and modeled in spectacular life experiences and muses of new creation from knowledge exchange and co-learning. The process is the purpose of craft art co-production. The name of this exhibition ‘Crossover Crafts. Values and Practices. Mix and Regeneration’ represents three dimensions which are time, space and speed. First dimension, Crossover Crafts – time means artists sense subjects and feelings of ‘time’, deliver a new creation after sorting out. Such as artwork ‘Group Memory’. Red bricks are symbolization of Taiwanese traditional architecture, the staggered stacking not only consider the construction but also the unique visual imagery. The series artwork transfers the culture imagery with strong group memory, feelings, material, skills then reproduce in a modern stone carving polished skills, and this is also a creation documentary of traditional culture. The second dimension, Values and Practices – space is the dialogue that artists focus on meaning of ‘space’. Take artwork, ‘Night Flight’ as example. The artist travels around the world frequently and sees the way craft art black paint with spraying golden powder like the unique city sparkles you may see when travel at night. The dial of mechanical watch shows different scenes of each city in the world, each of them exist in the world one and only. Artist share and show the unique space experience through craft art’s materials and skills and express the mechanical carrier filled with surprises. The third dimension, Mix and Regeneration – speed focus on rhythm of life and accumulation of life process. Also, this is the ‘genuine’ attitude symbolization of craft art focuses on all the steps, details and spirit of taking time to make one great piece. Take artwork, Flow for example. It shows the sensual experience of walking through bamboo forest, also a downshifting state of mind. To create a flowing path with layers of handmade-bending bamboo strips into smooth lines. Through the action of sitting or lying generate friction similar to the bamboo’s sound when wind blows. This is a various sensation includes sound, visual and tactual to show how wind flows. Craft art expand itself in these three dimensions: Crossover Crafts – time, Values and Practices – space and Mix and Regeneration – speed, collide and merge, produce the craft energy agitation, convergence and regeneration, structure a culture carrier with three dimensions. Through the free and diverse crossover crafts, modern craft art enriches culture contents in life. The exhibition, Crossover Crafts. Values and Practices. Mix and Regeneration, emphasizes artists explore the unknown field through crossover process, the artworks are not only what they see, but also how they deeply feel. This is similar to the ’freedom concept that Zhuangzi mentioned in his article‘Free and Easy Wandering’. Zhuangzi viewed everything has its own time and space dimension, if one want to have freedom, it is a must to think from different angle and break the old thinking and pattern. In order to have the freedom beyond time and space limitation, to break the materialism’s restrict thinking, modern craft art dig the touch moments of life from crossover, upgrade the knowledge energy, strengthen the ability to dialectic modern issues, discover the differences of creative muses, exert the value of craft art, aesthetics and social practical abilities. The objects in craft art crossover are not only a transfer interface but an extension of people’s thoughts. It is a spiritual medium like Surrealism artworks. The description of modeling is real but doesn’t make sense or in reality, it’s like what dream is, a subconscious activity in minds, the experimental processes are the indispensable Catalyst in craft art new creation in the future.

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集體記憶 Collective memory

設計師 Designer：王俊隆 Rock Wang、工藝師 Craft Artist - 石雕 stone carving：陳培澤 Pei-Tse Chen

集體記憶 Collective memory

設計師 Designer：王俊隆 Rock Wang、工藝師 Craft Artist - 石雕 stone carving：陳培澤 Pei-Tse Chen

集體記憶 Collective memory

設計師 Designer：王俊隆 Rock Wang、工藝師 Craft Artist - 石雕 stone carving：陳培澤 Pei-Tse Chen

蕾絲碗-小 Lace bowls

設計師 Designer：徐景亭 Ching-Ting Hsu、工藝師 Craft Artist - 陶瓷 ceramics：李存仁 Tsun-Jen Lee

蕾絲碗-中 Lace bowls

設計師 Designer：徐景亭 Ching-Ting Hsu、工藝師 Craft Artist - 陶瓷 ceramics：李存仁 Tsun-Jen Lee

蕾絲碗-大 Lace bowls

設計師 Designer：徐景亭 Ching-Ting Hsu、工藝師 Craft Artist - 陶瓷 ceramics：李存仁 Tsun-Jen Lee

蕾絲碗II-中 Lace bowls

設計師 Designer：徐景亭 Ching-Ting Hsu、工藝師 Craft Artist - 陶瓷 ceramics：李存仁 Tsun-Jen Lee

蕾絲碗II-小 Lace bows

設計師 Designer：徐景亭 Ching-Ting Hsu、工藝師 Craft Artist - 陶瓷 ceramics：李存仁 Tsun-Jen Lee

蕾絲碗II-大 Lace bowls

設計師 Designer：徐景亭 Ching-Ting Hsu、工藝師 Craft Artist - 陶瓷 ceramics：李存仁 Tsun-Jen Lee

#10

自然回憶 Natural Memory

設計師 Designer：周育潤 Yu-Jui Chou、工藝師 Craft Artist - 竹 Bamboo：陳高明Kao-Ming Chen

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主辦單位

國立臺灣工藝研究發展中心

國立臺灣工藝研究發展中心（以下簡稱本中心）隸屬於文化部，致力於工藝文化推廣與工藝產業扶植，業務職掌包含工藝研創、人才培育、工藝檢測修復、研究出版與展覽、工藝典藏加值應用、地方工藝扶植、工藝美學教育推廣、工藝產業輔導、國際交流合作等工作。工藝源自生活，以人為本。基礎於色彩心理學中綠色的正面象徵，本中心提出「綠工藝」概念，涵容工藝的多元價值，歸納出內涵面與實踐面兩大核心精神理念：內涵面之工藝精神理念包含自然、循環、平衡、寬容、生命力；實踐面則包含頂真精神、工作倫理、愉悅勞動與生活美學。本於前述綠工藝精神理念，本中心為推動臺灣工藝文化發展與交流之平臺，施政關照之對象除了包括工藝產業生態系中所有參與者，亦期許藉由工藝介入社會，促進公民參與，以關照生活在臺灣這塊土地上的所有人民，實踐Craft for All之理念，達成健全臺灣工藝生態系與臺灣工藝價值的社會實踐之雙重目標。

主辦單位

臺南市美術館

一座美術館的設立，不僅標誌著城市及國家文化水準的標竿，更成為城市發展的中堅力量；偉大的文化城市，往往因為美術館的成立加速在地藝術的蓬勃發展，藝術的氛圍更進而帶動城市生活品質、觀光及產業的全面進步，其重要性不容小覷。為更有系統地整理、組織既有豐富資源，開拓多元美術人才，做為市民終身學習與學校教學利用之場所，2010年臺南市縣合併，升格為直轄市之後，市政府宣布籌建臺南市美術館，採行行政法人制度規畫運作。經過七年籌備時期，臺南市美術館於2019年正式開館營運。本館為實踐專業、績效與卓越之使命，致力發展臺南在地及臺灣近現代與當代藝術之展示、典藏與研究，建構臺灣美術發展脈絡與面向。為強化藝術資源之發掘與整合，以跨域資源著手開發與行銷，轉化藝術文化的可塑性，放眼國際及異業連結的可能性，提供館所場域與資源，發展藝術創作、學習與研究之多方交流，建立城市空間與藝術生態相互交織的共融關係。建構臺灣美術史，凝聚市民文化認同臺南文化發展具有四百年歷史，經歷荷蘭、鄭氏、清領、日治以及國民政府來臺各階段，擁有文化厚度，並且保存豐富文化資產。在每個時期，臺南都以豐富的文化積累，體現出文化資產與能量。臺南市美術館首先必須回應臺南四百年歷史所積累的文化，透過臺南文化與藝術的梳理與詮釋，重新認識臺南文化，不只讓臺南市民重新認識臺南美術之外，也使得臺灣美術史獲得再次解釋與建構的機會，活化歷史記憶，由此凝聚市民對於文化的認同感。培育市民美感品味，體現文化價值美術館透過視覺展示，將文化、歷史、生活、城市風貌以視覺語言呈現，易於親近與感人。因此，美術館是當代文化的展示場所，經由美術館的多元展示活動可以豐富市民生活，提升市民生活品味。藉由文化價值重塑，使得參觀民眾從多元的展示內容，享受美感活動之外，進一步在科技化的時代，看見藝術詮釋的多種可能性。因此，從市民品味提升到文化價值的發現，培育出現代公民精神涵養。跨域整合，形塑城市活力臺南市美術館是臺南市政府在縣市合併之後最大規模的公共文化建設，透過以美術為核心的展示活動以及教育推廣，如美術對於音樂、戲劇、舞蹈、建築、生活美學等進行跨領域的對話與展示，特別是導入傳統歷史脈絡的再認識與當代科技的植入，將使得臺南這座古老的城市因為豐富的跨域活動以及詮釋手法，獲得嶄新的意義。城市文化櫥窗，連結世界脈動臺南市美術館位居臺南的文化核心區域，此一地區擁有臺灣最密集的古蹟群，構成文化觀光的最佳場域。因此，藉由豐富的人文景觀得以與緊密地與美術館整合在一起，構成城市文明景觀。臺南市美術館扮演著城市文化櫥窗的角色，同時，藉由定期海外展覽的舉行與引進，使得臺南市美術館得以主動將在地藝術家推向國際的同時，讓臺南市與國際產生連動關係，得以藉此與世界文化趨勢齊首並進，提升城市競爭力。

執行單位

西屹設計有限公司

西屹設計有限公司－1996年成立於臺灣臺南市，是專業產品開發公司，具有深厚的人文性產品思考。企業精神「對話」，對話使得老人與小孩、製造者與消費者、使用者與設計者…等，產生共通的記憶與規範、價值觀及生活哲學，進而延伸特有的人文，透過設計產生獨特的型態與模式，貼近人心符合使用者需求的作品。創辦人王士俊老師，在公司成立當年即獲得，世界傑出工業設計競賽－金牌獎（1996 lDEA AWARD），是全球華人第一位獲獎者，創作領域包含設計、工藝與藝術。在其認知?，只要是創作，都是源出於人文的涵養與藝術的思維，其哲學與本質是共通的，所以也就沒有創作領域的問題。在創辦人的帶領下，西屹設計從一開始的工業設計領域，跨足至視覺設計、展覽策劃、活動規劃、社區聯結，全方位整合實績豐富。