2018年6月2日 星期六

2018第二季寶藏巖駐村藝術家聯合發表//Treasure Hill 2018 Season 2 Residency Artists Exhibition

2018第二季寶藏巖駐村藝術家聯合發表//Season 2 Residency Artists Exhibition

////// 2 0 1 8 第二季駐村聯合發表 //////
周靈芝 Julie CHOU
陶之成器,一般需要經過三個階段:土,素燒和釉燒。素燒階段得出的成品,還很脆弱,有著粉粉嫩嫩的肉色,孔隙仍大,吸水性強,保水性差,有如肉身。我以彷如肉身的素燒陶瓶,置入防空洞的地下空間,引進戶外風景,投射在素燒陶瓶上,讓肉身接受光影的洗禮,周遭地面散佈著老鼠,在這幽黯的地下洞穴中。
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肉身風景 The Landscape in the Flesh
藝術家 Artist|周靈芝 Julie CHOU
展覽地點 Venue|防空洞 Shelter
展覽期間 Exhibition Period|6.1 (五) - 7.29 (日)
開幕 Opening |6.1 (五) 16:00 @防空洞 Shelter
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#氣質藝術家 #捏陶好療育 #小小老鼠軍團 #防空洞難得開放 #錯過可惜 #禮拜五不見不散

The Landscape in the Flesh
● Artist/Julie CHOU
● Exhibition Date/6.1(Fri.)-7.29(Sun.) 11:00-18:00(Closed on Monday)
● Opening/6.1(Fri.) 16:00, Shelter
● Venue/Shelter

■ Artist Statement
Pottery becoming utensils has to go through 3 phases: the clay body, the bisqueware, and the glazed ware. The bisqueware is an intermediate stage, still fragile compared to the final product, with pink color, porous body, able to absorb water and not proper for containing liquid. The different shapes and characteristics of bisqueware somehow reminds me of the being of human flesh, each has its own character. I use them as symbols, placing them into the underground space of shelter, projecting the moving images of outdoor landscape on them, surrounding them with running mice on the ground, in this abandoned bomb shelter.


■ 藝術顧問短介
文/陳湘汶
已經於寶藏巖工作室中進行數個月「土的語言」工作坊的藝術家周靈芝,提供一個開放性的互動空間,邀請/等待人們的來訪,每一雙不同溫度的手揉捏著陶土,沒有任何題目和工具的規範,人人都可以自由發揮想像。而在製陶的過程中也與藝術家進行交流,藉此,藝術家也收集到了相當多的故事。

藝術家在本次發表的「肉身風景」將展出手捏老鼠形象的雕塑,擺放在幽暗的防空洞展場裡。因為老鼠曾出沒在工作室的經驗,讓藝術家決定以這個形象作為主題來發表,僅僅經過素燒而沒有上釉的陶呈現的是帶紅的顏色,不能儲水也易碎,對藝術家而言就像是肉身一般,他將這些脆弱的肉身擺放在濕暗的空間裡,像是躲藏在一個靜謐的洞穴安身。

■ Consultant's Brief Introduction
By CHEN Hsiang-Wen
Artist Julie Chou has been working on the The Language of Earth and Clay workshop in the studio of Treasure Hill Artist Village for several months, providing an open and interactive space that invites/awaits visitors. With hands molding clay without restricting themes or tools, every visitor is free to follow their imaginations and creativity. Throughout the process of creating ceramic, visitors can interact with artist, while artist benefits from the stories and tales of encounters.

Landscape in the Flesh will exhibit sculptures that depict the image of mice, placed in the dark corner of the shelter exhibition space. Based on experiences of mice appearing in her studio, the artist decided on this theme as a form of expression. The unglazed pottery has a reddish hue and is unable to store water and particularly fragile. The qualities of the clay are just like the physical body. The artist places these pieces of fragile flesh within the damp gloomy space as if hiding in a quiet cave.




 
 



  

2018年3月13日 星期二

2018第一季寶藏巖駐村藝術家聯合發表//Treasure Hill 2018 Season 1 Residency Artists Exhibition


● 展期 Exhibition Period/3.2(Fri.)-3.18(Sun.)
● 開放時間 Open Time/11:00-18:00(Closed on Monday)
● 地點 Venue/寶藏巖國際藝術村 Treasure Hill Artist Village
● 藝術顧問 Consultant/陳湘汶 CHEN Hsiang-Wen
● 藝術家/周靈芝 Julie CHOU、賈斯汀.泰勒.泰特 Justin Tyler TATE、朱利安.夸涅 Julien COIGNET、王楓文 Sophia WANG

▲「土的語言」
● 藝術家/周靈芝
● 展覽日期/3.2(五)-3.18(日) 11:00-18:00(週一休館)
● 開幕茶會/3.2 (五) 15:00,邊境廣場
● 展覽地點/寶藏巖,上光13號展間

■ 藝術家自述
歡迎來到土的世界!

語言是一種溝通。繪畫有繪畫語言,電影有鏡頭語言,各種藝術表現都有各自的語言方式。那麼,土的語言會是什麼呢?請用眼睛或是雙手來和土說說話兒~

■ 客座策展人短介
文/陳湘汶
風、水、土地、空氣是組合成我們生活環境的要素,透過千萬年的演變,在地球上自成了環境系統,而當代國家、城市主義爆速發展的結果讓人們忘記停下腳步來聆聽這些我們賴以為生的基本元素,藝術家以他溫暖的雙手帶領觀眾重新觸摸這塊土地。作為一個系列展覽活動的開端,周靈芝發表在上光13展場裡的「土的語言」,將成為藝術家用原始的材料「土」來與觀者對話的場域。如果說電影、語言、文字是透過視覺、聽覺來進行溝通的系統工具,那麼直接留下身體觸摸痕跡的土胚,是更加直觀且不經修飾的證據。在鼓勵自由發揮的這個空間內,新舊的壓痕會互相覆蓋也可以結合成新的造型玩意,不需要言語,只要用雙手留下來過這邊的證明。




▲ The Language of Earth and Clay
● Artists/Julie CHOU
● Exhibition Date/3.2(Fri.)-3.18(Sun.) 11:00-18:00(Closed on Monday)
● Opening/3.2 (Fri.) 15:00, Frontier Plaza
● Venue/Treasure Hill, Upper Ray Gallery No.9

■ Artist Statement
Welcome to the world of earth and clay!

Language is a way of communication. There are various languages, such as the language of painting, the language of film. What is the language of earth and clay? Please use your eyes or hands to communicate with the earth and the clay.

■ Guest Curator's Brief Introduction
By CHEN Hsiang-Wen
Wind, water, earth, and air are crucial elements of life. Evolving after tens and thousands of years, an environment suitable for life formed on planet Earth. However, with the emergence and rapid development of nations and Urbanism, people have forgotten to slow down and appreciate elements on which we depend for survival. Through this work the artist guides viewers to re-examine and connect with the land. As the opening of a series of further exhibitions, Julie’s The Language of Earth and Clay transforms Upper Ray Gallery No.13 into a sphere for dialogue with viewers through the natural element of soil. If movies, languages, and texts are communication systems that work through the visual and auditory senses, then the traces of unmodified physical contact with the clay are further proof of connection. This space encourages visitors to explore their creativity, overlapping the old with the new clay and transforming the original forms into new designs, leaving evidence of the special encounter through hands instead of words.










More plants are moved into the gallery room in April.
They came from the leaving resident artist Sophia Wang who finished her project in the shelter and I took over the plants.
They look nice with the clay works.


2018年2月11日 星期日

Two articles by art critics visiting the 2018 Spring Open Studio @ Treasure Hill Artist Village


From 2 art critics on their visit to the Spring session Open Studio @ Treasure Hill Artist Village

2018春開策展人藝評


今年春開兩位策展人寫的藝評如下 :)

I. 2018春開藝術評論_孫曉彤

周靈芝 Julie Chou

擅長以裝置、錄像、社區和環境藝術進行相關創作的藝術家,曾經於2010年至2011年參與寶藏巖的公共藝術計畫,因此對她來說,這次的駐村更具有回歸和深化個人創作的意味。因為距離預計發表作品還有一段時間,她目前還處在規劃與發想的階段,但可能會以陶瓷與在地居民的食文化為主軸——前者來自於其至今累積兩年的手作捏陶經驗,而與泥土的親密接觸又可以連結到過去在這裡設置生態農園的經驗——兩者都和土地及文化相關,富有溫暖的人文厚度。

Chou specializes in creating works using installations, videos, community, and environmental art. From 2010 to 2011, Chou participated in the public art project of Treasure Hill Artist Village; therefore, for her, this is an opportunity to return to her work and deepen its creative aspects. The presentation is a while in the future, and Chou is still planning her next work. However, I imagine that Chou’s work will be centered around pottery and its connection with the local food culture. Julie Chou has been working on pottery for two years, and the intimate encounter with clay echoes the artist’s previous project of the ecological farm in the village; both of these themes are related to the richness of the local land and culture.


II. 2018春開藝術評論_張禮豪

周靈芝 Julie Chou

陶器,自土而來,對人類說不單單是生活用品,更是流傳悠久的的藝術創作形式。向來以土地、環境議題為關注核心,不斷思考生態永續的想像與實踐的台灣藝術家周靈芝,曾與義大利藝術家卡拉洛塔.布魯內提與社區居民共創了寶藏巖的生態農園,並移交給社區自主管理,持續至今,堪稱是藝術和社會參與結合的一次成功範例。
周靈芝認為,一旦能營造一個居民願意,並且樂於參與的氣氛,許多事情就會變得跟以前不同。這一回,她希望能在先前奠定的基礎上,再一次從己身出發,伸出雙手去重新接觸滋養且生長諸多農作物的泥土,來捏製出樸實無華的食器,最終虔誠而充滿感謝地盛裝來自同一塊土地的食物。透過這樣的儀式,周靈芝不只要重建人與環境之間的關係,更要串起人與食物、人與人之間的情感交流。而藝術,自會在過程當中舒展開來。

Ceramics are born from the earth; they are not merely daily commodities for human beings, but artistic creations with rich histories. Taiwan artist Julie Chou has always been concerned with issues of the land and environment and continues to contemplate and practice the sustainability of the ecology. In the past, Chou created the ecological farm of Treasure Hill Artist Village with Italian artist Carlotta Brunetti and residents, which is now handed over to be maintained by the local community. This is a successful example of combining art with community participation.

Julie Chou believes that as long as an atmosphere that encourages participation is created, changes will occur. This time, Chou hopes to build upon the foundations of previous works and connect once again with the earth, the source of nourishment and life, to create humble dining utensils which will be used as a vessel, gratefully carrying food created from the same land. Not only does the artist rebuild the relationship between people and the environment through the ceremonial act, but Chou also creates a connection between people, food, and the sentiment between individuals, allowing art to flourish among the relationships and bonds.



2017年12月12日 星期二

2017-12-7 Public Art Forum

 2017 Public Art Forum in Taichung


I presented a paper in the forum, titled: "Dialogue as a way of Public Art: Restoring Biodiversity with Cultural Diversity in the Environmental Art Action on the Southwest Coast of Taiwan". 「對話作為一種公共藝術:以文化多樣性復育生物多樣性的環境藝術行動」



An abstract of Chinese and English version below:

對話作為一種公共藝術:
以文化多樣性復育生物多樣性的環境藝術行動


正如同繪畫表面脫離了畫框和畫布的支撐,雕塑脫離了臺座;對話作為一種公共藝術的表現,也脫離了作品必須依附在物件上的必要性,進入空間,成為行動,乃至擴散到人群、社會以外的環境和生態。

2008年北回歸線環境藝術行動的海區蚵貝地景藝術論壇中,以對話作為切入環境的路徑,模糊了視覺性與非視覺性的界線,將藝術的公共性指向了常民生活中的日常和未來性。透過跨領域的對話,滾動式綜合治理策略,階段性行動方案,對話得以不斷孳生出相應的行動和新的對話,來回應變動的環境。

在這場長達十年的對話中,除了我們一向所習知的政府單位、專家學者、社區居民和藝術家之外,也納入了種種生物與非生物的對話:「大海是了不起的繪圖師,它每天都在重繪世界。」(Harrisons 2008) 「你有聽到蚵仔在唱歌嗎?」(Haley 2008) 「我對著鳥兒祈禱,因為他們提醒我們,所愛的事物而並非所怕的萬物。」(羅思容 2012) 。對話中更顯示出人與環境的交互關係以及對當地生態和生物的衝擊:「以前黃昏這個時候,海坪停滿紅嘴鷗,現在這些海坪被填成海埔新生地。」(副瀨村林前村長 2017),「潮間帶的消失碰上西南沿海大量廢晒的鹽田濕地,迫使這群原本停棲在海岸線潮間帶的鳥兒往內陸遷移。」(邱彩綢 2017)

面對這些生存環境中生物變遷所帶來的警示,當地居民如何安置自己在生態系中的位置?鹽工、漁民、農夫、蚵農、水產養殖業者、環境工作者、藝術家…又如何以生產方式回應和共同分擔對環境與生態的養護之心?在嘉義縣海岸地區的布袋鹽田濕地,提供了一個以文化多樣性復育生物多樣性的案例。


Dialogue as Public Art:
An Environmental Art Action applying Cultural Diversity as a way to achieve Biodiversity

Dialogue as public art has set art free from the necessity of attaching itself to the objects. Rather, art can be at any spaces, become actions, and disperse to the environment and ecology beyond the conventional human societies.

Since the Conference of Oyster Shell Land Art within the programme of Art as Environment: A Cultural Action on Tropic of Cancer 2008, dialogue has been introduced as an art to delve into the environment of the abandoned salt fields and coastal wetlands in Budai, Chiayi. The practice obscured the boundary between the visual and the non-visual. The publicness of art was directed to the dailiness and futureness in civic life. By means of interdisciplinary dialogue, rolling correction and unified management, along with priority action plans in different stages, the dialogue expand and extend, creating more corresponding actions and new bouts of dialogue, to respond to the changing environment. This practice provides a good example of ecological conservation by preserving biodiversity with cultural diversity.


The full text please see here: https://publicart.forum.deoa.org.tw/papers/zlz.html

2017年11月11日 星期六

Big Ball project on Ping-Leh footbridge (記藝太平町-天橋藝術節)

Yesterday was 120 anniversary of Tai-Ping Elementary School, one of the oldest elementary school in Taipei. Along with sports and performance celebration, there were events such as an installation of art work and a holiday bazaar. I spent about 1.5 month, together with many people's help, finished a big ball of rice straws. I pushed it all the way up the stairs with 2 other young students,

and set the ball on the footbridge between Tai-Ping and Yung-Leh Elementary Schools. Since the ball is really big, it immediately attracted attentions of passers-by. Interesting!
We also taught how to make a smaller rice straw ball at the holiday bazaar, which also attracted many kids and young people to try. Love the photos below,