Lecture: Do we really need Ecologucal Art? 高師大演講：我們真的需要"生態藝術"嗎？
Date & Time: 2023/12/27 (Wednesday) 18:00 - 20:00 pm
Venue: Classroom #5317, Graduate Institute of Transdisciplinary Art, National Kaohsiung Normal University
2023年12月29日 星期五
2023年12月5日 星期二
怪奇生物展 Exhibition of Bizarre Creatures
╭┈───────˖⋆ ❁ ˊˎ-
࿐✩ 怪奇生物展 Exhibition of Bizarre Creatures ✩ ࿐
⁀➷展覽 Exhibition
【展覽日期 ᴇxʜɪʙɪᴛɪᴏɴ ᴅᴀᴛᴇ】11.11(sᴀᴛ.)-12.17(sᴜɴ.) 11:00-18:00 週一休村 ᴄʟᴏsᴇᴅ ᴏɴ ᴍᴏɴᴅᴀʏ❀
【展覽地點 ᴠᴇɴᴜᴇ】寶藏巖國際藝術村 ∷轉角2號 ∷閣樓青年會所202號 ∷ ᴛʀᴇᴀsᴜʀᴇ ʜɪʟʟ ᴀʀᴛɪsᴛ ᴠɪʟʟᴀɢᴇ ∷ᴄᴏʀɴᴇʀ ɢᴀʟʟᴇʀʏ ɴᴏ.2 ∷ᴀᴛᴛɪᴄ ʜᴏsᴛᴇʟ ᴍᴇᴍᴏʀʏ202 ∷
During one peculiar afternoon, as we were preparing to destroy an unsatisfactory piece of work in my hands to turn it into recyclable material, while pinching and shaping it, the clay in my hands seemed unwilling to leave this world so easily. The clay dictated its own direction and transformed into another peculiar yet charming creature. These clay creatures were born in the space between control and unpredictability, destruction and reconstruction.
We've all been kneading clay for a while and have been fascinated by this complex medium. It's both fragile and stable, simple and beautiful. This time, we cast aside the constraints, allowing our imagination to run wild, letting our hands, senses, and the clay itself determine the direction. We hope to spark more creativity through this collision with clay. It might result in a creature that looks entirely different, seemingly forlorn yet with innocent eyes, or perhaps a creature with a fearsome appearance but a hearty laugh in its heart. These creatures came to life in the magical connection between our hands and the clay on that day.
一個奇妙的午後，正準備毀掉手上不滿意的作品讓它變成可以回收再利用的材料，捏著捏著，手裡的土似乎並不願意就這麼離開這個世界，土在手裡決定了方向，變成另外一個奇特但又頗有韻味的生物，這些陶土生物就在這可控與不可控之間、在破壞與重組之間誕生。
我們都一直有在捏陶，也著迷於陶土這個複雜的媒介，它既脆弱又沈穩，既樸實又亮麗。這次我們拋開框架，放任自己的想像力，讓雙手、讓感知、讓黏土決定方向，希望與陶土碰撞出更多的火花，有可能是一隻面目全非看似生無可戀卻有著純潔眼神的生物，也可能是一隻面目猙獰心裡委屈卻咧嘴大笑的怪物，這些生物都在我們當天雙手與土的連結之中奇妙的誕生。
. ⠈. ⠈. ⠈. ⠈. ⠈. ⠈. ⠈. ⠈. ⠈. ⠈ . ⠈. ⠈.⠈ೃೀ.⠈. ⠈.
∘₊✧ 寶藏巖微聚 Treasure Hill Micro Loft X 51門 WEMEN X 周靈芝創作工作室 J.C Studio ✧₊∘
廖珮妤 LAIO Pei-Yu | 51門 WEMEN
主要創作為停格動畫，擅長將黏土極具延展性的材質特性與複合媒材結合，搭配出不一樣的視覺風格，創作風格奇幻怪誕，喜歡透過誇張的表情、表演和視覺風格呈現細膩的情緒變化。目前的創作多半跟心理情緒議題相關，探討不被言說的無法捕捉的心理狀態。
周靈芝 Julie CHOU | J.C Studio
J.C Studio是藝術家周靈芝以個人創作發想和對外連結為目標而進駐的工作室。在過去的創作經驗裡，她曾和寶藏巖居民共創生態農園，以及藉由陶土或布料為媒材，邀請民眾體驗和互動，頗受歡迎。未來也將繼續這方面的實驗和創作。
廖珞安 LIAO Luo-An
現從事插畫創作，擅長以動物和自然界的有機形體變化，加上個人想像，創造有趣且色彩豐富的視覺圖像。於接觸陶藝之後，結合陶土的特性，賦予作品更生動的面貌。
賴穩伊 LAI Wen-Yi
J.C Studio學員，具有設計專業背景，擅長以自然界事物幻化為精靈的想像進行創作，並以各種陶藝的手捏技巧成形，目前從事資訊業。
2023年5月6日 星期六
An English interview by Emma Benack, broadcast @ Radio Taiwan International
2023年5月1日 星期一
A Draft for pre-recorded interview at Radio Taiwan International 央廣訪談草稿
A Draft for pre-recorded interview at Radio Taiwan International 央廣訪談草稿
“how my art career started”
When I was young, I was a good writer. I wrote poems and prose. The only thing I did as “fine art activities” probably is drawing female figures wearing traditional Chinese costumes from the classical performance on my textbook.
But when I grew older, I became unsatisfied with the literature world. I felt the expression with words is too abstract. I need something more tangible, more visible. That's when I turned to Art.
My art career started comparably late in life, around my thirties. I didn't go to art school. Rather, most of my basic learning about art is done at Taipei Fine Art Museum. That was last century, the 1990's.
Taipei Fine Are Museum was opened on the year of 1983, the day of Dec. 24. Since it is the first museum of contemporary art in Taiwan, the museum played an important role on holding exhibitions and promoting art education to the public. I attended several art classes of their program, and get to know quite a few artists there. Some of the artists just came back from abroad. They became teachers of this education program and introduced new trends or concepts of art from the United States and Europe.
I was very active then, eager to participate in all kinds of art events and strive for any opportunities to delve into the art world. In the following years, I helped Professor Chen Chien-Pei to carry out a research project on global artist villages and art residency programs, putting emphasis on the U.S. and France as two different models for Taiwan. That was the beginning I built a link with artist village.
Taipei Artist Village, the first artist village in Taiwan, was founded in 2001. Quickly they started International artists exchange and residency program. Through the program, I was lucky enough to have my first international art residency experience in 2004, to Australia, and over the following years, to India, Japan and Macau.
“what is my art practice”
My early art works are videos and installations. I learned video editing from Internet and made my first video work, by adding up photos I had taken from the neighborhood on my computer and applied very simple movement to it, similar to the technique of stop-motion animation. Then I bought my first digital camera in 2004, and made another video. That was the one in the final list of the 2nd Taishin Arts Award, the work "skyway". With this camera, I did experiments, thinking it as my eye's extension, and being curious about what would the world look like if seeing from my body part's angle, for example my palm. So I played Taichi with the camera fixed on one hand and videotaped the whole round of Taichi playing. The result becomes the Taichi world of my hand, or seeing the world through eyes that had dropped to my hand.
And, …..
“my experience on public art at Budai & Treasusre Hill”
Life always takes turns, so does my art practice.
In 2007-2008, I joined artist/curator Wu Mali and her team for an environmental art project. Artists were sent to the rural villages in Chiayi, the southwest part of Taiwan, to work with farmers, salt workers, fishermen and tea growers. That project led me to the exploration of environmental and ecological art. I wrote 2 books inspired by the project and based on my experience there.
The first book is titled “Insights into the Eco-art of Britain”, which contains ecological art examples I collected through the introduction of British artist David Haley. As an ecological artist, Haley has worked with us on the issue of climate change and local resilience since 2007 in the township of Budai on the Chiayi coast. That was the story of my second book, entitled “Beyond Dialogue: A Journey of Transforming Place through Climate Change.”
The core spirit of these projects is using art as a method to ask questions, to facilitate dialogue, to involve people in communities with the web of life, to connect and to make transformation. I’m very proud of my friends in Budai. Be they farmers, salt workers, fishermen or filmmaker, they are caretakers of the environment, the wetlands and the wild species in the meanwhile.
[How did you end up at Treasure Hill? What do you like about the community there?]
After the publication of my first book, I was invited to Treasure Hill Artist Village to do a public art project. The curator was looking for projects more environmental and ecological. She encouraged Italian artist Carlotta Brunetti and I worked together, along with the non-artist residents. We created organic gardens on several patches of land throughout the village. One of the biggest is still under the residents’ care today.
My focus and interest turned to ceramics in recent years.
Last year, I had a joint exhibition with 2 other artists in Treasure Hill, Kjohn and 不歸路. Kjohn makes robot models with recycled material, such as electronic components. Bugrelu is a designer’s brand well-known for its products made with plant seeds. The show is titled “Microscopic Forest - the landscape of the south quarters of Taipei defined by mosses and liverworts” 《三千分之一的城南 ─ 苔蘚編織的風景 創作聯展》.
Together we focus on making individual works that combined with mosses or liverworts which can be found and gathered from the neighborhood of Treasure Hill and the surrounding area.
Are there any art exhibitions you've seen and enjoyed in Taiwan recently?
“The world of Tim Burton” at Chiang Kai-shek Memorial Hall. I like his drawings, with free-flow strokes, wild imagination, and striking color arrangement.
Do you have any new plans for your art in the future?
I will continue to explore the mystery of material, such as ceramics, plants, ferns, moss and liverworts.
What advice would you share with young artists who are just starting out? What lessons have you learned throughout your career?
I'm not sure if it suits everyone, but this is the advice I always told myself:
Take
courage and be brave.
The word "take courage" is quoted
from famous ABC news anchor Peter Jennings.
I can't recall when or for what event he was reporting.
At the end of that report, he calmly said"take courage", just like to encourage all the audience in front of the televisions.
Somehow I felt I was cheered up too and remembered that phrase since.
Finally, the lessons I learned are these: keep an open mind, and keep learning.
2023年3月17日 星期五
A podcast interview on ecological art -- by Homeward publishing
A podcast interview on ecological art -- by Homeward publishing (Chinese version)
(Part 1)
把第一次的 podcast 經驗給了南方家園小客廳，
來聽聽有趣的“生態藝術”對談囉！
南方家園小客廳EP127 與自然共存—此時此刻我們所能做的最激進之事，便是好好地面對世界正在發生的劇變！｜藝術如何介入刻不容緩的環境議題？ ft.藝術家周靈芝
前兩集談論循環經濟與淨零排放的議題，這集特別邀請藝術家周靈芝老師來談藝術如何介入環境與生態。
周靈芝老師在南方家園出版過《生態永續的藝術想像和實踐》、《對話之後：一個生態藝術行動的探索》，第一本收錄了英國生態藝術的七個例子，同時也介紹台灣的生態藝術；第二本則記錄2008年在嘉義北回歸線環境藝術行動所舉辦的「蚵貝地景藝術論壇」，詳細描述藝術創作與環境之間的關係，台灣西南海岸的變遷、新的地景藝術規劃、地方參與和在地組織的角色以及國家政策對在地議題的衝擊，思考藝術如何回應刻不容緩的環境課題。
..........................................................................................................
(Part 2)
南方家園小客廳 EP128 與自然共存—對話作為一種藝術表現的形式，藝術如何介入生態議題｜不同的物種能找到共生的方式 ft.藝術家周靈芝
這集，周靈芝老師談她在南方家園出版的二本著作：《生態永續的藝術想像和實踐》、《對話之後：一個生態藝術行動的探索》的創作始末。
這二本書都是因一場藝術論壇而起：「蚵貝地景藝術論壇」。
緣於周靈芝老師在2007年參與了策展人吳瑪悧老師在嘉義縣的「北回歸線環境藝術行動」，該行動自2006開始，藝術家陸續參與並進駐當地社區，並在2008年舉辦「蚵貝地景藝術論壇」。當時，與會的英國藝術家大衛黑利一席話，對現場參與者如醍醐灌頂，他說：「…在目前全球暖化與海水上升之下，未來30年這裡會發生什麼變化？如果我們不去正視我們正在面臨的問題和危機，30年後，也許這個地方就會被海水淹沒。」
多年過去，在極端氣候下，當初的探問，依舊存在。
該如何重建人與環境的一個新關係？
◆印度：
ICE STUPA 冰塔
Sonam Wangchuk
延伸閱讀《生態永續的藝術想像和實踐》https://www.books.com.tw/products/0010568457?sloc=main
《對話之後：一個生態藝術行動的探索》https://www.books.com.tw/products/0010766183?sloc=main
《三千分之一的森林：微觀苔蘚，找回我們曾與自然共享的語言》
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