2019年3月12日 星期二

Text for FAC's 10th exchange with Asialink and TAV


Coincedentally, food and fabric become our common interest. Years later, I started an organic garden in Treasure Hill artist village and community in Taipei, while Prilla turned herself to a farmer at her home. I remember a funny conversation between me and Marco Marcon, the director of IASKA, on the road from Perth to Kellerberrin. He asked, “You don't drive? Is that Taipei people do the same, or you are the strange people?” My reply (proudly): “I'm the strange people.” Then he asked, “Do you cook?” I said, “No, my mother does.” Lastly I said, “It seems a big waste for me to come to Perth since I don't swim, and you have such many beautiful beaches here.” Marco laughed and said, “OK, Julie, I got an art project for you. You learn cooking, driving, and swimming at IASKA.” I love this conversation, because it shows the free spirit of the W.A. art world, and encourage every artist to pursue each own's goal with no restrictions.

剛巧,食物和布料是我們的共同興趣。幾年之後,我在台北寶藏巖藝術村和社區一起開闢了一個生態農園,Prilla則在家鄉當起了農夫。我還記得剛到伯斯的時候,IASKA總監Marco Marcon載我從伯斯到Kellerberrin的路上,有一段有趣的對話。他問我說:「你不開車?是台北人都不開車,還是你是怪人?」我跩跩的回答:「我是怪人。」他又問:「你自己做飯嗎?」我說:「不,我媽掌廚。」最後我說:「我來伯斯似乎太浪費了,因為我不會游泳,而你們這裡有那麼多漂亮的沙灘。」Marco大笑說:「OKJulie,我替你想到一個藝術計畫。你就在IASKA學開車、煮飯和游泳!」我超喜歡這段對話,因為它幽默地顯示了W.A.藝術圈的自由意志和精神,以及毫不保留地鼓舞著每一位藝術家去追求自己的理想目標。

The above was actually cited from a longer article prepared for the exchange. The original is below: 


The environment in W.A. is the most impressive scene of my residency. The enormousness, the dryness, and the heat contribute to the extraordinary landscape which quite differs from where I come from. Taiwan is a small island with a big population of 23.58 million (in the year of 2018). The neighbourhood I live in are a group of high-rise buildings with apartments housing more than 400 families.

When I first arrived in the residency of W.A., I was fascinated by the flat field, and the seemingly infinate horizon. Farmers introduced me to their farming and harvest. I was told the story of how colonization impacted the natural landscape in W.A. and now the farmers are trying to restore the land by growing indigenous plants to hold water and prevent further solinization. These experiences inspired me to make works related to environment. One of the works titled “Too Salty” was shown in the exhibition of “Beyond the Boundary” at IASKA, Kellerberrin. I asked residents from the community to make one salty dish each for me to address the issue of food and solinization in W.A. Since then, evironment and community has become two major concerns of my following practice.

My time of residency partly corresponded with Indonesian artist Prilla Tania. Since Kellerberrin is a quiet small town, we spent almost all the time together, visiting the field and the community, driving out and doing grocery, cooking and eating dinner. She asked me to help her with the photography work of “Hello and Goodbye”. I had her making one salty dish for me. We collaborated well and this friendship continues.

In 2008, Prilla and I paid mutual visit to each other's country. I took a vacation to Indonesia during the FAC residency (thanks to FAC for allowing me to go out and explore freely.) She came to Taiwan on a residency program provided by TAV. We had a joint exhibition again. Besides each one's individual works, Prilla suggested a collaborative project which involved children from agricultural villages and migrants from Southeast Asian countries. We had the particapants making patchworks with fabric cutting into patterns of food. The result was shown in the joint exhibition of “Ze Hui Lai” in TAV.

Coincedentally, food and fabric become our common interest. Years later, I started an organic garden in Treasure Hill artist village and community in Taipei, while Prilla turned herself to a farmer at her home. I remember a funny conversation between me and Marco Marcon, the director of IASKA, on the road from Perth to Kellerberrin. He asked, “You don't drive? Is that Taipei people do the same, or you are the strange people?” My reply (proudly): “I'm the strange people.” Then he asked, “Do you cook?” I said, “No, my mother does.” Lastly I said, “It seems a big waste for me to come to Perth since I don't swim, and you have such many beautiful beaches here.” Marco laughed and said, “OK, Julie, I got an art project for you. You learn cooking, driving, and swimming at IASKA.” I love this conversation, because it shows the free spirit of the W.A. art world, and encourage every artist to pursue each own's goal with no restrictions.

About The Artist

Julie Chou, Taiwan artist, based in Taipei.

2018年12月29日 星期六

Lukang: Art Feast Workshop for Cultural Landscape Public Art Project in Changhua County

Lukang: Art Feast Workshop for Cultural Landscape Public Art Project in Changhua County

Instructor: Julie Chou
Venue: Lukang Junior High School, Fuxing Barn
Date: 2018-12-26


鹿港:「彰化縣文資地景公共藝術」藝術辦桌工作坊

講師:周靈芝 
地點:鹿港國中、福興穀倉

工作坊內容▌以「一道菜,一個故事」為主題,邀請在地民眾一起來參與製作發想,從個人的觀察與記憶中以及和眾人互相交流之後,選出各人最有感覺的一些事物,將之串連成一個故事,或數個具有關連性和意義的圖案,發展出自己的設計,並以拼布或刺繡、針黹女紅等技法將之鋪陳在布塊上,形成以工藝技法來表現文化內容的作品。

Some documentation of the workshop:




 The following images are taken by 翁果凱:








2018年9月17日 星期一

Water Ciphers: a hidden message in the water -- work for "Art in Chungli" Project 水的密碼 ("藝遊中壢上河圖"作品)

水的密碼 Water Ciphers

 Statement :

Water is the source of life. Hidden in water are messages for life, which then being encoded into different lifeforms and various organisms. The Old Street River, located at the downtown area of Chungli, Taoyuan, has been running all the way from the upstream town Longtan, and carried many possibilities of new life. Guarding the Old Street River is to guard the creatures coming from the water and the environment where are home to these creatures as well as the human kind.

The work consists of three parts: the flying feathers on grassland, the mini woods, and the little fish in shoals being installed along the railings of the riverbank. This work is made by artist Julie Chou with the collaboration of Water Environment Patrolling Team on the Old Street River in Chungli and Hsing Guo Elementary School kids.

Water plays such an important role in all lives and it seems that all lifeforms contain the hidden message from water. I use forms of wings, plants and fish to represent the transformative manifestation of this hidden message, trying to get people's attention to care for the river.

水是生命之源。水中藏著生命的密碼,以不同的生命形式呈顯在各種生物形體中。
老街溪一路蜿蜒,也孕育了許多生命的可能。守護老街溪,正是守護著這些生命,以及和這些生命相關的環境、我們生存其中的家園。

此作包含三組內容:草原上的「飛羽」、小樹苗區,和河畔欄杆上的悠遊小魚群,由藝術家和水環境巡守隊、興國國小共同製作。




























 

2018年8月15日 星期三

Daily Pottery -- an exhibition of ceramic works by disabled people


Daily Pottery is an exhibition showing the pottery works by disabled people. It is the outcome of 2 workshops that I led and worked, with people who have visual or hearing disabilities, during the residency in Treasure Hill Artist Village in July. Seven office interns from THAV and TAV for summer season curated the show collectively. The works are installed with care and beautiful lighting, and very thoughtful arrangements. A very nice exhibition worth to pay a visit. I'm honored to be in this project. Below are photos from THAV's FB pages:







Two photos show the workshop for hearing-disabled people. But I was too busy to take any photos at the workshop for visually disabled people.




Unfortunately THAV doesn't have any English info for this exhibition. Here I post Chinese version as follows,

視障者與聽障者透過各種方式,去感知外在世界。在工作坊中,以他們的方式與人交流、也與手中的陶土對話。因此展覽也以多元的形式呈現,嘗試打破視覺的侷限,以各種不同的感官,來體驗日常藝術。
人與泥土的關係密不可分,泥土可以用來建蓋屋宇,可製成甕罐等生活器具。在日常生活的場域中對於「土」運用雖有不同,但對泥土的認同與感情卻無二致。「土」不僅紀錄創作者當下的軌跡,輕巧或厚重,平滑或粗糙的質感更構成一種層次的豐富性。
在此次工作坊中,視障與聽障人士的心靈通過手與來自大地的泥土的觸碰,與自然實現最為直接的溝通。在創作過程中將個體經驗融入,實現自我表達,同時藉由「陶土」為媒材拓展感官體驗。
本展覽分為「器物之美」、「感官延伸」、「象外之韻」、「見微知著」四個單元。在展示視聽障人士作品的同時,旨在提出一種「非視覺藝術」概念即嘗試打破視覺的侷限來認識藝術,強調聽覺、觸覺、嗅覺與知覺利用性。增加開發多元感官操作與認知方法轉化視覺為主導的模式。這是一種失明人士也能參與的藝術,同時鼓勵健視人士運用視覺以外的感官接觸、理解藝術。
● 展覽地點 VENUE/寶藏巖,上光11展間
Upper Ray Gallery No.11, Treasure Hill
● 開幕時間 OPENING/2018.08.10 (Fri.) 15:30
● 展期 EXHIBITION PERIOD/2018.08.10 (Fri.) - 9.9 (Sun.)
● 開放時間 OPEN TIME/11:00-18:00 (Closed on Monday)
日日陶冶|視聽障捏陶公益展//Daily Pottery
這個展覽展出二十三位視聽障參與者在手捏陶工作坊的創作。
在工作坊中透過各種方式,去感知外在世界,因此展覽也以多元的形式呈現,提出「非視覺藝術」的概念,嘗試打破視覺的侷限,開發觸覺、聽覺、嗅覺感官來體驗日常藝術。
展場有「作品觸感體驗」,牆上有凸出的圖案讓觀眾以觸感去認知作品;視頻播放區,介紹工作坊和側錄;「來摸摸我」鼓勵觀眾可以把手伸進去三個神秘的箱子裡面!體驗只有觸感的嘗試,放下對於視覺的依賴;最後是「留言區」,開放觀眾在葉子便利貼上留言,並貼在牆上樹的圖案上,促進創作者和觀眾的交流。
______________________________________________________
在此次工作坊中,視障與聽障人士的心靈通過手與來自大地的泥土的觸碰,與自然實現最為直接的溝通。在創作過程中將個體經驗融入,實現自我表達,同時藉由「陶土」為媒材拓展感官體驗。人與泥土的關係密不可分,在日常生活的場域中對於「土」運用雖有不同,但對泥土的認同與感情卻無二致。「土」不僅紀錄創作者當下的軌跡,輕巧或厚重,平滑或粗糙的質感更構成一種層次的豐富性。


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。
--
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
--
#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.