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
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


■ 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

● 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


■ 客座策展人短介

▲ 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


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


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


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:




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)


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,