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,

日日陶冶｜視聽障捏陶公益展／／Daily Pottery

8月6日下午9:46 ·

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

8月7日下午12:05 ·

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.

 

 

 

 

  

2018 Cheng Long Wetlands International Environmental Art Project: What a Difference 9 Years Makes (Reunion & Symposium)

2018 Cheng Long Wetlands International Environmental Art Project
What a Difference 9 Years Makes

2018 成龍溼地國際環境藝術節—〈作伙倒轉來！〉環境藝術論壇

5/11作伙大團圓  + 5/12.13 倒轉來論壇 (Reunion & Symposium)

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.13

■ 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.

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.