恨纏綿- 姚瑞中個展
展期: 2009.12.19 (Sat.)-2010.01.31 (Sun.)
地點: INART Space, 台南市, 台灣
地址: 70055台南市中西區友愛街315號
網站: www.inart.com.tw
電話: + 886 (0)6 221 3638
開幕: 2009.12.19 (Sat.) 15:00

Romance-
Yao Jui-Chung’s Solo Exhibition
Dates: 2009.12.19 (Sat.)-2010.01.31 (Sun.)
Location: INART Space, Tainan, Taiwan
Address: No. 315, You Ai Street, West Central District, Taiana City, 70055, Taiwan
Website: www.inart.com.tw
Tel: + 886 (0)6 221 3638
Reception: 2009.12.19 (Sat.) 15:00

年底受邀參加澳洲亞太當代藝術三年展的藝術家姚瑞中，長期以來的創作皆觸及政治與歷史大敘事的批判審視，此次於昆士蘭當代美術館展出寬達二十四米的巨型連拼廢墟攝影作品即為代表之一。而在邁入人生四十載寒暑之際，姚瑞中也將於台南加力畫廊推出全新繪畫個展「恨纏綿 」，將近年來頗富戲劇性的心境變化做一次回顧與總結，他改寫並挪用了中國美術史的經典畫作，將其轉化成個人生活與真實的感情故事，試圖將宏大史詩文本轉化為私微自傳敘事，為形式僵化的古畫注入現代感。令人好奇的是，姚瑞中會用何種姿態回應自己過往的輕狂歲月？

在形式上，《恨纏綿》及《如夢令》兩系列皆以中國傳統風俗畫與界畫風格為藍本，姚瑞中先上網搜索中意的圖片再列印A4紙出來，尋找與自身經驗類似的構圖後進行拼貼，由於網路圖片解析度不高，圖片細節往往糊成一片，因此他索性以自創的「春蠶吐絲」筆法，綿密地以針筆在粗糙的印度手工紙上，勾勒出想像中的大山巨川，自成一處桃花源嬉遊其間，並化身為頭上長角的魔鬼搬演愛戀情事，在時空交錯處與舊愛重遊綺幻夢境。

剛硬的針筆勾扯出細密纏綿如網狀般的山水，以千絲萬縷寫下不惑之年的懺情錄，將消逝的戀情用丘壑春水寫成一首首詠嘆調，並以金箔將畫面空白處貼覆成一片金碧山水，羅織華麗卻已緩慢流逝的青春舊夢。而按金的手作勞動與繁瑣線條的耗時描繪，則像是某種沉潛心性的靜修儀式，年輕時的衝撞與強硬銳利似乎都收斂為柔軟謙卑。展現在眼前目眩神迷的金光閃閃中，姚瑞中讓歷史的宏大敘事與個人的私密傳記神交於瑞氣千條內，透過才子佳人的風流韻事，成就了如夢似幻的花花世界，只恨今世不能纏綿。

For a long time, artist Yao Jui Chung has critically examined major political and historic events in his practice. Participating in The 6th Asia Pacific Triennial of Contemporary Art, he will show an ongoing project Everything Will Fall Into Ruin which considers the idea of an ‘aesthetic of ruins’ at the Queensland Art Gallery. The upcoming exhibition at Tainan’s InArt Space, Yao’s new drawing series Romance is a retrospection of his shifting frame of mind as he approaches midlife. In this series, Yao inserts contemporaniety into the unyielding form of ancient practices. By appropriating Chinese traditional artworks to narrate his personal life and emotional accounts, he transforms literary classics into autobiographical recounts. How Yao will represent his slightly wild days in these works is greatly anticipated.

Formally, Yao references Chinese genre painting and JieHua (Chinese architecture painting) in the two series Romance and Dreamy. He composes his works by patching low-resolution images taken from the Internet. Yao uses “caterpillar spins silk thread” – a self-invented drawing technique, covering textured Indian hand-made paper with pen lines. The main subjects, a horned-devil with its old fling, act out a love story as they roam in the imaginary arcadia.

Yao crafts meshed landscapes with hard drawing pen; the countless strokes seem to tell a midlife confession, and the scenery is lamenting for the vanishing romance. Overlaying the negative spaces with gold, the lavishing landscape is but Yao’s fleeting dreams from the youth. The laborious process of gilding and drawing is as a soul-conditioning ritual, converging his youthful recklessness into humility. Through the mesmerizing gleam of the images, Yao weaves together historic events and personal fables; though the amorous affair continues in the dream-like world, he can linger no more.

茶會Reception 10．10 15:00
座談Discussion 10．17 15:00
策展Curator 蔡家榛

Venue / 南海藝廊Nanhai Gallery
台北市重慶南路二段19巷3號 (02)2392-5080
No.3, Lane 19, Sec. 2, Chongcing S. Rd., Jhongjheng District, Taipei City 100
紅線中正紀念堂站1號出口，沿南海路方向步行5分鐘，遇牯嶺街右轉即達。

Time / 2009．10．10－10．25
週三-週日，14:00－21:30開放

Preface by the artist /

在這系列的作品裡，我並不是站在批判的角度，或反抗的姿態來看待媒體。而是從日常生活中，放大某些片刻，那些片刻反照了我們與媒體的互存的生活樣貌，及身在其中無可名狀的滯留狀態。在其中我們自我感知清醒，但對外在的感受卻是封閉的。

我們仰賴訊息的傳收來確定自己的位置，其傳收的速度來定位自己的高度。然而，訊息後面的事件，因開放的交換空間而轉換為淺表的閱讀，我們對它的熟悉感並不是我們實地經驗過，而是它曾存於擴張的訊息渠道，就算只是一行文字閃滅的時間。

即時並不等同於此時此刻，螢幕上的永恆預言已成光點一閃即逝。回頭注視我們存在的當下，或許是我過去分歧的創作過程一條清楚的脈絡。

More information about /
http://natniu.blogspot.com/

venue : Five Hundred Dollars (Vyner St, London, United Kingdom)
time : August 14, 2009 – September 13, 2009
opening night : August 13, 2009

Bilateria is a group show by emerging London-based artists Leah Lovett, Philip Ewe, Mary Ramsden, Adam Parkinson and the collective Charlesworth, Lewandowski and Mann. These artists work across various media, with pieces on show ranging from performance to painting; sculpture to text. However, irrespective of the medium used, the decision to conceal or omit information is at the heart of all the works. Ramsden obliterates marks by over-painting, layering her images and editing what can be seen and what must be imagined underneath the seemingly automatic movements of her brush. Lovett filters and transposes various truths, using material sourced from the web, theatrical devices and techniques from television reportage to create new stories. Ewe puts forward images that appear to be missing their key component, relying on the viewer to fill in the gaps and take on the role of the missing subject. Similarly, Parkinson anticipates his audience, imagining, as he does, the unmade works that are posed in discussions with his clairvoyant advisors. The idea of artworks as the outcome of a verbal exchange, is one which runs throughout the exhibition. This is manifest in the practice of Charlesworth, Lewandowski and Mann. Their sculpture, like all the work produced by this collective, will be born out of discussion. The structure will split the space from floor to ceiling, and this temporary wall will conceal and obscure its surroundings forming the final edit. The title of the show is taken from the latin name Bilateria Triploblastic, a group of organisms which possess bilateral symmetry, a mouth and an anus.