双方藝廊參與Art Taipei台北國際藝術博覽會

展覽介紹

双方藝廊很榮幸將參與2023 Art Taipei台北國際藝術博覽會，2023年10月20日（五）至23日（一）於台北世貿一館展位D11登場。本次双方藝廊集結六位藝術家：薩璨如、蘇匯宇、陳擎耀、郭彥甫、黃海欣及李若玫，展出平面繪畫、雕塑、錄像、裝置等精彩作品。展位空間則以「複調敘事」為主軸，將複調音樂的概念轉化為視覺語言。複調（polyphony）一詞取自樂理，指涉音樂作品中多聲部旋律相互獨立且同時進行的演奏方式。本次展覽中融合多元形式、媒材，意識及觀點，試圖將各自獨立演奏的作品完美協調，構成一幅和諧而生動的視覺樂章。

薩璨如擅長使用堅硬的白色大理石創造柔性律動，在石材質量與空間的對應關係中展現內在獨有的生命力，運用簡潔而柔美的流動線條演繹極簡美學，以獨特細緻的肌理變化反映東方哲學思想中的寧靜和平衡。蘇匯宇以展演、裝置等不同方式思考錄像作品的可能性，大量展現大眾文化、影視媒體與身體之間的相互影響關係，近年常使用電影工業中的「補拍」(Re-shooting)手法，重訪那些來自過去、未完成、被禁制以及被誤解的人事物，從意識形態的角度探討身份認同和文化衝突等議題，引發觀者對當今社會現象的反思。

陳擎耀作品圍繞在政治和文化議題，以精細的寫實技藝，融合戰時與現代台灣景象，或將自身形象的置入於政治領袖人物的肖像畫中，以借古諷今的詼諧手法探討當今真實的社會現象，同時也隱喻了台灣所處的政治情勢。郭彥甫的創作在繽紛的色彩中流露出自由奔放的氣息，大膽的畫風不受技法拘束，遊走於抽象與具象之間。創作靈感深受童年記憶和生命經驗的影響，透過捕捉時間凝結的瞬間，在繪畫中勾勒出當下的記憶，不僅是對過去生活的緬懷，更描繪出時代的共同記憶。

黃海欣的作品取材自日常生活情境，擷取滑稽與尷尬的特殊時刻，透過新聞照片式構圖及簡潔真實的線條，敏銳地勾勒出在芸芸眾生中各式小人物的生存場景; 以黑色幽默中帶著天真童稚的手法揭示人們在人際關係中所經歷的荒謬時刻，不僅是對現實狀態的諷刺，更是觸及人們內心的不安和疏離。李若玫作品著迷於山川草木的純粹美感及生命力，透過日常中的細膩觀察，思索當今生活與感知之間微妙而斷裂的連結，以柔和且富詩意的方式重塑日常互動關係，同時映照時間逝去狀態。

Double Square Gallery is delighted to participate in the 2023 Art Taipei and present our exhibition at booth D11 at the Taipei World Trade Center Exhibition Hall 1, which runs from October 20 (Fri.) to 23 (Mon.), 2023. The exhibition features six artists, namely, Cynthia Sah, Hui-Yu Su, Ching-Yao Chen, Yen-Fu Kuo, Hai-Hsin Huang, and Jo-Mei Lee, and showcases their brilliant works of various media, including two-dimensional painting, sculpture, video, and installation. Themed on “Polyphonic Narrative,” the exhibition transforms the idea of polyphonic music into a visual language. “Polyphony,” a term borrowed from music theory, refers to a combination of two or more tones or melodic lines played simultaneously. In a similar way, the exhibition merges diverse forms, media, ideas, and viewpoints, and composes the perfect harmony of individual works to create a piece of mellifluous and vibrant visual music.

Cynthia Sah excels at utilizing solid white marble to create fluid rhythm that unveils the unique inner force of life in the corresponding relations between stone and space. Interpreting minimalistic aesthetics with simple and fluid lines, her works display distinctively refined changes of texture, which reflects the serenity and equilibrium discussed in Eastern philosophical thinking. Su Hui-Yu contemplates on the potentiality of video through exhibition, performance, and installation to extensively demonstrate the interrelations and interaction between mass culture, the media of film and television, and body. In recent years, he has employed the approach of “re-shooting,” a common approach used in the film industry, to revisit the unfinished, the banned, and misunderstood people, events or things in the past. From an ideological perspective, his work engages in the discourses about identity and cultural conflicts, prompting the audience to reflect on contemporary social phenomena.

Chen Ching-Yao’s work revolves around political and cultural issues. Utilizing superb techniques of realist painting, he incorporates scenes of Taiwan in wartime and the modern times into his works, or combines his own images with portraits of political figures, using the past to satirize the present in a humorous way to explore real phenomena in contemporary society, while hinting at Taiwan’s political situations. Kuo Yen-Fu’s work immerses the spectator in a colorful palette and an air of freedom. Bold and unrestrained in style and technique, his painting moves between the abstract and the figurative. Drawing inspiration from deeply felt childhood memories and life experiences, he delineates the memories perceived from the present in painting through capturing the frozen moments in time, reminiscing about the past while depicting shared memories of our time.

Huang Hai-Hsin’s work is inspired by everyday living situations, and selects special moments that are funny and embarrassing. Creating composition in the style of news photos with succinct and unpretentious lines, she portrays the survival scenarios of a range of ordinary people, mixing a sense of black humor and child-like innocence to expose the absurd instants in our interpersonal relations. Her work not only satirizes reality, but also touches upon the angst and aloofness of modern people. Lee Jo-Mei is fascinated with the unadulterated beauty and life force of mountains, rivers, trees and plants in nature. Based on her minute observations in everyday life, she contemplates on the subtle yet disrupted connections between life and sensory perception, and reshapes everyday interactions and reflects the disappearing time in a gentle, poetic way.

 

• 薩璨如，1952年生於香港，成長於六零年代的台灣，在美國哥倫比亞大學取得藝術與教育碩士後前往義大利卡拉拉山附近的塞拉維札進行創作，長年旅居義大利，往返於台義兩地。藝術家從事雕刻創作逾40年，累積了豐富的創作成果，曾為第一屆中華民國現代雕塑展首獎得主，並受邀參加威尼斯雕刻大展「開放 2000」。薩璨如的大型公共藝術創作遍布於世界各地，並獲台北市立美術館、高雄市立美術館、日本宇都宮市及安土町、義大利波利辛奈海、丹麥國家雕刻公園、威尼斯等地的雕刻大賞及典藏。近年來，她為台北、北京、上海、香港、澳門、墨西哥等地多處知名飯店、宅邸及各大企業總部大樓委託創作。
  

  Cynthia Sah (b.1947) was born in Hong Kong. She grew up in Taiwan in the 60s, and after receiving her MA in Art and Art Education, she moved to and settled down in Seravezza near Mount Carrara in Italy, starting a life of travelling between Taiwan and Italy. Over her more than four decades of sculptor career, Sah has obtained various achievements. She is the recipient of the First Prize of Chinese Modern Sculpture Exhibition and was featured in OPEN 2000—International Exhibition of Sculpture in Venice. Her large-scale public art projects can be found worldwide, and her works have been included in the collections of various prestigious art museums and honored in numerous sculpture awards, among which are Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, Utsunomiya and Azuchi-cho in Japan, Polisine in Italy, the International Sculpture Park in Denmark, Venice and more. In recent years, she has been commissioned to create works for famous hotels, residences and corporate headquarters in Taipei, Beijing, Shanghai, Hong Kong, Macau, Mexico, etc.

 

• 蘇匯宇，1976年出生於台北，2003年自北藝大美術創作碩士班畢業後，蘇匯宇持續以錄像、攝影與裝置藝術來探討記憶、身體政治、戒嚴與意識型態建構的關聯。其作品曾先後展出於北美館、國立台灣美術館、台北當代藝術館、關渡美術館、高雄市立美術館、加州聖荷西美術館、康乃爾大學強森美術館、墨西哥尤麥克斯美術館（Museo Jumex）、德國波昂美術館（Kunstmuseum Bonn）、盧森堡卡西諾當代藝術中心（Casino Luxembourg）、溫特圖爾當代藝術館（Kunsthalle Winterthur）、曼谷藝術文化中心（BACC）以及上海當代藝術博物館（Power Station of Art）等重要機構，並獲北美館、國美館、高美館、忠泰藝術基金會、驕陽基金會與澳洲白兔美術館典藏。
  

  Hui-Yu Su (b. 1976) was born in Taipei. Su received an M.F.A. degree from Taipei National University of the Arts in 2003. The complex phenomena arising from the entanglements among images, media, andquotidian life is particularly fascinating to the artist, which is why he employs videos to investigate how mass media influences people and how the latter in turn project their ideas and desires onto the on former. His works have been exhibited at the Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts, MOCA Taipei, Kuandu Museum of Fine Arts, Hong-Gah Museum, Double Square Gallery, Tina Keng Gallery, Kaohsiung Museum of Fine Arts, San Jose Museum of Art in California, Herbert F. Johnson Museum of Art at Cornell University, Kunstmuseum Bonn, Casino Luxembourg- forum d’art contemporain, Bangkok Arts and Culture Center and Power Station of Art in Shanghai.

 

• 陳擎耀，1976年生於台北。2006年畢業於國立臺北藝術大學美術創作研究所。曾獲台灣藝術新貌獎及台北獎首獎殊榮，並於2009年獲得美國亞洲文化協會台北分會劉國松創作獎助計畫赴紐約進修。陳擎耀近年的作品多以攝影、繪畫為主，表現的題材廣泛，作品關注權力符號的解構，並且挪用流行文化、政治人物肖像大肆的改寫與重述，透過對權力符號的降格，藝術家無非是對當前我們所處的社會進行反諷，並且冀望人們能夠在微笑的同時，重新反思自身周遭各種因權力作為而造成的荒謬感。
  

  Ching-Yao Chen (b. 1984) was born in Taipei. Chen received his MFA in Fine Arts from Taipei National University of the Arts in 2006. He has won the Award of Newly Emerging Artists in Taiwan and the First Prize of Taipei Arts Award. He was also the recipient of Asian Cultural Council’s grant in 2009, which enabled him to conduct a residency in New York. In recent years, Chen’s work centers around photography and painting. The range of his subject matter is very wide, and his work focuses on the deconstruction of power and symbols. He often appropriates symbols of popular culture, and even the portraits of politicians, and drastically recreates and transforms them into humorous, amusing images and behaviors, or simply assumes the roles of these figures himself in his work. His downplaying the symbols of power is undoubtedly a sarcastic satire against modern society. While making his audience laugh about the situation, he also aims to make them reflect upon the absurdity of different actions of power in their surroundings.

 

• 郭彥甫，1979年出生於台灣，台北市立體育學院畢業。自幼年開始便著迷繪畫，累積紮實的繪畫基礎，有別於科班創作系統，藝術家大量參照過去的生命體驗與感受，創作大膽且自由協調的色彩以及不受拘束的技法，不論行李箱、運動員、影視等主題都是藝術家獨有的生活體驗，同時也體現出年代氛圍裡的集體記憶⋯。郭彥甫近年除積極創作外，也固定在國內外舉辦個展及群展，作品曾展出於中國、韓國、美國、義大利、法國、西班牙等地。
  

  Yen-Fu Kuo (b. 1979) was born in Taipei. Kuo graduated from The University of Taipei college of kinesiology Department of Athletics. Kuo’s inspiration comes from his daily life and feelings which influences Kuo’s works profoundly. For example, the memories of the video rental shop that ran by his family. He hopes to create a “happiness” world that wanders in the second dimension and enters the viewer’s heart. His works were exhibited in the United States, China, Korea, Italy, France, etc.

 

• 黃海欣，1984年出生於台北，2009畢業於紐約視覺藝術學院。曾於2011年獲得台北美術獎優選，近年來分別在香港巴塞爾藝術博覽會、德國萊比錫美術館、美國紐約ISE伊勢藝術基金會等舉辦個展。作品多次受邀展出於台北、東京、首爾、巴黎、紐約、上海等地，並參與2020年第12屆台北雙年展，展出於台北市立美術館和法國龐畢度中心梅茲分館。作品也受澳洲白兔美術館、德國萊比錫美術館、台北市立美術館、國立台灣美術館、瑞士銀行藝術基金會等重要機構典藏。
  

  Hai-Hsin Huang (b. 1984) was born in Taipei. Huang received her MFA from the School of Visual Arts, New York in 2009. She was awarded Honorable Mention in the Taipei Arts Awards of 2011. In recent years, she has presented solo exhibitions at the Art Basel Hong Kong, the Museum der bildenden Künste, Leipzig, Germany and the ISE Culture Foundation, New York. Her works have been showcased in the 12th Taipei Biennial in 2020, respectively presented at the Taipei Fine Arts Museum and the Centre Pompidou-Metz, France. Her works are included in the collections of various prestigious art institutions, among which are the White Rabbit Gallery in Australia; Leipzig in Germany; the Taipei Fine Arts useum; the National Taiwan Museum of Fine Arts; the UBS Art Collection; and the Yageo Foundation.

 

• 李若玫，1985年生於台灣台北，創作以平面素描及立體雕塑的為主，從日常經驗及事物細節的凝視與反覆中，尋找觸動感知的記憶風景。2015年至今創作朝向自然探索及材料研究上，喜愛觀察植物，尋找植物身上神秘的缺口，試從近身的微觀中，開啟細微感知的植物時間。作品帶有特殊的詩性。過去重要個展於台南絕對空間；重要聯展於台南市美術館、關渡美術館、双方藝廊、安卓藝術；亦曾受邀於法國、日本、美國、澳洲參與聯展與駐村計畫。
  

  Jo-Mei Lee (b. 1985) was born in Taipei. Lee’s practice is mainly based on sketches, paintings and three-dimensional sculptures. She looks to depict how we gaze on the texture of objects throughout the everyday experience to explore the sense of memory’s own landscape. From 2015 to the present, the artist has been focusing on the exploration of nature and materials. She loves observing plants and the mysterious notches or small cuts in plants to perceive the sense of time of plants from her own micro view. In this way, her artworks are presented with a particular poetic lyric.

展覽資訊

貴賓預展： 2023年10月19日（四）15:00-21:00 2023年10月20日（五）11:00-14:00   公眾展期： 2023年10月20日（五）14:00-19:00 2023年10月21日（六）11:00-19:00 2023年10月22日（日）11:00-19:00 2023年10月23日（一）11:00-18:00

地點｜台北世界貿易中心-展覽一館（台北市信義區信義路五段五號）

展位｜D11