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Wild Boy In Twilight 微光中的野男孩個展

展期 Date | 2017.09.15 - 10.25
(10.07 白晝之夜開放至晚上八點 Nuit Blanche closed in 20:00)
開幕茶會 Reception | 09.16 (Sat.) 3pm
地點 Venue | 尚畫廊 Gallery Sun
臉書活動 Facebook Event | https://www.facebook.com/events/100531150691327/

Location | Gallery Sun
Address | No. 55, Lane 304, Jianguo South Rd. Section 1, Taipei
Opening Hours | Tue - Sat 11:00 - 19:00
Contact | +886-2-2325-7733
www.gallerysun.com

微光中的野男孩—鄭宇翔個展
策展人 | 王焜生

咆勃爵士樂（Bebop）轉化成視覺感官的呈現會是如何的狂野與咆哮？台灣藝術家鄭宇翔將音樂作為抽象雕塑媒材，運用光影以及現代科技，以多重攝影與螢幕置放呈現了新的觀賞經驗，聲音不再出現，取而代之的只有影像的視覺化。1996年電影《猜火車》在片尾以〈Born Slippy. (Nuxx)〉為配樂，Underworld 意外因而成為神級天團。這首傳奇的曲子吸引了一批搖滾樂迷轉而開始注意電音舞曲。瑞舞場景、DIY 戶外舞會、專放電音的舞廳也開始在台北出現，鄭宇翔也是當年熱愛電音的少年之一，曲中無調的吟唱歌詞無甚意義，Underworld只是試圖要作得像是醉鬼的喃喃自語，而這作法卻十足反映了那個時代青年的迷惘與憤世忌俗。

如果Bebop與Born Slippy都去除掉聲音，只剩下影像，我們心裡的悸動將如何被轉換？透過液晶螢幕的影像顯現，藝術家將螢幕當作另一個油畫畫布，讓影像隨著手指滑動的顏料與水滴一再的變化，再透過攝影多重呈現了影像的再製，複製與重製，在靜寂無聲的空間裡裡，視覺變成迷亂狂放的自由，無需聲音的刺激，內在獲得完全的解放。

尚畫廊Gallery Sun 首次的新媒體展覽，由台灣新銳藝術家鄭宇翔從科技業跨行藝術多年來首次的商業畫廊首次作品發表，也是尚畫廊全新支持新銳藝術家與跨領域展覽系列Star Project的第一次展出。

展覽空間將分為三個系列，由〈如何像約翰柯川般演奏？〉的三件液晶螢幕播放作品展開序曲，三件作品像一個音樂調性的結構，高低起伏；第二個展間將有七件如同百寶箱或萬花筒的裝置作品，觀眾在公共空間進行私密的視覺探索；到了第三個展間一片全黑，影像從天花板投射到地板上，讓我們彷彿進入了交錯的時空之中，城市的車水馬龍突然一片靜謐只剩下全然如瑰麗絢爛的繽紛色彩，〈Born Slippy〉系列作品不斷變化衍生。

最不能錯過的是尚畫廊的洗手間首次被運用為展覽空間，第一次來畫廊參觀的朋友都必須經歷一場最不一樣的體驗。再完全私密並且解脫的空間裡，如果有一件投影作品隨時在眼前變換，那種心靈迷惘與時空交錯的經歷，更是這次展覽所要給予的完全不同的展覽體驗。

地址 | 台北市大安區建國南路一段304巷55號
開放時間 | 週二至週六 11:00 - 19:00
聯絡方式 | +886-2-2325-7733

Wild Boy in Twilight — Yu-Hsiang Shawn Cheng Solo Exhibition
Curator | Emerson Wang

Imagine if Bebop were presented through visual sensation, how wild and roaring would the transformation be? By using music as an abstract sculpture media and utilizing light, shadow and modern technology, Taiwanese artist Yu-Hsiang Cheng presents a brand new viewing experience through multiple exposure photography and screen placement. Sound no longer exists, but is replaced with visualization of images. The song "Born Slippy .NUXX" was the soundtrack used toward the end of the 1996 movie Trainspotting, which surprisingly made Underworld a world famous band. This legendary song captured the attention of a group of rock & roll fans where they started to take notice of electronic dance music. In those days, rave scenes, DIY outdoor dance parties, electro music-only dance halls have started to emerge in Taipei, and Yu-Hsiang Cheng was also one of the ardent electro music fans back then. Although the lyrics they sang with the atonal melody had no significant meaning, Underworld attempted to resemble the mumblings of a drunken man. This approach was a downright reflection of the confusion and cynicism that the youth of that generation embraced.

If the sounds of Bebop and Born Slippy were both removed and only the images were retained, how would the throb in our hearts be transformed? The artist uses screens as another type of oil canvas, and through displaying images on LED screens, he allows the paint and water droplets to transform along with finger sliding movements over and over again. Images are reproduced, duplicated and reproduced through multiple exposures. Visual sensation becomes a frenzied freedom in the silent space that liberates souls completely without any vocal stimulus.

For this very first new media exhibition at the Gallery Sun, we proudly represent the artwork of Taiwanese cutting edge artist Yu-Hsiang Cheng, who is showcasing his artwork for the first time at a commercial art gallery since his career switch from the tech industry. This is also the first Star Project exhibition, Gallery Sun's new exhibition series to support cutting-edge artists and cross-domain exhibitions.

The exhibition space consists of three segments that unfold with the display of "How to play like John Coltrane?" artworks on three LED screens, where the artworks maneuver and fluctuate like the structure of musical tones. The second exhibition space displays seven pieces installation art that resemble a treasure chest or kaleidoscope to allow audiences to engage in private visual exploration in a public space. The third exhibition space is covered with total darkness and the images are projected from the ceiling to the floor. It is as though we have entered the crossroads of time and space. All the frantic busyness of city life suddenly goes silent and still, and only leaves behind profusion colors that are so splendid and magnificent.

What cannot be missed is the lavatory at Gallery Sun, as it will be utilized as exhibition space for the very first time. Guests who visit the Gallery for the first time should undergo a unique experience. Imagine seeing the projection artwork dynamically displayed before your eyes within the private and liberating space. The unique sensation of combining spiritual confusion and intertwined time and space is the distinctive experience that this exhibition aims to present.

Author : SHAWNSTUDIO

Posted :

Tag : 2017, Art, EMS, Solo, W,

" 如何像約翰柯川般演奏？ #2咆勃" 個展

展覽名稱: 如何像約翰柯川般演奏？ #2咆勃

展覽日期: 2014.11.22-12.14

展覽地點: 435藝文特區萬板館/華翠館/光復館

藝術家:鄭宇翔

展覽自述:

我愛爵士樂。

我常常待在工作室甚麼事也沒做，只是聽一整晚的爵士樂；眾多爵士流派中，我最喜歡咆勃(Bebop)樂手John Coltrane 與Charlie Parker(Yard bird)。

我常想，藝術能不能像爵士一樣?能不能做出爵士樂般的視覺藝術? 我想像的並非是音符的視覺轉換，也不是某個議題的延伸補充，而是像音符一樣有結構、有規律、有變奏，有音樂性格的，有調性的。

像爵士樂般的藝術，應該很酷。在爵士樂的術語中，Intro代表整首樂曲的前奏；樂曲開始可能是一段隨興的前奏，可能是主旋律，也可能是變奏，由此建立整首樂曲的情境感覺。主旋律Exposition (or Head)另外加上即興(Solo)與結尾(Coda)的部分，構成一首爵士樂曲。

於是我將展出分成兩階段：前奏(Intro)、主旋律(Exposition)與其他部分，拆解樂曲取得元素與創作之間的關聯，這樣的實驗想像很有趣，慢慢轉變成爵士結構般的展覽實驗。

本次展覽計劃分兩個展期於於435藝文特區的萬板、華翠、光復三個展館展出；利用不同時段的四個展館之間的對位關係與佈展延伸，串聯之間意義符號，串接成為一首咆勃樂曲。第一階段的華翠館代表著前奏(Intro)；而第二階段的展出則代表整首咆勃樂曲: 萬板館代表主旋律(Head)、華翠館代表著即興(Solo)、光復館則是最後的結尾(Coda)。

當John Coltrane的旋律化做為創作來源時，想像如樂澎湃、激昂的創作走到意外的象限，一個無以名狀的純粹狀態。

臉書相簿: https://www.facebook.com/shawnstudio/media_set?set=a.10152913115258624.1073741833.702828623&type=1&pnref=story