Date 20 11 月, 2024
Project Type 2024

DATE

09.Nov.,2024 – 04.Jan.,2025

ARTIST

莊普Tsong Pu

栁美和Miwa Yanagi

TYPE

Exhibition

展覽《靈山與礦脈》是今年東鋼藝術家駐廠創作專案展出的部分作品,移至台北非畫廊的空間,相同的作品在截然不同的空間中呈現了嶄新的魅力。擅長以「少即是多」的極簡風格,展現四兩撥千斤的機智、靈活以及幽默感的莊普,從堆積如山的廢鐵中,挑選出各種不同形式的素材,例如他將大片鐵板切割、拗折的作品〈對著風說〉和〈風沒聽到〉,以淡雅帶灰的淺紫色烤漆,對應著明亮、飽和的鮮綠色,堅硬的板材在藝術家的巧思下,轉化為一組可以對話、既輕盈又俐落的幾何造型,藉由線條與切面在空間中營造流動的形體,展陳了充滿詩意的想像。

相對於莊普氣勢宏大的立體裝置,栁美和的作品以輕薄、精巧,且多以懸掛的展示方法,突顯其如植物氣根般飄浮於空中的擬態。作品〈氣根〉(Aerial roots)由數片彎曲的鐵片和捲曲如植物鬚根的鐵條組合而成,延伸自她之前的創作《阿婆蘭》系列。「311福島核災」事件,促使栁美和重新檢視生命、人性,以及人與自然之間的關係,也引導她關注到台灣在蘭嶼儲存核廢料的處理問題。在研究的過程中,栁美和發現大量外銷到日本的蝴蝶蘭,其原生種即是生長在蘭嶼的「阿婆蘭」,從而觸發了她以此為題創作了包括裝置和戲劇等一系列的作品。作品〈三個平衡〉在空間中像若隱若現的光影,也像隨風搖曳的葉片,隨著氣流轉動,完全改變了鋼鐵予人厚實、堅硬的印象。

 

The exhibition Spirit Mountain and Mineral Veins relocated several works originally displayed at the 8th Tung Ho Steel International Artist Residency Program to the Beyond Gallery in Taipei. In this new setting, the same pieces reveal fresh charm. Tsong Pu, known for his minimalist approach of “less is more,” demonstrates a sharp, flexible, and humorous style with remarkable precision. He picked out materials from heaps of scrap iron, such as for his works Talk to the Wind and The Wind Can Not Hear, for which large iron plates were cut and bent. Coated in a soft, grayish lavender lacquer that contrasts with bright, saturated green, Tsong Pu ingeniously transformed the rigid metal into a set of geometric forms that appear to engage in dialogue — light and sleek. The flowing shapes created through lines and edges in space evoke a lyrical imagination.

In contrast to Tsong Pu’s imposing three-dimensional installations, Miwa Yanagi’s works are light, delicate, and often suspended above the ground in the air, emphasizing their resemblance to floating aerial roots. Her piece Aerial Roots consists of curved iron plates and twisted metal rods resembling the root tendrils of plants, extending from her earlier Aphrodite series. The 2011 Fukushima nuclear disaster led Yanagi to reassess life, humanity, and humanity’s relationship with nature, also prompting her to scrutinize Taiwan’s handling of nuclear waste on Orchid Island. During her research, Yanagi discovered that a large number of Phalaenopsis orchids exported to Japan originated from Taiwan, specifically the varietal native to Orchid Island. This realization inspired her to create a series of works, including installations and theater performances, on this theme. Her work Three Balances appears like ephemeral shadow and light in space, akin to leaves swaying in the wind, altering the viewer’s perception of steel as a heavy, rigid material through its airy, fluid movements.

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