展名：□

策划: 姜毓芸

艺术家: 蔡泽滨、贺勋、鞠婷、Kim Jihee（金芝嬉）、邝镇禧、苗颖、彭奕轩、宋建树、邓国骞

主办单位：A⁺ Contemporary 亚洲当代艺术空间

展期：Jul. 23-Aug. 28, 2016

开幕：Jul. 23 (Sat.) 4pm台北二馆

地点：亚洲艺术中心（台北一馆+二馆）

A⁺ Contemporary荣幸地宣布，我们即将于2016年7月23日在台北亚洲艺术中心一、二馆同时展开由展览总监姜毓芸策划的群展“□”，参展艺术家包括来自中国的蔡泽滨、贺勋、鞠婷、苗颖、宋建树，香港的邓国骞、邝镇禧，韩国的Kim Jihee（金芝嬉）以及台湾的彭奕轩。姜毓芸聚焦年轻世代的艺术家如何质疑既有的创作形式，对身处时代保持高度感知，从中延伸出创新的介入方法，进而突破框架、与时俱进。

蔡泽滨、贺勋、鞠婷、邝镇禧以及彭奕轩的作品将于台北一馆展出，在当代艺术已超越所有媒材限制的同时，绘画能否得到新的驱动力，保持在当代艺术的范畴里？贺勋的绘画承载了其同为诗人对于诗意及形式美感的追求，他在图像、观念、语言之间不断寻找切入点，以期达到心中圆满的那一瞬间。蔡泽滨藉由敏锐的观察撷取日常之物，以戏谑的方式将日常物赋予新意。版画系出身的鞠婷，结合版画特有的套色及刻刀技法，以刀拓展了版画的空间纬度，同时保留过程中的手工感。邝镇禧以细腻的针笔层层堆栈于物体表层的痕迹，纪录对象真实的表象，无意赋予物品任何象征性的意义。

台北二馆所展出的Jihee Kim、苗颖、宋建树、邓国骞则分别表述对生存环境和文化现象的认知。Jihee Kim从捐赠书中找寻和自身经验相互共鸣的文字，试图融合视觉图像和文字进行新的文化生产。苗颖关注中国网络受限于审查制度的独特生态，挪用网络中的原始素材呈现特有的低技术和幽默感。彭奕轩将马祖新村的植物影像标记于白板之上，白板的易逝特质使图像无法永久留存，犹如我们只能从植物外表看到现状而非过往，但当地居民的生命片段曾留存于此。邓国骞在香港围村中长大的背景使他对主流文化的准则保持怀疑的态度，擅长以现成物引领观者思考香港瞬息万变的社会现象。宋建树利用抽象的身体感官挑战看不见却约定成俗的美学概念，反复测量个体和公定标准之间的误差值。

任何艺术皆无法抽离历史脉络而成立，在前人陆续被梳理至艺术史之际，新一辈艺术家该如何找到自己的坐标？上述提及的批判精神在不同时间点推进了艺术史的演进，亚洲艺术中心甫结束的“1960–台湾现代艺术的滥觞”群展，重探了台湾现代艺术家们曾经冲撞体制，跳脱学院派僵固的思维，开辟出崭新道路。半个世纪后，却普遍难在台湾后进身上见到过去艺术创作的生猛力道，以及对现况提出质疑的勇气，以此做为对照的，是中、港、台、韩年轻艺术家实践当代艺术精神的几种可能性。或许此展可以做为一个提示，唯有深刻省思、正视问题，才有可能创造出属于此世代的“当代”。

Title：□

Exhibition Director: Yuyun Chiang

Artist: Cai Zebin, He Xun, Ju Ting, Kim Jihee, Kong Chunhei, Miao Ying, Peng Yihsuan, Song Jianshu, Tang Kwokhin

Organizer：A⁺ Contemporary

Duration：Jul. 23-Aug. 28, 2016

Reception：Jul. 23 (Sat.) 4pm Asia Art Center Taipei II

Venue： Asia Art Center (Taipei I+II)

A⁺ Contemporary is pleased to announce our parallel opening at Asia Art Center Taipei on 23 ^rd July, 2016. The“□”exhibition is curated by Yuyun Chiang, featuring Chinese artists Cai Zebin, He Xun, Ju Ting, Song Jianshu, Miao Ying and Tang Kwokhin, Kong Chunhei from Hong Kong, Kim Jihee of Korea and Peng Yihsuan from Taiwan. Yuyun Chiang places her focus on how the young generation of artists critically questions the contemporary artistic practices and how they remain highly sensitive to our age in order to explore innovative intervening methods to break the existing boundaries.

Cai Zebin, He Xun, Ju Ting, Kong Chunhei, Peng Yihsun’s artworks will be exhibited in Asia Art Center Taipei I. While contemporary art has overcome the limitations in medium, how would paintings attain new momentum while continuing to play a part in contemporary art. He Xun’s paintings reflect similar poetic aesthetics as his poetries; he seeks for varying perspectives from images, concepts and language to achieve a holistic sensuality. Cai Zebin intercepts the mundane objects with his scrupulous observation and renders them satirically. Studied woodblock printing, Ju Ting incorporates layering and carving techniques in her work, which developed a sense of spatial dimensionality while preserving the handcrafted character. Kong Chunhei, on the other hand, sophisticatedly layers traces of the technical pen on object surfaces, documenting the reality of the objects, but not offering references to any meanings.

Meanwhile, in Asia Art Center Taipei II, Kim Jihee, Miao Ying, Song Jianshu, Tang Kwokhin each illustrate their individual perceptions to our living environment and cultural phenomenon. Kim Jihee identifies words that recall or resonates with her own experience from donated books and combines them with added images to produce a new culture and experience. Miao Ying focuses on the surveillance system that controlled internet in China; she borrowed the elements from internet to represent a black humor made of low techniques. Peng Yihsun marked the silhouettes of plants from Matsu on whiteboards. The transitory nature of images on whiteboards echoes with that of how we only see the appearances from now and often oblivious of what happened to it in the past. Grew up in the Walled Villages in Hong Kong, Tang Kwokhin is apt in representing the transient social phenomenon in Hong Kong through ready-mades while his background kept him doubtful towards mainstream culture. Song Jianshu employed abstract body senses to challenge the canon aesthetics through re-measuring the differences between object and standardized measurements.

Art cannot be established without history. How would the younger generation of artists find their individual coordinates before the precedents delineate an art history? The above mentioned critical spirit provided fuel to the procession of art history. The recently closed group exhibition“1960-The Origins of Taiwan Modern Art” in Asia Art Center, re-investigated how the Taiwanese artists had agitated the systems and escaped from academia thinking, eventually constructing a new path. After half a century, it is hard to perceive similar energy and the audacity in questioning in the younger generation, to compare and contrast is the paralleling art practitioners from China, Hong Kong, Taiwan and South Korea. Perhaps the exhibition could be an insight that provides grounds for deeper self-inspection and critical awareness, so as to create a “contemporary”.