媒材的性格擴張 The Extension of Medium
展覽時間 Duration：2016 年 12 月 18 號 ( 日 / Sun. ) 至 2017 年 2 月 5 日 ( 日 / Sun. )
開幕茶會 Opening Reception：2016 年 12 月 18 號 ( 日 / Sun. ) 15:00
藝術家 Artist：美國 (US) - 摩根‧歐哈拉 Morgan O'Hara、北愛爾蘭 (NIE) - 羅迪尼‧狄克森 Rodney Dickson、德國 (DE) - 彼得‧辛默曼 Peter Zimmermann、馬歇爾‧艾何納 Marcel Eichner、英國 (UK) - 瑪雅‧海薇 Maya Hewitt、菲律賓 (PH) - 隆森‧庫利必納 Ronson Culibrina、憂卡 Yeo Kaa、喬漢娜‧赫爾穆 Johanna Helmuth、凱博‧賽達 Keb Cerda、約翰‧馬林 John Marin、戴爾‧艾瑞斯比 Dale Erispe
地點 Venue：台北市中正區金山南路一段67巷5號1樓 No. 5, Lane 67, Section 1, Jinshan South Rd, Zhongzheng District, Taipei
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英國重要文化研究學者雷蒙．威廉斯（Raymond Williams）在其著作《關鍵詞：文化與社會的詞彙》（Keywords: A Vocabulary of Culture and Society, 1983）裡指稱「media」一詞最早源於古老祭典中人神之間的訊息仲介者。若衍伸至藝術範疇，媒材（medium）則可解釋為創作的中間物，而繪畫歷史行走至今，媒材早已超越作為達到藝術目的的途徑，本身即擁有定義命題與對話的意圖。現成物件與既有材質不斷接受藝術家的質問進而推演出各種可能的詮釋；傳統媒材則是持續突破繪畫的內容與形式，媒材性格的擴張從不止息。
當然，媒材性格的擴張從不只限於抽象繪畫。展覽另同時帶來英國藝術家瑪雅．海薇（Maya Hewitt）、德國藝術家馬歇爾．艾何納（Marcel Eichner）及六位深受菲律賓當地藏家矚目之年輕藝術家的作品。海薇擅於疊合想像與片段記憶，拼貼各種文化符碼進而年和趨於魔幻的超現實場景；艾何納扭曲而怪異的繪畫風格，使人疑惑其破碎散亂畫面之時也深受吸引；菲律賓新秀則展現東南亞繪畫特有的生機與張力，帶來依循個別藝術家而生的人文景致。
About the exhibition
Raymond Williams, a significant British thinker and sociologist, stated in his book Keywords: Culture and Society (1983) that the term media originated from the old general sense of an intervening or intermediate agency or substance. In the artistic category, the term could be extended as an intermediate of creation. Today, the term medium, however, is surpassing its meaning of being the means to achieve artistic purpose only and has the intension to define the work itself. The expansion of media’s personality is an issue without a stop.
After years of working as an architect, Stijn Ank decided to turn to be an artist, which enable him to be more independent. He chose plaster as his main medium and mixed with a variety of pigments before he poured the mixture into a pre-made mold layer upon layer. The appearance of every solidified work cannot be completely controlled by the artist in advance, which means that the medium(plaster) is offered an opportunity to demonstrate it’s characteristic. Ank would rather regard his own works as a “subject” surrounded by discussion than as only an object to be viewed. The artist attempted to bring out the issue of how we relate to the space and create the void by forming solids.
Peter Zimmermann, another artist using building materials as painting medium, continued the dialogue between epoxy and computer software. An image that had taken down the reality experienced a digital transformation and then was painted again upon the canvas in real world. With different interpretations and conversions continuously, the medium itself became the main voice that told us the context and the concept of the work.
Northern Irish artist Rodney Dickson specializes in viewing individual experiences from a more macroscopic aspect. Accompanied his early life with wars, Dickson did not allow himself to dig a self-pity tunnel filled with tragedies, neither miss in a labyrinth of national identity. The use of intertwined strokes with detailed lava-like texture suggests the indelible scars left by wars, also the useless and the fruitless of wars.
Certainly, the expansion of media’s personality is not limited in abstract paintings. The exhibition shows Maya Hewitt(U.K.), Marcel Eichner(Germany), and six young artists from Philippines who are quite well-known by local collectors as well. Hewitt is good at overlapping imaginations, life fragments, and cultural symbols in a magical and surreal way. Eichner always makes the audience be addicted to the twisted and mysterious figures in his paintings. Philippine artists show their unique vitality and tension from Southeast Asia and depict the society landscape followed by each artist.