Through the solo exhibition Hsu Meng-Han: Focused on Subtle Detail to Elucidate A Wider Splendour, I am exhibiting my artwork from the painting series Ours, as well as Essence of Pain.
我於《從細微中凝視壯麗 — 徐夢涵 Hsu Meng-Han: Focused on Subtle Detail to Elucidate A Wider Splendour》個展中，展出了《Ours》系列與《疼痛》系列的繪畫作品。
I use painting and writing as a means to document the personal and intimate senses of my body and being. I want to uncover the beauty in poetic fragments that are otherwise hidden in the everyday, without overlooking the loneliness and sorrow they evoke.
The title of my exhibition, All This Occurs Perpetually Inside This Vessel, is an allusion to the total freedom inherent to being — even being encased in the body, this vessel, constantly clashing and coming to terms with life’s myriad perfections and imperfections.
展覽名稱《名為軀殼的船 ALL THIS OCCURS PERPETUALLY INSIDE THIS VESSEL》象徵生命的本質全然自由前，終將被困於名為「身體」的容器裡，一次次的去衝撞及接納生命的完美與不完美。
In 2017, Hsinchu City began to consolidate its archive resources and compile local art history. The city also enhanced the archive preservation environment and utilized archive resources to develop thematic teaching kits and promote on-campus exhibitions, hoping to flexibly use the resources for art education. With changing educational thinking in the contemporary society, art education does not just happen on campus, but has also expanded to art venues. Hsinchu City Art Gallery is responsible for laying the groundwork for art education in Hsinchu, and is positioned to serve the key functions of connecting and cooperating with schools for promotion of art education. This exhibition dives into the depths of time, and uses the archived works as the media to guide audience to gain in-depth understanding of art in Hsinchu and revisit its history, and displays the understanding and interpretation of different people in different age groups on earlier artists through the dialogue on art education across time and space between contemporary and new-generation creative works and early artists.
This exhibition selects the works of five important early artists from Hsinchu, including HO Te Lai, LEE Tze Fan, CHEN Chin, CHENG Shih Fan, and CHEN Tsai Nan, from the city’s 378 archived works. Born in Hsinchu, HO Te Lai (1904 – 1986) returned home right after graduating from Tokyo Fine Arts School (now Tokyo University of the Arts), and founded Hsinchu Art Research Association with fellow artists, proactively promoting the creation and appreciation of modern art in Hsinchu. His works always captured unique local imageries. LEE Tze Fan (1907 – 1989) was born on Wuchang Street, Hsinchu City, and was an important artist and art educator in Hsinchu. He taught at Shinchiku (Hsinchu) First Public School (now Hsinchu Elementary School) and Hsinchu Teachers College (now National Tsing Hua University). He often captured sceneries of different places through sketches, and his paintings exuded his love for the land and culture. CHEN Chin (1907 – 1998) was Taiwan’s first female artist, and was born and raised in Xiangshan, Hsinchu. She found creative inspirations in family surroundings and daily life, and used women, flowers, and landscapes as main expressive themes, displaying a sophisticated, delicate, and elegant style. CHENG Shih Fan (1915 – 2006) was first introduced to painting by LEE Tze Fan, and began his artistic exploration by drawing the local sceneries of his hometown. For a long time, he actively participated in art events, and his innovative and ever-changing creative style illustrated his free and unbounded spirit. CHEN Tsai Nan (1918 – 2012) was born on Dongmen Street, Hsinchu, and was also introduced to art by LEE Tze Fan, establishing a solid foundation of sketching when he was in school. CHENG sharply captured sceneries in everyday life through watercolor and oil paintings, and his tireless creative career over a long period of time also exhibited his passion for and dedication to art.
Echoing Hsinchu City Art Gallery’s positioning as a site of contemporary art, this exhibition has also invited five contemporary artists, who specialize in using different media for creative expressions, to enter school campuses, where they cooperated with school teachers to prepare teaching materials on these early artists’ lives, creative journeys and styles, guiding students to examine the history of the development of fine arts in Hsinchu, while also responding to the early artists’ creative works and contexts through diverse creative perspectives.
As both an artist and art teacher at Chien Hua Junior High School, CHEN Meng Tze used early artist HO Te Lai’s “Self-Portrait” as the theme and guided students of the art class to create portraits capturing own images. YANG Yi Syuan graduated from Graduate Institute of Art and Design, National Tsing Hua University. For this exhibition, YANG went to Hsinchu Elementary School where LEE Tze Fan once taught at and wrote diaries with students using paintbrush to present the different perspectives on landscape of different eras and generations. Also born in Xiangshan, HSU Meng Han introduced students to the life story of early artist CHEN Chin, and asked grade 3 students to create works using the characters and flowers often depicted in CHEN Chin’s paintings. Now living in Xiangshan, WAN Yi Yi based the concept on early artist CHENG Shih Fan’s “Windy City Spotlight” and created mixed media installations with grade 11 students in the Arts and Crafts Division, Hsiang Shan Senior High School, to present Xiangshan’s sceneries. JUAN Sea, who specializes in image creation, is the son of photographer JUAN I-jong and an alumnus of Hsuan Chuang University. For this exhibition, he used “water” as the concept and took Shu Guang Girls’ Senior High School Photography Club to take pictures at various waterbodies in Hsinchu. The pictures were then compared with the two paintings depicting lake and harbor, “Green Grace Lake Wharf” and “Wharf,” created by early artist CHEN Tsai Nan.
Form conceptualization and design of curricula, early introduction and guidance by school teachers, on-campus instruction by artists, to onsite creative practices and feedbacks of students, this exhibition showcases the live scenes of Hsinchu’s art education with its archive resources, which stretches the site of teaching to the site of exhibition. This exhibition looks to set an example and aims to inspire education professionals to have more imaginations on archive education and teaching methods, allowing students to learn more about local art history and knowledge through rich and diverse learning experience, and to bridge the past and present through art, ultimately achieving aesthetic cultivation in the process.
新竹市自 2017 年開始整飭典藏品資源與梳理新竹在地美術史，同時提升典藏品保存環境，並運用典藏資源開發主題學習教材包、推行典藏品入校展出，期能活用藝術資源於教育現場。因著當代教育思維轉變，藝術教育不僅發生於校園，更延伸至藝文場域，而新竹市美術館亦肩負著深耕新竹市藝術教育，並與學校連結、合作至推展之關鍵功能與定位。本次展覽從時間縱深角度思考，以典藏品為引導觀眾深入認識在地美術及回視歷史的媒介，並透過當代與新世代的創作與前輩藝術家進行跨時空美育對話，看見不同年齡層對於前輩藝術家的理解與延伸開展。
本展自新竹市 378 件典藏品中選擇五位新竹重要前輩藝術家作品展出，包含何德來、李澤藩、陳進、鄭世璠、陳在南。出身新竹的何德來（1904 – 1986）從東京美術學校（現東京藝術大學）畢業後隨即返鄉貢獻所學，與畫友成立新竹美術研究會，積極在新竹推動現代美術的創作與欣賞風氣，而他的創作也總能捕捉到獨特的風土意象。李澤藩（1907 – 989）生於新竹市武昌街，為新竹重要藝術家與美術教育者，曾任教於新竹第一公學校（現為新竹國小）及新竹師專（現國立清華大學），時常透過隨筆式的紀錄描繪各地風景，畫作流露出對於土地與人文的關懷。臺灣第一位女性畫家陳進（1907 – 1998）生長於新竹香山，創作靈感多來自家族環境與日常生活，常以女性人物畫、花卉、風景為主要表現主題，風格精緻細膩且典雅。鄭世璠（1915 – 2006）受李澤藩啟蒙而對繪畫產生興趣，自家鄉景物寫生開展對藝術的探索，長年積極投入美術活動，畫風創新多變、深具自由隨性風格。陳在南（1918 – 2012）生於新竹市東門街，創作亦受李澤藩啟蒙，在學時期奠定堅實的素描基礎，擅以水彩和油畫等媒材敏銳捕捉生活周遭的景致風光，長期不輟的創作也充分展現他對美術的熱情與執著。
“Daily” is defined by cultural background, space-time, and actions of the individuals. These elements imply the process of turning self-recognition in life into life attitude. Everyone is a unique individual with a completely different life and story. However, no matter where we come from and how different our thoughts are, the same thing that happens to us is that we all desire our unique “daily” to be accepted by others.
Derived from the “White Design” trend in recent years, “White Design Punk” is a process of bringing together people’s daily communication and dialogue. With “White Design Punk” as the core foundation, we start in a way which is different from the counterculture meaning that Punk was in the past, thereby extending Punk’s spiritual attitude.
Through expanding the span and boundaries of various fields, this exhibition focuses on the innovation mechanism, service design, and artistic creation derived from the development of the medical care, technological, and humanities fields these days and presents phased results.
This open-ended exhibition uses medical care as a medium, with sub-topics such as “Health Space”, “Digital Well-being”, “Medical Collection”, “Art Therapy”, and “Biological Art”. By these, we review how people from different fields are doing dialogue on the basis of “White Design Punk”, using historical experience and innovative thinking to find the co-construction of medical care and other fields.
此次展覽源自近年「白色設計」（White Design）趨勢，以「White Design Punk」作為核心基礎，有別於過去Punk在音樂或其他文化脈絡中扮演的反主流意味，進而延伸Punk的精神態度，將各領域跨度及邊界擴展，側重近年來醫療和科技、人文領域交織、碰撞、發展的各種脈絡所衍生的創新機制、服務設計、藝術創作等面向，進行階段性的成果呈現。
According to legend, the Neo-Babylonian King Nebuchadnezzar II had the Hanging Gardens built in the 6th century BC for his homesick-stricken queen. Although no longer standing today, it’s said these gardens, or ‘paradeisos’ in Greek, were planted on tiered platforms supported by columns 25 metres in height, with slaves powering the connected wheels of the irrigation system. Seen from afar, the abundance of trees and flowers hanging over the sides of the terraces would have given the gardens the appearance of hovering in midair — hence the name, and its status as one of the Seven Wonders of the Ancient World. The Greek word ‘paradeisos’ eventually found its way into English as ‘paradise’.
Inspired by this legend, I decided to create “Paradeisos” using a readymade and two photographs — a sheet of artificial turf alongside pictures of what appear to be dazzling seas of flowers, but which are actually man-made landscapes. “Paradeisos”, then, presents a contemporary perspective on the sentimental, speaking to the search for meaning in the grandiose architecture of ancient times, and the plastics that have today managed to supplant us.
空中花園 － 相傳前 6 世紀新巴比倫王國的尼布甲尼撒二世為患思鄉病的王妃所修建，現已不存在。花園建於四層平台之上，以 25 米高的柱子支撐。由奴隸推動連繫齒輪的把手，維持灌溉。園內種植各式花草樹木，遠看猶如花園懸於空中，又稱懸園，是古代「世界七大奇蹟」之一。希臘文 paradeisos（空中花園）日後蛻變為英文 paradise（天堂）。
To me, painting is a state of being, in which loneliness and enthusiasm blend together. When I use painting as a language, a sense of familiarity can enable one to reveal symbols and metaphors rich in poetry without restraint. As for the meaning that the emergence of photography has brought to my artistic career, it not only broadened my variety of mediums, but also expanded my artistic language. The expression of clearness to blurriness of the body, the subject and parts of the body, through photography, which I expect to carry some characteristics from painting, is my unique photographic language.
This solo exhibition will showcase 41 of my artworks, containing paintings, photographs, installations and others. Through the connection within my works and the extension of the sense of space, the viewer will be led to a different level of sensation.
Kyoto ‧ Taiwan, from the series City ‧ Taiwan, was first exhibited at GalleryMain (Kyoto, Japan) in March, 2018. In this segment, I juxtapose images from my travel to Kyoto in 2017 and objects collected afterwards from my hometown in Taiwan. Each pairing is made to highlight textural and symbolic similarities between image and object.
2018 年三月於日本京都 GalleryMain 展出的作品，是「City ‧ Taiwan」系列中，「Kyoto ‧ Taiwan」的首次發表。我將 2017 年於京都的旅行軌跡，與在家鄉台灣所蒐集的物件進行並置，藉此暗示物件及照片在質地與符號上的聯結。
It might be something I’m able to brush on, but when it comes to life and death, loss and scars, the greater picture remains just beyond reach. Some words will forever be impossible to write, but through the depths and perceptions of images, we flow together in the same ultimate direction.