Group Exhibition
2024 海潮藝綻—女性藝術家聯展 Tidal Blooms – Exhibition of Taiwanese Female Artists,
花蓮美術館 Hualien Art Museum, 台灣女性藝術協會 Taiwan Women’s Art Association, Hualien, Taiwan
Origin
In 2024, the Hualien Art Museum reopened after two years of renovation, unveiling a new identity as the “Seaside Art Museum.” This refreshed visual identity and exhibition space highlight Hualien’s unique geographic location and its rich cultural and ecological environment.
Located near the ever-shifting tides of the Pacific Ocean, the museum draws a parallel between the ocean’s vast, boundless energy and the diverse, resilient qualities of women in everyday life. Following the success of the 2023 exhibition “Facing the Pacific – Female Artists Pushing Sculpture Forward” at the Stone Sculpture Museum, which received widespread acclaim, the Hualien Art Museum presents the 2024 exhibition “Tidal Blooms.” Inspired by the museum’s coastal identity, this exhibition revisits the imagery of female artists and their works in Taiwan. In the first-floor gallery, this exhibition unfolds through three thematic sections, each exploring the beauty and strength in the creations of these remarkable women artists.
Tidal Blooms – Exhibition of Taiwanese Female Artists
This exhibition, showcasing 54 works by 13 female artists, combines the theme of “tides” and the imagery of blooming flowers to symbolize the dynamic vitality of women, akin to the constant ebb and flow of the tides.
The exhibition is divided into three sub-themes: “Ripples,” “Surge,” and “Water Resonance.” These themes represent different states of the ocean and water, from shimmering waves to powerful surges and back to calmness, reflecting the diverse and resilient qualities that women display in life. Like the vast ocean, full of infinite strength, each wave breaks against different rocks, radiating unique brilliance. Through the delicate perspectives of female artists, the works depict various aspects of women in everyday life, echoing the captivating rhythm of the tides and showcasing the vitality and power of life.
The imagery of waves rising one after another resonates with the concept of “recursivity” proposed by Hong Kong philosopher Yuk Hui. “Recursivity” refers to a self-circulating movement that continually returns to itself while remaining open, absorbing contingency and evolving based on it, before returning to its origin. Like waves and women, who adjust and refine themselves through recursive movements in the ever-changing sequence of time, this process reveals their unique rhythms and states of evolution.
This exhibition aims to explore the distinctive and diverse beauty of women through the eyes of female artists, using various artistic expressions. Each piece conveys the qualities women exhibit in different contexts, revealing the connection between the cycles and changes of tides and women’s lives. The artworks outline the significance of different stages of life, echoing the dynamic rhythm and inner strength of women.
Tidal Blooms not only celebrates the beauty and strength of women but also delves deeply into the diversity of life. The exhibition invites the audience to contemplate the inner resilience and transformation of women within the realm of beauty, feeling the power and inspiration from the depths of life. It is hoped that the exhibition will inspire a renewed understanding of women and their vitality, sparking profound reflections on the relationship between self and the world.
緣起
2024 年花蓮美術館歷經兩年整建重新啟用 ，以「靠海的美術館」呈現嶄新的視覺形象及全新的展出空間，凸顯花蓮特殊的地理位置極其多樣的人文生態環境。
花蓮美術館鄰近太平洋海潮起伏不息 ，而女性在生活中展現多元、堅韌的特質 ，就像浩瀚的海洋充滿無窮的力量。繼 2023 年石雕博物館策劃「花徑有光—東海岸女性藝術家的生命看見」獲廣大回響 ，2024 年花蓮美術館以「海潮藝綻」為題 ，結合「靠海的美術館」之館舍定位 ，重新爬梳臺灣女性藝術家的形象，在一樓展廳空間發想三個子題，探索女性藝術家們創作的美與力。
海潮藝綻 女性藝術家聯展
本展覽集結 13 位臺灣女性藝術家，共計展出 54 件作品。以「海潮」為主題，並結合綻放盛開的意象，象徵女性靈動的生命力，猶如海潮般起伏不息。
展覽分為三個子題「瀲灩」、「湧動」及「水漾」。以海洋及水的不同狀態作為串連，從海浪波光粼粼到洶湧再回歸平靜的狀態，呼應女性在生活中展現出多元且堅韌的特質，宛如浩瀚的海洋，充滿無窮的力量。每一片浪花在不同的礁石位置上綻放出獨特的光芒。作品透過女性藝術家細膩的視角，描繪呈現出女性在生活中的各種面貌，如同潮起潮落的動人韻律，展現了生命的生機與力量。
海浪一波接一波地從海面湧起，此形象與香港哲學家許煜的「遞迴」 ( recursivity ) 觀念相呼應。「遞迴」是指一種不斷回歸自身且開放性的自我循環運動，它不會因遭遇偶然性而無法應對，反而會吸收偶然性並在此基礎上發展，然後再回到自身。如同海浪與女性皆在時序不斷的轉變過程中。通過遞迴的運動逐步修正和微調自己，展示出其獨特的韻律和演變的狀態。
本展覽旨在透過女性藝術家之眼，以多樣化的藝術創作形式，探索屬於女性獨特而多元的美。每件作品傳達女性在不同情境狀態下所表現的特質，揭示了海浪與女性生命週期及變化之間的關聯。藝術作品勾勒出生命中不同階段的意義，並呼應了女性內在力量與韻律的靈動。
「海潮藝綻」不僅讚頌女性的美麗與力量，更對生命的多樣性進行了深刻的探索。本展邀請觀眾在美的視野中，思考女性的內在韌性和變化，感受來自生命深處的力量與啟發。希望藉由展覽激發觀眾對女性及其生命力的重新認識，並引發對於自我與世界關係的深層反思。
Solo Exhibition
2021 從細微中凝視壯麗 — 徐夢涵 Hsu Meng-Han: Focused on Subtle Detail to Elucidate A Wider Splendour,
嘉俬房 & other Art things, Taipei, Taiwan
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。
Solo Exhibition
2021 名為軀殼的船 ALL THIS OCCURS PERPETUALLY INSIDE THIS VESSEL, TRENDS WINDOW GALLERY,
微風信義 Breeze Xin Yi, Taipei, Taiwan
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.
我以繪畫書寫並記錄私密的身體感及存在感，體會日常隱含逝去之美的詩意片段，和它所喚起的孤寂與幽傷。
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。
Group Exhibition
2021 對畫錄 – 新竹典藏教育現場 Art Dialogue – The Art Education with The Collections of Hsinchu City,
新竹市美術館 Hsinchu City Art Gallery, Hsinchu City as Museum, Hsinchu, Taiwan
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。
呼應新竹市美術館作為當代藝術場域的定位，此次更邀集五位擅以不同媒材創作表現的當代藝術家進入校園，與五所學校老師合作，自前輩藝術家的生平、創作歷程與風格共備教學課程，帶著學子環顧新竹美術發展歷程，並以多元創作視角回應前輩藝術家的創作與脈絡。
陳孟澤本身為藝術家及建華國中美術教師，以前輩藝術家何德來的〈自畫像〉為題帶領建華國中美術班學生以畫紀錄自我樣貌。楊奕軒畢業於國立清華大學藝術與設計學系研究所，本次進入前輩藝術家李澤藩曾任教的新竹國小，與學生用畫筆書寫日記，呈現不同時代與世代看待風景的視角。同樣生於香山的徐夢涵以前輩藝術家陳進的生平故事為引，讓香山國小三年級學生以常見於陳進作品的人物與花卉主題創作。定居於香山的萬一一則以前輩藝術家鄭世璠〈風城斯吧〉作品概念出發，與香山高中美工科二年級學生以複合媒材立體裝置呈現香山風情。擅長影像創作的阮璽為攝影家阮義忠之子，為玄奘大學校友，本次以「水」為引，帶領曙光女中攝影社至新竹市內各處水域拍攝，對照前輩藝術家陳在南〈青草湖碼頭〉、〈碼頭〉兩件關於湖畔與港口風景的繪畫創作。
本展自課程設計發想、學校老師前期鋪陳引導、藝術家入校教學、學生現場實踐創作與回饋，呈現新竹典藏教育現場的樣貌，延伸教學現場至展覽現場，期能發揮拋磚引玉之效，為教育工作者開啟更多對於典藏教育與教學方法的想像，使學生在豐富多樣的學習經驗中認識在地美術歷史與知識，並透過藝術建立今昔連結，進而在過程中養成美學素養。
Group Exhibition
2020 日常白 White Design Punk – Multiple co-constructions of medicare, technology, and humanities,
National Chiao Tung University x National Yang-Ming University x Hsinchu City Government x wòwò Aesthetics,
新竹市鐵道藝術村 Art Site of Railway Warehouse, Hsinchu City, Taiwan
“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.
「日常」以個體所處的文化背景、時空、行動所定義，而「白」作為中性的載體，象徵著共融與相互鬆綁。本展覽欲以「白」作為「日常」脈絡下的解構對象，提出「日常白」作為體驗外在世界的態度，讓觀者在展覽中重新梳理自身的思考，同時拉近生活在不同光譜的人們間的距離，給予觀者關於「消弭距離」的白色體驗。
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。
這場開放性的展覽以醫療作為媒介，分別以「健康空間」、「數位安康」、「醫療典藏」、「藝術治療」、「生物藝術」等子題切入，並檢視來自不同領域的人們如何在「日常白」的基礎上對話，以過去的歷史經驗與創新思維，尋找醫療與其他領域相遇後共構的樣貌。
Group Exhibition
2019 第二屆屋頂展 2nd exhibition at roof, Taipei, Taiwan
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）。
藉此傳說，我選擇用照片和現成物來呈現當代的《空中花園》。作品是一塊人造草皮及內容看似艷麗花海，實則人工造景的照片。《空中花園》論及情感，古時藉由宏偉建築追尋雋永，當代則有塑膠替我們達成。
Solo Exhibition
2018 日常與肉身 Flesh and the Everydayness, Galerie Grand Siècle, Taipei, Taiwan
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.
對我來說，繪畫是種揉雜孤獨與激情的存在。當我使用繪畫此一語言，熟悉感使人能恣意的展露富含象徵和隱喻的詩意。至於攝影，出現在我藝術生涯的意義，不僅是身為畫家，開始使用其他媒介，更是擴展屬於我的藝術語言。透過拍照所展現的身體感，主題或局部的清晰至模糊，其帶有某種繪畫性，是我獨特的攝影語言。
此次個展，將帶來繪畫、攝影、裝置等 41件作品。藉由作品間的連結及空間感的延伸，將觀者之感受帶往另一個層次。
Group Exhibition
2018 固有結界 Reality marble, GalleryMain, Kyoto, Japan
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。
Solo Exhibition
2015 不是步伐而是詩 Poetic footsteps, Galerie Grand Siècle, Taipei, Taiwan
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.
對於生命、死亡、失落與傷痕，我或許能夠輕輕觸及但還不足以企及它的所有；有些文字永遠也無法寫出，但透過圖像的深刻及感受性，我們終往同一方向匯流。