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TKG+ :【蔡佳葳个展】欲贪孰为本


2020-05-24


TKG+ 【蔡佳葳个展】欲贪孰为本

蔡佳葳个展:欲贪孰为本

TKG+ :【蔡佳葳个展】欲贪孰为本
    展期

    日期:2018-12-08 ~ 2019-01-20

    地点

    台北市内湖区瑞光路548巷15号B1

      蔡佳葳个展:欲贪孰为本
      Root of Desire - Charwei Tsai Solo Exhibition

      展期│ 2018.12.08-2019.01.20
      开幕 │ 2018.12.08 (Sat.) 4:30 p.m.
      地点 │ TKG+(台北市内湖区瑞光路548巷15号B1)
      赞助单位|V-MODA、Lignell & Piispanen

      (English version please scroll down)

      睽违两年的沉澱与游历,蔡佳葳个展《欲贪孰为本》以欲望为主轴,将佛学经典《维摩诘经》中的经典答辩作为引线,慧观自身生命、自然和人性的关係。《维摩诘经》中由维摩诘回应文殊师利的提问:「譬如幻师,见所幻人。菩萨观众生未若此。如智者见水中月 。」的譬喻破题,指出世界的虚幻不实,再以此作为基础抽丝剥茧地探答现象的根源。《维摩诘经》所发扬的「不二论」为亚洲历史上第一本谈论女权并强调性别平等的宗教着作,所谓「不二」意指平等且无差异,指出一切幻化与差异皆来自于心。本次展出的作品体现了蔡佳葳长年来对大小乘佛学的学习与探索,是艺术家同时展出个人精神性与社会实践作品的尝试。

      蔡佳葳複写《维摩诘经》文本的当下,藉由无常的躯体去记忆承载空性的文本,直到经文成为自身内涵,并将之付诸实践。展览第一部分由录像创作《水月》(2017)拉起旅程的序幕,艺术家视月为寻求精神实相的隐喻,诗性地捕捉水中映月作为「不二论」中对于实相与虚相、俗世与乐土的辩证。随之,艺术家在《欲贪孰为本》(2018)
      中记录横跨广阔沙漠的个人旅程,藉由誊写维摩诘与文殊师利的一段对话,将欲望解构成沙漠中的无根之丘,最终文字消融在被吹散的黄沙之中,以寻找欲望根本和各种不同的欲望表徵。

      而本次展出的绘画「天女」系列则摘抄自《维摩诘经》的经典桥段,誊写经文在维摩诘回应「菩萨观众生」的一片森绿中,描绘天女透过与僧侣的性别更易,传达大道无男女之别的概念。此阶段艺术家以自然界作为观照的对象,层递地道出以「不二」作为修已的佛学哲思,也可视为一种自我净化的过程。

      在旅程的尽头,蔡佳葳以三件录像作品:《尼泊尔奇翠巴蒂地震灾民营之歌》(2017)、《听她歌唱》(2017)及《高雄港渔工之歌》(2018)记录人在世界各角落被迫迁移的足迹,透过尼泊尔地震灾民的怀乡呢喃、向英国寻求庇护的女性独咏,以及高雄港移工的吟唱,将此视为社会及政经等资源不平等分配的结果。艺术家将人性作为观照的对象,收集一系列在世界各角落被忽略的声音。这些歌曲有可能是歌唱者家乡的歌谣或是即兴的曲子,透过歌唱者对歌词理解所诠释的方式,藉此产生超越种族、经济、文化及宗教的连结。蔡佳葳的创作富饶佛学哲思与个人对生命的领悟,欲透过艺术影响社会,并盼求两端点的平衡。

      本次个展画册将会于展览期间出版,特别收录德国柏林马丁-格罗皮乌斯博物馆(Martin-Gropius-Bau Museum)总监斯蒂芬妮‧罗森塔尔(Stephanie Rosenthal)与蔡佳葳的对谈,与曼彻斯特当代华人艺术中心(CFCCA)策展人Tiffany Leung的艺评文章。
      ________________
      1 菩萨面对众生如同魔术师面对他所幻化出来的人与智者见水中倒影,一切皆为虚相。

      关于蔡佳葳

      蔡佳葳出生于1980年,目前居住及创作于台北。她于2002年获得罗德岛设计学院工业设计及艺术建筑史学位,又于2010年完成巴黎国立高等美术学院─塞纳河计画。她以地理、社会和精神为主题的作品主体,鼓励观众在满足于自身思考以外的参与,并同时关注于人与自然的关係、思考文化信仰、灵性和无常之间的複杂性。

      蔡佳葳参与联展和以个人计画及展览执行的双年展:「蔡佳葳:Bulaubulau」,华人当代艺术中心,曼彻斯特,英国,2018;「水月」,当代艺术机构,维勒班,法国,2017;「听她歌唱」,海沃艺廊,南岸艺术中心,伦敦,英国,2017;雪梨双年展,2016;「简单形体」,森美术馆,东京,日本,2015,庞毕度艺术中心-Metz 分馆,巴黎,法国,2014;「沙迦双年展」沙迦,阿拉伯联合大公国,2013;「横滨三年展」,横滨,日本,2011;「第六届亚太艺术三年展」,昆士兰美术馆,布里斯本,澳洲,2009;「圣迹」,庞毕度艺术中心,巴黎,法国,2008;「艺术之温度变化-亚洲新浪潮」,ZKM艺术与媒体中心,卡尔斯鲁,德国,2007;「信念-第一届新加坡双年展」,新加坡,2006。在公共及私人收藏中皆可见到蔡佳葳的作品,包含澳洲布里斯本昆士兰美术馆、日本东京森美术馆、美国旧金山亚洲艺术博物馆、日本横滨美术馆、法国FRAC LORRAINE当代艺术机构和法国巴黎/美国旧金山卡蒂斯特艺术基金会、高雄美术馆。

      自2005年以来,蔡佳葳独立出版双年刊物《Lovely Daze》。整套《Lovely Daze》目前收藏在英国伦敦泰德现代艺术馆、美国纽约现代艺术博物馆、法国巴黎庞毕度艺术中心和巴塞隆纳当代美术馆。

      艺术家个人网站http://charwei.com/

      ----------

      Dates │ 2018.12.08-2019.01.20
      Reception │ 2018.12.08 (Sat.) 4:30 p.m.
      Venue │ TKG+(B1, No.15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei City 114, Taiwan)
      Sponsor │V-MODA、Lignell & Piispanen
      Charwei Tsai's solo exhibition, the Root of Desire, centers around desire and preludes to the classical maieutic discourse of the Vimalakirti Sutra. It is a profound and sophic exploration of the metaphysical troika encompassing her own life, nature, and humanity. This ancient spiritual text is one of the first recorded in Asia that discusses women's rights and gender equality. When asked "How should one look at a sentient being?" Vimalakirti responded, "the way a wise person looks at the reflection of the moon in water.[1]" The non-duality "propositioned" in the text alludes to equality and sameness. The exhibited works showcase Tsai's long-term examination of Mahāyāna and Hīnayāna Buddhism and is an experiment in exhibiting both her personal and social practice.

      Transcribing the Vimalakirti Sutra, the artist imprints this vessel for emptiness upon her impermanent form until she becomes one with it. It is with this that the artist unveils the exhibition with a video work, Water Moon (2017). Nature as her metaphor, the artist captures the moon's reflection in a dark pool alluding to the simultaneous existence of reality and illusion or the mundane and the sublime. The exhibition moves on to a personal journey through a vast desert landscape portrayed in the new video installation, Root of Desire (2018). In this work, the artist inscribes a conversation between Vimalakirti and Manjusri that deconstructs desire into rootlessness. As the sand is scattered by the wind, the text also disintegrates. The work articulates the search for desire in its differing manifestations.

      In a new series of drawings, "The Goddess" (2018), the artist inscribes a text from the sutra onto drawings of a forest. This excerpt derives from a notable passage in the sutra: a Goddess conducts a gender exchange between herself and a monk to illustrate equality between the sexes. "The Goddess" marks a transition from the more introspective works to the outward-looking projects on social change that mark the artist's recent works. The artist contemplates nature at this stage to exemplify the Buddhist philosophy of emptiness, which is the experiential understanding that all compounded things disintegrate.

      Three videos installations of people forcibly scattered across the corners of this world mark the end of this journey. The three video installations, Songs of Chuchepati Camp, Nepal (2017), Hear Her Singing (2017), and Songs of Kaohsiung Migrant Workers (2018), capture people from all over the world who in face of displacement as a result of social, political, and economic injustice. The artist thus shifts her focus to humanity and collects a series of voices that have been overlooked in this world. Various songs expressing the universal sentiments of the desire for love and the fear for separation are vocalized by earthquake victims from Nepal; female asylum seekers detained in the UK from Iran, India, Jamaica, Kyrgyzstan, Namibia, Sri Lanka, and other locations, as well as Southeast Asian and Africa migrant workers in Kaohsiung. Their voices bridge a connection that transcends race, economics, culture, and religion. Tsai's creation is redolent with ideas from Buddhist philosophy and her own understanding of life, aspiring to compel the masses and negotiate equilibriums between dichotomous extremes.

      The solo exhibition catalogue will be released during the exhibition as well. It will embody interview with Stephanie Rosenthal, director of Martin-Gropius-Bau Museum in Berlin and essay by Tiffany Leung, curator of Centre for Chinese Contemporary Art (CFCCA) in Manchester.
      ________________
      [1] The bodhisattva regards living beings the same way a magician regards the beings they conjure or how a wise person regards the moon's reflection in the water, to the bodhisattva, all are illusions.

      About Charwei Tsai

      Charwei Tsai was born in 1980 and currently lives and works in Taipei. She graduated from the Rhode Island School of Design in Industrial Design and Art & Architectural History (2002), and the postgraduate research program La Seine at L'École Nationale Supérieure des Beaux-Arts, Paris (2010).

      Highly personal yet universal concerns spur Tsai's multi-media practice. Geographical, social, and spiritual motifs inform a body of work, which encourages viewer participation outside the confines of complacent contemplation. Preoccupied with the human/nature relationship, Tsai meditates on the complexities among cultural beliefs, spirituality, and transience.

      Tsai has had solo exhibitions and projects internationally including: Charwei Tsai: Bulaubulau Centre for Chinese Contemporary Art (CFCCA) (2018), Manchester, UK; Water Moon, Institute of Contemporary Art, Villeurbanne/Rhône-Alpes, France and Hear Her Singing, a project commissioned by Hayward Gallery at Southbank Centre, London (both in 2017); A Dedication to the Sea, curated by Eugene Tan at Espace Culturel Louis Vuitton, Singapore (2012) and Water, Earth and Air, curated by Suhanya Raffel at Sherman Contemporary Art Foundation, Sydney (2009). She has participated in group exhibitions and biennials including Minimalism: Space, Light, Object at Art & Science Museum in collaboration with National Gallery Singapore, Scared Spaces at Rubin Museum of Art, New York (both in 2018); Biennale of Sydney (2016), Simple Shapes at Mori Art Museum, Tokyo (2015) and Centre Pompidou-Metz, France (2014); Sharjah Biennial (2013), Yokohama Triennial (2011), 6th Asia Pacific Triennial (2009), Traces of the Sacred, Centre Pompidou, Paris (2008), Thermocline of Art: New Asian Waves at ZKM Center of Art and Media, Karlsruhe (2007), and the inaugural Singapore Biennale (2006).

      Tsai's works are in public and private collections including those held at the Queensland Art Gallery, Brisbane, Mori Art Museum, Asian Art Museum of San Francisco, Yokohama Museum of Art, FRAC Lorraine, Institute of Contemporary Art, Villeurbanne, Kadist Foundation, Uli Sigg Collection, and Faurschou Foundation, Copenhagen.

      Tsai has also published a curatorial journal titled Lovely Daze twice a year since 2005. The complete sets of Lovely Daze are in the library collections of Tate Modern, London, Museum of Modern Art, New York, Pompidou Center, Paris, and Museum of Contemporary Art, Barcelona.

      Charwei Tsai Official Website: http://charwei.com/



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