阿里・貝瓦吉受邀於新加坡濱海藝術中心展出

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Ari exhibits in Esplanade Theatres On The Bay, Singapore

〈臉|The Face〉,炭筆於紙|Charcoal on paper,130 x 150 cm|51 x 59 inches,2018

〈臉|The Face〉,炭筆於紙|Charcoal on paper,130 x 150 cm|51 x 59 inches,2018

旅居蒙特婁的印尼藝術家Ari Bayuaji 受到”新加坡濱海藝術中心”的邀請,將為這個藝術中心裡最難挑戰,長達98公尺的窄長空間裡裝置一系列的作品。這次的展覽包括Ari Bayuaji擅長的雕塑裝置,繪畫,紙上作品等,經用不同的媒材呈現名為”自畫像”的個展。這個展覽將在明年的1月17日盛大開幕。

Montreal based Indonesian artist Ari Bayuaji is going to present ’Self Portrait' which is a commissioned project by 'Esplanade Theatres On The Bay' Singapore. The art installation constructed with the sculpture, drawing, and painting works located in 98 meters long tunnel that connected the main building with The City Link. The show will be opened on January 17, 2019.

鄭婷婷於2018年青年策展人計畫《林中的樹倒下而沒有人在》展出

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Ting Ting Cheng participates in the exhibition “A Tree Fell in the Forest, and No One's There” in Emerging Curators Project 2018

圖片由藝術家與何兆南提供|Photo credit to Artist & South Ho

圖片由藝術家與何兆南提供|Photo credit to Artist & South Ho

自2014年以來,青年策展人計畫成為上海當代藝術博物館的年度盛事,其宗旨為探索當代藝術展覽的意義及創造新的策展可能性。香港藝術家鄭婷婷在今年的獲獎展覽之一《林中的樹倒下而沒有人在》展出其作品,主題圍繞日常觀察及對個人回憶的重新想像。由陳子澂、張瀞尹策劃的展覽《林中的樹倒下而沒有人在》,其標題源於古老的哲學難題,試圖探討我們所認知的世界是否僅侷限於人類可用的感官總和,而非物質本體的總體。  展覽中的作品聚焦於藝術家對認知與現實之間的衝突與連結,或質疑現實與虛擬之間的界限,或探索其作為個體或藝術家的經歷。

 

Since its inception in 2014, the Power of Art’s Emerging Curators Project has now grown to be the contemporary art museum’s annual academic undertaking, whose mission is to explore present-day meanings of art exhibition as well as new possibilities of curation. On the display of one of the winning curatorial plans “A Tree Fell in the Forest, and No One’s There,” Hong Kong artist Ting Ting Cheng presented her artworks, which the themes focus on personal observations and memorial reimaginations. Curated by André Chan and Jing CY Chong, the exhibition title originates from an ancient philosophical conundrum – is the observed reality confined to people’s sum of available perceptions but not the totality of the material noumenon? Artists produce their artworks in the process reiterate the way they understand the world. The resulting works thus are the product of the linkage between personal cognition and reality, demonstrating the artists’ system of thinking and expression.

佩塔・科因 榮獲布魯斯博物館第10屆藝術榮譽獎

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Petah Coyne is honored by the Bruce Museum

〈無題#1408 (迷失的風景)|Untitled #1408 (The Lost Landscape)〉,2015-18

〈無題#1408 (迷失的風景)|Untitled #1408 (The Lost Landscape)〉,2015-18

佩塔・科因(Petah Coyne)在布魯斯博物館(Bruce Museum)的第10屆藝術榮譽獎獲得榮耀,此獎項旨在表彰傑出人物對藝術界的貢獻。在此同時,科因通過提名入選美國國家設計學院,其為美國藝術和建築領域的最高榮譽之一。

Petah Coyne receives the artist's honor from the Bruce Museum's 10th Icon Awards in the Arts. The Bruce Museum's Icon Awards in the Arts recognizes the contributions of distinguished figures in the art world who enrich the cultural life of the community. Coyne was also recently inducted into National Academy of Design, one of the highest honors in American art and architecture that is earned through nomination.

紀錄片導演 比爾・佩奇 為 羅迪尼・狄克森 製作的紀錄片即將放映

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Director Bill Page filmed a documentary film for Rodney Dickson

左為狄克森,右為比爾・佩奇  Left: Rodney Dickson, Right: Bill Page

左為狄克森,右為比爾・佩奇

Left: Rodney Dickson, Right: Bill Page

紐約紀錄片導演比爾‧佩奇(Bill Page)最近為羅迪尼‧狄克森(Rodney Dickson)拍攝了紀錄片。狄克森在這支紀錄片裡,提到自己的創作源頭並非是為了告訴觀者一個完整故事,而是分享自己某部分的內在──當創作的「靈光」來臨之時,他並不需要知道畫作最終將如何呈現,而僅需單純的回應它。當觀者願意在畫前佇足沉思,畫作或多或少就會以某種方式影響他們。是以他認為這種表現手法是更貼近真實的,遠比現實主義畫作更能衝擊一個人的精神世界。

本記錄片的亞洲首映將與明年1月狄克森在路由藝術的個展同步發生,歡迎有興趣的朋友蒞臨觀賞。

 

New York director Bill Page shot a documentary film for Rodney Dickson lately. In this documentary, Dickson told Page that his creation motive is not about telling stories but sharing the inside self. When the “Aura” comes to his mind, it doesn’t lead him to shape the concrete topics and objects but to respond the fleeting ideas and feelings. If viewers are willing to spend time on the artworks, their lives may somehow be modified during the appreciation and meditation. More real than the so-called Realism, Dickson believes the technique he adopted can strikes one’s mind and brings views the profound purification.

The premiere of the documentary film will be held in January 2019 at the same time when the solo exhibition of Rodney Dickson is in display. We sincerely invite all of you to come around.

阿里・貝瓦吉於蒙特婁 The Stewart Museum 展出

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Ari Bayuaji on show in The Stewart Museum, Montreal

貝瓦吉製作中的懸吊裝置藝術  Bayuaji’s work on progress of sculptures that are going to be suspended from the ceiling as an art installation.

貝瓦吉製作中的懸吊裝置藝術

Bayuaji’s work on progress of sculptures that are going to be suspended from the ceiling as an art installation.

藝術家阿里・貝瓦吉(Ari Bayuaji)近日正緊鑼密鼓的籌備明年三月於加拿大蒙特婁的展出。有別於過去的複合多元媒材呈現,本次展覽貝瓦吉大量使用了木材做為主要創作媒介,搭配上一些舊有的現成物件,如大理石底座、陶瓷、乃至木造建築構件等,輔以表面的彩繪與手工鑿刻完成。預計將展出六件立體雕塑、四件牆上雕塑、兩件大型裝置藝術、兩幅繪畫作品、四件攝影作品,以及一部錄像裝置藝術。

值得一提的是,受策展人Iris Amizlev所邀,貝瓦吉將和華裔加拿大視覺藝術家靳華(Hua Jin)共同創作本次特展《花與獸│Flowers and Monsters》。靳華擅長以攝影作品捕捉每一個頃刻,諸如時間、生命、或任意的微物。儘管目前兩位藝術家均長期定居於蒙特婁,創作內涵卻未盡皆西化,因此我們依然可以期待在博物館偌大的展場空間中,看見他們如何運用不同的創作媒材,帶來一場東方視野的哲學對話。

 

Ari Bayuaji is in the midst of the preparation for the exhibition in Montreal, Canada, presenting in March next year. Different from the past projects using mixed media to present, in this exhibition, Bayuaji uses wood as a main media, and matches some old ready-made objects, such as marble base, ceramics and even wood components that are painted and hand-cut on their surface. It is expected to exhibit six sculptures, four wall sculptures, two large installation artworks, two paintings, four photography works, and a video installation.

It is worth mentioning that, curator Iris Amizlev also invites Chinese Canadian visual artist Hua Jin to exhibit with Bayuaji in "Flowers and Monsters" exhibition. Jin’s works focuses on a worldview that embraces the concept of transience: of time, of life, and of everyday objects. Although both artists have settled in Montreal for a long time, the content of their creations have not been fully westernized, so we can still expect to see the oriental philosophy between different medias in the exhibition.

阿奎禮讚夫妻受邀參與成都・龐畢度:「全球都市」國際藝術雙年展

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Alfredo & Isabel Aquilizan participate in Cosmopolis #1.5: Enlarged Intelligence, Chengdu

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「成都・龐畢度:『全球都市』國際藝術雙年展」是由龐畢度國家藝術文化中心在中國進行的在地策展實踐,此次與毛繼鴻基金會合作,將集合全球60位藝術家和藝術小組,同時邀請多位哲學家、社會學家、作家、建築師、音樂人等各類跨界人才參與。雙年展於2018年11月2日拉開序幕,以「延展智慧」為主題,探討快速的科技變革對現代社會帶來的衝擊與影響,並對如何利用智能技術和生態智能來推動社會發展展開想像。路由朋友熟悉的藝術家艾佛雷多和伊莎貝爾・阿奎禮贊(Alfredo & Isabel Aquilizan)將延續其〈居所:另一個國家計劃〉帶來特別委任製作的作品亮相,並貫徹其既往的創作手法,邀請成都居民一同參與創作,用200片紙片、100個紙盒,在7200秒內搭建了一座「未來城市」。參與者製作的每一間小房子,最終將由阿奎禮贊夫婦組合在一起,成為一個包裹著參與者共同想像的「都市集群」,在阿奎里贊夫婦看來,未來的城市不應只有單一形態,在高樓大廈的冷漠鋼筋與筆直大道的疏離分隔之外,人類的家園還需要能夠溝通關聯、共生共榮的生態社群。

 

“Cosmopolis #1.5: Enlarged Intelligence”, opening on November 2 in Chengdu, in south-west China, in collaboration with Centre Pompidou, France and Mao Jihong Arts Foundation. Presenting artworks and programs by 60 artists and groups, as well as philosophers, sociologists, writers, architects, and musicians. In the title of “Enlarged Intelligence”, exploring ecology, technology, and envisioning how we today may draw on intelligent technologies to advance social values. Alfredo & Isabel Aquilizan who are known to Nunu Fine Art friends are presenting a specially-commissioned installation based from their “In-Habit: Project Another Country” series. As usual they invite Chengdu residents to participate in the creation, using 200 pieces of paper and 100 cartons to build a “future city” within 7200 seconds. Each small house made by the participants will eventually be grouped together by the Aquilizans creatinga city that gathers the participants’ imagination. In the view of Alfredo & Isabel Aquilizan, the future city should not be in single form, in addition to the alienation of high-rise buildings and straight avenues, the human homeland also needs an ecological community that can communicate and co-exist.

彼得.辛莫曼 The Garden 創作記錄

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Making of "The Garden" by Peter Zimmermann

賀曼公司為全球最大的賀卡公司,同時也進行藝術收藏工作超過60餘載。這次,賀曼公司委任德國著名當代藝術家彼得.辛莫曼進行一幅長達14尺的巨型環氧樹酯創作。此紀錄片紀錄了畫作的創作歷程,而此畫作也在完成後,成為賀曼公司的永久典藏。

Hallmark, the biggest greeting card company in the world, is also known as its dedication to collecting artworks for more than 60 years. This time, Hallmark company is pleased to commission Peter Zimmermann, a famous contemporary artist from Germany to create a gigantic epoxy installation in the length of 14 meters. The documentary records the whole process of the creation. And, the artwork ends up to be Hallmark’s permanent collection.

賀曼公司永久典藏彼得・辛莫曼作品

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Peter Zimmermann at Hallmark Collection

圖片取自彼得・辛莫曼官網|Photo credit to Peter Zimmermann’s website

圖片取自彼得・辛莫曼官網|Photo credit to Peter Zimmermann’s website

Hallmark, the biggest greeting card company in the world, is also recognized for its art collection which leads an established history for over sixty years. With the guidance of current curator, Hallmark Art Collection commissioned Peter Zimmermann, whose works have been admired worldwide, to create an epoxy installation in length of 14 meters as their permanent collection. The installation of the work has just been done. 

基斯・古祖瓦德受邀參與孔版印刷雙年展

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Kees Goudzwaard participates in the Magical Riso 2018

基斯・古祖瓦德工作室|Kees Goudzwaard’s studio

基斯・古祖瓦德工作室|Kees Goudzwaard’s studio

預計在2019年與路由藝術合作的荷蘭藝術家基斯・古祖瓦德(Kees Goudzwaard)受邀參與Magical Riso 2018 孔版印刷雙年展,展覽時間2018年11月16日至12月23日於荷蘭馬斯垂克Jan Van Eyck Academie展出。

在全球雙年展中具有重要地位,位於荷蘭的Magical Riso以不同主題與佈置來呈現,今年Van Eyck版畫藝術機構的參與者們將焦點放在新的藝術話題:忘記的藝術(The Art of Forgetting),這個主題在經過參與者的討論和創作後,也將在會議期間和展覽會上展出。今年度所選定的12位藝術家中,擅長以中性的手繪幾何油畫創作的古祖瓦德成為注目的焦點之一,他將在受邀創作期間完成一幅大型版畫巨作。

Nunu Fine Art is pleased to announce one of our new artists Kees Goudzwaard is invited to participate in the Magical Riso 2018, which is going to exhibit at Jan Van Eyck Academie in Maastricht, Netherlands from November 16 to December 23, 2018.

Magical Riso takes place in Netherlands is an influential Art Biennale in the global art scene. Every two years, the Magical Riso presents different themes and installation. This year, the artists will focus on a new art agenda - The Art of Forgetting. As tradition, after the discussion and creation by the participants, the art works and conclusion will be displayed during the show. This year, following his own practice Dutch artist Kees Goudzwaard will complete a large-scale printmaking masterpiece in Magical Riso exhibition.

(原文:https://www.janvaneyck.nl/nieuws/magical-riso-2018/)

Duration展期:2018 / 11 / 16 – 2018 / 12 / 23

羅娜.龐迪克作品《花崗岩床》受邀於耶魯大學永久典藏

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Rona Pondick's〈Granite Bed〉 is in permanent collection at Yale University

Pondick_Granite_-Bed_01.jpg

預計將在路由藝術展出的藝術家,羅娜.龐迪克(Rona Pondick),她的作品〈花崗岩床|Granite Bed〉受康乃狄克州耶魯大學紐黑文校區邀請,將在校園內永久展出。這件雕塑作品距離拜內克古籍善本圖書館(The Beinecke Rare Book & Manuscript Library)和野口雕塑花園(Noguchi Sculpture Garden)不到300公尺處,且鄰近藝術家亞歷山大・考爾德的作品〈絞架和棒棒糖|Gallows and Lollipop〉。
    
在這件花崗岩作品上,羅娜以手寫文字「我想要的」佈滿整個表面,表達人類對慾望的追求:『「渴望」是一種基本願望,一種推動我們生活的願望。我們的願望來自深刻和淺薄的情感和慾望,它們對人類行為的各個方面產生深遠的影響。我想要什麼?另一個人? 吃?錢?權力?........想要的是基礎;人類情感的基石。但是,一旦「我想要」這些詞語脫離了背景,我們如何為它們賦予意義呢?你認為你知道想要什麼,但是我們呢?慾望的對像是什麼?慾望本身是什麼?』2018年9月20日耶魯大學將為這件永久典藏的作品進行開幕儀式,此作品將做為該校的永久典藏。
    
Rona Pondick who is expected to have an exhibition in Nunu Fine. Her work was invited by the Yale University New Haven Campus in Connecticut and will be permanently on display in the campus. This piece is located just two blocks away from the Beinecke Rare Book & Manuscript Library which features a Noguchi Sculpture Garden, and not far from Alexander Calder's Gallows and Lollipops.
    
In this work, Rona fills the entire surface with the handwritten text "I want" to express human pursuit of desire: "Wanting" is a fundamental wish, a desire that propels us in life. Our wanting is drawn from both deep and shallow emotions, and desires, that exerts a profound influence on all facets of human behavior. I want what? Another person? To eat? Money? Power?........ To want is the foundation; the building block of human emotions. But once the words "I want" are taken out of context, how do we attach meaning to them? You think you know what wanting is. But do we? What are the objects of desire? What is desire itself?” The dedication for the building and sculpture will take place on September 20th, 2018. When it's finished, Nunu Fine Art’s friends are welcome to visit.
    
羅娜・龐迪克,〈花崗岩床〉,1998,黑色印度花崗岩,92.71 x 91.44 x 670.56 cm
Rona Pondick, 〈Granite Bed〉, 1998, Black Indian granite, 36.5 x 36 x 264"

2018泰國雙年展:仙境邊緣

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Thailand Biennale Karabi 2018:Edge of the Wonderland

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「2018泰國雙年展」參展藝術家名單中,曾與路由藝術合作的藝術家,包括曾展出空間裝置「約翰馬汀:屠夫與外科醫生」的新加坡藝術團體—垂直潛水艇(Vertical Submarine)、正與我們密切合作“左翼計畫”的藝術家阿奎禮讚夫婦(Alfredo & Isabel Aquilizan)與製作蘿斯・薇莉(Rose Wylie)紀錄片 “What Means Something” 的英國藝術家班・瑞物爾斯(Ben Rivers),都將在今年十一月至明年二月期間於泰國甲米省(Krabi)展出藝術創作。
    
作為泰國當代藝術最重要的國際展覽,泰國的第一個雙年展將在甲米(Krabi)的戶外場地進行。這次雙年展的主題為「仙境邊緣」,如同愛麗絲冒險故事一般,這片土地與我們日常現實相連,但隱藏在其中的特殊氛圍與氣息,讓我們就像進入了一個充滿幻想的世界。位於泰國的邊境,甲米就像愛麗絲冒險故事中的兔子洞,是一個現實與虛構、存在與想像、物質與精神、已知與未之間的交界,這也激發了人們探索、冒險與想像的精神。泰國雙年展也將推廣這個阿達曼海邊界的仙境成為世界藝術城市。
 
為期四個月的戶外展覽中,泰國雙年展鼓勵創作策略和針對特定場地裝置的創新實踐。而與以往靜態結構不同的是,這次雙年展的展覽空間將隨著天氣與自然環境變化產生不同的面貌,藝術家的創作也將以「仙境邊緣」主題為發想,結合甲米特殊的地域特色與展場形式呈現藝術創作。第一屆泰國雙年展是一個視覺實踐的前沿探索,同時也開啟了一種新的思維方式。它讓藝術與自然有了交會與呼應,同時讓我們從「仙境邊緣」開始這趟充滿創造性與想像的旅程。
    
In the “Thailand Biennale Karabi 2018” artist shortlist, artists cooperated with Nunu Fine Art including art group—Vertical Submarine that made the exhibition “John Martin: The butcher and the surgeon,” artists Alfredo & Isabel Aquilizan, who had been working closely with us in “The Left Wings Project in Taiwan”, and artist Ben Rivers, who made the film “What Means Something” of artist Rose Wylie, are going to display their artworks in Krabi, Thailand from November this year to February next year. 
    
As the most important international exhibition in Thailand, the first Thailand Biennale is coming soon at Krabi’s outdoor venues. “Edge of the Wonderland” is this year’s biennale theme. Like the renowned story “Alice's Adventures in Wonderland,” the land connects to our everyday reality and yet, it’s special atmosphere and aura makes us fall into a world of fantasy and imaginary. Located in Thailand’s border, as if Krabi is the rabbit hole in Alice in Wonderland, creating a boundary between reality and illusion, real and imaginary, material and spirit, and known and unknown. “Thailand Biennale Karabi 2018” will at the same time promote this wonderland in Andaman Sea as a world art city.
    
In the four months exhibition, Thailand Biennale encourages creative strategies and innovative practices for site-specific installations. Different from the static structure, the biennale’s exhibition space varies from one day to another depends on weather and environment condition. Artists’ artworks are also based on the theme “Edge of the Wonderland,” and combined Krabi’s unique landscapes and exhibition forms. The first Thailand biennale is a cutting-edge exploration driven by visual practice, and a new way of thinking, providing opportunities for nature and art to meet together, and at the same time let us start our creative and imaginative trip from “Edge of the Wonderland.”


泰國雙年展網站連結:http://thailandbiennale.org/en_US/

阿奎禮讚夫婦的「左翼計畫」作品:2018.07.21 - 10.10 於新加坡拉薩爾藝術學院中展出

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Alfredo & Isabel Aquilizan’s art plan “The Left Wing Project” : 2018.07.21 - 10.10  in Lasalle College of the Arts

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藝術家阿奎禮讚夫婦的知名「左翼計畫」作品,近日於新加坡拉薩爾藝術學院(Lasalle College of the Arts)中,展出於Mr. and Mrs. Chia與Mr. Yeap 的藏家展《雙屋: 當代藝術收藏中的政治和歷史》。 
此藏家展以探究公民生活的相關主題為出發,觸及社會正義、勞工政治、人權和民族意識。展覽將展出從1986年到2018年之間35位藝術家的40件個人作品以及共同創作,並於完整的圖錄中收錄了19位作者的文本。
  
在《雙屋》藏家展中,阿奎禮讚夫婦展出以手工鍛造鐮刀所構築而成的巨大翅膀,尖銳剛硬的鐮刀與本該是輕柔的羽翼形象形成強烈對比,利用米袋與翼狀雕塑所保持的危險平衡反映出菲律賓當代農業社會所面臨的複雜現實。
這個備受矚目的「左翼計畫」也已在今年來到台灣。從今年年初開始,路由藝術便與藝術家阿奎禮讚夫婦合作,使路由成為左翼計畫在台灣的大本營。透過四處募集台灣農民使用過的二手鐮刀,藝術家希望運用這些具有情感與記憶的當地物件,進一步反映台灣土地的現況與農民所面臨的困境,而路由藝術也在此實踐我們對於台灣社會和農業議題的關切。
  
Artist Alfredo & Isabel Aquilizan’s art plan “The Left Wing Project” recently is show on the exhibition, “Two Houses: Politics and Histories in the Contemporary Art Collections of Mr. and Mrs. Chia and Mr. Yeap.” 
This exhibition explores themes of civic life—social justice, labour politics, human rights and nationhood—through 40 works or groups of works made by 35 artists between 1986 and 2018. A fully illustrated catalogue contains texts by 19 authors.
  
Alfredo & Isabel Aquilizan display the gigantic bird wing made by hand-forged sickles, sharp sickles form a contrast to the soft wing, and the risk balance of the two reflect Philippines’ complex reality in modern agricultural society. 
This eye-catching exhibition“Two Houses”comes to Taiwan this year. Started from this early year, Nunu Fine Art had cooperated with artist Alfredo & Isabel Aquilizan, and Nunu Fine Art became the base camp of The Left Wing Project.”By collecting the used secondhand sickles, the artists take these objects filled with emotions and local memories to reflect the current situations of the lands in Taiwan as well as the difficulties faced the Taiwanese farmers. Through such opportunity, we also seek to fulfill our obligation to our society, and reveal our concern towards our agricultural issues. 
  
展覽exhibition|雙屋: 當代藝術收藏中的政治和歷史
展期date|2018.07.21 - 10.10
展覽地點venue|新加坡當代藝術學院 第一展間

菲律賓艾騰尼奧藝術大獎 : 隆森・庫利必納 、約翰娜・赫爾穆斯和席康・森尼斯入圍

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Ateneo Art Awards in the Philippines : Ronson Culibrina, Johanna Helmuth, and Ciron Señeres were three of the shortlist artists.

菲律賓最受矚目的艾騰尼奧藝術大獎(Ateneo Art Awards)近日公布了2018年度藝術家入圍名單。在入圍的12位藝術家當中,有3位就是與路由藝術合作的藝術家,分別為隆森・庫利必納 (Ronson Culibrina)、約翰娜・赫爾穆斯(Johanna Helmuth)和席康・森尼斯(Ciron Señeres)。在與大家分享這項殊榮的同時,我們也期待在未來路由藝術能帶給大家更多這三位藝術家的創作!
  
座落於菲律賓奎松市的馬尼拉雅典耀大學的藝術之翼中,艾騰尼奧藝術館(Ateneo Art Gallery)以菲律賓第一個當代藝術中心聞名。從最開始展出費爾南多.索維爾收藏的作品出發,艾騰尼奧藝廊在遵循藝術運動的脈絡下保存了一系列戰後藝術創作。從結構現代主義、抽象表現主義,一直到後現代藝術類型的藝術作品,該藝術館幾近完整地呈現各時期的藝術運動,並被視為菲律賓當代藝術的指標與先鋒。
  
為支持新銳藝術家與鼓勵當代藝術的發展,從2004年開始,艾騰尼奧藝術館便定期舉行一年一度的艾騰尼奧藝術大獎,此獎項活躍了菲律賓當代藝術的發展,也同時被視為菲律賓當代藝術最重要且最具代表性的藝術大獎。
  
Ateneo Art Awards, the most prestigious prize for emerging artists in the Philippines, recently published their 2018 Ateneo Art Awards shortlist of visual art. Ronson Culibrina, Johanna Helmuth, and Ciron Señeres were three of the shortlist artists and have been cooperated with Nunu Fine Art. While sharing this great news with all of you, we also hope to introduce more creations of these three artists here at Nunu Fine Art!
  
Located at the Arts Wing of Areté, Ateneo de Manila University, Quezon City, Ateneo Art Gallery is recognized today as the first museum of Philippine modern art. Starting from Fernando Zóbel’s collection of works by key Filipino post war artists, Ateneo Art Gallery followed the step of art movement to collect a series of artworks in the post war era. From neo-realism, abstract expressionism to today’s post-modern hybrid art, Ateneo Art Gallery presents the art movement periods with their rich collection, and is regarded as the indicator and spearhead of Philippine contemporary art.
  
To support young artists and encourage the development of contemporary art, Ateneo Art Gallery had regularly held Ateneo Art Awards once a year since 2004. Ateneo Art Awards is now recognized as the most important and representative art award in Philippine.
    
艾騰尼奧藝術大獎(Ateneo Art Awards)網站連結
http://ateneoartgallery.org/ateneo-art-awards/
  
作品|artworks
Ronson Culibrina,〈Cross-Breed〉,2017,Oil on canvas|120x120 cm|47x47 inches
  
Johanna Helmuth,〈Resting Bride〉,2017,Oil on canvas|100x100 cm|39.3x39.4 inches
  
Ciron Señeres,〈Connect to Cut〉,2017,Oil on canvas|122x153 cm|48 x 60 inches

摩根・歐哈拉《生命移轉:台灣觀察創作》限量畫冊於香港書展展出

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Morgan O’Hara’s “LIVE TRANMISSION in Taiwan” limited edition catalogs now on view at Hong Kong Book Fair

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路由藝術為美國行為藝術家摩根・歐哈拉(Morgan O’Hara)出版的限量畫冊《生命移轉:台灣觀察創作》正於一年一度的香港書展 3F-F04展位展出。由香港貿易發展局主辦的第29屆香港書展,於7月18至24日於香港會議展覽中心舉行。今年書展吸引了39個國家及地區共680家參展商參與,並將以「從香港閱讀世界 問世間情是何物」為題,舉辦約310場活動,寄望讓廣大書迷細味優秀的文字作品以及當中的情感抒發,並藉著文學獨有的魔力盡情享受閱讀的樂趣。
  
出生於美國洛杉磯,並創作於紐約的摩根・歐哈拉,擅長運用大把的鉛筆線條速寫出事件的發生與存在。她將我們平常無法肉眼察覺的轉瞬動作以連續線條傳達,使尋常行為的軌跡透過藝術家的獨特視角躍然於紙上。2017年,路由藝術邀請歐哈拉來台進行創作,並以她在台灣的創作限量出版了《生命移轉:台灣觀察創作》。本畫冊紀錄了她在台灣進行的在地生活觀察,除了對台灣的工廠、田野,小販等地域記憶,也收錄了當時在路由場域中舉行的「週五下班夜」等行為藝術速寫紀錄。歐哈拉將她的「生命移轉」系列視為一個在時間洪流中的紀錄,以介於具象/抽象間的手法勾勒出關於生命的演出。
  
摩根・歐哈拉以線條產生的創作也延續到她今日的書寫計畫中。從去年七月川普就職典禮開始,歐哈拉便發起了定期舉辦的「手抄美國憲法」活動。透過書寫憲法,她將過去作為個人創作的書寫,因眾人的參與而擴張為社會性的藝術實踐 。歐哈拉認為,透過親筆書寫,人們可以對文字以及內容產生認同與連結,甚至從段落中發現以往不曾感到動容或發人深省的地方。她希望藉由抄寫鼓勵眾人細讀文字,並從中喚起美國人的公民與人權意識。
  
American performance artist Morgan O’Hara’s catalog “LIVE TRANSMISSION in Taiwan,” published in limited edition by Nunu Fine Art, will be displayed at 3F-F04 at 2018 Hong Kong Book Fair. The 29th Hong Kong Book Fair hosted by HKTDC is held during July 18-24 at Hong Kong Convention and Exhibition Centre while attracting 39 countries and 680 exhibitors to take part in.On the theme, “Romance Literature”, Hong Kong Book Fair holds about 310 activities that allow readers to savor the exquisite writings and emotional burst in literatures, and enjoy the fun of reading while soaking in the magic of words.
  
Born and works in Los Angeles, US, Morgan O’Hara is proficient at capturing the happening and the existence of things with bold pencil strokes. She portraits instant movements that are hard to notice with our naked eye vividly onto papers with continuous lines. In 2017, Nunu Fine Art invited O’Hara to create a series of works in Taiwan and published her catalog “LIVE TRANSMISSION in Taiwan” in limited edition. This catalogs embodied her life observation in Taiwan. Aside from her creations based on local images such as Taiwan’s factories, fields, and vendors, the catalog also recorded her quick sketch made in the event “Morgan O'Hara Live Transmission: Friday Night Kitchen” held at Nunu Fine Art. O’Hara considered her artwork “Live Transmission in Taiwan” as a record of time that presents life through her unique language formed between Concrete and Abstract expressions.
  
Morgan O’Hara’s creations stemmed from transformative lines have also extended to her writing project today. Since the inauguration ceremony of Trump in July 2017, O'Hara has launched a monthly held "Handwriting the Constitution" campaign. Through the writing of the Constitution, she applied the writing that used to be part of her personal creation, and extended it into an artistic social practice with the participation of the general public. Morgan O’Hara believes that people can create identity and form connection with the words and contents by handwriting, and even find moving or thought-provoking context that they have never noticed. She hopes to encourage the public to read in details by transcribing words, and in turn arouse the awareness of American citizenship and human rights.
 

阿里・貝瓦吉受邀於拜聖保羅藝術國際當代藝術駐村計畫

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Ari Bayuaji's New Residiency Invited by the Symposium international d'art contemporain de Baie-Saint-Paul

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藝術家阿里・貝瓦吉受邀於加拿大魁貝克省的拜聖保羅藝術國際當代藝術駐村計畫(Symposium international d'art contemporain de Baie-Saint-Paul),並即將於今年7/27至8/26與來自美國、加拿大、歐洲的十一位藝術家進行為期一個月的創作以及座談會。拜聖保羅藝術國際當代藝術駐村計畫每年邀請十二位來自不同國家、不同年齡與專業的藝術家於開放空間中進行特定主題的藝術創作,此平台亦同時舉行藝術研討會與藝術工作坊等活動,讓藝術家、藝評與策展人進行一連串的文化藝術交流與對話。即將舉辦第三十六屆的藝術計劃,已累積超過500位來自歐洲、美國、亞洲與非洲等地的創作者參與盛宴,包含雷蒙・阿普里爾(Raymonde April)、 勒内・德鲁安(René Derouin)、馬克・塞甘(Marc Séguin)、弗朗索瓦茲・沙利文(Françoise Sullivan)等知名當代藝術家。2018年拜聖保羅藝術計畫的共同創作主題為「藝術與政治(Art and Politics)」, 受邀藝術家將以明確的個人風格詮釋諸如政治動盪、氣候變遷、性別平等、社會包容性等等時下議題,並運用他們直覺與敏銳的洞察力呈現藝術與政治之間的關係。
    
在此駐村計畫中,藝術家阿里・貝瓦吉預計結合繪畫以及他從各處搜集關於「門」的零件,創造出三件模擬房門的裝置作品。貝瓦吉從小生長的國家,不僅將「門」視為保護及安全的象徵,同時「門」也帶有禮節的尊敬意味,因為在此生活的人們時常必須低著頭、彎下腰才能進入他人的屋內。貝瓦吉因此採用門的意象傳達在此政治動盪的世界裡人們的適應與調節,以及對他者的尊重。他將門視為人與人之間連結的象徵,對比於用於形成阻隔與分界的牆, 試圖在探討移民現象的同時專注於其樂觀面向,同時也揭示人們在搜尋庇護安全之前所面臨的重重挑戰。藝術家以熟練的表現形式凸顯跨文化的普世現象,並且在鼓勵多元性的同時試圖透過自己的作品帶出全球議題的討論。
    
Invited by Symposium internationald'art contemporain de Baie-Saint-Paul in Quebec, Canada, artist Ari Bayuaji is participating in another one-month residency from July 27 to August 28 with new works and art forums produced together with other eleven artists coming from America, Canada, and Europe.
   
Each year, the Symposium invites twelve artists from different countries, generations and from various disciplines to create artworks on a chosen theme. In the meantime, events like art studios and art conferences also take place to provide platforms where the artists, art critics, and curators can exchange ideas on culture and art. With the 36th project being held, the Symposium has attracted more than 500 creators from Europe, the United States, Asia and Africa to participate, including renown contemporary artists such as Raymonde April, René Derouin, Marc Séguin, and Françoise Sullivan. The theme of the Symposium in 2018 is “Art and Politics,” based on which the invited artists will discuss issues regarding Political turmoil, climate changes, gender equality, social inclusion and so on by using their intuitive and keen insights to reveal the relationships between art and politics.
    
During this residency, Ari Bayuaji plans to create installation works that imitate “doors”, with drawings, paintings and original door parts collected from various places poetically attached to three panels. Growing up in a country where doors not only stand for protection and security, but are also reminders of politeness and manners for people would have to bow and bend down when entering another’s houses, Bayuaji takes the images of doors as his approach to deliver the concept of adaptation in this politically unstable world. Seeing doors as a symbol for the connection among people, opposite to walls that divide and set boundaries, the artist creates doors to focus on the brighter side of immigration while illuminating the many challenges people have to face before they find a haven safety. With his proficiency in revealing cross-cultural phenomena while embracing diversity, Bayuaji seeks to open up discussions on important global issues through his works of art.

加拿大蒙特婁美術館 典藏阿里・貝瓦吉裝置作品

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Ari Bayuaji's Installation Work Collected by Montreal Museum of Fine Arts

〈寂靜|Silence〉, 2014,木頭、壓克力顏料、透明掛線|Wood, acrylic paint, transparent thread, 尺寸依空間調整|Size variable                   (圖片來源:阿里・貝瓦吉網站 Photo Credit: Ari Bayuaji‘s website)

〈寂靜|Silence〉, 2014,木頭、壓克力顏料、透明掛線|Wood, acrylic paint, transparent thread, 尺寸依空間調整|Size variable                 

(圖片來源:阿里・貝瓦吉網站 Photo Credit: Ari Bayuaji‘s website)

在加拿大藝術協會的支持下,蒙特婁美術館近期推動一項新的計劃:《收藏、連結與關係重建》,此項計畫採公開徵件方式徵選文化詮釋相關的當代作品,同時也展出七件委託製作的藝術品於美術館當中,其中,阿里・貝瓦吉接受委託製作的空間裝置以探討文化的融合與多樣性備受認可,並將以獨立個展的方式與聯展同步展出。這七件作品將以蒙特婁美術館的收藏為啟發,致力於詮釋多元的世界文化。這次的展覽將於2018年9月6日開幕,作品將持續展出至2019年夏天“新世界展館”準備就緒之時。

做為七位受邀的藝術家之一,貝瓦吉將在此次個展中展出他的裝置作品《寂靜|Silence》,在這件令人驚艷的裝置作品中,藝術家利用不同顏色的壓克力顏料妝點在1400件的木頭物件上,並將其懸吊在空中。《寂靜》為2014年時,新加波濱海藝術中心所舉辦的國際神聖音樂節委託製作成品。該作於蒙特婁美術館的《收藏、連結與關係重建》藝術計畫中展出後,更將被美術館納為永久典藏。

Supported by the Canada Council for the Arts, Montreal Museum of Fine Art (MMFA) has launched their new project “Collections, Connexions et Reconnexions” as an open call for contemporary creations along with exhibitions presenting seven commissioned works to the public. Among the seven artists commissioned by MMFA, Ari Bayuaji was recognized for being an artistic representative of culture diversity, and will display his commissioned work as a solo show simultaneously held with the event. Seven works brought by these artists will take inspirations from the collections of the MMFA, and be dedicated to the cultures of the world. The exhibition will be opened on September 6, 2018 and will stay in the exhibition space until the 'New World Pavilion' is ready in summer 2019.
 
Being one of the seven, Ari Bayuaji is invited to present his installation work “Silence” in the solo show. The amazing work composed of 1400 pieces of wood, coated inacrylic paint of different colors and suspended from the ceiling, was commissioned firstly by The Esplanade Theatre by The Bay Singapore in 2014 for the International Sacred Music Festival. This installation work has recently been collected by the MMFA, and will be displayed during the “Collections, Connexions et Reconnexions” show with the old artefacts as part of the museum permanent collection.

上海外灘美術館舉辦林天苗個展《体・统》

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Lin Tianmioa’s solo exhibition at Rockbund Art Museum

(圖片來源Photo Credit:上海外灘美術館Rockbund Art Museum)

(圖片來源Photo Credit:上海外灘美術館Rockbund Art Museum)

上海外灘美術館即將於6月26日至8月26日舉辦中國當代藝術家林天苗的首場上海個展《体・统》,並邀請紐約古根漢美術館亞洲藝術部三星資深策展人亞歷山德拉・夢璐(Alexandra Munroe)擔任顧問策展人。

九十年代初,作為中國首批嘗試裝置和錄像製作的女性藝術家之一,林天苗不斷嘗試各種創作媒介,通過具有女性生活痕跡和符號意義的材料如針、棉、線、絲、布,將這些材料加工、纏繞、覆蓋於日常物件上,透露著對日常生活和傳統手工藝的關注和反思,以一種獨到的想像力及視野形成了鮮明、敏感且細膩的個人風格。

《体.統》以人體系統為構想出發,檢視並重新塑造「自我」在社會與技術現實變化中的運作方式。展覽分為四部分概念的探究:“個體意識”、“群體意識”、“公共意識”、“終極意識”,並與樓層相呼應,依次從美術館二樓展廳縱向延伸到六樓,為觀者帶來一場心理和感官上的“意識”之旅。作品涵蓋她二十餘年創作脈絡中極具代表性的裝置作品,以及藝術家自2017年起製作且從未公眾展出的數件玻璃材質的大型交互裝置,屆時,具有文獻意義的手稿也將一併展出。

From June 26 to August 26, 2018, Rockbund Art Museum (RAM) will proudly host “Systems”, Chinese contemporary artist Lin Tianmioa’s first solo exhibition in Shanghai city. The show is curated by Alexandra Munroe, the Samsung Senior Curator, Asian Art and Senior Advisor, Global Arts, at the Solomon R. Guggenheim Museum, New York.

In the early 1990s, as one of the first female Chinese artists tackling installation and video production, Lin Tianmiao continually tried out various creative media. Through materials redolent of the traces and symbolism of feminine life, such as needles, cotton, threads, silk and fabric—materials which she worked over—the artist wrapped everyday objects and enveloped them, thereby also displaying her care for and reflections about everyday life and traditional handicrafts. With such exceptional imagination and perspective, she formed a distinctive, sensitive, and exquisite personal style. 

Taken inspiration from the human body, “Systems” examines, exposes and reimagines the workings of the self in relation to shifting social and technological realities.The exhibition consists of four key concepts: “individual consciousness”, “collective consciousness”, “public consciousness”, and “ultimate consciousness”. With each concept corresponding to a floor in the museum, going from the second floor of the museum all the way to the sixth floor will embark visitors on a psychological and sensorial journey of “consciousness”. Works shown cover representative installation works from her twenty years’ of creative practice, together with several large-scale, interactive installations which the artist has created since 2017 but has never shown to the public. Manuscripts of archival significance will also be exhibited at the same time.

菲律賓夫妻黨藝術家─奧佛雷多、伊莎貝爾‧阿奎禮贊精品品牌《Hermès》合作

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Alfredo Juan Aquilizan and Isabel Gaudinez-Aquilizan collaborated with Hermès Singapore

圖片來源 Photography credit: Edward Hendricks

圖片來源 Photography credit: Edward Hendricks

曾收集台灣在地物件並且與台灣非營利組織One-Forty合作在路由藝術開啟工作坊的菲律賓夫妻黨藝術家─奧佛雷多、伊莎貝爾‧阿奎禮贊,近日與精品品牌合作,在新加坡愛馬仕現地製作了一系列巨型裝置作品。

阿奎禮贊夫婦的作品時常反映個人的移民經驗,以及全球交流與溝通的當代現象,他們的創作乘載著專屬個體的記憶與理想、認同與歸屬,如同品牌裝束等物件被內化為個人風格也成為個體歷史的一部分,相信他們與愛馬仕的合作對雙方都有著非凡意義。

伊亞拜迪歐·匹可榮獲“十大2017年最受矚目亞洲視覺藝術家”

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Iabadiou Piko won “TOP 10 RECOGNITION ASIA'S MOST INSPIRING VISUAL ARTIST 2017.”

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印尼藝術家伊亞拜迪歐·匹可在11月10號於吉隆坡的文華東方酒店獲頒由「The Top 10 of Asia」頒發之「十大2017年最受矚目亞洲視覺藝術家」殊榮。

「The Top 10 of Asia」是一部由「RHA Media Sdn Bhd」發行之英文出版刊物,該出版品旨在介紹所有在亞洲的成功故事,和極其吸引人的亞洲生活品味選集。「The Top 10 of Asia」則為其中推廣、引薦亞洲各領域的傑出人事物包含文學藝術、文化、商業、政治、體育等等。很榮幸這次匹可能脫穎而出,獲得這次殊榮。

新加坡泰勒版研究院STPI展出 ─ 阿奎禮贊夫婦 : 碎片與印記

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Installation view in “Alfredo&Isabel Aquilizans: Of Fragments and Impressions”

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「阿奎禮贊夫婦:碎片與印記」展覽現場照片

Installation view in“Alfredo & Isabel Aquilizans : Oh Fragments and Impressions

阿奎禮贊夫婦於新加坡泰勒版畫研究院(STPI)舉辦各展「碎片與印記」(Of Fragments and Impressions)」。藝術家推翻現闢裝置作品的無常性,將過去計劃裡出現過的紙箱重新擠壓創作,這不僅延續了作品的生命,更將如此象徵多重意涵的媒材與已身不斷搬遷的經驗連結起來,更以如拖鞋、鐮刀與翅膀等圖案作為日常生活的隱喻,持續探索有關家庭、社會與身分認同的議題。