Je m'appelle 《Elsa》

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當我和你老去—牛俊強個展
When I’m getting older , with you
Niu Chun-Chiang Solo Exhibition
2009， 10．10－25
茶會Reception 10．10 17:00
座談Discussion 10．17 15:00
策展Curator 蔡家榛 Cai, ,Jia Zhen
南海藝廊Nanhai Gallery

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她，踏出戶政事務所時，初春午後的陽光同手裡甫辦妥的戶籍證明暖了她心窩裡那方柔弱又堅強的角落；春陽和上暖風，她隨口哼唱著一首不成調的小曲，心情的愉悅自是不在話下，腳步輕盈地彷彿下一步就將飛躍了起來。
行經傳統市場轉回家的角落有間不起眼的花店，花店靜默地隱身在喧囂叫嚷的市場中，豔麗的花色遮掩不假修飾的黯灰牆面，這種小花店最大意義乃是為供奉祭祀而存在，所以她躊躇於彩度極高的各色花卉前好一陣子，遲遲下不了決定，本想轉身走卻被老闆娘叫住，
「小姐，要什麼？都今天剛到的，很新鮮喔！」
老闆娘放下手邊的工作，堆滿著笑意趕緊趨前，工作檯上散置了一桌的金屬小零件，銀黑的小方體下嵌上許多銀黑色的金屬芽腳，像極了一隻隻的前衛科技型蟑螂就戰鬥隊形準備幹上一場絕地殊死戰，凌亂靜置的桌面彷是一場世紀大對決過後的橫屍遍野，
「這把瑪格麗特好不好？你輕清秀秀的，感覺上這束白色小花很配妳啦！」老闆娘開口抓回她的注意力，她趕忙回過神，以極不滑溜的台語回答：
「喔，好呀！就這束吧！」

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她，近來總是在離家300公尺遠的路口打右轉燈，
右轉便上了山，一座鬱鬱蔥蔥的山頭，

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2009 臺灣 以色列青年藝術家交流展2

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貧民百萬富翁Slumdog Millionaire
導　　演：【猜火車】丹尼鮑伊 Danny Boyle

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文、圖／陳韋綸
紅色三坪小房間外擠滿30多位觀眾，還有五個在旁邊尚未施工完成的空間內疊羅漢；名為「台北電擊女孩」的雙人搭檔穿著散發螢光的一塊拼布─熱身一個多小時
後，舞蹈表演開始。她們雙臂以膠帶固定電線，聲響的音頻隨著身體行動而有所變化；這次表演將被拍攝，以錄像作品方式與其他創作者進行交換─換得的作品可能
是尚未沖洗的即可拍、姚瑞中的金色魔鬼娃娃頭，或是一次馬殺雞。

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展覽地點 / VENUE
:: 國立臺北藝術大學關渡美術館 2-5F / Taipei National University of the Arts/Kuandu Museum of Fine Arts, 2-5F Gallery
開幕酒會 / OPENING RECEPTION :: 2008.12.19 19:00
開幕表演 / OPENING PERFORMANCES
:: 氣象人 / weather man + 神秘嘉賓 /special guest
　
＊神秘佳賓公佈　：　林強　
:: 策展人 / 吳達坤 CURATOR / Wu,Dar-Kuen ::

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乒乓年終開幕第一炮！跨越領域與世代的作品交換展
《逆滲透(Floating Buffer Zone)》
由乒乓主辦的「逆滲透」08年12月12日至09年1月16日，

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Jeff Wall
Dead Troops Talk (a vision after an ambush of a Red Army Patrol, near Moqor, Afghanistan, winter 1986)
1992
Transparency in lightbox
229 x 417 cm


Presentation Highlights Work By A Range Of
International Artists At The Close Of The 20th Century

Notations: The Closing Decade
November 22, 2008 - November 2009


Philadelphia Museum of Art
Benjamin Franklin
Parkway
at 26th Street

Philadelphia, PA 19130

(215) 763-8100

http://www.philamuseum.org


The Philadelphia Museum of Art continues its commitment to presenting stimulating contemporary art with Notations: The Closing Decade
a presentation that includes the work of thirteen artists from around
the world made in the closing years of the 20th century. Taking the
fall of the Berlin Wall in 1989 as a starting point, and leading up to
the traumatic events of September 2001, the exhibition highlights the
range of artistic pursuit during this period of profound global and
societal transformation. It includes painting, sculpture, and video
from the Museum's collection complemented by a small number of loans.
The thirteen works on view vary dramatically in scale, medium and mood
- from the meditative to the exuberant and from the elegiac to the
surreal - reflecting both the anxieties and the expectations that
marked the end of a millennium through the lens of leading
international artists including Francis Alÿs, Gabriel Orozco, Peter
Doig, Sherrie Levine, Glenn Ligon and Jeff Wall.
Cuban-born artist Félix González-Torres (1957-1996) was inspired by the
street lights of Little Italy in New York when he began creating his
string-of-lights sculptures of which Untitled (Petit Palais)
of 1992 was the first. A simple string of ordinary light bulbs that
could be installed in multiple ways, the work rejects the monumental
and heroic in favor of a quietly personal approach. At the time of its
making, González-Torres had recently suffered the death of his longtime
companion to AIDS, and the work suggests a wide range of meanings,
reflecting both the light's capacity for revelation and transcendence
and its inevitable dimming over time.
Artist Glenn Ligon's work has explored the ways in which language and
culture inform personal identity, frequently using excerpts from texts
by African American writers such as James Baldwin, Zora Neale Hurston,
and Ralph Ellison. In his 1992 work, Untitled (I'm Turning Into a Specter before Your Very Eyes and I'm Going to Haunt You), Ligon quotes French writer Jean Genêt's 1959 play The Blacks (Les Nègres)
in block print that moves down the canvas in a repetitive pattern. The
words themselves gradually become illegible as the paint grows thicker
– playfully underlining the literal meaning of the words, even as they
seem to disappear.
Canadian artist Jeff Wall's large-format work Dead Troops Talk. A Vision After an Ambush of a Red Army Patrol, near Moquor, Afghanistan, Winter 1986,
made in 1992, was clearly inspired by contemporary world events. A
powerfully graphic image of the damage wrought by war, this 7 x 21 ft.
color transparency was created by digitally combining various
photographs the artist had staged in his studio. In this scene, Wall
has taken an overtly theatrical and surreal approach to constructing
the image, portraying the 1980s conflict between Russia and Afghanistan
in the manner reminiscent of nineteenth-century depictions of war by
artists such as Francisco Goya. Soldiers who have just been killed in
battle are resurrected and engage with each other in what the artist
describes as a macabre "dialogue of the dead".
The monumentality of Wall's image is countered by the fragility of Gabriel Orozco's meditation on death Black Kites
of 1997. Orozco's bleached human skull is traversed by a lead pencil
chessboard design that imposes a labyrinthine pattern on the organic
surface of the skull, including the eye sockets. The artist described
his sculpture as a drawing in three dimensions.
By contrast Polly Apfelbaum's Big Bubbles, 2001, bursts
with color and texture. The spiraling, rug-like floor sculpture,
consisting of over 1,000 pieces of cut and dyed synthetic velvet and
measuring roughly 18 feet in diameter, is a recent addition to the
Museum's collection. Big Bubbles probes the nature of painting taken off the wall and echoes the spirit of the poured latex works by artist Linda Benglis.
"Many of these works will resonate with viewers in a particularly
poignant fashion, given the freshness of the historical events in
question," Curator of Contemporary Art Carlos Basualdo said. "The
exhibition is an opportunity to explore the ways in which a diverse
group of artists were responding to a period of great turbulence, but
also to consider the relationship between art and
history-in-the-making."
About 'Notations'
The Closing Decade is the sixth in an ongoing series of gallery
installations titled "Notations," inaugurated in 2006 and named after
the 1968 book by American composer, writer, and visual artist John
Cage—widely celebrated for his experimental approach to the arts.
Cage's Notations was an international and interdisciplinary
anthology of musical scores by avant-garde musicians that also embraced
contributions from visual artists and writers. At the same time Notations
was an exhibition in book form, in which the scores doubled as
drawings. "Notations" at the Philadelphia Museum of Art is a flexible
tool used to explore aspects of contemporary art in the Museum's
expanding collection. The series of rotating projects is presented in
the Gisela and Dennis Alter Gallery (176).
The Philadelphia Museum of Art is among the largest museums in the
United States, with more than 200 galleries showcasing over 2000 years
of exceptional human creativity in painting, sculpture, works on paper,
photography, decorative arts, textiles, and architectural settings from
Asia, Europe, Latin America, and the United States. An exciting new
addition is the renovated and expanded Perelman Building, which opened
its doors in September 2007 with five new exhibition spaces, a soaring
skylit galleria, and a café overlooking a landscaped terrace. The
Museum offers a wide variety of enriching activities, including
programs for children and families, lectures, concerts and films.
For additional information, contact the Marketing and Public Relations
Department of the Philadelphia Museum of Art at (215) 684-7860. The
Philadelphia Museum of Art is located on the Benjamin Franklin Parkway
at 26th Street. For general information, call (215) 763-8100, or visit
the Museum's website at http://www.philamuseum.org.

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