心的住所-2018台灣女性藝術協會會員聯展
September 01 2018 - September 16 2018
展覽名稱:心的住所 2018台灣女性藝術協會會員聯展
時       間:2018/9/1-9/16 二-日10:00-18:00
地       點:清水眷村文化園區 42戶區39號與21號房舍
心的住所-2018台灣女性藝術協會會員聯展
September 01 2018 - September 16 2018

「台日交流聯展—哲學性的堅持反省」
November 26 2016 - December 20 2016

一直以來台灣在國際舞台上,皆以實質關係透過「貿易」與「文化」兩大管道來抗衡外交上的孤立。2015年年底因應外交部東亞民間團體交流活動,日本宮崎縣「三曜会」會員—勝久由美子小姐(Katsuhisa Yumiko)以及鈴木惠子小姐 (Keiko Suzuki)12/18()至台灣女性藝術家協會(後簡稱女藝會)參訪, 蒞臨女藝會會址「藝響空間」所舉辦為期一星期的「2015女藝會歲末特展」,正式揭開雙方第一次的作品交流與部分女藝會會員們的接觸認識。

    女藝會非常樂意並支持以民間藝術團體身份拓展國際交流,藉以提升台灣的國際形象和文化水準,在諸多藝術先進們努力的隊伍中盡微薄之力,並且促進國際友邦分享在地文化民情的精深。 20162月外交部函東亞民間交流活動,透過台北市政府發函受邀於日本宮崎縣政府,其正式邀請相對的交流窗口,而女藝會有幸代表藝術界團體,推派女藝會理事長吳妍儀女士與副理事長謝詠絮女士應邀參與,赴日本宮崎縣進行短期的訪問。

    三曜會是一群居住在宮崎縣的藝術家,每周聚會三次,大上敏男(Ogami Toshio)為會長,與台灣早期日本藝術教育家鹽月桃甫(1886-1954)甚有淵源,一九二一年鹽月桃甫在台北第一中學校及台北高等學校擔任美術教師,同樣來自日本宮崎縣,返回日本後,其回顧展即大上敏男經手策畫。目前高齡85歲的大上敏男是一個具傳統藝術家品格的創作者及教育家,因歷史淵源,而對台灣懷有特殊情愫,進而積極推動此次台日雙方交流展。此次至日本接觸過的日本藝術家們,他們透過藝術呈現加以表達自己的人生經歷,藉由繪畫創作技法傳遞對於生活與精神上追求的堅持和熱情,看似平凡簡單的相互扶持以及藝術分享,對個人內在的影響卻是極為深遠澎湃。在拜訪雙方協會的空間、組織,進一步了解該會的服務宗旨、成果畫冊內容等實質的交流之後, 彼此都有著同樣的責任感,進而討論如何利用雙方團體的力量,落實藝術文化的交流。

    舉辦聯展是雙方初步公認最具效率且效果的開始,女藝會最後確認聯展將於位在台北中山區大直的索引文化創意空間,此空間也是女藝會於2016514日會員聯展展覽場地之一。經第二次拜訪後,台日雙方堅持既有共識必須立刻執行,並開始策畫交流活動,我們真誠地期許,藉由第一步的相互了解,未來將會更加容易交流與回饋。

    每位藝術家身體裡總留有追求理想的血液以及一顆真誠熱情的心,就算只能透過翻譯,依舊緊密連結在場(參訪日本展覽中)所有人們,渺小力量的凝聚合力,經由一點一滴地累積茁壯,絕對可以號召更大的轉動引擎,將正面的能量和寄盼帶給龐大的群眾。

    台日交流聯展中,期望雙方藝術家們得以相互交流、成長、探索、反思,藉由不同文化、不同經驗,以及追求自己人生堅持永不放棄的態度,共同傳播熱愛藝術的特質與冀求。

    「台日交流聯展—哲學性的堅持反省」的實際執行,台灣與日本將各推出約10 位代表藝術家,共約20 件創作作品,創作媒材從油畫、粉彩、壓克力、到複合媒材等等。邀請前來台灣展覽的日本藝術家們,藉由藝術表達,以不同角度呈現自我,並且訴說著多樣的人生價值,利用彼此之間共同的語言—藝術創作,激發出雙方全新的情感火花,打動兩者的心靈交流,拋卻物質、文化上的差異。此次台灣展覽將舉行約一個月,20179月女藝會將赴日本宮崎縣展出交流,相互接搓學習。

         MaxPlanck:「科學世界之圖象獲自經驗……永遠只保持一種概算的狀態,一種多少分離的型式。就像在每一感覺背後有一物體一樣,在每一種人類經驗顯示為真實的事物背後,也都有一種形上的實體」(The Meaning and Limits of Exact Science)就本質上說,「人」是形式上的實存,他有一種欲望,想從共同知識和私人經驗的各種領域中,獲得某種對事物之終極本質的了解。

       創作時,一件作品的創造極耗精神與體力,然而專心地面對自己的作品時,很容易產生內心的思考與對話,此時就需要依靠理性來對自己的經驗作出深刻反省。當運用理性反省經驗的時候,才是真正清醒的時刻。創作本身是對於思考本身的邏輯性要求,過程中必須嚴謹遵守理性的原則,就像哲學思考提出的問題,來自於人類理性的困惑與追求真理的衝動;哲學的思考則是讓人得以在過去、現在、未來三個時空相互連貫,特別是如今社會,許多時候我們仍處在催眠之中, 催眠作用在一個社會形成某種集體潛意識,譬如:童年開始淺移默化下受到大量觀念引導。我們往往認為這些觀念是正確的、理所當然毫無瑕疵,卻從未仔細反省過藝視本身。事實上,當人抵達某個年紀時,不論是20歲、 30歲、 40歲、 50歲 、60歲 、70歲甚至80歲,當停下腳步回頭審視人生時,必須養成習慣——求知若飢,虛懷若渴,審度自己,秉持好奇,如此才能重新出發,以理性思考不同變換的經驗,靜下心思考,對於一個人的生命而言重要無比,也可說是生命轉變的起步關鍵。

    當人有了不同的人生經驗,才有機會針對現有的生活提問,而這些疑問也許總是令人困擾,或者幫助人們的做出選擇。經歷使人不斷成長,尤其航過風暴,穿過茂林,我們可以做出總結,加以推演進化,疑惑、渾沌、未覺,進而茁壯。科學理論中的培根(Francis Bacon)、洛克(John Locke)、休姆(David Hume)、穆勒(John Stuart Mill)、懷海德(Alfred North Whitehead)、羅素(Bertrand Arthur William Russell)等,這些大師們都有著具有懷疑和試驗可效法的精神。

    人類的經驗是多樣且分散的,為了深入了解,往往只能分工而不得合作。然而,人的生命是完整的,我們總是希望對於任何事物都有一套整體的了解,以便作出正確的抉擇。

台日交流聯展中,期望推崇與學習皆為雙方藝術家們得以收穫的,藉由不同文化、不同經驗,以及追求自己人生堅持永不放棄的態度。

「Taiwan-Japan Exchange Exhibition-Introspection: Revisiting the Consistent Philosophy」
November 26 2016 - December 20 2016

On the international stage, Taiwan has always relied on its substantive "trade" relations and "cultural" exchange as the two major pipelines serving to counteract diplomatic isolation. Japan's Miyazaki Prefecture's "Japan Sanyou Association" member Katsuhisa Yumiko and Keiko Suzuki visited the Taiwan Women's Art Association (WAA) at the end of 2015 in response to the Ministry of Foreign Affairs' East Asia Civil Society Exchange Event. The visit coincided with the week-long "2015 End of Year Women's Art Exhibition" held at the "full-capacity rehearsal grounds" constructed by the Department of Culture, officially kicking off the first mutual art exchange and networking event.

The WAA is extremely happy to have had the opportunity to support international relations through art civil society groups. The WAA believes that such exchange can help enhance Taiwan's international image and cultural standards, using the combined efforts of multiple leading arts teams to promote and deepen the sharing of local culture between international alliances. The Ministry of Foreign Affairs announced the continuation of the East Asia Civil Society Exchange Event in February 2016, and through the Taipei City Government a letter of invitation was sent to Japan's Miyazaki Prefecture Government to officially invite the cultural exchange representative to participate. In addition, the WAA had the honor of representing the performance art community by having their chairman Ms. Wu Yen-Yi and vice chairman Hsieh Yung-Hsu invited for a short visitation and interview in Japan's Miyazaki Prefecture.

The Japan Sanyou Association is composed of a group of artists living in the Miyazaki Prefecture who meet three times a week. The chairman is Ogami Toshio who has quite an interesting relationship with Shiotsuki Tōho (1886-1954), a Japanese art educator who was an import part of art history in early Taiwan. Shiotsuki Tōho taught art at the Taipei First High School and the now National Taiwan Normal University. Shiotsuki Tōho was similarly from the Miyazaki Prefecture, and after returning to Japan, his recollections exhibit was organized and curated by Ogami Toshio. Now 85, Ogami Toshio is an established artist with an extensive history in art creation and education. Taiwan holds a special place in his heart due to historical ties, and he has been an important figure in the promotion of this times Taiwan-Japan mutual exchange exhibition. The artists who travelled to Japan to participate in exchange with Japanese artists expressed their life experiences through their art, using painting techniques to convey their persistence and enthusiasm for the pursuit of the spiritual aspects of life. This seemingly simple relationship of sharing and mutual support is in reality a profound source of emotion and inspiration. Through the mutual understanding of each other's environment, organization, to a deeper understanding of the services, mission, portfolios and so forth of each other's respective organizations...after plenteous exchange, both sides have come to feel a shared sense of responsibility to continue the discussion of how to best utilize the combined capabilities of their groups to realize the furthering of art and cultural exchange.

The organizing of a joint exhibition is a beginning that both sides have recognized as being the most efficient and effective way to start off. Confirmation of the exhibition venue has been finalized by the WAA, and will be held at the Sewing exhibition venue located in Dazhi of Zhongshan District. This venue was also used as one of the venues of the WAA's Joint Members Exhibition held on May 14, 2016. After a second visitation, both sides of the Taiwan-Japan exchange reached the consensus that preparations for the joint exhibition must begin immediately, and launched follow-up planning and exchange events. We truly hope that by taking the first step to understand one another, it will be easier to communicate and provide mutual feedback in the future

There exists within every artist the need for ideological pursuit and a heart filled with sincerity and passion. Even when relying on translators, everyone from both sides that took part in the Japan visit exhibition were drawn closely together. Little by little, through the continued amalgamation of these tiny forces, it is definitely possible to someday power and turn engines much greater so that positive energy and hope can be propelled far enough to reach the masses.

For the Taiwan-Japan exchange exhibition, we hope to facilitate mutual communication, growth, exploration, and reflection for all involved artists. In addition, we hope that from the different cultures, experiences, and dedication to the pursuit of life, we will be able to spread the love and passion as well as expectations for art.

The actual implementation of the "Taiwan-Japan Exchange Exhibition - Insistence on Philosophical Reflection", will be undertaken by 10 artists from each side who have been nominated as representatives. Together there will be around 20 creative works. Creative mediums used will range from oil painting, pastel, and acrylic to composite material mediums and etc. The Japanese artists invited to Taiwan for the exhibition will present the idea of self from different angles through their art, creating narration depicting myriad life values. Through a mutual language—art—the exhibition will spark new emotions and set in motion spiritual exchange between both sides, pushing aside material and cultural differences.

The exhibition will be held in Taiwan for around a months’ time, and in turn, members of the WAA will travel to Japan's Miyazaki Prefecture in September of 2017 for the following exhibition and exchange event, facilitating continued exchange and mutual learning.

MaxPlanck: "Pieces of the picture of the scientific world come from personal experience...Forever maintaining a state of evaluation, a form that exists somewhat in  separation. Just like there is an object behind every feeling, behind every fact that human experience has indicated to be true, there is also a physical existence" (The Meaning and Limits of Exact Science). In regards to substance, "man" is a form of existence, he has a type of desire, the desire to gain an ultimate understanding of the nature of all things through the accumulation of collective knowledge personal experience in all fields.

When creating, the creation of a single object requires extreme mental and physical consumption. Furthermore, when concentrating on one's own work, it becomes easier for inner thoughts to appear and engage in conversation with oneself. At this time, personal experience must be relied upon to engage in deep reflection.Only when utilizing reason to reflect on experiences, are we truly awake. The act of creating is itself a requirement for the logical reflection of self. During the process, the principle of rationality must be strictly followed. Just like questions proposed by philosophical thinking, the confusion which stems from human rationality and urge to pursue real truth. Philosophical thinking on the other hand allows us to connect the past, present and future. This is especially true in modern society where we are often still existing in a state of hypnosis. Hypnosis of society has formed a type of collective subconscious, for example, the influences of others on how we perceive things. We often think of these principles as being correct, without thinking, we accept that they are flawless. Yet, we fail to ever engage in introspective reflection. In reality, when a person reaches a certain age, whether it's 20, 30, 40, 50, 60, 70, or even 80 years of age, and stops to look back on their life, they must develop the habit of thirsting for knowledge and thinking of yourself as knowing little, judging oneself, upholding curiosity, and only then, can new steps be taken. Being able to use rationality to contemplate each experience is something of unmatched importance, and one's life can be said to begin the moment one gains the ability to do.

Only when people have different life experiences, can there be the opportunity to question life as it is. This type of questioning may often be a source of perplextion, yet they can also help us make the right decisions. Experiences allow us to grow, especially after sailing out of a storm, or traversing through a forest. These experiences allow us to reach conclusions using deduction or inference. Confusion, chaos, lack of sleep, are all things which allow us to thrive. The scientific theories of Francis Bacon, John Locke, David Hume, John Stuart Mill, Alfred North Whitehead, Bertrand Arthur William Russell and so forth, all of these great scientists carried within them the spirit of doubt and experimentation.

Human experience is diverse and scattered. To gain further understanding, we must often divide the labor rather than collaborating. Yet, each human life is always complete, we always yearn for a complete understanding of all things to make it easier for us to make the right choice.

From the Taiwan-Japan exchange exhibition, we hope that the art of artists from both sides can be promoted and also that mutual learning can occur. In addition, we hope that from the different cultures, experiences, and dedication to the pursuit of life, we will be able to spread the love and passion as well as expectations for art.

 

「漫舞,於深海之上」-2016台灣女性藝術協會 徵件展 第二場 藝響空間
May 07 2016 - May 22 2016
美國女性作家烏蘇拉.勒岡(Ursula K. Le Guin)在其著作《天哈努》(Tehanu, 1990),注入對於中年婦女的溫柔剛毅及韌性特質作為故事主軸,並闡述:
女性主義意識型態……巳經迫使我以及這個世代的每一位有思想的女人去深入地認識自己﹕我們常常很痛苦地把我們真正所想的、所信仰的和我們被教導的那一切有關男女的簡單「事實」和「真理」分開……我們更經常發現,我們沒有自己的意見或信仰,只不過把社會的教條加以整合而已﹔所以女人必須去發現、去發明、去創造我們自己的真理、自己的價值、和我們自己。 (Language of the Night 142,蔡淑芬譯) 
    
    勒岡所說的也是經過將近二十年的社會演變與飽受批判後她自己對女性意識的覺醒,這無異是現今女性主義意識的進行式與未來的期許,而她所提及「發現」、「發明」、「創造」也是當代女性藝術創作的必經歷程。如勒岡在其小說中《天哈努》一反以男性冒險角色作品,反轉其前故事所塑造的父權形象,而以中、青年女性所經歷的人生變化與功成身就後的淬煉,顯示其堅強剛毅卻也飽含母性的溫柔。

    本次策展主題「漫舞,於深海之上」,取自勒岡《地球海》(Earthsea)系列中,海上浮民對居住在陸地上的人說的話: 「你們踐踏土地,以求安穩」…。「我們漫舞,於深海之上。」,原意隱含地球居住的人類對於生態的破壞,而海上浮民則是隨著自然法則生存。在此藉以引申女性藝術工作者如同漫舞在歷史長河的深海上,緩慢努力不懈的前進。對於長路漫漫的女性意識覺醒,也如人生成長之角色轉化一般,即女性藝術工作者於種種生命歷練後,從自身沉澱所反轉出的能量爆發力,也是本次策展期待將女性的成熟創作的特質與力量顯現出來。 

   「漫舞,於深海之上」,這歷史深海如創作脈絡的廣泛分佈,也包含本展探討的議題:女性身份、陰性特質、家庭角色、社會現象;從私人領域延伸觸及公共事務,關懷自身生存的生態環境、性別政治;更納入時尚、金工編織、女紅等傳統中的創新。實在囊括了所謂人類生存之生命議題,唯一不同的是由女性的觀點出發。本展覽預計為期三個月,分四個檔期進行,期間配合展覽內容舉辦座談會,邀請藝術、社會研究的專家進行座談討論。

策展人:吳妍儀 
(台灣女性藝術協會第九屆理事長/輔仁大學織品服裝學系專任助理教授)

地點:台灣女性藝術協會  藝響空間
地址:台北市北投區自強街61巷6號1F
時間:2016/5/7(六)~5/22(六)
座談:5/7(六) 14:30   茶會15:30
與談人:王雅各 (美國羅耀拉大學社會學博士/國立臺北大學社會學系專任教授)

參展藝術家:
吳可文 吳妍儀 吳筱瑩 宋少奐 李玉梅 汪曉青 邱麗玲 姜麗華 唐幼玲 常淑君 張秀琴 
曹小容 陳香伶 彭怡平  彭敏    曾玉珊 曾慈惠 曾嬌媛 湯瓊生 黃楷馨 萬一一 葉月桂 
蔡淑惠 蔡淑慧 蔣金蘭 戴佳茹 謝詠絮 
(以上按照筆畫排序)

指導單位: 台北市政府文化局
主辦單位: 台灣女性藝術協會  藝響空間


Dancing Above the Deep Sea
May 07 2016 - May 22 2016
In her book, Tehanu (1990), American female writer, Ursula K. Le Guin, focuses on the characteristics of gentle fortitude and tenacity in middle-aged women as her main theme.  As she elaborates:
“Feminist ideology ...... has already forced me and every contemporary female thinkers to search for a deeper understanding of ourselves: often times we separate very achingly the simple ‘facts’ and ‘truths’ apart, such as what we really think, believe, and everything that we were taught about men and women ...... We often find out we do not have our own opinions or beliefs, but merely integrate the dogmas of society; so women have to discover, to invent, to create our own truths, values, and ourselves.” (Language of the Night 142, translation by Shufen Tsai)

What Le Guin describes is also her own gender consciousness awakening after nearly two decades of social evolution and criticism.  This is indeed the contemporary ongoing thinkings of feminism and its expectations for the future, while the notions of "find-out "," inventions ", and “creating" she mentions are concurrently a necessary process for current female art. Le Guin’s novel, Tehanu, is an anti-male adventure role that reverses the patriarchal images shaped in previous stories.  In it, we see the life changes experienced by young women and the refinement of middle-aged women after achieving success, presenting both a sense of strength and maternal tenderness.

The curatorial theme, "Dancing Above the Deep Sea", is drawn from Le Guin’s Earthsea Series, in which dwellers on the floating sea speak to those on the land: "You trample the land for stability and safety ".... "However, we are dancing above the deep sea.". This implies that the people who live on the earth have destroyed its ecology.  Yet, the people floating offshore are surviving and living according with the laws of nature. Reflecting this metaphor, we see how female artists are like dancers in the long history of the deep sea, working endlessly and tirelessly to move slowly forward. The long road to awakening the feminine consciousness is also like the changing roles and transformations experienced growing up.  Drawing from an accumulation of their various life experiences, female artists generate an explosive energy. This is what we are looking forward to see in this curation - to bring out and present the unique qualities and powers of mature creations by female artists.

In "Dancing Above the Deep Sea", the deep sea of history is like the wide distribution of a creative context.  This exhibition involves issues like: female identity, femininity, family roles, social phenomena; extending from private fields to reach public affairs, concerning oneself with the direct ecological surroundings and gender politics of survival.  Moreover, there are innovative creations of traditional art forms, such as fashion, metalwork, embroidery, and more to be included this time. In fact, this encompasses the so-called life issues of all our human existence.  The only difference is that they are viewed from female perspectives. Scheduled to be held over three months, this exhibition is divided into four different periods.  During this time, we have also invited research experts from art and social studies fields to conduct panel discussions according to the themes of the exhibition. 

 Curator:Yen-I Wu
(Ninth Chairman of the Taiwan Women's Art Association
Assistant Professor, Department of Textiles and Clothing, Fu Jen Catholic University)

Date:2016.05.07~05.22
Venue:11289 台北市北投區自強街 61 巷 6 號 1 樓
Opening Reception:2016.05.07(Sat.) 2:30 PM 
Panelist:Y.K. Wang
(Dr. sociology at Loyola University / Professor, Department of Sociology, National Taipei University)

Supervised by Department  of Cultural Affairs Taipei City Government
Organizer:Taiwan Women's Art Association  藝響空間
「漫舞,於深海之上」-2016台灣女性藝術協會 徵件展 第一場 佛光山嘉義會館
April 07 2016 - May 08 2016
美國女性作家烏蘇拉.勒岡(Ursula K. Le Guin)在其著作《天哈努》(Tehanu, 1990),注入對於中年婦女的溫柔剛毅及韌性特質作為故事主軸,並闡述:
女性主義意識型態……巳經迫使我以及這個世代的每一位有思想的女人去深入地認識自己﹕我們常常很痛苦地把我們真正所想的、所信仰的和我們被教導的那一切有關男女的簡單「事實」和「真理」分開……我們更經常發現,我們沒有自己的意見或信仰,只不過把社會的教條加以整合而已﹔所以女人必須去發現、去發明、去創造我們自己的真理、自己的價值、和我們自己。 (Language of the Night 142,蔡淑芬譯) 
    
    勒岡所說的也是經過將近二十年的社會演變與飽受批判後她自己對女性意識的覺醒,這無異是現今女性主義意識的進行式與未來的期許,而她所提及「發現」、「發明」、「創造」也是當代女性藝術創作的必經歷程。如勒岡在其小說中《天哈努》一反以男性冒險角色作品,反轉其前故事所塑造的父權形象,而以中、青年女性所經歷的人生變化與功成身就後的淬煉,顯示其堅強剛毅卻也飽含母性的溫柔。

    本次策展主題「漫舞,於深海之上」,取自勒岡《地球海》(Earthsea)系列中,海上浮民對居住在陸地上的人說的話: 「你們踐踏土地,以求安穩」…。「我們漫舞,於深海之上。」,原意隱含地球居住的人類對於生態的破壞,而海上浮民則是隨著自然法則生存。在此藉以引申女性藝術工作者如同漫舞在歷史長河的深海上,緩慢努力不懈的前進。對於長路漫漫的女性意識覺醒,也如人生成長之角色轉化一般,即女性藝術工作者於種種生命歷練後,從自身沉澱所反轉出的能量爆發力,也是本次策展期待將女性的成熟創作的特質與力量顯現出來。 

   「漫舞,於深海之上」,這歷史深海如創作脈絡的廣泛分佈,也包含本展探討的議題:女性身份、陰性特質、家庭角色、社會現象;從私人領域延伸觸及公共事務,關懷自身生存的生態環境、性別政治;更納入時尚、金工編織、女紅等傳統中的創新。實在囊括了所謂人類生存之生命議題,唯一不同的是由女性的觀點出發。本展覽預計為期三個月,分四個檔期進行,期間配合展覽內容舉辦座談會,邀請藝術、社會研究的專家進行座談討論。

策展人:吳妍儀  
(台灣女性藝術協會第九屆理事長/輔仁大學織品服裝學系專任助理教授)

展    期 : 2016年4月7日(四)~5月8日(日)
座    談 : 2016年4月9日(六)下午1:30~2:20
茶    會:2016年4月9日(六)下午2:30
地     址: 600嘉義市博愛路二段241號
開放時間 :12:00至21:00(免費參觀‧週一休館)

展出藝術家 
台灣女性藝術協會:
吳可文 吳妍儀 吳玲玲 吳筱瑩 宋少奐 李玉梅 姜麗華 張秀琴 莊彩琴 許翠華 陳香伶 陳琿瑛 曾玉珊 曾鈺涓 
馮孝英 黃楷馨 劉素幸 蔡淑惠 戴禎英 謝詠絮

嘉義市美術協會:
王秋月 王豫蘭 江秀花 江麗惠 吳幸娟 李鳳儒 林佩幸 洪美珠 范巧貞 高玉娟 張素升 張碧寅 黃素慧 黃蔡玉珠 
黃寶雲 黃寶賢 黃灑淑 楊洪飛 楊淑容 劉秀美劉香蘭 劉容韶 劉婉如 劉彩容 蔡瑞妙 蔡鳳姿 蕭秋芬 蕭惠禛 
蕭雯心 魏金枝 嚴美瑛 蘇奕菁 (以上按照畫排序)              

特邀 : CHRISTINE BOUVIER & LIU Hsiang Lan

指導單位: 台北市文化局
主辦單位: 台灣女性藝術協會
協辦單位: 佛光山嘉義會館、嘉義博愛社區大學、嘉義市美術協會
Dancing Above the Deep Sea
April 07 2016 - May 08 2016
In her book, Tehanu (1990), American female writer, Ursula K. Le Guin, focuses on the characteristics of gentle fortitude and tenacity in middle-aged women as her main theme.  As she elaborates:
“Feminist ideology ...... has already forced me and every contemporary female thinkers to search for a deeper understanding of ourselves: often times we separate very achingly the simple ‘facts’ and ‘truths’ apart, such as what we really think, believe, and everything that we were taught about men and women ...... We often find out we do not have our own opinions or beliefs, but merely integrate the dogmas of society; so women have to discover, to invent, to create our own truths, values, and ourselves.” (Language of the Night 142, translation by Shufen Tsai)

What Le Guin describes is also her own gender consciousness awakening after nearly two decades of social evolution and criticism.  This is indeed the contemporary ongoing thinkings of feminism and its expectations for the future, while the notions of "find-out "," inventions ", and “creating" she mentions are concurrently a necessary process for current female art. Le Guin’s novel, Tehanu, is an anti-male adventure role that reverses the patriarchal images shaped in previous stories.  In it, we see the life changes experienced by young women and the refinement of middle-aged women after achieving success, presenting both a sense of strength and maternal tenderness.

The curatorial theme, "Dancing Above the Deep Sea", is drawn from Le Guin’s Earthsea Series, in which dwellers on the floating sea speak to those on the land: "You trample the land for stability and safety ".... "However, we are dancing above the deep sea.". This implies that the people who live on the earth have destroyed its ecology.  Yet, the people floating offshore are surviving and living according with the laws of nature. Reflecting this metaphor, we see how female artists are like dancers in the long history of the deep sea, working endlessly and tirelessly to move slowly forward. The long road to awakening the feminine consciousness is also like the changing roles and transformations experienced growing up.  Drawing from an accumulation of their various life experiences, female artists generate an explosive energy. This is what we are looking forward to see in this curation - to bring out and present the unique qualities and powers of mature creations by female artists.

In "Dancing Above the Deep Sea", the deep sea of history is like the wide distribution of a creative context.  This exhibition involves issues like: female identity, femininity, family roles, social phenomena; extending from private fields to reach public affairs, concerning oneself with the direct ecological surroundings and gender politics of survival.  Moreover, there are innovative creations of traditional art forms, such as fashion, metalwork, embroidery, and more to be included this time. In fact, this encompasses the so-called life issues of all our human existence.  The only difference is that they are viewed from female perspectives. Scheduled to be held over three months, this exhibition is divided into four different periods.  During this time, we have also invited research experts from art and social studies fields to conduct panel discussions according to the themes of the exhibition. 

 Curator:Yen-I Wu
(Ninth Chairman of the Taiwan Women's Art Association
Assistant Professor, Department of Textiles and Clothing, Fu Jen Catholic University)

Date:2016.04.07~05.08
Venue:600嘉義市博愛路二段241號
Opening Reception:2016.04.07(Sat.) 2:30 PM
Organizer:Taiwan Women's Art Association  藝響空間
Supervised by Department  of Cultural Affairs Taipei City Government
Co-organizer佛光山嘉義會館、嘉義博愛社區大學、嘉義市美術協會
Special Invited CHRISTINE BOUVIER & LIU Hsiang Lan
重拾狄德羅的舊衣袍
October 17 2015 - November 08 2015
「配套效應」源於18世紀,歐洲啟蒙運動的思想巨人-法國人丹尼·狄德羅(Denis Diderot):一位朋友送給狄德羅一件質地精良、做工考究的酒紅色長袍,狄德羅於是將舊長袍丟棄,換上新長袍。不久後,他更換了能與新長袍相襯的辦公桌,進而又換了地毯、椅子、書架、擺飾,幾乎是嶄新的書房,才驚覺受到長袍脅迫而替換了原本無意更換的家居。甚至在意識到該行為後感到懊悔,書寫了“Regrets on Parting with My Old Dressing Gown”記錄其感到煩惱的心境。

人的欲望不因得到而滿足,反而因得到而擴張,在現今稱之為「配套效應」。資本主義的今天,人們將此一名詞套用在那些為將穿著打扮配合身份地位的行為中,而在一個幾乎由男性權威文化所支配解讀的世界,甚至有人將之解讀為男性換妻的表現。

藉此,本次展覽意識之一是企圖從該面向解構社會賦予女性的面貌。狄德羅曾說過:「當女性是主題時,筆頭需浸滿彩虹,而紙張需用蝴蝶翅膀來擦乾。」社會賦予理想的女性形象是:漂亮,風流,多情,順從,謹卑,時而柔弱,時而激動得暴跳,但從來是愚昧無知,軟弱無能的。這樣的賦予,彷彿是社會送給女性的"新長袍",而女性為了能與之相襯,進而將象徵自身思想、行為、理想的"家居"替換更新。女性主體意識近年來不斷的被重視、探討,然而成效有限。此次展覽希冀能重新拾起象徵著女性主體意識的"舊長袍",邀請5-10位女性藝術家,結合各自日常生活的生命經驗,呈現出女性藝術家的主體意識,從自身角色出發,面對自我在社會的地位做各自的詮釋:無奈的、被動的、獨立的、相異的各種可能。

其次,本次展覽也企圖呼應狄德羅因「配套效應」的醒悟而書寫的“與舊衣袍離別之懊悔”。藉由女性藝術家回顧自我日常生活的選擇性犧牲亦或是日常用品的汰換,做形式上的記錄:文字的、圖像的、影像的心情書寫。並邀請具男性身份的女性主義、文化理論學者參與座談,討論女性身份與文化社群的關係,與展覽的兩個面向、藝術家語彙呼應,討論身份意識以及狄德羅美學。

藝術家:王怡美、林珮淳、張惠蘭、湯皇珍、賴純純、吳詠潔、康雅筑、陳依純、詹嘉華、劉文瑄
展出日期:2015.10.17~11.08
展出地點:11289 台北市北投區自強街 61 巷 6 號 1 樓
開幕茶會: 2015.10.17(Sat.) 2:00 PM
座談演講:王雅各 美國羅耀拉大學社會學博士/國立臺北大學社會學系專任教授
計畫主持人:吳妍儀
(台灣女性藝術協會第九屆理事長/輔仁大學織品服裝學系 專任助理教授)     
策展人:吳妍儀,簡于庭
主辦單位:台灣女性藝術協會
指導單位:文化部
Picking Back Up Diderot’s Old Gown
October 17 2015 - November 08 2015
The “Diderot effect” refers to the 18th century’s European Enlightenment period’s great French philosopher Denis Diderot. The story begins with how Diderot was gifted a fine scarlet dressing gown by a friend. He soon abandoned his old gown and put on the new gown. Not long after, he replaced his old desk so to match the elegance of the new robe. Furthermore, he replaced his rug, chair, bookshelf, and prints. He ended up with an almost brand new study room. It was then that he realized he was made to replace all the furniture he never meant to replace. Diderot was regretful toward his own actions and recorded how he felt “Regrets on Parting with My Old Dressing Gown.”

The “Diderot effect” describes how people’s desire will not be satisfied with more material possessions, but rather grows bigger. In the capitalist present days, the term is used for those who dress to go along with their sense of identities. Some even see  this behavior as being similar to men switching wives in an almost patriarchal world.

One of the attempts of this exhibition is to deconstruct the way society views women. Diderot once said, “to describe women, the pen should be dipped in the humid colors of the rainbow, and the paper dried with the dust gathered from the wings of a butterfly.” The ideal image society assigns to women is: pretty, floozy, emotional, obedient, humble, sometimes weak, sometimes agitated, and always ignorant and useless. The way this image is assigned seems to be society’s “new robe” gifted to women. In order to match up to this image, women replace “furniture”, symbolizing individual ideas, behavior, and ideals. The ideology of feminism has been given importance and has been explored in recent years, yet the result is limited. This exhibition hopes to pick the “old robe” (symbolizing feminism) back up by inviting five to ten female artists to showcase their works. Each of them, using their experience in daily life, presents the subject consciousness of female artists. Each, based on her own role, makes her own interpretations when facing their status in society: feeling there’s nothing one can do, being passive, being independent, being dissimilar, and numerous other possibilities.

Next, this exhibition also attempts to correspond to Diderot’s “Regrets on Parting with My Old Dressing Gown,” which was written after his enlightenment. The female artists revisit their selective sacrifices or replacements in their daily lives, and record these in various forms using words, images, and videos. In addition, they invite male feminists and cultural theorists to the conference to discuss the relationship between female identity and cultural social groups, two aspects  that echo in the artists’ work. Furthermore, they are to  discuss identity awareness and Diderot’s aesthetics.

Date:2015.10.17~11.08
Venue:11289 台北市北投區自強街 61 巷 6 號 1 樓
Opening Reception:2015.10.17(Sat.) 2:00 PM
Panelist:Y.K. Wang
(Dr. sociology at Loyola University / Professor, Department of Sociology, National Taipei University)
Program host::Yen-I Wu
(Ninth Chairman of the Taiwan Women's Art Association
Assistant Professor, Department of Textiles and Clothing, Fu Jen Catholic University)
Curator :Yen-I Wu, Yu Ting Chien
Organizer:Taiwan Women's Art Association  藝響空間
Supervised by:Ministry  of Culture
舊新聞/Old Entries