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策展實績 > 好玩藝兒─玩具‧遊戲‧當代藝術展 Toys‧Play‧Contemporary Art Show

策展人|張馨之

作為新竹市美術館2017年度主題展的首展,嘗試探求傳統民間文化與當代藝術的接合點,於是以「玩具」、「遊戲」、「當代藝術」作為整體策劃之切入核心,自台灣玩具發展歷史脈絡分析,延展至當代藝術、跨界潮流文化之思辨。一方面提供對台灣玩具文化知識的學習和體驗,一方面提高社會大眾、親子團體對當代藝術的認識和喜歡,以期達到寓教於樂的美意。

《好玩藝兒─玩具‧遊戲‧當代藝術展》三大展區分別呈現玩具發展的歷史脈絡、親子互動的遊戲體驗,並邀請以玩具為創作跨界思考的當代藝術家,包括李明道(AKIBO)、不二良、王建揚、陳傑強、大黑白(陳冠州)、魏子喻等六位藝術家參展,讓大小朋友一起進入當代藝術家的玩具創作夢。親子觀眾和一般民眾皆可以分別從玩具、遊戲、當代藝術所展現出玩具之於視覺、觸覺與心靈上的能量,引發對玩具與童年的深層感受。

【玩具面面觀─台灣玩具發展史】與台灣玩具博物館攜手合作,規劃展出台灣玩具四大時期:明清早期童玩、日據時代、戰後四0至六0年代,以及玩具王國七0至八0年代。藉由四個時代的玩具演進以及發展,讓參觀者重新發現台灣玩具不同的價值,以及背後所蘊含的庶民文化童趣智慧。又因玩具在人們手中才有生命力,因此在【原來可以這樣玩─親子玩具遊戲區】規劃成為親子遊戲互動區,依照童玩的結構、機構、造型等功能,提供可以動手操作的玩具給大小朋友玩,一邊遊戲、一邊學習。

「玩具」更常是當代藝術家創作中重要的元素,藝術家懷著赤子之心,將童年追憶融入個人的創作語彙,並結合天馬行空的想像,創造出玩具的奇幻世界。【藝術家的玩具夢─當代藝術創作展】參展的藝術家中,李明道(AKIBO)以多媒體科技與互動裝置打造的機器人家族,極具魅力與個人風格;不二良所創造的「小鼠」有著可愛外貌,如朋友般的親切感吸引各年齡層民眾的注意;而曾於新竹就學、以樂高積木作品受到矚目的大黑白(陳冠州),將來自西方的玩具表現出台灣在地的建築特色與文化精神;王建揚使用鮮豔的色彩、大量的玩具以及漫畫卡通等元素,創造出腦海中的夢幻場景;陳傑強以狂野的筆觸畫出童年時期回憶,藉由創作來塑造自己的記憶;魏子喻藉由描繪當代動漫文化傳達大眾盲目追求流行風潮的行為,引領觀者探索隱藏於潮流裡的真實。


 Curator|CHANG Hsin Chih

As the first exhibition of Hsinchu Art Museum’s annual themed exhibitions in 2017, Play Well─Toys•Play•Contemporary Art Show takes toy, play and contemporary art as the planning-cores, trying to explore the junctions of traditional folk culture and contemporary art. The exhibition’s three main sections display the history of toy development in Taiwan, parent-child games and contemporary artworks inspired by toys respectively. In the exhibition, six toy-inspired contemporary artists are invited, including AKIBO, No2Good, WANG Chien Yang, TAN Kent Keong, Great B.W. and WEI Tzu Yu. In the exhibition, the knowledge of Taiwan’s toy culture is presented. On the other hand, citizens and parent-child groups’ awareness and love of contemporary art are raised. Most importantly, the audiences’ feelings of toys and childhood are reminded while they are having fun.

Cooperating with the Taiwan Toy Museum, the <Aspects of Toys─The History of Toy Development in Taiwan> section shows four periods of Taiwan's toy history – Ming Qing Dynasty, Japanese-occupied period, post-war period (1940-1960) and toy’s heyday (1970-1980). With the four periods, visitors can rediscover the value of Taiwan’s toy and wisdom of Taiwanese culture in the toy. While toys are of vitality only when being played with, the <How Fun Like This─Parenting Toy and Play Area> section is arranged as a parent-child interactive area, where both parents and children are provided with toys, making people learn while playing.

Toy has been an important element in contemporary art. Taking their childhood memories as the creating vocabulary, artists create the fantasy world of toys with their imagination. Among the artists in the <Toys’ Dream of Artists─Contemporary Art Exhibition> section, AKIBO’s charming robot family by using multimedia technology and interactive devices; No2Good's well-known character “Mousy” draws everyone’s attention with its cute and friendly appearance; Great B.W.’s Lego artwork shows the characteristics of architecture, culture and spirit of Taiwan; WANG Chien Yang uses the bright colors, a large number of toys and comic cartoon elements to create a dream scene in his mind; TAN Kent Keong depicts his childhood memories with wild strokes, building memories by creating; WEI Tzu Yu conveys the phenomenon of following the popular trend blindly by depicting the contemporary cartoon culture, guiding people to explore the reality hidden in the trend.

展覽照片

原來可以這樣玩─親子玩具遊戲區 How fun like this─Parenting Toy and Play Area
規劃成為親子遊戲互動區,依照童玩的結構、機構、造型等功能,提供可以動手操作的玩具給大小朋友玩,一邊遊戲、一邊學習。 This section planned as a parent-child interactive area. We provide different structure and modeling of hands-on toys for adults and kids to play, and make people learn while playing.
魏子喻 展區 WEI Tzu Yu Exhibition Space
公仔玩具是每個人童年共同的記憶,隨著時間的流逝,我們自己與公仔同樣的都進化了,我透過繪畫的手法試圖去尋找自己記憶中與公仔玩具們遊玩時的意象,我想傳達透過創作者畫筆與畫布的接觸,如同創作者的靈魂進入了畫布上的公仔,浸入水中如同電影《2046》中的台詞「所有的記憶都是潮濕的」,從水中是否更能回到記憶的片刻? Action figures and toys are common memories of everyone’s childhood. Along with the passing of time, we improve ourselves as action figures. Artist tries to find the image that he played with action figures in his memories through the technique of painting. He wants to convey that the creator using brush and contacting with the canvas is similar to the soul of the creator getting into the doll on the canvas. The dolls immersed in the water as the lines of the film "2046": "All memories are damp". Could it take us to return to the moment of memories when it comes from the water?
⼤⿊⽩(陳冠州) / 台灣街景 Great B.W. / The Street View of Taiwan2013-2016
樂⾼積⽊ Lego blocks
《台灣街景》是一幅用積木建構的空想景象,靈感來自於我對於生活周遭的印象,這條街並非單指台灣的某一條街道,而是集結台灣各地的特色或不同年代的經典街屋建築,除了表現了台灣多元的建築特色之外,還專注描寫台灣市民的生活情景與屬於台灣的文化特色。本系列作品會不斷延伸創作下去,進而成為一座充滿台灣精神的城市。 《The Street View of Taiwan》is built from fantasy scene with Lego blocks. The inspiration of the creation is from the images that creator experienced around his life. This street doesn’t represent anyone of the street in Taiwan. On the contrary, it collects the features from all over Taiwan and the classic architectures from different ages. This artwork not only displays the various features of Taiwan’s architectures, but also emphasizes on depicting the life scene and culture of Taiwanese.
陳傑強 / Toys系列 TAN Kent Keong / Toys Series2009
油彩 oil on canvas
以生活經驗累積的符號作為開端,從中檢視反覆出現在記憶庫當中的某個物件或是影像。以玩具為例,作者重返童年經驗,檢視在玩具物件上餘留的痕跡象徵著什麼,而作者又如何將符號的固有意義,轉換成個人作品中的私人物語。當存留於想像中的空間無限擴張,意識如同掉進一個永遠消失卻一再被觀看的漩渦;面對一種看得見,卻回不去的記憶或是經驗,如何透過手繪的速度,物質的變形,情緒召喚瞬間彩度的降低,產生出「現象流逝中的安息之所」。 “Toys” series it starts with the accumulation of signs in the life experiences, and exams some particular object or image that appears in the memory repeatedly. Take toy for example, the author returned to the childhood experiences to have a second thought of the symbolization for the traces remaining on the toys, and transform the original meaning of the sign to his own art language. Consciousness would be like fall into a swirl of disappearance but can be seeing repeatedly when imaginary spaces expanded unlimitedly. When facing those memories that can be seen but cannot return, the author creates “An elapsing phenomenon of peace land” by the speed of painting, the flash of emotional calling and the decrease of saturation.
王建揚 展區 WANG Chien Yang Exhibition Space
卡通玩具和卡通角色貫穿在王建揚的繪畫、裝置、攝影等創作媒材中,並以此被構建出一個個異想世界,在輕鬆、奇幻的情境裡,讓曾經的兒時夢想或當下的個人愛好在另一空間中成為“現實”和可能。卡通角色被日常化,而真實的生活場景則被劇場化,這種反差讓非現實的想法呈現出物質世界的多種可能性。 Toys and characters of cartoon are appeared throughout the creations of WANG Chien Yang in different media as painting, installation and photography. Thus, these items are used to build a fantasy world. In the relaxed and fantastic situation, He makes the dream of childhood or the moment of personal interest become reality and possibility in another space. The roles of cartoon changed into ordinary, and the scene of real life became theatrical. This contrast makes the unrealistic ideas to display the material world with multiple possibilities.
李明道 / SeiGei AKIBO / SeiGei2011
玻璃纖維烤漆 Painted FRP
三頭六臂是Akibo為2011年台北國際設計大展所創作的角色,意喻每位設計師都是無所不能的創作者。後來Akibo給三頭六臂一個暱稱SeiGei,就是設計的台語。 SeiGei, with three heads and six limbs, was designed by Akibo for the Taipei World Design Expo in 2011, and he represents that designers are super creators competent with many skills. Akibo has nicknamed this robot, SeiGei, which is the word ”design” in the Taiwanese dialect.
不二良 / 釣魚小兔 No2Good / A Fishing Bunny2012
鋁合金及不鏽鋼 Aluminum Alloy and Stainless Steel
太公釣魚,願者上鉤。
小兔無餌垂釣,意不在水中游物,而在與每個觀看的心靈產生思考對話。 “Fish, come and gulp down the hook of your own volition.”
Bunny casts a baitless hook, not for an ordinary catch but for dialogues with each viewer who walks by.