台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

黃步青，1948年出生於鹿港，1987年法國巴黎大學造型藝術碩士畢業，現居於台南，除了專事創作，也在國立成功大學建築系任教至今。 Hwang Buh-Ching was born in Lukang, Changhua, 1948. He received his MFA from the Department of Plastic Art, University of Paris St-Denis, France in 1987. He currently lives in Tainan as an artist teaching at the Department of Architecture, National Cheng Kung University. 黃步青是台灣使用複合媒材創作的藝術家中，最一以貫之，卓有獨特風格和多元成就的代表性人物。1999年，他應邀代表台灣參加第48屆「威尼斯雙年展」，並備受好評的【野宴】空間裝置作品，即創意結合了象徵台灣原生自然活力的各式植物種子、以及指涉台灣獨特人文風情的流水筵席。2012年倫敦奧運期間，他帶領成大建築系學生赴倫敦西敏寺大學就地創制的【雙凝】大型裝置作品，也立意將台灣的自然元素、人文意象、工學設計等置入展場空間，使之有機融合並開啟一種互動的閱讀機制。多年來，他的複合媒材及裝置作品展，足跡遍及上海、澳門、匈牙利、魁北克、倫敦、韓國等地，各期代表作也先後被台北市立美術館、高雄市立美術館，以及國立台灣美術館等典藏。 Hwang Buh-Ching is an idiosyncratic talent and one of the most consistent mix media artists in Taiwan. In 1999, he was invited to represent Taiwan at the Venice Biennale. His installation work “Feast in the Wild” combines diverse plant seeds to represent the natural vibrancy of Taiwan and outdoor banquet to display unique Taiwanese culture. During the 2012 Olympics, Hwang led architecture students of National Cheng Kung University to create a large site-specific installation “Gaze,” of which he incorporated natural elements, cultural concepts, and engineering designs in the exhibition, merging various disciplines in an artwork that allows interactive interpretation. For many years, his mixed media and installation exhibitions travel to Shanghai, Macau, Hungary, Quebec, London, and Korea. His important works of different periods are collected by the Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, and National Taiwan Museum of Fine Arts. 【門外家園：荒蕪的邊緣】—黃步青個展，選集了黃步青三十四件複合媒材及裝置作品，透過四個主題面向，呈現出藝術家對於大地自然、鄉土家園、環境景觀、社會文明的觀照和書寫。藉以探討面對時代轉換與環境變化下，創作者如何寄託個人的生命情感，藝術又何以蓄積社會的人文厚度。 Homeland: Edge of Desolation is Hwang Buh-Ching’s solo show. The show gathers Hwang’s thirty-four mixed media and installation works and introduces them in four themes, presenting the artist’s observation of nature, home, environment, and civilization. Through these four aspects, he expresses his sentiments and suggests how art can improve the cultural depth of society in this fast changing time. 黃步青本次個展，針對當代藝術館的空間動線，分為四大主題展區。【寄語大海】系列，回溯到孩提時代的情感記憶，抒發了藝術家對於大海的無邊想像，也可視為黃步青轉譯生命與死亡的能量場域。【土地關懷】系列，藝術家巧妙地結合異質媒材，賦予物件嶄新的視覺語彙之同時，也傳達了對於自然活力的讚頌及鄉土環境的熱情關照。【工業荒蕪】系列，透過文明廢棄物的拼貼，營造一種引人注目和發想的視覺新文本，啟發觀者從中去檢視，伴隨著今日工業製造文明和商業消費文化而產生的有形及無形弊害。【生命˙ 愛】系列，將黃步青對自然大地的抒情觀想，延伸到對人間有愛的願景書寫，其中除了穿插藝術家對於土地環境的品質淪落、工業文化的暴力滲透、人文價值的停滯殘破…等的揭露與關照，在土地、家園的大愛和夫妻、家人的情愛之間，也有一種特殊的連結方式和呈現。 This exhibition is divided into four themes. “Message to the Ocean” traces the artist’s childhood memories and presents his imagination of the ocean. This theme can be seen as Hwang’s spiritual realm in which he interprets life and death through art. “Caring for the Environment” displays Hwang’s mixed media works that give objects a new visual language and serve as his ode to nature and the local environment. “Industrial Desolation” introduces works made from deserted objects from our society and forms a thought-provoking artistic vocabulary. By viewing these works, audiences are inspired to think about the harms of industrial production and consumerist culture. “Life‧Love” extends Hwang’s care for nature to the love of life. It shows Hwang’s concern for the diminished quality of environment, infiltration of industry in society, and the decline of humanist values. Here presents a unique bond and representation of his love for nature and his family and wife.