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

來自臺南的臺灣新生代藝術家曾聖惠，以細膩精緻的繪畫形式，於2010年曾同時入選台北美術獎的優選獎、高雄美術獎與第八屆桃源創作獎，近年來並曾舉辦多次聯展與個展。曾聖惠的作品透過獨特的繪畫語彙，傳達了年輕世代對社會的諸多感受與自我解嘲。 曾聖惠此次於台北當代藝術館實驗空間發表的【附場：生存縫隙】個展，在入口第一個展間展示了6件個人風格鮮明的平面畫作，這些作品以生活觀察與個人經驗為創作發想起點，巧妙結合木料的年輪渦紋和精密的手繪，透過複合媒材繪畫形式，將傳媒報導中萃取的事件、資訊與影像等符號元素，包括動物和歪斜塌陷的車房…等，以超現實的視覺語法拼貼融合在一種原野空間中，藉以轉化並分享創作者對外在現實的冷眼觀照、思想沉澱和感覺想像。 相對於第一展間作品呈現的開闊視野，第二展間以錄像和現成物為元素的空間裝置，刻意從轉角處的地平面發展出另一種視覺經驗和空間想像。三面影像裝置，各自呈現了天空雲彩和地景的疊合，以及都市意象與鄉村景象循環交替的印象或情節，隱約探討了城市因建設開發，導致自然地景逐漸消逝的社會與文明議題。另一件角落裝置作品，則以生活用品、辦公物件和錄像作品的組合，微言大義式的讓觀眾在末日廢墟和黃昏美景的複合感覺及意象中，去體會時序流動的落差與社會發展造成的斷層感知。相對於第一展間作品呈現的開闊視野，第二展間以錄像和現成物為元素的空間裝置，刻意從轉角處的地平面發展出另一種視覺經驗和空間想像。三面影像裝置，各自呈現了天空雲彩和地景的疊合，以及都市意象與鄉村景象循環交替的印象或情節，隱約探討了城市因建設開發，導致自然地景逐漸消逝的社會與文明議題。另一件角落裝置作品，則以生活用品、辦公物件和錄像作品的組合，微言大義式的讓觀眾在末日廢墟和黃昏美景的複合感覺及意象中，去體會時序流動的落差與社會發展造成的斷層感知。 【附場：生存縫隙】展，以反向觀念，思考城市開發與自然環境的斷裂，探討當今無限擴張的生活義肢與文明建設。整個展覽，可視為從模擬再現的圖像世界過渡到體驗式空間情境的一種詩性旅程。 Tseng Sheng Hui, a young Taiwanese artist from Tainan, won the Honorable Mention of the Taipei Arts Award, Kaohsiung Arts Award, and Taoyuan Creation Award all in 2010 with her exquisite paintings. She has held solo exhibitions and joined in many group exhibitions in recent years. Tseng’s works convey the feelings and self-remarks of her generation through unique visual language. Tseng’s solo exhibition at MoCA Studio presents six stylistic paintings in the first exhibition room. They are inspired by personal experience and observation on life. Tseng excels in combining the wooden pattern and painting. In her works, she makes use of events, information and images in news reports, and constructs the symbols such as animals and oblique, sunken cars and houses into a wilderness with surrealistic visual language, transforming and sharing her detached observation of the external reality as well as her contemplation and imagination Comparing to the vastness in the works in the first room, the spatial installations comprised of video and other objects in the second room deliberately starts from the ground in a corner and expands into another form of spatial, visual experience. The video installation on three walls shows projection of clouds overlapping with images of urban space and countryside surfacing in sequence and replacing each other. It explores issues about our society and civilization, in which urban development and construction cause the disappearance of nature. The installation on another corner combines a video work and objects found in our daily life and offices. It allows the viewers to feel the gaps in time and perception caused by social development by mixing feelings and images that resembles post-apocalyptic ruins at sunset. The exhibition adopts reversed thinking in contemplating on the rupture of nature caused by urban development, and discusses the construction of civilization and the phenomenon of infinitely multiplying, crutch-like 3C products. It could be seen as a poetic journey from an image world to a spatial realm of unique experiences.