差異之間 耿晧剛個展2013

展覽期間  2013.09.27-10.25

開幕時間  2013.09.27 Fri 19:00

展覽地點 新苑藝術台北(台北市八德路三段12巷51弄17號1樓)

睽違兩年，新苑藝術將於2013年09月27日至10月25日舉辦耿晧剛最新個展「差異之間」。耿晧剛在此次展覽中呈現的作品形式多元，除了具視覺效果的畫作和物件，亦包含了大件數位輸出。此展覽中的三項中心主題以英文大寫縮寫涵蓋，簡稱為G.S.Z. The Difference Between: 我們也許可詮釋為Green colonialism (或colonial Green) - 綠色式殖民主義，Skull - 溫柔甜蜜的死亡，Zebra - 草原斑馬生命力。無論是在「征服意志慾望」、「人世虛榮」、「意識形態衝突」等議題上，新展覽更反映出了藝術家面對多項關注議題之時，產生論述的思考進程。

耿晧剛1969年生於台灣，現居台北，1993年畢業於台灣東海大學美術系。1997~2002就讀於義大利米蘭布雷拉藝術學院Accademia di belle arti di Brera跟隨Diego Esposito教授，主修繪畫與裝置，開啟觀念藝術的思考，其後返台從事德國Hugo Boss時尚流行品牌數年，獨特的成長背景與留學工作經驗，影響其後的創作風格，作品曾受邀於台北新苑藝術、貝瑪畫廊個展、大阪藝術博覽會、台北當代藝術博覽會等展出。

藝術家此次的裝置藝術與攝影作品延續Readymade的基本精神，卻企圖在挪用、轉移、再複製物件的同時，伸展個人的創作概念並且影喻物件可附有的雙重含意。除了使用已存在取得的現有品項組合成型的裝置物件外，再將斑馬繪畫、殖民綠色系衣件裝置與人頭裝置原件拍照成為攝影作品，成為加強效果、放大尺寸、以數位藝術噴墨單一版大圖創作，放大的攝影作品也成為單一版畫輸出，成為Readymade of readymade !  玩味的當然還有原件與輸出作品大小物件間的視覺差異效果、大眾習慣的尺寸大小與價格高低間的迷思，攝影成為破除既有概念與挑戰視線焦點的手段，企圖讓觀眾留下物件放大後的深刻印象。

當創作者完成作品後，他們與作品間關係的第一階段似乎暫時終止，作品在面對大眾的同時將走出屬於作品自身未來的道路。以用心觀畫者的心情我們可以試著解釋分析所感所想，也擁有無限自由的空間去詮釋、想像創作的權利，建立與作品一對一的私密對話，感受如同無形的樂音對聽覺所帶來無形的喜悅；所有觸動的感覺、突然浮現交織於眼前的影像都屬於個人，無關對錯也沒有絕對，所有的詮釋均能成立也都有存在的理由。因為耿晧剛習慣的思維也天馬行空，不眷戀固定的表現形式，習慣轉換新的創作方式，更喜歡讓人跌破眼鏡。因為他認為藝術的趣味在於藝術本身的真實與曖昧性，在於挑戰觀者的偏見，甚至使其陷入一種不安狀態下的質詢與疑問。  耿晧剛如此談及自己的作品: “我想將很大很沉重的議題隱藏在弄得像小巧可愛卻又可把玩於股掌之間的現成物後面，但有時又透過放大數十倍的呈現處理觀看的角度與視野。在大小之間與真假之間，也許可以延伸討論貧富之間、強弱之間、階級之間、生死之間、神鬼之間的問題... 或終究還是回到思考差異之間... (The Difference Between)"。  以裝置作品與放大攝影版畫輸出的對照與對比，藝術家希望處理兩者對立間模糊的尺寸關係，或者是為重申其實媒材的選擇牽涉到藝術家想分享的經驗;攝影並不完全取代繪畫，攝影也可以再創裝置作品真實與虛幻間的魅影世界。

The Difference Between  A Solo Exhibition by Keng Hao Kang 2013

Duration   2013.09.27-10.25

Reception  2013.09.27 Fri 19:00

Venue   Galerie Grand Siècle,Taipei,Taiwan (1/F, No.17, Aly.51, Ln.12, Ba-de Rd. Sec.3, Taipei, Taiwan, 10559)

After nearly two years, Keng Hao Kang will hold a solo exhibition at Galerie Grand Siècle  to showcase his newest works.  The exhibition, named The Difference Between, will be held from September 27 to October 25, 2013.  The exhibition will feature a wide range of works, including paintings, visual art, and large scale digital works, and revolve around the three themes: G.S.Z.  “G” stands for “Green colonialism (or colonial Green)”; “S”  is short for “Skull” - symbolic of a sweet death; and, “Z” is the abbreviation for “Zebra” - symbolic of the vitality of a zebra.  The artworks echo the artist’s thoughts on issues that lie close to his heart, including “overcoming desires,” “mankind’s vanity,” and “ideological conflicts.”

Born in 1969 in Taiwan, Keng Hao Kang currently resides in Taipei City.  He graduated from Tunghai University’s Department of Fine Arts in 1993.  From 1997 to 2002, he studied at Italy’s Accademia di belle arti di Brera under Professor Diego Esposito, while majoring in painting and installation art.  His period there inspired a flow of thought regarding conceptual art.  After returning to Taiwan, he worked for the German fashion label, Hugo Boss, for several years.  His unique background of development, along with his experiences studying abroad and working, influenced the subsequent creative styles of his works.  Since 2008, he has been teaching at Ming Chuan University’s Department of Product Design and Tunghai University’s Department of Fine Arts.  His works have previously been featured for a solo exhibition at Taipei’s Galerie Grand Siecle,and Pema Lamo Gallery as well as at Art Osaka and Young Art Taipei.

The installation art and photography featured by the artists continues the fundamental spirit of readymade, yet also attempts to divert, transfer, and then copy the objects at the same time.  This not extends his own creative concepts, but also echoes the double meanings that can be attached to the objects themselves.  In addition to acquiring and using readymade items for the purpose of composing installation objects, the artist also transforms paintings of zebras along with a colonial green series of clothing and human busts into works of photography.  The resulting effect is enhanced and the dimensions are magnified.  Through digital art, a work consisting of a large image is created through the spraying of ink.  A magnified work of photography is also outputted as a single edition print that becomes a type of “readymade of readymade”!  Of course, what is also interesting is the contrasting visual effects invoked the original objects and the various-sized objects outputted by the work.  The public is accustomed to the myth amongst dimensions, sizes, and price levels.  And, photography has become a method for getting rid of the focus of attention on both concept and challenge, as it attempts to leave a deep impression on viewers with magnified objects.

When an artist completes a work, it marks a temporary end to the first stage of the relationship between them and the work.  Then, when the work is shown to the public, the work takes on a destiny of its own.  With a bit of introspection, we can attempt to grasp the meaning and thoughts behind the works, while we let our imagination run unrestrained.  This leads to the establishment of an intimate dialogue between the viewer and the artwork.  It is as if one is listening to a pleasant tune.  All sensations suddenly intertwine to form a visual persecution that is not absolute in terms of its correctness.  Any interpretation has its legitimacy.  Unrestrained in his imaginations and thoughts, Keng is not sentimentally attached to a particular form of art style.  Rather, he likes to surprise people.  According to him, it is art’s ambiguous yet distinct nature that makes it so interesting.  By challenging people’s preconceptions, art provokes and questions.

In a description of his works, Keng Hao Kang said that: “I want to hide very heavy subjects behind compact and cute readymade objects that can played with in the palm of one’s hand.  But, sometimes, they are magnified several times to handle the perspectives and visions of observation.  Between big and small, and real and unreal, perhaps the discussion can be extended to cover issues between rich and poor, strong and weak, social classes, life and death, gods and ghosts.... or eventually be returned to a process of contemplating differences.”   With the juxtaposition and contrast evoked by installation works and magnified photography, the artist hopes to process the blurred size relationship between both opposing sides.  Or, perhaps it is a way to reaffirm the selection and involvement of media into experiences the artist wishes to share.  Photography does not completely replace painting, and it can also recreate the charming world between the real and unreal through installation works.