再建構:Ajim Juxta 及 HELÍ GARCÍA 雙個展
好思當代2017藝術家駐地創作展覽系列

「再建構:Ajim Juxta & Helí García雙個展」,為2017好思當代藝術家駐地創作展覽系列之一,也是一個遊走北中南三個城市,讓國外藝術家充分與台灣的風土人文及民眾交流互動的藝術巡迴展。本展緊接著二月在「好思當代-台北館」首展的圓滿閉幕,訂於三月下旬在「好思當代-嘉義館」重新開幕,並安排於三月中旬在駐留地「好思當代-新竹館」辦理開放工作室,並於年底辦理期終展覽活動。特別的是,在這巡迴旅程中,每次展出的內容並非固定一致,而會針對三地藝術空間不同的地緣特色和人文訴求,進行有機的調整和變化。

 

本展的兩位駐地創作藝術家,分別是來自馬來西亞的Ajim Juxta及來自西班牙的Helí García。本次雙個展的對話主題為「再建構」,是有鑑於兩位藝術家之作品雖各有不同的內容觀照和創作風格,但都針對特定傳統價值觀、體制建構或社會理想,表達了一種質疑的態度或解構、反思、乃至於再建構的觀點。事實上,這也是全球當代藝術界不斷探討和呈現的一個焦點課題。

 

這兩位素昧平生的藝術家,透過好思當代的駐村創作機制,展開了在台灣生活起居的互動和同步雙個展的藝術觀摩及美學對話,此一機制,不僅啟動了兩位藝術家個體的精神碰撞,實際也促成了台灣、西班牙、馬來西亞三個不同國度的文化邂逅。

" Reconstruction- Duo Exhibition of Ajim Juxta & Helí García " is one of the 2017 Haohaus exhibition series of on-site creation. This is an exhibition tour, first stop is Taipei Haohaus Gallery, then go to Chiayi and Hsinchu. This exhibition is an organism, we will reorganize these artworks depend on individual space features.

 

These two residence artists are Ajim Juxta came from Malaysia and Helí García came from Spain. The theme of the dialogue is "reconstruction", which is based on the different content of the works and the creative style, but for the specific traditional values, institutional construction or social ideals, expressed a questioned attitude or deconstruction, reflection, and even the construction of the point of view.

 

These two residence artists have this opportunity to meet in Taiwan together this year. It’ll be such an aesthetic dialogues in this dual exhibition. This is a spiritual collision of these two artists and the cultural encounter from two different countries.

Ajim Juxta

Kuala Lumpur, Malaysia, 1983

 

EDUCATION 學歷

Bachelor of Science in Architecture, MARA University of Technology, Shah Alam, Malaysia

 

SELECTED AWARDS 得獎

2016  Awardee, Young Guns Award 2016 by HOM Art Trans

AIM 22(Malaysian Music Industry Award 2016) Winner of The Best Design Cover Category

Top 3 Winners, Young Artist Award at Young Art Taipei 2016

 

2013  Finalist, Malaysian Emerging Artist Award (MEAA) 2013

2011  Finalist,

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RESIDENCIES 駐村經歷

2017   Artist-in-Residence at Haohaus Gallery. Hsinchu, Taiwan

2016   Artist-in-Residence at Haohaus Gallery. Hsinchu, Taiwan

2015   Artist-in-Residence at Sembilan Studio. Seremban, Malaysia 

 

SOLO EXHIBITIONS 個展

2016  UNKNOWN +, Minut Init Gallery, Damansara Utama, Petaling Jaya

2014  MATIKATAK-Ajim Juxta, Galeri Titikmerah, Publika, Kuala Lumpur

 

SELECTED GRO

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SELECTED GROUP EXHIBITIONS 聯展

2017

Locals Only 2017, Taksu Gallery, Kuala Lumpur

Young Guns Award 2016 Exhibition, White Box, Publika, Kuala Lumpur

Mampu Art Market Exhibtion, Chinahouse, Georgetown

 

2016

Gaul Group Exhibition, Hin Bus Depot, Georgetown

UN_, Architecture Group Exhibition, Port Commune, Petaling Jaya

Presence Group Exhibition at Artemis Art Gallery in conjuction with KL Gallery Week 2016

Redbull EhWauBulan Exhibition, White Box Publika, Kuala Lumpur

【創作自述】
在我們汲汲營營完美生活與創造屬於我們自己的烏托邦的同時,實際上,我們是在建立自己的「反烏托邦」。找不到生存的意義,以致我們只能一直去適應環境。我們忘了要探索自我,忘了要創造難忘的記憶;在達成目標的路上,也忽略了體會過程的重要。
我們應該要冶製自己的身份,無論身在何種地域。紀念碑的形式是什麼?在我們心中又是怎麼樣的記憶?難道這些紀念碑會跟所有我們看過的、現存的紀念碑一樣?從台灣駐村停留的這段期間到回到馬來西亞的旅程中,給了我很多時間去沈思、去探詢問題的解答、思考紀念碑如何證明我們存在,創作也就此展開。
但我們在慶祝什麼呢?我們那些為了證明一個點是對的,而產生的所有行為,甚至而做的壞事,又算什麼?我們真的需要提醒這些曾經。所以,我所畫的形式、形狀,來自於我們有生之年對於建造紀念碑的傾向。
我的作品採取抽象繪畫和墨水繪圖的形式。我想強調的是,我們關於未來反烏托邦的可能紀念碑如何建造與想像。所有這些作品都是奠基於我對於紀念碑和形式類型的想像,可以表達創建中「反烏托邦」的想法。

In our attempt to attain perfect life and to create our own utopia, we are actually building our own dystopia instead. So meaningless in our existence that we cannot do anything except to keep on adapting to our environment. We forget to look deep into ourselves and to create unforgettable memories, and we ignore the importance of experiencing the process of attaining an achievement.

We should forge our identities in whatever field we are in. What are the forms of monuments and memorial that we have in our mind. Are they just like all those monuments that are already present around us now.  I found that through my stay at Taiwan and my travel back to Malaysia had given me time to ponder and find answers or more questions about the monuments we built to prove our very existence and the study paintings came by.

But what are we celebrating here? How about all the deeds and wrongdoings that we did just to prove a point? We do need a reminder on these and so the forms and shapes I paint came from our tendencies to build monuments during our lifetime.

My works take form of abstract painting and ink drawings. What I want to highlight here are possible monuments that we can construct or vivid images of our future Dystopia. All these are based on my imagination of the types of monuments and forms that can express the idea of dystopia under-construction.

Helí García
Granada, Spain, 1983


EDUCATION 學歷
2011    Advanced Studies Diploma in Fine Arts (DEA). University of Granada
2005-2006    Erasmus exchange programme. Akademia Sztuk Pięknych. Poznan, Poland
2001-2006    BA. University of Granada

 

SELECTED AWARDS 得獎    

2016  1st Place in the IX Pintura Libre La Rural Competition. Caja Rural de Jaén Foundation*
      Provincial Deputation of Ciudad Real Prize. XXV López-Villaseñor Visual Arts Prize. Ciudad Real*
2015  RIZOMA Art Prize. Rizoma Festival. Madrid
2014  Runner-up prize in the 2014 Focus-Abengoa Painting Prize. Seville*
      1st Place in the XLII Villa de Fuente Álamo International Painting Competition. Murcia*
2013  1st runner-up in the I Mardel Painting Competition. Calpe, Alicante
      DMencia 2013 Contemporary Art Show. Selected project. Doña Mencía, Cordoba*
      2013 EMERGENCIAS Prize. Noáin Cultural Centre. Navarra

SELECTED RESIDENCIES AND GRANTS 駐村經歷
    
2017    Artist-in-Residence at Haohaus Gallery. Hsinchu, Taiwan
2016    Symposium Encontro de Artistas Novos ‘Cidade da Cultura’ de Galicia en Argentina. Cultural Centre of Spain in Córdoba, Argentina
2015    Artist-in-Residence at The Wassaic Project. NY, USA.    Artist-in-Residence at Sapporo Tenjin-yama Art Studio, Japan
2014    Artist-in-Residence at Campagn'ART. Saint-Martin dans le Gers, France
2013    Artist-in-Residence at the 17th Biennial of Cerveira. Vila Nova de Cerveira, Portugal
    
SELECTED GROUP EXHIBITIONS 聯展

2016    El proceso. Faculty of Fine Arts, University of Granada*
2015    Deep End. The Maxon Mills. The Wassaic Project. Wassaic, NY, USA

【創作自述】

Helí García

在我的創作生涯中,以繪畫作為媒介有其不可取代的重要性。我是一位堅定的藝術保衛者,在創作的當下得到全然的自由;我相信藝術不只是一個物件,還結合其脈絡和眾多連結下的產出。

我以圖像作為工具,從記憶裡接續累積的眾多圖像,從中我試著去理解我和他們之間的連結,我愈來愈感興趣這些圖像從何而來,於是我提出了創造情境的可能性。每每產生一個新的圖像的同時,也牽涉到真實的場景和與人際的接觸互動,我同樣關注真實物件和再現之間的關係。

我不相信純粹的藝術,但在藝術中,除了依藝術家的經驗去假設和詮釋歷史和社會脈絡中的種種之外,我總感興趣在個體中找尋普遍的問題,諸如權力、虛浮或純真的概念,在我的作品中是時常存在的。同時,我也關注身為獨立創作者在社會與自然中所扮演的腳色為何,將作品視為一個相對於自然或人類因神話或宗教需要所呈現的一種理解。

這次從新竹帶到嘉義展出的作品,主要受到我在新竹駐村期間造訪靈隱寺的影響,寺裡擺放眾多經由仔細裁切、上漆的美麗木墩吸引我的目光,探尋其脈絡及功能性表現於作品中。木墩變成我作品中的一個符號,顯現自然和人類破壞和再建構的想法。針對美的爭議,從我的作品連結至人類中心主義,導致我們對人類行為有不同的詮釋。

The practice of painting has been integral to my career and I am a staunch defender of the artistic object and the total freedom it provides. However, I conceive the artworks as shots which mark significant moments of a creative process. The work is no longer an object, but the context made up of all of them. Images are tools, memory gears in a continuous image-based though. I keep these images active by using them. I try to understand my connection with them. I feed them with connotations and links, or perhaps I just find them out. I am increasingly more interested in how these images arise within a process, so I pose the possibility of causing-creating situations that enable new images and ideas. This involves the real contact with land and people. I am also very interested in the relations between real elements and representations.

I do not believe in the purely artistic, but in the art that, besides being marked by the author’s experiences, assumes and interprets somehow the historical and social context in which it arises. I always take an interest in finding universal issues in the personal, and vice versa. Concepts such as power, vanity or innocence are very present in my work somehow. I am interested in subjects such as the role of the individual-creator in society and in nature, the artifice understood as an opposite for the natural or the need that human beings manifest of myth or religion.

The work I carried out in Hsinchu is mainly influenced by a visit to LingYin Temple. The high amount of beautiful logs inside the building caught my attention. Carefully cut, sanded and varnished, they had been equally converted into stools, tables or bookcases. The function seemed to be hardly found as a response to the sudden availability of the object, so this leads me to the idea of offering or sacrifice.

This treated log becomes a symbolic object ready to interact with other elements in my work. That supposed tribute to nature faces the idea of natural and human destruction and reconstruction. The controversial concept of beauty, connected in my work to the idea of anthropocentrism, leads us to different interpretations of human acts.

 

展覽名稱│再建構:Ajim Juxta &Helí García雙個展 

展期│ 2017/03/22(Wed.) – 2017/04/23(Sun.)   

開幕茶會│ 2017/03/22(Wed.) 14:30  好思當代・嘉義

展覽地點│  好思當代‧嘉義 / 嘉義市東區中山路616號(嘉義文創園區/F棟五金倉庫) 

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