虹の彼方 Over the Rainbow｜藝術家聯展 Group Exhibition

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文 | 林裕軒

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「虹の彼方」為台灣伊日藝術計劃與日本小山登美夫畫廊共同策劃之展覽，展出福井篤、名知聡子、大野智史、福永大介與佐藤翠五位日本藝術家，以及台灣藝術群體「讓豬仔飛」的何彥諺、林盈潔、許庭甄、王煜松、湯雅雯、蔡宗勳與魏柏任七位藝術家的作品。「虹」是在背對陽光時，因水氣與折射角度而產生的氣象光學現象，因位處的角度不同，所看到的彩虹是由不同的水滴構成，無法判斷升起的這裡與落下的那裡，這個高懸著且連結兩端的通道，在展覽作為集結的場域中，透過作品各自的折射出此展的光譜。

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「虹の彼方」展將日本與台灣藝術家的作品分為兩個觀看方法，日本藝術家透過繪畫的表現，描繪另一世界的建立，也從身體的勞動到勾勒出自身的情感形狀。福井篤的〈Something in the sky(空の何か)〉系列作品，運用高彩度、低明度的色彩，建構起一個帶有科幻色彩的烏托邦世界；名知聡子展出她2018-2020的肖像系列，她用攝影與寫實的繪畫方式，創作一系列的人物肖像，此次展出她用富表現性的筆觸與色彩繪製成的自畫與肖像畫，描繪鏡中那「具體」人物形象外的情緒；大野智史展出的三件作品中，有他將自然景物與數位平面揉合出的自我發展，在他的稜鏡（prism）系列中，則將視角轉向為對光的研究與對於美與生命的極致探詢；福永大介的繪畫中，是一幅幅以廢棄物、清掃用具與花草構築的靜物畫，在這些沒有人與尚未通電的城市角落中，那經遺漏與不再被留意的物件，他重新賦予它表情與動態，除了具生氣外，也再現了物與人之間的勞動狀態；佐藤翠一直欲透過作品表現女性的魅力，這次展出的是以粉色調描繪花卉、動物與建築物的作品，她用筆觸模糊了對象物的輪廓，轉化為她櫃中的收藏之物。

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在台灣藝術家的部分展出讓豬仔飛成員的個別作品，水、鏡面、光與身體等多重媒材的流動變化過程，以材質中的動能對事物的認知邊界進行挖掘。在選件裡，橫跨了藝術家們從學生時期至今不同階段的作品，再次以現地製作、錄像與改製的形式展出。何彥諺剝下地球儀的表面，重新將這張地圖摺成一艘船放回了原先的半圓體中；林盈潔藉由水與光的溫潤材質，透過鏡子的作用，將硬質的物件拆解開，再重新流動成一個完整無缺的圓；許庭甄在石膏混合著水的兒童充氣泳池中嬉戲，在時間的經過後，逐漸硬化成一個乘載身體過程的載體；王煜松舉著一支帶有刷子與麥克筆的雙頭桿子，一面將黑牆粉刷成白牆，經由另一端的反饋，勾勒出這個粉刷的動線；湯雅雯搜集數張流通於世界，並帶有海圖像的明信片，黏貼並切割出一片帶著海浪的波光粼粼；蔡宗勳安排輸出物與鏡面的排列，讓視覺產生差異，並藉由這個差異，透過他的路徑，重新想像自己到世界的邊界與規則；魏柏任讓水穿梭在老舊木櫃體的瓶罐與抽屜中，經由鏡面、玻璃罐與現成物的放置，產生不同的觀看視角，成了一組自體更迭、非固定的動力裝置。

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來自日本與台灣兩組共十二位的藝術家，以不同的集結原因匯聚在此展覽中，而展覽提出的觀看方法，連繫著的並非是兩端的相互詰問，而是著重在各自對媒材特性的詮釋，與對未知彼方持續向前的共同動力。

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Over the Rainbow, a group exhibition curated by YIRI ARTS and Tomio Koyama Gallery.  Exhibited artists including Atsushi Fukui, Daisuke Fukunaga, Satoko Nachi, Satoshi Ohno and Midori Sato as well as a Taiwanese art collective, When Pigs Fly, artists including Ho Yen-Yen, Hsu Ting-Jane, Lin Ying-Chieh, Tang Ya-Wen, Tsai Taung-Hsun, Wang Yu-Song and Wei Po-Jen. 

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A rainbow is a meteorological optical phenomenon caused by water vapour and the angle of refraction when the viewer’s back is facing the sun. Given the various angles of the location, the rainbow seen is composed of different water droplets, making it impossible to judge where it rises or falls. This passage shines high in the sky connecting the two ends, gathering 12 artists and reflecting the spectrum of the exhibition through the individual works.

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The exhibition divides the works of Japanese and Taiwanese artists into two viewing methods. Japanese artists depict the establishment of another world through the expression of paintings, and also from physical labour to outline their own emotional shapes. 

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Atsushi Fukui’s ‘Something in the Sky’ series works uses high-chroma, low-brightness colours to construct a utopian world with a sci-fi tone. Satoko Nachi exhibited her 2018-2020 portrait series, in which she uses photography and realistic painting methods to create a series of portraits, with expressive brushstrokes and colours depicting the sentiments outside the appearance of the characters. Among the three works exhibited by Satoshi Ohno, the exuberant quality of the images seamlessly blends natural scenery and digital texture. In his ‘Prism’ series, he turns the perspective to the study of light and the ultimate exploration of beauty and life. Daisuke Fukunaga’s paintings give still life paintings a novel expression and dynamic through being constructed with waste, cleaning tools, and flowers. In addition to showing the lively state of unremarkable objects, he attempted to reproduce the labour state between objects and human beings. Midori Sato presents the charm of women by exploring the colour pink and its symbolic and conceptual associations. In her work, she depicts flowers, animals, and architecture, blurringthe outlines of objects with brushstrokes, and transforming the images into exclusive collections in her cabinets.

Each member of the Taiwanese art collective, When Pigs Fly, present their individual works in this exhibition, employing multiple media – such as water, mirror, light, and body – in distinctive ways, allowing for the exploration of their motional processes and kinetic states. In the selection, the works span the different stages of the artists from the period of earlier studies to the present, which will be exhibited in the form of site-specific reproductions and video.

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Ho Yen-Yen peeled off the surface of the globe, folded the map into a boat, and put it back into the original semicircle. By using the warm materials of water and light as well as the characteristics of mirrors, Lin Ying-Chieh disassembles the hard objects and then re-flows them into a complete circle. Hsu Ting-Jane played in an inflatable swimming pool with plaster mixed with water. During the passage of time, it gradually hardened into a vessel thatcarried the movement of the body. Wang Yu-Song holds a double-ended pole with a brush and a marker, and converts the black wall to a white wall on one side, while outlining the movement of the painting from the other end. Tang Ya-Wen collected several postcards circulating in the world with images of the ocean, then pasted and cut out a sparkling wave. Tsai Taung-Hsun arranged printed objects and a mirror surface to make a conflict in vision, and through this difference, through his path, he imagined the boundaries and disciplines to the border of the world. Wei Po-Jen directs the flow of water through the bottles and drawers of old wooden cabinets. Through the placement of mirrors, glass jars, and ready-made objects, he creates a different perspective that becomes anautomatic and non-fixed power device.

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The presentation features 12 artists from Japan and Taiwan gathered in this exhibition and proposes a suitable viewing method for observing their interpretation and conceptual associations through a range of media, acting as a reminder of the mystery of perception itself and motivating us to explore further the unknown other side.