Landed Art in the Society - Experiences and Representations of a Place

• Main Authors: An-Chi Cheng, 鄭安齊
• Other Authors: Shiao-Kun Lee
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/vays87

碩士 === 國立臺北藝術大學 === 美術學系美術創作碩士班 === 99 === With the rapid change of contemporary art scene, the definition of cannon in Chinese ink painting also faces challenges. In the thesis I would like to focus on the Chinese literati paintings, especially the abstract way artists’ choose to present the scenery. I will begin from the Utopian imagination hidden from the literati paintings, to the forming of landscape in my works. I will focus on the relationship between artists and the environment, and how the relationship influences the artworks creating. Chinese ink painting, a special genre in the current form-oriented art world, what should be its possibility in contemporary art scene? The choices of materials and motivation to create in my artworks have gone through a series of changes, from the Chinese ink painting, site-specific installations, to rather space-intervening installations. What’s consistent in my works is the concern to “local”, “environment” and the “heterogeneous spaces” (The ruins waiting to be renovated, the complicatedly named streets, etc.). The concept of local has been frequently mentioned in many discourses of Taiwanese Contemporary Art, but each appropriation explains different fields. There were also times when the concern to local has been neglected. Since 1996 Taipei Biennial-Subjectivity of Taiwanese Art, which emphasized the importance of “Taiwan” and “Subjectivity”, until our recent strike by the politics, economics and international relationships, people finally realized its importance of “local”, “place” and “space”. I will stress emphasize on the concepts of “local”, “place” and “space” in my thesis, also explain how they have been applied to my artworks, including of curatorial project of group shows, action arts, and my experience in participating in social activities. The shift of material choices and the change of concept in art-creating will be explained in later chapters. I attempt to react, redefine, or go against the current environmental/spatial understanding in Taiwan by my artworks, actions and curatorial projects. In allegory of Chinese Ink Painting’s situation in contemporary art, I will begin to narrative the turning in my artworks. The turning is a reflection of my experiencing of reality, when my motivation of art-creating collides with the social activities, the turning thus appeared. In this part of writing I will give more description of my engagement to social events. And then I will explain the different actions I chose before and after the turning. This part also reflects to my own art-creating context. What are the concerns of my decision making in social intervention? What possibility has been generated in the experiencing different artwork-creation methods? Can artists use different approaches to participate in communities? Or, if Chinese Ink Painting has suffered from the limitation of its form, is there any blind spot in my resolutions after the turning? In my opinion, there is a possibility of Chinese Ink Painting in Contemporary Art concealed by another position. Chinese Ink Painting, especially under the context of literati paintings, has long been used as an artistic form to reflect artist’s perception, observation and record of the environment. Besides, the way of representation in Chinese Ink Painting is very different from the Western Arts (ever since Renaissance) which people are familiar with. Chinese Ink Painting doesn’t follow the optical realism, it’s rather a combination of different points of view. Return to my artwork creation, when I succeeded this kind of attitude in facing my value of art and artwork creating. What kinds of effect are generated by these stimuli of these values in my artworks? If there is a different understanding of space in Chinese Ink Painting compare to Western “linear perspective”, how can we stick with it and try to escape from the “space of the capitalism”? I will review the actions, events or experiments which I have done, including of the researches. With the reactions and solutions made when completing artworks and projects, I experienced the interactions between Art and the Society. I am also given more inspirations of artwork-creation in the future.