關渡美術館於12月29日舉辦四檔展覽聯合開幕式，包括攝影大師莊靈之《靈視人間攝影展》、《錄像萬歲！》李德茂個展、《發光體行旅》張哲榕個展與《走私：一個越境的生命經濟學》等展，開幕式上北藝大陳愷璜校長、曲德益館長、攝影大師莊靈等校內外藝文界人士齊聚一堂，一同出席這年終歲末的開幕盛會。

    今年七十九歲，一生奉獻給攝影的莊靈，自初中二年級（1953年）開始，嘗試用父親幫忙借來的相機開始創作，從此和攝影結下一生緣份。在攝影創作上，莊靈始終堅持影像的「真實」和「自然」，融合視覺與心靈美感，再融入現代美術觀念的一次性拍攝方式；他的許多作品都得自「隨遇」、「隨機」而不強求。

    《靈視人間攝影展》是他繼2008年《靈視70》回顧展之後的精縮再現。除了重新調整內容、數量與展陳方式之外，亦增加近年新作，由此可大致看出其攝影創作的實踐方向與特色。此次不僅展出「藝師藝友」、「走近現代」、「人間偶遇」和「逆旅形色」等四個主題，也增加1965年他和好友創辦「劇場季刊」時期所拍攝的實驗電影—「延」與「赤子」，以及臺灣攝影發展和個人創作訪談等動態紀錄影像的播映，觀者應可對莊靈一生的影像創作，以及他對推動國內攝影文化發展的公益理念和堅持有一概括的認識與瞭解。

    而《錄像萬歲！》李德茂個展，呼應第57屆威尼斯雙年展主題《藝術萬歲》(Viva Arte Viva)：藝術是人類最珍貴的部分，是反思、自我表達、自由和探討根本問題的理想場所，在當代的諸多辯爭中，藝術家的角色、聲音和責任佔到前所未有的關鍵地位。

    《錄像萬歲！》在於開發一種具普遍性的藝術語言，並不為任一特定對象服務。作品處理概念而非意義，例如海水、光點、鐵軌、河流，作為其名詞所指稱的概念，而非用來承載象徵意義或敘事的中介物。藝術經驗一旦形成，作品將和觀者發生直接連結，使觀者提昇並懸浮在既有的知識經驗系統上，在疑惑和驚訝發生時形成內在的張力和強度，感官感覺深入其中而無法忽視。

    藝術家張哲榕以個展《發光體行旅》，透過錄像與攝影，記錄著身邊種種事物，用不同的角度與觀感，傳達著發光的每一刻是不朽，但也是消逝的瞬間。《SFSR走私》是策展人方彥翔獲國藝會視覺策展專案補助駐地研究「交纏考：一個邊境外部的研究」計畫的第二階段展覽部分。定名為「走私」具有兩個意涵：「走向私有化」，與試圖從「走私」非法跨境交易的意義延伸開來，討論亞洲共產國家與歐陸後共產國家之間，這些區域在它們與周邊國家具有的張力關係之下（例如南中國海、巴爾幹諸國），人民之間如何透過非官方、地下化、或非法的跨境行為，穿透政治力量形成活躍與強烈的互動關係、一些底層密切的生命擾動。

    《走私：一個越境的生命經濟學》參展藝術家｜Aleksandra Domanović 亞歷山德拉．多曼諾維奇、Chen Szu-Han 陳思含、David Maljković 大衛．馬爾加克維奇、Hsu Jia Jhen 許家禎、Kosta Tonev 科斯塔．托尼夫、Luchezar Boyadjiev 盧切札．博亞杰夫、Morgan Wong 黃榮法、Phuong Linh Nguyen 阮芳伶、Phụ Lục (The Appendix) 附錄、UuDam Tran Nguyen 阮陳烏達、Wu Chi-Yu 吳其育、Zbyněk Baladrán 茲比涅克．巴拉德

攝影 黃湧恩

The Kuandu Museum of Fine Arts (KdMoFA) is running four exhibitions: “Soul Gazing upon Life: A Solo Exhibition by Chuang Ling”; “Viva Video! Te-Mao Lee Solo Exhibition”; “So Far, So Right: A Study of Reforms and Transitions Across Borders”; and Luminophore’s Travel Sim Chang Solo Exhibition.” TNUA President Prof. Chen Kai-Huang, KdMoFA Director Prof. Chu Teh-I, photographer Chuang Ling and other guests of honor attended the opening ceremony for the four exhibitions, which run till February 25. Chuang Ling, now 79, has devoted all his life to photography. Chuang started taking photographs when he was in the second grade of junior high school (1953) with a camera his father borrowed for him. From then on, photography has played a predominant role in his life for more than 60 years. Chuang’s photographic works highlight the “trueness” and “naturalness” of images. Taken in one shot, his photographic works combine visual and spiritual beauty and are endowed with the spirit of modern art. “Soul Gazing upon Life” is a refined representation of his works after “Towards Spiritual Perception at 70,” a retrospective held in 2008. In this present exhibition, change is made to the selection, number and arrangement of the displayed works. New works are added to show Chuang’s artistic practice and characteristics. Apart from the four series, “My Art Teachers and Friends,” “Approaching the Modern Era,” “Life Encounters,” and “Life on the Road,” this exhibition also include “Life Continued” and “My Newborn Baby,” two experimental films he made at the time when he founded Theater Quarterly with his friends in 1965. The viewers will have the chance to grasp Chuang’ photographic works and get a glimpse of the development of photography in Taiwan through the films of his interviews. What is also presented is his lifelong effort and persistence in promoting photography in Taiwan. “Viva Video” echoes the theme of Biennale Venice 2017 “Viva Arte Viva” – art is the most precious part of the human being. It is the ideal place for reflection, individual expression, freedom and fundamental questions. More than ever, the role, the voice and the responsibility of the artist are crucial in the framework of contemporary debates. “Viva Video” refers to the development of a universal language of art, which does not service any particular object. Artwork processes the concept rather than the meaning, for example, seawater, light spot, rail track and river; they all are the concept of their noun, rather than the intermediaries to carry symbols or narratives. Once the art experience is formed, the artworks and the audience will directly connect, so that the audience will be raised and suspended above the existing knowledge and experience of the system. It forms inherent tension and strength when doubts and surprise happen. It deepens the viewer’s senses, which cannot be ignored. “Luminophore’s Travel” is Sim Chang’s observation of things during the artist’s travel from city to city. The artist is after all only an observer, like a touch-screen device that when you slide your finger across, you move from this scene to the next. It seems that everything is in plain sight, but after you release the shutter, you realize you do not own a thing. The subjects continue to illuminate - it represents a fleeting second as well as eternity. “So far, So right,” curated by Fang Yen-Hsiang, features a number of artists: Aleksandra Domanovic, Chen Szu-Han, David Maljkovic , Hsu Jia Jhen , Kosta Tonev, Luchezar Boyadjiev, Morgan Wong, Phuong Linh Nguyen, Phu Luc (The Appendix), UuDam Tran Nguyen, Wu Chi-Yu, and Zbynek Baladran. “So Far, So Right” is based on the concept of deforming and how it osmoses into the given framework of global governance. The project unfolds from the investigation and delineation of two post-communist narratives as well as their metamorphoses, interweaving relations, and tensions, proposing a possible method to re-entangle their histories and imagined futures, thus launching a new life story.