關渡美術館於7月21日舉辦最新四檔展覽《版藝新象》、《忘山－謝牧岐個展》、《李明學個展－好多事量販》與《毛旭輝：我在這兒》聯合開幕式，會中邀集來自各國之策展人、藝術家與各界藝術愛好者一同出席與會。

　　《版藝新象》一展為北藝大關渡美術館特邀請英國倫敦藝術大學（University of the Arts London, U.K.）、西班牙馬德里康普頓斯大學（Universidad Complutense de Madrid，UCM）合作辦理之國際交流展，由倫敦藝術大學克利斯．韋恩萊特教授以及關渡美術館曲德益館長共同擔任策展人。關渡美術館是該國際巡迴展的第一站，明年度則預計至英國與西班牙繼續展出，以強化三地藝術家之間的交流，與增進臺灣藝術家於歐洲展演之機會。展覽邀請自臺灣、英國、西班牙等地20位藝術家，試圖透過版畫的概念傳達其藝術表現，以平面、立體和跨媒材等型式，從不同面向與途徑來詮釋版畫創作，帶給觀者有別於以往傳統版畫的視野，也為版畫藝術發展帶來新氣象。此次參展作品不僅呈現版畫的多元樣貌，觀者亦可飽覽藝術家之美學思維，從中感受其原生材質與版畫媒材相互融合之精神。

　　畢業於北藝大美術創作研究所的藝術家謝牧岐，其創作形式大多結合繪畫、行為與影像拍攝，進而探討藝術家的身份以及人與繪畫的關係。從謝牧岐的創作可以觀察出他對繪畫的熱情，喜好以幽默與戲謔的手法引領著觀者進入作品之中。在展出作品中出現許多芭蕉樹、觀音山、淡水的圖像，經過重新組構安排，凸顯了時代不同對於風景畫概念的差異。同時「忘」字同音「望」，也意指著該如何觀看這片風景畫。 藝術家李明學其作品關注連鎖商場中的各式物件，找尋在藝術脈絡上的潛在意義。藉由幽默的手法與重新閱讀生活周遭中的物件，檢視被媒體、教育與社會框架中對各種事物/物件的慣性理解。透過反轉各項物件的使用方式、轉換外觀的造型或是被觀看的角度，在探索當代藝術的可能性上，創造出輕盈感受的另類解讀。《李明學個展－好多事量販》一展企圖再次思考人在面對慾望、需求與物件生產間不斷變化的意義與對話，對於消費、經濟、文化、政治與自身生命經驗的連結，重新提出一種介於現實與逃逸狀態的交錯脈絡省思，反應人們對現實社會、物件與價值的矛盾與掙扎。

　　《毛旭輝我就在這兒》是藝術家毛旭輝首度在臺灣完整梳理作品脈絡的一項大型展覽計畫。展覽除了再次重新以中國美術史最為重要的「’85新潮運動」為歷史軸向的開端，談起細數毛旭輝身為中國藝術先鋒的時代背景與其重要性作品的調整與安排。而一系列重要歷史、展覽以及事件紀錄的照片、文件等檔案也將再次重現於展覽現場內。

　　「’85新潮」是中國20世紀藝術史上最重要的藝術運動，它創造了一個新的歷史紀元，打破了藝術朝向政治宣傳工具的一元化狀態，開創中國當代藝術的第一步。而也是這一時期產生了大量中國藝術史上傑出的藝術家和作品。毛旭輝作品強調一種趨於內向的自我反思個體生命的存在價值，創作中無論是採用象徵或是隱喻的手法，都一律拒絕完全複製形而下的生活圖景。

展期：2017年7月21日至9月24日 地點：國立臺北藝術大學關渡美術館

攝影 黃湧恩

The Kuandu Museum of Fine Arts (KdMoFA) unveiled four new exhibitions on July 21: “A New Vision of Printmaking”; “Unforgotten – Hsieh Mu-Chi Solo Exhibition”; “Things Wholesale – Solo Exhibition of James Ming-Hsueh Lee”; and “Mao Xuhui: I’m Here.” “A New Vision of Printmaking” is a joint project of KdMoFA, the UK’s University of the Arts London, and Spain’s Universidad Complutense de Madrid. It is co-curated by Prof. Chris Wainwright from the University of the Arts London and KdMoFA Director Prof. Chu Teh-I. KdMoFA is the first leg of the printmaking exhibition tour, which is expected to also take it to the UK and Spain next year. The exhibition features 20 artists from Taiwan, the UK and Spain, exploring some of the current practices by artists working with printmaking who are approaching the form not specifically as printmakers but are in many cases using print as one of a number of forms of expression or in combination with other media. They represent new forms of engagement that is informed by current art practices and the impact of digital media, the relation to drawing and photo based media, as well as in some cases, durational, installation and performative practices. “Unforgotten” – the solo exhibition by Hsieh Mu-Chi, a graduate of TNUA’s School of Fine Arts – investigates the artist’s identity and the relationship between human being and painting. The exhibition revolves around the history of how the artist treats traditional landscape paintings with different artistic approaches. James Ming-Hsueh Lee’s “Things Wholesale” examines the current era in which massive information and redundant choices pervade. It not only re-examines the excessive things/events around us and intends to make dialogues with art contexts, but also finds particular interventions and alternative perspectives. By deconstructing and reinterpreting the conventional meaning, it casts new lights on both everyday textual understanding and common visual experience, evoking new imaginations for the two, which converse in the aesthetic level. “Mao Xuhui: I’m Here” marks the first time that artist has held in Taiwan such a large-scale exhibition that comprehensively encompasses the context of his works. In addition to once again discussing ‘85 New Wave – the most important movement in Chinese art history – as the start to a historical axis, the exhibition also covers in detail the historical background and importance of Mao Xuhui’s role as a pioneer of Chinese art.