涂維政

《無遠弗屆》
《卜湳文明遺跡系列》

我是先當了高中美術老師之後才開始創作的。「宗教」和「教育」因而成為創作中兩個重要圖像的元素,兩者在人類進化歷程中皆有著重大的影響力,其立意之善無須質疑,但也最容易被扭曲詮釋甚至誤用。我針對這兩種具有詮釋權的體制進行反諷與思考:若「教育」成為一種不容質疑的「宗教」,會造成什麼結果?
《無遠弗屆》是2010年「夫子跳曼波」展覽中最重要的作品之一。作品以自身面容做孔子造像、cosplay的穿著、象徵法力無邊的千手與站樁的姿態,加上卡漫電玩的左右脅侍形象及抱著液晶螢幕的小佛像等,都被拼貼在一起,呈現一個看似敦煌石窟的神佛造像,卻又隱含著某些滑稽與非宗教的寓意。在將教育圖像聖化卻又輕謬它的神聖不容侵犯之時,也企圖藉此思考教育本質的問題。
自2000年起發展的《卜湳文明遺跡系列》,企圖建構新聖像及新的神話系統,將當代的科技資訊與消費文明傳說化/擬真化,並與不同文明、不同世代的特有形制相互拼貼,產生時空錯置的謬誤感。


●「交陪移動論壇」導覽—龔卓軍
 
Wei-Cheng TU

Omnipresent
Bu Num Civilization Site

I start creating works after teaching fine arts in high school. Therefore, “religion” and “education” are the two major elements to compose images in my art practice. The two elements have played significant roles during human evolution, and they are unquestionably based on good cause. However, they can easily be misinterpreted or even misused. I intend to mock and reflect on the systems that have rights to interpret our world. What if our “education” become a “religion” that can’t be challenged?
Omnipresent is one of the most important works in the 2010 exhibition Master Dance Mambo. In the work, a Confucius in cosplay costumes was made based on the artist’s image, doing a Kung Fu standing with thousand hands that symbolize supreme power. Beside him stand his two retinue, both of which are characters from comic books and video games. And surrounding them are small Buddha statues holding LCD screens. The work is a lookalike of Buddha Cave from Dunhuang, yet it implies some comical, non-religious meaning. By sanctifying the symbol of education but ridiculing its invincible holiness at the same time, I attempt to rethink the nature of education.
Developed since 2000, the series Bu Num Civilization Site attempts to construct new holy icons and a new system of mythology. Presenting contemporary information technology and consumer civilization as a legend/with verisimilitude while sticking together various unique forms in different civilizations and generations, the series features an anachronism that creates a sense of fallacy.
 

1969年出生於高雄。畢業於私立文化大學美術系西畫組、臺南藝術大學造形藝術研究所。現為專業藝術家與臺北藝術大學專任講師。曾獲第二十八屆「臺北美術獎」、第二屆台新藝術獎評審團特別獎。獲邀於2006上海雙年展「超設計」、2010上海外灘美術館、2011韓國首爾文化藝術基金會、2012第九屆光州雙年展「圓桌」、2012第四屆廣州三年展「見所未見」、2013「歷史上的重量」、2014「界——台灣當代藝術展」於美國康乃爾大學強生美術館,以及澳洲雪梨白兔美術館、加拿大溫哥華人類學博物館、日本京都造型大學美術館、維多利亞與亞伯特博物館V & A Museum等展出。2016年獲英國卡斯雕塑基金會委託製作於所屬雕塑公園永久典藏展示。
Wei-Cheng TU | born in 1969 in Kaohsiung, Tu received his BFA from the Chinese Culture University and MFA from the Graduate Institute of Plastic Arts of Tainan National University of Arts. He works as a professional artist and a full-time lecturer at the Taipei National University of the Arts. Tu won the 28th Taipei Arts Prize and the Jury’s Special Award of the 2nd Annual Taishin Arts Awards. His work was presented in: 2006 Shanghai Biennale Hyper Design; Rockbund Art Museum in Shanghai in 2010; Seoul Foundation for Arts and Culture in Korea in 2011; the 9th Gwangju Biennale Roundtable and the 4th Guangzhou Triennial The Unseen in 2012; Weight of History in 2013; Jie (Boundaries): Contemporary Art from Taiwan in Johnson Museum, Cornell University, USA in 2014; White Rabbit Gallery in Sydney, Australia; Museum of Anthropology in Vancouver, Canada; Kyoto University of Art and Designs, and V & A Museum. In 2016, Tu was commissioned by Cass Sculpture Foundation in the UK to design a work for permanent collection in its sculpture park.
 

 
 
 
 
 
 
  Soulangh Cultural Park
臺南市佳里區六安里六安130號︱Tel: +866-6-7228488︱開館時間─週三至日 9:00-17:00 (週一、週二及除夕休館)
No.130, Liuan Vil., Jiali Dist., Tainan City, Taiwan (R.O.C.)
Opening Hours: Wednesday–Sunday 9:00 am to 5:00 pm (Closed on Monday, Tuesday and Chinese New Year's Eve)