『 夢境的烏托邦 』 小巴廊 x 陳信宏
2019 12/07 - 2020 1/04
處於20世紀的藝術大師，畢卡索.布朗庫西.馬諦斯等..受到部落藝術的啟發，在作品中轉化為另一種的可能…
處於2019年的當代藝術家 陳信宏試圖表現一種觀察夢境的視角，將眼界的對象從外在轉換到內心，以具象的圖像語彙呈現非理性的主觀之夢境世界。
帶出以「夢境旅人」的冒險旅程，來象徵自己探索心靈領域的過程並延伸更多想像。透過夢境旅行的創作又會與非洲藝術作品豐富的想像碰撞出什麼不一樣的火花呢?
藝術家 陳信宏：
我一直以來都希望可以畫出夢境世界，來表達真實存在的心理狀態。這個世界後 來在我心中變成一個形而上的存在：「夢境的烏托邦」，夜間的夢境與白日夢的想 像融合在一起了。 迷宮與沙漠是隱藏在我心中的神聖場所，具有私密、寧靜與孤獨的狀態。我認為 這個象徵化的聖域，是收納著回憶的背景世界。 對於我常常夢見的人物，我給他們取了「四個夢境旅人」的名字：龍蝦先生、浣 熊小姐、蟹國公主、虎斑貓，似乎他們以我的感情與記憶為養分，化為夢境世界 裡的居民。在創作狀態的想像下，我便以他們作為夢境世界的主角。 我試圖在「夢境的烏托邦」呈現一個具像、可理解的想像世界，同時也是真實存 在於內心角落的自由世界。
小巴廊 44 GALLERY ：
我們尋找當代藝術與非洲藝術對話的可能 -
這次的合作展邀請藝術家 陳信宏以「四個夢境旅人」構成一個「夢境的烏托邦」，用具體圖像來捕捉潛意識中浮現的意象，重新組織舊有的夢境意象，根據夢境的回憶，詮釋夢境的世界觀。
對小巴廊來說曾辦過的主題展無論是動物、椅凳、面具...等，將各個部落的作品重組起來凝聚在一起，其實也是另一種烏托邦的想像。
我們期望看到兩者相遇共鳴下會有什麼不一樣的對話火花。
In the 20th century, great artists such as Picasso, Brâncuși, and Matisse were inspired by tribal art and transformed it into a new possibility in their works...
In 2019, contemporary artist Chen Xinhong attempts to express a perspective of observing dreams, shifting the focus of the visual field from the external to the internal, using figurative imagery to present the irrational and subjective world of dreams. His work presents the adventurous journey of a "Dream Traveler," symbolizing his process of exploring the realm of the soul and extending further imaginations. How will the creation of dream travel collide with the rich imagination of African art and produce new sparks?
Artist Chen Xinhong: I have always hoped to depict the dream world as a way to express the real psychological state of existence. Over time, this world has become a metaphysical presence in my heart: "The Utopia of Dreams," where night dreams and daydreams merge together. The labyrinth and desert are sacred places hidden in my heart, embodying privacy, tranquility, and solitude. I believe that this symbolic sanctuary is a background world that holds memories. For the characters I frequently dream of, I gave them the names "Four Dream Travelers": Mr. Lobster, Miss Raccoon, Princess Crab of the Crab Kingdom, and Tiger-striped Cat. It seems that they, nourished by my emotions and memories, become the residents of the dream world. In my creative imagination, I use them as the protagonists of the dream world.
I try to present a figurative and understandable imagined world in the "Utopia of Dreams," which is also a truly existing free world in the corner of my heart.
44 GALLERY (Xiao Ba Lang): We are exploring the possibility of a dialogue between contemporary art and African art. This collaboration invites artist Chen Xinhong to construct a "Utopia of Dreams" with the "Four Dream Travelers," using concrete images to capture the symbols that emerge from the subconscious, reorganizing old dream imagery, and interpreting the worldview of dreams based on memories of dreams. For 44 GALLERY, past thematic exhibitions, whether they were about animals, stools, masks, etc., have reorganized works from various tribes into a collective vision, which is also another form of imagining Utopia. We look forward to seeing what kind of new dialogue and sparks will emerge from the encounter and resonance between the two.
處於2019年的當代藝術家 陳信宏試圖表現一種觀察夢境的視角，將眼界的對象從外在轉換到內心，以具象的圖像語彙呈現非理性的主觀之夢境世界。
帶出以「夢境旅人」的冒險旅程，來象徵自己探索心靈領域的過程並延伸更多想像。透過夢境旅行的創作又會與非洲藝術作品豐富的想像碰撞出什麼不一樣的火花呢?
藝術家 陳信宏：
我一直以來都希望可以畫出夢境世界，來表達真實存在的心理狀態。這個世界後 來在我心中變成一個形而上的存在：「夢境的烏托邦」，夜間的夢境與白日夢的想 像融合在一起了。 迷宮與沙漠是隱藏在我心中的神聖場所，具有私密、寧靜與孤獨的狀態。我認為 這個象徵化的聖域，是收納著回憶的背景世界。 對於我常常夢見的人物，我給他們取了「四個夢境旅人」的名字：龍蝦先生、浣 熊小姐、蟹國公主、虎斑貓，似乎他們以我的感情與記憶為養分，化為夢境世界 裡的居民。在創作狀態的想像下，我便以他們作為夢境世界的主角。 我試圖在「夢境的烏托邦」呈現一個具像、可理解的想像世界，同時也是真實存 在於內心角落的自由世界。
小巴廊 44 GALLERY ：
我們尋找當代藝術與非洲藝術對話的可能 -
這次的合作展邀請藝術家 陳信宏以「四個夢境旅人」構成一個「夢境的烏托邦」，用具體圖像來捕捉潛意識中浮現的意象，重新組織舊有的夢境意象，根據夢境的回憶，詮釋夢境的世界觀。
對小巴廊來說曾辦過的主題展無論是動物、椅凳、面具...等，將各個部落的作品重組起來凝聚在一起，其實也是另一種烏托邦的想像。
我們期望看到兩者相遇共鳴下會有什麼不一樣的對話火花。
In the 20th century, great artists such as Picasso, Brâncuși, and Matisse were inspired by tribal art and transformed it into a new possibility in their works...
In 2019, contemporary artist Chen Xinhong attempts to express a perspective of observing dreams, shifting the focus of the visual field from the external to the internal, using figurative imagery to present the irrational and subjective world of dreams. His work presents the adventurous journey of a "Dream Traveler," symbolizing his process of exploring the realm of the soul and extending further imaginations. How will the creation of dream travel collide with the rich imagination of African art and produce new sparks?
Artist Chen Xinhong: I have always hoped to depict the dream world as a way to express the real psychological state of existence. Over time, this world has become a metaphysical presence in my heart: "The Utopia of Dreams," where night dreams and daydreams merge together. The labyrinth and desert are sacred places hidden in my heart, embodying privacy, tranquility, and solitude. I believe that this symbolic sanctuary is a background world that holds memories. For the characters I frequently dream of, I gave them the names "Four Dream Travelers": Mr. Lobster, Miss Raccoon, Princess Crab of the Crab Kingdom, and Tiger-striped Cat. It seems that they, nourished by my emotions and memories, become the residents of the dream world. In my creative imagination, I use them as the protagonists of the dream world.
I try to present a figurative and understandable imagined world in the "Utopia of Dreams," which is also a truly existing free world in the corner of my heart.
44 GALLERY (Xiao Ba Lang): We are exploring the possibility of a dialogue between contemporary art and African art. This collaboration invites artist Chen Xinhong to construct a "Utopia of Dreams" with the "Four Dream Travelers," using concrete images to capture the symbols that emerge from the subconscious, reorganizing old dream imagery, and interpreting the worldview of dreams based on memories of dreams. For 44 GALLERY, past thematic exhibitions, whether they were about animals, stools, masks, etc., have reorganized works from various tribes into a collective vision, which is also another form of imagining Utopia. We look forward to seeing what kind of new dialogue and sparks will emerge from the encounter and resonance between the two.
