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我 無 法 告 訴 你。

劉　文　瑄 Mia Wen-Hsuan Liu

Solo Exhibition at IT Park Gallery26 November – 24 December 2011

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我無法告訴你

劉文瑄

對我來說，創作比較像一種在日常世界中探索潛伏其中的想像世界的過程。在這樣或那樣的每一天，我試著進入那個一般人所看不見

的世界，並且以一種奇特的角度回望這個日常世界。

不論是透過色料與光在紙張微微空隙之間的相互反射而構成的塗畫（Drawing），或是經由轉動的電扇與自然吹動白雲的影像兩者結合

而形成的視覺交錯空間裝置，在近期的作品中我嘗試使用物理性的方式來敘述這兩個世界的疊合，並以日常物件的重製或重組以建立

一種新的個人經驗與感知。在部分作品當中，光與物質的轉動佔極大的部分，我著迷的是這兩者所引領的，在兩個世界之間形成的交

互影響。我關注於光對物體所形成的視覺影響，這使得人們對日常物件的慣性理解出現了極大的扭曲，而使得一種奇觀在這之中形

成。光與物體不停的循環及流轉，觀者也被迫置放視點於來回不停的這邊與那邊之間，永遠無法窺看全貌，但卻可感受到其中莫名的

差異。

我們沒有辦法控制一切日常世界的轉動，但肯定能做的就是想像出令人難以捉摸的每一天。

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I can’t tell you, but you feel itMia Wen-Hsuan Liu

For me, creating art works are like exploring hidden imaginary world in our daily lives. In this or that day, I try to enter a world that ordinary people couldn’t see, and also to re-look at the daily world through a special and strange angle.

No matter drawings that were form by reflections of light and color through small spaces between papers, or installation made of the visual combina-tion of moving fan and video of naturally moving cloud, I attempt to tell about the overlapping of the two world in my recent works, through a rather physic way. I also wish to construct a new personal experience and perception by remake or re-construct daily objects. In some works, the moving of light and materials play a big role. I am truly amazed by the influence between the two world brought by the two aspects. I pay close attention to the visual influence of light on material. This will lead to the distortion of people usual perception on daily objects, and eventually, a wonder comes into being. Light and material circulating and moving, and audiences are forced to look at the moving focal point. They will never be able to see the whole but can feel the difference in between.

We couldn’t control the moving of daily world, but we can definitely imagine an everyday that is intangible.

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古根暈眩

這三件連作使用古根漢美術館空白門票為媒材的作品。創作靈感來自於在古根漢美術館工作時的空間的經驗。建築大師萊特設計的經

典螺旋展覽廊道是觀展遊客們的最愛，但是每日身處其中在一樓大廳櫃檯內賣票的我，卻每每在抬頭觀望這一空間時感到強烈的昏

眩。這件作品借由兩種不同顏色的紙膠帶貼附在門票的兩面，門票序列化排列後自然形成的強烈視覺與光學效應將膠帶上的顏色轉變

成「色光」般的呈現，最後整件作品即以此一色光為創作元素傳達當時那種難以言喻的空間昏眩感。這三件作品也首次將古根漢系列

的作品轉化為蘊含著光的塗畫物件（Drawing Object）。

請把我吹向一個無人的天空

這件作品是由我在駐村裡的畫廊發現的一台無人使用的電風扇、五段一分鐘蘇格蘭的景象錄像、投影機投射在電風扇的特製葉片上進

而反射出類似彩虹般的人造光及電風扇擺動的影子組合而成的作品。也希望讓觀者進入這個展覽空間時，能夠感受到藝術家透過創作

而傳達她在這裡感受到的自然與人造互相衝突的經驗。這作品在風景、實物裝置與光影之間隨意的疊合，仿若夢遊一般的在一個微縮

疊合的場景中製造一種真實與想像、記憶與幻覺的駐村經驗剪裁與復返。

他們在你我之間

在道芙鎮上，一般人看不見的大小不一的黑小人們其實無時無刻都在人們之間活動著，而我這外來者厚臉皮地侵入這片土地上希望真

實記錄他們在這裡留下的一切痕跡。

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Guggen’ Dizzy

This series of work uses Guggenheim Museum’s tickets as the creative medium, and originates from my experience of working in the Visitor Services of the Guggenheim Museum. The spiral gallery designed by the great architect Frank Lloyd Wright is usually best liked by each visitor; however, having to sit in the first floor ticketing booth daily, I often felt a sense of dizziness when looking up at the great spiral. This work uses two colors of masking tapes to stick together the two sides of the museum tickets, and the configuration of the tickets naturally forms a strong optical effect, and the tapes seem to give off a sense of color and light. The final work uses this color and light as the creative element to transmit the sense of spatial vertigo that I felt, and this work also acts as the initiator in the transformation of this series of paper sculptures into light sculptures.

Please Blow Me Away to a Deserted Sky

This work I created with a deserted fan in the village gallery, five 1 minute video of Dufftown . The works was structured by projected images on the customized blade on the fan, creating reflected light similar to rainbow light, and shadows of the fan moving. Combining the shadow created from moving fan and reflected rainbow light from the modified blade, together with natural landscape of Dufftown, strangely reveal the outer and my in-ner self. I wish local visitors will feel what I, as a foreign artist, would like to convey through my work, a conflicting experience between the natural landscape when I was living in Dufftown and me as a foreigner. This work creates a microscopic overlapping scene of sleepwalker, through the use of sceneries, photography, mirror image, cutout drawings, installation, light and shadow, the artist residency experience come thru and back in memories and illusions.

They Are Among Us

In Dufftown, little black men in various sizes that remain unseen by ordinary people are in fact constantly moving among human being. And I, a shameless outsider and intruder of the land, sincerely hope to document the traces they left behind.

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古根暈眩

紐約古根漢美術館空白門票、彩色膠帶、馬達、木板

Guggen’ Dizzy

New York Guggenheim Museum Tickets, Masking Tape, Motor and Plywood

175 x 175 x 20 cm Each

2009-2011

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請把我吹向一個無人的天空

裝置：電風扇、錄像．尺寸依現場調整

Please Blow Me Away to a Deserted Sky

Installation: Fan, Video, Variable Dimensions

2011

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他們在你我之間 01-11

攝影

They Are Among Us 01-11

Photography, 26 x 38 cm Each

2011

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他們在你我之間｜格蘭菲迪駐村2011

They are Among Us｜Glenfiddich Artist In Residence 2011

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他們在你我之間

格蘭菲迪駐村2011

「請把我吹到一個無人的天空」（Please Blow Me Away to a Deserted Sky）是由我在駐村裡的畫廊發現的一台無人使用的電風扇、五段

一分鐘Dufftown景象的錄像、投影機投射在電風扇特製葉片上進而反射出類似彩虹般的人造光及電風扇擺動的影子組構而成的作品。

在這之後也引發我創作了「他們在你我之間」（They Are Among Us），由一部老舊的幻燈機、30張Dufftown的景象幻燈片、一面鏡子、

一張工作桌上擺設的各式各樣的物件，以及幻燈機反照物件形成的影子所共同結合的一件作品。這兩件作品在風景、攝影、鏡像、剪

紙塗畫、實物裝置與光影之間隨意的疊合，仿若夢遊一般的在一個微縮疊合的場景中製造一種真實與想像、記憶與幻覺的駐村經驗剪

裁與復返。

第一天抵達Dufftown時不知不覺地揉了好幾次眼，一時之間還以為自己的眼睛被誰偷偷加了層綠色的濾鏡，這顏色似乎是特別容易讓

人沉穩，原先以為會對著牛群瘋狂大叫的我卻頓時之間安靜不少。然而卻沒料到，第一次身處在緯度高且長達二十一小時的白晝感到

異常般的興奮，伴隨而來的是一夜夜的失眠及痛苦，每天午夜，從工作室窗外看到猶如極光般的晝夜交替成為駐村期間最大的樂趣及

享受，光成為我在這裡最感興趣的創作元素之一。

在這裡，晚上七點反而是一天之中陽光最強烈的時刻，我時常趁機出去散步享受太陽難得直射在皮膚上的灼熱感，也順便帶著平時隨

手剪的各種形狀的黑色小人紙片和相機沿著當地人慢跑的道路緩慢地漫無目的前進。每當走在森林無人的小徑上，最令我喜悅的還是

探索到一株株陌生的小草小花，我常隨手放置各種大小不一的小人紙片於其中，仿若蜜蜂及蟲子們在微風吹送下左右搖曳的草叢中一

來一往的串門子。雖然在許多時刻裡，相機所發出微微的機械聲還是會不經意的打擾到這片土地，好似我這外來者厚臉皮地侵入這片

土地上，但我仍然希望能真實記錄在這留下的一切痕跡。

為了準備九月底的展覽而去勘查有著自然光照射的畫廊空間時，真正吸引我的卻是後面的小倉庫，這個伸手不見五指的小空間與外面

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那個太陽不下山的白天恰好形成了有趣的對比，我決定在這個密閉的空間裡做一件作品。剛開始動手整理倉庫，我開始對一台在這裡

夏天平均溫度不到二十度而出現的電風扇著迷不已，一直以來總是無理由地對圓形重覆旋轉的東西有著極度興趣的我，開始對電風扇

葉片進行改造且與攝影棚立燈互相反射出大量的人造光進行各種有趣的實驗。

最後，我決定把記錄當地的錄像及在倉庫裡實驗的電風扇人造光交織成一件作品。兩種不同的元素，拆開時各自陳述人工與自然之

美，但似乎不能完整的表達我在這裡的感受。而試著交疊Dufftown的自然景象、電風扇擺動的影子及電風扇所反射出的轉動人造彩虹

光，卻反而呈現出一種個人內在與外在的並列奇觀。也希望當在地的觀者進入這個展覽空間時，能夠感受到我這位外來的藝術家透過

創作所傳達的訊息；一種在這裡生活時所感受到的在地自然與身為外來者的身體感官互相衝突的經驗。

駐村前，威士忌的世界其實對我來說非常地遙遠。一般的印象總是停留在專業品酒人士才會接觸到的酒種，而我這種連半瓶啤酒都會

醉的體質，實在無法預料在自己人生中的三個月會住在威士忌的家鄉－Dufftown。就這樣，帶著心虛的心情及不具有任何威士忌的知

識下展開了我在格蘭菲迪的駐村之旅。

真正對威士忌的初步認識是策展人Andy Fairgrieve從一袋具有手寫編號的乾燥大麥裡交遞一把給我開始，他豪邁的示範著往自己的嘴

裡咀嚼，又一邊繼續他濃濃蘇格蘭腔的英文解說，接下來的每一道複雜加工手續搗碎、發酵、蒸餾雖然讓我愈聽愈困惑，但我自始自

終不斷的盯著一座座猶如藝術品般的機械設備，它門的運作方式像極了芭蕾舞者跳出一圈圈完美的旋轉，極度優美卻精準到不容許一

絲毫失誤。而後，到了陰暗的酒窖時，刻有不同年份的橡木桶又像極了一大群冬眠中正在保護金黃色孩子的母親們，時間緩慢的增加

能讓他們倆者之間彼此互相更依賴對方，一直等待那個最完美的剎那來臨。

我抬頭望著酒窖天花板的縫隙中滲透進來那道微弱的光，我心裡想著，如果說大麥是上天賦予人類的作品之一，那人類釀造大麥而成

的威士忌就是把這項作品又昇華成另件更完美的藝術品。而對大部份的人來說，威士忌這液體本身就是一種藝術的話，那麼來到格蘭

菲迪之後看到格蘭父子是如此堅持的把創作藝術品的工具也變成藝術品時，我才能深深體會到所謂著秉持“先驅的精神＂（The Spirit of

a Pioneer）之真正背後的意義。

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They are Among UsGlenfiddich Artist In Residence 2011

Please Blow Me Away to a Deserted Sky is a work I created with a deserted fan in the village gallery, five 1 minute video of Dufftown . The works was structured by projected images on the customized blade on the fan, creating reflected light similar to rainbow light, and shadows of the fan moving. It inspired me to create my next work, that is They Are Among Us, using an old slide projector, 30 slides of Dufftown, a mirror, various objects on the working table and shadows created by the reflections of shadow when the slide projector shed light on the objects. The two works create a microscopic overlapping scene of sleepwalker, through the use of sceneries, photography, mirror image, cutout drawings, installation, light and shadow, the artist residency experience come thru and back in memories and illusions.

When I first arrived at Dufftown, I scrubbed my eyes for a few times. I thought there were filters secretly added to my eyes. The color makes people calm. I didn’t yell crazily at the cows as I imagined, but in the contrary, I became calm and quiet. What I didn’t realize is, the excitement of being in a place in such high latitude and with 21 hours of daytime was followed by a series of pain and insomnia. Every midnight, the changing from day to night looked like aurora. That is the most interesting and enjoyable moments when I was artist in residence. Light then became the elements that I am most interested in when I was in Dufftown.

Here in Dufftown, 7 pm is the time when the sun reach the brightest moment. I always take the opportunity to have a walk and experience the feel-ing of sunlight shown directly onto my skin. I will bring various small black cutouts of little men that I made and my camera, following the path where the locals jog, walking aimlessly. Every time when I walk in the forest, what I enjoyed most is when I found some strange flowers and grass. I will then put the cutouts in various sizes onto the grass or flowers, as if they are bees or bugs, visiting the flowing grass with the help of breeze. Although the mechanical sound of the camera will interrupt the earth most of the time, like I am a shameless intruder. But I still truly hope to document the traces I left in Dufftown.

When I went to the naturally lit gallery space to prepare for my exhibition in September, what attracted me the most is the small storeroom behind. The dark space is a total and interesting contrast with the long daytime outside. I then decided to make a work in the closed space. When I started cleaning up the space, I came across a fan and became fascinated to it, fascinated to a fan existing in a place where the average temperature in summer is only 15 degree Celsius. I have always been interested to repetitively circulating round objects. Hence I started to modify the fan blade and experiment with reflecting man-made light with studio lighting.

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Eventually, I decided to combine my documentation on Dufftown and the man-made reflected light I created with the fan in the storeroom. These are two very different elements, one proposing the beauty of man-made, the other proposing the beauty of nature, but separating them couldn’t fully express what I felt here. However, combining the shadow created from moving fan and reflected rainbow light from the modified blade, together with natural landscape of Dufftown, strangely reveal the outer and my inner self. I wish local visitors will feel what I, as a foreign artist, would like to convey through my work, a conflicting experience between the natural landscape when I was living in Dufftown and me as a foreigner.

Before I came to be the artist in residence, the world of whisky is very far away from me. For me it is a kind of alcohol that only professional wine buff can get contact with. As I can get easily drunk with only half glass of beer, it is hard to imagine that I will spend 3 months in the home of whis-ky, Dufftown. Eventually, with lacking of confidence and without any knowledge on whisky, I started my journey as an artist in resident in Dufftown.

The first time I started to know about whisky is when the curator Mr. Andy Fairgrieve gave me a handful of dried barley. He then boldly put the dried barley into his mouth and chewed, while explaining the process of making whisky with his strong Scottish accent. He explained to me the complex process, from pounding, fermenting to distilling. I am confused but was fascinated by the machineries that look like artwork. Those machineries were dancing and circulating like ballet dancers, beautiful and no mistakes are allowed. And then, in the dark wine cellar, the oak tubs with inscribed production years looked as if they are the mothers who were protecting their “golden children”. The longer they were together, they will become more and more dependant on each other, waiting for the perfect moment.

I looked up at the dim light shed through the crack of the ceiling in the wine cellar and think, if barley is an artwork gifted to human being from God, then whisky made from barley is a more perfect artwork. For most people, whisky is an art. And after I came to Glenfiddich and witness how the William Grants and Sons insist on turning the tools of making art into an artwork, only then I realized the true meaning of “The Spirit if a Pioneer”.

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個展

2011 「我無法告訴你」伊通公園，台北，台灣

2009 「紙的第三面」樹火紀念紙博物館，台北，台灣

2006 「我們不可回收」狄亞哥里維拉藝廊，舊金山，美國

聯展

2011 「格蘭菲迪藝術家」， 格蘭菲迪釀酒廠畫廊，道芙鎮，蘇格蘭 「Art Osaka 2011」Hotel Granvia Osaka，大阪，日本 「Young Art Taipei 2011」王朝大飯店，台北，台灣 「東京前線：當代藝術博覽會」，東京，日本

2010 「台灣響起：超響自由 / 無上之域」Mucsarnok 藝術館 / 德維格當代美術博物館，路布達佩斯路，匈牙利

「台灣當代幾何抽象藝術的變奏」誠品畫廊，台北，台灣

「2010關鍵字展：潛雕塑‧租借‧劇本」朱銘美術館，台北，台灣 「對畫‧台北」南海藝廊，台北，台灣

「Young Art Taipei 2010」王朝大飯店，台北，台灣 「手感的妙Part.2」就在藝術空間，台北，台灣2009 「觀點與“觀＂點 - 2009亞洲藝術雙年展」國立台灣美術館，台中，台灣 「喜劇KdMoFA年度大展」關渡美術館，台北，台灣 「Art Taipei 2009台北國際藝術博覽會」世界貿易中心展覽大樓，台北，台灣 「高雄獎」高雄市立美術館，高雄，台灣

2007 「自我與彼此」狄亞哥里維拉藝廊，舊金山，美國

2006 「繪畫宰制的世界」Ego Park 藝廊，奧克蘭，美國 「Art（212）當代藝術博覽會」紐約，美國 「紙兔系列移轉地景」Aftermodern當代藝廊，舊金山，美國

駐村計畫

2009-2012 台灣藝術大學文創園區駐校藝術家，台北2011 格蘭菲迪威士忌釀酒廠，蘇格蘭2009 板橋435國際藝術村，台北

劉文瑄1980 生於台北台灣

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Mia Wen-Hsuan Liu Born in 1980, Taipei, Taiwan

Solo Exhibitions

2011 I can’t tell you, but you feel it, IT Park Gallery, Taipei, Taiwan2009 The Third Side of Paper, SuHo Paper Museum, Taipei, Taiwan 2006 We are not recyclable, Diego Rivera Gallery, San Francisco, United States

Selected Exhibitions

2011 Artists at Glenfiddich, Glenfiddich Distillery Gallery, Dufftown Art Osaka 2011, Hotel Granvia, Osaka Japan Young Art Taipei 2011, Taipei, Taiwan Tokyo Frontline Art Fair, Tokyo, Japan2010 Taiwan Calling: Phantom of Liberty / No Man’s Land, MucsarnokK / Ludwig Museum, Budapest, Hungary Variations of Geometric Abstraction in Taiwan’s Contem porary Art, Eslite Gallery, Taipei, Taiwan Key Words 2010, Juming Art Museum, Taipei, Taiwan Drawing Out Conversations: Taipei Setting Up, Nan Hai Gallery, Taipei, Taiwan Young Art Taipei 2010, Taipei, Taiwan Contemporary airy craft from Japan and Taiwan Part. 2, Project Fulfill Art Space, Taipei, Taiwan2009 Viewpoints and Viewing Points: Asian Art Biennial, National Taiwan Museum of Fine Arts, Taihung, Taiwan Comedies, Kuandu Museum of Fine Arts, Taipei, Taiwan Art Taipei 2009, Taipei World Trade Center, Taipei, Taiwan Kaohsiung Awards 2009, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan2007 Ourselves & Each Other, Diego Rivera Gallery, San Francisco, United States2006 The World Domination of Painting and Drawing, Ego Park Gallery, Oakland, United States ART(212) Contemporary Art Fair, New York, United States Shifting Landscapes: A Topographical Study, Aftermodern Contemporary Fine Art, San Francisco, United States

Artist Residencies

2009-2012 Artist in Residence at National Taiwan University of Arts, Taipei2011 Glenfiddich Distillery, Dufftown2009 Banqiao 435 International Artist Village, Taipei

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劉 文 瑄 我無法告訴你

展覽日期 2011年11月26日至2011年12月24日

開幕時間 2011年11月26日（星期六）晚上7點

展覽地點 伊通公園

作　　者 劉文瑄

設　　計 蔡　雪

英文翻譯 區秀詒

出　　版 伊通國際有限公司

臺北市104伊通街41號2-3樓

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http://www.itpark.com.tw 出版時間 2011年11月初版

贊　　助 格蘭父子洋酒股份有限公司

國家文化藝術基金會

姚立和

特別感謝 陳慧嶠

Andy Fairgrieve

蕭有志

版權所有 ‧ 翻印必究

Mia Wen-Hsuan Liu I can’t tell you, but you feel it

Exhibition Date November 26 - December 24, 2011

Opening Reception November 26, 2011

Exhibition Venue IT Park Gallery

Artist Mia Wen-Hsuan Liu

Designer Tsai Sheue

Translator Sow-Yee Au

Publisher IT Park Gallery

2-3 Fl. 41 Yi-Tong St. Taipei 104 Taiwan

Tel 886-2-25077243

Fax 886-2-25071149

Http://www.itpark.com.tw

Publishing Date November 2011

Sponsor William Grant & Sons Ltd.

National Culture and Arts Foundation

Leo Yao

Special Thanks Hui-Chiao Chen

Andy Fairgrieve

Yu-Chih Hsiao

All rights reserved

協辦贊助：格蘭父子洋酒股份有限公司

Special Thanks to William Grant & Sons Ltd.

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