食 安 女性廚房七日紀錄-女性藝術家聯展

展出日期：2015/3/5-3/22
展出地點：WAAhouse

展出藝術家：汪曉青 吳妍儀 萬一一 鄧文貞 蔡淑惠 簡扶育 謝詠絮 (依姓氏筆畫)
座談會與談人：
舒宜芳(台北榮總營養部營養師/輔仁大學食品營養研究所碩士)
李絳桃(私立長庚大學護理系副教授/國立台灣師範大學衛生教育博士)

策展人:吳妍儀
柴、米、油、鹽、醬、醋、茶原本為古代日常生活基本必需品，台灣近年食用
油的風暴與食品安全頻出問題，這些基本必需品受到動搖，喚醒民眾對吃的警覺意識。而「安」這個字，本身就意味屋下有女人，《爾雅》:安，定也。與家人同住的女性也許是家庭中最主要的食材把關者，不管是準備食材、展現廚藝亦或購買外食;獨居女性則是主宰自己食物入口的決定者。

食物的認知與人的飲食習慣大部分源生於家庭的日常習慣，其日後的持續養成有時必須依 賴大量的食物營養分析與醫療資訊，尤其是為孩童、孕婦、年長者、病患或健康節食、瘦身計 畫者…等，以上種種，女性都和家庭菜單的決定息息相關。本計畫鑑於此基點，邀請 5~10 位女 性藝術家，記錄自己亦或家人的菜單明細，以七天為單位，將廚房中出現的食材與食品調味 料，包含早、午、晚、消夜、點心…等餐食作一系列紀載與文字說明。七天為一星期，菜單關 乎家人攝食是否美味、健康、均衡;全職主婦較有時間與心思，天天上市場購買新鮮食材，而職 業婦女則較常購買一星期的食材，由此一窺廚房中食物的多樣性。

女性兼具為人姊妹、女兒、情人、妻子、母親、媳婦、婆婆…等多重角色，或僅是身為女 性的自己，家中的廚房除了提供女性日復一日繁忙反覆的工作環境外，對某些女性而言，它也 是既私密又兼具施予吃的魔法的場域。

本展覽期間將配合專業人士分析藝術家的食物內容，同時舉辦座談會邀請街坊鄰居的婦女 朋友一同參與，是一場藝術、生活、科學的面對面，並探討當今食品安全問題於家庭如何應變 之道。本展覽具實驗性與生活化，不同成長背景的女性對於食物的覺知與認知，也會產生不同 的觀點，並期待其藝術結果呈現出的差異性及豐富性的對話交流。

蔡淑惠《這青春》 姜麗華《旅法生活 記憶拼圖》 新書發表會

2014/12/14 星期日下午14:30-17:00
女藝會WAAhouse

女藝會在勵馨基金會贈書

水岸．信仰．人家 Seashore．Belief．People

攝影除了”忠實地複現自然”，也反映出地理環境、社會文化與生活景觀的差異。在新北市國際藝術村駐村策劃此國際攝影展，特地邀請在地與國外各三位攝影家共同參展。

Eugene Lee /台裔美籍，以《腳印》映照人從哪裡來終往何處去，簡單又耐人尋味的意象。 Norman Negre /菲裔美籍，他的《賜予和取回》記錄了夏威夷大島變遷中的漁村和生死存在與永恆的探討。 Lance Hamasaki /日裔美籍，以寫給太太的俳句，搭配老樹孕育出生命正能量，並以蛞蝓象徵慢活哲學。

康玟琳在下班後，喜愛以攝影抒壓，經常去感受《霞光艷艷》，並樂於與他人分享滬尾之美。李文洲對照台灣傳統慶典儀式中常見的神豬比賽，並呈現祭拜素豬公具有動保意識的《轉變》。鄭志宗的《父子檔討海人》見證了親情的可貴，也呈現出某些傳統產業逐漸式微的現象。萬一一在藝術村頂樓驚見水岸美景，爾後思索水岸第一排究竟屬於誰？因而計劃邀請觀眾《點出最煞風景獎》。

攝影家們關注友善環境的議題，熱愛親水居家，融合島國殖民文化之流轉，呈現跨越東西島嶼的景觀與人文，彼此分享創意之餘，也體現了在地居民與亞裔美國人去中心化的觀點，再現溫馨的邊陲美學。

Seashore．Belief．People

In addition to “faithfully reproducing nature”, photography also reflects on the differences in geographical environments, social cultures, and scenes from daily life.  For this international photography exhibition, my residency program at New Taipei International Artist Village is planning to specially invite three local and three foreign photographers.

Eugene Lee / Taiwanese-American, he uses “Footprint” to portray simple and thought provoking imagery that reflects on where people come from, and where they will go.  Norman Negre / Philippine-American, his “Giveth And Taketh” documents the changes to a fishing village in Big Island of Hawaii, and explores the themes of life, death, and eternity.  Lance Hamasaki /Japanese-American, pairs a haiku he wrote to his wife with the positive energy of life nurtured by old trees.  Furthermore, he creates the image of slug to symbolize the philosophy of slowness.

After work, Wen-Lin Kang unwinds through photography, often feeling “the Bright Rays of Sunset” while sharing the beauty of Tamsui with others.  Wen-Chou Li draws from the God Pigs contest commonly found in Taiwanese traditional ceremonies, “Transform” emphasizes a spirit of animal protection through vegetarian God pigs.  Jimmy Cheng’s “Father and Son Fishermen”, we witness the value of family, but also the gradual decline of some traditional industries.  While viewing the beauty of the riverside on the roof of the artist village, I began wondering to whom the front row of the riverside belongs.  As a result, the idea came up to invite viewers to participate in “the Point Out the Most Unpleasant Scenery Award“. 

Photographers concern environment-friendly issues, love to settle their homes near the waters, fuse the circulation of colonial cultures among island countries, present the island landscapes and cultures across the Eastern and Western islands, share creativity with one another, reflect the viewpoints of decentralization between local residents and Asian-Americans, and represent the warm border aesthetics.

攝影家 / Photographers：

Lance Hamasaki 日裔美籍

Eugene Lee 台裔美籍

Norman Negre 菲裔美籍

李文洲 Wen-Chou Li     

康玟琳 Wen-Lin Kang    

鄭志宗 Jimmy Cheng     

萬一一 YiYi Wan / 策展人Curator

時間：10/3~10/26/2014 

地點：新北市國際藝術村1樓特展室 / 淡水古蹟博物館

新北市淡水區中正路一段6巷32之2號 (近滬尾砲台)

每日開放時間：9:30-17:00 

聯絡人員：莊先生 (02)26295390#19

Duration: October 3-26, 2014

Venue: New Taipei International Artist Village / Tamsui Historical Museum

No.32-2, Ln.6, Sec.1, Zhongzheng Rd., Tamsui Dist., New Taipei City 251, Taiwan (near Hobe Fort)

Open Hours: 9:30 am-5:00 pm everyday

Women’s Voices-International Photography Exhibition 2014＠Soulangh Cultural Park

繽紛女聲-2014國際攝影展

展覽時間：2014/6/6~8/31, 9:00~17:00pm 週一、週二休館

開幕時間：2014/6/6 (五), 12:30pm

展覽地點：蕭壠文化園區A4展場 06-7228488

臺南市佳里區六安里六安130號

http://soulangh.tnc.gov.tw

http://www.thisregion.com/p/b/88/23610

參展藝術家：

艾里森．貝雀兒 Alyson BELCHER /舊金山

邱瀞瑩 CHIU Ching Ying /台灣

瑪莉．古德里奇 Mary GOODRICH /夏威夷大島

徐薇蕙 HSU Wei-Hui /台灣

郭靜潔 Minstrel KUIK Ching Chieh /馬來西亞

李依樺 I-Hua LEE /台灣

楚璐滴．席耶蔓 Trudee SIEMANN /夏威夷大島

萬一一 WAN YiYi /台灣

王禾璧 WONG Wo Bik /香港

楊志妙 YANG Chih-Miao /台灣

策展人：萬一一 WAN YiYi

Dazzling Femininity

Chiang Li-Hua / Assistant Professor at Department of Fine Arts, National Taiwan University of Arts

Browsing through Women’s Voices-International Photography Exhibition 2014 (hereinafter referred to as Women’s Voices), I can’t help but recall a 1971 publication titled, Why Have There Been No Great Women Artists?, by American art historian, Linda Nochlin (1931- ). In it, she raised the question whether there might be common attributes of “femininity” that reveal a connection amongst the styles of female artists. The ten female photographers invited to participate in Women’s Voices utilize a variety of homemade pinhole cameras, traditional cameras, and mixed media for their works.  Additionally, they applied photographic papers used across various eras (gelatin silver print, Polaroid film, digital fine art paper, etc.), diverse techniques of expression (experimental photography, direct photography, reporting or directing style of photography, etc.), and different presentation methods (mounted frames, handmade display books, interactive devices, etc.) to compose a rich visual feast. The contents of this exhibition explore such topics as “care for the female physique”, “gender and cultural differences”, “role-playing across time, space and gender”, “mythology and environmental issues”, “definition of happiness”, and “stories of female growth” that fully showcase diverse artistic perspectives. And so, what kind of “femininity” can we use to connect the styles of these female photographers?

The first female photographer to be recorded in the history of photography was Julia Margaret Cameron (1815-1879). When Cameron was 48 years old, her daughter gave her a camera, which started her career as a photographer. She was renowned for her skill in capturing beauty in arranged settings. These images led Walter Benjamin (1892-1940) to state in his book, Kleine Geschichte der Photographie, that the lively era of Cameron and other photographers marked a golden era in photography. Cameron earned a seat in the history of photography due to a few reasons. In addition to her skill in photography and experimental darkroom post-productions, she also drew inspiration from historical stories and literary works to assist in materializing her beauty [1] pursuits. This unique and elegant creative style of hers was the main reason she will always be remembered in the history of photography.

Similarly, the group of female photographers participating in Women’s Voices seem to share Cameron’s ability to capture the beauty around them: female bodies, motherhood, female poets and women’s culture of écriture féminine. Through these ways, a dazzling “femininity” is exhibited as a style that is both elegant and perseverant is constructed. Here, we are able to observe this type of style presented in Women’s Voices. It is as if women’s art herstory added another page to the history of photography.

Written in Taipei, Taiwan on May 13, 2014

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[1]Cameron said：”I longed to arrest all the beauty that came before me and at length the longing has been satisfied.”

《繽紛的女性氣質》

姜麗華／臺灣藝術大學美術學系 助理教授

觀看《繽紛女聲－2014國際攝影展》（以下簡稱《繽紛女聲》），不禁憶起美國藝術史學家琳達･諾克琳（Linda Nochlin, 1931-）於1971年發表的〈為什麼沒有偉大的女性藝術家？〉一文，她提出女性之間是否有共同特質的「女性氣質」，可以用來連結女性藝術家的風格？綜觀《繽紛女聲》邀請展出的十位女性攝影家，藉由自製的針孔相機、傳統相機與複合媒材進行創作，同時應用跨時代的各種相紙（銀鹽相紙、拍立得相紙、數位輸出藝術紙等）、多樣的表現手法（實驗攝影、直接攝影、報導或編導式攝影等）與不同的呈現方式（裱褙裝框、手工書籍展開頁、互動裝置等），形成豐富的視覺饗宴。該展覽作品內容探討議題從「關注女體」、「性別文化差異」、「跨越時空或性別的角色扮演」、「神話與環保議題」、「幸福的定義」以及「女性成長的故事」等，呈現多元的藝術觀點。那麼我們可以用什麼樣的「女性氣質」，來連結這群女性攝影家的風格？

回顧攝影史文獻，首位被記載的女性攝影家卡美倫（Julia Margaret Cameron, 1815-1879），於她48歲之際，女兒贈與一台相機而開始以攝影為業。她擅長以安排的佈景來捕捉美輪美奐的影像聞名，這些影像讓華特‧班雅明（Walter Benjamin, 1892-1940）在〈攝影小史〉文中載明，卡美倫等攝影師活躍的時代，正是攝影的黃金時代。若探問是什麼因素讓卡美倫得以名列攝影史之席，除了她純熟拍攝的技巧與實驗性的暗房後製之外，從歷史故事或文學作品中汲取靈感的手法，有助於她實現對美感的追求[1]，創造出獨特的柔美風格，是她能夠名留藝術攝影史的主因。

同樣的，《繽紛女聲》這群女性攝影家共同的特質猶如卡美倫捕捉自身關注的美感：女體、母性、女詩、女性文化之陰性書寫，顯現繽紛的「女性氣質」並構築出柔美與堅毅兼備的風格。在此，我們觀察到《繽紛女聲》呈展出的這般風格，儼然為女性的藝術史（Art herstory）在人類攝影史上增添一頁記載。

2014年05月13日書寫於臺灣台北 

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[1]卡美倫說：「I longed to arrest all the beauty that came before me and at length the longing has been satisfied.」

繽紛女聲-2014國際攝影展

展覽時間：2014/5/5~2014/5/22 週一至週五 8:00am~17:00pm

開幕時間：2014/5/6(二) 18:40pm

講座時間：2014/5/6(二) 19:30pm

講題：繽紛女聲．跨域對話

地點：輔仁藝廊 (天主教輔仁大學 藝術學院一樓)

新北市新莊區中正路510號

參展藝術家：

艾里森．貝雀兒 (舊金山)

邱瀞瑩 (台灣)

瑪莉．古德里奇 (夏威夷大島)

徐薇蕙 (台灣)

郭靜潔 (馬來西亞)

李依樺 (台灣)

楚璐滴．席耶蔓 (夏威夷大島)

萬一一 (台灣)

王禾璧 (香港)

楊志妙 (台灣)

策展人：萬一一

結合台灣、香港、馬來西亞、美國等十位女性藝術家，以攝影媒材：傳統暗房紙基銀鹽相紙、或數位輸出藝術紙，表現類型：實驗攝影、直接攝影、或編導式攝影，內容有肖像、人體、風景、紀實、美術攝影，藉由裱褙裝框、手工書籍展開頁、互動裝置；表達每一位個體所關注的議題：性別文化差異的體現、幸福的想像與實踐、角色扮演與時空置換、神話與環保議題偶遇、以及女性成長的故事。呈現具獨創性又豐富的多元面貌。

艾里森．貝雀兒Alyson BELCHER將庫存的拍立得底片進行針孔攝影自拍照最後巡禮，持續有模糊的身影與律動，也隱含了酷兒文化的優雅展現。瑪莉．古德里奇Mary GOODRICH以一系列身體感官展現的鋪陳，做為一種情慾歡愉解放的策略。楚璐滴．席耶蔓Trudee SIEMANN懸掛的肚臍與地上的腳印，將吸引觀者踏上去比對，十足展現身分認同與性別文化差異的互動關係。

王禾璧創作余氏家庭照，特意找些藝術家朋友及向香港話劇團租借1930年代的衣服拍攝，造就了老靈魂與新思惟並置的超時空景象。楊志妙邀請曾就讀於全台女子首學堂的淡水婦女，齊聚台灣首座女性文化地標留影紀念，拉開序曲後並進行個別訪談，長期記錄這些年逾九十的地方新女性。

李依樺的《美好計畫》聚焦在以互動編導手法，透過攝影與文字並置，再造虛實交錯的理想情境，渺小的個人願望也意味著世界持續運轉中的正面能量。邱瀞瑩《好孕．好運》系列呈現攝影師與準爸媽默契十足的互動關係，她正以更溫潤的筆調，書寫著生命中幸福美滿的篇章。

郭靜潔的《突伽之歌》起源於經歷了一次的流產和離婚後，從法國回到馬來西亞的家人身邊。受印度導演薩雅吉雷的“大路之歌”之啓示，突伽的角色在逆境中，總是抱著希望。藝術家從自身出發的女性觀點，見證了從感傷中淨化的創作之道。

萬一一在大自然中找尋佩蕾的身軀，被熔岩的魔幻形體與斑斕色彩所吸引之外，從而也印證著女人是在 “神話詩意的（mythopoetic）踰越的歷史與政治起源上畫畫”。傳說中佩蕾的詛咒：遊客拿走石頭會帶來厄運，其實是愛鄉愛土人士的好點子。火山女神發怒後帶動了觀光財，大島也持續擴大中，好個正面能量！

繽紛女聲散播了初步的解放，也是感官的凝聚，如同徐薇蕙的游擊女孩，正在大步踏上某種未來的自由；透過探索的勇氣，在這個以往可能不被看見的社會裏，她們持續以創作的姿態活著，積極參與，並進一步施展跨域對話的可能。

展覽洽詢886-2-29052337‧29053247 蕭秘書

http://www.fju.edu.tw/aboutFju.jsp?labelID=9

贊助單位：國家文化藝術基金會

協辦單位：天主教輔仁大學藝術學院

Women’s Voices-International Photography Exhibition 2014

Dates：2014/5/5~2014/5/22 8:00am~17:00pm (M-F)

Opening Reception：2014/5/6(T) 18:40pm

Lecture：2014/5/6(二) 19:30pm

Topic：Women's voices．Dialogue of Crossing Borders

Venue：FU JEN ART GALLERY, College of Arts, Fu Jen Catholic University

No.510, Zhongzheng Rd., Xinzhuang Dist., New Taipei City

Artists：

Alyson BELCHER (San Francisco)

CHIU Ching Ying (Taiwan)

Mary GOODRICH (Hawaii Island)

HSU Wei-Hui (Taiwan)

Minstrel KUIK Ching Chieh (Malaysia)

I-Hua LEE (Taiwan)

Trudee SIEMANN (Hawaii Island)

WAN YiYi (Taiwan)

WONG Wo Bik (Hong Kong)

YANG Chih-Miao (Taiwan)

Curator：WAN YiYi

The exhibition includes ten women artists from Taiwan, Hong Kong, Malaysia, and the United States. The photography media include gelatin silver print and digital print on fine art paper. The categories of photographic form include experimental photography, straight photography, and manipulated photography. The content is combined of portraiture, human figure, landscape, documentary, and fine art photography. With framing, handmade book, interactive installation; the women artists express their issues of concern: gender and cultural differences, imagination and practice of happiness, role-playing and temporal displacement, myth encounters with environmental issues, as well as the growth of women's stories. The exhibition presents a diverse style and rich originality.

Alyson BELCHER made use of her inventory of Polaroid negatives with pinhole camera to create the last series of self-portraits. The series of work is characterized by continued shadowy figure and movement. Meanwhile, it also implies the elegance of queer culture. Mary GOODRICH presents a series of physical senses as a strategy of liberation for erotic joy. With hanging navel and footprints on the ground, Trudee SIEMANN attracts viewers to embark and compare, which fully demonstrates the interaction between identity and gender differences.

Wo Bik WONG’s photos of the Yu family presents a scene beyond time and space with 1930’s costume rented from the Hong Kong Repertory Theatre, creating the coexistence of old soul and new set of thinking. YANG Chih-Miao invited women who attended the first women’s school in Taiwan from Tamsui to gather and take pictures at Taiwan's first female cultural landmark. After the group photo, she did individual interviews to record the brilliant lives of the local women who are over 90 years old.

I-Hua LEE’s " The Wonderful Project " focuses on an interactive directing approach, through photography and text juxtaposition, staggered re-ideal situation the actual situation, the individual small world indeed fortunate also means continuous operation of positive energy. CHIU Ching Ying "Good Pregnancy. Good Luck "series presents the interaction between the photographer and the prospective parents full understanding, she is a more gentle tone, writing a happy chapter in life.

Minstrel Ching Chieh KUIK's "SONG TO DURGA" originated from her experience of abortion and divorce. She returned to her family in Malaysia from France after the abortion and divorce. Inspiration by Indian director Satyajit Ray’s " Song Of The Little Road", the role DURGA is always hopeful even in adversity. From sentimentality to purification, the woman artist witnessed the way to create in her own point of view.

WAN YIYI seeks the trace of Madame Pele in nature. Besides being attracted by the magical outlook and variegation of lava, YIYI also confirmed that woman was “insurmountably drawing on historical and political origins of mythopoetic."  The legendary curse of Madame Pele, that tourists will have bad luck if they take away any stone, is in fact an environment protector’s strategy to rescue nature. The angry volcano Goddess triggered tourism and the Big Island has since then continued to expand. What a positive energy!

Women's Voices-International Photography Exhibition not only spreads a preliminary emancipation, but also implies the cohesion of the sense. The guerrilla girls in HSU Wei-Hui’s work are courageously stepping towards their future freedom. Through exploration, they continue to live in a creative attitude, actively participating and opening a cross-border dialogue.

Contact 886-2-29052337‧29053247 Ms. Hsiao

http://www.fju.edu.tw/aboutFju.jsp?labelID=9

Sponsor：National Culture and Arts Foundation

Co-organizer：Fu Jen Catholic University