在文化洪流的迭代中建構當代藝術的價值觀，越南裔丹麥籍的 Danh Vo 傅丹身兼藝術家與策展人，藉不同型態的雕塑媒材共振群眾的視覺意識，引導歷史政治、信仰及身分認同等議題的重審。藝術家將既定概念拆解成碎片，各帶故事的無機體堆砌成堡壘。然而轉譯的過程超越物件本身乘載的意義；展覽藉由不同應用、具體化或制定的手段，塑造作品與空間的複合式身份，從不同角度檢視時空錯聚下的嶄新視野。
Danh Vo, a Danish-Vietnamese artist and curator, dedicates to construct the values of contemporary art in the iteration of cultural torrents. The artist uses different types of sculptural materials to resonate the visual consciousness of the masses, and directs the re-examination of issues such as history, politics, beliefs and self-identification. Danh Vo disassembles the established concept into fragments, stacking up various inorganic bodies with stories into a fort. Nevertheless, the process of translation goes beyond the significance of the object itself. The exhibition introduces different methods of application, materialization, or formulation to shape the composite identity between artworks and space, exploring a new perspective from diverse time intervals.
展覽的主視覺採用影像作為主軸：讓雕塑張力延展鏗鏘的視覺餘波，減省設計語彙的襯托，以結構本體傳達震撼感與量體的深度。標題以兩種不同字體結合，象徵 Danh Vo 在創作脈絡受兩種不同文化的影響，同時也隱喻歷史與現代的碰撞。手冊封面及信封使用半透描圖紙，呼應藝術家不刻意賦予作品贅意之初心；而扉頁選用貼近銅件材質的銀箔卡，潛意識地連結觀者的觸覺想像。
Photograph is applied as the main tool for exhibition to communicate with the public. The tension of the sculpture extends the visual ripples, lessening the unnecessary design language, and conveying the power and depth through sculpture itself. The title is consisted with two different fonts, symbolizing that Danh Vo is influenced by two different cultures during his creative process, and also act as a metaphor for the collision between history and modernity. The semi-transparent tracing paper is chosen for manual cover and envelope, which echoes the artist's original intention of not adding extra layer of meaning to his artworks. Besides, the title page uses silver-foil card paper, which is similar to artwork's copper material, to connect the viewer's tactile imagination subconsciously.
WINSING ART PLACE
Art DirectorLeo Huang
Perpetua Titling MT Pro