神話與真理—東南亞最活躍的藝術家之一羅德爾塔帕雅新作展 @唐人北京

　　神話與真理—羅德爾塔帕雅新作展

　　展期：2018年11月3日-12月15日

　　地點：當代唐人藝術中心北京第二空間

　　當代唐人藝術中心榮幸地宣佈，將於2018年11月3日在北京第二空間推出東南亞最活躍的藝術家之一，菲律賓80後代表性藝術家羅德爾·塔帕雅（Rodel Tapaya）的個展《神話與真理》。展覽由馬蒂亞斯·阿恩特（Matthias Arndt）策展，將呈現藝術家新近創作的一系列超大幅及中等畫幅的繪畫作品，一件裝置作品及影像作品。

　　《丟失的鉚釘》，布上丙烯，244 x 335 cm，2018

　　The Loss of Rivets,Acrylic on Canvas,244 x 335 cm, 2018

　　羅德爾·塔帕雅（Rodel Tapaya）生於1980 年，現在菲律賓布拉幹省（Bulacan）工作和生活。他將傳統故事的敘述置於當代語境之中，在講述該國神話故事的同時，反映菲律賓人民的面貌和時事社會問題。他善於將想象與現實、過往與現在、神話與時事聯繫在一起，體現出高超的故事敘述水平。作爲一名具象派畫家，塔帕雅的創作源自文學作品，這使他的藝術跳脫了當地語境的侷限，釋放出全球性的影響力。

　　《八頭怪獸與生命之樹》，布上丙烯，244 x 335 cm，2018

　　Eight Headed Monster and the Tree of Life,Acrylic on Canvas,244 x 335 cm, 2018

　　塔帕雅採用多樣化的創作媒介，除了在畫布上塗抹大片丙烯顏料外，他還探索了玻璃繪畫、傳統手工藝、透視畫和素描等。他透過民間故事與殖民時期之前的歷史觀察這個世界，爲觀者拼貼出各種各樣光怪陸離的人物形象。另外，他對那些能引發持久共鳴的時代和地點進行深入思考與反芻，以此作爲精神養料澆灌每一部作品，比如他在早期作品中對“網格”賦予的形式主義與心理方面的隱意，以及對神話和民間美學始終不懈的挖掘與解讀，都體現了他的這一藝術理念。

　　《一抓一啄》，玻璃纖維、木質個人元素。60 x 29 x 29 cm x 60 pic，2010。作品展出於個展《羅德爾·塔帕雅》，澳大利亞國家博物館，堪培拉，2017

　　Isang kahig, Isang Tuka（One Scratch, One Peck）, Glass Fiber, Wooden Personal Elements, 60 x 29 x 29 cm x 60 pic, 2010. Shown at "Rodel Tapaya", NationalGallery of Australia, Canberra, 2017

　　本次展覽旨在探討科學真理與菲律賓神話傳說之間的區別和聯繫。法國人類學家、結構人類學創始人克洛德·列維-施特勞斯（Claude Levi-Strauss）認爲，不能把神話簡單地看成原始信仰或封建迷信的產物。神話其實是一種野史，爲人們系統性地分析人類潛意識的工作方式提供了原始資料。因此塔帕雅在談到這次個展時說：我要表現的，並不是人們會怎樣看待神話，而是神話如何不知不覺地在人們的腦海中運作。

　　《Adda Manok Mo, Pedro?》，第20屆悉尼雙年展，悉尼，2016

　　Adda Manok Mo, Pedro? (Do You Have a Rooster, Pedro?),20th Biennale of Sydney, Sydney, 2016

　　《未知領域》，奧地利Hilger BrotKunsthalle美術館，維也納，2017

　　“Terra Incognita”，Hilger BrotKunsthalle, Vienna, 2017

　　本次新作中呈現的森林、山川和風景，既讓人熟悉又富有幻想色彩。塔帕雅把神話元素與現代社會中的普遍境遇相互並置。他認爲現代人往往狂妄地以爲自己就是巨人甚或是神明，但在控制自然、改造自然的過程中，各種‘地震’和災害卻頻頻降作。他透過生態的視角探討神話與當今世界之間關係，並從中揭示人類因貪慾無度而遭致自然的懲罰。

　　《Baston ni Kabunian, Bilang Pero di Mabilang》，光州雙年展，2014

　　Baston ni Kabunian, Bilang Pero di Mabilang (Cane of Kabunian, numbered but cannot be counted)participated in 2014 Gwangju Biennale

　　《ICA 海外展：香港人》，香港Duddell's空間，香港，2015

　　“ICA Off-Site: Hong Kongese”,Duddell's,Hongkong, 2015

　　賈克林·巴賓頓（Jaklyn Babington，澳大利亞國家美術館，國際策展人）在論及塔帕雅作品中的符號意義及其深層聯繫時指出：“塔帕雅從菲律賓殖民時代之前的神話傳說和風俗傳統中汲取靈感，將幻想與現實融爲一爐，以視覺的方式反映當代政治、社會及環境問題，呈現出當代人複雜的生存境遇。他的繪畫特點與墨西哥壁畫藝術家和超現實主義藝術家有不少共通之處，然而塔帕雅將菲律賓的社會、政治和環境問題有機地串聯在一起，在作品中揭示的本土性問題，具有全球性的意義，這份功力堪與前輩的社會敘事畫大師相比肩。”

　　關於藝術家

　　羅德爾·塔帕雅出生於1980年，是菲律賓80後藝術家中的重要代表人物，也是目前東南亞最活躍的藝術家之一。在2001年獲諾基亞藝術獎（Nokia Art Awards）特等獎。後赴美國紐約的帕森斯設計學院和芬蘭的赫爾辛基大學努力攻讀素描和油畫課程。後畢業於菲律賓國立大學藝術學院。

　　其部分個展包括：“城市迷宮”（Urban Labyrinth），阿亞拉博物館，馬尼拉，菲律賓，2018年；“羅德爾·塔帕雅：來自菲律賓的新藝術”，澳大利亞國家博物館，堪培拉，澳大利亞，2017年；“羅德爾·塔帕雅”,辛德爾芬根市美術館（Galerie der Stadt Sindelfingen），德國，2016年；“倫敦當代藝術學院館外展：香港人”（ICA Off-site: Hong Kongese），都爹利會館，香港，2014年；“Bato-Balani”，雅典耀美術館（Ateneo Art Gallery），奎松市，菲律賓， 2014年；仙境(Cloudland)，Art Hongkong, 香港，2012年；“棱鏡與平行”（Prism and Parallelism），BenCab博物館，碧瑤市，菲律賓，2012年；“舌之花”（Flowers of the Tongue），巴爾加斯美術館（Vargas Museum），奎松市，菲律賓等。

　　其部分羣展包括：“第十五屆亞洲藝術節”，寧波美術館，寧波，中國；“未知領域”（Terra Incognita），Hilger BrotKunsthalle美術館，維也納，奧地利；“激情與前進：菲律賓藝術”（Passion and procession: Art of the Philippines），新南威爾士美術館，悉尼，澳大利亞；“第二十屆悉尼雙年展”，悉尼，澳大利亞，2016年；“Bisa: Potent Presences”，馬尼拉大都會博物館，菲律賓，2011年；“很久很久很久以前－菲律賓藝術百年之旅”（Thrice Upon a Time: A Century of Story in the Art of the Philippines），新加坡美術館，新加坡，2009年等。

　　他的作品受諸多國際性美術館收藏，包括新南威爾士美術館（悉尼，澳大利亞）、澳大利亞國家美術館（堪培拉，澳大利亞）、森美術館（東京，日本）、新加坡美術館（新加坡）、Bencab 博物館（本格特省，菲律賓）、雅典耀美術館（馬尼拉，菲律賓）、Pinto美術館（菲律賓），以及菲律賓中央銀行等。

　　關於策展人

　　馬蒂亞斯·阿恩特，1968 年生於德國法蘭克福，當代藝術領域的專家和顧問，曾擔任 1997 年第十屆卡塞爾文獻展 (Documenta X) 總監。A3藝術事務所 (A3 - Arndt Art Agency) 的創始人。藝術管理公司“artservices”創始人，與2000年世博會、柏林雙年展和柏林世界文化宮 (Haus der Kulturen) 合作。柏林秋季藝術節 (Kunstherbst Berlin) 的創始人之一，該藝術節是柏林藝術周 (Berlin Art Week) 的前身。倫敦泰特現代美術館亞太地區藏品購入委員會成員。2002 年獲法國文化部授予的法國藝術與文學騎士勳章。柏林 Master 基金會 (Berlin Masters Foundation) 主席，該慈善基金會旨在對柏林的藝術家提供支持。

　　Tang Contemporary Art is proud to announce the opening of Myths and Truths: Recent Work by Rodel TapayaonNovember3, 2018, in the 2ndspace of Beijing. Curatedby Matthias Arndt, thisexhibitionwill present a range of monumentally scaled paintings alongside medium scale works, an installation piece and film.

　　Born 1980, Rodel Tapaya lives and works in Bulacan, Philippines and is considered one of the most important Filipino painters of his generation and one of the most active artists working in Southeast Asia today. In his work, he conveys important stories of his country, the people and topical local societal issues from the Philippines that intertwine traditional storytelling within a contemporary context. As all great storytellers do, he draws connections between the imagined and the real, history and the present day, and myth and current events. As a figurative painter, Tapaya’s intriguing literary-based compositions transcend beyond their local context to universal situations and are reminiscent in style to painters from the German Expressionist tradition such as Neo Rauch, Max Beckmann, as well as finding parallels in the painterly developments of artists such as Daniel Richter and Peter Doig, among others.

　　《到處都是水，卻沒有一滴能喝》, 布上丙烯, 300×500cm, 2018

　　Water Water Everywhere, Not a Drop to Drink,Acrylic on Canvas,300 × 500cm, 2018

　　Utilising a range of media — from large acrylic on canvasses to an exploration of under-glass painting, traditional crafts, diorama, and drawing —Tapaya filters his observations of the world through folktales and pre-colonial historical research, creating whimsical montages of his characters. Each work has its origin in Tapaya’s reflections on a particular time or place that possesses an enduring resonance, from its correspondence with the formalistic and psychological implication of the grid in his earlier works to protracted ventures which excavate and interpret myth and folk aesthetics.

　　Speaking about the symbolism in Tapaya’s work and further associations, Jaklyn Babington (Senior Curator, Contemporary Arts Practice – Global, National Gallery of Australia) comments “by drawing inspiration from pre-colonial mythology and Filipino folkloric tradition, Tapaya meticulously pieces together numerous pictorial fragments, fusing the otherworldly with the real, in a visual grappling with contemporary politics, social and environmental issues. Tapaya has been exhibiting for over a decade and has established an intriguing literary-based visual practice, unique in its Filipino perspective yet striking for its participation in the rich history of Hispanic narrative painting. His flat application of paint, cramped figurative compositions and mix of decorative surface with political messaging immediately evokes the work of the Mexican muralists and surrealists such as José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros and Frida Kahlo. However, in a constructed knotting of the social, political and environmental issues of Filipino life, Tapaya’s work illuminates a complicated contemporary existence. And, as with the great social narrative painters before him, the local issues grappled with are often of global significance.”

　　《陽光充足》，布上丙烯，183x244 cm，2018

　　Abundance in Sunlight,Acrylic on Canvas,183x244cm, 2018

　　This exhibition is about the exploration of the dichotomy between scientific truths and the rich mythical stories from my country, The Philippines.French anthropologist, Claude Levi-Strauss, founder of Structural Anthropology once said, “I therefore claim to show, not how men think in myths, but how myths operates in men’s minds without their being aware of the fact.” As Levi-Strauss believed that myths are not simply a random construction of primitive beliefs or backward mentality instead myths are pseudo-histories, the artist speaks about his solo project:

　　《無題》（兩件），青銅，左180 x 80 x 45 cm，右180 x85 x 67cm，2018

　　Untitled, Bronze, 180 x 80 x 45 cm(L),180 x 85 x 67 cm(R), 2018

　　“A French anthropologist, Claude Levi-Strauss, founder of Structural Anthropology once said, “I therefore claim to show, not how men think in myths, but how myths operates in men’s minds without their being aware of the fact.” This exhibition is about the exploration of the dichotomy between scientific truths and the rich mythical stories from my country, The Philippines.

　　They provide the raw material for a systematic analysis of how humans unconscious mind works. “In this new body of work, I have created forests, mountains and landscapes, familiar yet otherworldly. The elements in the myths are juxtaposed with present conditions prevailing in contemporary society. As humans we tend to see ourselves as giants and gods that can control nature but in the process creating our own ‘earthquakes’ and disasters. It is interesting for me to find connections and relations of myths and the present stories on ecological perspectives, combined with the consequences of humans insatiable desires resulting to man-made disasters.”

　　《豐漁》，布上丙烯，244 x 183 cm，2018

　　Big Catch,Acrylic on Canvas,244 x 183 cm, 2018

　　About the artist

　　Rodel Tapaya was born in 1980. He completed his studies at the University of the Philippines College of Fine Arts.Heawarded the coveted Grand Prize in the Nokia Art Awards in 2001, which allowed him to pursue intensive drawing and painting courses at Parsons School of Design in New York and the University of Helsinki in Finland.

　　Selected solo exhibitions include: Urban Labyrinth, Ayala Museum, Manila, Philippines (2018), Rodel Tapaya. New Art from the Philippines, National Gallery of Australia, Canberra, Australia (2017), Rodel Tapaya, Galerie der Stadt Sindelfingen, Germany (2016), "ICA Off-Site: Hong Kongese" (2015), curated by Gregor Muir, Alia Al-Senussi and Abdullah AlTurki at Duddell’s Hong Kong, "Bato-Balani" at the Ateneo Art Gallery, Quezon City, Philippines (2014), "Cloudland" at the Art Hongkong, Hong Kong (2012), "Prism and Parallelism" at the BENCAB Museum, Baguio City, Philippines (2012), "Flowers of the Tongue" at the Vargas Museum, UP Campus Diliman, Quezon City, Philippines (2010) and "Mythical Roots" at the SOKA ART Center, Beijing (2009).

　　Selected group exhibitions include: 15th Asia Arts Festival, Ningbo Museum of Art, Ningbo, China, Terra Incognita, Hilger BrotKunsthalle Vienna, Austria, Passion and procession. Art of the Philippines, Art Gallery of New South Wales, Sydney, Australia, Pinto: Manhattan Manila, West Village, NYC, USA, 20th Biennale of Sydney, Sydney, Australia (2016), "June a Painting Show, Sadie Coles HQ, London, UK (2015), Bisa: Potent Presences at the Metropolitan Museum of Manila, Philippines (2011) and Thrice Upon a Time: A Century of Story in the Art of the Philippines at the Singapore Art Museum, Singapore (2009).

　　His work is held in the following international museum collections: Art Gallery of New South Wales, Sydney, Australia, National Gallery of Australia, Canberra, Australia, Mori Art Museum Collection, Tokyo, Japan, The Hori Science and Art Foundation, Nagoya, Japan, SAM - Singapore Art Museum, Singapore, Bencab Museum Collection, Benguet, Philippines, Ateneo Art Gallery Collection, Manila, Philippines, Pinto Art Museum, Philippines, Bangko Sentral ng Pilipinas (Central Bank of the Philippines).

　　About the curator

　　Born in 1968, in Frankfurt, Germany, Matthias Arndt is a contemporary art expert and advisor who ran his successful gallery business in Berlin with branches in Zurich, New York and Singapore. Spanning twenty-three years of operation, Arndt’s contemporary art galleries staged over 300 exhibitions worldwide, were represented in all major international art fairs, and published 80 artist monographs, catalogue raisonnés, gallery magazines and thematic publications in collaboration with major international publishing houses and editors. Matthias Arndt is the founder and managing director of A3 - Arndt Art Agency.

　　Matthias Arndt was also Director of the guided tours and visitor services of DOCUMENTA X (1997) and created a dynamic arts management firm, artservices, consulting with clients such as Volkswagen, Expo 2000, Berlin Biennale, Haus der Kulturen, and co-founded “Kunstherbst Berlin” (today’s Berlin Art Week). Arndt has lectured at the Institute of Culture and Media Management at the Berlin University, at Documenta IX and X in Kassel, the UBS Arts Forum in Wolfsberg and LASALLE College of the Arts in Singapore. He is a member of the Asia Pacific Acquisition Committee of the TATE in London and was awarded Knight of the French “Ordre des Arts et des Lettres ” in 2002 by the French Ministry of Culture. Arndt is also the Chair of the BERLIN MASTERS Foundation, a charitable foundation to support artists based in Berlin.