HSI SHIH-PIN

Sunday, March 21, 2010

愛樂電台《藝術相對論》席時斌訪談_播出時間 3/26(五)18:00-19:00

台新藝術獎 / 愛樂電台

藝術相對論

視覺藝術與表演藝術的「藝」類觀點

受訪藝術家：席時斌
播出時間：2010/3/26 周五18:00-19:00
廣播頻道：台北FM99.7、新竹FM90.7同步播出。
網路廣播：http://www.e-classical.com.tw/

Tuesday, March 16, 2010

黑油亮-第三世界的藝術勞力系列

席時斌《黑油亮-第三世界的藝術勞力系列》Mixed media,240240230cm,2010

Saturday, March 06, 2010

愛滋長

Hsi Shih Pin 《愛滋長》Mixed Media_drawing,79x55cm,2008-2010

策展人:黃亞紀

Thursday, March 04, 2010

《美的再濫用 The re-abuse of beauty：Halfway House 》 2010/03/10-2010/03/28

展覽Exhibition：

美的再濫用 The re-abuse of beauty：Halfway House

2010/03/10-2010/03/28
(周三至周日 1:00PM~6:00PM 周末至8:00PM)

開幕茶會：2010/03/13 15:00PM
座談會：2010/03/21 15:00PM
講題：藝術社群的中途之家，概念與城市分析。
Topic: Halfway House for Art Community：Concept and Urbanism Analysis

地點：視盟藝文展覽空間台北中華路一段91巷1號一樓

参展藝術家：
郭慧禪 Niki Kuo, 郭令權 Lynch Kuo, 陳松志 Sung Chen, 莊惠琳 Chuang Hui-lin

展覽執行與参展藝術家：
席時斌 Hsi Shih-Pin

展覽敘述：
「一天夜裡，我置美於膝上，我苦戀著她，也糟蹋著她。」，韓波

中途之家
最近為了要給出獄的人準備一個家，主管人士在宣佈的佈置原則中說：「我們打算把它美化，因為美很重要。美可以讓人知道自己是受到重視的。」康德則繼續說道，「對於美的判斷，人同此心，普世皆然，也就是說，每個人都是一樣的」。從這個觀點來看，濫用美乃是一種牴觸道德的象徵性作為，因此，實際上也抵觸了人性。韓波在之後的詩中描述自己所付出的代價，承認自己的罪惡之後，馬上接著說：「過去，我是在武裝自己跟天理作對。」

《美的再濫用》一詞竄用丹托“美的濫用”書名，當然我也引用的部分的內文作以渲染我們追求美與美化空間的正當性。丹托將藝術擴充出美的限範，而後美也繼續被真正的濫用。

而我必須再宣言：「我真的是正當的，這裡並不是公有空間，它們不足一提的歷史必被抹除才是，那些試圖談論它們的使者不過出於難改的信仰，我們有更偉大的任務要作，我是藝術家、理論研究者、社會運動者，空間改造者、都市更新者，我是正當的，是的，我將改造並使用它，而我真的不打算談論它們。」

撰稿：席時斌
(此展透過對展出空間的進入，揀選作品以探論城市環境(包含公共與私有)改造中，藝術美學的介入現象與角色)

Concept:
“One night, I placed beauty on my knees- I pursued her, and at the same time I ravished her.”---Arthur Rimbaud

Halfway House
While organising an institution for those who are ready to reintergrate with the society from prison, the authorities announced that the decoration should focus on how to beautify the space, as beauty is important, it makes one feel important. (Kant) people have universal judgement of beauty. in other words,people are all the same. At this point, the abuse of beauty could be seen symbolically as the contradiction of morality,hence contradiction of humanity. Arthur Rimbaud later described the price he paid for his sin, admitted that his crime was 'to arm himself and fight against Justice/Nature/God'.

The 're-abuse of beauty' came from Arthur Danto's book 'The Abuse of Beauty', which of course will be quoted to strengthen our legitimacy of the pursuit of beauty and of beautifying such space. Danto expands art outside the framework of beauty, thus beauty is continuously being abused.

I would also like to make my annoucement: ths space is not owned by the public, the insignificant history should be waived from the context. Those messengers who intend to address it only do so due to the deep rooted belief in their minds. I am an artist, a theorist, a social activist, a space reformer, and an urban regenerator. I am the legitimate user and reformer of this space, but I have no intention to address it.
Writer: Hsi Shih-Pin

Thursday, February 25, 2010

性感帶 2010/03/06~04/04 也趣藝廊

展覽時間為 2010.3.6(Sat)-4.4(Sun)

開幕茶會為 2010.3.6(Sat)下午三點

參展藝術家：│荒木經惟 Nobuyoshi Araki│席時斌 Shih-Pin Hsi│劉麗勇 Liyong Liu│西尾康之 Yasuyuki Nishio│拔水摩耶 Maya Nukumizu│大野智史 Satoshi Ohno│篠山紀信 Kishin Shinoyama│Peter Tscherkassky│王孟飛 Mengfei Wang│王琬瑜 Wan-Yu Wang│米原康正 Yasumasa Yonehara

策展人：黃亞紀 (Yaji Huang)

性，是動物的本性，是初始，是慾望。性感，是氛圍，是肉體的也是精神的,是個人的也是社會的。情色與藝術，是鴻溝或者重疊，是誰定義了美，是誰被剝奪了高潮。熟稔亞洲當代藝術的策展人—黃亞紀，將以性感為題，以日本、台灣、中國等三地藝術家為軸，包括大師級所描繪的性感，如荒木經惟 (Nobuyoshi Araki)、近期備受爭議篠山紀信 (Kishin Shinoyama)；年輕人喜愛的性感，流露在米原康正 (Yasumasa Yonehara) 無法複製的影像中；新銳藝術家王琬瑜以及席時斌，將刻化台式性感；中國藝術家的性感:，由王孟飛、劉麗勇詮釋；還有超越卡漫式的性感，展現在大野智史 (Satoshi Ohno)、拔水摩耶 (Maya Nukumizu) 奔放的作品中；奧地利知名實驗電影大師Peter Tscherkassky，演出蒙太奇式的性感而台灣觀眾所熟悉的西尾康之 (Yasuyuki Nishio)，將以太空人雕塑描繪死亡的性感。

性感，不僅扮演人類最重要的消費動機之一，也是最佳的感官刺激挑逗者。性，或者性感，在儒家禮教濡沫下的中、日、台等地，有極致的情色工業反彈、有避而不談的反應、有儀式化的對待。也趣藝廊，將以「It Must Be Your Sexy Way」，從美、色情、情色、性、時代、暴力、死亡中，企圖在台灣製造一點性感聲響的嘗試，邀您一同進入性感帶，並且享受藝術的高潮。

Sex is an animal instinct; it is the default function, the lust. However, sexiness is about the ambience, it can be physical or spiritual, it can even be of the society and the age. Are Art and porn overlapped or divided? Who can define them? Yaji Huang (黃亞紀), who is familiar with Asian contemporary art, organized the group exhibition about sexiness. 11 artists from China, Japan and Taiwan are invited to present their different sexy ways. For instance, Kishin Shinoyama (篠山紀信), who has been criticized recently, photographed an AV idol, Kirara, on the street in Tokyo to depict the combination of present life and lust. Additionally, Nobuyoshi Araki (荒木經惟) and Yasuyuki Nishio (西尾康之) lead us to understand the relationship between sexiness and death.

Taiwanese sexiness is presented by new emerging artists, Wan-Yu Wang (王琬瑜) and Shih-Pin His (席時斌) and Mengfei Wang (王孟飛) and Liyong Liu (劉麗勇) show china’s sexy way. Moreover, the works of Satoshi Ohno (大野智史)and Maya Nukumizu (拔水摩耶) describe sexiness with manga’s form. Also, Peter Tscherkassky, who is one of the most famous experimental film producers, makes montage’s sexiness.

Yasumasa Yonehara (米原康正) is best know for the Cheki photographic portraits of young women. The images he produces of the young woman are made in multiple repetitions of the same seductive pose. The image selection is edited in such a way as to create a simple narrative of the shoot. The sequential nature of the image aims to capture movement that reveals the girls’ “personal side”.

Because of Confucianism, most people in Taiwan avoid to talk about sex. Therefore, AKI gallery is an attempt to create a little sexy voice in Taiwan, through beauty, porn, eroticism, sex, the age, violence and death by the exhibition of “It Must Be Your Sexy Way “.