湯皇珍個人網站 Tang, Huang-Chen

第四屆台新藝術獎得獎理由
視覺藝術類決審團評審：廖仁義、范迪安、Robert STORR、Hiroshi MINAMISHIMA、陳泰松

2005 TAISHIN ARTS AWARD Jury’s Comments
by Final Selection Jury：Jen-i LIAO、Di-an FAN、Robert STORR、Hiroshi MINAMISHIMA、Tai-sang CHEN

湯皇珍這件作品以個人旅行做為題材，試圖突顯記憶與歷史的虛幻性，微妙地呈現出個人行動被轉變為集體記憶的真實/虛構的雙重性。而從社會整體的性別差異而言，她的位置也顯出重大的意義。
Huang –Chen TANG uses personal journeys as the subject matter of her work in an attempt to foreground the illusiveness of memory and history. She thus subtly expresses the duality of reality and fiction when personal actions are transformed into collective memory. In terms of overall gender difference in society, Tang’s position also shows a great deal of significance.

這件作品實現了Joseph Beuys 所說的「社會雕塑」，藝術形式存在於想像，也存在於想像與想像之間所作虛構記憶的交換。
Tang’s work realizes what Joseph Beuys called a “social sculpture” The art form exists in the imagination and in the exchange of an invented memory between imaginations.

對於台灣當代藝術的主流論述，湯皇珍持續抱持著有意識的反省態度，除了讓我們看到藝術家在這個論述環境中的自主性，也讓我們看到她對藝術創作的誠懇與嚴肅。
TANG has always consciously held an introspective attitude towards the mainstream discourse in contemporary art community in Taiwan. In her we see not only an artist’s autonomy in such a discourse environment, but her sincerity and seriousness toward art creation.

旅五台新獎入圍感言

旅行五台新獎總書寫


Works 1999-2013 Part1		Taishin Arts Award -I Go Traveling Ⅴ/A Postcard with Scenery (Taiwan) 第四屆台新藝術大獎

【2022.秋】1 Tu parles Traveling Ⅰ Traveling Ⅱ Traveling Ⅲ Traveling IV Traveling Ⅴ-1 Traveling Ⅴ-2 Taishin A A Traveling Ⅴ-3 Traveling Ⅴ-4 【2022.秋】2 【2022.冬】1 【2022.冬】2	第四屆台新藝術獎得獎理由視覺藝術類決審團評審：廖仁義、范迪安、Robert STORR、Hiroshi MINAMISHIMA、陳泰松 2005 TAISHIN ARTS AWARD Jury’s Comments by Final Selection Jury：Jen-i LIAO、Di-an FAN、Robert STORR、Hiroshi MINAMISHIMA、Tai-sang CHEN 湯皇珍這件作品以個人旅行做為題材，試圖突顯記憶與歷史的虛幻性，微妙地呈現出個人行動被轉變為集體記憶的真實/虛構的雙重性。而從社會整體的性別差異而言，她的位置也顯出重大的意義。 Huang –Chen TANG uses personal journeys as the subject matter of her work in an attempt to foreground the illusiveness of memory and history. She thus subtly expresses the duality of reality and fiction when personal actions are transformed into collective memory. In terms of overall gender difference in society, Tang’s position also shows a great deal of significance. 這件作品實現了Joseph Beuys 所說的「社會雕塑」，藝術形式存在於想像，也存在於想像與想像之間所作虛構記憶的交換。 Tang’s work realizes what Joseph Beuys called a “social sculpture” The art form exists in the imagination and in the exchange of an invented memory between imaginations. 對於台灣當代藝術的主流論述，湯皇珍持續抱持著有意識的反省態度，除了讓我們看到藝術家在這個論述環境中的自主性，也讓我們看到她對藝術創作的誠懇與嚴肅。 TANG has always consciously held an introspective attitude towards the mainstream discourse in contemporary art community in Taiwan. In her we see not only an artist’s autonomy in such a discourse environment, but her sincerity and seriousness toward art creation. 旅五台新獎入圍感言旅行五台新獎總書寫		相片集錦-1 相片集錦-2

	Voyage Avec Elle 今藝術163期游崴文01 今藝術163期游崴文02 今藝術164期台新獎01 今藝術164期台新獎02 今藝術164期台新獎03 今藝術164期湯口述01 今藝術164期湯口述02 聯合報2006 4-17 聯合報20064-21