「工業感」、「商標感」對李勇志來說是一種記憶連結。從小在工業區成長的他，對於工業廠房景觀的一致性、以及有點設計又不那麼設計感的招牌、商標印象，拼貼著他記憶裡的城市影像，這些影像堆疊與情感累積，產生了矛盾的對向關係，即使這些視覺...
2015 單頻道錄像裝置，聲音，文字One Chanel Video installation，Sound，Text
從郭鶴鳴寫的《幽幽基隆河》文中利用《水經注》順序的寫法與古語的描述方式，挖掘自己小時候記憶中被灌輸的歷史文件形式。以假裝中國文人閒晃隱居來看待在社后基隆河邊發生的一切。一種以健康慢活為名讓都市人方便逃逸的捷徑，文明跟自然的對立在懷古思情的情節之下，變得如此不合時宜的荒謬，卻同時也是對時間之河真摯的詠嘆。
A journey of self discovery, exploring childhood memories of being indoctrinated with historic information, taking from Guo HeMing’s“Distant Keelung River” and the methodology of “Shui Jing Zhu”. From the perspective of a pretend Chinese scholar, procrastinating in seclusion, viewing all that occurs at She Hou, Keelung river. An escape, for the sake of health and comfortability, of the urban resident; under the paradox of civilization and nature, combined with nostalgia for ancient times, untimely absurdity arises, yet most sincerely praising the river of time.
雍和藝術教育基金會：【被工業擁抱的藝術】工廠展
社后，是個以電子零組件與五金加工為主的工業區，曾為台灣60年代機具外銷出口的工業大城，歷經全盛時期之後的社后工業區，留下了一棟充滿時代特色徐宇壽建築師的經典建築，以及歷經幾波產業革新汰換後最堅實的工廠群，雍和藝術教育基金會有幸於2014年入駐這棟社后地區標誌性的建物，以「社后藝術工廠」多位當代藝術家駐地創作，透過藝術與周邊擁有精密技術的工廠，共同打造「我們．一起打造了一座．被工業擁抱的藝術．工廠」!
接續2014年的「我們．一起．打造了一座工廠」，2015開春，也就在「社后藝術工廠」營運一年後，邀請到實踐大學建築系系主任蕭有志擔任策展人，揭露進駐第二年的藝術家們，因著這個四鄰環繞著各種工業與產業的特殊環境產生了什麼樣創作上的影響？這也是為什麼這個展覽特意保留了一年前「我們．一起．打造了一座工廠」這個宣言般的開幕聯展標題。另一方面這個延續性的展覽標題也特意被新植入了「被工業擁抱的藝術」幾個字；除了更清楚反映了這些駐地藝術家近期的集體創作狀態，也企圖引起一種更深入探究工業與藝術之間關係的對話與關照。
參展藝術家包含駱麗真、劉文瑄、廖堉安、楊培君、葉怡利、郭慧禪、張恆銘，為了達到這個目的，策展人反向的為「社后藝術工廠」邀請了另外兩位在藝術創作中長期關注工業與產業的藝術家柯姿安與李勇志，短期進駐共同參與這次的展覽。這個展覽最終希望並呈多種「藝術與工業」交互牽引與作用的藝術花火，企圖為「社后藝術工廠」的下一步展望更明亮的遠方。展覽期間也將安排駐地藝術家開放工作室，由藝術家親自導覽介紹在工業區中的創作生活，讓大眾藉此了解"藝術創作"與"工廠生產" 間微妙的相似之處。
2015 單頻道錄像裝置，聲音，文字 One Chanel Video installation ， Sound ， Text 從郭鶴鳴寫的《幽幽基隆河》文中利用《水經注》順序的寫法與古語的描述方式，挖掘自己小時候記憶中被灌輸的歷史文件形式。以假裝中國文人...
當發現準備要處理「太子汽車」這個招牌的時候，它就已經連工廠準備要被一起拆除了。因
為母公司為了躲避財務危機，「太子汽車」變成了一個被犧牲掉的名字，但它未全然地消
失，我們在破爛的廠房上依稀可見那斑駁字體的殘餘。
而這個招牌也是一樣的，甚至說它比起那些被掩蓋掉的字體更有實質上的意義，就好像人死
掉之後剩下來的屍體。而我利用了它借屍還魂，改造了廉價又簡單的支撐結構，變成了一個
可以坐下來的椅子。映照出在大眾心中，那一個曾經存在過的「太子汽車」。
字以為適/
策展人：林羿妏 / P2倉庫
漢字的發展綿延四千年，它隨著社會的進步和漢語的發展持續在「生長」、「變異」。漢字的出現、發展、構形系統皆與中國文化、社會政治、哲學思想息息相關，由於歷史傳承與文化共同記憶，使我們今日仍能藉著部件的拆解探究其脈絡意義。我們試著以藝術為筆，用趣味互動的方式書寫漢字的發源、現代化發展及其與語言的關聯故事。
參展者：陳依純、王心怡+林秉泓、游惠喻、何明桂、梅林的鬍子、justfont、黃心健、李勇志、李根在、陳琇盈、吳尚霖
官方網站：http://dccf.tw/
當發現準備要處理「太子汽車」這個招牌的時候，它就已經連工廠準備要被一起拆除了。因 為母公司為了躲避財務危機，「太子汽車」變成了一個被犧牲掉的名字，但它未全然地消 失，我們在破爛的廠房上依稀可見那斑駁字體的殘餘。 而這個招牌也是...
招牌動作 – 李勇志 個展
Signature Action –
Lee Yung-Chih solo Exhibition
「Up Up 抬起頭 Up Up 舉個手 Up
Up 想個屬於你自己的招牌動作
Up Up 甩個頭 Up Up 扭一扭 Hey Come On
Everybody 通通被你迷惑
Up Up 甩個頭 Up Up 扭一扭 Hey Come On Everybody 他的目光會被你掌握
暫停一秒鐘 想到了沒有 沒有什麼對錯只要切記千萬別做作
一旦找到自我 看一眼就會記得 隨波逐流可不會快樂」
如同上面蔡依林「招牌動作」的歌詞，「招牌動作」做為一種刻意被說出來的「做作」姿態，所謂「個人風格」的此地無銀三百兩，欲蓋彌彰又明知故問，「明明就很愛演」的入戲方式。
直接又簡單，沒有失手的打算，似曾相似的標誌和文字，最有把握能讓大家知道那是甚麼。所以，那到底是甚麼？
我蒐集周遭環境的圖像，可以說僅僅就是喜歡以這樣的方式去達成屬於自己的風格。我的招牌動作，那是之於現實的想像殘餘，充滿希望又接近著死亡。
我總是會把事情想得更嚴重一點，就是因為很多事情在我看來都太複雜了，於是我想要的是一種最簡單的溝通方式，像是直接「濃縮」出現成類型的果汁或調理包。角色扮演很快，一起往下跳相安無事。無論如何千萬記住，「扮演自己」並沒有太大困難。
也正是，既然如此就這樣看我吧。問我：為什麼要做這樣的傻事？「因為妳值得，寶礦力水得 」，基於這種交換的價值，招牌成了我的「代言物」，並與「代言人」完全相反，如果出包不是作品有問題，而是創作者品味有問題，那麼我要負完全責任。
“Up Up Raise your head Up
Up Raise your hand Up Up Think of your own signature action
Up Up Fling your head Up Up
Twist a bit Hey Come On Everybody Everyone was seduced by you
Up Up Fling your head Up Up
Twist a bit Hey Come On Everybody You control his sight
Once you found myself You will remember just
after a glance There will be no happiness if you follow the trend”
Similar to the above lyrics
of Signature Action by Taiwanese pop singer Jolin Tsai, Signature Action as a consciously presented “pretentious” gesture, “personal style”
has then become a situation when the more you tried to cover up, the more you
revealed and that was something that people had already knew. It is a way to be
into the character that really likes to act.
Direct and simple, there is
no intention to miss anything. Familiar signs and text, it is best to let
everybody knows what was that. So, what really was that?
I collected images from my surroundings. It
was merely because I like this way of working to achieve my own style. My
signature action, that was the imaginative residue of the reality, full of hope
yet close to death.
I always look at things more seriously,
because for me things were complicated. Hence I would like to create a simplest
way of communication, similar to “condensed” fruit juice or cooking pack. It is
fast to play a character, nothing will happen if we jumped down together.
However, there is one thing to remember, which is “to play yourself” is not
hard at all.
That is, just look at me like that since if
it is so. Ask me why I want to do such stupid thing? Just like this advertisement
slogan： “Because you deserve it”. Based on these exchange values,
signboard became my “Spokeobject”, a total opposite to “Spokeperson”. If to run
into problems is not because of the problem of the artwork itself, but because
of the creators’ taste, then I have to be fully responsible.
招牌動作 – 李勇志 個展 Signature Action – Lee Yung-Chih solo Exhibition 「 Up Up 抬起頭 Up Up 舉個手 Up Up 想個屬於你自己的招牌動作 Up Up 甩個頭 U...
2014 柔印樹脂版、單頻道錄像投影 flexo plate, One Channel Video projection
90x68cm、時間長度 duration 2’44”
無意中撿到的被丟棄塑膠踏墊，上面的圖案意外成了LED面板與版畫之間的完美中介。
當外露的LED刻意模擬出真實光線可見的顏色範圍，而我則是反過來利用數位訊號再成為影像並投射在半透明的樹脂版畫上。藉由圖案上抽象的線條，看起來就像LED的電路面板不斷發光。
照亮新世紀，是新興廣告招牌業者無所不用其極的宣傳方式，也是近年流行的立體光雕讓舊物表現出一種「嶄新」，十分地抽像又同時具備簡單易懂的極為通俗，像是在燦爛炫目當中朝未來邁進。
I accidentally found an abandoned plastic
mat. The image on the mat accidentally became a perfect medium between LED
screen and woodblock painting.
When the exposed LED imitate the visible
color range of actual light intentionally, on the contrary, I utilized the
digital signals and transform them to digital image, and project the image onto
the translucent resin plate painting. Through the abstract lines on the image,
it will look like as if the LED electronic board keep radiating.
Brilliant Generation, is
a promotional method by new signboard manufacturers. It is also a recent trend
to present something “new” in old objects through illuminated light sculpture.
It is abstract but is also easy to understand and common at the same time, as
if marching to the future in glittering lights.
2014 柔印樹脂版 、單頻道錄像投影 flexo plate , One Channel Video projection 90x68cm 、時間長度 duration 2’44” 無意中撿到的被丟棄塑膠踏墊，上面的圖案意外成了 LED 面板與版...
2014 鐵、松木、投光燈 Iron, pine ,Charcoal, Spotlight 100x220x55cm
當發現準備要處理「太子汽車」這個招牌的時候，它就已經連工廠準備要被一起拆除了。為什麼會它有興趣？舊時代的招牌樣式，除了是工業的殘餘象徵之外，字體和背後的「極簡支撐結構」，對我來說是一個整體。於是從結構中好像可以容納一個空間出來，不單純只是承載字而已，人還可以坐在上面，功能和展示的一體兩面。
When I was preparing to deal
with the Prince Motor signboard（Chinese spelling：Tai
Tz Chi Che）, I realized that it was going
to be demolished together with the factory. Why is it interesting? The
signboard form from an earlier age is a symbolized residue of
industrialization, furthermore for me the text and minimal supporting structure
behind it is a whole. Hence it looks like a space that could be included from
the structure, not merely carrying the text. People could sit on it, revealing
the two sides of function and display.
2014 鐵、松木、投光燈 Iron, pine ,Charcoal, Spotlight 100x220x55cm 當發現準備要處理「太子汽車」這個招牌的時候，它就已經連工廠準備要被一起拆除了。為什麼會它有興趣？舊時代的招牌樣式，除了是工業的殘餘象徵...
2013 宣紙、水墨、炭筆、行為紀錄影片 Rice paper, Ink ,Charcoal, Performance Documentary
在夜間偷偷地跑到工業區工廠外面進行拓印，進而得到從實體招牌表面上的痕跡，絕大部分是公司的名稱與商標，這件作品在意的是自己已經習慣對於周遭環境圖像的蒐集，某方面只是找到裝飾自己風格的方式。
藉由拓印這種再現圖像的行為，當它展示在其他地方的時候，召喚出來的意義會更加清楚的吧。就像是我開始想像同樣是書畫作品展示各種書法的行為，已經就是宣告，這是我們所擁有的歷史一樣；某方面我所擁有的，就是用假裝書畫作品的展示，但上面卻是現代工業的名稱與標誌。
我把「工業盜版」看成是我在從事藝術創作與工業區的成長背景兩者之間連結的方式，重要的是在於行動本身。行動，除了拓印的過程，也包括拓印之後，將仿彿變成空殻的工業品牌進行挪移的動作。這兩種行動都是藉由台灣過去經濟起飛背後的大量出口製造業依舊頑固存在在當下，以現在台灣已經邁向現代化的狀態看起來像是某種不合時宜的現狀，去反思關於工業集體製造的「不需要名稱」，與在成為產品之後為了差異化的「必須要有名稱」，在這兩者之間的隙縫，我利用現實中不被認可的盜版行動來進行我對「藝術行為」的詮釋。
By represent images through the act of
inscription rubbing, when it was exhibited in other places, the summoned
meaning will be clearer. As I started to imagine it as an act to exhibit
painting and calligraphy works, it already is a declaration. Like the history
that we possess, what we have in certain degree is the exhibition of fake
painting and calligraphy work, where they actually are names and logos of
modern industry.
In my viewpoint, "Industrial Rubbing" is the method of linking my engagement in artistic creation and the growing background of the industrial area, which action itself plays an important role. Apart from the process of rubbing the text or content of the brand, action involves replacing the seemingly empty shell of the original industrial brand with another application at certain location. Actually, those industrial brands have supported Taiwan's economic miracle with large quantity of exportation in the past, and up to now, the manufacturing industry still stubbornly exists in the instant moment. As Taiwan has entered into the status of modernization, such condition appears to be as inopportune as the rubbing action. Accordingly, this work rethinks the issue of "brand without any name" produced by the manufacturers collectively, as well as the "demand of a name of the brand" for differentiation after becoming a product. As such, in regard of the gap, I interpret the "art action" with utilization of the unrecognized rubbing action in reality.
In my viewpoint, "Industrial Rubbing" is the method of linking my engagement in artistic creation and the growing background of the industrial area, which action itself plays an important role. Apart from the process of rubbing the text or content of the brand, action involves replacing the seemingly empty shell of the original industrial brand with another application at certain location. Actually, those industrial brands have supported Taiwan's economic miracle with large quantity of exportation in the past, and up to now, the manufacturing industry still stubbornly exists in the instant moment. As Taiwan has entered into the status of modernization, such condition appears to be as inopportune as the rubbing action. Accordingly, this work rethinks the issue of "brand without any name" produced by the manufacturers collectively, as well as the "demand of a name of the brand" for differentiation after becoming a product. As such, in regard of the gap, I interpret the "art action" with utilization of the unrecognized rubbing action in reality.
2013 宣紙、水墨、炭筆、行為紀錄影片 Rice paper, Ink ,Charcoal, Performance Documentary 在夜間偷偷地跑到工業區工廠外面進行拓印，進而得到從實體招牌表面上的痕跡，絕大部分是公司的名稱與商標，這件作品在意的是...
2013 錄像裝置 Video Installation
我用了在路邊撿到一間公司的招牌，並將上面的圖案延伸出了一個三面的投影的空間。
因為我第一眼看到那個被丟棄的招牌，那個傾斜的F字樣，就好像看到了一個游泳池的角落，一處似曾相似的場景。
I used the sign board that I picked up on
the roadside, and the above pattern extending projection
of a three-sided space.
I first saw the signs that are discarded,
and the tilt of the "F" Letter, as if to see the corner of a swimming
pool, one may have been similar scenes.
2013 錄像裝置 Video Installation 我用了在路邊撿到一間公司的招牌，並將上面的圖案延伸出了一個三面的投影的空間。 因為我第一眼看到那個被丟棄的招牌，那個傾斜的 F 字樣，就好像看到了一個游泳池的角落，一處似曾相似的場景。 ...
參展作品《工業盜版系列_JW嘉威會計師》宣紙、炭筆、紀錄影片 Rice paper,Charcoal,
Performance Documentary
關於「台灣藝術家博覽會」
今年邁入第十三屆，自２００２年開辦以來即成為社團法人中華民國視覺藝術協會（視盟，AVAT），以及台灣藝術圈每年秋天的重要盛會。「台灣藝術家博覽會」是個聚集台灣當代藝術家們的年度創作的平台，於視盟力求排除市場機制、落實「藝術平權」所策劃執行，不同於一般以畫廊為單位的藝術博覽會，是以藝術家、藝術創作為本位，同時匯集策展人、收藏家、藝評人、藝術家與藝文愛好者的一個互通平台。每年以不設限、不評選、不獨厚的原則，向全台的藝術創作者徵件，吸引各年齡層藝術家盛情參與，且數量逐年增加，作品涵蓋不同類型與風格，構成「台灣藝術家博覽會」的鮮明特色。
參展作品《工業盜版系列 _JW 嘉威會計師》宣紙、炭筆、紀錄影片 Rice paper,Charcoal, Performance Docume ntary 關於「台灣藝術家博覽會」 今年邁入第十三屆，自２００２年開辦以來即成為社團法人中華民國視覺...
2012 卡典西德、單頻道錄像裝置 Cutting Sheet, One Channel
Video Installation
80x60cm、時間長度2’04”
一則地方新聞的標題：「夜店LOUNGE PUB」新開幕，享受夜生活不必跑市區。
延續著招牌系列，探索訊息感知在現實當中的命名與意義。當燈光的閃爍喚起夜晚的存有，那個夜店的名字就叫做夜店，除了是對於「晚上才會開的店」的玩笑話，也是大眾集體想像再次複製之後的差距。
Originated from the headline of a local news
“The Opening of YEDAIN LOUNGE
PUB”, enjoying night life without having to go into the city.
Continuing my signboard series, I would like to explore the naming and meaning of message perception in real life. When the glittering lights waken up the existence of the night, the name of the lounge pub is called “YEDIAN” (literally means “shop of the night”), besides being a joke on “a pub that opens only at night”, it also reveals the distant after the reproduction of collective imagination.
Continuing my signboard series, I would like to explore the naming and meaning of message perception in real life. When the glittering lights waken up the existence of the night, the name of the lounge pub is called “YEDIAN” (literally means “shop of the night”), besides being a joke on “a pub that opens only at night”, it also reveals the distant after the reproduction of collective imagination.
2012 卡典西德、單頻道錄像裝置 Cutting Sheet, One Channel Video Installation 80x60cm 、時間長度 2’04” 一則地方新聞的標題：「夜店 LOUNGE PUB 」新開幕，享受夜生活不必跑市區...