文化部第六屆公共藝術獎「卓越獎」獎狀

Identity and the Artist

「形骸孤島」流浪動物骨骸訴說生命悲歌

環境資訊中心 更新日期:"2011/02/28 10:51" 賴品瑀 新聞來源

本報2011年2月28日台北訊，特約記者廖靜蕙報導知名旅美藝術家張力山，以被棄養的流浪犬貓骨灰，創作出「形骸孤島」藝術作品，傳達他對全台5都17縣，每年將近10萬隻流浪動物被棄養、處死，屍骸被焚燒、銷毀，卻沒有被「當權者與社會大眾」看見的撼動與關懷。

由將近1公噸動物骨骸所堆積出來的塚，冷色調燈光凸顯動物被遺棄後，經歷痛苦的收容過程，最後人道撲殺、火化後留下的屍骨，孤獨地隨之風化。張力山以撿骨在民間代表一種虔誠心意的習俗，讓觀展者將這份心意裝入信封內，放在另一堆由暖色光映出的信封堆裡；並隨著越來越多人撿骨，讓冷漠的塚逐漸消失，化為民間的力量向當權者控訴，要求改變。

信封上印有「身在公門好好修行掌握職權步步落實」對聯，橫批為「政策影響萬千生命」，未來將由主辦單位寄至相關中央與地方政府部門，共同促成從源頭減少寵物不當繁殖、棄養的有效方案。

本次應邀回國參與台北當代藝術館「活彈藥」展覽的張力山表示，《形骸孤島》以裝置加行動藝術的理念，傳達台灣寵物棄養及流浪動物所衍生的種種社會問題，這也是他「意外領域」系列作品之一，意在探討人類生存空間與自然生態空間重疊，所造成對彼此的影響及傷害，刻畫出生機活絡的自然界，處處潛藏著對生存造成危機的「意外」場域。

張力山被問到是否為愛狗人士，他遲疑了一下說，他不算是特別愛動物，只是面對台灣流浪動物收容12天就被人道撲殺有所感，「動物和人都一樣有生命，都有生存的基本權利。」對於生命他認為應該有更好的解套，而非大量撲殺。他認為，撲殺只能治標，無法解決根本的問題。

張力山以紐約的經驗為例，以絕育植晶片的方式，約在3年就能解決流浪動物的問題。

此次為了收集動物骨骸，張力山一個半月前在紐約即不斷以電話聯絡台灣農委會、各地收容所以及十幾個動物火葬場，並獲得普遍的回響。張力山表示，多數接觸過的單位，在經過說明理念後，都十分認同，因此透過貨運、郵遞，將約3個月來的無主動物骨骸陸續寄來，估計約3000多隻、重達1公噸。

現場來參觀的民眾，有些看完展示說明後，默默地離開，卻有一對來自旅居香港的南非女性，也拿起筷子與信封安靜地在骨骸前拾骨，密封送到另一邊的信件堆裡。他們對記者表示，非常認同活動理念，也期待以此方式喚起公共意識。

共同參與《形骸孤島》展出及行動的台灣動物社會研究會主任陳玉敏表示，動物保護有不同形式表達訴求，為動物發聲，此次也透過行動藝術看到不同層面的動物議題，無論「愛」與「不愛」某種動物，均應以「尊重」每一種動物生命權益為前提。

活彈藥（Live Ammo）展《形骸孤島》

邀你參與 讓「形骸」化身成為「活彈藥」

從源頭減少流浪動物生命苦痛

● 展出及行動地點：台北市當代藝術館（長安西路39號）

● 開放參與時間：2011/2/26～2011/4/17，每週二至週日（週一休館）

上午10時～下午6時，17:30停止售票

門票：50元

● 無法前往觀展民眾，可按此下載明信片，列印簽署後寄至當代藝術館收。

骨骸成山 藝術家為流浪動物發聲

【記者呂苡榕台北報導】新聞來源 台灣每年有將近10萬隻的動物遭到棄養，這些流浪動物進入收容所後，一旦沒有被認養，立即遭到安樂死。死去動物的骨骸，堆成了一座小山，訴說著人類對生命的漠視。當代藝術家張力山以棄養貓犬的骨灰做為創作理念，創作出作品──「形骸孤島」，希望透過展示與參與行動，喚起更多人對流浪動物的尊重和關懷。

旅美14年的當代藝術家張力山，這次受邀回台與其他25位藝術家共同舉辦「活彈藥」（Live Ammo）展。其中張力山的作品「意外領域之形骸孤島」，將大約一公噸的流浪動物骨灰陳列在展區，邀請民眾撿拾現場骨灰放入信封中，展覽結束後，台灣動物社會研究會將會將這些骨灰送至相關主管機關，要求政府重視動物福利的問題。

由於台灣每年出現近10萬隻的流浪動物，導致收容所沒有多餘空間和資源讓流浪動物獲得好的照顧，另外為了空出位置給更多流浪動物，收容所在安置12天後，必須將沒人認養的流浪動物安樂死。數量龐大的流浪動物待在環境髒亂、狹小的收容所中，不但可能爆發傳染病，也可能因為互咬而受傷。

動物社會研究會長年推廣以認養代替購買，從源頭減少流浪動物的產生，同時要求政府設置動物專責單位，而非讓清潔隊進行流浪狗捕捉任務。同時加強飼主責任、推廣節育觀念，並且管制寵物買賣。

用藝術帶出社會議題

這次與張力山合作，動物社會研究會設計印有「身在公門好好修行，長握職權好好落實」以及「政策影響千萬生命」等句子的信封，邀請民眾將流浪動物骨灰裝入信封中，準備在展覽結束後，把這些骨灰送到政府部門手上。

為何選擇以動物骨灰做為創作概念，張力山表示，1998年開始，他開始進行一連串「意外領域」的創作，首先是因為他在美國公路上見到許多車禍死亡的動物屍體，因此有了第一個「Roadkill」系列，提醒人類對於這些意外身亡的動物的重視。之後他陸續產出「意外領域─昆蟲篇」等創作，以及這次的「形骸孤島」。

「做了許多展覽後，我常思考藝術家只是單純的藝術家嗎？藝術家應該也有他的社會責任。」張力山表示，他曾經接受許多人的協助，這些人也許不需要他報答，因此他選擇關注社會議題，透過這些展覽讓更多人認識這些議題。

張力山說，透過越洋電話，他聯繫上動物社會研究會，同時開始與各單位進行交涉，希望能夠獲得幫助。「不過一開始碰到不少軟釘子，畢竟公部門不能直接同意協助，因此常要我去找另一個單位先獲得許可再說。」

密切聯繫與溝通後，張力山獲得台灣不少火葬場的同意，陸續收到流浪動物的骨灰，經過一個半月的收集，終於得到進一公噸的遺骸。「其實我沒有特別愛動物，我只是覺得動物和人一樣，生命都只有一次，他們和人類並沒有差別。」

讓動物獲得尊嚴

張力山強調，「撿骨」在台灣民間社會是一個慎重的儀式，必須帶著尊敬的心情來執行。展場上陳列的骨灰以冷調的藍光照射，因為它們是被遺棄的一群；但裝進信封的骨灰卻打上明亮的燈光，透過民眾撿起骨灰裝進信封，「每個信封裡都裝著一顆心、一份尊敬。」

動物社會研究會主任陳玉敏表示，不論是否愛動物，人類都應該尊重牠們做為一個生命的權力。因此呼籲政府必須重視動物的福利，透過修法與設立專責機關，避免這些生命，成為冰涼的骨骸。「活彈藥」展將在台北當代藝術館展覽至4月17日，相關資訊可上當代藝術館網站查詢。

▲張力山以流浪動物骨灰最為媒材進行創作，希望透過民眾參與，將骨灰裝進信封後，由動保團體送往政府機關，企圖喚起政府對流浪動物的重視。（圖文／呂苡榕）

誰來為流浪動物「撿骨」？

記者 鐘聖雄 / 台北報導 新聞來源

為凸顯台灣寵物棄養與流浪動物問題，自紐約返台的藝術家張力山近日於台北當代藝術館籌備《意外領域之形骸孤島》展覽，將大量由各地流浪動物收容所蒐集來的動物火化遺骨運進展場中，堆成一座約120公分高的小山，希望參展民眾能利用這些遺骨推動《動物福利法》修法。

「過去我在紐約關注的是死於交通事故的動物，但在台灣，我想流浪動物的狀況非常嚴重，12天沒人領養就得被安樂死，造就這麼多的骨灰遺骸，所以才想策劃這個展。」張力山拿出寫有「流浪動物『形骸』教我們的事」的信封，希望所有參展民眾都能一起來為流浪動物「撿骨」，把蒐集來的遺骨裝進信封袋中，寄給各地的流浪動物主管機關」，讓主管機關瞭解台灣民眾對流浪動物議題的關注，進而推動《動物福利法》的修法工作。

骨骸創作…為流浪貓狗請命

【聯合報╱記者湯雅雯／台北報導】 新聞來源
2011.02.27 02:51 am

「讓骨骸化為民意發酵」，當代藝術家張力山花了一個半月蒐集一噸流浪動物骨灰，堆成一座「形骸孤島」；象徵台灣每年有近十萬流浪犬貓被撲殺焚化，卻沒有被政府及民眾看見，他更和動保團體合作，號召民眾一人一信響應。

「這是第一次有藝術家主動找上門」，台灣動物社會研究會執行長朱增宏說，「形骸孤島」即日起在台北當代藝術館展出，現場準備了信封，民眾可撿拾骨骸放入信封中，等到展期四月中結束，「我們也將把這些信寄到中央及縣市政府，要求修訂動物福利法」。

張力山表示，「當骨骸山越來越減少，變成另一座信封山，就是民意的發酵」。會有這個構想，是因為他在美國常收到朋友轉寄流浪狗待領養，不然將被撲殺的電子郵件，發現流浪狗問題在台灣很嚴重，主動聯絡台灣動物社會研究會，希望能夠盡一份心力。

張力山是旅美藝術家，他在紐約就曾展出「公路上枉死動物」的藝術作品。他開車在高速公路上，常看到各種野生動物遭車輾斃，他把被撞死的浣熊、鹿，拍成照片或製成標本，藉此凸顯人類和自然界彼此造成危機的「意外」場域。

從國中就立志當藝術家的張力山，退伍後一句英文都不會講就到紐約流浪。他說，藝術家不是只是埋頭創作，應該也要發揮某些社會責任，藉由多元方式呈現，讓靜態的藝術創作也能轉化為社會運動。

朱增宏指出，他們也將寄發邀請函請農委會首長觀展；未來這些骨骸信封將寄到政府機關，要求政府修法，落實源頭管理、廢止清潔隊捕犬、提升收容所動物福利等措施。

【2011/02/27 聯合報】@ http://udn.com/

20110226-公視晚間新聞-流浪貓狗骨骸堆成山 另類環保藝術

形骸孤島 藝術家行動聲援流浪犬

【聯合報╱記者湯雅雯／即時報導】新聞來源

2011.02.26 05:41 pm


當代藝術家張力山與動保團體合作，創作「形骸孤島」藝術作品，他花了一個半月時間，蒐集到一噸流浪犬貓骨灰、骨骸，堆成一座山；即日起在台北當代藝術館展出，現場還準備了信封，請觀眾撿拾骨骸放入信封中，當骨骸山越來越減少，變成另一座信封山，就是藝術結合行動的發酵。


「形骸孤島」創作 突顯流浪動物問題 / 陳正興拍攝

張力山表示，他從國中就決定要當藝術家，退伍後一句英文也不會講就到紐約流浪，在美國高速公路上，常看到有野生動物被車撞死，他在美國也常收到朋友轉寄有關流浪動物待領養，不然會被撲殺的電子郵件，他發現流浪狗問題在台灣很嚴重，主動聯絡台灣動物社會研究會，希望能盡一份心力。

他希望透過作品，「讓骨骸化為民意發酵」，有更多民眾支持、聲援。台灣動物社會研究會也說，這些骨骸信封未來將寄到政府機關，要求政府修訂「動物福利法」，落實源頭管理，廢止清潔隊捕犬，提升收容所動物福利。

【2011/02/26 聯合報】@ http://udn.com/

一人一信，拯救萬千生命！

聯展名稱：活彈藥 LIVE AMMO
展出地點：台北當代藝術館
地址：台北市長安西路39號（捷運中山站）
展出日期：2011年2月25日～4月17日
開幕：2011年2月25日晚間七點

旅 美藝術家張力山在台北當代藝術館展出的「形骸孤島」作品，不只是一定期、定點的靜態展覽，更與台灣在地動保組織合作，展開公眾參與的社會行動，具體實踐當 代藝術對社會現實的關注。本作品通過藝術家的心、眼、手，透視人與動物互動過程中的衝突，以全台同伴動物死亡的身軀、骨灰作為創作素材，期望透過作品及一 系列藝術加行動的穿透力與感染力，重燃灰燼，引燃更深遠、更多面向的影響與思考。

動保團體辦公空間展示，所呈現的是社團法人台灣動物社會研究會所有同仁，自民國78年動保法立法以來，針對同伴動物議題所做的各項努力及行動，包括從公眾意識和輿論、政策施壓、立法遊說、教育推廣等各方面，逐步促進人們意識、行為及公共政策的改變。

此次藝術+行動的主要訴求與目標有：
1. 立法部門：修訂「動物福利法」。
2. 行政部門：中央及各縣市設置動物保護專業、專責單位；落實源頭管理政策；廢止清潔隊捕犬；提升收容所動物福利。

希望觀展民眾透過實際的參與「作品」，開展由個人到集體的行動，以促進現狀的改變：
1. 主辦單位於展覽現場準備有訴求信封，觀展民眾可在現場將一小部分動物骨灰裝入信封袋中並簽名，並交由主辦單位統一蒐集後寄送政府立法與行政（中央及地方）首長。
2. 若家中有飼養同伴動物，請連繫信賴的獸醫，為家中動物安排絕育手術及登記。
3. 請說服周遭親友，為家中寵物辦理絕育、登記。

如果您無法親臨當代館觀展，仍懇請您共同關心這個議題，踴躍參與連署活動。意者，請列印訴求卷，填上個人資料後，於展覽期間2/25/2011~4/17/2011，寄到

台北當代藝術館
「形駭孤島」藝術+行動 策展單位
台北市103長安西路39號

誠摯感謝您的熱情參與！

「形駭孤島」藝術+行動 策展單位 敬上
2011年2月21日

挑戰禁忌 骨灰變成藝術品

2011/02/26 12:44:00 新聞來源

（中央社記者林惠君台北26日電）流浪動物骨灰也能創造藝術作品！旅居美國藝術家張力山與台灣動物社會研究會首度合作發起的藝術行動，以重燃流浪動物骨骸創作，藉此訴求有關單位應從源頭減少流浪動物。

台灣動物社會研究會表示，張力山以被棄養的流浪犬貓骨灰，創作出「形骸孤島」藝術作品，傳達他對全台，每年將近10萬隻流浪動物被棄養、處死，大量屍骸被焚燒、銷毀，卻沒有被看見的撼動與關懷，同時也挑戰台灣社會對骨灰、屍骸與死亡的觀念束縛與文化禁忌。

台灣動物社會研究會執行長朱增宏表示，台灣每年有將近10萬隻狗（以及無數的貓、兔子、寵物鼠）被繁殖、飼養而後被丟棄，再經歷非人道捕捉，被丟入地處偏遠、管理落後、心態封閉，完全沒有動物福利以及無法提升認領養機會的收容所，最後被處死、銷毀。

朱增宏指出，這絕對是一個公共政策不當，加上民眾尊重生命素養不足，導致人與動物生命及環境都深受影響的問題。

朱增宏表示，民眾普遍對「動物福利」的觀念不足，對於如何對待動物，常陷入「愛」與「不愛」的二元對立，而政府「保護」動物的政策作為也流於「空洞化」或末端思維—強調捕捉、收容，但無數動物在收容所內完全沒有福利可言。

此外，許多反對政府將收容犬隻安樂死的聲音，也因收容所龐大的收容壓力無法解決，最後導致收容機構採取黑箱作業，不願開放民間監督或參與，以致動物臨死前經歷更巨大的驚恐與痛苦。

台灣動物社會研究會主任陳玉敏指出，旅居美國的張力山，常會收到台灣朋友寄給他有關流浪動物領養，不然會被撲殺的電子郵件，他發現流浪動物問題在台灣很嚴重，主動聯絡台灣動物社會研究會。當代藝術館邀請張力山參展，因此，促成這次以被棄養流浪動物骨灰，創作出「形骸孤島」的藝術作品。

陳玉敏進一步指出，「形骸孤島」意圖凸顯出台灣寵物棄養及流浪動物衍生的種種社會問題，將流浪動物的骨灰陳列在展場，請觀眾撿拾場內的骨灰，放入印有「身在公門好好修行掌握職權步步落實」對聯，橫批為「政策影響萬千生命」的特製信封內，交由主辦單位寄至相關中央與地方政府部門。

同時，也將請民眾簽署一份個人可開展的行動，共同促成從源頭減少寵物不當繁殖、棄養的有效方案，把美術館內的一套靜態藝術裝置轉化為一場社會行動。

主辦單位邀請民眾蒞臨觀展、參與重燃灰燼的行動，並訴求修訂「動物福利法」，及中央及各縣市設置動物保護專業、專責單位；落實源頭管理政策；廢止清潔隊捕犬；提升收容所動物福利。

另外，主辦單位也呼籲民眾，若家中有養犬、貓、兔等動物，請連繫信賴的獸醫，為動物安排絕育手術，也積極說服周遭親友，為家中寵物施行絕育，共同協助從源頭減少「動物過剩，進而導致最後被遺棄」壓力。

形骸孤島創作展即日起至4月17日在台北市當代藝術館展出。

台北當代館將改建成國際藝術大樓？ 【活彈藥】26位藝術家用行動展演玩真的！

展名：活彈藥 展期：2011/02/26~04/17 地點：台北當代藝術館（臺北市長安西路39號）
陳恆光/綜合報導 新聞來源

　陰雨綿綿的天氣行經長安西路，斗大的紅色標語布條赫然入目：「感謝市府都市更新計畫德政，本區即將興建國際藝術大樓！」難道在不久的未來，臺北市將出現另一個亮眼文化新地標了呢？難道名列市定古蹟的當代館即將改建成「國際藝術大樓」了嗎？

　原來，這是當代藝術館開春大展【活彈藥】（Live Ammo）參展藝術家鄭安齊針對當代館所在地大同區未來發展的大膽奇想之作，展覽期間，藝術家將以建商的角色在當代館廣場上發動一系列的公聽會，激發民眾的「社群意識」，進而察覺自身與環境的關聯，並探討當前的都會發展問題。如果你覺得這種真假迷離的藝術表現已經夠引人注目了，踏入展場後更將改寫你對於當代藝術的既定印象！
　
　【活彈藥】展是由陳豪毅、陳璽安、林宏璋、楊雅苓、蔡家榛等聯合策劃，邀請來自台灣、香港、日本、韓國、德國、巴西等共26位國內外藝術家盛大參與，結合了觀念，行為藝術及現地創作，鋪陳、重探藝術和現實的關連，並將當代藝術的展演視為社會現實的事件，進而表達出「藝術不僅是一種生活的方式，也是一種生存的策略和選擇」。
　
　本展除了鎖定社會發展、農業環保、未來科技、異國文化交流等議題進行探討之外，更進一步設計「實境體驗」的互動方式挑戰觀眾的知覺，例如：張力山的作品《意外領域之形駭孤島》將流浪動物的骨灰陳列在展場，邀請民眾撿拾展場的骨灰放入信封後，寄至相關機構，藉以凸顯台灣流浪動物所衍生的種種問題；又如巴西藝術家安娜伊莎˙佛朗哥的《深層呼吸》，以單純的機械原理及透明材質模擬人類肺臟，觀眾可以經由麥克風發出呼吸聲驅動假肺起伏縮漲，肋骨也隨著光影閃滅，預言了人機合體「共感」的未來生化機器時代。

　本展所展出的29件作品無論從作品本身至展場設計，在在可從視覺、聽覺、觸覺、味覺等感官經驗，顛覆大眾所熟知的生活脈絡，在某種虛擬的機制和手法之下，所有作品也都也都展現了一種「玩真的」態度，希望在春天來臨之際，引爆前所未有的觀展經驗！

寄流浪貓狗骨灰 「活彈藥」促修法

2011-02-26 中國時報 【吳垠慧／台北報導】 新聞來源

　台北當代藝術館「活彈藥」聯展昨日開幕，旅美藝術家張力山將三千多隻流浪貓狗、兔子等動物骨灰，堆成一座小山，現場另備有信封，邀請民眾撿起現場一小塊骨灰，放進信封袋裡，然後郵寄給包括立法院、農委會以及各縣市政府，呼籲政府高層正視流浪動物議題。今日張力山將與動保團體「台灣動物社會研究會」進行一段行動演出。

　「活彈藥」由陳豪毅、陳璽安、林宏璋、楊雅苓、蔡家榛等人聯合策劃，邀請蘇匯宇、余政達、黃世傑等廿六位台灣、香港、日本、韓國、德國、巴西等國內外藝術家參展，前「夾子電動大樂隊」主唱、以《海角七號》「水蛙」一角走紅的應蔚民也在展出之列。這次展出的廿九件作品，分別探討農業環保、未來科技、異國文化交流等社會議題。

　旅美的張力山，以「意外領域」系列作品關注人類生活空間與自然界、動物界重疊，造成雙方衝突、傷害的課題。這次展出《意外領域之形骸孤島》從全台公立收容所蒐集三千多隻被安樂死的流浪動物骨灰，「每年有將近十萬隻流浪動物被處死，一山又一山的屍骸被銷毀，卻沒有被當權者與社會大眾看見」，張力山希望透過創作及民眾的行動，督促修正《動保法》。

　而應蔚民的新作《這套ＤＶＤ（推銷員之狂）》，依舊不改嬉笑揶揄的本性，他仿造電視購物台的場景誇張詮釋，另一方面也在雄辯和「黑白講」當中，調侃「專家」、「代言者」滿天飛、但言論不需負責的亂象。

＜旅美藝術家展出＞創作動物塚 凸顯動保議題

〔記者羅碧／台北報導〕新聞來源 不忍台灣貓、狗、兔子等寵物常在飼養風潮過後，被棄養及處死，旅美藝術家張力山以近兩個月的時間，收集了一公噸的台灣流浪動物的骨灰，以「動物塚」的概念，創作出「形骸孤島」，並與「台灣動物社會研究會」，發起一人一信活動，期盼政府及民間都能正視動保議題。

這項名為「重燃流浪動物骨骸！讓形骸發聲！」活動昨天起，到四月十七日在台北當代藝術館展出。觀賞者可用筷子夾起任何一塊動物骨灰，放入信封袋內。主辦單位打算寄送給總統馬英九、行政院長吳敦義、監察院長王建煊、農委會主委陳武雄等，提醒他們落實「動物保護法」等相關法令，因為動保法立法十三年來，流浪貓犬的數量及死亡不減反增，顯示動物福利未落實。

Interview by SOMEONE’S GARDEN

Why are art galleries popping up? - ABC New York News Ch7 (The Part about Lishan Chang)

Full Length Video

Storefronts and Artists - Fox 5 New York (The Part about Lishan Chang)

Full Length Video

為空置店面帶來生氣 紐約「吉舖」變臨時藝廊

Luring Artists to Lend Life to Empty Storefronts - The NY Times

By DIANE CARDWELL
Published: October 12, 2009
http://www.nytimes.com/2009/10/13/nyregion/13galleries.html

At the end of a dark passageway at the Port Authority Bus Terminal, almost 50 artworks have suddenly parked in a bright, spare gallery. On a grim stretch of the Flatbush Avenue Extension in Brooklyn, pastel portraits and interactive sculptures are squeezed between a McDonald’s and an Applebee’s. In the window of a former dentist’s office in downtown Jamaica, Queens, a clutch of faceless mannequins cradle various forms of roadkill.

The art may vary in style and shock value, but the settings are essentially the same — spaces donated or leased for a song by building owners unable to rent or develop them.

As the recession drags on and storefronts across New York remain empty, commercial landlords are turning to an unlikely new class of tenants: artists, who in flusher times tend to get pushed out rather than lured in. And the price of entry is not deep pockets, but vivid imaginations and splashy exhibits — anything to lend the darkened buildings a sense of life.

On terms that are cut-rate and usually temporary — a few weeks or months — the artist gets a gallery or studio, and the landlord gets a vibrant attraction that may deter crime and draw the next wave of paying tenants.

“Any sort of activity is better than no activity,” said Jed Walentas, a Brooklyn developer whose company, Two Trees Management, routinely lends space in Dumbo and Downtown Brooklyn for art projects. “As long as it’s short enough and it’s flexible, then there’s no real cost. So the question is who can you find that’s going to make an investment in a space with that level of uncertainty, and often it’s the artist.”

These “pop-up galleries,” as they are known in Britain, where the phenomenon is well established, are increasingly taking hold in New York as development advocates and landlords struggle to keep up appearances where commerce and construction have stalled.

The demand among landlords is so high that Chashama, a group that has been working for almost 15 years to find vacant real estate for visual and performing artists, no longer has to go looking. Its founder, Anita Durst, said she got calls every day from landlords asking her to find art projects for them. Some even offer to cover basic expenses like electricity.
Chashama was enlisted to find artists for the former dentist’s office and another vacant space by the Greater Jamaica Development Corporation, one of several business groups working to bring artists and landlords together.

An exhibit that opened on Wednesday and will run for four months in six empty storefronts on the Flatbush Avenue Extension near DeKalb Avenue is a collaboration between the Downtown Brooklyn Partnership and the New Art Dealers Alliance, a contemporary art association. A few blocks away, the MetroTech Business Improvement District approached Ad Hoc Art, which promotes street, pop and underground artists, to organize a similar installation on Willoughby Street that will run through Nov. 4.

At the Port Authority terminal, where a 2,500-square-foot retail space at West 41st Street and Eighth Avenue has gone unrented while a development deal remains in limbo, executives have relied on the Fashion Center Business Improvement District and the Times Square Alliance to bring in a series of pop-up tenants, including fashion designers and, in a show that opened on Thursday, artists working in a range of media.

The sudden glut of available space has even spawned a new player in the art world.

No Longer Empty, an outfit formed by a group of established curators about five months ago in response to the recession-fueled vacancies, has staged several exhibitions and events. One opened the weekend of Oct. 3 at a former belt factory in Brooklyn that once made “invisible dog” novelty leashes, and another installation is planned for the empty Tower Records store at East Fourth Street and Broadway in Manhattan.

“I really do think it’s something that’s here to stay,” said Manon Slome, a founder of the group. “I obviously hope the economic crisis will be over, but I see it as a great way for the public to interact with art in a different way. And it does provide a great platform for artists because they can do things that are maybe more experimental or larger than they could in a gallery space.”

Lishan Chang, an environmental artist who secured studio space in the former dentist’s office in Jamaica, said the storefront was perfect for his current project, “Accident Realm,” which features the dead raccoons, hawks, opossums, skunks and other creatures he finds along highways.

“I need a large sink when I do my taxidermy, and this office has a large sink,” said Mr. Chang, who learned to preserve the carcasses at the National Taiwan University and on YouTube. “I use chemicals and dentists use chemicals, so it fits.”

For neighborhoods, windows filled with stencils or weavings rather than brown paper and “for rent” signs have been a marked improvement.

“The lights are always on, the artists come and go late at night, and it’s even had more of an impact in activating the street than we anticipated,” said Andrew M. Manshel of the Greater Jamaica Development Corporation. As the redevelopment of the area continues, he said, he will work to find a way for the artists to have more permanent space.

The shows have played well with the locals. Passers-by and workers say they like having something different to look at and a chance to talk with the artists. On 161st Street in Jamaica one afternoon, two barbers from the block said they appreciated how accessible the artists had been.

“The first time they were there, they welcomed anybody, it was free and on the way out they gave you a little wine, they had food,” said one barber from the Haircutter shop, who gave his name as Junior. “It’s great.”

His co-worker, James Tucker, said it was “different, cultural-wise,” saying that he liked some of the artwork but that he found Mr. Chang’s roadkill project “really creepy.” Junior added, laughing, “He should do a Halloween thing with that.”

Two weekends ago on the Flatbush Avenue Extension near the Fulton Mall, Kenny Scharf, a psychedelic painter and performance artist, spray-painted what he described as “a big red monster mean guy being parasitically sucked on by some yellow guys” for a group show concentrating on large-scale works. As he worked, people stopped by to ask what he was doing and snap pictures with their cellphones.

“I really like that,” said Demetria Hayes, who was waiting for the bus outside the impromptu gallery. “He could do a lot with that.”

A version of this article appeared in print on October 13, 2009, on page A24 of the New York edition.

Ms. Hayes, who is pregnant, stood outside to escape the spray-paint fumes while her daughter, Danisia Peterson, 12, who likes to draw faces, chatted with Mr. Scharf inside and watched him work.

“A lot of people, especially kids, like to work like that through art,” Ms. Hayes said, “and to show how easy it is to just draw on the wall hopefully shows them they can do it and be creative, too.”

A version of this article appeared in print on October 13, 2009, on page A24 of the New York edition.

旅美藝術家張力山藉車道枉死動物說故事

（中央社記者林琳紐約7日專電）旅居紐約的張力山在皇后區牙買加（Jamaica）工作室裡站
著一組木製模特兒，手中各捧著一隻肢體殘缺的動物標本。這是他進行中的創作系列─
「意外的領域」（Accident Realm）。

　　雖然木製模特兒沒有面容，素淨的色調及手捧的姿態讓人感受到一種虔敬的氣息。張
力山說，這些肢體殘缺的動物是他從高速公路車道檢回來的「誤闖車道而枉死的動物」。
他希望做成標本的小動物能讓人們看到無辜的動物往生的剎那，了解到自然生態與人類活
動重疊時可能發生的衝撞。

　　張力山說：「人類為了運輸而開路，穿越鄉野的高速公路侵入了自然的空間；闖入高速
公路動物多半是為了覓食。他們是自然生態與人類活動重疊時的意外受害者。」

　　經常在高速公路上開車的張力山常看到被高速行駛的車輛衝撞致死的動物。他發覺
冬天裡車道上意外死亡的動物特別多。天寒地凍的路上枉死的動物被凍僵了，殘破的肢體
及驚恐的狀況讓人心生悲憫。

　　張力山說，製作標本的過程中，他心中充滿了因人類侵犯了自然生態領域的歉意。在
他眼中，木製模特兒手中捧著的標本其實也像家中的寵物。

　　自1997年來到紐約，張力山一直創作不懈。他能運用不同媒材展現生命體驗，從內心
出發的作品呈現的方式絕不重複，已漸漸受到藝術界的肯定。近年來，除了受邀舉行個展
及參展，也曾到歐洲及美國佛蒙特州的藝術村駐村創作。「意外的領域」明年將在台北的
當代藝術館展出。

　　張力山的「意外的領域」主題計劃做上百個標本，目前在皇后區牙買加的工作室裡已
完成了三十幾件。原本是牙醫診所的工作室鄰近「牙買加藝術及學習中心」（Jamaica
Center for Arts & Learning）。這間由當地藝術協會安排租用的工作室也是藝術家作品
的展覽室，藝術協會要求展覽室夜晚也要亮燈，讓路過的行人可以觀賞創作。

　　展覽室的牆上掛著一系列紀錄張力山在高速公路檢拾意外死亡動物的圖片，包括註明
經緯度的Google衛星定位圖。

　　張力山說，他希望在展出這個系列時能有一台電腦，讓觀者點選任何一具手捧標本的
模特兒的圖片，就能看到當初他檢拾做成標本的動物的地點。

　　這些沒有街道名的鄉野地帶只能經緯度標明地點。張力山希望藉此讓人們能省思自
然空間被人類活動擠壓的問題。

　　人類行為對自然生態的影響是張力山常思索的問題。他說，去年冬天在佛蒙特藝術中
心駐村時，他觀察到靠近藝術中心河邊的野鴨在嚴冬竟然不南飛避寒，因為每天都有人固
定來餵食。被畜養的野鴨不再是候鳥，已成為家禽。

　　他說，河邊的鴨群讓他省思，在藝術中心駐村時一日三餐安逸的生活是不是也令他陷
入日常生活的規律，並不符合他創作的初衷。

　　10幾年前不辭艱辛來到紐約，張力山說，紐約的創作及生活環境讓當初並沒有計劃久
留的他願意在此長駐。「每一次從外地回到紐約，都更感覺這個城市的美與迷人。」也許
這個多元的城市正契合他「生命不要一再重覆」的期待。980607

http://dailynews.sina.com/bg/tw/twlocal/cna/20090607/0638331613.html

Work in Progress -Accident Realm

亞洲當代藝術週之「秘密後花園」

亞裔藝術家5/1中國風聯展

Artist Lishan Chang uses road kill in art to highlight tension between man, nature

BY John Lauinger
DAILY NEWS STAFF WRITER

Wednesday, April 15th 2009, 4:00 AM

Artist Lishan Chang in his Jamaica, Queens studio working on a dead animal.


This art project is dead meat - even if critics love it.

Taiwan-born artist Lishan Chang is using road kill as the centerpiece of an art exhibit that will spotlight the harm modern civilization has wrought upon the natural world.

For the last six months, Chang, a multimedia artist from Woodside, has scoured highways and country roads looking for remains of creatures that never made it to the other side.

Chang uses taxidermy to preserve his grisly quarry, working in a downtown Jamaica studio that smells of flesh and salt from the macabre pursuit.

The project is about a year from completion, but Chang already envisions an eye-catching design: Costumed mannequins holding animal pelts in their hands - a representation, he said, of how they were killed by nameless, faceless humans.

Most of the dead animals, Chang said, were likely foraging for food when they wandered into the path of human civilization.

"They just want to survive," Chang, 39, said of the creatures. "It's just so sad - so sad. I wanted to say something about that."

Chang has photographed scores of roadside remains - deer, foxes, raccoons, rabbits, even dogs. He plans to create a photo exhibit using Google Earth that will map the location where each animal was killed.

On a recent morning, Chang wore a surgical mask as he labored over a Canada goose carcass. Behind him, the remains of a raccoon, a squirrel and a rabbit soaked in plastic vats filled with a chemical solution.

Chang, formerly an artist in residence at the lower Manhattan Cultural Council, is no stranger to unusual artistic media. He has previously used charred bread to reinterpret Chinese calligraphy and protest post-9/11 security crackdowns.

Chang said he likes to push the artistic envelope and force people to think about the concepts that underlie his work.

But he admitted that it took him some time - plus formal taxidermy training - before he could stomach handling road kill.

"You just have to prepare yourself to touch them," the artist said, noting he has preserved the remains of about 50 animals.

The project, currently titled "Accident Realm," is sponsored by the Pollock-Krasner Foundation and a fellowship from the New York Foundation for the Arts.

It will appear in a group exhibit in May 2010 at the Taipei Museum of Contemporary Art in Taiwan, said Chang, who hopes to land a solo exhibit in New York.

Chang said he also plans to exhibit the project at his Jamaica studio, which is owned by the Greater Jamaica Development Corp. and leased by chashama, a Manhattan-based arts group.

jlauinger@nydailynews.com

New Life as Accident Art

HOW CHINESE

HOW CHINESE

Lishan Chang, Shen Chen, Eric Jiaju Lee, Tenzin Phuntsog, Lisa Ross, Yuh-Shioh Wong

Curated by Aileen June Wang and Eric Jiaju Lee

May 1 – June 5, 2009
Opening reception: Friday, May 1, 6 - 9pm

Panel discussion and reception: Friday, May 15, 5:30 - 7:30pm

Gallery 456
Chinese American Arts Council
456 Broadway, 3rd Floor
New York, NY 10013
Gallery hours: M-F, 12-6pm
and by appointment
Tel: 212.431.9740
www.caacarts.org

HOW CHINESE, curated by Aileen June Wang and Eric Jiaju Lee, is a group exhibition that seeks to expand the current notion of contemporary Chinese art, defined by the most popular movements of Political Pop and Cynical Realism. The featured artists represent the Chinese diaspora and beyond, and their works reflect the intriguing confluence of Chinese and non-Chinese cultures in their lives. HOW CHINESE seeks to start a lively conversation about art and identity, and the role of cultural memory in artistic creativity. Artists: Lishan Chang, Eric Jiaju Lee, Tenzin Phuntsog, Lisa Ross, Shen Chen, Yuh-Shioh Wong.

Making It / Selections from the 2008 NYFA Mentoring Program for Immigrant Artists

The New York Foundation for the Arts (NYFA) and Deutsche Bank invite you to Making It / Selections from the 2008 NYFA Mentoring Program for Immigrant Artists, an exhibition of painting, photography, sculpture and video by participants of NYFA's Immigrant Artist Mentoring Program. (Lishan Chang is participated in this show.)

Celebrating Immigrant Heritage Week

Exhibition Date:
April 2 – July 15, 2009

Opening: 
Thursday, April 23rd 2:00 – 5:00 pm  (Tours at 2:30 pm & 3:30 pm)

Location :
Deutsche Bank Gallery 
60 Wall Street 
New York, NY 10005

All visitors MUST RSVP to attend. All RSVPs must be in by 2:00 pm on April 22nd

To RSVP contact:
TJ WITHAM
(212) 366-6900 ext. 207
tjwitham@nyfa.org
remember to bring a photo ID as it is required to enter the building

Dream in a Contemporary Secret Garden (Venue II)

Venue II: The Gallery/ Elga Wimmer PCC

Date: May 7 to June 13, 2009

OPening reception: Thursday, May 7, 6-8pm

ACAW reception: Thursday, May 14, 4-8pm

Opening Hours: Tuesday ti Saturday, noon-6pm or by appointment

526 West 26 #310, NYC 10001

Tel: 212-206-0006

Dream in a Contemporary Secret Garden (Venue I)

Venue I: Taipei Cultural Center of TECO in New York

Date: May 6- June 5, 2009

Opening reception: Wednesday May 13, 6-8pm

Opening Hours: 

Monday to Friday, 9am to 6pm

Saturday, 9am to 11am

Taipei Economic and Cultural Office in New York

1 East 42nd Street @ 5th Ave, New York, NY 10017

(212)697-6188

http://www.tpecc.org

旅美藝術家「迴廊」紐約驚豔

Burnt bread becomes wall of art

Exhibit inspires reflection on how people approach conceptual art

Dennis Dingman stares at the 100-foot-long wall covered with symmetrically arranged loaves of burnt bread at the Washington Pavilion.

He's dwarfed by the 20-foot-tall artwork but doesn't appear surprised or bewildered. He's expressionless, studying the thousands of blackened baguettes nailed up by New Yorker Lishan Chang.

Munching on snacks during a recent reception for Chang's "LC Bakery" show, Dingman, 70, reveals that he knows a bit about conceptual art but doesn't feel qualified to pass judgment.

"The unique thing about it is how it was made, and how now it's here on the wall," the Sioux Falls art patron says. "No one has seen it before and probably never will see it again. It's unique."

His wife, Carol Dingman, isn't sure how to react.

"It's over the top," she says, laughing. "Just over the top. It is interesting, and it means something, maybe to the artist - something very profound? I don't know."

Chang's work prompts the age-old question, "What is art?" Artists and teachers say art doesn't have to be "beautiful" but should make people think.

Still, some observers think of art only as paintings of a landscape, a barn, pheasants taking off or ducks landing, says artist and retired Augustana College art teacher Carl Grupp of Sioux Falls.

Many area exhibits have challenged the more narrow notion of art.

The August 2006 Pavilion exhibit called "Do Not Fold, Bend, Spindle or Mutilate: Computer Punch Card Art" included cards decorated by artists across the country.

A current Pavilion exhibit features settings Nebraska artist Josh Johnson built from Lincoln Logs and small plastic animals.

And there's Chang, who recently was on-site producing and installing his "blackery," a term he coined referring to the blackened surface of the burnt baguettes.

The process used to make the loaves, then burn them, is as much the "art" as the finished product, says David Merhib, the Pavilion's director of the Visual Arts Center.

The Banquet and Breadsmith let Chang use their facilities to mix, shape and bake the bread. He used 10 electric ovens on the Pavilion loading dock to burn bread for nearly two weeks.

Viewers can use all of their senses to experience the total package: They listen to a recording of the crackling the loaves make as they cool; they smell the burned bread; they touch and even buy the extra loaves; and they inspect huge photographic blow-ups of the rugged patterns on the bread.

While the average viewer may puzzle over the exhibit - some even soundly trash it in the gallery comment book - artists have other opinions.

"I was very impressed," Grupp says.

"He's using the materials like ink. It's just another way of making marks. It reminds me of calligraphy, and he's got some rhythms going there," Grupp says. "It's just another medium. Some people freaked out when artists started using computers, but it's accepted now."

Ceca Cooper, a painter and assistant professor of art at the University of Sioux Falls, calls the exhibit "pretty fabulous."

But understanding and enjoying the display might require some education for folks who have not seen much beyond traditional art, she says.

Some people think artists should create only aesthetically pleasing work, something beautiful to look at, she says.

"No one could possibly understand it unless they know what conceptual art really is," Cooper says. "The end product is not what really matters.

"It's the intellectual thoughts that the artist had behind the piece," she says. "I am excited to see the Pavilion put up something so edgy, and hopefully it will begin to educate the community on what conceptual art is."

Asking the question "Is it art?" sets up a negative connotation, says painter Liz Bashore Heeren, an assistant professor of art at South Dakota State University in Brookings.

"Maybe better questions are: 'Why is this art, what is this teaching us, and is this art that I appreciate?' " Bashore Heeren says. " 'And if I don't like it, then why is that, and what is lacking? Or what good qualities am I responding to?' "

Reactions to an installation often is based on how a viewer was raised to appreciate art, she says. In this geographic region, people's assumptions often have not been challenged, she says.

"My reaction to the installation is that I thought it was very interesting," Bashore Heeren says. She also liked pictures of Chang's other art to compare.

"The burnt bread is such a strange thing: It looks like a sea slug coated in graphite, such an undefinable form when it's burnt," she says. "It's familiar but unfamiliar, and I find that kind of curious. It's like a form of writing I don't understand or can't read."

The Abstract

People have asked Wall Lake artist Robert Ruf what his abstract paintings are supposed to be.

"I don't get that kind of comment in Chicago, where they say, 'I like this or those colors,' so it's a different kind of culture in the bigger cities where they are more used to a broad range of art," Ruf says.

His January exhibit, "Surrounded," at the Multi-Cultural Center enveloped visitors inside abstract oil colors and patterns painted on more than a dozen of 8-foot-tall clear plastic panels.

"Since the turn of the 20th century, it would be foolish for people to exactly nail down what art is, like they did in the Renaissance period, because there are so many different mediums you can use now," Ruf says.

"Sculptures used to be made primarily of marble or stone, but today they use all kinds of materials. Today, art covers a lot of ground."

Pavilion visitor Dingman continues to munch reception snacks while looking at the exhibit.

"It's hard for me to comment on this, because downstairs I was just looking at the lithographs and paintings which I like, and I really enjoy the photo exhibit down there, too," Dingman says.

"This looks to me like it should be forming something up there, the way they are arranged - like letters or something," he says.

The artist Chang, 37, is nearby, smiling and greeting visitors.

He speaks of eliminating the bread's utilitarian function and adding his own artistic language.

"In a way, this process rather resembles painting," Chang says. "I take the medium and convert it into an artistic material. I look at the space and soon have a map in my mind. I know beforehand what I'm going to do with this space."

Dingman turns away from the work and looks at huge photographs of individual burnt loaves on the facing wall.

"I kind of like these better than the installation," he says. "The close-up photos of the textures are more intriguing to me."

Reach reporter Jay Kirschenmann at 331-2312.

皇后美術館推出張力山手札

【大紀元6月20日訊】(大紀元紐約訊)為服務皇后區華人民眾，皇后美術館於六、七月，每個週日下午2時至4時，舉辦一系列免費的當代藝術入門課程。邀請藝術家張力山主講。主題為「藝術家手札」，希望引導參與者自其日常生活中發現新媒材，並運用自選媒材，創造出特具個人風格的藝術家手札。

張力山出生於臺灣，1997 年移民到紐約。他曾獲得許多榮譽，包含2007 年遴選為台灣文建會第八屆之出訪藝術家、同年獲Franconia 雕塑公園的Jerome 獎助金，2008 年榮獲freeman 基金會設立的亞洲藝術家獎助金，以及日前，從4500 名申請者中，脫穎而出，獲頒紐約文藝基金會2008 藝術家獎助。2008 年5月底，他在南達柯達州蘇佛市華盛頓科學藝術館的個展，榮獲該市市長以展覽名稱，頒訂開幕日為LC BAKERY DAY （力山麵包坊日）。除此之外，他也進駐、參與過許多重要的藝術工作室，包括紐約下城文化委員會的藝術家工作(LMCC) 、紐約ISCP 策展與藝術家工作室、芬蘭的SUMU/Titanik 工作室、以及Vermont 藝術村等。

此次課程「藝術家手札」，六月份的上課地點為法拉盛圖書館地下樓 C & D 室，地址為41-17 緬街，電話1-718-661-1200 。七月份上課地點在皇后美術館內，詳細上課地點請恰皇后美術館的Sara Guerrero 1-718 592 9700 x135。

144 NY Artists, Including Painters, Playwrights & Choreographers, Receive Nearly $1 Million in Unrestricted Funds from NYFA

New York, NY (June 2, 2008) – New York Foundation for the Arts (NYFA), New York's leading provider of unrestrictedfunding to individual artists, has awarded 136Fellowships to 144New York artists representing eight artistic disciplines that cover the visual, performing and literary arts. Reflected in the total are eight artistic collaborations. A NYFA Fellowship comes with an unrestricted grant in the amount of $7000.

For the second consecutive year in the 23-year history of the program, called Artists' Fellowships, the greatest number of awardeeshail from Brooklyn – a distinction that has typically gone to Manhattan. Attached please find a complete list of the 2008 NYFA Fellows,which indicates each artist's county of residence. 

This year's 144 NYFA Fellows – who were chosen from among over 4,500 applicants –include architects, choreographers, composers, fiction writers, painters, photographers, playwrights/screenwriters and video artists. The Fellows were selected by peer panels, which were assembled according to each artistic discipline. 

For 38 year old Brooklyn painter Allison Gildersleeve, the award is potentially career changing. "Getting a grant from NYFA is more than the financial boost," she said. "We all need more money – to buy supplies, for studio space, and to purchase that most precious commodity: time to make work. But wrapped up with that check in the mail, comes the icing on the cake, that outside affirmation all of us need when we're sequestered in our studios trying to figure out what to do next – that you have been picked out of the most competitive pool. This is New York after all, and now you share recognition with artists that you've respected and admired."

Overall, NYFA awards Fellowships to artists representing sixteen disciplines – eight one year and another eight the next, but always the same 16. Past NYFA Fellows include Spike Lee, Tony Kushner, Julie Taymor, Carroll Dunham, Todd Haynes, Tamara Jenkins, David Hammons, Junot Diaz (author of The Brief Wondrous Life of Oscar Wao) and many others. Since 1985, over 3,700 New York artists have received NYFA Fellowships. 

"Whether it's Brooklyn, Manhattan or Queens, one thing is certain - New York is the place to be for all artists, emerging or mid-career," said NYFA Executive Director Michael L. Royce. "New York is Warhol. New York is Spike Lee. New York is Gershwin. While we hope that our unrestricted grants help to perpetuate that reality, we also hope that they do something far simpler – give talented artists the time and space needed to create their next great work. When they do, New York will be all the better for it."

###

About New York Foundation for the Arts

New York Foundation for the Arts provides more support and services to artists and arts organizations in all disciplines than any other private organization in the country: nearly $7 million annually. Nearly one out of every five public, modern artworks created for the New York subway and regional rail system was done by a former NYFA Fellow. 

Major funding for NYFA's 2008 Artists' Fellowships is made possible by public funds from the New York State Council on the Arts, a State agency Major funding has also been provided by the New York City Department of Cultural Affairs and the Lily Auchincloss Foundation. Additional funding has been provided by the Milton & Sally Avery Arts Foundation, Deutsche Bank Americas Foundation, Alex G. Nason Foundation, Norton Family Foundation, The Buddy Fund at Rockefeller Philanthropy Advisors, an anonymous donor, and individual donors.

Lishan Chang is one of the 2008 NYFA Fellows in the category of  Architecture / Environmental Structure.

May 30th 2008--LC BAKERY DAY -- in Sioux Fall, SD

紐約廉價舊廠 孕育世代藝術家

中國時報 　2008.05.25

王良芬／紐約

7號地鐵出了紐約市中央車站，約5分鐘後進入皇后區長島市；走出韓特點(Hunters Point)車站，放眼望去盡是老舊的工廠倉庫，酷似曼哈頓的蘇荷區，也宛如布魯克林區的威廉斯堡。好幾棟老倉庫改成工作間裡，正滋養著21世紀的藝術家。

33歲的雕塑家努斯班(Josh C. Nusbuam)從小生長在紐約，但他仍必須像多數藝術家一樣，在一片荒涼的舊廠房中尋覓棲身地。這裡就是因為天花板挑高，可以創作大件雕塑品。

窩居創作 唯一的椅也是作品

皇后區長島市房價低廉，近年來吸引許多藝術家進駐，都是工作間兼住家。努斯班在2004年找到現在的工作間，僅有500呎見方，裡面擺滿他的作品，兩張工作桌分靠著窗邊，各型刀子、磁粉、強力膠、保麗龍、毛布、針線等，散落在桌子上。

牆上、地面到處都是他的雕塑作品，角落有張舖了黑床單的中型床，10來件衣服整齊掛在架子上，這就是他的全部家當，藝術家的清寒襲面而來。

努斯班泡了熱茶待客，因為唯一的一張椅子也是藝術品，我們席地而坐，舉目盡是獨特的藝術品，主題強勁繁複、材質多樣豐盛，讓人不敢小覷他的精神內涵。

長島市附近都是工廠，努斯班經常外出尋找材料，從廢棄的材料中找出創作元素。工作間的地上有許多樹木外皮，他檢視暗沉木皮形狀，然後決定要雕刻什麼。他說：「在曼哈頓就沒有這樣的機緣。」

努斯班創作題材多關於人，常需要去曼哈頓觀察人們，韓特點距離曼哈頓僅需搭地鐵兩站，地理優點雷同布魯克林的威廉斯堡，如今威廉斯堡已被華爾街族進佔，低廉的長島市成為藝術家的最佳選擇。

藝術家紛紛搬離昂貴的威廉斯堡之際，有不少仍繼續留在布魯克林，有的轉往綠點(Green Point)，自成另一藝術家聚落，堅持布魯克林派的藝術傳承。

也有些往紐約上州發展，沿著哈德遜河而上，有些小鎮漸成藝術家村。還有不少因創作性質及自身經濟條件，反而成了游牧藝術家，甚至大膽前進曼哈頓。

來自台灣 他成了游牧藝術家

旅美台灣藝術家張力山1997年底來紐約，最先落腳在布魯克林Earth工作室，在威廉斯堡地區浸沉多年。他因從事行動藝術，作品通常需要很大空間，近年來經常因主題不同，必須變更工作空間，成為遊走的行動藝術家。

張力山著名的作品Stop Transition－in Warehouse，以倉庫為創作空間，他在布魯克林承租了一家倉庫，裡面有起重機、貨運機械、卡車等等，藉著幫客戶執行搬家業務，以多元媒體紀錄行動過程。倉庫月租一萬美元，原先計畫紀錄5年，但到了第4年半，不堪虧損累累只好提早收工，但這項行動藝術卻讓人印象深刻。

張力山的「力山麵包坊」則為另一項巨作，需要的空間更大。2003年他突發奇想，買了許多長麵包，用不同火候以烤箱一一燒製，經過不斷的實驗，終於做出期盼的質感。2004年四月，首度在皇后美術館的聯展中推出。

為了這項展覽，張力山每天早上4點半到麵包工坊捏塑麵包、放入烤箱。下午2點取出成型的麵包，再用家用烤箱烤成碳焦麵包，總共花了兩個多月，烤出2300多條布雷克力，最後一天，還發生遭人舉報、消防車按鈴來訪的插曲。

目前「力山麵包坊」在南達科達州華盛頓藝術科學館(Washington Pavilion for Arts and Science)展出，該館動員所有館員並協同十位義工，混麵粉、揉麵團，烘烤成長條麵包，進而烤成碳焦麵包。接著將全程以多重角度呈現。

逆勢操作 搬到曼哈頓好賣畫

韓裔抽象派畫家鄭熹珍原住布魯克林，在布魯克林工作室租金日漲的時候，她卻逆向操作，2006年搬到昂貴的曼哈頓上西城。鄭熹珍說：「威廉斯堡地產被炒作得不像話，房租和曼哈頓相差不遠，既然如此，何不搬到曼哈頓？」

畫家不需要那麼大的空間，鄭熹珍從事抽象畫創作，但仍需挑高的空間，以便放置大型畫作。她將起居間當成畫室，擺滿各類抽象畫，厚重的帆布推在牆邊，因為作品實在太多，臥房、浴室、廚房都當作展覽空間，廚房一角是臨時倉庫。

鄭熹珍以油料、壓克力、磁粉當顏料，運用刀子、刷子和手指作畫，由於畫風新穎，得到一些藝廊的賞識，已經賣出不少畫作，在美國畫壇正嶄露頭角。

她說：「住在布魯克林的時候，很難請得動畫商或收藏家來看畫，搬到曼哈頓後，因為地點方便，來看畫的人相當多，收入比過去好太多，這些都是住在曼哈頓的優點。」

鄭熹珍的公寓是戰前建造，大樓的門面即是《慾望城市》女主角米蘭達的住處外景。天花板特別挑高，很滿足藝術家的要求。

鄭熹珍多在午夜以後創作，她說：「作畫不是外人所想的那麼安靜，我拿著刀子在畫布上用力刮顏料，聲音之大會吵醒鄰居，好在鄰居有些也是藝術家，能夠理解我的情況。」

最麻煩是要參展前的兩個月，鄭熹珍在家用榔頭釘畫布、架子，敲敲打打，鄰居以為是她家在裝修，她只得歉聲連連。

鄭熹珍說：「畫家根本像幹黑手，每天動刀動鑽，身上的工作服老是髒兮兮的。」好在曼哈頓居民見多識廣，對於這名夜半家中發出怪聲，拿刀、拿榔頭的女畫家，已見怪不怪了。

Bread Burner

南達科他州蘇佛市藝術館 化身張力山麵包坊

旅美藝術家張力山用碳焦麵包在牆面形成的裝置作品受矚目。南達科他州蘇佛市的華盛頓藝術科學館邀他展出作品及創作過程，藝術館成為張力山的麵包坊。// 中央社 九十七年五月十六日

【大紀元5月16日報導】（中央社記者林琳紐約十五日專電）

旅美藝術家張力山二零零四年四月在紐約皇后美術館展出用碳焦麵包在牆面形成的裝置作品「屮」深受矚目。南達科他州蘇佛市的「華盛頓藝術科學館」邀請張力山在該館展出作品及創作過程，藝術館成為張力山的麵包坊。

裝置作品「屮」的特色之一是它的媒材。二零零四年創作這項作品時，張力山有兩個月的時間每天早上四點半就到附近的麵包工坊捏塑麵包造型、放入烤箱、烤出熱騰騰的長麵包，下午兩點將做好稍涼的麵包取回公寓中，再用家用烤箱，一條一條烤成碳焦麵包。兩千三百多條碳焦麵包就是作品的媒材。「華盛頓藝術科學館」的策展人認為，張力山這項作品的創作過程與作品一樣精彩，所以決定以「力山麵包坊」為五月三十日到九月七日個展的主題。藝術科學館幾乎動員了館方所有人員，外加十位義工，在現場製作媒材，從混麵粉、揉麵團，到烘烤成長條狀麵包，進而烤成碳焦麵包。展出的形式將是以多元的形式，包括行為、裝置、香味、聲音、攝影等更全面的樣貌呈現。更有趣的是，展覽期間，販售碳焦麵包也是展出計畫的一部份。

張力山說，以碳焦麵包為媒材源自二零零三年的一個突來奇想。他在不斷尋找新媒材的過程中試驗性的將由店家買來法式長麵包用不同火侯並控制烤箱時間燒製。經過不斷的實驗，終於成功地做出他所期盼的質感。幾個月後，在二零零四年四月，他用碳焦麵包創作的裝置作品首度呈現在皇后美術館的聯展中。美術館白色巨牆上的巨幅裝置作品「屮」，寓意深刻又充滿趣味，獲得觀展者好評。

皇后美術館展覽之後，張力山仍繼續發展碳焦麵包的其他呈現手法。同時，賦予碳焦麵包一個新名詞，叫做「佈雷克力（Blackery）」，為LC Bakery 的變位字。LC，則是張力山英文全名的首字母。由於烤出來的麵包，大多是黑色，因而得其名，也代表是從力山麵包坊（LC Bakery）所製作出來的產物。一九九七年由台灣來到紐約的張力山，多年來一直執著於實踐藝術創作的理想，總有新意的創作已逐漸得到主流藝術界的認識，近幾年的展覽活動相當頻繁。他的創作曾在紐約的皇后美術館、蘇格拉底雕塑公園、韓國文化中心畫廊、明尼蘇達州的法藍克尼亞雕塑公園，台灣的國立美術館及關渡美術館展出。他曾進駐的藝術村包括佛蒙特藝術村、紐約的國際藝術家與策展人中心及曼哈頓下城文化委員會藝術家工作室。最近他也應皇后美術館的邀請開班教授當代藝術入門課程。

Burning bread for art

By Lisa May

If you were downtown Sioux Falls on Sunday you might have smelled something burning. It was actually burning bread and it was no accident.

Ten ovens outside the Washington Pavilion were used to burn baugettes for an upcoming art installation. Lishan Chang, an artist from Taiwan, plans to use the charred bread to create a one of a kind work of art on the south wall of the Everist gallery in the pavilion.

Chang pulled off a similar sculpture in new york four years ago and says the entire project is time consuming.

"In 2004 I had an installation in Queens Museum," Lishan Chang says. "I burned 2,000 pieces of bread. It takes about one month."

Chang's bread exhibition will be on display from May 30th to September 7th.

晾書報導--世界日報

台灣藝術家張力山的裝置藝術「摺疊圖書館」(The Folding Library)，目前正在布碌崙公共圖書館中央分館展出。張力山表示，取名「摺疊圖書館」的裝置藝術都由他的手繪作品製成。它們都是1999年至今所作，包括用鉛筆、墨水、水彩記載的各類裝置作品、行為藝術、美學觀念等，以草圖、素描、書法等形式展現，這些圖形可說將他的個人經歷、想法到夢境全部描繪出來。他用台灣買的佛經本創作這些圖形，總共有40多本，而這次展出的只有10多本。

張力山說，他喜歡在佛經本上畫圖和思考，人的思維是連續性的，而佛經本展開很長，很適合記載有時間感、延續性的題材，表現過去、現在和未來。張力山說，他的每部作品都包含了身為藝術家要問的問題，答案可能很獨特，或者有點似是而非，連他自己經常也感到驚訝。他鼓勵不解其意的觀眾多加審視，也許會豁然開朗。

張力山生長於台灣，1997年移居紐約，曾獲得多個榮譽，並在皇后美術館、蘇格拉底雕塑公園、明尼蘇達Franconia雕塑公園、皇后區公共圖書館畫廊等多個藝術機構展出過作品。

「摺疊圖書館」展至6月14日。布碌崙公共圖書館中央分館地址：布碌崙大陸軍廣場10號(10 Grand Army Plaza Brooklyn, NY 11238)。

來源：世界日報

旅美藝術家張力山紐約展出「藝術書」

【大紀元4月23日報導】（中央社記者林琳紐約二十三日專電）旅居紐約的台灣藝術家張力山，以多年來摸索創作的紀錄為本所製作的「藝術書」，從昨天起到六月十四日在紐約市布魯克林區圖書館展出。
張力山在昨天晚間的開幕式上，向觀展者介紹這些有如中國古代摺疊式書本的藝術書的主題。他表示，他從一九九九年起開始創作藝術書，每一本書紀錄一項他的行動藝術或是裝置藝術的概念、美學觀點及創作的計畫，可能是素描、中國書法，甚至是信手拈來的筆頭與橡皮在紙上隨興所至按下圖案印記的趣味構圖。

嘗試過多種媒材創作室內及室外大型裝置的張力山，在紐約展出的作品就屢有新意。由布魯克林圖書館展出的藝術書可以認識到他以烤焦的法國麵包創作裝置的過程、在南達科他州駐村創作時的心境、及如何在紐約蘇格拉底公園以膠膜創作出「飄浮」的境界。

一九九七年來到紐約的張力山，近年來愈見成熟的創作風格獲得藝術界肯定，除了經常受邀展出新作，他也獲得紐約市及其他州的藝術單位邀請駐村創作。

Artist Talk by Lishan Chang "The Folding Library"

Opening of HUMAN RESOURCES exhibition

The show features works by a great group of artists:
Manuel Acevedo
Jane Benson
Michael Cataldi
Lishan Chang
Carola Dertnig
Nicolás Dumit Estévez
Terence Gower
Hoon Kim
Yoko Inoue
Catarina Leitão
Diane Meyer
Shelly Silver
Shinique Smith

@SEAPORT!
located at 133 Beekman Street (entrance on the corner of Beekman and Front Streets)*
Jan 8 - Feb 3, 2008
Hours: Tuesday - Thursday, Sunday 12pm - 5pm
Friday & Saturday 12pm - 7pm
Opening Reception: Thursday, Jan 10 2008, 6 - 8pm
Space Provided by General Growth Properties

Attached images: Nicolás Dumit Estévez "Help Offered," 2004 (initially performed in Jamaica, Queens as part of Jamaica Flux: Workspaces and Windows)

Queens Library's "Line" Exhibit Draws Viewers In

Queens Library's "Line" Exhibit Draws Viewers In

Black lights, typically the stuff of basement parties and music stores, have taken center stage — at a library, of all places.

The black light installation by artist Lishan Chang is part of an exhibit now on display at the Queens Library Gallery in Jamaica. The free show, which presents work from seven different artists, takes a new approach to line drawing.

“I was looking for work that spoke to the idea of drawing through the use of line, but wasn’t necessarily a drawing,” said Juliana Driever, the gallery’s curator. 

She found just that from artists including Jose Ruiz, whose “Blindfolded Essay” uses text to create the shape of a person wearing a dark mask. Up close, the words are legible, but step back a few feet and the human form takes shape, rendering the words indistinguishable.

There’s also Doreen McCarthy’s “Circulation,” a three-dimensional piece comprised of connected, white, inflatable circles. It’s as tall as a person and because it sits front and center in the gallery, is equally visible to someone perusing nearby library shelves or walking through the exhibit.

“The scale of the piece was really crucial,” said McCarthy, who has worked with inflatable materials for more than a decade. “I wanted it to be somewhat human, but also architectural. I wanted to invite people to interact with it, be engaged, have a physical experience with it.”

This notion of interacting with art is counterintuitive, but it makes the exhibit user-friendly and accessible, particularly important for a gallery in the middle of a public library. Driever, who has worked at the library’s gallery for almost two years, said her aim is for the shows to provide this type of access. 

“Everything we have here at the gallery is for our community,” she said. “My goal is to bring stellar exhibits of contemporary art to Queens and specifically, to Jamaica.”

The community seems to be responding positively. Isador Monsanto twice brought his son, Zachary, to the show, the second time at the request of the 8-year-old. The pair said they liked the sketches of the robot Domo, by Pia Lindman, and Chang’s black light installation, which is housed in a separate room at the back of the gallery.

“The first time I went in there, I thought, ‘How did they do that?’” Zachary said, referring to the way a black light makes white or light material glow. “I thought they just put a light in my shirt.”

Even artist Carol Warner, who has six pieces on display, said she enjoyed Chang’s black light room and the rest of the exhibit.

“It’s so much about line, but I probably wouldn’t have thought that without seeing the material in that context,” she said. 

Warner’s work is some of the most colorful in the room. She takes images from magazines, cuts them into strips of different widths, and weaves them together. Minus any contextual clues, the shapes within the art are somewhat hard to distinguish. But their vibrant colors draw viewers in.

“My work is about line (and) about paper — the paper as a line,” Warner said. “(Juliana) just found so many different variations on the idea of something simple. I was thrilled to be a part of it.”

Driever seems to have succeeded not only in engaging the Queens community, but the artists involved as well.

“It’s been great. The community always loves all the exhibitions we do,” Driever said. “All of the artists were really enthusiastic and very happy with the way (the exhibit) came together.”

“Line (Drawing)” is on display at the Queens Library Gallery until Jan. 13. Hours are 10 a.m. to 9 p.m. Monday through Friday, 10 a.m. to 5:30 p.m. on Saturday, and noon to 5 p.m. on Sunday. Admission is free.

For more information, call (718) 990-8665 or visit http://www.queenslibrary.org/gallery.

Queens Library Gallery Current Event

Line(Drawing)--Queens Library Gallery

Lishan Chang, Frame to the Other End, 2005-2006. Mixed media installation. Installation view at Crystal Art Gallery, NY. Image courtesy the artist.

LISHAN CHANG
Multi-media artist Lishan Chang creates spaces in which viewers are invited to let their imaginations run rampant, eventually reaching a higher plane. Chang accomplishes this through multi-media installations that ask viewers to consider their relationships with themselves, others and their environment. Although Chang is interested in conveying artistic ideas beyond linguistic barriers, his work encourages dialogue among viewers, as well as between viewers and himself.

Lishan Chang studied at the Taipei National University of Arts, Taipei, Taiwan. He recently has been awarded residencies at the International Studio and Curatorial Program (2007/2008) and Lower Manhattan Cultural Council (2006/2007). Chang currently lives and works in New York City.

PARTICIPATING ARTISTS:

Lishan Chang | Charles Kelton | Jana Leo | Pia Lindman | Doreen McCarthy | José Ruiz | Carol Warner |

Lishan Chang's "Time" - Photos of Jamaica Flux

Artist Lishan Chang's Time in King Manor Park, Jamaica Avenue, between 150th and 153rd Streets, Jamaica, NY

Aesthetic takeover: Artists, community, combine for redux of JCAL's "Jamaica Flux"

Jamaica Flux 2007 - Review and Visitors Guide

From John Roleke

Jamaica Flux: Workspaces & Windows 2007: Jamaica Flux:

Workspaces & Windows 2007, a public art event along Jamaica Avenue and

nearby areas of downtown Jamaica.

• September 29 - November 17, 2007
• Many of the artist performances are only on weekends.
• Schedule -JCAL website
• See -Photos of Jamaica Flux

Organized by the non-profit Jamaica Center for Arts and Learning (JCAL), Jamaica Flux: Workspaces & Windows 2007 follows the first Jamaica Flux held in 2004. This year's involves 25 artists and artist collectives creating 25 site-specific art works along Jamaica Avenue and nearby streets, and plenty of interaction with the Jamaica, Queens, community.

Highlight - Counter Culture Cash, Real Public Art: The large group show is a bit uneven, and some of the pieces -- like bus stop and phone booth posters -- are expected, though interesting. But overall the show's quality is high, led by Counter Culture Cash an excellent conceptual and interactive project by artists Anna Stein and Athena Robles. How much more interactive and accessible can you get than money as art?

The artists give their "Jamaican Bucks" to people willing to sit for portraits at the 165th Street pedestrian mall. They even convinced a few local businesses to accept this seriously local currency. Seeing the Art - Start at King Manor Park : The show coalesces in downtown Jamaica's largest open space, King Manor Park, with the work of five artists.

• King Manor Park - Jamaica Ave, between 150th and 153rd Sts, Jamaica, NY 
• Getting There - E Subway to Jamaica Center - then walk one block to Jamaica Ave and turn left. Two blocks to King Manor 

Park King Manor Park is the home of the King Manor Museum, an historic home. It's also a busy, local park, just a few acres in size.

Lishan Chang's Time is the show's most visible artwork, huge sheaths of plastic stretched between tree trunks and limbs on the park's southwest. It's worth spending some time watching the sun dance on the plastic and the park-goers puzzle over its meaning.

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Trees and Transparency in Downtown Jamaica

Easily the most eye-catching and remarked-upon installation at Jamaica Flux is artist Lishan Chang's Time. Chang has wrapped plastic around and between trees at the King Manor Park, just off Jamaica Avenue in downtown Jamaica, Queens. The site-specific installation Time is part of Jamaica Flux: Workspaces & Windows 2007.

Jamaica Flux Brings New Meaning to Public Art

張力山版畫系列作品在威廉帕森大學展出

Public Program at Art in General

Wednesday, September 26, 2007 at 6:30 pm
Out of the Studio #6

A presentation and discussion regarding service-based art practices with ISCP artists in residence Lishan Chang (Tawain) and Ruben Ochoa (Los Angeles), Ana Prvacki (Singapore), participant in the group exhibition 25 Years Later: Welcome to Art in General currently on view at the UBS Art Gallery in New York, and with an introduction by Herb Tam (New York), associate curator, Exit Art. This program takes place at Art in General, and is free and open to the general public.

Out of the Studio is a series of public programs at Art in General presenting artists and curators in residence at the International Studio and Curatorial Program (ISCP) along with artists participating in Art in General's program. This is the sixth program in the series.

ART IN GENERAL 79 Walker Street | New York, NY 10013 | Tel 212-219-0473 |
www.artingeneral.org | info@artingeneral.org

'Float' Drifts Into Socrates Sculpture Park - -The New York Sun

Lishan Chang featured in NY Times

紐約蘇格拉底雕塑公園展出張力山裝置作品

紐約蘇格拉底雕塑公園展出張力山裝置作品

【大紀元8月20日報導】（中央社記者林琳紐約十九日專電）紐約東河岸「蘇格拉底雕塑公園」今夏的「飄浮」特展，邀請台灣旅美裝置藝術家張力山，展出他以膠膜環繞樹木形成的半透明迴廊裝置；觀展者游走其間，感受光影及景觀的變幻，別有一番趣味。

「飄浮」特展是策展人莎拉．萊思曼自二零零三年開始，為「蘇格拉底雕塑公園」在夏季設計的雙年展。今年展出的作品除了大型裝置，還有錄影，主題則圍繞在時空的轉換。

萊思曼表示，她很欣賞張力山作品呈現的意境，所以在二零零四年就邀請張力山把作品帶到雕塑公園。透過膠膜的半透明圍牆觀賞周邊的河岸、綠樹與草地，每個人在不同的時間、光線及角度下，看到的景觀都不一樣。

蘇格拉底公園是紐約藝術家和社區人士，將東河河濱的一片垃圾及填土形成的空地整理及植樹建立的社區公園。藝術家在這片可以遠眺曼哈坦的綠地上樹立了大型的金屬裝置、石雕及其他媒材的藝術作品，開放民眾遊園參觀。這個成立了二十一年的公園已成為美國著名的露天藝術展場。

除了園裡固定的裝置及雕塑作品，兩年舉行一次的「飄浮」特展也吸引許多民眾參觀。由八月十一日到二十六日的特展，在週末的下午還有音樂家演奏。

Float 2007 (Socrates Sculpture Park)

Socrates Sculpture Park is pleased to announce the 2007 edition of Float, a biennial series of time-based and ephemeral works installed and performed throughout the Park on Saturdays and Sundays in August. Launched in 2003, Float was first organized in response to Socrates Sculpture Park's location on the East River waterfront. In 2005, locational and relational aesthetics were emphasized, and now, in 2007, the series takes up the theme of nostalgia for a future past, and focuses on a wider range of media to include a concert series, a discursive newsprint publication and blog, several performative installations, and a video program.

CURATED BY SARA REISMAN
COORDINATED BY SHAUN LEONARDO

INSTALLATIONS: Lishan Chang, Lieven de Boeck, Sheila Ross Laura Ten Eyck with Fletch, Todd Knopke, Ted McGurn Derrick Wilson, Jan Rothuizen, Saya Woolfalk

VIDEOS: Robert Boyd, William Lamson, Shana Moulton, Ola Vasiljeva

PERFORMANCES: Kambui Olujimi, Shana Moulton, Saya Woolfalk

PRINT/WEB: When Art (Or In What Regard): A Collaborative Project Initiated by Jeanette Doyle with Soledad Arias, Nathalie Angles, Koan Jeff Baysa, Dave Beech, Dan Cameron, Jinkee Choi, Eva Diaz, Aniko Erdosi, Georgina Jackson, Paddy Johnson, Raimundas Malasauskas, Rebecca Gordon Nesbitt, Paul O'Neill, Sarah Pierce, Aisling Prior, Sebastian Romo, Mick Wilson, Raul Zamudio, and others.

CONCERTS: Organized by Tara Sansone

CHIN CHIN, EL MICHELS AFFAIR, THE BUDOS BAND
August 11 / 4PM

THE FIERY FURNACES
August 26 / 4PM

SIGN UP HERE FOR KAMBUI OLUJIMI'S
ROCK SKIPPING CONTEST August 12 / 1PM
This contest is for all ages- and you can even bring your own rocks!

Send an e-mail to kn@socratessculpturepark.org
(Titled "ROCK SKIPPING CONTEST", write your name and age in body of the e-mail)

SUMU Residency (Turku, Finland)

INSTALLAATIO KOKO MIES

Lishan Chang muutti New Yorkiin Taiwanista vuonna 1997 ja päätti ruveta taiteilijaksi. Eikä todellakaan helpoimman kautta.

- En koskaan mene sääntöjen mukaan, genren tai trendin. Aasialainen kulttuuri ja filosofia ovat muokanneet minusta sen, mitä nyt satun olemaan. Tietenkin se vaikuttaa siihen, kuinka taiteen näen ja koen. 

Chang päätyi New Yorkiin vuonna 1997 ja on siitä saakka työskennellyt intohimonsa parissa. Miehen puheessa taide on melkein mennä vaimonkin edelle. 

Changin päätyö alkoi muodostua vuosien saatossa. Myöhemmin hän nimesi sen Transitioniksi. Kuvissaan ja videoissaan hän käsittelee omalla tavallaan elämää, kulisseina logistisen alan ympyrät. Id - by Van valmistui 1999, Bridge - by Truck valmistui 2001, Stop Transition - in Warehouse vuonna 2005. 

Maan alta hän tuli töineen vasta vuoden 2003 korvilla, ja ensimmäinen merkkipaalu oli yhteisnäyttely Queens Museumissa.

- Se näyttely on minulle hyvin merkittävä. Siellä oli materiaalia Id - by Van -projektistani. Viimein sain kartutettua materiaalia sen verran, että pystyin pitämään näyttelyitä omin päin. 

Selittelyt jätetään muille

- Oikeastaan olen aika hiljainen ihminen. Jätän selittelyt muille ja keskityn itse asiaan, taiteen tekemiseen, mies sanoo. 

Chang on pelottavankin yksioikoinen, kun hän puhuu töistään. Taide ei ole vain taidetta, vaan se on missio läpi elämän.

- Näyttely minun osaltani valmistuu siinä vaiheessa, kun näen Titanikin tilan. 

Kyse on installaatiosta. Chang filosofoi, että osa sitä voi olla turkulainen aurinko tai jokin satunnainen jokirannan asia. Changin työt ovat installaatioita, valokuvia ja videoita. Hän ottaa kantaa ja katselee asioita hieman omalta kannaltaan, hieman sivusta. Changin kuvat ja taide ovat enemmänkin huomioita häntä ympäröivästä maailmasta kuin alleviivaavan kantaa ottavia töitä. 

Suomen visiitiltään hän odottaa rauhaa ja rakkautta.

- Pääasia, että olemme elossa ja saamme tehdä taidetta.

ANTTI ARVAJA

Sumu/Residenssiperiodi, Lishan Chang (USA), to 28.6. asti, Titanik, ti-pe 12-18, la-su 12-16, Itäinen Rantakatu 8. www.changlishan.com

芬蘭駐村藝術家專訪

Taiwan: From Within The Mist

Exhibition Title: Taiwan: From Within The Mist 

An unforgettable exhibition at Sioux Falls..... Mayor of the city of Sioux Falls proclaim May 18th, 2007 as TAIWAN DAY.

Exhibition locations and time frames are as follows: 

Washington Pavilion of Arts and Science in Sioux Falls, South Dakota: 05/18/07 – 08/19/07

Centre A - Vancouver International Centre for Contemporary Asian Art: 09/14/07-10/19/07

University of Indianapolis- Christel Dehaan Fine Arts Center and Ransbury Gallery in the State of Indiana: 11/12/07-12/07/07

The Illges Gallery, Columbus State University in the State of Georgia: 01/17/08 – 02/24/08

National Taiwan Museum of Fine Arts in Taiwan: 05/31/08 – 08/03/08

The twenty one participating artists are: Chang, Lishan、Chang, Shin Yu、 Chen, Agi、Chen, Ching Yao、Chen, Yung Hsien、G-8 Art Public Relations Consulting Company、Ho, MengChuan、Hsu, Tang-Wei、Kuo, Hui Chan、Daniel Lee、 Li, Sih-Huei、Lin, Hsin Yueh、Lu, Hao-Yuan、Peng, Hung Chih、Shi, Jin Hua、 Shy Gong、Tu, Wei Cheng、Wang, Ming-Ren、Wang, Wu、Yao, Jui Chung、Yuan, Goang Ming.

LMCC Open Studio

LMCC's WORKSPACE OPEN STUDIO WEEKEND

30 artists. 2 spaces. 1 weekend.

April 27-29, 2007

120 Broadway, 8th Fl + 200 Hudson St, 4th Fl

Events

All events are free and open to the public. RSVP is required.

www.lmcc.net/openstudios

Friday, April 27

6-10PM Opening parties at both spaces.

Saturday, April 28

1-6PM Both spaces open to the public.

3-4PM An Offbeat Walking Tour with Robert Jay Kaufman

5-6PM Moving Pictures: Screening @ 120 Broadway, 8th Fl

Sunday, April 29

1-6PM Both spaces open to the public.

4-5:30PM Open Texts: Poetry, Fiction and Performance from writers-in-residence Jill Magi (with Jonny Farrow, musician/sound artist) and Ranbir Sidhu @ 200 Hudson St, 4th Fl