外婆的紅眠床曾國榮個展
外婆的紅眠床 —曾國榮個展
Grandma＆#039;s Traditional Chinese Wedding Bed – Guo-Rung Tzeng Solo Exhibition
展期 Duration｜2025.04.30 (wed) - 06.08 (sun)
藝術家 Artist｜曾國榮 Tzeng Guo-Rung
地點 Venue｜絕對空間 Absolute Space for the Arts
開幕 Opening｜2025.05.03 (sat) 15:00
座談 Forum｜2025.05.03 (sat) 15:30
座談與談人 Forum Guest｜蔡佩桂 Pei-Kuei Tsai
展覽介紹 ‖ Statement
紅眠床曾經是傳統社會中新婚夫婦的期望富貴過一生、繁衍萬代、白頭偕老等。紅眠床不只是善的象徵，同時也是恐懼的、混沌的「大母神」神話。1949年當時只有8歲的外婆跟著外曾祖父的國民黨軍一同撤退來到台灣。如今外婆臥病在電動病床上，病床的床角貼著外婆的病例及醫療資訊，如同一個墓誌，紀錄著生前的病痛。紅眠床象徵外婆的身體、母親形象、孕育生命的搖籃，是人生「生」與「死」之間不同生命階段的容器，是回收生命的墳墓。
展覽運用傳統工藝精神製作「外婆的紅眠床」與「太師輪椅」兩件小木做作品，將傳統傢俱趨吉避凶、生老病死、陰陽調和等概念融合醫療器材。展開一場從「傳統工藝/當代藝術」、「記憶/技藝」、「傢俱/身份」、「紋樣/生活」間的藝術討論。
Traditional Chinese Wedding Bed was once a symbol in traditional society of newlyweds’ hopes for a life of wealth, countless descendants, and growing old together. It is not only a symbol of goodness but also embodies the fear and chaos of the mythology surrounding the “Great Mother Goddess.” In 1949, my grandmother, who was only 8 years old at the time, followed my great-grandfather and the Chinese Nationalist Party（CNP）army to retreat to Taiwan. Today, she lies bedridden on an electric hospital bed, with her medical records and information affixed to the corner of the bed, resembling an epitaph that chronicles the suffering she endured in life. The Traditional Chinese Wedding Bed symbolizes Grandmother’s body, the maternal figure, and the cradle of life. It serves as a vessel for the various stages of life between "birth" and "death" and as a tomb that reclaims life.
The exhibition incorporates the spirit of traditional craftsmanship to create two wooden works: "Grandma＆#039;s Wedding Bed " and " Wheelchair of Hat Armchair." The concepts of traditional furniture, such as avoiding misfortune and attracting auspicious, birth, aging, illness and death, and the harmony of yin and yang, are integrated with medical equipment. Start an artistic discussion on "traditional crafts/contemporary art", "memory/skills", "furniture/identity" and "pattern/life".
藝術家介紹 ‖ About Artist
曾國榮 Guo-Rung Tzeng
1990年出生於台灣台南，家中從事紙錢批發10餘年，創作形式從平面繪畫、立體裝置、傳統木雕，以幽默、感性的方式表達所觀察到的社會現象，用信仰的方式詮釋，傳達出作品與民眾間緊密的生活態度。
研究領域包含中國傳統木工藝、當代藝術。近年來的創作多以傳統木工藝的方式呈現，傳統木工藝其內涵傳達出社會系統，包含建築、生活器具、神明雕刻、宗教器物、裝飾雕刻等。然而我更為關心的議題是個人與象徵背後的對話性，試圖展開傳統木工藝的陰性探討。
Born in Tainan, Taiwan in 1990, his family has been engaged in spirit money wholesale for more than 10 years. My creative forms range from two-dimensional paintings, three-dimensional installations, and traditional wood carvings. He expresses the observed social phenomena in a humorous and emotional way, interprets it in a faith-based way, and conveys the works and A close-knit attitude towards life among the people.
Research areas include traditional Chinese wood crafts and contemporary art. In recent years, most of his creations are presented in the form of traditional wood crafts. The connotation of traditional wood crafts conveys the social system, including architecture, living utensils, gods carvings, religious artifacts, decorative carvings, etc. However, the issue I am more concerned about is the dialogue behind individuals and symbols, trying to explore the negative aspects of traditional wood craftsmanship.
贊助單位 ‖ Sponsor
文化部
臺南市政府文化局
國藝會
類型： 人文藝術展覽
日期 ： 2025-04-30 至 2025-06-08 (一至兩個月內)
地點： 台灣臺南市 絕對空間
地址： 台南市中西區民生路一段205巷11號
主辦單位： 絕對空間
