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Room 951 MUZI ART
MUZI ART成立於2018年，2022年台北的新據點MUZI ART@PARK將嶄新開幕。MUZI ART致力於代理歐美及日韓藝術，積極參與及布局歐、美、亞洲的國際藝術博覽會，MUZI ART希望用藝術連結世界與在地文化，讓藝術零時差、無國界。
今年將展出澳門-尹保倫Van Pou Lon繪製於香樟木上金箔木塊作品、旅德-陳以書I-shu Chen的迷霧林系列作品、台灣-詹欣婷Hsin-Ting Chan陶瓷雕塑、沈賞音Shang-Yin Shen水墨工筆、賴士超水墨膠彩、陳庭毅丙烯畫布、張舒嫻生活陶瓷、張璧蘭水墨紙本、梁佑寧丙烯畫布
MUZI ART was established in 2018, MUZI ART @PARK became a fresh showroom in Taipei in 2022.MUZI ART strives to represent art from Europe, Japan and Korea, participating in international art fairs in Europe, America and Asia. MUZI ART hopes to connect the local culture around the world through art, with the belief that art has no limit in terms of time and space.
This year, MUZI ART will exhibit the works of Macao artist Van Pou Lon, Taiwanese artist I-shu Chen, Hsin-Ting Chan, Shang-Yin Shen and.
I-shu Chen 陳以書
Hsin-Ting Chan 詹欣婷
賴士超
每個個體在群眾之間，彼此都可能產生有形及無形的連結關係，而關係建立在群眾之間所產生的情感。成為「群」或「眾」的組織，是一種個體適應社會化的一種過程，藉由旁觀者的角度來觀看、覺察其中的交會模式。
Each individual within a crowd has the potential to form tangible and intangible connections with one another, and these connections are built upon the emotions that arise within the crowd. Becoming a "group" or "crowd" organization is a process of individual adaptation to socialization, achieved by observing and recognizing the patterns of interaction from an outsider's perspective.
張璧蘭
創作自述
Artist Statement
此系列作「不毛之地」是我從2018開始的作品。我將身體作為擷取的對象，局部化並搭配上自然植物，植物是路邊雜草或觀賞花，而身體我覆蓋上裝飾性的花磚紋路，使之成為物件、盆器、花器等…身體成為中性、中立的物件。
The Barren Land is a series I have been working on since 2018. I extracted partial images of human bodies, paired them with plants such as roadside weeds and ornamental flowers. I then covered the bodies with decorative tile textures that transformed them into objects, pots, planters, and such. The bodies have become neutral items.
不毛之地的名稱也源自於一個想法。約翰·伯格在《觀看的方式》一書中提至:「毛髮與性權力有關，與熱情有關。」女子在畫中無毛髮只因自身需無慾望，因為慾望屬於他人，我認為這件事很有趣也顯著卻無人提及，因此在作品中我會讓毛髮出現在繪製的身體，我希望觀者能看出這身體部位的出處，也希望觀者能有不同的觀看效果與想法。
除了不毛之地系列，我也將身體與山水作為結合，闡述自然、非自然的結合，官能與試圖中性客觀的結合。
The name The Barren Land came from a concept. In John Berger’s work, Ways of Seeing, he mentioned: “Hair is associated with sexual power. With passion.” Women are portrayed as hairless in art pieces because they must be stripped of any desire - the desire that only belongs to others. I found it interesting and prominent but barely been discussed. Thus, hair is shown on the bodies I present in my works. I hope the viewers would be able to recognize the body parts, be inspired in their own way, and generate different opinions.
In addition to the series of The Barren Land, I also combined human bodies with landscapes, portraying the combination of the natural and the unnatural, and the combination of sensibility and the attempt to be neutral and objective.
梁佑寧
疫情，偷走了三年卻也留下了什麼。
還記得第一顆植物是為了裝飾而存在，直至今日，陽台已經被一百多顆鹿角蕨和觀葉植物佔據，主僕關係已經進行意義上的交換。每天的任務是當糾察隊，在陽台間穿梭並發現植物中的不尋常，吸引我的不是那些健康的植物，反而是葉面上的小黑點、小昆蟲，或萎靡的植株，這些如同信號彈般的求救訊號，以一種發光的姿態傳遞。在失控的世界中，植物變成避世的堡壘，在可控的幾坪空間中得以喘息，可以確定的是，我們都互相滋養了對方。
作品中，紫色生長燈以紅藍光譜交織並取代陽光，是人工介入的痕跡，它催生著植物生長，也催生了我的幻境。當中的光體是雨、是光也是能量的借代 ，他們以侵略性的方式入侵，而我也時常幻想著他們彼此間的交互作用，以微觀植物作為感知的手段，藉由感知經驗內化形成象徵性的微光，對象物邊緣的光不具備照亮空間的任務，也不存在現實經驗當中，存在於精神意識。筆觸移動的軌跡，時而類似等高線的秩序呈現漸變，時而感性的流動堆疊，是對質地的再詮釋，而形體的邊際在筆觸的清晰與噴槍霧化之間顯現，透過繪畫為媒介、畫布為載體，完成與植物間的腦補活動。
張舒嫻
1995年生於台北，國立台北藝術大學美術系畢業。於2019年創立個人陶瓷品牌「酥酥製陶」，擅長將作品結合陶瓷與繪畫，利用兩種媒材的交融，發展出更多造型的可能。創作內容圍繞在一些夢幻的場景與角色，帶點童話感的顏色和筆觸，與手捏陶土的質感，將腦海裡的奇幻異想，揉合成一個最適合的樣子。
Susu Chang, born in Taipei in 1995, is a graduate of the Fine Arts Department at National Taipei University of Arts. In 2019, she founded her own ceramic brand called "Susu Ceramics," with a focus on combining ceramics and hand painting in her works, utilizing the fusion of these two media to explore a wider range of creative possibilities. The essence of her art revolves around dreamlike and ethereal scenes and characters, employing colors and brushstrokes that evoke memories of the old fairy tales, and incorporating the texture of hand-built clay, seamlessly merging the fantasies of her imagination into her own aesthetic.
陳庭毅
Youeatme
以個性鮮明的肖像、動物，和生活物件作為對象，
用自由快速的線條與筆觸，大膽呈現日常中特定的真實情感。
擅長用不同形狀的視角，重新定義原本的構圖，
在畫面建構的過程裡，創作狀態的流動，使作品在開始與結束間充滿不確定性，
利用顏色和造型上的直覺，讓畫面中的角色擁有生命力。
With distinctive portraits, animals, and household items as objects,
applies free and fast lines and brushstrokes to boldly present specific real emotions in daily life.
The artist is also good at redefining the original composition with perspectives of different shapes.
In the process of picture composition, the flow of art-making state makes the work full of uncertainty between the beginning and the end.
Uses the intuition of color and shape to bring life to the characters in the picture.