開幕 | 12.05.2020 (Sat.) 4:30 p.m.
— 策展人 許峰瑞
楊俊一系列個展，從2018年韓國首爾善宰藝術中心（Art Sonje Center）「The Overview Perspective」作為起始，延續至2019年於奧地利格拉茨美術館（Kunsthaus Graz）「藝術家、藝術作品與藝術展覽（Jun Yang: The Artist, the Work and the Exhibition）」，透過回顧過去及重製作品、與其他藝術家的共同創作，探討關於身份的單一性及複數性，以及藝術與商業機制的相互關係。延續先前展覽概念至今，於台灣的個展「楊俊—藝術家，合作者，他們的展覽與三個場域」，將其複數性延伸至三個空間。在這其中，楊俊所代表的意義，是透過一個藝術家個展的具體實踐，作為一項工具、一種途徑，扮演「中介（Agency）」的角色來呈現這整體機制，刺激我們思考當代藝術生態系中，藝術作品、藝術家、畫廊、美術館之間的權力結構及相互關係，開啟我們檢視現今的當代藝術產業機制的不同視角，並延伸彼此對話的出發點。
這次於三個場域先後開啟的展覽中，首先開幕的TKG+ Projects展如同一段楔子、一個電影預告，為整體三個展覽開啟序幕；關渡美術館將延續去年個展主軸，較為完整地呈現楊俊過去至今的創作脈絡，並開展其三個展覽敘事及文本，而台北當代藝術館作為壓軸開展，透過三展所發酵的議題，延伸相關活動並展開對話。其中TKG+ Projects主要從「作品／藝術即產品（Art as a product）」的概念延伸，從室外建築體看見窗上豎大的Jun Yang，彷彿建立品牌的logo作為開啟展覽的起始點，有別於關美館「楊俊」、當代館「杨俊」的大型招牌，「Jun Yang」也是國際間、他與畫廊合作所最常使用與識別的名稱。窗上的Jun Yang一方面有意識地創造了畫廊周邊的城市景觀，展名中楊俊所定義的「場域」，並非只限於展覽空間本身，而是更廣義地泛指其周邊地區的特質及所處機構的特性；另一方面在視覺空間上，作為室外與室內展場的轉換及連結。
當「楊俊」成為一種符號，所延伸討論身份的複數性，同樣體現於耿畫廊、TKG+、TKG+ Projects三個品牌的不同機制上。一個商業經濟體，如何透過內部組織，進行商業及學術資源的循環，達到具歷史、文化、當代觀點及實驗的多項目標？耿畫廊於1992年成立之時，負責人耿桂英從九○年代西方抽象繪畫的歷史切面中，挖掘吳大羽、常玉、朱沅芷、趙無極等藝術家，耕耘建立如今的成熟市場，也創造華人現代藝術的美學觀點，成為台灣畫廊產業中，具時代意義的指標。TKG+延續其精神，由二代吳悅宇於2009年創立當代藝術品牌，從現代藝術延伸，注入新的元素及能量。其方向從錄像藝術、裝置、行為到觀念藝術等，在展覽生產機制的思考及時間的積累上，持續深根學術並拓展更多元的市場。在這些的基礎上，延伸出TKG+ Projects計畫空間，雖為跳脫畫廊市場機制的展演平台，仍延續畫廊中的組織文化。由於機構策展人的加入，重視策展實踐，將藝術生產過程的經驗回饋給產業機制，使不同品牌間產生循環及流動，也同時定位出不同的目標觀眾。
The Artist, His Collaborators, Their Exhibition, and Three Venues
Reception｜12.05.2020 (Sat.) 4:30 p.m.
Venue｜TKG+ Projects (2F, No. 15, Ln. 548, Ruiguang Rd., Neihu Dist., Taipei, Taiwan 114)
This exhibition by “the artist” Jun Yang is held in three different spaces simultaneously. The theme of “Jun Yang” in each of the three spaces serves to expose the differences among the three “institutions”, and in so doing opens up a new dialogue. “Jun Yang” is exhibited respectively in a commercial gallery, a university gallery and a public art museum; thus is transformed into a symbol, encouraging the audience to question the nature of the art institution itself. Under this shift of concepts, the shape of the constructed social network of artists, artworks, and institutions becomes delineated, and what emerges is precisely the face of contemporary art.
— Curator Hsu Fong-Ray
Beginning with The Overview Perspective at the Art Sonje Center, Seoul, Korea in 2018, followed by Jun Yang: The Artist, the Work, and the Exhibition at the Kunsthaus Graz, Graz, Austria in 2019, the series of Jun Yang’s solo exhibitions investigates identity’s singularity and plurality, as well as the relationship between art and commercial mechanisms, through a look back on the past, the remaking of his works, and collaboration with other artists. A continuation of his previous oeuvre, The Artist, His Collaborators, Their Exhibition, and Three Venues, Jun Yang’s latest solo exhibition in Taipei, Taiwan, expands the sense of plurality in three spaces. In this particular exhibition, Jun Yang stands for a tool, a means, an agency, which allows us to examine the power structure and interrelationship among artworks, artists, galleries, and museums from fresh vantage points that ultimately initiate a dialogue among all participants in the art world.
Taking place at TKG+ Projects, the first installment of this solo exhibition serves as a prelude that raises the curtain on Jun Yang’s three-part venture. The second installment at the Kuandu Museum of Fine Arts surveys the artist’s past and present body of work that expands on the narrative of this three-part solo exhibition, while the third and final installment at the Museum of Contemporary Art, Taipei, or MOCA, Taipei, introduces activities and projects relevant to the issues that are explored across the three venues. The presentation at TKG+ Projects pivots around the concept of "art as a product." The enormous letters of "Jun Yang" on the façade of the building act as a brand logo that unveils the exhibition. Distinct from 楊俊 and 杨俊, the traditional and simplified characters of the artist’s Chinese name, transformed into large signboards that stand erect in front of the Kuandu Museum and MOCA Taipei, Jun Yang is the common name the artist adopts when he exhibits internationally. The letters "Jun Yang" on the second-floor window of the building that houses TKG+ Projects, on one hand, consciously shape the cityscape around the gallery: The sphere defined by the exhibition title "Jun Yang" does not limit itself to the exhibition venue, but refers more broadly to the nature of its surrounding area and the nature of the institution where the exhibition takes place. On the other hand, the letters "Jun Yang" become a visual cue that collapses the boundary between indoor and outdoor.
In the second-floor space, the exhibition unfolds in an imagination of the typical white box. First the viewer is greeted with a display of 12 scaled-down models of his actual works, which are placed on a horizontal tabletop. Intended as an index of the works on view across the three venues, this serves as a clue to the narrative that weaves through the three-part solo exhibition. Just as the archetype it models, each miniature — rather than a piece of mass-produced merchandise — is a work in and of itself, with editions and prices. The embodiment of the original work’s concept in the miniature prompts a discussion on the originality, as well as editioning of artworks; it also echoes the museum and gallery mechanisms in which artworks oft find themselves entangled. Works on view at the two museums can be purchased at the gallery, while collectors have the privilege of previewing the works at the gallery, or even collecting the works they like before these go on view at the museums. Resembling product presentation in a store, parts of the installation works on view at the two museums are displayed on shelves that occupy the exhibition space. By partially presenting elements of actual works, the artist nudges the viewer into visiting the exhibitions at the two museums in order to better understand the overall concept of his work. For Jun Yang, showing at the museum accentuates the artist’s work on a more comprehensive level, while showing at the gallery, the art fair, or the private home of a collector who has purchased the work, decontextualizes the work.
When "Jun Yang" becomes a signifier for the plurality of identity, the same idea is manifested in the three brands of the Tina Keng Gallery, TKG+, and TKG+ Projects. How does a commercial gallery cultivate its historical, cultural, contemporary, and experimental status through the circulation of business and academic resources in its internal organization? When the Tina Keng Gallery was established in 1992, founder Tina Keng unearthed Greater Chinese artists, such as Wu Dayu, Sanyu, Yun Gee, and Zao Wou-Ki, from the school of Western abstract art in the 1990s. Her endeavors saw the Tina Keng Gallery blossom and rise on the vanguard of Greater Chinese modern art. TKG+ was founded in 2009 by Ms. Keng’s daughter Shelly Wu as a contemporary platform for artistic practices in video, installation, performance, and conceptual art, through which exhibition production mechanisms are experimented in an effort to further reach academia and expand the art market. It is upon this basis that TKG+ Projects was later conceived: a platform that exists outside the bounds of gallery mechanisms. This particular space runs in parallel to the main gallery’s organizational culture, while curatorial practice is highly emphasized with an in-house curator as part of the staff. The experiences of art production are shared among the three spaces, allowing each to define and reach its target audience.
Different positioning of the three brands, coupled with the circulation of shared resources in its organization, opens up a window to the possibilities in the Taiwanese gallery industry. TKG+ Projects, in a way, encapsulates the experiment of a commercial gallery with three brands to internalize art production mechanisms through the interplay of economic drive and academic thought.
About Jun Yang
Jun Yang is an artist based in Vienna, Taipei and Yokohama. His works encompass various mediums, including film, installation, performance, and projects in the public spaces, while addressing institutions, societies, and audiences. Having grown up and lived in various different cultural contexts, in his artistic work Jun Yang examines the influence of clichés and media images on identity politics.
Previous exhibitions include the Biennial of Sydney 2018, Gwangju Biennale 2018 and 2012, Taipei Biennial 2008, Liverpool Biennial 2006, 51st Biennale di Venezia 2005, and Manifesta 4 in 2002. He is the recipient of the 25th Otto Mauer Art Award in 2005, and the Award for Fine Arts of the City of Vienna in 2017.
Jun Yang was born 1975 in Qingtian, Mainland China. With the background of having family on both sides of the Taiwan straits - his grandparents were part of the Kuomingtang army, who retreated to Taiwan in 1949; his family left the P.R. China for Austria when he was four.
In 2007 he moved to Taipei to focus on working on a short film A Short-Story on Forgetting and Remembering. He is also one of the founders of the Taipei Contemporary Art Center, which evolved following a project he initiated in the Taipei Biennial 2008.
Jun Yang has always been interested in the overlapping and intersection of contemporary visual arts, business, and politics. This can be found in many of his gastronomic and institutional projects. Within this frame, he initiated projects, such as the gfzk garten, the café and the hotel Paris Syndrom, all at the Museum of Contemporary Art Leipzig (GfZK); or a contemporary art centre, Taipei (a proposal) at the Taipei Biennial 2008, which led to the founding of the Taipei Contemporary Art Center in 2009.
With his brother Tie Yang and Dong Ngo, he is founder of the restaurant/bar ra'mien, 2002 and the ra'mien go chain, 2012. Most recently, Yang has been working with his partners on Café Leopold at the Leopold Museum. All of them are located in Vienna.
Jun Yang is represented by Galerie Martin Janda, Vienna; Vitamin Creative Space, Guangzhou, Beijing.
Jun Yang is currently working on a series of solo-exhibitions/retrospectives that started at the Art Sonje Center, Seoul (2018), continued at Kunsthaus Graz (2019), and will be shown in Taipei at the Kuandu Museum of Fine Arts 2020, TKG+ Projects 2020/2021, and MOCA, Taipei 2021.