Exhibition Overview
「世界是如此富饒，充滿著不屬於我的東西」，美國詩人露伊絲·葛綠珂曾經如此寫下，道出了對這廣闊世界的敬畏，和對於無法掌握一切事物的感慨。
「芃」，辭典中定義為草木茂盛之意，象徵著一種活力與生命力。
本次展覽在這一句、一字之間揭開序幕，呈現出攝影與錄像的見證屬性。
攝影，一種與現實緊密結合的藝術語言，試圖捕捉靈光乍現的實驗與嘗試，也是一種對於世界的看待、觀察、視野與好奇。它的視覺表達是一種刪除法：也就是豐富的世界，該如何截取？哪些畫面，值得被紀錄？
從荒木經惟的Hi-Nikki (Non-Diary Diary) (非日記日記) 和蜷川実花的非時尚攝影集作為展覽起點，以色彩繽紛的作品，多數近物和即時快拍所捕捉到的日常，凸顯於生活中的形式細節與視覺美學。
YANG ARTS 這次以攝影為主的首檔展覽，挑選的作品展現了藏家收藏的多元性，以及 16 位藝術家的獨特影像語言，帶來一場可遠觀亦可近賞的視覺饗宴。
How lush the world is, how full of things that don’t belong to me — explores the expansive nature of photography, one that operates within an existing surrounding abundance. The title’s phrase borrows from Louise Glück’s poetry and articulates a humbling encounter with the richness of life — the Chinese character 芃 symbolizes a lushness and vitality.
Photography functions within this vibrant context, framing familiar subjects and scenes in new, imaginative ways. The medium inherently documents: capturing the fleeting, formalizing the abstract, and highlighting the overlooked.
The show is grounded by images from Nobuyoshi Araki’s Hi-Nikki (Non-Diary Diary) series and Mika Ninagawa’s non-editorial photographs of the seemingly mundane and impersonal, encouraging observation of detail in form, shape, and color.
Curated from the Yang Arts collection, the gallery’s inaugural exhibition showcases photographic and video works by 16 artists to reflect upon the diverse visual language of lens-based practices.
Images
Yoshitomo Nara 奈良美智, Taiwan, 2015 / 2016, Pigment print, 41.4 x 55.3 cm, ED. 1 / 7
Mika Ninagawa 蜷川実花, 作品＃8 Work＃8, 2013, C-print, 29.6 x 42 cm, ED. 14 / 15
Nobuyoshi Araki 荒木經惟, Ｈi-Nikki (Non-Diary Diary) – Week Five Day Three, 2016, Pigment print, 25 x 30 cm, Set of 20, ED. 113 / 200
Shiho Yoshida 吉田志穗, Quarry / ある石の話 Quarry / The story of a stone, 2018, Gelatin silver print, 20 x 24.4 cm
Torbjørn Rødland 托比昂 · 羅德蘭, Skookum Mask, 2005, C-print mounted on aluminum, 50 × 40 cm, ED. 1 / 3