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2012-10 台灣光華雜誌 | 文．劉嫈楓 圖．金宏澔 報導
勤美璞真文化藝術基金會創意總監何育承（左），以「貼近民眾、開放空間」的概念打造勤美術館，並策展「串門子計畫」展出10項創作，設計者安地羊的《變形記》（右）即是其一。 (金宏澔)
今年30歲，實踐大學工業產品設計系畢業，擁有倫敦Brunel大學設計策略與創新學系碩士學歷的何育承，曾在留英期間體會到歐洲社會藝文與生活結合的經驗，因而有了發想。他說，過去由於台灣物質條件匱乏，人與人的互動關係緊密而熱絡，因此，鄰里間常會出現東家借醬油、西家顧小孩，或是三五成群結伴到村長家看電視、打電話的經驗，當時生活條件不如現在好，經由人們不時串門子的走動，串連起人與人之間的情感。而這正是串門子計畫希望表達的理念。
展出主題中，有11座占地約1坪大小的小屋，由10位藝術家進駐，環繞人與環境互動的概念，推出各式的裝置藝術。像是曾為雄獅文具設計品牌形象「奶油獅」，本名林宛姿的藝術家「查理宛豬」，由於在創意市集嶄露頭角後，首度推出個人創作生涯中的裝置藝術創作《夢遊507號房》。
又像是曾為LV、愛馬仕等知名品牌設計櫥窗的設計師席時斌，則推出主題為「小水」的展物，以大量尖銳、三角金屬質感的幾何圖狀，表現出船行水面樣貌；而新銳藝術家安地羊，則以他創作中為人熟知的染色體意象，推出《變形記》作品。
在近2,500坪的展場中，介於勤美術館與11個串門子展物之間的，是一個個帶著粉色系色彩的繽紛球體，由曾替2012年倫敦奧運場域規劃的英國AECOM設計團隊，攜手淡江大學建築系學生，利用台中在地製傘企業大振豐雨傘，展出主題為「Daily Life Jungle」的藝術品。
勤美術館新穎的展出方式，讓數千名觀眾，有一個豐富視覺感官的饗宴，也讓台灣向來擁擠、忙碌的空間裡，成功留下一處得以欣賞藝術的角落。
2012-09-19 成蹊同志生活誌 | 薇至 報導
今年夏天，日本前衛藝術家草間彌生與經典品牌Louis Vuitton合作，「時尚」穿起了圓點系列的品味，為消費場域增添大量的藝術氣息，該品牌全球各地的商品櫥窗變成一個個宛如前衛裝置藝術展場．圓點蔓生攀爬，從平面中跳出，灑落在各式鮮豔的商品上，百貨公司裡的精品脫胎成了藝術品．在這個藝術與時尚互涉越來越密集的時代，陳俊墉和安地羊嘗試開了一間「服裝店」，一間讓視覺跳脫平面變得立體，讓立體鮮豔無比的「跨界」服裝店．此次「陳俊墉與安地羊雙個展」成蹊非常「奈米型」地專訪了安地羊，與大家分享這間有趣的展覽「小店」：「ART into FASHION」。
眼看抽象的繪畫從平面中移轉、增生，從牆面上位移、穿越來到塑膠假人模特兒身上成為的衣著，或吊掛在陳設的衣架上，這看似色彩斑斕裝潢前衛大膽的服裝店，其實是一個結合繪畫、裝置的藝術展場，跳脫以往侷限在框架中的繪畫模式，那些幾何或是隨意變形的線條，以及鮮豔的色彩幻化成服裝或是牆上的燈光，從今年九月12日到九月30日，「ART into FASHION」就在中山北路二段摩斯漢堡旁巷弄底的新樂園藝術空間，開張大吉．
陳俊墉和安地羊兩人在美術和服裝、時尚與媒體設計的學習背景之間，「穿鑿附會」自由發展，讓原本屬於平面的圖像跳脫畫框，透視結構的線條畫作從「看起來」很立體，到跨越牆面，再進而翻成蝴蝶、化作衣料的真實立體；或者許多歪曲變形的彩色生物，變幻攀爬，從平面的畫作到燈光、衣物等，看得見的線條、幾何、變形、色彩都從平面的次元中滿溢而出，變成立體實物，甚至成為可以穿在身上的衣服樣式（儘管展場不能試穿與購買衣物），以服裝商品的陳列方式，讓視線走動在看「畫」及「物體」之間，「看」（商品？與藝術？）的模式跳越急轉，兩個模式間又漸漸互相交融，改變了藝術原本固定的形貌，也藉由商店的陳設，讓觀眾「逛街模式所習慣的視線」改變了對藝術的態度．
透過視線交織的形式，消除了「藝術空間」的既定想像，陳俊墉和安地羊的「小店」，就是要摘除人們對於藝術與商品之間的框架．安地羊談到展場的形式，企圖釋放一種觀念，也近乎是一種酷兒的精神了，那些關於藝術或是性別的絕對性分類、界線，都像是加諸在自由之上的負擔，唯有跨越、消弭這些無謂的框架，讓生命的本真更為純粹．就讓這場「非典型」的藝術跨界展覽，帶領你一起摘掉先驗的視線框框吧！
2012-08-16 中央日報 | 蘇松濤 報導
空間色彩設計大賞 跨越設計、空間與色彩的饗宴
當產品設計及工業設計越來越重視色彩表現，空間設計也不遑多讓，因為色彩不僅為空間增添風貌，也為設計帶來更多的可能性。由得利塗料與漂亮家居所合辦的得利【空間色彩大賞】期盼透過專業空間設計師以色彩打造的空間作品，演繹空間用色的各種可能性，讓所有設計師及消費者實際感受到空間用色的魅力，藉以豐富空間色彩的靈感及使用經驗，讓人們的生活因色彩而變得更加繽紛美好。這場結合設計、空間和色彩的競賽，邀請橫跨設計、空間和色彩應用，於8/16頒獎典禮中，集結各領域專業評審與近百位空間設計師共襄盛舉，共同見證這場台灣首創的空間用色美學饗宴。
與設計案主討論色彩 工具齊全就不怕
台灣得利塗料-空間色彩設計大賽分為兩個競賽組別：住宅空間組及公共空間組。住宅空間組分別由馥閣設計有限公司以自然清新的北歐設計風格獲得金獎。設計師黃鈴芳與吳采璇特別強調空間色彩設計：「與設計案主溝通的過程，在色彩的挑選上需要充足的色彩資料卡及色彩調配庫提供予案主，做十足的討論後，才能營造出符合案主需求的生活空間。」另外，齊舍設計事務所除獲得銀獎外，更拿下優選兩個獎項。
公共空間組部分，銀獎獎項分別由怪獸茶舖空間設計及Freedom Men Studio 自由人工作室所參賽兩件風格迥異的作品獲選，綉麗旅店則以故事性的多彩風格獲得銅獎。銀獎的怪獸茶舖由設計師張佳詩提出，作品中空間用色的考量，即是運用純淨色系做發揮。另一銀獎得獎作品，台北CMP Block Plus街角創意，設計師安地羊 Andy Yen (顏寧志)則有感而發表示，一直都致力在大型的空間設計，而用色上的大膽新穎，在此競賽中受肯定，感到相當欣慰。
針對此次色彩大賞，評審之ㄧ的台創設計中心副執行長林同利指出，徵件作品審核過程中發現，台灣現況的基礎設計教育明顯不足，例如顏色調配方式，應用工具的使用等，導致用色上專業度的偏頗。期望未來在學術界與各協會能舉辦相關教育性的講座。而在參賽交件的同時，設計師可以在配色上以具體說明來協助評審加深對作品的感受性，更能深入了解設計師的用色理念，並以此為標竿啟發設計界在使用色彩的創意。得利塗料行銷總監霍筱泰則表示，本次競賽及空間用色專書「家，這樣配色才美」的發表，都是希望引發設計師及大眾對於用色上的靈感，並激發不同的創意思考。
心理學測驗性格 原來你擁有浪漫的內在
此外，頒獎典禮除頒佈空間色彩大賞的獎項之外，邀請到室內空間設計領域代表中華民國室內設計協會理事長王玉麟以及亞太色彩第一人、現任中華民國流行色彩協會秘書長陳卓雲進行空間色彩用色對談，在如何運用色彩，與空間及居住者產生對話，探討到色彩心理學，也與現場以有趣的色彩心理測驗作互動，解析了不同性格對於選色，是有其邏輯的。而針對空間設計工作者如何增加色彩敏銳度，兩位大師也都有各自的專業見解。趣味的對談之中，以輕鬆的話題引導空間與色彩相互呼應的重要性，重新啟發生活美學思維。
2012-02-27 The Hans India | Madhushree Chatterjee
(Incredible ‘A’ndia – Andy Yen)
The fusion of fashion with art is gaining in relevance, thanks to the new breed of experimenting fashion designers and artists, who are blurring the line of divide.
Art and fashion are like warp and weft, intertwined naturally with each other. A new breed of younger artists from around the world is now trying to create a contemporary visual language to express abstract narratives with symbols from popular fashion. Khoj International Artists’ Association, New Delhi, recently presented a show titled Idea of Fashion: Crossover between Art & Fashion, featuring five artists and fashion designers from across the globe.
Norwegian artist Julie Skarland, Varun Sardana from Delhi, Andy Yen from Taiwan, Archana Hande from Bangalore and Pakistani artist Faseeh Saleem, created a body of work through the month-long residency. Along with them were creative practitioners who explored not only the disciplines of art and fashion, but also political, social and economic realities in the context of architecture, philosophy, science, history and technology.
History suggests art and fashion have been coming closer since the beginning of the 20th century when leading European and American fashion designers became collectors of haute art – allowing their art works to influence clothes. Faseeh Saleem, a Pakistani textile designer-turned artist, uses textiles, fibres, knits, embroidery and mannequins as mediums to make installations and visuals that are fashion on the surface but works of art with deep meaning.
“They are journeys in self-expression with a political, social and cultural message,” says Lahore-based Sale em. He knitted body-like sculptures with latex fibre which shrinks when exposed to heat in combination with stainless steel fibre. The sculptures are knitted on industrial knitting machines, “ones on which they knit sweaters”, and moulded to show the “fluid body statistics in the world of fashion and its relation with clothes that have to fit”, the artist said. One of his sculptures, 36″26″36″, experimented with shop mannequins as a reference point for articles of clothing in which the body becomes a slave to the fibres that drape it.
The earthy colours and ethnic art of India formed the core of young Taiwanese artist Andy Yen’s digitally printed “art clothes”, “I am from Arts background, but I am moving to Fashion. I am trying to create digitally-printed India-style clothes for women. The Indian prints are accessible and different…Art and Fashion meet at many points.” The artist created a range of 12 designs, using the fusion of Chinese-Indian clothes in cotton and silk painted with Indian motifs.
The art of copying traditional fashion drawings and installation art is the inspiration for Mumbai-based artist Archana Hande’s new mixed media work – “Copy Master ji”. Hande used textile printing technology on solid mediums like wood blocks to transform traditional Indian art into modern decorative designs that comment on urbanisation and globalisation, “Everything is art. Art and fashion are two different mediums, but both are used to express thoughts. If I can design a costume that looks good on you, it is art,” he shares.
Norwegian Julie Skarland, a fashion designer, moved to Delhi six years ago to make a career in conceptual art and fashion. The artist, who trained in art and architecture in Norway, has studied dress making and fashion design in Paris. “My exposure to art and fashion helps me explore both the mediums in my work,” she shares.
“The Collection”, a new installation by Skarland, was a set of open matchboxes on which Skarland reproduced a spring-summer women’s wear collection in miniature drawings combining Norwegian progressiveness with Parisian chic on an essentially Indian medium. Kolkata-based artist Paula Sengupta falls back on the nostalgia of the Bengal partition and human suffering with elements of fashion and textiles in her visual art narratives while Delhi-based artist-cum-fashion designer Varun Sardana “believes in fashion as a form of visual art”.
Sardana uses “music, theatre and performance art to express ideas”, “Fashion is personalised – connect between fashion and art is the thought process. I try to create narratives.” One of his rare mixed media installations, “On My Passing Away”, brought clothes, fashion, social commentary and his persona under one roof in a bare room. “Using auto portraits of me in my skin and work from my recent collection of clothes, I tried to explore the duality of my existence,” he adds.
The connect of fashion with art is gaining in relevance, thanks to the new breed of experimenting fashion designers and artists, who are blurring the line of divide. Graphic novelist and designer Sarnath Banerjee shares, “Fashion people are working with narrative concepts and art is becoming decorative like fashion.”
2012-02-10 | Radhika Bhalla
The frenzy is mounting as the day for the opening approaches. Andy Yen, a visual artist from Taiwain, is getting his blueprint together to create some kind of magic in his studio room. I catch him intently mixing a deep red acrylic on the lid of a paint tub and it takes a few minutes before he notices my presence. Watching an artist tranform blank canvasses into extensions of themself can be compared to a performance in itself. The body brings life to the colours and textures, just as it does to drapes and textiles.
The basic concept of his ongoing series is the Organs Without Body, an idea inspired from Gilles Deleuze and Felix Guatarri’s philosophy of the reverse of the title ‘Body Without Organs’. Deleuze’s theory is based on the ‘virtual’ body as being different the ‘real’ body, the latter being constricted by organs (or social norms in society, or transcendental values) and the former being liberated by potential traits (which is free from articulation, and flows freely). The potentiality of this horizontal, rhizome-like ‘Body Without Organs’ gets activated through conscious experimentation with oneself until you reach a ‘plane of consistency’. At this stage desire is ‘fluid’, flow through the body is free and productive, and existence is like that of the nomad who is characterized by movement and change within a state of ‘intermezzo’.
One is almost misled into believing that the cell like structures that Andy has been making in bright acrylic colours is more reflexive than driven by an elaborate philosophy. Andy descibes his works as well as himself as being like a cell in constant motion. Through collaborative works with other artist, he sees his art expand and group together to form a larger whole. The ‘body’ is the final state that it aims at achieveing. The need for stability in theme/stylistics for an artist is therefore important to him. The upward strokes of his works appear to be reaching out to this romantic goal, while the horizontal level discloses the organic synergy that provides the base upon which to grow on. He lets me know that this entire process may even take upto 10 years (after that he’ll be ready for his next creative adventure). But in the mean time, he has been exposing himself to various art forms such as theatre, dance, and is now pursuing a Masters degree in fashion. The residency comes as a stepping stone for his thought process, where he has already been trying to blur the boundaries by exploring the idea of the body.
Some people have described Andy’s work as a virus, some read it as an aerial map to a city, and some think he is plain neurotic to paint this way. But for Andy, the intention is to keep his work fluid and give it the sense of passage. He uses the movement of his body to fill in colour (something he picked up during his two year stint in theatre) and experience the energy of the form. There is a strong sense of stability in the visuality of his works, which comes not from the incapacity to experiment but rather the idea of repeating his artistic oeuvre to develop a deeper understanding of his concept.
For this residency, Andy plans to mix his ongoing series with Indian garments. His fascination for Indian culture, colours and of course, the different cuisines (jalebis topping the list, which also sometimes resemble sweet, edible bodies without organs!) has inspired him to apply his characteristic style to contemporary ‘Indian’ attire. He deals with questions of what can be called ‘traditional’ in today’s day and age, since everything is a mix of influences from different parts.
I think unintentionally Andy has hit upon a looming question of both art and fashion regarding the fluidity of styles and mediums, and the rapidly growing ‘trends’ in fashion, art and ideology. His works substantiate the notion of the Platonic ‘form’ or Kantian idea of ‘pure reason’. It may be a long wait, but it’s one I’ll wait to tell. Maybe in a blog entry in a decade from now. Who knows?
2012-02-16 欣傳媒 | 記者吳昱玟 台北報導
在粉樂町、好樣集團系列店面之外，東區將再添美麗的街區風景。由勤美璞真文化藝術基金會、桔禾創意等單位合作的街角創意計畫「CMP BLOCK+」正式啟動，民眾可以在八德路3段106巷看到繽紛造景、花樣設計的「延吉小屋」，走進去有舒服的咖啡座和設計師們的優良製品，將來還有許多社區、藝術的講座和活動在此進行，東區街景再添一抹風情。
「勤美璞真文化藝術基金會」由勤美集團、璞真建設成立，在2010年運用2000多根漆成白色的孟宗竹，將位於台中市中心的道禾小學閒置舊地大改造，打造上千坪的CMP BLOCK「台中人文生活美學特區」，週週有文創藝術團體展演，吸引香港和英國媒體報導，並獲得遠見雜誌的企業社會責任獎。基金會於台北的第一個「CMP BLOCK+」街角創意計畫，是信義路四段的「純氧專賣店」，陳列許多裝著各地空氣的瓶子，讓大家對於空間有不同想像。這次在八德路啟動的「延吉小屋」是第二個「CMP BLOCK+」據點，將以「家」為宗旨，喚起大家對「家」的美好嚮往。
延吉小屋預計每三個月左右會有新風格的布置，小屋第一檔設計由藝術家「安地羊」提案，像變形蟲一樣的可愛斑紋、圓點爬上小屋，粉嫩的風格很適合美眉們來此拍沙龍照；空間營運由桔禾創意負責，將有香醇的咖啡、設計師的優良製品展出，也會舉辦社區講座、DIY體驗課程，讓空間、藝術和在地居民產生有趣的交流。延伸閱讀「CMP BLOCK+街角創意計畫」
2012-02-16 台灣醒報 | 記者陳昭妤 台北報導
色彩繽紛的透明屋，座落在幽靜的延吉街小巷內，藝術家安地羊等人用飽滿的設計能量，創造出熱鬧、溫暖的「延吉小屋」，吸引不少居民入內一探究竟。已在台中、台北展開將近一年的「街角創意計畫」，除了在巷弄內興建藝文空間，還舉辦許多展覽和講座，設計師張漢寧期待能透過此計畫，將美學融入巷弄，讓更多居民懂得裝飾自己的日常生活。從喧囂的八德路轉進延吉街，一股寧靜、柔和的氣息迎面撲來，走沒幾步，色彩奪目的透明屋赫然出現在老舊的低矮公寓間，搭配味道十足的小客廳和吧檯，藝術感十足的「延吉小屋」為略顯老態的社區帶來一股特別的活力。
「我們希望居民有事沒事都能走進來，花少少的錢喝杯咖啡、聽個講座，感受藝術的氣息。」張漢寧表示，「街角創意計畫」主要是在各城市的巷弄間，興建有「家」的感覺的藝文空間，並定期舉辦各種講座、展覽，將美學概念灌注進社區中，並内化到居民的日常生活。參與「延吉小屋」的藝術總監何承育笑說，「延吉小屋」開張以來，吸引了不少鄰近居民，「對面的警衛和附近的教會教友，都會藉此空間和我們聊天，甚至還有鄰居從樓上走下來借錢，但是到現在都沒還。」談起可愛的延吉街居民，何承育忍不住笑著說，「這就是家的感覺。」除了安地羊設計的繽紛透明屋，「延吉小屋」每2個月會邀請各界藝術家、設計師一起設計心目中的「夢想家」，藉此平台讓其發揮才華與創意。此外，每個月也會不定時的舉辦各類活動和講座，何承育以去年萬聖節的挖南瓜活動為例說，「當時吸引了30多位居民來，氣氛超High的！」為了讓更多社區感染藝文氣息，何承育透露，已在物色其他地區，如仁愛路的眷村旁有塊小地，就讓他很心動，林森北路、敦化北路的巷弄也在評估中，他期待能有更多藝術家和設計師加入「街角創意計畫」，讓藝術在城市的角落開枝散葉。
圖說：由藝術家安地羊設計的「延吉小屋」。（陳昭妤攝）
2012-02-16 台灣立報 | 記者許純鳳 台北報導
老舊公寓林立的台北市東區延吉街裡，有一間白色小屋，門庭前搭建另一間以藍色、紅色混合而成的小屋，呈現「屋中屋」的趣味，路過的居民忍不住駐足觀看，這是勤美樸真文化藝術基金會結合建築業、文創界所打造的「街角創意計畫」，期望透過改造建築，為城市注入新的美學力量，帶動社區居民發想生活創意。
▲勤美璞真文化藝術基金會結合建築與文創，推動「街角創意計畫」，將閒置空間美化，打造成為社區型文創舞台，規畫貼近民眾生活的藝文活動，讓藝術更貼近民眾生活。（圖文／楊萬雲）
「街角創意計畫」以家的角度出發，勤美樸真文化藝術基金會創意總監何承育表示，許多民眾覺得藝術很有距離，鮮少接觸，基金會希望把藝術帶入社區，鼓勵民眾主動找尋自己的生活美學，將自己的家打造得更有藝術性。
美學前進社區
這個「街角創意計畫」的暱稱是「延吉小屋」，去年9月興建完成，為了鼓勵附近居民入內參觀，不時舉辦講座、展覽、活動，也邀請設計達人發揮創意，將門庭前的小屋，以家為主題，變成有趣的裝置藝術，現正展出的便是由台灣新生代創作藝術家安地羊花費一個多禮拜手繪完成的作品，屋內擺放紅、黑色抱枕，讓民眾舒適地在裡頭聊天、閱讀。
▲「街角創意計畫」的新據點「dreamii café」16日正式啟動，期望營造出民眾自在參與的文創空間，重新喚起大家對「家」的美好想像。（圖文／楊萬雲）
結合咖啡 盼帶動居民
經過幾個月的經營，何承育發現當地居民僅好奇入內參觀30秒，成效不佳，因此，他和設計界的朋友討論過後，決定和桔禾創意整合公司合作，為「延吉小屋」引進以「dreamii街角-夢想-家」為名的咖啡廳，希望吸引附近居民入內欣賞藝術創作，也提供藝術家創作、討論的空間。
「dreamii街角-夢想-家」咖啡廳，以橘色為主色調，增設吧台、創作區、會議區，創作區內擺設頗具巧思的創意作品，現正展示以「動物派對」為主題的展品，綠色的草皮上，擺放大象、長頸鹿造型的項鍊、小豬造型的存錢筒，呈現熱鬧、歡樂畫面，提供民眾觀賞，也希望激發前來喝咖啡的藝術家創作靈感。「dreamii街角-夢想-家」咖啡廳16日舉行啟動記者會，結束後正式開幕。何承育期許藉由這間咖啡廳，為社區帶來更多藝術家，激發鄰近居民對家的美好想像。「dreamii街角-夢想-家」咖啡廳將持續舉辦講座、展覽，把藝術帶入社區。