『衝突與認同』 臺義國際藝術交流展
“conflicts & identità ” Taiwan and Italy International Art Exchange Exhibition
2025.2.8 - 2.23 台北中山堂
2025.7.5 - 8.3 Montefalco 聖方濟各博物館
展覽論述
Statement
- 中文
- EN
「衝突與認同」臺義國際藝術交流展，由兩位臺灣藝術家汪曉青、羅惠瑜與兩位義大利藝術家Frank Dituri、Mauro Manetti共同展出，他們在各自的作品中展現了多元的文化傳統與不同的關注視角。國際藝術交流展於2025年2月在台北市中山堂首展，同年7月在義大利Montefalco的公民藝術博物館Museo di San Francesco展出，該博物館原是建於十五世紀的教堂，近年改裝為當代藝術的展覽空間。
義大利藝術家Frank Dituri與羅惠瑜有將近30年的師生情誼，三年前的一次聖誕節問候，成為「衝突與認同」臺義國際交流展的契機。本展覽是一場跨越文化與性別的對話，也是 一種探問：在華人文化對女性制式期待的臺灣，女性如何在父權與性別平等的拉扯中，探索並建構更具表達能力的母職生活？而在深受天主教傳統浸潤的義大利，男性又如何在當代藝術多元發展的挑戰下，重新定位自我？
汪曉青是英國布萊敦大學藝術博士，近年來以「母親如同創作者」作品活躍於國際藝壇， 頻繁受邀參加各國大型國際攝影節，其作品多次刊載於國際重要媒體。羅惠瑜是紐約長島大學視覺藝術研究所碩士，除了在任教於東華大學，同時也是一對雙胞胎的媽媽，在母職與創作之間不斷尋求平衡。 Frank Dituri為義大利籍美國藝術家，曾任教於紐約長島大學多年，也曾擔任紐約古根漢美術館的藝術教育老師，其作品被多家國際重要美術館收藏。 Mauro Manetti則曾長期擔任佛羅倫斯LABA藝術學院（Libera Accademia di Belle Arti in Florence, Italy）校長，退休後於Empoli市創辦FASE ART PROJECT藝廊，致力於舉辦多元的藝術展演活動。
義大利藝術家Frank Dituri與羅惠瑜有將近30年的師生情誼，三年前的一次聖誕節問候，成為「衝突與認同」臺義國際交流展的契機。本展覽是一場跨越文化與性別的對話，也是 一種探問：在華人文化對女性制式期待的臺灣，女性如何在父權與性別平等的拉扯中，探索並建構更具表達能力的母職生活？而在深受天主教傳統浸潤的義大利，男性又如何在當代藝術多元發展的挑戰下，重新定位自我？
汪曉青是英國布萊敦大學藝術博士，近年來以「母親如同創作者」作品活躍於國際藝壇， 頻繁受邀參加各國大型國際攝影節，其作品多次刊載於國際重要媒體。羅惠瑜是紐約長島大學視覺藝術研究所碩士，除了在任教於東華大學，同時也是一對雙胞胎的媽媽，在母職與創作之間不斷尋求平衡。 Frank Dituri為義大利籍美國藝術家，曾任教於紐約長島大學多年，也曾擔任紐約古根漢美術館的藝術教育老師，其作品被多家國際重要美術館收藏。 Mauro Manetti則曾長期擔任佛羅倫斯LABA藝術學院（Libera Accademia di Belle Arti in Florence, Italy）校長，退休後於Empoli市創辦FASE ART PROJECT藝廊，致力於舉辦多元的藝術展演活動。
、在追求個人自主性或自我實現的過程中，汪曉青與羅惠瑜以身為母親與藝術家的身份與生活經歷為基礎，試圖呈現有別於傳統的母親形象。汪曉青顛覆了母親只能犧牲自我的刻板印象，將母職重新詮釋為一種宏偉的創作，透過12張影像記錄她與兒子二十年間關係的變化。羅惠瑜則以「母親的自我凝視」，揭露母職中無法迴避的矛盾與焦慮。儘管她對孩子們充滿關愛，但影像中的母親仍流露出一種疏離與孤立，並渴望擁有屬於自己的自由與空間。
與臺灣藝術家專注於記錄日常生活的視角不同，義大利藝術家Frank Dituri與Mauro Manetti選擇避開日常與平凡，追求更具詩意的表達，探索藝術的超越性——這是他們認為當代藝術中普遍缺乏的元素。兩位男性藝術家的作品聚焦於物質的精神層面：Dituri以 詩意的空間影像，營造出引人進入超自然存在感的氛圍；而Mauro的美學深受歷史影響， 他以多媒材創作重新詮釋宗教圖像，例如中世紀雕塑的碎片與早期基督教馬賽克圖案，表達藝術的時間性與精神性。
歷史與文化既是滋養的來源，也是沉重的包袱。在文化傳承與歲月歷練之下，四位藝術家展現出截然不同的自我認同旅程。無論是挑戰傳統形象的束縛，還是面對當代藝術多元發展的挑戰，兩位創作超過五十年的男性義大利藝術家與剛邁入五十歲的臺灣女性藝術家，在數十年的自我凝視與藝術實踐中，透過作品與人生經歷，開啟了一場跨文化的對話。
與臺灣藝術家專注於記錄日常生活的視角不同，義大利藝術家Frank Dituri與Mauro Manetti選擇避開日常與平凡，追求更具詩意的表達，探索藝術的超越性——這是他們認為當代藝術中普遍缺乏的元素。兩位男性藝術家的作品聚焦於物質的精神層面：Dituri以 詩意的空間影像，營造出引人進入超自然存在感的氛圍；而Mauro的美學深受歷史影響， 他以多媒材創作重新詮釋宗教圖像，例如中世紀雕塑的碎片與早期基督教馬賽克圖案，表達藝術的時間性與精神性。
歷史與文化既是滋養的來源，也是沉重的包袱。在文化傳承與歲月歷練之下，四位藝術家展現出截然不同的自我認同旅程。無論是挑戰傳統形象的束縛，還是面對當代藝術多元發展的挑戰，兩位創作超過五十年的男性義大利藝術家與剛邁入五十歲的臺灣女性藝術家，在數十年的自我凝視與藝術實踐中，透過作品與人生經歷，開啟了一場跨文化的對話。
“conflicts & identità ” Taiwan and Italy International Art Exchange Exhibition features works by two Taiwanese artists, Annie Hsiao-Ching Wang and Karen Hui-Yu Lo, and two Italian artists, Frank Dituri and Mauro Manetti. Each artist presents diverse cultural traditions and unique perspectives in their work. The exhibition debuts in February 2025 at Zhongshan Hall, Taipei, and will travel to the Museo di San Francesco in Montefalco, Italy, in July of the same year. This museum, originally a 15th-century church, has been repurposed in recent years as a contemporary art exhibition space.
Italian artist Frank Dituri and Hui-Yu Lo share a teacher-student bond spanning nearly 30 years. A Christmas greeting three years ago sparked the idea for “conflicts & identità.” The exhibition explores cross-cultural and gender dialogues, asking: How can Taiwanese women balance patriarchal traditions and gender equality to redefine motherhood? And how do Italian men, shaped by Catholic heritage, adapt their roles within the evolving landscape of contemporary art?
Hsiao-Ching Wang, with a Ph.D. from the University of Brighton, UK, is known for her series “The Mother as a Creator,” which has gained international recognition and featured in major photography festivals and media outlets. Hu-Yu Lo, she obtained her MFA degree from Long Island University. Alongside teaching at Dong Hwa University, she is also a mother to twins, continuously seeking balance between motherhood and artistic creation. Frank Dituri, an Italian-American artist, previously taught at Long Island University and served as an art educator at the Guggenheim Museum in New York. His works are part of numerous international museum collections. Mauro Manetti, former president of LABA (Libera Accademia di Belle Arti in Florence, Italy) in
Italian artist Frank Dituri and Hui-Yu Lo share a teacher-student bond spanning nearly 30 years. A Christmas greeting three years ago sparked the idea for “conflicts & identità.” The exhibition explores cross-cultural and gender dialogues, asking: How can Taiwanese women balance patriarchal traditions and gender equality to redefine motherhood? And how do Italian men, shaped by Catholic heritage, adapt their roles within the evolving landscape of contemporary art?
Hsiao-Ching Wang, with a Ph.D. from the University of Brighton, UK, is known for her series “The Mother as a Creator,” which has gained international recognition and featured in major photography festivals and media outlets. Hu-Yu Lo, she obtained her MFA degree from Long Island University. Alongside teaching at Dong Hwa University, she is also a mother to twins, continuously seeking balance between motherhood and artistic creation. Frank Dituri, an Italian-American artist, previously taught at Long Island University and served as an art educator at the Guggenheim Museum in New York. His works are part of numerous international museum collections. Mauro Manetti, former president of LABA (Libera Accademia di Belle Arti in Florence, Italy) in
Florence, now runs the FASE ART PROJECT gallery in Empoli,Italy, promoting diverse art exhibitions.
Hsiao-Ching Wang and Hui-Yu Lo draw on their experiences as mothers and artists to challenge traditional views of motherhood. Wang redefines motherhood as a creative act, countering stereotypes of self-sacrifice with a series of 12 images documenting her evolving relationship with her son over 20 years. Lo, in "The Self-Gazing of a Mother," explores the contradictions and anxieties of motherhood, portraying a mother’s love alongside feelings of isolation and a longing for personal freedom.
In contrast to the Taiwanese artists’ focus on documenting everyday life, the Italian artists Frank Dituri and Mauro Manetti avoid the mundane, striving for poetic expression and exploring art’s transcendence—an element they see as lacking in much of contemporary art. Their works delve into the spiritual dimensions of materiality: Dituri’s poetic spatial images create an atmosphere imbued with supernatural presence, while Manetti’s aesthetics, deeply influenced by history, reimagine religious imagery through mixed media. He incorporates fragments of medieval sculptures and early Christian mosaics to express the temporality and spirituality of art. History and culture are both a source of inspiration and a burden. These four artists reveal distinct journeys of self-identity shaped by cultural heritage and life’s challenges. Through decades of introspection and artistic practice, the two Italian male artists, with over 50 years of creation, and the two Taiwanese female artists, now in their 50s, engage in a transcultural dialogue that challenges tradition and explores contemporary artistic diversity.
Hsiao-Ching Wang and Hui-Yu Lo draw on their experiences as mothers and artists to challenge traditional views of motherhood. Wang redefines motherhood as a creative act, countering stereotypes of self-sacrifice with a series of 12 images documenting her evolving relationship with her son over 20 years. Lo, in "The Self-Gazing of a Mother," explores the contradictions and anxieties of motherhood, portraying a mother’s love alongside feelings of isolation and a longing for personal freedom.
In contrast to the Taiwanese artists’ focus on documenting everyday life, the Italian artists Frank Dituri and Mauro Manetti avoid the mundane, striving for poetic expression and exploring art’s transcendence—an element they see as lacking in much of contemporary art. Their works delve into the spiritual dimensions of materiality: Dituri’s poetic spatial images create an atmosphere imbued with supernatural presence, while Manetti’s aesthetics, deeply influenced by history, reimagine religious imagery through mixed media. He incorporates fragments of medieval sculptures and early Christian mosaics to express the temporality and spirituality of art. History and culture are both a source of inspiration and a burden. These four artists reveal distinct journeys of self-identity shaped by cultural heritage and life’s challenges. Through decades of introspection and artistic practice, the two Italian male artists, with over 50 years of creation, and the two Taiwanese female artists, now in their 50s, engage in a transcultural dialogue that challenges tradition and explores contemporary artistic diversity.
展覽資訊 1
Exhibition 1 Info
首展地點：台北市中山堂第二展覽室
首展展期：2025/2/8（六）- 2025/2/23（日）
首展展期：2025/2/8（六）- 2025/2/23（日）
藝術家簡介與作品介紹
Artist and Artwork
- 台灣藝術家 - 羅惠瑜
- 作品介紹
1972年出生於桃園新屋，1998年畢業於紐約長島大學（Long Island University）視覺藝術研究所，取得MFA學位，交通大學應用藝術研究所博士候選人。曾於台灣、美國、澳洲、義大利、俄羅斯等地展出。2006年代表台灣參加「第一屆俄羅斯國際攝影藝術節」於新西伯利亞國立美術(Novosibirsk State Art Museum)館展出，是台灣藝術家首次在西伯利亞利區展出，具有開創性的意義。作品典藏於義大利國家攝影博物館、紐約長島大學及國立陽明交通大學。
近年作品關注女性的自我認同與母職角色探討，目前任教於東華大學，持續進行影像藝術創作、展覽策劃及跨界合作。
Karen Hui-Yu Lo was born in Taoyuan, Taiwan in 1972. She obtained her MFA degree from Long Island University’s School of Visual and Performing Arts and is a doctoral candidate at the Institute of Applied Arts of National Yang Ming Chiao Tung University. Her works have been featured in exhibitions in Taiwan, the United States, Australia, Italy, and Russian. In 2006, Lo represented Taiwan in the 1st Novosibirsk International Festival of Contemporary Photography at the Novosibirsk State Art Museum. The first time an exhibition by a Taiwanese artist had ever been featured in Siberia. In 2019, 2022 and 2023, she was invited to exhibit in OMSK Museum in Russia and Rocca di Umbertide Contemporary Art Center in Italy, The 9th Daegu Photo Biennale in Korea, all of which were the only representatives of Taiwan in the international exhibitions.
In recent years, her work has focused on issues of female identity and motherhood. Lo is currently a resident of Hualien County at the east coast of Taiwan and teaches at National Dong Hwa University.
近年作品關注女性的自我認同與母職角色探討，目前任教於東華大學，持續進行影像藝術創作、展覽策劃及跨界合作。
Karen Hui-Yu Lo was born in Taoyuan, Taiwan in 1972. She obtained her MFA degree from Long Island University’s School of Visual and Performing Arts and is a doctoral candidate at the Institute of Applied Arts of National Yang Ming Chiao Tung University. Her works have been featured in exhibitions in Taiwan, the United States, Australia, Italy, and Russian. In 2006, Lo represented Taiwan in the 1st Novosibirsk International Festival of Contemporary Photography at the Novosibirsk State Art Museum. The first time an exhibition by a Taiwanese artist had ever been featured in Siberia. In 2019, 2022 and 2023, she was invited to exhibit in OMSK Museum in Russia and Rocca di Umbertide Contemporary Art Center in Italy, The 9th Daegu Photo Biennale in Korea, all of which were the only representatives of Taiwan in the international exhibitions.
In recent years, her work has focused on issues of female identity and motherhood. Lo is currently a resident of Hualien County at the east coast of Taiwan and teaches at National Dong Hwa University.
《媽媽的自我凝視》
媽媽的時間片段而匆忙，孩子的時間漫長且揮霍。
媽媽要看守著兩個孩子，又凝向外面的世界，甚至心已飄向遠方。
雙胞胎上幼兒園之後，有分離焦慮的不只是孩子，常常，在送他們上學之後，我回家打開電腦，花好一陣子的時間，看他們的照片。意識到自己的焦慮，我開始把紀錄他們生活種種的相機轉向。放學後帶孩子到我們日常遊戲的場域，通常是先野餐並好好陪他們玩，等他們專注在遊戲或沈浸於幻想時，趕緊架起相機腳架，讓自己的身形出現於他們旁邊。
隨著孩子慢慢長大，媽媽的角色也跟著轉變，雙胞胎開始可以相互陪伴，發展屬於他兩的通關密語及特殊玩法。
孩子依然需要媽媽在身邊，但這時媽媽的目光不再定睛於孩子身上。之前，媽媽的相機內只有孩子的身影，現在，鏡頭轉向自己，探索媽媽想要擁有獨立自我又想與孩子親密連結的矛盾感受。
The Self-gazing of a Mother
This series is about various forms of “interrelationships”. In the words of Hui-Yu Lo, “it talks about the identity of a mother of twins and the relationship between the mother and children”.
Having photographed her twins’ early years extensively, Hui-Yu “turns the camera to herself” when they leave for nursery school. Both mother and photographer, it is she who sets the scenes, who decides what sensitive impressions she wants to convey. Always standing in the foreground, eyes closed, without taking the viewer as a witness, asserting her status as a mother who watches or worries. Present and absent, while the children go about their nature, autonomous business. “In this, I explored the contradiction of a mother wanting independence and intimacy at the same time”.
媽媽的時間片段而匆忙，孩子的時間漫長且揮霍。
媽媽要看守著兩個孩子，又凝向外面的世界，甚至心已飄向遠方。
雙胞胎上幼兒園之後，有分離焦慮的不只是孩子，常常，在送他們上學之後，我回家打開電腦，花好一陣子的時間，看他們的照片。意識到自己的焦慮，我開始把紀錄他們生活種種的相機轉向。放學後帶孩子到我們日常遊戲的場域，通常是先野餐並好好陪他們玩，等他們專注在遊戲或沈浸於幻想時，趕緊架起相機腳架，讓自己的身形出現於他們旁邊。
隨著孩子慢慢長大，媽媽的角色也跟著轉變，雙胞胎開始可以相互陪伴，發展屬於他兩的通關密語及特殊玩法。
孩子依然需要媽媽在身邊，但這時媽媽的目光不再定睛於孩子身上。之前，媽媽的相機內只有孩子的身影，現在，鏡頭轉向自己，探索媽媽想要擁有獨立自我又想與孩子親密連結的矛盾感受。
The Self-gazing of a Mother
This series is about various forms of “interrelationships”. In the words of Hui-Yu Lo, “it talks about the identity of a mother of twins and the relationship between the mother and children”.
Having photographed her twins’ early years extensively, Hui-Yu “turns the camera to herself” when they leave for nursery school. Both mother and photographer, it is she who sets the scenes, who decides what sensitive impressions she wants to convey. Always standing in the foreground, eyes closed, without taking the viewer as a witness, asserting her status as a mother who watches or worries. Present and absent, while the children go about their nature, autonomous business. “In this, I explored the contradiction of a mother wanting independence and intimacy at the same time”.
- 台灣藝術家 - 汪曉青
- 作品介紹
1972年生於台灣臺北，英國布萊敦大學藝術創作博士(PhD)，長年關注女性認同的攝影、繪畫之創作與教學。青田藝術空間創辦人，並於國立東華大學兼任助理教授。她的作品廣為國際報導，美國《The New Yorker》雜誌認同她「將母職重新塑造為一項宏偉的事業」。英國《BBC》讚譽她改變並超越母職的陳腔濫調。中國《人物》雜誌列她為2018年全球25名人之一。
近年受邀展於瑞士「沃韋影像雙年展」、美國「Photoville攝影節」、祕魯「身份美學展」、澳洲「國際攝影雙年展」、義大利「PhotoLux國際攝影雙年展」、台灣「臺南市美術館：Shero展」、韓國「大邱攝影雙年展」、美國「2023 AIPAD國際攝影博覽會」與法國「Paris Photo國際攝影博覽會」等。
作品典藏於美國休士頓美術館、蓋蒂中心、喬治‧伊斯特曼博物館、納爾遜‧阿特金斯藝術博物館、哈利·瑞森展覽館、舊金山現代藝術博物館、台灣台南市美術館等，享譽國際。
Artist Annie Hsiao-Ching Wang was born in Taipei, Taiwan. She received her PhD in Art from the University of Brighton in the UK. She can be found year-round intensely focused on issues related to the female identity in her photography, oil paintings, mixed media art, and art instruction. She is a founder of Ching Tien Art Space, but also an assistant professor at the National Dong Hwa University.Her artworks went viral and prompted numerous reports and great interest abroad. “In these photos, Wang asserts her active role in the making of another life, reframing motherhood as a grand creative endeavor,”approved by The New Yorker. She also garnered appreciation from the BBC who said her works “change and transcend the cliché of motherhood. The Chinese publication Portrait Magazine ranked Annie Wang as one of the top 25 most influential persons of 2018 as well.
Wang is internationally renowned. In recent years, international photography festivals or large-scale art exhibitions in many countries have invited her to exhibit. For example, the Festival Images Vevey in Switzerland, the International Festival of photography in Australia, “SHERO” at the Tainan Art Museum in Taiwan, the Daegu Photo Biennale in Korea, the AIPAD in New York and the Paris Photo in Paris. Moreover, her works are collected in the Museum of Fine Arts Houston (Houston, U.S.), the Getty Center (Los Angeles, U.S.), the George Eastman Museum (Rochester, U.S.), Nelson-Atkins Museum of Art (Kansas City, U.S.), the Harry Rison Center (Austin, U.S.), the San Francisco Museum of Modern Art (San Francisco, U.S.) and Tainan Museum of Art (Taiwan), etc.
近年受邀展於瑞士「沃韋影像雙年展」、美國「Photoville攝影節」、祕魯「身份美學展」、澳洲「國際攝影雙年展」、義大利「PhotoLux國際攝影雙年展」、台灣「臺南市美術館：Shero展」、韓國「大邱攝影雙年展」、美國「2023 AIPAD國際攝影博覽會」與法國「Paris Photo國際攝影博覽會」等。
作品典藏於美國休士頓美術館、蓋蒂中心、喬治‧伊斯特曼博物館、納爾遜‧阿特金斯藝術博物館、哈利·瑞森展覽館、舊金山現代藝術博物館、台灣台南市美術館等，享譽國際。
Artist Annie Hsiao-Ching Wang was born in Taipei, Taiwan. She received her PhD in Art from the University of Brighton in the UK. She can be found year-round intensely focused on issues related to the female identity in her photography, oil paintings, mixed media art, and art instruction. She is a founder of Ching Tien Art Space, but also an assistant professor at the National Dong Hwa University.Her artworks went viral and prompted numerous reports and great interest abroad. “In these photos, Wang asserts her active role in the making of another life, reframing motherhood as a grand creative endeavor,”approved by The New Yorker. She also garnered appreciation from the BBC who said her works “change and transcend the cliché of motherhood. The Chinese publication Portrait Magazine ranked Annie Wang as one of the top 25 most influential persons of 2018 as well.
Wang is internationally renowned. In recent years, international photography festivals or large-scale art exhibitions in many countries have invited her to exhibit. For example, the Festival Images Vevey in Switzerland, the International Festival of photography in Australia, “SHERO” at the Tainan Art Museum in Taiwan, the Daegu Photo Biennale in Korea, the AIPAD in New York and the Paris Photo in Paris. Moreover, her works are collected in the Museum of Fine Arts Houston (Houston, U.S.), the Getty Center (Los Angeles, U.S.), the George Eastman Museum (Rochester, U.S.), Nelson-Atkins Museum of Art (Kansas City, U.S.), the Harry Rison Center (Austin, U.S.), the San Francisco Museum of Modern Art (San Francisco, U.S.) and Tainan Museum of Art (Taiwan), etc.
《母親如同創造者》
母親如同藝術家般充滿創造的智慧。母親不但創造了生命，也在親子關係上持續地創造出多樣化的生活體驗。母職是長時期且五味雜陳的過程，非單一品味的甜蜜母子圖或犧牲自我的偉大聖母圖所能表達。而這些大量刻板印象的母親再現，對於處於母職者的我，竟成了一種無以慰藉且難以避免的疲勞轟炸，而這也成為我創作此系列作品的原動力。
從2000年懷孕開始，在不愉悅的孕症與母親無我宿命的恐懼下，我開始嘗試於自身母職中以藝術創作來保有自我的可能性。從一開始紀錄母親的自我如何消失，到在不斷創造的意念下，試圖讓身為母親與藝術家角色的我緊緊結合，以此表露出一種複雜、多樣且具創造性的母職體驗。而這組「母親如同創造者」作品持續進行了20年，它讓我自信地證明，母親除了可以有方法在母職中保有自我，更可以運用創造性來翻轉固有的母職迷思。
從第一張2001年預產期前一天所拍攝的自拍照開始，每隔一段時間，當我們有共同的生命體驗共識時，我會在上一次「我與我的兒子」所拍攝的正式家庭照前拍下我倆的新合照。因此，在時間的推動下，不同年代、不同樣貌的「我與我的兒子」齊一湧現在同一個平面上。由此，不同年代的「我與兒子」及「我們」所共同創作的母子圖，被壓縮在一個奇異空間內不斷地對話，而呈現出複雜、瑣碎且多采多姿的記錄。這般不斷地創造與自我再現, 如同時光隧道式的視覺再現，不但層層記錄下二十年來的堅持與累積，也讓我們彼此的成長與改變鮮明地展現出來。更重要的是，如此複數多元的女性自我再現概念將計畫持續下去，用生命與時間去挑戰傳統那單一且固定的刻板母親形象。
The Mother as a Creator
Like an artist, the Mother is wise in her creation. The Mother not only creates a life, but also a continuous matrix of experiences between Mother and Child. Motherhood is a long-term process full of a myriad of complex feelings. This complexity cannot be expressed solely by saccharine images of Mother and Child, nor by the image of the Mother Incarnate willingly sacrificing herself for the sake of her children. All of these stereotypes of Motherhood are for me a tedious, unavoidable harangue which offers me no consolation. It is from this I derive the original motivation for this series.
Since getting pregnant in 2000, I had been burdened with pregnancy pains and the fear of losing my sense of self, and so I attempted to use art creation to preserve my sense of self during motherhood. From recording how in the beginning the Mother had lost her sense of self, to the notion of constantly creating, I attempted to reconcile my role as both Mother and artist to express a complex, diverse, and creative Motherhood. I am confident that “The Mother as a Creator” series, which took twenty years, not only proves that the Mother can maintain her sense of self, but also that creativity can overturn many of the myths associated with Motherhood.
Starting from the first self-portrait taken in 2001 on the day before I was due to give birth, my son and I would take a new photo together in front of the previous formal family photo every time we had a common life experience. Thus, the different life stages and appearances of my son and me come together to form a single layer. These Mother and Son photos which at different stages of life are overlaid, and from which we created a dialogue compressed into one peculiar space. From within this dimension emerges a complicated, fragmented and diverse recording of Motherhood. Through this continuous creation and self-reconstruction using time-tunnel artwork, I not only recorded our perseverance and the accumulation of our experiences, I also make it such that we can clearly observe how we grew and developed over twenty years. Most importantly, it is through living and the passing of time that the representations of the many diverse notions of female self-reconstruction can challenge the one-sided and inflexible stereotypes which have traditionally been held towards Motherhood.
母親如同藝術家般充滿創造的智慧。母親不但創造了生命，也在親子關係上持續地創造出多樣化的生活體驗。母職是長時期且五味雜陳的過程，非單一品味的甜蜜母子圖或犧牲自我的偉大聖母圖所能表達。而這些大量刻板印象的母親再現，對於處於母職者的我，竟成了一種無以慰藉且難以避免的疲勞轟炸，而這也成為我創作此系列作品的原動力。
從2000年懷孕開始，在不愉悅的孕症與母親無我宿命的恐懼下，我開始嘗試於自身母職中以藝術創作來保有自我的可能性。從一開始紀錄母親的自我如何消失，到在不斷創造的意念下，試圖讓身為母親與藝術家角色的我緊緊結合，以此表露出一種複雜、多樣且具創造性的母職體驗。而這組「母親如同創造者」作品持續進行了20年，它讓我自信地證明，母親除了可以有方法在母職中保有自我，更可以運用創造性來翻轉固有的母職迷思。
從第一張2001年預產期前一天所拍攝的自拍照開始，每隔一段時間，當我們有共同的生命體驗共識時，我會在上一次「我與我的兒子」所拍攝的正式家庭照前拍下我倆的新合照。因此，在時間的推動下，不同年代、不同樣貌的「我與我的兒子」齊一湧現在同一個平面上。由此，不同年代的「我與兒子」及「我們」所共同創作的母子圖，被壓縮在一個奇異空間內不斷地對話，而呈現出複雜、瑣碎且多采多姿的記錄。這般不斷地創造與自我再現, 如同時光隧道式的視覺再現，不但層層記錄下二十年來的堅持與累積，也讓我們彼此的成長與改變鮮明地展現出來。更重要的是，如此複數多元的女性自我再現概念將計畫持續下去，用生命與時間去挑戰傳統那單一且固定的刻板母親形象。
The Mother as a Creator
Like an artist, the Mother is wise in her creation. The Mother not only creates a life, but also a continuous matrix of experiences between Mother and Child. Motherhood is a long-term process full of a myriad of complex feelings. This complexity cannot be expressed solely by saccharine images of Mother and Child, nor by the image of the Mother Incarnate willingly sacrificing herself for the sake of her children. All of these stereotypes of Motherhood are for me a tedious, unavoidable harangue which offers me no consolation. It is from this I derive the original motivation for this series.
Since getting pregnant in 2000, I had been burdened with pregnancy pains and the fear of losing my sense of self, and so I attempted to use art creation to preserve my sense of self during motherhood. From recording how in the beginning the Mother had lost her sense of self, to the notion of constantly creating, I attempted to reconcile my role as both Mother and artist to express a complex, diverse, and creative Motherhood. I am confident that “The Mother as a Creator” series, which took twenty years, not only proves that the Mother can maintain her sense of self, but also that creativity can overturn many of the myths associated with Motherhood.
Starting from the first self-portrait taken in 2001 on the day before I was due to give birth, my son and I would take a new photo together in front of the previous formal family photo every time we had a common life experience. Thus, the different life stages and appearances of my son and me come together to form a single layer. These Mother and Son photos which at different stages of life are overlaid, and from which we created a dialogue compressed into one peculiar space. From within this dimension emerges a complicated, fragmented and diverse recording of Motherhood. Through this continuous creation and self-reconstruction using time-tunnel artwork, I not only recorded our perseverance and the accumulation of our experiences, I also make it such that we can clearly observe how we grew and developed over twenty years. Most importantly, it is through living and the passing of time that the representations of the many diverse notions of female self-reconstruction can challenge the one-sided and inflexible stereotypes which have traditionally been held towards Motherhood.
- 義大利藝術家 - Frank Dituri
- 作品介紹
1949年出生於義大利，現在生活於美國紐約及義大利佛羅倫斯兩地。他喜歡將日常顯而易見的事物轉化為具有不確定性與神秘性的圖像。曾任教於紐約長島大學，目前在義大利佛羅倫斯Libera Accademia di Belle Arti 兼課，也曾擔任紐約古根漢博物館的教學藝術家。作品由紐約Fran Kaufman Art Advisory代理。
他的作品曾於世界各地展出，包括威尼斯雙年展、紐約哈德遜河美術館、巴黎的GalerieSeine51、東京SiriusAidem Photo Gallery、羅馬的Palazzo delle Esposizioni及莫斯科現代美術館。作品收藏於莫斯科普希金美術館、法國巴黎國家圖書館、紐約Alternative Museum。另外，他也在多所大學美術館展出，包括紐約大學、杭州浙江美院、羅馬大學、美國德州Stephen F. Austin State University 以及比利時Academie Des Beaux Arts DeTamine。
他的作品收藏於世界各重要美術館。包括：莫斯科普希金美術館、法國巴黎國家圖書館（La Bibliothèque Nationale de France）、紐約 Alternative Museum。作品報導曾刊於紐約時報、哈潑雜誌、Zoom Magazine 以及 the Corriere Della Sera。
Frank Dituri was born in Italy in 1949. Now divides his time between Italy and New York. Dituri was an art professor at Long Island University C.W. Post in New York and is currently in the art department of the Libera Accademia di Belle Arti in Florence Italy. He was also a teaching artist for the LTA program at the Guggenheim Museum in New York. In New York City, he is represented by Fran Kaufman Art Advisory.
His work is continuously exhibited worldwide in many fine art museums and galleries such as the Venice Biennale, Palazzo delle Esposizioni Rome, the Hudson River Museum New York, the Alternative Museum New York, Galerie Seine 51 Paris, Sirius Aidem Photo Gallery Tokyo, Centre of Contemporary Art New Zealand, Moscow MOMA, and he has participated in three group LTA (Learning Through Art) shows in the Guggenheim Museum, New York. Plus he has shown in numerous universities: NYU East Galleries New York, Zhejiang Academy of Fine Arts Hangzhou China, Universitá di Roma La Sapienza Rome, Stephen F. Austin State University Texas and Academie Des Beaux Arts De Tamines Belgium.
Frank Dituri’s photos can be found in important collections, including the Pushkin Museum of Art Moscow, La Bibliothèque Nationale de France Paris, the Alternative Museum New York, and Das Stâdttische Kramer-Museum Kempen Germany. His images have been included in many prestigious international publications, including the New York Times, Harpers Magazine, Zoom Magazine, Nippon Camera, La Repubblica and the Corriere Della Sera.
他的作品曾於世界各地展出，包括威尼斯雙年展、紐約哈德遜河美術館、巴黎的GalerieSeine51、東京SiriusAidem Photo Gallery、羅馬的Palazzo delle Esposizioni及莫斯科現代美術館。作品收藏於莫斯科普希金美術館、法國巴黎國家圖書館、紐約Alternative Museum。另外，他也在多所大學美術館展出，包括紐約大學、杭州浙江美院、羅馬大學、美國德州Stephen F. Austin State University 以及比利時Academie Des Beaux Arts DeTamine。
他的作品收藏於世界各重要美術館。包括：莫斯科普希金美術館、法國巴黎國家圖書館（La Bibliothèque Nationale de France）、紐約 Alternative Museum。作品報導曾刊於紐約時報、哈潑雜誌、Zoom Magazine 以及 the Corriere Della Sera。
Frank Dituri was born in Italy in 1949. Now divides his time between Italy and New York. Dituri was an art professor at Long Island University C.W. Post in New York and is currently in the art department of the Libera Accademia di Belle Arti in Florence Italy. He was also a teaching artist for the LTA program at the Guggenheim Museum in New York. In New York City, he is represented by Fran Kaufman Art Advisory.
His work is continuously exhibited worldwide in many fine art museums and galleries such as the Venice Biennale, Palazzo delle Esposizioni Rome, the Hudson River Museum New York, the Alternative Museum New York, Galerie Seine 51 Paris, Sirius Aidem Photo Gallery Tokyo, Centre of Contemporary Art New Zealand, Moscow MOMA, and he has participated in three group LTA (Learning Through Art) shows in the Guggenheim Museum, New York. Plus he has shown in numerous universities: NYU East Galleries New York, Zhejiang Academy of Fine Arts Hangzhou China, Universitá di Roma La Sapienza Rome, Stephen F. Austin State University Texas and Academie Des Beaux Arts De Tamines Belgium.
Frank Dituri’s photos can be found in important collections, including the Pushkin Museum of Art Moscow, La Bibliothèque Nationale de France Paris, the Alternative Museum New York, and Das Stâdttische Kramer-Museum Kempen Germany. His images have been included in many prestigious international publications, including the New York Times, Harpers Magazine, Zoom Magazine, Nippon Camera, La Repubblica and the Corriere Della Sera.
我從1960年代開始在紐約街頭拍照，到了1980年代，我的創作基調轉為將街頭的人形視為一種視覺「書籤」。成長於充滿宗教儀式與文化符號的家庭中，許多被埋藏的童年經歷逐漸浮現在我的影像中，而我的創作也越來越專注於靈性與自然的探索。
雖然我是攝影師，但像喬治歐·德·奇里訶、皮耶羅·德拉·弗朗切斯卡和愛德華·霍普這些畫家的作品，對我的視覺風格有很大的影響，特別是在他們的透視、構圖和神秘感方面。另一位早期影響我的是日裔美國詩人Soichi Furuta，他啟發我把文字當作創作的起點。
如今我的創作主要聚焦於風景。在重新詮釋的風景肖像中，我更注重靈性與神秘的呈現，而非單純的視覺紀錄。我試圖通過作品引領觀眾進入另一個境界，讓森林與自然不僅是美麗的景象，而是觸及更深層次的精神內涵。
In the 1960’s I started taking pictures in the streets of New York. By the 80’s I began seeing human figures as visual “bookmarks” formally defining my vision. Often buried childhood experiences began resurfacing in many of my images. My work became increasingly concerned with spirituality and nature. I grew up in a house full of religious and cultural rituals and symbols. This influence is often reflected in my work.
Though a photographer, the artworks of painters like Giorgio De Chirico, Piero della Francesca and Edward Hopper have greatly informed my vision, especially through the strength of their perspective, staging, and mystery. Another early influence was Japanese-American poet, Soichi Furuta, who inspired me to use the word as a point of departure.
Today my work is mainly concentrated on landscapes. I see my re-imaged portrait of a landscape more in terms of spirituality and mystery than a actual visual documentation. I try to bring the viewer somewhere else where forests and nature are not only beautiful images but speak about something beyond.
雖然我是攝影師，但像喬治歐·德·奇里訶、皮耶羅·德拉·弗朗切斯卡和愛德華·霍普這些畫家的作品，對我的視覺風格有很大的影響，特別是在他們的透視、構圖和神秘感方面。另一位早期影響我的是日裔美國詩人Soichi Furuta，他啟發我把文字當作創作的起點。
如今我的創作主要聚焦於風景。在重新詮釋的風景肖像中，我更注重靈性與神秘的呈現，而非單純的視覺紀錄。我試圖通過作品引領觀眾進入另一個境界，讓森林與自然不僅是美麗的景象，而是觸及更深層次的精神內涵。
In the 1960’s I started taking pictures in the streets of New York. By the 80’s I began seeing human figures as visual “bookmarks” formally defining my vision. Often buried childhood experiences began resurfacing in many of my images. My work became increasingly concerned with spirituality and nature. I grew up in a house full of religious and cultural rituals and symbols. This influence is often reflected in my work.
Though a photographer, the artworks of painters like Giorgio De Chirico, Piero della Francesca and Edward Hopper have greatly informed my vision, especially through the strength of their perspective, staging, and mystery. Another early influence was Japanese-American poet, Soichi Furuta, who inspired me to use the word as a point of departure.
Today my work is mainly concentrated on landscapes. I see my re-imaged portrait of a landscape more in terms of spirituality and mystery than a actual visual documentation. I try to bring the viewer somewhere else where forests and nature are not only beautiful images but speak about something beyond.
- 義大利藝術家 - Mauro Manetti
- 作品介紹
1960年出生於義大利San Miniato，畢業於佛羅倫斯藝術學院（theAccademia di Belle Arti）。自1990年以來，作品聚焦於人與大自然的關係，並與古典藝術有深刻的連結，以身份認同為創作核心。其作品媒材多元，包括：雕塑、繪畫、素描、馬克拼貼，近年更嘗試金箔的應用。
他曾於中國、俄羅斯、日本、捷克以及美國等許多國家展出，包括美國德州藝術中心（the Cole Art Center in Texas）、義大利米尼業諾藝術基金會（Fondazione Schema di Carmigna）、佛羅倫斯美術館（Museo della Ceramica, Montelupo）以及日東京六本木的藝廊 Hideharu Fukasaku Gallery。
近年生活及工作於Montespertoli和Empoli，積極參與佛羅倫斯區域的藝術與文化推廣。在Emipol創立F.A.S.E.藝廊，為新秀藝術家舉辦各種展覽與藝術活動 。
Mauro Manetti was born in San Miniato (Pisa). He graduated from the Accademia di Belle Arti in Florence. Since the 1990’s his artistic work has concentrated on the relationship between man and nature, with a bond and link to classical art. His art, for the most part, is always related to the concept of identity. He works in many different media including sculpture, painting, drawing, mosaics, collage and most recently has experimented with gold and silver leafing.
He has had many art exhibitions of his works in China, Russia, Japan, Czech Republic, USA and many cities in Italy, including important shows at the Cole Art Center in Texas, Fondazione Schema di Carmignano (Italy), Museo della Ceramica di Montelupo (Italy), Galleria Continua San Gimignano (Italy), Casa dei Carraresi Treviso (Italy), Fondazione Bevilacqua La Masa Venezia (Italy), Hideharu Fukasaku Gallery Roppongi Tokyo (Japan), Shatto Gallery (Los Angeles, California), State Museum of Contemporary Art of Uzbekistan and C.Grimaldis Gallery (Baltimore, Maryland).
Today, he lives and works between Montespertoli and Empoli, where he is involved in the advancement and promotion of art and culture. In recent years he has established the F.A.S.E. Gallery in Empoli (Firenze) where he organizes diverse art exhibitions and events for emerging artists.
對於Mauro Manetti來說，藝術創作是情感與精神滿足的實現途徑。他的作品圍繞三個核心主題發展：人類：作為性別存在，並置於更廣泛的社會人類學背景中理解；自然：作為樓息地，擁有歷史與形而上的意涵；歷史的層疊：過去的積累提供了理解當前的基礎。
Manetti的作品深受歷史意識影響，融合中世紀雕塑、基督教馬賽克等歷史元素，並從伊特魯里亞及羅馬藝術汲取靈感，運用多樣媒材表達精神性與詩意。
My work develops around three essential themes: Man understood as agender within (larger) socio-anthropological connotations; Nature perceived sahabitat, with its own history and metaphysical dimensions; and the Stratification of our Past which establishes the precedent needed to better understand our present.
My artistic research tends towards a formal synthesis of these three principles.
Manetti的作品深受歷史意識影響，融合中世紀雕塑、基督教馬賽克等歷史元素，並從伊特魯里亞及羅馬藝術汲取靈感，運用多樣媒材表達精神性與詩意。
My work develops around three essential themes: Man understood as agender within (larger) socio-anthropological connotations; Nature perceived sahabitat, with its own history and metaphysical dimensions; and the Stratification of our Past which establishes the precedent needed to better understand our present.
My artistic research tends towards a formal synthesis of these three principles.
展場空景Installation View
開幕現場
Opening Event
展覽資訊 2
Exhibition 2 Info
義大利展出地點：Museo di San Francesco, Montefalco
義大利展期：2025/7/5（六）- 2025/8/3（日）
義大利展期：2025/7/5（六）- 2025/8/3（日）
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媒體報導 Report |
展場空景Installation View
開幕現場
Opening Event
