1969 -
高雄．臺灣
現居、工作於桃園台灣
涂維政的作品包括文明遺址的實擬、表演行動、紀錄拍攝、展演、周邊商品販賣等；透過博物館∕美術館等特定場域所造成的「超級特展」形式，模擬此龐大的運作體制所擁有的教化與詮釋權。他在作品中包辦了藝術生產、策展、行銷者等角色，學術、商品與媒體總動員，在此，藝術家仿如考古學家、遺址考古隊員、策展人、藝術行政人員、導覽義工、藝術品販賣商、美術館典藏部門⋯⋯。藝術家將「自我」異變成「體制」，作品擬造考古背景真實所編造的「歷史證據」，企圖建構新聖像及新的神話系統，將「科技擬古物」與不同文明、不同世代的特有形制相互拼貼，產生時間與空間錯置的謬誤感。一方面指涉他所理解的當下或未來的文明狀態；另一方面呼應台灣的多元文化及普遍存在文化主體認同的歧異與焦慮症。
至今為止，涂維政的每個系列作品都還沒有完成，卻以好幾條軸向同時發展，雖先後有序卻可能相互交錯或融合，也有很多作品透過重製與返回來重建或延展深化。這樣皺摺式的創作型態，讓他有機會在作品中包覆交融當代現象，與人、事、時、地、物各種關係的建立和縫合，在關係美學式的創作同時觀照身體勞動、手工技藝與物質性的呈現。作品仿擬考古知識系統、美術館體制的操作，乃至於指涉文明運作的機制，將自我視為一個「博物館」的體制，重點聚焦在作品的互動關係和過程記錄。而這些創作的核心精神，是將「關係美學式」的創作行為具體推向「博物館」的形式展演。
涂維政 1993 年於私立文化大學美術系西畫組畢業， 2005 年於台南藝術大學造形所畢業，現為專業藝術家與台北藝術大學專任助理教授。多次參與國內外重要展覽，包括 2018 年「仙境邊界 — 第一屆泰國雙年展」（喀比府，泰國）、 2017 年「採集歐洲 — 4017 神祕文明的皺摺世界」（維多利亞與亞伯特博物館，英國）， 2016 年「無序之美：卡斯雕塑基金會華人當代藝術」（奇切斯特，英國）、 2015 年「形（無）形：台灣當代藝術的靈性世界」（溫哥華人類學博物館，溫哥華，加拿大）、 2014 年「界— 台灣當代藝術展」（強生美術館，康乃爾大學，美國）、 2014 年「變革」（白兔美術館，雪梨，澳洲）、 2013 年「歷史的重量」（新加坡美術館）、 2012 年廣州三年展、 2012 年光州雙年展、 2011 年韓國首爾文化藝術基金會、 2010 年上海外灘美術館、 2010 年台灣美術雙年展、 2010 年台北雙年展、 2006 年上海雙年展。並曾於義大利拿坡里當代美術館、紐約皇后美術館、印度孟買夏可喜畫廊、加拿大溫哥華當代亞洲藝術國際中心、北京龍德軒當代藝術中心、北京今日美術館、重慶美術館、南京博物院、國立台灣美術館、台北市立美術館、國立高雄市立美術館、台北當代藝術館等展出。
曾獲 2001 年第 28 屆「台北美術獎」、 2004 年台新藝術獎評審團特別獎、 2007 年上海 SH 畫廊博覽會「驚奇的發現」獎。
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1969年生於臺灣高雄，2005年臺南藝術大學造形所畢業。曾獲2001 年第二十八屆「台北美術獎」、2003 世安文教基金會造形藝術類獎學金、2004 台新藝術獎評審團特別獎。
重要展覽包括：2001年「卜湳文明遺跡特展」於臺南原型藝術中心。2003年「卜湳文明遺跡發掘現場展」於臺南藝術學院、「出世神韻--神秘卜湳文明遺跡特展」於臺北當代藝術館。2006年上海雙年展與2007年SH上海畫廊博覽會等。
在他的作品中往往一手包辦了藝術生產、策展、行銷者等角色，學術、商品與媒體總動員；他創造卜湳文明、發掘卜湳文明、詮釋卜湳文明、展示卜湳文明，製造卜湳文明相關商品、販賣卜湳贗品、典藏卜湳作品。龐大的作品計畫中不盡合理的混合我們對文明遺跡、傳統文物、傳統藝術與當代藝術展陳方式的刻板經驗與記憶，錯亂觀賞的時間定位。同時將創作╱策展╱美術館╱觀看平行輸出，所產生對舊╱新、傳統╱當代、真／偽、虛／實、創作╱策展、個人╱機制、藝術╱市場非二元關係的提問與詰思，產生複雜的視覺感官經驗，是當代藝術創作中非常特殊的例子。
Tu Wei-Cheng
1969 -
Kaohsiung．Taiwan
Lives and works in Taoyuan, Taiwan
Tu Wei-Cheng’s practice is engaged in a myriad of mediums, including the simulation of ancient civilization sites, performance, documentary film, exhibition, and merchandising. In the form of a special exhibition that takes place at a museum, the artist attempts to emulate the authority immanent in this gargantuan mechanism to educate and interpret. Tu simultaneously plays the roles of artist, curator, art promoter, and dealer, while acting as archeologist, archaeological excavator, curator, art administrator, volunteer art tour guide, art merchandiser, and a member of the collections and exhibitions department. By metamorphosing into the system, the artist turns his work into a culmination of historical evidence based on faux archeological excavation, where a new system of icons and mythology is built, and technological gadgets-turned-artifacts are paired with different civilizations and generations, conjuring a sense of illusion that unhinges temporality and space. His work denotes the state of civilization at present or in the future, at the same time embodying Taiwan’s diverse culture, and evoking a prevalent sense of difference and anxiety ingrained in its cultural subjectivity.
Tu tends to work on several series at the same time, which are ongoing with different trajectories either in development, in sequential order, in juxtaposition, or in amalgam, while many of his works acquire new forms in the constant process of being rebuilt. This approach allows him to blend contemporary phenomena and the interweaving relationships between people, issues, time, location, and objects, in his practice of relational aesthetics that manifests physical labor, craftsmanship, and materiality. His practice mimics the mechanism of archeological research or art museum, in a way referring to that of civilization. In seeing himself as a museum, the artist focuses on the interactive element in a work and the documentation of the process. The ultimate goal is to transform the practice of relational art into the form of museum exhibition.
Tu Wei-Cheng holds a BFA from the Chinese Culture University (1993), and an MFA from the Graduate Institute of Plastic Arts of the Tainan National University of the Arts (2005). He now works as an artist, as well as a lecturer at the Taipei National University of the Arts.
Tu has exhibited internationally, including the 1st Thailand Biennale: Edge of the Wonderland, Krabi, Thailand (2018); Collecting Europe, Victoria & Albert Museum, London, U.K. (2017); A Beautiful Disorder: Exhibition of Contemporary Greater Chinese Artists, Cass Sculpture Foundation, Chichester, U.K. (2016); (In)visible: The Spiritual World of Taiwan Through Contemporary Art, Vancouver, Canada (2015); Jie: Contemporary Art from Taiwan, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, U.S. (2014); Reformation, White Rabbit Gallery, Sydney, Australia (2014); Credit Suisse: Innovation In Art Series The Collectors Show: Weight of History, Singapore Art Museum (2013); Guangzhou Triennial (2012); Gwangju Biennale (2012); Nostalgia, East Asia Contemporary Art Exhibition, Korea Foundation Cultural Center, Seoul, Korea (2011); By Day, by Night, or Some (Special) Things a Museum Can Do, Rockbund Art Museum, Shanghai, China (2010); Taiwan Biennial (2010); Taipei Biennial (2010); and Shanghai Biennale (2006). He has also exhibited at various notable private and public institutions, including Palazzo delle Arti Napoli, Napoli, Italy; Queens Museum of Art, Queens, NY, U.S.; Sakshi Gallery, Mumbai, India; Centre A: Vancouver International Centre for Contemporary Asian Art, B.C., Canada; Long De Xuan Contemporary Art Center, Beijing, China; Today Art Museum, Beijing, China; Chongqing Museum of Art, Chongqing, China; Nanjing Museum, Nanjing, China; National Taiwan Museum of Fine Arts, Taichung, Taiwan; Taipei Fine Arts Museum, Taipei, Taiwan; Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan; and MOCA Taipei, Taipei, Taiwan.
Tu Wei-Cheng was awarded the 28th Taipei Arts Prize from the Taipei Fine Arts Museum (2001), the Jury’s Special Award of the Taishin Arts Awards (2004), and the Surprising Discovery award, Sh Contemporary (2007).
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Born in Kaohsiung City, Taiwan in 1969, Tu Wei-Cheng received his M.F.A from the Graduate Institute of Plastic Arts of Tainan National College of Arts in 2005. He won the 28th Taipei Art Prize of Taipei Fine Art Museum in 2003, the grant of plastic art of S-an Cultural Foundation in 2003, and the Jury's Special Award of the second Annual Taishin Arts Awards.
His important exhibitions include: Special Exhibition on the Bu nam Civilization Site in Prototype Art Gallery, Tainan in 2001; Exhibition of Excavation Work at the Bu nam Civilization Site in Tainan National College of Arts; The Beauty and Mystery of Bu nam Civilization Revealed in MOCA, Taipei in 2003; Shanghai Biennale in 2006; and Shcomtemporary, Shanghai in 2007.
In his works, the artist plays the roles of an art-creator, a curator, and an art promoter/an art dealer, who motivate the circle of academy, commodity, and the media. While the artist makes up the Bu nam Civilization, excavates it, interprets it and demonstrates it, he also manufactures Bu nam Civilization products, sells Bu nam counterfeits, and collects them.
The massive work project irrationally commixes our stark experiences and memories of civilized relics, conventional artifacts with art as well as contemporary way of art display. Chronological orientation, too, is viewed in a disordered way. Meanwhile, the works dual elicit the concept of creation/curation/museum/collection system/viewing are simultaneously. The questions highlighted through the non-dualistic relationship between old/new, traditional/contemporary, authentic/counterfeit, virtual/real, creation/curation, individual/system, art/market in the work are clearly the motivation behind the creative process. It finally evokes an intricate visual and sensual experience, representing a very unique example in contemporary art.
