Mind the Mindless #TETAS (2025)
分心的種類溫佳寧個展

@窯座Yáo

26 April - 11 May

展覽論述

「分心的種類 Mind the Mindless」是專注力被收斂的一刻，著魔的火團在清晨燃燒，無心／留心／分心／走心的種類全都望向彼此。

試想當代生活四景：當你沉浸其中，不自覺地跟著YouTube廣告音樂搖擺；覺得此人露腹肌的自拍真吸引人，卻發現此人是以武力參與政治運動的防暴警察；受畫作吸引，卻被空間中錯誤的音樂打擾；看著朋友躺在大海中的自由景象，卻發現海浪聲是版權音樂。精神作嘔的瞬間，感覺自己靈性盡失。

溫金金沒辦法直接討論靈性，但她觀察生活和電影，擷取並畫出受網路圖像啟發的「無身體人物」，並對著畫外的些許人——令人刺眼的怒視，輕笑。

在溫金金的繪畫中，色彩是敘事與物質張力的核心。明亮的螢光綠與深黑色構成了畫面的強烈對比結構，綠色以潑灑的方式流動於畫面，或以乾刷技法呈現出輕薄而透光的層次。在人物的雙足周圍，從暗苔綠、煙霧綠到霧灰、煤黑的多重色階被擦拭進畫布，留下具手感的痕跡。散落的紙屑顆粒緊貼畫面，如同被抽去空氣的薄膜，引發一種直觀、具觸感的臨場感。未上色的雙腿保持裸露，引導視線遊走於色塊與空白之間的邊界。在這裡，色彩不只是顏色本身，而是姿態、殘留，以及視覺上的對抗力量。

她的繪畫試著讓我們彷彿從很遠的地方審視我們的時代。畫中的主角不會看著你，而是完全專注在自己的事情上。

A區｜圖像與分心的開始

圖版「分心的種類」

作為展覽的起點，A區展出溫金金的迷因圖、思緒筆記等素材。她喜歡將圖像、符號和文字並列呈現，看似雜亂，實則展現她獨特、動態的思考過程。其中，特別著迷於自動翻譯造成的語義錯誤（如把“form”翻譯成「形成」、「變形」或「形式」的多重意義），開啟實用但有趣的詮釋空間。展覽區名「分心的種類」，呼應了其引用劇照《善良的種類》，亦是貫穿全展的主題。

圖版「浪漫 / 動作」

受互動影像專利啟發——觀眾可決定劇情走向（浪漫 / 動作）——溫金金化這一概念為繪畫與裝置：以「裸露胸部」的浪漫劇情，衝擊及挑戰大眾對「適當內容」的界線。溫金金長期創作無身體僅雙腿的女性造型，反映她對變形身體、美學與性別角色塑造的關注。尤其2019年在網路社群中看到「只有雙腿的女人」情色圖像時的憤怒與複雜感受，成為開啟新造型探索的契機。

A畫作

疲倦的彌撒
速度生產遺忘
謊言洪流
人塔β
我們的相似之處多於差異
低度開發的回憶
未獵先死
自由式
即興與目的
刺眼的怒視

圖版「善的意志會狩獵」

源自溫金金2022年於台北個展標題，靈感來自電影《心靈捕手》（Good Will Hunting），直譯為「善的意志會狩獵」。本區展示女性雕像的速寫與男性柱飾形象，探討力量與痛苦的並存。也受「女雕像物語」紀錄片啟發，對巴黎建築中雕像的性別氣質與張力進行圖像再研究。

B區｜變身與自我多重性

B畫作

太空垃圾
今夜在空中
眼睛裡的煙霧
言語失敗的地方

C區｜疊人塔與思維空間

C畫作

眠火
潤滑
人塔噴泉

在堆疊破碎紙板人塔過程中，溫金金借鑒了瓦爾堡與貢布里希的《摩涅莫辛涅地圖集》中「中間空間」與「思維空間」概念。她探索符號、秩序與混沌的並存、意義的分歧，以及藝術如何在物象之間創造想像與觀察的距離——如同拼圖將零碎拼成圖，但其中也可能包含虛構。

C區域配合展示主題，保持幽暗、沉靜的空間。

D區｜語言邊界與標題的遊戲

D區集中展出本次各圖版原作。溫金金強調作品標題的意義與「誤讀」：多以異語命名，留給觀眾解讀與聯想空間。

D畫作

安靜的決鬥
夢中寧芙
唾液

🔗 關於展覽
本展覽刻意遠離所謂「高級」視覺藝術，延續溫金金自2016年以來「壞繪畫」（Bad Painting）理念——作品看似不登大雅之堂，卻獲藏家與藝評好評。2024年作品亦於臺灣，菲律賓馬尼拉和丹麥哥本哈根獲藏家收藏。

展場以白光與白空間，營造典型藝廊樣貌，實則承載著「反美學」與荒誕內容。

而溫金金的畫面敘事非常直白。

展名#TETAS取自西語樂團Ca7riel & Paco Amoroso同名歌曲，諷刺大眾文化中「大胸部」的迷思，連結溫金金對性別、媒體造型的長期反思。

2020年後，藝術家轉向黑白與螢光綠色繪畫，呼應其社會與政治參與意識及自省——單色調表現出更冷靜的批判性。

最後，色情與情色的界線，是溫金金繪畫中遊戲與反思的重要主題。她用戲謔與嘲諷，使觀者重新思考日常、慾望、性別與身體的界限。

Mind the Mindless #TETAS (2025)wen gum gum solo exhibition

Essay

"Mind the Mindless" attempts to capture a moment, like an enchanted fire burning at dawn. Different states of mind—unaware, attentive, distracted, or devoted—gaze at each other.

Imagine four scenes of contemporary life: you find yourself swaying to the music of a YouTube ad; you're captivated by a selfie showing abs, only to discover the person is a riot police officer known for abusing power with violence in political movements; you're drawn to a painting but disturbed by the wrong music in the exhibition space; you watch a friend float in the ocean, only to realize the sound of waves is copyrighted music. In that nauseating moment, you feel spiritually drained.

wen gum gum cannot discuss spirituality, but she observes life and film, creating ‘bodiless figures’ inspired by internet images, casting a wry smile at those outside the canvas.

Her paintings invite us to review our time from a distance. The subjects in the paintings do not look at you; they are entirely absorbed in their own world.

Section A｜The Genesis of Images and Distraction

Atlas - Varieties of Distraction
Serving as the exhibition’s point of departure, Section A presents Wen Gum Gum’s meme collages and notebooks of thoughts. She enjoys juxtaposing images, symbols, and text—seemingly chaotic, yet revealing her distinctive, dynamic thought process. Particularly, she is fascinated by semantic errors produced by automatic translation (such as various renderings of “form” as “formation”, “transformation”, or “form” in the sense of “shape”), opening up an interpretive space—both practical and playful. The section title, “Varieties of Distraction,” echoes her reference to the film still “Kind of Kindness”(2024) and encapsulates the exhibition’s underlying theme.

Atlas - Romance / Action
Inspired by patents in interactive video—which allow viewers to decide the plot's direction (romance or action)—Wen Gum Gum translates this concept into painting and installation. Here, “bare breasts” become emblems of romance, provocatively challenging mainstream notions of “appropriate content.” Wen Gum Gum has long created female figures reduced to just legs, reflecting her ongoing exploration of body transformation, aesthetics, and gender roles. A pivotal moment came in 2019, when she encountered erotic images of “women who are only legs” circulating online—evoking anger and complex emotions, which then catalyzed her formal innovation.

Paintings
I See, I See
Velocidad funda el olvido

Lügenflut

Castell β

we are more similar than different

Raw memories

Dead Before the Hunt

Freestyle

Improvisiert und zielbewusst

Glaring Glares

Atlas - Good Will Hunting, Does Good Will Hunt?
The title derives from Wen Gum Gum’s 2022 solo show in Taipei, itself inspired by the film “Good Will Hunting” and rendered literally as “Good Will Hunting”(1997). This section displays quick sketches of female statuary and images of male atlantes (column figures), probing the coexistence of power and pain. It was also inspired by the documentary “Les dites cariatides(1984)”, prompting a re-examination of gender dynamics and tensions in the statuary of Parisian architecture.

Section B｜Metamorphosis and Multiplicity of the Self
Paintings

Junkspace

In the Air Tonight

Smoke in the Eyes

Where Words Fail

Section C｜Human Towers and Cognitive Space
Paintings

Somniflame

Lubrication

Castellum Fons

Note: In constructing her fragile cardboard human towers(castell) , Wen Gum Gum draws on Aby Warburg and E.H. Gombrich’s concept of the “interstitial” and “cognitive space” from the Mnemosyne Atlas. She investigates the coexistence of signs, order and chaos, divergences of meaning, and how art crafts distance for imagination and observation—like assembling a puzzle from fragments, where fiction may find its place among supposed coherence.

Section C is set in low light to foster an atmosphere of contemplative calm, aligning with its curatorial focus.

Section D｜Language Boundaries and the Play of Titles
Section D assembles all the original works shown in previous plates. Wen Gum Gum foregrounds the significance and “misreading” of her works’ titles—often given in foreign languages—to leave interpretive freedom for viewers.

Paintings

The Quiet Due

Sleeping Nymphs

Saliva

🔗 Exhibition Statement

Deliberately distancing itself from “high art” aspirations, this exhibition continues Wen Gum Gum’s “Bad Painting” ethos—an approach since 2016 that purposefully appears “unrefined” and yet has received positive critical and collector attention. Works from 2024 have been acquired by collections in Manila and Copenhagen.

The gallery’s white lighting and neutral spaces evoke the typical art gallery, but are subverted by the exhibition’s anti-aesthetic and absurd content.

The exhibition title, #TETAS, is borrowed from both the song by the Spanish band Ca7riel & Paco Amoroso and as a mockery of the pop-culture obsession with “big breasts”—connecting to Wen Gum Gum’s ongoing critique of gender and media representation.

Post-2020, Wen Gum Gum shifted toward black, white, and fluorescent green painting—a reflection of her heightened social and political consciousness, with monochromatic palettes channeling a cooler, more incisive criticality.

Finally, the boundary between pornography and eroticism is a potent “playground” in Wen Gum Gum’s painting, and a locus for reflection. Her brand of irony and mockery compels the viewer to reconsider everyday experiences, desire, gender, and the limits of corporeality.

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Glaring Glares（刺眼的怒視） 2025 Acrylic on canvas 18.3x15x2 inches 46.5x38x5cm

Glaring Glares（刺眼的怒視）

2025
Acrylic on canvas
18.3x15x2 inches
46.5x38x5cm