Banksy班克斯
Love is in the Bin 愛在垃圾桶裡
國際巡迴展
2023/07/01 (Sat.) – 2023/08/13 (Sun.)
文／駱麗真（台北當代藝術館館長）
2018年，班克斯（Banksy）知名作品《氣球與女孩》（Girl with Balloon）如何瞬變為《垃圾桶中的愛》（Love is in the Bin），至今仍為當代藝術界重要的討論。不僅因為藝術家的名氣、引人爭議的藝術行動，更因為這件作品在看熱鬧與窺門道的表面現象之餘，擾動起關於創作與市場、次文化與主流之間多重對話的可能性。
班克斯的創作以其原創性與充滿顛覆的創意，精準地吸引著全球觀眾的目光。他的街頭塗鴉以多層模板噴漆的方式進行，方便快速瞬離作畫現場。塗鴉的反社會性格與匿名的神祕性，讓班克斯提出相當多顛覆、諷刺且挑釁當下社會現況的作品。他的作品形式從街頭塗鴉、概念雕塑、裝置到電影等多元表現，議題則涉及反戰、反資本主義、抗議國家監控、關懷性別、弱勢、社會不平……等等，充滿人道關懷的精神。
而班克斯的作品《垃圾桶中的愛》被譽為21世紀最具代表性的當代藝術創作之一，其作品前身《氣球與女孩》，是班克斯以多層模板噴漆的方式在2002年倫敦街頭開啟的系列作品之一。作品中的小女孩伸手指向一顆飛離的紅色心形氣球，簡單的圖像成為班克斯為人所知的經典象徵圖像之一，在許多國際社運與維權的場合，都可見到該件作品的身影，包含：聲援國際反戰、社會運動與人道關懷的行動。作品中的女孩天真與純潔的樣貌與漸漸飄遠的氣球，彷彿象徵著這個社會漸漸失去的純真，也提醒著世人都應永遠懷抱希望。
2018年《氣球與女孩》於拍賣會現場落槌售出後，隱藏在畫框中間的碎紙裝置遂被班克斯啟動，作品也由框向下滑出碎成條狀，雖因設備故障作品未被完全碎斷，但也成為首件於拍賣會現場創作的藝術作品，之後本作品獲班克斯的代理機構Pest Control Office頒發證書，更名為《垃圾桶中的愛》。班克斯這種自毀作品以及重新詮釋命名的行為藝術，直接且精準地傳達其關於媒體影響力、觀眾興趣及藝術創作價值之間的關係與反思。
2023年疫情趨緩之際，收藏家期望能夠透過他的無償分享，讓全世界的觀眾有機會能夠近距離欣賞這件引起全球討論的藝術作品，開啟了《垃圾桶中的愛》國際巡迴展，首站即選擇在台北當代藝術館（以下簡稱本館）率先展出。本館常年來以藝術回應當下社會議題，無論政治、人權、環境、性別等策劃展，都令人印象深刻，這些努力與班克斯作品關注社會正義、反資本霸權、支持言論自由、倡議人權價值等精神相互契合。
為了迎接此重要作品來到臺灣，本館在軟硬體與作品維護方面都盡力做到最好，特別感謝Pest Control Office及許多合作夥伴與單位迅速提出專業協助，以及資源上的挹注。感謝友好單位路易莎咖啡、財團法人紀慧能藝術文化基金會的大力支持；感謝嶼山工房、沁弦築影、實踐大學建築設計學系協助規劃MoCA Studio展示空間，完善地營造空間氛圍，讓參觀的民眾更能聚焦在作品本身的種種討論；感謝翔輝運通股份有限公司與蘇富比在國際運輸方面提供的建議與協助；感謝恆成紙業的紙張獨家贊助；感謝規劃深度報導的文藝賦格-鏡電視、關鍵評論網等媒體，同時陸續來自各方的支持與建議，共同凝聚成本展得以實現的重要力量。期待本檔展覽能讓身處臺灣的觀眾，一同見證班克斯原作的靈光，同時感受班克斯作品所創造的深刻影響力。
2018年，班克斯（Banksy）知名作品《氣球與女孩》（Girl with Balloon）如何瞬變為《垃圾桶中的愛》（Love is in the Bin），至今仍為當代藝術界重要的討論。不僅因為藝術家的名氣、引人爭議的藝術行動，更因為這件作品在看熱鬧與窺門道的表面現象之餘，擾動起關於創作與市場、次文化與主流之間多重對話的可能性。
班克斯的創作以其原創性與充滿顛覆的創意，精準地吸引著全球觀眾的目光。他的街頭塗鴉以多層模板噴漆的方式進行，方便快速瞬離作畫現場。塗鴉的反社會性格與匿名的神祕性，讓班克斯提出相當多顛覆、諷刺且挑釁當下社會現況的作品。他的作品形式從街頭塗鴉、概念雕塑、裝置到電影等多元表現，議題則涉及反戰、反資本主義、抗議國家監控、關懷性別、弱勢、社會不平……等等，充滿人道關懷的精神。
而班克斯的作品《垃圾桶中的愛》被譽為21世紀最具代表性的當代藝術創作之一，其作品前身《氣球與女孩》，是班克斯以多層模板噴漆的方式在2002年倫敦街頭開啟的系列作品之一。作品中的小女孩伸手指向一顆飛離的紅色心形氣球，簡單的圖像成為班克斯為人所知的經典象徵圖像之一，在許多國際社運與維權的場合，都可見到該件作品的身影，包含：聲援國際反戰、社會運動與人道關懷的行動。作品中的女孩天真與純潔的樣貌與漸漸飄遠的氣球，彷彿象徵著這個社會漸漸失去的純真，也提醒著世人都應永遠懷抱希望。
2018年《氣球與女孩》於拍賣會現場落槌售出後，隱藏在畫框中間的碎紙裝置遂被班克斯啟動，作品也由框向下滑出碎成條狀，雖因設備故障作品未被完全碎斷，但也成為首件於拍賣會現場創作的藝術作品，之後本作品獲班克斯的代理機構Pest Control Office頒發證書，更名為《垃圾桶中的愛》。班克斯這種自毀作品以及重新詮釋命名的行為藝術，直接且精準地傳達其關於媒體影響力、觀眾興趣及藝術創作價值之間的關係與反思。
2023年疫情趨緩之際，收藏家期望能夠透過他的無償分享，讓全世界的觀眾有機會能夠近距離欣賞這件引起全球討論的藝術作品，開啟了《垃圾桶中的愛》國際巡迴展，首站即選擇在台北當代藝術館（以下簡稱本館）率先展出。本館常年來以藝術回應當下社會議題，無論政治、人權、環境、性別等策劃展，都令人印象深刻，這些努力與班克斯作品關注社會正義、反資本霸權、支持言論自由、倡議人權價值等精神相互契合。
為了迎接此重要作品來到臺灣，本館在軟硬體與作品維護方面都盡力做到最好，特別感謝Pest Control Office及許多合作夥伴與單位迅速提出專業協助，以及資源上的挹注。感謝友好單位路易莎咖啡、財團法人紀慧能藝術文化基金會的大力支持；感謝嶼山工房、沁弦築影、實踐大學建築設計學系協助規劃MoCA Studio展示空間，完善地營造空間氛圍，讓參觀的民眾更能聚焦在作品本身的種種討論；感謝翔輝運通股份有限公司與蘇富比在國際運輸方面提供的建議與協助；感謝恆成紙業的紙張獨家贊助；感謝規劃深度報導的文藝賦格-鏡電視、關鍵評論網等媒體，同時陸續來自各方的支持與建議，共同凝聚成本展得以實現的重要力量。期待本檔展覽能讓身處臺灣的觀眾，一同見證班克斯原作的靈光，同時感受班克斯作品所創造的深刻影響力。
Li-Chen Loh, Director of MoCA TAIPEI
In 2018, a remarkable transformation of the renowned artwork Girl with Balloon by Banksy into Love is in the Bin, has continued to be an exciting topic of discussion in the contemporary art world. This discussion was not only fueled by the artist's fame and controversial actions but also by the disruptive nature of the piece, which goes beyond superficial spectacle. Moreover, it provokes a multifaceted discourse about the possibilities between artistic creation and the art market; between subcultures and mainstream culture.
Banksy's creations, known for their originality and subversive creativity, have captivated audiences worldwide. Using multi-layered stencils and spray paint, his street graffiti allows for swift and anonymous creation, reflecting on the antisocial and enigmatic characteristics that challenge and satirize current social conditions. His works range from street graffiti and conceptual sculptures to installations and films, addressing issues such as anti-war sentiments, anti-capitalism, state surveillance, concerns for gender, marginalized population, and social inequality, which he imbued with humanitarian concern.
Banksy's work Love is in the Bin has been hailed as one of the most representative contemporary art creations of the 21stcentury. The work in its previous form, Girl with Balloon, was one of the pieces Banksy initiated on the streets of London in 2002 using multiple layers of stencils and spray paint. The simple image of a little girl reaching for a flying red heart-shaped balloon has become one of Banksy's iconic symbols, appearing in numerous international social movements and human rights campaigns. The piece depicting the innocent girl with the drifting balloon seems to symbolize the gradual loss of innocence in society while reminding people to always hold onto hope.
In 2018, right after Girl with Balloon was sold at auction, a concealed shredder within the frame was activated, causing the artwork to partially shred into strips as it slipped out of the frame. While a malfunction of the mechanism left the work only partially shredded, it became the first artwork to be created at an auction event. Subsequently, Banksy's official representatives, Pest Control Office, issued a certificate for the piece, renaming it Love is in the Bin. The self-destructing work and its subsequent renaming exemplify his direct and precise reflection on the relationship between media influence, audience interest, and the value of artistic creation.
In 2023, as the world gradually recovered from the impact of the pandemic, the collector of this work hopes to offer the audience the opportunity to experience this globally discussed artwork through an international touring exhibition of Love is in the Bin, with the Museum of Contemporary Art, Taipei (MoCA TAIPEI) as the first stop. MoCA TAIPEI has always been dedicated to responding to current social issues through art, and curating exhibitions that address topics such as politics, human rights, environment, and gender. These efforts align with the spirit of Banksy's works, which advocate for social justice, challenge capitalist hegemony, support freedom of speech, and promote human rights values.
In preparation for the arrival of this significant artwork in Taiwan, MoCA TAIPEI has devoted utmost care and attention to our facilities, and maintenance of the artwork. We extend our sincerest gratitude to our collaborative partners and organizations who promptly offered their professional assistance and valuable resources. We would like to express our deep appreciation to our esteemed partners, Louisa Coffee and Hui-Neng Chi Art and Culture Foundation, for their generous support. We are also grateful to Pest Control Office. We would like to acknowledge the invaluable contributions of Atelier Or, CosmoC Lighting, and the Architecture Department of Shih Chien University in designing the exhibition space at MoCA Studio, creating an immersive environment that allows visitors to fully engage in the artwork. Additionally, we extend our thanks to Sunway Express Co., Ltd. and Sotheby's for their advice and support in international transportation, and AUSPIC SELECT for their exclusive sponsorship of the paper materials. Our gratitude extends to ART ECHO mnews and The News Lens for their comprehensive coverage, as well as the continuous support and valuable suggestions from various sources, all of which have played a pivotal role in realizing this exhibition. We eagerly anticipate that this exhibition will provide the audience in Taiwan with an opportunity to witness the brilliance of Banksy's original piece and experience the profound impact this work creates.
In 2018, a remarkable transformation of the renowned artwork Girl with Balloon by Banksy into Love is in the Bin, has continued to be an exciting topic of discussion in the contemporary art world. This discussion was not only fueled by the artist's fame and controversial actions but also by the disruptive nature of the piece, which goes beyond superficial spectacle. Moreover, it provokes a multifaceted discourse about the possibilities between artistic creation and the art market; between subcultures and mainstream culture.
Banksy's creations, known for their originality and subversive creativity, have captivated audiences worldwide. Using multi-layered stencils and spray paint, his street graffiti allows for swift and anonymous creation, reflecting on the antisocial and enigmatic characteristics that challenge and satirize current social conditions. His works range from street graffiti and conceptual sculptures to installations and films, addressing issues such as anti-war sentiments, anti-capitalism, state surveillance, concerns for gender, marginalized population, and social inequality, which he imbued with humanitarian concern.
Banksy's work Love is in the Bin has been hailed as one of the most representative contemporary art creations of the 21stcentury. The work in its previous form, Girl with Balloon, was one of the pieces Banksy initiated on the streets of London in 2002 using multiple layers of stencils and spray paint. The simple image of a little girl reaching for a flying red heart-shaped balloon has become one of Banksy's iconic symbols, appearing in numerous international social movements and human rights campaigns. The piece depicting the innocent girl with the drifting balloon seems to symbolize the gradual loss of innocence in society while reminding people to always hold onto hope.
In 2018, right after Girl with Balloon was sold at auction, a concealed shredder within the frame was activated, causing the artwork to partially shred into strips as it slipped out of the frame. While a malfunction of the mechanism left the work only partially shredded, it became the first artwork to be created at an auction event. Subsequently, Banksy's official representatives, Pest Control Office, issued a certificate for the piece, renaming it Love is in the Bin. The self-destructing work and its subsequent renaming exemplify his direct and precise reflection on the relationship between media influence, audience interest, and the value of artistic creation.
In 2023, as the world gradually recovered from the impact of the pandemic, the collector of this work hopes to offer the audience the opportunity to experience this globally discussed artwork through an international touring exhibition of Love is in the Bin, with the Museum of Contemporary Art, Taipei (MoCA TAIPEI) as the first stop. MoCA TAIPEI has always been dedicated to responding to current social issues through art, and curating exhibitions that address topics such as politics, human rights, environment, and gender. These efforts align with the spirit of Banksy's works, which advocate for social justice, challenge capitalist hegemony, support freedom of speech, and promote human rights values.
In preparation for the arrival of this significant artwork in Taiwan, MoCA TAIPEI has devoted utmost care and attention to our facilities, and maintenance of the artwork. We extend our sincerest gratitude to our collaborative partners and organizations who promptly offered their professional assistance and valuable resources. We would like to express our deep appreciation to our esteemed partners, Louisa Coffee and Hui-Neng Chi Art and Culture Foundation, for their generous support. We are also grateful to Pest Control Office. We would like to acknowledge the invaluable contributions of Atelier Or, CosmoC Lighting, and the Architecture Department of Shih Chien University in designing the exhibition space at MoCA Studio, creating an immersive environment that allows visitors to fully engage in the artwork. Additionally, we extend our thanks to Sunway Express Co., Ltd. and Sotheby's for their advice and support in international transportation, and AUSPIC SELECT for their exclusive sponsorship of the paper materials. Our gratitude extends to ART ECHO mnews and The News Lens for their comprehensive coverage, as well as the continuous support and valuable suggestions from various sources, all of which have played a pivotal role in realizing this exhibition. We eagerly anticipate that this exhibition will provide the audience in Taiwan with an opportunity to witness the brilliance of Banksy's original piece and experience the profound impact this work creates.
〔設計／Designed〕和設計
〔年份／Year〕2023