上上芳－⿈舜廷 個展 

Best Best Wishes: Huang Shun-Ting Solo Exhibition

展覽時間｜2026.10.03 – 11.21

展覽地點｜就在藝術空間

開幕日期｜2026.10.03（六）14:00 

展覽座談｜2026.10.24（六）15:00 – 17:00

與談⼈｜沈裕昌（國立臺北教育大學文化創意產業經營學系助理教授）

交通位置｜台北市⼤安區信義路3段147巷45弄2號1樓開放時間｜週⼆⾄週六 11:00 – 19:00；每週⽇、⼀公休

贊助單位｜財團法人國家文化藝術基金會、台北市文化局

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Date｜3 Oct. – 21 Nov. 2026

Venue｜Project Fulfill Art Space

Opening｜3 Oct. 2026 (Sat.) 14:00 

Artist Talk｜24 Oct. 2026 (Sat.) 15:00 – 17:00

Guest｜Shen Yu-Chang（Assistant Professor, Department of Cultural and Creative Industries Management at National Taipei University of Education）

Address｜1F, No. 2, Alley 45, Lane 147, Sec. 3, Sinyi Rd., Taipei, Taiwan

Hours｜Tue. – Sat. 11:00 – 19:00; Closed Sun. & Mon.

Sponsor｜National Culture and Arts Foundation、Department of Cultural Affairs Taipei City Government

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上上芳

Best Best Wishes

圖必有意，意必吉祥；畫中有話，皆為佳話。

好事成雙、錦上添花、步步高升、金玉滿堂。那些在常民文化中慣用的祝福話語，或許早已是陳腔濫調，卻也正因不斷重複，才得以生成一種約定俗成的文化邏輯。在台灣，人們往往將對美好生活的期盼寄託於花草樹木與日常物件之中，藉由命名、裝飾與反覆使用，使欲望轉化為符號；符號則經由辨識、流通與相信，逐漸取得其象徵效力。這份效力，又常在重複中被賦予加乘的想像。成雙成對意味著圓滿，層層疊加則更顯富貴；愈多、愈高、愈滿，似乎也就愈好，祝福彷彿也因此愈加有效。

《上上芳》延續2023年個展《上芳》，並以自身前作作為重複與再製的對象。作品藉由增加、放大、扭曲、重疊、累積與置換，讓已然吉祥的圖像變得更加吉祥，也讓原本媚俗的繪畫顯得更加媚俗。這些看似加油添醋的形式操作，正是將吉祥文化中「愈多愈好」的增殖邏輯，轉化為藝術生產的方法。沒有重複，風格或許無從形成；然而，一再複製相同的形式，也可能致使風格固化。那麼，當自我重複成為一種有意為之的創作策略，不再只是形式的延續，而是在相似之中製造偏移、在微調之中衍生新意，它是否因此開啟了由增殖走向增質，乃至增值的可能？

作品照做，好話照說；上芳之上，必更芬芳。

本次展覽索性沿用過往熟悉的圖像與話語，再掃描、再錯置、再輸出，變本加「利」。既然更多總被想像為更好，一句祝福若尚嫌不足，那麼就再多說一句、再多添一筆。

No image without meaning; no meaning without luck. Every painting has something to say — and it's always something nice. 

Good things come in pairs. Icing on the cake. Onward and upward, step by step. Gold and jade fill the hall. These are the stock phrases of folk blessing — worn smooth from overuse, perhaps, yet it's exactly that overuse that gives them their currency, forging an unspoken cultural logic out of sheer repetition. Hopes for a better life are pinned onto plants and everyday objects in Taiwanese culture alike: through renaming, decorating, and repeatedly using those objects, our desire is turned into symbol, and symbol — recognized, circulated, believed in — gradually earns its symbolic efficacy. And that symbolic efficacy, in turn, tends to compound with repetition, as if saying it twice made it twice as true. Pairs suggest wholeness; stacks suggest wealth. The more, higher, fuller — it all just seems the better, as though the blessing itself grows stronger the more it's piled on.

"Best Best Wishes" picks up where the artist's solo exhibition "Plants & Planters" (2023) left off, turning his own works into raw material for repetition and remaking. Through addition, enlargement, distortion, overlap, accumulation, and substitution, the works take imagery that was already auspicious and make it more auspicious still, take paintings that already flirted with kitsch and push them further into it. These moves — which might look exaggerated — are exactly how the "the more, the better" logic of auspicious culture gets converted into a method of making art. Without repetition, a style might never take hold; repeat the same form too many times, though, and that style calcifies. So, when self-repetition turns into a deliberate strategy — no longer just form repeating itself, but a way of nudging deviation out of sameness, coaxing new meaning out of minor adjustments — does it open a path from multiplying to changing fundamentally, and maybe even to appreciating in value?

The paintings keep coming, the good words keep speaking: above Plants & Planters, the fragrance can only grow sweeter.

The exhibition "Best Best Wishes" simply reuses the images and phrases already familiar from before — scanned again, shifted again, printed out again — Best wishes upon best wishes. Since more is always assumed to be better, if one blessing doesn't feel like quite enough, why not say it again, and add one more brushstroke for good measure.