呦呦鹿鳴 YoYo Studio
空間介紹
About the Space
成立於2016年，現址位於高雄鹽埕。名稱源自《詩經》〈小雅．鹿鳴〉，取鹿以鳴叫相邀志同道合夥伴之意，作為工作室連結人與人、分享與共好的核心理念。工作室關注人與器物之間的日常關係，將生活中的器物視為共同生活的夥伴，透過工藝思考與創作，使器物回到樸素自然的狀態，讓人在使用與觸碰之間，感受偶然、寂靜、簡淡與不完美的細膩情感，並重新思考自身對理想生活的想像。營運內容涵蓋陶瓷生活器物、工藝選物、陶作教學、工藝展覽、美學講座、工藝研究與策展及出版等，近年亦投入街區行動，持續探索工藝、生活與城市社區之間的連結。
Founded in 2016 and currently based in Yancheng, Kaohsiung, YoYo Studio takes its name from “Lu Ming” in the Book of Songs, evoking the image of deer calling out to gather kindred companions. This spirit of connection, sharing, and togetherness lies at the heart of the studio. YoYo Studio explores the everyday relationship between people and objects, regarding the things we live with as companions that quietly shape our ways of life. Through craft-based thinking and making, the studio seeks to return everyday objects to a state of simple naturalness, inviting people to experience the subtle qualities of chance, stillness, simplicity, and imperfection, while reconsidering their own visions of an ideal life. Its practice encompasses functional ceramics, craft curation, pottery courses, exhibitions, talks on aesthetics, craft research, curatorial projects, and publishing. In recent years, YoYo Studio has also expanded into neighborhood-based initiatives, exploring connections between craft, everyday life, and urban communities.
當期展覽
Exhibition《在在》Where Reassurance Goes
藝術家｜趙永惠 Yung-Huei Amal Chao (TW)
波浪鐵皮是臺灣生活中熟悉的材料，常見於住家的加蓋、遮蔽與修補。一層層疊加的過程，為居所增加空間，也多了一層保護。如果把這個行為從建築延伸到身體，穿戴也可以是一種「加蓋」：在包覆與被包覆之間，身體與材料、動作逐漸產生關係。
祈禱、念誦、數算，是自我安定與自我提醒的反復性身體行為。這些行為不需要特定的媒介，重複的動作與節奏本身，就能成為一種依靠。創作對我而言也是如此。鋸切、折疊、串聯，一次又一次的操作，讓時間、手的記憶和材料的回應留在作品裡。因此，《在在》不是護身之物，而是將這些行為轉化成可以看見、也可以感受到的形體。
Corrugated metal sheets are a familiar material in everyday life in Taiwan, commonly used for home extensions, shelter, and repairs. Layer upon layer, they create additional space while also providing an extra layer of protection. If this practice is extended from architecture to the body, wearing can also be understood as a form of “extension”: between covering and being covered, relationships gradually emerge among the body, material, and movement.
Praying, chanting, and counting are repetitive bodily acts of self-soothing and self-reminding. They require no particular medium; the repetition of movement and rhythm can itself become a source of support. For the artist, the creative process works in much the same way. Sawing, folding, and linking—through repeated actions, time, the memory of the hands, and the material’s responses are inscribed into the work. “Zai Zai” is therefore not a protective talisman, but rather a transformation of these acts into forms that can be seen and felt.
