無人之境:城市意象的所在 No Man’s Land – Where Urban Imagery Flourishes

建立日期

20 三月 2019

項目

視覺藝術 Visual Art , 藝術節/博覽會 Art Festival/Art Fairs

無人之境:城市意象的所在 No Man’s Land – Where Urban Imagery Flourishes

文Text/李寅彰 Li, Yin-Jhang  翻譯Translation/Pheobe Cheng
圖Image/德鴻畫廊 Der-Horng Art Gallery
上圖/黃子瑞Tzu-Jui Huang, 新樂園-彼岸, 80x120cm, 設色、墨、鉛筆、麻紙, 2016

當我們身處於城市的叢林,仰首龐然的城市景觀,被吞噬的不僅是天空,還有繁忙於都會的人群。當我們再一次穿梭城市的光景,偶然地,出現了如夢似幻的情景,那是一段城市與歷史之間的故事。此刻,我們有可能在時間的綿延之中,急迫地面臨一股變遷的氣候,於是當代藝術創作者試圖將「自然」的意象拉進城市的疆域裡,我們開始反思所處的環境,也一直維持著與某種危機共存的關係。
Looking up the cityscape from a large concrete jungle, what is devoured is not only the sky but also the crowd in the metropolis. Travelling in a city, strange feeling of Déjà vu sweeps up here and there, triggered by the stories that belong to a city and her history. Amongst the continuation of time, we might find ourselves facing the urgency of a changing climate. As a response, contemporary artists are attempting to bring the imagery of “nature” into the cityscape. Hence begin the reflection of our environment and the risks we are living with.

德鴻畫廊(Der-Horng Art Gallery)秉持「城市意象」(Urban Imagery)的策展脈絡,主要聚焦於台灣的當代藝術創作者如何回到現實生活中開啟命題。藝術家們透過媒材的語彙,轉譯出關於人類的當代生存情境。因此,在這些作品中,我們或許能夠接收到媒介與思辨景觀的訊息。這些可被解讀的訊息,也需要觀者沉浸在城市意象之中,透過感知的經驗從而體現與世界之間所在的連結。
Advancing on the curatorial theme of Urban Imagery, Der-Horng Art Gallery is directing the spotlight on the everyday discourse made by Taiwan contemporary artists. The modern life is rendered into the language of media, and through the works, we might be able to get a glimpse of the landscape in the artists’ mind. To decode the messages, a viewer has to submerge into the urban imagery and feel the connection with the world through sensual experience.

b 九龍Kowloon 91.0x72.7cm 2019 bogus paper kent paper pen ink

田島大介 Daisuke Tajima, 九龍Kowloon, 91.0x72.7cm, 2019, bogus paper, kent paper, pen, ink

面對人類與自然搏鬥的歷史,楊順發(Shun-Fa Yang)扛著攝影機踏查在經濟發展而變異的地理環境。歷經漫長的觀察與等待,觀察海水的潮起潮落,拍下了一座座看似孤獨的島嶼,並在景框之外沉思台灣的土地。事實上,這也是藝術家所進行的藝術行動,佇足於歷史與城市變遷之間的幻影與廢墟,將影像作為悼念的感召。楊順發有感於這片土地曾經的榮景與消逝,試圖將意念與心境「隱身沒入」在不可見的山水之境。
With the laborious history of men-competing-with-nature in mind, Yang Shun-Fa travelled with a camera in places altered by economic activities in the past. Patient waiting and observation allowed him to know the tides of the ocean and to capture what appeared to be lonely islands, a reflection of the land of Taiwan. Standing in between the illusion and the ruins of a changing city, the artist turned imagery into a calling of a eulogy. As a man who witnessed the fade of glory on the land, Yang also “submerged” his thoughts and feelings into the invisible natural landscape.

當外在環境轉化到創作者內化之境時,田島大介(Daisuke Tajima)透過鋼筆的線條與潑墨的技巧,虛構出科幻電影的場面調度。縱然這些科幻場面有著龐雜的資訊,事物的符碼如輻射般不斷地向外擴張,但對於創作者而言,這是一場引爆內心孤獨與空虛的所在。當人類在面對環境之後進入個體感知的狀態時,黃子瑞(Tzu-Jui Huang)描繪了台灣社會環境中的生存個體,彷彿在緘默的狀態中進行控訴。他在繪畫中將物件的象徵符號與物質性,以蒙太奇的方式形塑另一種觀看的方式。當個體進入感知,身體的姿態表達了城市中存在的氛圍,高義勝(I-Sheng Kao)透過墨線與色彩,描摹出個體在面對當代社會環境中存在著某種陌生與疏離的關係,投射在人物的肢體語言與表情。
Daisuke Tajima’s works reflect the internalisation of one’s external environment. Through the lines and forms constructed by illustration and splashed ink, the artist arranged the mise-en-scène of a Sci-Fi movie on the paper. Though heavily loaded with information, the symbols radiating from the centre was in fact a revelation of an explosion of loneliness and emptiness from within. Tzu-Jui Huang chose to focus on the personal perception of the bigger environment, and visualized the individuals struggling in Taiwan, as if making a silent protest. By arranging the materiality and symbolised form of different objects into a collage, the artist shaped a unique way of presenting the illustrations. Further focusing on the personal perception, I-Sheng Kao depicted the urban atmosphere by detailing the body gestures with fine strokes and coloured ink. In his works, the remote and distant relationship between an individual and the modern society was projected onto their body language and facial expression.

a 高義勝I Sheng KAO 絢Gorgeous 2014 80.5x80cm 紙本設色Color on Paper

高義勝I-Sheng KAO, 絢Gorgeous, 2014, 80.5x80cm, 紙本設色Color on Paper

「城市意象」如同朝向他者的思考,是在當代藝術實踐與作品之間,創造出關於生命與時間不經意的現實。當我們在現實中面臨諸多的事實,每一個視角都是獨特的觀看之處。這是透過這一種思辨現實的能力,得以轉化困境與限制。城市意象可解讀為現實的所在,這個現實呈現了我們正在經歷的「處境」(situation),也展現了創作實踐使現實轉化存在(presence)的境遇。這個看似不完美的「所在」,發生在閩南語音發聲的「地方」(place),在感知中也具有某種流動於居間(in-between)的轉譯。城市意象的所在,在邀請觀眾進入各種不同的想像當中,體悟心之所在的無人之境。
Urban Imagery resembles a way of thinking directed to the others. From between the fine line of contemporary art practice and the artwork, the exhibition created a casual reality about life and time. When we are presented with multiple facts in life, each perception can serve as a unique viewing point, such is actualised by the skill to analyse the reality, and to transform difficulties and limitations. The urban imagery can be read as where reality exists – the reality that presents our situation and shows the circumstances where creative attempt may transform reality to the presence. This seemingly imperfect "location" occurs in the "place" of the voice of Hokkien. It can also be perceived or interpreted as an ambiguous state of “in-between”. Urban imagery flourishes where the viewers are invited to experience a collection of imaginations, and to perceive the no-man’s land where one’s heart lies.

107.614鰲鼓新夾 40IMG 0282 4 stitch

楊順發 Shun-Fa Yang, 鰲鼓新夾

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Art Central 2019
Period 展期| Mar. 26 - 31, 2019
Venue 地址| 香港中環海濱活動空間
Booth 展位| F12