在遠方 —駱麗真個展
Far and Near-Loh Li-Chen Solo Exhibition
2014.05.21- 2014.06.14
開幕|5/24 (Sat)18:00
展覽座談|5/24 (Sat)16:00
與談人:駱麗真│展覽藝術家、郭昭蘭│獨立策展人、蔡海如│藝術工作者
展覽座談|5/24 (Sat)16:00
與談人:駱麗真│展覽藝術家、郭昭蘭│獨立策展人、蔡海如│藝術工作者
展覽介紹
2012年1月,我以在「在幸福的邊陲」為題,在視盟1F藝文空間舉辦以錄像投影聲音裝置個展,表現甜膩幸福之極大化後的孤獨感,那種金玉其外、敗絮其中的強烈對比與淒涼。2013年05月,個展計畫「幸無在中央」於台北數位藝術中心展出,以「在幸福的邊陲」為先發,同樣試圖將對中央的嚮往、對中央的價值認同、對中央的等距遙想…反映出需要他者才能得到認同的中心化議題,再度提出加值認同的縱向與橫向連結,價值如何被形塑的討論,可以是都會的、人文的、政治的、地理圖像的…等等。當次個展作品以錄像投影聲音裝置作為強烈的引言。也運用夜間才能展現蠱惑姿態的燈光裝置,討論自我中心與環境他者間又疏又緊,亦遠亦近的糾結感,也希望對價值去中心化進行思考,許多面向上的核心價值不一定等同個人價值。這兩個展覽都是以“幸福”為題,進行探索,在討論都會裡的幸福如何被符號化,商品化或以消費取代而後呈現的空虛感。 在展覽之後,我對於探討主體與生活間的遙望距離產生好奇,應為那是展覽之際衍生出的未盡的討論,總覺得感官與感受,幸福與失落,存在一種虹譜的關係,卻總似淡然對立遙望的兩方,彼此都像彼此的遠方。 同時,「幸無在中央」展覽的作品創作期間,有兩件作品對我是未完待續的,一是許願作品計劃,一是噪影系列。許願作品計劃第二階段預計將拍攝遠離家鄉去往異地工作的遊子,在中年回首的三則作品,在拍攝前置作業的訪談中,我逐漸勾勒出本次個展“在遠方”的展覽主題概念。在這些訪談者口述中,不論事業成就的高低,終究還是以移工心態存在著,美好的生命中永不可取代的某些片段,仍然在遠方的那處,那處或許只是反照著肉身存在的此處,也或許只是不知道方位而只能遠目遙想的他方。我逐漸對於遠端隱約失去的,和幽暗存在卻一直沒有被看見的,過去,當下,或逐漸轉變的過程感到興趣,彷彿對於無法言說的狀態,總有著偏戀與執著,直覺而衝動,想要捕捉那曾經存在過的真實的虛幻,在當下之外的,那遠方的,暗光下的,曾經存在過的真實的虛幻。 上一回個展「幸無在中央」裡的作品「噪影」展出後,因為光影遠近營造出的模糊造型,好似互文著作品意圖訴說的不同精神層次,我對於這樣的處理手法,同時必須結合現場裝置的挑戰產生了興趣,於是開始了另一個實驗路線。在本次展覽概念逐漸成形之際,我決定延續噪影裡的燈光機械裝置效果,來丈量遠方的不可測,捕捉逝去的不可得。 最後的「女孩」這件互動作品,原本的互動設計以及呈現效果,主要都在討論遠與近,觀者與觀看對象的關係。但前置作業期間,發生了太陽花學運,這麼近身地震撼著我們,讓我和許多展覽在即的藝術工作者一樣,完全無法靜下心思在手邊的創作,只是終日進出立院現場。革命與抗爭中,男性常常扮演領導者的角色,女性往往扮演溫柔支持的力量,然而當代社會運動卻不乏女性角色在第一線出現,這一次我們同樣看到太陽花學運裡穿梭其間不同女性力量的展現,讓我決定將「女孩」這件作品重新修訂,成為一件能夠呼應學運女孩兒的作品,於是我經由Facebook迅速邀請到38位太陽花女孩參與作品拍攝,記錄下運動中女性溫柔堅毅的身影,其中最讓人開心的是有兩位生理男心理女笑容如燦爛的太陽花女孩也參與了拍攝,讓作品呈現出超越預期的意義。 本次展覽以“在遠方”為題,有幾件作品以未完待續的延續來呈現作品,希望能以這種對立的疏離遠方,來討論看似不能同時並存,其實彼此互為因果,綿延牽絆的遙望的關係,想為不知多遠的遠方,和不知方向的遠方,以及不知有什麼會一直等待著的遠方,說出一種可能存在的情緒。 |
駱麗真 Loh Li-Chen│展覽藝術家
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Exhibition Concept
In the January of 2012, I organized the video projection and sound installation exhibition ”The borderland of happiness“ at the Art Space of AVAT. The exhibition presented the extreme sense of loneliness which was often experienced after the sweet happiness, featuring a strong and melancholy contrast that the rotten content was hidden within the splendid appearance. In the May of 2013, I started the solo exhibition project Ubiquitous, which took place in Digital Art Center, Taipei. Starting from the works of ”The borderland of happiness“, I tried to relate the yearning for the Center, the identification of the Center, and the equidistant thinking of the Center with the issue of centralization which required the existence of “the others” for identification. Meanwhile, I brought up both the vertical and the horizontal connections of value-added identification, discussing how values had been shaped in terms of humanity, politics, urban cities, geographic images, and etc. The exhibition featured video projections and sound installations as a strong statement. The lighting installation which showed its charm only in the night also helped provide a discussion about the close but yet distant entanglement between the self (as the Center) and the environment (as the Other.) Meanwhile, I intended to encourage the discussion about the decentralization of values. In my opinion, most of the apparent core values were not necessarily equal to the personal values. The two exhibitions both targeted “happiness” as the main theme, exploring how happiness was symbolized, consumerized, or commercialized in an urban city to replace the sense of nihility afterward.
After the exhibition, I began to wonder the distance between the subject and the daily life as the continuation of the past attempt. I have always believed that there was a prim-scale-like relationship between emotions and perceptions as well as happiness and loss. The both sides stand oppose to each other in aloofness, while each is the “faraway land” to the other.
During the same time when I was working on the artworks for Ubiquitous, there were two unfinished works to be continued – “Wish ” and “Noise and Shadow.” The second phase of “Wish” plans to shoot foreign laborers who travel far away from home. During my pre-production interviews for the three pieces about the middle aged, I gradually mapped out the exhibition concept and theme for the exhibition “Far and Near”. According to these interviewees, no matter how established they finally become, they still identify themselves as migrant workers. The most beautiful chapters of their lives have always existed in somewhere far from here. The place far away perhaps just reflects the “now-and-here” where their flesh exists. Or, it might be an “other place” that no one knows the direction but they can only imagine and think of. I have been gradually interested in the transformation process from the past to the present, which unveils what we have lost in the “other place” and the obscure existence. It is like a state of being beyond language – addictive, persistent, intuitive, and impulsive. It encourages me to capture the realistic illusion which has once existed – the realistic illusion which exists beyond the present, in the obscure light and somewhere far away.
After the work “Noise and Shadow” was exhibited in the last solo exhibition Ubiquitous, the vague shape created by the distance between light and shadow intertextually narrated the various spiritual levels of the work. The challenge of how to deal with it and how to combine it with the on-site installation interested me. Therefore, I started another experiment. Before the exhibition concept was gradually formed, I decided to extend the effect of the lighting installation in Noise and Shadow to measure the immeasurable faraway and to capture the uncatchable past.
Finally, the representation effect and the original interactive design of the interactive work “Girls” mainly discusses the relationship between the observer and the observed as well as the distant and the near. During the preparation stage, however, the Sunflower Movement fundamentally changed our lives. Like other artists who were still working on their upcoming exhibitions during the movement, I could not concentrate on my artworks but frequently visited the Legislation Yuan where the occupation took place. In a revolution or a protest, men are usually the leaders while women symbolize the gentle support. Nevertheless, contemporary social movements are seldom the cases, where we often see women stand on the first row. In the Sunflower Movement, we have seen women’s power being visualized in various ways everywhere. It is why I decide to revise the work “Girls” as a response to the female participants. Therefore, through Facebook, I have invited 38 “Sunflower Girls” in the shooting of the works to document their gentle support in the movement. What surprises me more is that two persons who are biological males but psychological females also participate in my work, with their shiny smiles, bringing unexpected meaning to the work.
With the theme of “Far and Near,” some works are represented as the unfinished continuation. The conflicting alienation like this might further the discussion about the entangled relationship that one and the other seem not to co-exist but mutually effect each other. Here, a possible emotion is expressed to describe somewhere far away – where you do not know how far it is, where the direction is, and what might be waiting for you.
In the January of 2012, I organized the video projection and sound installation exhibition ”The borderland of happiness“ at the Art Space of AVAT. The exhibition presented the extreme sense of loneliness which was often experienced after the sweet happiness, featuring a strong and melancholy contrast that the rotten content was hidden within the splendid appearance. In the May of 2013, I started the solo exhibition project Ubiquitous, which took place in Digital Art Center, Taipei. Starting from the works of ”The borderland of happiness“, I tried to relate the yearning for the Center, the identification of the Center, and the equidistant thinking of the Center with the issue of centralization which required the existence of “the others” for identification. Meanwhile, I brought up both the vertical and the horizontal connections of value-added identification, discussing how values had been shaped in terms of humanity, politics, urban cities, geographic images, and etc. The exhibition featured video projections and sound installations as a strong statement. The lighting installation which showed its charm only in the night also helped provide a discussion about the close but yet distant entanglement between the self (as the Center) and the environment (as the Other.) Meanwhile, I intended to encourage the discussion about the decentralization of values. In my opinion, most of the apparent core values were not necessarily equal to the personal values. The two exhibitions both targeted “happiness” as the main theme, exploring how happiness was symbolized, consumerized, or commercialized in an urban city to replace the sense of nihility afterward.
After the exhibition, I began to wonder the distance between the subject and the daily life as the continuation of the past attempt. I have always believed that there was a prim-scale-like relationship between emotions and perceptions as well as happiness and loss. The both sides stand oppose to each other in aloofness, while each is the “faraway land” to the other.
During the same time when I was working on the artworks for Ubiquitous, there were two unfinished works to be continued – “Wish ” and “Noise and Shadow.” The second phase of “Wish” plans to shoot foreign laborers who travel far away from home. During my pre-production interviews for the three pieces about the middle aged, I gradually mapped out the exhibition concept and theme for the exhibition “Far and Near”. According to these interviewees, no matter how established they finally become, they still identify themselves as migrant workers. The most beautiful chapters of their lives have always existed in somewhere far from here. The place far away perhaps just reflects the “now-and-here” where their flesh exists. Or, it might be an “other place” that no one knows the direction but they can only imagine and think of. I have been gradually interested in the transformation process from the past to the present, which unveils what we have lost in the “other place” and the obscure existence. It is like a state of being beyond language – addictive, persistent, intuitive, and impulsive. It encourages me to capture the realistic illusion which has once existed – the realistic illusion which exists beyond the present, in the obscure light and somewhere far away.
After the work “Noise and Shadow” was exhibited in the last solo exhibition Ubiquitous, the vague shape created by the distance between light and shadow intertextually narrated the various spiritual levels of the work. The challenge of how to deal with it and how to combine it with the on-site installation interested me. Therefore, I started another experiment. Before the exhibition concept was gradually formed, I decided to extend the effect of the lighting installation in Noise and Shadow to measure the immeasurable faraway and to capture the uncatchable past.
Finally, the representation effect and the original interactive design of the interactive work “Girls” mainly discusses the relationship between the observer and the observed as well as the distant and the near. During the preparation stage, however, the Sunflower Movement fundamentally changed our lives. Like other artists who were still working on their upcoming exhibitions during the movement, I could not concentrate on my artworks but frequently visited the Legislation Yuan where the occupation took place. In a revolution or a protest, men are usually the leaders while women symbolize the gentle support. Nevertheless, contemporary social movements are seldom the cases, where we often see women stand on the first row. In the Sunflower Movement, we have seen women’s power being visualized in various ways everywhere. It is why I decide to revise the work “Girls” as a response to the female participants. Therefore, through Facebook, I have invited 38 “Sunflower Girls” in the shooting of the works to document their gentle support in the movement. What surprises me more is that two persons who are biological males but psychological females also participate in my work, with their shiny smiles, bringing unexpected meaning to the work.
With the theme of “Far and Near,” some works are represented as the unfinished continuation. The conflicting alienation like this might further the discussion about the entangled relationship that one and the other seem not to co-exist but mutually effect each other. Here, a possible emotion is expressed to describe somewhere far away – where you do not know how far it is, where the direction is, and what might be waiting for you.
展出作品
許願04 Wish 04
駱麗真 Loh Li-Chen 雙頻道錄影 Two-Channel Video, Color, Sound 2014 |
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