新生北路三段82號 / 常常在家
邱杰森 / 林晏竹 雙個展 A duo exhibition by Chieh-sen Chiu and Lin, Yen-Ju
2017.06.03 – 2017.07.01
邱杰森 / 林晏竹 雙個展 A duo exhibition by Chieh-sen Chiu and Lin, Yen-Ju
2017.06.03 – 2017.07.01
展覽介紹新生北路三段82號 / 邱杰森個展地圖 — 不再僅僅是單純的指南,真實的感官已凌駕地圖本身。經過感知、檔案和符號的重塑後,它遠離了地圖符碼上抽象的意義,圖像意義越來越少,進而揭露人對地圖的欲望與想像並自我解放。如丹尼斯.伍德在 《地圖的力量》中說道:「地圖結合了過去與未來,圖像和現實,展現知識與力量之間的合作關係。地圖也連接起人們和其居住環境,在特定、既有的脈絡下,表達對大自然的立場與態度。動機、慾望、計畫、行動,都是地圖產生的原因。地圖是一個名詞,但卻更像一個動詞。」 地圖作為一個「動詞」,它詮釋並演繹了空間與人的發展所產生可能與變異,在觀看中卻無法完全消除其矛盾的認知差異,卻也創造了的其模糊不清的想像空間。利用地圖創作探討整個後現代社會的生活方式,藉由檔案與符號再製的概念脫離於日常的感知經驗,直接挑戰人與空間的真實性。並藉由認知差異的再仿製進行製造。 在創作中依循其人類的文明脈絡,投以自身對於當代環境的立場,交織並行。作品本身的背後隱藏著對於人類思維邏輯與身軀、環境、空間的連結。而人與地理、地圖之間的當代關係是此系列作品中所關注的重點,更多的是空間上的概念。我試圖保存這歷史性的一面,解構的符號和舊的記憶作為收集檔案的方式,以研究它的形象並重新塑造在地圖學上與人的「存在感」透過大眾的維度,重塑其面貌(Image)並同時並呈現實與想像間的遊戲關係。 在日常生活裡面對到的種種欲望與符號的生產,從移動的身體感官中關注在地圖與人之間的模糊狀態,在展場中由藝術家建構的「維度」(scale),依不同感知、檔案的交互構築與組織,在場域中衍生出關於文化、社會與環境新的對話,延伸出新型態的地圖藝術體驗,探討地圖與藝術在當代共生的可能樣態。 此系列創作,關注於地理和地圖學,更多的是身體在空間上的概念。除了這類主題以外,其創作中充分調動對於領土的感知與表現力,並由此對主體與世界之間的關係產生興趣。在其對空間所施加的影響之外,企圖在創作中營造出一種強烈的現世性、虛構的維度。 常常在家 / 林晏竹個展在家,是一件我夢寐以求的事情! 從斑剝的壁磚到生銹的花窗,家的空間有如生命最初的歸屬與記憶。 也許是文化主體的尚未建立,以及正於人生的離家階段,使得我總在找尋那個安適之所。 文化上與生命階段的不在家是為我內在各種流離感的根源。如同多元符碼拼貼的環境,在人情、事務、理想等各種不同面向揉雜的人生也是一樣,我總希望能從種種現象抽絲剝繭,思考其中的本質意義為何? 或許因此,家的符碼成為我凝視的對象;並在凝望這些符碼中,企圖拼湊出自我的樣貌,重換記憶,觀照有關自我的課題。 然而「有家非家何處家」,在多元、動態的環境以及種種際遇的幻化中,執著安住好像是一件人家會說何必與自己過意不去的事情。 終於,藝術像是一處得以回返的地方:它投射了我種種對於自我面貌與認同的探索、存在的片刻;以及,偶爾想要悠閒地賴著在家的那個慾望! |
Exhibition StatementThe map – it is no longer simply a guide. Our bodily senses have taken over the map. Through sensing, archiving, and reinterpreting symbols, the shapes and patterns on the map lose their authority, and we see instead a map of human desire and imagination. As Denis Wood says in his book The Power of Maps, “the map combines the relationship between the past and the future, the image and the reality, to show the relationship between knowledge and power. The map also connects people to their living environment; under specific, pre-existing patterns, it communicates our position and attitude with regard to the realm of nature. Motives, desire, plans, and actions – they are the reasons maps exist. The map is a noun, but seems more like a verb.” Map – as a verb, interprets and deduces the relationship between people and space, while allowing for variations in personal development. However, when viewing a map, one does not experience the diversity created by mapping. A dissonance arises between the simplicity of the map image and our rich sensorial understanding of space; yet this simplicity simultaneously allows for imagination and interpretation. Using the act of map-making as a point of departure to question the postmodern lifestyle, through archiving and reinterpreting symbols, I directly challenge the idea of people and space. I aim to recreate a dissonance in our idea of space and to allow for a new spatial understanding. In my process of creation, I trace the lineage of human cultural development, and intertwine it with my personal understanding of the current environment. The works reveal a connection between the human thought process, bodies, environment, and space. Not only is the current relationship between humans, geography, and maps a focus of this series of works, the spatial concepts are also of great importance. I try to preserve the historical significance – deconstructed symbols and old memories are my materials for building an archive. By analyzing their forms and reinterpreting the connection between cartography and human existence, I reform the image of the map and reveal the play between reality and imagination. Being home is something I've been longing for! The space of a home is as if the earliest belonging and memories of life, from stripping wall bricks to rusty window. Maybe because of the yet constructed cultural subjectivity, and am still in the phase of being away from home, hence I am always searching for that comfortable place. The absence of home in culture and phase of life is the root of my internal sense of homelessness. Just like an environment filled by collages of multi codes, life is a mixture of various facets such as human’s relation, general affairs and dream. I’ve always hope to peel slowly these phenomenons and think about what is the essence or nature within them. Probably that is why codes of home has always been the subject of my gaze. And furthermore from gazing at these codes, I attempt to form an appearance of my own, switching memories and looking at issues concerning my inner self. However, in a time when there are questions of having a home, of not a home and where is home, while there are transforming chances in this multi-facets and fluid environment, to insist on a comfortable and stable home seems to be seen by some people as a matter of feeling sorry to oneself. Eventually, art looks like a place to be returned to. It projected my various explorations and moments of presence on inner self and identity. And, the occasional desire to lay back at home! |
邱杰森 Chieh-sen Chiu
生於桃園市,畢業於 Beaux-arts de Montpellier,2016年取得DNSEP。法國DNAP文憑、國立台灣藝術大學學士。
關注於集體記憶如何在現實環境的變異,透過檔案、紀錄與文化採集、田野調查,逐步發現於空間在地緣政治中的種種異變。並以切身的經驗感受到周遭環境的變遷,結合當下的地緣政治、國族、地方、記憶等問題,解構、敘事其空間政治與文化治理。
Born in Taoyuan City, Chiu graduated from Beaux-arts de Montpellier in 2016 and received both the French DNSEP and DNAP degrees. He also holds a BFA degree from the National Taiwan University of Arts.
Chiu focuses his practice on how collective memory is re-created and updated in our physical environment. Through archiving, documenting, field and cultural studies, he deduces how space develops under geopolitics. By finely sensing the transformation of his surrounding space, he fuses local geopolitics, national identity, regionality, and collective memory to narrate the spatial and cultural politics of particular spaces.
關注於集體記憶如何在現實環境的變異,透過檔案、紀錄與文化採集、田野調查,逐步發現於空間在地緣政治中的種種異變。並以切身的經驗感受到周遭環境的變遷,結合當下的地緣政治、國族、地方、記憶等問題,解構、敘事其空間政治與文化治理。
Born in Taoyuan City, Chiu graduated from Beaux-arts de Montpellier in 2016 and received both the French DNSEP and DNAP degrees. He also holds a BFA degree from the National Taiwan University of Arts.
Chiu focuses his practice on how collective memory is re-created and updated in our physical environment. Through archiving, documenting, field and cultural studies, he deduces how space develops under geopolitics. By finely sensing the transformation of his surrounding space, he fuses local geopolitics, national identity, regionality, and collective memory to narrate the spatial and cultural politics of particular spaces.
林晏竹 Lin, Yen-ju
生於台灣台中市,目前生活、創作於台北。畢業於國立台北藝術大學美術系、國立台北藝術大學新媒體藝術碩士班。
創作媒材包括繪畫、錄像、複合媒材、裝置,以不同形式尋求存在與記憶的補償,作品時常帶有當下的歷史感。同時常關注環境、建築與影像間的文化符碼,作品反映出自身文化主體中所拼貼的他者符號;並且企圖利用作品實踐出個人內在欲從現實遁逃的「安身之處」;此內在理想與現實環境成為一種對照關係,顯示出創作者對現實的種種矛盾情結,也因此在作品中的地理指涉都令人有雖近猶遠之感。
Born in Taichung, Taiwan. She lives and works in Taipei. Lin graduated from Taipei National University of the Arts, Department of Fine Arts, and Taipei National University of the Arts MFA Program in New Media Arts.
Lin works with various mediums, including painting, video, mixed media, installation, seeking compensation for existence and memory through different forms. Her works often embody a historical sense of the contemporary. She often focuses on the cultural codes embedded in the environment, architecture and images, reflecting through her work signs of the other collaged into the subjectivity of her own culture. She also attempts to realize in her works a 'safe haven' for retreat when personally confronted with the internal desire to escape from reality. This internal ideal and the surrounding reality form a contrasting relationship, illustrating the complex paradoxes the artist shows for reality, therefore, affording the geographical indicators within her works a sense of distant familiarity.
創作媒材包括繪畫、錄像、複合媒材、裝置,以不同形式尋求存在與記憶的補償,作品時常帶有當下的歷史感。同時常關注環境、建築與影像間的文化符碼,作品反映出自身文化主體中所拼貼的他者符號;並且企圖利用作品實踐出個人內在欲從現實遁逃的「安身之處」;此內在理想與現實環境成為一種對照關係,顯示出創作者對現實的種種矛盾情結,也因此在作品中的地理指涉都令人有雖近猶遠之感。
Born in Taichung, Taiwan. She lives and works in Taipei. Lin graduated from Taipei National University of the Arts, Department of Fine Arts, and Taipei National University of the Arts MFA Program in New Media Arts.
Lin works with various mediums, including painting, video, mixed media, installation, seeking compensation for existence and memory through different forms. Her works often embody a historical sense of the contemporary. She often focuses on the cultural codes embedded in the environment, architecture and images, reflecting through her work signs of the other collaged into the subjectivity of her own culture. She also attempts to realize in her works a 'safe haven' for retreat when personally confronted with the internal desire to escape from reality. This internal ideal and the surrounding reality form a contrasting relationship, illustrating the complex paradoxes the artist shows for reality, therefore, affording the geographical indicators within her works a sense of distant familiarity.