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書寫 線狀 My story, maybe yours.2014.08.16 – 09.21弔詭畫廊
by 金工科, 2014-08-27 10:53, Views(435)

 
書寫 線狀 My story, maybe yours.
 
展覽日期|Term:2014.08.16 – 09.21
展覽地點:弔詭畫廊 Crane Gallery 高雄市五福四路184號

營業時間:週三 - 週日: 11:00 - 19:00
 
藝術家|Artists:
陳云 CHEN Yun, 張恩慈 CHANG En-Tzu
 
< 展覽概念>


全是我的,但無一為我所有,
無一為記憶所有,
只有在注視時屬於我。  

— 節錄 辛波絲卡《旅行輓歌》



詩人從現實生活取材,任何事物皆可饒富詩意。藝術家也從生活取材,把禁忌與彌合變成對抗人生缺憾的創作符號,傷痛越往深處挖掘,就越能挖出動人的張力。回觀生命歷程,我們如何知道屬於自己的是事物本身?還是注視當下的真實感受?溫室中的生命個體也有看不見的傷口,所以不停說話來療癒孤立的恐懼。 

藝術家陳云以書寫心情語錄,重複性的單句或喃喃自語佈滿作品成為心底最深處的吶喊,把焦慮失去轉嫁在形貌、聲音與姿態被擠壓定格的紙紮人偶,僵死的陳列品附著一個看不見的靈魂,親密的友誼隨時陪伴在側,一字一刻地嘔吐日夜積累的對話,不斷反芻記憶反映了情感匱乏,是恐懼失去守護神?還是焦慮無法守護祂?無論索求或給予,兩者都在挖掘潛藏的愛。 

張恩慈的作品以線性姿態說話,縫補彌合是一個撫摸傷痛的隱喻,不斷淘洗記憶,每觸及一點就產生一個印記。眼中拉出一條條「視」線,口中吐出一絲絲語囈,是生命經驗裡雜亂的牽引,企圖被歸類整頓,把不忍或反覆遊走的記憶,套在創作的鋼索上,一針一線沉靜索味地穿透畫布,每一個完成都製造了一個不安/失落。




Everything’s mine but just on loan,
Nothing for the memory to hold,
Though mine as long as I look.

- Wislawa Szymborska, “Travel Elegy”
(translated by Stanislaw Baranczak & Clare Cavanagh)



Anything can be poetic for a poet who embraces life. An artist can also turn taboos and closing of wounds into creative signifiers in defiance of life's shortcomings. The deeper one mine ones' pains and sorrow, the greater ability one would have to touch others. In retrospective, how do we know whether what belong to us are actually what they are? Or are they genuine feelings of the present moment? There are invisible wounds even in the most protected individuals, thus the incessant urge to speak - to heal the fear of isolation.

Artist CHEN Yun defaced her works with the innermost cries in the form of repetitive sentences and self-muttering. The memoranda of emotions as such, transmutes anxiety and sense of loss onto paper offering dummies whose shapes, gestures and sounds are freeze-framed in constriction. An invisible soul clung to these petrified exhibits in intimate company, pouring forth words from dialogue accumulated since long. The rumination of memories may represent a lack of affect, the fear of losing one's guardian patron or the apprehension of not being able to guard Him instead, but whether one is asking or giving, both excavate concealed love.

CHANG En-Tzu’s works speak in a linear manner. The stitching is a metaphor of caressing wounds where memories wash and leave marks on each point of touch. As with the disorderly push-pull of life experiences, sight lines are trailed from the eyes and strands of somniloquy pour forth from the mouth in an attempt to tame unsettling memories. With each steady, silent stitch through the canvas, the unbearable memories revisit the tightrope of creative work, which in turn produces further disquietude and loss.
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