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25.09.17 - ART Taipei 新人推薦特區 | 伊日藝術@吳家昀 Chia-Yun WU

YIRI ARTS @ ART TAIPEI 2017 貴賓預展|2017.10.19 公眾展期|2017.10.20– 2017.10.23 展覽地點|台北世界貿易中心展覽大樓一館

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MIT新人特區|伊日藝術@吳家昀 Chia-Yun WU
貴賓預展|10/19 (四) 15:00-21:00、10/20 (五) 11:00-14:00
公眾展期|2017/10/20~23
10/20 (五) 14:00-19:00
10/21-22 (六-日) 11:00-19:00
10/23 (一) 11:00-18:00
展覽地點|台北世界貿易中心展覽大樓一館
展位 Booth|M05
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《時間的風》以一種哲學性的思維探究影像與時間的關係。人類的記憶和幻想常以影像的形式存在於腦海,並依時間的座標垂直或平行漂浮於一虛幻的空間中。藉著時間的線性累積,逐漸模糊的記憶可能轉化為印象,若印象被幻想介入,這些介於真實和想像間的影像可能成為如夢般的抽象情境;反之,若在未來尚未抵達之前以「回憶」的方式組織關於未來的影像,這些游移於未知時空中的幻想即可能化為「存在的事實」。

此展為一個影像與物質媒材交織的裝置系列,源於藝術家吳家昀於國外求學時,因身處離家近一萬公里遠的異地而對過去的記憶產生質疑,也對未來的想像浮現錯亂之感,進而經歷撿拾或重製影像、研究時間的存在、自我文化認同等過程。經由己身經驗,從「影像的本質」探究起「時間的形狀」至「記憶與現實的空間」再到「穿越時空的內在層面」發展出三件創作:〈時空線〉、〈孤島〉和〈空〉,並透過風的概念將之串連,如文學領域的意識流實踐了揉合文本、情感、空間、時間與記憶間的關係,賦予觀者自由探索的空間。

In Search of Inexistent Time navigates the relationships between imagery, time and philosophical thought. The human mind often stores memories and phantasies together, floating in an imaginary sea mapped by the coordinates of time, the linear accumulation of which gradually erodes memories into impressions. When our imaginations interfere with these impressions – already adrift as they are in the penumbra between memory and phantasy – they can become dreamlike, open-ended scenarios that we play-out within ourselves. However, if we dip into our imaginations and process pictures from the future as we might process memories, we risk anchoring those images, hitherto inhabiting a space and time as yet unknown, into land-locked, “established fact”.

The installation is comprised of images and found objects, and draws its inspiration from the artist’s doubts and questions about her memories whilst studying 10,000 miles away from home; uncertainties rendered more confusing by her imagination of the future. And so she began to gather images and to re-process them and, through this voyage, research her cultural identity and question the very existence of time itself. Cross-examining her uncertainties under headings such as “the shapes of time”, “the space of memory and reality”, and “the journey of the spirit travelling through time and space” regarding the essence of image, she produced three works entitled A Line Tells, Lonely Island and darkness within darkness. This triptych is bound by the presence of the wind. Much like the stream-of-consciousness writing of the early twentieth century, this In Search of Inexistent Time slips between text, emotions, memories, time and space, still elusively and ephemerally leaving the audience free to explore uncharted territory within the work.

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