19.11.15 - The sound and the fury |喧嘩與騷動


The sound and the fury |喧嘩與騷動

賴威宇|是大魔王It's the Final Boss!|194×259cm|2015|壓克力彩、畫布
賴威宇|是大魔王It’s the Final Boss!|194×259cm|2015|壓克力彩、畫布



《喧嘩與騷動》一書由三男一女,四部獨白築構而成。本次伊日藝術為映襯主題,邀請三位男性藝術家與一位女性藝術家共同演繹。陳雲創作主體即著重在意識及記憶的描繪,運用如同蒙太奇的剪接手法,以組件式的表現手法創作,其呈現如詩般的絮語。而賴威宇的創作,社會議題的色彩濃厚,「羅曼小史」黑白速寫系列作品中,描寫人於社會活動中的形象,猶如個人在社會化過程中的共通經驗,與羅曼史系列平行的彩色系列中,則時常出現過大或過小的人物,進而演繹社會現實環境與個體的不平衡關係,更是以賴威宇的作品呼應到福克納一書中「騷動 (Fury) 」的主題。



Life is a tale told by an idiot, full of sound and fury, signifying nothing. Inspired by William Faulkner’s classic work exploring the stream of consciousness, “Sound and Fury”, this exhibition showcases four Taiwanese artists – Chen Yun, Lai Wei-yu, Lee Han-ching, and Chiu Cheng-hong. The title of the book, “Sound and Fury” comes from Shakespeare’s classic tragedy, Macbeth, “Life is a tale, told by an idiot, full of sound and fury, signifying nothing.

In the book, Faulkner tells the story from multiple perspectives, without subject, dialogue, and descriptive sentences that do not follow one another, portraying the protagonist’s complicated and delicate emotional state. It is divided into four monologues, three male and one female. Three of those capture the main character’s stream of consciousness, with the timeline drifting around in non-linear fashion. The fourth is from the perspective of an observer, in a relatively realistic depiction. It isn’t until the end of the book that the reader arrives upon the book’s clear outline, but it undoubtedly leaves a strong impression.

The book is constructed from four monologues, three male and one female. In this context, YIRI Arts has invited four artists – three male and one female, interpreting the theme together. Chen Yun’s creative theme focuses on consciousness and memory, utilizing montage-like splicing to combine pieces together, like poetic whispers. Lai Wei-yu’s creations are deeply intertwined with social issues, and the “Petit Romance” black and white sketch series depicts imagery of people involved in social movements, much like the shared experience of socialization. In parallel with color works of the Petit Romance series, characters that appear are oftentimes too large or small, leaving open further interpretation regarding inequality within society and between individuals. Lai’s works are those that echo the theme of “Fury” in this exhibition.

In Chiu Cheng-hong’s video work “Kwanyin”, he utilizes leftover marble powder to sculpt native Taiwanese deer. With the Buddhist sculpture of Kwanyin as the setting, he sets up the stage for dialogue between the physical and spiritual, human and Buddha, like an unofficial countryside narrative, profound and moving. Finally, to juxtapose with the relative realism found in part four of Faulkner’s work, this exhibition has chosen realist artist Lee Han-ching’s works to draws attention to observations of the book, bringing the appearance of the protagonist into view. By drawing his own collections, utilizing shallow depth of field in photography as a method of expression, he expresses the emotions between the artist and his paintings, and the link between people and objects.

By focusing on contemporary Taiwanese artists, “Sound and Fury” hopes to help viewers explore the complicated world of modern Taiwanese art, full of brilliance and creativity.
1516-11|陳雲|箋。贈與妳一束被時間輕拂的詩| 65×65+65×45+65×65cm|2015|壓克力彩、畫布
陳雲|箋。贈與妳一束被時間輕拂的詩| 65×65+65×45+65×65cm|2015|壓克力彩、畫布

邱承宏|大理石鹿六號| 130×95x160cm|2015|大理石、鐵、玻璃纖維


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