© COPYRIGHT YIRI ARTS 2014

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

喧嘩與騷動_WEB-01

The sound and the fury |喧嘩與騷動
撰文/吳思薇

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

本次伊日藝術策展引述威廉·福克納經典意識流作品《喧嘩與騷動》一書,主要展出四位台灣當代藝術家陳雲、賴威宇、李瀚卿及邱承宏。《喧嘩與騷動》書名取自莎士比亞悲劇《馬克白》中的臺詞:「人生如癡人說夢,充滿著喧嘩與騷動,卻沒有任何意義。」

”福克納在《喧嘩與騷動》一書中採用多角度觀點,亦即沒有主詞的台詞、對白,及上句不延續下句的描述,呈現出主角人物複雜且細膩的情感狀態。《喧嘩與騷動》共分為四個部分,為三男一女的獨白。當中三部分是主角人物的內心意識流的書寫,時間軸前後交叉飄移,非線性書寫。而第四部份則為旁觀者相對較為寫實的描述,觀者閱讀到書本末尾,才能夠獲得其書清楚的輪廓,並留下深刻的印象。

《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。

而錄像/雕塑藝術家邱承宏的錄像作品「觀音」,將其大理石粉形塑的台灣原生種水鹿形象,以觀音的佛刻石雕場做為場景,進行物質與精神性、人性與佛性的對話,猶如故鄉野史般的敘事,深刻而動人。而對照福克納於第四部的相對寫實,關照出其小說世界的側寫觀察,讓主角之面貌輪廓浮現,本次策展則以寫實藝術家李瀚卿作為對應,李瀚卿描繪他本身收藏之物件,以攝影淺景深的表現手法,將其傳達其所繪物與創作者之間的情感,物件與人的連結。

本次展出聚焦於台灣當代藝術家,以《喧嘩與騷動》為題希望藉此能讓觀者,一探台灣當代藝術的複雜深刻又富有原創性的精彩表現。

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

12204320_10206310055768104_1986777546_o
邱承宏|大理石鹿六號| 130×95x160cm|2015|大理石、鐵、玻璃纖維

1519-02|李瀚卿|XXXII|60.5×72.5cm|2015|油彩、壓克力彩、畫布
李瀚卿|XXXII|60.5×72.5cm|2015|油彩、壓克力彩、畫布
 

Share on Facebook0Tweet about this on Twitter0Share on LinkedIn0Pin on Pinterest0Share on Tumblr
  • 近期文章

  • 分類