© COPYRIGHT YIRI ARTS 2014

05.10.16 - MIT新人特區|伊日藝術@莊志維 Chuang Chih-Wei

貴賓預展 | 2016.11.11 .15:00 -21:00 公眾展期 | 2016.11.12 - 2016.11.15.12:00-19:00 台北世界貿易中心展覽大樓一館 展位 Booth|X4

MIT新人特區|伊日藝術@莊志維 Chuang Chih-Wei

貴賓預展|2016/11/11 15:00 -21:00
公眾展期|2016/11/12~15 12:00-19:00
(11/15至18:00)
展覽地點|台北世界貿易中心展覽大樓一館
展位 Booth|X4

藝術家莊志維創作的動機來自東京駐村的一段經驗,感受到自然萬物因季節、時間,重複不斷消長的生命輪迴。記得那時遇到一個花藝家說道:植物藉由花藝延續下一段奇異生命。在黑夜,植物從土壤中被剪下,當清晨陽光升起的那一霎那,斷根的花朵一齊轉向陽光,完成他最魔幻的美麗時刻。這一段帶著殘忍動作卻充滿詩意的敘述,為物件的重生與賦予存在的意義下了另一個提問:究竟「被操作」重生後,還是本質嗎?

「東西自有它們的生命,只要喚醒它們的靈魂就行了。」馬奎斯在《百年孤寂》說道。

關於生命的轉化與復生,東西方有許多類似的敘述。在神話裡,一口氣息給了原先無生命的物件有了動力,有如早晨的一道光、四季變化的一刻溫度,讓生物體從死亡到甦醒。工業時代後,一度電、一滴石油讓精密的機械開始運作,外來的自然力量猶如魔法,施展一場華麗的轉生術,使物件產生生命。

《轉生樹》的系列創作中,藉由人工/非自然的機械外力牽引著生命體;並同時強調作品呈現的時間性,隨著展期的推進,緩慢地呈現自然消長。裝置設置中,植物體上安置許多繫線,藉由動力機械裝置牽動植物,使植物體的葉脈和花朵如受控的傀儡般,產生緩慢細密的規律位移。試圖透過如生物般蠕動的有機動態,在“人造的機械運動”與“時間”、空間投射出的“光影變化”中,讓時間的變化,從表象看似優雅的狀態緩慢地、漸層地釋放出背後殘忍的哀傷。

Motivation for this work began during my 2014 residency in Tokyo, Japan. I encountered seasons drastically different from my homeland of Taiwan, and the change in all things brought about by spring, summer, fall, winter, day, and night; the never-ending cycle of life. I recall meeting a floriculturist who said floral arts bring plants into the next phase of their lives. They are cut from the soil in the darkness, and these pruned flowers turn to face the sun as it rises in the morning, completing their most magical moment of beauty. This simultaneously cruel yet poetic depiction is another perspective of an object’s rebirth and redefining of existential meaning.

“Things have a life of their own. It’s simply a matter of waking up their souls.” Gabriel García Márquez puts it thusly in One Hundred Years of Solitude.

All civilizations have similar descriptions of life’s changes and revival. The Bible says, “Then the LORD God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being.”, while Chinese legend depicts the Goddess Nuwa breathing life into mud figures and turning them into people. The breath of life is like a ray of light in the morning, a degree of warmth in the changing of seasons, awakening what was once dead. With industrialization, we now have a kilowatt, or a drop of oil spurring complex machines to action; external power as if by magic – life.

This creative project extends exploration of the link between biological and non-biological materials, further observing how external manmade forces guide living things. For this installation, I arranged for motors to move lines suspended on the plants, manipulating them like puppets, creating slow, refined movements. Through movement crudely imitating life, created by machine operation and changing of time, it gradually expresses a warped elegance both cruel and sad.

 

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