Exhibition

Tea House

Chen Li-Ying Solo Exhibition
陳立穎個展

藝術家陳立穎在這次的個展《Tea House》中,暫時放下對繪畫框架的追問,轉而面對山水的內在,也就是以人為主所展開的自然情懷這一課題的質疑。藝術家透過在Google Map(3D)上尋找東亞庭園與山川瀑布這種與傳統山水相關母題的景色,並進行架上繪製的展覽。

這次不再有文化符碼擾亂觀者的讀畫機制,所見之物皆能道其來處,唯一的差別來自藝術家透過機器作為媒介的手段,抽去了以往居於中心地位的文人情懷。以往建構山水與院體繪畫,必須仰賴人文的基礎展開,人即是面對這一切山川最終形成世界觀的重點,自然經人之手產生了次序、秩序、格局安排的形制,最後數量到達一定之後變成了某種潛在規範,在這之上匯集而成了母題。

Google Map上的山水景色不過是粗糙的建模與照片貼圖,是無限的斷面所組成,並不指涉一個特定的時空。所見的景色是獨立於時空之外的,其採樣的方式為使用者餵養機械什麼,機械就返還什麼,如此而已。也就是說,即便使用者找到了相似於院體畫內容的庭園場景,其測量的單位也不再是人文的抒情,而僅是機械冷調的語言了,當中僅存微少的抒情至多只是人文建築的外觀罷了。

藝術家透過在架上繪畫操作這樣的內容,以機械語彙取代文人抒情,透過新的測量單位,帶領觀者從另一個角度再次檢視山水母題。

興許藝術家以為,山水已發展到極難走出新意的階段。

不如以退為進,遙遙相望吧。

In this solo exhibition “Tea House”, Chen Li-Ying temporarily puts down the questioning of the painting framework and turns to the intrinsic aspect of the landscape, which is also a questioning on the topic of the natural feelings of people. Through the aid of Google Map (3D), the artist looks for traditional landscapes, such as East Asian Gardens as well as Mountains, Rivers and Waterfalls. Then proceeds to displaying these landscapes.

This time there is no longer a cultural code to disturb the viewer’s interpretation mechanism of the work of art, and everything you see speaks for itself. The only difference comes from the way the artist uses the machine as a medium, taking away the cultural and humanistic feelings and substrata which were previously placed in the center. In the past, the construction of landscapes and courtyard paintings had to rely on the foundation of humanities. People formed their outlook on the world thanks to these landscape paintings, which, of course, were ordered and arranged so that patterns could be shaped. It became a kind of potential norm, and on top of it also a motif.

The landscapes on Google Maps are nothing more than rough modeling and photo maps. They are composed of infinite sections and do not refer to a specific time and space. The scenery is independent of time and space, the machine gives us what the user provides, that’s all. In other words, even if the user finds a garden scene similar to the contents of the courtyard, the unit of measurement is no longer a humanistic lyric, but a mechanically cold-tuned language. The only sensation in it is only the appearance of the humanistic architecture.

Through the painting on the shelf, the artist replaces the humanistic with a mechanical vocabulary, and through the new unit of measurement, leads the viewer to re-examine the landscape motif from another angle.

The artist is convinced that the landscape has developed to the point where it is extremely difficult to get out of the new ideas.

Therefore, it’s better to retreat and look at it from afar.


展期|2019.05.02 – 5.26
地點|伊日藝術計劃
地址|台北市南港區八德路四段768巷5號4樓之1
交通|捷運松山站4號出口、台鐵松山車站東出口
電話|02-2786-3866
時間|Tue. – Sun. 13:00 – 19:00 週一休館