YIRI ARTS

Hou Chen-Lu 侯辰璐

The process of creation is one of exploration and escape. Any hesitation or paradox throughout ultimately finds itself chronicled and depicted in a final viewing perspective. The artist’s childhood memories include accompanying her parents to the factory where they worked, a collective production environment typical of the 90s, where everyone would go to the public baths after work before returning home.

She remembers the wafting steam in the baths, and the plump middle-aged bodies of the women from the factory. In her works, Hou Chen-lu constructs small interrelated scenes to guide the viewer’s perspective, restoring elements of the painting through pottery. Heat from the hands leaves its mark in the sculpting process, creating a sense of warmth and time. The jet-black ink strokes on coarse grass paper also create something familiar and close.

The emotional release from creation manifests itself in a sense of madness permeating her works , in which she has created a “garden” both for the viewer and for herself, in which we find things of her imagination – a woman with three breasts, transactions, complete remains… these “archaeological” finds are a reexamination of our modern beauty standards, as societal values overcome personal tastes and preferences. As such, Hou seeks to challenge these definitions, to see if they are indeed so absolute.

榮獲無數獎項的冷色調電影《鋼琴教師》(La Pianiste, 2001),悲劇式的詮釋壓抑及慾望。在控制慾望強烈的母親管教下成長,造就了嚴肅、莊重的鋼琴教師Erika Kohut。然而長期壓抑的她,內心充滿矛盾、憧憬著被虐待、被征服的快感。她流連於色情綠影帶店、透過沾染精液腥味的衛生紙上獲得滿足、躲在浴室自虐來感受自我陰道的掌控權。

Erika是壓線的那位,她壓的是心中那條道德和禁忌線,而這條線正是那父權社會下產品。侯辰璐的作品更有種歇斯底里,你說她壓線嗎?畫中的女人騷動卻又安份。你說她壓抑嗎?我會說她創造的更像是當代女性的風景百態,各自焦慮,各自生存,各自囂張。

侯辰璐以山東老家中的公共澡堂為背景,建構出一系列令人引發好奇心的誘人空間。值得注意的是,畫面大量出現日常生活中常見的磁磚,格狀線條的描繪就像是鐵籠般的存在,也是侯辰璐在展示「控制」的隱喻符號。她企圖傳遞的是對社會框架的諷刺,以及在框架下卻又擋不住女性的慾望漫延。作為觀看者,我們變成了偷窺者,我們似乎是從外面觀看這些場景。侯辰璐巧妙的操弄社會對女性的放大凝視,但她筆下的女人,是享受著嗎?

鋼琴教師病態的壓抑慾望最終形成毀滅性的結局,而侯辰璐則遊走在那壓抑中,細碎而緊張的走動著。態度相較於Erika更為大膽與不耐,無視著她所指的控制者並繼續過著獄中生活。她的畫面儼然成為一種掌握控制者的生態系,對於控制這件事的習慣已是生活一部分。

2018
2017
2016
2015