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Garden

Wang Yu-Song Solo Exhibition|Taipei Fine Arts Museum

花園|王煜松個展|臺北市立美術館

我沉浸在這種虛幻的想象中,忘掉了自己被追捕的處境。在一段不明確的時間里,我覺得自己抽象地領悟了這個世界。」——擷取自波赫士(Jorge Luis Borges)《小徑分岔的花園》

藝術家王煜松以作品《花蓮白燈塔》獲選為「2017臺北美術獎」首獎得主,其近年創作著力於探索空間的發展脈絡,思考身體處在特定場域穿梭於不同時間軸線之中,所生成的認知與感知狀態。《花園》為本館為王煜松舉辦首獎個展的全新創作,運用機械及力學的原理,針對美術館場域建造一座此刻的模型裝置,闡述萬事萬物存在於無主觀思維介入且自行運作的系統之中。藝術家透過觀眾遊歷展間的感受——徘迴於想像中的情境,在可見與不可見、可辨與不可辨之間,觸碰感知與認知的模糊邊界,試圖回應自身在踏查遺址時的心境。王煜松以閱讀史料拼湊關於過去的線索,如同考古學者或歷史研究員在鉅細靡遺的考掘研究過程,以實物佐證,努力想像過去某段時間所發生的事情。彼刻也許永遠無法到達,好比卡夫卡筆下《城堡》的故事主人翁,一位土地測量員,想要接近城堡的核心,卻始終沒有接近,也沒有離得更遠。

對王煜松而言,迷宮存在於大腦之中,物體雖是客觀的存在,卻會因為人腦對於時間感的落差而產生節奏上的變化。展間內滾動的球體,既是空間的內部也是物體的外部,觀者的身體跟著自身想像的外部空間遊走著,時而慢、時而快。球體本身看似沒有關聯、異材質的脈絡痕跡,卻因藝術家實地的探查行動,以一種蒙太奇的方式拼接而成。作品《花園》試圖思索的狀態猶如波赫士的這段描述:「我想像出一個由迷宮組成的迷宮,一個錯綜復雜、生生不息的迷宮,包羅過去和將來,在某種意義上甚至牽涉到別的星球。」

“Lost in these imaginary illusions, I forgot my destiny – that of the hunted. For an undetermined period of time I felt myself cut off from the world, an abstract spectator.” 

 Jorge Luis Borges, The Garden of Forking Paths

Winner of the Grand Prize at the “Taipei Art Awards 2017” with Hualien White Lighthouse, Yu-Song Wang has in recent years focused his artistic practices on exploring the contextual evolution of a given space, and reflecting on the perceptions, feelings and sensations aroused as one moves through different timelines at a specific site. For his solo exhibition at the TFAM, he has created a completely new site-specific installation, Garden, which consists of a model of the here and now, using machinery and principles of mechanics to show that all things exist and function autonomously from subjective minds. As the viewers wander around the gallery, they ramble through the scenes of their imagination, between the visible and the invisible, between the discernible and the indiscernible, touching on the blurry boundary between perception and cognition. Their experience is reminiscent of that of the artist as he conducted the field investigations for this project. Wang sought to put together clues about the past by reading historical materials, just like an archeologist or a historical researcher who, during the process of excavation and detailed research and with the aid of excavated objects, strives to imagine events that unfolded over a given period of time in the past. Perhaps we will never get to the “then”. It’s like the protagonist in The Castle by Franz Kafka, a land surveyor, who tried to get closer to the heart of the castle but never succeeded; however, he didn’t get farther away from it either.

For Yu-Song Wang, the maze is inside our brain, and although all objects have an objective existence, their “rhythm” changes as a human brain has a different sense of time. The rolling balls in the gallery are both the inside of a space and the outside of an object. The viewer’s body wanders, sometimes slowly sometimes quickly, through the outside spaces that he or she imagines. The contextual traces of the balls, all in different materials and seemingly without connection, are brought together in a montage thanks to the artist’s field investigations. With Garden, the artist ponders on the state which is similar to that described by Borges: “I imagined a labyrinth of labyrinths, a maze of mazes, a twisting, turning, ever-widening labyrinth that contained both past and future and somehow implied the stars.”

圖片來源: 臺北市立美術館


花園 Garden|王煜松個展 Wang Yu-Song Solo Exhibition
展期|2021.04.10–06.27
地點|臺北市立美術館-地下樓 D~E~F