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< 塗 • 勞 時代 > 當代藝術主題展|2017大內藝術節


參展藝術家:劉秋兒、黃敏俊、秦政德、鄭宇翔、蔡士弘、楊紫芹

文/ 策展人 傅遠政
歷史中的事件隨著洪流般滾動的時間一一沉澱;我們面對序列且斷裂的時間軸,撿拾、拼湊著故事,並用手感的溫度,再次將它們塗寫成未來的歷史。

由政治禁錮解放後,30年的時光積累了台灣當代藝術的新風貌,藝術是甚麼?或者藝術可以是甚麼?藝術的價值,在藝術工作者理念與實踐、草圖與作品間,逐漸浮出輪廓,反身望著過去的路,我們是否可以透過作品重新面對、演繹歷史呢?藝術工作者在面對歷史、社會,進一步的實踐又是甚麼?藝術的價值在問號與思考間的縫隙浮現,命題的意義不在給予解答,而是引出另一條線索。秋刀魚藝術中心,以「塗˙勞 時代」試圖展現創作者對於歷史、社會、物件的再書寫,並以不同的創作語彙及議題,透過勞作、勞動般的表現方式實踐於作品之中。
長期投入社會觀察與藝術行動的劉秋兒,將日常生活中的物件或其中隱含的訊息進行塗抹,並將塗寫後的紙片、物件再「好好的」裝裱展覽,在繪畫/塗抹、訊息/遮蔽的對反中,勾勒出存在的隱喻。實踐的意義則在秦政德的「島穹蒼」擴大其藝術性,走訪臺灣山巔,並以立碑投射創作者的歷史意識:文成峰、双澤山、解嚴、仲丘,召喚出觀者的歷史記憶,完成立碑後,山際間的碑體又如同歷史長河的波瀾隱沒於其間。漂浮、墜落、孤島,蔡士弘在寫實又虛幻的筆觸間,嘲諷著當代的西西弗斯處境,並在斷裂的敘事中拼湊出社會氛圍觀察;隱喻或者是作者留下的一絲線索,畫布中想說些甚麼?或者一如資訊充斥的當下,僅是填空的反射動作。訊息的意義,在楊紫芹的作品中藉由半透明壓克力與顏料,呈現出想像的不穩定與觀者揣摩的過程。源自照片的畫面,連接真實的世界卻又參差不齊的斷裂。沒有所為真實,藝術家只是試著詮釋。藉由不斷重錄與拍攝,並透過破壞螢幕與重複曝光的絢爛影像,在鄭宇翔的作品中,不停的手繪抹去了原本的訊息,層疊的顏色讓觀者避開眼前的真實,當畫面中的意義,訊息不再之後,敘事是否可能?回歸最為純粹的光,黃敏俊由光影與形體間的「取捨」擇取了另一種縮小繪畫與現實差距的方式,無形體的畫面帶來了視覺上的立體與真實,並走向三原色外的錯覺與幻境。
以身體衝撞社會實踐、以手感參與藝術實踐,「塗˙勞 時代」以藝術工作者在物件、手繪、塗抹、勞作中,透過不同的媒材形塑新的言說體系;當下即是歷史,創作者產出的作品由曾經發生的時間軸開展,回應著已然發生的過去,進而在個人的藝術語彙、敘事與反敘事之間,說著新的故事。

Drawing as Labor - Contemporary Art Exhibition2017 Taipei Art District Festival

ArtistsLIU Leo, HUANG Ming-Chun, CHIN Cheng-Te, CHENG Yu-Hsiang, TSAI Shih-Hong, YANG Tzu-Chin

30 years x 365 days=10,650
The events happened in history were all deposited with time flows. We pickup and piece up the stories when facing the sequent but divisive timeline, and once again draw them into a future history by handmade warmth.

30 years after the lifting of martial law, the contemporary art in Taiwan has accumulated a new feature. What is art? Or what art can be? The value of art gradually emerges the outline from the artist’s concept and practice, drafts and artworks. But if we look back to see the works, can we face and interpret the history from the start point? And what will be the artists’ next step when confronting the history and society?

The exhibition titled “Drawing as Labor” indicates the creators set off again from history, society and objects, in different art languages and issues, through ways of manual labor and hard work—to collide with social operations with body, to take part in the art accomplishment with hand touch. Through the objects, hand drawing, painting and labor, different materials form new expression systems. The present is history. The artworks by the artists are developed from the past timeline, responding to the happenings, and then tell new stories in personal art words, between narratives and counter-narratives.