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2018 Art Taipei 台北国际艺术博览会 大观艺术


2018-10-23|撰文者:大观艺术空间;非池中艺术网编辑整理

植‧物:感知的系谱学

「存在就是被感知(to be is to be perceived)」-乔治‧贝克莱(George Berkeley)

近代以降,「主体」俨然成为跨领域的学科关键词,特别是在人类文明的昌隆发展下,「主体」几乎都被置于人类及其文化中心的脉络下进行论述。即使因近代天灾异变或物种绝灭等事件,学者与环保人士开始反思与自然的关係,进而逐渐在人类中心以外的动物、环境纳入考量中。而后,基于环境伦理的深层生态学意识,又将视角範围置放于巨观的生态系统,试图藉此深入探讨人与非人的存在、感知与共生共存。

2018 Art Taipei 台北国际艺术博览会 大观艺术罗展鹏,《树荫下的先知 A Prophetess Under the Shade》,油彩画布。图/大观艺术空间提供。

相对于哲学认识论与环境实践论,艺术工作者亦以特有的视觉语彙对物的存在进行关怀,并藉此于自身的荒野世界中去手作植栽出感知的视界,继而揭露出人我与物像的相融议题。

对于生态环境议题的探讨,艺术家已不再限缩于植物元素,更衍续生成为如何植栽艺术家心象与意象的存在物种,同时,亦是呈现创作者对存在的感知状态。

2018 Art Taipei 台北国际艺术博览会 大观艺术梁育瑄,《10:59》,油彩画布。图/大观艺术空间提供。

对存在进行感知有许多形式,且不仅限于具体生命的物像。颜群善用生命残留的气味去追寻另一个生命个体,使之成为世界中的另一番风景;梁育瑄以泡沫与空间的互动,去形塑出生命于此曾在的流动与光景;罗展鹏以葱郁朦胧的人与花草意象,探讨生死之间的议题;李霁以离根的自然素材,交织出生命的延伸;志鎌猛则以捕捉生态时空流离的气蕴,返璞到地景场域的心灵归寓。

2018 Art Taipei 台北国际艺术博览会 大观艺术颜群,《变动风景 1 Landscape Variation 1》,油彩画布。图/大观艺术空间提供。

艺术家的方式虽异,却同以植人的角度衍续创作者对于自身荒原的栽育过程。在艺术家各自对存在进行感知的脉络中,有关气味、泡沫、氤氲的呼吸意象成其系谱的交集,创作者亦以此探讨自身对何感知、因何感知、如何感知。这种关于主客体存在与感知的探讨,已不再局限于生物的存在,更彰显为生命的延续。

2018 Art Taipei 台北国际艺术博览会 大观艺术志鎌猛,《inogashira13》。图/大观艺术空间提供。

「植‧物:感知的系谱学」试图改写以人为视角的存在,重塑另一种观点的可能性。生命不再是专属于动物,环境的主体也不再是专属于人类。藉由艺术家衍续生命主体的创作中,与物质、空间、自然、生态、景观的关係中,显现存在被感知的各种可能性。

2018 Art Taipei 台北国际艺术博览会 大观艺术李霁此次展出作品示意图。图/大观艺术空间提供。

Plant‧Planting: the perception of genealogy

“To be is to be perceived” --- George Berkeley

The term “subject” has become the key word for cross-field studies in modern societies. Particularly with the development of civilisation of men, the “subject” has been the theme of various studies and discussions. The natural disasters and distinctions of many species have been the concerns of academic scholars and environmentalists who aim to study the relationship between men and nature, taking the animals other than men as well as the environment into consideration. Those who study the macro ecology look far beyond the ecology and are eager to discuss the connections between men and their existence, and the co-habitation of men and nature.

In contrast to the philosophical and practical debates regarding the environment, the artists show their concern for the environment through their unique creations, constructing a horizon from their perceptions, and the issue of the co-existence of men and the objects. The artists are not limited to the plant itself, but take aim to create new species which reflect on their mental image and reaction to existence.

The objects that reflect on one’s existence are not restricted to the living creatures. Yen Chun plays with the lingering scent from life itself and creates a brand new view in the world; Liang Yu-Hsuan records the life of us mortals thought the interaction between bubbles and architecture; Lo Chan-Peng aims to discuss the matter of life and death though his verdant portraits; using materials taken from nature, Lee Chi weave an extension of life; and Takeshi Shikama captures the portraits of trees when summoned by the forests.

The medium and subjects may vary, yet the fact that the artists show their progress in life thought their works is mutual. Through fragrance, bubbles, air and breaths, the artists discover their inner selves by asking themselves what, why and how they would sense their existence without restrictions, hence extending life beyond time.

“Plant‧Planting: the perception of genealogy” aims to change men’s dominance in nature. Life is not exclusively reserved for animals, and men do not own the environment exclusively. Though the works of the artists and the multiple relationships between objects, space, nature, ecology and landscape, one may see the possibilities beyond the surface.

大观艺术空间:【2018 Art Taipei 台北艺术博览会】植‧物:感知的系谱学

展期:2018-10-25 ~ 2018-10-29

地点:台北世界贸易中心展演一馆(台北市信义区信义路五段五号)展位:J08

参展艺术家:志鎌猛,罗展鹏,李霁,颜群,梁育瑄




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