秋刀魚藝術中心20年特展 《存在—以詩性探詢 Existence - through the eyes of poetry》
『存在－以詩性探詢』秋刀魚20週年特展
《 Existence - through the eyes of poetry》
展期：04.19 - 07.10
Date: 04.19 - 07.10
開幕x劉欣宜 簽書會：05.07 2:00 pm
Opening x LIU SHIN-YI Signing Event : 05.07 2:00 pm
時間：10:00 am ~6:00 pm (週一休館)
Opening Hour : 10:00 am ~6:00 pm (Close On Mon.)
地點：耘非凡美術館
Place : Yun Fei Fan Museum
（台南市東區林森路一段370號）
（No. 370, Sec. 1, Linsen Rd., East Dist., Tainan City）
策展人 Curator
蔡宗霖 David Tsai
《存在—以詩性探詢》
存在，作為一種可被感知、被觀看的生命狀態，無論表象以何種方式被呈示，藝術家總能透過內在情感探索與文化符碼轉譯，為現實世界的那個「曾經」留下明證，而此曾經能作為雙向的證據，除了為主體／對象物留下不同形式痕跡外，更為自身精神存在留下時間註記。
人們持續思考存在意義的同時亦使人意識到時間的存在。不間斷流變的物理性時間歸整出關於過去、現在與未來等片段的身體經驗、記憶及想像，藝術家的創作便是決定存在樣態的絕佳範式。「存在」的視覺性探討，帶出的是時間節點的積極揀取與拼湊、記憶中的圖像翻轉與重構，以藝術為工具探詢詩性。論其創作表現可概分為三大面向：內在絮語、外在混融與本質視界，透過作品探討，我們得以一窺藝術家生處現實世界的感官反饋或認同提問。
內在絮語
絮語可視作內在情感的間接表述，寂聲低語的、緩速流動的景象使畫面增添了空氣中的潤澤厚度，作品成為情感的載體，企圖將游移的情緒收攏於凝視之上。劉欣宜以充滿溫度的木質與適當的敷彩抓取那原初的情感悸動。她持續向內深掘探問，孤獨、悲傷、落寞等經社會化碰撞後所遺留的心的傷痕，在如夢的無重力狀態下，漂浮不安的情緒得以釋放。創作語彙充滿詩興的陳修橋，以大自然形體喻情，將各種自然運行狀態透過完形的創造帶出「不可言語的情感」，潛藏於仿生有機的流線中。
陶發善於透過「欲自然」描繪，將人類對未知的想像與迷戀直白地表現出來。他成為人類潛藏慾望的揭露者，使觀者在赤裸的精神世界裡重新認識自己。相較於陶發外顯的內觀世界，賴靜的斗室窗景顯得靜謐而溫暖。窗，在此成為世界與主體之間的媒介，建立起情感觸動關係。而作品靜謐感則來自賴靜所營造的「凝觀」性，使觀者感受強烈「在場」氛圍。
精緻的人偶、凝結的時間感是陳穎創作的辨識性形象，那些人造物件以藝術家意志被擺設陳列，各項資本主義商品成為情感的投射物，關於生命的、時光流逝的與消費社會的探問接踵而至，觀賞其作品早已非技術面上探討，而是對社會現況、對未來文明的質疑與憂心。
外在混融
科技高度發展之後，對未來想像的後設情境從不曾間斷，人類對新生態的反思與倫理困境造就了豐富的藝術創作。林佑森的「後自然」創作以盆景姿態讓隨處可得的工業垃圾、電子零件與樹枝重新勾勒獨特的空間詩學，企圖以人造物返擬自然，延續其存在並再創記憶共生。劉玹希則透過機械零件的重構，在有機運轉動中領觀者走進過往歷史片段的端口。胡縉祥則利用數位裝置呈現自然的視覺性敘事，光影的、類地貌的或城市的景象讓虛擬經視覺確認後變為新現實。林安常習於思索人與土地之間的複雜關係，以動物與人造構件結合所創造的新物種述說對於現實世界狀態的矛盾情感，自然與人類（文明）的「存在」取捨成為理解林安常作品的主要命題。
本質視界
藝術創作經常為藝術家主體心靈的認識與社會／世界的主、客觀表述產物，對各種本質的探討或研究亦是創作的重要養份泉源。黃敏俊的「新光色論」係其自然色光本質的科研集成，超越傳統繪畫中強調光的引介或再現，企圖以畫出「光的形狀」為命題，具象化研究主體並重構光的視覺認識論。趙延斌的審美視界出自於有序本質的發現與創造，他的作品成為現實社會情狀與童年集體記憶集錦，探索生活中的形式之美。
關於美學的存在探索
藝術創作為現實譜出複雜的「間接」存在狀態，藝術家以其美學內涵，透過詩性語彙於不同的存在階段嘗試探索、觀察與反思，並定義「存在」及其價值。其所生產之視覺後設圖像成為不同節點與境地的現實雛型，例證自我參與及對世界的關照態度。
《 Existence - through the eyes of poetry》
Existence, as a situation could be perceived and seen, no matter how the representations been presented, artists can always translate through the discovery of inner feeling and cultural codes, leaving proof to the “Once” in realistic world.
The “Once” could be the bidirectional evidence, either to leave the various types of traces about subject / object, or to mark the time related to the existence of self spirit.
While keep considering the meaning of existence, we could have had consciousness about existence of time. Non-stop of the flowing time, put the body experiences, memories and imagery in order of past, now and future, which the artists’ creation have well forms to decisive existence.
The visual disputation of “existence”, comes out the positive picking, combination of time frame and image translating, rebuilt of memories. It takes art to be the intermediacy that discuss poetry.
On the basis of the creative expression, we can separate to three dimensions: Inner Whisper, Extrinsic Blending, Intrinsic field of view. According to the disputation of works, we can take a sight that artists’ sensory feedback or question to identity of being in the realistic world.
Inner Whisper
The whisper can regard as the indirect expression of inner feeling, which have enrich the luxuriance of environment in pictures with silence, whispering, and slowly flowing view. The works, being the intermediacy of emotion, attempt to assort all the flowing feelings into a sight.
Liu Shin-Yi, who grasp the originally emotional throbbing with heartwarming wood and proper colors, keeps making cautious inquiry to mind that has left scars about loneliness, sadness and desolate after experiencing impact from socialization. The hovering disturbance could be releasing when in non gravity dreaming. In Chen Xiu-Qiao’s poetic creations, which express feeling by nature, have represented “unspeakable emotion” through visualized creativity hiding in flowing lines of biomimicry.
Tao-Fa, who is adapt in describing through “want to be natural”, directly expresses about human’s imagination of unknown and infatuation. He becomes a revealer of our lurking desire, to make audiences reacquaint themselves nakedly in spiritual world. Compared with Tao-Fa’s explicit insight world, Lai-Jing’s view of room and window seems silent and warm. Window, as an intermediacy between subject and world, it build up the relation that touch the feeling. And the sense of silence has come from “contemplative” which Lai-Jing has created, making audiences strongly feel the atmosphere of “being there”.
Delicate dolls, condensed time are identifiable character of Chen-Ying’s creations. Those artifacts are arranged by artist’s will. Each article under capitalism becomes an emotional projection, that concerns about life, time passing and inquiry of consumer society. When appreciating his artworks, the technical aspect is no longer the main point, but the inquire and worry to social situation and future civilization.
Extrinsic Blending
After the rapid development of technology, the imagination to future and situation hadn’t stopped, in that case, human’s reflection and ethical dilemma from nescent state has brought up the various art creations. Lam Yau-Sum’s creation of “post-nature” in posture of bonsai which rebuild industrial refuse, electronic components and branches available everywhere to draw the unique spacious poetry, attempt to back to nature with artifacts, continuing its existence, and reconstruct the memory of coexistence. In addition, Liou Shiuan-Shi rebuild through mechanical items, taking audiences to the beginning of historic fragments.
Hu Chin-Hsiang represents a visualized story of nature with digital devices, within light and shape, landform like or scene of city, turning virtual into new reality after the visual being check. Lin An-Chan is used to think the complicated relationship between human and land, telling the conflicting emotion from realistic world with the combination of animals and artifacts. The choice about existence of nature and human（civilization）becomes the subject in Lin An-Chan’s artworks.
Intrinsic field of view
Artworks usually express for artists’ mind about how they understand the world and society’s subjective and objective things. The inquiries or researches of every nature are the important inspirations in creating. Huang Ming-Chun’s “New Color-Light Theory” is the integration about scientific researches of natural lights and colors, beyond traditional painting’s emphasis on representation of light, attempting to draw “the shape of light”, incorporating the subject of research and reconstructing the theory of visual awareness.
Zhao Yan-Bin’s aesthetic vision comes from the discovery and creation of orderly things. His works become the memorable treasury of realistic world and his childhood, that has discovered types of beauty in life.
About aesthetics’ existence and discovery
Artworks, as a complicated “indirect” situation from reality, artists, with their aesthetic connotation, have tried to discover, observe and reflect through poetic words, and define value of “existence”. The outcome of visualized meta pictures turn into realistic templates in different points and places, taking self into exemplum about participance and attitude of concerning world.
黃敏俊HUANG MING-CHUN
『 留白-填入美好的回憶…… 』── 黃敏俊
“Left Blank - For Filling in Good Memories.” by Huang Ming-Chun
劉欣宜 Liu Shin-Yi
『 希望能將心的面貌具象化，而我們也終將在某處相通。 』── 劉欣宜
“I hope to visualize the state of the heart, and we shall meet there.” by Liu Shin-Yi
陳修橋 Chen Xiu-Qiao
『 我試圖透過雕塑中形體的變化與色彩，去探索、詮釋抽象情感的具象呈現。 』── 陳修橋
“I attempt, through the changes of forms and colors in sculpture, to search for and explain abstract emotions and materialize them.” by Chen Xiu-Qiao
林安常 Lin An-Chan
『透過有機與無機的圖像及形體互動，使雕塑承載生活的足跡與經歷。 』── 林安常
“Through interactions of organic and inorganic imageries and forms, sculptures carry the footprints of life and experiences.” by Lin An Chan
陳穎 Chen-Ying
『 我的工作方向從未改變過，就是試圖去展示那種荒謬的不死性。 』── 陳穎
“The orientation of my work has never changed— attempting to display a kind of absurd immortality.” by Chen-Ying
賴靜 Lai-Jing
『 通過平面的層疊，營造一個神秘且私密的空間，模糊人與繪畫、真實與虛擬之間的界線。 』── 賴靜
“Through layering of flat surfaces, create a mysterious and secretive space, obscuring the lines between viewers and images, reality and fiction” by Lai-Jing
趙延斌 Zhao Yan-Bin
『 我認為作品要先有意思再有意義，要講故事而不是講道理。 』── 趙延斌
“I believe a piece of work should be amusing before being meaningful, should tell a story, instead of lecture.” by Zhao Yan-Bin
林佑森 LAM Yau-Sum
『 賦予都市棄物藝術生命，重構工業叢林。 』── 林佑森
“To give life to abandoned objects in the city, to reconstruct the industrial jungle.” by LAM_YAU-SUM
劉玹希 Liou Shiuan Shi
『 每個飄洋過海而來的零件，訴說著50年代的歷史。我將其解構與重塑，重返時代精神特色。』── 劉玹希
“To give life to abandoned objects in the city, to reconstruct the industrial jungle.” by Liou Shiuan Shi
胡縉祥 Hu Chin-Hsiang
『 不斷保持「實驗與創造」的靈魂來掙脫臨時框架，因為框架只是經過一連串特定經驗形成的。 』── 胡縉祥
“To continue the soul of "experimentation and creation" and break free from temporary structuring, because structuring is formed by a series of specific experiences.” by Hu Chin Hsiang
陶發 Tao-Fa
『 存在的真實與不可迴避性，正是誘發繪畫衝動及繪畫語言生成的動因和根本！。 』── 陶發 Tao Fa
“To continue the soul of "experimentation and creation" and break free from temporary structuring, because structuring is formed by a series of specific experiences.” by Tao Fa
