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【島嶼隱身】Hiding in the Island

2017/02/18-2017/04/09

主辦人/單位: 台北當代藝術館
活動類別: 展覽

首次展演日期: 2017-02-18    結束展演日期: 2017-04-09
詳細時間說明:
2017/02/18-2017/04/09

關於展演:

【島嶼隱身】Hiding in the Island

花東縱谷的小鎮玉里,舊名「璞石閣」,意為「風塵之巷」或「灰塵世界」,據說原住民深居山林,忘形打獵之際,不知不覺走出森林邊緣,望見一座小鎮,其間風塵飛揚,景像荒疏,異於山林,因而得名。仲夏初秋之際,秀姑巒溪總是一片風沙滾滾,偶爾還捲起小龍捲風。那個無聊的年代,下午坐在半山腰上,望著無人出沒的小鎮,只有載甘蔗的黑火車,無聲無息的冒著白煙從山腳下緩緩駛過。縱谷大塊的雲朵,山形色彩的變化,都輕如它們自己的影子。

The small town Yuli in East Rift Valley was previously known as “Pu Shih Ko,” which means “the ally of dust” or “the world of dust” in aboriginal languages. It is said that on one occasion, the indigenous people who lived deep in the mountains were so immersed in hunting that they found themselves walking beyond the edge of the forest. The people saw a small town surrounded by dust, a deserted scenery that looked different from the mountains, hence the name “the world of dust” come out. Xiuguluan River is often surrounded by dust with occasional small tornadoes during midsummer and early autumn. In the early days, people would take the train halfway up the mountain and look on to the empty town while black trains carrying sugar cane slowly pass by the foot of the mountain, quietly puffing smoke. The changing contours and colors of the mountains and large clouds throughout the rift valley are as light as if they were shadows of themselves.

 

島嶼東部的開發比西部晚兩百年,一般人印象中,這裡是原住民群居的蠻荒之地,狂野的太平洋帶來無情的颱風,活躍的菲律賓海板塊帶來恐慌的地震。這裡的人「如四季花草榮枯由他」般活著,不知不覺。如果說殖民時期帶來自卑,威權時期帶來平庸,被遺忘的島嶼邊緣,就更加莫名的卑微,過著反智的生活。確實,島嶼的邊緣,遙遠的化外之地,注定被孤立、被遺忘,但也有些避亂保真、隱身內觀、孤獨創作的人,受不了都市也住不久鄉下,總是來來去去。時光飛逝,曾幾何時被稱做「後山」的臺灣東部,變成了「臺灣最後一塊淨土」,這其中沒有什麼邏輯,只是一種存在的悖論。

The development of East Taiwan started 200 years later than West Taiwan. Most people have the impression that East Taiwan is an undeveloped place with indigenous tribes, confronted with ruthless typhoons brought by the wild Pacific Ocean and earthquakes created by the energetic Philippine Sea Plate. Just like seasonal flowers and plants, the habitants of East Taiwan live passively under the impact of nature. If colonialism brings a sense of inferiority, authoritarian leads to banality. The margins of this island, forgotten by others, have become even more insignificant and represent a life of anti-intellectualism. The edges of this island and remote locations are indeed destined to be isolated and forgotten; however, there are exceptions. Some manage to avoid the chaos of the outside world and preserve authenticity, hiding and nurturing the inner scenery, creating art in solitude. These people are unable to live in the city nor in the country for long, constantly traveling back and forth. As time goes by, East Taiwan, previously known by many as “Back Mountain,” has now become “the last pure land of Taiwan.” This phenomenon does not contain any logic and is merely a paradox of existence.

 

新時代的來臨,西部的進步帶來生活的矛盾與價值牴觸,使得島嶼東部出現另一種可能。壯闊的大地、無情的自然、簡單的人文,必定有它的意義。康德(I.Kant)在他的《判斷力批判》(The Critique of Judgment)中提及崇高與壯美,他說由於自然對象的巨大體積或力量超過想像力所能掌握時,於是在人心中會喚起一種要求對對象予以整體把握的「理性理念」來掌握和戰勝對象,從而對對象的恐懼、畏避的痛苦,轉化為對自身(即人)尊嚴、勇敢的肯定而生快感。這種審美特質在於它不是和諧優美那種,而是在愉快中包含痛苦,痛苦中又含有愉快。

With the dawning of the new age, contradictions in life and values that result from the advancement of the West have led to a new possibility for East Taiwan. The spacious land, ruthless nature, and simple culture, all have their unique value. In “The Critique of Judgment,” Immanuel Kant mentioned “the sublime,” a sensation that arises in the heart when one encounters overwhelming size or force in nature. The sensation induces reason to grasp and conquer the phenomenon, which results in the pain of fear or recoil. This pain further transforms into a pleasing sensation of dignity and courage towards the self (human). This unique quality of aesthetic judgment does not arise from harmony or beauty, but from an intertwined and mixed sensation of pleasure and pain.

 

這是東部藝術家面對的第一個悖論,也是創作的來源,對抗巨大空虛無聊、原始的自然力量而產生的整體把握之野心與批判力度。另外,那些離開再回來,一直處於隱身避世與豪邁開創之中來來去去而形成第二種悖論,在價值兩極之間巨大擺盪的體力與精力所帶來的生命力量。第三個悖論即原住民山林世界與漢人灰塵世界,是關於始原的探索與存在的警覺。每一個悖論都有它的社會議題以及矛盾勢力,創作者必須不斷保持活躍的心靈與創造的喜悅,又不斷重回寧靜與穩實,才能獨自在前無古人後無來者的洪荒之地為這個世界命名;無權過問世事卻有清晰的思考能力;身處資本主義卻保有社會良心,與自然的、形而上的原始的契約不曾間斷,這就是隱身島嶼的性格。本展覽「島嶼隱身」希望透過這三個悖論,探討一種特殊美學與存在之真,邀請深居東部的藝術家,以及外地來來去去求學的青年創作者,就他們生活實踐與自我探索,彰顯「任何一個地方都有大地與世界,自由與文明」的思緒及其藝術。

For artists of East Taiwan, this contradiction is the first paradox and an inspiration for creativity, the ambition and judgment of grasping the enormous emptiness of boredom and ancient forces of nature. In addition, artists who have returned and are moving back and forth between secluding quietly and creating boldly, form a second type of paradox, a life force that sways between the two extreme poles of different values with physical and mental energy. The third paradox lies between the indigenous world of the mountains and the dusty Han Chinese world, a vigilance of exploring origin and existence. Each paradox involves social issues and contradicting forces. In order to identify this world, alone and without forebears and followers, the artist must continue to preserve the liveliness of the mind and the joy of creating while also enable the return to serenity and seclusion. These artists have no right to enquire about the incidents of this world but are blessed with a clear mind, living in our capitalist world while maintaining social conscience. The ongoing connection with nature and the metaphysical is the temperament of living in seclusion on this island. Hiding in the Island is an exhibition that aims to explore this unique aesthetic and authenticity of existence through these three paradoxes. Artists who live deep in East Taiwan and young artists who arrive during the travels in their studies come together to share their mindset and work, hoping to highlight the idea that “any location is a place for nature and the world, freedom and culture.”

  

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2018年度觀察報告─藝術與區域發展及柔性轉型正義的密切關係 --- 黃海鳴

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