台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

【史金淞:個人設計博】Shi Jin-Song:A Personal Design Show

展覽名稱 Exhibit

【史金淞:個人設計博】

Shi Jin-Song:A Personal Design Show

展覽時間 Date

2016/05/21-2016/07/03

展覽地點 Venue

台北當代藝術館 MOCA Taipei

門票 Admission

NT 50

參展藝術家 Artists

史金淞 Shi Jin-Song

展覽介紹 About the Exhibition

【史金淞:個人設計博】

Shi Jin-SongA Personal Design Show

史金淞的「個人設計博」,包含三個意旨,一、這是以個人為主角的「設計博覽會」;二、這是一個關注於個人生活範疇的「設計博物館」;三、這裡呈現了一個以「設計」來和「被設計」進行博弈的個人奮鬥史。概言之,史金淞所理解的設計,就是依據不同時期/利益主體的價值訴求,各自設計出一套權力系統以及合法性依據,並形成知識以指導日常生活,規範社會大眾的意識與常識,包括道德倫理、政治制度、宗教信仰等。而他的個人設計博,就是著眼於對應乃至於對抗歷來如此的一套制度或系統。

Shi Jin-Song ‘s A Personal Design Show includes three messages: first, this is a design show focusing on one person, second, this is a design museum regarding personal daily life, and third, it presents an autobiography showing a resistance of “designing” and “being designed”. In general, the so-called "design," in Shi Jin-Song's opinion, symbolizes the values of different power systems and the legitimatization from different parties of interest in various historic periods. These values have become knowledge and guidance of the everyday life that informed people's consciousness and common sense, including moral ethics, political system, religions, etc. And his personal design show is to against this power system or a set of rules throughout the history.

 

「設計」與「被設計」的博弈 A Game of "Designing" and "Being Designed"

史金淞認為,整個人類的演化史,幾乎貫穿了「設計」與「被設計」的博弈,這種博弈存在於每個族群競爭與文明衝突的第一現場,而所謂的文化和文明,即是來自一系列設計體制化的成果。但也因此,歷來總不乏個體的行動者,前仆後繼極力掙脫、對抗「被設計」的宿命,然而,其中也有不少人不自覺地淪為體制化設計的共謀者―他們深陷於「被設計」的自我設計之中,史金淞自承即是其中的一員。本展呈現了史金淞在面對設計/被設計的博弈處境下,作為一個生命個體或抵抗或回應的三種心理辯證模式:

For Shi, the history of human evolution is a game of "designing " and "being designed." It has appeared at the first moment when competitions and conflicts between ethnic groups and civilizations happened. The so-called culture and civilization are the results of a series of systematic designs. To counter these designs, there have been active individuals trying to escape and fight against the destiny of "being designed." However, some of them have also become part of the system and are trapped in a trick of "being designed" devised by themselves. Shi admits to being a member of this group as well. This exhibition reveals three dialectic modes of psychology, with which Shi has fought against or responded to the situation of designing and being designed.

 

【解剖與自我解剖】"Anatomization and Self-Anatomization"

藝術家以自我的日常經驗為線索,藉由類似的語彙與邏輯,來凸顯我們生活中充斥著設計/被設計的機制,透過解剖和自我解剖我們的工作、生活、情感、趣味、以及相關聯的價值、倫理和夢想,在設計/被設計的權力結構下,營造出一種冷酷而暴力的新審美體驗。本展與觀眾率先遇合的一批作品,包括:〈鐮刀版嬰兒車〉、〈炫彩版襁褓甲〉、《奶瓶》系列、〈金蟬脫殼〉、〈聖誕快樂200轉/分〉、〈名兵利刃〉和〈設計―基因〉等,即是這個辯證模式的作品樣例。

Following the everyday experience and a similar language and logic, the artist makes explicit the mechanisms of designing and being designed in our daily life. Through anatomizing our work, life, relationship, leisure, and other related values, ethics, and dreams, Shi creates a refreshing aesthetics of coldness and violence as he plays with the power structure of designing and being designed. The first group of artworks in the exhibition are examples of shi's refreshing aesthetics, including Sickle Baby CarriageExotic Fantasy Swadding ArmorFeeder Series, A Quick ChangeMerry Christmas 200 rev./min.Name Brand Weaponry, and Dior DesignGene.

 

【行動與自我切割】"Action and Self-Severance"

藝術家以直接行動的方式,介入藝術生態及其生產力關係的改造,身體力行地自我下刀和切割,透過分享藝術產業裡相關的傳統權利,例如版權等,藉以抵抗現有僵化的權力系統對獨立人格的粗暴設計,並試圖達成一種沒有象徵與隱喻,別開生面而純粹的藝術存在方式。本展第二批作品,如〈前進一號泡泡車〉、〈此刻〉、〈同行者〉、〈哈克龍―環鐵大悲咒〉、〈拍賣雙年展〉、〈我的館!〉等,即是這種藝術意圖的呈現。

The artist takes direct actions to reform the relation between artistic ecology and its productivity. He acts from his stance and severs his rights by sharing traditional rights in the art industry, such as copyright, to fight against the imposing designs of the rigid power system on individuals. With this attempt, he hopes to achieve a unique, pure art form without any symbols and metaphors. The second group of artworks is an embodiment of this artistic attempt, including Go Ahead NO.1 Bubble Motor Vehicle, At the Moment, Let's Go, Halong Kellong of HTDabeizhu, Auction Biennial,and My Biennial Pavilion!.

 

【內觀與自我重構】"Introspection and Self-Reconstruction"

藝術家在知識和權力的縫隙中研磨平庸的日常,把自我消磨成一把變形鈍化的刀子,藉以刺穿和削解各種「被設計」成非黑即白的現實桎梏,同時,借用這些回收的純物質重新「設計」營造出一方獨立的精神家園。歷史從未像今天這樣,給予每個獨立的個人如此寬闊的可能性,甚至直接把商業做為一種新的公共藝術概念,讓市場成為美術館。【史金淞:個人設計博】展第三批作品,如〈144.58牛.米〉、《華山計畫》、〈脫胎換骨―雙松圖〉、〈客廳裡的園林〉、〈灰度360〉和〈三十年河東〉等,明顯即是此一藝術觀念的體現和成果。

Through studying the everyday life structured by knowledge and power, Shi transforms himself into a metamorphosed, blunt knife to pierce and deconstruct all kinds of black-or-white fallacies designed in reality. In the meantime, he recycles these materials and re-designs an independent and spiritual home. Throughout the history, there has not been a moment when an individual can possess such a wide range of possibility. Shi even equals commercial art deals with public art projects and treats the commercial market as a type of museum. The third group of artworks exemplifies such an artistic concept, including 144.58 N.m, Huashan Project, Double Pine Garden- Thorough Transformation, Garden In The Living Room, Grey Degree 360, and Thirty Years on the East of the River.

 

藝術家從「設計」與「被設計」博弈的外在生活文化處境中,發展出了互為因果又獨立運作的不同創作系列,貫穿於其中的核心精神,則是有關於自我的反覆挖掘與變奏式的語言探索。

From daily and cultural circumstances of "designing" and "being designed," Shi has developed multiple artistic series that are mutual referencing yet inherently independent. The core spirit that runs through them all is an introspective journey into the self with a linguistic exploration of variations.

 

✏ 喜歡本次展覽嗎?歡迎填寫展覽問卷:https://goo.gl/RnXYm1

     謝謝您的支持與鼓勵!☺

     Please fill in the questionnaire for us and you will get the chance to withdraw a poster for the current exhibition. Thank you for your time, and have a great day! 

 

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

史金淞 Shi Jin-Song

 

作品介紹 About the Artworks

廣場  

MOCA Plaza 

入口門廳區

Entrance Image Area

105走廊

R105 Hallway

106展間 R106

107展間 R107 

108展間 R108 

1樓西側樓梯  

1F Western Stairway

2F西側樓梯間

2F Western Stairway

205展間 R205

204展間 R204

203展間 R203

202展間 R202

中樓梯

Central Stairway

201展間 R201

出口樓梯  

Exit Stairwaye

   


廣場  MOCA Plaza 

〈前進一號泡泡車〉Go Ahead NO.1 Bubble Motor Vehicle

〈此刻〉At the Moment

當代館廣場展出的作品〈前進一號泡泡車〉,以「集合藝術」的創作手法,將消費文明的廢料、機器殘件、樹幹遺骸等現成物,經由組構與重新設計,形成了一部擁有奇異造型、有限行動功能和特殊美感意義的摩托車,在廣場中以翹首嘯鳴般的異形姿態展現,顯得突兀、謬怪而荒誕感十足。

On view at the MOCA, Taipei plaza is Go Ahead NO.1 Bubble Motor Vehicle. Created with the style of assemblage art, the piece brings together wastes from consumerism, discarded machine parts, tree trunks, and other found objects. The pieces are combined together and redesigned into a unique motorcycle with limited functions. Standing in the plaza in a peculiar stance, it appears quite absurd and bizarre.

 

此作源於2004年上海一場頂級豪華車展的一則報導,媒體強力宣揚一輛名牌車款的座椅耗用了多少頭小牛的皮革,乃至於裝潢配備的奢華與炫奇。針對這種世俗和物化導向的價值觀,史金淞用創作提出了不同的回應和詮釋:「…我可以創造出獨一無二更為時髦的酷車! 例如讓一塊木頭以168馬力的功率飛馳於道路上,絕對比名車拉風一萬倍! 」在此,他試圖探討一種市場價值觀形成的背後思維,以及人性「被設計」而趨之若鶩的心理面向。史金淞從既定的知識、權力、系統、框架的縫隙中,延展出論證和想像的空間,並形成他獨特的間隙美學觀;他說:「藝術是什麼?藝術是在一個最小的地方的穿越,…〈前進一號泡泡車〉做為一個物質延伸的表現,也是我們這個時代文化體系價值觀的一種寫照;就藝術或生態造型都顯出極酷的一面,但特別怪誕的是,它只能朝著單一方向前進而無法轉彎,所以,最好讓它停在那裏!」

The piece originated from a report of a luxury car show in 2004 in Shanghai. The media heatedly boasted how the seats of a high-end car were made with several baby calf skins and its accessories were also luxurious and spectacular. Shi then proposed a different response for this materialistic attitude, and said, “…I can create a vehicle that is unique and even trendier! For instance, if a block of wood can race down the streets driven by 168 horsepower, it will for sure be exponentially cooler than any luxury car!” With this, he seeks to explore the philosophy behind the formation of market commercial and also people’s psychology for being lured by design and can’t seem to get enough of it. Room for discussion and imagination is from cracks found in existing knowledge, power, system, and framework, forming his own unique aesthetics from the cracks. “What is art? Art is surpassing from somewhere quite small…Go Ahead NO.1 Bubble Motor Vehicle is an expression extended from materialism, and it is also a depiction of today’s cultural value system. It is a rather cool way of showcasing art or form, but peculiarly, it can only move towards one direction and unable to turn; therefore, it is best to just pause there!” says Shi.   expanded by Shi

 

而置於當代館外牆角落的作品〈此刻〉,以數十台泡泡機不定時地噴出七彩的夢幻泡影,相較於〈前進一號泡泡車〉真實而荒誕的存在,絢麗繁華卻轉瞬消失的泡沫,雖不具實體或恆常性,在那觸手可及的幾秒中卻也真實的存在著,而不是完全的虛幻和無影!

At the Moment, on the other hand, is a piece located in a corner against the wall of MOCA Taipei. It consists of several bubble machines spewing out dazzling bubbles at irregular intervals. Compared with the tangible yet absurd presence of Go Ahead NO.1 Bubble Motor Vehicle, the bubbles are dazzling yet short-liveing. Lacking in substantiality and permanence, they are, nevertheless, touchable and realistic, even for just a few brief seconds, and are, therefore, not completely elusive or intangible.

〈前進一號泡泡車〉Go Ahead NO.1 Bubble Motor Vehicle

樹幹、摩托車、音響、燈具

Trunk, Motorcycle, Audio & Lighting Equipment

190x 530 x 130 cm

2016

 

〈此刻〉At the Moment

泡泡機 Bubble Machine

尺寸因空間而定Di mensions Variable

2016

 


入口門廳區 Entrance Image Area

〈哪吒〉Nezha

〈同行者〉Let's Go

入口門廳區懸吊的〈哪吒〉燈箱裝置,結合摩托車立體裝置〈同行者〉,加上左右兩側鏡牆的重重映射,營造出一種異次元的超現實幻境。

The light installation, Nezha, suspended at the entrance image area is juxtaposed with Let's Go, a 3D motorcycle installation piece. A surreal, alternative domain is created, with layers of reflections from the mirrors placed on the two walls in the space.

 

本次展覽,史金淞特意以白色線性造型矗立於暗黑背景中,怒目瞪視著前方的〈哪吒〉,作為展覽的主視覺和所有衍生性設計的圖像。在民間宗教神話及《西遊記》、《封神演義》等多部文學作品中,「哪吒」是個刁蠻、淘氣、而聰明伶俐的神童角色,史金淞精心設計的〈哪吒〉形象為:三頭九眼八臂,口銜尖銳器形奶嘴,足踏風火輪,臂套乾坤圈而手持各種奇門兵器。「哪吒」故事最引人入勝的「剔骨還父、削肉償母」橋段,在史金淞看來,具有一種對自我切割的靈性隱喻,他說:「對擋在面前的東西,希望能夠穿越過去,這是人類基本的慾望,這個哪吒好似在牆上開了一個人形的洞,用來打開我們的內心,突破現實的壁壘」。〈哪吒〉以叛逆的精神和形象對抗成人世界的價值結構,透過自我切割擺脫生命束縛,是自由靈魂超越被設計宿命的典型範例。

Shi Jin-Song has deliberately used shapes created with white lines set against a dark backdrop for this exhibition. Nezha is depicted intensely gazing forward, and is used as the key visual piece for this exhibition and also the image applied in other generative designs. A Chinese folklore figure and also mentioned in several Chinese literary novels, including Journey to the West and Investiture of the Gods, Nezha is a child-god that is cheeky and witty. Shi’s image of Nezha is a figure with three heads, nine eyes, and eight limbs, with a sharp pacifier in his mouth, hot wheels beneath his feet, and various bizarre weapons and rings in his hands. The most amusing plot from the legend of Nezha is when he carved up his own flesh and dismembered his bones to "return" them to his parents in repayment for the debt of his birth. Jin sees this as a spiritual metaphor for self-detachment. “To pass through whatever is blocking them is a basic human desire. Nezha has seemingly opened up a hole on the wall in the shape of a man, and the hole is there to open up our hearts and to breakthrough barricades of reality.” says Shi. The artwork Nezha uses a rebellious spirit and image to combat the values dictated by the world of adults. Life’s constraints are cut loose through self-detachment, making it a quintessential example of a liberated spirit surpassing the destiny of being controlled or designed.

 

摩托車立體裝置〈同行者〉,以樹脂結合現成的機車和工業垃圾,展現了奇木般的造形和張揚的動勢,相對於廣場上以自然原木打造而行動不便的〈前進一號泡泡車〉,〈同行者〉猶如哪吒一般,是借工業廢料之屍還魂而行動自如的創意車具,其拉風酷炫的造型和無限繁殖的鏡像,隱約也預示了少年哪吒的精神,在強調個人化和自由化的當代,將會有更多更多的同行者出現。

The 3D motorcycle installation, Let's Go, is created with resin and readymade vehicle and found industrial wastes, resulting in an artwork of peculiar tree-like shape and outlandish posture. Compared with the immobile Go Ahead NO.1 Bubble Motor Vehicle on the plaza, which is made of natural wood, Let's Go has taken on traits of the deity Nezha, bringing the dead (industrial wastes) back to life to produce a creative vehicle that can freely roam about. The motorcycle’s cool appearance juxtaposed with the endless mirrored images symbolize the spirits of the young Nezha, pointing out that more rebellious souls will emerge in this contemporary era of individualism and freedom. 

〈哪吒〉Nezha

燈光裝置、壓克力板線刻、LED燈

Lighting Installation, Acrylic Engraving, LED Light

100 x 100 x 10 cm

2016

 


〈同行者〉Let's Go

摩托車、工業垃圾 Motorcycle, Industrial Waste

160x 270 x 101 cm

2013

▲top

 


105走廊 R105 Hallway

〈2004設計1號─辦公室〉2004 Design NO.1-Office

〈2004設計2號─自殘器〉2004 Design NO.2- Self-mutilation device

105走廊的錄像作品〈2004設計1號─辦公室〉與〈2004設計2號─自殘器〉,以優雅器形「設計」結合不鏽鋼的簡潔時尚質感,既呼應也顛覆了德國包浩斯學派(Bauhaus) 「造型追隨機能」的設計概念。史金淞指出:「『設計性』是指我們正處於一個『設計時代』的特性,我們的生活方式,包括:行為、思維方式乃至價值取向和趣味,都在不斷的被設計和製造,而這種隱性強暴的權力結構,在集體無意識的視若無睹中,正不斷肆虐著我們天真自然的靈魂。」

Video works, 2004 Design NO.1- Office and 004 Design NO.2- Self-mutilation Device, located in hallway 105 are elegant designs made with simple and stylish stainless steel, echoing with the design principle “form follows function” associated with the Bauhaus school of Germany. “Design-ability indicates that we are in the midst of a ‘design era’ that involves constant designing and manufacturing with the way we live, including our behaviors, thought patterns, and how we perceive value and fun. This recessively violent power structure is constantly exploiting our natural spirits, as the collective awareness stands oblivious to it all,” says Shi Jin-Song.   

 

於此,他刻意在辦公陳設和健身運動器材中,置入了傷害性的機制與諷刺性的意涵!或者說,用科技質感和品味的設計來包裝傷身害命的各種刑具,例如:作品〈2004設計1號—辦公室〉,坐在椅子上會從背後受擊;手臂放在扶手上會被刺穿動脈;伏於桌下會被割破大腿…,這些在在暗喻了現代上班族所受到的權力宰制和凌遲。另外,從健身運動器材質變而成的〈2004設計2號—自殘器〉,結合了電椅、鐐銬…等機制,同時揭露了自我施暴和權力濫用的雙重性及其公共邏輯,這些作品也反映了人們對暴力的冷漠麻木,同時探討中國「現代化」進程的內在結構暴力,以及權力性之於日常的想像和描述。

Bearing this in mind, the artist has deliberately placed harmful and sarcastic mechanisms in offices and exercise facilities, using designs with technological and chic appeal to pack destructive devices. Your back will be attacked when you sit in the chair of 2004 Design NO.1- Office, or your arm will get punctured by the arm rest or your thigh might get slashed. These devices insinuate the power domination and struggles faced by today’s white-collar workers. NO.2-Self-mutilation Device is exercise equipment combined with mechanisms such as an electric chair and handcuffs, revealing the duality and public logic involved with self-mutilation and exploitation of power. These artworks reflect people’s aloofness to violence and also explore the internal violent structure in China’s “modernization” process, with power imagined and depicted in everyday settings.

〈2004設計1號─辦公室〉2004 Design NO.1-Office

400-1影像逐格播放 Still Images Played in Sequence

 

〈2004設計2號─自殘器〉2004 Design NO.2- Self-mutilation device

影像逐格播放 Still Images Played in Sequence

▲top

 


105展間 R105

〈金蟬脫殼〉A Quick Change

《奶瓶》系列 Feeder Series

〈幻彩版襁褓甲〉Exotic Fantasy Swadding Armor

〈鐮刀版嬰兒車〉Sickle Baby Carriage

105展間,可視為「育嬰房」和「兵器庫」的混合體。

R105 could be viewed as a combination of a "nursery" and an "armory."

 

〈金蟬脫殼〉裝置,在牆面上鋪陳了眾多事物的「軀殼」,很能激發成熟/超越/再生的聯想;相較之下,於台座上及場中展示的金屬雕塑,則強調了成長/護衛/抗爭的意涵。其中的《奶瓶》系列,複合了育嬰奶瓶造形和殺人的手榴彈形象;〈幻彩版襁褓甲〉則是把幼兒襁褓和武士的盔甲同一化;〈鐮刀版嬰兒車〉也有意把脈脈溫情的行動搖籃轉化為劍拔弩張、具有攻擊力的的迷你戰車。此系列創作,來自史金淞女兒出生後的日常體驗和感受―嬰兒推車和玩具這些東西,已經成為生活的必需品,商家用心形塑家長的購買動機和消費行為,而不太著眼於嬰兒的實際需要。父母為孩子提供舒適生活的初衷原是美好的,但往往也讓他們掉入消費文化的陷阱,成為物質社會的犧牲品。史金淞在這些原本柔軟舒適、體貼保護的嬰兒用品中,置入了攻防武器的形制和意涵,以此影射了消費能力已質變為一種權力競爭的社會現象。

A Quick Change is a series of installations. It includes the exterior forms of many things mounted on the gallery walls, which could be associated with the process of maturing, surpassing, and re-growing, and metal sculptures on plinths in the gallery that emphasize growth, protection, and fighting. Among the artworks, the Feeder Series amalgamates feeding bottles and lethal grenades. Exotic Fantasy Wood Swadding Armor integrates an infant bodysuit with a samurai's armor. Sickle Baby Carriage turns a baby carriage that symbolizes maternal affection into a fighting and aggressive battle car. This series is inspired by the experience and influence of the birth of Shi's daughter-baby carriages and toys become necessities as stores and brands motivate and encourage the consumption of these products, ignoring babies' real needs. Providing a comfortable life for one's children is a wonderful thing; however, it often leads to a trap set up by today's consumer culture and the nice intent is sacrificed by the materialistic society. Through incorporating the defensive forms and implications of weaponry into these protective products for babies, Shi is saying that consumption culture has undergone a qualitative change and is used for social competition.


〈金蟬脫殼〉A Quick Change

綜合媒材 Mixed Media

尺寸因空間而異 Dimensions Variable

2016

 

《奶瓶》系列 Feeder Series

不鏽鋼、銅 Stainless Steel, Copper

尺寸因空間而異 Dimensions Variable

2007

 

〈幻彩版襁褓甲〉Exotic Fantasy Swadding Armor

不鏽鋼、幻彩鍍鈦 Stainless Steel in Color Titanium Plating

60 x36 x 33 cm

2008

 


〈鐮刀版嬰兒車〉Sickle Baby Carriage

不鏽鋼 Stainless Steel

125 x 92 x 65 cm

2007

▲top

 


106拱門 R106 Arched Door

〈名兵利刃〉Name Brand Weaponry

〈迪奧 設計•基因〉Dior Design•Gene

〈名兵利刃〉,探討過去的戰場設計與現在市場設計的關係,例如價值信仰與戰鬥行動的一致性;過去許多戰爭所強調的「師出有名」,即是打著旗號逐鹿中原,在眾志之間爭取支持和認同。現代市場的企業LOGO,相當於古戰場的陣營旗號,透過拉抬品牌市佔率,以求取最大的商業利益與生存空間。史金淞的〈名兵利刃〉,聚焦於企業競爭最重要的商標,將耐吉(NIKE),摩托羅拉(Motorola),賓士(Benz)雪鐵龍(CITROËN)等品牌符號,改造成如血滴子般的兵器譜,藉此點出品牌行銷,實際就是聯合攻擊社會大眾、從中各自獵取買家的一種市場大戰。

Name Brand Weaponry discusses the relationship between the past designs in battlefields and the modern designs in the commercial market, such as a unifying faith in values and actions of wars. Many historic wars emphasized on a "just cause" as they waved their banners and hoped to win the support and approval of others. The logos of modern enterprises are similar to the ancient banners. These enterprises hope to increase their market shares to maximize their profits and sustainability. Shi's Name Brand Weaponry utilizes this important asset in enterprise competition, and converts brand logos of Nike, Motorola, Mercedes Benz, and Citroën into weapons. By doing so, the artist implies that brand marketing is actually a market war, an allied attack on the public to hunt down purchasers.

 

〈迪奧 設計•基因〉是應國際知名企業迪奧(Dior)之邀而設計之作,透過紅色金絲絨布的映襯,彰顯出企業領袖迪奧先生對路易十六風格坐椅的熱愛,而史金淞延續椅子原有的符號精神與造形,但是置入了諷刺的元素和個人風格,藉由放大尺度並加上鋒利的刀片,從細節中秀出名牌兼有的鋒芒與霸氣,透過一把椅子象徵了一個王者的存在。

Dior Design•Gene is commissioned by the renowned international enterprise, Dior. Foiled by the red velvet, the work embodies Mr. Dior's ardor for chairs from the time of Louis XVI. Shi retains the original form and inherent symbol of the chair but incorporates ironic elements and his personal interpetation. Through enlarging the chair and adding the razor blades, the work reveals the luster and majesty of the brand through its details and exhibits the presence of a king.

〈名兵利刃〉Name Brand Weaponry

燈箱裝置 Light box Installation

99x162x1.3 cm

2016

 

〈迪奧 設計•基因〉Dior Design•Gene

燈箱裝置 Light box Installation

133 x 200 x 6 cm

2016

▲top

 


106展間 R106

〈聖誕快樂200轉/分〉Merry Christmas 200 rev. / min.

〈聖誕快樂200轉/分〉,是以鏡面不鏽鋼為材料,經過雷射切割成聖誕樹造型,輔以馬達、變速齒輪等元素而組成的動力裝置作品。樹上點綴的星星、雪花以及類比聖誕燈泡的鏈條等,在每分鐘200轉的快速旋轉中,瞬間產生一種飛揚炫麗的視覺美感,加上四周鏡面的交互反射,營造出多重影像和無限虛幻的現實,以此影射基督教文明的擴散過程,即是在不同的文明世界裡注入一種光幻的投影。史金淞曾言:「…在我們老家,甚至於鄉下,人們可能對基督教一無所知,但他們會去過聖誕節,它已變成了一種消費價值觀和文明衍生出來的設計…」。

Merry Christmas 200 rev. / min. is a kinetic installation piece composed of mirror finish stainless steel that has been laser-cut into the shape of a Christmas tree, which is combined with motor and speed gears. The stars, snowflakes, and Christmas lights on the tree are rapidly turning at the speed of 200 revolutions per minute, resulting in a dazzling visual aesthetic. Reflecting off of the surrounding mirrors, a reality that appears boundlessly elusive is overlapped with multiple images. The artwork is a metaphor for the spread of Christianity, with it casting an obscure light in different civilizations around the world. “…in my hometown and even in the rural country, people are oblivious to Christianity, but they still celebrate Christmas. It has become a design driven by consumerism and civilization,” says Shi Jin-Song.  

 

史金淞自視為當代文化的「觀念型解剖學家」,他的不鏽鋼聖誕樹,一方面結合了時尚典雅的設計和繁複生產的工序,一方面將傳統節日絢爛歡愉的符號,轉繹成冷酷險峻、刀芒畢露的危險機器,從而指涉物質世界散發吸引力之同時,負面的殺傷力往往是同步存在的。基於安全考量,觀眾只能隔窗觀賞此作,這個空間的距離,呼應了心理學上所謂的「美感的距離」。

Shi regards himself as a “conceptual anatomist” of contemporary culture. He has used a stainless steel Christmas tree combined with a fashionable and sophisticated style with the copmlex production. On the other hand, he has also converted the conventional festive holiday symbol into a stern, sharp, and dangerous machine, pointing out that while the material world emits such a strong attraction, its deadly negative impact is often simultaneously present. For a safety precaution, the artwork can only be seen behind a display window. The distance echoes with what is referred to in psychology as “distance makes beauty”

〈聖誕快樂200轉/分〉Merry Christmas 200 rev. / min.

動力裝置 Mobile Installation

144 x 158 x 158 cm

2007

▲top

 


107展間 R107 

〈垂直的密碼〉Vertical Password

〈垂直的密碼〉是複合了不同創作媒材和表達形式的一組空間裝置作品。應用元素包括牆面上展出的不同城市景觀燈箱照片,以及垂直懸吊在展場中的20多個鋁製同心圓柱雕塑。乍看這兩組物件似各自獨立且屬性迴異,事實上彼此之間存在一種緊密對應的關係。在每一幅城市景觀照片中,因大小樓房建築的群聚而形成了各自不同的天際線,這些呈現了不同節奏和密度的天際線,從某個角度看猶如都市的心電圖一般,隱約也反映了一個城市的景觀和體質;史金淞擷取了每個城市的天際線造型,並據此做為圓柱體車削加工的型模,從中為每個城市設計製作出了獨特的鋁製圓柱雕塑。這個創作流程,就是將個別水平圖像轉化為獨特垂直密碼的一套創意工程。

Vertical Password is a set of spatial installations integrating different creative media and expressions. The elements applied include different light-box images of cityscapes displayed on the wall, and also approximately 20 aluminum cylindrical sculptures suspended on site. These two sets of objects may appear quite different from one another, but there exists an intricately close connection between them. Each of the images of the cityscape shows a unique skyline formed by clusters of buildings of various scales, presenting a skyline of different tempos and intensity. The images also appear like electrocardiograms for the cities, reflecting each city’s outer appearance and inner conditions. Extracting the skyline from each city, Shi Jin-Song has also turned them into cylindrical models, creating a unique aluminum cylindrical sculpture for each city. The creative process involves transforming horizontal images into unique vertical codes.

 

史金淞提到:「什麼是密碼?我們覺得高高在上的任何東西,也可能來自生活現實中,一個特別簡單的動作,例如旋轉360度後再將它垂直放置,平凡的就變成一個崇高的形象;但當你把它解碼,它就還原成生活中的一部份,也許是城市的天際線或建築物的垂直線,甚或一個垃圾桶的輪廓線。每個人好好面對每一瞬間的每一件事,即使是很微不足道的事,也可以提煉成為一個語言系統,我們可以用來寫詩,甚至也可因創作得出一個偉大而神聖的存在!」。

As stated by Shin, “What is a password? The thing that we believe to be supreme may just be a simple act in life, such as placing something vertically after having rotated it at a 360 degree, transforming something ordinary into what is regarded to be superlative. However, when decoded, they are reverted back to being a part of life, perhaps as a vertical skyline or contour of buildings or even the outline of a dumpster. When we can carefully look at every fleeting moment, every minute in detail, we will then have the chance to sense the existence of something great and sacred!”



〈垂直的密碼〉Vertical Password

鋁 Aluminum

尺寸因空間而異 Dimensions Variable

2016

▲top

 


108展間 R108 

《華山計劃》Huashan Project

〈華山計劃─散件〉Huashan Project─Daily Sundries

〈華山計劃─時間〉Huashan Project─Time

〈華山計劃─圈椅〉Huashan Project─Round-backed Armchair

《華山計劃》包含了一個人工構設的空間環境、裝置在牆上的一批工具性物件、一隻破損木椅的殘件,和一把曲線造形的銅椅。這些元素顯然與地理名詞所指的「華山」無關,史金淞本人也從未去過華山,但對於華山險峻的長空棧道、聞名的摩崖刻石,以及各種軼聞傳說,卻不陌生。類此,他的《華山計劃》試圖探討的是,在時間長河中,語言本身能否構築一種共性思維的價值系統。

Huashan Project is consisted of an artificial space, some tools mounted on the wall, parts of a broken wooden chair, and a curvy copper chair. Obviously, these elements are not related to the mountain, Huashan, neither has Shi ever been to the place. However, the artist has heard about the well-known suspended footways, engraved rocks, and other anecdotes. Therefore, through Huashan Project, Shi discusses whether language is enough to construct a value system of collective thinking in the vicissitudinous history.

 

史金淞自我設問:「一個人在一個空間中生活數十年,甚至更長的時間後,他會完成些什麼事呢?」為此,他偽造了許多證據,證明其中很重要的一項成果就是「磨損」:一是「時間」的磨損,另一則是「個人」的磨損。當磨損呈顯為一個常民的日常動作,或日常現象的積澱時,便會推升出某種價值取向,如:骨董、刀、槍、玉石歷經時間後自然產生的各種沁痕,所形成的「珍稀」價值觀;同樣的,在設計的博弈裡,一個最簡單和生活中一個無聊的動作,可能形成一種新的美學流行,或衍生成一件新的文化產品。準此,牆上意外出現的一個凹洞,一批耗損的工具,地上一把崩解的木椅…,可能因為「失能」,反而成為人們純粹凝視、直覺觀想的對象;一把原木製作的明式古董圈椅,被研磨到型態和機能崩解的臨界點時,將它翻鑄成銅椅,反而催生了一種新的設計美學。

Shi asks himself a question: if a person lives in a space for decades or even longer, what exactly would he accomplish? So, he forges many proofs of the person's life, and one of the most important proof is the "abrasion" of things by time and individuals. When the wear and tear become an everyday activity or form accumulations of daily events, it produces a certain value. For instance, when antiques, knives, guns, and jade stones are worn off, the traces of time make them valuable and rare. Similarly, in the game of design, the simplest and most boring action in life might create a fresh aesthetic trend or be used in a new cultural product. As a result, a hole that accidentally appeared on the wall, a bunch of worn-out tools, a disintegrated wooden chair on the floor could all become objects that people gaze into and contemplate on because they have lost their function. A wooden round-backed armchair in the Ming style is ground to a point that its form and function no longer exist. As it is cast as a copper chair,the new design aesthetic is produced.

《華山計劃》Huashan Project

空間裝置 Space Installation

尺寸因空間而異 Dimensions Variable

2016

 

 

〈華山計劃─散件〉Huashan Project─Daily Sundries

五金工具 hardware Tools

尺寸因空間而異 Dimensions Variable

2008

 

 


〈華山計劃─時間〉Huashan Project─Time

木料 Wood

尺寸因空間而異 Dimensions Variable

2015

 

〈華山計劃─圈椅〉Huashan Project─Round-backed Armchair

銅 Copper

100 x 61 x 50 cm

2008

▲top

 


1樓西側樓梯  1F Western Stairway

〈千創園〉Qian Chuang Garden  

〈哈克龍之環鐵大悲咒〉Halong Kellong of HT Dabeizhu

〈千創園〉是一個探索個人獨立存在之可能方式的作品系統,創作靈感導因於過去多年來,史金淞的工作室經常面臨搬家或拆遷的問題,生活也因此不斷地支解和拆分,他從中國的園林和崑曲文化中體認到了一種自我救贖之道,有鑑於古文人在故國殘卷裡翻淘個人獨立精神自足的基因碎片,史金淞決定把舊工作室拆遷留下的殘垣斷壁,用來打造個人的藝術園林,為此他找到了一個正向積極的理由,讓生活中因為遇到阻礙而變得七零八碎的東西,重新回歸到生活中,並將它們轉化成可讓更多人分享的尤物。

Qian Chuang Garden is a work that explores the possibility of an individual's independent existence. It was inspired by Shi's experience of constantly moving studios or facing the problem of house demolishment, which has shattered his life repeatedly. He later found redemption in traditional Chinese landscape garden and the culture of Kunqu opera. Encouraged by the ancient people who found spiritual support in the fragments and scraps of books and scrolls from their original but overthrown home countries, Shi decided to keep the debris when his previous studio was torn down and created a personal artistic garden out of the rocks. This approach gave him a positive reason to rejoin his life with the shattered things of his previous life and turned them into something to share with more people.

 

臺北版的〈千創園〉,是一個結合「授權行動」的藝術創作計畫,民眾自行挑選具有個人連結或生活記憶的石塊參展,開幕當天,經藝術家史金淞和民眾共同簽署認證的石塊,視同取得雙方授權而正式參展,成為「千創園」作品的一部份。展覽結束後,這些承載著精神基因碎片的石頭,將物歸原主。

The Taipei edition of Qian Chuang Garden is an art project of "authorization." Shi invites people to provide rocks that are related to their personal life and memory. On the opening day, the artist and these people will co-sign the rocks as a form of authorization to participate in the exhibition, and the rocks will be used as a part of the installation. After the exhibition, these rocks that have assimilated as part of the work will be returned to the owners.

 

西側樓梯間播出的〈哈克龍之環鐵大悲咒〉,透過史金淞導演的一部錄像短片,呈現了一群穿著私人訂製肌肉服,儼然完美中國英雄的喜劇式人物,駕駛著由農場拖拉機重新設計改裝,強調奢華風格的中國式哈雷機車,在寧靜的鄉間小路上奔馳,在純樸的農民和兒童眼前呼嘯而過的戲劇性情節。〈哈克龍〉是史金淞2006年參加上海雙年展時正式發表的機械性作品,在有趣的外表下,它呼應了未來主義的幻想,被譽為結合了自力更生意涵、創意發明理念的瘋狂機器。這段錄像短片,則是史金淞機動式作品的延伸,在和諧動聽而有點喃喃自語的大悲咒合唱聲中,造形拉風的哈克龍機車,結合了搞笑式的真人扮裝演出,整段錄像充滿了現實、幻想、遊戲的元素和弔詭的氛圍。它一方面幽默地調侃了中國當代社會對西方價值觀的表面模仿風氣;另一方面,似也反應了中國在快速發展進程中,強烈希望擺脫歐美思想制度和系統設計的影響,而急於自闢門道和行徑的民族主義情結。

Broadcasting in the West Wing Stairway is Halong Kellong of HT Dabeizhu. This video directed by Shi portrays a group of Chinese comedians dressed as heroes in customized muscle suits. Driving the luxurious Chinese motorbikes which modelled after the David-Harleyson motorcycles and converted from farm tractors, they speed on quiet country roads, passing by simple farmers and children. Halong Kellong was a mechanical, sculptural installation published by Shi in Shanghai Biennial in 2006. Its amusing appearance echoed the Futurist imagination and was praised as a whimsical machine that combined self-reliance and innovation. This video is a continuation of the mechanical artwork. In the harmonious chanting of Dabeizhu (or, the Great Compassion Mantra), Shi combines chic Halong Kellong motorbikes and a costume comody. The entire video becomes a mixture of reality and fantasy integrated with the playfulness of games and a strangely uncertain atmosphere. On the one hand, it satirizes how the Chinese society imitates the appearances learned from the West; on the other hand, it also reflects that, as China develops with a fast pace, the country is eager to shed the European and American influences in terms of thinking and design systems and creates its own way paved with nationalistic zest. 


〈千創園〉Qian Chuang Garden  

磚、水泥 Bricks and cements

140 x 52 x 42 cm

2012

 

〈哈克龍之環鐵大悲咒〉Halong Kellong of HT Dabeizhu

彩色有聲 Single Channel Video, color, sound,

6'02”

2006

▲top

 


2F西側樓梯間 2F Western Stairway

〈懸絲計〉裝置+崑曲演出錄像

 Suspension Wire Plan  Installation+Video of Kunqu Opera Performance

〈懸絲計〉利用臺北撿來的樹木殘骸,透過金屬組件、滑輪等物件連接和加工,呼應當代館2樓西側樓梯口的空間,製作成可讓觀眾參與操控作品變化的懸吊式藝術裝置。此作騰空的姿態和造形,猶如懸絲戲偶一般,牽一髮而動全身,纖細靈動與詩意優雅之中,也混雜了惴惴不安和岌岌可危之感。〈懸絲計〉因人為操控而顫顫舞動,或隨空氣流動而自然飄搖,與一旁牆面播出的崑曲演出錄像相互參照,提供了兩種不同的閱讀方式和意涵。

Suspension Wire Plan is composed of fallen branches collected around Taipei, which are connected with metal parts, pulleys, and other objects, echoing with the space at MOCA, Taipei’s staircase entrance at the second floor of the west wing. The suspended installation art is designed to be controlled and adjusted by the audience. The aerial position and shape make the piece appear like a marionette that can be moved by tugging at any of the strings attached to it.Feelings of uneasiness and riskiness are also projected on the Delicate, poetic, and sophisticated artwork. Suspension Wire Plan is able to move or dance due to the control of people, but it can also flutter or sway due to the natural air currents in the space. By viewing the artwork with a video of Kunqu opera Piaying on a nearly wall, two different ways of reading and interpreting the artwork are offered. 

 

崑曲除了以「一字之長,延至數息」的「水磨調」唱腔而成為「百戲之祖」,本身也反映了元末明初知識分子退隱園林,遣懷寄情以完善自我的人文策略;史金淞的懸絲計除了呼應崑曲聲線無限綿長的特色,也喻指了於消磨中自我重構與觀照生命的內在精神。

The Kunqu opera, a very ancient Chinese drama form, has a style called the “Shuimo tune (“water mill” tune), which practices extending one word through several breaths. The art form also reflected the trend with literati retreating into the woods to live as recluses in the period around end of Yuan dynasty and early Ming dynasty. Their vision was to expel one of any desires and to become a more complete person. Shi’s Suspension Wire Plan corresponds with Kunqu opera’s notable feature with long, extended vocal expressions, and it also insinuates a process of self-reconstruction through elimination. 

 


〈懸絲計〉裝置+崑曲演出錄像

 Suspension Wire Plan  Installation+Video of Kunqu Opera Performance

樹枝、金屬連接件、滑輪 Branches, Metal Joint, Pulley

尺寸因空間而異 Dimensions Variable

2011

▲top

 


205展間 R205

〈灰度360〉錄像+地面文字+牆角灰塵

Grey Degree 360  Video + Writing on Floor + Floor Dust

〈灰度360〉的單頻錄像,基於史金淞的創作理念:「我相信每一段情感,每一個故事終將會化為一抹塵埃,並能凝煉出一個獨特的灰度色相,成為一種看得見的感覺。」史金淞認為,灰色是一種關係中的色彩,有態度,也有溫度!這一部田野訪談錄像,可視為將個人無形的故事或記憶轉化為可見的灰色顏料的第一步工作;訪談過程,同時收集和徵集的,是三十幾個不同行業人士口述的一段記憶,和各有著特殊名字的一種灰塵,如火山音灰、振翅灰、多餘灰、寸園雀灰、鴨灰、包包灰、無益灰、無顏灰、分別灰…等等。〈灰度360〉的錄像,結合了從這個展場的三面牆漫延至外頭迴廊牆面,史金淞將上述受訪人物所提供的灰色塵埃,製成粉筆後所書寫的故事與文字,構成了從記憶>話語>灰塵>粉筆>文字>話語>記憶,一個360度迴圈的操作過程,和媒介循環轉換的戲碼,而地面上隨著書寫而灑落的不同色相和明度的灰塵,也因此同現了人文光譜的形式和意義。

Grey Degree 360 is a single-channel video work based on Shi Jin-Song’s following creative concept, “I believe that every relationship, every story will eventually turn into dust; it will condense into a unique grey-scale hue, and become a feeling that is visible.”  Shi sees the color grey as a color with a connecting, relational appeal; it holds a certain attitude, and it has warmth. This video is derived from field research interviews and can be considered as the first step in an endeavor seeking to transform intangible personal stories or memories into a visible color of grey. The interview process collected and called out to people’s memories, resulting in 30 people’s oral recounts of personal memories from different backgrounds. They were also assigned with a unique name for a certain type of dust/ash, such as volcano ash, wing ash, excessive ash, small garden bird ash, duck ash, bag ash, useless ash, colorless ash, breakup ash, etc…Grey Degree 360 is presented on the three walls of the exhibition space and also extends towards the walls out on the corridor. Shi has turned grey dusts or ashes provided by the interviewees into chalks, which are used to write down stories and words, construing a 360 degree cycle with memories>verbal words>dusts>chalks>written words>verbal words>memories. The scene goes in cycles and conversions with the media used, and along with the words written on the ground and falling dusts of different hues and brightness, a spectrum based on humanity and culture and meaning derived from it.

〈灰度360〉錄像+地面文字+牆角灰塵

Grey Degree 360  Video + Writing on Floor + Floor Dust

錄像裝置 Video Installation

尺寸因空間而異 Dimensions Variable

2015

▲top

 


204展間 R204

〈不可預知的戲劇現場〉壁面裝置+迷你雕塑+複合媒材畫作+錄像

Scenes From an Unpredictable Theatre  

Wall Installation + Mini Sculpture + Mixed Media Painting +Video

〈不可預知的戲劇現場〉,原是史金淞2012年在臺北所做的,一個民眾參與式暴動藝術展的名稱,這裡展出的壁面裝置、迷你雕塑、複合媒材繪畫和單頻錄像等,既是對〈不可預知的戲劇現場〉之創作觀念、實踐過程及相關元素的一種鋪陳和回溯,也對其「記憶的灰塵」之理念進行了又一次的詮釋和印證。整個204展場的閱讀設計,分成以下四段依序進行。

Scenes from an Unpredictable Theatre was the title of a participatory project of riot for the public designed by Shi Jin-Song in Taipei in 2012. The wall installation, mini sculptures, mixed media painting, and single-channel video showcased in R204 form a narrative and retrospective of the artistic conception, realization and other elements in Scenes from an Unpredictable Theatre. They re-interpret and validate Shi's idea of "the dust of memory." The choreographed reading of R204 could be divided into four parts as below.

 

楔子:微考據(牆面數位輸出圖)

Prologue: Micro Textology (Digital Prints on the Walls)

展場牆面裝置用的鐵槌,及圖片中的許多雜物,是從臺灣一些老屋及舊物堆中收集而來的,史金淞將它們匯聚在一處,並進行個別物件的考據。

All the hammers mounted on the gallery wall and the objects in the images were collected from old houses and piles of old stuff. Shi has put them together here to conduct a textual study on individual objects.

〈不可預知的戲劇現場─物件〉

Scenes From an Unpredictable Theatre─Objects

數位輸出、錘子 C-Print, Hammers

尺寸因空間而異 Dimensions Variable

2012

 

第一幕:零暴動(單頻錄像)

Act I: Riot to Zero (Single-Channel Video)

錄像記錄了,藝術家邀請民眾參與現場演出的過程;眾人從一開始的猶疑轉而蠢蠢欲動,最後大多拿起鐵鎚加入了砸碎現場物件的暴動。史金淞說:「透過藝術暴動計畫,不僅能將物件實體的功能破壞,也使暴動者消解自身對知識的記憶,當一切歸零,物質才有進入其他流通體系的機會。」

This video documented the live performance of the crowd invited by the artist. From the initial hesitation to getting ready to act out, the participants eventually picked up the hammers and started a riot of smashing the objects onsite. Shi said, "through this artistic riot, not only the function of these objects was destroyed, the rioters also eradicated their remembrance of knowledge. Only when everything returns to zero, materials could have a chance to enter other systems of circulation."

〈不可預知的戲劇現場─紀錄片〉

Scenes From an Unpredictable Theatre─Document

單頻道錄像,彩色有聲 Single Channel Video, Color, Sound,

2016

 
 

第二幕:再生産 (物件裝置)

Act II: Re-production (Installations)

展場中的三個展台,呈現的是被砸碎的殘物,透過燒與鑄所得的三個成果:燃燒後的灰燼,製成了一瓶取名「台北灰」的顏料;黑色的煙塵濃縮成了一塊烏黑油亮的「台煙墨寶」;其餘的殘渣,凝結成型加裝發光底座後,也再生產成了一件件迷你太湖石似的「園林」賞件。

Three plinths in the gallery display three works created after burning and casting the smashed objects. The burned ash was used to make a bottle of paint, called "Taipei Grey." The black fume was condensed to produce a block of dark, glossy "Taiwan Ink." The rest remnants were molded into a decorative garden rock. It resembles a mini Taihu stone, and is placed on a glowing base.

〈不可預知的戲劇現場─台北灰〉

Scenes From an Unpredictable Theatre─Taipei Grey

灰燼、玻璃 Ash, Glass

2012-2013

 

〈不可預知的戲劇現場─台煙墨寶〉

Scenes From an Unpredictable Theatre─Taiwan Ink

綜合媒材 Mixed Media

9 x 3.5 x 37 cm

2012-2013

 

〈不可預知的戲劇現場─漂移的園林001〉

Scenes from an Unpredictable Theatre─Drift Garden 001

綜合媒材 Mixed Media

39x23x28 cm

2012-2013

 

〈不可預知的戲劇現場─漂移的園林012〉

Scenes From an Unpredictable Theatre─Drift Garden 012

綜合媒材 Mixed Media

42x23.5x30 cm

2012-2013

 

第三幕:硬道理(複合媒材+錄像)

Act III: Solid Principle (Mixed Media+Video)

在此,以〈畫材老闆的花園〉,呈現了灰度顏料的商業化模式:透過一管顏料、一個錄像故事、和故事色料所繪製的一幅示範畫,做了一個完美敘事的呈現。

Art Materials Company Owner’s Garden reveals a commercial model of grey paint. Through a paint paste, a video, and hints provided in the video, Shi has demonstrated how to paint a perfect narrative.


〈畫材老闆的花園〉畫材老闆的花園

Art Materials Company Owner’s Garden

繪畫裝置 Painting Installation

單件60 x 80 公分 Each one 60 x 80 cm

2014

 

從臺北到武漢—灰度的延伸

From Taipei to Wuhan- Extension of Grey Degree

展場的另一牆面,展示了史金淞繼「台北灰」之後,在武漢教學實驗時所完成的〈武漢灰〉創作計畫,內容包括圖片、文字,以及藝術家用「武漢灰」繪製的自畫像。從〈台北灰〉到〈武漢灰〉,史金淞以行動印證了:「每個城市、每個不同的地方都有自己的色相,收集各種故事的塵埃,檢視不同的色彩關係,之後重回個人的角度和主體的位置…」。於是,他以「武漢灰」在鏡子上繪出了自畫像,喻示這整個「灰度的過程」,終將回歸成一種內觀的回視。

One wall in the gallery room displays Shi's art project of "Wuhan Grey" after he has created "Taipei Grey." This project was experimented and completed when Shi taught in Wuhan, and included images, texts, and a self-portrait painted in this particular color. From "Taipei Grey" to "Wuhan Grey," Shi uses his own action to prove that "every city and every place has its own chrominance. After gathering dust from different contexts and examining different relationships of colors, it returns to a personal perspective and a position of the subject." Therefore, he painted a self-portrait with "Wuhan Grey" on a mirror to symbolize "the cycle of the grayscale" should eventually return to an introspection.

〈不可預知的戲劇現場─武漢灰的自畫像〉

Scenes From an Unpredictable Theatre─Self-Portrait with Wuhan Grey

鏡子、油彩 Oil, Mirror

23x21.5 cm

2016

▲top

 


203展間 R203

〈灰度實驗室〉Laboratory of Grey Degree

延續了205展間個人化灰塵故事的收集,和204展間認識城市專屬灰色顏料的來源,203展間的〈灰度實驗室〉,著重於這些概念背後的細節物證和場景補遺,包括牆面的單頻錄像,工作檯下的相關文獻和輔助照片,以及桌面上擺設的各色粉筆,示範了如何把記憶裡的塵埃、生活中的灰塵,轉化成實體灰色顏料的過程。而展牆上的畫布,則是呈現了這些來自生活的顏料,被藝術家拿來創作藝術,或學生用於塗鴉學習的不同成果。

Continuing the collection of personal dust in R205 and the introduction to specific colors of grey from different cities in R204, Laboratory of Grey Degree in R203 focuses on details and scenes behind Shi's artistic concept. It includes a single-channel video on the wall, documents and photos under a working table, chalks in various colors on the table, demonstrating the process of how one could transform dust from one's memory and life into substantial grey paint. The canvas on the wall shows how the paint has been used to make art by the artist or to do graffiti by students.



〈灰度實驗室〉Laboratory of Grey Degree

空間裝置 Space Installation

尺寸因空間而異 Dimensions Variable

2016

▲top

 


202展間  R202

〈拍賣雙年展〉Auction Biennial

「拍賣雙年展」包括入口處集結了中、英文不同書法字體,用以打破思想體制、市場框架、與權力圈限的一面文字牆「Why not!拍賣雙年展是什麼?」一個設置了座椅的休憩與交誼空間,以及一個由史金淞擔任策展人,2013年於上海世博會博物館舉行的拍賣雙年展的活動投影片。這也是以「主動設計」的角色來制衡諸事「被設計」之環境現實的一個藝術行動方案。

Auction Biennial is a wall that includes Chinese and English calligraphic writings at the gallery entrance saying "Why not! What is Auction Biennial?" that aims to shatter the system of ideology, market framework and the limit of power, a lounge area with sculptural seating, and a slide show of auctioning the Biennial in Shanghai World Expo Museum curated by Shi Jin-Song in 2013. This is also a project of art action that counterbalances the reality of "being designed" by taking a role of "active designer."

 

在這個〈拍賣雙年展〉中,史金淞以一個創作為本務的藝術家身分,客串了學術導向和論述掛帥的策展人角色,希望藉此讓雙年展回歸原初觀照藝術發展現況的基本精神;同時,他試著把一些標榜創新、實驗性,大體還在發展進行狀態中的當代藝術,帶進一個向來以成熟、老套為價值指標的拍賣市場,相信如此或能將藝術拍賣市場帶到一些可行的新方向。

In Auction Biennial, Shi simultaneously plays the role of an artist and the academic and theory-oriented role of a curator. Through this approach, the artist hopes to emphasize the fundamental spirit of the Biennial, which is to observe the modern development of art. Meanwhile, he also tries to bring innovative, experimental contemporary art that is still developing into the auction market, which functions on mature, conservative values. By doing so, he believes some new possibilities might be introduced into the auction market of art.

 

史金淞策劃的〈拍賣雙年展〉,主張參展的必須是「藝術家挑選自視為很重要,但又不符合現行市場流通方式的作品。」他相信通過這樣一條標準篩選出來的作品,將會變得更有意思,因為「真正藝術圈裡邊最活躍、最熱鬧的很多東西,是策展人和收藏家所不知道的」。他同時主張,「拍賣」的「雙年展」,包括:藝術家、批評家、收藏家、媒體人,以及更多相關的行業人士皆能共同參展,每個人都可以按照自己的方式公開表達,一句話、一篇文章、一段語音,或更多不同方式的態度呈現,以此反映一個時代自由、獨立載體的水到渠成。誠如〈拍賣雙年展〉策展宣言「Why not!」所提問的,為什麼我們不能把拍賣的過程變成生產的一部分呢?事實證明,在拍賣雙年展中,拍賣的流程或者市場的機制,已經變成很多藝術家作品語言的組成部分了。

Shi's Auction Biennial stipulates that artworks in the exhibition must be "important to and selected by the artist but are not popular in current art market." He believes that artworks selected according to this criterion would be more interesting because "many of the most dynamic and liveliest things in the art circle are unknown to curators and collectors." He also argues that artists, critics, collectors, media personnel, and people from all fields could all participate in this auctioned biennial. Everyone can express his or her own views openly, be it through a sentence, an essay, an audio recording, or many other possible ways so that the freedom and independence of our era could be reflected. Like the curatorial statement of Auction Biennial, "Why Not," why could we not turn the process of auction into a part of the production? It is self-evident that, in this work, the auction process or the working of the market has become part of many artists' language to create their works.

 

Why not!拍賣雙年展是什麼?

文│史金淞
「Why not!」是我所知道的為數不多的幾個英文短句之一。在中文裡,洋派一點的,翻成「為什麼不!」,文言些的,翻作「何不…」
無論是「何不…」還是「為什麼不!」,都意味著座談結束,行動開始,或在行動中討論,或在行動中革命…
從自己出發,讓一切發生,沒什麼不可以,沒什麼不可能…
這是一種態度…!

Why not! 
「拍賣」應該是一種純商業的行為…一種由來已久的、經典的、公開的以公平、公正及誠實信用為基本原則的公共交易形式和交易平臺…
「雙年展」,每兩年一次的展覽模式…實驗性和即時性是其主要特徵,旨在反映當代藝術正在發生中的前沿探索與當前面貌…
所謂「拍賣雙年展」,就是一個以拍賣為線索和平臺,每兩年一次的展覽。
在此,藝術活動將直接商業活動,並以商業的方式流通和傳播,商業行為成為藝術行為的延伸,甚至成為藝術本身…

Why not!
已發生的、正在發生的包括未來將要發生的藝術和作品,都將設計專屬的流通路徑及拍賣方式,從線上到現場一路透明展現作品及其價格互動成形的完整狀態。
既然是「拍賣」的「雙年展」,那麼邀請參展的物件將不僅僅只是藝術家,還將邀請批評家、收藏家、媒體人以及更多相關的行業人士共同參展,同時也歡迎任何對此有態度的個人或機構自由報名線上參與。
每個人都可以按照自己的方式公開表達,一句話、一篇文章、一段語音,或更多不同方式的態度呈現。
 
Why not!
藝術家、批評家、策展人、收藏家、畫廊家…大家共同構成了藝術生態的基本格局,由於在不同時期大家所面對的問題都不盡相同,其格局的搭配也在不斷地被反復重構更新,並因此而產生更多新的或不同的文化命題及思想生產…
在傳統的生態循環系統中,我們通常只注意觀察藝術家的工作及呈現的審美性,那麼藝術家之所以成為藝術家的審美性,藝術家作品的價格形成及市場流通的審美性,藝術思想凝結及傳播的審美性…恰被我們所遮罩,就像一個花園我們只能看到花,而花只在那些特定日子裡開放,更何況市場上流通的大多都是掐來的人工培育的花,甚至是永不凋零的假花…
那麼,打開一個花園,一個野生的開放的花園…
走進去感受並參與一個活潑潑的全境生長…
 
Why not!
一群具有實驗精神的人,一批實驗性的作品,一場實驗性的拍賣,一個探討當代藝術生產力關係的展覽,沒有象徵,沒有隱喻,不是遊戲…
只是,公開地讓一切真實的發生…
藝術,還有商業。
So, Why not!
 




〈拍賣雙年展〉Auction Biennial

空間裝置 Space Installation

尺寸因空間而異 Dimensions Variable

2016

▲top

 


中樓梯 Central Stairway

〈我的館!〉My Biennial Pavilion!

〈我的館〉是史金淞再次以藝術家身分,於2015年威尼斯雙年展期間所策劃的一個公眾藝術專案。第一人稱的「我」,強調了此專案的獨立自主性,展牆上的圖文與紀錄片,紀實地再現了此專案的策展概念和實踐模式。在威尼斯雙年展這個重要的國際舞台,每個藝術家都盼望找到一個場館展出自己的作品,史金淞智巧地將500個球體,同時作為他自己的一組參展作品,和另外500個獨立創作者的「個人展覽館」,以此凸顯威尼斯雙年展在體制上一直強調國家館、主題館的象徵意義,卻忽略了獨立的個人館的存在價值。他以這個複合了參展/策展的行動,呈現了個人與整個權力系統的博弈狀態,以直接行動的方式,召喚藝術生動獨立的個體自覺性。

My Biennial Pavilion was another public art project orchestrated by Shi Jin-Song as an artist in the Venice Biennial in 2015. The first-person possessive pronoun, "my," emphasizes the independence of this project. The images, texts, and documentary on the walls truthfully represent the curatorial concept and actual realization of the project. In important international platforms such as the Venice Biennial, every artist hopes to find a pavilion to exhibit his or her own work. In the Biennial, Shi cleverly used 500 spheres to construct his own installation as well as the "individual pavilions" for other 500 artists. The work spotlighted how the Biennial has always focused on national and themed pavilions while ignoring the existence and value of independent pavilions for individual artists. With this action that conjoined personal participation and curatorial effort, he revealed the power play between individuals and the entire power system and used straightforward action to call on the individual awareness in art.

〈我的館!〉My Biennial Pavilion!

單頻道錄像 Single Channel Video

彩色有聲 color, sound

2015

▲top

 


201展間 R201

〈三十年河東〉物件裝置+單頻錄像

Thirty Years on the East of the River

Installations + Single-Channel Video

進入挑高空間的201大展場,迎面可見的地面裝置,乍看是用石頭、細沙、碎磚、斷裂的佛頭及佛像殘片等複合性材料,在地板上蜿蜒成形的一條乾枯的大河。事實上,這是史金淞從中國最大的石雕生產地曲陽批購大量雕塑現成品,將它們逐一分解碎化後,再創作而成的地面裝置作品〈三十年河東〉。曲陽石雕產業自兩漢時期開始發展,至元、明、清時期,已成為北京城砌和雕飾的主要供應地;隨著時代演進與市場成長,大量匯聚來自各地的名師巧匠,但為了滿足市場需要和建立國際競爭力,除了推廣當地著名的漢白玉石雕之外,近年來也開始引進了義大利、南美等國外引進的各種石材。無怪乎有人指出,近30年來曲陽石雕產業的走向和規模浮動,幾乎可視為中國乃至全球政治、經濟變化的晴雨表與風向計。有鑑於此,史金淞以〈三十年河東〉這件濃縮了一個歷史脈絡與多樣藝術材料的裝置,化約地詮釋了市場供需對於文化生產的設計與宰制力量。

Entering the high-ceiling space of R201, audience could see the floor installation. At first glance, it is consisted of mixed media, such as rocks, sand, fragmented bricks, broken Buddha statues, forming a winding, desiccated river on the gallery floor. In fact, the fragments come from Quyang, the production center of stone sculptures in China. The artist purchases these mass-produced sculptures and smashed them to create the installation, Thirty Years on the East of the River. The stone sculpture industry in Quyang started developing in the Han Dynasty, and through the Yuan, Ming, Qing Dynasties, it became the primary production center of stone bricks and decorations for city walls of Beijing. As time passed and the market demand grew, a large number of fine sculptors from all over the country came to Quyang for work. In order to meet the market demand and increase international competitive strength, sculptors have also started working with stone materials imported from Italy and South America in addition to the locally produced, well-known white marble. It is no surprise that people say that the changes in trend and scale of Quyang's stone sculpture industry in the past thirty years can be taken as political and economic indicators of China and the world. In view of this, Shi has interpreted the design and dominance of market supply and demand over cultural production with Thirty Years on the East of the River, an installation that embodies the historical context and diversity of art materials.

 

〈三十年河東〉除了實體的地面裝置,牆面也搭配了作品創製過程的錄像,與此同時,史金淞在展場牆面設計了五個區塊,展示採集自不同文化生產現場的歷史灰塵,將其製成粉筆後,用於畫布上書寫或圖繪,使時間軌跡和記憶基因得以再現。這五個區塊包括:開車行經太行山區時,利用汽車吸塵器收集來的「太行灰」;旅遊江南時,以吸塵器吸附空中塵埃的「江南灰」;取自雲岡大佛身上塵埃的「雲岡灰」;將龍門大佛身上斑塊研磨而成的「龍門灰」;以及從他製作〈千創園〉作品產生的灰塵製成的「千創園灰」。

In addition to the floor installation, Thirty Years on the East of the River also includes a documentary video that shows how the installation is created. Shi also designs five sections using the gallery walls to display historic dust collected from different sites of cultural production. He compressed the dust into chalks and used them to write or draw on canvases to represent the traces of time and genes of memory. The five sections include "Taihan Grey" gathered through a car vacuum cleaner when he drove passed a mountainous area in Taihan, "Jiangnan Grey" collected by vacuuming the airborne dust when he travelled in the Jiangnan area, "Yungang Grey" made of the dust gathered from the Yungang Buddha statue, "Longmen Grey" made of the specks taken from the Longmen Buddha statue, and "Qian Chuang Garden Grey," which was made of the dust produced when he created the work, Qian Chuang Garden.


 

這個展場的其他裝置包括:

Other installations showcased in this gallery include the following:

〈客廳裡的園林〉Garden in the Living Room

以高密度泡棉製作而成,除了仿似園林湖石的美感造型,也賦予之現代休閒傢俱的實用功能。這是在工業量產材料中導入傳統人文美學的一種生活設計。

Made of high-density polyurethane foam, the installation imitates the aesthetic form of traditional garden stones while adding practical functionality into modern leisure furniture. The work represents a kind of living design, which combines traditional literati aesthetics with mass-produced industrial material.



〈客廳裡的園林〉Garden In The Living Room

高密度泡棉 Polyurethane Foam

尺寸因空間而異 Dimensions Variable

2016

 

〈經變圖〉Jingbian Figure

此作原型來自莫高窟的「藥師經變圖」,史金淞利用沾了茶水的各種雜物,在丈二尺幅的宣紙上留下各種已經淡出日常的用品雜物的印痕,創作出了一幅近看幾乎只剩抽象斑點的類水墨畫,但是隔著一段距離瞇眼凝視這個畫面,隱約又可以從中看出藥師如來說法,一群菩薩圍繞在的宗教場面。這是在日常物件中注入和閱讀神聖訊息的一種藝術和設計。

This work is inspired by Bhaisajyaguru Jingbian Painting found in Dunhuang. Shi uses different objects dipped in diluted tea to create an abstract ink painting that is comprised of imprints of objects no longer used in daily life on three pieces of calligraphy paper. However, viewing from a distance with eyes half open, one could seem to detect the figure of Bhaisajyaguru giving a lecture while being surrounded by other bodhisattvas. Therefore, one could say that this work is a kind of art and design that reads and imbues ordinary objects with a divine message.

〈經變圖〉Jingbian Figure

綜合媒材 Mixed Media

367×144 cm,3 pieces

2016

 

〈金剛經─淞注版〉Diamond Sutra PS. Song

此作同樣以生活中微不足道的事物,如魚骨頭、小螺絲、鑰匙等,結合茶斑水漬的拓痕,組成一連串的符號訊息,或一群表現性元素的接力演出。在此,所有的符號或斑漬整齊排列有如經文,而其形象和質地,也好像在呼應著金剛經文「一切有為法,如夢幻泡影,如露亦如電,應作如是觀」的精神內涵。這是史金淞以簡單的「有為法」來詮釋抽象複雜之經典理論的一種視覺與行動設計。

This work is also created by using trivial objects in life to make tea and water imprints, such as fish bones, screws, and keys. The imprints construct a series of messages in symbols or a calligraphic writing in expressive elements. All the symbols or imprints were written in an orderly fashion like the calligraphy in a sutra scripture. The look and texture of the work also respond to the spiritual meaning of the Diamond Sutra, which states "all things contrived are like dream, illusion, bubble, shadow; and as dewdrop or lightning, they should be regarded as such." With a simple "contrivance," Shi uses the visual representation and actual action to interpret the abstract and complicated canonical theory.


〈金剛經─淞注版〉Diamond Sutra PS. Song

影像裝置 Video Installation

尺寸因空間而異 Dimensions Variable

2016

 

〈雙松園─脫胎換骨〉Double Pine Garden- Thorough Transformation

在傳統文人美學中,松樹被擬人化為德行君子,因松樹四季常青,生機盎然,追求陽光,象徵了「地維賴以立,天柱賴以尊」的浩然之氣。古人以歲寒比喻亂世,松柏比喻君子,指君子雖身處亂世逆境,但不為物惑,不改初衷,道心堅定,靠的就是一身傲骨。史金淞的〈雙松園─脫胎換骨〉,利用青銅材料和鍍金技術,讓一些因為各種原因被砍伐成殘枝的碎片,脫胎轉化為另一種具有精神屬性的生命之樹;將松樹獨特的結構造型,透過國際標準組件進行「換骨」設計,使之可以反覆拆解和重構,從中發展出因地制宜的各種可能性。這是以進階的「創意應變」精神來昇華轉化「執意不變」之態度的一種設計。

In the Chinese literati tradition, pine trees are personified as gentlemen of moral integrity. Their ever-greenness, lushness, and uprightness have come to symbolize the righteousness that heaven and earth rely on to sustain. The ancient Chinese compared wintery seasons to chaotic times, and compared pine trees to virtuous gentlemen; although they were born in a tumultuous era, they would not be tempted by materialistic desire or change their moral principle. Their belief is strong and strengthened through their integrity. In Double Pine Garden- Thorough Transformation, Shi uses copper and plating technique to transform trees that might eventually be fell into trees of life that possess a certain spirituality. He adopts the characteristic structure of pine trees and incorporates a "rebirth" design with international standardized components, which allow the trees to be taken apart and reconstructed. The trees, therefore, possess immense possibilities depending on the sites. Through this design, Shi has sublimated the unflinching attitude into the spirit of improvising creativity that suits circumstances.


〈雙松園─脫胎換骨〉Double Pine Garden- Thorough Transformation

銅 Copper

340 x 220 cm

2014

▲top

 


出口樓梯  Exit Stairway

〈144.58 牛‧米〉144.58N.m

牆面反覆播放著【史金淞:個人設計博】的訪談錄像,藝術家以第一人稱侃侃而談自己的創作觀,在這同時下方卻不時傳來一種干擾性的撞擊聲,讓人無法忽視它的存在。設置在影片下方的機動性作品〈144.58牛•米〉(*註),結合了鏽化的機械連桿、電動馬達和碧綠凝脂的球形玉石,在黑暗的樓梯轉角中,以四秒鐘一次的頻率,反覆地撞向牆壁…。在此,史金淞以能量的釋放和數值來呈現一種最根本、無所不在的力量,和一個活潑生命之間的博弈關係。崩、崩的聲響,規律、沉悶而隱含著破壞的力道,刺激著觀者耳朵之同時,似乎也暗示了徒勞無功、任性的「自我」毀滅動作。

Playing in a loop on the wall is an interview of SHI JIN-SONG: A Personal Design Show, with the artist talking about his own creative outlook in the first person. However, at the same time, disturbing clashing sounds are heard coming from the bottom, which are quite difficult to ignore. Located at the bottom of the video is a kinetic artwork, titled 144.58 N.m (*), which is composed of a rusted machine bar linkage, power motor, and a spherical green jade. It is placed at the turning corner of a dark staircase, and is repeatedly hitting against the wall at every 4 seconds. With this artwork, Shi is utilizing the release of energy and statistics to present a game between the primal and omnipresent power and the life’s vitality. As the audience’s ears are bombarded with the regular and deep banging sounds, which also indicate a destructive energy, the artwork seems to also be hinting at a useless but obstinate gesture of “self” destruction. 

 

註:牛頓米(英語:Newton metre,又作Newton-metre)是用來計算重量和力矩之互動成果的一個基本單位。

* Note: Newton metre (sometimes hyphenated Newton-metre,) is a unit used for measuring torque resulting from force.

〈144.58 牛‧米〉144.58N.m

動力裝置 Mobile Installation

48 x 30 x 40 cm

2008

▲top

相關教育活動 Educational Programs

【史金淞:個人設計博】

相關教育活動 Educational Programs

藝術家
創作座談

《我所設的一個計》藝術家面對面

2016/05/21 Sat. 14:00-16:00

講師:史金淞/藝術家

與談:戴卓群/藝評人暨策展人、

           張冰/藝評人暨策展人、

           付曉冬/青年策展人

主持:林羽婕/台北當代藝術館涉外合作統籌

報名網頁:

https://goo.gl/NZeKwr

MOCA
講吧

以藝術書寫神話》專題講座

2016/06/11 Sat. 14:00-16:00

講師:姚瑞中/藝術家

           涂維政/藝術家

報名網頁:

http://goo.gl/forms/ct4a63BGC5

《須臾與永恆的對話》專題講座

2016/06/25 Sat. 14:00-16:00

講師:陳浚豪/藝術家

           葉偉立/藝術家

報名網頁:

http://goo.gl/forms/1UsVYDzvqo

藝術
工作坊

《藝術探索小尖兵》親子工作坊

2016/06/12 Sun. 14:00-16:00

講師:王瑋婷/台北當代藝術館 教育推廣專員

報名網頁:

http://goo.gl/forms/T4qtjZTdYx

《頑石彩繪設計》藝術工作坊

2016/06/26 Sun. 14:00-16:00

講師:任大賢/藝術家

 報名網頁:

http://goo.gl/forms/Uh4Dx6KRlt

專家導覽

2016/05/29 Sun. 13:00

講師:郭令權/實踐大學媒體傳達設計學系所 助理教授

活動網址:

http://goo.gl/pofSvM

2016/06/05 Sun. 13:00

講師:郭令權/實踐大學媒體傳達設計學系所 助理教授

2016/06/12 Sun. 13:00

講師:崔廣宇/藝術家

2016/06/19 Sun. 13:00

講師:張禮豪/藝評暨獨立策展人

2016/06/26 Sun. 13:00

講師:張禮豪/藝評暨獨立策展人

2016/07/03 Sun. 13:00

講師:林曉瑛/實踐大學工業產品設計學系 助理教授

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

兒童專區

【史金淞:個人設計博】

兒童教育專區 For Kids Children's resources

 

【兒童語音導覽】*適合年齡:5-12歲。歡迎至當代館一樓服務台借用。

為強化美感教育、深耕藝術教育,於原有的教育設施導賞服務中,開發兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。

※ 歡迎點選下列連結下載取用:http://goo.gl/UHxZh9


【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。

提供更進一步的問題、小知識、簡易手做,讓大小觀眾一同學習展覽。

※ 歡迎點選下列連結下載取用:

正面 http://60.250.96.120/mocataipei/mocastudio/download/2016_P3_S1.jpg

背面 http://60.250.96.120/mocataipei/mocastudio/download/2016_P3_S2.jpg


 【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。

可拆解成上下半截,上半段的彩色地圖,提供小朋友進展間尋找藝術作品;下半段的文字問題,提供大朋友簡易版的問題,引導小朋友觀看作品的一種方式。

※ 歡迎點選下列連結下載取用:

http://60.250.96.120/mocataipei/mocastudio/download/2016_P3_S3.jpg


【兒童學習盒】*適合年齡:6-15歲。歡迎至當代館一樓服務台借用。


【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。

為推動本館教育推廣之功能,讓藝術向下扎根,「U12-小玩藝教室」,憑門票開放親子入場共同體驗藝術之美。除了規劃年度主題,設計與兒童互動及遊戲的裝置之外,亦配合每檔展覽,規劃不同媒材的手作課程,希冀藉由藝教於樂的方式,激發兒童的藝術想像力與創造力。

http://www.mocataipei.org.tw/index.php/2012-01-12-05-25-27/moca-u12

 

年度教育贊助 Sponsor for Education Programs│

文心建設 Winsing