- 分類：展覽回顧 Exhibition Review: 2014
Cloacinae-goddess of the sewers -Solo Exhibition by Serge Onnen
Zhongshan Metro Mall／MOCA Studio Underground（Near R9 exit）
今日都會的下水道系統，源自古羅馬時代開展的都市公共建設，下水道系統的良窳攸關公共衛生和都市生活品質，而克羅亞琴娜則是古羅馬時代污水處理系統的守護 者，是象徵了兼具純潔及汙穢雙重矛盾特質的女神。本展藝術家，以不為一般人注意但影響廣大的城市下水道作為隱喻，透過繪畫、動畫、自製壁紙、光影裝置、聲 音等不同媒材的融合運用，呈現他對全球政治、經濟驅使下的社會結構變化的觀察和感受，進而探究各地都市人對於「價值」一詞的不同定義。
此次展出的動畫作品，藝術家運用幾已被遺忘的費納奇鏡工藝技術，將手繪圖稿製成逐格動畫，透過簡單平凡的圖像創造豐富華麗的視覺感受；同樣的，互動裝置「萬 花筒」中千變萬化的美麗圖像，其實也是來自一個價值最小的硬幣；作品「幻影」則是結合動力裝置、日常物品、現場聲響和光影的迷你劇場；展場牆面使用的壁 紙，也是藝術家拼貼不同人種頭像自行創製的作品，這些小人物的集合形成了一張沉默而有力的護網。類此，藝術家創作的出發點是那些在我們日常生活中重要卻經 常被忽略的細微事物，其成果卻很能啟發我們從個人到集體、從情感到精神、從生活物質到經濟體系、從純潔的到汙穢的等不同面向，隨時進行細微的觀察和整體的 關照。
Cloacinae - Goddess of the Sewers – A Solo Exhibition by Serge Onnen is MOCA Studio’s first exhibition for the Spring of 2014 and also the 50th exhibition since the launch of the MOCA Taipei Art Street in 2008. With the mission of incorporating art into public spaces, MOCA Taipei continues to explore the connections between urban spaces and social developments through the means of contemporary art. This is also French artist Serge Onnen’s debut solo exhibition in Taiwan.
The modern day urban sewage system originates from ancient Rome’s urban development concept. The quality of a city’s sewage system is closely connected to its public health and standard of living, and representing the opposing dual qualities of being clean and dirty, Cloacinae was regarded as the goddess of the sewers in ancient Rome. Onnen uses the frequently neglected urban sewer as a metaphor, and with painting, animation, self-produced wall paper, light installation, sound, and other mixed media, his observations and views for the shifts in social structures under global political and economic impacts are presented, with in-depth investigation conducted on the various definitions that urban dwellers hold for the term “value”.
Creating animations with the nearly forgotten phenakistoscope, Onnen’s manuscripts are turned into individual frames for the animation, with the simple graphics transformed into amazingly rich visual effects. Likewise, the interactive installation, Kaleidoscopes, projects beautiful images of diverse patterns, which are derived from a penny. Ghosts is a mini theater that combines kinetic installation, everyday objects, live sounds, and lighting effects. Furthermore, the wallpaper used on the walls of the venue is also produced by the artist, with the pattern created with head portraits of people of different races and forming a fence that is silent yet powerful. The source behind his creative concept is the minute and often neglected everyday details, with his artworks inspiring the audience to closely observe and to comprehensively contemplate about life’s different aspects, including those that are personal to collective, sentimental to spiritual, and those of daily material concerns to macroeconomic structures, and the pure and clean compared to the dirty.
During the exhibition, a special performance will be held with the artist collaborating with other musicians for the live improvised performance of Cloacinae Shadow Figures, which is a production that integrates his recent study of the craft of Chinese shadow puppet. This exhibition at the MOCA Studio will also be extended to the Taipei Artist Village with the presentation of another performance.
1965年出生於法國巴黎，目前創作與生活在荷蘭阿姆斯特丹， 現任教於阿姆斯特丹里特維爾德藝術學院(Rietveld Art Academy of Amsterdam) 。
賽吉‧歐能的創作類型廣泛，是典型的跨領域創作者。在過去的20年 中，他充分結合繪畫、動畫、壁紙、影子和聲音媒材，透過核心主題的表述，融入多方面題材，拓展藝術的視野。在這當中，歐能對於使用原始的方法來創作連續性 的影像特別感興趣，他認為早在數位世代之前，視覺傳播的方式一直都是淺顯簡單，卻又令人著迷的，例如目前已快被遺忘的西方工藝技術費納奇鏡（發明於1829年），他就能用來將單一圖像創造出動畫的效果和絢麗的影像。而在近期的創作中，他試圖將中國傳統皮影戲作為個人延伸創作的工具和元素，也是基於同樣的價值觀點和實踐策略。
Born in Paris in 1965, Serge Onnen is currently based in Amsterdam and teaches at the Rietveld Art Academy of Amsterdam.
With a broad creative repertoire, Onnen is an artist of cross-disciplinary caliber. In the past 20 years, he has fully integrated different media in his creative endeavors, including painting, animation, wallpaper, shadow, and sound. The mixed media are used to express his central themes of choice and also to incorporate diverse subjects and expand the perspective of his art. Onnen is particularly interested in using pre-digital methods to create sequential images. He feels that visual communications prior to the digital boom were consistently simple yet fascinating, such as the outdated early Western animation device, the phenakistoscope invented in 1829, uses individual images to create dazzling animated effects. Recently, Onnen has begun to incorporate Chinese shadow puppetry as a creative tool and element in his art, with the use of this traditional craft adhering to his customary creative value and execution strategy.