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

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【潮騷-鄭路個展 Shiosai- Solo Exhibition by ZHENG Lu】

展覽名稱 Exhibit

【潮騷-鄭路個展】

Shiosai- Solo Exhibition by ZHENG Lu

展覽時間 Date

2015/10/30 Fri. -2016/01/03 Sun.

展覽地點 Venue

台北當代藝術館 一樓展場 MOCA Taipei 1F

門票 Admission

NT$ 50

參展藝術家 Artists

鄭路 ZHENG Lu

展覽介紹 About the Exhibition

【潮騷-鄭路個展】

Shiosai- Solo Exhibition by ZHENG Lu

鄭路,1978年出生於內蒙古赤峰市,從小跟隨祖父學習漢字書法,並協助雅好詩歌文學的父親謄寫詩文,從中孕育了對中文的字形字義,以及文字所承載的諸多歷史典故的濃厚興趣。也因此後來就讀北京中央美院研究所時,他開始思索讓中國文字從平面符號的姿態,轉化成為立體造型和空間裝置,並從象形文字出發,結合鏤空技法的應用與光影視覺的重疊效果,作為創作的基調,而在文字的選用上,則刻意選定帶有「水」部首的文字為主軸。

Zheng Lu was born in Chifeng, Inner Mogolian in 1978. As a child, he practiced Chinese calligraphy with his grandfather and transcribed poems and verses for his father, a literature enthusiast. Such background gave birth to Zheng’s keen interest in the forms and meanings of Chinese characters as well as the historical allusions carried by these characters. Therefore, when conducting his graduate study at China Central Academy of Fine Arts in Beijing, he started thinking about transforming the two-dimensional, symbolic forms of Chinese characters into three-dimensional sculptures and spatial installations. To create the foundation for his work, Zheng integrated hieroglyphs, metal technique of openwork carving, and visual effect of overlapping light and shadow. In terms of selecting the characters, he intentionally chose words with radicals symbolizing “water.”

 

鄭路此次於台北當代藝術館的個展,展名【潮騷】借自日本文學家三島由紀夫的同名小說;這本1954年出版的小說,描述一位青年漁夫與船主獨生女的愛情故事,隱喻青年必須通過層層考驗與障礙,經歷人生的風風雨雨,在嚐盡辛酸之後,才能得到真正的愛情與甜蜜的果實。鄭路個展,呼應了三島小說的內涵,而展現了本身創作的脈絡和發展歷程。

Zheng Lu’s solo exhibition at MOCA, Taipei uses the title of Shiosai, a novel by the Japanese writer, Yukio Mishima. The 1954 novel recounts the love story between a young fisherman and the only daughter of the fishing boat owner, implying that youths have to pass tests and obstacles, endure difficulties and challenges, and taste the bitterness in life before they really attain the real love and its sweetness. Zheng’s solo exhibition responses to Mishima’s novel as it represents the context of his creative work and its development.

 

本展共展出鄭路近兩年完成的十五組創作,包括戶外與室內的大型雕塑裝置、觀念性的架上繪畫,以及多媒體影像裝置,透過多樣性的創作,詮釋了「水」的物態轉換,以及「水」在不同空間中的千變萬化,並藉此象徵個體生命成長的多種樣態與可能性,進而反思社會環境對個人的塑造力量和人文發展的本質,也就是對於自然、自性、和自我的追求。

Fifteen sets of artworks created in the recent two years are included in this exhibition, including both large outdoor and indoor sculptural installations, conceptual paintings, and multi-media video installations. Through diversified creation, Zheng interprets the material transformation of water as well as its infinite changes in different spaces. His creative work symbolizes the diversity and potentiality of individual life and its growth. In the meantime, it contemplates on the shaping forces imposed on individuals by social environment and the essence of humanistic development that is manifested as the pursuit of nature, the self, and individuality. 

 

對新生代藝術創作者來說,跨領域創作儼然已成為一種常態而非特例,但在各方面的思想與表達能夠環環相扣,而自成體系者,鄭路是其中一個企圖心旺盛,且具有實踐力的藝術家。鄭路為了本次個展,多次來館勘察現場,並因地製作作品,除了與展場空間展開對話之外,也希望提供觀者一個特殊的臨場體驗。

For artists of a new generation, interdisciplinary artistic creation has undoubtedly become a common thing rather than something special. However, when talking about achieving the smooth transition between thinking and expression to form a unique individual system, Zheng would be one of the fine exemplary artists, who possesses both ambition and capability. For this exhibition, he had visited and reviewed the site several times, and created works specific for the space. By doing so, the artist not only initiates a dialogue between his works and the exhibition space,and he also hopes to offer an exceptional exhibition experience for his audience. 

 

 

喜歡本次展覽嗎?歡迎填寫展覽問卷,謝謝您的支持與鼓勵!

https://goo.gl/vZ5BKo

 

參展藝術家 About the Artists

 

鄭路,1978年出生於內蒙古赤峰市,從小跟隨祖父學習漢字書法,並協助雅好詩歌文學的父親謄寫詩文,從中孕育了對中文的字形字義,以及文字所承載的諸多歷史典故的濃厚興趣。也因此後來就讀北京中央美院研究所時,他開始思索讓中國文字從平面符號的姿態,轉化成為立體造型和空間裝置,並從象形文字出發,結合鏤空技法的應用與光影視覺的重疊效果,作為創作的基調,而在文字的選用上,則刻意選定帶有「水」部首的文字為主軸。

Zheng Lu was born in Chifeng, Inner Mogolian in 1978. As a child, he practiced Chinese calligraphy with his grandfather and transcribed poems and verses for his father, a literature enthusiast. Such background gave birth to Zheng’s keen interest in the forms and meanings of Chinese characters as well as the historical allusions carried by these characters. Therefore, when conducting his graduate study at China Central Academy of Fine Arts in Beijing, he started thinking about transforming the two-dimensional, symbolic forms of Chinese characters into three-dimensional sculptures and spatial installations. To create the foundation for his work, Zheng integrated hieroglyphs, metal technique of openwork carving, and visual effect of overlapping light and shadow. In terms of selecting the characters, he intentionally chose words with radicals symbolizing “water.”

 
 

作品介紹 About the Artworks

廣場 Plaza

當代館廣場展出的〈淋漓—瀾〉,延續了鄭路2003年以來從文字發想的創作系列,此作如騰空飛躍的水花,彷彿曼妙起舞的水靈,近看「身上」佈滿的竟是唐代詩人白居易《玩止水》的優雅詩文。鄭路藉由金屬透雕手法,把文字當成一種精神意象的表達元素,並試圖超越文字本身作為閱讀媒介的角色功能,而成就一種兼具流線結構和浪漫詩意的純美造型。此件以懸吊方式,呈現一種漂浮姿態和掙脫空間圈限的氣勢,正如白居易在《玩止水》中,以簡要文字刻畫了水的動靜變化和無窮想像。動態有加的曲線造型,同時朝著各方伸展的意象,象徵了自由無礙的精神,也喻指了人生的一種追尋。鄭路的不鏽鋼雕塑裝置,一點都不顯得沉重或呆滯,而能以穿透、鏤空的材料處理,借喻水的至柔至性,援引出「人莫鑒於流水,而鑒於止水」的虛靜氣闊和恢弘意境,讓歷史與傳統文化,以一種新生的韻律展現出當代的美感。

Displayed on the plaza of MOCA, Taipei, Water in Dripping—Billows is a continuation of Zheng Lu’s creative series inspired by Chinese characters since 2003. The work mimics the form of splashing water in mid-air, manifesting an elegantly dancing water spirit. Taking a closer look, its “body” is covered in verses from the lyrical poem, Appreciation of Still Water, composed by Bai Juyi, a renowned Chinese poet in Tang Dynasty. Using the technique of metal openwork carving, the Chinese characters function as an expressive element of spirituality for Zheng, who attempts to transcend the functionality of characters as a reading medium while creating an aesthetic form with streamline structure and poetic sentiments. Suspending in midair, the work in its floating state demonstrates an impressive momentum that seems to break through the spatial confinement, and is reminiscent of Bai Juyi’s concise delineation of the water dynamics and the unrestrained imagination it stimulated in Appreciation of Still Water. The dynamic form of curve lines simultaneously extends in different directions, symbolizing the free and unencumbered spirit and beckoning at a kind of pursuit in life. Although Zheng Lu’s sculptural installation is in stainless steel, it does not look weighty or stagnantly static. Instead, through methods of cut-out engraving and openwork carving, the artist uses the fluidity and integrity of water as a metaphor and introduces the tranquil atmosphere and the broad state of mind described by the ancient saying, “People would not see themselves in flowing water but in still water.” In doing so, he integrates history and traditional culture to create a fresh rhythm that expresses a contemporary sense of beauty. 

〈淋漓—瀾〉Water in Dripping—Billows

不鏽鋼 Stainless Steel

700 x 700 x 700 cm

2015

 

入口形象區 Entrance Hall

入口形象區比成人高大的雕塑裝置作品〈潮騷〉,好像從動畫影片的定格畫面一般,呈現了滔天巨浪突然被凍結的戲劇性場面,在這蓄勢而來、排山倒海的嘯浪上端,鄭路精工塑造了大潮拍岸時四方濺射的絕美浪花。此作的造型語言、節奏鋪陳和材料處理等,顯示鄭路有意以三部曲的方式,將寧靜推向躁動,將極簡導向繁複,從平凡創造高峰!站在作品前方,最靠近觀眾腳邊的是以原質出現、工業性格的鏡面不鏽鋼板,接著向後推衍出中景灰白的小型風浪,然後化成了急速垂直上升、同時向前翻卷襲來的大排黑色巨浪——透過漸進和對照的手法,鄭路巧妙演繹了從止水到潮騷、從稀聲到大音的轉折與變化!這個實體的雕塑裝置,加上展間側牆的鏡像反射,也就地產生了真實與虛擬互相延異對照的另一種臨場效果和閱讀情境。

Standing taller than average adults in the Entrance Hall of the museum, Shiosai looks like a still frame of some animation films, staging a dramatic scene of the frozen towering tidal waves. At the top of the imminent, toppling waves, Zheng Lu has elaborately sculptured the magnificent splashing ocean spray of the shore-hitting tides. From the sculptural language of the work, the progressive rhythm, and the completion of the material, the artist apparently aims to present the work in three stages, which are from tranquil to restless, from extremely simple to intricately embellished, and from ordinary to climax! When audiences stand in front of the work, the closest to their feet is the original, industrial stainless steel slab with a polished surface, followed by small gray waves in the middle that eventually escalate into rapidly rising, overturning black tidal waves. By means of progressive delineation and contrast, Zheng wittily represents the transition and transformation from still water to tidal waves and from silence to thundering sounds! When installed in a space with mirrors on both sides, the actual sculptural installation and the reflections in the mirrors produce a different effect and interpretive context in the mutual reflection and contrast between the real and the unreal.

 

鄭路以不鏽鋼板的「鏡」帶出「靜」,卻以細膩到近乎繁瑣的金工技術來鍛燒出墨黑幽暗、形如巨獸般的狂浪。這動靜對照與辯證的戲碼,似乎也映現著「水,可以載舟,亦能覆舟」的語境,而將古老的常諺,轉化成觀眾眼前超真實的一種存在。

Zheng uses the “mirror surface” of the stainless steel slab to suggest the sense of “tranquility,” but uses intricate and elaborate metalwork techniques to forge and refine the ink black, monstrous tidal waves. This dialectic dramatization of the static and the dynamic also seems to indicate the saying, “The water that bears the boat is the same that swallows it,” transforming this old proverb into a hyper-real existence in front of the audience. 

〈潮騷〉Shiosai

不鏽鋼、漆 Stainless Steel, Lacquer

365x210x220cm

2015

 

1F走廊 (R105至R108走廊)

在105展間外的長廊,一組超寬螢幕錄像裝置〈未知的圓周〉,呈現了眾多球體在無垠黑色空間中滾動的畫面,他們看似實體的星球又彷彿液態的水珠,透過長廊的縱深帶出了無限流動和無邊擴展的一種感覺。

In the hallway outside R105, a wide-screen video installation entitled, Unknown Circle, displays an image of multiple spheres rolling in an infinite black space. The spheres resemble physical planets as well as liquid drops, and create a sense of never-ending flow and infinite expansion through the narrow, elongated space of the hallway.

〈未知的圓周〉Unknown Circle

單頻道錄像 Single Channel Video

1min.24sec.

2015

 

從106到108展間的走廊,是以黑色不鏽鋼球體為元素的空間裝置,大小不一、或聚或散,鏡面光滑的球體,在相互接觸、或與牆面聯繫之處,各自有著一環一環的凹凸水紋;這些從實體轉化而出的漣漪,一方面暗示了互動可以同時證明自身和他者的存在,一方面也呼應了科學大師愛因斯坦的名言:「 當知識之圓不斷擴大時,未知的圓周也一樣。」;〈未知的圓周〉意指人類所知愈多,越會發現未知領域跟隨擴大。鄭路透過圓,指涉自然界翰海無涯的識,並關聯到謙沖至柔而綿恆流長的水,將藝術想像的造型延伸成了科學與哲想的符號。

From the hallway of R106 to R108, Zheng Lu displays a spatial installation consisted of groups and individual black, smooth-surfaced, stainless steel spheres in various sizes. Where the spheres connect to each other and the walls, one can see expanding water rings. These ripples on the concrete spheres simultaneously imply that interaction validates both one’s and others’ existence and respond to Albert Einstein’s famous statement: “As our circle of knowledge expands, so does the circumference of darkness surrounding it.” Unknown Circle refers to the fact that as humans acquire more knowledge, the unknown territory expands as well. Through his employment of circle, Zheng Lu first refers to the infinite knowledge of nature, and then, associates it with the humble, soft, and lasting water, turning the sculptural form of artistic imagination into a scientific and philosophical symbol.

〈未知的圓周〉Unknown Circle

不鏽鋼、烤漆 Stainless Steel, Paint

直徑10公分至80公分 Diameter 10cm to 80cm

2015

 

105展間 / R105

《圖像的重現》系列 Representation of Images Series

《圖像的重現》系列,共展出七組作品,每組作品都包含了一幅畫,和一部記錄了畫作繪製過程的縮時錄像。透過錄像,觀眾可以發現眼前鋁板上的每一幅畫,其實都是從六、七個不同的圖像一路演繹過來的,以〈共產主義〉為例,藝術家以寫實手法,在同一圖面上接續繪出的主角人物,包括了創建理論的馬克斯、恩格斯,加以實踐的列寧、史達林,最後拍板定調的則是中國的毛澤東圖像――錄像顯示,鄭路的過程性繪畫,前半段同時描現了建構時代的人物、和歷史演變的脈絡,也鋪陳了朝代更替、角色變換、和權力消長的戲碼;後半段結合刮磨的技法和解構的概念,讓不同圖層的畫像互相疊透混合,成為一種圖面斑剝、面目不清、角色不明的「後歷史」人像,以此隱喻了一個「威權消失、偶像不再」的新時代。

Representation of Images series include seven sets of works, and each set is comprised of one painting and a time-lapse video documentation of the painting process. Through the video, audience will find that each painting on the aluminum plate is evolved from six to seven different images. Taking Communism for example, Zheng Lu adopted painted his main characters in a realistic style on the same plate, including Marx and Engels who created the theory, Lenin and Stalin who carried out the theory in actions, and ended the painting with the Mao’s image. The video revealed the artist’s progressive painting process: the first half of the process showed the figures who had molded the era and the context of historical changes while implying the vicissitude of regimes, the replacement of powerful figures, and the appearance and disappearance of powers. In the latter half, the artist employed an abrasion technique as well as the concept of deconstruction, overlapping and amalgamating various portraits into a dilapidated, blurry, and indistinct “post-historic” portrait as well as a metaphor for a new era when “authorities have disappeared, and idols existed no more.”

 

在此,鄭路把雕塑噴漆打磨的流程技法,轉用來創作鋁板上前後堆疊、左右晃動的圖像,在刻板的動作和反覆過程中,鋁板表面原有的形象慢慢模糊,但也從中生成新的圖像,這同步的建構與毀壞,既是圖像的再生,也是原型的殘褪。這每一幅看似抽象化、碎形化的畫作,透過錄像的見證和導引,讓觀眾得以窺探鄭路「圖像」從建構到消解的過程與意義。

In this series, Zheng Lu used the processing technique of alternately spraying and polishing paint on sculptures and applied it to his overlapping, visually wavering images on aluminum plates. In the monotonous actions and repetitive process, the images on the aluminum plates gradually became blurry and formed a new image. The synchronous construction and destruction was a kind of regeneration of images as well as deterioration of the original ones. Using the videos as a kind of witness and navigation, the seemingly abstract, fragmented paintings revealed the process from construction to disintegration of Zheng Lu’s “images” and the meaning they conveyed. 

〈共產主義〉Communism

漆、鋁板、錄像 Lacquer on Aluminum Plate, Single Channel Video

160 x 120 cm

2014

 

(錄像––〈共產主義〉Communism 繪製過程  Video—Painting process of Communism)

 

此作的標題和圖像來源,為大陸邳州論壇網站http://www.pzzc.net/read-htm-tid-7473386.html,〈腿槍(06.15)〉的創作,源於艾未未上傳到社交網站Twitter和Instagram,一張以大腿模仿槍支的自拍照。此後,艾未未更轉發了超過百張模仿他的照片,並將這組照片命名為《北京反恐系列》。同時,他還另傳了一張1960年代流行的芭蕾舞劇《紅色娘子軍》中的劇照,經查證該張「劇照」是來自河南大學藝術學院舞蹈系於2010年參賽第七屆荷花獎的作品,艾未未截取了新聞上的圖像,頗具幽默而戲謔地淡化了政治的意味。

The title and images of this work came from the website of Peizhou Forum (http://www.pzzc.net/read-htm-tid-7473386.html). The creation of Leg gun(06.15) originated from a selfie posted by Ai Wei Wei on Twitter and Instagram, in which he held his leg like a gun. After the initial post, Ai reposted more than a hundred of photos that imitated his pose, and called this group of photos Beijing Anti-terrorism Series. Meanwhile, he also uploaded a stage photo of a ballet drama popular in the 1960s, titled The Red Detachment of Women. After verification, the so-called “stage photo” was actually a dance performance photo of the students from the Department of Dance, College of Arts, Henan University, in the 7th Lotus Award Ethnic and Folk Dance Contest in 2010. Ai had obtained the image from the news, and humorously and playfully diluted its political tendency.

〈腿槍(06.15)〉Leg gun(06.15

漆、鋁板、錄像 Lacquer on Aluminum Plate, Video

120 x 90 cm

2014

(眼睛和嘴被魚兒吃了 Fish got my eyes and mouth.) (裝了行車記錄儀 After installing a dashcam.) (專家:港人已非二等公民 應擺脫殖民地思維 Expert: HK people are no longer secondary citizens, and should get rid of the colonized mindset.)
(中國最大威脅 The biggest threat to China.) (凡事莫裝,世外有高手 Don’t be a know-it-all. There’s always someone more brilliant.) (擦,打壞了!! Darn! Smashed!)
   
(第七屆中國舞蹈荷花獎校園舞蹈比賽《誓言》Oath, performed at the 7th China Lotus Award Ethnic and Folk Dance Contest.)    

 

此作的標題和圖像來源,為大陸熱門的博客網站「臭臭博客的博客http://blog.sina.com.cn/s/blog_7f8e854b0101ghyz.html」,鄭路及其創作團隊,以集體創作的概念和行動繪畫手法,先後擷取再現了〈朋友都去哪兒了(02.13)〉這個版面上的七張圖像,以表現主義繪畫風格將它們逐層描繪在鋁板上,最後則是用刮磨的工具和即興手法,讓七層圖面在破壞瓦解中融合成一種相當接近「抽象表現主義」風格的畫面,旁邊同步展出的錄像,除了作為這整個創作和製作過程的見證,在此也發揮了索引對照、時光回溯和逆向導讀的作用。

The title and images of this work came from a popular blog in China, called “Blogger Chou Chou’s Blog” (http://blog.sina.com.cn/s/blog_7f8e854b0101ghyz.html). Based on the idea of collective creation and using the technique of action painting, Zheng Lu and his creative team first obtained seven images from the blog entry, titled Where Have All the Friends Gone? (02.13), and gradually painted them on an aluminum plate in expressionist style. Afterwards, they used scraping tools and a spontaneous approach to damage and break down the seven overlapped images, transforming the painting into an image of abstract expressionism. The video documentation simultaneously displayed along the painting not only validates the entire creative and production process, but also serves as an index for comparison that help visitors trace the painting stages and have a retrospective reading. 

〈朋友都去哪兒了(02.13)〉 Where Have all the Friends Gone(02.13)

(環球時報刊文:紅歌有必要繼續唱下去 Global Times: It is necessary to keep singing red songs.) (小夥用20萬元積蓄折成999朵紙玫瑰求婚 A young man spent his savings of 200,000 dollars and proposed with 999 roses folded out of banknotes.) (城市忍者(有城市忍者之稱的俄羅斯攀高狂人瓦迪姆和維塔利) Urban ninjas. (Russian climbing daredevils, Vadim Makhorov and Vitaliy Raskalov, who are called urban ninjas.))
(一起享受奧運勝利的感覺(加拿大滑雪金牌得主與其腦性麻痺的哥哥,熱情擁抱歡笑的合照)Enjoy an Olympic victory. (Canadian gold medalist smilingly embraced his older brother, who suffers from cerebral palsy.)) (朋友都去哪兒了(中國的將來向誰學習?從國家領導人到普通百姓的子女大部分都在美國學習) Where have all the friends gone? (Whom should China learn from for its future? From its national leader to ordinary citizens, most of their children are studying in the US.)) (開場那一幕恍惚是東莞酒店的"選秀"(央視正熱播的電視劇「父母愛情」) The indistinct opening scene was actually a “selection of girls” in the night clubs of Tung Koon. (A hit TV drama on CCTV, Romance of Our Parents.))

 

此作的標題和圖像來源,為大陸「邳州論壇網站」

http://www.pzzc.net/read-htm-tid-7123543.html 〈馬小平(07.17)〉的創作,主軸為阿里巴巴前總裁馬雲,因肯定鄧小平「六四鎮壓」的言論,一時激起網友熱議並嘲諷地贈其新稱號「馬小平」,藝術家以此新聞時事為背景,做為創作的靈感來源。

The title and images of this work originated from Peizhou Forum (http://www.pzzc.net/read-htm-tid-7123543.html). The focus of the work Ma Xiaoping(07.17) was the former president of Alibaba Group, Ma Yun, who made an approving statement of the “June 4 Oppression” ordered by Deng Xiaoping and triggered a heated debate among internet users, who sarcastically gave Ma a new name, “Ma Xiaoping.” Inspired by the news, Zheng Lu subsequently used it as the background for his work. 

〈馬小平〉Ma Xiaoping

漆、鋁板、錄像 Lacquer on Aluminum Plate, Single Channel Video

120 x 90 cm

2014

(馬小平 Ma Xiaoping)

(唐慧:不斷上訪動力是相信法律希望遇到清官 Tang Hui: What drives me to keep petitioning is my faith in the law and the hope to meet a righteous official. )

(趙白鴿:中國紅十字會是最規範的社會組織之一 Zhao Baige: The Red Cross Society of China is one of the most normative social organizations.)

(解放軍發展「大規模說服性武器」對敵製造謠言 People’s Liberation Army has developed “massive persuasion weapon” to create rumors among enemies.)

(全國多地停止勞教審批 勞教所逐漸轉向戒毒 Many places in the country ended the review of re-education through labor. Labor camps are gradually transformed to treat drug addiction.)

(事情是真實的,死者是我外婆的親弟弟 The news is true. The deceased is my grandmother’s younger brother.)

 

在這抽象畫面中,鄭路將現典藏於梵蒂岡的藝術名作,由文策爾‧彼得繪製的〈伊甸園中的亞當與夏娃〉和戰地記者埃迪‧亞當斯鏡頭下〈槍殺越共〉、阿爾弗雷德‧艾森施泰的〈勝利之吻〉、以及馬克‧呂布反戰遊行的作品〈槍炮與鮮花〉等照片疊加磨組,透過錄像看到藝術家擇取圖像所隱喻的—人性的慾望與生存情狀的寫照,交疊出愛與暴力極端諷刺的心理張力。

In this abstract image, Zheng Lu overlapped, scraped, and recreated Peter Wenzel’s masterpiece, Adam and Eve in the Garden of Eden, currently collected by the Vatican Museums, Saigon Execution by photojournalist Eddie Adams, Alfred Eisenstaedt’s V-J Day in Time Square, and Marc Riboud’s photo of an anti-war demonstration, Guns and Flowers. Through the video, audience could see the implications in the artist’s selection of images as human desires and the human condition intertwined and gave birth to extremely ironic psychological tension of love and violence. 

〈無一物〉All is Void

漆、鋁板、錄像 Lacquer on Aluminum Plate, Single Channel Video

122 x 193 cm

2014

(〈伊甸園中的亞當與夏娃〉文策爾‧彼得繪製 Adam and Eve in the Garden of Eden painted by Pete Wenzel.)

(〈槍殺越共〉埃迪‧亞當斯 Saigon Execution by Eddie Adams. (〈槍炮與鮮花〉馬克‧呂布  Guns and Flowers by Marc Riboud.)
 
(〈自焚僧人〉大衛‧哈爾伯斯塔姆 The Burning Monk by David Halberstam.)

(〈勝利之吻〉阿爾弗雷德‧艾森施泰1945年 V-J Day in Time Square (1945)by Alfred Eisenstaedt.

 

 

此作的標題和圖像來源,為大陸熱門的博客網站「臭臭博客的博客http://blog.sina.com.cn/s/blog_7f8e854b0101hck5.html」,〈無人生還(03.25)〉的創作背景,為今年年初馬來西亞航空MH370班機失聯的新聞事件,3月25日是馬來西亞總理納吉布,依據英國航空事故調查署,綜合研究國際海洋衛星組織的分析數據得出結論,宣佈馬航於3月8日失去聯繫後,沿南航道飛行,在澳大利亞西部城市珀斯以西的南印度洋海域墜毀。

The title and images of this work came from an entry on the popular “Blogger Chou Chou’s Blog” in China (http://blog.sina.com.cn/s/blog_7f8e854b0101hck5.html). The creative background of No Survivors(03.25) came from a piece of news early this year regarding the Malaysia Airline’s missing flight, the MH370. According to the report of Britain’s Air Accidents Investigation Branch and combining analytic data from International Maritime Satellite Organization, Malaysian Prime Minister, Najib Razak, announced the conclusion on March 25 that the missing aircraft had flied along the south flight path after losing contact on March 8 in 2014, and eventually crashed in the water of the South Indian Ocean, west of the western Australian city, Perth. 

〈無人生還(03.25)〉No Survivors(03.25)

漆、鋁板、錄像 Lacquer on Aluminum Plate, Single Channel Video

120 x 90 cm

2014

(無人生還(馬來西亞總理納吉布召開新聞發佈會) No survivors. (The Malaysian Prime Minister, Najib Razak, held a press release.)

(轉自FB From Facebook. 

(踢出G8 (奧巴馬同時緊急召集七國集團(G7)討論如何制裁俄羅斯,包括將俄羅斯開除出G8俱樂部) Kicked out of the G8. (Obama called an emergency meeting with the G7 to discuss sanctions against Russia, including ousting Russia from the G8.))

(蘭州一幼稚園私自給孩子餵處方藥利巴韋林 A kindergarten in Lanzhou fed the children prescription drug, Ribavirin, without doctor’s order. 

(扭秧歌跳繩踢毽子放風箏 Dancing to the Rice Sprout Song, jumping rope, kicking shuttlecock, and flying kites. )

(無比漫長的一夜 A long, long night. )
   

(「穆兄會」500多名積極分子被處以死刑 More than 500 activists of the Muslim Brotherhood were sentenced to death. 

〈霧霾就像一個四處彌漫的演說家,正在動員越來越多的人成為反對派(02.24)The Smog is Like a Speaker Spreading Out in All Directions, Convincing More and More People to Join the Opposition(02.24)

 

 

此作的標題和圖像來源,為大陸熱門的博客網站「臭臭博客的博客http://blog.sina.com.cn/s/blog_7f8e854b0101gpv6.html」,「霧霾」是當前大陸生活環境棘手的問題,據網路上報導:霧霾天候這樣下去必然成為重大的政治問題,人人隱而憂之,一位官家保姆語出:「霧霾就像一個四處瀰漫的演說家,正在動員越來越多的人成為反對派。」成為高度發展下環境進行式中最適切的標語。

This title and images of this work came from the popular Chinese blog, “Blogger Chou Chou’s Blog” (http://blog.sina.com.cn/s/blog_7f8e854b0101gpv6.html). Smog is a troublesome environmental problem in China today. According to an internet report, smog would become a major political issue if the situation continues. Everyone in China worries about smog; a nanny in the household of an official said, “smog is like a speaker spreading out in all directions, convincing more and more people to join the opposition,” which has become the most appropriate statement in the highly developing environment. 

〈霧霾就像一個四處瀰漫的演說家,正在動員越來越多的人成為反對派(02.24)〉

The Smog is Like a Speaker Spreading Out in All Directions, Convincing More and More People to Join the Opposition(02.24)

漆、鋁板、錄像 Lacquer on Aluminum Plate, Single Channel Video

120 x 90 cm

2014

(Facebook用戶去世帳號將不再受限 Facebook stopped restricting accounts of deceased users.)

(李克強:市場主體「法無禁止即可為」Li Keqiang: the market “can do anything allowed by the law.”)

(誰說我大俄羅斯沒有幽默感 Who says the great Russia lacks a sense of humor?)

(梁文道:梁生有病,好驚自己有病… Liang Wendao: Mr. Liang is ill. He is so afraid that he is ill.)

(精神原子彈(憑自己的精神防護,不讓霧霾進到心裡) Mental atomic bomb. (Keeping the smog away from one’s mind with one’s mental protection.))

(袁騰飛:老先生,人生如霧,何處是路?給解一卦吧! Yuan Tengfei: Grandpa, life is like a fog. Where is the path? Have a read of the hexagrams!)

 

(鳳凰(中國藝術家徐冰用建築工地廢料製作的兩隻鳳凰在紐約展出) Phoenix. (Chinese artist, Xu Bin, used construction waste to create two sculptures of phoenix, which are displayed in New York.))

(我不希望當代中國人拿出1/3的生命時間再來回折騰 I don’t want the Chinese people today to waste one third of their life span to go through the torments.)

 

 

106展間 / R106

步入106展間,彷彿進入宇宙太空的無重力世界,一個懸浮的球體定格在半空中,而在其〈已知的圓周〉上不斷出現的是,四部投影機無縫銜接的動態影像,虛擬的水珠不斷滴落在白色的水球上,激起了一波又一波漣漪,這個一公尺直徑的球體本身,同時幻化成了水珠、水球、水池、海洋和星球的混合體,以無盡的流動展現了自然造化的無窮能量,並詮釋了天道運行、循環不息的本質。

Stepping into R106 is like walking into the space where gravity loses its pull as the room is occupied by a sphere floating in midair. Video image of seamless projection from four projectors can be seen on the installation, Known Circle. Virtual water drops continuously fall onto the white sphere, creating rings rippling through the surface. This sphere, one-meter in diameter, is reminiscent of a water drop, a water sphere, a pool, an ocean as well as a planet, demonstrating the infinite power of natural creation with ceaseless fluidity while representing an essential fact that the universe moves in a course of endless cycles.

〈已知的圓周〉known Circle 

樹脂、投影 Resin, Projection

直徑120公分 Diameter 120 cm

2015

 

107展間 / R107

107展間的〈PWM控制器〉,是鄭路仿製木琴,以不鏽鋼代替木鍵盤,以水當琴棒,細細地奏出清脆、圓潤、曲律優美的音律,透過模擬下雨的機械裝置,讓雨水滴落在能發出不同音高的「琴面」上;雨水本身落下的密度不同,流速各異,在循環之中不斷地發出不同聲響和回音。這〈PWM控制器〉,一方面能增加空間立體向度的聽覺感受外,另一方面,卻又將觀者拉回了動極思靜的一種心理狀態,闡述了事物存在與發展的天人合一境界。

PWM Controller displayed in R107 is Zheng Lu’s reinvention of a xylophone; he replaced the wooden bars with stainless steel ones, and used water to replace mallets to subtly create clear, mellow, and melodious music. With a mechanical device that simulates the effect of rain, Zheng arranges the water drops to fall on bars of different musical notes. As the density and speed of rain drops vary, different sounds and echoes are created in the cycle. On the one hand, PWM Controller enhances an audio experience in the space; on the other hand, it brings the audience back to a state of longing for tranquility after being active, and elaborates on the harmonious state between the existence and the development of all things. 

〈PWM控制器〉PWM Controller

複合媒材 Mixed Media

尺寸因空間而定 Dimensions Variable

2015

 

108展間 / R108

此作以直徑1.5毫米至3毫米不等的不繡鋼線為媒材,鋼絲表面經由電鍍處理,呈現斑斕色彩與光澤。鄭路讓三千公尺長的彩色鋼絲,以渾沌糾結、剪不斷,理還亂的姿態充斥整個展間,以此類比人類理性思維、情感慾望、個人和集體潛意識等等的複雜運作。此作的發想,來自美國電影「歡樂谷」(Pleasantville,1998)中,一對青少年姊弟,因緣際會地穿越到1950年代的黑白電視劇中,逐步為劇中的黑白世界及無趣人生,注入彩色視野和快活因子的故事與情節。鄭路以光色細微變幻的鋼絲,象徵了自由意志的化身,寫照了人類心思慾望的流動景觀,同時喻現了個體行為抉擇不免造成的整體失序狀態。「選擇」也許對所謂的「秩序」會造成破壞,但它也反映了個體對於各種「烏托邦」的內在恐懼。

Zheng Lu created this work with stainless steel cable of diameters ranged from 1.5 mm to 3 mm. The cable surface was electroplated to create an iridescent color and shine. Zheng filled the gallery room with three thousand meters of entangling, intertwining, colorful steel cable, and compared the mass with humanity’s rational thinking, emotional desire, and the complex operation of individual as well as collective subconscious. The inspiration of this work came from the American movie, Pleasantville (1998), in which a teenage girl and her brother found themselves entered into a black-and-white TV series of the 1950s for some reason, and gradually added color and happiness into the monochrome world and dull life. Zheng used the steel cable with its subtle colorful changes to indicate man’s free will, embody the stream of thoughts and desires, and imply the unavoidable collective disorder created by each individual’s actions and choices. While “making choices” could disrupt the so-called “order,” it also reflected every individual’s inner fear for different forms of “utopia.”

 

〈三千米煩惱絲〉在黑暗的場景中,藉由有形材料呈現的物象和光象,訴求了無形人性的存在與價值,也呈現了世界總是以變動和不定為常態的本質。

Displaying the existence of material and light with tangible material, 3000 Meters of Woe confirms the existence and value of intangible human nature and represents the essence of this world that its normalcy will always be change and uncertainty.

〈三千米煩惱絲〉3000 Meters of Woe

不鏽鋼 Stainless Steel

尺寸因場地而定 Dimensions Variable

2015

 

1F 西側樓梯間/Western Stairway 1F

〈榮譽的墳墓〉是2014年於摩納哥為保護鯊魚的海洋生態保育而作。在支架上以懸吊方式展出的是,鄭路以人類心臟為藍本的一件雕塑作品,細看則會發現,原來這顆寒光畢露的心臟,是用數萬支市售的釣魚鉤所串組而成的。魚鉤是躲藏在甜美誘餌底下,細小光滑而相當致命的凶器,用魚鉤來雕塑人心,將千百支致命凶器作為心臟結構的基礎,隱喻也諷刺了人心即是貪念、慾望和一切禍亂之源,以魚鉤做成的心臟,一方面藉喻了人類基於私心,對海洋生態的無窮肆虐,另一方面也暗示了人類將因包藏禍心,而導致自身危機的終極語境。

The Grave of Honor was created in Monaco in 2014, and was based on the objective of protecting sharks and the marine ecology. The work is a sculptural installation in the form of a human heart suspended in mid-air. However, when taking a closer look, visitors will see that the cold heart with its metallic shine is actually comprised of thousands of fishing hooks that could be purchased in stores. Fishing hook is a tiny, smooth yet deadly weapon usually disguised with a sweet, alluring bait. Using fishing hooks to make his sculpture and turning them into a heart, Zheng Lu implies that the human heart is the origin of all greed, desire and trouble. The murderous heart symbolizes human’s selfishness and insatiable greed over the marine ecology while implying that humans will eventually suffer a crisis of their own making because of the heart that harbors malicious intentions. 

〈榮譽的墳墓〉The Grave of Honor

不鏽鋼 Stainless Steel

160 x 160 x 200 cm

2015

 

相關教育活動 Educational Programs

【潮騷-鄭路個展】相關教育活動

藝術家面對面

《潮騷之聲•萬象之音》鄭路創作座談

2015/11/01 Sun. 16:00

主持:鄭乃銘/CANS當代藝術新聞雜誌總編輯

主講:鄭  路/藝術家

報名網址:

http://goo.gl/v8eXrV

MOCA講吧

《當代藝術中的哲學思維》

2015/12/06 Sun. 14:00

對談:

王品驊/彰化師範大學美術系助理教授

蔡幸芝/臺灣藝術大學藝術管理與政策研究所助理教授

報名網址:

http://goo.gl/XAcNjL

藝術工作坊

《Like a River─材質實驗工作坊》

2015/11/29 Sun. 14:00-16:00

主講:黃宣庭 Paz Huang/工業設計師

報名網址:

http://goo.gl/OsQz9h

專家導覽

2015/11/08 Sun. 13:00

講者:吳垠慧/中國時報文化副刊中心副主任

活動網址:

http://goo.gl/JYOypB

2015/11/15 Sun. 13:00

講者:張禮豪/藝評人

2015/11/22 Sun. 13:00

講者:謝東寧/藝術家、盜火劇團團長

2015/11/29 Sun. 13:00

講者:張禮豪/藝評人

2015/12/06 Sun. 13:00

講者:謝東寧/藝術家、盜火劇團團長

2015/12/13 Sun. 13:00

講者:林曉瑛/實踐大學工業產品設計學系助理教授

2015/12/20 Sun. 13:00

講者:吳垠慧/中國時報文化副刊中心副主任

2015/12/27 Sun. 13:00

講者:林曉瑛/實踐大學工業產品設計學系助理教授

MOCA LUNCH BOX 魔卡午餐盒

2015/11/18 Wed. 12:15- 13:00

2015/12/16 Wed. 12:15- 13:00

報名網址:

https://goo.gl/9inSCi