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

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【人的莊園-周慶輝個展 Animal Farm- Ching-hui Chou Solo Exhibition】

展覽名稱 Exhibit

【人的莊園-周慶輝個展】

 Animal Farm- Ching-hui Chou Solo Exhibition

展覽時間 Date

2015/03/28-2015/05/17

展覽地點 Venue

台北當代藝術館二樓展間 MOCA Taipei 2F

門票 Admission

NT$ 50

展覽介紹 About the Exhibition

【人的莊園-周慶輝個展】

 Animal Farm- Ching-hui Chou Solo Exhibition

從1990年開始,周慶輝透過攝影,深入寫照當代社會中的特定生活群體,他非常重視與對象團體之間的互動信賴,在按下快門之前,也要求自己對某些現象事實先做過調查研究和理解;歷年來,他的攝影作品雖從社會現實出發,並立意結合藝術表現手法和社會劇場概念,他相信「創作攝影」的言說方式,更足以呈現和詮釋人們熟知的一些生活故事。以「停格的歲月—痲瘋村紀事」為例,他說:「很多攝影人是拍完照片才開始組合構思,而我是先有攝影計劃才進行攝影工作。真正的恐怖不是痲瘋病本身,而是人們對疾病的想像,我想拍出人們對疾病的想像。第一個角度是他們如何面對死亡,因為他們得病之後的所有生活都在這裡,包括死後火葬、骨灰塔等。第二個角度是宗教,他們因病被隔絶在這裡,宗教寄託對他們而言非常重要,第三個角度是日常生活與醫療。」

Ching-hui Chou ’s work since the 1990s often features in-depth depiction of specific groups of people or communities in modern society. In all projects, Chou always ensures that his subjects have enough trust in him and that constant interaction is maintained. He also conducts research and investigation in advance for him to acquire sufficient understanding of topics before he presses the shutter. While inspired by social issues and events, Chou applies an artistic approach that seeks to interpret true stories through near-theatrical representations. He believes that the storytelling aspect of fine art photography is a more effective way of presenting and annotating familiar stories in our surroundings. In Frozen in Time: Images of a Leper Colony, for instance, “unlike those who organize and construct ideas only after photos are taken, I had the concept of the project all drafted out before heading out to take photos,” said Chou. “The real terrified thing is not leprosy itself, but the imaginations that people have about disease. I wanted to recreate common imaginations by regular people about leprosy through photography. I highlighted three angles. One was death as experienced by those afflicted by the disease. Their path to and after death was entirely confined in the sanatorium, including cremation and placement of cinerary urns. The other angle was religion. Spiritual support became tremendously important for those who were quarantined. The third was their daily life and medical treatment they received,” he explained.

 

周慶輝此次個展【人的莊園】,源自一個長達五年、投入眾多人力與資源的拍攝計畫;他以動物園為創作發想和拍攝場域,雙向鋪陳了現代文明生活的浮華與困境;整個創作過程,包括構想文案、申請場地、籌募資金、徵求演員、張羅設備、製作道具…等各階段工作和複雜流程。直到最近的二年,他帶著工作團隊反覆進駐新竹市立動物園及高雄市壽山動物園,在既有的環境裡搭台造景,在清晨與黃昏時刻造境演出,在野生動物聚集的人工飼養環境中,置入了夢幻化的表演舞台劇場和真實感的家居生活空間,以荒謬、錯置的手法,讓活生生的人類搭配標本化的動物,在一種既是家園也似牢籠、從文明內室延伸到野外自然的詭譎情境中,共同演出一齣齣看來視覺華麗卻又啞然無語的默劇。

Animal Farm, Ching-hui Chou ’s solo exhibition at MOCA Taipei, is based on his five-year-long photography project that involved a large team and significant funding. In this project, Chou turns to zoos as his muses and sites of actual photo making, where vivid tableaus are created to suggest the sumptuous yet often baffled life of modern civilization. The project entails a series of tedious and complex tasks such as writing project proposals, applying permission for site use, fundraising, casting actors, preparing equipment, and producing photography properties. In the past two years, he and his production crew stayed at Hsinchu Zoo and Shoushan Zoo several times, each over an extended period of time to execute the project. Theatrical sets were fabricated against the zoo environment where the actors played their assigned roles as photos were taken at dawn and dusk. By so doing, Chuo inserted surreal theatrical scenes and lifelike vernacular spaces into artificial enclosures in which wild animals were brought together and domesticated. Absurdity and displacement were emphasized as the artist situated humans among animals that were reminiscent of specimens. The home now looked like a cage, while the border between manmade interiors and the wilderness became blurred. A series of eerie yet visually opulent images were formed, much like still photos of stage plays jointly presented by the human beings and the animals in them.

 

本次展出,含括三大框架:一、身體意識的框架;二、生存意識的框架;三、集體行為意識的框架。作品內容包括演員的定裝肖像照、九幅在動物園排演拍攝的史詩式超大影像,九個以攝影棚及回收廠為演出場域的錄影裝置,一個讓觀眾進入體驗內部情境的大象房間,和一個冷眼旁觀棕熊生活環境與動態紀錄的多媒體裝置。對周慶輝而言,他的創作攝影除了展現社會觀照的意圖和視覺力量,另有一層伸張自我的重大意義,就是「透過影像代替我存在的價值,告訴別人我在想什麼?透過攝影創作讓我的生活更多樣性!」 

This exhibition is organized under three themes. The first theme, Bodily Existence, the second theme, Life Boundary, and Social Environmental Frame represents the third theme. On display include portraits of actors in their stage look, nine epic large-scale photographs staged and shot at zoos, and nine videos of performances recorded at the studio and a recycling center. Also featured in the exhibition are an elephant barn that allows the audience to enter and experience the photo shooting backdrop and a multimedia installation through which the behaviors and living environment of brown bears can be observed. For Ching-hui Chou, photography represents a tool for social observation and reflection and demonstrates the power of images. It also provides means for validating one’s self and existence. That is, in Chou’s words, “Speaking my mind through images, which in turn accounts for the value of my existence. Through photography, I can experience more possibilities of life.”

 

展覽概說 Exhibition Statement

周慶輝的攝影作品全數以8x10吋彩色大底片進行拍攝,透過精緻細膩且色彩飽滿的影像,顯現超越肉眼所見的畫面質地,結合一種超現實的景境氛圍,引導觀者逐步搜索檢視畫面中的所有元素和每個角落,從謎樣的畫面中尋找解讀的線索,與個人的生活經驗產生連結或共鳴。借用新竹及壽山動物園現場拍攝作品時,周慶輝刻意選在日夜轉換之際進行拍攝,他認為這個光色模糊/明暗過渡的時刻,正可以對應書寫人類心理顯性與隱性層面的交疊狀態。

Ching-hui Chou’ s photographs were all shot with 8 x 10 format color films. Through these exquisite images with saturated colors, he was able to present a visual quality that surpassed ordinary vision. Combined with a surrealistic scene and atmosphere, he guided the audience to gradually inspect all the elements and details in the images, searching for clues for interpreting these mysterious pictures to connect or resonate with their personal experiences. Chou negotiated to use Hsinchu Zoo and Shoshan Zoo in Kaohsiung as the sets of his photography project, and deliberately chose the twilight moment to shoot his works. In his opinion, the moment when light and colors blurred as well as when day transitioned into night was the perfect temporal equivalent for delineating the overlapping condition of the overt and covert tendencies in human psyche.

 

在開創一種宏大劇場、社會論述型的「編導攝影」之同時,他也特意為場中的個別角色拍攝一種近觀的、同情意味的人像,這些基於70年代流行服飾與造型風格的世俗人物,除了關聯到藝術家本人對過去某個美好年代的特殊懷念,藉由呈現一個個自然人的面容姿態,反而對映出他們置身當代社會文化大環境中,因無法擺脫而日漸麻木的人文處境。

While creating this so-called “directed photography” that is grand and theatrical in style and serves as a form of social discourse, Chou has also made close-up, sympathetic portraits for individual character on his sets. These secular characters were styled in fashionable clothing and looks from the 70s, revealing the artist’s particular, nostalgic feelings for a certain belle époque in the past. The representation of their clear visages and postures as ordinary people, on the other hand, contrasted the inescapable yet gradually numbing human condition in the contemporary social and cultural environment they lived in.

 

【人的莊園─周慶輝個展】講座回顧

    Animal Farm- Ching-hui Chou Solo Exhibition Project Video

 

【人的莊園-周慶輝個展】展覽問卷

     喜歡本次展覽嗎?歡迎填寫展覽問卷,謝謝您的支持與鼓勵!

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

周慶輝,畢業於世界新聞專科學校,1988年正值解嚴後新聞媒體蓬勃發展,他基於對攝影的強烈興趣,一方面進入了講究時效的新聞攝影行業,一方面卻自行投入了窮年耗月的幾個專題攝影計畫,包括:「停格的歲月—痲瘋村紀事」、「消失的群像—勞動者紀事」、「野想—黃羊川計劃」…等。他榮獲了台灣新聞年度攝影獎、「映像與時代—中華民國國際攝影藝術大展」的報導類銀牌獎、台北攝影節報導類特別獎、金鼎獎…等榮譽獎項。近年來,他從事展覽策劃和攝影出版外,仍不斷推出新的專題攝影計畫,並多次應邀參與國際攝影大展。

After graduating from Shih Hsin School of Journalism, Ching-hui Chou joined the fast-paced media industry as a photo journalist in 1988. During this time, the industry had just begun to thrive with newfound freedom of speech as a result of the lifting of multi-decade-long martial law in Taiwan. It was also at this time that Chou started to pursue his passion for photojournalism and embarked on several self-funded projects. These include Frozen in Time: Images of a Leper ColonyVanishing Leagues: Images of Workers and Wild Aspirations: The Yellow Sheep River Project. His unique way of looking at things and outstanding execution of these projects soon won him recognitions such as Taipei’s Annual Journalism Award in Photography, the Silver Medal in reportorial photography at the ROC International Photographic Art Exhibition, the Special Award in reportorial photography at Taipei Photography Festival, and the Golden Tripod Awards. His works have been shown internationally at major photography exhibitions.

作品介紹 About the Artworks

R205

205展間的作品組件,包括在新竹動物園「銀長臂猿」園區拍攝的一件超大場景影像,和從影像文本中獨立出來的四幅人物肖像。主作品中的空間場境,從背景到近前方,包含了幾個平行鋪陳而具有對比意義的元素:最遠處是一片橫過畫面的真實樹林,緊接著出現的是一棟彩繪了原始叢林圖像,作為動物棲息所的真實水泥屋,和藝術家現場搭建,混合了賣場與家居空間的臨時樣品屋;而近前方原做為動物活動和公眾展示的空地,則被藝術家轉換成了現代消費社會和家居生活的複合劇場。人類在這個動物園改造的莊園中演出生活的默劇,乍看衣食無虞、平靜祥和,如伊甸園的優詩美境,似乎也隱藏了人類受困某境,無法跨越電網雷池的另一層意涵。

The works in Room 205 is a set of artworks that includes a photography shot on a large-scale set that used to be the living area for Müller’s Bornean gibbons in Hsinchu Zoo, and other four individual portraits singled out from the former large image. In the spatial setting of the main work, several elements were juxtaposed for compare and contrast from the background to the foreground. The farthest were real woods spanning across the image; then, one could see concrete buildings painted with jungle images that used to be a resting place for animals, and the temporary settings that mimicked supermarket and living spaces built by the artist. As for the foreground, which was meant to be a living space as well as a public display space for the animals, was transformed into a diverse theater of modern consumption society and domestic life. Humans performed a pantomime of daily life in this farm converted from a zoo. It appeared to be this poetic, beauteous Eden on Earth, seemingly satisfying, worry-free, quiet and peaceful; however, at the same time, the scene indicated the fact that the human species has been trapped in this condition without being able to break free from the confinement.

〈人的莊園No. 02〉Animal Farm No. 02  

純棉無酸相片紙 Inkjet Print

360 x 274.3 cm

2014

 

〈人的莊園No. 18〉Animal Farm No. 18、

〈人的莊園No. 25〉Animal Farm No. 25

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

〈人的莊園No. 30〉Animal Farm No. 30

〈人的莊園No. 31〉Animal Farm No. 31

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

2F走廊 2F Hallway

2F走廊展出的,一是利用204、203、202展間中六件主攝影作品中的實體道具,如:針筒、木馬、玻璃瓶、壁紙…等,重新組合並和現場空間對話的物件裝置,二是拍攝過程中,於新竹動物園和高雄動物園現場,所錄製的各種動物聲音和環境音響,這些聲音用來連接貫串不同的展間和作品,也用來擴充觀者的體驗和想像。

The artist presents nine sets of photographical works in this exhibition, and in each of these sets, he has intentionally placed some pretty and nostalgic decorative patterns in the scenes of contemporary life. They might be large wallpaper or small sitting pads. In the portraits of secular characters, these patterns became totemic backgrounds that foiled the characters. In fact, these foreign patterns were taken from Examples of Chinese Ornament, edited by Owen Jones (1809-1874) in 1867, which were manifestations of oriental visual culture and living aesthetics from the Western perspective. The pattern in the hallway was selected from the nine ornamental patterns, and functioned to complement and contrast these props, enabling them to be viewed as artworks with equal attention.

 

周慶輝此次展出的九組攝影作品,都刻意在當代的生活場景中,置入一種美麗懷舊的裝飾性圖案--有時是大壁紙,有時只是小坐墊,而在其世俗人物肖像中,這些圖案則躍昇成為襯托不同角色的圖騰式背景。這些看似舶來洋風的圖案,出自1867年英國人歐文•瓊斯 (Owen Jones, 1809–1874) 所編的《中國紋飾寶典》 (Examples of Chinese Ornament),原來是西方人眼中,東方視覺文化與生活美學的產物。在這個走廊中用來烘托、凸顯這些道具,使它們躍昇為某種作品而被平等觀注的,也是這九種紋飾圖案中選出的三組。

Real props used in six main photographical works shown in Room 204 , Room 203 and, Room 202 are exhibited in the second floor hallway, including syringes, hobbyhorse, glass bottle, and wallpaper. They are rearranged in new combinations and presented as installations to form dialogues with the museum space. In addition, sounds of different surroundings and animals recorded during the photo shoots in Hsinchu Zoo and Shou Shan Zoo can also be heard throughout the space; the sounds function as an agent that connects the galleries and artworks, expanding the exhibition experience and imagination of the audience.

 

R204

204展間透過兩件大型攝影作品和四件人物肖像,呈現和探討的是有關於生命延續和身心調適這兩個既獨立也相關的人生議題。

In Room 204, through two large photographs and four character portraits, the artist reveals and explores two individual yet inter-related issues about the reproduction of life and the balance of body and mind.

 

〈人的莊園No. 04〉利用壽山動物園的「黑猩猩」牢籠,搭造了左右完全對稱的兩個房間,右方氣氛冷清的書房,雖然工作暫停、空無一人,但牆上法蘭西斯·培根 (Francis Bacon) 面孔扭曲的人像,和室外虎視眈眈的標本動物,隱約道訴了工作的緊張和壓力;左方是夫婦共處的臥室,牆上掛著莊園美麗的聖母哺嬰圖像,現場是男主角注視著女主角施打黃體素的一幕,燈光溫暖事物井然的空間情境,透露了「有子萬事足」的心理期待。但是左右兩個空間情境的串聯和對照,也訴說了當代人夾陷在事業與家庭之間,難以兩全的普遍困境。

Animal Farm No. 04 is a work that makes use of the chimpanzee cage in Shoushan Zoo. The artist built two completely symmetrical rooms. On the right was the lonely study, in which the work was paused, and no one occupied the room. However, the portrait of Francis Bacon with a distorted face on the wall and the staring animal specimens outdoors all seemed to imply the stress and tension from the work field. On the left, one could see the couple’s bedroom with a painting of the breast-feeding Holy Mother above the headboard. The husband was watching his wife giving herself an injection of Progesterone. The warm lighting and the orderly space seemed to speak the anticipation of “having a child would make the content life.” Nevertheless, the juxtaposition and comparison of the two spaces also materialized modern people’s common dilemma of being sandwiched between career and family and unable to have both at the same time.

〈人的莊園No. 04〉Animal Farm No. 04

純棉無酸相片紙 Inkjet Print

194.25 x 148 cm

2014

 

〈人的莊園No. 26〉Animal Farm No. 26、

〈人的莊園No. 27〉Animal Farm No. 27

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

〈人的莊園No. 06〉Animal Farm No. 06

純棉無酸相片紙 Inkjet Print

194.25 x 148 cm

2014

 

〈人的莊園No. 06〉在壽山動物園的「黑冠猴」園區裡,搭建了前低後高的兩個平台,讓觀者一從前景一路透視到遠方,也看到了扮演病患的女主角先後出現在家居空間,以及醫療處所中的連續劇情。乍看時尚高檔的家居環境,從地板到各種家具都蒙上了憂鬱的深藍色調,面容和衣著同樣素白的女主角坐在其中活像病人;中景再次出現的女主角,身穿華貴的藍色旗袍,在診療椅中擺出優雅姿態,嚴肅地望著前方的自己,好像正喃喃訴說著,生活優裕也無法揮除的精神困境;坐在旁邊另一小室中的心理醫生,雖然維持和病患幾乎相同的視野景觀,也用心傾聽病患心聲和製作筆記,但於此和病人並無互動,從前方那道看得透而穿不過的鐵絲網,到後方那片看不到外頭的大圍牆,再再強化了醫者無力、患者無助的挫折情境。

Animal Farm No. 06 is a work shot in the viewing area of the celebes crested macaque in Shoushan Zoo. The chic, fashionable home was shrouded in depressive navy tone from the floor to the furniture. The pale-faced woman wearing a white robe was like a patient amidst the surroundings. In the middle distance, the female character appeared again in glamorous blue cheongsam, posing in elegance on a clinic chaise lounge chair. Her stern stare into the front seemed to murmur in soft words that a well-off life could not eliminate psychological struggles. A psychotherapist, sitting in a stall and maintaining a similar stare as that of the patient, listened carefully to the patient and jotted down notes; however, he had no real interactions with the patient. From the wire meshes that could be seen through but allowed no physical accessibility to the high wall at the back that excluded a view of the outside, the image reinforced a mood of frustration, saying that doctors feel powerless and the sicks feel helpless.

 

〈人的莊園No. 16〉Animal Farm No. 16、

〈人的莊園No. 17〉Animal Farm No. 17

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

R203

203展間透過兩件大型攝影作品和四件人物肖像,探究現代消費系統與科技應用,對人類的作息與行為,所造成的深遠影響。

The two large photographs and four portraits in Room 203 investigate the profound impacts of modern consumption system and technology application on human work and rest routines and behaviors.

 

〈人的莊園No. 01〉拍攝地點為新竹動物園飼養/展示「褐狐猴」的籠舍,周慶輝透過左右對稱的廊道拱門取景,讓我們看到了明亮的玻璃櫥窗內,兩對青年男女正在鐵籠前健身塑型的活動。室內擺設的古典三美圖和現代明星海報,意味了力與美均衡發展的身體嚮往,但這種斗室內的程式化運動,似乎以「外貌體態」的追求凌駕了「健康體質」的獲得。藝術家營造了這種看似旁若無人、快活自在的場面,一則呼應了健美塑身中心強調「顯示與招睞」效應的店面設計,二來引導我們像觀看動物一般,重新去觀看/檢視這種日漸時尚產業化的愛美運動。

The work Animal Farm No. 01 was photographed at the cage where the brown lemurs were kept and displayed in Hsinchu Zoo. With its symmetrical arch structures, Chou presented two pairs of youthful men and women that were working out in front of the iron cages behind the bright glass windows. A painting of classic beauties and a poster of modern stars referred to the longings of physical refinement with a balance between beauty and power. However, this kind of formulated indoor exercises seemed to emphasize the pursuit of “appearance and figure” instead of improving one’s health. Through this scene with characters ignoring others and enjoying themselves, Chou responded to the store design of general fitness centers and their emphasis on the effect of “showing off and attention-seeking”; furthermore, as if watching the animals in a zoo, the audience were guided to re-examine and re-inspect this trend of beauty-seeking that has been leaning towards the fashion industry.

〈人的莊園No. 01〉Animal Farm No. 01

純棉無酸相片紙 Inkjet Print

194.25 x 148 cm

2014

 

〈人的莊園No. 20〉Animal Farm No. 20、

〈人的莊園No. 21〉Animal Farm No. 21

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

〈人的莊園No. 08〉拍攝場景為新竹動物園的「紅毛猩猩」園區,在這混合了真實與虛擬的自然場景中,周慶輝錯落安排了六位孩童演員,其中四位透過管線彼此牽引聯繫,也透過手電筒相互定位尋找,一位女孩透過空飄氣球傳播訊號,另一位女孩則獨自坐在平台上,冷眼旁觀一切。在這好像是封閉陷阱的空間場景中,六個演員似乎正同步演出一場尋找個人夥伴和共同出路的戲碼。當前,智慧型手機功能日益強大、傳播媒介不斷發展進步,新的通訊方式和社群網路,以快速方便和無遠弗屆,取代了面對面的人際交流。這組作品呈現的視覺情境,強烈印證了這個透過通訊傳播即能形成網路社群的時代,卻有越來越多人感覺到「有連線卻孤單」的社會新現象!

Animal Farm No. 08 was shot in the orangutan area in Hsinchu Zoo. In this natural setting that merged real and virtual elements, Chou placed six child actors on different spots; while four of them were connected to each other through hoses and sought out one another with flashlights, one girl was sending out communication signals via air balloons, as the other girl sat on a platform, calmly observing the on-going event. In this setting that hinted at an enclosed trap, all six actors performed a play of searching for personal companions and a common way out. Nowadays, smart phones have become more powerful, and the mass media have progressed and developed continuously. New means of communication and Internet communities have replaced face-to-face interpersonal exchanges in a fast-paced and unbounded way. The visual presentation of this work provided strong evidence for “being able to be connected on-line but still feeling all alone,” a new social phenomenon felt by more and more people in an era that Internet communities could be formed easily through communication media.

〈人的莊園No. 08〉Animal Farm No. 08

純棉無酸相片紙 Inkjet Print

194.25 x 148 cm

2014

 

〈人的莊園No. 10〉Animal Farm No. 10、

〈人的莊園No. 11〉Animal Farm No. 11

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

R202

202展間透過兩件大型攝影作品和四件人物肖像,呈現並探討「性別認同」和「老年安養」這兩個上、下世代正各自遭遇的課題。

The two large-scale photographs and four portraits in Room 202 reveal and discuss the issues of gender identification and senior care, which the older and younger generations are facing right now separately.

 

〈人的莊園No. 09〉以壽山動物園的「河馬」園區為基地,以綵帶、大紅色的燈籠、門聯、喜幛等簡單的道具,營造了新婚喜慶的場景和一種謎語式的戲碼。近景一位演員,身著新娘白紗卻有著男性面容正站在池塘邊溺尿,不知是將進場或不進場;中景的新娘正平靜地走向右方的瀑布,婚紗後襬染了血漬,不知本身未察覺或不在乎,男女性別混淆的雙胞胎持花在場見證,但後方卻空著一對太師椅,不知是長者還未到或不認同,中間這道水泥仿木欄杆,明顯區隔了場外單獨自在的「不做作行為」和場內眾人監看的「儀式化活動」。在這「公開喜慶」的場合旁邊,周慶輝借助現場的石牆和池塘,也同時隔出了「私密歡愉」的第三場域,池中以充氣假人和泳圈、浮筒營造一種失樂園的景觀,再現了慾望從潛意識中浮現的情境。

The work Animal Farm No. 09 made use of the hippo area in the Shoushan Zoo, creating a wedding scene as well as a riddling drama. In the foreground, a figure with a male visage in a white wedding dress, either entering the location or exiting it, was urinating by the pond. In the middle distance, a bride was calmly stepping towards a waterfall on the right; the back of her dress was stained with blood, and the audience could not tell whether she did not notice or simply did not care. A twin that hard to tell male or female with flowers in their hands were there to witness the ceremony, yet the Chinese antique chair at the back were empty, signaling the absence or disapproval of the elders. Chou employed the existing concrete wall and pond to form a third site that embodied “the private joys.” The inflatable doll, the lift ring and the float formed together a scene of the lost paradise, representing the surfacing of lust from the subconscious.

〈人的莊園No. 09〉Animal Farm No. 09

純棉無酸相片紙 Inkjet Print

194.25 x 148 cm

2014

 

〈人的莊園No. 19〉Animal Farm No. 19、

〈人的莊園No. 24〉Animal Farm No. 24

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

〈人的莊園No. 03〉應用了壽山動物園的鳥園空間,同樣搭造成左右分割、情境對比的兩個空間。左邊的室內空間,配置了齊全的家居事物和觀音、老松、白鶴等祈求平安福壽的象徵物,但呈現了男性老者以病人姿態,在沙發中坐待時光流逝的場面;右邊陽台空間作為對照的是,一位坐在輪椅上的老婦人,在白鷺家園的背景前,正平靜欣賞著夕陽無限好的安祥畫面。老化是人類無法避免的宿命,就像鳥園上空那無法飛越的羅網一般,但如何度過老年則是一種心志態度和人生抉擇。

Animal Farm No. 03 adopted the birdcage in the Shoushan Zoo. Chou constructed two spaces on left and right that presented a contrast of circumstances. On the left, the indoor space was fully equipped with domestic objects and filled with symbols of safety, peace, good fortune and longevity, such as the bodhisattva statue, an old pine tree, and a crane. However, the elder man was sitting on the sofa like a patient as time passed by. On the right was the contrasting balcony space, where an old lady on a wheel chair was quietly appreciating the harmonious sunset and its glory with the egrets in the background. Aging is the inevitable fate that human beings must face, just like the net cast over the birdcage that allows no escape. Nonetheless, how to spend the twilight years all depends on one’s attitude in mind and decision in life.

 

〈人的莊園No. 03〉Animal Farm No. 03

純棉無酸相片紙 Inkjet Print

194.25 x 148 cm

2014

 

〈人的莊園No. 12〉Animal Farm No. 12、

〈人的莊園No. 13〉Animal Farm No. 13

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

中樓梯、R201

中樓梯展出的現場裝置,應用了周慶輝為拍攝〈人的莊園No. 05〉而特別開模印製的二千多枚大錢幣,以及高達兩公尺的一座大鳥籠,將當代館既有的樓梯間轉化成一個寓言的空間。指涉慾望和財富的巨量錢幣,如瀑布或土石流般順著階梯傾瀉而下,展現了攻城掠地的力量之同時,也鋪陳了向下沉淪的另一可能;懸掛在現場半空中的鳥籠,呼應了地面的錢潮,一面象徵了體制/道德對人性的各種約束與管理,另一方面也暗示了人類慾望不斷脫籠而出的衝動。

The site-specific installation in the middle stairway made use of a giant birdcage that was two meter in height and over two thousand large coins, which Chou specially forged for the photo shoot of Animal Farm No. 05. The installation turned the existing staircase of the museum into an allegorical space. Thousands of coins, signifying desire and wealth, cascaded down the stairs like a waterfall or landslide, demonstrating a force that was capable of capturing territories as well as displaying another possibility of sinking lower and lower. The suspended birdcage responded to the “flow of coins” on the floor. On the one hand, it symbolized the restraint and control on humanity powered by the authority or morality; on the other hand, it implied that human desire would always try to break free from the confining cage.

 

〈人的莊園No. 37〉

Animal Farm No. 37

鐵片印刷 Print on Iron Plate

直徑12.5公分,尺寸因場地而異

Diameter 12.5cm, Dimensions Variable

共2000片 2000 Pieces

2013

〈人的莊園No. 40

Animal Farm No. 40

竹子 Bamboo

直徑140公分、高200公分 Diameter 140cm Height 200cm

 

2015

 

 

R201

〈人的莊園No. 05〉將壽山動物園的「北非髯羊」區營造成一個「藝術與市場」的無聲劇場;場中,除了金幣和銀幣灑滿地面各處,從左下到右上,周慶輝也順著地形安排了四位畫家的演出和作品展示,很明顯,這既是一個藝術的世界,也是一個金錢的世界。細看,這四位畫家也代表了不同的藝術取向:最右上方的一位,望著鳥籠中的現代建築標本,畫架上呈現的是 安德魯·魏斯(Andrew Newell Wyeth)《克莉斯汀娜的世界》(Christina's World) 的畫作;右下方的第二位,在描繪食物的光影參考了藝術性的雕塑,畫架上出現的卻是象徵戰爭與飢荒的新聞圖像;中間的第三位,以蜷縮睡在街頭的流浪漢為模特兒,完成的卻是躺臥自在的裸女;左下角的第四位,遠觀三位畫家所繪製的抽象意涵,而直接以各國元首鈔票上的頭像合成作品,但在他腳下四周佈滿代表權力與資本的錢幣,卻是這四者當中最多的。

In Animal Farm No. 05, Chou transformed the Barbary sheep area in Shoushan Zoo into a silent theater of “art and the market.” In the image, in addition to the gold and silver coins spilled all over the ground, from the lower left corner to the top right corner, Chou followed the terrain and arranged four painters to perform and display their works. Obviously, this is a world of art as well as a world of money. Taking a closer look, these four artists also represented different artistic preferences. The artist on the top right corner gazed into a modern architectural model in the birdcage, but the painting on his easel was the artwork Christina's World of Wes Anderson. The second painter on the lower left corner was pondering upon an artistic sculpture, but on his easel was an image of documentary report revealing war and famine. The third painter in the middle used a model, huddled up as if sleeping on the street. Nevertheless, the subject of his painting was a naked woman lying down at her ease. The forth painter on the lower left corner was not using any physical references; he simply composed his work with head portraits from the banknotes of different countries. However, the amount of coins around and under his feet, which represented the market value and monetary gains, topped all the other artists.

〈人的莊園No. 05〉Animal Farm No. 05

純棉無酸相片紙 Inkjet Print

230 x 274.3 cm

2014

 

此作以一種超現實的手法,在壽山動物園豢養黑豹的籠區中,置入了女性私密的活動,整個畫面包含了三個不同指涉的區域:一、外圍的夜色天光和樹林景觀,象徵自然的環境;二、中間由水泥建造的圍城,作為動物的牢籠;三、最內圈鐵欄杆所圍成的區塊,縮寫了文明生活的場域,但這個看來最明亮自在的空間,也明顯有著「牢中牢」、「籠中籠」的一層意義。畫面中穿著貼身內衣的女主角,旁若無人而面帶愁容地,正在鏡前檢視自己猶有血跡的鼻樑,而觀者也不難從她腰部的縫線察覺,她也同時做過抽脂手術。兩旁擺設的高跟鞋、名牌包、高級訂製服、珠寶、化妝品、芭比娃娃等,再再點出了,現代女性對身體樣態和服飾裝扮的美感追求,已陷入了宗教迷信或無法自拔的地步。

Through a surrealistic approach, a private female activity is instilled inside an isolated area in Shoushan Zoo where black panthers are kept. The entire image includes the following three distinctive areas: 1. A night sky with trees in the periphery, symbolizing a natural surrounding; 2. A concrete fortress in the middle, signifying an animal cage; 3. An area enclosed by metal bars at the innermost section, indicating a zone of civilization; however, this seemingly bright and free space is also clearly “a jail within a jail”, “a cage within a cage”. The female protagonist in her underwear looks self-absorbed yet melancholic, as she examines her bleeding nose in front of a mirror. Moreover, spectators can also see from the stitches on her waist that she has received liposuction. The high heels, designer bags, couture garments, jewelries, cosmetics, Barbie dolls around her indicate modern women’s pursuit of beauty through their physical appearance and the way they dress, with the out of control infatuation turning into something similar to religious zealousness.      

〈人的莊園No. 07〉Animal Farm No. 07

純棉無酸相片紙 Inkjet Print

230 x 274.3 cm

2014

 

〈人的莊園No. 23〉Animal Farm No. 23、

〈人的莊園No. 29〉Animal Farm No. 29

純棉無酸相片紙 Inkjet Print

108 x 148 cm

2014

 

R201

進入201大展間,左手邊展出的是一棵用不銹鋼流刺網編織纏繞而成,高達三公尺的盆栽鐵松樹;這棵樹的原型,即是裝置在本展覽入口牆面上的塑膠小松樹,而在這次展出的所有大型攝影作品中,都可以發現這一棵樹的蹤跡-有時擺放在明顯重要的位置,有時出現在不起眼的角落。盆栽植物的培育,因強調造型與結構之美,而往往刻意用繩線鐵絲等,來控制植物的生長和體態。周慶輝刻意把這一只盆栽松樹置入每個攝影場景中,除了當作劇場道具或空間裝飾物,或許更有一種象徵符號的作用和意義,例如,用來象徵對各種困境的適應,用來類比人類本身也是被有形無形的各種線繩牽拉,或甚至被綑綁扭曲,或當成一種作家簽名、藝術認證的記號。

A three-meter high potted metal pin tree created with woven and wrapped stainless steel netting is on display to the left in Room 201. The prototype of the tree is a small plastic pine tree located on the wall by the entrance of the exhibition, and this tree can be sighted in all the large-scale photographs on display, with it sometimes placed in an important and obvious spot and in an insignificant corner elsewhere. Bonsai is often intentionally wrapped with strings or wires to create desired shapes and structures by controlling the plants’ growth and form. This potted pine tree is intentionally instilled in each of Ching-hui Chou’s photography scenarios, and besides acting as a theatrical prop or a decorative object, it also holds further symbolic purpose and meaning. It could be regarded as a symbol for adjusting to various obstacles, with the strings representing different tangible or intangible constraints that people are bonded or distorted by. On the other hand, it could also be thought of as the artist’s signature, a mark of his artistic identity.  

〈人的莊園No. 36〉 Animal Farm No. 36

枯木、陶土、塑膠、鋁條 Withered Wood, Clay, Plastic, Aluminum

70 x 60 x 50 cm

2013

〈人的莊園No. 45〉Animal Farm No. 45

鐵、刀片蛇籠 Iron, Razor Barbed Wire

360 x 280 x 300 cm

2015

 

周慶輝為了創製【人的莊園】系列,多次率隊進入新竹和高雄的兩座動物園工作,除了借用不同動物的園區和籠舍,拍攝人類文明寓言式的作品,他也實際關注到了,動物園這種人為的環境和空間,對於原本野生的動物,所造成的箝制和影響。201展間展出的〈人的莊園No. 35〉和〈人的莊園No. 39〉,即是他實地觀察和省思後,從動物的角度去設想創作,讓觀眾進行身心體驗的另一作品系列。

For his Animal Farm series, Ching-hui Chou visited the zoos in Hsinchu and Kaohsiung with his team on several occasions. In addition to using different areas and cages for various animals in the zoos to photograph his allegorical works reflecting human civilization, he has also noticed the constraints and impacts that the wild animals are put under in the zoos’ artificial setting. Exhibited in Room 201 are Animal Farm No. 35 and Animal Farm No. 39, which are inspired by his onsite observations and reflections. Created by envisioning the animals’ perspectives, the audience is able to engage in physical and mental experiences through these artworks.  

 

棕熊體型壯碩,具有領土意識和致命力量,被囚養在動物園的空間環境中,卻經常神態不安而來回徘徊,鐵籠內的空間雖然寬闊有餘但有巨大的鋼柱,實已斬斷生命和自然的連結,無法舒活動物靈魂。〈人的莊園No. 35〉以大畫面的靜態攝影結合動態錄像,讓觀者一方面如臨現場,感受鐵籠的巨大冰冷,另一方面,透過小螢幕中播出的影片,讓我們透過鐵籠縫隙窺看棕熊在裡面生活的紀錄。

Brown bears are large in size and are territorial animals with lethal strengths; however, being kept in captivity, these bears are often seen wondering restlessly. Although their caged area is quite spacious but still with steel columns, they are, nonetheless, cut off from connections with nature, with their primal instincts unable to be freely released. Animal Farm No. 35 is composed of large still images combined with moving video footages. The audience is made to feel like they are present on location inside the massive yet stern cage. On the other hand, the video displayed on the small screen gives the audience a glimpse of the bears’ everyday life.       

 

大象是陸地上現存最大的哺乳類動物,雖然個性溫和,被豢養在動物園後,也不免出現情緒焦慮和奇怪行為,例如反覆將自己的糞便甩向籠舍牆壁甚至天花板。〈人的莊園No. 39〉是一個浮在半空中的影像與空間裝置,邀請觀眾逐一伸頭進入盒狀空間中,觀看四周牆面和天花板的五片顯示器,同步呈現光/陰在大象籠舍中緩慢流動的清晰畫面。透過這個比例濃縮、影像再現的空間,讓觀眾以感同身受的方式,去體驗大象窩在此中的情境。

Elephants are the largest existing mammals on land, and though they are naturally gentle creatures, having been kept in captivity, they have begun to show anxious and bizarre behaviors, such flinging their fecal matters onto the walls or ceilings in their cage. Animal Farm No. 39 is a video and spatial installation that is suspended from the ceiling. The audiences are invited to put their heads in the cube-shaped space, with five screens installed around the walls and on the ceiling in the box. A clear image is presented on how time (light/shadow) slowly progresses inside the elephant’s cage. Through this space of condensed ratio and image representation, the audience is able to experience an elephant’s trapped life from a first person perspective.

〈人的莊園No. 35〉Animal Farm No. 35

空間裝置、單頻道錄像 Installation, Single Channel Video

尺寸因空間而異,13分15秒 Dimensions Variable, 13 min. 15 sec.

2015

〈人的莊園No. 35〉Animal Farm No. 35

純棉無酸相片紙、單頻道錄像 Inkjet Print, Single Channel Video

150 x 206 cm, 13 min. 16 

 

201展出的三屏幕投影裝置,輪流播出九部三頻道同步的影片,這些影片涵括不同面向,呈現了不同的影像美學和內容議題,可視為【人的莊園】系列靜態攝影的延伸或變奏。有的是物件導向的影片,例如將【人的莊園】系列中應用到的道具,重新作為敘事和表現的主體;有的是將某場景中的角色演員抽離出來,搭配特定的物件或環境空間,錄製全新的獨角戲;有的是將整組演員放入一個中性的空間,開啟不同的故事或互動的遊戲。這九部三頻錄像作品,並不是用於補充或解釋原先拍攝完成的作品照片;反之,所有作品照片中抽離出來的人物肖像,也並非作為錄像參考文本的劇照。這兩者之間並行發展而互能連結,雖不具有一種從屬的關係或跟隨的邏輯,但不妨礙觀者在照片與錄像之間找出串聯對應方式,或比較閱讀之道。

Nine videos composed of three synchronous channels are played in loop on a triple-screen projection installation in Room 201. Various directions with different aesthetics and contents are included in these videos, with them regarded as extensions or variations from the still photographs in the Animal Farm series. Included are some object-based videos, with props used in the Animal Farm series applied in different narrative expressions. Characters from specific scenes are also extracted to be juxtaposed by certain objects or placed in different settings, resulting in new monologues. Some include lifting an entire cast and placing them in a neutral space to embark on a different story or engage in an interactive game. These nine three-channel videos are not supplements or explanations for the previously completed photo works, and the portraits extracted from the photos are also not regarded as stills and references for the videos. The two components are developing in a parallel manner but are also interconnected. Although there are no connections or logics based on who belongs to whom and which is following which, corresponding connections or comparative interpretations for the photographs and the videos are, nevertheless, able to be realized by the audience.    

  
  
 
  

〈人的莊園No. 38〉Animal Farm No. 38

三頻道錄像 Three Channels Video

71分鐘38秒,共9部 71 min. 38 sec., 9 Pieces

2015

 

相關教育活動 Educational Programs

【人的莊園-周慶輝個展】相關教育活動

藝術家面對面

【人的莊園】周慶輝個展

2015/02015/03/29 Sun. 14:00

主持:林志明/藝評人

主講:周慶輝/藝術家

報名網址:

http://goo.gl/CFCznL

MOCA特別活動

《藝動-動見体X台北當代藝術館》展間導賞

2015/05/10 Sun. 14:30

演出者:符宏征/動見体劇團長、藝術總監

報名網址:

http://goo.gl/Fep1vb

MOCA講吧

《從電影思維回視攝影美學》

2015/04/11 Sat. 14:00

主講:陳懷恩/導演、攝影家

           林靖傑/獨立電影工作者

報名網址:

http://goo.gl/q3QeiI

《影像書寫的累積與沉澱》

2015/05/09 Sat. 14:00

主持:謝伊琳/

           當代館教育推廣暨發展行銷組組長

主講:姚瑞中、沈昭良/藝術家

報名網址:

http://goo.gl/q3QeiI

藝術工作坊

《觀感(Perception)》攝影工作坊

2015/05/03 Sun. 14:30-16:30

主講:曹良賓/藝術家

報名網址:

http://goo.gl/il7aqM

專家導覽

2015/03/29 Sun. 13:00

講者:簡  丹/橘園策展公司總經理

報名網址:

http://goo.gl/GfVH9V

2015/04/12 Sun. 13:00

講者:陸潔民/中華民國畫廊協會資深顧問

2015/04/19 Sun. 13:00

講者:簡子傑/藝評人、策展人

2015/04/26 Sun. 13:00

講者:胡永芬/策展人

2015/05/03 Sun. 13:00

講者:簡  丹/橘園策展公司總經理

2015/05/10 Sun. 13:00

講者:張美陵/藝術家、策展人

2015/05/17 Sun. 13:00

講者:張美陵/藝術家、策展人

MOCA LUNCH BOX魔卡午餐盒

2015/04/15 Wed. 12:15-13:00

報名網址:

http://goo.gl/zU9xk7

2015/05/13 Wed. 12:15-13:00