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

【替 身-盧征遠個展 Oxymoron- Solo Exhibition by LU Zhengyuan】

展覽名稱 Exhibit

【替 身-盧征遠個展】

Oxymoron- Solo Exhibition by LU Zheng-yuan

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 二樓展場  MOCA Taipei 2F

門票 Admission

NT$ 50

參展藝術家 Artists

盧征遠  LU Zhengyuan

展覽介紹 About the Exhibition

【替 身-盧征遠個展】

Oxymoron- Solo Exhibition by LU Zheng-yuan

盧征遠,1982年出生於遼寧大連,畢業於中央美術學院後留校任教,現生活工作於北京,他的藝術創作類型多元,包含雕塑、裝置、繪畫、行為、多媒體互動等多重領域。歷年曾多次參加國際性大展,包括:上海國際雙年展、深圳國際雕塑雙年展、韓國光州雙年展、中國當代雕塑文獻展等,以及在中國美術館、中央美術學院美術館、上海龍美術館、今日美術館、宋莊美術館、葡萄牙里斯本東方博物館、伊比利亞當代藝術中心、西五藝術中心、中央美術學院雕塑研究中心、時代美術館、澳大利亞悉尼白兔美術館、智利普羅維登西亞文化中心、德國波恩當代藝術中心等參加展覽。並在台灣台北當代藝術館(MOCA)、北京尤倫斯當代藝術中心(UCCA)、鳳凰藝都等舉辦個人展覽。

LU Zheng-yuan was born in Dalian of Liaoning Province, China in 1982. He graduated from and now teaches at the Central Academy of Fine Arts, Beijing, China, and currently lives and works in Beijing. He works with a wide range of genres, such as sculpture, installation, painting, performance, and interactive multimedia, and has participated in several international exhibitions, including Shanghai Biennale, Shenzhen Sculpture Biennale, Gwangju Biennale in South Korea, Chinese Contemporary Sculpture Documenta, with exhibitions presented at the National Art Museum of China, China Central Academy of Fine Arts Museum, Shanghai Long Museum, Today Art Museum, Songzhuang Art Center, Museum of the Orient in Portugal, Iberia Center for Contemporary Art, C5 Art, Central Institute of Fine Arts in Beijing, Central Academy of Fine Arts Sculpture Center, Times Art Museum, White Rabbit Gallery in Australia, Centro Cultural Providencia in Chile, and Bonn Museum of Modern Art in Germany, and also solo exhibitions held at Ullens Center for Contemporary Art in Beijing, and Phoenix Art Palace. 

 

盧征遠的創作一方面涉及寫實與抽象、制式美學與即興趣味、時代風格與個性表現、作品與非作品等多個藝術史上不斷辯證的課題;另一方面,試圖透過材質與造型、視覺與心理之間的矛盾衝突,引導觀者反思客觀表象與主體認知的互動關係,進而從碎斷的符徵與符旨之間,自行建構出某種閱讀的文本或敘述的邏輯,藉此,伸張了藝術應該跳脫各種傳統與成規的創造性本質。

Lu’s art is both realistic and abstract, incorporating standard aesthetics and improvisational elements, time-specific style and distinctive personal expressions, while also exploring art history’s perpetually debated issues such as art and non-art. On the other hand, he also seeks to use oxymoronic conflicts between material and form, visuality and psychology to engage the audience in reflective thoughts about the interconnected relationships between objective impressions and subjective cognitions, leading to individualized ways of using the fragmented signs and symbols presented to construct specific texts or narrative logics. The process allows art to stray away from traditions and conventions that dictate how art making should be approached.   

 

本次在當代館的【替 身—盧征遠個展】,藝術家試圖讓觀者進入一場「意外」的探索之旅,他將本展營造成一個多元化的、碎片式的,與充滿疑惑的體驗現場,鼓勵觀者主動篩瀝或揀取,透過觀展歷程一窺藝術家的發展軌跡和思想脈絡;同時,帶給參觀者一種對於自身生活的思考與反省。展場中真假穿插的感知元素與空間裝置,把日常事物轉換成了看似熟悉卻又陌生,看似詭異倒也幽默的「存在」語境,在這轉換的過程中,藝術家將既有的「價值」觀做了思想上的翻轉,並深入探究藝術創作自我重複與不斷創新之間的矛盾關係。

In Oxymoron- Solo Exhibition by LU Zheng-yuan presented at MOCA, Taipei, the artist seeks to invite the audience to embark on an “unexpected” journey. The exhibition is transformed into a diverse, fragmented, and highly puzzling site open to be experienced, encouraging the audience to assertively filter through or selectively gather what’s on site, turning the exhibition into a way to catch a glimpse of the artist’s developmental course and conceptual context. Those seeing the exhibition are also prompted to contemplate and reflect on their own lives. Perceptual elements and spatial installations are place throughout the exhibition site, converting everyday objects into something quite foreign yet also vaguely familiar, with a peculiar yet also humorous way of expressing the notion of “existence” presented. Through the conversion process, existing “values” are conceptually subverted by the artist, with the oxymoronic relationship between art making’s repetitive sense of the self and constant innovation deeply examined.

 

本展除了透過盧征遠所關注的藝術之偶然性與必然性,探討新世代觀念藝術家的哲學思維與辯證邏輯,也希望透過展場中藝術家刻意創造的模糊界線,挑戰觀者的視像感知與心裡感受的反差。

In addition to examining Lu’s focus on art’s contingency and inevitability, exploring the philosophical outlook and dialectical logic behind this conceptual artist of the new generation, it is also intended for the ambiguous line deliberately created by the artist in this exhibition to challenge the viewers' contrasting visual perceptions and inner feelings.

 

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

 

盧征遠,1982年出生於遼寧大連,畢業於中央美術學院後留校任教,現生活工作於北京,他的藝術創作類型多元,包含雕塑、裝置、繪畫、行為、多媒體互動等多重領域。歷年曾多次參加國際性大展,包括:上海國際雙年展、深圳國際雕塑雙年展、韓國光州雙年展、中國當代雕塑文獻展等,以及在中國美術館、中央美術學院美術館、上海龍美術館、今日美術館、宋莊美術館、葡萄牙里斯本東方博物館、伊比利亞當代藝術中心、西五藝術中心、中央美術學院雕塑研究中心、時代美術館、澳大利亞悉尼白兔美術館、智利普羅維登西亞文化中心、德國波恩當代藝術中心等參加展覽。並在台灣台北當代藝術館(MOCA)、北京尤倫斯當代藝術中心(UCCA)、鳳凰藝都等舉辦個人展覽。

LU Zheng-yuan was born in Dalian of Liaoning Province, China in 1982. He graduated from and now teaches at the Central Academy of Fine Arts, Beijing, China, and currently lives and works in Beijing. He works with a wide range of genres, such as sculpture, installation, painting, performance, and interactive multimedia, and has participated in several international exhibitions, including Shanghai Biennale, Shenzhen Sculpture Biennale, Gwangju Biennale in South Korea, Chinese Contemporary Sculpture Documenta, with exhibitions presented at the National Art Museum of China, China Central Academy of Fine Arts Museum, Shanghai Long Museum, Today Art Museum, Songzhuang Art Center, Museum of the Orient in Portugal, Iberia Center for Contemporary Art, C5 Art, Central Institute of Fine Arts in Beijing, Central Academy of Fine Arts Sculpture Center, Times Art Museum, White Rabbit Gallery in Australia, Centro Cultural Providencia in Chile, and Bonn Museum of Modern Art in Germany, and also solo exhibitions held at Ullens Center for Contemporary Art in Beijing, and Phoenix Art Palace. 

 

作品介紹 About the Artworks

廣場 / Plaza

欹斜在當代館牆面上的不鏽鋼作品〈邊緣〉,由寬而細的梯子造型,直指天際,呈現了上升的姿態,也使人躍起攀爬的欲念和想像。不鏽鋼梯子光亮的現代性質感,對照著當代館的古紅磚牆,除了凸顯出自身特異的存在,也鏡射出與環境場域的某種對話。在此,藝術家刻意強化了此作的造型感和符號性,而異化了梯子既有的功能性連結——他以不鏽鋼材料打造長梯,將梯柱邊緣刨成如刀鋒一樣的利刃,讓攀爬上升的意念和傷害危險的意象,成為一種強迫性連結,然後又將新鮮的水果與豔麗的蠟果穿插並置於梯階上,隨著時間,真實的水果陸續變黑腐爛、凋零脫落,反而是仿造的蠟果停留原位,以鮮活做作之姿繼續抗衰,以昂揚之態接力攀升。如果說這座刀梯象徵的是,充滿挑戰與陷阱而追求高標成長的當代社會機制,則這些水果似正反諷地演出了一齣真實自然讓位於虛假做作,或劣幣驅逐良幣的人間戲碼。

Leaning against the wall of MOCA Taipei is the stainless steel piece, Edge, in the shape of a narrowing ladder pointing skywards. The ascending position sparks imaginative thoughts and gives people the urge to want to climb up. The shinny completion of the steel ladder gives it a modern appeal, with a sense of peculiar existence enhanced as it is juxtaposed against the old red brick wall of the museum, reflecting and creating dialogues with the surrounding environment. The artist deliberately places emphasis on the shape and the symbolic nature of the piece, dissimilating the conventional functionality associated with ladders by creating the ladder presented with stainless steel and buffing its edges to form razor-sharp blades, creating a forced association between climbing up and getting hurt. Fresh fruits and vibrant fruits made out of wax are pushed down and placed along the steps of the ladder, and the real fruits then begin to rot as time progresses, but the vividly vibrant fake waxed fruits have remained stationary and unaffected by time and seemingly ready to climb forward in a relay like stance. If this ladder of blades is an analogy for challenges and obstacles imposed upon people in the contemporary society with expectations set exceedingly high, the fruits are then satirically used to present a play based on nature succumbing to superficial pretentiousness, as the bad drives out the good. 

〈邊緣〉Edge 

不鏽鋼、塑膠水果 Stainless Steel, Plastic Fruit

1,500 cm

2015

 

2F西側樓梯間 / Western Stairway 2F

自西側樓梯間拾階而上,進入一個繽紛多彩、絢麗閃爍的視界,用藝術家自己的說法,名為〈反射〉的這組空間裝置,有意讓現場「好像一個凌亂的霓虹燈廣告牌公司」——牆上掛了許多霓虹燈製作,有不同尺寸和字型的英文標語,大致為紅綠字燈,弔詭的是,觀眾在此所讀到的文字義和所看到的霓虹色並不相符,每一組相鄰的文字都是用對方所指的顏色呈現的,例如英文的「red」或「RED」搭配的卻是綠光霓虹,而「green」或「GREEN」閃爍的則是紅色光芒。

Moving upwards along the stairway on the west side is a vibrant, dazzling world entitled Reflection, which is a spatial installation intended by the artist to resemble “an unorganized neon light advertisement sign company”. Hanging on the wall are numerous English neon slogans of various sizes and fonts, which are mostly into red and green, with the meaning of the words mismatched with the colors of the neon lights. For example, the word “red/RED” is presented with green neon light, and “green/GREEN” is glistening in red.    

 

在此,視覺符號與訊息文本的矛盾,以不同的版本重複出現,除了攪亂觀者既有的認知,也挑戰著人們看待問題或進行判斷的模式,例如:這裡的文字和燈光,到底哪方弄錯了?這是一個有意「指鹿為馬」的強迫性系統嗎?或者,這根本就是另外一個符號和文本的編碼系統,它有著自己的對應邏輯,而沒有所謂對錯的問題! 

This artwork presents the paradoxical visual semiotics and the text-based signals repeatedly in different versions, and in addition to disrupting the audience’s pre-existing cognition, it also challenges the way people look at problems and their analytical process. For example, people may ponder about what has gone wrong with the words and the lights here? Is this a forced mechanism that “swears black is white”? Perhaps, this is a completely different coding system composed with these symbols and texts, and it contains a particular set of corresponding logic, with no imposing right or wrong! 

 

這件作品在二樓入口樓梯間展出,除了呼應空間的屬性,藝術家也有意作為後續不同展間、作品的一種導引,並用來串連本展將透過種種「意外」,同時激發觀者之視覺探索、知識辯證和心理反思的藝術意圖。

This artwork is presented by the entrance stairway on the 2nd floor. In addition to echoing the notable quality of the space, it is also intended by the artist to act as a guide for the other exhibition areas and different artworks to follow, and is also used to connect together the different “unexpected” elements presented throughout this exhibition. The artistic intention behind the artwork is to simultaneously stimulate the viewers’ visual exploration, dialectical knowledge, and psychological introspection. 

 

與霓虹燈群組毗鄰的燈箱作品〈房間裡的月亮〉,起因於某年中秋,北京因霧霾之害而無法賞月,盧征遠於是上網搜尋「月圓」圖象,然後關掉室內照明對著電腦螢幕,用手機拍下了這張「一輪明月在天,一支手機作伴」的露餡照片,他以此戲寫了網絡世代透過虛擬自我滿足的另一種過節慶經驗,也凸顯了兩種現實相衝或互補的各種「語境」關係——來自生活現實的缺憾,可以從虛擬現實中予以補償,但終究只是一種替代…。

Located near the neon lights is the light box piece, The Moon in My Room. The piece was inspired by heavy smog in Beijing during Mid-Autumn Festival one year, with the moon completely out of sight due to the haze. Lu then found an image of a full moon on the internet and captured an image of the moon on his computer screen with his cellular phone and with the lights switched off in his room, resulting in this photograph showcasing the moon brightly in the sky and accompanied by the glare of his phone. This is the artist’s satirical way of expressing how the internet generation goes about celebrating the holiday through simulating self-complacency. The artwork also focuses on the two sets of conflicting or complementary realities with different contextual relationships, reflecting on the notion that perhaps life’s deficiencies can be compensated in virtual reality; However, it is ultimately just a form of substitution…  

〈反射〉Reflection

霓虹燈 Neon Lights 

尺寸依現場而定 Dimensions Variable

2008

 

〈房間裡的月亮〉The Moon in My Room

攝影、燈箱片 Photograph, Light Box

100 x 150 cm

2010

 

2F走廊 / 2F Hallway

2F走廊陣列整齊的繪畫裝置〈無窮〉,呈現了藝術家近500張20×20cm畫布上,重複描繪一顆雞蛋的圖像,並自我要求「盡量畫得一樣」的成果。在「機器複製的時代」,藝術家先是逆向地以這種「手工複製」的行為來傳達一個創作發現,例如:「五、六百張畫想畫的一模一樣,比起將每張畫畫的不一樣,其實要難多了!」,接著挑戰了藝術界奉行的一個價值觀念,例如:「我們不停地說要創新,所有的都要創新,難道重複真的那麼沒有價值嗎?」

The painting installation, Boundless, is presented neatly along the 2nd floor hallway, with about 500 paintings in the size of 20 x 20 cm showcasing repeated depictions of an egg, and the objective set by the artist for himself is to attempt to paint all of them in an exact same manner. The “hand reproduction” approach opted by the artist is contrary to the trend found in the “Age of Mechanical Reproduction”, and he has discovered that “to paint 500 or 600 paintings in an exact same way is more difficult than to paint each of them differently!” He then argued against the principle widely upheld in the art world by questioning the fact that artists are always told to innovate but is repetitiveness truly without any value?   

 

這個畫作系列從2008年開始繁衍發展,除了數量沒有底限,創作年代也特意標記為2008~,意味了從此將永續發展,藝術家並承諾他每年都會畫幾張,且一直堅持畫下去;此外,他也主張每一張畫的價值是平等的,故不存在原作或誰比誰好的問題。

This painting series is an ongoing project that began in 2008. The artist has not set a maximum quantity for the series, and the year created is intentionally indicated as “2008 ~ ongoing”. It shows that this project is to be continued, as the artist promises that he will paint a few paintings for this series every year and is determined to persist in his endeavor. Furthermore, he also declares all of the paintings in the series are of equal value and thus negating the existence of an original copy or issues with which painting is better

〈無窮〉Boundless

油畫 Oil on Canvas

20 x 20 cm, 進500件 about 500pcs

2008-ongoing 

 

205展間 / R205 

205展間以投影機搭配電視呈現的是,包括:〈保持微笑〉、〈氣流〉、〈質地〉、〈溫度〉、〈壓縮〉等,藝術家以身體為媒材,結合某種行為演出的五部錄像作品。伴隨藝術家不同行為影像的,是一種隱約可聞的微弱呼吸聲,它將人們從複雜多元、碎片組合的視覺語境中,帶入凝神靜聽和一種更微觀的、更直覺的身體感知模式。從某個角度看,此作隱約呼應了法國哲人梅洛龐蒂所說:「身體是我們在世的表達及意向的可見形式」。如作品〈保持微笑〉中,藝術家面對鏡頭保持微笑,雙眼不眨、身體不動,直到兩眼乾酸顫抖、臉皮僵硬扭曲,但見眼淚鼻涕自行釋放流出,於是,一場微笑以哭泣作為終結。在另一件行為作品〈溫度〉中,藝術家用手掌去溫熱物體,雖然同樣有攝影機錄像為證,但終究看不出藝術家到底對這身外物產生了什麼樣的影響?相對於〈保持微笑〉的有效性和可視性,此作明顯屬於「無效度」和「不可視」的另一種藝術類型;而這兩作之間的對照,又似乎隱喻了藝術家期之於自身和社會環境的某種對比關係。

Presented in R205 with projectors and television sets are Keep Smiling, Airflow, Texture, Temperature, and Compress, which are five video works created by the artist utilizing his own body as a medium to carry out specific performances.This artwork guids the viewers from complex and fragmented visual settings into a more microscopic and instinctive state of physical perception through concentrated listening. From a specific perspective, the series seems to echo with what French philosopher Maurice Merleau-Ponty once said, “For us the body is much more than an instrument or a means; it is our expression in the world, the visible form of our intentions.” In Keep Smiling, the artist is smiling while facing the camera, and he is neither blinking his eyes nor moving his body. The act persists till his eyes tear up and face begins to twitch. His tears and snot then begin to secrete uncontrollably, with his act of smiling ultimately ended with crying. In the other artwork, Temperature, the artist is seen using his hands to warm things up, and although the act is documented on video, it is impossible to discern what kind of effect was created by the artist on the object. Compared with of Keep Smiling effectiveness and visibility, Temperature clearly falls in the “ineffective” and “indiscernible” category of art. The contrast between these two artworks also seems to hint at a certain kind of contrasting relationship between the artist himself and the society. 

〈保持微笑〉Keep Smiling

單頻道錄像 Single Channel Video

3 min. 30sec.

2010 (2015 翻新拍攝 Reshooting)

質地〉Texture

單頻道錄像 Single Channel Video

2 min.

2010 (2015 翻新拍攝 Reshooting)

〈壓縮〉Compress

單頻道錄像 Single Channel Video

1 min. 

2010 (2015 翻新拍攝 Reshooting)

〈氣流〉Airflow

單頻道錄像 Single Channel Video

3 minutes

2009 (2015 翻新拍攝 Reshooting)

〈溫度〉Temperature

單頻道錄像 Single Channel Video

2 minutes 

2010 (2015 翻新拍攝 Reshooting)

 

204展間 / R204

204展間是由〈彼岸〉及〈閃爍〉兩組作品共構的一種體驗式空間,結合了光的夢幻與霧的迷離,是真實也虛幻的文明廢料場,進入這個空間的觀者,則是參與作品建構和表現的有機性元素。

Presented inside gallery 204 is an experience-based space created with the two artworks, Nirvana and Sparkle. Combining ethereal lighting effects and enigmatic fog, the site is converted into a civilization junkyard that is both real and elusive. Upon entering into the space, audience are transformed into organic elements taking part in the construction and presentation of the artwork.  

 

〈閃爍〉將建築用彩色鋼板當成畫布,表面塗抹了黑黝黝的瀝青,透過磚塊作為支點,倚靠在牆面上,藉著來自四面的微光,展現自身無聲的存在,以黏膩漆黑的表面,模糊地鑑照出周遭環境的快速變化。

Colorful metal plates used in construction are treated like canvases in Sparkle, with black asphalt applied on top and bricks used as supporting points to prop them up against the wall. Subtle lights coming from all around augment a sense of silent existence, with the sticky, black surfaces fuzzily reflecting the rapid changes happening in the surrounding environment.  

 

在〈彼岸〉裝置中,北京建築工地撿回的鋼筋、水泥管、殘石等,經過藝術家的雕鑿和霓虹燈的後製包裝,絢麗的光彩從擬文明廢墟的現場奇幻射出,以此啟動「昨日遺棄」與「明日發展」的關聯,營造了一種想像無限的空間。瀰漫現場的的名牌香水氣味,似同步加強著「及時享樂」與「末日廢墟」的啟示氣息,但牆上白色霓虹的線性塗鴉,雖閃耀醒目卻讀不出任何的內容提示與文本意義。此中一切物件元素,藝術家在撿拾的當下都做了物料編號、地點標記和影像記錄,展覽之後各將被送返原地,並盡可能還原其原初面貌。這個「廢棄物→變身為美術館堂皇展出的藝術品→再次變回原廢棄物」的過程和儀式,驗證了概念之於物件,是能因語境轉化而呈現紛異意義的。 

The installation Nirvana is composed of steel bars, cement pipes, broken stones salvaged from construction sites in Beijing, which are sculpted and repurposed with neon lights by the artist, as dazzling lights emit from this fabricated civilization junkyard. The artwork sparks associations between the ideas of "yesterday's abandonment" and "tomorrow’s development", resulting in a space filled with boundless imagination. The scent of designer perfume permeates the site, which seems to simultaneously place emphasis on the enlightening messages of “seize the moment and enjoy life” and “doomsday ruin”. However, the eye-catching linear graffiti on the wall created with white neon lights doesn’t seem to provide any comprehensible hints or textual meaning.  Each of the physical elements presented is documented with a serial code, position marker, and image reference by the artist when it was salvaged, and will be returned to where it was found after the exhibition concludes, attempting to put everything back to their original conditions. This process and ritual consisting of “abandoned objects → transformed into art exhibited in art museum → reverted back again as abandoned objects” proves that the concept imposed upon an object can result in diverging meanings as its context shifts. 

〈閃爍〉Sparkle

瀝青、彩鋼板、LED燈 Asphalt, Steel Plate, LED Lights

350 x 200 cm, 3 pcs

2015

 

〈彼岸〉Nirvana

水泥、建築廢料、霓虹燈 Cement, Construction Waste, Neon Lights

尺寸依現場而定 Dimensions Variable

2014-2015

 

203展間 / R203

〈泉〉是一件感應式的雕塑裝置,名稱似可關聯到杜象取用尿斗現成物的〈噴泉〉。盧征遠過去也曾針對這個藝術史的案例指出:「技法是製造真正藝術的重要因素,而創作〈噴泉〉這件作品則幾乎不需要技法。〈噴泉〉讓我們接觸到原始物件,它仍然是原始物件,但也以轉化的哲學與形上學狀態存在著。它展現了康德式的崇高:它是一件超越形式的藝術品,但也是可理解的;它摧毀了一個概念,但同時也讓概念更強烈地出現。」但是在他自己的〈泉〉這件作品中,盧征遠並非只有「動腦」或「動口」,而是真正地「動手」,他將時下感應式洗手台「伸手,水就會出來」的機制轉換成一個幽默的藝術概念和互動的藝術作品——他使水龍頭隱藏消失,然後讓手本身演出感應和出水的連續動作,運用這種裁切/嫁接手法,藝術家讓這隻指示性的手,同時扮演了指揮者和被操控者的雙重角色。

The Fountain is an interactive sculptural installation. Its title is reminiscent of Marcel Duchamp’s Fountain, which the artist made with a readymade urinal. Lu Zheng-yuan has talked about this instance in art history, “technique is a crucial element in making real art. However, the creation of Fountain almost did not require any techniques. Fountain allowed us to come into contact with an original object. It is still an original object, but it simultaneously exists in a philosophical and metaphysical state; it displays the Kantian idea of the sublime; it is an artwork that transcends artistic form, but remains comprehensible; it destroys a concept, but more strongly embodies the concept at the same time.” Nevertheless, when he made The Fountain, Lu did not simply “use his brain” or “use his mouth,” but rather “use a real hand.” He took a modern sensory hand-washing fountain with its mechanical notion of “reach out your hands, and the water comes out,” and converted it into an interactive artwork with a humorous concept—he removed the standard water faucet and turned the hand into a sensor as well as a faucet. Using such an approach of removal and recombination, Lu enabled the pointing hand to simultaneously perform a dual role of the directing and the directed. 

〈泉〉The Fountain 

手臂模型、電子控制噴水系統 Hand Model, Sensor-Controlled Spray System

36 x 10 x 10 cm

2009

 

〈浪〉是一件結合圓弧形空間的聲音裝置作品,牆面和地面佈滿了不同尺寸的喇叭,每隔一段時間,這些喇叭一起發出不同的人類吶喊聲,在這圓弧空間最能讓聲音聚焦的中央地點,放置了一個裝滿水的水盆,盆中清淨透明的水,隨著四周傳來的聲音,而形成了水面上細微顫動的波浪。就表現機制和現場情境來看,一是將無形的聲音轉換為有形的悸動,二是用貧窮藝術的基調生產出一種抒情自然的聯想,三是賦予這個場域中的種種元素自由聯想和開放解讀的機制,例如:這些大大小小的喇叭,或許代表人微言輕的一個個生活大眾,也可能指涉一次次眾說紛紜的社會事件,但也正因每個單體都發出了聲音,而得以讓議題浮現,並匯聚成一種集體的、能動的力量。

Wave is an audio installation combined with a circular space. Speakers in various sizes cover the walls and the floor, and send out different human cries at the same time at intervals. A basin filled with clear water is placed at the center of the circular space, where sounds are expected to create an acoustic optimal point. The sounds from all around the basin will create subtle waves across the water surface. In terms of the mechanism and the site, the work transforms invisible sounds into tangible ripples; furthermore, it employs the mood of Arte Povera (Poor Art) and creates a kind of sentimental association; finally, it allows all the elements in this site to be freely associated and interpreted. For example, the speakers of different sizes could symbolize individuals in society whose humble positions would render their words less important. It could also refer to social events, in which different parties might hold disparate opinions. However, it is precisely because each individual unit speaks up, an issue is formed and seen, and a collective momentum is created. 

〈浪〉Wave

喇叭、播放機、電線、MP3、水盆  Speaker, Player, Wire, MP3, Basin

300 x 240 x 200 cm

2015

 

202展間 / R202

202展間分別展示了〈XXX〉、《時間的容器》系列,以及〈謊言〉三組作品。

Three sets of works are displayed respectively in R202, including XXX, The Vessels of Time, and Lies. 

 

〈XXX〉包含了26張讓人感覺有點熟悉卻又不知來源的畫作,它們是盧征遠邀請從未接觸過當代藝術,且從未碰過畫筆的民眾,各自臨摹當代名家畫冊中的圖像,而後所產生的一批作品。散落在前方地面上的一些紙張,上面印的是專家所寫,原先用來詮釋或評論這26張畫之原作的相關文字。現場所有的畫作的簽名和文章中提到的藝術家名字(包括中國的方力鈞、王廣義、周春芽、岳敏君、隋建國、曾梵志、張曉剛,國外的卡特蘭、安迪沃荷、草間彌生、喬瑟夫‧波伊斯、達米思‧赫斯特、艾敏…等),都被抹消而代之以XXX。於此,盧征遠從創作者轉換成一種「策展人」的角色,策動了一群素人的創作行為,為他們策劃了一次聯展,也為現場觀眾設計了一套借道外行和自行索引對號的藝術欣賞機制。

XXX includes 26 paintings that look familiar but of unknown origins. In fact, they came from some common people, who knew nothing about contemporary art and had never painted before. Lu Zheng-yuan invited them to imitate the works of contemporary masters on catalogues and created these paintings. Pieces of paper lying on the floor in front of the paintings were printed with articles written by art critics regarding the original paintings. The signatures on the paintings onsite as well as the names of artists mentioned in the articles were all replaced by “XXX” (including Chinese artists, such as Fang Lijin, Wang Guangyi, Zhou Chunya, Yue Minjun, Sui Jianguo, Zeng Fanzhi, Zhang Xiaogang, and foreign artists, such as Maurizio Cattelan, Andy Warhol, Yayoi Kusama, Joseph Beuys, Damien Hirst, Shurooq Amin, etc.) In this work, Lu changed his role from an artist to a “curator,” who initiated the artistic creation of a group of amateurs and organized a group exhibition for them. In the meantime, for the audience, he has designed a mean to appreciate art through the nonprofessional works and identifying the corresponding critiques. 

〈XXX〉XXX 

油畫 Oil on Canvas

尺寸依現場而定,共26件 Dimensions Variables, 26 pcs

2009

 

《時間的容器》:包含〈一袋空氣〉、〈巨浪〉、〈巨雷〉三張畫作

《時間的容器》,是盧征遠親自以精緻寫實手法,刻畫捕捉日常事物或瞬間現象的系列作品。本次展出3件畫作,一是排山倒海的一道〈巨浪〉,二是透明塑膠袋中的〈一袋空氣〉,三是夜空中從雲端迸現閃電火光的〈巨雷〉。藝術家展現了高超的技術、花費了相當的精神和體力去完成這些畫,〈一袋空氣〉針對表面細節的精密描繪和密集勞動,徹底實踐了「儲存時間」的藝術概念;〈巨浪〉與〈巨雷〉兩幅作品,則是通過很小的畫幅來描繪戲劇性大場景,以此探討一個畫面所佔「物理尺寸」和所生「心理空間」的對應關係。

In the painting series, The Vessels of Time, Lu Zheng-yuan used delicate and realistic techniques to delineate an everyday object and capture natural phenomena that took place in an instant. The three paintings are Roaring Wave that depicts a massive, tumbling wave, A Bag of Air in a transparent plastic bag, and Violent Thunder that has flashed through clouds in dark sky. The artist demonstrated superb skills and made tremendous efforts and strengths to complete these paintings. In A Bag of Air, the minute delineation of the surface details as well as the implied intensive labor fully embodied the artistic concept of “storing time.” In Roaring Wave and Violent Thunder, the artist used a very small scale to depict large, dramatic scenes, and explored the corresponding relation between an image’s “physical size” and the “psychological space” it created. 

《時間的容器》The Vessels of Time

油畫 Oil on Canvas

40 x 50 cm

2013

 

〈謊言〉是兩張一組的攝影作品,一張拍攝的是真花和真水果,另一張則是假花和假水果,兩張照片併排展出,讓觀者自行檢視和分辨真偽。現場展示,乍看兩者似乎互為鏡像,細看除了從中找出一些不同的端倪,例如:在真的花果照片中,可以從一些殘缺、不完美的痕跡,看到生命的存在;在假的花果照片中,卻因為一切完美無瑕,反而顯得虛假而了無生趣,這兩者的對照和檢索,也因此呈現了一種弔詭的訊息和哲想的意義。

Lies is consisted of two photographs. One is a photograph of real flowers and fruits, and the other of fake ones. The two photographs are juxtaposed for audience to examine and verify the authenticity. In the exhibition, the two photographs seem to be each other’s mirror images. One can only tell the differences from some subtle details. For instance, in the photograph of the real flowers and fruits, there exist some traces of incompleteness and imperfections, attesting to the existence of life, whereas in the fake one, the perfection of everything seems rather unreal and lifeless. Therefore, the comparison and examination of the two reveal a paradoxical message and convey a philosophical meaning. 


〈謊言〉Lies

攝影 Photograph

140 x 170 cm, 2 pcs

2007

 

中樓梯 

〈無題3〉是在畫布上,以瀝青(柏油)取代顏料的畫作,擺在畫作一旁,形神乾枯的小盆栽,則是取代正規畫筆,用來完成這些作品的繪畫工具。

Untitled series-3 is created with asphalt (tar) instead of paint. The withered small potted plant next to the paintings is what the artist has used to replace paint brushes and create the work.  

 

盧征遠刻意用活的植物沾著瀝青在畫布上塗抹,透過植物枝葉的不同型態,在畫布上留下不同的抽象性筆觸,但是瀝青的腐蝕性,也導致了植物的枯萎死亡。在此,藝術家的目的並非以替代性工具畫出獨特的作品,而是有意凸顯這種「創作之後就死亡」的戲劇性,從而探討文明發展中,人和自然愈來愈緊張的關係狀態。盧征遠指出:「柏油是都市化進程的必備材料,從鄉村到城市的食物供應鏈,就是一條條用瀝青鋪成的柏油道路,植物跟瀝青,在我看來有一種此消彼長的關係,當路面瀝青越多、越大,植物相對的面積就越少,反之亦然。」〈無題3〉採用的繪畫形式,用盧征遠自己的說法:「我只是借用了一個殼,把這種緊張關係給呈現出來!」

Lu Zheng-yuan deliberately painted the paintings with a live plant to dip in asphalt, leaving abstract brushstrokes created with the forms of the plant branches on the canvases. However, the asphalt has also eroded the plant, causing it to wither and die. In this work, the artist’s objective is not to use substitutive instrument to create unique works; instead, he intends to emphasize on the dramatic result of “death after creation,” and discusses the more and more intense relationship between man and nature in the progress of civilization. Lu has stated, “asphalt is a necessity for urban development. The food chain that links countryside and cities is built with all the tarred roads. From my perspective, there exists a negative correlation between plants and asphalt. When roads are bigger with more asphalt, the area covered by plants becomes smaller, and vice versa.” When talking about the creative approach of Untitled series-3, Lu Zheng-yuan said himself, “I simply borrowed a shell to reveal this intense relationship.”

〈無題3〉Untitled series-3

瀝青、畫布 Asphalt on Canvas

200 x 150 cm

2014

 

201展間 戶外廣場 / R201,Plaza  

《慢性》系列 Chronic Series

進入201展間,首先看到散置地面的一批黑色塑膠袋,這是從當代館戶外廣場延伸到此處的《慢性》系列,總數近30件黑色大理石雕刻,乍看,它們很像是內部裝滿廢棄物,等待著被運走的黑色垃圾袋,細看加上觸摸,質地堅硬光滑,其實每個都是精雕細琢之作,從不同角度觀看揣摩之後,則能發現原來每個袋子中所包藏的,竟是一個真實尺寸的人體形象!

Entering R201, audience will see a bunch of black plastic bags lying on the floor. It is the Chronic series that extends from the museum’s outdoor plaza to the gallery room, which includes nearly 30 black marble sculptures. At first glance, they really look like black trash bags filled with waste waiting to be removed. However, after taking a closer look and touching the bags, one would find that they are hard and smooth. In fact, each is a sculpture exquisitely carved. When observing from different angles, audience would realize that each of these “bags” envelops a life-size human figure!

 

黑色大理石是「感覺沉重、質性恆定」的自然性材料,而黑色垃圾袋則是「輕薄廉價,隨手可丟」的消費性材料,《慢性》把這兩種屬性和聯想作了結合,建立了諸如感知衝突、視覺思辯、符號矛盾…的各種意象和閱讀效果。例如:一、塑膠袋給人的感覺是很輕的,但一腳踢下去卻會造成傷痛;二、大理石雕刻一向用於雕製崇高偉大的雕像和永恆的紀念碑,但在此巨量呈現的卻是默默無聲、被包裝(定義)成無用垃圾而即將被清理拋棄的一群無名人物。三、把這一批同質化的「垃圾狀雕塑品」,分別放置在公共空間和美術館的藝術展場,可以就地啟動觀看閱讀的不同機制和模式。

Black marble is a natural material that “seems heavy with lasting quality,” whereas black trash bags are consumable materials that are “light, cheap, and can be thrown away anytime.” Chronic combines these two qualities and associations to create various images and effects, such as conflicting perception, visual dialectics, and contradicting symbols. For instance, first of all, their looks make people think that these plastic bags are light. However, when one kicks anyone of them, his feet would hurt. Secondly, marble sculpture is always used in creating statues of revered and great figures as well as lasting monuments. Here, nevertheless, it is used to create a large group of silent, nameless people, who are packaged (or defined) as garbage and are soon to be disposed of. Lastly, placing this group of homogeneous “garbage sculptures” in the public space and the gallery room of a museum would effect a different reading mechanism and mode on the spot. 

〈慢性5〉Chronic 5

黑色天然大理石 Black Marble Sculpture

44 x 26 x 102 cm

2013

〈慢性6〉Chronic 6

黑色天然大理石 Black Marble Sculpture

36 x 40 x 45 cm

2013

〈慢性7〉Chronic 7

黑色天然大理石 Black Marble Sculpture

78 x 46 x 27 cm

2013

〈慢性- No.2〉Chronic No.2

黑色天然大理石 Black Marble Sculpture

82 x 59 x 75 cm

2014

〈慢性- No.3〉Chronic No.3

黑色天然大理石 Black Marble Sculpture

60 x 45 x 59 cm

2014

〈慢性-F1〉Chronic F1

黑色天然大理石 Black Marble Sculpture

88 x 75 x 8 cm

2014

〈慢性-F2〉Chronic F2

黑色天然大理石 Black Marble Sculpture

76 x 62 x 8 cm

2014

〈慢性-F3〉Chronic F3

黑色天然大理石 Black Marble Sculpture

73 x 68 x 8 cm

2014

〈慢性-F4〉Chronic F4

黑色天然大理石 Black Marble Sculpture

60 x 37 x 10 cm

2014

〈慢性- No.6〉Chronic No.6

黑色天然大理石 Black Marble Sculpture

90 x 36 x 60 cm

2015

〈慢性10〉Chronic 10

黑色天然大理石 Black Marble Sculpture

53 x 52 x 46 cm

2015

〈慢性-NO1〉Chronic NO1

黑色天然大理石 Black Marble Sculpture

110 x 44 x 70 cm

2014

〈慢性-NO5〉Chronic NO5

黑色天然大理石 Black Marble Sculpture

109 x 60 x 38 cm

2014

 

此作材料為漢白玉(白色大理石),藝術家以幻真寫實的手法再現了真實尺寸、質地柔軟的一片白床單,皺褶複雜的床單表面,隱約可以看到一個剛剛離開的人形餘跡。如果說《慢性》系列是用黑色袋子的偽裝,來掩蓋、抹消人的存在,而讓觀者對其視而不見;則〈一切還在〉是用白色床布的琢磨,來提示一個不在現場的人,而激發觀者去想像追索。在此,兩者之間的對照觀賞和比較閱讀,是可以互相增強意義的。

The material of this work is white marble. The artist employs a realistic, true-to-life technique to recreate a life-size, genuinely soft white bed sheet. From the intricately wrinkled surface, one could observe an implicit outline of a person who might have just left a moment ago. If Chronic series uses black bags as a disguise to cover and erase the existence of people, making audience blind to their presence, Still There uses the carving of a white bed sheet to suggest the presence of an absent person, stimulating audience’s imagination and exploration. Therefore, the comparison and contrast of the two could reinforce their meanings. 

〈一切還在〉Still There

大理石 Marble                                                                                                                                              

190 x 100 x 20 cm

2015

 

《過去的即將到來》系列 Still There, The Bygones Are Returning Series

《過去的即將到來》系列作品,共5件寫實的漢白玉雕刻,蓬鬆卻飽滿的「抱枕」,藉由下陷的印跡,暗示了剛經過重壓而尚未復原的狀態,在枕面凹陷處上頭,各擺放了一片真實輕柔的羽毛,質性呈現因而有了輕與重、硬與柔、真和假…等反差對照的效果,而語境的閱讀和詮釋也同樣出現了開放性、多義性和遐想的空間,例如:這片羽毛是否就像「壓死駱駝的最後一根稻草」一樣,暗示了某種真正具有影響作用的角色、或左右世間大局的力量。或者,它象徵了超脫宰制性的系統,而悠然在外的一種心志與態度。

Still There, The Bygones Are Returning series includes 5 realistic white marble sculptures. The fluffy, plump “pillows” have indents that suggest a state that is previously pressed down and yet to restore. Real, light feathers lie at where the pillows dent. The qualitative presentation creates contrasting effect of the light and the heavy, the hard and the soft, as well as the real and the fake. The reading and interpretation of the artistic language also provide openness, multiple meanings, and the space of imagination. For example, the feather might be like “the last straw that breaks the camel’s back” and implies a real influence or a force that dictates the overall situation. Or, it might symbolize the liberation from a dominating system, allowing a carefree mindset and attitude to emerge. 

〈過去的即將到來(1)〉The Bygones is Returning-1

大理石 Marble

42 x 58 x 13 cm

2015

 

《無題》系列 Untitled Series

201牆面同時展出的《無題》系列約十組繪畫,每組由一張大畫與小畫所構成,小畫是藝術家使用自動性技法,瞬間而隨意完成的抽象畫作,大畫則是以小畫為「模特兒」或說臨摹對象,基於古典繪畫技法和客觀寫實概念,花費相當的時間和體力而逐一完成的。將小幅即興的「原圖」和放大生產的「模作」併排展示,

從對照觀賞中,了解創作者的理念和意圖,同時啟動藝術閱讀與思辯的多重機制。套用盧征遠自己的說法,這兩幅看似相同的畫面,其實存在著偶然和必然、抽象和寫實的差別,而且因為同屬於一個原創的概念,就是「用顏料畫顏料」的兩段性行動,所以兩者是不可分割的。他說:「我覺得從古至今,所有的畫家都是用顏料去描繪它以外的世界——畫人、畫靜物、畫風景、畫任何東西;但我覺得也應該讓它像照鏡子一樣地去看看自己,也就是用顏料畫顏料自身。」也因此,他提到一個例子:「某次展覽,有一幅小畫丟掉了,這是讓我相當為難的事情,因為它丟了我就無從證明,我畫的另一張畫是很寫實的!」

On the walls of R201 is the painting series, Untitled, which includes about 10 sets of paintings. Each set is consisted of one large and one small painting. The artist uses the technique of automatic drawing to create the small painting, which is an abstract drawing made in a short period of time and in a spontaneous manner. On the other hand, using the small painting as a “model,” the large painting is an imitation created with classic painting techniques and the notion of objectivism and realism, which requires a tremendous amount of time and strength to achieve. Juxtaposing the spontaneous “original paintings” and the enlarged “imitation works” for comparison and contrast, audience could get a glimpse of the artist’s concept and intention while initiating multiple mechanism of artistic reading and dialectic contemplation. According to Lu Zheng-yuan himself, the two paintings look identical, but there exists a difference between the accidental and the inevitable as well as the abstract and the realistic. However, because both paintings come from the same original concept, which is a two-stage process of “painting the paint with paint,” the two paintings become inseparable consequently. Lu said, “in my opinion, from the ancient time to the present day, every painter uses paint to depict the world other than the paint—no matter figure, still life, landscape, and other things. However, I think we should give paint a chance to look into a mirror and see itself for once, meaning using paint to paint itself.” Therefore, he mentioned an example, “in a former exhibition, one of the small paintings was lost. It presented a conundrum for me because once it was lost, it became very difficult for me to prove the other painting was actually a realistic painting.” 

 

 

〈無題(1)〉Untitled series-1

油畫、壓克力 Oil on Canvas, Acrylic

300 x 180 cm, 50 x 30 cm

2015

〈無題(2)〉Untitled series-2

油畫、壓克力 Oil on Canvas, Acrylic

300 x 180 cm, 50 x 30 cm

2015

〈無題(4)〉Untitled series-4

油畫、壓克力 Oil on Canvas, Acrylic

200 x 200 cm, 40 x 40 cm

2015

〈無題(5)〉Untitled series-5

油畫、壓克力 Oil on Canvas, Acrylic

200 x 200 cm, 40 x 40 cm

2015

〈無題(6)〉Untitled series-6

油畫、壓克力 

Oil on Canvas, Acrylic

200 x 200 cm, 40 x 40 cm

2015

〈無題(7)〉Untitled series-7

油畫、壓克力 Oil on Canvas, Acrylic

200 x 200 cm, 40 x 40 cm

2015

〈無題(9)〉Untitled series-9

油畫、壓克力 Oil on Canvas, Acrylic

100 x 100 cm, 50 x 50 cm

2015

〈無題(10)〉Untitled series-10

油畫、壓克力 Oil on Canvas, Acrylic

100 x 100 cm, 50 x 50 cm

2015

 

〈無題(13)〉Untitled series-13   

油畫、壓克力 Oil on Canvas, Acrylic

100 x 100 cm, 50 x 50 cm

2015

 
 

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【替 身-盧征遠個展】相關教育活動

藝術家面對面

《藝術語言的雙義矛盾》盧征遠創作座談

2015/10/31 Sat. 14:00

主講:盧征遠/藝術家

主持:陳愷璜/台北藝術大學藝術跨域研究所教授兼美術學院院長

報名網址:

http://goo.gl/XhLUC3

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主講:高千惠/國立台灣藝術大學客座教授

報名網址:

http://goo.gl/iBlqDa

藝術工作坊

《有溫度、有生命的水泥-水泥盆栽》

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2015/11/21 Sat. 10:30-17:00

主講:張謹琪/泥好 水泥製所 負責人

報名網址:

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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

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講者:張禮豪/藝評人

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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