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

展覽名稱 Exhibit

「『世』一場自願非願的遊浮-李真個展」

Being : In / Voluntary Drift ─ Li Chen Solo Exhibition

展覽時間 Date

2017/07/01-2017/08/27

展覽地點 Venue

台北當代藝術館 MOCA Taipei

門票 Admission

NT50

策展人 Curator

吳洪亮  Wu Hong-Liang

參展藝術家 Artists

李真 Li Chen

展覽介紹 About the Exhibition

「『世』一場自願非願的遊浮-李真個展」

Being : In / Voluntary Drift ─ Li Chen Solo Exhibition

「一場自願非願的遊浮」-李真

An In / Voluntary Drift ─ Li Chen

策展人 Curator:吳洪亮 Wu Hong-Liang

李真,1963年於臺灣雲林出生,為當代國際藝壇中極具代表性的雕塑藝術家之一。作品風格融合其早期對佛學道家之感悟,兼具西方雕塑之創作語彙,同時滲入對當下社會百態之凝視與揭示。1999年作品首度曝光後,即活躍於國際間;2007年參加第52屆威尼斯雙年展,為首位以個人名義受邀舉辦個展的華人藝術家,並曾於北京、新加坡、西雅圖、巴黎等地舉辦大型個展。

Li Chen, who was born in 1963 Yunlin, Taiwan, is one of the most prominent figures throughout international contemporary art. Li’s works are combinations of Buddhist and Daoist philosophy, which he engaged in his early years, and creative elements from western sculpture infused with the gaze and disclosure of various phenomena in modern society. Since his works first appeared to the public in 1999, Li Chen has been an active figure both domestic and abroad. In 2007, Li participated in the 52nd Venice Biennale, the first artist of Chinese descent to be invited as an individual to arrange a solo exhibition in the event. Li Chen has also organized large solo exhibitions in locations, such as Beijing, Singapore, Seattle, and Paris.

 

本展透過對李真作品邏輯的爬梳與推進,以「世」為主題定調。「世」在中文裡有多重含義,不僅有時間上的概念,如:「世紀」、「世世代代」等,更有空間上的概念,如:「世界」,進而延展到對「出世」與「入世」的考量。英文所對應的“Being”,更有存在、生命、本質與品格的意味。恰如李真的作品由東方意識與佛學精神而來,具有綿延的歷史長度,又有著對現世直覺之思考心識,從而建構出李真藝術的多重性與前衛性。副標題:一場自願非願的遊浮,則源於李真所自言「千古不變的生命皆如是」,承如在主觀與客觀間探尋、在歷史與現實間碰撞、在自願與非願間返復,皆是一場場的遊浮。因此展場中劃分為「來」、「往」、「入」、「出」四個層面,藉以帶給觀者感受這由諸多因素所構築的遊浮場域。

By combing and promoting the context of Li Chen’s works, this exhibition is centered around “Being.” The Chinese title of the exhibition includes the character “世(shih)”, which has a variety of meanings including time, such as the Chinese term for century “世紀(shih chi),” and generations “世世代代(shih shih tai tai);” the word can also refer to space, such as world “世界(shih chieh)” and can extend to meanings, such as engaging in“出世(chu shih) ”and distancing from“入世(ju shih) ”society. The English title “Being,” on the other hand, induces the concept of existence, life, essence, and character. With origins in eastern consciousness and Buddhist philosophy, the works of Li Chen include the vast linear character of history while containing acute contemplations of modern intuition, forming the temperament of multiplicity and pioneering quality of Li’s works. The subheading “In / Voluntary Drift” is inspired by Li Chen’s own words: “Life is as it’s always been.” Just like the exploration between the objective and subjective, the collision between the history and reality, and drift between the voluntary and involuntary, each is a journey of exile and wandering. This exhibition is separated into four sections: Arriving, Leaving, Entering, and Exiting, each allowing the viewer to experience the realm of drifting constructed by a variety of different elements.

 

戶外廣場展區的「來」展出高達8米的《站立的靈魂》、《橡皮人》等作品,呈現出李真探索的面貌。「往」則是展出李真最為大家所熟悉的經典作品樣貌,如《牡丹》、《無憂國土》等。「來」與「往」在作品尺度與材質上的差異,使展覽在戶外空間已然建立起一個有著多重思考而又一以貫之的狀態。美術館內則是另一番景象,首先一樓的主題為「入」,從李真重新呈現的早期代表作《蝴蝶王國》開始,將其對世事從遠析到近觀再到融入的過程,人性層層開展,逐步帶給觀眾驚艷與自我疑異的面對。進入二樓「出」的版塊,從《聖光》的風暴與閃爍開始,導引觀眾由作品反思集體糾葛乃至面對死亡的沉寂。而在最大的展間中,李真則建構了一個24米的《神經‧私設天堂》,是本次展覽的最高潮與最深處的表述。被視為直指天際的方尖碑和寶塔的橫空與對峙,所建構的震撼以及從天而降的《急口》,不僅是一次對迴圈及重生的行動闡釋,更使本次展覽主題:「世」之「往」、「來」、「入」、「出」的循環往復在空間上與情感上得以充分彰顯。而展覽尾聲的創作手稿及早期雕塑《神氣》,則將觀眾拉回李真最為原初狀態的呈現,建構了一個「原來如此」的生命通道。

The “Arriving” section arranged in the outdoor plaza displays an 8-meter tall work Upright Soul and Pliant Man. These works reveal Li Chen’s explorations. “Leaving” section presents the most popular and classic works of Li, such as Peony and Pure Land. The difference in dimension and material in the sections of “Arriving” and “Leaving” creates a state of multiple interpretations while being consistent throughout the outdoor exhibition space. The scenery within the museum, however, is entirely different. The theme on the first floor is “Entering,” which starts with Butterfly Kingdom, and displays the process of the artist’s observations of the world from distant analysis to intimate gazes, finally merging and combining. The revelation of humanity is pushed forward gradually, guiding the viewer to surprises and doubts. On entering the realm of “Exiting” on the second floor, the viewer comes face to face with the storm and glittering light of Holy Light and is encouraged to ponder the state of collective entanglement and the solitude of death. Li Chen constructed a 24-meter Innerve‧Artificial Heavens within the largest display space, the deepest and most exhilarating statement of the entire curation. The erect and confronting obelisk and pagoda are placed sideways, forming a shocking Emergency Exit that is not only an interpretation of the action of cycle and rebirth, but also the core concept of this exhibition: The cycle of Leaving, Arriving, Entering, and Exiting of Being are fully expressed in the realm of space and emotions. The sketches displayed at the end of this exhibition and early work Spirited lead the viewer back to the artist’s starting point, creating a life passage of realization.

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

李真,1963年於臺灣雲林出生,為當代國際藝壇中極具代表性的雕塑藝術家之一。作品風格融合其早期對佛學道家之感悟,兼具西方雕塑之創作語彙,同時滲入對當下社會百態之凝視與揭示。1999年作品首度曝光後,即活躍於國際間;2007年參加第52屆威尼斯雙年展,為首位以個人名義受邀舉辦個展的華人藝術家,並曾於北京、新加坡、西雅圖、巴黎等地舉辦大型個展。

Li Chen, who was born in 1963 Yunlin, Taiwan, is one of the most prominent figures throughout international contemporary art. Li’s works are combinations of Buddhist and Daoist philosophy, which he engaged in his early years, and creative elements from western sculpture infused with the gaze and disclosure of various phenomena in modern society. Since his works first appeared to the public in 1999, Li Chen has been an active figure both domestic and abroad. In 2007, Li participated in the 52nd Venice Biennale, the first artist of Chinese descent to be invited as an individual to arrange a solo exhibition in the event. Li Chen has also organized large solo exhibitions in locations, such as Beijing, Singapore, Seattle, and Paris.

作品介紹 About the Artworks

廣場 Plaza

《站立的靈魂》是一尊經碳化木材架構而成的巨型雕塑,為李真擅於運用創作材料導向精神,並使材料與精神達至統一的作品之一。藝術家以燒過後的木條隱含了媒材生命質變的重生姿態,仍餘燼未滅依舊輕煙瀰漫地持續燃燒著,象徵頑抗不屈的靈魂,以居高臨下、傲睨一世的軀殼作為永恆的精神性存在,李真充分運用視覺上巨大、壯闊的審美心理,使觀者在一種震懾威嚴的靜穆氛圍中,產生崇高性的美感經驗,藉此思考集體精神可以超越本體價值的力量。相對的經歷塗炭火煉的生靈,它可能帶領我們從善,也可能是個魔鬼帶我們走向地獄,人人都無以迴避的身陷其中,因此李真說:「一個浮動星球,充滿極度強悍、粗俗的生存與知識遊戲。制度、集體意識、價值體系裡,碰撞、影響、不斷累積每一個時刻念頭,然後轉化。以思想為驅動、以物質為載體,一則一則反映人類進化的考驗。在人性的深層世界裡,你我、和他的共業,時而良善,時而暗黑。」

Upright Soul is a gigantic sculpture made of carbonized wood. Li Chen specializes in delineating spirituality through materials while unifying the two, and the work serves as a perfect example. The artist uses burned wood that has undergone qualitative change to imply a sense of rebirth. Smoke from the embers suggests that the sculpture is still burning, symbolizing an unyielding spirit that manifests itself with a downward-looking shell that embodies its permanence. By bringing the visually imposing and majestic beauty into full play, the artist enables a kind of sublime experience in an awe-inspiring and austere atmosphere, which allows audience to ponder on the power of collective consciousness that can transcend individual value. The life that has gone through the trial of forging fire might lead us to goodness; but it might also be a demon that leads mankind to hell. Each one of us is part of it. Therefore, Li has stated, "A vibrating planet is marked by the powerful and brutal interplay of existence and knowledge, inundated with ideas from institutions, collective consciousness, and the values to which people are exposed. Then, there comes transformation. Such thoughts lead to action through the vehicle of material life, reflecting the tests that human has gone through the evolution. Within the complexities of human nature, the 'collective karma' we all share is both bright and dark."

《站立的靈魂》Upright Soul

木材,鋼板 Wood, Steel

304.5×214×809.5cm

2017


廣場 Plaza

《善變》同時呈現一個人的多副臉孔,明示了人心內在幽微地轉變,往往於不經意間反映在臉上。李真以堅硬、質性穩定卻有著冷調材質語言的銅,來雕塑虛幻無形而不可捉摸的心情、心性與角色的連續變化;將心情的面貌在具像╱抽象的虛實之間,如雲海的翻湧,瞬息萬變。李真更巧妙地採用三點架構,讓整體作品在動勢中展現出「靈識」壯闊的視覺張力。

Mood Swing simultaneously displays different faces of a person, showing that a person's face often unknowingly reveals subtle changes of his/her inner psyche. Li Chen uses solid, stable, but cold bronze to portray the invisible, incomprehensible and continuous changes of mood, temperament, and one's social roles. This work reveals various moods by integrating the figure and the abstract, and is visually reminiscent of the rapid changes found in a sea of clouds. In addition, the artist ingeniously employs a triangular structure to capture the magnificent visual tension of the inner realm.

《善變》Mood Swing

銅 Bronze

446x191x258cm

2012


廣場 Plaza

《一縷》,是李真挑戰以不鏽鋼仿擬空氣感的首件作品,其造型是沉香燒出的裊裊煙霧?清晨微濛的山嵐雲氣?或是叨叨思念的飄渺無形?藝術家將自己的思念寄託於煙雲,於塵世浮光之中守住一縷心香,以此探觸記憶在時空變幻中的深度,並將時間如煙無形轉瞬即逝的凝思,化為抽象與具象之間的氣韻變化,似真且幻,綿延不斷。

Fleeting Wisp is the first sculpture that Li Chen ever attempts to mimic the texture of air with stainless steel. Does the sculptural form resemble the smoking incense, or the misty mountain fog in the morning? Or, does it capture the intangible thoughts of missing someone? The artist expresses his own memory through the abstract cloud, preserving a heartfelt memory in the fleeting world. With this work, he tries to reach the depth of memory, which changes through time; in the meantime, he also substantiates transitory, intangible thoughts with the changing ethereal form that seems to capture the real and the fantasy at the same time.

《一縷》Fleeting Wisp

不鏽鋼 Stainless Steel

128x110x349cm

2011


廣場 Plaza

李真說:「我們有可能是一個橡皮人,我的身體是有彈性的,不信你試試看?」

Li Chen said: “We are all probably just pliant men living in this world. I have an elastic body, you can touch and feel it !”

《橡皮人》身形拉長,失去四肢扭曲的重心,呈現弔詭的姿態,頭部如同章魚柔軟而無骨。他的表情似笑非笑,肢體動作欲拒還迎,像是可以輕易形塑、逢迎諂媚之人。藝術家刻意在此雕塑的表皮上,製作成有皮膚質感的彈性,讓觀者可伸手觸捏,呈現人性中為了生存而願意被壓縮的極限,同時反映了變形的生存環境。 

The Pliant man has an elongated, distorted body without a center of gravity. His head is shaped like an octopus with an ambivalent facial expression and gesture, as if inviting the viewer to touch and to shape it. The artist is attempting to show a flattering character that is willing to change forms for the sake of survival, while reflecting upon our twisted and complicated living environment. 

《橡皮人》Pliant Man

矽利康、鋼板 Silicone, Steel

408×188×396cm

2012


廣場 Plaza

《無憂國土》體態渾圓、飄於頂峰,雙手延展出慵懶神態,恣意交叉的雙腿充滿張力與能量,彷彿養空神遊。李真此作的動勢巧妙地借由表意漂浮狀態的傾斜結構,虛來實往使雕塑立於視覺的平衡,其線條回歸簡約,關注形體內的形質之氣,以素樸的力量充份展現精神之氣與形體之氣的合一,達到極度柔和的境地,如嬰兒般的柔軟。同時傳達土地之清淨無為,帶出逍遙自在的生活情意,散發單純、無邪的美。

Full in form, the figure in Pure Land floats on the top of a mountain tip, stretching the arms with legs crossed. His laid-back manner, however, shows his powerful energy during his meditation in the air, whereas the tilted angle of the body suggests a floating state. Li Chen creates a delicate structure to tune the visual effect in a perfect balance. This sculpture with the simplicity of the contour focuses on the form, demonstrating a unity of spirituality and corporeal existence as well as the tenderness and suppleness of a baby. At the same time, it unfolds the clear thought of the pure land, and reveals the beauty of a carefree, innocent, and cherubic life.

《無憂國土》Pure Land

銅 Bronze

451x133x243cm

1998


廣場 Plaza

「烟之花,一切美麗又短暫的花朵,在最飽滿時落塵,如同青春的旅行…我始終不捨!」李真感慨。 

“Flower of ephemeral beauty falls to the ground in its full blossom; like journey of the youth, it’s hard to let go,” Li Chen contemplated.

《烟花》具有多層次的美感,包括長串的落花、人物、花床等三層結構。上層造型如奇石般的花瓣結晶體,以金色呈現馥麗纍結的意象,藉由隱喻韶華勝極到荼靡的時間指涉,象徵衰敗前的絢爛時刻。再則,人物在木訥中體現一種近似不捨低眉般篤實的靜定凝觀,與微抿嘴角中隱隱然震動的遺憾神情,如此的靈俯眉宇間似是有了妙不可言的悟語。而安坐花床的默坐靜思,「有」與「無」的思悟於默識之中了然遞嬗;它們因結晶而昇華,並非僅是荼靡的潰棄,而是自腐朽中轉化為具永恆性的純粹精神狀態。

Ephemeral Beauty is an aesthetically captivating sculpture with multiple layers, including falling blossoms, a figure, and a floral bed. The golden petals raining down from the sky denote the life cycle of flowers from budding to full blossom, symbolizing life's splendid prime before it starts to fade away. The quiet figure is tranquilly gazing at the scene with a look that reveals his slight attachment and a sense of pity conveyed through his closed lips. The subtle yet intriguing look of the figure beckons at certain realization. Sitting amongst falling petals and contemplating, the figure seems to have grasped the wisdom of life and emptiness. The flowers have been sublimated in the crystal form; instead of falling into oblivion in the process of decay, the life of the flowers has been transformed into a state of pure and permanent spirituality.

《烟花》Ephemeral Beauty

銅 Bronze

129×93×336cm

2013


廣場 Plaza

雕塑人物本體的頭部與身體,刻意地凸顯出頭重腳輕的造型比例,動勢意味著前進的行走,其臉部面貌眼睛僅留下輪廓呈現出一種近乎全盲或半盲的模糊樣態,

他彷彿端詳著手上充滿紋路皺褶的「玻璃腦」,但又似乎始終都看不清楚自己,一種無意間的心識念起與行為陷阱,使保持清明愈加地困難,說明了這是比習氣還要深層的「根」性。李真運用材質語彙,將銅雕的黑色溫潤,與樹脂半透明的中介特性,探究尋找精神空間之際是否往往陷入知識的迷悟之中,而所謂的完美世界,是否也無可避免的是一種自我蒙蔽呢? 

The figure depicted in Human Nature has a much larger head than this person’s body. The face is deliberately blurred out to leave only the contour of closed eyes, as if this person is walking in total or partial blindness. Although the person seems to be contemplating on the wrinkled “glass brain” in his hand, nothing about the self can be truly perceived or understood. Li Chen believes that such cognitive obstacle is caused by our sub-conscious “nature” that lies deeper than “habits,” which makes maintaining an objective mind even more difficult. The artist, therefore, employs the texture of ink-black bronze and semi-transparent polyester resin to portray how a person could get lost in knowledge while pursuing higher spirituality and the fact that the so-called perfect world might also inevitably be a self-deceptive illusion.

《根氣》Human Nature

銅、不飽和聚酯樹脂 Bronze, Unsaturated Polyester Resin

325×194×375cm

2013


廣場 Plaza

「牡丹,每一個存在的個體都必須先走過母親美麗的花朵。」—李真

“Peony represents a floral passage to life that every individual must pass through,” - Li Chen. 

藝術家利用牡丹花描繪生命旅程的首站,以其花瓣繁多,顏色正紅的意象,象徵生命的華麗登場。他捕捉天真幼童正要脫離母體的瞬間,特別強調了頭部比例,以簡逸的幾道線條,勾勒出嬰孩的身型與憨態,並以朱紅色滿佈的皺褶隱喻花朵之於植物,女性之於生殖都是大自然的造化,指涉生命原始的純淨也是如此孕育。亦可將《牡丹》象徵積極入世,比之釋迦牟尼佛與蓮花座所象徵出世的境界轉化。

With a floral representation of the peony, the artist captures the moment when an innocent newborn is about to enter the world with red layers of petals that symbolize the grand opening of life. This piece emphasizes the head as it takes up a larger proportion while the rest of the body is sculpted with a simple and smooth contour. The pleated, vermillion peony can be interpreted as women—both are creations of Mother Nature, the purity that is the beginning of all things. We may also relate Peony to the idea of actively engaging the world, a conversion of the concept represented by the birth of the Gautama Buddha with the lotus flower. 

《牡丹》Peony

銅 Bronze

217×205×236cm

2013


105展間 R105

此作為1999年李真生平首展的代表作之一,由入唐宋佛像造像,得出「氣塞充盈之相;能、量俱足之神」;入六朝佛像造像取「去蕪雜之秀韻,得清和簡靜之骨」,汲養於傳統而取法乎上,從而開拓新局。此作《蝴蝶王國》即是援自佛教密宗之「大黑天」(Mahakala)的圖像原型轉化而來,李真將其三面六臂、面目猙獰盡顯陽剛浩氣的大黑天,以及手持法器與手印等,改以單面十二臂,朦朧善目體態豐腴,充滿母性特質的豐饒意象,敷以表意暗語,如嘻笑、怒罵、詛咒、祝福等通俗的手勢,呈現具褻瀆意味、抨擊性、揭露和諷刺的黑色幽默,在齊臂並展騰懸於空中,猶如蝴蝶展翼的姿態,其背龍髮鬚鬚充滿霸氣,指涉自詡「蝴蝶王國」的臺灣當代社會,有其福爾摩沙的優雅質地,同時兼具多元駁雜的活力脈動。

This representative work was showcased in Li Chen's first solo exhibition in 1999. It assimilates features of traditional sculptural art and creates a new form by adopting the "full and ample form with a spiritual energy" found in the Buddhist statues of the Tang and Song Dynasties as well as the "sheer elegance with a simple, natural quality" from the Buddhist statues of the Six Dynasties. This piece makes use of the "Mahakala" image commonly seen in Tantrism. However, Li Chen has changed the fiercely looking, masculine deity traditionally portrayed with three faces and six arms, each holding a religious instrument or making a hand gesture. Here, we see a twelve-armed, friendly looking figure with an ample body that suggests maternal fertility, making common hand gestures expressive of laughter, anger, curses, and blessing. By doing so, the work conveys a sense of black humor that is implicitly blasphemous, provoking, revealing, and sarcastic. With stretching arms in the air, like a butterfly spreading its wings and hair afloat in a majestic, unfettered manner, Butterfly Kingdom beckons the Formosan elegance and diverse energy co-existing in Taiwanese society.

《蝴蝶王國》 Butterfly Kingdom

複合媒材 Mixed Media

184x89x219cm

1999


105走廊 105 Hallway

此作是「尋找精神空間—大氣神遊」系列中,早期探觸人性的行為作品之一。

李真以詼諧的手法,將序列為首的小龍,呈現志得意滿的自信神情,啣著奶嘴,頭上還有著蝸牛一般敏銳的觸角,然而,其後的一群追隨者,緊緊跟從…。李真透過隱微嘲諷的機制,陳述集體意識的社會現象。

From In Search of Spiritual Space—Spiritual Journey through the Great Ether, this earlier work aims to explore human behaviors. In a humorous way, Li Chen presents the leading dragon at the head of the procession with a confident look on its face and a pair of sensitive tentacles on its head, complacently sucking on a pacifier. Yet, there is a group of followers, following him compliantly. With a hint of sarcasm, the artist portrays the social phenomenon driven by our collective consciousness.  

《糜糜》Collective Consciousness

銅 Bronze

131×38×53cm

2006


106拱門 R106 Arched Door

《空口》做為一件讓觀者進入自我內觀的作品,刻意在一樓長廊轉折的場域入口,精心巧置了與作品互動合宜的視點。

Hollow enables spectators to have a self-introspection; therefore, it is placed at a spot where the first-floor corridor turns to create an appropriate view point to see the work. 

此人體雕塑的嘴巴前後洞穿到底,產生一種近乎視覺空洞化的表現力道;褐黃的土質粗糙龜裂的表皮,呈現了強烈的不完美特質。李真透過《空口》試圖傳達一種語彙就像空氣一般,說完就消失掉了,喩指人性的特質與習氣,他可以是「口說則易,躬行則難」的空口白話;抑或是一場毫無意義的八卦,一種不可靠的,隱藏一種不確定性的,以及空的概念、空的哲想妙論。象徵性地反射出人們往往陷入生存與生性的漩渦之中,其心識的複雜與交錯,呈現「凡夫」生命的滄桑與人性深層世界裡的種種面貌。

A hole penetrates the figure's head where a mouth is supposed to be, and produces a memorable see-through effect. The yellow, coarse, cracking clay surface emphasizes its imperfection. Li Chen aims to express that, like air, words are spoken and disappear completely into nothingness. Using the work as a metaphor to portray people's qualities and habits, the work might be referring to the idea that things are "easier said than done"; it might also point to meaningless gossip or certain unreliable communication. The artist puts "emptiness" into a philosophical context that reflects on his creative concept and technique. In a symbolic way, the work reflects how people are often trapped in the swirl of survival and human nature, which is propelled by the complexity and association of minds, and demonstrates the vicissitude of life and the deep, unseen aspect of humanity. 

《空口》Hollow

黏土、木材 Clay, Wood

60.7x59.7x59cm

2013


106展間 R106

競爭是人類基本的慾望。《金湯》即呈現了人物一前一後的組合,前者,表情沉穩而堅定,展現一種獨占鰲頭的姿態;後者,仰視不安定的神情,對照出意欲超越的心理,此相異的兩種心境凸顯了人類我執的分別心、比較心、執著心的精神狀態。他們皆自溺於象徵慾望「金湯」的池中載浮載沉,無以自拔,無論在階級地位潛隱的優越性快感,或是生活品味的快樂滿足,精神的享受可以很昂貴,也可以很廉價,但當我們將之建立在物欲追逐之上時,就如同沉浮於足不著底的池沼中。以此揭示資本主義社會的功利追求是一種迷惑的力量,時時激盪和碰撞著我們內在的習氣。

Whenever something is standing in our way, it is usually our first instinct to surpass it. Pool of Luxury reveals two people standing one behind the other. The former looks determined and calm, showing a sense of winning confidence, whereas the unsatisfied latter looks worrisome and anxious, looking for an opportunity to surpass the former. The contrasting state of mind reveals people's ego informed by a discriminating, competitive, and obsessive mindset. Both figures indulge themselves in a golden pool that symbolizes desire, unable to extricate themselves. Whether it is from a sense of superiority that comes with ranks and positions or the satisfaction and contentment resulting from lifestyle and taste, enjoyment for the mind can be expensive or economical. However, when we rely on fulfilling our materialistic desires to be happy, it is like we are floating in a bottomless pool. With this work, the artist tackles the reality that the pursuit of material gain in a capitalistic society can be driven by a beguiling force that constantly stimulates and collides with our habits.

《金湯》Pool of Luxury

黏土、木材、金箔 Clay, Wood, Gold Foil

99.5×193×86cm

2012


107展間 R107

「善於「啃食」、「批判」與「讚美」總是讓人害怕、歡喜,在動物世界也是如此;如果你畏懼或敬仰,你於是失去「沈默的智慧」。」—李真

"Aggressive, judgmental people or flatters are always frightening or favorable. It is the same in the animal kingdom. However, to fear or revere them, one loses 'the wisdom of silence.'" —Li Chen

107展間的《二皮刀》與《蒼生》兩件作品,可視為意味著情性的「浮誇」與「木訥」互為參照的對應之作。一個人能說會道,但如果沒有質樸之心,就會流於浮誇。一個人内心和悅易於相處,但如果沒有奮作之情,就容易招人羞辱。

Lib Blade and Sounds of Multitude on view in R107 can be seen as a pair that respectively embodies "boastfulness" and "inarticulateness." When a person has a way with words but lacks a simple heart, the person might seem boastful and vainglorious; when a person is gentle and easy to be with but is too shy and inarticulate, the person might become a push-over. 

《二皮刀》一作,臉上有著兩瓣渾厚的唇齒,刻意雕塑出金屬一般銳利冰冷的感覺。掛著一副自以為是的表情,透露著我行我素的傲慢驕態,這股霸氣使張牙的力量展露無遺。作品指涉了兩種現象,一是惡言傷害;另一種則是生存權的爭取,而嘴巴所說出的妄語最容易反應人性的動機與目的。

Lip Blade is a figure with lips and teeth rendered so sharp and incisive that they remind spectators of metal blades. The figure’s expression is pretentious and arrogant, and emits a sense of aggression that lends a feeling of power and menace to the work. Therefore, Lip Blade may reflect some vicious language spoken for the purpose of survival or attack, depending on the motivation. Either way, what is spoken by a person most easily reflect his / her motivation and purpose.

《二皮刀》Lip Blade

黏土、木材 Clay, Wood

84×72×133.5cm

2012


107展間 R107

「我們自以為看穿表面,其實是喃喃自語,他可能連自己的問題都無法解決。」—李真

"We think that we have seen through appearances. We are, in fact, whispering to ourselves without even the slightest clue to solve our own problems." —Li Chen

《蒼生》的神情與通身斑駁的裂紋,使作品呈現似意識流的汩汩情動,我們雖無法透過泡泡而解讀出內容,但卻可以感受李真藉著雕塑敘事性的視覺形式,表現出凡夫的內在痛苦、壓抑、不滿或渴望,乃至無法被聽見的無奈。與《二皮刀》的霸氣力量相異其趣的是,《蒼生》作品的眼神空洞,堅忍卻不肯定。其所描繪的卻是淡淡而真實的哀愁,一種生存、尊嚴、自然的聲嘶力竭。

The facial expression as well as the cracks covering the entire sculpture make Sounds of Multitude extremely expressive. Although the bubble coming out of the figure's gaping mouth is incomprehensible, spectators can perceive the sculptural narrative conveyed by the visual form, which exposes mortal's suffering, repression, discontent, longing, or even the hopelessness of not being heard. In contrast to the savageness depicted by Lip Blade, Sounds of Multitude gives us a figure with a hollow look, resisting yet uncertain. The work has captured a sense of reserved melancholy that can be found in efforts made for survival and respect.

《蒼生》Sounds of Multitude

黏土、木材 Clay, Wood

67×128×192cm

2012


108展間 R108

「看過自身在鏡中的影像後,開始熱愛自己的完整樣貌,唯有從「不是我」的地方才能構築自我認同。法國精神分析學家」—拉康

"After seeing the image of itself in the mirror, the 'I' begins to love itself as a whole. A sense of self-identity can only be constructed from where that is not the self." —Jacques Lacan, French psychoanalyst

李真將《取相》嵌入一面鏡子反射他人臉孔,已破壞此人物臉部的完整樣貌,使其沒有眼睛而見不到自我的鏡像,然而任何人都可以對號入座在此人身上看到完整的自己。因此,「我」這個主體被架空為一個空洞的符號。鏡像的虛幻本質使得自我與他人疊合,呈現有我/無我;主體/客體的(奇妙矛盾)意識哲想,使《取相》人物彷彿因迷失而倍感孤獨?

For Reflection of Mind, Li Chen replaces the face of the figure with a mirror to reflect the faces of others. Therefore, the figure has no eyes to see itself, and anyone else can see himself or herself from this figure. In this case, the subject of "I" is transformed into an empty symbol. The illusory nature of a mirror image allows the self and the other to become one, and explores the philosophical (contradictory) concept of selfhood versus non-selfhood as well as subject versus object. Being lost in between these thoughts, does the figure in Reflection of Mind not seem particularly lonely?

《取相》Reflection of Mind

黏土、木材、鏡子Clay, Wood, Mrrior

50.5×48×95cm

2012


一樓西側樓梯 Western Stairway 1F

「深邃吸吮…吸吮著。不曾間斷,充滿理所當然的傲慢,在絕對自我虛弱中,敏感自尊。」—李真

"Suckling on a pacifier, strongly and persistently, there is a sense of natural arrogance. Within that absolute but fragile ego lies the sensitive pride." —Li Chen

《童子》啣著奶嘴,搖晃學步,稚氣的面容卻又略帶著任性、傲慢且成熟的氣息,展現某種霸道的「吸收」渴求。喻指曾為「童子」的我們,反思幼時因為本質的需求,在備受關照之中不斷地吸收滋養茁壯;然而,這種需求卻不一定會隨著年歲成長而消褪,本能性的慾望因質變而顯得複雜,以致成為一個需索無度、長不大的孩子。雕塑造型雖以孩童為形,實則潛藏了成人內心存在的貪婪。

Suckling on a pacifier with a waddling gait, the figure's childish face gives a sense of willfulness while simultaneously exuding an arrogant and grown-up air. It demonstrates an overbearing desire of "wanting" and reminds us that we were all once a dependent toddler. Li Chen looks back upon people's needs as children and how they have been constantly nourished to grow. However, these needs do not necessarily wear off just because people have become adults. Desires evolved from our instincts might change into more complex needs, turning us into rapacious children in adult form. Although the body of Lad resembles a child, it nonetheless hints at the most innate desires and greed of an adult.

《童子》Lad

黏土、木材 Clay, Wood

85×96×180cm

2012


二樓 西側樓梯 Western Stairway 2F

此作《匪夷所思》的作品現狀,已不是創作完成時「完美」的樣貌;最初是在一個兒童的耳朵上生長出如青煙一般不規則的圓柱體,隨著歲月的演進,兒童的形象逐漸因龜裂頹圯,與圓柱體融為了一體,使作品看起來像一個行走的巨大小腿,而兒童的身體轉化為坍塌老化後的大腳。李真意圖表現一種時間變化的過程,讓潛藏於作品中生動的「動象」呈現出來,讓觀者能同時在看見第一現狀過去的痕跡和第二現狀初生的影子,我們可以將這件作品視為一種精神的符號,他像一堆難以辨識其形,又無以識別其意義的亂碼,在歲月的風化中述說著無盡的蒼生之謎。¹他其實是同一個自己,是自己與自己的拉扯。李真以作品備受時間催化的力道,將一個自己的所指,來意指人性內在自己的糾結。

註:彭鋒,2011,〈新老大師與新東方精神–李真雕塑的美學解讀〉。

Incomprehensible is displayed in a different look from its "perfect" initiate state. At the beginning, the sculpture depicted a child with an irregular, smoke-like cylindrical object growing from his ear. As time went by, the face of the child gradually cracked and faded away, and seemed to have become one with the cylindrical object, rendering the work to look like a large walking leg and the child's body an aged foot. Li Chen aims to represent the progress of time along with the changes it brings to portray the dynamic movement of the sculptural work. His attempt allows spectators to simultaneously see the past and future of the work. Meanwhile, we can also view this work as a symbol comprised of incomprehensible, unrecognizable codes that reveal the mystery of all life in the weathering process. As a matter of fact, both the child and the cylindrical object are one, and the work represents one's inner struggle. The artist employs the force of time to portray all the struggles rooted in human nature.  

Note: Peng Feng, "New Old Master and the Spirit of the East – Interpreting the Aesthetics of Li Chen’s Sculptures." 2011. 

《匪夷所思》Incomprehensible 

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

13×6.5×20.5 cm

2012


205展間 R205

聖光是一套自己的盈昃風暴,我是寂渴的主角,在幽閉中張揚又變形。—李真

"Holy Light is a changing storm in itself. I am the lonely and longing character, making myself prominent without being able to sustain it in the enclosure." —Li Chen

《聖光》作品為一間暗室,入口之際,依循著上方一盞如心跳般規律閃爍的紅色小燈,踏進展間裡,正央一束攏射聚光燈的光束邀請觀者與之互動,是走入抑或謹慎疑慮地繞行後離開?選擇站在聚光燈下者,即刻迎接黑暗中的風暴,像是催促著主角離開舞台。而若持續待在原地者,則將啟動狂風第二輪的吹襲,原本被光裹覆的神聖意象,瞬間狼狽不堪。

The work Holy Light is a dark room. Upon entering the room, one sees a small red light on top of the entrance, flashing in the rhythm of a beating heart. Stepping into the room, there is an inviting spotlight at the center of the space, waiting to interact with visitors. A person can choose to walk into the light or walk around it to leave. People who choose to stand under the spotlight shall immediately be greeted with a storm from the surrounding darkness, as if it were hurrying them to vacate the center stage. If one chooses to keep staying in the light, a second round of fierce wind will soon arrive, subverting the sacred image of basking in holy light and turning it into an embarrassing mess. 

此作指涉人性必然的存在感,與「被關注」的天性。尤其在無遠弗屆的網路世代,得以輕易將自己曝露在公眾之下,成為被凝視、評斷的主角。即使如此,成為人群中的焦點仍是無法迴避的內心渴望。如此完美的聖光,解放人性的隱私及幽閉,讓自我存在更是張揚又極樂。

The artist uses this work to lure out our desire to be "seen" and captures human’s sense of existence in this world, especially in an age when the Internet has allowed people to easily expose themselves to the public and become susceptible to other people's gaze and judgment. Even so, the desire to be the focus among people remains strong. The "holy light" that liberates oneself from privacy and secrecy makes the existence of self even more prominent and blissful.

(示意圖 Composite Image)

《聖光》Holy Light

裝置 Installation

尺寸因空間而異 Dimensions Variable

2017


204展間 R204

《諸趣之一》The Multitude I 

「那是一種關係的荒茫,疑似調和、焦慮或崩壞!

雕塑之所以…凡夫鑿刻於表面卻深藏於心。」—李真

“It was a desolate relationship akin to mediation, anxiety, and collapse!

Sculptures…are chisels that on the surface seem to be created by ordinary men but actually etchings of the heart.” – Li Chen

204展間以群落的集體性,呈現《諸趣之一》與《諸趣之二》的凡夫百態。

褐黃的泥土,粗糙崩裂的表皮,如同映現凡夫俗子心識複雜的各種樣貌,呈現人與社會的活動,不僅觸及生存情狀也反映人性的深層世界,其中不乏藝術家自身的體驗亦是對社會脈動與感知的深刻觀察。

Arranged as a group in R204, this exhibition displays the various appearances of ordinary life through The Multitude I and The Multitude II. 

The ochre-colored dirt and rough, cracked coating of the objects reflect the appearance of ordinary beings and their complex inner state, not only presenting social activities of human beings, the state of existence, but also the deep inner landscape of humanity. The display embodies the artist’s personal experiences with also his profound observations for the movement and perception of the society.


主體形象以雙臂撐起身體的重量,除了自身負荷之外,還有以懸殊的比例,刻意縮小、扭曲,顯像出嗷嗷待哺之態的人物負重其上,以此詮釋人的意義,有時人必須由自身升起一股穩定的力量,成為支柱並確保他人的安全;而個體的價值取向,體現於堅忍的耐力與承載的力量。

Apart from depicting a figure that is supporting the body in mid-air with both arms, this figure also presents a proportion of disparity with certain body parts deliberately shrunken and distorted to resemble an infant. This work is an attempt to annotate the meaning of human existence, how we sometimes must to emanate a steady force to support and protect the safety of others. The value of the individual depends on his or her perseverance and persistence.

《堅忍》Perserverance

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

19×10.5×13cm

2012


人物主體好似被一條隱形的繩子懸住脖子,柔軟的身軀無精打采地呈現溫和的容顏,靜默地活在當下。藝術家認為,在物資貧乏的環境裡,有些生命的承擔是沒有任何選擇的權利,亦無餘力去多做解釋或思考,像是失去了說話的動機。彷彿道出人微言輕的俗世情狀。

The subject of this work appears that its neck is hung with an invisible rope, and the body limps, the gentle expression, silently existing in the present moment. The artist believes that in an environment that lacks resources, some lives are deprived of the right to choose and have no energy of thoughts or critical thinking, as if they were robbed of the motive of speech. This work seems to suggst a fact that, in this vulgar world the words of the lowly carry little weight.

《無聲》Muted

黏土、木、鐵絲、麻繩 Clay,Wood, Iron Wire, Linen Rope

6.8×9×15cm

2012


李真以《光纖》一作,敘事身處於網路世代,人們湮沒於龐大的資訊海,對於智慧科技的依賴,如同人物受縛於層層絲繩的綑綁卻甘之如飴,以此道破人類天性裡有眷戀束縛的傾向,而藝術家自己也沒有逃脫這股束縛的力量。

Optical Fiber is Li Chen’s discourse of the internet world we live in today. Modern people are flooded by the bulk of information while our dependence on technology is like layers of threads bounding us without our realization. This work reveals our human tendency to yearn for restriction, and the artist is no exception to this force. 

李真:「我們可能是迴避現實的社群『幽閉者』,在光纖網路中自滿並公開隱私,求得寂寞的虛榮!」

As Li Chen once noted: “Maybe we are social ‘hermits’ that are hiding from reality. We gain complacency and expose our privacy to the internet world, gaining the vanity of solitude!”

《光纖》Optical Fiber

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

9.3×7.5×13.5cm

2012


李真以人物臉上包裹著面紗,其身形令人想到六世紀印度中傳達摩禪師,僅露出炯炯有神的雙眼,來體現作品題旨「隱」的深意。隱即是「蔽」,也就是一種隱而不露的智慧與藏拙於巧的處世之道,因此看似孤單的身影,卻隱含著將寂寞昇華到享受靜默的獨處,以此深藏不露的智慧與靜定的奧義觀看人間。

With a veil covering the head, Li Chen created a figure that reminds viewers of the 6th century Bodhidharma. Revealing only bright piercing eyes, the work embodies the theme of work, “the clandestine.” To be hidden means to be covered; a wisdom of withholding and concealing flaws from the world. Therefore, despite the seemingly lonely figure, the piece also conceals the enjoyment of serenity ascending from solitude, and attempts to observe the world with such hidden wisdom and profoundness of serenity. 

《隱》Clandestine

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

9.5×8.5×18cm

2012


「人生很奇怪,有一些傷痕很不容易忘記…」李真說。人生的創傷不一定都在肉體上,也在精神上乃至回憶中。此作人物神情木然而滯悶地望著前方,雙手無力垂下,彷彿還浸淫在只有他自身才感受到的孤寂之中,而臉部雜亂的刮痕,除了明示身體的傷害之外,也象徵了被詆毀的尊嚴。

Li once stated that: “Life is strange. Some wounds are never forgotten…” The traumas of life are not always on the body; they also occur in the spirit and memory. This work has an empty expression that gazes into the distance, arms hanging lifeless at both sides, and seem to be immersed in a solitary that no one else understands. Apart from physical wounds, the messy scratches on the face signifies an injured dignity.

《傷》Wound

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

8×6.8×17.5cm

2012


此作呈現雙人之間懸而未決的角力對抗。一為身型瘦小,結構充滿力道;一為體態龐大稍顯鈍拙,兩者搏力的動勢構成對等的弧度,彷彿無分軒輊。藝術家在視覺上刻意營造一種平衡,也許這是一場進行中的對抗、遊戲,或內在的較勁,使觀者無法直觀判讀其動機與結果。

This work embodies the wrestle between two people. One of the two figures is smaller and has a structure that is filled with strength, while the other seems to be larger but slightly clumsier. The motions of the two form a smooth curvature and the two forces appear to be balanced and equal. The work seems to portray the midst of confrontation, play, or internal rivalry, leaving the viewer undetermined about the motive and result.

《難以預料》Undeterminable

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

22×10×12.5cm

2012


此作睜大的雙眼與張大的口,加上一臉焦急蒼茫的神情,彷彿將潛意識中精神的混沌與壓抑的情緒顯露於相;而重複且疊加的臉孔和暗示動態變化章魚般的肢體動作,顯現一種無以控制得宜的無力感。揭示我們常常受縛於自己的沮喪、恐懼和焦慮的捆綁,對於身體與情緒的無法控制而導致某種自我的遺失。

The eyes and mouth that are wide open in this work combined with the expression of anxiety and perplexity seem to be outward expressions of chaos and suppressed emotions in the subconscious. The repetitive and overlapping faces, octopus-like body arrangements and movements, all convey an uncontrollable powerlessness. This work is an expression that we are often hostage to our own despair, fear, and anxiety, while the lack of control towards our body and emotions lead to the loss of the self.

《無法控制之一》Compulsive I

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

11×9×16cm

2012


此作人物的體態與神情充分地洋溢著一種愉悅而自在的滿足,凌空飛躍的身姿沉浸在騰空輕盈的漫遊中,然而,李真巧妙且戲暱地蘊藉兩根細支點,比喻隱形力量的擺佈,透過這股樂在其中的氛圍指出,就算是被外力或是他人控制也能有開朗的心胸。世俗中有時候被控制也是一種自我選擇,既是臣服的迂腐,也就能享受其中。

Arranged in a floating position, light-weighted in mid-air, the posture and expression of this work emits a satisfactory pleasure and fulfillment. However, the artist Li Chen playfully and cleverly uses two thin sticks to symbolize invisible supporting forces. The entire work conveys the concept of having a broad mindset despite restrictions from outer forces or other people. In some cases, restrictions are a matter of choice, and there is the possibility for one to enjoy the circumstances while also surrendering to external powers.

《自願》With Pleasure

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

13×22.5×15.5cm

2012


作品中一大一小的人物,一前一後以相似的立姿與神似的面部表情,連結成一體,暗示行為模式的世代交替,也指涉了任何密切關係建構下所締結的文化連結與發展。呈現群體關係在人性塑造中有著微妙而近乎魔幻般的影響力。

A larger and a smaller figures are arranged with one behind the other in a similar standing position, both with similar facial expressions and connected as one. The work hints to the passing down of behavior patterns through generations while referring to the cultural connection and development of any intimate relationship. The work expresses the collective’s subtle and semi-magical influence on individual personalities.

《部落》Clan

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

8.6×8.2×18cm

2012


《諸趣之二》The Multitude II


人物隻手指天,表情憤怒,彷彿要口出狂言與天相抗衡一般地控訴內心的不滿。其中,刻意放大的手勢,隱藏著粗俗的毀謗意味,而當對天地諸神的怨懟超越肉身本體,對照的卻是一種對自我重要性極度膨脹的執著。

With one hand pointing to the sky, the face of the figure is furious that is about to curse the heavens due to the inner resentment. The enlarged hand and gesture imply vulgar slanders while the resentment toward the heavens and earth transcends the physical body, presenting the unyieldingness of expanding self-importance. 

《無法無天》Cursing the Heavens

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

7.5×6.5×22.2cm

2012


「人」,失去理智的時刻,難以想像是原本的此人,也許是大量累積的情緒釋放,它可能是狂喜抑或暴怒;可能是焦慮的宣洩或精神上的失常,情性的張力讓形體好似崩壞瓦解,正如《風狂》顯現的拉扯與磨損,使作品前後兩面各有豐富的表情,呈現了一個人被瘋狂擄獲,精神分裂的狀態。

Human, when losing their ability of reasoning, it is difficult to imagine that if it is the same one as before. Perhaps it is a significant emotional release, ecstasy or rage, the catharsis of anxiety, or an abnormality of the psyche. This tension of the temperament collapses and disrupts the body in a manner similar to the tug and abrasion in Crazed. The design of the work displays rich facial expressions on both front and rear sides, displaying a figure under the state of madness and mental breakdown.

《風狂》Crazed

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

17.8×8×15.6cm

2017


一個臉部沒有眼睛,只有一道貫穿的洞,可以透過較大的口徑仰視天空,也可以經由較小的孔洞管窺腳邊的風景,藉此呈現宏觀與微觀的不同。藝術家認為由於個人的視角不同,心胸載體必然產生相異的判讀與盲點。

This work depicts a face without eyes, only pierced holes that can look up to the skies at an extensive angle and peep out to the surrounding scenery. This is a work that expresses the difference between macro and micro vision. The artist believes that due to our varying perceptions, there is bound to be blind spots and differences in interpretations.

《視界》Field of Perception

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

8×7.7×21.5cm

2017


《繡花》與《藏尾》兩件作品並置,分別隱藏了藝術家對兩性特質的觀察,同時反思肉體在社會中的自主性。《繡花》作品中的女子上半身被埋進地裡,露出充滿力量舉向天空的豐腴雙腿,以此讚頌女性陰柔魅力下的強韌,以及孕育生命的自然之美。相較於女性堅固的體態,《藏尾》一作的男子雖以完整的身體出現,卻以夾在兩腿間的「尾巴」,暗示男性急躁而侵略式的性衝動之後,脆弱而羞恥的尷尬處境。

Floral Crochet and Tail Between the Legs are placed side by side, subtly concealing the artist’s observations of the opposing sexes while also reflecting on the autonomy of the body in society. The female bust in Floral Crochet is buried in the ground, revealing beefy legs shooting up into the sky. This is a eulogy towards female endurance hidden under the feminine charm and their natural beauty of nurturing life. Compared to the sturdy physique of the female, the male figure in Tail Between the Legs is presented with the entire body. However, the “tail” between the legs hints to the fragility and shame after impetuous and invasive sexual drives.

《繡花》Floral Crochet

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

10.5×6×14.7cm

2017

《藏尾》Tail Between the Legs

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

6.4×5.6×19.4cm

2017


此作的人物姿態一手摀住嘴巴,雙眼雖往外窺望,卻隔絕於外,呈現防備與拒絕的自然反應,細膩且幽微的表現出內在壓抑畏懼的心像,同時也是人性無法面對自己脆弱的掙扎寫照。

This work presents a figure with one hand cupped over the mouth. Although the eyes are peering outwards, the figure seems to be in a natural state of defensiveness and rejection, delicately expressing the inner state of fear and constraint. This work is also a portrayal of man’s inability to face our own vulnerabilities and struggles.

《封》Sealed

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

9.5×8.8×19cm

2017


兩個不同的個體對視著彼此,彷彿都在評論:「你很大。」兩者互為互補的造型,運用視覺上幽默的手法,揶揄了主觀與客觀之間的感官張力,也強調了人類心理的「 視網膜效應」,只會看到「自己想看」的東西。因此作品刻意呈現錯判的視角,以剖析我們「在意」的動機。

Two separate figures gaze towards each other; each seems to be commenting to the other “You are big.” The two figures are designed in complementary forms, using the humorous visual method to ridicule the sensual tension between the subjective and objective. At the same time, this work also conveys that one only notices images that we wish to perceive. by emphasizing the “Retinal Effect” of human mentality, This work deliberately displays fallacious views to dissect the motives behind our attention. 

《你很大》You Are Big

黏土、木、鐵絲、麻繩 Clay, Wood, Iron Wire, Linen Rope

32.5×21.7×14.7cm

2017


203展間 R203

由五件以炭化木料為主要創作媒材的人物抽象化作品,形構出一個「生靈塗炭」之境的反思,包括:爭戰侵略的威脅、天災肆虐的無情、人性顢頇的無知等等,引伸生息相繫是建諸於集體性共構、共存的對照關係,並在有秩序性的平衡之中恆常發展。

The five abstract human figure works crafted with carbonized wood as the main material create an effect that encourages us to contemplate on the difficulties and challenges in life, such as the threat of war and invasion, the relentlessness of natural disasters, and the ignorance of human nature. The contemplation takes the viewer into further recognition that the connection of life is constructed on collective co-construction and co-existence, developing eternally throughout the orderly balance.

《急急如令》一作似正處於某一種緊張而聳立身形的機警狀態,看似符應題旨準備接收與執行任務,然而李真卻翻轉了意旨,諷喻性地指出:「知識在指間冷笑。」焦黑的身軀似乎暗示他沒有預見、也無法逃離災難所帶來的毀滅。

Work Enforcement Order depicts a figure in a state of tension and alarm that appears to be ready to receive and execute tasks. However, Li Chen reverses the meaning and states ironically: “Knowledge sneers between the fingertips.” The charred appearance of the work seems to be hinting that the figure failed to foresee and escape destruction caused by disasters.

《急急如令》Enforcement Order

木材 Wood

36×36×82cm

2013

 

人類世界充滿多元族群的混雜,因遷徙、生存或佔領而介入,必然存在著融合或是疏離所造成的內在矛盾,唯有以一種非族群主義式的包容與尊重,才有免於征伐對立或毀滅的可能。透過詭異如「外星人」般的原始性雕塑圖像,凸顯不同環境之間的文化差異。

Human civilization is formed with mixed races and ethnicities. Migration, survival, and invasion inevitably involve inner contradictions brought forth by fusion or alienation. Only through ethnical tolerance and respect can we avoid war, conflict, or the possibility of destruction. Through the uncanny primitive sculpture images that remind viewers of extraterrestrial beings, the artist emphasizes the difference between environments and cultures.

《外來者》Alien

木材 Wood

34.5×34.5×66cm

2013

 

李真將隱含一種神秘和威脅性的作品《夜行》,置於展間正中心,其雕塑本體像是某種冷調而尖銳的武器,是戰鬥機?飛行船?抑或飛碟?作品內部配備裝有工業零件,頭部警示燈閃爍是照明?或偵查?意圖不明,隱然透著被監控的威脅感,促使人處在一種無止盡的警戒狀態,更暗示了這種威脅性所隱藏的潛在毀滅力量。

Li Chen places Night Navigator, a work with a mysterious and even threatening quality, in the center of the exhibition room. The sculpture appears to be a cold, sharp weapon: Is it a fighter? A flying ship? Or a UFO? Industrial components are planted in the inner parts of the work. Are the flashing lights on the top installed for illumination or investigation? The unknown intent implicitly expresses a threat of being watched, inducing one to enter an endless state of caution while suggesting the potential destructive power and threat.

《夜行》Night Navigator

複合媒材 Mixed Media

166×82×135cm

2013

 

《隨風》,人物被懸吊於木架上,處於一個可以被觀者擺弄的狀態。藝術家刻意使用物理方式將傾斜定格,使他無法回到自己原本的位置,讓現實可以互動性撥弄難以停止,指涉一種既莫名又無情的孤寂與飄零之失落感。

In With the Wind, a human figure is powerlessly on a wooden rack, powerless against the manipulation of viewers. Using methods from physics, the artist deliberately arranges for the work to be tilted, unable to return to its original position and unable to resist outer forces and movements. This work refers to an indescribable and ruthless sense of loneliness and exile.

《隨風》With the Wind

複合媒材 Mixed Media

40x40.2x69cm

2013

 

《何處》的靈感來自於2013年菲律賓的「海燕」風災。他從殘破的廢墟裡走出來,彷彿一覺醒來家園已面目全非,不知自己身在何處。藝術家透過聚焦倖存的微小生命,投射出一片滿目瘡痍的荒蕪;災難所造成瞬間的天翻地覆,常是我們親眼所見都無法理解的,生存何其脆弱!但人禍又何嘗不是一種「何處」?

Nowhere is inspired by disasters brought forth by Typhoon Haiyan in the Philippines in 2013. The figure awakens from his sleep, walks out from the rubbles, finds his╱her homeland beyond recognition, and wonders where he or she is. By focusing on the minor lives of survivors, the artist projects a devastated wasteland; we are often incapable of making sense of a world that is turned upside-down by the impact of disasters, despite witnessing the event with our own eyes. In such incidents, we are forced to face the vulnerability of life. However, like natural disasters, human-made misfortunes also leave us in a state of “nowhere.”

《何處》Nowhere

木材 Wood

43.9×32×70cm

2013


202展間 R202

《草民之二》是《草民之一》的作品延伸,由代表普通老百姓生存尊嚴的個體表述,延展到為集體精神犧牲的《草民之二》,身體上的鐵絲象徵纖維,骨架似經脈都佈滿焚燒後的痕跡,暗示某種事件的結果。使人不禁揣測:是親人或是一場自然災害下的難民?被侵略的無辜個體?還是犧牲肉體的英雄?

Commoner II evolves from Commoner I, an expression of the spirit of collective sacrifice from the dignity of ordinary individuals. The iron wires on the work represent fibers while the bone structure and overall work is covered with traces of fire and burns that hint to an incident that occurred. The work makes viewers wonder: is this a victim that was harmed by relatives or natural disaster? Perhaps an innocent individual who was injured by an invasion? Or a hero or heroine who had sacrificed his or her body?

《草民之二》Commoner II

複合媒材 Mixed Media

220×85×70cm

2012


202走廊、201展間 202 Hallway,R201

「器官是通往域界的壇城,如此的敏赫,神社是我們日常圈養中的天堂。」—李真

Body organs are altars that connect domains, so delicate and awe-inspiring, while shrines are segments of heaven that we cultivate in everyday life. – Li Chen

「引道」做為進入作品《神經.私設天堂》的前導,刻意營造了的一段漸進式且壓縮的通道(註:入口寬度只能容下一人通過),使觀者感到壓迫,其影射的也許是內心封閉的焦慮,或者是外在集體生活的密度,在此達到某種飽和、尋找出口的狀態,需要觀者自行調整狀態後再行進入最後展場。而作品取身體器官諧音,也正代表一段生產的過程,目的即是走入敏感的人造天堂而獲得短暫的重生。

As an introduction to work Innerve‧Artificial Heavens, the artist has deliberately created a progressive and compressed passage (note: the entrance is only wide enough for one person to enter), diffusing a sense of oppression that may be a reflection of the anxiety from internal entrapment or the denseness of external life. These sensations reach saturation, attempting to find an outlet, while viewers are required to adjust themselves before entering the final exhibition space. The work is named with title that hints to specific organ of the body and represents delivering process that aims to enter a sensitive human-made heaven for temporary rebirth.


201展間 R201

「我是不息的壇城,橫空入世之根錯神器,

從建制到磐石,糾結著歷史機體

圖騰乃是射程的延伸,如此人造天堂

我們不亦樂乎」

—李真

I am endless-battle field of altar; a heavenly tool that enters the secular world, Intertwined with organisms of history from its construction to its foundation. The totems are extensions of the shooting range, here in this artificial heaven,We find pleasure and joy. —Li Chen

 

人類歷史的圖騰毫無疆界,從原始土著、馬雅文明等,或是埃及的金字塔、遍及亞洲各地的寶塔,乃至法國協和廣場的埃及方尖碑,無論其意圖為宗教性、紀念性或象徵性,此不斷向天際延伸的意象,古今以來皆象徵著某種集體精神意識的偉大與渴望。

There are no borders to the totems of human history. Either established for religious, commemorative, or symbolic purposes, the primitive, Maya civilization, the pyramids of Egypt, the pagodas across Asia, and the Egyptian obelisk within Place de la Concorde in Paris, all extend to the heavens to represent an ancient collective consciousness and grand yearning.

裝置作品《神經.私設天堂》呈現迷霧中兩座巨大的尖塔「橫空」指向彼此,原本帶有至高權威的尖端瞬間充滿侵略性、領域、威脅感,然而彼此卻不碰觸,處於平衡共生警戒中,具有性器敏感的狀態。其中一座取形西方紀念碑,另一座則是傳統東方寶塔,雙塔雕塑呈現金屬感,並在寶塔表面做出筋脈紋路,彷彿在現代元素視覺之下隱藏千古以來盤根錯節的複雜性,如神經血管般緊繃而糾結起來。這兩種潛伏的複雜,在一種對峙及平衡關係中像是個頑抗的有機體,充分體現「域界,就是一場不息的壇城。」李真刻意借此比例相當的文化建物,賦予歷史磨合、蛻變卻不斷迴圈的當代解讀。

Installation Innerve‧Artificial Heavens depicts two large minarets in the mist floating horizontally in mid-air, pointing towards each other. The two objects that originally represent power are suddenly filled with aggression, threat, and a sense of territory; however, the two minarets do not touch and exist within a state of balanced alarm, suspended in a state of tension and sensitivity. One of the two objects appears to be a western monument, while the other an eastern pagoda, both with metallic textures with patterns on the surface that seem to conceal the complexity of thousands of years of history under modern visual elements, intertwined like nerves and blood vessels. These two lurking complexities resemble a stubborn organism in state of confrontation and balance, fully embodying the concept of “domains as an endless battlefield of altar.” Li Chen uses a cultural architecture with similar proportions to endow a modern interpretation of historical loops albeit run-in and metamorphosis.

(示意圖 Composite Image)

《神經.私設天堂》Innerve‧Artificial Heavens

裝置 Installation

尺寸因空間而異 Dimensions Variable

2017


201展間 R201

《急口》為一件互動性作品,在由微弱藍光所組成的隱形牆面中間立了一根圓柱,觀者可順著圓柱滑到一樓展場,落在軟墊上,透過此裝置,提供一個穿越時空快速離開展場的管道。離開的心情可能是被欺騙的悲傷、厭惡的想逃離、遊戲般的玩樂或好奇的嘗試。然而,無論是透過圓柱或美術館的樓梯,觀者最後的路線都指向從敏感的人造天堂回到人性集體建制的世界,上演著在領域內被圈養的事實,而世界在出世與入世之間循環返復,一切似乎沒有改變。

Emergency Exit is a piece of interactive art contains an invisible wall formed by faint blue lighting and a vertical pole erected in the middle. Viewer can slide down the pole to the ground floor and fall on a soft cushion. This installation creates a passage that allows fast departure from the exhibition space. The mood of departure may be a flood of sadness from being deceived, disgust that longs for escape, or playfulness and curiosity. However, regardless whether choosing the pole or the stairway of the museum, visitors ultimately return to the collective world of humanity from the sensitive artificial heaven. In the world of humanity, the fact of being captive to the domain and the cycle of being engaged or distant to the world continue to be staged; everything seems to remain the same.

(示意圖 Composite Image)

《急口》Emergency Exit

裝置 Installation

尺寸因空間而異 Dimensions Variable

2017


出口樓梯 Stairway to Exit

作為此展覽的尾聲,分別呈現李真創作時的手稿,紙本上同時記錄了創作思索的語錄,此中的雕塑作品《神氣》,是李真1990年早期的創作,寫實地刻畫了他兒子童年行走瞬間的神情,從中可見李真藝術精神與技巧最為原初狀態的呈現。除了提供觀者欣賞李真藝術的創作脈絡,更體現出李真用生命來創作與突破,更是用來回歸原點! 

As an ending to this exhibition, the works displayed in this section are sketches of Li Chen that document thoughts and quotes of the artist. Sculpture Spirited is an early work created in 1990, realistically depicting his little son’s instant expressions when he learned how to walk, authentically displaying Li Chen’s artistic temperament and techniques. Apart from allowing viewers to admire artist’s context of creation, these works also express the artist’s life-long artistic career and breakthroughs while leading the viewer back to the starting point of the artist.

《神氣》Spirited

玻璃纖維 FRP

30.5x18.5x67.5cm

1990

 

手稿─《不息》Sketch for Non-Stop    

紙本、水墨 Ink on Paper

29.7×21cm

2012

手稿─《相互與矛盾》

紙本、水墨 Ink on Paper

29.7×21cm

2012

手稿─《匪夷所思》
Sketch for Incomprehensible    

紙本、水墨 Ink on Paper

29.7×21cm

2012

手稿─《二皮刀》Sketch for Lip Blade

紙本、水墨 Ink on Paper

29.7×21cm

2012

手稿─《空口》Sketch for Hollow

紙本、水墨 Ink on Paper

29.7×21cm

2012

手稿─《無人》

紙本、水墨 Ink on Paper

29.7×21cm

2012

手稿─《童子》Sketch for Lad 

紙本、水墨 Ink on Paper

29.7×21cm

2012

手稿─《蒼生》
Sketch for 
Sounds of Multitude   

紙本、水墨 Ink on Paper

29.7×21cm

2012


相關教育活動 Educational Programs

「『世』一場自願非願的遊浮-李真個展」相關教育活動

藝術家
國際

座談會

《世界、時間、自身》

時間:2017/07/01 Sat. 13:30-15:30

地點:台北當代藝術館一樓活動大廳

主講:吳洪亮 / 北京畫院美術館館長、齊白石美術館館長

           李真 / 藝術家

           黃海鳴 / 藝評家、前台北市立美術館館長

報名網址:
https://goo.gl/6SedZe

《物與無》

時間:2017/07/01 Sat. 15:50-17:50

地點:台北當代藝術館一樓活動大廳

主講:潘小雪 / 台北當代藝術館執行總監

           喬安·伯尼·丹茲克 Jo-Anne Birnie 
           Danzker  / 雪梨雙年展總監

           吳超然 / 東海大學美術系助理教授

報名網址:
https://goo.gl/6SedZe

 

藝術
工作坊

《用身體玩雕塑》藝術工作坊

時間:2017/07/08 Sat. 14:00-15:00
           2017/07/08 Sat. 15:30-16:30

地點:台北當代藝術館一樓活動大廳

主講:張鎌麒/瑜珈教師

對象:適合一般大眾,歡迎各式雙人組合,
           親子、愛人、老伴與朋友。

報名網址:
https://goo.gl/D5wfSK

 

藝術
工作坊

《我為人人為我》藝術工作坊

時間:2017/08/05 Sun. 14:00-17:00

地點:台北當代藝術館一樓活動大廳

主講:張瑋倫/藝術家

對象:喜歡動手玩創意,對雕塑藝術有興趣的大眾。

報名網址:
https://goo.gl/MqMRr1

 

專家導覽

「『世』一場自願非願的遊浮-李真個展」專家導覽

主講場次:

2017/07/16 Sun. 14:00、
潘安儀/美國康乃爾大學美術史及視覺硏究學系副教授

2017/08/20 Sun. 14:00、
張乃文/國立臺北藝術大學美術學系副教授

地點:台北當代藝術館一樓展間入口

活動網址:
https://goo.gl/spoE8Y

 

兒童專區

「『世』一場自願非願的遊浮-李真個展」兒童教育專區

【兒童語音導覽】*適合年齡:5-12歲。歡迎至當代館一樓服務台借用。

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

※ 歡迎點選下列連結下載取用:https://goo.gl/4yCe21


【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。

以寓教於樂的方式,配合每檔主題展覽,開發展覽學習單及學習盒,輔助了解展覽內容,增添學習趣味。104年度新推出「親子觀察單」,讓家長能自行引導年齡較小的小朋友,參觀展覽。

※ 歡迎點選下列連結下載取用:


正面:https://goo.gl/FtfCsK

背面:https://goo.gl/57hB1q


 【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。

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

※ 歡迎點選下列連結下載取用:https://goo.gl/X3TqSZ


【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。

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

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

 

年度教育贊助 Sponsor for Education Programs│
 
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