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

首頁 展覽資訊
 

展覽名稱 Exhibit

「遊歷│德國與臺灣20年之間的藝術創作─華安瑞個展」

Wandering vom hier und dort seinTwo Decades of Artistic Work between Germany and Taiwan ─ Andreas Walther Solo Exhibition

展覽時間 Date
2018/08/11 (sat.) ~2018/09/30 (sun.)  
展覽地點 Venue

MOCA Studio

門票 Admission

免費

策展人 Curator

林志明 Chi-Ming LIN

參展藝術家 Artists

華安瑞Andreas Walther

展覽介紹 About the Exhibition

 

 

影像時間向度與氛圍的追求

Temporal Dimension in Image and the Pursuit of Atmosphere

策展人Curator│林志明Chi-Ming LIN

 

德國藝術家華安瑞(Andreas Walther)二十年前來到臺灣,不但和此地深刻結緣,多次居留長住,並且也進行了多次的合作計畫。這次他在當代館的小型回顧展,除了他早年的錄像作品外,主要展出近年創作的攝影作品。

German artist Andreas Walther first visited Taiwan in 1998. Since then, he has formed strong ties with the island and has had various project cooperations during several long stays. 20 years later, this small-scale retrospective at the Museum of Contemporary Art (MOCA), Taipei, shows some of his photographic works from the recent years in line with his early video works.

 

在錄像和攝影之間迴轉遊歷,華安瑞較早期作品中有一個特點,即對於時間這個向度有特別的著重。錄像和攝影皆是以影像為基礎的藝術,然而錄像開展於流動的,甚至是可操弄其前進/後退及進展速度的時間中,而傳統的攝影卻只是時間之流中的一段切片。此次他展出2002年的錄像藝術作品,在德國與臺灣拍攝同一時期的日落時光,卻因為緯度高低不同而產生了由明至暗時間長度及光線變化狀況的對比。這兩段時光在作品中以錄像分隔並置的方式呈現,是一種直接的對比。到了他最近側重風景及自然的攝影作品中,藝術家想要突破攝影在時間這個向度上固有的限制,採用了數位攝影修圖的方式,使得拍攝時內在的感受,可以經過長時間在心中的蘊釀,並藉著數位攝影的特點,將不同時段的影像加以疊合或並置,嘗試找回到有所感動並按下快門時的整體環境氛圍。

Wandering between video and photography, Walther’s early works share one specific feature, which is his emphasis on the temporal dimension. Although video and photography are both art forms based on image, the temporality displayed in video is fluid and open to manipulation, as one can forward, rewind and control the speed of progression; on the other hand, traditional photography represents a temporal slice captured from the flow of time. This exhibition features one particular video artwork created in 2002, in which the artist filmed the sunset of the same period in both Germany and Taiwan. Due to the difference in latitude, the work shows a vivid contrast between the two videos in terms of the sunset’s time span and changes of light. The two time periods are juxtaposed to demonstrate a direct contrast in the exhibition. In his later work, Walther has focused on the photography of landscape and nature. Attempting to break through the photographic retrains on the subject of time, he adopts the approach of digital photography and the technique of retouching, which allow him to contemplate longer on the inner feelings when photographs are taken. By overlapping or juxtaposing images from different time periods, he recreates the overall atmosphere of the moment he felt moved and pressed the shutter.

 

這種對於氛圍的探索和追求,也表現在華安瑞更晚近的作品中:由他主觀的觀點出發,他表示想要透過攝影去傳達拍攝當時感受到的環境氣氛;然而由觀者的角度出發,這裡所謂的氣氛或氛圍,應也是一種對於客觀環境有所回應的心境世界。在目前這個具有小型回顧展性質的展覽中,創作者實驗著種種傳達其追尋的方法,除了尺幅加大的單幅攝影,還有如前述的雙屏併置、或是在黑色底紙上噴墨、超寬尺寸的横幅等。藝術家意圖使得其作品觀看經驗由簡明快速的影像提供,轉化為一種逐漸展開的觀看和沉思體會,而這也給展覽名稱「遊歷」(Wandering)另一層較深沉的意含。

The artist’s exploration and pursuit of atmosphere can be detected in his more recent works as well. Starting from a subjective viewpoint, he uses photography to convey the atmosphere that he perceived when he took the photographs. Nevertheless, from the viewer’s point of view, the so-called atmosphere can also be a state of mind as a response to the objective environment. In this exhibition, Walther experiments with various means to visualize his artistic pursuit. In addition to large scale single photographs, the audience can also see two-channel videos, such as the one mentioned above, an extended horizontal scroll and works created through printing on black paper. The artist intends to transform the exhibition from a straightforward display of images into a contemplative viewing experience that gradually unfolds, and this attempt has indeed revealed a deeper layer of meaning conveyed through the exhibition title ‚Wandering.

參展藝術家 About the Artists

華安瑞 Andreas Walther

1971年出生,目前工作和生活於德國及臺北。1998年到2003年間就讀於德國科隆媒體藝術學院媒體藝術系,2003年到2004年間在臺大語文中心學習中文。其創作議題長期關注於歐洲與臺灣文化之間的互涉性,特別是東方山水畫、媒體理論、哲學領域與道家思想。作品持續在歐洲及臺灣展出與被收藏。除了藝術創作外,華安瑞也策劃展覽與工作坊,並且在大學從事教學工作及主講。

 

Andreas Walther, born 1971, lives and works in Germany and Taiwan. He studied Media Arts in Cologne, Germany from 1998 to 2003 and the Chinese language in Taipei from 2003 to 2004. Within the same period of time, he began to relocate his artistic work in between the cultures of the West and the Far East. He is interested in artistic questions within this context, references to Shanshui (山水)painting as well as to ideas from the fields of media theory, philosophy of perception, and Daoism. His works are exhibited in Taiwan as well as in Europe and represented in public and private collections. Occasionally, Andreas Walther also realizes curatorial projects in the field of cultural exchange, gives lectures, courses and workshops in academic contexts.

*Website:www.andreaswalther.de

 

作品介紹 About the Artworks

錄像作品與攝影二連作 Video Works and Diptychs

 

展覽中的作品在於探討身體與媒介之間的關係與位移,特別是錄像及攝影。〈…明白我在這兒…〉〈以時間剪空間〉(皆創作於2002)兩件作品涉及身體交融於「此刻此地」的連續過程,而「錄像」做為媒介,可穿越時間,定義不同時刻的長度,將各個時空段落獨立出來、並加以組織,實現腦海中所能想像的一切可能性。

 

此外,展覽中的早期攝影作品,以批判性的角度討論攝影此一媒體的特質,而近期的作品則試圖以攝影支援身體存在的各種現實。

 

「二連作」是華安瑞早期所運用的形式,目的在於突破攝影只能採用單一視角捕捉單一時刻的侷限:運用這個形式,可以在空間中加入另一種凝視,或在時間跨度中捕捉另一個時刻,讓觀者可以更容易以感性去閱讀攝影所刻劃的感官經驗/氛圍。

 

All works in this exhibition discuss the relation and the displacements between body and media, here in particular video and photography. The video works ...realizing that I am here... and Editing Time Space (both 2002) relate to the body being woven into the continuous process of “here and now, while the medium “ video” knows to jump in time, to define duration of moments, to isolate and organize temporal and spatial excerpts – possibilities that all are given to the mind as well.

 

Also the early photographic works shown in this exhibition critically discuss characteristics of the medium; more recent works then seek ways to apply photography so that it rather supports somatic realities.

 

The “Diptychs” were an early way to exceed photography’s limitation to single moment and sole perspective: a second gaze into a space can be added or a second moment within a time span can be captured – as one way of making it easier to sensually read a photographic sketch of a sensual experience (atmosphere).  

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漆黑作品 Entirely Black Works

 

 

「氛圍」是心靈在平常的感知及判斷活動外,對感官印象持續的積累作用。氛圍印象可達到相當強烈的程度─猶如我們經驗某種具戲劇性或祥和氣氛的景色─對身體產生效用並使心靈與其相契,這樣的時刻,吾人無言。

 

抽象的藝術表現是為了暫緩心靈過於快速的分辨、識別並評判雙眼之所見,畢竟我們仍需要透過發展語言來表述經驗,而攝影的特質之一即是快速補捉、凝結鏡頭前的一切細節及色彩。

 

因此,漆黑作品乍看之下似乎只是黑色長方型的畫面。但再仔細看,會先看到不同層次的黑,然後開始看到風景及作品傳遞的「氛圍」:體驗作品的完整過程需要專注投入,作品中沒有任何事物會立刻躍上觀者眼前,心靈的自然活動因作品畫面的模糊呈現而緩慢下來。

 

“Atmosphere” is the continuous summation of sensual impressions aside of the mind’s general activity of perceiving and judging. Atmospheric impression can get to an intensity – for instance when we experience a dramatic or a peaceful landscape – that it reaches the body and aligns the mind. In such moments we are speechless. 

 

Abstraction in art is one way of preventing the mind from distinguishing, recognizing, and judging all too quickly, since we still need to develop language expression for what we experience. One characteristic of photography then is its ligation to all details and colours as they appear in front of the lens.

 

The Entirely Black Works at first glance are merely are black rectangles. By and by one senses shades of black and it is only after another while that one starts to sense the sceneries and “atmospheres” the works offer: the whole process of experiencing the work requests engagement, nothing here jumps at the beholder, the natural activity of the mind is slowed down by vagueness.

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壁經 Murals

 

攝影對細節的捕捉及其難以呈現抽象,為壁經作品鋪了路。某種程度上來說,這些大多由水泥牆面、青苔和地衣所形成的畫面猶如完整的山水畫,有清楚可見的動態、光影,和各種有機與無機的事物。然而,除了上述所提事物之外,作品中沒有任何叫得出名稱的物件,相反地,觀者盯著作品沉思愈久,最初可識別、辨認的東西似乎也不再成立,從這個角度來看,此些作品消減了攝影最強烈的特質─亦是其最為脆弱的部份。

 

The ligation of photography to details and its difficulty to come to abstraction on the other hand led to the group of works named Murals. These found constellations of mostly concrete wall, moss and lichen in a way are complete sets of Shanshui(山水)  with perceivable dynamics, with light and shadow, organic and inorganic matter, etc.. Yet, besides of the mentioned above, not any namable objects appear in the works. On the contrary, the longer one contemplates a work, the less might endure of what could be recognized and named in the first place. Approaching from this perspective, the group of works brings photography to a point, where its strongest quality (which is its severest weakness likewise) is undermined...

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單一創作Single Works

 

 

在華安瑞近期創作的單一作品中,其主要思索如何平衡身體本質及攝影特性之間的互動關係。身體的感知、內化、記憶及回想某種氛圍的過程,與攝影試圖捕捉該氛圍的活動,在創作的過程中連成一線。掌握相機需要相當的專注,而攝影與空間、時間的特殊關係(單一視角、時間點),使這個身體過程十分容易被「攝影」媒體所掩蓋。故而在拍攝過程中對相機的注意力減至最低,再運用數位攝影的「後製」技術所能創造的可能性,平衡身體與媒體之間的關係,讓重點回歸身體,以豐富二者之間的關係,此處的重點在於對感知品質及身體特質的提問。

 

The most recent group of works, the Single Works, is mostly concerned with balancing the interplay of the body’s nature and the characteristics of photography. The somatic process of sensing, internalizing, memorizing and recalling an atmosphere and the producing of a photograph intending to capture an atmosphere here are aligned within the artistic work process. While the handling of the camera demands quite some attention and due to photography’s particular relation to space and time (single perspective, point of time), it happens all too easily that the somatic process runs under the medium’s aegis. Minimizing the attention payed to the camera while taking photographs and applying the possibilities provided by ‚”post production” in digital photography both help to balance the relation of body and medium and enrich their interplay by returning the lead to the body. Questions on the qualities of sensing and the nature of the body are in focus here.

 

相關教育活動 Educational Programs

「藝術家導覽」Artist Guided Tour

活動日期:2018年08月26日 (日) 14:00 - 15:00

集合地點:台北當代藝術館 一樓活動大廳

講者:華安瑞 Andreas Walther (藝術家Artist)

線上報名:

*活動免費參加,請事先至當代館官網預約報名。

l   洽詢專線:02-2552-3721#223王小姐

l   報名網頁: https://goo.gl/forms/faNrnKhEHakAXSfz2


 

 「講座論壇」Talk

日 期|2018年09月08日 (六) 14:00 - 16:00 

與談人|林志明 (策展人、國立臺北教育大學藝術與造形設計學系教授)、辛蒂庫絲(國立臺灣師範大學藝術史研究所所長)李曉雯(台北國際藝術村總監)華安瑞 (藝術家)

地 點|當代館1F活動大廳

辦 法|免費參加,現場座位有限。