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

展覽名稱 Exhibit

【菲常態:尋找家園-羅納德•溫杜拿個展】

Project: Finding Home-Ronald Ventura Solo Exhibition

展覽時間 Date

2016/09/15-2016/11/20

展覽地點 Venue

台北當代藝術館 MOCA Taipei 1F

門票 Admission

NT50

參展藝術家 Artists

羅納德•溫杜拿 Ronald Ventura

展覽介紹 About the Exhibition

【菲常態:尋找家園-羅納德•溫杜拿個展】

Project: Finding Home-Ronald Ventura Solo Exhibition

 

【菲常態:尋找家園—羅納德•溫杜拿個展】是台北當代館藝術館開館以來,第一位菲律賓藝術家個展。羅納德於1973年生於馬尼拉,是菲律賓享有盛名的當代藝術家,早年畫作融合寫實技法和怪誕風格,其後創作走向多元發展,除了擅於匯聚菲律賓民間傳說和工藝傳統,也有意多方吸收西方藝術經典、美日動漫美學等,從中發展出一種混搭了普普趣味與流行文化意象的超現實主義風格;他的作品除了充滿豐富的敍事性,也處處流露了菲律賓獨特的民族性。

Project: Finding Home-Ronald Ventura Sole Exhibition is the first solo exhibition at MOCA, Taipei for a Filipino artist. Born in 1973 in Manila, Ronald Ventura is a celebrated contemporary artist in the Philippines. His earlier paintings incorporated realism techniques with his peculiar style, and he later diverged into diverse developments bringing together Filipino folk legends with traditional craftwork, with deliberate references to Western art classics and American, Japanese animation aestheticism. The result is a surrealism style mixed with playful pop and popular cultural semiotics. In addition to rich narratives, Ventura’s art also reveals Filipino’s unique ethnicity.  

 

本次當代館的個展中,羅納德除了展出平面畫作,也將透過立體及空間裝置作品的呈現,來闡述異國游子奮力打拼的多重情境。先是在廣場呈現了夢幻彩虹橋和現實茅草雜貨屋的戶外組合,緊接著是入口處的旋轉木馬動態裝置,展現了色彩絢麗與聲光迷幻的室內空間,藉著展覽開端所營造出的歡樂喜慶與童話氛圍,揭開了現代游牧者對於幸福的追求與想望;而後續展間中重複出現的元素:飛機、船隻、行李箱、木馬…等,也直接或間接地指涉了地理空間的跋涉,以及藝術家對於「離家」這件事所賦予的複雜情感及意義。

On view in this exhibition are paintings and also installations, showcasing multiple scenarios depicting the diligent life of people working abroad. On the outdoor plaza are several dreamy rainbow bridges and a small straw hut grocery store. A moving installation of a carousel is placed at the entrance, leading to an interior space that is colorful, vivid, and full of fantastic lighting effects, as the exhibition opens up with modern nomads’ pursuits and desires for joy and wellbeing. Some repeated elements are seen in the exhibition space, including aircrafts, boats, suitcases, wooden horses, etc., directly and indirectly suggesting geographical journeys made, and the complex emotions and meanings behind “leaving home”.

 

有鑑於當代館附近的臺北車站和中山北路一帶,是來臺求職打工的菲律賓人活動及互動最密集的區域。在本展中,羅納德將著眼於這些離家到海外討生活的菲律賓族群,進而探討「家」之於不同生命個體的情感濃度、精神價值和社會定義。家,是人類不同文明裡最基礎的單位,也是最廣泛被關注的議題,隨著時代進展,當代人全球化的游牧或吉普賽式隨遇而安的生活型態也逐漸被歸類在「家」的範疇之內。身為藝術家,羅納德因工作需求,必須經年累月頻繁地旅行、四處造訪不同城市、與不同國籍背景的人相遇。天性敏感的他,不論在出發點或抵達地、不論是長久或短暫的停留,都可以觸發其社會人文的觀照和創作的靈感。在本展中,羅納德透過創作探討現代人不斷流動和四處游牧的工作和生活模式,是如何動搖了人們對於家庭、根源及歸宿的傳統定義。在臺灣,許多國際移工都是生長於菲律賓,但此刻臺灣是他們生活工作和生命發展的新國度,家鄉->異國無疑是這個展覽的主題和延伸。

近年來,許多菲律賓人為了生活而踏上臺灣這塊鄰國的土地,他們進入工廠、家庭、漁船等工作場域,成為臺灣不可或缺的勞動力量。假日時,他們經常聚集在當代館附近的教堂、車站、商場,或交換訊息、或一起同樂,或連繫同鄉之情…。有鑑於此,羅納德特意以當代館戶外廣場的作品向他們致敬,並以此召喚菲律賓人喜愛熱鬧慶祝的民情,這個展覽,也是當代館代表臺灣民眾,對菲律賓在臺移工所發出的一個熱情邀請,我們相信:不論我們各自的故鄉在哪裡,只要能真情相待,和諧共聚一地,即使是胼手胝足,也能打造一個甜蜜溫馨的家園!

The area neighboring MOCA, Taipei near the Taipei Main Station and Zhongshan North Road is where many Filipino migrant workers in Taiwan are based in, and Ventura explores what “home” means emotionally, mentally, and socially to different individuals that have left the Philippines to work overseas. Home is the most fundamental unit in human civilization and also an issue of wide focus. Through the progression of time, lifestyles of nomads in today’s globalized world have also gradually become included in the parameter defined by “home”. Ventura travels a lot as an artist. Due to his sensitive nature, thoughts on social and cultural matters and creative inspirations are always evoked when his travels, regardless of the location or duration of his visit. The way modern nomads work or their lifestyles are examined by Ventura in this exhibition to investigate how the traditional definitions for home, origin, and belonging have shifted and changed. There are many migrant workers from the Philippines in Taiwan, and with Taiwan as their new place of living and development, the topic of “home to foreign land” is explored and expanded in this exhibition. Many Filipinos have come to Taiwan in the recent years to make a living. They work in factories, homes, on fishing boats, and other jobs, and have become an indomitable part of Taiwan’s labor forces. Many of them are seen gathering at the church, train station, or shops near MOCA, Taipei on weekends. They have come to exchange information or simply to have fun and connect with each other. With this in mind, Ventura has dedicated his artworks placed on the MOCA plaza to them, paying homage to Filipinos’ love for festivities. This exhibition is also an invitation made by MOCA, Taipei on behalf of the people of Taiwan to all the Filipino migrant workers in Taiwan. We believe that it doesn’t matter where we come from, but if we can treat each other with sincerity and live together harmoniously, a sweet and heartwarming home can be created!

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參展藝術家 About the Artists

藝術家介紹 Artist Introduction

羅納德於1973年生於馬尼拉,是菲律賓享有盛名的當代藝術家,早年畫作融合寫實技法和怪誕風格,其後創作走向多元發展,除了擅於匯聚菲律賓民間傳說和工藝傳統,也有意多方吸收西方藝術經典、美日動漫美學等,從中發展出一種混搭了普普趣味與流行文化意象的超現實主義風格;他的作品除了充滿豐富的敍事性,也處處流露了菲律賓獨特的民族性。

Born in 1972 in Manila, Ronald Ventura is a celebrated contemporary artist in the Philippines. His earlier paintings incorporated realism techniques with his peculiar style, and he later diverged into diverse developments bringing together Filipino folk legends with traditional craftwork, with deliberate references to Western art classics and American, Japanese animation aestheticism. The result is a surrealism style mixed with playful pop and popular cultural semiotics. In addition to rich narratives, Ventura’s art also reveals Filipino’s unique ethnicity.  

作品介紹 About the Artworks

廣場 Plaza

在當代館的廣場上,出現了一件超大格局的空間裝置-〈彩虹連結〉,以色彩鮮艷而曲線優雅的抽象大造型體,結合小小一間寫實再現的茅草雜貨屋,除了為本展定調,同時也作為【尋找家園】整個展覽的序曲。此作開啟了本展環環相扣的內容和題旨,如:家園、族譜、根源、旅程、及歸宿等;透過自然媒材與人工色彩的結合,它構築了一個動感十足的形式結構,而指涉了與本次展覽主題相關的多重意涵:它可比擬為人類基因的雙螺旋分子,強調了個人的根源、家族的紐帶以及血緣的關係。同時,它也可被解讀為一種剪不斷、理還亂、縱橫交織、四向流動,循環相連而生生不息的社會文化網絡!

Rainbow Bridges, a large-scale installation, has popped up on the plaza of MOCA Taipei, with a small straw hut shop incorporated in the large vibrant abstract curved lines. This artwork sets the tone for the exhibition and opens up its overarching theme of Finding Home. It is a prelude to the interconnecting issues explored in this exhibition, including home, genealogy, origin, journey, and destination. The dynamic structure composed with natural materials and artificial colors indicate the multiple meanings embodied in the topic of this exhibition, and it is also a symbol of the DNA double helix, emphasizing the connections between an individual’s origin, family, bond, and bloodline. It can also be seen as a social cultural network that is complex, crisscrossing, interconnected, and continuous. 

 

此作以天然的竹竿,經臺灣匠師的手藝加工組構而成,藝術家自言:以竹子為創作材質,一因竹子的柔軟特性,極適合彎曲成型。二因竹子可連結到菲律賓人具彈性且極富人情味的個性,這也是菲律賓社會中最受珍視的寶藏。在菲律賓傳統建築中,竹子也是非常普遍的建材,藝術家以這組空間裝置作品,獻給來臺打拼奮鬥的菲律賓游子,寓意這裡就是菲律賓人「家園」和夢想的延伸。這六角形的茅屋雜貨店,本身造型也呈現了一種旋轉的意象,而和館內入口處接著預見的〈旋轉木馬〉作品前後呼應。

The natural bamboo poles used in the artwork were manufactured and constructed by Taiwanese craftsmen. “I’ve chosen to work with bamboo for its springiness which allows it be bent and curved. Bamboo can also be associated with Filipino’s flexibility and friendliness, traits that are treasured in the Filipino society. Bamboo is also widely used in traditional Filipino architecture. The artist dedicates this installation to Filipinos working overseas in Taiwan, and it acts as an allegory for the extension of Filipinos’ hopes and dreams for home. The hexagonal straw hut shop presents an imagery of rotation, which echoes with the artwork, Carousel, at the entrance of the museum. 



〈彩虹連結〉 Rainbow Bridges

竹子裝置+茅草屋 Bamboo installation + straw hut 

尺寸因空間而異 Dimensions variable 

2016 

 


入口形象區 Entrance Hall

藝術家藉由擬造一種遊樂園的騎乘設施,揭示本展主題蘊含的多重內容。這個類旋轉木馬裝置,由底層自然味的馬、獅子、鯊魚、青蛙…等不同動物和上層哥德風的天使、魔鬼、怪物等所構成。這個承載了不同生命樣式的旋轉舞台,除了營造出遊樂園式的歡樂和迷幻氣氛,其實也可視為達爾文進化論—物競天擇的一種社會模型展示,同時也見證了宿命論信仰始終盤旋在上的一種文化現象。

The artist has created a carousel to reveal the multiple contents incorporated in this exhibition. This carousel installation includes different animals at the bottom, including horse, lion, shark, and frog, and gothic looking angel, demon, and monster are positioned at the top. In addition to projecting joyful sounds, lighting effects, and an atmosphere of fantasy, this rotating platform carrying different life forms is also a social model referencing Darwin’s theory of evolution – survival of the fittest. It also stands as proof that the cultural phenomenon of fatalism belief is always hovering above.  


〈旋轉木馬〉Carousel 

玻璃纖維、樹脂、聚氨酯漆、金屬、機械裝置

Fiberglass, Resin, Polyurethane Paint, Metal, Mechanical Device

370 x 370 x 370 cm

2016

 


105展間 / R105

105展間的作品,包括懸吊在半空中的一件人形飛機雕塑,佈置在地面上的一組現成物行李箱,以及裝置在牆面上的10件燈箱式影像作品。於此,人體與飛機的複合,除了象徵不斷移動的個體,也觸探了科技發明無止境地形塑人類生活的新樣態:一方面,它促成了旅行/遷移的可能性和方便性,但另一方面,也帶來了與親友失去連結/互動的焦慮。與此心思互相呼應的10幅蒙太奇式的影像拼貼,除了讓我們窺見菲律賓移工在其鄉土老家,以及在臺灣異國家園中的一些生活片段,也集結對照了移工們不同的人格特質與生活經驗。

Suspended inside Room 105 is a sculpture of a man-shaped aircraft. On the floor are several suitcases, and 10 light boxes with images on them are installed on the wall. The hybrid figure of a human and a plane signifies a constantly mobile individual, and brings to the fore the infinite possibilities of technology in shaping human life and experience, which includes its contributions to facilitating travel and movement, but with it comes anxieties over the lost of human touch and interaction. The 10 image montages on display echo with these thoughts. They allow the audience to see Filipino migrant workers’ original homes and also snippets from their lives in Taiwan, and different personalities and experiences encountered by different migrant workers are also showcased. 

〈空中飛人〉Aeroman

玻璃纖維、樹脂 Fiberglass, Resin

223 x 185 x 38 cm

2016





《尋找家園》系列 Finding Home Series

相紙輸出,燈箱 Photo Output, Light Box 

137 x 111 cm, 12 Pieces

2016

 

1樓走廊 / 1F Hallway

一樓廊道牆面展出的,是羅納德本展諸多作品的原創草圖,從這一系列的草圖和最終作品的對照中,依稀可以探索其作品從發想到完成的過程與軌跡。對羅納德來說,藝術創作也是為個人心思和想像建構家園的一種旅程,藝術家透過素描手稿,將其構想或靈感捕捉、定著和成形。在這過程中,一個念頭或意象往往可以演化出一系列不同的作品,但藝術家也可能從中只選出一個最有力或代表性的方案,並以此製作出終極版的作品。正因如此,我們可以在這些原創草圖和最終完成作品之間,同時閱讀到一種意念上的強力連結,和一些形式語言上的明顯差異。

Exhibited along the wall of the hallway on the first floor are original sketches by Ronald Ventura for several of his artworks. The process of conception to completion can be seen by comparing these drawings with their final artworks. Ventura sees making art as a journey of building a home for personal thoughts and imaginations. Sketches can help to capture, position, and shape an idea or inspiration. It is a process that can propel a thought or impression into a series of different artworks. The artist can also select from them the most powerful or representative piece and use it to create a final artwork, and which is why besides seeing strong connections between these original drawings with their final artworks, we can also notice some obvious differences with the language of expression used. 


《習作速寫》系列 Study Series  

燈箱 Light box

複合媒材素描 Mixed Media Sketched

91 x 61 cm, 2 pieces

61 x 45, 12 pieces

2016

 


106展間 / R106

106室展出的作品,包括三件大畫和一組小雕塑裝置。最大畫作〈同心協力〉(Bayanihan),呈現個體投身於社群或團體中,共同完成一件挑戰性的任務。在菲律賓語中,字根bayani含有「英雄」之義,Bayanihan則泛指所有英雄式的事蹟,而這也是許多菲律賓藝術家愛好表現的創作題材。羅納德此畫中的英雄事蹟,歌頌著一群鄉土小人物幫忙搬家,同心協力避開天災威脅與破壞的人情故事。此作結合古典寫實的繪畫技巧,和超現實主義的魔幻意象,刻劃一群民眾(從壯男到小孩)在紛亂中鎮定合作、戮力向前行,而老弱婦孺因之得以安心前瞻未來的史詩畫面。

Inside Room 106 are three large paintings and a set of small sculptural installation.  The largest painting is titled Bayanihan. The Filipino word bayanihan refers to the act of individuals joining forces in a community to achieve a massive or challenging task. It comes from the root word bayani, which translates to hero, so bayanihan literally means being a hero or performing a heroic deed. It is a favorite subject for many Filipino artists to depict in their artworks. The heroic deed conveyed in this painting by Ronald Ventura integrates classic realism painting techniques with surrealism fantasy. The painting is an epic image illustrating a group of townfolk (from men to boys) working together in chaos, and as they collaborate to push forward, a sense of comfort and hope for the future are provided to the weak and the young. 


〈同心協力〉Bayanihan

油彩、畫布 Oil on Canvas

244 x 366 x 8 cm

2016

 

畫面中,西裝筆挺的男人站在一個機場似的開放空間中,與這個空間相互疊合的則是一架正在起飛中的飛機意象。藝術家強化應用兩點透視的線條,讓它們如百葉窗片一般,遮掩了一些表象的真實,也透露了一些象徵的情境:主角人物兩腳立定原地,雙手卻相對地忙碌,以一種未來主義感的連續動作方式呈現,人物面貌隱而不顯,一隻炯炯有神的眼睛卻透過窗縫凝視著前方,整個畫面空間呈現的是,一種向後遠退和向前衝出的視覺拉鋸。男兒志在遠方,〈雲端家園〉寫照的,毋寧也正是這種對於前方、未來、異國與志業、成就的連結想像和自我期許吧!

In this painting, a man wearing a suit is standing in an open space that looks like an airport, with an image of an airplane taking off superimposed. Two points on the architectural perspective are highlighted by the artist, making them appear like shutters, concealing some truth on the surface but also revealing some symbolic details. The protagonist has his two feet standing on the ground but his hands appear quite busy. He moves in sequence in a futuristic way, yet his face is still unexposed. A piercing eye gazes out from the shutters, and the entire image shows a visual push and pull between retrieving back or charging forward. Airhome hints at what’s ahead and what lies in the future, in a foreign land, sparking associations for self-aispiration seeking joy and accomplishment. 

〈雲端家園〉Airhome 

油彩、畫布 Oil on Canvas

213 x152 x 2 cm

2016

 

此畫創作靈感來自廢土掩埋場或垃圾場,從內容到形式都悖離了傳統文學所描述「家園」浪漫意象,而代之以一種荒涼/腐朽/死亡的景象。畫面中央,一個看似年輕飽滿卻蜷縮隱藏面目的人類裸體,主導了整件作品的構圖,周遭滿佈形如垃圾場的諸般事物,細看則是各種廣義/變體版的人類形象,包括擬人化的卡通動物、骷髏化的樂師等。這些樂師象徵著菲律賓人對於傳統慶典的重視和喜好,但是殘破荒漠的環境景觀,也暗示了一種家園哀歌的處境,並傳達了某種社會批判、或政治諷刺的意涵。

Waste dump is the inspiration behind this artwork, with its content and form taking the painting away from the romanticized image for the notion of “home” depicted in classic literatures and replacing it with a vista of forsakenness/decay/death. In the middle of the painting is a young naked person with the face concealed and the body hunched over. The human form is the center of the painting and seemingly surrounded by what appears to be garbage; however, upon closer inspection, the wastes are actually various mutated human shapes and forms, including man-like cartoon animals and skeletal musicians. The musicians symbolize Filipinos’ love for traditional festivities, but the dilapidated surrounding also hints at a depressing condition for home, with social criticism and political satire conveyed in the artwork.  

〈家園〉Homeland 

油彩、畫布 Oil on Canvas

137x243 x 2 cm

2016

 

此小雕塑裝置裡的動物造型,讓人聯想旋轉木馬台上那些不斷向前跑的動物,但牠們因為擁有雙頭或是雙尾,也讓觀者同時產生了頭尾混淆,方向錯亂的另一種感覺。這種曖昧性,也點出本展內涵的衝突性主題與概念:包括根源與歸宿、離開或到達、家園或異鄉、成功與失敗、翱翔與墜落、回歸與安息…等等。

The animals included in the small sculpture evoke associations with the constantly trotting animals on carousels. However, these animals are quite unusual because they either have two heads or two tails, making the audience feel quite disoriented. This ambiguity also points at the conflicting themes and concepts examined in this exhibition, including origin and belonging, departure or arrival, home or foreign land, success and failure, flying and falling, return and repose. As people today continue to migrate and change their surrounding environments, the preexisting dichotomy embodied by these concepts have also become increasingly more vague.

〈無題〉Untitled 

玻璃纖維、樹脂 Fiberglass, Resin

尺寸因空間而異 Dimensions Variable

2016

 


107走廊/107 Hallway  

畫面中央躺臥的主角人物,彷彿一具落海溺斃後被海浪推送到海灘上的屍體。人物旁邊配置一些飛禽與海洋生物圖像,背景則是一片廣闊的海洋。這個躺著的人可能已斷了氣息,也許只是陷入深沉的睡眠中,因此,他可以隱喻生與死的辯證,也可能暗示從一個地域無意識地旅行到另一個地域的夢境。他指涉戲劇性的死而復生或是從夢中醒來,或一種默默無聲地悄然消逝。這樣的躺臥姿勢,令人聯想到在母親子宮中的胎兒,而此同樣姿勢在人們的生命到了盡頭時也會再次出現—死亡彷彿又呼應了生命的源頭。

The person lying down in the center of this painting appears like a corpse that has drowned at sea and washed up ashore. Next to the person are images of birds and sea creatures, and the background is a vista of the sea. This person might be dead or just in a deep slumber, which is why he could be conveying a symbolism of life and death or hinting at an unconscious journey to another dreamscape. He insinuates a dramatic resurrection or awakening from a dream state, or perhaps, a silent disappearance. The way that he is reclined resembles a fetus in mother’s womb. This same position will also reappear again when a person has reached the end, as death harks back to the beginning of life.  

〈浪潮2〉Waves 2 

油彩、畫布 Oil on Canvas

137 x 243 x 2 cm

2016

 


107展間 / R107

一座懸吊在半空中的船形大雕塑,船身上投射著動態的海浪影像,船頭船尾立著兩個人物,他們各自用力划向相反的方向,兩人陷入一種拉鋸膠著的僵局,而這樣的激戰也反映在船隻與海洋渦流的對抗之中。此作隱約指涉了菲律賓曾為帝國殖民地的歷史,也明顯應用了受殖民前馬農古爾「甕棺」上兩人逆向划船的形制,但馬農古爾甕棺上的兩位船夫,詮釋的是人死後不願步上黃泉的普遍心理,而此作中的兩位角力人物,則用於象徵導致當代人類大量遷移的相對力量,包括:遷移過程中所承受的推力與拉力、移居異地之後的心理掙扎和面臨未知的挑戰、如何在新環境中生存與持續的漂浮…等。這兩個對立狀態的人物,也喻指了每個人在人生旅程中所扮演的雙重角色─即船夫與乘客,是難免要經常對撞、衝突的。

This artwork is a large sculpture of a boat suspended in mid-air with two people on both ends, animated by a projected video of sea waves. The two human figures are heading towards opposite directions, setting up the boat in a tug-of-war as it battles the turbulent waves of the sea. This artwork references Philippines’ history of imperial colonialism, and the imagery is reminiscent of an important pre-colonial Philippine artifact, the Manunggul Jar, which has the similar feature of two people riding a boat. However, unlike the figures in the Manunggul Jar that represent the passage to the afterlife, this work alludes to the competing forces at play in human mobility of this life, the push and pull factors in migration, and the struggles that relocation gives rise to amid the bigger challenge to survive and keep afloat. The two figures in opposing stances may well signify the dual role an individual assumes in this life journey, a boatman and passenger, at times clashing and conflicting.


〈浪潮〉Waves

玻璃纖維、樹脂、木頭、金屬

Fiberglass, Resin, Wood, Metal

406 x 139 x 76 cm

2016

 


108展間 / R108

〈殘破家園〉融合照相寫實技法和影像拼貼概念,描繪了一種廢墟般的大場景,並在其中注入了象徵、諷刺的視覺語言。畫面情境,讓人聯想到大型天災,如颱風、地震、海嘯之後,新聞電視即會出現的災區現場報導。黑白色調的應用,加深了整個場面事物的混亂不清之感,也極大化了前景獸類與遠景人類的存在對比。人為財死、獸為食亡,在災後家園中,人類生存之道為合作鎮定、共同收拾殘局,野獸則是在廢墟和枯骨中尋找任何可以解飢果腹的生鮮或腐食,而趁火打劫的宵小、強盜或草菅人命的官員政客,常常也被視為這一類豺狼猛獸的同道。在菲律賓語言中,Tira-tirahan,原為雜碎或廚餘的意思,因此也連結到「家」的想像。透過這樣的字義關聯,結合鄉土家園災難意象的描繪與凝視,藝術家傳達了從殘骸碎片中排除萬難、重建家園的殷殷期許。

The artwork, Tira-tirahan, employs the style of photo-realism and collage to depict a scene of ruins, the aftermath of a disaster, with visual expressions of symbolism and satire incorporated in the image. The image resembles large-scale natural disaster stricken scenes that we see on the news, such as after a typhoon, earthquake, or tsunami. A sense of disarray is enhanced by the use of black and white, with the contrast of the animals at the foreground and the humans at the background made more drastic. People would attack for fortunes and animals would kill for food, but after a disaster, in order to survive, people have to work together and try to rebuild, collectively. The animals, on the other hand, are trying to scavenge for any scraps of food in the rubble, and politicians that are trying to steal, rob, or sacrifice others in midst of chaos are regarded as the same as animals. The title is a Filipino term for scraps or leftovers, but formed from inflecting the word for home. This play on words reflects the work’s visualization of the remnants of homes following a disaster. It is the artist’s way of expressing his wish of making the most of whatever was left to continue and rebuild. 

〈殘破家園〉Tira-tirahan

油彩、畫布 Oil on Canvas

214 x 489 x 8 cm

2016

 

〈殘羹敗餚〉小型雕像,由一根骨頭與一隻狗的形象組成,與牆面上的巨幅繪畫〈殘破家園〉互為呼應。藝術家以反常的比例呈現了狗與骨頭的關係,凸顯了匱乏或奪取的意涵,同時諷寓了作為「廚餘」的骨頭遠比它的消費者更多更大的社會現象。

Tira-tira is a small sculpture of a bone with a figure of a dog on top, and it is conversing with the large painting Tira-tirahan on the wall. The scale of the dog and bone here is inverted, which magnifies the theme of scarcity and deprivation, and produces a striking irony commenting on the social phenomenon that the “leftover” bone is seemingly in abundance in relation to the size of its consumer.

〈殘羹敗餚〉Tira-tira

玻璃纖維、樹脂、壓克力

Fiberglass, rein, acrylic 

 

此作由多樣的視覺元素、重疊交透的畫面及不同的象徵性層次所組成,畫中元素包括:飛鳥展開的翅膀、人類模擬飛鳥展翅的雙手、英姿綻放象徵生命高峰的花朵,以及隨侍在兩側下方暗示死亡難免的骷顱頭像…等。這些生死的符碼相互重疊,如同在一個擂台上競秀演出,但又同樣漂浮在虛空的雲端中,看來、想來都是一樣的不著邊際。「飛行」可作多義的詮釋,如上升到自由天空之中、如征服了一個高度的限制,或喻指了死後進入天堂。飛行可以是身體與生理上的超越、物理上的開發與突破,也可以是精神與心理的昇華。本展所關注的菲律賓人跨國遷移現象,從經濟議題延伸到人文課題的省思,對藝術家羅納德而言,是必然的路程,此次在當代館的創作展,即是對此人文課題的深度探索。

This artwork is composed with various visual elements, overlapping images, and different layers of symbolism. Some of the elements include: a bird spreading its wings, a person mimicking the bird’s wings with his hands, blooming flowers symbolizing the peak of life’s vitality, and skulls at two lower portions hinting at inevitable death. These symbols related to life and death are overlapped and seemingly competing with each other but also looking like they are drifting, floating in the clouds. The act of flying can be interpreted in different ways, including elevating up to the sky of freedom, or conquering certain height limitations, or heaven after death. Flying can be associated with overcoming physical and mental constraints, and it can also indicate spiritual and psychological transcendence. The transnational diaspora of Filipinos is highlighted in this exhibition, sparking reflections from economic issues to cultural matters. The artist believes that this is a necessary path, and sees this exhibition at MOCA Taipei as a profound way to explore this subject matter. 

〈飛行的多樣性〉Multiplicity of Flight

油彩、畫布 Oil on Canvas

244 x 366 x 8 cm

2016

 

1F 西側樓梯間 / Western Stairway 1F

此作透過一部固定在行李箱上方的攝影機,錄製行李箱被攜帶於旅途中所見的種種風景。這件錄像作品追蹤了一個移動中的旅人實際經歷的事件,為觀眾開闢了另一種旅行者的視野。作為本展的最後一件作品,這部錄像被處理成,旅途中所遇到的人與經過的地點,都慢慢地從畫面中逐步退去,直到它們消失不見而被新的視野取代。這樣的迴圈循環,同時為尋找家園這個無盡的旅程下了最終的註解,也再次重申了這是一個持續走走停停、永遠沒有終站的遷移。

A camcorder is fixed on a suitcase and documents the sites along the journey with the suitcase being transported. This video work tracks a realistic incident with a person traveling, and opens up the audience’s horizons through the eye of the traveler. As the final artwork on view in this exhibition, this video shows the people and the destinations along the journey being taken, but they also slowly fade away till they are gone and replaced by new perspectives. This cycle becomes the final mark for this endless journey of looking for one’s home, and once again highlights the never-ending migration with constant stopping and going.  

〈行李迷航記〉Bag Watcher

單頻錄像 Single-channel Video 

65min. 51sec.

2016

相關教育活動 Educational Programs

【菲常態:尋找家園—羅納德•溫杜拿個展】

相關教育活動 Educational Programs

MOCA
講吧

《離散與回家──兼談「菲常態」的跨國行李箱》

2016/10/15 Sat. 14:00-16:00. 

講師:顧玉玲/國立清華大學人文社會學院兼任教師

報名網頁:
https://goo.gl/ktftmy

藝術
工作坊

《繽紛旗幟》周末工作坊

2016/11/13 Sun. 10:30-12:30

講師:羅納德‧溫杜拿藝術家團隊

報名網頁:
https://goo.gl/pnJBF8

藝術家
論壇

《朝心中的家園遷徙 (Bayanihan)》

  時間:1600-1730

  主持:王焜生/台北國際藝術博覽會 執行長

  主講:羅納德‧溫杜拿Ronald Ventura/藝術家

  與談:鄭文琦/數位荒原主編

報名網頁:
https://goo.gl/pi7MsR

專家導覽

2016/09/25 Sun. 13:00

講師:林正尉/奧賽德工廠成員、"移人"特約記者

活動網頁:
goo.gl/aXCItP

2016/10/16 Sun. 13:00

講師:林正尉/奧賽德工廠成員、"移人"特約記者

2016/10/30 Sun. 13:00

講師:高森信男/國立臺北藝術大學關渡美術館研究員

2016/11/13 Sun. 13:00

講師:賴奕諭/菲律賓原住民族研究者

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

兒童專區

【菲常態:尋找家園—羅納德•溫杜拿個展】

兒童教育專區 For Kids Children's resources

 

【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:

http://www.mocataipei.org.tw/index.php/2012-01-12-05-32-59/audio-guide/2189-2016-cross-design-x-art-audio-guide

 


【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/3OBqkh

背面:https://goo.gl/N1zkRD

 


 【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/QI6jYK

 

 


【兒童學習盒】*適合年齡:6-15歲。歡迎至當代館一樓服務台借用。

 


【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

 

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