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

每個人的成長過程中，學習與教育機制幾乎佔據了四分之一的生命時光，有形與無形圍牆內的校園空間，成為許多人度過青春歲月的主要場域。學校是國家建設的根基，也是城市規劃藍圖中不可或缺的區塊。教育的功能是讓我們耳聰目明，但是每日穿梭在學習殿堂與生活空間中時，我們是否意識到或關注發生在周遭的一些改變，進而能換個角度去思考乃至評斷，隱藏在這有關於事物或人生之種種變化幕後的一些緣由或動力？ 吳尚霖此次於台北當代藝術館舉行的「畢業照-:城市肖像系列」個展，預定展出作品包括攝影連作與錄像，這些作品以尋常的畢業照為基本形式框架和創作起點，但其內容主題和表現意念，徹底顛覆了歷年來一直沿用於學校教育系統中的畢業照(包括個人照與大合照)傳統。在人生邁向另一階段的畢業前夕，藝術家為他們拍攝呈現的，不是「凝神前瞻未來」，而比較是「閉目觀照自我」的一種個人肖像。在藝術家的導演之下，這種「面對鏡頭，緊閉雙眼」的人物再現方式，一路從個人照發展到全班合照，乃至全校大合照，幕後針對不同人物(校長、老師、家長、學生等)而展開的觀念闡釋、感情遊說、行動配合…等工作與過程，無疑有諸多困難和挑戰，這些其實也是觀賞這一批乍看冷靜客觀的攝影作品之同時，我們不應錯過或漏讀的重點。 吳尚霖此次於台北當代藝術館舉行的「畢業照-:城市肖像系列」個展，預定展出作品包括攝影連作與錄像，這些作品以尋常的畢業照為基本形式框架和創作起點，但其內容主題和表現意念，徹底顛覆了歷年來一直沿用於學校教育系統中的畢業照(包括個人照與大合照)傳統。在人生邁向另一階段的畢業前夕，藝術家為他們拍攝呈現的，不是「凝神前瞻未來」，而比較是「閉目觀照自我」的一種個人肖像。在藝術家的導演之下，這種「面對鏡頭，緊閉雙眼」的人物再現方式，一路從個人照發展到全班合照，乃至全校大合照，幕後針對不同人物(校長、老師、家長、學生等)而展開的觀念闡釋、感情遊說、行動配合…等工作與過程，無疑有諸多困難和挑戰，這些其實也是觀賞這一批乍看冷靜客觀的攝影作品之同時，我們不應錯過或漏讀的重點。 在台北當代藝術館的實驗展場中，「畢業照 」展出的人物攝影及錄像，一方面鋪陳了學校(學習與成長的空間)、個人(感覺和知覺的主體)、教育系統(國家統治與社會規範的雛形)這三者之間陳陳相因的交織狀態，另一方面，則又以相當冷靜但集體動員、藝術解構的手法，對於目前仍普遍存在於學校與教育系統中的傳統、習慣、模範、儀式…等，同時提出了一種質疑和另類的對應模式。 Schools and educational institutions take up nearly a quarter of our lives. Campuses inside tangible and intangible walls have therefore become places where many have spent most of their youthful days at. Schools are also a nation’s developmental foundation and comprise important aspects in its urban planning. The purpose of education is for us to be enlightened; however, as we roam in spaces interlaced within these educational institutions, do we ever notice the changes occurring around us, and thereby attempt to contemplate from different perspectives about the causes and triggers behind these changes? Wu Shang-Lin solo exhibition, “Graduation Photos - Project Portraits of Cities”, at MoCA Taipei includes his photography series and videos. These works are based on the style of conventional graduation photos, but their contents and artistic gestures completely alter the traditions of graduation photos that have been used by schools (including individual portraits and group photos). Prior to striving to the next phase in life as graduation commences, the photographs taken by the artist do not portray a “focused gaze into the future”; instead, they are personal portraits about “self-reflection with closed eyes”. Under the direction of the artist, the presentational style with people “facing the camera with closed eyes” is used for personal portraits and then developed into group photos for the entire class and then the entire school. Behind the scenes, concept communications, persuasions based on emotions, and behavioral cooperation with different people (the principal, teachers, parents, and students) were conducted, and there were certainly a fair share of challenges and difficulties along the process; however, these are all vital aspects that one should not miss when looking at these what appear to be calm and objective photographic works. “The Graduation Photos” series are a range of creative projects that Wu has undertaken with different youths in several cities from 2008 to 2012. The artist utilizes a mixed array of media including photography, videography, and actions to engage in exchanges and dialogues with these youths, and together they have discovered emotional states that are either visible or invisible in everyday settings. Three projects of “Graduation Photos”, “Homebound Project”, and “Together” have resulted from these endeavors. Inside MoCA Taipei’s experimental exhibition venue, the portraits and videos in “Graduation Photos” illustrate the interconnectedness between the tri-factor of school (space for learning and growing), individuals (subjects of feelings and perceptions), and educational system (prototype for state rule and social norms). On the other hand, through the collective yet calm group movements and treatments of artistic deconstruction, criticism and alternative responses are proposed for the traditions, customs, norms, rituals that are still commonly prevalent in schools and the education system.