「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.