朋 丁 pon ding
朋 丁 pon ding
Back to All Events

〈as if it were not ours〉六人創作聯展


'as if it were not ours'


Jasmine LITTLE
Juka ARAIKAWA 洗川寿華
Krister OLSSON
Xiang Yun LOH 羅湘雲
Maxmilian FEDYK
Nobuo YODA 要田伸雄

 

Facebook_as-if-it-were-not-ours.jpg

––––––––––––––––––––––––––––––––––––––––––––
時間|2017/9/16(六)- 2017/10/8(日)
地點|朋 丁 pon ding 二樓
地址|臺北市中山區中山北路一段53 巷6 號
––––––––––––––––––––––––––––––––––––––––––––
開幕 opening|2017/9/16 (六) 15:00
藝術家導覽 artist talk at 16:00
attending artists: Xiang Yun LOH 羅湘雲、Nobuo YODA 要田伸雄
––––––––––––––––––––––––––––––––––––––––––––



For English please scroll down



● 展覽論述

「隨著猛力一拉,毛衣的一隻袖口被扯落,他看著他的手,彷彿那手不是他自己的手。」

——節錄自阿根廷作家Julio Cortázar的著作《No one is to blame》


有時候,我們會惴惴不安地發現,認出自己並不總是一件容易的事情。好像一位陌生人透過遠方的鏡子或是商店櫥窗看著我們––––但最終我們只看見自己的倒影。或者,反過來說,當我們看著鏡中的自己,一但我們越在意自己的反射,我們反而會越來越不像自己;這如同格式塔完形理論(aGestalt shift)所述,一個事物最終竟然徹底地幻型成另外一項事物。這樣的狀況發生在世界上的每一個角落,對觀察者而言,物事它們常常徹底地變化成另外一種讓人驚訝的型態。

在Cortázar的著作《No one is to blame》當中,故事主人翁不嫌勞煩地追求著一個平凡無奇地穿毛衣動作,在那衣物建構出的密閉空間裡身陷囹圄,並使用他狀似外星人的身軀與毛衣本身產生一份情非所願的親密互動,那模樣就像非刻意為之但卻益發顯得可悲的舞動身姿。這個故事點出一個事實,人無法逃離自身之宿命狀態,是絕望的、無處可逃的,然而,與此同時,看著自己的手而產生的分離崩析之感也衝擊著故事主角本身,這裡有一個有趣的觀點,也就是說,在這樣的情狀底下,主角不只可以觀察這些,在某種程度上神秘費解的崩解狀態,並據此描繪出一幅地圖(以安全區間/不安全區間來劃分),還能夠與之互動,如同魔術師或是詐騙者使出的伎倆一樣,去轉化那個狀態。

這檔展覽旨在探索各式跨越日常生活經驗與藝術創造之間鴻溝的方式。我們帶著玩心去提問、實驗和記錄,也揭露並關注在每日生活當中,常常被人忽略,卻徘徊於世界和我們自身之間產生的種種事項。




● Exhibition statement

“With one tug the sweater sleeve is pulled off and he looks at his hand as if it were not his” – excerpt from 'No one is to blame' by Julio Cortázar.

Sometimes, the unsettling insight dawns on us that it is not always easy to recognize ourselves. A stranger looks at us from a distant mirror or a shop window – and it turns out to be no one else than our own reflection. Or, reversely, we look at ourselves on a mirror and the more we focus our attention, the more we look unlike ourselves, as in a Gestalt shift that ends up unfolding a totally new picture of us. The same applies to the world around us, which often appears to the observer in forms surprisingly un-identical to itself. 

In Cortázar’s 'No one is to blame', the main character struggles to pursue the banal act of putting on a sweater, gets entrapped in its enclosed space, performing an unintended pathetic dance during the unwanted intimacy with the sweater and his now seemingly alien body. The fact that we cannot escape from ourselves can be as claustrophobic and hopeless as in the story. At the same time, the feeling of dissociation that invades the protagonist as he sees his own hand suggests an interesting prospect. Namely, that it may be possible not only to observe these somehow mysterious disruptions and draw a map of them, a cartography of an un/safe region, but to play and engage with them, to transform them as magicians, or/and tricksters.

This exhibition seeks to explore the ways in which such gaps open up in our experience in general and in artistic creation in particular. We will playfully inquire into, experiment, document, but also shed light on and take care of the differences and dislocations that arise in our everyday dealings with the world and ourselves and often go overlooked, unnoticed. 



–––––––––––––––––––––––––––––––––––––––––––––––––––––––



● 關於藝術家

Jasmine LITTLE
1984年生於美國維吉尼亞州
現於科羅拉多州工作、生活
jasminellittle.com

在工作室裡,我常思考人在大自然中經歷孤單的體驗或心情。一般來說,自然和曠野能夠喚起人們更深的想法,帶來超凡的寧靜片刻;不過就我自己的經驗來說,那並不總是如此,大自然通常既不照規矩更是不可預測,一個晴朗美好的一天可能會倏地下起雨來。大自然所帶來的影響跟社會給人的影響相當不同,它的力量能夠引發人的內在情感,而這些並不受一個人的社會角色或地位所束縛。當你獨自一人時,你會問自己更深層的問題,包括:如何回應?在這種情況下能實際做些什麼?你需要或想要什麼?你如何生存?

繪畫很接近這種經驗狀態,藝術家透過畫畫與物件建立起關係,許多事情的發生無法預測,必須透過創作繪畫本身來處理。顏料是物理性的、具觸感、出自內心、流動的、人性的, 藝術家常被要求將內在外像化,我的繪畫創作就是透過不同的主題去詮釋、打開這樣的狀態。



Juka ARAIKAWA 洗川寿華
1984年出生於日本橫濱
現於洛杉磯工作、生活
heyjuka.com

Krister OLSSON
1974年生於新加坡
現於洛杉磯工作、生活
kristerolsson.com

洗川寿華和Krister Olsson的作品好像彼此的鏡子一樣,他們以太陽和月亮作為參考素材,定義一處空中場景,探索白天和黑夜、現實與夢想的界限。

在Krister的作品中,人臉被投射到時鐘表面上。臉部因此扭曲,好像五官附著在不同時針上,逕自以不同的速度移動;隨著時間的流逝,從白天到晚上,臉部表情變得越來越陌生,甚至不太合理。

洗川寿華的作品是夜晚的場景。在黑暗中,月色低垂,一個女孩靠著休息,頭背離觀者,面對一個形狀像月亮、搖擺於現實與夢境之間的光芒中閃閃發亮的身影。 這兩個緊密相連的形體反射出無眠的夜晚帶來的奇怪、不安感。



羅湘雲
1988年生於新加坡
現於新加坡工作、生活

羅湘雲的創作探索與人工地景相關的議題。細觀園藝的發展史,她對於人們對自然的控制慾望提出質疑。

她探索人類如何管理和維護自然與文明,試圖量化「過量」和「控制」這兩個模糊的概念,藉以了解何謂野地和人造環境。

透過她在繪畫、攝影等方面的研究和觀察,她的作品捕捉人與自然之間持續演變的關係。她的計畫描繪和記錄了「人為感知的自然」與「人為建構的自然」之間難以捉摸和不斷變化的連結。



Maxmilian FEDYK
1986年生於英國倫敦
現於倫敦工作、生活 

Maxmilian Fedyk有意處理那些距今久遠而消逝的故事。從一個片段資訊的開端、或是透過外部的猜測,他重新建構敘事的方式。提取歷史檔案並重新搬演其潛在的主體可能性讓他能夠探索敘事的系統脈絡,封存的檔案因此從被動的角色而得到解放,轉而成為文化身份上的靜態象徵。



Nobuo YODA 要田伸雄
1983年生於日本大阪
現於東京工作、生活

他觀察日常生活、物事的模樣,並閱讀電影和小說,Nobuo Yoda嘗試重組事物的組成方式,然而,他不將顯而易見的「有形」和「無形(情緒、感受、修辭等)」作為理所當然的分類標準,他重新組合這些元素,並調查「認知」與其裂隙之間的漸變。





● Participating artists

Jasmine LITTLE
b. 1984, Virginia, U.S. 
Lives and works in Colorado, U.S. 
jasminellittle.com

In my studio I am often thinking of the feeling or mood of my experiences alone in nature. The wilderness typically evokes ideas of the sublime, a transcendent moment of serenity, but in my experience, this is not always true to life. Often nature can be unruly and unpredictable, a nice day can turn to rain quickly. These types of externalities differ greatly than societal externalities. The forces of nature provoke visceral, human emotions, which are not bound by your social role or position. When you are alone you are asking yourself deeper questions, how to respond, what can you physically do in this situation, what do you need or want, how do you survive?

Painting is similar to this experiential condition, the artist is alone building a relationship with an object through its making. Things occur which are unexpected and must be dealt with through the making of the painting. Paint is physical, tactile, visceral, fluid, human – the artist is asked to take this matter and make the internal external. My work addresses this struggle of making the painting transcend the moments of its conception through various subject matter.



Juka ARAIKAWA
b. 1984, Yokohama, Japan
Lives and works in Los Angeles
heyjuka.com

Krister OLSSON
b. 1974, Singapore
Lives and works in Los Angeles
kristerolsson.com

Juka Araikawa and Krister Olsson’s works mirror each other. They reference the sun and moon and together they define a celestial space exploring the boundaries between day and night, reality and dream. 

In Krister’s work parts of the face are mapped onto a clock face. The face is distorted, as if the individual features were attached to different clock hands moving at different speeds, the visage growing more and more unfamiliar and less rational as time passes from day to night. 

Juka’s work takes place at night. In the darkness the moon hangs low; a girl rest on her side, her head turned away from the viewer. Facing her an anthropomorphic lunar figure shines brightly as she straddles the line between reality and the dreamworld. The close proximity of the two figures reflects the strange and uneasy feeling that restless nights bring.



Xiang Yun LOH
b. 1988, Singapore
Lives and works in Singapore

Loh Xiang Yun's practice addresses issues related to the human-landscape relationship. Looking specifically at the history of gardening, she questions our desire for control over nature. 

By exploring how we manage and maintain nature alongside to civilization, she attempts to quantify the vague ideas of "excess" and "control" to understand notions of wilderness and contrived environments.

Through her research and observations in drawing, painting and photography, her work captures the often-evolving relationship between human and nature. Her projects map and document the elusive and ever-changing link between the nature we perceive and the nature we organize.



Maxmilian FEDYK
b. 1986, London, UK
Lives and works in London, UK

Interested in working with the stories that have expired where their sensation has subsided, Maxmilian Fedyk reconfigures narrative frameworks from a seed of information or as a by-product of outside speculation. Appropriating archival histories and re-staging latent subjective possibilities allow the artist to explore narratological systems, working towards unpacking the archives passive role as a static emblem of a cultural identity.



Nobuo YODA
b. 1983, Osaka, Japan
Lives and works in Tokyo, Japan

Through the observation of everyday life, gestures, and fictions including films and novels, Yoda attempts to reconfigure their components without taking for granted the established distinctions between what is material and what is immaterial (moods, feelings, rhetoric etc), recomposing these elements so as to inquire into the gradation between cognition and its gaps.