11/02/2015

何佳眞 創作個展

The Gap-心裡的那道光 


展覽日期:2015/10/17()~2015/11/8()
展覽地點:新濱AB展覽室

展覽簡介:
年輕時,曾一度想當作家,這個影響來自一段已經忘了由來的短暫邂逅的朋友-蔡憲文,第一次在台北社教館看「雲門舞集十五週年」公演、第一次嘗試投稿被登出、第一次參與小說創作班,同時間也正在一家畫室當學徒,面臨勞心與苦力的試煉,堅持不罷休的企圖,想要有朝一日要成為一名畫家兼作家,感念生命中曾經遇過這位引領我進入藝文之門的朋友,直到他去香港發展,感嘆「浮生聚散,人與人相知相遇的情分,是我們無能為力的」,縱使往後的二十幾年未曾再謀面,依稀記得當年在閱讀中影響我的一句話:「枯木逢春猶再發;人無兩度再少年」,激起單純善感年少的我,一邊當學徒,閒暇之餘,前所未有的積極參與劇場、寫作班、看舞台劇、聽演講、欣賞舞蹈藝文的演出微薄的學徒津貼,卻為了滿足精神食糧,常常忽略了〝五臟廟〞,曾經口袋只剩25元糊口。

在生命歷程中找到自己適切的位置,尋尋覓覓,成為某一領域的「專業工作者」,對當時只有高職補校學歷的我,只做好自己份內的事,顯然還不夠,不論是會計、業務推銷員、畫家、作家,命運時而嚴峻考驗著自己的毅力,人生面臨衝突與轉向時,我離開台北,並沒有把藏在內心醞釀著的真實帶回家(這個真實是去當修女),卻選擇離家更遠-去美國,不捨得的家人,我臨出門前,父親叫大姊在家門口前行道路上的菩提樹下,挖了一把泥土,裝進夾鍊袋裡,再從廚房水龍頭裝了一小塑膠瓶的水,讓我帶在身上,父母親不擅長言詞,不曾對子女說出的愛,卻滿滿的裝在這掬水、土中,希望隻身在外的我,能求得水土相符與平安。

在無常裡尋找存在的意義,在夢境中喚醒前世的幾許邂逅,在千軍萬馬的亂世中幾經累世殘喘至今,回憶反映了生命歷程中最深刻的片段,幾十個年頭,再回首,已接近半百年歲的我,卻杵在一場不曾在人生規劃裡的角色中,海倫凱勒說:「生活若無大的冒險,便平淡無奇。」似乎很能為這個不曾在規劃裡的角色下註解,「藝術家的天性,在平衡創作和生計這件工作上心力交瘁,挫折感叢生。」「一方面渴望在藝術創作上有所成就,一方面又受到經濟壓力的摧殘……(太陽女神p.12),現實中,曾經婚姻岌岌可危,更不堪負面情緒的載荷,心疼乖巧、貼心的女兒因我而受到莫大莫名的傷害!
意識到的危機,碰撞過程的痛楚,視為自我超越的轉機,苦悶何處來?也許是自我投射作用,發揮身體的潛在能力,從身體和心識並進,M.C,Richard:「學習就是藝術,享受生命所提供的無止盡學習,便是最偉大的藝術」。「過了中壯年期,雖然不站在巔峰上,但也不再為生命的成長而掙扎」。

新濱碼頭藝術空間 http://www.sinpink.com/exhibition_dt.php?id=54

                                                    蕭秋芬提供照片

影像力與影響力 之高雄城市歷史影像觀察

策展人: 曾玉冰


展覽日期:2015/10/17 () ~ 2015/11/8 () 
展覽地點:新Pin-Bien

影像探討座談/柯應平老師與藝術家對談:2015/10/25 () pm 2:30 
影像與歷史之文化講座/王御風老師歷史學者: 2015/11/6 () pm 6:30~8:30
導覽 : 展覽期間每周六下午3:00~4:00
展覽簡介: 
本展希望能將高雄的城市做一個歷史切片式的觀察,並透過一群對高雄土地有深厚情感的攝影藝術家,從鏡頭下的紀實攝影捕抓一直在改變的城市樣貌。關於城市的文化地景以及逐漸消失的城市景象,在一張張時間的累積中,將在影像的再現裡使觀者重返歷史現場,讓一張張此存在以及不再的現場,讓我們重新閱讀一段段高雄老城走過的歷史足跡。
在影像的力量中,使人得以看見歷史,並探究影像所帶來的功能以及影響力。以此展的城市顯影作為變動中不斷更新的高雄城作一現實與歷史的觀察。

重拾狄德羅的舊衣袍

Picking Back Up Diderot’s Old Gown



策展人:吳妍儀、簡于庭 
Curator
Yen-I Wu, Yu Ting Chien

藝術家:王怡美、林珮淳、張惠蘭、湯皇珍、賴純純、吳詠潔、康雅筑、陳依純、詹嘉華、劉文瑄
Artists
Yi-Meei WANGPey-Chwen LINHwei-Lan CHANGHuang- Chen TANGJun T. LAIYung-Chieh WUYa-chu KANGI-Chun CHENJia-Hua ZHANMia Wen-Hsuan LIU

展出日期/Date2015.10.17~11.08
展出地點/Venue11289 台北市北投區自強街 6161
座談演講:王雅各 美國羅耀拉大學社會學博士/國立臺北大學社會學系專任教授)
Panelist:Y.K. Wang

「配套效應」源於18世紀,歐洲啟蒙運動的思想巨人-法國人丹尼·狄德羅(Denis Diderot):一位朋友送給狄德羅一件質地精良、做工考究的酒紅色長袍,狄德羅於是將舊長袍丟棄,換上新長袍。不久後,他更換了能與新長袍相襯的辦公桌,進而又換了地毯、椅子、書架、擺飾,幾乎是嶄新的書房,才驚覺受到長袍脅迫而替換了原本無意更換的家居。甚至在意識到該行為後感到懊悔,書寫了“Regrets on Parting with My Old Dressing Gown”記錄其感到煩惱的心境。
The “Diderot effect” refers to the 18th century’s European Enlightenment period’s great French philosopher Denis Diderot. The story begins with how Diderot was gifted a fine scarlet dressing gown by a friend. He soon abandoned his old gown and put on the new gown. Not long after, he replaced his old desk so to match the elegance of the new robe. Furthermore, he replaced his rug, chair, bookshelf, and prints. He ended up with an almost brand new study room. It was then that he realized he was made to replace all the furniture he never meant to replace. Diderot was regretful toward his own actions and recorded how he felt “Regrets on Parting with My Old Dressing Gown.”

人的欲望不因得到而滿足,反而因得到而擴張,在現今稱之為「配套效應」。資本主義的今天,人們將此一名詞套用在那些為將穿著打扮配合身份地位的行為中,而在一個幾乎由男性權威文化所支配解讀的世界,甚至有人將之解讀為男性換妻的表現。
The “Diderot effect” describes how people’s desire will not be satisfied with more material possessions, but rather grows bigger. In the capitalist present days, the term is used for those who dress to go along with their sense of identities. Some even see this behavior as being similar to men switching wives in an almost patriarchal world.

藉此,本次展覽意識之一是企圖從該面向解構社會賦予女性的面貌。狄德羅曾說過:「當女性是主題時,筆頭需浸滿彩虹,而紙張需用蝴蝶翅膀來擦乾。」社會賦予理想的女性形象是:漂亮,風流,多情,順從,謹卑,時而柔弱,時而激動得暴跳,但從來是愚昧無知,軟弱無能的。這樣的賦予,彷彿是社會送給女性的"新長袍",而女性為了能與之相襯,進而將象徵自身思想、行為、理想的"家居"替換更新。女性主體意識近年來不斷的被重視、探討,然而成效有限。此次展覽希冀能重新拾起象徵著女性主體意識的"舊長袍",邀請5-10位女性藝術家,結合各自日常生活的生命經驗,呈現出女性藝術家的主體意識,從自身角色出發,面對自我在社會的地位做各自的詮釋:無奈的、被動的、獨立的、相異的各種可能。
One of the attempts of this exhibition is to deconstruct the way society views women. Diderot once said, “to describe women, the pen should be dipped in the humid colors of the rainbow, and the paper dried with the dust gathered from the wings of a butterfly.” The ideal image society assigns to women is: pretty, floozy, emotional, obedient, humble, sometimes weak, sometimes agitated, and always ignorant and useless. The way this image is assigned seems to be society’s “new robe” gifted to women. In order to match up to this image, women replace “furniture”, symbolizing individual ideas, behavior, and ideals. The ideology of feminism has been given importance and has been explored in recent years, yet the result is limited. This exhibition hopes to pick the “old robe” (symbolizing feminism) back up by inviting five to ten female artists to showcase their works. Each of them, using their experience in daily life, presents the subject consciousness of female artists. Each, based on her own role, makes her own interpretations when facing their status in society: feeling there’s nothing one can do, being passive, being independent, being dissimilar, and numerous other possibilities.

其次,本次展覽也企圖呼應狄德羅因「配套效應」的醒悟而書寫的與舊衣袍離別之懊悔。藉由女性藝術家回顧自我日常生活的選擇性犧牲亦或是日常用品的汰換,做形式上的記錄:文字的、圖像的、影像的心情書寫。並邀請具男性身份的女性主義、文化理論學者參與座談,討論女性身份與文化社群的關係,與展覽的兩個面向、藝術家語彙呼應,討論身份意識以及狄德羅美學。
Next, this exhibition also attempts to correspond to Diderot’s “Regrets on Parting with My Old Dressing Gown,” which was written after his enlightenment. The female artists revisit their selective sacrifices or replacements in their daily lives, and record these in various forms using words, images, and videos. In addition, they invite male feminists and cultural theorists to the conference to discuss the relationship between female identity and cultural social groups, two aspects that echo in the artists’ work. Furthermore, they are to discuss identity awareness and Diderot’s aesthetics.