《白晝之眠》劉曉蕙環境錄像線上展
“Sleeping in Daytime”–Liu hsiao-hui’s Online Exhibition of Environmental Video Art

策展論述

在工業革命之後,人與自然的關係產生劇變,人類開始大量生產和消費,物質文明席捲全球,我們所處的環境與自然的關係漸行漸遠,人類看似可以獨自地在自己建構的城市生存,越來越人工化的人類世界。不過,在上個世紀末開始,因為人類的過度使用自然,也讓大自然產生反撲,全球性的環境變化帶來了無比的災難,在這二三十年來是極大的改變,我們像溫水裡的青蛙一般,雖然面臨災難,但在各種權利力量的拉扯妥協之下,只有消極的對抗。

在俄羅斯導演安德烈塔可夫斯基(Andrei Tarkovsky)的電影「飛向太空」(Solaris)裡,有著隱含的環境子題。片頭是非常「泥土」的家,之後就直接進到太空艙的主要場景,完全脫離地球/土地的非自然空間,

主角經驗了許多超驗現象,除了暗示著外太空有著神秘enigmatic的能量之外,也暗示了人類科學理性和生命情感的矛盾。這是對於遠離自然(觀念和距離上)的最深層反思。

曉蕙的白晝之眠錄像創作,是在自然與工業混雜的環境裡,在白天和完全暴露的情況下,反其道而行的讓人們睡眠,如同我們現今遇到的全球性災難一般,人類就像赤裸著身體,無包覆地接受著外界各種環境元素的干擾,無法躲藏,在這樣的情況下,原本養人生息的睡眠反而成了焦慮。

另外,人們也無法預知睡著之後,在無意識之下,伴隨而來的會是何種處境,這或許是做為每一個個體的人類最深層的焦慮,這也反應了在赤裸環境下,人們的脆弱不堪。

而錄像裡的曉蕙在執行一個奇特的任務,用海水、麵粉、果實等,畫出疆界,像是保護著睡眠者一般,尤其在此最脆弱的時刻。但這作用是徒勞無功的,在這海與地的交界處,海浪、消波塊、廢橋、漁船、飛機、沙灘車等強烈的干擾下,一人的微弱力量,無法抵擋這巨大的外在因素,而她以此行為來宣告,微弱地做著她心中的保護實踐。

這次的環境錄像線上展覽,除了反應了環境劇變下的全球情境,我們也因為近期疫情影響,人們無法面對面,我們期望透過網路聚集一起,而這也是回應這未來有可能(或是現在已經是)的世界景象,如何透過網路世界,讓觀眾可以親近藝術,在環境議題下,反思人類與環境的關係,我們該何去何從,透過藝術家的提問,激盪一波波的內心漣漪。

The Industrial Revolution drastically transformed the human-nature relationship.  Humans began large scale production and consumption. As material civilization has swept across the globe, the human race gradually drifts apart from the natural environment. We seem to have been habituated to dwelling in the concrete cities—a more and more artificial world we build. However, natural disasters have begun to plague humankind in the recent ever-changing two to three decades as man continues recklessly destroying the natural habitats in the name of development. Like a boiled frog, we are prone to accept death by thousand little cuts. Facing all kinds of natural disasters, humans passively waiting for any new solution as we are subdued by different political forces.

The Soviet director, Andrei Tarkovsky’s science fiction masterpiece, Solaris, had an environment subtheme. The film opens with scenes of a very “earthly” home when the protagonist spends his last day on Earth before departing for the space station, setting up a pronounced terrestrial nature which withdraws from the Earth/earth. The protagonist experiences a lot of transcendental phenomena, signifying that there is enigmatic energy present in the space as well as that there is a paradox lying between human reason and passion for life.  The film interrogates the philosophies of humanity being away from nature (conceptually and physically).

“Sleeping in Daytime”—Liu hsiao-hui’s work of video art—asks participants to sleep under all the conditions which are unusual when it comes to falling asleep: they have to sleep in an environment surrounded by both natural and industrial settings during daytime. This setting resembles those global disasters we encounter nowadays: we are interrupted by a lot of environmental elements and exposed to a world with no way to escape. Under these conditions, the state of sleeping has transformed itself from something that humans need when we rest to something that makes us anxious. Besides, as the world after humans fall asleep without any consciousness is unknown and unpredictable, the work of Liu also reflects the fear which resides in an individual’s innermost part of their soul as well as our fragility when being exposed to the natural environment.

Executing a bizarre task in her video artwork, Liu uses waves, flour, seeds, etc as materials to create lines that metaphorically represent protection against these peculiarly fragile moments of humankind. However, the actions are fruitless. Being at the borderline state between the ocean and the land, waves, concrete tetrapods, abandoned bridges, fishing boats, airplanes, beach buggies, etc become gigantic obstructions that block an individual’s will to protect the natural environment from decaying and decreasing. Though meager as it seems, Liu’s actions reveal her determination to carry out this kind of will from the bottom of her heart.

This online exhibition of environmental video art reflects a true situation we face under the drastic global change of environment. Being not able to see one another in person because of the pandemic, we hope to unite people through the internet which might become (or has already become) a vehicle for people to come together as a whole through art. How to reflect on human-nature relationship with environmental issues bearing in mind is a practice to ponder on humankind’s future. The ripple effect which disseminates these pieces of information takes place as the artists present their works to the world.

策展人介紹

田名璋(Ming-Chang Tien)

目前專任於國立東華大學藝術與設計學系,並為好地下藝術空間藝術總監。

1993年從事藝術創作以來,長期聚焦在愁此一主題上,探討個人離開「家」之後,對於土地和親人的思念。2010年開始探索自我的童年,回到故挖掘孩時的記憶。2013以來,對於自己身處的台灣街頭景觀有深切的體悟,認為是台灣人表現生存與創意的文化特色之一,開始系列的街頭景觀創作,儼然是一種對台灣文化是什麼的深刻提問,可視為作者回到自己的土地上,一解愁及追求認同的過程。

創作媒材主要以攝影與錄像為主,依據容需求,會以裝置形式呈現。近年除了教學與創作之外,也投身在策展工作上,在校推動自由場域創作的「東華角落藝術節」,校外則經營「好地下藝術空間」,做為個人創作與協助他人創作的理念開展。

藝術家介紹

劉曉蕙 (Hsiao-Hui Liu)

自高中時代開始學習紀實攝影,藝術創作內容以關注人類和自然環境的關係為主; 2000年於花蓮七星潭海岸創作環境藝術,2010 年後嘗試結合地景裝置、行為藝術、裝置藝術交互呈顯,2017年後以錄像藝術為主,經由觀景視窗攝獵影像,進而開始謀劃自身行為涉入影像,邀請民眾參與行為藝術進入拍攝,其影像作品猶如天地和人物互為自顯的宇宙中詩意存有的劇場,「我即是風景」自然成其為是。

藝評人介紹

吳思鋒 (Wu Sih-fong)

普通讀者。不專業寫作者。小劇場工作者。久居東部。目前可見的身份是澳門《劇場.閱讀》副主編、藝評人,主以文字工作參與劇場。過去十餘年來,與柳春春劇社Oz theatre、足跡(澳門)Step Out theatre、窮劇場approaching theatre、差事劇團assignment theatre等合作,主編場刊(節目單)逾十冊,希望讓場刊脫離單一作品的輔助說明功能,以有限的條件延展書寫的空間,熔接創作與論述的二分。

近年的策畫、製作工作包括:「要說的都在這裡——馬華文學劇場」(2015)、「臨界點劇象錄及其經歷的時代——共學講堂03 」(2017)、「共同」的作法——劇場與社會討論會(2017)等。製作計畫包括:「第二屆水田部落行為藝術節」(2018.12)、黑名單工作室「《哈姆雷特機器詮釋學》觀念劇場-影像計畫(第一階段」、「第二屆返身南島——亞洲行為藝術節」(2017)、「望南藝評」(2019)等。主編(與鄭尹真)《親密:高俊耀劇作選》(2019)、《起落疊•字Khí-lo̍h-thia̍p.Jī:藝陣與當代劇場專刊》(2022)。

創作現場

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