「最好的時刻」 李睿歆 曾奕潔 聯展​

策展論述

文 / 劉沁​

關係(relation)在許多時刻熠熠生輝 — 或在與家人朋友的聚會,或關於極端氣候的道德演說中,或命名(said of)一幅剛完成的畫作以及第一次觀測到的星星的瞬間;然而一段關係也總是將我們捲進各種競逐、焦慮、壓力之中。此時,斷絕一切關係的、自由自在(thing-in-itself)之物則更令人想往。​

整體哲學相信所有事物都被其關係定義,世界只是一個由關係所形成的整體系統;相反地,格雷厄姆 ‧ 哈曼(Graham Harman)認為物都是自律的,它們彼此間不能產生直接的聯繫,需要透過第三方或中介物以達成。因此,我們能否假設世界上既存一種「拒絕關係」的物我關係?物(object)展示了什麼樣的姿態?離開以人為中心的思考之後,繪畫將如何被排列組合?又具有什麼樣的能動性(agency)?在這裡,我們希望返回到物之無窮無盡的表面(surface),並重新練習觀看。​

物的畫像一方面延續了驅逐人的身分的渴望,另一方面,它們卻擺脫不了表情與靈魂;既展現靜物(still life)傳統,又彷彿肖像,既是學院教學系統下的訓練方法,又質疑著廣受認同的理念(received idea)。在它們的背面,物的有限性和不穩定性帶來所有不可預期的改變,並且留下痕跡 ──意義之外,物與繪畫的生產正關涉著更深刻的現實。那或許就是最好的時刻。

As the best moment

“Relation” shines brightly at many moments—either at a get-together with family and friends, in a moral speech about extreme climates, said of a painting just ended, or the first moment of discovering a star; however, any kind of relationship always involves us into various competitions, anxiety, and stress. At this point, an object of discarding all of the relations and of thing-in-itself is even more desirable.

The  philosophy of the whole principle believes that everything is defined by their relations and that the world is just a completed system formed by relations; in contrast, Graham Harman believes that objects are autonomous, they don’t have a immediate connection with each other and that acquires a third party or an intermediary to build a relationship. Therefore, could we assume that there is a “rejected-relationship”  within the relationship between human and object in the world? What gesture does the object exhibit? How would paintings to be arranged and combined after leaving human-centered thinking? What kind of agency would it possess? Here we hope to concern the endless surface of objects and aware our own act of watching a thing.

On the one hand, the paintings of objects last our desire to leave the identities of humans, but on the other hand, they aren’t able to get rid of having their expressions and souls. They both show the tradition of still life and portraits, furthermore, both exhibit the training methods in department of art and questioning the  widely recognized ideas. In addition, the finitude and instability of objects bring all the unpredictable changes and leave the traces behind—besides the meaning, the production of objects and paintings is related to the profound reality. That would create the best moment for us.

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策展人介紹

劉沁 Chin Liu

文字工作者,關注視覺藝術、哲學和戲劇,文章散見於表演藝術評論台。喜歡失序地思考。

Writer, into visual art, philosophy as well as performance art. Articles published on Pareviews. Thinking in a hybrid way.

 

Instagram : cyhbridn

藝術家介紹

李睿歆 Rui-Xin Li

現就讀台北藝術大學美術創作所繪畫組,藝術教育講工作坊講師。關注人的精神狀態與自然,以及繪畫行為如何自我調解情緒與壓力。作品用色強烈,情感豐沛,如生動的寓言體;同時呈現出獨特的觸覺感,在畫面上充滿推拉和揉捏的力,變動不息。

Studying in Taipei National University of the Arts, majoring in Painting.

Rui-Xin is a painter and work on experimental arts education. She has been focusing on people’s mental state and nature, as well as how painting realize self-regulates emotions and stress. Her works are always with strong colors and rich emotions, like a vivid allegorical body; it presents a unique tactile sense, which is full of pushing, pulling, and kneading forces with constantly changing.

 

Instagram : rrruixin

曾奕潔 Yi-Jie Tseng

現就讀台北藝術大學美術創作所繪畫組。不斷在繪畫中實驗不同的形式、媒材和主張,但是都充滿著對空間與時間的思考。作品多以細密筆觸和濃濁的色彩攫取一種可見的氛圍感,其中出現許多熟悉事物的輪廓,細看之下,則又打開新的符號和多重的意義。​

Studying in the Painting Group in Taipei National University of the Arts. 

She constantly experiments with different forms, media, and ideas in painting, but all are full of thinking about space and time. Most of the works use intensive brushstrokes and turbid colors to capture a deep sense of atmosphere, in which the outlines of many familiar things appear, and upon closer gazing, new symbols and multiple meanings emerge.

 

Instagram : pipi.holdon​

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