印尼裔藝術家阿里・貝瓦吉來台駐村 呈現文化再製藝術《天堂島》

Island of Paradise : Ari Bayuaji's Recreating Values within the Interwoven Cultures

時間:2018年7月1日至8月11日| Date: 1 July - 11 August, 2018

藝術家:阿里・貝瓦吉| Artist: Ari Bayuaji

地點:路由藝術|Nunu Fine Art

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藝術家阿里・貝瓦吉(Ari Bayuaji)出生於印尼,大學畢業後前往歐洲求學,而後定居在加拿大法語區的蒙特婁。跨文化的成長過程使他累積了豐富的生活體驗,也因此創作中總是充滿著文化交融的語彙。長期以來,貝瓦吉省思著大自然與人類的共存關係。他認為,我們的環境中所發生的一切,已表明大自然就像是一個完善的檔案櫃,處處反映著不同時代的更迭以及人類文明的變遷。由於他個人對於原石,礦石,玉石等大自然元素充滿熱愛,因此在過去的數年間,他藉著受國際重要駐村機構邀請時接觸了更加多元的環境,並從世界各地搜集了以自然礦石為主的各種設計物件。他以這些或新或舊的物品建立起一系列屬於自已的媒材資料庫,從自然與人造元素的對比中思考著人類文化的奧秘之處。

 

解構自然元素的價值流轉

面對著多樣的媒材,貝里吉遙想著上古的時代中, 原石、礦物、玉、珊瑚、珍珠、獸骨等其實都是隨處可得的自然物件,不幸的是,當代社會中這樣的景況已不復存在。於是,視物件本身為中立物質,並觀察物品隨著擁有者的度量而流轉的價值,便成了貝瓦吉的創作概念。如此一來,各種材料的解構與重組便成為了他的新系列作品中最重要的創作手法。他以平凡的拾得或現成物件和被遺棄的商業飾品作為媒材,將其價值重塑後,使其成為足以穿越時代與文化的藝術作品。

除了來自大自然的素材,藝術家也運用日常產品等元素反思商業設計面對大自然的過與不及。他將污染了峇里島海灘的塑膠繩及其他小型塑膠產品清理及分解,並融入印尼人在當地發現源自歐洲或其他亞洲國家的「異國」物件。這類異國物品往往在海灘、河堤或是田野中被發現,並因為拾獲者的知識不足而被當作「幸運符」而傳承給後代子孫。貝瓦吉的其中一件新作甚至嵌入了祖父傳承下來的黃銅,以呼應中立的媒材和家傳至寶之間的價值移轉現象。在今日的社會裡,人們可以隨處購得幸運符,居住在臺北的市民甚至過個街即能在「建國假日玉市」輕易尋得。但如此因應消費而產生的平價寶物,是否代表人們在需要更多的運氣時,便會將這些幸運符隨手拋棄了呢?

 

重組異國文化的錯落記憶

本次《天堂島》的作品以藝術家過去用各地收集物件組合而成的半成品為雛形,為一次跨文化的試驗。經過在台駐村的六週後,貝瓦吉將造訪台北的各個角落以汲取的靈感加上在地搜集的物件,與原來的半成品相結合成為一系列精緻的裝置藝術。在這個城市的生活期間,最令他著迷的無非是有如珍奇櫃一般的台北故宮博物院。他見到館中展示的古代飾品、宗教物件、書畫捲軸和書法真跡,一樣樣都傳述了關於大自然帶給藝術創作的啟發; 此外,在欣賞國光劇院的演出後,演員的精緻服裝以及對他來說極具異國風情的京劇走位,都成為了這次《天堂島個展》的發想來源。當新的文化滲入,而異國物件注定被轉化時,稀有礦石、玉、珊瑚等種種自然媒材的運用,便在藝術家腦海中產生了極大的想像空間。

對於貝瓦吉來說,挑戰藝術的既定印象是這個瞬息萬變的世界中十分重要的課題。儘管我們正處於一個充滿啟發的活躍時代,商業主義卻也使人類的文明快速產生變革。因應全球市場所需而大量生產的商品,已使得自然景致以至於各國文化都產生了劇烈改變。本次展覽結合了繪畫、雕塑、以及設計作品,以各式小型設計物件和來自世界各地的幸運符形塑文化交融的跨媒材創作。將普世性的媒材交錯而形成難以言喻的異地情調,藝術家貝瓦吉希望他的藝術能被喜愛他的理念的人收藏,並且將無形的文化價值當作來自天堂島的「幸運符」傳承至下一個世代。

 

Ari Bayuaji has been consistent in his work by using found and readymade objects as materials of his artworks. Over the past several years, He has been building a collection of objects from various places in the world that were used in daily life, old and new objects.

To begin with, it is clear that nature has been a great source of human's existence. What happen in our environment delivers a message that nature is a wonderful archive that reflects the different epochs and the many changes throughout human history. In the olden days, it must be easier and cheaper to find valuable natural objects from the sea or land. Unfortunately, it is not the case anymore in these days. The facts above provided him a good reason to use commercial and found or ready-made objects as the materials of his art project and elevate their common value into a good body of work for exhibition. Therefore, material deconstruction and reconstruction has become the most important approach on his creative process for his new works.

During his residency in Taipei City with Nunu Fine Art, he has been visiting many places to get inspired by the city. One of the most fascinating things he has experienced from his stay in Taipei is about how National Palace Museum of Taipei is functioning as a great cabinet of how nature has been always a great resource of art material. It reminded him that there is a big window of the uses of material as such as precious stones, jade, coral, pearl, bone, and so many other natural materials waiting to be transformed into works of art. He was really impressed by the antique jewelry, religious objects, and also the scroll paintings and calligraphy recently exhibited at the.  Besides the ordinary objects in the daily life he encountered in Taipei City, the museum's collection has provided much inspiration for his new series.

For his solo exhibition at Nunu Fine Art, Taipei, Bayuaji has created works that is at the same time addressing the massive plastic debris that are polluting our ocean. Addition to used commercial design objects, he also uses plastic ropes and other small plastic objects he found on the beach in Bali. He cleaned and deconstructed those plastics into his material for art creation. He included some "foreign" objects in Indonesia that have their provenance from Europe or other Asian countries, especially China. Those foreign objects were found on the seashore, on riverbanks or even on people's farms. Because of a lack of knowledge in former times, very often these objects were used as "lucky charms" by those who found them and the next generations would inherit them.  He even put some small bronze pieces he inherits from his great grandfather to be attached on the artworks for his exhibition at Nunu Fine Art.  In these days, people can buy their lucky charm anywhere or if they live in Taipei, they can buy it at the 'Jade Weekend Market' in the heart of Taipei City easily. Maybe they will throw those lucky charms once they need a better luck!

It is his belief that, in an ever-changing world, challenging assumptions in art is crucial. While we presently live in an inspiring and dynamic time, commercialism is rapidly transforming human civilization. Goods being produced in huge quantities continuously for a global market has led to massive changes in the landscape of nature and also of culture. The series of work in the exhibition will be both painting and sculptural works. He has created some very strong works of art in which constructed by many interesting small objects and lucky charms from some different part of the world. He hopes that his artworks will be kept by people who love the works and then pass it on to the next generation as a "lucky charm" from the Island of Paradise.