麥克風試音第二部分:母親的信—許哲瑜個展

Microphone Test II: A Letter From Mother - Che Yu Hsu Solo Exhibition

 

展覽時間:9月26號至10月25號

開幕茶會:9月26號下午七點

地點:路由藝術 台北市中正區金山南路一段67巷5號1樓(捷運東門站1號出口)

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過去幾年許哲瑜最讓人印象深刻的作品不外乎是他那些不斷重複利用兩位朋友的形象以重現社會事件的動畫。獨具特色的視覺語言和影像節奏,精準地呈現當代大眾媒體於溝通結構上的歪斜,他的作品因而被台灣當代藝術的觀眾所熟悉,2010-2012年間還連獲高雄獎、桃源獎、和全國美術獎的肯定。然而,在舊的系列中大眾似乎過度關注於他在大議題上的書寫,或許也是因為哲瑜總慣於用一個較遠的距離去處理他的作品,讓大多數人不自覺地用一種理性的思維去拆解他作品的內涵;但重新爬梳哲瑜一連串的作品發展直至最新的系列,哲瑜其實還有另一項欲訴說的命題,是大多數人較少留意到的,那是從一種更加個人而感性的角度,記錄一個人如何從真實的血肉逐步成為一個符號(那些親友是怎麼變成社會案件中的主角),或是反之,從符號中攫取存留的靈魂肉身(從歷史素材招喚已逝者的面目)。

集體/個人:刺痛單一個體的無力感

這並非毫無跡象可尋,哲瑜曾不只一次提及,當個人成為大眾訊息中的主角,那種貼近你眼前的不適和尷尬;在無姓之人一展,許哲瑜甚至還予兩位模特他們的真實身份,書寫他們的私密人生故事。我們可以這麼說,最終,與其由上而下的去剖析結構問題,哲瑜寧願選擇由下而上,用一種貼近個人感受的方式刺痛、撥弄觀眾的情緒,讓觀眾得以感受在龐大外在結構下的屬於單一個體的無力及荒謬。

一個她的故事

哲瑜這一次在路由藝術的展覽集合了四個散落在不同時空的真實事件,一份描述爺爺葬禮情景的錄音檔,一件意外身亡的命案,一位以翻模藝術家之名強姦他人的新聞,一張掛在神明聽的複製畫肖像。它們分別以不同類型的素材,如聲音 、雕塑、繪畫呈現,鋪天蓋地的包圍住位於展覽現場的觀眾感官。這些事件的核心圍繞著死亡、記憶、儀式、他者,幻夢一般地拼貼成一位虛構的角色的人生,部分的素材也參雜了哲瑜周邊友人的私人生命經驗。

這樣私密經驗的揭露等於是用了相當近距離的方式,讓觀者直視“個人成為符號”的過程。特別的是,許哲瑜這次也將自己代入到展覽的故事中,那位以藝術家之名強姦路上陌生女子的故事,似乎暗喻著身為創作者的他在整個創作過程的角色。

許哲瑜個展「麥克風試音第二部分:母親的信」將於2015年9月26日(六)下午七點舉辦開幕茶會,同一時間北美館地下室也將同步揭開許哲瑜取材自黃國峻的小說-「麥克風試音」的個展。歡迎各位觀眾蒞臨觀賞。

Over the past few years Hsu Che-Yu’s most impressive and known works were his sequential use of his two friends’ characters in animations to depict social incidents. His work, with unique visual language and rhythm, incisively reflected the twisted structure of modern communication produced by mass media, vehicles of depicting cultural images.   Astring of accolades that have come Che-Yu’s way between 2010-2012  include  Kaoshiong  Award,  the  Taoyuan  Creation  Award, and the National Art Exhibition Award.  Perhaps it is due to the fact that Hsu Che-Yu has a habit of instilling distances in his work, causing the majority of people to subconsciously analyze the content of his work in a rational manner and to pay excessive attention on Che-Yu’s exploration of weighty issues. However, if one carefully follows the development ofChe-Yu’s past works to the most recent series, there is actually another hidden  agenda that Che-Yu has been pondering: that is to use a more personal and perceptual point of view to record one’s gradual  transformation  from mortal flesh to symbols  (how those family and friends became the main character in social incidents), or conversely how to extract the remaining souls and fleshes from symbols ( calling the identity of the deceased from historic materials).

Collective/Personal: The probing helplessness of an individual

Che-Yu has illustrated multiple times the in-your-face feeling of discomfort and awkwardness when one becomes the main character in mass media. In the exhibition “TheNameless Man”, Hsu Che-Yu  even  revealed  the real  identity of  the two models, and illustrated the stories of their private life. Instead of using a top down approach to dissect structural problems,  Che-Yu chooses a bottom up approach to personally probe and fiddle with the audiences’  emotions,  to convey the feeling  of helplessness and absurdity that an individual  may feel under the pressure of a huge external structure. 

A Story about Her

Che-Yu’s exhibition at Nunu Fine Art combined four different real life stories  that occurred at various point in time: an audio recording of a grandfather’s funeral, an incident of an accidental death, a rape by a fake body casting artist,  and a portrait of a deceased in a shrine hall. Each uses different material, such asaudio,  sculpture, andpainting,   to overwhelmtheaudience’s sensesattheexhibition.  The coreconceptsto thesestories revolve around death, memory, ceremony,  others , all dreamingly weaving together the life story of  a  fictitious female character.  Theoutlineofthisfemalecharacter actually originates from the writings ofChe-Yu’s female friend,  andpartiallycombinedherreal life experiences. The revealing of such intimate stories is essentially to immerse the audiences in a visceral experience,  to witness the process of “one becoming a symbol”. In particular,  Hsu Che-Yu even seems to place himself into one of the four stories in this exhibition.  The story of the  rape of a female stranger by a fake artist may serve as a metaphor that Che-Yu himself, as an artist,  is in a position of control to consume  others,  especially those dear and close to him, in his creative world.  The opening tea party of the Hsu Che-Yu Exhibition,  MicrophoneTest II: Letter from Mother,  will be hosted at Nunu Fine Art at 7pm,  Saturday, September 26th, 2015. All visitorsarewelcome to attend. At the same time the unveilingof Hsu Che-Yu’s another exhibition“Microphone Test”, based on Huang Guo-Jun’s novel,  will occur in Taipei Fine Art Museum.