席康.森尼斯:無意識形成物

Ciron Señeres: Unintentional Forming Objects (UFO)

展覽時間 Duration|August 3 - 31, 2019

開幕茶會 Opening Reception|17:30, August 3, 2019

藝術家將親臨現場 The artist will be present.

地點 Venue|10056 台北市中正區金山南路一段67巷5號1樓 No. 5, Lane 67, Section 1, Jinshan South Road, Zhongzheng District, Taipei 100

 

菲律賓新銳藝術家的席康・森尼斯終於現實、以照片寫實的技法將馬尼拉都市樣貌淋漓盡致地呈現於畫布之上。雖是寫實,他卻以謹慎的構圖、對單色的精確掌控調和出恰如其分的對比和平衡。繁雜交錯的電線、密佈貧民區的鐵皮屋頂、懸掛窗外的衣服、角落堆棄的垃圾,森尼斯將我們視為紛亂骯髒而試圖忽視的現代都市現象誠然紀錄,畫面卻在其內容上的喧鬧之餘流露出乎意料的平靜坦然、甚而具有美感。賽博龐克(cyberpunk)科幻所描繪的極端貧富差距,在軟硬體設施均難以負荷急遽都市化和人口大幅成長的馬尼拉和其他眾多亞洲都市,已然成為現狀。森尼斯正是讓觀者凝視此等現狀,彷彿置身他人之日常。

森尼斯將這般現象畫得如同日常生活中的一瞥,或是倚靠在貧民窟鐵皮屋牆邊靜靜凝望周遭的居民視野。然當我們決定以某種人類學視角觀看,他的畫以大量重複、且延伸至畫面之外的廢棄物圖像表達了生產複製與相應的過剩意象。重複的咖啡杯、重複的保麗龍便當盒、重複的黑色垃圾袋、重複而一望無際的鐵皮屋頂、重複的木製牆板、重複的塑膠水管,重複而無意義的噴漆塗鴉和商品標示文字;生產線上整齊劃一的產出、商品架上標著價格的重複物件,在歷經都市人的一手使用後,終而棄置於馬尼拉貧困的角落並成為下層居民的所有物。過剩與稀缺,財富與死亡,同時顯現於無盡的垃圾堆中。

藝術的本質似乎本非全然中性,在光鮮亮麗而貫徹資本社會藝術敘述的展覽場域之中,森尼斯的畫彷彿開闢了通向其他世界的窗口,從內容與表現手法、到其作為藝術品這項事實,以其矛盾性直指著為眾人所避而不談的現實;彷彿提醒著人們:探討藝術的意義無從割捨生產消費文化與政治性,藝術的價值本身則涉及人類生存的狀態。因而當我們在看著森尼斯的畫作時,黑白色調與不帶浮誇的構圖彷彿只是平白而中立地講述某個故事,但我們必然得以意識到其中所訴說的生活樣貌,以及滿溢其中的某種溫和的本土關懷。

An emerging artist from Philippine Ciron Señeres is faithful to the reality and presents metro Manila on his canvas with photorealistic style. Thoulgh his paintings are based on reality, his rigorous composition and precise control of monochrome color make the paintings harmony with appropriate contrast. Wires, iron roofs overlying the slums, clothes hanging outside windows, stacked garbage in the corner, Señeres honestly records phenomenon of modern urban that we neglect and regard as messy and dirty. However, those noisy contents seem calm and even aesthetic in Señeres’s paintings. The extreme gap between the rich and the poor in cyberpunk sci-fi has become true in Manila and many other Asian cities where hard and soft facilities are overloaded under rapid urbanization and dramatic population growth. Señeres’s paintings make viewers stare at such the current situation as if they are in the daily life of others.

The scenes within Señeres’s painting can be seen as taking a glimpse into daily life, or a perspective of residents, standing besides the wall of the slums staring at the surrounding soundlessly. However, when Señeres somewhat decides to look from an anthropological perspective, his paintings implicate the imaginary of excess reproduction with large amount of repetitive and the images of waste which extends beyond the painting. Repeated coffee cups, repeated Styrofoam lunch box, repeated black garbage bags, repeated tin roofs which seem endless, repeated wooden wall panels, repetitive plastic water pipes, repeated and meaningless graffiti and commercial logos; the united output from the assembly line, the repetitive goods which mark with price on the shelf, all of these end up being left at the corner of the slums of Manila, and turn out to be the property of the disadvantages. Excess and scarcity, wealth and death, appear simultaneously in the endless garbage dump.

The essence of art seems not to be completely neutral. In the glamorous exhibition venue that carries out the narration of capital society, Señeres's paintings seem to open up a window to other worlds, from content and expression techniques to considering them as art, he demonstrates the reality through the contradiction that everyone tries to avoid. His artworks remind people that the meaning of art cannot be separated from the market and politics. The value of art itself involves in human existence. Therefore, when we look at Señeres's paintings, black and white tones and unpretentious compositions seem to tell a story in a plain and neutral way, but we must be aware of the life appearances and the local care that embedded within his paintings.