生命移轉:摩根.歐哈拉個展

Morgan O'Hara : Live Transmission in Taiwan

 

展覽時間 Duration:2017 年 4 月 1 號 ( 六 / Sat. )  至 2017 年 5 月 14 日 (  日 / Sun. )

開幕茶會 Opening Reception:2017 年 4 月 1 號 ( 六 / Sat. ) 15:00

藝術家 Artist:美國 (USA) - 摩根‧歐哈拉 Morgan O'Hara

地點 Venue: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 Rd, Zhongzheng District, Taipei

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紐約藝術家摩根.歐哈拉(Morgan O’Hara)是時間的書寫者,其標誌性的《生命移轉Live Transmission》與《時間研究Time Studies》系列皆是延續自身一直以來對於生命本質的探究與關注,發展成為數十年的長期創作計畫。

積累三十餘年的創作,歐哈拉《生命移轉》系列為運動(movement)—最初始的生命徵象—留下文字、聲音或影像之外的紀錄,發生時的光線、聲音、事件都以時間為軸,壓縮進入紙上二維空間,進而發展成為一場場幾近四維的經驗派對。藝術家手裡握著大把鉛筆,眼神專注如利刃,雙臂恣意而柔軟地於紙上揮舞,為眼前時刻變換更迭的行為留下紀錄,疏密錯落的線條便成為紀錄/詮釋發生事件的圖像存在。事實上,時間藝術(Time-based Art)或許只能作為其作品於無意識之下而產生的一種特性,在單向流動的時間裡一切過程變得極為重要,它們不可逆且無法複製。然而,歐哈拉即以「被破除單向限制」的敘事方式移轉這類運動於紙上,將司空見慣的時間表達方式抽象化處理。值得一提的是,原奠基於時間而得以舒展的意圖,卻在行為與作品行至某一段落後,觸及無時間性(Timelessness)的特徵。

面對倚賴時間而顯像的生命,《時間研究》系列應是歐哈拉的最初質問。選擇過去遺留的古老紙張作為基底,上方或畫或寫著現下藝術家己身的時間規劃,藉著疊合不同時間與空間的文字符號,促使一段瓦解時空秩序的紙上對話展開。這次展出的《時間研究》系列作品,是其2009年於美國麥道爾藝術村(MacDowell Colony)將55天(共1,320個小時)的駐村生活記錄在1792年至1794年間一位裁縫師的會計本上,胡桃色的羽毛筆書寫痕跡與鮮豔塊狀的時間切割紀錄交相輝映,一段綿延而失序的交談於焉形成。

也正因為歐哈拉對生命運動所獨有的執著,而使「日常生活」成為其創作的核心關懷。從觀察日本魚市場裡攤販們叫賣喧嘩的現場、義大利醫院裡護士接生嬰兒的過程,到自己每個人生階段的時間使用,都是她極欲觀察與紀錄描繪的對象。而如此將日常生活之行為與事件視為某種藝術延展的態度,與行為藝術(Performance Art)「藝術進入生活空間」的特徵不謀而合。這或許可以視為藝術家進入異地場域後的文化探問,憑藉著日常性元素的再思考與再詮釋,回應己身需求與對當代社會議題的追尋。

本次展覽分為兩大部分:首先公開歐哈拉經典的紙上作品;四月開始則為歐哈拉於台灣的駐地考察紀錄,並依此安排一連串發生於藝廊空間的行為表演,邀請進而致使人群成為歐哈拉作品完成的核心元素。

New York based artist Morgan O'Hara could be known as a time writer. Both "Live Transmission" and "Time Studies" series derive from the artist’s own exploration and attention toward the essence of lives, which develops to long-term projects that have been in progress for decades.

Working on it for more than thirty years, O’Hara’s "Live Transmission" series records the movement – the initial sign of lives – in a way other than texts, sound, images, or videos. All the light, the sound and the event are compressed onto paper, a two-dimensional surface, based on an axis of time and then grow into a four-dimensional space that continuously creates parties of experiences. Pencils held in hands, eyes focusing sharply on objects, arms moving softly on paper, O’Hara makes records of changing, and the sparse or tense lines become the existence of her interpretation. In fact, Time-based Art becomes one of the characteristics in her works created without consciousness. Everything happening in the one-way elapsing time is extremely important because they are irreversible and cannot be replicated. However, O’Hara narratives the movement on paper in a way that breaks restrictions, and expresses the time in an abstract tone. Also, it is worth mentioning that the intention based on time actually reaches the characteristic of “Timelessness” after the end of the behaviors and the works.

When it comes to lives, “Time Studies” series should be the most initial question that O’Hara raises. The artist chooses the second-hand old newspaper as a base, and then paints or writes her use of time in on it. The overlapping texts and symbols in different time and space form a dialogue that obliterates the order of time. The works in the exhibition are created in MacDowell Colony in 2009, recording 55 days (1,320 hours) of residency life of the artist herself on an accounting book of a tailor, dating back from 1792 to 1794. The walnut traces written by quill pens converses with the bright colored blocks of time arrangement, starting a conversation that is both continuous and fragmented.

It is her unique dedication to movement of lives that makes "daily life" become the core of O’Hara’s works. Vendors bustling in fish markets in Japan, nurses delivering babies in an Italian hospital, or her own use of time, all turn into the targets she wants to observe and record. The attitude regarding daily behaviors as an artistic extension, in fact, coincides with the idea “Art is presented life” of Performance Art. This could be viewed as the artist's cultural inquiry after entering an exotic field, responding to her self-demands and the contemporary social issues by means of the reconsideration and the reinterpretation of daily elements.

The exhibition is divided into two parts: first one with O’Hara’s classic paper works, and the other one starts in April with the cultural observation in Taiwan and a series of performances in gallery space which creates works with the people and the crowd.