2015年7月【後天的身體圖像/Body Unnatural】

【後天的身體圖像/Body Unnatural】

身體從來就不是自由的。
 

結構、互動、現實、想像,層層勾織的環節成就我們的體態,藝術家對於身體的描繪則放大了潛藏在皮囊下的錯綜複雜因果,每個作品中的肉身,其實各自指向不同但清晰的訊息,那可以是極其私密的探索,也可以推及至無邊際的集體想像。社會學中「型態」(figuration)作為研究結構/個體的中介角色的方法,為社會學家艾利厄斯.諾伯特使用、分析了身體文明化的過程,說明「結構」與「互動」都對身體的誕生過程產生令人著迷的作用:大歷史累積的規訓風俗內化在我們的軀幹中,以誕生出合宜的身體;個體在人際關係和互動的牽引下,拉扯出身體現有的形狀。

一位演員也曾分享:「 年輕時,我習慣從角色『內在』個性開始揣摩角色;現在我總是先想像角色的體格,因為我發覺『體格』更能揭露角色的蛛絲馬跡、幫我貼近角色的生活。」除了外在的變因,身體也映照了個人的自我期待。一個人可能還未能實踐想要擁有的身分、地位,身體便先行一步,展現了該期待。

參展藝術家之一的布萊德.達西,他作品中的身體揉合著輕盈和糾結這兩種矛盾的特質。輕盈的是他作品中的線條畫面,乾淨而直接,這源於他直覺式的創作方式。糾結是在於他所繪出的人物身體,那些身體有些過於龐大,有些面目歪斜;線條纏繞在特定部位上,成了解不開的結。達西是一位極其敏感且善於看穿他人的藝術家,這些軀體一具具都是他位於大城市中所看見的人物速寫,他所繪的是在外表底下被捆綁的人的本質。

若說達西的作品是藝術家對外在世界的感知呈現,那索迪絲的創作就是對內在寰宇的觀察。索迪絲畫面中的人物通常擁有削瘦的骨幹,平坦的身材,流動的肌理,這些特徵再再暗示着畫面主角內心的不確定性和疏離。平塗色塊的身體表現更製造出異於現實的空間感,加深了那份與觀者之間淡薄的隔離感。

路由藝術將呈現給大家的另外兩位羅馬尼亞藝術家,黛安娜.奧特與洛杜.貝伊斯,代表著羅馬尼亞新一代的藝術家。他們恰如其份地平衡具象形式與抽象概念的的作品,在現今具象表現風格蔚為風潮的羅馬尼亞藝術圈中座落於一個特殊的軸線上。奧特著迷於時間與意識;在奧特的視野中,所有一切被解構為分子,游離在漫長的時間軸中;身體在此是斷裂的,因為個體的存在並非主角,個體所記憶的意識才是。至於貝伊斯,由於生長在共產政府更迭的年代,共產體制的生活不再是他那一輩的故事,整體國家思維轉向個人化,新一輩的藝術家更關心的是他們個人價值的找尋。貝伊斯寫實人物通常沒有臉孔或是四肢模糊 , 正是來自於價值轉型過程中無可避免的迷惘 。  

展覽【後天的身體圖像】集結了紐約、冰島、羅馬尼亞藝術家的作品,將於7月4日下午三點開幕,歡迎各位蒞臨參觀。


Our bodies are never free. 

They are born by various causes. Artists’, direct and perceptive, depiction of human figure have enlarged the complex connections that hide under our skin. Every human flesh shown in the artwork has pointed to a subtle yet clear message. It could be an exploration of one's private emotion, also a collective image of a giant society.The concept of 'figuration' was used by Elias Norbert as an analysis method to explain the body civilizing process."Figuration", deemed as an intermediary role between structure and individual in sociology, explains that either the social structure or the interaction between individuals have been influential to how we sense our body. Social customs discipline our bodies so that “acceptable” figures were developed to meet the external expectation, whereas interpersonal relationship also, unconsciously, effects how one would build their body image.

The idea somehow proves what an actor once said: "When studying a role, I always start with imaging the character's figure. I used to portrait the character's personality traits first when I was young, but I eventually found out that one's body can tell me more stories about his daily life."Besides of the external factors, our figure also reflects one's expectation of itself. One might haven't possessed the identity which he eager to own yet, but his body shown a sign of what kind of person he wants to become beforehand.

Intuitively creating his croquis-like work, one of the exhibited artists Brad Darcy has empowered his artwork contrasting attributes: clean and twisted. While the layout is clean and the lines are organically flowing, the shapes of bodies are often distorted and no longer look proportioned. Reflecting what this sentimental artist has seen in New York City, these over-sized bodies and deformed body parts speak for mind underneath the skin.

If Darcy’s works disclose artist’ interpretation of the outer world, Thordis’ works then reveal artist’ observation of inner minds. Figures in Thordis’ paintings are shown thin, boney, flat, and rather fluidity muscle, suggesting uncertainty and isolation of the objects. Bodies assembled by flat color blocks seem even more unrealistic and distant itself from the audience.

Diana Otet and Radu Băieȿ, new generation of Romanian artists, perfectly balance the concept of figurative and abstract in their works and therefore set themselves apart from the current trends of figurative art in Romanian contemporary art scene. Obsessing with the labyrinth of time and consciousness, Otet often deconstructed objects, including bodies. She interest in consciousness one embodies, rather than physical existence. Băies had been through the collapse of the   Communists. Communism is no more a part of life in his generation.  The Character in his drawing normally doesn’t show a clear facial expression, neither the limbs , stating  the inevitable misery of sarchineg personalv alue.