文化研究國際中心

遇/預見六燃:賴雯淑個展

  • 2021-05-01
  • Kevin

遇/預見六燃:賴雯淑個展
展期:
5/1~5/31,2021
地點:新竹市建美路38號,大煙囪下的家 
Home under the Big Chimney, 38 Jianmei Road, Hsinchu City 
開放時間:
週六、週日:10 am~7 pm
週三~週五:2 pm~7 pm
週一、週二:公休

個展介紹:Link
 


藝術家/策展人:賴雯淑
賴雯淑於美國愛荷華大學完成藝術設計碩士(MA、MFA)和藝術教育哲學博士學位,曾任美國愛荷華大學國際中心平面藝術設計師、美國德州Angelo State University助理教授。目前為國立陽明交通大學應用藝術研究所副教授、跨領域藝術團隊主持人、文化研究國際中心研究員。透過藝術實踐、研究與教學,以藝術存有學視域出發,探索藝術的問題,思考人的意義。

Wen-Shu Lai attended the University of Iowa, where she earned her MA and MFA degrees in Art, and Doctoral degree in Art Education. Lai was the primary graphic artist / designer at International Programs, University of Iowa from 1996 to 2001. Later, she taught at Angelo State University in Texas as an assistant professor of art from 2001 to 2004. Currently, she is an associate professor at the Institute of Applied Arts at the National Yang Ming Chiao Tung University, Taiwan. She was a recipient of the Fulbright Grant for Art in 2008, and a visiting scholar at UC Berkeley, USA in 2016. She is also the leader of the transArt NYCU team and a researcher of the International Institute for Cultural Studies at NYCU. Through art praxis, research and teaching, she raises artistic inquiries and ponders upon the ontological meaning of being in the world. Her art praxis and research interests are in cross-disciplinary arts, book arts, mixed-media papermaking, art films, Hermeneutics, and art education philosophy.
 
【展覽概念】
遇/預見六燃,是一趟生命重新匯聚之旅,沿著蜿蜒如臍帶的小徑來到煙囪下,與母親相連。賴雯淑意圖透過藝術行動來開啟六燃活隱喻、活歷史的建構,以「記憶・植物・地圖三部曲」的方式逐步展開,是將藝術實踐疊加在新竹六燃的紋理上,展開交纏互滲的多重部署,互文延展出個人生命中的六燃板塊。展出的每一件作品,是個體遭逢歷史記憶時,所碰撞堆擠出的生命皺摺,與其說是個人,不如說是眾人交會時所折射出的歷史晶體,是送給大煙囪的一份禮物。
 
【製作團隊】
展場規劃與施作:邱筠穎、黃聖軒建築師
視覺平面設計:呂彥青、賴雯淑
主視覺繪圖:廖采晨、賴雯淑
展覽協力團隊:郭家宏、李昇祐、吳佳駿、廖采晨、黃韜云、李苡蟬、許雅貞、莊士頡、游婷雯
 
 【作品說明】


 
作品1:《觸.紋》Tactile・Veins
創作者:賴雯淑
媒材:手工造紙、複合材料、藍染、核桃染
年代:2021
 
在造紙過程中埋入創作者平日撿拾收藏的物件,是以物質來記錄、展呈個人的生活紋理。
從砍樹、煮樹、造紙、染色、曝曬、拼接,過程是緩慢耗時的。此刻,人、材料、環境、身體、勞動形成不可分割的共同體,最後留下的就是這一件可觸、可視的物件,作為在這一過程中所存留的檔案記錄。

In the papermaking process, the objects that the artist picked up and collected on a daily basis are embedded, and the materials are used to record and display the texture of personal life. From cutting trees, boiling branches, making paper, dyeing, and quilting, the process is slow and time-consuming. At this moment, artist, materials, environment, body, and intensive labor form an inseparable wholeness. The result of the artmaking is this tangible and visible object, which serves as an archive file in the process.


 
作品2: 《植・根》Plants.Roots
創作者:賴雯淑
媒材:壓克力、植物
協力藝術家:廖采晨
年代:2021
「落地生根」常被用來指涉尋求安定與歸屬的渴望,但就植物學來看,「落地生根」這類植物並非由種子生殖,而是由葉進行無性生殖。而常被用來比喻族群的甘藷與芋頭,其實是由塊根和塊莖所進行的無性生殖。落地生出的根並非來自老根,而是在無根狀態下,所生出的「不定根」

"Air Plants”(Bryophyllum pinnatum)are often used to refer to the desire to seek stability and belonging. However, from a botanical perspective, "Air Plants" do not reproduce via seeds, but via leaves for asexual reproduction. The sweet potato and taro plants, which are often used as metaphors for ethnic groups in Taiwan, actually reproduce asexually in a process carried out by roots and tubers. The roots of the Air Plants do not come from the old roots, but "adventitious roots" that are born without roots.


 
 
作品3: 《聲.活》Sound.Living
聲音裝置,2021
創作者:賴雯淑
協力藝術家:黃韜云、李苡蟬、許雅貞
媒材:矽膠翻模、Poly resin、水管、光纖、LED、Kinect sensor
霜毛蝠、雞舍日常、廠房施工、民眾共餐、導覽的各種聲音,不論是人工音或自然音,皆廣泛涵蓋了記憶音、意像音、文化音及社會音。聲景(Soundscape)能重新啟動認識新竹六燃的管道,使人不再單單依賴視覺的探索。透過採集大煙囪廠房基地可聽範圍內/外的眾聲喧嘩來構築常民生活。不僅是理解新竹六燃「現在」和「歷史」的重要線索,也是保存與活化的方式。

The various sounds of frosted bat, daily chicken coops, factory construction, community’s luncheon time, and guided tours, whether artificial or natural, cover a wide range of memory sounds, image sounds, cultural sounds, and social sounds. Soundscape can restart the understanding of Hsinchu Sixth Fuel Factory, so that people no longer rely solely on visual exploration. Construct the ordinary life by collecting the noises and sounds inside/outside the audible range of the Big Chimney Factory area. It is not only an important clue to understand the "present" and "history" of the Hsinchu Sixth Fuel Factory, but also a way of preservation and regeneration.


 
 
作品4:《編織.石頭》Weaving.Rocks
裝置作品,2020
賴雯淑
媒材:石頭、種子、樹枝、線材
 
石頭是岩石的俗稱,對地質科學家而言,石頭是記錄地球歷史的日記;對行走者而言,石頭是路徑的標記物,從這一顆到下一顆,除指涉空間的距離,也是時間的刻度;對撿拾者而言,石頭就跟種子、落葉一樣,是大地為過客準備的見面禮。

Rock’s common name is stone. For geoscientists, rocks are diaries that record the history of the earth; for walkers, rocks are markers of a path. From one rock to the next rock, it can refer to distance, as well as a scale to measure time; for pickers, rocks are like seeds and fallen leaves, and are the first-meeting gifts that the earth prepares for passers-by.


 
 
作品5:《種子藏.歷史塚.生命地》Seed depository.History mound.Living ground
裝置作品,2021
創作者:賴雯淑
媒材:石頭、種子、木頭、棉麻線材、裝飾物件等
 
緊鄰在大煙囪下舊日眷村的房殼,有風有雨有日曬,這裡有長久以來累積的意識,更迭的歷史,以及來來去去的生命。煙囪下究竟堆疊了多少年代的記憶與情感。這些縈繞不去的,也是讓夢想發生,生命到來的能量。

The military dependent’s house is next to the former Japanese Sixth Fuel Factory under the big chimney. There is wind, rain and sun. There are long-term accumulated consciousness, evolving history, and life coming and going. How many years’ memories and emotions have been stacked under the chimney? These lingering things are also the energy that makes dreams happen and life arrive.


 
 
作品6:《時間甬道》A Time Tunnel
裝置作品,2021
創作者:賴雯淑
媒材:石頭、繪畫
協力藝術家:廖采晨、莊士頡、游婷雯
 
空間是物質的、是關係的,是千百萬個故事穿插其間,交錯疊加而成。時間甬道的移動,讓平行的時空旋轉,就像神奇的風茄,讓愛得以交會,生命得以萌芽綻放。

Space is material and relational. It is composed of millions of stories interspersed and superimposed. A time tunnel is a passageway enabling time travel. Its existence makes the parallel time and space revolve, like a magical mandrake, allowing empathy, love and life to meet and sprout again.


 
 
作品7:《歷史.結晶體》History.Crystals
裝置作品,2021
創作者:賴雯淑
協力藝術家:吳佳駿
媒材:壓克力、金剛沙、投影
當流動的光線照射在不規則的壓克力多面體上時,因每個切面的角度不一,會折射聚合多道光線,形成結晶體般的光效。歷史也如結晶體般,會因視角觀點的不同,給出不同的歷史敘事。

When the flowing light shines on the irregular acrylic polyhedron, because the angle of each cut surface is different, it will refract and aggregate multiple light rays to form a crystalline light effect. History is also like a crystal, giving different historical narratives due to different perspectives.


 
共同主辦|國立陽明交通大學跨領域藝術團隊、應用藝術研究所、文化研究國際中心、社會與文化研究所、亞際文化研究國際碩士學位學程(台灣聯合大系統)
協辦|新竹市文化局、六燃保溫計劃團隊