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WINWIN ART 未艺术:【2017高雄艺术博览会 录像

栏目:电子天地 | 来源:http://www.554am.com | 时间:2020-05-24
WINWIN ART 未艺术【2017高雄艺术博览会 录像特展区 】《余烬三部曲II盛宴》Ember Trilogy II-Feast|林羿绮Yi-ChiLinWINWIN ART 未艺术:【2017高雄艺术博览会 录像WINWIN ART 未艺术:【2017高雄艺术博览会 录像
    展期

    日期:2017-12-08 ~ 2017-12-10

    地点

    高雄驳二艺术特区 驳二塔旁货柜录像特区

      展出作品
      余烬三部曲II:盛宴 / Ember Trilogy II-Feast
      2K 单频道彩色有声录像 31分30秒 / 2K Single-channel video, Color, Sound, 31'30"
      2014

      创作论述
      在田野创作的漫长日子里,完整见证多个村落兴衰,从住户众多到陆续搬迁成为空城再到拆除时刻,面对拆除完毕几近于荒地的遗址中,我开始意识到在荒漠中艺术家自身存在问题,我试图将身体提供出来当作承载荒地过往幽魂的容器,以一种超越自导自演更像是降灵的方式重演田野里的过往事迹。在过往与现实、事件与场域、真实与虚构之间,艺术家的身体被置入了大它者的幻见幽魂,企图以一种怪谈与非理性的方式来进行历史的再次演绎与复魅。

      During the long-term residency and field researching in the military dependents’ villages in Kaohsiung, my partner and I had witnessed the rise and fall of several villages that were transformed from lively places to waste lands that only ruins and emptiness left, which intrigued me to be conscious about the existence issue and offered our own bodies as containers for the ghosts from the past, as a way that surpassing the self-acting-directing form, and more like an séance approach to reenact the experiences that had been took place in those fields. Between the past and the circumstances of present, the event and the field, the reality and the fiction, bodies of us have been placed with the fantasies of the Other that re-deduce and re-enchant the histories with a mystery form and an irrational way.

      关于艺术家
      林羿绮Yi-ChiLin
      1986年出生于台北,国立台北艺术大学美术系硕士班複合媒体组毕业,现修读国立台湾艺术大学电影 系硕士班。主要创作以录像艺术为主,也开始进行影像与身体等跨媒介的实验。
      作品曾受邀参加光州双年展亚洲卫星连线单元,并在泰国Tentacles艺术空间进行影像表演,更荣获了 第22届台湾国际女性影展台湾竞赛单元特奖。过往参与过许多国内外艺术空间的策划展览与国际性影 展,并多次荣获影展与美术馆艺术竞赛等多项奖项。

      创作方向
      主要创作涉足录像艺术与实验电影和新媒体表演领域之间。从自身家族记忆出发,进行生长在异质环 境经验的考古。透过对于边缘区域的野史召唤、映证与反思解构,将影像视爲一种降灵媒介,重新编 导与建构出超越真实的样态,进行对于国族、历史、与家族记忆的复魅与再生产。
      近年则发展出对于影像与文本的相关思考,探寻类比与数位影像间的缝隙,创造出动态影像材质的各 种的断裂性,更尝试将身体介入影像,发展出穿越新旧媒体之间跨界表演。
      Concept of Art works
      Lin’s creation deals with family memories, and explores the heterotopia experiences of the military depend- ents’ village where she grew up. Through the residency in other similar villages, Lin re-examined her child- hood memory in the historical and metanarrative context and its intimate relationship with politics. By re- calling and reflecting the unofficial-history of the marginal realms, she reconstructs a state within her work that reveals more realistic narrative through narration and imagination. And by the video installations and the form of visual narratives, the memory of her own childhood, the concept of nationality and history are re- enchanted and reproduced.
      In recent years, Lin has developed the thoughts of the relationship between image and text, to explore the gap between analog and digital video, and more experimental attempts to involve the body into live video performances.

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