動作—郭嘉羚個展 MOVE- Kuo Chia-ling Solo Exhibition
郭嘉羚
1979年生於台灣桃園,畢業於國立臺南藝術大學造形藝術研究所,目前就讀於臺南藝術大學藝術創作理論研究所博士班。曾獲臺北獎優選、世安美學創作補助、國藝會美術創作類補助,作品亦曾獲國立臺灣美術館、藝術銀行及私人收藏,並曾於巴黎西帖國際藝術村駐村。 郭嘉羚過往的創作擅長捕捉日常的片段微觀,以身體行為做為創作的媒介,運用行為錄像的手法形式,擴張視覺的影像,並傳遞出心理的感知經驗;在她過往的作品 例如《Red Lip》(2006),畫面中被放大的嘴唇重複誦讀「我們這裡沒什麼特別的,就是菜很新鮮」,其具體的身體影像經由語言的通道,構成了影像的弦外之音,在 郭嘉羚作品當中這些被微觀放大的局部身體,同時也碰觸了感知的詮釋。 在這次的個展「動作MOVE」,從展名中便可連結創作者一貫的創作主題,除此之外,郭嘉羚在本次的創作中,更擴展了觀察對象,從藝術家的自身轉向外在空 間,例如以影像與機械裝置來詮釋大海的巨幅創作《Sea Move》,展覽中同時也延續了過往的作品《A Mind of Skin Touch》(2005)、《狀態#2》(2004),並以立體的空間裝置來呈現這些凝止的身體,而《Red Lip Exercise》當中的話語更衍繹了動作的詮釋。本次展出創作者將身體行為的語意擴延,這些被展示的動作、被言說的動作以及被想像的動作,將在個展中呈 現出全新的創作面貌。 |
Kuo Chia-ling
Born in 1979. Graduated with a Master Degree from Graduate Institute of Plastic Arts, Tainan National University of the Arts, she currently studies in Doctoral Program in Art Creation and Theory, Tainan National University of the Arts. Awarded with Taipei Arts Award and S-An Arts Award, she was also artist-in residence in Cité Internationale des Arts Paris, granted by Cultural Affairs of Taiwan. Her works were owned by a number of public and private collectors, such as National Taiwan Art Museum and Art Bank, Taiwan.
Kuo tends to capture fragments of daily life from a microcosmic view. Using human body as media, she documents the performance in the form of video and manipulates visual images to express psychological perception of experience. Through interplay of images of body and languages, her previous works often create an overtone of perception. A personal interpretation of perception is embodied in the enlarged image of partial body. Like Red Lip(2006), a video work shows large lips along with a repeated sound of reciting a sentence “We get nothing special here, but the vegi is really fresh.”
The title of the solo exhibition “Move” indicates Kuo’s consistent interest. Kuo broadens the subject, apart from the artist herself, and looks at her surroundings. Take Sea Move(2014) for example, the massive mechanical installation, presenting still bodies in a spatial space as well as the artist’s interpretation of sea, is derived from her past works A Mind of Skin Touch(2005) and Condition#2(2004). The way of using language in her work Red Lip Exercise(2014) also shows a continuation of her interpretation of action. Kuo carries on exploring her specific language of performance and action art. The exhibition shows her new series of “demonstrated, spoken and imagined move.”
Born in 1979. Graduated with a Master Degree from Graduate Institute of Plastic Arts, Tainan National University of the Arts, she currently studies in Doctoral Program in Art Creation and Theory, Tainan National University of the Arts. Awarded with Taipei Arts Award and S-An Arts Award, she was also artist-in residence in Cité Internationale des Arts Paris, granted by Cultural Affairs of Taiwan. Her works were owned by a number of public and private collectors, such as National Taiwan Art Museum and Art Bank, Taiwan.
Kuo tends to capture fragments of daily life from a microcosmic view. Using human body as media, she documents the performance in the form of video and manipulates visual images to express psychological perception of experience. Through interplay of images of body and languages, her previous works often create an overtone of perception. A personal interpretation of perception is embodied in the enlarged image of partial body. Like Red Lip(2006), a video work shows large lips along with a repeated sound of reciting a sentence “We get nothing special here, but the vegi is really fresh.”
The title of the solo exhibition “Move” indicates Kuo’s consistent interest. Kuo broadens the subject, apart from the artist herself, and looks at her surroundings. Take Sea Move(2014) for example, the massive mechanical installation, presenting still bodies in a spatial space as well as the artist’s interpretation of sea, is derived from her past works A Mind of Skin Touch(2005) and Condition#2(2004). The way of using language in her work Red Lip Exercise(2014) also shows a continuation of her interpretation of action. Kuo carries on exploring her specific language of performance and action art. The exhibition shows her new series of “demonstrated, spoken and imagined move.”
「動作MOVE」創作自述 statement 停留在海邊那時,坐在鵝卵石上,盤起的腿不是很能平整,稍微挪動身體就會發出低沉的聲音。那時,與海在一起,在它的邊緣,兩個大跨步就會浸入白浪花的距離,唯一與身體的接觸是海風帶來的鹹鹹霧滴。如果不是因為凝視出神後的疲憊,那麼在浪花卸下前所繃起的肌肉也將不被知覺。 |
展場紀錄
Exhibition record |
凝視海面的當下所產生想觸摸海面的念頭,成為我的創作動機,對於不可及的、有距離的眼前景象,觸碰如何發生?倘若身體不被活生生現形,那麼動作是如何被執行?做出動作,一般被指涉為執行某種肢體姿態,具有短瞬的計時時間;而我所關心的是在這短瞬切片中,身體與對象物之間的指涉動態關係。
延續過去作品中對身體行為的關注,並重新思考行為(performance)與行動(action)的藝術脈絡以及自我定位,此次展出亦透過名稱「動作MOVE」對自己作品的型態做出闡釋──一種短時延、不易察覺的、無敘事及無目的動作。因此在這次的展出中,我試圖形塑「動作」的樣態:被展示的動作、被言說的動作,以及被想像的動作;透過這些作品分別進入三種對動作的詮釋:擬態動作、指示動作,及視觸動作。
The intention of touching the surface of the sea became my motivation of creating. How to touch the unreachable and distant scene in front of me? How to make it happen if I don’t touch it physically? Generally speaking, a move refers to making a body gesture of brief duration. I concern the interrelation between body and the subject during the period of time.
With a successive focus on body performance, I try to reflect on my previous works in the context of performance art and action art. By means of naming “Move,” the exhibition intends to present an interpretation of my specific art form--a fleeting, unnoticeable, non-narrative and unintentional move. I attempted to sculpture “Movement”: “demonstrated, spoken and imaged move” through three ways of interpretation: “Stimulation, illustration and haptic.”
延續過去作品中對身體行為的關注,並重新思考行為(performance)與行動(action)的藝術脈絡以及自我定位,此次展出亦透過名稱「動作MOVE」對自己作品的型態做出闡釋──一種短時延、不易察覺的、無敘事及無目的動作。因此在這次的展出中,我試圖形塑「動作」的樣態:被展示的動作、被言說的動作,以及被想像的動作;透過這些作品分別進入三種對動作的詮釋:擬態動作、指示動作,及視觸動作。
The intention of touching the surface of the sea became my motivation of creating. How to touch the unreachable and distant scene in front of me? How to make it happen if I don’t touch it physically? Generally speaking, a move refers to making a body gesture of brief duration. I concern the interrelation between body and the subject during the period of time.
With a successive focus on body performance, I try to reflect on my previous works in the context of performance art and action art. By means of naming “Move,” the exhibition intends to present an interpretation of my specific art form--a fleeting, unnoticeable, non-narrative and unintentional move. I attempted to sculpture “Movement”: “demonstrated, spoken and imaged move” through three ways of interpretation: “Stimulation, illustration and haptic.”
Line Between Body and Space
FRP, Hide Rope
41x22x26cm, 41x22x26cm, 38x21x26cm
2014
FRP, Hide Rope
41x22x26cm, 41x22x26cm, 38x21x26cm
2014
這件作品依創作者擺定的三種動作而翻製成,擷取脖子以下、胸線以上的部位,單線懸掛至頂部離地135cm的高度,並自上方各投射一盞白燈光。作勢側身閃避的身體雙側嵌入暗紅色皮繩,這些紅線描繪了在這些動作擺成之時,作為介於身體與空間之間的判準基線── 一條感覺的身體側邊稜線;而地面的黑色影子則將三種動作身體再次顯現為更低限、無性徵的漆黑色塊。
This artwork was made base on three different postures of the artist herself, measuring from the neck to the chest line. The three pieces were suspended from the ceiling to 135 cm high above the ground with three separate white lights hung from its top. While the sculptures of torso were all in a position of dodging something, the red-leather cord embroidered onto the thin notch from neck along shoulders to upper arms of the torso portrayed the postures from lateral view and emphasized the equally-simulated space in between. The shadows of the installation in shape of body movement appeared as three black blocks, minimal and neutral. |
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Red Lip Exercise
Single Channel Video, Color, Sound
3’55”
2014
Single Channel Video, Color, Sound
3’55”
2014
這件作品作為一種召喚動作的引發,倘若僅聽見指令,而看不見身體,那麼動作將會在什麼場域中發生?我拍攝了四張精心描繪的紅唇,分別錄下他們跟隨錄音檔節奏所念的第一式國民健康操口號,再將四組影像拼貼在同一畫面中,透過這樣的製作模式試圖在虛擬的動作場域中加入看似同時同聲,但事實上卻是異時同聲的時間元素。進一步來說,這件作品是企圖在言說(speech)的領域中處理訊息接收與身體經驗召喚所展開的虛擬狀態。
The artwork intends to “summon movement”. If people only hear the instruction but not see the body, how the movement would be under the specific circumstance? In the video, everyone followed rhythm of the audio recording and read the instruction of National Stretching Exercise (type 1). Before the video recording was taken separately, the artist carefully painted four actors’ lips red. Four separate video recordings were then collaged in one screen. Through postproduction, the artist endeavoured to create an illusion that four actors spoke at the same time, but in fact, four video clips were taken separately. The artwork further elaborates a virtual status when people process received messages and physical experiences at the same time in the field of speech. |
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You Can’t Talk with Other People
Single Channel Video, Color without Sound
8”
2014
Single Channel Video, Color without Sound
8”
2014
自2006年的作品《Red
Lip》開始,塗有紅色唇膏的嘴巴這個系列作品欲表達的是言說主體以特定姿態傳遞訊息的樣態,這個訊息透過紅色嘴巴或使之成為有意味的發聲。在《You
Can’t Talk with Other People》中所述的句子,截自創作者生活事件的敘述(此為詐騙歹徒在電話中向母親所述的句子),這個句子在該事件中占據了關鍵性的地位,它使事件中人的肢體行為皆因這個句子發生變化,因此在這件作品中,使紅色嘴巴述說此句,作為訊息指涉、作為對象指稱、作為一個暗喻的姿態。
Red Lip(2006) , among the “Red Lip” series, was the first attempt to make “red lips”, a subject of speech, as a medium to express and deliver messages. In You Can’t Talk with Other People, the narrative sentence came from the artist’s own true story (The criminal scammed artist’s mom on phone). The sentence was particularly crucial and decisive in the scam phone call to people who were involved. Red lip, as a medium, which delivered the message of a certain sentence, was seen as a referring subject and a metaphorical gesture. |
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Sea Move
Single Channel Video Setting, Color without Sound
Dimension of Screen: Variable, Duration of Video: 33’41”
2014
Single Channel Video Setting, Color without Sound
Dimension of Screen: Variable, Duration of Video: 33’41”
2014
作為一個以身體行為作為創作思索脈絡的創作者,我要對眼前這幅景象做些什麼?能做什麼?
我想觸摸他 當時,凝視著大海,這個即時的反射回應,成為這件作品的靈感來源。究竟是海浪迎來、凸起的那個螢幕點迎來,抑或是我欲迎向海?這個觸摸,毋寧說是一種觸視(Haptical visuality)的動作,是一種未被身體實踐的真實動作,他必不能以現實世界的身體與海肉體碰觸。 於是,我以萊卡布製作了一幅螢幕,投以海浪拍打湧至的影像;並在螢幕後方架設了一條軌道,上有一支機械滑輪從後方向前將螢幕撐凸,且水平地左右來回移動,此裝置的位置、移動速度是象徵以一種手指在腰間左右輕緩水平劃過的高度,他被賦予暗示動作主體情緒的任務。 像是從腦海中將觸摸的思考動態影像切片擷出、獨立展示,那個在海浪上移動的凸起點迎向觀者,在浪起浪落之間以幾不可察覺的方式展現其姿態。 As an artist whose concerned with body action, what will I do if I take the scenery in front of me as a subject of my artwork? I want to touch it. I remembered that when I stared at the sea, an instant and nearly impulsive thought came up. I wondered whether the incoming sea waves approached me (like convex point of the video screen) or I desired to get closer to the sea. If I touch the sea waves, the touch can be regarded either as a haptical visuality or as a unrealized action; and, thus, the touch can never be a physical one. The imagination became my inspiration of this piece of artwork. Therefore, I made a large screen out of Lycra fabric and projected a video image of sea waves onto it. Behind the screen, I built a track along with a mechanical device on the track, which also supports the screen and makes a convex point when the device moved back and forth horizontally from left side to the right side. Both of the position and the moving pace of this device symbolized a gentle touch on the sea horizon with a suggestion of the subject’s emotion. The convex point on the screen that constantly approached viewers showed its own stance in an imperceptible way. The movement seems like to slice my brain and put my thinking mode on display. |
upper: @NHCUE Art Space; down: @FreeS Art Space
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3 Minutes Sea Wave at Night
Single Channel Video, B&W without Sound
3'
2014
Single Channel Video, B&W without Sound
3'
2014
這件作品係將連續快門所拍攝到的3分鐘時長海浪照片經數位軟體處理後,依序串接成逐格動態影像。對於在拍攝現場及照片原始檔案中皆看不清楚、幾不可辨識的景象,數位處理的步驟作為作品中揭示(或揭密)的手法,企圖暗喻看不見,但一直永恆存在的動作。
The video, a motion picture, was made of series of single images of sea waves, which was shot for three minutes long by using burst mode. Via digital processing techniques, series of images were stitched together and merged into one video clip. By doing that, those unrecognised part of the image, implying invisible eternity, in the original photo were revealed (disclosed). |
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Sea Glance
Digital Print 235x55cm 2014 |
倘若我看海一眼,是看見整面海、一片波光,還是一條浪?
在按下連續快門的同時,順時針旋轉身體所拍得的照片,在這件作品中按照原景象重新拼接疊合並做了數位處理,影像中,那些凝固不動作的地景(堤坊、沙灘、天空...)的接合線被抹去,僅留下被快門留下的瞬時波浪以每禎照片的疊合線條生硬相隔,這些區段作為快門與身體動作速度結合後所顯現的時延;並且,作為全幅作品中唯一對焦至靠近攝影者的定位,畫面正前方的消波塊亦點出此前景象與拍攝者的空間維度。 If I glance at the sea, what will I see? a whole surface of the sea, ocean waves or a shimmer of sunlight? When I moved my body, I simultaneously pressed the shutter button by means of burst mode shooting. I later used digital image processing techniques to stitch the captured pictures together and merge image of the landscape part (the embankment, the beach, the sky). Another part of image (sea waves) was stitched together with obvious overlapping areas in between each photo, which were like evidences of duration as a result of the body movement and the shutter speed. The precisely focus image of tetrapods (concrete blocks used in coastal engineering) in the centre implied its shallow focus different from entire image and pointed out the spatial dimension of the photographer and the environment. |