洪琳茹X黃建寰
看不見的風景/Beyond the scene

洪琳茹X黃建寰
看不見的風景/Beyond the scene



洪琳茹1

藝術家介紹-洪琳茹 

出生於高雄,國立臺北藝術大學美術系、國立臺灣藝術大學造形藝術研究所雕塑組畢業。過去常以自身日常生活所經歷的人事物發生、地方的常民文化與歷史敘事或是不同群體記憶中的生命故事作為創作軸線,以雕塑、影像、書寫等形式紀錄與表現。近年將創作對象轉向藏身於邊緣、角落的孩童、長者或弱勢等群體,以藝術作為發聲的媒介,而藝術陪伴則作為一種社會實踐的方式,踩著土地感其所感,走進他人的田野,聽說他方的日常。

Artist/Hung Lin-Ju

Born in Kaohsiung, Lin-Ju graduated from the Fine Arts Department of TNTUA and the Sculpture Group of the Institute of Plastic Arts of NTUA. Her work inspirations are often related to the people and events that she encounters in her daily life, the local culture and historical narratives, or the life stories in the memories of different groups as the axis of creation, and recorded and expressed them in the form of sculptures, images, writing, etc. In recent years, the creative objects have been turned to children, elders, or disadvantaged groups hiding in the edges and corners, using art as a medium to express their voices, and artistic companionship as a way of social practice, stepping on the ground to feel what they feel, entering into the fields and listen to the daily life from the place of others.

藝術家介紹-黃建寰 

出生於臺灣屏東,畢業於台北市立教育大學視覺藝術研究所及國立臺南藝術大學造形藝術研究所。創作常以複合媒材裝置作爲表現的形式,創作脈絡的路徑,以自身生活經驗出發,關注社會環境與歷史文化間的關係、進而於個體、空間、物件、記憶產生流動與彼此的對話。近年來,由於多次進出不同島嶼進行駐村駐地之創作實踐,以「島嶼邊境的觀測」概念出發,思考人、自然環境、與地方間的關係,企圖以「緘默之物」替代失語的主體作爲回應地方的方式。

Artist/Huang Jiang Huan

Born in Pingtung, Taiwan, Jiang Huan graduated from the Institute of Visual Arts, Taipei City University of Education, and the Institute of Plastic Arts, National Tainan University of the Arts. The creation often uses composite media installations as a form of expression. The path of creation is based on his life experience, paying attention to the relationship between social environment and historical culture, and then creating a flow and dialogue between individuals, spaces, objects, and memories. In recent years, due to his frequent visits to different islands for creative practice in villages, he started from the concept of “observation of island borders” to think about the relationship between people, the natural environment, and places, he attempted to replace the aphasic subject with “silent objects” as a way of responding to place.

黃建寰(替換)

長成於藝術這片沃土的我們,藝術是為兩人共同的語言,從駐村的共同開始,移動、駐足、地方、族群、感受、傾聽、對話、醞釀、發酵、創作、實踐等關鍵字成為兩人合作的契機,而同對土地、環境、空間、歷史、記憶、物件等的關注展開彼此的對話,於是「腳若不踩土地,哪聞得到泥土芳香。人若不懂噓寒問暖,哪來故事情節。」一如成行的我們。

We grew up in this fertile soil of art, art is a common language for t Hung Lin-Ju and Huang Jiang Huan. They share a common experience in AIR. Moving, stopping, place, ethnic group, feeling, listening, dialogue, brewing, fermentation, creation, practice, etc., these keywords became the opportunity to cooperate and they started to dialogue with each other about their concerns about land, environment, space, history, memory, objects, etc. Therefore, “If your feet don’t step on the ground, you can’t smell the fragrance of the earth. If people don’t know how to greet each other, where will the story come?” this is the way we started the journey.

作品名稱:

看不見的風景/Beyond the scene

作品尺寸及創作媒材
尺寸:長150cmX寬150cmX高200cm
媒材:鐵件、木板、鍍鋅烤漆浪板、回收浪板、影像紀錄

 

作品理念

「我遇見的深藍是你口中的日常,而你的日常是我遠道而來的風景。」

作品主體如同一個端子牽繫著遠行離鄉的遊子,也感慨著門內逐漸凋零等待伊歸的繫念。尺寸大於門框卻小於住所,看似入口卻不得其門而入,封閉的空間狀態卻銜接搭架起外來的我們與腳下土地的交會。

作品透過「以物易物」以新舊藍色鐵皮交換的方式與地方交往,在替換的過程和居民建立連結與關係。歲月在鐵皮留下的斑斑鏽跡,猶如烈日下众人汗水如筆在身上畫下的勞動印記,潛藏著每段曾經存在卻消逝的風景,時過境遷的它們,或許不復重現,卻也以不同的形式存在著,在日常生活剎那的縫隙裏、在記憶故事的深處裏,如隱匿於荒煙蔓草裡的斷井頹垣,等待再現。

面向海洋的方向直指最大深度的藍,是你經過的日常,回應著家屋的座落與鐵皮的鏽藍,讓好的光不被遮擋的美好寓意。海浪一波波仿佛召喚著遊子的歸返,也牽引著外來的我們在這短暫交會的時刻成為他方的歸人,遇見這片看不見的風景。

 

Artwork

Beyond the scene

Dimension (L x W x H):1.5M x 1.5M x 2M

Medium:ironwoodnew and recycled Galvanized paint corrugated boarddocumentary videos

 

“The deep blue I met is your daily life you say, and your daily life is the scenery I came for from far away.”

The main body of the work is like a terminal that connects the wanderer who has left his hometown. It also expresses the feeling that the thoughts inside the door are gradually withering and waiting for his return. The size is larger than the door frame but smaller than the residence. It looks like an entrance but cannot be entered through. The closed space condition connects us who are outsiders with the land beneath our feet.

The work communicates with the place through “barter”, exchanging old and new blue iron sheets, and establishes connections and relationships with the residents during the replacement process. The rust stains left by the years on the iron sheets are like the marks of labor painted on the body by everyone’s sweat under the scorching sun. They hide every scenery that once existed but disappeared. They may not reappear as time passes, but they will exist differently, such as in the moments of daily life and in the depths of memory, just like broken wells and ruins hidden in the smoke and grass, waiting to reappear.

Facing the ocean points directly to the maximum deep blue, which is the daily life you pass by, which echoes the location of the home and the rusty blue of the iron sheet, and has a beautiful meaning of letting the golden light not be blocked. Waves of waves seem to call for the return of wanderers, and also pull us from outside to become the returnees in this brief moment of rendezvous, to encounter this invisible scenery.

創作過程的影片紀錄