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藝術家的前線社會觀察「二、失敗的構成主義」

文|黃敏琪
俄國的構成主義(Constructivism)發展於 1913-1920年代,有人也把它叫做結構主義,但由於二戰後社會科學中還有另一個從法國來的結構主義(Structuralism),通常我不會把一戰的 Constructivism 譯為結構主義。構成主義的特色是反傳統雕塑的「減和加」(雕和塑),而由一塊塊的材料組構或結合而成,並且納入抽象概念,可說是現代雕塑的雛形。

藝術家的前線社會觀察 「一、小手揹後面」

文|黃敏琪
“Kindergarten”,德文,原意是「孩子的花園」:Kinder 是Kids,而Garten 則是garden,原來幼稚園的字義有如此美麗的意境。這是比包浩斯還要早成形的德國教育機構。隱約記得中文世界好像曾經有過一番「幼稚園」改名「幼兒園」的論戰。

The Naïve Painter 

by Lewis Gesner
A boy was born to a simple woman out of wedlock. The father was an elderly fisherman. He divorced his wife and lived with the woman and their son in the work shed where he mended nets. There was a loft space with a triangular window where the child would sleep and look out at night over the harbor and boats of the simple port village where he had been born. As a toddler, he walked a dirt drive that ran along the shore and connected the fish shack to the road. One morning, an out-of-towner, a visiting summer folk happened by and stopped to talk to him. What was his name? Did he like boats? Did he live here? She was dressed in a long dress and wearing a shawl, perhaps she was going to a relative’s wedding, or visiting a local church. After a few moments, she stood up from her kneeling and continued on. The boy remembered her hair, it was golden, backlit by the sun. Her shawl billowed out in the breeze. He thought it was wings. She was an angel! When he went to bed that night, he saw her flying over the waters of the harbor and sprinkling it with magic sparkling lights. 

一個天真的畫家

文|Lewis Gesner
因天使的告誡,他徹底戒酒。而他的天使繪畫開始獲得名氣,地方報紙報導他天使兩次拜訪的故事。為了這次報導,他加油添醋講了一個瀕死的經驗,聲稱他在幾乎溺死之際,是一道光把他牽過去的,他在天堂遇見天使,但天使把他送回人間。

水龍捲大樂透

文|Lewis Gesner
是的,它是一種大樂透,一種人生的大樂透。

The Waterspout Lottery

By Lewis Gesner

You can only imagine the things that fall into the sea. Sometimes, we may have a glimpse. If you follow the rocky coastline of the state, or know the winding long footpath through the dense forest, you may discover that window to the ocean’s harbored secrets. It is in the form of a waterspout. A waterspout is a column of water forming from the sea. It may be a weather phenomenon, like a water tornado, or it may be like the case in point. This spout was formed by the action of the waves at high tide. A narrow tunnel formed through the erosion of the granite cliff at the water’s edge which allows for water to rush through it with great force when the tide is just right. This can last for up to twenty minutes, that a column of water will shoot straight up into the air from the tunnel, over spectators’ heads, and soak them like in a heavy rain. Sometimes, it throws things up from the sea.

在沒有了觸覺以後:當展覽線上化的感知缺席

文|陳馨恬
《不在場。證明》作為台南絕對空間與泰國曼⾕Tentacles Art Gallery合作雙向聯展第⼆階段的交流與展覽,因疫情影響改以雲端⽅式執⾏。作為《你存在,我存在》後無法在場的⼆部曲,展⽅不得不將既有熟悉的實體形式拆解,⽽後組裝成「Gather Town」與「官⽅網站」的全虛擬併呈。

描述缺席──「不在場。證明─臺泰兩地策展進駐雙向交流展二部曲」

文|盧澤霆
二部曲《不在場。證明》則是直然面對不存在的事物──透過存在的手法。因疫情的關係,面對面交流的場域成了「缺席」的存在。然而,因這樣(實體)的「缺席」,藝術家才得以延伸出透過線上(虛擬)的場域,在空中彼此交流,創作出因種種議題而存在的作品。所以,我們在這次展覽中如何看待「缺席」?

星塵在何處? 評陳肇彤「離岸星塵」個展

文|蔡明岳
2021年絕對空間陳肇彤個展,以「離岸星塵」作為展名,「星塵」是宇宙中的塵埃,恆星爆炸後的殘餘,在日常的使用裡,它更多代表一種對宇宙的浪漫想像。而以「離岸」作為形容,預示了一個特定的所在,以及一個「漸遠」的動作。在我們與宇宙中間懸置了一個無法想像的時空尺度下,星塵究竟代替藝術家傳達了一個什麼樣的想像,我們又是站在了哪個彼岸?