綑體：曖魅之身－杜菁蘭個展 官網:http://www.mocataipei.org.tw/blog/post/28619767展出地點:■台北市大同區103長安西路39號 展出日期:2013/07/12-08/18展覽資訊展展覽名稱 | 綑體：曖魅之身－杜菁蘭個展 Exhibition | Encorpsdages: Embodying Ambiguity－Solo Exhibition by Nicole Dufour 展覽時間 Date | 2013/07/12-08/18 展覽地點 Venue | MOCA Studio 門票 Admission | 免費，free 展覽簡介*原定7/12(五)之【綑體：曖魅之身】開幕茶會暨記者會及藝術家面對面活動，由於天候因素，改為7/18(四) 舉行。 展覽簡介 Exhibition Introdution 杜菁蘭於台北當代藝術館實驗空間發表的【綑體：曖魅之身】個展，反映多年旅居國外，飽受文化衝擊也吸收異國環境的養分，從中孕育出的生命獨特觀察。展場入口 第一展間和走廊的【綑體】系列，是結合模特兒肢體表演與布繩編結，展現人類身心與外物互動的即興攝影及錄像作品，其中有的人物受繩索纒繞，表情沉默、被動；有的欲求掙脫，放聲吶喊；更有人掙脫綑綁，反過來讓繩子隨著人體舞動－人與物之間如此的曖昧多樣狀態，只因杜菁蘭不以導演角色指揮舞者動作或操控情 境，而偏好以生命觀察者的角度切入。於此，她讓被拍攝者自行選擇出身／發聲的位置，自行表現他們對於生命中各種綑綁／困境的感受與反應；這些作品曖昧地混合了抵抗、臣服、共存、共舞等正反情境，也啓現了因應人生困局的各種可能。縱覽【綑體】系列，觀者不免自問，若人生中出現這類紅繩般纒人難解的課題或挑戰，自己身心又將如何反應？至此觀看者與被觀看者的位置，也因這種鏡射對換，而賦予這批影像作品另一層的意涵。 Encorpsdages: Embodying Ambiguity—Solo Exhibition by Nicole Dufour at MOCAStudio reflects the artist’s years of experience of living abroad, and represents her unique observations of life, nurtured by cultural differences and exotic environment she has encountered. The Encorpsdages series in the first room and the hallway combines body performances of the models with a braided rope. This series of photography and video shows diverse interactions between human body, mind and the red rope. Some of the models are in bondage, silent and passive; some of them struggle to be free, shouting and screaming; some are in relief, leading the rope for a dance duet. The ambiguous diversity exists between the people and the object because the artist does not choreograph the movements of the models or manipulate the setting. Instead, she captures their spontaneous reactions like an observer of life. In other words, she allows the models to speak with their own bodies and demonstrate their feelings and reactions towards the restricting adversities. Her work mixes ambiguous circumstances such as resistance, submissiveness, co-existence and collaboration, and reveals diverse possibilities of facing the vicissitudes in life. Viewing the Encorpsdages series, audiences might as well ask themselves: if in their lives, there were difficulties or dilemmas like the red rope in the artworks has symbolized, how would they react physically and psychologically? As they would ask themselves this question, the audiences’ and the models’ positions would have switched and enriched the meaning of this series. 相對於【綑體】系列透過人／物互動和影像媒材捕捉生命的觀想，同一展間中的【巫娃】系列，則是有意將無形情感具象化的編織雕塑。在此，杜菁蘭以台灣常見的紅 色塑膠繩為媒材，進行自我對話、想像書寫。巫娃原本是非洲常民風俗儀式中，巫醫用來替人消災解厄的小型芻偶，但杜菁蘭這次完成的近60件巫娃，尺寸從50公分到2.5公 尺不等，在她的想像中，每一位巫娃從無影到有形的編塑過程，都訴說著各自的身世故事，牠們因綑綁方式的變換而成就獨特造形，如同每個人因生命的不同境遇，而形塑出獨特個性。這些巫娃有的是單體作品，有的以情侶、母子狀態呈現，在展間中形成了不同的聚落，牠們被觀看也同時觀察著來訪的遊人，這是杜菁蘭特別為 此展構設的一種對話情境。 Whereas the Encorpsdages series that formulates her contemplation of life through visual media, the Fetishes series is a group of sculptures that manifests intangible emotions. The artist uses a type of red plastic string extremely common in Taiwan, and conducts a conversation with herself as well as a kind of imaginative writing. Traditionally speaking, fetishes are used as tools in African rituals by shamans to resolve or avoid misfortunes for people. The artist has made 60 fetishes, of which the sizes range from 50 centimeters to 2.5 meters. For her, each fetish tells a story of his or her own since the beginning of the binding process, just like each person is molded into individual being through different circumstances in life. Some of the fetishes are individuals; some appear to be lovers or mothers and children. Together, they form a special community in the exhibition, observing the visitors while being watched at the same time, enabling a dialogue particularly designed for this exhibition. 本次展覽前，杜菁蘭在草山行館駐村二個月，享受陽明山明媚晚春，同時也在草山森林中進行創作，第二展間中的攝影作品，以較輕鬆、自在的基調，反映了創作者悠 遊融入台灣山林的另一種自然心境。其中五件「草山魅影」系列，讓紅繩意象飄然掠過觀者眼前，但見精靈曖昧身影，而沒有一絲令人驚恐氣息。另外十四件「繩 戲」系列作品，藉由人物與繩索的自然互動，呈現掙脫了外物綑繞的主體，營造出生命的另一種逸趣。總觀，【綑體：曖魅之身】呼應了東方哲學的中庸思維，以綑綁＞掙脫＞舞繩的三部曲式演出和主題攝影手法，詮釋了生命平衡及失衡的思辨，同時表現了從逆境到順境的生命舞動。 Before the exhibition, the artist completed a two-month residency at Grass Mountain Chateau. While bathing in the lush late spring of the Yangming Mountain, she also created many artworks in the mountains. The photos in the second room are more relaxing and carefree, mirroring her state of mind of wandering in the woods of Taiwan. The five pieces of the Ghost in Grass Mountain series foreground the blurry image of a flying red rope, which is like a forestry spirit that is not frightening despite the series title. The fourteen pieces in the Play with My Rope series capture the spontaneous interaction between the models and the rope, showing another interesting aspect of life in addition to the bondage motif. Encorpsdages: Embodying Ambiguity echoes the concept of the Golden Mean in Chinese philosophy. Presenting the three states of binding, struggling and dancing with the rope in photography is the artist’s way of interpreting the dynamics between balance and imbalance in life as well as the rhythm of life from adversity to complacence.
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