視肉 In the Flesh
2015.09.03 – 2015.10.18
藝術家 Artists:張嘉穎 CHANG Chia-Ying、何采柔 Joyce HO、張紋瑄 CHANG Wen-Hsuan
策展人Curator:簡子傑 JIAN Tzu-Chieh
開幕 Opening :2018.09.12 15:00
地點 Venue:Chini Gallery

本次邀請知名藝評暨策展人簡子傑策劃,展出三位年輕藝術家張嘉穎、何采柔、張紋瑄作品。展出作品包括錄像、裝置到平面繪畫,媒材形式豐富多元。

視肉:張嘉穎、何采柔、張紋瑄的多重敘事

撰文/簡子傑

在李維菁近期出版的小說《生活是甜蜜》中,有個名為〈視肉〉的章節,視肉這個出自《山海經》的奇異生物,一方面有極強的治療效果,卻也能讓食用牠的人陷入癲狂,在這本場景設定於當代藝術圈的小說中,「視肉」成為藝術家充滿自我矛盾之生命狀態的象徵—一方面,著迷於他人唾棄之物,卻也貼切地描述出藝術家的創作狀態,讓不可見成為可見,就像為肉體賦予形式;另一方面,卻也鋪陳出藝術家與體制間的交換關係,「視肉」總是任憑人宰割與食用,卻能不斷自我修復,他的肉身總是與體制相連。

當然,之所以將這個包含張嘉穎、何采柔與張紋瑄的策展命名為「視肉」,並不是因為李維菁的小說可以概括策展詮釋,更多的是因為「小說」以及小說鋪陳出場景的特定連結方式,這三位藝術家的作品都存在著某種敘事性並攸關場景—張嘉穎畫中那自頭部以下各個構造相互纏繞、堆疊並由某種觀看孔道貫穿的身體,就曾在黃建宏筆下被描述為「套層結構」(mise-en-abîme),抑或在何采柔的錄像與空間裝置中,那些彷彿自某個敘事局部突兀地斷開的劇情,向前或向後對觀者施加的誘引,龔卓軍曾將之看做某種「引用姿態」(quotabe gesture),而張紋瑄撰寫的那本摻雜著南勢庄傳說與抗日歷史的《南勢庄故事集》的序言中,更機巧地表明了這本小書與其作者身份,都不過是與另外一些人暨故事之間的「索引」(index)。

不同於當代藝術中那種試圖讓失語者得以被聽見的敘事,三位藝術家並未試圖呈現政治性議題的輪廓,她們的敘事帶著感性卻未曾指明社會性對象,卻又因觸及了再現框架而彷彿與一切皆有關聯;另一方面,在她們所構建的場景中,卻又不同於那種試圖指向另一個不可能還原的優位性現場,而更多的是一些與此時此刻的這個現場緊密相連的場景,對她們來說,所有的空間都像轉喻,多重身份的切換造就出一個總是與旁邊毗鄰的連續性場景,繼而讓空間綿延出一個如同模型然而其功能又不僅止於闡釋觀念的事件,這是另一種型態的「視肉」。

當「視肉」意味著某種將肉賦形的創作模態,在何采柔從不迴避感官效果的錄像暨空間裝置中,不僅慾望的生產不再仰賴對肉賦形的單向手勢,在她的新作《2:58 am》中,感官更形成了一種突如其來的穿刺,是工具的去功能化卻也是肉體的穿刺,如同她總是依照毫無縫隙的控制而展開的裝置,既包覆著觀眾卻又將他們隔絕在外。

如果說「視肉」可被視為一種內容生產模式,它擁有既能療癒又致人於癲狂的矛盾性,但在「視肉」中的藝術家作品,縱使有著不至於癲狂的療癒,卻將矛盾視為一種躲藏—在張嘉穎的新作《糖果屋裡的單身派對》與《巫婆的少女時代》中,既存在著其他參展作品的隱密連結,在持續置換的角色安排中,愉悅輕快的風格卻也隱藏著奇特的秩序。

倘若我們將「視肉」視為某種總是與體制相連的主體化形式,在張紋瑄那通常只憑藉一雙手與攝影機擺拍日常素材的劇場中,《老鼠的位置與小鳥的位置》卻透過讓旁白與字幕、螢幕與螢幕間的對話,使得敘事所捲入的不再只是故事或角色,也涉及了一個讓高與低的位置成為內容的奇異框架,這是誰的故事?是誰在說故事?藝術家與觀者間的體制性區隔究竟何在。

In The Flesh: The Multiple Narratives of Chang Chia-Ying, Joyce Ho, and Chang Wen-Hsuan

Curator/Jian Tzu-Chieh

In the novel Life is Sweet recently published by Lee Wei-Jing, there is a chapter titled In the Flesh. In the Flesh, this strange book from The Classic of Mountains and Seas, on the one hand has a powerful therapeutic effect but can also make people who eat it crazy. In this novel, set in the contemporary art circle, In the Flesh becomes the symbol of the self-contradictory lives of the artists—on the one hand, captivated by things disdained by others , also precisely  describing the creative state of artists, making the invisible visible, like giving form to flesh. On the other hands it also portrays the exchange relationship between artists and the system. In the Flesh can always be slaughered and consumed by people but is always regenerating, his body constantly connected to the system.

Of course, this exhibition featuring Chang Chia-Ying Joyce Ho and Chang Wen-Hsuan has not been named “In the Flesh” because Lee Wei-Jing‘s novels can be used to interpret the curation of this exhibition- it was more because of “novels” and the specific way of novels link scenes. A certain kind of narrative and leisurely scene exists in the work of these three artists– the bodies entwined from the head down, piled up and shot through with viewing holes in Chang Chia-Ying’s paintings, was once described as “mise-enabime” by Huang Jian-Hong, but also a Joyce Ho’s recording and spatial installations, those plots which seem to have broken out abruptly from part of a narrative, the attraction they exert backward or forward toward the viewer, which Gong Jow-Jiun saw as a “quotbe gesture”. The preface Chang Wen-Hsuan wrote for the Collected Stories of Nanshizhuang, which mixed the legends of Nanshizhuang and the War of Resistance against Japan, ingeniously explained this novel and its author’s identity, but was nevertheless an “index” between certain other people and stories.

Unlike those narratives in contemporary art which attempt to allow the voiceless to be heard, these three artists do not attempt to present outlines of political issues, their narratives bring emotion yet do not indicate social targets, but because they also touch on re-emergent structures they seem to be connected to everything. In another area, the scenes they construct are again different from those which attempt to direct the viewer toward another predominant scenes from which there is no return, but rather tend to be closely linked to certain things and certain times. As far as they are concerned all space is like metonymy, switching between many identities to create a continuous scene with those adjacent, making space extend a similar model whose function is not, however, limited to interpreting perspective; this is another state of “in the flesh”.

When “In the Flesh” means a certain kind of creative model for shaping flesh, Joyce Ho’s recordings and spatial installations do not avoid sensory effects, not only does this produce desire no longer relying the single gesture of shaping the flesh, in her new work “2.58 am” the sensory organs have formed a kind of unexpected puncture, it is the tool’s loss of functionalization and also the puncturing of the corporal body, as if she had developed the installation with no restrictions. It embraces the audience yet also excludes them.

If ‘In the Flesh’ can be seen as a kind of internal production model, it has the contradictory nature of healing and causing madness, but the work in “In the Flesh”, although it cannot be called a treatment for madness, views this contradiction as a kind of concealment – Chang Chia-Ying’s new works “Singles Party in the Gingerbread House” and “Witches’ Girls’ Generation” contain hidden connections to other works in the exhibit. The ever-changing arrangement’s happy, carefree style also hides a peculiar order.

If we view “In the Flesh” as a certain kind of theme form which is always linked with institutions, in the plays Chang Wen-Hsuan’s creates, often with only her own two hands and a camera with which she photographs everyday elements. Yet “The Position of the Mouse and the Position of the Little Bird” not only added stories or roles to narratives, but also brought in a strange framework which makes high and low payment placement content through a dialogue between script and subtitles, the screen and the screen- whose story is this? Who is telling the story? Where exactly is the institutional boundary between artist and viewer?

 

作品介紹

about artworks

何采柔Joyce Ho  02:48AM  45x90x240cm 2015  複合媒材 Mixed Media

張紋瑄Chang Wen-Hsuan 老鼠的位置與小鳥的位置 The Position of the Mouse and the Position of the Little Bird 2015 錄像 Video

張嘉穎Chang Chia-Ying  巫婆的少女時代Witches’ Girls’ Generation  150x150cm  壓克力、畫布 Acrylic on Canvas  2015

 

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