編碼心景 ─ 鄧卜君 x 張嘉穎
Coding An Inner Landscape ─TENG Pu-Chun x CHANG Chia-Ying
陳蕉 CHEN Chiao
7/2 Sat 16:30
內趨風景的編碼與再製造 ➜ 點擊直播回看
藝術家對談 Artist Talk
主講人 │ 藝術家 鄧卜君、張嘉穎
風景畫並不是一種特定的繪畫類型，而是「承載著文化符碼的巨大網絡」。藝術家如何以編碼者之姿，創造出一道陌生遙遠的「內在風景」? 他們如何透過某種內捲內趨式的裂解增生形式語法，將人置入難以確定、遺失座標、不再有熟悉的慣例可循的內在風景? 藝術家如何在取用既有文化符碼的同時，打開既定秩序的頑固閉鎖性? 風景如何成為事件，對著陌生的未知，開啟自身，不斷湧現、推移更新、懸置，並讓諸力在此不預期地交會、較勁?
張嘉穎在解構既有符碼後，重新編結了一個異文化、異空間交錯的想像世界。中國上古神話《山海經》的角色與西方古典繪畫角色，從原有脈絡解離後，連同藝術家個人的自建密碼，重新編寫組構出一個無階級差，神、人、物多元共存的萬物有靈宇宙。人類中心主義在此被完全罷黜。西方思想中被認定為「無世界」(without world)的物，或「世界貧乏」(poverty in world)的動物，在這個內在風景中，取得了建構世界(world-forming)的能力。
Landscape painting is not a specific genre but “a vast network of cultural codes.” How do artists as coders create an unknown, distant “inner landscape”? How do they employ involutionary, introversive forms and vocabularies of deconstruction and proliferation to embed human existence in an inner landscape, which is hard to define, without coordinates, and no longer follows familiar conventions? How do artists make use of existing cultural codes, while unlocking the enclosed existing order? How does such landscape become an event against the unknown, and which unfurls itself towards the strange unknown in a ceaseless state of constant emergence, elusiveness, renewal, and uncertainty, in which forces from different directions encounter and engage with one another?
The mountains, waters, clouds and rocks in Teng Pu-Chun’s work, as usual, are delineated with the artist’s highly individualistic method of wrinkling strokes. However, in this exhibition, in addition to the glassy layers of mountains, which are portrayed in an increasingly dense manner, forming a tapestry of woven codes, the peculiar rocks are inlaid with an undecipherable sign – the mysterious panels of glass. Moreover, the unexpected mixture of the spiritual and the material engenders an effect of defamiliarization, and breaks the homogenous world that the spectator is familiar with: In the mistily deep and serene otherworld filled with clouds and mountains, a clear glass panel suddenly appears, materializing a rigidly cold materiality and creating a strong sense of impact. Surfaces of the waters are composed with a horizontal pattern that is reminiscent of the static noise of CRT televisions. Floating clouds neatly painted resembling computer graphic drawings drift playfully on a vast and quiet indigo background.
Through her way of coding, Chang Chia-Ying deconstructs existing signs, and creates an imaginative world interwoven with heterogeneous cultures and spaces. Ancient Chinese mythological characters taken out of the Classic of Mountains and Seas and figures extracted from Western classical paintings are freed from their original contexts to be mixed with the artist’s codes – her characters – to re-construct a hierarchy-free, diversely animistic world co-inhabited by gods, humans, and objects. Anthropocentrism is entirely banished from this world, which has been offered to be shared with objects considered “without world” and animal considered “poverty in world” in Western philosophy in this inner landscape.