存在的維度──時光詠物詩:李光裕 楊炯杕 楊北辰 聯展
The Dimension of Being – Object Poems in Time: A Joint Exhibition of LEE Kuang-Yu, YANG Jeong-Dih and YANG Pei-Chen

策展人 Curator: 段存真 TUAN Tsun-Chen

?8/22 Sun 14:30-16:30
策展人╳藝術家對談 Curator ╳ Artists’ Talk
段存真 李光裕 楊炯杕 楊北辰

?8/22 Sun 16:30
開幕 Opening

?策展人講座 Curator’s Lecture

9/4 Sat 15:00

9/25 Sat 15:00  ( 原訂9/12因颱風改期)


文/策展人 段存真

哲學家康德(Immanuel Kant)認為:「時間的本質就是一種自我感覺」。雖然「時間」這個字詞提供了主體之間客觀界定與溝通的基準,然而所謂的時間仍然純粹屬於自我感受性的存在;個人性、直觀性的認定,讓時間這種非真實物質的狀態,被冠上了一個體裁──也就是說,時間是自我感知的產物。在此認知的前提之下,廣泛的時間概念被化約為自我的時間概念,人不再為時間所掌控,在無盡頭的時間之河中漂流,而是藉由時間映證了自身的存在,並且留下了此曾在的痕跡。




Philosopher Immanuel Kant believes that “time is essentially a feeling of the self.” Although the word “time” offers a basis for objective definition and communication between individual subjects, the notion of time is still something purely based on self-perception. Personal, intuitive perception allows the immaterial state of time to have a form – in this regard, time is intrinsically a product of human self-perception. With this premise, the broad concept of time is reduced to a concept shaped by individual perception. Consequently, human beings are freed from the control of time and floating in its endless flow. Instead, we prove the existence of one’s being in time, through which we leave behind the traces of our footsteps.

The Dimension of Being – Object Poems in Time features three brilliant artists – Lee Kuang-Yu, Yang Jeong-Dih and Yang Pei-Chen, who have used their works to repeatedly demonstrate their travels through the vastness of time. Yang Pei-Chen’s sculptures and Yang Jeong-Dih’s engravings are both embedded with extensive temporalities layered with intensive physical labor. Through each movement of sculpting or engraving, the abstract implication of time is substantially embodied in dialogues between the body and the material informed by understated, quiet whispers. Yang Pei-Chen’s wooden sculptures, visually identical with the real objects they depict, are vessels of temporal layers. Time seems to seep through the interstices of his book pages, or tranquilly drips inwardly and converges into the artist’s intimate, personal history of memory and faded existences that revolves around time as its sole meaning. Whereas Yang Pei-Chen sculpts time, Yang Jeong-Dih finds his way to freeze it. The enchanting sceneries in his works are faded moments kept deep in the artist’s mind. They convey countless details permeated with memory. As the sceneries unfold in the images, we seem to have hopped on a slowly rocking train that visually takes us through a quiet trip of time. When viewing his works, the spectator is always captured and immersed in a certain emotion, and without being aware, slowly brought from the faded past towards the present as well as the future.

Comparing to Yang Jeong-Dih and Yang Pei-Chen, who indulge in and reminisce personal memory and history, Lee Kuang-Yu confers on time a fluid form. Although Lee’s early work visibly reflects his contemplation on the temporal dimension from the perspective of Western modern sculpture, his work in recent years has shown more freedom in expanding time into a life philosophy. For him, time and space coexist. As sculptural volume is dissolved by open and permeable space, the wind-like flow of time interweaves with his work throughout all seasonal and quotidian cycles. In Lee’s work, we do not find a life attitude that is rigid and stubborn but rather discover a life philosophy informed by a sense of lightness and ease.

Be it tranquil and immersed in the past or changing and fluid in form, these works reflect their creators’ understanding of time and life. As one’s being submerges in the infinite flow of time, it simultaneously belongs to the past, the present and the future. Such thought-like narratives require no intense, strong gestures for making an emphasis. Instead, the artists have chosen the most poetic vocabularies and expressions to inscribe object poems dedicated to themselves in the dimension of time.



9/4 策展人講座│沉湎追懷─楊北辰雕刻中的私歷史