采泥艺术:【沉静苍茫:从记忆走向历史】杨北辰毓绣美术馆个展

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杨北辰

采泥艺术:【沉静苍茫:从记忆走向历史】杨北辰毓绣美术馆个展
    展期

    日期:2019-01-12 ~ 2019-05-19

    地点

    毓秀美术馆 (南投县草屯镇平林里健行路150巷26号)

    参展艺术家

    杨北辰

    采泥艺术:【沉静苍茫:从记忆走向历史】杨北辰毓绣美术馆个展 采泥艺术

    台湾,台北市

      《沉静苍茫:从记忆走向历史》—杨北辰个展
      Tranquil Vastness: From Memory to History—YANG Bei-Chen’s Solo Exhibition
      2019.01.12—2019.05.19
      Curator:张未ZHANG Wei
      Opening:2019.01.12 14:00
      Venue:南投 毓绣美术馆 Yu-Hsiu Museum of Art
      (南投县草屯镇平林里健行路150巷26号)



      文/ 策展人 张未

      当记忆在沉睡,是谁唤醒了它?当历史被编织,是谁绷紧线综?

      杨北辰用刻刀收集了记忆的微光,再将它们一一赋予到木头之上—在这个过程中,艺术家与记忆、与历史相遇。他的每一件作品都源自一段真实的故事,源自一个躲在器物背后的身影。因而每一次雕刻与超级写实,都是在将他人的记忆通过重複的劳作凝结于器物,让自己的手成为故事虚空背后震颤的声音。

      当我们为「超级写实」而惊叹时,需要发问的是—究竟是真实视觉与虚假材质之间的疏离,还是记忆本身的荒诞?超级写实,让记忆的稳定性似乎也开始动摇。

      在杨北辰的作品中我们能看到刀下的历史苍茫感,每一刻划痕都带着生命的震颤。但这些作品都无法真正的打开,历史的苍茫于是变成了观看者的痛楚和迷茫。

      因此,杨北辰所试图表达的并非是历史,而是笼罩在历史之上那一轮人造的苍茫与虚假的惆怅。他巧妙的借用了超级写实的虚假性与欺骗性,让这一欺骗成为对世界无数沉迷于「历史执念」的隐喻。

      杨北辰的刻刀所写下的,是这个世界的悖论与荒诞,是眼睛与口舌的矛盾。真与假,情与理,眼与耳,随着他光亮的刻刀,在这个黑暗的空间与迷茫的当代中,擦出了一道火花。

      Who awakens memory from its deep slumber? Who tightens the thread of the historical tapestry when it is being woven?

      Yang Pei-Chen has collected the glimmers of memory through his carving knife and materialized them through his wooden sculptures—during the creative process, the artist, memory and history have had an encounter. Every one of Yang’s sculptures originates from a true story, a figure hidden behind the sculpted object. Therefore, every sculpting gesture or each of his hyperrealistic sculptures resembles the embodiment of another person’s memory on the artist himself through repeated manual labor, transforming his own hands to serve as the trembling voice behind the story.

      Consequently, as we have felt amazed by Yang’s hyperrealism, we should ask the following question: is the authenticity originating from the distance between our real vision and the faking material, or is it simply rooted in the absurdity of memory itself? His hyperrealistic sculptures seem to have destabilized the certainty of memory.

      From Yang’s work, we can detect the sense of vast history created through his knife as if each carving has voiced the tremors of life. His sculptures can never really be unfolded, and the vastness of history, as a result, becomes viewers’ pain and perplexity.

      Therefore, what Yang attempts to express is not “history” itself but “the sense of history,” which is the man-made feeling of desolate vastness and melancholic illusion that enwraps history. Ingeniously employing the illusion and deceptive quality of hyperrealism, he has converted the deception into a metaphor for the countless “historical obsessions” in this world.

      What the artist has captured through his sculpting knife is the paradox and absurdity of this world, the contradiction between the eyes and the tongue. Reality and illusion, sense and sensibility, eyes and ears have collided and sparked a light through his glistening knife in the dark and the bewildering contemporary era.

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