非池中藝術網

非池中藝術網

大雋藝術 Rich Art:【私密浩瀚 】Intimate Immensity

展覽時間:05/12-07/01(Sat.-Sun.)
開幕茶會:05/19(Sat.)15:00
地點:大雋藝術|台中市南屯區惠文路489號
策展人:段存真教授

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文/ 段存真 Tuan Tsun-Chen

「私密感」(intimité)必定是不可說的,即使我們需要語言賴以溝通。它必須被深藏、被呵護,維持住私密感即是維持住理智之外心智健全的向度。當我們觀看實存的外在世界時,私密感毫無外漏,然而這個世界總有某些處所能讓我們放置眼光,培養浩瀚的日夢。於是現實的外衣逐漸褪去,清晰的視野變得模糊,在恍惚之中形與色無聲地交錯,畫中景色的地平線逐漸淡去,空間卻往遠方無限地延伸。在不經意的轉瞬之間,日夢如同薄紗般輕輕地飄降在眼前,在一切悄然無聲的寂靜之中個人的私密感覺被無限地放大、無序地延展,終至一處眼所不能及的所在,而時間飛也似地流走,一回神,身卻仍在此時此刻。

此次展覽以巴舍拉(Gaston Bachelard)「空間詩學」中「私密的浩瀚感」作為策展的發想,邀請了陳睿淵、詹琇鈞、韓妤、徐顥芸與林昱均等五位年輕的藝術創作者共同參與,分別處理著專屬於自身的浪漫。作品不僅僅呈現可見的遼闊景色,創作者更希望藉由描述自身內部的私密狀態,轉化成為一座座綺麗卻費解的桃花源。我們或許不該將畫中的景色當作日常生活中所經驗過令人動容的壯闊,而是應該將這樣的浩瀚歸屬在超越於經驗的範疇,一種超現實詩意的顯現。在其中,嬉戲棲居的日夢終於適得其所,而繼續編織著畫面中那一幕幕浩瀚而美麗的日夢,是藝術創作者所能選擇最具有詩意的救贖。







Intimate is always unspeakable, despite the fact that we rely on language for communication. Intimate needs to be hidden and nurtured; to maintain intimate is to maintain the completeness of the mind which exists outside reason. When we examine the outside world, intimate is hidden, but there are certain places in this world that catch our sight and inspire us to daydream. When this happens, the veil of reality slowly fades away; the vision that was previously clear becomes blurry, while shapes and colors silently merge in a state of absentmindedness. In the image, the horizon dims while the space extend to afar. In a blink of an eye, daydreams lightly descend before our eyes, enlarging and randomly extending the sense of personal intimate in a world of silence. Finally, time fleets and disappears to some place where the sight cannot reach. You come back to your sense, and realize you are still in the present time and space.

The curation of this exhibition is inspired by Gaston Bachelard’s notion of Intimate Immensity in the Poetics of Space. Five young artists, Tan Jui-Wen, Chan Hsiu-Chun, Han Yu, and Lin Yu-Jun, are invited to show their works, each showcasing their personal interpretation of romance. Not only do the works display vast landscapes, but also the internal intimacy of the artist, transformed into depictions of the dazzling and complicated Garden of Eden. As viewers, perhaps we should not treat the images as sceneries we have encountered in real life, but position these immensities as surreal, poetic depictions of views that exist outside of experience. In these works, playful daydreams are given their place, continuously weaving immense and beautiful daydream; this is the most poetic form of salvation that any artist can perform.