非池中藝術網

非池中藝術網

WINWIN ART 未藝術:【2017高雄藝術博覽會 錄像特展區 】《餘燼三部曲II:盛宴》Ember Trilogy II-Feast|林羿綺Yi-Chi Lin

  • 展期:2017-12-08 ~ 2017-12-10
  • 地點:高雄駁二藝術特區 駁二塔旁貨櫃錄像特區
  • 參展藝術家:林羿綺
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展出作品
餘燼三部曲II:盛宴 / Ember Trilogy II-Feast
2K 單頻道彩色有聲錄像 31分30秒 / 2K Single-channel video, Color, Sound, 31'30"
2014

創作論述
在田野創作的漫長日子裡,完整見證多個村落興衰,從住戶眾多到陸續搬遷成為空城再到拆除時刻,面對拆除完畢幾近於荒地的遺址中,我開始意識到在荒漠中藝術家自身存在問題,我試圖將身體提供出來當作承載荒地過往幽魂的容器,以一種超越自導自演更像是降靈的方式重演田野裡的過往事跡。在過往與現實、事件與場域、真實與虛構之間,藝術家的身體被置入了大它者的幻見幽魂,企圖以一種怪談與非理性的方式來進行歷史的再次演繹與復魅。

During the long-term residency and field researching in the military dependents’ villages in Kaohsiung, my partner and I had witnessed the rise and fall of several villages that were transformed from lively places to waste lands that only ruins and emptiness left, which intrigued me to be conscious about the existence issue and offered our own bodies as containers for the ghosts from the past, as a way that surpassing the self-acting-directing form, and more like an séance approach to reenact the experiences that had been took place in those fields. Between the past and the circumstances of present, the event and the field, the reality and the fiction, bodies of us have been placed with the fantasies of the Other that re-deduce and re-enchant the histories with a mystery form and an irrational way.

關於藝術家
林羿綺Yi-Chi Lin
1986年出生於台北,國立台北藝術大學美術系碩士班複合媒體組畢業,現修讀國立台灣藝術大學電影 系碩士班。主要創作以錄像藝術為主,也開始進行影像與身體等跨媒介的實驗。
作品曾受邀參加光州雙年展亞洲衛星連線單元,並在泰國Tentacles藝術空間進行影像表演,更榮獲了 第22屆台灣國際女性影展台灣競賽單元特獎。過往參與過許多國內外藝術空間的策劃展覽與國際性影 展,並多次榮獲影展與美術館藝術競賽等多項獎項。

創作方向
主要創作涉足錄像藝術與實驗電影和新媒體表演領域之間。從自身家族記憶出發,進行生長在異質環 境經驗的考古。透過對於邊緣區域的野史召喚、映證與反思解構,將影像視爲一種降靈媒介,重新編 導與建構出超越真實的樣態,進行對於國族、歷史、與家族記憶的復魅與再生產。
近年則發展出對於影像與文本的相關思考,探尋類比與數位影像間的縫隙,創造出動態影像材質的各 種的斷裂性,更嘗試將身體介入影像,發展出穿越新舊媒體之間跨界表演。
Concept of Art works
Lin’s creation deals with family memories, and explores the heterotopia experiences of the military depend- ents’ village where she grew up. Through the residency in other similar villages, Lin re-examined her child- hood memory in the historical and metanarrative context and its intimate relationship with politics. By re- calling and reflecting the unofficial-history of the marginal realms, she reconstructs a state within her work that reveals more realistic narrative through narration and imagination. And by the video installations and the form of visual narratives, the memory of her own childhood, the concept of nationality and history are re- enchanted and reproduced.
In recent years, Lin has developed the thoughts of the relationship between image and text, to explore the gap between analog and digital video, and more experimental attempts to involve the body into live video performances.