非池中藝術網

非池中藝術網

絕對空間Absolute Art Space:【台南原圖學】 Yuya Suzuki 鈴木悠哉個展

  • 展期:2018-09-01 ~ 2018-09-30
  • 地點:700台南市中西區民生路一段205巷
  • 參展藝術家: Yuya Suzuki 鈴木悠哉
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台南原圖學 ─ Yuya Suzuki 鈴木悠哉個展

展覽期間:2018 / 9 / 1 – 9 / 30
開幕茶會:2018 / 9 / 1 (六) 3:00 pm
藝術家座談:2018 / 9 / 1 (六) 3:30-5:30 pm
座談與談人:藝術家陳曉朋

展覽論述/Yuya Suzuki
近期我在創作上特別關注城市環境,和城市中隱隱存在的「裂縫、裂口」(crack)。這個字,意謂著城市中偏離原本功能或運行軌道的事物或狀態,以及現實中所見的傳統意涵,實質上卻極為「空泛」,或應該這麼說,它就像是無意識底下產生出來的各種要素,在我們生活的城市中隨處可見。因此當我到過好幾個有著不同歷史文化背景的城市,我持續思考我的創作核心,試圖藉由這真實世界去研究普遍的/可能潛在的不同層次。

我對城市中這些無意識的「裂開」部份,將其聲音和影像記錄下來,並主要經由繪圖的過程來呈現。對於變動狀態而言,繪圖反倒是極為合適的創作媒介,可以迅速畫下紀錄世界經常改變的樣貌,同時也有呈現現實生活中潛在因素的功能。

藉由變動、繪圖等過程,取自現實而累積的眾多圖像,逐漸形成對人類世界和城市環境的另一觀察視角。這樣的觀看,形構出有關對現實的認知與詮釋的空間。就這樣來看,藝術創作之於我,其實就是一種重新去感知現實的方法。

這次「原圖學_台南」展覽,源自2017年開始對台南城市周遭的研究。對於身為日本人的我,台南是個非常迷人的城市,也因其歷史背景,它蘊含相當多日本文化的延續性,有著微妙但明確的相異處。走在台南街道,經常讓我感覺像在某個平行世界中迷失。平行世界,就像是鏡面圖像的關係,或它可以被形容為原始與仿擬兩者之間的關係。當我從台灣回到日本,我時常覺得是從夢境醒來,這樣的經驗變得模糊不清,似夢又非夢。當然,兩者都是一種真實,但當我在台灣時,又感到原來的日本生活竟變得如此虛幻。

我猜這樣的狀況,對於一個時常經驗不同國家的人而言,是正常的,且大部分人都有相似的感受。現實中的地方、遠方某處、夢裡才出現的地方,只留存於記憶中的某地。現實及想像中的地方,經常被人類有意識地反轉過來。

從這樣的思維出發,可以說這次展出的裝置作品,是一件由真實場域的諸多碎片所形成的「無所在」。將台南城市的各類片段景觀加以重組,最終成為作品所見的碎片式圖像,那些景觀片段是台南在地居民的日常生活部份,但卻從未被他們真正意識到。我希望能藉由作品述說這樣的事,如同開頭所提的,城市中無意識底下所生出的,類似「裂縫」的東西。從這些元素開展,我像是打造一個虛構空間般去製作這次的裝置作品,在空間匯集的記憶、現實與無意識之間徘迴遊走。

關於藝術家/
Yuya Suzuki 鈴木悠哉,1983年生於日本福島,畢業自日本大學藝術學部,現於札幌工作和生活。擅於觀察日常生活並從中擷取元素,將原有的媒介進行轉化,翻轉成不同的景觀如影像、動畫、雕塑裝置等作品。

// 個展節錄 //
2017 「重製幽靈」,蕭壠文化園區A14館,台南,台灣
2017 「archegraph study_Seoul」,salon cojica,札幌,日本

// 聯展節錄 //
2017 札幌國際藝術節「guest house project」,札幌,日本
2017 Nanji 11th Season 1 Group Exhibition,首爾美術館駐村計畫,首爾,韓國
2016 Sapporo Art Stage 2016, Sapporo Station Underground Passage CHI KA HO,札幌,日本

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archegraph study_Tainan – Yuya Suzuki Solo Exhibition

Date: 2018 / 9 / 1 – 9 / 30
Opening: 2018 / 9 / 1 Sat. 3:00 pm
Artist talk: 2018 / 9 / 1 Sat. 3:30-5:30 pm
Guest: Artist Chen Shiau-Peng

Exhibition Statement/Yuya Suzuki
Recent interests of my making are the urban environments and the potential “cracks” that exist in the environment. The word “cracks” used here means things and situations deviated from original functions of the cities and conventional definition in the reality with having hollow structures; it’s like unconscious elements in the cities. And I continue my makings while going across various cities with different historical and cultural backgrounds. Thus I manage to engage in universal/potential layers in this real world.

I copy and record those elements of cracks and unconsciousness in the cities mainly through the process of drawing. Drawing is an ideal method during movement. It can immediately capture the constantly changing world and potential elements in the reality.

Through the process of movement and drawing, accumulation of images drawn from the real world becomes another viewpoint of the urban environment and the real world; it creates space for recognition and interpretation about the reality. As such, art making become one of the methods to re-perceive the reality for me.

This exhibition “archegraph Study_Tainan” is based on research of urban environment in Tainan city since 2017. Tainan is the fascinating city for me as a Japanese. Because of the historical background, there are not only a lot of cultural continuities with Japan in the city, but also subtle but definitive differences. Walking through the streets of Taiwan makes me feel like I got lost in the parallel world somewhere. Parallel world is just like a mirror image; in other words, it is the relation between the original scene and the simulation. When I go back to Japan from Taiwan, I often feel like waking up from dreams, and it becomes obscure if it’s a dream or the reality. Of course both are the reality. However, my Japanese life seemed like a dream when I stayed in Taiwan.

I guess such situations usually happen when a person is crossing various borders, and most people may have similar experiences. It may apply to the place in reality, the place far away, the place that people never go, the place people have once seen in dreams, and the place only existing in the memories. And, the place in reality and the imaginary place are often reversed in our consciousness.

From that view, it can be said that these installation works are imagined place made by fragments of real places. Those fragmental images in this work are made by fragments of the real urban landscape in Tainan; these elements are usually seen by Tainan’s people unconsciously. I would say such elements of unconsciousness are kind of cracks in the city. Basing on those elements, I make one installation work as one fictional space where hover on the integration between memory, reality, and unconscious.

About Yuya Suzuki/
1983 Born in Fukushima, Japan, now lives and works in Sapporo in Japan.

// Education //
2003 - 2007 Nihon University collage of Art (B.A), Japan

// Selected Solo Exhibitions //
2017 Remaking Ghosts, Soulangh Cultural Park, Tainan, Taiwan
2017 archegraph study_Seoul, salon cojica, Sapporo, Japan

// Selected Group Exhibitions //
2017 Sapporo international Art festival 2017 – guest house project, Sapporo, Japan
2017 Nanji 11th Season 1 Group Exhibition, SeMA Nanji Residency, Seoul, Korea
2016 Sapporo Art Stage 2016, Sapporo Station Underground Passage CHI, KA HO, Sapporo, Japan


Organizer: Absolute Space for the Arts
Sponsor: National Culture and Arts Foundation, Ministry of Culture, Cultural Affairs Bureau of Tainan City