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非池中藝術網

周慶輝

野想 III-14

2009|純棉無酸藝術紙 Cotton Fine Art Paper

91.4x128.9cm / 61x86cm

  • 《野想:黃羊川計劃》 Wild Aspirations: The Yellow Sheep River Project (2006-2008)

    無論在什麼地方,每一種文明都有如荒野; 然而,無論在什麼時刻,我們都還能有純真的夢想。

    Every civilization is situated in the wilderness no matter where it is.

    However, we still preserve the innocent dreams no matter when.

    「野想:黃羊川計劃」乃以中國甘肅省「黃羊川」地區為創作基地,透過當地農村兒童對於電腦的想像為計劃藍本來探究「科技與夢想」這個議題。在台灣,「黃羊川地區」因「溫世仁基金會」的科技援助計劃而廣為人知。周慶輝的「野想:黃羊川計劃」進一步以紀實攝影作為切入當代藝術的載體來呈現人與夢想之間的關係。周慶輝透過搜集大量當地孩童關於電腦想像的繪本,再將其轉化、融合、拼湊成黃羊川小朋友的野想世界,一如在「孩童肖像」中,孩童們不帶表情的臉孔,其瞳孔內閃爍著彩色的夢想光芒。然而,當孩童關乎電腦的想像轉置於頹圮的土牆上,一幅幅屬於科技的未來奇想襯於沒落衰敗的土牆殘骸,則以衝突、反差的對比手法體現理想與現實的不可調和。「野想:黃羊川計劃」也為周慶輝由報導攝影轉向主觀創作的過渡階段。原來植於孩童腦海看不見的想像,透過藝術家的介入,並與社會景觀及地域結合成藝術家自我營造的「造像」場域。作品裡採用的「人像擺拍」隱約透露「編導式」風格的轉向,也作為藝術家下一個攝影計劃的創作方向指陳。

    Wild Aspirations: The Yellow Sheep River Project was inspired by the region of Yellow Sheep River in Gansu Province, China, and explored the theme of "technology and dream" through examining how the village children would imagine computers. In Taiwan, Yellow Sheep River was known to the public because of the technological support program initiated by Sayling Wen Cultural and Educational Foundation. This project took a step further to visualize the relationship between people and dream through documentary photography in a contemporary art project. Chou first collected the local children's drawings about how they imagined computers. Then, he transformed, integrated, and pieced together the drawings into the children's world of wild aspirations. In "The Portraits of Children," the children's faces were devoid of any expression, but their eyes glistened with the light of colorful dreams. However, when their imaginations of computer were transferred onto the dilapidated earthen walls, all the visions about the technology on the shabby ruins of earthen walls revealed an unbridgeable gap between ideal and reality. This project also marked the transition in Chou's career as he moved from documentary photography to subjective creation. Through the power of the artist, the children's previously invisible imagination was combined with the social and geological landscape, enabling the artist to create a site for the "fabrication of image." The approach of "staged photography" used in this series signaled at his turn towards the style of "directed photography," pointing out the creative direction for the artist's next photographic project.

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