存在．軌跡：不曾具象的現實

任何時代出現的現代性接脫離不了信念的摧殘與發現真實的「缺乏真實」，以及隨之所創造的其他種種真實。

李歐塔Jean-François Lyotard

後現代主義的代表李歐塔在討論馬勒維奇的作品時，曾說「唯有透過使具象不得見的方式，我們才可以看見。」試圖解放、呈現不可表象之物的存在。迄及當代，消費文化、物質主義的發達，數位影像、科技網路的流行，間接促使包含日常、景色、感官的現今生活現實被忽略。

這些被隱蔽之物，見諸於現實，卻不曾具象出現；遺留下軌跡，卻不曾真正存在，幾成生活間不被正視的隙縫。此次大觀藝術以「存在．軌跡：不曾具象的現實」主題，邀請李婷婷、鄭丹珊、卓家慧三位女性藝術家以藝術創作的方式重掘真實。

李婷婷繪畫作品由題材、技法、媒介、尺寸、顏色、形式等各層面去喚醒觀者在日常生活熟悉化後的反制約反應，透過既熟悉又陌生、且不停在兩端概念的游移中，促使觀者對尋常物象產生異常想像，藉此營造出不同過往另一種美學的感知可能性。

李婷婷，山水-22，Ink on rice pape，51x67x5cm，2018。圖/大觀藝術空間提供

李婷婷，水晶燈，Ink on rice pape，204x235cm，2012。圖/大觀藝術空間提供

李婷婷，木馬，Ink on rice pape，97x182cm，2014。圖/大觀藝術空間提供

鄭丹珊善於感性刻畫「自己的房間」，其未以自然肌理的陳舊主題作為重點，反以諸如衣物、飾品、烹煮器具等用品，甚而是普遍被隱而不現的私人盥洗衛浴用具等元素取而代之，構築出屬於個人現實生活的層層肌理。

鄭丹珊，寄居，Chinese colour and ink on paper，46x137cm，2017。圖/大觀藝術空間提供

鄭丹珊，密室107，Chinese colour and ink on paper，60x52cm，2016。圖/大觀藝術空間提供

鄭丹珊，天台風光13A，Chinese colour and ink on paper，72x65cm，2017。圖/大觀藝術空間提供

卓家慧的筆下，取奇珍異獸的童話為衣飾、以圖像創作的藝術為骨架。表面上雖以俏皮逗人的圖像作為呈現，實則同時探索許多生命的哲思議題。每幅作品中展示出娑婆世界的眾生景象，在隸屬於自己生命支線中亦適逢各自的殊勝因緣。又如同莊周夢蝶般，探尋著物我世界中又究竟孰真孰幻。

卓家慧，時間的餘韻，Ink and colour on silk，95x180cm，2017。圖/大觀藝術空間提供

卓家慧，夢・華 I，水墨設色金箋，50x50cm，2019。圖/大觀藝術空間提供

卓家慧，夢・華 II，水墨設色金箋 ，50x50cm，2019。圖/大觀藝術空間提供

在蔚為主流的後現代論述內，中心瓦解、正典消散，感知結構皆被解離。大觀藝術空間則藉三位藝術家主題各異的作品，企圖以不同方式探詢、追索真實，呈現生活中「不曾具象的現實」。

Presence and Trajectory – the unpresentable reality

Modernity, in what age it appears, cannot exist without a shattering of belief and without discovery of the “lack of reality” of reality, together with the invention of the other realities. 

Jean-François Lyotard

Jean-François Lyotard states that “To present the fact that the unpresentable exists, to make visible that there is something which we can conceived and which can neither be seen nor made visible” whilst discussing the works of Kazimir Malevich, aiming to liberate and present the existence of the objects that cannot be presented. The development of consumerism and materialism as well as the popularisation of digital imagery and the internet in the contemporary let to the neglect of the reality of daily routines, sceneries and sentimentalities of one’s life.

These hidden matters occur on a daily basis yet are not presented figuratively; they have left their marks yet not really existed, creating gaps that are never addressed. Daguan Gallery presents the works by three female artists – Li Tingting, Cheng Tan Shan, Cheuk Ka Wai – with the exhibition titled “Presence and Trajectory – the unpresentable reality” to explore the reality of life.

The various elements such as subject, technique, medium, size, colour and form included in Li Tingting’s works are to encourage the audience to break away from the norm they recognise. Through crisscrossing between the familiar and the unfamiliar, the spectators are inspired to be imaginative and see endless possibilities in art.

Cheng Tan Shan takes inspiration from “A Room of One’s Own”, excluding traditional subjects and present household objects such as clothes, accessories and cookware in her works, as well as bath accessories and other personal items in her paintings, creating an intimate peek into the artist’s private life.

Cheuk Ka Wai creates an imaginary kingdom, beginning a journey to the mythical world with creatures from fairy tales and pictures generated with artistic merits, and contemplate on one’s life in boundless time. Under the surface of various endearing creatures lay the examination of philosophy of life. Each painting is the picture of the life of men, encountering what is meant to come in one’s life. On the other hand, just like Zhuang Zhou dreams of himself as a butterfly, can one really differentiate reality from illusion?

In the time of mainstream post-modernism, the centre collapses, the canons evaporate, and structured sensibilities break down. Through the variant works by these three artists, Daguan Gallery aims to explore and search for the “reality without figurative”.

大觀藝術空間：【2019 Art Taipei 台北藝術博覽會】存在．軌跡：不曾具象的現實

展期：2018-10-17 ~ 2018-10-21

地點：台北世界貿易中心展演一館（台北市信義區信義路五段五號）展位：C06

參展藝術家：李婷婷,鄭丹珊,張小黎,卓家慧