非池中藝術網

十方藝術空間

【將至而未至—篇章上半"Yet to come—The First Chapter"】梁家寧個展

  • 展期

    日期:2017-02-18 ~ 2017-04-08

  • 地點

    台北市中山區德惠街51號

  • 參展藝術家

    Liang Chia-Ning

  • 《將至而未至—篇章上半》梁家寧個展
    Yet to come—The First Chapter by Liang Chia-Ning

    透過雙向篇的文學命題,打開對於空間以及對於再敘述的想像集合,闡述個人在當下的歷史性:眼前的目擊對象的確是複雜的「當下」,如果敘述本身就是一種力量,就以「再敘述」來談及我所想呈現的。
    Through a bidirectional literary proposition, an imaginary spatial collection, as well as a narrative one, is unfolded, elaborating on the historicity of modern individuals: The witnessing of the object before you is an objectively complex ‘moment’. If narrative is itself a kind of power, then I will talk about what I want to show by ‘narrating’ it.
    將文學的上、下篇章作為命題,以上半篇章作為開端,先揭發一半的文本來闡述這次的主題「將至而未至」:關於空間、關於人、關於身體,關於想像現實。藉由我個人與他者經驗環境的交集而產生意義,此契機開啓一個來回現實想像的時間場合,回應一直以來我關乎的個人想像與空間界線,身分轉換的推移,提示出自身在此地、此時的狀態,也是意義上的追尋。
    Taking the initial and final chapters as a topic, the first half of the text serves as an opening, firstly disclosing half of the text to illustrate the theme “Yet to come”; which is about space, people, bodies, and imaginary realities. Through the intersection of my
    personal experiences with others, and by the meanings created, an opportunity presents to unlock a temporal setting back and forth in a realistic imagination, responding to the personal imagination and spatial boundaries I have always concerned myself with. Identity shift suggests an individual state of being here at this point in time, and is also the pursuit of a meaning.
    主軸有「棲居」、「逆棲居」、「異域」三個部份。「棲居」(Dwelling)從空間的外部進到空間內部的一個開門動作,進行場域切換,身體的、心理的狀態移轉,作為「可居性」的生活場域與「特定」的機制共構於同一場景,成為一個開展的介面。再者,「逆棲居」則是非生活機能高度密集的地區,或是不可久留之境,透過遊走於單點游擊的地區,截取片斷裁減過後的短暫影像,型塑一個召喚新空間的可能,虛擬文本以及斷裂時空的影像、光、場域。「異域」作為一個寬泛的地理、心理上的文化場域,「異」提示出更多的差異性,沒有特別界定的指稱,能夠開啓更大的想像空間,「域」的疆界更多是心理空間上的想像,打開非物質的流動感知,透過閱讀性與不可閱讀所建置出來的空間閱讀可能性。與前兩個部份「棲居」、「逆棲居」作為一個總體。
    The thematic core consists of three parts: “Dwelling”, “Inverse Dwelling”, and “Alien Land”. “Dwelling” is the act of opening a door from the outside to the inside of a space, creating a field switch; a physical and mental shift which consists of a“habitable” living field and a “specific” mechanism within the same scene, becoming a developing interface. Furthermore, “Inverse Dwelling” stands for a non-life supporting, low - populated region, or for an environment which doesn't allow you to stay long. By moving through the single - point guerrilla zone, cut-short images are intercepted, shaping the possibility to call for a new space, a virtual text, as well as breaking the images, light, and field of the space - time continuum. “Alien Land” acts as a broad geographical and mental cultural field. “Alien” reveals more diverse, not specifically defined references which can broaden the imagination, the boundaries of“land” belong more to the psychological space imagination; they open a flowing perception of immateriality, a decoded possibility through the readable and unreadable established spaces, becoming a whole with the first two parts of the artwork: “Dwelling” and “Inverse Dwelling”.
    「消失的體感記憶」通過一段時間會忘卻很多「當下」,亦即這個空間的「離去」也是一種經驗的過去,即便重返舊地也都將會是重新體驗再造或是緬懷,以「消失的」體感記憶來說,在眾多經驗的時間感中,人的感知很容易因為一個更強烈的「當下」經驗介入就將上一個經驗給覆蓋,透過這個介於上個經驗跟下個經驗之間,岔出偶然、意外的分支,模糊到清晰化就如同我們對於事情的認知從零到有的過程,從而再歸零,內化到某種時間流中,因此透過班雅明:破碎、不完整的結構,呈現出缺乏具體時間的、無特定歷史意義的,從而捕獲看似無關連、無緊要的消逝經驗與記憶,更像是一種不斷自我回返、反芻、再提問的創作狀態,它面臨虛無,但是卻還是「有」。即將到來,卻也不曾到來的過去與未來時間中,在這也只有多重的「當下」與「此地」了。
    “Vanished Somatosensory Memory”: after some time many “moments” are forgotten, that is a spatial “departure”, and also a sort of experienced past. Even on returning to old haunts, everything will be recreated, reforged, or recalled. Speaking of“disappeared” somatosensory memory within an often experienced sense of time, human perception easily covers over previous experiences with more intense “immediate” ones. With this mechanism, a number of accidental and unexpected branchings off occur between the previous and the next experience. The passage from obscurity to clarity is just like our process of starting from zero and then knowing about things, to forget and return to the starting point, internalizing everything into a sort of time flow. Therefore, mentioning Walter Benjamin: “broken and incomplete structures show a lack of time, an unspecified historical significance. To capture seemingly unrelated, non-crucial, evanescent experiences and memories is more like a creative state of constant return to the self, a rumination, an asking of questions. It faces nothingness, but it still exists. Between the upcoming future and the past which never happened, there are also only multiple "nows" and "heres".

十方藝術空間 Liang Chia-Ning梁家寧個展將至而未至—篇章上半

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