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福利社 FreeS Art Space

【卡通頻道 / 在模糊的地方打光】孫知行、盧冠宏雙個展

  • 展期

    日期:2019-12-14 ~ 2020-01-18

  • 地點

    新生北路三段82號B1

  • 卡通頻道 / 在模糊的地方打光 孫知行、盧冠宏雙個展
    *Scroll down for the English version
     
    展覽日期|2019.12.14 (六) – 2020.01.18 (六)
    開幕茶會|12.14 (六) 17:00
    開幕當天藝術家將出席並親自為觀眾導覽。
     
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    卡通頻道 孫知行個展
     
    展覽論述|
     
    拍自己的卡通,只要會按滑鼠。
     
    別人買投影機是為了露營看電影或是展現一種職場簡報的光明與犀利,但我買投影機是為了展覽。因此我以漫步於光華商場「宅性消費者」的角度出發,讓投影機播放一部以它量身打造的影片,並從投影機的產品循環中透析出人們投射在產品的想像。
     
    我特意編篡了一部趨近於卡通的影像來註解我生活的時空,好笑得笑不出來,或是聒噪地講不出話來。這些謬論之於時空,好比錯誤之於系統,終將活在被排除的宿命,但「誤衍」卻是一種救贖,代表重新認識的光線,科層體制的殘渣,卻是創作者的百寶袋。
     
    主角馬藍吉先生活在「成為一位偉大高爾夫選手」的白日夢中、阿基米德與電器行老闆運用「力學原理」幫助人民、哆啦A夢對於時光機充滿職業倦怠、老實庄稼人的愛情難逃被現代化、充滿消防車聲音的「智慧城市」捷徑卻反過來成了障礙,我誤用力學,並以不斷錯下去的方式來編織我的敘事。
     
    讓力學改變人生!
     
    我並不是一位力學專家,其實我的數學跟物理都不太好,這反而讓我好奇。而我對於力學的沿用,是將力學轉換為一種物理狀態的「篤信」,類似理論性的原則、修行般的戒律,人們通過其中而走上捷徑。這是我對崇拜理性與壓抑的社會的實察。
     
    如果你問我力學是什麼?我會說,有一個人篤信線條一定要圓滑、規律、整齊,因此他畫任何東西都必定要使用圓規。這類的人就是「力學的信徒」。而這樣篤信力學的人卻常常在他每天早上打開抽屜時,第一個動作就被圓規刺到手。這是我對於力學的實踐,因為那個人就是我,而我總在那一刻發現某一種意識形態有著被鬆動的必要。
     
    藝術家簡介|
     
    國立臺北藝術大學美術系學士畢業
    現就讀國立臺北藝術大學藝術跨領域研究所
     
    個展
    2019 「卡通頻道」,福利社,臺北,臺灣
     
    聯展
    2019 「中國信託新銳美術展」,臺北國際藝術村,臺北,臺灣
    2019 「存在感」四人聯展,臻品畫廊,臺中,臺灣
    2019 「真空盒子裡的呢喃」,藝術未來飯店博覽會,臺北,臺灣
    2019 「美術創作卓越獎:看見城市空間」,關渡美術館,臺北,臺灣
     
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    在模糊的地方打光 盧冠宏
     
    展覽論述|
     
    我很喜歡圖像在傳遞意義或訊息的期間,因為各種因素而產生的誤讀,在我以這個主軸為創作核心的期間,突然想到一件過去的事:

    我還在六七歲的年紀,做一項自然課作業,作業的要求是使用日晷來記錄時刻,與相對應的影子位置。習作本附件會附上一張簡易日晷紙,只要用一坨黏土在紙上立一根筷子,簡易的日晷就完成了。這項日晷作業能不能如期繳交,完全要看天氣,彼時不巧連日大雨,但我還是完成了這個作業,完成它的方法是用一盞檯燈,當時以為(其實完全忘記那個時候在想什麼)這個叫日晷的東西反正只要想辦法讓它有影子,它就會兀自和這個世界產生一點關係或什麼的,不知道過了多久,我記錄下數個始終如一的影子,彷彿時間不曾流動。

    這是一個讓我印象很深的經驗,這個經驗不是搞砸一個作業這麼一點事,它是一個透過符合視覺的各種條件(影子和光),而產生與事實不符的偏移。

    我的繪畫創作一直試著讓圖像的指向功能變得模糊不清,並且試著提出另一種對於所處現實的觀看方式,如果說繪畫是我回應幾乎是影像化的外部經驗的方式,在這個前提下,我則試著連結屬於很個人的經驗,它是透過影子呈現的關於時間的感受、在過去習畫的過程裡透過強調影子的某種視覺量體研究,乃至回應繪畫史上,描繪物體剪影的輪廓作為人的「靈魂」或一種二級替代品,我試著在本次展覽,以繪畫和裝置,呈現一種已然遠去的、非理性的時間感,同時也作為我對於繪畫本身即是一種經驗的思考。
     
    藝術家簡介|
     
    國立臺北藝術大學美術系學士
    現就讀國立臺北藝術大學創作組研究所繪畫組
     
    個展
    2019 「在模糊的地方打光」,福利社,台北,台灣
     
    聯展
    2019 「叢生:兩岸藝術院校優秀作品聯展」,象山公社,杭州,中國
    2018 「對社會有貢獻:積極的作為」,台灣當代一年展,台北,台灣
    2017 「未來未來的地方」,關渡平原,台北,台灣
    2016 「火山引爆工程」,URS27M,台北,台灣
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    "World of Mechanics / Set a Blurry Place Alight"
    A Duo Exhibition by SUN Chih-Hsing & LU Guan-Hong
     
    Dates|December 14, 2019 - January 18, 2020
    Opening|December 14 (17:00)
    The artist will be present.
     
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    "World of Mechanics" SUN Chih-Hsing Solo Exhibition
     
    Statement| 
     
    Take your own cartoon, just press the mouse.
     
    Others buy projectors for camping to watch movies or to show the light and sharpness of a workplace briefing, but I bought a projector for the exhibition. Therefore, I walked around the Guang-Hua Mall with a perspective view of a consumer, letting the projector play a film tailored to it, and diagnosing the imagination of people projecting from the product cycle of the projector.
     
    I deliberately compiled a video that is close to cartoons to annotate the time and space of my life. The characters inside make people laugh but they can't laugh, or the characters are very noisy but they are often dumb. The paradox of life is like the mistake of the system, and will eventually live in the fate of being excluded, but "missing" is a kind of redemption, representing the light of re-recognition. The residue of the bureaucracy is the treasure of the creator.
     
    The protagonist Mc. Launch has a daydream of "becoming a great golfer", Archimedes and the owner of the electrical appliance use the "mechanics principle" to help the people, Doraemon is full of burnout for the time machine, the ancient concept of love cannot escape the destiny of modernization, "Smart City" is full of sirens and reveals that " The more haste, the less speed". I misuse mechanics and weave my narrative in a way that keeps going wrong.
     
    Let mechanics change our life!
     
    I am not a mechanics expert. In fact, my math and physics are not very good, but I am curious. My use of mechanics is to convert mechanics into a physical state of "belief", similar to theoretical principles, practice-like disciplines, and people take shortcuts through them. This is my observation of a society with a tendency to suppress.
     
    If you ask me what is mechanics? I would say that there is a person who believes that the lines must be smooth, regular, and tidy, so he must use compasses when he draws anything. This type of person is a "believers of mechanics." And the person who believes in mechanics often uses the compass to stab his hand when he opens the drawer every morning. This is my practice of mechanics, because that person is me, and I always find that one kind of ideology has to be loosened at that moment.
     
    About Artist|
     
    2016 Graduate Institute of Trans-Disciplinary Arts,Taipei National University of the Arts,Taipei,Taiwan
    2015 B.A in Fine Art,Taipei National University of the Arts, Taipei,Taiwan
     
    -------------------------------------------------
     
    "Set a Blurry Place Alight" LU Guan-Hong Solo Exhibition
     
    Statement|
     
    I really like the fact that images are misinterpreted during the transmission of meaning or information. As I use this axis as the core of my creation, I suddenly think of a past thing:
     
    I was doing a science homework, at the age of six or seven. The content of the assignment was to use the sundial to record the moment, and the shadow position. There was a dial paper in the textbook, which allowed you to make a sundial. Use a piece of clay to adhere the chopstick on the paper and a simple sundial is complete. However, this homework couldn’t be handed over as scheduled: it was very weather-dependent, and just as I finished building the sundial, it started raining heavily. I settled on using a desk lamp to bypass the issue. At the time I thought sundials only required a shadow to work, to create a relationship to the world, or something along the lines. I don’t know how much time had passed while I recorded several consistent shadows, it was as if time stopped flowing.
     
    This was an experience I was deeply impressed with. It wasn’t a matter of fiddling my homework at all, it was about the various factors conforming to our visual perception, and yet disrupting our sense of reality.
     
    My paintings have always tried to blur the referring, indicator function of the image, and propose instead another way of viewing reality. As painting is my go-to response to visualize and reflect on the external world, I tried to connect the practice of painting with this personal experience, this feeling of time presented through shadows. In painting, I proceeded to study how shadows create a visual sense of volume, and as a dialogue with the history of painting, how outlining the silhouette of any object were means to depict their ‘soul’ or served as a secondary substitute. In this exhibition, with painting and installation, I tried to present a far-reaching, irrational sense of time, and simultaneously present the way I see painting as a mean to reflect on experiences. 
     
    About Artist|
     
    Born in Changhua,Taiwan in 1994.
     
    B.F.A, Taipei National University of the Art,Taipei,Taiwan.
    Currently studying at the master of fineart with specialization in painting.

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