第13屆克拉斯諾亞爾斯克美術館雙年展
13th Krasnoyarsk Museum Biennale
國立臺灣美術館赴俄臺灣影像交流展
The photography art collection from National Taiwan Museum of Fine Arts (Premiere exhibition in Russia)
「透視假面-甜楚現代性」
"Behind the Mask: Rose of Modernity"
國立臺灣美術館赴俄臺灣影像交流展
The photography art collection from National Taiwan Museum of Fine Arts (Premiere exhibition in Russia)
「透視假面-甜楚現代性」
"Behind the Mask: Rose of Modernity"
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| 「透視假面：甜楚現代性」臺灣參展代表團與克拉斯諾亞爾斯克美術館館員在展場主視覺前留影 左起：藝術家何孟娟(左一),藝術家沈昭良(左二), 策展人楊衍畇(左三), Ms. Olga Larjushina(中) 國美館展覽組林曉瑜(右三), 藝術家袁廣鳴(右二), Ms. Valerie Kovalchuk(右一) |
瑰麗臺灣影像藝術 思索現代性影響Considering the Influence of Modernity with the Enchantedness of Taiwanese Visual Art
文/ 楊衍畇, 共同策展人Text/ Yunnia Yang, Co-Curator
福爾摩沙，美麗之島，傳說是十六世紀葡萄牙水手對臺灣最初的印象，臺灣亦自豪此一稱謂，因為名符其實，蕞爾小島的自然景致豐富多變，人民樸質有禮、生活機能便利、美食小吃更是讓外國人讚不絕口，海外遊子情牽的家鄉味。近年來，最常聽到的臺灣印象是「臺灣最美麗的風景是人」，人情味是難以忘懷的紀念品，許多外國旅人因為臺灣有家的感覺常住定居下來，開始難免會有文化差異的誤解，久之卻會感受到這種差異會是一種養分，主觀感受與客觀觀察相互輔助之下，即使入境隨俗融入在地，仍有屬於在地人才能理解的文化禮俗與生活習性。
It is said that Formosa, the Island of Beauty, is so-named for the first impression Taiwan made upon Portuguese sailors in the 16th century. Taiwan has reason to be proud of this fame: the natural scenery in this small island is wonderfully diverse; quality of life is modern and highly convenient; local food is cheap, abundantly diverse and delicious, and, when overseas, Taiwanese miss it terribly. But perhaps the greatest beauty of Taiwan is the Taiwanese themselves. Taiwanese are polite, modest and friendly above all else, and their hospitality may be the most unforgettable souvenir for foreigners. Indeed, many foreign travelers settle in Taiwan, feeling something oddly familiar, a sense of finding home in another country. For certain, in the beginning, they may face simple misunderstandings and miscommunications – there are cultural differences, after all, but even these can be taken as something to experience and enjoy. After all, "when in Rome, do as the Romans do." There are always customs and living habits that only local people can truly understand, but it is in trying to understand them that the tourist or expat is able to explore the many layers of what makes up a foreign culture.
不同於文化觀光的角度，美國社會心理學家厄文.高夫曼(Erving
Goffman)以戲劇學原理提出世界是一個舞台，日常生活與劇場儀式有著交互關係，每個人在社會中扮演多重角色，人際關係社會互動如同一系列的表演，因應不同觀眾與情境調整應對，像是戴著面具，真實自我漸漸為力圖充分體現的角色所取代，後天成為的角色是第二自然，是人格的一部份，親切熱情以待外賓是待客之道，亦是好客的真性情，高夫曼在其著作《日常生活中的自我表演》表示只要人活著就是永遠在舞臺上，不斷上演生活的悲喜劇，「臺前」是個體表演能夠以一種普遍、固定的方式來對°觀察者°進行情境定義的部分，「後臺」可說是舞台佈景後、鏡頭以外的活動，亦是真實的自我。
In contrast with the viewpoint of cultural tourism, American social psychologist Erving Goffman puts forth the dramaturgical theory that, "all the world is a stage" (as Shakespeare himself once wrote in Hamlet). And it is true: everyday life is intrinsically steeped in theatrical ritual: everybody plays multiple roles in society. Human relations and social interactions may be regarded as a series of performances, adjusted depending on different viewers and situations. Just like wearing a mask, our true self is gradually replaced by the roles that we try our best to play. The acquired characters we become are our second natures, dimensions of our personalities. Treating visitors kindly is therefore an act of hospitality, but also our true temperament. In his writings, The Presentation of Self in Everyday Life, Goffman expresses the idea that we are always on stage in one lives, constantly staging a tragicomedy of everyday life. Our "Front stage'' is that individual performance which is able to define situations for observers in a universal and fixable way. Our "Back stage" is where all artifice is abandoned, the actor steps out of role, our true self.
紀實攝影為一種透視當代生活現實的可能途徑，關懷人文生態的攝影家長期拍攝某一特定主題，時間消融初遇的表層假面，以獨特的美學語彙突顯內在真實，以波特萊爾浪遊者（Flâneur）精神深層觀察城市文化，或以近似人類學田野研究手法深入鄉里社群，進而同理體會其生命經驗，拍出令人動容卻又直指真相的紀實攝影。攝影家穿梭於「臺前」與「後臺」之間，如高夫曼所稱的「中介者」(Mediator) ，善意又巧妙地暗示「後臺」所隱藏的秘密，這些秘密是為維護「臺前」假面意象。
Similarly, documentary photography also presents a means to see through the realities of contemporary life. The photographers interested in evolutionary humanism have embarked on long-term projects on the subject. In their works, shallow first impressions of sight are dissolved by time as their unique aesthetic language highlights internal truth. In the spirit of Baudelaire's "Flâneur", they observe the depths of urban culture or dive into the countryside, meeting locals with the aim of quasi-ethnographic field research. It is the photographers' sympathy that realizes the life experience of others in such moving and revealing documentary photography. Photographers are able to travel back and forth between people's "Front stages" and "Back stages". Goffman called such people "Mediators", which implies kindness and skill in handling the hidden secrets of the "Back stages" in order to maintain the masked images of the "Front stages."
臺灣唯一馬格蘭攝影社會員的張乾琦，長期關注紐約華人移民社會，唐人街迎神祭典中以低角度視點捕捉到手持福神頭套的男子凝視鏡頭，張乾琦引領觀者看到「後臺」狀態，男子在恍神迷亂的氛圍中，顯露參與祭典凝結華人集體意識的重荷感受。從張照堂、梁正居、簡永彬早期紀實攝影依稀可見臺灣在還未全然高度現代化，保有知足常樂的純真心境，物質生活雖困頓，人際關係與精神生活卻是相當飽滿。孩童的想像力不受大眾媒體的視聽疲勞轟炸更具獨特性，周慶輝的《野想》呈現黃羊川地區孩童對電腦的想像，編導式攝影手法頗具戲劇性，卻是孩童的真正夢想，略顯笨拙的身體姿態與粗糙材質的衣著，可見夢想與現實的落差，而夢想是可以改變現狀。
Chang Chien-Chi, the only member of Magnum in Taiwan, has long paid great attention to the society of overseas Chinese in New York. In the ritual parade of China Town, he captures from a low viewpoint the image of a man holding a billiken-like mask gazing at the camera. Chang leads us to see the "Back Stage," a man unveiling his sense of responsibility, consolidating the collective consciousness of overseas Chinese by taking part in traditional rituals. From the early documentary photography taken by Chang Chao-Tang, Liang Cheng-Chu, and Chien Yun-Ping, we remember that the Taiwanese kept themselves of a content mind and pure spirit even when Taiwan had not been fully modernized yet. Although the material life was hard, human relationships were closer and the spiritual life richer at that time. Children's imaginations were unlimited and went beyond the overwhelming visual effects of mass media. Chou Ching-Hui's Wild Aspirations shows how the children from rural Yellow Sheep River imagine a computer to be (an object they have never seen). His staged photography is rather theatrical, but nevertheless reveals the true dreams of a child. Her body gesture is slightly awkward and her clothes of rough material. We can see the gap between her dream and reality, but only her dream can change her reality.
臺灣在二十世紀下半葉創造經濟奇蹟，名列亞洲四小龍，現代化進程中成績斐然，享受富裕便利的生活，社會價值觀驟然改變，凡事講究效率，追求物質生活勝於精神層面，強化人際疏離感，加上戒嚴時期對身體約束瀰漫著緊張氛圍，強烈的存在感與身體的反動在張照堂、高重黎、謝春德的超現實感攝影中異化身形重擊你我心靈，黃明川以設計手法與象徵語彙傳達臺灣為物質慾望吞食，亦犧牲美好的童年青春。由藝術家以較為戲劇化的方式「造相」或發現日常中的「反常」意象，正是在現實中無法找到適切的真實意象，透過對「後臺」秘密敏銳地洞悉而再造現實。臺灣人對於這片土地的情懷與認同，除受好山好水滋養外，多元獨特的臺灣民間文化與生活習俗，具有對外來文化的好奇心與新住民的包容力，二十一世紀的臺灣文化印象豐富又複雜，正如戲劇性的假面，瞥見臺灣集體意識所塑造的文化假面，亦如羅蘭巴特所稱「知面」製造意義，攝影不經意包納「刺點」細節，透露了影像總會超越文化普遍性，而能讓觀者帶著個人感受與影像對話，如攝影家一般能夠奧妙地游移在「臺前」與「後臺」兩端。
In the second half of the 20th century, Taiwan created an economic miracle and was listed in the so-called "Four Asian Dragons" along with Singapore, Hong Kong, and South Korea. Taiwan enjoys a rich and convenient life thanks to its outstanding achievements in the process of modernization. However, social value has changed drastically in the recent decades: everything must now be done efficiently; and an attitude longing for the material over the spiritual has only deepened the estrangement of human relations. In addition, the repressions during the period of martial law has added tension to society. The strong awareness of our existence and a rebellious sense of the body are reflected in the surrealistic photographs of Chang Chao-Tang, Kao Chung-Li, and Hsieh Chun-Te. Our heart is stopped by the images of the alienated corpse. Huang Ming-Chuan expresses the idea that Taiwan is consumed by material desires, that we sacrifice the best of our youth, by means of his design approach and symbolic language.The artists use more dramatic ways to create or find unusual images in daily life, for they cannot find the appropriate images in reality. Rather, they reconstruct reality according to their own sharp and sensible insight to the secrets of the "Back Stage." Taiwanese embrace this land with love, showing their identity with courage, not just in support of some higher goal, but also to nurture the unique and diverse Taiwanese folk culture and life customs. They have curiosity about other cultures and generosity to new immigrants. The cultural impressions upon Taiwan in the 21st century have been both diverse and complicated, and it is possible to glimpse the theatricality of the cultural mask created by the collective Taiwanese consciousness. Roland Bathes believed that "Studium" created meaning, and that photography only included the details of "Punctum" by chance. This concept suggests that images always go beyond cultural universality. They allow a viewer to have a dialogue with the images according to their own personal perceptions. Just like a photographer, a viewer may travel secretly between "Front stage" and "Back stage."
經過更細膩地深層感知會發現現代性是驅使我們背離純真質樸的自我本質、簡單慢活的生活態度，各種霸權集團與大眾媒體同謀，不斷刺激消費慾望與創造享樂的價值觀，現代性如同一朵帶刺的玫瑰，嬌媚芬芳令人想要摘下擁有，卻必須付出刺痛的代價，甜蜜幸福的現代生活底下有著難以言喻的痛楚落寞。追求科技進步改善生活狀態，原以為家園會更加宜居，不斷地開發土地卻忽視水土保持，反造成寶島生態嚴重受創，齊柏林空拍臺灣的影像使我們驚覺家園已然變色，無法恢復福爾摩沙原貌，吳政璋的臺灣「美景」以諷喻批判的語調回應我們漠視自身的生存狀態，致使深陷末世處境，颱風過後遍地可見的漂流木或矗立田埂間的T霸廣告看板皆是現代生活與環境生態間的失衡寫照。陳順築的《花懺》以神的觀點俯視人間生死狀態，家族墓碑前藉塑膠花影像祭拜先祖，兩相對照下更突顯永恆的人工物與瞬逝的生命體間的荒謬無奈，對親屬難分難捨的追憶情感，彷彿臺灣人對這片土地濃郁的依存眷戀，即便家園因應現代化需求而變色，這片山水自然與在地人文仍然撫慰我們的心靈，如海德格棲居如詩的意念，對袁廣鳴而言在這變動不安的年代要棲居如詩何以難為，看似靜謐祥和的家居生活情境可能一夕之間毀滅消失，即便如此適應不舒適的存在樣態便是臺灣人自處的生存哲學。洪政任以滿目瘡痍的廢墟現象暗指以開發為名的背後是棲居難為的控訴，表現性的拼貼質地呈現自身與土地間的情感並喚醒我們對未來災難到來的意識。
It is a bitter truth that modernity is driving us away from the simple and innocent essence of a true self, making us forget how to live slowly. All manner of hegemony and mass media conspire with each other to stimulate the public's consuming desire and cement the value of entertainment. Yet, modernity is like a rose with thorns. Its beauty and fragrance are so attractive to human beings that they can't help but to pick it, to possess it, but they pay the price of being stung. Behind that sweet and happy modern life there is unspeakable trauma and lostness. Longing for the progress of technology and an improved living situation, we thought that our homeland would be more comfortable to live in. However, with the continuous exploitation of the Earth, our ignorance to water and soil conservation, the ecology of Taiwan is badly endangered. In the aerial photography of Chi Po-Lin, we find Formosa has been tainted and it is now impossible to regain its beauty as it used to be. In his Vision of Taiwan, Wu Cheng-Chang criticizes in an ironic tone the ignorance of our living situation, stuck as we are in an apocalyptic situation. Driftwood everywhere after a typhoon, or an advertising billboard standing in a rice field: these images warn us about the dangerous unbalance between modern life and nature. Chen Shun-Chu's Flower Ritual overlooks the life and death of mankind from a God's perspective: in front of a family tomb, the images of plastic flowers are placed to worship ancestors. The introspection between them shows us the absurdity and unbearableness between permanent artificial objects and ephemeral beingness, and the nostalgia attached to relatives. It seems that Taiwanese still have an emotional attachment to this land, changed as it is due to the necessity of modernization: its natural beauty and local culture still comfort our spirit.Following Martin Heidegger's notion of poetic dwelling, Yuan Goang-Ming shows us how hard it is to live in this world poetically in an age of uncertainty, as if our tranquil and peaceful living conditions could be destroyed at any moment. Even in such an uncomfortable situation, this is how Taiwanese could live at ease. Hung Cheng-Jen presents us with the phenomenon of damaged ruins, accusing the hardship of the living conditions. His expressive collage of textures shows us the emotions between ourselves and nature, and evoke in us a consciousness to the coming future disasters.
臺灣在民主自由與平等人權的發展亦為國際所稱道，但這條路走得艱辛，近代歷經日本統治直到1945年臺灣光復，1949年蔣政府播遷來臺旋即實施戒嚴，社會普遍瀰漫著緊張氣氛，1987年解嚴後才逐漸享有言論自由，人民可以持有不同的政治立場與身分認同，藝術創作呈現觀念批判與多元美學的走向，梅丁衍解構辯證臺灣人民的認同意識，將中華民國國父孫中山與中華人民共和國創立者的毛澤東兩人的臉孔置成一幅拼圖，竟然如此相似毫不違和，蔣政府立足臺灣卻一心想反攻大陸統一中國，望向彼方的統治態度混淆了臺灣人民的身分認同，如拼圖般成謎，兩位偉人肖像只是空洞符碼，「三民主義統一中國」的口號亦是形式上的集體性政治服從，而非全臺灣人民的心聲。吳天章的《永協同心》以編導式攝影創造看似詭異的寓言性劇照，兩位患有唐氏症的孿生兄弟騎著協力車，他們的笑容過度矯飾僵化，裝扮亦像是綜藝戲團的班底，甚至是艷俗風格的遺照，前世罪孽用來世行善償還。假性俗麗的臺客文化正是「作客」心態所致，暫時性的政策與臨時性的設施使臺灣文化難以深根，年華已逝卻強顏歡笑展現青春一面的主角，外強中乾地堅持保有美麗假面，正是當年解嚴前社會所充斥的矛盾情感。
The development of democratic freedom and equal human rights in Taiwan is highly praised by international society. This road we go through is not easy. Taiwan was not released from Japanese occupation until 1945. In 1949, Chiang Kai-Shek implemented martial law as soon as his government was relocated to Taiwan. The society that prevailed did so with a deeply tense atmosphere. In 1987, we enjoyed freedom of speech rights after the end of martial law. People could show their different political positions and individual identities. Artistic creations showed conceptional criticism and multiple aesthetics. Mei Dean-E deconstructs this identity awareness of the Taiwanese. He created a puzzle of the facial images of Sun Yet-Sen and Mao Zedong. The former is the founder of the Republic of China and the latter is the founder of the People's Republic of China. The new face is seen harmoniously. Chiang's government was based in Taiwan with the plan to counterattack the Mainland and unite China. Such a paradox of rulership confused the identity of the Taiwanese: it is indeed a puzzle-like mystery. The portraits of the two great men are just an empty code. The slogan "The Three Principles Reunite China" is also a kind of collective political obedience, rather than the real expectation of all Taiwanese.In his Consolidation, Wu Tien-Chang takes a mise-en-scène image to create uncanny allegorical stills. The twin brothers suffering from down syndrome are riding a tandem bicycle. Their smiles are too mannered and stiff, and their outfits are also like a variety theatre troupe, even a kitsch-style portrait of the deceased. The sin of the past life should be compensated with the mercy of the next. The falsely vulgar beauty of Taiwanese Redneck Culture is mostly caused by the mentality of "Being a Guest'': temporary policy and provisional facilities cannot allow Taiwanese culture to take root. Their youth has gone away, but they keep their smiles and pretend to maintain a mask of beauty. It is exactly this complexity that our society was filled with before the lifting of martial law.
解構威權是解嚴後藝術家汲於探討的議題，威權並非僅限於政治層面，包括汙名化疾病的醫療機構使社會誤解並歧視孤立病患，危及他們應有的人權，周慶輝長年相處並記錄麻瘋病友的生命歷程，以尊重生命的態度攝影展現他們的尊嚴與韌性；資本主義的金錢遊戲使財富分布懸殊，形成M型社會結構，因為經濟狀況不佳陷入生活困頓，必須在都市空間的邊緣地帶遊走、在夾縫中討生活的人民，何經泰則關注底層社會的生活現實，不以側拍°窺視°他們的沉重人生，而是與他們建立朋友般的關係，鏡頭下的他們在雜亂破舊的生活情境中展露自我的內在本質，坦然凝視鏡頭是他們不為惡劣的外在環境所屈。鼓勵多元族群發聲並重建深根文化及母語是解嚴後新政府的文化政策，王有邦、張詠捷至原住民部落拍攝長老族人，呈現最本質容貌與真誠的凝視，他們的尊嚴自信令人動容，潘小俠以25年的攝影生命捕捉蘭嶼達悟族與純淨自然的相處之道，流露著狂放不羈的真性情，這些傑出的紀實影像應驗了高夫曼的觀點：「每個人在日常生活中呈現自己的方式，就是一種表演。」從心理學的觀點，人性隱含著獸性，尤其在現代社會都市叢林中生存，因應複雜多變的生活樣貌扮演多種角色，難以分辨真實自我，旅美藝術家李小鏡以人獸混種變形展現《十二生肖》新世紀°眾生相°，內在的本我特質藉數位科技外顯出來，藝術家融會東西方文化哲思創造出後現代的「假面」真實本性。年輕世代深受大眾文化影響盡情致性展現自我，特別是次文化中的同人志，透過角色扮演能將他們在卡漫電玩所認同的角色從虛擬世界中解放出來，同時投入創意心力打造扮裝行頭新譯詮釋，高至尊在同人志嘉年華的喧嘩氛圍中展現了這群年輕人高度自信與獨特個性；媒體影響本有正負兩極，看似誘人動感的流行舞蹈亦可以呈現新女性對身體自信美的一種表達展演，何孟娟從傳統崑曲愛情題材與肢體舞蹈巧妙找到與當代流行韓風歌舞K-POP的異同關聯，崑曲以暗示性的眼神手勢婉轉地表達愛意與魅力，K-POP受到西方流行樂風與華麗炫目MV舞蹈影響，以性感魅惑的編舞將生活情愛實踐於戲劇展演中，仔細觀察傳統與現代的肢體律動竟有一種特殊的連結，東西方的身體美學已然融為一體，女性在這思想開放的年代能勇於追求與享受身體自主的權力。如何使女性身體主權不受消費主義的宰制，對於特種行業或檳榔西施而言極為困難，有些女性迫於貧境期望能扭轉現狀，有些少女則是無法抵抗物慾名牌的誘惑短暫地投身檳榔西施°的角色°，陳敬寶不以欲望客體的角度捕捉檳榔西施的意象，而是展露外界所看不到她們在性感工作服下的自我。
Deconstructing authority is a keen issue for Taiwanese artists: the idea that authority is not limited to the political aspect, but includes the medical institutions who stigmatized certain sicknesses resulting in misunderstanding, discrimination, and isolation of those patients, endangering their given human rights. Chou Ching-Hui spent a long time with leprosy patients and witnessed their life experiences. In his works, Chou shows their dignity and tenacity with an attitude of respect for life. The monetary game of capitalism has caused the uneven distribution of property, forming the M-shaped social structure. In such unfavorable economic conditions, the poor wander around the marginal zones of urban space and merely survive. Ho Ching-Tai is concerned about the reality of their everyday lives, but he never takes side shots to glimpse at their tough lives: rather, he befriends them. In front of the camera, they express their true selves in such chaotic circumstances. Their undisturbed gaze shows that they aren't cowed by their bad living conditions.
Encouraging the voice from multiethnic groups and reconstructing their cultural and maternal languages became the cultural policy of the new government after the lifting of martial law. Wang Yu-Pang and Chang Yung-Chieh went to the aboriginal tribes to take pictures of the aboriginal elders, showing their sincere gaze. The audience is moved by their dignity and confidence. Pan Hsiao-Hsia spent 25 years taking photographs of the aboriginal tribe Dawu on Orchid Island living in harmony with nature, expressing their uninhibited true temperaments. All these excellent documentary photographs prove Goffman's conception that everyone presents his own way in his own manner, and it is a kind of performance.From the perspective of psychology, human nature masks bestiality. If we want to survive in the urban jungle of modern society, we have to play multiple roles corresponding to a complicated and ever-changing lifestyle. It is hard to tell which is the true self. American Chinese artist Daniel Lee employs the hybrid metamorphosis of human beings and beast to interpret Manimals with the many forms of memory of the 21st century, unveiling explicitly internal libidos by means of digital technology. The artist integrates the cultural thinking of East and West to create this postmodern "mask" of true human nature. The younger generations are encouraged by mass culture to express themselves freely, especially in the subculture of cosplay. With the assistance of role-playing, they release the characters that they identify with in manga, animation or virtual reality video games. Meanwhile, they devote their efforts into creativity, creating costumes and settings for their new interpretations. Jonathan Kao shows the high self-confidence and unique personality of these young people among the atmosphere of the cosplay's carnival. The influence of mass media can, clearly, be positive or negative.An attractive and dynamic pop dance can also present the performance of new women who have much greater bodily confidence. Isa Ho has explored the similarities and differences between the gestures of traditional Kunqu opera's love stories and the lyrics and choreography of contemporary K-POP. In Kunqu, suggestive eye contacts and hand gestures express love and charm euphemistically; K-POP is influenced by Western pop music and the dazzling choreography of the MV. The love stories of daily life are put into theatrical practice through the medium of this sexual yet charming choreography. As we observe carefully the traditional and modern body movements, we will find many unique connections between them. The bodily aesthetics have already been fused into an oneness. Women at the age of liberation dare to chase after and enjoy the rights of physical autonomy. Yet, how is female physical autonomy not controlled by consumerism? Certainly, it is very hard for special service occupations or betel nut beauties. Some women are forced to change due to their current living difficulties, and other teenagers simply can't resist the temptations of commodities, working as betel nut beauties for a short time. Chen Chin-Pao doesn't want to take their images at the angles of desired objects, but to show the image of a true self under the sexual uniform.
臺灣地狹人稠，無論是熙來擾嚷的都市大街或是遠離塵囂的自然風景處處可現人潮，應是罕見空曠荒蕪景致，然而政壇變動、社會轉型、產業轉移等因素皆會製造空場廢墟，顯示朝向現代性所憧憬的烏托邦不如人願，或是不斷地被新型態的生活模式顛覆，藝術家遠離人群塵囂，尋覓空蕩場域除找到寧靜的冥想空間，亦觀察到臺前看不到的荒謬真相。姚瑞中從廢墟找到現代生活的出口，專注於信眾巨大欲力的投射，走訪臺灣各地廟宇拍攝無人入境的神像與環境間玄妙的關係，被棄置遺忘的神明影像，淡淡哀愁透露著人心慾望的善變。沈昭良將臺灣廟會中常見的移動式舞台車顯現為超現實的巨型舞台紀念碑，黃昏°時刻的°光影色調與開戲前無人狀態，藝術家像是闖入超時空的瞬間，閃現臺灣民眾對真實生活態度早以劇場舞台體現。許哲瑜的《所在》影像暗指人跡曾在，將文字投影與相應的空間拍攝下來，如馬格利特圖文辯證人類文明的荒謬無常，藝術家創造真實與虛幻之間的詭異氛圍。影像編碼者還原假面下可能的真相，看似靜態影像召喚觀者想像力連結自身經驗置身其中，卻像是無盡故事的動態影像。黃建樺的影像編碼顯示數位時代影像並非僅是作為在場的見證，想像力可以編導藝術家所透視前臺與後臺所具有卻可能不為人知的符碼，唯有將兩方並置一起，觀者驚見後臺符碼已然混在前臺世界中，動物意象是人類情感與慾望的投射，意外地出現在熟知的生活場景中，是觀者思考人類與動物角色易位的反烏托邦寓言。
In Taiwan there is limited space, and it is always full of people. Be it a noisy metropolitan avenue or nature away from the noise, the crowd can be seen everywhere. Rarely is there any empty deserted scenery, but factors such as changes of political situation, transformations in society, and relocations of industry can cause empty spaces and ruins, and this shows that modernity didn't fulfill the utopia that mankind expected, rather our lifestyles have been replaced with another. Artists leave the crowd far away to seek empty space, not only for the enjoyment of silent meditation space, but also for the observing of the absurd truths not to be seen in the "Front Stage." Yao Jui-Chung finds an escape from modern life in the ruins. He focuses on the projection of believers' great desires. He visited the temples around Taiwan to take photographs of the Gods' statues and an environment without images of humankind in order to show these mystic relations. The images of the abandoned and forgotten gods speak in a sad tone of the capriciousness of human desire. Shen Chao-Liang presents the images of the "transformer-style" traveling stage trucks that are often seen at Taiwanese Carnivals as gigantic and surrealistic stage monuments. Sunset lighting tones and the unmanned state before staging allow the artist to intrude into a moment of hyperspace, flashing images in front of the viewers that reveal how Taiwanese show their attitude to everyday life by means of a stage performance. Sheu Jer-Yu's Being There implies implicitly how human traces exist in space. He takes photographs of the projection of texts and their related space, as Réne Magritte uses texts and images to create dialectics on the absurdity and impermanence of human civilization. Sheu creates an uncanny atmosphere between reality and fantasy. The image code generator can return to the original possible truth behind the mask. A still image can recall a viewer's imagination, connecting his own experience within it, like a moving image with an endless story. The image coding of Huang Chien-Hua shows how an image of the digital age is not only served as a document witnessing its presence. Imagination is also able to create mise-en-scène of the unknown codes that only artists see, through the "Front Stage" and into and "Back Stage." With the juxtaposition of the two, viewers are surprised that the codes of the "Back Stage" have been already fused into the world of the "Front Stage. "The images of animals are the projection of human emotions and desire. They appear unexpectedly in familiar daily life. It is the allegory of a dystopia, the roles interchanging between mankind and animals.
對於失落的傳統文化、美好的過往記憶、與純樸的生命本質，新世代藝術家有感其重要性力圖以創新的藝術手法與影像美學轉譯保存，邱國彰將傳統刺繡工藝應用於攝影藝術創作中，日常可見的廟會遊行，°麥當勞叔叔竟突如其來參與其中°，拼貼手法神奇地將幻想與真實時空混淆，幽默嘲弄當代偶像崇拜現象。屬於次文化的刺青藝術，莊榮哲的《紋人畫》將古代知識份子的文化素養與當代流行文化結合，以肉身當畫布，呈現梅蘭菊竹四君子的修養必須以身作則，綻放出的創傷血花亦是終身誓言。韓筠青以古典顯影技法表達私密感情創傷，詩意哀愁的影像道出愛情的束縛往往是自願的虐戀，手感顯影經過時間發酵，有機偶然的特質是當代數位影像無法達到的，對歷史舊物的眷戀正是創新技術所匱乏的人性的溫度與記憶的觸感，我們無法將時光倒轉回到過去，然而這些觸發我們對過去美好最深層的想望，卻是對現代化進程的一種反思抗衡。
Lost traditional culture, the beautiful memories of the past, simple life essence: the artists of the new generation feel responsible to preserve and interpret these with innovative artistic practices and visual aesthetics. Chiu Kuo-Chun applies traditional embroideries to photographic art. In the carnival parade of daily life there comes unexpectedly Roland McDonald. The collage confuses us magically with the time and space of fantasy and reality. He mocks the contemporary phenomenon of idol worship in a humorous manner. Tattoo art belongs to a subculture. Chuang Jung-Che's Life Drawing – Four Gentlemen combines the cultural cultivation of Chinese intelligentsia and contemporary popular culture. Taking the corpse as canvas, Chuang shows the idea that plum, orchid, bamboo and chrysanthemum symbolize the four gentlemen of the flowers in Chinese culture. This self-cultivation must be practiced with action. The bloody blossoms of wounds also symbolize the eternal vows. Han Yun-Ching expresses her intimate traumatic love by means of classical photographic process. Her poetic but sorrowful images tell us that the bounds of love always come from our voluntary sadomasochistic relations. Handmade photography is developed by time; the organic and accidental character cannot be achieved with contemporary digital images. Our nostalgia for old objects is for exactly the human touch and texture of memory that advanced technology lacks. We cannot return to the past, but they trigger a craving for the happiness of the past, that is to say, a kind of introspection and counterbalance to modernization.
「透視假面-甜楚現代性」精選35位臺灣藝術家共計48組影像作品(共95件)，遠在北國俄羅斯的西伯利亞觀眾將觀察到純真年代的臺灣受到現代化洗禮，家園國土與人心風景已然變色，國際政治風雲中找到主體認同，解嚴前後的壓抑不安與自由解放，當今朝向勇於展現自我的角色扮演，傳統文化亦注入創新語彙，當代藝術家以各種觀念手法透視假面下現代性所帶來的甜蜜與痛楚。
"Behind the mask: Rose of Modernity" selects 48 sets of visual artworks (a total of 95 pieces) from 35 Taiwanese artists based on the collection of National Taiwan Museum of Fine Arts. The public far from Siberia will observe the following: the Taiwan of an innocent age getting influenced by modernization; how the beauty of Formosa and the simplicity of the Taiwanese has changed; the identity of Taiwan in international politics; the repression and liberation before and after martial law, right up to today when we are confident about self-expression and role-play. Traditional culture is also added to with new language, the contemporary artists employing all manner of conceptual approaches to unveil the essence of modernity.
「透視假面-甜楚現代性」
"Behind the Mask: Rose of Modernity"
時間Time：2019. 09.18- 2019.11.18
地點Venue：俄羅斯克拉斯諾亞爾斯克美術館(Krasnoyarsk Art Museum "Ploshchad Mira", Russia)
策展人
安德列．馬提諾夫(Andrey Martynov)、楊衍畇(Yunnia Yang)、謝爾蓋．科瓦列夫斯基(Sergey Kovalevsky)
安德列．馬提諾夫(Andrey Martynov)、楊衍畇(Yunnia Yang)、謝爾蓋．科瓦列夫斯基(Sergey Kovalevsky)
Curators
Andrey MARTYNOV, Yunnia YANG, Sergey KOVALEVSKY
Andrey MARTYNOV, Yunnia YANG, Sergey KOVALEVSKY
參展藝術家
張照堂、張乾琦、張詠捷、陳敬寶、陳順築、陳宛伶、齊柏林、簡永彬、邱國峻、周慶輝、莊榮哲、韓筠青、何經泰、何孟娟、侯聰慧、謝春德、黃建樺、黃明川、洪政任、高重黎、高志尊、李小鏡、梁正居、劉振祥、梅丁衍、潘小俠、沈昭良、許哲瑜、蔡文祥、曾敏雄、王有邦、吳政璋、吳天章、姚瑞中、袁廣鳴
張照堂、張乾琦、張詠捷、陳敬寶、陳順築、陳宛伶、齊柏林、簡永彬、邱國峻、周慶輝、莊榮哲、韓筠青、何經泰、何孟娟、侯聰慧、謝春德、黃建樺、黃明川、洪政任、高重黎、高志尊、李小鏡、梁正居、劉振祥、梅丁衍、潘小俠、沈昭良、許哲瑜、蔡文祥、曾敏雄、王有邦、吳政璋、吳天章、姚瑞中、袁廣鳴
Participating Artists
CHANG Chao-Tang, CHANG Chien-Chi, CHANG Yung-Chieh, CHEN Chin-Pao, CHEN Shun-Chu, CHEN Wan-Ling, CHI Po-Lin, CHIEN Yun-Ping, CHIU Kuo-Chun, CHOU Ching-Hui, CHUANG Jung-Che, HAN Yun-Ching, HO Ching-Tai, Isa HO, HOU Tsung-Hui, HSIEH Chun-Te, HUANG Chien-Hua, HUANG Ming-Chuan, HUNG Cheng-Jen, KAO Chung-Li, Jonathan KAO, Daniel LEE, LIANG Cheng-Chu, LIU Chen-Hsiang, MEI Dean-E, PAN Hsiao-Hsia, SHEN Chao-Liang, SHEU Jer-Yu,TSAI Wen-Hsiang, TSENG Miin-Shyong, WANG Yu-Pang, WU Cheng-Chang, WU Tien-Chang, YAO Jui-Chung, YUAN Goang-Ming
CHANG Chao-Tang, CHANG Chien-Chi, CHANG Yung-Chieh, CHEN Chin-Pao, CHEN Shun-Chu, CHEN Wan-Ling, CHI Po-Lin, CHIEN Yun-Ping, CHIU Kuo-Chun, CHOU Ching-Hui, CHUANG Jung-Che, HAN Yun-Ching, HO Ching-Tai, Isa HO, HOU Tsung-Hui, HSIEH Chun-Te, HUANG Chien-Hua, HUANG Ming-Chuan, HUNG Cheng-Jen, KAO Chung-Li, Jonathan KAO, Daniel LEE, LIANG Cheng-Chu, LIU Chen-Hsiang, MEI Dean-E, PAN Hsiao-Hsia, SHEN Chao-Liang, SHEU Jer-Yu,TSAI Wen-Hsiang, TSENG Miin-Shyong, WANG Yu-Pang, WU Cheng-Chang, WU Tien-Chang, YAO Jui-Chung, YUAN Goang-Ming
國美館特展網頁(National Taiwan Museum of Fine Art official website)：
https://event.culture.tw/NTMOFA/portal/Registration/C0103MAction?useLanguage=tw&actId=90122&request_locale=tw
俄羅斯克拉斯諾亞爾斯克美術館特展網頁(Krasnoyarsk Art Museum " Ploshchad Mira" official website)：http://mira1.ru/event/827
策展人導覽影片(感謝俄羅斯文化媒體культура24.рф專訪)
Curators ( Yunnia Yang & Andrey Martynov) guiding the exhibition " Behind the Mask: Rose of Modernity" for Russian-speaking audience ( interview by Russian cultural media " Culture 24" from Krasnoyarsk)
