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策展實績 > 風的味道─沃沃美學空間開幕首展 The Wind ─ The Opining Exhibition of wòwò Aesthetics

風的味道,風,我們感受到它,是因它的吹動。氣流攪動了鄉村、河流、城市街區、商店以至人群的氣息。每個地方,風都有不同的觸覺及嗅覺,裡面混雜著風吹過每個地方所捲入的一切人事物。本次展呈出一種生活美學,這是由地方紋理及生活節奏所共織下產生的美學態度。風既一種比喻又是具體的體感,它隱喻著文化的交雜產生的味道,也體驗風的吹動過程,帶來的地方及城市各種可能的氣息。 

在全球化的當下,人們頻繁的移動,新的移動人口移入城市、舊城區景觀不斷更新、生活樣貌愈趨多元,顯現一段移動和社會關係的軌跡,「風」可以滑行於不同的景觀的空間邊界,除非你完全封閉它,否則它可以輕易穿越經濟及社會的界線,將原本的寂靜不動,擾動成不同的氣息風旋與流動。「風」也是有聲音,它時而寂然無聲,時而喧囂呼嘯,所席捲出各種氣味、聲響,象徵一種文化的混雜碰撞。其間有抵抗也有共容,且兩者常常並存。這次展出設定了「文化交雜」、「地方氣息」兩個主要內容。七位藝術家都以其各自面對及關注在地的風景氣息或文化擾動的過程,提供觀者的對生活美學的思索。 

「文化交雜」指的是異質文化的纏結所形成的文化現象。藝術家林正偉收集在地塑膠袋拼貼出的各種塑膠毯,呼應展出地域的各種文化線索;從蒐集不同在地素材的文化圖像過程,借用阿拉丁神毯的概念,飛毯隨風飄升,藉風的作用連結出時間、歷史與當下生活。塑膠袋如同欲望的載體,底部的基座來自新竹正在改建的房屋廢棄物,則象徵歷史、記憶的快速頹傾消逝,兩者的對比交織,述說這片土地生活的人們淡淡的無奈。黃盟欽的《他方織夢》探討全球化移工議題,述說外籍移工跨越隱形的界線,對於「故鄉」、「異鄉」間的流動關係,也正反映全球化過程中,造成的制度性的經濟移動;這些隨風飄移的「他者」無形中與在地文化形成緊緊的依存關係。 

展覽另一部分「地方氣息」,藝術家游文富「山水羽境」系列,以鳥類白色羽毛為素材,暗示著自然及飛翔。他將潔白的羽毛布局成為山水畫的意境,也意味著隨風飛翔的羽毛,在小小方面的畫幅之間,藝術家心靈得以自由翱翔於山水自然,也蘊含了天人一體的傳統文人氣息。王挺宇則關注人與自然環境,作品畫面上常採用一層層的塗抹、打磨、添加、刮除等手法,其目的如他在〈靜物畫〉所說:「乍看之下是一件件抽象或半抽象的作品,但貼近看之後會發現其實這些看似陌生的痕漬,其實也是我們最熟悉的圖像經驗。與其說這些靜物是被『畫』出來的,不如說這是我將這些影像/靜物,以『現成物』的概念蒐集拼貼而成。在做這些作品的最初,其實是認真的描繪眼前的影像或圖鑑,在經過多層的顏料覆蓋、堆疊、打磨後,剩下的色彩與線條,已經不是原先的那個模樣了。」他的作品中若有似無的顯現出物質世界風化、飄散氣質,讓一位置給時間、歷史容身,觀者可於其中發掘、考古。許喬彥「像風一樣」系列作品,所創造的記憶風景,如同藝術家所說:「在這看似自然卻與顛置相對並陳的『生活舞台』,有著看似飄逸卻又被侷限的擺弄陳設,猶如藝術家自身處於現實與幻想混沌之際,想飛卻終究難以翱翔。木枝梢上的造型物作為生命棲所的隱喻,表述人對於棲居的渴望,它們好比懸在樹梢上的巢穴,脆弱地掙扎於自然環境的絕望中。時間彷彿無休止的一集劇情,記憶的擾動有時如風,說來就來,說走就走,無法言述的空寂也好似身邊來去自如的風,不曾留下一點風情,所有的事物終將化為記憶,漸漸褪色。」 

本次「風的味道」為沃沃美學空間的開幕首展,我們特別針對在地新竹,邀請在地藝術家姚植傑、吳易澤參展,表達出對在地地景的描繪與感受。新竹是風城,陳明章《新竹風》唱著「輕輕仔聽風來唱歌,一步一步走入竹塹城,遠遠的十八尖山,深情的南寮漁港,住在這有風來作伴。」風的相伴,伴的是自然景色、是老城歷史、是風俗掌故、是人情,更是美學。因為新竹的多風,帶來了這麼多的人文藝術與科技氣味。姚植傑長期在新竹從事美術教育,作育無數藝術家。他對在地的描繪帶著在地人悠閒而溫潤的情調,畫中地景都是畫家生活的寫生。他喜歡到處寫生親近自然,「以大自然為師」尋求創作資糧,近年,更落實畫筆不離身,把握每一個當下不斷的描繪自然、再創意境,從寫生得來的啟發,由有形的表現轉換到無形的思維,再求意的超脫而成抽象。吳易澤畢業於新竹教育大學藝術與設計學系碩士班,作品取材於偏僻地區的風景和植披、廢棄推,嘗試用這些環境裡被人遺忘的不毛之地轉化成為內在聖地,這些邊緣地帶熟悉又倍感疏離,曖昧的狀態讓我們脫離常態,靈魂在裡面反而獲得了喘息呼吸。吳易澤喜歡挖掘這樣的事物,並在其中找尋一絲與其有關的連結,不論是自身對過往記憶或所處環境對映到從前生活經驗。他將常常被忽略的日常不顯眼的風景,利用風景述說故事,這些故事則是一位創作者對生命的感觸。 

「風的味道」展呈了當代藝術家對新竹及其他地方各種氣味的一種敘事或表達。風者諷也,代表著在地的聲音;風它催動、流動著氣息,可以讓我們起飛的巨大力量,也可以是怡人的徐徐清風。我們期望在藝術創作中,能感受風鼓動時所飄散出的一切,而能敏銳的嗅聞、感受它們。


We feel wind as it blows. When wind stirs the air in countryside, in rivers, on urban streets, in shops and among people, it blends all the odors of people and objects, constructing different senses of touch and smell. The exhibition The Wind intends to demonstrate the aesthetics in life that is woven by the local structure and living tempo. Wind is a symbol as well as a sense, indicating the odors of interwoven culture and the scent from other cities.

As people shift in the globalization era, migrants enter cities, old town areas alter and lifestyle verifies, leaving traces of migration and social relationship. Wind can flow through these landscapes and cross the economic and social borders, interfering the atmosphere, unless it is blocked completely. You can hear wind. It is sometimes silent, sometimes roaring. The odors and sounds it brings symbolize cultural collisions, consisting of conflicts and coexistence. The exhibition includes two sections – <Cultural Collision> and <Local Odor>, in which seven artists provide the audiences with their thoughts on the aesthetics in local landscapes and culture.

<Cultural Collision> is a cultural phenomenon of clashes in cultures. Constructing plastic blanket from plastic bags, the artist LIN Cheng-Wei echoes the local culture through collections of local elements. Borrowing the symbol of Aladdin’s blanket, time, history and the local life is brought up as the blanket flies in the wind. The plastics bags represent carriers of desire; the base of the artwork, inspired by the constructing houses in Hsinchu, symbolizes the fading history and memories and the helplessness of the locals. Discussing the migrant workers under globalization, HUANG Meng-Chin’s artwork depicts the workers’ and the economy’s migration between their hometown and foreign countries, also reflecting the workers’ connections with the local culture.

In <Local Odor>, arranging white feathers with the atmosphere of Chinese paintings, the artist YU Wen-Fu’s series artwork “The artistic scene of Chinese Landscape in the Feathers” indicates that as the feathers flow in the paintings, the artist’s mind could fly freely in nature, displaying the mergence of nature and human. Focusing also on human and nature, the artist WANG Ting-Yu adds and scrapes layers of paints to display the vague atmosphere of eroded substances, reserving a space for time and history, allowing the audiences to explore. He once said, “The seemingly foreign traces on the abstract artworks are, in fact, images we are most familiar with. Instead of saying that these creations are painted, it is more accurate to say that they are constructed with collected ready-made objects. I was devoted in depicting the images when I began creating. As paints pile up, the images change, and only colors and lines remain.” The artist HSU Chiao Yen creates sceneries in his memories in his series artworks “The Wind”. As he said, “There are floating but limited objects on the stage of life, representing my unfulfilled desire of flying in between reality and fantasy. Expressing human’s desire for residence, the objects are hanged on the branches like struggling nests in trees to symbolize residence for lives. Time is like a non-stop drama, stirred by the coming and going winds of memories and loneliness. Everything would turn into faded memories.”

The exhibition The Wind is the opining exhibition of wòwò Aesthetics. Local artists –YAO Chih Chieh and WU Yi Tze are also invited to display their depictions of local landscapes. CHEN Ming Chang’s song “Hsinchu Wind” sings, “Hear the wind sing slowly, enter Hsinchu City step by step, the distant 18 peaks, the tender Nanliao harbor, wind companies with citizens.” Hsinchu is a city of wind. Wind brings culture, arts and technologies, as the nature, history, people and aesthetics is accompanied. Dedicating himself to artistic education in Hsinchu City, the artist YAO Chih-Chieh paints local sceneries and his life with relaxing and warm strokes. Taking nature as his inspiration, the artist is fond of painting in nature. Bringing paint brushes with him everywhere in recent years, he seizes every moment to depict the nature, transforming visible expressions into invisible concepts and even abstractions. WU Yi Tze graduated from the Master’s program of Department of Arts and Design in National Hsinchu University of Education in 2014. Portraying the sceneries, plants and wastes in rural areas in Taiwan, the artist tries to transform barren lands into sacred mental areas. The barren lands seem familiar and foreign, making us leave the usual situation while letting the spirits in these places breathe. He tries to find connections with the scenes, either his memories or life experience. Telling stories through the commonly overlooked landscapes, the artist expresses his feelings of life.

The Wind shows the contemporary artists’ expressions on the odors in Hsinchu or other places. Wind is the local sound. It is so powerful that it lets us fly; it is so tender that it makes us relax. We expect that we could sense the odors of wind in the process of creating art.

展覽照片

風的味道 展演空間-1 Exhibition space-1
游文富 / 圓幅山水(2) YU Wen Fu /2013
鴨翅羽毛、壓克力顏料、大 頭釘、畫布 Feather, acrylic, nails, canva
林正偉 / 九降風 LIN Cheng Wei / Winds of September2016
石頭、鐵、塑膠、風扇 Stones, iron, plastic, fan
風的味道 展演空間-2 Exhibition space-2
風的味道 展演空間-3 Exhibition space-3