2001《閱讀台灣,1212》 Reading into Taiwan, 1212


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《閱讀台灣,1212》

Reading into Taiwan, 1212


游本寬 2001 展於 新竹,交通大學藝文中心




Reading into Taiwan, 1212:

Between Real and Unreal Images Works II,III,IV

Artist: Ben Yu / 1997


Between Real & Unreal is a photographic index centered around the manifestation of fake objects which represents the larger phenomenon of cultural deconstruction. Using characteristics inherent to photography such as fine detail and image veracity the series encompasses artificial or “unreal” objects found throughout the “real” or actual environment. The intricate symbolic philosophical discourse that develops among the images reflects the artist’s personal feelings about contemporary Taiwanese globalization and cross- cultural existence.


The photographs are formally constructed like amateur snapshots yet retain an objective quality in their approach. The great quantity of photographs echoes the pervasiveness of the subject matter. Their large physical presence serves to make visible the visual, psychological, and cultural punctum therein.


The photographs in Work II consist mainly of fake animals that exist in Taiwan’s public spaces and more sociologically significant figures such as the Buddha. The complex arrangement of twenty-five various sized photographs seen on the museum wall forces the audience to mimic the action taken by the artist when selecting a point of view from which to photograph.


Virtual monuments are erected in Work III (fake policeman by the sea) and Work IV (beached squid) by compositionally isolating the image. In the exhibition space they are placed close, side by side, encouraging dialogue between the two.





《真假之間》影像系列



台灣,一個位處於科技、商業要衝的島嶼,在全球化紀元中所顯現的各種文化現象,有太多的歷史、地理及政治因素可加以追溯和體恤。1986年前後,當作者正在西方接受藝術教育期間,曾多次往返於東西二地,藉由比對的機緣開始對當代環境,尤其是真實與假象間有更深層的感受,因而促成了本系列的創作計劃。


《真假之間》創作的核心理念是:在當代環境中,以特定的人工物,試以“由小觀大”的認知模式,經由照片呈現台灣在世紀末所蛻變出的“即時性”文化。一種美其名為國際化,實際上是沒有強烈的文化自覺,在傳統或後殖民的基礎上,無視現存的景觀,雜亂拼貼時尚產物所造成的“虛擬後現代”幻象。文化養成中的時、空因素,對新一代而言似乎並不重要,因為追求新穎是無須瞻前與顧後。因此,新景物既沒有地域性經緯的牽絆,也無視歷史縱軸的包袱;一種跨時、空、國界全人類文明的大解構。而在這其中還夾著“只要我喜歡有什麼不可以”的浪漫世俗。文化於是成“用完便丟”的消費。


對此現象照相機發揮了表現與記錄的特質,照片則有文化地圖般的功能。《真假之間》首期拍攝的內容是:在公共場所中隨意擺置的水泥或塑膠動物;接著是:有明顯社會、文化象徵意涵的塑像;第三期則延伸至各種人造的景觀。


這些物象在照片中的賦形,密集採用「正面」、「順光」、「中距離」、「長景深」,和「隨手快拍」的鬆散式構圖,意圖讓似科學紀錄般的影像能暗示真實性。除此之外,“多量”的影像是一種普遍性存在的論述。至於影像在展場中的巨大尺寸,並非全為了架構出身臨其境的幻象,更重要的是,凸顯現實裡為肉眼忽略的小物件,在經由放大之後,扮演出如羅蘭‧巴特影像論述中的“刺點”。事實上,《真假之間》影像中的刺點,並不只是視覺性的存在,更是心理和文化面的痛處。


游本寬 , 2001


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