DOPPELGANGER
第二身 / Doppelganger著名美學家阿瑟.丹托曾說,「藝術之所以變成藝術,是因為它被看作是藝術,以及被放置在藝術的脈絡來欣賞.」藝術創作和欣賞為一個共生的過程,藝術品的定義除了藝術家和藝術品本身,也端賴觀眾如何去觀看,有了此三者間的互動,藝術鑑賞的意義才隨之而完成.建基於對藝術家、藝術品和觀賞者三者間關係的思考.從2015年開始,我以此作為出發點,以忠實和客觀複製的手法創作.我把真實物品、及我對其仿造的擬真創作並置展示,若能在展示的過程中引起觀眾對創作物進行觀察,觸發從忽視到凝視的過程,觀眾一旦開啟了視覺感知的機關,藝術欣賞就能隨之而生.在這個發現藝術的過程中,觀眾有可能忽略,也有可能發現.這也正正呼應著我對創作提出的問題-何謂真實?何謂藝術.
這次展覽<第二身>,我繼續聚焦於「客觀重現」和「忠實複製」作思考和創作.複製本來就是藝術創作其中一個重要的屬性,在人類的藝術創作史中從不間斷.從數千年前的埃及已見大量的仿製品,一直到19世紀後期更發展成商業化的偽造騙案.藝術的起源本源於對生之模仿,在數千年的複製史中,也產生了各種有趣的文化及社會現象.扣除掉單純的造假事件,剥除功利的外殼,複製也並非只有負面的後果,它有一種矛盾的二元性力量,有不可預期的影響力.有時候它可以是弱化藝術獨特價值和單一性的元兇;但同時又有可能因圖像的大量傳播普及,而引發大眾對於被複製圖像的關注,甚至產生視覺上的集體記憶.藉此次展覽眾多的第二身,我希望探討複製的各種形式與現象. |
The famous philosopher and art critic Arthur Coleman Danto (1924-2013) once said that the reason why art becomes art is because it is regarded as art and is placed in the context of art, to be appreciated as such. Artistic creation and appreciation is a process of symbiosis: the definition of artwork not only depends on the artist and the artwork itself, but also depends on how the audience views it. It is the interaction of the three that completes the artwork. The relationship between these three - artwork, artist, and audience - must be considered. Since 2015, I have used this as a starting point, which I try to replicate faithfully in my art. I show real objects along with realistic creations imitating them. If this can draw the audience’s attention during display, then the process of observing and appreciating these objects as art can begin. In the process of viewing, the audience can choose to ignore the objects or discover them as art. This answers our core question about creation: what is reality? What is art? In this exhibition "Doppelganger", I continue to focus on "objective reproduction" and "faithful reproduction" for thinking and creation. Copying is originally an important attribute of artistic creation, and can be found going on uninterrupted throughout the history of human art-making. Even many thousands of years ago, large numbers of imitations can be seen in Egypt. By the 19th century, this developed into commercial forgeries and scams. Early art started with imitation of reality, and in the history of thousands of years of copying, various interesting cultural and social phenomena have also been produced. After removing mere fakes and stripping away the veneer of utilitarianism, we see that copying is not only a negative concept. It has a contradictory duality and an unexpected influence. Sometimes it can be the culprit that weakens the unique value and singularity of art; but at the same time, the mass dissemination of images may cause the public to pay attention to the copied images, and even produce visual collective memories. With my "doppelganger" exhibition, I hope to explore the phenomena of copying and reproduction in various forms. |
門票系列
門票上的圖像,或自於著名藝術家、或是人文風景名勝,在此都轉化成一種具代表性的符號,給予該場域一種新的精神象徵意義.而我對門票上圖像的再複製,則代表了我對該場域的記憶及遊覽紀錄,我以此手法見證圖像經複製而傳播的特性. |
The Series of Tickets
The images on the tickets, either from famous artists or cultural landscapes or scenic spots, are transformed into a representative symbol here, giving them a new spiritual symbolic meaning. My re-copying of the images on the tickets represents my memory and records of my travels. I use artistic creation techniques to witness the characteristics of image transmission through copying. |
石頭記 在旅程中,我最愛收集自然界中的礦石,它是大自然創造的藝術品,默默無聲的記錄著土地的歷史.而現代人對土地的挖空及填充,更不斷改變著人類的生活版圖,以澳門半島為例,從1863年第一次填海開始, 就以人為介入的方式,創造了一片比原面積多三分之二的土地,人類成為了真正意義的創世造物者.是以我以填充大地的沙石作為發想及基底材料,從根本意義上思考人與自然的關係. |
The Tale of Stones During a journey, I love to collect minerals in nature. It is a work of art created by nature, silently recording the history of the land. The hollowing out and filling of land by modern people is constantly changing the territory of human life. Take the Macau Peninsula as an example. Since the first reclamation in 1863, a piece of land that is two-thirds larger than the original area has been created by means of human intervention. Human beings have become true creators of the world. I use the sand and stone that fill the earth as the base material for my thoughts, and fundamentally think about the relationship between man and nature. |
第二身 世界上沒有完美無暇的分身,就算是工業化量產的複製品,也只能是趨於無限接近的模仿,物件終究只是極為相似的兩個個體.就複製這個議題,我深入思考第一身和第二身的關係,透過創作挖掘複製在精神上及創作手法上的可能性。 |
Doppelganger There are no exact copies in this world, no perfect clones. Even industrially mass-produced items are just copies which tend to be very close to the original. After all, any two copies are just independent individuals that are extremely similar, never identical. Regarding the topic of copying, I thought deeply about the relationship between the "first body" and the "second body" (its Doppelganger), and explored the spiritual and creative possibilities of copying through creation. |