移居者 The Immigrant

地點: 新竹市美術館 時間: 2018.2.09(五)-4.29(日) 09:00-17:00(週一休館)

陳永賢CHEN Yung Hsien

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英國布萊頓大學藝術與傳播研究所博士,臺灣國際錄像藝術展創辦人,並擔任第一屆及第二屆策展人,現為國立臺灣藝術大學專任教授。創作主軸探討身體與場域、個體與社會、人與環境、自身與他者的流動關係,並關注個人在社會群體中生活規則的認同差異,作品反映社會矛盾。《市場諸眾》系列作品透過人物圖誌形式,近身記錄了菜市場中的人情味與在地文化故事,亦呈現了傳統市場中最真實的常民美學及日常記憶。 CHEN Yung Hsien, PhD of Arts and Communication from The University of Brighton, England, founded and curated Taiwan International Video Art Exhibition. He currently serves as a professor in National Taiwan University of Arts. His art works raise discussions on the relationship between body and space, individual and society, human and environment, self and the others, focusing on the differences among each individual’s recognition of social rules, reflecting dilemmas of the society. Through photos of figures, the series works “The Multitudes in Market” record human warmth and local culture in traditional markets, displaying the aesthetics of common people and their memories. 創作自述 《市場諸眾》系列

從日常食物流通的角度切入議題核心,關於生產、消費與地方、全球之間的從屬關係,對照於生活習慣下的庶民場域,受到個人行動及社會結構的異動而產生變化。產地到餐桌的距離,其中一道轉驛站,即停留在傳統市場的場域。現今,傳統菜市場早已面對超級市場、大賣場系統化的連鎖經營模式,隱隱在瞬息驟變趨勢下,對經濟體軸距產生交互拉扯。這樣的現地觀察,不僅是對凝聚人情味的聚落,擦撞出無聲衝擊,也對全球化經濟權力結構的轉移反思。

傳統市場作為常民的生活象徵,如何反應區域的文化地理特性?作為一個具差異性的有機體,如何以演繹概念來看待社會現實反射?進一步來說,傳統市場是一群移動人口的聚集所在,他們在零售與物流轉運之消費模式中,面對龐大資本的物流中心和商品條碼環伺情境裡,以自身勞動實踐與價值轉換之間,產生了不可視的抵抗作用。《市場諸眾》藉由社會流動的系統作為地景介面,從地方現象到流動者演化,檢視包括小農生產、市集轉型、攤販衰退危機,以及經濟壟斷貨源等思辨,忖度著生活次文化的承載價值。

《降臨天使》

新富市場及東三水街市場保留中元普渡的傳統習俗,這是從日治時期至今所依循的做法,他們特別選擇延後一個月來舉辦,以避開民眾集中採買的時段。作品概念來自於此,儀式性的祭典源自日常生活的信仰轉喻,所召喚的不是道德教條本身,而是共同儀式的神話背後,關於集體意識裡,對於天地的尊敬與未來世界的想像。《降臨天使》將常民聚落轉化為藝術對話,一場時空場域錯位之下,人物和場所精神產生異次元投射。

從傳統市集的形式與內容,來思考這個異同世界的制約身分和離散作用,提問人們是如何看待場域中的身分存在、也探討人與飲食習慣的交互關係。充滿鏡映的圖樣對照,猶如阿卡迪亞(Arcadia)成為詩人心中的烏托邦理想國,在此被倒轉成一個觀景台,諸神的俗世體驗與神祇庇佑給人慰藉,提供當代社會無所不在的景觀。這是時間的邊界,一邊是當下寫實刻畫,另一邊是虛幻想像,社會真實姿態和神靈般的天使,兩者拉出一條線,彼此共同遇合的生命線,演繹出人造社會框架裡的真實界線和神格想望。

《梭巡》

穿越一道馬蹄形的迂迴結構,透過身體軌跡掃描老建築內景觀的概念,將各種新舊物景封存,刻意凝結秩序外的流變狀態,並緩緩檢視過往殖民年代的游離映像。《梭巡》(Suoxun)以社會意識而聚焦個體,濃縮地理圖景而聚焦身體,提出對於「環境與人」之現實處境。這樣的對比作用,猶如薩爾曼‧魯西迪(Salman Rushdie)《想像的家園》(Imaginary Homelands)指稱一種近乎游離行為,反映著當代社會中的移動者經驗。 梭巡者代表一種社會流動,他們近乎一種游盪的肢體行為,既是飄泊,也是文化碎片化的遷徙狀態,並且膠濃於變動不居的處境。

《我在這裡》系列

出現在鏡頭裡的凝視之眼,讓身體穿越時空回返而帶來的差異,人物表情意識到包含了這個時代人的一種願望和期待,也真實地反映當下的生存狀態,或者說是自己對生存的一種熱望。除了身體的存在感,這個「凝視之眼」也是故事源之一,無論是關注於物件或與姿態之關聯出微妙的期盼,以及這些社會底層人物,對現實社會所滋生的反向離心力後的表現。凝視裡的「時間-影像」(time-image)之時空延展,在韻律、時延、重覆與符號隱喻,對於再現的事件所給出的此時「痕跡」。《我在這裡》試圖刺破身體與物體之間關聯,運用身體所能呈現的凝視姿勢之極限,來講述一種即刻的狀態。 The Multitudes in Markets

Through the mobility of food in common people’s life, the series works “The Multitudes in Markets” discuss the subordinate relationship between production and consumption, local areas and the globe, as well as how the relationship changes due to personal activities and the alteration of the social structure. Traditional markets as one of the relay station between farms and dining tables, confront the chain operation of supermarkets and hypermarkets, getting involved in the economic tug-of-war. The artist’s observation is not only a soundless strike on the gathered human warmth but also a reflection on the transference of the economic structure in the globalization era.

As a symbol of commoners’ life, how do traditional markets reflect the features of the local culture? As an organism that contains different elements, how do traditional markets view the reality through reasoning? To be more specific, as a space for groups of migrants to gather, traditional markets apply labors and transfer values, so as to generate invisible resistant effects against the retail-logistics consumption mode and the barcode system from logistics centers with massive capital. On the basis of social mobility system, from local phenomenon to migrants’ evolution, “The Multitudes in Markets” inspects issues of small-holder farming, market transformation, vendors’ decay crisis, resource monopoly, etc., questing the value of subculture in life.

The Angels Are Coming

The Ghost Festival customs in Xinfu Market have been passed down since the Japanese colonial era. It is intentionally postponed for a month to avoid mass purchase. The ceremony-like festival is a metonymy of religions in daily life. It summons not the morals, but the respects to the space and the imagination of the future in the collective consciousness behind the ceremony. Transforming commoners’ space into artistic conversation, “The Angels Are Coming” generates an extradimentional projection of people and the spirit in the space in a dislocation of time and space.

Discussing the social conditioning and discrete effect in the extradimentional space through traditional market’s form and content, the artist quests how people understand their identity and the inter-relationship with their dietary habits. The mirror-like images as a comparison, being similar to Arcadia, the Utopia to poets, is reversed into a view point to the modern society, where the comfort and protection that gods bring about can be observed along with the gods’ experience in human world. The view point is on the border of time, on one side stands realistic portrayals, on the other side stands fantasy. The reality and the angels form a line on which they encounter, displaying the border of the reality and human’s desire of gods in the social structure.

Suoxun

Through crossing a circuitous u-shape structure and scanning the old building’s interior with body movements, both new and old objects are sealed, alterations beyond the order are frozen on purpose, while scenes of the colonial era are inspected. “Suoxun” focuses on individuals in social ideology and figures in condensed geographic images, proposing the reality of environment and human. The comparison is a behavior that approximates to translation in Salman Rushdie’s work Imaginary Homelands, reflecting the migrants’ experience in modern society. The Suoxuners represent a social movement, a nearly wandering physical behavior. They drift, migrating as a piece of their culture in the constantly changing environment.

Here I am

The staring eyes in the photography, the differences that the figures brought back after time travel. These people’s countenance includes the era’s wishes and the people’s living status at the moment; or in other words, their expectation of their own life. The figures’ existence forms the story together with the staring eyes, which expresses expectations from inspection of objects, as well as gestures and the anti-centrifugal force to the reality from these people of the lower class. The time-space extension of the time-image in the stares provides the reproduced events with traces through metre, time extension, repetitions and signifiers. “Here I Am” intends to penetrate the connection between body and objects, telling the current status through extreme stares.

參展作品

陳永賢 - 《市場諸眾》#1 The Multitudes in Market #1
陳永賢 - 《市場諸眾》#1 The Multitudes in Market #12018 1組5件 120cm x 175cm x 5-1p
影像裝置 photography installation
陳永賢 - 《市場諸眾》#2 The Multitudes in Market #2
陳永賢 - 《市場諸眾》#2 The Multitudes in Market #22018 1組5件 120cm x 175cm x 5-2p
影像裝置 photography installation
陳永賢 - 《市場諸眾》#3 The Multitudes in Market #3
陳永賢 - 《市場諸眾》#3 The Multitudes in Market #32018 1組5件 120cm x 175cm x 5-3p
影像裝置 photography installation
陳永賢 - 《市場諸眾》#4 The Multitudes in Market #4
陳永賢 - 《市場諸眾》#4 The Multitudes in Market #42018 1組5件 120cm x 175cm x 5-4p
影像裝置 photography installation
陳永賢 - 《市場諸眾》#5 The Multitudes in Market #5
陳永賢 - 《市場諸眾》#5 The Multitudes in Market #52018 1組5件 120cm x 175cm x 5-5p
影像裝置 photography installation
陳永賢 - 《降臨天使》 The Angles Are Coming
陳永賢 - 《降臨天使》 The Angles Are Coming2018 Single Channel Video 4min 28sec
單頻道錄像,彩色/有聲
陳永賢 - 《梭巡》 Suoxun
陳永賢 - 《梭巡》 Suoxun2015 Single Channel Video 7min 28sec
單頻道錄像,黑白/有聲
陳永賢 - 《我在這裡》#1 Here I am #1
陳永賢 - 《我在這裡》#1 Here I am #12018 Digital print 267cm x 160cm
美術館外牆玻璃 數位輸出
陳永賢 - 《我在這裡》#2 Here I am #2
陳永賢 - 《我在這裡》#2 Here I am #22018 Digital print 267cm x 160cm
美術館外牆玻璃 數位輸出
陳永賢 - 《我在這裡》#3 Here I am #3
陳永賢 - 《我在這裡》#3 Here I am #32018 Digital print 267cm x 160cm
美術館外牆玻璃 數位輸出
陳嘉壬 CHEN Chia-Jen