台北當代藝術館_第二屆Pulima藝術獎_藝術家訪談_潘士豪 скачать в хорошем качестве

台北當代藝術館_第二屆Pulima藝術獎_藝術家訪談_潘士豪

展覽名稱│2014第二屆Pulima藝術獎 2014 The 2nd Pulima Art Award 展覽時間│2014/11/15-2015/01/04 展覽地點│台北當代藝術館 MOCA Taipei 第二屆Pulima藝術獎 優選獎：藝術家 潘士豪(Pan, Shih-Hao) 作品名稱│穿梭情慾-借了父親的記憶風景 Through Desire: the Scenes from the Memory Barrowed from My Father 年度教育贊助│文心建設 「透過父親傳達過去經驗，才能隱約知道自己的家族與部落。我將這些情感，藉由父親的口說風景作為開場，重新將都市生活跟情感經驗相連結…」 潘士豪出生在台南，就讀於國立臺北藝術大學美術學系美術創作研究所，曾獲邀於國內各大美術館與藝文空間展出。雖流有排灣族的血液，但自小就於都市成長，致使自己對原鄉家族的記憶連結感到模糊。本次得獎作品〈穿梭情慾-借了父親的記憶風景〉，以自己唯一與原鄉有連結的關鍵角色-父親作為出發點，透過父親口述中的往日生活與記憶事件，尋找著自己與原鄉有關聯的事物。 〈穿梭情慾-借了父親的記憶風景〉以三組件的油畫作品作為呈現，畫面中繪有父親或族人口述中的部落風景，並將這些記憶的風景加以拼貼重組。過程中，隨著他者的記憶和敘述而形成的陌生與質疑，被藝術家轉化為一種歪斜的視覺構圖，藉此打破一般人觀看繪畫的習性，並重新思索現實與期望之間的差異。在這同時，藝術家以情感抒發的手法，將顏料噴灑在畫面上，為畫中的城鄉風景注入了非單一化的視覺經驗與觀賞方式。藝術家對於雙重視覺的利用，一是讓城市意象和原鄉景觀上下倒置，二是在兩者之間以七彩琉璃珠的抽象圖案作為銜接，並以諧音轉義的手法，讓象徵追求美夢的「琉璃」和在城鄉之間移動的「留/離」，或將描繪原鄉「圖騰」的活動，諧音轉義為一種心理治療意義的「塗疼」，顯然都有著價值取捨和思維辯證的用意。 Through my father’s conveying of past experience, I can know my own family and tribe vaguely. By using my father’s description of those emotions as the opening, I reconnect the city life and the experience of emotions. Born in Tainan, Shih-Hao Pan is currently a graduate student at the School of Fine Arts at Taipei National University of the Arts. His works have been exhibited at various art museums and galleries in Taiwan. A Paiwan aborigine by ancestral heritage, Pan was raised in the city. This causes a faint connection he feels towards his own cultural root. Based on this personal realization, Pan created Through Desire: the Scenes from the Memory Borrowed from My Father. In this work, his father, the only linkage the artist has with his tribal heritage, serves as the pivotal point of a journey in search of self-identity. Through accounts and memories he hears from his father, Pan explores his relationship with his cultural root. In Through Desire: the Scenes from the Memory Barrowed from My Father, descriptions of the tribal environments by Pan’s father and other fellow tribal men are collaged and reconstructed into a triptych of oil paintings. During the process of drawing on memories and accounts of others, the artist experienced inevitable alienation and doubts about the reality, which he expressed in the distorted composition and perspective of the paintings. By so doing, he challenges the audience’s way of viewing a painting and forces the viewer to revisit the discrepancy between the reality and expectations. In the meantime, the splash of paint added to the paintings is not only a way for the artist to express emotions, but also to infuse another layer of visual experience and possibility of viewing. Thoughtful juxtaposition is evident in the work as it is found in the mirroring images of urban and tribal scenes. The artist’s skillful incorporation of the colorful glass beads between the two images speaks of another example of such. Glass beads, which symbolize the pursuit of dreams, are homophonic with stay/leave (liu-li) in Mandarin, representing the physical relocation of people between a city and the country. Similarly, totem, the visualization of tribal activities, is pronounced as tu-teng, literally meaning erase and pain, in Mandarin. The connotation of psychological counseling is thus embedded in the work. Implied in these examples are the decisions to be made and the dialectics that owing to take place in the face of contrasting values.