鏡 . 花園 系列展四 Garden of Mir(ror/acle) series exhibition IV The Practices of Everyday Life No.1. / No.2

鏡 . 花園 系列展四
Garden of Mir(ror/acle) series exhibition IV
The Practices of Everyday Life No.1. / No.2. : 何昱達Yuda HO
2013. 10. 19 - 2013. 11. 10
Opening : 2013. 10. 19, 8PM
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> 鏡 . 花園 系列展

李汝珍的鏡花緣，以神怪和女人為題材，遍述各種光怪陸離的奇人異事，以非現實的故事諷諭現實。在虛構的現實中，看似一種幻象，卻絕對地反射了真實的面貌。非現實的荒謬感，與對現實的放大和疏離，讓人不期然的發現了真實的輪廓。鏡射出來的偽現實，成了一種現實的變形。這道變形的光將我們都照的輕盈而扭曲，如此我們才算真正的進入花園，進入既虛幻又真實的當代社會花園。
「鏡.花園」系列展，乃以城市為眼所住、口所言的對象，不僅意在景觀/奇觀化當代社會的面貌，也將之轉演為一則則的城市預言。因此，「鏡.花園」系列展從主題式的策劃概念出發，將聯展解構為連續的個展形式，非但讓藝術家完整呈現作品的理念，觀者也得以在單一且完全呈現的展演情境中閱讀。
「若要曉得這鏡中全影，且待後緣」- 李汝珍


> The Practices of Everyday Life No.1. / No.2.

如果將城市看作ㄧ個巨大機器，它無時無刻都在運行著繁殖，破壞，與再造的過程，而生活在城市中的人們，終其一生也就為了服侍這巨大機器而勞動，工作。我們無力去改變這城市，相反地，我們隨著城市ㄧ同呼吸，脈動，透過影像，建築與景觀中累積我們對城市的感知。在這永無止境的機器運動中，"記錄，城市”成為我每日的練習工作。

no.1
在空間中懸掛起6面並置的螢幕，兩台投影機對立設置，投影出所拍攝的ㄧ天24小時的影像片段，但卻彼此時序相反。投影光線的逐漸螢幕並置擴大失焦，當光線失焦的同時亦象徵時間的消逝。而兩台投影機的光線重疊交錯，代表ㄧ個時間的消散，與另ㄧ個時間的開始，影片的循環與投影光的循環，創造出ㄧ個週而復始，日複ㄧ日的生活週期。

no.2
把在城市中的景觀，以水平與縱向的方式將影片做切割，在縱向的影像中，影像中的人物像是在面對自己，與自己對話的過程；在水平的影像中，則是橫切把人從中間切開，構成ㄧ個沒有頭（思想）只有腳的物體，在城市中勞動，行走。



(EN)

> Garden of Mir(ror/acle) series exhibition

The themes of Flowers in the Mirror by Li Ruzhen include spirits, devils, and women, creating various strange and weird characters and events. Fictional stories contain metaphors of reality. In the fabricated reality, things which look like illusions actually reflected truths. Non-real ridiculousness enlarges and alienates reality, making people see outlines of truths unexpectedly. False reality reflected from the mirror is another form of reality. This light of deformation shines on us, making us light and twisted. This is when we actually enter the garden, the garden of the contemporary society which is illusory and authentic at the same time.

The “Garden of Mir(ror/acle) series exhibition” focuses on subjects in the city which we see and talk about. The purpose is not only to transform the appearance of the contemporary society into landscapes and spectacles but also to turn it into urban prophecies. Therefore, based on the concept of theme planning of the “Garden of Mir(ror/acle) series exhibition” series exhibition, the joint exhibition can be decomposed into several continuous solo exhibitions, where not only artists can present ideas of their works completely, but also visitors can put themselves in one single and complete exhibition situation.

“To know the full image in this mirror, wait for the upcoming fate.” - Li Ruzhen


> The Practices of Everyday Life No.1. / No.2.

Taking consideration into the city as a self-motion machine, the function of city operates autonomously in which the role of human being is relatively limited, and the density of human being is nothing less than serving to this system within little changes and improvements. On the contrary, we breath and live in the city rhythm whereas image, architecture and the spectacle accumulate our perception to the city. In this endless circulation mechanical movement, the way of documenting city life becomes my practices of everyday life.

no.1
By hanging 6 parallel fabric screens in the space, the moving image is projected by the two projectors from the opposite position enlivening a journey of everyday life in 24 hours. When two projected images are overlapping as a montage of broken screens, the beam of projection light represents the beginning of one time and the disappearance of the other. The loop of light and images thus acted as space inverting boundary surfaces between inner and outer space in a way reminiscent of Escher’s etching “three worlds”.

no.2
In this installation, the urban landscape is visually divided by a vertical line and a horizon line. In the vertical direction, the moving image create a mirror effect which evokes a scenario of self-consciousness. In the horizon direction, the character of image presents a sci-fi look creature with only 4 legs which represents a urban symbolism in human tragedy.