YOURART藝游網>藝文情報>展覽>其他

好康優惠

2024台北新藝術博覽會

活動介紹

席時斌.記憶之宮

席時斌.記憶之宮

時間:2014/09/06 - 2014/11/02 《活動已結束》

地點:臺北市大同區公館路137巷1號4樓

單位:台北當代藝術館 《更多相關活動》

費用:新台幣50元

官網:http://www.mocataipei.org.tw/index.php/2012-01-12-03-36-46/upcoming-exhibitions/1222-2014-07-30-10-5

席時斌,1977年出生於台北,2007年國立臺北藝術大學造形研究所畢業,現工作及 生活於台北。席時斌曾先後入選「臺灣美術新貌獎—立體創作系列」、「台灣國際木雕競賽」、「高雄獎」、「台北獎」,並獲得2007國立臺北藝術大學「美術 創作卓越獎」,以及2012亞洲文化協會之獎助。作品除了曾在北京、上海、韓國、美國等地展出,也先後被國家文化藝術基金會、愛馬仕( Hermès )、路易威登( Louis Vuitton )、巴黎半島酒店…等國內外機構收藏。此外,亦曾多次參與公共空間環境藝術創作,以及國外藝術村駐村創作。   

席時斌跨足藝術創作並與時尚品牌合作。他的創作從日常景物、結構與形貌出發,結合古典 解剖學的淬鍊與傳統工藝技術的應用,開創了兼容神話想像、文學詩意和科工製作等不同興味的美學物件,以之來啟動人們當下的感知乃至於潛藏的「記憶」。席時 斌早期的藝術創作,圍繞著人與不同時空環境遇合而衍生的想像和思維;近年的大型立體雕塑,一面逆向應用當代數位圖像的挪用、複製、拼貼和合成手法,另一面 也回應了文藝復興以來,藝術名家們致力將創作與現實觀照、知識探索、典故學習、想像發揮、理念建構…等連成一體的人文視野。

【席時斌.記憶之宮】選集了席時斌近年的三十件代表作,除了呈現藝術家對造形語彙的獨 特見解及對不同空間氛圍的營造應用,整個展覽的內容,也鋪陳了席時斌自身記憶、個人想像與外在現實生活之間,時而重疊、時而錯置、時而相互拆解的不同狀 態。在當代館二樓的五個空間中,他以華麗的基調和多樣的創作風貌,開展了各自獨立又隱隱相關的五個主題:《記憶影像》、《宇宙》、《家》、《想像:身體與 動物的開始》、以及《大競技場》。其中,《記憶影像》透過非敘事性的內容和三頻道的影像,引導觀者自行串連閱讀藝術家提供的記憶元素。《宇宙》以低調的黑 色空間結合多件幾何抽象性的作品,呈現了藝術家對於城市、宇宙的想像,以及未來、不確定的徬徨。《家》則以紅色為空間主調,展出作品源自於藝術家童年的奇 想和生活場景的延伸;《想像:身體與動物的開始》,呼應了藝術家從空間設計轉向自由創作的背景和經歷,刻意以指涉理性計畫、關連到設計應用的藍圖材料,描 摹席時斌天馬行空的藝術想像和個人的情感記憶。201展間挑高空間中的《大競技場》,呈現席時斌近年來對於馬的形象,以及馬所代表的理想典型的反覆探索與 追求,七隻不同材料、不同造型、不同主題概念的馬,包括〈知識之馬〉、〈愛情之馬〉、〈星座與躍動之馬〉…等,除了呈現藝術家在形式語言與內容主題的表現 上,發展出多樣的思維模式和表現手法,並各有其藝術質感和審美趣味,也某種程度反映了席時斌透過這種創作的演繹和延伸來挑戰自我、突破自我、建構自我的一 種雄心和大志。

Born in 1977 in Taipei, Hsi Shi-Pin received his MFA degree of Plastic Arts from Taipei National University of the Arts in 2007; he now lives and works in Taipei. Hsi has won  the “Exhibition of the Newly Emerging Artists in Taiwan—3D Creation Series 2008 Selected Prize,” “International Wood Sculpture Competition of Taiwan 2008 Selected Prize,” “Kaohsiung Awards 2008,” “Taipei Arts Award 2010,” “2007 Outstanding Art Prize, TNUA,” and a project grant from the Asian Cultural Council. His works have been exhibited in Beijing, Shanghai, South Korea, and the United States. National Culture and Arts Foundation, Hermès, Louis Vuitton, Peninsula Paris Hotel and other domestic and international institutes have collected his works. In addition, he has participated in many public art projects and international artist-in-residence programs.

Hsi has been focusing on artistic creation and collaborating with various fashion brands. Starting off from the structures and morphology in ordinary life, his works combine his study of classical anatomy and the application of traditional craftsmanship. The artworks sufficiently reveal the compatibility of his mythic imagination, poetic implications and crafting skills, stimulating viewers’ perception as well as the “memory” embedded in their brain. His early works mainly focus on the imagination and the line of thoughts derived from how human beings interact and integrate with various environments at different time and space. His recent large-scale 3D sculptural works reversely apply some contemporary digital imaging techniques such as misappropriation, duplication, collage and synthesis. The results happen to respond to the united vision of humanity that artists have endeavored to achieve since Renaissance by amalgamating creations with the cores of humanities, such as the observation on reality, exploration of knowledge, allusion learning, using of imagination, and forming one’s philosophy.

The Memory Palace includes thirty artworks that present Hsi’s unique interpretation of art formation and the idiosyncratic application of diverse space and atmosphere. The entire exhibition has enumerated different states of the overlapping, misplacement, and disassembly of Hsi’s private memories, personal imagination and real life. In the five exhibition rooms on the museum’s second floor, Hsi’s splendid and diversified creations have been categorized into five implicitly related themes: “Image in Memory,” “Universe,” “Home,” “Imagination: Beginning of the Body and the Animal,” and “Circus Maximus.” Among them, the "Image in Memory" leads the viewers to read and connect the memory elements provided by the artist with non-narrative contents and a three-channel video. “Universe” combines several abstract geometric shapes in an understated dark space. This design presents the artist’s imagination of the city and the universe as well as his hesitation for the uncertain future. “Home,” with red as its key color, is originated from the artist’s childhood fantasy and extension of scenes in ordinary life. “Imagination: Beginning of the Body and the Animal” echoes the artist’s change of career from spatial design to artistic creation. The artist deliberately uses blueprints often seen in spatial designs, which remind the viewers of rational planning, to delineate his free-willing imagination and personal memory. “Circus Maximus,” installed in the high-ceiling space of Room 201, presents the artist’s persistent pursuit of an ideal horse image in recent years. Seven horses of different materials, forms and themes, such as Horse of Knowledge, Horse of Love, Gallop of the Zodiac Steed, reveal the development of the artist’s diverse thinking and skills in art expressions. In addition, the artistic texture and aesthetic taste shown in the works also reflect the artist’s ambition to challenge, break through, and construct his self.
 

205展間 / R205

 

 

《記憶影像》

三頻道錄像

循環播放

2014

 

205展間 以《記憶影像》為主題,運用三面投影的方式,複合呈現了三位女性:藝術家的母親、麵店老闆娘、年輕迷人的女子,在鋪陳這三個人物的類敘述影像當中,也各自 混搭了藝術家的純表現性作品。對席時斌而言,這些都是關連到其生活經驗與成長過程中,不同時間段落、不同空間場域、不同心思活動的「記憶的片段」。身為創 作者,身心常常要不斷地在現實和非現實之間切換和關照,兩者之間有時是矛盾與衝突的狀態,有時卻可以相互激發能量,許多人事物的起起落落,也許正如影片中 不同元素所呈現的離斷、短暫、無關,但從人生旅程和生命整體的形成來看,它們都具有某種作用,並展現了某種意義。

 

Image in Memory

Three-channel Video

Loop

2014

 

With the theme Image in Memory, Hsi uses a three-way projection to present images of three female figures: the artist’s mother, a female owner of a noodle shop, and a youthful, charming girl. He mixed and matched his own expressive works in the elaboration of the semi- descriptive images of the three figures. For him, these are the fragments of memory at different time and places, and during different activities of mind. As a creator, his body and soul demand constant switches and unresting attention between reality and non-reality, of which the relation sometimes appear as conflicting and contradictory, and sometimes interactive and energy inspiring. The many ups and downs of life can be deviant, interim, and irrelevant. However, they all have certain influences, and reveal certain meanings from the perspective of life being a journey and formed as a whole.

 

〈符號與記憶之馬〉

不鏽鋼、鈦金、木料、壓克力、切割水晶

282 x 240 x 85公分

2014年

 

〈符號與記憶之馬〉是席時斌2014年完成的大型金屬雕塑,此作除了複合應用不鏽鋼、鈦 金屬、木料和切割水晶等多項材料,也多層次地併置疊合了動物圖像、花草圖案、機械結構、平面紋飾,金屬工藝…等不同的符號元素和美感訴求。某方面來說,此 作的完成正如一首大交響曲,不論曲調、和聲或節奏,都經歷了相當的心思和反覆的錘鍊,都經得起被抽離出來重加檢視、閱讀和欣賞。基於這個概念,本次展出的 〈符號與記憶之馬〉,將以「分解版」和「完整版」這兩種模式,先後呈現在觀者面前。分解版從205、204展室延伸到走廊展區,以壁面裝置的方式,導入了 符號解讀和形象解碼的概念;完整版在201大展場中,以立體雕塑和高挑的姿態,呈現了一種「大功告成」的氣勢和美感。

大學時期受過建築訓練的席時斌,喜歡從歷史文化中找尋造型與符號元素來構設新作,這些元 素如同零件被串聯組合,被自由地轉換運用,因而能不斷的產生新模樣。席時斌自言:「小時候,家中張超大的裁縫檯,記憶中,每次媽媽在檯面上努力工作時,我 就在檯面下忙著玩耍。」從小耳濡目然的剪裁、縫製、組合等概念和手法,實際反映在他偏好以幾何、碎形來書寫情感記憶的創作模式。

 

Symbolic Steed of Memory

Stainless Steel, Titanium, Wood, Acrylic, Cutting Crystal

282 x 240 x 85 cm

2014

 

Symbolic Steed of Memory is Hsi’s large-scale metal sculpture created in 2014. The work was made by the use of a variety of materials such as stainless steel, titanium, wood and cutting crystal, and was embedded with assorted symbolic elements and aesthetic appeals such as the images of animals, patterns of plants and flowers, mechanical structures, graphic decorative patterns and metal crafting. The creation of this work is like the composition of a symphony—its melody, resonance and rhythm have all involved a considerable amount of thinking and ceaseless practice. These elements can afford being revisited, analyzed and appreciated. Based on this concept, Symbolic Steed of Memory is presented with two versions in this exhibition—the break-down version and the full version. The break-down version can be found in Room 205, Room 204, and the hallway. The concepts of the symbolic interpretation and image decoding are introduced through the installation on the wall. The full version is located in the Room 201. The 3D sculpture is gigantic, presenting a momentum and beauty for being “accomplished.”

Hsi has received training in architecture in college. He likes to create new works by looking for shapes and symbolic elements from history and culture. These elements are interchangeable and can be connected like parts; with different composition, they can always present a new look. Hsi says, “when I was little, we had a huge sewing machine at home. As far as I can remember, I was always playing under the machine while my mom was working.” The concepts and techniques such as cutting, sewing, and collage are very familiar to him. His preference for using geometric shapes and fractals in works can be accounted for with this familiarity.

 

 

204展間 / R024

 

 

《宇宙》/ Universe

 

〈青河〉

塑料、矽膠、漆、環氧樹脂

2009年

 

〈星之獅〉

不鏽鋼、鍍鈦

108 x 227 x 60公分

2014年

 

204展間以《宇宙》為主題,展出的作品包括: 〈青河〉系列的6件畫作和1件地面裝置,以及金屬雕塑作品<星之獅>。其中的<青河>系列,是席時斌試圖結合科幻想像、環境觀察 和材質實驗的早期作品。於此,他以工業用的矽膠、環氧樹酯取代制式的繪畫和雕塑材料,同時應用了繪畫、浮雕、雕塑、裝置等不同表達形式,在黑色的基調和神 秘的空間氛圍中,呈現了個人對於宇宙太空、銀河星系、以及星球地表的諸多想像。

同室展出的金屬雕塑〈星之獅〉,創作靈感來自於席時斌2012年參觀大都會美術館時,觀 賞17世紀義大利雕塑大師貝里尼的作品所受到的感動。席時斌形容:「那匹從洞穴中欲躍而出的獅子,孔武有力的身體線條,卻帶著悲傷的面容,令我印象深 刻。」在此,他把那個以悲痛的猛獅象徵悼念偉人之死的意象,轉換成了在黑色抽象的宇宙太空中,獨自以具象方式表述並綻放光芒的獅子星象。

 

Black River

Plastic, Silicone, Paint, Epoxy

2009

 

Polyhedron Lion

Stainless Steel, Titanium Plating

108 x 227 x 60 cm

2014

 

The theme in Room 204 is Universe, and the works on display include six paintings and one floor installation from the Black River series and a metallic sculpture Polyhedron Lion. The Black River series were Hsi’s earlier works where he tried to combine his imagination with scientific knowledge and speculations, observation to the environments and the experiments of various materials. He replaced the traditional materials used in painting and sculptures with silicone and epoxy, and he adopted various expressive techniques and styles from painting, relief, sculpture and installation. The black background and the mysterious atmosphere created in the space have revealed his whimsical imagination regarding the universe, the galaxy, and the surface of stars and planets. 

 

The metallic sculpture Polyhedron Lion displayed in the same room was inspired by the work he saw at the Metropolitan Museum of Art by Bellini, the 17th century Italian master of sculpture, in 2012. According to Hsi, “the lion jumping out of the cave had a very powerful posture but a grief face. I was so impressed.” In his work, he converts the grief-stricken lion, which is a symbol for the deceased great into a lion constellation shining in the abstract space of the black universe.

 

 

203展間 / R203

 

《家》/ Home

 

203展室的主題為《家》,整個空間以紅色為基調,席時斌藉此空間來鋪陳個人兒時的成長 記憶。他記憶中的老家,有張紅色繡花床的臥室,他常常在這房間裡玩耍,床下則是他幻想通往全世界的秘密基地。於此,席時斌將早期木雕裝置作品〈紅書〉的造 型元件重組,變成了藏匿在繡花床底下的一個祕密城市,讓觀者以彎腰匍看的方式,去探索藝術家的童年幻想世界。〈紅書〉原是席時斌2004年以來,陸續增生 發展的一件作品,此作使用的材料,主要是家庭裝潢施工剩餘的木材和合板廢料,席時斌特意將它們染成紅色,把它們當積木一般的組合成各種造型,每回展示的格 局和形式也不斷變化,但都關連到他童年以來,對於遊戲與想像空間的迷戀,或家族生活與情感記憶的召喚。本次展出,用來對應〈紅書〉裝置的金屬雕塑,是面向 眾生而橫坐在三頭八眼驢子上的聖母造像,原型參考了藏傳佛教中的吉祥天女;席時斌一面將人物肢體及坐騎裝飾複雜化,另一面淡化了聖母的容顏和表情,這也是 他特意獻給母親的一件情感之作。

 

The theme in Room 203 is Home. Red is the key color which has fulfilled the entire space. The space is a reinvention of Hsi’s childhood home in his memory. Under the red embroidered bed, located in the bedroom where he used to play, there was an imaginary secret passage that led him to every corner of the world. In this work, he reassembled the elements of his early wooden sculpture installation, Red Book. The reconstruction became a secret city hidden under the red embroidered bed. To explore the artist’s childhood fantasy world, the viewers have to bend over and lower their gaze to beneath the bed. Red Book is a growing work that Hsi has been developing since 2004. The materials were primarily the remaining timber and plywood waste from interior decoration. He deliberately dyed every piece of the materials in red and combined them into different shapes as if they were building blocks. Therefore, the patterns and forms have been constantly changing in different displays and they are all connected to his fantasy about childhood games, imaginary space, or his recall of the family life in the past along with some emotional memory. In this exhibition, the parallel installation is a metallic statue of the Holy Mother facing the audience and straddling on a scared donkey with three heads and eight eyes. The original design refers to the goddess with blessing in Tibetan Buddhism; on the one hand, Hsi makes the gestures more complex and the ride more decorative, but on the other hand, he understates the facial expression of the Holy Mother, making the piece an intimate gift for his mother.

 

〈紅書〉

木頭、塑膠、紅墨

Wood, Plastic, Red ink

100 x 100 x 100 公分

2004-2011

 

〈聖母〉

不鏽鋼、鍍鈦

205 x 183 x 60公分

2014年

 

Red Book

Wood, Plastic, Red ink

100 x 100 x 100 cm

2004-2011

 

The Holy Mother

Stainless Steel, Titanium Plating

205 x 183 x 60 cm

2014

 

 

202展間 / R202

 

 

《想像:身體與動物的開始》

 

藍圖金屬板 

共21片

 

席時斌自言:「即使我們在描述同一個事實,每次說出來的話,都會被講述者做了某些修改;如果是有關於夢象,它更會在我們敘述時被不斷地竄改、重新地編織」。同理,記憶也會不斷的重新組構,形成新的故事文本。

線性的抽象符號、幾何圖案與花草、動物形象,是席時斌的金屬雕塑中常見且一直混用的視覺 語彙;將觀眾熟悉的動物形象與取自傳統宗教、建築或文化的各種圖形,透過線性透雕的處理,然後使之層層相疊,營造光線與質材交錯分布的炫麗視覺效果,也是 席時斌的特長。這裡展出的21件作品,語言形式參仿了建築設計先畫藍圖再造實體的概念和程序性的作法,但是集體演示了純粹創作有別於實用設計的不確定性和 無目的性。從創意發想階段,到實體作品完成,在這整個過程中,一個藝術意念可能被多向地演繹和發展,並因而導出了相當多樣,甚至完全不同的結果。

 

Imagination: The Beginning of the Body and the Animal

Metallic Boards used for Blueprints

21 Pieces in Total

 

“The descriptions of a given fact vary from person to person in that every speaker has his or her own interpretations and every description he or she makes has been revised in different ways. If it is about an image in the dream, it will keep being revised, and recomposed when we are describing it,” says Hsi. Likewise, memories will be renewed, restructured and result in new stories.

The linear abstract symbols, geometric patterns and images of flowers and animals are the intermixing visual vocabulary that Hsi commonly used in his metallic sculptural works. Through treatment of openwork carving, he created a dazzling visual effect with intertwining distribution of lights and various materials with the overlapping layers of animal images that audience are familiar with from traditional religions, architectures and cultures. This is indeed Hsi’s specialty. The language of the twenty-one pieces at display here mimic the concepts and procedures in architectural design—blueprint drawings first, followed by artwork creation. However, the display shows that the uncertainty and purposelessness in art, which are usual to practical design. During the process of creative thinking and real artwork making, an artistic idea can be vastly interpreted, developed, and generated results with considerable varieties—sometimes even a completely opposite outcome will derive.

 

 

二樓走廊 / 2F Hallway

〈路易小鹿搖擺〉

不鏽鋼、胡桃木合板、黑色鍍鈦

72 x 55 x 15公分

2013年

 

〈路易—小鹿搖擺〉是2013年席時斌自美國舊金山駐村回國後的新作,符號的使用輕鬆流 利,強調了造型的活潑性和動態感,且有意在童話趣味中注入不同的聯想,例如:作品的命名,即來自頭上的皇冠和捲髮,可以聯想到法國路易皇帝。遠觀,此作除 了創意結合動物的姿態造型和教堂的玫瑰花窗圖案,隱約也可以看到藝術家童年記憶中,古董裁縫車和兒童搖搖馬的身影;近看,觀者可以從小鹿身上鏡面拋的線 條、花紋、和重重結構中,不經意發現自我的面容和身形,以光影流利的狀態參與其中。

 

Louis—The Fawn Swing

Stainless Steel, Wood, Black Titanium Plating

72 x 55 x 15 cm

2013

 

LouisThe Fawn Swing is a new work Hsi Shih-Pin created after coming back from his residence in the artist village in San Francisco in 2013. The easy and smooth use of symbols highlights the liveliness and the dynamic sense of the work. Besides, Hsi also infused different associations into the stories for kids, for example, the naming of the work was based on the crown and the curly hair on the head, which can be associated with the French King, Louis XIV. Seeing from a distance, this work not only combines gestures of different animals and the rose pattern of church window, but also slightly shows the shadows of antique sewing machine and kids swing horse; however, if the viewer takes a closer look, he will find his visage and his figure engaged in the work in a naturally shining state from the lines thrown by the mirror surface and the complex structure of the fawn.

 

 

中樓梯 / Central Stairway

 

〈阿克提恩-奇麗月光之大雄鹿〉 (特別版)

不鏽鋼、木、壓克力

210 x 185 x 60公分

2012年

 

〈阿克提恩—奇麗月光之大雄鹿〉的創作靈感,來自於席時斌2009年到綠島夜探野生梅花鹿群時,當場大受感動的視覺和心理經驗。在月夜之中,鹿群像自然精靈地優遊在樹下,兩眼尤顯得特別晶亮迷人。席時斌將這個鄉土的奇遇,連結到了他長期以來關注探索的神話傳說和奇形異獸。

阿克提恩是希臘神話中,因為撞見月神黛安娜出浴,而被懲罰變成一隻雄鹿,進而被自己的獵 狗咬死的悲劇人物;席時斌用這個不幸的角色來寫照讓他靈光一閃的台灣梅花鹿,隱約也連結到了台灣梅花鹿瀕臨絕種的命運。此作的呈現,特意在光澤輝耀的金屬 線條中,藏入了質樸含蓄、量塊感的木材構件,藉此平衡緩和了整件作品對於視覺動感和空間穿透性的激情運用。

 

Actaeon—The Moonlight Deer (Special Edition)

Stainless Steel, Wood, Acrylic

210 x 185 x 60 cm

2012

 

The inspiration of Actaeon—The Moonlight Deer was from Hsi’s overwhelming visual and psychological experience of taking a night visit to the deer herd in Green Island in 2009. Under the moonlight, the deer looked like spirits of nature, wandering gracefully under the trees, with their charming eyes shining and mesmerizing. Hsi connected this unexpected encounter with the myths and the legendary creatures that he had been exploring for a long time.

In Greek Myths, Actaeon was punished to become a deer for incidentally witnessing the moment of Diana leaving her bath, and was then killed by his own hounds. Hsi used this tragic character to depict the doom of sika deer, implicitly referring to their crisis of extinction. He intentionally hid the wooden components that conveyed a sense of modesty and volume in the dazzling metallic lines, and by doing so, eased the emotional excess created by the visual movement and penetration of the work.

 

 

201展間 / R201

 

〈動物之門〉

不鏽鋼

334 x 250 x 250公分

2014年

 

〈動物之門〉是席時斌2014年的新作,透過三層不鏽鋼透雕的組構,將米開朗基羅當年Porta Pia素 描稿中的原創構想,做了個人的詮釋和實體的建造。在這張構想草圖中,米開朗基羅將自己設計的幾種門面造型,不對稱的重疊並繪製在一起,除了視覺上導出此後 的矯飾主義風格,同時也創造了在繪畫中可以呈現,但現實空間中卻無法同時存在的,一種幻象的出入口。席時斌從草圖和概念中拆解出三道門面,讓它們以框架的 方式重組、摺疊、互相嵌合,以此產生多重角度的觀看空間,同時在門面上方裝飾了50隻真實與想像的動物形象,透過這些可愛小巧的生物演員,對應建築本身呈 現的數學、理性空間,詮釋了自然美學與人類文明之間的和諧對話。

 

The Gate of Animals

Stainless Steel

334 x 250 x 250 cm

2014

 

The Gate of Animals is Hsi’s new work in 2014. Through the composition of three layers of openwork carving of stainless steel, he made his own personal interpretation and physical construction for Michelangelo’s original idea of the sketch of Porta Pia. In this sketch, Michelangelo asymmetrically overlapped and painted together several gate designs by himself, which not only initiated the later Mannerism, but also created a kind of illusory entrance that could not be found in reality but only in his drawing. Hsi derived 3 gate facades from the sketch, and reassembled each and one another to produce a space for observing from different angles. At the same time, Hsi also decorated the gate with the images of fifty real and imaginative animals. In response to the mathematical and rational space, Hsi introduces a harmonious dialogue between natural beauty and human civilization through these exquisite, adorable creatures.  

 

 

《大競技場》/ Circus Maximus

 

201展室以《大競技場》為主題,展出席時斌近年最具代表性的10件大型雕塑,以及包括 研究性素描在內的6件平面畫作。從入口處的〈動物之門〉開始,一路呈現在觀者眼前的,首先是7組不同主題涵涉的雕塑馬,如造型單純、靜態站立的〈知識之 馬〉;動態誇張、作勢起飛的〈愛情之馬〉;結構複雜、似靜欲動的〈星座躍動之馬〉;指涉理性節制的〈柏拉圖的靈魂馬車〉;以及表現感性失控的〈阿濕波〉… 等,席時斌透過不同的媒材運用、造形觀念、姿態動作、符號連結,將馬的形象和意象從現實與生物的基礎,延伸到了神話和靈物的世界。這裡所謂的《大競技 場》,已經超越了競速和鬥技的概念,而是透過藝術材料和視覺語言的相互錘鍊和合作發展,同時鋪陳在生物界競爭演化的身體,和在生命中自我超越的靈魂。在群 馬競秀之同時,造型搶眼而可以關連到神話靈獸的〈荷魯斯—命運的鳳尾獅鷲〉,從頭到尾陸續可以找出老鷹、飛馬、猛獅、鳳凰的身影和姿態,它意諭了力量、速 度、眼界…、和德行的完美結合,也象徵了超越形而下的角力與競爭而悠然自在的一種最高理想。

With the theme of Circus Maximus, Room 201 displays 10 of the most representative large-sized sculptures and 6 paintings which include Hsi’s research sketches. Starting from The Gate of Animals at the entrance, the viewers will see 7 sets of sculptured horses in different themes, like the simply designed, free-standing Horse of Knowledge, the overly active, about-to-fly Horse of Love, the complex-structured, quiet-but-restless Gallop of the Zodiac Steed, the rational, moderate Plato’s Carriage of Soul, the sensitive but out-of-control Aśvin, Two-Horse Carriage, etc. Hsi extended the biological image of horse in real life to the world of myth and mysterious creatures by utilizing different materials, sculptural concepts, gestures, and symbols. The so-called Circus Maximus here already exceeds the concept of racing and fighting; through the transformation and collaboration of artistic materials and visual language, it exhibits the evolutional bodies developed through games and competition as well as the self-exceeding souls in life. At the same time, in addition to the horses, there is also another eye-catching work of a mythological beast: Horus—The Fatal Gryphon with Phoenix Tail. From his head to toe, you may find the features and parts of a falcon, a flying horse, a fierce lion, and a phoenix, all of which presents the perfect combination of power, speed, vision, and virtue, and symbolize the most ideal of leisure, which already exceeds physical wrestling and competition.

 

 

出口 / Exit

 

〈烏忽古—鐵窗花小鳳鳥〉

不鏽鋼、鍍鈦

84 x 63 x 24公分

2012年

 

「旅人帶著記憶去飛行,盛滿心靈的火種回家」。

                                          —席時斌
 

透過這件作品,席時斌融和了南島語系原住民與台灣邵族的神話故事,人類因為火的使用而啟 動了文明的歷史,相傳最初的火種是由小鳥所帶來的,先民們為了獲得火焰,想到用舞蹈吸引並取悅鳥兒,小鳥張開笑口,火種隨之掉落人間;「烏忽古」就是邵族 傳說中帶來火種的鳥名。席時斌把故事中高立在樹上林梢的神祕火鳥,轉化為與人親近的【鐵窗花小鳳鳥】之意象,此作一面擷取了鳳凰搖曳生姿、舞姿曼妙的傳統 華美造型,一面挪用了臺灣傳統建築窗欄的曲線裝飾圖案,將之融合凝聚成歷史傳說和文化記憶的翎羽,以此意喻和傳頌了自然生物和人類社會之間曾經良性和諧的 互動關係。

 

Uhugu - The Phoenix of the Window Railing

Stainless Steel, Titanium Plating

84 x 63 x 24 cm

2012

 

“Travelers fly with memories and return home with fire of spirit.”

                                             – Hsi Shih-Pin

Through this work, Hsi integrated the myths of the Austronesian indigenous people and the legend of the Thao people, a tribe of Taiwanese aboriginals. Human beings initiated the history of civilization with the use of fire. It is said that the first fire was brought about by a bird. In order to obtain the flames, human ancestors used dances to attract and please the bird. The bird dropped the fire held in its mouth while it was laughing. “Uhugu” is the name of the bird in the mythology of the Thao tribe. Hsi Shih-Pin converted the mysterious bird with fire standing on the treetop into the image of a Phoenix on the Window Railing, which is more familiar to the general public. This work on the one hand, captures the traditional gorgeous style of a phoenix sashaying casually and dancing gracefully; on the other hand, its decorative patterns composed by the curves commonly seen on window rails in traditional Taiwanese architecture become symbols of the legends in history and the memories of cultures, which imply and applaud the once nice interaction between the nature’s creatures and the human society.

 

放入藝文行事曆
您可能會喜歡的類似的訊息
科博館《驚心洞波:黑洞暨重力波》特展

科博館《驚心洞波:黑洞暨重力波》特展

時間: 2023/06/14 ~2024/04/07

人類於1970年代首次確認黑洞存在,「黑洞」的發現在科學上有什麼重大意涵?國立自然科學博物館2023年6...

中國信託當代繪畫獎暨展覽

中國信託當代繪畫獎暨展覽

時間: 2024/03/15 ~2024/06/09

第二屆「中國信託當代繪畫獎」 17件作品於關渡美術館展出   「中國信託當代繪畫獎」秉持提攜具新...

科博館《在海之濱—古生物的奇幻世界》特展

科博館《在海之濱—古生物的奇幻世界》特展

時間: 2023/06/30 ~2024/04/28

水是生命的泉源,生命從海洋到登上陸地,歷經多次滅絕與新生,地球才有了如今豐富的生態系統。今年暑...

3C家電影音廚具特賣會

3C家電影音廚具特賣會

時間: 2019/03/04 ~2029/12/31

本店在桃園縣市地區服務已超過30餘年,為各大知名品牌經銷與各團購指定購買之實體店面。  &nbs...



TOP