相／像：朱銘雕塑與影像的形構

身處於恆變的世界中，我們皆為被動的觀者，而唯一的真實便在此發酵。雕塑在世界無限綿延的量度下，爭取自身的存在，以本身定義了空間；而攝影則以再現的複製特性，將無法保存的時間，轉變為永恆的瞬間。雕塑及攝影兩者如此迥然不同的媒介，然就本質而言，卻皆為一種視覺語言：雕塑，為佔有空間的視覺量體；而攝影，則是乘載記憶的視覺影像。

 

2019年朱銘美術館推出「相／像：朱銘雕塑與影像的形構」研究展，以攝影所照之「相」與雕塑形塑之「像」的對映關係為命題，藉由朱銘各時期的雕塑作品為本，對應著臺灣的攝影作品，探索這看似截然不同，於時間與空間各據一方的兩者，如何在共享之視覺語彙中，激盪出對話的可能性，以及如何於視覺創造下，牽引出視野之外的想像世界。在此，以雕塑及攝影在創作過程，皆將面臨的思考脈絡為基礎，分為三展區：相像之間、紀實之外、形塑之像。

 

「相像之間」展出與朱銘相關的肖像素描、雕塑以及攝影作品，從素描、雕塑到攝影，探索「相」與「像」所詮釋之概念及表現方法，以及體現多樣藝術創作的思考與角度。「紀實之外」由朱銘所拍攝的一幀相片，反映出七〇年代藝文圈的氛圍。在當時臺灣報導式攝影發展蓬勃之初，《漢聲雜誌》與《人間副刊》是否以不同之詮釋方式報導1976年朱銘在歷史博物館成功之個展？從雕塑家拍攝的照片，到照片中的雕塑，在展覽中希望能夠從雕塑到攝影，探討紀實之外的可能性。「形塑之像」無論雕塑或攝影的範疇，對於「人」所衍伸之「像」的探索，皆有藝術家的個人詮釋，在此區中以「身體」、「存在」各兩子題，在各子題中將展出朱銘《人間系列》之雕塑，以及各攝影師之攝影作品，以此一窺雕塑及攝影，此兩者各在所掠之像中，如何誘發出視野未能見之像，乃至意象。隨著展覽層層推進，將探索出雕塑及攝影，在各樣層面的考量下，兩者是如何對話與再創造，進而呈現獨特的視覺語彙，並激盪出多樣的火花。

 

In a world of constant changes, we are all historically situated spectators and it is through this interactive process of changing and viewing that the only dimension of truth is gradually unfolded. Sculpture defines the nature of space in the attempt to materialize its own existence in a world of unbounded space, while photography transforms the ephemeral nature of time into a moment of eternity via utilizing its capacity to reproduce and represent. Sculpture and photography are two distinctive forms of art and yet, in essence, both serve as a type of visual language: sculpture materializes visual objects from physical space while photography represents visual image of memories.

 

In 2019, Juming Museum presents Image / Shape: The Interactive Formation of Ju Ming’s Sculpture and Photography, a research exhibition that explores the corresponding relationships between “images” captured by photography and “shapes” embodied in sculpture. These relationships are examined through sculptures from each period of Ju Ming’s career and their correlative works of photography in Taiwan. Photography is often considered from the perspective of time while sculpture from the scope of space. To move beyond this clear-cut dichotomy, the exhibition seeks to understand how the seemingly unexpected pair of photography and sculpture shares the same repertoire of visual signs, in which a dialogue between the two could take place. Based on the possibility of such dialogue, this exhibition takes one step further to invite the spectators to think beyond the horizon of visual creation and arrive at a world of imagination. Following this line of enquiry, the exhibition is divided into three sections and each section corresponds to one of the stages in the thinking process from which the works of sculpture and photography are created: “Between Image and Shape,” “Beyond Realism” and “Shaping Images.”

 

“Between Image and Shape” exhibits the portrait sketches, sculptures and photographic works related to Ju Ming. The interpretive concepts and ways of expression for “image” and “shape” are explored from the perspectives of sketch, sculpture and photography. This section also showcases how different visions are embodied in a variety of artistic creation. Starting with a photograph taken by Ju Ming, “Beyond Realism” reflects the atmosphere of the art and literary circle in 1970s. At the beginning of the booming development of photojournalism in Taiwan, had Echo of Things Chinese and Human Realm adopted a different way to interpret and report Ju Ming’s successful individual exhibition at National Museum of History in 1976? Moving from the photograph taken by the sculptor to the sculptures captured in the photographs, this section endeavors to explore the possibility of going beyond realism in sculpture and photography. “Shaping Images” explores both fields of sculpture and photography with a focus on the “images” derived from “human beings” in artists’ personal interpretation. This section contains two sub-categories: “body” and “existence.” Each sub-category exhibits sculptures from Ju Ming’s Living World Series as well as photographic works from photographers. By presenting such a juxtaposition, this section seeks to unfold the process of shaping images in sculpture and photography as well as to understand how these shaped images could invite the spectators to look beyond the visible and see the imagery. As the exhibition progresses, sculpture and photography will be explored from one perspective to another, in the attempt to understand how the two interact with each other, recreate themselves in the dynamic interaction and eventually present unique repertoire of visual signs to the spectators.