Waley Art

【家政體，呂易倫個展Family as Politics LU,Yi-Lun Solo Exhibition】

｜展期 Duration｜
1-27, OCT, 2019
12:00-19:30 MON-SUN

｜開幕Opening Reception｜
6, OCT, 2019 (SUN)
15:00

｜地點Venue｜
水谷藝術 ——

108台北市萬華區萬大路322巷6號
Waley Art ——

No. 6, Ln. 322, Wanda Rd., Wanhua Dist., Taipei City 108, Taiwan

>> 贊助：財團法人國家文化藝術基金會、台北市政府文化局
>> 本空間獲國藝會視覺藝術組織營運專案及台北市政府文化局空間

   營運管理計畫
>> Sponsor：National Culture and Arts Foundation、Department

   of Cultural Affairs, Taipei City Government

 

”在跨越數十年的時空，不變的永恆是由光線所主導的日與夜之循環“

家政體為呂易倫在左營眷村蹲點創作系列之後，從聚焦對於它者的凝視之眼轉而返向個人家庭(族)空間的理解與具體化。此次展名明確的表露：沒有人或家庭可以跟政治、社會無關，只是深淺差異而已。這也是本展覽的核心概念，在這裡的「政治」除了向外部指涉台灣的歷史政治系譜外，同時也巧妙的處理關於藝術家的家族內部政治情態。

本展覽從一處作者從小生長的家屋、也是家祖祖地的空間作為起點，在歷經了搬離、荒廢與重返的過程，檢視了血緣或家族系譜與這些實體空間之間的交互關係。
在近年整理這一幢原封不動的房舍時，逐漸的透過勞動與遺留物的重新交會、分類，喚回了作者幼時的種種記憶，這些遺留物件的時序與時代承接產生落差狀態，透露了過往近半世紀從戒、解嚴到政黨輪替的某種社會氛圍與現實。

此次將透過攝影、繪畫與空間裝置對這個半世紀內的時空進行補遺，或者這麼說，作品皆以「光」作為貫穿思考創作的原始起點，從攝影(photography)、外光派(pleinairism)繪畫與電影燈光(cinematic light)皆以展現對於「光的摹寫」脈絡進行媒材意義上的本質探究。

“Over the span of decades, what stays eternal is the cycle of day and night guided by the lights”

This exhibition, “Family as Politics” embodies the transition in Lu Yi-lun’s artistic practices after he completed the previous art series during the residency in Zuoying, shifting from the direct gaze at the Other to the understanding of his family/ancestry and the related space. As indicated by the title, no one or nobody’s family can be considered irrelevant to the politics and society; it’s just a matter of degree. The word “politics” —— the core concept of the exhibition —— here is intended to refer, both generally and specifically, not only to Taiwan’s political changes under different historical contexts but also to the situation of dealing with the political scene within Lu’s family.

The artwork concerns the house in which Lu grew up, the same place where his ancestors lived. Inspired by what he has gone through in life including moving away from home, the said buildings falling into disrepair, and returning to the house, Lu’s art examines the interweaving relationship between his bloodline/genealogy and these solid spaces.

In recent years, Lu has been continuing tidying up this family-related house that remains in the same place, and he gradually recalled his childhood memories in detail by physical effort in the course of being reunited with the family relics and categorizing them. The fact that these objects of which original contexts are divorced from the present reality —— thus creating a big gap in between —— has revealed a certain social ambience and the reality in relation to the history of the declaration of martial law, the lifting of martial law, and party alternation in Taiwan over the past half century.

“Family as Politics” will act as the supplement to the ages during the past half century by means of photography, paintings, and spatial installations, that is, “light” is the initial idea weaving through the exhibiting works based on the languages of photography, pleinairism, and cinematic light so as to explore the nature of art media in the context of “to write with light”.

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呂易倫（b.1988，在台灣生活和工作）主要創作媒介以攝影做為主軸，以思考影像與對象物之間的延伸意義，讓攝影作為一種思考、辯證後的再生產方法。創作常切入具社會性的地誌空間並召喚出那些被抹除或不可視的景觀與意義。在拍攝完《左營計劃》後，近期則嘗試在擴延影像能給予的微細感知，嘗試以文字、語句、聲音甚至是抽象思維的加入，讓視覺之外的官能參與並拓展攝影多元的出路。

Lu Yi-Lun (born 1988, lives and works in Taiwan)uses photography as a main artistic medium and explores the profundity of relations between an image and its subject, seeing photography as a means of reproduction subsequent to dialectical reasoning and discussion. His practice often intervenes socially-connoted topography and reveals erased or invisible spectacles and issues.
After Zuoying Project, Lu’s recent attempt involves extending subtle sensitivities in perceiving images. By experimenting with words, sentences, sounds, or even other forms of abstraction, Lu tries to include the use of senses other than the visual upon confronting his works and to expand photography’s diverse aspects.