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【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)

水谷藝術 ——

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

>> Sponsor:National Culture and Arts Foundation、Department

   of Cultural Affairs, Taipei City Government





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”.



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.

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