展覽論述

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擺放，是個很日常、很一般的舉動，從我出生後第一次拿起東西也就馬上學會放下東西，從此不斷重複著對各種物件的取、放，進而理解擺放的關係美學與溝通性。

 

從小母親每天會把三個四方形的小水杯裡頭的水換鮮後放回佛桌上，我老覺得不對勁，她總是擺得非常快，太草率了吧！三個個體沒有特別對稱、方形的面也沒有平行，不是應該慢慢地一左、一右、一中，擺出神聖又有裝飾性的一刻嗎？當然，長大後我才了解什麼是修心而不修形式；聽說處女座難搞又有潔癖，其中一種是對於東西在位置上的潔癖，保守估計是東西需要整齊且需物歸原位，或許這時擺放就變得格外重要，因為它成為一種劃分界線與空間的潔癖手段，聽說；國高中美術班的訓練，在開始對桌上靜物的寫生之前得先擺靜物，此時的擺放脫離了日常功能性，得面面俱到、小心翼翼，重點是擺得如何好看、擺出傳統古典美學的典範而不落入俗套。

 

2019年的母親節，阿嬤高齡喜葬，留了一隻手錶給父親，父親轉送給我，我每天戴。有天它不動了，錶帶某個關節也遺失所以戴不起來了，彷彿這兩者是同時發生的跟電力無關，說到底或許是不小心敲到它所以錶帶斷了，裡頭運轉的零件也秀逗了。畢竟是阿嬤的遺物，原本指針走著走著還能說阿嬤還在，錶會動算是半個動物，現在不動了可能是阿嬤真的走了。我把它放在窗口的平台上一直沒有去修，隨著每日緩慢的動態陽光，發現灰塵在玻璃材質的錶鏡上越積越厚——不會動的錶是真正的靜物。時間繼續走，錶的身邊又多擺了其他不相干的東西。2020年新冠疫情全球爆發後至今，它還是在那裡一動也不動。

 

後疫情時代，我們更長使用手機、平板與電腦做網路視訊，在人與人的連結變困難時，介面與鏡頭變成一種科技溫暖的膜。過往我大多以多頻道動態影像裝置的方式呈現創作，類比串接物件與機具來模擬寫生的進行式。而什麼樣的觀看內容會讓這個膜變成烙印般的生命介質，甚至生命本身？或許擺擺看才知道。

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Positioning things around is something we do every day. As a newborn, I learned to put things down immediately after learning to grab them. Since  I have been repeating the act of taking away and putting down various kinds of things, and now come to apprehend the rational aesthetics and communicability of such an act of positioning. 

 

Ever since I was a child, my mother would routinely change the water in the three small square water cups on the shrine table. I had always felt a bit wrong because she did it so fast and in a sloppy manner! The three cups were not visually symmetrical, nor did the squares parallel one another. Should they not be placed more carefully, from left, centre, to right, to show the divinity and decorativeness of the setting? Of course, as I grew up, I later learned that one pursues the mind and not the form. So it is said that clean freaks like Virgos have a personality difficult to handle. This freakiness, conservatively speaking, refers to the need for visual alignment and the precise return of things to the previous position in a spatial setting. This act of positioning is crucial as it functions as a method for dealing with the cleanliness of bordering space. So it is said that professional fine arts training in local secondary education begins with the positioning of still-life objects on the table before starting to draw. Strayed from everyday functionality, this positioning requires extreme perfection from multiple angles, emphasising how to look good and be a model of traditional classical aesthetics without falling into cliches. 

 

On Mother's Day of 2019, my grandma passed away with grace and left my father a watch, which was later passed onto me. I had been wearing it every day until one day, it stopped moving, with a joint of the strap lost. It couldn't be worn anymore. These two events seemed to have happened simultaneously, with no relation to the battery power. Perhaps I had cut the strap by accidentally hitting it somewhere, and the running parts just happened to have worn out. After all, the watch had belonged to Grandma and worked fine when she was still alive. A moving watch was half an animal. And now that it had stopped, perhaps implying that Grandma had really left. I left it on the window platform with sunlight coming over it day by day and never fixed it. I noticed a thick layer of dust accumulating on the glass surface. An unmoving watch is truly a still life. As time passes, other irrelevant objects have come to be placed around it. Since the pandemic outbreak in 2020, the watch has remained still there. 

 

In the post-pandemic era, it is a new habit to use mobile phones, tablets and computers for online communications. As the connection between people becomes difficult, interfaces and lenses have become a skin which reveals technological warmth. In the past, I work mainly with multi-channel moving images connecting objects and machines to create installations analogous to the process of still-life drawing. What kind of viewing content can transform this skin into a medium of life imprints or life itself? Perhaps the answer will come in the process of positioning things. 

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藝術家簡介

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吳 尚洋，1992年出生於台北，畢業於國立台北藝術大學美術學系碩士班，學期間交換於德國斯圖加特設計學院之藝術、電影與新媒體項目。透過多元媒介，包括投影裝置、錄像、行為表演與繪畫，處理身體、物、機器與空間場域的關係，形塑出既古典又帶病的不確定狀態，展現其個人的生命經驗影響下對於物件群（objecthood）之中權力關係的重新部署與反思。近期個展於台北水谷藝術（2022）、台北海桐藝術中心（2020），聯展於台北數位藝術節（2022）、台北也趣藝廊（2022）、台北關渡美術館（2020）、彰化縣立美術館（2020）、杭州象山藝術公社（2019）、斯圖加特梅爾斯空間（2019）、台北數位藝術中心（2018）、上海世博展覽館（2016）。榮獲獎助包含紐約藝術遊歷計劃（2018）、志哈克藝術實驗場藝術家創作計畫（2020）、當代雕塑麗寶創作獎首獎（2020）、STUPIN x DAC台北數位藝術中心合作計畫（2019）。目前生活與工作於台北。

 

Wu, Shang-Yang, was born in 1992 in Taipei, He obtained his Master of Fine Arts degree from Taipei National University of the Arts in Taipei, Taiwan and studied project arts, film and new media during the semester exchange at Merz Akademie in Stuttgart, Germany. Wu uses multiple media, inclusive of projection installation, video, performance and painting, to process the relationship between body, object, machine and space. He presents the re-disposition and reflection of the power relationship in the objecthood under the influence of his life experience, shaping a state of uncertainty that is both classical and ill. Wu has exhibited internationally including solo exhibitions at Waley Art, Taipei (2022), Haiton Art Center, Taipei (2020), as well as group exhibitions at Digital Art Festival Taipei (2022), Aki Gallery, Taipei (2022), Kuandu Museum of Fine Arts, Taipei (2020), Changhua County Art Museum (2020), Xiangshan Art Space, Hangzhou (2019), Merz Space, Stuttgart (2019), Taipei Digital Art Center (2018), Shanghai World Expo Exhibition & Convention Center (2016). Awards and recognitions include the 10th New York Travel Program, New York (2018), Gihak ArtLab Art Creative Project, Hualien (2020), the 3rd Contemporary Sculpture Lih Pao Prize, Taipei (2020) and STUPIN x DAC Taipei Digital Art Center Residency Project, Taipei (2019). Wu currently lives and works in Taipei.

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展覽資訊

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日期｜2022/12/3 (SAT) - 12/31 (SUN)

時間｜週一至週日 12：00 - 19：30

地點｜水谷藝術 Waley Art  B1-5F

地址｜臺北市萬華區萬大路 322 巷 6 號

開幕茶會｜2022年12月03日（六）14：00

座談｜2022年12月17日（六）15：00

與談人｜林宏璋教授 Prof. Hong-john Lin、高俊宏教授 Prof. Kao-Jun Honn

 

藝術家｜吳尚洋 Wu Shang-Yang

主辦單位｜水谷藝術 Waley Art

贊助單位｜國藝會 、台北市文化局

 

※水谷藝術獲國藝會111年「視覺藝術組織營運補助專案」補助

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