非_存在 Beyond Existence｜2018.12.23 ~ 2019.1.27​​

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• 藝術家座談會：2018.12.23  3-4.30pm  RSVP

• 參展藝術家：牛俊強、陳雯柔、戴志杰、陳俊豪、幸歆楠、蔡宗憲、吳姿瑩、楊昱頡

 

 

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策劃、撰文/趙欣怡

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「存在先於本質」(Existence Precedes Essence)。

                                                      尚—保羅．沙特 (Jean-Paul Sartre)

 

人，仰賴何物為「存在」依據？是自身的「視覺」、「語言」、「記憶」、「物質」、「感知」、「情緒」、「靈魂」… 或是來自他者的定義？為了產出「本質」的連結，你我仍在追尋探究答案的旅程中…。

 

當面對逐漸消失、曾經消失以及不曾出現的存在本質，人的存在是否得以自由？尤其離開床鋪，睜眼所見的一切與生命的過往經驗將建構一日的行為與思維，用以證實存在的軌跡。而視覺的不存在，改以其它身體感知介面作為存在線索，是觸覺或聽覺再現的文字、線條、色彩、造型與本體。

 

牛俊強的〈Self Portrait〉從他者觀點與自我擬像兩個軸向作為自身存在的定義。從語言轉化為觸摸盲文塑造文字的視覺意象，透過具有記憶與歷史的物質媒介誘發嗅覺與觸覺的存在證據。而關於失去視覺的情感投射透過另一位盲者難以判讀色彩與空間的儀式性行為投射出自身對於「看不見」的質疑與想像，不也正是視覺化社會所面臨的焦慮狀態。

 

陳雯柔則以變異時空再現其自我多樣性存在現象，以微弱而模糊的視覺細膩地拼貼出在〈海靈迴轉〉中化身為潛入海中與鯨豚及遠古祭典對話的女孩，〈靈根扶搖〉回溯原始人類以靈性棲居於湖水、冰山、岩壁、陸地上的生長印記，又以〈共振的時速〉強調非視覺的身體感知，再次與鯨豚共游的經驗回應梅洛龐蒂（Maurice Merleau-Ponty）的身體性，以知覺經驗與意識超越視覺的速度感，以身體主觀闡述自我與世界的關係。

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而六幅非視覺系統存在經驗的〈自畫像〉，以「心」取代「眼」的繪畫模式與身體圖式，藉由感覺經驗形構出自我認知與世界形貌，重新理解與詮釋藝術本質的文字、圖像、語言及空間符號，思考非視覺是否為一種視覺藝術的存在。

 

「非＿存在」等待您來填空。

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"Existence precedes essence."  Jean-Paul Sartre

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In all times, humanity have been wondering on what shall rely its essence, its inner nature. According to Jean-Paul Sartre, there is no such thing as human nature. Human beings exist, and by their existence, they find their essence and defined themselves. Existence precedes essence in the sense that we have to invent ourselves, by our choices and actions, it is what makes us free. Therefore, our essence is formed by a multitude of concrete experiences such as: vision, language, memory, perception, emotion, etc. 

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Among them, vision has a singular importance, in that it provides us the experience of beauty and art. Thus, reinventing our visual senses, playing with the seen and the unseen, has been a universal and fundamental obsession among artists. In this exhibition, artists have been challenged to provide such experience with the absence of vision. With their own diversity of mediums and concepts, they guide us toward a new way of experiencing art, mainly by using a different variety of corporal senses. Words, lines, colors, shapes and textures are to be seen with touch or hearing.

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With the installation "Self Portrait", Niu Jun-Qiang (牛俊強) attempts to define himself by endorsing the eye of “the other”, he looks at himself from a stranger’s point of view. By using Braille, he transforms language into a visual and physical experience. Words are given an olfactory and tactile existence through the material media. Sentences are shaped by the texture of the installation, giving them an independent life and history. This artwork mainly conveys the foundational experience of the loss of vision. The artist projects his own emotions facing the difficulty to interpret color and space. He invites us to overcome the anxiety and explore his invisible but yet tangible imaginary world.

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Chen Wen-Rou (陳雯柔) sees perception not as a passive body sense but rather an active decision, a self-opening to the world surrounding us. The landscapes she depicts seem to embrace the variability of time and space, she goes back to the primitive human beings living on lakes, icebergs, rock faces, and land. This spiritual world can be observed through non-visual body perception, such as the speed of resonance. She is deeply inspired by the language model of whales and dolphins, as well as ancient tribe rituals. Her artworks appear as unreal visions full of poetry, which she considers as a primary language pathology.

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