逍×遙×遊– 當代工藝合創展

Crossover Crafts. Values and Practices. Mix and Regeneration.

總策展人 Chief Curator 張仁吉  CHANG,JEN-CHI

策展人 Curator 程湘如 STONY CHERNG

  「在我們一生當中，平凡無奇的日子裡，總有一些特殊的時刻。在那些時刻，我們似乎有了非比尋常的發現，也感受到無以倫比的幸福，並領悟到無上甚深的智慧。要是我們能藉由某種記號，召喚出自己心中的這般願景，那該有多好！藝術，就是在這種期望下誕生的。藝術，引導我們向未知的世界前進，也指點我們朝更偉大的知識追尋…」，美國藝術家暨藝術教育家羅伯特‧亨萊（Robert Henri, 1865-1929）在其著名的藝術啟蒙經典《藝術精神》（The Art Spirit）一書中倡導藝術與生活密切相關，也跟每個人都有關。他認為藝術讓人邁向平衡與秩序，判斷相對價值，了解成長法則，檢視經濟生活，這一切都是值得人們探究的美好事物。

  「工藝」則是兼具藝術精神本質與實踐的體現。從因應生存的生活需求出發，演進至現代具有美學哲思的藝術自我實現，更走向當代強化公共意識及利他的社會價值，完整呼應羅伯特‧亨萊對藝術精神的倡議。又隨著時代推進與社會環境變遷，工藝從就地取材的便利轉向對自然、循環與永續觀念的奉行；後疫情時代（Post Pandemic Era）顛覆國家治理、經濟運行和社會交往的方式，革新固有認知，促使對未來生活的想像，反思工藝的價值與新機；知識經濟崛起，有形的利潤轉化成強調無形的社會價值和競爭力，工藝不再只是製造產品和提供服務，而是深化意義、建立關係以及藉以拓展新的經濟模式（例如智慧財產權授權、數位科技創新應用…），尤其是「創造經驗」，即是宣告工藝「體驗時代」(the Age of Access)來臨。因應種種社會趨勢，工藝越趨開放的適變能力，透過跨界、複合、無框架等合作模式，嘗試各種可能，除了拓展觀者的新視野，更誘發大眾對未來工藝的想像與生活關係的思辨。

  〈逍×遙×遊–當代工藝合創展〉即是工藝以當代之姿回應社會趨勢的新創實驗。「合創」源於「跨域」（Crossover）概念，即是合作創新，資源共享。但並非僅是雙邊領域的交流，而是多邊領域（例如跨族群、跨技術、跨材料、跨地域、跨文化、跨世代、跨時間、跨國際、跨產業…）的交會，所探討的不是物件本身的結果，而是物件產出過程中的激盪、融合、辯證及衝突…等，去中心化的多元觀點，經由知識交換與共學，逐步累積及形塑各自獨有的生命經驗及新創靈感，過程也是工藝合創的目的。

   展覽以「逍」、「遙」、「遊」為命題，分別表示「時間」、「空間」及「速度」三個維度。第一個維度「逍–時間」即是創作者感知「時間」的議題和情感，透過梳理再以工藝創作傳達新意。例如作品《集體記憶》，紅磚是臺灣傳統建築文化的象徵，磚塊交錯疊砌除了結構考量也形成獨特的視覺意象。該系列作品將過去深具集體記憶及情感的文化意象、材質及技法於當代以石雕打磨技法轉化再現，亦是一種傳統文化的創作紀錄寫照。第二個維度「遙–空間」即是創作者探討「空間」形成的意義和所在的對話。例如作品《夜間飛行》，是經常飛行世界各地的創作者看到工藝黑漆撒金粉末的表現，如同夜間飛行中看到每個城市獨特的閃閃光點，以機械錶的錶盤顯示世界各地不同城市的光景，每一個都是獨特且唯一的存在，將自身所處空間的美好經驗，藉由工藝材質、技法表現結合機械科技的載體相互幫襯，充滿驚喜。第三個維度「遊–速度」即是關注生活的節奏、生命進程的積累。同時亦是工藝創作「頂真」的態度表徵，注重步驟、工序及細節，講究慢工出細活的精神。例如作品《飄》即是表現走進竹林的感官的經驗，也是一種慢活的心靈狀態。藉由一片片手工取彎竹片的流暢線條，逐一疊加構築成如風輕飄的路徑，經由坐臥的行為產生磨擦，有如竹子被吹得聲聲大作，融合聽覺、視覺和觸覺多元的感知，傳遞風的流動。

  工藝在「逍–時間」、「遙–空間」及「遊–速度」三個維度中各自展開，也互為碰撞、融合，產生工藝能量的激盪、匯聚與再生，形構成三維的文化量體，透過自由、多元的跨域合創，當代工藝逐步且持續豐厚生活的文化內容。本次展覽以「逍」、「遙」、「遊」為名，強調創作者在合創過程中對未知領域的探索，作品不僅是視覺所見，更是內心深層的感受。恰與莊子美學思想《逍遙遊》中所追求的「自由觀」契合，莊子認為萬物自有時空格局，想要獲得自由，要學會換位思考，衝破固有的認知和格局，不受任何時空限制以獲得超然物外的絕對自由。打破唯物的制約思惟，當代工藝藉由合創過程挖掘生命經驗的感動、提升知識量能、強化與當代議題辯證的思惟、發現差異中的創意靈感，從中發揮工藝的價值、美學精神與社會實踐力。當代工藝合創的「物件」不只是個人情感的傳遞介面，更是人們思緒的延伸、具有靈魂氣息的媒介，猶如超現實主義（Surrealism）的作品，在造型的描繪上是寫實的，但不具合理性也不現實，猶如夢境所見，表現縈繞腦際的潛意識活動，實驗性的過程將是未來工藝新創不可缺的催化劑（Catalyst）。

‘There are moments in our lives, there are moments in a day, when we seem to see beyond the usual- become clairvoyant. We reach then into reality. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. It is in the nature of all people to have these experiences; but in our time and under the conditions of our lives, it is only a rare few who are able to continue in the experience and find expression for it.’ American artist and educator, Robert Henri (1865-1929) advocate art is close related to life and art is related to everyone in his famous art enlighten classic book, The Art Spirit. He views art as a way to make people toward balance and be in good order. Art makes people able to judge relevant value, understand the rule of growing up, inspect economic lives, above all these are wonderful things that deserves people devote themselves to explore.

‘Craft Art’ is the reflection of art spirit essence and practice. It starts from daily life needs and evolve into art self-practice with aesthetic philosophy nowadays, and now towards strength public awareness and altruism social value. This fully echoes the initiative that Robert Henri towards art spirit. Within time passes and the vary of society, craft art changes from the conveniences of collecting material on site to the pursue of circulating sustainable concept to natural. Post Pandemic Era subvert how countries govern, economic run and social intercourse. It revolute the inherent understandings and prompt the imagination of future lives, rethink and value and new developments of craft art. With the rise of knowledge economics, tangible profit convert into emphasizing invisible social values and competitiveness. Craft art no longer just produce products and provide services, but tend to deepen meanings, establish relationships and expand new economics models (Such as Intellectual property rights authorize, digital technics innovative applications.) Especially ‘Age of Access’ is announcing its advent. Responding all kinds social trends, craft art becomes to be more open in the ability of adapting, through the cooperation model of transboundary, complex, frameless and attempt all possibilities. Except expanding viewers new sights, induce publics’ imagination and speculate of life relationships.

This exhibition, Crossover Crafts. Values and Practices. Mix and Regeneration, is a new creation of craft art responding society trends in contemporary way. Collaboration origins from Crossover, it is innovation cooperation and resources shared. It is not just the communication between both fields, it is an interdisciplinary rendezvous (Such as cross-ethnic, cross-technology, cross-material, cross-region, cross-cultural, cross-generation, cross-time, cross-international, cross-industry, etc.) This explores not only the results of objects but the agitation, fusion, dialectics and conflict in the process of objects being outputted. Decentralization’s various points of view are accumulated and modeled in spectacular life experiences and muses of new creation from knowledge exchange and co-learning. The process is the purpose of craft art co-production.

The name of this exhibition ‘Crossover Crafts. Values and Practices. Mix and Regeneration’ represents three dimensions which are time, space and speed. First dimension, Crossover Crafts – time means artists sense subjects and feelings of ‘time’, deliver a new creation after sorting out. Such as artwork ‘Group Memory’. Red bricks are symbolization of Taiwanese traditional architecture, the staggered stacking not only consider the construction but also the unique visual imagery. The series artwork transfers the culture imagery with strong group memory, feelings, material, skills then reproduce in a modern stone carving polished skills, and this is also a creation documentary of traditional culture. The second dimension, Values and Practices – space is the dialogue that artists focus on meaning of ‘space’. Take artwork, ‘Night Flight’ as example. The artist travels around the world frequently and sees the way craft art black paint with spraying golden powder like the unique city sparkles you may see when travel at night. The dial of mechanical watch shows different scenes of each city in the world, each of them exist in the world one and only. Artist share and show the unique space experience through craft art’s materials and skills and express the mechanical carrier filled with surprises. The third dimension, Mix and Regeneration – speed focus on rhythm of life and accumulation of life process. Also, this is the ‘genuine’ attitude symbolization of craft art focuses on all the steps, details and spirit of taking time to make one great piece. Take artwork, Flow for example. It shows the sensual experience of walking through bamboo forest, also a downshifting state of mind. To create a flowing path with layers of handmade-bending bamboo strips into smooth lines. Through the action of sitting or lying generate friction similar to the bamboo’s sound when wind blows. This is a various sensation includes sound, visual and tactual to show how wind flows.

Craft art expand itself in these three dimensions: Crossover Crafts – time, Values and Practices – space and Mix and Regeneration – speed, collide and merge, produce the craft energy agitation, convergence and regeneration, structure a culture carrier with three dimensions. Through the free and diverse crossover crafts, modern craft art enriches culture contents in life. The exhibition, Crossover Crafts. Values and Practices. Mix and Regeneration, emphasizes artists explore the unknown field through crossover process, the artworks are not only what they see, but also how they deeply feel. This is similar to the ’freedom concept that Zhuangzi mentioned in his article‘Free and Easy Wandering’. Zhuangzi viewed everything has its own time and space dimension, if one want to have freedom, it is a must to think from different angle and break the old thinking and pattern. In order to have the freedom beyond time and space limitation, to break the materialism’s restrict thinking, modern craft art dig the touch moments of life from crossover, upgrade the knowledge energy, strengthen the ability to dialectic modern issues, discover the differences of creative muses, exert the value of craft art, aesthetics and social practical abilities. The objects in craft art crossover are not only a transfer interface but an extension of people’s thoughts. It is a spiritual medium like Surrealism artworks. The description of modeling is real but doesn’t make sense or in reality, it’s like what dream is, a subconscious activity in minds, the experimental processes are the indispensable Catalyst in craft art new creation in the future.

展覽名稱：逍×遙×遊– 當代工藝合創展 - Crossover Crafts. Values and Practices. Mix and Regeneration.

展期：2022-03-03 ~ 2022-06-05

地點：臺南市美術館2館 展覽間E、F、G、H　Tainan Art Museum Building 2 Gallery E、F、G、H

地址：臺南市中西區忠義路二段1號