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許願樹—榆木令子個展@MOCA

2013-11-9 21:44| 發佈者: 攝影線上| 查看: 16329| 評論: 0|來自: MOCATPE 台北當代藝術館

摘要: 展覽名稱 | 許願樹—榆木令子個展Exhibition| The Wishing Tree—Solo Exhibition by Reiko Nireki展覽時間 Date |2013/11/09-12/22展覽地點 Venue |MOCA Studio門票 Admission |免費,free展覽簡介 About the Exhib ...

展覽名稱 | 許願樹—榆木令子個展

Exhibition | The Wishing Tree—Solo Exhibition by Reiko Nireki

展覽時間 Date | 2013/11/09-12/22

展覽地點 Venue | MOCA Studio

門票 Admission | 免費,free

 


 展覽簡介 About the Exhibition

今年春天剛結束紐約羅德島設計學院客座講師的榆木令子,有著紮實的雕塑藝術訓練背景,曾於東京、倫敦、柏林等地求學,也曾至芬蘭、巴西等地駐村交流,在長年旅居異國浸潤不同文化之同時,她的作品始終反映著日本文化深刻的工藝精神及人文哲思。


Reiko Nireki received her artistic training in Tokyo, London and Berlin, and has been in residence programs in Finland and Brazil. Despite her years immersed in different cultures, including giving lectures at Rhode Island School of Design this spring, her art always reflects the craftsmanship and philosophical contemplation of Japanese culture. 


擅長以紙材創作的她,作品帶有溫暖樸實的質感溫度,近幾年持續進行的「森林與樹」創作計劃,立意將藝術思維推展至人文與自然的關係探討,進而關照今日文明對於自然環境的破壞與保護。2000年時,榆木令子獲日本文化部補助至芬蘭駐村交流期間,因接觸了當地信仰/崇拜森林與自然環境的歴史文化,而讓她回想起日本文化中固有的萬物有靈論,於是開始在藝術創作和展覽活動中,融入不同文化思維的研究和比對。


Specializing in utilizing paper material, her artworks carry a sense of warmth. The “Forest and Tree Project” that she has been conducting in recent years aims to explore the relationship between humanity and nature through art, and directs the audience’s attention towards the damage and preservation of natural environment. In 2000, she received a grant from the Cultural Affairs of Japan to work in Finland, during which she learned about the local belief related to the forest and nature, which reminded her of the animism in her own culture. Therefore, she started to incorporate her study and cultural comparison in her art and exhibition.


在此次台北當代藝術館實驗展場的個展中,榆木令子以第一展間呈現了她數度走訪鄉土,汲取台灣民間的樹神信仰,加上草山行館駐村二個月對於台灣山林環境的體驗,由此所創作完成的繪畫及雕塑裝置。旅台期間,在林務局的協助之下,榆木令子得以見識台中、嘉義等地的珍奇老樹,並實地觀察台中地區信眾被樹神點認為義子女的宗教儀式,她從中發現了台灣民俗中的巨樹崇拜往往與土地公的信仰結合,試圖將這些見聞融入其創作語彙和展示情境,更邀請觀眾走進作品,欣賞她所繪製專屬於台灣的人文風景;裝置中心以台灣竹及回收紙漿製成的球型雕塑,代表樹木的精神及文化的核心,隱隱綻放象徵台灣信仰的紅色光蘊,並以懸吊在球雕內的葉片及銅幣,做為樹神庇佑義子女的護身符。也因如此,觀眾步入這個結合了繪畫、裝置及台灣風土人文內涵的展場中,由然而生的一種親切感,其實無需言語即可直覺體會。



After a two-month residency in Grass Mountain Chateau, in the first room of her exhibition at MOCA Studio, she shows the installation that is comprised of drawings and sculpture, which is a direct result of her observation and travel in Taiwan, learning about Taiwanese people’s worship of big trees. With the kind assistance of the Forestry Bureau, Reiko Nireki visited various precious old trees in Taichung and Chiayi, and personally witnessed the religious ritual of the birthday of the tree god, during which the god will adopt local children as sons and daughters. She realizes that Taiwanese worship of trees is often integrated with the belief in god of the land, and attempts to represent what she has seen and heard in her installation. She invites the audience to enter her work to appreciate the humanistic landscape of Taiwan. At the center of the installation, a ball-like sculpture made of bamboo and recycled paper pulp symbolizes the spirit of the tree and the core essence of the culture. The subtly flowing red light is characteristic of local religion, and the leaves and coins hanging inside the sculpture represent the charms that the sons and daughters of the tree god would receive. The integration of drawings, installations and Taiwanese local customs gives a direct sense of hearty friendliness that does not require much explanation. 


無獨有偶,本展第二展間中對照呈現的是,榆木令子依據日本神道教信仰的儀式內涵而創作的另一件空間情境裝置;當大樹被砍伐用以製船後,日本匠人會在此樹的橫斷面上植入取自末梢的一枝小綠枝,藉此象徵生命的回返及自然的循環,以及人類對自然的至誠感恩。此次台北個展,材料運用上另一特色是,榆木令子巧妙運用「樹火紀念紙文化基金會」慷慨贊助的特種紙張,加以揉搓、上色、堆疊雕塑,讓觀眾從中體驗了巨木崇偉的外觀和護佑者/犠牲者的兩種形象,藉此提醒觀眾重回已經習以為常,卻也逐漸遺忘的自然環境,去凝視和思索人類與大自然的永續關係。



The spatial installation in the second room is created based on the religious ritual of the Shintoism. When a tree is felled down to make boats, Japanese people will plant a branch of the tree back on the tree stump, symbolizing the return of life back to the tree and expressing their sincere gratitude for nature. With the paper generously sponsored by the Suho Memorial Paper Culture Foundation, the artist wrinkled, colored, and layered the paper, allowing the audience to experience the appearance of the giant tree and the images of the protector/the sacrificed. By doing so, she reminds the audience to return to our precious nature that is being gradually forgotten, and to contemplate on the sustainable bond between human and nature.




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