展覽情報
Exhibition

2018.09.08-2019.11.18

天火 Ten-Ka


謝春德 平行宇宙系列The Parallel Universe of Hsieh Chun-Te

活著的危險性是因為我們有一雙眼睛
我們用眼睛看世界  看不到自己
這也是影像的魅力所在
因為看不到的總比看得到的多
——謝春德〈肉身〉

 

謝春德為台灣極具開創性、難以被歸類的攝影家。從早年紀實性攝影的「家園」和「時代之臉」,顯現數位暗房功力的「無境漂流」至編導式攝影的「生」,謝春德的鏡頭由外在環境聚焦至內在精神探索,以多重維度的宇宙觀展開其最新創作「平行宇宙」系列。

 

「平行」二字源自數學的概念:兩物經過無限延伸而不相交,始終保持固定距離。在宇宙學上,「平行宇宙」意味著多重宇宙,也就是除了我們所生活的宇宙,仍有其他宇宙同時存在。但對謝春德而言,「平行」是一動詞,意味著一轉念即能「穿越」時空,進入另一個維度的空間。《天火》則為「平行宇宙」系列的首部曲,集結其2002至2018年的創作,融匯大尺幅編導式數位攝影、裝置、詩文、表演、飲茶等多領域的藝術型態,汲取東方風景意象與西方神話元素,將各種文化符碼融為一爐,探索人類與自然、肉身與靈魂、空間與時間的極限,最終指向「靈魂的歸處」──我們真正的家。

 

《天火》創作源頭來自謝春德的登山經驗。素有「登山怪傑」之稱的李小石是謝春德的登山導師,他是台灣第一位登上聖母峰之人。2002年,謝春德第一次和李小石登南湖大山,原有高山症的他攻頂後因喝了一杯酒而休克。這次瀕死經驗,讓謝春德開始思考更多關於生命、宇宙的存在、消亡、重生等議題。《天火》的視覺語言也因此帶有一種宗教神話的儀式性:單腳走鋼絲救出小孩的母親,受密勒日巴施法而在空中爆裂、血濺四處的飛鳥,西藏納木措湖上漂浮的紙人,日月潭邵族的白鹿神話,和提著自己頭顱的戰士等等,在在指向人類的原欲、愛憎及自我意志的展現。在展覽敘事上,藝術家也創造許多「空間中的空間」:高山、廢墟、修道院、水池等,試圖讓觀眾在不同空間的轉換中感受到多重宇宙的向度。在謝春德的《天火》中,攝影並非現實的紀錄或轉譯,而是奮力創造非現實的媒介,而入山的過程便是人生的旅程,最終將超越對死亡的恐懼,進入「永生」。

 

藝術家介紹

謝春德1949年生於台中,從1969年第一次個展《午夜》(Midnight)至今,創作生涯近五十年。年少懷著思鄉之情走遍台灣各地,帶有距離感的鏡頭卻透露出真摯情感,發展出紀實題材的《吾土吾民》(Land & People of My Own)、《家園》(Homeland) 和《時代的臉》(Faces of Our Time) 系列。未曾停止遷徙的遊子,從1975年開始,陸續前往不丹、中國、印度、墨西哥等地,率先採用數位工具創作,確立其追求攝影數位化的實驗精神,並於2002年回到故鄉發表《無境漂流》(Non-Zone Moving)系列。2003年,創立「食方」(C’est bon) 餐廳,一手打造菜單、餐具及空間設計,展現其多面向的創作慾望。2011年,《春德的盛宴》(Le Festin de Chun-Te) 於第54屆威尼斯雙年展展出,首創「飲食劇場」,結合攝影、裝置、食物、表演,其中攝影作品《生》(Raw) 系列,開始其編導式的影像佈局,直視社會環境與歷史文化之下,人類生慾、愛恨之拉扯,並引起歐洲藝術電視台(ARTE) 的興趣,遠赴台灣拍攝謝春德的紀錄片。2013年於高美館舉行回顧展《微光行》(Slight Touch)。2016年於臺北當代藝術館展出平行宇宙二部曲《勇敢世界》。2018年,則在北師美術館回到該系列的出發點,揭開平行宇宙的首部曲──《天火》。

 

謝春德的創作計畫往往歷時十年以上,從手稿繪製、人物安排、場景設計與調度、後製到輸出的縝密流程中,誕生出一幕幕宛如電影停格的深刻影像,這些影像更是台灣攝影歷史更迭的重要見證。

 


 

The Parallel Universe of Hsieh Chun-Te
TEN-KA

The danger of being alive originates from our eyes.
We see the world with our eyes, but do not see ourselves.
This is also where the charm of image resides
As what we cannot see is way more than what we can.
——“Flesh,” Hsieh Chun-Te

 

“It all begins with my relation with you. Do you believe that our lives could exist in different forms in other spaces besides existing in their current forms in this space?”

 

Hsieh Chun-Te was born in Taichung in 1949, and has been known as one of the most pioneering Taiwanese photographers whose work defies categorization. From his early documentary photographic series, such as Homeland and Faces of Our Time, to the None-Zone Moving series that demonstrates his mastery of digital darkroom, to the Raw series that adopts the approach of fabricated photography, Hsieh’s creative career has spanned fifty years. His latest series, Parallel Universe, assumes a cosmic view that encompasses multi-dimensions and reveals a process of zooming in on the exploration of the inner spirit from portraying the external environment.

 

The concept of “parallel” originates from mathematics; it denotes that two things extend infinitely in the same direction but never intersect, and always remain equidistant from each other. In cosmology, “parallel universe” suggests multi-universe, which means that there are other universes in addition to the universe that humans inhabit. However, for the artist, the word “parallel” also hints at the idea that only one change of mind can allow us to “traverse” the present space-time and enter another dimension. Ten-Ka is the first chapter of the Parallel Universe series, and includes a body of works in multi-disciplinary art forms created during 2002 and 2018, such as large-scale fabricated photography, installation, poetry, performance and tea-drinking. The artist brings together imageries of Eastern landscape and elements of Western mythologies, amalgamating an array of cultural symbols to explore the boundaries that define the relationships between human and nature, flesh and soul as well as space and time, which all ultimately lead to our true origin—“the home of the soul.”

 

Ten-Ka has been inspired by one of Hsieh’s mountain-climbing experiences. Renowned climber Lee Hsiao-Shih, who was the first Taiwanese mountaineer to ever conquer Mount Everest, was the artist’s mentor in mountain-climbing. In 2002, Hsieh’s first attempt to climb Nanhu Mountain with Lee resulted in him having an accidental shock after suffering from acute mountain sickness and drinking some liquor upon reaching the summit. This near-death experience led Hsieh to think more deeply about life, the cosmic existence, life’s disappearance and rebirth. Therefore, the visual expression in Ten-Ka also reveals a ritualistic quality reminiscent of religious stories and mythological legends: the mother that walks on a steel wire with one leg to save her child, the exploded, blood-splashing birds that Milarepa casts spells on, the paper figures floating on Lake Namtso, the white deer legend of the Thao people from Sun Moon Lake, the warrior that carries his own head, etc. These stories all speak of human libido, love and hatred as well as the manifestation of one’s will. In terms of exhibition narrative, Hsieh also creates multiple “spaces within spaces,” such as mountains, ruins, convent and pond, which allow audiences to perceive a multi-universal dimension through spatial changes. In Ten-Ka, photography does not produce any record or translation of the reality; instead, it has been employed as a medium to create nonrealities, in which the journey of entering the mountain resembles the journey in life and will eventually transcend the fear of death and arrive at “immortality.”



展期 Date|2018/09/08-2018/11/18

 

地點 Venue|
MoNTUE北師美術館Museum of National Taipei University of Education

 

開放時間 Opening Hours|
10:00-18:00
週二至週日Tuesday to Sunday
周一及國定例假日休館 Closed on Monday & national holidays

 

主辦單位 Organizer|
國立臺北教育大學北師美術館 Museum of National Taipei University of Education
協力單位 Cooperation Partner|太界文化
贊助單位 Sponsors|寶吉祥集團、美術館之友聯誼會
創作贊助 Sponsors for the project|卡希納空間美學館 H.N. Lin Design Center、福邦證券、水井茶堂、意念工房、豐盛堂HOSEIDO
指定照明Official Lighting|照瀚科技有限公司
媒體協辦Media Cooperation|今藝術ARTCO、典藏藝術網ARTouch
媒體夥伴Media Partners|藝術家雜誌、Bios Monthly
宴會餐點 Catering Sponsors|派蒂芙Les Petits Fours Catering、酒堡國際 Chateau Wine & Spirit

 

本展覽作品涉及裸露、暴力等內容,12歲以下兒童須由家長或師長陪同參觀。
Viewer discretion is advised. Some artworks contain scenes of nudity and violence, and audience under the age of 12 should be accompanied by a parent or adult guardian.



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