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「五十步的空間」系列創作起源於2013年拉黑子‧達立夫一段東海岸的旅行,以他父親生前所說的一句話「我們只剩下五十步」,作為環境關照的初始視角,延續「颱風計畫」(2008 – 2013)中的拖鞋撿拾作為行動,然而這次的行走卻讓創作者不得不開展出與以往全然不同的太平洋觀看。回到傳統的認知中,事件、問題、衝突……都是非單一線性的發生,而是多重空間交互影響的概念,神話傳說、部落經驗、兒時記憶、個人省思、當代困境等,於是透過多重線索反覆交織重組,穿梭於有形無形的諸多空間之中,為當下的困頓尋求更進一步的答案,直抵轉化或者療癒的可能。

拉黑子‧達立夫在九○年代初期回歸部落投入創作,身為世居於太平洋沿岸的大港口阿美族人,部落生命、都市經驗及長年田調所累積的母體文化始終盤根錯節且交互影響。他將這份根系作為思想基底,透過重複且厚重的勞動梳理,最後呈顯於作品上,創作形式多元,蘊含海洋文化特質與部落傳統精神。擅長以淬練後的雕塑線條與裝置語彙傳達面對當代課題的環境思維辯證,探討族群結構瓦解及大社會變遷的現狀,引發觀者自我省思。

本系列作品包含行動、文件、雕塑、裝置、多媒材、聲音……等多元手法回應作者在行走中所看見的跨空間共時與共存現象,每件作品都有雙重以上的不同層次的代表意義探討。如同標題中數字「五十」所傳達出的,一種跨越中點後的「迫切」,以及介於之間的「彈性」,這樣近乎悖反的特質在這一系列的作品中反覆出現,挑戰邊界的存在與意義。諸如透過《線》探討切割與縫補、透過《牆》探討隔絕與連結……等這些都是環境、文化、傳統與部落生活所共同面臨的問題,環環相扣而無法單一論之。在《旅行》作品中的繪製與行走過程所拾回的拖鞋、海廢與漂流木在此如同新舊事物的象徵物,直指傳統社會對現代思維、新事物、新媒材等的包容性,因為便捷或者強勢等因素,這些事物總是被快速接納卻又容易陷入未經充足消化的拼貼,無形中延展了主流社會對於傳統文化的獵奇式觀看,卻又在快速消費中尚未融會便已轉換成垃圾。《獲 2014年國家文化藝術基金會「美術類-大型創作」獎助》

拉黑子-高美館個展-展覽現場(攝影 吳欣穎)_1

2015《只剩五十步》 Only Fifty Steps Left , 615x155x197cm, 木 Wood

The Space of Fifty Steps, a series of mixed media works, originates from Rahic Talif’s trip to Taiwan’s East Coast in 2013 and his recollection of his father’s remark, “We are left with only a space of fifty steps.” With this sentence as the starting point to express Rahic’s concern about the environment, this series extends the actions of picking up discarded flip flops back in his Action Project for Typhoon (2008-2013). However, in this series, Rahic forces himself to look at the Pacific Ocean from entirely different perspectives: his reclamation of traditional knowledge and confrontation with several incidents, problems, and conflicts, none of which are linear occurrences. Rather, these are mutually influencing concepts in multiple times and spaces. By tracing along interconnected clues found in tribal legends, local experiences, childhood memories, personal contemplation, contemporary predicaments, and many other contexts, Rahic travels among many spaces, both tangible and intangible, as he seeks out an answer to present circumstances, until he reaches possible places of transformation or healing.

Rahic returned to his native village to focus on his artistic creation in the early 90’s. As a member of the Amis community who had settled in Makuta’ay along the Pacific-facing coast of Taiwan for generations, Rahic is aware of the intricately interconnected, and sometimes contradictory, influences from his experiences of tribal life, days of living in the city, and years of field research on his native Amis culture. With these influences as a conceptual basis, Rahic conducts repetitive and laborious actions as a ritual in order to reflect upon these influences and, ultimately, demonstrate in his works a synthesis of maritime cultural characteristics and traditional tribal spirit. His works employ sculptural line and the language of installation art to convey dialectical messages about the contemporary environment, to explore the disintegration of traditional social structure in the indigenous community, and to comment upon wholescale social transformation, inspiring viewers to reflect upon these issues.

This series of works contains actions, documents, installations, multimedia, sound work, and many other elements to echo with the interconnected influences among different factors that exist in different times and spaces perceived by Rahic. Each of the works explores dual and multiple meanings. For example, the “Fifty” in the title conveys a kind of “urgency” after the midpoint is reached and, at the same time, a kind of “flexibility” of straddling in the middle. This kind of bordering on paradox emerges repetitively in this series of works, challenging the existence and meaning of boundaries. From discussion about of cutting and mending in Line to the discussion about separation and connection in Wall, the discussions in this series of works target several problems, each involving the environment, culture, tradition, and indigenous life; therefore, as Rahic suggests, the problems cannot be discussed individually just from one single perspective. In Journey, the drawings, flip flops, discarded modern items, and driftwood Rahic collected from the seashore represent new and old things. The discarded items demonstrate how traditional indigenous communities have embraced new thoughts, new objects, and new media from the outside modern society. Because of both their convenience and the mainstream values they represent, these modern items are quickly adopted by indigenous people but not fully integrated into their society. Therefore, they are easily discarded. The fast consumption and disposal of these items from modern society resonate with how the mainstream society sees the traditional indigenous cultures as the “exotic Other.”

拉黑子-高美館個展-展覽現場(攝影 吳欣穎)_2

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展覽名稱 Exhibit
五十步的空間  The Space of Fifty Steps

展覽時間 Date
2015/12/19-2016/03/27
每週二至週日,9:30-17:30。(每週一、除夕休館)

展覽地點 Venue
高雄市立美術館 Kaohsiung Museum of Fine Arts

地址 Address
高雄市鼓山區美術館路80號
80 Meishuguan Road, Kaohsiung City

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