Rahic.Talif 拉黑子‧達立夫

拉黑子‧達立夫Rahic.Talif,1962年出生於花蓮阿美族港口部落,現專職創作,從事於木雕、裝置、行為、建築、家具、部落文化再造、原住民社會文化評論等領域。曾在部落裡作為年齡階層制度裡的帶領者mama-no-kapah(青年之父),負責帶領部落青年,組織及管理整個部落。並從採集神話故事、口述歷史和舊部落遺跡開始,重新學習部落的智慧,多次帶領部落族人參與國內外藝術展出及公共藝術創作發表。

二十多年來,他不斷地反省與探索自己的思緒,沉澱與積蓄自己的創作能量,使用充滿生命和記憶的漂流木作為材料,打破原住民藝術過往被認知的既定形象。作品多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語彙精準的裝置傳達對全球化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,透過自身的行為及藝術創作引發觀者的自我省思。於2000年獲亞洲文化協會(ACC)獎助前往美國進修當代藝術活動。2014年被國立海洋科技博物館列入海洋文化之代表藝術家。重要作品包括《現代集會所》(1993)、《末始》(1999)、《歸零》(2000)、《站立之舞》(2005)、《殘》(2007)、「颱風計畫」(2008-2013)、「五十步的空間」(2013-)。著有〈混濁〉(2006)。

一路走來,已從文化詮釋的社會性批判、思索、重省、再現等可能,邁向對藝術本質之純粹性的探索。

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Rahic.Talif was born into the Amis Makota’ay tribe of Hualien in 1962. He is a professional artist who works in the fields of wood sculpture, installation art, performance art, architecture, furniture, reworking tribal culture, indigenous society and culture etc. As a result of the tribal age hierarchy he has served in the position of mama-no-kapah (father of youth), in which capacity he has been responsible for guiding young people, organizing and managing the entire tribe. From his collection of tribal myths, oral histories and visits to old tribal sites, Rahic has sought to relearn tribal wisdom and helped tribal members participate in art exhibitions at home and abroad, as well create public art works.

For more than two decades, Rahic has reflected on and explored his own ideas, as a result of which he developed a very distinctive creative energy. This has involved using driftwood imbued with life and memories as his main medium and creating pieces that depart from the generally received understanding of aboriginal art. Many of Rahic’s works reference aspects of ocean culture and traditional tribal spirit. He has also proved particularly adept at installation art that makes use of honed sculpted lines and precise language to convey environmental dialectical thinking on the issue of globalization, as he discusses the collapse of communal structure and major social change, encouraging viewers to reflect on such issues through his own actions and art. In 2000, Rahic received a grant from the Asian Cultural Council to attend art activities in the US. In 2014, he was designated an ocean culture artist by the National Museum of Marine science and Technology. His main works include “Modern Meeting Room"1993, “Ending and Beginning"1999, “Return-to-Zero"2000, “The Dance of Standing" 2005, “Incomplete" 2007, “Action Project for Typhoon"2008-2013, “The Space of Fifty Steps"2013- , and he has written “Turbid.”2006.

During his artistic career Rahic has moved from a focus on the possibilities inherent in social criticism, ideas, reflection and re-presentation of cultural interpretation, to an exploration of the essential purity of art.

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