Art Taipei 2016 台北國際藝術博覽會 11/12~11/15

【展訊】

Art Taipei 台北國際藝術博覽會|2016/11/12~11/15| 世貿一館
緣投畫廊 N7展位

拉黑子‧達立夫

拼貼系列新作《海的記憶-風》、《海的記憶-水》以及立體作品《影子》展出。

拉黑子創作的主要材料來自於他的撿拾,如今的撿卻更像是一種承擔,在被丟棄中看到文化的消失,看到環境這個空間裡的拉扯與衝突,看到不得不撿更多的現實驅動。撿拾讓拉黑子查覺到流失,然而收穫的同時也是在釋放,特別是這份屬於內在拋出讓他清楚看見自己流失了多少過往不甚在意的東西,包括身處的大環境到母體文化,透過這個撿的行為,才能檢視到那個不堪、那個微小的東西背後所包裹的龐大。在此,他承繼這個肢體動作但轉換了拾獲物,有時是漂流木、有時是纏人的魚線、有時是建築廢料、有時是蒐集了一整瓶的破碎玻璃、有時是滿布袋的塑膠瓶蓋,還有更多的塑膠片……(文/謝宛真,自〈五十步的空間-個展作品集〉摘錄)

〔本次展出《海的記憶》系列作品,獲 2016年國家文化藝術基金會「美術類-大型創作」獎助〕

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廣告

【展訊】「旅行之夢」五十步的空間創作計畫 (2016/7/16-8/30)

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◆ 關於本展
從2014年開始的五十步空間計畫,拉黑子‧達立夫在花東台11線沿岸潮間帶持續進行撿拾漂流拖鞋與海廢,並且加以記錄與再創造;此一階段的撿拾行為,較諸以往有更廣泛的觀察且不具特定目的。
 
<旅行>是將發現漂流拖鞋的情境以圖像記錄於糖廠舊存的古布疋上,並且用阿美族語的羅馬拼音加註詩文。拖鞋、古布、族語與作者各自經歷了不同時空環境後遭遇在一起,共同營造出<旅行>作品當中多重時空交疊,詩意與記憶攸忽擺盪的隨機張力。
 
<夢>與<太平洋>系列是拉黑子‧達立夫近年少見的漂流木抒情之作,以溫暖輕鬆的手感質地,傳遞出對太平洋一直以來的專注觀看與凝視。在<夢>系列當中,潮間帶上石頭與浪花撞擊形成的圓潤動感量體,在木頭與生俱來的自然肌地紋理之間迴轉律動,輕快而幽默。<太平洋>系列則以延伸性的群組線條,細膩地書寫出太平洋的全感官意象,提供得以仔細閱讀包含太平洋的光、太平洋的風、太平洋的浪及太平洋的速度…一種令人感到陌生卻欣喜雀躍的視覺經驗。

◆ 展覽地點:丽格接待會館│台中市市政北五路與惠中三街口

◆ 展覽日期:2016.7.16 – 2016.8.30

◆ 開放時間:每日10:30-19:00(本展為維護參觀品質,採電話預約參觀,預約專線04-36095888)

【展訊】多重線索 2016材質物語—纖維(2016/06/25-9/18)

多重線索
Traces & Clues
2016材質物語—纖維
Material Language—Fiber

「以臺灣海洋島嶼的風土人文為底蘊,建構纖維藝術在雕塑性上的討論基礎,讓此展覽能夠不侷限於材質類型分類的討論,又能與近幾年臺灣各地的纖維藝術特展有所呼應與區別。」
“Fiber, the chosen subject for 2016, attempts to lay the foundation for discourse on the sculptural quality of fiber art upon the culture and custom on the island nation of Taiwan. Therefore, this exhibition is not merely a discussion on classifications of materials, but an distinctive echo to fiber art exhibitions throughout Taiwan."

藝術家:丁冠云、吳佩珊、拉黑子‧達立夫、陳界仁、曾琬婷、潘娉玉
Artists:Ting Kuan-Yun, Wu Pei-Shan, Rahic Talif, Chen Chieh-Jen, Tseng Wan-Ting, Pan Ping-Yu
策劃:莊東橋
Curator: Chuang Tong-Chiao

2016.06.25-09.18
朱銘美術館第二展覽室
JUMING MUSEUM GALLERY II

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展覽期間Dates:2016.06.25-2016.09.18
地點Venue:朱銘美術館 第二展覽室 JUMING MUSEUM GALLERY II
費用Fee: 需購票入館

Admission
Adults:NT$280
Students & Seniors (65 and older): NT$250
The disabled (Disability ID required):NT$140
Groups (15 or more) & Students (art major):NT$220
Children under 6 years old :Free

【評論】O KAMALATAMDAWAN ITA KONIA RIYAR 有這個海洋,我們才能成為人之處

文章節選自2016.05 O KAMALATAMDAWAN ITA KONIA RIYAR 有這個海洋,我們才能成為人之處│DJ Hatfield

海洋對阿美族可能不是你所熟悉的景觀,海洋是冰箱,是良藥,是生命,是母親;她一代一代餵養著族人的身體,培育著族人的精神;海洋不是我們可以用貨幣買賣的「海景」,更不是待開發的資源,海洋扮演著一個重要的主題角色: 是人生倫理的核心,這片「五十步空間」

so, you see, to ‘amis the ocean is not the landscape with which you might be familiar. the ocean is a larder, a panacea. the ocean is life. the ocean is mother. she has generation after generation sustained the bodies of the people and nurtured their spirits. the ocean is not a beautiful view that you can buy with money, much less is the ocean a resource awaiting development. the ocean plays an important role, it is an active subject: it is the core of an ethical imagination, this “space of fifty steps”

對,我們可以說海跟人養護彼此,而且,有這樣跟 海洋的關係,我們才能malatamdaw成為人。所以,我們的人格一直再現,在「五十步空間」那裡。

ciRahic(拉黑子)的五十步空間,更強調海洋給予我們一個成為人的位置kamalatamdawan,他的作品也從觀察,勞動,撿拾的動作著手。如果陪Kaka ciRahic(拉黑子哥哥)去海邊mipodpod(撿拾),你會看得很清楚,五十步空間,其實是日常生活在藝術領域的影子,就是說,日常生活中的一種靈魂,Rahic的動作跟族人去海邊撿貝類,撿海菜的動作很像,只是Rahic找到的,有一點不一樣,可能是環境危機的警告,又可能是快被遺忘的神話故事,可能是我們迷失方向,並需要返回的,如何malatamdaw的道路。在一步一步,在一布又一布,在一幅又一幅,ciRahic很意識地,取用生存技能,mipodpod a mipodpod。當他找到海洋的文字,我相信他所看到的,也是我們每次去海邊micekiw會看到的, 我們好像會看到老人給我們留下的文字,告訴我們「aka picarikos!」haan , 「limla’en to ko riyar niyam」 haan naira kita,只可惜我們早已忘記如何看,我們已經麻木了,已經看不懂無形有形之間,老人留下的文字。而那些文字,就在五十步空間。ciRahic的作品,為了我們將那些文字,再次出現,再次詮釋。

Rahic Talif’s work, “the space of fifty steps” underscores that the ocean gives us a place to become human, a kamalatamdawan. He begins these works with observation, labour, and the act of picking things up / gathering. If you were to accompany Rahic to mipodpod (gather), you would see clearly that his “space of fifty steps” is a reflection, in art, of an everyday act of subsistence, which is to say, following the ‘amis word for reflection ‘adingo, also a spirit found in everyday subsistence activity.

Rahic’s actions are so mundane, just like the actions that ‘Amis make when they go to the beach to gather shellfish (micekiw) or to gather sea vegetables. the difference is that Rahic picks up different things. They look like plastics, glass, and other discarded items that have floated to the shore. In his hands they might be warnings of ecological crisis, or nearly forgotten legends. They might even be a trace of the road we’ve forgotten, the path we’ve lost, the path to malatamdaw. Step by step, canvas after canvas, picture after picture, Rahic consciously employs subsistence skills, mipodpod a mipodpod.

when he discovers the ocean’s writing, I believe that what he finds is something that we see every time we go down to the beach to collect shellfish. We seem to see the writing the elders left behind as we gather, to hear the elders saying to us, aka picarikos haan, limlaen to ko riyar niyam haan naira kita. It’s just that we’ve long forgotten how to see. We have become numb, insensate, and have already lost the ability to read the writing that the elders, between form and formlessness, left behind for us.

this writing is in this “space of fifty steps.” Rahic’s art brings this writing back to us, reinterpreting it and showing it to us more clearly.

五十步空間是回到老人智慧的指標

“the space of fifty steps” is a sign to show us the way to find the elder’s wisdom.

 

【展訊】「旅行在五十步的空間」(2016/05/06-05/30)

「旅行在五十步的空間」拉黑子‧達立夫 個展

Journey in the space of 50 steps – Solo Exhibition of Rahic.Talif

「空間」是個帶著混沌的用詞,它所指涉的不只是視覺或其他知覺所定義的範圍,還包含心理的、靈魂的,或是以我們的語言來說,「無形」的空間,而「五十」則讓那個未定義感又再濃厚了一些,結合起來「五十步的空間」這個詞很符合我對這個海岸線的理解,一種未敘明,卻也不用大聲疾呼去強調的魔力,每個人來到這個地方都能感受,而且會用各自的方法去理解的神妙之所,與其說我對那份純粹潛力的狀態的著迷,那更像是一種我對創作的追尋,找一種可以跨語彙、跨族群、跨背景的溝通模式。—–拉黑子.達立夫

“Space” is a vaguely defined term. It refers to not only the space perceived by our visual or other senses but also the intangible space in our hearts or souls. The combination of “fifty steps” with it adds to the vagueness of its definition. The term, “Space of Fifty Steps”, really corresponds to my understanding of the coastal area I am familiar with. It is a marvelous place with a kind of magical power that does not require explanation or loud advertisement. Everyone can come here to appreciate its magic through his or her own interpretation. My fascination lies more in the pursuit of a kind of artistic creation, to find a type of communication that can transcend languages, ethnicity, and backgrounds, than it does in its pure potential of the space.—-Rahic.Talif

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 旅行在五十步的空間–拉黑子‧達立夫 個展

展覽地點:東海大學 藝術中心│台中市西屯區臺灣大道四段1727號(人文大樓1F)

展覽日期:2016.5.6(五) – 2016.5.30(一)

開放時間:週一至週六12:00-18:00(週日及例假日休館)

開幕茶會:5 / 6 (五)  pm 1:30

展覽座談:5 / 6 (五)  pm 2:30

*與談人:

羅秀芝(獨立策展人/影像工作者)

施永德DJ Hatfield(美國伯克利音樂學院 副教授)

拉黑子‧達立夫(藝術家)

*主持人:

張惠蘭(本展策展人/東海大學美術系副教授)

關於本展

「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。

___________________________________

Journey in the space of 50 steps – Solo Exhibition of Rahic.Talif

Dates: 6 May 2016 – 30 May 2016

Opening Reception: 6 May 2016 (Fri.) 13:30

Venue: Tunghai University Art Gallery (No.1727, Sec.4, Taiwan Boulevard, Xitun District, Taichung 40704, Taiwan)

Website: http://fineart.thu.edu.tw//web/artcenter/index.php

Artist Talk

6 May 2016 (Fri.) 14:30

Speaker │Hwei-lan Chang (Curator)

Panelists │Sandy Lo, DJ Hatfield, Rahic.Talf

About Exhibition

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.

【展訊】「旅行之夢」五十步的空間創作計畫 (2016/4/16-5/13)

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◆展覽地點:緣投畫廊│台北市大安區四維路187號1F
◆開幕茶會:4 / 16 (六)  pm 3:00
◆展覽日期:2016.4.16 – 2016.5.13
◆開放時間:週一至週五9:30-18:30/週六:13:00 – 18:00(週日休)

◆關於本展
從2014年開始的五十步空間計畫,拉黑子‧達立夫在花東台11線沿岸潮間帶持續進行撿拾漂流拖鞋與海廢,並且加以記錄與再創造;此一階段的撿拾行為,較諸以往有更廣泛的觀察且不具特定目的。
 
<旅行>是將發現漂流拖鞋的情境以圖像記錄於糖廠舊存的古布疋上,並且用阿美族語的羅馬拼音加註詩文。拖鞋、古布、族語與作者各自經歷了不同時空環境後遭遇在一起,共同營造出<旅行>作品當中多重時空交疊,詩意與記憶攸忽擺盪的隨機張力。
 
<夢>與<太平洋>系列是拉黑子‧達立夫近年少見的漂流木抒情之作,以溫暖輕鬆的手感質地,傳遞出對太平洋一直以來的專注觀看與凝視。在<夢>系列當中,潮間帶上石頭與浪花撞擊形成的圓潤動感量體,在木頭與生俱來的自然肌地紋理之間迴轉律動,輕快而幽默。<太平洋>系列則以延伸性的群組線條,細膩地書寫出太平洋的全感官意象,提供得以仔細閱讀包含太平洋的光、太平洋的風、太平洋的浪及太平洋的速度…一種令人感到陌生卻欣喜雀躍的視覺經驗。

【跨界合作】與聲音藝術家DJ Hatfield

20140925 拉黑子-漂流木篇.JPG

聲音作品連結 The music is available online at
https://soundcloud.com/shoutacre/rahic-a-space-of-fifty-steps

颱風過後,來到海邊,有很多很多的漂流木
以前會有人用這些木頭,但是現在,人都很懶惰,有瓦斯
煮飯炒菜都用瓦斯,所以沒有撿柴的人,
同樣沒有人關心海邊,
年輕人全都北上工作或者到東邊跑船,
都沒有回來看老人家。
土地很難過,
這個木頭是祖靈給我們的,
但是沒有人珍惜他…

阿德,你會唱那一首歌?老頭目,ciAkira的爸爸的歌?
他唱歌,很像海浪…
我們今天找到海的文字,在這漂流木上面,
好像在紀錄都蘭老頭目的歌曲,
好像在述說馬蘭頭目Mahengheng的故事…

今天整個海面上,是漂流木
很美麗,海潮退得非常美麗
我們看到在這漂流木上,海的文字
沒有人看得懂,我們在尋找智慧,
哪裡可以找到?哪裡找到生命的意義?
在這些文字。
這個文字,不是人寫的,是蟲留下來的,
不過是真正的文字,是阿美族的文字…

after the typhoon has passed, driftwood covers the beach.
in the past, people would collect the wood, but now people are lazy:
they have gas to cook.

now that they have gas, they need not collect firewood.
similarly, no one cares about the ocean anymore.
all of the youth have gone north for work, or gone east on the fishing boats;
they do not come back to visit the elders.
the land is sad.
driftwood was a present given to us by the ancestors,
but no one cherishes it any longer…

A-Te, can you sing that song, the song of Akira’s father, the old headman?
his song was like the ocean’s waves.
today, we have found the ocean’s writing,
it seems to record the old headman’s song,
it seems to tell the story of Mahengheng,
that fast runner whom the Japanese could not conquer…

today, the entire beach is covered in driftwood.
it is beautiful, the ocean’s writing is beautiful, now at low tide.
we found the ocean’s writing in the driftwood.
but who understands how to read it today? we look for the knowledge,
where can we find it? where can we find life’s meaning?
it is in this writing, the writing of the ocean.
the writing was not made by humans; worms left this writing in the wood.
but it is true writing. it is the writing of the ‘amis people….

——————

聲音創作者/ Sound Artist

DJ Hatfield (施永德)任職於Berklee college of music.於2014~2015受 Fulbright Taiwan Scholar邀請來臺灣繼續從事相關研究工作。DJ Hatfield長期採集台灣民族音樂進行學術研究,於拉黑子《旅行》作品製作過程現場收音並操刀製作吟誦混音聲音作品一件,2014共同展出於台北當代藝術館。

創作理念/ Artistic Concept

Rahic Talif 的五十步空間,是藝術家跟大海對話的心靈過程,我們所看到的平面作品,其實只是這個對話留下來的足跡,文字,和符號。在這個聲音裝置作品中,我想呈現Rahic的創作過程,讓更多的觀眾能夠接近Rahic跟大海,自然,以及祖靈的各種對話,所以在減音混音時,特別利用海浪的聲音,並通過聲音的座位,表現各種內在和外在「對話」的可能,更進一步擬用Rahic跟大海的對話,讓觀眾體會阿美族面對海(岸)的感觸與隨著現代文明的環境文化危急。

Rahic Talif’s “A Space of Fifty Steps" is a spiritual dialogue with the ocean; what we can see of it in a museum, on canvas or in an installation is just a trace left of this process of dialogue, footprints or signposts left of Rahic’s work beside the ocean. In this sound installation work, I want to convey Rahic’s process, to give listeners a chance to experience Rahic’s conversation with the ocean, nature, and the ancestors. Thus this work plays with mixing and the position of Rahic’s voice to express possible dialogues, both internal and external. Finally, I attempt to employ Rahic’s dialogue with the ocean to let listeners feel the affection that ‘amis people have for the ocean and anxieties provoked by the current environmental crisis.