[轉載] 光、影、場域的敘事性－臺南市美術二館「看見光影」展覽 ｜[Repost] The Narrative of Light, Shadow, and Space — "See the Light, See the Shadow" Exhibition at Tainan Art Museum Building 2

Dec 19, 2019 La Vie

原文連結: https://www.wowlavie.com/Article/AE1902435

光，代表了人類歷史上的神聖與文明存在，它既勾勒出藝術的基礎，也全面涵蓋人類感官系統的情緒與經驗。從17世紀初卡拉瓦喬引領西方繪畫的光影革命，到日後維梅爾、林布蘭與透納、甚至印象派繪畫對光線變化的細微掌握，都讓光、形、影三者，成為撼動全世界美學至今的原力，也是臺南市美術館二館「看見光影」展覽中，平凡卻充滿覺察的觸發。

Light represents the sacred and the presence of civilization throughout human history. It not only outlines the very foundation of art but also encompasses the full spectrum of emotions and experiences within the human sensory system. From Caravaggio spearheading the light-and-shadow revolution in Western painting in the early 17th century, to the nuanced mastery of shifting light by Vermeer, Rembrandt, Turner, and later the Impressionists, the trio of light, form, and shadow has become a primal force that continues to shake the world of aesthetics to this day. It is also this very force that serves as a mundane yet deeply perceptive trigger in the "Seeing Light and Shadow" exhibition at Tainan Art Museum Building 2.

林葆靈 Lin Bao Ling
《小桂林之夜 #1 》Little Guilin Night #1
80 x 110 cm
油彩與壓克力於畫布 oil and acrylic on canvas
2008

跨度藝術、建築、攝影和設計，「光」是創意綻開的能量，也是記憶情感的連結。印象派之父莫內說，「畫的立體，來自於它的陰影，人也是如此。」而建築巨擘安藤忠雄也說，「建築的故事必然伴隨著光和影兩種側面，人生亦然。」從至微光影到人生風景，隨著時間逐漸遞移，各自表述出不同的情節故事；誠如策展人黃基鴻所言，「當光線變了（有了人造光），人類的文明、視覺以及心理又將如何改變？這也是『看見光影』展覽中的伏筆。」

Spanning art, architecture, photography, and design, "light" is both the energy that sparks creativity and the bond that connects memory and emotion. Claude Monet, the Father of Impressionism, once said, "The three-dimensional form in a painting comes from its shadows, and the same is true for humans." Similarly, architectural giant Tadao Ando remarked, "The story of architecture is inevitably accompanied by the dual aspects of light and shadow, and so is life." From the most subtle play of light and shade to the grand vistas of life, as time gradually shifts, each unfolds a different narrative. As curator Huang Chi-hung puts it: "When light changes (with the introduction of artificial light), how will human civilization, vision, and psychology change in turn? This is precisely the underlying motif woven into the 'Seeing Light and Shadow' exhibition."

「看見」策展原力

The Primal Curatorial Force of "Seeing" 

沒有過於艱深的高度，也不走引人注目的態勢，台南市美術館的「看見光影」，藉由靜態式的自然概念，過濾了當代藝術的尖銳和高傲，讓藝術教育的初心，重返美學場域。展覽從腦神經科學、認知科學、視覺心理學、演化醫學等議題為出發，直覺回應「看見」的反射動作，再延伸出光影應合的明暢或深沈；以理性科學與感性思維併行的省思，傾露令人無法忽視的感知宣言。「視覺是人類接受外界資訊最重要的感官。我想要透過這次的展覽，去探討每個人是如何認知、是如何『看』『見』作品，並且通過光影變化，看見時間性；回到藝術家所看到的光影瞬間。」策展人黃基鴻這麼說道。

Free from abstruse loftiness and eschewing any attention-seeking pretense, “Seeing Light and Shadow” at the Tainan Art Museum utilizes a serene, natural concept to filter out the sharp edges and pretentiousness often found in contemporary art. In doing so, it allows the true heart of art education to return to the aesthetic space. 

Grounded in disciplines such as neuroscience, cognitive science, visual psychology, and evolutionary medicine, the exhibition intuitively responds to the simple reflex action of "seeing." From there, it expands into the interplay of light and shadow—whether luminous and clear or profound and deep. Through a dual reflection that merges rational science with emotional thinking, it voices a compelling manifesto of perception that cannot be ignored.

"Vision is the most critical sense through which humans absorb external information," notes curator Huang Chi-hung. "Through this exhibition, I want to explore how each individual perceives—how they 'look' and truly 'see' an artwork. Furthermore, by observing the changes in light and shadow, they can perceive temporality and return to the exact moment of light and shadow that the artist once witnessed."

尤其，透過臺南市美術二館既有館舍空間的引導，得天獨厚的碎型屋頂也承載著光影的時間性，讓這次展覽與場域產生高度密切的連結關係，把空間內外、個別作品間的差異性淡化掉，營造一種時間、空間的連續性。「『看見光影』試著回到一般人的生活世界，以光影為媒介，透露藝術不需要特別去標榜什麼；即使觀者不認識美術史、不認識作者的創作歷程，還是能自然而然地回應生而為人，對於『看』的生理本能。」

In particular, guided by the existing architectural space of Tainan Art Museum Building 2, the uniquely gifted fractured roof also carries the temporality of light and shadow. This creates a highly intimate connection between the exhibition and the space, softening the boundaries between the interior and exterior, as well as the differences between individual artworks, thereby fostering a sense of continuity across time and space. "“Seeing Light and Shadow” attempts to return to the everyday world of ordinary people," says the curator. "Using light and shadow as a medium, it reveals that art does not need to flaunt anything in particular. Even if viewers are unfamiliar with art history or the artist’s creative journey, they can still naturally respond to the biological instinct of 'seeing' that is inherent to being human."

佔領藝術家的光

Capturing the Artists' Light

正因為「看見」，所以光，成為了表現肌理和質感的根本；像是一道巨浪，劃開了從古至今藝術美學的殿堂，無論是利用光線突顯形影，還是濾下光線所表現的流竄空氣，都帶來視覺之外的「觀想」。這次共同參與的19位藝術家，分別以「以光線顯現能量」和「從陰影理解光亮」2個子題，帶來17件平面作品與2件裝置藝術。

Precisely because of this act of "seeing," light becomes the fundamental element for expressing texture and materiality. Like a massive wave, it has carved through the halls of art aesthetics from antiquity to the present day. Whether utilizing light to accentuate forms and shadows, or filtering it to capture the subtle movement of drifting air, it evokes a sense of "contemplation" that transcends mere vision. The 19 participating artists explore this through two sub-themes—"Manifesting Energy Through Light" and "Understanding Brightness Through Shadow"—presenting 17 two-dimensional works and 2 installations.

其中，以「幽谷」和「小桂林之夜#1」作品參展的侯忠穎與林葆靈藝術家，也透過光所帶來的溫度和情緒為轉譯，讓光影傾訴出一種氛圍、符碼。前者透過手的意象，去探索並呈現人之於世間多變又複雜的關係，讓手化為符號或場域，通過錯綜光線和手的空間，展演出一場撲朔迷離、矛盾的故事。後者則是以夜晚的人造光影，刻意製造模糊虛實的邊界，對應真假難辯的世事，同時突顯光與影隱晦不明、靜謐中交織的美麗。用不同表述，內斂呼應光、形、影三者關係的美學哲思。

Among them, artists Hou Chung-ying and Lin Bao-ling—participating with their respective works The Deep Valley and Little Guilin Night#1—translate the warmth and emotion brought by light, allowing light and shadow to articulate a unique atmosphere and symbology. The former uses the imagery of the hand to explore and present humanity’s fluid and complex relationship with the world. By transforming the hand into a symbol or a domain, the artist utilizes intricate light and the spatiality of hands to stage a mystifying and contradictory narrative. The latter, meanwhile, employs nocturnal artificial light and shadow to deliberately blur the boundaries between reality and illusion, mirroring a world where truth and falsehood are hard to distinguish, while highlighting the subtle, ambiguous beauty interwoven in the serenity of light and shadow. Through distinct expressions, both artists reservedly echo the aesthetic philosophy of the tripartite relationship between light, form, and shadow.

「幽谷」。藝術家 侯忠穎

Deep Valley，Artist Hou Chung-ying

「小桂林之夜#1」。藝術家 林葆靈 

Little Guilin Night #1 / Artist  Lin Bao Ling


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看見光影 See the Light, See the Shadow
展出地點：K、L展覽室（臺南市美術館2館，臺南市中西區忠義路2段1號）
展出日期：2019年11月9日至2020年3月15日
展覽訊息：https://www.tnam.museum/exhibition/detail/125

See the Light, See the Shadow

Venue: Galleries K & L (Tainan Art Museum Building 2, No. 1, Sec. 2, Zhongyi Rd., West Central Dist., Tainan City)
Dates: November 9, 2019 – March 15, 2020
Exhibition Info: https://www.tnam.museum/exhibition/detail/125

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via / 臺南市美術館


藝術展 臺南 臺南市美術館 看見光影






ㄑ光、影、場域的敘事性－臺南市美術二館「看見光影」展覽〉


文 | Qbee

攝影 l 黑王

刊登於

《La Vie 》No. 189

Jan 2020

pg 24-25