光‧黯‧他者-彌戴映個展|10.27-11.25|TKG+

光‧黯‧他者-彌戴映個展|10.27-11.25|TKG+

 

光‧黯‧他者-彌戴映個展

時間 Dates|2018.10.27 – 2018.11.25
開幕 Reception|2018.10.27 (Sat.) 4:30 – 7:00 p.m.
地點 Venue|TKG+
更多資訊More info|www.tkgplus.com


TKG+ 秉持推廣具影響力及潛力亞洲藝術家的使命,持續與國際知名藝術家合作,本次將帶來於雪梨雙年展引起各界迴響的泰國藝術家 Mit Jai Inn,在台灣的首次大型個展「光‧黯‧他者」。Mit Jai Inn享譽國際的抽象空間創作,往往透散著屬於熱帶雨林的奔放清新、斑斕鮮明的各式原色,以粗糙而有機的厚實油彩凝結於不修邊幅的巨型亞麻畫布上。其作品展呈有時懸浮垂掛空間中,隨觀者來回穿梭與氣流擾動搖曳擺盪,有時則平鋪展間水泥地面,任由經自鞋底延伸的踩踏觸感劃過作品輪廓,這種藉由繪畫媒材的使用轉換所營造出的觀看方式,混雜著色彩的文化意識,同時也讓空間的政治性朝向美學、社會和歷史進行深刻反思。

Mit Jai Inn創作中標誌性的空間體感,可朔源至其維也納求學時期,擔任知名藝術家 Franz West 創作助理期間所受的深厚影響。獲得威尼斯視覺藝術雙年展終身成就獎肯定的Franz West,橫跨雕塑、抽象繪畫及設計的創作系列總帶著強烈的互動性以及對傳統藝術形式的顛覆。受其論述哲學與藝術方法啟迪,Mit Jai Inn開始探索以藝術介入作為一種社會和環境經驗的可能,其將色粉、顏料、畫布作為繪畫最小元素,透過色彩的調合與媒材質感間的組合,將文化符碼埋藏在社會政治的紋理隱喻,藉此勾勒出表現在抽象繪畫的空間中的觀看視角,形塑了繪畫觀看的沈浸式場域。

自歐洲歸國後,Mit Jai Inn更將藝術介入轉化為一種具政治性的社會創作,成為帶動泰國清邁當代藝術發展的先驅人物。1992年,他與Navin Rawanchaikul、Kosit Juntaratip、Uthit Atimana 等國際知名藝術家為核心號召,集合各界學者與社運份子所創立的藝術團體「清邁社會裝置」 (Chiang Mai Social Installation, 簡稱 CMSI ), 革命性地為泰國當代藝術發展史寫下不可或缺的一頁。CMSI團體成員不分階級地走入各種日常生活場景,以各式藝術語彙的方法轉化,挑戰並重塑不同場域的空間政治,同時也透過藝術行動以積極、多樣化的姿態呈現,游擊式地進入都市空間的各種日常中發聲,凝結並發揮社會影響力。這顯現在 Mit Jai Inn的創作中,則轉化為嚴謹而重複的勞動循環,將繪畫行為經過不斷反覆地混合、覆蓋、重複塗抹色料油彩的過程極大化,在企圖呈現其所思所見的同時,身體感所摹寫的時空軌跡,彷彿將「創作」與「觀看」兩者時空事件連結成疊加態,勾勒出獨特而細膩的閱讀視角。

Mit Jai Inn 個展「光‧黯‧他者」中,於明暗區劃的展間,譜出空間閱讀的節奏揚抑,為觀者呈現色彩於光感起伏下的不同解讀;畫布上厚實而物性飽滿的原色油彩,對應著泰國傳統中細膩而源遠流長的色感指涉,以多元的拼接組合折射出泰國多變的文化政治輪廓;透過西方抽象美學語彙結構,轉譯繪畫裝置為空間介質,將展間內流轉的三種無形能量—光、色、空間轉化具結,與色彩閱讀間所顯像的東西方文化歧異相互對影,激活存於文化認同中隱性的色彩政治。這來自清邁的斑斕色域空間彷彿蘊含太陽的振動和光譜,在豐富多彩、層次分明的原色下,透寫泰國傳統美學意識及東亞共同的文化歷程。在透過色彩感知所觸發的空間形塑中,模棱兩可的時間觀念和文化變異的狀態指涉,彷彿以泰式語境獨有的社交性動詞,將藝術的「觀看」轉化為參與式的體驗,並邀請觀者進入這場同光、色、空間的無聲對話,於藝術的體感參與間,進一步探索美學意識與文化感知的「他者」。

Light, Dark, Other-Mit Jai Inn Solo Exhibition

Over the years, TKG+ has been undertaking the mission to work with well-known artists worldwide to promote influential Asian artists with great potential to the public. This time, TKG+ collaborates with Thai artist Mit Jai Inn, who gained his fame overwhelmingly in Biennale of Sydney, with his first ever large-scale solo exhibition in Taiwan, “Light, Dark, Other.”

Mit Jai Inn’s world-famous abstract spatial art pieces come in rough and organic oil pigment clumps condensed upon the huge untrimmed linen canvas, which usually give off a sense of wildness and freshness as well as the vibrant and saturated shades characteristic of the tropical rainforests to the audience. His art work display can be diverse: sometimes the pieces are hung from the wall in the exhibition space, suspended in midair, swaying to and fro with the turbulence of air flow following the audience’s traversing in between the scrolls; sometimes his pieces are spread flat on the cement ground of the exhibition hall, allowing the audience to walk on his work and appreciate its contour from underneath their shoes. Through his unconventional application of painting media, Mit Jai Inn creates a different visual approach to art, in which the cultural concept of color is involved, and leaves his audience to ponder and reflect upon the politics of space with respect to aesthetic, social and political histories.

A sense of space is an indispensable trademark in Mit Jai Inn’s creation, and this iconic feature can be traced back to his life as a student in Vienna when he worked as a creation assistant for famous artist Franz West. Awarded a Golden Lion for Lifetime Achievement of Venice Biennale, Franz West is known for his art work series in various forms from sculptures, abstract painting to design. His works are always highly interactive and defy the conventional art forms. Heavily influenced and enlightened by West’s discourse philosophy and artistic approach, Mit Jai Inn started to delve into the possibility of art intervention into the society and environment. This manifestation takes toner, pigment and canvas as the fundamental element of painting, and weaves cultural codes into the metaphor for sociopolitical context through the combination of color blending as well as media texture, so as to illustrate the viewing aspect in the space of abstract paintings and further build up an immersive field for painting viewing.

Returning from Europe, Mit Jai Inn further transformes art intervention into a political social creation and becomes a pioneering figure in the development of contemporary art in Chiang Mai, Thailand.
In 1992, together with other world-renowned artists such as Navin Rawanchaikul, Kosit Juntaratip and Uthit Atimana, Mit Jai Inn took up the leading role and called for scholars and social activists of all fields to form an artistic group, Chiang Mai Social Installation (CMSI), which marked as a revolutionary event in the history of contemporary art development in Thailand. The members of CMSI devote themselves to the daily scenes of all walks of life and manage to transform, challenge and rebuild the politics of space in different fields through art vocabulary of all forms. At the same time, they actively perform diverse action art, showing up randomly in various daily scenes in the urban space to make themselves heard, grow their community and exert their social influence as well.

Mit Jai Inn takes this belief into his creation in the form of rigorous and repetitive laboring process: when he is painting, he repetitively mingles, covers and applies oil pigment to the canvas and pushes this process to the extreme, with the intention to represent what is on his mind and in his sight along with his physical movement in time and space during his creation. The temporal and spatial gaps between the creation process and the viewing process can be linked and bridged together, providing a unique yet exquisite viewpoint to interpret art.

In his solo exhibition, Light, Dark, Other, Mit Jai Inn composes a rhythmic melody for spatial reading with light and dark zones in the exhibition space, providing the viewers with a different viewpoint to interpret colors under the transition in lighting. The thick and plump oil pigments on the canvas illustrate the exquisite and long-standing references to color in the rich tradition of Thailand, reflecting the nation’s ever-changing cultural political outcomes through various patches and juxtaposition of different hues. He adopts the aesthetic vocabulary in western abstract art to translate his painting installation into a spatial medium, materializing light, color and space, the three strands of intangible sources of energy in the exhibition hall to compare and contrast the discrepancies between Eastern and Western cultures in color reading, which in turn activates the politics of color beneath the cultural identity. This chromatic space from Chiang Mai seems to encompass the vibration and spectrum of the sun, and recounts the traditional Thai aesthetic awareness together with the mutual cultural history of East Asia through intensely hued, well-arranged colors. In the space constructed through the perception of colors, the ambiguous temporal concept along with the reference to cultural variation seems to communicate in an approachable language specific to Thai context, converting the “viewing” experience in art into an engaging one, inviting the viewers to join this silent dialogue of light, color and space, encouraging them to further explore the “otherness” in aesthetic awareness and cultural perception through their physical engagement in art.