●Words
異地遊走的處境感│文/賴珮瑜
在卡爾維諾(Italo Calvino)所撰寫的《看不見的城市》(Invisible Cities)裡，旅人馬可波羅不斷地向忽必烈敘述他旅行的經歷，馬可波羅的語言敘述就像是對城市的語言轉譯，穿越了時間與空間、過去與現代，坐在宮殿裡聆聽的忽必烈，則藉由語言構成了一張馳騁想像的地圖，那投射性的、看不見實體的城市，卻經由想像遊走於異地的時空，城市在忽必烈的腦海中形成了一種多層次的真實。
我想藉以引述我的創作理念與緣起，關於我在2005年所開始創作的城市系列的作品裡，我試圖去描寫一種當下的處境感，在作品中●的出現，就尤如城市的語言轉譯與再次閱讀，而真實何在與符號的轉載則是吸引我創作的主要動機。在作品裡，所有城市招牌上的文字被●所隱含著，文明膨脹的脫序感使作品中的●不斷流變著，在單一的平面空間裡，卻承載與相鄰著不同的多重空間，符號在瞬時的語意被城市的壓縮感所炫惑，而身體感卻在無人的多重空間裡穿透、遊走、超越單一空間懸浮。作品裡●的出現，在排列、複製、符號的意義流轉中，使城市以一種自身的姿態再次現身；又或者，在現代文明的霓虹劇場裡，我們為閃爍的燈光產生狂喜而昇華出一股無言的隱匿安全感，於是，被人們所建立起的消費文明，成為另一種「原鄉」的所在。
而在此的「原鄉」，恍若已悖離真實，而是一種異地遊走所產生的處境感，其「地」不再是一個地圖座標上的真實地，或是一個雙目可視的地，而是一種不斷變遷、不斷追尋的處境感的標示。
The sense of Being created by journeying into a foreign land│ by Lai, Pei-Yu
In the book “Invisible cities”written by Italo Calvino, Marco Polo, the Venetian traveler describes to Kublai Khan what he has seen in his travels, his words are the transference of those cities he has been to, cross times & spaces、bygone & present. Kublai Khan reclines at ease in the Imperial gardens, listens to Marco Polo’s descriptions and construct his own map of imaginary cities, the projective、holographic cities. By visualizing himself travels through those foreign lands, those cities became multilayer reality in Kublai Khan’s mind.
With same concept, I have created my 2005 city-Taipei serious, where I attempted to depict a form of the sense of immediate presence. Each ● is the transcription and re-read of city’s language, the key cause of my creation is about the transference of symbols and the doubt of truth. In this serious, all the words on the signs in the city are implied by ●，the sense of disconnection resulting form the over expansion of civilization becomes the fluctuation of ● , various multiple dimensions juxtapose with and are hinted by the one dimension of the flat surface. The sudden linguistics of the symbol is exaggerated by the compressed-ness of the city, making the body has the sensation of floating, moving, traveling beyond the singular dimension. The positioning, repetition and symbolic meaning of the ● in this piece enables the city to re-represent itself with its own new identity；or perhaps, on the stage of the neon theater of modern civilization, the ecstasy induced by the flashing light creates in us a sense of wordless, hidden sense of security, hence, the consumer society contracted by mankind becomes another whereabouts of “origin”.
This origin no longer has anything to do with reality; it is, instead, a new sense of Being created by journeying in an foreign land, this land is however not a realistic geographic place locatable on the map, nor is it a place detectable by human eyes. Rather, it symbolizes a sense of new positioning which is forever changing, forever elusive.
在卡爾維諾(Italo Calvino)所撰寫的《看不見的城市》(Invisible Cities)裡，旅人馬可波羅不斷地向忽必烈敘述他旅行的經歷，馬可波羅的語言敘述就像是對城市的語言轉譯，穿越了時間與空間、過去與現代，坐在宮殿裡聆聽的忽必烈，則藉由語言構成了一張馳騁想像的地圖，那投射性的、看不見實體的城市，卻經由想像遊走於異地的時空，城市在忽必烈的腦海中形成了一種多層次的真實。
我想藉以引述我的創作理念與緣起，關於我在2005年所開始創作的城市系列的作品裡，我試圖去描寫一種當下的處境感，在作品中●的出現，就尤如城市的語言轉譯與再次閱讀，而真實何在與符號的轉載則是吸引我創作的主要動機。在作品裡，所有城市招牌上的文字被●所隱含著，文明膨脹的脫序感使作品中的●不斷流變著，在單一的平面空間裡，卻承載與相鄰著不同的多重空間，符號在瞬時的語意被城市的壓縮感所炫惑，而身體感卻在無人的多重空間裡穿透、遊走、超越單一空間懸浮。作品裡●的出現，在排列、複製、符號的意義流轉中，使城市以一種自身的姿態再次現身；又或者，在現代文明的霓虹劇場裡，我們為閃爍的燈光產生狂喜而昇華出一股無言的隱匿安全感，於是，被人們所建立起的消費文明，成為另一種「原鄉」的所在。
而在此的「原鄉」，恍若已悖離真實，而是一種異地遊走所產生的處境感，其「地」不再是一個地圖座標上的真實地，或是一個雙目可視的地，而是一種不斷變遷、不斷追尋的處境感的標示。
The sense of Being created by journeying into a foreign land│ by Lai, Pei-Yu
In the book “Invisible cities”written by Italo Calvino, Marco Polo, the Venetian traveler describes to Kublai Khan what he has seen in his travels, his words are the transference of those cities he has been to, cross times & spaces、bygone & present. Kublai Khan reclines at ease in the Imperial gardens, listens to Marco Polo’s descriptions and construct his own map of imaginary cities, the projective、holographic cities. By visualizing himself travels through those foreign lands, those cities became multilayer reality in Kublai Khan’s mind.
With same concept, I have created my 2005 city-Taipei serious, where I attempted to depict a form of the sense of immediate presence. Each ● is the transcription and re-read of city’s language, the key cause of my creation is about the transference of symbols and the doubt of truth. In this serious, all the words on the signs in the city are implied by ●，the sense of disconnection resulting form the over expansion of civilization becomes the fluctuation of ● , various multiple dimensions juxtapose with and are hinted by the one dimension of the flat surface. The sudden linguistics of the symbol is exaggerated by the compressed-ness of the city, making the body has the sensation of floating, moving, traveling beyond the singular dimension. The positioning, repetition and symbolic meaning of the ● in this piece enables the city to re-represent itself with its own new identity；or perhaps, on the stage of the neon theater of modern civilization, the ecstasy induced by the flashing light creates in us a sense of wordless, hidden sense of security, hence, the consumer society contracted by mankind becomes another whereabouts of “origin”.
This origin no longer has anything to do with reality; it is, instead, a new sense of Being created by journeying in an foreign land, this land is however not a realistic geographic place locatable on the map, nor is it a place detectable by human eyes. Rather, it symbolizes a sense of new positioning which is forever changing, forever elusive.
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●city-Time Square-south
video 1’08” 2009-2010 |
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●Night Market
digital c print 100x20cm 2009 |
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neon city-Shanghai
digital c print 230x40cm 2008 |
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●city-Taipei
digital c print 116x87cm 2006 |
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●city-Tokyo
digital c print 116x87cm 2007 |
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●city-TaipeiTokyo
digital c print 160x120cm 2007-2008 |
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●keyboard
video 3’35” 2004 |
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