行人讓自己被人群推撞，但晃遊者卻只需要一個迴身的地方 The pedestrians crash into each other in the crowd, but what the flâneur needs is only a place to turn around. Walter Benjamin
A PLACE TO TURN AROUND
創作自述
文／ 林宏信
如果人的意念足以幻化投射成一個虛擬的角色—我稱他為「晃遊者」，這角色揉合 了個人的生活、體驗、感觸、觀望、幻想、白日夢......，其稱謂源自於班雅明（ Walter Benjamin, 1892-1940）筆下「Flâneur」的形象，是一種錯綜複雜的自我投 射，晃蕩於非關現實的拱廊街。
我筆下的「晃遊者」，已不再是遊蕩於巴黎拱廊街的閒晃者；而是對城市現代生活 經驗置身於度外和匿名旁觀的一種態度；以我所在的城市─台北的體驗作為晃遊的 起始點！對於居住於台北的異鄉人而言，始終存有一種旁觀者/移入者的姿態，對這 城市進行著觀望、體驗、幻想、晃蕩。從個體的需求，獲得在社會力量面前保存身 體意識與靈魂的自治權。日新月異的科技，使今日的閱聽遠遠超乎班雅明所謂的 「全景幻燈」。拜科技發達所賜，網路、社群似乎更滿足他愛閒晃、與偵蒐的個 性，更易於隱匿於人群，找尋一方迴身之地。「晃遊者」像是匿名的偵探，隱身微 行於人群，試圖撿拾創作來源與靈感，尋覓詩韻的戰利品；以抽離者的姿態冷靜的 搜尋，對一切看似漠不關心，但又以其高度洞察力窺看著這城市。
「晃遊者」是冷靜而理智搜尋並觀察這個世界的脈動，表情漠然地晃蕩於人群或自 溺於空間情境之中，失神游離於人群，但思路卻又異常的清晰；神情動作彷彿被凍 結，思慮多向度的游離位移，抽離自身而超然於度外，宛若「離魂」站在一個制高 點洞察著芸芸眾生與城市的脈動。那看似「失神」的表情、動作，或許才是人們最 自然的姿態，毫無遮掩的、不帶禮教的真實表情；當這樣的表情、姿態與行為被捕 捉、放大觀看，其渲染力也是極強的。 2
我將寫實繪畫慣常應用的空間與景深抽離，置換成極簡的平面化符號，未知的、幻 想的空間情境，有時也反映了某些真實。與人物豐富而細緻寫實的質感有所差異、 矛盾，兩者的衝突反而使畫面呈現一種詭譎的安定感，與適度的敘事性。而深究畫 面中所設定的空間，並非是一真實存在的空間，而是一種結合了真實生活空間與幻 想片段的閉鎖空間。這裡沒有正確折射的光線，自成一格的空間裡，只能緩慢的漂 浮、晃遊。隱隱作痛的中耳炎，是個要命的個人經驗，耳膜無法正常地震動的情況 下產生的耳鳴，讓人閉鎖並將自己拉回一個沒有人能觸及的空間情境；好像航行在 寧靜深海的潛艦，不間歇的耳鳴，彷如低盪的聲納，唯一的差別是，它無法對外發 射傳遞，聲波在耳內來回撞擊，更加重了外界的隔絕。以極細膩的描寫，吸引著觀 眾趨前觀看，一如透過鏡子，捕捉觀者的「進入」。
將模特兒臉部塗妝，是為了去角色化，不合時宜的扮裝標示著某些特異的個性與特 質，是為了隱行於人群，但卻又帶著點矛盾的怪異，姿態展現一種非自然的的狀 況。真切而深植人心的表情，被格放的比例，造成失焦的錯覺；與觀眾四目相交， 流動著似曾相似的曖昧。這臉孔不再是某人，但也可能是任何人！矛盾的是抹除了 原有的身分，卻真實地投射自我，說穿了，演員偽裝的表情，才是我真正的表情— 一種晃遊狀態的表情。作品中人物的性別，男性的樣貌是筆者顯性的性別；而女性 的姿態，則是一種隱藏在每個人心中對於異性的好奇使然。
根據自己虛構、幻想，或對某件事物有感而發，擬造某種表情或情境；或常以自我 的生活經驗或人生閱歷為藍本，或獨處時的幻想片段，與對生活與環境的省思；經 過集結、層疊，表述出來，變化成為每一段不同的角色投射；「晃遊者」的遊蕩並 沒有特定的行進路徑，在城市裡迷失卻又靠著理智的思維，及與生俱來的方向感回 到原點。
專職藝術創作之前，筆者的另一個身分是個廣告設計者，設計與寫實繪畫兩種基因 是我的學養本能，兩者的並存迸發出意想不到效果，靜止和瞬移的矛盾卻又存在者 某種和諧！在色調與構圖上，刻意的極簡化，大量的留白反倒形塑了無限的空間； 運用了許多平面符號，傳達我的假想、邏輯，隱喻我的憂慮，企圖與寫實的主角產 生某種連結。耳朵旁的弧線與幾何色面，表達一種自我閉鎖的狀態，晃遊隱遁空間 時，繚繞不絕的低頻。低限的色調與簡化的平面，形成一種極其靜謐的空間，卻更 凸顯了逼真的主體所帶來的張力，仿若低鳴沉重的單音。 3
A PLACE TO TURN AROUND
Artist Statements Article/ Lin Hung-Hsin
disguises oneself in the crowd, looking for inspiration and to collect them as the trophies to fulfill the poetry. As an observer in an alienated position, the flâneur seems to care about nothing but peek into the city with one’s great vision. The flâneur calmly searches and observes the trend of the world with rationality. Showing no emotion on the face, the flâneur either walks around in the crowd or indulges oneself in the surrounding situations.
If a person’s thoughts can be transformed and reflected into a virtual
He seems to be absent-minded, hiding himself in the crowd without a
character, then I will call it a “flâneur,” who mixes the personal life,
clear destination to go, but he indeed has clear thoughts. His facial
experience, emotion, observation, imagination, fantasy… and so on.
expressions and movements are frozen, while his rational mind moves
The term comes from the character “flâneur” in Walter Benjamin
in various directions, alienating himself from the rest of the world as if he
(1892-1940)’s works. It represents a complicated self-reflection while
is a “wandering ghost” who stands high to see the city and the people
one wanders about the arcade which does not exist in the reality.
living in. The seemingly absent-minded look might be the most natural state of human beings.
It is the most real expression without any
The “flâneur” in my works does not wander about the Parisian arcade.
pretense or constraint. Once such an expression, posture, or behavior
Instead, it represents an attitude to anonymously observe the modern
is captured and emphasized, the effect it creates can be particularly
life experiences in a city without being part of it. Taipei, the city I live in,
strong.
is where I start to explore the experiences as a flâneur! As an alien living
4
in Taipei, I always find myself in a position as an observer/immigrant to
In my paintings, the depth of the space which is commonly seen in
observe, to experience, to fantasize, and to wander about the city.
realistic painting has been removed and replaced with simplified
Through the need of an individual, one obtains the authority over one’s
two-dimensional symbols to represent the unknown space or the
own body and soul in front of the social forces. The rapid advancement
fantasized situation.
of technology creates a media effect which is beyond an “imperial
contradictory to the delicate and rich realistic quality of the figures in the
panorama” in Walter Benjamin’s word. The modern technology allows
images.
one to hide oneself in the crowd while observing or peeking around from
unexpected stability and an appropriate narrative in the paintings.
one Internet community to another in the cyberspace – to look for a
When we further look into the works, the space designed in the images
place to turn around. The flâneur is like an anonymous inspector who
does not exist in reality.
Sometimes it reflects certain reality, which is
The conflict between the two surprisingly creates an
Instead, it is an enclosed space which
combines the space of the real life and the space of the fantasy – there
myself while the women represent the curiosity about the opposite sex
is no light refracted in a reasonable way. In such an enclosed space,
hidden in everyone’s heart.
one can only slowly float above and roam around. I have once suffered from middle ear infection, causing me ear pain. It is indeed a painful
My paintings are based upon my fictional fantasy or my response to
experience for me. Since the eardrum failed to vibrate in a normal way,
something, through which I create certain facial expression or situation.
I could hear nothing but the ringing in the ears. I was thus imprisoned
Sometimes, I start from my life experiences, what I have achieved, what
in a situation with no one to intrude as if I was in a submarine diving
I have been fantasizing while being alone, or my perspectives on my life
deep in the peaceful sea. The unceasing ringing in the ears was like the
and the surroundings. I collect these thoughts and rearrange them,
deep sound created by the sonar. The only difference was that it could
making them into a narrative of the reflection of various characters. The
not transmit any message to the outside world. The sound waves hit
journey of the wandering flâneur does not follow a route. He gets lost
the tympanic membrane back and forth, intensifying the isolation state
in a city and then returns to the starting point with his rational mind and
from the external world. The exquisitely detailed representation attracts
the sense of direction which he was born with.
viewers to take a step closer as if the artist intends to capture the viewers’ “immersion” through a mirror.
Before I became a full-time artist, I worked as an advertising designer. I have been educated with two talents – design and realistic painting –
The models’ faces are painted in white so that they can be
while the co-existence between the two creates an unexpected effect.
de-characterized.
The conflict between the silence and the instant movement establishes
The strange costume which does not fit in the
situation also suggests certain quality or personality of weirdness,
certain harmony!
The colors being used and the composition of my
implying the characters’ intention to hide in the crowd while also
paintings are intentionally simplified and the large-scale blankness
maintaining some contradictory strangeness to represent the unnatural
presents a space of infinity.
state. The sincere expressions are enlarged in proportion to create
two-dimensional symbols to express my supposition and my logic, to
out-of-focus effect. It seems the characters are looking into viewers’
imply my worries, and to build up the connection with the realistic
eyes with unnoticeable affection like a deja vu. The face no longer
characters. The curve line beside the ear and the geometric color plane
represents the particular “someone” but “anyone!” It is a contradictory
represent the self-enclosed status of the flâneur – with the deep
realization that only when we remove the original identity can we really
drumming sound while wandering about the space.
reflect the true selves. Indeed, the pretended expression of the actors
colors and the simplified plane both construct a peaceful space, which
is the true face of me – the face of a wandering flâneur. When it comes
meanwhile highlight the intensity created by the realistic subjects with
to the gender of the characters in the paintings, the men represent
its deep strong ringing sound.
I also use a great amount of
The minimalist
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林 宏 信 L I N H U N G - H SI N
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林宏信生於1975年台灣‧雲林，畢業於國立台灣藝術大學美術系研究所（MFA）。
在專職投入藝術創作前，從事了近15年廣告設計的工作。林宏信的作品以寫實繪畫為主體形式，但不同於美國照相寫實的客 觀，而是注入強烈的主觀意識，並揉合了向量平面符號與虛擬的空間意像，以及個人生活經歷與妄想。在其創作中，刻意極 簡化了色調與構圖，藉由畫面物件、符碼、色彩、線條與寫實的主體(人物)產生連結，呈顯個人看待事物與環境議題的內在 感知。 他挪用了Walter Benjamin (1892-1940 )所描寫的「Flâneur」形塑而成他畫面中的主體人物，透過塗白的臉孔與對應環境的 扮裝，匿名旁觀著這個城市。「晃遊者」是種錯綜複雜的自我投射，也是筆者下意識「自溺」—暫時遁脫現實世界的藉口。 透過不同尺寸的肖像，企圖改變觀眾的視覺經驗與閱讀習慣，並與觀眾產生異時同地的共鳴。 曾多次參加國內藝術競賽並獲獎， 2011年與尊彩藝術中心合作並展出。現居住、創作於台北。 Born in Yunlin, Taiwan in 1975, Lin Hung-Hsin received his MFA from the Graduate Program in Fine Arts at National Taiwan University of Arts. Before being devoted to artistic practice as a full-time artist, Lin had been working as an advertising designer for almost 15 years. His paintings feature a realistic expression but are different from the objective representation of the American photorealism. Instead, he adopts a strong subjective perspective while combining two-dimensional vector symbols and images of visual spaces with his personal experiences and illusions.
In his works, he intentionally simplifies the
colors and the composition. Through the objects, the symbols, the colors, and the contours in the paintings, Lin creates a connection with the realistic subjects (figures) to visualize his inner perception of the surroundings. He borrows the character “flâneur” from Walter Benjamin (1892-1940)’s works as the main subject in his works. With the face painted with white powder and the costume corresponding to the environment, the flâneur anonymously observes the city. The “flâneur” in Lin’s paintings is a complicated self-reflection of the artist, through which the artist offers himself a temporary getaway from the reality so that he can take shelter in his subconscious self-indulgence. Through these portraits in various sizes, Lin attempts to challenge viewers’ visual experience and the way they see a painting, creating a connection beyond time and space. Lin Hung-Hsin has participated in many art competitions and received several awards in Taiwan. In 2011, he started to work with Liang Gallery to present exhibitions. He currently lives and works in Taipei. 7
林 宏 信 L I N H U N G - H S IN 1975年出生於台灣・雲林 目前創作居於台灣・台北
學歷 2011 國立台灣藝術大學美術系研究所 碩士 2004 國立台灣藝術大學美術系
個展 2012 「迴身之地」，尊彩藝術中心，台北 2011 「晃遊者」，國立台灣藝術大學，台北 2004 「灰白的詩意」，UNO餐廳，台北
聯展 2012 「2012台北國際藝術博覽會」，台北世界貿易中心，台北 「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，台北 2011 「聚賢迎春—十位當代藝術家聯展」，尊彩藝術中心，台北 「桃城美展典藏作品巡迴展」，新竹市、基隆市文化局，新竹、基隆 2010 「高雄獎聯展」，高雄市立美術館，高雄 2009 「光溯—穿越歷史的當代光軌」錄像聯展，北投公民會館，台北 2008 「國立台灣藝術大學美術系研究所職碩班聯展」，新竹鐵道藝術村，新竹 2006 「拾穗—桃城美展十年有成聯展」，嘉義市文化中心，嘉義 2003 「浮州—胡謅」裝置藝術聯展，板橋社區大學，台北
獲獎 2012 《迴身之地I》，國美館青年藝術家作品購藏計畫，入選 2010 《晃遊─獨白》，高雄獎，入選 2009 《晃遊者I─滯流》，台灣藝術大學美術系碩士班作品發表會，第三名 2004 《願往》，58屆全省美展水彩類，優選 〈灰白的詩意〉系列，聯邦美術新人獎油畫類，優選 2003 《老狗─未完成》，台灣藝術大學師生美展油畫類，第二名 2002 《期望》，56屆全省美展水彩類，第二名 2001 《靜閣》，國立台灣藝術大學校慶美展，優選 《暗自香》，第六屆桃城美展，第一名
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1975 born in Yunlin, Taiwan Now living and working in Tapei, Taiwan EDUCATION 2011
MFA, National Taiwan University of Arts, Department of Fine Arts
2004
BFA, National Taiwan University of Arts, Department of Fine Arts
SOLO EXHIBITONS 2012
“A Place to Turn Around”, Liang Gallery, Taipei
2011
“Flâneur”, National Taiwan University of Arts, Taipei
2004
“Gray Poetry”, UNO Resturant, Taipei
GROUP EXHIBITIONS 2012
“Art Taipei 2012”, Taipei World Trade Center, Taipei “Exploring with a Balloon-Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei
2011
“Celebrating Spring Together-Group Exhibition of Ten Contemporary Artists”, Liang Gallery, Taipei “The Art Exhibition of Chiayi City Collection”, Hsinchu and Keelung City Cultural Center, Hsinchu, Keelung
2010
“The Exhibition of Kaohsiung Awards”, Kaohsiung Museum of Fine Arts, Kaohsiung
2009
“Contemporary Light Track Through The History” Video Exhibition, Beitou Citizens Activities Center, Taipei
2008
“National Taiwan University of Arts, Department of Fine Arts Graduate School Master Student Exhibition”, Hsinchu Railway Art Village, Hsinchu
2006
“Gleaners: The Art Exhibition of Chiayi City Collection”, Chiayi City Cultural Center, Chiayi
2003
“Fu Zhou: Talking Nonsense” Installation Exhibition, Panchiao Community University, Taipei
AWARDS 2012
A Place to Turn Around I, Selected Award, Young Artist Collection Program, National Taiwan Museum of Fine Arts
2010
Stroll: Monologue, Selected Award, Kaohsiung Awards
2009
Stroller I: Stagnation, 3rd Place, National Taiwan University of Arts Graduate Work Publication
2004
Longing, Merit Award in Water Color Painting, 58th Taiwan Provincial Fine Arts Exhibition Gray Poetry, Merit Award in Oil Painting, The UBF Rising Artist Award by Union Culture Foundation, Taiwan
2003
Old Dog: Incomplete, 2nd Place in Oil Painting, Student Teacher Group Exhibition of National Taiwan University of Arts
2002
Expectation, 2nd Place in Water Color Painting, 56th Taiwan Provincial Fine Arts Exhibition
2001
Quiet Room, Merit Award, National Taiwan University of Arts Campus Anniversary Exhibition Secret Fragrance, 1st Place, The Art Exhibition of Chiayi City, Taiwan
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ESSAY A Fantasized World of the Contemporary Flâneur
當代晃遊者的臆造世界－談林宏信的繪畫近作
文／ 陳貺怡 巴黎第十大學當代藝術史博士 國立台灣藝術大學美術系所副教授
林宏信是年輕一代藝術家中，非常引人注目的一位。只消走進他所營造的繪畫世界裡， 就能立即感受到一種難以言喻的矛盾氛圍。這個世界充斥著人物，大大小小、男男女 女，分不清是誰，一律缺乏色彩，一律極端寫實，或許可稱之為照像寫實，都有著黑白 照片的陰鬱、歷史的沉重和存在式的獨白。然而包圍著人物的背景，或參差於畫面中的 細節，卻斷然使用了完全相背的語彙：炫麗而平塗的色彩、符號化了的時尚玩物，矛盾 迴身之地 I 2012 油彩、丙烯、畫布 150F
的討喜和吸睛，令人禁不住陷溺其中，努力思索這些圖像的邏輯和意義。
林宏信是居住於台北的雲林人，在成為專職藝術家之前潛沉了許久，用廣告設計養活自 己十五年，然後讀研究所，重拾畫筆，鼓足勇氣一躍而入繪畫的祕境。來到與童年鄉居 截然不同的大都會，根據他的自述，林宏信想要採取一種匿名旁觀的姿態，「對這城市 進行觀望、體驗、幻想、晃蕩」，甚至是某種藉以脫離現實的「自溺」。所以他借用了 一個誕生自波特萊爾，活躍於班雅明筆下的角色「晃遊者」（Flâneur），作為他整個 繪畫創作的核心。
然而，林宏信所「塑造」的這個人物，是畫中那些臉塗白粉身著黑衣，神情漠然，仿若 索尼費德（Barry Sonnenfeld）電影《星際戰警》（Men In Black）一般的人物嗎？他 們與波特萊爾（Charles Baudelaire）或班雅明（Walter Benjamin）所謂的「晃遊者」 究竟有何關聯? 「晃遊者」影射些什麼人物，抑或是藝術家的自畫像？他們在林宏信的 作品中的角色與功能究竟是什麼？如此作法或說法的意義又究竟何在？ 10
A PLACE TO TURN AROUND LIN HUNG-HSIN
晃遊者I：滯流 2009 油彩、畫布 100F
晃遊者？ 「晃遊者」（Flâneur）是一個法文字，盛行於浪漫主義時期的法國，通常被法國人理 解為在街上閒逛、遊手好閒、散步的人。但晃遊者不是一個普通的行人，而是一位生活 優渥、穿著入時、閒逛於巴黎拱廊商店街（arcade）的人物，當時許多畫家都曾經加以 描繪，只消參考備受波特萊爾推崇的嘉瓦尼（Paul Gavarni）1842年印製的同名版畫作 品，即可略窺晃遊者當時的形象。
波特萊爾在1863年的文章〈現代生活的畫家〉中加以發揮，他提到「晃遊者」是觀察 者與哲學家的別稱，「有時他是詩人，更經常接近小說家或道德家；他是時局與時局所 能暗示之永恆的描繪者」。對於一個完美的晃遊者而言，「在人群、變化、動態、短暫 與無限中選擇棲所，是最大的快樂」。其實，波特萊爾的「晃遊者」典出愛倫坡1840 年的短篇小說《人群中的人》（Man of the Crowd），然而，後者筆下的人物怪異且神 秘，故事的陳述者不分日夜地尾隨他於倫敦的大街小巷，精疲力盡之餘不得不放棄，最 後終於下了這樣的結論：「這位老人，是罪孽深重的典型與本質。他拒絕獨處。他是人 群中的人」。
隨後，班雅明於1929年為友人黑澤（Franz
Hessel）的《柏林漫步》寫〈晃遊者的回
歸〉，1935年避居法國其間又寫《巴黎－十九世紀的首都》，之後於1938年續寫《波 特萊爾筆下第二帝國的巴黎》，其中第二部份即標題為〈晃遊者〉，在這些文章中勾勒 出頗為複雜的「晃遊者」形象。 11
ESSAY A Fantasized World of the Contemporary Flâneur
眼睛 其實，班雅明對晃遊者的研究受益於德國社會學家齊美爾（Georg Simmel），並在〈晃 遊者〉一文中加以引用：「看得到而聽不到的人，比聽得到而看不到的人更不安，這裡 包含著大城市社會學特有的東西；大城市中的人際關係明顯表現在與眼睛相關的活動， 而非與耳朵相關的活動」。這一點與大眾運輸方式有關，在汽車、火車、電車發達的十 九世紀以前，「人們無法相視數十分鐘，甚至數小時而不攀談」。晃遊者是大都會的產 物，他隱身於人群之中，觀察那些只觀看而不交談的人。這樣的情形對於今日的我們很 容易理解，清晨的捷運車廂中少有人交談，更有甚者，低頭族只專注於一己的世界。
所以就讓我們從眼睛談起。
林宏信顯然對畫中的人物的眼睛有極細緻的處理。是否可以將林宏信的作品視為是一種 肖像畫？若是的話，正如同所有的肖像畫，藝術家無不對眼神的安排、刻畫與表現使盡 渾身解數，達文西豈不是說眼睛是靈魂的窗戶？眼睛豈不是透露著人物的精神氣質和他 的心理狀態。只需觀看林宏信的〈晃遊者〉系列三連作《夜的女王》、《潛行》和《獨 綻》，即可透過人物的眼神，窺知人物心緒的複雜：是詭詐多疑、是失落困頓、是徬徨 無依？縱使臉上的白粉與身上的衣裝強烈地指涉人生如戲，但眼神總會洩漏出真實的底 蘊。我們無法知道他們是否在聽，但緊閉的雙唇顯然無意對話。然而他們究竟在看些什 麼 ? 〈地圖〉系列中的人物被囚禁於電子板迷宮，像怪物般多出了幾隻眼睛，但似乎並 未增加他們的視力，渙散的眼神，失去的瞳孔，使他們視而不見。 12
A PLACE TO TURN AROUND LIN HUNG-HSIN
林宏信畫作中經常出現緊閉的雙眼，或被墨鏡、眼罩遮蔽的眼睛，令人聯想到十九世紀 末象徵主義畫家圈子中出現的熱門題材：羅賽提（Dante
Gabriel
Rosetti）的《Beata
Beatrix》、牟侯（Gustave Moreau）或德維勒（Jean Delville）的《奧菲》（Orphée）、 布依．德．喬凡納（Pierre Puvis de Chavannes）的《冥思》（Recuillement）、魯東 （Odilon Redon）的《闔眼》（Yeux clos），無不刻意呈現緊閉的雙眼，為何？也許 還是波特萊爾以詩作揭露了闔眼意象的意義，他在1864年出版的散文詩〈窗戶〉中如 此宣稱：「從打開的窗戶外看見的，永遠不如從關閉的窗戶外看見的多。再也沒有比微 弱燭光映照的窗戶，更有深度、更神秘、更豐富、更陰暗、更耀眼的事物了。⋯⋯在這 陰暗或光亮的洞中，人們生活、夢想生活、痛苦的生活。」
關閉的眼睛就是一扇關閉的窗戶，容許我們向世界關閉，進入自我，在此區隔出隱晦與 清晰、想像與真實、精神與物質、感性與理性，簡言之，內部與外部。
城市 一座城市對漫步其中的人而言，究竟是內部還是外部？
班雅明在〈晃遊者〉一文中提及十九世紀人們對城市的廣泛興趣，甚至興起一種新的文學種類
左頁：圖上至下
右頁：圖上至下
夜的女王 2011
地圖 I
潛行 2012
地圖 II
獨綻 2011
「生理學」（physiology），城市的每個角落都被扮演生理學家的作家們仔細描繪，形成所謂的 城市生理學，但晃遊者不是呆板無聊的城市生理學家，他顯然超越了對城市面貌的忠實描寫。
油彩、丙烯、畫布 155×155cm
2011 油彩、丙烯、畫布 直徑：120cm
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ESSAY A Fantasized World of the Contemporary Flâneur
當時對超現實主義興致正高昂的班雅明，為晃遊者佈置的城市場景既是內部也是外部： 「漫遊者不經意的眼睛，與偵探刻意的凝視。」能將城市橫亙於虛構的人物面前，既荒 涼又迷人，像一個房間一樣地包覆他們，既安全又壓迫。十九世紀巴黎的拱廊商街就是 這樣的一種空間，而班雅明在寫〈巴黎拱廊〉時似乎有意將它變成變幻無常 （phantasmagorical）的超現實主義空間。 迷向 2012 油彩、丙烯、畫布 直徑：120cm
晃遊者之所以會興起，主要是因為十九世紀的巴黎在建築上的改變，根源於剛萌芽的資 本主義，將相臨建築之間的街道覆以玻璃屋頂，鋪以大理石地板，從而形成一種既內且 外的空間。「拱廊中羅列著最高雅的店鋪，以至於拱廊成為一個城市，幾乎就是一個微 型的世界」。在拱廊中，晃遊者找到消除煩惱的良藥，悠閒的漫步，觀察人群、商品和 建築物，「那位透過咖啡館窗戶向外凝視的人有雙犀利的眼睛」，在城市的神秘語言中 娛樂且豐富自己的心靈，在這既內且外的空間中彷彿置身於家屋，因為他個人世界的內 外界限也一樣的模糊：「街道成了晃遊者的居所，他靠在房屋外的牆壁上，就像一般的 市民在家中的四壁裡一樣安然自得」。晃遊者活躍且聰明，身處現在卻能閱讀出城市的 過往，並以心靈的色彩渲染整個城市風景，他猶如鬼魅般的透明，在他既內且外的世界 中的每個角落，留下人格投射後的孤獨身影。晃遊者很孤獨，稠人廣座中的孤獨。這樣 的空間條件造就了晃遊者，而拱廊商街的死亡也標示著晃遊者的死亡。
林宏信的作品中充滿了的城市意象，我認為是一種帶著超現實主義味道的，人格化了城 14
A PLACE TO TURN AROUND LIN HUNG-HSIN
迴身之地 II 2012 油彩、丙烯、畫布 150F
市意象。他的目的不在記錄與描述城市的風景，而是想化身為晃遊者在台北街頭漫步， 被城市的氛圍鋪天蓋地、既內且外地包圍住。〈晃遊者〉與〈對話框〉或是〈迴身之 地〉系列，城市中的人群、高樓大廈、遊樂設施、或化身為妝點人物的配件，或成為襯 墊人物的輕薄、扁平的背景，沾染了人物的情緒，或成為某種用以述說故事的隱喻。但 它絕對不只是配件或背景，城市才是主角。林宏信在某種程度上也否定了生理學家式的 城市描摹，而是在這既內且外的空間中，訴說著城市氛圍中的內心故事。
日常神話 城市的故事每天都由居住於城市中的人上演著，晃遊者以慧眼觀察，以畫筆道出，別忘 了波特萊爾筆下的晃遊者是個「現代畫家」，像林宏信一般把那些蝸居的人、吞藥丸的 人、夢想著願望實現的人一一速寫而出。
林宏信的作品具有普普精神，他創作的最大來源是日常生活。在十五年的廣告設計生涯 之後，以再熟悉不過的通俗語彙，強烈的視覺傳達效果、數位影像與繪畫的結合、電腦 的合成與後製等科技，簡言之，以當代生活的工具勾勒出當代生活的精神面貌。但他與 普普最大的不同點在於他並不只以純粹的觀察，擷取生活的碎塊加以拼貼，而是在碎片 中融合了個人的氣質與觀點，串聯成敘事。林宏信在精神與作法上都較接近一九六〇年 代被統稱為「敘事性具象」的法國畫家們，如翰西亞克（Rancillac）、雅猶（Emile
晃遊：蝸居 2010 油彩、畫布 100F
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ESSAY A Fantasized World of the Contemporary Flâneur
Aillaud）、貴柯（Henri
Cueco）、克拉森（Peter
Klasen）、赫卡卡提（Antonio
Recalcati）等。這群藝術家以精細的具象繪畫作為對抗前衛藝術的策略，使用大量的 平塗，應用投影機投影於畫布上直描。他們回歸寫實，但增加了挪用、並置、混搭、變 形等程序；他們經常在通俗的日常語彙（漫畫、廣告、攝影、電影）中取材，藉以開啟 繪畫的新途徑，但也回歸被前衛藝術拒斥多年的敘事，當然採用的並非學院歷史畫的敘 事手法，而是一種結構複雜的開放性敘事，目的在向同樣處理大眾文化與消費社會的普 普宣戰。他們認為普普雖反映了現代生活與消費社會，卻太過形式化且欠缺社會批判的 晃遊：第三個願望 2010 油彩、畫布 100F
精神，因此在當時左派政治立場的主導下，企圖透過藝術與真實的行動介入政治與社會 改革。
我認為林宏信在面對當代人的生活處境時，似乎也採用了相當接近的策略。他從習畫之 初一直畫寫實，思索寫實的意義，思索寫實繪畫的未來，最後成功的創造出一種獨特的 敘事手法：結合由日常生活轉化而來的複雜敘事元素、令人焦慮的氛圍、尖銳的主題， 以視覺傳達的方式處理背景與細節，以影像的方式處理人物，使繪畫出來的場景呈現一 種既夢幻又真實的「脫節」（décaler）效果，開啟了觀眾新的觀看經驗，建造了一座 神經質的當代生活迷宮，書寫了一部當代日常生活的史詩或神話。
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A PLACE TO TURN AROUND LIN HUNG-HSIN
結語 今日的藝術會對明日的世界產生什麼影響？ 晃遊：為了更美好的未來
其實班雅明將波特萊爾視為「發達資本主義時代詩人」，也賦予晃遊者相當重要的社會 與政治的意涵。晃遊者絕望地抵抗著「狂熱的物質生產節奏」，愛倫‧坡讓他在市場消
2010 油彩、畫布 100F
磨一個半鐘頭，「不問貨價，也不說話，只是用茫然、野性的眼神凝視著一切。」班雅 明進一步地宣稱晃遊者有產生自移情作用的「戀物癖」，因為他是「被波特萊爾遺棄在 人群中的人，與商品的處境有相同之處。」生存在發達資本主義時代，晃遊者意識到生 產制度強加給他的生活方式，使他的人和他的勞力無法逆轉的商品化，但卻只能在消磨 時光中尋求享樂作為麻醉劑，只是「他陶醉其中的同時並沒有對可怕的社會現象視而不 見。他仍保持清醒。」
林宏信所處的時代不是十九世紀的巴黎，而是二十一世紀的台北，但卻自詡為晃遊者， 應該是想要成為一位當代晃遊者。他作品中影像的侵吞與濫用、廣告技法在繪畫上的借 用，很可能正是用來質疑媒體標榜的客觀性以及官方政治宣傳手法，繪畫可以是一種批 判當代生活，並揭露其真實面目的工具。正如波特萊爾在〈窗戶〉中的提議，這扇窗也 可以是阿爾貝提（Leon Battista Alberti）所描述的繪畫的框，如此一來，畫家的任務就 應該是神話與史詩的創造者，他肩負著人類世界的悲劇。
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ESSAY A Fantasized World of the Contemporary Flâneur
A Fantasized World of the Contemporary Flâneur A Reading of Lin Hung-Hsin’s Recent Paintings Written by Chen Kuang-Yi Contemporary Art History PhD. Of Université Paris X Nanterre, Fine Arts Department Associate Professor of National Taiwan University of Arts
Among the young-generation artists, Lin Hung-Hsin is definitely the one who will get your attention. As long as you walk into the world of his paintings, you will soon be captured by the atmosphere of contradiction. It is a world filled with various kinds of people – the old A Place to Turn Around I
ones, the young ones, the men, and the women – while we can barely distinguish one from
2012 Oil and Acrylic on Canvas 150F
another. Color does not exist in the images’ extremely realistic appearances like what it is in the so-called photorealism. The black-and-white photos express certain gloominess as if it is an existentialist monologue carrying the burden of the history. The background surrounding the characters, on the other hands, sharply adopts a totally different vocabulary as its details suggest: the splendid flat color paints and the symbolic trendy objects both please and attract viewers in a conflicting way, alluring them in the fantasized world. Their minds are occupied with the attempts to figure out the meaning of the images. Lin Hung-Hsin was born in Yunlin but currently lives in Taipei. Before he became a full-time artist, he had remained unknown for 15 years, making a living in the field of advertising design until he went to the graduate school, where he picked up the brushes and once again jumped into the world of painting.
According to his personal statement, the
experience when he first came to the big city was so different from how he spent his childhood in the country.
Therefore, Lin Hung-Hsin made himself as an anonymous
observer “to observe, to experience, and to fantasize while wandering about the city,” through which the artist might be able to stay self-absorbed to get away from the reality. He thus borrowed the character “flâneur” from Walter Benjamin’s works as the main subject of his paintings. 18
A PLACE TO TURN AROUND LIN HUNG-HSIN
However, does the white-face character dressed in black “created” by Lin Hung-Hsin resemble the emotionless figures in Barry Sonnenfeld’s Men In Black? In what way are they related to the “flâneur” described in either Charles Baudelaire’s or Walter Benjamin’s work? Does the “flâneur” symbolize anyone or does it merely represent the self-portrait of the artist? What is its significance?
Flâneur? The term flâneur comes from the French noun flâneur – which was widely used in the 19th-century France under the influence of romanticism – to describe people who strolled along the streets with nothing to do. The “flâneur” was not an ordinary stroller, but a person who dressed in fashion, which not only showed his status but also his wealth, to spend time wandering about the arcade in Paris. Their appearances have been carefully depicted in many paintings by the 19th-century French painters, including the woodblock print Le Flâneur (1842) by Paul Gavarni, an artist highly appraised by Baudelaire. In the article “Le Peintre de la Vie Modern” (1863), Baudelaire mentions that the “flâneur” is both an observer and a philosopher. “Sometimes a flâneur is a poet – more like a novelist or a moralist; he is the everlasting caricaturist who symbolizes the times,” says Baudelaire. For a perfect flâneur, “the greatest happiness is to choose the places to stay within the crowd, the transition, the mobility, the ephemerality, and the infinity.” In fact, Baudelaire’s “flâneur” can be traced back to Allen Poe’s short novel Man of the Crowd in 1840.
Flâneur I: Stagnant Current of Water 2009 Oil on Canvas 100F
The eerie and
mysterious character in Allen Poe’s novel is followed by the storyteller, day and night, until the exhausted narrator finally gives up with a conclusion that the old man “is the type and the genius of deep crime” for that “he refuses to be alone; he is the man of the crowd.” Later in 1929, Benjamin wrote “The Return of the Flâneur” for his friend Franz Hessel’s Walks through Berlin. He further wrote Paris, the Capital of the 19th Century in 1935 when he took a shelter in France and continued to write The Paris of the Second Empire in Baudelaire in 1938 with “The Flâneur” as the title of its second part. In these articles, the complicated image of a “flâneur” has been visualized. 19
ESSAY A Fantasized World of the Contemporary Flâneur
Eyes In fact, Benjamin’s studies about the flâneur has greatly benefitted from the German socialist Georg Simmel, whose words are quoted in the article “The Flâneur”: “the one who can see but cannot hear is more likely to feel insecure than the one who can hear but cannot see – it includes the particularity of the sociology in a big city that the human relationship in a big city mainly depends on eye-related activities instead of ear-related activities.” It has something to do with public transportation. Before trains, cars, and streetcars started to dominate our lives in the 19th Century, “people can hardly look at each other more than ten minutes or even several hours without speaking to each other.” The “flâneur” is what the metropolitan city creates. He hides in the crowd to observe those who only observe without saying a word. Today, it might be a familiar scene to us – people seldom talk to each other on the metro train early in the morning. Sometimes even worse, smartphone addicts never take a look at the real world. So we will start with eyes. Lin Hung-Hsin apparently depicts the eyes of the characters in his paintings with extreme delicacy.
Is it appropriate to categorize Lin Hung-Hsin’s works as a kind of portrait
paintings? If it is the case, artists will definitely pay extraordinary attention while depicting the eyes and the expression through the eyes like the convention in most of the portrait paintings. Has Leonardo da Vinci not once said that eye is the window of the soul? Eyes, indeed, reveal the spiritual essence and the psychological condition of a person.
The
trilogy works – Queen of the Night, Stealth, and Blooming Alone– of Lin’s series works Flâneur are the best examples. Through the eyes of the characters, viewers might perceive their complicated emotions: their suspicion, their confusion, or their helplessness. Although their faces painted with white powder and their costume both strongly imply that life is a staged play, their eyes still show the soul of the truth. It is impossible for us to know whether they are listening or not, but the closed lips prove that they refuse to start a conversation. What are they looking at? The characters in the series Map are imprisoned in an electronic-board maze. They are like monsters with more than two eyes, but the extra 20
A PLACE TO TURN AROUND LIN HUNG-HSIN
ones fail to improve the vision. The off-focused eyes without the pupils inside deprive them of the ability to see. The closed eyes and the eyes covered by sunglasses or eyeshade are the reoccurring themes in Lin Hung-Hsin’s paintings, reminding viewers of the popular subjects in the paintings of the late 19th-Century Symbolist artists, including Dante Gabriel Rosetti’s Beata Beatrix, Gustave Moreau’s and Jean Delville’s Orphée, Pierre Puvis de Chavannes’s Recuillement, and Odilon Redon’s Yeux clos. Why did these artists intentioanlly capture the closed eyes? What the closed eyes symbolize might be found in Baudelaire’ poems. In his prose poem Windows (1864), the poet/artist states that “looking from outside into an open window one never sees as much as when one looks through a closed window. There is nothing more profound, more mysterious, more pregnant, more insidious, more dazzling than a window lighted by a single candle... In that black or luminous square life lives, life dreams, life suffers."
A closed eye is a closed window, allowing us to shut down to the world and to be absorbed into the self. It is an area which separates the obscure and the clear, the imagined and the real, the spiritual and the material, the emotional and the rational – in one word, the internal and the external.
City For the people strolling around the city, does the city belong to their external world or their internal world? In the article “The Flâneur,” Walter Benjamin mentions the widespread interest in the 19th-Century city life.
A new literature genre “physiology” was thus created, in which
writers carefully described each corner of the city as if they were psychologist. However, a flâneur was not a dull physiologist. What he did was even more than the truthful description of a city.
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Page Right: from top to bottom
Queen of the Night 2011
MAP I
Stealth 2012
MAP II
Blooming Alone 2011 Oil and Acrylic on Canvas 155×155cm
2011 Oil and Acrylic on Canvas Dia: 120cm
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ESSAY A Fantasized World of the Contemporary Flâneur
During that time, Walter Benjamin was fully absorbed in surrealism.
The urban scene
staged for the flâneur was both the internal world and the external world “the flâneur’s incident look and the inspector’s intentional gaze.” The city was rendered in front of the fictional figures with alluring solitude as if it was a room offering a safe but yet constricted shelter to them. The arcade in the 19th-Century Paris was a space like this. When Walter Benjamin wrote “Paris Passage,” the writer seemed to intentionally turn it into a phantasmagorical space of surrealism. Flâneurs came into being because of the architecture change in the 19th Century Paris. The fledgling capitalism changed the cityscape by covering streets between buildings with glass top and paving the ground with marbles, creating a space which was both the inside and the outside. “Inside the arcade are the most elegant shops, which have made the arcade itself a city – or we might say, a microcosmic world.” In the arcade, flâneurs found the way to get rid of the worries – they strolled around to observe the commodities, the Disoriented 2012 Oil and Acrylic on Canvas Dia: 120cm
crowd, and the buildings without hurry. “The one who looks out through the café window has sharp eyes,” while the mysterious language of the city entertained and enriched his spiritual world. In the space which was both the inside and the outside, he almost felt that he was inside a family house – where he could hardly separate the inside and the outside of his personal world: “The streets become the residence of the flâneur, who makes himself at home within the space secured by the outside walls just like how the ordinary citizens have their homes secured by the inside wall.” The flâneur was active and smart. He lived in the present, but he read the past of the city, coloring the cityscape with his souls. He was as transparent as a ghost, while the reflection of his lonely silhouette could be found everywhere in his “the outside-is-also-the-inside” world. The flâneur was always a lonely figure, who enjoyed the solitude within the crowd. A space like this gave birth to the flâneurs, and the death of the arcade also marked the death of the flâneurs. The works of Lin Hung-Shin are full of city images. The personified images of the city seem to have some surrealist touch to me. It is not his intention to describe or to document the cityscape. Instead, he wants to turn into a flâneur to stroll around the Taipei streets, being
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A PLACE TO TURN AROUND LIN HUNG-HSIN
captivated by the urban atmosphere from the inside to the outside. In the series works – the Flâneur and the Dialogue Box or A Place to Turn Around, the crowds in the city, the skyscrapers, and the amusement park disguise themselves as the accessories which decorate the figures in the images, the flat and thin background which help express the emotions of the figures, or the revealed implication of the story narrated. Nevertheless, they are more than the accessories or the backgrounds, while the city is the sole main focus. We can even say that Lin Hung-Hsin denies a physiological way to depict the city. In a space where the inside is also the outside, the artist tells the stories from the soul of the urban atmosphere.
Mythologies Quotidiennes Every day, everyone living in the city has one’s own story about the city. Through the eyes of the the flâneur, these stories are visualized with brushes. We should not forget that the flâneur in Baudelaire’s world was a “modern painter.” Like Lin Hung-Hsin, he painted the pigeonhole dweller, the pill swallowers, the dreamer, and many others. There is some pop-art spirit in Lin Hung-Hsin’s works. His inspiration mainly comes from the daily life. After spending fifteen years in advertising design, he has polished the skills to adopt the mundane vocabulary we are so familiar with to deliver the strongest visual effect, to combine digital image and painting, and to bring in the technology of computer rendering. Briefly speaking, he uses contemporary tools to capture the contemporary spirit of the contemporary age. However, what makes him different from pop artist is how he goes beyond the pure objective observation. He does not collect the fragments of life to create a collage. Instead, he blends in his personal perspective and unique personality while he weaves the fragments into a narrative.
Such the spirit and the process of
art-making are closer to a group of French painters who were regarded as the practitioners of “narrative figuration” in the 1960s. These artists, including Rancillac, Emile Aillaud, Henri Cueco, Peter Klasen, and Antonio Recalcati, embraced extremely detailed figurative paintings as a strategy to stand against the avant-garde. The flat painting skill was greatly
A Place to Turn Around II
Flâneur: Snail's Residence
2012 Oil and Acrylic on Canvas 150F
2010 Oil on Canvas 100F
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ESSAY A Fantasized World of the Contemporary Flâneur
used, while they also used projectors to project images onto the canvas to sketch. They returned to the realistic expression but enriched the process of art-making with appropriation, juxtaposition, mix-and-match, and de/trans-formation. They borrowed the ordinary vocabulary from the daily life (including comic books, commercials, photographs, or movies) to open up a new way for painting. Meanwhile, they returned to the narrative which had been rejected by the avant-garde for many years with an attempt to declare war against pop art which dealt with the popular culture and the consumer society in a very different way – it goes without saying that what they adopted was not an academic way of narrative but a complex structure which was open to various potentialities. Although pop art reflected the modern life and the consumer society, according to their belief, it was so formalized that the form had already lost the spirit to criticize the society. Influenced by the Left-wing politics, these artists attempted to initiate a political and social reformation through art and actual movement. I believe that Lin Hung-Hsin must adopt similar strategy while dealing with the situations of the modern life. He started his artistic practice with realistic painting, through which he Flâneur: The Third Wish 2010 Oil on Canvas 100F
continuously explored the true meaning of realism and the future of it.
Finally, he
successfully creates a unique narrative, in which he combines the complicated narrative elements transformed from the daily life, the atmosphere of anxiety, and the edgy subjects. The background and the details are represented with the advertising design skill while the figures are represented as photographic images. The painting thus creates a staged scene with the “décaler” effect which is both fantasized and realistic, offering viewers with new visual experience.
The artist indeed builds up an unsettling contemporary maze and
narrates an epic/myth about the daily life in the contemporary age.
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A PLACE TO TURN AROUND LIN HUNG-HSIN
In Conclusion How does today’s art influence the future world? In fact, Walter Benjamin regarded Baudelaire as a “lyric poet in the era of high capitalism,” who also made “flâneur” an important icon with social and political significance. The flâneur hopelessly resisted “the fanatic rhythm of material production,” while Allan Poe made him to spend an hour and a half in the market “neither saying a word nor asking the price, but only gaze at everything with absent mind and primitive eyes.”
Benjamin further
conceptualizes flâneur as the one indulging himself in commodity fetish, since he is “someone abandoned in the crowd by Baudelaire, sharing the similar situation with commodities.” Living in an age manipulated by capitalism, the flâneur realized that his way of life has been imposed on him by the production system, in which his body as a person and his labor both became commodities – and there was no other way around. Therefore, he found a way to get away from the reality by looking for pleasure at his leisure time,
Flâneur: For a Better Future 2010 Oil on Canvas 100F
although he “remains conscious of the scary social phenomenon while he is absorbed in the pleasure.” Lin Hung-Hsin does not live in the 19th Century Paris. Instead, he lives in the 21st Century Taipei.
He regards himself as a flâneur – a contemporary flâneur.
Through the
appropriated images and the advertising skills in the paintings, the artist questions the media’s self-judged objectivity and the propaganda-like strategy.
Paintings become a
way for the artist to criticize the contemporary life and to reveal the cruel truth of it. As what Baudelaire mentions in “Windows,” the window can be the frame of the painting described by Leon Battista Alberti. If so, the burden of a painter is to create myths and epics, to tell the tragedy of the human world.
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ESSAY The Lonely Rondo in the Digital Age
數位時代裡的孤獨迴旋曲
文／ 郭怡孜 《典藏投資》 資深編輯
繁華市區的不安全感本身把城市居民完全關進那種捉摸不透的、極其恐怖的狀態 中。在那種狀態下，他為變得孤獨的原野感到不適，而不得不在心中接受那些城 市建築學的怪胎。 —班雅明．《單行道》．〈全景幻燈〉
城市盤旋
在虛實交錯的時空裡，表情冷酷的男女有著蒼白的臉龐，沉浸在自己的思緒裡。他們的
2012 油彩、丙烯、畫布 200F
頭髮與身體只有形狀而沒有量感，臉龐又如此地活生生，散發出一種異化的氛圍，仿若 人類生活在數位化的時代中，自身也隨著產生了變異。而當一切都可能改變，不變的， 是內心溫熱的情感，是讓人生之所以歡樂與痛苦的七情六慾。
遊走於城市之中，林宏信以一種既融入又抽離的姿態觀照自身，也觀察著他人。他將當 代人們的生存狀態轉化成冷酷異境裡的片斷寓言，畫面中並存著繁複與簡練兩個極端的 表現手法，挑戰觀眾的視覺經驗與認知習慣。理性而冷靜的構圖裡，映射出冷冽的色 彩，一切如此乾淨而簡潔，我們卻在其中感受到隱然的情緒波動，一種不被言明卻深刻 的張力。於是我們領略到，林宏信筆下看似科幻小說場景的畫面裡，講訴的，其實正是 我們內在的心理狀態。
細火慢熬終成章 林宏信畫筆下的男女有著近乎相片般真實的臉龐，結合簡潔而平面化的圖像元素，乍看 26
A PLACE TO TURN AROUND LIN HUNG-HSIN
之下有如影像後製的成果，卻仍帶有繪畫的手感與溫度。面對他的作品，我們先是感受 到寫實與平面、擬真與虛假共存於同一畫面所產生的衝突美感，接著，我們驚異於藝術 家高超的寫實功力。
擁有極為細膩且精準的感知能力，透過畫筆捕捉物象之於林宏信，從來都不是最困難的 事，這樣的才華讓他在學院裡顯得特別突出而備受讚賞，卻也成為他在藝術修煉這條道 路上，最為在意而亟欲突破的瓶頸。年輕的林宏信非常清楚，寫實繪畫在追求完美的表 現手法之餘，題材容易變得重複因循而了無新意，那時的他深深覺得「寫實很無趣」， 而陷入了「技巧在那裡，卻苦於不知道要畫什麼」的窘境。退伍之後，林宏信即從事廣 告設計的工作，在競爭激烈的行業中表現出色，伴隨而來的是寬裕許多的經濟條件。服 役加上工作，有整整5年的時間沒有碰過油畫顏料，他並不特別覺得可惜，笑著說： 「那些都太老梗，忘掉也罷。」然而這並不表示他失去了創作欲望，相反地，林宏信心 中對創作的渴望愈來愈強烈。終於，在24歲那年重回校園，白天工作，下班後到台灣 藝術大學美術系進修，他玩影像、做裝置、嘗試很多和繪畫無關的創作，就是不碰畫 筆，逃避著「寫實畫家」的標籤，因為他知道，高超技法所帶來的獎項和掌聲，並不能 填補他心中對藝術的渴求。 給明天的花火
也是在那段時間，林宏信在台北當代美術館的「大開眼界：蓋瑞．希爾(Gary 作品選集」一展中，看到了《高桅帆船》(Tall
Hill)錄像
Ships，1992)這件經典之作。那是一個
2011 油彩、丙烯、木板 265×121.5cm
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ESSAY The Lonely Rondo in the Digital Age
黑暗的長廊，感應器被進入其中的觀者觸動，遂啟動對應的動態人像投影裝置。林宏信 在長廊盡頭看到一個人遠遠地走過來，當這個人的影像終於來到他的面前而與之凝望， 林宏信被震懾住了，「那是一種影像的震撼，」他如此回憶：「那時我心裡想，好的藝 術，就是要有這樣的震撼力和張力。」
《高桅帆船》帶給觀者的壓力，在於Gary Hill讓觀者處於被另一個人近距離直接觀看的 位置，即使對方只是虛擬影像，仍然令人們感受到自己是曝露在對方眼前被徹底觀看 著，因而不得不在心理上審視自己。而面對真實的自己，往往是人們最害怕的事情。對 於林宏信而言，內心最害怕的，莫過於被寫實繪畫的框架限制住，成為空有技法卻走不 出自我風格的畫匠。
而真相是，林宏信的確擁有出色的寫實能力，繪畫，依然是他最衷情的創作方式。嘗試 過各種形式的創作，讓林宏信開拓眼界也豐富了藝術深度，即便從事廣告設計十餘年來 每日與影像為伍，他心底還是明白，油畫的層次與厚度、以及透過筆刷傳遞出來的溫度 與手感，是無法被影像或是任何其它媒材所取代的。2003年，林宏信著手構思畫草 圖，直到2008年，才正式在畫布上開始創作。繞了一大圈，最後還是選擇回到繪畫， 巴別塔 2011 油彩、丙烯、木板 265×121.5cm
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只是這次他透過犀利的社會觀察，將札實的寫實技法與豐富的影像經驗並置融合，樹立 了個人鮮明的藝術語彙。
A PLACE TO TURN AROUND LIN HUNG-HSIN
思考 關於網路世代 從2011年在台灣藝術大學發表的「晃遊者」，到今年於尊彩藝術中心的個展「迴身之地」，林 宏信持續關注當今高度城市化且數位化的社會之中，人們的生存樣貌與心理狀態。二十世紀上半 葉，城市發展伴隨資本主義而來，作為一位知識份子，班雅明（Walter Benjamin，1892-1940） 提出「Flâneur」的概念，藉著於城市之中觀察與紀錄，進而理解、參與、對抗、並且描繪城市現 象與人群，在城市裡尋找自身定位並進行文化實踐。林宏信挪用班雅明筆下的「Flâneur」，稱之 為「晃遊者」，站在一個親暱又疏離的臨界點上，觀察自己以及自己所處的社會結構。
文化，是晃遊者心之所繫，晃遊者依存於人群和人群所構築出來的社會之中，卻又不屬於人群。 班雅明時代的晃遊者在城市中探索、觀察與思考；而在我們生活的當下，晃遊者的行跡早已經逸 出了實體界限，漫延到虛擬的網路世界裡。如同林宏信在作品《地圖 I》與《地圖 II》裡的自我投 射，我們忙於接收超量而繁雜的資訊，忙於無止盡的選擇與過濾，思緒處於不斷變動的狀態，在 有如城市地圖般的數位路徑裡，迷走暈眩。 晃遊者 II
多年來身處於資訊密集、競爭激烈的廣告業，讓林宏信不斷接觸資本社會中最新最快的訊息，也 看盡現實社會的人性百態，比許多藝術家累積了更為切身而現實的社會經驗，使得他的畫作少了
2009 油彩、畫布 126×126cm
強說愁的做作，多了深刻理解人性之後的同情與練達。於是，在《城市盤旋》一作裡，林宏信化 身為城市旅人，以各種異想姿態行走於城市之中，他們以奇異而帶點幽默的行徑介入城市生活， 雖然處於同一個空間，卻以一種相忘於江湖互不相干的態度遊走，共同為堅硬而冷漠的城市注入 無限想像。 29
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潛藏的情緒波動 林宏信畫中的人物總是刷白著臉龐，掩蓋了真實皮膚的顏色和溫度，淡化了個人的長相 特徵，他說：「就像日本能劇演員將臉塗白或戴上面具一樣，他們遮蓋自己的表情和個 性，專注於演出劇中角色。」林宏信畫中人物是藝術家的自我投射，也匿名演繹著世間 男女的內在心緒，他說：「我讓模特兒刷白臉，也是讓他們演出別人的意思。」在構圖 上，林宏信採取減法，減去多餘的細節，也削去過於浮誇的表情，在不過分外露的表情 底下，內在情緒的起伏狀態，反而更加突顯而具有張力。
如同《迴身之地 I》一作中，男子雙手環包於膝上，維持著半是無助半是自我保護的姿 態，那畫面真切而直接地牽動我們的情緒，勾起了我們似曾相視的心理經驗。畫中男子 雙手艷紅如血，似乎經歷了生命的無數蒼桑與勞動，他蹲踞在高處跳板的末端，腳底是 深邃翻騰的惡水，而那跳板因為重量而向下彎曲，我們可以想像，只要男子微微一動， 試圖站起迴身，更極有可能失去平衡而墜落，即使他成功地站起、轉身、並走回跳板的 起點，等待在那裡的並非堅實的平台，而是兩道不具實體感的曲線，彷彿一踏上就會踩 空。要冒著墜落的風險轉身呢？還是索性往下跳入那深不見底的水中？或是繼續待在跳 板的末端？背上那對看似脆弱的翅膀，或可帶他飛離？在事件發生的前一刻，畫中男子 孤獨地面對困境，陰影底下的雙眼隱含落寞。行走在這世界，每個人都有不同的故事， 晃遊者III 2010 油彩、畫布 100F
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但其實我們對於《迴身之地 I》所傳遞情緒並不陌生，生命中總有這樣的時刻，我們前 無出口、也無路可退，無論他人關不關心，最終還是只有自己才能決定下一步，並且為 自己的選擇負責。
A PLACE TO TURN AROUND LIN HUNG-HSIN
晃遊於城市之中，林宏信也觀察並描繪人性的矛盾。例如《夜的女王》裡，女孩的領口 飾有歐洲舊時皇族的縐折襞襟，髮際別著羽飾，高傲而自信地睨視觀者，她自認高貴， 但以白紙折出的襞襟卻透露出虛假，使她的高傲顯得可笑而脆弱。而對話框外形的系列 畫作，是藝術家對現代生活狀態的奇想，充滿令人莞爾的黑色幽默。《明天的花火》畫 中，靈光自女子頭上冒出，卻無奈地被不知從何而來的蓮蓬頭澆熄；《巴別塔》對所謂 的進步提出質疑，當人們將樓房愈建愈高，這一切的努力與追求，會不會到頭來變成沉 重的桎梏？
林宏信遊走於影像特質與繪畫手感之間，以屬於當代的圖像語彙，闡述關於這個世代的 社會樣貌，映照數位化生活的存在，在冷調色彩與異化構圖之中，保留了人性的溫度。 他探索自己的內在欲求，也混跡於人群之中觀照當代社會裡的人性百態。他在畫布上構 築而出的種種奇想，提供了自現實世界暫時遁脫的出口，反應出著實體與虛擬交錯的當 代生活裡，人們內心的矛盾、瀟灑、孤獨、堅強，以及潛藏於心底，那不變的溫柔。
瑪格麗特 2012 油彩、丙烯、畫布 155×155cm
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ESSAY The Lonely Rondo in the Digital Age
The Lonely Rondo in the Digital Age
Written by Isabelle Kuo Senior Editor, Art Investment
“The insecurity of even the busy areas puts the city dweller in the opaque and truly dreadful situation in which he must assimilate, along with isolated monstrosities from the open country, the abortions of urban architectonics.” —"Imperial Panorama," One-Way Street by Walter Benjamin In a world without a clear boundary to separate the illusion from the reality, the men and Hovering over the City 2012 Oil and Acrylic on Canvas 200F
women show no emotion on their pale faces as if they are fully absorbed in their own thinking. It seems that their hair and bodies only have shape but no substance. Their faces prove their living existence, revealing an alienated atmosphere as if the lives in the digital age have already transformed the physical bodies of human beings.
While everything
might be changed, the only thing unchanged is the warm emotion in our hearts – which brings us pain as well as happiness. Strolling around the city, Lin Hung-Hsin adopts a participating but yet detached perspective to observe the self as well as the others. He transforms the subsistence of people living in the contemporary society into a fragmented fable in the cold world of alienation. The images feature the extreme opposition between the complicated and the succinct expressions, challenging viewers’ visual experience and perception. The rational composition calmly reflects the cold colors, simple and clear, inviting us to feel the hidden emotion flow – a kind of intensity which cannot be said but only be felt.
Therefore, we
realize that what the science-fictional scenes in Lin Hung-Hsin’s works tell is the inner self in our psychological world. 32
A PLACE TO TURN AROUND LIN HUNG-HSIN
The Slowly Cultivated Process The men and women in Lin Hung-Hsin’s paintings all have photorealistic face combined with elements of simple and flat images as if they have been photoshopped. However, one still feel the warmth and the real touch of a handmade painting. While we stand in front of his works, the very first thing we feel is the conflicting aesthetics while the three-dimensional reality and the two-dimensional virtuality co-eixst with each other. After a while, we will be amazed by the artist exquisite skill in realistic painting. Taking the advantage of his sensitive and precise perceptivity, Lin Hung-Hsin never thinks of it as too difficult to pick up the brushes to capture the things he sees. Such a talent made him an outstanding student with high potentiality when he was in the college. However, it also became the block the artist tried so hard to overcome throughout his artistic practice. The young Lin Hung-Hsin knew very well that while one was pursuing the most perfect expression in realistic paintings, one might have taken the risk of redundant repetition. At that time, realistic paintings seemed to be “boring” while he experienced the difficulty that “he has the skills but without knowing what to paint.” After he was discharged from the military service, Lin Hung-Hsin stepped into the advertising design industry and became an established figure in such a competitive field. Advertising design offered him a more comfortable life. Throughout the military service and the career as an advertising designer, Lin Hung-Hsin had stopped painting for five straight years.
He did not feel
particularly sorry about the experience. “It is just too cliché that I don’t have to remember it,” he said with a smile on his face. However, it did not mean that he lost the passion to paint. Quite the opposite, his desire for art-making became stronger and stronger. Finally, he decided to continue his studies at the age of 24. He was working during daytime, and studying in the Graduate Program of Fine Arts at National Taiwan University of Arts after work. He explored various kinds of art forms such as video and installation, but he never
Firework for Tomorrow 2011 Oil and Acrylic on Wood 265×121.5cm
picked up the brushes, refusing to be regarded as a “realistic painter” for that the exquisite skills might have brought him applause and awards but it would ever fulfill his desire for art. During the same period of time, Lin Hung-Hsin saw Gary Hill’s masterpiece Tall Ships 33
ESSAY The Lonely Rondo in the Digital Age
(1992) in the exhibition Unfolding Visions: Gary Hill selected works 1976-2003 at The Museum of Modern Art, Taipei. It was in a long dark corridor. Once the sensor sensed any viewer’s presence, the projection installation would be activated to show distant, motionless figures who approach and then withdraw. Lin Hung-Hsin saw someone walking toward him from the end of the corridor. While the image of the figure finally stood face to face to gaze at him, Lin was amazed and shocked. “It was the power of the image,” the artist recalled, “and I was thinking at that moment – a good work of art should have such a powerful intensity.” Viewers might feel the pressure created by Tall Ships since Gary Hill puts viewers at a position that he or she will be directly looked at by someone else within a very close distance.
Although that “someone else” is just a virtual figure, people still feel the
uneasiness as they fully expose themselves in front of the other. Therefore, they have to examine their psychological state while being looked at. For most people, to face the true self is the scariest thing in the world. For Lin Hung-Hsin, what he feared the most was to be framed by the concept of realistic paintings as a skillful painter with no personal style. The truth is that Lin Hung-Hsin indeed has wonderful skill in realistic painting, and painting is always his favorite way to express himself. The various art forms he has explored open up the horizon of Lin Hung-Hsin’s artistic concept. Although he spent more than ten years with “video image” as an advertising designer, he knew very well that the layers and the depth created by oil paints as well as the warmth and the intimacy delivered through the brushes would never be replaced by video image or any other kinds of materials. In the Babel 2011 Oil and Acrylic on Wood 265×121.5cm
year of 2003, Lin Hung-Hsin started to work on sketches, and not until 2008 did he return to his canvas. After all this time, painting still became his ultimate destination. This time, however, he combined the solid skill in realistic painting and the accumulated experiences in video image to provide a social observation with great insight, through which he establishes\d his own unique artistic vocabulary.
34
A PLACE TO TURN AROUND LIN HUNG-HSIN
Some Thinking the Internet Age From the work The Flâneur, which was first published at National Taiwan University of Arts in 2011, to the solo exhibition A Place to Turn Around held at Liang Gallery, the existence and the psychological condition of human beings in a highly urbanized and digitalized society have always been the focus of Lin Hung-Hsin’s artistic practice. During the first half of the 20th Century, the development of a city was following the step of capitalism. As an intellectual, Walter Benjamin (1892-1940) brought up the idea of “flâneur,” which refereed to a group of people who observed and documented the urban phenomenon, through which they came to the realization, took participation in, or fought against the urban phenomena as well as the crowds.
They tried to find a position for themselves in the city
to practice their cultural belief. Borrowing the concept of “flâneur” from Walter Benjamin’s works, Lin Hung-Hsin has created his own “flâneur” as a character who observe the self and the social structure one’s living within from a perspective which is both intimate and alienated. Culture is where the flâneur’ world surrounds. The flâneur lives in the crowd, within the society constituted by the crowd, but he does not belong to the crowd. The flâneur in Walter Benjamin’s times explored the city to provide observation and thinking. In our times,
Flâneur II 2009 Oil on Canvas 126×126cm
however, the traces of the flâneur exist not only in the real world but also the virtual world of cyberspace. As what the artist’s self-reflection in the works MAP I and MAP II suggests, we are too busy receiving overloaded information of triviality, filtering messages, and making endless choices. Our minds can never be at rest. They wander along the digital paths as if they are lost in a city map. Having been devoted to the advertising industry for year, Lin Hung-Hsin was always surrounded by the most updated information in the capitalist society to survive in such a competitive field. Unlike most of the artists who usually lack of the practical experience, making a living in the advertising industry allowed Lin Hung-Hsin to experience the true nature of humanity as well as the reality of the society. Therefore, his paintings seem to be more sincere without any forced emotions to be expressed, revealing the artist’s 35
ESSAY The Lonely Rondo in the Digital Age
compassion based upon the profound realization of humanity. In the work Hovering over the City, Lin Hung-Hins turns himself into several travelers in the city, wandering about the city in the most fantasized way one can hardly imagine. Through their bizarre but yet humorous behaviors, these travelers make themselves be part of the city life. Although they stay in the same space, they walk around without being influenced by each other. Because of them, the once hard-and-cold city can be perceived in a more imaginative way.
The Hidden Emotion Flow The figures in Lin Hung-Hsin’s paintings always have white faces, while their real skin colors have been covered. We can neither see the warmth of the skin nor each figure’s personal characteristic. “I make them like Noh actors who either paint their faces white or wear masks to cover up their emotions and personality so that they can be fully absorbed into the characters they are performing on stage,” says the artist. These figures not only reflect the artist’s true self but also anonymously represent the inner thoughts of all men and women. He further explains that “I asked the models to paint their faces white because I wanted them to perform someone else.” Lin Hung-Hsin has erased the unnecessary details and the over-exaggerated facial emotions while working on the composition. The inner emotion flow thus seems to be even more intensified beneath the quiet appearance. Flâneur III 2010 Oil on Canvas 100F
In the work A Place to Turn Around I, a man is embracing his knees to keep a self-protective position which also reveals his vulnerability. The image is so real that our emotions have emerged to create the déjà vu experience. The hands of man are as red as blood, as if they have witnessed the endless suffering of life. He squats down at one end of the diving board, high above the churning water, and the diving board bends under the weight. We can almost imagine that once the man moves a little bit, even with an attempt to turn around, he might lose his balance and fall from the board. Even if he successfully stands up, turns around, and walks toward the other end of the diving board, he still cannot step onto a solid platform but only two curve lines with no the substantial existence. There is no safer decision to make. Should he take the risk of falling to turn around, or should he just jump into the deep water? Or, should he stay there at the end of the diving board, waiting
36
A PLACE TO TURN AROUND LIN HUNG-HSIN
for the small possibility that the vulnerable wings on his back might help him to fly away? It is the moment before “something happens.” The man in the painting face the dilemma all by himself, and his eyes in the shadow reveal his helplessness. Everyone is the wanderer in the world with one’s own story to tell. However, we are not alienated from the emotions expressed in A Place to Turn Around I. There is moment like this in our life that there is nowhere for us to walk toward and there is nowhere for us to turn back. No matter whether others care about it or not, there is no one but ourselves to decide the next step and to take responsibility of it. As a flâneur in the city, Lin Hung-Hsin also observes the contradiction of humanity. In the painting Queen of the Night, the girl’s pleated neckline is decorated in an old European royal style, and she is wearing feathered hair ornament. She looks at viewers with pride and confidence, revealing her self-acknowledged elegant. However, the pleated neckline made of folded white paper shows her falseness, turning her conceitedness into a ridiculous and yet vulnerable joke. The series paintings in the shape of the conversation window, on the other hands, visualize the artist’s fantasy about the modern life with black humor. In Firework for Tomorrow, the spark from the top of the woman’s head is helplessly
Margaret 2012 Oil and Acrylic on Canvas 155×155cm
extinguished by a shower head coming from nowhere. In Babel, the artist questions the so-called “progression” – living in a world with higher-and-higher buildings being built, will our effort and pursuit become the unbearable burden to us? Walking on a fine line between the qualities of video image and handmade painting, Lin Hung-Hsin adopts images expressed in a contemporary language to describe the society in the contemporary age and to reflect the existence of a digitalized life. Through the cold colors and the alienated composition, the artist keeps the warmth of humanity. He not only explores his inner desire but also hides himself in the crowd to observe the nature of humanity in a contemporary society. On his canvas is the world created by the artist with various fantasies, serving as a temporary getaway from the reality.
Between the real and the virtual in our
contemporary life, Lin Hung-Hsin’s works indeed reflect the contradiction, the unrestraint, the loneliness, the persistence, and the everlasting gentleness hidden deeply inside human’s heart. 37
他有翅膀，卻無法承載自身的重量， 輕如薄翼，稍有風吹草動，也許就支離破碎。 他有異於常人的視覺，仔細地端倪身旁的一切，卻又不擅隱藏，反作用似地投射於外。 他五感敏銳，甚至每個毛細孔都在呼吸著這世界，將所感知的一切仔細收藏，反覆咀嚼。 他不是天使，即使自以為有顆善良的腦袋， 但某些下意識的動作，很容易使他越了界， 畢竟他不是天使。
每個人都在尋找一片廣闊的天地， 但，他卻只找尋一方迴身之地.....。
He has wings, but the wings cannot carry the weight of him. They are fragile and delicate as if they will become ashes once being touched by the wind. He can see far better than ordinary people. He carefully observes everything surrounding him, but he is never good at hiding. What he sees is naturally reflected in the external world as a counterforce. He is sensitive and perceptive, breathing the world with every pore of his body. He gleans everything he perceives and repetitively savors the well-collected items. He is not an angel. Even though he believes that he has a gentle heart, some subconscious motivation still makes him to cross the line. After all, he is not an angel. Everyone is looking for a world without end. However, what he searches for is nowhere but a place to turn around.
迴身之地 I A Place to Turn Around I 2012 Oil and Acrylic on Canvas 150F 41
迴身之地 II A Place to Turn Around II 2012 Oil and Acrylic on Canvas 150F 42
晃遊：消逝的風景 Flâneur: Disappear Scenery 2010 Oil on Canvas 100F 44
雲起時 When Clouds Rise 2012 Oil on Canvas 155×155cm 47
微光 Glimmer 2012 Oil on Canvas 120F 48
瑪格麗特 Margaret 2012 Oil on Canvas 155×155cm 50
還記得一切是從這裡開始的，2004年為了畢業製作的作 品集封面，用滑鼠在電腦上塗鴉畫出了一系列的草圖， 在05-08年我嘗試以錄像、影樣合成漫無目的實驗著， 最後在08年底決定了使用我所擅長的繪畫，將這一切實 現，這些有趣的點子，加上班雅明筆下的Flâneur，延伸 了2009年之後的這些作品，也成就了這一次的展覽。 I still remember that it is where everything begins. In 2004, I was still working on the portfolio cover of my graduate project. I held the mouse in my hand to draw a series of drafts on my computer.
From 2005 to
2008, I had been trying to synthesize the works through video or image.
In 2008, my aimless
experiment led me to decide that I should use painting, a medium I was good at, to fulfill my artistic exploration.
With these interesting ideas and the
description of the flâneur in Walter Benjamin’s works, I extended the works completed after 2009 – and it is where the exhibition begins.
晃遊：為了更美好的未來 Flâneur: For a Better Future 2010 Oil on Canvas 100F 54
晃遊：蝸居 Flâneur: Snail's Residence 2010 Oil on Canvas 100F 56
晃遊：第三個願望 Flâneur: The Third Wish 2010 Oil on Canvas 100F 58
電路板圖案是有趣的，它像極了某一個虛擬社區的鳥瞰圖，亦或是純然的空間迷 向。「晃遊者」是入世的，浩瀚的網路世界與社群是一種未知的、幻想的空間情 境；雖然有時也反映了某些真實，但卻來自於「在城市面前的無能為力」。這裡似 乎更能滿足他愛閒晃、與偵蒐的個性，更易於隱匿於人群，找尋一方迴身之地。
看似立體派的多重面容組合，是擷取自不住張望、觀察時的凝態，並存於畫面，造 成一種奇異的空間糾纏與視錯覺，猶如令人眼花撩亂的網路世界。
It is interesting to see the electronic board image, which is like a bird’s view of a virtual community or simply the spatial orientation. The flâneur does not stand outside of the world. The vast cyberspace and the Internet community is an unknown space or a fantasized situation.
Although sometimes it
reflects certain reality, it usually originates from the “helplessness in front of a city.”
A place like this is good for the flâneur to roam around and to
investigate. It is easier for him to hide in the crowd, looking for a place to turn around.
The cubism-like structure of multiple faces captures the frozen moments of the irresistible gaze and the observation.
They co-exist in the image to
create a strange visual delusion of the tangled spaces as if we are in the dazzling World Wide Web.
迷向 Disoriented 2012 Oil and Acrylic on Canvas Dia. 120cm 62
地圖 II MAP II 2011 Oil and Acrylic on Canvas Dia. 120cm 64
地圖 I MAP I 2011 Oil and Acrylic on Canvas Dia. 120cm 66
這裡沒有正確折射的光線，自成一格的空間裡，只能緩慢的漂浮，晃遊。隱隱作痛的中耳炎，是個要命的個人經驗，耳膜無法正常 地震動的情況下產生的耳鳴，讓人閉鎖並將自己拉回一個沒有人能觸及的空間情境；好像航行在寧靜深海的潛艦，不間歇的耳鳴， 彷如低盪的聲納，唯一的差別是，它無法對外發射傳遞，聲波在耳內來回撞擊，更加重了外界的隔絕。 There is no light refracted in a reasonable way. In such an enclosed space, one can only slowly float above and roam around. I have once suffered from middle ear infection, causing me ear pain. It is indeed a painful experience for me. Since the eardrum failed to vibrate in a normal way, I could hear nothing but the ringing in the ears. I was thus imprisoned in a situation with no one to intrude as if I was in a submarine diving deep in the peaceful sea. The unceasing ringing in the ears was like the deep sound created by the sonar. The only difference was that it could not transmit any message to the outside world. The sound waves hit the tympanic membrane back and forth, intensifying the isolation state from the external world.
晃遊:獨白 Flâneur: Monologue 2009 Oil and Acrylic on Canvas 126X126 cm 71
晃遊者I：滯流 Flâneur I: Stagnant Current of Water 2009 Oil on Canvas 100F 72
晃遊者V Flâneur V 2010 Oil on Canvas 100F 73
晃遊者IV Flâneur IV 2010 Oil on Canvas 100P 74
晃遊者III Flâneur III 2010 Oil on Canvas 100F
戀人們 Lovers 2012 Oil on Canvas 150F 76
城市，是他（她）的微型世界，是沒有入場限制的後樂園，一幕幕的全景幻燈不斷電地播放 著，大量的視覺感官刺激，早已超出了30年代的拱廊街。穿戴著巧妙的偽裝，出沒、穿梭其 中，如月下水仙，在暗夜裡、私密宴會中獨自綻放著。
A city is his/her microcosmic world and a amusement park with free entrance. panorama keeps showing one image after another unceasingly.
The
The great visual
sensation nowadays is far stronger than the Parisian arcade in the 1930s. The flâneur roams around in clever disguise as if he is a narcissus in the moonlight which blooms alone in its own secret banquet at night.
晃遊者 II Flâneur II 2009 Oil on Canvas 126×126cm 80
城市盤旋 Hovering over the City 2012 Oil and Acrylic on Canvas 200F 83
潛行 Stealth 2012 Oil and Acrylic on Canvas 155×155cm 85
夜的女王 Queen of the Night 2011 Oil and Acrylic on Canvas 155×155cm 86
獨綻 Blooming Alone 2011 Oil and Acrylic on Canvas 155×155cm 89
對話框系列（左至右）
1. 給明天的花火 Firework for Tomorrow 2. 巴別塔 Babel 3. 樂園何栽 Where is Paradise Oil and Acrylic on Wood 265×121.5cm 2011 90
Catalog 2009~2012
迴身之地 I A Place to Turn Around I 2012 油彩、丙烯、畫布 Oil and Acrylic on Canvas 150F P. 40
雲起時 When Clouds Rise 2012 油彩、畫布 Oil on Canvas 155×155cm P. 46
迴身之地 II A Place to Turn Around II 2012 油彩、丙烯、畫布 Oil and Acrylic on Canvas 150F P. 43
瑪格麗特 Margaret 2012 油彩、畫布 Oil on Canvas 155×155cm P. 50
城市盤旋 Hovering over the City 2012 油彩、丙烯、畫布 Oil and Acrylic on Canvas 200F P. 82
微光 Glimmer 2012 油彩、畫布 Oil on Canvas 120F P. 49
92
戀人們 Lovers
晃遊：消逝的風景 Flâneur: Disappearing Scenery
2012
2010
油彩、畫布 Oil on Canvas
油彩、畫布 Oil on Canvas
150F
100F
P. 77
P. 45
A PLACE TO TURN AROUND LIN HUNG-HSIN
迷向 Disoriented 2012
油彩、丙烯、畫布 Oil and Acrylic on Canvas Dia: 120cm
地圖 I MAP I 2011
P. 63
油彩、丙烯、畫布 Oil and Acrylic on Canvas Dia: 120cm
2011
P. 67
給明天的花火 油彩、丙烯、木板 Oil and Acrylic on Wood Firework for Tomorrow 265×121.5cm
樂園何栽 Where is Paradise
油彩、丙烯、木板 Oil and Acrylic on Wood
2011
2011
P. 90-91
P. 90-91
地圖 II MAP II
265×121.5cm
油彩、丙烯、畫布 Oil and Acrylic on Canvas Dia: 120cm P. 65
巴別塔 Babel 2011
油彩、丙烯、木板 Oil and Acrylic on Wood 265×121.5cm P. 90-91
93
Catalog 2009~2012
晃遊：為了更美好的未來 Flâneur: For a Better Future 2010 油彩、畫布 Oil on Canvas
潛行 Stealth 2012
100F P. 55
油彩、丙烯、畫布 Oil and Acrylic on Canvas 155×155cm P. 84
晃遊：第三個願望 Flâneur: The Third Wish 夜的女王 Queen of the Night 2011 油彩、丙烯、畫布 Oil and Acrylic on Canvas
2010 油彩、畫布 Oil on Canvas 100F P. 59
155×155cm P. 87
94
獨綻 Blooming Alone
晃遊：蝸居 Flâneur: Snail's Residence
2011
2010
油彩、丙烯、畫布 Oil and Acrylic on Canvas
油彩、畫布 Oil on Canvas
155×155cm
100F
P. 88
P. 57
A PLACE TO TURN AROUND LIN HUNG-HSIN
晃遊：獨白 Flâneur: Monologue 2009 油彩、丙烯、畫布 Oil and Acrylic on Canvas 126×126cm P. 70
晃遊者 I：滯流 Flâneur I: Stagnant Current of water 2009 油彩、畫布 Oil on Canvas 100F P. 72
晃遊者 III Flâneur III 2010 油彩、畫布 Oil on Canvas 100F P. 75
晃遊者 IV Flâneur IV 2010 油彩、畫布 Oil on Canvas 100P P. 74
晃遊者 II Flâneur II
晃遊者 V Flâneur V
2009
2010
油彩、畫布 Oil on Canvas
油彩、畫布 Oil on Canvas
126×126cm
100F
P. 81
P. 73
95
發行人
余彥良
出版者
尊彩國際藝術有限公司
策劃設計
尊彩藝術中心
印刷
日動藝術印刷有限公司
出版
2012年12月初版
ISBN
978-986-88331-5-9 （平裝）
Executive Director
Yu Yen-Liang
Publisher
Liang Gallery Co., Ltd
Editor
Liang Gallery
Printing
Jih-Tung Art Pringting Co., Ltd.
Publishing Date
First Edition, December, 2012
ISBN
978-986-88331-5-9 (Paperbound Edition)
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