召喚神話 to a Myth 莊 普 Beckoning Tsong Pu
莊普
萬物皆有靈 事事出自因 形順自然上 觀外解乾坤
召 喚 神 話
文｜黃義雄 我們生活的空間是一種社會性空間，在曾經不遠的時間向度中，城市聚落裡 各式家屋的比鄰而倚。它不只是一個個建築集聚的空間，更是因著人們的生 活機能所逐漸衍生而來的關係網絡空間。在台灣，曾經每間房子都有著有關 這個居住建築的守護神，祂跟我們一同居住著。在家庭裡有灶神、地基主； 稍微延伸到周邊，則有土地公（客家村落稱為伯公），那個時代似乎還是一 個有神靈的時代。隨著時代的數十倍速前進，神靈已被我們逐漸丟棄、遺忘。 最後，我們自願遷居到一棟棟與土地無連結的、科技製作的格子空間，在這 些空間裡剩下的就只是我們自己，神靈、神話不斷被人們、被都市規劃的空 間所拒絕與揚棄。人類在不斷地在縮小其自身的邊界，限縮自己與社會空間、 自然空間、神性空間的連結。上述這種去神話的現象，在當代藝術中也同樣 地做出某種應和，作為 70 年代成長的莊普來說，時值現代主義與晚期現代 主義的跨越變動時刻，藝術世界中現代藝術與當代藝術正出現重疊適應的當 下，對藝術中神話性、神性仍有某程度的信仰，尤其從抽象繪畫脈絡而來的 創作，有關「減之又簡」的材質形式介入空間所產生的劇場性，一直是他創
作的內在核心。因此，這系列的創作計畫也圍繞著關於藝術中神性的思索，媒 介則來自空間建築的關注議題。 這次的創作，預計以一間間夾雜於都市的空間，成為邊緣的空間，它也許是眷 村或是舊社區面臨都更的建築、或許畸零地上倚立在巨大高樓毫不搭嘎的建 物、又或許是夾雜於大樓間的二次性建物，他們曾經是某時期都市記憶中觸目 可及的一種通常的建築樣貌。然而，在現代性的意識型態下，標舉著城市規劃、 都市更新的過程中，這些人與眾神共居的建築，已被割裂的支離破碎，無法想 像的快速傾毀消失，結果是－－眾神逃離。這些建物在此也被視為「不得其所」 的矮小建築、濫建築。Tim Cresswell 在《地方》一書，提出這種「不得其位」 是取決於某種分類系統；空間分類的強烈程度，強化了對秩序的建構，也使驅 逐與排斥異類的慾望，在強大的全球資本主義席捲下，不符合都市開發或資本 市場邏輯所排除的地方及其上面的建築，都成了破壞秩序的、污染的物件。因 此，他發明了「地方錯置」（anachorism）一詞，來指稱置身錯誤地方的事物。
這次的創作以一間間木作家居為建築單元，包含著曾經家居的神性，也是美的 形式表達，是一座座構建的雕塑。當一間間建築單元被構造起來時，它宛如在 作某種時間與空間的儲存，所製作的物件已不是一間間三角形的建築物件，而 是冷凍儲存這些已經是「不得其位」的建築物件，其間所擁有的記憶、熱情、 情境與社會關係瞬時被冰凍，而它所有的神性也被一併冰凍其間。 而作品在最後呈現上，將藉由藝術實踐的不同演繹方式，於不同空間、地點與 組合的構建產生不同的樣貌，它可能在繁華的信義商區街道、公園路樹上、不 經意的家居陽台、畫廊的白盒子空間；它也可能是單一物件呈現，或是 21 件 組的大型邊界佈局。這些具備游動性質的建築物件，除了是逐漸消失的建築象 徵或建築形式，更是一種神性的寓言式寄託。人們在新組構的通道縫隙，穿梭
其中，新的空間體驗讓時間性開始擾動。此流動性與動態性的空間變化，使冰 凍的一切事物隨時可被解放出來。透過這種藝術實踐，相信可以讓神性重新發 現在這滿是無神的「他者」都市荒漠，藉著豎立的一間間「不得其所」的建築， 重新界定空間的界線與邊緣，「地方錯置」使空間的意義和複雜性被視覺化， 邊緣的界定產生了主動性，抵抗了原本被框架的權力空間。 再將討論拉回到本件創作的藝術實踐面，對於藝術，我們不禁要問，所謂的神 性，在當代藝術中是否還應存在？寓言的或劇場的表達方法，還適用於未來的 創作嗎？這一切答案或許還是進行中，面對當前諸神退場的創作主流，其微弱 的抵抗也許不曾歇息，之間鬥爭的歷史遠遠沒有結束，如此，我們又如何告別 諸神，甚至告別「藝術」呢？
2013. 10. 04 關渡美術館
By Huang Yi-Hsiung
Our living space is a type of social space. Not long ago, the various houses within an urban settlement existed in a state of mutual reliance. They were not just gathering spaces for a building, but also a network of relationships gradually derived from the functions of everyday life. In Taiwan, it was believed that a patron saint watched over and lived within each residential building. Within each residence, there lived the Kitchen and Groundwork gods. Around their immediate surroundings, there was the Earth God (known as “Bogong”, or granduncle in Hakka villages). During that time, divine spirits seemed to permeate the lives of people everywhere. Along with the rapid pace of the digital age, however, these divine spirits have been gradually discarded and forgotten. In the end, we have willingly moved into technologically-constructed grids of space that have no connection with the land. Within these spaces, there remain only us. Divine spirits and myths are continuously being rejected and discarded by urban planning. People are now constantly shrinking their own borders, while weakening their link with social, natural, and divine spaces. This phenomenon of removing myths described above is similarly echoed in contemporary art. Tsong Pu grew up during the 70s, a time when modernism and late-modernism were undergoing great changes. As overlapping adaptations began appearing in modern and contemporary art, there was a certain degree of faith instilled in the mythology and divinity of art, particularly works created from the context of abstract painting. “Concise and minimal” material forms were endowed with a sense of theatricality generated by a space. This has always served as the inner core of the work. As a result, this series of works also revolves around contemplations regarding the divinity of art, while the media is derived from issues concerning spatial architecture. For this work, Tsong Pu plan to turn a confined urban space into a marginalized one. Such a space can be a building from a veteran village or a rundown neighborhood, or an odd structure located between two high-rise buildings. These once ubiquitous spaces now stand as relics of a city’s past. Yet, in the context of modern ideology during a trend of rapid urban renewal, such buildings are left untended and subject to disappear rapidly. They become abandoned by their inhabitants, even by their patron saints and are regarded as uninhabitable little shacks. In Tim Cresswell’s Place: A Short Introduction, a categorization system is used to measure the degree to which a space is marginalized.
The book emphasizes the desire for order within a landscape and urges the removal of all spaces that stand at odds with their surroundings. Under the surge of globalization and capitalism, buildings that hinder urban renewal or defy market trends are all considered disorderly or contaminated. Therefore, Cresswell coined the term “anachronism” to describe such objects. The sculptures of this exhibition consist of wooden furniture, architectural elements that encapsulate divinity of a home and serve as expressions of beauty. When such architectural elements are constructed, it is as if they preserve the aura of a location and era. More than mere triangular objects, these works are preservations of “out of place” architectural elements. The memories, passion, context, and social relationships of an era, as well as their sense of divinity, are frozen within them. In terms of the presentation of the work, many kinds of artistic expressions are used and presented within different kinds of spaces, locales, or combinations thereof to create works featuring many guises. They might be placed along the streets of the Xinyi business district, on top of trees in a park, inadvertently on a balcony of an ordinary home, or within the white box spaces of a gallery. The works may be presented as single objects or as an arranged set consisting of twenty-one pieces. Aside from being an architectural symbol or form that is gradually disappearing, these mobile architectural objects are entrusted with a past divinity. Living amidst newly constructed spaces, people are confronted with a new kind of spatial experience that disturbs the notion of temporality. Such transitory and dynamic spatial change unlocks everything that has been frozen in time. Through such an artistic expression, divinity is reintroduced to an “alien” urban desert that is devoid of divinity. Using these “out of place” structures, I redefine the boundaries of space, as the meaning and complexities of a space can be visualized through the lens of such “anachronisms.” The defining of boundaries leads to an initiative that resists the framework of a power and space. Then, the discussion is brought back to the artistic implementation aspect of this work. Here, we have to ask whether this so-called divinity is still present in contemporary art. Are allegorical or theatrical methods of expression still suitable for future works? Perhaps these answers are still in the process of being answered. Facing the current secular mainstream in creativity, perhaps resistance by the weak is never-ending. Our history of conflict is far from over. So, how do we say farewell to the gods, or even say goodbye to “art”?
2014. 03. 15 大趨勢畫廊
莊普｜藝術家簡歷 1947 1978 1981
上海出生 西班牙馬德里大學畢業 台灣定居
近年個展 2014 2013 2012 2011 2010 2008 2005
召喚神話——莊普個展，大趨勢畫廊，台北 閃耀的星塔——莊普個展，Apartment of Art，幕尼黑 斜角上遇馬遠——2012 莊普個展，大趨勢畫廊，台北 末日漂流，關渡美術館，台北 7,034,071,329 之 1，加力畫廊，台南 粼粼——莊普個展，國家藝術園區美術館，新竹 莊普地下藝術展，台北市立美術館，台北 疏遠的節奏，大趨勢畫廊，台北 遠方的座標——莊普創作展，國立中興大學藝文中心，台中 我討厭村上隆，伊通公園，台北 莊普 2008「弱水三千，只取一瓢」個展，大趨勢畫廊，台北 在遼闊的打呼聲中，伊通公園，台北
近年聯展 2013 2013 關渡藝術節，亞洲巡弋，關渡美術館，台北 2012 當空間成為事件——台灣，1980 年代現代性部署，高雄市立美術館，高雄 新店男孩—生活的決心，非常廟藝文空間，台北 2011 第 26 屆亞洲國際美展，首爾藝術中心漢嘉阮美術館，首爾，韓國 複感 ‧ 動觀——2011 海峽兩岸當代藝術展，中國美術館，北京，中國 2010 每一個花萼都是棲息之所——第十三屆台北文化獎「伊通公園」推廣活動， 台北市政府大樓中庭，台北 異象——典藏抽象繪畫展，國立台灣美術館，台中 2009 觀點與「觀」點：2009 亞洲藝術雙年展，國立台灣美術館，台中 2008 家——台灣美術雙年展，國立台灣美術館，台中 Art is Alive——釜山雙年展 2008，釜山當代藝術館，釜山，韓國 不設防城市——藝術中的建築展，台北市立美術館，台北 2007 散步－莊普、賴純純、陳慧嶠三人展，伊通公園，台北 形色版圖——顛覆與重建，大趨勢畫廊，台北 2006 PASS——經過，名古屋藝術大學藝術與設計中心，名古屋，日本 台灣美術發展 1950-2000，中國美術館，北京，中國
Tsong Pu ｜ Artist's Biography 1981 1978 1947
Returned to Taiwan, lives and works in Taipei Graduated from La Escuela Superior de Bellas Artes de San Fernando de Madrid, Spain Born in Shanghai, China
Solo Exhibitions (selected) 2014 “Beckoning to a Myth”, Tsong Pu Solo Exhibition, Main Trend Gallery, Taipei 2013 “Der Turm der Leuchtenden Sterne”, Tsong Pu Solo Exhibition, Apartment of Art, Munich, Germany 2012 “Ma Yuan at A Corner: 2012 Tsong Pu Solo Exhibition,” Main Trend Gallery, Taipei “Drifting Towards An End,” Kuandu Museum of Fine Arts, Taipei “One of 7,034,071,329,” Inart Space, Tainan 2011 “Gleamingly Gleaming—Tsong Pu Solo Exhibition,” Art Museum at The Art Park, Hsinchu 2010 “Art from the Underground: Tsong Pu Solo Exhibition,” Taipei Fine Arts Museum, Taipei “Estranged Rhythm,” Main trend Gallery, Taipei “Coordinates of The Distance: Tsong Pu Solo Exhibition,” National Chung Hsing University Art Center, Taichung 2008 “I Hate Takashi Murakami,” IT Park, Taipei “A Flood of Tender Water, I Take One Scoop Only,” Main Trend Gallery, Taipei 2005 “In The Spectacular Snore…,” IT Park, Taipei Group Exhibitions (selected) 2013 “Asia Cruise” Kuandu Museum of Fine Arts, Taipei 2012 “When Spaces Became Events… Dispositive of Modernity in the 1980s,Taiwan” Kaohsiumg Museum of Fine Arts,Taipei “Xindian Boys - The determination of Life,” VT Artsalon, Taipei 2011 “26th Asian International Art Exhibition,” Hangaram Art Museum of Seoul Arts Center, Seoul, Korea “Dual Senses and Dynamic Views—Contemporary Art Exhibition across the Taiwan Straits of 2011,” National Art Museum of China, Beijing, China 2010 “Every Chalice is a Dwelling Place –Thirteenth Taipei Culture Award ‘IT Park’ Promotional Event,” Taipei City Hall, Taipei “Beyond Vision: Highlights of Abstract Paintings from the National Taiwan Museum of Fine Arts Collection,” National Taiwan Museum of Fine Arts, Taichung 2009 “Viewpoints & Viewing Points – 2009 Asian Art Biennial,” National Taiwan Museum of Fine Arts, Taichung 2008 “HOME-Taiwan Biennial 2008,” National Taiwan Museum of Fine Arts, Taichung “Art is Alive,” Busan Biennale 2008, Busan Museum of Modern Art, Busan, Korea “Architecture in Art － OPEN CITY,” Taipei Fine Arts Museum, Taipei 2007 “STROLL,” IT Park, Taipei “Beyond the Frontier of Color and Form － Subversion and Reconstruction,” Main Trend Gallery, Taipei 2006
“PASS,” Nagoya University of Arts, Nagoya, Japan “Art Trend in Taiwan, 1950~2000,” National Art Museum of China, Beijing, China
莊普藝術工作室 台北市大安區信義路三段 73 巷 6-2 號 artstudio@tsongpu.com +886.27096007