九月
肆 [ 日 ] 陆號
4. September issue 6
本期藝術家
the Artist
時永駿 1978 年出身於台北 國立台灣藝術大學 . 美術系西畫組畢業 E-mail: clm0072@hotmail.com Works Blog: www.flickr.com/photos/clm0072/ 展覽 / 2013 【雜貨鋪】個展 / 一票人票＆畫庫 . 台北 【2013 亞洲當代藝術展】/ 香港 JW 萬豪酒店 . 香港 【當代香港 2013 】/ 香港怡東酒店 . 香港 【2013 台北國際當代藝術博覽會 】/ 台北喜來登大飯店 . 台北 【藝術北京 2013】/ 全國農業展覽館 . 北京 【Hidden Track】聯展 / 藝術創庫畫廊 . 香港 2012 【肥皂劇 】個展 / 798 玉蘭堂畫廊 . 北京 【未來通行證 】聯展 / 今日美術館 . 北京 【時代的容顏 】聯展 / 一票人票＆畫庫 . 台北 【2012 台中藝術博覽會】/ 台中長榮桂冠酒店 . 台中 【2012 台北國際當代藝術博覽會】/ 台北喜來登大飯店 . 台北 【2012 YAT 年度主題巡展 - 失控的年代】/ 德鴻畫廊 . 台南 【又遠又近 】亞洲青年藝術家群展 / 798 玉蘭堂畫廊 . 北京 2011 【Geisai Taiwan #3】藝術祭 / 華山藝文中心 . 台北 2010 【當代圖像】聯展 / TIN ART 當代藝術空間 . 台中 2009 【Geisai Taiwan #1】藝術祭 / 華山藝文中心 . 台北 2005 【捨不得遺忘，那麼，再看一次】個展 / 自強貳捌肆 . 關渡 2003 【繪畫性】 台北藝術大學南北畫廊 . 關渡 【Working Museum】 打開當代藝術文化工作站 . 板橋 2002 【板橋故事】 板橋社區大學 . 板橋 【壹樓室內】 打開當代藝術文化工作站 . 板橋
特殊資歷 / 2011 Geisai Taiwan #3 台開獎 2004 青年藝術作品典藏 . 素描作品 ( 符號紀錄 2 號作品 ) 典藏 / 國立歷史博物館 2003 雙和美展 . 油畫作品典藏
Shih Yung-Chun Born in 1978 in Taipei Graduated from the Department of Western Fine Arts, National Taiwan University of Arts in 2003 Exhibition / 2013 [Zakka ] Persoal Exhibition/ Piaopiao Gallery . Taipei [2013 ASIA CONTEMPORARY ART SHOW] / JW Marriott Hotel . Hong Kong [Hong Kong Contemporary13 2013] / The Excelsior Hotel . Hong Kong [2013 YOUNG ART TIAPEI] / Sheraton Taipei Hotel . Taipei [Art Beijing 2013] / National Agricultural Exhibition Hall . Beijing [Hidden Track] Group Exhibition / ArtExperience Hk . Hong Kong 2012 [Soap Opera] Persoal Exhibition / 798 LINE GALLERY . Beijing [Future Pass] / Today Art Museum . Beijing [The Face of Time] / Piaopiao Gallery . Taipei [2012 T-ART IN TAICHUNG] / Evergreen Laurel Hotel . Taichung [2012 YOUNG ART TAIPEI] / Sheraton Taipei Hotel [2012 The Internation Young Artists Group Exhibition-THE AGE OF UNREST] / Der-Hong Gallery . Tainan [Near of Far] Group Exhibition of Young Artists / 798 LINE GALLERY. Beijing 2011 [Art Festival #3] / Huashan .Taipei 2010 [Contemporary Images] Group Exhibition / TIN ART Contemporary Art Space . Taichung 200 [Art Festival #1] / Huashan .Taipei 2005 [Reluctant to Forget, then, Look at it one more time] Persoal exhibition / Tzi-Chong 284 . Guandu 2003 [Painting] South-North Gallery of Taipei National University of the Arts . Guandu [Working Museum] Open up contemporary art and culture workstation . Panchiao 2002 [Story of Panchiao] Panchiao Community College . Panchiao [First Floor Indoor] Open up contemporary art and culture workstation . Panchiao
Special Qualifications / 2011 Geisai Taiwan #3 Award 2004 Youth Arts Collection of Works . Sketches Collection / National Museum of History 2003 Shuang Art Exhibition . Oil Paintings Collection
日常體制 F1 - 獸醫院 Daily life system F1 -Veterinary hospital acrylic on canvas 130 x 162cm 2012
時永駿
採訪記錄
肆：你的作品以造型的技巧再現生活的場景，大 多呈現以老照片的色調，使我們感受到作品和現實 的生活產生的距離，請問製造這種距離的原因是什 麼？
時：事實上，我並非刻意地以“老照片”的色調 作為畫面的主調，而是我實際的生活便是如此。我 的工作室裡充滿著老舊的古董物件，這也是我的喜 好之一，斑剝的牆壁，生鏽的椅子，老舊的木頭， 它們很自然的就出現在作品裡了。但值得一提的是， " 距離 " 這件事，作品裡荒誕的日常行為，並非超現 實，卻也稱不上合理的日常行為，這樣的對比之下 產生的距離，所帶出的思考比較是我感興趣的。
肆：你曾經做過裝置影像等，為什麼最後選擇主要 以繪畫為創作媒介？譬如作品中人物的一些荒誕舉動 為什麼不通過行為或者影像來表現？
時：我認為裝置和影像從未離開過我的作品，只是 它們最終集結在同一個媒介裡罷了。近一年的作品裡， 我的處理方式是先以攝影的方式來記錄下我所感興趣 的日常畫面，但很多時候，這些畫面是被 " 製造 " 出 來的，我先選擇好一個日常裡的場景，可能是客廳， 房間，或是浴室裡，然後架設好相機，安排出現的演 員（通常是身邊的朋友甚至是自己還有我的狗）該做 些什麼行為，然後進行拍攝。當然，透過相機看見的 畫面裡，許多日常物件很多時候都必須經過設計，這 樣的佈局，我認為和裝置的造型結構有很大的影響， 而拍攝下的照片本身，就已經是一種影像，無論是動 態還是靜態。因此，我會認為它們從未離開過我的作品。
日常體制 Z - 看風景 Daily life system Z - Look at the scenery acrylic on canvas 162 x 260 cm 2012
閱讀習慣 E- 立體書 Reading habit E -Three-dimensional book acrylic on canvas 455 x 530cm 2012
肆：感覺你的作品中畫面背景大多寫實，而人物的面目和造型較為抽象和模糊， 請說說為什麼要這樣處理呢？
時：我總以為，日常生活裡變數最大的永遠會是人而不是環境（也就是畫面裡 的背景），而背景環境被真實的描繪和記錄下來，能夠更貼近“日常生活”的平 凡感，描繪畫面裡的人也通常面無表情，因為我期望這些被描繪的人，焦點會被 放在他們的 " 行為 " 本身，而不會被 " 表情 " 這件事情給轉移了焦點。
肆：在現在獲得圖像輕而易舉的時代，你認為的繪畫存在的意義是什麼？ 時：我畫面裡的參考圖像，幾乎都來自自己的攝影照片，對於獲得圖像輕而易 舉的時代，之於我而言，我並不使用網路上能夠輕而易舉得到的那些圖像，因為 它們並不屬於我真實所經歷及體會的生活。因此繪畫所能帶來的內容便會自然地 涵蓋許多來自親身經歷的生活記憶，而繪畫存在的意義就成了一種日常記錄，甚 至可以說，它為我保存下了很多關於生活裡的種種有趣的想法。
肆：你畫面裏經常出現的淩亂的紅色線條，是無意識的筆觸還是有意為之？ 時：是刻意安排的，我期望我的作品不是乾淨無暇的，因此讓這些隨手塗鴉的 線條破壞畫面，製造出有如雜訊一般的視覺，一如我們的生活，不會永遠是乾淨 無暇的。
肆：你說過“我們都有對生活的嗅覺，只是味道不同罷了。”請 說說你理解的當前生活是什麼樣的氣味？
時：這個形容是個抽象的感受問題，就目前來說，因為剛籌備完 展覽，正處在一個更為緩慢的步調，同時，又處在進行下一個新的 作品計劃的期待中，而台北連下了好幾天的雨，大體上算是愉悅混 雜著山區充滿溼氣的雨水味吧。
肆：《日常體制》這個主題非常有意思，有一種矛盾感。試解， “日常”是平常的生活，而“體制”又代表的是一種制度，把這兩 個詞放在一起，變成了“日常生活的一種制度”。你是想表達對日 常生活和習慣的一種反叛嗎？
時：可能 " 反叛 " 也可以是一種形容，但不是全部，我期望反問： 在習慣（體制）下，我們的生活還能有些什麼樂子？很多時候 " 習 慣 " 這件事，無形中拋出太多限制與包袱了，我相信我們的尋常生 活裡，還是能夠充滿驚喜與值得期待的。
雜貨鋪 B - 工作桌 Zakka B - Workbench acrylic on canvas 91 x 72.5 cm 2013
雜貨鋪 I - 冰箱 - 圖書館 Zakka I -Refrigerator-Library acrylic on canvas 116.5 x 91 cm 2013
肆：最近除了畫畫還在做什麼？ 時：持續攝影，還有計劃在工作室的院子裡搭建一個像溫室一樣的玻璃屋，但仍 在構思這個玻璃屋的草圖中。然後與朋友聚會，彌補準備展覽期間因為忙碌而疏於 交誼的那些部分（笑）。
肆：你在臺北長大、又去了北京、香港等地辦展覽，不同城市的文化對你的思考、 你的作品留下了什麼不同的痕跡呢？
時：基本上去年在北京個展時，當時待在北京將近一個月時也拍攝了許多的日常 攝影照片，然後今年 6 月也在香港待了一個月，對於作品的思考的確會有些不同的 見解，由於明年及後年都已經安排要到這兩個城市發表個展了，因次留下所謂 " 不 同的痕跡 " 也許要到時候才能看見，而台北的個展仍然還是以我在台北的生活為主 要記錄的對象，這是對作品很直接的投射。
肆：9 月 5 日你就要在臺北舉辦個展了，請和我們分享一下你現在的感受吧。 時：在展覽開始的同時，也等同展示了這一段時間的日常瑣事，由於都是很直接 地把實際經歷的生活部分，完全地呈現在作品上。因此，除了自己的生活，能夠透 過展覽聽見更多對於日常裡各項荒謬想法的交流，我想是展覽最有意思的部分吧。
雜貨鋪 M - 雕塑工作室裡的櫃子 Zakka M -Cabinet in carving studio acrylic on canvas 260 x 162 cm 2013
INTERVIEW with Shih Yung-Chun SI: Your works are painted with good skills, reconstructing the scene of life nowadays, and mostly showing in old photos tone. It let us have the feeling of distance between the artworks and the life itself. Why to make this kind of distance?
SYC : In fact, I don't mean to use ‘old photos’ tone as the main tone in my painting. Actually this exactly is my real life. My studio is full of old and archaic stuffs, to collect them are one of my favourite things. Therefore, the mottled wall, the rusted chair, the old wood…all of which are involved in my work naturally. But it is worthy to mention that, about ‘distance’, I think the absurd daily life in my painting is either surreal or normal. I am more interested in such distance within the two feelings.
SI: You made installation and image/video before, why you finally have chosen painting as your main art medium? For example, why you don't express the absurd action, which happened on the characters in your works through performance or video directly?
SYC: I think I never give up using installation and moving images in my works, they actually show up in the same medium altogether in the end. In the most recent year, I always take photos to record the daily life of my interests, but most of the time, the images are fabricated. For example, I first choose a daily scene, it could possibly be the sitting room, or the bedroom, or in the bathroom. And then I set up my camera while organizing my characters (usually my friends even myself and my dog) to perform something, and then start taking photos. So it all has to be designed before shooting in the camera. I think the arrangement here has great impact on the form and construction of an installation. Speaking of the photos that have been taken, it already is a kind of image, no matter in which states, still or moving. Therefore, I can say that they never gone from my works.
雜貨鋪 R - 動物棋 Zakka R -Animal chess acrylic on canvas 91 x 72.5 cm 2013
SI: Why you make the background looks more realistically but the characters are painted relatively vague and abstract?
SYC: I always think that, the most variable things in life are individuals not environment (the background). With the sense of reality the environment being depicted and recorded, it could be closer to the banality of daily life. The faces showed in my paintings usually have blank look, because I want the audiences focus on their behaviours instead of the facial expression.
SI: In the times that we can easily get the images, how do you think what the meaning of painting is?
SYC : In my paintings, the reference images are almost from my photographs. To me, I don’t use the online images which can be easily found, because they don’t belong to my own experiences of real life. Painting brings us something that naturally comprises many personal memories of tasting life. So the meaning of its existence becomes a daily record. Even can say, it keeps for me the diverse and interesting ideas about life.
SI: There are some random red lines often appeared in your paintings, have you meant to draw them?
SYC
: Yes, I prefer my works not clean and spotless. So I draw those kind of
random lines to break the picture. It is my intension to create this sort of messy multi-info view, just like in our life, there won’t be perfect all the time.
SI: You have once remarked, ‘we all have smell of life, only the tastes are different.’ What’s the taste of recent life in your mind?
SYC: This description is an abstract feeling. Recently, for me, I have just finished the set-up of my solo show, I am having a much more slower mood. Meanwhile, I am also holding the expectation of my next new works. There has constantly raining these days in Taipei, so the taste is a kind of pleasure mixed up with mountain area’s moisture rainy feel.
SI: ‘Daily System’ is a quite interesting title. There has a contradictory in it. If ‘daily’ means everyday life, ‘system’ represents a kind of organization, by putting the two words together, it becomes ‘everyday life’s organization’. Do you want to play a kind of irony on everyday life and habit?
SYC: Maybe this could be a description but not the all. I hope to ask that under the habit (system), what kind of happiness could our life have? Most of time, the ‘habit’ brings too much limits and burden without realization. I believe that in our banal life, we still could be full of surprises and expectation.
SI: What are you doing currently, besides painting? SYC : Constantly taking photographs, and I am planning to build a glasshouse, which looks like a warm house in the courtyard of my studio. And I am sticking with friends, in order to make up for the time when I was so busying in preparing my exhibition that neglected social. (Laugh)
雜貨鋪 S - 廚房裡的玩具 Zakka S - Toys in the kitchen acrylic on canvas 162 x 130 cm 2013
SI: You were growing up in Taipei, and then you had been to Beijing and Hong Kong for your exhibition. What do you think the different civilization leave traces on you and your works?
SYC: When I had my solo show in Beijing, I spent almost one month to living in there and took many photos everyday. And then on June this year, I spent one month in Hong Kong. I have different thoughts on my works. It is on my schedule that the next two years I will have my solo show again in these two cities. So I guess at that time it would became clearer about the ‘different traces’. My Taipei solo show will still mainly be my record of Taipei’s everyday life. This is the very direct reflection of my works.
SI: You are going to have your solo show in Taipei（5. September）, what is your feeling now?
SYC: At the same time when the show opens, it is almost like to show the recent period of banal life, because it is showing in a quite direct way about the actual experiences of everyday life, which entirely appeared on my artworks. Therefore, besides my own life, the most interesting part through the show is to hear more voices about the various absurd ideas of everyone’s daily life.
[translated & © by Wendi Xie]
关于 > 肆 < 隶属 > 草乙載萬殊 <zoewanshu.net，介绍優秀的亚洲青年艺术家。 About SI micro conceptual magazine, part of Zoe(zoewanshu.net) introducing young Asian artists who are based in Europe
工作人員 / editor 孫 敏祺 Minqi Sun 謝 文蒂 Wendi Xie [ 本期翻譯 ] 鄭 田明 Tianming Zheng
封面 / front cover 《雜貨鋪 M - 雕塑工作室裡的櫃子》 Zakka M -Cabinet in carving studio acrylic on canvas 2013 時永駿 Yong Jun Shi
雜誌工作室聯繫 / contact zoewanshu.net zoe.wanshu@gmail.com
SI 4. September 2013 No.6
zoewanshu.net