移居者 The Immigrant

地點: 新竹市美術館 時間: 2018.2.09(五)-4.29(日) 09:00-17:00(週一休館)
策展人 │ 張馨之
「我對我的創作只有一個字,就是『誠』」 ─ 董陽孜

董陽孜的《誠─移動中的雕塑》自2011始,歷經7年15站的巡迴展出,於2018年末移師至新竹市美術館。正所謂言而不成,無以立也。這座「誠」字雕塑左側「言」字為肖楠,右邊「成」字為紅豆杉,木材皆出自於台灣原生樹種,而「誠」字雕塑的五筆畫,原木料分別在不同地點、不同時間,經藝術家的慧眼視出、集眾人之力聚合組裝站立起來。若無筆墨,何來「書」與「法」? 這幾塊近百年自然風化的奇木,成為董陽孜「書法意識」的延展,自二維的筆墨轉化為三維的立體空間;空間不僅僅是有形的物理維度,更是無形的社會精神場域。董陽孜主動出擊,讓《誠─移動中的雕塑》走入社會現場,用以提點、召喚觀者美德善行的根源,以「誠」字反思當前社會的重要價值與良知。於是,書法參與了社會,也讓社會也參與了書法。

「我的書法線條,讓你們年輕人玩嘛 ! 」董陽孜如是說。

書法作為中華傳統文化的重要脈絡,書寫不只是技巧,更是人本品格與修為。本次展覽,除了《誠─移動中的雕塑》外,董陽孜《無聲的樂章》書法線條作品,則成為進入展場重要的引子。無聲的樂章,是一種靜觀、一種無我,也可能是一種體感覺知。《無聲的樂章》之意境如新竹的「風」,時如輕風拂面,時而風起雲湧掀起壯闊波瀾。本展以【風.誠】為題,乃因此時正逢秋冬竹風最盛之時,呼應新竹別名風城之意;亦試以《論語》君子德「風」回應「誠」字,藉以喚起「誠」字與在地性的對話。

本展欲構築三個層次意涵,其一《無聲的樂章》展區,以書法線條原作譜出【風.誠】的序曲,再以大面幅的書法線條地貼,營造由上而下傾瀉而出的間奏;為深化觀者與書法線條的體感關係,此展區將董陽孜100張《無聲的樂章》書法線條,轉換為數位動態變化的視覺,筆墨在介面中緩慢浮動伴隨呼吸般的明暗變化,當觀眾走近時筆墨會向人聚集,越靠近人的筆墨越小,勾勒出人的型態,跟著觀眾的肢體及遠近變化聚散離合。書法線條筆墨之氣韻,在觀者的身形當中,尤以可見那無價的「誠」之力道。

其二《誠─移動中的雕塑》展區由新竹秋冬季九降風的脈絡切入,以在地馳名的新竹米粉寮炊曬米粉之意象作為大型空間裝置設計的基底。曬米粉的竹簈圍拱著「誠」字,或錯落於展場之間,數以百片的白色炊粉與竹簈形成一種極簡、又富有壯闊秩序的視覺感。為打造真實炊曬米粉之意象,特請現今北台灣唯一僅存於新竹北埔的手工竹簈老師傅李謙宏製作竹簈。李師傅家族至今四代皆以竹編為業,數十年來桃竹苗地區米粉工廠皆以他的竹簈炊曬米粉。在塑膠製品充斥廣盛的年代,仍本持家業,謙懷守誠踏實為營,著實呼應董陽孜高聲疾呼的誠意。

最後,本展欲引起觀者對「誠」字的自省與內觀,同時探究在當前數位化的生活脈絡下,書法筆墨得以何種形式存在? 以此思考軸線為起點,特打造一《千誠》數位互動展區,欲邀請觀者現場於觸控面板上練習書寫「誠」字,並集結眾人「誠」字即時投影至大型牆面上。邀請千人寫誠,隱喻謙誠之意,以「誠」字的初心,帶出書法筆墨之豪情,每筆畫側、勒、弩、趯、策、掠、啄、磔都是精煉,在每個人的誠字,見其心。

Wind of Sincerity – Calligraphy and Sculpture of TONG Yang Tze

Curator: CHANG Hsin Chih

“Sincerity is my only attitude to my creations,” said TONG Yang Tze.

TONG Yang Tze’s artwork “CHEN – A Moving Sculpture” tours to the Hsinchu Art Museum in the end of 2018, after 15 excursions around Taiwan since 2011. The artwork is constructed with two kinds of indigenous species – Taiwan Incense Cedar and Chinese yew. The artist collected the five pieces of woods from different locations at different moment, and constructed the work with the others’ help. How can one write calligraphy without brush and ink? The woods have extended TONG’s calligraphic thought from two-dimension into tree-dimension. The stereoscopic space refers to not only the physical space but also the mental area of social spirits. TONG actively pushes “CHEN–A Moving Sculpture” into the society to call out the audiences’ original virtue and to reflect on the current social value. The calligraphy participates in the society, while the society becomes part of the calligraphy.

“Play with the strikes of my calligraphic works!” TONG Yang Tze invited.

As a significant part of traditional Chinese culture, calligraphy is not only about the skills but also about one’s virtues and behaviors. Aside from “CHEN–A Moving Sculpture”, the calligraphic strikes of TONG’s “Silent Music” are displayed as an important guide to the exhibition. Silent Music may refer to one’s observation, selflessness or sensation. Its concept is similar to wind in Hsinchu, sometimes tender like a breeze, sometimes powerful as a storm. The exhibition Wind of Sincerity echoes with the winter wind in Hsinchu –City of Wind, while quoting “gentleman is like wind” from The Analects to respond to “CHEN” and arouse the conversation between “CHEN” and the locals.

Three layers are included in the exhibition. Primarily, in the “Silent Music” section, the calligraphic strikes of “Silent Music” unfold the exhibition. Following the overture is the large-scale printed calligraphic strikes on the floor, composing pouring tempos. To further connect the audiences with the calligraphic strikes, the hundred pieces of “Silent Music” are transformed into digital images, floating and glowing in the screen. As the audiences come close, the strikes gather and form human figures, in which the power of sincerity can be detected.

Secondly, in the “CHEN–A Moving Sculpture” section, a space installation is displayed, based on Hsinchu’s features – drying rice noodles and strong winter wind. The bamboo stretchers surround the sculpture and scatter in the space, creating a minimal landscape with magnificence. The only craftsman of bamboo stretcher in northern Taiwan is invited to produce the stretchers. The craftsman’s family has been dedicated to bamboo-weaving for four generations, having produced all bamboo stretchers for rice noodle factories in Taoyuan, Hsinchu and Miaoli for decades. In the era full of plastic products, the family remains faithful to its family business, echoing with TONG’s sincerity.

Lastly, in the “Thousands of Sincerity” digital interactive section, the audiences are invited to introspect about sincerity and discover how calligraphy exists in the digital era. The audiences are welcomed to write the character “CHEN” on the digital platform, which would be projected on the wall along with the other “CHEN”s, symbolizing the modesty and sincerity of the mass. In each strike of everyone’s “CHEN”, the person’s heart is manifested.

藝術家 & 展區介紹