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摘要


關於藝術創作,我一直在思考週遭大眾跟藝術表現之間存在著如何被化約的問題。我所強調日常經驗的抽象介面,就是我看待現實與藝術作品之間的關係。 本論文以<招牌動作> (Signboard Action)為名,對應著一系列與招牌有關的作品。選擇自身在工業區成長的記憶去指認自我過往如何地存在,暗示著足以區隔長大之後面對光鮮亮麗的台北都市,一條河的間距,又回望那些像是即將被淘汰、有待都更的區域。我的創作靠著不斷的撿拾與蒐集工業感的殘餘,那些次級的美感如同「工業品牌」的矛盾,一致性的工業生產需要什麼品牌差異?抑或命定處在妄想逼近一種現代化的進步完善,卻又一直追不上的過渡 。 於是我從「招牌」這個大眾視覺媒介的「運動狀態」中開展。我的創作利用了生活中看似不經意的現成圖像與文字訊息,嘗試從大眾的想像到標示系統之間,探索關於招牌承載的訊息與物理實體。平面與立體的存在差異,關乎圖像從如實存在,到如何利用行動去再現的問題。 不同意義下的轉換,讓招牌成為一種介面。場域的錯置與品味的交換,意味著大眾溝通的現實和藝術的展示行為成為一體兩面,我則是靠著招牌所產生的行動去維繫兩者。

並列摘要


Regarding creation of art, I have been thinking about the issue how the public and artistic expression are reduced. The abstract interface of daily experiences I stressed, in fact, is the relationship between reality and the art work. This paper aims at "Signboard Action", which corresponds to a series of works related to signboard. The memory of growing up in the dark industrial zone identifies how the self existed in the past, contrasting with the bright and beautiful Taipei City that the self faces after growing up. What between the two places is a river, which separates the degraded area waiting for renewal. As such, by picking up and collecting the remnants in the industrial zone, I present the secondary sense of beauty as the paradox of the "industrial brands." Do the uniform industrial products require brand variation? Or, the industrial zone is only fancy of approaching the progressive and sound modernization, but always sinks in the area of transition. Therefore, I launch from the "signboard," the "state of motion" of this public visual media. My creation adopts the casual existing images and texts in life, trying to explore the message and the physical object from the public's imagination and the Corporate Identity System. In other words, I try to find out the difference between plane and 3D, and how the images are utilized for representation by actions. Conversion of different meanings makes the signboard become a kind of interface. Displacement of field and exchange of taste signifies public communication and behavior of exhibition has become closely related. For me, I try to link both by actions motivated via the signboard.

參考文獻


4. 洪凌(譯)(1998)。擬仿物與擬像(原作者:Jean Baudrillard)。時報文化出版社。
2. 張小虹。(2002)。假名牌、假理論、假全球化。文化研究2002研究年會:重訪東亞:全球•區域•國家公民。
1. Stephen Spencer(2011). Visual Research Methods in the Social Sciences, Routledge.
2. Alex Coles (Editor) (2007). Design and Art (Documents of Contemporary Art) , Whitechapel Art Gallery.
3. Robert Rosenblum(1999). On Modern American Art: Selected Essays, Harry N. Abrams Publishers.

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