工業盜版 Industrial Rubbing

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宣紙、水墨、炭筆、行為紀錄影片   Rice paper, Ink ,Charcoal, Performance Documentary 

在夜間偷偷地跑到工業區工廠外面進行拓印,進而得到從實體招牌表面上的痕跡,絕大部分是公司的名稱與商標,這件作品在意的是自己已經習慣對於周遭環境圖像的蒐集,某方面只是找到裝飾自己風格的方式。

藉由拓印這種再現圖像的行為,當它展示在其他地方的時候,召喚出來的意義會加清楚的吧。就像是我開始想像同樣是書畫作品展示各種書法的行為,已經就是宣告,這是我們所擁有的歷史一樣;某方面我所擁有的,就是用假裝書畫作品的展示,但上面卻是現代工業的名稱與標誌。

我把「工業盜版」看成是我在從事藝術創作與工業區的成長背景兩者之間連結的方式,重要的是在於行動本身。行動,除了拓印的過程,也包括拓印之後,將仿彿變成空殻的工業品牌進行挪移的動作。這兩種行動都是藉由台灣過去經濟起飛背後的大量出口製造業依舊頑固存在在當下,以現在台灣已經邁向現代化的狀態看起來像是某種不合時宜的現狀,去反思關於工業集體製造的「不需要名稱」,與在成為產品之後為了差異化的「必須要有名稱」,在這兩者之間的隙縫,我利用現實中不被認可的盜版行動來進行我對「藝術行為」的詮釋。


I secretly went to the factories in the industrial area to undergo the inscription rubbing process. The traces from the actual signboards are mostly company’s name and trademark. The habit of collecting images from my surroundings in certain degree is to look for a way to decorate my style.

By represent images through the act of inscription rubbing, when it was exhibited in other places, the summoned meaning will be clearer. As I started to imagine it as an act to exhibit painting and calligraphy works, it already is a declaration. Like the history that we possess, what we have in certain degree is the exhibition of fake painting and calligraphy work, where they actually are names and logos of modern industry.

In my viewpoint, "Industrial Rubbing" is the method of linking my engagement in artistic creation and the growing background of the industrial area, which action itself plays an important role. Apart from the process of rubbing the text or content of the brand, action involves replacing the seemingly empty shell of the original industrial brand with another application at certain location. Actually, those industrial brands have supported Taiwan's economic miracle with large quantity of exportation in the past, and up to now, the manufacturing industry still stubbornly exists in the instant moment. As Taiwan has entered into the status of modernization, such condition appears to be as inopportune as the rubbing action. Accordingly, this work rethinks the issue of "brand without any name" produced by the manufacturers collectively, as well as the "demand of a name of the brand" for differentiation after becoming a product. As such, in regard of the gap, I interpret the "art action" with utilization of the unrecognized rubbing action in reality. 


















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