李勇志 Lee Yung-Chih

關於歷史記憶如何殘留在我們的當代生活之中？...物質化的記憶。如同我們複雜混亂的當代生活，展覽呈現的作品都有些時空錯置的味道，並透露著我們除了是歷史的產物，也是各種文化教養覆寫下的羊皮紙，不斷在吞吐過去的煙霧中自我想像...

2023 烤漆鐵板、金屬支架、噴霧系統
Baking Enamel Iron Plate, Metal Support, Misting System
W250XD150XH230cm

《掉漆夕陽》將當代已落入符號化的「夕陽」圖象，重新賦予了物質生命，並召喚2010年代網路次文化「蒸氣波」的未來懷舊主義。以烤漆塗裝的鐵製看板其平整光滑的原貌，因水霧裝置被刻意加速了表面鏽蝕的進程。隨著時間推進，塗裝表面逐漸衰敗，「圖」也慢慢成為了「物」。台語「掉漆」一語雙關，除了是表面塗裝的磨耗，也帶有失誤、失準的衍生義。

李勇志延續過往創作中對於虛構歷史感的關注，2022年起更進一步從金屬鏽蝕耗損的材料實驗中，延伸出對於物質衰敗及表面意義的思考。這個水霧瀰漫中的《掉漆夕陽》顯得意義曖昧，在指涉了時光將逝的感傷同時，也展示著一種人造的歷史感。如今，我們距離唐代詩人李商隱詩句：「夕陽無限好，只是近黃昏」背後那種寄情於景的深刻感傷已很遙遠了。在當代媒體文化中，這一切轉化成對於時間感性的速成消費。感傷變成了類型化的經驗，彷彿一個隨時可點播的心情播放清單，允許我們無限重覆播放。

*感謝王東浩提供影片片段

Sunset of Lak-Tshat reinvigorates the contemporary “sunset” imagery that has long been regarded as a mere clichéd symbol, giving it a fresh materialization, while it also recalls the retro-futurism characteristic of the 2010s internet subculture, Vaporwave. In this installation, the intentional employment of a misting machine accelerates the decay of the smooth, lacquered surface of the iron billboard. As time elapses, the varnish breaks down, and the “picture” ends up being more and more like an “object.” The wordplay “lak-tshat” in Taiwanese signifies the deterioration of the varnish on the surface, while also suggesting errors or imprecision.

Expanding upon his previous exploration of fictive historicity, Lee Yung-Chih began experimenting with metal corrosion in 2022 as he delved into the relationship between material decay and perceived meanings. The misty and moist Sunset of Lak-Tshat appears particularly ambiguous and bewildering. It refers to a sense of loss for fleeting moments, meanwhile conveying an artificially constructed historicity. Nowadays, we are distant from the profound melancholy expressed in Tang-dynasty poet Li ShangYin’s imagist line, “The sunset is magnificent / But dusk is near.” Contemporary media culture converts everything into rapid consumption of commodified sentiments. Sorrow is transformed into a genrefied experience, as if it were a playlist of emotions for us to play at any time in infinite loops.

*Thanks for Supporting Video Clip by Dong Haw Wang

「過期霓虹」系列於藝非凡美術館 Neo N' Old series @MEZZO ART
投影裝置、多頻道錄像裝置、全透玻璃貼圖
Projection Installation,Multi-channel Video Installation, Transparent Glass Stickers

「過期霓虹」系列  Neo N' Old series
投影裝置、多頻道錄像裝置、全透玻璃貼圖、壓克力燈箱
Projection Installation,Multi-channel Video Installation, Transparent Glass Stickers, Acrylic Light Box

工業盜版 Industrial Rubbing (2013 - 2022)
宣紙、水墨、行為紀錄影片 
Rice paper, Ink ,Charcoal, Performance Documentary

 

 2022，噴霧系統、園藝支架、塑膠布
misting system, greenhouse frame, plastic sheet

以材料科學的視角看待自然環境發生的「掉漆」，最後挪用工業上材料耐候試驗的鹽霧噴灑測試方式，並以園藝用品搭建一處人工的「生鏽靈芝」培育溫室裝置。損耗的材質紋理如何「被賦予」意義？如同手機保護套用久了就該丟掉的遲疑。保護產品的加工複合材料的測試，與用來加速生產的鏽蝕紋路，兩者的逆反與矛盾，體現在承認與放棄的痕跡記憶之間游移。


The phenomenon of “Lak Tshat” (or literally “peeling paint” in Taiwanese) that occurs naturally is examined from a materials science perspective, adapting the method of salt spray test used in industrial weatherproof testing. A greenhouse is constructed using gardening tools and supplies, where “Rust Lingzhi” (Lingzhi, Ganoderma lucidum, also known as reishi, is a polypore fungus) is artificially cultivated. How the patterns on exhausted materials can be “bestowed” with meaning is explored, reflecting on the kind of hesitation that one may have in instances such as tossing away a protective phone case after it has been used for a long time. While testing the composite materials on manufactured protective products, the formation of vivid patterns of rust is also accelerated at the same time. The contradiction and paradox observed between the two reflect the shifting sentiments that sway between compromise and giving up when confronted with memories connected to imprints and marks.

科學與創意協作：宋佳芸 Creative＆Scientific Collaborator - SONG Chia Yun

靜態攝影：顏楷倫

 

2021 投影裝置、多頻道錄像裝置、全透玻璃貼圖
Projection Installation,Multi-channel Video Installation, Transparent Glass Stickers


藝術家李勇志長期關注工業地景之下的亞洲都會生活空間，其過去的創作擅長使用嘲諷、挪用及材質轉化的手法，將都市空間中四處可見的招牌、廣告及標誌作為其創作的素材。

《過期霓虹》系列，以現今不再流行的霓虹燈招牌作為主要的「臨摹」對象。透過錄像及透明輸出影像等媒材，企圖揣摩及再現曾於1980年代亞洲所普遍流行的霓虹燈招牌。李勇志針對國美館的空間創作此系列作品，對於已逝技術的哀悼，同時亦是針對「過期未來主義」的描繪。該系列創作不僅是歷史圖像的蒐集及拼貼（collage），同時亦是可觸及個人記憶及經驗，介於虛實交錯之間的弔詭再現。

Artist Lee Yung-Chih has long been interested in Asian urban living spaces amid industrial landscapes. Lee’s past works convert billboards, advertisements, and signs as creative components through approaches including ridicule, appropriation, and material transformation.

Lee’s Neo n’ Old series “copies” out-of-fashion neon billboards. By using mediums such as videos and transparent output images, Lee attempts to imitate and reconstruct the neon billboards that were seen across Asia in the 1980s. Neo n’ Old mourns past technologies and and illustrates “Futurism Out-of-date” For the artist, the work is not only the gathering and collaging of historical images but also references personal memories and experiences, a paradoxical redisplay of fiction intertwined with reality.

2021 單頻道錄像、訪談行為紀錄影片、複合媒材 Video Installation, Performative Interview Documentary


觀察台北市發展歷史，行政與地理區域分界的演變，城鄉差距，反映在「河流文明」影響大都市發展與周圍衛星城市的關係，為了整體經濟利益與貪圖方便的功能性反映了，「特別的」都市景觀，以及尷尬、原始、粗糙種種將就的居住狀態。

從位於淡水河與基隆河交匯處，禁建了50年的社子島擴大到整個士林區的範圍，呈現出因為歷史因素下台灣斷裂的景觀風貌。於是運用這樣堪稱「完整」的建築光譜，以「你/妳未來想住在哪裡」之名利用游擊式偷拍街訪，進行台灣建築居所的微型調查，一個介於考察研究和虛構建案之間的方式，像是憑弔小時候的記憶與自身成長的地方，它甚至是台灣河堤旁邊常見荒涼的都市風景。

2020 3D動畫、石頭、轉印貼紙、GIF動畫    3D Animation , Stone , Transferable Stickers , animation Gifs