2022「蓋婭：基因、演算、智能設計與自動機＿幻我；它境」

2022 「蓋婭：基因、演算、智能設計與自動機＿幻我；它境」

作品導覽 /文章撰寫 — 張數滿 Shuman Chang

以寫實繪畫結合擬真裝置的「溫室」系列作品，是于軒虛構一位名「克萊因．赫茲」的科學家所遺留下來的實驗室場景，他藉由各種溫室儀器賦予各異的功能，去延續各種不同的生命。《克萊因．赫茲—NO. M02溫室》及《克萊因．赫茲—NO. F07溫室》即以鱟魚為原型，它擁有具醫療用途的藍色血液，是世界上最古老的生物之一。儀器上的編碼：M代表雄性，F為雌性；而Ω（Omega）特殊符號的顯示，則為藝術家賦予儀器在功能性尚未盡失，猶如微弱呼吸的冰冷機器在瀕臨崩解前仍帶有一絲溫度的隱喻。散落在地的儀器殘片以及石化的生物骨骸，暗示著實驗室的計畫失序？抑或消逝生命體的死亡意象？凝塑出一個過往實驗室的末世氛圍。

所有鋼鐵機件與有機的腐蝕痕跡，這些似由金屬組件建造的機械，表面蒙塵斑駁的狀態，都是于軒經由設計再以其他素材翻模、組構後，一筆筆描繪出幾可亂真的質感樣貌，連儀表板上的刻度指數皆為親筆勾繪，乃至作品內部的感應器與電路配置和安裝亦不假他人之手。

此系列的創作形式自平面延伸至裝置，經由多重建構的工序，對藝術家而言整件作品都是繪畫，如同一件不規則的畫布。預示了于軒的創作維度，原本的平面繪畫已無法乘載其心裡的構想，遂延伸出人事物的架構，漸次厚實為立體面貌，呈現出系統性的創作脈絡與規模化。其照像寫實繪畫與材質擬真，以趨近於臨場的真實感，打造出極為逼真卻又虛構的情境，猶如自然生物保護自我的擬態機制，衝擊觀者對既存的視覺經驗，帶給觀者凝結中的奇想，並藉由作品展現的外在殘缺與內在之美的共存，審視生命本質的存在意義。

參展藝術家：
王新仁（阿亂）、艾美．卡爾Amy Karle、陳乂、克雷格．布洛斯Craig P. Burrows、鄭先喻、黃新、黃裕雄、黃贊倫、胡安・薩摩拉Juan Zamora、麥特・德洛里耶Matt DesLauriers、保羅．汎諾斯Paul Vanouse、勞夫．貝克爾Ralf Baecker、吳梓寧、于軒(204展間)

策展人／ 沈伯丞 Shen Bo-Cheng

時間 | 2022／02／12 (五)－2022／04／24 (日)
地點 | 台北當代藝術館 MoCA Taipei
地址 | 台灣台北市大同區長安西路39號

Gaia.: Gene, algorithm, intelligent design, automata_A mirage self,
The Other Realm 2022

The Greenhouse series composed of realism paintings and simulation installations presents scenes of a laboratory left behind by a fictional scientist named Klein Hurtz, which Yu Siuan has fabricated, where a collection of greenhouse apparatuses with different functions are used as life support for various lives. Klein Hurtz-NO. M02 Greenhouse and Klein Hurtz-NO. F07 Greenhouse reference the horseshoe crab, one of the oldest creatures on Earth, whose blue blood holds medicinal properties. The codes on the apparatuses represent different meanings, with “M” for male and “F” for female, and the symbol “Ω” (Omega) is used by the artist to imply the state before the functions of an apparatus are completely lost, suggesting the slight warmth that the cold machine with weak vital signs is still emitting before its collapse. Do the scattered mechanical fragments and the fossilized bones of once living beings suggest the laboratory’s project failure; or do the dissipated lives come to compose an imagery of death? An apocalyptic ambiance in a bygone laboratory is hereby presented.

All of the steel mechanical parts, the organic marks of corrosion, the machines composed of metal modules, and the dusty and dilapidated conditions are designed by Yu and created with molds and assemblages using other materials. The artist then paints on them, using brushstrokes to create realistic looking textures, and even the gauges on the instrument panels, the interior sensors, and wiring are all hand painted by the artist.

This series extends from two-dimensionality to installation and involves a process of multiple compositional tasks. The artist sees these works as paintings created on irregularly-shaped canvas. Yu’s creative depth is revealed by this series, showing that two-dimensional painting is no longer a sufficient carrier of his ideas and thoughts. The artist’s systematic creative context and scale and scope are presented, as he gradually extends and builds a framework composed of characters, events, and things, with three-dimensional features progressively developed. His photorealism paintings and the realistic looking textures created provide a realistic experience of being present at the scene. Although the scenarios presented are extremely realistic, they are, nevertheless, fictional, which echoes with the phenomenon of “mimicry” used by creatures in nature as a form of self-protection. The viewers’ visual perception towards the notion of existing is impacted, and they are presented with imaginative scenes that appear to be frozen in time. Furthermore, the artworks also show a co-existence between external imperfections and internal beauty, with life’s intrinsic meaning of existence reflected.

Date | 2022／02／12－2022／04／24
Venue | MoCA Taipei ,NO.204

台北當代藝術館 MoCA Taipei https://www.mocataipei.org.tw/tw