▒ 持景行走 Into a Compound Scene ▒

展覽「持景行走」邀請來自臺灣與香港兩地的藝術家林盈潔（臺灣）、鄧啟耀（香港）、許雁婷（臺灣）、劉昱廷（臺灣）與鄺鉅裁（香港）共同展出。嘗試藉由他們所處的位置，對當今的集體意識進行個人的留存紀錄。在我們現代生活與頻繁移動的經驗中，著名的自然景點、具指標性的地點、建築地標或紀念物除了作為遊歷的指引外，它同時也揭示了一個地方敞開歷史的方式。本展將這些紀念性場景的建立，視為一種「造景」的過程，它一方面證明歷史時間的存在，另一方面也從中窺見過去對政治、地景、自然與國家意識的操作及想像。如果說這樣的場景代表一種確立集體記憶的象徵，那有沒有可能經由作品挪用、再製與重繪這些「象徵中心」，並且持著個人記憶對集體的認同進行再次的測量？

展場新板藝廊位處板橋國鼎大樓的三樓空間，建築內部規劃將公共區域設計成中空的開放空間，多個出入口的動線讓展場成了住戶生活必經的通道。「持景行走」一展將這樣特殊的公共特性帶入，與藝術家在作品中展開的個人足跡同步思考。展覽以鄧啟耀的作品為開端，《聽得見的城市》系列以製圖和繪畫的手法帶領觀眾遊歷香港城市景觀中，在大眾、歷史與自然三者之間共生的符號。透過他對畫面物件的編排部署，指向另一條理解香港文化與歷史發展的途徑；林盈潔的空間裝置作品《圈圈城》則源於她近期圍繞在政治與紀念碑的多重思考。將匯聚移動人潮的地方廣場視為城市內的過渡空間，並且利用「水」流動且不固定的型態，來隱喻身份和國家概念的流動。以水這一媒材延伸，許雁婷的雙頻道聲音作品《水上樂園在新板藝廊》可視為對人類和自然邊界的回應，凝聽與海共生的人們和海洋的交錯聲音，作品不只探測，也探問水、陸地、自然與人工環境的關連；鄺鉅裁的《消失的旅人》系列繪畫作品，以一本他在臺北的二手書店購入，出版於1983年的《香港旅遊黃頁》作為開端，他抹除書中遊客的面容，循著繪畫重回那些也不為香港人所知，甚至無法確認是否存在的地方，在模糊的圖像和個人想像的交織下，重新建構一幅幅當代香港的風景；劉昱廷的錄像裝置作品《打水漂的人》與《漂浮的人》，他以單一鏡位的方式，拍攝主角在水面浮起與沈入相互抵消的狀態，藉此物理現象隱喻當代影像生成的政治性力量，也邀請觀眾隨著影像結合搖椅裝置的搖擺，感受現實身體與影像共同產生漣漪的過程。

「持景行走」以臺灣與香港近似的發展軌跡作為索引，透過區域記述的微觀視角，從各種空間、建築、圖像、媒材與展示的政治性出發，重新觀看自然特徵、城市肌理與歷史結構如何與生活其中的人們產生共鳴，並且對潛行在龐大的歷史故事下的個人感知應該如何記憶和發聲進行提問。空間場景裝載了人類的經驗，時間的節奏，歷史的軌跡，在不同時間點上指認我們與不同空間邊界的關係並非只是與過去連結，而是我們是否能夠藉此召喚這時代身體與社會空間形成的現實和邏輯，然後免於無視。

▒ Curatorial Statement ▒

The exhibition Into a Compound Scene features the works by artists from Taiwan and Hong Kong, including Lin Ying-Chieh (Taiwan), Hsu Yen-Ting (Taiwan), Frank Tang Kai-Yiu(Hong Kong), Liu Yu-Ting (Taiwan), and Kwong Kui-Choi (Hong Kong), seeking to compile personal records of contem-porary collective consciousness from their respective positions. In our modern life and experi-ence of frequently in motion, popular scenic spots, historic sites, architectural landmarks, or monuments not only serve as our tour guides, but also reveal the way in which a place unfolds its history. This exhibition considers the creation of these memorial scenes as a “landscaping” process. It on the one hand testifies to the existence of historical time, and on the other hand offers a glimpse into the previous manipulation and imagination of politics, landscapes, nature, and national consciousness. If such scenes symbolize the establishment of collective memories, is it possible to measure collective identities by appropriating, reproducing, and redrawing these “symbolic centers” in works of art with personal memories as the yardstick?

The New Taipei Gallery, the venue for this exhibition, is located on the 3rd floor of the Guoding Building in Banqiao, New Taipei City. The public area in the building’s interior is designed as an atrium-like open space. The multiple entrances and exits make the venue a route that the resi-dents must use every day. The exhibition Into a Compound Scene brings in such sui generis quality of publicness and synchronizes it with the artists’ personal footprints made in their re-spective works. This exhibition begins with Frank Tang Kai-Yiu’s work Our Audible City. Employ-ing cartography and painting, it takes the visitors on a tour of the symbols existing amid the multitude, history, and nature in Hong Kong. His dispositif of the objects in the composition points to an alternative way of understanding Hong Kong’s historico-cultural development. Lin Ying-Jie’s spatial installation Circle City owes its inspiration to her recent rumination on politics and monuments. Treating the local square where the tides of people converge as a transitional space in the city, this work invokes the metaphor of flowing “water” to represent the precari-ous concepts of identity and state. Using water as a connective medium, Hsu Yen-Ting’s work Waterland can be deemed a response to the common border between nature and humanity. Highlighting the symbiotic voices of people and the ocean, this work not only explores but also enquires into the relations among water, land, nature, and artificial environments.

Kwong Kui-Choi’s painting series A Disappeared Traveler starts from Hong Kong Tourist Yellow Pages (published in 1983) he bought at a used-book store in Taipei. He deliberately blurs the tourists’ faces in the illustrations, guiding the viewers through the paintings to revisit the less-er-known places around Hong Kong and even the places he can’t confirm whether they still ex-ist. The blurred images and personal imagination thus intertwine to form a series of scenes of contemporary Hong Kong. This exhibition also includes Liu Yu-Ting’s video installations Stone Skipping and Floating Man. His single shot gives prominence to the protagonist’s floating and sinking in the water that offset each other. This physical phenomenon is used as a metaphor for the political power of contemporary imaging. Moreover, the viewers are invited to feel the ripples made collectively by the real body and the image through the motion of the rocking chair installation.

The exhibition Into a Compound Scene applies the development of Taiwan and Hong Kong as its index. Adopting a microscopic perspective of regional narratives and beginning with politically charged spaces, buildings, images, media and displays, this exhibition attempts to rediscover how natural features, urban textures and historical structures resonate with people who live therein, and to investigate how individual perceptions underneath the grand history can speak for themselves. A spatial scene loaded with human experience, temporal rhythm and historical trajectory help us identify the boundaries among space, objects and ourselves. It’s meant not so much to connect with the past as to call attention to the reality and logic formed by the social sphere and the body of the time, so as not to be ignored.

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▒ 展覽資訊 ▒

●持景行走

策展人｜林裕軒

協同策展人｜黃郁捷

藝術家｜林盈潔、許雁婷、鄧啟耀、劉昱廷、鄺鉅裁

日期｜2023/01/13(五) – 06/28(三)

(休館日｜1/21~1/25、2/6、2/28、3/6、4/3~4/5、5/1、6/5、6/22)

時間｜09:00 – 17:00

開幕暨策展人導覽｜2023.01.14（六）16：00

地點｜新板藝廊

地址｜新北市板橋區漢生東路166號3樓(近捷運板橋站)