【專文論述】情景生活|溫孟瑜 個展。選擇在居所與世界之間|文-印卡。

選擇在居所與世界之間
The choice between dwelling and world
文|印卡 Enkaryon-Ang 譯|蔡姵分 Pei-Fen Tsai
一分一秒,生活就像是波光一次一次於空間中留下蹤跡,在溫孟瑜的作品中,日常生活的駐波總是被他小心地保留在畫面裡頭。就像是桃蹊李徑,花葉搖擺的陰影掩藏不住人們來往所產生的小徑,例行化(routine)的身體造就了空間的再生產,這樣的空間中即使不存在著主角、不存在的人物的互動,你仍可以從所有空間中的物件意象找到一套劇本,從中發現有限可能的社會關係。影像取代了現實,宰制著理性與情感間的競逐或者妥協。如果我們跟著學者克里斯‧席 林(Chris Shilling) 的看法,更進一步將孟瑜畫作的空間視為一種演述,透過克里斯曾提出的肉身實在論(Corporeal Realism)思考身體與技術的互動,他強調著空間包含著所有限制身體的規則以及身體操作的力量。身體的缺席在溫孟瑜的作品中是相當顯著的特色,但這缺席事實上也 帶著我們可以想像畫作主題背後社會所能再現的身體為何?在這一次孟瑜的新展覽「情景生活 Circumstances」,相當巧合地展覽英語名稱 Circumstances,其字根 circu-的環繞之意,也與 肉身實在論有所呼應著。但無論是討論慣習、身體空間,或是空間規訓,外在空間其實從來就不單純地、單向地塑造著我們的身體,身體在空間中留下著互動、彼此適應而成的規律,讓畫作中窗戶、床鋪與桌椅構成的周邊,向觀者訴說著一種社會生活的獨白。
這讓我想起了,曾經在阿多尼斯(Adonis)應答阿米亥的一首詩中,寫著:「世界就是選擇/我既不選擇上帝也不選擇撒旦/每一個都是一堵牆/每一個都讓我閉起雙眼/為什麼要讓一堵牆代替另一堵牆呢/何時我的困惑才是發光的/困惑/才是全知全能的困惑呢?」面對溫孟瑜大多數的作品,在那些重重牆面圍起的空間中,對溫孟瑜的作品,我們也許可以稍微像是詩人 阿多尼斯尖銳地發問,為什麼作品必得「選擇」這樣的生活空間?為什麼西式空間的想望被呈現著?又或者說,在大多數台灣的屋舍空間,壁紙不是特別常見的情況下,貼壁紙本來就暗示著某 些特別的社會階級,而溫孟瑜絹印的畫作牆面指向的是怎樣幻夢?而在台灣歷史中,七○年代的 房地產熱潮也曾經帶動了壁紙工業的發展,那些有序的紋路正向我們訴說怎樣的往日榮景? 也許與藝術家的情感、想望有所關聯,觀者在展場的作品前也有著自己隱私一般發光的困惑存在心底嗎?

透過室內家具的佈局,在溫孟瑜多視角的構圖中,這些家具物件不僅僅構成了畫作中的家具而已。如果我們重回溫孟瑜畫作的過程,絹印在繪畫中逐步形成了對牆面的模擬,再進一步由牆面所構成的繪畫空間孟瑜畫上各種家居家具。在具象與抽象的兩極,在畫作中這些家具呈現了 繪畫抽象物(Abstract Objects)的佈局,一方面繪畫意象雖指向了傳統藝術模擬的功能,但繪畫物件在溫孟瑜的作品中,往往處在這具象與抽象的張力、例如繪畫中的裝飾元素(壁畫紋路)促就 了日常物能像是「裝置」構成了另一種層次的抽象關係。這些家具的佈局代替了空間內在的人類活動,它既是一種象徵的參照體系,反射著先前所講的肉身實在的空間,身體寓居的物性,或是溫孟瑜常講的──一種自身的記憶與情感歸屬。當自我被看成是一連串事物之組合體,一種返回物的抽象,如何在繪畫平面中被呈現,溫孟瑜的作品給予了一種可能性,當然這其中或許也隱藏了藝術家一生追求的線索。
在這一次「情景生活 Circumstances」的展覽中,如果觀眾可以在〈每日的作息〉駐留一 些時刻,或許也會有類似的興發,不禁問著內心「何時我的困惑才是發光的吧──一座檯燈、一 台打字機、一面窗景塑造的寫作空間。或是〈情景生活〉三幅畫形成空間中的空間,牆中牆的趣味是相當讓人停駐再三,更不用說畫中居住空間與展場形成了人與觀眾間像戲中戲的關係,十分 耐人尋味。不過更令人值得注意的是溫孟瑜這一次作品風格轉變的痕跡。這轉變至少有兩個特點, 第一是絹印的繪畫元件,已經不單單是壁紙的物件,在這一次的展覽中〈沿著地圖行走〉、〈每 日的作息〉、 〈情景生活〉的「世界地圖」,相較於過去的作品彷彿多出一股對外世界特殊觀 看的慾望,同時繪畫的絹印風格也在壁紙與地圖之間多了對話關係。而另外一個相當有趣的轉向, 則發生在另外一種繪畫手法。觀者應該會不難察覺到這一次「情景生活 Circumstances」,〈花 開的時候〉、〈偶爾跑跑步〉的繪畫筆觸顯得相當地抒情,相當不同於溫孟瑜作品過往冷靜而抽 象的特色。在先前探訪他的工作室時,他提到〈花開的時候〉是去年看電影《泡沫人生》內心對 某個餐廳場景的印象,而這印象就此迻轉到畫作上了。尤其對比起 2013 年的〈甜蜜的花園〉與近作〈偶爾跑跑步〉,我們會看到從去年溫孟瑜入圍北美獎後,發展出來更為豐富的藝術語彙。

「情景生活 Circumstances」,從室內空間到地理學探問著藝術家自己在居所與世界間的 選擇,但事實上在我眼中「情景生活 Circumstances」並不完全涵納溫孟瑜的轉變,畢竟私人空間到地圖語言的斷裂,到更先前提及克里斯的肉身實在論,在畫作中已呈現了一種尚未批判過 的生存焦慮。地圖內化了不同地域居住空間在世界的從屬關係,我們可以更進一步問,這樣的從 屬關係是不是也在我們的象徵空間中再現了?在美術史中再現了?「情景生活 Circumstances」 無涉批判,但呈現出藝術家本人的象徵系統與某種程度可以被容許的詮釋,這之中留下了記憶的 蹤跡、文化的殘影、時代的聖痕,真的時光依舊靜置嗎?跟著著詩句:「何時我的困惑才是發光 的/困惑/才是全知全能的困惑呢?」這次讓我們在孟瑜的畫前停步再久一點,默默問著自己─ ─我們有能力產生一種生活的秩序,然而在居所與世界的選擇,真的只有一種嗎?

As the minutes tick away, life is like a glistening light of waves leaving traces in space time after time. In the works of Wen Meng-Yu, standing waves of daily life are always carefully preserved in the scene. Just like a footpath with peaches and plums, shadows cannot bury the footpath which people walked on. The body routinized creates the reproduction of space. Even if this kind of space is in the absence of protagonist, of interaction of characters, you can still find a script in all the objects of space and discover the limited possible social relationship. Image replaces reality, dominates the competition and the compromise between reason and emotion. If we follow the views of Chris Shilling, consider further the works of Meng-Yu to be a performance. Through the Corporeal Realism proposed by Chris to deliberate about the interaction of body and technique, he emphasizes that the space contains all the rules which limit the body and the force of physical operation. The absence of body is a significant feature in Meng-Yu’s works, but the absence also let us imagine the body that can be reproduced by the society behind the theme of the paintings. This time, in Meng-Yu’s new exhibition “Circumstance”, coincidentally, the root of circumstance- circu, that means surround, also echoes with Corporeal Realism. Whether it discusses habit, physical space, or disciplinary of space, the external space has in fact never shaped simply and one-way our body. Body leaves the interaction, the law formed with adaptation, so that the surroundings constructed by windows, beds, tables and chairs show to viewers a monologue of social life.

This reminds me that, once in a poem of Adonis responding to Amichai, it says:
“ And the world is choice.
I choose neither God nor Satan.
Each is a wall.
Each closes my eyes.
Why replace one wall by another,
when my perplexity is the perplexity of the light-giving,
the perplexity of the all-knowing?”
Face to the space enclosed by walls in Wen Meng-Yu’s works, we can be like the poet Adonis and ask pointedly: “ Why the works must “choose” this kind of living space? Why the desire of western-style space is shown? Or that, in most house spaces of Taiwan, wallpaper is not particularly common. Wallpaper essentially implies some particular social class, and the wall paintings of serigraphy direct to what kind of illusion? In the history of Taiwan, the great mess fervor of real estate in 70’s has also promoted the development of wallpaper industry, which kind of great boom in the past are those ordered lines telling us? It is possibly connected to the emotion and the desire of the artist. The viewer standing in front of the works of the exhibition also has his/her own private glowing confusion in mind?

Through the layout of indoor furniture, in the multi-angled composition of Wen Meng-Yu, these furniture items not only compose the furnishings in the paintings. If we return to Wen Meng-Yu’s painting process, serigraphy forms gradually the simulation to wall, and Meng-Yu draws further a variety of home furnishings in the painting space composed by walls. In figurative and abstract poles, these furnishings in the paintings present the layout of abstract objects. On the one hand, although the painting image shows the functions of traditional artistic simulation, the painting objects in Wen Meng-Yu’s works are frequently in the figurative and abstract tension. For example, the decorative elements(mural lines) in the paintings make daily objects be “installations” that compose another level of abstract relationship. The layout of the furnishings replaces the human activity of inner space, it is a symbolic reference system reflecting the tangible space previously spoken, the characteristic of body residence. Or like Meng-Yu, Wen often says─one’s own memories and emotions. When oneself is seen as a combination of serial objects, a return to abstraction, how to be presented in paintings, Wen Meng-Yu’s works offer a possibility, which may also hide the clues sought by the artist in her entire life.

In the exhibition “Circumstance”, if spectators can stay for some time in front of Daily Routine, they may have a similar discovery and ask themselves: “When my confusion is illuminated?” ; a lamp, a typewriter, a writing space built by window frame. Or Circumstance, three paintings which form a space in space, a wall in wall is so interesting that it makes people stop over time after time, let alone the living space in paintings and the exhibition form a story within a story(mise en abyme) relationship between people and spectators. It is extremely intriguing. But Wen Meng-Yu’s traces of work style transition are even more noteworthy. The transition at least has two characteristics, the first is that the serigraphy painting elements are no longer objects of wallpaper. Follow the Maps, Daily Routine, World Maps of Circumstance in the exhibition have a desire of looking particularly at the world outside comparing to former works, at the same time, the serigraphy style of painting increase a conversational relation between the wallpaper and the map. Another interesting change is happened on another painting technique. It may not be difficult for viewers to be aware of the sentimental strokes in When It Blooms, Jogging Sometimes in the exhibition “Circumstance”, quite different from the calm and abstract feature of her former works. In previous visit of her studio, she mentioned that When It Blooms is a impression of a restaurant scene in the movie “Mood Indigo” she saw last year, and the impression has thus transferred to the paintings. Especially comparing Sweet Garden painted in 2013 and the recent work Jogging Sometimes, we can see the development of a richer artistic vocabulary after she became the finalist of Taipei Arts Awards.

“Circumstance”, from interior space to geography, inquire the artist herself the choice between dwelling and world, but in fact in my eyes, “Circumstance” does not contain completely the transition of Wen Meng-Yu, after all, the break from private space to map language, Chris Shilling’s Corporeal Realism previously mentioned, already present an uncriticized survival anxiety in the paintings. Map internalizes the affiliation of living space in different regions in world. We can further ask: “Such affiliation is reproduced in our symbolic space? In the art history?” “Circumstance”, without criticism, it shows the symbolic system of artist herself and the explanatory comment tolerated to a certain extent. The trail of memories, the blur of culture, the stigmata of an era, are left inside. Does time still stand? Following the verse of poetry:
“ When is my confusion glowing?
Confused.
And be omniscient and omnipotent?”
Let us stop longer this time in front of Meng-Yu’s paintings and ask ourselves: “We are able to produce an order of life, however, is there only one choice in the dwelling and the world?”


溫孟瑜Meng-Yu Wen|交織的綠蔭 Shades of Green|壓克力、畫布 Acrylic on Canvas|60x50cm|2015

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