鏡‧花園 系列展三

主辦人/單位: tamtamART TAIPEI. IPIX
活動類別: 展覽

首次展演日期: 2013-09-14    結束展演日期: 2013-10-06
詳細時間說明:
開幕：2013. 09. 14　　8PM
開放時間：星期四-星期日　　4pm-8pm

活動地點: tamtamART TAIPEI IPIX
活動地址: 台北市北平東路20-3號

鏡 . 花園 系列展

Garden of Mir(ror/acle) series exhibition

李汝珍的鏡花緣，以神怪和女人為題材，遍述各種光怪陸離的奇人異事，以非現實的故事諷諭現實。在虛構的現實中，看似一種幻象，卻絕對地反射了真實的面貌。非現實的荒謬感，與對現實的放大和疏離，讓人不期然的發現了真實的輪廓。鏡射出來的偽現實，成了一種現實的變形。這道變形的光將我們都照的輕盈而扭曲，如此我們才算真正的進入花園，進入既虛幻又真實的當代社會花園。 

「鏡.花園」系列展，乃以城市為眼所住、口所言的對象，不僅意在景觀/奇觀化當代社會的面貌，也將之轉演為一則則的城市預言。因此，「鏡.花園」系列展從主題式的策劃概念出發，將聯展解構為連續的個展形式，非但讓藝術家完整呈現作品的理念，觀者也得以在單一且完全呈現的展演情境中閱讀。

「若要曉得這鏡中全影，且待後緣」- 李汝珍

The themes of Flowers in the Mirror by Li Ruzhen include spirits, devils, and women, creating various strange and weird characters and events. Fictional stories contain metaphors of reality. In the fabricated reality, things which look like illusions actually reflected truths. Non-real ridiculousness enlarges and alienates reality, making people see outlines of truths unexpectedly. False reality reflected from the mirror is another form of reality. This light of deformation shines on us, making us light and twisted. This is when we actually enter the garden, the garden of the contemporary society which is illusory and authentic at the same time. 

The “Garden of Mir(ror/acle) series exhibition” focuses on subjects in the city which we see and talk about. The purpose is not only to transform the appearance of the contemporary society into landscapes and spectacles but also to turn it into urban prophecies. Therefore, based on the concept of theme planning of the “Garden of Mir(ror/acle) series exhibition” series exhibition, the joint exhibition can be decomposed into several continuous solo exhibitions, where not only artists can present ideas of their works completely, but also visitors can put themselves in one single and complete exhibition situation. 

“To know the full image in this mirror, wait for the upcoming fate.” - Li Ruzhen

 一山清雲 : 李若玫　

Yi Shan Qing Yun : Jo-Mei LEE

> 鏡 . 花園 系列展

李汝珍的鏡花緣，以神怪和女人為題材，遍述各種光怪陸離的奇人異事，以非現實的故事諷諭現實。在虛構的現實中，看似一種幻象，卻絕對地反射了真實的面貌。非現實的荒謬感，與對現實的放大和疏離，讓人不期然的發現了真實的輪廓。鏡射出來的偽現實，成了一種現實的變形。這道變形的光將我們都照的輕盈而扭曲，如此我們才算真正的進入花園，進入既虛幻又真實的當代社會花園。

「鏡.花園」系列展，乃以城市為眼所住、口所言的對象，不僅意在景觀/奇觀化當代社會的面貌，也將之轉演為一則則的城市預言。因此，「鏡.花園」系列展從主題式的策劃概念出發，將聯展解構為連續的個展形式，非但讓藝術家完整呈現作品的理念，觀者也得以在單一且完全呈現的展演情境中閱讀。

「若要曉得這鏡中全影，且待後緣」- 李汝珍

兩年前，他死了。他每日勞作勞作過大半生的園子，如今大多已亂生野草。他原有的絲瓜棚子，部分由一家鄰農接管，日日灑水續種絲瓜；部分農地則由他的兒子整頓成櫻花樹園，培植櫻花樹苗。園裡一座儲放農具與他下工暫憩的工寮裡，各類器物擺放在他最後一次使用的位置上......一次，我伴他再度踏上這座園子，我將他收束成一道光，將他自手持著的手電筒裡折射出去，讓他伴我打亮田埂徑。我們在園子裡迂迴繞行，穿過一叢叢過膝過肩的雜草花，越過一段段炙熱的農作記憶，朝著花園的盡頭、時間的深處走去。

Two years ago, he died. The garden where he cultivated for his whole life is full of wild weeds. A part of the luffa trellis he owned was taken over by his neighbor. The other part was cultivated by his son as a cherry tree sapling garden. In the farm hut where he stored implements and took a rest, all sort of tools are still laid on the place where he used for the last time… One time, I walked into this garden once again, with him. I transform his spirit into a beam of light, and reflect it out from the flashlight. Make him accompany me and brighten up the ridges between fields. We wandered in the garden, passing through tussock grasses and wild flowers, crossing over the farmland memories, and walked toward the end of the garden and the depth of the time.

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