3.25.2013

時光流轉(1) -- 從王雅慧、丁建中、張暉明的作品談錄像作品中的時間與空間本質


20130315 Update     / 蔡家榛

錄像作品本身即承載著時間框架,以及由時間延伸出的空間,這是錄像這媒體本所俱有的特質,但創作者與觀者是否有所覺知?能否透過創作的過程與結果來呈現這層覺知,及錄像的媒體特質?再者,在此時間空間的大議題中,筆者亦試圖針對台灣創作者的時間觀點,探討台灣的創作者是否在無形中深受在地之宗教、文化的影響,而將此對時空的思維顯露在創作之中?

時間和空間是錄像藝術本有的媒材特性
我們首先從王雅慧的創作來切入此議題,在她的創作裡,如《日光下的靜物》、《訪客》...,鏡頭總是隨著日光、雲朵緩緩地在空間裡移動,彷如時光指針無聲無息地在刻盤上移轉,而這緩速的時間流動也帶出了一個不同的空間,它似曾相識,卻又在作者刻意採用的時間速度之下顯得像是海市蜃樓般渺然,那它到底是在亦或不在?筆者試著從創作者的初發點來究理創作者如何覺知錄像媒體的時空特質。

墜│2002│彩色有聲錄像│5分鐘16秒

Video works are creations endowed with a timeframe and space, the latter being a continuum from time. Yet do creators and viewers both appreciate this? Do they have the ability to present this awareness and the characteristics of media in their video works through the process and results of creation? In addition, under this grand discourse on time-space relations, the author has made effort to explore Taiwanese artists’ perspective of time and to see if they are unconsciously yet immensely influenced by local religions and culture, hence this disclosure of time-space thinking in their works of art? 

Time-space characteristics are inherent in video clips
Let’s start with Wang Ya-hui’s creations. In her video works, Still Things under the Sunlight andUnexpected Visitors for example, the scene cuts move along with sunlight and clouds slowly and casually, as if clock’s hands were noiselessly moving. Such slowness introduces a differing space to the audience, which seems so familiar yet very distant like a mirage. Here is the question: does it exist or not? Here the author tries to inquire into how video creators grasp the time-space characteristics inherent in video media from the artist’s point of view. 



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