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擲光回聲 2018 黃孟雯個展-封面
  • 擲光回聲 2018 黃孟雯個展-相關圖片
  • 擲光回聲 2018 黃孟雯個展-相關圖片
  • 活動時間

    開始於2018-03-31~2018-04-2912:00:00至19:30:00

  • 活動地點

    水谷藝術 Waley Art- 萬大路322巷6號

  • 費用資訊

    免費

  • 活動場次

    此活動只有一個場次時間

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日期 時間類型 地點 費用 通知
2018-03-31~2018-04-29 固定每日進行 12:00:00~19:30:00 水谷藝術 Waley Art

詳細介紹Intro

擲光回聲-黃孟雯個展

Echo from HERstory ─ Solo Exhibition of Orlando Huang

展期Date|2018.03.31-2018.04.29

開幕時間Opening|2018.03.31(六)6:00pm

地點Venue|水谷藝術 臺北市萬大路322巷6號

開放時間|PM12:00~7:30

https://www.facebook.com/events/410669882710455/

 

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擲光回聲是形容這個計畫創作的過程。

  

  在那個還沒有西方性別論述引進的年代,尚未為自己命名的身分,身為一個喜歡女人的女人,她的性別氣質如何展演在我們現在看來相對保守壓抑的時代。

  這個計劃隨著阿寶的生命史展開,她出生於1938年,與一群和她一樣喜歡女人的女人們,在六零年代的台北鬧區,用自己的力量穿越束縛。如此女性的生命經驗不曾出現在我們對於那個時代女性的記憶,對我來說,性別並非一個議題,性別是一個理解我們自身文化的一個視角。

  由於自身的背景,帶著社會學方法進入田野,過程中,如此理性的方法總是與滿溢感性感知的藝術載體不斷拉扯。我問自己究竟我想理解的是甚麼,在編寫重組影片的同時,我才意識到我試圖尋找「情感的邏輯」。情感與邏輯很多時候如同天秤的兩端,情感不一定合乎邏輯,它是人類的本能,然而它必須在社會中存在,社會構成一種客觀實在,它擁有力量強加於人。情感與這股力量衝撞又妥協,衝撞又妥協,情感在社會的藍圖流動溢出,溢出的正是我想理解的,情感背後所承載的思維脈絡,那樣的思維脈絡讓我理解我所在的我繼承的文化。這些也許早在環繞在我生活周圍,我卻因為太習以為常無法辨識。那樣的無法辨識來自於,那是種無法言說的感知,需要透過創作的過程梳理與再想像。

  <生之慾>錄像與<全家福>攝影開啟了這個計畫對於性別的思考。兩部短片再想像了生命史的敘事。如果<日安午夜>是從性別這個門縫窺見當時社會的規範,與這群喜歡女人的女人們如何在規範中找到屬於她們的異質空間。<再會彼時>則是當情感溢出社會的藍圖時,情感如何找到支持它的精神狀態,那是與這個社會制度相輔相成的民間信仰。

我向遙遠的過去、記憶、歷史拋出探問,你以為那不存在,竟從遠方傳來陣陣回聲。

 

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 影片介紹

 

《日安午夜》 

    阿寶與一群她們稱之為「穿褲的」的換帖,是六零年代台北當時知名的「橋頭十三太妹」。在大稻埕夜晚,她們穿上訂製的西裝,梳起最帥的髮型,上酒家,歌舞與歡樂。她們與酒家老闆熟識,會將自己做的胸花與釀私酒賣給老闆。

        這一天,正當她們享受著音樂歌舞的當下,一個流氓男子衝進來,推了其中一人,並語帶諷刺羞辱她們是女人的事實,雙方打起來!眾人在混亂中一哄而散!

 

《再會彼時》 

有沒有一個人住在妳的心底

就算你知道妳們無法久長

她是妳永遠放不下 深深的惦念

這是四十多年前的故事,關於阿寶與她最心愛的女子。當兩個女人間的愛情無法繼續,一人選擇離世,將魂魄化為蝴蝶跟隨左右,作為一種延續愛情的方法,一種在一起的方式。 

多年後,阿寶依歸信仰,惦念才隨她飛去。

 

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影像。敘事。生產。性別-《日安午夜》《再會彼時》映後座談

 

時間:4 月 21 日 (週六) 2:30 p.m.- 4:30 p.m.

 

當代藝術處理視覺文化的語彙並非只限於詩性的影像,影像作為敘事的方法,運用電影的語言處理議題的背景脈絡。《日安午夜》《再會彼時》映後座談將以影像作為座談主軸,與大家聊聊當代藝術-影像、影片生產過程、影片主題-性別。

 

現場並邀請歌手李善願為大家不插電演唱!

 

與談人:楊雅翔 (水谷藝術策展人)

與談人:黃孟雯 (藝術家)

與談人:陳菁蕙 (資深演員,紐約大學表演藝術管理碩士)

演出:李善願

https://www.facebook.com/events/563412387373397/

 

 

Echo from HERstory describes the creating process of the project.

  

  It was when the western sexual discourses had not been introduced. As a woman who likes women, A-Bao had a hard time identifying herself in that conservative and repressive time. The project demonstrates how her special temperament as a lesbian was presented at that time.

The project began with the life history of A-Bao. A-Bao was born in 1938. In the 60s, she and her lesbian friends broke free from the conservative limitations with their own strength. Such female life experiences had never existed in our memories about the women of the 1960s. To me, gender is never an issue. Instead, it is a perspective for us to interpret our own culture.

 

Due to my academic background, I conducted my field research with sociological methods. During the process, certain contradictions emerged between the rational methodology and the sensitive art carrier. I asked myself what exactly I wished to understand during the project. As I was writing and reorganizing the film segments, I realized that I had been seeking for the "emotional logic". Emotions and logic can be on the opposite sides. Emotions are not necessarily logical. They are the human instinct and must exist in the society. However, the society is constituted by the objective and practical logic. In short, logic has the power over people. Emotions and logic conflict yet compromise with each other constantly. Emotions are often expressed beyond the logic blueprint of the society. The ideological contexts behind the overflowing emotions are exactly something I had always wished to understand more. Such contexts allow me to understand the culture that I am a part of better. The contexts may have existed in my everyday life. However, I had not been able to recognize them since they were often taken for granted. Also, the inability of recognition is derived from the fact that the contexts are often perceptions that are indescribable. They need to be reviewed and re-imagined through the creative processes.

Both The Desire to Live and The Family Portrait initiated this program which is about the reflection of gender. Two films re-imagine the narratives of these life histories. Good night! My rebel girls! attempts to observe the social norms at that time from the perspective of genders. It presents how these lesbians found the heterotopias they belonged to within the norms. Goodbye, my youth, on the other hand, shows how overflowing emotions found their support outside the logic blueprint of the society. As it turned out, the support came from the folk religions that complement the social system.

I addressed a question to the past, the memory and the history. I never asked for any reply. Surprisingly, I heard echoes from the past somehow.

 

 

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