另一個美好的一天：杜珮詩個展

德國哲學家叔本華（Arthur Schopenhauer，1788-1860）認為「藝術即啟示」，世界每天顯露在我們的生活經驗中，年輕藝術工作者杜珮詩近期創作所關注當代生活危機的作品極具啟示錄性格。她以強而有力的黑色幽默，探討全球化以降，晚期資本主義社會下泡沫生活的嚴重性，並揭示當代生活中人們的不顧真實，以寄情美麗新世界的甜蜜想像來逃避真實的荒謬性。杜珮詩以當代科技之電腦定格動畫為創作媒介，並突破一般將動畫藝術歸類為娛樂性之大眾文化的既有印象，將議題聚焦於對社會現象的反思，是新生代藝術家之少見，這也是她在本館97年度申請展徵件中脫穎而出的重要因素。她2003年自國立台中教育大學美勞教育系畢業之後，2005年前往英國倫敦大學金匠學院深造，獲藝術創作碩士學位，留歐其間作品多次受邀參與國際性展覽，為目前台灣極具潛力之新生代藝術家。近期創作關注於以虛構的敘事形式，探討當代生活中幻像與威脅的關聯性。廣泛來說，意指現代人在全球化與晚期資本主義時代下，逐漸形成一種遠離真實，並對幻像深層依賴的生活形式，當紐約世貿中心倒塌的影像透過轉播傳入世界數億人眼中，新的恐懼於是誕生–一種對於可能發生卻無法預期之災難的過度憂慮，以及對於當人們建立起更多的防衛機制，所必須承受更多焦慮與緊張的體認。身處資本主義優勢一方的第一世界國家公民，如今需要幻像與意識形態上的英雄人物以保有安全感。杜珮詩對於威脅下所產生的去真實化狀態相當感興趣，同時認為這樣的狀態，背後隱含的是過度天真，以及對其他貧窮世界的極度忽略。這次她在本館展出的四件定格動畫單頻道投影作品，如同展名《另一個美好的一天》一般，以反諷方式歌頌追求烏托邦與幻像之新美好時代的來臨。作品《不安的旅途》與《另一個美好的一天》，皆引發於典型動畫中天真並且想像豐富的快樂世界，然而和樂的場景隨後卻在逐漸失去控制中變得荒謬，最後呈現威脅所帶來的黑暗面，寓意戰爭與全球化可能帶來災難的種種憂慮；作品《誰在乎真實》，挪用去年夏天英國衛報刊登一張關於G8在日本一場討論糧食危機的高峰會前，食用豪華餐點的照片為文本，試圖以看似歡樂如劇場般的方式諷刺糧食危機下，第一世界國家仍存有的泡沫生活狀態；而作品《我們需要更多，以及更多更多更多的想像》為ㄧ分鐘的循環影像，畫面中有穿歐巴馬T恤的小市民、受經濟蕭條影響的倫敦銀行家，以及熱愛卡漫風的台灣青少年，他們不斷的面對鏡頭招手微笑，隱約揭示今日舒適生活背後，人們對災難性巨變的不安與恐懼。她的作品表現形式細膩繁複，強調手工勞動、影像挪用與小成本製作，視覺上充滿了媚俗矯飾與大量裝飾性，並多半使用定格動畫或童書插畫，較具想像特質的平面剪貼形式，刻意營造使人誤解且靠不住的天真。欣賞她的作品，一開始往往被其甜美的表象吸引，而後漸次體認作品背後隱藏的暴力與荒謬，她以戲謔嘲諷的表現手法，提出個人對人類當前種種處境的憂心。
German philosopher Arthur Schopenhauer (1788-1860) considered art as a vehicle of “revelation”. The world is revealed in our experience every day. The recent work of young artist Tu Pei-Shih dealing with the crises of contemporary life has a strong revelatory character. With stinging black humour, they examine the danger of the bubble life in late capitalist society in the age of globalization and expose the absurd way in which people ignore the real and indulge in sweet fantasies about a beautiful new world to escape reality. Using the contemporary technology of computer stop-motion animation as her medium, Tu changes the perception of animation art as entertainment and pop culture by focusing on the exploration of social phenomena, a rare subject among the new artist generation. It was also crucial to her successful bid for a slot in the “exhibitions by application” at the Taipei Fine Arts Museum for the year 2008. After graduating from the Department of Fine Arts and Crafts Education of National Taichung Teachers College in 2003, she enrolled in the Department of Art of Goldsmiths, University of London in 2005 and received an MFA in Art Practice. During her time in Europe, she was invited to participate in various international exhibitions. She is now a promising young artist working in Taiwan. Her recent work uses fictitious narratives to explore the relations between fantasy and menace in contemporary life. In general, it suggests that in the age of globalization and late capitalism, people have developed a way of life that is increasingly removed from the real and deeply dependent on fantasy. When the images of the collapse of the World Trade Center in New York were transmitted to billions of people around the world, a new kind of fear was born – paranoia about disasters that might happen but cannot be foreseen, and increased nervousness and anxiety as more defence mechanisms against such disasters are set up. Now, citizens of the First World who enjoy the advantages of capitalism have to look to fantasies and ideological heroes for a sense of security. Tu is interested in the derealization of menace and thinks that behind this lie extreme ignorance and a gross neglect of the poor countries. Tu will present four works of single-channel projection of stop-motion animation at the Taipei Fine Arts Museum. As the exhibition title “Another Beautiful Day” suggests, they ironically celebrate the arrival of the wonderful new age of utopia and fantasy. Uneasy Journey and Another Beautiful Day are based on the innocent, imaginative, and happy world in typical animation. However, the happy scenes gradually lose control and descend into absurdity, finally revealing the darkness brought by threat, a metaphor for the anxiety about catastrophes that may be caused by war and globalization. The work Who Cares About The Real appropriates a photo of a sumptuous banquet that took place before a G8 summit to discuss the food crisis in Japan published in The Guardian last summer. It satirizes the bubble life in First World countries in the face of the food crisis through a seemingly happy and theatrical scene. Finally, the one-minute loop Video We Need More, And More And More And More Fantasies shows men in the street wearing Obama T-shirts, London bankers affected by the economic recession and Taiwanese youths with passions for cartoon and anime. They keeping waving and smiling at the camera, vaguely hinting at people’s unease and fear about a possible calamity behind the façade of a comfortable life. Tu’s works show a meticulous and complex form, stressing handwork, the appropriation of images and low-budget production. Visually, they are full of kitsch and decorative elements, frequently employing the two-dimensional collage form of imaginative stop-motion animation or illustrations of children’s books to evoke a misleading and unreliable innocence. One is at first attracted by the sweet look of her works, and later comes to understand the violence and absurdity behind them. Assuming a playful and ironic manner, she expresses her concern about the present predicament of mankind.

• 作者： 張美華、杜珮詩、陳靜文、張至維
• 出版社： 台北市立美術館 出版日期：2009-04-01 ISBN/ISSN：9789860182828
• 頁數：24頁
• 類別： 中文書> 政府考用> 政府出版品