細節
成太鎭
絕交
壓克力 木板 浮雕
2009年作
簽名:Tae Jin
展覽︰
2009年5月21日-6月2日「成太鎭個展」Gallery LVS 首爾 韓國
2009年6月3日-8月23日「韓國卡通100年」國立當代藝術館 果川 韓國
2009年9月5日-10月31日「韓國卡通100年」濟州當代藝術館 濟州島 韓國
出版︰
2009年《成太鎭個展》Gallery LVS 首爾 韓國 (圖版,第14頁)

成太鎮的木板畫雕工細密,以韓國傳統的五方色(Saekdong)為基調,讓觀者眼睛為之一亮。透過動畫人物的文化影響力,容易傳達訊息給大眾的特性,詼諧的傳遞出在這個物質社會中,藝術家對現代烏托邦的嚮往。成太鎮把韓國的卡通英雄「無敵鐵金鋼」(Taekwon V)發揚光大,當作自己的化身,用戲劇化的描繪日常生活中的平凡瑣事,筆法強烈,內容卻無趣。「無敵鐵金鋼」(Taekwon V)是韓國文化中的民族英雄,也是韓國的孩童共同的回憶,成太鎮就是其中之一,他把「無敵鐵金鋼」(Taekwon V)理想化,而「無敵鐵金鋼」這個卡通(Taekwon V)也建構了他的愛國情操、道德觀念,鍛鍊他的身心發展。如今「無敵鐵金鋼」(Taekwon V)成了藝術家傳達解脫主義、抒發理念的管道,

成太鎮透過作品呈現出生活中平淡的情境,《絕交》(Lot 1556)中的他戴上英雄面具,傳達出超現實感、不安、緊張。他模仿印象派畫家蒙克(Edvard Munch)的名畫《吶喊》,卻做了比較粗略的詮釋。《春天可以來臨困苦之地嗎?》(Lot 1557).裡,街頭熱鬧的霓虹閃爍,讓人大吃一驚的是超級英雄也下班後也有酩酊大醉、打扮隨性的一面。他用粗線條、大膽的筆觸描繪出漫畫世界;木雕的剛毅的質感,和凌亂片段的都會場景相得益彰,強化出畫面的戲劇張力。「無敵鐵金鋼」(Taekwon V)象徵社會價值以及改變,也代表現代的無政府主義,傳達出權力、動機、責任、和司法理念的腐敗,對人道機構的不信任。「無敵鐵金鋼」(Taekwon V)被迫放棄扮演英雄,適應世俗的生活,他身心俱疲,穿著藍色的運動褲,就好像在地鐵站裡打瞌睡的尋常失業老百姓。他被他曾經致力保護的社會所遺忘,偉大傳奇不再。成太鎮刻畫出他內心的獨白,透過英雄人物幽默的生活插圖,反映自己的生活。他穿上了「無敵鐵金鋼」(Taekwon V)的外衣,藉由英雄的身分,揭露現代人對生活的不確定性、焦慮、悲劇,企圖透過童年時代的英雄人物找尋安慰。

出版
Gallery LVS, Seong Tae Jin Solo Exhibition, exh. cat., Seoul, Korea, 2009 (illustrated, p. 14).
展覽
Seoul, Korea, Gallery LVS, Seong Tae Jin Solo Exhibition, 21 May-2 June, 2009.
Gwacheon, Korea, National Museum of Contemporary Art, 100 Years of Korean Cartoon, 3 June- 23 August, 2009.
Jeju Island, Korea, Jeju Museum of Contemporary Art, 100 Years of Korean Cartoon, 5 September-31 October, 2009.

榮譽呈獻

Felix Yip
Felix Yip

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The cultural impact and the profitability of animation as a efficient medium in communicating to the masses is proficiently understood and translated in comic parody to underscore the materialist versions of the modern utopia, shrewdly concealed under the optical brilliance of multi-colored figuration of Korean traditional 'Saekdong' together with Seong Tae Jin's immaculately carved wood panels and prints. Expanding their creative repertoires, Seong consumed the Korean heroic robot 'Taekwon V' as his self-referential tales, evidently narrating in cinematic succession of mundane activities, in force yet seemingly bored. Once a national, hero, the Korean anime, Taekwon V bred a collective experience to young Korean children; Seong too, obsessively idealized the icon, who in generous return, conditioned his patriotism, cultivated his morality, exercised his physical and psychological strength and now, humbly serve itself as a realm of escapism and as the artistic channel for the artist.

Confessing his relationship with life in banal situations, Seong wears a mask of his hero to communicate suspended reality, an unsettling mood and tension conveyed in his replica of Edvard Munch's Scream, in his crisper, brashly intensified palette of Break of a Relationship (Lot 1556). Perhaps in his indication of the harshly bold contours of the animated world, Seong's jagged urban scene is materialistically fit with the rigid sculpting of wood amplifying the theatricality of the scene in spatial dimension with pop-infused neon street lights, overloading our eyes with shocking depiction of the off-duty lives of drunk superheroes in quirky casual wear in Can Spring Come to the Deprived field? (Lot 1557). As Taekwon V signifies societal values and changes, it informs us of modernity's nihilism, as we witness the deterioration of their power, motivation, responsibility and belief in justice and humanitarian service. Forced to abandon his heroic role and to adapt to regular life, the robot's tormented psyche is dressed in blue sweat pants, a symbolic uniform for the unemployed, dozing in the subway as an ordinary citizen; his legacy dissolved, abandoned by society he once protected. Seong traces his monologue, proliferated in images of his hero's sitcom life to humorously reflect on his own life, attempting to seek comfort from his childhood hero in masking himself in his facade and yet borrowing his identity to unravel the uncertainty, anxiety and tragedies of contemporary individuals

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