細節
李二男
莫內與小癡的對話
視像螢幕 綜合媒材 錄像裝置(共兩件)
版數︰1/6
2009年作
簽名:Lee Lee Nam
展覽︰
2008年12月13日-2009年1月4日「有影無影—李二男.影像神話」形而上畫廊 台北台灣 (展品為另一版數)
2009年6月23日-7月12日「Light & Art」Shinsegae Gallery 釜山市 韓國 (展品為另一版數)
2009年7月26-12日「Light & Art」Shinsegae Gallery - Centumcity 釜山 韓國 (展品為另一版數)
出版︰
2008年《有影無影—李二男.影像神話》形而上畫廊 台北 台灣 (圖版為另一版數,第26-27頁)
2009年《Light & Art展》Shinsegae Gallery 首爾 韓國 (圖版為另一版數,第10頁)

李二男高舉班傑明的模仿理論作宣示,頌讚資本主義,申明今日藝術已不再是自成一派,它該是對機械化複製的知覺反射,由此挑戰影像的可靠性。既然認同此作法,他便把古代名畫翻出來重新調撥,在名家作品中加入細微而戲劇性的變化,卻採用了大眾藝術如流行音樂錄像般的特徵,融入具批判精神的學院派繪畫。

李二男頑皮地把影像加加減減,便將東西方兩大經典名畫串連起來,不僅尊重及保留了兩者美學上的強項,也和諧地將之轉化成現代化的敘述,引人入勝。看著莫奈印象派海景的水波逐格滑向小痴 許鍊虛空若無的水墨海景,實在非常富娛樂性;當島嶼隨著瑰麗油彩的形態浮游到左邊,落在莫奈那世界的夜空之下,在這過程中卻突然出現了一幕與香港冬夜城市景色如出一轍的畫面。韓國南宗畫派之巨匠「小癡」的水墨山水橫越視野,《莫內與小癡的對話》( Lot 1658) 把過去與現在的文化參考整合,調和成一個寓言。讓人目不轉睛的,是《新蒙娜麗莎》(Lot 1659) 的單一影像變奏,在此李二男繼續走入當今的電影領域,進行畫面上的操控和探索。迴旋舞動的視覺韻律,套用在藝術歷史的主旋律上,輕盈、低調地使觀者的眼睛隨情緒移動,在影像間流連,我們是多麼渴望它帶來驚喜,下意識地等候傳說中的蒙娜麗莎眼睛跟蹤我們。一架袖珍飛機滑翔到蒙娜麗莎前面,而背景的爆炸和降落傘是可愛、裝飾性的,彷彿要攻擊她,她卻心平氣和地看著它們,好像覺得有趣。作者刻意加插這些玩味性的事物,進一步加強畫中環境的三維立體感,產生一種存在感或活力,以非常聰明的方式支持他背後的批判,甚至像在慶祝他的複製、仿製。李二男以此為示範,說明名畫已經演變成一種媒體,甚或一個概念,通過更闊更多元化的流通,以產品和奢侈品的形式存在,最終成為內行人士的秘道,把現實(原畫)與幻象(複製品)的間隙模糊掉。
出版
Metaphysical Gallery, Myth Inside Monitor, exh. cat., Taipei, Taiwan, 2008 (different edition illustrated, pp. 26-27).
Shinsegae Gallery, Light & Art, exh. cat., Seoul, Korea, 2009 (different edition illustrated, p. 10).
展覽
Taipei, Taiwan, Metaphysical Art Gallery, Myth Inside Monitor, 13 December, 2008-4 January, 2009 (different edition exhibited).
Seoul, Korea, Shinsegae Gallery, Light & Art, 23 June-12 July, 2009 (different edition exhibited).
Busan, Korea, Shinsegae Gallery-Centumcity, Light & Art, 12-26 July, 2009 (different edition exhibited).

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

Lee Lee Nam's appropriation of images from the art historical canon challenges the viewer's notion of authenticity and reproduction. He re-tunes works of old masterpieces, making small yet dramatic alterations to their compositions, adopting the characteristic of low art-popular culture's music video with high art's academic paintings.

Lee's witty subtraction and addition of imagery proceed as the connecting sequences between the two masterpieces of the East and West, respectfully attending to both their aesthetic strengths, harmonizing it into a modernized narrative that affectionately captivates the viewer. Immensely entertaining, the subtle tweaking of images cross over each frame as the water of the impressionist seascape of Monet ripples across the dry vacuity of ink seascape of Heo Lyeon Sochi; as the island floats to the left by slowly taking form in colorful oil, it settles under the night sky of Monet's realm with a sudden unity of the two panels converting into a winter night, cityscape of Hong Kong. The calligraphic poetry in Sochi visually performs the title The Conversation between Monet and Sochi (Lot 1658) by extending across the images, paralleling its modulating occurrences by uniting past and present cultural references. Strikingly cohesive, Lee continues to manipulate and explore the cinematic field by this time, utilizing one image of New-Mona Lisa (Lot 1659). Constantly motioning visual rhythms by adapting motifs from art history in a profoundly light and subtle way, he keeps the eye moving emotionally as we eagerly linger for the image to surprise us; unconsciously waiting for the legend of the following eye of Mona Lisa to take place. A miniature airplane soars in front of Mona Lisa, as the adorably decorative actions of explosives and parachutes occur at the background as if in attempt to attack her, who sits and watches them in calm amusement. His conscious insertions of these playful events further heighten the three-dimensionality of the environment, generating a sense of presence/life that astutely coincides with his subtle criticism, and even as his celebration of duplication and simulation. Lee demonstrates that masterpieces have become a medium moreover a concept through wider and more diversified streams of circulation, into a form of luxury and product, consequently becoming an adept channel in blurring the gap between reality (original) and illusion (duplication).

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