細節
于彭
裸女

油彩 畫布
簽名︰于彭

李二男挪用了藝術史上的經典影像,挑戰觀眾對真品和複製品的看法。當世界經濟已淪為替消費符號作宣傳的龐大母體,李二男於作品裡佈下思想家班雅明的擬像理論,將歷史名畫改裝成更複雜的版本,在挑戰影像真確性的過程中,證明審美自主其實跟消費習慣有關,讓觀者在資本主義社會的洪流裡反省自己的行為。

媒體改變了現代生活,其影響力於社會、經濟、道德、個人與政治等各層面無處不在。李二男注意到這股無可抗拒的勢力,乾脆選擇利用錄像和電影做個人創作媒體,藉此聰明地轉送出藝術品理論上該達到的溝通層次和概括性。古斯塔夫.克林姆的作品以其創造性外觀見稱,李二男用同樣方式打破慣例,以電視機做畫布,力圖拆除精緻藝術與通俗藝術之間的分野,正如克林姆當年革命性地將藝術家高人一等的地位與工匠相比,令彼此間之分野柔化。克林姆的《吻》(The Kiss)是一幕愛的節錄,李二男複製其中的元素,把自己對吻的主觀理解形象化起來,不為觀眾留下太多幻想空間。他套用了原畫各種主要元素來激起愛那無法言喻的情感,但暗中重新安排,讓它們循環流動以比喻愛的無窮無盡。當畫面上的迷霧層層散開,觀眾有所期待,水流細細淌下,提示逐漸打開,觀眾開始看到《吻》那金光斑斕的浪漫,此時黑白愛情片中的接吻鏡頭徐徐流下,跳進主角們那金雕玉砌的衣服裡。李二男將他們的形態扭成一體,化作優雅的抽象圖案,強化了愛的主題和擁抱的感染力。我們看到他在謹慎地模仿著克林姆描寫人物的方式,由豐富的圖案來釋放愛裡面那千變萬化的力量。

現代生活講求效率,我們往往只想以最快的速度獲取最多的資訊,李二男正好揭穿了我們的急性子。我們發現自己著迷於他那無須多作解釋的現代版本,更甚於那看來單調、需要時間沉思才明白的經典原著,我們的潛意識已在探討著自己看電視的習慣,示範了人類天性中想要發明和改變的傾向。

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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. As the global economy serves as a matrix for promoting standardized consumer symbols, Lee embeds Walter Benjamin's simulation theory for viewers to self-reflect on their behaviour within the capitalist society by challenging the authenticity of image and by making sophisticated modification to historical masterpieces to prove that aesthetic autonomy reacts to consumption habits.

Media has transformed our reality, producing wide-ranging societal, economic, moral, personal and political consequences. Noting this inescapable influence, Lee chose video and television as his artistic medium to cleverly deliver the level of communication and encapsulation which artworks should hypothetically impress. Driven by the same inventive outlook as Gustav Klimt, Lee too has broken away from convention by replacing canvas with television and also in his endeavour to demolish the distinction between high art and low art just as Klimt's revolutionary attempt in diffusing the conceited distinction between the fine artist and craftsman. He recreates the epitome of love, Gustav's Klimt's The Kiss, animating his subjective comprehension of the work and leaving little for the viewer's imagination. Lee utilized elements from the original painting to stimulate the indescribable sensation of love, streaming in suave and subtle circulation as a metaphor for endless love; the fog disperses slowly to build anticipation for the image to be revealed, water trickling down to subtly uncover hints of The Kiss, their romance embellished with golden flecks shimmering down with scenes of kisses from black and white romantic movies replacing their intricately adorned clothing. Lee strengthens the theme of love and the lovers' embrace by gracefully enveloping their form in unity and into abstract patterns, thus, discreetly impersonating Klimt's iconic technique in his opulent patterning that releases the transformative power of love.
Lee reveals for us our modern fascination with efficiently accessible information, as we find ourselves captivated by his self explanatory, take on the original as opposed to monotonous masterpieces that require time and contemplation. By also exploiting our interest in moving images, he also demonstrates our innate inclination towards invention and change.

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