細節
侯俊明
香港罪與罰
版畫 紙本 (一套三件)
1996年作
鈐印:六腳侯氏
出版:
2009年《侯俊明的罪與罰:1992-2008六腳侯氏版畫創作事件》侯俊明著 田園城市文化事業有限公司 台北 台灣 (圖版)

侯俊明1990年代前期的作品大多為大膽挑戰社會禁忌的版畫,但事實上,其創作意義的彰顯並非來自單純木刻版具有的果決線條表現,而在於形式和內容間複雜交錯的結合與衝突,以及給予觀者的刺激體驗和省思。

1997年香港回歸前夕,侯俊明前往當地短暫旅居,創作出三件一套的《香港罪與罰》(Lot 1117)。藝術家延續了《搜神記》以來的圖文交錯,運用中國最早的木刻佛經版畫為表現形式,侯俊明「託此結構將都會邊緣人予以神聖化之供奉/嘲謔」,以同文同種卻外來的身分觀看這個高度西化的百年殖民地。香港在英國統治下已有150年的歷史,侯俊明畫中雖然挑明了以中西文化交錯的歷史脈絡為藍本,論述97回歸對香港市民的價值觀和生活方式產生了如何深刻的影響,但本質上卻是探討資本主義發展到顛峰頂盛的階段時,人在這種表象繽紛、物慾橫流環境中的被物化,畫面上所謂「作鳥獸散」、「賺錢工具」、「孤伶伶一個人生活」,無疑是在物質主義的侵襲下,全球社會缺少精神層面的依靠與文化認同的共同問題,侯俊明在《香港罪與罰》將過去對於本土社會的道德訓誡,轉化為普世的關懷警喻。
出版
Hou Chun-Ming, Legend Hou's Sin & Punishment-The Printing Creation of Hou of Liuchiao Township 1992-2008, Garden City Publishers, Taipei Taiwan, 2009 (illustrated, unpaged).

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拍品專文

On the eve of the handover of Hong Kong to China, Hou went to sojourn in the city, and created a triptych namely Sin and Punishment at Hong Kong (Lot 1117). The artist has followed the tradition of juxtaposing letters and images pioneered since Stories of Immortals, and borrowed from the Chinese earliest Buddhist scripture wood block printing as the form of expression. Hou "designates this composition to mock worship the metropolitan marginalized people," as deities, and with the same language and ethnicity and yet a foreign identity, to perceive this highly westernized hundred-year-colony. Hong Kong had been under the British rule for a hundred and fifty years. Nevertheless, though Hou in the work has selected the historical idea of cultural exchange between East and West as the blueprint, and addressed the impact of the 1997 handover upon Hong Kong citizens' concept of value and lifestyle, he fundamentally discusses that when capitalism evolves into the stage of pinnacle, people are being materialized under the apparently fascinating and rampantly materialistic environment. The so-called "scattering like frightened birds and beasts," "money making tool," and "living in desolation," mentioned in the work are undoubtedly the common problems of the lack of grounds in spiritual level and cultural recognition resulted from the encroachment of materialism. In Sin and Punishment at Hong Kong, Hou transforms the past moral admonitions of the local society into epigrams of secular concern.

Hou's works in the early 1990s are predominantly prints that challenge social taboos. In fact, its meanings do not lie only on the decisive lines craved on woodblocks, but the complicated collaboration and contrast between the forms and contents, and its subsequent experience and reflection imposed on the viewers.

Hou's works in the early 1990s are predominantly prints that challenge social taboos. In fact, its meanings do not lie only on the decisive lines craved on woodblocks, but the complicated collaboration and contrast between the forms and contents, and its subsequent experience and reflection imposed on the viewers.

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