《奧伯曼山谷》：總說 / 藝術家簡歷

總說

人在建立知識的過程，是否因此也失去了些我們用直覺去感知與認知的能力？

小的時候坐在車上，看著窗外的月亮總會問父親：「為什麼月亮要跟著我們回家？」。父親總淡淡的說：「是因為我們在移動。」，當時的我從沒明白過這句話，也始終相信「月亮要跟著我們回家」。

康丁斯基（Wassily Kandinsky）在《藝術中的精神》寫下：「知識慢慢累積，世界也慢慢變得索然無味。」，人類文明的歷史累積至今，在觀看、提問、思考中建立起龐大的知識系統，也在闡述、質疑、探索中不斷往返與擴張，我們既需要歷史作為前行的基礎與反思，也需要知識作為理解的後盾，但是否因此僵化了想像被運用的可能？是否限制了框架被瓦解與再造的可能？而作為主體，我們藉由客體的世界建構視覺經驗，又由這些經驗發展成認知的慣例，再型塑著我們與客體互動的模式，而藝術家作為所屬時代的生產者，是否有機會帶領我們去鬆動這些慣例與模式，觸動另一種感知或認知的可能？

展名《奧伯曼山谷》，是出自十九世紀匈牙利鋼琴家李斯特（Franz Liszt, 1811-1886），於1835年和當時情人達古爾伯爵夫人前往瑞士遊玩，受當地景色與文學作品啟發，在1842年出版作品《巡禮之年：瑞士》（ Années de pèlerinage：Suisse）其中一首樂章。身處浪漫主義盛行時期的李斯特，在創作中受許多相關藝術與文學影響，而《奧柏曼山谷》的文學靈感來源，便是來自法國文學家塞南庫爾（Étienne Pivert de Senancour, 1770-1846）的書信體小說《奧伯曼》（Obermann, 1804），在樂曲中以第四封及六十三封信件內容作為序言，並引用英國詩人拜倫（George Gordon Byron, 1788-1824）的《哈洛爾德公子遊記》（Childe Harold's Pilgrimage, 1812-1818）段落作為回應。這些引用皆描述了人處於自然、面對自然的各驚嘆與感嘆，並且藉由眼前的景色，反覆追問自我存在的價值和意義，極具個人情感、精神描繪，也與今天《奧伯曼山谷》中的四位藝術家：何宇森、陳奕彣、陳郁廷與彭思錡，有著相似的內涵———他們都在創作中試圖與這個客體的世界對話並取材，以主體意識探索著與客體之間的關係和存在，而他們的客體都有一個共通的對象：自然，以自然之物結合人造之物作為創作媒材，進行了更深的個人哲學思辨，呈現的是一個生命體存在的對話與證明，也毫無刻意隱藏某部分的自我，誠實審視後的揭露，發展出屬於他們充滿詩意的觀看和想像，並試圖與我們產生對話。

因此，當我們走進這座名為奧伯曼的山谷，試著放慢腳步、觀察、聆聽，因為對於大多生活在都市的我們，投身自然就像是另一種對日常鬆動的轉換。我們會看見宇森透過自然的採集、媒材的再造，拓荒出另一片自然的景象；奕彣撿拾著日常裡的自然與人造之物，讓它們與自身的生命經驗，彼此重新相遇；而郁廷是在拆解、拼貼、重組的再現裡，思索著人性存在於自然的狀態；思錡則是延續著古典的意涵，將自然置入另一種情境與場景之中，使觀者重新理解觀看。我也藉著沿用李斯特所命名的《奧伯曼山谷》，希望能點出，我們曾經都在相似的境遇裡，找到得以撫慰的情感，如同藉著大自然，亦或文學、音樂、藝術，也像李斯特藉塞南庫爾與拜倫，找到共鳴與靈感。在四位藝術家與「物」——自然之物與人造之物的挪用與轉譯，也可以說是在自我揭露與坦然的獨白中，讓我們重啟另一場對話，這無關乎究竟看懂了什麼，而是能否鬆動，以至於觸動些什麼，如同那「一起回家的月亮」，讓我們能在《奧伯曼山谷》裡，開啟另一種想像。

小記：

如同在展覽介紹文內分享「月亮一起回家」的故事，我希望《奧伯曼山谷》能帶給觀眾的，就是回到很單純、很感受性的狀態裡去遊走，在過程引領的就是這四＋一位藝術家與他們和自然的關係（四位展出藝術家：何宇森、陳奕彣、陳郁廷、彭思錡，與一位開幕當天開場的聲音藝術家：吳道勳）。因為在自然的環境裡，有各式蟲鳴鳥叫、各種奇形怪狀，我們從來不會去質疑它們的模樣，反而是仔細地觀察、專注地傾聽、好好地感受，感官是打開的，我們接納了周遭的所有可能，或許當有了這些感受，我們再來更深入的了解、探究這些現象。同時，當我們走進自然，即便安靜不作聲，在自然裡也不可能有完全地寂靜，總會聽到風的呼嘯、樹葉的搖動，或許更仔細點，還有遠方傳來不知名動物微微的聲音，這也是為什麼，我想藉由他們的呈現，以各種形式與媒材：影像、聲音、雕塑、裝置、文字，彼此交錯結合，打造另一片再造的自然。

而我也藉由展覽的命名：擷取了李斯特的《奧伯曼山谷》，想點出「轉譯」這件事，我們都是在前人的累積、身處的環境和自身的經歷，去找到靈光一現並得以兌現的可能。也因著文化的保存與傳遞，從賽南庫爾、拜倫到李斯特，從時代背景、自然景色到個人心境，乃至於文學、音樂、藝術，甚至今天的《奧伯曼山谷》和四位藝術家，大家作為各自時代的創作者，以肉身平行卻精神相會的時空下，匯聚了許多的思想與之共鳴，並誠實地回應這些感受，再用著各自的語言和方式，繼續製造了思想的載體，刻畫了獻給未來此時、此刻、此時代的模樣，希望《奧伯曼山谷》能紀念且延續著這樣的精神。

何宇森

■ 學歷

2014 - 2017 台灣藝術大學 雕塑系 / 台灣

2017 - 2020 中央美術學院 觀念雕塑與材料研究 研究所 / 北京

■ 獲獎

​2021 新北美展 雕塑類，入選

2021 麗寶國際雕塑雙年獎，入選

2020 南方雪系列作品獲中央美術學院美術館典藏

2016 國際袖珍雕塑展，銀雕獎，臺灣臺北

​

■ 個展

2019 10片遺憾與8珠雪，中央美術學院六號樓四樓展廳，北京

​

■ 雙個展

2020 童貞狀態，藝非凡美術館，臺灣臺南

2019 遊心鬱語，心牛藝空間，臺灣臺南

​

■ 聯展

2022 Y.E.S. TAIWAN in Leipzig，也趣畫廊 萊比錫地區，德國

2022 台灣當代一年展，臺灣當代文化實驗場C-LAB，臺灣臺北

2022 Y.E.S. TAIWAN IX，也趣藝廊，臺灣臺北

2019 迴響，中央美術學院研究生展，北京

2017 北京四季園社區 冬園改造，駐地藝術家，北京

2017 脆皮計畫，435藝術特區，臺灣臺北

2017 1976，藝托邦藝術空間，臺灣臺南

2016 藝術自由日，華山藝文空間，臺灣臺北

2016 它坨鉈柁砣，大觀藝廊，臺灣臺北

2016 墨路行者，西門町電影主題公園，臺灣臺北

2016 律動‧臺北雕塑速寫聯展，駐館藝術家，臺北市藝文推廣處，臺灣臺北

2015 臺灣藝術大學雕塑系師生美展，優選，大觀藝廊，臺灣臺北

2015 國際袖珍雕塑展，優選，真善美藝廊，臺灣臺北

2014 盛夏的‧塗鴉吧，小西門，臺灣臺南

2014 塗鴉藝術展，德鴻藝廊，臺灣臺南

■網站

https://www.heyusen.com

陳奕彣

■ 學歷

2021 國立臺北藝術大學-美術創作研究所雕塑組畢業

2019 芬蘭赫爾辛基藝術大學-雕塑組交換生

2016 大葉大學造形藝術-繪畫組畢業

■ 獲獎

2022 臺中市第五屆纖維創作獎 第二名

2021 國立臺北藝術大學藝術當代藝術創作獎 入選

2019 國立臺北藝術大學藝術創作卓越獎

2018 《一 O 七年全國美術展》雕塑類 入選

2015 《大葉大學第十八屆造形藝術系系展》大會獎

■ 駐村

2022 Gylleboverket ，斯堪尼，瑞典

2022 Björkö Konstnod，斯德哥爾摩，瑞典

2019 Pushkinskaya-10，聖彼得堡，俄羅斯

■ 個展

2022《曾經一顆石頭》窯座，臺中，臺灣

2022《消失的石頭》MVG， 于默爾，瑞典

2020《我想找一顆石頭》信任花園，臺北，臺灣

2020《隧道中的月亮》Pushkinskaya-10，聖彼得堡，俄羅斯

2018《樹是羽毛》鹽程黑白切，高雄，臺灣

■ 聯展

2022《奧伯曼山谷》藝非凡美術館，臺南，臺灣

2022《第五屆纖維創作獎》臺中市纖維工藝博物館，臺中，臺灣

2022《HEMLINGBY2》鯉魚藝廊，臺中，臺灣

2022《捲簾賣春色》107畫廊，臺中，臺灣

2021《First International Festival of Manuports》Art Hall Kohta，赫爾辛基，芬蘭

2021《當代藝術創作獎》國立臺北藝術大學地下美術館，臺北， 臺灣

2020《Expanded Cinema》Exhibition Laboratory，赫爾辛基，芬蘭

2019《16 square meters》TASKU GALLERY KUVATAIDEAKATEMIA，赫爾辛基，芬蘭

2019《雕刻五七五》沖繩藝術大學，沖繩，日本

2019《脆弱第二屆 Röbäck 雙年展 》Kulturmejeriet ， Röbäck ，瑞典

2019《「看見」城市空間 》關渡美術館，臺北，臺灣

2018《搬遷啟示》憲光二村，桃園，臺灣

2018《一 O 七年全國美術展》國立台灣美術館，臺中，臺灣

2018《美術課2.0雙年展》彰化藝術館，彰化，臺灣

2018《第八屆首爾國際雕塑節》藝術殿堂，首爾，韓國

2018《知音小吃部》國立臺北藝術大學地下美術館，臺北 ，臺灣

2018《貴子坑挖掘計畫》北投區秀山路85巷60弄1號，臺北， 臺灣

2017《逐工》青年公園園藝展覽館，臺北，臺灣

2016《美術課2.0》彰化縣立美術館，彰化，臺灣

2015《大葉大學第十八屆造形藝術系系展》大葉大學實習展場，彰化，臺灣

■ 網站

https://yiwen-chen.com

陳郁廷

■ 學歷

2017 墨爾本皇家理工學院 翻譯 深造文憑 ｜RMIT Graduate Certificate of Translating and Interpreting

2015 墨爾本蒙納許大學 藝術學系 榮譽學士 ( 相當於國內的碩士) ｜Monash University Bachelor (Honours ) of Fine Art

2012-2014 墨爾本蒙納許大學 藝術學系 學士 ｜Monash University Bachelor of Fine Art

2009-2011 墨爾本蒙納許大學 附設 美術與設計 專科 ｜Monash College- Art and Design Certificate

■ 獲獎

2014 Kodiak ART Prize, MADA Now 2014

2014 Trocadero ART Prize, MADA Now 2014

2015 Shortlisted in Hatched 15, Perth Institution of Contemporary Arts

2015 Shortlisted in The Royal Como Art Commission

■ 駐村

2016 Summer Studio, BLINDSIDE ARI, Melbourne

■ 個展

2020 Maps to the Sky II, MARS Gallery, Melbourne

2018 Maps to the Sky, West Projections Festival, Melbourne

2018 Force Exposure, Alternating Current Art Space, Melbourne

2017 Light Emerges ,2016 Taichung Light Festival, Taichung, Taiwan

2017 And the Shadow Splits into Two, Trocadero ARI, Melbourne

2016 The Light Pours out of Me, BLINDSIDE ARI, Melbourne

2015 Submergence, Rubicon ARI, Melbourne

2015 If A Touch could Kill. Runt Space, Monash University, Melbourne

2014 Little Drop of Poison, Runt Space, Monash University, Melbourne

2013 Blind, Link Wall Gallery, Monash University, Melbourne

■ 聯展

2020 Three, Cathedral Cabinet, Melbourne

2019 Earth Died Screaming, Hobart Biennale 19, Hobart

2019 From Becoming to Belonging, Rubicon ARI, Melbourne

2018 Unrepresented Artist, Haydens Gallery, Melbourne

2016 Play2 Burning Light, BLINDSIDE ARI presented in partnership with Federation Square and screened at the Big Screen as part of Fed TV, Melbourne

2016 Melbourne Central Art Loop, presented by MARS Gallery, Melbourne

2015 Feeling without Touching, Artmeet ARI, Bouverie Studios, Melbourne

2015 Lovers in the Parking Lot, Artmeet ARI, Level 7 Parking Lot, Corner of Little Bourke and
Russel St, Melbourne

2015 Two Lovers, Figment 2015 Cinema Screening, Geelong

2015 Bivouac 4, Neon Parlour, Melbourne

2015 NEWER 15, Trocadero Art Space, Melbourne

2014 Superfictions 1: The Art Fair Murders, Kings ARI, Melbourne

2014 One Hour Glass, Five Walls Projects, Melbourne

2014 Volatile, Link Wall Gallery, Monash University, Melbourne

2014 Spill, Tasma Gallery, Melbourne

2010 Home Studies Flunkies, 6a Gallery, Hobart, Tasmania

■ 網站

https://www.emilyyutingchen.com

彭思錡

■ 學歷

2017迄今 國立臺北藝術大學美術系碩士班創作組在學中

2017 國立臺北藝術大學美術學系

■ 個展

2021「微軀」，福利社FreeS Art Space，臺北，臺灣

2020「潮濕的縫」，众藝術，桃園，臺灣

■ 聯展

2022「南瀛獎得獎作品展」，新營文化中心，臺南，臺灣

2022「『視窗：蟲洞』 台灣瑞士交流展 on KUNSTSUFER 藝術彈窗！」，臺北數位藝術中心、Wartsaal Wipkingen，臺北、蘇黎士，臺灣、瑞士

2022「念念」，樸石藝術，臺中，臺灣

2022「寫景成詩—藝術家聯展」，索卡藝術．台北，臺北，臺灣

2022「台南藝術博覽會」，台南晶英酒店，臺南，臺灣

2022「藝術未來」，台北君悅酒店，台北，臺灣

2021「鄉關何處-藝術家駐創計畫成果展」，豐田大同戲院，花蓮，臺灣

2021「全國美術展」，國立臺灣美術館，臺中，臺灣

2021「疫情下的審思—生活中的停看聽」，永華市政中心文化櫥窗，臺南，臺灣

2021「Windows98—只是幾張嘴閒聊風景計畫」，只是光影，桃園，臺灣

2021「台中藝術博覽會」，台中日月千禧酒店，臺中，臺灣

2021「台南藝術博覽會」，香格里拉遠東國際大飯店，臺南，臺灣

2021「粉粉PIE．．．．書畫水墨的未來」，藝非凡美術館，臺南，臺灣

2020「意識的沙漏—第十三屆索卡好樣青年藝術家聯展」，索卡藝術‧台南，臺南，臺灣

2019「雕刻の五、七、五」，浦添市美術館、沖繩縣立藝術大學附屬圖書．藝術資料室，沖繩，日本

2019「複印的節奏–108年駐館特展」，臺北市藝文推廣處，臺北

2019「～～～：整船過河，漫波漫波」，淡水海關碼頭，新北

2019「四顆心的奉獻」，地下美術館，臺北

2018「只賣獨小獸的小店」，萊兒費可唱片，彰化

2018「第十二屆龍顏藝術創作獎巡迴展」，金石堂書店，臺北、臺中、臺南

2017「現實的分割實境 2017創作卓越獎」，關渡美術館，臺北

2017「引力x引信xˍ」臺北藝術大學102級美術系畢業展，地下美術館，臺北

2017「水墨傳統．未來世代」，未來．傳統實驗基地，臺北

2017「藝術新聲—十一校畢業生推薦展」，台中市大墩文化中心，台中

2016「維於度」臺北藝術大學第三十屆系展，地下美術館，臺北

2016「仙度莊計劃Ⅱ：想像的地理中心」，大舟造船廠，淡水八里，臺北

2016「楊祐丞、彭思錡、黃點點三人聯展」，臺北藝術大學美術系館南北藝廊二樓，臺北

■ 駐村

2021 鄉關何處藝術家駐創計畫，花蓮，臺灣

■ 獲獎/補助

2022 第26屆南瀛獎 空間與複合媒體類 類別獎

2021文化部－扶植青年藝術發展補助

2021 110年全國美術展 入選

2019 第二屆當代雕塑麗寶創作獎 入選

2018 第十二屆龍顏藝術創作獎

2017 美術創作卓越獎

2017 張光賓水墨獎學金

2017 止止盫水墨獎助學金

2016 黃君璧美術獎助金

■ 典藏

2021 〈承托〉，藝術銀行，臺中，臺灣

2018 〈睡好〉、〈紀念〉，龍顏基金會，臺北，臺灣

■ 網站

https://www.siqipeng.com/

吳道勳

收錄：開幕演出《迷霧之森》

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《Obermann》Letter IV

THIEL, July 19 (I)

I have been on to Iverdun; I have seen Neufchâtel, Bienne, and the vicinity. I am staying some days at Thiel on the frontier of Neufchâtel and Berne, At Lausanne I took one of those hired coaches which are so common in Switzerland. I did not fear the tediousness of a conveyance; I was too much taken up with my situation, my hopes so doubtful, the uncertain future, the present already useless, and the emptiness past all bearing which I find everywhere.

At IVERDUN.

I rejoiced for a moment to feel myself free and amidst scenes so lovely. I thought to find a better life among them, but I will confess to you that I am not satisfied. At Moudon, in the heart of the pays de Vaud, I asked myself: Should I lead a happy life in these places, so extolled and so sought after? But a profound weariness drove me onward immediately. Subsequently I chiefly to a depressing feature of the place. Moudon is well timbered and scenic, but then there is no lake. I decided to stay the night at Iverdun, thrusting by its shores to recover that sense of ease, intermingled with melancholy, which I prefer to gladness. The valley is beautiful, and the town one of the prettiest in Switzerland. But notwithstanding the loveliness of the day, I have found Iverdun sadder than Moudon. What manner of surroundings must I have?

At THIEL

I reached Vevey by way of Morat, and did not propose to make a stay here, but yesterday I was struck at my awakening by the most magnificent spectacle which morning can produce in a country, the characteristic charm of which is , notwithstanding, more pastoral than majestic. Hence I have been led to tarry here for a few days.

My window remained open all night, in accordance with my custom. Towards four in the morning I was aroused by the brightness of the dawn, and by the fragrance of new-mown hay, cut during the cool hours in the light of the moon. I expected some ordinary scene, and stood in amazement for a moment. The rains of the solstice had maintained the abundance of water previously accumulated by the well-spring of the snows of Jura. The space between the lake and Thiel was almost completely flooded the highest spots formed insulted pastures in the midst of these plains of water ridged by the cool morning wind. Far driven by the wind over the half-submerged shore might be seen by the waves of the lake. She-goats and cows led by their herdsman, drawing rustic sounds from his horn, passed at the moment along a tongue of dry land which remained between the flooded plain and Thiel. Stones placed at the most difficult points afforded or continued this kind of natural causeway. It was not possible to discern the grazing ground which these tractable beasts were destined to attain, and by their tardy and vacillating gait it might be thought that they were making for the lake to be submerged therein. The heights of Anet and the dense forests of Julemont rose from the breast of the waters like an island still wild and uninhabited. The mountainous chain of Vuilly skirted the lake on the verge of the horizon, Towards the south the expanse was prolonged behind the slopes of Montmirail; and beyond all these objects sixty leagues of aeonian ice imposed on the whole country the matchless grandeur of those bold features which constitute the sublime in scenery.

I took my dinner with the toll-collector, who was rather pleased with my humour. He is a man more inclined for smoking and drinking than for rancour, scheming and self-torment. I seem to tolerate in others some habits which I have no intention of adopting, They are a refuge from weariness; they help to fill up the time with-out the trouble of taking thought to fill it; they dispense one from many things that are worse, and in place of that repose of felicity which is seen on no face, they imprint at least that of a sufficing distraction which conciliates all, and is opposed only to the acquisitions of the mind.

I took the key with me in the evering, so that I could return late without being troubled as to time. The moon waters of Thiel. But feeling disposed for continued dreaming, and finding in the warmth of the night an excuse for passing the whole of it in the open air, I took the road to Saint-Blaise, leaving it at a little village, named Martin, which has the lake on the south, and descending a steep slope to recline on the sand, where the waves broke and expired. The air was serene, no veil of mist was visible on the lake. All things slept, some in forgefulness of their toils, other in that of their sorrows. The moon rose, I tarried a long time, and about morning it poured upon the earth and the waters the ineffable sadness of its last glories. Very grand seemed Nature when, amidst prolonged meditation, there was heard the roll of the waves the deserted shore. In the calm of a night still glowing and still enlightened by a dying moon.

Indescribable tenderness, charm and torture of our empty days; vast consciousness of a Nature which is everywhere overwhelming and everywhere inscrutable; universal passion, advanced wisdom, voluptuous abandonment: all that a mortal heart can hold of deep needs and deep weariness, all these did I feel, all pass through on that ineffaceable night. I took an ominous stride towards the age of decadence; I consumed ten years of my life. Happy is the simple man whose heart is for every young!

《Obermann》Letter LXIII

July (Eight Year)

It was midnight; the moon had set, the lake was restless, the sky clear, the night deep and lovely. Amidst the vagueness brooding over the earth might be heard the shivering of birches and the fall of poplar leaves; the pines gave forth wild murmurs; romantic sounds fell from the mountains; vast billows broke upon the strand. Presently the osprey began to cry among the cavernous rocks; as she finished the wave subsided and there was an austere silence.

Yet, amidst the restless quietude, at long intervals, the nightingale uttered her lonely, single, reiterated note, song of ecstatic nights; sublime rendering of a primeval melody; unspeakable outburst of love and sorrow; voluptuous as the want which consumes me; simple, mysterious, immense as the heart which loves.

Abandoned in a kind of funereal repose to the measured motion of those pale, mute, unceasing waves, I became permeated with that movement, so slow and unvaried, with that enduring peace, those sounds isolated in the long silence. Too beautiful seemed Nature, too soft, too sweet those waters, the earth and the night; the tranquil harmony of all things was too much for my perturbed heart. I dreamed of the springtide of the perishable world, and the springtide of my life. I beheld the years as they pass, sad and sterile, from the eternity of the future into the eternity of the lost. I beheld the present, always vain and never possessed, unlinking its indefinite chain from the vague future, bringing my death nearer, till it became visible, marshallingthrough the night the phantoms of my days, decreasing, dissolving them; overtaking the last shadow, devouring as indifferently that day which will have none to succeed it, and closing the mute abyss.

As if all men had not passed away, and all had not passed in vain! As if life were real and essentially existing! As if the perception of the universe were consciousness of a positive being, and the human ego more than the fortuitous expression of a transient combination! What would I? What am I? What do I ask Nature? Is it a universal needs? Does intelligence bring about those results for which my intelligence is looking? Every cause is hidden, each end deceptive. Every form changes, all duration slips away; and the agony of the insatiable heart is but the blind course of a meteor wandering in the void where it must be lost. Nothing is possessed as we anticipate, nothing known as it is. We percrive relations only, not essences. We do not make use of things, but of their images. Sought without us and impenetrable within us, Nature is dark everywhere. “I feel,” is the sole affirmation for him who would have truth only. And that which constitutes the certitude of my existence is also it torture. I do feel, I do exist, but it is to be consumed by unconquerable desires, to be plunged in the sorcery of a fantastic world, to be overwhelmed by its voluptuous deception.

《Childe Harold’s Pilgrimage.》Lord Byron

Could I embody and unbosom now That which is most within me, -could I wreak My thoughts upon expression, and thus throw soul, heart, mind, passions, feelings, strong or wreak, All that I would have sought, and all I seek, Bear, know, feel, and yet breathe-into one word, And that one word were Lighting, I would speak; But as it is, I live and die unheard, With a most voliceless thought, sheathing it as a sword.