藝文專區

生活中的黑色幽默 ─ 張群專訪 ● 你好藝術 Zhangqun Interview

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  • 採訪|黃雅旋

    攝影|Anew Chen / 黃雅旋

    2019-04-18

     

     

    第一次看到張群,給人的印象是很安靜的女孩,總是若有所思,講話很慢,後來才知道她的大腦其實在轉化她所看到的物件,還有思考如何表達。

     

    大學時期,張群在藝廊打工接觸到藝術的世界,發現比起設計,她對藝術有更多的興趣,因此畢業後,她前往阿姆斯特丹瑞特菲爾德藝術學院(Gerrit Rietveld Academie, Amsterdam)讀書,進入Jewellery領域(現更名為Jewellery Linking-body),開啟工藝創作之路,除了學會了基本工藝技術,更多時候是在探討東西與人與空間之間的關係。

     

    2017年,張群回到台灣,短暫的咖啡廳工作,卻隱藏不了創作的慾望,因此在朋友介紹之下,張群成為了駐村新鮮人。『我也想試試看可不可以走這條路,試過才知道,要不然會對不起自己!』張群邊縫著刺子繡,邊說道。 

     

    When I met her for the first time, Zhangqun left me with an impression of a slow talking, peaceful girl who is lost in her thoughts. I later revamped my opinion having realized that her mind was in fact in the middle of transforming everything it saw.

     

    Having worked in an art gallery during the university, and thus in contact with the art world, Zhangqun discovered that she is more into arts than design.

     

    Proceeding to study in the Jewellery program of the Gerrit Rietveld Academie in Amsterdam (now called: Jewellery Linking-body), apart from learning the basic techniques of craft-working on her road to arts, a great deal of her time was spent on investigating the relationships among objects, people and spaces.

     

    Zhangqun returned to Taiwan in 2017. Working in a cafe for a brief while could not hinder her desire towards arts, and for that reason she became a resident artist via introduction from a friend.

     

    ”I too wanted to try out this path, which you can know for sure only once you have tried it, and not trying it might lead you to feel sorry afterwards”. She now sews a seam while she talks.

     

    刺子繡是張群近期嘗試的創作,從一開始牛仔布到紙張上的縫合,未來也許會繼續發展成創作一部份。

     

     

    實驗家精神:如果a換成b,或是a加上b?

    Experimentalist Spirit: Whether to Replace A by B, or to Add One to Another

     

    對於張群而言,她最喜歡摸索動力裝置、工業設計等零件,這些看似冰冷的裝置卻強烈引起她的好奇心,比起金工藝術家,張群笑說也許更適合被稱為『零件觀察者』,金工是創作的一種技法,而把玩零件、拆解零件,相較之下更是她常在做的事情。

     

    『我常常在路上發呆,對很多事物充滿疑惑,像是這個東西怎麼是這樣運作?那是不是有其他東西也是這樣?如果換個方式也可以運作嗎?』而這樣的想法,正是張群的創作靈感。

     

    儘管這樣的創作靈感常常蹦出來,但實際到動手嘗試,甚至是完成出一件滿意的作品,都需要花費不少時間。每次的創作,張群都像是個實驗家,從一開始的構想出發,尋找零件,組裝零件,再修正,不斷不斷地嘗試與記錄,最後失敗的作品也不計其數。而這樣的過程,張群也樂在其中。

     

    翻開她的筆記本,全英文書寫,密密麻麻的文字記錄著靈感及心情。對她而言,紙張乘載著所見所想,而它的「易取得」以及「脆弱卻可以很堅韌」的特性,更讓它成為張群創作上很重要的夥伴。

     

    Fiddling with power systems, industrial designs and other such components is Zhangqun´s favorite thing to do. These seemingly cold mechanisms cause immense curiosity in her. Rather than being a metalwork artist, Zhangqun jokes about being better described as a ”component observer”, for, while metalworking is a technique for creating, what she does instead is taking apart components and plays around with them.

     

    ”When on my way to somewhere, I often feel amazed by the amount of uncertainty there exists in relation to objects; like how come this thing functions like that. Are there also other things like it? If it becomes altered, will it still work?”This kind of thinking is the inspiration behind Zhangqun´s creativity.

     

    Even when frequented by those kinds of spur-of-the-moment inspirations, to come up with something handheld, let alone a complete work of satisfactory level, takes its toll in terms of time, for Zhangqun is an experimenter: from starting off with an idea to finding, assembling and adjusting the components, the testing and taking notes never ceases, not even when there have been countless of failed works looming in the end.

     

    In midst of such a process, she is happy.

     

    Opening her notebook reveals the myriads of words describing the inspirations and moods in English. Firm, yet fragile paper, which is found readily available, conveys everything she sees and thinks, as if an important partner to her art.

     

    以紙張為基底,嘗試不一樣的材質轉換:(左)金屬質感;(右)棉質質感

     

     

    深刻詼諧的黑色幽默

    Profoundly Whimsical Black Humor

     

    走入張群工作室,很簡單,卻也擁有了創作必需的工具,正如張群本人一樣,話不多,但對於創作有她獨特的想法。

     

    Apart from the necessary tools, one notices Zhangqun´s workshop to be rudimentary, and like its owner, not explaining much, but yet possessing a unique presence to it.

     

    作品分享〈LSD〉 

    愛情、生病、墳墓,從門板鉸鏈一開始的發想,將兩片銀片結合,銀片摩擦之間,正如人生經歷,持續磨損著。

     

    Work Introduction: LSD

    Love, sickness and death. Thoughts arisen from a door-hinge led to a combination of two silver pieces which chafe in liaison with the continuous wear and tear caused by life itself.

     

     

     

    作品分享〈Apinch〉

    一根鐵釘插入寫有情書的紙張,作為一件胸針飾品,再用力一些,鐵釘似乎會扎入胸口,當你做好體驗心痛的感受,用力一按,中間的彈簧巧妙的讓鐵釘彈開。

     

    Work Introduction: Apinch

    Acting as a brooch jewel, an iron nail is pierced through a letter of affection, as if struck to one´s chest and being responsible for the past feelings of pain. Exert further force and the spring in the middle makes the nail pop free. 

     

     

    作品分享〈捕鼠夾〉

    包裝蓋上的操作圖示引導顧客如何將商品打開,就像是在告訴人們如何傷害自己。以捕鼠夾造型作為衣夾,上頭的警告危險標誌,提醒如果按照指示旋轉鐵片,就會讓自己受到傷害。 

     

    Work Introduction:〈捕鼠夾〉(Mousetrap)

    An illustration on the package lid guides customers how to open the product, as if to inform people how to hurt themselves. A mousetrap which operates as a clothespin comes with a warning though: if the metal plate is turned according to the instructions, it is possible to hurt yourself.

     

    看著張群的作品,每一件都是那樣的迷你,聽她分享把玩的同時,可以看見眼神散發的光芒,感受到她對於每件作品的專注及投入。

     

    這些作品來自於不同狀態的張群,她將自己的情緒注入於創作之中,也許傷心、也許感慨,但最終卻是以幽默的方式呈現。張群緩緩說道:『其實我創作常常是為了解決自己的一些難題,但這同時,也會想說那這樣的作品會帶給大家什麼?帶給世界什麼?』這樣的精神,正如同卡繆針對《薛西弗斯神話》所寫下的哲學隨筆——儘管世界有的是永無止盡的荒謬性,但在這過程中,活在每個當下,並在生活中創造意義,便已足矣。

     

    接下來一年,張群希望能更專注於創作,過去荷蘭唸書時期,想摸索的東西太多,一直沒有一個明確的方向,希望藉由駐村的機會,更長期穩定的進入創作狀態,藉由環境與人的刺激,能為自己找到更清楚的定位,未來如果有機會,也希望可以持續進修、持續成長。

     

    訪談結束,別於一開始安靜、說話很慢的印象,眼前的張群,臉上多了許多分的堅毅與自信。

     

    Looking at Zhangqun´s works, which all are tiny, and listening to her go on about, one can see the radiance emitting from her eyes that tells about the devotion she puts into every work of hers.

     

    These works originate from the different states Zhangqun is in, as her own feelings are part of the art work, whether it be, perhaps, feeling brokenhearted or lamenting. Ultimately though, what emerges is humor.

     

    She is calm to explain: ”Even though my art often reflects my own conundrums, it also makes me think about what can this kind of work bring to others – what can it bring to the world”.

     

    This kind of spirit resembles Albert Camus´ philosophical essay The Myth of Sisyphus; even if the world is about never-ending ridiculousness, the process in which life exists in every moment, and the significance thereof, is sufficient in its own right.

     

    In the coming year, Zhangqun wishes to devote herself more to arts since her time spent in the Netherlands turned out to have had too many things going on, lacking a clear direction of focus. From the artist residency she wishes to have a longer and more steady entrance to the arts affairs in accordance with the stimulating people and scenes that allow one to better find one´s stable footing. And given the chance, she hopes to keep on studying and becoming more mature.

     

    Slow-paced Zhangqun, who had a nonchalant composure in the beginning of the interview was now seemingly expressive of determination and confidence.

     

     

     

     

    張群 簡歷

    2011 藝術與造型設計, 國立台北教育大學 

    2017 Jewellery, Gerrit Rietveld Academie, Amsterdam

     

     

    2015 Object Rotterdam, Rotterdam

    2015 Wander&Wonder, Oude Kerk, Amsterdam

    2015 Tides of Landscape, Rietveld Pavilion, Amsterdam

    2016 Big Fish, Schmuck Jewellery Week, Munich

    2017 Graduation Show, Rietvled Academie, Amsterdam

    2018 Sometimes, Lonnekerspoorlaan, Enschede