地上放置一個白色大瓷盤（直徑42 cm），藉由上方的投影機投影一條金魚在此白盤中，虛像猶如實境，藉由極具東方符號的圓形、瓷盤及金魚，象徵著自身存在的現實及困境，金魚自在的優游於瓷盤中，只不過永遠也游不出瓷盤。

 

A projector mounted overhead casts an image of a goldfish on a 42 centimeter white dish placed on the floor and creates a virtual image of a fish swimming in a pool. The work relies on the circle, porcelain dish and a goldfish, all prominent symbols in the East, to suggest the reality of existence and its difficulties. The fish leisurely swims around the dish, but can never escape its confines.

255 x 320 cm ／ 120 x 150 cm

年代:     

2002   

作品介紹: 

本系列作品使用傳統4x5相機在同一個點（景），前後2個月不同時間俯瞰拍攝臺北西門町近200多張影像；利用每一張沒有人車的局部，經由電腦像是拼圖一般完成一張看不出破綻的攝影作品。一張看似繁榮的市區，午後的光線，店面都以開張的情形下，沒有一輛車或人，甚至連停放的車輛都沒有，一個徹底寂靜卻又似乎正常運作的城市。這已不是一張我們平常所認知的攝影作品，它使用了200多張不同時間拍攝的影像重疊在同一個平面上，一張攝影裡聚集了200多個不同時間的碎片，或者說聚集了200多個不同時間的「此曾在」於「一時」。  

The series consists of close to 200 birds  ’ eye-view photographs taken with a traditional 4x5 camera, capturing the same spot (place) throughout the span of two months in Taipei’s Ximen District. A seamless collage is then compiled together digitally using partial images that are without people or vehicles from different photographs. The result is a photograph of a bustling urban area in an afternoon, and with storefronts open for business, the place is, however, without any cars or people, not even a parked vehicle is in sight. It shows a city that is completely quiet and still, but also seems to be functioning, normally. An unconventional photograph, the artwork is a composite of over 200 images taken at different times; it is a photograph composed with over 200 fragments of different temporal segments. Or perhaps, it shows a “that-has-been” at a single moment in time by compiling together over 200 different segments of time.

 

 

      

 

代表作品三

棲居如詩  ／ Dwelling

媒材:

錄像裝置／Video Installation    

時間: 

5’00”無縫循環播放／5’00”Seamless Loop  

    

年代: 

2014  

作品介紹: 

擬造再日常不過的「棲居如詩」景象，袁廣鳴以一種預警式的微觀，放大了無預警的爆發，迫使觀者目睹一場幾乎使人魂飛魄散的災難危機。再反諷不過的是，「棲居如詩」一點也不如詩，而是無情的滅絕。似這般再也抑制不住的心理或精神潰堤，同樣也在此次袁廣鳴個展中其他幾件新作中展露無疑。在「不舒適的明日」的展名之下，他幾乎是以開門見山的方式，直指不樂觀的當下，甚至不無情緒。而且，就在《指向》和《預言》二作當中，他罕見地以直白的身體語言，表達了對當前政治環境與社會現實的不悅。    

王嘉驥《並不如詩的栖居─袁廣鳴「不舒適的明日」個展》（節錄），2014。                                                                                                                                                                                      

In recreating a common scene of “poetic dwelling,” Yuan gives a microcosmic warning, magnifying the unforeseen explosion, and forcing the viewer to witness a catastrophe. The irony is that there is nothing poetic in the “poetic dwelling” but ruthless extermination. This inevitable mental breakdown unfolds in his other new pieces. With the exhibition title “An Uncanny Tomorrow,” Yuan undoubtedly refers to the bleak present, even with indignation. Furthermore, in works Indication (2014) and Prophecy (2014), Yuan unusually expresses his discontent with the present political climate and status quo in Taiwan with straightforward body language.

 

Chia Chi Jason WANG, ...Unpoetically We Dwell...Yuan Goang-Ming “An Uncanny Tomorrow” Solo Exhibition (Excerpt), 2014.