Biographical note

羅仕東關注於社會中日常可見的特殊紋理,將其視為如班雅明論述中的碎片,折射、反映一完整的結構、世界。作品作為活的文件,試圖誘發詢問與思考、移動與轉換的特殊訊息。

其創作並不限於特定媒材或方式,繪畫、攝影、表演行為、聲音、影像、裝置、事件,皆作為具體的形與物,以及將之投擲於公共領域後的折射與回響。

從創作與社區、觀眾的交互過程中,將零碎的、間隙的、遺忘的歷史層積和記憶深處重構或甚至虛構;尋訪當代社會中關於身分、家、故鄉、城市 -即那些關於我們已經遺忘許久,不可見的幽黯鬼魂。

Lo Shih-Tung regard the special textures present in our daily life, seeing them as in Walter Benjamin’s discourse, fragments and reflection of a complete structure, a whole world. My works are organic documents attempting to inquire and contemplate ever-changing warped messages.

Painting, photography, performance, audio/ video, installation, happenings can all be part of a creation thrown to public arenas awakening its refraction and feedback.

Through the process of creating and interacting with spectators and communities, the fragmented, fissured, and forgotten history can be restored or even fictionalized. It is about seeking one’s identity, residence, hometown, and city; those long forgotten, unseen ghosts.

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Oct 3, 2011

不合時宜 / Out of Place





Out of Place was the artist’s solo exhibition in a vacant house (The village decided to covert it into 
future storage.) during his residency in Treasure Hill Artist Village. The content of exhibition then changed through time. 

At first, Shih-Tung Lo made use of old door, windows, furniture, and objects found during the village’s renovation, and turned them into an installation piece. Gradually, the artists would subtly shuffle the placement of the objects. Through the act of gradual installation/ placement, the artist attempts to convey resource sharing among a community on behavioral level, and the simulated decay and aging process of objects.

不合時宜為寶藏巖駐村期間於村內一空屋(藝術村決議規劃為儲藏用倉庫)的個展。這個展覽隨著時間的遞移,展覽內容也如潮汐般地出現了漸層式的更迭。

首先,羅仕東援用寶藏巖在大幅重建時期所留下來的舊門、舊窗、舊家具、舊物品,進行一個裝置/安置。過了一段時間,等到物品在房子找到了各自所屬的地位與慣性之後,再漸進式(每一天微調更迭)地進行整理/裝置的行動。

透過循序漸進式的裝置/安置,試圖闡述資源在人類社群之分享行為層面,也在時序上模擬事物老舊、衰頹的程序。





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