此時此刻-Thaw 解凍 Pavel Jestřáb個展
所有生物的終結和自然的周期性,不可逆轉的人類死亡和世世代代重複的人類行為。 它相對的張力和不可分割的相互作用,這是Pavel Jestřáb(* 1979)創作的意識形態基礎。用充滿詩意、精準的藝術形式,他探討以習俗為話題,和儀式作為一個場域,兩種相互衝突的力量相交會。在2008-2009年的一系列憂鬱攝影作品中,他展示穿著民族服裝的人物僵硬地站在代表著破壞性的沼澤中。這是他第一次明確地定義基本的矛盾性。
持續地重複做一件事,這是用來慶祝死亡,反之亦然也是死亡的保護作用,這都是最終會引導去的方向。藝術家出神地觀看人類的世界和大自然的所有事物。照片中一匹孤獨的狼(2010-2012),牠不斷地繞著競爭對手,並企圖要爭奪對手的領導地位。身為一個雄性動物,雖然並沒有限制建立牠自己的狼群,但是牠從來沒有成功過。牠會是第二順位,被孤立地死去。藝術家在照片中放置一面鏡子,用來強調扭曲的事實、沒有用的追逐和徒勞無功。Jestřáb建立一個想像的鏡子來反映社會的現況,尤其是他檢視慶典和儀式,這些還存在斯洛伐克摩拉維亞的民俗傳統,這也是創作者的家鄉─捷克。這樣的個人經歷促使他運用照片和影片,在當代來突破民俗的傳統,特別是打破我們如何運用這些傳統的方式。在他的作品〈騙子〉(2011)、〈三聯畫〉(2011)和〈混亂〉(2012),他點出民俗儀式是空洞的,以及民俗傳統服裝及裝飾內容。
在國立台灣藝術大學書畫藝術學系交換學生時,他在作品中加入這些異國元素,像是捷克的傳統、儀式和家鄉習俗,這些都被混合在創作中,面對著來自遙遠國家的內容。像是捷克的風景被取代,或和異國的風景混合在一起。作品內容的層次擴張到自相矛盾和具有諷刺意味的連結。
這也是為什麼Jestřáb的作品並不是價值中立,但是他的作品追尋荒繆的情境,並突顯這些荒繆,以作品自身帶著諷刺性的語言來批判檢視。Jestřáb仍繼續找尋關於認同、宿命及自我探索的答案。
Finality of all living things and regular cyclicality of nature, irreversible human mortality and for generation repetitive human's action. Its opposing tensions and inseparable reciprocity
together, it is the ideological basis for the production of Pavel Jestřáb (*1979). In a poetic, formally precise way of art he develops a topic of custom and ritual as a place, where the two conflicting powers meet. In a series of melancholic photos from the years 2008–2009 he shows characters dressed in folk costumes standing stiffly in a swamp, which represents destruction. It is the first time that he distinctly defines the basic contradiction.
Continual repetitive doing, which celebrates death or–vice versa–is a protection from death and which ultimately leads to it. The artist watches with a fascination all these things in the world of humans as well as in nature. A lone wolf in the picture (2010–2012) which is constantly circling around the rival's pack and which is trying to get the rival's leadership
position, although there is no restriction for his own pack's establishment, for being an alpha male. He never succeeds, he will be second rate, secluded he perishes. The artist attaches to the picture a mirror that emphasizes the distorted reality, useless chase, futility.
Jestřáb sets up an imaginary mirror to the society especially in situations, when he examines ceremonies and rituals, which are still alive in the folklore traditions of the Moravian Slovakia–in the region of Czech republic, where the author comes from. This personal experience forces him, using pictures and videos, to break the role of folklore customs in a modern world and particularly to break the way how we use them today. In works Faquir
(2011), Triptych (2011) and Disorder (2012) he points out to emptiness of the ritual's, folk costume's and folk ornament's content.
From an internship at the National Taiwan University of Arts (Department of Chinese Painting and Calligraphy), exotic elements are brought into his work, where original Czech traditions, rituals and habits associated with home are mixed confronted with the contents of distant countries. The landscape of the Czech Republic is being replaced or mixed together with the exotic landscape. The contents layers are expanding to the new paradoxical and ironic connections.
That is why the Pavel Jestřáb's work is not value-neutral but it searches absurd situations to highlight them and critically reflect them using its own ironic language. Pavel Jestřáb is still looking for answers to questions about identity, predestination and stranger in ourselves.
持續地重複做一件事,這是用來慶祝死亡,反之亦然也是死亡的保護作用,這都是最終會引導去的方向。藝術家出神地觀看人類的世界和大自然的所有事物。照片中一匹孤獨的狼(2010-2012),牠不斷地繞著競爭對手,並企圖要爭奪對手的領導地位。身為一個雄性動物,雖然並沒有限制建立牠自己的狼群,但是牠從來沒有成功過。牠會是第二順位,被孤立地死去。藝術家在照片中放置一面鏡子,用來強調扭曲的事實、沒有用的追逐和徒勞無功。Jestřáb建立一個想像的鏡子來反映社會的現況,尤其是他檢視慶典和儀式,這些還存在斯洛伐克摩拉維亞的民俗傳統,這也是創作者的家鄉─捷克。這樣的個人經歷促使他運用照片和影片,在當代來突破民俗的傳統,特別是打破我們如何運用這些傳統的方式。在他的作品〈騙子〉(2011)、〈三聯畫〉(2011)和〈混亂〉(2012),他點出民俗儀式是空洞的,以及民俗傳統服裝及裝飾內容。
在國立台灣藝術大學書畫藝術學系交換學生時,他在作品中加入這些異國元素,像是捷克的傳統、儀式和家鄉習俗,這些都被混合在創作中,面對著來自遙遠國家的內容。像是捷克的風景被取代,或和異國的風景混合在一起。作品內容的層次擴張到自相矛盾和具有諷刺意味的連結。
這也是為什麼Jestřáb的作品並不是價值中立,但是他的作品追尋荒繆的情境,並突顯這些荒繆,以作品自身帶著諷刺性的語言來批判檢視。Jestřáb仍繼續找尋關於認同、宿命及自我探索的答案。
Finality of all living things and regular cyclicality of nature, irreversible human mortality and for generation repetitive human's action. Its opposing tensions and inseparable reciprocity
together, it is the ideological basis for the production of Pavel Jestřáb (*1979). In a poetic, formally precise way of art he develops a topic of custom and ritual as a place, where the two conflicting powers meet. In a series of melancholic photos from the years 2008–2009 he shows characters dressed in folk costumes standing stiffly in a swamp, which represents destruction. It is the first time that he distinctly defines the basic contradiction.
Continual repetitive doing, which celebrates death or–vice versa–is a protection from death and which ultimately leads to it. The artist watches with a fascination all these things in the world of humans as well as in nature. A lone wolf in the picture (2010–2012) which is constantly circling around the rival's pack and which is trying to get the rival's leadership
position, although there is no restriction for his own pack's establishment, for being an alpha male. He never succeeds, he will be second rate, secluded he perishes. The artist attaches to the picture a mirror that emphasizes the distorted reality, useless chase, futility.
Jestřáb sets up an imaginary mirror to the society especially in situations, when he examines ceremonies and rituals, which are still alive in the folklore traditions of the Moravian Slovakia–in the region of Czech republic, where the author comes from. This personal experience forces him, using pictures and videos, to break the role of folklore customs in a modern world and particularly to break the way how we use them today. In works Faquir
(2011), Triptych (2011) and Disorder (2012) he points out to emptiness of the ritual's, folk costume's and folk ornament's content.
From an internship at the National Taiwan University of Arts (Department of Chinese Painting and Calligraphy), exotic elements are brought into his work, where original Czech traditions, rituals and habits associated with home are mixed confronted with the contents of distant countries. The landscape of the Czech Republic is being replaced or mixed together with the exotic landscape. The contents layers are expanding to the new paradoxical and ironic connections.
That is why the Pavel Jestřáb's work is not value-neutral but it searches absurd situations to highlight them and critically reflect them using its own ironic language. Pavel Jestřáb is still looking for answers to questions about identity, predestination and stranger in ourselves.
EXTENSION | 2019.04.27(SAT) ~ 2019.06.16(SUN)
OPENING RECEPTION | 2019.05.025(SAT)
ARTIST DIALOGUE | 2019.05.025(SAT) 14 :00 | Pavel Jestřáb
OPENING RECEPTION | 2019.05.025(SAT)
ARTIST DIALOGUE | 2019.05.025(SAT) 14 :00 | Pavel Jestřáb