巴梅莉
MARIA BARBAN
透過90後年輕世代的眼球觀察、捕捉並闡述當代社會中的各種既短暫且快速的怪誕、群聚現象、 熱潮與簇擁。資本主義影響這個社會已超過一個世紀,透過消費行為製造出一後天的環境,然 而對人類而言卻成為一種先天的自然。人類社會不再正視全球社會處於何種造作的狀態,而轉 將自己的眼界限縮到個人身上,成為一個個透過消費行為而成為資本主義的載體,我們跟隨著 社會腳步,積極的想前往「烏托邦」這個看似越來越進步,越來越自由的理想國度,卻在途中 變得越來越造作。
相較於「賽博龐克(Cyberpunk)」對於資本、體制與科技加速主義的積極對抗,90後年輕 世代則透過眼球的觀看,採取消極無為作為一種對抗的步伐,將全球資本主義的各種荒誕現象 風格化成暈染、致幻、萎麋、浪漫、泡沫的姿態,呈現屬於年輕世代的幻滅,幻滅與幻生作為 一體兩面,渾囤的藝術則是為了向未來世界清楚提問,滯緩的態度則是為了反思進化,利用藝 術作為提取物,研磨成粉末,再摻上一點點迷幻,讓人意識癱軟抽離則是為了讓思維更清晰。
隨著科技的進步,年輕世代的眼球將帶來不同的觀看方式,雜揉著消極無為作為抵抗的步伐, 帶出總體年輕世代的困頓與對世界的解讀,透過眼球鏡射、內部運作、交互生產與化學作用, 直指此時此刻全體人類正面臨的一切可見或不可見的面貌或問題性,反應出屬於年輕世代對人 類世與資本世的指涉。
徘徊在每件創作中的角色−「娃娃頭」,它的誕生來自我對自己的種族身份認同而展開。混血兒 的身份總是成為他人貼予我的標籤,一旦被標籤,便築起一道我者與他者的高牆。我永遠成為 他們的他者,以一種外來的介入而存在著。娃娃頭成為一個「他人的他者」,是藝術家的自己, 也同時指設所有人都身處其中,大家都是這個時代下的與受害者,卻也是受益人。在2019年 開始的系列作品中,娃娃頭存在的目的與以往不同,雖然同樣為自我的替身,但在這裡它是這 個復古未來舞台裡的主人公,它與畫面中的其他人物角色是支配者與服從者的關係,像是 1984裡面老大哥的角色,無處不在的監看控管著這個世界。
Through the eyes of the post-90s young generation, I observe, capture, and explain the various short-lived and strange, group phenomena, crazes and crowds in contemporary society. Capitalism has influenced this society for more than a century, creating an acquired environment through consumer behavior, but it has become an unnatural situation for humans. Human society no longer looks squarely at the contrived state of the global society, but instead narrows its own eyes to individuals and has become a carrier of capitalism through consumer behavior. We follow the steps of society and actively want to create " "Utopia," a place that seems to be more and more progressive and freer, yet is becoming more and more artificial.
Compared with Cyberpunk ’s active confrontation against capital, system and technological acceleration, the post-90s youth generation has taken to passive observation as a countermeasure toward capitalism, and has transformed the its global absurdities. This phenomenon is stylized in my art as psychedelic, surreal, and fantastic, presenting the disillusionment of the younger generation.
With the advancement of science and technology, the eyes of the younger generations will bring different ways of watching, mixing the steps of passive resistance, bringing out the distress of the younger generation and its interpretation of the world. Through our eyes and hands we create models of the problems faced by all human beings at this moment.
The unique figure that lingers in each creation-「doll head」, comes from my ethnic identity. The identity of the mulatto is always a label that others have attached to me. Once it is labeled, it builds a high wall between myself and others. I will always be the other to them. The doll head becomes an outsider figure, which is the artist. At the same time, it means that the external observer is also represented by the doll head. Everyone is a victim of this era, but also a beneficiary. Starting in 2019, the purpose of the doll head has evolved. Although it is a stand-in for the external self, now it is also the protagonist of my retro-future stage. It is the dominant figure and the other characters in the picture are in an obedient relationship, like the role of Big Brother in the novel 1984, which monitors and controls the world.