調和內容與形式:紐約當代藝術家Bundith Phunsombatlert與媒體考古學

2022/10/27 創意設計 設計常識 黑秀人物 徐思穎 圖/ Bundith Phunsombatlert

創作時,內容與形式該如何把控?一起來看紐約當代藝術家Bundith Phunsombatlert的作品吧!

 

Bundith Phunsombatlert

Tropical Pavilion, Brooklyn Botanic Garden, Summer 2022
Tropical Pavilion, Brooklyn Botanic Garden, Summer 2022

 

Bundith Phunsombatlert,出生泰國的藝術家。大學、碩士畢業於泰國希拉巴公功(Silpakorn)藝術大學(Printmaking)並獲得美國羅德島設計學院(Rhode Island School of Design)藝術創作碩士學位(Digital+Media)。展覽見於紐約Bronx Museum of the Arts、Katonah Museum of Art; 紐西蘭Auckland Triennia; 泰國國家藝廊(National Gallery);澳洲Asia Pacific Triennial of Contemporary Art等地,目前定居紐約。

 

Bundith Phunsombatlert與媒體考古學

Bundith Phunsombatlert的創作方式並不是「信手捻來」或「肆意揮灑」的那種,他試圖進入個體、群體以及他(她)們所代表的文化背景,將人的思考與感受融匯成獨特的藝術表達,這樣創作脈絡根源於媒體考古學(Media archeology):藝術作品探討了當代科技與舊媒體的關係及其文化意涵,藉由兩者的討論,賦予日常體驗新的意義。Bundith Phunsombatlert認為所謂的「新」不僅是與日俱進的科技,還來自於對傳統事物的重新解釋,而「考古」的意義則建構在詳細的議題研究上,透過訪談、文獻資料整理挖掘文本

My projects explore the concept of media archeology. Through various forms of media, the artworks examine how contemporary technology can connect to past forms of media and their historical contexts, and subtly imbue everyday experiences with new layers of meaning.

 

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趣味互動:曼谷-城市故事

《曼谷:城市故事》(Bangkok: The Story of a City)用有趣的手法來談知識系統的改變,Bundith Phunsombatlert認為「曼谷」的概念是不斷推陳出新的,他將「書」與俄羅斯方塊(某種遊戲)聯繫在一起,當書被移走時,上下左右的書會互相替換、變化,同時發出書本碰撞、掉落的聲音,就像破舊建築中傾倒的磚瓦一樣,意味城市的文化系統正在發生變化。書的影像來自於曼谷朱拉隆功( Chulalongkorn University)圖書館和曼谷國家圖書館(National Library)。

In the exhibition space, a library scene is recreated in which books about the city are categorized under the keyword “Bangkok“, and lie amidst the usual library paraphernalia. Original images and sounds from the libraries are edited and dramatized to achieve a new effect. For example, the crashing sound of books falling on one another when being removed suggests the collapse of bricks in a dilapidated building—evidence of a changing cityscape. One can contemplate the perspective from which the author describes the city, and later, the viewpoint from which the audience witnesses and responds to the installation.

 

Bangkok: The Story of A City, 2005-2006/2012, 3 sets of screens, computers, sound amplifiers and loudspeakers, usual library paraphernalia comprises mobile steps, trolleys, books on Bangkok and its People and List of 766 books written on Bangkok in Thai and 244 in English, Site-specific installation. ©Bundith Phunsombatlert
Bangkok: The Story of A City, 2005-2006/2012, 3 sets of screens, computers, sound amplifiers and loudspeakers, usual library paraphernalia comprises mobile steps, trolleys, books on Bangkok and its People and List of 766 books written on Bangkok in Thai and 244 in English, Site-specific installation. ©Bundith Phunsombatlert
Bangkok: The Story of A City (Detail), 2005-2006/2012,
3 sets of screens, computers, sound amplifiers and loudspeakers, usual library paraphernalia comprises mobile steps, trolleys, books on Bangkok and its People and List of 766 books written on Bangkok in Thai and 244 in English, Site-specific installation. ©Bundith Phunsombatlert
Bangkok: The Story of A City (Detail), 2005-2006/2012,
3 sets of screens, computers, sound amplifiers and loudspeakers, usual library paraphernalia comprises mobile steps, trolleys, books on Bangkok and its People and List of 766 books written on Bangkok in Thai and 244 in English, Site-specific installation. ©Bundith Phunsombatlert

 

改變意義

《幻象之徑:幻象與虛擬的探索》(Path of Illusion – Exploring Illusion and Virtual),靈感來自於曼谷大皇宮廣場(Sa-Nam-Luang)的路燈,這個場地聚集了泰國所有的社會階層,象徵著國家的縮影。根據消失點,他將路燈設計成五種高度,展覽時透過排列塑造景深,讓人有種置身街道的錯覺,燈下圍繞著無限輪迴的鍵盤,參與者可以在鍵盤上自由輸入字句,而這些訊息將燈柱上以廣告跑馬燈的形式閃現。「燈」在傳統意義是照亮、明亮,但跑馬燈的閃光燈卻象徵消費社會中無孔不入的信息,而這些訊息來自於他者的意念,不時出現在我們生活中。

 

創作手稿Path of Illusion (Project Plan), 2002, Digital drawing, 8.25 x 11.75 inches (each). ©Bundith Phunsombatlert
創作手稿Path of Illusion (Project Plan), 2002, Digital drawing, 8.25 x 11.75 inches (each). ©Bundith Phunsombatlert
不同高度的燈柱,具透視效果 Path of Illusion, 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system,
Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
不同高度的燈柱,具透視效果 Path of Illusion, 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system,
Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert

 

While a series of five sets of lamp posts at varied heights are set in a tapered line create an illusion in visual art form, virtual digital messages appear in the lamp bulbs in English or Thai, exploring the definition of ‘virtual in digital media.’ The project also examines the notion of ‘virtual’ in the history of art, using multiple sculptures, moving images, and digital media.

 

燈柱下的鍵盤 Path of Illusion (Detail), 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system, Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
燈柱下的鍵盤 Path of Illusion (Detail), 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system, Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
參觀者可以在鍵盤上自由輸入文字 Path of Illusion (Installation View),
2002-2004,
Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system,
Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
參觀者可以在鍵盤上自由輸入文字 Path of Illusion (Installation View),
2002-2004,
Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system,
Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
輸入的文字會以跑馬燈的方式呈現 Path of Illusion (Installation View), 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system, Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
輸入的文字會以跑馬燈的方式呈現 Path of Illusion (Installation View), 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system, Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
展覽現場 Path of Illusion (Installation View), 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system, Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert
展覽現場 Path of Illusion (Installation View), 2002-2004, Fiberglass, aluminum pipes, LED light, motor, computer keyboard in Thai and English, and electronic control system, Five different sizes of lamp posts: 100 x 28 x 28, 85 x 24 x 24, 70 x 20 x 20, 55 x 16 x 16, 40 x 12 x 12 inches. ©Bundith Phunsombatlert

 

非書之書:換一個描述

Bundith Phunsombatlert 把自己2007年上英語課的經驗轉化成作品《英語課(我們互相學習到的東西)》(English Lesson (Something We Learn From One Another) 。他將同學們的背景、當下的想法、對未來的願景集結成冊,以動畫、影片重置成一本新的「新英語課程」教科書。

Collaborating with the teacher, Ms. Andetrie Smith, my classmates and I employed proverbs, idioms, and aspects of American culture picked up in the classroom. This project aims to capture the essence of their stories: the beautiful past memories, what lives in their minds in the present, and their hopes for the future. The resulting narrative collection, existing as both book and animated video, is what I call “new English lessons,” something quite different from those in Standard English textbooks.

 

English Lesson (Something We Learn from One Another), 2007, Digital print and drawing on paper, synchronization of 2 videos on 2 sets of small TV monitors and a headphone (each), 5 minutes approximately (each), Page size: 15 x 11 x 2 inches (each). ©Bundith Phunsombatlert
English Lesson (Something We Learn from One Another), 2007, Digital print and drawing on paper, synchronization of 2 videos on 2 sets of small TV monitors and a headphone (each), 5 minutes approximately (each), Page size: 15 x 11 x 2 inches (each). ©Bundith Phunsombatlert
English Lesson (Something We Learn from One Another) (Detail), 2007, Digital print and drawing on paper, synchronization of 2 videos on 2 sets of small TV monitors and a headphone (each), 5 minutes approximately (each),
Page size: 15 x 11 x 2 inches (each). ©Bundith Phunsombatlert
English Lesson (Something We Learn from One Another) (Detail), 2007, Digital print and drawing on paper, synchronization of 2 videos on 2 sets of small TV monitors and a headphone (each), 5 minutes approximately (each),
Page size: 15 x 11 x 2 inches (each). ©Bundith Phunsombatlert

 

藍色三部曲:思考中的點、線、面

與Bundith Phunsombatlert交談的過程中,能感覺到他對細節的要求,創作的順序、形式必須其來有自,但我認為這些理性背後深藏的,是來自於生活的觸動,他提到兒時在泰國的成長經歷,母親在花園修剪草木的記憶伴他飄洋過海來到美國。他常去紐約布魯克林的植物園,在溫室觀察熱帶林區的植物,熱帶雨林涵蓋了南美、中非、東南亞和加勒比群島,他將這個概念延伸成作品《藍色陽光花園:從加勒比海到布魯克林的故事》(Sunny Garden in Blue: Stories from the Caribbean To Brooklyn),訪談了同樣來自熱帶地區的加勒比海的移民,結合氰版攝影技術,編寫了一本關於移民、植物記憶與生活感受的藍色故事集。從個人經驗、移民群體出發,他接著創作了《重新對話:藍色碎片與青花瓷》(Returning Dialogue: Fragments of Blue and White Porcelain),探索移民、植物與瓷器流通的歷史關係; 《跨越國界:蒼芎之下》(Crossing the Border: Beneath the Blue Sky)將代表國家精神的旗幟,透過氰版轉譯成新的文化符號,象徵天空般無邊無界的理想世界。

 

Sunny Garden in Blue: Stories from the Caribbean to Brooklyn (Installation View of 6 Stories from the total of 28 stories),
2018- (Ongoing),
Archival digital and cyanotype versions, Book Size: 2 pages per story, 14 1/4 x 20 inches (each page). Image courtesy of Wave Hill. Photo: Stefan Hagen.
Sunny Garden in Blue: Stories from the Caribbean to Brooklyn (Installation View of 6 Stories from the total of 28 stories),
2018- (Ongoing),
Archival digital and cyanotype versions, Book Size: 2 pages per story, 14 1/4 x 20 inches (each page). Image courtesy of Wave Hill. Photo: Stefan Hagen.
研究美國博物館的收藏,作者發現人與植物的遷移來自鐵路發展、日本擴張、奴隸貿易,他將移民歷史和青花瓷的媒體藝術技術交織在一起,青花瓷碎片作為一種非殖民化傳統檔案的方式,這些檔案對人類和植物進行分類和記錄 Returning Dialogue: Fragments of Blue and White Porcelain (Transatlantic Slave Trade Series),
2019- ,
Digital printing transfers on porcelain (Overlaid illustration of callaloo referencing a plant widely grown in Africa, introduced to the Caribbean as a culinary dish by enslaved Africans through the transatlantic slave trade, on porcelain fragments no. 1, 5, 10, 11, and 12), Archival box: 16 x 27 x 2 inches. ©Bundith Phunsombatlert
研究美國博物館的收藏,作者發現人與植物的遷移來自鐵路發展、日本擴張、奴隸貿易,他將移民歷史和青花瓷的媒體藝術技術交織在一起,青花瓷碎片作為一種非殖民化傳統檔案的方式,這些檔案對人類和植物進行分類和記錄 Returning Dialogue: Fragments of Blue and White Porcelain (Transatlantic Slave Trade Series),
2019- ,
Digital printing transfers on porcelain (Overlaid illustration of callaloo referencing a plant widely grown in Africa, introduced to the Caribbean as a culinary dish by enslaved Africans through the transatlantic slave trade, on porcelain fragments no. 1, 5, 10, 11, and 12), Archival box: 16 x 27 x 2 inches. ©Bundith Phunsombatlert
Returning Dialogue: Fragments of Blue and White Porcelain (Southeast Asia Series), 2019- , Digital printing transfers on porcelain (Overlaid illustration of long beans referencing a plant cultivar developed and widely grown in Southeast Asia, on porcelain fragments no. 2, 3, 5, 6, 7, and 9), Archival box: 16 x 27 x 2 inches. ©Bundith Phunsombatlert
Returning Dialogue: Fragments of Blue and White Porcelain (Southeast Asia Series), 2019- , Digital printing transfers on porcelain (Overlaid illustration of long beans referencing a plant cultivar developed and widely grown in Southeast Asia, on porcelain fragments no. 2, 3, 5, 6, 7, and 9), Archival box: 16 x 27 x 2 inches. ©Bundith Phunsombatlert
Returning Dialogue: Fragments of Blue and White Porcelain (Installation View), 2019- , Digital printing transfers on porcelain, Archival box: 16 x 27 x 2 inches (each). ©Bundith Phunsombatlert
Returning Dialogue: Fragments of Blue and White Porcelain (Installation View), 2019- , Digital printing transfers on porcelain, Archival box: 16 x 27 x 2 inches (each). ©Bundith Phunsombatlert

 

Originally from Thailand, these three projects, 1) Sunny Garden in Blue: Stories from the Caribbean To Brooklyn, 2) Returning Dialogue: Fragments of Blue and White Porcelain, 3) Crossing the Border: Beneath the Blue Sky, bond me with other immigrants through our shared experiences. The identities are not only who I am and where I am from, but also about the place where I am and the space of connection between myself and people around me.

 

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Crossing the Border: Beneath the Blue Sky, 2020- (Ongoing), Cyanotype on fabric mounted on museum board, hung on cable lines, 7 x 4 1/4 inches (Each flag), Site-specific installation at Katonah Museum of Art, New York October 3, 2021 – January 23, 2022. ©Bundith Phunsombatlert
Crossing the Border: Beneath the Blue Sky, 2020- (Ongoing), Cyanotype on fabric mounted on museum board, hung on cable lines, 7 x 4 1/4 inches (Each flag), Site-specific installation at Katonah Museum of Art, New York October 3, 2021 – January 23, 2022. ©Bundith Phunsombatlert

 

超越形式與內容:穿透人心的體會

如果用最淺白的方式解釋內容與形式,我會將兩者比喻成食材與料理方式,有些食材講究刀功、有些則需要繁複的鹽漬或發酵,而最好的搭配應該是在足夠理解食材的前提下,做出最能凸顯材料特色的安排與設計,這需要學習、更需要經驗。我認為媒體考古學可貴之處在於讓藝術家將進入一個相對客觀的狀態,包含自身、社會以及歷史,用更寬廣的角度回溯經驗,最後完成創作。

麥克魯漢(Herbert Marshall McLuhan C.C.,1911-1980)曾說:「媒體是人的延伸」,我們能否將考察媒體的過程視為探討人心另的一種方式呢?而藝術作品,最終又以媒體的身份,再次回到世人眼前,此時,它所涵蓋的訊息與概念已被重新詮釋,給予觀眾新的思考與體會。Bundith Phunsombatlert作品體現的是個體、眾生、時代一同堆疊而成的開放空間,一言難盡,卻穿透人心,我們無法與李白痛飲、與王維談佛,但卻能在他們的文墨中,感受到千百年前的那份觸動,此時此刻,作品成為解除時間藩籬的那扇任意門,讓我們的感動,自由成詩。

 

延伸閱讀
Bundith Phunsombatlert個人網站
https://bundithphunsombatlert.com/about

 

徐思穎 Hsu Szu Ying (Suly Hsu) 畢業於臺灣師範大學美術系、北京大學藝術學院, 2017年開始從事當代藝術之報導寫作,熱愛攝影、旅行。 個人網站https://nowshowup8825.wixsite.com/hsuszuying 臉書 https://www.facebook.com/suly.hsu
徐思穎 Hsu Szu Ying (Suly Hsu)
畢業於臺灣師範大學美術系、北京大學藝術學院,
2017年開始從事當代藝術之報導寫作,熱愛攝影、旅行。
個人網站https://nowshowup8825.wixsite.com/hsuszuying
臉書 https://www.facebook.com/suly.hsu

 

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