2014.08.24 Bruce Yonemoto‘s Screening of “The End of The World At The Edge of The Earth” + Talk | 布魯斯米本「在地表邊緣的世界盡頭」放映座談

2014.8.24  3~5pm

Bruce Yonemoto｜Screening of “The End of The World At The Edge of The Earth” + Artist’s Talk

布魯斯米本｜「在地表邊緣的世界盡頭」放映座談

(For English please scroll down)
(The talk is in English with Chinese interpretation. 本座談以英文進行，並富有中文翻譯)

 

布魯斯米本

布魯斯米本的創作發展于藝術與商業的跨域之間，作品的再現介於藝廊展示與戲院播映。他近期創作得到創意之都（Creative Capital）的贊助，作品主要在討論阿根廷兩種特殊現象中真實與詩意的聚合：阿根廷是世界上少數冰河還在成長的國家，也是仍在繼續推進心理學家雅各．拉岡的心理分析技巧的地方。米本近期於越南進行攝影與錄像作品的製作，並來台製作一場表演，同時亦執行一個探討里約熱內盧電影新浪潮的計劃。

米本曾多次獲獎，包含從美國國家藝術基金會、美國電影協會、洛克菲勒中心以及瑪雅黛倫實驗電影獎。1999年，米本受邀於洛杉磯全米日系人博物館舉辦一場大型展覽，由凱倫席加策畫，爬梳米本自始至生涯中站的創作歷程。米本的裝置藝術、攝影與雕塑作品亦曾於東京ICC、費城當代藝術協會、聖路易斯藝術博物館、堪薩斯坎柏當代藝術博物館中展出，並曾於紐約、洛杉磯、東京、胡志明市等地的藝廊舉行各展，他的作品也曾受邀於巴黎龐畢度、維也納、2008光州雙年展、蓋提研究中心等地展出，最近期的展覽則是在日本金澤。

 

布魯斯米本｜影像作品探討
布魯斯米本現在定居在美國加洲，他的作品解構再重塑了大眾媒體用來打造文化神話的誇張淺白語彙。他諷刺地運用影像語言，以及像是連續劇、好萊塢劇情片和電視廣告所使用的通俗敘事語法，用逆向操作的方式揭露媒體滲透般地操控現實生活與幻像。

 

〈在地表邊緣的世界盡頭〉
本作品啟源於一個詩意的觀察：在阿根廷，有兩件事曾經同時持續的成長／發展：1) 位於巴塔哥尼亞的莫雷諾冰川2) 由雅各．拉岡建立的臨床心理分析技巧。這個計劃優雅地結合了卡森對拉岡、米本拍片技巧的研究，並以影像和錄像裝置的方式呈現。

 

〈河童〉
（1986，26分，彩色，有聲）由布魯斯米本、諾曼米本和麥克凱利共同製作，是一部極為挑釁的原創性作品。米本兄弟在日本古老民間故事的架構下，解構了希臘神話伊底帕斯，再巧妙地嵌入一場暗潮洶湧、關於失落與慾望的對談。米本兄弟從布努艾爾、佛洛伊德、大眾傳媒與藝術中節錄元素，將西方性心理分析理論的象徵放入跨文化的背景，並置伊底帕斯和河童的神話在一個錯亂的形式與文本之中。

 

〈聽似真善美〉
（2007，4分14秒，彩色，有聲）由布魯斯米本製作，Sounds Like the Sound of Music是一部影像作品，他將一首具代表性的美國歌曲翻譯為印加語，融入秘魯文化。這個作品提出了一個見解：被殖民的文化至今仍舊成功地和強勢的歐美文化共存，現今在安地斯山脈和南美洲仍有1300萬人使用克丘亞語。

 

〈墓穴〉
（1984，11分45秒，彩色，有聲）由布魯斯和諾曼米本兄弟共同製作。在這個制式解構下的傑出作品中，米本兄弟改寫了關於慾望的傳統敘事法—男孩邂逅女孩，男孩失去女孩。他們使用好萊塢和電視廣告誇張的劇情片語法，拆解佛洛伊德的象徵學和媒體塑造羅曼史的基本操縱策略，揭露大眾媒體用所謂的「真實」來虛構幻象。

 

〈布玲雞〉
（1988，15分30秒，彩色，有聲）由布魯斯和諾曼米本兄弟、傑佛瑞瓦藍西共同製作。布魯斯米本寫到：在〈布玲雞友善的母雞〉這本小說中，藝術家傑佛瑞瓦藍西記錄了他在超市買了一隻冷凍的雞，之後將它埋在洛杉磯S.P.C.A美國寵物紀念公園裡。瓦藍西以油炸食品廠商布玲雞來為雞命名，將家禽轉化為寵物，向每年因人類而犧牲的幾千萬隻雞致敬。十年後，布玲雞死亡的真正原因仍然無解。這件影像作品記錄著尋找牠死因的過程，唉，就像是義大利都靈著名的裹屍布，布玲雞的死因仍然無法完全被解開。布玲雞長達十年的故事早在開始時便已經結束，結束於我們文化中那耀眼的、夢幻的、象徵與世長辭的—超級市場。

 

 

〈講座 文字記錄〉
   文/沈芸可

Bruce Yonemoto: A Survey of Works
布魯斯米本影像作品探討


布魯斯米本現定居於美國加州，其作品發想來自於藝術與商業的跨域，近期於越南進行攝影錄像工作。此次受邀來台製作表演，並同時進行探討里約熱內盧電影新浪的計畫。
布魯斯米本此次來到當代藝術中心影像進行作品分享，由於布魯斯米本長期探討種族間的跨域關係，分享會即以《南北戰爭 North, South, East, West》的影片做為開幕，布魯斯米本提到，他翻閱美國南北戰爭的相關史料後，發現照片經常出現亞洲臉孔，顯示在這段歷史上的確有亞洲人的參與，然而在文字上卻鮮少紀載，因此拍攝了一系列由亞洲人穿戴由好萊塢提供的南北戰爭戲服，以誇張而又鮮明的圖像記述這段歷史。接著，布魯斯米本分享《聽似真善美 Sounds Like the Sound of Music》，這部影片以知名德國影片《真善美》為拍攝主軸，其運鏡手法與旋律皆以此為基底，然而布魯斯米本卻選擇使用鮮少人使用的印加語，嘗試以秘魯文化詮釋強勢的歐美影視文化，卻發現意外的適當。過去我們總接受強勢文化的殖民，若將腳色反轉，以地方文化凝視主流文化，總能得到一種新的見解。接著布魯斯米本分享他近期最新的作品，《在地表邊緣的世界盡頭, The End of the World at the Edge of the Earth》，布魯斯米本在阿根廷找到兩個世界唯一仍在進行的詩意對映，其一是世界唯一仍在持續成長的阿根廷巴塔哥尼亞冰川：莫雷諾冰川；其二則是雅各‧拉岡的臨床心理分析技巧，兩個計畫優雅的在布魯斯米本的拍攝中巧妙地合而為一。此外，布魯斯米本亦分享了他的許多作品《Beyond South Vietnam》、《Before I Close My Eye》、《Simulations》、《Time Machine》和《Papa》等。此次分享會探討了許多布魯斯米本所關心的議題，會後討論亦有觀者與布魯斯米本的對談火花，均值得深思。

 

Bruce Yonemoto
Bruce Yonemoto has developed a body of work which positions itself within the overlapping intersections of art and commerce, of the gallery world and the cinema screen. His recent work developed with funding from Creative Capital deals with the discovery of the real and poetic convergence between two phenomena specific to Argentina. It is the site of one of the few growing glaciers in the world as well as the last growing Lacanian psychoanalytic practice. His recent photo and video work was developed and produced in Vietnam. He is currently developing a performative project in Taiwan and a project exploring Cinema Novo in Rio de Janeiro.

Yonemoto has been honored with numerous awards and grants from the National Endowment for the Arts, the American Film Institute, The Rockefeller Foundation, and the Maya Deren Award for Experimental Film and Video. In 1999 Yonemoto was honored with a major mid-career survey show curated by Karen Higa at the Japanese American Museum in Los Angeles Bruce’s solo installations, photographs and sculptures have been featured in major one-person shows at the ICC in Tokyo, the ICA in Philadelphia, the St. Louis Art Museum and the Kemper Museum in Kansas City. He has had solo exhibitions at Alexander Gray Gallery, New York, Blum & Poe, Los Angeles, Tomio Koyama, Tokyo, Galerie Quynh, Ho Chi Minh City and his work was featured in Los Angeles 1955-85 at the Pompidou Center, Paris, and the Generali Foundation, Vienna, , the 2008 Gwangju Biennial. Pacific Standard Time, Getty Research Center and most recently an expansive survey show in Kanazawa, Japan.

 

Bruce Yonemoto ︱A Survey of Works
California-based artist Bruce Yonemoto deconstruct and rewrite the hyperbolic vernacular with which the mass media constructs cultural mythologies. Ironically employing the image-language and narrative syntax of popular forms, such as soap opera, Hollywood melodrama and TV advertising, they work from “the inside out” to expose the media’s pervasive manipulation of reality and fantasy.

 

<The End of the World at the Edge of the Earth>
This work began with the poetic observation that two things were simultaneously growing in Argentina: 1) a glacier named Perito Moreno in Patagonia; and 2) a clinical psychoanalytic practice founded by Jacques Lacan. The project elegantly combines Carson’s research on Lacan and Yonemoto’s filmic practice in the form of a film and video installation. The work is currently in production.

 

<Kappa>
(1986, 26 min, color, sound) By Bruce and Norman Yonemoto in collaboration with Mike Kelley. Kappa is a boldly provocative and original work. Deconstructing the myth of Oedipus within the framework of an ancient Japanese folk story, the Yonemotos craft a highly charged discourse of loss and desire. Quoting from Bunuel, Freud, pop media and art, they place the symbology of Western psychosexual analytical theory into a cross-cultural context, juxtaposing the Oedipal and Kappa myths in a delirious collusion of form and content.

 

<Sounds Like the Sound of Music>
(2007, 4:14 min, color sound) By Bruce Yonemoto, Sounds Like the Sound of Music is a media work which engages the Peruvian culture by translating an iconographic American musical song into the indigenous Incan language of Quechua. This representation will, offer an insight to a colonized culture that has successfully coexisted to this day with the dominant societies of Europe and the US. The Quechua language is spoken by 13 million people across the Andes and South America

 

<Vault>
(1984, 11:45 min, color, sound) By Bruce and Norman Yonemoto, In this tour-de-force of stylized deconstruction, the Yonemotos rewrite a traditional narrative of desire — boy meets girl, boy loses girl. Employing the hyperbolic, melodramatic syntax of Hollywood movies and commercial TV, they decode the Freudian symbology and manipulative tactics that underlie media representations of romantic love, and expose the power of this media “reality” to construct personal fictions.

 

<Blinky>
(1988, 15:30 min, color, sound) by Bruce and Norman Yonemoto and Jeffrey Vallance. Writes Bruce Yonemoto, “In the novella Blinky The Friendly Hen (1978), artist Jeffrey Vallance documented the supermarket purchase of a frozen chicken and its burial in the Los Angeles S.P.C.A. Pet Memorial Park. Naming the fryer Blinky, Vallance transformed poultry into pet, paying tribute to the billions of hens sacrificed each year for our consumption. Ten years later questions of the true cause of Blinky’s death continue to swirl. Blinky, the videotape, documents the search for this cause. Alas, like the shroud of Turin, Blinky’s death cannot be completely resolved. Blinky’s ten-year story ends where it began, in our culture’s glistening, dreamlike symbol of heavenly closure, the supermarket.”