人的莊園 Animal Farm ／周慶輝 Chou Ching-Hui
2014, Inkjet print, 97.5 x 80 cm (each), A set with 9 pieces, 2 pieces presented on site
2014, Inkjet print, 97.5 x 80 cm (each), A set with 9 pieces, 2 pieces presented on site
〈人的莊園〉系列作品源自一個歷時五年並投入眾多人力與資源的拍攝計畫。在此拍攝計畫中，周慶輝仔細研究動物園並以此作為創作與拍攝場域，創造出一個個鋪陳現代社會浮華與困境的生動場景。而通過這樣的方式，他設計了一系列戲劇性的布景並以與動物園環境相抗衡的方式陳設，同時數名演員也在場景中為了攝影計畫於黎明與黃昏之際表演著。如此，周慶輝將超現實的戲劇性場景帶入馴化並眷養野生動物的人造場域之中。
透過將人類至於動物及標本之間，藝術家旨在強調一種荒誕與錯置的形式。家庭變成牢籠，文明內室與自然場域的界線也變得更為模糊。最終一系列令人毛骨悚然卻華麗炫目的影像被製作而成，如同一張張由人類與動物共同呈現的舞台劇照一般。
The artworks showcased in the exhibition come from the Animal Farm series, based on a five-year-long photography project that involved a large team and significant funding. In this project, Chou Ching-Hu looked into the zoos as photographic subjects, where some vivid scenes were created in order to suggest the sumptuous yet often baffled modern life. To do so, a series of theatrical sets were designed and then organized against the zoos’ environment. There, a number of actors have performed at dawn and dusk for the photographic project. This way, Chou Ching-Hu inserted surreal theatrical scenes into the artificial enclosures where the wild animals are domesticated and kept.
Absurdity and displacement are emphasized as the artist situated humans among alive animal specimens. Homes become cages. The borders between man-made interiors and wilderness become blurred. A series of eerie yet visually opulent images have been finally produced, much like still photos of a stage-play jointly presented by humans and animal.
透過將人類至於動物及標本之間，藝術家旨在強調一種荒誕與錯置的形式。家庭變成牢籠，文明內室與自然場域的界線也變得更為模糊。最終一系列令人毛骨悚然卻華麗炫目的影像被製作而成，如同一張張由人類與動物共同呈現的舞台劇照一般。
The artworks showcased in the exhibition come from the Animal Farm series, based on a five-year-long photography project that involved a large team and significant funding. In this project, Chou Ching-Hu looked into the zoos as photographic subjects, where some vivid scenes were created in order to suggest the sumptuous yet often baffled modern life. To do so, a series of theatrical sets were designed and then organized against the zoos’ environment. There, a number of actors have performed at dawn and dusk for the photographic project. This way, Chou Ching-Hu inserted surreal theatrical scenes into the artificial enclosures where the wild animals are domesticated and kept.
Absurdity and displacement are emphasized as the artist situated humans among alive animal specimens. Homes become cages. The borders between man-made interiors and wilderness become blurred. A series of eerie yet visually opulent images have been finally produced, much like still photos of a stage-play jointly presented by humans and animal.
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