想像的維度 - 國際當代金工與手稿

[im-mà-gi-nà] -The jewellery artists' works and their notebooks 

想像的維度 [im-mà-gi-nà] - 國際當代金工與手稿展,展出24位國際當代金工創作者難得一見的創作手稿供翻閱,並與對應的作品相互對照觀看。
[im-mà-gi-nà] showcases the jewelleries/objects made by contemporary jewellery artists along with their rarely seen notebooks.

[im-mà-gi-nà] 是義大利語「想像」的意思,想像是形成意象、知覺和概念的能力,是心靈的工作,不遵循固定的規則或邏輯,而與情感狀態相關聯,表現為對感官體驗內容的自由再現和處理,想像更是一切創造性工作的源頭,如愛因斯坦說:「想像力比知識更重要,因為知識是有限的,而想像力概括全世界。」「維度」是獨立的時空座標,最簡單來說:0維是一點、1維是線、2維是面、3維是體、而4維是加入時間軸的時空概念,一直伸展到難以想像的宇宙11維度。

當想像在維度中展開,想像開始有了形與體,當藝術家在腦海中塑造心靈圖像時,手邊的紙與筆成為與大腦同步表達最直觀的工具,隨筆在紙上捕捉了思想,成為2維的平面手稿,紀錄了各種想法、感受、註釋、選擇、靈感的啟發、概念的完善和過程中的驗證更改,德國觀念藝術家約瑟夫.波依斯(Joseph Beuys)說:「素描是我作品​​中的第一個可見形體,是思想的第一個可見形式,從無形到有形的關鍵點。」手稿記錄了想像的天馬行空,也讓觀者閱讀到工作中的手與腦,手稿本身的私密性、真實性、可讀性、隨意性、獨立性,在這個影像泛濫充斥、數位拷貝貼上的時代,更顯出它特殊的價值。 



The Italian word "Immagina" means "imagine", coming from Latin imago. By imagination, we mean that particular form of thought, which does not follow fixed rules or logical links but presents itself as a free reproduction and processing of the content of sensory experience, linked to a certain affective state and, often, oriented around a specific theme. The power of imagination is the driving force behind all creative works. As Albert Einstein said, "Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world."

When the imagination unfolds in dimensions, artworks start to take shape. Through creators giving materials and forms to the imagination, many great artworks and designs were born. As artists create mental images in their mind, the pens and notebooks at hand become the most intuitive and immediate tool to express on paper in sync with the brain. German conceptual artist Joseph Beuys said, "Drawing is the first visible form in my works... the changing point from the invisible powers to the visible thing." On these manuscripts, we could find a range of ideas, notes, choices, annotations, inspirations, and languages that are depositories of the design process: an ideational phase, the refinement of the concept, the verification, and correction during the course of work. The manuscript records the imagination, and also allows the viewer to read the hands and brain at work. The quality of authenticity, readability, privateness, randomness of the manuscript protrudes its special value in this era of digital copy paste and image overflow.

[im-mà-gi-nà] takes the audience "behind the scene," some steps before the finished/polished work, to understand not only the way of working of the artists but even more important, of thinking. Just as looking at a marble sculpture before it is smoothed off gives us the opportunity to see how and where the chisel has been used. Seeing the notebooks/sketchbooks together with the finished works allow us to understand the why and how of the artists' imagination.

"Alchimia Contemporary Jewellery School", the co-organizer of the event, was established in 1998 in Florence, Italy. Over the 22 years, Alchimia has developed into one of the leading contemporary jewellery school in Europe. By inheriting the Italian tradition of craftsmanship and working closely with many contemporary masters, the school has guided many international artists to create outstanding innovative works. The 24 creators in this exhibition include the school's prominent international teachers and graduates. By bringing the otherwise private manuscripts under the spotlight displayed in parallel with the works, we hope to bring a better appreciation of the ins and outs of the creative process: from invisible to tangible, abstract to concrete, concept to practice and to highlight the multi-faceted creative approaches of contemporary jewellery and metalworking.


週二到週日 Tue.-Sun. 9:30-17:30

臺北當代工藝設計分館  NTCRI Taipei