一艘讓人癲瘋的香蕉船 Sculpture

象徵符號的交換及其抵銷 The exchange and offset of symbols ——談林俊彬以鋼彈模型零件為符號操作之系列作品 - On Chun-Pin, Lin’s series of symbol operation with Gundam model party 文/鄭勝華 Written by Sheng-hwa, Cheng 藝術家林俊彬近年來擅長以鋼彈模型零件為素材，幾乎原封不動地（以美術史的用語就是「現成物」（Ready-made, 或 found object）的概念），將這些材料予以重新組裝，但重組的結果並不是鋼彈模型，而是經典名畫、市場商標、漫畫或著名景點等等富含文化象徵的圖像。本文主要以他這系列的作品為對象，試論其背後的創作意涵與其衍生的思考。 In recent years, artist Chun-Pin, Lin takes Gundam model parts as base material, and reassemble such materials (in history of arts terminology, the concept of ‘ready-made’ or ‘found’ objects) without putting much changes into such model parts. The results of such actions are not reassembled as Gundam models, but images of cultural symbols such as classic paintings, market logos, comics or famous attractions. This article will focus on this series of works, and explore the meaning and philosophy behind his unique creations. 「現成物」的使用？ How are ‘ready-made objects’ used? 很顯然地，林俊彬這系列的創作手法很像是將鋼彈模型零件當作顏料一樣，去除原有材料的脈絡（即原有象徵系統）再予以重整、組織與配置。事實上，所謂的繪畫，其實也是關於顏料的某種配置與擺設方式。不過，這樣的解讀可能不完全正確。 It is easy to see that Lin’s series is created by using Gundam model parts as paints. The sequences of the original materials (aka the original system of symbols) are removed and reconstructed, organized and configurated. In fact, the so-called painting, is also a way of configuration and arrangement of paints. However, such an explanation is not always completely accurate. 首先，顏料被當成是某種中性或透明性的媒介，其存在是為了呼應創作者的情感與意圖，顏料的配置只能被視為最終的集體成果；但是，林俊彬的鋼彈模型零件卻被刻意地保留了本身的特殊性，包括原來的造型、色彩與質感等等。就藝術家自己的說法，這樣的保留具有創作上的理由，原因在於要如實地呈現這些鋼彈模型零件作為原有文化符號之載體的象徵，而此象徵與原象徵系統間的指涉關係便是理解其作品的首要線索。 First, paints are regarded as some sort of a neutral or transparent media. The existence of which is to respond to the emotions and intentions of creators. The configuration of paints can thus only be regarded as the final collective results; However, the particularity of Lin’s Gundam model parts are deliberately preserved, which include the original molding, colors and textures, etc. According to Lin, such preservation is meaningful for the form of creation by presenting the symbol of these Gundam model parts as carriers of their original cultural symbols for their original form. The referential relationship between the two systems of the new symbol and the original symbol is the main clue for the understanding of the series of work. 其次，顏料的重整一般而言被視為是藝術家展現創造力的結果；然而，林俊彬似乎意不在此，他甚至不創造，僅僅讓一個文化象徵符號（鋼彈模型零件）轉換成另一個象徵符號。兩者的差別在於，前者在於創造一個新的圖像，而後者則在擬仿既有的圖像。 Second, the reorganization of paints is generally deemed results of artists’ display of creativity; However, in Lin’s case, instead of creating, he merely converted a cultural symbol (Gundam model parts) into another symbol. The differences between the two cases lay in the fact that the former aims to create a new image, while the latter aims to mimic an existing image. 基於這些理由，林俊彬作品中鋼彈模型零件應不等同於繪畫中的顏料。因此，要理解林俊彬這系列的作品不能僅僅用一種形式主義的方式來解讀，否則將遺漏其創作更深刻的意涵。不過，在此得承認，林俊彬特殊之處並非是第一位使用鋼彈模型零件來創作的藝術家，而是第一位能將鋼彈模型零件之潛能發揮到極限的藝術家，模型材料本身的特質在其作品中獲得另類的全新展現，其造型之細緻與色彩之漂亮甚為吸引人，例如《超越真實的假山水》、《蒙太奇山水》等作品。 For these reasons, the Gundam model parts in Lin’s works shall not be considered equal to paints in paintings. Therefore, to understand Lin’s series of works, one must not decode which with only a formalistic approach, in which the deeper meaning of such series would only go amiss. However, it must be recognized that what is special about Lin is not that he is the first artist to create using Gundam model parts, but that he is the first artist to bring the potential of Gundam model parts to its fullest. The unique characteristics of model parts are given an alternative twist in his works (such as ‘Fake mountain landscape that surpassed the reality’ and ‘Montage mountain landscape’), and the meticulous design and diverse color are what makes his works attractive to viewers. 藝術家有意識地將鋼彈零件視為一種象徵符號，並且刻意地透過作品，運用這個符號作為與其他文化符號之間串連。例如，將日本的鋼彈零件重組成美術史經典圖像，或者美國的流行文化商標。既然保留材料本身作為一種象徵符號，那麼同時也就保留了與該符號之象徵系統（symbol system）之間的關係，以及當中發揮作用的意識形態。 The artist view Gundam model parts as a symbol by intention. Through his works, Lin connect such symbol with other cultural symbols. For example, he reconstructs Japanese Gundam model parts into classic images of the history of arts, or pop culture logos of the USA. Such an act not only recognizes the material itself as a symbol, but also preserves the relationship between the material and the symbol system of the symbol at the same time, as well as the active ideology within. 顯然，藝術家瞭解符號（或材料）的保留，同時也是對其整體系統的挪用，「以子之矛，攻子之盾」，讓兩種不同的文化象徵符號，或意識形態在材料的如實呈現與辯證的圖像之間產生矛盾與衝突，如此一來，將使那些看似正常與熟悉的事物開始「問題化」。 Apparently, the artist understands that the preservation of the symbol (or material) is also the embezzlement of the overall system of which. By refuting one with its own way, the actual presentation of the two different cultural symbols, or ideologies, clashes with the dialectical image, thereby making the seemingly normal and familiar objects ‘problematic’. 耗費之必要 The necessary cost 資本主義的邏輯就是大量生產，以及應運而生的消費。純然的消費，擺脫實用性、必要性並且與維持生命無關的消費，甚至是追逐娛樂與刺激慾望的消費。今天，最高段的消費是華麗的無目的性耗費，擬像的營造與狂熱，空指涉的最強連結，不孕者的大量無性繁殖。 The axis of capitalism is mass production and the consumption that follows. Pure consumption, not those unrelated to practicability, necessity, and the maintenance of life, or even those for entertainment and stimulation of desires. Today, the highest form of consumption is glamorous but purposeless consumption, such as the creation and fanaticism of imaginary images, strongest link by empty reference, and mass asexual reproduction of infertile livings. 鋼彈及其模型，就是一種消費擬像，從誕生就注定大量生產與複製的命運，同時也是一種「新的聖像」，充滿歡慶、神奇與魔幻力量。 Gundam and its models, are a form of consumption simulation. Gundam models are born for the fate of mass production and replication, but also represents a ‘new icon’ of joyful, mysterious and magical powers. 華麗耗費的邏輯完全體現在林俊彬的創作過程中，為了這系列的作品，藝術家向日本原廠訂購了上千盒不同等級的鋼彈模型零件，主要是HG（High Grade：高級）與RG（Real Grade：擬真級）等級，（請注意，不同等級的區分意味著另一個優位次序，同時模型零件的分色與組件細節會因為等級而有所不同）每盒約五百到八百元新台幣。也就是說，光材料費就高達至少六十萬元左右。當然，如果就上流社會的消費標準來看，這個金額並不算太高，然而真正的揮霍的是，這些零組件不用在「正常」的目的，而是拼湊成無目的性的華麗耗費。 The concept of glamorous consumption can be easily found in Lin’s creative process. For the series of works, the artist ordered thousands of boxes of Gundam model parts of different levels from the Japanese manufacturer. These parts mainly belong to the HG (High Grade) and RG (Real Grade) level (please note that the differentiation of different levels implies the presence of another priority order, as the color differentiation and details of model parts may differentiate for the different levels). Each box cost around NTD 500 to 800, which means that the material fee of the series alone may reach at least around NTD 600 thousand. Nonetheless, by standards of upper-class consumption, NTD 600 thousand is not much. However, the squandering fact behind such glamorous consumption is that these parts are not used for a ‘normal’ purpose, but for purposeless patchworks. 的確，真正的耗費其實不在於金額的高低，而在於由過度所造成的叛逆與破壞。「耗費」破壞既有的運作規則，摧毀原有功能與目的，致使固有的視野產生裂隙，逼顯存有的另一種可能，由此，人類才能窺見生命的極限，經驗另一個世界。 It is true that real consumption shall not be determined by its price, but by the sense of rebellion and damage for an excessive scale of which. ‘Consumption’ breaks down existing rules for operation, destroy original function and goal, leaving cracks in traditional mindsets for one to realize the existence of another possibility. From which, men may peek into the limits of life, and experience another world. 無盡的華麗耗費，自古不僅是人類通向神聖的途徑之一，同時也是資本主義最擅長的能事之一，彼此有著相似的臉孔。 Since ancient time, limitless glamorous consumption is not only a way for human to reach sacredness, but also one of the many things that capitalism is good at, as the two share many similarities. 雕塑，或「去—雕塑」 林俊彬看似不費力氣、輕鬆的與消費娛樂性的符號盜獵，事實上卻是出於對藝術本質的嚴肅思考。 Sculpturing, or ‘de-sculpturing’ Lin’s series of works is a seemingly effortless, casual and consumption entertaining hunt of symbols. In fact, it arises out of serious consideration of the nature of art. 出身雕塑系的林俊彬，不僅熟悉藝術史的脈絡，這一系列的作品的源頭也是來自重新思考雕塑本質的創作經驗。如果說，所謂的雕塑，指的是藝術家對某材料所施展的「增加」（雕）與「去除」（塑）的話，那麼林俊彬所立基的思考點，就是如何以「去—雕塑」的角度來面對傳統的雕塑命題。也就是說，以既不增加，也不去除的方式來「做雕塑」。對此，林俊彬曾提到自己過去一個關鍵作品，有一天在路上偶然看到許多仿製的非洲雕刻，便大量買回家，將其支解成碎片，再重新組裝成一既有「雕」，又具「塑」，但卻完全不經手的雕塑作品。 Having graduated from the Department of Sculpture, Lin is familiar with threads of thoughts of the history of arts. The series of works also originates from creative experiences upon reconsideration of the essences of sculptures. If the so-called sculpture refers to the ‘addition’ (engraving) and ‘removal’ (sculpting) an artist inflicts upon a certain material, then Lin sets out to answer traditional sculpture propositions in the ‘de-sculpturing’ approach. In other words, it may also refer to ‘sculpturing’ without additions or removals to the material. For which, Lin mentioned a previous key work by him. He came across and purchased many copies of African sculptures one day. He then dissembled the batch into scraps, and reassembled which into an ‘engraved’ and ‘sculpted’ sculpture without having to add or remove parts of the original material. 從「去—雕塑」出發，林俊彬開始從雕塑的硬殼中掙脫而出，此後的創作不再受限於材料、範疇與分類，他甚至很早就從事過行為藝術表演與記錄等不同類型的藝術創作。 From the ‘de-sculpturing’ approach, Lin came to think outside of the box of stereotypical sculptures. His later creations were no longer limited by material, category and classification. He even took part in various forms of creative arts such as performance arts and documentations in very early stages of his career. 然而，從藝術家的背景與創作思考源頭的觀察為線索，可再進一步重新閱讀他近年的系列作品。乍看之下，鋼彈零件系列作品看似模仿平面的圖像，然而從根本上來說，卻會發現全都是立體的。藝術家對模型零件的重新拼裝與使用，並非僅考慮到色彩的問題，更困難的則是立體造型的問題（後者有時才是他感興趣的）。事實上從一開始，模型零件本身就不是平面的，即使模仿梵谷的繪畫（例如《梵谷在向日葵裡的戰場》、《梵谷在星空裡的戰場》等作），林俊彬會將原先二度平面的繪畫擴展成三度空間的類浮雕效果，或者更應該說是雕塑效果。從二度平面轉為三度空間的變化中，從一象徵符號連結到另一個象徵系統的轉換過程裡，正是林俊彬重新思考藝術本質的空間，也是符號轉譯的問題性場域。 However, in consideration of his background and source of creative thinking, we may further review his more recent series of works. At first glance, the Gundam parts series of works are simulations of two-dimensional images. However, examining which from a fundamental point of view, we may realize that all these works are three-dimensional. The artist reassembles and uses these model parts in consideration of not only the colors of materials, but also the three-dimensional modelling of which (which is often what Lin is most passionate about). In fact, these model parts are not in two-dimensional to begin with. Even if his works are only copies of Van Gogh’s paintings (such as ‘Van Gogh’s battlefield in sunflowers’, ‘Van Gogh’s battlefield in the starry sky’, etc.), Lin would first expand the originally two-dimensional painting into a three-dimensional space with embossed-like effects, or should we say, sculpturing effects. The transition from a two-dimensional plane to a three-dimensional space, and the conversion of the connection of one symbol to another symbol system, is the essence of arts Lin explores upon reconsideration. It is also the problematic field of symbol translation. 結語：不斷自我擬仿的碎形符號 Conclusion: The constantly self-imitating fractal symbol 整個來說，或許藝術家林俊彬所盜獵與擬仿的，不是單純的現成物件、圖像或文化商標，而是消費社會的運作模式，資本主義的操作邏輯，包括擬像、複製品、象徵物與生產及消費之關係等等，這些才是整個鋼彈模型零件系列作品中的根本元素。可見圖像的挪用與模仿容易做到，但不可見之思考框架卻往往難以察覺。 Overall, maybe the subject for hunt and imitation by artist Jun-bin, Lin, is not the simple existing object, image or cultural logo, but the mode of operation of the consumer society and the operating logic behind capitalism, including simulations, replications, attributes, the relationship between production and consumption, etc. These are the fundamental elements of the whole Gundam model parts series of works. It can be concluded that the borrowing and imitation of images can be easily achieved, while the unseen framework for thinking is often inappreciable. 而鋼彈模型正好是一個絕佳的媒介，因此並非出於對鋼彈的狂熱著迷，而是創作之必要與自覺，藝術家才選擇鋼彈模型零件，因為它們帶有殘存的消費記憶。從創作的邏輯來看，此系列作品透過不斷地挪用與擬仿手法來凸顯當代消費社會的失能問題，或者說，透過超越消費的耗費，藝術家企圖製造出一種功能的終止，意義的抵銷，象徵符號的自我消解。 Gundam models are excellent medias for the idea of creation. The artist chose to take Gundam model parts as materials not for his frantic passion towards Gundam, but for the necessity and awareness of creation as they present a lingering sense of capitalist consumption. From the creation point of view, the series of works reflect upon the disabled problem of modern consumer society through constant simulation and imitation. Or in other words, through squandering of excessive consumption, the artist tries to create a form of termination of functions, offset of meanings, and self-disintegration of symbols. 根據碎形理論的說法，在每一片不斷自我模仿的碎形中，都能呈現出整體的樣態。換言之，在每一塊鋼彈模型零組件中都蘊含著消費社會的潛在整體，在碎形與文化符號的轉換與連結之間，在新聖像的美麗幻象中，不僅凸顯了消費文化的邏輯，更放大了當中容易被忽略的潛在問題。 According to fractal theories, every self-imitating fractal may present the overall form. In other words, every Gundam model part holds the potential overall form of the consumer society. In the transaction and connection of fractals and cultural symbols, as well as in the breathtaking illusion of a new icon, not only the theories of consumer culture are emphasized, even the easily neglected potential problems are magnified.

Multi-paneled Sculpture:Plastic on Canvas

Original:One-of-a-kind Artwork

Size:15.7 W x 23.6 H x 3.9 D in

Number of Pieces:2

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.