3D SUNSET - The Soul of the Earth City
Fahrettin Örenli Solo Exhibition
《3D SUNSET 城 · 世 靈魂》 法哈廷‧奧倫利個展
2018.03.10-2018.04.07
Fahrettin Örenli Solo Exhibition
《3D SUNSET 城 · 世 靈魂》 法哈廷‧奧倫利個展
2018.03.10-2018.04.07
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Voir là in Time Zones Project Fulfill Art Space 10th Anniversary Special Projects Part I
3D Sunset – The Soul of the Earth City Fahrettin Örenli Solo Exhibition The Next Landscape of Artificial Soul Text: Curator Huang Chien-Hung Turkish artist Fahrettin Örenli’s art practice has always been in relation to humankind as social beings, whether examining from a historical, geographical, or contemporary point of view, Örenli embodies the role of a ‘wandering Marxist’; his critique on the historical politics of nation and the current political unions with industry, as well as his experiences and observations within urban environments, where he engages in dialogue with the city’s inhabitants, to his interpretation of global political economic theory, together render his conceptualization of ‘currency’ or ‘money’. Örenli’s critique avoids choosing to play the advocate for the ‘politically correct’, nor does he choose to depict the role of arbitrator or protestor, which tends to cast a single representative image of a political artist. Örenli’s work contains other possibilities, possibilities that are not revolved in a matter of ‘choosing’, but moves towards an understanding of the uncertainties that exist in our current social climate, which forms the basis of his research, creation and realization of his experimental art practice. Therefore as a political artist, he reinterprets the figure of an ‘independent thinker’, giving the notion of ‘politicization’ a perceptual response. Here the role that Örenli embodies can be compared to aspects of historical figures Leonardo Da Vinci and Karl Marx. In his 2016 project High Heels exhibited at DEPO, Istanbul, Örenli displayed a retrospective view of his work from 1995 to the present, characterized by the image of a human figure with its arms closed by its side. His depiction of the human figure echoes Da Vinci’s renowned drawing of the ‘Vitruvian Man’ (Uomo Virtruviano), completed around 1490, four years after the printed edition of Vitruvius’ pivotal text ‘De Architectura’ was published in Rome. However, Orenli’s past 20 years of research drew contrasting conclusions with Da Vinci’s theory of ‘universe – architecture – man’, instead drawing from a less antagonized and oppressive interpretation of Marxism, similar to Walter Benjamin’s argument in which humankind must confront global urbanization filled with the accumulation and flow of knowledge and technology. The Renaissance is closely connected to the factors for modern progress, where knowledge and technology has proved that the universe and individual entities are homogeneous in their constitution, governed by a universal logic. It is also this relationship between knowledge and technology that the abstract figure of man is placed at the center of the universe. 3D SUNSET extends the interpretation of High Heels, where Örenli’s narrative developed from that of a black thriller, to magic realism, then entering into a psychedelic film noir. The light and sound installation Equation = TIME and/of Evolution in City exhibited in High Heels is not simply a spatial effect, it reflects our psychological state arisen from long term habitation in urban centers and social global politics; reflecting our collective voice towards maintaining our own fictitious illusion. For 3D SUNSET Örenli no longer uses the approach of film noir to warn us of our melancholic outlook; he re-configured selected works with a different perspective, having carried out a brief period of research in Taiwan in 2016. Layered within his work is a dual dialogue seeking to engage with the city of Taipei; how do we confront our collective vision of the perceivable future, and face what lies ahead, formed in the wake of capitalism? Örenli implies the concept of ‘3D’ with the notion of virtual reality, within which we become gradually immersed. Even as we directly interact with reality, we nevertheless accept the control of an immense organized system on our perceptible world, driven by socio-economical and political forces. In turn, we numbly refuse to believe that its exposure can change the way we live; instead seek to reason that perhaps this could be an opportunistic new beginning for the condition of life (Last Signal). Among Örenli’s exploratory works (particularly Conspiracy Wall > ANARTIST), we can discover the concept of ‘perverseness’ imprinted throughout his work. From his early photography and drawings (we see the contradictions in our recognition of media and the significance of scientific technology), through to his use of symbolism of political events, to transpose the human body into textural technological objects and dense information networks. Örenli became increasingly interested in how our lives are replaced by these signals and networks (evoking a perverse political awareness, portrayed in Conspiracy Wall), following the theories of Marxism, he captures the concept of the veil of money within his work, swiftly discarding Da Vinci’s first sketch towards humanism, the ‘Vitruvian Man’. Humankind is no longer autonomously engaging with the rhythm of the natural universe; instead it is our artificial universe that has replaced our surroundings and led humankind further away from independence (which can be read as the perverseness of life, depicted by the drawing and text installation in Conspiracy Wall). These ‘perverse imprints’ are embedded and proliferated across all areas of knowledge, using ‘topographic’ and ‘mapping’ methods found within Örenli’s digital print and installation works. Örenli’s approach does not seek to explain the truth or voice a certain authority, but allows these issues to become perceivable through the poetic renderings within his work. His brush and mark making does not necessarily follow conceptual or geometric rules. The imagery and forms depicted do not deviate from the fiber of the paper or the oily quality of the printed lines. Örenli’s work uses a geographical approach, replacing the image of the human figure or object with dense information pathways, or by containing the chaotic city within the body’s cavity. His drawing is almost like a mosaic maze, where urban architecture, transmission networks (World Wide Web) and organisms (form), integrate within an ambiguous realm of color, together creating the figure of an unknown organism. His work can also be perceived as the creation of a figurative form of an unknown entity against the backdrop of a 3D sunset narrative scene. If architecture led Da Vinci to conceptualize the human body conforming to the workings of the universe; then the concept of the city developed from interweaving power, information and design, not only firmly consumes any possibility of subjectivity, but also invites individuals to take their seats and put on a pair of 3D glasses, and fall into an immersive urban scene. When Da Vinci was prompted to create the ‘Vitruvian Man’ through the study of L B Alberti’s ‘De Pictura’ (1435-36), ‘De Statua’ (1450) and ‘De re aedificatoria’ (1485) the many parallel lines of knowledge and technology converge into a vanishing point of ‘man’. It is also through this knowledge and technology that these lines extend out into the infinite universe. The images that are produced by beams of light that appear before our eyes and on the screen, through the development of knowledge and technological advances following the 400 years of Capitalism and Colonialism, as well as the depiction of social politics in the works of Gustave Flaubert and Honoré de Balzac, have transformed the light reflected from money (coins) into numerous pixels of scrolling text displayed at stock markets. Thus light has been analyzed into limitless particles, consequently vision is no longer thought to be created by the refraction of light on the surface of the eye, but images are created directly on the eye through the separation of color particles. The relationship between humankind and the universe has been digitized; objects and light have also been digitized. Örenli’s travels, theses, depictions and writings, form his transcendent vision and analytical developments, which are systematically transformed into the limitless elements and extremities within his work. Throughout time, ‘artificial logic’ accumulates enormous, deteriorating cities, creating numerous space-time wormholes that burrow between the city and our minds. The poetical commentaries within Örenli’s work are like the traces of records and imagery derived from the role that he assumes, using these topographic paths in pursuit of the soul. 《就在『時區』Voir là in Time Zones》十週年特別計劃首檔展覽 《3D Sunset城·世 靈魂》 法哈廷·奧倫利個展 人造靈魂的來世風景 文：策展人 黃建宏 土耳其藝術家法哈廷．奧倫利的創作一直連繫著他對人類集合生命的思考，無論是歷史的、地理的還是當代的爬梳，就像是個變成漫遊者的「馬克思」，他從對國家歷史的政治批判到當今政商合謀的治理，從城市的經驗與觀察、和不同城市中的人交談，到全球化的政治經濟學描述，以至於對「貨幣」（錢）的想像。作為一個具批判性的藝術家，絕不只是選擇充當「政治正確」價值的附庸者，或是決定逕自描繪出一幅裁判者（抗爭者）的肖像，意即打造「一個」成為代言人的政治藝術家；而還存在著其他可能性，這種可能性不是「選擇」的問題，而是為了理解對現象產生的疑惑，著手調研、造形與成像的實驗性「工作」，所以，政治藝術家會演繹出一種「個體作為思考者」的角色，讓「政治化」變得可感，而法哈廷所演繹的正是達文西（Leonardo Da Vinci）與馬克思（Karl Marx）。 從他在伊斯坦堡發表的「高跟鞋：綁定階段」計畫中，他以一個沒有張開雙臂的人像，回溯了1995年至今的「追尋」，仿似達文西在1490年左右，也是維楚威《建築十書》（De Architectura）在羅馬再版的四年後，完成的「置身宇宙中心的人」的著名草稿《維楚威人》（Uomo Virtruviano），法哈廷在這二十年間的創作研究得出與達文西「宇宙-建築-人」形成悖論的結果，這個結果彷彿出自一個不那麼壓抑而憤怒的馬克思，像是班雅明那樣的一個馬克思主義者：人必須面對由知識與技術所積累流變出的世界（城市）。文藝復興有個緊密連繫到現代性進程的要素，就是以知識和技術來證成個體和宇宙之間具有同質的組成，並以一貫的邏輯運行不息，而且也因為知識和技術的關係，將抽象的人置身於世界中心；然而，「3D 夕陽」計畫延續「高跟鞋：綁定階段」計畫的方式，幾乎是從黑色驚悚到魔幻寫實，再進至黑色迷幻。 「高跟鞋：綁定階段」計劃中的聲光裝置，並非空間的特效展示，而是我們長久從城市生活進至全球生命政治的心理情境：自製聲響以共同維持假象。「3D 夕陽」不再以黑色電影來警示觀眾我們的處境有多哀傷，藝術家重新編輯先前的作品，經由2016年在台灣的短暫調查，轉而決定著重在另一個雙重批判的層次上在台北進行對話：意即如何直接面對這個想像的可感未來，面對我們通過各個階段資本主義而成就的人造未來？一方面，3D意味著我們今天逐漸沈浸其中的虛擬真實，在極力碰觸現實的同時接受了巨型系統所編排的全控可感世界，另一方面，我們尷尬地既不相信揭露可以改變生活，或許又投機地想或許是種新的生命狀態（《等式＝城市演化的/和時間》、《最後的訊號》）。 在他的「追尋-創作」中（特別是《陰謀之牆＞安那緝術家》），我們可以發現許多「倒錯」的印記，從早期攝影與繪圖關係的倒錯（媒體認知與技術意義的倒錯），到如何先是通過政治事件的符號，將人的實體置換為科技物的紋理、以及對傳輸線路的綿密描繪，後來就越來越專注在生命內容被這些訊號與線路所取代（政治意識的倒錯，《陰謀之牆》中的繪圖），一直到追隨著馬克思捕捉到貨幣的面紗，然後一轉摧毀了達文西為人文主義簽署的第一張草圖。人不再自主地朝向與自然宇宙同調運行，而是代之以人造宇宙帶人遠離獨立生命的可能性（生命的倒錯，《陰謀之牆》中的繪圖與字母牆的裝置）；這些倒錯的印記通過列印輸出與裝置，以「拓樸」（topographic）和「脈拼」（mapping）的方式，滲透蔓延到各種領域的知識，但這滲透和蔓延不是為了說明事實或聲張正義，而是讓真實與正義成為可感的「詩性」。他的畫筆與筆劃不是「理念式」的，不是幾何的，不是讓圖像與造形脫離脈絡、脫離紙張纖維或油印質地的線條，而是「地理學式」地讓影像中的人形或物形，要不被綿密的傳輸線路與配件所取代，要不從體量的內部透出盲目繁殖的城市；他幾近馬賽克的迷宮式繪圖，讓城市（建築）、傳輸線路（網路）與生命體（形象）在曖昧的顏色中交互滲透，組成一種未明生命的圖像（figure），或說他賦予置身於3D夕照前的未明生命一種顯形（figurative）以及一種敘事場景（narrative scene）。 如果建築曾經牽引達文西想像一種符合宇宙運行規律的人體，那麼由權力流、資訊流與慾望流交織建構出的城市，不僅極力地消弭所有主體化事件的可能性，還讓許許多多的個人在城市景觀前選好座位、戴上3D的分色眼鏡。當達文西通過阿貝提（L.B. Alberti）的《論繪畫》（De Pictura, 1435-36）、《論雕像》（De Statua, 1450）與《論建造的藝術》（De re aedificatoria, 1485）而著手《維楚威人》時，所有無限延伸的平行線會一端通過知識與技術而回到「人」這個消失點，同時也因為知識而向另一端輻射到無邊的宇宙；然而，這些在眼球前與透鏡上的光束想像，在隨後知識與科技伴隨資本主義與殖民主義發展了四百年之後，貨幣的閃光從福樓拜（Flaubert）與巴爾扎克（Balzac）一直到證交所的跑馬燈，自此，光束也被解析為無限的畫素，影像已經不是通過光在眼球上折射而在前方成像，而是通過分色直接在眼球上成像。宇宙與人的關係被數位化了，物與光也被數位化了，在法哈廷的遊走、談論、描繪與書寫中，透視的想像距離與理性的延展次序被轉化成生命中無限的畫素與隔線，「人造的邏輯」在堆積城市廢墟的同時，也在大腦與城市之中鑿穿無限的蟲洞，而他的詩性表述不正是通過他所扮演的角色，以及這角色留下的文件與場景，用這些「地形」路線追索「靈魂」。 |
Artist Information > Fahrettin Örenli 法哈廷·奧倫利 Download > Press Release 新聞稿 Video > Artist Talk 藝術家座談 About 10th Anniversary Special Projects 關於十週年特別計畫 > Voir là in Time Zones 就在『時區』 |