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咖 啡 屋 裡 的 冥 想
Meditation in Coffee House
1995.05.20 - 05.30
台南市立文化中心
Tainan Cultural Center
Solo Exhibition of
L e e K u e n L i n
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展出作品之其中五張 Five Pieces from the Exhibition
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March 1, 1995
1
繪畫不再是繪畫，作品不再是作品。這似乎已是進入現代藝術認識論的一個基礎。也就是說，一種「看待」的「關係」已取代了創作這麼一回事本身所架構出的美學部分，介於環境/執行者/解讀者/心理過程/意義/價位/意識型態/批判之間。
也正是因爲創作這麼回事變得複雜且不容易觧讀，所以當每個槪念在創作過程中的形成，它都同時轉化成不同的符碼，以進行各種程度的編碼過程，最後聯結成與意義平行的關係，由是，「筆觸」或「顏色」這一類的用語，很可能是反抗、治療甚或性慾望的代詞，它的真實存在只通過那些所有參與編碼過程的符碼間的相互影響。就拿看似機能單純的「繪畫」來說吧，在一張紙、一張畫布和一團顔料的前面觀看我們，這種觀看，其實是影射那一張紙、一張畫布和一團顏料後面的另一個空間，一個我們見不到的編碼過程，那裡始發生一切如符號的建立、意指作用的進行、批判行爲，或是，交易，價值變動等元素的交戰，有著思維及世俗的不同層次。
捷克學者福陸瑟在「姿態，建構一個現象學」（Vil'em Flusser：Gesten - Versuch einer Phanomenolo - gie，1991）－書裡，以「繪畫的姿態」爲專章談論了關於繪畫本質與外在的關係，他說到：「人們見不到畫家在工作時的身體動作，人們只有真實見到它時才會相信他所見到的。當人們見到了那個在運動中身體，那麼他們才可以稍稍地給予「手－畫筆」的稱呼……，我們總認爲手和脚是一起「並存」的，而畫筆是後才加進來的，但我們看到並相信的，確是手和畫筆『並存』...
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The Exhibition Invitation of "Meditation in Coffee House"
《咖啡屋裡的冥想》展覽文宣
1994
1996