藝術家Artist
米哈･斯圖科Miha Štrukelj
藝術家簡介Artist Profile
米哈･斯圖科目前住在斯洛維尼亞的盧比安納，並在此創作。其為視覺藝術家，主要聚焦油畫，也擅長繪圖和現地創作。他在2001年取得藝術碩士學位，畢業於斯洛維尼亞盧比安納藝術學院。斯圖科曾多次獲獎，如2008/09波洛克－卡斯納獎助；2008年漢高藝術獎；2014年美國互信組織獎助。他的作品曾展示於盧比安納現代美術館的國家收藏品區；個人入選1995–2005斯洛維尼亞藝術。重要參展紀錄包括：盧比安納現代美術館的”七大罪：盧比安納－莫斯科”、以及”U3斯洛維尼亞現代藝術三年展＂；第四屆北京雙年展。作品多次獲邀至國內外展出，並曾登上維他命P：繪畫新前景（費頓出版社2002）；斯圖科於2009年代表斯洛維尼亞參加第53屆威尼斯雙年展，作品展出於斯洛維尼亞館。
Miha Štrukelj lives and works in Ljubljana, Slovenia. He is a visual artist working primarily in painting and also focusing on drawing and site-specific work. He is a graduate of the Academy of Fine Arts Ljubljana, Slovenia in 2001 with a Master of Fine Arts. He has several awards, including the Pollock-Krasner Grant 2008/09 and the Henkel Drawing Award 2008, Trust for Mutual Understanding 2014. His work has also been included in the National Collection of the Museum of Modern Art in Ljubljana. He has also been selected for “Slovenian Art 1995–2005”,“Seven Sins: Ljubljana–Moscow” and “U3 - Triennial of Contemporary Art in Slovenia” at Museum of Modern Art Ljubljana, 4th Beijing Biennial, and various other national and international selections. His work has been presented in “Vitamin P: New Perspectives in Painting” (Phaidon 2002). In 2009 he represented Slovenia in the Slovenian Pavilion at 53rd Venice Biennial. (www.mihastrukelj.com)
創作論述Work Text
定義空間
研究了台南當地的歷史和建築，我發展出此次作品，其中包含多項構成要素，我最感興趣的，是這裡如何隨著歷史改變風貌、還有多重外力如何影響這個城市？
每座城市和地區都有其特色，我藉著創造一個虛構的都市景觀，來探索並詮釋這些特色，而這想像中的都市景觀，仍有其建築邏輯，讓人容易辨識它的真實存在。我希望能激發觀眾以不同的方式和角度，來欣賞這圖像，也鼓勵觀眾去注意到一些以往被隱藏、或被視為不重要的細節。在開始製作基準圖時，我最關注的，是現實與想像，交互作用後的平衡。最後呈現出的作品，與我原始概念差異不大，除了在創作過程中，臨摹的地點有出現新元素、或是配合展覽空間所作的調整。
作品由多項元素組成，整體構圖的基礎，是一個網絡結構，這些格網也融合成背景的一部分，繪圖的筆觸看似數位圖像，但其過程則類似傳統畫作，在此作品中，比較像壁畫。繪圖方式意在創造3D立體空間，表現在線和木頭架構上，營造類似當地的建築特色，特別是那些狹窄的房子。木版上的四幅繪圖，描繪出四個我認為極具意義的時期：如日本殖民時代建築、狹長房舍、安平樹屋、以及傳統台灣民宅。同時，在壁畫中，添加了三項細節：中文標誌、一般現代建築（我刻意從網路上找其他地方照片）、以及傳統寺廟。
此作品中很重要的一部分，是一塊黑板上面畫了算式、符號、地圖、以及設計圖，揭示創作過程。展覽整體架構規劃，是要引導觀眾進來並從中穿越，創造一種置身狹窄巷弄的印象。
DEFINING SPACE
Researching local history and architecture, I have developed a project consisting of several components. In particular, I was interested in how the area has changed throughout history and how it was affected by various external influences.
Every city or area has specifics that I want to discover and interpret by creating an imaginary cityscape, which has a specific architectural logic and is easily recognizable as a solid form. I want to challenge the viewer to see the image in a different way and from different perspective, encourage them to notice details that are usually hidden or considered insignificant. When preparing a reference image, I'm interested in the dialectic of real-imaginary. The original idea has not been changed radically, it only changed within the process of creating by new findings of actually been physically present in the space, not to mention the project space itself.
The project consists of several components. The basis of the overall layout is a network structure which is visible as a background image structure, the drawing texture itself seems digital in appearance, while the process itself resembles traditional practice in painting, in this case, the murals. The drawing has a tendency for 3D space, which manifests itself in the structure of strings and wood construction that resemble the architectural specifics of the area, specifically the narrow buildings. Four drawings on wood plates depict four different periods that I found significant. Japanese colonial architecture, narrow building, Anping Tree House, and traditional Taiwanese residential house. Also, within the wall drawing there are three additional details depicting Chinese sign, generic modern architecture (deliberately taken from the internet, and from different area), and traditional temple.
Significant part of the project covers the black chalk board painted with calculations, marks, maps, and designs revealing the process. The overall structure also invites visitor to enter and walk through it. The idea was to create an impression of a narrow alley.