洪芳琪提供
2009/7/18

時間與空間—展場域外的影像思考
〡創作論述 文〡洪芳琪〡

233，我家的門牌號碼，一個無法變動且從未搬遷的地址。作品中的人物是我父親，於照片中的年紀構築了家。我以父親肖像取代家在空間裡的建構機制，將固定式的私領域帶入可變動的環境裡。

這次的作品，跳脫以往室內展覽的形式，以環境決定作品的面貌，觀察作品如何在時間移動中將自己呈現的一個過程；反向思考室內環境，擴展整個可視空間都是展覽場域，並以臺灣本島為創作首站。

作品原本私密性，因各種觀者所形成的存在，於移動環境裡就是一種開放空間。在這開放性空間中，以火車為移動工具拉開穿越空間的時間軸線，讓不同地區的觀者以非預期的偶遇方式聯結作品，無限且沒有規律性地呈現另個開放場域的情境。

空間知覺

沙特(Sartre, Jean-Paul)曾把「情境」這個詞語當作外在環境的意義，只是對象的另一個型態，認為空間是「在己存有」( en soi )及「為己存有」( pour soi )兩個差異的世界。[1]梅洛龐蒂(Maurice Merleau-Ponty)論述過「空間」及「平面」，認為空間、平面是全體結構與所有場域構成的共同關係。強調空間的不可分割正如每個人的身體，卻有不同功能的肢體；例如，腳可以支撐身體移動，手可以拿東西。這些肢體獨立來看各有不同動作，然而就整個身體來說，這是由不同肢體所構成的完整身體結構。而空間、平面也是由全體結構與所有場域形構而成。[2]

視域

胡塞爾( Edmund Husserl )《視域理論theory of horizon》提出，我們對世界的知覺、以及我們對物件或物體的知覺，這兩件事之中有著根本的差異性。我們對物件或物體的知覺，若是成為有實效的知覺，則必然是在世界視域(world-horizon)之內被知覺到的。每一物件都是屬於這世界裡的某個物件，由此我們才明白我們的知覺裡經常有此視域。[3]

結語：作品邊界只是表明了構圖上的盡頭而不是它所展現的空間盡頭

視域可以成為作品表面與場域之間多種可能性的延伸，使各種不同的相對力量不斷作用著。而這交互作用下的時空能量，何謂域內? 域外? 是此次展覽，我需要去探索的議題。

Time and Space— the thoughts of images outside the exhibition area

233, my house number which is an address unable to change and never moved. The person in the work is my father who constructed our home as the age in the photo. In order to lead the fixed private space into the variable environment, I prefer the portrait of my father instead of the house of space where in the mechanism of photo shooting,

This work which was thought outside the box of the style of interior exhibition in the past that be determined what the work shows by environment and to observe the ways of the work displays as time goes. Ponder over the interior environment and expand the exhibition area to whole viewable space. Base on the style of creation, Taiwan is the first station.

Works belong to private space but parts of public when they are in moving environment cause of existential observers. In this public space, the time passed through the space by train made observers from different ways came across unexpectedly to show the situation of another open space unlimitedly and irregularly.

Space Consciousness

Jean-Paul Sartre regarded this word “situation” as the meaning of the external environment which is just another status of subjects. He also regarded that the space composed by two different parts “being-in-itself” and “being-for-itself”. Maurice Merleau-Ponty described the “space” and “plane” is the inter-relation of all structures and fields. He emphasized that space is undivided like our body with different functional parts. For example, feet sustain body’s movement and hands take stuff. To a complete body which is constructed by different parts but each part has their own action. Similarly, the space and plane are constructed by structures and fields.

Horizon

Edmund Gustav Albrecht Husserl mentioned that in theory of horizon：There exists a fundamental difference between the way we are conscious of the world and the way we are conscious of the things or objects, though together the two make up an inseparable unity. Things, objects are given as being valid for us in each case but in principle only in such a way that we are conscious of them as things or objects within the world-horizon. Each one is something, “something of the world” of which we are constantly conscious as a horizon.

The margin of the work only shows the end of composition instead of space it shows.
Space can be the possibility of extension of the work and fields and also make the different force interact. “What is outside the field and what is inside the field about the interactive force?” It’s my topic to discuss in this exhibition.

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[1] Sartre, Jean-Paul. L’Imaginaire. Paris:Gallimard,1940. p29-33.
[2] James Schmidt《梅洛龐蒂―現象學與結構主義之間》尚新建、杜麗燕譯。台北:桂冠1992.
p31-35.
[3]Edmund Husserl,The Crisis of European Sciences and Transcendental Phenomenology,
(Evanston: Northwestern University Press, 1970), p.143.



〡行經路線〡
一位女孩，一個背包，一份信念，一股對攝影執著 
帶著作品與相機，臺灣本島由南往東過北朝西 ，以行動攝影展覽方式，直接與觀者做互動
預計經過  205  個地方，估計  1013  公里。

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