Unity 和谐 (1969-1970 ) by 李健省 LEE Kian Seng Under Construction 1/14_3d_Unity
#1: Unity 和谐 (1969-1970) 包含了染上红漆代表血迹的象征造型.( 图左 :400 x120 x 120 cm ); 另一造型包含了科学之镜, 人类之镜与艺术之镜 ( 图右 :45cm x 45cm x 65 cm/ 这部分展后失踪了 ), 摄于 1970 年世界博览会场内 Unity comprising two enclosed forms i.e. (a)a 400 x120x120 cm and 45cm x 45cm x 65 cm. Mixed media of reinforced concrete, lit from within, glass, steel, mirror, key holder. Red paint was poured all over the figurative structure (right), allowing it to flow down as if it was bleeding(picture left) (b)a second enclosed form (picture right), developed after May 13, consists of three mirrors, mirror of Science, mirror of Arts and mirrors of Humanism Picture @ World Exposition 1970. (English translation by Felix Liew) Excerpted from Chapter Two of the book LEE Kian Seng - The Progenitor of Malaysia Installation Art by Rev.Dr Ngeo,Boon Lin ( O.Young / 2007 ) Chapter Two: Unity (1969/70) Lee s work Unity (1969/70) was completed during the cataclysmic racial conflicts that culminated in bloodshed on May 13, 1969. In the year that followed, the piece was introduced to the world at the World Exposition 1970 hosted by Japan. A true work of art is, of necessity, born of the times. It is an intensely passionate stare at life in the face. Not only does it convey the artist s philosophical ideals, it embodies the harsh reality of life as well. It may have its foundation deeply rooted in reality, or it may break away from conventional fetters and point the way forward to shaping the future. It may showcase the artist s real self and his subjective aspirations, but 2/14_3d_Unity
more so, it transcends the depth of human nature in an individual artist. It may be an imitation of nature, yet it may also be a resistance and challenge against imitation. This is because the artist s work is more than crude imitation, as its creator s imagination goes far beyond the disguise of nature. The artist s exaggerated expressions mirror the emotional struggle in his inner soul. His works therefore possess the power to stimulate the visual senses and provoke the intellect. Unity is a symbol of the oneness of the three major ethnic groups in Malaysia. The work expresses the hope, unity and peaceful co-existence of humankind. There are two enclosed forms to this piece of installation that are fused into a unifying singularity. The first comprises a gigantic human form made of reinforced concrete, created prior to the May 13 incident. The second, developed after May 13, consists of several entities set beneath the structure, including metal rods, key holders, and three mirrors the mirrors of Science, of the Arts, and of the Humanities respectively. They represent the essential elements for the advancement of human civilization, each reflecting the other s spirit of the times. The chaos and errors of the world are also mirrored therein. The statue is lit from within at night to create a stunning visual effect. At the time of the May 13 incident, Lee happened to be abroad. But the tragedy left him absolutely devastated so much so that he splattered red paint all over the figurative structure. The act in itself was a symbol of dashed hopes and dreams. So it was after the production of Unity that the concept and technique of Lee s installation art became more and more evolved. (note:<unity> comprising two enclosed forms, 400x120x120 cm and 45cm x 45cm x 65 cm. Mixed media of reinforced concrete,, glass, steel, mirror, key holder, lit from within (left) red paint was poured all over the structure, allowing it to flow down as if it was bleeding. (right) after the May 13,1969 incident, the formation of 2nd enclosed forms was evolved, consisting of three mirrors, mirror of Science, mirror of Arts and mirrors of Humanism. Photo taken at World Exposition 1970. ) --- O.Young 註 : 下文摘自欧阳文风的著作 马来西亚装置艺术之父 --- 李健省 一书的第二章 第二章 : 团结 (Unity, 1969-1970) 团结 在 513 种族血腥冲突期间创作, 在 1970 年日本召开的世界博览会 (World Exposition 70) 展出 真正的艺术作品, 必然是时代的婴儿, 是对生命的深情凝视, 它召唤创作者的理想, 却也包涵现实的苦痛 它具有根植现实的基础, 也有突破束缚, 指向未来的生命晃动 它可以表现创作者的自我与主观愿望, 但亦有超越个人指陈人性的深度 它可以是自然的摹仿, 也是对摹仿的反抗与挑战 ; 因为艺术家的创作远胜于粗劣单纯的临摹, 其幻想超越自然的伪装 艺术家的夸张表现手法, 是他们内在心情矛盾的激发, 他们的作品因此能刺激视觉, 促进思考 团结 是象征三大种族怀抱一体, 表现人类团结与和平共荣 这件装置艺术作品共分两大部分, 第一部分是以钢铁水泥混和的塑像, 创造于 513 事件之前 ; 第二部分是塑像下的钢铁条 锁匙圈, 还有三面镜子分别表现科学 艺术与人文之镜, 象征人类文明进步的要素, 互相反映时代精神, 亦可映照人世间的紊乱和谬误 塑像内还装置灯光, 制造特别视觉效果 513 爆发后, 李健省在国外伤心欲绝, 遂将血红的漆泼向塑像, 表现一种理想的幻灭 李健省的装置艺术理念与创作, 在发表 团结 后逐渐成熟 < 和谐 > (Unity) 包含了染上红漆代表血迹的象徴造型 ( 左 ), 另一造型包含了科学之镜, 人类之镜与艺术之镜 ( 右 ) 于 1970 年世界博览会场內展出 -- 欧阳文风 3/14_3d_Unity
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李健省笔记 1969 年底我被委任为世界博览会 (EXPO 70) 马来西亚馆艺术家, 同时我以装置作品 和谐 Unity (1969-1970) 在世界博览会展出 513 之前, Unity 团结 的原始构思只有一个造型 513 事件后, 我对原始构思与表达方式开始产生怀疑, 因为传统的雕塑慨念已不能满足我内心所要表达的震惊与激动 接着, 这件作品的构图演变成两个并置的造形 (#1 右 ) 互相衬托, 相互牵引 这过程是一种新实验的开始 -- 是当今所说的装置艺术吧 513 事件的冲击使我更珍惜人类的友爱, 所以我注重描述人道主义 这件作品的象征造型是由钢骨水泥制成, 融合多项形式上的本质, 玻璃镜, 灯光等构成, 表达对生命的热爱同时反映多元社会的结构 晚间的灯光来自作品内部, 像灯龙 作品的另一部份, 由钢铁条, 锁匙圈, 玻璃镜及文字组成的造形, 包含了科学之镜, 人类之镜与艺术之镜等实体 在最后完成阶段, 我以红漆代表血迹染在象征造型上, 表达我对 513 的悲痛 在会场展示一星期后, 当局劝告我, 必须把作品上的红漆所谓的敏感性部分涂掉 在无可选择之下, 象征造型所以呈现了白色 世界博览会完毕后, 这件作品也不清不楚地随马来西亚馆卖给东京的联合国, 马虎成交 当时我年轻不懂交易程序, 又缺乏法律上明文的支持, 购买者过后只补偿一点象征式的材料费 ( 特注 : 作品的另一部份如图 #1( 右 ), 隋后也失踪了 参与世界博览会的工作让我有机会观摹与解读来自世界各国的优秀创作与文化精华世界艺术薰陶了我的世界观, 敦厚了我的人文经历. 那段期间是旅程上可圈的一点. 我逐步把中华文化的元素构思在我的创作里 -- 转载自 5 件 3 次元作品见证马来西亚艺术 / 李健省 / 南洋商报 2006-02-12. http://www.leekianseng.com/3d_installationhistory.pdf 5/14_3d_Unity
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