雷恩

雷恩

雷恩(古勒勒 ‧ 羅拉登),屏東縣三地門鄉地磨兒部落排灣族人,父親巫瑪‧金碌兒致力於研發排灣族琉璃珠製作之技術,雷恩遺傳父親創作的基因,也承襲家族守護部落琉璃珠之使命,對於母體文化失落的感懷、個人回歸與現代傳統的衝擊等心靈體會轉化為創作動能。
自幼時即在外就學以致母語浸淫不深,一直是雷恩心中所憾,國立藝專畢業後,決心回到部落成立鳥人天空工作室投入專職創作。回到部落創作,雷恩親炙傳統文化底蘊,透過創作轉譯傳統符碼並賦予新意,跨越血統身份與國界藩籬,關注藝術的當代性思考,呈現對於批判與自省的深度與視野。
創作的類型多元而不拘泥予材料的有限,創作領域包含:繪畫、鑲嵌珠畫、金屬雕塑、複合媒材、裝置、動力藝術、文創商品等。 

作品名稱

Maderle買得樂文化量販店
(Maderle Cultural Hypermarket)

Kulele Ruladen

Kulele Ruladen (also known as Lei En by Chinese name) is a Paiwan artist from the Demoer Village, Sandimen Township, Pingtung County. His father, Umass Zingrur, is dedicated to the continuation and development of Katakata (i.e., Paiwan glass bead) manufacturing techniques. Inheriting his father’s artist genes and the mission of the family to conserve the art of Katakata, Kulele finds momentum for his artistic creation from his thoughts about the disappearance of his cultural roots, personal return to the roots, and impacts of modern time on indigenous tradition.
When growing up, Kulele spent most of his time studying outside the village; therefore, he was not sufficiently exposed to his mother tongue. This has been one of his regrets. Since his graduation from National College of Arts, he made up his mind to return to the village; established the Bird, Man and Sky Studio; and started to work as a full-time artist. He learns from the traditional indigenous cultures and gives them new meanings through his artistic creation and reinterpretation of traditional symbols. His art crosses the boundaries of ethnicity and nationality; focuses on contemporary issues; and presents a sense of depth and vision in his critical thinking and self-reflection.
His art is diverse and has no limit in its use of materials and media, covering fields such as painting, mosaic bead painting, metal sculpture, mixed media, installation, kinetic art, and cultural/creative products.

 

台灣的原住民族群
真正被外來政權或異族人統治
不過百年而已
對著幾千年不受外界干擾的生活
突如其來的文明演進
為了生存
加速融入這個世界
其中的衝突與矛盾,原住民只能妥協和接受
我們沒有太多的選擇
現在的我們
日常生活幾乎無異於外界
但不代表我們心甘情願的演著這一場文化大戲

我用「文化量販店」來形容現在的原鄉部落
我們把自己包裝成各式商品,滿足了各方需求
展現著新價值,貢獻未來

藉這次貨櫃藝術節以貨櫃的形式,搭上了航向未來的方舟
進入了“文明”這顯而易見的“陷阱”
文明便利的舒適感VS古老傳統的消逝感
其實不用做太艱難的最終決擇
因為時代只會將我們往一個方向推送

展售台上
我們用”天真浪漫”包裝我們驚恐又期待的神情
轉過身後
感受到的像是少掉一塊靈魂的椎心痛

 

The indigenous peoples in Taiwan
were ruled by colonizers and outsiders
for merely over 100 years.
Before that, our ancestors had lived
thousands of years free from external interferences.
In response to the sudden evolution of civilizations;
in an attempt to survive,
we have to blend into the modern world as quickly as possible.
Facing all the confrontations and conflicts in this process,
we cannot help but compromise
and accept whatever comes in our way.
We do not have too many choices.
Nowadays, we are
living our daily lives almost like people from the outside,
but it does not mean we are willing to play along in this big show of cultures.

I use “cultural hypermarket” to describe the indigenous communities nowadays.
We package and present ourselves as different kinds of products,
satisfying demands of different parties,
presenting new values, and contributing to the future.
In this Container Arts Festival, I use containers to build an ark
sailing into the future.
But it is actually an apparent “trap” of “civilization”.
Comfort of conveniences in modern civilization vs. disappearance of ancient tradition.
Actually, we do not need to make any difficult final choice
for the time will push us only in one direction.

On the display shelf,
we use “innocence and romanticism” to package our fear and expectation.
After we turn around,
we feel a kind of heart-piercing pain as if we have lost part of our souls.

Address

804 高雄市鼓山區美術館路80號
週二至週日 11:00 - 18:00
夜間照明至21:30
國定假日開放時間以高雄市立美術館官網公告為主

Contacts

Email: servicemail2@kmfa.gov.tw
Phone: +886 (7) 555-0331
Fax: +886 (7) 555-0307