安卓藝術在2011年的夏末初秋時呈現了一場國際級的藝術盛宴：「流動的世界-易伊蓮個展」(Yee I-Lann : Fluid World)。馬來西亞女性藝術家易伊蓮，其創作透過一種詩意的文化影像探討政治結構裡的社會整體與單一個體、東南亞群島的文化鏈接與衝突，馬來西亞人的共同記憶等議題。易伊蓮的首次台北個展「流動的世界」，完整呈現出藝術家近年對於文化、社會、經濟的一系列反思，藝術家本人亦將於展覽期間訪台，同時以展覽與座談的方式與同樣深受殖民文化影響且地屬海島的台灣，進行一次深刻地文化互動與交流。
「流動的世界」主要展出易伊蓮2010年的「大人物」(The Orang Besar Series)系列與早期的一些重要創作。在「大人物」系列中，易伊蓮運用特有的女性手法，娓娓地道出東南亞群島中纏繞交織的社會階級與混合文化；而在稍早的作品中，也能發現她在感嘆景物變遷的同時，不斷地反思馬來西亞的國家意識。Orang Besar直譯為大人物，追溯百餘年前，大人物們在東南亞列島扮演著社會政治菁英的角色，易伊蓮透過獨特的視角、蠟染技巧重新詮釋了這段歷史，反覆渲染的布料與重疊其上的影像彷彿是東南亞多層次的文化與歷史圖像。本展另一個亮點是藝術家將重新呈現其2002年的裝置作品《馬來西亞那》(Malaysiana)，在滿佈古老照片的房間裡，展現出照相館在時光流轉下承載的記憶與文化遺產。而2007年的創作「京那巴魯」(Kinabalu Series)系列，以易伊蓮的出生地沙巴（Sabah）為背景，用結合現實與傳說的影像，於風景、記憶和文化身分之間展開的精采對話亦將完整地呈現。
1971年出生於馬來西亞沙巴，於南澳阿德雷德大學取得視覺藝術學士後，赴倫敦聖馬汀藝術學校研習繪畫。曾參與「亞太當代藝術三年展」（Asia-Pacific Contemporary Art Triennale, Brisbane），「新加坡雙年展」（Singapore Biennale）， 2007年ZKM 新媒體藝術中心「藝術溫躍層：亞洲新浪潮展」（Thermocline
of Art: New Asian Waves）、2009年「福岡亞洲藝術三年展」（Fukuoka Asian Art Triennale）， 2010年「大邱攝影雙年展」（Daegu Photo Biennale）等，易伊蓮目前一邊從事藝術創作，一邊擔任劇情片電影的藝術設計， 她同時也於吉隆坡國家藝術學院（National Arts Cultureand Heritage Academy）的電影系任教。
MSAC presents the major solo exhibition Fluid World by international artist Yee I-Lann, in partnership with Malaysian gallery Valentine Willie Fine Art in
Yee I-Lann has spoken of her work as a
means of probing and interpreting her myriad fields of interest, with threads
of inquiry ranging from the impact of political structures, collective and
individual experience; the cultural nexus of the Southeast Asian archipelago’s
seas; as well as Malaysia’s communal memory. In Fluid World Yee I-Lann specifically explores the interwoven
concerns around notions of historical trade, social hierarchy, piracy and
resistance through her new works in photomedia and photo-mediated batik from The Orang Besar Series, which was first
shown in 2010 along with earlier work that explores her lament for shifting and
changing landscapes as well as reflections on Malaysia’s national
consciousness.
The literal translation of “orang
besar” is “big person”, a common term dating back centuries and used throughout
the Southeast Asian archipelago to denote a person of elite
socio-political-economic standing in a community. The Orang Besar series illustrates the social structure of the
orang besar, the body politic, and how this continues to be a major character
in the region’s political and economic nature in modern society, created after
a lengthy period of experimentation and research. By reinterpreting the batik
medium Yee I-Lann contributes a hybrid technique characteristically saturated
with intertextual meaning and multi-layered cultural and historical
iconography.
In addition to The Orang Besar Series, Yee I-Lann will be presenting earlier works
from her practice including an installation version of Malaysiana (2002), a stylistic collection of found studio photography
that becomes a kitsch and alternative archive to cultural heritage. Whilst Malaysiana explores a revisioning of a
type of national nostalgia her Kinabalu
Series (2007) focuses on the specificity of the state of Sabah in East
Malaysia on the island
of Borneo Sabah ’s
ecological diverse and culturally rich, but rapidly changing landscape, to
address ideas of inheritance, memory and identity.
Yee I-Lann received
her BA in Visual Arts from the University
of South Australia , Adelaide Kuala Lumpur
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