Eko Bintang 艾可・恆星

伊日藝術計劃台北空間將於 9 月 10 日至 10 月 31 日推出聯展《魔幻日常》，透過不同藝術家的創作視角，探討當記憶、身份、影像與既有價值觀開始產生變化時，我們所熟悉的日常如何逐漸出現不同的理解與想像。

印尼藝術家艾可・恆星（Eko Bintang）的繪畫與素描長期圍繞記憶、身份認同與人際關係展開。他從失落、重組與重新尋回的記憶片段出發，將懷舊情感與個人內省交織於人物形象之中，思考個體如何在他者的凝視、社會期待與既有規範之間持續被形塑。

艾可作品中的人物經常呈現溫柔而脆弱的狀態，卻也透過偽裝、角色扮演與表演性的姿態，讓身份在真實與建構之間不斷游移。人物看似具有明確的形象與性格，卻始終保留著無法被完全辨識的距離，使觀看本身成為一種對身份的投射、猜測與重新判讀。

這樣的創作脈絡與《魔幻日常》對現實不穩定性的討論形成呼應。當記憶可以被重新編輯、身份可以透過表演被建構，而觀看又不斷受到既有認知所影響，「真實的自我」也因此不再是一個固定的存在。

在艾可的作品中，「魔幻」並非脫離現實的想像，而是出現在熟悉的人物與關係產生細微裂隙的時刻。透過記憶、凝視與角色之間的反覆交錯，他使身份成為一種持續變動、尚未完成的狀態，也讓我們重新思考：我們所認識的他人，究竟來自對方本身，還是來自觀看者不斷投射而成的想像。

YIRI ARTS Taipei is pleased to present Magical Everyday, a group exhibition on view from September 10 to October 31. Bringing together different artistic perspectives, the exhibition explores how shifts in memory, identity, images, and familiar value systems can change the way we see and understand everyday life.

Indonesian artist Eko Bintang’s practice centers on painting and drawing, through which he explores memory, identity, and the complexities of human relationships. Drawing from fragments of lost, reconstructed, and recovered memories, he brings together nostalgia and introspection to examine how individual identity is continuously shaped by the gaze of others, social expectations, and established norms.

The figures that recur throughout Bintang’s work often appear tender and vulnerable, yet their identities are also mediated through disguise, role-play, and performative gestures. While seemingly familiar, they remain suspended between authenticity and construction, creating a subtle distance that turns the act of looking into one of projection, interpretation, and uncertainty.

This tension closely resonates with the central concerns of Magical Everyday. If memory can be edited, identity performed, and perception shaped by inherited expectations, then the notion of a stable or singular self becomes increasingly difficult to sustain.

In Bintang’s work, the “magical” does not emerge through fantasy or escape, but through subtle fissures within familiar figures and relationships. By allowing memory, gaze, and role-play to overlap, he presents identity as fluid, provisional, and continually in formation, inviting us to reconsider whether our understanding of others is ever truly fixed, or always partly shaped by our own projections.