2021年6月15日 星期二

Cat and Mouse

Cat and Mouse

Medium: Single-channel Video Installation, 3D Printing Model, Customised Showcase
Duration: 6 minutes and 30 seconds
Dimension: 81.5 x 86 x 120 cm
Year: 2020

Cat and Mouse is a work of art that connects the history of Taiwan’s “White Terror” era with archaeological history. In the year 1948, amateur archaeologist Wang San-pai, (courtesy name Hong-bo) travelled to the Nanshikeng settlement located on the western slopes of Dadu Plateau and discovered prehistoric tableware, porcelain, and animal bones, thus naming the newly unearthed community the “Nanshikeng Site.” This astounding archaeological project was however discontinued due to the political climate of the time. Specifically, Wang San-pai was sentenced to prison for political reasons and executed in 1953, putting a screeching stop to a budding discovery. It was not until 2001 that the archaeological site was once again formally excavated under the direction of Dr. Chu Whei-lee of the National Museum of Natural Science. 

The video is a recording of the artist’s visit to Taichung and an interview of Mr. Wang San-pai’s daughter, Master Chang Tsz, who revealed precious manuscripts including Mr. Wang San-pai’s field survey reports on the Nanshikeng Site as well as the calligraphy works and letters he had written while imprisoned. She also presented a unique inkstone Mr. Wang had hand-chiselled from a rock he had found while still attending elementary school. His profound interest in field research and archaeology is evident from this long-cherished childhood object. Another item in his collections is a piece of pottery depicting a cat and a mouse that alludes to the political climate during Mr. Wang’s lifetime. The artist utilized 3D scanning technology to convert images of the inkstone and pottery piece into digital data, then created the installation using 3D printing, harnessing the powers of modern technology to reveal this complex, intertwining piece of history between archaeology and politics. 


《貓捉老鼠》 
媒材:單頻道錄像裝置,3D列印模型,特製展示櫃 
影片長度:6分30秒 
尺寸:貓捉老鼠裝置 81.5 x 86 x 120 公分 
創作年代:2020 

《貓捉老鼠》這件作品串起台灣白色恐怖時期歷史與考古歷史之間的關聯。在1948年間,業餘考古學家王參派先生(字鴻博)來到位於大肚山西麓的南勢坑聚落,發現一些食器、陶器及獸骨,將此新發現的遺址稱為南勢坑遺址。但是在當時的政治局勢下,這個考古研究並無法延續,因為王參派先生因政治因素被控入獄,最終在1953年被處決,成為他個人的未竟之業。直到2001年,這個考古遺址才在國立自然科學博物館的屈慧麗博士的主持下,再次進行深入的發掘。  

影片紀錄著藝術家前往台中拜訪王參派先生的女兒常慈師父的過程,師父展示了王參派先生珍貴的南勢坑田野調查報告手稿、入獄時所寫的書法與家書。其中還有一塊獨特的硯台,是王參派先生在其小學時,自己用撿到的石頭所鑿製而成。似乎他對田野物件及考古的興趣,從這兒時的物件上就可看出一些端倪。此外還有另一個遺物是王參派先生所收藏的貓捉老鼠陶皿,也反映了當時的時空背景。藝術家利用3D掃描技術將此硯台與陶皿轉化成數位資料,並以3D列印的方式製作了裝置,以當代技術轉化這段考古與政治糾結的歷史。  











2021年6月14日 星期一

Search for Shipwrecks

Search for Shipwrecks 
Medium: Single-channel Video Installation, 3D Printing Model, Customised Showcase
Duration: 6 minutes and 30 seconds
Dimension: 61 x 100 x 133.5 cm
Year: 2020

This work of art portrays the process of the artist’s search for sunken ships. Green Island Township Chronicle tells the history of a Dutch merchant ship that had run aground and sunk near the shores of Green island in the late 1800s, approximately 1880, fully loaded with provisions. The ship’s load would have sustained the islanders for three entire years, but as all of the arable land on the island were laid to waste three years thereafter, residents of the island endured a considerable period of destitution and distress. In 2013, the underwater archaeology team of Academia Sinica initiated an exploratory survey based on these records, and discovered a sunken ship that has since been named “Green Island No. 1.” This video begins with views of the Green Island White Terror Memorial Park of today (previously a penitentiary for political prisoners) before diving from the sky into the sea and arriving at the excavation site of the sunken “Green Island No. 1.”

At the same time, the artist has also constructed a replica of the sunken ship using 3D modelling and printing technology based on the hull dimensions specified in the survey reports and historical documents, and display the model within the customized showcase. The irregular facets of the digital model protrude from out of the display cases, representing a digitalized imaginative process of delineating unlived moments in history using contemporary technology.


《尋找沈船》
媒材:單頻道錄像裝置,3D列印模型,特製展示櫃
影片長度:6分30秒 
尺寸: 尋找沈船裝置 61 x 100 x 133.5 公分 
創作年代:2020 

這個作品呈現藝術家尋找沈船的過程。《綠島鄉誌》記載了一艘19世紀末的荷蘭沈船,相傳是1880年左右,滿載糧食的荷蘭商船遇風浪而迷失,在綠島近海擱淺沈沒。當時遺留下的米糧足夠島民吃三年,但三年後所有的耕地荒廢,島民在青黃不接的狀況下度過一段艱困的日子。在2013年,中研院的水下考古團隊根據此紀錄,探勘發現「綠島一號」沈船。這部影片從今日的白色恐怖綠島紀念園區出發(前身為收押政治犯的監獄),再由天空潛入海底,抵達「綠島一號」沈船的考古現場。

同時藝術家也依據考古報告當中的船身尺寸與歷史文件,透過3D建模及列印技術製作出想象中的沈船,並陳設在特製的展示櫃中。這些數位建模的不正常塊面打破展示櫃,呈現了一個數位化的想像的過程,是透過當代技術去想像一個我們從未經歷的時空。












2020年1月6日 星期一

Stones and Elephants

Stones and Elephants
Two-channel video installation, 13’, 2019
Commissioned by the 2019 Singapore Biennale in collaboration with KADIST as part of Frequency of Tradition, curated by Hyunjin Kim, a three-year series of seminars, commissions, and exhibitions taking place across Asia.

This work premiered on November 19th, 2019 in the Singapore Biennale.Stones and Elephants is derived from the Malay classic The Hikayat Abdullah. The author Abdullah, who once served as the secretary of Resident William Farquhar, chronicled his life in Malaysia and published his writings in 1849. This art piece excerpted two chapters from this literary classic to serve as narration. 'Melaka Fort' depicts how the British destroyed the strong fortress to weaken Malacca and return control of the region to the Dutch East India Company. In the next chapter, Abdullah describes the locals, William Farquhar and his interest in ecology, especially the scene of hiring a Malay shaman to order a round-up of elephants.


In this piece, the artist invited a Malay shaman to read these two stories in Malay as a voice-over and to pray for a peaceful filming trip. The rituals were held in two places. The first was located in the atrium inside the Malacca Museum of History and Ethnology. This was William Farquhar's office area in Malacca at that time, where he conducted official business. The other was on the grass near the transmission tower, using an airborne drone. The unique perspective offered by the drone allowed, on the one hand, the drone and the transmission tower to serve complementary roles as tools of photography. On the other hand, the tower also fulfilled an anthropomorphic role in the film, creating a unique relationship between the human (the Malay shaman) and the non-human (the drone). Apart from the pictures taken by the drone, other materials are also included in the piece. The first is the elephant mentioned in The Hikayat Abdullah, and another is the transmission tower near the museum. The drone depends on the tower as the source of its signals, but the drone also cannot venture too close to the tower for fear of signal interference.


This work is a two-channel video installation. During the exhibition, it must be connected to the Internet for visitors to search for keywords related to this work. Changes to the network and visitors’ daily lives will occur as the exhibition goes on, and consequently, the contents and results of the online searches will also become different. This networking technology corresponds strongly with the network between the transmission tower and the drone in the film. However, it is also unknown whether the story in the narration happened in actuality. The artist can only use technology and the Internet as a vessel for memories. As stated in the narration, 'all these have passed, showing that everything is such fragile.' Algorithms ensure that every keyword search will show different results, presenting a bit of truth among the uncertainty of this work. Through this, an attempt is made to retrace historical scenes that have been lost to time.


《石頭與大象》
雙頻道錄像裝置,13分,2019
本作品由2019新加坡雙年展委託製作。協同卡蒂斯特藝術基金會發展合作計畫Frequency of Tradition,此為Hyunjin Kim策劃的三年期計畫,將於亞洲地區舉行一系列研討會、藝術委託計劃和展覽。

《石頭與大象》(2019)的故事背景援引於馬來新文學經典《阿都拉傳》,作者阿都拉曾擔任馬六甲行政首長法誇爾的秘書,他將在馬來西亞生活的所見所聞記錄下來,此經典於1849年出版。此作品截取其中兩章節作為旁白:馬六甲城牆 一章中,描述了英國人如何破壞堅固的馬六甲要塞以削弱馬六甲,並將其歸還給荷蘭東印度公司;下一章中,他描繪了馬六甲當地居民、威廉・法誇爾與他在生態學方面的興趣,特別是雇用巫師圍捕大象的情景。

在這件創作中,藝術家請到馬來巫師以馬來文朗讀此兩段故事做為畫外音,並為拍攝過程祈福。祈福的地點有二,其一位於現在馬六甲歷史與民族學博物館內的中庭,此處為威廉・法誇爾當時在麻六甲的辦公室區域。其二則是鄰近電塔的草地上,透過空拍機的特殊視點,一方面空拍機與電塔相輔相成做為攝影機具,另一方面也是作為影片中擬人化的演員,形成人(馬來巫師)與非人(空拍機)之間的交流。除了空拍機所拍攝的畫面,還包括了不同的素材,其一是在《阿都拉傳》中提到的動物 - 大象,其二是在博物館附近的電塔。電塔作為訊號來源,既是空拍機訊號傳輸的依賴對象,卻又不能與其距離太近以免受到干擾。

此作品為雙頻道錄像裝置,在展出時需連接網路,才能針對與作品相關的關鍵字進行搜尋。隨著展出的時間拉長、網路和生活的變化,搜尋的內容也將有所不同,以此網絡技術與影像中的電塔網絡有所交互及呼應。而影片旁白所講述的內容是否真實發生其實也未可知,藝術家只能透過科技網絡作為記憶載體,如同旁白中提及:「這些都已經不在,顯示著這世上的事情是多麽易逝。」透過程式運算,每次的關鍵字搜尋都有所不同,呈現此作品不確定性中的一絲真實,藉此試圖回溯已不可考的歷史情景。







本作品於2019年11月19日新加坡雙年展現場首次呈現。 

本作品於2019年11月19日新加坡雙年展現場首次呈現。 

2019年4月26日 星期五

Work Paths until 2019

Work Paths until 2019 
Installation, Dimension Variable, 2019 

Hsu Chia-Wei’s 2008 The Story of Hoping Island centred on the shipyard on Hoping Island, under which lay the 17th-century fortress rebuilt by the Dutch East India Company. For the past two years, Hsu’s creative process has focused on traces leading from this starting point. This installation depicts a network of relationships from the initial archaeological site, describing a map of movements as well. The elaborate network extends from Hoping Island across Asia, comprising the Dutch Governor’s House in Malacca built in 1641, the Fort Noord-Holland rebuilt in 1642, and the war between Cambodia and the Dutch in 1644. We also trace relationships between Malacca and William Farquhar of the British East India Company, elephants and Malayan tapirs, the shared Classical Chinese character for both “tapir” and “panda,” and connections between the Dutch East India Company, deerskins, Taiwan and Sengoku-period Japan. These dynamic connections crossing space and time become key images, with three archaeological scenes from the underwater to high mountains as background, featuring in the central map of this exhibition, with connections ever increasing through the creative process-a use of the modern-day digital internet of Things to peer into the colonial Network of Things.

《截至2019年的工作路徑》
裝置,尺寸依場地而定,2019


許家維2008年的作品《和平島故事》曾拍攝和平島上的造船廠,這地點下方埋藏了十七世紀荷蘭東印度公司的北荷蘭城,從此線索出發,成為他近兩年的創作方向。這裝置呈現藝術家從和平島的考古事件所擴展出的關係圖,也是某種行動的路徑。從和平島延伸至亞洲區域,交織出複雜的關係網絡,例如1641年建造的麻六甲荷蘭總督府、1642年改建的北荷蘭城以及1644年發生的柬荷大戰,這三者之間的關聯;麻六甲與英國東印度公司總督威廉・法夸爾(William Farquhar)、大象、馬來貘之間的關係;馬來貘與熊貓在字源學上的同源;荷蘭東印度公司、鹿皮、台灣與日本戰國時代的連結等等。這些跨越時空的元素成為關鍵字影像,以水下到高山的三種考古現場作為背景,在關係圖中呈現出相互的動態連結,並隨著創作行動的過程中不斷增生,試圖以今日數位的物聯網思考方式,觀看殖民時代的物聯網。 


黃宏錡攝影  北師美術館提供



黃宏錡攝影  北師美術館提供

2019年4月10日 星期三

Samurai and Deer

Samurai and Deer
Two-channel video installation, 8’50”, 2019

Taking as its launch point the trading network of the 17th century, this work traces the common commodity of deerskin through hyperconnections transcending time and space. Since European coinage was not popularly accepted in 17th-century Asia, the Dutch East India Company relied on instead of barter, for example trading Indonesian spices for Taiwanese deerskins, and then reselling large quantities of deer skins in Japan for silver, and finally using this silver as capital for further trade.

Deerskin was in high demand in Japan, as Edo-period samurai culture consumed large quantities in armour, accessories, and clothing. Yet after years of overhunting, Taiwan could not keep up with the demand for deerskins in Japan, and as such the Dutch East India Company searched for alternative sources, finally coming to Phnom Penh in Cambodia in an attempt to corner the deerskin market. As a result, they came into conflict with the Cambodian king, who launched a series of naval wars from 1643 to 1644 along the Mekong River to expel the Dutch East India Company and in the end succeeding in their efforts.

The deerskin trade brought samurai culture, Dutch-Cambodian wars, and Taiwan into a complicated, interconnected relationship, which the artist has brought into the contemporary age. Videos shot in Cambodian and Japan include oral narratives from keepers at the Phnom Penh zoo, aerial footage of the Mekong River at the location where the Dutch and Cambodian armies fought, and modern-day cargo ships carrying gravel, as well as interview and handicraft footage from a Tokyo samurai armour workshop, internet imagery, and Google Maps data — use of the modern-day digital Internet of Things to peer into the colonial Network of Things.

《武士與鹿》
雙頻道錄像裝置,8分50秒,2019

作品從十七世紀的貿易體系作為切入點,以當時流通的鹿皮作為線索,展開一個跨越文化與時空的超連結。十七世紀歐洲貨幣在亞洲並不受到歡迎,荷蘭東印度公司提出了「以物易物」的交易方法,例如從印尼得到香料,以換取台灣的鹿皮,再將大量的鹿皮運往日本出售,換取白銀,之後便以換取的白銀作為資本,繼續投入下一輪的貿易。

當時日本有大量的鹿皮需求,源自江戶時代的武士文化中,鹿皮被大量使用於武士的盔甲、配件與陣羽織等衣物。但經過幾年的濫捕,台灣的鹿皮產量已無法滿足日本的需求,荷蘭東印度公司便開始尋找其他的鹿皮來源,於是來到柬埔寨的金邊,企圖主導鹿皮市場。在此背景下,荷蘭東印度公司與柬埔寨發生了激烈的衝突,柬埔寨國王開始一場趕走荷蘭東印度公司的戰爭。從1643年到1644年間柬埔寨人與荷蘭人在湄公河一帶,發生海戰,這場戰役最終由柬埔寨人贏得勝利。
鹿皮的交易串起了武士文化、柬荷大戰與台灣的複雜關係。從這個線索出發,藝術家進一步開展出當代的連結。影片拍攝於柬埔寨與日本兩地,包括了金邊動物園與管理員的口述;當時柬荷大戰原址的湄公河空拍影像,以及今日的砂石貿易貨輪;也拍攝了東京的武士甲冑工坊,包含甲冑製作過程與訪談;另外也包括了水下考古以及沈船的影像。四段不同色調的影像,在游移的過程中,以跨越時空的方式連結。

黃宏錡攝影 北師美術館提供

2019年1月18日 星期五

Malayan Tapir on Canvas Tri-Set


黃宏錡攝影 北師美術館提供

In the seventeenth century, European countries expanded their maritime trade and economical path to Asia. In addition to the flow of merchandise, the development of knowledge systems such as biology and science were also linked with the growing trade expansion. From Macao, Natural History Drawings, which were used to record the ecology of animals and plants, were introduced to China. The first commander of the British East India Company, Mr William Farquhar, who was sent to Malacca, hired a Chinese painter to record flora and fauna of the Peninsula of Malaysia. This collection of natural history has become a valuable resource to understand the ecology and history of this time.

Today the Natural History Drawings of the colonial period are an essential basis for understanding the life forms of the past. Many animals and plants were also included in a scientific system and named according to their characteristics. These Natural History Drawings were closely linked to science and art, and the advancement of art techniques lead to the further development of science. As we can see in this collection, the close connection of science, art, commerce, and politics in the colonial era is akin to today's “Internet of Things”, which connects various events or individuals together.

With modern technology, the artist uses the narrative of Natural History Drawings, where he combines various images, technology products, software backgrounds and Natural History Drawings, by using the collage technique.

十七世紀歐洲國家拓展海上貿易與經濟的路徑來到亞洲,除了商品貨物的流動,也連動著生物學、科學等知識系統建立的發展。當時用來記錄動植物生態的自然歷史繪畫從澳門傳入中國。英國東印度公司派任麻六甲的第一任司令威廉・法夸爾(William Farquhar) 則曾經雇用中國畫師,繪製馬來西亞半島的動植物,這一系列的收藏成為現今了解當時生態與歷史的重要自然歷史繪畫。

殖民時期的自然歷史繪畫是現今理解當時生物的依據與方法。動植物也進入科學系統,依據其特徵分類命名。自然歷史繪畫緊密連結科學與藝術,藝術技法的精進促成科學的發展。這一系列的收藏記述殖民時期科學、藝術、貿易與政治的網絡,也如同當今的物聯網,將異質的事件或個體相互連結。

藝術家透過現代技術開展自然歷史繪畫的敘事,運用拼貼、合成的方式將網路影像、科技產品、繪圖軟體後台與自然歷史繪畫組合,以傳統廣告的形式懸掛展出。






《陽光沙灘上的糖棕
金屬支架、藝術微噴於畫布99 x 133.5 x 14.5公分2019
《陽光沙灘上的糖棕》的主角糖棕是是原生於東南亞地區的植物,他的果實可以用來製糖,其汁液也可以用來提煉酒精,是該地區重要的經濟作物。而在現今消費社會的印象中,棕梠樹帶來另一種度假的想像,與海洋、沙灘、陽光、鳥叫緊密連結,而栗鴞、棕胸地鵑、啄木鳥、黑紅闊嘴鳥、鶲鵙與壽帶鳥棲身於棕梠樹之間。

Sugar Palms on the Sunny Beach
Metal Bracket, C-print on Canvas, 99 x 133.5 x 14.5 cm, 2019

The protagonist in Hsu’s Work: “Sugar Palms on the Sunny Beach”, is a native plant in Southeast Asia. This fruit can be used to make sugar, and its juice can also be used to extract alcohol. This plant is also an important cash crop in the region. In today's consumer society impression, palm trees, ocean, beach, sun and birds create a kind of holiday imagination. Between these palm trees, we can find various birds, such as the “Oriental bay owl”, the “Chestnut-breasted Malkoha”, the “Woodpecker”, the “black-and-red broadbill”, the “Rufous- Winged Philentoma” and the “Asian Paradise-flycatcher”.




《秘境森林中的幼年馬來貘
金屬支架、藝術微噴於畫布99 x 133.5 x 14.5公分2019
燕鷗、懶猴、黑掌長臂猿與幼年馬來貘一同現身於《秘境森林中的幼年馬來貘》中。幼年馬來貘的身體花紋不同於成年馬來貘,白色的斑點與線條錯落在棕色身軀上,成為他們居住在森林中的保護色。

The Small Malayan Tapir in the Mystery Forest
Metal Bracket, C-print on Canvas, 99 x 133.5 x 14.5 cm, 2019

Several animals such as The seabird “Tern”, “Slow Loris”, the “Dark-Handed Gibbon” and the Small “Malayan Tapir” appear in Hsu’s Work: "The Small Malayan Tapir in the Mystery Forest". The body pattern of the Small Malayan Tapir is different from the Adult Malayan Tapir. These little white spots and lines scattered on the brown body, are a protective colour, which helps the Tapir to disappear in the forest. After the Malayan Tapir grows into adulthood, his white spots gradually fade away and turn into the familiar black and white shapes.




《成年馬來貘在群山之中
金屬支架、藝術微噴於畫布133.5 x 99 x 14.5公分2019
馬來貘長至成年之後,身體的白色斑點會逐漸褪去,轉變成我們熟悉的黑白色塊。《成年馬來貘在群山之中》有鼯鼠、穿山甲、飛鼠與家鼠共同身在群山環繞的森林裡。大馬來貘從電視畫面中邁開步伐至森林之中,進入這個懸浮的畫布世界之中。

The Adult Malayan Tapir is Surrounded by Mountains
Metal Bracket, C-print on Canvas, 133.5 x 99 x 14.5 cm, 2019

In “The Adult Malayan Tapir is Surrounded by Mountains”, a tree-dwelling mammal “Mole”, a “Pangolin”, the “Grey-Cheeked Flying Squirrel” and the “House Mouse” are surrounded by mountains in the forest. In the centre, a big Malayan Tapir steps out of the TV screen and enters the canvas world.

2018年12月10日 星期一

Mineral Crafts

Mineral Crafts
Five-channel Video Installation, 9’52”, 2018
Commissioned by Gold Museum, New Taipei City

Jinguashi is recognised for its gold and copper mines, and the subject of Mineral Crafts is copper. The work connects the geographical features of Jinguashi and the development of the mining industry during Japanese occupied time with the key role that copper plays in humanity’s past, present and future.

Copper was the first metal to be used by humans. It is used widely for household objects, weaponry, electrical conductors, etc. and has changed our lives on a massive scale. The work is made in the online game Minecraft. With collaboration from the gaming community, we created the terrain of Jinguashi, the 13-level remains of Copper Refinery, and the Four Joined Japanese-style Residence. The narration for the video was made with Google Text-to-Speech, act as a guide in the game to help the audience immerse in the history of Jinguashi and its connections with the rest of the world.

In the real world, copper has propelled human society from ancient times to the Information Age, and the technology developed in the Information Age further allows us to do mining and construction in the virtual world of Minecraft. This is an Internet of Things built on minerals. With copper as an overarching theme, Mineral Crafts attempts to expand the historical context of a single region into a history of technology that chronicles the symbiosis of people and objects.

礦物工藝
五頻道錄像裝置, 9’52”, 2018
本作品由新北市立黃金博物館委託製作

《礦物工藝》以銅為主題,從金瓜石地理樣貌和日本殖民時期的礦業發展敘事連結到銅在人類歷史、現今與未來的緊密關係。銅是人類最早使用的金屬,而後大規模的改變人類生活的樣貌,從日用品、武器到電力傳導的媒介,由遠古的石器社會帶領人類邁向資訊社會。這件作品是在遊戲「當個創世神」中拍攝製作,透過與專業玩家社群的合作,在遊戲中搭建金瓜石地貌、十三層選煉廠與四連棟宿舍等場景。影片的旁白則是由google小姐配音,她以遊戲導覽員的身份,帶領我們一同認識金瓜石區域歷史與世界的關係。現實世界中的銅以極其微妙卻廣大的方式推進了資訊社會的發展,使得我們能夠在遊戲的世界中,進行採礦與建造,這是由礦物所搭建起的當代物聯網迴圈,以銅作為一個貫穿的元素,這件作品試圖將單一區域的歷史脈絡,擴延至人與物共生的技術發展史。