2022年5月6日 星期五

截至2021年的工作路徑 Workpaths Until 2021

截至2021年的工作路徑 

媒材:光雕投影裝置
影片長度:16分40秒
創作年代:2021
紀錄片製作:財團法人公共電視文化事業基金會 
聲音共製:臺藝大聲響藝術實驗中心 
動畫共製:臺藝大科技藝術實驗中心 


這件作品呈現了藝術家在2018-2021年間的工作路徑,這個路徑是沿著考古的主題而展開。2018-2020年考古團隊陸續在北台灣和平島找到了諸聖教堂的完整牆基以及墓葬,這個區域曾經有一座1642年改建的北荷蘭城(前身為聖薩爾瓦多城),從這個考古線索出發,藝術家的工作路徑進一步連結了荷蘭東印度公司於1641年建造的麻六甲總督府,以及1643年在柬埔寨發生的柬荷大戰。除此之外,對於考古的興趣驅使,這個路徑再連結到不同的考古場景,包括台灣東海岸的綠島水下考古以及花蓮新社岩棺。


影像的素材來自於過去不同作品的再製,包括 2018年的《黑與白-馬來貘》、2019年的《武士與鹿》以及《石頭與大象》、2021年的《岩棺是不是棺》與《在聖堂裡的一場演出》。這些來自於其他作品的既有影像,在這裡成為影像的碎片,既呈現了藝術家透過個人行動路徑所串起的網絡,也如同當今網際網路的超連結方式,異質的場景彼此交織連結。


這件作品的聲音來自於作曲家許德彰為《在聖堂裡的一場演出》這件作品所製作的音樂表演,當時這場演出是在和平島的考古現場進行,在這次的作品版本中,則成為不同考古場景之間的共演。


Workpaths Until 2021

Medium: Projection Mapping Installation
Duration: 16’40”
Year: 2021 
Documentary Production: Taiwan Public Television Service Foundation
Sound Co-production: Center for Sound Arts and Acoustics Research, NTUA
Animation Co-production: Innovation Center for Art and Technology, NTUA


The artwork reveals Chia-wei Hsu’s creative path between 2019 and 2021 centering on several archaeological scenes and finings. From 2018 to 2020, the archaeological team had successively discovered the intact foundation of the walls and graves as the remains of the Church of Todos los Santos. The Fort Noord-Holland, rebuilt in 1642 from the original “Fort San Salvador,” used to stand in the area, while the archaeological traces found centuries later brought the artist’s exploration to the Dutch Governor’s House in Malacca built in 1641 and the war between Cambodia and the Dutch in 1643, before further expanding the interrelated network, out of an interest in archaeology, to different sites such as the underwater discoveries off Green Island and the Shinshe Stone Coffin in Hualien.

The video features materials remade from Hsu’s previous works, including Black and White – Malayan Tapir (2018), Samurai and Deer (2019), Stones and Elephants (2019), Is the Stone Coffin a Coffin? (2021) and A Performance in the Church (2021). The borrowed clips become fragments in here, which not only visualize a network stringed by Hsu’s personal creative path but also allow the inherently heterogeneous scenes to be interwoven as hyperlinks in the cyber world. 


The sound of the piece comes from the musical performance Hui Tak-Cheung composed for A Performance in the Church. Originally taking place at the archaeological site at Hoping Island, the music edited in this version presents a co-performance between different archaeological scenes.

 










在聖堂裡的一場演出 A Performance in the Church

在聖堂裡的一場演出

媒材:三頻道錄像裝置

影片長度:16分40秒,3分53秒,6分40秒

創作年代:2021

紀錄片製作:財團法人公共電視文化事業基金會

聲音共製:臺藝大聲響藝術實驗中心

動畫共製:臺藝大科技藝術實驗中心


在2018-2020年考古團隊陸續在北台灣和平島找到了諸聖教堂的完整牆基以及墓葬,是唯一見證西班牙人從1626-1642年在台灣最直接的證據。藝術家從這個考古現場出發,透過考古、聲響與當代藝術三個不同的專業領域的交會,策劃一場跨領域的音樂演出。當代人專注於細微的物質線索,進而想像一個我們從未經歷過的時空,這是考古學很迷人的特質。以此為概念,這個計畫企圖在這個安靜沈睡幾百年的考古現場中,再一次創造聲音。


這個作品包含了三部錄像,第一部錄像所呈現的是一場在考古現場的音樂演出,作曲家許德彰將考古元素轉化成音樂素材,其中樂器部分以考古文物為原型進行設計,例如3D列印骨器所製成的笛子,以及由鐵渣與鹿角所構成的打擊樂器,影像中漂浮的動畫也是來自於現場發掘的文物。第二部錄像呈現的是作曲家與考古學家謝艾倫在聲音工作室中,討論有關聲響元素與考古的交會。第三部錄像包含考古現場的發掘過程,以及3D掃描技術所呈現的考古現場動畫。


A Performance in the Church

Medium: Three-channel Video Installation
Duration: 16’40”, 3’53”, 6’40”
Year: 2021
Documentary Production: Taiwan Public Television Service Foundation
Sound Co-production: Center for Sound Arts and Acoustics Research, NTUA
Animation Co-production: Innovation Center for Art and Technology, NTUA

The intact foundation of the walls and graves, as the remains of the Church of Todos los Santos, successively unearthed from 2018 to 2020 by the archaeological team, were the only and most direct evidence of the Spanish presence in Taiwan between 1626 and 1642. Taking the archaeological site as the point of departure, the artist organized an interdisciplinary musical performance via the encounters among archaeology, sound, and contemporary art. Archaeology, fascinating in a way that it allows contemporary audience to imagine a time and space we have never experienced before as they are absorbed in the tiny material pieces, thus conceptually becomes the center of the project which attempts to re-create sounds for the archaeological site which has slept in silence for centuries. 

The artwork includes three videos: the first represents a musical performance taking place at the archaeological site, where the composer Hui Tak-Cheung transforms the archaeological elements into musical materials, including the instruments made in the models of archaeological findings, such as the flute made of a 3D-printed bone tool, or the percussion assembled with scums and antlers, while the floating animation in the video is also derived from the on-site findings. The second video captures the composer’s conversation with the archaeologist Ellen Hsieh taking place in the sound studio where sound and archaeology meat each other. The third video documents the on-site archeological excavation process and its animated 3D scanning.




















等晶播種 Crystal Seeding

等晶播種 

媒材:機械裝置、三頻道錄像裝置、3D列印裝置

影片長度:32分15秒

創作年代:2021

聲音共製:台灣聲響實驗室、台藝大聲響藝術實驗中心


《等晶播種》為許家維、鄭先喻、張碩尹三位藝術家共同製作。本計劃與台糖虎尾糖廠合作,以蔗糖為引子延伸布袋戲、實驗音樂、糖3D列印科技與機械手臂,在此複雜又彼此關聯的網絡爬梳小鎮百年歷史。糖業為臺灣首波現代化工業,1907年,大日本製糖株式會社興建的虎尾糖廠為當時產量最高的糖廠。機械化工業引進,產業型新興市鎮在嘉南平原應運而生,虎尾鎮成為當時南臺灣最現代化的城鎮。太平洋戰爭開啟,虎尾鎮酒精糖廠因用以發酵糖蜜的無水酒精為神風特攻隊能源,而遭毀滅式轟炸。糖業小鎮也於戰後沒落。

《等晶播種》為多頻道影像裝置,影片敘事改寫自皇民化布袋戲《鞍馬天狗》並由戲團昇平五洲園演出,虛實結合訴說虎尾鎮歷史;片中穿插作曲家許德彰在虎尾糖廠內的演奏,將工廠轉化成現地「樂器」;如同劇場的環境,機械手臂、3D列印機、航空旗號化身劇目演員,隨故事推進扮演不同的「角色」與「事件」。

本作品獲文化部109年度科技藝術創作發展計畫補助。


Crystal Seeding
Medium: Mechanical Installation, Two-channel Video Installation, 3D Printing Installation
Duration: 32 minutes and 15 seconds
Year: 2021
Sound Co-production: Taiwan Sound Lab, Center for Sound Arts and Acoustics Research, NTUA

Crystal Seeding, created by three artists—HSU Chia-Wei, CHANG Ting-Tong, and CHENG Hsien-Yu, is a collaborative project with Taisugar’s Huwei Sugar Factory. Sucrose being the inspirational departure point, the project addresses Taiwanese puppet theatre, experimental music, sugar 3D printing, and robotic arms, through whose intertwined complexity the history of a small town in the last century is investigated. The sugar industry was among the first to witness early modernization in Taiwan. In 1907, Dai Nippon Sugar Manufacturing Co. built the Huwei Sugar Factory, one that produced the most sugar in this country at the time. With the introduction of industrialized factories, new industrial towns started to appear in Chiayi-Tainan Plain. Huwei Township was then transformed into the most modernized city/town in Southern Taiwan. Because of the outbreak of the Pacific War, Huwei Sugar Factory was later expanded for ethanol production. 

The alcoholic fermentation converting sugars into energy and producing ethanol provided the fuel to Kamikaze, the Japanese Special Attack Unit, and resulted in the destructive bombing attacks at the factory. The sugar industry dwindled after the war, and the town was no longer up and coming. The multi-channel video installation tells a narrative adapted from Japanized puppet theatre piece Kurama Tengu performed by the Sheng Ping Puppet Troupe. Through merging reality and fictionality, the project illustrates the history of Huwei Township. Moreover, the recorded performance of composer HUI Tak-Cheung in the sugar factory, interspersed in the video, turns the factory into site-specific “musical instruments.” In a theatre-like setting, a robotic arm, a 3D printer, and flag carrier emblems are all actors in this play who enter the stage as the narrative unfolds, and play various “roles” as well as demonstrate different “incidents” on stage.









岩棺是不是棺 Is the Stone Coffin A Coffin?

岩棺是不是棺

媒材:單頻道錄像裝置,香蕉絲QR code

影片長度:3分56秒 

尺寸: 尋找沈船裝置 118 x 128 x 14.5 公分 

創作年代:2021 


此作品以花蓮新社岩棺作為主軸,連結起考古學、地質學與部落文化的關聯。岩棺為臺灣東部史前文化所遺留之器物,雖然造型類似棺,但在臺灣的考古學資料中,並未有作為棺的證據。岩棺的確切功能已不可考,但在噶瑪蘭族的傳統文化中,會利用岩棺舉行求雨祭祀,這就像是噶瑪蘭族部落與更古老的上一個文明的聯繫。


藝術家以新社部落獨特的香蕉絲工法,編織成一面QRcode,觀眾可用手機掃描這個 QRcode觀看影片。影片的拍攝地點有兩處,其一為目前岩棺的展示地點,記錄了3D掃描岩棺的工作過程。其二為原始發現岩棺的出土地點,現為新社部落半山的梯田,藝術家邀請了貓公部落的彈弓隊合作,影片中彈弓隊員朝著一棵大樹懸掛著的銅片射擊,彈丸擊中銅片的聲響成為了影片的主要節奏,並結合了3D岩棺合成在梯田的動畫,以及饒舌歌曲對於岩棺的種種描述,成為一個遠古與當代對話的場景。


Is the Stone Coffin A Coffin?

Medium: Single-channel Video Installation, Banana Weaving QR code
Duration: 3 minutes and 56 seconds
Dimension: 118 x 128 x 14.5 cm
Year: 2021

Centering on the Shinshe Stone Coffin in Hualien, the artwork brings archaeology, geology, and the tribal culture together. As the prehistoric relic in Eastern Taiwan, the stone coffin may look like a coffin but not necessarily functioned as one, at least without any archaeological evidence to support it. The actual purpose of the stone coffin is no longer traceable, but it is known in the Kavalan tradition that the stone coffin played a role in the rain-beckoning ceremonies, as if the Kavalan tribes were somehow linked with a more ancient civilization which came before it.   

The artist adopts the banana-weaving technique, a special craft practiced in Shinshe tribe, to create a QR code for a video. The video is filmed in two sites: one is where the stone coffin is displayed, as it documents the whole process of the 3D-scanning of the stone coffin, and the other is the mid-hill terrace in Shinshe where the stone coffin was first discovered and unearthed, in which the artist invites the slingshot team from the Fakong Tribe to join in the filming, asking them to shoot at a copper plate hanging on a big tree and the sound of the shots hitting at the plate becomes the basic rhythm of the video. It is also combined with the animation of the 3D stone coffin placed in the terrace and the rapped narration to materialize a conversation between the ancient and the contemporary.





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。