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 Trio 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
Three-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
三頻道錄像裝置, 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。








2018年10月18日 星期四

Black and White - Malayan Tapir

Black and White - Malayan Tapir
Four-channel Video Installation, 6’55”, 2018

The development in Southeast Asia progressed when the British East India Company chose Singapore as a commercial base and started its modernisation. As commercial development took place in Singapore, Europe also rapidly started to gather data and initiate the study of plants and animals, also the establishment of museums. William Farquhar, the first commandant of the British East India Company in Malacca, hired a Chinese painter to do large-scale mapping and sorting of species in the Malay Peninsula. As a result, a black and white creature, Malayan tapir, was recorded.

Due to the rapid development of biology, the naming and data recording of animals and plants had become a competitive field for many naturalists. However, Thomas Stamford Raffles, the commandant of the British East India Company in Penang, and William Farquhar, the commandant in Malacca, stayed engaged in political competition and started scientific disputes. Their recorded collection of animals and plants at the time was shipped from place to place during the colonial era until it returned to Singapore to the National Heritage Board.

Black and White – Malayan Tapir, hopes to apply an encyclopedic narrative style to deal with the equality between people and non-humans, man and nature, and to explore the changes in the way modern people view images. The scenes switch from the National Gallery Singapore, the National History Museum, Singapore Zoo to search engines and multiple windows. The political relationship between the history of the zoo in Southeast Asia and the colonial era leads to the drawing of a scientific illustration, biology, civil division and the local legend of Malayan tapir.


黑與白-馬來貘
四頻道錄像裝置, 6’55”, 2018

英國東印度公司在東南亞開發之際,選擇新加坡作為商業的據點,開始了當地的現代性建設。商業開發的同時,歐洲也同時快速發展動植物學與博物館的資料搜集與建構。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)曾雇用中國畫師,針對馬來西亞的物種做大規模的繪製與整理,因而記錄了一種黑白生物:馬來貘。

在生物學迅速發展的時代,動植物的命名與資料記錄成為眾多生物愛好者相互競爭的範疇。然而,英國東印度公司的檳城司令萊佛士(Thomas Stamford Raffles)與麻六甲司令威廉・法夸爾,從政治的競爭關係延燒到科學的紛爭。他們當時候的動植物紀錄收藏歷經殖民時代的海上移動,輾轉回到新加坡,收藏在新加坡國家文物局。

《黑與白-馬來貘》希望從百科全書式的敘事方式處理一種人與非人,人與自然之間,一種平等非主從的關係,並探討現代人觀看影像的方式變化。畫面在新加坡國家美術館、自然科學博物館、新加坡動物園、搜尋引擎與多重視窗的場景間移動,開展出東南亞地區的動物園歷史與殖民時代的政治關係,繼而牽引出科學繪畫、生物學、城市區域劃分與馬來貘在當地的傳說。

    
    



Black and White - Giant Panda

Black and White - Giant Panda
Five-channel Video Installation, 2018
  Chapter 1: It's a Pug / 9’46’’
  Chapter 2: So Cute! / 12’40’’
  Chapter 3: A Communist Panda / 7’11’’
  Chapter 4: A Black and White Bear / 11’44’’
  Chapter 5: Family Reunion / 11’27’’

In Black and White – Giant Panda, a panda is used as the entry point and acts as a connection between politics, history, animals, people and non-humans to tell the history of panda diplomacy.

Pandas can only be found in the mountains of Sichuan in China. In other words, all pandas in the zoos in other countries are from China. Pandas even became an essential diplomatic tool in the 20th century. China’s panda diplomacy goes back thousands of years to as early as 685 AD when Empress Wu Ze-Tian sent a pair of white bears and seventy furs of the white bear (white bear here refers to giant pandas) to the Japanese emperor. Pandas were smuggled or traded from China at the beginning of the 20th century. Panda fever started when they appeared in the United States and Europe. They played an important diplomatic role in World War II, the Cold War, and still does to this day. Pandas also linked the complicated relationship between the United States, Europe, Russia, Japan, Taiwan, and China. 

The lecture performance, commissioned by the Arts Commons Tokyo in March 2018, was performed at the Taiwan Culture Center of the Taipei Economic and Cultural Representative Office in Japan. As a result of cooperation with the Manzaishis, panda’s lovely image is used as a material for comedy performance; meanwhile, the historical and political issues of panda diplomacy are described amusingly. In Black and White – Giant Panda, performance, historical materials, and the screen window viewing experience reflect and complement each other.

黑與白-熊貓
五頻道錄像裝置,2018
  第一章:走私/ 9’46’’
  第二章:好可愛啊!/ 12’40’’
  第三章:共產熊貓 / 7’11’’
  第四章:黑白熊 /11’44’’
  第五章:團圓/ 11’27’’

《黒與白-熊貓》以熊貓做為切入點,貫穿政治、歷史、動物等人與非人之間的連接,講述一段熊貓外交的歷史。

熊貓只生活在中國四川一帶山區,換而言之,目前全世界動物園裡的熊貓都來自中國,特別是在二十世紀,熊貓成為重要的外交工具。中國的「熊貓外交」已有上千年歷史。早在公元685年,武則天就曾送給日本天皇兩隻「白熊」和70張「白熊」毛皮,此處的「白熊」就是大熊貓。二十世紀開始,貓熊曾經被偷渡或買賣交易離開中國,當他們現身美國或歐洲時,曾經席捲一股熊貓熱。他們分別在二戰、冷戰時期以及今日,扮演著重要的外交角色,也連結美國、歐洲、俄羅斯、日本、台灣與中國之間千絲萬縷的錯綜關係。

2018年3月由東京藝術公社委託製作的Lecture Performance於台北駐日經濟文化代表處台灣文化中心演出。透過與日本「漫才師」合作,以熊貓可愛的形象為喜劇演出的材料,用詼諧的言語描述熊貓外交的歷史與政治問題。《黒與白-熊貓》結合當時的表演影像、歷史材料與螢幕視窗的觀看經驗相互映照與補充,透過漫才師的敘事重新在熊貓的移動與交換拓展出歷史、國際政治的樣貌。






2017年12月18日 星期一

Industrial Research Institute of Taiwan Governor-General's Office

Industrial Research Institute of Taiwan Governor-General's Office
Single-channel video installation, 3', 2017

This 3D animation is based on two photographs taken in the chemistry laboratories of the Taiwan Governor-General’s Office, the predecessor of what we know of today as the Industrial Research Institute. The 3D animation illustrates the visual ranges of these old photographs through skilful camera movements, revealing the construction of the 3D animation as the perspectives change accordingly. A TV stand is also included in the animation – showing clips of a military factory from the Japanese colonial period and views of an expo in the 30s. These recordings present the technological displays at the time and the desire to seek modernity, along with underlying Imperialism associations.


台灣總督府工業研究所

單頻道錄像裝置,3',2017

這件作品是透過兩張1911年的老照片所繪製的3D動畫,照片拍攝地點是台灣總督府化學部的實驗室室內,此機構是工業研究所的前身。3D動畫描繪了老照片中的可視範圍,隨著動畫的運鏡,在透視轉變之後裸露出3D動畫背後的結構。動畫中崁入了一座電視架,電視中播放的是日治時期的軍工廠畫面,以及1930年代的博覽會畫面。這些畫面呈現了當時對於科技的展示,追求現代性的慾望與帝國主義背後的關聯。










尊彩藝術中心 2017個展現場