截至2021年的工作路徑 Work Paths Until 2021
光雕投影裝置 projection mapping installation， 16'40"，2021紀錄片製作：財團法人公共電視文化事業基金會
Documentary Production: Taiwan Public Television Service Foundation 聲音共製：臺藝大聲響藝術實驗中心
Sound Co-production: Center for Sound Arts and Acoustics Research, NTUA動畫共製：臺藝大科技藝術實驗中心
Animation Co-production: Innovation Center for Art and Technology, NTUA
The artwork reveals Chia-Wei Hsu's creative path between 2019 and 2021, centring on several archaeological scenes and findings. From 2018 to 2020, the archaeological team successively discovered the intact foundation of the walls and graves as the Church of Todos los Santos remains. 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 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.
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。
Animation Co-production: Innovation Center for Art and Technology, NTUA
The artwork reveals Chia-Wei Hsu's creative path between 2019 and 2021, centring on several archaeological scenes and findings. From 2018 to 2020, the archaeological team successively discovered the intact foundation of the walls and graves as the Church of Todos los Santos remains. 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 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.
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。
沒有留言:
發佈留言