tag:blogger.com,1999:blog-56305997506787662452024-03-02T09:06:49.913+08:00Chia-Wei HsuGraduate from Le Fresnoy National Studio for Contemporary Arts in France. Hsu works as an artist, filmmaker and curator, merging the languages of film and contemporary art, unearthing the complex mechanisms behind the production of images. Through his artistic practice, Hsu weaves connections between humans, materials and places that have been overlooked or omitted in conventional historical narratives. Chia-Wei Hsuhttp://www.blogger.com/profile/10680818791585004131noreply@blogger.comBlogger44125tag:blogger.com,1999:blog-5630599750678766245.post-79480044217989874502023-12-22T15:18:00.050+08:002024-03-01T16:01:23.391+08:00一位來自金三角的演員 The Actor from Golden Triangle <h4 style="text-align: left;"><span style="font-size: medium;">一位來自金三角的演員 The Actor from Golden Triangle</span></h4><span style="font-family: verdana;">虛擬實境 、鏡面裝置、雙頻道錄像裝置</span><div><span style="font-family: verdana;">Virtual reality, mirror installation, Two-channel installation. 9</span><span style="font-family: verdana;">'53". 2023</span><div><span style="font-family: verdana;"><br />《一位來自金三角的演員》聚焦於金三角地區的歷史、神話和當代地緣政治,藝術家從傳統泰北民族中的罌粟花傳說延伸到COVID-19期間邊境山區罌粟田的再度擴張,融合說唱和泰國傳統蘭納表演,交織出此一敘事並透過虛擬實境呈現。<br /><br />藝術家邀請了泰國演員Oak Keerati參與此新作。Oak曾參演《湄公河行動》和《泰國洞穴救援》,兩者皆講述了在泰北地區所發生的事件。在VR裝置中,Oak的虛擬形象身穿動作捕捉服,化身成他曾演過的角色,甚至化身為賭場老板,反映了湄公河周邊新興的經濟特區。他同時也是鴉片之家(House of Opium)的經營者,藝術家在鴉片之家中選定其中一個展間和一些與鴉片相關的文物進行3D掃描。同時,Lanna Youth Conservation Team (ทีมงานเยาวชนรักษ์ศิลป์ล้านนา)也應邀在航行於湄公河的船上進行傳統的打擊演出,鼓聲與說唱融為一體,影片中出現在森林裡的神秘生物「Toh」則反映佛教傳說中的喜瑪潘(Himmapan or Himavanta)森林。</span><br /><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><div class="OutlineElement Ltr SCXW234396404 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><br /><span style="font-family: verdana;">此作品以虛擬實境(VR)和錄像裝置呈現。VR裝置需要兩人一組一起佩戴,提供觀眾沉浸式的共享體驗,兩位VR體驗者的虛擬形象將隨著Oak的外貌而變,而體驗者本身也成為其他觀眾眼中作品的一部分。藝術家在這個VR作品中匯聚了與泰北相關的多樣元素,連結了傳統與現代、神話與歷史的範疇,突顯了邊境山區如何轉變為一個複雜的數位經濟區,且具有地緣政治和數位時代相互交織的「開放世界」雙重涵義。</span><br /><span style="font-family: verdana;"><br />This work focuses on the history, myths, and contemporary geopolitics of the Golden Triangle. It weaves a narrative that traverses from the poppy folklore in traditional northern Thai tribes to the recent proliferation of poppy fields in the border mountainous regions during the COVID-19 pandemic. The artist presents this theme through VR, blending rap and traditional Thai performances. <br /><br /><br />The artist extended the invitation to the Thai actor Oak Keerati. Oak Keerati appeared in the films "Operation Mekong" and "Thai Cave Rescue", both about the happenings in Northern Thailand. In the VR installation, Oak's avatar is in a motion capture suit, transforming into these film characters and even into a casino owner, reflecting the Special Economic Zone emerging around the Mekong River. He and his mother also run the House of Opium contributed 3D-scanned space and opium-related artefacts within the work. The Lanna Arts Conservation Youth Team is also invited to perform traditional drumming on the boat sailing the Mekong River, with the drumbeat merging with the rap compositions, and in the forest as a mythical creature, Toh, reflecting the Buddhist legend of the Himavanta forest. <br /><br /><br />This work is presented in both VR and video installation. The VR device must be worn in pairs, offering a shared immersive experience with a changing avatar that changes their appearance in the same way as Oak does. Those who wear VR also become part of the work in the eyes of other viewers. The artist brings together these multifaceted elements tied to Northern Thailand in this VR work, bridging the realms of tradition and modernity, myth and history, highlighting the frontier mountainous region transforms into a sophisticated digital economy zone with the dual connotations of an 'open world' of intertwined geopolitics and the digital age.</span></div><div class="OutlineElement Ltr SCXW234396404 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><span style="font-family: verdana;"><br /></span><p class="Paragraph SCXW234396404 BCX0" paraeid="{686cbaf7-5fd5-4e55-ac37-19d629df215e}{229}" paraid="1099370270" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif, "Microsoft Jhenghei UI", "Microsoft JHengHei", 微軟正黑體, MingLiU, 細明體, sans-serif; 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</div></div>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-14264538190106717662022-12-21T17:44:00.002+08:002023-03-15T19:36:31.628+08:00土的工藝 Earthcraft<h3 style="text-align: left;">土的工藝 Earthcraft</h3>VR、單頻道錄像 single-channel video、磁磚裝置 tile installation<br />VR: 14'43"、單頻道錄像 single-channel video: 9'30",2022<div><br />本作品由愛知三年展委託製作,獲文化部補助</div><div>Commissioned by the Aichi Triennale and granted by the Ministry of Culture<br /><br /><i>Earthcraft</i> is a theme based on the geology of Tokoname, Aichi Prefecture, and the history of the local ceramic industry, presenting the symbiosis between humans and the land. The video part of this work is presented through virtual reality (VR), filmed and produced in the game 'Minecraft'. They build scenarios such as the Aichi landscape, tiles from around the world and toilets, an international airport on a man-made island, the famous local kiln, the old Imperial Hotel and the Guggenheim Museum. The film's voice-over is Miss google, who takes us through these scenes across time and space in her role as a game guide.<br /><br />The installation is a collaboration with the INAX Live Museum (LIXIL Corporation) in Tokoname to produce the retro tiles referring to the second generation of the Imperial Hotel completed in 1923, and the entire installation is made up of these tiles stacked like cubes in a Minecraft game. The audience can sit in the giant tile installation and watch the VR video while being part of the installation itself. This work combines earth skills and digital technology to depict a geological and technological history through a world on the digital cloud.</div><div><br />《土的工藝》以愛知縣常滑市的地質,以及當地陶瓷產業的歷史為主軸,呈現人類與土地共生的主題。此作品的影像部分是透過VR虛擬實境呈現,是透過在遊戲「Minecraft」中拍攝製作而成,透過與專業玩家社群的合作,他們在遊戲中搭建愛知縣地貌、來自世界各地的磁磚與馬桶、在人造島上的國際機場、當地知名的登窯、舊帝國酒店與古根漢美術館等場景。影片的旁白是由google小姐配音,她以遊戲導覽員的身份,帶領我們穿越在這些跨越不同時空的場景。<br /><br />作品的裝置部分是與常滑市的INAX Live Museum(LIXIL Corporation)合作,復刻1923年完工的第二代帝國酒店當初的磁磚,整個裝置由這些磁磚組成,並如同Minecraft遊戲中的立方體一樣堆積而成。觀眾可以坐在巨大的磁磚裝置觀看VR虛擬實境影片,同時觀眾自身也成為了裝置的一部分。這件作品結合了土的技術以及數位的技術,透過在數位雲端上的世界,描述一段地質與技術交錯的歷史。</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj--DWS6qmhDO2EaJp5DNnzQDyuP51Bab__Z6hJv3gVzAFEQGcTOIVwz6hnakTlvnha5sajSjqWvohimUdI_YyqRJo3t6MSb6SHEU4rYZSwiEElbQre9iyo-Fv2A87bI4Gyy6ejKJuGBV7FUB7y6XEZ24hZxu43wnV7Npadriv7KLlbSw7nksUO4_Ov8Q/s3840/single%20version%20final%204444%201.jpg" imageanchor="1" style="margin-left: 1em; 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<iframe title="vimeo-player" src="https://player.vimeo.com/video/784678622?h=adf631a930" width="640" height="360" frameborder="0" allowfullscreen></iframe>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-42415408327209967612022-09-08T15:57:00.007+08:002023-03-15T19:28:07.250+08:00電子流動 Electronic-mobility<div><h3 style="text-align: left;">電子流動 Electronic-mobility</h3>三頻道錄像裝置 three-channel video installation、真空管收音機 valve radio,2’57”,2022</div><div><br />In <i>Electronic-mobility</i>, Hsu Chia-Wei dives into the technical history of electronic products, starting with the valve radio produced by Panasonic in Taiwan in the 1950s and 60s to the new battery technology of today. This context demonstrates a shift from the analogue to the digital era. In this project, the artist collaborates with XING Mobility to film the production process of the battery and the electric car under the code name “Miss R.” He also invites a rapper to make the technical principles of making valve radio and electric car battery into a rap song. As the speed of the electric F1 race car accelerates, the rapper also switches gears and increases the tempo and pace of speech.<br /><br />The sound in <i>Electronic-mobility</i> is broadcasted through a vacuum tube radio produced by Panasonic in the 60s, and the video is shown on an LED screen. The overall power required to play the work is from the battery manufactured by XING Mobility. Consequently, the technology of the vacuum tube and the contemporary semiconductor and battery technologies are amalgamated in this installation, whereas the way of electrons flow shows this particular technical history and its future possibility.<br /><br /><br />此作品以電子產品背後的技術歷史為主軸,從台灣松下公司在1950、60年代所生產的真空管收音機到今日嶄新的電池科技,這個脈絡也展現了類比到數位時代的轉變。在這個計畫中,藝術家與行競科技合作,拍攝電池製作的生產流程,以及代號MissR的電動車。並邀請饒舌歌手,將真空管收音機以及電動車電池的技術原理編寫成一首饒舌歌曲。隨著電動F1賽車的加速,饒舌也不斷換擋,節奏、語速越來越快。 <br /><br />這件作品的聲音是透過60年代台灣松下所生產的真空管收音機播放,而影像呈現在液晶螢幕上,整體所需的電力則是來自於行競科技的電池。真空管時代的技術與當代半導體及電池技術,兩者在這裝置中交融,其電子流動的方式展現了這段技術的歷史與其未來的可能性。<br /><br /></div><div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjnQOWdHexqvXT8G7N98Tz6BIpomPOaRXVN36SBNAALdYbKbkW1uiBH1UHiWPM_UIQv1pty8icKpidKcayo-5UdPpkcA4HLLFy7NebwF-7j8vLjjKZKmst_g9_q6fSuJKhHpvS1yxbHmZ0lTmTHpwz8dvgifeVhROm7dODCGgq5xA8V03LVIVVl6HvDfw"><img height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEjnQOWdHexqvXT8G7N98Tz6BIpomPOaRXVN36SBNAALdYbKbkW1uiBH1UHiWPM_UIQv1pty8icKpidKcayo-5UdPpkcA4HLLFy7NebwF-7j8vLjjKZKmst_g9_q6fSuJKhHpvS1yxbHmZ0lTmTHpwz8dvgifeVhROm7dODCGgq5xA8V03LVIVVl6HvDfw=w400-h225" width="400" /></a></div><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhNlkYjGMHExzxEWPqdmjb_w7WRf5gATqWLk915jbztkUWu-VtDKgN2GZ80QyCTHrgdaUS_lBfdC6UJVi42PWleeqRSoM3kRFrXMYJdaD6hdWFt_I7Yf4-u5o9x0VXv9a6v2tpSmH5fOnNQSnlrKcumPLiU-eslruMBvqHRnMxyQ7zEKHV44ZLN7v_qXQ"><img height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEhNlkYjGMHExzxEWPqdmjb_w7WRf5gATqWLk915jbztkUWu-VtDKgN2GZ80QyCTHrgdaUS_lBfdC6UJVi42PWleeqRSoM3kRFrXMYJdaD6hdWFt_I7Yf4-u5o9x0VXv9a6v2tpSmH5fOnNQSnlrKcumPLiU-eslruMBvqHRnMxyQ7zEKHV44ZLN7v_qXQ=w400-h225" width="400" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi0w5oBSywWbK4uk7LW9DnYLBCcpiNYsFpa936jAsEocvMQZHVEHzTkg7QK0Sxo-7qV1czCnUmP2hw38ZPnuzWAWMhkuS15wUtoSFZXJYgYnq3gqbI0KdzRDstmDCQPnB4EM-GUUX23zbxUO9q03nZZq6UkRLl6n2toNCCEob3_qZzyeBQAuA9XMeXiJA" style="text-align: left;"><img height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEi0w5oBSywWbK4uk7LW9DnYLBCcpiNYsFpa936jAsEocvMQZHVEHzTkg7QK0Sxo-7qV1czCnUmP2hw38ZPnuzWAWMhkuS15wUtoSFZXJYgYnq3gqbI0KdzRDstmDCQPnB4EM-GUUX23zbxUO9q03nZZq6UkRLl6n2toNCCEob3_qZzyeBQAuA9XMeXiJA=w400-h225" width="400" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1VDhnlpWtM4KwsZAarrW-7Eimj1f5Dfckjvi24FxCaJa8zf5-N8Qdm67jAkBAIyV7KFHpjGuxbc-a-LeSmJb35RSYmnyx38JpGWeejYWX7l3HE-EgKbHcHluPHa1Jg7YVXyHulhQH_WlKEP8KX3tVrDvWwbMTcs8EhPAZJbwrmZwTOPcpAKEQimcSYw" style="text-align: left;"><img height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1VDhnlpWtM4KwsZAarrW-7Eimj1f5Dfckjvi24FxCaJa8zf5-N8Qdm67jAkBAIyV7KFHpjGuxbc-a-LeSmJb35RSYmnyx38JpGWeejYWX7l3HE-EgKbHcHluPHa1Jg7YVXyHulhQH_WlKEP8KX3tVrDvWwbMTcs8EhPAZJbwrmZwTOPcpAKEQimcSYw=w400-h225" width="400" /></a></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; 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<iframe allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/760944344?h=10863079a6" title="vimeo-player" width="640"></iframe>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-38863245073409579882022-05-06T17:00:00.010+08:002023-05-09T16:20:24.264+08:00截至2021年的工作路徑 Work Paths Until 2021<h3 style="text-align: left;">截至2021年的工作路徑 Work Paths Until 2021</h3>光雕投影裝置 projection mapping installation, 16'40",2021<div>紀錄片製作:財團法人公共電視文化事業基金會</div>Documentary Production: Taiwan Public Television Service Foundation <div>聲音共製:臺藝大聲響藝術實驗中心</div>Sound Co-production: Center for Sound Arts and Acoustics Research, NTUA<div>動畫共製:臺藝大科技藝術實驗中心 <br />Animation Co-production: Innovation Center for Art and Technology, NTUA<br /><br />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.<br /><br />The video features materials remade from Hsu's previous works, including <i>Black and White – Malayan Tapir</i> (2018), <i>Samurai and Deer</i> (2019), <i>Stones and Elephants</i> (2019), <i>Is the Stone Coffin a Coffin?</i> (2021) and <i>A Performance in the Church</i> (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.<br /><br />The sound of the piece comes from the musical performance Hui Tak-Cheung composed for <i>A Performance in the Church</i>. Originally taking place at the archaeological site at Hoping Island, the music edited in this version presents a co-performance between different archaeological scenes.<br /><br />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。<br /><br />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。<br /><br />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。</div><div><span style="text-align: center;"> </span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtVpqvgJph42pY_NYwLkyc5m_T4udT_V5wY4Y0wsXDJ6Ca633JpkV4vEIcKx3meiduXwK0s9aVzTG1ZnI2fQ5G7NgqjwUmGZ2BL5BwsDENszRNZLPICK8CUFBk0Yxvc7LrNBHCS3lCxyMSfQWWoi9TfSUIpRgxjCsW78ITE-rDWCvvSlWUUmX9KamkcQ/s3648/Path%20till%202021_5.1.11.jpg" style="margin-left: 1em; 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text-align: center;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="564" src="https://player.vimeo.com/video/669737953?h=dfbb14a98a" width="640"></iframe></div><p></p><p></p></div>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-21402789052229059282022-05-06T16:00:00.011+08:002023-03-15T19:05:06.813+08:00在聖堂裡的一場演出 A Performance in the Church<h3 style="text-align: left;">在聖堂裡的一場演出 A Performance in the Church</h3>三頻道錄像裝置 three-channel video installation,16'40", 3'53", 6'40",2021<br />紀錄片製作:財團法人公共電視文化事業基金會<div>Documentary Production: Taiwan Public Television Service Foundation<br />聲音共製:臺藝大聲響藝術實驗中心</div><div>Sound Co-production: Center for Sound Arts and Acoustics Research, NTUA</div><div>動畫共製:臺藝大科技藝術實驗中心<br />Animation Co-production: Innovation Center for Art and Technology, NTUA<br /><br />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 is fascinating in a way that it allows the contemporary audience to imagine a time and space we have never experienced before as they are absorbed in the tiny material pieces, thus conceptually becoming the centre of the project which attempts to re-create sounds for the archaeological site which has slept in silence for centuries.<br /><br /><br />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 in the sound studio, where sound and archaeology meet. The third video documents the on-site archaeological excavation process and its animated 3D scanning.<br /><br />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。<br /><br />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。<br /><div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-lDII_6wRo9qA7nEfRZnLLSARRzK2eRgR0zNr0dDUG3QBNIHRd-JCwZc2zvWi0Uc8-rDHUjdP_cnBWh23I7c8bj1PNWPf-fIdPBkvTk2ZhkRkfFyZFiwIyElQZPWAbA_eFYzQcZQx9ULYbD9d03UKwaWm5hj6caWNT9w5T-k4q8tJlKtcqGggidfs7Q" style="margin-left: 1em; 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text-align: center;"><br /></div></div><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="564" src="https://player.vimeo.com/video/669738491?h=7c579db2db" width="640"><br /></iframe><div><br /></div><div><br /><div><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="564" src="https://player.vimeo.com/video/669738220?h=5164c0d147" width="640"></iframe></div><div><br /></div><div><br /><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="564" src="https://player.vimeo.com/video/669738067?h=a2aa053083" width="640"></iframe><br /></div><div><br /></div></div></div>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-84350117306885384942022-05-06T16:00:00.010+08:002023-03-15T19:00:45.527+08:00等晶播種 Crystal Seeding<h3 style="text-align: left;">等晶播種 Crystal Seeding</h3>機械裝置 mechanical installation、三頻道錄像裝置 three-channel video installation、3D列印裝置 3D Printing Installation,32'15",2021<br />聲音共製:台灣聲響實驗室、台藝大聲響藝術實驗中心<br />Sound Co-production: Taiwan Sound Lab, Center for Sound Arts and Acoustics Research, NTUA<div>本作品獲文化部109年度科技藝術創作發展計畫補助</div><div>This work is granted by the Ministry of Culture's 2020 Technology and Arts Creative Development Subsidization Program<br /><div><br /><i>Crystal Seeding</i>, 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 Pacific War outbreak, Huwei Sugar Factory was later expanded for ethanol production.</div><div><br />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. By 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.<div><span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">《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。<br /><br />《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」。</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhVa5-KzAHlh7nfzZx_dSOyMmlwxrCJwjWGkgfHni5QE9WOtJbXvSKVmDMuiN5M5mOFOae-Bs-oU2N0h9bWC1tLwpT-areWizePZXH_Va5NJTRCLLrG3OuwMOKH0HvvIwXwUOzyTVSkIBdDPtMA-2w6mIYYuwdudJnYzXAEUAikLaiLTtmZJvG1sVVVJw" style="margin-left: 1em; 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As the prehistoric relic in Eastern Taiwan, the stone coffin may look like a coffin but not necessarily function as one, at least without any archaeological evidence to support it. The actual purpose of the stone coffin is no longer traceable. Still, 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 practised in the 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 on the terrace and the rapped narration to materialize a conversation between the ancient and the contemporary.<br /><br /><br />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。<br /><br />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。<br /><br /><div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgs_b7Ztoxf7AymBcEV_rBGLmLt7LK3DfuenByLsMjOl993sKq8N-VZTgpalgTlkrVB5VCmYx2OtZOMETNYQU3YheZjmBuGJ8ghvkYVCKIWRbpF0-mbxPwGEcOPcMErU4ySajB9pl_Ie0B0LpYfwcEawIHLjtbR-oQMsxdlo-1r3T0Bl-OTJSkzVkmcTw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2160" data-original-width="3840" height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEgs_b7Ztoxf7AymBcEV_rBGLmLt7LK3DfuenByLsMjOl993sKq8N-VZTgpalgTlkrVB5VCmYx2OtZOMETNYQU3YheZjmBuGJ8ghvkYVCKIWRbpF0-mbxPwGEcOPcMErU4ySajB9pl_Ie0B0LpYfwcEawIHLjtbR-oQMsxdlo-1r3T0Bl-OTJSkzVkmcTw=w400-h225" width="400" /></a></div><div class="separator" style="clear: both; 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fullscreen" allowfullscreen="" frameborder="0" height="564" src="https://player.vimeo.com/video/669739349?h=96767bb16c" width="640"></iframe></div></div></div>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-37511243733239723452022-01-06T17:46:00.001+08:002024-02-27T18:01:06.950+08:00許家維 簡介+CV Hsu Chia-Wei Biography+CV<div align="justify" class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 0pt;">
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<h4 style="text-align: left;"><b><span style="font-family: helvetica;">Chia-Wei HSU(b.1983, Taiwan)</span></b></h4><div><span style="font-family: helvetica;">Graduate of Le Fresnoy National Studio for Contemporary Arts in France, Chia-Wei Hsu’s work as an artist, filmmaker and curator merges the languages of film and contemporary art and unearths the complex mechanisms behind the production of images. Through his artistic practice, Hsu weaves connections between humans, materials and places that have been overlooked or omitted in conventional historical narratives.</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">Hsu has had solo exhibitions such as <i>A Performance in the Church</i> at Liang Gallery (2021; Taipei, Taiwan), <i>Tung Chung Art Award: Giant Panda, Deer, Malayan Tapir and East India Company</i> at Museum of National Taipei University of Education (2019; Taiwan), <i>Black and White – Malayan Tapir</i> at ISCP (2018; New York, the United States), <i>MAM Screen 009: Hsu Chia-Wei</i> at Mori Art Museum (2018; Tokyo, Japan), <i>Industrial Research Institute of Taiwan Governor-General’s Office</i> at Liang Gallery (2017; Taipei, Taiwan), <i>Huai Mo Village</i> at Hong-Gah Museum (2016; Taipei, Taiwan) that was recognised by the Annual Grand Prize of the 15th Taishin Arts Award, <i>Huai Mo Village Project </i>at Art Basel HK (2016; Hong Kong), and <i>Position 2 </i>at Van Abbemuseum, (2015; Eindhoven, Netherlands). He was a finalist for the HUGO BOSS ASIA ART Award in 2013 and won the Annual Grand Prize at the 15th Taishin Arts Award in 2017.</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">His works also presented in group shows such as Thailand Biennale Chiangrai (2023; Thailand), Aichi Triennale (2022; Japan), Asia Pacific Triennale (2021; Australia), Singapore Biennale (2019), <i>A Tale of Hidden Histories</i> at Eye Filmmuseum (2019; Netherlands), the Biennials of Shanghai, Gwangju, Busan and Sydney (2018), <i>2 or 3 Tigers</i> at Haus der Kulturen der Welt (2017; Berlin, Germany) and Taiwan Pavilion at the Venice Biennale (2013; Italy). </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">He is also the curator of <i>Asian Art Biennial</i> at National Taiwan Museum of Fine Arts (2019; Taichung, Taiwan), <i>Taiwan International Video Art Exhibition</i> at Hong-Gah Museum (2018; Taipei, Taiwan), and <i>THAITAI: A Measure of Understanding</i> at Bangkok Art and Culture Centre (2012; Bangkok, Thailand).</span></div><div><br /></div><div><div><h3><span style="font-family: helvetica; font-size: small;">
Chia-Wei HSU</span></h3><span style="font-family: helvetica;">
1983 Born in Taichung, Taiwan, live and work in Taipei, Taiwan.<br />
2010 graduated from Graduate School of Plastic Art, National Taiwan University of Arts<br />
2016 graduated from Le Fresnoy - Studio national des arts contemporains, Tourcoing, France</span></div><div><span style="font-family: helvetica;"><br />
2017.07 ~ 2017.08 Artist residency program, NTU Centre for Contemporary Art Singapore (NTU CCA), Singapore<br />2016.09 ~ 2016.11 Artist residency program, Sa Sa Art Project, Phnom Penh, Cambodia<br />2014.07 ~ 2014.12 Artist residency program, Künstlerhaus Bethanien, Berlin, Germany<br />2011.07 ~ 2013.11 appointed as director of Open-Contemporary Art Center<br />2010.04 ~ 2010.07 Artist residency program, The International Studio & Curatorial Program (ISCP), New York City, the United States<br />
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SOLO EXHIBITION:</span></h4><div><div style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2021.11<span class="Apple-converted-space"> </span>A Performance in the Church - Hsu Chia-Wei’s Solo Exhibition, Liang Gallery, Taipei, Taiwan</span></div></div><div style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">
2019.04 Tung Chung Art Award: Giant Panda, Deer, Malayan Tapir and East India Company - HSU Chia-Wei’s Solo Exhibition, Museum of National Taipei University of Education, Taipei, Taiwan<br /></span></div><div><span style="font-family: helvetica;"><br />
2019.01 Chia-Wei Hsu: Black and White Project, Taipei Dangdai, Taipei, Taiwan<br />
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2018.10 Chia-Wei Hsu: Black and White – Malayan Tapir, The International Studio & Curatorial Program(ISCP), New York, the United States <br />
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2018.10 MAM Screen 009: Hsu Chia-Wei, Mori Art Museum, Tokyo, Japan<br />
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2017.06 Industrial Research Institute of Taiwan Governor-General’s Office, Liang Gallery, Taipei, Taiwan<br />
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2016.07 Huai Mo Village, Hong-Gah Museum, Taipei, Taiwan<br />
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2016.03 Huai Mo Village Project, Art Basel, Hong Kong Convention and Exhibition Centre, Hong Kong, China<br />
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2015.11 Position 2, Van Abbemuseum, Eindhoven, Netherlands<br />
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2014.11 On the Margin of Places, Künstlerhaus Bethanien, Berlin, Germany<br />
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2013.01 SH-SY5Y, NTUA Cultural and Creative industry Park, Taipei, Taiwan<br />
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2011.04 Overdubbing, Sakshi Gallery, Taipei, Taipei, Taiwan<br />
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2009.04 March 14, Hong Kong Coliseum, PING PONG, Taipei, Taiwan<br />
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</span><h4><span style="font-family: helvetica;">
GROUP EXHIBITION:</span></h4><div><div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2024.02 <i>The Yebisu International Festival: Recent Video Works from Taiwan</i>, Tokyo Photographic Art Museum, Japan</span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">2023.12 <i>Thailand Biennale Chiang Rai 2023: The Open World</i>, Wiang Community Digital Center, Chiang Saen, Thailand<br /><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;">2023.11 <i>Who Owns Nature? Series: Elemental Constellations</i>, Macalline Center of Art, Beijing, China<br /><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;">2023.11 <i>Postscript of Silence</i>, Ming Contemporary Art Museum, Shanghai, China<br /><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;">2023.10 <i>SPIELART Theaterfestival: Songs of Absence</i>, Muffatwerk, Munich, Germany<br /><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;">2023.10 <i>15th Kuan-Du Film Festival</i>, Kuandu Museum of Fine Arts, Taipei, Taiwan (screening)<br /><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;">2023.10 <i>Drifts Festival: Ungoverned Lives</i>, Museum of Technology, Helsinki, Finland (screening)</span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;"><br />2023.09 <i>We are here, talking about the view along the road and us</i>, Hsinchu City Art Gallery & Reclamation Hall, Hsinchu, Taiwan</span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;"><br />2023.08 <i>Pixel Row</i>, West Bund Museum, Shanghai, China (screening)</span><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2023.06<span class="Apple-converted-space"> </span><i>There Is Another Capital Beneath the Waves,</i> Yamaguchi Center for Arts and Media, Japan<span class="Apple-converted-space"> </span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="Apple-converted-space"><br /></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;">2023.04 <i>Art in Our Time: NTMoFA Collection Highlights</i>, National Taiwan Museum of Fine Arts, Taichung, </span><span style="font-family: helvetica;">Taiwan</span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px;"><span style="font-family: helvetica;">2023.03 <i>Art Basel Hong Kong</i>, Hong Kong Convention and Exhibition Centre, China</span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2022.12<span class="Apple-converted-space"> </span><i>Emerging Curators Project 2022. Teamwork!</i>, Power Station of art, Shanghai, China<span class="Apple-converted-space"> </span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2022.12<span class="Apple-converted-space"> </span><i>Images Creation: Contemporary Virtual Narratives</i>, National Center of Photography and Images, Taipei, Taiwan</span></div></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2022.10<span class="Apple-converted-space"> </span><i>Taishin Arts Award 20th Anniversary Exhibition – NEXT</i>, MoNTUE, Taipei, Taiwan<span class="Apple-converted-space"> </span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2022.09<span class="Apple-converted-space"> </span><i>Istanbul Biennial: Disobedience Archive,</i> Central Greek High School for Girls, Istanbul, Turkey<span class="Apple-converted-space"> </span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;">2022.09<span class="Apple-converted-space"> </span><i>Busan Biennale 2022: We, on the Rising Wave</i>, MoCA Busan, Busan, Korea</span></div></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.08 <i>Transition</i>, Museum of Contemporary Art Taipei, Taipei, Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.07 <i>Still Alive - Aichi Triennale 2022</i>, Ichinomiya City, Aichi, Japan </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.04 <i>Frequencies of Tradition</i>, KADIST, San Francisco, United States </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.04 <i>Séance Fiction</i>, Pfizer Building, New York, United States </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.03 <i>Ex-post</i>, Artspace Aotearoa, Auckland, New Zealand </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.12 <i>A Song of Seas and Power ─The flow of labor, goods and currents</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.12 <i> Frequencies of Tradition</i>, Incheon Art Platform, Incheon, South Korea </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><div><span style="font-family: helvetica;">2021.12 <i>Phantasmapolis: 2021 Asian Art Biennial,</i> National Taiwan Museum of Fine Arts, Taichung, </span><span style="font-family: helvetica;">Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.11 <i> Listening to the Stone</i>, Kunsthaus Dresden, Dresden, Germany</span></div></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.10 <i>C-LAB Future Media Arts Festival</i>, Taiwan Contemporary Culture Lab, Taipei, Taiwan </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.09 <i>The 10th Asia Pacific Triennial of Contemporary Art</i>, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.06 <i>Mipaliw Land Art</i>, Hualien, Taiwan </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.04 <i>Empathy Instinct</i>, Asia Culture Center, Gwangju, Korea </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.03 <i>Specific Containers – Unity and Distinction: A Curatorial Statement</i>, Our Museum, Taipei, Taiwan </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.03 </span><span style="font-family: helvetica;"><i>Guangzhou Image Triennial: </i></span><span style="font-family: helvetica;"><i>Intermingling Flux,</i> Guangdong Museum of Art, Guangzhou, China </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.02 <i>The 13th Gwangju Biennale Pavilion Project – Double Echoing</i>, Asia Culture Center, Gwangju, South Korea</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.12 <i>Frequencies of Tradition</i>, Guangdong Times Museum (with KADIST), Guangzhou, China</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.10 <i>Subzoology: 2020 Taiwan Biennial</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.10 <i>Side A / Side B</i>, Edouard Malingue Gallery, Hong Kong, China</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.09 <i>Online Screening: Encore Series / MAM SCREEN 009: Hsu Chia-Wei</i>, Mori Art Museum, Tokyo, Japan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.08 <i>Sino-Wharf: from Chinatown to Red Internationalism</i>, OCAT Contemporary Art Terminal, Shenzhen, China</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.07 <i>The Secret South: from Cold War Perspective to Global South in Museum Collection</i>, Taipei Fine Arts Museum, Taipei, Taiwan </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.05 <i>Green Island Human Rights Art Festival: If On The Margin, Draw A Coordinate</i>, National Human Rights Museum - Green Island White Terror Memorial Park, Green Island, Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.05 <i>Daisuke Miyatsu: 25 years of video art</i>, ALIEN Art Centre, Kaohsiung, Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.05 <i>Meditations in an Emergency</i>, UCCA, Beijing, China</span></div></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019.12 <i>Cosmopolis #2: rethinking the human</i>, Centre Pompidou, Paris, France (Screening)</span></div>
<span style="font-family: helvetica;"><br />
2019.11 <i>Singapore Biennale: Every Step in the Right Direction</i>, Singapore Art Museum, Singapore<br />
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2019.11 <i>NOWNESS Experiments: The Mesh</i>, chi K11 Art Museum Shanghai, Shanghai, China<br />
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2019.10 <i>Collect the Pieces of Time</i>, Hsinchu 241 Art Gallery, Hsinchu, Taiwan<br />
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2019.10 <i>Nuit Blanche Taipei</i>, Taipei, Taiwan<br />
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2019.09 <i>15th Anniversary Exhibition: Where We Now Stand—In Order to Map the Future</i>, 21st Century Museum of Contemporary Art, Kanazawa, Japan<br />
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2019.09 <i>Immortality - 5th Ural Industrial Biennial of Contemporary Art</i>, Ural Optical and Mechanical Plant, Ekaterinburg, Russia<br />
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2019.09 <i>Asiatica Encounters with Asian Cinema: Flowers of Taiwan</i>, MAXXI National Museum of XXI Century Arts, Rome, Italy<br />
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2019.08 <i>Taipei Arts Festival: Noise Assembly 2019 - No One's Island</i>, Taiwan Contemporary Culture Lab, Taipei, Taiwan<br />
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2019.08 <i> Future Cities: Technopolis & Everyday Life</i>, Centre for Chinese Contemporary Art, Manchester, United Kingdom<br />
<br />2019.06 <i>Kingdom of Wonder</i>, Chi-Wen Gallery, Taipei, Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">
2019.06 <i>The Sixth Fuel Factory Documenta</i>, NCTU Gallery, Hsinchu, Taiwan<br />
<br />
2019.05 <i>Diverting Politics of (Re)Presentation</i>, Yogya Art Lab, Gajah Gallery, Indonesia<br />
<br /></span><span style="font-family: helvetica;">2019.04 <i>Art Brussels: Hsu Chia-Wei Solo Exhibition – Black and White Project</i>, Tour & Taxis, Brussels, Belgium</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019.04 <i>Forms of Diverting</i>, Gajah Gallery, Singapore<br />
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2019.03 <i>hic sunt leones</i>, Surplus Space, Wuhan, China<br />
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2019.03 <i>A Tale of Hidden Histories</i>, EYE Filmmuseum, Amsterdam, the Netherlands<br />
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2019.03 <i>Currents 2019 - Phnom Penh Art & Urban Festival</i>, Sa Sa Art Projects, Phnom Penh, Cambodia<br />
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2019.01 <i>Back to the Cave</i>, Taiwan Contemporary Culture Lab, Taipei, Taiwan<br />
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2019.01 <i>It Follows</i>, Taipei Contemporary Art Center, Taipei, Taiwan<br />
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2019.01 <i>Video Art Exhibition</i>, Liang Gallery, Taipei, Taiwan <br />
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2018.11 <i>It Follows</i>, Enjoy Public Art Gallery, Wellington, New Zealand<br />
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2018.11 <i>What if the Sunlight is also a Stage Set</i>, Civic Square exhibition hall, Amoy, China<br />
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2018.11 <i>The 12th Shanghai Biennale: Proregress</i>, Power Station of Art, Shanghai, China<br />
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2018.11 <i>The Fourth Age of Man</i>, Gold Museum, New Taipei, Taiwan<br />
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2018.09 <i>M+ Screenings: Southeast Asia Moving Image Mixtape</i>, Broadway Cinematheque, Hong Kong, China<br />
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2018.09 <i>Metropolis of the Future: A Futurology Study of Asian Mega-Cities</i>, Tentacles, Bangkok, Thailand<br />
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2018.09 <i>Busan Biennale 2018: Divided We Stand</i>, MoCA Busan, Busan, Korea<br />
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2018.09 <i>Gwangju Biennale 2018: Imagined Borders</i>, Gwangju Biennale Hall, Gwangju, Korea<br />
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2018.09 <i>The Alternative Guide of Time</i>, Taiwan Contemporary Culture Lab, Taipei, Taiwan<br />
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2018.07 <i>Cross-Domain Reading & Writing: A Biblio-ecology in Art</i>, Taipei Fine Arts Museum, Taipei, Taiwan<br />
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2018.06 <i>Bangkok Biennial: Cinema Taipei</i>, Cho Why, Bangkok, Thailand<br />
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2018.06 <i>Kotodama</i>, Para Site, Hong Kong, China<br />
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2018.06 <i>Tell Me a Story: Locality and Narrative</i>, Fondazione Sandretto Re Rebaudengo, Torino, Italy<br />
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2018.04 <i>Towards Mysterious Realities</i>, Total Museum of Contemporary Art, Seoul, Korea<br />
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2018.04 <i>Art Cologne</i>, Koelnmesse GmbH, Cologne, Germany<br />
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2018.04 <i>The Szechwan Tale: China, Theater and History</i>, FM Centre for Contemporary Art, Milan, Italy<br />
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2018.03 <i>Art Basel, Hong Kong – Film Sector</i>, Hong Kong Arts Centre Cinema, Hong Kong, China<br />
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2018.03 <i>Frontier Re-assessment of Post-Globalisational Politics,</i> OCAT Institute, Beijing, China.<br />
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2018.03 <i>Chiayi International Art Doc Film Festival,</i> Culture Affairs Bureau, Chiayi City, Chiayi, Taiwan<br />
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2018.03 <i>21st Biennale of Sydney – SUPERPOSITION</i>, Museum of Contemporary Art Australia, Sydney, Australia<br />
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2018.02 <i>The Rebellion of Moving Image, </i>Museum of Contemporary Art Taipei, Taiwan<br />
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2018.01 <i>Travelers: Stepping into the Unknown</i>, The National Museum of Arts, Osaka, Japan<br />
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2017.12 <i>Frontier Re-assessment of Post-Globalisational Politics</i>, OCAT, Shanghai, China<br />
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2017.12 <i>Art Sanya: Huayu Youth Award</i>, Huayu Art Center, Sanya, China<br />
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2017.11 <i>Art Düsseldorf 2017</i>, Areal Böhler, Düsseldorf, Germany<br />
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2017.11 <i>All the Light We Cannot See</i>, Art Sonje Center, Seoul, South Korea<br />
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2017.11 <i>Parapolitics: Cultural Freedom and the Cold War</i>, Haus der Kulturen der Welt, Berlin, Germany<br />
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2017.10 <i>Ex-ante</i>, ARTSPACE, Auckland, New Zealand<br />
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2017.10 <i>Taipei Art District Festival - The Aftermath: The Lift of Martial Law</i>, Liang Gallery, Taipei, Taiwan<br />
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2017.09 <i>When the River Reverses</i>, Sa Sa Art Project, Phnom Penh, Cambodia<br />
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2017.08 <i>Ghosts and Spectres</i>, NTU Centre for Contemporary Art Singapore, Singapore<br />
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2017.08 <i>The 2nd Asian Film and Video Art Forum</i>, National Museum of Modern and Contemporary Art, Seoul, South Korea<br />
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2017.08 <i>Autostrada Biennale</i>, Prizren, Kosovo<br />
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2017.05 <i>LOOP Barcelona</i>, Catalonia Ramblas, Barcelona, Spain<br />
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2017.05 <i>Self-Criticism</i>, Inside-Out Art Museum, Beijing, China<br />
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2017.04 <i>2 or 3 Tigers</i>, Haus der Kulturen der Welt, Berlin, Germany<br />
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2017.04 <i>KINO DER KUNST festival</i>, KINO DER KUNST, Munich, Germany<br />
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2017.03 <i>Kau-Puê, Mutual Companionship in Near Future: 2017 Soulangh International Contemporary Art Festival</i>, Soulangh Cultural Park, Tainan, Taiwan<br />
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2017.03 <i>RIVERRUN</i>, Taipei Fine Arts Museum, Taipei, Taiwan<br />
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2017.02 <i>Creative Operational Solutions</i>, Para Site, Hong Kong, China<br />
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2017.02 <i>China Remixed Initiative</i>, The Media School of the University of Indiana, Indianapolis, the United States<br />
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2016.12 <i>Towards Mysterious Realities</i>, TKG+, Taipei, Taiwan<br />
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2016.11 <i>Art Taipei 2016</i>, Taipei World Trade Center, Taipei, Taiwan<br />
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2016.11 <i>Greater Taipei Biennial of Contemporary Arts - dé-coincidence - D'où viennent l'art et l'existence ?</i>, Northern Art Village, New Taipei City, Taiwan<br />
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2016.10 <i>Panorama 18</i>, Le Fresnoy, Tourcoing, France<br />
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2016.09 <i>Kaunas in Art – International Contemporary Art Festival</i>, Kaunas Gallery, Kaunas, Lithuania<br />
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2016.09 <i>Public Spirits</i>, The Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland<br />
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2016.09 <i>2016 Taipei Biennial - Gestures and archives of the present, genealogies of the future</i>, Taipei Fine Arts Museum, Taipei, Taiwan<br />
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2016.05 <i>Rivers - The Way of Living in Transition / Asia Contemporary Art Links</i>, Gwangju Biennale Gallery 1, Gwangju Museum of Art, South Korea<br />
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2016.04 <i>NexT International Film Festival</i>, Cinema Muzeul Țăranului, Bucharest, Romania<br />
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2016.02 <i>An Alternative Travelogue</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2015.12 <i>Taipei Art District Festival: Sleepless Dwelling</i>, Liang Gallery, Taipei, Taiwan<br />
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2015.11 <i>Hors Pistes Bruxelles 2015</i>, CINEMA GALERIES, Brussel, Belgium<br />
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2015.11 <i>Modern Weavolution</i>, Hong-gah Museum, Taipei, Taiwan<br />
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2015.11 <i>Local Prospective</i>, Mitsubishi-jisho ARTIUM, Fukuoka, Japan<br />
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2015.09 <i>Panohama 17</i>, Le Fresnoy, Tourcoing, France<br />
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2015.08 <i>Library II – Summer Festival Exhibition,</i> Liang Gallery, Taipei, Taiwan<br />
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2015.08 ←→, A+ Contemporary, Shanghai, China<br />
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2015.07 <i>Rivers - The Way of Living in Transition</i> <i>/ Asia Contemporary Art Links</i>, The Pier-2 Art Center, Kaohsiung, Taiwan<br />
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2015.05 <i>The 2nd “CAFAM – Future” Exhibition, Observer – Creator</i>, K11 Art Foundation, Hong Kong, China<br />
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2015.03 <i>Art Basel - Film, agnès b. Cinema – Hong Kong Arts Centre</i>, Hong Kong, China<br />
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2015.01 A<i> Voyage To South – Contemporary Images From The Museum collection</i>, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan <br />
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2015.01 <i>The 2nd “CAFAM – Future” Exhibition, Observer – Creator,</i> CAFA Art Museum, Beijing, China<br />
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2014.11 <i>The 4th Taiwan International Video Art Exhibition – The Return of Ghosts</i>, Hong-gah Museum, Taipei, Taiwan <br />
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2014.06 <i>Apple Core Contemporary Art Exhibition</i>, Liang Gallery, Taipei, Taiwan<br />
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2014.04 <i>Artshow Busan</i>, BEXCO, Busan, South Korea<br />
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2014.04 <i>My Voice Would Reach You: Contemporary Art from Asia</i>, Chao Center for Asian Studies and Museum of Fine Arts, Houston, the United States<br />
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2013.12 <i>THAITAI: A Measure of Understanding</i>, Chung Shan Creative Hub, Taipei, Taiwan<br />
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2013.09 <i>Grammararianism: Trends in Contemporary Videography</i>, Hong-gah Museum, Taipei, Taiwan<br />
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2013.09 <i>Queens International 2013</i>, Queens Museum of Art, New York City, the United States<br />
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2013.09 <i>HUGO BOSS ASIA ART</i>, Rockbund Art Museum, Shanghai, China<br />
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2013.07 <i>inToAsia: Time-based Art Festival 2013 – MicroCities</i>, Queens Museum of Art, New York City, the United States<br /><br />
2013.05 <i>The 55th International Art Exhibition - la Biennale di Venezia: This is not a Taiwan Pavilion</i>, Palazzo Ducale, Venice, Italy<br />
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2013.04 <i>Cutlog New York: urbanity - video arts film festival</i>, Lower East Side, New York City, the United States<br />
<br />
2012.11 <i>THAITAI: A Measure of Understanding</i>, Bangkok Art and Culture Centre, Bangkok, Thailand<br />
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2012.10 <i>Taiwan International Documentary Festival</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2012.09 <i>2012 Taipei Biennial - Modern Monsters</i>, Taipei Fine Arts Museum, Taipei, Taiwan<br />
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2012.09 <i>Liverpool Biennial 2012- Taipei, Metro - Wonderland: Taiwanese Artists and Urban Morphology</i>, LJMU Copperas Hills, Liverpool, U.K<br />
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2012.08 <i>THAITAI FEVER - STAGE ONE: We're OPEN</i>, Open-Contemporary Art Center, Bangkok, Thailand<br />
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2012.06 <i>Ambiguous Being: Who’s Afraid of Identity?</i>, tamtamART gallery, Berlin, Germany; Kav 16 - Community Gallery for Contemporary Art, Tel-Aviv, Israel; Hong-gah Museum, Taipei, Taiwan<br />
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2012.05 <i>Rencontres à Beyrouth</i>, Beirut Art Center, Beirut, Lebanon<br />
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2011.12 <i>Videonale: Dialogue in Contemporary Video Art</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2011.11 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN / MADRID</i>, Centre Pompidou, Paris, France<br />
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2011.11 <i>Une terrible poétique: Jeunes artistes taïwanais à Lyon</i>, Olivier Houg Galerie, Lyon, France<br />
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2011.07 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID</i>, Haus der Kulturen der Welt, Berlin, Germany<br />
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2011.06 <i>FLU-FATIGUE</i>, Taipei Contemporary Art Center, Taipei, Taiwan<br />
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2011.05 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID - New cinema and contemporary art - FILM AND VIDEO SCREENING, </i>Reina Sofia National Museum, Madrid, Spain<br />
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2011.02 <i>LIVE AMMO</i>, Museum of Contemporary Art, Taipei, Taipei, Taiwan<br />
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2011.02 <i>Conjecture Horizon</i>, Forum des Arts et de la Culture, Talence, France<br />
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2010.12 <i>Taiwan Calling - THE PHANTOM OF THE LIBERTY</i>, Műcsarnok, Budapest, Hungary<br />
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2010.11 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN / MADRID</i>, Centre Pompidou, Paris, France<br />
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2010.10 <i>Post Academic</i>, Our Museum, Taipei, Taiwan<br />
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2010.09 <i>Faux Amis / An Ephemeral Video Library,</i> JEU DE PAUME, Paris, France<br />
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2010.09 <i>2010 Taipei Biennial</i>, Taipei Fine Arts Museum, Taipei, Taiwan<br />
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2010.06 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID,</i> Haus der Kulturen der Welt, Berlin, Germany<br />
<br />
2010.05 <i>Open Studio</i>, ISCP, New York City, the United States<br />
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2010.04 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID - New cinema and contemporary art - MEDIA ART EXHIBITION</i>, La Tabacalera - future National Centre for Visual Arts, Madrid, Spain<br />
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2010.04 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID - New cinema and contemporary art - FILM AND VIDEO SCREENING</i>, Reina Sofia National Museum, Madrid , Spain<br />
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2010.04 <i>Taipei Contemporary Art Center - Opening Exhibition 02</i>, Taipei Contemporary Art Center, Taipei, Taiwan<br />
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2010.03 <i>Beyond Outward Gestures</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2010.01 <i>39TH International Film Festival Rotterdam</i>, De Doelen, Rotterdam, the Netherlands<br />
<br />
2009.12 <i>RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID</i>, Centre Pompidou/ Theatre du Chatelet, Paris, France<br />
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2009.09 <i>POST.O</i>, Museum of Contemporary Art, Taipei, Taipei, Taiwan<br />
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2009.07 <i>Dandy & Angel</i>, Open-Contemporary Art Center, Taipei, Taiwan<br />
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2008.11 <i>2008Taipei Arts Awards</i>, Taipei Fine Arts Museum, Taipei, Taiwan<br />
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</span><h4><span style="font-family: helvetica;">
CURATION EXPERIENCE</span></h4><span style="font-family: helvetica;">
2019.10 The Strangers from beyond the Mountain and the Sea: 2019 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2018.10 Offline Browser: The 6th Taiwan International Video Art Exhibition, Hong-gah Museum, Taipei, Taiwan<br />
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2013.12 THAITAI: A Measure of Understanding, Chung Shan Creative Hub, Taipei, Taiwan<br />
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2012.11 THAITAI: A Measure of Understanding, Bangkok Art and Culture Centre, Bangkok, Thailand<br />
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2009.07 Dandy & Angel, Open-Contemporary Art Center, Taipei, Taiwan<br />
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2006.03 Document 321-the document exhibition of the 5th anniversary of Open-Contemporary Art Center, Open-Contemporary Art Center, Taipei, Taiwan<br />
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2005.12 Illumination Function-One Piece Work 8, Open-Contemporary Art Center, Taipei, Taiwan<br />
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2004.12 Context Space, NTUA, Taipei, Taiwan<br />
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2004.05 Ultra Thin, Hwa Shan Culture Park, Taipei, Taiwan<br /></span><h4><span style="font-family: helvetica;"><br /></span></h4>
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AWARDS AND HONORS</span></h4><span style="font-family: helvetica;">
2017.05 Huai Mo Village, 15th Taishin Annual Grand Prize<br />
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2016. 04 Theatre of Sacred Armour, Gold Award - Documentary, 49th WorldFest-Houston International Film & Video Festival<br />
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2013. 09 HUGO BOSS ASIA ART, Finalist, China<br />
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2009. 12 March 14, Hong Kong Coliseum”, S-An Cultural Foundation Award Competition<br />
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2008. 11 The Story of Hoping Island, Taipei Arts Award Competition<br />
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COLLECTIONS</span></h4><div><span style="font-family: helvetica;">2019 <i>Takasago</i>, Taichung Museum of Art, Taichung, Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019 <i>Drones, Frosted Bats and the Testimony of the Deceased - Four-channel version</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan</span></div><div><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">
2018 <i>Spirit Writing</i> / <i>SH-SY5Y</i> / <i>Huatung Village</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2018 <i>Ruins of the Intelligence Bureau</i> / <i>White Building Project</i> / <i>Spirit Writing</i>, Taipei Fine Arts Museum, Taipei, Taiwan<br />
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2018 <i>Ruins of the Intelligence Bureau</i>, M+, West Kowloon Cultural District, Kowloon, Hong Kong.<br />
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2017 <i>Drones, Frosted Bats and the Testimony of the Deceased</i>, National Culture and Arts Foundation, Taipei, Taiwan<br />
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2016 <i>Wenqu Daoist Temple</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2015 <i>Marshal Tie Jia –Turtle Island</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2014 <i>Marshal Tie Jia – Jingsi Village</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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2013 <i>Marshal Tie Jia – Turtle Island</i>, ArtNow International, San Francisco, USA<br />
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2010 <i>The Story of Hoping Island</i>, National Taiwan Museum of Fine Arts, Taichung, Taiwan<br />
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</span><h2><span style="font-family: helvetica; font-size: small;">許家維</span></h2><span style="font-family: helvetica;"><div>2016畢業於法國國立當代藝術工作室。作為藝術家、導演和策展人,他的作品融合了當代藝術和電影語彙,發掘圖像創作過程背後的複雜生產機制。在藝術實踐的方式上,特別著力於影像創作背後的行動性,並透過建立鏡頭以外的事件,連結正規歷史描述所未及的人、物質與地方的關係。</div><div><br /></div><div>曾經舉辦的個展包括台北尊彩藝術中心《在聖堂裡的一場演出》(2021)、北師美術館《銅鐘藝術賞:熊貓、鹿、馬來貘和東印度公司》(2019)、森美術館(2018)、台北尊彩藝術中心《台灣總督府工業研究所》(2017)、台北鳳甲美術館《回莫村》(2016)獲第15屆台新藝術獎-年度大獎,香港巴塞爾《回莫村》(2016)以及凡阿比美術館Position#2(2016)等。</div><div>參與過的聯展包括泰國清萊雙年展(2023)、日本愛知三年展(2022)、亞太三年展(2021)、新加坡雙年展(2019)、荷蘭國家電影資料館(2019),上海、光州、釜山及雪梨雙年展(2018)和柏林世界文化之家《2 or 3 Tigers》(2017),威尼斯雙年展《這不是台灣館》(2013)等。</div><div><br /></div><div>他身兼策展人角色所策劃的展覽包括《來自山與海的異人-亞洲藝術雙年展》(2019),台北鳳甲美術館《台灣國際錄像藝術展》(2018)以及曼谷文化藝術中心《理解的尺度-台泰當代藝術交流展》(2012)等。</div><div><br /></div>
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許家維</span></h3><span style="font-family: helvetica;">
1983 出生於台灣台中,現工作與居住於台灣台北。<br />
2010 國立台灣藝術大學造形藝術研究所,台北,台灣<br />
2016法國菲諾爾國立當代藝術工作室,圖爾寬,法國</span></div><div><span style="font-family: helvetica;"><br />
2017.07 ~ 2017.08 藝術家駐村計畫,新加坡南洋理工大學當代藝術中心(NTU CCA),新加坡<br />2016.09 ~ 2016.11 藝術家駐村計畫,莎莎藝術計畫,金邊,柬埔寨<br />2014.07 ~ 2014.12 藝術家駐村計畫,貝塔寧藝術中心,柏林,德國<br />2011.07 ~ 2013.11 擔任打開-當代藝術工作站站長一職,台北,台灣<br />2010.04 ~ 2010.07 藝術家駐村計畫The International Studio & Curatorial Program (ISCP),紐約,美國<br />
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個展</span></h4><div><span style="font-family: helvetica;">2021.11 「許家維個展 – 在聖堂裡的一場演出」,尊彩藝術中心,台北,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">
2019.04 「熊貓、鹿、馬來貘與東印度公司 – 許家維個展」,北師美術館,台北,台灣<br />
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2019.01 「許家維:黑與白計畫」,台北當代,台北,台灣<br />
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2018.10 「許家維:黑與白-馬來貘」,藝術家駐村計畫 (ISCP),紐約,美國<br />
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2018.10 「MAM Screen 009: Hsu Chia-Wei」,森美術館,東京,日本<br />
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2017.06 <span style="white-space: pre;"> </span>「許家維個展 - 臺灣總督府工業研究所」,尊彩藝術中心,台北,台灣<br />
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2016.07 <span style="white-space: pre;"> </span>「回莫村」,鳳甲美術館,台北,台灣<br />
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2016.03 「回莫村計畫」,香港巴塞爾藝術展|亞洲視野,香港會議展覽中心,香港,中國<br />
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2015.11 「Positions #2」,凡阿比美術館,艾因霍芬,荷蘭<br />
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2014.11 「On the Margin of Places」,貝塔寧藝術中心,柏林,德國<br />
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2013.01 「SH-SY5Y」,台灣藝術大學文化創意產業園區,台北,台灣<br />
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2011.04 「疊錄」,夏可喜當代藝術,台北,台灣<br />
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2009.04 「3月14日,紅墈體育館」,乒乓藝術空間,台北,台灣<br />
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聯展:</span></h4><div><div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2023.09<span class="Apple-converted-space"> </span></span>「棲居:關於路邊的風景與我們」,新竹市美術館,新竹,台灣<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2023.06<span class="Apple-converted-space"> </span></span>「浪濤之下亦有皇都」,山口情報藝術中心,山口市,日本<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2023.01<span class="Apple-converted-space"> </span></span>「時代記憶:國美<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">35</span>典藏精選展」,國立台灣美術館,台中,台灣<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022.12<span class="Apple-converted-space"> </span></span>「青策計畫<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022</span>:群策群力」,上海當代藝術館,上海,中國<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022.12<span class="Apple-converted-space"> </span></span>「造影:當代虛擬敘事」,國家攝影文化中心,台北,台灣<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022.10<span class="Apple-converted-space"> </span></span>「台新藝術獎二十週年大展」,北師美術館,台北,台灣<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022.09<span class="Apple-converted-space"> </span></span>「伊斯坦堡雙年展:<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">Disobedience Archive</span>」,伊斯坦堡,土耳其<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022.09<span class="Apple-converted-space"> </span></span>「<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022</span>釜山雙年展:我們,在崛起的浪潮上」,釜山現代美術館,釜山,南韓<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022.08<span class="Apple-converted-space"> </span></span>「轉接器」,台北當代藝術館,台北,台灣<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><span class="Apple-converted-space"> </span></span></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span class="s1" style="font-family: helvetica; font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;"><br /></span></div><div style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal; margin: 0px; text-align: left;"><span style="font-family: helvetica;"><span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022.07<span class="Apple-converted-space"> </span></span>「<span class="s1" style="font-feature-settings: normal; font-kerning: auto; font-optical-sizing: auto; font-stretch: normal; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variation-settings: normal; line-height: normal;">2022</span>愛知三年展:仍然活著」,前一宮市立中央看護專門學校,愛知縣,日本</span></div></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.04 「傳統的頻率」,KADIST,舊金山,美國 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.04 「Séance Fiction」,Pfizer Building,紐約,美國 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2022.03 「Ex-post」,Artspace Aotearoa,奧克蘭,紐西蘭 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.12 「逐鹿之海─物流、人流、海流」,國立台灣美術館,台中,台灣 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.12 「傳統的頻率」,仁川藝術平台,仁川,南韓 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.12 「Listening to the Stones」,Kunsthaus Dresden,德勒斯登,德國 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.10 「大台北雙年展 - 複調神話」,有章藝術博物館|九單藝術空間|臺藝大藝術聚落,新北,台灣 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.10 「C-LAB未來媒體藝術節」,臺灣當代文化實驗場,台北,台灣 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.09 「亞太當代藝術三年展」,昆士蘭美術館與現代藝術館,布里斯本,澳洲 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.06 「森川里海溼地藝術季」,花蓮,台灣 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.04 「Empathy Instinct」,亞洲文化殿堂,光州,韓國 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.03 「特別容器-合一與分別地界」,有章藝術博物館,新北,台灣 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.03 「交融的激流:廣州影像三年展2021」,廣東美術館,廣州,中國 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2021.02 「第13屆光州雙年展:臺灣C-LAB主題館 —雙迴聲」,亞洲文化殿堂,光州,韓國</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.12 「傳統的頻率」,廣東時代美術館,廣州,中國</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.10 「臺灣美術雙年展:禽獸不如」,國立台灣美術館,台中,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.10 「A面/B面」,馬凌畫廊,香港,中國</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.09 「MAM放映:Encore Series / MAM SCREEN 009: Hsu Chia-Wei」,森美術館,東京,日本</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.08 「華文碼頭:從唐人街到紅色國際主義」,OCAT深圳館,深圳,中國</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.07 「北美館典藏研究展『秘密南方:典藏作品中的冷戰視角及全球南方』」,台北市立美術館,台北,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.05 「綠島人權藝術季:如果,在邊緣,畫一個座標」,國家人權博物館白色恐怖綠島紀念園區,綠島,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.05 「宮津大輔: 25年錄像收藏展 - 東亞與東南亞的境遷信號」,金馬賓館當代美術館,高雄,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2020.05 「緊急中的沈思」,尤倫斯當代藝術中心,北京,中國</span></div></div><div><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">
2019.12 「全球都市 #2:再思人類」,龐畢度藝術中心,巴黎,法國<br />
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2019.11 「新加坡雙年展:正確方向的每一步」,新加坡美術館,新加坡<br />
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2019.11 「NOWNESS Experiments:光影如網」影像展,上海chi K11美術館,上海,中國<br />
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2019.10 「生活時間考」,新竹241藝術空間,新竹,台灣<br />
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2019.10 「白晝之夜」,大直-內湖,台北,台灣<br />
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2019.09 「十五週年展覽:現在地 Where We Now Stand—In Order to Map the Future」,金澤21世紀美術館,金澤,日本<br />
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2019.09 「永生-第五屆烏拉爾當代藝術工業雙年展」,烏拉爾光學機械工廠,葉卡捷琳堡,俄羅斯<br /><br /></span><div><span style="font-family: helvetica;">2019.09 「Asiatica遇見亞洲映像:台灣之華」,羅馬國立21世紀美術館,羅馬,義大利</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019.08 「第二十一屆台北藝術節:噪集2019 – 無主之島」,臺灣當代文化實驗場,台北,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019.08 「未來城市:智慧都市與日常生活」,華人當代藝術中心,曼徹斯特,英國</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019.06 「Kingdom of Wonder」,其玟畫廊,台北,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019.06 「六燃文件展」,交大藝文中心,新竹,台灣</span></div>
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2019.05 「Diverting Politics of (Re)Presentation」,Yogya Art Lab,Gajah Gallery,印尼</span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">2019.04 「布魯爾藝術博覽會:許家維個展-黑與白計劃」,圖爾與塔克西斯展覽中心,布魯賽爾,比利時</span><span style="font-family: helvetica;"><br />
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2019.04 「Forms of Diverting」,Gajah Gallery,新加坡<br />
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2019.03 「此地有獅」,剩餘空間,武漢,中國<br />
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2019.03 「故事秘史」,荷蘭國家電影資料館,阿姆斯特丹,荷蘭<br />
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2019.03 「流2019」,金邊藝術城市節,莎莎藝術計畫,金邊,柬埔寨<br />
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2019.01 「回聲像-Back to the Cave未來寓言」,臺灣當代文化實驗場,台北,台灣<br />
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2019.01 「如影隨形」,台北當代藝術中心,台北,台灣<br />
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2019.01 「錄像展」,尊彩藝術中心,台北,台灣<br />
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2018.11 「如影隨形」,Enjoy Public Art Gallery,威靈頓,紐西蘭<br />
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2018.11 「如果連日光也是投影」,市民廣場展覽館,廈門,中國<br />
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2018.11 「第12屆上海雙年展:禹步」,上海當代藝術博物館,上海,中國<br />
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2018.11 「礦・事・紀」,黃金博物館,新北,台灣<br />
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2018.09 「M+放映:東南亞的流光幻音」,百老匯中心,香港,中國<br />
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2018.09 「未來之城:亞洲巨型城市的未來學研究」,Tentacles,曼谷,泰國<br />
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2018.09 「釜山雙年展:想像的邊界」,MoCA Busan,釜山,韓國<br />
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2018.09 「光州雙年展:和而不同」,Gwangju Biennale Hall,光州,韓國<br />
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2018.09 「時間另類指南」,臺灣當代文化實驗場,台北,台灣<br />
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2018.07 「跨域讀寫:藝術中的圖書生態學」,台北市立美術館,台北,台灣<br />
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2018.06 「曼谷雙年展:影像台北」,Cho Why,曼谷,泰國<br />
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2018.06 「言靈」,Para Site,香港,中國<br />
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2018.06 「告訴我一個故事:地方性與敘事」,Fondazione Sandretto Re Rebaudengo,杜林,義大利<br />
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2018.04 「現實秘境」,總體當代美術館,首爾,韓國<br />
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2018.04 「科隆國際藝術博覽會」,Koelnmesse GmbH,科隆,德國<br />
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2018.04 「四川故事—中國、戲劇與歷史」,FM當代藝術中心,米蘭,義大利<br />
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2018.03 「香港巴塞爾藝術展-光映現場」 香港藝術中心電影院,香港,中國<br />
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2018.03 「疆域—地緣的拓樸」, OCAT研究中心,北京,中國<br />
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2018.03 「嘉義國際藝術紀錄影展」,嘉義市政府文化局,嘉義,台灣<br />
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2018.03 「第二十一屆雪梨雙年展-SUPERPOSITION」,澳洲當代藝術館,雪梨,澳洲<br />
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2018.02 「影像的謀反」,台北當代藝術館,台北,台灣<br />
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2018.01 「Travelers: Stepping into the Unknowm」,國立國際美術館,大阪,日本<br />
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2017.12 「疆域—地緣的拓樸」,OCAT,上海,中國<br />
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2017.12 「ART SANYA:華宇青年獎」,亞龍灣華宇藝術中心,三亞,中國<br />
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2017.11 「2017杜塞道夫藝術博覽會」,Areal Böhler,杜塞道夫,德國<br />
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2017.11 「看不見的光」,善宰藝術中心,首爾,韓國<br />
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2017.11 「Parapolitics: Cultural Freedom and the Cold War」,世界文化中心,柏林,德國<br />
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2017.10 「Ex-ante」,ARTSPACE,奧克蘭,紐西蘭<br />
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2017.10 「大內藝術節:解/嚴」,尊彩藝術中心,台北,台灣<br />
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2017.09 「When the River Reverses」,莎莎藝術計畫,金邊,柬埔寨<br />
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2017.08 「Ghosts and Spectres」,南洋理工大學當代藝術中心,新加坡<br />
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2017.08 「第二屆亞洲電影和錄像藝術論壇」,國立現當代美術館,首爾,韓國<br />
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2017.08 「公路雙年展」,普里茲倫,科索沃<br />
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2017.05 「LOOP Barcelona」,Catalonia Ramblas Hotel,巴賽隆納,西班牙<br />
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2017.05 「自我批評」,中間美術館,北京,中國<br />
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2017.04 「2 or 3 Tigers」,世界文化中心,柏林,德國<br />
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2017.04 「Kino der Kunst Festival」,慕尼黑電視電影大學,慕尼黑,德國<br />
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2017.03 「近未來的交陪-2017蕭壠國際當代藝術節」,蕭壠文化園區,台南,台灣<br />
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2017.03 「伏流・書寫」,台北市立美術館,台北,台灣<br />
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2017.02 「創意操作式方案」,Para Site,香港,中國<br />
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2017.02 「China Remixed Initiative」,印第安納大學媒體學院,印第安纳州,美國<br />
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2016.12 「現實秘境」,TKG+,台北,台灣<br />
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2016.11 「2016台北國際藝術博覽會」,台北世界貿易中心,台北,台灣<br />
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2016.11 「大台北當代藝術雙年展-去相合──藝術與暢活從何而來?」,北區藝術聚落,台北,台灣</span></div><div>
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2016.10 「Panorama 18」,法國菲諾爾國立當代藝術工作室,圖爾寬,法國<br />
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2016.09 「Kaunas in Art – International Contemporary Art Festival」,Kaunas Gallery,考那斯,立陶宛<br />
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2016.09 「公共精神」,烏維雅士都城堡當代藝術中心,華沙,波蘭<br />
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2016.09 「2016台北雙年展-當下檔案・未來系譜:雙年展新語」,台北市立美術館,台北,台灣<br />
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2016.05 「河流-轉換中的生存之道/亞洲當代藝術連線」,光州雙年展館,光州市立美術館,光州,韓國</span></div><div>
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2016.04 「NexT International Film Festival」,Cinema Muzeul Țăranului,布加勒斯特,羅馬尼亞<br />
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2016.02 「另一種旅行紀事」,國立台灣美術館,台中,台灣<br />
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2015.12 「2015大內藝術節-不眠的居所」, 尊彩藝術中心,台北,台灣<br />
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2015.11 「Hors Pistes Bruxelles 2015」,Cinema Galeries,布魯塞爾,比利時<br />
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2015.11 「織本主義」,鳳甲美術館,台北,台灣<br />
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2015.11 「圍繞海之間」,三菱地所Artium,福岡,日本<br />
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2015.09 「Panorama 17」,法國菲諾爾國立當代藝術工作室,圖爾寬,法國<br />
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2015.08 「閱讀藝術II-夏祭聯展」 尊彩藝術中心,台北,台灣<br />
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2015.08 「←→」,A+ Contemporary 亞洲當代藝術空間,上海,中國<br />
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2015.07 「河流-轉換中的生存之道/亞洲當代藝術連線」,駁二藝術特區,高雄,台灣<br />
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2015.05 「第二屆CAFAM未來展:創客創客」,K11 Art Foundation,香港,中國<br />
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2015.03 「香港巴塞爾藝術展-光映現場」,香港藝術中心agnès b.電影院,香港,中國<br />
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2015.01 「南方上岸-2015影像典藏展」,高雄市立美術館,高雄,台灣<br />
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2015.01 「第二屆CAFAM未來展:創客創客」,中央美術學院美術館,北京,中國<br />
<br />
2014.11 「第四屆台灣國際錄像藝術展-鬼魂的回返」,鳳甲美術館,台北,台灣 <br />
<br />
2014.06 「蘋果核-當代藝術展」,尊彩藝術中心,台北,台灣<br />
<br />
2014.04 「釜山藝術博覽會」,BEXCO,釜山,韓國<br />
<br />
2014.04 「My Voice Would Reach You: Contemporary Art from Asia」,Chao Center for Asian Studies and Museum of Fine Arts,休士頓,美國<br />
<br />
2013.12 「理解的尺度-台泰當代藝術交流展」,中山創意基地,台北,台灣<br />
<br />
2013.09 「語法學:當代錄像趨勢」,鳳甲美術館,台北,台灣<br />
<br />
2013.09 「Queens International 2013」,皇后美術館,紐約,美國<br />
<br />
2013.09 「Hugo Boss亞洲藝術大獎」,上海外灘美術館,上海,中國<br />
<br />
2013.07 「inToAsia: Time-based Art Festival 2013 – MicroCities」,皇后美術館,紐約,美國<br />
<br />
2013.05 「第五十五屆威尼斯雙年展台灣館-這不是台灣館」,普里奇歐尼宮邸,威尼斯,義大利<br />
<br />
2013.04 「Cutlog New York: Urbanity – Video Arts Film Festival」,紐約,美國<br />
<br />
2012.11 「理解的尺度-台泰當代藝術交流展」,曼谷文化藝術中心,曼谷,泰國<br />
<br />
2012.10 「台灣國際紀錄片雙年展」,國立台灣美術館,台中,台灣<br />
<br />
2012.09 「2012台北雙年展-現代怪獸」,台北市立美術館,台北,台灣<br />
<br />
2012.09 「2012利物浦雙年展-台北,不可思議城:台灣藝術家與都市形態學」,LJMU Copperas Hills,利物浦,英國<br />
<br />
2012.08 「Thaitai Fever – Stage One: We're Open」,打開-當代藝術工作站曼谷,曼谷,泰國<br />
<br />
2012.06 「曖昧的存在:是誰在懼怕認同?」,tamtamART Gallery,柏林,德國、Kav 16 – Community Gallery for Contemporary Art,台拉維夫,以色列、鳳甲美術館,台北,台灣<br />
<br />
2012.05 「Rencontres à Beyrouth」,Beirut Art Center,貝魯特,黎巴嫩<br />
<br />
2011.12 「當代國際錄像藝術對話」,國立台灣美術館,台中,台灣<br />
<br />
2011.11 「Rencontres Internationales Paris/Berlin/Madrid」,龐畢度藝術中心,巴黎,法國<br />
<br />
2011.11 「第11屆里昂視覺藝術雙年展 活體詩學-驚蟄詩囚︰台灣青年藝術家展覽」,Olivier Houg Galerie,里昂,法國<br />
<br />
2011.07 「Rencontres Internationales Paris/Berlin/Madrid」,Haus der Kulturen der Welt,柏林,德國<br />
<br />
2011.06 「流感疲勞」,台北當代藝術中心,台北,台灣<br />
<br />
2011.05 「Rencontres Internationales Paris/Berlin/Madrid – New Cinema and Contemporary Art – Films And Video Screenings」,索菲亞皇后美術館,馬德里,西班牙<br />
<br />
2011.02 「活彈藥」,台北當代藝術館,台北,台灣<br />
<br />
2011.02 「Conjecture Horizon」,Forum des Arts et de la Culture,Talence,法國<br />
<br />
2010.12 「台灣響起-超隱自由」,Műcsarnok,布達佩斯,匈牙利<br />
<br />
2010.11 「Rencontres Internationales Paris/Berlin/Madrid」,龐畢度藝術中心,巴黎,法國<br />
<br />
2010.10 「後學院」,國立台灣藝術大學藝術博物館,台北,台灣<br />
<br />
2010.09 「Faux Amis-An Ephemeral Video Library」,法國國家藝廊Jeu de Paume,巴黎,法國<br />
<br />
2010.09 「2010 台北雙年展」,台北市立美術館,台北,台灣<br />
<br />
2010.06 「Rencontres Internationales Paris/Berlin/Madrid」,Haus der Kulturen der Welt,柏林,德國<br />
<br />
2010.05 「Open Studio」, ISCP,紐約,美國<br />
<br />
2010.04 「Rencontres Internationales Paris/Berlin/Madrid – New Cinema and Contemporary Art – Media Art Exhibition」,La Tabacalera – Future National Centre for Visual Arts,馬德里,西班牙<br />
<br />
2010.04 「Rencontres Internationales Paris/Berlin/Madrid – New Cinema and Contemporary Art – Film and Video Screening」,索菲亞皇后美術館,馬德里,西班牙<br />
<br />
2010.04 「台北當代藝術中心TCAC開幕展2」,台北當代藝術中心,台北,台灣<br />
<br />
2010.03 「非常姿態」,國立台灣美術館,台中,台灣<br />
<br />
2010.01 「The 39th International Film Festival Rotterdam」,De Doelen,鹿特丹,荷蘭<br />
<br />
2009.12 「Rencontres Internationales Paris/Berlin/Madrid」,龐畢度藝術中心,Theatre du Chatelet,巴黎,法國<br />
<br />
2009.09 「後地方-地方性的逆轉」,台北當代藝術館,台北,台灣<br />
<br />
2009.07 「Dandy & Angel」,打開-當代藝術工作站,台北,台灣<br />
<br />
2008.11 「2008台北美術獎聯展」,台北市立美術館,台北,台灣<br />
<br />
<br />
</span><h4><span style="font-family: helvetica;">
策展經歷:</span></h4><span style="font-family: helvetica;">
2019.10 「2019亞洲藝術雙年展-來自山與海的異人」,國立臺灣美術館,台中,台灣<br />
<br />
2018.10 「2018台灣國際錄像藝術展-離線瀏覽」,鳳甲美術館,台北,台灣<br />
<br />
2013.12 「理解的尺度-台泰當代藝術交流展」,中山創意基地,台北,台灣<br />
<br />
2012.11 「理解的尺度-台泰當代藝術交流展」,曼谷文化藝術中心,曼谷,泰國<br />
<br />
2009.07 「Dandy & Angel」,打開-當代藝術工作站,台北,台灣<br />
<br />
2006.03 「文件321-打開當代藝術工作站五周年文件展」,打開-當代藝術工作站,台北,台灣<br />
<br />
2005.12 「Illumination Function-作品展一件八」,打開-當代藝術工作站,台北,台灣<br />
<br />
2004.12 「情境空間」,國立台灣藝術大學,台北,台灣<br />
<br />
2004.05 「超・薄」,華山創意文化園區,台北,台灣<br />
<br />
</span><h4><span style="font-family: helvetica;">
獲獎:</span></h4><span style="font-family: helvetica;">
2017.05 《回莫村》,第15屆台新藝術獎-年度大獎,台灣<br />
<br />
2016. 04 《御甲戲園》,49屆休士頓影展最佳紀錄片-金獎,美國<br />
<br />
2013. 09 入圍Hugo Boss亞洲藝術大獎,中國<br />
<br />
2009. 12 《3月14日,紅墈體育館》,世安美學獎,台灣<br />
<br />
2008. 11 《和平島故事》,台北美術獎,台灣<br />
<br />
<br />
</span><h4><span style="font-family: helvetica;">
典藏:</span></h4><div><span style="font-family: helvetica;">2019《高砂》,台中市立美術館,台中,台灣<br /><br />2019《飛行器、霜毛蝠、逝者證言》四頻道錄像版本,國立台灣美術館 藝術銀行,台中,台灣</span></div><div><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;">
2018 《神靈的書寫》、《花東新村》、《SH-SY5Y》,國立台灣美術館 藝術銀行,台中,台灣<br />
<br />
2018 《廢墟情報局》、《白色大樓系列》、《神靈的書寫》,台北市立美術館,台北,台灣<br />
<br />
2018 《廢墟情報局》,M+,西九文化區,香港<br />
<br />
2017 《飛行器、霜毛蝠、逝者證言》,國家文化藝術基金會,台北,台灣<br />
<br />
2016 《文曲道觀寺》,國立台灣美術館,台中,台灣<br />
<br />
2015 《鐵甲元帥-龜島》,國美館青年藝術家作品購藏計畫,國立台灣美術館,台中,台灣<br />
<br />
2014 《鐵甲元帥-靖思村》,國美館青年藝術家作品購藏計畫,國立台灣美術館,台中,台灣<br />
<br />
2013 《鐵甲元帥-龜島》,ArtNow International,舊金山,美國<br />
<br />
2010 《和平島故事》,國美館青年藝術家作品購藏計畫,國立台灣美術館,台中,台灣</span></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-1753488282257450472021-06-15T15:00:00.005+08:002023-03-15T18:35:47.307+08:00貓捉老鼠 Cat and Mouse<h3 style="text-align: left;">貓捉老鼠 Cat and Mouse</h3><div>單頻道錄像裝置 single-channel video installation、3D列印模型 3D printing model、特製展示櫃 customised showcase,6'30",81.5 (W) x 86 (L) x 120 (H) cm,2020</div><div><br /></div><div><div><i>Cat and Mouse</i> is a work of art that connects the history of Taiwan's "White Terror" era with archaeological history. In 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." However, this astounding archaeological project was 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. </div><div><br /></div><div>The video is a recording of the artist's visit to Taichung and an interview with 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. This long-cherished childhood object shows his profound interest in field research and archaeology. 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. </div><div><br /></div></div><div><br /></div><div><div>《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。 </div><div><br /></div><div>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。 </div></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyilFGtfjrBNgFFdWvI32a9yGiNIq0lcyp4zlI9G4D8ZY0Ngsi91Q80e0uSiIGZs9CRP6elI96DNDdNA1UBby2vWcZqSiWCjs0vSJlPgxqnAXu4AJkcKkMYG_RfA9CUzNej_2Y6uX9MDln/s2048/cat+and+mouse+18.jpg" style="margin-left: 1em; 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<iframe title="vimeo-player" src="https://player.vimeo.com/video/564531112?h=d74617eccd" width="640" height="360" frameborder="0" allowfullscreen></iframe>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-81245136861916707122021-06-15T14:00:00.002+08:002023-03-15T18:28:51.920+08:00尋找沉船 Search for Shipwrecks <h3 style="text-align: left;">尋找沉船 Search for Shipwrecks </h3><div>單頻道錄像裝置 single-channel video installation、3D列印模型 3D printing model、 特製展示櫃 customised showcase,6'30",61 (W) x 100 (L) x 133.5 (H) cm,2020</div><div><br /><div><div class="OutlineElement Ltr BCX0 SCXW83128842" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;">This work of art portrays the process of the artist's search for sunken ships. <i>Green Island Township Chronicle</i> tells the history of a Dutch merchant ship that had run aground and sunk near Green Island's shores 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 lands 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." <br /><br />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 displayed the model within the customized showcase. The digital model's irregular facets protrude from the display cases, representing a digitalized imaginative process of delineating unlived moments in history using contemporary technology. <p class="Paragraph SCXW83128842 BCX0" paraeid="{7517be48-61cf-47ff-8e37-4ea238751a73}{226}" paraid="310648932" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif, "Microsoft Jhenghei UI", "Microsoft JHengHei", 微軟正黑體, MingLiU, 細明體, sans-serif; font-kerning: none; font-size: 12px; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: justify; user-select: text; vertical-align: baseline;"><br /></p><p class="Paragraph SCXW83128842 BCX0" paraeid="{7517be48-61cf-47ff-8e37-4ea238751a73}{226}" paraid="310648932" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif, "Microsoft Jhenghei UI", "Microsoft JHengHei", 微軟正黑體, MingLiU, 細明體, sans-serif; font-kerning: none; font-size: 12px; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: justify; user-select: text; vertical-align: baseline;"><br /></p></div></div><div>這個作品呈現藝術家尋找沉船的過程。《綠島鄉誌》記載了一艘19世紀末的荷蘭沉船,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」沉船。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」沉船的考古現場。 <br /><br />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沉船,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。</div></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZyx8kL84DuZ_9TK4Q8J37TGZFf-tkMuOBNrFWGvU1W6oxTnAmcmsoUIi5cHEyxt3xHDUG4-eFUA-YlvjgRUQe27ZROy6MI94_uYYKWpRZYUasSkTicrltLbhzY4x6LOQ9Ym3jeR9O7UYa/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1152" data-original-width="2048" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZyx8kL84DuZ_9TK4Q8J37TGZFf-tkMuOBNrFWGvU1W6oxTnAmcmsoUIi5cHEyxt3xHDUG4-eFUA-YlvjgRUQe27ZROy6MI94_uYYKWpRZYUasSkTicrltLbhzY4x6LOQ9Ym3jeR9O7UYa/w400-h225/search+for+shipwreck+12.jpg" width="400" /></a></div><div class="separator" style="clear: both; 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<iframe allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/566908543?h=517d09cbc9" title="vimeo-player" width="640"></iframe>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-29032636036535096052020-01-06T17:22:00.003+08:002023-04-07T13:56:34.783+08:00石頭與大象 Stones and Elephants<h3 style="text-align: left;">石頭與大象 Stones and Elephants</h3>雙頻道錄像裝置,即時線上搜尋程式,大圖輸出<div>Two-channel video installation, real-time online searching programme, wall graphic</div><div>13',2019<div>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。<br /><div>
Commissioned by the 2019 Singapore Biennale in collaboration with KADIST as part of <i>Frequency of Tradition</i>, curated by Hyunjin Kim, a three-year series of seminars, commissions, and exhibitions across Asia.<br />
<br /><i>Stones and Elephants </i>is derived from the Malay classic <i>The Hikayat Abdullah</i>. 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.<br />
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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 using an airborne drone on the grass near the transmission tower. 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 <i>The Hikayat Abdullah</i>, 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.<br />
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This work is a two-channel video installation. During the exhibition, visitors must be connected to the Internet 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 still being determined whether the story in the narration happened in actuality. The artist can only use technology and the Internet as a vessel for memories. As the narration states, '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.<br /><br />
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《石頭與大象》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。<br />
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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。<br />
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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。<br />
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<span style="font-size: 12.8px;">本作品於2019年11月19日新加坡雙年展現場首次呈現。 </span></div>
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<span style="font-size: 12.8px;">本作品於2019年11月19日新加坡雙年展現場首次呈現。 </span></div>
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<iframe allowfullscreen="" frameborder="0" height="300" src="https://player.vimeo.com/video/383249815" title="vimeo-player" width="888"></iframe></div>
</div></div></div>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-24306401156561917712019-04-27T13:21:00.002+08:002023-03-15T19:54:57.071+08:00截至2019年的工作路徑 Work Paths Until 2019<h3 style="text-align: left;">截至2019年的工作路徑 Work Paths Until 2019 </h3>
<span style="font-family: inherit;">裝置 Installation,尺寸依場地而定 Dimension Variable,2019 </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Hsu Chia-Wei’s 2008 <i>The Story of Hoping Island</i> centred on the shipyard on Hoping Island, under which lay the 17th-century fortress rebuilt by the Dutch East India Company. Hsu’s creative process has focused on traces leading from this starting point for the past two years. 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.</span><br /><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">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。 </span><br />
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<tr><td class="tr-caption" style="font-size: 17px;">黃宏錡攝影 北師美術館提供</td></tr></tbody></table>
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<tr><td class="tr-caption" style="text-align: center;">黃宏錡攝影 北師美術館提供</td></tr>
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hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-49353088826733408642019-04-11T13:08:00.003+08:002023-04-07T13:54:52.250+08:00武士與鹿 Samurai and Deer<h3 style="text-align: left;">武士與鹿 Samurai and Deer</h3>雙頻道錄像裝置 two-channel video installation,8’50”,2019<br />
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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 reselling large quantities of deer skins in Japan for silver, and finally using this silver as capital for further trade. <br /> <br /> Deerskin was in high demand in Japan, as Edo-period samurai culture consumed large quantities of armour, accessories, and clothing. Yet after years of overhunting, Taiwan could not keep up with the demand for deerskins in Japan. 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, succeeded in their efforts. <br /><br /> 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, and the images of underwater archaeology and the shipwreck. Four video windows with different hues connect each other crossing time and space.<div>
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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。<br />
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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。<div class="separator" style="clear: both; text-align: center;"><br /></div><div><br />
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。<br />
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黃宏錡攝影 北師美術館提供</div>
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</div><div class="separator" style="clear: both; text-align: center;"><br /></div></div>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-78913719794030522002019-01-19T12:08:00.002+08:002023-03-15T18:07:06.775+08:00馬來貘 - 畫布三幅 Malayan Tapir on Canvas Tri-SetIn the seventeenth century, European countries expanded their maritime trade and economic path to Asia. In addition to the flow of merchandise, the development of knowledge systems such as biology and science was 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 the flora and fauna of the Peninsula of Malaysia. This collection of natural history has become a valuable resource for understanding the ecology and history of this time.<div>
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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 led 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.<br />
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With modern technology, the artist uses the narrative of Natural History Drawings, combining various images, technology products, software backgrounds and Natural History Drawings using the collage technique.<br />
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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。<br />
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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。<br />
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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。</div><div><br /></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwxCfWg4i0H76udaJ9n9plZttj20SgynIj8rBZ_JE28KJ7CL22hSx92TwFUDRDtP2UWLmI72PkynMN7bvrK0UNL_dYtdfR457oWrN4OhfNB7HT2W7qsopAYp4Gw5xADVYt3pxqJJ0EgdqV/s1600/_A732801.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwxCfWg4i0H76udaJ9n9plZttj20SgynIj8rBZ_JE28KJ7CL22hSx92TwFUDRDtP2UWLmI72PkynMN7bvrK0UNL_dYtdfR457oWrN4OhfNB7HT2W7qsopAYp4Gw5xADVYt3pxqJJ0EgdqV/w400-h225/_A732801.jpg" width="400" /></a></td></tr><tr><td class="tr-caption">黃宏錡攝影 北師美術館提供<br /></td></tr></tbody></table><h3 style="text-align: left;">陽光沙灘上的糖棕 Sugar Palms on the Sunny Beach</h3>金屬支架 Metal Bracket、藝術微噴於畫布 C-print on Canvas, 133.5 (H) x 99 (W) x 14.5 (THK) cm,2019</div><div>The protagonist in Hsu's Work: <i>Sugar Palms on the Sunny Beach</i>, is a native plant in Southeast Asia. This fruit can make sugar, and its juice can also 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".</div><div><br /></div><div>《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。<br /><div><br /></div>
<div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAr4FOp4gTJeGOku4458SW0SYGvcG8Tb94St41qVn-Q2KubGiTZOv7t8M5jnNJRh9h84E3o0I8XlWmlVdYP1wKn-NgR8SoIamGycX1ChAt9rdfmmtv8jZq97cWALvHxwG_lzMC6qgWln4X/s1600/poster_3_F.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1130" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAr4FOp4gTJeGOku4458SW0SYGvcG8Tb94St41qVn-Q2KubGiTZOv7t8M5jnNJRh9h84E3o0I8XlWmlVdYP1wKn-NgR8SoIamGycX1ChAt9rdfmmtv8jZq97cWALvHxwG_lzMC6qgWln4X/w281-h400/poster_3_F.jpg" width="281" /></a></div>
<br /><h3 style="text-align: left;">秘境森林中的幼年馬來貘 The Small Malayan Tapir in the Mystery Forest</h3>金屬支架 Metal Bracket、藝術微噴於畫布 C-print on Canvas,133.5 (H) x 99 (W) x 14.5 (THK) cm,2019</div><div><br />Several animals such as The seabird "Tern", "Slow Loris", the "Dark-Handed Gibbon" and the Small "Malayan Tapir" appear in Hsu's Work: <i>The Small Malayan Tapir in the Mystery Forest</i>. The Small Malayan Tapir's body pattern differs from the Adult Malayan Tapir. These tiny white spots and lines scattered on the brown body are a protective colour that helps the Tapir disappear in the forest. After the Malayan Tapir grows into adulthood, his white spots gradually fade away and turn into familiar black-and-white shapes.</div><div><br /></div><div>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。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。</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><div style="margin-left: 1em; margin-right: 1em;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-siELhv0ayspU0oVj092f-pDY4yW4pCUX0fEOWu_Mn845NIYRue2Un5kItu0s71OS959Dkvo8AxqDiKIKP2OYYwsujQbDJfnFZ7DE2d92jGNqz4diU6aF1MVRF0s5qyuNgz6KmcSyGcI5/s1600/poster_2_F.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-siELhv0ayspU0oVj092f-pDY4yW4pCUX0fEOWu_Mn845NIYRue2Un5kItu0s71OS959Dkvo8AxqDiKIKP2OYYwsujQbDJfnFZ7DE2d92jGNqz4diU6aF1MVRF0s5qyuNgz6KmcSyGcI5/w283-h400/poster_2_F.jpg" width="283" /></a></div><div style="text-align: left;"></div>
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<div class="MsoNormal"><h3 style="text-align: left;">成年馬來貘在群山之中 The Adult Malayan Tapir is Surrounded by Mountains</h3><div style="text-align: left;">金屬支架 Metal Bracket、藝術微噴於畫布 C-print on Canvas,99 (H) x 133.5 (H) x 14.5 (THK) cm,2019</div><div style="text-align: left;"><br /></div><div style="text-align: left;">In <i>The Adult Malayan Tapir is Surrounded by Mountains</i>, 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.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">《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。</div><div style="text-align: left;"><br /></div></div>
<br /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5wvMPVF-ozjutd84rT6tbyV-n64aRnRZOsUair7yCxJX9e-MCnUyf-r8hT65k5oA4Baze3CJ6sGPZ78pf2eF8Rc36g-3YvCGVYpPfGyn6eKMlhVS-qgeCImRgJBR4-57D9HNzPdKLtsC/w400-h282/poster_1_F.jpg" /><br /><div class="MsoNormal"><br /></div></div></div>hcw studiohttp://www.blogger.com/profile/04269388317721503717noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-3999942846005021182018-12-11T11:20:00.003+08:002023-03-15T16:30:37.235+08:00礦物工藝 Mineral Crafts<h3 style="text-align: left;">礦物工藝 Mineral Crafts</h3>
<div>五頻道錄像裝置 five-channel video installation,9’52”,2018</div><div>本作品由新北市立黃金博物館委託製作 </div><div>Commissioned by Gold Museum, New Taipei City<br />
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Jinguashi is recognised for its gold and copper mines, and the subject of <i>Mineral Crafts</i> is copper. The work connects the geographical features of Jinguashi and the development of the mining industry during the Japanese occupied time with the key role that copper plays in humanity’s past, present and future.<br />
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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, acting 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.<br />
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In the real world, copper has propelled human society from ancient times to the Information Age. 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, <i>Mineral Crafts</i> attempts to expand the historical context of a single region into a history of technology that chronicles the symbiosis of people and objects.<br />
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《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。<br />
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<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="379" src="https://player.vimeo.com/video/305917422" width="640"></iframe>HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-70978395046630018852018-10-18T16:39:00.003+08:002023-03-15T16:33:36.342+08:00黑與白-馬來貘 Black and White - Malayan Tapir<h3 style="text-align: left;">黑與白-馬來貘 Black and White - Malayan Tapir</h3>
<div>四頻道錄像裝置 four-channel video installation,6'55",2018<br />
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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 began 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.<br />
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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.<br />
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<i>Black and White – Malayan Tapir</i> 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, and Singapore Zoo to search engines and multiple windows. The political relationship between the zoo's history 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.<br /><br />
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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。<br />
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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。<br />
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《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。<br />
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<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="1138" src="https://player.vimeo.com/video/304974085" width="640"></iframe>HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-83563974548071226162018-10-16T16:39:00.000+08:002023-11-28T10:17:42.053+08:00黑與白-熊貓 Black and White - Giant Panda<h3 style="text-align: left;">黑與白-熊貓 Black and White - Giant Panda</h3>
五頻道錄像裝置 five-channel video installation,2018<br />第一章:走私 Chapter 1: It's a Pug / 9'46"<br />第二章:好可愛啊!Chapter 2: So Cute! / 12'40"<br />第三章:共產熊貓 Chapter 3: A Communist Panda / 7'11"<br />第四章:黑白熊 Chapter 4: A Black and White Bear / 11'44"<br />第五章:團圓 Chapter 5: Family Reunion / 11'27"<br />
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In <i>Black and White – Giant Panda</i>, 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.<br />
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Pandas can only be found in the mountains of Sichuan in China. In other words, all pandas in 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 and the Cold War, and still do to this day. Pandas also linked the complicated relationship between the United States, Europe, Russia, Japan, Taiwan, and China. </div>
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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, the panda's lovely image is used as material for comedy performance; meanwhile, the historical and political issues of panda diplomacy are described amusingly. In <i>Black and White – Giant Panda</i>, performance, historical materials, and the screen window viewing experience reflect and complement each other.<br /><br />
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《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。<br />
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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。<br />
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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。<br />
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HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com2tag:blogger.com,1999:blog-5630599750678766245.post-71533506369610989792017-12-18T16:18:00.001+08:002023-03-15T16:17:15.983+08:00台灣總督府工業研究所 Industrial Research Institute of Taiwan Governor-General's Office<h3 style="text-align: left;">台灣總督府工業研究所 Industrial Research Institute of Taiwan Governor-General's Office</h3>單頻道錄像裝置 single-channel video installation,3',2017<br />
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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 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.<br /><br />
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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。<div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tKAWhn_BixYnDhgGfICNFaZkCiXmNzfVyi6zasi3yGNXU_RZlbDiQtB3SEk4U5XyxMmNbrBet5vqZsmq34LSMPJDIyJA9Kq487s-rZ2Ezpx2mDC01qBUTG3VGt6SLETZf_OcBDCCJMk3/s1600/03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tKAWhn_BixYnDhgGfICNFaZkCiXmNzfVyi6zasi3yGNXU_RZlbDiQtB3SEk4U5XyxMmNbrBet5vqZsmq34LSMPJDIyJA9Kq487s-rZ2Ezpx2mDC01qBUTG3VGt6SLETZf_OcBDCCJMk3/w400-h225/03.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheVqKn4-4sstIFvm14It46XOriJV9GjuOxIvJv3I4mCrZto2GgaDk2eSmh9mAydIL3-rqlS5rAvwl2wyfJ9w3VpVCoJqWpla8xz3_-X2ofDrNSwlm_V11dJSQP85lVwlRO3D22AMGSC5gj/s1600/07.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheVqKn4-4sstIFvm14It46XOriJV9GjuOxIvJv3I4mCrZto2GgaDk2eSmh9mAydIL3-rqlS5rAvwl2wyfJ9w3VpVCoJqWpla8xz3_-X2ofDrNSwlm_V11dJSQP85lVwlRO3D22AMGSC5gj/w400-h225/07.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhu2B327J9lb5AN_hR-j3oOdLq1Qgzx5kRVb1fKZdQMQiotDrZu_VCyvXeRQ9N52xBB3NGbS9chW_C3r8t-ymWwZROObi8c7pq1_p_489ZQAsPMY0ig3bc_8RKuHr2Syzgh6EzOeu7dt-G/s1600/11.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhu2B327J9lb5AN_hR-j3oOdLq1Qgzx5kRVb1fKZdQMQiotDrZu_VCyvXeRQ9N52xBB3NGbS9chW_C3r8t-ymWwZROObi8c7pq1_p_489ZQAsPMY0ig3bc_8RKuHr2Syzgh6EzOeu7dt-G/w400-h225/11.jpg" width="400" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja9hYHgt2lJZZR5tA6lkhCleYbSHm-YlIrxGTkaAc685i3btEJGrRmSg0RnPCZc4pjXSAs8XodJWURJvrTBUnwrxPnCBXxDPyovCA811SzuRNoUoJKG3n1KxWNGDceXGEMo7hwyuE8KGB9/s1600/15.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja9hYHgt2lJZZR5tA6lkhCleYbSHm-YlIrxGTkaAc685i3btEJGrRmSg0RnPCZc4pjXSAs8XodJWURJvrTBUnwrxPnCBXxDPyovCA811SzuRNoUoJKG3n1KxWNGDceXGEMo7hwyuE8KGB9/w400-h225/15.jpg" width="400" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">Hsu's solo exhibition in Liang Gallery, Taipei in 2017<br />尊彩藝術中心 2017個展現場</td></tr>
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<script src="https://player.vimeo.com/api/player.js"></script></div>HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-51690446912506998572017-12-17T16:47:00.001+08:002023-03-15T16:13:17.988+08:00飛行器、霜毛蝠、逝者證言 Drones, Frosted Bats and the Testimony of the Deceased<h3 style="text-align: left;">飛行器、霜毛蝠、逝者證言 Drones, Frosted Bats and the Testimony of the Deceased</h3>四頻道錄像裝置 four-channel video installation,3'40" ~ 8'40",2017<br />
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<i>Drones, Frosted Bats and the Testimony of the Deceased</i> is filmed at the abandoned site of Hsinchu Branch of the Sixth Japanese Naval Fuel Plant. During World War II, the fuel plant was used to produce aviation fuel with butyl alcohol, developed by the Department of Industrial Fermentation at the Industrial Research Institute. As a victim of the war, the deserted buildings reveal the stories of the past with the bullet holes on the walls as the eyewitness. The bullet holes on these deserted buildings reveal atrocities of war - scars evident of their pasts. Hsu utilises the unique mobile perspectives of a drone, using it as exposed photographic equipment and casting it as an actor anthropomorphically in the video. Aside from the shots taken by the drone, this video also includes several different shots, for instance, a scene of frosted bats in a big chimney. Frosted bats are mostly found in the high latitudes of Japan, Korea, and North China. Yet, for unknown reasons, this northern species of frosted bats has resided in the chimney of the military plant from May to July in recent years. The plant is the only place where frosted bats can be found in Taiwan. Moreover, the video contains footage of bombers from World War II when the United States allied with China to bomb Taiwan. However, this incident slowly faded as authorities shifted in the Asia-Pacific region. Hsu uses imageries of flying objects as essential elements of this video, including the original function of the fuel plant as an aviation fuel producer, drones, bats, and bombers.<br />
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The video narration originated from the memoirs of factory employees at the time. Nineteen oral accounts dubbed by four voice actors in Japanese and the video archive manipulated by a computer program are arranged randomly on the playlist to continually shift the structure of the video. As the narrator recounts: "After the War, most of the documents were incinerated. Quantity, date, people, accidents, sequence, cause and effects, shreds of evidence were all lost. Now, only the abstract and unreliable images remain." Through the random calculations of the program, Hsu presents in this video the uncertainty of these memories and his response to the scattered historical text.<br /><br />
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《飛行器、霜毛蝠、逝者證言》是以海軍第六燃料廠新竹支廠遺址為背景,這間二戰時期的軍工廠,是透過台灣總督府工業研究所的發酵工業部所研發的丁醇生產技術,以生產航空器所用的燃料,在戰火的摧殘下,廢棄的建築體上有無數彈痕見證了它的過去。在這件創作中,藝術家以空拍機的特殊視點穿梭其間拍攝,一方面空拍機做為裸露的攝影機具,另一方面也作為影片中的演員,以擬人化的方式呈現。除了空拍機所拍攝的畫面之外,還包括了不同的素材來源,其一是大煙囪內的霜毛蝠畫面,霜毛蝠主要分布於日本、韓國與中國大陸華北等高緯度地區,在不知名的原因之下,近幾年此北方物種每年五月至七月皆會到軍工廠的大煙囪裡產子,也成為台灣唯一的霜毛蝠棲息地。其二則是二戰期間的轟炸機影像資料,當時美國與中國的盟軍轟炸台灣,隨著政權轉移後,這段歷史也隨之被掩蓋。藝術家將飛行物的意象作為貫穿作品的元素,包括工廠作為生產飛機燃料的原始用途,以及空拍機、蝙蝠、轟炸機。<br />
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影片旁白源自於當時工廠員工的回憶錄,總共有十九篇口述旁白,由四位配音員以日文錄製,並透過電腦程式隨機播放。影像也同樣是程式自動從影像資料庫中挑選並即時剪接,每一次的播放都會產生不同的影片結構,就如同旁白中所提到的:「大部分的檔案,在投降前夕,就已經放進燃燒爐燒掉了。數量、日期、人物、事件、前後順序、因果關係,完全沒有依據,只剩下不可靠的模糊映像。」透過程式的隨機運算,呈現回憶的模糊不確定性,並藉以回應那段難以拼湊的歷史文本。<br />
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HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-86995845651323142332017-12-16T16:57:00.001+08:002023-03-15T16:09:21.386+08:00高砂 Takasago<h3 style="text-align: left;">高砂 Takasago</h3>單頻道錄像裝置 single-channel video installation, 9'20",2017<br />
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<i>Takasago</i> is a video installation combining two seemingly unrelated elements – Noh theatre and a perfume factory currently operating in Japan. Takasago International Corporation was founded in the 1920s in Japan. With support from the government and technical assistance from the Industrial Department at Central Industrial Research Institute, it opened its first foreign branch in Taiwan, aiming to expand the business, producing perfume and fragrance with local ingredients. The corporation was named Takasago for two reasons. First, because in old times, raw materials were imported to Japan from Taiwan, Taiwan was given a Japanese name Takasago. Second, Takasago is also the well-known Noh play by Zeami Motokiyo in the Muromachi era about the lasting love between the twin pines transforming into an old married couple to express that the geographical distance will never separate them. In the work where Noh actors perform in the modern factory, the multiple references to the word "Takasago" and the moral of the ancient tale are connected through writing beyond the script of history.<br /><br />
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《高砂》是結合了日本的能劇以及日本一間迄今仍在經營的香水公司兩種看似不相干的元素發展其創作。1920年代高砂香料工業株式會社成立後,為拓展業務,並受官方支持與中央研究所工業部技術協助,在台灣設廠,以本地的原物料開發製作香料。高砂香料株式會社名為「高砂」有兩個原因,其一是舊時日本對台灣的代稱,當時由於原料皆來自於台灣,於是命名為高砂。其二則是取自高砂這一詞在日本的意境,在日本室町時代的劇作家世阿彌也有部流傳至今的作品亦稱為「高砂」,其故事背景是一對化為老夫妻人形的松樹精之間的恩愛與默契,來表達地域之遙亦無法阻隔彼此。這兩個原因成為香水公司命名的由來。在這件作品中,藝術家邀請能劇演員在現代化的工廠中演出,而高砂名稱的多義與古老傳說故事的寓意也串結了一種超越歷史記事的書寫。<br />
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<script src="https://player.vimeo.com/api/player.js"></script>HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-39739807308881413652017-12-15T17:03:00.002+08:002023-03-15T16:06:24.573+08:00核衰變計時器 Nuclear Decay Timer<h3 style="text-align: left;">核衰變計時器 Nuclear Decay Timer</h3>四頻道錄像裝置 Four-channel video installation, 8'40",2017<br />
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For this work, Chia-Wei Hsu collaborated with geologists to look at colonial history from a science history perspective. After the Great Kantō earthquake in 1923, Japan suffered a steep economic decline. In the hope of reviving the economy, the Japanese established several benefits for gold mining, thus resulting in the rapid development of colonial Taiwan's gold mining industry. Meanwhile, zircon was discovered for the first time during this gold mining craze, yet it was not taken seriously at the time. It was not until the geologists discovered zircon in the riverbed of Mawudu River (Hsinchu) that it was put into research. Initially, studies aimed to survey these mineral resources to produce alloy and to support the military's development during World War II. However, later they realised that the output of zircon was insufficient. Although the plan ended in failure, the zircon samples from the excavation have new scientific applications for the later generations of geologists. With technological advances, such as the electron probe micro-analysers, geologists can now determine the composition of zircon. Besides, with the help of nuclear physics, they can reveal intriguing information about the past. Zircon is like a nuclear decay timer that allows geologists to look at the span of time from the beginning of the world to the birth of humans.<br />
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在這個計畫中,藝術家與地質學家合作,試圖從科學史的角度重新回看殖民歷史。1923 年的日本關東大地震之後,由於日本經濟嚴重衰退,為了挽救經濟而訂定了許多金礦業的優惠條件,殖民地台灣的金礦業就此蓬勃發展。當時在採金礦的過程中,初次發現了副礦物「鋯石」,不過當時並未受到重視。直至二戰期間,日治時期的地質學家在新竹關西地區的馬武督溪河床,發現了一種特殊的鋯石巨晶,可作為合金用途,並用以支持二戰期間軍需產業的發展,於是投入研究。起初是作為礦產資源的調查,但最終其產量並不足以作為礦產資源。雖然這個計畫以失敗告終,但當時所留下來的鋯石標本,卻在不同世代的地質學家手中有了新的科學發展,透過電子微探儀定出成分,並結合核物理學的方法,讀出其中的時間資訊。鋯石成為了核衰變計時器,為地質學家展開的是從盤古開天闢地到人類誕生的時空跨度。<br />
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<br />HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-40871854890453495062017-12-14T17:18:00.001+08:002023-03-15T16:03:47.541+08:00統一度假村 Uni-Resort<h3 style="text-align: left;">統一度假村 Uni-Resort</h3>攝影 photography,尺寸依場所而定 dimensions variable,2017<br />
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Geologists discovered zircon in the Mawudu River (Hsinchu) riverbed during the Japanese occupation and further investigated whether this area was suitable for mining. Now, there is a uni-resort built in this exact area. This installation consists of a few ready-made images gathered from different sources, such as a large-scale plan of the resort grounds provided by the resort, an image of the resort facilities, a geological map (Tikuto sheet) of the area used by the Japanese geologists during the colonial period, an atom simulation, and a plate subduction sketch. An image simulation of a nuclear power plant is also included in the installation since zircon contains radioactive uranium and can be used for the purposes of nuclear research. In addition to these ready-made images, Hsu also presents a photograph of zircon under the microscope, as well as the zircon samples preserved by the Department of Geosciences at National Taiwan University in this installation. With these complex imageries, the artist intends to depict the vague impression of science and history pertaining to this period.<br /><br />
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日治時期的地質學家在新竹關西地區的馬武督河床中,採集到了特殊的鋯石巨晶,並進一步研究此一地區是否有開採的價值。此地點正是今日的統一度假村。這組影像作品包含了數個不同來源的現成影像,例如統一度假村所提供的園區平面圖大圖輸出、渡假村設施的攝影、日治時期地質學家針對此地區所繪製的「竹東圖幅」、原子模擬圖、板塊隱沒示意圖。另外,由於鋯石含有放射性的鈾元素,也流傳著鋯石可作為核子研究用途的傳說,因此現場也包含一張核電廠的模擬圖。除了這些現成的影像素材外,藝術家也呈現了顯微鏡頭底下的鋯石攝影,以及台大地質系實驗室保存的日治時期鋯石標本。藉由這些紛雜的影像類型,描繪這段科學與歷史的模糊印象。<br />
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HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-60635867959263844652016-12-18T16:38:00.001+08:002023-03-15T15:43:26.929+08:00白色大樓-貢奈 White Building - Kong Nay<h3 style="text-align: left;">白色大樓-貢奈 White Building - Kong Nay</h3>高畫質單頻道錄像裝置 single-channel HD video,9'25",2016<br />
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Kong Nay is one of relatively few great Chapei Dong Veng masters who survived the Khmer Rouge era. Blind from the age of four due to smallpox, he is very gifted in music as a singing poem. He used to live in the White Building, and now he lives in the Kampot Province, the countryside of Cambodia. The artist visited Kong Nay with photographers and sound recordists and made this long-take video. In this video, Kong Nay performs an ancient story about Chapei Dong Veng.<br /><br />
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貢奈是柬埔寨少數僅存的柬埔寨魯特琴(Chapei Dong Veng)大師,雖然四歲時便因染天花而雙目失明,但卻是有極高音樂造詣的吟唱詩人。在紅高棉統治期間,貢奈幸運地保存了性命,他曾經居住在白色大樓當中,現今則是居住在柬埔寨鄉下(Kampot Province)的住所。藝術家帶著攝影師與錄音師拜訪貢奈,並以一鏡到底的方式創作了這件錄像。影片中貢奈唱述一段有關柬埔寨魯特琴遠古的故事。<br />
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HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-11985661627501852912016-12-17T17:31:00.001+08:002023-03-15T15:41:19.707+08:00白色大樓-姐妹 White Building - Sisters<h3 style="text-align: left;">白色大樓-姐妹 White Building - Sisters</h3>高畫質單頻道錄像裝置 single-channel HD video,1'50",2016<br />
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Yon Davy and Yon Chantha are sisters born in the White building and have been living there since then. Davy specializes in contemporary dance, while Chantha specializes in traditional dance Apsara. The artist invited them to perform in a new-built building in Phnom Penh. During these years, Phnom Penh has seen rapid development with various modern buildings built, whereas the old White Building faces dismantling. The scene in this video reflects the changing faces of a city. In this video, the sisters are having a body conversation via two different types of dances on the construction site.<br />
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Yon Davy與Yon Chantha是一對出生於白色大樓的姐妹,至今仍然居住在白色大樓內,Davy的專長是當代舞蹈,而姊姊Chantha專長是阿帕撒拉(Apsara)傳統舞蹈。藝術家邀請兩人在金邊的一棟新建大樓中表演。近幾年金邊快速發展,各式高樓平地而起,但老舊的白色大樓卻面臨即將被拆除的命運,這個拍攝場景反映了都市變遷的面貌。影片中,姊妹二人在建築工地中,透過兩種不同類型的舞蹈,進行一場肢體的對話。</div>
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<script src="https://player.vimeo.com/api/player.js"></script>HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0tag:blogger.com,1999:blog-5630599750678766245.post-21259034177521565252016-12-16T17:40:00.001+08:002023-03-15T15:39:24.395+08:00白色大樓-天台 White Building - Rooftop<h3 style="text-align: left;">白色大樓-天台 White Building - Rooftop</h3>高畫質單頻道錄像裝置 single-channel HD video,4'25",2016<br />
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Nou Samnang and Mel Phanna are young Chapei Dong Veng musicians. They were invited to hold a performance event on the rooftop of the White Building, and all the residents in this building were invited to attend. The video comprised this main scene. The performance is in the form of traditional Chapei Dong Veng, while the two of them have a conversation that is sometimes against each other. The history and current state of the White Building are hence presented in a witty way.<br />
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Nou Samnang與Mel Phanna是兩位年輕的柬埔寨魯特琴(Chapei Dong Veng)表演者,藝術家邀請他們在白色大樓的屋頂平台上舉辦一場表演活動,並邀請大樓裡的居民參加,並以此作為影片拍攝的主要場景。表演的內容是一種傳統的柬埔寨魯特琴說唱擂台形式,兩個人時而一搭一唱,時而針鋒相對,以詼諧的方式表述白色大樓的歷史與現況。</div>
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HCW studiohttp://www.blogger.com/profile/05402681903020152071noreply@blogger.com0