土的工藝 Earthcraft

土的工藝 Earthcraft

VR、單頻道錄像 single-channel video、磁磚裝置 tile installation
VR: 14'43"、單頻道錄像 single-channel video: 9'30"，2022

本作品由愛知三年展委託製作，獲文化部補助

Commissioned by the Aichi Triennale and granted by the Ministry of Culture

Earthcraft 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.

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.

《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。

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。

電子流動 Electronic-mobility

電子流動 Electronic-mobility

三頻道錄像裝置 three-channel video installation、真空管收音機 valve radio，2’57”，2022

In Electronic-mobility, 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.

The sound in Electronic-mobility 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.


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。

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。

截至2021年的工作路徑 Work Paths Until 2021

截至2021年的工作路徑 Work Paths Until 2021

光雕投影裝置 projection mapping installation， 16'40"，2021

紀錄片製作：財團法人公共電視文化事業基金會

Documentary Production: Taiwan Public Television Service Foundation  

聲音共製：臺藝大聲響藝術實驗中心

Sound Co-production: Center for Sound Arts and Acoustics Research, NTUA

動畫共製：臺藝大科技藝術實驗中心
Animation Co-production: Innovation Center for Art and Technology, NTUA

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

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

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

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

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

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

 

在聖堂裡的一場演出 A Performance in the Church

在聖堂裡的一場演出 A Performance in the Church

三頻道錄像裝置 three-channel video installation，16'40", 3'53", 6'40"，2021
紀錄片製作：財團法人公共電視文化事業基金會

Documentary Production: Taiwan Public Television Service Foundation
聲音共製：臺藝大聲響藝術實驗中心

Sound Co-production: Center for Sound Arts and Acoustics Research, NTUA

動畫共製：臺藝大科技藝術實驗中心
Animation Co-production: Innovation Center for Art and Technology, NTUA

The 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.


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.

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

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

等晶播種 Crystal Seeding

等晶播種 Crystal Seeding

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
聲音共製：台灣聲響實驗室、台藝大聲響藝術實驗中心
Sound Co-production: Taiwan Sound Lab, Center for Sound Arts and Acoustics Research, NTUA

本作品獲文化部109年度科技藝術創作發展計畫補助

This work is granted by the Ministry of Culture's 2020 Technology and Arts Creative Development Subsidization Program

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

The alcoholic fermentation converting sugars into energy and producing ethanol provided the fuel to Kamikaze, the Japanese Special Attack Unit, and resulted in the destructive bombing attacks at the factory. The sugar industry dwindled after the war, and the town was no longer up and coming. The multi-channel video installation tells a narrative adapted from Japanized puppet theatre piece Kurama Tengu performed by the Sheng Ping Puppet Troupe. 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.

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

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