花東新村－壁畫 Huatung Village - Wall painting

 花東新村－壁畫 Huatung Village - Wall painting

壁畫 wall painting，2009

Huatung Village was located in Sijhih City and populated by the Amis people. In 1985, three Amis families were farming vegetables by the Dakeng River Bridge along Provincial Highway No. 5. The following year, about ten Amis families built cabins and stayed there. That is how Huatung Village started. By 1996, it became a village of 215 families. It was a massive block of illegal buildings. The villagers used abandoned iron sheets and wood to build their houses. They also used those materials to build traditional tribal lookouts, community meeting rooms, and churches. In 1997, the government evicted the whole village and moved them to subsidized government housing. Now, the site is covered by grass, and only a few ruins are left behind. My work recreates what Huatung Village looked like 10 years ago - a village that no longer exists. Using field investigation methods to draw the mural was like making the original geographical map, but this exploratory mapping created a non-existent, imaginary world. Though the investigation confirmed the object's authenticity, as a result of the passing of time and the transformation of space, the scene appeared unreal, just like a legend.

花東新村是一個曾經存在於汐止的一個阿美族部落花東新村，1985年在目前新台五線大坑溪橋下有三戶原住民搭建菜寮，隔年約有十戶原住民開始搭建木屋並居住其中，這是花東新村形成小聚落的開始，直到1996年這裡已經形成一個完整的部落，共有兩百一十五戶，這裡是一個巨大的違建，村民利用撿拾來的鐵板木片等材料搭建房屋，甚至利用這些材料搭建了象徵部落傳統的瞭望台、聚會所以及教堂。在1997年時，政府將整區強制遷離至鄰近國宅，如今這裡已是雜草叢生，尋訪原址只能看到當初遺留下來的一些殘骸。這件作品繪製了十多年前的景象，一個如今已不存在的部落，運用一種接近田野調查的方式繪製壁畫，如同繪畫最原初的地理學性質。但在調查式的繪畫中，呈現的卻是一個如今已不存在的想像世界，透過調查確認了對象的真實性，卻又由於時空的轉換，整個場景顯的不真實，如同一個故事。

The mural, the first phase of my “Huatung Village - Wall painting” project, was presented in the group exhibition “Dandy & Angel” at the Open-Contemporary Art Center (Taipei Taiwan) in July 2009.
2009年7月於打開當代藝術工作站《Dandy & Angel》展中，展出《花東新村-壁畫》

花東新村 Huatung Village

花東新村 Huatung Village

五頻道錄像裝置 five-channel video installation， 7'35 "，2009

音樂製作：Sammy Chien

Music supervisor: Sammy Chien

Huatung Village was once an Amis tribal settlement in Taipei's Xizhi district. In 1984, there were three aboriginal families farming vegetables there. By 1996, it had already become a whole tribal community consisting of 215 families. It was a massive block of illegal buildings. The villagers used sheets of iron, wood, and other materials that they had gathered to build houses and buildings. They also used those materials to build traditional tribal lookouts, community meeting rooms, and churches. In 1997, the government evicted the whole village and moved them to subsidized government housing. Nowadays, if one tries to find the village's original location, one can only see a few ruins left behind. The original Huatung village had no electricity supply. At night, the residents had to light candles for illumination. Because of this, there were many fires in this area. However, the residents set the last great fire as they had already prepared to vacate the area.

The artist invited the previous chieftain of Huatung Village to give a narrative in the Amis language of what had happened there using juxtaposing separate audio and video tracks to reconstruct an already non-existent tribe in a real area. Filming began during the daytime and continued into the night. At the same time, the video's structure changed from documentation to another approach: the artist wanted to constantly blend the layers between the location (documentation) and the scene (narrative) to create something new.

The narrative in this work interweaves three scenes: the first scene was the chieftain's oral history of the already non-existent tribe; the second scene was the filming of the actual site, and the third scene was presented on five LCD TV split screens with marquee subtitles: the exhibition.

花東新村是一個曾經存在於台北汐止的阿美族部落。1984年，最早有三戶原住民在此搭建菜寮，直到1996年，已經形成一個完整的部落，共有兩百一十五戶。這裡是一個巨大的違建，村民利用撿拾來的鐵板木片等材料搭建房屋，甚至利用這些材料搭建了象徵部落傳統的瞭望台、聚會所以及教堂。1997年政府將整個部落強制遷離至鄰近國宅，如今尋訪原址只能看到當初遺留下來的一些殘骸。過去的花東新村沒有任何電力來源，在夜晚，居民只能使用蠟燭來照明，因此過去這個地方曾經發生許多次失火。但最後一次的大火，是居民自己引燃的，因為他們已經準備要離開這個區域。

藝術家邀請過去花東新村的頭目用阿美族語敘述著曾經發生的事件，透過影音敘事的雙軌特質，在一個真實的地區建構一個已不存在的部落。影片拍攝從白天持續至夜晚，同時影像的建構也開始從紀實的手法進入到另一個向度，將真實地方翻轉成為一個敘事場景，重新創造出新的事件。

作品敘事包含三個不同層次的現場，頭目口述已消失的部落為第一個現場；影像拍攝的原址為第二現場；以及最終透過五個液晶電視以及跑馬燈字幕所呈現的第三層次：藝術現場。

3月14日，紅墈體育館 March 14, Hong Kong Coliseum

3月14日，紅墈體育館 March 14, Hong Kong Coliseum

雙頻道錄像裝置 two-channel video installation， 7'43"，2009
音樂製作：方彥翔

Music supervisor: Fang Yen Hsiang

Narrated by Chinese Malaysian singer Fish Leong, the project March 14, Hong Kong Coliseum follows her tour through different cities in Asia, including Shanghai, Hong Kong, Taipei, Singapore, Malaysia, Beijing, Guangzhou, Kunming, and Chengdu. Shooting the tour involved a lot of time spent travelling. The travelling and shooting did not create a self-evident world of images or events. Instead, it resulted in the discovery of extraordinary locations. By focusing on a time or place unknown to the public, I am introducing it to them. And although the time and the spaces are real, the video slightly distorts reality, and the moments become myths or legends.

There was a huge entertainment industry with a pan-Asian approach. The tour moved from city to city, and the stage, lighting, and songs at each event were similar wherever it went. Each concert scene was also a confrontation between globalisation and local cultures. As an experienced singer, Fish Leong's voiceover describes various sounds, which she interprets as metaphors for the cities she visited. Even though they hold real events, the filmed, empty concert venues seem enormous and fictional. Here, the concerts represent globalisation, but the video work makes this connection drift apart.

March 14, Hong Kong Coliseum consists of two channels. One is a single-channel video directly projected onto the screen. Shot in Hong Kong, this more narrative-like video is presented with quick cuts, subtitles, and Fish Leong's voiceover. The other video is projected onto the screen's front and back. This video, shot in Shanghai, features longer cuts projected onto lithe, soft-screen material. Compared to the narrative images shot in Hong Kong, the Shanghai videos are more like "image objects." The exhibition space is lined with a red carpet, and the screens display empty concert scenes. Within this setup, the audience responds to the narrative and meditates in real space (with two images from different cities inside the exhibition room). These two images of cities presented in one exhibition space introduce the off-screen - a larger world beyond the images themselves (i.e., the whole world off-screen).

《3月14日，紅墈體育館》的作品計畫是隨著馬來西亞華人歌手梁靜茹的巡迴演唱會做拍攝，隨著該次巡迴演唱會前往上海、香港、台北、新加坡、馬來西亞、北京、廣州、昆明、成都等幾個亞洲不同的城市做拍攝，並邀請梁靜茹配口白。拍攝巡迴演唱會的過程，同時也是旅行，透過旅行結合拍攝，不再是創造一個想像世界並讓它具有自明性，或是創造一個事件，而是去發掘特殊的地點，透過聚焦在大眾未知的時刻，我所做的只是把它介紹給大家，雖然時間空間是真實的，但影像輕微的扭曲了現實，使這特殊時刻成為傳說。

在這裡，一個龐大的娛樂產業開始以泛亞洲的方式做發行，演唱會內部的舞台、燈光、曲目在每個地點相當相似，但卻是在不同的城市之間發生真實的移動，於是巡迴演唱會的場景，發生了全球化與地方性的激烈作用。在梁靜茹的口白中，從作為一個歌手的自身經驗，開始對於聲音有了種種描述，同時也開始透過聲音轉喻為對於城市的想像。影片拍攝的是一個空無一人的演唱會現場，真實的事件，卻如同一個龐大且虛構的場景，在此，演唱會作為一個全球化的表徵，透過作品的處理而逐漸偏航。

作品由兩個影像同步播放構成，一個為單面觀看的正向投影，影片拍攝的地點是香港，由較短的鏡頭組成，同時包含字幕以及梁靜茹的配音，敘事性較強。另一個影像為背投影的雙面觀看，拍攝的地點是上海，鏡頭的長度較長，包含背投影布幕輕盈的材質，相較於香港的敘事性影像，性質上更接近一種影像物件。空間內安置紅地毯 (取自演唱會現場的地毯)，演唱會的現場是一個無人的場景，使觀眾連結影片空間的講述工作，在存在的空間之間去默想（兩個不同城市影像與展場空間）。兩個不同城市的影像在同一個展覽空間內呈現，召喚一種鏡外空間，一個遠比影像本身還廣大的範圍（世界作為成堆的鏡外空間）。

和平島故事 The Story of Hoping Island

和平島故事 The Story of Hoping Island

單頻道錄像裝置 single-channel video installation， 12'40"，2008

音樂製作：方彥翔

Music supervisor: Fang Yen Hsiang

The Story of Hoping Island was shot in a shipyard on Hoping Island in Keelung, which has 88 years of history. During the Japanese occupation of Taiwan, it was the Japanese government's southernmost shipyard, and as such, it supported Imperial Japanese southward expansion. After the retrocession of Taiwan, the shipyard played a crucial role in Taiwan's economic takeoff. This shipyard represents a highly compressed, symbolic timeframe from WWII to now. The shipyard reflects how the locals identify themselves based on their specific local histories and how the national government encodes and directs history. To support this history, complicated traditions and myths are continually developed and developing. So Hsu Chia-Wei shot this shipyard, a real space, and responded to the shipyard's other historical side: the legend.

The whole scene of The Story of Hoping Island was shot in the shipyard in Hoping Island. The artist invited his grandmother, who had received Japanese education, to describe the situation in Japanese. Through the process of narratives, this place, usually with numerous workers, seems remote and deserted, caused by no people appearing in the video. In this work, the artist regarded this shipyard as a memory crystal to develop the narratives. Through the complexity of place and memory, this place becomes an effective instrument to reproduce memory.

In this video, an artist-created Creature—Ni-Ku, is the only element to connect to the narrative. It has weightless science-fictional characteristics: both the military detector and the luminary. The artist also put electronic music with shattered rhythms in the background. Through this tiny creature, this work responds to the grand era, as do the fictional narratives that respond to the political statement. It also permeates through history, memory and dream. Or we could say that history itself seems like a memory and dream to some extent. This work has many usages of "light", including the luminous Ni-Ku in the narratives, the sparkling gem-like light in the shipyard, the lighting at the end of the video, and the physics light from the projector in the space. In the illusory dimension, with its light-like non-material characteristic, this work transits the immense and massive history to a legend.

The Story of Hoping Island lies in the constantly overlapped process of history and dream, image space and physical space, reality and fiction. While national governments continuously constructed their own identification, this work becomes a weightless, fictional space and provides a breathing break.

作品《和平島故事》拍攝的地點是位在基隆和平島的造船廠，這座造船廠有88年的歷史，日據時代期間是日本政府國境內最南端的軍事造船廠，主要支持日本的南進政策，而日本政府撤退後，這座造船廠在台灣的經濟起飛中又佔有關鍵位置，於是它高度壓縮了從二次大戰至今的時空，同時也反映了地方及其認同如何根著於歷史，國族政府熱衷於將認同感跟植於國族來自何方，以及前往何處的歷史故事，為了支撐這些故事發展了繁複的傳統並不斷的創造神話，於是拍攝造船廠這真實的地點，同時也是回應這個歷史的另一個面向：傳說。

整個場景皆拍攝於和平島造船廠，藝術家邀請祖母以日文描述當時的情況（藝術家的祖母過去曾受日本教育），在敘事的過程中，沒有出現任何人的影像，猶如一個無人的造船廠（此造船廠平日有大量的工作人員），作品聚焦在將造船廠視為一個記憶的晶體，敘事的進展則在這個前提之下。透過地方與記憶糾結的複雜性，地方則成為了記憶再生產的有效工具。

藝術家在此透過創造虛構生物「泥琥」來做為影像內唯一串起敘事的元素，同時泥琥也具有一種輕盈質感的科幻特質：作為一種軍事用探測儀器與作為一個發光體。影片在音樂上則是使用了電子音樂的細碎節奏。作品透過這個微小的生物「泥琥」來回應一個大時代；透過一個虛幻的敘事來回應政治論述。也貫串歷史、記憶與夢境，或者說，歷史某種程度就如同記憶與夢境一般。作品中出現了許多「光」的運用，包括在敘事層次中，泥琥作為一個發光體；在影像層次中，造船廠如寶石般晶瑩剔透的燈光，以及影片最後一幕的閃電；在物理層次中，投影機的光線作為實際空間中的光。整個作品就如同「光」一般的非物質性，在虛幻的向度中，將龐大且沉重的歷史轉變成了一個傳說。

《和平島故事》這件作品處在不斷的翻轉歷史與夢境、影像空間與物理空間、真實與虛構的過程中。在不同的國族政府不斷的建構認同的時刻，《和平島故事》成為一個輕盈的、虛幻的空間，一個喘息的空間。

The Story of Hoping Island was presented in the Taipei Fine Art Museum in December 2008.

2008年12月於台北市立美術館展出的《和平島故事》一作

戰事 War

戰事 War

三張攝影 Three photographs, 2008

This photograph series is taken in a park in Pingzhen, Taoyuan. The tank made in the Korean War is now discarded and stored in the park as sculptures. The artist uses lighting techniques in filmmaking and transforms the park into a theatre stage. Photography in this work is not used to summon the past of tanks but to respond to the war and fictional language in film and games, etc.

這系列的攝影作品拍攝於桃園中壢的龍岡大操場，這裡停放了冷戰時期所生產的M48巴頓戰車，這些戰車是在1973年被中華民國政府接收而來到台灣，如今戰車已廢棄，擺放在操場中如同雕塑品一般。當年的冷戰情勢在今日成為了觀光的題材，同時也大量的出現在電影、電玩等娛樂媒體中，藝術家採用電影式的燈光設置，將這現實場景翻轉為一個戲劇舞台。攝影中所召喚的並不是這廢棄戰車過去的歷史，而是今日當它化身為消費產物後，所轉化而成的戰爭科幻題材的語境。