2022年5月6日星期五

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」。









岩棺是不是棺 Is the Stone Coffin A Coffin?

岩棺是不是棺 Is the Stone Coffin A Coffin?

單頻道錄像裝置 single-channel video installation、香蕉絲QR code banana weaving QR code,3'56",118 (W) x 128 (L) x 14.5 (THK) cm,2021

Centring on the Shinshe Stone Coffin in Hualien, the artwork brings archaeology, geology, and tribal culture together. 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.


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。

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。