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）。