2010年10月18日

現打蝸牛 Fresh Snail

 

身體與食物」,鳳甲美術館,台北
臨場藝術,20分鐘

身體行為處於類似料理節目的場景,並非意圖集合食材,去作為一個線性完成的流程,而是處理一個主要食材的思考。「現打蝸牛」一詞來自台灣東部省道旁常見的招牌,「現打」取自台語「現殺」的意思,意指保證食材新鮮可口。而蝸牛這個外來種,現打之後,體內有著滑稠且難以處理的黏液。這個特殊的黏稠介質,除了串連起了藝術家對於從小離異的母親之記憶,還擴及至這個蝸牛物種與台灣土地的關係。

"Fresh Snail", Live Art , 2010, 20 mins.
 "Live Art: Body and Food", Hong-Gah Museum, Taipei.

One of the main ingredients of thought processing.
Snail often appear in eastern Taiwan restaurant, on-site crushing snails is a big selling point for processing, ensuring its freshness.
And this alien snail, the body thick and difficult to deal with slippery mucus.
This special viscous media, in addition to serial divorced from the artist's childhood memory of mothers, but also extend to the land snail species, the relationship with Taiwan.

2010年8月31日

願景:大鳥壁畫提案 Hope–A Wall Painting Proposal for Pacavalj Tribe


創作年代:2010
尺寸:依展出現場而異
媒材:基地模(180*270cm)、投影、影像輸出
展覽靜態紀錄連結

台東縣大武鄉大鳥村於88風災中土石嚴重坍方造成14戶民宅損壞,而被政府判定劃設特定區域,但在該村強力反對下獲得免於遷村的勝利,並由政府投入大筆經費進行水土防禦工程;風災某種程度也聚合了村民意識到部落文化傳承的重要,但當地歷史記錄做的並不完善,需要花時間追溯與統整。

於是在這裡有個社區壁畫提案,結合工程裡一個巨大的檔土牆去進行,繪畫內容便以大鳥村的尋根內容作為主題,以及屬於大鳥村本身的神話與傳說為主。模擬全村與山坡上擋土牆的縮小比例模型去做為一個在地溝通的介面,並提出壁畫提案草圖方便村民提供意見與修改內容,以集體記憶建構其地方詩學;別於刻板的部落入口印象,期望能進階進行屬於在地民眾的集體創作。

工程承載著全村村民永免於恐懼的願景,但各個沒把握,小小的安靜的村落又有著綿密的人事與政治糾葛,文化或創意在那裡可能僅為生存的考量。遠離熟悉的藝術圈外,藝術家以有限人力與資源如何天真的運行?以身為度測量著藝術在那兒如何的可能?這裡是一個中長期在地的流動計畫,模型作為探測器,承載著初步階段的重要任務,在台北論壇雙年展的展場中也成為外部(觀眾)投入資訊與意見的啟動之物。

作品描述

主要有一個底座約180x270cm的基地模,模型呈現的是大鳥村民聚落與檔土牆設施,壁畫草圖圖樣數張輪播投影在基地模上的檔土牆(現場已調整至明亮而有想像的白光),基地模底座崁入音響,播放排灣族語介紹這個提案(作品)。牆面有一些靜態攝影,影像內容為訪查許多原民部落一些佚名作品,它們多數出現在社區活動中心司令台,以寫實樸拙的手法呈現劇場式的繪畫或浮雕。拍攝採樣的範圍選取為台東南部相距約50公里進行88災區重建聯動計畫而相互串聯的幾個部落(包含大鳥部落)。


Hope – A Wall Painting Proposal for Pacavalj Tribe
2010
Dimensions variable
Architecture models, projection, photography

The deadly landsides during Typhoon Morakot on August 8, 2009, destroyed 14 homes in Taniao Village in Tawu Rural Township, Taitung County. Although the area was then designated a special zone by the government, the villagers strongly opposed plans to relocate them. In light of this, it was decided to invest in flood and landslide control work to make the living environment safer. The typhoon also caused villagers to reflect on and recognize the importance of their unique tribal culture and heritage. However, local historical records were far from comprehensive, so tracing and organizing that work took time.

This community mural project is part of a larger program to build a huge retaining wall. The paintings used to decorate the wall are to be based on Taniao villagers’ search for their roots and the various myths and legends associated with the village itself. The work started with a scale model representation of the village and the retaining wall on the mountainside as an interface for local communication. It also provided virtual drafts of the mural for villages to view and express their own ideas, with revisions to be included in the final work. It is hoped that this approach infuses the final product with a community or collective identity. This project was of particular importance to the village because it represented a vision of the future in which they could live without fearing for their lives every time a typhoon approaches.

However, even a small, peaceful village such as this has its own complex personal relationships and politics, so we first had to consider whether it was even possible for culture to coexist with innovation in such an environment. Besides being far removed from the art world, how was an artist to proceed with such limited manpower and resources? Clearly the artist needed to determine in person whether art was feasible in such a location. This particular project is a medium to long term program and as such, the model plays an extremely important role in the initial planning period. It serves as a focal point at discussion forums, allowing members to be informed about the nature of the project whilst also encouraging villagers to voice their opinions.

Work Description

There is an approximately 100x150cm base site model. Because the content of the wall painting could change as a result of field surveys in the area, several possibilities will be projected onto the retaining wall, on the site model. The base of this model has its own embedded speaker system which will play recordings of local children telling stories about Taniao Village in the local Paiwan language.

The wall is decorated with photographs, examples of anonymous works collected from various aboriginal villages, many of which previously appeared on the stage at community activity centers. Their simple and realistic depictions showcase theatrical type paintings or sculptures. These photographs were collected from villages (including the Taniao Village) in southern Taitung with in a 50km radius, connected through the 88 Disaster Reconstruction Joint Program. (Translated by Andrew Wilson.)

2010年5月15日

A_M ART MANAGER & ACTIVE


展覽紀錄連結
尺寸:依場地
媒材:裝置、印刷品
創作年代:2010

  A_M ART MANAGER & ACTIVE為國際專業藝術經紀,主要執行策展規劃、文化專案、藝術授權、收藏諮詢等。A_M特於20xx/xx/xx~xx/xx於國際級展場:OOXX,舉辦OOXX,推出眾多新銳年輕藝術家以饗諸位尊貴的嘉賓。派對活動<VIP Lounge-OOXX One night Stay>僅開放給A_M首選鑑賞家,僅定於20XX.XX.XX晚間十一點五十五分邀請諸位嘉賓神秘入場,A_M活動在AM開始,我們將在午夜12點之後品嘗仙度瑞拉閉關之夜,除備有M100特調cocktails,並深度分析在此展出的新銳年輕藝術家及其走勢圖。您是我們尊崇的特邀貴客,此私人活動僅憑邀請卡認證入場,切記!

2010年5月1日

尋找記者保羅


單頻道錄像,14'05",2010

2009年8月8日莫拉克颱風重創台灣,那陣子電視新聞全都是各地傳來的災情,24小時不斷行進的一片慘狀的畫面裡,有一則報導特別吸引了我的注意:東部的大武鄉對外道路全部中斷儼如孤島,一位因奔喪返鄉而受困的居民,在那孤立無援的幾天苦中作樂的模仿電視台記者SNG連線報導,拍攝當地多支災情紀錄影片,幾天後才經由電視剪輯畫面傳送。
從新聞媒體得知那位自稱保羅的”記者”,年紀跟我差不多一樣大,而且拍攝的地方就是我出生的地方,於是開始了一些想像,或許我跟他會有些什麼關係,我獨自回到這個陌生的地方,沿著他影片中所透露的線索,開始尋找……。



2010年4月18日

城中粗工特區 URBAN CO.



計畫影像紀錄:https://picasaweb.google.com/amaantw/UrbanCo#
我們關注那些時而顯露又無端被忽略的城市片段,它們發生在生活節奏的間歇處,與我們群聚之處。在這個新興、有活力而短暫的藝術街區中,我們在此集結,採取 行動,並且給以某種形式的紀錄,希望找出界定藝術家在地方/空間/城市中的具體位置的可能,藝術家是如何展現為行動者?又如何實踐出他們與整體社會的關係?

『好粗工』們說:「請給我一份臨時工」

臨時辦事處:「打開-當代藝術工作站」
開放時間:2010/4/22-5/21,星期四~日 15:00-20:30
地址:台北市中華路一段91巷13號

*開工趴踢:2010/4/24(六),18:30-21:00
破冰儀式、特調保力達B、餅乾塔、粗工歌發表、卡拉ok歡唱

「城中粗工特區」網址:http://www.urbanco.url.tw/(連結已失效)
活動範圍於城中藝術街區
感謝:忠泰建築文化藝術基金會空間贊助