台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

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「影像的謀反」The Rebellion of Moving Image

展覽名稱 Exhibit

「影像的謀反」The Rebellion of Moving Image

展覽時間 Date

2018/03/03-2018/05/06

展覽地點 Venue

台北當代藝術館 MOCA Taipei

門票 Admission

NT50

策展人 Curator

黃香凝 HUANG Hsiang-Ning

參展藝術家 Artists

許家維 HSU Chia-Wei、艾薩克‧朱利安 Isaac Julien

約翰‧亞康法 John Akomfrah吳燦政 WU  Tsan-Cheng

葉‧芭塔娜 Yael Bartana

展覽介紹 About the Exhibition

「影像的謀反」The Rebellion of Moving Image

「影像的謀反」展覽是基於對現實的質疑與不滿,用詩性書寫介入現實,形成多重影像敘述。此種逆「反」,是對現今全球化社會的資本流動、人口遷移、宗教與國族強權等,權力結構之單向性、既定性的質疑與忤逆;並藉由詩性的連結與想像,讓影像的虛構成為一種政治干預的工具,將「過去的未來」被懸置、重整、並再次想像。

Prompted by doubts and discontent with reality, The Rebellion of Moving Image uses poetic expressions to intervene in reality, with multi-image narratives formed. This rebellion doubts and resists power structures’ one-sidedness and established-ness that are observed in capital flows, population migration, religious and national powers. Through poetic associations and imaginations, imaginary images are turned into tools of political interference, as “the future of the past” is suspended, reorganized, and reimagined.   

在創作手法上,不再如錄像藝術早先對敘事性的抵抗與挑戰,而是回到電影的拍攝手法中吸取經驗,進而擁抱敘事以處理當代社會性議題。然而單一線性敘事手法不足以表現當今社會多重權力交織下的心靈竄逃與複雜認同,藝術家開始使用多元的敘事方式,虛構與現實交錯的動態影像創作,讓虛構的情節不再只是為了讓事件更加生動,而是在「虛構」中重新攫奪強權把持的話語權,藉由「虛構」的政治性進行對現實的協商與奪取,也讓未來有了新的創造與開展的可能性。

Straying away from the creative approach previously seen in video art, which resisted and challenged the notion of narrative, cinematic filming approach is instead referenced here, with narratives embraced to deal with contemporary social issues. Nonetheless, singular linear narratives do not suffice in expressing the spiritual escapes and complex identities resulting from contemporary society’s many-sided crisscrossing power wrangles, leading to the employment of diverse narrative approaches by the artists. Moving images are used to overlap fiction with reality, allowing fictitious plots to serve beyond sensationalizing certain incidents, and regaining the right of discourse from the authority. “Fictional” political-ness is applied to negotiate with and seize reality, with the future filled with new creative and developmental possibilities.

本展邀請國內外五位藝術家作品參展:許家維的《飛行器、霜毛蝠、逝者證言》以日治時期海軍第二燃料廠遺址作為拍攝背景,用廠區空拍畫面及昔日日軍回憶錄作為旁白,以亂數播放方式,讓影像敘事變得隨機且偶然,指涉過去歷史文本已無法再重建。葉.芭塔娜的《地獄》,將巴西神國普世教會在聖保羅重建所羅門聖殿的事件,以好萊塢史詩鉅片的方式拍攝,質問此次興建是否已預告了未來的毀滅。約翰.亞康法的《信仰之舉》將過去四百年間因宗教迫害所導致的人口遷徙,連結至現今敘利亞的難民危機,呈現流離失所者脆弱的現實狀態,以及為了追尋更好生活的冒險與失敗。吳燦政的《重新編碼》虛構當代館歷經日治時期、市政府、及美術館三個時代建築空間中的聲音,以聲音喚起已然消逝的影像。艾薩克.朱利安的《萬重浪》源於2004年英國莫克姆灣中國籍海貝採集工人的遇難事件,作品將現實、神話、與虛構情節相互交錯,觀者沉浸於詩意的影像同時,也不斷對現實進行反思。

Five Taiwanese and international artists are invited to showcase their artworks in this exhibition. Drones, Frosted Bats and the Testimony of the Deceased by Hsu Chia-Wei is set in the ruins of the 2nd Navy Fuel Plant from the Japanese colonial period in Taiwan, with aerial images of the plant accompanied by voiceover of a former Japanese military officer’s memoir. Played in a random manner, the image-based narrative becomes arbitrary and haphazard, suggesting the impossibility to reconstruct the historical text. 

Inferno by Yael Bartana depicts in Hollywood-esque epic saga style the incident of Brazil’s Universal Church of the Kingdom of God’s recreation of the Temple of Solomon in São Paulo. Her work addresses the construction through a vision of its future and questions if destruction is foreshadowed? Auto Da Fé by John Akomfrah connects population migrations over the last 400 years due to religious persecution with today’s Syrian refugee crisis, presenting the vulnerable state of reality faced by the displaced and the risks and failures they have endured in their quests for a better life. Recode by Wu Tsan-Cheng creates fabricated sounds in MOCA, Taipei’s architectural space, spanning across three segments of the space’s history of Japanese occupation, city hall, and art museum, using sounds to awaken bygone images. Ten Thousand Waves by Isaac Julien is inspired by the 2004 tragedy with Chinese cockle pickers drowned on a flooded sandbank in Morecambe Bay, England. The artwork crisscrosses reality, mythology, and fictional plots, immersing the viewers in poetic images while prompting them to reflect on reality. 

「影像的謀反」的參展作品奠基於真實的空間、事件及文本,透過地方、歷史、文學、電影、傳說等多重援引指涉,以深思熟慮的影音佈署,嘗試連結更寬廣的時空脈絡,在虛構和非虛構的交互審視與合作中,進行現實的後設批判,並生產出新的現實。

The artworks on view in The Rebellion of Moving Image are based on realistic spaces, incidents, and texts, with meticulously arranged audio-visual components used with multiple references of location, history, literature, cinema, and legend applied to connect with a broader space-time context. Meta-critiques on reality are engaged in through fictional and non-fictional cross-examinations and interactions, with new realities also produced. 

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

參展藝術家 About the Artists

許家維 HSU Chia-Wei

許家維 HSU Chia-Wei

1983年生於臺灣臺中,2010年畢業於國立臺灣藝術大學造形藝術研究所,並於2016年畢業於法國國立當代藝術工作室。對於亞洲冷戰時期被遺忘的歷史有著濃厚的研究興趣,嘗試融合當代藝術與電影的語言,思索如何透過影像創作介入現實,從而銜繫歷史與當下現實的節點,以連結過往歷史裡未及描述的人與地方的關係,俱現出真實/虛構並陳的影像生成。由此,形塑出一種介於敘事世界與現實之間的異質敘事體,作品別具影像政治與批判力度的能動張力。其創作獲致各方讚譽與肯定,如:2017年榮獲第15屆台新藝術獎年度大獎;2016年獲頒休士頓影展最佳紀錄片金獎; 2013年威尼斯雙年展臺灣館展出,同年入圍Hugo Boss亞洲藝術大獎等。國際展出包括:第三十九屆鹿特丹影展、2012年利物浦雙年展、龐畢度藝術中心,以及西班牙索菲亞美術館舉辦的相遇國際錄像藝術節等。

Born in 1983 in Taichung, Taiwan, Hsu Chia-Wei graduated from the Graduate Institute of Plastic Arts of National Taiwan University of Arts in 2010. In 2016, he graduated from Le Fresnoy-Studio national des arts contemporains, France. With a profound interest in Asia’s forgotten history from the Cold War era, Hsu seeks to integrate contemporary art with cinematic language, using images to intervene in reality and to connect history with specific points found in present day reality. He connects people and places that have been left unmentioned in history, forming images that juxtapose reality and fiction, which leads to the formation of an in-between narrative that sits at the crossroads of a narrative world and reality, resulting in dynamic artworks of image politics and critical qualities. Hsu’s art has been widely praised and recognized, garnering distinctions including the 15th Taishin Arts Awards Annual Grand Prize in 2017; Gold Award for Documentary at the WorldFest-Houston International Film and Video Festival in 2016; and as a contributing artist for the Taiwan Pavilion at the 2013 Venice Biennale and a candidate for the Hugo Boss Asia Art in 2013. Hsu has exhibited his art internationally, including at the 39th International Film Festival Rotterdam, 2012 Liverpool Biennial, and Rencontres Internationales at the Centre Pompidou in Paris and Reina Sofia National Museum in Madrid.

 
 
葉.芭塔娜 Yael Bartana

葉.芭塔娜 Yael Bartana
1970年生於以色列,教育背景完成於耶路撒冷、紐約以及阿姆斯特丹。其藝術創作形式包括影片、攝影、影音裝置等,對身份政治與政治想像力的探討具有濃厚的興趣,意圖重申國家集體認同的儀典制度與社會轉型等面向。她以自我批判的態度審視自己的祖國,從中思索如何在集體中界定自身?並質疑「家鄉」與「回歸」以及「歸屬」等由國家所宣揚的價值系統及其象徵,探究如何擴展這些問題的向度延異出不同的可能性,同時審視它們在社會中的作用。

芭塔娜力圖探索藝術創作,認為藝術是可以帶來社會的變革,亦是破壞現狀的有力工具。她將其藝術想像力符應當前社會時潮的趨向,直指與民族主義、國家、政治和社會的身份,經常引起各方強烈的反應,如同一種行動主義:為社會意識和歷史聯繫提出批判性的刺點。

Born in 1970 in Israel, Yael Bartana completed her education in Jerusalem, New York, and Amsterdam. She creates video, photography, audio-visual installation artworks, and is deeply interested in exploring identity politics and political imagination, examining ceremonies, public rituals and social diversions that are intended to reaffirm the collective identity of the nation state. She investigates her native country, Israel from a self-critical perspective, and from which, she contemplates on how to position the Self in the collective consciousness. She also speculates terms like “homeland”, “return”, “belonging”, and other value systems and symbolisms advocated by the state, exploring how these issues could extend into different possibilities, with their purposes in society investigated at the same time.

Bartana explores art and believes in art’s ability to propel social reform, as she sees it as a powerful tool that could disrupt current conditions. Artistic imagination is used by her to respond to current social trends, directly dealing with nationalism, state, political and social identities. Her endeavors often spark strong reactions from different groups, and like a form of activism, she puts forward sharp critical points on social awareness and historical associations.

 
 
約翰.亞康法 John Akomfrah

約翰.亞康法 John Akomfrah

1957年生於非洲迦納,幼年隨家人移居英國,並於1982年英國樸茨茅斯大學(University of Portsmouth)社會學系畢業,多年後被授予該校榮譽博士學位,並獲譽倫敦​​藝術大學榮譽博士學位。為著名電影導演、編劇家、藝術家與策展人,同時透過電影及媒體著力探討和檢驗英國黑人身份問題的「黑色音頻電影團體(Black Audio Film Collective)」創辦人之一。作品遊走於檔案化、文學式電影的影像語言,著墨在記憶、種族主義、後殖民主義及宗教迫害,以及非裔人士離散於各地的轉徙經驗。

John Akomfrah was born in Accra, Ghana in 1957, and moved to the UK with his family as a young child. He studied sociology at the University of Portsmouth, graduating in 1982, and was awarded years later with honorary doctorates by the University of Portsmouth and University of London. A renowned film director, screenwriter, artist, and curator, he also co-founded the Black Audio Film Collective which uses cinema and media to explore and examine identity issues for black people in the UK. Akomfrah creates art a visual language that traverses between archival, literary cinema, focusing on memory, racism, post-colonialism, and religious persecution, as well as Afro-descendants’ diaspora experience.

 
 
 
吳燦政 WU Tsan-Cheng

吳燦政 WU Tsan-Cheng

1973年生於臺灣雲林,國立臺灣師範大學美術系、國立臺南藝術大學造形藝術研究所畢業。發表了首件聲音裝置作品《夜鶯》,作品不斷實驗視覺與聲音的音像關係,認為聲音可以嵌入符號與訊息,牽引出震撼人心的力量,並觸動身體知覺產生情感連結,層層開啟聲音伏隱的豐富層次,如作品《N+Syn》中以早期夜視攝影機,藉由鏡頭低拍穿越草叢之際所產生的細微聲響,召喚感知經驗觸碰草叢的身體記憶,其中粗糙的視覺畫面,一反科技追求清晰高端影像的視像模式;他將影像投映於天花板上,使觀者在仰視疲累之際,低頭的片刻,聲音「自然」成為視覺之外被傾聽的主角。作為強調身體性參與的創作,他說:「視覺影像總能抓住你我的視線,將你引向某一方向,但是聲音必須由你走進,進入,穿越它,當你進入聲音時,你的身體會微妙地改變周圍的聲音,而聲音也將穿越你的身體」。以此開啟視像、聲訊、音景與感知在當代美學文化視野的面向探討。

Wu Tsan-Cheng was born in Yunlin, Taiwan in 1973. He graduated from the Department of Fine Arts, National Taiwan Normal University, and the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Wu’s work reveals an unending experimentation of the relationship between image and sound. His first sound installation was Nightingale. For him, symbols and messages can be embedded in sounds to generate powerful forces that trigger physical perception and emotional connection, unfolding rich, hidden layers in sounds. For example, in N+Syn, Wu used an early night-vision camera to film and capture from a low angle the rustling sound as he traversed an area of grass, evoking the memory of physical perception of touching grass and creating a contrast between the rough visuality and hi-definition images made possible by technology nowadays. Wu then projected the video on the ceiling; when audiences lowered their heads after feeling tired from looking up, sounds “naturally” replaced vision and became the dominant element at the moment. Putting an emphasis on bodily perception in his work, Wu said, “visual image can always catch our eyes and guide our attention to a certain direction; on the other hand, you must walk into and through sounds. When you enter an environment, your body will subtly change the surrounding sounds, and those sounds will go through your body as well.” With this concept in mind, Wu has opened up a different dimension in discussing image, sound, soundscape and perception in contemporary aesthetics and culture.

2009年萌生製作《臺灣聲音地圖》的構想,以十年的時間足跡遍及臺灣各地,實地集錄聲音並整合Google Maps地圖定位功能,完整呈現聲音的內容在時空變化過程中的差異與現象。近年仍持續此計畫,透過聲音地圖及其映射,讓觀者在聲音體驗中思考自身與生活環境的關係。

In 2009, Wu conceived the idea of Taiwan SoundMap Project, and planned to spend a decade to visit numerous locations in Taiwan to record and collect sounds. The project has also been integrated with the positioning function of Google Maps to fully represent the variations and phenomena in audio content in the changing time and space. The artist has been working on this project; and through his sound maps and what they have reflected, audiences are encouraged to contemplate on the relationship between their lives and the living environment in the sound experience.

 
 
 
艾薩克.朱利安 Isaac Julien

1960年生於英國倫敦,畢業於倫敦中央聖馬丁藝術學院電影學士,並於布魯塞爾完成博士後研究。他雖出生於倫敦,但父母的根源卻是從聖盧西亞遷移至英國,含涉被殖民的歷史與移民遷徙的生命本源。他的作品大多關注身分及慾望議題,並受黑人剝削電影的類型手法啟發(如2003年所創作的《巴爾地摩》),以藉此質疑大眾文化中對種族的再現與建構方式。朱利安深受文化理論與社會學家斯圖爾特.霍爾(Stuart Hall)的影響,他的創作橫跨不同媒材,作品多以攝影、電影、錄像裝置等詩意化形式,詮釋階級、種族、性別和大眾文化語境下,關於全球化及人口移動的議題。最近朱利安甫獲大英帝國司令勳章(CBE)並選為皇家院士(RA)。

Isaac Julien CBE RA was born in 1960 in London, England, where he obtained his BA in Fine Art Film from Central St. Martin’s School of Art. He completed his post-graduate studies at Les Entrepreneurs de L’Audiovisuel Europeen (EAVE) in Brussels, Belgium. Julien was born in London, from parents who migrated from Saint Lucia in the Caribbean. His family background therefore reflects something of the history of colonization and diaspora. Much of his work focuses on questions of identity and desire. He has been inspired by blaxploitation movies (the installation Baltimore 2003) to question the construction of racial representation in popular culture. Julien has been particularly influenced by cultural theorist and sociologist, Stuart Hall. Julien’s works span various media, such as film, photography and video installation, and collectively reveal a poetic form that interpret the issues of globalization and migration in the context of class, race, sexuality, pop culture and cultural history. Recently, Isaac Julien has been awarded the title of Commander of the Order of the British Empire (CBE) and was elected a Royal Academician (RA).

艾薩克.朱利安的電影及影像裝置創作,獲致各方關注與獎項包括:1989年,他的電影處女作《尋找蘭斯頓》(Looking for Langston)回顧紐約黑人文化復興運動; 1991年,劇情電影《年輕的心,叛逆的心》(Young Soul Rebels)獲得坎城電影節「國際影評人周」最佳影片獎;2008年,英國導演德里克‧賈曼生平紀錄片《德里克》(Derek)獲柏林電影節泰迪熊特別獎;第34屆西雅圖國際電影節紀錄片獎,以及米蘭國際同性戀電影節最佳紀錄片獎;2001年入圍透納獎。

Julien’s film and video installations have won critical acclaim and multiple awards. In 1989, his debut work, Looking for Langston (1989) revisited the Harlem Renaissance in New York; his feature film Young Soul Rebels (1991), was awarded the Semaine de la Critique Prize at the Cannes Film Festival in 1991. In 2008, his documentary Derek, a filmic biography of British film director Derek Jarman, achieved several awards, including the Special Teddy Award in Berlin International Film Festival, and the Best Documentary in the Milan International Lesbian and Gay Film Festival. In 2001, Julien was nominated for the Turner Prize.

 

作品介紹 About the Artworks

204展間R204

許家維 HSU Chia-Wei

《飛行器、霜毛蝠、逝者證言》Drones, Frosted Bats and the Testimony of the Deceased

四頻道錄像裝置

3分40秒至8分40秒

2017年

Four-Channel Video Installation

3 min. 40sec.~ 8min. 40sec.

2017

 

《飛行器、霜毛蝠、逝者證言》是以海軍第六燃料廠新竹支廠遺址為背景,這間二戰時期的軍工廠,是透過臺灣總督府工業研究所的發酵工業部所研發的丁醇生產技術,以生產航空器所用的燃料,在戰火的摧殘下,廢棄的建築體上有無數彈痕見證了它的過去。在這件創作中,藝術家以空拍機的特殊視點穿梭其間拍攝,一方面空拍機做為裸露的攝影機具,另一方面也作為影片中的演員,以擬人化的方式呈現。除了空拍機所拍攝的畫面之外,還包括了不同的素材來源,其一是大煙囪內的霜毛蝠畫面,霜毛蝠主要分布於日本、韓國與中國大陸華北等高緯度地區,在不知名的原因之下,近幾年此北方物種每年五月至七月皆會到軍工廠的大煙囪裡產子,也成為臺灣唯一的霜毛蝠棲息地。其二則是二戰期間的轟炸機影像資料,當時美國與中國的盟軍轟炸臺灣,隨著政權轉移後,這段歷史也隨之被掩蓋。藝術家將飛行物的意象作為貫穿作品的元素,包括工廠作為生產飛機燃料的原始用途,以及空拍機、蝙蝠、轟炸機。

影片旁白源自於當時工廠員工的回憶錄,總共有十九篇口述旁白,由四位配音員以日文錄製,並透過電腦程式隨機播放。影像也同樣是程式自動從影像資料庫中挑選並即時剪接,每一次的播放都會產生不同的影片結構,就如同旁白中所提到的:「大部分的檔案,在投降前夕,就已經放進燃燒爐燒掉了。數量、日期、人物、事件、前後順序、因果關係,完全沒有依據,只剩下不可靠的模糊印象。」透過程式的隨機運算,呈現回憶的模糊不確定性,並藉以回應那段難以拼湊的歷史文本。

Drones, Frosted Bats and the Testimony of the Deceased is filmed at the abandoned site of Hsinchu Branch of the Sixth Japanese Naval Fuel Plant. During the World War II, the fuel plant was used to produce aviation fuel with butyl alcohol developed by the Department of Industrial Fermentation at the Industrial Research Institute. As a victim of the war, the deserted buildings reveal the stories of the past with the bullet holes on the walls as the eyewitness. The bullet holes on these deserted buildings reveal atrocities of war – scars evident of their pasts. Hsu utilizes the unique mobile perspectives of a drone, using it as exposed photographic equipment and casting it as an actor anthropomorphically in the video. Aside from the shots taken by the drone, this video also includes several different shots, for instance, a scene of frosted bats in a big chimney. Frosted bats are mostly found in the high latitudes of Japan, Korea, and North China. Yet, for unknown reasons, this northern species of frosted bats resides in the chimney of the military plant from May to July in recent years. The plant is the only place where the frosted bats can be found in Taiwan. Moreover, the video contains footages of bombers from World War II when United States allied with China to bomb Taiwan. However, this incident slowly faded as authorities shifted in the Asia-Pacific region. Hsu uses imageries of flying objects as essential elements of this video, including the original function of the fuel plant as an aviation fuel producer, drones, bats, and bombers.

 

The video narration originated from memoirs of factory employees at the time. Nineteen oral accounts dubbed by four voice actors in Japanese and the video archive manipulated by a computer program are arranged randomly on the playlist to constantly shift the structure of the video. As the narrator recounts: “After the War, most of the documents were incinerated. Quantity, date, people, accidents, sequence, cause and effects, evidence were all lost. Now, only the abstract and unreliable images remain.” Through the random calculations of the program, Hsu presents in this video the uncertainty of these memories and his response to the scattered historical text.

 

203 展間/R203

葉.芭塔娜 Yael Bartana 

《地獄》Inferno

單頻道錄像及聲音裝置/ 22 min/ 2013
One channel video and sound installation/ 22 min/ 2013

Courtesy of Petzel Gallery, New York; Annet Gelink Gallery, Amsterdam, and Sommer Contemporary Art, Tel Aviv
 

單頻道錄像裝置作品《地獄》,緣起於巴西新五旬節教會(巴西神國普世教會)於聖保羅(2012-2014)所創建的第三座所羅門聖殿,仿製了西元前957年耶路撒冷的第一座神殿,希望將聖地(Holy Land)的一部分帶至聖保羅,便花費三億美元利用自以色列進口的石頭砌建而成。然而,史實中耶路撒冷的第一座神殿毀於暴力破壞,《地獄》做為關涉當前社會現實與再現歷史的交錯,質問聖殿的建造是否已預示了悲劇還會重演?

作品中自聖保羅廣袤的城市景觀,映照著直升機載運象徵神聖的金飾物與燭台;男女老少穿著白色亞麻衣歡欣鼓舞地穿過城市街巷參與第三座所羅門聖殿的揭幕。然而祭司領導的聖殿儀式中,祭儀之火燎延四起,隨之而來的崩塌碎石,最終頹圮僅餘聖殿西牆的遺跡。斑剝的牆面與歷史湮痕的罅縫,成了寄語紙片的歸宿,穿著白色斗篷的信徒朝牆上齊聲祈禱;與現代商業化佈滿各地朝聖的遊客與紀念品,形成了在歷史語境下極大的反差。

此作混雜了不同的地點、歷史和信仰,聯繫起聖保羅與耶路撒冷間複雜的現實情況。芭塔娜運用一種「與歷史相關的預演」的方法論—混合了現實與虛構、歷史與預言,透過電影語言與電腦動畫的結合(2013年完成《地獄》時,巴西聖保羅的所羅門聖殿仍在建設中),呈現出具好萊塢史詩鉅片般的宗教儀典盛景。芭塔娜以其隱喻和象徵性的敘事,擴大質疑身份(宗教和國家)及其權力與神話的建構。

The starting point of this single channel video, Inferno, is the construction of the third Temple of Solomon in São Paulo by a Brazilian Neo-Pentecostal Church (Universal Church of the Kingdom of God). A replica of the first temple in Jerusalem built in 957 BC, this new temple originated as a wish to bring a part of the Holy Land to São Paulo and is built with stones imported from Israel that cost US$300 million. However, as historically documented, the first Temple of Solomon in Jerusalem was violently destroyed. Inferno interlaces present reality with historical representation, and questions if the construction of the temple foreshadows the return of tragedy?

In the artwork, the vast cityscape of São Paulo is juxtaposed with helicopters carrying sacred golden decorative objects and candlesticks. Men, women, and children dressed in white linen garments are joyfully parading through the city to take part in the unveiling of the third Temple of Solomon. Flames from the ceremony led by a priest in the temple begin to flare, which is followed by collapsing stones, ultimately leaving behind only the ruins of the west wall of the temple. The peeling wall and crevices on the historical remnants become home to pieces of paper written with wishes. Worshippers in white shawls pray collectively while facing the wall, forming a great historical contrast with the modern commercialization with heaps of souvenirs and the influx of tourists.

The artwork blends together different locations, histories, and faiths, linking together the complex reality between São Paulo and Jerusalem. Yael Bartana employs what she refers to as “historical pre enactment,” a methodology that commingles fact and fiction, prophesy and history, using a powerful cinematic language and computer animation to create a grandiose religious ceremony in the style of Hollywood epic saga (when Inferno (2013) was completed, the Temple of Solomon in São Paulo was still under construction). Creating a narrative with metaphors and symbolisms, Bartana makes extended critiques on identities (religion and nation) and the construction of power and myth.

 

202 展間/R202

 

約翰.亞康法 John Akomfrah

信仰之舉Auto Da Fé

雙頻道彩色HD錄像裝置/ 5.1音效/ 40 mins 30 secs/2010

Two channel HD colour video installation/ 5.1 sound/ 40 mins 30 secs/2010

作品: © Smoking Dogs Films; Courtesy Lisson Gallery

 

雙頻道錄像裝置作品《信仰之舉》,呈現了過去四百年間八次歷史性宗教迫害的遷徙記錄,展開了對殖民和後殖民經驗的探討,其中包括:1654年南歐系猶太人,自天主教國家巴西逃往巴貝多這段鮮為人知的歷史。片中出現多幕巴貝多陳年的墓地,隱默地藉著先人逝去的殘跡,飄零著歷史的遺緒,故事層層堆疊將觀者置於混沌時空之流與情感斷代的隔離感之中。

此作以大海意象作為貫穿,隱喻「海」承載多元化的生命與覆滅,其中在自然風光漸次消隱,轉瞬襲來的浪潮,揭示了難民所經歷的殘酷處境。透過敘事線性的回溯和對前人的追憶,亞康法讓我們得以凝視那引向對死亡、回憶和未知未來的深思。

這一作品靈感源自於後殖民文學先驅—巴貝多作家喬治·拉明(George Lamming)的文字,拉明描繪了二十世紀巴貝多庸常的生活圖景,揭示了移民者希冀擁抱美好未來,卻不得不面對艱難現實的失落處境。為此,亞康法特地在巴貝多拍攝作品,最終以景觀的無法辨識,反映了故事的普遍性,同時於時空交錯中帶出人類面對的種種矛盾。他說:「《信仰之舉》裡的主要概念就是想告訴人們,『你的確需要考慮到,那些選擇移民的人有時真的就只是為了能活下來。他們到這兒來是為了生活,因為其他地方生活都已經變得不可能。』而這樣的想法現在似乎被人遺忘了。」對於生存政治而言,難民在潮起潮落的歷史卷宗中,力圖解構宗主國或文化霸權,揭示受壓制被遮蔽的可悲現實,在充滿異質性的世界裡重構自己的文化身份。

The duo channel video installation, Auto Da Fé, connects a series of eight historical migrations due to religious persecution over the last 400 years, exploring colonialism and post-colonialism experience, starting with the little known 1654 fleeing of Sephardic Jews from Catholic Brazil to Barbados. Scenes of old graveyards in Barbados are shown repeatedly in the film, remnants of ancestors and imprints of history are quietly used to develop the story in layers, placing the audience in a hectic space-time and a sense of detachment with disconnected emotions. 

The sea is an imagery that runs throughout the film, serving as a symbol where different lives are nurtured and demolished. Waves that gradually recede into the natural landscape only to rush forward once again reveal the cruel conditions faced by refugees. Through a narrative that retraces and with recollections for the predecessors, John Akomfrah takes us to gaze at and ponder on death, memory, and uncertain future.

The work is inspired by the writings of George Lamming, who wrote about the quotidian nature of 20th century life in Barbados and migrants hopes for a better future, only to find harsher conditions when arriving elsewhere.”  Based on this, the work was filmed on location in Barbados, but the landscape is deliberately kept anonymous to reflect the universal nature of these stories, with the different ironies faced by people presented in the crisscrossing space-times. “Most of the ideas in Auto Da Fé were really about saying to people: ‘You really have to consider the option that people are migrating literally to survive. They come here to be able to live, because there isn’t an alternative anywhere else.’ And that seems to be an insight that has been lost,” said Akomfrah. As for survival politics, throughout the ups and downs of history, refugees have fought to deconstruct suzerainty or cultural hegemony, exposing the hidden tragic reality of oppression, as they seek to reconstruct their own cultural identities in a world full of heterogeneity. 

 

 

2F中樓梯/Central Stairway 2F

吳燦政 WU Tsan-Cheng

重新編碼Recode

聲音裝置

尺寸因空間而異

2018年

Sound Installation

Dimensions Variable

2018

 

《重新編碼》一作,試圖以感性的紋理,解譯建築本身在歷史過程中的聲音,包含建築的形成與其所建構出的意義,隨著時代變遷處於改變、交集或平行的世界,交織擴延多元史觀。經由建築本身的物質性,以現地空間運用窗、牆、地面的元素,區演不同斷代的時空聲音想像,思考身體與空間的聆聽姿態,再次編碼混合產生建築與歷史事件的聲音。

In Recode, through an approach informed with sensibility, the artist attempts to decode the sounds of the historical architecture, including the construction of the building and its meaning. In the vicissitude of time, the building has undergone changes, had encounters with the world, and at times, remained unaffected by the outside world. It represents a tapestry of interweaving, expanding and diverse historical perspectives. Placing an emphasis on the building’s materiality, Wu uses its windows, walls and floor to re-imagine the sounds of different time periods, and by doing so, reflects upon the body of listening posture in the space, recoding and regenerating the sounds of the historical building and events.

吳燦政將當代館建築空間中的窗、牆、地面,分別對應古蹟建築三個時代的聲音,以聲音喚起已然消逝的影像。一、日治時期的建成小學校:以鐘聲的意象微引校園裡瀰漫的各種聲音。二、臺灣戒嚴時期的市政廳:透過電話、空襲警報等各種聲響帶出社會政治的氛圍。三、台北當代藝術館的日常音景:撤展實錄、觀眾對話與不可能出現在博物館裡的跑步聲等。他將各種聲音置放於空間之中混合交融,使其與空間產生環境之連結才進行音聲採集,同時,也將相關歷史文本如蔣介石日記,經解譯後以摩斯密碼在空間中進行訊息傳遞,其敲打之輕快或沉重或急促,皆細膩的表現出符號表意的聲音情緒。

Wu matches the windows, walls and floor of the museum architecture to the sounds related to the museum space from three different times, conjuring up faded images with sounds. 1. Jian Cheng Elementary School (Kensei Shogakko) in the Japanese colonial period: the image of bell ringing hints at a spectrum of sounds that can be heard on campus; 2. Taipei City Government during the period of martial law: ringing phones and air-raid siren bring out the socio-political atmosphere of the time; 3. Daily soundscape at the MOCA, Taipei: sounds of exhibition de-installation, conversations between visitors and running footsteps, which are usually unlikely to be found in museums. The artist first placed all kinds of sounds in the space and mixed them together so that they created a connection to the space and environment before he collected the sounds. At the same time, he also adopted related historical texts, such as Chiang Kai-Shek’s diary, and converted them into Morse code to be broadcast in the space. The quick, heavy or rush tapping sounds subtly express the emotions in the sounds as if they were signifiers and symbols.

透過耳機聆賞進入聲音與音景的時空斷代,體驗知覺系統如何細微地創造出空間性與時間性的錯置,使聽賞者陷入錯覺與幻像,彷彿聲音引帶的空間令人無法辨認方位—方才聽見背後叫喚的聲音,回頭卻無人蹤影。誠如近代科學家實驗結果之一的龐氏錯覺(Ponzo illusion),舉證了知覺系統會自動補全或填入不存在的訊息。聲音的回饋在真實與虛幻之間模糊了既有的認知,也隱喻了訊息編碼與解碼的符號、結構與霸權的反思。吳燦政:「聲音:一種注定要消逝在空氣中的事件。…聲音俱有一種隱性潛伏流動的力量,它能激發/構成空間與事件,也是個人內心生活與情感以及世界的思維和意識的基本組成部份。抵抗遺忘—透過聆聽,喚起記憶的碎片並再一次的重組它。深刻的平庸—傾聽生活所在之處,平凡的生活聲景,層疊另一種未來考古學」。

Putting on the headphones, audiences will enter a different space and time of sounds and soundscapes, and have an opportunity to experience how the perceptive system implicitly and anachronistically weaves temporality and spatiality together. This puts listeners into a world of illusions, as the space constructed with sounds is indeed dis-orienting—one might have just heard a voice calling at the back, but when you turn around, there is no one there. A similar example will be the Ponzo illusion confirmed by the experiments of modern scientists, who have proven that the perceptive system will automatically complete or fill in unreal messages. In between the real and the unreal, the sounds blur existing cognition and can be viewed as coded messages, decoded symbols, structures as well as the artist’s reflection on hegemony. According to the artist, “Sound is an event that is destined to fade away in the air…. Sound possesses a certain implicit, hidden, fluid power that can initiate/construct spaces and events; it is a fundamental element for an individual’s inner world, feelings, the awareness of this world and human consciousness. To resist oblivion, one can retrieve the fragments of memory through listening and reconstruct the memory. The profound ordinariness means to listen to the surroundings in life and the soundscape of daily life so that one can conduct an alternative archaeology of the future.”

 

201展間/R201
艾薩克.朱利安 Isaac Julien
萬重浪Ten Thousand Waves
作品 Courtesy Isaac Julien, Victoria Miro, London, and Metro Pictures, New York
 

《萬重浪》的創作靈感,源自於2004年發生在英國莫克姆灣,20餘名中國籍海貝採集工人集體遇難的事件。藝術家將此真實事件與虛構的情節,結合中國歷史與神話,涵構出幻想與紀錄並置浮想連翩的故事。其中象徵護佑漁民海上安全的神祇媽祖(由張曼玉演出),與啟發於三十年代默片電影《神女》中為求生存的女性角色(由趙濤演出);中國詩人王屏受朱利安委託作詩並朗誦《紙船(Small Boats)》做為回應莫克姆灣事件—。同時穿插其中的:鞏法根的書法、國際租界時代的上海,毛澤東的紅色中國等東方意象援引,在神話寓言式的詩意敘事中,演繹中國人口政治遷徙的動因,並對應了朱利安藉由影像創作描摹自身的溯源。

Ten Thousand Waves was inspired by an incident that took place in Morecambe Bay in 2004, in which more than twenty Chinese cockleshell pickers were killed. Mixing this real event with fictional plots and incorporating Chinese history and mythology into the work, Julien has created an imaginary story utilizing both fantasy and documentary elements. In this work, audiences will see goddess of fishermen, Mazu (portrayed by Maggie Cheung), and a woman character (portrayed by Zhao Tao) struggling to survive in the 1930s, inspired by the silent film The Goddess. Chinese poet Wang Ping, reads her poem “Small Boats” commissioned by Isaac Julien as a response to the Morecambe Bay tragedy. Audiences will also see other Eastern references in this work, such as Gong Fagen’s calligraphy, the city of Shanghai in the period of the International Settlement, and the red China from Mao Zedong’s time. The mythological, allegorical and poetic visual narrative is also an interpretation of the momentum behind the changes of China’s population and politics, and in a way, a reflection of the artist’s investigation of his personal history through images and cinema.

如聖盧西亞詩人及劇作家德里克.沃爾科特所述:「海洋即歷史,海洋是神秘的,也是無情的。」藝術家表示:「多位來自中國福建的勞工在這場事故中被大海奪去生命—在黑人文化中,海對於我和我的祖先也有重要的意義,無數黑奴在旅途中葬身大海。人們看待海洋似乎總帶有一種迷信的成分。這背後蘊含的關於海洋的歷史和神話在我心裡產生了極大共鳴。」透過九頻道錄像裝置以環繞式的形式,將場景湮沒於虛幻,刻意編排了讓觀眾行走於作品空間內,各種順序分割的影片同步播放,觀者被引至各個方向,其身臨其境的體驗無以迴避,使得與觀眾的對話產生了更好的互動。

As Saint Lucian poet and playwright Derek Walcott has stated, “The sea is history; it is mysterious as well as merciless”. According to Julien, “many workers from the Fujian Province in China were drowned in this incident. In black culture, the sea also has a significant meaning because countless black slaves died in the sea during their voyage from Africa to the New World. This history and the mythology about the sea has great resonance for me.” Through this immersive nine-screen video installation, audiences will find themselves placed within an illusory setting. The artist intentionally choreographs audiences’ route in the installation space. Through the various segmented but synchronized screens, audiences are guided in different directions and will find themselves in an unavoidable, immersive experience that enables interaction and dialogue with the artwork.

此實驗性敘事作品,體現個人歷程到人類所身處的全球境況,朱利安巧妙地運用詩歌與神話的意象,連結中國福建地區的風俗,以及在不同時空下傳統與現代的價值理念的碰撞。透過藝術家的觀察,輻射出多重的視域景觀,不僅暗喻中國現代性發展下,為追求生存造成的資本與人口移動;也象徵破除典型歐洲中心論,以時下世界權力結構轉向東方呼應當代。

The experimental filmic narrative encompasses both personal journeys and global human condition. Cleverly employing poetic and mythological imagery as well as the regional custom of China’s Fujian Province, the artist accentuates the collisions of traditional and modern values and ideals. Through Julien’s observation, the work radiates multilayered viewpoints, which not only hint at the Chinese diaspora’s struggle to survive under the impact of modernity, but also destabilises the typical Eurocentric view by revealing the global power shift to the East that has taken place in the contemporary era.

 

 

相關教育活動 Educational Programs

創作座談

 
日 期|2018/03/03(六)
 
Part I移工、怨女、孤人:電影與當代藝術的交會
時 間|10:30-12:00
藝術家|艾薩克.朱利安Isaac Julien
與 談|黃香凝 (策展人)
 
PartII此曾在:影像考古的回憶與復憶
時 間|13:30-15:00
藝術家|許家維 
與 談|王聖閎 (藝評人、國立臺北藝術大學美術學系兼任講師)
 
PartIII《美術館的呢喃:談聲音如何影像化?》
時 間|15:30-17:00
藝術家|吳燦政 
與 談|史旻玠 (聲音研究者、音樂創作者)
 
 


講座

《影像敘事-從靈光消逝到數位時代》
 
時間|2018/03/10(六)14:00-16:00
講者|林志明 (影像研究者、國立臺北教育大學藝術與造型設計學系教授)
   周慶輝 (藝術家)
 
 
照像與造像:瞬間的真實如何可能
 
時間|2018/04/14(六)14:00-16:00
講者|郭力昕 (影像文化評論者、國立政治大學廣播電視學系教授)
   張世倫 (藝評人、影像文化研究者)
 
 

 
 
02/25(日)14:00-15:00 陳昌仁 (策展人)  *「晃|影-史帝夫‧麥柯里個展」專場
 
03/04(日)14:00-15:00 黃香凝 (策展人)  *「影像的謀反」專場
 
03/25(日)14:00-15:30 曹良賓 (影像創作者、Lightbox攝影圖書室發起人)
                                      黃祥昀 (荷蘭萊頓大學媒體研究所碩士)
 
04/15(日)14:00-15:30 小 野 (作家、台北市文化基金會董事長、臺北市影視音實驗教育機構校長)
          *原訂4/15(日)14:00-15:30由小野先生主講之專家導覽,
           講者因故無法出席,將改由本館展覽組研究員張數滿主講。
 
 


【好玩藝教室】

 
時 間|2018/03/17-03/24,每週六14:00-17:00,共二週
藝術家|Feya(高菁穗)
費 用|1,650元(含材料費)
 
 
時 間|2018/03/11-04/29,每週日10:00-12:30,共七週
(04/08兒童節暨清明節連假,停課一次,課程已安排順延!)
藝術家|提姆 (Tim Budden)
費 用|4,250元 (含材料費)
注意事項│本課程為中英雙語教學
 
 

兒童專區

 「影像的謀反」兒童教育專區
 
【兒童語音導覽】*適合年齡:5-12歲。歡迎至當代館一樓服務台借用或掃描展間QR code。
 
為強化美感、深耕藝術教育,於原有的教育設施導賞服務中,開發兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。
 
※ 歡迎點選: 聆聽兒童語音導覽
 

 

【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。

以寓教於樂的方式,配合每檔主題展覽,提供更進一步的問題、小知識、簡易手做,讓大小觀眾一同學習展覽,增添學習趣味。

※ 歡迎下載取用:

 
 
【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。
 
可拆解成上下半截,上半段的彩色地圖,提供小朋友進展間尋找藝術作品;下半段的文字問題,提供大朋友簡易版的問題,引導小朋友觀看作品的一種方式。
 
※ 歡迎下載取用:
 

 

【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。

為推動本館教育推廣之功能,讓藝術向下扎根,「U12-小玩藝教室」,憑門票開放親子入場共同體驗藝術之美。除了規劃年度主題,設計與兒童互動及遊戲的裝置之外,亦配合每檔展覽,規劃不同媒材的手作課程,希冀藉由藝教於樂的方式,激發兒童的藝術想像力與創造力。

http://www.mocataipei.org.tw/index.php/2012-01-12-05-25-27/moca-u12