2023年12月22日星期五

一位來自金三角的演員 The Actor from Golden Triangle

一位來自金三角的演員 The Actor from Golden Triangle

虛擬實境 、鏡面裝置、雙頻道錄像裝置
Virtual reality, mirror installation, Two-channel installation. 9'53". 2023

《一位來自金三角的演員》聚焦於金三角地區的歷史、神話和當代地緣政治,藝術家從傳統泰北民族中的罌粟花傳說延伸到COVID-19期間邊境山區罌粟田的再度擴張,融合說唱和泰國傳統蘭納表演,交織出此一敘事並透過虛擬實境呈現。

藝術家邀請了泰國演員Oak Keerati參與此新作。Oak曾參演《湄公河行動》和《泰國洞穴救援》,兩者皆講述了在泰北地區所發生的事件。在VR裝置中,Oak的虛擬形象身穿動作捕捉服,化身成他曾演過的角色,甚至化身為賭場老板,反映了湄公河周邊新興的經濟特區。他同時也是鴉片之家(House of Opium)的經營者,藝術家在鴉片之家中選定其中一個展間和一些與鴉片相關的文物進行3D掃描。同時,Lanna Youth Conservation Team (ทีมงานเยาวชนรักษ์ศิลป์ล้านนา)也應邀在航行於湄公河的船上進行傳統的打擊演出,鼓聲與說唱融為一體,影片中出現在森林裡的神秘生物「Toh」則反映佛教傳說中的喜瑪潘(Himmapan or Himavanta)森林。


此作品以虛擬實境(VR)和錄像裝置呈現。VR裝置需要兩人一組一起佩戴,提供觀眾沉浸式的共享體驗,兩位VR體驗者的虛擬形象將隨著Oak的外貌而變,而體驗者本身也成為其他觀眾眼中作品的一部分。藝術家在這個VR作品中匯聚了與泰北相關的多樣元素,連結了傳統與現代、神話與歷史的範疇,突顯了邊境山區如何轉變為一個複雜的數位經濟區,且具有地緣政治和數位時代相互交織的「開放世界」雙重涵義。

This work focuses on the history, myths, and contemporary geopolitics of the Golden Triangle. It weaves a narrative that traverses from the poppy folklore in traditional northern Thai tribes to the recent proliferation of poppy fields in the border mountainous regions during the COVID-19 pandemic. The artist presents this theme through VR, blending rap and traditional Thai performances.


The artist extended the invitation to the Thai actor Oak Keerati. Oak Keerati appeared in the films "Operation Mekong" and "Thai Cave Rescue", both about the happenings in Northern Thailand. In the VR installation, Oak's avatar is in a motion capture suit, transforming into these film characters and even into a casino owner, reflecting the Special Economic Zone emerging around the Mekong River. He and his mother also run the House of Opium contributed 3D-scanned space and opium-related artefacts within the work. The Lanna Arts Conservation Youth Team is also invited to perform traditional drumming on the boat sailing the Mekong River, with the drumbeat merging with the rap compositions, and in the forest as a mythical creature, Toh, reflecting the Buddhist legend of the Himavanta forest.


This work is presented in both VR and video installation. The VR device must be worn in pairs, offering a shared immersive experience with a changing avatar that changes their appearance in the same way as Oak does. Those who wear VR also become part of the work in the eyes of other viewers. The artist brings together these multifaceted elements tied to Northern Thailand in this VR work, bridging the realms of tradition and modernity, myth and history, highlighting the frontier mountainous region transforms into a sophisticated digital economy zone with the dual connotations of an 'open world' of intertwined geopolitics and the digital age.








2022年12月21日星期三

土的工藝 Earthcraft

土的工藝 Earthcraft

VR、單頻道錄像 single-channel video、磁磚裝置 tile installation
VR: 14'43"、單頻道錄像 single-channel video: 9'30",2022

本作品由愛知三年展委託製作,獲文化部補助
Commissioned by the Aichi Triennale and granted by the Ministry of Culture

Earthcraft is a theme based on the geology of Tokoname, Aichi Prefecture, and the history of the local ceramic industry, presenting the symbiosis between humans and the land. The video part of this work is presented through virtual reality (VR), filmed and produced in the game 'Minecraft'. They build scenarios such as the Aichi landscape, tiles from around the world and toilets, an international airport on a man-made island, the famous local kiln, the old Imperial Hotel and the Guggenheim Museum. The film's voice-over is Miss google, who takes us through these scenes across time and space in her role as a game guide.

The installation is a collaboration with the INAX Live Museum (LIXIL Corporation) in Tokoname to produce the retro tiles referring to the second generation of the Imperial Hotel completed in 1923, and the entire installation is made up of these tiles stacked like cubes in a Minecraft game. The audience can sit in the giant tile installation and watch the VR video while being part of the installation itself. This work combines earth skills and digital technology to depict a geological and technological history through a world on the digital cloud.

《土的工藝》以愛知縣常滑市的地質,以及當地陶瓷產業的歷史為主軸,呈現人類與土地共生的主題。此作品的影像部分是透過VR虛擬實境呈現,是透過在遊戲「Minecraft」中拍攝製作而成,透過與專業玩家社群的合作,他們在遊戲中搭建愛知縣地貌、來自世界各地的磁磚與馬桶、在人造島上的國際機場、當地知名的登窯、舊帝國酒店與古根漢美術館等場景。影片的旁白是由google小姐配音,她以遊戲導覽員的身份,帶領我們穿越在這些跨越不同時空的場景。

作品的裝置部分是與常滑市的INAX Live Museum(LIXIL Corporation)合作,復刻1923年完工的第二代帝國酒店當初的磁磚,整個裝置由這些磁磚組成,並如同Minecraft遊戲中的立方體一樣堆積而成。觀眾可以坐在巨大的磁磚裝置觀看VR虛擬實境影片,同時觀眾自身也成為了裝置的一部分。這件作品結合了土的技術以及數位的技術,透過在數位雲端上的世界,描述一段地質與技術交錯的歷史。













2022年9月8日星期四

電子流動 Electronic-mobility

電子流動 Electronic-mobility

三頻道錄像裝置 three-channel video installation、真空管收音機 valve radio,2’57”,2022

In Electronic-mobility, Hsu Chia-Wei dives into the technical history of electronic products, starting with the valve radio produced by Panasonic in Taiwan in the 1950s and 60s to the new battery technology of today. This context demonstrates a shift from the analogue to the digital era. In this project, the artist collaborates with XING Mobility to film the production process of the battery and the electric car under the code name “Miss R.” He also invites a rapper to make the technical principles of making valve radio and electric car battery into a rap song. As the speed of the electric F1 race car accelerates, the rapper also switches gears and increases the tempo and pace of speech.

The sound in Electronic-mobility is broadcasted through a vacuum tube radio produced by Panasonic in the 60s, and the video is shown on an LED screen. The overall power required to play the work is from the battery manufactured by XING Mobility. Consequently, the technology of the vacuum tube and the contemporary semiconductor and battery technologies are amalgamated in this installation, whereas the way of electrons flow shows this particular technical history and its future possibility.


此作品以電子產品背後的技術歷史為主軸,從台灣松下公司在1950、60年代所生產的真空管收音機到今日嶄新的電池科技,這個脈絡也展現了類比到數位時代的轉變。在這個計畫中,藝術家與行競科技合作,拍攝電池製作的生產流程,以及代號MissR的電動車。並邀請饒舌歌手,將真空管收音機以及電動車電池的技術原理編寫成一首饒舌歌曲。隨著電動F1賽車的加速,饒舌也不斷換擋,節奏、語速越來越快。

這件作品的聲音是透過60年代台灣松下所生產的真空管收音機播放,而影像呈現在液晶螢幕上,整體所需的電力則是來自於行競科技的電池。真空管時代的技術與當代半導體及電池技術,兩者在這裝置中交融,其電子流動的方式展現了這段技術的歷史與其未來的可能性。







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。