Raw / 謝春德 Hsieh Chuen-Te by ARTDOOR

Le Festin de Chun-te Collateral Event of the Biennale Arte 2011 | HSIEH CHUN-TE

Table of Contents| 目次

04-08

Forewords | 序

121-184

Works | 作品

09-12

Artist’s Statement | 創作自述

185-191

Essay | 專文

13-40

Raw Materials | 食生

41-56

Essay | 專文 Danièle Hibon

Across an Island La traversata di un’isola La Traversée d’une île 穿行島嶼

Copyright ⓒ 2011 by A-TE-A CULTURAL CREATIVE ENTERPRISE LTD. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by an means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher. First published in Taiwan, R.O.C. in 2011 by A-TE-A CULTURAL CREATIVE ENTERPRISE LTD. B1., NO.262, Dunhua. N. Rd., Songshan Dist., Taipei City 10542, TAIWAN, R.O.C. Printed and Bound in Taiwan, R.O.C. in 2011 by CRONY PRINTING CO., LTD. ISBN: 978-986-87243-0-3 Price： 35 €

57-80 81-120

Cooking Theater | 飲食劇場 Essays | 專文 Chi-Ming Lin / 林志明

The Flux of Desire Il flusso del desiderio 慾望的流體

Dominique Païni

The Playful Cruelty of Hsieh Chun-te L’allegra crudeltà di Hsieh Chun-te La cruauté enjouée de Hsieh Chun-te 謝春德的歡愉殘酷

Monique Sicard

The Feast of Chun-te Le festin de Chun-te 春德的饗宴

192-196

Timeline | 年表

197-207

Curriculum Vitae | 簡歷

208-211

List of Figures | 圖次

212-215

List of Plates| 作品圖版

218-219

Behind the Scenes | 工作照

Table of Contents| 目次

04-08

Forewords | 序

121-184

Works | 作品

09-12

Artist’s Statement | 創作自述

185-191

Essay | 專文

13-40

Raw Materials | 食生

41-56

Essay | 專文 Danièle Hibon

Across an Island La traversata di un’isola La Traversée d’une île 穿行島嶼

57-80 81-120

Cooking Theater | 飲食劇場 Essays | 專文 Chi-Ming Lin / 林志明

The Flux of Desire Il flusso del desiderio 慾望的流體

Dominique Païni

The Playful Cruelty of Hsieh Chun-te L’allegra crudeltà di Hsieh Chun-te La cruauté enjouée de Hsieh Chun-te 謝春德的歡愉殘酷

Monique Sicard

The Feast of Chun-te Le festin de Chun-te 春德的饗宴

192-196

Timeline | 年表

197-207

Curriculum Vitae | 簡歷

208-211

List of Figures | 圖次

212-215

List of Plates| 作品圖版

218-219

Behind the Scenes | 工作照

Forewords | 序

Boasting over a century of history, the Venice Biennale is renowned as one of the world’s three greatest art

威尼斯雙年展是一項具有上百年歷史的藝術節，與德國卡賽爾文獻展及

festivals, along with the Documenta of Kassel, Germany and the Sao Paolo Biennial of Brazil. But it is the

巴西聖保羅雙年展並稱為世界三大藝術節，尤其最悠久的威尼斯雙年展

Venice Biennale, with its incomparably long tradition, that enjoys a special reputation as the grand festival of

是被譽為藝術界的嘉年華會。

the art world. The Venice Biennale was first held in 1895, and Taiwan first took part in 1995. As the Taiwan Pavilion joined the ranks of the national pavilions for the 46th Biennale, it became a major international venue for promoting Taiwanese art. At the beginning of this year, through the introduction of Mr. Hsu Po-Yun, I first met the Taiwanese cross-disciplinary artist Hsieh Chun-te and Dominique Païni, former director of the Cinémathèque française, and was extremely delighted to learn that Mr. Hsieh would take part in the Biennale Arte 2011

首屆威尼斯雙年展在 1895 年開幕，台灣於 1995 年首次以台灣館參加第 46 屆國家館展出，成為宣揚台灣藝術的重要國際展場。今年年初台灣跨界藝術家謝春德先生與法國電影館前館長多明尼克．巴依尼（Dominique Païni）等一行透過許博允先生介紹與本人見面，得知謝先生透過當代館館長石瑞仁推介參與此次第 54 屆威尼斯雙年展，令人十分振奮。

through the support of the Museum of Contemporary Art Taipei. 謝春德先生為台灣現代攝影的先驅，曾擔任雜誌攝影主編、攝影老師， Hsieh Chun-te is a pioneer of modern Taiwanese photography. He has served as editor-in-chief of a

也是 MTV 和廣告片的導演，此外，他也涉足平面設計、服裝造型、舞台、

photography magazine, a photography instructor, and a director of music videos and commercial films.

電影等，甚至開設藝術餐廳，堪稱是一位多元藝術家。今年他將以「春

He has worked in graphic design, fashion design, stage and cinema, and has even opened an art restaurant,

德的盛宴」為主題在威尼斯雙年展舉辦個展，並由法國電影館前館長多

earning a name as a broadly versatile artist. This year he will hold a solo exhibition titled Le Festin de Chun-

明尼克．巴依尼擔任策展人，巴依尼館長表示他是以藝術親善大使身份

te at the Biennale Arte 2011, with former director of the Cinémathèque française Dominique Païni serving

協助謝先生，也希望讓全世界能夠對台灣藝術有進一步的認識。可見謝

as curator. Mr. Païni notes that he is assisting Mr. Hsieh in the capacity of a goodwill ambassador of art, and

先生的作品在歐洲深獲肯定與迴響。

that he hopes the whole world will be able to gain a greater understanding of Taiwanese art. It is clear that the art of Hsieh Chun-te has received a very appreciative response in Europe. In his solo exhibition Le Festin de Chun-te, Mr. Hsieh brings together two-dimensional photographic art and interactive performance, presenting a “cooking theater” that allows visitors to experience Taiwanese culinary culture through vision and indeed all the senses. The exhibition also aims to express local Taiwanese culture

「春德的盛宴」是謝先生的創作展覽，他將結合平面攝影作品與互動藝術表演，讓台灣飲食文化透過視覺與感官，給觀眾體驗一場飲食劇場。也希望藉由影像呈現台灣在地的文化景致，細膩地探索台灣人堅毅的內在心靈，彰顯台灣人「敬天愛地、尊重自然」的一貫精神。

in images, exploring in a refined manner the resolute soul of the Taiwanese people, and manifesting the long台灣是一海島，由於特殊的歷史背景，文化多元而豐富，除了保存傳統

standing spirit of “love for the earth and respect for nature.”

中華文化及原住民文化，也結合荷蘭、西班牙、日本等異國文化，像是 Taiwan is an island in the sea. Because of its unique historical background, it hosts a culture of rich diversity,

一個文化大熔爐，這正是孕育文化創意產業的溫床。

not only preserving traditional Chinese culture and indigenous culture, but also integrating influences from such lands as the Netherlands, Spain and Japan. Such a stimulating context makes for a greenhouse in which

文化是一國「軟實力」的展現，文化創意產業更是第四波經濟動力。我

cultural and creative industry may be nurtured.

非常關心台灣文創產業的發展，上任後積極推動相關政策及法令的制訂，亟盼讓具有台灣特色之中華文化得以走向國際，蔚為風尚。

Culture is the “soft power” through which a country makes its presence known. The cultural and creative industries are the driving force for the fourth wave of economic growth. The development of Taiwan’s cultural and creative industries is one of my great concerns, and our current administration has actively worked to promote policies and legislation to facilitate it, with the earnest hope of allowing Taiwan’s distinctive culture to march proudly in the international arena.

今年適逢中華民國建國一百年，所有慶祝活動皆以藝術文化為主軸，希望藉由謝先生在威尼斯雙年展的「春德的盛宴」個展，傳遞我國百年風華，讓全世界看到台灣的藝術之美，也歡迎國際人士來到台灣，參與這百年難得的文化藝術饗宴。最後預祝展覽順利圓滿。

This year we commemorate the centennial of the Republic of China on Taiwan, and our celebrations all focus on art and culture. Through the solo exhibition Le Festin de Chun-te, we hope to convey the splendor of the ROC in its 100th year, allowing the whole world to see the beauty of Taiwanese art. We warmly invite all our friends throughout the world to join with us in this rare festivity of the arts. Finally, I wish to extend in advance my congratulations to this exhibition for its successful unveiling.

中華民國副總統蕭萬長

Vincent C. SIEW Vice President of Republic of China (Taiwan) 5

Forewords | 序

Boasting over a century of history, the Venice Biennale is renowned as one of the world’s three greatest art

威尼斯雙年展是一項具有上百年歷史的藝術節，與德國卡賽爾文獻展及

festivals, along with the Documenta of Kassel, Germany and the Sao Paolo Biennial of Brazil. But it is the

巴西聖保羅雙年展並稱為世界三大藝術節，尤其最悠久的威尼斯雙年展

Venice Biennale, with its incomparably long tradition, that enjoys a special reputation as the grand festival of

是被譽為藝術界的嘉年華會。

也是 MTV 和廣告片的導演，此外，他也涉足平面設計、服裝造型、舞台、

photography magazine, a photography instructor, and a director of music videos and commercial films.

電影等，甚至開設藝術餐廳，堪稱是一位多元藝術家。今年他將以「春

He has worked in graphic design, fashion design, stage and cinema, and has even opened an art restaurant,

德的盛宴」為主題在威尼斯雙年展舉辦個展，並由法國電影館前館長多

earning a name as a broadly versatile artist. This year he will hold a solo exhibition titled Le Festin de Chun-

明尼克．巴依尼擔任策展人，巴依尼館長表示他是以藝術親善大使身份

te at the Biennale Arte 2011, with former director of the Cinémathèque française Dominique Païni serving

協助謝先生，也希望讓全世界能夠對台灣藝術有進一步的認識。可見謝

as curator. Mr. Païni notes that he is assisting Mr. Hsieh in the capacity of a goodwill ambassador of art, and

先生的作品在歐洲深獲肯定與迴響。

standing spirit of “love for the earth and respect for nature.”

一個文化大熔爐，這正是孕育文化創意產業的溫床。

文化是一國「軟實力」的展現，文化創意產業更是第四波經濟動力。我

cultural and creative industry may be nurtured.

非常關心台灣文創產業的發展，上任後積極推動相關政策及法令的制訂，亟盼讓具有台灣特色之中華文化得以走向國際，蔚為風尚。

中華民國副總統蕭萬長

Vincent C. SIEW Vice President of Republic of China (Taiwan) 5

Hsieh Chun-te, an artist who for a half century has been an active participant in the history of Taiwanese

攝影家謝春德先生，一位已參與台灣半世紀攝影史的藝術家，依然保有

Hsieh Chun-te is an outstanding Taiwanese artist with tentacles extending into numerous fields, who brims

photography, had his first solo exhibition in 1969 and to this day retains the same burgeoning creative passion

1969 年初次個展，那種精力旺盛的創作熱情與動力。此次展覽不僅呈現

with energy and vitality. His work encompasses photojournalism, documentary photography, commercial

他的作品橫跨了報導紀實、商業及時尚攝影，更涵蓋了設計、詩、電影、

and drive. This exhibition not only presents Raw, a series of photographs produced over the course of 20

他超過 20 年製作時間的長期攝影計畫—Raw 《生》系列，更別具巧思的

and fashion photography, design, poetry, film, stage and cuisine, demonstrating multifaceted talent and a

舞台、美食等領域，展現多方的實踐熱情與創作才能。此次能由台北當

years, but also unveils the inspired concept of a “cooking theater,” manifesting the richness and refinement

推出「飲食劇場」概念，以行動和儀式表演的方式，呈現台灣飲食文化

roaming passion for practical endeavor. Now, through the commendation of the Museum of Contemporary

of Taiwanese food culture through action and ritual performance. He walks at the cutting edge of digital art,

Art Taipei, he introduces Le Festin de Chun-te as a collateral exhibition of the 54th Venice Biennale,

代藝術館推薦，以「春德的盛宴」展名參加第 54 屆威尼斯雙年展平行展，

豐富而細緻的內涵。他已走在數位藝術的前端，同時也表現出台灣料理

while also conveying the creative ingenuity of Taiwanese cuisine.

的創意巧思。

The process through which Hsieh Chun-te captures his images is arduous and time-consuming. In a restless search for the most fitting subject matter, his footprints have covered the whole of Taiwan. Sparing no time or effort, he achieves his staged photography the way a director creates a film, focusing with incomparable

meticulously presenting his series of photographic works Raw and his quite forward-looking concept of a “cooking theater,” transcending predetermined impressions of what an exhibition can be. MOCA Taipei and

謝春德的攝影往往耗時，且漫長的經營過程，為了尋找適當的題材，翻山越嶺，足跡遍及台灣各地，以宛若拍攝影片般的方式編導與攝影

the curatorial team have cooperated in the painstaking and professional planning of this exhibition, opening up a precious road to Venice for Taiwan’s artists and arts groups.

謝春德是一位觸角遍及諸多領域、充滿能量與活力的台灣優秀藝術家。

精心呈現他的攝影作品《生》系列及頗具前瞻性的「飲食劇場」概念，突破現有的展覽印象。當代館與「春德的盛宴」策展團隊此次縝密而專業的合作規劃，為台灣藝術家與創作團隊開闢前進威尼斯的可貴道路。威尼斯是一座深具歷史文化厚度的水城，因地理位置特殊，再加上市內

mental effort and insistence on the smallest details of any given image. Having started out in conventional

（Staged photography），不惜任何時間成本，以無比的心力與堅持，錙

Venice, this city on the water with its bountiful history and culture, has quite limited land to develop and

多為建築古蹟等重要資產，可開發運用的土地有限。「春德的盛宴」覓

photography, he has now become involved in the application and study of digital photographic techniques,

銖必較於任何影像的細節。從傳統攝影的形式出發，到現在投入數位影

utilize, due to its special geographical position and the city’s numerous historical buildings and important

得地點相當優異、內部規劃完善的展覽場地，日後若能與之開啟長期合

tirelessly revising his works in the pursuit of perfection.

像技術的處理與研究，他總是不厭其煩地修改作品。

cultural assets. Le Festin de Chun-te has been able to find a home in an exhibition venue with an exceptional

作的可能，成為另一個台灣藝術家在威尼斯得以曝光的固定空間，實為

location and faultless interior layout. If in the future it is possible to establish a long-term cooperative

當代藝術之福。

Le Festin de Chun-te, a collateral exhibition of the Biennale Arte 2011 co-curated by Professor Chi-ming

此次參與第 54 屆威尼斯美術雙年展平行展「春德的盛宴」，由台灣影

relationship here, allowing the site to become another regularly scheduled space for the exposure of

Lin, a scholar of Taiwanese image art, and Dominique Païni, former director of the Cinémathèque française,

像藝術學者林志明教授與法國電影館前館長多明尼克 ‧ 巴依尼教授

Taiwanese artists in Venice, this would truly prove a blessing for contemporary art.

此次「春德的盛宴」延請國際重量級策展人，法國前電影館長多明尼克 ‧

presents 21 works by the artist observing marginal areas of Taipei such as Sanchong, Lujhou and Wugu.

（Dominique Païni）共同策展，21 件作品源自藝術家對台北周邊三重、蘆

Its innovative “cooking theater” is a repeated ritual of process and detail, through sensory experience,

洲、五股等地的觀察，展覽將以「飲食劇場」的方式，透過感官體驗、

For Le Festin de Chun-te we have invited the prominent international curator Dominique Païni, former

展，其重要意義是能以如此高的學術規格，縝密呈現台灣藝術家的創作

performance, cooking, food presentation and dining. This is the most complete expression of Hsieh Chun-

表演形式、烹飪擺盤到用餐等，反覆儀式性的每個程序和細節，是謝春

director of the Cinémathèque française, and well-known photography scholar Chi-ming Lin to collaborate

思維，「春德的盛宴」，能在威尼斯這等重要的國際舞台上，為台灣當

te’s long years of art since beginning his photograph series Raw in 1987. On the eve of its opening, I wish Le Festin de Chun-te the greatest success!

德《生》系列 1987 年開始拍攝以來，長年藝術創作的完整呈現。

as co-curators. The great significance of this is, through such high scholarly standards, to be able to meticulously express the creative ideas of an artist of Taiwan, enabling Le Festin de Chun-te to strive for greater visibility on behalf of Taiwanese contemporary art on an international stage of the caliber of Venice.

時值展覽前夕，謹此為序，並祝展覽成功！

Such gourmandic action art, breaking beyond the static form of an exhibition and incorporating the most definitive impressions of Taiwanese cuisine, transcends many limitations of art and performance.

巴依尼教授（Dominique Païni），與台灣知名影像學者林志明教授共同策

代藝術爭取更多能見度。這種突破展覽靜態形式，結合最具台灣美食印象的用餐行動藝術，突破諸多的藝術表現型式的限制。我們深慶台北市在本屆威尼斯雙年展除了北美館策劃的台灣館之外，另有一場重量級的展覽呈現台灣當代藝術的另一種風貌，本人也期待未來

We are exceedingly happy to see that at this year’s Venice Biennale, in addition to the Taiwan Pavilion

台北市文化局能擔負更多責任，在城市交流的基礎上，為本地藝術創作

organized by the Taipei Fine Arts Museum, Taipei City has another major exhibition presenting a different

爭取更多發聲的機會與權益，讓世界看見台灣藝術，讓威尼斯這座美麗

expression of Taiwanese contemporary art. I personally look forward in the future to seeing the Taipei

水城，成為更多台灣藝術家得以發光發熱的夢想之地。

City Department of Cultural Affairs shoulder greater responsibility, based on the foundation of city-to-city exchanges, in helping Taiwanese art gain the opportunity and the right to have its voice heard, allowing the world to see Taiwanese art, and allowing the beautiful city of Venice to become a place of dreams where more Taiwanese artists can shine.

Emile Chihjen SHENG Minister, Council for Cultural Affairs

行政院文建會主任委員盛治仁

Hsiao-Yun HSIEH Commissioner Department of Cultural Affairs, Taipei City Government

臺北市政府文化局局長謝小韞

Hsieh Chun-te, an artist who for a half century has been an active participant in the history of Taiwanese

攝影家謝春德先生，一位已參與台灣半世紀攝影史的藝術家，依然保有

Hsieh Chun-te is an outstanding Taiwanese artist with tentacles extending into numerous fields, who brims

photography, had his first solo exhibition in 1969 and to this day retains the same burgeoning creative passion

1969 年初次個展，那種精力旺盛的創作熱情與動力。此次展覽不僅呈現

with energy and vitality. His work encompasses photojournalism, documentary photography, commercial

他的作品橫跨了報導紀實、商業及時尚攝影，更涵蓋了設計、詩、電影、

and drive. This exhibition not only presents Raw, a series of photographs produced over the course of 20

他超過 20 年製作時間的長期攝影計畫—Raw 《生》系列，更別具巧思的

and fashion photography, design, poetry, film, stage and cuisine, demonstrating multifaceted talent and a

舞台、美食等領域，展現多方的實踐熱情與創作才能。此次能由台北當

years, but also unveils the inspired concept of a “cooking theater,” manifesting the richness and refinement

推出「飲食劇場」概念，以行動和儀式表演的方式，呈現台灣飲食文化

roaming passion for practical endeavor. Now, through the commendation of the Museum of Contemporary

of Taiwanese food culture through action and ritual performance. He walks at the cutting edge of digital art,

Art Taipei, he introduces Le Festin de Chun-te as a collateral exhibition of the 54th Venice Biennale,

代藝術館推薦，以「春德的盛宴」展名參加第 54 屆威尼斯雙年展平行展，

豐富而細緻的內涵。他已走在數位藝術的前端，同時也表現出台灣料理

while also conveying the creative ingenuity of Taiwanese cuisine.

的創意巧思。

謝春德的攝影往往耗時，且漫長的經營過程，為了尋找適當的題材，翻山越嶺，足跡遍及台灣各地，以宛若拍攝影片般的方式編導與攝影

the curatorial team have cooperated in the painstaking and professional planning of this exhibition, opening up a precious road to Venice for Taiwan’s artists and arts groups.

謝春德是一位觸角遍及諸多領域、充滿能量與活力的台灣優秀藝術家。

mental effort and insistence on the smallest details of any given image. Having started out in conventional

（Staged photography），不惜任何時間成本，以無比的心力與堅持，錙

Venice, this city on the water with its bountiful history and culture, has quite limited land to develop and

多為建築古蹟等重要資產，可開發運用的土地有限。「春德的盛宴」覓

photography, he has now become involved in the application and study of digital photographic techniques,

銖必較於任何影像的細節。從傳統攝影的形式出發，到現在投入數位影

utilize, due to its special geographical position and the city’s numerous historical buildings and important

得地點相當優異、內部規劃完善的展覽場地，日後若能與之開啟長期合

tirelessly revising his works in the pursuit of perfection.

像技術的處理與研究，他總是不厭其煩地修改作品。

cultural assets. Le Festin de Chun-te has been able to find a home in an exhibition venue with an exceptional

作的可能，成為另一個台灣藝術家在威尼斯得以曝光的固定空間，實為

location and faultless interior layout. If in the future it is possible to establish a long-term cooperative

當代藝術之福。

Le Festin de Chun-te, a collateral exhibition of the Biennale Arte 2011 co-curated by Professor Chi-ming

此次參與第 54 屆威尼斯美術雙年展平行展「春德的盛宴」，由台灣影

relationship here, allowing the site to become another regularly scheduled space for the exposure of

Lin, a scholar of Taiwanese image art, and Dominique Païni, former director of the Cinémathèque française,

像藝術學者林志明教授與法國電影館前館長多明尼克 ‧ 巴依尼教授

Taiwanese artists in Venice, this would truly prove a blessing for contemporary art.

此次「春德的盛宴」延請國際重量級策展人，法國前電影館長多明尼克 ‧

presents 21 works by the artist observing marginal areas of Taipei such as Sanchong, Lujhou and Wugu.

（Dominique Païni）共同策展，21 件作品源自藝術家對台北周邊三重、蘆

Its innovative “cooking theater” is a repeated ritual of process and detail, through sensory experience,

洲、五股等地的觀察，展覽將以「飲食劇場」的方式，透過感官體驗、

For Le Festin de Chun-te we have invited the prominent international curator Dominique Païni, former

展，其重要意義是能以如此高的學術規格，縝密呈現台灣藝術家的創作

performance, cooking, food presentation and dining. This is the most complete expression of Hsieh Chun-

表演形式、烹飪擺盤到用餐等，反覆儀式性的每個程序和細節，是謝春

director of the Cinémathèque française, and well-known photography scholar Chi-ming Lin to collaborate

思維，「春德的盛宴」，能在威尼斯這等重要的國際舞台上，為台灣當

te’s long years of art since beginning his photograph series Raw in 1987. On the eve of its opening, I wish Le Festin de Chun-te the greatest success!

德《生》系列 1987 年開始拍攝以來，長年藝術創作的完整呈現。

時值展覽前夕，謹此為序，並祝展覽成功！

巴依尼教授（Dominique Païni），與台灣知名影像學者林志明教授共同策

We are exceedingly happy to see that at this year’s Venice Biennale, in addition to the Taiwan Pavilion

台北市文化局能擔負更多責任，在城市交流的基礎上，為本地藝術創作

organized by the Taipei Fine Arts Museum, Taipei City has another major exhibition presenting a different

爭取更多發聲的機會與權益，讓世界看見台灣藝術，讓威尼斯這座美麗

expression of Taiwanese contemporary art. I personally look forward in the future to seeing the Taipei

水城，成為更多台灣藝術家得以發光發熱的夢想之地。

Emile Chihjen SHENG Minister, Council for Cultural Affairs

行政院文建會主任委員盛治仁

Hsiao-Yun HSIEH Commissioner Department of Cultural Affairs, Taipei City Government

臺北市政府文化局局長謝小韞

By recommendation of the Museum of Contemporary Art Taipei, Hsieh Chun-te, an artist who has lived

謝春德，一位走過台灣半世紀攝影史的藝術家，在台北當代藝術館推薦

through a half century of Taiwanese art history, will join in the 54th Venice Biennale from June to October of

下，將於 2011 年 6 月至 10 月參加第 54 屆威尼斯雙年展。這次的展覽以

2011. His exhibition, titled Le Festin de Chun-te, will be co-curated by Professor Chi-ming Lin, a scholar of

「春德的盛宴」（Le Festin de Chun-te ）為名，由台灣影像藝術學者林志明

Taiwanese image art, and Dominique Païni, former director of the Cinémathèque française. Its works include

教授與法國電影館前館長多明尼克 ‧ 巴依尼教授（Dominique Païni）共

photography, installation, and a ground-breaking performance art piece – a “cooking theater” – revealing the many facets of Hsieh Chun-te’s abundant creativity.

同策展，展出作品包含攝影、裝置與別開生面的「飲食劇場」行為藝術，展現謝春德創作的各種豐富面向。

As a young artist Hsieh Chun-te was precocious. He first came to the attention of the Taiwanese art world in 1969, when at less than 20 years of age he held his first solo exhibition, at Jing Gong Gallery in Taipei. He is widely admired for his surprising creative energy and resolve. All his art projects are long-term, developed

謝春德屬於早慧型的藝術家；1969 年，二十歲不到的年紀，於台北精工畫廊舉辦第一次個展，就受到藝壇的注目。同時令人敬佩的是他驚人的

over more than a decade. Hsieh travels far and wide in search of his subject matter. He has earned a strong

創作能量與毅力。他的創作計畫都屬長期性，動則跨越十多年的歲月，

reputation as a cross-disciplinary artist, working not only in photography, but also in stage design, film and

同時為了尋找創作題材，他足跡踏遍各地。另外，除了從事攝影創作，

digital art. Most noteworthy is that while setting out from the starting point of traditional photography, he

他也是在舞台設計、電影製作及數位藝術方面聞名的跨領域藝術家。最

has also embraced the new innovations of contemporary art, studying digital photography and compositing,

令人注意的是他從傳統攝影出發，卻不悖離當代藝術潮流，投入數位攝

which lend enormous richness to his world of images.

影及影像合成的研究，使其影像世界更為豐盛飽滿。

Spanning a half century, Hsieh Chun-te’s career can be divided into his early-period documentary

創作橫跨半世紀的謝春德，其創作生涯可以分為早期的紀實系列 ( 吾土

photography (My Land, My People / Country), his portraiture series beginning in the 1980s (Faces of Our Time), his various explorations of sexuality, human nature and the spirit during the 1990s (After Coming to Sanchong / Soulscapes), up to his 2002 publication of None-Zone Moving, a crucial point of transition when profound proclamations of life began to appear in his works.

Artist’s Statement | 創作自述

吾民 / 家園 )，二十世紀八○年代起的肖像系列 ( 時代的臉 )，九○年代陸續進入性慾、人性、心靈層面等探討 ( 來到三重以後 / 心靈風景 )，一直到 2002 年出版《無境漂流》，始以深刻的生命告白邁入創作的關鍵性轉捩點。

The French curator Dominique Païni likens the artistic style of Hsieh Chun-te to the “personality of calamity” found in the poetics of Georges Bataille, especially the elements of “cruelty and joy” that appear

縱觀謝春德的創作風格，法國策展人多明尼克 ‧ 巴依尼認為可以用巴岱

simultaneously in his works, profoundly disturbing the mind of the viewer like a tempest. Such a powerfully

耶 (Geroges Bataille) 詩學中的「災難性格」來類比，尤其那同時置入作品

turbulent atmosphere can be witnessed in the series Raw featured in this exhibition. This series of works

中「殘酷與愉悅」的元素，有如風暴般深切地擾動觀者的心。此次將於

possesses the documentary spirit of Hsieh’s early period, but also the sensation of erotic drifting that has

威尼斯展出的《生》系列作品，同樣可見濃烈的風暴氣氛。這個系列作

consistently characterized his artistic life. Strictly speaking, what these works document are not the concrete

品創作時間超過二十年，拍攝題材是台北腹地如三重、蘆洲等地外來移

conditions of existence, but rather the figure of existence itself.

民的生活樣態。這系列作品既有謝春德早期的紀實特色，同時又可以感受到貫串他創作生涯的愛慾飄流之感。嚴格地說，作品所紀錄的並非具

In addition to the 21 works in this series, the artist has also meticulously arranged a presentation of

體的生存狀況，而是存在本身的樣貌。

performance art attempting to establish a new sense of culinary aesthetics. Another aspect of Hsieh Chunte’s art that he has pursued in recent years is the restaurant C’est Bon, realigning the spiritual order of cuisine through the ritualized act of dining. In his “cooking theater,” Hsieh Chun-te serves as both director and actor, as both chef and patron. He has personally selected the menu and determined the method of cooking, carefully taking into account every link of the chain with the vigilance of a religious rite. Only eight visitors are allowed to take part in each performance. The entire dining process is documented as it actually occurs, and screened in the exhibition venue. “For the people, food is heaven.” Exploring the journey of life’s experiences through the ritual of food, this is truly a work of fresh awakening.

除了展出一系列 21 件作品以外，本展覽另一個精心的安排，是一場企圖重新建立飲食美學的行為藝術。謝春德近年另一項創舉，是創辦「食方」（C’est Bon）餐廳，以一種儀式化的用餐行為，重新調整美食的心靈秩序。謝春德在這場「飲食劇場」既是導演也是演員，既是廚師也是食客，他親自挑選菜單，決定烹煮方式，所有環節皆精心考究，有如進行一場宗教祭典那般慎重。每次表演僅開放八名賓客參加，用餐過程全部如實記錄，並於展場播放。民以食為天，以「飲食」儀式作為探討生命經驗的

Le Festin de Chun-te is a major retrospective exhibition of this artist’s accomplishments, yet it is also a vital

途徑，實為令人耳目一新的創作！

and utterly new solo exhibition achieving a breakthrough in self-expression. Presented at the great feast of art that is the Venice Biennale, it becomes particularly meaningful. Amidst the wild fashions of contemporary

「春德的盛宴」，是一個藝術家，在其成就足以舉辦大型回顧展的時刻，

art, I look forward to seeing this determined, impassioned artist remain faithful to himself, as he manifests

卻又突破自我展現創作活力的全新個展。選在威尼斯雙年展的兩年一度

the pure, original flavor of life.

的藝術饗宴中展出，更別具意義。期待看見這位堅定而熱情的藝術家，在當代藝術狂潮中，繼續忠於自我，展現原汁原味的生命真實本色。

SHIH Jui-Jen Director, Museum of Contemporary Art Taipei 8

台北當代藝術館館長石瑞仁 9

By recommendation of the Museum of Contemporary Art Taipei, Hsieh Chun-te, an artist who has lived

謝春德，一位走過台灣半世紀攝影史的藝術家，在台北當代藝術館推薦

through a half century of Taiwanese art history, will join in the 54th Venice Biennale from June to October of

下，將於 2011 年 6 月至 10 月參加第 54 屆威尼斯雙年展。這次的展覽以

2011. His exhibition, titled Le Festin de Chun-te, will be co-curated by Professor Chi-ming Lin, a scholar of

「春德的盛宴」（Le Festin de Chun-te ）為名，由台灣影像藝術學者林志明

Taiwanese image art, and Dominique Païni, former director of the Cinémathèque française. Its works include

教授與法國電影館前館長多明尼克 ‧ 巴依尼教授（Dominique Païni）共

photography, installation, and a ground-breaking performance art piece – a “cooking theater” – revealing the many facets of Hsieh Chun-te’s abundant creativity.

同策展，展出作品包含攝影、裝置與別開生面的「飲食劇場」行為藝術，展現謝春德創作的各種豐富面向。

謝春德屬於早慧型的藝術家；1969 年，二十歲不到的年紀，於台北精工畫廊舉辦第一次個展，就受到藝壇的注目。同時令人敬佩的是他驚人的

over more than a decade. Hsieh travels far and wide in search of his subject matter. He has earned a strong

創作能量與毅力。他的創作計畫都屬長期性，動則跨越十多年的歲月，

reputation as a cross-disciplinary artist, working not only in photography, but also in stage design, film and

同時為了尋找創作題材，他足跡踏遍各地。另外，除了從事攝影創作，

digital art. Most noteworthy is that while setting out from the starting point of traditional photography, he

他也是在舞台設計、電影製作及數位藝術方面聞名的跨領域藝術家。最

has also embraced the new innovations of contemporary art, studying digital photography and compositing,

令人注意的是他從傳統攝影出發，卻不悖離當代藝術潮流，投入數位攝

which lend enormous richness to his world of images.

影及影像合成的研究，使其影像世界更為豐盛飽滿。

Spanning a half century, Hsieh Chun-te’s career can be divided into his early-period documentary

創作橫跨半世紀的謝春德，其創作生涯可以分為早期的紀實系列 ( 吾土

Artist’s Statement | 創作自述

縱觀謝春德的創作風格，法國策展人多明尼克 ‧ 巴依尼認為可以用巴岱

simultaneously in his works, profoundly disturbing the mind of the viewer like a tempest. Such a powerfully

耶 (Geroges Bataille) 詩學中的「災難性格」來類比，尤其那同時置入作品

turbulent atmosphere can be witnessed in the series Raw featured in this exhibition. This series of works

中「殘酷與愉悅」的元素，有如風暴般深切地擾動觀者的心。此次將於

possesses the documentary spirit of Hsieh’s early period, but also the sensation of erotic drifting that has

威尼斯展出的《生》系列作品，同樣可見濃烈的風暴氣氛。這個系列作

consistently characterized his artistic life. Strictly speaking, what these works document are not the concrete

品創作時間超過二十年，拍攝題材是台北腹地如三重、蘆洲等地外來移

conditions of existence, but rather the figure of existence itself.

民的生活樣態。這系列作品既有謝春德早期的紀實特色，同時又可以感受到貫串他創作生涯的愛慾飄流之感。嚴格地說，作品所紀錄的並非具

In addition to the 21 works in this series, the artist has also meticulously arranged a presentation of

體的生存狀況，而是存在本身的樣貌。

Le Festin de Chun-te is a major retrospective exhibition of this artist’s accomplishments, yet it is also a vital

途徑，實為令人耳目一新的創作！

「春德的盛宴」，是一個藝術家，在其成就足以舉辦大型回顧展的時刻，

art, I look forward to seeing this determined, impassioned artist remain faithful to himself, as he manifests

卻又突破自我展現創作活力的全新個展。選在威尼斯雙年展的兩年一度

the pure, original flavor of life.

的藝術饗宴中展出，更別具意義。期待看見這位堅定而熱情的藝術家，在當代藝術狂潮中，繼續忠於自我，展現原汁原味的生命真實本色。

SHIH Jui-Jen Director, Museum of Contemporary Art Taipei 8

台北當代藝術館館長石瑞仁 9

Modern Art’s Limit and Breaking Through It

Limiti e potenzialità dell’arte moderna

Hsieh Chun-te

Tired of the existing form of modern art!

L’espressione di concetti in “arte moderna” è andata pian piano confluendo in sterili forme filosofiche e performance “concettuali” che non riescono a toccare il cuore degli spettatori. Ciò è avvenuto in quanto oggi si dà importanza soltanto al modo espressivo e a concetti innovativi, perdendo gradualmente di vista l’esistenza dell’artista in quanto essere umano.

Modern art is gradually getting bogged down in purely philosophical form and conceptual performance, which doesn’t touch people’s deepest souls.

Lo stesso è avvenuto con l’arte concettuale, con le cosiddette creazioni artistiche “moderne” o “alla moda”, che man mano si sono allontanate dall’iniziale aspirazione a “far sussultare

This is because many artists today solely focus on the style of expression, and conceptual thinking… slowly missing the “life” of the artist himself…

l’anima”.

I believe so-called “modern” art is moving further and further away from its original intention – touching the soul.

Io ho sempre creduto che un’opera artistica o una performance valida debba far vibrare le corde del cuore umano, debba commuovere.

Back to the origin, the root of our deepest affections!

L’arte deve cioè stimolare il desidero d’unione primordiale latente nella natura biologica inconscia dell’uomo, ovvero risvegliare una risposta collettiva nel profondo dell’anima, un

I always believe when a great piece of art or a performance touches you, something deep in you, your biological, primal desire, is provoked. The common experiences arising from our

tipo di esperienza che a volte diciamo essere un’emozione profonda.

souls are awakened… It’s pure and profound. Inoltre io ho sempre creduto che un grande artista è colui che, attraverso il talento e la creatività, oltre alle proprie esperienze di vita offre agli altri anche le proprie riflessioni.

Presenting our life experience!

Questa è la creazione artistica!

An outstanding artist should possess plentiful life experiences, and be able to present them through talent and creativity… and it will be art!

La performance Il convivio di Chun-te rappresenta dunque il manifesto di sfida agli stereotipi dell’arte d’oggi!

The experimental performance “Le Festin de Chun-te,” in the form of a food banquet, is our manifesto challenging the stereotype of modern art! Our performance starts from serving

Qualità selezionate di riso (ricche di fibre e povere d’amido, adeguatamente alle odierne concezioni di una sana alimentazione) vengono piantate in lotti distinti dotati di una fonte

the food, presenting the food, explaining the process of the food, eating the food…and even planting the food…

d’acqua indipendente, in una zona caratterizzata da grande escursione termica e abbondanti precipitazioni. Attraverso il processo di coltivazione, crescita e raccolta, il riso, mondato dopo esser stato lasciato asciugare al sole, ci fa infine dono della propria vita. L’intero processo vitale delle piante consiste nel nutrirsi e moltiplicarsi, proprio come d’istinto fa l’uomo

We select rice that fits a healthy lifestyle, which is high in fiber and low in starch. We choose an independent farming place and water source... From planting, growing and harvesting, to grinding, and eventually the rice’s contribution of its life to us, everyone can join, and be part of the life cycle of the rice in C’est Bon Garden, or experience it through our website.

secondo un famoso detto confuciano. Se la vita è così, allora come dev’essere l’arte che riflette la vita? L’arte moderna come può esprimere l’atto del nutrirsi? Ebbene, i piatti serviti non sono i soli attori e la tavola da pranzo non è sicuramente l’unico palcoscenico! Oltre ad abbatterne i canoni, coinvolgiamo in prima persona nella “performance” anche gli spettatori. E addirittura “ce la mangiamo”!

Enjoy the performance, by being part of it! When food becomes part of the art, the dish is not the only performer, and the dining table is not the only stage... There is no differentiation between audience and performer. Everyone

Tutte le sensazioni scaturiscono partecipando alla performance ed è dunque impossibile prevederne l’esito finale.

will join and be part of the performance, and in the end, finish the act by eating it! Portare a termine questo “lauto banchetto” sul posto sarà un risveglio, un’emozione condivisa, un viaggio nell’arte. All the sensations towards this performance will occur instantly, and no one can ever predict the ending of each performance. When the scene of a food banquet is concluded, it will be Credo che questo sia un ambito artistico totalmente nuovo, ma sono sicuro anche che riuscirò a commuovere e sbalordire con questa rappresentazione artistica destinata a tutti!

a calling, a touching, a journey of true art.

(Traduttrice: Dorina Alimonti)

I believe this will be a whole new field to throw myself into, and I will certainly appreciate and praise this kind of art, which is meant to be realized by everyone. (Translator : Su Min Cheng) (Reviewed by Brent Heinrich)

Modern Art’s Limit and Breaking Through It

Limiti e potenzialità dell’arte moderna

Hsieh Chun-te

Tired of the existing form of modern art!

Modern art is gradually getting bogged down in purely philosophical form and conceptual performance, which doesn’t touch people’s deepest souls.

This is because many artists today solely focus on the style of expression, and conceptual thinking… slowly missing the “life” of the artist himself…

l’anima”.

I believe so-called “modern” art is moving further and further away from its original intention – touching the soul.

Io ho sempre creduto che un’opera artistica o una performance valida debba far vibrare le corde del cuore umano, debba commuovere.

Back to the origin, the root of our deepest affections!

L’arte deve cioè stimolare il desidero d’unione primordiale latente nella natura biologica inconscia dell’uomo, ovvero risvegliare una risposta collettiva nel profondo dell’anima, un

I always believe when a great piece of art or a performance touches you, something deep in you, your biological, primal desire, is provoked. The common experiences arising from our

tipo di esperienza che a volte diciamo essere un’emozione profonda.

Presenting our life experience!

Questa è la creazione artistica!

An outstanding artist should possess plentiful life experiences, and be able to present them through talent and creativity… and it will be art!

La performance Il convivio di Chun-te rappresenta dunque il manifesto di sfida agli stereotipi dell’arte d’oggi!

The experimental performance “Le Festin de Chun-te,” in the form of a food banquet, is our manifesto challenging the stereotype of modern art! Our performance starts from serving

Qualità selezionate di riso (ricche di fibre e povere d’amido, adeguatamente alle odierne concezioni di una sana alimentazione) vengono piantate in lotti distinti dotati di una fonte

the food, presenting the food, explaining the process of the food, eating the food…and even planting the food…

Tutte le sensazioni scaturiscono partecipando alla performance ed è dunque impossibile prevederne l’esito finale.

a calling, a touching, a journey of true art.

(Traduttrice: Dorina Alimonti)

現代藝術的限制與突圍謝春德

“現代藝術”的概念表達已漸漸流於無聊的哲學形式，與無法憾動人心的“觀念”表演

食

因為只注重於表達的形式與創新的概念，慢慢的看不到創作者本身的生命形態。再者觀念藝術也是同樣的道理，這些所謂“現代”或者是“摩登” 的藝術創作已經慢慢的在遠離原本的初衷那就是“靈魂的悸動” 我始終相信好的藝術品或者是藝術表演，是可以撼動每個人心的所謂「感動」。那應該是生命裡，生物性的潛在「原始連結慾望」被撩撥了，也就是來自靈魂呼喚的共同經驗被觸動了。我們有時會解釋這種經驗為深刻的情感。我也始終相信，傑出的藝術家除了自身豐厚的生命經驗外，是把自己的思考與生命，透過才華與創意來獻給大眾。這就是所謂的藝術創作！「春德的盛宴」的表演就是為了挑戰這些刻板的“現代藝術”所做出的宣言！我們從選擇稻米種子（適合現代人養生觀念的高纖低澱粉品種），選擇區間獨立、水源獨立、日夜溫差大、雨量豐沛的地方種植稻子。稻子從種植、成長、收割、日曬後碾成米，最後稻米把生命奉獻給我們。這整個植物生長的過程包括了營養成長與繁殖成長，也就是孔子所說的「食、色，性也」。生命如是，那反映生命的藝術又是什麼呢！飲食對“現代藝術”來說；菜不是唯一的演員，餐桌也絕對不是唯一的舞台！我們除了打破“表演”的形態，還讓觀眾的自身進入表演的行列。甚至是把表演“吃”進去！所有的感受都是即時發生的，所有的表演也無法預知結果。在於一個“食宴”現場裡完成，這也會是藝術形態的一種“呼喚” 一場“互觸” 一趟“旅行” 我相信這會是個全新的領域，我也相信我會感動與讚嘆這樣子的大眾藝術底實現！

Materials

生

現代藝術的限制與突圍謝春德

“現代藝術”的概念表達已漸漸流於無聊的哲學形式，與無法憾動人心的“觀念”表演

食

Materials

生

Sanchong is like a woman with her thighs spread open Quietly reclining on the banks of the Tamsui River You go in, you come out But never leave her any love

• From my experiences in stage and theater photography over the years, I have learned that when I take a picture, the photograph itself becomes dissociated from the original space and process, and transforms into a different stage of images, engaged with the stage in a dialogue.

• So when I express my childhood dreamscapes and growing-up experiences as photographs, using Sanchong as the stage on which they are acted out, these photos in themselves are no longer manifestations, of either reality or imagination, but opinions on the environment in which I live.

Sanchong giace sulle sponde del fiume Tamsui placidamente distesa come una donna che apre le gambe a te che passi senza però lasciarle il tuo amore

• Nei lunghi anni in cui mi sono occupato di teatro e di fotografia di scena ho capito che, al momento dello scatto, le fotografie già si allontanano dallo spazio e dall’ordine originari della rappresentazione, diventando un teatro di immagini in dialogo con un altro palcoscenico.

• Di conseguenza nel momento in cui, attraverso questa serie fotografica, metto in scena i miei sogni d’infanzia e le esperienze della maturità, le immagini non sono più realtà o fantasia bensì l’idea che l’ambiente di Sanchong- palcoscenico della rappresentazione- ha generato in me.

Sanchong is like a woman with her thighs spread open Quietly reclining on the banks of the Tamsui River You go in, you come out But never leave her any love

Sanchong giace sulle sponde del fiume Tamsui placidamente distesa come una donna che apre le gambe a te che passi senza però lasciarle il tuo amore

Tea | 茶

One fermentation method is unique. It requires no microbiology, nor molecular weight cut-off ultrafilters. It is a vital, living process, like metamorphosis, like a chrysalis becoming a butterfly. The fermentation of tea takes place at two levels: a caressing by hand, gently rubbing to increase the level of fragrance, and also a cultivation management model that fulfills the plants’ biological needs. Planted as seedlings, tea plants have both tap and fibrous roots, and require good nutrition to lay a sound foundation for their value after harvesting. But an enormous difference in aromatic strength exists between freely crossbred teas and monocultural cuttings. Sunlight is needed to maintain life. In the fermentation process, desiccation under sunlight is a crucial mechanism in the formation, and transformation, of fragrance. Yet tea plants don’t have the same severe need for direct sunlight that is typical of the Rosaceae family of plants, and their leaves can grow in a limitless number of levels. New shoots grow, driven by apical dominance. When they accumulate fragrance to the point of saturation, nutrition and energy are also transmitted to older leaves. The temperature differential between day and night is the marvelous mechanism that allows nutrients to accumulate. If a certain nutrient return threshold is not attained, all is futile. Nutritional management must be achieved in order to produce a higher aromatic gradient and richer aroma. A biologically diverse environment is a sustainable, ethical heritage. Contemporary tea art should express itself in science and handiwork – wholesome integrity, effortless attunement, a new inclination, a fresh idea!

CHEN Cheng-Yung Luodong, Taiwan March 06, 2011

Tea | 茶

CHEN Cheng-Yung Luodong, Taiwan March 06, 2011

有一種發酵方式，與眾不同，不需要微生物，也不是完全切割分子量。它是活生生的進行之中，就像蛻變，由蛹化為蝴蝶。茶葉的發酵正是如此，它包含著兩種層面，一種增加氣味層次的手工撫弄與輕輕搓揉，以及滿足植物生理所需的栽培管理模型。

從茶籽栽培的茶樹，具備了軸根與鬚根，分配取得其營養之所需，奠定了其身後之價值。但是在放任式的雜交授粉或單純的阡插當中，也造就了風味級距的差異化。陽光，維持生命之所需，在茶葉的發酵過程當中，日光萎凋是重要的關鍵，它是風味形成與風味轉換的一項重大工程。

茶葉並不會像薔薇科植物那樣嚴格的需要直射光，葉層數也不受拘束。頂芽優勢所造就的新梢生長，其風味累積的飽和程度，適足以說明老葉營養與能量之傳遞。日夜溫差是養份累積背後的功臣，如果沒有達到養份回流的境界，也是徒勞無功。營養管理必須滿足，才能造就出更豐厚的風味梯度與風味濃度。

生物多樣性的生態環境，正是永續與道德的傳承。當代的茶葉藝術，所應該表現出來的就是科學與手工，這種德容兼備、水乳交融般的新趨勢、新概念。

陳政庸寫於 2011.03.06 羅東

Rice | 米 To fashion a new form – farming art – we’ve produced a one-of-a-kind grain of rice just for you. Its main ingredient is the same as that in any diamond you might hold in your hand. But its other ingredients are more bountiful, diverse and complex than any diamond’s. Through our hard work, it is available to you alone, our esteemed guest, to have and enjoy. This new mode of thinking – farming art – is decidedly not a myth. Neither is it a heart-warming story. Its value lies in precision performance. It can be made to order. It can be fine-tuned. It is science. The effective utilization rate of carbon = nutritional return + nutritional fulfillment – carbon resource competition – apical dominance – transpiration. First, consider that life originated from carbon’s complex and endlessly varied forms. The nobility and gradation of life are related to the complexity and diversity of carbon. Because of its multifarious nature, the phenomena of life are more diverse. Because of its complexity, the elegance of matter is more fully expressed. Taiwan is a sub-tropical land, a steaming hotbed of disease and insects. We consider ourselves to be managers of a micro-environmental biological equilibrium. Management of life’s diversity and nutritional fulfillment have engendered the complex forms of carbon. Carbon complexity: all that we sense – the flavors, the aromas, salubrious matter, beneficial matter, delightful matter. Just like the eight-part harmonies of Taiwan’s Bunun people, they are an unceasing motive force of joy and life. You can sense its intricacies, even the pulsation of its energy, like a surging current. Just like this one-of-a-kind grain of rice, completely building up a wealth of carbon sources for you. The more fulfilling the nutrition is, the more complex are the sources of carbon, and the more multi-faceted. Its aromatic expression multiplies as well – it’s well worth savoring attentively. Does an increase in an individual’s reason mean a decrease in feeling? Is Mr. Hsieh Chun-te cutting his soul in pieces? What we are fortunate to partake of today is not merely this grain of rice itself, but also the spirit of absolute perfection that belonged to the ancient swordsmith: Ultimately using up his own life to endow this sword with his soul, he cast his own body into the furnace. By the good graces of nutritional fulfillment and the diversity of carbon, the soul is sublimated, through art, design and science. This grain of rice, and life, are endowed with new meaning.

CHEN Cheng-Yung Luodong, Taiwan March 18, 2011

創造農業藝術的新時尚，讓我們來為您打造出一顆獨一無二的米。它的主要成分就跟您手中那顆最珍貴的鑽石是一模一樣的。但是，它的其他成分卻比您手中的這顆鑽石更豐富、更多樣性、更複雜化。經過我們的努力，惟有尊貴的您才值得擁有、值得獨享。新的農業藝術，新的思維，絕對不是一個神話，也不是一個動人的故事。它的價值在於能夠很精準的表現出來，是可以訂做的，可以微調的，是科學的。

碳的有效利用率＝營養回流＋營養滿足—碳源競爭—頂芽優勢—蒸散作用

首先，我們探討著生命的起源就是發生在碳的複雜性又多樣性的型式。生命的高貴和層次與來自於碳的複雜性與多樣性有關。因為它的多樣性：生命的現象，更加多元化。因為它的複雜性：風韻物質得以更加呈現。台灣是個亞熱帶、高溫多濕、是病蟲害的溫床。我們自許為一個微環境的生物相平衡管理者。生命的多樣性與營養滿足管理，造就了碳的複雜型式。碳的複雜型式：就是我們所能感受到的口感、風味、健康物質、有益物質、愉快物質。就像布農族的八部合音一般，您能親身感受到的喜悅、生命的動力源源不斷。您也可以感受到它的細節，甚至於它的能量律動，如同激流一般。就像這顆獨一無二的米，整體為您累積的碳源多樣性，營養愈滿足，碳源愈複雜，碳源也愈多樣化。它的風味物質之表現也愈多，值得您細細品嚐。個人理性的遞增，是否代表著感性的遞減？謝春德，是否正在切割著他的靈魂呢？我們今天能有幸享用的不止是這一顆米本身。也包括了古代鑄劍師，追求終極完美的心。最後用盡自己的生命來賦于這支劍的靈魂，以身投入熔爐之中。在營養滿足滿足之下，碳的多樣性之下，藉著他在藝術、時尚與科學之靈魂的昇華。賦于這顆米，生命，新的意義。

陳政庸寫於 2011.03.18 羅東

碳的有效利用率＝營養回流＋營養滿足—碳源競爭—頂芽優勢—蒸散作用

陳政庸寫於 2011.03.18 羅東

Mullet Roe | 烏魚子

In the winter sunlight, like the lightly roasted coffee and the heavy aroma of baked goods fresh from the oven it is given a slight tartness. In the winter wind, like the quickly ripening cheese, thick and sticky, it seems powerfully sweet. Every winter, migrating from the tropics back to temperate seas, their bodies always store up a thick layer of nutritious lecithin. Like fresh fruit, growing due to the temperature difference between day and night, they have built up a sweet flavor. In the boisterous fish market, sunlight and the northeasterly seasonal winds, along with the salty sea air, interweave in a fugue, first allegro, then adagio, but they do no damage to its exquisite tenderness. This ripening process of aromatic transformation expels free moisture and reduces the irritating disturbance of putrefying bacteria. Amidst this intersection of hot and cold climates, full of inconsistency, it is paramount to retain lecithin, but not beyond the critical point of saturation. Protein dissolves free amino acids, allowing greater sweetness and savory flavor. Lecithin binds aromatic material, yielding greater richness and complexity. Like ham pierced by a horse-bone needle, the scent lays out in a neat gradient. When you touch it with the tip of your tongue, it’s not like caviar, falling apart at the slightest touch. The sensation is completely different – like a warm dawn, rich fullness in the tight embrace of the lips. Turnip slices offer a moment of relaxation, to get ready for the next adventure. This coquettish attraction turns upside down the learning curve of our experiences.

CHEN Cheng-Yung Luodong, Taiwan March 06, 2011

Mullet Roe | 烏魚子

CHEN Cheng-Yung Luodong, Taiwan March 06, 2011

在冬天的陽光之下，它就像被淺淺烘焙過的咖啡，濃濃的奶蛋香，帶著微微的亮酸；在冬天的季風之下，它就像已經加速熟成的乳酪，濃濃的黏稠感，帶著強烈性的回甘。每年冬天，從亞熱帶迴游到溫帶賦歸而來，身上總是儲滿了厚厚堆層的卵脂營養。宛如新鮮水果生長在日夜溫度的差距之下，所累積的甘、甜風味。陽光、東北季風所交織的熱鬧魚市，加上鹹鹹的海風，編奏出快與慢的節奏，而不傷害到它的細嫩精緻。

在這個風味轉換的熟成過程當中，逼走了游離水份，減少了惱人腐敗細菌的干擾。在這個充滿矛盾的冷熱環境交替之中，如何讓卵油脂留存在飽和的臨界點之間。

蛋白質，分解了更多的游離氨基酸，展現出更多的香甜、鹹甘。卵油脂，鏈結了更多的風味物質，讓它們更加濃郁又複雜。

氣味梯度，就像馬骨針所刺穿的火腿，呈現出整整齊齊的層層排列。舌尖的觸動，已不再是彷彿魚子醬般，冰冰涼涼的輕敲碎裂。感受是完全的大不相同，就像溫暖的晨曦，緊緊的擁抱在口腔唇齒的豐富飽滿之間。

菜頭片一解片刻休閑，足夠令人得閒，好進入下一番又是全新的體驗。它正在嫵媚的挑逗，顛覆著所有人在經驗發生的過程當中，原本應該存在的學習曲線。

陳政庸寫於 2011.03.06 羅東

蛋白質，分解了更多的游離氨基酸，展現出更多的香甜、鹹甘。卵油脂，鏈結了更多的風味物質，讓它們更加濃郁又複雜。

陳政庸寫於 2011.03.06 羅東

Agricultural Biochemistry Consultant | CHEN Zheng-Yong

農業生化科技顧問 | 陳政庸

Born in 1961 in Luodong Township, Yilan County, Taiwan. Education: Luodong High School Department of Fiber and Deposit Materials, Feng Chia University Graduate Institute of Textiles & Clothing, Fu-Jen Catholic University Worked in the following industries: Textiles, petrochemical engineering, wood processing, cement, dyeing, textile processing, microbiology, organic waste recycling and reuse, plant dyes, biofertilizers, organic farming, agricultural vocational counseling Positions served: Organic farming instructor, Hualien District Agricultural Research and Extension Station, Council of Agriculture, Taiwan Agricultural consultant, Sung Shan District Farmers’ Association, Taipei City Farming instructor, Luodong Township Farmers' Association, Yilan County, Taiwan Board member, Yilan County Organic Agriculture Association Headed the following technology projects: Development Center for Biotechnology’s Industrial Technology Cooperation Program Industrial Technology Research Institute, Biofilter Program China Textile Center’s Chitin Technology Program I like to experiment and innovate. When I was young, I developed this expectation of myself: to keep learning throughout life, and to learn with humility. By being active in many different fields, I have gained inspiration. I tend to be focused on my work, but also flexible and cooperative. In the past, I ran a coffeeshop, opening my doors to many good friends, and had the chance to learn from the strengths of others. I also invented an airlift coffeemaker, applying Boyle’s Law. From agriculture to textile polymers, I have developed products of high economic benefit for Taiwan, and I’ve taught farmers about new technology management, raising quality and product value. I’m committed to researching how to adjust the detailed features of fresh fruits and vegetables, and in the process, touch people and surprise them.

1961 年出生於宜蘭羅東鎮學歷：羅東高中 306 班逢甲大學紡織工程學系（高分子纖維與複合材料）輔仁大學織品服裝研究所（Fu-Jen Catholic University Graduate Institute of Textiles & Clothing）曾經從事的產業：紡織、石油化工、木材加工、水泥製造、染色、織品加工、微生物製造、有機廢棄物資源回收再利用、植物染、生物肥料、有機農業、農業專業輔導

曾經擔任：農業委員會花蓮區農業改良場有機農業講師台北市松山區農會農業顧問宜蘭縣羅東鎮農會農業講師宜蘭縣有機農業協會理事

曾經主持科技專案：財團法人生物技術開發中心產業技術合作工業研究院生物濾床產業技術合作中國紡織中心幾丁質科技專案技術合作

我喜歡嘗試、創新。曾經年少時一個自我期許：多歷練人生、謙虛學習。並且跨越不同領域，以得到自我啟發，對事專研，但不執著、謙讓。

曾經開咖啡館，廣納好友聚集，學習別人長處。也發明了氣舉式咖啡爐，應證了波以耳定律（Boyle's Law）從農業到紡織高分子發展於台灣高經濟作物，輔導專業農民，新的技術管理，提高品質與產值。致力研究，在鮮活的蔬菜水果上，如何調整細節，表現在讓人感動、驚訝的過程當中。

Agricultural Biochemistry Consultant | CHEN Zheng-Yong

農業生化科技顧問 | 陳政庸

曾經擔任：農業委員會花蓮區農業改良場有機農業講師台北市松山區農會農業顧問宜蘭縣羅東鎮農會農業講師宜蘭縣有機農業協會理事

曾經主持科技專案：財團法人生物技術開發中心產業技術合作工業研究院生物濾床產業技術合作中國紡織中心幾丁質科技專案技術合作

我喜歡嘗試、創新。曾經年少時一個自我期許：多歷練人生、謙虛學習。並且跨越不同領域，以得到自我啟發，對事專研，但不執著、謙讓。

Essay | 專文

Danièle Hibon

Across an Island La traversata di un’isola La Traversée d’une île 穿行島嶼

Essay | 專文

Danièle Hibon

Across an Island La traversata di un’isola La Traversée d’une île 穿行島嶼

Across an Island

by Danièle Hibon

Tableau 1 Dinner in the street in Taipei Only moments after we left the plane, it seemed, a car was dropping us off in the drizzle of a dark street. A few seconds later we were sitting on stools at a street stall. The figure of a woman filled big bowls with piping-hot soup and passed them to us silently, giving a fleeting glimpse of her face and speaking of ancestral knowledge, comfort and friendship for our host. We wanted to put a name on these hints of new tastes, but no sooner had we slurped down the contents of our bowls than we were off across the street to sit at a second stall, chosen for its desserts. No doubt were sweets eaten at family meals, the favourites of so many Taiwanese children, but their consistency and sickly-sweet taste meant nothing to us and we looked blankly at each other, grunting quizzically, much to Chun te’s amusement. In front of us, the illuminated dials in the watch shop window indicated 22:30. Our body clock said 15 hours of travel, from the slush of Paris to the drizzle that stuck to the car window as we drove towards our hotel, lost in the clouds on a mountain rising up above Taipei. This was no ordinary arrival. The moment we left the airport, Hsieh Chun te subtly but implacably began to immerse us in his world, the everyday one and the one represented in his works: the street and its popular rhythms, traditional cooking, and that zone of uncertainty between everyday reality (the car journey) and the feeling of unreality, brought on by our sinking into the darkness pierced by cloud mist on the car windscreen. A sequence of shots designed for lovers of cinematographic effects, edited by a discreet cineaste, this host of ours – a mischievous man, no doubt, but also familiar with “the powers of night.” Indeed, it was in this daily but nocturnal climb that I found myself, as we rounded a bend, expecting the terrible eddying force from Jacques Tourneur’s Night of the Demon .

to a short, wide street lined with old houses. The noise of the ground underfoot is muted, and all at once an ancient temple heaves into view, from the façade to the back, lit up by a row of little red lamps. Columns with carvings of gigantic snakes and monsters support a roof from which coloured dragons strain towards a sky as near as a theatrical sky. We enter a little restaurant, greeted by a parrot on the owner’s shoulder, and a chicken plucked from the pot and placed naked on a slice of bacon. The whole family gets busy, taking it in turns to cover the round table with a parade of steaming dishes that make their entrance and go around the ring like circus acts: soups in every kind of colour, vegetables with unknown textures and tastes, meats sautéed, boiled and in stews, legs and feet, skins and intestines of domestic animals in jelly, loudly acclaimed by the guests and watched by Hsieh, who rubs his hands with each new pitcher of Shaoxing wine. Everything here is in unison with our great master of ceremonies: everything inspires joy and excites the appetite, which seems endless! The street leading to the tea house in its closed garden is dark. A bedroom open onto the courtyard with its raised black parquet like a stage and its big bed covered in white satin seems to answer the blossoming plum tree that dazzles like fireworks against the screen of night. Once again, the evening reveals another aspect of Hsieh Chun te’s personality, and once again he gives us the experience of what we find in his photographs: the staging and concomitance of the trivial (the joyous, festive band) and the ceremonial, the tea ceremony in the silence of the house, where the small rooms interlock like the boxes/ presentation stands in some of Hsieh’s works, such as The Temple Attendant Who Is Longing for the Breeze of Spring .

Tableau 3 The revenants and the old house We take the train to Kouhu and Yunlin County, in Southwest Taiwan.

“What is the twilight? This half-world of the mind that you, professors, know so much about…what difference between the poison of darkness and the poison of the mind?” asks the disturbing and sarcastic Dr Karswell, speaking to Professor Holden. But Hsieh Chun te, our host in Taiwan, is full of warm kindness and affectionate friendship. Every night he drops us off outside our hotel for a refreshing night’s sleep.

Tableau 2 An evening with the Hakkas The car heads into darkness streaked with the neon of betel nut stands. An hour on a mountain road and we come

The sky now is luminous over the dry rice paddies and in this totally horizontal landscape we meet up with a mountain guide and friend of Chun te’s, Xiao-Shi Li, who has a radiant smile. The wind is blowing hard. The road passes by great expanses of water stirred by strange little pumps with fins whose function is to provide oxygen for the shrimps. The sea is not far. A whole family, whom our host has told of our coming, waits to give us a tasting of excellent cherry tomatoes grown in greenhouses. We fill our pockets with them and then move on to a big courtyard where thousands of mullet roe are drying on trestles in the sun. We will soon experience the pleasure of what is the most highly prized Taiwanese speciality in Japan. For we now enter a canteenlike restaurant where, upon arrival, the whole family files in, loading the table with a host of seafood – small and giant prawns, raw and boiled shellfish, rare white fish, little oyster dumplings, big crabs in whose shell is the second, tender

Across an Island

by Danièle Hibon

Tableau 3 The revenants and the old house We take the train to Kouhu and Yunlin County, in Southwest Taiwan.

Tableau 2 An evening with the Hakkas The car heads into darkness streaked with the neon of betel nut stands. An hour on a mountain road and we come

flesh, that they were preparing for spring! Our host delights in our exclamations and orchestrates the spectacle. We then walk in the sunny streets of the village lined with small houses and, suddenly, there it is, looking at us, the house from Family Portrait , set slightly back from the street, leaving in the shadow its balanced façade and roof raised slightly at the corners. It is beautiful and moving, and it’s impossible to say whether its power is innate or was bestowed on it by the artist. I entered looking for figures behind the grilles of the windows, and when I leave I am expecting to see the buffalo in the courtyard, and those children straight out of a very strange family photo album, but under the tiles of the pierced roof there are only painted swallows on the central beam flapping skywards with their faded blue wings. At the corner of a temple, a path in the darkness, and suddenly like succubi, the revenants of Homecoming Day advance and stare at us. What crime or disaster scene have they left to seek our explanations? What scene hidden behind this scene are they telling us about? Surely a story of disappearance, but whose? A family’s, a community’s, a people’s? History? All these things at once, because they belong to the world of Hsieh Chun te.

Tableau 4 The marble cliffs and lunch at Mrs Chuang’s A strong wind carries our plane over the mountain on the east coast. Since this morning we have been carrying a mysterious cardboard box that has been passed from hand to hand. After a morning in the Taroko Gorges, with their dizzying black marble cliffs, we enter Mme Chuang’s house. The dishes arrive at once: fish, octopus, shellfish accompanied by fragrant vegetables. Chun te’s cardboard box was in fact hiding a copper cauldron, in which a sauerkraut made specially by our guide Amis is now bubbling away. Three women have joined us: an old shaman and her two daughters. At the end of the meal they sing for us, and we open the window for fear that the powerful waves of their chant will shatter the panes. Could it be the effect of their incantation? In any case, the sky has turned black and the Pacific is crashing in great breakers on the black sand beaches and surging into the Siouguluan river delta where Hsieh has plans for an organic rice paddy.

Tableau 5 Sanchong, the banks of the river The black sky presses down on us like a Baudelairean lid. The air is cold and damp. This is the day when we stay in Taipei, before our departure for Paris. The car pulls up under a gigantic tangle of express lanes, a huge, inert expanse threaded by a bicycle track, where a few cars seem to have been washed up by a tsunami. The evocation of fields of rushes undulating on their blooming stems (Raw - A Meat Stall ) is not enough to overcome the impression of desolation, of being torn from life, caused by the diversion of the river. A high dyke that we climb up separates this devastated space from the big grey tower blocks where he lived as a teenager. What can one do with this poignant solitude if one lacks the artist’s gift of visual alchemy, his talent for the transmutation of the psychic into the material? That is what I find out the next day, in Hsieh’s house – a drawing in a sketchbook that I describe here from memory: two children are floating in the choppy water of a big concrete pool, holding a fishing rod whose line plunges into the infinite void between the pool and a wall of tower blocks raised up in front of them, endlessly tall. We are down beside the River Danshui. The bank opens up before us like a thick tongue of black mud licking into the abyss. It is impossible not to recall the vision of that woman, naked and transfixed on the pontoon, The Tears of Tamsui River ? This morning marks a return to the dark side of Hsieh’s work. (Translator: Charles Penwarden)

The day seems to have been “orchestrated” by our host: the sudden change of light and landscape, the sunny drive up into the gorges, the dizzying mountaintop road under a sky as dark and tormented as the ocean. The contemplation of nature inspires thoughts that are more tortured than soothed. The violent contrasts between these natural spectacles echo the mixture of darkness and light that emerges from Hsieh Chun te and the trips that he has organised, which are both dark and luminous. We can sense his attraction to danger, to extremes: the suspended footbridge, the dizzying cliff, the churning delta, the cry of the witch and the childlike joy of giving and sharing, the pleasure of being alive. Taiwan, the whole island, has become a work by Hsieh.

La traversata di un’isola

di Danièle Hibon

Scena 1 Cena di strada a Taipei Appena scesi dall’aereo, la berlina ci deposita nell’aria piovigginosa di una tetra via. Poco dopo ci ritroviamo seduti sugli sgabelli di una bottega di strada, una figura di donna riempie grandi tazze di zuppa bollente che ci tende in silenzio. Il suo viso, appena percettibile, evoca un sapere ancestrale, antico e confortante, in sintonia con l’accoglienza del nostro ospite. Vorremmo attardarci per distinguere questi sapori e gusti nuovi, ma una volta terminato il pasto, attraversiamo la strada per sederci in una seconda bottega, scelta per i suoi dolci. Senza dubbio sono quelli dei pasti in famiglia, quotidiani, amati dai bambini di Taiwan, ma la loro consistenza e il gusto dolciastro non ci risvegliano alcun ricordo, ci scambiamo sguardi perduti e interrogativi sotto l’occhio divertito di Chun Te. Davanti a noi, i quadranti illuminati della vetrina dell’orologiaio segnano le 22.30. Il nostro orologio biologico segna invece quindici ore di viaggio, dalla neve sciolta di Parigi alla pioggerellina che aderisce ai vetri dell’auto, mentre noi vaghiamo verso il nostro hotel perso fra le nubi di una montagna che domina Taipei. Un arrivo tutt’altro che ordinario: appena usciti dall’aeroporto, Hsieh Chun Te ci ha impercettibilmente ma inesorabilmente immersi nel suo mondo, quello vissuto quotidianamente e quello rappresentato nelle sue opere: la strada e il suo ritmo popolare, la cucina tradizionale e questa zona di incertezza fra la realtà quotidiana (il viaggio in auto) e una sensazione di irrealtà che incombe, come quando sprofondiamo nell’oscurità della notte, a tratti squarciata dai vapori acquei delle nubi sopra il parabrezza della vettura. Un incatenarsi di sequenze per gli amanti degli effetti cinematografici, montate da un cineasta dallo sguardo discreto, un ospite senza dubbio malizioso, ma in confidenza con le “forze della notte”. In effetti è in questo crescendo quotidiano e notturno che mi troverò ad aspettare, alla svolta di una curva, il terrificante vortice di Night of the Demon di Jacques Tourneur:

con una sola occhiata si riesce a vedere interamente un tempio antico, dalla facciata fino all’interno, illuminato da file di piccole lampade rosse. Colonne scolpite con giganteschi serpenti ed esseri mostruosi sostengono il tetto, da cui dragoni colorati si innalzano verso il cielo, così vicino come il cielo di una scenografia teatrale. Entriamo nel piccolo ristorante, accolti da un pappagallo accovacciato sulla spalla del padrone e da un pentolone che contiene una gallina bollita, spennata e adagiata su una fetta di lardo. Tutta la famiglia si affaccenda e si dà il cambio per ricoprire la tavola circolare di un’infinità di piatti fumanti che fanno la loro entrata e sfilano davanti ai nostri occhi come al circo: zuppe di tutti i colori, verdure dalle forme e gusti sconosciuti, carni fritte, bollite, stufate, piedi e zampe, pelli e intestini di animali domestici in gelatina, fra le acclamazioni della tavolata e sotto lo sguardo di Hsieh, che si sfrega le mani a ogni arrivo di una brocca di vino Shaoxing. Tutto qui procede sotto la guida del nostro grande organizzatore, tutto stimola la gioia e l’appetito che sembra non avere fine! Scura è la via che conduce alla casa del tè, racchiusa nel suo giardino privato. Una camera aperta sulla corte interna con un parquet nero rialzato, quasi sembra un palcoscenico, e un grande letto ricoperto di raso bianco, sembra accordarsi cromaticamente al prugno in fiore, splendente come un fuoco d’artificio sullo schermo nero della notte. Anche questa volta, lo svolgimento della serata ci fa scoprire un altro aspetto della personalità di Hsieh Chun Te, di nuovo ci fa rivivere ciò che ritroviamo nelle sue fotografie: una studiata messa in scena e la concomitanza del triviale (la gioiosa compagnia che festeggia) e del cerimoniale, quello del tè nel silenzio della casa, le cui piccole stanze si incastrano una con l’altra, come le teche che compaiono in certe opere di Hsieh, The Temple Attendant Who is Longing for the Breeze of Spring .

Scena 3 Gli spiriti e la vecchia casa Prendiamo il treno per Kouhu e lo Yunlin County, a sud ovest di Taiwan.

“What is the twilight? This half world of the mind that you, professors, know so much about…what different shape between the poison of darkness and the poison of the mind?” domanda l’inquietante e sarcastico Dottor Karswell al Professore Holden. Ma Hsieh Chun Te, nostro ospite a Taiwan, è un vortice di calorosa benevolenza e affettuosa amicizia. Ci porterà ogni sera alla porta del nostro hotel per un sonno ristoratore.

Scena 2 Una serata dagli Hakkas L’auto si immerge nella notte illuminata dai bagliori dei neon degli alberghi di palma di Bétel. Un’ora di strada di montagna e arriviamo in una via corta e larga fiancheggiata da casette antiche. Il suolo è sordo sotto i nostri passi,

Il cielo diventa luminoso sopra le risaie prosciugate e in questo paesaggio totalmente orizzontale ritroviamo XiaoShi Li, guida di alta montagna dal sorriso luminoso e amico di Chun Te. Il vento soffia fortissimo. La strada scorre via fra grandi distese d’acqua mossa da strane piccole pompe ad alette la cui funzione è di ossigenare la coltura di gamberetti. Il mare non è lontano. Un’intera famiglia, avvisata dal nostro ospite, ci attende per farci gustare eccellenti pomodorini ciliegia coltivati sotto serra di cui faremo scorta prima di visitare un grande cortile dove sopra trespoli al sole seccano migliaia di uova di pesce (bottarga di triglia), la specialità di Taiwan più ricercata in Giappone e di cui scopriremo presto le delizie. Entriamo infatti in un ristorante, simile a una mensa, in cui, al nostro arrivo, tutta la famiglia sfila riempiendo la tavola di frutti di mare, gamberi piccoli e giganti, conchiglie crude e bollite, pesci rari dalla carne bianca, frittelle di piccole ostriche, grossi granchi che offrono all’interno del loro primo guscio una seconda carne

La traversata di un’isola

di Danièle Hibon

Scena 3 Gli spiriti e la vecchia casa Prendiamo il treno per Kouhu e lo Yunlin County, a sud ovest di Taiwan.

tenera che tenevano in serbo per la primavera! Il nostro ospite si compiace del nostro entusiasmo ed è come se dirigesse lo svolgimento dello spettacolo.

infantile del dono, della condivisione e del piacere di essere vivo. La stessa Taiwan, l’isola, è diventata un’opera di Hsieh.

Camminiamo poi per le vie soleggiate del villaggio, fiancheggiate da piccole case e improvvisamente, eccola là, che ci guarda, la casa di Family Portrait , un po’in disparte e leggermente discosta dal bordo della strada, la sua simmetrica facciata in ombra e il tetto leggermente rialzato agli angoli. È bella e commovente, impossibile sapere se sia lei ad avere questo potere intrinseco o se sia stato l’artista ad attribuirle questa forza. Sono entrato alla ricerca delle figure nascoste dietro l’inferriata delle finestre, voglio vedere uscendo nel cortile il bufalo e quei bambini usciti da un bizzarro album di famiglia, ma scorgo solamente, sotto le tegole del tetto, delle rondini dipinte sulla trave centrale, con le ali blu sbiadito, che cercano il cielo. All’angolo di un tempio, una strada nell’ombra, e improvvisamente, come succubi, gli spiriti di Homecoming day vengono in avanti e ci guardano. A quale delitto o disastro appartengono? Perché sono tornate? Che mistero nascondono? Di una scomparsa sicuramente si tratta, ma quale? Di una famiglia, di una comunità, di un intero popolo, della storia? Ci parlano di tutto allo stesso tempo perché appartengono al mondo di Hsieh Chung Te.

Scena 5 Sanchong, le sponde del fiume.

Scena 4 La scogliera di marmo e il pranzo dalla signora Chuang Il vento che guida il nostro aereo oltre la montagna sulla costa est è fortissimo. Da questa mattina ci portiamo dietro una misteriosa scatola che passa di mano in mano. Dopo una mattina nelle gole di Taroko, dominate da vertiginose scogliere di marmo nero, ci addentriamo nella piccola casa della signora Chuang. Subito arrivano i piatti di pesce, di polipo, di conchiglie accompagnati da verdure profumate. La scatola di Chun Te nascondeva un paiolo di rame dove già bollono i cavoli preparati in modo speciale dalla nostra guida Amis. Tre donne ci hanno raggiunto: una vecchia sciamana e le sue due figlie. Alla fine del pranzo cantano per noi e decidiamo di aprire la finestra per paura che la potenza delle vibrazioni del loro canto rompa il vetro. Sarà forse l’effetto di questo incanto, ma il cielo è diventato nero, il Pacifico si frange con grandi onde sulle spiagge di sabbia nera e si inabissa nel delta del fiume Siouguluan, dove Hsieh ha organizzato un progetto per una risaia biologica.

Il cielo nero, come direbbe Baudelaire, pesa come un coperchio. L’aria è fredda e umida. È il giorno in cui restiamo a Taipei prima della nostra partenza per Parigi. L’automobile si ferma sotto un gigantesco incrocio di strade veloci, un’immensa distesa inerte dove scorre una pista ciclabile e dove alcune macchine sembrano lì abbandonate dai disastri di un maremoto. Il ricordo dei campi di canne che facevano ondeggiare i loro steli fioriti (Raw - A meat stall ) non riesce a superare l’impressione di desolazione, di sradicamento dalla vita, provocata dall’allontanamento dal fiume. Un’alta diga sulla quale saliamo separa questo spazio devastato da grandi edifici grigi, dove l’artista abitava quando era adolescente. Cosa farsene di questa tormentata solitudine se non si possiede il dono di un’alchimia visiva, la capacità che solo l’artista possiede di trasmutare la sfera psichica in concretezza materiale? È quello che ho scoperto il giorno dopo nella casa di Hsieh , un disegno in un quaderno che descrivo a memoria: due bambini galleggiano nelle acque agitate di un grande bacino in cemento armato, hanno una canna da pesca il cui filo si immerge nel vuoto profondo fra il bacino e un muro di edifici che si ergono davanti a esso, di un’altezza infinita. Siamo scesi al bordo del fiume Damshuie, la riva si apre davanti a noi come una grande lingua di fango nero che sembra condurre agli abissi. Come sfuggire alla visione di quella donna nuda e inchiodata a quel pontile, The tears of Tamsui River ? Quella mattina fece rinascere in tutta la sua forza il versante nero delle opere di Hsieh. ( Traduttrice: Silvia Cesari )

Questa giornata sembra “orchestrata” dal nostro ospite: i cambiamenti improvvisi di luce e del paesaggio, l’arrampicata sotto il sole lungo le gole, la strada vertiginosa sospesa sotto un cielo scuro e tormentato come l’oceano. La contemplazione della natura ci incita ad una meditazione inquieta e tormentata. Questi violenti contrasti delle meraviglie della natura si accordano alla compagnia di Hsieh Chun Te e alla sua organizzazione del viaggio, a tratti tetro, altre volte luminoso. Si indovina subito la sua attrazione per il pericolo, per gli estremi: la passerella sospesa, la scogliera vertiginosa, il delta spumeggiante, il grido della strega e la gioia

tenera che tenevano in serbo per la primavera! Il nostro ospite si compiace del nostro entusiasmo ed è come se dirigesse lo svolgimento dello spettacolo.

infantile del dono, della condivisione e del piacere di essere vivo. La stessa Taiwan, l’isola, è diventata un’opera di Hsieh.

Scena 5 Sanchong, le sponde del fiume.

La Traversée d’une île

par Danièle Hibon

Tableau 1 Souper de rue à Taipei A peine descendus de l’avion, la berline nous dépose dans la bruine d’une rue sombre. En quelques instants nous nous retrouvons assis sur les tabourets d’une échoppe de trottoir, une silhouette de femme remplit de grands bols de soupe brûlante qu’elle nous tend en silence. Son visage un instant deviné parle de savoir ancestral, de réconfort, de connivence avec notre hôte. On voudrait s’attarder à distinguer ces pointes de goûts nouveaux mais le bol à peine avalé bruyamment, nous traversons la rue pour nous asseoir dans une seconde échoppe, choisie pour ses desserts. Sans doute sont-ils ceux des repas familiaux, aimés des enfants de Taiwan mais leur consistance et goût douceâtre ne nous évoquent aucun souvenir, nous échangeons des regards perdus, des grognements interrogatifs, sous l’œil amusé de Chun Te. Devant nous, les cadrans illuminés de la vitrine de l’horloger affichent 22H30. Notre horloge biologique affiche 15H de voyage, de la neige fondue à Paris à la bruine qui colle aux vitres de la voiture, tandis que nous roulons vers notre hôtel perdu dans les nuages d’une montagne dominant Taipei. Rien d’une arrivée ordinaire : dès la sortie de l’aéroport, Hsieh Chun Te nous a imperceptiblement mais implacablement plongés dans son monde, celui vécu au quotidien et celui représenté dans ses oeuvres : la rue et son rythme populaire, la cuisine traditionnelle, et cette zone d’incertitude entre réalité quotidienne ( le transport en voiture ) et le sentiment d’irréalité, comme celui provoqué par cet enfoncement dans l’obscurité trouée de vapeurs des nuages sur le pare-brise de la voiture. Un enchaînement de plans pour amateurs d’effets cinématographiques, montés par un cinéaste discret, cet hôte sans doute malicieux mais familier des « forces de la nuit ». En effet, c’est dans cette montée quotidienne et nocturne, que je me surprendrai à attendre, au détour d’un virage, le terrifiant tourbillon de « Night of the Demon » de Jacques Tourneur : « What is the twilight ? This half world of the mind that you, professors, know so much about…what different shape between the poison of darkness and the poison of the mind ? » demande l’inquiétant et sarcastique Dr Karswell au professeur Holden. Mais Hsieh Chun Te, notre hôte à Taiwan n’est que chaleureuse bienveillance et affectueuse amitié. Il nous déposera chaque soir à la porte de notre hôtel pour un sommeil réparateur.

Tableau 2 Une soirée chez les Hakkas

La voiture s’enfonce dans la nuit, trouée des éclairs de néon des relais de « noix de bétel ». Une heure de route de montagne et nous arrivons dans une rue courte et large, bordée de maisonnettes anciennes. Le sol est sourd sous nos pas, un temple ancien s’offre d’un seul regard, de la façade jusqu’au fond, éclairé de rangées de petites lampes rouges. Des colonnes sculptées de gigantesques serpents et monstres soutiennent la toiture d’où s’envolent des dragons colorés vers le ciel proche comme un ciel de théâtre. Nous entrons dans le petit restaurant, accueillis par un perroquet sur l’épaule du patron et une poule au pot, dressée toute nue sur une tranche de lard. Toute la famille s’affaire et se relaie pour couvrir la table ronde d’une parade de plats fumants qui font leur entrée et leur tour de manège, comme au cirque : soupes de toutes couleurs, légumes aux textures et goûts inconnus, viandes, sautées, bouillies, en ragoûts, pieds et pattes, peaux et boyaux d’animaux familiers en gelée, dans les acclamations de la tablée et sous l’œil de Hsieh, qui se frotte les mains à chaque arrivée d’une cruche de vin Shaoxing. Tout ici, est à l’unisson de notre grand ordonnateur, tout excite la joie et l’appétit qui semble ne pas connaître de fin ! La ruelle est sombre qui mène à la maison de thé dans son jardin clos. Une chambre ouverte sur la cour avec son parquet noir surélevé comme une scène et son grand lit recouvert de satin blanc semble répondre au prunier en fleur, éclatant comme un feu d’artifice sur l’écran de la nuit. Ce soir encore, le déroulement de la soirée révèle un autre aspect de la personnalité de Hsieh Chun Te, de nouveau il nous fait vivre ce qu’on retrouve dans ses photographies : la mise en scène et la concomitance du trivial ( la joyeuse compagnie qui festoie) et du cérémoniel, la cérémonie du thé dans le silence de la maison, dont les petites pièces s’emboîtent comme les boites-présentoirs de certaines œuvres de Hsieh, The Temple Attendant Who is Longing for the Breeze of Spring .

Tableau 3 Les revenants et la vieille maison Nous prenons le train pour Kouhu et le Yunlin County, au sud-ouest de Taiwan. Le ciel devient lumineux au-dessus des rizières asséchées et dans ce paysage totalement horizontal nous retrouvons le guide de haute montagne et ami de Chun Te, Xiao-Shi Li, au sourire lumineux. Le vent souffle très fort. La route file entre de grands étendues d’eau remuée par d’étranges petites pompes à ailettes dont la fonction est de donner de l’air aux crevettes. La mer n’est pas loin. Toute une famille, prévenue par notre hôte, nous attend pour nous faire goûter d’excellentes tomates cerises cultivées sous serre dont nous remplissons nos poches avant de visiter une grande cour où sèchent sur des tréteaux au soleil des milliers de « mullet roe » (létance de rougets), la spécialité taiwanaise la plus recherchée au Japon et dont nous découvrirons bientôt les délices. Car nous

La Traversée d’une île

par Danièle Hibon

Tableau 2 Une soirée chez les Hakkas

entrons dans un restaurant, style « cantine », où dès notre arrivée, toute la famille défile en remplissant la table d’un manège de fruits de mer, crevettes petites et géantes, coquillages crus et bouillis, poissons rares à la chair blanche, beignets de petites huîtres, gros crabes qui offrent à l’intérieur de leur première carapace une deuxième chair tendre qu’ils préparaient pour le printemps ! Notre hôte se réjouit de nos exclamations et orchestre le déroulement du spectacle. Nous marchons ensuite dans les rues ensoleillées du village bordées de petites maisons et soudain, elle est là, et nous regarde, la maison de Family Portrait , un peu retirée du bord de rue, laissant dans l’ombre sa façade équilibrée et son toit légèrement relevé aux angles. Elle est belle et émouvante, impossible de savoir si elle tient ce pouvoir d’elle-même ou de ce dont l’artiste l’a dotée. Je suis entrée à la recherche des silhouettes derrière la grille des fenêtres, je veux voir en ressortant dans la cour le buffle et ces enfants sortis d’un bien étrange album de famille mais seules, sous les tuiles du toit percé, des hirondelles peintes sur la poutre centrale cherchent le ciel de leurs ailes d’un bleu passé. À l’angle d’un temple, un chemin dans l’ombre, et soudain, telles des succubes, les revenantes de Homecoming day s’avancent et nous regardent. De quelle scène de crime ou de désastre sont-elles sorties pour nous demander compte ? De quelle scène cachée derrière cette scène parlent-elles ? de disparition sûrement mais laquelle ? de famille, de communauté, de peuple, d’Histoire ? De tout à la fois puisqu’elles appartiennent au monde de Hsieh Chun Te.

Tableau 4 Les falaises de marbre et le déjeuner chez Mme Chuang Le vent est fort qui porte notre avion par-dessus la montagne sur la côte est. Depuis ce matin, nous sommes accompagnés d’un mystérieux carton qui passe de main en main. Après une matinée dans les gorges de Taroko, dominés par de vertigineuses falaises de marbre noir, nous entrons au fond de la petite maison de Mme Chuang. Sans attendre, arrivent les plats de poissons, de poulpe, de coquillages accompagnés de légumes parfumés. Le carton de Chun Te cachait un chaudron de cuivre où bout déjà la choucroute spécialement préparée par notre guide Amis. Trois femmes nous ont rejoints : une vieille chamane et ses deux filles. À la fin du repas, elles chantent pour nous, et l’on ouvre la fenêtre de crainte que la puissance des ondes de leur chant ne brise la vitre. Est-ce l’effet de cette incantation mais le ciel est devenu noir, le Pacifique se brise en grandes lames sur les plages de sable noir et s’engouffre dans ce delta de rivière Siouguluan où Hsieh a un projet de rizière bio.

Ces contrastes violents des spectacles de la nature font écho à ce que la compagnie de Hsieh Chun Te et son organisation du voyage dégagent à la fois de sombre et de lumineux. On devine son attirance pour le danger, les extrêmes : la passerelle suspendue, la falaise vertigineuse, le delta bouillonnant, le cri de la sorcière et la jouissance enfantine du don, du partage, et du plaisir d’être vivant.Taiwan, l’île, est devenue une œuvre de Hsieh.

Tableau 5 Sanchong, les rives du fleuve Le ciel noir pèse baudelairienement comme un couvercle. L’air est froid et humide. C’est le jour où nous restons à Taipei avant notre départ pour Paris. La voiture s’arrête sous un gigantesque nœud de voies rapides, une immense étendue inerte où court une piste cyclable et où quelques voitures semblent déposées par un raz-de-marée. L’évocation des champs de roseaux ondoyant de leurs hampes fleuries (Raw - A meat stall ), ne parvient pas à vaincre l’impression de désolation, d’arrachement de la vie, provoquées par le détournement du fleuve. Une haute digue sur laquelle nous montons sépare cet espace dévasté de grands immeubles gris. Que faire de cette poignante solitude si on ne possède pas le don d’alchimie visuelle, de cette transmutation du psychique au matériel que possède l’artiste? C’est ce que je découvre le lendemain dans la maison de Hsieh, un dessin dans un carnet que je décris de mémoire : deux enfants surnagent dans l’eau agitée d’un grand bassin de béton, ils tiennent une canne à pêche dont le fil plonge dans le vide infini entre le bassin et une muraille d’immeubles dressés devant eux, d’une hauteur infinie. Nous sommes descendus au bord du fleuve Damshuie, la rive s’ouvre devant nous comme une large langue de boue noire qui conduirait aux abysses. Comment échapper à la vision de cette femme nue et clouée à ce ponton, The Tears of Tamsui River ? Cette matinée renoua avec le versant noir des œuvres de Hsieh.

Figure 1-1. Hsieh Chun-te, Drawing of RAW - The Fishmen on the Rooftop , pencil on paper, 1987-2011. Figure 1-1. Hsieh Chun-te, Disegno di RAW - Il pescatore sul tetto , matita su carta, 1987-2011. Figure 1-1. Hsieh Chun-te, Esquisse de RAW – Les pêcheurs sur le toit , crayon sur papier, 1987-2011. 圖 1-1 謝春德，〈RAW – 屋頂上的垂釣人〉草圖，鉛筆、紙，1987-2011。

Cette journée semble « orchestrée » par notre hôte : le changement brutal de lumière et de paysage, la montée ensoleillée dans les gorges, la route vertigineuse suspendue sous un ciel aussi sombre et tourmenté que l’Océan. La contemplation de la nature nous incite à une méditation plus tourmentée que pacifiée.

穿行島嶼丹尼耶 ‧ 希朋（Danièle Hibon）著林志明譯第一圖像台北宵夜才下機沒多久，轎車便將我們帶到一條陰暗街道的薄霧之中。很快地，我們便坐在路邊攤的凳子上，一位婦女以側影出現，將熱湯裝滿大碗，無聲地遞給我們。我們在片刻中猜想她的臉孔，它訴說著古老的知識、安詳及和邀請我們的主人間的默契。我們想要停留更久，分辨這些新味道的細節，但剛咕嚕咕嚕

夜晚為襯底，就像是煙火一樣閃亮耀眼。

這天晚上也一樣，謝春德揭露了他個性的另一面，他又再一次讓我們活在他在其攝影中表現的：瑣事和儀式的場面經營和一齊出現；這裡的瑣事是享受節慶的快樂人群，而儀式則是在寂靜的屋裡品嚐茶藝，其中各種小道具互相篏合，就像是在某些作品中的展示盒，比如〈廟祝唸春風〉。

地喝完湯，我們便穿過街道到第二攤坐下，品嚐其點心。這點心無疑是家庭風味，受台灣孩子喜愛吧，但它的甜味和緻密感不存在我們的記憶之中，我們交換著迷失的眼神，疑問的輕吟，被春德用好笑的目光看著。在我們眼前，鐘錶店櫥窗被照亮的一群鐘面標示著 22 點 30 分。我們的生理時鐘標示著 15 小時的

第三圖像回返亡靈與老宅

旅行，由巴黎的融雪來到沾粘在汽車擋風玻璃前的薄霧，這時我們已朝向遙遠的旅館開去，它隱身於雲霧中一座俯視台北的山丘。我們搭火車前往位於台灣西南部的雲林縣口湖鄉。這抵達真不尋常：一離開機場，謝春德無聲無息但又完美無缺地把我們沉浸入他的世界中，包括日常生活和他作品中所表現的：街道及其庶民生活節奏、傳統飲食、以及在日常現實（汽車交通）和非現實感之間的不確定地帶 – 後者的引發是因為汽車衝入黑暗之中，其中空隙則是出現在擋風上的雲霧蒸氣。為

在乾涸的水田之上，天空變得明亮起來，就在這片完全水平的風景中，我們和春德的朋友李小石相逢，他是位帶著明亮微笑的高山嚮導。

電影效果愛好者所特製的段落鏡頭，其剪輯師是位含蓄的電影創作者，這位主人無疑是位狡黠但熟悉「夜之力量」的人士。風強烈地吹襲著。公路在大片的水塘間延展，水體被奇特的小水車所攪動，其功能是打氣給蝦子們。海洋不遠。因我們的主人已事先通知，整個家庭等待著我事實上，每天這樣在夜裡開車上山，我都在暗地等著是否有個轉角處會出現賈克 ‧ 杜納（Jacques Tourneur）的《惡魔之夜》（ Night of the Demon ）片中的可怕旋風來嚇我：「什麼是黃昏？教授，你們很清楚心的另一半世界… 在黑暗的毒藥之間和心的毒藥之間，形態的差異是什麼？」令人憂懼且語帶諷刺的卡斯維爾醫生（Dr. Karswell）如此問荷登教授（professeur Holden）。

們，要拿温室裡生長滋味卓越的櫻桃蕃茄給我們品嚐。我們把小蕃茄裝滿了口袋，然後去一個大院子裡看平台上近千個烏魚子如何在太陽下烘烤，這是日本人最喜愛的台灣特產，而我們很快便發現它的美味。因為這時我們已進入一家風格像食堂的餐廳，而當我們一抵達，整個家庭便輪番出現，在桌上擺滿了一整座像動物園般的海鮮、大小蝦子，生熟的貝類、肉質純白的罕見魚類、油炸蚵仔、肥美的處女蟳，其第一層硬殼內部乃是柔軟的第二層為春天準備的鮮肉！我們的主人為我們的歡呼感到欣悅，並指揮著整個景象的進行程序。

然而招待我們到台灣的主人謝春德只是熱情的善意、關愛的友誼。他每天晚上用車將我們載回旅館，進行修復之眠。接著我們到街上佈滿小房子並為陽光照耀的村子散步，這時突然地，〈全家福〉這件品中的老房子就在那裡看著我們，正面留在陰影裡，而屋頂在兩邊微微翹

第二圖像客家莊的一晚

起。這是間美麗而且令人感動的房子，但不可能曉得是因為它自身的緣故或是因為藝術家的賦予，使得它有這樣的力量。我進到屋子裡去尋找鐵窗後的身影，我想在出來後看到庭院裡的水牛及這些出自一本奇特家庭相簿的小孩，但我只看到破屋頂的瓦片下，中央樑柱上畫著一些燕子，牠們已帶年紀的藍色羽翅尋找著天

汽車滑入夜色，而檳榔攤的霓虹燈閃爍劃破夜之黑。一小時的山路，我們來到一條短而寬的街上，兩旁是古老的小屋。踩在上面的腳步聲是沉寂的，眼前

空。就在廟宇一角，一段陰影下的道路，突然地，就像是夢中女妖，〈返鄉之日〉中的回返亡靈看著我們。她們是出自那一個犯罪或災難場景，前來和我們討債？

一眼便可望穿一座古廟的正面及底部，它由一排排紅色小燈籠照亮著。雕飾著巨大蛇及怪物的柱子支撐著屋頂，其上，色彩斑斕的龍向低空飛去，仿佛天空

她們在說的是這景象背後隱藏的那一個景像？必然是消逝吧，但那是何者的消亡？是家庭、共同體、人民、還是歷史？全部都是吧，因為她們屬於謝春德的世界。

是個劇場。我們走進一間小餐廳，歡迎我們的是隻老闆肩上的鸚鵡及砂鍋中的母雞，牠全身赤裸，放在一塊肥豬肉上。整個家庭都在忙，接連地將圓桌擺滿像是在遊行般的菜餚，它們一道道上來，輪番上陣，像是在馬戲團中一般：各種色彩的湯、從未見過其肌理和味道的蔬菜、炒的、煮的、燉的牛肉、腳和蹄、

第四圖像大理石懸崖及莊女士家的午餐

熟悉的動物的皮膚及內臟作成的肉凍，全桌的歡呼和謝的觀看，每當有一壺紹興酒送上來他便摩拳擦掌。這裡全部的事物都和這位大組織家相和諧，所有的一切都刺激著歡樂及似乎無止盡的胃口！

承著強風我們的飛機飛越高山。今早，我們的旅程就一直由一個神秘的硬紙板箱子陪伴著，大家輪流提著它。早上參觀的是太魯閣，那裡有由黑色大理石構成的懸崖，以令人暈眩的方式主宰著峽谷。接著我們進到莊女士小屋子的後方。不必等待，魚、章魚、貝類伴隨著香氣四溢的蔬菜便來到面前。春德的硬紙板箱子

一條陰暗的小路通向封閉庭園中的茶室。有間開向內庭的房間，其地板高起像是舞台，其中的大床覆蓋著白色的絲緞，像是在回應盛開的梅花，而後者以

裡藏的原來是一個黃銅火鍋，現在裡頭已煮著我們的阿美族嚮導特別為我們準備的酸菜。三位婦女加入了我們：一位年老女巫及她的兩位女兒。用餐之後，她們

夜晚為襯底，就像是煙火一樣閃亮耀眼。

第三圖像回返亡靈與老宅

在乾涸的水田之上，天空變得明亮起來，就在這片完全水平的風景中，我們和春德的朋友李小石相逢，他是位帶著明亮微笑的高山嚮導。

第二圖像客家莊的一晚

第四圖像大理石懸崖及莊女士家的午餐

Cooking Theater | 飲食劇場為我們歌唱，而我們把窗打開，怕她們的聲波太強會把玻璃震破。也許是因為這吟唱的關係，天空陰暗下來，太平洋在黑色沙灘上碎成了巨浪，並且湧入了秀姑巒溪口的三角洲，謝在附近有個生物農法水稻田計畫。

這一天就像是被我們的主人所「編曲」似的：光線和風景劇烈地變化，在陽光普照的峽谷中上溯，接著又在以令人暈眩方式懸掛的路上奔馳，而天空變得和海洋一樣陰暗及搖晃。看著這自然，給我們產生的觀想不是和平的，而是劇烈晃動的。

自然景觀的劇烈對比回應著謝春德的陪伴及旅行規畫中同時出現的陰暗和光明。我們可以猜想到危險和極端對他有種吸引力：懸吊的小橋、令人暈眩的懸崖、洶湧的三角洲、女巫的嘯聲及兒童般歡愉的禮物、分享、活著的喜悅。台灣這島嶼已成為謝春德的一部作品。

第五圖像三重，河岸黑沉沉的天空像波特萊爾詩中所描寫一般，如鍋蓋般重壓著。空氣寒冷而潮濕。在啟程返回巴黎前，我們在台北停留一天。汽車停在一個由快速道路形成的巨大結點下，一片惰性風景中一條自行車道展開來，旁邊的幾部車就像被潮汐沖來的。即使提到蘆葦的搖曳和它們開花的刺茅（《生》系列，〈豬肉攤〉），也無法揮去河流彎道處產生的悲傷和在生命中被連根拔起的印象。我們走上一道高聳河堤，它把這受傷的空間和那些高大的灰色住宅相分離。如果我們沒有藝術家視覺鍊金術的才具，可以把物質進行心理轉化，那要如何處理這尖銳的孤獨？這是我第二天在謝的家裡發現的，素描本中的一幅草圖（這裡我憑記憶描寫它）：兩個小孩面臨著一個巨大的水泥水池中震動劇烈的池水，他們手上拿著釣竿，其魚線落入水池和一大群建築形成的無限高大城牆之間的無限虛空之中。

我們走下淡水河岸，河岸在我們面前展開，就像一個廣大的由污泥構成的舌頭，導向深淵。如何能不看到〈淡水河的眼淚〉中被釘在碼頭上的裸身女人？這個早上是和謝作品中黑暗的一面連結了。

In Love with a Girl Picking tea, I love to pick

戀妹採茶愛採那二三片喲

Pick two leaves or three Three days

三日哦三日沒採就老了離哩喲

If they’re not picked in three days They’ll be too old In love with a girl, I’m in love

戀妹就愛戀介隔壁娘哪

The girl next door! I fell in love with a girl

戀到妹喲戀妹你就函得人惜喲

Girl I love, you can really charm a boy A brand-new teapot, made of tin and lead I’m the tin and, girl, you’re the lead The two of us

新打茶壺錫跟鉛喲我是錫呵妹妳就是鉛哪

兩人啊兩人有惜就才有緣呵

There’s feeling between us That’s the call of fate The two of us

兩人啊兩人有惜就才會有緣呵

There’s feeling between us That’s the call of fate Drink some tea, I love to drink

食茶啊就愛食這膨風茶哪喲

Pengfeng Tea!

一日喲一日末食就無生趣喲

One day

一日喲一日末食就無生趣哪

One day

戀到妹喲戀妹你就函得人惜喲

I fell in love with a girl

In Love with a Girl Picking tea, I love to pick

戀妹採茶愛採那二三片喲

Pick two leaves or three Three days

三日哦三日沒採就老了離哩喲

If they’re not picked in three days They’ll be too old In love with a girl, I’m in love

戀妹就愛戀介隔壁娘哪

The girl next door! I fell in love with a girl

戀到妹喲戀妹你就函得人惜喲

Girl I love, you can really charm a boy A brand-new teapot, made of tin and lead I’m the tin and, girl, you’re the lead The two of us

新打茶壺錫跟鉛喲我是錫呵妹妳就是鉛哪

兩人啊兩人有惜就才有緣呵

There’s feeling between us That’s the call of fate The two of us

兩人啊兩人有惜就才會有緣呵

There’s feeling between us That’s the call of fate Drink some tea, I love to drink

食茶啊就愛食這膨風茶哪喲

Pengfeng Tea!

一日喲一日末食就無生趣喲

One day

一日喲一日末食就無生趣哪

One day

戀到妹喲戀妹你就函得人惜喲

I fell in love with a girl

Tea Master

KU Wu-Nan

茶人 | 古武南

Born in 1965 in Beipu, the most celebrated Hakka village of Hsinchu County, Taiwan. In this historied town, heritage sites, temples,

1965 出生在台灣新竹最盛名的客家小鎮北埔

traditional houses and historical buildings abound. The teashops of Beipu specialize in world-famous Formosan Oolung Tea

北埔百年小鎮古蹟寺廟傳統民居歷史建築隨處可見

(“Oriental Beauty” Tea). As a child Ku grew up in a cultured environment in which grand tea ceremonies were frequent.

北埔人茶庄又以特產福爾摩沙烏龍茶（東方美人茶）聞名世界

In 1980, he studied traditional Western-style tailoring. After completing his coursework, he went to work at the Modern Clothing

孩童時期在優渥的人文環境與茶葉盛事中成長

Company in Taipei. 1980 學習傳統西服洋裁製作學成後到台北現代服裝設計公司 In 1994, he returned to his hometown of Beipu and started working to conserve local cultural assets. Founded a studio in Beipu, documenting old communities, houses and intangible cultural heritage.

1994 回家鄉北埔投入保護本土文化資產工作

Published a series of books on ordinary houses of the Beipu area.

成立北埔工作室記錄北埔老聚落民居建築與無形文化財

Served as the coordinating chairman of the Beipu Old Community Registration Project.

發表北埔地區一般民居建築構造研究叢書

Authored Beipu Houses, winner of Taiwan’s National Award for Excellence in Publication.

「北埔老聚落登錄計劃」協同主持人著作「北埔民居」榮獲第一屆國家出版品佳作獎

In 2005, he studied the art of tea under tea master Li Shu-yun of Ren Dan Ru Ju Tea Academy in Taipei. Served as editor-in-chief of Hsinchu Archives – The Teas of Hsinchu.

2005 茶道美學源習於台北「人澹如菊茶書院」李曙韻事茶師

Exhibition designer and tea ceremony instructor, 2009 National Palace Museum Tea Ceremony Exhibition.

新竹文獻－新竹介好茶專輯主編

Tea master, 2010 National Concert Hall lantern festival tea ceremony. 2009 國立故宮博物院－茶室展演空間設計師兼茶藝示範講師。 Documentary Films: Discovery Travel & Living Channel: The Perfect Home: KU Wu-Nan and the Love of Historical Houses

2010 國家音樂廳燈夕茶會事茶人

TV Asahi of Japan: The Secrets of Oriental Beauty Tea Public Television Service Taiwan: KU Wu-Nan, Historical Site Maintenance Man

影像紀錄 Discovery 旅遊生活頻道玩美女人窩 : 愛上古蹟的古武南日本朝日電視台東方美人茶的秘密公共電視維修古蹟的古武南

Tea Master

KU Wu-Nan

茶人 | 古武南

Born in 1965 in Beipu, the most celebrated Hakka village of Hsinchu County, Taiwan. In this historied town, heritage sites, temples,

1965 出生在台灣新竹最盛名的客家小鎮北埔

traditional houses and historical buildings abound. The teashops of Beipu specialize in world-famous Formosan Oolung Tea

北埔百年小鎮古蹟寺廟傳統民居歷史建築隨處可見

(“Oriental Beauty” Tea). As a child Ku grew up in a cultured environment in which grand tea ceremonies were frequent.

北埔人茶庄又以特產福爾摩沙烏龍茶（東方美人茶）聞名世界

In 1980, he studied traditional Western-style tailoring. After completing his coursework, he went to work at the Modern Clothing

孩童時期在優渥的人文環境與茶葉盛事中成長

1994 回家鄉北埔投入保護本土文化資產工作

Published a series of books on ordinary houses of the Beipu area.

成立北埔工作室記錄北埔老聚落民居建築與無形文化財

Served as the coordinating chairman of the Beipu Old Community Registration Project.

發表北埔地區一般民居建築構造研究叢書

Authored Beipu Houses, winner of Taiwan’s National Award for Excellence in Publication.

「北埔老聚落登錄計劃」協同主持人著作「北埔民居」榮獲第一屆國家出版品佳作獎

In 2005, he studied the art of tea under tea master Li Shu-yun of Ren Dan Ru Ju Tea Academy in Taipei. Served as editor-in-chief of Hsinchu Archives – The Teas of Hsinchu.

2005 茶道美學源習於台北「人澹如菊茶書院」李曙韻事茶師

Exhibition designer and tea ceremony instructor, 2009 National Palace Museum Tea Ceremony Exhibition.

新竹文獻－新竹介好茶專輯主編

2010 國家音樂廳燈夕茶會事茶人

TV Asahi of Japan: The Secrets of Oriental Beauty Tea Public Television Service Taiwan: KU Wu-Nan, Historical Site Maintenance Man

影像紀錄 Discovery 旅遊生活頻道玩美女人窩 : 愛上古蹟的古武南日本朝日電視台東方美人茶的秘密公共電視維修古蹟的古武南

Cooking Theater Performer | YANG Chia-Chao (Deloun Nahu)

阿美族巫師 | 楊佳妱

YANG Chia-Chao was born in 1922 in Malan, Taidong County, Taiwan. Her grandmother was a hereditary shaman of the Amis

1922 年出生於台東馬蘭，袓母是阿美族馬蘭世襲的巫師，從小楊佳

people. She loved her granddaughter very much, so she naturally passed the shamanic inheritance down to YANG Chia-Chao. Yang’s

妱即為袓母寵愛，所以巫術的傳承自然也就落在楊佳妱的身上。袓

grandmother was exceptionally energetic and active, and she lived to the age of 98. So it was that YANG Chia-Chao only received

母精力旺盛、活動力過人，活到九十八歲才過世，因此楊佳妱直到

the official designation of shaman at 68.

六十八歲才正式接掌巫師。

In 1996, the pop group Enigma produced the theme song for the Olympics in Atlanta, “Return to Innocence,” sampling what

1996 年亞特蘭大奧運會的主題曲 Return to Innocence 是 Enigma 樂團

was originally “Song of Imbibement,” sung by KUO Ying-Nan, an Amis of Taimali, in the Taiwanese county of Taidong. And

引用台東馬蘭阿美郭英男所唱的「飲酒之歌」。在部落的祭儀裡能

harmonizing with KUO Ying-Nan was a beautiful voice often heard in Amis ceremonies – it was YANG Chia-Chao’s, of course.

用最美的歌聲與郭英男和音對唱的當然是楊佳妱。八十九歲的她歌

Her singing voice is as timeless as the ocean, clear and bright and sweet, as she dances like a bird spreading its wings, gracefully

聲如細數歲月般隨著波濤展向大海；清澈細準、宏亮甜美。跳起舞

circling with the rising air current above an emerald valley.

來更如大鵬展翅，優雅地隨著上升氣流盤旋於山溪翠谷。

Now 89 years old, YANG Chia-Chao still rides her motorcycle at 8 a.m. every morning, flying down the road to Fuli from her home

現在八十九歲的楊佳妱每天上午八點騎著摩托車，從馬蘭一路飛飆

in Malan, delivering more than 20 kilos of tobacco leaves, and rushing home before 11 a.m. Her daily work is to roll up tobacco for

到富里載了四十斤的煙草後，再於上午十一點以前趕回到家裡。她

the members of her village, and to weave cloth on a traditional loom.

的日常工作就是替村民們捲手工煙草，以及用傳統織布機在家織布。

Cooking Theater Performer | YANG Chia-Chao (Deloun Nahu)

阿美族巫師 | 楊佳妱

YANG Chia-Chao was born in 1922 in Malan, Taidong County, Taiwan. Her grandmother was a hereditary shaman of the Amis

1922 年出生於台東馬蘭，袓母是阿美族馬蘭世襲的巫師，從小楊佳

people. She loved her granddaughter very much, so she naturally passed the shamanic inheritance down to YANG Chia-Chao. Yang’s

妱即為袓母寵愛，所以巫術的傳承自然也就落在楊佳妱的身上。袓

grandmother was exceptionally energetic and active, and she lived to the age of 98. So it was that YANG Chia-Chao only received

母精力旺盛、活動力過人，活到九十八歲才過世，因此楊佳妱直到

the official designation of shaman at 68.

六十八歲才正式接掌巫師。

In 1996, the pop group Enigma produced the theme song for the Olympics in Atlanta, “Return to Innocence,” sampling what

1996 年亞特蘭大奧運會的主題曲 Return to Innocence 是 Enigma 樂團

was originally “Song of Imbibement,” sung by KUO Ying-Nan, an Amis of Taimali, in the Taiwanese county of Taidong. And

引用台東馬蘭阿美郭英男所唱的「飲酒之歌」。在部落的祭儀裡能

harmonizing with KUO Ying-Nan was a beautiful voice often heard in Amis ceremonies – it was YANG Chia-Chao’s, of course.

用最美的歌聲與郭英男和音對唱的當然是楊佳妱。八十九歲的她歌

Her singing voice is as timeless as the ocean, clear and bright and sweet, as she dances like a bird spreading its wings, gracefully

聲如細數歲月般隨著波濤展向大海；清澈細準、宏亮甜美。跳起舞

circling with the rising air current above an emerald valley.

來更如大鵬展翅，優雅地隨著上升氣流盤旋於山溪翠谷。

Now 89 years old, YANG Chia-Chao still rides her motorcycle at 8 a.m. every morning, flying down the road to Fuli from her home

現在八十九歲的楊佳妱每天上午八點騎著摩托車，從馬蘭一路飛飆

in Malan, delivering more than 20 kilos of tobacco leaves, and rushing home before 11 a.m. Her daily work is to roll up tobacco for

到富里載了四十斤的煙草後，再於上午十一點以前趕回到家裡。她

the members of her village, and to weave cloth on a traditional loom.

的日常工作就是替村民們捲手工煙草，以及用傳統織布機在家織布。

Cooking Theater Performer | HSIAO Ho-Wen

表演者 | 蕭賀文

漢唐樂府副團長與排練指導

『河洛歌子戲團』：【浮沈紗帽】【曲判記】『卡哿隆劇團』：【暗夜聲引】飾影子

十五歲即加入雲門舞集，以極優異的舞蹈天賦與細緻的表演風範

『漢唐樂府』：【豔歌行】【簪花】【夜未央】【滿堂春】【儷人行】

成為最年輕之獨舞者。 1995 年藝文媒體記者評選為 Y 世代最佳

【嶺路】【荔鏡記】【梨園幽夢】【韓熙載夜宴圖】【洛神賦】

女舞者。1998 年加入漢唐樂府，赴泉州親炙梨園戲國家一級全才

之演出

演員曾靜萍之科範指導而技藝精進，益發風采，從現代而古典，

『漢唐樂府』：【韓熙載夜宴圖】編舞

由奔放而內斂，憑其靈巧精準之舞蹈天賦，聰穎堅毅之學習精神，

『大風音樂劇場』：【梁祝】編舞

脫胎換骨成為傳統梨園舞台之熠亮新星。

『國立國光劇團』：【閰羅夢】【李世民與魏徵】【三個人兒兩盞燈】編舞『唐美雲歌仔戲團』：【人間盜】【梨園天神 - 桂郎君】編舞

『雲門舞集』：【紅樓夢】【道】【流沙】【風的回聲】【奇冤報】【待嫁娘】【長鞭】【梆笛協奏曲】【禮儀篇】【流雲】【夢土】【白蛇傳】【莫札特五四六．一八九．六○五】【河】【六人舞】

新加坡歌手偲菘偉菘『情話』編舞及 MTV 演出

【星宿】【薪傳】【我的鄉愁我的歌】【涅槃】【春之祭禮】【孔

香港先施百貨廣告任楊紫瓊動作指導

雀變奏曲】【清平調】【明牌與換裝】【盲】【光環】【牛犁歌】

陳昇 1999、2003、2004、2005 跨年演唱會編舞及演出、2007 部

HSIAO Ho-Wen started her career as a professional dancer at Cloudgate when

之演出

分編舞

she was fifteen. Her outstanding talents in dance and her subtle interpretation of

『羅斯．帕克斯 ( Ross Parkes) 舞作發表會』：

溫金龍跨世紀慈善音樂會演出

the roles enable her to become the youngest soloist. In 1995, she was awarded

【潮汐】【結構的風景】【對比】

電影『夜宴』中「越人歌」編舞及演出

the title of “Best Female Dancer of the Y Generation” by media reporters. She

『太古踏舞團』：【生之曼陀羅】【無盡胎藏】【大神祭】【詩

電影『赤壁』編舞

entered Han Tang Yuefu in 1998. To perfect her performance, she went to

與花的獨言】

李泰祥最新創作【情奔】之第三段『咱的約定』『水仙』編舞及

『當代傳奇劇場』：【慾望城國】【陰陽河】【無限江山】【樓蘭女】

演出

『台北民族舞團』：【新疆舞】【水袖】【阿美族馬蘭村豐年祭】

北京中央電視台連續劇『紅樓夢』形體老師

【春節】【車鼓】【敦煌】【弓舞】【蒙古舞】之演出

2009 年獲選為中美亞洲文化基金會受獎人

Deputy Head, Rehearsal Director, Dancer of The Han Tang Yuefu Ensemble

Quanzhou and studied after Maestro Zeng Jingping, a world class artist. She, then, successfully transforms herself from a modern dancer to a classical dancer, who draws energy from inward spirit instead of outward strength. With her talents and fine personal qualities, she is now a glamorous star of traditional Liyuan dance.

『密獵者系列』：【等待果陀】飾樂克

Cooking Theater Performer | HSIAO Ho-Wen

表演者 | 蕭賀文

漢唐樂府副團長與排練指導

『河洛歌子戲團』：【浮沈紗帽】【曲判記】『卡哿隆劇團』：【暗夜聲引】飾影子

十五歲即加入雲門舞集，以極優異的舞蹈天賦與細緻的表演風範

『漢唐樂府』：【豔歌行】【簪花】【夜未央】【滿堂春】【儷人行】

成為最年輕之獨舞者。 1995 年藝文媒體記者評選為 Y 世代最佳

【嶺路】【荔鏡記】【梨園幽夢】【韓熙載夜宴圖】【洛神賦】

女舞者。1998 年加入漢唐樂府，赴泉州親炙梨園戲國家一級全才

之演出

演員曾靜萍之科範指導而技藝精進，益發風采，從現代而古典，

『漢唐樂府』：【韓熙載夜宴圖】編舞

由奔放而內斂，憑其靈巧精準之舞蹈天賦，聰穎堅毅之學習精神，

『大風音樂劇場』：【梁祝】編舞

脫胎換骨成為傳統梨園舞台之熠亮新星。

『國立國光劇團』：【閰羅夢】【李世民與魏徵】【三個人兒兩盞燈】編舞『唐美雲歌仔戲團』：【人間盜】【梨園天神 - 桂郎君】編舞

新加坡歌手偲菘偉菘『情話』編舞及 MTV 演出

【星宿】【薪傳】【我的鄉愁我的歌】【涅槃】【春之祭禮】【孔

香港先施百貨廣告任楊紫瓊動作指導

雀變奏曲】【清平調】【明牌與換裝】【盲】【光環】【牛犁歌】

陳昇 1999、2003、2004、2005 跨年演唱會編舞及演出、2007 部

HSIAO Ho-Wen started her career as a professional dancer at Cloudgate when

之演出

分編舞

she was fifteen. Her outstanding talents in dance and her subtle interpretation of

『羅斯．帕克斯 ( Ross Parkes) 舞作發表會』：

溫金龍跨世紀慈善音樂會演出

the roles enable her to become the youngest soloist. In 1995, she was awarded

【潮汐】【結構的風景】【對比】

電影『夜宴』中「越人歌」編舞及演出

the title of “Best Female Dancer of the Y Generation” by media reporters. She

『太古踏舞團』：【生之曼陀羅】【無盡胎藏】【大神祭】【詩

電影『赤壁』編舞

entered Han Tang Yuefu in 1998. To perfect her performance, she went to

與花的獨言】

李泰祥最新創作【情奔】之第三段『咱的約定』『水仙』編舞及

『當代傳奇劇場』：【慾望城國】【陰陽河】【無限江山】【樓蘭女】

演出

『台北民族舞團』：【新疆舞】【水袖】【阿美族馬蘭村豐年祭】

北京中央電視台連續劇『紅樓夢』形體老師

【春節】【車鼓】【敦煌】【弓舞】【蒙古舞】之演出

2009 年獲選為中美亞洲文化基金會受獎人

Deputy Head, Rehearsal Director, Dancer of The Han Tang Yuefu Ensemble

『密獵者系列』：【等待果陀】飾樂克

Fashion Designer 服裝設計 | Sophie HONG 洪麗芬 Dès que je porte un vêtement de Sophie Hong, je me sens à la fois princesse mandchoue à la cour des Ming et prête à

菜單

découvrir les karaokés de Taiwan. Aujourd'hui Sophie Hong vient vers nous au Palais - Royal. Accueillons la, adoptons la. Je la perçois comme un subtil trait d'union entre une Chine que nous ne connaissons qu'à peine et Paris que nous croyons connaître. -- Isabelle Huppert 當我穿上洪麗芬 Sophie HONG 的衣服時，我覺得自己像是位明朝宮殿的滿州公主，準備去探索台灣的

東方美人茶

KTV。現在洪麗芬來到我們這裡， Palais - Royal 。讓我們歡迎她，接納她進入我們其中。我感覺她就像是把我們自以為熟悉的巴黎和我們略知一二的中國做一個微妙的連結。－伊莎貝雨裴

Formosan Oolung Tea (“Oriental Beauty” Tea)

Who’s from Taiwan, westerners are only knowing about cars, computers and great movies as “the River”, “Happy together” or “the Hole”. But from Taipei are coming too operatic singers, choreographers, architects, playwrights and fashion designers like Sophie Hong. What makes this woman remarkable is her acute perception of the needs of the body and how she’s giving

烏魚子 + 埔里窖藏紹興酒

back to men freedom and seduction only by wearing comfortable clothes for modern life. Famous in her country for her creativity and flair, Sophie Hong belongs to a new generation of women who turns down conformism know perfectly how to analyze traditions and then, create a real style.

Mullet Roe + Shaohsing Wine in Puli

Hong’s favorite fabric is genuine silk tinted with tea and then lacquer according to a forerunner Chinese process which provides an incredible and unique range of blue, green, brown, and purple shades. Based on sin geometrical shapes, paper look a like shirts, quilted jackets, large pants, ”bark” raincoats and weaved ribbons vests are done to get superimposed make up a mature and really modern men’s wardrobe. Background As a designer, Sophie Hong, who was successively a student to Taipei’s Shi Chien College Fashion, to the Bunka College on Tokyo, to New-York’s FIT and to Paris Chambre Syndicale de la Couture, is working with silver, gold semi-precious gems, creating weird jewels which are like petrified flowers or vegetals. Trend Sophie Hong is not an ethnic designer and she’s playing with exotic traditions to seduce Europe or America: She’s a real skilled stylist and she’s entertaining warm relationships with artist and other creative people. Her gorgeous portfolio by French photographer Virgile Simon Bertrand contains beautiful black and white portraits of music comp Hsu-Po-Yun,

雞汁紫糯米 + 鮭魚卵 Purple Glutinous Rice with Chicken Soup + Salmon Roe

stage director Wu Hsing Kuo, architect Chi Ti Nan or sculptor Yand Po-Lin. All are wearing Hong’s clothes and are giving to the readers wish to do the same thing. - Italy MODA ARTE

誰來自台灣，當西方人只知道關於車子、電腦和著名電影諸如「河流」、「春光乍洩」或者是「洞」。其實還有許多歌劇演唱家、舞蹈家、建築師、劇作家，以及時裝設計師洪麗芬都來自台灣。為甚麼洪麗芬令人難忘，是她能敏銳的觀察人類軀體的需求並還給人類身體自由不被束縛，並且促使人們

冰鎮白木耳

了解魅力來自於穿著舒適且適合自己，這些創造了時尚的生活。因為充滿了創造力與天份而出名，洪麗芬屬於一個新的世代，她了解並分析這些傳統的元素，然後創建一個真正的新風格。

布料洪麗芬最喜歡的布料是純天然的真絲，那些外觀沾染著茶漆色，來自中國古早先民所創造出來的獨特布種，總是散發著不可思議的藍色、綠色、棕色還有紫色光采。幾何形狀、如紙般觸感的上衣、密佈著摺痕的外套、寬大的褲款、如樹皮般外觀的大衣還有織帶縱橫交錯的背心，這些角色層疊加入，創造了一個真正成熟且時尚的衣櫃。

背景身為一個設計師，洪麗芬先後在台北的實踐家專服裝設計科，日本的文化服裝學苑，緊接著紐約的 FIT 以及法國的高級時裝公會學校學習服裝。總是在絲的環繞下工作，創作半寶石、金工設計、創造出仿若石化的花朵那般獨一無二的首飾。

風格洪麗芬並不是一個中國風的設計師，她巧妙地將異國風味的傳統加以揉絞令歐美迷醉。她不僅是一位真正高明的設計師，並和許多藝術家、創作人有著十分密切良好的關係。包括替她精美手冊上黑白照片掌鏡的法國攝影師 Virgile Simon Bertrand、音樂家許博允、劇場導演吳興國、建築師季鐵男以及雕塑家楊柏林。他們穿上洪麗芬作品的風采，讓讀者們不禁崇尚而渴望。－ Italy MODA ARTE

Frozen Tremella Fuciformis

Fashion Designer 服裝設計 | Sophie HONG 洪麗芬 Dès que je porte un vêtement de Sophie Hong, je me sens à la fois princesse mandchoue à la cour des Ming et prête à

菜單

東方美人茶

Formosan Oolung Tea (“Oriental Beauty” Tea)

烏魚子 + 埔里窖藏紹興酒

Mullet Roe + Shaohsing Wine in Puli

雞汁紫糯米 + 鮭魚卵 Purple Glutinous Rice with Chicken Soup + Salmon Roe

stage director Wu Hsing Kuo, architect Chi Ti Nan or sculptor Yand Po-Lin. All are wearing Hong’s clothes and are giving to the readers wish to do the same thing. - Italy MODA ARTE

冰鎮白木耳

Frozen Tremella Fuciformis

東方美人茶 Formosan Oolung Tea (“Oriental Beauty” Tea)

烏魚子 + 埔里窖藏紹興酒 Mullet Roe + Shaohsing Wine in Puli

雞汁紫糯米 + 鮭魚卵 Purple Glutinous Rice with Chicken Soup + Salmon Roe

冰鎮白木耳 Frozen Tremella Fuciformis

Essays | 專文

Chi-Ming LIN 林志明

The Flux of Desire Il flusso del desiderio 慾望的流體

Dominique Païni

The Playful Cruelty of Hsieh Chun-te L’allegra crudeltà di Hsieh Chun-te La cruauté enjouée de Hsieh Chun-te 謝春德的歡愉殘酷

Essays | 專文

Chi-Ming LIN 林志明

The Flux of Desire Il flusso del desiderio 慾望的流體

Dominique Païni

The Playful Cruelty of Hsieh Chun-te L’allegra crudeltà di Hsieh Chun-te La cruauté enjouée de Hsieh Chun-te 謝春德的歡愉殘酷

The Flux of Desire by Chi-Ming LIN

A m o n g t h e Ta i w a n e s e a r t i s t s w o r k i n g p r i m a r i l y i n

long-term projects spanning a decade or two. The first

This solo exhibition, Le Festin de Chun-te, to be held

the places he had originally photographed, he related the

the medium of photography, Hsieh Chun-te is one of the

element is their serial nature: Photographers have gradually

at the historical Scoletta dei Battioro e Tiraoro in Venice,

scene at the time: Some people lived in clusters of illegal

least easily categorized. Since the late 1960s, he has been

stopped pursuing the artistic accomplishment of capturing

fully exemplifies the aforementioned cross-disciplinary,

shacks, while others lived in modern apartments. A large

involved in a diverse range of creative fields, including

in a single frame an image that is unique, surprising or

time-consuming aspects that are the two defining qualities

group of underground factories could be found nearby, and

documentary photography, photojournalism, fashion and

“never before seen,” which is increasingly rare. To engage

of Hsieh Chun-te’s work. The photographic portion of the

next door to residential dwellings stood little hills of piled-

commercial photography, design, poetry, installation, film

in a series, one must not only strive for an outstanding

exhibition is a series of 21 large-scale digital-treated images

up garbage. Perhaps the interiors of people’s homes were

(documentaries, feature films, commercial films and music

individual photo, but also for attainment, even admirable

taken over a period of 24 years (1987-2011). Originally

decorated nicely, but outdoors, the public spaces were in a

videos), stage and costume design, digital technology

achievement, in terms of overall theme, conceptual depth,

titled Sanchong, the series was renamed Raw, referring to a

state of neglect and abandonment.

development, and culinary invention. His most recent

stylistic execution, integration of aspects and mutual

sense of life stripped of its skin (la vie écorchée).

endeavor has even been ranked as world-class: He runs and

coordination. This is a considerably more difficult approach.

leads research and development for the restaurant C’est

In addition, photography must often rely on the accessibility

The source of inspiration for this series was the

river flowing through the Taipei area. Taiwan’s climate

Bon, spotlighted as one of the world’s top 100 emergent

of the photographed subject, which cannot be controlled

community of Sanchong and the daily life of its people.

includes occasional typhoons, which cause water levels to

restaurants in the book Coco by Phaidon Press of London. In

by subjective will, frequently making the “artistic work”

A s a t e l l i t e o f Ta i w a n ’s c a p i t a l , Ta i p e i , S a n c h o n g w a s

rise, leading to flooding along the banks of big rivers like

the past, this kind of cross-disciplinary, horizontal creativity

of photography (not merely the act of clicking the shutter

originally a place of transition: People from other areas of

the Tamsui. The repeated inundation of low-lying areas

may have been viewed as the “versatility” of an individual

button) a creative act pursued over an extended length

Taiwan came to Taipei looking for work opportunities and

exacerbated the temporary nature of the residential areas,

artist, but after working with Hsieh Chun-te and gaining a

of time. Another element is Hsieh’s development in the

means for advancement in society. In the early period, when

because if the temporary, illegal dwelling one built was

deeper understanding of him, one gains an appreciation of

direction of staged photography. This form of photography

they had few economic resources, they would choose to live

always destined to be flooded, then there seemed to be no

what today we prize as “cross-disciplinary” creation, which

dates back to the nineteenth century. An anticipation of it

in areas on the periphery of the city such as Sanchong. In

need to make the building particularly sturdy or stately.

he manifested early on: Behind the name Hsieh Chun-te, in

can even be seen in the very earliest photos, such as the

the 1980s Hsieh Chun-te set up his studio here, to get deep

Because of difficulties encountered in dredging the river,

fact, there lies a team of high-caliber people. And bringing

self-portraits of Hippolyte Bayard or the photographs of

into the community to observe this place and the daily life

the first method used early on to control the waters was to

them all together requires someone with not only immense

still objects by Louis Daguerre and Nicéphore Niépce.

of its people, but he gradually discovered that, in contrast to

build a floodwall, and this tall structure separated the people

personal talent, but also the ability to orchestrate others,

Nevertheless, its most recent works are the execution of

the dwelling place of temporary transition it had originally

f r o m t h e r i v e r, w h i c h h a d o r i g i n a l l y s e r v e d t o n o u r i s h

in a manner similar to a director, a conductor or a chef at a

scenes reminiscent of paintings or film sets. In such a

been, Sanchong had become in his mind a microcosm of a

civilization. So for a period of time, the lives of the people

fine restaurant.

context the photographer’s work becomes more complicated

period of Taiwanese history. Firstly, he discovered that many

became disconnected from the river, even though the growth

and multifaceted. He has to frequently investigate venues,

people had lived there for longer periods of time than in the

of Taipei had originally relied on the river that ran through

Another special characteristic of Hsieh Chun-te’s art is

design the poses of his human figures, arrange the backdrop,

hometowns from which they originally came, yet they were

it. This lofty floodwall symbolizing humanity’s segregation

that he often spends a very long time creating a work. A

props, setting and lighting, calculate the process and

still unable to identify with the place, always feeling that

from nature became a source of inspiration for Hsieh Chun-

single still photograph may appear to have been snapped

speed of motion. Ultimately, it is naturally a form of work

their original city was their family’s true home. This made

te. He wrote a film script about this place, describing how

rapidly, even instantaneously, capturing an action that has

that expends longer amounts of time and requires the

people feel no concern whatsoever for their surrounding

children used a rundown house and a mountain of garbage

occurred in the blink of an eye, but in his later works are

organization of a team. If one adopts this kind of method

environment, tossing garbage and setting down junk when

at the riverside to make the paradise of their dreams, where

two elements that have caused his photography to often

and also creates works in a series, one can often anticipate

and wherever they pleased. Several years later, when I went

they could live and play, but in the end it was destroyed in a

take a very long time to complete, or even to become

taking a long time to accomplish a project.

with Hsieh Chun-te on a trip through Sanchong visiting

sudden fire. (Figure 2-1, 2-2, 2-3).

Sanchong is situated next to the Tamsui River, the major

The Flux of Desire by Chi-Ming LIN

A m o n g t h e Ta i w a n e s e a r t i s t s w o r k i n g p r i m a r i l y i n

long-term projects spanning a decade or two. The first

This solo exhibition, Le Festin de Chun-te, to be held

the places he had originally photographed, he related the

the medium of photography, Hsieh Chun-te is one of the

element is their serial nature: Photographers have gradually

at the historical Scoletta dei Battioro e Tiraoro in Venice,

scene at the time: Some people lived in clusters of illegal

least easily categorized. Since the late 1960s, he has been

stopped pursuing the artistic accomplishment of capturing

fully exemplifies the aforementioned cross-disciplinary,

shacks, while others lived in modern apartments. A large

involved in a diverse range of creative fields, including

in a single frame an image that is unique, surprising or

time-consuming aspects that are the two defining qualities

group of underground factories could be found nearby, and

documentary photography, photojournalism, fashion and

“never before seen,” which is increasingly rare. To engage

of Hsieh Chun-te’s work. The photographic portion of the

next door to residential dwellings stood little hills of piled-

commercial photography, design, poetry, installation, film

in a series, one must not only strive for an outstanding

exhibition is a series of 21 large-scale digital-treated images

up garbage. Perhaps the interiors of people’s homes were

(documentaries, feature films, commercial films and music

individual photo, but also for attainment, even admirable

taken over a period of 24 years (1987-2011). Originally

decorated nicely, but outdoors, the public spaces were in a

videos), stage and costume design, digital technology

achievement, in terms of overall theme, conceptual depth,

titled Sanchong, the series was renamed Raw, referring to a

state of neglect and abandonment.

development, and culinary invention. His most recent

stylistic execution, integration of aspects and mutual

sense of life stripped of its skin (la vie écorchée).

endeavor has even been ranked as world-class: He runs and

coordination. This is a considerably more difficult approach.

leads research and development for the restaurant C’est

In addition, photography must often rely on the accessibility

The source of inspiration for this series was the

river flowing through the Taipei area. Taiwan’s climate

Bon, spotlighted as one of the world’s top 100 emergent

of the photographed subject, which cannot be controlled

community of Sanchong and the daily life of its people.

includes occasional typhoons, which cause water levels to

restaurants in the book Coco by Phaidon Press of London. In

by subjective will, frequently making the “artistic work”

A s a t e l l i t e o f Ta i w a n ’s c a p i t a l , Ta i p e i , S a n c h o n g w a s

rise, leading to flooding along the banks of big rivers like

the past, this kind of cross-disciplinary, horizontal creativity

of photography (not merely the act of clicking the shutter

originally a place of transition: People from other areas of

the Tamsui. The repeated inundation of low-lying areas

may have been viewed as the “versatility” of an individual

button) a creative act pursued over an extended length

Taiwan came to Taipei looking for work opportunities and

exacerbated the temporary nature of the residential areas,

artist, but after working with Hsieh Chun-te and gaining a

of time. Another element is Hsieh’s development in the

means for advancement in society. In the early period, when

because if the temporary, illegal dwelling one built was

deeper understanding of him, one gains an appreciation of

direction of staged photography. This form of photography

they had few economic resources, they would choose to live

always destined to be flooded, then there seemed to be no

what today we prize as “cross-disciplinary” creation, which

dates back to the nineteenth century. An anticipation of it

in areas on the periphery of the city such as Sanchong. In

need to make the building particularly sturdy or stately.

he manifested early on: Behind the name Hsieh Chun-te, in

can even be seen in the very earliest photos, such as the

the 1980s Hsieh Chun-te set up his studio here, to get deep

Because of difficulties encountered in dredging the river,

fact, there lies a team of high-caliber people. And bringing

self-portraits of Hippolyte Bayard or the photographs of

into the community to observe this place and the daily life

the first method used early on to control the waters was to

them all together requires someone with not only immense

still objects by Louis Daguerre and Nicéphore Niépce.

of its people, but he gradually discovered that, in contrast to

build a floodwall, and this tall structure separated the people

personal talent, but also the ability to orchestrate others,

Nevertheless, its most recent works are the execution of

the dwelling place of temporary transition it had originally

f r o m t h e r i v e r, w h i c h h a d o r i g i n a l l y s e r v e d t o n o u r i s h

in a manner similar to a director, a conductor or a chef at a

scenes reminiscent of paintings or film sets. In such a

been, Sanchong had become in his mind a microcosm of a

civilization. So for a period of time, the lives of the people

fine restaurant.

context the photographer’s work becomes more complicated

period of Taiwanese history. Firstly, he discovered that many

became disconnected from the river, even though the growth

and multifaceted. He has to frequently investigate venues,

people had lived there for longer periods of time than in the

of Taipei had originally relied on the river that ran through

Another special characteristic of Hsieh Chun-te’s art is

design the poses of his human figures, arrange the backdrop,

hometowns from which they originally came, yet they were

it. This lofty floodwall symbolizing humanity’s segregation

that he often spends a very long time creating a work. A

props, setting and lighting, calculate the process and

still unable to identify with the place, always feeling that

from nature became a source of inspiration for Hsieh Chun-

single still photograph may appear to have been snapped

speed of motion. Ultimately, it is naturally a form of work

their original city was their family’s true home. This made

te. He wrote a film script about this place, describing how

rapidly, even instantaneously, capturing an action that has

that expends longer amounts of time and requires the

people feel no concern whatsoever for their surrounding

children used a rundown house and a mountain of garbage

occurred in the blink of an eye, but in his later works are

organization of a team. If one adopts this kind of method

environment, tossing garbage and setting down junk when

at the riverside to make the paradise of their dreams, where

two elements that have caused his photography to often

and also creates works in a series, one can often anticipate

and wherever they pleased. Several years later, when I went

they could live and play, but in the end it was destroyed in a

take a very long time to complete, or even to become

taking a long time to accomplish a project.

with Hsieh Chun-te on a trip through Sanchong visiting

sudden fire. (Figure 2-1, 2-2, 2-3).

Sanchong is situated next to the Tamsui River, the major

A s Ta i w a n u n d e r w e n t r a p i d e c o n o m i c d e v e l o p m e n t

orderly fashion and pointing up like a bed of nails. On this

but Tamsui’s rapidly increasing population has produced

temporary, informal, pieced-together vehicle aboard a boat

and improvement during the 1980s and 1990s, it also

brambly stretch – the surface is rough as well – is a nude

p r e s s u r e o n t h e r i v e r s i d e e c o s y s t e m . C o n s e q u e n t l y, i n

sailing toward the unknown.

experienced a major political shift, ending martial law and

woman with her hands and feet bound together. Because of

addition to the historical tragedy of more than 60 years ago,

instituting democracy. Society also gained a stronger self-

the camera angle and the position of her body, her limbs

the tears of the Tamsui encompass the harm that rivers have

awareness and civil consciousness. The scenes that Hsieh

seem to have been cut off, and we can see an expression

suffered from the selfish exploitation of humankind.

Chun-te described in Sanchong and similar places gradually

of pain so extreme that she has entered a kind of trance. In

became a thing of the past. In line with his own history

the background of the photo is the Tamsui River, exuding a

The allegorical nature of Raw is also expressed in a

and human predicaments in motion within it. He also touches

of artistic development (from his Country, which more

gloomy, somber feeling, a faint trace of ambiguity arising

different image related to the Tamsui River. Titled Ferry

upon history in such images as Family Portrait (Figure 2-6).

closely approximated photojournalism, to the more deeply

from the mountains in the distance and the effect of the light

Voyagers at the Guan-yin-shan (Figure 2-5), we see an

It seems to be a traditional family portrait juxtaposed on

introspective scenes of None-Zone Moving), this series

above them, glimmering yet indistinct at dusk or dawn.

“extended version” of a scene often glimpsed on the

contemporary life, but the reality on which the photograph

streets of Taiwan. A whole family is squeezed onto a single

is based is the actual flight of the rural population and the

spanning two decades begins with observational reportage

The entire Raw series can be seen as a succession of works using the river – physical and historical, mental imagery and allegory – as a vehicle for exploring the desires

and gradually shifts toward an application of the model of

The scenery around the town of Tamsui, located in the

motorcycle, two children seated in front of the father, a

situation in which three generations meet together under one

staged photography to craft a series of allegories. In this

v i c i n i t y o f Ta i p e i , h a s l o n g b e e n a f a v o r i t e s u b j e c t o f

mother seated behind him, and two pairs of children in front

roof only during summer holidays, when the adult children

series, Hsieh Chun-te has also provided his own points of

Taiwanese painters. The reason that painters of the past were

and in back of her, making a total of two adults and six kids,

return to the countryside. Another photo, Homecoming Day

view on Taiwan’s process of development and his personal

fond of painting scenes here was because Western traders

packed together on the same motorbike. To this peculiar

(Figure 2-7), discusses the demand in modern society for

spiritual landscape.

and missionaries had been active in the area from early

family scene is added a dog, acting as navigator in the front

women’s bodies to conform to an ideal, but it also takes

times, and therefore buildings of local and Western styles

of the boat (which holds the motorcycle). But in addition to

place in a similar environment and context, revealing a

Evolving from the original Sanchong to the present-

were pleasingly interspersed here. In addition, the area

the familiar scene of family members, some geese are on the

process of dislocation between country and city, and hinting

day series Raw, the traces of history can still be seen

offers many scenic features considered worth including in

boat as well (one in front and three in back), quite possibly

at the changing state of labor. In another photo titled The

everywhere. For example, The Tears of Tamsui River (Figure

a painting: the river widening as it approaches the sea, and

symbolizing the remnants of the agrarian age (because in

Fishmen on the Rooftop (Figure 2-8), the artist drolly places

2-4) is an image that blends together the themes of nearly

the mountains on either side of the river, each with its own

former days families often raised poultry to supplement their

two people fishing atop a highrise building next to the most

the entire series. Its inspiration comes from the February

distinct character. The Tamsui that Hsieh Chun-te portrays

resources). This little boat is paradoxically both crowded

bustling thoroughfare in Taipei, expressing a sort of urban

28 massacre of 1947. During the sanguinary oppression that

this time is considerably different from the traditional

a n d l o n e l y, t r a v e r s i n g f o r w a r d i n t h i s n o t p a r t i c u l a r l y

nostalgia for the countryside, but also articulating a feeling

the Chinese Nationalist government launched to establish

treatment: Firstly, it is photographed from Bali, on the left

formal way. The arrangement of the human figures and

of absurdity regarding the many incongruities between city

their rule soon after arriving in Taiwan, many of the torture

bank of the river, looking toward Tamsui. Furthermore,

the overall s ens e of direction give the impres s ion that

people and their environment.

victims were paraded before the public with coarse metal

the scenery at the water ’s edge no longer is dominated

the family is crossing the river by motorbike. Employing

wires run through their hands, or they were drowned in the

by traditional houses that accentuate the harmonious

the family as a metaphor for the nation is a common

Another direction in which this river flows is toward

river. The Tears of Tamsui River revisits the banks of the

integration of nature and humanity, but modern highrises

device, and even at a theoretical dimension, “a nation …

the inner mind and fantasy scenes where desires play

river at the town of Bali, where one of the execution grounds

towering above the riverbank. These highrises bear witness

is a spiritual family” (Ernst Renan). The artist left a thin

out. Often, they look like a kind of dance. For example,

may have been at the time, creating a photographic image

to the new way in which Taipei has developed: Because of

protective film unremoved from portions of the negative,

R i v e r b a n k ( F i g u r e 2 - 9 ) w a s a l s o t a k e n b y t h e Ta m s u i .

with greater allegorical meaning. A small pier extending

the construction of the mass rapid transit system, Taipei’s

resulting in an unstable, vague sensation, and thus the

The dance in the picture is obviously ambiguous. It looks

out into a river is covered with iron spikes, arranged in an

middle class can easily relocate to the city’s periphery,

nation metaphorically represented by this family is like a

like the mutual interaction of two people, and also like a

A s Ta i w a n u n d e r w e n t r a p i d e c o n o m i c d e v e l o p m e n t

orderly fashion and pointing up like a bed of nails. On this

but Tamsui’s rapidly increasing population has produced

temporary, informal, pieced-together vehicle aboard a boat

and improvement during the 1980s and 1990s, it also

brambly stretch – the surface is rough as well – is a nude

p r e s s u r e o n t h e r i v e r s i d e e c o s y s t e m . C o n s e q u e n t l y, i n

sailing toward the unknown.

experienced a major political shift, ending martial law and

woman with her hands and feet bound together. Because of

addition to the historical tragedy of more than 60 years ago,

instituting democracy. Society also gained a stronger self-

the camera angle and the position of her body, her limbs

the tears of the Tamsui encompass the harm that rivers have

awareness and civil consciousness. The scenes that Hsieh

seem to have been cut off, and we can see an expression

suffered from the selfish exploitation of humankind.

Chun-te described in Sanchong and similar places gradually

of pain so extreme that she has entered a kind of trance. In

became a thing of the past. In line with his own history

the background of the photo is the Tamsui River, exuding a

The allegorical nature of Raw is also expressed in a

and human predicaments in motion within it. He also touches

of artistic development (from his Country, which more

gloomy, somber feeling, a faint trace of ambiguity arising

different image related to the Tamsui River. Titled Ferry

upon history in such images as Family Portrait (Figure 2-6).

closely approximated photojournalism, to the more deeply

from the mountains in the distance and the effect of the light

Voyagers at the Guan-yin-shan (Figure 2-5), we see an

It seems to be a traditional family portrait juxtaposed on

introspective scenes of None-Zone Moving), this series

above them, glimmering yet indistinct at dusk or dawn.

“extended version” of a scene often glimpsed on the

contemporary life, but the reality on which the photograph

streets of Taiwan. A whole family is squeezed onto a single

is based is the actual flight of the rural population and the

spanning two decades begins with observational reportage

The entire Raw series can be seen as a succession of works using the river – physical and historical, mental imagery and allegory – as a vehicle for exploring the desires

and gradually shifts toward an application of the model of

The scenery around the town of Tamsui, located in the

motorcycle, two children seated in front of the father, a

situation in which three generations meet together under one

staged photography to craft a series of allegories. In this

v i c i n i t y o f Ta i p e i , h a s l o n g b e e n a f a v o r i t e s u b j e c t o f

mother seated behind him, and two pairs of children in front

roof only during summer holidays, when the adult children

series, Hsieh Chun-te has also provided his own points of

Taiwanese painters. The reason that painters of the past were

and in back of her, making a total of two adults and six kids,

return to the countryside. Another photo, Homecoming Day

view on Taiwan’s process of development and his personal

fond of painting scenes here was because Western traders

packed together on the same motorbike. To this peculiar

(Figure 2-7), discusses the demand in modern society for

spiritual landscape.

and missionaries had been active in the area from early

family scene is added a dog, acting as navigator in the front

women’s bodies to conform to an ideal, but it also takes

times, and therefore buildings of local and Western styles

of the boat (which holds the motorcycle). But in addition to

place in a similar environment and context, revealing a

Evolving from the original Sanchong to the present-

were pleasingly interspersed here. In addition, the area

the familiar scene of family members, some geese are on the

process of dislocation between country and city, and hinting

day series Raw, the traces of history can still be seen

offers many scenic features considered worth including in

boat as well (one in front and three in back), quite possibly

at the changing state of labor. In another photo titled The

everywhere. For example, The Tears of Tamsui River (Figure

a painting: the river widening as it approaches the sea, and

symbolizing the remnants of the agrarian age (because in

Fishmen on the Rooftop (Figure 2-8), the artist drolly places

2-4) is an image that blends together the themes of nearly

the mountains on either side of the river, each with its own

former days families often raised poultry to supplement their

two people fishing atop a highrise building next to the most

the entire series. Its inspiration comes from the February

distinct character. The Tamsui that Hsieh Chun-te portrays

resources). This little boat is paradoxically both crowded

bustling thoroughfare in Taipei, expressing a sort of urban

28 massacre of 1947. During the sanguinary oppression that

this time is considerably different from the traditional

a n d l o n e l y, t r a v e r s i n g f o r w a r d i n t h i s n o t p a r t i c u l a r l y

nostalgia for the countryside, but also articulating a feeling

the Chinese Nationalist government launched to establish

treatment: Firstly, it is photographed from Bali, on the left

formal way. The arrangement of the human figures and

of absurdity regarding the many incongruities between city

their rule soon after arriving in Taiwan, many of the torture

bank of the river, looking toward Tamsui. Furthermore,

the overall s ens e of direction give the impres s ion that

people and their environment.

victims were paraded before the public with coarse metal

the scenery at the water ’s edge no longer is dominated

the family is crossing the river by motorbike. Employing

wires run through their hands, or they were drowned in the

by traditional houses that accentuate the harmonious

the family as a metaphor for the nation is a common

Another direction in which this river flows is toward

river. The Tears of Tamsui River revisits the banks of the

integration of nature and humanity, but modern highrises

device, and even at a theoretical dimension, “a nation …

the inner mind and fantasy scenes where desires play

river at the town of Bali, where one of the execution grounds

towering above the riverbank. These highrises bear witness

is a spiritual family” (Ernst Renan). The artist left a thin

out. Often, they look like a kind of dance. For example,

may have been at the time, creating a photographic image

to the new way in which Taipei has developed: Because of

protective film unremoved from portions of the negative,

R i v e r b a n k ( F i g u r e 2 - 9 ) w a s a l s o t a k e n b y t h e Ta m s u i .

with greater allegorical meaning. A small pier extending

the construction of the mass rapid transit system, Taipei’s

resulting in an unstable, vague sensation, and thus the

The dance in the picture is obviously ambiguous. It looks

out into a river is covered with iron spikes, arranged in an

middle class can easily relocate to the city’s periphery,

nation metaphorically represented by this family is like a

like the mutual interaction of two people, and also like a

single person, splitting and morphing. Or for instance, in

seems to be confiding that all of this is just his own fantasy.

Bitches (Figure 2-10) women’s bodies are hung upside down

with cuisine, running the restaurant C’est Bon, for which

together, their names nearly sum up a period of art history

he designed all the interior décor, furniture and utensils. In

as if they are beasts, set in contrast against a landscape

In these images there sometimes appears a form of

closely tied to the native realist movement. Returning to

addition to its more visual aspects, C’est Bon is also a venue

that is desolate yet not entirely natural. They seem to be

referential creation similar to postmodern art. For example,

the work by Hsieh Chun-te, we can easily see the similarity

engaging in its own culinary philosophy and experimental

experiencing torture, or even extreme physical training. In

Wondering Artists (ancient version, detail) (Figure 2-15)

between these two pictures, in the number of persons, the

exploration. One of their major points of emphasis is

the work Moonlight (Figure 2-11), the lunar glow may have

features a group of six men and women at the beach, some

presence of a baby and a monkey, the use of the beach as

ingredients. In this exhibition catalogue, we have included

originally been like the radiant arrival of a Greek god, the

standing, some squatting. One is holding a baby in his arms,

a setting and the vocational comportment of the human

a short essay on mullet roe, tea leaves and rice by Chen

inception of a romance between god and mortal, as in the

another is holding a monkey. Three white curtains also

subjects. All these aspects, even the inclusion of elements

Cheng-yung, a biochemistry expert, who has longtime

myth of Endymion (Figure 2-12). But here the moon has

appear in the picture, one of them on fire, creating a strange

connected to the stage, suggest that Hsieh’s work may be a

collaborated with Hsieh Chun-te, concretely and concisely

been exchanged for an airplane, and what was originally a

yet beautiful scene, and transforming a natural setting into

remake of this snapshot of daily life that was passed along

explaining their emphasis on traditional local ingredients,

handsome youth reclining has metamorphosed into a Sadean

something closer to a stage. In Taiwan a photograph was

through a period of Taiwanese art history. The difference

detailed research of harvesting and fermenting processes,

woman, exciting herself with a feather. While the fantasies

published in the mid-1970s, originally taken by the artist

lies not merely in the question of gender (two of the people

and ideals of sustainable agriculture.

of mythology have been destroyed in modern life, some

Ju Ming (Figure 2-16), and later included in Chang Chao-

i n H s i e h C h u n - t e ’s p h o t o a r e w o m e n ) , t h e p r e s e n c e o f

basic truths still remain. One such truth that is sometimes

Tang’s 1976 book Life Notes. Then, in 1979, the artist Shi

nudity, or subtle alterations of vocation, but principally in

From a certain angle, Hsieh Chun-te’s running C’est

starkly apparent is the close proximity of eros and death: In

Song created a series of woodblock prints based on the

a considerably contrasting stylistic treatment. The original

Bon as a practical application of his ideas is a manifesto

Main Street Electrical Parade (Figure 2-13), this state of

photo (Figure 2-17), and in 1986 choreographer Lin Hwai-

feeling of intimacy from a previous era has diminished

challenging modern art’s reliance on the obsolete model

affairs could not be more evident, but viewers unfamiliar

min used one of Shi Song’s prints as a backdrop in the

significantly, and a certain mysterious, nostalgic spirit

of conceptualization. What he cherishes is long-term,

with the folk culture of Taiwan may not be able to discern

stage design for his dance My Nostalgia, My Songs, which

evocative of vagabond troubadours has been intensified:

painstaking work and creativity in a spirit approaching that

this at first blush. In Taiwanese folk custom, “flower truck”

centered on Taiwanese pop songs of the 1950s (Figure

The sense of desolation formed from the seaside setting

of an artisan. For example, he is extremely stringent in the

performances involving erotic dancers often take place at

2-18). The dissemination and transformation of this photo

has deepened, while the final addition of stage curtains,

selection of varieties of rice. They must be suitable for a

funerals. This is why we can see a stripper side-by-side

can be said to illustrate an important era in Taiwanese art.

producing an incendiary effect of elegant decadence, is a

healthful lifestyle, high in fiber and low in starch. Next is

with a coffin and grieving family members. This photograph

Originally, the subjects in the photo were members of a hand

completely new element. Through this photo, one might say

the selection of an independent farm lot and water supply,

uses as its backdrop a stand of barren ironwood trees on a

puppet theater troupe at the seaside in the town of Tongsiao.

that Hsieh Chun-te is engaging in both an homage and a

and assiduous care in every procedure – sowing, cultivating,

southern Taiwanese beach, further accentuating the picture’s

The group of six, all men, were standing and squatting, and

farewell to an age and a movement in which he took part.

harvesting and husking, making the most basic ingredient

ritualistic atmosphere. Yet the picture that most powerfully

two of them were holding children. One of them poses with

expresses the theme of love and death is The Romance on

a monkey. This photo has been interpreted as a coming-of-

Although he has drawn a line with the previous era, his

when the public “consumes” a work prepared with such

the Stele (ancient version, detail) (Figure 2-14). Not only is

age picture from some previous era, “like an intimate and

basic artistic stance is still an extension of it. Hsieh Chun-te

a temperament and attitude, the result is simultaneously

the theme illustrated through the contrast between the group

mysterious summoning.” Ever since its publication, it has

believes that art resides in the search for a kind of emotional

the most direct form of contact and the most unexpected

of solemn mourners and the couple making love on top

become a cherished image among many young people, who

stirring, that it must touch off a latent, biological “primitive

responses.

of a grave, but we can also see a vague impression of the

even “take their own photos with poses imitating those in

desire for connection” that awakens a common visceral

artist’s own head in the sand in between the two groups. In combination with the clouds floating in the background, he

Hwai-min are all major figures in Taiwan’s art world. Taken

the picture.” Ju Ming, Chang Chao-Tang, Shi Song and Lin 1 http://roxytom.bluecircus.net/archives/006265.html 11/3/2011.

(rice) both richly flavorful and refined. And of course,

response in the collective subconscious. Very likely, it is

In order to genuinely manifest this, and to allow visitors

for such a reason that in 2003 he began getting involved

to deeply appreciate, sense and even be moved by them,

single person, splitting and morphing. Or for instance, in

seems to be confiding that all of this is just his own fantasy.

Bitches (Figure 2-10) women’s bodies are hung upside down

with cuisine, running the restaurant C’est Bon, for which

together, their names nearly sum up a period of art history

he designed all the interior décor, furniture and utensils. In

as if they are beasts, set in contrast against a landscape

In these images there sometimes appears a form of

closely tied to the native realist movement. Returning to

addition to its more visual aspects, C’est Bon is also a venue

that is desolate yet not entirely natural. They seem to be

referential creation similar to postmodern art. For example,

the work by Hsieh Chun-te, we can easily see the similarity

engaging in its own culinary philosophy and experimental

experiencing torture, or even extreme physical training. In

Wondering Artists (ancient version, detail) (Figure 2-15)

between these two pictures, in the number of persons, the

exploration. One of their major points of emphasis is

the work Moonlight (Figure 2-11), the lunar glow may have

features a group of six men and women at the beach, some

presence of a baby and a monkey, the use of the beach as

ingredients. In this exhibition catalogue, we have included

originally been like the radiant arrival of a Greek god, the

standing, some squatting. One is holding a baby in his arms,

a setting and the vocational comportment of the human

a short essay on mullet roe, tea leaves and rice by Chen

inception of a romance between god and mortal, as in the

another is holding a monkey. Three white curtains also

subjects. All these aspects, even the inclusion of elements

Cheng-yung, a biochemistry expert, who has longtime

myth of Endymion (Figure 2-12). But here the moon has

appear in the picture, one of them on fire, creating a strange

connected to the stage, suggest that Hsieh’s work may be a

collaborated with Hsieh Chun-te, concretely and concisely

been exchanged for an airplane, and what was originally a

yet beautiful scene, and transforming a natural setting into

remake of this snapshot of daily life that was passed along

explaining their emphasis on traditional local ingredients,

handsome youth reclining has metamorphosed into a Sadean

something closer to a stage. In Taiwan a photograph was

through a period of Taiwanese art history. The difference

detailed research of harvesting and fermenting processes,

woman, exciting herself with a feather. While the fantasies

published in the mid-1970s, originally taken by the artist

lies not merely in the question of gender (two of the people

and ideals of sustainable agriculture.

of mythology have been destroyed in modern life, some

Ju Ming (Figure 2-16), and later included in Chang Chao-

i n H s i e h C h u n - t e ’s p h o t o a r e w o m e n ) , t h e p r e s e n c e o f

basic truths still remain. One such truth that is sometimes

Tang’s 1976 book Life Notes. Then, in 1979, the artist Shi

nudity, or subtle alterations of vocation, but principally in

From a certain angle, Hsieh Chun-te’s running C’est

starkly apparent is the close proximity of eros and death: In

Song created a series of woodblock prints based on the

a considerably contrasting stylistic treatment. The original

Bon as a practical application of his ideas is a manifesto

Main Street Electrical Parade (Figure 2-13), this state of

photo (Figure 2-17), and in 1986 choreographer Lin Hwai-

feeling of intimacy from a previous era has diminished

challenging modern art’s reliance on the obsolete model

affairs could not be more evident, but viewers unfamiliar

min used one of Shi Song’s prints as a backdrop in the

significantly, and a certain mysterious, nostalgic spirit

of conceptualization. What he cherishes is long-term,

with the folk culture of Taiwan may not be able to discern

stage design for his dance My Nostalgia, My Songs, which

evocative of vagabond troubadours has been intensified:

painstaking work and creativity in a spirit approaching that

this at first blush. In Taiwanese folk custom, “flower truck”

centered on Taiwanese pop songs of the 1950s (Figure

The sense of desolation formed from the seaside setting

of an artisan. For example, he is extremely stringent in the

performances involving erotic dancers often take place at

2-18). The dissemination and transformation of this photo

has deepened, while the final addition of stage curtains,

selection of varieties of rice. They must be suitable for a

funerals. This is why we can see a stripper side-by-side

can be said to illustrate an important era in Taiwanese art.

producing an incendiary effect of elegant decadence, is a

healthful lifestyle, high in fiber and low in starch. Next is

with a coffin and grieving family members. This photograph

Originally, the subjects in the photo were members of a hand

completely new element. Through this photo, one might say

the selection of an independent farm lot and water supply,

uses as its backdrop a stand of barren ironwood trees on a

puppet theater troupe at the seaside in the town of Tongsiao.

that Hsieh Chun-te is engaging in both an homage and a

and assiduous care in every procedure – sowing, cultivating,

southern Taiwanese beach, further accentuating the picture’s

The group of six, all men, were standing and squatting, and

farewell to an age and a movement in which he took part.

harvesting and husking, making the most basic ingredient

ritualistic atmosphere. Yet the picture that most powerfully

two of them were holding children. One of them poses with

expresses the theme of love and death is The Romance on

a monkey. This photo has been interpreted as a coming-of-

Although he has drawn a line with the previous era, his

when the public “consumes” a work prepared with such

the Stele (ancient version, detail) (Figure 2-14). Not only is

age picture from some previous era, “like an intimate and

basic artistic stance is still an extension of it. Hsieh Chun-te

a temperament and attitude, the result is simultaneously

the theme illustrated through the contrast between the group

mysterious summoning.” Ever since its publication, it has

believes that art resides in the search for a kind of emotional

the most direct form of contact and the most unexpected

of solemn mourners and the couple making love on top

become a cherished image among many young people, who

stirring, that it must touch off a latent, biological “primitive

responses.

of a grave, but we can also see a vague impression of the

even “take their own photos with poses imitating those in

desire for connection” that awakens a common visceral

artist’s own head in the sand in between the two groups. In combination with the clouds floating in the background, he

Hwai-min are all major figures in Taiwan’s art world. Taken

the picture.” Ju Ming, Chang Chao-Tang, Shi Song and Lin 1 http://roxytom.bluecircus.net/archives/006265.html 11/3/2011.

(rice) both richly flavorful and refined. And of course,

response in the collective subconscious. Very likely, it is

In order to genuinely manifest this, and to allow visitors

for such a reason that in 2003 he began getting involved

to deeply appreciate, sense and even be moved by them,

this exhibition has devoted great effort, overcoming many

Serving as a gastronomic “theater,” this six-day multi-

Night (Figure 2-19), resonates the theme of L'Origine du

complex problems, to present a six-day “cooking theater”

event performance includes the participation of many

monde by Gustave Courbet (Figure 2-20) but with a more

performance.

different kinds of artists, giving the overall event a high-

cruel display of the female form. This work forms a bridge

degree of symbolic meaning: It is basically conceived as

between the image works and the culinary portion of the

Cuisine has long had a relationship with contemporary

a ceremonial offering. Before the partaking of food, there

exhibition, illustrating that the power of desire is one of the

art, even serving as one of its creative elements, yet

will first be a song of welcome sung by Yang Chia-chao.

uniting attributes of the overall exhibition, the shoots of rice

completely integrating cuisine and contemporary art is

Ms. Yang is already of advanced age – nearly 90. She is an

serving as symbols of the tiny hope emerging within this

no easy feat. One fairly recent example was the 2007

indigenous person of the Amis group who has the status of a

nameless force of desire.

Documenta in Kassel, Germany, which featured Ferran

female shaman. Clear and precise, her voice is all the more

Adrià, head chef of the restaurant el Bulli, as one of its

special for its full resonance, like time traveling with the

artists. However, Adrià did not remove himself from his

waves toward the deep sea. For her, singing has a special

restaurant, but allowed his restaurant, in Spain, to serve as

meaning, because when she was a girl she was captured by

Hsieh Chun-te’s “cooking

another tribe, and as they were preparing to sacrifice her, all

theater” at the Biennale Arte 2011 attempts to combine ritual

she could do was sing a forlorn song pleading for rescue. In

with the unique features of native cuisine, experimenting

the end, her people heard her voice and rushed to free her.

with culinary innovation and the thoughts contained within

And so her singing voice has always been part of her life.

it, completely blending it into the possibilities of artistic

At the conclusion of the meal, the acclaimed dancer Hsiao

performance. Thus, everything, from the food colors,

He-wen will perform a dance of offering one’s body to the

cooking methods, utensils and mode of display to the overall

heavens. Early in her career Ms. Hsiao performed for many

arrangement, has been meticulously designed as an attempt

years with Taiwan’s well-known Cloud Gate Dance Theatre.

at artistic expression in its own right. It even introduces

In 1998 she joined the Han-Tang Yuefu Music Ensemble,

a questioning of the concept of traditional cuisine. For

and eventually came to pursue a more classical, disciplined

example, the meal does not begin with “eating” (if by

style of dance. Her performance will conclude this cooking

“eating” we mean placing something in the mouth), but

theater, endowing food with a rich sense of ceremony.

one of the exhibition pavilions.

(Translator: Brent Heinrich)

rather with smelling the fragrance. This segment will be led by Hakka tea master Ku Wu-nan. He has spent many years

In terms of spatial design, Le Festin de Chun-te also

in the well-known Hakka settlement of Beipu in northern

hopes to explore different possibilities in temporality. At

Taiwan running a traditional inn and working to survey and

the most crucial position in this solo exhibition space,

preserve intangible cultural heritage. He is a tea connoisseur

we will exhibit an unique installation. Placed beneath a

of deep personal cultivation.

large-scale image, this installation is made of ceramic and

Richard Hamilton and Vicente Todolí, Food for Thought. Thought for Food.

Barcellona: Actar, 2009, pp. 82-86.

a small quantity of rice seedlings forming the figurative image of a paddy field. The image work, titled Flight in the

this exhibition has devoted great effort, overcoming many

Serving as a gastronomic “theater,” this six-day multi-

Night (Figure 2-19), resonates the theme of L'Origine du

complex problems, to present a six-day “cooking theater”

event performance includes the participation of many

monde by Gustave Courbet (Figure 2-20) but with a more

performance.

different kinds of artists, giving the overall event a high-

cruel display of the female form. This work forms a bridge

degree of symbolic meaning: It is basically conceived as

between the image works and the culinary portion of the

Cuisine has long had a relationship with contemporary

a ceremonial offering. Before the partaking of food, there

exhibition, illustrating that the power of desire is one of the

art, even serving as one of its creative elements, yet

will first be a song of welcome sung by Yang Chia-chao.

uniting attributes of the overall exhibition, the shoots of rice

completely integrating cuisine and contemporary art is

Ms. Yang is already of advanced age – nearly 90. She is an

serving as symbols of the tiny hope emerging within this

no easy feat. One fairly recent example was the 2007

indigenous person of the Amis group who has the status of a

nameless force of desire.

Documenta in Kassel, Germany, which featured Ferran

female shaman. Clear and precise, her voice is all the more

Adrià, head chef of the restaurant el Bulli, as one of its

special for its full resonance, like time traveling with the

artists. However, Adrià did not remove himself from his

waves toward the deep sea. For her, singing has a special

restaurant, but allowed his restaurant, in Spain, to serve as

meaning, because when she was a girl she was captured by

Hsieh Chun-te’s “cooking

another tribe, and as they were preparing to sacrifice her, all

theater” at the Biennale Arte 2011 attempts to combine ritual

she could do was sing a forlorn song pleading for rescue. In

with the unique features of native cuisine, experimenting

the end, her people heard her voice and rushed to free her.

with culinary innovation and the thoughts contained within

And so her singing voice has always been part of her life.

it, completely blending it into the possibilities of artistic

At the conclusion of the meal, the acclaimed dancer Hsiao

performance. Thus, everything, from the food colors,

He-wen will perform a dance of offering one’s body to the

cooking methods, utensils and mode of display to the overall

heavens. Early in her career Ms. Hsiao performed for many

arrangement, has been meticulously designed as an attempt

years with Taiwan’s well-known Cloud Gate Dance Theatre.

at artistic expression in its own right. It even introduces

In 1998 she joined the Han-Tang Yuefu Music Ensemble,

a questioning of the concept of traditional cuisine. For

and eventually came to pursue a more classical, disciplined

example, the meal does not begin with “eating” (if by

style of dance. Her performance will conclude this cooking

“eating” we mean placing something in the mouth), but

theater, endowing food with a rich sense of ceremony.

one of the exhibition pavilions.

(Translator: Brent Heinrich)

rather with smelling the fragrance. This segment will be led by Hakka tea master Ku Wu-nan. He has spent many years

In terms of spatial design, Le Festin de Chun-te also

in the well-known Hakka settlement of Beipu in northern

hopes to explore different possibilities in temporality. At

Taiwan running a traditional inn and working to survey and

the most crucial position in this solo exhibition space,

preserve intangible cultural heritage. He is a tea connoisseur

we will exhibit an unique installation. Placed beneath a

of deep personal cultivation.

large-scale image, this installation is made of ceramic and

Richard Hamilton and Vicente Todolí, Food for Thought. Thought for Food.

Barcellona: Actar, 2009, pp. 82-86.

a small quantity of rice seedlings forming the figurative image of a paddy field. The image work, titled Flight in the

Il flusso del desiderio di Chi-Ming LIN

Tra gli artisti taiwanesi che impiegano la fotografia come

è il fatto che spesso impieghi molto tempo per realizzare

del fotografo diventa più complesso e poliedrico, richiede

più di un mero luogo di passaggio temporaneo, era infatti

principale mezzo espressivo, Chun-te Hsieh è uno dei più

un’opera. Lo scatto di una fotografia potrebbe sembrare il

necessariamente più tempo e un lavoro di squadra, perché il

diventata ai suoi occhi l’epitome di un periodo della storia

difficilmente classificabili. Dalla seconda metà degli anni

risultato di un gesto rapido, persino “immediato” o avvenuto

fotografo deve spesso ricercare località adatte, arrangiare le

dell’isola.

Sessanta è stato infatti coinvolto in una vasta gamma di

“in un batter d’occhio”, tuttavia negli sviluppi recenti due

pose delle figure umane, preparare la scena allestendo scenari,

ambiti creativi, tra i quali la fotografia documentaria, il

elementi han fatto sì che la fotografia richiedesse tempi di

attrezzi e luci, deve calcolare lo svolgimento dell’azione e

In primo luogo ha scoperto che molte persone, pur avendo

fotogiornalismo, la fotografia di moda e commerciale, il

lavoro molto lunghi, o addirittura diventasse un progetto a

la velocità di movimento. Se un artista adotta i metodi della

in effetti risieduto in questa zona per periodi superiori a quelli

design, la poesia, l’installazione, il cinema (film documentari,

lungo termine completato in uno o due decenni.

staged photography e intende per di più realizzare un’opera

trascorsi nelle proprie città d’origine, erano ancora incapaci

in serie, ha già messo in preventivo un periodo di tempo

di identificarsi con Sanchong e consideravano la propria città

maggiore per portare a termine il progetto.

d’origine come l’unica vera casa. Tale sentimento li rendeva

serie televisive, spot pubblicitari, MTV), la scenografia, il fashion design, lo sviluppo di tecnologia digitale e la ricerca gastronomica.

Il primo elemento è la serialità: i fotografi hanno singolo fotogramma un’immagine creativamente originale,

Con la mostra personale Il convivio di Chun-te allestita

rendere giustificabile disseminare a piacimento immondizia

In quest’ultimo campo di interesse, una delle sue recenti

sorprendente o “mai vista prima”, cosa peraltro sempre più

presso l’antica sede della Scoletta dei Battioro e Tiraoro

e roba vecchia. Molti anni dopo, quando l’abbiamo visitata

imprese è stata persino classificata a livello mondiale: infatti

difficile da ottenere. In una serie fotografica, un artista non

di Venezia, Chun-te Hsieh esemplifica appieno questi due

alla ricerca dei luoghi che aveva originariamente fotografato,

il ristorante C’est bon, che Hsieh gestisce e per il quale dirige

punta solamente sull’eccellenza delle fotografie individuali,

aspetti di interdisciplinarietà e dilatazione temporale. La

Hsieh mi ha raccontato che all’epoca alcune persone vivevano

la ricerca gastronomica, è stato annoverato tra i migliori 100

ma cerca di realizzare un tema generale con profondità

parte fotografica dell’esposizione mette in mostra il lavoro

in agglomerati di costruzioni abusive e altre in moderni edifici

nuovi ristoranti del mondo nel volume Coco pubblicato nel

intellettuale, stile, completezza e reciproca correlazione tra

creativo degli ultimi 24 anni (dal 1987 al 2011) e consiste

condominiali, non lontano esisteva una vasta zona di fabbriche

2009 dalla famosa casa editrice inglese Phaidon.

le immagini, e anche di ottenere una risposta emotiva nel

di una serie di 21 immagini digitali di grandi dimensioni.

illegali, e proprio accanto alle abitazioni c’erano cumuli di

pubblico. Questo tipo di approccio creativo è di gran lunga più

Intitolata in origine Sanchong, questa serie fotografica è stata

immondizia alti quanto collinette. Le abitazioni al loro interno

In passato questo tipo di creatività sconfinante in più campi

difficoltoso, ancor più perché il fotografo deve normalmente

ridenominata Raw (Crudo) in riferimento ad un esistenza nuda

potevano anche essere arredate con gusto ma, all’esterno, gli

artistici sarebbe stata semplicemente vista come “talento

fare affidamento sull’accessibilità del soggetto ritratto -cosa

e cruda o “senza pelle” (la vie écorchée).

spazi pubblici erano in completo stato d’abbandono e nessuno

poliedrico” dell’artista. Tuttavia conoscendo a fondo la sua

indipendente dalla sua volontà-, e ciò rende spesso il “lavoro

filosofia e dopo aver lavorato con lui, ci si può facilmente

artistico” della fotografia (che non è il mero gesto dello

rendere conto che Chun-te Hsieh è stato un precursore di

scatto) un processo creativo perseguito in tempi lunghi.

quella “interdisciplinarietà” che oggi consideriamo tanto

se ne interessava. Fonte d’ispirazione di questa serie fotografica è stata la cittadina di Sanchong e la vita dei suoi cittadini. Sanchong,

Sanchong è situata sulle rive del fiume Tamsui, il più

città satellite alla periferia della capitale Taipei, era in origine

importante dei corsi d’acqua che attraversano la città di

importante. Sotto la sua guida si muove un gruppo di persone

L’altro elemento è lo sviluppo in direzione della staged

un luogo di passaggio: persone provenienti da altre zone

Taipei. A causa del suo clima, Taiwan viene spesso investita

di alto livello: per metterle tutte insieme occorreva una

photography. Questo tipo di fotografia compare già all’inizio

dell’isola e trasferitesi a Taipei alla ricerca di opportunità

da tifoni che provocano disastrose alluvioni dovute allo

persona dotata non soltanto di un immenso talento personale

del XIX° secolo e ne ritroviamo anche alcuni esempi nei

di lavoro e prospettive di avanzamento sociale, avendo

straripamento di grandi fiumi come il Tamsui. Le frequenti

ma anche della capacità di dirigere gli altri, in modo simile ad

primi autoritratti di Hippolyte Bayard o nelle nature morte

inizialmente scarse risorse economiche, sceglievano di vivere

inondazioni dei terreni sono valse ad esacerbare la natura

un regista, un direttore d’orchestra o allo chef di un ristorante

di Louis Daguerre e di Nicéphore Niépce. Ciononostante,

in zone marginali come appunto Sanchong. Negli anni Ottanta

transitoria delle zone residenziali, proprio in quanto sarebbe

di classe.

la staged photography nei suoi sviluppi attuali è passata

Chun-te Hsieh, che in origine aveva aperto qui il proprio

vano costruire abitazioni solide o dispendiose conoscendone

dall’imitazione di opere pittoriche alla messa in scena di

studio per poter osservare dall’interno la gente e la loro vita

il breve destino. Il metodo adottato in passato per sopperire

tipo cinematografico. Proprio in questo contesto il lavoro

quotidiana, ha gradualmente scoperto che Sanchong era molto

alla difficoltà di tenere sotto controllo le acque del fiume è

Un’altra particolarità del talento creativo di Chun-te Hsieh

insensibili nei confronti dell’ambiente circostante, al punto di

infatti gradualmente smesso di cercare di congelare in un