Raw / 謝春德 Hsieh Chuen-Te

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

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

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。

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

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

6

臺北市政府文化局局長 謝小韞

7

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

6

臺北市政府文化局局長 謝小韞

7

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。

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

Modern Art’s Limit and Breaking Through It

Limiti e potenzialità dell’arte moderna

Hsieh Chun-te

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)

10

11

Modern Art’s Limit and Breaking Through It

Limiti e potenzialità dell’arte moderna

Hsieh Chun-te

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)

10

11

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！

12

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

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！

12

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

• 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.

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

18

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

18

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

20

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

20

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

22

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

22

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

24

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

24

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

26

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

26

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

28

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

28

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。

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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。

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31

Essay | 專文

Danièle Hibon

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

41

Essay | 專文

Danièle Hibon

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

41

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

42

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

43

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

42

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

43

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.

44

45

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.

44

45

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,

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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

47

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,

46

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

47

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

48

49

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

48

49

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

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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

51

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

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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

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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.

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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.

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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

54

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

55

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

54

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

55

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。

57

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。

57

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

59

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

59

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

60

61

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

60

61

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

64

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。

65

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

64

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。

65

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.

68

『密獵者系列』：【等待果陀】飾樂克

69

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.

68

『密獵者系列』：【等待果陀】飾樂克

69

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

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|

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

70

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

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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

70

Frozen Tremella Fuciformis

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

72

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

72

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

74

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

74

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

76

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

76

冰鎮白木耳 Frozen Tremella Fuciformis

78

冰鎮白木耳 Frozen Tremella Fuciformis

78

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

81

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

81

The Flux of Desire

by Chi-Ming LIN

82

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

83

The Flux of Desire

by Chi-Ming LIN

82

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

83

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

84

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

85

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

84

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

85

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

86

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

1

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,

87

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

86

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

1

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,

87

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

2

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

2

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

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

88

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

89

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

2

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

2

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

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

88

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

89

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

90

insensibili nei confronti dell’ambiente circostante, al punto di

infatti gradualmente smesso di cercare di congelare in un

91

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

90

insensibili nei confronti dell’ambiente circostante, al punto di

infatti gradualmente smesso di cercare di congelare in un

91

stato quello di erigere un argine di contenimento, un’alta cinta

questa serie, Hsieh illustra il proprio punto di vista sul

amavano dipingere scene panoramiche in questa zona è che

bambini (due seduti davanti al padre che guida con la moglie

muraria che separa fisicamente le persone da quella che in

processo di sviluppo che ha investito Taiwan ed anche il suo

qui mercanti occidentali e missionari erano presenti già da

alle sue spalle, due seduti tra i genitori, e altri due dietro

origine è stata la culla della civiltà. In un dato periodo storico

personale paesaggio spirituale.

tempo, perciò edifici in stile occidentale si mescolavano

alla madre). A questa stravagante scenetta familiare è stato

agli insediamenti tradizionali. Inoltre la zona offriva molti

aggiunto un cane, che funge da guida a prua del traghetto,

Dalle prime immagini di Sanchong a quelle dell’attuale

soggetti giudicati adatti per un quadro, per il fatto che il fiume

ed anche alcune oche -una a prua e due a poppa- probabili

serie Raw, i segni lasciati dalla storia sono ben visibili,

gettandosi in mare si allarga in una foce e le montagne sulle

simboli del retaggio di una società agraria (in quanto in

come ad esempio in Lacrime del fiume Tamsui (Figure 4),

due sponde possiedono specifici tratti distintivi.

passato era normale per le famiglie allevare pollame per

si è dunque prodotta una scissione tra la vita della comunità e il fiume, nonostante lo sviluppo della città di Taipei fosse originariamente dipeso da esso.

L’altissimo argine di contenimento, assurto a simbolo

un’immagine che condensa in sé il tema dell’intera serie

della separazione tra uomo e natura, è così diventato fonte

e si ispira al massacro del 28 febbraio 1947. Durante la

Ma il fiume Tamsui rappresentato da Chun-te Hsieh è

insolito, la piccola imbarcazione risulta paradossalmente

d’ispirazione artistica per Chun-te Hsieh. In passato l’artista

sanguinosa repressione scatenata dal governo nazionalista

notevolmente diverso dal modo in cui il soggetto è stato

affollata e solitaria al tempo stesso. La disposizione delle

ha infatti ambientato in questa zona una sceneggiatura

cinese per instaurare il proprio regime poco dopo l’arrivo

trattato tradizionalmente: in primo luogo, è fotografato da

persone a bordo e il senso di movimento trasmesso dalla

cinematografica nella quale racconta la storia di alcuni

sull’isola, alcune delle vittime vennero fatte sfilare in

Bali, la cittadina sulla riva sinistra del fiume dirimpetto

fotografia danno l’impressione che la famigliola stia

bambini che trasformano una casa abbandonata e una discarica

gruppo a scopo dimostrativo, legate insieme con le mani

alla città di Tamsui; in secondo luogo, la scena sulla sponda

effettivamente guidando la motocicletta mentre traghetta.

sulle sponde del fiume nel paradiso dei loro sogni, dove

trafitte da grossi fili metallici, o vennero affogate nel fiume.

non mette più in risalto insediamenti abitativi tradizionali

Quella della famiglia è un’immagine retorica usata sovente

vivere e giocare, ma che viene infine distrutto da un incendio

Lacrime del fiume Tamsui rivisita uno dei probabili luoghi di

in armoniosa integrazione con la natura, bensì i palazzoni

a metafora della nazione intera, come teorizza anche Ernest

improvviso. (Figure 1,2,3)

esecuzione dell’epoca lungo la riva del fiume, in prossimità

moderni che torreggiano sul fiume. Questi alti edifici

Renan per il quale “[il popolo di] una nazione... è una famiglia

della cittadina di Bali, creando un’immagine fotografica

testimoniano l’odierno sviluppo della provincia di Taipei: in

spirituale”. Ma la nazione a cui allude questa famigliola, a

Negli anni Ottanta e Novanta grazie al rapido sviluppo

pregna di significati allegorici. Una donna nuda giace con

seguito alla costruzione della linea metropolitana, la classe

causa della scarsa nitidezza dell’immagine ottenuta lasciando

economico e alla revoca della legge marziale, che ha permesso

mani e piedi legati su un piccolo molo sterrato proteso nel

media ha infatti potuto spostarsi verso la periferia della

la pellicola protettiva sulla lastra fotografica, sembra navigare

la trasformazione in senso democratico del sistema politico

fiume e ordinatamente ricoperto di spuntoni di ferro come sul

capitale, dove però il vertiginoso aumento della popolazione

verso l’ignoto su un mezzo di fortuna malsicuro e illecito.

e maggiore consapevolezza e coscienza civile dei cittadini

letto di un fachiro. A causa dell’angolazione della macchina

ha determinato un forte impatto ambientale sull’ecosistema

di Taiwan, le scene di vita a Sanchong o in luoghi affini

fotografica e della posizione del corpo della donna si ha

del fiume. Di conseguenza le lacrime del fiume Tamsui, oltre

L’intera serie Raw può essere vista come un fiume, un fiume

che Hsieh descrive sono gradualmente diventate un ricordo

l’impressione che le siano stati amputati gli arti, mentre dalla

che per la tragedia storica prodottasi più di sessanta anni fa,

concreto e storico, ma anche immagine mentale e allegorica. È

del passato. Tuttavia, i cambiamenti esteriori di una città

sua espressione immobile possiamo capire il dolore estremo

vengono ora versate anche per il danno che il fiume ha subito

cioè una successione di immagini che, come un fiume, segue

sono tanto visibili quanto invece impercettibili sono quelli

che la sconvolge. Sullo sfondo dell’immagine scorre il fiume

a causa dell’egoistico sfruttamento dell’uomo.

il fluire dei desideri e le vicende degli uomini rappresentati.

interiori dell’animo umano. Di pari passo con il percorso

Tamsui, immerso in un’atmosfera tetra e greve accentuata

artistico personale dell’artista (che dall’approccio di tipo

dall’ambigua luce crepuscolare che avvolge le montagne in

fotogiornalistico di Casa passa ad una ricerca più introspettiva

lontananza con effetti chiaroscurali.

in Alla deriva) anche la serie fotografica Raw, in origine

92

arrotondare il bilancio). Procedendo sul fiume in questo modo

La natura allegorica di Raw è evidente anche in un’altra

Il flusso si muove in direzione della storia in Ritratto

immagine relativa al fiume Tamsui. Intitolata Passeggeri del

di famiglia (Figure 6), che sembra essere il ritratto di una

traghetto sotto il Monte Guanyin (Figure 5), questa fotografia

famiglia tradizionale sovrapposto a quello di una famiglia

concepita come un reportage spaziante nell’arco di oltre un

Il paesaggio circostante Tamsui, la cittadina sita nei

è una “versione ampliata” di una scena spesso visibile per

moderna, mentre in realtà descrive il problema dello

ventennio, si è gradualmente spostata su istanze metaforiche

dintorni di Taipei, è sempre stato uno dei soggetti preferiti dei

le strade di Taiwan: un’intera famiglia accalcata su una sola

spopolamento delle campagne dovuto all’inurbamento e la

sviluppate secondo i canoni della staged photography. In

pittori taiwanesi. La ragione per la quale i pittori in passato

motocicletta, per un totale di due adulti -padre e madre- e sei

situazione in cui tre generazioni si ritrovano ormai sotto lo

93

stato quello di erigere un argine di contenimento, un’alta cinta

questa serie, Hsieh illustra il proprio punto di vista sul

amavano dipingere scene panoramiche in questa zona è che

bambini (due seduti davanti al padre che guida con la moglie

muraria che separa fisicamente le persone da quella che in

processo di sviluppo che ha investito Taiwan ed anche il suo

qui mercanti occidentali e missionari erano presenti già da

alle sue spalle, due seduti tra i genitori, e altri due dietro

origine è stata la culla della civiltà. In un dato periodo storico

personale paesaggio spirituale.

tempo, perciò edifici in stile occidentale si mescolavano

alla madre). A questa stravagante scenetta familiare è stato

agli insediamenti tradizionali. Inoltre la zona offriva molti

aggiunto un cane, che funge da guida a prua del traghetto,

Dalle prime immagini di Sanchong a quelle dell’attuale

soggetti giudicati adatti per un quadro, per il fatto che il fiume

ed anche alcune oche -una a prua e due a poppa- probabili

serie Raw, i segni lasciati dalla storia sono ben visibili,

gettandosi in mare si allarga in una foce e le montagne sulle

simboli del retaggio di una società agraria (in quanto in

come ad esempio in Lacrime del fiume Tamsui (Figure 4),

due sponde possiedono specifici tratti distintivi.

passato era normale per le famiglie allevare pollame per

si è dunque prodotta una scissione tra la vita della comunità e il fiume, nonostante lo sviluppo della città di Taipei fosse originariamente dipeso da esso.

L’altissimo argine di contenimento, assurto a simbolo

un’immagine che condensa in sé il tema dell’intera serie

della separazione tra uomo e natura, è così diventato fonte

e si ispira al massacro del 28 febbraio 1947. Durante la

Ma il fiume Tamsui rappresentato da Chun-te Hsieh è

insolito, la piccola imbarcazione risulta paradossalmente

d’ispirazione artistica per Chun-te Hsieh. In passato l’artista

sanguinosa repressione scatenata dal governo nazionalista

notevolmente diverso dal modo in cui il soggetto è stato

affollata e solitaria al tempo stesso. La disposizione delle

ha infatti ambientato in questa zona una sceneggiatura

cinese per instaurare il proprio regime poco dopo l’arrivo

trattato tradizionalmente: in primo luogo, è fotografato da

persone a bordo e il senso di movimento trasmesso dalla

cinematografica nella quale racconta la storia di alcuni

sull’isola, alcune delle vittime vennero fatte sfilare in

Bali, la cittadina sulla riva sinistra del fiume dirimpetto

fotografia danno l’impressione che la famigliola stia

bambini che trasformano una casa abbandonata e una discarica

gruppo a scopo dimostrativo, legate insieme con le mani

alla città di Tamsui; in secondo luogo, la scena sulla sponda

effettivamente guidando la motocicletta mentre traghetta.

sulle sponde del fiume nel paradiso dei loro sogni, dove

trafitte da grossi fili metallici, o vennero affogate nel fiume.

non mette più in risalto insediamenti abitativi tradizionali

Quella della famiglia è un’immagine retorica usata sovente

vivere e giocare, ma che viene infine distrutto da un incendio

Lacrime del fiume Tamsui rivisita uno dei probabili luoghi di

in armoniosa integrazione con la natura, bensì i palazzoni

a metafora della nazione intera, come teorizza anche Ernest

improvviso. (Figure 1,2,3)

esecuzione dell’epoca lungo la riva del fiume, in prossimità

moderni che torreggiano sul fiume. Questi alti edifici

Renan per il quale “[il popolo di] una nazione... è una famiglia

della cittadina di Bali, creando un’immagine fotografica

testimoniano l’odierno sviluppo della provincia di Taipei: in

spirituale”. Ma la nazione a cui allude questa famigliola, a

Negli anni Ottanta e Novanta grazie al rapido sviluppo

pregna di significati allegorici. Una donna nuda giace con

seguito alla costruzione della linea metropolitana, la classe

causa della scarsa nitidezza dell’immagine ottenuta lasciando

economico e alla revoca della legge marziale, che ha permesso

mani e piedi legati su un piccolo molo sterrato proteso nel

media ha infatti potuto spostarsi verso la periferia della

la pellicola protettiva sulla lastra fotografica, sembra navigare

la trasformazione in senso democratico del sistema politico

fiume e ordinatamente ricoperto di spuntoni di ferro come sul

capitale, dove però il vertiginoso aumento della popolazione

verso l’ignoto su un mezzo di fortuna malsicuro e illecito.

e maggiore consapevolezza e coscienza civile dei cittadini

letto di un fachiro. A causa dell’angolazione della macchina

ha determinato un forte impatto ambientale sull’ecosistema

di Taiwan, le scene di vita a Sanchong o in luoghi affini

fotografica e della posizione del corpo della donna si ha

del fiume. Di conseguenza le lacrime del fiume Tamsui, oltre

L’intera serie Raw può essere vista come un fiume, un fiume

che Hsieh descrive sono gradualmente diventate un ricordo

l’impressione che le siano stati amputati gli arti, mentre dalla

che per la tragedia storica prodottasi più di sessanta anni fa,

concreto e storico, ma anche immagine mentale e allegorica. È

del passato. Tuttavia, i cambiamenti esteriori di una città

sua espressione immobile possiamo capire il dolore estremo

vengono ora versate anche per il danno che il fiume ha subito

cioè una successione di immagini che, come un fiume, segue

sono tanto visibili quanto invece impercettibili sono quelli

che la sconvolge. Sullo sfondo dell’immagine scorre il fiume

a causa dell’egoistico sfruttamento dell’uomo.

il fluire dei desideri e le vicende degli uomini rappresentati.

interiori dell’animo umano. Di pari passo con il percorso

Tamsui, immerso in un’atmosfera tetra e greve accentuata

artistico personale dell’artista (che dall’approccio di tipo

dall’ambigua luce crepuscolare che avvolge le montagne in

fotogiornalistico di Casa passa ad una ricerca più introspettiva

lontananza con effetti chiaroscurali.

in Alla deriva) anche la serie fotografica Raw, in origine

92

arrotondare il bilancio). Procedendo sul fiume in questo modo

La natura allegorica di Raw è evidente anche in un’altra

Il flusso si muove in direzione della storia in Ritratto

immagine relativa al fiume Tamsui. Intitolata Passeggeri del

di famiglia (Figure 6), che sembra essere il ritratto di una

traghetto sotto il Monte Guanyin (Figure 5), questa fotografia

famiglia tradizionale sovrapposto a quello di una famiglia

concepita come un reportage spaziante nell’arco di oltre un

Il paesaggio circostante Tamsui, la cittadina sita nei

è una “versione ampliata” di una scena spesso visibile per

moderna, mentre in realtà descrive il problema dello

ventennio, si è gradualmente spostata su istanze metaforiche

dintorni di Taipei, è sempre stato uno dei soggetti preferiti dei

le strade di Taiwan: un’intera famiglia accalcata su una sola

spopolamento delle campagne dovuto all’inurbamento e la

sviluppate secondo i canoni della staged photography. In

pittori taiwanesi. La ragione per la quale i pittori in passato

motocicletta, per un totale di due adulti -padre e madre- e sei

situazione in cui tre generazioni si ritrovano ormai sotto lo

93

In Luce lunare (Figure 11), poi, il fascio di luce lunare

referenziale simile a quella che ritroviamo nell’arte

alcuni giovani che addirittura “si scattavano fotografie in pose

avrebbe potuto indicare l’arrivo di un dio greco e l’inizio di

postmoderna, come avviene ad esempio in Artisti girovaghi

simili a quell’immagine” 1 . Ming Ju, Chao-Tang Chang, Song

un’avventura romantica tra una divinità e un essere mortale,

(Figure 15). La foto presenta un gruppo di sei persone su una

Shi, Hway-min Lin sono tutti personaggi chiave dell’ambiente

Ritorno al paese natale (Figure 7), sebbene tratti il tema

come nel mito di Endimione (Figure 12), invece è stata

spiaggia, uomini e donne ritratti in piedi o accoccolati; tra

artistico taiwanese, messi tutti insieme i loro soli nomi

della necessità per le donne di conformarsi ad un nuovo tipo

sostituita da un aeroplano, e il bel giovane sdraiato è ora

di loro, un uomo tiene in braccio un bambino, un altro una

varrebbero a riassumere il periodo della storia dell’arte

di aspettative nei confronti del loro corpo, è accomunabile

diventato una donna in posa erotica che si stimola con una

scimmia. Nell’immagine compaiono anche tre tende bianche,

taiwanese legato al movimento realista di ritorno alle origini.

all’immagine precedente sia in quanto ambientata nello stesso

piuma.

una delle quali in fiamme, creando una scena strana ma

stesso tetto soltanto quando, in estate, figli e nipoti fanno ritorno al paese natale.

accattivante e trasformando d’un colpo lo scenario naturale in

contesto campagna-città, sia perché allude alla trasformazione del lavoro nella società moderna.

Le fantasie mitologiche si infrangono contro la realtà della

una messa in scena teatrale.

vita moderna ma alcuni principi fondamentali rimangono,

scorgere le similitudini tra Artisti girovaghi e questa famosa fotografia nel numero di persone ritratte, la presenza di un

Infine, in un’altra immagine intitolata I pescatori sul

ben espressi in altre opere nel concetto di contiguità tra eros

A Taiwan esiste un’immagine molto conosciuta pubblicata

bambino e di una scimmia, la spiaggia come ambientazione e il

tetto (Figure 8) l’artista colloca -non senza umorismo- due

e morte. In Il carrozzone fiorato (Figure 13) questo stato

verso la metà degli anni Settanta, che era in origine una

mestiere dei soggetti fotografati. Tutti questi aspetti e persino

persone che pescano sul tetto di un alto edificio della zona

di cose non potrebbe essere più evidente, anche se non può

vecchia foto dell’artista Ming Ju (Figure 16) ed è stata

l’inclusione di elementi teatrali, suggeriscono che l’opera di

più sviluppata di Taipei, esprimendo in tal modo la nostalgia

risultare lampante per chi non conosce il folclore taiwanese.

successivamente inclusa nel volume del fotografo Chao-Tang

Hsieh è un remake di quella vecchia istantanea tramandata

per la campagna della gente di città ma anche l’assurdità

Per tradizione a Taiwan durante i funerali vengono spesso

Chang Appunti di vita del 1976. Nel 1979, poi, il pittore Song

lungo il corso di un dato periodo della storia dell’arte

che scaturisce dall’alienazione tra uomo e natura nella vita

rappresentati spettacoli in onore di un morto in “carrozzoni

Shi ne trasse una serie di xilografie (Figure 17), che nel 1986

taiwanese. La differenza non sta soltanto nel cambiamento

cittadina.

fiorati” elettronici ambulanti, ed è perciò normale vedere

vennero infine utilizzate dal coreografo Hway-min Lin come

di sesso dei personaggi (nella foto di Hsieh due di loro

spettacoli di spogliarello accanto a bare e famiglie in lutto.

scenario per la rappresentazione dello spettacolo di danza

sono infatti donne), né nella presenza di nudi o nelle sottili

L’altra direzione in cui questo fiume scorre è quella delle

Questa immagine è stata scattata su una spiaggia del sud

moderna My Nostalgia, My Songs incentrato sulle canzoni

differenze di mestiere, ma soprattutto nel grande contrasto

scene irreali governate dal mondo interiore e dal desiderio.

dell’isola sullo sfondo di smunti alberi sempreverdi atti ad

popolari taiwanesi degli anni Cinquanta (Figure 18). Possiamo

creato dalla differenza di trattamento stilistico. È infatti

Le scene sembrano spesso una danza, come ad esempio in

accentuare l’atmosfera del rito in corso.

dunque affermare che la diffusione e la trasformazione di

notevolmente scemata la sensazione affettuosa che l’immagine

quest’immagine contrassegna un’epoca importante della storia

originale trasmetteva allo spettatore da quell’epoca passata,

dell’arte di Taiwan.

mentre si è intensificato il senso di mistero e nostalgia per il

Sulla sponda del fiume (Figure 9), anch’essa scattata lungo il fiume Tamsui, ove la danza è senza dubbio ambigua: potrebbe

Tuttavia l’immagine che meglio esprime il tema dell’eros e

sembrare l’interazione tra due persone o la metamorfosi di una

della morte è Amore sulla stele (Figure 14), nella quale l’idea

sola persona che si separa in due entità distinte.

viene non soltanto esemplificata attraverso il contrasto tra

I soggetti fotografati in origine erano i membri di una

di desolazione trasmesso dall’ambientazione marina risulta

il composto gruppo di persone in lutto e la coppia di amanti

troupe di artisti girovaghi -forse burattinai- immortalati

accresciuto e l’aggiunta ex novo di un sipario in fiamme

Governata dal flusso interiore del desiderio è anche Cagne

nudi nell’atto di fare l’amore su una tomba, ma anche con

sulla spiaggia di Tongsiao: sei uomini in piedi o accoccolati

produce un effetto di elegante decadenza. Possiamo perciò

(Figure 10) dove alcune donne nude, forse vittime di torture

l’apparizione della testa dell’artista in mezzo ai due gruppi: la

di cui due con un bambino in braccio e uno in posa con una

dire che con quest’opera Hsieh abbia voluto fare omaggio e al

o di un durissimo allenamento, stanno appese a testa in giù

testa incastrata nella sabbia sullo sfondo di nuvole fluttuanti

scimmia. Questa foto incarna la memoria collettiva di una

contempo dire addio ad un’epoca e ad un movimento artistico

come bestie, in un paesaggio desolato non completamente

sembra dire che è tutto frutto della sua fantasia.

generazione specifica, attirata dalla composizione “come da

di cui aveva fatto parte.

paese natio evocato da questi artisti girovaghi. Inoltre, il senso

una forza che richiama in modo familiare e misterioso”; dopo

naturale.

Nelle immagini appare a volte una forma di creazione

94

Ritornando all’opera di Chun-te Hsieh, possiamo facilmente

la sua pubblicazione divenne un’immagine molto cara ad

1 Da: http://roxytom.bluecircus.net/archives/006265.html dell’11/3/2011.

95

In Luce lunare (Figure 11), poi, il fascio di luce lunare

referenziale simile a quella che ritroviamo nell’arte

alcuni giovani che addirittura “si scattavano fotografie in pose

avrebbe potuto indicare l’arrivo di un dio greco e l’inizio di

postmoderna, come avviene ad esempio in Artisti girovaghi

simili a quell’immagine” 1 . Ming Ju, Chao-Tang Chang, Song

un’avventura romantica tra una divinità e un essere mortale,

(Figure 15). La foto presenta un gruppo di sei persone su una

Shi, Hway-min Lin sono tutti personaggi chiave dell’ambiente

Ritorno al paese natale (Figure 7), sebbene tratti il tema

come nel mito di Endimione (Figure 12), invece è stata

spiaggia, uomini e donne ritratti in piedi o accoccolati; tra

artistico taiwanese, messi tutti insieme i loro soli nomi

della necessità per le donne di conformarsi ad un nuovo tipo

sostituita da un aeroplano, e il bel giovane sdraiato è ora

di loro, un uomo tiene in braccio un bambino, un altro una

varrebbero a riassumere il periodo della storia dell’arte

di aspettative nei confronti del loro corpo, è accomunabile

diventato una donna in posa erotica che si stimola con una

scimmia. Nell’immagine compaiono anche tre tende bianche,

taiwanese legato al movimento realista di ritorno alle origini.

all’immagine precedente sia in quanto ambientata nello stesso

piuma.

una delle quali in fiamme, creando una scena strana ma

stesso tetto soltanto quando, in estate, figli e nipoti fanno ritorno al paese natale.

accattivante e trasformando d’un colpo lo scenario naturale in

contesto campagna-città, sia perché allude alla trasformazione del lavoro nella società moderna.

Le fantasie mitologiche si infrangono contro la realtà della

una messa in scena teatrale.

vita moderna ma alcuni principi fondamentali rimangono,

scorgere le similitudini tra Artisti girovaghi e questa famosa fotografia nel numero di persone ritratte, la presenza di un

Infine, in un’altra immagine intitolata I pescatori sul

ben espressi in altre opere nel concetto di contiguità tra eros

A Taiwan esiste un’immagine molto conosciuta pubblicata

bambino e di una scimmia, la spiaggia come ambientazione e il

tetto (Figure 8) l’artista colloca -non senza umorismo- due

e morte. In Il carrozzone fiorato (Figure 13) questo stato

verso la metà degli anni Settanta, che era in origine una

mestiere dei soggetti fotografati. Tutti questi aspetti e persino

persone che pescano sul tetto di un alto edificio della zona

di cose non potrebbe essere più evidente, anche se non può

vecchia foto dell’artista Ming Ju (Figure 16) ed è stata

l’inclusione di elementi teatrali, suggeriscono che l’opera di

più sviluppata di Taipei, esprimendo in tal modo la nostalgia

risultare lampante per chi non conosce il folclore taiwanese.

successivamente inclusa nel volume del fotografo Chao-Tang

Hsieh è un remake di quella vecchia istantanea tramandata

per la campagna della gente di città ma anche l’assurdità

Per tradizione a Taiwan durante i funerali vengono spesso

Chang Appunti di vita del 1976. Nel 1979, poi, il pittore Song

lungo il corso di un dato periodo della storia dell’arte

che scaturisce dall’alienazione tra uomo e natura nella vita

rappresentati spettacoli in onore di un morto in “carrozzoni

Shi ne trasse una serie di xilografie (Figure 17), che nel 1986

taiwanese. La differenza non sta soltanto nel cambiamento

cittadina.

fiorati” elettronici ambulanti, ed è perciò normale vedere

vennero infine utilizzate dal coreografo Hway-min Lin come

di sesso dei personaggi (nella foto di Hsieh due di loro

spettacoli di spogliarello accanto a bare e famiglie in lutto.

scenario per la rappresentazione dello spettacolo di danza

sono infatti donne), né nella presenza di nudi o nelle sottili

L’altra direzione in cui questo fiume scorre è quella delle

Questa immagine è stata scattata su una spiaggia del sud

moderna My Nostalgia, My Songs incentrato sulle canzoni

differenze di mestiere, ma soprattutto nel grande contrasto

scene irreali governate dal mondo interiore e dal desiderio.

dell’isola sullo sfondo di smunti alberi sempreverdi atti ad

popolari taiwanesi degli anni Cinquanta (Figure 18). Possiamo

creato dalla differenza di trattamento stilistico. È infatti

Le scene sembrano spesso una danza, come ad esempio in

accentuare l’atmosfera del rito in corso.

dunque affermare che la diffusione e la trasformazione di

notevolmente scemata la sensazione affettuosa che l’immagine

quest’immagine contrassegna un’epoca importante della storia

originale trasmetteva allo spettatore da quell’epoca passata,

dell’arte di Taiwan.

mentre si è intensificato il senso di mistero e nostalgia per il

Sulla sponda del fiume (Figure 9), anch’essa scattata lungo il fiume Tamsui, ove la danza è senza dubbio ambigua: potrebbe

Tuttavia l’immagine che meglio esprime il tema dell’eros e

sembrare l’interazione tra due persone o la metamorfosi di una

della morte è Amore sulla stele (Figure 14), nella quale l’idea

sola persona che si separa in due entità distinte.

viene non soltanto esemplificata attraverso il contrasto tra

I soggetti fotografati in origine erano i membri di una

di desolazione trasmesso dall’ambientazione marina risulta

il composto gruppo di persone in lutto e la coppia di amanti

troupe di artisti girovaghi -forse burattinai- immortalati

accresciuto e l’aggiunta ex novo di un sipario in fiamme

Governata dal flusso interiore del desiderio è anche Cagne

nudi nell’atto di fare l’amore su una tomba, ma anche con

sulla spiaggia di Tongsiao: sei uomini in piedi o accoccolati

produce un effetto di elegante decadenza. Possiamo perciò

(Figure 10) dove alcune donne nude, forse vittime di torture

l’apparizione della testa dell’artista in mezzo ai due gruppi: la

di cui due con un bambino in braccio e uno in posa con una

dire che con quest’opera Hsieh abbia voluto fare omaggio e al

o di un durissimo allenamento, stanno appese a testa in giù

testa incastrata nella sabbia sullo sfondo di nuvole fluttuanti

scimmia. Questa foto incarna la memoria collettiva di una

contempo dire addio ad un’epoca e ad un movimento artistico

come bestie, in un paesaggio desolato non completamente

sembra dire che è tutto frutto della sua fantasia.

generazione specifica, attirata dalla composizione “come da

di cui aveva fatto parte.

paese natio evocato da questi artisti girovaghi. Inoltre, il senso

una forza che richiama in modo familiare e misterioso”; dopo

naturale.

Nelle immagini appare a volte una forma di creazione

94

Ritornando all’opera di Chun-te Hsieh, possiamo facilmente

la sua pubblicazione divenne un’immagine molto cara ad

1 Da: http://roxytom.bluecircus.net/archives/006265.html dell’11/3/2011.

95

Sebbene abbia dato un taglio netto al passato, le idee di

rigore e adeguate ad una sana alimentazione -cioè ricche di

gastronomica sia le concezioni ad essa sottese. Per questa

fondo che ispirano la creazione artistica di Chun-te Hsieh

fibre e povere d’amido-, seguendone con grande attenzione

ragione, l’intera installazione (compresi l’ideazione dal menù,

restano tuttavia legate a quell’epoca. Hsieh è infatti convinto

tutti i passaggi chiave della filiera, comprese la raccolta e la

le ricette, gli utensìli, la presentazione delle portate) è stata

Dopo il banchetto si potrà assistere allo spettacolo della

che l’arte debba commuovere, che debba stimolare il “desidero

mondatura, per ottenere un riso di qualità: un riso, cioè, che

meticolosamente progettata per renderne evidente l’intento

famosa ballerina He-wen Hsiao che si esibirà in una danza

d’unione primordiale” latente nella natura biologica inconscia

in quanto ingrediente base in cucina deve essere al contempo

artistico.

consacrata al Cielo. He-wen Hsiao, che anni addietro ha fatto

dell’uomo, ovvero risvegliare una risposta emotiva collettiva

saporito e di grande valore nutritivo. E naturalmente quando

nel profondo dell’anima.

il pubblico “consuma l’opera” prodotta con questo spirito,

Si mette addirittura in discussione la concezione

moderna Cloud Gate Dance Theatre, nel 1998 si è unita alla

il contatto è dei più diretti e le reazioni saranno dunque

tradizionale di cibi e bevande, perché ad esempio non si

compagnia Han-Tang Yuefu Music Ensemble passando ad

imprevedibili.

inizia “mangiando” (se per “mangiare” si intende far passare

uno stile di danza di carattere più tradizionale e posato. La

per la bocca) bensì odorando, esperienza che avverrà sotto la

sua danza coronerà la rappresentazione del “teatro culinario”, conferendo un profondo significato rituale al cibo offerto.

Molto probabilmente è per questa ragione se nel 2003 ha iniziato ad interessarsi di gastronomia e ha aperto il ristorante

a lungo parte della celebre compagnia taiwanese di danza

C’est bon, che ha arredato personalmente disegnandone

Per esemplificare in modo pratico questi aspetti e per farne

guida del maestro della cerimonia del tè Wu-nan Gu, di etnia

finanche i mobili e gli utensìli. Oltre a questi aspetti

avere esperienza diretta e profonda al pubblico partecipante,

Hakka. Il maestro Gu, un intenditore e una persona di vasta

propriamente visivi, C’est bon funge anche da laboratorio

nel corso della mostra verrà rappresentata per sei giorni una

cultura, si è occupato a lungo del lavoro di classificazione

Per quanto riguarda l’allestimento dello spazio espositivo,

delle sue sperimentazioni filosofico-culinarie, che tengono in

performance di “teatro culinario”, l’allestimento del quale è

e conservazione del patrimonio architettonico e culturale di

il Convivio di Chun-te spera di esprimere nuove possibilità

gran conto soprattutto gli ingredienti utilizzati in cucina.

costato grossi sforzi e ha comportato il superamento di enormi

Beipu, una famosa cittadina Hakka nel nord di Taiwan.

temporali. Nel punto chiave della sala è esposta una sola

difficoltà.

installazione. Questa installazione è l’immagine concettuale

Nel catalogo di questa mostra abbiamo infatti allegato

Ai sei giorni di rappresentazioni del “teatro culinario”

della risaia, ricreata con pochi germogli di riso posti in una

un breve saggio sulla bottarga, le foglie di tè ed il riso

Non è facile unire perfettamente gastronomia e arte

parteciperanno numerosi artisti provenienti da campi

ceramica, sotto una gigantesca immagine fotografica. Il

scritto dal dottor Cheng-yung Chen, esperto di biochimica

contemporanea sebbene il cibo sia sempre stato in relazione

diversi, donando alla performance nel suo complesso un alto

soggetto dell’immagine fotografica, intitolata Volo nella notte

che ha collaborato a lungo con Hsieh: il saggio illustra in

con essa, perfino in funzione di elemento creativo primario.

significato simbolico: la performance è stata infatti concepita

(Figure 19), si rifà alla tela L’origine del mondo di Gustave

modo concreto e conciso l’importanza data agli ingredienti

Ne è esempio recente la rassegna Documenta tenutasi a Kassel

come un rito, un’offerta cerimoniale.

Courbet (Figure 20) anche se denota maggiore crudeltà

tradizionali locali, la ricerca dettagliata sul processo

nel 2007, alla quale il grande chef catalano Ferran Adrià

di fermentazione e il loro comune ideale di agricoltura

del ristorante El Bulli è stato invitato in qualità di artista

Prima del banchetto si potrà ascoltare la canzone di

sostenibile.

partecipante. Tuttavia Adrià non ha lasciato El Bulli, esigendo

benvenuto interpretata da Chia-chao Yang, una cantante

Volo nella notte è il trait d’union tra tutte le fotografie

piuttosto che il suo ristorante vicino Barcellona venisse scelto

aborigena di etnia Amis di quasi novanta anni considerata

in mostra e la parte propriamente culinaria, essendo atta a

una sciamana, la cui voce cristallina, particolarmente forte

spiegare che la forza del desiderio è il legame che le unisce;

e risonante, si propaga vigorosa come un’ondata marina.

mentre i germogli di riso in crescita simboleggiano la flebile speranza che nasce dall’oscura forza del desiderio.

Da un certo punto di vista, la gestione di C’est bon e la

come un’ulteriore sede distaccata della rassegna.

2

sperimentazione gastronomica sono già un manifesto di

96

canto ha sempre fatto parte della sua vita.

nell’esposizione del corpo femminile.

sfida all’arte moderna, ormai degenerata in vieti stereotipi

Al contrario il “teatro culinario” di Chun-te Hsieh alla

Cantare ha per lei un significato speciale: catturata in gioventù

concettuali. Chun-te Hsieh dà molta importanza al lavoro

Biennale di Venezia cerca di combinare ritualità e cibi

da una tribù nemica, stava per essere sacrificata ma riuscì a

accurato e prolungato nel tempo, al creare con spirito

caratteristici, con un esperimento in loco che mira a fondere

salvarsi perché, mentre veniva preparata per essere immolata

artigianale. Ad esempio coltiva da sé, in risaie dotate di una

completamente nella performance artistica sia l’innovazione

in sacrificio, si mise a cantare una canzone invocante aiuto

fonte d’acqua indipendente, qualità di riso selezionate con

2 Richard Hamilton e Vicente Todolí, Food for Thought. Thought for Food.

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

che guidò i suoi soccorritori sul posto. Da quel giorno, il

(Traduttrice: Dorina Alimonti)

97

Sebbene abbia dato un taglio netto al passato, le idee di

rigore e adeguate ad una sana alimentazione -cioè ricche di

gastronomica sia le concezioni ad essa sottese. Per questa

fondo che ispirano la creazione artistica di Chun-te Hsieh

fibre e povere d’amido-, seguendone con grande attenzione

ragione, l’intera installazione (compresi l’ideazione dal menù,

restano tuttavia legate a quell’epoca. Hsieh è infatti convinto

tutti i passaggi chiave della filiera, comprese la raccolta e la

le ricette, gli utensìli, la presentazione delle portate) è stata

Dopo il banchetto si potrà assistere allo spettacolo della

che l’arte debba commuovere, che debba stimolare il “desidero

mondatura, per ottenere un riso di qualità: un riso, cioè, che

meticolosamente progettata per renderne evidente l’intento

famosa ballerina He-wen Hsiao che si esibirà in una danza

d’unione primordiale” latente nella natura biologica inconscia

in quanto ingrediente base in cucina deve essere al contempo

artistico.

consacrata al Cielo. He-wen Hsiao, che anni addietro ha fatto

dell’uomo, ovvero risvegliare una risposta emotiva collettiva

saporito e di grande valore nutritivo. E naturalmente quando

nel profondo dell’anima.

il pubblico “consuma l’opera” prodotta con questo spirito,

Si mette addirittura in discussione la concezione

moderna Cloud Gate Dance Theatre, nel 1998 si è unita alla

il contatto è dei più diretti e le reazioni saranno dunque

tradizionale di cibi e bevande, perché ad esempio non si

compagnia Han-Tang Yuefu Music Ensemble passando ad

imprevedibili.

inizia “mangiando” (se per “mangiare” si intende far passare

uno stile di danza di carattere più tradizionale e posato. La

per la bocca) bensì odorando, esperienza che avverrà sotto la

sua danza coronerà la rappresentazione del “teatro culinario”, conferendo un profondo significato rituale al cibo offerto.

Molto probabilmente è per questa ragione se nel 2003 ha iniziato ad interessarsi di gastronomia e ha aperto il ristorante

a lungo parte della celebre compagnia taiwanese di danza

C’est bon, che ha arredato personalmente disegnandone

Per esemplificare in modo pratico questi aspetti e per farne

guida del maestro della cerimonia del tè Wu-nan Gu, di etnia

finanche i mobili e gli utensìli. Oltre a questi aspetti

avere esperienza diretta e profonda al pubblico partecipante,

Hakka. Il maestro Gu, un intenditore e una persona di vasta

propriamente visivi, C’est bon funge anche da laboratorio

nel corso della mostra verrà rappresentata per sei giorni una

cultura, si è occupato a lungo del lavoro di classificazione

Per quanto riguarda l’allestimento dello spazio espositivo,

delle sue sperimentazioni filosofico-culinarie, che tengono in

performance di “teatro culinario”, l’allestimento del quale è

e conservazione del patrimonio architettonico e culturale di

il Convivio di Chun-te spera di esprimere nuove possibilità

gran conto soprattutto gli ingredienti utilizzati in cucina.

costato grossi sforzi e ha comportato il superamento di enormi

Beipu, una famosa cittadina Hakka nel nord di Taiwan.

temporali. Nel punto chiave della sala è esposta una sola

difficoltà.

installazione. Questa installazione è l’immagine concettuale

Nel catalogo di questa mostra abbiamo infatti allegato

Ai sei giorni di rappresentazioni del “teatro culinario”

della risaia, ricreata con pochi germogli di riso posti in una

un breve saggio sulla bottarga, le foglie di tè ed il riso

Non è facile unire perfettamente gastronomia e arte

parteciperanno numerosi artisti provenienti da campi

ceramica, sotto una gigantesca immagine fotografica. Il

scritto dal dottor Cheng-yung Chen, esperto di biochimica

contemporanea sebbene il cibo sia sempre stato in relazione

diversi, donando alla performance nel suo complesso un alto

soggetto dell’immagine fotografica, intitolata Volo nella notte

che ha collaborato a lungo con Hsieh: il saggio illustra in

con essa, perfino in funzione di elemento creativo primario.

significato simbolico: la performance è stata infatti concepita

(Figure 19), si rifà alla tela L’origine del mondo di Gustave

modo concreto e conciso l’importanza data agli ingredienti

Ne è esempio recente la rassegna Documenta tenutasi a Kassel

come un rito, un’offerta cerimoniale.

Courbet (Figure 20) anche se denota maggiore crudeltà

tradizionali locali, la ricerca dettagliata sul processo

nel 2007, alla quale il grande chef catalano Ferran Adrià

di fermentazione e il loro comune ideale di agricoltura

del ristorante El Bulli è stato invitato in qualità di artista

Prima del banchetto si potrà ascoltare la canzone di

sostenibile.

partecipante. Tuttavia Adrià non ha lasciato El Bulli, esigendo

benvenuto interpretata da Chia-chao Yang, una cantante

Volo nella notte è il trait d’union tra tutte le fotografie

piuttosto che il suo ristorante vicino Barcellona venisse scelto

aborigena di etnia Amis di quasi novanta anni considerata

in mostra e la parte propriamente culinaria, essendo atta a

una sciamana, la cui voce cristallina, particolarmente forte

spiegare che la forza del desiderio è il legame che le unisce;

e risonante, si propaga vigorosa come un’ondata marina.

mentre i germogli di riso in crescita simboleggiano la flebile speranza che nasce dall’oscura forza del desiderio.

Da un certo punto di vista, la gestione di C’est bon e la

come un’ulteriore sede distaccata della rassegna.

2

sperimentazione gastronomica sono già un manifesto di

96

canto ha sempre fatto parte della sua vita.

nell’esposizione del corpo femminile.

sfida all’arte moderna, ormai degenerata in vieti stereotipi

Al contrario il “teatro culinario” di Chun-te Hsieh alla

Cantare ha per lei un significato speciale: catturata in gioventù

concettuali. Chun-te Hsieh dà molta importanza al lavoro

Biennale di Venezia cerca di combinare ritualità e cibi

da una tribù nemica, stava per essere sacrificata ma riuscì a

accurato e prolungato nel tempo, al creare con spirito

caratteristici, con un esperimento in loco che mira a fondere

salvarsi perché, mentre veniva preparata per essere immolata

artigianale. Ad esempio coltiva da sé, in risaie dotate di una

completamente nella performance artistica sia l’innovazione

in sacrificio, si mise a cantare una canzone invocante aiuto

fonte d’acqua indipendente, qualità di riso selezionate con

2 Richard Hamilton e Vicente Todolí, Food for Thought. Thought for Food.

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

che guidò i suoi soccorritori sul posto. Da quel giorno, il

(Traduttrice: Dorina Alimonti)

97

慾望的流體 林志明 在台灣，以攝影為主要創作媒材的藝術家中，謝春德是最難被分類的一位。

系列性，創作時間拉長常常是可以預期的。

他所涉及的創作領域非常地多元，由六零年代下半開始，包括紀實攝影、報 導攝影、流行及商業攝影、設計、詩、裝置、影片（紀錄片、劇情片、廣告

這次謝春德在威尼斯原金匠行會（Scoletta dei Battioro e Tiraoro）舊址所

及 MTV）、舞台及服飾設計、數位科技發展及美食研發。最後這一項較近期

舉辦的「春德的盛宴」個展，充份地體現了前述的跨領域和長時間創作的兩

的發展，甚至曾被列入世界級的排名之中：由他所經營並率領研發的食方餐

個特點。個展中攝影的部份所展出的乃是創作歷時 24 年（1987-2011），由

廳，曾經被英國著名的 Phaidon 出版社於 2009 年的 Coco 一書中，列入世界

21 張大尺寸數位輸出所構成的系列。這個系列原名「三重」，後來改名 Raw

百大新興餐廳。在過去，這樣的多領域橫跨創作，可能會被視為單一作者的

（「生」），意指一種被剝了皮一般的赤裸生命（la vie écorchée）。

「多才多藝」，但在深入瞭解謝春德並與他合作之後，更能理解到這即是今

活動，因此有在地與西方風格建築錯落有致，再加上河水在出海口附近加寬

地寫了一個電影劇本，描寫孩子們利用破落的房舍及河堤邊的垃圾山，打造

了，而兩旁的山景也各具性格特色，因此就有許多被認為值得入畫的景緻。

出他們夢想中的居所、遊樂的樂園，但最後毀於一場突如其來的災難。（圖 1,

這次謝春德所取景的淡水，和傳統的處理相當不同：首先它是由左岸的八里

2, 3）

向淡水方向拍攝，而且河岸的景像也不再是強調自然與人文相合的傳統屋舍， 而是聳立於水岸旁的現代高樓。這些高樓見證著台北的新發展：因為大眾捷

經過了台灣在一九八、九零年代經濟的快速發展和提升，政治上也發生了

運的建設，使得城市裡的中產階級可以輕易地向外遷移，但快速新增的人口，

脫離戒嚴和邁向民主的重大變化，社會的自覺和公民意識都在增強，謝春德

也對河水的生態產生了壓力。因而除了六十多年前的歷史悲劇以外，淡水河

所描述的三重或類似的景象，逐漸成為過去。然而，城市外表的改變也許是

的眼淚也可以理解為河流在人類自私的利用之下所遭受的傷害。

日我們強調的「跨領域」創作較早期的體現：在謝春德這個名字背後，其實

在這個系列的發想源頭，原是三重這樣的一個地方和其中人民的生活。作

比較可見的，人內心的變化卻是幽微許多。和他自己的創作歷程發展相符地

是一群高水準團隊的結合。而統合他們的，更是需要像是具有導演、交響樂

為台灣首都台北市的衛星城市，三重原是一個過渡地帶：人們由外地來到台

（比由較接近報導攝影的《家園》到更多探討內心風景的《無境漂流》），

Raw 系列的寓意性質，也表現在另一個和淡水河有關的影像中。在題名為

團指揮或高級餐廳主廚這樣自身有高度創意，但又具整合指揮才能的人。

北尋求工作機會及社會升遷的管道，在初期沒有太多經濟能力的時候，他們

這個歷時二十多年的系列，便由原先的觀察報導，逐步地轉向一種以編導攝

〈觀音山下的渡船人〉（圖 5）的這張照片中，我們看到台灣街頭常見景像的

會選擇待在三重這樣的城市邊緣地帶。謝春德在一九八零年代時，原來是將

影模式展開的寓意系列。在這個系列中，謝春德同時提出了他對台灣發展歷

「加長版」：一個家庭的成員擠滿了機車，父親之前有兩位小孩，後頭還加

謝春德創作的另外一項特徵，便是創作時間可能會延續非常地久。攝影的

工作室設立於此地，以便深入地觀察這裡的人群和生活，但他逐漸發現，比

程的看法以及個人的心靈圖像。

上了母親及她前後的各兩位，於是一車擠了總共兩位大人六位小孩。這個奇

單張拍攝，看來像是一個快速的，甚至「即刻」進行，發生在「瞬間」的行

起臨時的過渡性居所，三重已成為他心目中台灣一段歷史的縮影。首先，他

動，但晚近的發展，有兩個元素使得攝影變成了一個可能是作品工作時期維

發現有許多人在此居住，其時間已經比自己原生的家鄉更久，但他們仍無法

由原來的《三重》演變到現在的 Raw 系列，歷史的痕跡仍然多處可見。

些鵝在船上（前一後三），很可能象徵著農業時代的遺留（因為當時家中飼

持非常長久，甚至可能是高達一、二十年的長期計畫。第一個元素是系列性：

認同此地，總是認為原來的城市才是家的所在。這使得人們對週邊的環境毫

比如〈淡水河的眼淚〉（圖 4）這張幾乎是融合了整個系列所有主題的影像，

養家禽補貼家用是常見的事）。這條小舟詭異地擁擠又孤獨，以這樣子不太

在單張的照片中獲得獨創的、驚人的或所謂越來越難得的「從未見過的」影

不在意，隨意地丟棄垃圾及置放雜物。多年後，在和他一起前往三重探訪原

它的發想來自 1947 年的 228 屠殺事件。在這個國民黨政府來台統治初期進

正式的方式向前行去。因為人物的佈局和整體的方向感，使人會覺得這家庭

像，逐漸不再是攝影家們所追求的藝術成就。經營一個系列，不只要求單張

先拍攝地點的旅程中，謝春德表示，當時的人有些住在成群的違章建築裡，

行的血腥鎮壓中，有些受難的人物受的苦刑是成群被粗鐵絲穿過手掌示眾，

在渡河的方式也是駕駛機車。以家作為國寓意是一個常見的比喻方式，而甚

的照片的突出，也要求整體的主題、構思深度、風格經營、面向完整性和相

也有些住在現代化的公寓裡，附近是大群的地下工廠，而在住家旁邊，便是

或是被拋沉於河流中溺斃。〈淡水河的眼淚〉回到了可能是當年的行刑場所

至由原理上來說，國族其實就是一種精神上的家庭（A nation … is a spiritual

互間補強搭配都能有所表現，甚至令人激賞。這是一個難度高許多的發展方

由成堆成堆的圾垃所形成的小丘：也許家中的室內環境佈置得很好，但室外

之一的八里河岸，用寓意的方式拍攝出意義更為豐富的場面。在一個延伸進

family. – Ernst Renan）。因為底片薄膜未揭起留下的不穩定模糊感，這個家

向，再加上攝影時常要依賴被攝題材的可獲得性，並不是主觀意願就能掌控，

的公共公間卻呈現一種沒有人照顧管理、被遺棄的狀態。

入河面的小型碼頭堤岸上，佈滿了規律的鐵製荊棘，它們聳立有如針床。就

庭所喻意的國家就像是在一個臨時的、非正式的、拼湊的載體上航向未知。

使得攝影的「藝術工作」（不只是按下快門的拍攝工作），往往成為在時間

98

河堤象徵著人和自然的區隔，也成為謝春德創作發想的一個源頭。他曾為此

異的家庭景像，又加上了一隻狗作前導。但除了常見的家庭成員外，又有一

在這一片棘蘺地上 —地面也是同樣粗糙的—一個裸體的女人手腳被綑綁在一

之中延展的長時期創作。另一個元素是編導式攝影（staged photography）這

三重的位置就在台北的主要河流淡水河邊。由於台灣的氣候，時常會有颱

起，其身體的形狀因為拍攝視角，仿佛被截去四肢，而由其表情，我們可看

整個 Raw 系列，可以當作是這樣的一個以實質的、歷史的、意像的和寓

個發展方向。這種類型的攝影在十九世紀早已出現，甚至由最早的 Hippolyte

風所引發的洪水，像淡水河這樣的大河之旁，便經常產生洪患，一次又一次

出是痛苦到極點而進入恍惚的感覺。照片的背景是淡水河，感覺黯淡且沉重，

意的河流為載體，探討其中流動的慾望和人之處境的系列作品。向歷史走去

Bayard 自拍像、Daguerre 和 Niépce 所拍攝的靜物照片便已出現端倪，不過，

地把低窪地區淹沒，而這也使得居住地帶的臨時性更加突出，因為如果搭蓋

而這更因為遠方的山景及上方的微明但不清楚是黃昏或黎明的光影效果，而

的，還有比如〈全家福〉（圖 6）這樣的作品，它彷彿是一種傳統的家庭意

它在最近的發展中，更是由繪畫的模擬朝向類似電影的場景經營。也就是在

的臨時性違章建築總會被水淹沒，那麼似乎也沒有必要將建築蓋得多麼牢固

顯出一絲絲的曖昧。

象和現代生活的疊合，但拍攝的現實基礎卻是鄉下的實質居住人口流失，只

這個地方，攝影家的工作變得更複雜，更多樣了。他經常需要勘查場地、設

和堂皇。因為河水的整治困難，早期的治理方式首要便是築堤，而這高築的

定人物造型、安排佈景道具場面和燈光，計算運動的過程和速度，結果很自

河堤分開了人和原是哺育文明的河流，使得台北有一段時間，雖然原來是由

位於台北附近的小鎮淡水，其山水風景，長期以來便是台灣畫家喜愛的主

探討了女性身體在現代社會被典型化要求的議題，但也是在類似的環境脈絡

然就是一個耗時較長而且有必要組成團隊的工作。如果採取這種方式再加上

河流經過處發展出來的城市，人的生活卻變得和河流並不親近。這道高聳的

題。過去畫家們喜歡在此取景，無非是因為這裡很早就有西方的洋行和傳教

中呈現，流露出一個鄉村 - 城市間的移動和暗含的勞動變化歷程。在另一張

有在暑假返鄉時才有隔代同堂的景像。另一張〈返鄉之日〉（圖 7），雖然

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慾望的流體 林志明 在台灣，以攝影為主要創作媒材的藝術家中，謝春德是最難被分類的一位。

系列性，創作時間拉長常常是可以預期的。

他所涉及的創作領域非常地多元，由六零年代下半開始，包括紀實攝影、報 導攝影、流行及商業攝影、設計、詩、裝置、影片（紀錄片、劇情片、廣告

這次謝春德在威尼斯原金匠行會（Scoletta dei Battioro e Tiraoro）舊址所

及 MTV）、舞台及服飾設計、數位科技發展及美食研發。最後這一項較近期

舉辦的「春德的盛宴」個展，充份地體現了前述的跨領域和長時間創作的兩

的發展，甚至曾被列入世界級的排名之中：由他所經營並率領研發的食方餐

個特點。個展中攝影的部份所展出的乃是創作歷時 24 年（1987-2011），由

廳，曾經被英國著名的 Phaidon 出版社於 2009 年的 Coco 一書中，列入世界

21 張大尺寸數位輸出所構成的系列。這個系列原名「三重」，後來改名 Raw

百大新興餐廳。在過去，這樣的多領域橫跨創作，可能會被視為單一作者的

（「生」），意指一種被剝了皮一般的赤裸生命（la vie écorchée）。

「多才多藝」，但在深入瞭解謝春德並與他合作之後，更能理解到這即是今

活動，因此有在地與西方風格建築錯落有致，再加上河水在出海口附近加寬

地寫了一個電影劇本，描寫孩子們利用破落的房舍及河堤邊的垃圾山，打造

了，而兩旁的山景也各具性格特色，因此就有許多被認為值得入畫的景緻。

出他們夢想中的居所、遊樂的樂園，但最後毀於一場突如其來的災難。（圖 1,

這次謝春德所取景的淡水，和傳統的處理相當不同：首先它是由左岸的八里

2, 3）

向淡水方向拍攝，而且河岸的景像也不再是強調自然與人文相合的傳統屋舍， 而是聳立於水岸旁的現代高樓。這些高樓見證著台北的新發展：因為大眾捷

經過了台灣在一九八、九零年代經濟的快速發展和提升，政治上也發生了

運的建設，使得城市裡的中產階級可以輕易地向外遷移，但快速新增的人口，

脫離戒嚴和邁向民主的重大變化，社會的自覺和公民意識都在增強，謝春德

也對河水的生態產生了壓力。因而除了六十多年前的歷史悲劇以外，淡水河

所描述的三重或類似的景象，逐漸成為過去。然而，城市外表的改變也許是

的眼淚也可以理解為河流在人類自私的利用之下所遭受的傷害。

日我們強調的「跨領域」創作較早期的體現：在謝春德這個名字背後，其實

在這個系列的發想源頭，原是三重這樣的一個地方和其中人民的生活。作

比較可見的，人內心的變化卻是幽微許多。和他自己的創作歷程發展相符地

是一群高水準團隊的結合。而統合他們的，更是需要像是具有導演、交響樂

為台灣首都台北市的衛星城市，三重原是一個過渡地帶：人們由外地來到台

（比由較接近報導攝影的《家園》到更多探討內心風景的《無境漂流》），

Raw 系列的寓意性質，也表現在另一個和淡水河有關的影像中。在題名為

團指揮或高級餐廳主廚這樣自身有高度創意，但又具整合指揮才能的人。

北尋求工作機會及社會升遷的管道，在初期沒有太多經濟能力的時候，他們

這個歷時二十多年的系列，便由原先的觀察報導，逐步地轉向一種以編導攝

〈觀音山下的渡船人〉（圖 5）的這張照片中，我們看到台灣街頭常見景像的

會選擇待在三重這樣的城市邊緣地帶。謝春德在一九八零年代時，原來是將

影模式展開的寓意系列。在這個系列中，謝春德同時提出了他對台灣發展歷

「加長版」：一個家庭的成員擠滿了機車，父親之前有兩位小孩，後頭還加

謝春德創作的另外一項特徵，便是創作時間可能會延續非常地久。攝影的

工作室設立於此地，以便深入地觀察這裡的人群和生活，但他逐漸發現，比

程的看法以及個人的心靈圖像。

上了母親及她前後的各兩位，於是一車擠了總共兩位大人六位小孩。這個奇

單張拍攝，看來像是一個快速的，甚至「即刻」進行，發生在「瞬間」的行

起臨時的過渡性居所，三重已成為他心目中台灣一段歷史的縮影。首先，他

動，但晚近的發展，有兩個元素使得攝影變成了一個可能是作品工作時期維

發現有許多人在此居住，其時間已經比自己原生的家鄉更久，但他們仍無法

由原來的《三重》演變到現在的 Raw 系列，歷史的痕跡仍然多處可見。

些鵝在船上（前一後三），很可能象徵著農業時代的遺留（因為當時家中飼

持非常長久，甚至可能是高達一、二十年的長期計畫。第一個元素是系列性：

認同此地，總是認為原來的城市才是家的所在。這使得人們對週邊的環境毫

比如〈淡水河的眼淚〉（圖 4）這張幾乎是融合了整個系列所有主題的影像，

養家禽補貼家用是常見的事）。這條小舟詭異地擁擠又孤獨，以這樣子不太

在單張的照片中獲得獨創的、驚人的或所謂越來越難得的「從未見過的」影

不在意，隨意地丟棄垃圾及置放雜物。多年後，在和他一起前往三重探訪原

它的發想來自 1947 年的 228 屠殺事件。在這個國民黨政府來台統治初期進

正式的方式向前行去。因為人物的佈局和整體的方向感，使人會覺得這家庭

像，逐漸不再是攝影家們所追求的藝術成就。經營一個系列，不只要求單張

先拍攝地點的旅程中，謝春德表示，當時的人有些住在成群的違章建築裡，

行的血腥鎮壓中，有些受難的人物受的苦刑是成群被粗鐵絲穿過手掌示眾，

在渡河的方式也是駕駛機車。以家作為國寓意是一個常見的比喻方式，而甚

的照片的突出，也要求整體的主題、構思深度、風格經營、面向完整性和相

也有些住在現代化的公寓裡，附近是大群的地下工廠，而在住家旁邊，便是

或是被拋沉於河流中溺斃。〈淡水河的眼淚〉回到了可能是當年的行刑場所

至由原理上來說，國族其實就是一種精神上的家庭（A nation … is a spiritual

互間補強搭配都能有所表現，甚至令人激賞。這是一個難度高許多的發展方

由成堆成堆的圾垃所形成的小丘：也許家中的室內環境佈置得很好，但室外

之一的八里河岸，用寓意的方式拍攝出意義更為豐富的場面。在一個延伸進

family. – Ernst Renan）。因為底片薄膜未揭起留下的不穩定模糊感，這個家

向，再加上攝影時常要依賴被攝題材的可獲得性，並不是主觀意願就能掌控，

的公共公間卻呈現一種沒有人照顧管理、被遺棄的狀態。

入河面的小型碼頭堤岸上，佈滿了規律的鐵製荊棘，它們聳立有如針床。就

庭所喻意的國家就像是在一個臨時的、非正式的、拼湊的載體上航向未知。

使得攝影的「藝術工作」（不只是按下快門的拍攝工作），往往成為在時間

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河堤象徵著人和自然的區隔，也成為謝春德創作發想的一個源頭。他曾為此

異的家庭景像，又加上了一隻狗作前導。但除了常見的家庭成員外，又有一

在這一片棘蘺地上 —地面也是同樣粗糙的—一個裸體的女人手腳被綑綁在一

之中延展的長時期創作。另一個元素是編導式攝影（staged photography）這

三重的位置就在台北的主要河流淡水河邊。由於台灣的氣候，時常會有颱

起，其身體的形狀因為拍攝視角，仿佛被截去四肢，而由其表情，我們可看

整個 Raw 系列，可以當作是這樣的一個以實質的、歷史的、意像的和寓

個發展方向。這種類型的攝影在十九世紀早已出現，甚至由最早的 Hippolyte

風所引發的洪水，像淡水河這樣的大河之旁，便經常產生洪患，一次又一次

出是痛苦到極點而進入恍惚的感覺。照片的背景是淡水河，感覺黯淡且沉重，

意的河流為載體，探討其中流動的慾望和人之處境的系列作品。向歷史走去

Bayard 自拍像、Daguerre 和 Niépce 所拍攝的靜物照片便已出現端倪，不過，

地把低窪地區淹沒，而這也使得居住地帶的臨時性更加突出，因為如果搭蓋

而這更因為遠方的山景及上方的微明但不清楚是黃昏或黎明的光影效果，而

的，還有比如〈全家福〉（圖 6）這樣的作品，它彷彿是一種傳統的家庭意

它在最近的發展中，更是由繪畫的模擬朝向類似電影的場景經營。也就是在

的臨時性違章建築總會被水淹沒，那麼似乎也沒有必要將建築蓋得多麼牢固

顯出一絲絲的曖昧。

象和現代生活的疊合，但拍攝的現實基礎卻是鄉下的實質居住人口流失，只

這個地方，攝影家的工作變得更複雜，更多樣了。他經常需要勘查場地、設

和堂皇。因為河水的整治困難，早期的治理方式首要便是築堤，而這高築的

定人物造型、安排佈景道具場面和燈光，計算運動的過程和速度，結果很自

河堤分開了人和原是哺育文明的河流，使得台北有一段時間，雖然原來是由

位於台北附近的小鎮淡水，其山水風景，長期以來便是台灣畫家喜愛的主

探討了女性身體在現代社會被典型化要求的議題，但也是在類似的環境脈絡

然就是一個耗時較長而且有必要組成團隊的工作。如果採取這種方式再加上

河流經過處發展出來的城市，人的生活卻變得和河流並不親近。這道高聳的

題。過去畫家們喜歡在此取景，無非是因為這裡很早就有西方的洋行和傳教

中呈現，流露出一個鄉村 - 城市間的移動和暗含的勞動變化歷程。在另一張

有在暑假返鄉時才有隔代同堂的景像。另一張〈返鄉之日〉（圖 7），雖然

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名為〈屋頂上的垂釣人〉（圖 8）的影像中，不無幽默地，藝術家安排兩個

化為舞台的趨勢。台灣有一張七零年代中期出版的照片，原為朱銘家中的舊

們輯錄了長期和謝春德合作的生化專家陳政庸對烏魚子、茶葉和稻米所作的

客家聚落北埔的傳統民居和無形文化財的調查保存工作，是一位人文底蘊深

人物在台北最繁華街道旁的大樓上垂釣，顯露出一種城市人的鄉愁，但也展

照片（圖 16），後來被張照堂收錄在 1976 年出版的《生活筆記》一書中。

短篇書寫，具體而微地說明他們對在地傳統食材特殊點的重視和挖掘、發酵

厚的茶人。

現著城市生活中人和環境格格不入的一種荒謬感。

到了 1979 年，畫家奚淞又根據這張照片製作了一系列的版畫（圖 17），而

過程的細緻研究以及永續農業的理念。

到了 1986 年，林懷民以五零年代流行歌曲為背景為《我的鄉愁，我的歌》 這道河流的另外一個方向，則是流向內心及慾望經營的幻想場景。它們經

編舞，舞台設計又把奚淞的版畫轉化為舞台的佈景。（圖 18）所以這個影

從某個角度來說，謝春德在食方餐廳的經營和實踐，就已經是挑戰現代藝

同類型的藝術家參與，使得整體形成高度的象徵意義：它基本上被構想為一

常看來像是一種舞蹈，比如〈河岸〉（圖 9）這張也是在淡水河邊拍攝的作品。

像的流傳和轉變，可說標誌著台灣藝術的一個重要的年代。原先的照片中，

術流於概念化陳舊套式的一種宣言了。他著重的是長時間和細緻的工作，以

個獻祭的儀式。飲食之前，首先會有楊佳妱演唱迎賓曲。楊女士現已高齡近

畫面中的舞蹈顯然是曖昧的，它看來像是兩個人之間的互動，也像是一個人

拍攝的對象原來是在通霄海邊的一群布袋戲班成員。他們或站或蹲，共有六

接近工藝師的精神來創作。比如米種的選擇便十分嚴謹，必須要是符合健康

九十歲，是具有女巫身份的台灣阿美族原住民。她的歌聲清澈而細準，更特

自身的分身變形。又比如像〈母狗〉（圖 10）這張作品，女體仿佛動物般被

人，都是男子，其中有兩位抱著小孩， 一位帶著猴子。這張照片被視為能夠

生活的風格，高纖而低澱粉含量。接著是選擇一個獨立的種植區域和水源，

別的是宏亮浩瀚，如同細數歲月般隨著波濤展向大海。然而歌唱對她而言，

倒吊著，又襯托一個有點荒蕪但不完全是在自然之中的風景，看來也像是一

體現某個世代的成長圖，在其構圖中，「彷彿有一種親切和神秘的召喚。」

並在播種、培育、收割及碾米的各程序用心注意，使得最基本食材（米）的

具有特別的意義，因為在少女時期，她曾為異族活捉，準備獻為祭禮，而她

種酷刑甚至極致體能的訓練。或者是像〈月光〉（圖 11）這件作品，原本月

這使得圖像出版後，得到某些年輕人的衷心喜愛，甚至「模仿圖樣的姿勢來

風味能得夠同時是飽滿又豐富細緻。而當然，以這樣的心情和態度所準備的

只有哀唱求救之歌，最後同族人終於聞聲趕到將她解救。歌聲因而伴隨了她

光可能是像希臘天神一樣來臨照耀，引發一段人神之間的羅曼史（圖 12）（如

拍照」。1 朱銘、張照堂、奚淞和林懷民都是台灣藝術界的要角，他們的名

作品，當它被觀眾「吃」了進去之後，同時產生的是最直接的接觸，也是最

的生命。在飲食之後，則由知名舞者蕭賀文進行一段對天獻身的舞蹈。蕭女

希臘的艾迪米安神話 Endymion mythology），但此處月光被置換為飛機，而

字結合起來可說是一段和鄉土寫實運動有關的藝術歷史。由這裡回到謝春德

不可預期的反應。

士早年長期參加台灣知名舞團雲門的演出，1998 年加入漢唐樂府，轉而進入

原先躺臥的美少年則變幻為一沙德式的女子，正用羽毛自慰。在現代生活對

的作品，我們很容易可看出，這兩張圖像在人數、嬰兒與猴子的存在、以海

神話幻想的破壞之下，某些根本原則仍然存留。這個原則在某些地方很明白

濱作為背景，人物的職業性格等方面是很相似的，甚至，和舞台發生關連一

為了實際地展現它們，並且使參與的觀眾能深入體會到、感受到甚至因而

地顯露為愛慾與死亡的鄰近性：在〈電子花車〉（圖 13）這件作品中，情形

事都讓人覺得謝的作品可能是這張穿越過一段台灣藝術歷史的生活照的重拍

感動，展覽也花了許多力氣，克服各種複雜問題進行為期六天的「飲食劇場」

是再清楚不過了，但它對不熟悉台灣俗民文化的觀者，卻可能不是第一眼即

（remake）。這其中的差別不只是性別改變了（謝的作品中有兩位女性），

表演。

可辨示的。在台灣民間的風俗中，常有在喪禮時進行電子花車表演，因此會

或是裸露狀況及職業的細微變化，主要還是風格經營上產生了相當大的對照。

看到脫衣舞表演和棺材及哀悼家族並列的情景。這張照片利用台灣南部海邊

原先的世代親切感少了許多，而某種像是流浪藝人所帶來的神秘和鄉愁感增

雖然食物一直和當代藝術發生關係，甚至直接成為其中的創作元素，但是

在一張巨大的影像輸出下用陶瓷及小量的秧苗塑造出水稻田的意象。這張被

沙灘上的枯萎的木麻黃作為佈景，仍然強調了其中的儀式氣氛。使得愛與死

強了一些：以海濱作背景形成的荒蕪感更加沉重，最後由舞台布幕加入所產

將美食和當代藝術作完整的結合卻是不易。比較近期的例子是 2007 年的卡塞

命名為〈夜間飛行〉（圖 19）的影像，其主題有如庫爾貝的〈世界的起源〉

的主題達到最大強度，則是一張題名為〈石碑上的愛情〉（圖 14）的照片。

生具灼燒感的華麗頹廢，卻是一個完全不同的元素。透過這張照片，可以說

爾文件展，邀請巴塞隆納 el Bulli 餐廳的主廚 Ferran Adrià 為其參展藝術家。

（圖 20），但是以更殘酷的方式佈置了女體。這件作品將展覽整體影像的部

除了肅穆的觀禮人群和墳墓上作愛的裸身男女對比性地闡述了這個主題之

謝春德對那個他自己曾經參與的時代和運動，同時進行了致敬和告別。

不過 Ferran Adrià 並未離開 el Bulli，而是把餐廳當作文件展的另一個展場。2

份和食物的部份連結起來，說明了慾力乃是其中的串連，而生長中的秧苗，

這次謝春德的飲食劇場則嘗試在威尼斯展場結合儀式性和在地食物的特色，

仍是這無明慾力中的一點希望的象徵。

外，我們也看到藝術家本人的頭像以一個擱淺在沙灘上的姿勢出現在前述兩

更古典內斂的舞蹈風格。她的演出將總結此次的飲食劇場，並為飲食賦予濃

實驗將食物的創新和其中蘊含的思想，完全融入到藝術表演的可能。於是，

春德認為藝術在於尋找一種感動，而這必須觸動生物性潛在的「原始連結慾

從菜色的設計、料理的方式，食器和展示方式到整體的設置，都經過精心設

在這些影像中，有時也會出現一種類似後現代主義藝術的引述式創作，比

望」，即喚醒集體潛意識中共同的感情反應。很可能是因為這樣的原因，他

計以使其本身即展現藝術企圖。甚至對於飲食的傳統概念也加以質疑，比如

如〈流浪藝人〉（圖 15）這件作品，拍攝的是在海濱的六個男女，他們或站

在 2003 年開始投入美食，經營一家由裝潢、傢俱和食器都自己設計的食方餐

整個飲食將不是由「吃」開始（如果「吃」只意謂著由嘴巴進入），而是由

或蹲，有一位手上抱著嬰兒，一位手上則抱著猴子。在畫面中還出現三道白

廳。除了和視覺較有關的部份外，食方也是一個發展出自己的食物哲學和進

聞香開始。這一個段落將由客家茶師古武男引領，他長期進行台灣北部著名

色簾幕，其中一個正著火，顯露詭奇的艷麗景像，並且使得自然突然有被轉

行探索實驗的場所。其中最重要的是對食材的重視。在這本展覽專輯裡，我 1 http://roxytom.bluecircus.net/archives/006265.html 2011/3/11 瀏覽。

厚的獻祭的意義。

「春德的盛宴」在展場的設計上，也希望能有這種時間性開展的可能。在 整個展覽空間最關鍵的位置上，展出單獨一件的裝置藝術作品。這件裝置是

雖然和先前的時期作出了區隔，但仍然有些基本的藝術立場是延續的。謝

個群體之間，配合著後方漂浮的雲朵，像是在說明這一切只是他的幻想。

100

作為一個飲食「劇場」，這次為期六天的多場表演，也加入了更多位不

2 Richard Hamilton and Vicente Todolí (ed.) (2009). Food for Thought. Thought for Food. Barcelona: Actar, pp. 82-86.

101

名為〈屋頂上的垂釣人〉（圖 8）的影像中，不無幽默地，藝術家安排兩個

化為舞台的趨勢。台灣有一張七零年代中期出版的照片，原為朱銘家中的舊

們輯錄了長期和謝春德合作的生化專家陳政庸對烏魚子、茶葉和稻米所作的

客家聚落北埔的傳統民居和無形文化財的調查保存工作，是一位人文底蘊深

人物在台北最繁華街道旁的大樓上垂釣，顯露出一種城市人的鄉愁，但也展

照片（圖 16），後來被張照堂收錄在 1976 年出版的《生活筆記》一書中。

短篇書寫，具體而微地說明他們對在地傳統食材特殊點的重視和挖掘、發酵

厚的茶人。

現著城市生活中人和環境格格不入的一種荒謬感。

到了 1979 年，畫家奚淞又根據這張照片製作了一系列的版畫（圖 17），而

過程的細緻研究以及永續農業的理念。

到了 1986 年，林懷民以五零年代流行歌曲為背景為《我的鄉愁，我的歌》 這道河流的另外一個方向，則是流向內心及慾望經營的幻想場景。它們經

編舞，舞台設計又把奚淞的版畫轉化為舞台的佈景。（圖 18）所以這個影

從某個角度來說，謝春德在食方餐廳的經營和實踐，就已經是挑戰現代藝

同類型的藝術家參與，使得整體形成高度的象徵意義：它基本上被構想為一

常看來像是一種舞蹈，比如〈河岸〉（圖 9）這張也是在淡水河邊拍攝的作品。

像的流傳和轉變，可說標誌著台灣藝術的一個重要的年代。原先的照片中，

術流於概念化陳舊套式的一種宣言了。他著重的是長時間和細緻的工作，以

個獻祭的儀式。飲食之前，首先會有楊佳妱演唱迎賓曲。楊女士現已高齡近

畫面中的舞蹈顯然是曖昧的，它看來像是兩個人之間的互動，也像是一個人

拍攝的對象原來是在通霄海邊的一群布袋戲班成員。他們或站或蹲，共有六

接近工藝師的精神來創作。比如米種的選擇便十分嚴謹，必須要是符合健康

九十歲，是具有女巫身份的台灣阿美族原住民。她的歌聲清澈而細準，更特

自身的分身變形。又比如像〈母狗〉（圖 10）這張作品，女體仿佛動物般被

人，都是男子，其中有兩位抱著小孩， 一位帶著猴子。這張照片被視為能夠

生活的風格，高纖而低澱粉含量。接著是選擇一個獨立的種植區域和水源，

別的是宏亮浩瀚，如同細數歲月般隨著波濤展向大海。然而歌唱對她而言，

倒吊著，又襯托一個有點荒蕪但不完全是在自然之中的風景，看來也像是一

體現某個世代的成長圖，在其構圖中，「彷彿有一種親切和神秘的召喚。」

並在播種、培育、收割及碾米的各程序用心注意，使得最基本食材（米）的

具有特別的意義，因為在少女時期，她曾為異族活捉，準備獻為祭禮，而她

種酷刑甚至極致體能的訓練。或者是像〈月光〉（圖 11）這件作品，原本月

這使得圖像出版後，得到某些年輕人的衷心喜愛，甚至「模仿圖樣的姿勢來

風味能得夠同時是飽滿又豐富細緻。而當然，以這樣的心情和態度所準備的

只有哀唱求救之歌，最後同族人終於聞聲趕到將她解救。歌聲因而伴隨了她

光可能是像希臘天神一樣來臨照耀，引發一段人神之間的羅曼史（圖 12）（如

拍照」。1 朱銘、張照堂、奚淞和林懷民都是台灣藝術界的要角，他們的名

作品，當它被觀眾「吃」了進去之後，同時產生的是最直接的接觸，也是最

的生命。在飲食之後，則由知名舞者蕭賀文進行一段對天獻身的舞蹈。蕭女

希臘的艾迪米安神話 Endymion mythology），但此處月光被置換為飛機，而

字結合起來可說是一段和鄉土寫實運動有關的藝術歷史。由這裡回到謝春德

不可預期的反應。

士早年長期參加台灣知名舞團雲門的演出，1998 年加入漢唐樂府，轉而進入

原先躺臥的美少年則變幻為一沙德式的女子，正用羽毛自慰。在現代生活對

的作品，我們很容易可看出，這兩張圖像在人數、嬰兒與猴子的存在、以海

神話幻想的破壞之下，某些根本原則仍然存留。這個原則在某些地方很明白

濱作為背景，人物的職業性格等方面是很相似的，甚至，和舞台發生關連一

為了實際地展現它們，並且使參與的觀眾能深入體會到、感受到甚至因而

地顯露為愛慾與死亡的鄰近性：在〈電子花車〉（圖 13）這件作品中，情形

事都讓人覺得謝的作品可能是這張穿越過一段台灣藝術歷史的生活照的重拍

感動，展覽也花了許多力氣，克服各種複雜問題進行為期六天的「飲食劇場」

是再清楚不過了，但它對不熟悉台灣俗民文化的觀者，卻可能不是第一眼即

（remake）。這其中的差別不只是性別改變了（謝的作品中有兩位女性），

表演。

可辨示的。在台灣民間的風俗中，常有在喪禮時進行電子花車表演，因此會

或是裸露狀況及職業的細微變化，主要還是風格經營上產生了相當大的對照。

看到脫衣舞表演和棺材及哀悼家族並列的情景。這張照片利用台灣南部海邊

原先的世代親切感少了許多，而某種像是流浪藝人所帶來的神秘和鄉愁感增

雖然食物一直和當代藝術發生關係，甚至直接成為其中的創作元素，但是

在一張巨大的影像輸出下用陶瓷及小量的秧苗塑造出水稻田的意象。這張被

沙灘上的枯萎的木麻黃作為佈景，仍然強調了其中的儀式氣氛。使得愛與死

強了一些：以海濱作背景形成的荒蕪感更加沉重，最後由舞台布幕加入所產

將美食和當代藝術作完整的結合卻是不易。比較近期的例子是 2007 年的卡塞

命名為〈夜間飛行〉（圖 19）的影像，其主題有如庫爾貝的〈世界的起源〉

的主題達到最大強度，則是一張題名為〈石碑上的愛情〉（圖 14）的照片。

生具灼燒感的華麗頹廢，卻是一個完全不同的元素。透過這張照片，可以說

爾文件展，邀請巴塞隆納 el Bulli 餐廳的主廚 Ferran Adrià 為其參展藝術家。

（圖 20），但是以更殘酷的方式佈置了女體。這件作品將展覽整體影像的部

除了肅穆的觀禮人群和墳墓上作愛的裸身男女對比性地闡述了這個主題之

謝春德對那個他自己曾經參與的時代和運動，同時進行了致敬和告別。

不過 Ferran Adrià 並未離開 el Bulli，而是把餐廳當作文件展的另一個展場。2

份和食物的部份連結起來，說明了慾力乃是其中的串連，而生長中的秧苗，

這次謝春德的飲食劇場則嘗試在威尼斯展場結合儀式性和在地食物的特色，

仍是這無明慾力中的一點希望的象徵。

外，我們也看到藝術家本人的頭像以一個擱淺在沙灘上的姿勢出現在前述兩

更古典內斂的舞蹈風格。她的演出將總結此次的飲食劇場，並為飲食賦予濃

實驗將食物的創新和其中蘊含的思想，完全融入到藝術表演的可能。於是，

春德認為藝術在於尋找一種感動，而這必須觸動生物性潛在的「原始連結慾

從菜色的設計、料理的方式，食器和展示方式到整體的設置，都經過精心設

在這些影像中，有時也會出現一種類似後現代主義藝術的引述式創作，比

望」，即喚醒集體潛意識中共同的感情反應。很可能是因為這樣的原因，他

計以使其本身即展現藝術企圖。甚至對於飲食的傳統概念也加以質疑，比如

如〈流浪藝人〉（圖 15）這件作品，拍攝的是在海濱的六個男女，他們或站

在 2003 年開始投入美食，經營一家由裝潢、傢俱和食器都自己設計的食方餐

整個飲食將不是由「吃」開始（如果「吃」只意謂著由嘴巴進入），而是由

或蹲，有一位手上抱著嬰兒，一位手上則抱著猴子。在畫面中還出現三道白

廳。除了和視覺較有關的部份外，食方也是一個發展出自己的食物哲學和進

聞香開始。這一個段落將由客家茶師古武男引領，他長期進行台灣北部著名

色簾幕，其中一個正著火，顯露詭奇的艷麗景像，並且使得自然突然有被轉

行探索實驗的場所。其中最重要的是對食材的重視。在這本展覽專輯裡，我 1 http://roxytom.bluecircus.net/archives/006265.html 2011/3/11 瀏覽。

厚的獻祭的意義。

「春德的盛宴」在展場的設計上，也希望能有這種時間性開展的可能。在 整個展覽空間最關鍵的位置上，展出單獨一件的裝置藝術作品。這件裝置是

雖然和先前的時期作出了區隔，但仍然有些基本的藝術立場是延續的。謝

個群體之間，配合著後方漂浮的雲朵，像是在說明這一切只是他的幻想。

100

作為一個飲食「劇場」，這次為期六天的多場表演，也加入了更多位不

2 Richard Hamilton and Vicente Todolí (ed.) (2009). Food for Thought. Thought for Food. Barcelona: Actar, pp. 82-86.

101

Figure 2-1. Hsieh Chun-te/Chen Shao-Wei, preparation picture for Crossing the Ocean in Summer, Gelatinsilver print, 1984.

Figure2-6. Hsieh Chun-te, RAW - Family Portrait, Ultra smooth fine art paper, 1987-2011.

Figure2-11. Hsieh Chun-te, RAW - Moonlight, Ultra smooth fine art paper, 1987-2011.

Figure2-6. Hsieh Chun-te, RAW - Ritratto di Famiglia, carta stampa artistica ultra liscia, 1987-2011.

Figure2-11. Hsieh Chun-te, RAW - Chiaro di Luna, carta stampa artistica ultra liscia, 1987-2011.

圖 2-6 謝春德，〈RAW – 全家福〉，平滑藝術紙影像輸出，1987-2011。

圖 2-11 謝春德，〈RAW – 月光〉，平滑藝術紙影像輸出，1987-2011。

Figure 2-2. Hsieh Chun-te, preparation picture for Crossing the Ocean in Summer, Gelatin-silver print, 1990.

Figure2-7. Hsieh Chun-te, RAW - Homecoming Day, Ultra smooth fine art paper, 1987-2011.

Figure2-12. Anne-Louis Girodet de Roussy-Trioson, The Sleep of Endymion, oil on canvas, 1791.

Figure 2-2. Hsieh Chun-te/Chen Shao-Wei, una bozza per Attraversare l’Oceano in Estate, fotografia 1990

Figure2-7. Hsieh Chun-te, RAW - Giorno del ritorno a casa, carta stampa artistica ultra liscia, 1987-2011.

Figure2-12. Anne-Louis Girodet de Roussy-Trioson, Il sonno di Endymion, olio su tela, 1791.

圖 2-2 謝春德，〈夏天裡過海洋〉準備圖像之二，銀鹽相紙，1990。

圖 2-7 謝春德，〈RAW – 返鄉之日〉，平滑藝術紙影像輸出，1987-2011。

圖 2-12 吉洛德，〈艾迪米安的沈睡〉，油畫，1791。

Figure 2-3. Hsieh Chun-te/Chen Shao-Wei, preparation picture for Crossing the Ocean in Summerr, Gelatin-silver print, 1991.

Figure2-8. Hsieh Chun-te, RAW - The Fishmen on the Rooftop, Ultra smooth fine art paper, 1987-2011.

Figure2-13. Hsieh Chun-te, RAW - Main Street Electrical Parade, Ultra smooth fine art paper, 1987-2011.

Figure2-18. Stage setting from Lin Huai-Min’s My Nostalgia, My Songs, 1986.

Figure 2-3. Hsieh Chun-te/Chen Shao-Wei, una bozza per Attraversare l’Oceano in Estate, fotografia 1991

Figure2-8. Hsieh Chun-te, RAW - Il pescatore sul tetto, carta stampa artistica ultra liscia, 1987-2011.

Figure2-13. Hsieh Chun-te, RAW - Parata Elettrica sulla strada principale, carta stampa artistica ultra liscia, 1987-2011.

Figure2-18. Scenografia da La mia nostalgia, Le mie canzooni di Lin Huai-Min, 1986.

圖 2-3 謝 春 德 / 陳 少 維，〈 夏 天 裡 過 海 洋 〉 準 備 圖 像 之 三， 銀 鹽 相 紙， 1991。

圖 2-8 謝春德，〈RAW – 屋頂上的垂釣人〉，平滑藝術紙影像輸出，19872011。

圖 2-13 謝 春 德，〈RAW – 電 子 花 車 〉， 平 滑 藝 術 紙 影 像 輸 出，19872011。

圖 2-18 林懷民〈我的鄉愁，我的歌〉之舞台佈景，1986。

Figure 2-4. Hsieh Chun-te, RAW - The Tears of Tamsui River, Ultra smooth fine art paper, 1987-2011.

Figure2-9. Hsieh Chun-te, RAW - Riverbank, Ultra smooth fine art paper, 1987-2011.

Figure2-14. Hsieh Chun-te, RAW - The Romance on the Stele (ancient version, detail), Ultra smooth fine art paper, 1987-2011.

Figure2-19. Hsieh Chun-te, RAW - Flight in the Night, Ultra smooth fine art paper, 1987-2011.

Figure 2-4. Hsieh Chun-te, RAW - Le lacrime del fiume Tamsui, carta stampa artistica ultra liscia, 1987-2011.

Figure2-9. Hsieh Chun-te, RAW - La sponda del fiume, carta stampa artistica ultra liscia, 1987-2011.

Figure2-14. Hsieh Chun-te, RAW - L’idillio sullo stele, carta stampa artistica ultra liscia, 1987-2011.

Figure2-19. Hsieh Chun-te, RAW - Volo nella notte, carta stampa artistica ultra liscia, 1987-2011.

圖 2-4 謝春德，〈RAW – 淡水河的眼淚〉，平滑藝術紙影像輸出，19872011。

圖 2-9 謝春德，〈RAW – 河岸〉，平滑藝術紙影像輸出，1987-2011。

圖 2-14 謝春德，〈RAW – 石碑上的愛情〉（先前版本，細節），平滑藝術 紙影像輸出，1987-2011。

圖 2-19 謝 春 德，〈RAW – 夜 間 飛 行 〉， 平 滑 藝 術 紙 影 像 輸 出，19872011。

Figure2-5. Hsieh Chun-te, RAW - Voyagers at the Guan-yinshan(Guan-yin Mountain), Ultra smooth fine art paper, 1987-2011.

Figure2-10. Hsieh Chun-te, RAW - Bitches, Ultra smooth fine art paper, 1987-2011.

Figure2-15. Hsieh Chun-te, RAW - Wondering Artists (ancient version), Ultra smooth fine art paper, 1987-2011.

Figure2-20. Gustave Courbet, The Origin of the World, oil on canvas, 1866.

Figure2-5. Hsieh Chun-te, RAW - Viggiattori in battello nel Guanyin-shan (Montagna Guan-yin), carta stampa artistica ultra liscia, 1987-2011.

Figure2-10. Hsieh Chun-te, RAW - Puttane, carta stampa artistica ultra liscia, 1987-2011.

Figure2-15. Hsieh Chun-te, RAW -Artisti pieni di meraviglia, carta stampa artistica ultra liscia, 1987-2011.

Figure2-20. Gustave Courbet, L’origine del Mondo, olio su tela, 1866.

圖 2-10 謝春德，〈RAW – 母狗〉，平滑藝術紙影像輸出，1987-2011。

圖 2-15 謝春德，〈RAW – 流浪藝人〉（先前版本），平滑藝術紙影像輸出， 1987-2011。

圖 2-20 庫爾貝，〈世界的起源〉，油畫，1866。

Figure 2-1. Hsieh Chun-te/Chen Shao-Wei, una bozza per Attraversare l’Oceano in Estate, fotografia 1984.

Figure2-16. Ju M ing, Tongxiao Beach, photograph, 1978.

Figure2-16. Ju Ming, Spiaggia di Tongxiao, fotografia, 1978. 圖 2-16 朱銘攝，〈通宵海邊〉，攝影照片，1978。

圖 2-1 謝春德 / 陳少維，〈夏天裡過海洋〉準備圖像之一，銀鹽 相紙，1984。

圖 2-5 謝春德，〈RAW – 觀音山下的渡船人〉，平滑藝術紙影像輸出， 1987-2011。

102

Figure2-17. Shi Song, The Seaside in Winter, woodcut, 1980.

Figure2-17. Shi Song, La spiaggia in inverno, incisione su legno, 1980. 圖 2-17 奚淞，〈冬日的海濱〉，版畫，1980。

103

Figure 2-1. Hsieh Chun-te/Chen Shao-Wei, preparation picture for Crossing the Ocean in Summer, Gelatinsilver print, 1984.

Figure2-6. Hsieh Chun-te, RAW - Family Portrait, Ultra smooth fine art paper, 1987-2011.

Figure2-11. Hsieh Chun-te, RAW - Moonlight, Ultra smooth fine art paper, 1987-2011.

Figure2-6. Hsieh Chun-te, RAW - Ritratto di Famiglia, carta stampa artistica ultra liscia, 1987-2011.

Figure2-11. Hsieh Chun-te, RAW - Chiaro di Luna, carta stampa artistica ultra liscia, 1987-2011.

圖 2-6 謝春德，〈RAW – 全家福〉，平滑藝術紙影像輸出，1987-2011。

圖 2-11 謝春德，〈RAW – 月光〉，平滑藝術紙影像輸出，1987-2011。

Figure 2-2. Hsieh Chun-te, preparation picture for Crossing the Ocean in Summer, Gelatin-silver print, 1990.

Figure2-7. Hsieh Chun-te, RAW - Homecoming Day, Ultra smooth fine art paper, 1987-2011.

Figure2-12. Anne-Louis Girodet de Roussy-Trioson, The Sleep of Endymion, oil on canvas, 1791.

Figure 2-2. Hsieh Chun-te/Chen Shao-Wei, una bozza per Attraversare l’Oceano in Estate, fotografia 1990

Figure2-7. Hsieh Chun-te, RAW - Giorno del ritorno a casa, carta stampa artistica ultra liscia, 1987-2011.

Figure2-12. Anne-Louis Girodet de Roussy-Trioson, Il sonno di Endymion, olio su tela, 1791.

圖 2-2 謝春德，〈夏天裡過海洋〉準備圖像之二，銀鹽相紙，1990。

圖 2-7 謝春德，〈RAW – 返鄉之日〉，平滑藝術紙影像輸出，1987-2011。

圖 2-12 吉洛德，〈艾迪米安的沈睡〉，油畫，1791。

Figure 2-3. Hsieh Chun-te/Chen Shao-Wei, preparation picture for Crossing the Ocean in Summerr, Gelatin-silver print, 1991.

Figure2-8. Hsieh Chun-te, RAW - The Fishmen on the Rooftop, Ultra smooth fine art paper, 1987-2011.

Figure2-13. Hsieh Chun-te, RAW - Main Street Electrical Parade, Ultra smooth fine art paper, 1987-2011.

Figure2-18. Stage setting from Lin Huai-Min’s My Nostalgia, My Songs, 1986.

Figure 2-3. Hsieh Chun-te/Chen Shao-Wei, una bozza per Attraversare l’Oceano in Estate, fotografia 1991

Figure2-8. Hsieh Chun-te, RAW - Il pescatore sul tetto, carta stampa artistica ultra liscia, 1987-2011.

Figure2-13. Hsieh Chun-te, RAW - Parata Elettrica sulla strada principale, carta stampa artistica ultra liscia, 1987-2011.

Figure2-18. Scenografia da La mia nostalgia, Le mie canzooni di Lin Huai-Min, 1986.

圖 2-3 謝 春 德 / 陳 少 維，〈 夏 天 裡 過 海 洋 〉 準 備 圖 像 之 三， 銀 鹽 相 紙， 1991。

圖 2-8 謝春德，〈RAW – 屋頂上的垂釣人〉，平滑藝術紙影像輸出，19872011。

圖 2-13 謝 春 德，〈RAW – 電 子 花 車 〉， 平 滑 藝 術 紙 影 像 輸 出，19872011。

圖 2-18 林懷民〈我的鄉愁，我的歌〉之舞台佈景，1986。

Figure 2-4. Hsieh Chun-te, RAW - The Tears of Tamsui River, Ultra smooth fine art paper, 1987-2011.

Figure2-9. Hsieh Chun-te, RAW - Riverbank, Ultra smooth fine art paper, 1987-2011.

Figure2-14. Hsieh Chun-te, RAW - The Romance on the Stele (ancient version, detail), Ultra smooth fine art paper, 1987-2011.

Figure2-19. Hsieh Chun-te, RAW - Flight in the Night, Ultra smooth fine art paper, 1987-2011.

Figure 2-4. Hsieh Chun-te, RAW - Le lacrime del fiume Tamsui, carta stampa artistica ultra liscia, 1987-2011.

Figure2-9. Hsieh Chun-te, RAW - La sponda del fiume, carta stampa artistica ultra liscia, 1987-2011.

Figure2-14. Hsieh Chun-te, RAW - L’idillio sullo stele, carta stampa artistica ultra liscia, 1987-2011.

Figure2-19. Hsieh Chun-te, RAW - Volo nella notte, carta stampa artistica ultra liscia, 1987-2011.

圖 2-4 謝春德，〈RAW – 淡水河的眼淚〉，平滑藝術紙影像輸出，19872011。

圖 2-9 謝春德，〈RAW – 河岸〉，平滑藝術紙影像輸出，1987-2011。

圖 2-14 謝春德，〈RAW – 石碑上的愛情〉（先前版本，細節），平滑藝術 紙影像輸出，1987-2011。

圖 2-19 謝 春 德，〈RAW – 夜 間 飛 行 〉， 平 滑 藝 術 紙 影 像 輸 出，19872011。

Figure2-5. Hsieh Chun-te, RAW - Voyagers at the Guan-yinshan(Guan-yin Mountain), Ultra smooth fine art paper, 1987-2011.

Figure2-10. Hsieh Chun-te, RAW - Bitches, Ultra smooth fine art paper, 1987-2011.

Figure2-15. Hsieh Chun-te, RAW - Wondering Artists (ancient version), Ultra smooth fine art paper, 1987-2011.

Figure2-20. Gustave Courbet, The Origin of the World, oil on canvas, 1866.

Figure2-5. Hsieh Chun-te, RAW - Viggiattori in battello nel Guanyin-shan (Montagna Guan-yin), carta stampa artistica ultra liscia, 1987-2011.

Figure2-10. Hsieh Chun-te, RAW - Puttane, carta stampa artistica ultra liscia, 1987-2011.

Figure2-15. Hsieh Chun-te, RAW -Artisti pieni di meraviglia, carta stampa artistica ultra liscia, 1987-2011.

Figure2-20. Gustave Courbet, L’origine del Mondo, olio su tela, 1866.

圖 2-10 謝春德，〈RAW – 母狗〉，平滑藝術紙影像輸出，1987-2011。

圖 2-15 謝春德，〈RAW – 流浪藝人〉（先前版本），平滑藝術紙影像輸出， 1987-2011。

圖 2-20 庫爾貝，〈世界的起源〉，油畫，1866。

Figure 2-1. Hsieh Chun-te/Chen Shao-Wei, una bozza per Attraversare l’Oceano in Estate, fotografia 1984.

Figure2-16. Ju M ing, Tongxiao Beach, photograph, 1978.

Figure2-16. Ju Ming, Spiaggia di Tongxiao, fotografia, 1978. 圖 2-16 朱銘攝，〈通宵海邊〉，攝影照片，1978。

圖 2-1 謝春德 / 陳少維，〈夏天裡過海洋〉準備圖像之一，銀鹽 相紙，1984。

圖 2-5 謝春德，〈RAW – 觀音山下的渡船人〉，平滑藝術紙影像輸出， 1987-2011。

102

Figure2-17. Shi Song, The Seaside in Winter, woodcut, 1980.

Figure2-17. Shi Song, La spiaggia in inverno, incisione su legno, 1980. 圖 2-17 奚淞，〈冬日的海濱〉，版畫，1980。

103

The Playful Cruelty of Hsieh Chun-te

by Dominique Païni

W h a t s t r u c k m e w h e n I f i r s t s a w H s i e h C h u n - t e ’s

these big photographic compositions make on me: a set of

religiosity and eroticism.” And it is the photographic focus

the unease provoked by a certain erotic cruelty so much

photographs was the atmosphere, the sense of a gathering

dreams of reason bringing forth monsters, to echo the famous

that selects and points up what must be looked at in this

as from the great diversity of his references, his extensive

storm that pervaded many of them. As if Hsieh was

title that Goya gave to one of his works, a collection in

ruined urban theatre, and in particular the bodily parts of

visual culture.

representing a postlapsarian world. Some of the compositions

which black and white, ugliness and beauty, purity and vice

these three vestals barring access to it, by emphasising one

clearly indicate the performance of a violent action

clash with each other. Hsieh offers a kind of photographic

of their breasts, as if this optical adjustment was itself an

condemned by propriety and the rules of human society. It is

equivalent of these visions of the end of a decadent and

incision.

nearly always a matter of punishment, of a body cast down

corrupt humanity, visions traversed by winds that threaten to

on a symbolic field of thorns, of hanged bodies, of bodies

sweep away the ruins of a post-cataclysmal world.

abandoned in the indifference of our modern deafness, bodies

to speak of the sur-reality of these images, if not their surrealism. The word is overworked and hackneyed. And

The iconography of Hsieh Chu-te reveals multiple

yet there is a kind of obviousness in the way the entwined

borrowings and in turn borrows from several periods of art.

couple so irresistibly evokes certain Surrealist motifs such

The first thing that strikes us is this anachronism.

as René Magritte’s The Lovers.(Figure 3-2) Still, this echo

drawn and quartered, bodies sexually punished, bodies that

Several aspects of Hsieh’s work also evoke the poetics of

seem to be held up to public opprobrium. From Giorgione’s

Georges Bataille, the cataclysmal character of which Pierre

The Tempest to the prints of Gustave Doré, the storm is a

Klossowski described in terms that offer a troubling echo of

If we nevertheless set out to contradict this loss of

artist? I doubt it. The entwined lovers could also originate

manifestation of divine wrath.

Hsieh’s images: “[in Bataille] the ontological catastrophe

bearings that Hsieh very deliberately engages in, in other

– that is, if we absolutely need to find roots for Hsieh’s

of thought is merely the reverse of an apogee attained in

words, if we go back in time, the family group (Family

imagination – in Goya, as I have already suggested. Georges

The artist who dares to show such scenes of sacrifice

what he calls sovereign moments: drunkenness, laughter,

Portrait) taken in front of a house in the same town,

Bataille, indeed, used an engraving in The Tears of Eros,

is a visionary haunted by the disquiet that arises from the

erotic and sacrificial effusion, experiences that characterise

Shueigin, a place that obsesses the artist, comes out of

as mentioned above, that can be considered as the infernal

complicity between Eros and Thanatos. I had never before

expenditure without compensation, a measureless prodigality,

a tradition in Chinese art, and can be related to certain

version of this twisted fusion of bodies.(Figure 3-3) There

i m a g e s f r o m t h e t w e n t i e t h c e n t u r y. A t t h e M u s e u m o f

can be no doubt that Hsieh Chun-te has encountered Bataille

Fine Arts in Taipei there is a plaque by Huang Tu-Shui

and Surrealist inspiration. A photograph by Hans Bellmer

(Figure 3-1) which, it seems to me, belongs to the ancient

(Figure 3-4) showing his disjointed doll on a bed of straw

1

seen a scene of capital execution whose final act is a sexual

a loss without meaning, utility or purpose.”

act observed by the usual, gloomy witnesses of that terrible

was speaking here of “simulacrum” in Bataille’s work.

Klossowski

ceremony which legally terminates life (The Romance on the

104

It would be easy, and verging on intellectual laziness,

is no ordinary quotation. Is it deliberate on the part of the

Stele, Raw series). What audacity, what derision to mix in

With Hsieh we are fascinated by a prodigality in the

Chinese tradition of rural images and constitutes a kind of

came to mind when I saw the disturbing image of that young

this way the legalised transgression that consists in coldly

staging of elements that are at once atrocious and delectable

iconographic predecessor of Hsieh’s visions. The peaceful

woman suffering and exposed to the wounds of a torture of

taking away life with the approval of the court and the most

and measureless; fascinated by an erotic loss. Drunkenness,

nature of the relations between the children and the buffalos

growths – The Tears of Tamsui River – growths as unnatural

beautiful of all human actions! It is indeed a ceremony, here,

sacrifice and sometimes cruel humour: this is what these

that Huang expresses in the gentle relief of this gypsum

as Bellmer ’s litter or the bedding of Marcel Duchamp’s

and all Hsieh Chun-te’s work is ceremonial. Of which, more

very disconcerting images are made of. The pose and

plaque has a correlative in the velvety black-and-white of

Given.

below.

attitude of these three women seen in a street in Shueigin

Hsieh’s photographs. Hsieh does indeed have a very personal

(in the county of Kohu, in the southern part of Taiwan), in

way with the zones of clarity and haziness in his prints, and

Goya’s influence reaches deep into Hsieh Chun-te’s visual

To d e s c r i b e H s i e h C h u n - t e ’s w o r k s m o r e p r e c i s e l y

Homecoming Day, irresistibly evokes lingshi, that mythical

the contrast between the bright, sunny foreground and the

culture. At the start of this essay I spoke of the Caprichos

one would have to compare them to images that form an

Chinese torture known as “death by a thousand cuts,” which

shadow of the house creates a depth comparable to what is

and the Disasters. In the latter series, the print of the Great

ensemble, like caprichos that go beyond caricature to

Bataille wrote about in his Tears of Eros – “that ecstatic

conveyed by the delicate low relief.

deeds against the dead (Figure 3-5) offers a model for one

describe the disasters of the world. The allusion to Goya

and intolerable pain, the representation of which mixes

here is quite deliberate, because this is the impression that

1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille », in Critique, Août-septembre 1963.

of the recurring images of bodies that are tortured, hung But the strangeness of Hsieh’s work does not come from

by the feet, the head fated to be buried forever, in the Raw

105

The Playful Cruelty of Hsieh Chun-te

by Dominique Païni

W h a t s t r u c k m e w h e n I f i r s t s a w H s i e h C h u n - t e ’s

these big photographic compositions make on me: a set of

religiosity and eroticism.” And it is the photographic focus

the unease provoked by a certain erotic cruelty so much

photographs was the atmosphere, the sense of a gathering

dreams of reason bringing forth monsters, to echo the famous

that selects and points up what must be looked at in this

as from the great diversity of his references, his extensive

storm that pervaded many of them. As if Hsieh was

title that Goya gave to one of his works, a collection in

ruined urban theatre, and in particular the bodily parts of

visual culture.

representing a postlapsarian world. Some of the compositions

which black and white, ugliness and beauty, purity and vice

these three vestals barring access to it, by emphasising one

clearly indicate the performance of a violent action

clash with each other. Hsieh offers a kind of photographic

of their breasts, as if this optical adjustment was itself an

condemned by propriety and the rules of human society. It is

equivalent of these visions of the end of a decadent and

incision.

nearly always a matter of punishment, of a body cast down

corrupt humanity, visions traversed by winds that threaten to

on a symbolic field of thorns, of hanged bodies, of bodies

sweep away the ruins of a post-cataclysmal world.

abandoned in the indifference of our modern deafness, bodies

to speak of the sur-reality of these images, if not their surrealism. The word is overworked and hackneyed. And

The iconography of Hsieh Chu-te reveals multiple

yet there is a kind of obviousness in the way the entwined

borrowings and in turn borrows from several periods of art.

couple so irresistibly evokes certain Surrealist motifs such

The first thing that strikes us is this anachronism.

as René Magritte’s The Lovers.(Figure 3-2) Still, this echo

drawn and quartered, bodies sexually punished, bodies that

Several aspects of Hsieh’s work also evoke the poetics of

seem to be held up to public opprobrium. From Giorgione’s

Georges Bataille, the cataclysmal character of which Pierre

The Tempest to the prints of Gustave Doré, the storm is a

Klossowski described in terms that offer a troubling echo of

If we nevertheless set out to contradict this loss of

artist? I doubt it. The entwined lovers could also originate

manifestation of divine wrath.

Hsieh’s images: “[in Bataille] the ontological catastrophe

bearings that Hsieh very deliberately engages in, in other

– that is, if we absolutely need to find roots for Hsieh’s

of thought is merely the reverse of an apogee attained in

words, if we go back in time, the family group (Family

imagination – in Goya, as I have already suggested. Georges

The artist who dares to show such scenes of sacrifice

what he calls sovereign moments: drunkenness, laughter,

Portrait) taken in front of a house in the same town,

Bataille, indeed, used an engraving in The Tears of Eros,

is a visionary haunted by the disquiet that arises from the

erotic and sacrificial effusion, experiences that characterise

Shueigin, a place that obsesses the artist, comes out of

as mentioned above, that can be considered as the infernal

complicity between Eros and Thanatos. I had never before

expenditure without compensation, a measureless prodigality,

a tradition in Chinese art, and can be related to certain

version of this twisted fusion of bodies.(Figure 3-3) There

i m a g e s f r o m t h e t w e n t i e t h c e n t u r y. A t t h e M u s e u m o f

can be no doubt that Hsieh Chun-te has encountered Bataille

Fine Arts in Taipei there is a plaque by Huang Tu-Shui

and Surrealist inspiration. A photograph by Hans Bellmer

(Figure 3-1) which, it seems to me, belongs to the ancient

(Figure 3-4) showing his disjointed doll on a bed of straw

1

seen a scene of capital execution whose final act is a sexual

a loss without meaning, utility or purpose.”

act observed by the usual, gloomy witnesses of that terrible

was speaking here of “simulacrum” in Bataille’s work.

Klossowski

ceremony which legally terminates life (The Romance on the

104

It would be easy, and verging on intellectual laziness,

is no ordinary quotation. Is it deliberate on the part of the

Stele, Raw series). What audacity, what derision to mix in

With Hsieh we are fascinated by a prodigality in the

Chinese tradition of rural images and constitutes a kind of

came to mind when I saw the disturbing image of that young

this way the legalised transgression that consists in coldly

staging of elements that are at once atrocious and delectable

iconographic predecessor of Hsieh’s visions. The peaceful

woman suffering and exposed to the wounds of a torture of

taking away life with the approval of the court and the most

and measureless; fascinated by an erotic loss. Drunkenness,

nature of the relations between the children and the buffalos

growths – The Tears of Tamsui River – growths as unnatural

beautiful of all human actions! It is indeed a ceremony, here,

sacrifice and sometimes cruel humour: this is what these

that Huang expresses in the gentle relief of this gypsum

as Bellmer ’s litter or the bedding of Marcel Duchamp’s

and all Hsieh Chun-te’s work is ceremonial. Of which, more

very disconcerting images are made of. The pose and

plaque has a correlative in the velvety black-and-white of

Given.

below.

attitude of these three women seen in a street in Shueigin

Hsieh’s photographs. Hsieh does indeed have a very personal

(in the county of Kohu, in the southern part of Taiwan), in

way with the zones of clarity and haziness in his prints, and

Goya’s influence reaches deep into Hsieh Chun-te’s visual

To d e s c r i b e H s i e h C h u n - t e ’s w o r k s m o r e p r e c i s e l y

Homecoming Day, irresistibly evokes lingshi, that mythical

the contrast between the bright, sunny foreground and the

culture. At the start of this essay I spoke of the Caprichos

one would have to compare them to images that form an

Chinese torture known as “death by a thousand cuts,” which

shadow of the house creates a depth comparable to what is

and the Disasters. In the latter series, the print of the Great

ensemble, like caprichos that go beyond caricature to

Bataille wrote about in his Tears of Eros – “that ecstatic

conveyed by the delicate low relief.

deeds against the dead (Figure 3-5) offers a model for one

describe the disasters of the world. The allusion to Goya

and intolerable pain, the representation of which mixes

here is quite deliberate, because this is the impression that

1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille », in Critique, Août-septembre 1963.

of the recurring images of bodies that are tortured, hung But the strangeness of Hsieh’s work does not come from

by the feet, the head fated to be buried forever, in the Raw

105

series (Bitches). Yes, bodies are hanged in the apocalypse

series entitled Perverse Housewives (Danchi Zuma), offered

the most impressive photographs is the staggering image of

according to Hsieh Chun-te. But one nevertheless hesitates

some very intense images of female submission, and in

the hanging bodies of young women (Bitches, Raw series).

between terror and a macabre irony.

particular one of the most famous films in that series, The

Shocking eroticism aside, what also comes across here, in

Woman with Pierced Nipples by Shogoro Nishimura (Figure

an untimely and provocative way, is Hsieh’s second passion:

3-8), where we see the main actress rolling around on a

gastronomy. This installation irresistibly brings to mind

carpet of roses, her back wounded by the thorns.

those presentations of glossy Peking duck and glazed pigs,

Another thing that characterises Hsieh Chun-

te’s photographic theatres is the scope of their mise-enscène. As with Joel-Peter Witkin (Figure 3-6), who is a few

hanging from their legs in the windows of traditional Chinese

years younger than him, for Hsieh each photograph is the

In those days Koji Wakamatsu was the master of pinku

restaurants, ready to be eaten. Once again, this extraordinary

concluding act that comes after lengthy preparation. The

eiga, a specifically Japanese cinematic genre that was

image refers to cinema, but this time to the Chinese cinema

choice of location, the sizeable team of assistants, the sets,

considered erotic but had an aesthetic that was very much

of Hong Kong. I have a vivid memory of a film by Fruit

utensils and furniture, the complex lighting, the costumes,

of the New Japanese Cinema. Wakamatsu’s work can seem

Chan from 2001, Hollywood Hong Kong (Figure 3-11), set

the attention to the poses (in other words, the performance),

disconcertingly close to Hsieh’s. I am thinking here of his

in the professional world of food markets. It includes a

bring them close to the mise-en-scène of cinema. And if I

remarkable film The Embryo Hunts in Secret (Figure 3-9,

sequence which confirms my feeling that the effects in each

had to place this artist from Taiwan within a tradition and

3-10), which was still given an X rating on its release in

of Hsieh Chu-te’s works offer a synthesis of cruelty and

culture affording closer access to his world, it is to cinema

Europe in 2007. In one sequence, where a woman stands

beauty, humour and tragedy: a playful cruelty.

that I would refer, and in particular Japanese cinema and its

in a doorway, offering herself to a man, the light projected

New Wave of the 1960s, which was so important for artists

around her suggests a second image, an image within the

in the “region,” and of course to those of Taiwan, which had

image, a subliminal image of another body inscribed in the

remained culturally permeable to Japanese influence.

matter of the image, like the one that, after looking for a

(Translator: Charles Penwarden)

while, we can make out in Hsieh’s photograph Flight in the Beyond the simple title of the works presented here – and this is far from insignificant: Ceremony – I was greatly

Night. Similarly, the body is exhibited in Wakamatsu’s work in a way that brings to mind Hsieh’s Mirror.

impressed by the distant echoes between the films by the master of modern Japanese cinema, Nagisa Oshima, and

To p u t i t d i ff e r e n t l y, H s i e h ’s o r i g i n a l i t y l i e s i n t h i s

Hsieh’s mises en scène. And the slow, tragic conclusion of

alternation between several cultural references: classical

Oshima’s The Ceremony (1971) (Figure 3-7) came to mind

Western painting, Surrealist ecstasy and modern Japanese

when I first saw the work of this artist who places such

cinema. This assemblage may seem extravagant and

emphasis on social rituals and cruelty.

incoherent to those who know nothing about Taiwan, its identity concerns and the collage of cultural components that

106

A tendency in Japanese cinema, a current considered as

forms today’s island. It engenders work whose main concern,

very erotic, which was very fashionable in those same years,

precisely, is to construct the coherence of an assemblage

produced by the Nikkatsu company, which inaugurated a

that does not exclude humour in its juxtapositions. One of

107

series (Bitches). Yes, bodies are hanged in the apocalypse

series entitled Perverse Housewives (Danchi Zuma), offered

the most impressive photographs is the staggering image of

according to Hsieh Chun-te. But one nevertheless hesitates

some very intense images of female submission, and in

the hanging bodies of young women (Bitches, Raw series).

between terror and a macabre irony.

particular one of the most famous films in that series, The

Shocking eroticism aside, what also comes across here, in

Woman with Pierced Nipples by Shogoro Nishimura (Figure

an untimely and provocative way, is Hsieh’s second passion:

3-8), where we see the main actress rolling around on a

gastronomy. This installation irresistibly brings to mind

carpet of roses, her back wounded by the thorns.

those presentations of glossy Peking duck and glazed pigs,

Another thing that characterises Hsieh Chun-

te’s photographic theatres is the scope of their mise-enscène. As with Joel-Peter Witkin (Figure 3-6), who is a few

hanging from their legs in the windows of traditional Chinese

years younger than him, for Hsieh each photograph is the

In those days Koji Wakamatsu was the master of pinku

restaurants, ready to be eaten. Once again, this extraordinary

concluding act that comes after lengthy preparation. The

eiga, a specifically Japanese cinematic genre that was

image refers to cinema, but this time to the Chinese cinema

choice of location, the sizeable team of assistants, the sets,

considered erotic but had an aesthetic that was very much

of Hong Kong. I have a vivid memory of a film by Fruit

utensils and furniture, the complex lighting, the costumes,

of the New Japanese Cinema. Wakamatsu’s work can seem

Chan from 2001, Hollywood Hong Kong (Figure 3-11), set

the attention to the poses (in other words, the performance),

disconcertingly close to Hsieh’s. I am thinking here of his

in the professional world of food markets. It includes a

bring them close to the mise-en-scène of cinema. And if I

remarkable film The Embryo Hunts in Secret (Figure 3-9,

sequence which confirms my feeling that the effects in each

had to place this artist from Taiwan within a tradition and

3-10), which was still given an X rating on its release in

of Hsieh Chu-te’s works offer a synthesis of cruelty and

culture affording closer access to his world, it is to cinema

Europe in 2007. In one sequence, where a woman stands

beauty, humour and tragedy: a playful cruelty.

that I would refer, and in particular Japanese cinema and its

in a doorway, offering herself to a man, the light projected

New Wave of the 1960s, which was so important for artists

around her suggests a second image, an image within the

in the “region,” and of course to those of Taiwan, which had

image, a subliminal image of another body inscribed in the

remained culturally permeable to Japanese influence.

matter of the image, like the one that, after looking for a

(Translator: Charles Penwarden)

while, we can make out in Hsieh’s photograph Flight in the Beyond the simple title of the works presented here – and this is far from insignificant: Ceremony – I was greatly

Night. Similarly, the body is exhibited in Wakamatsu’s work in a way that brings to mind Hsieh’s Mirror.

impressed by the distant echoes between the films by the master of modern Japanese cinema, Nagisa Oshima, and

To p u t i t d i ff e r e n t l y, H s i e h ’s o r i g i n a l i t y l i e s i n t h i s

Hsieh’s mises en scène. And the slow, tragic conclusion of

alternation between several cultural references: classical

Oshima’s The Ceremony (1971) (Figure 3-7) came to mind

Western painting, Surrealist ecstasy and modern Japanese

when I first saw the work of this artist who places such

cinema. This assemblage may seem extravagant and

emphasis on social rituals and cruelty.

incoherent to those who know nothing about Taiwan, its identity concerns and the collage of cultural components that

106

A tendency in Japanese cinema, a current considered as

forms today’s island. It engenders work whose main concern,

very erotic, which was very fashionable in those same years,

precisely, is to construct the coherence of an assemblage

produced by the Nikkatsu company, which inaugurated a

that does not exclude humour in its juxtapositions. One of

107

L’allegra crudeltà di Hsieh Chun-te di Dominique Païni

Quando scoprii i quadri fotografici di Hsieh Chun-te, fui

tentativi di descrivere i disastri del mondo. Non è un caso

prospettiva di una strada di Shueigin (nella contea di Kohu,

in effetti in modo molto personale le parti di nitidezza e di

immediatamente colpito dall’atmosfera di tempesta imminente

che questi due termini siano presi in prestito da Goya, perché

nel sud dell’isola), Homecoming Day, evocano senza dubbio

sfocatura nelle sue stampe e il contrasto fra il primo piano

che pervade molti di essi. Come se Hsieh rappresentasse un

è proprio questa l’impressione immediata che le grandi

il lingchi, questo mitico supplizio cinese chiamato anche

molto soleggiato e l’ombra della casa mette in evidenza

mondo dopo il “peccato”. Alcune composizioni indicano

composizioni fotografiche di Hsieh esercitano su di me: un

“morte languida” e che George Bataille ha commentato nelle

una profondità di campo simile a quella resa dal delicato

chiaramente il compimento di un atto violento solitamente

insieme dei sogni della ragione che generano mostri, per

sue Larmes d’Eros: “questo dolore estatico e intollerabile

bassorilievo.

condannato dalla decenza o dalle regole della società degli

riprendere il famoso titolo dato dall’artista spagnolo a una

la cui rappresentazione mescola religiosità ed erotismo”. Ed

uomini. Si tratta quasi sempre di un castigo: corpi gettati

delle sue opere più famose, in cui si oppongono il bianco e

è proprio il fuoco fotografico che seleziona e indica dove è

Ma la stravaganza dell’opera di Hsieh, più che risiedere nel

su un simbolico campo di spine, corpi impiccati, corpi

il nero, la bruttezza e la bellezza, la purezza e il vizio. Hsieh

necessario concentrare l’attenzione in mezzo a questo teatro

turbamento prodotto da una certa crudeltà erotica, si colloca

abbandonati nell’indifferenza dello stordimento moderno,

offre una sorta di equivalenti fotografici di queste visioni della

urbano in rovina, in particolare le parti del corpo di queste tre

nella grandissima diversità dei suoi modelli di riferimento,

corpi squartati, corpi puniti sessualmente, corpi che sembrano

fine dell’umanità decadente e corrotta, visioni attraversate

vestali che ne proteggono l’accesso, accentuando la nitidezza

nella sua vasta cultura visiva.

esposti all’obbrobrio pubblico… Da La Tempesta di Giorgione

da venti che minacciano di inghiottire le rovine di un mondo

dell’inquadratura su uno dei loro seni, come se questo

alle incisioni di Gustave Dorè, la tempesta è sempre stata la

post-catastrofico.

aggiustamento di ottica fosse un gesto altamente significativo.

richiamare per queste immagini un certo carattere di irrealtà,

manifestazione dell’ira divina.

Molti aspetti dell’opera di Hsieh evocano anche la poetica

L’iconografia di Hsieh rivela numerose influenze ed è a

evocare un senso di surrealismo. La parola è spesso abusata

L’artista che osa mostrare tali scene di sacrificio è un

di Georges Bataille, di cui Pierre Klossowski ha descritto

sua volta influenzato da diversi periodi artistici. Ciò che più

o usata a sproposito. Tuttavia è evidente che la coppia

visionario perseguitato da un’inquietudine originata dalla

il carattere catas trofico in termini che s i accordano in

colpisce è innanzitutto proprio questo anacronismo.

avvinghiata e stretta nell’abbraccio evoca a mio parere un

connivenza tra Eros e Thanatos. Non avevo mai visto una

modo inquietante con le immagini di Hsieh: “(In Bataille)

scena di esecuzione capitale il cui ultimo atto fosse un atto

la catastrofe ontologica del pensiero non è che l’inverso

Se tuttavia si tentasse di mettere in discussione questa

primo fra tutti Gli Amanti di René Magritte. (Figure 3-2) Ma

sessuale osservato dagli abituali loschi testimoni di questa

di un apogeo raggiunto in ciò che egli definisce i momenti

perdita di riferimenti alla quale Hsieh si abbandona

questa reminescenza non è una citazione casuale. È voluta

terribile cerimonia che sopprime legalmente la vita (The

supremi: l’ebbrezza, il riso, l’effusione erotica e sacrificale,

consapevolmente, in altri termini se andassimo indietro nel

dall’artista? Ne dubito… Gli amanti abbracciati potrebbero

Romance on the Stele, serie Raw). Che audacia, che derisione

esperienze che caratterizzano una spesa senza corrispettivo,

tempo, il gruppo familiare (Family Portrait) realizzato davanti

in realtà avere origine - se per forza bisogna trovare delle

mescolare in modo così provocante questa trasgressione

una prodigalità senza misura, uno sperpero privato di senso,

a una casa sempre nella città Shueigin, luogo ricorrente e

origini all’immaginazione di Hsieh - da Goya, come ho

1

richiamo irresistibile a certi motivi tipicamente surrealisti,

legale, che consiste nel togliere freddamente la vita per

utilità o scopo”. Klossowski sceglieva questa definizione per

ossessivo per l’artista, potrebbe derivare dall’arte cinese

già ricordato. Precisamente George Bataille ha utilizzato

decisione di giustizia, con il più bell’atto umano che ci sia. Si

designare il “simulacro” nell’opera dello scrittore.

tradizionale: si possono riconoscere alcune antiche immagini

un’incisione nel libro già citato, Les Larmes d’Eros, che si

del XX secolo. Al Museo delle Belle Arti di Taipei si trova

può considerare come il versante infernale di questa fusione

Sono proprio questa prodigalità della messa in scena di

una targa di Huang Tu-Shui (Figure 3-1) che mi sembra

di corpi attorcigliati. (Figure 3-3) Non c’è dubbio che Hsieh

elementi smisurati, atroci e gradevoli allo stesso tempo,

appartenere alla tradizione della rappresentazione rurale della

abbia risentito dell’influenza di Bataille e dell’ispirazione

e questa perdizione erotica che affascinano nel lavoro di

Cina antica e costituire una sorta di antecedente iconografico

surrealista. Mi è venuta in mente una fotografia di Hans

Per definire in maniera più corretta le opere fotografiche

Hsieh…. Ebbrezza, sacrificio e talvolta uno humour crudele:

delle visioni di Hsieh. L’atmosfera pacifica che regna fra i

Bellmer (Figure 3-4) che rappresenta una bambola

di Hsieh è necessario compararle ad altre immagini, spesso

ecco di cosa son fatte queste immagini così fastidiose. La

bambini e i bufali, rappresentata da Huang nella dolcezza del

disarticolata su un letto di paglia quando ho scoperto in The

facenti parte di uno stesso genere, come i capricci che non

posa e l’atteggiamento di queste tre donne inserite nella

rilievo di questa placca di gesso, trova un’equivalenza nei

Tears of Tamsui River l’immagine fastidiosa di questa giovane

sono solo semplici esercizi caricaturali, ma veri e propri

1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille », in Critique, Août-septembre 1963.

toni vellutati del bianco e nero della fotografia. Hsieh lavora

donna sofferente ed esposta alle ferite della tortura di una

tratta in effetti di una vera e propria cerimonia e l’intera opera di Hsieh ne è vera e propria testimonianza. Ci tornerò sopra più avanti.

108

È molto facile, ai limiti della pigrizia intellettuale,

109

L’allegra crudeltà di Hsieh Chun-te di Dominique Païni

Quando scoprii i quadri fotografici di Hsieh Chun-te, fui

tentativi di descrivere i disastri del mondo. Non è un caso

prospettiva di una strada di Shueigin (nella contea di Kohu,

in effetti in modo molto personale le parti di nitidezza e di

immediatamente colpito dall’atmosfera di tempesta imminente

che questi due termini siano presi in prestito da Goya, perché

nel sud dell’isola), Homecoming Day, evocano senza dubbio

sfocatura nelle sue stampe e il contrasto fra il primo piano

che pervade molti di essi. Come se Hsieh rappresentasse un

è proprio questa l’impressione immediata che le grandi

il lingchi, questo mitico supplizio cinese chiamato anche

molto soleggiato e l’ombra della casa mette in evidenza

mondo dopo il “peccato”. Alcune composizioni indicano

composizioni fotografiche di Hsieh esercitano su di me: un

“morte languida” e che George Bataille ha commentato nelle

una profondità di campo simile a quella resa dal delicato

chiaramente il compimento di un atto violento solitamente

insieme dei sogni della ragione che generano mostri, per

sue Larmes d’Eros: “questo dolore estatico e intollerabile

bassorilievo.

condannato dalla decenza o dalle regole della società degli

riprendere il famoso titolo dato dall’artista spagnolo a una

la cui rappresentazione mescola religiosità ed erotismo”. Ed

uomini. Si tratta quasi sempre di un castigo: corpi gettati

delle sue opere più famose, in cui si oppongono il bianco e

è proprio il fuoco fotografico che seleziona e indica dove è

Ma la stravaganza dell’opera di Hsieh, più che risiedere nel

su un simbolico campo di spine, corpi impiccati, corpi

il nero, la bruttezza e la bellezza, la purezza e il vizio. Hsieh

necessario concentrare l’attenzione in mezzo a questo teatro

turbamento prodotto da una certa crudeltà erotica, si colloca

abbandonati nell’indifferenza dello stordimento moderno,

offre una sorta di equivalenti fotografici di queste visioni della

urbano in rovina, in particolare le parti del corpo di queste tre

nella grandissima diversità dei suoi modelli di riferimento,

corpi squartati, corpi puniti sessualmente, corpi che sembrano

fine dell’umanità decadente e corrotta, visioni attraversate

vestali che ne proteggono l’accesso, accentuando la nitidezza

nella sua vasta cultura visiva.

esposti all’obbrobrio pubblico… Da La Tempesta di Giorgione

da venti che minacciano di inghiottire le rovine di un mondo

dell’inquadratura su uno dei loro seni, come se questo

alle incisioni di Gustave Dorè, la tempesta è sempre stata la

post-catastrofico.

aggiustamento di ottica fosse un gesto altamente significativo.

richiamare per queste immagini un certo carattere di irrealtà,

manifestazione dell’ira divina.

Molti aspetti dell’opera di Hsieh evocano anche la poetica

L’iconografia di Hsieh rivela numerose influenze ed è a

evocare un senso di surrealismo. La parola è spesso abusata

L’artista che osa mostrare tali scene di sacrificio è un

di Georges Bataille, di cui Pierre Klossowski ha descritto

sua volta influenzato da diversi periodi artistici. Ciò che più

o usata a sproposito. Tuttavia è evidente che la coppia

visionario perseguitato da un’inquietudine originata dalla

il carattere catas trofico in termini che s i accordano in

colpisce è innanzitutto proprio questo anacronismo.

avvinghiata e stretta nell’abbraccio evoca a mio parere un

connivenza tra Eros e Thanatos. Non avevo mai visto una

modo inquietante con le immagini di Hsieh: “(In Bataille)

scena di esecuzione capitale il cui ultimo atto fosse un atto

la catastrofe ontologica del pensiero non è che l’inverso

Se tuttavia si tentasse di mettere in discussione questa

primo fra tutti Gli Amanti di René Magritte. (Figure 3-2) Ma

sessuale osservato dagli abituali loschi testimoni di questa

di un apogeo raggiunto in ciò che egli definisce i momenti

perdita di riferimenti alla quale Hsieh si abbandona

questa reminescenza non è una citazione casuale. È voluta

terribile cerimonia che sopprime legalmente la vita (The

supremi: l’ebbrezza, il riso, l’effusione erotica e sacrificale,

consapevolmente, in altri termini se andassimo indietro nel

dall’artista? Ne dubito… Gli amanti abbracciati potrebbero

Romance on the Stele, serie Raw). Che audacia, che derisione

esperienze che caratterizzano una spesa senza corrispettivo,

tempo, il gruppo familiare (Family Portrait) realizzato davanti

in realtà avere origine - se per forza bisogna trovare delle

mescolare in modo così provocante questa trasgressione

una prodigalità senza misura, uno sperpero privato di senso,

a una casa sempre nella città Shueigin, luogo ricorrente e

origini all’immaginazione di Hsieh - da Goya, come ho

1

richiamo irresistibile a certi motivi tipicamente surrealisti,

legale, che consiste nel togliere freddamente la vita per

utilità o scopo”. Klossowski sceglieva questa definizione per

ossessivo per l’artista, potrebbe derivare dall’arte cinese

già ricordato. Precisamente George Bataille ha utilizzato

decisione di giustizia, con il più bell’atto umano che ci sia. Si

designare il “simulacro” nell’opera dello scrittore.

tradizionale: si possono riconoscere alcune antiche immagini

un’incisione nel libro già citato, Les Larmes d’Eros, che si

del XX secolo. Al Museo delle Belle Arti di Taipei si trova

può considerare come il versante infernale di questa fusione

Sono proprio questa prodigalità della messa in scena di

una targa di Huang Tu-Shui (Figure 3-1) che mi sembra

di corpi attorcigliati. (Figure 3-3) Non c’è dubbio che Hsieh

elementi smisurati, atroci e gradevoli allo stesso tempo,

appartenere alla tradizione della rappresentazione rurale della

abbia risentito dell’influenza di Bataille e dell’ispirazione

e questa perdizione erotica che affascinano nel lavoro di

Cina antica e costituire una sorta di antecedente iconografico

surrealista. Mi è venuta in mente una fotografia di Hans

Per definire in maniera più corretta le opere fotografiche

Hsieh…. Ebbrezza, sacrificio e talvolta uno humour crudele:

delle visioni di Hsieh. L’atmosfera pacifica che regna fra i

Bellmer (Figure 3-4) che rappresenta una bambola

di Hsieh è necessario compararle ad altre immagini, spesso

ecco di cosa son fatte queste immagini così fastidiose. La

bambini e i bufali, rappresentata da Huang nella dolcezza del

disarticolata su un letto di paglia quando ho scoperto in The

facenti parte di uno stesso genere, come i capricci che non

posa e l’atteggiamento di queste tre donne inserite nella

rilievo di questa placca di gesso, trova un’equivalenza nei

Tears of Tamsui River l’immagine fastidiosa di questa giovane

sono solo semplici esercizi caricaturali, ma veri e propri

1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille », in Critique, Août-septembre 1963.

toni vellutati del bianco e nero della fotografia. Hsieh lavora

donna sofferente ed esposta alle ferite della tortura di una

tratta in effetti di una vera e propria cerimonia e l’intera opera di Hsieh ne è vera e propria testimonianza. Ci tornerò sopra più avanti.

108

È molto facile, ai limiti della pigrizia intellettuale,

109

vegetazione così poco realistica, come lo stesso giaciglio di

Al di là di un unico titolo di una delle opere presentate,

corpo impressa nella materia dell’immagine stessa, proprio

Chun-te offra una sintesi di effetti che mettono in campo

Bellmer o i rovi secchi rappresentati da Marcel Duchamp in

elemento comunque significativo, Ceremony, sono rimasto

come quella che appare dopo un certo tempo di osservazione,

crudeltà e bellezza, humour e senso del tragico, una vera e

Etant donné.

molto impressionato dalla relazione che i film del maestro del

in questa opera di Hsieh, Flight in the Night. E anche nel

propria crudeltà allegra.

moderno cinema giapponese, Nagisa Oshima, intrattengono

film Wakamatsu il corpo si espone secondo un dispositivo di

L’influenza di Goya si insinua nel profondo della nella

con le messe in scena di Hsieh. E la lenta conclusione tragica

inquadratura che non può non far pensare ad un’altra opera

cultura visiva Hsieh. Ho citato all’inizio di questo scritto i

di La Cérémonie (1971) (Figure 3-7), l’ultima sequenza, mi è

ancora dell’artista di Taiwan, Mirror.

capricci e i disastri. In quest’ultima serie, l’incisione Grande

tornata subito in mente scoprendo il lavoro di un artista che

Hazana con muertos (Figure 3-5) offre un modello per una

attribuisce così tanta importanza ai rituali di crudeltà e sociali.

In altre parole, l’originalità di Hsieh risiede in questa alternanza tra differenti prestiti culturali: la pittura

delle numerose sequenze di corpi giustiziati, appesi per i piedi, con la testa definitivamente destinata al sotterramento

Una corrente del cinema giapponese, una corrente

occidentale classica, l’estasi surrealista, il cinema giapponese

nella serie Raw (Bitches). Nei lavori di Hsieh Chun-te i corpi

considerata erotica molto in voga in quegli stessi anni,

moderno… Questa unione può sembrare stravagante ed

sono sì impiccati e condannati all’apocalisse, tuttavia si

prodotta dalla società Nikkatsu che inaugurò una serie

eterogenea a coloro che poco conoscono Taiwan, la sua

rimane in bilico fra terrore e una macabra ironia.

intitolata Ménagères perverses (Danchi Zuma), ha offerto

questione identitaria e il miscuglio eterogeneo delle diverse

immagini molto intense di sottomissione femminile e in

componenti culturali che caratterizzano l’isola oggi. Tutto

Ciò che caratterizza ancora i teatri fotografici di Hsieh sono

particolare uno dei film più celebri di questa serie, La femme

ciò produce un’opera la cui sfida principale è precisamente

l’elaborazione e la complessità della loro messa in scena. Così

aux seins percés, di Shogoro Nishamura (Figure 3-8), dove si

quella di costruire un assemblaggio coerente che non

come per Joël-Peter Witkin (Figure 3-6), più giovane di lui di

vede l’attrice principale rotolarsi su un tappeto di rose le cui

escluda lo humour di accostamenti inediti. Una delle

qualche anno, gli scatti di Hsieh sono il risultato finale di una

spine le feriscono il dorso.

fotografie più impressionanti è quella che rappresenta uno stupefacente aggancio di corpi di donne nude (Bitches, serie

lunga preparazione. Scelta del luogo, una consistente squadra

110

( Traduttrice: Silvia Cesari )

di assistenti, scenografie, utensili e mobilio, illuminazione

Ma probabilmente è Koji Wakamatsu in questi anni a

Raw). Indipendentemente dalla carica erotica abbastanza

complessa, costumi di scena, studio delle pose (si tratta

essere il maestro di Pinku eiga, un genere cinematografico

impressionante, è la seconda passione di Hsieh Chun-te che

di una vera e propria interpretazione) conferiscono alle

specificamente giapponese, considerato un genere erotico

qui si impone in maniera provocatoria e inopportuna: la

fotografie una forte affinità con la regia cinematografica. E

ma la cui estetica risente del Nouveau cinéma giapponese.

gastronomia. Questa installazione non può non far pensare ai

se dovessi inserire questo artista di Taiwan in una tradizione

L’estetica di questo cineasta coincide a volte in maniera

polli tirati a lucido, ai maiali appesi e preparati per il consumo

culturale che permetta di accedere più facilmente al suo

impressionante con quella di Hsieh. Penso a questo

culinario, agganciati con le zampe posteriori nelle vetrine

mondo, sarebbe senza dubbio quella cinematografica e più in

eccezionale film Quand l’embryon part braconner (Figure 3-9,

dei ristoranti cinesi tradizionali. È ancora al cinema, cinese

particolare il cinema giapponese, fortemente influenzato dalla

3-10) che, nonostante il titolo insignificante e quasi rustico,

questa volta, di provenienza Hong Kong, che questa immagine

Nouvelle Vague degli anni sessanta, movimento che ebbe

non riesce a evitare la censura ai minori di diciotto anni,

fuori dal comune ci rimanda. Un film di realizzazione Fruit

una fondamentale importanza per gli artisti della “regione”

quando uscì nel 2007. In una sequenza nel corso della quale

Chan del 2001, Hollywood Hong Kong (Figure 3-11), mi ha

e sia chiaro che Taiwan è da sempre rimasto immerso in una

una donna si offre a un uomo alle luce della fessura di una

lasciato un ricordo indelebile. Una sequenza della pellicola,

permeabilità culturale il con il Giappone.

porta, una proiezione di fasci luminosi suggerisce una seconda

la cui vicenda si svolge nell’ambiente dei mercati alimentari,

immagine nell’immagine, un’immagine subliminale di un altro

mi conferma la sensazione che ciascuna delle opere di Hsieh

111

vegetazione così poco realistica, come lo stesso giaciglio di

Al di là di un unico titolo di una delle opere presentate,

corpo impressa nella materia dell’immagine stessa, proprio

Chun-te offra una sintesi di effetti che mettono in campo

Bellmer o i rovi secchi rappresentati da Marcel Duchamp in

elemento comunque significativo, Ceremony, sono rimasto

come quella che appare dopo un certo tempo di osservazione,

crudeltà e bellezza, humour e senso del tragico, una vera e

Etant donné.

molto impressionato dalla relazione che i film del maestro del

in questa opera di Hsieh, Flight in the Night. E anche nel

propria crudeltà allegra.

moderno cinema giapponese, Nagisa Oshima, intrattengono

film Wakamatsu il corpo si espone secondo un dispositivo di

L’influenza di Goya si insinua nel profondo della nella

con le messe in scena di Hsieh. E la lenta conclusione tragica

inquadratura che non può non far pensare ad un’altra opera

cultura visiva Hsieh. Ho citato all’inizio di questo scritto i

di La Cérémonie (1971) (Figure 3-7), l’ultima sequenza, mi è

ancora dell’artista di Taiwan, Mirror.

capricci e i disastri. In quest’ultima serie, l’incisione Grande

tornata subito in mente scoprendo il lavoro di un artista che

Hazana con muertos (Figure 3-5) offre un modello per una

attribuisce così tanta importanza ai rituali di crudeltà e sociali.

In altre parole, l’originalità di Hsieh risiede in questa alternanza tra differenti prestiti culturali: la pittura

delle numerose sequenze di corpi giustiziati, appesi per i piedi, con la testa definitivamente destinata al sotterramento

Una corrente del cinema giapponese, una corrente

occidentale classica, l’estasi surrealista, il cinema giapponese

nella serie Raw (Bitches). Nei lavori di Hsieh Chun-te i corpi

considerata erotica molto in voga in quegli stessi anni,

moderno… Questa unione può sembrare stravagante ed

sono sì impiccati e condannati all’apocalisse, tuttavia si

prodotta dalla società Nikkatsu che inaugurò una serie

eterogenea a coloro che poco conoscono Taiwan, la sua

rimane in bilico fra terrore e una macabra ironia.

intitolata Ménagères perverses (Danchi Zuma), ha offerto

questione identitaria e il miscuglio eterogeneo delle diverse

immagini molto intense di sottomissione femminile e in

componenti culturali che caratterizzano l’isola oggi. Tutto

Ciò che caratterizza ancora i teatri fotografici di Hsieh sono

particolare uno dei film più celebri di questa serie, La femme

ciò produce un’opera la cui sfida principale è precisamente

l’elaborazione e la complessità della loro messa in scena. Così

aux seins percés, di Shogoro Nishamura (Figure 3-8), dove si

quella di costruire un assemblaggio coerente che non

come per Joël-Peter Witkin (Figure 3-6), più giovane di lui di

vede l’attrice principale rotolarsi su un tappeto di rose le cui

escluda lo humour di accostamenti inediti. Una delle

qualche anno, gli scatti di Hsieh sono il risultato finale di una

spine le feriscono il dorso.

fotografie più impressionanti è quella che rappresenta uno stupefacente aggancio di corpi di donne nude (Bitches, serie

lunga preparazione. Scelta del luogo, una consistente squadra

110

( Traduttrice: Silvia Cesari )

di assistenti, scenografie, utensili e mobilio, illuminazione

Ma probabilmente è Koji Wakamatsu in questi anni a

Raw). Indipendentemente dalla carica erotica abbastanza

complessa, costumi di scena, studio delle pose (si tratta

essere il maestro di Pinku eiga, un genere cinematografico

impressionante, è la seconda passione di Hsieh Chun-te che

di una vera e propria interpretazione) conferiscono alle

specificamente giapponese, considerato un genere erotico

qui si impone in maniera provocatoria e inopportuna: la

fotografie una forte affinità con la regia cinematografica. E

ma la cui estetica risente del Nouveau cinéma giapponese.

gastronomia. Questa installazione non può non far pensare ai

se dovessi inserire questo artista di Taiwan in una tradizione

L’estetica di questo cineasta coincide a volte in maniera

polli tirati a lucido, ai maiali appesi e preparati per il consumo

culturale che permetta di accedere più facilmente al suo

impressionante con quella di Hsieh. Penso a questo

culinario, agganciati con le zampe posteriori nelle vetrine

mondo, sarebbe senza dubbio quella cinematografica e più in

eccezionale film Quand l’embryon part braconner (Figure 3-9,

dei ristoranti cinesi tradizionali. È ancora al cinema, cinese

particolare il cinema giapponese, fortemente influenzato dalla

3-10) che, nonostante il titolo insignificante e quasi rustico,

questa volta, di provenienza Hong Kong, che questa immagine

Nouvelle Vague degli anni sessanta, movimento che ebbe

non riesce a evitare la censura ai minori di diciotto anni,

fuori dal comune ci rimanda. Un film di realizzazione Fruit

una fondamentale importanza per gli artisti della “regione”

quando uscì nel 2007. In una sequenza nel corso della quale

Chan del 2001, Hollywood Hong Kong (Figure 3-11), mi ha

e sia chiaro che Taiwan è da sempre rimasto immerso in una

una donna si offre a un uomo alle luce della fessura di una

lasciato un ricordo indelebile. Una sequenza della pellicola,

permeabilità culturale il con il Giappone.

porta, una proiezione di fasci luminosi suggerisce una seconda

la cui vicenda si svolge nell’ambiente dei mercati alimentari,

immagine nell’immagine, un’immagine subliminale di un altro

mi conferma la sensazione che ciascuna delle opere di Hsieh

111

La cruauté enjouée de Hsieh Chun-te par Dominique Païni

Lorsque je découvris les tableaux photographiques de Hsieh

immédiate que ces grandes compositions photographiques

a commenté dans ses Larmes d’Eros, « cette douleur extatique

Mais l’étrangeté de l’œuvre de Hsieh réside moins dans

Chun-te, je fus frappé par l’atmosphère d’orage imminent qui

font sur moi : un ensemble de songes de la raison engendrant

et intolérable dont la représentation mêle religiosité et

le trouble produit par une certaine cruauté érotique que dans

baigne de nombreux d’entre eux. Comme si, Hsieh représentait

des monstres pour reprendre le titre fameux donné par Goya à

érotisme ». Et c’est le point photographique qui sélectionne et

la très grande diversité de ses références, sa culture visuelle

un monde après la « faute ». Certaines compositions indiquent

une de ses oeuvres, ensemble au sein duquel le noir et blanc,

pointe ce qu’il faut regarder dans ce théâtre urbain en ruines

étendue.

clairement l’accomplissement d’un acte violent que les règles

la laideur et la beauté, la pureté et le vice s’affrontent. Hsieh

et en particulier les parties de corps de ces trois vestales qui

de la société des hommes et que les convenances réprouvent.

offre une sorte d’équivalents photographiques de ces visions

en défendent l’accès, en accentuant la netteté sur un de leurs

Il s’agit presque toujours d’un châtiment : corps jeté sur un

de fin d’humanité décadente et corrompue, visions traversées

seins, comme si ce réglage optique était un geste tranchant.

symbolique champ d’épines, corps pendus, corps abandonnés

de vents menaçant d’engloutir les ruines d’un monde après la

dans l’indifférence de l’assourdissement moderne, corps

catastrophe.

écartelés, corps punis sexuellement, corps paraissant exposés

la sur-réalité de ces images, sinon leur surréalisme. Le mot est trop souvent convoqué et galvaudé. Pourtant, c’est avec

L’ i c o n o g r a p h i e d e H s i e h C h u - t e r é v è l e d e m u l t i p l e s

une sorte d’évidence que le couple enlacé, noué, renvoie

emprunts et emprunte à son tour à plusieurs périodes de l’art.

irrésistiblement pour moi à certains motifs surréalistes tels

Ce qui frappe en premier lieu, c’est cet anachronisme.

que les Amoureux de René Magritte (Figure 3-2). Mais cette

à l’opprobre publique… De La Tempesta de Giorgione aux

Plusieurs aspects de l’œuvre de Hsieh évoquent ainsi la

gravures de Gustave Doré, l’orage est la manifestation du

poétique de Georges Bataille, dont Pierre Klossowski a décrit

courroux divin.

le caractère catastrophique dans des termes qui rencontrent de

Si on s’emploie à contredire néanmoins cette perte de

par l’artiste ? J’en doute … Les amants enlacés pourraient

manière troublante les images de Hsieh : « (Chez Bataille) la

repères à laquelle Hsieh se livre très délibérément, en

tout aussi bien avoir leur origine – s’il faut absolument

catastrophe ontologique de la pensée n’est que l’envers d’un

d’autres termes si nous remontons le temps, le groupe familial

trouver des origines à l’imagination de Hsieh – chez Goya

visionnaire poursuivi par l’inquiétude qui naît de la

apogée atteint dans ce qu’il nomme les moments souverains :

(Family Portrait) réalisé devant une maison de cette même

que j’ai déjà suggéré. Georges Bataille précisément, a utilisé

connivence entre Eros et Thanatos. Je n’avais jamais vu une

l’ivresse, le rire, l’effusion érotique et sacrificielle,

ville, Shueigin, lieu obsédant pour l’artiste, relève d’une

une gravure dans le livre déjà cité, Les Larmes d’Eros, que

scène d’exécution capitale dont l’acte ultime est un acte sexuel

expériences que caractérisent une dépense sans compensation,

tradition de l’art chinois et l’on peut évoquer certaines images

l’on peut considérer comme le versant infernal de cette fusion

observé par les sombres témoins habituels de cette terrible

une prodigalité sans mesure, une déperdition dépourvue

anciennes du XXème siècle. Au Musée des Beaux Arts de

torsadée des corps. (Figure 3-3) Il ne fait pas de doute que

cérémonie qui supprime légalement la vie (The Romance

de sens, d’utilité et de but. »

1

Taipei se trouve une plaque de Huang Tu-Shui (Figure 3-1)

Hsieh Chun-te ait croisé Bataille et l’inspiration surréaliste.

on the Stele, série Raw). Quelle audace, quelle dérision de

désigner le « simulacre » dans l’œuvre de l’écrivain.

qui me paraît appartenir à une tradition de la représentation

Une photographie de Hans Bellmer (Figure 3-4) montrant sa

rurale de la Chine ancienne et constituer une sorte d’antériorité

poupée désarticulée sur un lit de paille m’est venue à l’esprit

L’artis te qu i os e de telles s cèn es de s acrifice es t un

Klossowski notait cela pour

mêler ainsi cette transgression légale qui consiste à ôter la vie

112

Il est aisé, aux limites de la paresse intellectuelle, d’évoquer

réminiscence n’est pas une ordinaire citation. Est-elle voulue

froidement par décision de justice et le plus bel acte humain

Une telle prodigalité dans la mise en scène d’éléments

iconographique des visions de Hsieh. Le caractère paisible

lorsque je découvris l’image dérangeante de cette jeune

qui soit ! Cérémonie en effet, et tout l’œuvre entière de Hsieh

atroces et délectables à la fois, sans mesure, une déperdition

des relations entre les enfants et les buffles que Huang traduit

femme souffrante exposée aux blessures de la torture d’une

Chun-te en relève. J’y reviendrai.

érotique, fascinent dans le travail de Hsieh … Ivresse,

par la douceur du relief de cette plaque de gypse trouve une

végétation – The Tears of Tamsui River – végétation aussi peu

sacrifice et parfois humour cruel, voilà ce dont sont faites

équivalence dans le velours noir et blanc de la photographie.

naturelle que la litière de Bellmer ou que celle d’Etant donné

Qualifier plus justement les œuvres photographiques

ces images si dérangeantes. La pose et l’attitude de ces trois

Hsieh travaille en effet de manière très personnelle les zones

de Marcel Duchamp.

de Hsieh Chun-te appelle de les comparer à des images

femmes dans la perspective d’une rue de Shueigin (dans le

de netteté et de flou dans ses tirages et le contraste entre le

qui formeraient un ensemble, tels des caprices qui ne se

comté de Kohu, au sud de l’île), Homecoming Day, évoquent

premier plan vivement ensoleillé et l’ombre de la maison

L’influence de Goya est au plus profond de la culture

limiteraient pas à la seule caricature mais qui s’attacheraient

nécessairement le lingchi, ce mythique supplice chinois

restitue une profondeur comparable à celle rendue par le

visuelle de Hsieh Chun-te. J’évoquais en commençant cet

aussi à décrire les désastres du monde. Et je n’emprunte pas

nommé encore « mort languissante » et que Georges Bataille

délicat bas relief.

essai, les caprices et les désastres. Dans cette dernière série,

ces deux mots par hasard à Goya car c’est en effet l’impression

1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille », in Critique, Août-septembre 1963.

la gravure Grande Hazana con muertos (Figure 3-5) offre

113

La cruauté enjouée de Hsieh Chun-te par Dominique Païni

Lorsque je découvris les tableaux photographiques de Hsieh

immédiate que ces grandes compositions photographiques

a commenté dans ses Larmes d’Eros, « cette douleur extatique

Mais l’étrangeté de l’œuvre de Hsieh réside moins dans

Chun-te, je fus frappé par l’atmosphère d’orage imminent qui

font sur moi : un ensemble de songes de la raison engendrant

et intolérable dont la représentation mêle religiosité et

le trouble produit par une certaine cruauté érotique que dans

baigne de nombreux d’entre eux. Comme si, Hsieh représentait

des monstres pour reprendre le titre fameux donné par Goya à

érotisme ». Et c’est le point photographique qui sélectionne et

la très grande diversité de ses références, sa culture visuelle

un monde après la « faute ». Certaines compositions indiquent

une de ses oeuvres, ensemble au sein duquel le noir et blanc,

pointe ce qu’il faut regarder dans ce théâtre urbain en ruines

étendue.

clairement l’accomplissement d’un acte violent que les règles

la laideur et la beauté, la pureté et le vice s’affrontent. Hsieh

et en particulier les parties de corps de ces trois vestales qui

de la société des hommes et que les convenances réprouvent.

offre une sorte d’équivalents photographiques de ces visions

en défendent l’accès, en accentuant la netteté sur un de leurs

Il s’agit presque toujours d’un châtiment : corps jeté sur un

de fin d’humanité décadente et corrompue, visions traversées

seins, comme si ce réglage optique était un geste tranchant.

symbolique champ d’épines, corps pendus, corps abandonnés

de vents menaçant d’engloutir les ruines d’un monde après la

dans l’indifférence de l’assourdissement moderne, corps

catastrophe.

écartelés, corps punis sexuellement, corps paraissant exposés

la sur-réalité de ces images, sinon leur surréalisme. Le mot est trop souvent convoqué et galvaudé. Pourtant, c’est avec

L’ i c o n o g r a p h i e d e H s i e h C h u - t e r é v è l e d e m u l t i p l e s

une sorte d’évidence que le couple enlacé, noué, renvoie

emprunts et emprunte à son tour à plusieurs périodes de l’art.

irrésistiblement pour moi à certains motifs surréalistes tels

Ce qui frappe en premier lieu, c’est cet anachronisme.

que les Amoureux de René Magritte (Figure 3-2). Mais cette

à l’opprobre publique… De La Tempesta de Giorgione aux

Plusieurs aspects de l’œuvre de Hsieh évoquent ainsi la

gravures de Gustave Doré, l’orage est la manifestation du

poétique de Georges Bataille, dont Pierre Klossowski a décrit

courroux divin.

le caractère catastrophique dans des termes qui rencontrent de

Si on s’emploie à contredire néanmoins cette perte de

par l’artiste ? J’en doute … Les amants enlacés pourraient

manière troublante les images de Hsieh : « (Chez Bataille) la

repères à laquelle Hsieh se livre très délibérément, en

tout aussi bien avoir leur origine – s’il faut absolument

catastrophe ontologique de la pensée n’est que l’envers d’un

d’autres termes si nous remontons le temps, le groupe familial

trouver des origines à l’imagination de Hsieh – chez Goya

visionnaire poursuivi par l’inquiétude qui naît de la

apogée atteint dans ce qu’il nomme les moments souverains :

(Family Portrait) réalisé devant une maison de cette même

que j’ai déjà suggéré. Georges Bataille précisément, a utilisé

connivence entre Eros et Thanatos. Je n’avais jamais vu une

l’ivresse, le rire, l’effusion érotique et sacrificielle,

ville, Shueigin, lieu obsédant pour l’artiste, relève d’une

une gravure dans le livre déjà cité, Les Larmes d’Eros, que

scène d’exécution capitale dont l’acte ultime est un acte sexuel

expériences que caractérisent une dépense sans compensation,

tradition de l’art chinois et l’on peut évoquer certaines images

l’on peut considérer comme le versant infernal de cette fusion

observé par les sombres témoins habituels de cette terrible

une prodigalité sans mesure, une déperdition dépourvue

anciennes du XXème siècle. Au Musée des Beaux Arts de

torsadée des corps. (Figure 3-3) Il ne fait pas de doute que

cérémonie qui supprime légalement la vie (The Romance

de sens, d’utilité et de but. »

1

Taipei se trouve une plaque de Huang Tu-Shui (Figure 3-1)

Hsieh Chun-te ait croisé Bataille et l’inspiration surréaliste.

on the Stele, série Raw). Quelle audace, quelle dérision de

désigner le « simulacre » dans l’œuvre de l’écrivain.

qui me paraît appartenir à une tradition de la représentation

Une photographie de Hans Bellmer (Figure 3-4) montrant sa

rurale de la Chine ancienne et constituer une sorte d’antériorité

poupée désarticulée sur un lit de paille m’est venue à l’esprit

L’artis te qu i os e de telles s cèn es de s acrifice es t un

Klossowski notait cela pour

mêler ainsi cette transgression légale qui consiste à ôter la vie

112

Il est aisé, aux limites de la paresse intellectuelle, d’évoquer

réminiscence n’est pas une ordinaire citation. Est-elle voulue

froidement par décision de justice et le plus bel acte humain

Une telle prodigalité dans la mise en scène d’éléments

iconographique des visions de Hsieh. Le caractère paisible

lorsque je découvris l’image dérangeante de cette jeune

qui soit ! Cérémonie en effet, et tout l’œuvre entière de Hsieh

atroces et délectables à la fois, sans mesure, une déperdition

des relations entre les enfants et les buffles que Huang traduit

femme souffrante exposée aux blessures de la torture d’une

Chun-te en relève. J’y reviendrai.

érotique, fascinent dans le travail de Hsieh … Ivresse,

par la douceur du relief de cette plaque de gypse trouve une

végétation – The Tears of Tamsui River – végétation aussi peu

sacrifice et parfois humour cruel, voilà ce dont sont faites

équivalence dans le velours noir et blanc de la photographie.

naturelle que la litière de Bellmer ou que celle d’Etant donné

Qualifier plus justement les œuvres photographiques

ces images si dérangeantes. La pose et l’attitude de ces trois

Hsieh travaille en effet de manière très personnelle les zones

de Marcel Duchamp.

de Hsieh Chun-te appelle de les comparer à des images

femmes dans la perspective d’une rue de Shueigin (dans le

de netteté et de flou dans ses tirages et le contraste entre le

qui formeraient un ensemble, tels des caprices qui ne se

comté de Kohu, au sud de l’île), Homecoming Day, évoquent

premier plan vivement ensoleillé et l’ombre de la maison

L’influence de Goya est au plus profond de la culture

limiteraient pas à la seule caricature mais qui s’attacheraient

nécessairement le lingchi, ce mythique supplice chinois

restitue une profondeur comparable à celle rendue par le

visuelle de Hsieh Chun-te. J’évoquais en commençant cet

aussi à décrire les désastres du monde. Et je n’emprunte pas

nommé encore « mort languissante » et que Georges Bataille

délicat bas relief.

essai, les caprices et les désastres. Dans cette dernière série,

ces deux mots par hasard à Goya car c’est en effet l’impression

1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille », in Critique, Août-septembre 1963.

la gravure Grande Hazana con muertos (Figure 3-5) offre

113

un modèle pour une des nombreuses récurrences de corps

Un courant du cinéma japonais, un courant considéré

occidentale classique, l’extase surréaliste, le cinéma japonais

suppliciés, pendus par les pieds, la tête définitivement

comme érotique très en vogue dans ces mêmes années, produit

moderne… Cet assemblage qui peut paraître extravagant et

promise à l’enfouissement dans la série Raw (Bitches). Oui,

par la société Nikkatsu qui inaugura une série intitulée

hétérogène à ceux qui ignorent tout de Taiwan, son souci

les corps sont pendus dans l’apocalypse selon Hsieh Chun-

Ménagères perverses (Danchi Zuma), a offert de très intenses

identitaire et le collage des composantes culturelles qui forme

te. Mais on hésite néanmoins entre la terreur et une ironie

images de soumission féminine et en particulier un des films

l’île aujourd’hui. Cela engendre une œuvre dont l’enjeu

macabre.

les plus célèbres de cette série, La femme aux seins percés

principal est précisément de construire la cohérence d’un

de Shogoro Nishimura (Figure 3-8) où l’on voit l’actrice

assemblage dont l’humour des rapprochements n’est pas

principale se rouler sur un tapis de roses dont les épines lui

exclu. Une des photographies parmi les plus impressionnantes

blessent le dos.

est ce stupéfiant accrochage de corps de jeunes femmes

Ce qui caractérise encore les théâtres de

photographiques de Hsieh Chun-te est l’envergure de leur

nues (Bitches, série Raw). Indépendamment de son érotisme

mise en scène. Comme Joël-Peter Witkin (Figure 3-6), son cadet de peu d’années, Hsieh fait de chacune de ses prises

Koji Wakamatsu est dans ces années le maître du Pinku

assez choquant, c’est la seconde passion de Hsieh Chun-te

la conclusion d’une longue préparation. Choix du lieu,

eiga, un genre cinématographique spécifiquement japonais

qui pointe ici de manière intempestive et provocatrice : la

importante équipe d’assistants, décors, ustensiles et mobilier,

considéré comme un genre érotique mais dont l’esthétique

gastronomie. Cette installation fait irrésistiblement penser à

éclairage complexe, costumes, recherche des poses (autrement

relève également du Nouveau cinéma nippon. Ce cinéaste

ces présentations des volailles laquées, à ces porcs pendus

dit, interprétation), leurs confèrent une proximité avec la

rencontre parfois de manière troublante l’esthétique de Hsieh.

et préparés pour la consommation culinaire, accrochés par

mise en scène de cinéma. Et si je devais inscrire cet artiste de

Je pense à cet exceptionnel film, Quand l’embryon part

les pattes arrière dans les vitrines des restaurants chinois

Taiwan dans une tradition et une culture permettant de mieux

braconner (Figure 3-9, 3-10), dont le titre presque anodin

traditionnels. C’est encore au cinéma, chinois cette fois, en

accéder à son univers, ce serait le cinéma auquel j’aurais

et champêtre ne parvient pas à épargner son interdiction

provenance d’Hong Kong, à laquelle cette image hors de

recours et plus particulièrement le cinéma japonais dont la

française en dessous de dix-huit ans quand il sortit en 2007 !

l’ordinaire, renvoit. Un film du réalisateur Fruit Chan de

Nouvelle Vague des années soixante eut tant d’importance

Dans une séquence au cours de laquelle une femme s’offre

2001, Hollywood Hong Kong (Figure 3-11), m’a laissé un

pour les artistes de la « région » et bien entendu Taiwan

à un homme, en se tenant dans la lumière de l’embrasure

souvenir marquant. Une séquence de ce film dont le récit se

demeuré dans une perméabilité culturelle avec le Japon.

d’une porte, une projection de halos lumineux suggère une

passe dans le milieu professionnel des marchés alimentaires,

seconde image dans l’image, une image subliminale d’un

me confirme le sentiment que chacune des œuvres de Hsieh

Au delà du seul titre d’une des oeuvres présentées

autre corps inscrite dans la matière de l’image comme celle

Chu-Te offre une synthèse d’effets entre cruaté et beauté,

– encore que cela ne soit pas si indifférent - Ceremony, j’ai

qui apparaît, après un certain temps d’observation, dans cette

humour et tragique, une cruauté enjouée.

été très impressionné par les échos lointains que les films

œuvre de Hsieh, Flight in the Night. Et le corps s’expose chez

du maître du cinéma moderne japonais, Nagisa Oshima,,

Wakamatsu selon un dispositif d’encadrement qui n’est pas

entretenaient avec les mises en scène de Hsieh. Et la lente

sans faire songer à cette autre œuvre de l’artiste taiwanais,

conclusion tragique de La Cérémonie (1971) (Figure 3-7), la

Mirror.

dernière séquence est revenue dans ma mémoire en découvrant le travail de celui qui accorde tant d’importance aux rituels sociaux et de cruauté.

114

Autrement dit, l’originalité de Hsieh réside dans cette alternance entre plusieurs emprunts culturels : la peinture

115

un modèle pour une des nombreuses récurrences de corps

Un courant du cinéma japonais, un courant considéré

occidentale classique, l’extase surréaliste, le cinéma japonais

suppliciés, pendus par les pieds, la tête définitivement

comme érotique très en vogue dans ces mêmes années, produit

moderne… Cet assemblage qui peut paraître extravagant et

promise à l’enfouissement dans la série Raw (Bitches). Oui,

par la société Nikkatsu qui inaugura une série intitulée

hétérogène à ceux qui ignorent tout de Taiwan, son souci

les corps sont pendus dans l’apocalypse selon Hsieh Chun-

Ménagères perverses (Danchi Zuma), a offert de très intenses

identitaire et le collage des composantes culturelles qui forme

te. Mais on hésite néanmoins entre la terreur et une ironie

images de soumission féminine et en particulier un des films

l’île aujourd’hui. Cela engendre une œuvre dont l’enjeu

macabre.

les plus célèbres de cette série, La femme aux seins percés

principal est précisément de construire la cohérence d’un

de Shogoro Nishimura (Figure 3-8) où l’on voit l’actrice

assemblage dont l’humour des rapprochements n’est pas

principale se rouler sur un tapis de roses dont les épines lui

exclu. Une des photographies parmi les plus impressionnantes

blessent le dos.

est ce stupéfiant accrochage de corps de jeunes femmes

Ce qui caractérise encore les théâtres de

photographiques de Hsieh Chun-te est l’envergure de leur

nues (Bitches, série Raw). Indépendamment de son érotisme

mise en scène. Comme Joël-Peter Witkin (Figure 3-6), son cadet de peu d’années, Hsieh fait de chacune de ses prises

Koji Wakamatsu est dans ces années le maître du Pinku

assez choquant, c’est la seconde passion de Hsieh Chun-te

la conclusion d’une longue préparation. Choix du lieu,

eiga, un genre cinématographique spécifiquement japonais

qui pointe ici de manière intempestive et provocatrice : la

importante équipe d’assistants, décors, ustensiles et mobilier,

considéré comme un genre érotique mais dont l’esthétique

gastronomie. Cette installation fait irrésistiblement penser à

éclairage complexe, costumes, recherche des poses (autrement

relève également du Nouveau cinéma nippon. Ce cinéaste

ces présentations des volailles laquées, à ces porcs pendus

dit, interprétation), leurs confèrent une proximité avec la

rencontre parfois de manière troublante l’esthétique de Hsieh.

et préparés pour la consommation culinaire, accrochés par

mise en scène de cinéma. Et si je devais inscrire cet artiste de

Je pense à cet exceptionnel film, Quand l’embryon part

les pattes arrière dans les vitrines des restaurants chinois

Taiwan dans une tradition et une culture permettant de mieux

braconner (Figure 3-9, 3-10), dont le titre presque anodin

traditionnels. C’est encore au cinéma, chinois cette fois, en

accéder à son univers, ce serait le cinéma auquel j’aurais

et champêtre ne parvient pas à épargner son interdiction

provenance d’Hong Kong, à laquelle cette image hors de

recours et plus particulièrement le cinéma japonais dont la

française en dessous de dix-huit ans quand il sortit en 2007 !

l’ordinaire, renvoit. Un film du réalisateur Fruit Chan de

Nouvelle Vague des années soixante eut tant d’importance

Dans une séquence au cours de laquelle une femme s’offre

2001, Hollywood Hong Kong (Figure 3-11), m’a laissé un

pour les artistes de la « région » et bien entendu Taiwan

à un homme, en se tenant dans la lumière de l’embrasure

souvenir marquant. Une séquence de ce film dont le récit se

demeuré dans une perméabilité culturelle avec le Japon.

d’une porte, une projection de halos lumineux suggère une

passe dans le milieu professionnel des marchés alimentaires,

seconde image dans l’image, une image subliminale d’un

me confirme le sentiment que chacune des œuvres de Hsieh

Au delà du seul titre d’une des oeuvres présentées

autre corps inscrite dans la matière de l’image comme celle

Chu-Te offre une synthèse d’effets entre cruaté et beauté,

– encore que cela ne soit pas si indifférent - Ceremony, j’ai

qui apparaît, après un certain temps d’observation, dans cette

humour et tragique, une cruauté enjouée.

été très impressionné par les échos lointains que les films

œuvre de Hsieh, Flight in the Night. Et le corps s’expose chez

du maître du cinéma moderne japonais, Nagisa Oshima,,

Wakamatsu selon un dispositif d’encadrement qui n’est pas

entretenaient avec les mises en scène de Hsieh. Et la lente

sans faire songer à cette autre œuvre de l’artiste taiwanais,

conclusion tragique de La Cérémonie (1971) (Figure 3-7), la

Mirror.

dernière séquence est revenue dans ma mémoire en découvrant le travail de celui qui accorde tant d’importance aux rituels sociaux et de cruauté.

114

Autrement dit, l’originalité de Hsieh réside dans cette alternance entre plusieurs emprunts culturels : la peinture

115

Figure 3-10. Koji Wakamatsu, When the embryo goes poaching (Time code : 08:07) , Black and White – Mono – 35mm/72 minutes, 1966.

Figure 3-1. Huang Tu-shui, Water Buffaloes, Sculpture, Low-Relief Bronze, 1930.

Figure 3-1. Huang Tu-shui, I bufali d’acqua, Scultura, basso rilievo, bronzo, 1930.

Figure 3-1. Huang Tu-shui, Les buffles d’eau, Sculpture, bas-relief de bronze, 1930. 圖 3-1 黃土水，〈水牛群像〉，淺浮雕，1930。

Figure 3-7. Nagisa Oshima, Gishiki (Time code : 1:57:24), Colors – Mono – 35mm/123 minutes, 1971.

Figure 3-4. Hans Bellmer, The Games of the Doll, gelatin silver print with applied color, 1938-1949.

Figure 3-4. Hans Bellmer, I giochi della bambola, stampa alla gelatina d’argento colorata all’anilina, 1938-1949.

Figure 3-4. Hans Bellmer, Les jeux de la poupée, Épreuve gélatino-argentique coloriée à l’aniline, 1938-1949.

Figure 3-7. Nagisa Oshima, La cerimonia (Time code : 1:57:24), Colori – Mono – 35mm/123 minuti, 1971.

Figure 3-7. Nagisa Oshima, La cérémonie (Time code : 1:57:24), Couleurs – Mono – 35mm/123 minutes, 1971.

Figure 3-10. Koji Wakamatsu, Quando l’embrione và a caccia di frodo (Time code : 08:07), Bianco e Nero–– Mono – 35mm/72 minuti, 1966.

Figure 3-10. Koji Wakamatsu, Quand l’embryon part braconner (Time code : 08:07), Noir et Blanc – Mono – 35mm/72 minutes, 1966. 圖 3-10 Koji Wakamatsu，〈胎兒密獵時刻〉電影畫面，黑白—單聲道—35 厘米／ 72 分鐘，1966。

圖 3-7 Nagisa Oshima，〈儀式〉，彩色—單聲道—35 厘米／ 123 分鐘，1971。

圖 3-4 Hans Bellmer，〈人偶的遊戲〉，明膠銀鹽相紙，1938-1949。

Figure 3-5. Francisco de Goya, Great feat in battle! with some deads!( Los Desastres de la Guerra, 1st edition, plate 39), Etching and aquatint on Paper, 1810-1820.

Figure 3-2. René Magritte, Lovers, Oil painting on canvas, 1928.

Figure 3-2. René Magritte, Gli Amanti, pittura ad olio su tela, 1928.

Figure 3-2. René Magritte, Les Amoureux, Peinture à l’huile sur toile, 1928. 圖 3-2 René Magritte，〈戀人〉，油畫，1928。

Figure 3-5. Francisco de Goya, Le grandi gesta! Con dei morti! (Los Desastres de la Guerra, prima edizione, lastra 39), Acquaforte e acquatinta su carta, 1810-1820.

Figure 3-8. Shogoro Nishimura, Woman With Pierced Nipples, Colors – Mono – 35mm/69 minutes, 1983.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:39), Color – Stereo – 35mm/108 minutes, 2001.

Figure 3-8. Shogoro Nishimura, Domma con seni bucati, Colori – Mono – 35mm/69 minuti, 1983.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:39), Colori – Stereo – 35mm/108 minuti, 2001.

Figure 3-5. Francisco de Goya, Grand fait d’armes ! Avec des morts !( Los Desastres de la Guerra, 1ere édition, planche 39), Épreuve gélatino-argentique coloriée à l’aniline, 1810-1820.

Figure 3-8. Shogoro Nishimura, La femme aux seins percés, Couleurs – Mono – 35mm/69 minutes, 1983.

圖 3-5 Francisco de Goya，〈壯舉！反抗死神！〉，金屬蝕刻及細點蝕刻，1810-1820。

圖 3-8 Shogoro Nishimura，〈乳穿孔的女人〉，彩色—雙聲道—35 厘米／ 69 分鐘，1983。

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:39), Couleurs – Stereo – 35mm/108 minutes, 2001. 圖 3-11 陳果，〈香港有個荷里活〉，彩色—雙聲道—35 厘米／ 108 分鐘，2001。

Figure 3-3. Francisco de Goya, Matrimonial folly (Los Disparates, 1st edition, plate 7), Etching and aquatint on Paper, 1815-1824.

Figure 3-3. Francisco de Goya, La follia del matrimonio (Los Disparates, prima edizione, lastra 7), Acquaforte e acquatinta su Figure 3-3. Francisco de Goya, L’extravagance matrimoniale (Los Disparates, 1ere édition, planche 7), Gravure, eau-forte et aquatinte sur papier, 1815-1824. 圖 3-3 Francisco de Goya，〈婚姻的愚蠢〉，金屬蝕刻及細點蝕刻，1815-1824。

116

Figure 3-6. Joël-Peter Witkin, Mandan, gelatin silver print with applied color, 1981.

Figure 3-6. Joël-Peter Witkin, Mandan, stampa alla gelatina d’argento colorata all’anilina, 1981.

Figure 3-6. Joël-Peter Witkin, Mandan, Épreuve gélatino-argentique coloriée à l’aniline, 1981. 圖 3-6 Joël-Peter Witkin，〈Mandan〉，明膠銀鹽相紙，1981。

Figure 3-9. Koji Wakamatsu, When the embryo goes poaching, Black and White – Mono – 35mm/72 minutes, 1966.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:45), Color – Stereo – 35mm/108 minutes, 2001.

Figure 3-9. Koji Wakamatsu, Quando l’embrione và a caccia di frodo, Bianco e Nero– Mono – 35mm/72 minuti, 1966.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:45), Colori – Stereo – 35mm/108 minuti, 2001.

Figure 3-9. Koji Wakamatsu, Quand l’embryon part braconner, Noir et Blanc – Mono – 35mm/72 minutes, 1966. 圖 3-9 Koji Wakamatsu，〈胎兒密獵時刻〉電影畫面，黑白—單聲道—35 厘米／ 72 分鐘，1966。

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:45), Couleurs – Stereo – 35mm/108 minutes, 2001. 圖 3-11 陳果，〈香港有個荷里活〉，彩色—雙聲道—35 厘米／ 108 分鐘，2001。

117

Figure 3-10. Koji Wakamatsu, When the embryo goes poaching (Time code : 08:07) , Black and White – Mono – 35mm/72 minutes, 1966.

Figure 3-1. Huang Tu-shui, Water Buffaloes, Sculpture, Low-Relief Bronze, 1930.

Figure 3-1. Huang Tu-shui, I bufali d’acqua, Scultura, basso rilievo, bronzo, 1930.

Figure 3-1. Huang Tu-shui, Les buffles d’eau, Sculpture, bas-relief de bronze, 1930. 圖 3-1 黃土水，〈水牛群像〉，淺浮雕，1930。

Figure 3-7. Nagisa Oshima, Gishiki (Time code : 1:57:24), Colors – Mono – 35mm/123 minutes, 1971.

Figure 3-4. Hans Bellmer, The Games of the Doll, gelatin silver print with applied color, 1938-1949.

Figure 3-4. Hans Bellmer, I giochi della bambola, stampa alla gelatina d’argento colorata all’anilina, 1938-1949.

Figure 3-4. Hans Bellmer, Les jeux de la poupée, Épreuve gélatino-argentique coloriée à l’aniline, 1938-1949.

Figure 3-7. Nagisa Oshima, La cerimonia (Time code : 1:57:24), Colori – Mono – 35mm/123 minuti, 1971.

Figure 3-7. Nagisa Oshima, La cérémonie (Time code : 1:57:24), Couleurs – Mono – 35mm/123 minutes, 1971.

Figure 3-10. Koji Wakamatsu, Quando l’embrione và a caccia di frodo (Time code : 08:07), Bianco e Nero–– Mono – 35mm/72 minuti, 1966.

Figure 3-10. Koji Wakamatsu, Quand l’embryon part braconner (Time code : 08:07), Noir et Blanc – Mono – 35mm/72 minutes, 1966. 圖 3-10 Koji Wakamatsu，〈胎兒密獵時刻〉電影畫面，黑白—單聲道—35 厘米／ 72 分鐘，1966。

圖 3-7 Nagisa Oshima，〈儀式〉，彩色—單聲道—35 厘米／ 123 分鐘，1971。

圖 3-4 Hans Bellmer，〈人偶的遊戲〉，明膠銀鹽相紙，1938-1949。

Figure 3-5. Francisco de Goya, Great feat in battle! with some deads!( Los Desastres de la Guerra, 1st edition, plate 39), Etching and aquatint on Paper, 1810-1820.

Figure 3-2. René Magritte, Lovers, Oil painting on canvas, 1928.

Figure 3-2. René Magritte, Gli Amanti, pittura ad olio su tela, 1928.

Figure 3-2. René Magritte, Les Amoureux, Peinture à l’huile sur toile, 1928. 圖 3-2 René Magritte，〈戀人〉，油畫，1928。

Figure 3-5. Francisco de Goya, Le grandi gesta! Con dei morti! (Los Desastres de la Guerra, prima edizione, lastra 39), Acquaforte e acquatinta su carta, 1810-1820.

Figure 3-8. Shogoro Nishimura, Woman With Pierced Nipples, Colors – Mono – 35mm/69 minutes, 1983.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:39), Color – Stereo – 35mm/108 minutes, 2001.

Figure 3-8. Shogoro Nishimura, Domma con seni bucati, Colori – Mono – 35mm/69 minuti, 1983.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:39), Colori – Stereo – 35mm/108 minuti, 2001.

Figure 3-5. Francisco de Goya, Grand fait d’armes ! Avec des morts !( Los Desastres de la Guerra, 1ere édition, planche 39), Épreuve gélatino-argentique coloriée à l’aniline, 1810-1820.

Figure 3-8. Shogoro Nishimura, La femme aux seins percés, Couleurs – Mono – 35mm/69 minutes, 1983.

圖 3-5 Francisco de Goya，〈壯舉！反抗死神！〉，金屬蝕刻及細點蝕刻，1810-1820。

圖 3-8 Shogoro Nishimura，〈乳穿孔的女人〉，彩色—雙聲道—35 厘米／ 69 分鐘，1983。

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:39), Couleurs – Stereo – 35mm/108 minutes, 2001. 圖 3-11 陳果，〈香港有個荷里活〉，彩色—雙聲道—35 厘米／ 108 分鐘，2001。

Figure 3-3. Francisco de Goya, Matrimonial folly (Los Disparates, 1st edition, plate 7), Etching and aquatint on Paper, 1815-1824.

Figure 3-3. Francisco de Goya, La follia del matrimonio (Los Disparates, prima edizione, lastra 7), Acquaforte e acquatinta su Figure 3-3. Francisco de Goya, L’extravagance matrimoniale (Los Disparates, 1ere édition, planche 7), Gravure, eau-forte et aquatinte sur papier, 1815-1824. 圖 3-3 Francisco de Goya，〈婚姻的愚蠢〉，金屬蝕刻及細點蝕刻，1815-1824。

116

Figure 3-6. Joël-Peter Witkin, Mandan, gelatin silver print with applied color, 1981.

Figure 3-6. Joël-Peter Witkin, Mandan, stampa alla gelatina d’argento colorata all’anilina, 1981.

Figure 3-6. Joël-Peter Witkin, Mandan, Épreuve gélatino-argentique coloriée à l’aniline, 1981. 圖 3-6 Joël-Peter Witkin，〈Mandan〉，明膠銀鹽相紙，1981。

Figure 3-9. Koji Wakamatsu, When the embryo goes poaching, Black and White – Mono – 35mm/72 minutes, 1966.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:45), Color – Stereo – 35mm/108 minutes, 2001.

Figure 3-9. Koji Wakamatsu, Quando l’embrione và a caccia di frodo, Bianco e Nero– Mono – 35mm/72 minuti, 1966.

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:45), Colori – Stereo – 35mm/108 minuti, 2001.

Figure 3-9. Koji Wakamatsu, Quand l’embryon part braconner, Noir et Blanc – Mono – 35mm/72 minutes, 1966. 圖 3-9 Koji Wakamatsu，〈胎兒密獵時刻〉電影畫面，黑白—單聲道—35 厘米／ 72 分鐘，1966。

Figure 3-11. Fruit Chan, Hollywood Hong Kong (Time code : 29:45), Couleurs – Stereo – 35mm/108 minutes, 2001. 圖 3-11 陳果，〈香港有個荷里活〉，彩色—雙聲道—35 厘米／ 108 分鐘，2001。

117

謝春德的歡愉殘酷 多明尼克 ‧ 巴依尼（Dominique Païni）著 林志明 譯

當我發現謝春德的攝影畫面時，我便因其中瀰漫暴風雨般的氣氛而感到

的詞語正是以令人不安的方式和謝春德的影像相逢：「[ 在巴岱耶 ] 作品中思

理清晰和模糊的區域，而前景強烈的陽光和屋子的陰影間形成的對比，則重

維特京（Witkin）（圖 3-6），謝春德每一次的攝影都是長時間準備之後的結

震驚。仿佛謝春德所呈現的是一個在「錯誤」發生之後的世界。某些構圖明

想存有學上的災難只是他稱之為無上時刻（moments souverains）中所達到的

構了一種可和淺浮雕相提並論的深度感。

果。選景、大量的助手、佈景、道具及傢俱、複雜的照明、服裝、姿態的研

白地顯示著，一些為人類社會及禮儀譴責的暴力行為。它們幾乎都和刑罰有

頂峰的反面：沉醉、歡笑、犧牲與情欲中的奔放、具無補償的耗費特點之經驗、 1

關：比如被扔到一個象徵性荊棘地的身體、被吊起來的身體、被遺棄於現代

沒有節制的浪費、無意義、沒有特定的用途或目的。」 克羅索斯基這一段是

社會的冷漠和震耳欲聾中的身體、被撐開的身體、以性行為方式懲罰的身體、

在談巴岱耶這位作家作品中的「擬似物」。

究（換句話說，表演詮釋 ），都使得它們接近電影旳場面調度。如果我仍需 然而，謝春德作品中的詭異感比較少來自某種殘酷愛慾所產生的不安，更 多是因為他有大量多樣的參照，他的視覺文化遼闊。

像是公然受辱的身體……由吉歐爾吉歐安（Giorgione）的《暴風雨》（La

Tempesta ）到古斯塔夫 ‧ 都黑（Gustave Doré）的版畫，暴風雨一直是神怒

我將會向電影求援，尤其是日本電影。六零年代日本電影中的新浪潮對這個 「區域」的藝術家非常重要，而台灣對日本文化仍是有高度接受性的。

在謝春德的作品中，令人感到著迷的，便是和前述可相比擬的殘酷與愉悅

這些影像的超現實性或其超現實主義 ，可以容易地指出來，甚至容易到讓

元素同時被豐盛地置入場面、缺乏節制、情欲的奔放漫流……沈醉與犧牲，

人覺得接近知性上的懶惰。這個字眼太常被提到，身價有點下跌。然而，他

除了有一件作品單就其名稱〈儀式〉而言 – 這名稱也不是毫不相干的 – 就

這便是為何這些影像如此擾動人心。〈返鄉之日〉這件作品中，在水井村（位

作品中那互相擁抱交纏的一對人物，對我來說，其指涉不可抵抗地是某些超

使我印象深刻，因為在日本現代電影大師大島渚的影片和謝春德的場面調度

勇於創作這種犧牲場景的藝術家，是一位受到憂慮逐迫的視象先知，而這

於台灣南部口湖鄉）街口的三個女人，其姿勢和態度，必定會令人想到凌遲，

現實主義的母題，比如馬格利特的《戀人》（圖 3-2）。然而這個回憶卻不是

之間，具有一種遙遠的回音關係。而前者 1971 年作品《儀式》（圖 3-7）結

憂慮來自愛欲趨力（Eros）與死亡趨力（Thanatos）的相鄰接近。我從未見過

這個神話般的中國酷刑，巴岱耶在《愛慾的淚水》一書中曾如此評論它：「這

一個平凡的引述。它是藝術家有意進行的？我對這點持疑… 這對交纏的戀人

束時緩慢的終結段落，在我發現後者對社會和殘酷儀式給予這麼多重要性的

一個死刑的場景是以性行為終結的，而這場可怕的、褫奪生命的合法儀式之

種痛苦是狂喜和無法忍受的，其再現混合著宗教性和情色」。這裡是攝影的

其來源也可能是 – 如果一定要為謝春德的想像找到來源的話 – 我之前已經提

工作時，又回到我的記憶中。

見証者，乃是那些習以見慣的陰沉觀眾（Raw 系列，〈石碑上的愛情〉）。

「尖點」在作選擇，並指出在此一廢墟中的城市劇場要看些什麼，尤其是這

出的哥雅。巴岱耶在前面已引過的《愛慾的淚水》一書中，便使用過一幅版

何種大膽，何種狂放的嘲弄，可以如此地把司法判決剝奪生命的冷酷合法逾

三位守住入口的如神之侍女般的女人其身體部份，其中有一個乳房因為特別

畫，可以視為這扭曲融合身體的煉獄面向（圖 3-3）。謝春德無疑曾經和巴岱

越混合於最美好的人類活動！這的確是一種儀式，而謝春德整個創作都和它

清楚而受到著重，仿佛這光學上的調整是一個銳利的手勢。

耶及超現實主義者的靈感相逢。漢斯 ‧ 貝爾梅爾的一張照片（圖 3-4），拍

由日活公司製作，由此展開了一個被稱作《變態人妻》（團地祖馬 Danchi

的是草蓆上一個關節扯開的娃娃，便曾是我看到謝春德一幅擾動人心的影像

Zuma ）的系列。這個潮流提供了非常強烈的女性臣服影像，而在此系列最著

時想到的：〈淡水河的眼淚〉中一位受苦的女人，其傷口來自於一群植物所

名的影片之一為西村昭五郎執導的《乳穿孔的女人》（圖 3-8）中，我們可以

形成的刑罰。這些植物和貝爾梅爾的墊草或是杜象「既然」（Etant donné ）

看到女主角在鋪滿玫瑰的地毯上翻滾，而玫瑰的刺使她背部受傷。

的顯現。

相關。下文我會再續談這一點。 謝春德的圖像來自許多個借用，而這些借用又來自數個藝術時期。首先令 為了更加準確地形容謝春德的攝影作品，必須稱它們為一系列的狂想

人感到驚訝的，便是這種時代變亂。

（caprices ）。它們所形成的整體並不侷限於諷刺畫，而是致力於展現世界的

在同一年代，有一個日本電影潮流，它被認為是非常流行的情色影片潮流，

作品中的草褥一樣毫不自然。

災難（désastres ）。而我向哥雅（Goya）借用了這兩個字眼並不是偶然的，

如果我們仍要抵抗謝春德這種非常刻意進行的喪失參考座標，換句話說，

因為那就是這些大幅的構圖在我身上產生的立即效果：《一整群理性的夢境

如果我們在時間中向上溯，同樣是在令他著迷的水井村一座家宅前拍攝的家

在謝春德的視覺文化中，哥雅的影響是最深厚的。在文章開始時，我已提

的影片，但它的美學也來自日本新電影 。這位導演的有時會以令人困擾的方

所產生的怪物》（songes de la raison engendrant des monstres ），在這個整體

庭照片（〈全家福〉），便來自中國的藝術傳統，而我們也可提及某些二十

到其狂想（caprices ）和災難（désastres ）。在後面這個系列中，他的版畫〈壯

式和謝春德的美學相交會。我想到的是這部例外的影片《胎兒密獵時刻》（圖

之中，黑與白、醜與美、純粹與邪惡相互對峙著。謝春德所提供的是：墮落

世紀早期的影像。在台北市立美術館可以看到黃土水的浮雕（圖 3-1），它似

舉！反抗死神！〉( 圖 3-5) 因為其中有許多受刑的身體，它們由腳倒吊，頭

3-9, 3-10），當它 2007 年在法國上映時，雖然命名接近無害而有鄉下味，卻

與腐敗的人性終結視象的攝影等同物。在其中，風穿越了畫面，威脅要在災

乎源自以農村再現古老中國的傳統，並且構成謝春德作品的一種圖像前例。

將被永遠埋藏，因而成為《生》系列的模範（比如〈母狗〉）。是的，在謝

不能阻止它被列為十八禁等級！影片中有個段落，拍一個女人將自己獻給一

難之後把世界的廢墟吞沒。

黃土水用石膏浮雕的柔和感表達孩童和水牛間的平和關係，在此則於黑白攝

春德版本的啟示錄中，身體將被倒吊。但我們猶豫於恐怖和死亡氣息的反諷

個男人，那時她站立於門的開口中，而一個光暈投射出來，暗示在一個影像

影的絲絨感中得到其類同。謝春德確實在作品中，以一種非常個人的方式處

中。

中還有另一個影像，像是另一個身體的底部影像收納在影像的材質中，而我

謝春德作品中的許多層面因而令人想到巴岱耶（Georges Bataille）的詩學。 克羅索斯基（Pierre Klossowski）曾描述了此一詩學中的災難 性格，而且使用

118

把這位台灣的藝術家置入一個可令人更能瞭解他的世界之傳統和文化中，那

這個年代的粉紅映畫大師為若松孝二，這種電影種類被視為一種情色類型

們如觀察謝的〈夜間飛行〉一段時間，就會看到類似的情況。而且這個身體 1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille » （談巴岱耶的報告中的擬似物）, in Critique , Août-septembre 1963.

謝春德的攝影劇場另一個特點是其場面調度 的規模。如同年紀距他不遠的

展示自身的方式也是利用一個框架的裝置，也會令人想到這位台灣藝術家的

119

謝春德的歡愉殘酷 多明尼克 ‧ 巴依尼（Dominique Païni）著 林志明 譯

當我發現謝春德的攝影畫面時，我便因其中瀰漫暴風雨般的氣氛而感到

的詞語正是以令人不安的方式和謝春德的影像相逢：「[ 在巴岱耶 ] 作品中思

理清晰和模糊的區域，而前景強烈的陽光和屋子的陰影間形成的對比，則重

維特京（Witkin）（圖 3-6），謝春德每一次的攝影都是長時間準備之後的結

震驚。仿佛謝春德所呈現的是一個在「錯誤」發生之後的世界。某些構圖明

想存有學上的災難只是他稱之為無上時刻（moments souverains）中所達到的

構了一種可和淺浮雕相提並論的深度感。

果。選景、大量的助手、佈景、道具及傢俱、複雜的照明、服裝、姿態的研

白地顯示著，一些為人類社會及禮儀譴責的暴力行為。它們幾乎都和刑罰有

頂峰的反面：沉醉、歡笑、犧牲與情欲中的奔放、具無補償的耗費特點之經驗、 1

關：比如被扔到一個象徵性荊棘地的身體、被吊起來的身體、被遺棄於現代

沒有節制的浪費、無意義、沒有特定的用途或目的。」 克羅索斯基這一段是

社會的冷漠和震耳欲聾中的身體、被撐開的身體、以性行為方式懲罰的身體、

在談巴岱耶這位作家作品中的「擬似物」。

究（換句話說，表演詮釋 ），都使得它們接近電影旳場面調度。如果我仍需 然而，謝春德作品中的詭異感比較少來自某種殘酷愛慾所產生的不安，更 多是因為他有大量多樣的參照，他的視覺文化遼闊。

像是公然受辱的身體……由吉歐爾吉歐安（Giorgione）的《暴風雨》（La

Tempesta ）到古斯塔夫 ‧ 都黑（Gustave Doré）的版畫，暴風雨一直是神怒

我將會向電影求援，尤其是日本電影。六零年代日本電影中的新浪潮對這個 「區域」的藝術家非常重要，而台灣對日本文化仍是有高度接受性的。

在謝春德的作品中，令人感到著迷的，便是和前述可相比擬的殘酷與愉悅

這些影像的超現實性或其超現實主義 ，可以容易地指出來，甚至容易到讓

元素同時被豐盛地置入場面、缺乏節制、情欲的奔放漫流……沈醉與犧牲，

人覺得接近知性上的懶惰。這個字眼太常被提到，身價有點下跌。然而，他

除了有一件作品單就其名稱〈儀式〉而言 – 這名稱也不是毫不相干的 – 就

這便是為何這些影像如此擾動人心。〈返鄉之日〉這件作品中，在水井村（位

作品中那互相擁抱交纏的一對人物，對我來說，其指涉不可抵抗地是某些超

使我印象深刻，因為在日本現代電影大師大島渚的影片和謝春德的場面調度

勇於創作這種犧牲場景的藝術家，是一位受到憂慮逐迫的視象先知，而這

於台灣南部口湖鄉）街口的三個女人，其姿勢和態度，必定會令人想到凌遲，

現實主義的母題，比如馬格利特的《戀人》（圖 3-2）。然而這個回憶卻不是

之間，具有一種遙遠的回音關係。而前者 1971 年作品《儀式》（圖 3-7）結

憂慮來自愛欲趨力（Eros）與死亡趨力（Thanatos）的相鄰接近。我從未見過

這個神話般的中國酷刑，巴岱耶在《愛慾的淚水》一書中曾如此評論它：「這

一個平凡的引述。它是藝術家有意進行的？我對這點持疑… 這對交纏的戀人

束時緩慢的終結段落，在我發現後者對社會和殘酷儀式給予這麼多重要性的

一個死刑的場景是以性行為終結的，而這場可怕的、褫奪生命的合法儀式之

種痛苦是狂喜和無法忍受的，其再現混合著宗教性和情色」。這裡是攝影的

其來源也可能是 – 如果一定要為謝春德的想像找到來源的話 – 我之前已經提

工作時，又回到我的記憶中。

見証者，乃是那些習以見慣的陰沉觀眾（Raw 系列，〈石碑上的愛情〉）。

「尖點」在作選擇，並指出在此一廢墟中的城市劇場要看些什麼，尤其是這

出的哥雅。巴岱耶在前面已引過的《愛慾的淚水》一書中，便使用過一幅版

何種大膽，何種狂放的嘲弄，可以如此地把司法判決剝奪生命的冷酷合法逾

三位守住入口的如神之侍女般的女人其身體部份，其中有一個乳房因為特別

畫，可以視為這扭曲融合身體的煉獄面向（圖 3-3）。謝春德無疑曾經和巴岱

越混合於最美好的人類活動！這的確是一種儀式，而謝春德整個創作都和它

清楚而受到著重，仿佛這光學上的調整是一個銳利的手勢。

耶及超現實主義者的靈感相逢。漢斯 ‧ 貝爾梅爾的一張照片（圖 3-4），拍

由日活公司製作，由此展開了一個被稱作《變態人妻》（團地祖馬 Danchi

的是草蓆上一個關節扯開的娃娃，便曾是我看到謝春德一幅擾動人心的影像

Zuma ）的系列。這個潮流提供了非常強烈的女性臣服影像，而在此系列最著

時想到的：〈淡水河的眼淚〉中一位受苦的女人，其傷口來自於一群植物所

名的影片之一為西村昭五郎執導的《乳穿孔的女人》（圖 3-8）中，我們可以

形成的刑罰。這些植物和貝爾梅爾的墊草或是杜象「既然」（Etant donné ）

看到女主角在鋪滿玫瑰的地毯上翻滾，而玫瑰的刺使她背部受傷。

的顯現。

相關。下文我會再續談這一點。 謝春德的圖像來自許多個借用，而這些借用又來自數個藝術時期。首先令 為了更加準確地形容謝春德的攝影作品，必須稱它們為一系列的狂想

人感到驚訝的，便是這種時代變亂。

（caprices ）。它們所形成的整體並不侷限於諷刺畫，而是致力於展現世界的

在同一年代，有一個日本電影潮流，它被認為是非常流行的情色影片潮流，

作品中的草褥一樣毫不自然。

災難（désastres ）。而我向哥雅（Goya）借用了這兩個字眼並不是偶然的，

如果我們仍要抵抗謝春德這種非常刻意進行的喪失參考座標，換句話說，

因為那就是這些大幅的構圖在我身上產生的立即效果：《一整群理性的夢境

如果我們在時間中向上溯，同樣是在令他著迷的水井村一座家宅前拍攝的家

在謝春德的視覺文化中，哥雅的影響是最深厚的。在文章開始時，我已提

的影片，但它的美學也來自日本新電影 。這位導演的有時會以令人困擾的方

所產生的怪物》（songes de la raison engendrant des monstres ），在這個整體

庭照片（〈全家福〉），便來自中國的藝術傳統，而我們也可提及某些二十

到其狂想（caprices ）和災難（désastres ）。在後面這個系列中，他的版畫〈壯

式和謝春德的美學相交會。我想到的是這部例外的影片《胎兒密獵時刻》（圖

之中，黑與白、醜與美、純粹與邪惡相互對峙著。謝春德所提供的是：墮落

世紀早期的影像。在台北市立美術館可以看到黃土水的浮雕（圖 3-1），它似

舉！反抗死神！〉( 圖 3-5) 因為其中有許多受刑的身體，它們由腳倒吊，頭

3-9, 3-10），當它 2007 年在法國上映時，雖然命名接近無害而有鄉下味，卻

與腐敗的人性終結視象的攝影等同物。在其中，風穿越了畫面，威脅要在災

乎源自以農村再現古老中國的傳統，並且構成謝春德作品的一種圖像前例。

將被永遠埋藏，因而成為《生》系列的模範（比如〈母狗〉）。是的，在謝

不能阻止它被列為十八禁等級！影片中有個段落，拍一個女人將自己獻給一

難之後把世界的廢墟吞沒。

黃土水用石膏浮雕的柔和感表達孩童和水牛間的平和關係，在此則於黑白攝

春德版本的啟示錄中，身體將被倒吊。但我們猶豫於恐怖和死亡氣息的反諷

個男人，那時她站立於門的開口中，而一個光暈投射出來，暗示在一個影像

影的絲絨感中得到其類同。謝春德確實在作品中，以一種非常個人的方式處

中。

中還有另一個影像，像是另一個身體的底部影像收納在影像的材質中，而我

謝春德作品中的許多層面因而令人想到巴岱耶（Georges Bataille）的詩學。 克羅索斯基（Pierre Klossowski）曾描述了此一詩學中的災難 性格，而且使用

118

把這位台灣的藝術家置入一個可令人更能瞭解他的世界之傳統和文化中，那

這個年代的粉紅映畫大師為若松孝二，這種電影種類被視為一種情色類型

們如觀察謝的〈夜間飛行〉一段時間，就會看到類似的情況。而且這個身體 1 Pierre Klossowski, « A propos du simulacre dans la communication de Georges Bataille » （談巴岱耶的報告中的擬似物）, in Critique , Août-septembre 1963.

謝春德的攝影劇場另一個特點是其場面調度 的規模。如同年紀距他不遠的

展示自身的方式也是利用一個框架的裝置，也會令人想到這位台灣藝術家的

119

另一件作品，〈鏡子〉。

換言之，謝的原創性乃在於數個文化借用之間的迴旋：西方古典繪畫、超 現實主義的狂喜、日本現代電影… 對一位完全不瞭解台灣的人，這樣的組裝 可能會使他覺得過度異質，但身份認同憂慮及文化元素拼貼 正形塑今日的台 灣島。如此狀況下產生的作品，其主要的意義便在於建構此一組裝的邏輯一 致性，在其中，將事物接近幽默並不被排除在外。在系列中最令人印象深刻 的照片之一是年輕女性令人屏息的倒吊（Raw 系列，〈母狗〉）。獨立於其 相當令人驚嚇的情慾展現，謝春德另一個熱情在這裡偶然且挑釁性地現身了： 美食。這個裝置令人不可避免地想到烤鴨的展示、或是為了料理而準備的倒 吊豬隻，而牠們是倒掛在傳統中國餐廳的櫥窗裡。這張非凡的照片指涉的仍 是電影，但這次是來自香港的中國電影。導演陳果於 2001 年所拍的《香港有 個荷里活》（圖 3-11），讓我留下了深刻的印象。電影的敘事是在食物市場 專業環境中發生，讓我確定謝春德的每一件作品，都提出一個綜合，這是在 殘酷和美麗之間、在幽默和悲劇之間的綜合，一種愉悅的殘酷。

120

另一件作品，〈鏡子〉。

換言之，謝的原創性乃在於數個文化借用之間的迴旋：西方古典繪畫、超 現實主義的狂喜、日本現代電影… 對一位完全不瞭解台灣的人，這樣的組裝 可能會使他覺得過度異質，但身份認同憂慮及文化元素拼貼 正形塑今日的台 灣島。如此狀況下產生的作品，其主要的意義便在於建構此一組裝的邏輯一 致性，在其中，將事物接近幽默並不被排除在外。在系列中最令人印象深刻 的照片之一是年輕女性令人屏息的倒吊（Raw 系列，〈母狗〉）。獨立於其 相當令人驚嚇的情慾展現，謝春德另一個熱情在這裡偶然且挑釁性地現身了： 美食。這個裝置令人不可避免地想到烤鴨的展示、或是為了料理而準備的倒 吊豬隻，而牠們是倒掛在傳統中國餐廳的櫥窗裡。這張非凡的照片指涉的仍 是電影，但這次是來自香港的中國電影。導演陳果於 2001 年所拍的《香港有 個荷里活》（圖 3-11），讓我留下了深刻的印象。電影的敘事是在食物市場 專業環境中發生，讓我確定謝春德的每一件作品，都提出一個綜合，這是在 殘酷和美麗之間、在幽默和悲劇之間的綜合，一種愉悅的殘酷。

120

The visible And the invisible Exist at the same time

Yet You still prefer for me to say to you in person Me!

Still there?

看 得 見 的

和 看 不 見 的

都 同 時 存 在 但 你 還 是 比 較 喜 歡 聽 我 親 口 對 你 說

Le visible et l'invisible Partagent le même espace- temps.

Mais, Tu préfères tout de même que je te le dise personnellement.

Moi !

Toujours là ?

我 !

還 在 嗎 ?

The visible And the invisible Exist at the same time

Yet You still prefer for me to say to you in person Me!

Still there?

看 得 見 的

和 看 不 見 的

都 同 時 存 在 但 你 還 是 比 較 喜 歡 聽 我 親 口 對 你 說

Le visible et l'invisible Partagent le même espace- temps.

Mais, Tu préfères tout de même que je te le dise personnellement.

Moi !

Toujours là ?

我 !

還 在 嗎 ?

生

Materials

食

生

Materials

食

Works | 作品

Works | 作品

RAW-Portrait RAW-Ritratto

生 - 肖像 1987-2010 150x200cm

128

RAW-Wondering Artists RAW-Gli artisti pieni di meraviglia

生 - 流浪藝人 1987-2010 200x150cm

130

RAW-Main Street Electrical Parade RAW-Parata Elettrica sulla strada principale

生 - 電子花車 1987-2010 200x150cm

132

RAW-A Meat Stall RAW-Un banco di carne

生 - 豬肉攤 1987-2010 200x150cm

134

RAW-Moonlight RAW-Chiaro di Luna

生 - 月光 1987-2010 200x150cm

136

RAW-Dwarf Wedding RAW- Matrimonio del nano

生 - 侏儒的婚禮 1987-2010 200x150cm

138

RAW-Ceremony RAW-Cerimonia

生 - 儀式 1987-2010 150x200cm

140

RAW-The Romance on the Stele RAW- L’idillio sullo stele

生 - 石碑上的愛情 1987-2010 200x150cm

142

RAW-The White Sands of Jibeiyu (Jibeiyu Island) RAW -Le bianche sabie di Jibeiyu (Idola di Jibeiyu)

生 - 吉貝嶼白沙 1987-2010 100x100cm

RAW-The White Sands of Jibeiyu (Jibeiyu Island) RAW -Le bianche sabie di Jibeiyu (Idola di Jibeiyu)

生 - 吉貝嶼白沙 1987-2010 100x100cm

RAW-Flight in the Night RAW-Volo nella notte

生 - 夜間飛行 1987-2010 300x240cm

152

RAW-Priest RAW-Sacerdote

生 - 祭司 1987-2010 200x150cm

154

RAW-Homecoming Day RAW-Giorno del ritorno a casa

生 - 返鄉之日 1987-2010 200x150cm

156

RAW-Bitches RAW-Puttane

生 - 母狗 1987-2010 300x240cm

158

RAW-The Temple Attendant Who is Longi ng for the Breeze of Spring RAW-L'addetto al tempio che prega per una buona stagione

生 - 廟祝唸春風 1987-2010 200x150cm

160

RAW-Butterfly Ginger RAW-Farfalla Rossiccia

生 - 野薑花 1987-2010 100x80cm

RAW-Butterfly Ginger RAW-Farfalla Rossiccia

生 - 野薑花 1987-2010 100x80cm

RAW-Riverbank RAW-La sponda del fiume

生 - 河岸 1987-2010 200x150cm

168

RAW-The Tears of Tamsui River RAW-Le lacrime del fiume Tamsui

生 - 淡水河的眼淚 1987-2010 200x150cm

170

RAW-Family Portrait RAW-Ritratto di famiglia

生 - 全家福 1987-2010 200x150cm

172

RAW-Mirror RAW-Specchio

生 - 鏡子 1987-2010 200x150cm

174

RAW-Ferry Voyagers at the Guan-yin-shan (Guan-yin Mountain) RAW-Viggiattori in battello nel Guan-yin-shan (Montagna Guan-yin)

生 - 觀音山下的渡船人 1987-2010 200x150cm

176

Living is dangerous because we have two eyes

La vie est dangereuse car nous avons deux yeux.

With our eyes we see the world Not ourselves

Deux yeux avec lesquels nous contemplons le monde, sans nous voir.

This is the magic of images

c'est là aussi où réside la magie de l'image.

Because what we don’t see always outnumbers what we do

Car le visible est moins riche que l'invisible.

In fact

En fait,

I wanted to say

Je voulais dire

We make love less and less often

Nous faisons l'amour de moins en moins souvent !

My heart Sad

Mon coeur, triste !

Your tears, lighter and lighter Still Dark

Tes larmes, de jour en jour plus légères, plus froides.

I Die in your smile

Moi……… ! Je me meurs dans ton sourire.

活 著 的 危 險 性 是 因 為 我 們 有 一 雙 眼 睛 我 們 用 眼 睛 看 世 界

看 不 到 自 己

這 也 是 影 像 的 魅 力 所 在 因 為 看 不 到 的 總 比 看 得 到 的 多 其 實 我 是 說 我 們 做 愛 的 次 數 愈 來 愈 少 了 我 的 心

苦 的

你 愈 來 愈 稀 薄 的 眼 淚 我

死 在 你 的 笑 容 裡

依 然

黑 的

Living is dangerous because we have two eyes

La vie est dangereuse car nous avons deux yeux.

With our eyes we see the world Not ourselves

Deux yeux avec lesquels nous contemplons le monde, sans nous voir.

This is the magic of images

c'est là aussi où réside la magie de l'image.

Because what we don’t see always outnumbers what we do

Car le visible est moins riche que l'invisible.

In fact

En fait,

I wanted to say

Je voulais dire

We make love less and less often

Nous faisons l'amour de moins en moins souvent !

My heart Sad

Mon coeur, triste !

Your tears, lighter and lighter Still Dark

Tes larmes, de jour en jour plus légères, plus froides.

I Die in your smile

Moi……… ! Je me meurs dans ton sourire.

活 著 的 危 險 性 是 因 為 我 們 有 一 雙 眼 睛 我 們 用 眼 睛 看 世 界

看 不 到 自 己

這 也 是 影 像 的 魅 力 所 在 因 為 看 不 到 的 總 比 看 得 到 的 多 其 實 我 是 說 我 們 做 愛 的 次 數 愈 來 愈 少 了 我 的 心

苦 的

你 愈 來 愈 稀 薄 的 眼 淚 我

死 在 你 的 笑 容 裡

依 然

黑 的

Essay | 專文

Monique Sicard

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

185

Essay | 專文

Monique Sicard

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

185

The Feast of Chun-te

by Monique Sicard

Pleasant interval. Stange foreigner. The photographs of

A family of eight people goes down the river in a long

profile and in the grayness of a commercial destiny. But there

Hsieh Chun-te surprise us, shock us, delight us. By playing on

motorboat against the magnificent backdrop of Mt. Guanyin.

is a resistance to that. It comes from a philosophy where the

our Western conventions, our thoughts – single and multiple –

(Figure 4-2) They have taken their motorbike, their animals.

body is spirit, where the long time devoted to exercising one’s

they provoke us.

They are happy. But at the front, the dog is concerned

own freedom is something important.

about the uncertain future that awaits them. They leave the The format, first. Then the texture. These very large,

countryside and the old world and they make their way toward

Between two curtains near the sea, the lost artists are

black, deep blue paintings mix the sharpness and blur into

the city, hoping to live in one of the dizzying skyscrapers of

wondering. (Figure 4-5) What to do? What do they need to

a single image with no other intention than their aesthetic

Taipei. A little further, on the terrace of pretentious buildings

stage? The music, the children, the animals, the women, the

confrontation. From that, waverings between image and reality

hiding mountains, two fishermen watch the movements of

human body? All the while, they are marked by these slow

are born. Pleasantly unsettling.

unreal fishes. (Figure 4-3) They say that the hope of joining

desires in a world that goes too fast.

the modern world is partly doomed. They will always be Next, the scenes. A "signified" if a bit schematic language

strangers in their own country. Maybe they still dream of

Le Festin de Chun-te combines these dreamed and "photo-

is in play. The devices of fiction depict the dreams of the night

the family house with the roof of rounded tiles where elders

graphed" performances in the implementation of a meal.

that the author has carefully drawn before calling the actors to

passed on a passion for books to the youth, where children

Because art is eaten here. Or rather, any fragment of life is

the rescue. (Figure 4-1) Ascendancy over a world that moves,

climbed, laughed, on false stone buffalos. (Figure 4-4) Happy

rich, potentially, with an artistic future. We are moved by the

closely entwined with sexual fevers. And since dreams are

days that the photograph inscribed forever in memories. But

inestimably long time required to prepare such an exhibition

unspeakable, everybody can see what he wants or what he

also the power of this "photo-graphy" in witnessing the very

– twenty years, perhaps more – in praise of unpolluted water

rejects in these allegorical scenes mingling the violence of

happiness to which it gives birth. The black and white claims

and carefully chosen, beautiful, true food.

happiness with happy anxiety about the future. Hsieh Chun-

the truth of this fiction forcefully.

te reveals these compelling forces, intimate and political –

186

While embracing the latest technologies, an artist sets

against which we can do nothing, except perhaps to present

Crushed by the past, still marked by the former Empire

out to find traces of the past and his own origins. It is not

them photographically. Reality of human dreams, indexicality

of Japan, dwarfed by its huge mainland Chinese neighbor,

insignificant that Taiwan is an island. The creative forces

of the unconscious.

Taiwan rebuilds its history gradually. Who better than one of

express their originality in such enclosed places, surrounded

its artists to can claim in photographic dreams the disparity

by water. Less affected by the masses, protected from the

The best, perhaps, the subtlest, are these cracks of a

that we cannot without difficulty call "identity"? No need to

movements of crowds, they are the havens they need. Do not

changing world. The images tell of an intergenerational

use the Chinese language: the images speak for themselves.

forget, however, that these beautiful places are also the most

conflict, friction between city and countryside, modernity and

The paltry technology of an old motorcycle shrieks praise for

fragile.

tradition. They scream the confrontation between a complex

a thousand-year-old culture filled with attention paid slowly

past, so tragic that its shadow still grows, and the new world

to landscapes, as a constructive contemplation. The political

with its skyscrapers, its youth, its hope.

status of the economy would reject the island in an uncertain

187

The Feast of Chun-te

by Monique Sicard

Pleasant interval. Stange foreigner. The photographs of

A family of eight people goes down the river in a long

profile and in the grayness of a commercial destiny. But there

Hsieh Chun-te surprise us, shock us, delight us. By playing on

motorboat against the magnificent backdrop of Mt. Guanyin.

is a resistance to that. It comes from a philosophy where the

our Western conventions, our thoughts – single and multiple –

(Figure 4-2) They have taken their motorbike, their animals.

body is spirit, where the long time devoted to exercising one’s

they provoke us.

They are happy. But at the front, the dog is concerned

own freedom is something important.

about the uncertain future that awaits them. They leave the The format, first. Then the texture. These very large,

countryside and the old world and they make their way toward

Between two curtains near the sea, the lost artists are

black, deep blue paintings mix the sharpness and blur into

the city, hoping to live in one of the dizzying skyscrapers of

wondering. (Figure 4-5) What to do? What do they need to

a single image with no other intention than their aesthetic

Taipei. A little further, on the terrace of pretentious buildings

stage? The music, the children, the animals, the women, the

confrontation. From that, waverings between image and reality

hiding mountains, two fishermen watch the movements of

human body? All the while, they are marked by these slow

are born. Pleasantly unsettling.

unreal fishes. (Figure 4-3) They say that the hope of joining

desires in a world that goes too fast.

the modern world is partly doomed. They will always be Next, the scenes. A "signified" if a bit schematic language

strangers in their own country. Maybe they still dream of

Le Festin de Chun-te combines these dreamed and "photo-

is in play. The devices of fiction depict the dreams of the night

the family house with the roof of rounded tiles where elders

graphed" performances in the implementation of a meal.

that the author has carefully drawn before calling the actors to

passed on a passion for books to the youth, where children

Because art is eaten here. Or rather, any fragment of life is

the rescue. (Figure 4-1) Ascendancy over a world that moves,

climbed, laughed, on false stone buffalos. (Figure 4-4) Happy

rich, potentially, with an artistic future. We are moved by the

closely entwined with sexual fevers. And since dreams are

days that the photograph inscribed forever in memories. But

inestimably long time required to prepare such an exhibition

unspeakable, everybody can see what he wants or what he

also the power of this "photo-graphy" in witnessing the very

– twenty years, perhaps more – in praise of unpolluted water

rejects in these allegorical scenes mingling the violence of

happiness to which it gives birth. The black and white claims

and carefully chosen, beautiful, true food.

happiness with happy anxiety about the future. Hsieh Chun-

the truth of this fiction forcefully.

te reveals these compelling forces, intimate and political –

186

While embracing the latest technologies, an artist sets

against which we can do nothing, except perhaps to present

Crushed by the past, still marked by the former Empire

out to find traces of the past and his own origins. It is not

them photographically. Reality of human dreams, indexicality

of Japan, dwarfed by its huge mainland Chinese neighbor,

insignificant that Taiwan is an island. The creative forces

of the unconscious.

Taiwan rebuilds its history gradually. Who better than one of

express their originality in such enclosed places, surrounded

its artists to can claim in photographic dreams the disparity

by water. Less affected by the masses, protected from the

The best, perhaps, the subtlest, are these cracks of a

that we cannot without difficulty call "identity"? No need to

movements of crowds, they are the havens they need. Do not

changing world. The images tell of an intergenerational

use the Chinese language: the images speak for themselves.

forget, however, that these beautiful places are also the most

conflict, friction between city and countryside, modernity and

The paltry technology of an old motorcycle shrieks praise for

fragile.

tradition. They scream the confrontation between a complex

a thousand-year-old culture filled with attention paid slowly

past, so tragic that its shadow still grows, and the new world

to landscapes, as a constructive contemplation. The political

with its skyscrapers, its youth, its hope.

status of the economy would reject the island in an uncertain

187

Le Festin de Chun-te par Monique Sicard

Délicieuse distance. Etranges étrangères : les œuvres de

Une famille de huit personnes descend le fleuve en longue

d’une économie moderne, pouvait rejeter l’île dans le profil

Chieh Chun-te nous étonnent, nous choquent, nous charment.

barque à moteur dans les paysages splendides de Guan-yin-

vague et gris d’un destin commercial. Mais il y a de la

En se jouant de nos conventions occidentales, de nos pensées

shan. (Figure 4-2) Ils ont emporté leur moto, leurs animaux.

résistance à cela. Elle nous vient d’une philosophie pour

- uniques et multiples -, elles nous provoquent.

Ils sont heureux. Mais à l’avant, le chien s’interroge sur

laquelle le corps est esprit, pour laquelle importe le temps

l’avenir incertain qui les attend. Ils quittent la campagne et

long dévolu à l’exercice de sa propre liberté.

Figure 4-1. Hsieh Chun-te, RAW - Marriage des nains, Ultra smooth fine art paper, 1987-2011. 圖 4-1 謝春德，〈RAW – 侏儒的婚禮〉 ，平滑藝術紙 影像輸出，1987-2011。

Le format, d’abord. Puis la texture. Ces très grands tableaux

le vieux monde pour la ville, espérant loger dans l’un des

aux noirs bleutés profonds mêlent le piqué et le flou au sein

vertigineux buildings de Taïpei. Un peu plus loin, sur une

Les artistes perdus au bord de mer entre deux rideaux de

d’une même image sans autre intention qu’une esthétique

terrasse coincée entre de prétentieux immeubles masquant la

théâtre s’interrogent. (Figure 4-5) Que faire ? Que mettre

de leur confrontation. Il en naît un flottement entre image et

montagne, deux pêcheurs guettent les mouvements d’irréels

en scène ? La musique, les enfants, les animaux, les femmes,

réalisme. Agréablement déstabilisant.

bouchons. ( Figure 4-3) Ils nous disent que l’espoir d’intégrer

le corps humain ? quand ils sont marqués par ces désirs de

Figure4-2. Hsieh Chun-te, RAW - Voyageurs sous la montagne Guan-yin, Ultra smooth fine art paper, 1987-2011.

le monde moderne est partiellement voué à l’échec. Ils seront

lenteur au sein d’un monde qui va trop vite.

圖 4-2 謝春德，〈RAW – 觀音山下的渡船人〉 ，平滑 藝術紙影像輸出，1987-2011。

Les scènes ensuite, le « signifié » pour user d’un langage

toujours d’étranges étrangers au sein de leur propre pays.

un peu schématique. Les dispositifs de fiction mettent en

Peut-être rêvent-ils encore de la maison familiale au toit de

Le Festin de Chun-te allie ces performances rêvées et

scène ces rêves de la nuit que l’auteur a soigneusement

tuiles rondes où les plus âgés, lettrés, transmettaient aux plus

« photo-graphiées » à la mise en œuvre d’un repas. Car l’art

dessinés avant d’appeler les acteurs à la rescousse. (Figure

jeunes la passion des livres, où les enfants grimpaient en riant

se mange, ici. Ou plutôt, tout fragment de vie est riche,

4-1) Emprises d’un monde qui bouge intimement mêlées aux

sur de faux buffles de pierre. (Figure 4-4) Jours heureux que

potentiellement, d’un devenir artistique. Le temps infiniment

fièvres sexuelles. Et puisque les rêves sont indicibles, chacun

la photographie inscrit pour toujours dans les mémoires. Mais

long de la préparation d’un déjeuner comme celui – vingt

peut voir ce qu’il cherche, ce qu’il refuse dans ces scènes

aussi, puissance de cette « photo-graphie » car en témoignant

années – de la réalisation de cette exposition, nous émeut.

allégoriques mêlant la violence du bonheur à l’inquiétude

du bonheur, elle le fait naître. Le noir et blanc affirme avec

Eloge d’un eau non polluée, d’une nourriture vraie, soignée,

heureuse de l’avenir. Ce sont des forces irrésistibles que

vigueur la vérité d’une telle fiction.

choisie, belle.

donne à voir Hsieh Chun-te, intimes et politiques. Celles

188

Figure 4-1. Hsieh Chun-te, RAW - Dwarf Wedding, Ultra smooth fine art paper, 1987-2011.

contre lesquelles on ne peut rien, sauf peut-être, les mettre

Ecrasée par un passé écartelé encore marqué par l’ancien

Tout en s’emparant des dernières technologies, un artiste

en scène photographiquement. Réalité des rêves humains,

Empire du Japon et l’immense continent chinois voisin,

part à la recherche des traces du passé et de ses origines. Il

indicialité de l’inconscient.

Taïwan trouve peu à peu son histoire. Qui mieux que la

n’est pas anodin que Taïwan soit une île. C’est dans les lieux

photographie des rêves de l’un de ses artistes peut crier cette

clos, entourés d’eau que les forces créatives expriment le

Le plus beau peut-être, le plus subtil, ce sont ces

différence que nous ne saurions imprudemment nommer

mieux leur originalité. Moins atteintes par la masse, protégées

craquements d’un monde qui change. Les images nous

« identité » ? Nul besoin d’user de la langue chinoise : les

des mouvements de foule, elles trouvent là les havres dont

disent les conflits de générations, les frictions entre ville

images parlent d’elles-mêmes. Sous la technologie dérisoire

elles ont besoin. N’oublions pas, cependant, que ces lieux de

et campagne, modernité et tradition. Elles hurlent la

d’une moto embarquée pointe l’éloge d’une culture paysanne

rêve sont également les plus fragiles.

confrontation entre un passé complexe, si tragique qu’il est

millénaire, celui d’une attention lente portée aux paysages, à

encore à construire et le nouveau monde avec ses buildings, sa

la contemplation constructive. Le statut politique de Taïwan

jeunesse, ses espoirs.

si longtemps indécis, accompagné de l’évolution fulgurante

Figure4-2. Hsieh Chun-te, RAW - Voyagers at the Guan-yin-shan(Guan-yin Mountain), Ultra smooth fine art paper, 1987-2011.

Figure4-3. Hsieh Chun-te, RAW - The Fishmen on the Rooftop, Ultra smooth fine art paper, 19872011.

Figure4-3. Hsieh Chun-te, RAW - The pêcheurs sur le toit, Ultra smooth fine art paper, 19872011. 圖 4-3 謝春德，〈RAW – 屋頂上的垂釣人〉 ，平滑藝 術紙影像輸出，1987-2011。

Figure4-4. Hsieh Chun-te, RAW - Family Portrait, Ultra smooth fine art paper, 1987-2011.

Figure4-4. Hsieh Chun-te, RAW - Portrait de famille, Ultra smooth fine art paper, 1987-2011. 圖 4-4 謝春德，〈RAW – 全家福〉 ，平滑藝術紙影像 輸出，1987-2011。

Figure4-5. Hsieh Chun-te, RAW - Wondering Artists, Ultra smooth fine art paper, 1987-2011.

Figure4-5. Hsieh Chun-te, RAW – Artistes vagabonds, Ultra smooth fine art paper, 19872011. 圖 4-5 謝春德，〈RAW – 流浪藝人〉 ，平滑藝術紙影像 輸出，1987-2011。

189

Le Festin de Chun-te par Monique Sicard

Délicieuse distance. Etranges étrangères : les œuvres de

Une famille de huit personnes descend le fleuve en longue

d’une économie moderne, pouvait rejeter l’île dans le profil

Chieh Chun-te nous étonnent, nous choquent, nous charment.

barque à moteur dans les paysages splendides de Guan-yin-

vague et gris d’un destin commercial. Mais il y a de la

En se jouant de nos conventions occidentales, de nos pensées

shan. (Figure 4-2) Ils ont emporté leur moto, leurs animaux.

résistance à cela. Elle nous vient d’une philosophie pour

- uniques et multiples -, elles nous provoquent.

Ils sont heureux. Mais à l’avant, le chien s’interroge sur

laquelle le corps est esprit, pour laquelle importe le temps

l’avenir incertain qui les attend. Ils quittent la campagne et

long dévolu à l’exercice de sa propre liberté.

Figure 4-1. Hsieh Chun-te, RAW - Marriage des nains, Ultra smooth fine art paper, 1987-2011. 圖 4-1 謝春德，〈RAW – 侏儒的婚禮〉 ，平滑藝術紙 影像輸出，1987-2011。

Le format, d’abord. Puis la texture. Ces très grands tableaux

le vieux monde pour la ville, espérant loger dans l’un des

aux noirs bleutés profonds mêlent le piqué et le flou au sein

vertigineux buildings de Taïpei. Un peu plus loin, sur une

Les artistes perdus au bord de mer entre deux rideaux de

d’une même image sans autre intention qu’une esthétique

terrasse coincée entre de prétentieux immeubles masquant la

théâtre s’interrogent. (Figure 4-5) Que faire ? Que mettre

de leur confrontation. Il en naît un flottement entre image et

montagne, deux pêcheurs guettent les mouvements d’irréels

en scène ? La musique, les enfants, les animaux, les femmes,

réalisme. Agréablement déstabilisant.

bouchons. ( Figure 4-3) Ils nous disent que l’espoir d’intégrer

le corps humain ? quand ils sont marqués par ces désirs de

Figure4-2. Hsieh Chun-te, RAW - Voyageurs sous la montagne Guan-yin, Ultra smooth fine art paper, 1987-2011.

le monde moderne est partiellement voué à l’échec. Ils seront

lenteur au sein d’un monde qui va trop vite.

圖 4-2 謝春德，〈RAW – 觀音山下的渡船人〉 ，平滑 藝術紙影像輸出，1987-2011。

Les scènes ensuite, le « signifié » pour user d’un langage

toujours d’étranges étrangers au sein de leur propre pays.

un peu schématique. Les dispositifs de fiction mettent en

Peut-être rêvent-ils encore de la maison familiale au toit de

Le Festin de Chun-te allie ces performances rêvées et

scène ces rêves de la nuit que l’auteur a soigneusement

tuiles rondes où les plus âgés, lettrés, transmettaient aux plus

« photo-graphiées » à la mise en œuvre d’un repas. Car l’art

dessinés avant d’appeler les acteurs à la rescousse. (Figure

jeunes la passion des livres, où les enfants grimpaient en riant

se mange, ici. Ou plutôt, tout fragment de vie est riche,

4-1) Emprises d’un monde qui bouge intimement mêlées aux

sur de faux buffles de pierre. (Figure 4-4) Jours heureux que

potentiellement, d’un devenir artistique. Le temps infiniment

fièvres sexuelles. Et puisque les rêves sont indicibles, chacun

la photographie inscrit pour toujours dans les mémoires. Mais

long de la préparation d’un déjeuner comme celui – vingt

peut voir ce qu’il cherche, ce qu’il refuse dans ces scènes

aussi, puissance de cette « photo-graphie » car en témoignant

années – de la réalisation de cette exposition, nous émeut.

allégoriques mêlant la violence du bonheur à l’inquiétude

du bonheur, elle le fait naître. Le noir et blanc affirme avec

Eloge d’un eau non polluée, d’une nourriture vraie, soignée,

heureuse de l’avenir. Ce sont des forces irrésistibles que

vigueur la vérité d’une telle fiction.

choisie, belle.

donne à voir Hsieh Chun-te, intimes et politiques. Celles

188

Figure 4-1. Hsieh Chun-te, RAW - Dwarf Wedding, Ultra smooth fine art paper, 1987-2011.

contre lesquelles on ne peut rien, sauf peut-être, les mettre

Ecrasée par un passé écartelé encore marqué par l’ancien

Tout en s’emparant des dernières technologies, un artiste

en scène photographiquement. Réalité des rêves humains,

Empire du Japon et l’immense continent chinois voisin,

part à la recherche des traces du passé et de ses origines. Il

indicialité de l’inconscient.

Taïwan trouve peu à peu son histoire. Qui mieux que la

n’est pas anodin que Taïwan soit une île. C’est dans les lieux

photographie des rêves de l’un de ses artistes peut crier cette

clos, entourés d’eau que les forces créatives expriment le

Le plus beau peut-être, le plus subtil, ce sont ces

différence que nous ne saurions imprudemment nommer

mieux leur originalité. Moins atteintes par la masse, protégées

craquements d’un monde qui change. Les images nous

« identité » ? Nul besoin d’user de la langue chinoise : les

des mouvements de foule, elles trouvent là les havres dont

disent les conflits de générations, les frictions entre ville

images parlent d’elles-mêmes. Sous la technologie dérisoire

elles ont besoin. N’oublions pas, cependant, que ces lieux de

et campagne, modernité et tradition. Elles hurlent la

d’une moto embarquée pointe l’éloge d’une culture paysanne

rêve sont également les plus fragiles.

confrontation entre un passé complexe, si tragique qu’il est

millénaire, celui d’une attention lente portée aux paysages, à

encore à construire et le nouveau monde avec ses buildings, sa

la contemplation constructive. Le statut politique de Taïwan

jeunesse, ses espoirs.

si longtemps indécis, accompagné de l’évolution fulgurante

Figure4-2. Hsieh Chun-te, RAW - Voyagers at the Guan-yin-shan(Guan-yin Mountain), Ultra smooth fine art paper, 1987-2011.

Figure4-3. Hsieh Chun-te, RAW - The Fishmen on the Rooftop, Ultra smooth fine art paper, 19872011.

Figure4-3. Hsieh Chun-te, RAW - The pêcheurs sur le toit, Ultra smooth fine art paper, 19872011. 圖 4-3 謝春德，〈RAW – 屋頂上的垂釣人〉 ，平滑藝 術紙影像輸出，1987-2011。

Figure4-4. Hsieh Chun-te, RAW - Family Portrait, Ultra smooth fine art paper, 1987-2011.

Figure4-4. Hsieh Chun-te, RAW - Portrait de famille, Ultra smooth fine art paper, 1987-2011. 圖 4-4 謝春德，〈RAW – 全家福〉 ，平滑藝術紙影像 輸出，1987-2011。

Figure4-5. Hsieh Chun-te, RAW - Wondering Artists, Ultra smooth fine art paper, 1987-2011.

Figure4-5. Hsieh Chun-te, RAW – Artistes vagabonds, Ultra smooth fine art paper, 19872011. 圖 4-5 謝春德，〈RAW – 流浪藝人〉 ，平滑藝術紙影像 輸出，1987-2011。

189

春德的饗宴 莫尼克 ‧ 西卡爾（Monique Sicard）著 林志明 譯

美味的距離。奇異的陌生人：謝春德的作品使我們訝異、驚奇、著

世界，朝向城市，希望能住進台北令人暈眩的高樓之中。再遠一點，

為藝術在此是可以吃的。或者說，所有的生命段落都具有演變為藝術

迷。這些作品玩弄著我們西方的成規、我們的思想 – 如此獨特又多樣 –，

擠在遮蔽山丘的高樓間，兩個垂釣者著守候著浮標不真實的浮動 ( 圖

的豐富潛能。準備一道這樣的午餐要花費無限長的時間，就好像實現

它們向我們挑釁。

4-3)。他們和我們訴說整合進現代世界的希望必然有部份失敗。在他

這展覽的時間 – 二十年 –，這一點使我們感動。讚頌無汙染的水，真

們自己的國家裡，他們將永遠是奇異的陌生人。也許他們還夢想著以

實、用心、撿選、美麗的食物。

首先是尺寸。接著是肌理。這些非常巨大的畫面，以略帶深藍的黑

前用圓瓦覆蓋的祖宅，在其中，熟讀詩書的長者會傳授給年幼者他對

色，在同一影像中混合著明晰和模糊，唯一的意圖便是它們之間的對

書籍的熱情，而小孩們則會攀爬石頭水牛取樂歡笑 ( 圖 4-4)。攝影把

利用最新的科技，一位藝術家追尋著過去和其起源的痕跡。台灣是

抗。於是產生了一種影像和寫實主義間的漂動。這是令人舒適的不穩

這些快樂的日子永遠地印刻在記憶之中。但這也是攝影作為「光之描

島這事實不能隨意忽略。在封閉的、被水包圍的地方，創造力最能表

定。

繪」的威力，因為在見證幸福的同時，它也促使它們誕生。黑白用強

達其原創性。較少被大眾干擾，不受群眾運動的影響，它在其中找到

有力的方式肯定了這種虛構的真實性。

了它所需要的避風港。讓我們別忘了，夢的地域也是最脆弱的地域。

接著是影像，如果使用一個有點圖式化的語言來說，這是指其中的 「符旨」。虛構這裝置把夜之夢想搬演出來，而作者先是仔細畫出草

台灣的過去是介於古老日本帝國留下的印記和碩大無朋的近鄰中國

圖，再由演員協助完成 ( 圖 4-1)。這是一個私密蠕動的世界的影響力

大陸之間，雖然這過去重壓著她，但她也一步一步地找到了自己的歷

和性慾熱狂的混合。而既然夢說不出來，每個人可看到他所找的，或

史。由她的一位拍夢之攝影的藝術家來高聲喊出這個差異，會有什麼

是他在這些寓意景象中所拒絕的，這其中是如此地混合著幸福的狂暴

人更適合呢？對於這差異，我們不會很不謹慎地將之命名為「身份認

和對未來幸福地擔憂。謝春德給人看的是無法抵擋的力量，既是私密

同」。不需要用到華語：這些影像自己會說話。在將一部機車登上船

的又是政治的。對抗這些力量我們無能為力，或者，其唯一的方法就

隻的微弱科技下，閃現是一個流傳千年的農民文化，以建構的方式觀

是用攝影的方式將它們搬演出來。人之夢的現實，潛意識的指標性。

照世界。台灣的政治地位在這麼長的時間裡都未確定，卻伴隨著一個 表現耀眼的現代經濟，有可能把這島嶼的命運排擠進入一個模糊灰黯

也許最美的，最微妙的，便是變動世界所產生的這些裂痕。這些影 像和我們訴說著世代間的衝突，城鄉間的磨擦，現代性與傳統。它們

的商業身影。但這裡有對它的抵抗。它來自一個哲學，其中身體即是 精神，而重要的是運用其自身自由的長時間練習。

高喊出一個對抗，介於悲劇性的，仍待建構的複雜過去和新世界，後 者有其高樓、青年和希望。

迷失於海邊兩道布幕間的藝術家在質疑著 ( 圖 4-5)。要作什麼呢？ 要搬演什麼？音樂、孩童、動物、女人、人體？在一個運轉得太快的

由八位成員組成的家庭以引擎船筏在河上過渡，背景是美妙的觀

世界裡，那時他們被一種想望緩慢的慾望標記著。

音山 ( 圖 4-2)。帶上船的還有他們的摩托車及動物。他們是幸福的。 但在船頭，狗質疑著等待他們的不確定未來。他們離開鄉下及古老的

190

《春德的盛宴》由這些夢的表演及光之描繪走向飲食的作品化。因

191

春德的饗宴 莫尼克 ‧ 西卡爾（Monique Sicard）著 林志明 譯

美味的距離。奇異的陌生人：謝春德的作品使我們訝異、驚奇、著

世界，朝向城市，希望能住進台北令人暈眩的高樓之中。再遠一點，

為藝術在此是可以吃的。或者說，所有的生命段落都具有演變為藝術

迷。這些作品玩弄著我們西方的成規、我們的思想 – 如此獨特又多樣 –，

擠在遮蔽山丘的高樓間，兩個垂釣者著守候著浮標不真實的浮動 ( 圖

的豐富潛能。準備一道這樣的午餐要花費無限長的時間，就好像實現

它們向我們挑釁。

4-3)。他們和我們訴說整合進現代世界的希望必然有部份失敗。在他

這展覽的時間 – 二十年 –，這一點使我們感動。讚頌無汙染的水，真

們自己的國家裡，他們將永遠是奇異的陌生人。也許他們還夢想著以

實、用心、撿選、美麗的食物。

首先是尺寸。接著是肌理。這些非常巨大的畫面，以略帶深藍的黑

前用圓瓦覆蓋的祖宅，在其中，熟讀詩書的長者會傳授給年幼者他對

色，在同一影像中混合著明晰和模糊，唯一的意圖便是它們之間的對

書籍的熱情，而小孩們則會攀爬石頭水牛取樂歡笑 ( 圖 4-4)。攝影把

利用最新的科技，一位藝術家追尋著過去和其起源的痕跡。台灣是

抗。於是產生了一種影像和寫實主義間的漂動。這是令人舒適的不穩

這些快樂的日子永遠地印刻在記憶之中。但這也是攝影作為「光之描

島這事實不能隨意忽略。在封閉的、被水包圍的地方，創造力最能表

定。

繪」的威力，因為在見證幸福的同時，它也促使它們誕生。黑白用強

達其原創性。較少被大眾干擾，不受群眾運動的影響，它在其中找到

有力的方式肯定了這種虛構的真實性。

了它所需要的避風港。讓我們別忘了，夢的地域也是最脆弱的地域。

接著是影像，如果使用一個有點圖式化的語言來說，這是指其中的 「符旨」。虛構這裝置把夜之夢想搬演出來，而作者先是仔細畫出草

台灣的過去是介於古老日本帝國留下的印記和碩大無朋的近鄰中國

圖，再由演員協助完成 ( 圖 4-1)。這是一個私密蠕動的世界的影響力

大陸之間，雖然這過去重壓著她，但她也一步一步地找到了自己的歷

和性慾熱狂的混合。而既然夢說不出來，每個人可看到他所找的，或

史。由她的一位拍夢之攝影的藝術家來高聲喊出這個差異，會有什麼

是他在這些寓意景象中所拒絕的，這其中是如此地混合著幸福的狂暴

人更適合呢？對於這差異，我們不會很不謹慎地將之命名為「身份認

和對未來幸福地擔憂。謝春德給人看的是無法抵擋的力量，既是私密

同」。不需要用到華語：這些影像自己會說話。在將一部機車登上船

的又是政治的。對抗這些力量我們無能為力，或者，其唯一的方法就

隻的微弱科技下，閃現是一個流傳千年的農民文化，以建構的方式觀

是用攝影的方式將它們搬演出來。人之夢的現實，潛意識的指標性。

照世界。台灣的政治地位在這麼長的時間裡都未確定，卻伴隨著一個 表現耀眼的現代經濟，有可能把這島嶼的命運排擠進入一個模糊灰黯

也許最美的，最微妙的，便是變動世界所產生的這些裂痕。這些影 像和我們訴說著世代間的衝突，城鄉間的磨擦，現代性與傳統。它們

的商業身影。但這裡有對它的抵抗。它來自一個哲學，其中身體即是 精神，而重要的是運用其自身自由的長時間練習。

高喊出一個對抗，介於悲劇性的，仍待建構的複雜過去和新世界，後 者有其高樓、青年和希望。

迷失於海邊兩道布幕間的藝術家在質疑著 ( 圖 4-5)。要作什麼呢？ 要搬演什麼？音樂、孩童、動物、女人、人體？在一個運轉得太快的

由八位成員組成的家庭以引擎船筏在河上過渡，背景是美妙的觀

世界裡，那時他們被一種想望緩慢的慾望標記著。

音山 ( 圖 4-2)。帶上船的還有他們的摩托車及動物。他們是幸福的。 但在船頭，狗質疑著等待他們的不確定未來。他們離開鄉下及古老的

190

《春德的盛宴》由這些夢的表演及光之描繪走向飲食的作品化。因

191

Timeline | 年表 年代 | year 出生於台中市

1949

was born in Taichung, Taiwan

台中縣沙鹿高工紡織科肄業

1965

Dropped out of Sa-Lu vocational High School-Fabric Design Department soon after school started

開始繪畫、作品多次得獎

1966

Left home town to Taipei, started painting

離開家鄉到台北、開始攝影及拍攝實驗電影

1967

To begin exploring in photography and 8mm film

第一次攝影個展「午夜」（台北市精工舍畫廊）

1969

Photography Exhibition: “Mid-Night” (Taipei Fine Arts Gallery)

現代攝影九人展 ( 台北市精工舍畫廊）

1970

“The Modern Nine Exhibition” (Taipei Fine Arts Gallery)

視覺藝術群「生活展」（台北市中華藝廊）

1973

Visual Group Ten: “This is Life” (Taipei Chinese Art Gallery)

「老爺財富雜誌」專任攝影

1974

“FORTUNE ESQUIRE MONTHLY” － Photographer

拍攝時裝、時尚設計師個人作品，唱片封套及海

1974-2000

報。平面廣告攝影及電觀廣告影片獲時報廣告金像 獎多次 。 第二次攝影個展「古典的聯想」

1975

Album layout design/Art Direction/Style design for various singers Fashion Photographer for established designers: Liu Fon-Chi, Lee Kwan-Yi, Hsu Jong-Chong

Photography Exhibition: “Association Classic”

（台北市美國新聞處林肯中心）

(Taipei American Culture Center)

（台中市省立圖書館）

(Provincial Library － Taichung)

（台南市美國新聞處）

(Tainan American Culture Center)

拍攝「雲門舞集」「蘭陵劇坊」「雅音小集」「當

1975-2001

“Cloud Gate Dance Assembly”, “Orchard Art Theater”, “Silk

代傳奇」「太古踏舞團」「光環舞集」「優劇場」「表

Sound Opera”, “Contemporary Legend Theater”, “Ancient Dance”,

演工作坊」等表演團體

“U Theater”, “Performance Workshop” － Photography

視覺藝術群「76 攝影大展」

1976

Visual Group Ten: “76” (Taipei American Culture Center)

（台北市美國新聞處林肯中心） Founder of “Image Monthly” at Taiwan 創辦「現代攝影雜誌」 「你我他雜誌」攝影中心主任 「私立復興商工」攝影教師

1978

TAIWAN TV GUIDE” － Director of Photography Department Fu-shing Academy of Technology School － Lecturer of Photography

192

193

Timeline | 年表 年代 | year 出生於台中市

1949

was born in Taichung, Taiwan

台中縣沙鹿高工紡織科肄業

1965

Dropped out of Sa-Lu vocational High School-Fabric Design Department soon after school started

開始繪畫、作品多次得獎

1966

Left home town to Taipei, started painting

離開家鄉到台北、開始攝影及拍攝實驗電影

1967

To begin exploring in photography and 8mm film

第一次攝影個展「午夜」（台北市精工舍畫廊）

1969

Photography Exhibition: “Mid-Night” (Taipei Fine Arts Gallery)

現代攝影九人展 ( 台北市精工舍畫廊）

1970

“The Modern Nine Exhibition” (Taipei Fine Arts Gallery)

視覺藝術群「生活展」（台北市中華藝廊）

1973

Visual Group Ten: “This is Life” (Taipei Chinese Art Gallery)

「老爺財富雜誌」專任攝影

1974

“FORTUNE ESQUIRE MONTHLY” － Photographer

拍攝時裝、時尚設計師個人作品，唱片封套及海

1974-2000

報。平面廣告攝影及電觀廣告影片獲時報廣告金像 獎多次 。 第二次攝影個展「古典的聯想」

1975

Album layout design/Art Direction/Style design for various singers Fashion Photographer for established designers: Liu Fon-Chi, Lee Kwan-Yi, Hsu Jong-Chong

Photography Exhibition: “Association Classic”

（台北市美國新聞處林肯中心）

(Taipei American Culture Center)

（台中市省立圖書館）

(Provincial Library － Taichung)

（台南市美國新聞處）

(Tainan American Culture Center)

拍攝「雲門舞集」「蘭陵劇坊」「雅音小集」「當

1975-2001

“Cloud Gate Dance Assembly”, “Orchard Art Theater”, “Silk

代傳奇」「太古踏舞團」「光環舞集」「優劇場」「表

Sound Opera”, “Contemporary Legend Theater”, “Ancient Dance”,

演工作坊」等表演團體

“U Theater”, “Performance Workshop” － Photography

視覺藝術群「76 攝影大展」

1976

Visual Group Ten: “76” (Taipei American Culture Center)

（台北市美國新聞處林肯中心） Founder of “Image Monthly” at Taiwan 創辦「現代攝影雜誌」 「你我他雜誌」攝影中心主任 「私立復興商工」攝影教師

1978

TAIWAN TV GUIDE” － Director of Photography Department Fu-shing Academy of Technology School － Lecturer of Photography

192

193

「時報雜誌」「時報周刊」特約攝影

1979

Photography Exhibition: “Land ﹠ People of My Own” (Taipei Spring Art Gallery) (Taichung Culture Center) (Kaoshong American Culture Center)

第三次攝影個展「吾土吾民」 （台北市春之藝廊） （台中市立文化中心） （高雄市美國文化中心） 第四次攝影個展「窗與鏡子」

1981

（台北市版畫家畫廊） （高雄市立圖書館） （宜蘭縣議會展覽廳） 當代藝術家聯展（台北市版畫家畫廊）

1981-2001

水扁、尤清、許信良、施明德、民進黨文宣部等

1982

「遊園驚夢」負責多元媒體（新象文教基金會） 「今年湖畔會很冷」藝術指導

1982 － 1984

第二個春天」「殺夫」 擔任劇照及海報之企劃、攝 影 「文建會」文藝季特刊、海報等之召集人

“CHINA TIMES WEEKLY” － Director of Photography Department “Feast Of Beauty” － Multi-Media Design (China Times Inc.) “Shattered Dream in My Autumn Garden” － Multi-Media Design (New Aspects Cultural ＆ Educational Foundation)

「美的饗宴」負責多元媒體（中國時報主辦）

「兒子的大玩偶」「金大班的最後一夜」「老莫的

海岸攝影聯展（台北市立美術館）

“Coast Line Exhibition” (Taipei Fine Arts Museum)

1983

視覺藝術群「台北展」（台北市版畫家畫廊）

（桃園縣立文化中心）

(Taoyang County Culture Center)

（台中市立文化中心）

(Taichung City Culture Center)

（台南市立文化中心）

(Tainan City Culture Center)

（高雄市立中正文化中心）

(Kaohsiung City Culture Center)

視覺藝術群「逍遙遊」聯展（台北市爵士藝廊）

Visual Group Ten: “Easy” (Taipei Jazz Art Gallery)

《時代的臉》（大地出版社）

HSIEH Chun-te’s Image World: “Faces of Our Time” (Earth Publishing Co.)

《家園》

194

1984

Photography Exhibition: “Country” (Taipei Hsiuan Shih Art Gallery)

HSIEH Chun-te’s Image World: “Country”

（雄獅出版社）

成立「影響花 Arena」電影製作公司

台北市立美術館收藏（家園）

“Taste Of An Apple”, “Farewell to Madam King”, “Turning Point Of Old Mr. Mo”, “The Battered” － Photography/Print Media Design

「夏天裡過海洋」獲得新聞局國片輔導金

1989

Founded “ARENA INTERNATIONAL FILM PRODUCTION”

1991

Photography works “Country” awarded permanent collection by

Company

“Taipei Fine Arts Museum” “Crossing Ocean In Summer Time” － Awarded National Subsidy

擔任「第一屆台北縣宗教藝術節」總企劃

“CULTURE INNOVATION REVIEW” － Project Coordinator

開始製作 MTV 及 CF

Visual Group Ten: “Taipei” (Taipei Print Maker Art Gallery)

雲門舞集二十年攝影展（台北市誠品藝廊）

Autumn Rain Printing Co. － Art Director/Director of Photography

1988

(Hsiuan Shin Publishing Co.)

1992

TAIPEI RELIGEOUS ART FESTIVAL” － Project Director Director/Co-producer of Music Video and TV commercials

1993

Claude Gate 20th Year Photography Exhibition (Taipei Eslite Arts Gallery)

北京「唐朝樂團」 MTV 代表亞洲區人選美 MTV 大賽

「秋雨印刷公司」藝術指導及攝影中心主任

Photography Exhibition: “Faces of Our Time” (Taipei Spring Art Gallery)

“The Chill Of The Lakeside This Year” － Art Director

HSIEH Chun-te’s Image World: “Writers’ Journal” (Elite Publishing Co.)

《作家之旅》（爾雅出版社）

1986

（台北市春之藝廊）

第六次攝影個展「家園」（台北市雄獅畫廊）

之文宣企劃。

Founded “HSIEH CHUN-TE” Photo Studio On consignment of “Our Proud Historical Sites in Taiwan/PENHOO/GOLDEN GATE” for Culture Innovation Committee

“Artists of Our Time Exhibition” (Taipei Print Maker Art Gallery)

“Democratic Progress Party” － Political Campaign Director, Art Director/Photographer for prints and video

1985

接受「文建會」委託拍攝「台澎、金馬地區」古蹟

第五次攝影個展「時代的臉」

拍攝競選海報，製作電視廣告及擔任部份候選人

「時報周刊」攝影主編

成立個人攝影工作室

Photography Exhibition: “Window ﹠ Mirror” (Taipei Print Maker Art Gallery) (Kaohsiung City Library) (Yi-Lang County Hall)

Hsieh Chun-te’s Image World: “Window & Mirror” (Sound Village Publishing Co.)

《窗與鏡子》（美村出版社）

從黨外時期開始幫方素敏、林正杰、謝長廷、陳

“CHINA TIMES WEEKLY” － Contributing Photographer

Chinese Rock ＆ Roll Band “Tang Dynasty” Music Video － Director

195

「時報雜誌」「時報周刊」特約攝影

1979

Photography Exhibition: “Land ﹠ People of My Own” (Taipei Spring Art Gallery) (Taichung Culture Center) (Kaoshong American Culture Center)

第三次攝影個展「吾土吾民」 （台北市春之藝廊） （台中市立文化中心） （高雄市美國文化中心） 第四次攝影個展「窗與鏡子」

1981

（台北市版畫家畫廊） （高雄市立圖書館） （宜蘭縣議會展覽廳） 當代藝術家聯展（台北市版畫家畫廊）

1981-2001

水扁、尤清、許信良、施明德、民進黨文宣部等

1982

「遊園驚夢」負責多元媒體（新象文教基金會） 「今年湖畔會很冷」藝術指導

1982 － 1984

第二個春天」「殺夫」 擔任劇照及海報之企劃、攝 影 「文建會」文藝季特刊、海報等之召集人

“CHINA TIMES WEEKLY” － Director of Photography Department “Feast Of Beauty” － Multi-Media Design (China Times Inc.) “Shattered Dream in My Autumn Garden” － Multi-Media Design (New Aspects Cultural ＆ Educational Foundation)

「美的饗宴」負責多元媒體（中國時報主辦）

「兒子的大玩偶」「金大班的最後一夜」「老莫的

海岸攝影聯展（台北市立美術館）

“Coast Line Exhibition” (Taipei Fine Arts Museum)

1983

視覺藝術群「台北展」（台北市版畫家畫廊）

（桃園縣立文化中心）

(Taoyang County Culture Center)

（台中市立文化中心）

(Taichung City Culture Center)

（台南市立文化中心）

(Tainan City Culture Center)

（高雄市立中正文化中心）

(Kaohsiung City Culture Center)

視覺藝術群「逍遙遊」聯展（台北市爵士藝廊）

Visual Group Ten: “Easy” (Taipei Jazz Art Gallery)

《時代的臉》（大地出版社）

HSIEH Chun-te’s Image World: “Faces of Our Time” (Earth Publishing Co.)

《家園》

194

1984

Photography Exhibition: “Country” (Taipei Hsiuan Shih Art Gallery)

HSIEH Chun-te’s Image World: “Country”

（雄獅出版社）

成立「影響花 Arena」電影製作公司

台北市立美術館收藏（家園）

“Taste Of An Apple”, “Farewell to Madam King”, “Turning Point Of Old Mr. Mo”, “The Battered” － Photography/Print Media Design

「夏天裡過海洋」獲得新聞局國片輔導金

1989

Founded “ARENA INTERNATIONAL FILM PRODUCTION”

1991

Photography works “Country” awarded permanent collection by

Company

“Taipei Fine Arts Museum” “Crossing Ocean In Summer Time” － Awarded National Subsidy

擔任「第一屆台北縣宗教藝術節」總企劃

“CULTURE INNOVATION REVIEW” － Project Coordinator

開始製作 MTV 及 CF

Visual Group Ten: “Taipei” (Taipei Print Maker Art Gallery)

雲門舞集二十年攝影展（台北市誠品藝廊）

Autumn Rain Printing Co. － Art Director/Director of Photography

1988

(Hsiuan Shin Publishing Co.)

1992

TAIPEI RELIGEOUS ART FESTIVAL” － Project Director Director/Co-producer of Music Video and TV commercials

1993

Claude Gate 20th Year Photography Exhibition (Taipei Eslite Arts Gallery)

北京「唐朝樂團」 MTV 代表亞洲區人選美 MTV 大賽

「秋雨印刷公司」藝術指導及攝影中心主任

Photography Exhibition: “Faces of Our Time” (Taipei Spring Art Gallery)

“The Chill Of The Lakeside This Year” － Art Director

HSIEH Chun-te’s Image World: “Writers’ Journal” (Elite Publishing Co.)

《作家之旅》（爾雅出版社）

1986

（台北市春之藝廊）

第六次攝影個展「家園」（台北市雄獅畫廊）

之文宣企劃。

Founded “HSIEH CHUN-TE” Photo Studio On consignment of “Our Proud Historical Sites in Taiwan/PENHOO/GOLDEN GATE” for Culture Innovation Committee

“Artists of Our Time Exhibition” (Taipei Print Maker Art Gallery)

“Democratic Progress Party” － Political Campaign Director, Art Director/Photographer for prints and video

1985

接受「文建會」委託拍攝「台澎、金馬地區」古蹟

第五次攝影個展「時代的臉」

拍攝競選海報，製作電視廣告及擔任部份候選人

「時報周刊」攝影主編

成立個人攝影工作室

Photography Exhibition: “Window ﹠ Mirror” (Taipei Print Maker Art Gallery) (Kaohsiung City Library) (Yi-Lang County Hall)

Hsieh Chun-te’s Image World: “Window & Mirror” (Sound Village Publishing Co.)

《窗與鏡子》（美村出版社）

從黨外時期開始幫方素敏、林正杰、謝長廷、陳

“CHINA TIMES WEEKLY” － Contributing Photographer

Chinese Rock ＆ Roll Band “Tang Dynasty” Music Video － Director

195

Curriculum Vitae | 簡歷 中．港．台當代攝影展 Contemporary photography

1994

Contemporary Photography from China, Hong Kong ＆ Taiwan

1995

Short Film: “Festival On Religion” － Director

1996

“Visions of Taiwan” (Taipei Art Gallery)

（香港藝術中心 Hong Kong Arts Centre）

「宗教色像」短片為「台灣電影節」開幕影片（澳

(Hong Kong Art Center)

洲雪黎現代藝術館主辦） 台灣攝影展 VISIONS OF TAIWAN（台北藝廊 TAIPEI GALLERY） 拍攝達賴喇嘛 16mm 紀錄影片「流浪的神」

台灣攝影展 PHOTOS DE TAIWAN（巴黎台北新

1996-2001

16mm Film: “Wondering God” － Director

1997

“Photos de Taiwan” (Centre Culturel de Taiwan à Paris)

1998

“The Senses of Dance” － Theatre Design (Tai Gu Tales Dance

2001

Film: “Flood, Taipei”, “Bloody Mary” － Screen Writer

2002

Photography Exhibition: “None-Zone Moving”

聞文化中心） 「感官之舞 The Senses of Dance」負責舞台設計 （太古踏舞團 Tai Gu Tales Dance Theatre） 完成電影腳本「水災台北」「時間之血 Bloody

Theatre)

Mary」 第七次攝影個展「無境漂流」 （台北市誠品敦南店）

(Eslite, Taipei)

（新竹市誠品店）

(Eslite, Hsinchu)

（台中市誠品店）

(Eslite, Taichung)

（台南市誠品店）

(Eslite, Tainan)

（高雄市誠品店）

(Eslite, Kaohsiung)

《無境漂流》（國家文藝基金會贊助出版）

None-Zone Moving (Funded by National Culture and Arts Foundation)

反思：七十年代台灣美術發展（台北市立美術館）

家：台灣美術雙年展（國立台灣美術館）

國立臺灣美術館收藏（時代的臉）

196

2004

“Reflections of the Seventies: Taiwan Explores Its Own Reality”

2008

“Home: Taiwan Biennial 2008”

2009

Photography works “Faces of Our Time” awarded permanent

(Taipei Fine Arts Museum) (National Taiwan Museum of Fine Arts) collection by “National Taiwan Museum of Fine Arts”

197

Curriculum Vitae | 簡歷 中．港．台當代攝影展 Contemporary photography

1994

Contemporary Photography from China, Hong Kong ＆ Taiwan

1995

Short Film: “Festival On Religion” － Director

1996

“Visions of Taiwan” (Taipei Art Gallery)

（香港藝術中心 Hong Kong Arts Centre）

「宗教色像」短片為「台灣電影節」開幕影片（澳

(Hong Kong Art Center)

洲雪黎現代藝術館主辦） 台灣攝影展 VISIONS OF TAIWAN（台北藝廊 TAIPEI GALLERY） 拍攝達賴喇嘛 16mm 紀錄影片「流浪的神」

台灣攝影展 PHOTOS DE TAIWAN（巴黎台北新

1996-2001

16mm Film: “Wondering God” － Director

1997

“Photos de Taiwan” (Centre Culturel de Taiwan à Paris)

1998

“The Senses of Dance” － Theatre Design (Tai Gu Tales Dance

2001

Film: “Flood, Taipei”, “Bloody Mary” － Screen Writer

2002

Photography Exhibition: “None-Zone Moving”

聞文化中心） 「感官之舞 The Senses of Dance」負責舞台設計 （太古踏舞團 Tai Gu Tales Dance Theatre） 完成電影腳本「水災台北」「時間之血 Bloody

Theatre)

Mary」 第七次攝影個展「無境漂流」 （台北市誠品敦南店）

(Eslite, Taipei)

（新竹市誠品店）

(Eslite, Hsinchu)

（台中市誠品店）

(Eslite, Taichung)

（台南市誠品店）

(Eslite, Tainan)

（高雄市誠品店）

(Eslite, Kaohsiung)

《無境漂流》（國家文藝基金會贊助出版）

None-Zone Moving (Funded by National Culture and Arts Foundation)

反思：七十年代台灣美術發展（台北市立美術館）

家：台灣美術雙年展（國立台灣美術館）

國立臺灣美術館收藏（時代的臉）

196

2004

“Reflections of the Seventies: Taiwan Explores Its Own Reality”

2008

“Home: Taiwan Biennial 2008”

2009

Photography works “Faces of Our Time” awarded permanent

(Taipei Fine Arts Museum) (National Taiwan Museum of Fine Arts) collection by “National Taiwan Museum of Fine Arts”

197

HSIEH Chun-te | 謝春德

Matriculated in life in Taichung City in 1949. At 17, he made Taipei his base, as a garden in which to display his creations: He loves art, painting, making images, doing installations.

He loves fashion, making designs, throwing parties.

He loves theater, making spatial sculptures with light, designing stages.

He loves vision, making posters, designs and album covers.

He loves movies, filming documentaries, music videos, commercials and television programs.

He loves pictures and books, making magazines, publishing photo albums.

He loves good food, running a restaurant, designing spaces, tableware and menus.

He loves women...

While constantly changing artistic fields and exploring a variety of art media, he is also involved in social activism, raising cats and travel.

He has a thirst for new things, is headstrong and determined, and always furiously at work.

His motive is simply to share with everyone the journey of his mind as it wanders hither and thither into the unknown.

1949 年在台中市註冊後，17 歲開始以台北為基地，作為創作的展示園地： 愛藝術、作畫、搞影像、弄裝置。 愛時尚、搞造型、弄派對。 愛劇場、搞光的空間彫刻、弄舞台。 愛視覺、企劃海報、設計、唱片封套。 愛電影、拍紀錄影片、拍 MV、拍電視廣告、製作電視節目。 愛圖書、辦雜誌、出版攝影集。 愛美食、開餐廳、設計空間、設計餐具、設計菜單。 愛女人、………。

不斷改變創作領域，周遊多種藝術媒介之外，也參與社會運動、養貓和旅行。

一樣喜新厭舊，一樣任性執著，一樣勞苦奔波！

理由無他，只是想與大家分享內心裡到處流竄的未知之旅。

La sua vita incomincia nella città di Taichung nel 1949. A 17 anni, Tapei diventa la sua base, un giardino in cui esporre le proprie creazioni.

Ama l’arte, la pittura, la produzione d’immagini, la realizzazione d’istallazioni.

Ama la moda, fare progetti, lanciare feste.

Ama il teatro, produrre sculture tridimensionali con luci, progettare palcoscenici.

Ama l’immagine, fare poster, design e copertine di album.

Ama i film, girare documentari, video musicali, pubblicità e programmi televisivi.

Ama le immagini e i libri, produrre riviste, pubblicare album fotografici.

Ama la buona cucina, gestire un ristorante, progettare spazi, stoviglie e menu.

Ama le donne..

Cambia costantemente settore artistico ed esplora vari mezzi artistici, e contemporaneamente si cimenta nell’attivismo sociale, nell’allevare gatti e nel viaggiare.

Ha sete di conoscere cose nuove, è testardo e determinato, e sempre fuori di sé al lavoro.

La sua forza motrice è semplicemente la volontà di condividere con gli altri il percorso del proprio pensiero, mentre vaga qua e là nell’ignoto.

198

199

HSIEH Chun-te | 謝春德

Matriculated in life in Taichung City in 1949. At 17, he made Taipei his base, as a garden in which to display his creations: He loves art, painting, making images, doing installations.

He loves fashion, making designs, throwing parties.

He loves theater, making spatial sculptures with light, designing stages.

He loves vision, making posters, designs and album covers.

He loves movies, filming documentaries, music videos, commercials and television programs.

He loves pictures and books, making magazines, publishing photo albums.

He loves good food, running a restaurant, designing spaces, tableware and menus.

He loves women...

While constantly changing artistic fields and exploring a variety of art media, he is also involved in social activism, raising cats and travel.

He has a thirst for new things, is headstrong and determined, and always furiously at work.

His motive is simply to share with everyone the journey of his mind as it wanders hither and thither into the unknown.

1949 年在台中市註冊後，17 歲開始以台北為基地，作為創作的展示園地： 愛藝術、作畫、搞影像、弄裝置。 愛時尚、搞造型、弄派對。 愛劇場、搞光的空間彫刻、弄舞台。 愛視覺、企劃海報、設計、唱片封套。 愛電影、拍紀錄影片、拍 MV、拍電視廣告、製作電視節目。 愛圖書、辦雜誌、出版攝影集。 愛美食、開餐廳、設計空間、設計餐具、設計菜單。 愛女人、………。

不斷改變創作領域，周遊多種藝術媒介之外，也參與社會運動、養貓和旅行。

一樣喜新厭舊，一樣任性執著，一樣勞苦奔波！

理由無他，只是想與大家分享內心裡到處流竄的未知之旅。

La sua vita incomincia nella città di Taichung nel 1949. A 17 anni, Tapei diventa la sua base, un giardino in cui esporre le proprie creazioni.

Ama l’arte, la pittura, la produzione d’immagini, la realizzazione d’istallazioni.

Ama la moda, fare progetti, lanciare feste.

Ama il teatro, produrre sculture tridimensionali con luci, progettare palcoscenici.

Ama l’immagine, fare poster, design e copertine di album.

Ama i film, girare documentari, video musicali, pubblicità e programmi televisivi.

Ama le immagini e i libri, produrre riviste, pubblicare album fotografici.

Ama la buona cucina, gestire un ristorante, progettare spazi, stoviglie e menu.

Ama le donne..

Cambia costantemente settore artistico ed esplora vari mezzi artistici, e contemporaneamente si cimenta nell’attivismo sociale, nell’allevare gatti e nel viaggiare.

Ha sete di conoscere cose nuove, è testardo e determinato, e sempre fuori di sé al lavoro.

La sua forza motrice è semplicemente la volontà di condividere con gli altri il percorso del proprio pensiero, mentre vaga qua e là nell’ignoto.

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LIN Chi-Ming | 林志明

LIN Chi-Ming was born in 1965, Taichung, Taiwan. He has studied in Paris and became doctor of Ecole des Hautes Etudes en Sciences Sociales in 1999. Now professor at National Taipei University of Education, he is specialized in the field of Theory of image, French contemporary thoughts, Cross-boundary study of arts and Contemporary aesthetics. His publication comprehends more than several dozens papers and articles in the journals, magazines, exhibition catalogues and books of collective assays. He is also translator of important European philosophers including: Jean Baudrillard, Michel Foucault, Walter Benjamin, Pierre Bourdieu and François Jullien.

Participating actively in Taipei’s intellectual and artistic life, several-times jury member of Taishin Bank Art Award, he has co-founded Taiwan Avant-Garde Documenta and several new journals including Router: Journal of Culture Studies in Taiwan, dA (Documents of Contemporary Architecture and Aesthetics) and the Film Appreciation Academic Journal (published by Taiwan National Cinémathèque).

He works also as curator of the exhibition of contemporary art and his important projects in this field include the “Future Museum” for the National Palace Museum (2008, MUSE silver award 2009 by AAM), the “Digital Hand” (for National Taiwan Museum of Fine Arts, with Dominique Païni).

林志明出生於 1965 年，台灣台中市。台大外文系畢業後，於九零代留學法國， 1999 年獲得高等社會科學研究學院文學藝術語言體系研究博士。目前為國立台北 教育大學藝術與造形設計學系專任教授、曾兼任於台灣大學、師範大學、交通大學、 中央大學、北藝大及實踐大學，並三度受邀至法國第七大學擔任訪問教授。主要研 究領域為影像美學、藝術史、法國當代思潮、藝術理論。

他同時是一位活躍的評論家。他擔任了四屆台新獎觀察團委員及決選委員，也和伙 伴們於 2002 年共同創立了台灣前衛文件展。目前已完成的策展為國立故宮博物院 未來博物館 (2009 年美國博物館協會繆思獎多媒體裝置銀牌 ) 及台中國美館的數位 之手展覽。

他同時也是許多重要歐洲當代思想家的翻譯者。其中包括了布希亞、傅柯、班雅明、 布赫迪厄、余蓮。

目前他也參與多份新興刊物的編輯委員會，包括《文化研究》、《電影欣賞學刊》 （95 年度召集人）。同時擔任《中央人文學報》的顧輯顧問及法語期刊 Savoirs et

LIN Chi-Ming è nato nel 1956 a Taichug, Taiwan. Ha studiato a Parigi ed è diventato Dottore dell’Ecole des Hautes Etudes en Sciences Sociales nel 1999. Ora è professore al National Taipei University of Education, e si è specializzato nella Teoria dell’immagine, Pensiero francese contemporaneo, Studio dell’Arte Transfrontaliera ed Estetica Contemporanea. Le sue pubblicazioni includono numerosi saggi ed articoli pubblicati in giornali, riviste, cataloghi e libri con testi collettivi. E’ anche traduttore di testi di importanti filosofi europei, tra i quali: Jean Baudrillard, Michel Foucault, Walter Benjamin, Pierre Bourdieu and François Jullien.

clinique: Revue de psychanalyse 的審稿委員。數位藝術評論推動委員會召集人及 《政大哲學學報》的編輯委員。

Partecipando in modo attivo nella vita intellettuale ed artistica di Tapei, varie volte membro della giuria del Taishin Bank Art Award, ha cofondato il Taiwan Avant-Garde Documenta e vari nuovi giornali, tra i quali Router: Journal of Culture Studies in Taiwan, dA (Documents of Contemporary Architecture and Aesthetics) ed il Film Appreciation Academic Journal (pubblicato da Taiwan National Cinémathèque).

Esercita anche la professione di curatore di mostre d'arte contemporanea e i suoi progetti più rilevanti in questo settore includono il “Future Museum” per il National Palace Museum (2008, MUSE premio d’argento nel 2009 dal AAM) ed il “Digital Hand” (per il National Taiwan Museum of Fine Arts, con Dominique Païni).

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LIN Chi-Ming | 林志明

LIN Chi-Ming was born in 1965, Taichung, Taiwan. He has studied in Paris and became doctor of Ecole des Hautes Etudes en Sciences Sociales in 1999. Now professor at National Taipei University of Education, he is specialized in the field of Theory of image, French contemporary thoughts, Cross-boundary study of arts and Contemporary aesthetics. His publication comprehends more than several dozens papers and articles in the journals, magazines, exhibition catalogues and books of collective assays. He is also translator of important European philosophers including: Jean Baudrillard, Michel Foucault, Walter Benjamin, Pierre Bourdieu and François Jullien.

Participating actively in Taipei’s intellectual and artistic life, several-times jury member of Taishin Bank Art Award, he has co-founded Taiwan Avant-Garde Documenta and several new journals including Router: Journal of Culture Studies in Taiwan, dA (Documents of Contemporary Architecture and Aesthetics) and the Film Appreciation Academic Journal (published by Taiwan National Cinémathèque).

He works also as curator of the exhibition of contemporary art and his important projects in this field include the “Future Museum” for the National Palace Museum (2008, MUSE silver award 2009 by AAM), the “Digital Hand” (for National Taiwan Museum of Fine Arts, with Dominique Païni).

林志明出生於 1965 年，台灣台中市。台大外文系畢業後，於九零代留學法國， 1999 年獲得高等社會科學研究學院文學藝術語言體系研究博士。目前為國立台北 教育大學藝術與造形設計學系專任教授、曾兼任於台灣大學、師範大學、交通大學、 中央大學、北藝大及實踐大學，並三度受邀至法國第七大學擔任訪問教授。主要研 究領域為影像美學、藝術史、法國當代思潮、藝術理論。

他同時是一位活躍的評論家。他擔任了四屆台新獎觀察團委員及決選委員，也和伙 伴們於 2002 年共同創立了台灣前衛文件展。目前已完成的策展為國立故宮博物院 未來博物館 (2009 年美國博物館協會繆思獎多媒體裝置銀牌 ) 及台中國美館的數位 之手展覽。

他同時也是許多重要歐洲當代思想家的翻譯者。其中包括了布希亞、傅柯、班雅明、 布赫迪厄、余蓮。

目前他也參與多份新興刊物的編輯委員會，包括《文化研究》、《電影欣賞學刊》 （95 年度召集人）。同時擔任《中央人文學報》的顧輯顧問及法語期刊 Savoirs et

LIN Chi-Ming è nato nel 1956 a Taichug, Taiwan. Ha studiato a Parigi ed è diventato Dottore dell’Ecole des Hautes Etudes en Sciences Sociales nel 1999. Ora è professore al National Taipei University of Education, e si è specializzato nella Teoria dell’immagine, Pensiero francese contemporaneo, Studio dell’Arte Transfrontaliera ed Estetica Contemporanea. Le sue pubblicazioni includono numerosi saggi ed articoli pubblicati in giornali, riviste, cataloghi e libri con testi collettivi. E’ anche traduttore di testi di importanti filosofi europei, tra i quali: Jean Baudrillard, Michel Foucault, Walter Benjamin, Pierre Bourdieu and François Jullien.

clinique: Revue de psychanalyse 的審稿委員。數位藝術評論推動委員會召集人及 《政大哲學學報》的編輯委員。

Partecipando in modo attivo nella vita intellettuale ed artistica di Tapei, varie volte membro della giuria del Taishin Bank Art Award, ha cofondato il Taiwan Avant-Garde Documenta e vari nuovi giornali, tra i quali Router: Journal of Culture Studies in Taiwan, dA (Documents of Contemporary Architecture and Aesthetics) ed il Film Appreciation Academic Journal (pubblicato da Taiwan National Cinémathèque).

Esercita anche la professione di curatore di mostre d'arte contemporanea e i suoi progetti più rilevanti in questo settore includono il “Future Museum” per il National Palace Museum (2008, MUSE premio d’argento nel 2009 dal AAM) ed il “Digital Hand” (per il National Taiwan Museum of Fine Arts, con Dominique Païni).

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Dominique Païni | 多明尼克・巴依尼

televisive (Palettes, La Ville Louvre, etc.) con persone che nel futuro divennero famosi direttori di film documentari: Alain Jaubert, Nicolas Philibert.

Essential of his professional life was devoted to the diffusion of the cinematographic culture and the research of this most representative media of the 20th century. This specialization gives him a great knowledge of the visual arts of the 20th century and specially the plastic arts, which are profoundly influenced by the cinema.

Nel 1990 è stato direttore della Cinémathèque française alla quale ha apportato innovazione.

In the 80’, he has directed some mythic cinema theatres of Paris (Studio 43, Le Bonaparte and Les Ursulines).

His opening to the art history brought him to the Musée du Louvre in the end of the 80’. He has produced several important series of television (Palettes, La Ville Louvre, etc.) with some future famous documentary film directors: Alain Jaubert, Nicolas Philibert.

In the 90’, he was the director of the Cinémathèque française which he has innovated.

Then he was named Directeur at the Centre Pompidou where he curated several multi-disciplinary exhibitions (Roland Barthes, Samuel Beckett) and in parallel, several international shows, including Hitchcock et les arts (2001), Jean Cocteau, sur le fil du siècle (2003), Voyage(s) en utopie de Jean-Luc Godard (2006), La main numérique (2008 in France et 2010 in Taiwan), ABC, Art Belge Contemporain (2011 au Fresnoy, Lille.)

In 2006, he became the director of the Fondation Maeght, and his show, Le noir est une couleur, has attracted 91,000 visitors in three months.

In seguito è stato nominato direttore al Centre Pompidou, dove ha curato numerose mostre multidisciplinari (Roland Barthes, Samuel Beckett) e contemporaneamente numerose esposizioni internazionali tra le quali Hitchcock et les arts (2001), Jean Cocteau, sur le fil du siècle (2003), Voyage(s) en utopie de Jean-Luc Godard (2006), La main numérique (2008 in France et 2010 on Taiwan), ABC, Art Belge Contemporain (2011 au Fresnoy, Lille.)

Nel 2006 è diventato direttore della Fondation Maeght e la mostra, Le noir est une couleur, da lui curata, ha attirato 91,000 visitatori in tre mesi. È stato anche co-curatore della mostra di Walt Disney tenutasi al Grand Palais di Parigi nel 2006.

Dominique Païni è autore di numerosi testi pubblicati in riviste d’arte (Art Press, Les Cahiers du cinema…) ed importanti libri nel campo delle relazioni tra il cinema e le altre arti: (recentemente) Le temps exposé, le cinéma de la salle au muse, Ed. Cahiers du Cinéma 2002, L’attrait de l’ombre, 2007, L’Attrait des nuages, 2011, Editions Yellow Now. Ora è professore all’Ecole du Louvre.

He was also co-curator of Walt Disney show at the Grand Palais de Paris, 2006.

L'essentiel de sa vie professionnelle fut très largement consacrée à la diffusion de la culture cinématographique et à la recherche esthétique pour ce média le plus représentatif du XXe siècle. C'est cette spécialisation qui le dota d'une connaissance élargie des arts visuels du XXe siècle et en particulier des arts plastiques, ces derniers très profondément marqués par le cinéma au cours de ce siècle.

Dominique Païni is author of many texts in the reviews of art (Art Press, Les Cahiers du cinéma... ) and important books in the domain of the relations between the cinema and the other arts: (recently) Le temps exposé, le cinéma de la salle au musée, Ed. Cahiers du Cinéma 2002, L’Attrait de l’ombre, 2007, L’Attrait des nuages, 2011, Editions Yellow Now.

Dans les années 80, Dominique Païni dirigea et géra des salles de cinéma mythiques de Paris (Studio 43, Le Bonaparte et Les Ursulines)

He is now professor at the Ecole du Louvre.

Son ouverture à l'histoire de l'art le conduisit à la fin des années 80 au Musée du Louvre. Il y connut et produisit des séries de télévision à vocation grand public (Palettes, La Ville Louvre, etc.) avec des documentaristes de renom qui furent découverts à cette occasion : Alain Jaubert, Nicolas Philibert.

Durant la décennie des années 90, il fut appelé à la direction de la Cinémathèque française et il la rénova significativement pour la préparer au début du XXIe siècle à rejoindre le nouveau bâtiment construit par Frank Ghery dans l’est de Paris.

Ha dedicato la maggior parte della propria vita professionale alla diffusione della cultura cinematografica e alla ricerca in questo settore artistico, che è uno dei più rappresentativi del ventesimo secolo.

Questa specializzazione fa sì che egli possieda un vasto sapere nel campo delle arti visive del ventesimo secolo e specialmente delle arti plastiche, le quali sono profondamente influenzate dal cinema.

Negli anni Ottanta ha diretto alcune sale cinematografiche leggendarie di Parigi (Studio 43, Le Bonaparte e Les Ursulines).

Puis, le Centre Pompidou l'accueillit comme Directeur : les expositions pluridisciplinaires (consacrées à Roland Barthes et à Samuel Beckett), le cinéma, les spectacles vivants (danse, théâtre), les musiques actuelles, les littératures contemporaines, les débat d’esthétique et de philosophie, les colloques et les cycles de conférences furent coordonnés et programmés par lui Parallèlement, il fut le commissaire, en France ou en régions, au Centre Pompidou et en Amérique du Nord, d’expositions d'envergure internationale aux concepts novateurs dont Hitchcock et les arts (2001) ; Jean Cocteau, sur le fil du siècle (2003); Voyage(s) en utopie de Jean-Luc Godard (2006), La main numérique (2008 en France et 2010 à Taiwan), ABC, Art Belge Contemporain (2011 au Fresnoy, Lille.)

Il suo interesse nella storia dell’arte lo ha portato al Museo del Louvre alla fine degli anni Ottanta. Ha prodotto varie importanti serie

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Dominique Païni | 多明尼克・巴依尼

televisive (Palettes, La Ville Louvre, etc.) con persone che nel futuro divennero famosi direttori di film documentari: Alain Jaubert, Nicolas Philibert.

Essential of his professional life was devoted to the diffusion of the cinematographic culture and the research of this most representative media of the 20th century. This specialization gives him a great knowledge of the visual arts of the 20th century and specially the plastic arts, which are profoundly influenced by the cinema.

Nel 1990 è stato direttore della Cinémathèque française alla quale ha apportato innovazione.

In the 80’, he has directed some mythic cinema theatres of Paris (Studio 43, Le Bonaparte and Les Ursulines).

His opening to the art history brought him to the Musée du Louvre in the end of the 80’. He has produced several important series of television (Palettes, La Ville Louvre, etc.) with some future famous documentary film directors: Alain Jaubert, Nicolas Philibert.

In the 90’, he was the director of the Cinémathèque française which he has innovated.

Then he was named Directeur at the Centre Pompidou where he curated several multi-disciplinary exhibitions (Roland Barthes, Samuel Beckett) and in parallel, several international shows, including Hitchcock et les arts (2001), Jean Cocteau, sur le fil du siècle (2003), Voyage(s) en utopie de Jean-Luc Godard (2006), La main numérique (2008 in France et 2010 in Taiwan), ABC, Art Belge Contemporain (2011 au Fresnoy, Lille.)

In 2006, he became the director of the Fondation Maeght, and his show, Le noir est une couleur, has attracted 91,000 visitors in three months.

In seguito è stato nominato direttore al Centre Pompidou, dove ha curato numerose mostre multidisciplinari (Roland Barthes, Samuel Beckett) e contemporaneamente numerose esposizioni internazionali tra le quali Hitchcock et les arts (2001), Jean Cocteau, sur le fil du siècle (2003), Voyage(s) en utopie de Jean-Luc Godard (2006), La main numérique (2008 in France et 2010 on Taiwan), ABC, Art Belge Contemporain (2011 au Fresnoy, Lille.)

Nel 2006 è diventato direttore della Fondation Maeght e la mostra, Le noir est une couleur, da lui curata, ha attirato 91,000 visitatori in tre mesi. È stato anche co-curatore della mostra di Walt Disney tenutasi al Grand Palais di Parigi nel 2006.

Dominique Païni è autore di numerosi testi pubblicati in riviste d’arte (Art Press, Les Cahiers du cinema…) ed importanti libri nel campo delle relazioni tra il cinema e le altre arti: (recentemente) Le temps exposé, le cinéma de la salle au muse, Ed. Cahiers du Cinéma 2002, L’attrait de l’ombre, 2007, L’Attrait des nuages, 2011, Editions Yellow Now. Ora è professore all’Ecole du Louvre.

He was also co-curator of Walt Disney show at the Grand Palais de Paris, 2006.

L'essentiel de sa vie professionnelle fut très largement consacrée à la diffusion de la culture cinématographique et à la recherche esthétique pour ce média le plus représentatif du XXe siècle. C'est cette spécialisation qui le dota d'une connaissance élargie des arts visuels du XXe siècle et en particulier des arts plastiques, ces derniers très profondément marqués par le cinéma au cours de ce siècle.

Dominique Païni is author of many texts in the reviews of art (Art Press, Les Cahiers du cinéma... ) and important books in the domain of the relations between the cinema and the other arts: (recently) Le temps exposé, le cinéma de la salle au musée, Ed. Cahiers du Cinéma 2002, L’Attrait de l’ombre, 2007, L’Attrait des nuages, 2011, Editions Yellow Now.

Dans les années 80, Dominique Païni dirigea et géra des salles de cinéma mythiques de Paris (Studio 43, Le Bonaparte et Les Ursulines)

He is now professor at the Ecole du Louvre.

Son ouverture à l'histoire de l'art le conduisit à la fin des années 80 au Musée du Louvre. Il y connut et produisit des séries de télévision à vocation grand public (Palettes, La Ville Louvre, etc.) avec des documentaristes de renom qui furent découverts à cette occasion : Alain Jaubert, Nicolas Philibert.

Durant la décennie des années 90, il fut appelé à la direction de la Cinémathèque française et il la rénova significativement pour la préparer au début du XXIe siècle à rejoindre le nouveau bâtiment construit par Frank Ghery dans l’est de Paris.

Ha dedicato la maggior parte della propria vita professionale alla diffusione della cultura cinematografica e alla ricerca in questo settore artistico, che è uno dei più rappresentativi del ventesimo secolo.

Questa specializzazione fa sì che egli possieda un vasto sapere nel campo delle arti visive del ventesimo secolo e specialmente delle arti plastiche, le quali sono profondamente influenzate dal cinema.

Negli anni Ottanta ha diretto alcune sale cinematografiche leggendarie di Parigi (Studio 43, Le Bonaparte e Les Ursulines).

Puis, le Centre Pompidou l'accueillit comme Directeur : les expositions pluridisciplinaires (consacrées à Roland Barthes et à Samuel Beckett), le cinéma, les spectacles vivants (danse, théâtre), les musiques actuelles, les littératures contemporaines, les débat d’esthétique et de philosophie, les colloques et les cycles de conférences furent coordonnés et programmés par lui Parallèlement, il fut le commissaire, en France ou en régions, au Centre Pompidou et en Amérique du Nord, d’expositions d'envergure internationale aux concepts novateurs dont Hitchcock et les arts (2001) ; Jean Cocteau, sur le fil du siècle (2003); Voyage(s) en utopie de Jean-Luc Godard (2006), La main numérique (2008 en France et 2010 à Taiwan), ABC, Art Belge Contemporain (2011 au Fresnoy, Lille.)

Il suo interesse nella storia dell’arte lo ha portato al Museo del Louvre alla fine degli anni Ottanta. Ha prodotto varie importanti serie

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En 2006, il accepta l'invitation qui lui fut faite de diriger la Fondation Maeght pour une période de transition : il conçut une exposition qui rassembla 91000 visiteurs en trois mois sur un thème audacieux et exigeant : Le noir est une couleur. Il fut également le co-commissaire de l’exposition consacrée aux sources et influences de Walt Disney ( Grand Palais de Paris, 2006).

2008 年秋天，為了迎接多明尼克．巴依尼來台訪問進行系列演講，《電影欣賞》也特別製作了一個以其為中心的專題。巴依尼的工作範圍廣闊，而 這個專題，或許以他的第一場演講題目「電影的放逐？」（L'exile du cinéma?）最能點題。 （節錄自第 136 期林志明《電影欣賞》專題「電影的放逐？」引言）

Dominique Païni est l'auteur de nombreux textes dans des revues d'art (Art Press, Les Cahiers du cinéma... ) et de quatre livres de référence dans le domaine des relations entre le cinéma et les autres arts (les derniers : Le temps exposé, le cinéma de la salle au musée. Ed. Cahiers du Cinéma 2002, L’Attrait de l’ombre 2007, L’Attrait des nuages, 2011 aux Editions Yellow Now).

早期 巴黎電影放映場所 Studio 43 策劃人，其節目針對法國電影史發行、製作 Straub et Huillet、Juliet Berto、Philippe Garrel 等人的電影 -1991 羅浮宮視聽和電影部門首任主管 期間規劃節目包括和 Michel Frizot 合辦的研討會「雕塑／攝影」（Sculpter/Photographier）

Il est professeur à l'Ecole du Louvre.

1991-2000 法國電影資料館（Cinémathèque française）館長，政策包括整建破舊的放映室 2000-2005 法 國 國 立 龐 畢 度 中 心（Centre national d'art et de culture Georges-Pompidou） 文 化 部 門 主 任 於 此 階 段 策 劃 的 大 展 包 括 2001 年 的「 希

Il prépare actuellement : - une exposition qui s’attachera à étudier les migrations iconographiques entre la peinture italienne du 19ème siècle et le cinéma des premiers temps de ce même pays et qui se tiendra en 2012 à la Galerie d’Art Moderne de Turin.

- Une exposition consacrée au cinéaste Eisenstein

區 考 克 與 藝 術， 致 命 的 吻 合 」（Hitchcock et l'art, coïncidences fatale） 大 展、2003 年 的 考 克 多 特 展「 於 世 紀 的 思 路 上 」（Cocteau, sur le fil du siècle）、2006 年的高達展「烏托邦之旅」（Voyages en Utopie），並主編展覽專輯。 獨立策展 1998「影像的傳送」（Transports de l'image）展覽（法國國立當代藝術工作室 Le Fresnoy） 2005-2006 安東尼．亞陶（Antonin Artaud）展覽（和 Jean-Jacques Lebel 合作）（米蘭 PAC Pavillon d'art contemporain） 2006「從前從前……」（Il était une fois）華特狄士尼展覽三位策展人之一（巴黎大皇宮） 2007「Panorama 8」展覽，呈現藝術界前輩（如 Chantal Akerman）和新人的錄像、攝影、表演、裝置作品（法國國立當代藝術工作室 Le Fresnoy） 2008「數位之手：作畫、素描、拍電影、數位化」（La Main numérique. Peindre, dessiner, filmer, numériser）展覽（安錫藝術學院 L'Ecole d'art de

目前在巴黎羅浮學院擔任比較視覺藝術史學群中電影史教學的多明尼克．巴依尼（Dominique Païni）教授為法國地位崇高之電影學者。他不但曾在

l'agglomération d'Annecy）

1990 年代擔任十年之久的法國電影館館長，之後又轉往龐畢度中心擔任文化發展部門主任，策畫多項重要國際性展覽。

2010「數位之手：繪畫、素描、拍攝、數位操作」（La Main numérique. Peindre, dessiner, filmer, numériser）展覽（國立台灣美術館）

他的職業生涯大部分貢獻於電影文化之推展與二十世紀這項最具代表性的媒體的美學研究，而且，透過電影研究，他並廣泛認識二十世紀的視覺藝 術，尤其是造形藝術，因為後者在此一世紀中深受電影影響。

演講或授課 羅浮學院（Ecole du Louvre）電影史、法國電影資料館、龐畢度中心、布魯塞爾電影藝術館（Musée du cinéma de Bruxelles）等

巴依尼的職業生涯首先展開於 1970 年代在巴黎拉丁區的四座藝術與實驗電影院的經營之中，包括 Studio 43、Bonaparte、Le Racine、Studio des Ursulines。在 1977 到 1987 這十年時間裡，他也開始策畫許多電影影展節目，並且重建了 Robert Bresson、Jacques Becker、Jean Eustache 等電影作

著作

者的完整作品集。他對電影世界的積極參與，更使得他成為 Philippe Garrel、Jean-Marie Straub、Juliet Berto 等導演的製作人和發行者。

《比利時電影百科全書》（Une encyclopédie des cinémas de Belgique , Belgique: Éditions Yellow Now, 1990，與 Guy Jungblut、Patrick Leboutte 合著）

由於他對藝術史的開放性，使得他於 1980 年代末期，進入羅浮宮工作，創立視聽與電影部門，並且製作一系列具廣泛影響力的電視影集，包括《調

《收藏、展演：在此我們不怕建造電影藝術館》（Conserver, montrer. Où l'on ne craint pas d'édifier un musée pour le cinéma , Belgique: Éditions

色盤》、《羅浮宮城市》等，同時也發現了此一領域未來重要的紀錄片作者，比如 Alain Jaubert, Nicolas Philibert。由這一段他在羅浮宮工作的日子

Yellow Now, 1992）

開始，巴依尼的「電影放逐」計畫逐漸成形。

《 展 演 時 間： 電 影 從 放 映 室 到 美 術 館 》（Le temps exposé. Le cinéma de la salle au musée , Paris: Éditions Cahiers du cinéma, collection Essais,

1990 年代，巴依尼擔任法國電影館館長，進行重要革新，並為其準備進入二十一世紀，委託 Frank Ghery 在巴黎東部建立新館。2001 年到 2005 年，

《電影，一項現代藝術》（Le cinéma, un art moderne , Paris: Éditions le Seuil）

他在龐畢度中心擔任文化發展部門主任，負責企畫電影、表演藝術、當代音樂、文學、美學之相關展覽研討會及演講。在此同時，他也負責創新的

《藝術和第七藝術》（L'art et le septième art , Paris: Éditions Le Fresnoy，與 Marianne de Fleury、Jacques Morice 合著）

展覽規畫，例如 2001 年的「希區考克與藝術，致命的吻合」（Hitchcock et l'art, coïncidences fatale）大展、2003 年的考克多特展「於世紀的思路

《攝影，雕塑》（Photographie, sculpture , Marval, 2000，與 Michel Frizot 合著）

上」（Cocteau, sur le fil du siècle）、2006 年的高達展「烏托邦之旅」（Voyages en Utopie）、2008 年的「數位之手」展覽（La Main numérique.

《陰影的誘惑》（L'attrait de l'ombre , Éditions Cahiers du cinéma, Belgique: Éditions Yellow Now, 2007）

Peindre, dessiner, filmer, numériser）。由於他以電影人而深入藝術界，2006 年他接受麥克特基金會（la Fondation Maeght）邀請擔任基金會執行

影評和藝評散見《電影筆記》（Cahiers du cinéma ）、Trafic 、Artpress 等刊物和展覽專輯

2002）

長，其間策畫了一個大膽而嚴謹的展覽：「黑真是一種顏色」（Le noir est une couleur），此展破紀錄的在三個月中有超過九萬人造訪。他同時也是 2006 年大皇宮迪士尼展的協同策展人。 巴伊尼教授著作豐富，有大量文章在藝術期刊（Art Press , Les Cahiers du cinéma ...）中發表。他的著作中有四本作品是談論電影與其他藝術的關係之 代表性專著，包括 2002 年的《展演時間》（Le temps exposé , le cinéma de la salle au musée ）、2007 年的《陰影的誘惑》（L'attrait de l'ombre ）。 因為巴依尼跨界工作的特殊性，雖然他的寫作幅度很廣，由電影史、電影理論、美學問題到電影與其他藝術、電影播放與展覽場，巴依尼可說繼承了 法國電影館創始館長亨利．朗瓦（Henri Langlois）以「影片放映的規劃直接作為影像的書寫」的路線。但更具時代性的是，巴依尼乃是今日「策展人－ 評論家」中的代表性人物，而且，也就是因為如此，他的寫作和關注範圍既是跨影像的，又是跨藝術的。

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En 2006, il accepta l'invitation qui lui fut faite de diriger la Fondation Maeght pour une période de transition : il conçut une exposition qui rassembla 91000 visiteurs en trois mois sur un thème audacieux et exigeant : Le noir est une couleur. Il fut également le co-commissaire de l’exposition consacrée aux sources et influences de Walt Disney ( Grand Palais de Paris, 2006).

2008 年秋天，為了迎接多明尼克．巴依尼來台訪問進行系列演講，《電影欣賞》也特別製作了一個以其為中心的專題。巴依尼的工作範圍廣闊，而 這個專題，或許以他的第一場演講題目「電影的放逐？」（L'exile du cinéma?）最能點題。 （節錄自第 136 期林志明《電影欣賞》專題「電影的放逐？」引言）

Dominique Païni est l'auteur de nombreux textes dans des revues d'art (Art Press, Les Cahiers du cinéma... ) et de quatre livres de référence dans le domaine des relations entre le cinéma et les autres arts (les derniers : Le temps exposé, le cinéma de la salle au musée. Ed. Cahiers du Cinéma 2002, L’Attrait de l’ombre 2007, L’Attrait des nuages, 2011 aux Editions Yellow Now).

早期 巴黎電影放映場所 Studio 43 策劃人，其節目針對法國電影史發行、製作 Straub et Huillet、Juliet Berto、Philippe Garrel 等人的電影 -1991 羅浮宮視聽和電影部門首任主管 期間規劃節目包括和 Michel Frizot 合辦的研討會「雕塑／攝影」（Sculpter/Photographier）

Il est professeur à l'Ecole du Louvre.

1991-2000 法國電影資料館（Cinémathèque française）館長，政策包括整建破舊的放映室 2000-2005 法 國 國 立 龐 畢 度 中 心（Centre national d'art et de culture Georges-Pompidou） 文 化 部 門 主 任 於 此 階 段 策 劃 的 大 展 包 括 2001 年 的「 希

Il prépare actuellement : - une exposition qui s’attachera à étudier les migrations iconographiques entre la peinture italienne du 19ème siècle et le cinéma des premiers temps de ce même pays et qui se tiendra en 2012 à la Galerie d’Art Moderne de Turin.

- Une exposition consacrée au cinéaste Eisenstein

區 考 克 與 藝 術， 致 命 的 吻 合 」（Hitchcock et l'art, coïncidences fatale） 大 展、2003 年 的 考 克 多 特 展「 於 世 紀 的 思 路 上 」（Cocteau, sur le fil du siècle）、2006 年的高達展「烏托邦之旅」（Voyages en Utopie），並主編展覽專輯。 獨立策展 1998「影像的傳送」（Transports de l'image）展覽（法國國立當代藝術工作室 Le Fresnoy） 2005-2006 安東尼．亞陶（Antonin Artaud）展覽（和 Jean-Jacques Lebel 合作）（米蘭 PAC Pavillon d'art contemporain） 2006「從前從前……」（Il était une fois）華特狄士尼展覽三位策展人之一（巴黎大皇宮） 2007「Panorama 8」展覽，呈現藝術界前輩（如 Chantal Akerman）和新人的錄像、攝影、表演、裝置作品（法國國立當代藝術工作室 Le Fresnoy） 2008「數位之手：作畫、素描、拍電影、數位化」（La Main numérique. Peindre, dessiner, filmer, numériser）展覽（安錫藝術學院 L'Ecole d'art de

目前在巴黎羅浮學院擔任比較視覺藝術史學群中電影史教學的多明尼克．巴依尼（Dominique Païni）教授為法國地位崇高之電影學者。他不但曾在

l'agglomération d'Annecy）

1990 年代擔任十年之久的法國電影館館長，之後又轉往龐畢度中心擔任文化發展部門主任，策畫多項重要國際性展覽。

2010「數位之手：繪畫、素描、拍攝、數位操作」（La Main numérique. Peindre, dessiner, filmer, numériser）展覽（國立台灣美術館）

他的職業生涯大部分貢獻於電影文化之推展與二十世紀這項最具代表性的媒體的美學研究，而且，透過電影研究，他並廣泛認識二十世紀的視覺藝 術，尤其是造形藝術，因為後者在此一世紀中深受電影影響。

演講或授課 羅浮學院（Ecole du Louvre）電影史、法國電影資料館、龐畢度中心、布魯塞爾電影藝術館（Musée du cinéma de Bruxelles）等

巴依尼的職業生涯首先展開於 1970 年代在巴黎拉丁區的四座藝術與實驗電影院的經營之中，包括 Studio 43、Bonaparte、Le Racine、Studio des Ursulines。在 1977 到 1987 這十年時間裡，他也開始策畫許多電影影展節目，並且重建了 Robert Bresson、Jacques Becker、Jean Eustache 等電影作

著作

者的完整作品集。他對電影世界的積極參與，更使得他成為 Philippe Garrel、Jean-Marie Straub、Juliet Berto 等導演的製作人和發行者。

《比利時電影百科全書》（Une encyclopédie des cinémas de Belgique , Belgique: Éditions Yellow Now, 1990，與 Guy Jungblut、Patrick Leboutte 合著）

由於他對藝術史的開放性，使得他於 1980 年代末期，進入羅浮宮工作，創立視聽與電影部門，並且製作一系列具廣泛影響力的電視影集，包括《調

《收藏、展演：在此我們不怕建造電影藝術館》（Conserver, montrer. Où l'on ne craint pas d'édifier un musée pour le cinéma , Belgique: Éditions

色盤》、《羅浮宮城市》等，同時也發現了此一領域未來重要的紀錄片作者，比如 Alain Jaubert, Nicolas Philibert。由這一段他在羅浮宮工作的日子

Yellow Now, 1992）

開始，巴依尼的「電影放逐」計畫逐漸成形。

《 展 演 時 間： 電 影 從 放 映 室 到 美 術 館 》（Le temps exposé. Le cinéma de la salle au musée , Paris: Éditions Cahiers du cinéma, collection Essais,

1990 年代，巴依尼擔任法國電影館館長，進行重要革新，並為其準備進入二十一世紀，委託 Frank Ghery 在巴黎東部建立新館。2001 年到 2005 年，

《電影，一項現代藝術》（Le cinéma, un art moderne , Paris: Éditions le Seuil）

他在龐畢度中心擔任文化發展部門主任，負責企畫電影、表演藝術、當代音樂、文學、美學之相關展覽研討會及演講。在此同時，他也負責創新的

《藝術和第七藝術》（L'art et le septième art , Paris: Éditions Le Fresnoy，與 Marianne de Fleury、Jacques Morice 合著）

展覽規畫，例如 2001 年的「希區考克與藝術，致命的吻合」（Hitchcock et l'art, coïncidences fatale）大展、2003 年的考克多特展「於世紀的思路

《攝影，雕塑》（Photographie, sculpture , Marval, 2000，與 Michel Frizot 合著）

上」（Cocteau, sur le fil du siècle）、2006 年的高達展「烏托邦之旅」（Voyages en Utopie）、2008 年的「數位之手」展覽（La Main numérique.

《陰影的誘惑》（L'attrait de l'ombre , Éditions Cahiers du cinéma, Belgique: Éditions Yellow Now, 2007）

Peindre, dessiner, filmer, numériser）。由於他以電影人而深入藝術界，2006 年他接受麥克特基金會（la Fondation Maeght）邀請擔任基金會執行

影評和藝評散見《電影筆記》（Cahiers du cinéma ）、Trafic 、Artpress 等刊物和展覽專輯

2002）

長，其間策畫了一個大膽而嚴謹的展覽：「黑真是一種顏色」（Le noir est une couleur），此展破紀錄的在三個月中有超過九萬人造訪。他同時也是 2006 年大皇宮迪士尼展的協同策展人。 巴伊尼教授著作豐富，有大量文章在藝術期刊（Art Press , Les Cahiers du cinéma ...）中發表。他的著作中有四本作品是談論電影與其他藝術的關係之 代表性專著，包括 2002 年的《展演時間》（Le temps exposé , le cinéma de la salle au musée ）、2007 年的《陰影的誘惑》（L'attrait de l'ombre ）。 因為巴依尼跨界工作的特殊性，雖然他的寫作幅度很廣，由電影史、電影理論、美學問題到電影與其他藝術、電影播放與展覽場，巴依尼可說繼承了 法國電影館創始館長亨利．朗瓦（Henri Langlois）以「影片放映的規劃直接作為影像的書寫」的路線。但更具時代性的是，巴依尼乃是今日「策展人－ 評論家」中的代表性人物，而且，也就是因為如此，他的寫作和關注範圍既是跨影像的，又是跨藝術的。

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Danièle Hibon | 丹尼耶・希朋

Monique Sicard| 莫尼克・西卡爾

After her study of literature and art history in the university and several missions at the Ministry of Culture (and more precisely at the National Cinematographical Center, Paris), she joins, from its beginning, la Galerie nationale du Jeu de Paume, 1 Place de la Concorde.

From 1991, she works there as curator for the installations of artists (Raoul Ruiz, Chantal Akerman), and also for many retrospectives of film makers and world-wide artists for the parisien public: ( Shinji Aoyama, Samuel Beckett, Stan Douglas, Atom Egoyan, Erro, JeanLuc Godard, Yervant Gianikian et Angela Ricci Lucchi, Rebecca Horn, Naomi Kawase, Johan Van der Keuken, Yoko Ono, Jean Rouch, Alexandre Sokourov …) Members of jury at several film festivals in Europe, she is nominated as member of the jury of l’Académie de France at Rome for 2008.

She is now professor at l’Ecole nationale supérieure des Beaux-arts, Paris.

Philosopher and historian of photography

Après un parcours universitaire consacré à la littérature et l’histoire de l’art et plusieurs missions culturelles au Ministère de la Culture (plus précisément au Centre national de la Cinématographie à Paris), elle a rejoint, dès son ouverture, la Galerie nationale du Jeu de Paume, 1 Place de la Concorde.

Dès 1991, elle y assure le commissariat d’installations d’artistes (Raoul Ruiz, Chantal Akerman) ainsi que de nombreuses rétrospectives de cinéastes et d’artistes du monde entier révélés au public parisien : ( Shinji Aoyama, Samuel Beckett, Stan Douglas, Atom Egoyan, Erro, Jean-Luc Godard, Yervant Gianikian et Angela Ricci Lucchi, Rebecca Horn, Naomi Kawase, Johan Van der Keuken, Yoko Ono, Jean Rouch, Alexandre Sokourov …)

Membre de jurys à de nombreux festivals de cinéma en Europe, elle est nommée au jury de l’Académie de France à Rome pour l’année 2008.

Elle est professeur à l’Ecole nationale supérieure des Beaux-arts de Paris.

Historienne et philosophe de la photographie

在完成古希臘及拉丁文學、哲學及藝術史學業後，丹尼耶 ‧ 希朋首先於巴黎國家電影中心工作，負責影片製作貸款相關業務；之後

攝影史學者及哲學家

於協合廣場旁的網球場國家畫廊工作，由其開幕至今。

法國國家科學研究中心研究員（CNRS, Centre National de la Recherche Scientifique）， 主掌巴黎現

由 1991 年開始，她在該館負責電影創作者裝置展的策展工作，比如 Raoul Ruiz 的「摩爾人的驅逐」或 Chantal Akerman 的「由東部來」， 亦負責電影和錄像藝術的排片工作。

Researcher at CNRS, in charge "Genesis of Visual Arts / Photographic" Institute of Modern Texts and Manuscripts (Genesis text and shapes), CNRS / ENS, Paris.

Responsible for the seminar "Photo-graphs, " Ecole Normale Supérieure, Ecole des Hautes Etudes in Social Sciences, Paris.

Chercheur au CNRS, Responsable « Genèse des arts visuels/ Regards photographiques », Institut des Textes et des Manuscrits modernes (Genèse des textes et des formes), CNRS/ ENS, Paris.

Responsable du séminaire « Photo-graphies », Ecole Normale Supérieure, Ecole des Hautes Etudes en Sciences sociales, Paris.

代文本與手稿（文本與形式生成）研究中心 (Institute of Modern Texts and Manuscripts [Genesis text and shapes]) 「視覺藝術／攝影觀看生成」研究群。 並負責主持法國巴黎高等師範學校 (Ecole Normale Supérieure)、巴黎高等社會科學院 (Ecole des

她所策畫的回顧展數量龐大，包括：Samuel Beckett, Atom Egoyan, Johan Van der Keuken, Martial Raysse, Jean-Daniel Pollet, Jean Rouch, Otar Iosseliani, Jean-Luc Godard, Laurence Wiener, Angelin Prejlocaj, Olivier Assayas, Agnès Varda, Erro, Yoko Ono, Chantal

Hautes Etudes en Sciences Sociales) 「光之書寫」( Photo-graphies ) 研討會。

Akerman, Alexandre Sokourov, Harun Farocki, Naomi Kawase, Irit Batsry, les Gianikian, Stan Douglas, Raoul Ruiz, Rebecca Horn, Gordon Matta-Clark… 等人的展覽。 在此同時， 她在國立巴黎高等美術學院理論部門擔任教授，並指導國立裝飾藝術學院的電影演講系列。她曾擔任歐洲許多影展的評審， 並於 2008 年被任命為羅馬法蘭西學院的審查委員。

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Danièle Hibon | 丹尼耶・希朋

Monique Sicard| 莫尼克・西卡爾

After her study of literature and art history in the university and several missions at the Ministry of Culture (and more precisely at the National Cinematographical Center, Paris), she joins, from its beginning, la Galerie nationale du Jeu de Paume, 1 Place de la Concorde.

From 1991, she works there as curator for the installations of artists (Raoul Ruiz, Chantal Akerman), and also for many retrospectives of film makers and world-wide artists for the parisien public: ( Shinji Aoyama, Samuel Beckett, Stan Douglas, Atom Egoyan, Erro, JeanLuc Godard, Yervant Gianikian et Angela Ricci Lucchi, Rebecca Horn, Naomi Kawase, Johan Van der Keuken, Yoko Ono, Jean Rouch, Alexandre Sokourov …) Members of jury at several film festivals in Europe, she is nominated as member of the jury of l’Académie de France at Rome for 2008.

She is now professor at l’Ecole nationale supérieure des Beaux-arts, Paris.

Philosopher and historian of photography

Après un parcours universitaire consacré à la littérature et l’histoire de l’art et plusieurs missions culturelles au Ministère de la Culture (plus précisément au Centre national de la Cinématographie à Paris), elle a rejoint, dès son ouverture, la Galerie nationale du Jeu de Paume, 1 Place de la Concorde.

Dès 1991, elle y assure le commissariat d’installations d’artistes (Raoul Ruiz, Chantal Akerman) ainsi que de nombreuses rétrospectives de cinéastes et d’artistes du monde entier révélés au public parisien : ( Shinji Aoyama, Samuel Beckett, Stan Douglas, Atom Egoyan, Erro, Jean-Luc Godard, Yervant Gianikian et Angela Ricci Lucchi, Rebecca Horn, Naomi Kawase, Johan Van der Keuken, Yoko Ono, Jean Rouch, Alexandre Sokourov …)

Membre de jurys à de nombreux festivals de cinéma en Europe, elle est nommée au jury de l’Académie de France à Rome pour l’année 2008.

Elle est professeur à l’Ecole nationale supérieure des Beaux-arts de Paris.

Historienne et philosophe de la photographie

在完成古希臘及拉丁文學、哲學及藝術史學業後，丹尼耶 ‧ 希朋首先於巴黎國家電影中心工作，負責影片製作貸款相關業務；之後

攝影史學者及哲學家

於協合廣場旁的網球場國家畫廊工作，由其開幕至今。

法國國家科學研究中心研究員（CNRS, Centre National de la Recherche Scientifique）， 主掌巴黎現

由 1991 年開始，她在該館負責電影創作者裝置展的策展工作，比如 Raoul Ruiz 的「摩爾人的驅逐」或 Chantal Akerman 的「由東部來」， 亦負責電影和錄像藝術的排片工作。

Researcher at CNRS, in charge "Genesis of Visual Arts / Photographic" Institute of Modern Texts and Manuscripts (Genesis text and shapes), CNRS / ENS, Paris.

Responsible for the seminar "Photo-graphs, " Ecole Normale Supérieure, Ecole des Hautes Etudes in Social Sciences, Paris.

Chercheur au CNRS, Responsable « Genèse des arts visuels/ Regards photographiques », Institut des Textes et des Manuscrits modernes (Genèse des textes et des formes), CNRS/ ENS, Paris.

Responsable du séminaire « Photo-graphies », Ecole Normale Supérieure, Ecole des Hautes Etudes en Sciences sociales, Paris.

代文本與手稿（文本與形式生成）研究中心 (Institute of Modern Texts and Manuscripts [Genesis text and shapes]) 「視覺藝術／攝影觀看生成」研究群。 並負責主持法國巴黎高等師範學校 (Ecole Normale Supérieure)、巴黎高等社會科學院 (Ecole des

她所策畫的回顧展數量龐大，包括：Samuel Beckett, Atom Egoyan, Johan Van der Keuken, Martial Raysse, Jean-Daniel Pollet, Jean Rouch, Otar Iosseliani, Jean-Luc Godard, Laurence Wiener, Angelin Prejlocaj, Olivier Assayas, Agnès Varda, Erro, Yoko Ono, Chantal

Hautes Etudes en Sciences Sociales) 「光之書寫」( Photo-graphies ) 研討會。

Akerman, Alexandre Sokourov, Harun Farocki, Naomi Kawase, Irit Batsry, les Gianikian, Stan Douglas, Raoul Ruiz, Rebecca Horn, Gordon Matta-Clark… 等人的展覽。 在此同時， 她在國立巴黎高等美術學院理論部門擔任教授，並指導國立裝飾藝術學院的電影演講系列。她曾擔任歐洲許多影展的評審， 並於 2008 年被任命為羅馬法蘭西學院的審查委員。

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List of Figures | 圖次

01. 陳少維攝，「冰凍東方美人」，2006。 CHEN Shao-Wei, Frozen Formosan Oolung Tea (“Oriental Beauty” Tea), 2006.

02. 謝春德攝，「無了 包種茶」，2008。 Hsieh Chun-te, Pouchong Tea, 2008.

03. 謝春德攝，「米飯 台梗九號」，2008。 Hsieh Chun-te, Cooked Rice (Taikeng No. 9), 2008.

04. 謝春德攝，「稻穗 傳播花粉」，2008。 Hsieh Chun-te, Spike of Rice (Pollen Spread), 2008.

05. 謝春德攝，「烤烏魚子」，2009。 Hsieh Chun-te, Roasted Mullet Roe, 2009.

06. 謝春德攝，「野生烏魚子」，2005。 Hsieh Chun-te, Wild Caught Mullet Roe, 2005.

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07. 謝春德攝，「陳政庸」，2011。 Hsieh Chun-te, CHEN Zheng-Yong, 2011.

08. 謝春德攝，「鹽焗虱目魚」，2009。 Hsieh Chun-te, Salted Milkfish, 2009.

09. 謝春德攝，「白斬雞」，2009。 Hsieh Chun-te, Chopped Boiled Chicken, 2009.

10. 謝春德攝，「鮪魚眼睛」，2007。 Hsieh Chun-te, Eye of Tuna, 2007.

11. 謝春德攝，「碧玉瓢瓜」，2008。 Hsieh Chun-te, Green Melon, 2008.

12. 謝春德攝，「蓮子」，2007。 Hsieh Chun-te, Lotus Seed, 2007.

13. 謝春德攝，「花色」，2002。 Hsieh Chun-te, Flower Color, 2002.

14. 謝春德攝，「甜點」，2007。 Hsieh Chun-te, Dessert, 2007.

15. 謝春德攝，「未來甜點」，2007。 Hsieh Chun-te, Dessert in the Future, 2007.

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209

List of Figures | 圖次

01. 陳少維攝，「冰凍東方美人」，2006。 CHEN Shao-Wei, Frozen Formosan Oolung Tea (“Oriental Beauty” Tea), 2006.

02. 謝春德攝，「無了 包種茶」，2008。 Hsieh Chun-te, Pouchong Tea, 2008.

03. 謝春德攝，「米飯 台梗九號」，2008。 Hsieh Chun-te, Cooked Rice (Taikeng No. 9), 2008.

04. 謝春德攝，「稻穗 傳播花粉」，2008。 Hsieh Chun-te, Spike of Rice (Pollen Spread), 2008.

05. 謝春德攝，「烤烏魚子」，2009。 Hsieh Chun-te, Roasted Mullet Roe, 2009.

06. 謝春德攝，「野生烏魚子」，2005。 Hsieh Chun-te, Wild Caught Mullet Roe, 2005.

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02

03

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05

06

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08

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13

07. 謝春德攝，「陳政庸」，2011。 Hsieh Chun-te, CHEN Zheng-Yong, 2011.

08. 謝春德攝，「鹽焗虱目魚」，2009。 Hsieh Chun-te, Salted Milkfish, 2009.

09. 謝春德攝，「白斬雞」，2009。 Hsieh Chun-te, Chopped Boiled Chicken, 2009.

10. 謝春德攝，「鮪魚眼睛」，2007。 Hsieh Chun-te, Eye of Tuna, 2007.

11. 謝春德攝，「碧玉瓢瓜」，2008。 Hsieh Chun-te, Green Melon, 2008.

12. 謝春德攝，「蓮子」，2007。 Hsieh Chun-te, Lotus Seed, 2007.

13. 謝春德攝，「花色」，2002。 Hsieh Chun-te, Flower Color, 2002.

14. 謝春德攝，「甜點」，2007。 Hsieh Chun-te, Dessert, 2007.

15. 謝春德攝，「未來甜點」，2007。 Hsieh Chun-te, Dessert in the Future, 2007.

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16. 謝春德，〈RAW – 屋頂上的垂釣人〉草圖，鉛筆、紙，1987-2011 。 Hsieh Chun-te, Drawing of RAW - The Fishmen on the Rooftop, pencil on paper, 1987-2011.

17. 謝春德攝，「古武南」，2011 。 Hsieh Chun-te, GU Wu-Nan , 2011.

18. 謝春德攝，「古武南」，2008 。 Hsieh Chun-te, GU Wu-Nan , 2008.

19. 謝春德攝，「楊佳妱」，2009 。 Hsieh Chun-te,YANG Chia-Chao, 2009.

20. 謝春德攝，「楊佳妱」，2008 。 Hsieh Chun-te, YANG Chia-Chao, 2008.

21. 謝春德攝，「蕭賀文」，2011 。 Hsieh Chun-te, HSIAO Ho-Wen, 2011.

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26 31

27

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29

30

22. 謝春德攝，「蕭賀文」，2011 。 Hsieh Chun-te, HSIAO Ho-Wen, 2011.

23. 謝春德攝，「蕭賀文」，1991 。 Hsieh Chun-te, HSIAO Ho-Wen, 1991.

24. 謝春德攝，「洪麗芬」，2011 。 Hsieh Chun-te, Sophie HONG, 2011.

25. 謝春德攝，「東方美人茶葉」，2008 。 Hsieh Chun-te, Formosan Oolung Tea (“Oriental Beauty” Tea) Leaves, 2008.

26. 謝春德攝，「烏魚子 + 埔里窖藏紹興酒」，2011 。 Hsieh Chun-te, Mullet Roe + Shaohsing Wine in Puli, 2011.

27. 謝春德攝，「雞汁紫糯米 + 鮭魚卵」，2011 。 Hsieh Chun-te, Purple Glutinous Rice with Chicken Soup + Salmon Roe, 2011.

28. 謝春德攝，「冰鎮白木耳」，2011 。 Hsieh Chun-te, Frozen Tremella Fuciformis, 2011.

29.Andy Wijckelsma 攝，「謝春德」，2010 。 Andy Wijckelsma, Hsieh Chun-te, 2010.

30. 謝春德攝，「林志明」，2010 。 Hsieh Chun-te, LIN Chi-Ming, 2010.

31. 謝春德攝，「多明尼克．巴依尼」，2010 。 Hsieh Chun-te, Dominique Païni, 2010.

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16. 謝春德，〈RAW – 屋頂上的垂釣人〉草圖，鉛筆、紙，1987-2011 。 Hsieh Chun-te, Drawing of RAW - The Fishmen on the Rooftop, pencil on paper, 1987-2011.

17. 謝春德攝，「古武南」，2011 。 Hsieh Chun-te, GU Wu-Nan , 2011.

18. 謝春德攝，「古武南」，2008 。 Hsieh Chun-te, GU Wu-Nan , 2008.

19. 謝春德攝，「楊佳妱」，2009 。 Hsieh Chun-te,YANG Chia-Chao, 2009.

20. 謝春德攝，「楊佳妱」，2008 。 Hsieh Chun-te, YANG Chia-Chao, 2008.

21. 謝春德攝，「蕭賀文」，2011 。 Hsieh Chun-te, HSIAO Ho-Wen, 2011.

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17

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21

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26 31

27

28

29

30

22. 謝春德攝，「蕭賀文」，2011 。 Hsieh Chun-te, HSIAO Ho-Wen, 2011.

23. 謝春德攝，「蕭賀文」，1991 。 Hsieh Chun-te, HSIAO Ho-Wen, 1991.

24. 謝春德攝，「洪麗芬」，2011 。 Hsieh Chun-te, Sophie HONG, 2011.

25. 謝春德攝，「東方美人茶葉」，2008 。 Hsieh Chun-te, Formosan Oolung Tea (“Oriental Beauty” Tea) Leaves, 2008.

26. 謝春德攝，「烏魚子 + 埔里窖藏紹興酒」，2011 。 Hsieh Chun-te, Mullet Roe + Shaohsing Wine in Puli, 2011.

27. 謝春德攝，「雞汁紫糯米 + 鮭魚卵」，2011 。 Hsieh Chun-te, Purple Glutinous Rice with Chicken Soup + Salmon Roe, 2011.

28. 謝春德攝，「冰鎮白木耳」，2011 。 Hsieh Chun-te, Frozen Tremella Fuciformis, 2011.

29.Andy Wijckelsma 攝，「謝春德」，2010 。 Andy Wijckelsma, Hsieh Chun-te, 2010.

30. 謝春德攝，「林志明」，2010 。 Hsieh Chun-te, LIN Chi-Ming, 2010.

31. 謝春德攝，「多明尼克．巴依尼」，2010 。 Hsieh Chun-te, Dominique Païni, 2010.

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List of Plates | 作品圖版

212

01

02

03

04

05

06

07

08

09

10

01.

RAW-Portrait RAW-Ritratto 生 - 肖像 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 150x200cm

05.

RAW-Moonlight RAW-Chiaro di Luna 生 - 月光 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

02.

RAW-Wondering Artists titolo-RAW-Gli artisti pieni di meraviglia 生 - 流浪藝人 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

06.

RAW-Dwarf Wedding RAW- Matrimonio del nano 生 - 侏儒的婚禮 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

03.

RAW-Main Street Electrical Parade RAW-Parata Elettrica sulla strada principale 生 - 電子花車 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

07.

RAW-Ceremony RAW-Cerimonia 生 - 儀式 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 150x200cm

04.

RAW-A Meat Stall titolo-RAW-Un banco di carne 生 - 豬肉攤 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

08.

RAW-The Romance on the Stele RAW- L’idillio sullo stele 生 - 石碑上的愛情 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

09.

RAW-The White Sands of Jibeiyu (Jibeiyu Island) titolo-RAW Le bianche sabie di Jibeiyu (Idola di Jibeiyu) 生 - 吉貝嶼白沙 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 100x100cm 10.

RAW-The Fishmen on the Rooftop RAW-Il pescatore sul tetto 生 - 屋頂上的垂釣人 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 300x240cm

213

List of Plates | 作品圖版

212

01

02

03

04

05

06

07

08

09

10

01.

RAW-Portrait RAW-Ritratto 生 - 肖像 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 150x200cm

05.

RAW-Moonlight RAW-Chiaro di Luna 生 - 月光 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

02.

RAW-Wondering Artists titolo-RAW-Gli artisti pieni di meraviglia 生 - 流浪藝人 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

06.

RAW-Dwarf Wedding RAW- Matrimonio del nano 生 - 侏儒的婚禮 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

03.

RAW-Main Street Electrical Parade RAW-Parata Elettrica sulla strada principale 生 - 電子花車 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

07.

RAW-Ceremony RAW-Cerimonia 生 - 儀式 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 150x200cm

04.

RAW-A Meat Stall titolo-RAW-Un banco di carne 生 - 豬肉攤 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

08.

RAW-The Romance on the Stele RAW- L’idillio sullo stele 生 - 石碑上的愛情 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

09.

RAW-The White Sands of Jibeiyu (Jibeiyu Island) titolo-RAW Le bianche sabie di Jibeiyu (Idola di Jibeiyu) 生 - 吉貝嶼白沙 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 100x100cm 10.

RAW-The Fishmen on the Rooftop RAW-Il pescatore sul tetto 生 - 屋頂上的垂釣人 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 300x240cm

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11.

RAW-Flight in the Night RAW-Volo nella notte 生 - 夜間飛行 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 300x240cm 12.

RAW-Priest RAW-Sacerdote 生 - 祭司 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 13.

RAW-Homecoming Day RAW-Giorno del ritorno a casa 生 - 返鄉之日 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

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RAW-Bitches RAW-Puttane 生 - 母狗 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 300x240cm

15.

RAW-The Temple Attendant Who is Longing for the Breeze of Spring RAW-L'addetto al tempio che prega per una buona stagione 生 - 廟祝唸春風 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 16.

RAW-Butterfly Ginger RAW-Farfalla Rossiccia 生 - 野薑花 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 100x80cm 17.

RAW-Riverbank RAW-La sponda del fiume 生 - 河岸 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

19.

RAW-Family Portrait RAW-Ritratto di famiglia 生 - 全家福 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 20.

RAW-Mirror RAW-Specchio 生 - 鏡子 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 21.

RAW-Ferry Voyagers at the Guan-yinshan(Guan-yin Mountain) RAW-Viggiattori in battello nel Guan-yin-shan (Montagna Guan-yin) 生 - 觀音山下的渡船人 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

18.

RAW-The Tears of Tamsui River RAW-Le lacrime del fiume Tamsui 生 - 淡水河的眼淚 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

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11.

RAW-Flight in the Night RAW-Volo nella notte 生 - 夜間飛行 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 300x240cm 12.

RAW-Priest RAW-Sacerdote 生 - 祭司 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 13.

RAW-Homecoming Day RAW-Giorno del ritorno a casa 生 - 返鄉之日 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

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RAW-Bitches RAW-Puttane 生 - 母狗 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 300x240cm

15.

RAW-The Temple Attendant Who is Longing for the Breeze of Spring RAW-L'addetto al tempio che prega per una buona stagione 生 - 廟祝唸春風 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 16.

RAW-Butterfly Ginger RAW-Farfalla Rossiccia 生 - 野薑花 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 100x80cm 17.

RAW-Riverbank RAW-La sponda del fiume 生 - 河岸 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

19.

RAW-Family Portrait RAW-Ritratto di famiglia 生 - 全家福 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 20.

RAW-Mirror RAW-Specchio 生 - 鏡子 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm 21.

RAW-Ferry Voyagers at the Guan-yinshan(Guan-yin Mountain) RAW-Viggiattori in battello nel Guan-yin-shan (Montagna Guan-yin) 生 - 觀音山下的渡船人 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

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RAW-The Tears of Tamsui River RAW-Le lacrime del fiume Tamsui 生 - 淡水河的眼淚 1987-2011 Ultra smooth fine art paper carta stampa artistica ultra liscia 平滑藝術紙影像輸出 200x150cm

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Staff | 工作人員名單

製作團隊 Production Team 藝術家 / 廚藝總監∣ Artist / Master Chef 謝春德∣ Hsieh Chun-te

農業生化科技顧問∣ Agricultural Biochemistry Consultant 陳政庸∣ Chen Zheng-Yong

製作團隊統籌∣ Production Team Manager 陳少維∣ Chen Shao-Wei

會 計∣ Accountant 林淑芬∣ Carol Lin

攝影助理∣ Assistant Photographers 陳少維∣ Chen Shao-Wei 魏安迪∣ Andy Wijckelsma 塗建榮∣ Tu Chien-Jung 後 製∣ Post-Production 塗建榮∣ Tu Chien-Jung 黃宣耀∣ Huang Hsuan-Yao

製作人∣ Producer 詹雅雯∣ Chan Ya-Wen

茶 人∣ Tea Masters 古武南∣ Gu Wu-Nan 黃珍梅∣ Huang Chen-Mei

執行製作∣ Executive Producer 許維城∣ Fu-Fu Hsu

廚 師∣ Chef 吳岳昌∣ Wu Yueh-Chang

影像製作總監∣ Video Production Director 謝春鏱∣ Hsieh Chun-Chang

美食顧問∣ Gourmet Consultants 劉藍清訓∣ Liu Len Chin-Shung

紀錄片剪接∣ Documentary Editing 李奕儒∣ Li Yi-Ru

策展人∣ Curators 多明尼克．巴依尼∣ Dominique Païni 林志明∣ Lin Chi-Ming

料理協力∣ Cooking Collaborator 張啟祐∣ Travis Chang

紀錄片剪接助理∣ Editing assistant 張芝語∣ Chang Chih-Yu

飲食劇場顧問∣ Cooking Theater Performance Advisor 何季斯 ‧ 米榭爾∣ Régis Michel

展覽統籌∣ Project Manager 郭紀舟∣ Kuo Chi-Chou

威尼斯在地技術顧問∣ Technical Advisor in Venice 丹妮耶拉 ‧ 法瑞提∣ Daniela Ferretti 展出顧問∣ Exhibition Advisors 楊心一∣ Shinyi Yang

製作統籌∣ Production Manager 陳少維∣ Chen Shao-Wei 助理策展人∣ Assistant Curator 王聖閎∣ Wang Sheng-Hung 策展助理∣ Curatorial Assistants 陳逸欣∣ Chen I-Hsin 郭立貞∣ Kuo Li-Chen

音 樂∣ Music 李奕青∣ Li Yi-Chin 服裝設計∣ Fashion Designer 洪麗芬∣ Sophie HONG 表演者∣ Performers 楊佳妱∣ Yang Chia-Chao (Deloun Nahu) 蕭賀文∣ Hsiao Ho-Wen

216

財務長∣ Chief Finance Officer 林治平∣ Brian Lin

展場協力∣ Exhibition Space Collaborator 李 樂∣ Felix Schoeber 製作協力∣ Production Collaborators 李小石∣ Li Xiao-Shi 李昌義∣ Li Chang-Yi 李泰康∣ Li Tai-Kang 李泰銘∣ Li Tai-Ming 許清水∣ Shiu Ching-Shuei

攝影助理∣ Assistant Photographer 柯立垚∣ Ko Li-Yao 最終影像輸出∣ Image Final Export 古訓銘∣ Gu Hsin-Ming

3D 動畫∣ 3D Animation 葉智銘∣ Bruce Yeh 網頁設計∣ Website Design 王雅芳∣ Wang Ya-Fang

化 妝∣ Makeup 劉秀庭∣ Liu Siu-Theng 服裝製作∣ Costume 賴宣吾∣ Sara Lai 葉淑鈴∣ Yeh Shu-Ling 道具製作∣ Props 廖國輝∣ Liao Kuo-Hui 賴國彰∣ Lai Kuo-Chang 廖俊凱∣ Liao Jun-Kai 陳政翰∣ Chen Cheng-Han 製作助理∣ Production Assistants 蔡慧娜∣ Tsai Huei-Nuo 廖文蕙∣ Liao Wun-Huei 吳滋懿∣ Wu Zih-Yi 魏安迪∣ Andy Wijckelsma 黃彥翔∣ Hang Yen-Hsiang 潘怡玓∣ Pan Yi-Di 林蔚文∣ Lin Wei-Wen 莊硯凱∣ Chuang Yen-Kai 葉思妤∣ Yeh Szu-Yu 簡宏樹∣ Jian Hong-Shu 廖奕舜∣ Liao Yi-Shuen

演 出∣ Performers 劉紹爐∣ Liou Shao-Lu 陸君萍∣ Lu Chun-Ping

吳美恩∣ Wu Mei-En 戴秀娟∣ Dai Xiu-Juan 林志登∣ Lin Zhi-Deng 戴若梅∣ Diana Tai 克里斯∣ Christopher Wang 林雨寰∣ Lin Yu-Han 林雨蒼∣ Lin Yu-Cang 何駿鵬∣ He Jyun-Peng 莊英婷∣ Jhuang Ying-Ting 林蔚文∣ Lin Wei-Wen 高明衛∣ Gao Ming-Wei 高欣妤∣ Gao Xin-Yu 劉祐嘉∣ Liou You-Jia 黃志雄∣ Huang Jhih-Syong 李美淑∣ Li Mei-Shu 林炳炎∣ Lin Ping-Yen 豐信福∣ Feng Xin-Fu 歐陽靖∣ Ou Yang-Jing 張天登∣ Zhang Tian-Deng 陳基高∣ Chen Ji-Gao 杜基照∣ Du Ji-Zhao 陳芊宇∣ Chen Qian-Yu 周廷衛∣ Chou Tyng-Wey 周峻德∣ Chou Chun-Te 古勝彰∣ Gu Sheng-Jhang 蔡準昇∣ Tsai Jhun-Sheng 李釣頊∣ Li Diao-Xu 李明潔∣ Li Ming-Jie 張翼麟∣ Zhang Yi-Lin 侯錦雲∣ Hou Jin-Yun 劉昕侑∣ Liu Xin-You

特別感謝∣ Special Thanks 吳靜吉∣ Wu Ging-Jyi 許博允∣ Hsu Po-Yun 樊曼儂∣ Fan Man-Nong 鄭淑敏∣ Su Ming Cheng 徐 璐∣ Lu Hsu 蔡詩萍∣ Tsai Shih-Ping 謝忠道∣ Hsieh Chung-Tao 陳嘉君∣ Gina Chen 陳郁秀∣ Tchen Yu-Chiou

贊助者∣ Sponsors 財團法人中華民國建國一百年基金會 Republic of China (Taiwan) Centenary Foundation 行政院文化建設委員會 Council for Cultural Affairs (CCA) 台北市文化局 The Taipei City Department of Cultural Affairs 忠泰建築文化藝術基金會 JUT Foundation For Arts & Architecture 太曦建設開發有限公司 Tai-Shi Development & Construction LTD. 洪麗芬 Sophie HONG 科億資訊 Crony Information Co. LTD

媒體公關∣ Communication Agency Heymann, Renoult Associées www.heymann-renoult.com 義大利在地協調∣ Italian Coordination 主辦單位∣ Organizer Elena Santagiustina 導覽 / 保全∣ Local Guide / Security Studio "Antonio Dal Ponte" comunicazione e servizi per l'arte

217

Staff | 工作人員名單

製作團隊 Production Team 藝術家 / 廚藝總監∣ Artist / Master Chef 謝春德∣ Hsieh Chun-te

農業生化科技顧問∣ Agricultural Biochemistry Consultant 陳政庸∣ Chen Zheng-Yong

製作團隊統籌∣ Production Team Manager 陳少維∣ Chen Shao-Wei

會 計∣ Accountant 林淑芬∣ Carol Lin

攝影助理∣ Assistant Photographers 陳少維∣ Chen Shao-Wei 魏安迪∣ Andy Wijckelsma 塗建榮∣ Tu Chien-Jung 後 製∣ Post-Production 塗建榮∣ Tu Chien-Jung 黃宣耀∣ Huang Hsuan-Yao

製作人∣ Producer 詹雅雯∣ Chan Ya-Wen

茶 人∣ Tea Masters 古武南∣ Gu Wu-Nan 黃珍梅∣ Huang Chen-Mei

執行製作∣ Executive Producer 許維城∣ Fu-Fu Hsu

廚 師∣ Chef 吳岳昌∣ Wu Yueh-Chang

影像製作總監∣ Video Production Director 謝春鏱∣ Hsieh Chun-Chang

美食顧問∣ Gourmet Consultants 劉藍清訓∣ Liu Len Chin-Shung

紀錄片剪接∣ Documentary Editing 李奕儒∣ Li Yi-Ru

策展人∣ Curators 多明尼克．巴依尼∣ Dominique Païni 林志明∣ Lin Chi-Ming

料理協力∣ Cooking Collaborator 張啟祐∣ Travis Chang

紀錄片剪接助理∣ Editing assistant 張芝語∣ Chang Chih-Yu

飲食劇場顧問∣ Cooking Theater Performance Advisor 何季斯 ‧ 米榭爾∣ Régis Michel

展覽統籌∣ Project Manager 郭紀舟∣ Kuo Chi-Chou

威尼斯在地技術顧問∣ Technical Advisor in Venice 丹妮耶拉 ‧ 法瑞提∣ Daniela Ferretti 展出顧問∣ Exhibition Advisors 楊心一∣ Shinyi Yang

製作統籌∣ Production Manager 陳少維∣ Chen Shao-Wei 助理策展人∣ Assistant Curator 王聖閎∣ Wang Sheng-Hung 策展助理∣ Curatorial Assistants 陳逸欣∣ Chen I-Hsin 郭立貞∣ Kuo Li-Chen

音 樂∣ Music 李奕青∣ Li Yi-Chin 服裝設計∣ Fashion Designer 洪麗芬∣ Sophie HONG 表演者∣ Performers 楊佳妱∣ Yang Chia-Chao (Deloun Nahu) 蕭賀文∣ Hsiao Ho-Wen

216

財務長∣ Chief Finance Officer 林治平∣ Brian Lin

展場協力∣ Exhibition Space Collaborator 李 樂∣ Felix Schoeber 製作協力∣ Production Collaborators 李小石∣ Li Xiao-Shi 李昌義∣ Li Chang-Yi 李泰康∣ Li Tai-Kang 李泰銘∣ Li Tai-Ming 許清水∣ Shiu Ching-Shuei

攝影助理∣ Assistant Photographer 柯立垚∣ Ko Li-Yao 最終影像輸出∣ Image Final Export 古訓銘∣ Gu Hsin-Ming

3D 動畫∣ 3D Animation 葉智銘∣ Bruce Yeh 網頁設計∣ Website Design 王雅芳∣ Wang Ya-Fang

化 妝∣ Makeup 劉秀庭∣ Liu Siu-Theng 服裝製作∣ Costume 賴宣吾∣ Sara Lai 葉淑鈴∣ Yeh Shu-Ling 道具製作∣ Props 廖國輝∣ Liao Kuo-Hui 賴國彰∣ Lai Kuo-Chang 廖俊凱∣ Liao Jun-Kai 陳政翰∣ Chen Cheng-Han 製作助理∣ Production Assistants 蔡慧娜∣ Tsai Huei-Nuo 廖文蕙∣ Liao Wun-Huei 吳滋懿∣ Wu Zih-Yi 魏安迪∣ Andy Wijckelsma 黃彥翔∣ Hang Yen-Hsiang 潘怡玓∣ Pan Yi-Di 林蔚文∣ Lin Wei-Wen 莊硯凱∣ Chuang Yen-Kai 葉思妤∣ Yeh Szu-Yu 簡宏樹∣ Jian Hong-Shu 廖奕舜∣ Liao Yi-Shuen

演 出∣ Performers 劉紹爐∣ Liou Shao-Lu 陸君萍∣ Lu Chun-Ping

吳美恩∣ Wu Mei-En 戴秀娟∣ Dai Xiu-Juan 林志登∣ Lin Zhi-Deng 戴若梅∣ Diana Tai 克里斯∣ Christopher Wang 林雨寰∣ Lin Yu-Han 林雨蒼∣ Lin Yu-Cang 何駿鵬∣ He Jyun-Peng 莊英婷∣ Jhuang Ying-Ting 林蔚文∣ Lin Wei-Wen 高明衛∣ Gao Ming-Wei 高欣妤∣ Gao Xin-Yu 劉祐嘉∣ Liou You-Jia 黃志雄∣ Huang Jhih-Syong 李美淑∣ Li Mei-Shu 林炳炎∣ Lin Ping-Yen 豐信福∣ Feng Xin-Fu 歐陽靖∣ Ou Yang-Jing 張天登∣ Zhang Tian-Deng 陳基高∣ Chen Ji-Gao 杜基照∣ Du Ji-Zhao 陳芊宇∣ Chen Qian-Yu 周廷衛∣ Chou Tyng-Wey 周峻德∣ Chou Chun-Te 古勝彰∣ Gu Sheng-Jhang 蔡準昇∣ Tsai Jhun-Sheng 李釣頊∣ Li Diao-Xu 李明潔∣ Li Ming-Jie 張翼麟∣ Zhang Yi-Lin 侯錦雲∣ Hou Jin-Yun 劉昕侑∣ Liu Xin-You

特別感謝∣ Special Thanks 吳靜吉∣ Wu Ging-Jyi 許博允∣ Hsu Po-Yun 樊曼儂∣ Fan Man-Nong 鄭淑敏∣ Su Ming Cheng 徐 璐∣ Lu Hsu 蔡詩萍∣ Tsai Shih-Ping 謝忠道∣ Hsieh Chung-Tao 陳嘉君∣ Gina Chen 陳郁秀∣ Tchen Yu-Chiou

贊助者∣ Sponsors 財團法人中華民國建國一百年基金會 Republic of China (Taiwan) Centenary Foundation 行政院文化建設委員會 Council for Cultural Affairs (CCA) 台北市文化局 The Taipei City Department of Cultural Affairs 忠泰建築文化藝術基金會 JUT Foundation For Arts & Architecture 太曦建設開發有限公司 Tai-Shi Development & Construction LTD. 洪麗芬 Sophie HONG 科億資訊 Crony Information Co. LTD

媒體公關∣ Communication Agency Heymann, Renoult Associées www.heymann-renoult.com 義大利在地協調∣ Italian Coordination 主辦單位∣ Organizer Elena Santagiustina 導覽 / 保全∣ Local Guide / Security Studio "Antonio Dal Ponte" comunicazione e servizi per l'arte

217

Behind the Scenes | 工作照

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01.Photographer : CHEN Shao-Wei 陳少維攝。 02.Photographer : YEH Szu-Yu 葉思 妤攝。 03-04.Photographer : HANG Yen-Hsiang 黃彥翔攝。 05.Photographer : CHEN Shao-Wei 陳少維攝。

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06-10.Photographer : CHEN Shao-Wei 陳少維攝。

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Behind the Scenes | 工作照

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02 05

03

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01.Photographer : CHEN Shao-Wei 陳少維攝。 02.Photographer : YEH Szu-Yu 葉思 妤攝。 03-04.Photographer : HANG Yen-Hsiang 黃彥翔攝。 05.Photographer : CHEN Shao-Wei 陳少維攝。

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06-10.Photographer : CHEN Shao-Wei 陳少維攝。

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春德的盛宴：第 54 屆威尼斯雙年展謝春德個展「春德的盛宴」展覽專輯 Le Festin de Chun-te, Collateral Event of the Biennale Arte 2011

編輯總監∣ Editorial Director 謝春德∣ Hsieh Chun-te 主 編∣ Chief Editor 林志明∣ Lin Chi-Ming 撰稿學者∣ Essay Writers 多明尼克．巴依尼∣ Dominique Païni 林志明∣ Lin Chi-Ming 丹尼耶 ‧ 希朋∣ Danièle Hibon 莫尼克 ‧ 西卡爾∣ Monique Sicard 陳政庸∣ Chen Zheng-Yong 執行編輯∣ Executive Editors 王聖閎∣ Wang Sheng-Hung 陳逸欣∣ Chen I-Hsin 郭紀舟∣ Kuo Chi-Chou

法文譯者∣ French Translators 林志明（法翻中及中翻法）∣ Lin Chi-Ming (French to Chinese and Chinese to French) 郭昱沂（法翻中）∣ Kuo Yu-I (French to Chinese) 紀嘉龢（中翻法）∣ Jacques-Yves Gigarel 意大利文譯者∣ Italian Translators 多麗娜 ‧ 艾利蒙提 （中翻意）∣ Dorina Alimonti (Chinese to Italian) 愛蓮娜 ‧ 桑塔貴斯提納 （英翻意）∣ Elena Santagiustina (English to Italian) 席維雅 ‧ 西塞里（法翻意）∣ Silvia Cesari (French to Italian) 設計總監∣ Design Director 謝岱成∣ Hsieh Tai-Cheng 專輯設計∣ Catalogue Designer 王亮尹∣ Wang Liang-Yin

圖像編輯∣ Image Editor 陳少維∣ Chen Shao-Wei 攝 影∣ Photographers 謝春德∣ Hsieh Chun-te 陳少維∣ Chen Shao-Wei 英文譯者∣ English Translators 韓伯龍（中翻英）∣ Brent Heinrich (Chinese to English) 查理斯 ‧ 潘華登（法翻英）∣ Charles Penwarden (French to English) 鄭淑敏（中翻英）∣ Su Ming Cheng (Chinese to English)

出版：太界文化創意產業有限公司 地址：10542 臺北市松山區敦化北路 262 號 1F & B1 電話：02-2545-6177 傳真：02-2514-9060 印刷單位：科億印刷股份有限公司 出版日期：2011 年 5 月 定價：新台幣 1500 元 ISBN：978-986-87243-0-3 版權所有未經許可不得刊印或轉載