Meet Glenfiddich Countless Scottish distilleries produce single malt whisky and after WWII many of these began exporting internationally. In pubs and international wine merchants across Taipei one can often see the distinctive green triangular bottles of Glenfiddich, which was first exported in the 1960’s and is now famous across the world. In 1999 and 2000 Glenfiddich distillery was named “Best Distiller” by the International Wine and Spirit Competition (IWSC), the highest accolade available in the world of wine and spirits. The founder of Glenfiddich (Glen means valley and fiddich “deer” in the local dialect), William Grant was born on December 19, 1839 in the Scottish highland town of Dufftown. On September 3, 1866, he began working at the local Mortlach distillery. This was how Grant started out in pursuit of his lifetime dream, determination and faith in his ability to produce the best whisky in the world. After 20 years of hard work Cardow distillery needed rebuilding and Grant purchased its stills, mashing and fermentaion tuns for the princely fee of 119.19 pounds. Quality water is the life blood of all whisky, because the best whisky can only be produced using fresh sweet spring water. In the autumn of the same year, William Grant also purchased a piece of land the location of the source of the Robbie Dhu spring. Whilst allowing one of his sons to become a headmaster and thereby make a salary capable of supporting the whole family, William enrolled his two daughters and six remaining sons in the building of the Glenfiddich distillery. Finally, on the evening of Christmas day 1887, the first drops of smooth luxuriant pure Glenfiddich malt whisky began to flow from the distillers. Following the establishment of the Glenfiddich single malt whisky distillery, the Grant family built the Balvenie distillery nearby. The name Balvenie is taken from that of an old castle in the area, where both Edward I and Mary Queen of Scots stayed. Not far from the Balvenie distillery, the Kininvie distillery was established in 1990 and officially opened by Mrs. Jane Roberts, 106 year old granddaughter of William Grant. The name was taken from a local place name on the banks of the River Fiddich.
a whisky business whose wares were of worldwide renown. This reputation stood the company in good stead during the 20's and 30's when Prohibition and the Great Depression, cut deeply into the sales of scotch whisky everywhere. At one time during the darkest days of the depression there were only six distilleries in production throughout all Scotland. Two of these bore the name of William Grant & Sons Ltd. and were the distilleries of Glenfiddich and Balvenie. As the world recovered from the depression and Prohibition came to an end in the USA, the world-wide popularity of blended whisky created a thirsty and successful market for the Grant's blend. The take-off of the whisky industry in the 50's led, William Grant & Sons has invested heavily in plant, people and machinery to keep pace with the rapidly growing demand for the William Grant's blend. in 1957, to the introduction of the unique William Grant's triangular bottle which immediately set it apart from its competitors. The bottle was an instant winner. The triangular design encapsulates the tradition, heritage and quality of the William Grant's blend. One side represents the success and reliability brought by five generations of an independent family business, the second its Scottish heritage and the third the blend's taste, smoothness and aroma.
Birth of a Blend The inspiration behind the birth of the William Grant's blend was the greatest disaster the scotch whisky industry had ever known! In 1898, Pattison Limited, one of the largest blenders and wholesale merchants in the country went bankrupt. They had been William Grant's biggest buyers. William Grant and his sons made the courageous decision to expand the business into blending themselves and to start exporting overseas. William Grant next brought his son-in-law Charles Gordon, a former school teacher, into the firm. Charles established a whisky store in the basement of a disused church in Glasgow's Gorbals where William Grant's whisky was first blended. The first Grant's bottles carried the old war-cry of the Clan Grant. "Stand Fast". Charles Gordon immediately began his sales drive on the streets of Glasgow, but it was only on his 181st call that he made his first sale - one dozen bottles of Grant's for £1-15-0d (£1.75p). After 503 calls he had still only sold 12 bottles. And by doggedness and hard work Charles began to build up the reputation of the Grant's blend as a consistent, high quality product. William Grant's son, John, sailed to Canada in the same year and opened up the company's first agencies in Canada and the United States. In 1909, Charles Gordon toured the East including India, Malaya, Australia and New Zealand By August 1914 the company had established 60 agencies in 30 different countries. Grant's is sold in over 180 countries. The war hurt the whisky industry badly. Grain supplies were diverted to the manufacture of explosives and beer. William Grant & Sons had to stop distilling completely in 1917 and were only able to start again in May 1919. When William Grant died in 1923, at the age of 85, he had laid the foundations of
The Glenfiddich Artists in Residence programme
Glenfiddich 30 Year Old vs. Year Zero Punk
Andy Fairgrieve
Andy Fairgrieve
The programme has now been run each year at the Glenfiddich Distillery since 2002. From the outset it was desired that the programme should involve itself with contempary conceptual art. That it should be international in it scope and that above all the residency should revolve around giving the artists space, time and resource. In the first year 50% start up funding was secured from Arts and Business Scotland. Each year since the programme has been 100% funded by William Grant and Sons. In those early days a frequently asked question was, why should a whisky company want to become involved in art? The answer always, why not? Whisky itself is a sensual, esoteric pleasure. The method of production is a subject that can be explained scientifically yet remains an art. While across the industry itself there is an understanding which values the importance of dedication to ones craft, and knows that special things take time to develop. It can be seen that the qualities required to make good art and good whisky are not dissimilar. In addition to this, the fact that the programme was being run by one of the few independent family owned companies left in the industry gives an even great strength to the project. William Grant and Sons have a strong track record of innovation while maintaining tradition. With a history of decisions that at the time seem to go against the accepted norm yet go on to make perfect sense. Over the first three years the programme sourced artists only from around Europe, including high profile Scottish artists such as Kenny Hunter, Roderick Buchannan, Jacqueline Donachie, Louise Hopkins, Christine Borland and Ross Sinclair. Other participants were drawn from France, (Philippe Bazin, Matthieu Laurette, Matthieu Manche) Spain, (Montserrat Soto) Austria (Willhiem Scherübl, Michael Kienzer Wolfgang Capperalli) Germany, Denmark, Italy and Sweden. Also included each year was a recent graduate from Gray’ s School of Art in Aberdeen. On average each year has seen 7 artists in residence. Selection is achieved through contacting a number of galleries and curators working in the countries artists are to be drawn from. They then provide a list of names they feel are suitable for such a programme. Final selection is made by the residency project team, Consisting of the project team based at the distillery and brand managers from each country the artists are drawn from. Each artist is given a monthly payment, a production budget, accommodation in a self contained house on site and travel expenses. Studio space is provided within the artist’s living space but if required other, more suitable work spaces can be provided across the site. In 2005 the programme was extended to bring in artists from around the world reflecting Glenfiddich status as a global brand leader. In this year as well as artists from the UK (Alison Watt) France (Bertrand Gadenne) and Germany (Jochen Flinzer) the door was opened to artists from Argentina (Claudio Caldini) Canada (Myfanwy Macleod) Taiwan (Chen Hui-chiao) and USA (War-
ren Niedich). 2007 saw another major adjustment to the programme with an increase in material budgets bringing the total residency award to £10 000 plus travel and accommodation for each artist. Another big change has been the decision to broaden the scope beyond simply just visual art and include other forms of creative expression and to these ends this year we appointed our first musician/composer in residence Edinburgh based John Kenny. Also for the first time we asked artists for a rough proposal of how they intended to spend their time during the residency as part of the overall selection process. This not only reflected the increased confidence the company has it in its programme but also indicates the development of curatorial drive that has began to emerge almost organically over the previous years. This drive was born out of the one simple truth about Scottish malt whisky. Across the industry each distiller uses the same three ingredients, malted barley, spring water and yeast. These ingredients are then all put through the same processes of mashing, fermentation distillation and maturation, yet each distillery still manages to produce a spirit with its own unique character. In short Glenfiddich single malt can only be produced at The Glenfiddich distillery. With this truth in mind for 2007 we have perhaps been more prescriptive than we have been in the past when issuing terms of reference and briefing artists. Desiring that not only do they produce work that they could not have produced else where but also that they should be responsive to the location. The Glenfiddich Distillery offers a wealth of inspirations to the inquiring and responsive mind. From the heritage and history to the community and environment. The brand itself and the process it undergoes in production are all valid areas for artist examination just as the iconic status the spirit enjoys in relation to a construction of national identity could be. For truly creative and enquiring minds there is no shortage of inspiration to be found at Glenfiddich. So that residents have adequate time to observe, absorb, reflect and create. We insist that only artists who can commit to a full term of three months should be selected. While we are happy to allow artists to spread this time over a number of weeks we still desire to create some form of community over the main months of summer. This reinforced idea of an artist’s village, a term first employed by Taiwanese artist Chen Hui-chiao as a descriptor of her experiences in residence during 2005. In that, while the act of creative expression is often a solitary affair. We feel it is important that the artists participating have a social support group of their peers. The interactions between the artists are in themselves often as interesting as the work they go on to produce. Of course one extra element of the programme is the lasting impressions made in the minds of the artists and how these are translated into future works long after they have left the hills of Speyside behind.
70年代
80年代
The departure point for Year Zero Punk comes from a very special dram of Scotch whisky. That in itself it not unusual. For many years the Scots have held that their ‘water of life’ is indeed a rather inspirational spirit. From poetry to song and now visual art, whisky has long been accredited as being a lubricant aiding the creative process. Where this drop of liquid inspiration is unusual though comes not from the fact that it is a single malt whisky, meaning that every drop created only ever comes from one distillery. Surprisingly, when set against the background of an industry that is dominated by a handful of multi national consortiums. It is also not simply because that the distillery that creates this single malt whisky is still fully independent and owned by the same family that brought it into existence in 1887. Although these qualities of independence and continuity are in themselves something to be valued and have more than a passing relevance to this presentation. Where I feel that this dram truly inspires comes from it’s age, or perhaps more abstractly from thinking about it age. This very special dram is the Glenfiddich 30 year old. In genealogical terms 30 years can be conceptualised as the passing of one generation. Since this spirit was distilled at The Glenfiddich Distillery 30 years ago it has lain in an oak cask, slowly maturing, absorbing and building its character from the wood and the passing of the Scottish seasons, making every year count until now,2007 when it has been bottled and made ready to be enjoyed, a gift from one generation to the next. Of course year zero for this dram was 1977, which itself is remembered as a rather special year in terms of popular culture. It is often argued that as a movement or ideology, punk begin some years before 1977. This is most true in parts of America and in London , but for most people of my generation who were living across the UK 1977 was the year that we first really became punk aware. I have often wished I could give my own personal version of punk history, as most other accounts often seem to treat punk as a fashion that largely ended in the early 80’s. As if it had been washed aside by the rise of the new romantics and the rather clumsily entitled new wave of British heavy metal (or N.W.O.B.H.M for short) Yet many of the bands from the first wave punk went on to enjoy some chart success through out the 80’s with varying levels of damage to or totally abandoning their punk values along the way. Others plodded on, possibly remaining closer to their punk origins but by thrashing out the same old tired clichés and maintaining the stereotypical image often came to become no more than a parody of themselves . Quite a few of these
Year Zero Punk play list
「龐克紀元元年」播放清單
bands still exist today playing large scale gigs such as the Wasted festival. Events such as these are certainly popular with younger punks keen to see and hear the heroes of yesteryear and those of a certain age who forget the humdrum existence of middle aged life and once again relive the glories of their youth. However in many ways these large syndicated punk events are trapped in their own nostalgia. My relationship with punk has taken me on a different path from the above. It begins in the closing days of 1976 and continues to the present day. My aim is to present a musical history of punk as it has paralleled the past 30 years of my life. How the experiences it has provided me with have informed and imparted something to my character. As an analogy it could be said that over these past 30 years punk has been one of the staves that makes the cask of my spirit.
Year Zero Punk play I have selected 45 7” records. 45 rpm is not only the speed 7” records are traditionally played at, (although many of the later records play at 33 rpm) the cost of buying a 7” record in the late 1970’s was around 45p. Above this the number 45 also signifies one record for each year of my life so far. I restricted myself to 7” records because personally I feel they are the archetypal format for punk. In the days before CD and mp3‘s, vinyl was king. Even today vinyl is still seen as a more respected format for releases. While CDR’ s or downloads are now by far and way the most usual route for bands looking to bring out their own material, just as cassettes used to be but vinyl still holds some sense of authority and authenticity. The majority of the records come from my own collection although I am must thank my long time friend Oengus for allowing me to borrow one or two from him to help fill a few gaps that I could not have filled with out resorting to 12” vinyl or CD. The records are presented chronologically from 1977 to the present day but not each year is represented. I have attempted to avoid some of the more obvious choices from the early years. Most of these tracks are readily available on the multitude of ‘ Best punk album in the world’ type compilations. Instead I have tried to show how that very early on one of punks main values, the ethos of do it yourself or D.I.Y, came to emerge and evolved to shape my experiences. Footnotes for the play list will I hope, offer some background to the bands and the time as well as some further introduction to the personal relationships I have come to enjoy and value in my life. I am most grateful of course to the support of Chen Hui-chiao, Yao Jui-chung, Peter Gordon and my colleagues from William Grant and Sons here in Taiwan David Li and Eric Huang for allowing me this indulgence.
90年代
1. 碰撞：1977。CBS 1977 2. 雷蒙斯：席娜是龐克搖滾歌手。Sire 1977 3. 殺人玩具：強尼不會上天堂。Raw 1977 4. 摩托黨：摩托黨。BigBeat licensed from Chiswick 1977 5. 金屬市郊：接觸秘訣。Rough Trade 1977 6. A.T.V.：長多少。Deptford Fun City 1977 7. 可麗舒紙巾：不是你。Rough Trade 1978 8. 強尼助動車：難得有情郎。Chiswick 1978 9. 蘇西與冥妖：白愛。Polydor 1978 10. 亞當和螞蟻：德意志女孩。EG 1978 11. 詛咒：情歌。Chiswick 1979 12. 13. 14. 15. 16. 17. 18. 19.
放電：回擊。Clay 1980 粗魯：血淋淋的革命：Crass 1980
70’s 1. The Clash: 1977. CBS 1977 2. The Ramones: Sheena is a punk rocker. Sire 1977 3. The Killjoys: Johnny won’t get to heaven. Raw 1977 4. Motorhead: Motorhead. BigBeat licensed from Chiswick 1977 5. Metal Urbain: Cle de Contact. Rough Trade 1977 6. A.T.V.: How much longer. Deptford Fun City 1977 7. Kleenex: Ain’t you. Rough Trade 1978 8. Johnny Moped: Hard lovin man. Chiswick 1978 9. Siouxsie and the Banshees: Love in a void. Polydor 1978 10. Adam and the Ants: Deutscher girls. EG 1978 11. Damned: Love song. Chiswick 1979 80’s 12. Discharge: Fight back. Clay 1980
粗魯：大A 小A：Crass 1980
13. Crass: Bloody revolutions: Crass 1980
Zounds：推翻。Crass 1980 衝突：情歌已死。Mortarhate 1984 衝突：強大與優越。Mortarhate 1985 有夠恐怖的噪音：感化院突圍（69騙局）198?
14. Crass: Big A little A: Crass 1980
煽動叛亂：要不就跟死亡喬喬看。
18. Extreme Noise Terror: Borstal breakout (Sham 69) 198?
Blistering barnacle records 198?
19. Sedition: Or dealing with death. Blistering barnacle records 198?
20. 東洋眼：恐懼規則。Worried sheep 1994 21. 布里茲涅夫：好個散步天。Vitaminepillen 1996 22 . Scatha：Ｘ他的系統。Anonymous/enslaved 1996 23. Oi Polloi：Ｘ他的全國樂透。Rugger bugger 1997 24. 鄉巴佬：生活方式。Spiral objective 1997 25. Tolshock：從父到子。 Panoptic vision/farewell/ borkenkafer records 1998 26. 水芹：褻瀆。Worried sheep 1998 27. Oi Polloi：我的眼睛。Camary 1998 28. 啤酒肚100：暴力邀請函。Ph records 1999
15. Zounds: Subvert. Crass 1980 16. Conflict: The serenade is dead. Mortarhate 1984 17. Conflict: Mighty and Superior. Mortarhate 1985
90’s 20. Japs Eye: Rule of fear. Worried sheep. 1994 21. Brezhnev: Nice day for a walk. Vitaminepillen 1996 22. Scatha: F**k the System. Anonymous/enslaved 1996 23. Oi Polloi: F**k the national lottery. Rugger bugger 1997 24. Yokel: Life’s way. Spiral objective 1997 25. Tolshock: From father to son. Panoptic vision/farewell/ borkenkafer records 1998 26. Cress: Violate. Worried sheep 1998 27. Oi Polloi: Mien augen. Camary 1998 28. Beergut 100: Invitation to violence. Ph records 1999
2000年代 29. Fastard：巴巴拉．卡特蘭屍體。Insane society 2001
30. Fastard：褻瀆創造。Brew 2001 31. 不友好：Miten luonta vastaa, Pathetique2001 32. Scatha：大叫。 Panoptic vision/crime scene/anonymous 2002 33. Kansalaistottelemattomuus：Ｘ他們的Ｘ系統 Kämäset Levyet 2002 34. 死亡模子：撒旦崽子。Spore 2004 35. 惡性腫瘤：來自橢圓寶座的命令。 Insane society 200 36. Moshtradamosh：Sauron you c**t。 Thrashwax 2004 37. Filthpact：文化信貸。Black box 2004 38. 亞美利加保護傘：搖滾卯上戰爭卯上恐怖主義。 Brew 2005 39. Atomgevitter：毒液在哪兒？ Problem 2005 40. Oi Polloi：Deiseil’s Deonach。Problem 2006 41. 戰爭永不止息：死亡吵鬧聲。Crime scene 2007 42. 卡緊：不和諧。Problem 2007 43. 黑色姐妹花：邪惡的司機。Problem 2007 44. Filthpact：D-beat就是愛。Problem 2007-10-09 45. 性手槍：上帝拯救女王。Virgin 181
00’s 29. Fastard: Barbara Cartlands corpse. Insane society 2001 30. Fastard: Desecrate to create. Brew 2001 31. Unkind: Miten luonta vastaa Pathetique2001 32. Scatha: Rant Panoptic vision/crime scene/anonymous 2002 33. Kansalaistottelemattomuus: F**k their f**king system. Kämäset Levyet 2002 34. Death Mold: Spawn of Satan. Spore 2004 35. Malignant tumour: Commands from the oval throne. Insane society 2004 36. Moshtradamosh: Sauron you c**t. Thrashwax 2004 37. Filthpact: Credit culture. Black box 2004 38. Pax Americana: Rockagainstwaragainstterrorism. Brew 2005 39. Atomgevitter: Where’s the venom? Problem 2005 40. Oi Polloi: Deiseil’s Deonach. Problem 2006 41. War All the Time: The death rattle. Crime scene 2007 42. Step on it: Dissonance Problem 2007 43. Black Sister: Unholy driver. Problem 2007 44. Filthpact: D-beat is love. Problem 2007-10-09 45. Sex Pistols: God save the queen. Virgin 181
WHISKY ART and PUNK night
Year Zero Punk vs. GF 30year old Whisky resentation, Sharing & Tasting ime: 8:30 - 10:30pm, Fri., 02 November. Venue: VT Artsalon
WONDERFUL Solo Exhibition by Yao Jui-Chung 3 November ~ 08 December, 2007 Opening Reception: 7:00pm, Sat., 03 November.
he Glenfiddich Artists in Residence programme 認識格蘭菲迪 ntroduction by Andy Fairgrieve ime:在蘇格蘭有無數釀造單一純麥威士忌的酒廠，於二次世界大戰 8:00 - 9:00pm. Sat., 03 November. 蘭氏族作戰時的吶喊： 「屹立不搖」。 之後，向世界進軍，在台北各 Pub 與國際酒店常見到的綠色三 查理．高登立刻在格拉斯哥市挨家挨戶地沿街兜售，但直到第 Venue: IT Park Gallery 角瓶裝 Glenfiddich，從1960年代開始外銷，進軍世界。格蘭菲迪 一百八十一次，才終於有人以 1.75 英鎊向他買下了一打格蘭特 蒸餾廠，因其對卓越品質的不斷追求，在1999，2000連續兩年榮
製品，然後到第五百零三次時，依舊是只賣出那十二瓶。但查
獲國際釀酒比賽（IWSC） “ 最佳釀酒商 ”的稱號。這是釀酒行中 理．高登以堅強不屈的意志和辛勤努力，開始為格蘭特調和威 龐克紀元元年vs.格蘭菲迪30年單一純麥威士忌
格蘭菲迪藝術家駐村計畫簡介
. 克紀元元年 格蘭菲迪 30 年單一純麥威士忌 vs. 龐
安迪．費爾葛瑞夫
安迪．費爾葛瑞夫
從2002年起，本藝術家駐村計畫每年都在格藍菲迪酒廠舉辦。
圍從單純的唯有視覺藝術擴大至包含其他形式的創意表現，為
「龐克紀元元年」出發點來自於一種非常特別的蘇格蘭威士忌
英雄重現，至於那些想忘了中年單調無趣的生活，從而想再次
最初期許該計畫能融入當代藝術概念，也就是說必須具有國際
了達成這些目標，今年我們還任命愛丁堡藝術村的約翰．坎尼
──不過，蘇格蘭威士忌本身就極不尋常，因為，長久以來蘇
體驗到自己年輕時期的美好時光的某特定中年族群也會趨之若
規模，最重要的是藝術村全境的氛圍必需能夠提供藝術家創作
（John Kenny）為進駐本村的第一位音樂家／作曲家。同時我們
格蘭人都視其為「生命之水」，威士忌的確是種相當令人心醉神
鶩。然而在許多方面，這些大型的龐克聯合演出卻被它們自己
的空間、時間與資源。
也首度要求藝術家提供簡單的提案，概略說明駐村期間他們打
馳的烈酒。不論從詩詞到歌賦，乃至於到現在的視覺藝術，威
的「想當年」給綁住了。
第一年的創村資金，百分之五十來自於蘇格蘭藝術與企業委員
算如何支配時間，以作為整體遴選考量的部份參考。這不僅反
士忌一直都被譽為是種有助於創作的潤滑劑。
我與龐克的淵源讓我這一路走來與以上所提到的經歷有點不
會（Arts and Business Scotland）的補助。往後該計畫每年則全部由
應出了本公司對此計劃更具信心，也顯示了我們的策展魄力，
雖說那滴可激發靈感的瓊漿玉液很不尋常，但卻並非由於它是
同。我的龐克之路始於1976年底，一直持續到現在。我的目標
威廉‧格蘭父子公司（William Grant & Sons）資助。想當年大家經
其實從前幾年起，我們便已經系統性地在進行了。
來自於單一麥芽威士忌，而是意味著製作出來的每滴心血全部
在於介紹龐克的音樂史，因為它與我過去三十年的生活同步進
常問我們一個問題：威士忌公司為什麼會想參與藝術？我們的
這股魄力源自於一個蘇格蘭麥芽威士忌的簡單事實。雖然威士
都來自於同一酒廠。
行。我的龐克生活經驗教導了我、傳授了我，從而造就了我的
答覆永遠都是：為什麼不？
忌產業中，每臺蒸餾器都放入三種同樣的成份：含麥芽的大
當我進駐到這個由此善於經營的跨國財團旗下的酒廠時，我感
特色。我可以打個比方，過去三十年來，龐克就像裝盛了我這
威士忌本身就可帶來感官享受與不可言喻的樂趣。雖然可以科
麥、泉水與酵母。接著這些成份便會全部都透過同樣的搗碎、
到非常驚訝。其之所以令我驚訝，並非光指製造此單一麥芽威
款烈酒的酒桶的其中一塊桶板。
學的角度去解釋威士忌的生產方法，但不可諱言的，它畢竟依
發酵蒸餾和熟釀的製程，但是每間酒廠依然會設法去製造出突
士忌的酒廠依然充分獨立而言，同時也因為該廠依然由1887 年
然是種藝術。綜觀生產威士忌產業本身，我們理解到全力奉獻
顯品牌特點的烈酒。
創廠的同一家族所擁有。獨立與永續經營的這些優點本身就是
龐克紀元元年的播放
在此行業的重要性，也知道了特殊的東西是需要時間方得以發
簡言之，惟有格蘭菲迪酒廠方能製造出格蘭菲迪的單一麥芽威
件值得珍視的事，同時也與本介紹關係密切。
我選擇採用 7 吋 45 轉的唱片。每分鐘 45 轉並不是 7 吋唱片唯一的
展的。就像要有好的品質，就必需有好的藝術，好的威士忌亦
士忌。我們將此僅記於心，因而在 2007 年時，或許我們對藝
我認為這種品牌的威士忌真正能啟發靈感的原因就是其悠久的
傳統播放速度（後來許多唱片都是每分鐘33轉），1970 年代晚期
如是。此外，透過威士忌產業中少數家族獨資企業去進行這項
術家的遴選標準與指示規定都較之前更為嚴格。我們就是希望
歷史，或者更抽象點說，是當我們想到它的悠久歷史。
買一張7吋唱片的花費大約在45磅左右。而上面提到的「45 轉」
駐村計畫，反而讓此計畫的威力更形強大。因為威廉‧格蘭父
藝術家們創作出來的作品，不僅是他們在別的地方所無法辦到
這個風味獨特的威士忌便是格蘭菲迪30年純麥威士忌。
也象徵了我這一生到目前為止每一年的一種紀事，因為我今年
子公司不但積極維護傳統，對創新更是不遺餘力。事實上，當
的，同時更應善加利用駐村所在地。
就宗譜學專用術語來說，三十年可以概念化為歷經一個世代。
正好45歲。
初做出要讓藝術家駐在酒廠中的決策時，似乎有點離經叛道，
凡是具懷疑精神，有顆敏感的心的藝術家，格蘭菲迪酒廠都是
因為這種烈酒是於三十年前便存放在於格蘭菲迪酒廠的橡木酒
我嚴格要求自己採用7吋唱片，因為我覺得這是龐克音樂最原始
但如今卻締造出了完美的果實。
最佳創作泉源，不論從對社區與環境的傳承或歷史的角度看皆
桶裡，然後慢慢透過木頭和蘇格蘭的季節更迭而釀熟、吸收，
的播放格式。在 CD 和 MP3 之前，是由乙烯基（即所謂的黑膠唱
此計畫前三年，參與本計劃的藝術家僅來自於歐洲一帶，其
然。格蘭菲迪這個品牌本身及其所有生產區間都可提供藝術家
片）稱王。即使到了今天，黑膠唱片仍然是種極受尊敬的發行
Year Zero Punk vs. GF 30year old Whisky Presentation, Sharing & Tasting Time: 8:30 - 10:30pm, Fri., 02 November. Venue: VT Artsalon
所能得到的最高獎勵。
士忌樹立了一個始終如一、品質優良的產品形象。威廉‧格蘭
中包括了聲譽卓著的蘇格蘭藝術家，如：坎尼‧韓特（ Kenny
去觀察體驗，別忘了還有本品牌的烈酒有可能代表國家身分的
從而孕育出其獨特的風味。三十年中的每一年都很重要，直到 現在，2007 年方被裝瓶，準備妥當，可供享用 …… 一份從上個
格蘭菲迪（ Glenfiddich, Glen 是峽谷， fiddich 當地語指的是鹿）
的兒子約翰‧格蘭（John Grant）1904 年渡海到加拿大，成立了
Hunter ）、羅德里克．布察南（ Roderick Buchannan ）、賈桂 琳‧朵娜希（ Jacqueline Donachie ）、路易絲．霍普金斯（ Louise Hopkins ）、克麗絲汀‧波爾蘭（ Christine Borland ）和羅斯‧辛 克萊（ Ross Sinclair ）。其它駐村藝術家，還有來自法國的菲利 普‧巴贊(Philippe Bazin）、瑪迪厄‧洛亥特（Matthieu Laurette）、 瑪迪厄‧曼區（ Matthieu Manche ），西班牙的蒙塞拉‧索多 （Montserrat Soto），奧地利的威廉‧契魯伯（Willhiem Scherübl）、 邁克爾．奇昂祡（Michael Kienzer） 、沃夫干‧卡伯哈里（Wolfgang Capperalli ），以及來自德國、丹麥、義大利和瑞典等國的藝術 家。此外，每年甫由位於亞伯丁的蓋瑞藝術學校（Gray’s School of Art）畢業的學生也包括在內。平均一年有會七位藝術家進駐
偶像地位。對真正有創意、具好奇心的頭腦來說，格蘭菲迪絕
世代傳承到下個世代的禮物於焉而生。
種格式也是樂團促銷自己所最常利用的途徑，就跟以前的錄音
對可以提供源源不絕的靈感。
當然對這種威士忌來說，其世紀元年就是1977 年，其實1977年
帶一樣──但是黑膠唱片依然帶有某程度的權威性與正宗性。
為了駐村藝術家能有充分時間去觀察、吸收、反芻與創造。我
本身在大眾文化上就是非常特別的一年。雖說龐克成為一種
大多數的唱片來自於我自己的收藏，不過我還是得感謝多年來
們堅持，惟有能於三個月中全心投入的藝術家才會雀屏中選。
運動或思想體系，就是始於1977 年前不久，這點經常受到爭論
的好友歐恩格絲（Oengus），他借了我一兩張以彌補我無法以12
在欣然允諾藝術家發揮創意之際，我們依然希望能製定某種社
（尤其對美國與倫敦而言，更是眾說紛紜），但對我這個世代
吋黑膠唱片或CD補齊的不足。
群形式，最主要是在夏季的月份期間。此一強化藝術村的想
住在英國的大部分人來說，1977是我們真正開始了解龐克的一
我會從1977年到現在為止，按照年代來介紹這些唱片，不過可
法，首先施行於 2005 年臺灣藝術家陳慧嶠，也成了她駐村經驗
年。
能沒有涵括到每一年。我有刻意避免選出一些最出名的早期作
的一大特色。由於創意表達行動經常都是孤單的事件，因而我
我常常都希望能以自己的觀點去檢視龐克歷史。大部分的人似
品，因為這些作品大多數都還有以合集形式收於「全球最佳龐
們認為藝術參與應該受到由其同儕組成的社會團隊支持，這點
乎都將龐克視為於80年代初期便已幾乎式微了的一種流行，因
克專輯」中。我反而希望儘量將最早期龐克的其中一項主要
是很重要的。藝術家之間的互動本身，往往都與藝術家的創造
為當時龐克受到新浪漫主義興起的衝擊，尤其是名不符實的英
價值顯示出來，那就是──突顯龐克「自己幹」（或 DIY ）的特
龐克紀元元年 vs. 格蘭菲迪30年單一純麥威士忌
作品一樣有趣。
國重金屬（或簡稱N.W.O.B.H.M）開始引領新潮流。孰不知許多龐
質，我的個人經驗便是透過這種DIY特質的孕育與融合所形塑而
引薦、分享和品嘗
本藝術村。
當然本計劃還須要列入思考的方向尚有：如何能在藝術家心目
克初領風潮時便興起的樂團，在整個80年代還依然相當活躍，
成的。但願，播放歌曲清單的簡單說明能提供大家一些相關樂
時間：2007年11月02日，星期五，下午 8:30 -10:30 地點：非常廟藝文空間 台北市伊通街45&47號地下樓
的創始人威廉．格蘭 1839 年12月19日生於蘇格蘭高地的道佛鎮 威廉．格蘭企業在美加一帶第一個代理商。1909 年查理‧高登 引薦、分享和品酒 （Dufftown）。1866 年9月3日，開始在當地一家名為Mortlach的釀 則到東方旅行拓展市場，包括印度、馬來西亞、澳洲和紐西蘭 時間：2007年11月03日，星期五，下午 8:30 -10:30 酒廠工作。由此，威廉．格蘭畢生所追求的夢想開始萌芽，信 等地。到了1914 年 8 月，該公司在全球已設有六十個代理商， 念堅定地要造出世界上最好的威士忌。花了 20 年漫長的時間， 分布在三十個不同國家。 地點：非常廟藝文空間 台北市伊通街45&47號地下樓 終於實現這個夢想。1886 年夏天，由於 Cardow 釀酒廠要更新重
然而，戰爭重挫了威士忌產業。穀物供應被改為製造炸藥和啤
建，威廉．格蘭用 119.19 英鎊買下該廠的蒸餾器及酒槽等。高
酒。威廉．格蘭父子公司也不得不於 1917 年全面停止生產，直
忘德賦─姚瑞中個展 品質的水源是威士忌的生命，只有清醇甘甜的泉水，才符合釀 到 1919 年 5 月才又再度復業。當 1923 年威廉．格蘭以八十五歲 造級品威士忌的要求，同年秋天，威廉．格蘭又買下了羅比多 高齡過世時，已經為著個世界聞名的威士忌企業打好了基礎。 時間：2007年11月03日 ~ 12月08日 （Robbie Dhu）泉水源頭的一片土地。威廉．格蘭除了讓一個兒 這份基礎使得威廉．格蘭父子公司在世界各地雖歷經多次的提 酒會：2007年11月03日，星期六，下午 7:00 子當校長養家糊口外，親自率領他的兩個女兒和六個兒子，一 高稅賦和戒酒運動，與經濟大蕭條影響而致蘇格蘭威士忌銷售 磚一瓦地建造了格蘭菲迪蒸餾廠。終於在 1887 年聖誕夜那天， 量重創的二○年代和三○年代，依舊可以維持穩固地位。在經 地點：伊通公園 台北市伊通街41-1號2樓
格式。即使到了CDRom或下載如此盛行的今日──而且以上兩
WONDERFUL Solo Exhibition by Yao Jui-Chung 03 November ~ 08 December, 2007 Opening Reception: 7:00pm, Sat., 03 November. The Glenfiddich Artists in Residence programme Introduction by Andy Fairgrieve Time: 8:00 - 9:00pm. Sat., 03 November. Venue: IT Park Gallery
第一滴圓潤和醇厚的格蘭菲迪純麥威士忌從蒸餾器中緩緩流
濟大蕭條最嚴重的恐慌時期，蘇格蘭全境一度只剩下六家蒸餾
至於駐村藝術家的遴選方式則是透過與各藝術家來源國的藝廊
中留下持久的印象？昔日藝術家們留在斯佩塞（Speyside）小山
只不過或多或少損及了龐克精神，要不就是一路走來，完全捨
團與年代的背景，同時也算是針對我這一生樂在其中、非常珍
出。繼格蘭菲迪（single malt whisky）蒸餾廠之後，格蘭家族又於
酒廠還在生產，其中兩家便是威廉．格蘭家族企業中的 Glenfid-
以及策展人聯繫，請他們先提供自己認為符合本駐村計畫的藝
區的這些藝術品，又該如何為日後創作所用呢？
棄了自己的龐克價值。雖然有其他的樂團勉力藉由鑽研陳腔濫
惜的個人與龐克的關係做進一步的介紹。
術家名單，再由藝術村計畫團隊做出最後決定。該團隊由這些
調，維護龐克刻板形象，以盡可能保有龐克原貌，但卻往往流
我 最 感 謝 的 當 然 就 是 陳 慧 嶠 、 姚 瑞 中 、 彼 得 ． 高 登（ Peter
忘德賦 ─ 姚瑞中個展
初選出來的藝術家來源國的蒸餾廠及品牌經理所組成。每位藝
於拙劣模仿。好些樂團今天依然健在，在諸如報廢龐克音樂節
時間：2007年11月03日 ~ 12月08日
術家除了可以支領月薪外，還會有一筆創作材料費，且享有位
（Wasted Festival）上做大規模的演唱。諸如此類的演出大事當然
Gordon）對我的支持，以及隨我一同前來臺灣的威廉‧格蘭父 子公司（William Grant and Sons）的同事李正祜和黃麟對我的百般
於本藝術村中一幢獨立且舒適的住所，以及旅行開支。藝術家
會受到年輕的龐克族歡迎，因為他們急於看到和聽到往昔龐克
容忍。
地點：伊通公園 台北市伊通街41號2/3樓
該蒸餾廠不遠處建造了 Balvenie 蒸餾廠，1892 年兩家蒸餾廠由地 dch 和 Balvenie 釀酒廠。 格蘭菲迪藝術家駐村計畫介紹 下通道相互連接，Balvenie來自位在這廠區裡的“ 古堡 ”名；愛 隨著全世界因美國廢止禁酒令和經濟蕭條結束而逐漸復甦，五 時間：2007年11月03日，星期六，下午 8:00-9:00 德華一世和蘇格蘭女王瑪麗都曾在這古堡居住過。離 Balvenie 蒸 ○年代威士忌產業開始起飛，調和威士忌再度廣受到全球的 餾廠不遠的地方，另一家蒸餾廠 Kininvie 於1990年由威廉．格蘭 歡迎，為符合快速成長的市場需求，威廉．格蘭父子公司在建 地點：伊通公園 台北市伊通街41-1號2樓
酒會：2007年11月03日，星期六，下午 7:00
的孫女 Mrs. Jane Roberts 建立，她現齡 106 歲；至於，廠名的由
廠、人員與機器設備上大量地投資與建設。為了酒廠的傳統、
的工作室就位於住所之中，但若需要額外或更為合適的工作空
來是菲迪河（River Fiddich）旁的地名。
人文遺產和品質，於1957年設計了獨特的三角瓶裝，代表著這
間，藝術村亦會予以配合。
格蘭菲迪藝術家駐村計畫介紹
家族企業五代以來的傳承和信賴，同時亦象徵著威士忌製造的
時間：2007年11月03日，星期六，下午 8:00-9:00
威廉‧格蘭調和威士忌的誕生，是源自於蘇格蘭威士忌釀造業
成到裝瓶上市，在重視生態保育及秉持「絕不妥協」的理念
有史以來最大一次的災難所促成。1898 年，全英最大的調和威
下，如今 Glenfiddch 不僅是純麥威士忌中的龍頭，以獨立、追求
士忌製造商和批發商派特森有限公司（Pattison Limited）倒閉了，
極致的精神，釀製出獲獎無數的威士忌知名品牌，在其它兢爭
而這家公司正是威廉．格蘭的最大買主。 於此，威廉．格蘭父
者中獨領風騷贏得先機外。而且是蘇格蘭目前唯一在自家酒廠
子做了一個大膽的決定，將他們的事業伸往調和威士忌領域，
完成製造，熟成並使用同一水源裝瓶的蘇格蘭高地單一存麥威
2005 年，本計劃擴及邀請來自世界各地的藝術家，接待了來 自英國的藝術家阿里森．瓦特（ Alison Watt ）、法國的貝特杭． 卡丹（ Bertrand Gadenne ），以及德國的約參．弗林茲（ Jochen Flinzer ），此外也廣開大門歡迎阿根廷的克羅迪歐．卡爾狄 尼（ Claudio Caldini ）、加拿大的梅凡尼．瑪克雷歐（ Myfanwy Macleod）、臺灣的陳慧嶠（Chen Hui-chiao）以及美國的華倫．尼 蒂許（Warren Niedich）。這反應出了格蘭菲迪居於全球領導品牌
並開始向海外銷售。於是把原來擔任學校教席的女婿查理．高
士忌（single malt Scotch whisky）。如今格蘭產品在超過一百八十
的地位。
登（Charles Gordon）找來，由他在格拉斯哥（Glasgow）的 Gorbals
個國家銷售，這要歸功於早期的拓展精神。 威廉．格蘭父子公
2007 年，本藝術家駐村計劃有了重大調整：將對創作材料費的
區一個廢棄教堂的地下室開設一家威士忌酒舖。威廉．格蘭的
司現在是英國十大私人企業之一，近年來所生產的威士忌，在
獎助提高至一萬英磅（約折合台幣六十七萬元），加上每位藝術
調和威士忌最早便是在那個地區調製出來，酒瓶上帶有古代格
蘇格蘭所生產的全部威士忌中，所佔比例已超過百分之十。
家均可享有旅行補助及免費住宿。另一重要更動便是決定將範
調合威士忌的誕生 主辦 協辦 策劃
三大元素，水、大麥和空氣。從發芽、糖化、發酵、蒸餾、熟
地點：伊通公園 台北市伊通街41號2/3樓
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協辦 Co-organizer by
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