2010 time machine anywhere door

/

時光機 與 任意門

17.07.2010 – 14.08.2010

IT Park Number 41, 2nd floor, Yi-Tong Street, Taipei, Taiwan 10486 886-2-25077243, http://www.itpark.com.tw/

陳界仁 約瑟夫 華爾許 克萊兒 霍普 馬克艾瑞爾華勒 吳尚霖

curated by

策展人 楊凱婷

楊凱婷 Time Machine & Anywhere Door features the work of two Taiwanese video artists; Chen Chieh Jen and Wu Shang Lin, and three British video artists; Mark Aerial Waller, Claire Hooper and Joseph Walsh. The title of the show refers to the two movements which can be seen to happen in cinema or moving image work, or the imagination in general: The ability to travel anywhere in both time and space. This exhibition creates a bridge, momentarily, between contemporary video in Taipei and London. This happens on a bijou scale, rather than the familiar large institutional scale, or within the international biennale framework, which makes this Time Machine & Anywhere Door a more personal and concentrated experience.

Beyond the obvious shared medium, these artist might appear to be concerned with quite different themes, certainly the aesthetic of the work is divergent, but all share a view to the historical past and future of the culture to which they belong.

Waller’s The Flipside of Darkness is part of a series of works that base narratives in Greek mythology, the very foundation of western civilization. Hooper’ work The Blessing takes it’s starting point from the meditations and visions of a medieval Christian nun. Although these works are rooted in a mythological past, the style of filming and editing is very contemporary and does not hold on to traditional narrative structure. Waller’s deliberate use of non-actors alongside professionals, of low-fi effects and jarring cuts ruptures the expression of his narrative. Hooper’s method of collaging scenes with a sci-fi or psychedelic feel, peels away at a core narrative ultimately rendering it completely abstract.

「時光機與任意門」特別報導兩位台灣錄像藝術家：陳界 仁、吳尚霖 ; 以及三位英國錄像藝術家：馬克．艾瑞爾華 勒、克萊兒．霍普以及約瑟夫．華爾許。展覽的標題泛指 兩種可能在電影或動態影像作品中看到的現象，又或者只 是一般可能有的想像：能夠在時間上與空間上無限穿梭的 一種能力。這個展覽在台北與倫敦的當代錄像創作之間建 造了臨時的橋樑，並且是大小適中的小型展覽，而非一般 常見的由大型機構、或是以國際雙年展的形式展出的大型 展覽，小而美的形式使這次的展覽「時光機與任意門」成 為更私人、更精華的經驗。 除了媒材的一致性外，這些藝術家關注的主題不盡相同， 至少在美學上絕對是迥異的。但他們都認同對彼此所歸屬 的過去歷史以及未來文化的觀點。 華勒的「邪惡的翻面」是抵抗控制祕密的二部曲，它們是 根據希臘神話所創作的敘事體，西方文明的根基。霍普的 「祝福」則是從冥想與中世紀基督教修女的觀點出發開始 發想的。雖然這些作品是以過去的神話為根基，電影的拍 攝風格與剪輯卻是相當當代的，並且沒有保留任何傳統敘 事性的結構。華勒針對非專業演員與職業演員交雜的刻意 運用、低科技特效以及跳脫性的剪接手法完全地打破了他 敘事性的表現風格 。霍普科幻與迷幻式的拼貼場景，在故 事的核心點慢慢地被移除，直到最後變成完全抽象的結局。 華爾許的「眼前的工作」關注的是西方如何看待東方。從 餐廳、電影以及殘留下來的維多利亞式的異國情調中能夠 理解到東方文化裡的什麼？ 華爾許的個人背景是混血兒， 也或許就是這個中英混血的血統使他創作了這個引人入勝又

Joseph Walsh’s The Work Ahead of Us looks at the way in which the ‘West’ sees the ‘East’. What can be understood of ‘Eastern’ culture from restaurants, movies, and the remnants of Victorian exoticism? Walsh’s personal history as a mixed race, Chinese Englishman perhaps comes into the creation of this work, which is at once seductive and deeply humourous, in a wry, British manner. The work is a composite in itself, the script coming from The Shining but the conceit could easily be Jackie Chan, the lighting borrowed from Dario Argento and composition from Derek Jarman.

Chen’s work is famously concerned with the history of the Taiwanese nation, politically and psychologically. Neptune Jade is the natural choice for this exhibition that looks at border crossing by way of cultural identity. The event of the docking of the Neptune Jade in (1995) was at once a humane act that reached out to the trapped sailors on board and a gesture of indifference that broke the circle of international sympathy between Dockers around the world, a rare moment of true international alliance.

Wu Shang Lin is also interested in the history of a given place or space, portraying abandoned public buildings and framing abject remnants therein to examine the activities of the people who had once been there. His works speak of time and are haunted with absent movement in the cinematic style of Andrei Tarkovsky.

The Artists from London show a certain aesthetic, which can perhaps be linked to the punk era of the 1970s in which what was at hand became central to the making of fashion, music

相當具有英式幽默的作品。這個作品本身也是多種元素的 混合體，腳本來自「鬼店」，卻具有成龍奇想式的表現， 燈光借自達里歐．阿基多而配樂則來自德瑞克．賈曼。 陳界仁的作品以關注台灣的國家歷史出名，不論是政治或 心理層面上的。海王星玉號 Neptune Jade 這個作品自然 就成為這個展覽的第一選擇，探討的是文化認同上的邊界 過渡。海王星玉號 Neptune Jade 在(1995)年的碼頭停泊 事件曾經聯繫上船上被困的水手，而大家對於這個人道事 件的漠視引起了全世界碼頭工人的同情，是歷史上少見的 全球性聯盟。 吳尚霖也對地域或是空間的歷史感到興趣，透過對於閒置 的公共空間、大樓的描繪以及不堪殘存的凝視以及放大來 檢視這些空間中過去的人類活動。他的作品討論時間，並 且被塔科夫斯基式的靜態運鏡手法所干擾。 來自倫敦的藝術家所展現的美學觀或許和七○年代的龐克風 有所關聯，就手邊現有的資源去做創作的精神對於時裝、 音樂以及藝術的製作變得格外重要，他們甚至仰賴城市文 化圈中免費的專家知識和素養。這種手工製作的質感並不 是意外也並非來自於對經濟的妥協；干擾式的剪接手法以 及對於作品的想像、觀者的定位等等的操弄是作品語彙的 主要一部份。來自台灣的藝術家展現的是不同的特質，他 們把重心放在其他的面向上。拍攝的本身是透明化的，就 如同電影語彙一般，強調劇場性、姿勢、對位以及時間的 重要性。給人空間在作品裡思考，空間中充滿了讓人沈思 的寧靜片刻，又不失場景中所保有的張力。我們或許可以 說在這裡我們可以看到對於古典寫實主義與超現實象徵主 義的不苟同與反對。

快速寫真，巴黎，2010

The works of Chen and Wu appear to be rather more politically orientated than culturally so, especially contrasted with the work of Waller and Hooper, rooted in ancient cultural narratives. Looking beyond the content of the works here, for me the interesting aspect is in the pacing and rhythm of the works from Taiwan, like watching a piece of Chinese opera or theatre, or stepping into a temple, the emphasis is on the silence as much as the words, and this is really where the deeper cultural weight is. The work of Waller and Hooper functions the other way around, like reading a book from the other side, the content is rich in history, the telling of stories told over generations, but they have chosen a post-modern form for the telling which is fed by the energy of the life around them, picking up what is needed from the sea of art, film and poetic history available in the city. Likewise the work of Walsh is as eclectic as the city he lives in, he is a bricolleur cinematic language.

Snap-shot in Paris, 2010

and art, including reliance on the free expertise of those in the cultural milieu of the city. The ‘hand made’ feel is no accident or concession to funding; the jarring edits, the play with expectations and with the position of the viewer is a major part of the language of the work. The artists from Taiwan show a different technique, and the emphasis is in a different place. The filming is transparent, as in cinema, heightening the importance of the theatrical, of gesture, chorography and time.

One is allowed a space to think inside of these works, they are full of moments of silence for contemplation, although the particular tension of the scene is maintained. One could say there are oppositions here of classical realism and surrealist symbolism.

If Chen’s work addresses a historical material exchange between east and west that had global political effect, Walsh’s work addresses the shape and colour of generations of misinterpretations, misunderstandings and subtle racism that has the same effect on international relations. Walsh’s work in this exhibition stands like a mirror on the bridge of which I spoke before, between east and west. The western easterner looking at the west looking at the east.

I would firstly like to thank all of the participating artists for their contributions both to the exhibition and to this catalogue, and for the many enlightening conversations we have had in the making of both.

I would especially like to thank the National Culture and Arts Foundation, British Council, IT Park, Epson and Ourstravel for their full support in assisting to realise this exciting project.

I am particularly grateful to Mrs. Yang I Ya, for supporting exhibition from the beginning. We are also greatly indebted to the special assistance of Tsong Pu, Liu Qing Tang, Chen Hui Jiao and Shu Hua. I extend my sincere appreciation to all the aforementioned parties for their patronage and support, which has led to the smooth completion of this exhibition.

陳界仁與吳尚霖的作品似乎是政治導向更勝於文化導向，尤 其是和華勒與霍普以古老的文化敘事作為根基的作品相比較 之下。在作品的內容之外，來自台灣的作品對我來說有一個 比較有趣的現象是在作品的速度及節奏上，像是在看一部 京劇或是劇場的戲碼，又像是走進了一個寺廟，放在沈默上 的重心和在語言文字上的相等，這是有深度的文化重量。華 勒以及霍普的作品正好是完全相反的，就好像書倒過來讀一 樣，內容的精彩在於歷史以及一代代之間故事的傳遞與訴 說，可是這兩個藝術家卻選擇了相當後現代的訴說方式，完 全來自生活周遭被餵養的能量，從城市中垂手可得的藝術、 電影以及具詩意的歷史等等的汪洋大海中抽取需要的那部 份。同樣地，華爾許的作品就和他所居住的城市一樣是兼容 並蓄的，是折衷的，他就像是電影語言裡的巧手師。 如果陳界仁的作品是在探討東方與西方之間歷史資源的交流 下所造成的全球政治效應，那麼華爾許的作品談的就是世代 之間在形狀、顏色上的誤解、誤會以及輕微的種族主義等等 的在國際關係上所造成一樣的效應。華爾許在這個展覽中的 作品就像一面鏡子，如同我先前提到的，矗立於西方與東方 之間的橋梁上。這個東西方人看著西方人看待東方。 我首先要謝謝所有的參展藝術家，他們對於展覽及展覽目 錄的貢獻，還有準備過程中我們有過的許多具有啓發性的 對話。 我要特別感謝財團法人國家文化藝術基金會、英國文化協 會、伊通公園、愛普生以及我們家旅行社所給予的全力支 持，讓我們能夠實現這個出色的展覽。我也要特別感謝從一 開始就很支持這個展覽的楊尹雅女士，以及給予我們特別協 助的莊普、劉慶堂、陳彗嶠和淑華。我誠摯地感謝所有的上 述單位，他們的贊助以及支持讓這個展覽可以順利的完成。

陳界仁

The Route 35mm film transferred to dvd color & b/w, silent 20 minutes Single-channel 2006

路徑圖 35mm 轉 DVD 彩色與黑白 無聲 20分鐘 單頻道錄影裝置 2006

The idea for this video came from a 1995 longshoreman’s strike in Liverpool.

In 1980, the British government under Margaret Thatcher began privatizing the nation’s ports. Companies assuming control of the ports replaced unionized longshoremen with temporary non-union labor.

In September of 1995, the Mersey Dock and Harbour Company dismissed twenty Liverpool longshoremen without warning.

The company’s remaining four-hundred workers immediately banded together, staged a strike and picketed the company.

The Liverpool demonstration touched off a global longshoreman’s movement against port privatization.

Two years into the strike in September of 1997, non-striking dockworkers at Liverpool Harbor loaded the Neptune Jade [1], a container ship bound for the Port of Oakland in San Francisco Bay. Workers in Oakland, notified of the Liverpool strike by the International Longshore and Warehouse Union (ILWU), supported the strike by picketing and refusing to unload the ship when it arrived.

Longshoremen in Vancouver, Yokohama and Kobe also joined in supporting the Liverpool strike, and the Neptune Jade was unable to unload its cargo at these various ports around the world. The ship finally sailed at 12:30 am on October 17, 1997 from Kobe to Kaohsiung, where the cargo and the ship were reportedly auctioned off together.

The longshoreman in Kaohsiung never had any contact with the ILWU and were unaware of the incidents surrounding the

影片的構想，來自1995年發生於利物浦的碼頭工人罷工事 件。 1980 年間，英國在柴契爾政府的執政下，所有港口步入私 有化，私人公司開始雇用臨時工與非工會工人，以取代原本 工會工人的工作。 1995 年9月，20名利物浦碼頭工人被默西碼頭與港口公司 （Mersey Dock and Harbour Company）無預警解雇，其 餘400名碼頭工人隨即圍起罷工線展開罷工行動。利物浦的 行動，點燃了全世界碼頭工人反對港口私有化的抗爭。 1997年9月，利物浦碼頭罷工行動已持續了兩年，一艘 名為海王星玉號（Neptune Jade）的貨櫃輪﹝註1﹞， 在利物浦由非罷工工人裝載貨物，預計前往美國舊金山 灣區的奧克蘭港卸貨。透過國際碼頭與倉儲工會聯盟 （ILWU﹝International Longshore and Warehouse Union﹞）的串聯，奧克蘭港碼頭工人響應了利物浦的抗 爭，同樣在港口圍起了罷工線，並拒絕跨越罷工線為海王 星玉號卸貨。 之後，加拿大溫哥華、日本橫濱、神戶等港口的碼頭工人， 也同樣圍起了罷工線聲援利物浦的碼頭工人。海王星玉號在 世界各地的碼頭都無法卸貨，最後在1997年10月17日12時30 分由神戶駛往台灣的高雄港。據說船公司最後在高雄港將船 與貨物一起拍賣掉。

Neptune Jade. The Kaohsiung Longshoreman’s Union had also staged a work stoppage during the same year as the Liverpool incident to protest the Taiwanese government’s privatization policy regarding the loading and unloading of cargo ships.

Due to the complexity of local politics and lack of international support, however, this protest did not change privatization policies at ports in Taiwan. Kaohsiung’s longshoremen were ultimately forced to accept their status as temporary, day laborers.

In early August 2006, I told the Kaohsiung Longshoreman’s Union the Neptune Jade’s story and gained their support in creating this video project. The symbolic protest in this video would continue to convey to the world the spirit of solidarity longshoreman once formed against port privatization.

On August 17, 2006, employees of a private company renting a dock at the Port of Kaohsiung secretly let us enter and film.

When conducting interviews in Liverpool in preparation for filming The Route, I discovered that many longshoremen there did not know the final outcome of the Neptune Jade story. I also learned that longshoreman in Kaohsiung were unaware that a ship boycotted by dockworkers around the world arrived in Kaohsiung. Around this time, I also went to the Kaohsiung Harbor Bureau to investigate the auction of the Neptune Jade cargo, but did not find any information.

高雄港的碼頭工人從未聽說過海王星玉號事件，亦未與 ILWU等組織有任何聯繫。在海王星玉號事件發生的同一 年，高雄碼頭工會為了抵制港口裝卸工作「民營化」的政 策，也發起過一次抗爭運動。但由於在地複雜的政經結構以 及缺乏國際的奧援，這場抗爭最終並沒能改變裝卸工作「民 營化」的政策。之後，高雄碼頭工人只有被迫接受成為「散 工化」的事實。 2006年8月初，我在與高雄碼頭工會講述海王星玉號的事件 後，獲得高雄港碼頭工會同意──圍起一個象徵性的罷工 線；並藉由這個「行動」繼續傳遞世界碼頭工人曾經共同抵 抗港口私有化的精神。 2006年8月17日，承租高雄港碼頭的私人公司員工，私自放 行讓我們進入碼頭內拍攝。 拍攝〈路徑圖〉之前，我曾前往利物浦採訪當地的碼頭 工人，得知大多數利物浦碼頭工人並不知道海王星玉號 （Neptune Jade）事件的最後結局，而台灣高雄的碼頭工 人，也不知道曾經有一艘被全球碼頭工人抵制的貨船到達過 高雄港。我同時去過高雄港務局查詢是否有海王星玉號的拍 賣紀錄，但找不到任何資料。 海王星玉號事件的結局對兩地的碼頭工人而言，都是「未知 和空缺」，由於這個原因，讓我想通過與高雄碼頭工人合作 圍起一個象徵性的「罷工線」行動，去「改寫」海王星玉號 事件原先的結局。對我而言，「改寫」原先事件的結局是為 了讓這個歷史事件所帶來的啟發性，不因真實事件的結束， 而成為「過去式」，同時讓這個事件的意義能

Owing to the fact that longshoremen in both Liverpool and Kaohsiung were unaware of the Neptune Jade’s final disposition, I decided to video a symbolic picket line using Kaohsiung dockworkers, thereby rewriting the original ending of the Neptune Jade story. The motivation behind this rewriting was to extend the inspirational power of this historical incident, and not allow its significance to pass just because the event itself concluded. It was also my hope to communicate the incident’s significance in a different form.

While shooting the video, I focused on the faces and bodies of the longshoremen in the symbolic picket line, purposely cropping the sea and port scenery from the picture frame. In a certain respect, port privatization implies that this scenery has also been swallowed up by privatization and is waiting to be reopened and seen again by the public.

以另一種形式被接續傳遞下去。 拍攝這個象徵性的「罷工線」時，我儘可能只聚焦在碼頭工 人的臉部與身體的特寫，而將港口與海洋的景象「隔絕」 在景框外，某方面說，港口私有化意味著這些景象被「私 有化」所吞沒，也像是一個還待被重新開放和看見的空間。

藝術家簡介 Chen Chieh-Jen was born in 1960 in Taoyuan, Taiwan, and graduated from a vocational high school for the arts. He currently lives in Taipei.

Using guerrilla-style tactics in his artwork, Chen challenged Taiwan’s martial law system of the 1980s and organized several underground exhibitions outside of the art establishment.

After martial law was lifted in 1987, Chen stopped working for several years to examine his experience growing up, which included the military courts and prisons, arsenals, industrial areas and illegal structures which existed on the island at the time. He later used these experiences to reflect upon the colonial domination of Taiwan, the Cold War/martial law period, the status of Taiwan as the world’s factory in the 1960s and 70s, Taiwan’s gradual transformation into a consumer society, the background of Taiwan’s inclusion into neoliberal global economic and political systems, and Taiwan’s state of exception in international politics.

Chen Chieh-Jen believes that these years of domination have hidden or eliminated many layers of Taiwan’s historical experience and social context, and its society is becoming one that forgets easily and fails to measure its future with history.

Resuming his artwork in 1996, Chen created a series of projects to re-imagine, re-narrate, re-write and re-connect which started from his local experiences. Primarily a mixture of art actions, performances and installation videos, these works were motivated by a desire to create multiple dialogs

陳界仁, 1960年生於台灣桃園，高職美工科畢業，目前生 活在台灣台北。 1980年代─臺灣的戒嚴時期，陳界仁曾以游擊式的行為藝 術挑釁戒嚴體制，並組織一些體制外的地下展覽。1987年 解除戒嚴後，他停止創作沉寂數年，這段期間，他開始從 自身的成長經驗審視存在其生活環境中的軍法局、兵工 廠、加工區和違章建築區等空間，藉此反思台灣歷經殖民 統治、冷戰/戒嚴時期、以及六、七十年代成為世界工廠 並逐漸進入消費化社會的歷史過程，和被納入新自由主義 全球政經體系的背後根源與台灣處於國際政治中「例外狀 態」下的處境。 陳界仁認為台灣經過這些被支配的過程後，在地的歷史經 驗和社會脈絡已被層層遮蔽和抹除，並成為一個快速遺忘 和失去「歷史性地思考未來」的社會。 1996年他重新恢復創作後，陳界仁開始從在地經驗出發， 進行一系列「再想像」、「再敘事」、「再書寫」和「再 連結」的計畫。他的創作以混合行動、表演和裝置的影片 為主，他認為通過影像詩學的開放性、美學的實驗性，以 及影片流動的放映形式，可以與觀眾共同創造出多重對話 的場域，讓被主流論述和消費主義所排除的人民記憶、邊 緣區域的現實處境得以被重新注視；他同時將創作視為是 一種抵抗遺忘和與他者經驗相互連結、對話，以及抗衡新 自由主義治理邏輯的行動。 陳界仁的作品曾個展於：台北市立美術館、洛杉磯REDCAT

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

with the audience through the liberating poetics of video art, experimental aesthetics and the circulation of the projected image. Chen re-explored memories being obliterated by mainstream discourses and consumerism and the plight of those being marginalized. He saw this work as resisting the loss of memories, as a way of creating connections and dialog with the experiences of Others, as well as a means of contending with the logic of neo-liberal domination.

Chen Chieh-Jen has exhibited his work in solo exhibitions at the Taipei Fine Arts Museum; Redcat art center in Los Angeles; the Museo Nacional Centro De Arte Reina Sofia in Madrid; and the Asia Society in New York. International group exhibitions include: the Venice Biennale, Biennale de Lyon, São Paulo Art Biennial, Liverpool Biennial, Biennale of Sydney, Istanbul Biennial, Taipei Biennial, Gwangju Biennale, Shanghai Biennale, Fukuoka Asian Art Triennale, and the Asia Pacific Triennial of Contemporary Art in Brisbane. Chen has also participated in photography festivals in Spain, Lisbon and Algeria; and film festivals in London, Vancouver, Edinburgh and Rotterdam. Chen Chieh-Jen was also the recipient of the Taiwan National Culture and Art Foundation’s National Award for Arts in 2009, and the Korean Gwangju Biennale Special Award in 2000.

藝術中心、馬德里蘇菲雅皇后國家美術館、紐約亞洲協會 美術館。參加過的聯展包括：威尼斯雙年展、里昂雙年 展、聖保羅雙年展、利物浦雙年展、雪梨雙年展、伊斯坦 堡雙年展、台北雙年展、光州雙年展、上海雙年展、福岡 三年展、布里斯本三年展等當代藝術展覽，以及西班牙、 里斯本、阿爾等攝影節與倫敦、溫哥華、愛丁堡、鹿特丹 等電影節。曾獲2009年台灣國家文藝獎、2000年韓國光州 雙年展特別獎。

Linghi- Echoes of a Historical Photograph 2002 colour/ silent, 3 channel video installation shot

凌遲考：一張歷史照片的迴 音，2002，彩色/ 靜音， 三離式投影裝置，裝置照片

Military Court and Prison, 2007/ 2008 , Video still

軍法局， 2007/ 2008， 錄像劇照

Bade Area, 2005, One channel video installation, Video still

Factory, 2003, Video Still

八德 ，2005， 單投影錄像裝置， 錄像劇照

下右：加工廠， 2003， 錄像劇照

訪談 Why do you choose film as a preferred medium to work with?

Films for me are about narratives; it depicts feelings and emotions that are not describable through words and texts.

It is to document an imaginative act, and it is also about conversations.

Who or what inspires you and your work?

There are too many films that have influenced me in the past, I can’t give you any precise examples but I’d say most of them are films that have put me to sleep in the cinema when I was young.

There are scenes in those films that captured the atmosphere, the sense of location and space which I can still recall today; however, all I can remember is the emotions that have been captured there and then, I can’t tell you what those scenes are exactly.

Why do you often use themes such as Post-colonialism or Imperialism as a starting point in your work?

Because that’s precisely the situation where we are in. We are living in the post-colonial, post-cold war, capitalist and imperialist world.

Could you talk about how you usually show you work?

I am happy for it to be seen in all possible exhibition contexts, from white cube-like gallery spaces to theatre settings.

請問您喜歡以創作電影為媒介的原因? 電影對我來說： 關於敘事 關於書寫無法言說的感受 關於「紀錄」一個想像性的行動 也關於對話 誰或者什麼會啓發您的創作電影? 給與您靈感? 影響過我的電影多到我很難舉例，但大多是那些我年輕 時，讓我在戲院中沉睡的電影， 很久以後，某些鏡頭的「氛圍」還讓我難忘，我說的是「 氛圍」， 真要我舉出是哪幾個鏡頭我也想不起來。 為什麼在您的作品中常以”後殖民 (post-colonialism)或帝國 主義(Imperialism)去發生影響? 我們不就生活在後殖民、後冷戰、資本主義、帝國主義的 包圍中嗎？ 我們身在其中而不在其外。 可否談談您通常如何展示您的作品? 從制式的美術館空間、劇院空間到任何展示形式我都接 受。 很多人可能就在他的手提電腦上觀看我的作品，我比較關 心的是交流的可能性。 為何常以弱勢團體的角度去發聲? 您認為媒體所說的有關於 您是個人道主義者, 請問您贊同這個說法嗎?

Many people probably watch my works on their laptops, which is fine too. I am more concerned about the probabilities of exchanging ideas and thoughts.

Why do you often give emphasis to disadvantaged minorities? Some critics once called you a humanist, do you agree?

Chen’s overt politics of image-making are of the kind once associated with the old humanist left. Examinations, even critiques of our present global economic system, ...mesmerize the eye through long pans and gorgeous attention to human detail, while giving the ear what amounts to the silent treatment. (By Christian Viveros-Fauné, The Pain of Others Video artist Chen Chieh-jen offers a mesmerizing take on the politics of image-making, The Village Voice, July 24, 2007.)

I d say that I never give emphasis to disadvantaged minorities.

I either film people who I know already or who I want to know.

I am not a humanist, and I am still not quite clear about the true meaning of humanism and what it refers to.

I simply talk about the society in which I live in from the perspective of an ordinary person.

Could you talk about what you are working on at the moment?

I am working on a series called Empire s Borders, the first part deals with the visa situations and it is an ongoing project.

我從未說過我是為弱勢團體發聲，我拍攝的對象主要就是 我認識的人或我想認識的人。 我不是人道主義者，到現在我還不清楚人道主義的真正意 思是指什麼？ 我只是從普通人的角度談我生活的社會。 可否請您談談您目前正在從事的作品? 我在進行的計畫：《帝國邊界》系列，第一部份談的是簽 證問題。 這個系列會持續的進行下去。

約瑟夫 華爾許 The Work Ahead Of Us

眼前的工作

VHS transferred to digital video, 2007 13 minutes

家用錄像系統轉換數位影片 2007 13分鐘

In his film The Work Ahead of Us, Walsh re-appropriates a scene from Kubrick’s ‘The Shining’. Walsh replaces the protagonist Johnny, who is struggling to write a play, with a Chinese man who is preparing food. As he works, another character rises from a plasterboard mountain landscape. Their routines are taken from characters from eastern Cinema; the vegetable chopper invariably sticks to his task, while the other Ninja character attempts to intervene and distract the vegetable chopper. This interaction builds into a track of amplified background sound with vegetable chopping and prawn crackers being eaten.

Produced with support from B3 Media and Artquest Here below Joseph describes the films which influenced The Work Ahead Of Us: The Shining (Stanley Kubrick, 1980) I re-staged a scene from The Shining, as it has become an iconic cinematic reference that portrays creative work. In the film, the character Johnny is struggling to write a play. The film makes emphasis on finding the creative moment of inspiration, and the empty hotel is the retreat for which he expects it to happen.

In The Work Ahead Of Us, the vegetable chopper represents the old industrial way of work (Fordist), where labour time is measured by the output produced and with an end point.

The ninja is a metaphor for the contemporary way of working, where work time and outcome is less measurable - creative labour.

在華爾許的影片眼前的工作中，他改編了庫柏力克的作品 鬼店中的某個場景，把絞盡腦汁寫著劇本的男主角強尼改 成一名正在準備餐點的中國男子。就正當他還在工作的時 候，另一個角色卻從塑膠版製成的假山後冒出來。兩個人 之間的互動方式多是參照了東方電影中的角色人物；切著 蔬菜的男子一心一意地工作著，完全不受影響，而另一個 忍者的角色則是不停地試著介入並想岔開切蔬菜的男子的 注意力。兩個人之間相互的一靜一動架構成了背景音樂裡 切菜及吃蝦片的聲音。 由 B3媒體 及 Artquest 贊助製作。 以下為約瑟夫形容針對 「眼前的工作」 所受到影響的相 關電影： 鬼店(史丹利．庫柏力克1980) 我重建了鬼店的某個場景，因為這部片已經成為電影史上 具有指標性參考的創作作品。這部電影里，強尼這個角色 正掙扎地寫著劇本，片中特別強調靈感的追尋，而空蕩盪 的旅館是他認為靈感的所在。 在 The Work Ahead Of Us 中，切菜的這個人代表的是舊 工業時代的工作方式（福特主義），也就是勞工時數是以 產品的完成以及結束的時間點作為衡量。忍者的角色則是 用來隱喻當代的工作方式，也就是創造力 – 不論工作時 數或產品都比較難以估計。 七夜怪談（中田秀夫，1998) 這個電影中有一卷神祕的錄影帶被傳來傳去，一旦看過之 後一定要傳給另一個人不然就會死去。我認為這是一個介 紹老舊的媒介很好的機會，例如錄影帶可以在現代社會中 如何地被運用並且能夠造成強大的影響，甚至可以和當今 的數位影像相提並論。在「七夜怪談」中舊的科技被用來

The Ring (Hideo Nakata, 1998) In this film a mysterious VHS tape is passed round, that once watched must be passed on to somebody else, or you die. I think this is a great introduction for old mediums such as VHS, that get used in the present and can harbour strong effects that cut through, and are in dialogue with the digital landscape we’re in today. In ‘The Ring’, analogue is used as a foreboding terror, the terror of the other.

In The Work Ahead Of Us, I use the unsharpness and crude colour saturation of analogue to bring out colour of forms and objects to the point they become abstracted. The characters become described by the object’s function and its form.

Pink Flamingos (John Waters, 1972) A kind of wholly different approach to the other in The Ring.

The characters in John Water’s early films are absurd camp characters, whose look and delivery are all ‘wrong’. I call it other, as its really difficult as a viewer to identify with the Baltimore sub-culture in his film, and they remain other to me. They are their own creations existing absurdly in their own right. I see this as a good thing, as I think this gives space and empowerment for his ideas of subversion at the time, which was to give ugliness and failure a platform. I am interested in creating a space where failure can take place gracefully.

I was specifically conscious in my film to make characters the viewer wouldn’t identify with, and so the audience has an indeterminate relation to what they’re watching.

指作恐怖事件的預感，對於他者的恐懼。 在「眼前的工作」裡，我利用舊科技裡模糊不清的畫質以 及原油色彩的飽和度去強調形狀以及物件的顏色，直到他 們變成抽象的。角色人物的特徵透過物件的功能以及形狀 被突顯出來 粉紅色的火烈鳥（約翰．沃特斯，1972） 某程度上來說這部片的處理方式和七夜怪談可以說是完全 地相反。約翰．沃特斯早期電影中的角色都相當荒謬及戲 劇化，外型及表現方式上都相當地「不對盤」。我稱他為 他者是因為對觀者來說實在很難認同存在於他的電影裡的 巴爾地摩次文化，所以他們對我來說維持著他者的身分。 他們是自己創造出的產物並且以自己的方式荒謬地存在。 我認為這是一件好的事情，因為在當時這些特質給了他的 顛覆想法些許的空間和權力，也給了醜陋和失敗一個平台 和機會。我很想做一個讓失敗可以發生得很優雅的空間。 我特別有意識地讓觀者無法認同我的角色，讓他們以及他 們所看到的東西之間有一定的不確定性。 約瑟夫．華爾許在倫敦生活、創作。他曾在倫敦的哥爾史 密斯學院以及法蘭克福的 Staedelschule 學院就讀。他的 影片曾在倫敦的其聖赫藝廊以及泰德現代美術館放映。他 過去的展覽包含了倫敦 Beaconsfield 的TestBed 1 展、 倫敦拉赫曼尼諾夫的新興都會：來自倫敦的新藝術 展、北 京七九八空間、上海 CQL 設計中心以及在倫敦伏爾泰工作 室，由恩里哥．大衛和卡薩琳．伍德選件的SV05 展。

Joseph Walsh lives and works in London. He studied at Goldsmiths College, London, and Staedelschule in Frankfurt.

He has had film screenings at Chisenhale Gallery and Tate Modern in London. His exhibitions include TestBed 1, Beaconsfield, London, Rachmaninoff’s, London, Metropolis Rise: New Art from London, 798 Space, Beijing and CQL Design Centre, Shanghai and SV05 Selected by Enrico David and Catherine Wood, Studio Voltaire, London

藝術家簡介 Joseph Walsh lives and works in London. He studied at Goldsmiths College, London, and Staedelschule in Frankfurt.

He has had film screenings at Chisenhale Gallery and Tate Modern in London. His exhibitions include TestBed 1, Beaconsfield, London, Rachmaninoff’s, London, Metropolis Rise: New Art from London, 798 Space, Beijing and CQL Design Centre, Shanghai and SV05 Selected by Enrico David and Catherine Wood, Studio Voltaire, London

約瑟夫華爾許在倫敦生活、創作。他曾在倫敦的哥爾史密斯 學院以及法蘭克福的 Staedelschule 學院就讀。他的影片 曾在倫敦的其聖赫藝廊以及泰德現代美術館放映。他過去 的展覽包含了倫敦 Beaconsfield 的 TestBed 1展、倫敦 拉赫曼尼諾夫的新興都會：來自倫敦的新藝術展、北京七 九八空間、上海 CQL 設計中心以及在倫敦伏爾泰工作室， 由恩里哥大衛和卡薩琳伍德選件的SV05 展。

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

Poster design for The Work Ahead Of Us, 2007, Digital Collage 眼前的工作海報，2007，數位拼貼

The Work Ahead Of Us, 2007, Video still 眼前的工作，2007，數位拼貼

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

The Work Ahead Of Us, 2007, Video still 眼前的工作，2007， 錄像劇照

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

Excerpt from storyboard, 2007, Pen and felt tip on paper 摘錄電影記事板，2007， 毛氈筆著墨紙張

The Work Ahead Of Us, 2007, Video still 眼前的工作，2007， 錄像劇照

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

訪談 What do you like about filmmaking?

I see film as an imaginary space where I can create my own logic and suggest possibilities. I am interested in the point it affects reality, and where it affects the social in reality. For example it is often in when people talk about a film and people often re-enact or play out things from the film - it’s a mimicking and this affects language and the way people interact. I like to see this in action.

Who or what inspires your films?

In The Work Ahead of Us, I was combining the slowness of Asian Cinema, particularly ‘A Touch of Zen’ (King Hu), and a Japanese horror film called ‘The Ring’, (Hideo Nakata). In The Ring there is an iconic scene where a woman whose face is covered by black hair, comes out of the TV. She emerges from an analogue VHS video into the digital world of the film. I consciously use the VHS format, as it is now obsolete, but it’s embedded with connotations of the era it existed – bringing the obsolete forward into the present. Aesthetically, there’s more saturation and bleed between colours and I work with its affect.

I was also thinking about characters in John Water’s films where the acting is reallybad and the characters are weird and have exaggerated personalities. Ideas from performance art comes into the mix too. So I was influenced by things that are disparate. I am interested in what happens when these disparate things are combined and what kind of effect this has on the viewer. If my films were a country, I would want it to

你喜歡電影製作的什麼？ 我把電影視作為一個在其中我可以主宰一切的假想空間。 電影影響現實生活。比如說大家談論電影的時候時常會把 電影裡的橋段「重現」。這種模仿的舉動影響我們說話和 互動的方式。我覺得很有意思。 你創作的靈感來自於何？ 我將幾部亞洲電影裡「 慢 」的特質融入在作品「眼前的 工作」裡。其中一部是導演胡金的俠女 」(1969)，另外還 有中田秀夫的「 七夜怪譚 」 (1998)。「 七夜怪譚 」裡 的經典橋段 。貞子從電視中爬出來的那一幕，我將之看作 是貞子穿越時空從錄影帶的時代(舊時代)走出來進入數位 世界裡(新時代)。我在作品中刻意選 。 用錄影帶的用意就在於此，我想要利用那些已經被新時代 遺忘的舊產物來喚起屬於那個時代的記憶 。也就是將已 經過去的舊時代帶到我們所處的現在來。就美學的觀點而 言，視覺上我的作品顏色飽和，並使用色彩相互疊染的效 果。 我的靈感也來自於像是 John Waters 電影裡的誇張古怪 角色，或者是其他的表演藝術等。我的作品可以說是受各 種不同的元素影響。當不相干的事物結合在一起時會擦出 什麼火花、觀眾對於此的反應，我個人非常感興趣。假設 將我的作品比喻成一個國家，我希望裡頭充滿各式各樣的 人，我想這個假想國會是一場狂歡派對。

On Second Thoughts, Eddie! (film collaboration with Paul Simon Richards, Claire Hooper and other artists), 2008, Video still

再想一想，艾迪! (電影與保羅賽門禮查、克來兒霍 普與其他藝術家共同合作)， 2008，錄像劇照

Brother to Dog, 2009, Video still 兄弟成犬，2009， 錄像劇照

Rise of Treble, Ode to Bass, 2010, Production still

On Second Thoughts, Eddie! (film collaboration with Paul Simon Richards, Claire Hooper and other artists), 2008, Video still

上右：三倍上漲，男低音頌 歌，2010，製作劇照

再想一想，艾迪! (電影與保羅賽門禮查、克來兒霍 普與其他藝術家共同合作)， 2008，錄像劇照

be a country that would include all types of people and where everyone’s perceptions are clashing and colliding in a mutual revelry.

Why do you play with Asian cinema characters and Western aesthetics in your work? How do you see the relation between them? Is it about your cultural identity?

My own cultural identity is second generation Chinese and Irish, so have a sense of being displaced in the suburban town I grew up in outside London. So this disposition comes out in the films.

I am interested in differences (cultural difference is one example) and creating a kind of platform where these differences can exist. I am interested where this becomes something new. For example, at the moment, in music there is alot of influence of music from Jamaica influencing western music. Second generation Jamaicans in London influencing white culture. It’s the movement of creativity and energy, or the will to change (dare I say evolve) and I get excited by this - It’s good to be excited.

How do you usually show your films?

It is projected or put on a monitor and nothing else, because everything is in the film. Am recently becoming interested in creating an installation, as it is another material element that I can play around with, and something that interacts with the audience, and can bring the fictional elements of the film out into reality that is the actual space the audience stands in.

為什麼會想要在你的作品裡結合東方電影元素與西方美學？ 其中的關連是什麼？跟你自身的文化認同有關嗎？ 就我自身的文化認同而言，我是生長於倫敦城郊的第二代 中國愛爾蘭混血，我的種族文化背景很自然融入在我的創 作之中。 我對於「差異」本身(例如文化差異)、創造一個讓各種「 差異」可以聚集的平台，以及各種差異相遇後產生的新事物 非常感興趣。舉例來說，牙買加音樂深深影響時下的西方 音樂創作、第二代牙買加裔倫敦人為白人文化注入新色彩 等現象。這些由差異帶來的創新、活力，甚至整個時代的 演進都使我感到興奮 - 興奮事件好事。 你通常如何展示你的電影作品？ 通常就是單純以投影的方式呈現或者直接在螢幕上播放， 沒有其他的輔助，讓電影自己說話。我不久前開始對”裝 置”感興趣，一方面因為這是另一種可以與觀眾密切互動 的媒材，另一方面電影裡的虛構世界可以透過裝置實現在 觀眾所處的現實世界裡。 你的電影風格為何？屬於任何藝術流派或運動？ 我想我生在一個流行文化當道的時代，這是一個視流行文化 為理所當然的年代。這現象可以追溯到 Cindy Sherman 還 有 Richard Prince 將原被視為通俗文化的流行文化轉變 成高級藝術的那個時候。九零年代崛起的英國年輕藝術家 (Young British Artists, or YBAs)諸如 Gillian Wearing 與 Georgina Starr 等人的作品影響我很多。Georgina 把 她對於流行音樂的癡迷藉由作品呈現出來，引領觀眾進入 自己的內心世界；她還親自演出自己編導的電影作品，趣 味十足。這些表達藝術家內心世界的創作方式影響我至深。

What are you working on at the moment?

I am working on a film called ‘Rise of Treble, Ode to Bass’, commissioned by Beaconsfield in London.

It’s a scripted film about 3 characters having experiences with music. It takes its cue from an 18th Century baroque song called ‘Les Folies Francaises’ by Francois Couperin, where the music is structured on 11 different affairs who are each represented by a colour, and the whole song completes the colour spectrum. The film set will be made of different coloured tissue panels which represent the different affairs and is also the backdrop which the characters act in.

I also refer to music being heard in the present, on mobile phones and laptop speakers and how this is changing music being made. For example, dance music is using 8-bit computer game melodies to create emotional landscapes. Instead of seeing this as a demise in music, I am interested in it as an evolution, particularly with it becoming more freely available on the internet and so it going back to immaterial temporalities.

你當前正進行中的製作是...？ 我目前在倫敦製作由 Beaconsfield 贊助委託的電影作品 ‘Rise of Treble, Ode to Bass’。電影以描述三個人各 自的音樂體驗為主軸，故事裡的每則事件將個別以不同的顏 色來呈現。這個構想是取法於十八世紀巴洛克時期庫普蘭 (Francois Couperin，被喻為法國鍵盤音樂之父) 的作品 ’Les Folies Francaises’。庫普蘭的作品內容描述十一 件事，每一件事以一個顏色來代表，整首曲子由這十一個 顏色交織在一起完成。時下流行的音樂也是我作品的元素 之一。現在大家都利用手機和電腦播放音樂，某種程度上 改變了音樂製作的方式。比如說電子舞曲音樂是建立在電 玩音效的基礎上，也就是利用 8-bit 電音來譜曲，與其將 之視為是音樂之死我反而認為這是一種革命和創新。尤其 是針對它使音樂更容易在網際網路流傳存取這一點。

克萊兒 霍普 祝福 The Blessing First shown as 12 channel, 360 degree installation and later as a single channel edit 2007/2008

最初展覽為360度 12聲道 投影;本展覽展示為單頻道 剪輯版本 15分鐘 2007/2008

The Blessing is a work in two forms. It was first shown as a 12 channel, 360 degree installation and later as a single channel edit. As with World of Interiors and Auditorium it concerns a particular event in the relationship between the body and the imagination, or more fittingly, the soul, a dualism central to the history of western philosophy and art which has become unfashionable since existentialism except in certain genres, such as science fiction and horror films. The film is a narrative brought together from sections of video which do not marry easily. That strain among the scenes is important to the evocation of transcendence and is supported in that function by the musical score composed for the film by Kenichi Iwasa who was my collaborator in this respect.

This film, which I began in Berlin, develops from a desire to make a piece of work based on the narrative devices employed by Fra Angelico without recourse to architectural reconstructions or tableau vivant. The Blessing is closely influenced by Fra Angelico’s The Mocking of Christ (1439), in which a theme so often used to represent fleshly suffering is instead shown as an event in the eternity of life. Christ on a simple throne remains impervious to the phantom heads of spitting soldiers as though they are a dream, a whim. The figures of St. Dominic and The Virgin Mary to the left and right are contemplative, co-existent in eternity on a plain of meditation. The trials of the flesh are distant in this place without time and without location. The painting provided the central premise of the film; the existence of a place out of time and space in which sacred figures channel experiences in which the body and the soul are separated. Another distin

「 祝福 」這個作品有兩種存在的形式。最初展出的形式 是一個十二頻道、三百六十度環繞的裝置作品，之後則成 為一個單頻道的剪輯版本。和世界級的室內裝璜以及禮堂 一樣，它關注身體和想像力的相互關係下所牽動的某個特 定事件，或者說的更貼切一點，是身體和靈魂之間的關 係，這個二元論曾經是西方哲學及藝術史的討論重心，卻 在存在主義之後成為乏人問津的論述，除了在某些特定的 領域裡如科幻小說和恐怖電影。影片中的敘事體是由不易 相配對的影片片斷所組成，不同場景之間相互構成的張力 對於超越性的引發來說很重要，這個功能也因為日本編曲 家 Kenichi Iwasa 為此片所作的配樂而得到助力，就這 個角度來說，他確實是我的合作夥伴。 這個影片是在柏林開始的，作品的發展來自於希望能夠在 無法重建建築架構或是營造活潑畫面的情況下仍去創作一 個作品是以 Fra Angelico 的敘事形式作為根基的。祝福 受到1439年 Fra Angelico 所製作的影片 The Mocking of Christ 很深的影響，尤其通常這樣的主題都是以肉體 的受罪來作呈現，但在這裡卻是以永恆生命中的一個事件 來作以替代。耶穌坐在儉樸的寶座上面對軍事官四處吐痰 的頭顱幻影不為所動，彷彿他們就像是一場夢、一個岔 念。聖多明尼克與聖母瑪利亞的人物角色分站左右兩旁的 安排也是值得人深思的，彷彿在冥想世界裡永遠都是共同 存在的。肉體的審判在這個時間地點都不存在的地方顯得 相當遙遠。繪畫在這個作品裡提供了基本的中心根基，這 個沒有時間地點的地方的存在有聖人帶領你體驗身體與 心靈的分離。Fra Angelico 的作品中有另一個特殊的地 方，這個我在祝福的十二頻道版本中有特別考慮到，那就 是以建築為工具在時間，而不是地點上去分割事件。房間 內彼此相對的銀幕被用來當作是某種祭壇的階梯或是裝飾 帶，某個影片中所發生的情節會連帶影響到另一個影

guishing feature of Fra Angelico’s work, which I considered especially in the 12 screen version of The Blessing, is the use of architecture as a device to separate events in time rather than location. The screens which faced each other across the room worked as a kind of predella or frieze, in which the evens taking shape in one video would affect the meaning of the events in a another. It is partly shot, as was Auditorium, on location in the gallery where it was first shown, making full use of the luxurious interior décor and projection and sound facilities. I have used hand made kaleidoscopes (a transcendent object par excellence) both as a camera attachment and as a prop in the film.

The main texts at the base of the film’s narrative are the History of St. Teresa of Avila in Her Own Words (1555) from which I take the title, and an account (partly recorded on mini disc 2006-7) given by the musician Kenichi Iwasa about a near death experience he had had a few months before with a drug overdose. Both talk about out of body experiences, the pain of ecstasy, visions of holy figures, and struggling against physical impulses. What struck me especially was the similarity in the unfolding of the events described as ‘levels’ or ‘stages’ in both of these narratives. It is by following these ‘levels’ that I have created a structure for the events in the film. Rather than filming illustrative scenarios based on the accounts of Teresa and Kenichi I have chosen images which relate to a wider idea of the miraculous, and of the body as a site of departure for the spirit.

The Blessing, at fifteen minutes, is the longest film I have made. It is dense and visually complex, referencing diverse artists and film makers from sequence to sequence. The showreel enclosed contains the single channel version of The Blessing.

片所產生的意義。和禮堂一樣，這個影片的某些場景是在這 個作品最初被展出的藝廊空間裡拍攝的，充分地利用了華麗 的室內裝潢、投影以及音響設備。我用自製的萬花筒（超越 性的物件）也被用來作為攝影機的延伸以及影片中的道具。 影片中敘事體的基本文字是來自1555年的 History of St. Teresa of Avila in Her Own Words 這部影片，我引用 了這個名稱以及音樂家 Kenichi Iwasa 給我的聲音紀錄 （2006-7，部份紀錄是以迷你光碟收音）這個紀錄是來自 於他自己幾個月前由於藥物過量而經歷的一個接近死亡的 經驗。這兩個故事都在講身體之外的經驗、過度亢奮中的 痛楚、聖賢人物的視象以及抵抗生理衝動的掙扎。讓我特 別感到震撼的是在這兩個敘事體都有把敘事的過程形容為 「階級」或是「階段」的相似性，我也就是跟隨著這些「 階段」而架構了影片裡所有事件的節構，而非依據德瑞沙 或 Iwasa 健一的紀錄而照本宣科地拍成註解式的情境片。 我選的圖片都和較廣義的奇蹟概念以及以身體作為靈魂出竅 的出發點有所關聯。 十五分鐘的祝福是我拍過最長的一部影片。它相當地密集， 視覺上也有一定的複雜性，整部片中引用了許多不同的藝術 家及電影人作為參考。 附上的影片集裡是祝福的單頻道版本。

藝術家簡介 Claire Hooper was born in London in 1978 and currently lives and works between London and Berlin. She graduated from Goldsmiths BA Fine Art in 2003 and is currently completing an Mphil at the Royal College of Art, London. She has shown most recently at Statements, Basel Art Fair 2010, represented

by Hollybush Gardens, where she won the Baloise Art Prize.

She has shown at Sketch, London, The Musée de Beaux Arts, Dunkerque, As well as at various galleries including Joanna Kamm, Berlin, and Hollybush Gardens, London.

克萊兒．霍普於1978年出生於倫敦，目前在倫敦及柏林兩 地之間生活、工作。她在2003年於哥爾史密斯學院美術系 獲得大學學位，目前在倫敦皇家藝術學院攻讀博士先修 的課程。她最近的展出是在 2010 巴塞爾藝術博覽會的 Statements ，由曾經給予她藝術獎項 Baloise Art Prize 的 Hollybush Gardens 藝廊代理。她過去的展出經驗有倫 敦的 Sketch、 敦克爾克的美術館以及許多其他的藝廊如 柏林的 Joanna Kamm 藝廊以及倫敦的 Hollybush Gardens 藝廊。

訪談 What do you like about moving image? Or let us say video art?

I am interested in the immersive qualities of the moving image, for me there is something totally magnetic about it. I am interested in all things that have the ability to take over the emotions and imagination completely or almost completely for a temporary period. It’s libidinal actually. Narrative in general, in written, spoken or cinematic form is fixating, transcendence for the sociable part of the brain in the way that music slips under the skin and in to the blood stream. I like the moment of seduction, of intoxication. I like fighting against it too, when you are aware of the making of the film, the construct of the narrative or figure, when you are aware of yourself in space, in a chair, in a room of certain age or design.

請問你為什麼特別喜歡動態影像，或者我們就說錄像藝術？ 我對於動態影像所具有的使人身歷其境的特質很感興趣， 對我來說那是非常具有磁場性的。我對於所有能夠完全地 或者說至少在短暫過渡的時間裡近乎完全地掌控情緒以及 想像力的事物都很感興趣。這其實是帶有性慾的，一般的 敘事體，不論是存在於書寫、口說或是映畫的形式，對於 大腦的社交神經來說都是很讓人上癮的一種超脫，就好像 音樂能夠竄入皮膚底層進到血液的流動裡面一樣。我享受 這些挑逗、醉人的片刻，但我也努力排拒它 – 尤其是當 你意識到自己正在拍片、在建構人物角色以及故事或是當 你意識到自己在空間裡的存在、在椅子上、在屬於某個年 代或是設計風格的房間裡等等。

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

The Blessing, 2007/ 2008, Drawing, Production image 祝福，2007/ 2008，製作過程影像，鉛筆 紙張

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

The Blessing, 2007/ 2008, Drawing, Production image 祝福，2007/ 2008，製作過程影像，鉛筆 紙張

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

The Blessing, 2007/ 2008, 15 min, single channel edit, Video still 祝福，2007/ 2008，15分鐘，單投影剪輯，錄像劇照

Who or what inspire your videos?

I am inspired by different things all the time. There are some things which are always in the back of my head, something i can’t put down. Raymond Chandler for the way that he gives the illusion of plot when there is none, by creating extreme visual scenarios. ‘The Mocking of Christ’ by Fra Angelico because it depicts a condition of meditation which takes one away from the body and physical suffering, it’s very Zen actually. Both Fra Angelico and Chandler come into ‘The Blessing’. But I have been obsessed with music videos ( really into Lady Gaga like everyone else at the moment), soap opera – Sunset Beach by Aaron Spelling, the French Nouveau Roman author Alain Robbe Grillet, William Faulkner.

Three of your films are shot, or contain scenes shot in Berlin, can you tell me what makes you want to film in Berlin rather than in London, where you live.

In Talking Heads’ film ‘True Stories’ David Byrne says he likes traveling because it helps him see the colour of white paper: I am inspired by London without being able to recognise it, it is my perspective, my point of view. Berlin still surprises me.

I shot one scene in Berlin in The Blessing, that is the ‘epilepsy scene’, in a small gallery in Prenzlauerberg. I liked the art on the walls as a set and I liked the floor, the rest of that film is made in London, mostly at Sketch where the film was initially shown as a 360 degree installation.

Nach Spandau is basically about the life work of architectural engineer Rainer G Rümmler, who was responsible for the construction of all the underground stations in Berlin during the Cold War. It was filmed on the U7 line, which runs vaguely

什麼人或是事物激發你創作的靈感？ 我總是被許多不同的事物所啓發，也總是有些無法拋去的想 法我會一直掛在心上。例如雷蒙．錢德勒做出高明的視覺 場景以使人信以為真的以為有故事的存在、安基利軻修士 的 The Mocking of Christ 描繪了某種冥想中的狀態使人 的肉體可以遠離生理所受的苦難，這其實是非常具有禪學 意味的。在祝福中都可以看到基利軻修士以及錢德勒的影 子。我對音樂錄影帶（目前和所有人一樣，非常風靡 Lady Gaga ）以及電視影集相當著迷，如 Aaron Spelling 所製 作的 Sunset Beach 就是一個例子，我也喜歡法國新小說 運動的作家亞蘭．霍格里耶以及福克納。 你有三部片的部份場景都是在柏林拍攝的，請問是什麼使 你想在柏林而非你居住的地方 - 倫敦拍片呢？ 在 Talking Heads 的影片真實故事當中大衛．拜恩曾說他 喜歡旅行是因為旅行幫助他看見白紙的顏色：我在倫敦雖 然被許多事物刺激著卻無法感受到它的啓發性，這是我自 身的角度以及看法。柏林仍舊使我驚奇，在祝福中有個場 景是在柏林拍的，就是癲癇的那段戲，拍攝地點在普蓮茲 老貝爾區的一個小藝廊裡。就拍攝的場景來說我很喜歡牆 上的藝術品，也很喜歡它的地板，祝福中除了這場戲之外 剩下的部份都是在倫敦拍的，大部份是在 Sketch，也是這 個作品的首映地點，以三百六十度的環繞裝置呈現。 Nach Spandau 基本上是關於建築工程師 Rainer G Rümmler 的生平作品，在冷戰時期他負責所有柏林地鐵的建造。這 部片在 U7線上拍攝，和柏林圍牆行成兩條近乎平行的線。 Nyx 也是在同一條線上拍攝的，但是是以月台作為場景， 把月台平台變成舞臺。我喜歡在現代、真實的世界去還原 一個一度是幻想的故事，這也是為什麼我在選角上挑用了 年輕的柏林人。

NYX, 2010, 22mins HD

倪克斯，2010，22分鐘 HD

Auditorium, 2005, 13mins, DV

禮堂，2005，13分鐘，DV

Nach Spandau, 2009, 52mins, HDV

到 Spandau，2009， 52 分鐘，HDV

On Second Thoughts, Eddie! (film collaboration with Paul Simon Richards, Claire Hooper and other artists), 2008, Video still

再想一想，艾迪! (電影與保羅賽門禮查、克來兒霍 普與其他藝術家共同合作) 2008，錄像劇照

parallel to the Berlin wall underground. Nyx is filmed on the same line but using the platforms as a set, the platform becoming a stage. I was interested to make story that was at once other worldly and based in the real, contemporary world, which is also why I used young Berliners as my cast.

You were exploring the relation between body and the imagination in The Blessing, then in Nach Spandau, you were looking into architecture and design in public space. In your latest piece Nyx I can see many influences and interesting elements from a lot of your previous works. Can you tell me how does it all start? How do you yourself see the connection between these works?

I think that all three are, in a sense, about the same thing, just expressed differently, or with different observations.

Nach Spandau is about the architecture on one level but also the experience of being in the night, underground, the weird energy or lethargy of it. I was thinking about the night as the unconscious of the day, the underground as the unconscious of the city, about how a whole lifetime can be spent in this state of proxy. It looks a lot like dreams I have had, I was hoping that someone would fall asleep watching it and dream.

Nyx is a development of that in a different form; where Nach Spandau, lasting an hour, finds that sensation through observation and endurance, a kind of trance that seems to come from the architecture, Nyx takes the experience of ‘The Night’ and personifies it. In ancient Greek theology the experiential is embodied in deities representing (for example) Sleep and Death and Hallucination; I created a simple story in which a young man encounters these gods and goddesses and is affected by them. His body and soul are vulnerable as he travels

在祝福中你探索身體以及想像力之間的關係，在 給 Spandau (Nach Spandau) 中你探究公共空間中的建築與設 計。在你最新的作品倪克斯 中我看到許多過去作品的影子 以及有趣的元素。你是否能夠談談這一切是怎麼開始的？ 你自己又如何看待這些作品之間的關聯性？ 我認為這三部作品某程度上都是關於同一件事，只是表達 的方式不同，或者說透過不同的觀察及審視。 給Spandau 一方面來說是關於建築，但也是關於深夜的地鐵經驗，它 怪誕或是了無生氣的能量。我在想的是黑夜可以被當作白 天在無意識時的狀態，地鐵可以被當作城市在無意識時的 狀態，整個生活時間如何在這種替代的情境下被打發。它 看起來很像是我曾經做過的夢，我多希望有人看了之後真 的會睡著然後做夢。 倪克斯 (Nyx) 是這些狀態的延續發展但是形式不同；長達 一個小時之久的給Spandau 是透過觀察及忍耐，或是在似乎 是建築所散發的某種微意識的空洞中找到那樣的情感， 倪 克斯 (Nyx)則是把夜晚的經驗個人化。在古老的希臘神話 中，體驗是落實在象徵（例如）睡眠、死亡以及幻覺的神 身上。我虛構了個簡單的故事，內容大概是說一個年輕的 男子邂逅了眾神們之後如何被影響，身體以及靈魂在經歷 了這些人類的經驗後變得相當脆弱。祝福 是較為早期的作 品，關心的是在狂喜的狀態下身體和心靈相互分開，甚至 可以彼此觀看的經驗。這樣的經驗有或沒有透過毒品都有 可能達到，結果也都大同小異。我以兩個故事作為影片的 大概架構；一個是某個朋友使用多種藥物過量之後產生強 烈幻覺的故事，而另一個則是我自己對於中世紀時期艾維 拉的聖泰瑞沙修女所撰寫的透過冥想及禱告以得到昇華以 及狂喜經驗的解讀。這些影像雖然彼此之間沒有直接的關 聯，但都有一樣能夠到達狂喜狀態的階段和進程。 Kenichi Iwasa 的音樂對這個影片來說相當重要，因為它也隨著影 像的變化也進入了狂喜的樣貌。

through these various human experiences . The Blessing is a much earlier work but deals with the state of ecstasy in which one feels that the body and soul are separated and can observe one another. This is arrived at with drugs or without, but follow similar narrative patterns. I was using two stories as a guide or template for composing my video; one was the story of a friend who had almost overdosed on various drugs and who had a very intense hallucinatory experience as a consequence, and the other was my reading of a medieval nun, St.Theresa of Avila, who wrote about her experiences of levitation and ecstasy through meditation and prayer. The images you see relate directly to neither but follow the same ‘stages’ or progressions of hallucination. Kenichi Iwasa’s music is very important to the film, as they also follow this movement or pattern into ecstasy.

What is your plan for this year? Can you please tell us about your potential projects?

I have really enjoyed working with Kenichi Iwasa, and also Beatrice Dillon who did the music for Nyx, and would love for that element to step out of the image. The next project will be live.

請問你今年的計畫是什麼，是否可以談談下一個可能的題 材？ 我非常享受和 Kenichi Iwasa 以及為 Nyx 譜曲的 Beatrice Dillon 的合作，所以很希望這個合作能夠跨出 影像的疆界，下一個計畫將會是現場的演出。

馬克 艾瑞爾 華勒 The Flipside Of Darkness

邪惡的翻面

Video 12min loop, painted bamboo bead doorway.

Dimensions variable 2008

錄像 12分鐘迴錄 成漆竹製珠門框架 空間尺寸視狀況而定 2008

(Part of the cycle RESISTANCE DOMINATION SECRET) The Flipside of Darkness brings together strands from the epic Greek wartime play, The Oresteia, by Aeschylus with wider concerns of the semantic nature of the object in art and the transference of mythology through the ages.

The piece was made in Warsaw mainly within the Stalinist ‘gift’ to the polish people, The Palace of Culture and Science, built with forced labour by the polish people themselves, its walls in some ways reflect the furies of the cursed House of Atreus of the Oresteia. The piece is made with three distinct types of performers; a fashion model, an artist working with language and performance and a BBC drama actress. The three types of performer were chosen to reflect the dramatic roles they represent. Agamemnon, the grandson of the ultimate Greek warlord Atreus, mechanically attempts to practice revenge and discovers justice, Electra here is a weakened figure, brought down by unwanted luxury and the mother, Clytemnestra, ravaged by her own life, is played by the BBC actress.

Waller plays on several levels with this new work, the genre of television drama is sabotaged to reveal openness in an otherwise closed system, mythology finds new placements, objects, landscapes and people compete for dominance in the symbolic order of the frame. Music composed by Romvelope, ADAADAT records, London. Produced in conjunction with a-i-r laboratory CCA Zamek Ujazdowski, Warsaw

「 邪惡的翻面為抵抗控制祕密的二部曲」邪惡的翻面是遵 從符號學脈絡之下所闡述的藝術物件性以及時代變遷中神 話故事的轉移，重新 詮釋了埃斯庫羅斯所撰寫的希臘戰爭 史詩–奧瑞斯提亞。 整部作品在華沙拍攝，大部份的取景皆在史達林主義者送 給波蘭人的「禮物」–文化與科學之 堡之中進行。這個城 堡在脅迫下由波蘭自身的勞工完成建造，它的瓦牆在某方 面來說正反應了 奧瑞斯提亞中被詛咒的阿特柔斯之家的憤 怒。這個作品是由三個迥然相異的表演者所共同完成 的； 一個是時尚模特兒，一個是以語言及表演來作詮釋的表演 者，另一個則是英國廣播公司的 女演員。這三個不同類型 的表演者都是因著能夠反應他們所代表象徵的角色而被選 出。希臘最 終的戰神阿特柔斯的孫子–阿伽門農，機械 性地試圖要報復並且秉持正義，伊萊卡則是比較柔 弱的角 色，被不必要的奢華所軟化，而生命被自己一手摧毀的母 親克萊德耐斯翠拉的角色是由 英國廣播公司的女演員所扮 演。 在這個新作裡，華勒顛覆了各個不同的層次面向，電視戲 劇的種類形態被完全地摧毀以用來突 顯封閉系統中的開放 性、神話故事有了新的地位及位置、物件、地景以及人物 以鏡頭為象徵性 的權威，不斷地在搶奪他們的主控權。配 樂由 Romvelope 編寫，倫敦的 ADAADAT 唱片錄製，全片 與華沙當代藝術中心共同監製完成。 展覽經歷： 革命的小孩 / 羅德歐藝廊，伊斯坦堡，2008 邪惡的翻面 / 南倫敦藝廊，2008 邪惡的翻面 / 當代藝術中心，華沙，2008

藝術家簡介 Mark Aerial Waller (1969, UK), is an artist working in video, sculpture and painting. He lives and works in London. He produces interdisciplinary, cinematic time travelogues that refute any predictable balance between our romance for the ancient past and our fetish for a streamlined future.

Waller defies conventional screening formats, integrating sculptural objects and live performances for an experience of cinema defined in spatial and situational terms.He is also the founder of The Wayward Cannon, a platform for event-based interventions in cinematic practices.

Recent solo exhibitions include The Cassiopeia Plan, Wysing Arts Centre, Cambridge, UK 2010, Resistance Domination Secret, 0-60 ICA 2008, The Flipside of Darkness, South London Gallery 2008, La Societe des Amis de Judex, Tate Modern 2007.

With group shows: Performing Presence, The National Centre for Contemporary Art, St Petersburg, Russia, 2010, A Bluebird in My Heart, National Gallery of Zimbabwe, 2010, This place you see has no size at all..., Kadist Foundation, Paris, 2009, 2ndAthens Biennale, Greece, 2009, You Have Not Been Honest, Museo D’Arte Contemporanea Donnaregina in Naples 2007.

馬克艾瑞爾華勒（1969 出生於英國）是位專職藝術家， 致力於錄像、雕塑與繪畫。他居住與工作於倫敦華勒製作 各學科間地、電影時光旅行式的影片，並同時駁斥任何對 立於逝去時光的當代浪漫奇想，亦或者是對流線型未來 世界的熱愛。華勒向過分拘泥的影片形式挑戰，整合雕 塑物件並藉著表演形式去訴說「電影」定義了「空間與 場面」的經驗性。他也是「剛愎自負的教條 (The Wayward Cannon)」的成立者，該藝術團體為一以活動為發響平 台，並且介入了許多實驗電影的實踐。 近期個展包括：英國劍橋的 Wysing 藝術中心 - - 仙后 座的計畫 (2010) ; 倫敦的當代藝術學會 (ICA) - - 反 抗、支配、祕密 (2008) ; 倫敦南藝廊 - - 邪惡的翻 面 (2008) ; 倫敦泰德美術館 - - Judex 的朋友陪伴之 夜 (2007) 聯展包括：聖彼得堡的國家當代藝術中心 - - 如今的 表演 (2010) ; 辛巴威國家藝廊 - - 藍知更鳥在我心 (2010) ; 巴黎 Kadist 藝術基金會 - - 你所見的空間無 所謂大小之分別 (2009) ; 第二屆雅典雙年展 (2009) ; 那不勒斯當代 Donnaregina 藝術基金會 - - 你沒有誠實 以對 (2007)

The Work Ahead Of Us, 2007, Video still 眼前的工作，2007， 錄像劇照

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

Excerpt from storyboard, 2007, Pen and felt tip on paper 摘錄電影記事板，2007， 毛氈筆著墨紙張

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

The Work Ahead Of Us, 2007, Video still 眼前的工作，2007， 錄像劇照

The Work Ahead Of Us, 2007, Video still 眼前的工作，2007，數位拼貼

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

The Flipside of Darkness, 2008, 12 min, Video still 邪惡的翻面，2008，12分鐘， 錄像劇照

Poster design for The Work Ahead Of Us, 2007, Digital Collage 眼前的工作海報，2007，數位拼貼

訪談 What do you like about film-making?

There is a fundamental difference between film-making and moving image artist works. For myself, I understand the artist moving image as something which is in conversation with the viewer, the room and the subjects it represents. When we go to the cinema, sit down on a soft seat and the lights dim, we allow the film to let us lose our sense of ego, the film overcomes us, but in the gallery we are aware of the film, the walls, the other visitors, the gallery office and ourselves in this place. So with artist moving image the work mediates between ourselves, the exhibition environment and the subject being represented.

Now what I like about film-making is the complexity of this situation. I like to be able to bring history, time play and desire of living in the now together, to make the gallery a site for contemplating our cultural history and possible future. Film is inherently a medium of time, and consequently movement as a description of time. I am thrilled with concepts of time, our varying perception of time, our memory and our anticipation of the future. Film makers have the chance to be time scientists.

Who or what inspires your films?

My life and my experience inspire the films. I read philosophy and classical literature, then reflect on the amazing and incomprehensible things I have been able to experience. Music also makes these reflections possible. Knowledge is not always logical and truth itself can be formless.

問題一：你喜歡電影製作的原因 ? 答：在電影製作與動態影像之間，有個十分重要的不同 點。對我自身而言，我了解藝術家的動態影像--是與觀者 對話的媒介，與空間，還有該影片主題所代表的意義。當 我們去電影院時，坐臥在柔軟的椅墊上，燈光朦朧，我們 允許電影放鬆我們的自我意識，電影戰勝了觀者 ; 但在 藝廊內，我們對影片有警戒心、牆壁、其他的觀者、藝廊 辦公室、與我們自身處於該空間內。所以，藝術家的動態 影像傳達我們自身，與展覽空間，與其主題所表達出的延 伸。現在我們就可以討論我喜歡電影製作的原因，其實就 是它包含了許多複雜的情況。我喜歡能帶來歷史性、玩弄 時間性、存在於當下的慾望，把藝廊當作仔細考慮我們 文化歷史與未來可能性的空間。電影，本身就屬時間的媒 介，因此姿態動作而成為時間的描述。我對時間的概念性 感到激動，除此之外，時間的觀念看法多樣化、我們的回 憶、與我們對未來世界的期望皆讓我感到興奮不已。電影 製作人有機會成為時間科學家。 問題二：什麼人事物給你創作的靈感? 答：我的生活經驗給我創作靈感。我閱讀哲學與經典文學 作品，接著，把這些元素反應到驚人的與不可思議的經驗 裡。音樂也使這些回應成為可能。知識不總是具有邏輯性 的，而真理本身也可以不具形式。

La Societé des Amis de Judex, 2001/2010, Document of event : The Wayward Canon Judex 朋友的陪伴之夜，2001/ 2002 活動寫真紀錄：剛愎自負的教條

Superpower Dakar Chapter, 2004 Installation shot: Counter Gallery Digital video to DigiBeta 14 min Polyurethane foam wall with seating (dimensions variable - brick 50cm x 50cm x 50cm) 超強力達卡章節， 2004 裝置照片： Counter藝廊 數位錄像轉至數位 Betacam 14 分鐘 聚氨酯泡沫塑料牆，座椅 （可縮 放大小-磚塊 長寬高50公分）

Resistance Domination Secret, 2009 installation shot : Cell Projects 2010 3 separate video projections bronze cast - Mask of Agamemnon (65cm x 40cm x 40cm) plinth with turntable

抵抗 支配 祕密，2009 裝置照片：細胞計劃案藝廊，2010 三離式投影機 青銅鑄型：阿加曼農的面具 (長65公分 寬40 公分 高40 公分) 基座上置轉盤

The Children of the Night /SECRET, 2008, Video Still, Digital video to DigiBeta

夜晚的孩子 / 祕密， 2008 錄像劇照， 數位錄像轉至數位 Betacam

Is each work of yours radically different to the next, or do you feel there are recurring elements or issues that run through your back catalog?

My work refers and comments on the positions of making video, as well as on the history of artist film and video in relation to mainstream cinema. There are overall themes of relation to the history of artist moving image and a rephrasing of cinema, a kind of correction of the grammar. The works all have a rich layering of intention, this is something that I always keep in mind; that the work does not single out a specific subject or approach.

How do you usually present your video?

I present my videos in galleries and museums, installed with careful consideration of the subject of the work. The works mature and develop with the viewer on each screening. These layers unravel with each viewing, so I present the videos as a continuous loop.

What is your style or genre if you think of your work?

Or belong to any which of art movement?

I have been developing my distinct language of filmmaking since the age of 15, when I was making super 8 films in my hometown. As my work continues to have more exposure, I have met a number of artists who are starting to work along similar lines of direction, bringing classical mythology to contemporary culture, playing with the nuances of film syntax in amusing collisions of reference and presenting actors roles in an uncomfortable realm between fiction and documentary. It is wonderful that a new movement is starting to emerge which has such a strong independent spirit.

問題三：請問每件您的作品都完全地不同，或，您認為有 不斷循環的元素或發佈經過成為您的演奏釋義？ 答：我的作品歸因於與註釋在製作影片的位置，也有主流 電影與藝術電影或影片歷史的關係。其中，有從頭到尾的 關係主題連帶到藝術家動態影像的歷史性，以及，改變措 詞來表述電影，一種類似文法的修正。而作品皆具有一個 濃厚的意圖成份，這也是某些東西我總會記得在腦子裡也 就是，作品本身不將挑出一特定主題或門徑。 問題四：請問您通常如何呈現您的影片？ 答：我展示我的影片大多於藝廊以及美術館，並與經過精 心考慮之後的裝置主題一併設置。作品的緩慢醞釀與發展 性，和觀眾一起，在每一隔間映像上。這些不同層面解散 了每個觀點，故，我以一種相連的環路呈現動態影像。 問題五：請問您什麼是您的風格或文藝作品類型？或請問 屬於哪一藝術運動？ 從我 15歲開始，便開始發展與其他人不同的電影製作語 言，當時在我的家鄉我使用 8釐米影片拍攝。當我的作品 逐漸的受到更多的曝光機會後，我開始遇到了許多和我創 作方向性類似的藝術家，帶出古典神話到當代文化，專研 電影句法不同見解的細微差別，有趣的參考文獻的碰撞火 花與呈現一種非自然的領域於選擇男女演員之上，介於虛 擬與真實紀錄之間。一種新的運動正開始顯露，其中有強 烈的獨立精神也是被我樂見的。 問題六：請問您目前正在進行的計畫？ 答：我正在做的計畫稱作-- 前衛鬼魅。那是一部呈現包 括油畫、雕塑、紙藝的電影。該電影場景創造了概念式的 宇宙，那裡也是現成物居住的地方。而物件與油畫就像電 影裡的分鏡一樣，它們可以居住在那個房間裡甚至是當投

What are you working on at the moment?

I am working on a project called The Phantom Avantgarde, a film is presented as the keystone to an exhibition including painting, sculpture and works on paper. The film sets the scene, creates the conceptual universe in which the objects live. The objects and paintings are like separate scenes of the film that can live in the room after the projection is switched off. I am very excited about it. The work seems like planning an ornamental garden, how we can move from one place to the other and see things together in different arrangements, and enjoy.

影機被關掉。我對於該計畫案感到非常的興奮。該作品就 如同在計畫一個 ornamental 花園，我們如何從一個地方 搬移到另一個，並且觀察事情的連結性，在不同的安排之 下，最後享受這過程。

吳尚霖 Space of Remembrance

回憶之境

Colour video with sound 12 minutes 24 seconds 2008

彩色有聲錄像 12分鐘24秒 2008

Space of Rememberance-II was made in the summer of year 2008 during my stay as an artist-in-residence at Goyang Art Studio of The National Museum of Contemporary Art in South Korea. Invited by curator Mr. Wu, I participated in a site-specific art project for the Art Festival of commemoration to a Korean painter Mr. Hwan-Gee Kim(1913-1974). I have experienced Korean rural life on An-Jwa Island at the southwest coast of South Korea for several days. Apart from making artworks on the island, with other artists, we have visited Mr. Hwan-Gee Kim’s former residence and places he had been while still alive. We also tasted the local food and delicacies.

The An-Jwa Island is an extremely rural place covering large tracts of farmland and is surrounded by oceans, therefore has a long coastline. While searching for inspiration for creation by visiting some scenic spots, I have found a vacant elementary school. An unremarkable concrete building surrounded by weeds, a sea view at the front side and a mountain view at the back side made the inside indiscernible if seeing at a distance.

According to one of the locals, the elementary school has been abandoned for 14 years, i.e. around 1994, due to lack of school houses, the local authority decided to move the school to a larger campus. I have tried to ask a staff member to guide me into the building, in such a hot, humid, and windless summer, the corridor to the school house and the classrooms without desks and chairs all appeared to be much more tranquil. I stood in the middle of one classroom and gazed at every corner.

I became aware of the fact that this vacant space in front of me was similar to some old classrooms in the countryside of Taiwan which were built during Japanese Occupation. Even

回憶之境是2008年的夏天，當我在韓國當代美術館的高陽 藝術工作室駐村期間所 作的創作。由於策展人吳先生的邀 約，我參加了為紀念韓國畫家金煥基先生 (Hwan-Gee Kim 1913-1974) 的藝術節駐地創作計畫，我在韓國西南端的安 佐島上 度過了幾天韓國的鄉間生活，除了創作之外我們也 拜訪了金煥基的故居及其生活 景點，並且品嘗了當地的美 食佳餚。 安佐島是非常鄉下的地方，大片的稻田與海岸線。在尋找創 作靈感與拜訪各個景 點的過程中，我遇見了這所荒蕪的小 學。一棟毫不起眼周圍佈滿了荒草的水泥建 築，背山面海 從遠處望甚至看不清楚內在的景觀。經由當地人的轉述，我 才知道 這所小學已經荒廢了十四年，也就是大約在1994年 因為校舍不足當地行政機關便 將學校轉往更大的校區。我 設法請工作人員領我進入，潮濕悶熱的夏天，通往校 舍的 長廊與沒有桌椅空空的教室顯得格外寧靜。我佇立於教室中 央凝視每個角 落。我發覺眼前的空間看似台灣鄉間在日據 時代所遺留的小學教室，甚至在我所 讀過的小學，仍沿用 這樣的教室風格，木頭窗框，深綠色的黑板也許教室的某個 角落還有放著掃除工具的大櫃子。 我想今天我們討論的全球化現象，似乎早在比絲路更遠古的 時代就開始進行。我 不是歷史學家，因此我沒有辦法鉅細 靡遺的探究這因果關係與來龍去脈。然而，在突然間身處於 如此境地，我似乎也只能如同欣賞渾然天成的壁畫般，好奇 的觀 看每一絲活生生卻佈滿灰塵的內容與我腦海中的域外 的風景與回憶作連結。

the classroom of the elementary school I attended in Taipei when I was a boy applying the same style – wooden window frames, chalkboard with dark green paint, and maybe a big cabinet for storing cleaning tools in a corner.

I think the phenomenon of globalization we talk about nowadays should start in an era much earlier than the age of the Silk Road. I am unable to analyze and tell in details the cause and effect of its evolution, for I am not a historian.

However, standing in such a space, I could only look curiously at every vivid trace of life covering with dust around me as I appreciated a fresco like nature itself and connect them with landscapes beyond frontier and my memories.

藝術家簡介 Wu Shang-lin (born in Taipei, 1977), one of the new generation of multimedia artists in Taiwan, lives and works currently in Taipei as a photographer, video director, performance and interdisciplinary artist. After obtaining the French national degree at the École Nationale Supérieure d’Art de Dijon in 2007, in recent years he has traveled and worked as an artistin-residence in Korea (The National Goyang Art Studio), Taiwan (Taipei Artist Village, Taipei) and Japan (Arcus Project, Moriya). The main message he would like to deliver through the work accomplished during this period, is to discuss various problems caused by the constant expansion of modern cities.

By exchanging his personal perspective with his interlocutors, he presents different aspects of the method each individual chooses to deal with the current situation.

Recent exhibitions include Rear Windows for Museum of Contemporary Art Taipei, Taiwan 2010 (group), Multiscapefor 315 Art Center, Masan, Korea 2009 (group), Portrait of Cities - watching & feeling, for Dogpig Art Cafe, Kaohsiung, Taiwan 2009 (solo), Portrait of Cities - Labyrinth, for Taipei Aritst Village, Taiwan 2008 (solo) and Art Studio Network for Bongsan Culture Center, Taegu, Korea 2008 (group).

吳尚霖 (1977生於台北),台灣新生代多媒體藝術家，並從事 攝影、錄像、表演與跨領域創作，目前定居於台北。2007年 於法國第戎高等藝術學院取得碩士文憑，近幾年分別於韓國 (國立高陽藝術工作室)、台灣(台北國際藝術村)、日本(阿 庫斯計畫)等地進行駐村創作。其作品主要在探討當代城市 在其不斷擴張的背景下所產生的種種問題，並經由其自身的 觀點與其他人之間的交流，透過不同的面向呈現每個個體對 其當下處境所選擇的應對方式。 其最近的展出包括2010台北當代藝術館的後窗-一個關於凝 視的展覽(聯展)、2009韓國馬山315藝術中心的Multiscape( 聯展)、2009豆皮藝術咖啡的城市肖像-凝視與感受(個展) 、2008台北國際藝術村的城市肖像-迷境(個展)與2008於韓 國大邱鳳山藝術中心的藝術工作室聯網(聯展)。

訪談 Why do you use video as a preferred medium?

I am particularly attracted to the representation of images and the possible accidents and thoughts which may occur during the process of making. Video as a medium allows me to directly interact with people I am concerned with and subject matters I am interested in. Departing from the realm of cinema, video was a completely innovative medium which combined sound with images, it was first introduced by contemporary Korean artist Nam June Paik in the 1960s.

Through the operation of camera I can capture any materials that appeal to me, freely and infinitely, and with the rapid development of new media and technology, we will be able to apply these elements more liberally to spaces, or even combine them with other new forms and tools.

What or who inspires your work?

My inspirations originate from the ever-changing time and space which we are confronted with. I am fascinated by images, symbols and sounds that we find everywhere in our day-to-day life, accidentally or unintentionally, I am interested in the conflicts that occur in different scenarios and situations. The contemporary urban spaces and architecture that surround us are like the foreground and background of our life, carrying forth a whole history of distinct and complex processes in every society; similar to those statues we find in cities, they reflect our emotions and collective memories as residents of the same city. Artists who particularly influenced me in this respect are German photographer Thomas Ruff

為什麼喜歡用錄像的方式呈現作品 ? 我對於影像的再現與其過程所產生的內容與意外著迷。而 錄影藝術則讓我可以直接與我要探討的對象或感興趣的客 體作最直接的互動。一種源自於電影且在六零年代開始被 韓國當代藝術家白南準引入，結合聲音與影像的嶄新創作 方式。藉由攝影機的操作，我可以隨時隨地的捕捉我所感 興趣的題材。而這些元素，由於新媒體技術的快速演進。 我們將可以更自由的將其運用於空間中甚至與不同的形式 與工具作串連與對話。 什麼人事物帶給你靈感? 我們所面對這個瞬息萬變的時間與空間，就是我創作的所有 靈感來源。我對生活中不經意且無所不在的影像，符號甚 至是聲音，在不同情境中所產生的衝突深感興趣。我們身 處的當代城市空間與建築如同我們生活的前景與背景，其 乘載了每個社會不同且繁複的演進過程，也如同城市居民 共同的肖像般，投射我們的情感與回憶。在這部份影響我 的藝術家有德國的攝影師Thomas Ruff，與德國的新浪潮導 Wim Wenders。 我也非常欣賞藝術家陳界仁先生的作品， 對社會不公與弱勢的關照，其鏡頭中所呈現的審視與凝思。 為什麼選擇這樣詩意的方式詮釋這些被遺忘的空間? 為什麼 你對這些空間感興趣 ? 我在創作的過程中，找尋一種個人對應這個快速改變的環境 之方法與態度。我的成長背景，有別於鄉下長大的孩子。 和很多人一樣出生於台北這樣的大城市裡。伴著我長大的 是城市裡的水泥牆、小公園、舊公寓還有不斷被重新修復 與擴張的城市地景。我直到上大學後有機會到不同的國家 旅行，才深刻感覺到這些空間對我的深刻影響。而這些廢

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

Space of Remembrance, 12 min, 2008, Video still 回憶之境 ，12 分鐘 ，2008 ，錄像劇照

The Route, 20 min, 2006, Video still 路徑圖，20 分鐘 ，2006，錄像劇照

and New German Cinema director Wim Wenders. I also admire works by artist Chen Chieh-Jen, whose frames contain contemplation and careful inspection of the society, especially his concerns about social injustice and minorities.

Why do you employ such a poetic form to interpret these forgotten spaces? And why are you interested in them?

During the process of making the work I am always searching for a personal path and standpoint that deals with the environment which changes so rapidly. Unlike children who grow up in the countryside, like many people I was born in the city; Taipei, growing up with concrete walls, tiny parks, old apartments and views which are constantly going through reconstructions and expansions. Only when I had the chance to travel abroad while at university, I realized how these spaces had made a strong impact on me. Today, urban planning is continuously undergoing various stages of change, particularly in places like Taiwan, where the country was once constructed under tough, transitional circumstances. To me these abandoned, aged, shattered and forgotten sites that are now facing a destiny of destruction and removal, do not only truly represent the prospect of the failing of great cities, it also bears collective memories of different generations and regions. To me showing these landscapes through the poetic gaze is not only nostalgic but it is also creating contrasts and making critical judgments on the constantly expanding city.

棄的，破舊的，被遺忘的場域，在城市規劃推陳出新的今 天，特別是在台灣這樣曾經是在很艱難，很過渡性的態度 下被建設的國度。這些即將面臨破敗與拆毀的地方，對我 來說不但真實呈現了偉大城市景觀破敗的一面，也承載著 不同世代之間與不同區域之間共通的回憶。透過詩意的凝 視呈現這些景觀，對我來說不只是一種勉懷，也同時是對 當下不斷擴張的城市建設做強烈的對照與批判。 你似乎曾在不同的城市就類似的主題進行創作，其中包括 首爾、台北與柏林。你是否可以談談為何你選擇這些城市? 而在這之中你又發現了甚麼? 我在當初開始經營這個主題的時候，其實是在歐洲。歐洲 的城市固然很美，但我們也可以發現一個現象，就是城市 的核心往往成為觀光的景點與政商中心，而越往郊區發 展，我們可以發現城市的景觀越來越破敗與單調。在這之 間區隔了富人與窮人，甚至因為一些政治因素，也將不同 的人種區隔開來。而這個現象，在全球化的腳步下更是明 顯。而選擇台北是因為我對這個城市有很深的情感，在離 開台灣的這段時間，也給我很多的機會對過去的生活與我 所認識正在改變的台北城做各個面相的反思。而首爾，則 成為一個很有趣的對照，和台灣在冷戰時期到現在有類似 歷史進程的韓國，在很多方面和台灣與其他亞洲國家之間 是互相參照的。如我在韓國安佐島所拍攝的小學教室，其 空間很難不讓人聯想日據時代的學校景觀。我們可以在台 灣一些比較偏遠的地方找到類似的空間，如果沒有稍微提 及，我們很難分辨影像身中的地方是在哪裡。而柏林則是 最近在進行的計畫，我將在下一個問題回中一併回答。

Walking II (Selfportrait Performance Project), 2009; 2hr Performance, black Ink, Canvars; C-Print Documentary Photos, 48 x 38 cm x 10 行走之二 (自畫像表演計劃案) 2009，兩小時表演，黑墨水，帆 布，彩色顯影寫真，長 48公分 寬 38公分 高 10 公分

Graduating Photo Project, 2009, Japan, Lambda-Print photographes 58.5 x 44.5 cm x 6 cm

畢業照計畫，2009，日本，Lamdbda 輸出攝影， 長 58.5公分 寬 44.5公分 高 6 公分

3 channel video installation, Color video with sound, collaboration with: Chang-Hui Sheng, Sue-Ching Chang, Elita Lin 三離式投影裝置，彩色錄像聲 音，與三位音樂家共同合作

Center & Margin, 2009 Taipei, Color video with sound, 2 chennels projection, 17 mins, collaboraiton with Vallentina Serrati

中央與邊緣，2009，台北，彩色錄像 聲音，雙聲道錄像，17分鐘，與維倫 緹娜撒拉緹共同合作

You seem to have worked with similar themes in different cities such as Soeul, Taipei and Berlin. Can you talk about why you chose these cities and what have you discovered in them?

It was actually in Europe where I first started working with this subject matter. Even though European cities are magnificent and charming, these cities often become tourist sites and business and political centres, but the more it expands into the suburbs, the more damaged and identical these cities become.

This phenomenon distinguishes and defines the rich and the poor, sometimes due to some political factors it also separates different races. This is especially obvious with the advancement of globalization. I choose Taipei because I have developed strong emotions for the city. During the time when I was away from Taiwan, I was given many opportunities to be critical in all possible perspectives about my past life and the ever-changing city of Taipei. Seoul, on the other hand becomes an interesting contrast. From the cold war era until now, Korea has a similar historical progress to Taiwan, it is relative and referential not only to Taiwan but also to other Asian countries. For example, the primary school classrooms that I shot in Anjwado island, Korea can easily be some school scenes during Japanese occupation of Taiwan. We can find similar sites in more rural places in Taiwan, and we would struggle to distinguish where the video is shot if the location is not mentioned at all. As to Berlin, it relates to what I am working on right now, I will answer this in the next question.

你目前正在進行的計畫為何? 象徵冷戰時期的柏林圍牆於1989年被拆毀後，柏林再度成 為德國的首都，一個結合東西德不同理念與風格的城市。 輕鬆簡單的生活步調，吸引了許多不同類型的藝術工作者 聚集。我目前正在準備在德國柏林的個展，主題是 « 城市 肖像－柏林計畫 »。而我這次的創作計畫，則是透過對十 一位當地居民的訪談，不管是在地人或是留學生，藉由他 們個人經驗的闡述與城市景觀的連結。我請每一位受訪者 和我分享與討論兩個主題，第一個是分享他們任何一個生 活當中記憶深刻或是特別的經驗。另一個則是在柏林找出 一個可以和此經驗做連結的地方，我請他們帶我去那裡讓 我可以用相機記錄那個地方的場景。這個計畫到目前還算 順利，也帶給我許多驚奇。我如同走迷宮般，被這些朋友 們帶到完全不認得的地方，聽每一個人敘述自己的故事。 彷彿是一場奇妙及另類的觀光旅行，從完全不同且個人的 觀點切入這個城市。

What are you working on at the moment?

Berlin once again became the capital of Germany after the fall of Berlin wall, symbol of the cold war era, in 1989, a city that brings together distinct concepts and styles from East and West Germany. It’s relaxing and laid-back pace of life attracting many different types of artists. The solo exhibition which I am preparing right now entitled ‘City Icons – A Berlin Project’, is taking place in Berlin at the end of June. Following the proposal, I am planning to interview eleven local residents, both natives and foreigners, and connect them to the local cityscape through their personal experiences. I am inviting each interviewee to discuss two topics with me; the first is about any memorable or special experience that they had in their life and the next is to locate a place in Berlin that can be related to this particular experience. I ask them to bring me to these places so I can take pictures of these sites. This project is going fairly well so far, and has given me many surprises. It is as if I was walking around a maze, being led by these friends to places that are completely unfamiliar to me, listening to everyone talking about their own stories. It is like a wonderful and alternative tourist journey, it helps me to interact with the city from completely different and personal viewpoints.

維多利亞．布魯克絲 Time Machine and Anywhere Door, IT Park, Taipei The malleability of time and space is central to Time Machine and Anywhere Door, bringing together artists who in various ways transform reality through meditative, surreal and occasionally absurdist installations. This inter-generational group of five artists from the UK and Taiwan, employ the moving image as a means to transport the viewer to another place or time – real or imagined, past or future — wilfully creating slippages between cultural motifs, histories and fictions. They exploit the medium’s portability and the ease with which wide-ranging references can be brought together, demonstrated by the artists’ use of found footage, appropriated imagery and visual styles that together provide a cross-section of global cultural activity.

Conscious of the ever-increasing global dissemination of localised visual information, from films and television programmes to resources such as youtube and social networking sites, Time Machine and Anywhere Door takes its name from a popular Japanese Manga cartoon, whose robot-cat Doraemon can teleport to ‘anywhere’, leading to fantastical journeys to outer worlds in the past and future to solve the problems of his human friend. These essentially moralising tales of time-travel are embedded in international folklore and endlessly reoccur across cultural boundaries. For the generation growing up with sci-fi TV shows, from the Asian animation Doraemon through to US dramas Quantum Leap or Back to the Future, the story remains essentially the same although the language and style are culturally specific.

時間與空間的易塑性是時光機與任意門主要要探討的主題， 邀請的藝術家透過冥想式的、超現實式的，甚至偶爾是荒 謬主義式的裝置等不同的方式轉化現實。這幾位跨越世代， 來自英國以及台灣的藝術家以動態影像為其工具把觀者轉 運到另一個地域或時間，不論是真實的或是想像的、過去 的或未來的，他們刻意地在建立文化意識、歷史與虛構小 說之間的流動和移轉。他們充分利用了這個媒材的機動性 與易於結合廣泛參考資訊與聯想的特性，如拾獲影片、更 改修正過的圖像以及視覺風格的 運用，這些都在在展現著 全球文化景象的切面。 意識到在地化的視覺資訊在全球不斷地增加及擴散，從電 影及電視節目到線上資源如 youtube以及以社交網路發展 為主的網站等等，時光機與任意門這個名字就取自 於流行 的日本卡漫機器貓小叮噹，它有能力可以電轉到「任何一 個地方」，把我們帶向奇幻的旅程以及過去與未來的世界 去解決他的人類朋友所碰到的難題。這些實質上是時光旅 行的寓言故事早早就存在於世界各地流傳的民間故事中， 並且重複不斷地出現在不同的文化國度中。對於伴隨著科 幻電視節目長大的世代來說，從亞洲的動漫「小叮噹」到 美國的影集「時光怪客」或「回到未來」，這些故事基本 上是相同的，即使在語言以及風格上他們都擁有各自不同 的文化特質。 「第四次元」在小叮噹裡被形容為特殊的口袋，這正呼應 了此次展覽中三位英國的藝術家在作品中所使用的在電腦 特效存在之前所製作的道具和戲服，他們的作品都散發著 一種另一空間的超現實感。克萊兒霍普2007年的錄像作品 「祝福」的原始構想即是一個場域特定、十二頻道環繞的

The ‘fourth dimension’ is characterised in Doraemon as a special pocket, echoing the use of pre-CGI props and costumes by the three UK-based artists in the exhibition, whose work is permeated with an otherworldly surrealism. In her video The Blessing (2007), originally conceived as a site specific, 12-channel immersive installation, Claire Hooper creates a hypnotic and spatial narrative evoking religious ‘rapture’ as described by St. Teresa of Avila. A higher purgatorial plane is represented as a hallucinatory dream with outer space-exposing kaleidoscopes and retro-futurist club interiors populated by meditative figures bathed in the glow of pink and orange lights. Combining the hand-made aesthetic of b-movies and old television shows to create an analogue nostalgia with the contemporary ocular overtones of digital technology, Hooper has sited The Blessing as a place free of time and space, a liminal zone of the imagination and a place with which to access parallel worlds or realities.

Cult genre films and science fiction also pervade the numerous cinematic references in Mark Aerial Waller’s video The Flipside of Darkness (2007), the second episode in his cycle of films Resistance Domination Secret. Structured around the Greek epic Orestia by Aeschylus, the film is set in Poland with actors accents belying their projected ancestry; its eccentric formality of style and characterisation disrupts eras and time zones, appropriating a myriad of cultural references along the way, accompanied by a playful electro soundtrack by youtube favourite Romvelope.

Aerial Waller’s practice interrogates the limits of cinema and the slippage between virtual and real space, often appropriating and re-presenting movies and archive footage, creating films, performances and sculptural installations that sneak through perceived cultural and national barriers and mine a rich variety of sources from Greek mythology to early French cinema, psychedelia and artists’ film.

裝置作品，這個她所架構的催眠及空間化的敘事體使人聯 想到艾維拉的聖泰瑞沙所形容的宗教「歡愉」。高層次的 煉獄表象被再現為一場幻象的夢，四處都是充斥著外太空 的萬花筒以及既復古又具未來感的俱樂部裡浸浴在粉紅及 橘色亮光中一個個冥想中的人形體。結合了Ｂ電影的手工 質感以及古老的電視節目兩者所創造出的具有當代科技的 視覺特質又有與其相對的懷舊之情。霍普將「祝福」的背 景設在一個獨立於時間及空間之外的場域；一個容許想像 轉化的區域和一個能夠進入相對世界或現實的地方。 非主流電影及科幻小說的影響也充斥在馬克愛瑞爾華勒 2007年的錄像作品「邪惡的翻面」中幾個呼應電影語言的 場景裡，這是「抵抗 支配 祕密」系列影片中的二部曲。故 事的架構圍繞著埃斯庫羅斯撰寫的希臘史詩-奧瑞斯提亞， 這部影片的拍攝設在波蘭，並且與幾位擅於捏造非自己鄉音 口音的演員合作。它不通俗的形式風格以及角色設定擾亂 了年代和時區，不但從頭到尾擅改無數的文化資料和資源 並且放送著 youtube上最受大眾喜愛的電子配樂 Romvelope。愛瑞爾華勒的創作在挑戰電影的框架和限制並在虛擬 及真實的空間之間流轉，通常是透過篡改及再現電影以及 庫存的影像資料去創作影片、表演以及雕塑裝置，在既定 的文化與國族包袱下挖掘出豐富多元的創作資源，從希臘 神話、早期的法國電影、迷幻電影到藝術家影片。 在約瑟夫華爾許2007年的錄像作品「眼前的工作」中，他 重建庫柏力克的作品「鬼店」中的場景，更直接地提及了 電影工業，他把所有的道具都換成東方的肖像圖騰以及亞 洲電影中典型的角色：一個華人男子切垛著蔬菜和孤立的 發條忍者。西方與東方在電影語言及風格上的衝突性、對 於部份非主流電影的聯想以及意料之外的角色和其行為舉 止等等不論是在對時間或是地點的判斷上都有擾人視聽及

Joseph Walsh’s video The Work Ahead of Us (2007) more directly references industrial cinema by re-staging a scene from Stanley Kubrick’s The Shining, replacing the props with Oriental iconography and characters with stereotypical Asian movie personas – a Chinese man chopping vegetables and a lone, clocked ninja. The clash of western and eastern cinematic styles and allusions to specific cult movies, as well as the unexpected roles and behaviour of the characters all have a disorientating and ambiguous effect on time and location. Walsh’s use of obsolete VHS technology compounds the confusion – the heightened colour and analogue characteristics deliberately remain at odds with the crisp digital images of contemporary film and permit indeterminate temporal interpretations.

Chen Chieh-Jen’s references also span an international cultural network of art and cinema, but the quiet delivery and political subject matter focus on the traumatic histories of Taiwan itself, from warfare to industrial decay. The Route (2006) was originally commissioned for the Liverpool Biennial in 2006 and investigates the rich material surrounding the 1995 dockworkers strike and the response by the international shipping community in California, Vancouver and Japan who refused the docking of the ‘Neptune Jade’, a ship crewed by Merseyside strike breakers.

Eventually the ship docked at Port of Kaohsiung, Taiwan where it was sold off and broken up. Chieh-Jen splices together archival footage of these Liverpool strikes with contemporary images of a dockers protest at Kaohsiung, fusing the two territories in a lyrical film that explores the similarities of international industrial experience by gently slipping back and forward through time and place.

Wu Shang Lin’s Space of Remembrance (2008) also emphasises common human experience using a more literal, meditative

曖昧不明的效果。華爾許透過不復存在的錄影帶技術的運 用，作品中混雜著過度鮮明的色彩以及刻意保留的相似角 色但同時又交雜著當代電影裡清晰的數位影像，容許觀者 非限定的過渡性解讀。 陳界仁的作品脈絡雖然也橫跨了藝術與電影的國際文化網 路，但其靜默的表達方式和政治主題仍著重在台灣過去的 歷史陰影與包袱上–主題從戰爭到工業衰退不等。他的作 品「路徑圖」是在2006年受泰德美術館所舉辦的「利物浦 雙年展」委託製作的作品，深入考察1995年碼頭工人的罷 工事件以及針對這個事件在加州、溫哥華以及日本的國際 航運組織所做出的負面回應，他們拒絕讓海王星玉號–一 艘由 來自默西塞德郡的罷工工人所組成的船隻停泊，最後 這艘船在台灣的高雄港停泊，而後在當地被販售及拆解。 陳界仁結合利物浦罷工事件的庫存影像資料以及現代高 雄 港碼頭工人抗議的影像，透過時間及地域的穿插交錯把兩 個不同的領地融合在一部探索尋求國際工業經驗相似性的 影片中。 吳尚霖2008年的作品「回憶之境」利用比較直接、默想式 的方式去表達、再現時間的逝去，同樣強調了相似的人文 經驗。單一的鏡頭掃過荒廢的學校大樓以及被植物 藤蔓所 佔滿的窗戶和牆面，突顯了大自然中衰退、重生的淒美過 程。吳尚霖透過大眾對於教室景像的熟悉感使人直接地感 染了影片中的懷舊之情以及抒情的電影感受，觀者幾乎可 以想見課程教授的狀態並聽見小孩們在熟悉的建築物裡玩 耍的聲音。 儘管這個展覽中所有的作品都反應著另一個空間或時間， 但由於對材料和形式在處理方式上的不同仍孕育了豐富有 趣的相對面以及節奏速度上的改變。從華勒在「邪惡的翻

approach to the representation of the passing of time. Single shots pan throughout an abandoned school building, the vegetation encroaching through the windows and across the walls highlighting the beautiful, otherworldly process of decay and re-inhabitation by nature. Shang Lin’s use of the universal image of the classroom imbues the film with an immediate nostalgia and an emotive cinematic feel, the viewer can almost see the lessons being taught and hear the children playing in the familiar architecture.

Although all the artworks in the exhibition reflect another space or time, the approaches to material and form create interesting counterpoints and changes in pace, from the frenetic use of pop references in Waller’s The Flipside of Darkness to the more formal meditations on history by Chieh-Jen and Shang-Lin. Here, the Taiwanese artists provide the earthly reality to counter the otherworldly recollections of Waller, Hooper and Walsh whose British backgrounds perhaps leave the mark of a different aesthetic, one in which the propensity to interrogate fantasy, science fiction and the future is more vital than the past.

Curator Ada Kai-Ting Yang’s decision to show video by all five artists implies a political assessment of the mechanisms of contemporary cultural exchange and the dynamic portability and dissemination of cinema and digital media globally. As maps, nations and identities are endlessly disputed and countries close their borders, technology represents a positive future platform for global dialogue. Through artists’ film and video, cinema and the Internet, the moving image literally opens the door to another world.

Victoria Brooks, 2010

面」裡對普普文化的瘋狂濫用到陳界仁及吳尚霖對於歷史 較為嚴肅的著墨和反思，台灣的藝術家從較貼近人性面的 現實出發，有別也相對於華勒、霍普和華爾許不著邊際的 想像，或許是他們來自大不列顛的背景遺留了不同的美學 印記–其中的一個傾向就是認為研討探究幻象、科幻小說 和未來比過去重要。 策展人楊凱婷決定展出五位藝術家的錄像作品象徵著對於當 代文化交流的機制、多變的機動性以及電影與數位媒體在 全球的擴散上某種政治化的價值評判。隨著地圖、國家以 及身分所不斷受到的爭議以及國與國之間消弭的界線，科 技反應了正面的、在未來的平台上可能開放的全球對話。 透過藝術家的影片及錄像、電影工業和 網路，動態影像的 大門已然開向另一個窗口及世界。 維多利亞．布魯克絲，2010

I would like to thank the following people for their generous contribution & assistance for making the exhibition possible.

我希望能感謝這些人的貢獻與協 助, 使這個展覽能夠發生

Designers Sophie Dutton, Hannah Montague, Joseph Pochodzaj

設計師 蘇菲達兒登 漢娜蒙塔秋 約瑟夫波秋薩

Translator Chien-Ni Hung Emmanuel Tsuwan Hsieh Ada Kai-Ting Yang

翻譯 洪茜昵 謝祖望 楊凱婷

With Special thanks to Union Gallery Jari Larger Rut Blees Luxemburg Claire Hooper Matti Isan Blind Tsong Pu Chen Chieh Jen Mark Aerial Waller Wu Shang Lin Joseph Walsh Matthew Stone Paul Smith Ltd. Yang I Ya Chen Ming Wei Yang Jie Zhong Chen Su e Yang Jie Jun Xie Mei Lian Liu Xing Yi Wang Tai Ren Elvis Hung Yuro Huang

特別感謝 結合藝廊 亞瑞 拉格爾 盧 布莉絲 盧森堡 克萊兒 霍普 馬地 伊山 布藍德 莊普 陳界仁 馬克 艾瑞爾 華勒 吳尚霖 約瑟夫 華爾許 馬修 史東 保羅史密斯有限公司 楊尹雅 陳明偉 楊介鐘 陳素娥 楊介鈞 謝美蓮 劉幸宜 王泰人 洪嘉駿 黃彧雒

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時光機 與 任意門

17.07.2010 – 14.08.2010

IT Park Number 41, 2nd floor, Yi-Tong Street, Taipei, Taiwan 10486 886-2-25077243, http://www.itpark.com.tw/