There are two ways to make this work , the first one is to steel myself, but I choose the second way.
收拾行李，在限重23kg的情況下，到底哪些東西該帶走，哪些乾脆就留給蘇格蘭，傷神之下，習慣性地就到門 外抽了根煙，細雨的深夜，酒廠的蒸鎦器依舊不停地工作著，轟轟的低頻聲丶蒸氣瀰漫的空氣裡有濃濃的麥芽 香混著酒精的氣味。
三個月來一樣的景緻，不同的是氣溫漸冷，夜晚來的時間愈來愈早，述說著夏日已過，也提醒了駐村的日子既 將告一段落。
The luggage weight limit is 23kg, what should be packed, and what should be left in Scotland? In this trade-off situation, habitually, I lighted up a cigarette. In the late night of drizzle, the steamer of the distillery, still kept working, and the low-frequency sound, a smell mixed thick malt and alcohol in the vapor-filled air.
The same scenery in three months, the difference is that the temperature is getting colder. The sundown is getting earlier. This denotes that the summer has passed, and reminding that the days of artist-in-residence is approaching to the end.
ARTISTS AT GLENFIDDICH
International Residency Programme
六月，我們全家迎來一個美好的暑假，來到蘇格蘭的格蘭菲迪酒廠駐村，飛機降落在亞伯丁機場，久違的安迪 已經在大廳等候，一路上，滿口濃濃蘇格蘭腔的英文，窗外綿延不斷的草原風光，讓我們驚呼連連，新鮮的空 氣丶和煦的陽光讓我們對接下來的生活充滿期待，大約一個多小時的車程，我們來到了鄰近達夫鎮的格蘭菲迪 酒廠，駐村的生活正式展開。
This June, my family had a lovely summer vacation and a great opportunity of artist-in-residence at the Glenfiddich Distillery in Scotland. We landed at the Aberdeen Airport Andy had been waiting in the hall. Along the way, we were immersed in a Scottish accent, grassland, winds, fresh air and the bright sunshine. We were looking forward to life in coming months. In about one more hour's drive, we arrived at the Glenfiddich Distillery near Dufftown. The life of residency is beginning.
創作上，我總是著迷於物件的自體本身能否溢出一些額外的情緒和可能，不僅是歷史的記憶或歲月的痕跡，更 多是造形和功能賦予它們在這個世界具有的意義，真實的存在，而且生活感十足。 As to the creation, I am always fascinated by whether the work/object itself can spillover some extra emotions and possibilities. It is more about the shape and function that give them meaning, the real existence, and the sense of life than not just historical memories or the traces of the time.
斯佩賽是蘇格蘭麥芽威士忌酒廠裡面密度最高的一個產區，約有一半的酒廠分布在水質純淨的斯佩河的流域，
而區域南邊的達夫鎮也成為全球威士忌愛好者造訪蘇格蘭的首選之地。這麼有名的地方竟然只是個古老小鎮， 僅有兩家不大的超市和幾間咖啡店、餐廳和小酒館，絡繹不絕的觀光客讓我覺得，只要找對方法（如行銷全球 的威士忌），這樣的小鎮也可以過得很好。
《Second Way》是我使用了輕質的木料製作了一個擬真的橡木桶，扛著它一口氣走完酒廠到鎮上來回三公里的 路（駐村期間為了維持生活的基本補給幾乎每天都走），桶子的參照是容量大約200公升俗稱波本桶的美國橡木
桶，真實空桶的重量約50~60公斤左右，將其扛在肩上並非不可能，但要不休息走個二、三公里如果沒有天分
並且經過適當的訓練（專業的大力士）應該是很難辦到，桶子的大小介於可能（極度的困難）與不可能之間，對 於觀者有種難以置信的感覺。我試著透過這樣的行為表演來探討一種想盡辦法脫離困境的可能，雖然看起來像
是在自討苦吃。 Speyside has the highest density of malt whisky distillery. About half of the distilleries are distributedin the pure water of the River Spey. And the Dufftown in the south of the region also becomes the pilgrimage site for global whisky lovers. This old town has only two small supermarkets and a few coffee shops, restaurants and bistros. But the enormous tourists make me feel that once you find the right way (such as marketing whisky all over the world), even a small town can nourish very well.
"Second Way" is that I used a lightweight wood to make a simulated oak barrel, and I always took it and walked 3 km for the necessary supply to maintain life almost every day. The barrel is about 200 liters, and I took American oak barrels as a reference, which commonly known as Bourbon barrels. The weight of real empty barrels is about 50~60 kg. It is not impossible to carry them on your shoulders, but if you don't take a break, have proper training, or as talent as Hercules, then it is challenging to walk 2~3 km. The size of the barrel is between the possibility (extremely difficult) and the impossibility, and it has a hard-to-believe feeling for the viewer. Through such behavioral performances, I try to explore the possibility of getting out of the predicament, although it seems to be looking for your own trouble.
蘇格蘭威士忌的製酒業者為配合英國政府管控及裝桶存放陳年，而實施保稅倉庫等相關措施。平常必須上鎖控
管，且所有進出該倉之酒品均必須有詳實紀錄，以供海關官員隨時到場稽查之用。存放酒桶的酒窖倉庫座落在 酒廠各處，只有部份有開放參觀，更多的倉庫充滿神秘感。
《 Not Here 》是復製了一扇酒廠倉庫的門（格蘭菲迪的一號倉庫），有點微微打開地露出門縫，讓人想一探究 竟，帶上它可以在任何牆面創造出空間進入可能的一種假象，在酒廠和每天絡繹不絕的遊客互動，看起來有一
種Kuso的感覺，但也希望能帶出某種面向權力機制的對應方式的可能。
Scotch whisky makers implement bonded warehouses and long-term barrel storage in line with the British government's regulation. Usually, the warehouses must be locked, and all whisky must have a detailed record for the customs officials to check at any time. The warehouse of the barrel is located in the distillery. Only some of them have open tours, and this make warehouses full of mystery.
"Not Here" replicates a warehouse’s door (Grandfield’s Warehouse No.1), which opens slightly and trigger your sense of curiosity. Bring it and hand on any walls, and then you can create an illusion of an entrance, and a Kuso emerged when it interacted with tourists in the distillery every day. But I also hope to bring out a possibility of a particular coping-strategy to the power mechanism.
在專業的分工下，產能低又佔空間的傳統地板發芽日漸勢微，目前全球絕大多數的威士忌蒸餾廠，都是跟專門 的麥芽廠購買大量的麥芽為原料，每天都有很多大卡車滿載著釀造威士忌的麥芽來到酒廠。
《Not Just Cover》是複製了格蘭菲迪酒廠內地面上一個表面漆剝落露出鐵的銹斑的黃色蓋子，雖然看起來非常
地不起眼，但每天大卡車載來的麥芽就是經由蓋子下的通道進入製酒的生產線，所以它其實有著非常重要的任 務，我試著扮演一個觀光客的樣子，帶著太太和小孩，四處參觀酒廠並且拍照，看似普通的照片裡，黃色蓋子
都偷偷地隱身在畫面的一角，最後製成的家庭相本也算是紀念這次難得的駐村之旅。 Due to the professional division of labor, the traditional floor malting, which is low production capacity and space-consuming, is gradually waning. At present, most of the whisky distilleries are buying plenty of malt from a specialized malting factory. Every day, many large trucks are loaded with malt for whisky production.
"Not Just Cover" is a yellow cover that replicates the rust cover on the ground in the Glenfiddich distillery. Although it looks very inconspicuous, the passage to the production line in which malt that comes in every day from the big truck is under the yellow cover. So it actually plays as a crucial task. I try to play the role as a tourist with my wife and child, check around the facility and take pictures. In the ordinary photos, the yellow cover secretly hides in the corner of the picture. Finally, a family album is made to be as a commemoration for the artist-in-residence.
廖建忠
1972 生於台北，台灣
個展
2019 「更衣間裡的蛇」－ 双方藝廊，台北，台灣
2017 「行至兩光之地」－ 伊通公園，台北，台灣
2016 「假裝學」－ 絕對空間，台南，台灣
2015 「外擴聲響」－ mt.black，台北，台灣
2013 「2013年的表面工程法 廖建忠個展」－ 非常廟藝文空間，台北，台灣
2011 「作為一種例外於現實的狀態 廖建忠」－ 誠品畫廊，台北，台灣
聯展
2019 「2019麻豆糖業大地藝術祭」－ 總爺藝文中心，台南，台灣 「奧拉之城」－ 中央公園，高雄，台灣
2018 「水果、花朵、物與其它」－ 双方藝廊，台北，台灣 「礦。事。紀－水金山礦山當代藝術展」黃金博物館，新北市，台灣
2017 「創作像海洋，愛你像光」2017寶藏巖光節，台北國際藝術村 寶藏巖，台北，台灣
2016 「存在的情境」東亞當代寫實藝術展，毓繡美術館，南投，台灣 「日日湯馬森」－ 双方藝廊，台北，台灣
2014 「台灣報到---2014台灣美術雙年展」，國立台灣美術館，台中，台灣 「為自己做的藝術」－ 耿畫廊TKG+，台北，台灣
2012 「心動EMU」－ 台北當代藝術館，台北，台灣
2009 「抬頭一看，生活裡沒有任何美好的事」－ 誠品畫廊，台北，台灣
2008 「砍錯－Z」－ INFIDI SPACE，台北，台灣
2005 「每一次」－ 南海藝廊，台北，台灣
2001 「米變－亞洲跨文化計劃」－ 環境藝術館，香港，中國
2000 「arther」國家氧作品發表 伊通公園，台北，台灣
駐村
2019 格蘭菲迪藝術家駐村計畫 達芙鎮，蘇格蘭
2014 西帖國際藝術中心 巴黎，法國
LIAO CHIEN CHUNG
1972 Born in Taipei, Taiwan
Selected Solo Exhibitions
2019 “The snake in the dressing room” Double Square gallery, Taipei, Taiwan
2017 “Towards the land of two lights” IT PARK, Taipei, Taiwan
2016 “Fakeology” Absolute Space for the Arts, Tainan, Taiwan
2015 “Expanding Noise” - mt.black, Taipei, Taiwan
2013 “Surface Engineering Method of 2013 - Liao Chien-Chung Solo Exhibition” VT Artsalon, Taipei, Taiwan
2011 “An Exception to Reality-Liao Chien Chung” ESLITE GALLERY, Taipei, Taiwan
Selected Group Exhibitions
2019 “2019 Madou Sugar Industry Art Triennial” Tsung-Yeh Arts and Cultural Center, Tainan, Taiwan
“Electri City” Central Park, Kaohsiung, Taiwan
2018 “Fruit,flower,object and others” Double Square gallery, Taipei, Taiwan
“The Fourth Age of Man - Contemporary Art in jinguashi” Gold Museum, New Taipei city, Taiwan
2017 “You are the Sunshine of my Life” 2017 Treasure Hill Light Festival, Taipei, Taiwan
2016 “Situation of existence: Contemporary realistic art in East Asia” Yu-Hsiu Museum of Art, Nantou, Taiwan
“Everyday Thomassons” Double Square gallery, Taipei, Taiwan
2014 “Yes Taiwan - 2014 Taiwan Biennial” National Taiwan Museum of Fine Arts, Taichung, Taiwan
“ART FOR ONESELF” TKG+, Taipei, Taiwan
2012 “CRUCH on EMU” Museum of Contemporary Art, Taipei, Taiwan
2009 “LOOKING UP! LOOKING DOWN” ESLITE GALLERY, Taipei, Taiwan
2008 “Ctrl Z” inFIDI Space , Taipei, Taiwan
2005 “Every time” Nanhai Gallery, Taipei,Taiwan
2001 “Cross-Cultural Project in Asia” Hong Kong
2000 “arther” Nation Oxygen Group Exhibition, IT PARK, Taipei, Taiwan
Residency
2019 The Glenfiddich Artists in Residence programme, Dufftown, Scotland
2014 Cite’ Internationale des Arts, Paris, France
更衣間裡的蛇
廖建忠 2019
展覽日期 2019年12月7日至2020年1月18日
展覽地點 双方藝廊
作 者 廖建忠
設 計 廖建忠
英文翻譯 吳馬克
出 版 伊通國際有限公司
臺北市104伊通街41號2-3樓
電話 (02) 2507 7243
電郵 info@itpark.com.tw
http://www.itpark.com.tw
出版時間 2019年12月初版
贊 助 格蘭父子洋酒股份有限公司
特別感謝 陳慧嶠
Andy Fairgrieve
王德瑜
林政佑
版權所有 ‧ 翻印必究
The Snake in the Dressing Room
LIAO CHIEN CHUNG 2019
Exhibition Date December 7, 2019 to January 18, 2020
Exhibition Venue Double Square Gallery
Artist Liao Chien-Chung
Designer Liao Chien-Chung
Translator Mark Wu
Publisher IT Park Gallery 2-3 Fl. 41 41, 2fl Yi Tong St. Taipei 104 Taiwan
Tel 886-2-25077243
E-mail info@itpark.com.tw http://www.itpark.com.tw
Publishing Date December, 2019 (1st edition)
Sponsor William Grant & Sons Ltd.
Special Thanks Chen Hui-Chiao
Andy Fairgrieve
Wang Te-Yu
Chengyu Lin
All rights reserved
