ARTISTS AT GLENFIDDICH 2021
WHISKY GOSSIP
生產線上的合作，自然有默契，流水線上的瓶子運轉的很快，隨著機台，手部操作的速度、節奏、身體與他人身體，彼 此工作合奏就是一場聲音律動的演出。當耳塞隔絕了噪音，阻絕身體與外界與他者的聯繫、阻絕身體完整沈浸於環境的 體驗，相當於某種類似真空的狀態，身體被悶悶的聲音沈重地包覆，但這些卻不影響人們之間真誠的交談與互動。 合創的聲音計畫來自於無法預期結果的介入行為，將瓶裝生產線的工作經驗做為持續形式轉換的基礎。聲音採集於格蘭
菲迪酒廠的瓶裝生產線
Lines 33, 34，邀請生產線的工作夥伴合作，在等待機台維修或生產線停擺時，利用日常工作身 體的操作節奏及瓶子在不同的流程互相撞擊所產生的噪音，重塑二條新的聲軌，並交織來自於生產線回收的玻璃瓶再創 造的另類樂器（二個瓶子為一組，瓶口套上工作耳塞成為再創造的另類樂器）所模擬的新聲線。工廠現場及再創造的噪 音作為交織二條重複差異的聲音生產線。此次「就在藝術空間」的現地製作，將前期於工廠工作時的身體／聲音／環境 產出的律動波紋為圖景，織成聲波織毯，提供觀眾一個臨時參與的現場聲音／觸覺平台。
WHISKY GOSSIP
When working on the production line with others, the bottles on the conveyer belt moved quickly and there was a natural and tacit understanding whereby the work ensemble of one’s body and the bodies of others became a performance of rhythmic sounds based on the speed and rhythm of the machine and manual operations. Wearing earplugs blocked out the noise but also physically cut one off from contact with the outside world and other people. This in turn prevented the body from experiencing being immersed in the environment and was akin to being in a vacuum. However, despite the fact that we were surrounded by muffled sounds that did not impact the earnest conversations and interactions between people.
This co-created sound project originated in an intervention the outcome of which was impossible to predict, taking the experience of working on a bottling production line as a foundation for continued transformation of form. I collected sounds from production lines 33 and 34 of the bottling production line at the Glenfiddich Distillery and invited those who worked with me to cooperate. This involved using the sounds created by the rhythm of daily physical work and the collision of bottles at different stages of the process when the equipment was under maintenance or the production line had stopped, to remodel two new audio tracks, which were then mixed with a new sound created by alternative musical instruments made from glass bottles recycled from the production line (each two bottles with work ear plugs stuffed into the bottle openings becomes a reinvented musical instrument). Distillery and recreated sounds were turned into a sound production line, made up of two overlapping and repeating different sounds. On this occasion, the on-site work in the art space, transformed rhythmic ripples created by the bodies, sounds and environment from my early period at the distillery into pictures, thereby creating a soundwave carpet that provided visitors with a temporary sound/touch platform with which to interact.
WHISKY GOSSIP
Lines 33, 34
Sound installation, carpet making 2023
森林裡發現彩色真菌
I found colored fugus in the forest
Also (non-) working time
在疫情高峰期間去了一趟蘇格蘭，先不提出發前的過程有多麼繁瑣，還有等待旅英的隔離政策鬆綁將近一年，英國政府 在疫情尚未明朗之際，率先宣布餐廳、酒吧等公共空間及口罩令解封，也讓即將出行的此趟旅程增添許多不確定性。
初訪達夫鎮，二年的疫情導致許多店家歇業，夏日來訪的觀光客劇減，更強化與世隔絕的狀態，這樣的時間感知，與我 在台灣及其他國家不同，或許更像是進入純粹與自然共處的時間。如何感知時間？體驗與非人世界的互動？覺察時間還 有重新觀望自己的位置？
原先的駐村計畫是在出發的前二年規劃的，想法來自於蘇格蘭與愛爾蘭女神傳說的延伸思考；關於土地、火、生育、環 境女神，以及戰爭、瘟疫對環境帶來的傷害，而人類如何矛盾地在取用自然同時又崇敬女神以求大地生態欣欣向榮，祈 求為人類及萬物持續帶來生機與繁衍。但實際到了駐留現場，我反而放掉知識或文化建構的認識論或概念化將已知的操 作方法執行駐村項目，相反地以體驗時間的經驗，做為駐留期間專注的部分，儘可能開放自己的敏銳度，理解消化不同 經驗與能量的轉換，取代迫切抓住或重複所謂「藝術作品」該有的樣子。對我而言，這是更為重要且單純的方式。人類 不就是在個體有限的生命階段裡，體驗工作時間、感受與自然共處的時間、體驗隔離孤獨的時間、感知宇宙萬物與地質
這場時間的旅途是一條森林小徑的距離；每日行走，以步伐感知時間，學習辨識植物與觸摸苔蘚來理解身處的地方、瓶 裝生產線的勞動；人類認知時間的概念，倚賴著工廠、學校等這些強大的時間劃分機制與分配系統好讓社會機器穩定運
作、Covid 19 期間的隔離封閉時間；經歷每週二次的核酸檢測與二次二週的隔離期、最終我折服於高地腐植層的地質 深時間；來自於時間與物質的累績⋯
Also (non-) working time
It is not necessary to describe in detail the difficulties that had to be overcome before traveling to Scotland during the height of the pandemic, or the fact we had to wait nearly one year for the relaxation of quarantine and travel policies in the UK. In addition, an announcement by the British government lifting bans on the opening of restaurants, pubs and mandatory face mask wearing at the peak of the pandemic added a great deal of uncertainty to the journey just as we were about to leave.
The first time I arrived in Dufftown, two years of COVID-19 had resulted in the closure of many stores and a dramatic fall in the number of tourists visiting in summer, which reinforced the feeling of being temporarily cut off from the rest of the world. As a result, my perception of time was different to how it had been in Taiwan or any other country and in some ways perhaps more like a period in which I coexisted with nature. How should one perceive time? Experience interaction with the nonhuman world? Does such awareness of time change the way in which one views one’s own position?
The original artist’s village program was introduced two years before I left Taiwan and the proposed idea was effectively an extrapolation from Scottish and Irish legends about a goddess of land, fire, birth and the environment, as well as other elements such as war and pestilence that damage the environment. It also focused on the contradiction of how at the same time as using nature humanity also worships the goddess and asks for the land to thrive so as to boost human vitality and propagation. However, when I arrived at the artist’s village I gave up on epistemology as a blueprint or the conceptualization of known approaches to execute artist village projects. Instead, I chose to focus on my experience of time while a resident artist. This required me to be as open and perceptive as possible, to understand the transformation of different experience and energy as a replacement for the urgent need to grasp or repeat the expected likeness of so called “works of art.” For me, this was a far more important and simple approach. Moreover, is it not true that humankind experiences work, perceives coexisting with nature, experiences being isolated and alone, understands everything in the universe and geological deep time within the confines of a limited lifespan?
In addition, this journey with time was a small forest path; Every day I walked there and perceived time through the steps I took, while learning to differentiate plants and the moss I touched as a way of better understanding the place I found myself and the labor of the bottling line; When it comes to the human concept of time, factories, schools and physical labor are all dependent on this mechanism for dividing up and allocating time so society is more stable or it is possible to create the enclosed time related to COVID-19 quarantine; After taking two PCR tests per week and two two-week periods of isolation, I submitted to the deep time represented by the humus layer of the Highlands; Geological deep time originates in the accumulation of time and matter ...
荷航空姐人形立牌，指示需準備出示的文件 入境英國前於阿姆斯特丹轉機，排隊等待 COVID-19 核酸檢測與身份文件檢查站 登山過程發現蘇格蘭高地的腐植層 通往森林小徑前的鐵道柵門，停看聽
A cardboard cutout of a KLM air stewardess tells me to be ready to show my documents. When I flew to the United Kingdom I transferred in Amsterdam where I had to queuefor a COVID-19 PCR test and have my documents inspected.
I discovered the humus layer when I went mountain hiking in the of the Scottish Highlands. A railway gate just before the small forest path – Stop - Look - Listen
Covid 19 time
1. 線上申請英國簽證時詢問關於Covid19與種族調查的問題
2. 初抵達蘇格蘭收到NHS核酸檢測的包裹
3. NHS回覆檢測結果為陰性，但還是被要求自我隔離十天
4. 疫情期間的蘇格蘭國家圖書館
5. 有如上班打卡的核酸檢測
6. 駐村期2021.9.7~2021.11.2 每週一、四核酸檢測通知
Covid 19 time
1. When I applied online for a visa to the United Kingdom they asked me about COVID-19 and race -related questions
2. On arriving in Scotland I received a pack of NHS PCR tests
3. I was notified by the NHS that the tests were negative but I was still instructed to self-isolate for 10 days
4. The National Library of Scotland during the pandemic
5. Taking PCR tests is like clocking on at work
6. During my time in the artist’s village (September 7, 2021 – November 2, 2021), I received a PCR test notification every Monday and Thursday
森林小徑的距離
脫離了剛抵達蘇格蘭頭十天被要求隔離的鬱悶，開始習慣每日在森林裡走路， 低頭彎腰看著苔蘚，摸摸苔蘚就成為這陣子的新日常。 苔蘚的語言，苔蘚的時間，苔蘚的觸感，苔蘚的幽默 蘇格蘭高地的苔蘚
攀附在酒廠外圍矮牆的苔蘚 佈滿石牆的苔蘚 攀附在樹幹上的苔蘚
酒廠柵門外水泥地面的苔蘚 和苔蘚相處的作品
Along a Small Forest Path
Escaping the despondence of having to quarantine for 10 days after arriving in Scotland, I started walking in a nearby forest every day. It was during those walks that I watched the ground and bent over to examine the moss. Touching moss became my new daily normal during that period.
The language, time, feel and humor of moss.
Moss in the Scottish Highlands
Moss on the wall around the distillery
A moss-covered stone wall
Moss on a tree trunk
Moss on the concrete ground outside the gate to the distillery
Art work and moss coexisting
高地的腐植層：地質深時間
苔蘚與各種植生物經年累月轉化的物質
經過碳化礦物化的腐殖質與腐植質上層長出新生的植披
Scottish Highlands humus layer: Geological Deep Time
Over the years moss and various flora and fauna transform into matter
Carbonized humus and new vegetation grows from the upper layer of the humus
瓶裝生產線
駐村的high light，莫過於進入瓶裝生產線實習時與生產線操作員閒聊，每天雖然有二次各15分鐘的茶水點心時間，午餐 30 分鐘的空檔可以交流，但最有趣也令人感到意外的是等待著穿著橘紅色連身工裝的工程師來更換下一批不同大小機 器零件的空白時間，或者機器故障時，大家排排站靠在輸送帶邊講笑話的等待時間。生產線上的工作人員個個是幽默高 手，尤其Line 33。
我問：你都喝什麼酒？威士忌嗎？ 她答：不，我不喜歡威士忌，我多半喝琴酒。
我問：你要買什麼酒阿？你喝威士忌嗎？ 他答：沒有，威士忌太貴了。
我問：你放假的休閒是在做什麼活動？ 他答：我喜歡樂團，有時候會去格拉斯哥聽演唱會 她問：I-Ting 妳想不想我現在弄一些瓶子放進紙管的聲音？ 我答：好啊，我們來玩。
The highlight of living in the artist’s village was being able to work as an intern on the bottling production line and chatting with production line operators. Although there were two 15-minute tea breaks a day and a 30-minute lunchbreak in which I could engage with others, what I found most amusing and surprising were the times when I waited for the engineers dressed in orange overalls to change different sized machine components, or when the machine broke down and everybody stood around the conveyor belt telling jokes. Everyone working on the production lines was a comedian, especially line 33 .
Q: What spirits do you like to drink? Whiskey?
A: No. I don’t like whiskey I usually drink gin
Q: What spirits do you want to buy? Do you drink whiskey?
A: No. Whiskey is too expensive
Q: What do you do for fun on your time off?
A: I like music, sometimes I go to Glasgow to see concerts
Q: ITing do you want to hear the sound of me putting paper straws into bottles?
A: Ok. Let’s play.
Bottling production line
感謝格蘭菲迪瓶裝生產線 L33, L34 的工作夥伴，尤其是 Ann Laughton ，自然快樂的互動永遠是最美好動人的事， 藝術就在那裡。謝謝你們。
I would like to thank everyone I worked with on bottling production lines 33 and 34 at the Glenfiddich distillery, especially Ann Laughton. The natural and joyful interactions I had there will remain with me forever. Therein lies art. Thank you.
Special thanks to:
Ann
Caroline
Sarah
Duncan
Bob
Eliot
Brendan
Fiona
Gemma
Derek
Grant Engineer
Ian Engineer
Graeme
Megan
1979 生於高雄，台灣
2021 Sewing Fields -CHAT Living room, CHAT 六廠紡織藝術館, 香港
2019 「編織身分」薩拉戈薩歷史中心，薩拉戈薩，西班牙
2019 「冷鍊」臺北市立美術館，臺北，臺灣
2016 「繡像檯」 鳳甲美術館，臺北，臺灣
2015 「代工繡場」 TKG+ 耿畫廊，臺北，臺灣
2012 「經驗視角」 伊通公園，臺北，臺灣
2011 「複體」，耿畫廊，臺北，臺灣
2009 「影像／嬉戲」，非常廟藝文空間，臺北，臺灣
2008 「侯怡亭個展」，臺東鐵道藝術村，臺東，臺灣
2007 「現實動作媒」，也趣藝廊，臺北，臺灣
2007 「超高難度限制級瑜珈」，關渡美術館，臺北，臺灣
2006 「侯怡亭個展」，文賢工程油漆行，臺南，臺灣
聯展
2022 Scenery of the Emptiness, and Asia, ACC 亞洲文化殿堂，光州，南韓
Empowerment, Kunstmuseum Wolfsburg, 德國
昌原國際雕塑雙年展Channel:Wave-Particle Duality, Seongsan Art Hall, 南韓
Ring Project: 雅加達雙年展，印尼國家畫廊，雅加達，印尼
月亮鹽巴：集體創作計劃，Vernacular Institute,墨西哥城，墨西哥
2021 Why this Word, Deluge Contemporary Art, 加拿大
集體製造，新竹市美術館，新竹，臺灣
平權放映室錄像展 衛武營國家藝術文化中心，高雄，臺灣
2020 臺北雙年展：你我不住在同一星球上公眾計畫—月亮鹽巴科幻敘事工作坊
新加坡國際攝影節 37 Emerald Hill, 新加坡
如果，在邊緣，畫一個座標，綠島人權藝術季，國家人權園博物館綠島紀念園區，臺灣
2019 We Now Stand - In Order to Map the Future, 金澤21
世紀美術館十五週年展，金澤，日本
HOU I-Ting
1979 Born in Kaohsiung, Taiwan
Selected Solo Exhibitions
2021 Sewing Fields -CHAT Living room, MILL6CHAT ,Hong Keng
2019 Weaving identities, Centro de Historias De Zaragoza, Zaragoza, Spain
2019 Cold Chain,Taipei Fine Arts Museum, Taipei, Taiwan
2016 Sewing Image, Hong-gah museum, Taipei, Taiwan
2015 Sewing Field, Tina Keng Gallery, Taipei.
2012 The perspective of Experience, IT Park, Taipei, Taiwan
2011 Complexing Body, Tina Keng Gallery, Taipei, Taiwan
2009 Image/playing, VT Artsalon, Taipei, Taiwan
2008 Play with Factitious Image, Taitung Railway Art Village, Taitung, Taiwan
2007 Agency of Reality, AKI Gallery, Taipei, Taiwan
Super Dirty Yoga, Kuandu Museum of Fine Arts, Taipei, Taiwan
2006 Hou I-Ting's Solo Exhibition, Wen-xian Painters House, Tainan, Taiwan
Selected Collective Exhibitions
2022 Scenery of the Emptiness, and Asia, ACC (Asia Culture Center), Gwangju, South Korea
Empowerment, Kunstmuseum Wolfsburg, Germany
Changwon International Sculpture Biennale, Changwon, South Korea
Ring Project: Jakarta Biennale, National Museum of Indonesia, Jakarta, Indonesia
Moon Salt: Collective Workshop &Live Exhibition, Vernacular Institute, Mexico City
2021 Why this Word, Deluge Contemporary Art, Canada
Collective manufacturing, Hsinchu City of Museum, Hsinch cuty, Taiwan
WOW-Woman in the world Festival film screening, National Kaohsiung center of Arts Weiwuying, Kaohsiung, Taiwan
2020 Taipei Biennial 2020: You and I Don,t Live on the Same Planet, Taipei Fine Arts Museum, Taiwan
7th SIPF Singapore International Photography Festival, 37 Emerald Hill, Singapore
If on the margin, draw a coordinate, National Human Rights Museum, Green Island, Taiwan
2019 Where We Now Stand - In Order to Map the Future, 21st Century Museum of Contemporary Art, Kanazawa, Japan
侯怡亭 WHISKY GOSSIP
展覽日期 2023年3月11日至4月1日 展覽地點 就在藝術空間 作 者 侯怡亭
設 計 陳慧嶠 英文翻譯 Andrew Shane Wilson 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
http://www.itpark.com.tw
出版時間 2023年3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
林珮鈺 吳悅宇
版權所有 ‧ 翻印必究
HOU I-TING WHISKY GOSSIP
Exhibition Date March 11 - April 1, 2023
Exhibition Venue Project Fulfill Art Space
Artist Hou I-Ting
Designer Chen Hui-Chiao
Translator Andrew Shane Wilson
Publisher IT Park Gallery
2-3 Fl. 41 41, 2fl Yi Tong St. Taipei 104 Taiwan Tel 886-2-25077243
http://www.itpark.com.tw
Publishing Date March, 2023 (1st edition)
Sponsor William Grant & Sons Ltd.
Special Thanks Chen Hui-Chiao
Andy Fairgrieve
Peggy Lin
Shelly Wu
All rights reserved
