Bonfire
Weaving
12
Stone
25
Dictionary
57
We Settled Here
73
Walk along the River Ganges- From Ocean to the Head
103
Being One as It Is
129
by
Hsu Hui-Chih
FOREWORD
05
PAST WORKS ARTIST C.V.
106 137
CATALOG
145
簡
品
歷
走
落
字
篝
是
河
腳
典
火
一
彷
作
彿
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家
《
年
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術
《
錄
文 ／ 許 悔 之
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序
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歷
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藝
《
圖
編 織 系 列 12 ＿
石 頭 系 列 145
136
106
04
125
103
73
57
25
序
「 」曾經臻於至美，代表著某段時光的文明結晶，形式多樣，承載著豐厚的文化符碼，其中，某些個體的天
才與奇異，探究了內在的不明之地，以及未來世的想像。「 」從深深的泥土裡被挖掘出來，如今恐怕只有再
背 面 的 海 倒 映 在 對 面 的 窗 戶 上
◆
度被丟入深深海底的命運。畢竟，我們不再需要它。
《某日和影子對話》以及《與大海的神話 漂浮 漂浮 漂浮》在展場中央的正牆面，構築起串連這次展覽四個系 列作品的核心。一道金屬切割的影子，一道高牆上面有漂浮在水裡的人影，對於許多觀眾或許覺得十分晦澀， 有點神祕色彩，光與影 / 陰與陽是「剪紙」形式裡的視覺特性，如果說展覽中其它作品比較偏向於「陽」的書 寫，這兩個裝置則比較偏向「正面地描寫：陰」，也可以說是其他作品的
意識。於是，影子變成了金屬般
堅毅的存在。 我喜歡觀眾與我分享他們對《某日和影子對話》這個金屬影子的投射想法，這個意象對我而言是這些時日以 來，我對身處環境的某種投影，來自於觀察臺灣社群媒體，與大眾言論的現象。使用鋁板去呈現影子，在展 場裡顯得，輕，硬，冷，容易忽視它的存在，簡單來說可能像是一種「集體的無意識」，我深深覺得臺灣（或 者這個世界）正走向這種趨勢，而，這便是我個人對於這個世界的潛意識吧。 ◆ 一列往南方的列車，車廂被冷氣充滿著，乘客包裹在外套裡，轟隆轟隆，每個人的耳機都有各自的音樂，頻道，
吳 耿 禎
手遊，轟隆轟隆，十二月的中午的明亮的海面在遠方，車廂進入黑洞，車窗玻璃變成兩道鏡子，投射車廂內 部眾人的姿態與神情，轟隆轟隆，車廂穿出山洞的頃刻，天光亮恍，如隔世。 ◆
2018 年「篝火合歌」是第二次在尊彩的個展，第一次是 2015 年的「一千零一夜 九個海 一片黃昏」。相較於 《一千零一夜》，一件作品包含 1001 個剪紙，創作方式如同馬拉松的作法，這次展覽中的篝火系列，像是一段 生活裡的隻字片語，旁敲側擊地，圍繞命題的中心，在閱讀了關於南島文化研究的神話與口述歷史之後，我 選用具有跨族群的神話原型，以其為靈感，於是，使用「南島」的意義涵蓋多於「臺灣島」的歷史時間。 神話的建構，早於心理學的出現，我偏好「神話的歧義」多於「心理學分析」，在現在看來許多神話題材或 許非常脫離常軌，或是不科學，但其故事性或想像力用來運作心靈力量的柴火，不那麼直言，不那麼準確對 準箭靶之圓心，更接近人類之所以需要藝術的本質，或者，更接近人之所以需要信仰的精神本源。許多神話 非常本質地對於生態與環境，充滿敬畏與謝意，有智慧地面對禁忌，是 發，也是處方籤。 ◆ 夏日豔陽午後走進那一間狹窄的牯嶺街舊書店，顧店的老闆委身在小櫃台後面，桌上的書籍築起圍繞著他的 堡垛，一臺小風扇在他頭上轉動著。書架與書架之前只容一個人側身通過，走道盡頭有通往另一個空間的入 口，遠遠看起來不太確定那是門或窗，慢慢走近，才發現那是另一個後巷天井，往外探去，發覺有一個巨大 的黑影，迅速地從天空投射而下，穿樓而過，一抬起頭，已不見蹤影。世界留下一陣迴盪的聲響共鳴，那是 蟲在啃食書頁的聲音，日式舊宿舍的樑柱乾裂，一棵巨大榕樹鬚根的摩擦，不遠處植物園的荷花花苞迸裂。 ◆
04
In Lieu of a Preface – The Sea in the Back is Reflected on the Window Across the Way
“____” used to be about attaining the highest form of beauty and represented the essence of civilization from a particular period in time.
Within its diverse array of forms and styles were rich and substantial cultural symbols, and amongst which were some individual geniuses with idiosyncrasies whom explored uncharted inner territories and imagined future times. “____” has been excavated from deep layers of the land; however, it will likely be thrown back into the bottom of the ocean once again, because, after all, we don’t have a need for it anymore. ◆ “Dialogue with Subjectivity” and “Floating Floating Floating with the Mythology of Ocean” are installed on the forward-facing wall in the middle
of the exhibition space and serve as the core that links together the four series of artworks on view in this exhibition. A shadow made with sliced metal, a human figure silhouette floating on water on a high wall, these may perhaps appear elusive and mysterious to most audiences. Light and shadow, yin and yang are notable visual qualities found in papercutting. If the other artworks on view in this exhibition are considered to encompass more “yang” qualities in how they are expressed, these two installations, on the other hand, are then “direct portrayals of the yin”, or represent the subliminal side of the other artworks. Hence, the shadow takes on the strong and sturdy presence of metal. I thoroughly enjoy it when people share with me their projections and thoughts on the metal shadow in “Dialogue with Subjectivity”. The imagery presented is based on my own recent surrounding environment; it is derived from observing social media and public rhetoric in Taiwan. The use of aluminum plate to portray shadow makes it quite light, hard, and cold, and it is easily neglected in the exhibition space. It could be perceived as a “collective unconsciousness”, which is a direction that I feel Taiwan (or the world) is heading towards, and it is, perhaps, my own subconscious mind geared toward responding to the outside world. ◆
Inside an air-conditioned southbound train blasting with cool air are passengers wrapped with jackets. Rumble and roll, everyone is donning headphones and occupied with their own music, videos, or games. Rumble and roll, the sea afar glistens at noontime in December, and as the train heads into a dark tunnel, the glass windows turn into two panels of mirrors reflecting the gestures and expressions of everyone inside the train. Rumble and roll, as the train pierces through the tunnel, light pours in and seemingly transports us to another space in time. ◆
Songs and Bonfires presented in 2018 is my second solo exhibition held at the Liang Gallery, with the first being One Thousand And One Nights / Nine Sea / An Evening presented in 2015. Compared to the first exhibition, which consisted of 1001 papercut pieces within a single artwork created using a marathon-like approach, the bonfires series on view in the second exhibition is more like snippets of words and phrases extracted from a moment in life, and it hints, alludes, and circles around the focus of the proposition made. Using a cross-ethnic mythological prototype as the source of my inspiration after looking into some cultural research on Austronesian myths and oral recounts, the significance embodied by “Austronesian” is then applied to examine the history of the island of Taiwan.
Jam Wu
The construction of mythology has long been examined in psychology, but I prefer to focus on mythology’s ambiguity rather than on the analysis of psychology. Seeing through the contemporary lens, many myth-related subject matters may seem quite unconventional or unscientific; however, because of the indirectness and the less precise way of aiming at the target, the spiritual strengths kindled by mythology’s story appeals or imaginative qualities tend to be more aligned to the artistic essence that is desired by mankind and the spiritual origin that drives people’s need for faith. Many myths are intrinsically connected to the ecosystem, to nature, and showing tremendous respect and appreciation, they confront taboos with wisdom and serve to enlighten and also act as healing solutions. ◆
Inside a narrow used book store on a sunny afternoon in the summer, the shopkeeper is nestled behind a small cash register with a fortress around him built with piles of books on the counter, with a small fan spinning on top of his head. Between the bookshelves is a passageway that is only wide enough for one person to pass through whilst tilted sideways, and at the end of the passageway is an entrance that leads to another space. Seeing from afar, it is unclear whether a door or a window is at the other end, and upon closer inspection, it becomes apparent that there is an atrium that connects to another back alley. Peeking outside, a large dark shadow swiftly descends from up above and passes through the building, only to vanish as I look up. Left reverberating in the world are echoing sounds of worms gnawing away at books, poles and beams cracking inside an old Japanese colonial dormitory, aerial roots of a giant banyan tree rubbing against each other, and lotus buds bursting open at an arboretum nearby. ◆
殘 枝肉葉 一 朵火苗 兩 三人爾 就 火圍坐 神 話流語 鍛 燒星圖 黑 夜神祇 眼 眨呀眨 人 之文明 日 曝山谷
400 個單字即可 言 語 的 部 落 ， 我想像那大塊 的 語 意 ， 降生於泥土的 每 個 角 落 。
文
抽絲剝繭，搗 葉 取 色 ， 時間的飛梭， 編 織 一 塊 菱 格 布 。
吳 耿 禎
陶土以手的形 狀 ， 放入火中烤色 。
未來部落的青 年 。
06
「篝火合歌」集結近兩年（2017-2018）的部份創作，將其整理成四個子題：
《篝火》 多年前我曾經深受南島文化的吸引，特別發表了這個題材的創作於中國的展覽，作 為台灣主體參照的意向，幾經多年我未再生產其相關作品。在去年，因為一個美術 館的典藏案，提醒了我再度回看，我探尋如今逐漸一一消失的舊書店，收集相關的 紙本，就在閱讀口述傳說、神話、故事裡迷路了，許多典型的寓意，如同恆走時空 的
示錄，既遠古也未來，既人本也政治。我著迷於那樣的生活信仰，身體處於野
性與文明之間，每每把我推向一個懷疑論者：文明的追求究竟為何？
《字典》 字典系列始於 2013 年，此次展覽「字典Ⅳ」組件作品，以年代久遠的漢英字典為紙 材，一慣地使用金箔裁剪，構成「群島嶼山」的大樣。另外，我開始嘗試中型尺幅 的單幅作品，側臉、拱門、家屋、碗、月等等為大輪廓。
《落腳》 12 幅小作，與台灣客語歌手羅思容「落腳」音樂專輯之合作火花，羅思容的詩歌音 07
嗓，總給我一種母性卻逍遙的奇特感，創作內容涵蓋豐富，深入土地，融合多元族 群樂音，彷彿可以置身水上山裡，也可以悠游在蒙太奇的城市玻璃帷幕切割裡。
《走河》 單件橫幅作品，來自文學創作者謝旺霖《走河》文本，作者流浪於印度恆河，從恆 河出海口，追溯至河水發源地，途中經歷種種人間煙火與光怪神力。我未曾去過印 度，只能倚靠想像力，解讀其文字，視覺化那肉身與河。
The broken branches and smashed leaves make a sparkle. With two or three Sitting around the bonfire The myths passed on in whispers Burn the map of stars. The deities of the night The blinks of the eyes
In this tribe whose language demands only
Here in the ravine,
400 words or less, I imagine the meaning of
the human civilization is exposed
the spoken words like the generalized masses
to the sunlight.
born from every inch of the soil.
With the silk threads abstracted from the by
cocoons and the colors taken from the smashed leaves, the fabric of diamond motif is woven between the shuttles of time.
Jam Wu
The hand-shaped clay is put in the fire to burn its colors.
The young people of the future tribe.
08
As a collection of works selected from the past two years (2017-2018), Songs and Bonfires features four subtopics:
Bonfire Many years ago, I was deeply attracted by Austronesian cultures, which I later employed as a reference to a Taiwanese identity in a consequential exhibition of the same theme in China. Although the subject stopped to be the focus of my artistic exploration in the following year, an art museums ’ collection project last year reminded me to look back. I began to search the old bookstores, before one followed another to disappear, for any related documents, and I was thus lost in the labyrinth of oral tales, myths, and stories. The prototypical metaphors are the revelation traveling in time and space, ancient and yet futuristic, humane and yet political. The faith of life is such a fascination to me that the body between its wild nature and civilization pushes me to skepticism: what’s the real pursuit of civilization?
Dictionary
09
The Dictionary series began in 2013. The set of works "Dictionary IV" selected for the exhibition uses the pages from an aged Chinese-English dictionary as its materials, with gold foil cutouts on it to make a huge image of “archipelagos and mountain islands.” Meanwhile, It was also in the series that I began to work on single middle-sized works, mostly featuring the general, large-scale outlines of the faces in profile, arches, houses, bowls, the Moon, etc.
We Settled Here We Settled Here, a series of 12 small pieces, is an artistic sparkle from the collaboration with the Hakka songwriter Lo Sirong based on her album of the same title. Like poetry in singing, Lo’s voice always evokes a strange sense of the maternity at ease in me. Her rich and diverse music is deeply rooted in the earth as it also embraces multi-ethnic sounds, through which we seem to float in the waters, in the mountains, or around the city of montage dissected by glass curtain walls.
Walk along the River Ganges - From Ocean to the Head It is a single-piece horizontal scroll inspired by Hsieh Wang-Ling’s novel Zou He (translated as Walk along the River). The writer traveled like a gypsy along the River Ganges, from its estuary to the origin, while what he had been through during the journey were all the splendors and sparkles in the mortal world as well as the magic and tricks of the deities. I have never been to India, so I can only depend on my imagination to interpret his words and to visualize the flesh and the river.
10
"Bonfire" Many years ago, I was deeply attracted by Austronesian cultures, which I later employed as a reference to a Taiwanese identity in a consequential exhibition of the same theme in China. Although the subject stopped to be the focus of my artistic exploration in the following year, an art museums’ collection project last year reminded me to look back. I began to search the old bookstores, before one followed another to disappear, for any related documents, and I was thus lost in the labyrinth of oral tales, myths, and stories. The prototypical metaphors are the revelation traveling in time and space, ancient and yet futuristic, humane and yet political. The faith of life is such a fascination to me that the body between its wild nature and civilization pushes me to skepticism: what’s the real pursuit of civilization?
《 篝 火 》 多年前我曾經深受南島文化的吸引，特 別發表了這個題材的創作於中國的展 覽，作為台灣主體參照的意向，幾經多
11
年我未再生產其相關作品。在去年，因 為一個美術館的典藏案，提醒了我再度 回看，我探尋如今逐漸一一消失的舊書 店，收集相關的紙本，就在閱讀口述傳 說、神話、故事裡迷路了，許多典型的 寓意，如同恆走時空的啟示錄，既遠古 也未來，既人本也政治。我著迷於那樣 的生活信仰，身體處於野性與文明之間， 每每把我推向一個懷疑論者：文明的追 求究竟為何？
12
《篝火－編織－ 01》Bonfires-Weaving-01 紙 Paper / 55×56 cm / 2018
13
《篝火－編織－ 02》Bonfires-Weaving-02 紙 Paper / 77.5×68.5 cm / 2018
14
《篝火－編織－ 03》Bonfires-Weaving-03 紙 Paper / 96.5×71 cm / 2018
15
《篝火－編織－ 04》Bonfires-Weaving-04 紙 Paper / 62×83.5 cm / 2018
16
《篝火－編織－ 05》Bonfires-Weaving-05 紙 Paper / 84×34 cm / 2018
17
《篝火－編織－ 06》Bonfires-Weaving-06 紙 Paper / 68×30 cm / 2018
18
《篝火－編織－ 07》Bonfires-Weaving-07 紙 Paper / 65×44 cm / 2018
19
《篝火－編織－ 08》Bonfires-Weaving-08 紙 Paper / 33×54 cm. 55×49 cm. 45×55 cm. 55×64 cm / 2018
20
《篝火－編織－ 09》Bonfires-Weaving-09 紙 Paper /33×54 cm. 55×49 cm. 45×55 cm. 55×64 cm/ 2019
21
《篝火－編織－ 10》Bonfires-Weaving-10 紙 Paper / 62×83.5 cm / 2019
《與大海的神話 漂浮 漂浮 漂浮》
Floating Floating Floating with the Mythical Ocean 壓克力顏料、人造纖維、紙
Acrylic on synthetic fiber and paper 200×700 cm / 2018
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23
《某日和影子對話》
Dialogue with Subjectivity 鋁板
Aluminum 75×290×180 cm / 2018
24
Stone no.1 古有二位女神，出自 Di-paon 的竹子裡，撿拾石子挾在腋下，走到泉窪邊去，把那些石子放入 清水中，結果多數男女嬰兒誕生此地。這些人離開了 Di-paon，遷往 Di-papal，然後又遷居現今
Iraralai 社背後一個小溪谷邊之地，可是隨著人口的漸增，不得不逐漸告別谷間而到谷口平地來了， 先是到了現今 Iraralai 社的附近，最後才集中到 Iraralai 來，所以，Iraralai 社的人 ，他們是那兩位 竹生女神之後代。 出處來源 :《雅美族的原始藝術》，外山卯三郎著（昭和 45 年）；余萬居譯
26
There were two goddesses in the ancient time. Appearing from the bamboos in Di-paon, they picked up the pebbles, carried them underarms as they walked toward the wellspring, and put the pebbles into the water, from which many baby boys and girls were born. Those people left Di-paon for a valley at the back of where the tribe Iraralai locates nowadays. With the population growth, the tribe had to slowly move from the valley to the plain at the mouth of the valley, first in the nearby region before finally arriving at Iraralai. It is why people of the tribe Iraralai always say that they are the offspring of the Bamboo Goddesses. Reference: The Primitive Arts of the Yami People, Toyama Usaburō (Showa 45), trans. Yu, Wan-Chu.
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《篝火－石頭 -01-2》
Bonfires-Stone-01-2 紙、玻璃、紋石
Paper, glass and stone 40×40 cm / 2018
《篝火－石頭 -01-1》
Bonfires-Stone-01-1 壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
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29
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《篝火—石頭－ 06-AP》
Bonfires-Stone-06-AP 光膜、玻璃、紋石
Membrane, glass and stone 30×30 cm / 2018
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Stone no.2 話說從前太陽的光芒 The Suns Used to Shine
Ha mosupu daha hidau,
兩個太陽將凝聚在一起，
Supu daha hidau!
兩個太陽在一起了！
Delu musa tsomobv hidau idas,
三個人去射太陽的光芒，
Tama kingan ! lisau kingan ! laqqi kingan !
爸爸一個！年輕人一個！幼童一個！
Muda mohuma tolahai,
沿途種植朱欒的種子，
Musa ini dehoq tama.
征伐太陽，父親可能不會完成。
Lisau tsombv buwan na hidau!
年輕人射擊太陽了！
Mohoqin kingan hidau da!
死了一個太陽唷！
Konburan idas,
再潛伏射太陽，
Buwan na idas...wu-wu...
打擊光芒，嗚！嗚！（哀號聲）
Doxan na buwan duli ka kingan,
再射擊一個太陽，
Ini mohoqin na!
沒有死掉！
Egu balai dala niya,
好多的血從天上下來，
Mejax mohoqin da,
征途者一一也死了，
Mopusu to lahai pono huma.
回歸到所種植的朱欒之源頭。
Wada da sapah uttuf da!
魂到鬼神之鄉唷！
Kingan balai wax!
( 征途者 ) 一個人而已了！
Laqqi mejax ludan balai da!
幼童回家已白髮茫茫！
Ge-nu su bi inu da tama...?
你真的在哪兒啊爸爸？！
Wada bi mohoqqin tama da...
真的走了嗎？爸爸！
Wenu qobusulan da ?
長兄你在那兒呀？！
Wada mohoqin qobusulan wuli da!
哥哥也走了！
Yaku wuli mohuya ku ini dehoq da!
自己也深恐無法達到了！
Dohiyaq balai dax...
路真的越來越遠唷！
Bunuwan tsobiyau areq na idas!
古早太陽的疲痕已成今曰的月光了！
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《篝火－石頭 -02-1》
Bonfires-Stone-02-1 壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 30×30 cm / 2018
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《篝火－石頭 -02-2》
Bonfires-Stone-02-2 紙、玻璃、紋石
Paper, glass and stone 30×30 cm / 2018
Two suns will come together. The two suns have come together! Three men set off to shoot down the rays of the suns. A father, a young man, and a child. They plant the seeds of citrus along the way. The mission to shoot down the suns may not be carried out by the father. The young man is shooting the suns! One sun is down. Stay back and get ready to shoot again. To fight against the rays, ooh----ooh--- (wailing sound) The other sun is targeted. It is still alive! So much blood pouring down from the sky. The warriors are dead one by one. Follow the citruses and return to where the first seed was planted While the spirits go to the land of the gods and ghosts. There is only one warrior left. The child returns home as an old man with hair white as snow! Where are you on earth, Father? Are you really gone? Father! Where are you, Brother? Brother is gone too! I am afraid that I won’t be able to reach the end! The road gets longer and longer! The suffer of the ancient sun has become the moonlight of tonight!
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Stone no.3 山谷裡的女人國 The Kingdom of Women in the Valley
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Tsbiyau balai O! Niqan dupan ka tumaxahoi,
Manu ka daha Sodeq ni O! Mukkun hii
Musa maduq ka Sodeq mosa! Moholau ka
bunga nija mosa, "Ma modoka balai babui
hulin nija. Dohoq sappah tuma xahoi sa,
gogokan nija."Mosa ka tuma xahoi ni do sa,
Doxokosau sau mosodalin wax. Hulin manu
Asi na qolapi mi qomalang nija wax, Posan
ni xo! Adi hulin ka tungudux wax! Kolan
nija hija ka daha Sodeq. Wada qonpaxxan
sau tuma xahoi mosa, 'Musa min tungudux
ka tuma xahoi do sa, Asi qoduleq ka Sodeq
zilas ka Sodeq, wey nu inu ka hulin mosa?
da, Dohoq begi duppan da, Mosonolu
Dohoq sappah tuma xahoi ka Sodeq, Asi na
kana hija nasa mosa, Moqoqalas bi balai
qolapi ni tuma xahoi nija: Musa qonpaxxan
motoxoi bolongau, Musa mangan kana
ka tuma xahoi da, Dohoq sappah duli ka
hii-nija da sappah. Noxodu posoku kali
sonau Sodeq, Domoxan na duli wax! Kija
kana ta Sodeq, Musa molaukau wa laqan
da! Lujits quchi! Asi na solapi utas ka Sodeq
lomiqu sa, Qoq!Qoq!mosa tuma xahoi
da. alan na ka uttas Sodeq ni, Soqopahan
duli…… Niqan hini wa-laqan mosa Sodeq
na pipi nija, Wada mohoqqin ka Sodeq da!
da, Boliqan na balai mita duli O! Mokola
Wey mi da?! Genu da! Inu da! Domosa
sa tuma xahoi duli wax. "Jahan naqeh ni!
kana ka aran Sodeq…… Domaga bi balai
Jahan wax! " Mobolongau kana ka Sodeq ni
dohija wax! Ja wada bi mohoqqin do wax!
duli, "Paqai ta tuma xahoi rvi mosa! Manu
Mijah sappah kana ka Sodeq da. Mososilin
ka kana Sodeq Kombulan momololing
kana ka Sodeq da. Sai ta mita binau wax! Ja
momaku kija wax. Manu ka kingan Sodeq
ma nu pini wax!? Wada bohoqin Sodeq ni!
O, Saun konbuluf sonmipaq tuma kaxol
Ana hulin uli ungats da. Mokola bi maduq
mosa, Qodai ta mozilas da! Asi lomaun
Sodeq Owax …! Moxolau duli ka hulin nija,
puneq ni ka Sodeq, Momaku bobuju lanaq
Wada dohoq sappah tuma xahoi. Budin
qolongun kana ba, Dohoq sappah tuma
balai tuma qaxol twijaq, Ni mozilas motona
kaxol, Homuloq pudin nija, Posaun na
tungudux duli. Adi hulin ka ga tungudux
balau ka pudin ba! Domaga moaangan
ni ! Qondax tuma qaxol ka tungudux;
wax! Lowaxan kana ka sappah da, Bogija
Xokosau sa ponhulin wax! Wada musa ka
ni! Bongoxol ni! Qujui ni! Posiwaq wuli!
daha Sodeq nii…… Dohoq sappah tuma
Mosa wa ka tuma qaxol ga. "Paqq"somipaq
qaxol da, Asi na qolapi ka daha Sodeq ni,
pudin ka Sodeq da mosa, "PAQQ" Manu ka
Asi na tomoumux hejija. Manu ka tuma
sonipaq na pudin, "Tsaqq" dala balai kana
qaxol O! Mahapui bunga sida O! Ini na
wax! Wada moxoqin da sa! Qoduleq nahali
mukki ka hi bunga ni, San na lomawah ka
ka Sodeq ni wax! Solawax na kana ka……
nahapui nija, 打 Mijah ta buwa xonngauts
Bongoxol nija ! Bogija nija ! Posiwaq nija !
nija, Asi na mukki ta qorongun nahaptii.
Quju nija da mosa ……
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Kija da ka musa mozilas. Soqama nahali
《篝火－石頭 -03-1》
momaku boxongin da…… Mosa wax! Ni
Bonfires-Stone-03-1
kana da O! Lomawun nahali momaku ka
壓克力顏料、人造纖維、玻璃、紋石
Sodeq ni…… Lagai bi lannaq ka puneq O! Manu ka kingan Sodeq O! Mangan sida qoxoni ni, Asi na kumkuwaq tsida qoxoni, Mi wasau qoxoni, Lannaq puneq da mosa wax! Muda hija ka hii nija. Manu ka quju ni, bogija ni, Bongoxol da, posiwaq wax! Wada dotoxoi soqama da mosa. Tondaxol balai O! Kana Sodeq uttuf moqolaqin 'da mosa!
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
啊！…從前呀！女人國裡獵場處處有， 男人去狩獵呦！狗在腳後隨著。到達女人國之後，狗假 裝哀嚎著。甚麼狗呀！不是狗的哀嚷唷！據說是來自女人國，獵人循著尖號聲找，那裡有狗呢？ 獵人到達女人國家時，抓女人國不放，姦淫她們：女人國到山谷下工作，男人再回到家裡，再姦 淫她們！無齒（恥）的人！可以了吧！恨到閹割男人的生殖器。手捧著獵人的生殖器，貼緊在自 己的陰道裡，獵人死了！他們在那裡了呢？！ 哪兒了呢！在那邊了呢！ 全部的人都在傳言著…… 殷切等獵人的歸來呀！ 真的去死了嗎！人人都回到家了。 大家都在一起談論著。 我們去看看吧！到底是何方之物呀！？ 殺走了獵人的生命呢！連狗亦消失無影。 真會獵取人類唷…！ 他的狗又追來了，到達山谷下的部落。
《篝火－石頭 -03-2》
Bonfires-Stone-03-2 紙、玻璃、紋石
Paper, glass and stone 40×40 cm / 2018
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山中深谷的煙霧中，遠遠底又傳出哀嚎顫抖 的呻吟。不是狗的哀號聲呀！是來自山谷下 的呻吟；假裝狗的哀號聲唷！兩個獵人又再 出征… 來到山谷下時， 馬上又劫住兩個獵 人，現場強暴與之交合。山谷下到底是什麼 呢！煮番薯時呀！地瓜肉沒有蓋住，打開煮 熟的地瓜，熱滾的沸騰之氣直逼顏面，馬上 蓋住熱滾的氣。兩個男人見狀發愣啊！趕緊 把地瓜蓋住，「吃相真像豬一樣。」女人國 如此說著，抓住獵人並圍欄箝制，將兩個獵 人放置在圍欄裡。 女人國去工作時，獵人乘機逃離，逃離到狩 獵工寮時， 獵人全聚在那兒談論，熱情的互 相寒喧，奪回全部失落的故鄉。 所有的戰事都商量完，預先至獵場捕雉雞， 女人國裡再次傳出叩！叩 ! 聲…… 獵人說有 雉雞的縱影了，好好看看雉雞的樣子呀！知 道是來自女人國的化身。
38 「等著吧！等著瞧吧！」所有的獵人都議論 著，「我們把女人國殺了！」所有的獵人呀！ 獨自潛伏在芒草底下，有一個獵人，要獨行 刺殺女人國，聽到尖叫聲即可知！馬上放火， 芒草林中放出煙火，到達女人國家的山谷下 時，拔其番刀，番刀高掛吧！等待著擊殺吧！ 把 家 門 全 部 打 開， 黃 蜂 呀！ 虎 頭 蜂 唷！ 蛇 呀！還有蜈蚣呀！ 潛伏到山谷下。聲！獵人 的番刀出鞘砍擊，番刀的尖鋒處，殺聲！鮮 血處處是唷！女人國已魂不歸兮唷！ 獵人火 勢逃匿，唯恐… 女人國將所有的毒物打開… 虎頭蜂！黃毒蜂！ 毒蜈蚣！ 以及蛇等等…獵 人廝殺狂嘯呀。 趕快點燃芒草哇… 出戰啊！群群毒蜂都來 了！ 獵人急忙點燃芒草… 火焰高漲呀！獵人 呢！ 拿支木頭的枝幹，馬上揮舞著木枝、木 枝的樹葉，火燃燒著唷！她的身體從火焰中 穿過了。 她的毒蛇、黃毒蜂、虎頭蜂、毒蜈 蚣啊！ —起在火焰中燒死了。大家欣喜若狂 晴！所有的人沒有困境了！
Ah! It was a long time ago! The Kingdom of Women had hunting grounds everywhere. The man went hunting there! The dog followed his feet. After he arrived at the Kingdom of Women. The dog faked some wailing sound. What dog! Not the wails of the dog. They said it came from the Kingdom of Women. The hunter followed the wailing sound to search for it. Where was the dog? When the hunter arrived at the Kingdom of Women, He captured the women there and raped them. The women went down to the valley to work. The man came back home and raped them again. You shameless man! Don’t you have enough! It was the hatred that cut off his penis to make him castrated. The hunter’s penis was in the hands. Put it close to the vagina. The hunter is dead! Where are they now? Where? Over there!
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Everyone is gossiping about… Waiting for the hunter to return! Is he really dead! Everyone is home now. They gather for a discussion. Let’s go and take a look! What creature is it ?! What took the life away from the hunter? Even the dog disappeared. Men became the prey…! His dog caught up again. Reaching the tribe down the valley. Deep in the misty fog. The wailing sound of pain and shiver was there again, somewhere from afar. Not from the dog! The wailing sound came from the valley. The fake dog’s wailing! Two hunters set off again… When they reached the valley, The two hunters were caught. Rape, intercourse. What is there down the valley! When they cook the yam. The yam was not covered. Once the cooked yam was open. The boiling steam hit the face. The heated air was soon covered up. The two men were in a daze. They soon covered up the yam. “You eat like a swine.” The woman said. The hunters were caught and prisoned. They were put inside the fence. When the woman went out to work, The hunters seized the chance to escape. They ran to the hunting hut. Hunters gathered there to talk about it. They greeted each other with zeal. To recapture the homeland being taken away. After the discussion concerning all the battle plans. They
went to the hunting ground to hunt pheasants. Again, the sound “kok---kok---” came from the Kingdom of Women. Hunters said that they saw the pheasants. They wanted to see what pheasants looked like. They knew the pheasants were the embodiment of the Kingdom of Women. “Let’s wait and see! Let’s wait and see!” All hunters were talking about. “We’ve killed the Kingdom of Women!” All hunters! They hid down in the silver grass, one by one. There was a hunter. Who wanted to assassinate the Kingdom of Women by himself. You know it’s time when you hear the scream. Set it on fire right away. The fireworks were coming from the silver grass. When reaching the Kingdom of Women down the valley. Draw the sword out. And raise your sword. Ready for the killing. Open up the doors of the houses Wasps! Hornets! Snakes! And centipedes! Lurking down the valley. ”PAQQ," the hunting swords were pulled out to hack and slash. The sharp-edged swords. The sound to kill! There was blood everywhere! The souls were stirred in the Kingdom of Women. The hunters escaped in the fire, with the fear that…All the poisonous creatures were set free by the Kingdom of Women…Hornets! Wasps! Centipedes. Snakes, and many others…The hunters killed and yelled. Burn the silver grass now…Fight! The wasps are here in groups! The hunters hurried up to burn the silver grass. The flame rose up and up! How about the hunters! Picked up the wood and branches. Waving the sticks. The leaves on the sticks. The fire was burning! Her body passed through the fire. Her snakes, wasps, hornets, and centipedes. All died with her in the fire. Every one celebrated with the greatest joy. For all of them, the plight was gone!
Stone no.4 一個太陽死掉變成月亮之後，雅美族的祖先就沒有辦法吃熟透的食物。在 Jipaptok 有二兄弟因父 母吃不潔之物生病了想喝開水，遂出發至遠地尋找開水。他們誤闖誤撞來到了魔鬼所居住的大山 洞，老鬼在明白此二兄弟的來意之後，受其孝心感動，就給他火種，並教他們如何使用火來煮生 的東西。之後，兄弟二人趕緊回家煮開水給父母喝，而父母的氣色也因而逐 好轉，最終戰勝了 病魔。 因此，每當雅美族舉行任何慶典時，都會為魔鬼準備一份牲禮，表示回饋。 出處來源：《八代灣的神話》，夏曼藍波安（1992）
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《篝火－石頭 -04-2》
Bonfires-Stone-04-2 紙、玻璃、紋石
Paper, glass and stone 40×40 cm / 2018
41
《篝火－石頭 -04-1》
Bonfires-Stone-04-1 壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
After a sun died and became the moon, the ancestors of the Yami People had no cooked food to eat. There were two brothers in Jipaptok whose parents got sick after eating the defiled food and were thus thirsty for water. The two brothers left home to the distant land in search of water and accidently intruded the cave where the demons lived. The old demon learned the purpose of the two brothers’ visit and was moved by their love to the parents, so he gave them the burning tinder and taught them how to use fire to cook. Soon, the two brothers returned home and boiled some water for the parents to drink, and the parents’ faces slowly began to glow as the health recovered. Since then, the Yami People have always prepared an animal offering for the demons at every feast as a gesture of gratefulness. Reference: The Myths of Ba-dai Bay, Syaman Rapongan (1992)
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Stone no.5 惡作劇之神 The God of Pranks
坐在家裡就能得到任何想要的東西的極樂世
一天，它被吩咐到鄰社去拿桃、芭蕉、芋等。
界已是很久以前的事。蕃人終日無所事事為
回程時，它裝著滿滿的東西，雖然已走慣了，
所欲為地追求，過著快活可笑的日子。不僅
但在桂樹搭的吊橋前，須通過一處右為萬丈
是一穗粟子就可維持許久，就是想吃肉也只
高巖、左為千尋深谷、能看到流水、十分恐
要一根鹿毛就能盡量地吃。要到鄰族取鹽或
怖的斷崖。它希望趕在天黑前，卻不巧天色
魚，只要命令 Taokan 這個袋子，它就會裝滿
變壞，雨水呼之欲出，總覺得被壓抑，一股
一袋回來。此外，它也能像馬載物一般地跟
不出的厭煩。
在蕃人後面走，真是方便極了。 此時，蕃社中一位最愛惡作劇的 Musai 正躲
Taokan 時常到野外探檳榔、摘山花、或揹小
在岩石後等待 Taokan 的到來，待背著重物，
孩與婦人作伴。非常善長走蜿蜒小徑，時常
步步驚險地它一來，他就出其不意的大喊，
哼著歌，以在山泉旁的樹蔭下休息為樂。它
但 Taokan 不 僅 沒 有 叫 出 驚 嚇 之 聲， 眼 前 一
沒有任何不滿，大家都能聽到它那如同在春
片漆黑，就是定在原地停了下來，一動也不
風 綻 放 的 花 兒 的 唇 中 流 瀉 出 的 愉 快 歌 聲，
動。 過了好久，仍是這副模樣，Musai 只好
Taokan 對於自己能在世上如此愉快地被使
背 Taokan 回家。從此以後 Taokan 再也不會動
十分滿意。
了，由於 Musai 的惡作劇，蕃人只好像今天 一樣自己背 Taokan。
44
《篝火－石頭 -05-1》
Bonfires-Stone-05-1 壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
45
It was a long time ago that people lived in a paradise where they could get everything needed at home. The natives spent their days doing nothing except for being driven by their desires. Their life was happy but ridiculous. A tassel of chestnuts could last long. If they wanted some meat, they only needed a deer hair that they could eat as much as possible. If they needed to get some salt or fish from the neighboring tribe, they could just ordered the bag Taokan to run an errand and come back with a bag full of supplies. More than that, Taokan could follow the natives around like horses carrying packs. How convenient! Taokan often went to the field to pick betel nuts, mountain flowers, or to carry the babies and to keep the women company. It knew all the twists and turns of the hidden trails. From time to time it was humming a song, enjoying itself as it took a rest in the shade of the trees near the wellspring. It had no complaint. Everyone could hear the happy tunes from its lips blossoming like flowers in springtime. Taokan was satisfied with itself that it could offer such a happy service to the world.
One day, it was ordered to go to the neighboring tribe to get some peaches, plantains, taros, and so on. On its way back, the road it took so many times, with all the stuffs in the bag itself, before reaching the drawbridge made of cinnamon trees, it had to pass through the frightening cliff between the sky-high mountain and deep dark valley where it could see the stream from high above. It wished to get across before the nightfall, but the sky turned dark and the rain was about to come. It felt anxious, an indescribable sense of annoyance. At this point, Musai the best-known prankster in the native tribe hid behind the rocks to wait for Taokan. As Taokan, with all its heavy loads and careful steps, came nearer, Musai shouted to catch it off guard, but Taokan, rather than being shocked and shouting back, had a blackout, stayed where it was, and stood still. After a long while, Taokan was still like this. Musai had to carry Taokan back home. Since that day, Taokan had not moved again. It was because of Musai’s prank that the natives had to carry Taokan on their backs.
46
《篝火－石頭 -05-2》
Bonfires-Stone-05-2 紙、玻璃、紋石
Paper, glass and stone 40×40 cm / 2018
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48
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Stone no.6 化成鳩的少女 The Young Lady Who Became a Turtledove
O...Wuwa! Wuwa! Ma mopuhuts balai ii su!
姑娘唷！姑娘呀！好愚笨唷你！
Masu bosluf balai?
妳怎麼如此懶散呢？
Ini balai moqokola tuminnun wuli wax......
連織布也不會……
Sayan qa mozilas kana hohiya ka rosonau da,
去狩獵的男人正在屋外狂嘯爭鬥，
Musa maduk ka sonau mohuya hii daha da?
狩獵爭伐的男人無衣可披該如何？
Mosiqa balai wax!
非常可恥唷！
Mohuya da ka musa bostolum da?
有何臉面見我們的男人呢？
Mosa moxolui manu ka rosonau ta da?
獵人在險惡寒冷之境如何保暖？
Kana sayan ni!
此刻呀！
Asi ta qoduleq da!
我們逃吧！
Musa moromux......
潛逃到……
Qomutu sudu sukai,
豆穀堆裡，
Sloman soqama ka sudu ni,
引火燃燒豆穀雜枝，
Wada so-poloq ta bujas na da,
肚子因火烈而破裂，
Ma-puwawu da musa balau da.
火焰中突然羽化成一個鳩了。
Homiti mujas:
遺言唱著說：
"Miyah hadol kana!" Miyah totama bona-an sappah, Homiti molongau: "Qotai ku miyah! "
「大家一起
酒祭首靈吧！」
靈魂歸附在家的屋簷下， 留言說： 「等著我回來！」
Morobv balai......
—早……
Totama pon-qon-nalang,
靈魂駐守在家的圍欄架上，
Adi namu pokudus!
你們不會活的！
Miyah ku mujas.
我會來唱死亡的哀歌。
Toladin qoman......
在深夜的開始哀鳴著……
Wuxai namu pukudus!
你們不會有活的機會！
Xomiti somiju? ka powawu!
留下淒涼的死亡詛咒！
50
《篝火－石頭 -06-1》
Bonfires-Stone-06-1 壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 30×30 cm / 2018
51
《篝火－石頭 -06-2》
Bonfires-Stone-06-2 紙、玻璃、紋石
Paper, glass and stone 30×30 cm / 2018
Lady o lady, you’re so stupid! Why are you so lazy? Never learned some weaving… The men who go hunting are in the field shouting and fighting. What do you want them to do without a piece of clothing How shameful it is! Won’t you feel embarrassed when seeing them face-to-face? How should the hunters warm themselves in the coldness? Right at this point Let’s run away… Let’s escape Hide ourselves in the heap of grains. Set the grains and branches on fire. The belly explodes in the burning flame. A turtledove suddenly appears from the fire It sings its last words: “Let us drink the wine as an offering to the spirit!” The spirit makes itself a home under the eaves. It leaves a message: “I will be back!” Early in the morning, The spirit lodges at the fences around the house. You won’t live! I’ll sing you an elegy of death. The music of wailing as the night begins You won’t have a chance to live. The curse of death will become your last company.
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Stone no.7 怒濤海水的話 What the Angry Sea Said
Kali be tsobiyan molana ta sirung, Miyah tonxongai ka doxogan xeni, Asi qoduleq pongpong towaqqa. towaqqa Ma-mokokolan misu ta Sodeq, Yata ga bosoluwan uttux xo, Bosaan ka naqeh owa owa ni, Mondax pong-pong towaqqa mita, Possaan ka kingan Sodeq doli, Ini kalex ta sirung. Possaan ka Sodeq doli, Lisau Sodeq balai, Kingan owa owa Sodeq balai, Wada tetama bluheng! Wada dehoq pusu balai sirung ga-ai, Saan na komalau ka sudu sumpoji hiya, Tongajan sudu ka uda sirung, Wungats sudu niya. Wada xamulinas ka hobo-sirung, Kisa maleh ka sirung, Wada maleh ka sirung! Miyah sapah doli! Ijaxan na mita ta luppun niya,Miyah tngajan ka qosoluf, Ana sapah uli, Miyah tngajan qosoluf, Asi na jahi qomada, Ida na napa ka gunutu nija, Jahan nija pusa hiya doli. Ida na napa ka gohak bunga, Jahan na malah, Montango ka dohoq
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sapah, Molana ha ka waxxel bunga nija, Sqotan naka waxxel, Lalai be ka! Ponoxuma waxxel, Mop-gxeji do! Lalai be xeji nija wax! Motun-ngi balai da!
《篝火－石頭 -07-1》
Bonfires-Stone-07-1 壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
漲滿了 這海水， 溢滿大地， 馬上逃到 towaqqa 的山頂。 人類驚慌又駭然， 祖靈是否在懲罰我們的不是， 把邪淫的女人放入大海， 從山頂看海水的情況， 還是一樣呀這海水， 沒有減低唷這海水。 又放個人入海裡， 一個青少年， 一個少女， 一起乘舟去真到達海水的源頭， 除堵塞海水的雜草， 海水的路溢滿雜草， 沒有堆積如山的雜草。 海水的怒吼因而得以洩洪， 怒禱的海水因而減緩， 怒洪的海水減緩了！ 回到家了！ 觀察他的榖倉， 魚兒來堆積， 連家裡， 也積滿了魚群， 把魚兒放置著， 依然背負著所堆積的魚兒， 又放置在那兒。 依然背負著蕃薯的種子， 他來開闢， 到家堆疊播種著， 在那兒生長唷蕃薯的藤， 剪取蕃薯的藤，好茂盛唷！ 所種的蕃薯藤葉， 要生果了！ 它的種子真多呀！ 飽滿不虞匱乏唷！
The sea is rising. Over the land it is flowing. Let’s us retreat to the mountain top of towaqqa. People are terrified and panicked. Have we done something wrong so the ancestral spirits were punishing us? Let us drown the immoral women in the sea. Take a look at the sea from the mountain top. The sea is stilling rising. The sea level is not lowering. Let us put another person into the sea. A young man. A young lady. The two of them go boating. Until they reach the end of the sea Remove the weeds that block the water. The path of the sea is filled with weeds. Without the mass of weeds. The sea roars as a release The surging sea is calmed. The angry sea is calmed. He returns home To check the barn. 54 The fish is stored here. Even the house Is full of fish. Let us keep the fish. Find another place, for the fish piled up on the back The sweet potato seeds he carries on the back Are ready to be planted. He gets home to plant the seeds. The yam vines are growing there. Cut down the yam vines. What a flourish. The yam vines and leaves are ready to produce the fruits. So many seeds it has! A harvest with no fear of deficiency!
《篝火－石頭 -07-2》
Bonfires-Stone-07-2 紙、玻璃、紋石
Paper, glass and stone 40×40 cm / 2018
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Dictionary The Dictionary series began in 2013. The set of works “Dictionary IV” selected for the exhibition uses the pages from an aged ChineseEnglish dictionary as its materials, with gold foil cutouts on it to make a huge image of “archipelagos and mountain islands.” Meanwhile, It was also in the series that I began to work on single middle-sized works, mostly featuring the general, large-scale outlines of the faces in profile, arches, houses, bowls, the Moon, etc.
《 字 典 》 字典系列始於 2013 年，此次展覽「字典
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Ⅳ」組件作品，以年代久遠的漢英字典 為紙材，一慣地使用金箔裁剪，構成「群 島嶼山」的大樣。另外，我開始嘗試中 型尺幅的單幅作品，側臉、拱門、家屋、 碗、月等等為大輪廓。
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《字典 IV》Dictionary IV 字典、金箔、木板
Dictionary, gold leaf on wood-board 114×550×1.8 cm / 2018
61
62
《字典系列－人 1》Dictionary-Human 1 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood-board 80× 80×2.8 cm / 2018
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《字典系列－人 2》Dictionary-Human 2 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood-board 80× 80×2.8 cm / 2018
64
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《字典系列－碗》Dictionary-Bowl 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2018
66
《字典系列－碗 2》Dictionary-Bowl 2 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2019
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《字典系列－碗 3》Dictionary-Bowl 3 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood board 80× 80××2.8 cm / 2019
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《字典系列－房》Dictionary-House 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood-board 80× 80×2.8 cm / 2018
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《字典系列－門》Dictionary-Door 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood-board 80× 80×2.8 cm / 2018
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《剪紙－山嶼月》Paper Cut-outs-Island and the Lunar 中英繁體字典、金箔、丙烯顏料上色於原木拼板
Dictionary of English-traditional Chinese, gold leaf, acrylic pigments painted on wood-jointed board 80× 80×2.8 cm / 2018
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《剪紙－童顏》Paper Cut-outs-The Childhood Shapes of Ours 中英繁體字典、金箔、丙烯顏料上色於原木拼板
Dictionary of English-traditional Chinese, gold leaf, acrylic pigments painted on wood-jointed board 80× 80×2.8 cm / 2018
《字典系列－圓》Dictionary-Circle 壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood-board 80× 80×2.8 cm / 2018
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We Set tled We Se
t t l ed
He re
Here , a ser
ies of
12 sma l
l pieces, is an
with th
He
r ri
a r t i s t i c sp a r k l e f rom t he c
e Ha k k a s o n
ch
and
d ive
o ll a b o r a t
ion
g w r i ter Lo S i ro n g b a s e d o n h er a l b
rse m
usi c i
s deepl
um of
r y in poet e k i . L e title the sam
y ro o te d i n t h e e a r t h a s i t a l s o e
m
sm brace
u lt i - e t h n
si n g i n
g,
ic sounds,
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Lo’s voice always evokes a strange sense of the maternit y at ease i n m e
gh w
hich
we
《
t h ro u
.
see
mt
of
loa
落 腳
t in
》 12 幅小作，與台灣客語歌手羅思容「落 腳」音樂專輯之合作火花，羅思容的詩 歌音嗓，總給我一種母性卻逍遙的奇特 感，創作內容涵蓋豐富，深入土地，融 合多元族群樂音，彷彿可以置身水上山 裡，也可以悠游在蒙太奇的城市玻璃帷 幕切割裡。
the
wat
ers,
in t
he m
oun
tains
, or a
ro u n d
the cit
y of mon
ta ge d issecte
d by glass curtain walls.
Set your foot, the land is heated and warm. Turn your head to look back, the mountains and waters are smiling. We settle here, with a humble gesture of a migrant with the homeland before them. We settle here, the place to build a future upon for the survivor to battle in the real world. We settle here, the promised land of self-fulfillment for the dream maker to seek their ideal.
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We Settled Here is a music album featuring a great variety of original songs characterized by the local Taiwanese musical spirits. With Hakka mountain songs and minor tunes (seu tiau in the Hakka language) as the keynote (as in Taraguang, Settle in Nanzhuang, and Catfish), the music is integrated with elements from pak-kuån, lâm-kuån (as in Ringing of the Lilies and One Lone Star), indigenous music (as in sa sarara'a Love and Ballad for the Land and Sea) , and diverse world-music styles such as blues, jazz, and the Japanese waka (as in This Mountain Road, Song of White Clouds, and The Love Between Us) to present a collection of poem-songs evocative of cultural aspiration and profound humanity concerns. written by Lo Sirong
落 腳 ， 也 是 築 夢 者 遍 尋 理 想 ， 一 方 實 現 自 我 的 應 許 之 地 。
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落 腳 ， 是 生 存 者 在 現 實 拚 搏 中 ， 安 頓 立 足 的 居 所 。
落 腳 ， 是 遷 徙 者 面 對 生 命 家 園 ， 篤 敬 謙 卑 的 身 姿 。
一 回 頭 ， 山 水 微 笑
一 落 腳 ， 土 地 燒 暖
《落腳》，擷取台灣在地的音樂風華成為創作沃土，音樂風格以客家山歌與小調為基調（例如：
Taraguang 大路關、落腳南庄、塘虱 ），並吸取北管、南管（例如：百合清音、一粒星仔 ）、 原住民音樂元素（例如：sa sarara'a 愛、土地與海洋的戀歌 ），此外並吸納藍調、爵士、 和歌（例如： 這條山路、白雲之歌、我們的愛情 ）等世界音樂的曲風，融為一座富饒多姿 的音樂創作專輯，同時也是一張具文化性視野及深度人文關懷的歌詩專輯。 羅思容
We Settled Here-01 Acrylic on paper and wood-board 40×40×1.2 cm / 2018
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Song of White Clouds The white clouds are the natural wanderers. Softly and softly,
LYRICS Lo Lang
They fly across the fields, across the rivers Across the fresh and clear mountains Across the homeland where the kids are growing up. You drifting clouds Please tell me What did you see, what did you see Did you see a group of young men Waiting for daybreak You meditative clouds Please tell me What did you hear, what did you hear Did you hear a group of young men Singing for freedom
SONG Lo Sirong
在 為 自 由 歌 唱
係 毋 係 聽 到 一 群 後 生 人
聽 請 沉 到 你 思 麼 个 个 イ 雲 恩 啊 聽 講 到 麼 个
在 等 候 黎 明
係 毋 係 看 到 一 群 後 生 人
看 請 漂 到 你 泊 麼 个 个 イ 雲 恩 啊 看 講 到 麼 个
(
(
(
)
)
)
)
飛 過 清 秀 的 飛 輕 白 山 過 輕 雲 崗 田 地 是 野 天 輕 生 飛 輕 的 過 地 流 河 浪 流 者
)
看 到 甚 麼
飛 過 孩 子 們 長 大 的 故 鄉
白 雲 之 歌
)
聽 到 甚 麼
漂 泊 的 雲 啊
(
請 你 告 訴 我
飛 輕 白 過 輕 雲 田 个 係 野 天 輕 生 飛 輕 个 過 个 流 河 浪 壩 者
(
(
(
看 到 甚 麼
)
( 是 否 看 見 一 群 年 輕 人
(
( 在 等 候 黎 明
)
( 沉 思 的 雲 啊
)
( 請 你 告 訴 我
)
( 聽 到 甚 麼
)
( 是 否 聽 到 一 群 年 輕 人
)
( 在 為 自 由 歌 唱
飛 飛 過 過 細 清 人 秀 仔 个 長 山 大 崗 个 故 鄉
)
)
)
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詞 ／ 羅 浪
《落腳－ 01》 壓克力顏料、紙、木板 40×40×1.2 cm / 2018
曲 ／ 羅 思 容
Settle in Nanzhuang Following the heartbeat of Chungkang Stream The morning air is moist and sweet
LYRICS / SONG Lo Sirong
The stones after rain are clear and clean The water is flowing from day to night The water is flowing from the past to the future. Following the breath of the mountain god The Lion-roar and Tiger Mountain it is what they are called. Above the Dapeng Mountain the swallows soar. Higher and higher. The mountain rose-mallow on the sides is sprouting, As the breeze carries the sound of youth. And it is in the fresh sweet black nightshade that I have tasted antiquity. The spring goes and the autumn comes, The years proceed in circles. The spring goes and the autumn comes,
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The years proceed in circles. Set your foot, the land is heated and warm. Turn your head to look back, the mountains and waters are smiling. Settle in Nanzhuang, from where we reach the whole world. Settle in Nanzhuang, from where we reach the whole world.
We Settled Here-02 Acrylic on paper and wood-board 40Ă—40Ă—1.2 cm / 2018
緊 蹶 緊 高
虎 山 旁 脣 獅 頭 吼
騰 等 山 神 介 透 氣
(
(
(
(
(
(
(
(
河 水 從 過 去 流 向 未 來
河 水 從 白 日 流 過 黑 夜
雨 水 洗 過 的 石 頭
早 晨 的 空 氣
落 腳 南 庄
跟 著 山 神 的 呼 吸
路 旁 的 山 芙 蓉 還 在 發 新 芽
虎 山 旁 邊 獅 頭 吼
我 在 微 風 中 聽 到 青 春 的 聲 音
大 鵬 山 頂 飛 燕 旋
)
)
)
)
)
)
跟 著 中 港 溪 的 濕 心 濕 跳 乾 甜 乾 甜 淨 淨
)
)
)
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等 中 港 溪 个 心 濕 跳 濕 白 甜 白 甜 淨 淨
(
(
)
)
我 在 龍 葵 的 甘 甜 中 嚐 到 古 老 的 味 道
朝 晨 个 空 氣
越 爬 越 高
味 緒
雨 水 洗 過 个 石 頭
河 壩 水 對 日 流 過 夜
河 壩 水 對 頭 擺 流 向 未 來
鷂 婆 山 頂 飛 燕 旋
(
路 唇 个 山 芙 蓉 還 在 發 新 芽
(
恩 在 微 風 中 聽 到 青 春 个 聲 音
恩 在 烏 鈕 草 个 苦 甜 嚐 到 古 老
放 眼 四 方
落 一 一 春 春 腳 回 落 去 去 南 頭 腳 秋 秋 庄 來 來 山 土 放 水 地 歲 歲 眼 微 燒 月 月 四 笑 暖 輪 輪 方 迴 迴
落 腳 南 庄
)
《落腳－ 02》 壓克力顏料、紙、木板 40×40×1.2 cm / 2018
詞 曲 ／ 羅 思 容
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83
84
《落腳－ 03》We Settled Here-03 壓克力顏料、紙、木板
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
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《落腳－ 04》We Settled Here-04 壓克力顏料、紙、木板
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
We Settled Here-05 Acrylic on paper and wood-board 40Ă—40Ă—1.2 cm / 2018
The Love Between Us The love between us Is like two pear trees grafted together Our wounds stick together Our bark is in one piece to connect each other The love between us Is a pear tree with new sprouts To blossom together, to fruit together To live together until we die together The love between us Is the pear flower past its prime The love between us Is the pear bounded by the same fate The love between us Is a pear tree that stands alone To blossom together, to fruit together To live together until we die together
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LYRICS / SONG Lo Sirong
共 同 開 花
(
(
(
(
是 青 春 流 逝 的 梨 花
我 們 的 愛 情
共 生 共 死 一 生
共 同 開 花
二 人 个 傷 口 黏 傷 口
像 嫁 个 接 愛 个 情 兩 頭 梨 樹
( 我 們 的 愛 情
(
(
(
(
(
是 一 棵 綻 芽 共 的 同 梨 結 樹 子
我 們 的 愛 情
兩 人 的 樹 皮 連 樹 皮
兩 人 的 傷 口 黏 傷 口
像 嫁 接 的 兩 棵 梨 樹
我 們 的 愛 情
恩 个 愛 情
)
)
)
)
)
(
)
)
(
(
共 同 開 花
( 是 命 運 交 融 的 梨 子
(
( 我 們 的 愛 情
是 一 棵 孤 獨 共 的 同 梨 結 樹 子
共 生 共 命 一 生
二 人 个 樹 皮 連 樹 皮
係 一 个 頭 愛 綻 情 芽 共 个 同 梨 結 樹 子
共 生 共 死 一 生 人
係 青 个 春 愛 流 情 逝 个 梨 花
係 命 个 運 愛 交 情 接 个 梨 子
係 生 个 生 愛 不 情 息 共 个 同 梨 結 樹 子
共 同 開 花
共 生 共 命 一 生 人
)
)
)
)
)
)
)
)
)
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《落腳－ 05》 壓克力顏料、紙、木板 40×40×1.2 cm / 2018
詞 曲 ／ 羅 思 容
《落腳－ 06》We Settled Here-06 壓克力顏料、紙、木板
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
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《落腳－ 07》We Settled Here-07 壓克力顏料、紙、木板 Acrylic on paper and wood-board 40×40×1.2 cm / 2018
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《落腳－ 08》We Settled Here-08 壓克力顏料、紙、木板 Acrylic on paper and wood-board 40×40×1.2 cm / 2018
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Love Love Love Love Love Love Love Love Love Mountain Mountain Cloud Sun La La Sun La La Dam Flow Flow Flow Flow Dam Flow Flow Flow Flow Oh! hometown Oh! hometown Love Love Love Love Love Love Love Love You You Me Me We are friends
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Oh! hometown Oh! hometown
LYRICS / SONG Lo Sirong SAYSIYAT TRANS. Oemaw ATAYAL TRANS. Chen Xiu-Yu
《落腳－ 09》We Settled Here-09 壓克力顏料、紙、木板
Acrylic on paper and wood-board 45×30×1.8 cm / 2018
About two hundred years ago, the Atayal, Saysiat, and Hakka peoples all settled in Nanzhuang to break ground in its spectacular forest. For many years, these villages have naturally developed a harmonized way of life between the Hakka and indigenous cultures. It is the same with Taiwan’s three-hundred-year history, where the multiethnic coexistence and its consequential intercultural hybridity thus create a mixed chorus characteristically Taiwanese. The Love Between Us is one of the examples featuring a mixture of the Hakka, Saysiat, and Atayal languages in the lyrics, which depicts love as humans’ ultimate life pursuit and the symbol of a spiritual world, and homeland as the most crucial shelter for us to survive. We love the mountain, we love the cloud, we love the Sun, and we love the river, but most important of all, we love our homeland. We Love you, we love me, we love us, and we love friends, but most important of all, we love our homeland. May our mountains, waters, love, and homeland last forever.
啊 ！ 故 鄉
我 們 係 朋 友
我你 愛 愛 愛 愛 我你 愛 愛 愛 愛
啊 ！ 故 鄉
啊 ！ 故 鄉
愛
河日 雲山愛 壩頭 愛 愛 流喇 愛 流喇 山 流 流 愛 日 愛 頭 愛 愛 河 壩喇 喇 流 流 流 流
sa sarara'a
啊 ！ 故 鄉
gnalu rgyax yulung wagi llyung Kinrowa sekkan kinholan
詞 曲 ／ 羅 思 容
sa sarara'a koko:or homom hahila bala'
賽 夏 語 翻 譯 ／ 武 茂
sa sarara'a gnalu so'o isu yako kun yami ita 'ae'ae hal rangi Kinrowa sekkan kinholan
泰 雅 語 翻 譯 ／ 陳 秀 玉
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《落腳－ 10》We Settled Here-10 壓克力顏料、紙、木板
Acrylic on paper and wood-board 45×30×1.8 cm / 2018
200 多 年 前， 泰 雅、 賽 夏、 客 家 共同開發了南庄的奇異山林。多 年來也自然地形構出客、原文化 之間的交融狀態。台灣近三百年 的歷史文化就在多元族群共存的 環境下交互繁衍，也形構出台灣 特有的混聲合唱。 這首 < 愛 > 就是融合了客語和賽 夏語、泰雅語，愛是人類最至極 的生命追索與精神世界，而故鄉 是承托人類最重要的生存所在， 我們愛山愛雲愛太陽愛河流，我 們更愛故鄉；我們愛你愛我愛我 們愛朋友，我們更愛故鄉。願山 在水在愛在，故鄉長在。
Taraguang Taraguang Taraguang
(a name of a Drekay tribe)
Pintung County go' su hiong The village Gong-fug and village Gong-sim Taraguang Taraguang With ancestors from the Qing dynasty when the Qianlong Emperor reigned. Leaving their native Meixian and Chiaoling for a new land. In the untamed wilderness, they fed themselves with ginger and vinegar. With the native, the Hollo, and the plain indigenous peoples, they shared the same neighborhood. Taraguang Taraguang The outburst flood coming from the Wulo Stream Hit the villages in the borders
Sag sii gung, you keep the attacking water and wind away from us. Sag sii gung, you defend our town and ward off evil spirits. Sag sii gung, your name is heard at every corner. Sag sii gung, you will be praised until the end of the world. (*Sag sii gung â&#x20AC;&#x201C; the Lion Guardian in the local folk religion)
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Taraguang, the fertile land for a good harvest Taraguang, from spring to winter we all live in peace. Taraguang Taraguang
LYRICS / SONG Lo Sirong
Taraguang, the name of the area which consists of the two villages Gong-fug and Gong-sim in goâ&#x20AC;&#x2DC; su hiong, Pintung, is home to the three Sag sii gungs. About two hundred years ago when the first generation of the Hakka immigrants arrived here, they made it home in the new settlement often threatened by flood, beasts, the indigenous people, and foehn wind, so they followed the Hakka tradition to build a Sag sii gungs as a symbol to ward off evil spirits and to offer a prayer for future harvest. The outburst flood in 1856 buried the stone lion in the sand, while it was until 1984 when the bridge construction workers heard the lion crying at night that the first-built settlement guardian Sag sii gung was dug up by heavy machinery. The other two were built in 1918 and 1965, characterizing the unique Sag sii gung culture in Taiwan. The three stone lions feature a modest but delightful mightiness, examples of a unique religious and cultural practice for survival in the immigrant society in Taiwan.
蠻 荒 之 地
梅 縣 蕉 嶺 先 平 咬 民 埔 薑 開 相 啜 墾 鄰 醋
清 朝 乾 隆 祖 先 來 台
廣 興 廣 福 兩 庄 頭
屏 東 縣 境 高 樹 鄉
石 石 獅 獅 公 公 守 鄉 止 煞
大 路 關
Taraguang
千 古 流 芳
Taraguan
攔 水 擋 風
原 民 河 洛
Taraguang Taraguang
威 震 八 方
武 洛 溪 山 洪 暴 發
Taraguang Taraguang
五 穀 豐 登
隘 寮 溪 水 打 庄 頭
四 季 平 安
石 石 獅 獅 公 公
Taraguang Taraguang
Taraguang Taraguang
大 大 路 路 關 關
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大路關位於屏東縣高樹鄉，廣興廣福兩村，境內有三座石獅公， 200 多年前，客家先 民拓墾開庄，洪水、猛獸、原住民、西斜風等，災厄不斷，客家人建造石獅，作為鎮 風止煞與祈求豐收之用。 1856 年山洪爆發，石獅被埋在泥砂裡，直到 1984 年，築橋 工人晚上聽到獅子哭吼聲，以大型機具開挖，才讓開基的石獅公重見天日。另兩座建 於 1918 年、 1965 年，形構台灣罕有的石獅公文化。三座石獅，威武拙趣。這也是台 灣移民社會因生存故所開展的獨特信仰和文化。
詞 曲 ／ 羅 思 容
《落腳－ 11》We Settled Here-11 紙 Paper 65×65 cm / 2018
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One Lone Star One lone star.
We Settled Here-12
One water field.
Paper 65Ă&#x2014;65 cm / 2018
One clump of bamboo.
LYRICS Lo Sirong
One wisp of breeze. The land without a sound. The land without a sound. One house. There are birds in the tree.
One bed.
There is fish in the pond.
One song.
There are stars in the water field.
One person
The half-closed door in life
Still waiting for the fate to turn around.
Leads to the wings of poem-songs.
Still waiting for the fate to turn around.
一 首 歌 仔
一 頂 眠 床 哦
一 間 屋 仔
開 啟 詩 歌 个 翼 胛
埤 塘 有 魚
樹 上 有 鳥
無 聲 無 息 个 土 地 喲
無 聲 無 息 个 土 地
一 陣 風 哦
一 叢 竹 仔
一 坵 水 田 哦
一 粒 星 仔
一 粒 星 仔
無 聲 無 息 的 土 地 )
)
生 命 半 掩 的 那 扇 門 哦
水 田 有 星
(
(
( 開 啟 詩 歌 的 翼 胛
生 命 半 掩 个 該 扇 門 哦
一 個 人 哦 )
(
還 在 等 待 命 運 的 轉 身
一 儕 人 哦
還 在 等 待 命 運 个 轉 身 (
還 在 等 待 命 運 个 轉 身 喲
)
)
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《落腳－ 12》 紙 65×65 cm / 2018
詞 曲 ／ 羅 思 容
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ad e He h t n to cea O om s - Fr Walk alo ng the River Gange
slate tran ( It is a e uH single el Zo -piece â&#x20AC;&#x2122;s nov g n horizonta i L g l scroll inspired by Hsieh Wan
d as
Wa
ve r) t he R i g n o l lk a
. The wri
ter traveled
e orig y to th r a u t s e its like a g ypsy along the River Ganges, from
in,
《 走 河 》 單件橫幅作品，來自文學創作者謝旺霖《走 河》文本，作者流浪於印度恆河，從恆河 出海口，追溯至河水發源地，途中經歷種 種人間煙火與光怪神力。我未曾去過印度， 只能倚靠想像力，解讀其文字，視覺化那
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w
wh hi le
肉身與河。
e at h
ha
en t d be
hrou
g h du
e jo u r in g t h
e all the splendors and sparkl rney wer es
in the mortal world as well as the magic
.I eities d e h t ks of and tric
my im ag
have
ia , s Ind o t een er b v e n
oIc
an
de on l y
pend
on
er ination t and th o interpret h h s e fl e h is words and to visualize t
iver.
「我揹著背包，帶著經書起身了，沿著河水往下走，踩著自己的影子。路過沿岸的野 花，蘆葦，與屍體。為了一條或來或去的河流。為了看見，為了記憶。為了體會那 些原本不懂的，也為了那些看不見的—— 或將把我的眼睛，重新打開。」
「我不再思想前方。一切都化作當下腳下的一步，祇求一步接住一步而已。有一刻間， 我感到不再身處遙遠，而是踩著自己的盔甲，身體，血肉，踽踽獨行，毫無防備， 走成了透明。」
「其中雖不乏些片斷，偏見，與陋聞，有的似乎過分聚焦在某些細小的『微物』上， 如口水，如蟑螂，如螻蟻，但彷彿又不僅僅甘於那些表象；而有的人事，雖發生在 那遙遠的國度，卻好像也可以生發在其他地方，或者就是我久居的島嶼。」
謝旺霖
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《走河 / 銀》Walk along the River Ganges-From Ocean to the Head/ Silver 壓克力顏料、棉紙 Acrylic on cotton paper 57×185 cm / 2018
“Wearing a backpack, I took the scriptures with me to begin the journey, stepping on my shadow
to follow where the rivers flows. I’ve passed by the wild flowers, reeds, and dead bodies on the road, for river that comes and goes. To see, to memorize, to feel the things that were once beyond understanding, to do it for the invisible – or for my eyes to be reopened.”
“I no longer think about the road ahead of me. Everything now becomes the footsteps, one following
another. There is a moment that I feel I am no longer somewhere faraway, but stepping on my armor, blood and flesh to walk alone, as defenseless as a transparent path.”
“Although there is no lack of fragments, prejudice, and ignorance, while some even unreasonably
focus on the triviality such as saliva, cockroaches, or ants, but it seems that they are more than what they appear to be; there are stories taking place in the distant land, but they may happen in different places, or it could be the island I’ve been living for a long time.”
Hsieh Wang-Lin
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《走河 / 紅金》Walk along the River Ganges-From Ocean to the Head/ Golden Red 壓克力顏料、棉紙 Acrylic on cotton paper 57×185 cm / 2018
Jam Wu's Works
歷 年 作 品
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《身體折疊親愛的時間》
Body Fold by the Dear Time 光膜、玻璃、油漆、鐵 Ray membrane, glass, oil paint and iron 210×210 cm×40 cm / 2017
《毛月亮》， 22° Lunar Halo Choreography by Cheng Tsung-Lung, Performed by Cloud Gate 2, cooperation project, 2019. 攝影：李佳曄
Photo Credit: Lee Chia-Yeh
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《帶一籃果去看她》， Visiting Her with a Basket of Fruit, Installation view, in exhibition “Trilogy of Jam Wu’s Solo Exhibition”, Eslite Exhibition Place, 2010
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《如果你遇見一個牧羊少年》， Louis Vuitton Cultural Space 2010-2011 If You See a Young Shepherd, Installation view, in exhibition "Journey In My Mind – Louis
Vuitton Cultural Space Audition", Louis Vuitton Cultural Space, 2010-2011.
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《聽河》（平面狀態）
Listening the River ( planar status ) 木夾板 Plywood 1000×1000 cm / 2006
《聽河》（立體狀態）
Listening the River ( tridimensional status ) 木夾板 Plywood L600×W120×H90 cm / 2006
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影 像 剪 紙 系 列 Print on P-Tex
Photo-cutting Collection
100×180 cm / 2012
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宣 影 布 彩 色 墨 水 輸 出
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( 農用 ) 黑皮書
Happy or Black Book (For Farmer) 2012
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《字典Ｉ》
Dictionary I 紙 paper 74×245 cm×3pieces / 2014
《字典 II 一片黃昏》
Dictionary II- An Evening 金箔、中文繁體字典、畫布板 Gold leaf, dictionary of traditional Chinese on canvas panels 180×90 cm×5pieces / 2014
《一千零一夜》
One Thousand and One Nights 紅色棉紙 Red cotton paper 尺寸依場地變化 Dimensions Variable / 2015
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《假裝》何曉玫編舞， CAMOUFLAGE, Meimage Dance, cooperation project, National Theater Concert Hall, 2015.
《親愛的》何曉玫編舞， MY DEAR, Meimage Dance, cooperation project, National Theater Concert Hall, 2013.
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彷彿是一 文
許 悔 之
比
流
浪
還
遠
今年，我答應了一個報紙專欄，談了一些藝術家的作品，想寫吳耿禎很久了，每次 都想了一些論析的概念，然後苦思良久，之後放棄，改寫別的題目。 接近十年前，我寫過一篇跟吳耿禎有關的文章，登載於「聯合副刊」，那時候的吳
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耿禎早已能量充沛；這麼多年下來，看到耿禎作品驚人的多元進步、深化、廣觸， 甚至跨界的合作，耿禎的創作一直超出我之預料。 因為耿禎的作品太複雜了，我深受其作品觸發，但要寫文章之時，卻又歧路亡羊。 就像掛在有鹿文化辦公室裡面的一件作品，在紙上面，貼了金箔，耿禎剪了鹿，和 幻化多端的神話造境——不是特定的神話，是屬於他所創造的獨特神話；作品初看， 如同一種「寓言」，因為經由一種創作者內在高度神聖化的過程，而充滿了
諭的
力量！我常常在辦公室看著這件作品，彷彿被這件作品帶到遙遠的地方，比流浪還 要更遠的地方，不在這裡，也不在那裡，總之，在他方……。 而且在作品之上，耿禎還將金箔刮去一些部分，露出了一些文字的痕跡，彷彿要告 訴我：倉頡造字而天雨粟、鬼夜哭……。 這作品給了我「神話」般的觸受，又同時，自動解構了它。 這是耿禎作品最複雜的地方——不能想要掌握它的敘事、理解它的意旨，要能「棄 聖絕智」，被它帶領，放棄邏輯思考，然後在美之中得魚忘筌……。 最早知道耿禎這位藝術家，是蔣勳老師告訴我，關於耿禎的才情與投入。他是「雲 門流浪者計劃」第二屆的受
人，早慧的藝術家，大學時代就以特出新意的剪紙藝
術聞名；然後去中國陜北流浪，看著民間如何用「土紅紙」剪出生活中的盼望和祝福。
因為「雲門流浪者計劃」而有的陝北之行，給了耿禎巨大的觸發，庶民趣味與神思 千里糅合為一。之後，耿禎的創作就一直走、一直走，走到了又美又遠的地方，難 以揣想的遠方。
2010 年，耿禎在他祖母的廚房，剪出了一組作品，但見紙藝化為紅蝶，在空中飛舞 翩翩！有情如斯，所以耿禎的作品自然動人。 之後，他在「尊彩藝術中心」的一次大型個展，計劃龐大，而統攝於一「文件展」 的概念；我在展場看到時，不免懷疑耿禎是「偷時間的人」——怎麼可能有人「剪出」 那麼龐大計劃的展覽呢？ 在淡水「雲門劇場」，他的展出則結合了和空間時間的對話，充滿了詩意和思想的 力量。 認識耿禎十年，十年之間，他的手藝和心量，已經到達很遠很遠的地方，遠到如神 話中，太陽在夜裡，睡覺的山谷。
敬
畏
的
力 量
中秋前夕，去了吳耿禎位於內湖的工作室，看他這兩年的一些新作品，因為 11 月 10 日開始，耿禎將在「尊彩藝術中心」有一個名為「篝火合歌」的個展，在個展前夕， 應耿禎之邀去看作品，是一種純然的喜悅，因為耿禎的作品，有著一致的精神系譜， 但總又出人意料的不斷創發，帶領觀者到更遠更遠的時空。
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這次個展分為：《篝火》、《字典》、《落腳》、《走河》等四個子題，大略是這兩年來， 耿禎的思惟與心力投入所在。 《篝火》系列是和「南島文化」對話的創發，生氣勃勃！吳耿禎透過閱讀和理解諸多 神話、傳說、故事，去反思「文明」的邊界，究竟有些什麼？我很喜歡其中一件作品， 是以手染般效果的日本紙剪出。雨，落在石頭之上，「無機」的石頭蹦生出了「人」， 這使我想起「玄鳥」、「彩虹」等等各個氏族的降生神話——人究竟從何而來？在
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有宗教的解釋以前，神話更像是一種辨識的努力——想要為自己在鴻濛宇宙當中， 找出「起源」、給予「意義」。 在許多「降生」神話或故事中，常常是「有母無父」，或者是「無父無母」；甚至 常常與自然界各種生物「跨物種」而有人——而這，當然違反了現代生物學的知識。 文明意識之前的人類，感覺到自己在天地自然之中，孑然一人，這種孤獨感，應該 是神話與詩的起源吧。詩，如同神話，從來都不是科學和理性的「確定」，詩和神話， 都是「不確定」或「無法確定」；正因如此，在此一圓型的剪紙作品之中，我們 會看到魚、犬、牛、蛇、人、花，盡現於一紙，相接相連。復又見山河連
蜿蜒，
宛若雲走水流，一種在大自然中命運相繫的平衡與和諧。作品這種召喚的力量， 令我想起了神話的核心：「敬畏」。因為發現自己只是「之一」，不是「唯一」 或「第一」。 在小小一圓的紙藝之上，參差錯落的空隙，和紙的渲染色彩對話，使得作品神奇的 竟能夠「立體化」；在看得入神的時候，我竟恍恍惚惚以為這是一個劇場，感覺到 一個力場。 因為「敬畏」，所以和世界中的一切種種，彷彿是一。 因為「敬畏」，故能平等眼而觀看一切，一切才會變得尊貴而美。是的，耿禎的作 品是一種「棄聖絕智」的寓言。
我也很喜歡《字典》系列，耿禎以年代久遠的漢英字典為紙材，使用金箔裁剪。有 一件作品，上面有一人，頭上彷佛長了鹿角，金箔的長線如細長之錐，亦如時光之 箭，如此來無所來，而自由的去所應去！視覺之中，使人想起音樂中的強弱參差、 合聲對位，「這不是一根菸斗」——這不是一件紙藝術品，是一首音樂的詩。 《落腳》、《走河》則是和音樂人羅思容、作家謝旺霖的跨界合作，或直覺純粹，或 藏納萬千。
128 在「野性」與「文明」之間，吳耿禎的作品為我們示現了「敬畏」的力量，如此美， 又超乎了美。
Being One as It Is by
Hsu Hui-Chih
Beyond the wandered land Earlier this year, I agreed to write about several artists and their works for a newspaper column. The name which is always on my list is Jam Wu, but every time after struggling with the interpretation and analysis, I often give it up and go for another subject. 129
It was around ten years ago that I did write an article about Wu, an artist already full of artistic energy back then, and the article was published in the Lianhe Fukan literary supplement. Throughout the years, I have never stopped being impressed by his diversely progressive, explorative in depth and spectrum, or even interdisciplinary works. However, inspired and motivated as I was, the complexity in his works always brought me to a dead end when I tried to put my thoughts into an article. Like the artwork hanging in the office of Unique Route, the gold leaf is applied to the paper from which Wu cuts out the shape of deers to visualize the transformative land in the world of myth—and it is not any particular myth, but the unique one created by the artist. The work at the first glance is like a parable, while it evokes the power of revelation through a highly sanctification process taking place inside the artist. I often look at the painting in the office, as if I were taken to some faraway place by it, somewhere beyond the wandered land. Not here, not there; anyway, elsewhere…… What’s even more, with some gold leaf scrapped off to reveal the texts underneath, Wu seems to tell me: after Cangjie invented the characters, the deities and ghosts cried and the sky rained millet…… The artwork makes me feel its mythical touch, but at the same time, it deconstructs the myth itself. It is the most complicated part of Wu’s artworks—rather than trying to grasp its narrative or to understand its meaning, we should learn to “get rid of our holy wisdom,” to follow his art as we
abandon any logical thinking, and beauty itself will bring us to the destination where what we have been through will be forgotten. It was from Mr. Chiang Hsun that I first heard about the artist. He told me about Wu’s talent and dedication, including him being the recipient of the 2nd Cloud Gate Wanderer Project, his early blossom as a young artist, the innovative paper-cutting arts which he had been known for since college, his journey across Northern Shaanxi, China, where he encountered the folk practice of “local red paper-cutting” as a metaphor of hope and blessing in life. The journey across Northern Shaanxi, which was made possible by the support from Cloud Gate Wanderer Project, offered a great inspiration to Wu, especially the perfect integration between the extremely different folk taste and religious belief. Since then, Wu’s artistic journey has extended and expanded, until it reaches a beautiful but faraway land beyond all our imaginations. In 2010, Wu made a paper-cutting work in his grandmother’s kitchen, turning paper into red butterflies dancing in the air. With such a heartfelt sentiment, Wu’s works touch the souls in the most spontaneous way. Later, he held a large-scale solo exhibition at Liang Gallery, while the ambitious and expansive project concept was framed within the structure of a document exhibition: what I saw in the exhibition space made me wonder the real identity of Wu—if he were not a thief of time, how could it be possible for him to “paper-cut” such a comprehensive exhibition? Meanwhile, what he did at Cloud Gate Theatre in Tamsui, which featured a dialogue with time and space, was as poetic as intellectually inspiring. I have known Wu for ten years. Throughout the decade, his art-making skills and the momentum of his heart have already brought us to a place far away from here, as far the valley in the myth where Sun sleeps at night.
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The Power of Awe
131
On the eve of the Moon Festival, I visited Wu’s art studio in Neihu to see his new works made in the past two years, among which were worked for his upcoming solo exhibition Songs and Bonfires, scheduled to open on 10 November at Liang Gallery. It was a pure joy that I had the honor to be invited by the artist to see his works on the eve of the exhibition opening, because his works, consistent in terms of spiritual genealogy but yet constantly surprising and innovating, had the ability to carry the viewers to the time and space beyond the faraway land. The exhibition includes four subtopics: “Bonfires,” “Dictionary,” “We Settled Here,” “Walk along the River Ganges-From Ocean to the Head,” which briefly summarize Wu’s artistic exploration and dedication for the past two years. The vigorous “Bonfires” series is a creation based on the dialogue between Austronesian cultures. By reading and understanding various myths, legends, and stories, Wu reexamines what to be found on the border of “civilization.” One of the works I like very much is the cutting with the Japanese paper which has some hand-dyed quality. The rain falls on the rocks while the non-organic rocks give birth to humans. It thus reminds me of the myths of “xuan niao” (a black bird), “rainbow,” or other stories from various cultures about the creation of humans—where does human come from? Before religions appeared to provide an explanation, myths were more like an effort to identify—an attempt to find out the “origin” and to give it a “meaning” for ourselves in the immense universe. One of the common features in the prevailing myths or stories about the creation of human is the absence of father, if not both parents are absent, and in some cases humans are even created as interspecies offspring (and the natural creatures vary as in these cases), a violation to our knowledge in modern biology indeed.
Humans prior to the awareness of civilization often share the feeling that one is all alone in the world between the heavens and the earth. I assume such a sense of loneliness should be the origin of myth and poetry. Like myth, poetry never pursues the certainty as found in science and rationality. Instead, both poetry and myth celebrate the uncertainty or inability to be certain about something. As a consequence, in his round-shape paper-cutting works, we see fish, dogs, cows, snakes, people, and flowers on the same piece of paper, connected and continuous, followed by the undulating waves of extending mountains and streams like floating clouds or flowing waters to signify the subtly balanced destinies, closely related as they are, in a harmony with nature. The calling from the works reminds me of the essence of myth—the sense of awe, as we have realized that we are simply “one of” the greater things rather than “the one” or “the first.” In this small round-shape paper craft, the rhythmically arranged crevices echo the washed colors of the paper, miraculously bringing the works into the three-dimensional world. Fascinated by the work, as if in a trance, I almost had a feeling that I were inside a theatre where I could feel its force field. Because of the sense of awe, we seem to become one with all these beings in the world. Because of the sense of awe, we are able to look at everything equally, and everything thus becomes as elegant and as beautiful. Indeed, Wu’s artworks are the parables about rejecting our holy wisdom. I also like the “Dictionary” series very much, in which Wu uses the pages from an aged ChineseEnglish dictionary as his materials and cuts some gold leaf on it. There is a work with one person who seems to grow deer antlers on the head, and the gold leaf thread is like a long and narrow awl while it also bears some resemblance to the arrow of time, coming from nowhere and going to where it belong. The visual image is reminiscent of the dynamics, harmony, and counterpoint in music. “Ceci n'est pas une pipe”—it is not an artwork made with paper, but the poem of music.
132
The “We Settled Here” and “Walk along the River Ganges-From Ocean to the Head” series are the crossover collaboration with the songwriter Lo Sirong and the writer Hsieh Wang-Ling, either intuitive and spontaneous or inclusive and transformative. Between the wilderness and civilization, Wu’s artworks reveal the power of awe through their breathtaking beauty, which is even beyond the beauty itself. 133
134
135
吳
耿
禎
1979 年出生於太平洋邊陲的小島，台灣。家鄉在台灣最古老的都市，台南。亞熱帶 的安平漁港，民間廟宇文化，以及農田風貌，是吳耿禎的童年印記。 吳耿禎的創作奠基於紙材，關注於傳統民間與當代的交互可能，實驗出個人特質的 演繹。另一方面，一直以來執行許多參與式計畫，是來自於生命與社會經驗的提問。 大學時期，主修建築，喜愛詩歌。大學畢業那年，獲得雲門舞集流浪者計畫獎助， 前往中國北方高原，探索民間藝術。爾後，創作型態不拘，裝置、錄像、行為、亦 時常跨足表演藝術合作。
2009 年為誠品書店首位培植的 Young Talent Artist 計畫藝術家，舉辦個展三部曲。2010 年獲選巴黎 CITE 駐村藝術家，前往北極與瑞士鄉村探訪歐陸民間剪紙文化。同年 獲得 Louis Vuitton 藝術首獎，成為首位於 Espace Culturel LV 舉辦個展的台灣藝術家。 2013 與 Meimage Dance 合作舞蹈作品「親愛的」，獲得第 12 屆台新藝術獎。2014 年 受邀為巴黎 Hermes Petit h 創作系列皮革與絲巾作品。2019 年擔任雲門舞集 2「毛月亮」 視覺統籌。
2012 年「工作表」，以日常「剪髮」與民眾交換生活物資的行為計畫，探討藝術家 的職業法定化。在北京老胡同「一個城市青年回鄉的路上」，邀請北漂青年透過餐 桌，談論青年回鄉潮。2013 年「尋找看展覽的人」，化身傢俱店員工，探討展覽中 的觀眾參與。2014 年「臨時工 一份藝術與社會的問卷」，以舉牌臨時工為流動雕塑， 於新竹車站進行問卷交談。2016 年至今「剪紙合作社 - 蕭壟計畫」，於台南鹽份地帶， 帶領素人婦女進行剪紙與環境創作。
136
JA M W U Jam Wu was born in 1979 on a small island called Taiwan that borders the Pacific Ocean. Wu's hometown, Tainan, is the oldest city in Taiwan, with his childhood memories consisting of subtropical Anping Fishing Harbor, folk religion temple culture, and agricultural landscape. Wu predominately works creatively with paper, focusing on the interconnected possibilities between traditional everyday life and contemporary facets, as he experiments with interpreting his own personal distinctiveness. On the other hand, he also regularly implements participatory projects, examining questions about life and social experiences. Wu majored in architecture in college, and has a particular fondness for poetry. A recipient of the Cloud Gate Wanderer Project Fellowship upon his graduation, Wu used the grant to travel to the high plains in Northern China where he explored local folk art. He has since created art in a wide array of genres, including installation, video, performance, and often collaborates in cross-disciplinary performing works.
137
In 2009, Wu was invited by Watermill Center, founded by Robert Wilson, to create site-specific art. The same year, he became the first artist selected for Taiwan’s Eslite Bookstore “Young Talent Artist” program and presented his premier solo exhibition in the form of a trilogy. In 2010, Wu participated in the artist residency program at CITE, Paris and also traveled to the Arctic region and the Swiss countryside to survey European folk paper-cutting art in those areas. Wu was awarded that same year with the First Prize for the Louis Vuitton Cultural Space Audition, and became the first Taiwanese artist to exhibit at the Espace Culturel Louis Vuitton. Wu participated in the cross-disciplinary project, My Dear with Meimage Dance, presented at the National Theater in Taipei. And the work gained 2013 Taishin Arts Award. In 2014, Wu invited to Paris Hermes Petit h, created a leather and silk collection works. In 2019, Wu serves as the Visual Director in 22° Lunar Halo with Cloud Gate 2. In the performance project, Subsist Worksheet Of An Artist (2012), Wu offered to give haircuts in exchange for people’s everyday objects, with the intention to explore the statutory definition for the career of being an artist. In On The Way To Hometown About One Urban Youth, which took place in Beijing hutong, or old alleyways, with youths that have migrated to Beijing from elsewhere gathered over a meal to share their thoughts on the ongoing wave of youths returning back home. For the 2013 Looking For Audience, Wu transformed himself into a furniture store clerk to explore issues regarding public participations in exhibitions. In Temporary-A Questionnaire Of Art and Society (2014), Wu sought temporaries to be placards, like mobile sculptures, proceeded questionnaire conversations in Hsinchu Train Station. PapercutField - Soulangh Project (from 2016), Wu introduces and leads the local ladies getting inspiration from the local environment (Tainan Salt Zone) and doing paper-cutouts.
個展 2018 2017 2016
吳耿禎展 - 篝火合歌，尊彩藝術中心，台北，台灣 虹 ''''''，么八二空間，台南，臺灣 剪紙合作社 - 蕭壟計畫，蕭壟文化園區兒童美術館，台南，台灣 脆弱的種種美好，雲門劇場，台北，台灣
2015 2012
一千零一夜九個海一片黃昏，尊彩藝術中心，台北，台灣
2010
如果你遇見一個牧羊少年，路易威登藝文空間，台北，台灣
（農用）黑皮書，竹教大藝術空間，新竹，台灣
[ 工作表 ] ，誠品信義店 ART STUDIO，台北，台灣 吳耿禎首展三部曲，敦南誠品藝文空間＋和信治癌中心醫院＋竹圍工作室，台北，台灣
聯展 2019
ART DÜSSELDORF，Areal Böhler ，杜塞道夫，德國 台北國際藝術博覽會，台北世貿一館，台北，台灣 「紙的第四人稱」政治大學第十九屆駐校藝術家，政大藝文中心，台北，臺灣
2018 2017
2016 2015
「曾經·軌跡」MIT 十週年特展，台北藝術博覽會，台北，臺灣
Fra due culture，Palazzo Arese Borromeo + Magazini dell' arte，米蘭＋西西里島，義大利 Art and Design, dialogue with materials，富山美術館，富山，日本 遊島 - 原創基地節，松山菸廠，台北，臺灣 大船入港 - 台南紐約對飛，Pfizer Building，紐約，美國 新的旅途 – 台南新藝獎，加力畫廊，台南，台灣 文明的維度 — 銀川當代美術館開幕展，銀川，中國 我想要做一個夢，臺北市立美術館，台北，台灣
ART15 London ，倫敦藝術博覽會，倫敦 2014
「與社會交往的藝術 —— 香港台灣交流展」， 1a Space ＋駁二藝術特區，香港＋台灣 「游—香港詩人 梁秉鈞的旅程」，華山藝文特區，台灣
ART14 London – 尊彩藝術中心，倫敦藝術博覽會，倫敦 「回看 也斯」- 也斯＊吾友
跨媒介回應展，香港藝穗會，香港
「失訊之城」尊彩藝術中心，新加坡藝術博覽會，新加坡 「新民間」，IKKAN Gallery，新加坡
2013
「展．歐德．展」策展人培力計畫，鳳甲美術館 + 歐德系統傢具，台北，台灣 我們都是蒙娜麗莎－當代篇：蒙娜麗莎 MIT，高雄市立美術館，高雄，台灣 標新立異 - 青年藝術家作品典藏展， 國立台灣美術館，台中，台灣
2012
AIR - Artist in Residency，20 號倉庫＋竹圍工作室，台中＋台北，台灣 軟實力 - 形態與趨向，大趨勢畫廊，台北，台灣
2011
新民間，巴黎當代藝術博覽會，巴黎，法國
Young Artist-Special exhibition，Asia Top Gallery Hotel Art Fair，香港 都會烏托邦，香港德意志銀行收藏展，香港
2010
虛空，Art+shanghai Gallery，上海，中國 後青春，國立台灣美術館＋關渡美術館，台中＋台北，台灣
138
2009
台灣藝術新世代，上海美術館＋北京今日美術館，上海＋北京，中國 弄潮 --- 漢字文化節當代藝術展，帝門藝術教育基金會，台北，台灣 河流 2：洄 • 溯 • 藝波盪漾，國際城市視覺藝術交流展覽暨藝術創作觀摩 計畫，台北，台灣 純真 x 頑皮，就在藝術空間，台北，台灣
2008
小 ˙ 碎 ˙ 花 ˙ 不，台北當代藝術館，台北，台灣 粉樂町，台北東區當代藝術聯展，富邦藝術基金會，台北，台灣
駐村，駐館 2019 2010 2009 2007
池上藝術村，台東，臺灣 西帖藝術中心，巴黎，法國 水磨坊中心，紐約，美國 朱銘美術館，台北，台灣
作品典藏、限地製作
139
2019 2018 2017 2016 2015 2014 2011
Facebook Air Program，臺灣 LG Electronics Inc.， 韓國 臺南美術館，台灣 驕陽基金會，香港 高雄市立美術館，台灣
HERMES- Petit h Collection, 法國 THE PENINSULA PARIS，法國 德意志銀行，香港 信誼基金會，台灣
2009
國立台灣美術館，台灣
跨領域創作 2019 2015 2013 2007
「毛月亮」雲門舞集 2 「假裝」Meimage Dance 1+1 雙舞作，國家戲劇院，台北，台灣 「親愛的」Meimage Dance 1+1 雙舞作，國家戲劇院，台北，台灣 金枝演社－仲夏夜夢，淡水小白宮，台北，台灣
獲獎 2014 2010 2006
「親愛的 -Meimage Dance」第十二屆台新藝術獎大展，北師美術館，台北，台灣 首獎 – Journey In My Mind – Louis Vuitton 藝術徵件計畫，路易威登藝文空間， 台北，台灣 第二屆雲門舞集流浪者計畫，台北，台灣
S O LO E X H I B I T I O N S 2018 2017 2016 2015 2012 2010
Songs and Bonfires, Liang Gallery, Taipei, Taiwan. PINK Rainbow, 182artspace, Tainan, Taiwan. PapercutField - Soulangh Project, Soulangh Culture Park, Tainan, Taiwan. 2016 Cutouts and Alive, Cloud Gate Theater, Taipei, Taiwan. One Thousand And One Nights / Nine Sea / An Evening, Liang Gallery, Taipei, Taiwan. Happy or Black Book (For Farmer), NHCUE Art Space, Hsinchu, Taiwan. Working Table of an Artist, XinYi Eslite Bookstore-ART STUDIO, Taipei, Taiwan. If You See a Young Shepherd, Louis Vuitton Cultural Space, Taipei, Taiwan. Trilogy of Jam Wu's Solo Exhibition, DunNan Eslite bookstore+Koo Foundation Sun Yat-Sen Cancer Center+Bamboo Curtain Studio, Taipei, Taiwan.
G RO U P E X H I B I T I O N S 2019
2018
2017
2016
2015 2014
2013
ART DÜSSELDORF, Areal Böhler , Dusseldorf, Germany Art Taipei, Taipei World Trade Center Exhibition Hall, Taipei, Taiwan The Fourth Person of Paper, The 19th Artists in Residence Program, Taipei, Taiwan. "Once・Trajectory" The special ten-year MIT anniversary exhibition, Art Taipei 2018, Taipei, Taiwan. Fra due culture, Palazzo Arese Borromeo + Magazini dell' arte, Milan + Sicily, Italy. Art and Design, dialogue with materials, Toyama Prefectural Museum of Art and Design, Toyama, Japan. Taipei Original Festival, Songshan Cultural and Creative Park, Taipei, Taiwan. Fully Loaded Tainan - New York 2017, Pfizer Building, New York, USA. NEXT ART TAINAN, Inart Space, Tainan, Taiwan. Dimension of Civilization — Grand Opening and Inaugural Exhibition MOCA Yin Chuan, Yin Chuan, China. I WANT TO DREAM, Taipei Fine Arts Museum, Taipei, Taiwan. ART15 London - Liang Gallery, Art Fairs London, London. 「Art as Social Interaction」, 1a Space+The Pier-2 Art Center, Hong Kong+Taiwan 「LEUNG PING KWAN(1949-2013), A RETROSEPCTIVE」YASI*WE FRIEND—A CROSS-MEDIA RESPONSE EXHIBITION TO LEUNG PING KWAN, Hong Kong Fringe Club, Hong Kong. 「Distortion City」Liang Gallery, Art Stage Singapore, Singapore. 「NEU FOLK」, IKKAN Gallery, Singapore. DisOrder / Exhibition / in Order, Hong-gah Museum+Order System Company,
140
2012 2011 2010
2009
2008
Taipei, Taiwan Soft Power – The Intangible Indicator, Taipei, Taiwan. AIR - Artist in Residency, Stock20+Bamboo Curtain Studio, Taichung, Taiwan. NeoFolk，Cutlog contemporary art Fair, Paris, France. Urban Utopia, Deutsche Bank Collection, Hong Kong. 1979-The Issue About Three Taiwanese artists, Cité Internationale des Arts , Paris, France. Xu Kong, Art+shanghai Gallery, Shanghai, China. Post-Adolescence, National Taiwan Museum of Fine Arts+Kuandu Museum of Fine Arts, Taichung+Taipei, Taiwan. SuperGeneration@Taiwan, Shanghai Art Museum, Today Art Museum, Shanghai+Beijing, China. The 6th Chinese Character Festival , Making Waves Contemporary Art Exhibition, Dimension Endowment of Art (DEOA), Taipei, Taiwan. Umbilical Card, MOCA Studio, Taipei, Taiwan. SuperGeneration@Taiwan, Museum of Contemporary Art Taipei, Taipei, Taiwan.
A RT R E S I D E N C Y
141
2019 2010 2009 2007
Art ChiShang, TaiTung, Taiwan. Cité Internationale des Arts , Paris. France. Watermill Center, New York, USA. JuMing Museum Encamping Artist, New Taipei City, Taiwan.
C O L L EC T I O N WO R K S F O R I N S T I T U T I O N 2019 2018 2017 2016 2015 2014 2011 2009
Facebook Air Program, Taiwan. Eslite Shenzhen store, China. LG Electronics Inc., Korea. Tainan Art Museum, Taiwan. Sunpride Foundation, HongKong. Kaohsiung Museum of Fine Art, Taiwan. HERMES- Petit h Collection, France. THE PENINSULA PARIS, France. Deutsche Bank Center, HK. Hsin-Yi Foundation, Taiwan. National Taiwan Museum of Fine Arts, Taiwan.
I N T E R D I S C I P L I NA RY WO R K S 2019 2015 2013 2007
「22° Lunar Halo」Cloud Gate 2 「CAMOUFLAGE」Meimage Dance_1+1Dance, National Theater & Concert
Hall, Taipei, Taiwan. 「MY DEAR」Meimage Dance，National Theater Concert Hall, Taipei, Taiwan. A Midsummer Night's Dream, Golden Bough Theater stage artist , Little White House Theater, Dan Shui, Taiwan. First Asia City Youth Drama Festival, Stage Design, Avant-garde East Theater, Beijing, China.
AWA R D 2014 2010 2008 2006
The 12th Taishin Arts Award Exhibition, MoNTUE, Taipei, Taiwan. First Prize – Journey In My Mind – Louis Vuitton Cultural Space Audition, Louis Vuitton Cultural Space. Art Taipei 2008, Made In Taiwan new show promoted first award, Taipei,Taiwan. The Second Wanderer Project Fellowship Of Cloud Gate Dance Theatre, Taipei, Taiwan. 142
143
144
圖 錄
145
Catalog
《篝火－編織－ 01》
《篝火－編織－ 02》
Bonfires-Weaving-01
Bonfires-Weaving-02
《篝火－編織－ 03》
Bonfires-Weaving-03
紙 Paper / 55×56 cm / 2018
紙 Paper / 77.5×68.5 cm / 2018
紙 Paper / 96.5×71 cm / 2018
P.12
P.13
P.14
《篝火－編織－ 04》
《篝火－編織－ 05》
《篝火－編織－ 06》
146 Bonfires-Weaving-04
Bonfires-Weaving-05
Bonfires-Weaving-06
紙 Paper / 62×83.5 cm / 2018
紙 Paper / 84×34 cm / 2018
紙 Paper / 68×30 cm / 2018
P.15
P.16
P.17
《篝火－編織－ 07》
《篝火－編織－ 08》
《篝火－編織－ 09》
Bonfires-Weaving-07
Bonfires-Weaving-08
Bonfires-Weaving-09
紙 Paper / 65×44 cm / 2018
紙 Paper / 33x54cm, 55x49cm, 45x55cm, 55×64 cm / 2018
紙 Paper /33×54 cm. 55×49 cm. 45×55 cm. 55×64 cm/ 2019
P.18
P.19
P.20
《篝火－石頭 -01-1》
《篝火－編織－ 10》
《與大海的神話 漂浮 漂浮 漂浮》
Bonfires-Weaving-10
Floating Floating Floating with the Mythical Ocean
Bonfires-Stone-01-1
紙 Paper / 62×83.5 cm / 2019
壓克力顏料、人造纖維、紙
壓克力顏料、人造纖維、玻璃、紋石
P.21
Acrylic on synthetic fiber and paper 200×700 cm / 2018
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
《某日和影子對話》
P.26
Dialogue with Subjectivity 鋁板 Aluminum / 75×290×180 cm / 2018
P.22-23
147 《篝火－石頭 -01-2》
《篝火－石頭 -02-1》
《篝火－石頭 -02-2》
Bonfires-Stone-01-2
Bonfires-Stone-02-1
Bonfires-Stone-02-2
紙、玻璃、紋石
壓克力顏料、人造纖維、玻璃、紋石
紙、玻璃、紋石
Paper, glass and stone 40×40 cm / 2018
Acrylic on synthetic fiber, glass and stone 30×30 cm / 2018
Paper, glass and stone 30×30 cm / 2018
P.27
P.33
P.33
《篝火－石頭 -03-1》
《篝火－石頭 -03-2》
《篝火－石頭 -04-1》
Bonfires-Stone-03-1
Bonfires-Stone-03-2
Bonfires-Stone-04-1
壓克力顏料、人造纖維、玻璃、紋石
紙、玻璃、紋石
壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
Paper, glass and stone 40×40 cm / 2018
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
P.36
P.37
P.40
《篝火－石頭 -04-2》
《篝火－石頭 -05-1》
《篝火－石頭 -05-2》
Bonfires-Stone-04-2
Bonfires-Stone-05-1
Bonfires-Stone-05-2
紙、玻璃、紋石
壓克力顏料、人造纖維、玻璃、紋石
紙、玻璃、紋石
Paper, glass and stone 40×40 cm / 2018
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
Paper, glass and stone 40×40 cm / 2018
P.41
P.45
P.47
《篝火－石頭 -06-1》
《篝火－石頭 -06-2》
《篝火－石頭 -07-1》
Bonfires-Stone-06-1
Bonfires-Stone-06-2
Bonfires-Stone-07-1
壓克力顏料、人造纖維、玻璃、紋石
紙、玻璃、紋石
壓克力顏料、人造纖維、玻璃、紋石
Acrylic on synthetic fiber, glass and stone 30×30 cm / 2018
Paper, glass and stone 30×30 cm / 2018
Acrylic on synthetic fiber, glass and stone 40×40 cm / 2018
P.51
P.51
P.53
《篝火－石頭 -07-2》
《字典 IV》
《字典系列－人 1》
Bonfires-Stone-07-2
Dictionary IV
Dictionary-Human 1
紙、玻璃、紋石
字典、金箔、木板
壓克力顏料、字典、金箔、木板
Paper, glass and stone 40×40 cm / 2018
Dictionary, gold leaf on wood-board 114×550×2.8 cm / 2018
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2018
P.55
P.60-61
P.62
148
149
《字典系列－人 2》
《字典系列－碗》
Dictionary-Human 2
Dictionary-Bowl
《字典系列－碗 2》
Dictionary-Bowl 2
壓克力顏料、字典、金箔、木板
壓克力顏料、字典、金箔、木板
壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2018
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2018
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2019
P.63
P.66
P.66
《字典系列－碗 3》
《字典系列－房》
《字典系列－門》
Dictionary-Bowl 3
Dictionary-House
Dictionary-Door
壓克力顏料、字典、金箔、木板
壓克力顏料、字典、金箔、木板
壓克力顏料、字典、金箔、木板
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2019
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2018
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2018
P.67
P.68
P.69
《字典系列－圓》
《剪紙－山嶼月》
《剪紙－童顏》
Paper Cut-outs - Island and The Lunar
Paper Cut-outs - The Childhood Shape Of Ours
Dictionary-Circle
中英繁體字典、金箔、丙烯顏料上色於原木拼板
中英繁體字典、金箔、丙烯顏料上色於原木拼板
壓克力顏料、字典、金箔、木板
Dictionary of English-traditional Chinese, gold leaf, acrylic pigments painted on wood-jointed board 80× 80×2.8 cm / 2018
Dictionary of English-traditional Chinese, gold leaf, acrylic pigments painted on wood-jointed board 80×80 ×2.8 cm / 2018
Acrylic, dictionary and gold leaf on wood board 80× 80×2.8 cm / 2018
P.70
P.71
P.72
《落腳－ 01》
《落腳－ 02》
《落腳－ 03》
We Settled Here-01
We Settled Here-02
We Settled Here-03
壓克力顏料、紙、木板
壓克力顏料、紙、木板
壓克力顏料、紙、木板
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
P.78
P.80
P.84
《落腳－ 04》
《落腳－ 05》
《落腳－ 06》
We Settled Here-04
We Settled Here-05
We Settled Here-06
壓克力顏料、紙、木板
壓克力顏料、紙、木板
壓克力顏料、紙、木板
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
P.85
P.86
P.88
《落腳－ 07》
《落腳－ 08》
《落腳－ 09》
We Settled Here-07
We Settled Here-08
We Settled Here-09
壓克力顏料、紙、木板
壓克力顏料、紙、木板
壓克力顏料、紙、木板
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
Acrylic on paper and wood-board 40×40×1.2 cm / 2018
Acrylic on paper and wood-board 45×30×1.8 cm / 2018
P.90
P.91
P.94
150
《落腳－ 10》
《落腳－ 11》
《落腳－ 12》
We Settled Here-10
We Settled Here-11
We Settled Here-12
壓克力顏料、紙、木板
紙 Paper 65×65 cm / 2018
紙 Paper 65×65 cm / 2018
Acrylic on paper and wood-board 45×30×1.8 cm / 2018
P.95
151
P.99
《走河 / 銀》
Walk along the River Ganges-From Ocean to the Head/ Silver 壓克力顏料、棉紙
Acrylic on cotton paper 57×185 cm / 2018
P.104
《走河 / 紅金》
Walk along the River Ganges-From Ocean to the Head/ Golden Red 壓克力顏料、棉紙
Acrylic on cotton paper 57×185 cm / 2018
P.105
P.100
白 斐 嵐 、 李 樂 蓉 、 廖 蕙 芬
林 柔 安 、 李 玉 珊
吳 耿 禎 、 林 可 夫 、 修 天 容 、 王 淳 容
尊 陳 余 彩 菁 彥 國 螢 良 際 藝 術 有 限 公 司
ISBN 978-986-97200-1-4 EXECUTIVE DIRECTOR
YU Yen-Liang
GENERAL MANAGER
Claudia CHEN
PUBLISHER
Liang Gallery Co., Ltd.
EDITOR
Jame WU, Kofu LIN, Daisy SHIOU, Zoe WANG
EDITOR ASSISTANTS
Roni LIN, Alison LEE
TRANSLATION
Siraya PAI, Laura LYGAITYTE, Hui-Fen LIAO
DISPLAY EXECUTIVE
Ding-Jiun HONG, Le-Dao LU
LIGHTING
Chung-Chang HO
PHOTOGRAPHER
KC, JD
DESIGNER
Ming-Wei LIU
PRINTING
Jih-Tung Art Printing Co., Ltd.
PUBLISHING DATE
First Edition, October, 2019
洪 鼎 鈞 、 盧 樂 道
日 劉 劉 何 動 銘 光 仲 藝 維 智 昌 術 、 印 黃 刷 嘉 有 達 限 公 司
二 零 一 九 年 十 月 初 版
策 出 總 發 劃 版 經 行 編 輯 者 理 人
編 務 協 力
展 翻 場 執 行 譯
燈 光 設 計
印 設 攝 刷 計 影
出 版