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04.
正因無能，才得以無所不能的想像未來： 論陳依純的「世界系：地球防衛少年」 孫松榮
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10.
作 品
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20. PAGE.
72. PAGE.
86. PAGE.
104. PAGE.
110.
無處可逃的「世界系」傷痛 周婉京
癒合−重建的記憶 孩子 走在迷宮裡的孩子 神啊，請拯救我 ! 火冰河
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與陳依純的對話錄
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創作自述
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藝術家簡介
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圖錄
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工作人員／感謝單位
114. 120. 123. 135. 142.
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07.
With Nothing We Can Do, We Imagine the Future Like Nothing to lose. SING Song-Yong
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14.
The Inescapable Trauma of “SEKAIKEI” Stefanie CHOW
WORKS
20.
Healing ‒ Reconstructed Memories
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L' Enfant
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73. PAGE.
86. PAGE.
104. PAGE.
110.
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116.
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121.
A Child Walking in a Maze God, Please Save Me ! Fire with Glacier
Conversation with CHEN I-Chun
Artist statement
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Biography
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Catalog
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Staff
123. 135. 142.
正因無能，才得以無所不能的想像未來： 論陳依純的「世界系：地球防衛少年」
SI NG
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國立 台南 研究 藝術 所教 大學 授 動畫 藝術 與影 像美 學
WITH NOTHING WE CAN DO, WE IMAGINE THE FUTURE LIKE NOTHING TO LOSE.
So ng -Yo ng
an ain t, T Ar
榮 松 孫 進入世界系−地球防衛少年
04
Entering Sekaikei – Bokurano
嚴格而言，自「你夢見電子羊了嗎？第 N 次毀滅， 重新來過」（2016）個展開始，我才算較完整而
以《地球防衛少年》為例，此類被多位日本評論家 （例如齋藤環、前島賢、東浩紀等）概括為「世界
認真地認識了陳依純的作品、創作觀及方法。那次
系」的作品特色，不是總以年輕男女主角之間的純
個展，讓我見識到她兼具繪畫與錄像裝置，不管架
情愛戀作為核心敘事，就是他們得奮不顧身迎臨突
置於跨媒介、還是鮮明動畫風格的作品形態，總是
如其來的世界末日與災難。倖存與犧牲，成了角色
離不開當前藝術家自身所面臨的現實處境及其正
們終極的命運。唯有他們是拯救地球的英雄，任何
思索的歷史困局。可以這麼講，從狄克（Philip K.
的國家與體制——亦即成人世界——都失去了捍衛
Dick，1928-1982）的經典科幻小說《機器人會夢
的力量。此種凸顯獨我論且消解了具體社會與歷史
見電子羊嗎？》（Do Androids Dream of Electric
背景的次文化類型，主要以輕小說與動漫於 1990
Sheep ？，1968）獲得靈感的展名，陳依純試圖
年代末期至 2000 年中旬的日本崛起並大放異彩。
結合個人與近未來的雙重視域，省思當前人類文明
當然，其緣起與 1990 年代日本接連發生的許多重
世界——諸如核武、公安、環保、都更、勞工權、
要事件（例如阪神大地震、東京地鐵沙林毒氣事
動物權、資本主義等——日益嚴重的問題，並圍繞
件、泡沫經濟破裂後的經濟蕭條等）密切有關。由
在一個可能更好，抑或，已瀕臨末日而人們卻懵懂
此，成人自顧不暇亂成一團的世界被美少女與美少
仍不自知的世界展開想像。
男接管，將之重新安裝在另一個向度的世界中，並 以特異的日常、語言及存在感加以更新。
兩年後，陳依純題名為「進入世界系：地球防衛少 年」的全新個展，亦有異曲同工之妙。展場瀰漫著
值得深思的，「世界系」所謂的去世界，正如美式
某種安穩卻同時蠢動著不安的力量，並迴盪著一再
科幻，說穿了，恰好體現出的絕非是類型的不切實
重覆而顯機械規律的多重聲響。展題所流露出的科
際，而正是其後設性。換言之，無論是「世界系」
幻感亦屬未知感，浸潤於數件多頻道錄像裝置、畫
還是美式科幻，骨子裡潛藏著一種以接地氣面向危
作及現場表演的作品。這對於一向深愛動畫與漫畫
機的意圖，它們遂可謂是創作者給予未來的備忘錄
的藝術家而言，就如陳依純私下自稱的「御宅族」
也是啟示錄：這是一種面對即將到來、尚未來臨，
一般，自然並不是什麼值得嘖嘖稱奇的事情。加上
甚或，也許不可能發生的事件的預言與寓言。是
藝術家毫不掩飾地援引鬼頭莫宏（Mohiro Kitoh，
故，以「世界系」之名，行「地球防衛少年」之實，
1966-）的著名漫畫《地球防衛少年》（2004-
在我看來，乃是陳依純繼「你夢見電子羊了嗎？第
09），甚至借用了「世界系」（セカイ系
N 次毀滅，重新來過」之後，另一次為了武裝現實
kei
Sekai-
World-type）一辭，無疑讓展覽的日漫風更
主義乃至現實批判的障眼法。如果「你夢見電子羊
形濃烈。值得玩味的，由美式科幻的近未來至日系
了嗎？第 N 次毀滅，重新來過」以奠基於藝術家童
動畫的「世界系」，陳依純的作品是否出現了顯著
年的恐懼與陰影作為探問當代台灣與東南亞城市文
的變化？
明及不滿的基礎，「世界系：地球防衛少年」則是 以她啟程赴歐表演之際對於當前歐洲的難民危機所 展開的思辨。
正因無能，才得以無所不能的想像未來
With Nothing We Can Do, We Imagine the Future Like Nothing to lose.
過去兩年曾分別受邀參加林茲電子藝術節與丹麥點
影，另件亦稱為《L’Enfant》的雙生之作，體現
擊藝術節的《L’Enfant》，可以說是其中一件最
於藝術家糅合捲軸畫、多重縱深及圖層的拼貼影像
能凸顯相關論題的作品。《L’Enfant》，法文意
中。這一回，美少女手持水槍、玩具槍、彩色手流
即「小孩」，原是一件連結無人機、高速攝影機、
彈、弓箭吸盤、雙刀流與塑膠軟劍，抵抗著「宇宙
AR 影像定位與人臉辨識等新科技的現場表演（本
超人」系列怪獸的進擊。而東倒西歪的房子，如同
次展覽，它主要以在丹麥點擊藝術節的現場表演錄
《走在迷宮裡的孩子》裡的廢墟，顯然陳依純表述
影，並搭配 3D 與紀實影像的《走在迷宮裡的孩子》
了自「你夢見電子羊了嗎？第 N 次毀滅，重新來
構成雙頻道錄像）。女舞者以分別身穿白色與紅色
過」以降未曾削減過的終極夢魘——如果戰爭於家
衣裳的方式，演繹一個雖於戰亂中死去卻仍在死後
鄉引爆。就某種程度而言，這弔詭地解釋了位於展
為生存搏鬥的幽靈。舞動的她既與身後銀幕中的影
場中央的影像裝置《神啊，請拯救我！》的互動意
像互動，加上其手上裝有感應設置的槍枝與迴旋的
義：直面液晶螢幕裡各個穿戴著虛擬盔甲並以自身
空拍機，亦會將現場實況同步投影於布幕上。如果
母語說著「嘿！ SIRI，什麼是戰爭？」的告解者，
從陳依純重新詮釋「世界系」的角度來思考這個仍
處於神父般位置的觀眾只能無言以對，愛莫能助。
在歐洲上空盤旋的幽靈形體，美少女正是向種種非
藝術家並非是提供如何解決世界困局的解答者，
人道罪行乃至右派民粹主義宣戰的防衛使者。而作
至多像是一位創造各種可能性與不同感知經驗的
為重屏（double screen）的《走在迷宮裡的孩子》，
想像者。
除了 3D 與紀實影像，藝術家更融入了以 Google
Map 功能擷取的台灣街景。由於虛擬的戰爭，影像
由《L’Enfant》、《走在迷宮裡的孩子》至《癒
時而幻化為廢墟的日常市景，時而是歐陸海域的紀實
合－重建的記憶》與《神啊，請拯救我！》，陳依
片段：虛實之間，作品採用了幾乎是電玩的主觀鏡頭，
純將旅途偶遇的歐洲難民危機，實際地轉化至自身
由此模擬了部隊聯盟進行地面巷戰的攻擊路線，也同
面對在地乃至兩岸對峙關係的思索：那些關於他者
時像極了難民無家可歸流離失所的悲劇處境。
的創痛之種種，將可能會是一己未來經驗的歷史再 現。而這種將自我存在無限放大到與世界存亡的
從陳依純的創作歷程開始，童年始終位居要角。小
作法，難道不正好是自稱御宅族的藝術家試圖藉由 「世界系：地球防衛少年」，對於東浩紀（Hiroki
孩，無疑是個展中的關鍵字，穿透於每部作品。混 合著繪畫、錄像與文件檔案的《癒合－重建的記
Azuma，1971-）在《遊戲性寫實主義的誕生：動
憶》，即邀請八位國內外受訪者憶往，追述曾發生
物化的後現代 2》（2007）中寫道「我們正因為
於童年時那些關於被霸凌、意外致使小動物死亡、
是無能，才得以無所不能……我們正因為是脫離社
太空船爆炸、被討債進而不停搬家、送往難民營，
會性的存在，反而得以最誠實地思考國家的意義」
及父親之死等創傷事件。再者，除了現場表演的錄
所做出的具體而真實的省思嗎？
進入世界系−地球防衛少年
06
Entering Sekaikei – Bokurano
Strictly speaking, it was with Chen I-Chun Solo
how Chen describes herself. She even borrows, in
Exhibition – Do You Dream of Electric Sheep?
the most straightforward ways, Mohiro Kitoh’s iconic
(2017) that I began to have a thorough and profound
Bokurano: Ours (2004-09) and the term “Sekai-kei”
understanding of Chen’s artworks, artistic concepts,
(world-type) to create a stronger association with
and artmaking methods. The solo exhibition allowed
the Japanese anime and manga. What deserves our
me to look into her artistic practice, mainly focusing
discussion, however, is whether there is a significant
on painting and video installation, while both her
artistic transition from her works featuring the American
interdisciplinary attempts and the characteristic
Near-Future science fictions to the Japanese Sekai-kei
animation style are inseparable from the reality which
animation.
the artist has been dealing with as well as the historical dilemmas occupying her thoughts. Let us put it this
Take Bokurano: Ours for example, it belongs to a
way: in the exhibition whose title comes from Philip K.
genre that many Japanese critics (such as Tamaki Sait,
Dick’s well-known science fiction Do Androids Dream
Maejima Satoshi, and Hiroki Azuma) characterize as
of Electric Sheep? (1968), Chen aims to integrate the
a typical “Sekai-kei” for that it either centers on the
dual visions of the personal and of the near future to
innocent romance between the young lovers or the
reexamine the human civilization in our contemporary
challenge they have to take on, at the expense of their
world, including but not limited to the increasingly
lives, to save the world from its doom. Survival and
severe problems concerning nuclear weapons, public
sacrifice are the destined path for the main characters,
safety, environmental protection, urban renewal, labor
who are the only world-saving heroes while no state
rights, animal rights, and capitalism, through which the
or system – meaning the adult world – still has the
artist offers an imagination of a better, or a doomed
power to defend the world. The subculture narrative
with people not being aware of it, world.
dominated by solipsism that invalidates the specific social and historical context became popular as early
A similar narrative is found in Chen’s latest solo
as the late 1990s through mid 2000 in Japan, mostly
exhibition Entering Sekaikei: Bokurano two years later,
in the forms of light novel, anime and manga, and
as expressed through the stability albeit with smoldering
we have every reason to associate it with a series of
anxiety and the mechanical repetition of the multiple
major events taking place during the 1990s in Japan
sounds that permeate the whole exhibition space. The
(Kobe Earthquake, Tokyo subway sarin attack, the
title’s allusion to science fictions also creates a sense
bursting of the bubble economy and the following
of unknownness, and it is the same tinge that the
economic depression, to name a few). Since no
exhibited multi-channel video installations, paintings,
adult can fix the chaotic adult world, it is soon taken
and live performance are immersed in. Indeed, it is
over by the beautiful boys and girls who reinstall it in
nothing surprising for an artist fascinated with anime
another dimension and keep renewing it with strange
and manga, an otaku (a Japanese term for people with
ordinariness, language, and existence.
obsessive interests, especially anime and manga) as
正因無能，才得以無所不能的想像未來
With Nothing We Can Do, We Imagine the Future Like Nothing to lose.
If we dig deeper into the idea of “Sekai-kei,” the
is still posthumously fighting for survival. The dancing
so-called “the world removed” as in the American
figure interacts with the image on the screen behind
science fictions, a simple fact as it is, demonstrates
her, with live-streaming from the sensor-equipped gun
the metanarrative of the genre rather than its lack of
in her hand and the hovering drone above the head
practicality. In other words, be it the Japanese “Sekai-
to be projected onto the screen. If we put Chen’s
kei” or the American science fiction, there is a down-
interpretation of “Sekai-kei” into consideration as we
to-earth attempt to face the crisis lurking with, like a
try to talk about the phantom hovering across the
memoire as well as the revelation that the artist sends
whole Europe, the beautiful girl becomes the defender
to the future: it is as much a parable as a prophesy
who has declared war on the crimes against humanity
with which one may confront the impending, the not-
or even on the Right-wing populism. Meanwhile, the
yet-here, or even the impossible events. By doing say,
double-screen A Child Walking in a Maze features
the “Sekai-kei” as a category is the world-defending
the street scenes caught on Google Map with which
action in Bokurano: Ours – and in my opinion, it is
the artist is blending the 3D and documentary footage.
the same diversion technique by Chen to weaponize
In the virtual war, the imagery has sometimes been
realism or even critical realism following her Do You
visualized as the ruins of everyday scenery whereas
Dream of Electric Sheep? If the said exhibition is how
sometimes been transformed into the documentary
the artist, on her childhood fear and shadow, explores
clips taken around Europe’s seas: between the virtual
the civilization and resentment in Taiwan and other
and the real, the artwork adopts the videogame-like
Southeastern Asian cities, while Entering Sekaikei:
subjective perspective in order to simulate the route
Bokurano is her dialectical thought on the ongoing European refugee crisis which she was gestating with when she set out for Europe.
of attack taken by the alliance troops in urban warfare
L’Enfant, exhibited at Ars Electronica in Austria and
Since the start of Chen’s artistic career, her childhood
Click Festival in Denmark in the past two years, is one
has always played an important role, and “child” thus
of the works which best exemplify these issues. The
becomes the key to thread all the artworks in her solo
work, titled as the French term for “child,” is originally a
exhibition. In Healing – Reconstructed Memories,
live performance connected with a drone, high-speed
a combination of painting, video, and documents,
camera, AR coordinates, face recognition system,
the artist invites eight participants from both Taiwan
and other latest technology (in this exhibition, it is
and overseas to share their childhood memories, the
displayed as a two-channel video which include the
traumatic episodes such as being bullied, an animal
visual recording of its live performance at Click Festival
being killed by accident, spaceship exploding, family
and the 3D and documentary footage of A Child
constantly moving to escape from the debt collectors,
Walking in a Maze) , where dancer in white and red
being transported to the refugee camp, or the death
dresses embodies the phantom who died in a war but
of Father. Meanwhile, apart from the video recording
while its resemblance to the suffering of the homeless refugees should not be overlooked.
of the live performance, L’Enfant – the twin work of the previous mentioned one which shares the same
進入世界系−地球防衛少年
08
Entering Sekaikei – Bokurano
title – is demonstrated as the collaged imagery of
Hiroki Azuma states in his The Birth of Game-like
scroll painting and multi-layered/depths images by
Realism: The Animalizing Postmodern 2 (2007) that
the artist. Here, the beautiful girls hold water pistol,
“(w)ith nothing we can do, we imagine the future like
toy gun, colored toy grenade, suck arrow toys, dual-
nothing to lose...we as the existence removed from
wielding swords, and soft plastic sword in her hands
sociality are thus empowered with the greatest honesty
to defend the attack of the monsters which come from
to think about the meaning of ‘states’” – isn’t his words
the Ultraman Series. The collapsed buildings, like the
the most pertinent example, to which the otaku artist,
ruins in A Child Walking in a Maze, thus symbolize the
as how she calls herself, makes her essential and
ultimate nightmare always as overwhelming as how
substantial response by maximizing one’s self-existence
Chen first visualizes it in Do You Dream of Electric
to the immense destiny of the world?
Sheep? – that is, what if a war breaks out in one’s native land. It in some way paradoxically explains the significance of the interaction offered by the video installation God, Please Save Me!, displayed in the center of the exhibition space as it is: on the vertical LCD monitor, we see confessors in virtual helmets speak in their own native languages: “Hey, Siri! What is war?” and we, the spectators taking up the position of a Father, are left with nothing to say and nothing to do. An artist, rather than someone who comes up with the answers to solve the crisis of the world, is merely an imaginator who creates various possibilities and perceptual experiences. Through L’Enfant, A Child Walking in a Maze, Healing – Reconstructed Memories, and God, Please Save Me!, Chen transforms the European refugee crisis which she has come across during her journey in Europe into practical reflective thoughts on how she should cope with her origin and, as far as, the crossstraight (Taiwan-China) conflicts: these various episodes about others’ trauma are likely to become the historical representation of one’s future experiences.
正因無能，才得以無所不能的想像未來
With Nothing We Can Do, We Imagine the Future Like Nothing to lose.
無處可逃的「世界系」傷痛
THE INESCAPABLE TRAUMA OF “SEKAIKEI”
St efa nie
CH OW
青年 學者 、作 家、 藝評 人
京 婉 周 r rite r, w he arc ritic se Re art c d an 進入世界系−地球防衛少年
10
Entering Sekaikei – Bokurano
步入後現代的文化語境之中，時代背景、政治意識
債，有的是面對火箭、太空梭失事而無力挽救……
形態緊密牽動並支配著每個社會個體的宏觀歷史時
這八個人的故事都指向了「罹難」的記憶傷痛，
代逐漸向多元價值體系共在、個體自我意識不斷
有些事件是他們親身經歷的，也有些是他們身外
膨脹的虛構可能性時代轉向。陳依純的「進入世界
世界的無法企及的傷痛，令他們每每回想起童年往
系—地球防衛少年」是她在電傳科技打造的虛擬化
事，都像是重回了那個充滿傷痛卻無可挽回的場景 （milieu）。
世界中，梳理出來的新問題與研究方向——當傳統 意義上個體通過先驗統覺（apperception）所獲取 的虛擬現實世界的一致性打散，人類應當如何自
基於此，藝術家陳依純針對傷痛，給出了她的回
處？是向給不出答案的 SIRI 發問「什麼是戰爭」，
應——她利用繪畫、影像、文件檔案（地圖與日記）
還是選擇做一個永遠活在創傷記憶中的少年？
的方式，再現這八個人孩童時代的傷痛。而這幾個 人只是「世界系」巨大傷痛中的八個個案，雖然陳
陳依純引用了東浩紀（Hiroki Azuma，1971-）的
依純看似是以採樣（sampling）的方式處理、療
「世界系」作為這次展覽的一個理論方法，實際上
癒「傷痛」，實際上卻是拾起整個世界的問題——
契合了現代性宏大敘事雕零之後出現的各種以個體
饑餓、貧困、能源危機引起的局部地區戰爭病毒與
為核心的「小敘事」（petits récits）。如果說「宏
瘧疾的頻發、全球污染的威脅、核污染與殺傷性武
大敘事」是國家機器的意識形態，那麼「小敘事」
器的擴散……似乎，這些問題是互為所指的，任何
則是我們每一個人的故事。在西方，正是在一戰之
一個問題又會牽連出餘下的其他所有問題。陳依純
後，科幻、奇幻小說興起，各種世界觀林立。人們
坦言，我們經常容易從自己的假想來推測他人的處
從「理想的時代」進入「虛構的時代」，從前，通
境，這種推測並不能反映真實的傷痛。因而她藉這
過閱讀現實主義的作品來理解世界；現在，通過消
次對話的機會，親身、近身了解不同膚色的八位受
費故事來獲得「世界感」。消費故事的同時也在消
訪者，同時將她個人所關心的議題放大——從台灣
費世界觀，任何一個小型的敘事，都是我們世界觀
的社會狀態外擴至世界的普遍傷痛。
的接口。 那，文明與理性是否可以成為解決「世界系」傷痛 在作品《癒合－重建的記憶》中，陳依純先後採訪
的方法？
了來自台灣、丹麥、蘇格蘭、羅馬尼亞、義大利、 立陶宛、庫德斯坦的八位成年人。無獨有偶，這
當今社會既是一個文明高度發展的時代，又是一個
幾位受訪者在童年或青少年時期都曾遭受過身心傷
高度異化的時代。在陳依純被人所熟知的錄像藝
害——有的是難以忘懷的集中營苦難遭遇，有的是
術、實驗動畫影像作品中，她常常在探尋文明與
受到同學的欺凌或夥伴的排擠，有的是遭遇黑幫追
理性的局限性。在現實層面來看，有史以來，人 們利用各種方式去試圖改變原始的狀態，試圖用文 明來改造自己，發動戰爭來掠奪資源，將文明訴 諸於暴力。英國小說家威廉・高汀爵士（William
無處可逃的「世界系」傷痛
11
The Inescapable Trauma of “Sekai Kei”
Golding，1911-1993）是這樣描寫災難的，他說：
這讓我們的處境比現代化的世界更可憐，因為此
「災難的出現完完全全是由於野蠻的天性，一夥人
刻，「我」分明意識到了世界的苦難與危險，卻無
與另一夥人生來是沒有兩樣的：人類的唯一敵人存
法逃離。
在於人類的內心。」因此，高汀創作的《蒼蠅王》 展示的是原始天性的陰森恐怖。而著有《1984》
過去與現在不斷疊影，發生了的事情還在我們的腦
的喬治・歐威爾（George Orwell；1903-1950）
海中迴響，因為過去還徘徊在身邊，昨日亦迴盪在
則認為，「這文明時代讓我如此厭惡，以至於幾
今日周圍。具體到陳依純的創作，我們見到一個
乎忍不住想站在街角開始像耶利米或伊拉斯謨那
「幽靈」式的存在——她是一襲白衣、翩翩起舞的
樣，大聲喊出來自天國的詛咒。」於是我們看到，
女子（在第二幕中變成紅衣），也是八位受訪者關
陳依純透過影像作品，建構了一個作品《孩子》
於「傷痛」記憶的意象性化身。她的無奈與恐懼，
（L’Enfant）所處的「世界迷宮」。在這裡，文明
聯結著受訪者的童年記憶，勾連出更多無名的死難
社會的「孩子」面臨著戰爭的殘暴——一種比原始
者不為人知的過往。作為一個意象，白（紅）衣女
更野蠻的暴力，不停思索文明與原始究竟哪個才是
子無疑印證著榮格（Carl Jung，1875-1961）提 出的「心理學原型」：
人間正路。
「生活中有多少種典型環境，就有多少個原型。無 這座迷宮是否有出口？當我們身處陳依純用影像 剪輯而成的記憶「迷宮」時，我們發現自己被困
園」。如果說現代化的世界是「世界的祛魅」 （disenchantment of the world），是理性擺脫了巫 術與神話的標誌，那我們現在所處的後現代世界就 是一個分散、漂移、遊牧的虛擬現實世界。伴隨著 父親的缺席與不可視的屠戮，成年人回顧自己的成 長過程時，竟如孩童一般在「迷宮」中瑟瑟發抖。
進入世界系−地球防衛少年
1997
在迷宮當中，仿佛面對著博爾赫斯（Jorge Luis
Borges，1899-1986）筆下的「小徑分岔的花
窮無盡的重複已經把這些經驗刻進了我們的精神 版 榮 社 格 ， ： ︽ 榮 格 年 文 版 集 。 ︾ ， 馮 川 譯 ， 北 京 ： 改 革 出
12
構造中，它們在我們的精神中並不是以充滿著意 義的形式出現的……」 白（紅）衣女子希望替這 群失語者發聲，但她作為幽靈的存在再次限制了 她，令她無法發出任何聲響。 相比之下，「乙太神」顯得睿智而從容。每逢我們 無法指認一個事物時，SIRI 總能給出答案，這讓我 們想起了宗教的原始意義——命名事物，以此來驅
Entering Sekaikei – Bokurano
除人心中的魔鬼。馬塞爾 莫斯（Marcel Mauss，
品中體現為一種無處可逃的末日之感——我們目睹
1872-1950）在《巫術的一般理論》中引用塔維
著，電傳語言已經成為世界通用語言，但它訴說的
尼特神父關於阿爾岡琴人曼尼陀觀念的描述，講述
依舊是幾次世界大戰之後難以解決的問題——我們
了一個故事：「有個撞上了蠑螈的婦女說，她很害
是誰？我們從哪裡來，到哪裡去？還有，我們為誰
怕，因為擔心它是一個曼尼陀。人們就笑話她，並
而戰？
告訴她那動物的名字。自從她知道了那是蠑螈，她 便不再那麼害怕。」 陳依純的作品把命名的能力 賦予「乙太神」，但這個「神」似乎在處理「世界 系」傷痛時，仍然束手無策。而巫術與科技亦都致 力於驅除「心魔」，並給予人類一種穩定感，關於 這一點的探尋，在陳依純的創作中形成了一條清晰
理性看似堅不可摧，實則脆弱無比，它看似擺脫了 巫術與神話，實則在以電傳形式締造新的「神」。 陳依純的裝置作品《神啊，請拯救我！》，提出 「乙太神」是否可以作為解決「世界系」傷痛的最
馬 塞 爾
莫 斯 ： ︽ 巫 術 的 一 般 年 理 版 論 。 ︾ ， 楊 渝 東 譯 ，
周婉京
2018 年 8 月寫於北大未名湖畔
2007
的線索。
廣 西 師 範 大 學 出 版 社 ，
終選項？然而，當我們躲進尊彩藝術中心的這間祈 禱室後，我們發現自己非但不能在這裡真正祈禱， 相反，好像是 SIRI 在跟觀眾傾訴——我們面朝著 一台播放影像的電視，聽它說著來自世界各地的語 言，不同國家的人都在詰問——「嘿 SIRI，什麼是 戰爭？」此刻，我們發現，自己供奉已久的「乙太 神」不僅聽不進我們的禱告，反而在向我們提出問 題，「心魔」再次出現——「乙太神」的無能為力， 反襯出人的切膚之痛。 後現代的景觀社會（The Society of the
Spectacle）讓人的切膚之痛淪為個體記憶的一部 分，且久久縈繞在心頭。這種切膚之痛在陳依純作
無處可逃的「世界系」傷痛
13
The Inescapable Trauma of “Sekai Kei”
With the arrival of the post-modern world, the
In the work Healing – Reconstructed Memories, Chen
historical background and political ideology have a
interviews eight adults from Taiwan, Denmark, Scotland,
close correlation, in terms of influence and dominance
Romania, Italy, Lithuania, and Kurdistan separately, and
in the cultural context, concerning the transition in
they all share similar experiences of trauma either in
each society as a unit from the era of Grand History
childhood or as teenagers – some are still haunted by
to the virtuality where a system of multiple values co-
the suffering in concentration camps, some are bullied
existing and the continuous inflation of an individual’s
or ostracized by classmates or colleagues, some are
self-awareness become possible. In Chen I-Chun’s
threatened by debt-collecting gangsters, and some
“Entering Sekaikei – Bokurano,” she builds a virtual
suffer the helplessness when witnessing rocket/space
world with telecommunications technology through
shuttle accident but cannot do anything to help it…
which she has mapped out new questions and research
The eight participants’ stories all point to the traumatic
focuses – when the consistence of the virtual-reality
memories concerning “fatality,” although some are
world an individual has habitually encountered through
personal stories and some are the intangible trauma
apperception is shattered, how should human beings
existing in the external world. The act of “recalling
deal with it? Should we ask SIRI the question it cannot
the childhood,” as the stories are, thus becomes the
answer about “what war is” or choose to be teenagers
journey back to the traumatic but helpless milieu.
forever entrapped in traumatic memories? It is based on such a discovery that the artist offers her Chen borrows Hiroki Azuma’s idea of “Sekai-Kei” as
response to “trauma,” through forms such as painting,
her exhibition methodology, which actually echoes the
video, documents (maps and journals), she revisualizes
individual-oriented “petits récits” following the decline
the childhood trauma of the eight participants – merely
of the Modernist Grand Narrative. If we define “Grand
the eight cases from the immense “Sekai-Kei” trauma.
Narrative” as the ideology of the state apparatus, “petits
Although it seems that Chen deals with or heals the
récits” should be considered the story of each one
trauma by means of “sampling,” what she has been
of us. In the West, it was after the end of WWI that
doing is actually collecting the worldwide problems,
science fiction and fantasy became a popular genre
including but not limited to famine and hunger crisis,
with their respectively unique worldview. Humans
poverty, regional wars as a result of energy crisis, the
thus moved from “the ideal era” into the “fictional
frequent outbreaks of viruses and malaria, the threat
era.” Before that, we understood the world by reading
of global pollution, nuclear pollution, the spread of
Realist works; but now we get the sense of the world
destructive weapons, etc. These questions appear to
by appropriating stories. As we appropriate the stories,
be addressing to each other and any single one will
we are also appropriating the worldviews. Any petits
bring the rest of them into play. Chen puts it frankly
récits, no matter how tiny it is, is the limen to our
that very often we imagine what other people are or
worldview.
have been undergoing based on our assumption but the assumption can hardly reflect the trauma in reality, so the conversations in her creative project allow her a
進入世界系−地球防衛少年
14
Entering Sekaikei – Bokurano
certain degree of closeness to personally get to know
Does the labyrinth have an exit? When we are inside
the eight participants. By doing so, she further expands
the labyrinth of memory built with edited video clips, we
her artistic concern from the Taiwanese society to the
find ourselves stuck in the labyrinth as if it were “the
universal trauma across the world.
garden of forking path” in a book written by Jorge Luis Borge (1899-1986). If the modernized world signifies
Therefore, should we assume that civilization and
the disenchantment of the world, as a token that
rationality are the solutions to “Sekai-Kei” trauma?
witchcraft and myths have been shaken from rationality, then the post-modern world we are living in can be
The contemporary society is in a highly civilized and
understood as a virtual-reality world of decentralization,
hyper-alienated era. In Chen’s best-known video art
floating mobility, and nomadicity. With the absence of
and experimental animations, what she has been doing
Father and the intangible mass killing, the adults cannot
is to explore the limit of civilization and rationality.
help but shiver like children in the labyrinth as they
Throughout the course of history, realistically speaking,
look back to how they grew up. It makes our situation
humans have tried every possible way to alter the
more pathetic than the modernized world, because it
primitive, to transform oneself through civilizations,
is a moment that “I,” being fully aware of the danger
to plunder resources by starting wars against each
and suffering of the world, find no exit to escape the
other, and to build civilization on violence. The British
labyrinth.
novelist Sir William Golding (1911-1993) describes disaster as follows: “If disaster came… It was to rise,
The juxtaposition between the past and the present
simply and solely, out of the nature of the brute… that
brings back the lingering resonance of what has
one lot of people is inherently like any other lot of
happened in our minds, because the past is still
people; and that the only enemy of man is inside him,”
meandering around the present. As materialized in
similar to the horrifying and grotesque brutality of the
Chen’s artworks, we see the phantom-like being – a
primitive nature as manifested in his Lord of the Flies.
woman dancing in a white dress (in red for Act XXII),
Meanwhile, George Orwell (1903-1950), the author
who as an imagery embodies the traumatic memories
of 1984, believes that “this age makes me so sick that
of the eight participants. Her helplessness and fear is
I sometimes am almost impelled to stop at a corner and start calling down curses from Heaven like Jeremiah or Erza or something.” Accordingly, we see how Chen
connected with the participants’ childhood memories,
in her video work L’Enfant constructs a “labyrinth of
(red) dress undoubtedly exemplifies the “Archetypal
the world” where “children” from a civilized society are
Psychology” proposed by Carl Jung (1875-1961):
allowing the unknown past of many of the nameless victims to surface. As an imagery, the woman in white
confronting the violence of wars – a violence which is more brutal than the primitive – to keep wondering which one, civilization or the primitive nature, should be the Way of life.
無處可逃的「世界系」傷痛
15
The Inescapable Trauma of “Sekai Kei”
“There are as many archetypes as there are typical
Rationality seems invincible, but it is in fact vulnerable.
situations in life. Endless repetition has engraved these experiences into our psychic constitution, not in the form of images filled with content, but at first only as forms without content….”
It seems to have ridded itself of witchcraft and myths, but it in fact is creating the new gods through telecommunication. In Chen’s installation God, Please Save Me!, the artist brings up the question whether it is possible for the Ethernet God to be our final solution
As a comparison, the Ethernet God appears to be wiser and less disturbed. Every time when we fail to identify something, SIRI will always give us answers. It reminds us the original meaning of religions – naming, as a means to exorcise the demons in our minds. Marcel Mauss (1872-1950) in his A General Theory
Carl Jung, The Collected Works of C. G.
Publishing House, 1997).
but her phantom-like being again silences her.
Jung, trans. Feng Chuan (Beijing: Kaike
The woman in white (red) hopes to voice for the unvoiced,
to the “Sekai-kei” trauma. However, as we take shelter in Liang Gallery as if we were in a prayer room, we soon realize that this place, rather than allowing us to pray here, is for the SIRI to share its stories with audience – there is a TV in front of us and the video it is playing speaks various languages across the world, with people of different nationalities asking: “hey SIRI, what is war?” At this point, we have come to the awareness that the long-worshipped Ethernet
of Magic has quoted a story told by Father Thavenet
God is not only disconnected from our prayers but
about Algonquins’ idea of Manitou as follows:
also brings us more questions as the inner demons
“A woman who came across a salamander said she
appear again – the helplessness of the Ethernet
was afraid, thinking it to be a manitou. The people laughed at her and told her the name of the animal… As she knows that the animal is a salamander, she is no longer afraid.”
God is the perfect reflection of the penetrating pain suffered by human beings.
Chen empowers her Ethernet God the ability to “name,” but the “god” still seems helpless when dealing with the
the pursuit threading Chen’s artistic practices together.
進入世界系−地球防衛少年
Marcel Mauss, A General Theory of Magic,
and to offer a sense of stability to human beings. It is
trans. Yang Yudong (Guangxi: Guangxi
often employed to exorcise the demons in our minds
Normal University Press, 2007).
“sekai-kei” trauma. Both witchcraft and technology are
16
Entering Sekaikei – Bokurano
In the post-modern society of the spectacle, the penetrating pain we suffer has become a part of individual memories lingering in one’s mind, and such a pain in Chen’s works are visualized as a sense of impending doom that we have nowhere to escape. We are witnessing that telecommunication has become a world language, but with this language the only thing spoken is a thread of thorny questions which remain unanswered after several world wars – who are we? Where are we from and going to? And, last but not least, whom are we fighting for? Stefanie CHOW Aug. 2018 By the Weiming Lake at Peking University
無處可逃的「世界系」傷痛
17
The Inescapable Trauma of “Sekai Kei”
進入世界系−地球防衛少年
20
Entering Sekaikei – Bokurano
訪問來自台灣、丹麥、蘇格蘭、羅馬尼亞、義大利、立 陶宛、庫德族等八人，他們在兒童和青少年時期，在其 內心一個至今難忘的傷痛記憶。作品將呈現訪問的影 音、中英翻譯文件，以及回應訪問對象所做的繪畫。訪 問來自不同國家的受訪者，請他們回憶兒時最深刻的傷 痛記憶，聽了這些故事後，去重新演繹和詮釋他們的故 事，試圖能抹除他們悲傷的回憶。 如何幫他們重建一個美好的童年記憶，藝術家藉由田野 調查和歷史資料收集，試圖重新回到他們的國家，他們 的時代。利用繪畫、影像、文件檔案（地圖、回憶錄） 的方式，去再現那個記憶的現場。他們有些曾經待過集 中營、被霸凌、黑道份子來家中的討債、失去親近的家 人……不同的故事，代表這八個人對於這個世界的運作 方式，從孩子的視角去看最私密的個人到國家戰爭問 題。 此作試圖送給八個已長大的孩子，新的美好記憶。
Eight people from Taiwan, Denmark, Scotland, Romania, Italy, Lithuania, and one Kurdish carry unforgettable painful memories from their childhood or adolescence. The work presents audio and video, documents translated to the Chinese and English languages, and the paintings made as a response to the interviews. The artist interviews people from different countries and ask them to recall the saddest memories of their childhood. After listening to these stories, she reinterprets them and tries to erase those memories of the interviewees. How to help them reconstruct beautiful childhood memories? The artist aims to visit their country and their age by conducting a field survey and gathering historical data. She uses painting, video, and document archives (maps, memoirs) to reproduce the scenes of those memories. Some of the interviewees stayed in a concentration camp, some were bullied in school, some saw criminals coming into their home to collect debts, and some lost their close family members. Each different story reflects a way in which this world functions. As we look from a child’s perspective, we can see the most intimate matters and national problems, such as war. This work attempts to give these eight grown-ups who once were little kids new beautiful memories.
癒合−重建的記憶
21
Healing – Reconstructed Memories
癒合−重建的記憶 1 Healing ‒ Reconstructed Memories 1 2018
有聲彩色錄像 Color video(loop) with sound
01min16sec
丹麥語 我叫 R，來自丹麥。 我還很小…… 剛開始去上學的時候，我身材比較大 隻，因此沒有很喜歡自己。有幾個同 學利用這點，開始霸凌我。 他們會脫我內褲、推我、捉弄我，做 一些讓人不舒服的事。我希望或許在 未來，大家可以多去想想，自己的行 為會對別人造成什麼影響，尤其是對 小孩。
Danish My name is R. I’m from Denmark. When I was a little child, in my early days of school, I was a little big, and I didn’t feel very good about myself. There was a guy and some people in the school that exploited that, and started bullying me. They liked pulling up my underwear and pushing around, grooving around and doing unpleasant things. I hope that maybe in the future, people could try and see a bit more about what their actions do to other people, especially children.
進入世界系−地球防衛少年
22
Entering Sekaikei – Bokurano
癒合−重建的記憶 1
23
Healing – Reconstructed Memories 1
進入世界系−地球防衛少年
24
Entering Sekaikei – Bokurano
團結還是打結
United Unity 2018
癒合−重建的記憶 1
25
壓克力、畫布 Acrylic on canvas
60.5×91cm
Healing – Reconstructed Memories 1
來自某個星系的希望
Hope from a Galaxy 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
夕陽下奔跑的小馬
A Pony Running in a Sunset 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
45.5×53cm
26
Entering Sekaikei – Bokurano
遠山那一群的狼 The Herd of Wolves on a Distant Mountain 2018
癒合−重建的記憶 1
27
壓克力、畫布 Acrylic on canvas
65×80cm
Healing – Reconstructed Memories 1
癒合−重建的記憶 2 Healing ‒ Reconstructed Memories 2 2018
有聲彩色錄像 Color video(loop) with sound
01min31sec
羅馬尼亞語 我還小的時候， 有一次我走去祖父母家，路途中踩到了一隻蜻蜓。 我往地上一看，牠已經半死不活，但還在掙扎著。 那時我才意識到，我們擁有傷害別人的力量。 我很努力救牠，想把牠救活。我在那邊陪伴牠幾個小時，試 著讓牠再飛起來，但我無能為力。 我無法接受這個事實，我們居然可以在無意識中，對周遭造 成如此嚴重的傷害。 我第一次發現，人有可能讓這個世界瞬間變糟。 在那之後我總會設想自己的行為可能帶來的後果，試著讓世 界變得更好，也覺得這是我們都應該做的。 只要多留意別傷害身旁的人事物，不論大事或小事。
進入世界系−地球防衛少年
28
Entering Sekaikei – Bokurano
Romanian When I was a kid, I was walking to my grandparents’ home, and on my way I stepped on a dragonfly. When I looked on the road, it was half dead, but also still trying to move, and that’s when I realized about the power we have to hurt, I really tried to help it, to get it back together. I stayed with it for a few hours, trying to get it to fly again, but I couldn’t. I didn’t want to accept the fact that we can hurt so much without realizing. That was the first time when I realized that how the world can suddenly get bad by our influence. After that I always try to make the world better by being aware of the consequences, and I think that is something we can all do. Just try to be aware of not causing pain and suffering around us through little and big things.
癒合−重建的記憶 2
29
Healing – Reconstructed Memories 2
進入世界系−地球防衛少年
30
Entering Sekaikei – Bokurano
女孩和兔子 A Girl and a Rabbit 2018
癒合−重建的記憶 2
31
壓克力、畫布 Acrylic on canvas
60.5×91cm
Healing – Reconstructed Memories 2
來自地球 From the Earth 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
反著飛的蜻蜓
A Flying Backwards Dragon Fly 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
45.5×53cm
32
Entering Sekaikei – Bokurano
回來家鄉的士兵 Soldier Returning Home 2018
癒合−重建的記憶 2
33
壓克力、畫布 Acrylic on canvas
65×80cm
Healing – Reconstructed Memories 2
癒合−重建的記憶 3 Healing ‒ Reconstructed Memories 3 2018
有聲彩色錄像 Color video(loop) with sound
03min27sec
丹麥語 嗨，我叫 K。 小時候我和其他住同一條街的孩子， 共同擁有一間樹屋。 那間樹屋很棒，我們一起在那玩了很多年。我們會 到處蒐集東西，像是動物的皮、花花草草，或是在 附近撿來的漂亮石頭。 我們放了很多東西，大家都很喜歡那裡。 但有一天我被大家趕出樹屋。那天吃完午餐後，去 了大家平時玩耍的地方。 那裡的遊樂設施有很多層，有些人就坐在一些設施 的上面。我到的時候，大家突然靜了下來。 全部的人都盯著我，事情感覺不太對勁。 有一個人對我說：「我們討論過了， 妳之後不准再去樹屋。」
我想是因為我用保麗龍去跟別人換了一些東西回來，大家也都開始這麼做，好像自 己開了間很酷的店似的。 大家開始熱衷於用保麗龍交換東西，樹屋不像以前那麼好玩了。 很明顯他們都覺得是我的錯，因為是我起的頭。 總之回到剛剛說的，他們跟我說，我不能再去樹屋了。 我假裝不在意，跟他們說：「沒差啊，反正我也不在乎這個樹屋。」我說完就離開， 走回家去。 我家就在樹屋旁邊，我走到花圃籬笆後面開始哭。我不能哭得太大聲，因為大家玩 耍的地方，就在十呎、十五呎之外。我不想進屋去跟爸媽說，因為覺得太丟臉，而 且我覺得這是我們小孩自己的事。
進入世界系−地球防衛少年
34
Entering Sekaikei – Bokurano
我記得我就坐在花圃的圍籬後，很小聲地哭， 一邊聽見其他人玩得很開心的聲音。 我再也不是他們的一份子了。 當然最後不是如此，我不太記得確切的過程，畢竟 那時候我才九歲、十歲，但我們後來和好了，之後 的童年也都玩在一起。 我們的爸媽現在還會一起過新年夜，我也常見到這 些兒時玩伴，會在彼此的臉書上按讚。 我從這個經驗裡學到的是，當你遇到很糟糕的事， 覺得就像世界末日，心想「我再也無法振作起來」， 事實上你會復原。 日子會繼續過下去，你會好轉，或是改變之類的， 總之你還是會繼續走下去。 我經歷過很多不好的事， 嗯，也沒有很多啦。但長大的過程中，我也碰到了 其他糟糕的事。 能夠有這樣的認知真的很棒，當你覺得世界好像要 毀滅了，你還是有能力繼續走下去、再次爬起來。
癒合−重建的記憶 3
35
Healing – Reconstructed Memories 3
進入世界系−地球防衛少年
36
Entering Sekaikei – Bokurano
Danish Hi, my name is K.
I said that to leave. I started walking back, and my
When I was little, me and other kids from my street had
parents’ house was right next to the treehouse.
this treehouse.
As I got behind the hedge that surrounded the garden,
It was a really nice tree house and we had it for many,
I just started crying.
many years.
I had to be really quiet because the playground was only
We gathered all the stuff around. We had the skin of
10, 15 feet away.
some animals, and we had flower parts.
I didn’t want to go inside and tell my parents because I
We had nice really nice rocks we found around.
was embarrassed, and also because I thought this was
We had a lot of stuff, and we really liked this treehouse.
the sort of thing between us kids.
Then, one time I got kicked out of the treehouse.
I remember I was sitting in the garden behind the hedge,
How it happened is that I went to eat lunch,
crying really quietly, and I could hear all the other kids
then I went back to the playground where other kids from
playing on the playground and having fun.
the treehouse would hang out.
I was never going to be a part of it again.
It was a multi-story playground, so some of them were
Of course that’s not true.
sitting on top of stuff.
I can’t remember exactly how it happened, as I was only
When I got to the playground,
nine or ten years old, but we all made friends again, and
everyone was suddenly quiet.
we were all friends for the rest of my childhood.
Everyone was looking at me, and I could tell something
Our parents still have New Year’s Eve together.
was really wrong.
I still see them around,
Then someone said to me, “We talked about it,
and we like each other’s stuff on Facebook.
and we decided you can’t be in the treehouse anymore.”
What I really learned from this experience is that even
The reason why this happened was that I had traded
when something really bad happens and you feel like it
some styrofoam for something else, and suddenly
is the end of the world, like I will never recover from this,
everybody started trading styrofoam for stuff, like a cool
you will recover.
branch that you found.
Life does move on,
Suddenly everything was about trading and getting as
and you will be better or you will be different.
much styrofoam as possible.
Or something. But you will move on.
It made the treehouse become not as fun, and everyone
I’ve had a lot of bad things.
had apparently decided that it was my fault that this
Well, not a lot.
happened because I was the first one that charged
But I’ve had other bad things that’s happened to me as I’ve
someone for styrofoam.
gotten older and become an adult.
Anyway, back to when I got kicked out.
It’s been really good having the knowledge that even if at
They told me, “You can’t be in the treehouse anymore.”
the moment it feels as if your world is ending, you will be
I tried to pretend I didn’t care. I was like, “I don’t care.
able to move forward, and you will be able to rise again.
That is whatever. I don’t care about treehouse.”
癒合−重建的記憶 3
37
Healing – Reconstructed Memories 3
火星上的山羊 A Goat on Mars 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
混種的歸屬和等待
Hybrid Ownership and Expectation 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
53×45.5cm
38
Entering Sekaikei – Bokurano
植物與獸皮 Plants and Animal Skin 2018
壓克力、畫布 Acrylic on canvas
60.5×91cm
尋找妖怪的地圖 Looking for the Map of Monsters 2018
癒合−重建的記憶 3
39
壓克力、畫布 Acrylic on canvas
65×80cm
Healing – Reconstructed Memories 3
癒合−重建的記憶 4 Healing ‒ Reconstructed Memories 4 2018
有聲彩色錄像 Color video(loop) with sound
01min20sec
英語 嗨，我叫做 Owen。 我就像許多小孩一樣，非常想成為太空人。 我會關注火箭、太空梭發射升空的事情。 當哥倫比亞號太空梭失事時，我記得我非常難過，不只是因為罹難的 人死去了，我還覺得我們再也不會去太空了。 但那是我真的很想要達成的事，所以我很傷心，我以為我沒機會去太 空了。但在查了一下資料後，我發現這件事其實能帶來好的影響，因 為它讓我們從錯誤中學習，繼續前進，而不只是停留在過去。災難不 幸發生了，但我們必須找到原因，解決它然後進步。我覺得它帶來很 大的影響，人們也還是持續前往太空。 雖然我還沒去成，也許有一天吧。
進入世界系−地球防衛少年
40
Entering Sekaikei – Bokurano
English Hi, my name is Owen. I was one of these kids that really, really wanted to be an astronaut. I followed all the rocket launches and space shuttle launches. It was when the Columbia disaster, when the shuttle crashed. I remember being really upset, not only for the people that lost their lives, but also I thought we were going to stop going to space It was something I really wanted to do, so I was quite hurt that this happened because I thought maybe I wouldn’t get to go in the future. But after doing a bit more research and finding out about it, in a way it turned to a good thing because it made us learn from our mistakes and move forward and not dwell in the past. This really bad thing happened, but we need to find out why. We solve it, then we keep moving forward. So I think that made a big impact on it. And we’re still going to space. I haven’t made it yet. Maybe one day.
癒合−重建的記憶 4
41
Healing – Reconstructed Memories 4
進入世界系−地球防衛少年
42
Entering Sekaikei – Bokurano
外星球的實驗室 Extraterrestrial Laboratory 2018
癒合−重建的記憶 4
43
壓克力、畫布 Acrylic on canvas
60.5×91cm
Healing – Reconstructed Memories 4
在月球上等待 Waiting on the Moon 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
登上另一個星球
Boarding Another Planet 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
45.5×53cm
44
Entering Sekaikei – Bokurano
望穿室內的星際 Gazing at Stars from Inside 2018
癒合−重建的記憶 4
45
壓克力、畫布 Acrylic on canvas
65×80cm
Healing – Reconstructed Memories 4
癒合−重建的記憶 5 Healing ‒ Reconstructed Memories 5 2018
有聲彩色錄像 Color video(loop) with sound
03 min20sec
義大利語 我叫 Giulia， 我接下來要分享一個故事， 那是在我大概七、八歲，讀小學的時候。 有一天老師發給大家著色本，應該是叫「著 色本」沒錯，裡面有不同的頁面和圖案， 要把它填上色彩。 下課鐘響了，有十五到二十分鐘的休息時 間，大家都跑出去教室玩，但我決定留在 教室，仔細看看著色本。 我翻到很有趣的一頁，上面有很棒的圖。
進入世界系−地球防衛少年
46
Entering Sekaikei – Bokurano
我很快地把那頁塗上了顏色，之後還 是很想畫一樣的圖，所以當我那本畫 完的時候，我拿了同學的本子。 他是坐我隔壁的同學，我把他的本子 拿走。 我翻到一樣圖案的那面，在沒經過他 同意的情況下開始畫，因為他那時在 外面玩，我以為不會被別人發現，我 打算在他回來之前把顏色擦掉。 但事情沒那麼順利，因為有一支蠟筆 壞了，有些顏色塗太深無法擦掉。我 瘋狂地想要擦掉，但擦不掉。 他回來發現我偷拿了他的本子， 於是跟他的好朋友開始喊我的名字， 辱罵我。
他們叫我小偷，還叫我「禽獸」，這是義大利人會用來罵人的詞，污辱人的一種特 殊用詞，就是說人像是動物一樣，不能控制他自己的本性。 我被他們叫禽獸，我記得他們很兇，還有講出這些話時臉上的表情。我覺得自己活 該，但這個用詞超過了我的想像。這不算是真的創傷，但我記得很清楚事發過程和 後續，許多年後這些畫面、這些言語，都還清楚留在我心裡。我從中學到，再小的 過錯都無法逃避，儘管只是真的很小的事。 它被別人理解成更嚴重的事。嗯，我說完了。
癒合−重建的記憶 5
47
Healing – Reconstructed Memories 5
進入世界系−地球防衛少年
48
Entering Sekaikei – Bokurano
Italian My name is Giulia,
I went to the same page and I started to color on his
and this is the story I’m going to share.
album without asking for permission because he was out
The fact happened when I was maybe seven or eight
playing. I thought that I could just get away with my small
years old in primary school.
crime because I thought that I could just erase the colors
That day, the teacher gave us a color album, I think that’s
before he would come back.
what they are called, with different pages and images that
But something went wrong because one of the crayons
were supposed to be filled up with color.
had a small damage, and some marks were too deep to
I remember the break. When the bell rang, saying that
get erased.
there was a 15 or 20-minute break, everybody went out
So, I was erasing like crazy and I couldn't make it. When
of the classroom, but I decided to stay and look at this
he came back, he realized I took his color album against
color album.
his will. He and his best friend started to call me names,
I found the most interesting page with this really nice
insulting me.
image. I stayed there and I colored really fast.
They called me thief, and they also called me beast,
After that I really wanted to keep working on the same
which is an Italian way of insulting people. It’s a special
image, so as mine was finished I grabbed my classroom
way of insulting someone, as if you are compared to an
friend, the person that was sitting next to me, I grabbed
animal that cannot have her or his own instincts.
his color album.
I was called beast, and I still remember the kind of harness and expressions on their faces while they were calling me that. I thought I deserved those names, but that one insult was just beyond my own comprehension. It’s not a real trauma, but I can still remember exactly happened and how the effect went on, and I still bring with me so many images after so many years. And those words. And I learned that you cannot get away with crime even if they are really small. And this message was translated into bigger context. That’s it.
癒合−重建的記憶 5
49
Healing – Reconstructed Memories 5
融化的山水 Melting Landscape 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
獅子與兔子
A Lion and a Rabbit 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
45.5×53cm
50
Entering Sekaikei – Bokurano
第二個月亮消失了 The Disappearance of the Second Moon 2018
壓克力、畫布 Acrylic on canvas
22.5×15.5cm
孤獨的森林 A Lonely Forest 2018
癒合−重建的記憶 5
51
壓克力、畫布 Acrylic on canvas
65×80cm
Healing – Reconstructed Memories 5
癒合−重建的記憶 6 Healing ‒ Reconstructed Memories 6 2018
有聲彩色錄像 Color video(loop) with sound
04min05sec
中文 我是 Jay Lin，我來自於台灣。 我記得我九歲的時候，我還是住在高雄，住在高雄的時 候，常常會有一個叔叔，他會來拜訪我媽媽，我記得他們 常常在一樓的客廳，談很多事情，如果時間搭配好的話， 他會載我去我的一些課程或是補習班。 有一天，他把我載到補習班之後，就從來沒有看到他了。 不過從那天之後， 我也感受到我們全家有一個巨大的變化。 我爸爸、我媽媽，變得每天都非常的緊張，還有，我開 始在這一年內搬了差不多三、四次的家，從高雄市不同 的地點，最後搬到鄉下，然後就出國。
我記得有一天我回到家的時候， 我開啟大門之後把門關起來，剛好我們住在一個透天五 層樓的房子，那剛好有鐵門，我把鐵門關起來後， 就看到三四個看起來像黑道的大哥們，開始在我們的門 口敲門，因為他們知道看到我， 我非常非常地害怕， 我就直接跑到四樓去躲起來， 這些黑道叔叔們持續地在一樓敲門，他們用石頭把玻璃打 破，一直喊著：「你欠我錢，你欠我錢，我會給你好看！」 我那時候只有一個人在家，全部家裡的燈都是關著的， 我躲在四樓，非常害怕， 什麼都不敢看，也把燈都關了。
牆壁上祀奉關公的地方有紅紅的光，我一眼瞄過去， 竟然看到關公的帽子一直在抖，有兩顆紅紅的球那裡在抖。
進入世界系−地球防衛少年
52
Entering Sekaikei – Bokurano
我真的是被嚇死了，因為那時候沒有地震，也沒有風。 今天我講到那個經驗都還是會很害怕。 那自從那個經驗之後，最後那些大哥都走了，後來我父母親之後也知 道這件事情，但我從來也沒有跟他們講過四樓發生的一些事情。 不過，那件事情之後其實我更感謝，而且更體諒我父母親為我做的一 切事情，因為我們隔天之後就移民到美國去了。 我把在台灣發生的那些事情，都把他放在我們的過去，最後那個叔叔 呢，其實就是向我父母親借非常多錢的一個人。 他那天送我去學校之後，他就站在火車前面自殺了。 因為他的自殺變成我父母親借給他的錢就沒有辦法還。 而且他也擔保了非常多事情。 所以那年給我們家庭帶來非常非常大的危機。 那回想到在一年內搬了這麼多次家，還面臨這麼恐怖的事情， 其實是讓我更堅強，更在小的時候有體驗到這種創傷， 其實之後面臨到更多這種危機的時候，就不會這麼害怕。
癒合−重建的記憶 6
53
Healing – Reconstructed Memories 6
進入世界系−地球防衛少年
54
Entering Sekaikei – Bokurano
Mandarin My name is Jay Lin. I’m from Taiwan.
I hid on the fourth floor, terrified.
When I was 9 years old, I lived in Kaohsiung.
I did not dare to look at anything,
At that time, I had an uncle who often came to visit my
so I turned off all the lights.
mother.
At that time, there was a small place to worship Guan
I remember they often discussed various things in the
Yu on the wall, lit by red lights. I looked at it and saw that
living room on the first floor. When he was available,
Guan Yu’s hat was shaking.
he would drive me to my classes or cram schools.
The two red balls attached to it were shaking, too.
However, after he drove me to my cram school one day, I
I was almost scared to death, since there was neither an
never saw him again.
earthquake nor wind at the time.
From that day on,
Even today, when I retell that experience,
I also sensed a drastic change with my family.
I am still frightened.
My father and mother had become very nervous each
After that experience, those gangsters eventually left.
day. In addition, our family moved about three or four
Later, my parents learned about this incident.
times that year from various places in Kaohsiung City to
However, I never told them about what happened on the
the countryside and then finally abroad.
fourth floor.
One day I returned home. I opened the door, went inside,
Still, after that incident, I became more grateful and
and then closed the door behind me.
appreciative for everything my parents did for me.
At that time, we lived in a five-story building that had a
The next day, we emigrated to the United States.
roll-up door.
Everything that happened in Taiwan,
After I closed that door, three or four men who looked like
I left behind in the past.
gangsters started knocking on the door.
As it turned out, that uncle had borrowed a huge amount
I knew they had seen me, so I was very frightened.
of money from my parents.
I ran to the fourth floor to hide. Those gangsters kept
After he took me to school that day, he stood in front of a
knocking on the first-floor door.
train and committed suicide.
Then they broke the windows with rocks and kept
Due to his suicide, he could not pay back the amount of
shouting, “You owe me money.
money my parents lent him.
You owe me money. I will teach you a lesson!” At that
Also, my parents were his guarantors for many things.
time, I was home alone. All the lights were off.
Consequently, that year, he caused a huge crisis for my family. In retrospect, moving apartments so many times in a year and facing such a horrible incident actually made me stronger. Because I faced this trauma at such a young age, I was not as frightened facing similar crises in the future.
癒合−重建的記憶 6
55
Healing – Reconstructed Memories 6
孤獨的戰役 - 奮戰一擊 Lonely Battle – Fighting Hard 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
狂歡與失落
Carnival and Loss 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
65×80cm
56
Entering Sekaikei – Bokurano
會飛的少年
A Flying Teenager 2018
壓克力、畫布 Acrylic on canvas
41×31.5cm
拿不走的藏寶圖 Treasure Map Cannot Be Taken Away 2018
壓克力、畫布 Acrylic on canvas
72.5×53cm
說了一個妖怪的故事
Telling a Monster Story 2018
癒合−重建的記憶 6
57
壓克力、畫布 Acrylic on canvas
53×45.5cm
Healing – Reconstructed Memories 6
癒合−重建的記憶 7 Healing ‒ Reconstructed Memories 7 2018
有聲彩色錄像 Color video(loop) with sound
01 min20sec
庫德語 嘿，我的名字是 Imad， 我來自伊拉克的庫德斯坦。 我要說我在七、八歲時發生的故事。 我們那時在伊朗其中一個難民營。
1988 年兩伊戰爭的時候， 我們在難民營待了數年。我們被禁止離開那裡。 我記得我的祖母生病非常嚴重， 她需要即刻的醫療救治和照護， 但我們無法離開。 即使後來她被送到醫院，也沒人可以陪伴她。 我們沒辦法離開難民營。 最後她因此在醫院過世。 我們甚至無法將她的遺體移回我在庫德斯坦地區的家， 只能把她安置在難民營附近。 等到我們回去伊拉克的庫德斯坦時， 只能把她留在那裡。
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
Kurdish Hey, my name is Imad, and I am a Kurd, From Iraqi Kurdistan. This story was about when i was about seven or eight years old. We were in one of the refugee camps in Iran. We fled the Iran-Iraq war in 1988, and we stayed in the refugee camp for a few years. We were not allowed to leave the camp. I remember my grandmother was very, very sick. She needed intense medical care and attention, but we could not leave the camp. Even when my grandmother was sent to a hospital, nobody could go with her. We were not allowed to leave the camp. Because of that, she actually passed away in the hospital. We couldn’t even send her body back to Iraqi Kurdistan so we were forced to bury her somewhere around the camp. After a few years we returned to Iraqi Kurdistan, and we said one last goodbye to grandmother’s grave.
癒合−重建的記憶 7
59
Healing – Reconstructed Memories 7
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
航向未知的希望 Directing the Unknown Hope 2018
癒合−重建的記憶 7
61
壓克力、畫布 Acrylic on canvas
65×80cm
Healing – Reconstructed Memories 7
在極地之約 Meeting in the Arctic 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
小男孩的海灘
A Little Boy's Beach 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
53×45.5cm
62
Entering Sekaikei – Bokurano
妖怪藏身之境 Monster's Hiding Territory 2018
癒合−重建的記憶 7
63
壓克力、畫布 Acrylic on canvas
72.5×53cm
Healing – Reconstructed Memories 7
癒合−重建的記憶 8 Healing ‒ Reconstructed Memories 8 2018
有聲彩色錄像 Color video(loop) with sound
03 min32sec
立陶宛語
我的名字是 Laura，我姓 Lygaityte。 我來自立陶宛，我的童年記憶主要是跟父親的缺席有關。 我九個月大時，父親過世了，我沒有任何關於他的記憶， 也沒有真正和他一起生活過。 這是我人生最痛苦的一件事。 不只是對童年的我而言，而是我的整個人生。 這和一些人很不同，我不是唯一一個在成長過程中， 失去父親或母親的孩子。 對某些人來說這沒什麼，對某些人來說卻很困難。 對我而言，這令我非常心痛，還是孩子的我， 看著朋友在暑假時去旅行、去海邊玩，與家人共度美好時光。 我自己沒有這些經歷，因為母親忙於照顧我和兄弟們， 所以她那時無法帶我們去別的地方。 我們從來沒有在暑假一起出去玩或旅行， 像是去湖邊和家人度過週末。 所以我總是有點嫉妒朋友，他們擁有我永遠無法擁有的東西。 事實上，還是孩子的我也很難想像， 有一個快樂的家庭是什麼感覺。
我是個快樂的孩子，只是我永遠都會感覺，有一個人， 也就是我父親，在這個家中缺席了。 這個經驗對我的童年來說非常痛苦。 我母親在父親過世之後十分難過，所以她其實不太談到父親， 也不會與我們分享她和父親之間的回憶或故事。
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Entering Sekaikei – Bokurano
她連相簿都不看了。 對她而言，想起父親還在的日子是很難過的。 我不太認識父親，也不太問母親關於父親的事， 因為我知道她會難過。 過了這麼多年，幾乎三十年了，我想我得到的一件事是，學會如何與現實共存。 我仍然、也永遠會是沒有父親的那個女孩。這很痛苦，也很難過，但事實就是如此。 我學會如何放下這些，繼續過我的生活。 儘管我永遠不會瞭解，有父親在的家庭會是什麼感覺， 但這段經歷造就了現在的我，這其中有好也有壞。
癒合−重建的記憶 8
65
Healing – Reconstructed Memories 8
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
Lithuanian My first name is Laura, and my last name is Lygaityte.
I was happy as a child, it’s just that I always felt like there
Originally, I am from Lithuania,
is someone, that one person, who is my father, that is
and my childhood memory is mainly based on the fact
missing from my family.
that I grew up without my father.
This experience for me as a child was very, very painful.
When I was nine months old, my father passed away,
My mother was very heartbroken after my father passed
so I have no memories about him or any experiences
away, so actually she didn’t really like talking too much
together with him. It’s one of the most painful facts in my
about him or sharing her memories and stories.
life, not only my childhood, but my life in general. It’s quite
She wasn’t even looking at the photo albums.
different for some people, because I’m not the only one
It was hard for her to go back the time when my father
that grew up in a family without a father or mother.
was still alive.
For some people it’s easy, for some people it’s hard.
I never knew too much my father, and I never asked too
For me, that was actually heartbreaking, because as a
much about my father, because I knew it was very painful
child I had to see my friends during summer going on
for my mother.
trips, spending time at the beach, having quality family
Now after all these years, almost thirty years, I think the
time. I’ve never had these kinds of experiences because
only thing is I learned is to live with the fact that I was,
my mother was too busy taking care of me and my
I am, and I will always be that girl who grew up with a
brothers. That’s why she never had time to leave the
father. Yes, it is painful.
place we were living at the moment.
Yes, it is very heartbreaking.
We never had these summer outings or summer trips,
But it’s the way it is, and I learned to leave everything
where we go to the lake and spend the weekend together
behind and go forward with my life.
with the family.
And although I will never be able to understand how
So I was always kind of jealous about my friends,
it feels to live in a family with a father, this kind of
because they had something I could never have.
experience has brought me to the place I am right now.
Actually, it was also very difficult for me as a child to
There are good things and there are bad things about it.
imagine how it feels to have a happy family.
癒合−重建的記憶 8
67
Healing – Reconstructed Memories 8
一起出發前往銀河 Departing Together to the Milky Way Galaxy 2018
壓克力、畫布 Acrylic on canvas
直徑 50cm
變身為小鳥
Becoming a Bird 2018
壓克力、畫布 Acrylic on canvas
進入世界系−地球防衛少年
45.5×53cm
68
Entering Sekaikei – Bokurano
地底回音的秘密基地 Echoing Secret from the Underground 2018
壓克力、畫布 Acrylic on canvas
72.5×53cm
母親隱形的愛 Mother's Invisible Love 2018
癒合−重建的記憶 8
69
壓克力、畫布 Acrylic on canvas
65×80cm
Healing – Reconstructed Memories 8
進入世界系−地球防衛少年
70
Entering Sekaikei – Bokurano
癒合−重建的記憶 8
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Healing – Reconstructed Memories 8
2017 年我受邀製作一件新作品，在林茲大教堂中 演出。我腦海浮現希特勒是在林茲出生的，以及他 曾報考藝術大學失敗的故事。如果我們願意給予更 多孩子機會，也許他能通過那個考試，是不是世界 的結構和之後的悲傷故事將有不同的發展？
10 mi n0 6s ec
小 的 時 後 看 羅 貝 托・ 貝 尼 尼（Roberto Benigni
1952-） 的 電 影《 美 麗 人 生 》（Life is Beautiful），我淚流不止，那觸動了我，也許我能 做點甚麼去回應這段影片敘事的歷史：在集中營的 年幼孩子，父親利用遊戲的方式，慢慢的讓孩子似 18 20
懂非懂地習慣父親的不在和消失。 長大後，我們勇敢了一點點，了解了世界更大的虛 純粹的純淨靈魂，去觀看這個世界的運作。我相信 我們曾經都是一個好孩子，當我們還是一個小孩的 時候。
d un so ith )w op (lo eo vid lor Co
有聲 彩色 錄像
擬怪獸，卻也陷入活在真實的恐懼當中。如何用更
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
As a child, I burst into tears when I saw Roberto Benigni’s (b. 1952) movie Life Is Beautiful. The story deeply touched me, and I thought maybe there is something I can do to reflect on the narrative of this story: a kid and a father playing a game in a
I was invited to create a new piece of work to be
concentration camp through which father gradually lets
presented at the New Cathedral in Linz in 2017. I
his kid know of his disappearance.
remembered that Hitler was born in Linz and recalled the story of how he failed to enter art university. If more
When we grow up we become braver, the legendary
children had been given a chance, maybe Hitler would
monsters of this world also become more noticeable, and
have succeeded in the university entrance exam?
we get caught up in fear of life. How can a pure soul see
Maybe the structure of the world and the sad story
this world’s operation? I believe that all of us were good
would have looked differently?
孩子
as kids.
73
L’Enfant
孩子所剩的時間不多了
My child, there is limited time left for you to play. 這個世界是一場遊戲 The world we live is a real game. 遊戲規則你一定要遵守喔 Game with rules that you must obey. 接下來只能講一次 The rules I will just say once no more. 時間不多了 The time is running short. 豎起你的耳朵 Please listen as attentively as you can. 聽到腳步的聲音就躲起來吧
Hide yourself when you hear strangers’step. 呼喚你的名字就不要出聲吧 Remain quiet when someone calls your name. 接下來你要學會 看不見 To see nothing. 聽不見 To Hear nothing. 當腳步聲離開的時候
Even you hear the footsteps go away. 你必須再等待 You must wait in patient. 再等待一個月 You must wait untiltime to past.
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Entering Sekaikei – Bokurano
孩子
75
L’Enfant
白天聲音不見了
但你不要害怕
In the daytime, all soundsare gone 傍晚聲音不見了 In the evening, all soundsare gone 深夜聲音不見了 In the midnight, all soundsare gone
However, don' t be afraid. 不要害怕 Don' t be afraid. 爸爸以前給你買的
Protect yourself by the weapons dad brought you 水槍玩具槍彩色手流彈 Water gun, toy gun and colored grenade. 媽媽以前給你買的 Defend yourself by the weapons mom brought you 弓箭吸盤雙刀流塑膠軟劍 Small arrow, wooden sword and plastic knife.
你看見屋子裡的顏色慢慢由白轉黑
The house youstayed inis turningfrom bright to dark 你要屏著呼吸慢慢地吐氣 You must hold your breath and exhaust softly 讓人們忘記你的存在 And the world hasnever noticed your presence. 現在是一個玩抓鬼的遊戲
你千萬不要小看他們喔
It' s time for hide-and-seek 被發現的人就會死掉 The one who be found will lost his live. 就會變成鬼 The one who be chosen will be a ghost. 爸爸被發現了要去當鬼了 Dad was found and ready to be a ghost. 媽媽被發現了要去當鬼了 Mom was found and ready to be a ghost.
Take these weapons seriously. 他們是神明給你最強的武器 These arethe strongest weapons that given by mystery. 不管哪個國家的壞人都不能打倒你 No matter where the villains come from, they cannot defeat you certainly.
外面有著各種的怪獸
There are various monsters living outside. 他們會出來吃掉你 The monsters would come out and eat you alive.
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Entering Sekaikei – Bokurano
孩子這是爸媽跟神明借來最強大的武器
Kid, theseare the strongest weapons that mom and dad borrow frommystery. 只要你用心的學會隱藏自己變成透明 You must learnhow to hide yourself and be transparent. 必要的時刻才出招 Make a move at the critical moment. 這些武器會讓你化險為夷 These weapons will save you from being killed.
孩子
77
L’Enfant
親愛的孩子
My dearest child, 你一定會是最強的 You will be the strongest one. 你一定會是最聰明的好孩子 You will be the smartest one. 聽懂了嗎 Do you fully understand what I say to you? 你不是最喜歡玩遊戲了嗎 Don' t you like to play games when we are still the youth?
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
遊戲中禁止發抖也禁止哭喔
In this game you can' t tremble and cry with fear 你是最強的每天都要默念五遍在心裡喔 You are the strongest one. Repeat these words in your mind. 不要出聲喔 Remember to be silent all the time.
你聽
Listen! 聽見那急促的哨音了嗎 Do you hear the sharp whistling? 環繞的螺旋般的聲音也開始了 Do you hear rotating propeller roaring? 大家都要一起玩遊戲了 People are going to play this game together. 遊戲即將開始 The game is going to start in a second.
孩子再會
Farewell my child. 我們愛你 We love you.
孩子
79
L’Enfant
我們會在遠處高高的地方偷偷地看著你
我相信總統一定會頒一個最棒的獎牌給你
We will watch you in the highest place. 偷偷地守護你也幫你抵擋那些怪物 We will protect you from evil things.
I believe the president will give you the championmedal. 到時候也許晚一點等你長更大了
At the time when you grow up, 我們就能有機會再團圓了 We will have a reunion again.
但我們不能再出聲了
We can no longer speak a word. 你也千萬不要出聲喔 You must do not make a voice.
我愛你
也許等待需要一個月
Maybe you only have to wait for a month. 也許需要更久更久 Maybe it takes longer than we thought. 當你發現世界上的人都忘了你 When you realize that the world has already forgotten you. 是你隱身的夠好了 We believe thatyou would have hided yourself very well. 表示你一定是得到冠軍了 You are the champion of this game. 恭喜你我的孩子 Congratulations my child. 那時後你就能出來了 You can come outby then.
進入世界系−地球防衛少年
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I love you. 我的孩子 My child.
Entering Sekaikei – Bokurano
Ano ang digmaan ?
孩子
81
L’Enfant
奧地利林茲電子藝術節 現場表演
ARS ELECTRONICA FESTIVAL, LINZ, AUSTRIA LIVE PERFORMANCE
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
孩子
83
L’Enfant
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
孩子
85
L’Enfant
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
影像中的表演內容，為一個身穿白衣的亞洲女子躲 在昏暗的角落，想扮演成一顆石頭，她畏懼地聽著 各式的戰火煙硝，到起身狂奔吶喊，影像中簡潔的 各式戰火火光中，緊接轉而進入了巷戰。她告訴自 己，不要害怕，這是跟小時候和哥哥一起玩抓迷藏 的遊戲，她從無奈恐懼到拾起槍去對抗，最後也不 幸身亡。 第二幕中，她褪去了白衣，成了紅衣的女子，此刻 她成為了不死之身的惡靈，帶著抽搐不已無法控制
C olo rv id eo (lo op )w ith
so un d
的身軀，失序崩潰的精神，試圖想尋找甚麼？ 當她看見遠方飛來的飛機，似乎喚醒了她的記憶， 26 min
那是敵軍？那是救援軍？腦海的殘片在斷訊中試圖 尋找失去的記憶。高空中的無人偵查機，讓她看見 了生前的自己，那些生前無助的表情和姿態，一一 以虛幻的影像再現眼前，她漸漸回想起死前一刻， 那個恐懼卻仍然拿起槍，想對抗逃出戰爭中的自己
16 20
（舉槍和無人機對抗）；她漸漸回想起身體和精神 的自主權，明白自己已經逃離那場戰爭中的恐懼；
有聲彩色錄像
她漸漸能控制身體和心靈，沒有安然死去，只是明 白已死，她沒有言語，無法言語，也沒有眼淚。
In the second act, she becomes a woman in red and is an evil spirit of the undead body. In a twitching and uncontrollable body, disordered mind, is she trying to find something? When she sees a plane flying in the distance, her memory awakes. Is that an enemy? Is that a rescue army? The fragments of lost memories break in her mind. An unmanned aerial vehicle allows her to see her own life. Those helpless expressions and gestures of her
In the performance, an Asian woman dressed in white
life, one by one, reappear in illusory images. She slowly
is hiding in a dark corner, she wants to play the role of
starts to remember the moment before her death. She
stone, she listens with fear to the smoke of war, she runs
fears but picks up the gun and wants to fight against the
wildly and shouts loudly. In the video, the flames of war
war (the confrontation of a gun and aerial vehicle). She
immediately turn into a street fight. She is telling herself
gradually recalls the autonomy of her body and spirit and
not to be afraid; this is just a hide-and-seek game that
understands that she is already free from the fear of the
she used to play with her brother when they were kids.
war. She starts to control her body and mind. She did not
She feels helpless but picks up the gun and fights, yet
die safely; she only understands that she is dead. She
unfortunately dies.
走在迷宮裡的孩子
cannot speak, she has no words, no tears.
87
A Child Walking in a Maze
第一回 前線
Chapter 1: Frontline
Amy 說 如果有一天 她消失了 Amy said that in case she dies, 記得 趕快到瑞士 找 Bill remember… you reach Switzerland and search for Bill. 他家地下八樓 有一個純金的金庫 Under his flat, on the 8th floor, there' s a coffer made of pure gold. 金庫裡 滿藏的珍寶中 那本破爛的愛莉絲夢遊仙境 In the coffer, filled with jewels, there' s a tattered copy of “Alice in Wonderland”. 第 28 頁藏著 記載了 Cindy 家 隔壁阿姨的生日 Hidden on page 28 is the birth date of the lady living next to Cindy. 阿姨生日的八位數 數字加總 Add together the eight numbers of that birth date 尾數兩碼 是 David 家門牌號碼 with the last two digits corresponding to David' s house number. 在其號碼的 對街 二樓住著紅髮的 Emily At that number, right across the street on the 2nd floor, lives red-haired Emily. 她斑剝的粉色櫃子下 藏有 Frank 的存摺帳號 Under her moldy pink cabinet, there' s the passbook of Frank' s bank account. 翻開帳本 第三頁 第五行 結餘的數字 Open it to page 3. The balance figures on the fifth line 是秘室的密碼 are the password to the secret room. 進入密室後 開啟 Gary 留下的電腦 After entering the secret room, switch on the computer left there by Gary. 看要 飛鴿傳書或是打電話給 Henry 留下語音 Check the IP Messenger app, or call Henry and leave a voice message. 他的人工智慧秘書 iPhone 會回傳一組亂數密碼 The AI Secretary on his iPhone will send back a random password.
進入世界系−地球防衛少年
開啟電腦的金鑰
Turn on the computer' s ssh-keygen. 進入電腦後 螢幕中將出現 智慧精靈 Jason After entering the operating system, the Jason Smart Wizard will appear on the screen. 告訴你 Kevin 前往何處躲藏了 It will tell you where Kevin went to hide. 你可以啟動 超級木馬病毒 Leo 遠端攻擊 You can then initialize a remote attack with the Leo Super Trojan Virus, 或是 呼叫 藍星人 Michael 啟動音速隱形機械人 or call the Blue Star operator, Michael, to activate the sonic stealth droid. 當然你也可以 選擇秘室 Of course you can also choose Nicholas 在最後倒數的二間廁所 藏在天花板裡的鑰匙 to retrieve the key hidden by Nicholas inside the ceiling of the second to last stall in the secret room' s toilet,
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走在迷宮裡的孩子
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A Child Walking in a Maze
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走在迷宮裡的孩子
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A Child Walking in a Maze
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Ano ang digmaan ?
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去 開啟 Osborn 建立的軍火庫房
and open the ammunition storeroom built by Osborn. 再去集合 Peter 的部隊 Then, you need to muster Peter' s troops, 與 Queeine 的小隊同志聯盟 一起進行地面巷戰攻擊 and go on a street attack with Queenie's squadron. 如果不幸戰敗 If you are defeated, 必須撤退時 可以聯絡 Ryan you can contact Ryan as you are withdrawing. 他已經買好幾張船票 He has already bought a few boat tickets. 掌船的 Sam 會在每天凌晨 2:36 分 The commander of the ship, Sam, leaves everyday at 2:36 in the morning. 在 Tim 家族的海港旁 最尾端的第五艘小船 隨時待命 The fifth small boat at the far end, next to Tim family' s dock, is always ready to sail.
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負責把 Ultraman 帶走 隨時可東山再起
Take Ultraman away with you. A comeback can be arranged at anytime. 剩下 Vincent 他會帶領部隊 斷尾 Vincent remains… he will lead the troops to dock (the ship). 當你在岸邊看見 Wesley 升的火花 If you see Wesley's sparking signal rising up ashore, 你就會知道 我們戰敗了 you will know that we have been defeated. 當你看見 Xavier 家的窗戶亮起 If you see the lights have been turned up at Xavier' s house, 表示我們 暫時成功推進 10Km it signifies that we have successfully advanced 10 km momentarily. 如果 York 在沙灘上用手電筒 明滅兩回 長 短 短 的光 If on the beach York flicks the flashlight twice, in a “long-short-short” sequence, 表示 Zack 已徹底殲滅全員 it will mean that Zack has killed the whole staff. 我們得各自分飛 We have to fly separately. 下輩子再並肩了 We will be side by side again in the next life.
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第二回 平民
Chapter 2: Civilians
進入世界系−地球防衛少年
寂靜 凝結了恐懼的空間
Silence fills a room of fear. 靜靜地等待 Wait silently. 讓自己變成一顆石頭 Turn yourself turn into stone. 讓自己變成一副骨骸 Become a skeleton. 容身在黑暗當中 Sheltered in the darkness, 隱身在漫野之靜 the body hidden in omnipresent stillness,
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停止呼吸
stop breathing, 沒有呼吸 there' s no breath. 成為一顆僵直的石頭 Become a stiff stone, 成為一個浪漫的亡魂 become a romantic ghost. 恐懼 可以遺忘 Fear can be forgotten, 勇敢 可以長存 courage lasts forever. 急促的火光 Rapid flames, 燦爛的煙花 magnificent fireworks,
走在迷宮裡的孩子
煙硝的焦味 the burning smell of smoke, 烤肉的香氣 the scent of grilled meat. 那一定是 滿月的節日 一家團圓的日子 It must be the Full Moon Festival, a family reunion day, 那一定是 屍骸的節日 一家團圓的日子 it must be a feast of skeletons, a family reunion day. 一絲一縷 Meticulously detailed, 乍現花火 a sudden explosion, 引你回蘇州的老家 leading you back home to Suzhou. 靜靜緘默 化身 一顆石頭 Keeping silent, the incarnation of a stone, 奮身抵抗 轉化 一副骨骸 resisting to rise up, turns into skeleton.
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回過神
那虛擬的戰火 悄悄蔓延 無知無味
Regaining consciousness, 滿地的彈殼 bullet cases everywhere, 蜂窩的軀體 honeycombed bodies. 回過魂 A soul going back, 進不去肉身 can' t enter the flesh, 回不去從前 can' t return to the past.
The virtual war spread silently, unknown and imperceptible, 那真實的戰火 瞬間重擊 無視無睹 the real war stroke out instantly, blind to everything. 藍星人 用完最後協防地球的力氣
The Blue Star people fought until their last breath to defend the Earth, 將最後一棒 交給你 / 我 relaying this duty to you/me. 地球上的孩子們 Children on Earth, 誰願意 站上前線 who is willing to stand in the front line? 怪物來襲 The monsters are attacking us, 一起為末日的地球 犧牲 奮戰 Let' s sacrifice together, and bravely fight the end of the world.
迷途的濃霧 浮動的地圖邊界
Misleading fog, shifting map borders 失去的標記 變換的人為度量 Being the mark lost, human transformation becomes the unit of measurement. 茫然的輪迴 地獄中漂浮沉載 Denied reincarnation, we float and get lost in hell.
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走在迷宮裡的孩子
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走在迷宮裡的孩子
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建造了一個祈禱室在展場中，當人們進入後，會看
A prayer room is built in the exhibition hall. When the
見來自泰國、美國、厄瓜多、印度、布吉納法索、
audience enters it, they find people from Thailand,
菲律賓、芬蘭等人，在螢幕中分別用母語說：「嘿！
the United States, Ecuador, India, Burkina Faso, the Philippines, Finland, and other countries asking in their
SIRI，甚麼是戰爭？」
native language: “Hey! SIRI, what is war?”
希望藉此不斷的反覆提問，去驅動大家內心的深層
I aim to ask questions to impel everyone to find answers.
回應。當觀眾進入空間後，坐在神父的位子上，瞬
When a viewer enters the space, sits in the priest’s chair,
間變成「智慧手機」裡無所不知的乙太神，能去
he instantly becomes a knowing everything Ethernet God
回答螢幕中的人，到底甚麼是戰爭，而我們為何而
in a smartphone who can answer to the people looking at the screen: What is war? Why do people fight? What are
戰？為什麼而戰？我們是誰？我們能是誰？
we fighting for? Who are we? Whom can we become?
當然觀眾進入後，對於母語的辨識度也許有限，但
Of course, for the viewers, it might be tricky to identify
是來自這麼多的國家中，其中也包含了位處西非、
what languages are spoken by people who come from
曾經被納為法國屬地的布吉納法索人說著法文，以
countries such as Burkina Faso, a country located in
及曾經被西班牙占領的厄瓜多共和國的友人說的西
West Africa that was once accepted as a French territory,
班牙文。當採訪對象中沒有法國人和西班牙人，但
or the Republic of Ecuador that was once occupied by Spanish colonists. No French or Spanish people were
是另外其他國家的年輕友人說著其他國的語言時，
interviewed, but young people from other countries where
他們將之視為母語，甚至已經忘記最原始源出的語
French or Spanish are national languages were, and,
言時，如今他們擁有自己的國家，但疆界的區分到
even though they do not remember the languages of their
底是少數人類慾望的再現？還是集體合理化劊子手
origin countries, they regard these languages (French or
的正當性？也許我們皆只是在地球上誕生的一個短
Spanish) as their mother tongues. As of now, they have
暫過客？
their own country, however, can the distinction between borders be considered the reproduction of a few human desires? Alternatively, is it a collective rationalization of the executioner’s legitimacy? Maybe we are only temporary visitors born on earth?
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nd ou hs wit 置 ion 裝 llat 像 sta 錄 ) in 色 op 彩 (lo 聲 eo 有 vid lor Co
18 20
God, Please Save Me!
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神啊，請拯救我！
01
m in
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se c
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Entering Sekaikei – Bokurano
神啊，請拯救我！
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God, Please Save Me!
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神啊，請拯救我！
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God, Please Save Me!
Light installation
尺 寸 依 場 地 而 定
ble aria v s on nsi e m Di
燈光 裝置
18 20 進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
這件作品主要是描述美、加邊境的森林大火和全球 氣候溫度的警戒關係。全球氣候變遷的問題，從以 前人們的重視至今一直無明顯有效的改變，至今 人們仍舊存在倒數世界毀滅的恐懼中。而毀滅 / 淹 沒 / 燃燒某個國度的急迫性，以往是發聲權低的邊 境小國或是人煙稀少之境所第一直衝面對的恐怖困 境。對於多數人而言，恐懼迫切感仍是十分遙遠的， 就像是閱讀一個恐怖小說一樣，書闔上了故事就事 不關己了，用低調的色溫描述一個國家的邊境和溫 度的界線，是這件作品想要討論的核心。 This work of art mainly depicts the effect of global climate temperature on the forest fire on the USCanada border. Until now there have been no obvious changes regarding the issue of global climate change, making people fear the destruction of the world. The urgency of destroying/flooding/burning a country has always been the horrific predicament faced by small states on the border with no strong voice rights or the sparsely populated areas. Most people still do not feel the threat; for them, it is just like reading a horror novel where the story does not really matter. The core idea that I want to discuss in this work is the connection between the borderline of a country and temperature, which I depict in restrained colors.
火冰河
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Fire with Glacier
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火冰河
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Fire with Glacier
與陳依純的對話錄
CONVERSATION WITH CHEN I-CHUN
人 展 策 立 獨 淋 禾 羅
Inde pend ent C urato r LU OH e-Lin
以下簡稱陳和羅
陳：我以前看卡通時，對於東浩紀（Hiroki
陳：這次展覽其實很多作品只是我從小觀察很多台
小時候看許多卡通認知到，故事裡主要會有個具有
灣的新聞事件，漸漸引導出對世界觀察的片段想
強大 .......... 的巨大邪惡勢力，每集的結尾，主角都
像。我們認識世界的方式在以往知識的匱乏下，來
會經過許多努力打敗敵人。之後在下一集中，卻又
源主要是電視；但長大後漸漸明白，電視盒內的新
再出現新的壞人，直到最終大魔王的出現。而這樣
聞，可能是藉由取景和剪接所製造的幻象。有很多
不斷的輪迴，最後的大魔王也沒有失敗，呈現一種
新聞和學校裡不曾提到的事件，是我後來藉由閱讀
未知的結局。有時候在最後一集還會提到邪惡勢力
了解到的，一些錯過的歷史。讓我明白在同一個時
的思想邏輯，讓小時候的我驚覺到，大魔王其實不
空下，我們也會受到不同養分的影響和判斷，而對
一定是壞人，只是立場和守護的對象不同。我之前
世界有極度落差的想像和感受。
看的，那一直影響我、長達幾個月「我要打倒壞人」
Azuma，1971-）提出的「世界系」是沒有概念的。
的洗腦思想就此崩解，我對最後壞人不是壞人感到 羅：妳之前提到台北大空襲與這次的展覽主題很有
驚恐。爾後我不斷思考的是，壞人是否是一種被刻
關係，它指涉難民情況和狀態。妳可以說一下關於
意建立的形象？是否需要一個共同的假想敵，才能
台北大空襲對妳的影響嗎？
營造團結？而這樣的團結和思想的控制，是值得省 思的。
陳：我印象中以前教科書沒有這段具體詳細的歷 史，有天當我偶然看見這個資料時，我很驚訝台北
羅：前面提到台北大空襲死傷十分慘重，連結到日
曾有這段如此嚴重的歷史。這個記憶的空白，讓我
本動漫。因為二戰，日本民眾對於政府和軍方是完
非常驚恐，一個歷史的狀態是可以被抹除
輕描淡
全不信任和失望的，所以動漫中許多保護世界的都
不曾存在的。然而對於有歷經過這個事件的人
是小學生，如《新世紀福音戰士》、《鋼彈》，主
來說，這事件對他人生衝擊卻是很劇烈的。我們雖
角都是年輕人，他們具有操控和影響的力量。而動
然活在同一個時空下，但記憶卻是如此不同，而這
漫中的世界觀，軍隊是失去功能的，這在現實中是
些卻是可以經過人為操作的。
很弔詭的。在《藍星人三部曲》和《地球防衛少
寫
年》，一群小學生碰到藍星人，藍星人給他們操控 羅：亞洲在二戰時期迄今是離近代十分近的戰場，
機器人的力量，戰敗地球會毀滅，贏了自己卻也會
而 1945 年的台北大空襲，不到一百年的記憶中，
犧牲的兩難。在許多作品的背後，也許我們要思考
和這次展覽主題「世界系」有關。日本是感受二戰
的是歷史的傷痛要如何放下。
最深刻的民族之一，他們歷經兩顆原子彈的襲擊， 爾後包含現在的思想、文學、動漫、藝術、人民潛
陳：不管是美漫或日漫，這些英雄和反英雄的對照，
意識人格，這些影響逐漸往外擴散；包括曾被日本
是否可以做一個說明？
殖民的台灣，有大量動漫文化在台灣發酵。這些毀 滅和傷痛的記憶，也影響著許多世界觀的爭論方
羅：這和我剛提到的台北空襲、二戰、核彈戰爭，
式，許多層面和亞洲彼此的連結都有密切的關係。
其實是延伸關聯的。社會和整個世界的脈絡影響 下，要如何定義英雄？二戰的創傷後，全世界仍有
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許多戰爭和英雄主義有關。大眾傳播引導觀眾的思
結尾。日本這種對於巨大怪獸的想像，要人奮不顧
想，以觀察世界娛樂作品為例，很多作品討論著關
身、喪失人性地抵抗。那種潛在的思想，好像可以
於英雄主義是否正確、它和帝國主義的關係、精神
跟前面你提到的日本受二戰的創傷，做一個對照。
象徵、價值觀、行為。如果站在英雄觀點是正派， 站在相反的位置則是反派，但這些都是對的嗎？鋼
羅：妳目前這個概念也是全世界的問題，譬如翁山
鐵人、浩克、索爾、美國隊長，都是典型英雄主義，
蘇姬面對羅興亞人被屠殺的問題，許多人討論到要
劇本中都有其鮮明的反派；但在《復仇者聯盟》中
取消翁山蘇姬的和平獎；她如今當了上位者卻不表
是不同的，他們是一群集結的英雄，面對更可怕且
態，大家就會質疑她的誠信。許多世界的關係，特
未知的巨大敵人，不是他們各別力量能戰勝的。這
別是亞洲問題，其實是十分緊密的。
種反英雄架構的電影才能討論一些事，跟以往英雄 片邏輯不同的內容，才能呼應現在的真實趨勢。我
陳：翁山蘇姬在影像的傳記中，她是勇敢抵抗軍政
們試著去思考過去的英雄、偶像、軍國、帝國，期
府的人。人們對她的期待是很大的，大家會期待她
待給人們的精神文化的學習，真的是對的嗎？
同樣的對待、協助發聲和具體的行動，當她因為種 種原因無法有具體行為時，人們會對於她感到巨大
陳：不小心被圈限在反派立場者，往往成為合理攻
的失望。我們總是期待英雄的降臨，但我們是否能
擊的對象，也可能隨時成為難民。重點是，那是一
意識到地球上的問題？我們將格局放大，我們要面
個搖擺模糊的界線。如果立場不斷地跳動，彼此的
對的敵人，也許都將不在這個地球上，也許我們將
立場就值得省思討論了。而我想問，在日本動漫中，
要面對的是一個超級巨大無法想像的敵人，那一刻
拯救世界的人大多是青少年的設定，在美漫中英雄
我們才團結是否太慢了？而這樣的想像也許能夠讓
的角色則多為成人，這設定的差異脈絡是什麼？
我們更加理智，放下目前所有地球上的爭端。
羅：日本人民因為二戰，不相信政府和有地位的人，
羅：最後我覺得妳這次個展，其實有趣的是「進入」
卻憧憬青少年成為主角。日本的許多作品中是沒有
這個動詞。進入世界系是一個方式，假設世界系是
法律觀念的，如日本女學生穿水手服拿武士刀砍死
一個無能為力的衝擊，那為什麼還要進入？
人。許多動漫文學作品想殺人就殺人，那是被劇情 合理化的。而歐美英雄的定義大多是有社經地位的
陳：因為我們都無能為力地，被捲入了這場世界毀
角色，諸如蝙蝠俠和漫威作品，最後逮捕壞人的都
滅的爭戰中。如果用真實的方式無法解決現實的困
是警察，那還是一個具有法治的過程。
境，那用虛擬的方式；也許這樣我們可以生產出一 些以往沒有思考過的路徑，去面對真實的困境。在
陳：日本動漫中可見巨大的怪物或壞人，如大海
提到翁山蘇姬所面對的難題時，我原本想要將這一
怪、哥吉拉、外星人等。如果用偏激的手段，喪失
段話全部刪除，這個問題太過艱難了。昨晚我做了
人性地來攻擊這些壞人，好像都很合理、沒有問
一個夢，我到了緬甸，有一個年輕人帶著我觀看羅
題。但美國的小丑、拿鏈鋸的壞人、遠方的蘇聯間
興亞人的生活，他們許多人跟我招手，我和他們共
諜等等，都有一個具象的「人形」象徵；此時此刻，
同生活了一段時間。我為那段田野的生活拍了許多
似乎只剩下用世界規則法治，來形成一種合理的
照片和影像，許多人的臉我至今難忘。最後我發現
與陳依純的對話錄
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Conversation with Chen I-Chun
Hereafter, Chen and Luo.
這是一場夢，我又再度神遊了某個時空。我決定保 留這一段文字，也許這些文字將蔓延拓展成甚麼力 量，能改變一些事、改變一些人，讓世界往更好的
Chen: For this exhibition, many of the works were
方向前進。這就是我不斷「進入」世界系，想跟大
fragmented images I derived from observing the
家分享的感受，利用展覽再現和還原我的中二和跳
world through news broadcasts in Taiwan. In the
躍時空的田野調查報告。
past, we lacked access to knowledge, and the way we learned about the world was through watching TV. As I grew up, I gradually realized that the TV news could be illusions created through framing and cutting. Many events are never mentioned on TV or in school. Later in life, through reading, I understood some of the history I missed growing up, and I discovered that even in the same time and place, people are fed with different influences and judgments, so they may have extremely different images and perceptions of the world. Luo: Earlier you mentioned that the Taihoku Air Raid, or the Raid on Taipei, was closely related to the theme of this exhibition, which refers to the situation and status of refugees. Could you tell us about the influence that the Raid on Taipei had on you? Chen: As I recall it, textbooks in the past did not describe this part of history in detail. One day, I accidentally came across information about the Raid on Taipei, and I was astonished that Taipei had such a devastating past. My complete ignorance about it frightened me. Historical events could be removed, made light of, or eliminated from existence completely. Yet people who lived through this event experienced severe impacts on their lives. Even if people live in the same time and place, their memories can be drastically different, and the
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Entering Sekaikei – Bokurano
differences can be manipulated.
that the villains might not be bad. Later on, I kept thinking, is a villain an intentionally constructed
Luo: Asia was a battlefield in WWII, which was
image? Is it that we need a mutual, imagined enemy
quite close to the present. The Raid on Taipei in
so as to cooperate? This kind of cooperation and
1945, a memory less than a century old, is closely
thought control is worthy of reflection.
related to the exhibition theme “Sekai-Kei,” or “world type.” The Japanese were one of the peoples most
Luo: Earlier we mentioned that the Raid on Taipei
substantially influenced by the Second World War,
caused severe casualties, and that is linked to
even experiencing two atomic bomb attacks. The
Japanese animation. Because of WWII, many
influences on their thoughts, literature, animation, art,
Japanese people are completely distrustful of and
and subconscious gradually diffused outward. Because
disappointed with the government and the military.
Taiwan was a colony of Japan, the Japanese animation
As a result, in numerous animations, it is elementary
culture fermented in Taiwan to a great extent. The
school students who protect the world. In Neon
Japanese memory of destruction and pain also influenced
Genesis Evangelion and Gundam, for example, the
the ways in which worldviews are debated, many aspects
protagonists are all young people who possess the
of which are closely related to the connection between
power to control and influence. In the world view
every part of Asia.
presented by animation, the military is dysfunctional, which seems bizarre in reality. In Warriors and
Chen: In the past, when I watched Japanese
Bokurano: Ours, a group of elementary school
animation, I did not know about the Sekai-Kei
students run into Bluestar, who gives them the
proposed by Hiroki Azuma (1971-). What I learned
power to operate robots, and they face a dilemma: if
from the various animations I watched as a child was
they lose the battle, the Earth will be destroyed, but
that there was a huge evil group that was influential.
if they win, they will die. Perhaps underlying these
At the end of each episode, the protagonist would
works is the message that we are meant to ponder
defeat the enemy after hardship, only to encounter
how to let go of the pain of history.
new enemies in the next episode, until the king of the devils finally appeared. After several cycles, in the
Chen: With either American or Japanese animation,
end, the king of the devils was not defeated, and the
could you explain further on the contrast between
animation ended without an ending. Sometimes the
heroes and anti-heroes?
last episode would mention the thoughts and logic of the evil power. As a child, it dawned on me that
Luo: My response will be an extension of the Raid
the king of the devils might not be bad; he might just
on Taipei, WWII, and nuclear war I just mentioned.
have a different stance and be protecting different
In the context of society and the entire world, how
people. I had been brainwashed for months to want
is a hero defined? After the trauma of WWII, many
the villains to be defeated, but then I was frightened
wars in the world were still related to heroism. Mass
與陳依純的對話錄
117
Conversation with Chen I-Chun
media guides its audience how to think. When
Luo: Because of WWII, the Japanese distrust the
we observe entertainment works from around the
government and people with status. Instead, they
world as an example, many of them discuss whether
fantasize about teenagers being protagonists. Many
heroism is right, its relationship to imperialism, its
Japanese works lack the concept of the law. For
spiritual symbols, values, and manifestations. If
instance, it may portray a Japanese female student
taking the viewpoint of the hero puts a person on
in a sailor suit killing people with a samurai sword.
the right side, then those who take the opposite side
In many animations, comics, and literature, the
are on the wrong side. But is this separation right?
characters kill people as they please, and the killing
Iron Man, the Hulk, Thor, and Captain America are
is rationalized in the plot. By contrast, most of the
all typical representations of heroism, and in their
heroes defined in European and American stories
stories, clear villains exist. The Avengers, however,
possess a certain socioeconomic status, such as
is a different story. It consists of a group of heroes
Batman and the Marvel characters, and in the end,
facing a frightening and unknown enemy of huge
it is the police who capture the villains. What they
power that cannot be conquered by their individual
portray is still the process of the rule of law.
force. Only movies with this structure of antiheroism can discuss content different from the logic
Chen: Some Japanese animations employ gigantic
employed in typical hero movies and echo the real
monsters or antagonists like huge sea monsters,
contemporary trends. We try to reflect on whether
Godzilla, and aliens. If the protagonists adopt
what we learned in the past about the spirit and
extreme measures devoid of humanity to attack
culture of heroes, idols, militaristic countries, and
these villains, it seems reasonable, not problematic.
empires are right.
By contrast, the clown and the antagonist with a chainsaw in American films, and the Soviet spies
Chen: Those who are accidentally categorized as
from afar, are given a concrete human form. Facing
siding with the villains became legitimate targets
them, it seems that a reasonable ending requires the
for attack, and they may become refugees at any
implementation of the rule of law in the world. The
moment. The point is that the line between heroes
Japanese imagination and latent thought of gigantic
and villains is unclear and unsteady. If one’s stance
monsters that require people to forego humanity and
can constantly be shifted, it becomes a topic worthy
fight despite sacrificing themselves seem to invite a
of reflection. What I want to ask is, in contrast to
comparison with what you mentioned earlier, about
the Japanese animation setting, in which those who
the trauma Japan endured in WWII.
save the world are typically adolescents, in American animation, the heroes are generally adults. What is
Luo: The concept you raised is a problem for the
the context that has led to these differences?
whole world. For example, Aung San Suu Kyi faced the problem of the Rohingya people being slaughtered. Many people proclaimed that she
進入世界系−地球防衛少年
118
Entering Sekaikei – Bokurano
should be stripped of her Nobel Peace Prize.
Kyi, but for a time I wanted to delete all of that. That
Today, now that she has power but has refrained
problem is too difficult. However, last night, I had a
from stating a strong position, people question her
dream in which I went to Myanmar. A young person
integrity. Many relations in the world, especially
showed me the way of life of the Rohingya people.
problems in Asia, are closely related.
Many of them waved at me, and I lived with them for some time. During that life in the fields, I took many
Chen: In the video biography of Aung San Suu Kyi,
pictures and recorded video. I can still recall many
she is portrayed as one who bravely resisted the
of their faces. At the end, I found that it was only a
military government. People have high hopes for
dream in which I toured a different time and place. I
her and expect her to exhibit the same behavior, to
decided to keep that passage. Perhaps these words
assist the oppressed in making their voices heard,
can expand into a certain power to change some
and to adopt concrete measures. When she, for
things and some people, moving the world in a more
whatever reason, could not act, people felt greatly
favorable direction. That is why I keep entering the
disappointed. We always expect a hero to come
Seikai-Kei: I would like to share my feelings with
along, but could we be aware of the problems
people; I would like to use this exhibition to recreate
on Earth? When we enlarge our perspective, the
and restore my field trip report with an eighth-
enemies we face may not be on Earth; perhaps
grader’s syndrome and in a different time and place.
what we will be facing is a super huge enemy that we can’t even imagine. If we unite only then, will it be too late? Perhaps this imagination can make us more rational and put aside all the disputes on Earth. Luo: Finally, I feel that in your solo-exhibition, what is interesting is the verb “to enter.” To enter Sekai-Kei is a way. If we assume that Sekai-Kei is an impact we are powerless against, why would we still want to enter it? Chen: Exactly because we are powerless, we are entangled in this world-destroying war. If, using realistic means, we cannot solve predicaments in reality, then perhaps through virtual means, we might come up with ways we have never thought of to confront the predicaments in reality. Earlier, I mentioned the problem faced by Aung San Suu
與陳依純的對話錄
119
Conversation with Chen I-Chun
創作自述
ARTIST STATEMENT CH EN
I-C hu n
陳依純 這次展覽的標題，引用日本思想家東浩紀（Hiroki
「世界系」是自我意識過剩帶有中二病的少年
女，
Azuma，1971-）對「世界系」的詮釋，其認為「這
微小能力不足的個體，透過種種試煉，漸漸試圖去
種想像力意味著主角與戀愛對象之間他們小小的感
改變世界崩壞和滅亡的敘事。此次展出作品中，這
性人際關係（妳與我）的描寫上，並挾帶著社會或
些曾帶著內心創傷的少年，他們講述自己內心深層
國家這類中間選項的成分，而是一種與『世界的危
的悲傷，卻也希望能夠勇敢地去面對他們面臨的艱
機』和『世界末日』等巨大的存在論性質的問題直
難。而這份艱難，是模糊國家和社會界線的，我們
接連結的想像力。」
觀看到的是一個更巨大的世界觀。但唯一不同的是 這不是虛構的故事，而是真實來自不同國家的青少
「世界系」一詞在 2003 年開始流行使用，自由國
壯年，告訴我們他們在年幼時曾處的艱難，而這些
民社將「世界系」一詞於 2007 年收錄於日本《現
敘事卻搭建起我們地球上每個角落正在發生的憂鬱
代用語の基礎知識》，為動畫、漫畫、遊戲、輕小
和災難。
說等文化的一種故事類型。「世界系」沒有具體的 國家及社會設定，主角是你
我（男
女主角），
並與世界危機和世界滅亡等巨大問題的抽象連結敘 事。這次展覽中訪問了許多不同國家的青少年，他 們用自己的母語問：「SIRI，甚麼是戰爭？」就如 同在日本鬼頭莫宏（Mohiro Kitoh，1966-）的作 品《地球防衛少年》中，每個少年輪流選擇決定誰 進入機械體中，奮戰並犧牲自我時的內心困頓。
進入世界系−地球防衛少年
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Entering Sekaikei – Bokurano
The title of this exhibition is adapted from the phrase
“Sekai-kei” is a teenager/female with an excessive self-
“Sekai-Kei” (lit. world-type) by the Japanese
awareness and chuunibyou (lit. 8th grader sickness).
philosopher Hiroki Azuma (b. 1971). Azuma believes that “this kind of imagination signifies little emotional and interpersonal relationship between the protagonist and the object of love (you and me). It contains elements found in between society and country, and is also directly linked to world crisis, end of the world, and other existential problems.”
Individuals with insufficient abilities continuously aim to change the narrative of the world’s collapse and extinction. In the artworks in this exhibition, young people who suffered emotional trauma talk about their distress and hope to be brave enough to face the difficulties they are experiencing. These hardships blur the boundaries between country and society, thus we can see a bigger world. The difference is that this is not
The term “Sekai-Kei” became popular in 2003 and
a fictional story. Young people from different countries
was included in 2007 release of The Year Book of the
are telling us about the sorrows they had to bear when
Contemporary Society published by the Free Citizens
they were young. These narratives arise melancholy and
Company as a type of story similar to animation,
disasters in every corner of our planet.
comics, games, and light novels. There is no particular national and social setting in the “Sekai-Kei.” The protagonist is you or me (male or female), the focus of the story is on the world crisis and destruction. In this exhibition, I interviewed young people from many different countries and asked them to use their mother tongue to ask: “SIRI, what is war?” As in Bokurano: Ours by Mohiro Kitoh (b. 1966), every youngster takes turn to decide who should enter the mecha suit to overcome inner hardships.
創作自述
121
Artist Statement
陳依純
1980 年生於台灣南投
CHEN I-CHUN
BORN IN 1980 IN NANTOU, TAIWAN
2010 年畢業於國立台北藝術大學科技藝術研究所 碩士，目前就讀於國立台北藝術大學美術系博士 班。主要以錄像藝術、實驗動畫影像、互動藝術、 複合媒材、繪畫為主要創作，長期關注工業區、邊 陲及中下階層等社會議題及民間故事，去承載其個 人的真實與虛幻間的經驗，並嘗試與真實
現實社
會的對話，以詩意的影像方式，浪漫輕快的音樂盒 去敘說的痴人之夢與期望。現居住、創作於台灣。 曾於台灣、印度、巴西、日本、中國、以色列、韓 國、新加坡、澳門、美國、奧地利、德國、俄羅斯 等雙年展、藝術節、博覽會展出，2018 年參展香 港巴塞爾藝術展「光映現場」、2017 年參加奧地 利林茲電子藝術節，並於 2015 年邁阿密巴塞爾藝 術展「Film Library」展出。作品多次獲國立台灣美 術館典藏。
進入世界系−地球防衛少年
124
Entering Sekaikei – Bokurano
She received her MFA in Digital Art and Technology from the Taipei National University of the Arts in 2010. She currently is studying for a PhD at the Department of Fine Arts of the Taipei National University of the Arts. Chen is best known for her artistic practice in video art, experimental animation/video, interactive art, multimedia art, and painting. Her primary focus is on social issues and folk stories in industrious and marginalized areas, also among the lower middle class. The idea of her artworks is to weave a giant map of the history of rural villages and industries, which carries individual’s experiences between reality and illusion. It also attempts to create a conversation with the realistic/ real society. The poetic image and the romantically lighthearted music express the impossible dream. She currently lives and works in Taiwan. Chen’s works have been selected for numerous international art exhibitions, biennials and festivals in Taiwan, India, Brazil, Japan, China, Israel, South Korea, Singapore, Macao, the United States, Austria, Germany, Russia, and other countries. Her video works were selected for inclusion in the Film Sector at Art Basel Hong Kong in 2018 and exhibited in the Arts Electronica Festival in Austria in 2017 and the Film Library at Art Basel Miami in 2015. Her works are in the collection of the National Taiwan Museum of Fine Arts.
藝術家簡介
125
Biography
學歷
「無機城市」，鳳甲美術館，台北，台灣
2010 「測量個人與他方間的距離」，國立台灣美術館， 2014-
國立台北藝術大學美術系博士班，台北，台灣
台中，台灣
2010-2013 國立台南藝術大學藝術創作理論研究所博士班， 台南，台灣
「光之行氣」，誠品畫廊，台北，台灣
2004 「筒鳥－影子的告別」，文賢油漆工程行，台南，台灣
2007-2010 國立台北藝術大學科技藝術數位藝術組碩士，
「影子的告別」，台北藝術大學八又二分之一，台北，
台北，台灣
2000-2005 國立台北藝術大學美術學系油畫組學士，台北，
台灣
2002 「解剖本體分析論」，台北藝術大學南北畫廊，台北，
台灣
台灣
1997-2000 復興商工美術實驗班，台北，台灣
聯展 駐村
2018 「Video on the Phone」，空場、鳳甲美術館、北投區八 仙里戶外空間，台北，台灣
2016 École des Beaux-Arts，巴黎，法國
「南風，藝境－亞太當代藝術展」，國立台灣藝術教育
Grey Project，新加坡
館，台北，台灣
2013 ACC 亞洲文化協會，東京，關西，日本
「Bric-à-Brac」，Pfizer 630 Flushing Avenue
2009 435 國際藝術村，台北，台灣
Brooklyn，紐約，紐約州，美國 「香港巴塞爾藝術展－光映現場」，香港藝術中心， 香港，中國
個展
「Click festival －新媒體當代文化藝術節」，赫爾辛格，
2018 「進入世界系－地球防衛少年」，尊彩藝術中心，
「8B’s 2nd Bi-Annual Exhibition – ESCAPE 2018:
丹麥
SAKSI」，第一聯合建築社區博物館，馬尼拉，菲律賓
台北，台灣
2016 「無盡的儀式」，台北當代美術館，台北，台灣 「隱形的方向」，Grey Project，新加坡
「月津港燈節」，月津港，台南，台灣
2017 「都市游牧－ 2017 杭州良渚大屋頂動態影像展」，
「維也納當代藝術博覽會」，Marx Halle，維也納，
良渚文化村、良渚文化藝術中心，杭州，中國
奧地利
「關鍵斡旋－亞洲藝術雙年展」，國立台灣美術館，
「你夢見電子羊了嗎？第N次毀滅，重新來過」，尊彩
台中，台灣 「逆旅之域」，Quartair，海牙，荷蘭
藝術中心，台北，台灣
2015 「小黑在工廠工作中的一輩子II」，國立台灣美術館，
「奧地利林茲電子藝術節」，林茲新主教座堂，林茲，
台中，台灣
奧地利
2014 「Art Solo藝術博覽會」，花博爭豔館，台北，台灣
「2017 杜塞道夫藝術博覽會」，Areal Böhler，杜塞道
「林水源傳奇」，環鐵里五號，北京，中國
夫，德國
2013 「天書解密」，鳳甲美術館，台北，台灣
「台灣錄像巡映歐陸交流計畫」，馬其頓當代藝術館， 史高比耶，馬其頓；Galerija AŽ Atelieri Žitnjak，札格瑞布，
2012 「泡沫遊戲－官成瓦斯爆炸案」，其玟畫廊，台北，
克羅埃西亞；SCCA 當代藝術中心，盧比安納，斯
台灣
2011 「重工業雕塑」，寶藏巖國際藝術村，台北，台灣
洛維尼亞；Rosalux 藝術空間，柏林，德國；The 36th
Asolo Art Film Festival，Asolo，義大利
「再見小工廠系列－工廠肖像」，其玟畫廊，台北，
「2017 聖彼得堡博物館之夜－ Taiwan Videa2.0」，普
台灣 「再見小工廠系列－表皮工廠」，國立台灣美術館，
昔金十號藝術中心，俄羅斯反傳統藝術美術館，聖彼得
台中，台灣
進入世界系−地球防衛少年
堡，俄羅斯
126
Entering Sekaikei – Bokurano
「Click Festival －新媒體當代文化藝術節」，赫爾辛格，
「Art15 London」，奧林匹亞展會中心，倫敦，英國 「潘朵拉的盒子」，金澤 21 世紀美術館，金澤，日本
丹麥
2016 「ACM SIGGRAPH ASIA」，澳門科技大學，澳門，
「當 • 滲透影像媒體藝術節」，空場，台北，台灣
中國
「形 • 動－國際文字影像藝術展」，國立台灣美術館，
「OVNI 尼斯錄像藝術節」，尼斯，法國
台中，台灣
「Kaunas in Art – International Contemporary Art
「未來媒體－科技藝術論壇」，國北師美術館，台北，
Festival」，Kaunas Gallery，考那斯，立陶宛
台灣
「Kuso 計畫」，內華達州立大學，拉斯維加斯，內華
「兩岸漢字藝術節」，駁二藝術特區，高雄，台灣
2014 「平坑時代－台北數位藝術節」，台北，台灣
達州，美國 「美好的交互作用：近未來的交陪－藝陣 × 當代設計
「鬼魂的迴返」，鳳甲美術館，台北，台灣
展」，蕭壠文化園區 A11 館，台南，台灣
「佛在海灘上」，奧地利電子藝術節，林茲，奧地利
「再次重回類比之詩」，國立台灣美術館 數位藝術方舟，
「博羅那上海國際當代藝術展」，上海展覽中心，上海，
台中，台灣
中國
「一座島嶼的可能性－ 2016 台灣美術雙年展」，國立
「蟲洞」，高雄市立美術館，高雄，台灣 「香港亞洲當代藝術展」，巴塞爾香港亞洲藝術週，BM
台灣美術館，台中，台灣 「ISEA 2016: 第 22 屆國際電子藝術研討會 」，香港城
ART，香港，中國
市大學，香港，中國
「尚．布希亞－攝影．密碼」，鳳甲美術館，台北，
「河流－轉換中的生存之道 / 亞洲當代藝術連線」，光洲
台灣 「分裂台灣 2.0」，跨媒體藝術節，柏林匈牙利文化中心，
雙年展第一展廳，光州，韓國 「種樹的人」，金澤 21 世紀美術館，金澤，日本
柏林，德國
「Art16 London」，奧林匹亞展會中心，倫敦，英國
「Art14 London」，奧林匹亞展會中心，倫敦，英國
「巴西 FILE 國際電子藝術節」，Sesi 藝廊，聖保羅，
2013 「分裂台灣 2.0」，錄像瞬間藝術節，馬賽，法國 「分裂台灣 2.0」，網路藝術節，聖彼得堡，俄羅斯
巴西 「雅典數位藝術節」，雅典，希臘
「ACM Multimedia」，巴塞隆納，西班牙
「C.O.A.M. 台灣新媒體」，馬德里市政府西貝勒斯宮殿、
「分裂台灣 2.0」，奧地利電子藝術節，林茲，奧地利 「90sec」，Video Art Stonebridge Center，維吉尼亞州，
康普頓斯大學，馬德里，西班牙 「香港巴塞爾藝術展－光映現場」，香港藝術中心 agnès
美國 「ASYAAF 2013」，首爾舊火車站 284，首爾，韓國
b. 電影院，香港，中國 「第 35 屆義大利阿索洛國際藝術電影節」，義大利
「Cutlog NY」，紐約，紐約州，美國
「另一種旅行紀事」，國立台灣美術館，台中，台灣
「Trans-ideology: Nostalgia, Supermarket Creative
2015 「邁阿密巴塞爾藝術展｜ Film Library」，邁阿密海灘會
Resource Center」，柏林，德國 2012 「打開天空－當代藝術展」，長江匯當代美術館，重慶，
議中心，邁阿密，佛羅里達州，美國 「上海 N 分鐘錄像藝術節」，民生 21 世紀美術館，上海， 中國
中國 「第九屆釜山國際錄影藝術節」，釜山，韓國
「上海 N 分鐘錄像藝術節」，上海 CAC 新時線媒體藝
「VAFA 國際錄影藝術節－中國視野 1」，東方基金會，
SKY21，澳門，中國
術中心，上海，中國 「末日感性：台灣新媒體藝術展」，台北市立美術館，
「身體．介面」，台北數位藝術中心，台北，台灣
台北，台灣
「廢墟＋都市＋怪談」，寶藏巖國際藝術村，台北，台灣
「Hors Pistes Tokyo Film Festival」，東京，日本
「台灣美術雙年展」，國立台灣美術館，台中，台灣
「台灣數字藝術展－絮語」， 基廣場，南京，中國
「ASYAAF 2012」，首爾舊火車站 284，首爾，韓國
「河流－轉換中的生存之道
「曖昧的存在」，tamtamART，柏林，德國；Kav-16
亞洲當代藝術連線」，駁
Gallery，台拉維夫，以色列；鳳甲美術館，台北，台灣
二藝術特區，高雄，台灣
藝術家簡介
127
Biography
2009 「激情心靈：7 位元台、日新世代藝術家錄影展」，台北
「任我行」，北京工體北門飪我行，北京，中國 「與時空的一場對話」，國立台灣美術館，台中，台灣
市立美術館，台北，台灣 「觀點與「觀」點－ 2009 亞洲藝術雙年展」，國立台灣
「台灣國際錄影藝術展總集」，高雄市立美術館，高雄， 台灣
美術館，台中，台灣
「The 7th Annual Carnival of E-creativity」，Sattal
「435 國際藝術村駐村藝術家成果展」，435 國際藝術村，
Estate，比姆塔爾，印度
台北，台灣
「巴西 FILE Rio 國際電子藝術節邀請展」，Oi Futuro， 里約，巴西
獲獎
2011 「光子＋－ 2011 新北市科技藝術國際交流展」，美麗 永安生活館，新北市，台灣 「越域－第六屆數位藝術節」，剝皮寮藝文特區，台北，
2016 台北美術獎，最佳人氣獎及優選，台灣
台灣
第十五屆台新藝術獎，提名，台灣
「Pixilerations [v.8]」，Sol Koffler Gallery，普洛威頓斯，
FILE 國際電子語言藝術節，獲選，巴西
羅德島州，美國
數位藝術表演獎，首獎，台灣
「科隆國際錄影藝術節」，貝魯特，黎巴嫩；布達佩斯，
2015 《小黑在工廠中的一輩子 2》，第 38 屆金穗獎，最佳實
匈牙利；里加，拉脫維亞；
驗片，台灣
2014 台北數位藝術節，入選，台灣
科隆，德國 「微共鳴－後居所的未定」，寶藏巖國際藝術村，台北，
《林水源傳奇第一集》，亞洲數位藝術獎，動態影像
台灣
類入圍，福岡，日本
「百年繁華－台灣漢民文物收藏展」，鳳甲美術館，
台北數位藝術獎，影像作品獲選，台灣
FILE 國際電子語言藝術節，獲選，巴西
台北，台灣 「巴西 FILE 國際電子藝術節」，Sesi 藝廊，聖保羅，
第二屆深圳獨立動畫影展，入圍，中國
2013 ACC 亞洲文化藝術獎，台灣
巴西
ACM SIGGRAPH ASIA，中國
「遊戲中的碎形風景」，寶藏巖國際藝術村，台北，
台北市文化局第 102-1 期美術展覽補助，台灣
台灣 「存在．不存在的城市 I-City」， 台北數位藝術中心，
2012 ACM Multimedia Art Exhibition，不分獎獲選，西班牙
台北，台灣
財團法人國家文化藝術基金會美術類展覽補助，台灣
「Tokyo Frontline」，3331 Arts Chiyoda，東京，日本
國立台灣美術館，全國美展媒體藝術類，入選，台灣
2011 台北市文化局第 100-2 期美術展覽補助，台灣
「台北燈節－公共藝術展」，台北國際藝術村，寶藏巖
美國 Pixilerations 新媒體藝術展，獲選，美國
國際藝術村，台北，台灣 「超時空要塞」，關渡美術館，台北，台灣
德國科隆第七屆國際錄影藝術節，獲選，德國
2010 「串－第五屆台北數位藝術節」，剝皮寮，台北，台灣
個展「再見小工廠系列－工廠肖像」獲台新藝術獎第十
「巴西 FILE Rio 國際電子藝術節邀請展」，Oi Futuro，
屆第四季提名，台灣
里約，巴西
個展「無機城市」獲台新藝術獎第十屆第一季提名，台灣 財團法人國家文化藝術基金會 100-1 期美術類展覽補助，
「第二屆台灣國際錄影藝術展－食托邦」，鳳甲美術館， 台北，台灣
台灣
「城市飄移」，台北當代藝術館，台北，台灣
巴西 FILE 國際電子藝術節錄像藝術，獲選，巴西
「複語．腹語」，光州美術館，光州，韓國
國立台灣美術館數位藝術創作案徵件，獲選，台灣
「巴西 FILE 國際電子藝術節」，Sesi 藝廊，聖保羅， 巴西
高雄獎新媒體類，高雄市立美術館，入選，台灣
2010 個展「測量個人與他方間的距離」台新藝術獎第九屆第三
「ACM SIGGRAPH S.T.」，Siggraph 藝廊，洛杉磯，
季提名，台灣
美國
進入世界系−地球防衛少年
行政院文化建設委員會國際交流補助，台灣
128
Entering Sekaikei – Bokurano
EDUCATION
台北縣政府文化局國際交流補助，台灣 世安基金會美學獎，獲選，台灣
2014-
串－第五屆台北數位藝術節互動藝術類，入選，台灣
Studying for a PhD, Department of Fine Arts, Taipei National University of the Arts, Taipei, Taiwan
第二屆台灣國際錄影藝術展－食托邦錄影，獲選，台灣
ACM SIGGRAPH S.T. 互動藝術，獲選，巴西
2010-2013 Doctoral Program in Art Creation and Theory, Tainan
台北國際藝術博覽會 Made In Taiwan －新人推薦特區，
National University of the Arts, Tainan, Taiwan 2007-2010 MFA in Digital Art and Technology, Taipei National
獲選，台灣
University of the Arts, Taipei, Taiwan
行政院文化建設委員會國際交流補助，獲選，台灣 巴西 FILE 國際電子藝術節互動藝術，獲選，巴西
2000-2005 BFA in Oil Painting, Department of Fine Arts, Taipei
2009 世安基金會美學獎，獲選，台灣
National University of the Arts, Taipei, Taiwan 1997-2000 Graduated from the Department of Arts and Crafts,
桃園縣文化局，桃源創作獎，入選，台灣
435 國際藝術村，駐村藝術，獲選，台灣
Fu-Hsin Trade and Arts School, Taipei, Taiwan
資策會 30 周年 Logo 設計，佳作，台灣 第 27 屆桃園美展攝影，優選，台灣
2008 台中市大墩美展數位藝術類，第三名，台灣
RESIDENCY
朱銘美術館藝術長廊，獲選，台灣 2016
台灣國展油畫，入選，台灣
École des Beaux-Arts, Paris, France Grey Project, Singapore
台北當代水墨雙年展錄影類，優選，台灣 2013
Asian Cultural Council, Tokyo, Kansai, Japan
2009
435 International Art Village, Taipei, Taiwan
典藏 2018 《室內風景》，藝術銀行，台中，台灣
SOLO EXHIBITIONS
《曲水流豬》，藝術銀行，台中，台灣 2018
《水泥廠》，藝術銀行，台中，台灣
“Entering Sekaikei – Bokurano”, Liang Gallery, Taipei, Taiwan
《林水源傳奇 第五集》，藝術銀行，台中，台灣
2016 《畜牲加工廠》，國立台灣美術館，台中，台灣
2016
“Endless Ritual”, Museum of Contemporary Art, Taipei,
2015 《林水源傳奇 第四集》，國立台灣美術館，台中，台灣
Taiwan
2012 《表皮工廠》，國立台灣美術館，台中，台灣
“Invisible Direction”, Grey Project, Singapore “viennacontemporary 2016”, Marx Halle, Vienna, Austria
《再見小工廠》，國立台灣美術館，台中，台灣
2011 《測量個人與他方間的距離》，國立台灣美術館，台中，
“Do You Dream of Electric Sheep? The N-time Destruction Starts Over Again”, Liang Gallery, Taipei, Taiwan
台灣 《表皮工廠》，新北市政府文化局，台北，台灣
1999
2015
“Little Black: Life in the Factory II”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
水彩寫生作品，國父紀念館，台北，台灣 2014
“Art Solo”, Expo Dome, Taipei, Taiwan “Shui Yuan Lin Legend”, Huan Tie Li No. 5, Beijing, China
2013
“Decoding the Heavenly Book”, Hong-gah Museum, Taipei, Taiwan
2012
“Bubble Society”, Chi-Wen Gallery, Taipei, Taiwan
2011
“Sculpture the Heavy Industry”, Treasure Hill Artist Village, Taipei, Taiwan “Goodbye Little Factory Series – Portrait of a Factory”, Chi-
藝術家簡介
129
Biography
2010
2004
Wen Gallery, Taipei, Taiwan
Skopje, Republic of Macedonia; Galerija AŽ Atelieri Žitnjak,
“Epidermis Factory”, National Taiwan Museum of Fine Arts,
Zagreb, Croatia; SCCA – Ljubliana Center for Contemporary
Taichung, Taiwan
Arts, Ljubliana, Slovenia; Art Space Rosalux, Berlin,
“Inorganic City”, Hong-gah Museum, Taipei, Taiwan
Germany; The 36th Asolo Art Film Festival, Asolo, Italy
“Measuring Distances Between the Self and Others”,
“Museum Night 2017 in St. Petersburg – Taiwan Videa2.0”,
National Taiwan Museum of Fine Arts, Taichung, Taiwan
Pushkinskaya 10 Art Center, Museum of Nonconformist
“Light Calligraphy”, Eslite Gallery, Taipei, Taiwan
Art, St. Petersburg, Russia
“Pail Bird – Goodbye My Shadow”, Paint House, Tainan,
“Click Festival – Contemporary Art, Science and Technology
Taiwan
Festival”, Helsingør, Denmark
“Goodbye My Shadow”, 8-1/2 Gallery of the Taipei National 2002
2016
“ACM SIGGRAPH ASIA”, Macau University of Science and
University of the Arts, Taipei, Taiwan
Technology, Macau, China
“The Dissection of Ontology”, South-North Gallery of the
“Festival OVNI”, Nice, France
Taipei National University of the Arts, Taipei, Taiwan
“Kaunas in Art – International Contemporary Art Festival”, Kaunas Gallery, Kaunas, Lithuania “Kuso Project”, University of Nevada, Las Vegas, NV, USA
GROUP EXHIBITIONS
“Kau Pue, Mutual Companionship in Near Future: Folk Art Parade × Design Exhibition”, Soulangh Cultural Park A11
2018
2017
“Video on the Phone”, Polymer, Honggah Museum, Outdoor
Hall, Tainan, Taiwan
Space at BaXian Village, Taipei, Taiwan
“The Return of Analog Poetry”, Digiark, National Taiwan
“Formosa - South Wind Rises : Asia-Pacific Contemporary
Museum of Fine Arts, Taichung, Taiwan
Art Exhibition”, National Taiwan Arts Education Center,
“The Possibility of an Island – Taiwan Biennial 2016”,
Taipie, Taiwan
National Taiwan Museum of Fine Arts, Taichung, Taiwan
“Bric-à-Brac”, Pfizer 630 Flushing Avenue Brooklyn, New
“ISEA 2016: The 22nd International Symposium of
York, NY, Taiwan
Electronic Art”, City University of Hong Kong, Hong Kong,
“Art Basel Hong Kong – Film Sector”, Hong Kong Arts
China
Centre, Hong Kong, China
“Rivers – The Way of Living in Transition / Asia
“Click Festival – Contemporary Art, Science and Technology
Contemporary Art Links”, Gallery 1 at Gwangju Biennale
Festival”, Helsingør, Denmark
Hall, Gwangju, Korea
“8B’s 2nd Bi-Annual Exhibition – ESCAPE 2018: SAKSI”,
“The Person Who Planted Trees”, 21st Century Museum of
First United Building Community Museum, Manila,
Contemporary Art, Kanazawa, Japan
Philippines
“Art16 London”, Olympia Grand, London, UK
“Yuejin Lantern Festival”, Yuejin Yanshui, Tainan, Taiwan
“FILE – Electronic Language International Festival”, Sesi
“Urban Nomadism – 2017 Hangzhou Liangzhu Big
Gallery, São Paulo, Brazil
Roof Moving Image Exhibition”, Liangzhu Culture Village,
“Athens Digital Arts Festival”, Athens, Greece
Liangzhu Culture and Art Center, Hangzhou, China
“C.O.A.M. Taiwan New Media”, Cybele Palace, Complutense
“Negotiating the Future – Asian Art Biennial”, National
University of Madrid, Madrid, Spain
Taiwan Museum of Fine Arts, Taichung, Taiwan
“Art Basel Hong Kong – Film Sector”, agnès b. Cinema –
“The Flying Land”, Quartair, The Netherlands
Hong Kong Arts Centre, Hong Kong, China
“Ars Electronica Festival”, New Cathedral, Linz, Austria
“An Alternative Travelogue”, National Taiwan Museum of
“Art Düsseldorf 2017”, Areal Böhler, Düsseldorf, Germany
Fine Arts, Taichung, Taiwan
“Taiwan Videa 2017 Selection, The Taiwanese Avant-garde
2015
Video Screening Project”, Museum of Contemporary Art,
進入世界系−地球防衛少年
“Art Basel Miami – Film Library”, Miami Beach Convention Center, Miami, FL, USA
130
Entering Sekaikei – Bokurano
“N-Minutes Video Art Festival”, M21, Shanghai, China
Austria
“N-Minutes Video Art Festival”, Chronus Art Center,
“90sec”, Video Art Stonebridge Center, Woodbridge, VA,
Shanghai, China
USA
“The Apocalyptic Sensibility: The New Media Art from
“ASYAAF 2013”, Culture Station Seoul 284, Seoul, Korea
Taiwan”, Taipei Fine Arts Museum, Taipei, Taiwan
“Cutlog NY”, New York, NY, USA
“Hors Pistes Tokyo Film Festival”, Tokyo, Japan
“Trans-ideology: Nostalgia, Supermarket Creative Resource Center”, Berlin, Germany
“Taiwan Digital Arts Exhibition – Whispering”, Deji Plaza, 2012
Nanjing, China
2014
Culture Club, Chongqing, China
Contemporary Art Links”, The Pier-2 Art Center, Kaohsiung,
“The 9th International Video Art Festival in Busan”, Busan,
Taiwan
South Korea
“Art15 London”, Olympia Grand, London, UK
“VAFA International Video Art Festival – China Horizons 1”,
“Pandora”, 21st Century Museum of Contemporary Art,
Orient Foundation, SKY21, Macao, China
Kanazawa, Japan
“Physical Interface”, Taipei Digital Art Center, Taipei, Taiwan
“(Con)temporary Osmosis – Audiovisual Media Festival”,
“Legends in City”, Treasure Hill Artist Village, Taipei, Taiwan
Polymer, Taipei, Taiwan
“Taiwan Biennial”, National Taiwan Museum of Fine Arts,
“Type Motion – Type as Image in Motion”, National Taiwan
Taichung, Taiwan
Museum of Fine Art, Taichung, Taiwan
“ASYAAF 2012”, Culture Station Seoul 284, Seoul, Korea
“Future Media – Art and Technology Forum”, Museum of
“Ambiguous Being”, tamtamART, Berlin, Germany; Kav-16
National Taipei University of Education, Taipei, Taiwan
Gallery, Tel Aviv, Israel; Hong-gah Museum, Taipei, Taiwan
“Cross-Strait Chinese Character Arts Festival”, The Pier-2
“Whatever You Want New Media Show”, Beijing, China
Art Center, Kaohsiung, Taiwan
“A Dialogue with the Space and Time”, National Taiwan
“Ecosysytem – Digital Art Festival”, Taipei, Taiwan
Museum of Fine Arts, Taichung, Taiwan
“The Return of Ghosts”, Hong-gah Museum, Taipei, Taiwan
“Taiwan International Video Art Exhibition”, Kaohsiung
“Buddha on the Beach – Ars Electronica Festival”, Linz,
Museum of Fine Arts, Kaohsiung, Taiwan
Austria
“The 7th Annual Carnival of E-creativity”, Sattal Estate,
“BolognaFiere Shanghai – International Contemporary Art
Bhimtal, India
Exhibition”, Shanghai Exhibition Centre, Shanghai, China
“FILE Rio – Electronic Language International Festival”, Oi Futuro, Rio de Janeiro, Brazil
“The Wornhole Theater”, Kaohsiung Museum of Fine Arts, 2011
Kaohsiung, Taiwan
2013
“Open Sky – Contemporary Art Exhibition”, Chang Jiang Art
“Rivers – The Way of Living in Transition / Asia
“Photon+ – The International Techno Art Exhibition of New
“Asia Contemporary Art Show”, BM Art, Hong Kong, China
Taipei City 2011”, Beauty Forever Living Art Center, New
“Jean Baudrillard – Photography and Password”, Hong-gah
Taipei City, Taiwan
Museum, Taipei, Taiwan
“Cross – The 6th Digital Art Festival Taipei”, Bopiliao
“Schizophrenia Taiwan 2.0”, Transmediale, Collegium
Historic Block, Taipei, Taiwan
Hungaricum Berlin, Berlin, Germany
“Pixilerations [v.8]”, Sol Koffler Gallery, Providence, RL, USA
“Art14 London”, Olympia Grand, London, UK
“Cologne International Video Art Festival”, Beirut, Lebanon; Budapest, Hungary; Riga,
“Schizophrenia Taiwan 2.0”, Festival Les Instants Vidéo,
Latvia; Cologne; Germany
Marseille, France “Schizophrenia Taiwan 2.0”, Cyberfest, Hermitage Museum,
“Indistinct Sympathy”, Treasure Hill Artist Village, Taipei,
St. Petersburg, Russia
Taiwan
“ACM Multimedia”, Barcelona, Spain
“Hundred Years Story”, Hong-gah Museum, Taipei, Taiwan
"Schizophrenia Taiwan 2.0”, Ars Electronica Festival, Linz,
“FILE – Electronic Language International Festival”, Sesi
藝術家簡介
131
Biography
Gallery, São Paulo, Brazil
Award, Motion Graphics Category Finalist, Japan
“Fractals Scenery in Game”, Treasure Hill Artist Village,
FILE – Electronic Language International Festival, Selected,
Taipei, Taiwan
Brazil
“I-City”, Digital Art Center, Taipei, Taiwan
The 2nd Shenzhen Independent Animation Biennale,
“Tokyo Frontline”, 3331 Arts Chiyoda, Tokyo, Japan
Finalist, China
“Taipei Lantern Festival”, Taipei Artist Village, Treasure Hill
2013
Artist Village, Taipei, Taiwan 2010
Asian Cultural Council Awards, Taiwan ACM SIGGRAPH ASIA, China
“Macross”, Kuandu Museum of Arts, Taipei, Taiwan
2012
ACM Multimedia Art Exhibition, Selected, Spain
“Cluster – The 5th Digital Art Festival Taipei”, Bopiliao
2011
Pixilerations [v.8] New Media Fringe Festival, Selected, USA
Historic Block, Taipei, Taiwan
Cologne Off VII – Video in a Global Context, Selected,
“FILE Rio – Electronic Language International Festival”, Oi
Germany
Futuro, Rio de Janeiro, Brazil
FILE – Electronic Language International Festival, Selected,
“The 2nd Taiwan International Video Art Exhibition –
Brazil
Eattopia”, Hong-gah Museum, Taipei, Taiwan
2010
S-An Aesthetics Award, Selected, Taiwan
“The Video Art Exhibition Series on Moca Plaza No.1
ACM SIGGRAPH S.T. Interaction, Selected, Brazil
Floating Cities”, Museum of Contemporary Art, Taipei,
FILE – Electronic Language International Festival, Selected,
Taiwan
Brazil
“Ventriloquized Video – Contemporary Art from Taiwan”,
2009
S-An Aesthetics Award, Selected, Taiwan
Gwangju Museum of Art, Gwangju, Korea “FILE – Electronic Language International Festival”, Sesi
COLLECTIONS
Gallery, São Paulo, Brazil “ACM SIGGRAPH S.T.”, Siggraph Gallery, LA, USA 2009
“Mind as Passion”, Taipei Fine Arts Museum, Taipei, Taiwan
2018
Inside Scenery, Art Bank, Taichung, Taiwan
“Viewpoints and Viewing Points, 2009 Asian Art Biennial”,
The Piggy Song, Art Bank, Taichung, Taiwan
National Taiwan Museum of Fine Arts, Taichung, Taiwan
Cement Factory, Art Bank, Taichung, Taiwan
“Fall Residency Artists Group Exhibition”, 435 International
Shui Yuan Lin Legend – Fifth Episode, Art Bank, Taichung,
Artist Village, Taipei, Taiwan
Taiwan 2016
Livestock in a Factory, National Taiwan Museum of Fine Arts, Taichung, Taiwan
AWARDS AND FUNDING
2015
Shui Yuan Lin Legend – Fourth Episode, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2016
Taipei Arts Awards, Audience Choice Award, Selected,
2012
Taichung, Taiwan
FILE – Electronic Language International Festival, Selected,
Goodbye Little Factory, National Taiwan Museum of Fine
Brazil The 7th Digital Performance Awards, First Prize, Taiwan 2015 2014
Epidermis Factory, National Taiwan Museum of Fine Arts,
Taiwan
Arts, Taichung, Taiwan 2011
Measuring Distance Between the Self and Others, National
Factory Life of Little Black – Second Episode, The 38th
Taiwan Museum of Fine Arts, Taichung, Taiwan
Golden Harvest Award, Best Experimental Film, Taiwan
Epidermis Factory, Cultural Affairs Department of New
Shui Yuan Lin Legend – First Episode, Asia Digital Art
Taipei City Government, Taipei, Taiwan 1999
Watercolour Painting, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
進入世界系−地球防衛少年
132
Entering Sekaikei – Bokurano
藝術家簡介
133
Biography
Page 22-24
Page 25
Page 26
來自某個星系的希望
癒合－重建的記憶 1
團結還是打結
Healing – Reconstructed Memories 1
United Unity
Hope from a Galaxy
有聲彩色錄像 Color video (loop) with sound
installation/01min16sec/2018
壓克力、畫布 Acrylic on canvas 60.5×91cm/2018
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
Page 26
Page 27
Page 28-30
夕陽下奔跑的小馬
遠山那一群的狼
癒合－重建的記憶 2
A Pony Running in a Sunset
The Herd of Wolves on a Distant Mountain
Healing – Reconstructed Memories 2
壓克力、畫布 Acrylic on canvas 65×80cm/2018
installation/01min31sec/2018
壓克力、畫布 Acrylic on canvas 45.5×53cm/2018
有聲彩色錄像 Color video (loop) with sound
Page 31
Page 32
Page 32
女孩和兔子
來自地球
反著飛的蜻蜓
A Girl and a Rabbit
From the Earth
A Flying Backwards Dragon Fly
壓克力、畫布 Acrylic on canvas 60.5×91cm/2018
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
壓克力、畫布 Acrylic on canvas 45.5×53cm/2018
進入世界系−地球防衛少年
136
Entering Sekaikei – Bokurano
Page 33
Page 34-37
Page 38
回來家鄉的士兵
癒合－重建的記憶 3
火星上的山羊
Soldier Returning Home
Healing – Reconstructed Memories 3
A Goat on Mars
壓克力、畫布 Acrylic on canvas 65×80cm/2018
有聲彩色錄像 Color video (loop) with sound
installation/03min27sec/2018
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
Page 38
Page 39
Page 39
混種的歸屬和等待
植物與獸皮
尋找妖怪的地圖
Hybrid Ownership and Expectation
Plants and Animal Skin
Looking for the Map of Monsters
壓克力、畫布 Acrylic on canvas 53×45.5cm/2018
壓克力、畫布 Acrylic on canvas 60.5×91cm/2018
壓克力、畫布 Acrylic on canvas 65×80cm/2018
Page 40-42
Page 43
Page 44
癒合－重建的記憶 4
外星球的實驗室
在月球上等待
Healing – Reconstructed Memories 4
Extraterrestrial Laboratory
Waiting on the Moon
有聲彩色錄像 Color video (loop) with sound
壓克力、畫布 Acrylic on canvas 60.5×91cm/2018
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
installation/01min20sec/2018
圖錄
137
Catalog
Page 44
Page 45
Page 46-49
登上另一個星球
望穿室內的星際
癒合－重建的記憶 5
Boarding Another Planet
Gazing at Stars from Inside
Healing – Reconstructed Memories 5
壓克力、畫布 Acrylic on canvas 45.5×53cm/2018
壓克力、畫布 Acrylic on canvas 65×80cm/2018
有聲彩色錄像 Color video (loop) with sound
Page 50
Page 50
Page 51
installation/03 min20sec/2018
融化的山水
獅子與兔子
第二個月亮消失了
Melting Landscape
A Lion and a Rabbit
The Disappearance of the Second Moon
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
壓克力、畫布 Acrylic on canvas 45.5×53cm/2018
壓克力、畫布 Acrylic on canvas 22.5×15.5cm/2018
Page 51
Page 52-55
Page 56
孤獨的森林
癒合－重建的記憶 6
孤獨的戰役 - 奮戰一擊
A Lonely Forest
Healing – Reconstructed Memories 6
Lonely Battle – Fighting Hard
壓克力、畫布 Acrylic on canvas 65×80cm/2018
有聲彩色錄像 Color video (loop) with sound
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
進入世界系−地球防衛少年
installation/04min05sec/2018
138
Entering Sekaikei – Bokurano
Page 56
圖錄
Page 57
Page 57
狂歡與失落
會飛的少年
拿不走的藏寶圖
Carnival and Loss
A Flying Teenager
Treasure Map Cannot Be Taken Away
壓克力、畫布 Acrylic on canvas 65×80cm/2018
壓克力、畫布 Acrylic on canvas 41×31.5cm/2018
壓克力、畫布 Acrylic on canvas 72.5×53cm/2018
Page 57
Page 58-60
Page 61
說了一個妖怪的故事
癒合－重建的記憶 7
航向未知的希望
Telling a Monster Story
Healing – Reconstructed Memories 7
Directing the Unknown Hope
壓克力、畫布 Acrylic on canvas 53×45.5cm/2018
有聲彩色錄像 Color video (loop) with sound
壓克力、畫布 Acrylic on canvas 65×80cm/2018
installation/01 min20sec/2018
Page 62
Page 62
Page 63
在極地之約
小男孩的海灘
妖怪藏身之境
Meeting in the Arctic
A Little Boy's Beach
Monster's Hiding Territory
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
壓克力、畫布 Acrylic on canvas 53×45.5cm/2018
壓克力、畫布 Acrylic on canvas 72.5×53cm/2018
139
Catalog
Page 64-67
癒合－重建的記憶 8
Page 68
一起出發前往銀河
Page 68
變身為小鳥
Healing – Reconstructed Memories 8
Departing Together to the Milky Way Galaxy
Becoming a Bird
有聲彩色錄像 Color video (loop) with sound
installation/03 min32sec/2018
壓克力、畫布 Acrylic on canvas 直徑 50cm/2018
壓克力、畫布 Acrylic on canvas 45.5×53cm/2018
Page 69
Page 69
Page 72-85
地底回音的秘密基地
母親隱形的愛
孩子
Echoing Secret from the Underground
Mother's Invisible Love
L'Enfant
壓克力、畫布 Acrylic on canvas 72.5×53cm/2018
壓克力、畫布 Acrylic on canvas 65×80cm/2018
有聲彩色錄像 Color video (loop) with sound
Page 86-103
Page 104
走在迷宮裡的孩子
神啊，請拯救我！
installation/10min06sec/2018
Page 106-109
神啊，請拯救我！
A Child Walking in a Maze
God, Please Save Me!
God, Please Save Me!
有聲彩色錄像 Color video (loop) with sound
有聲彩色錄像裝置 Color video(loop) installation
有聲彩色錄像 Color video (loop) with sound
installation/26min/2018
with sound/01min42sec/2018
installation/ 01min42sec/2018
進入世界系−地球防衛少年
140
Entering Sekaikei – Bokurano
Page 110-111
火冰河 Fire with Glacier 燈光裝置 Light installation 尺寸依場地而定 Dimensions variable/2018
圖錄
141
Catalog
STAFF
工作人員／感謝單位 癒合－重建的記憶 (2018)
Martin Honzik ( 奧地利 Austria) Mikael Fock ( 丹麥 Denmark) 吳宗祐 Derjk Wu 楊忠衡 Mel Yang 陳愷璜 Kai-Huang Chen 羅禾淋 He-Lin Luo 嚴睿淇 Ruei Yen 謝鴻廷 Hong-Ting Xie 陳宇謙 Yu-Chien Chen 李浩祥 Shawn Lee 張靖盈 Jing-Ying Zhang 朱家聖 Chia-Sheng Chu 方意如 Yi-Ju Fang 黃芷媚 Mayy Huang 詹媛安 Yuan-An Chan 林經堯 Jin-Yao Lin 黃昱琪 Yu-Ci Huang 黃郁傑 Yu-Jie Huang 蔡遵弘 Tsun-Hung Tsai 施登騰 Deng-Teng Shih 吳聖村 Tsun-Sheng Hawk Wu 陳姵潔 Pei-Chieh Chen
Owen Robertson ( 蘇格蘭 Scotland) Ana Goidea ( 羅馬尼亞 Romania) Giulia Consonni ( 義大利 Italy) Anne-kristine Selvejer ( 丹麥 Denmark) Rune Bastian Barrett ( 丹麥 Denmark) Jay Lin ( 台灣 Taiwan) Imad Mahdi ( 庫德族 Kurd) Laura Lygaityte ( 立陶宛 Lithuania)
神啊，請拯救我 ! (2018) Luis Gomez ( 厄瓜多 Ecuador) Lavanya Kallumadanda Achaiah ( 印度 India) Jose Tuomaala ( 芬蘭 Finland) Tey, Rachel Cruz ( 菲律賓 Philippines) Athicha Petchsantad ( 泰國 Thailand) Jamahl K. Bonds ( 美國 America) Savadogo. W. Abdoul ( 布吉納法索 Burkina Faso)
文化部 the Ministry of Culture of the Republic of China 廣藝基金會 Quanta Arts Foundation 林茲電子藝術中心 Ars Electronica 尊彩藝術中心 Liang Gallery 廣達電腦 Quanta Computer 丹麥埃爾西諾文化庭院 Kulturværftet
進入世界系−地球防衛少年
142
Entering Sekaikei – Bokurano
工作人員 / 感謝單位
143
Staff
發行人 余彥良 總經理 陳菁螢 出版者 尊彩國際藝術有限公司 策劃編輯 陳映芃 編務協力 修天容、徐育婷、李玉珊 翻譯 白斐嵐、李樂蓉 展場執行 洪鼎鈞、盧樂道 燈光 何仲昌 設計 劉銘維 攝影 黃嘉達 印刷 日動藝術印刷有限公司 出版 2018 年 12 月初版
Executive Director YU Yen-Liang Director Claudia CHEN Publisher Liang Gallery Co., Ltd Editor CHEN Ying-Peng Editor Assistants Daisy SHIOU, HSU Yuting, Alison LEE Translation Siraya PAI, Laura LYGAITYTE Display Executive HONG Ding-Jiun, LU Le-Dau Lighting HO Chung-Chang Designer LIU Ming-Wei Photographer JD Printing Jih-Tung Art Printing Co., Ltd Publishing Date First Edition, December, 2018 ISBN 978-986-95903-8-9