席時斌在我們的馬車上製作一座星盤 HSI Shih-Pin | A Horoscope Built Out of Our Chariots by Liang Gallery

席時斌

Hsi Shih-Pin

Artist Statement

文/ 席時斌

柏拉圖在《菲德羅篇》寫到，神跟人的靈魂都是不朽的，運用形象比喻成雙馬拉的馬車。不同的是神的馬，兩匹都是好的，而人的，一匹良馬，另一匹劣馬。宙斯帶領眾神跟精靈駕著兩匹飛馬拉著馬車，直上天穹絕頂，那裡是真正的居所，沒有顏色、沒有形狀、不可觸摸。凡人則受劣馬的牽制，時升時降，困頓於憂攘中，終究羽翼受損而墜落地面，所有這些靈魂需要一萬年的輪迴才能恢復羽翼，才能回到它的出發點。

小學暑假，母親工作忙碌把我送到外婆家，旁邊有正開採的煤礦，房子前是鐵道，在下面就是懸崖河谷，鐵路建在河谷邊的山壁，過了一段，有幾支鋼鐵柱子立起的明隧道，道頂上接了些落石，滿滿蕨類跟草。我們都會爬下懸崖，崖邊有個乾了的大排水孔，管它叫秘密洞。夏天很熱，我們就躲在洞裡冰涼的午睡。

有天，一條大蛇爬進家裡，舅舅把它打死，丟到那個洞裡，從此我再也沒去過那個洞。

那時候的我，很會說故事，老師懶得上課的時候，就叫我一人在黑板上畫畫，說個故事給全班聽。

A Horoscope Built Out of Our Chriots

Article/ Hsi Shih-Pin In his dialogue “Phaedrus”, Plato compares the souls of gods and men, both immortal, to chariots pulled by two horses each. While both horses of a god are good, a man’s soul is pulled by a good horse and a bad one. Zeus leads a procession of gods’ and fairies’ chariots, each pulled by two flying horses, to the pinnacle of heaven: their colorless, shapeless and intangible dwelling place. On the contrary, all men are impeded by the uncontrollable ups and downs of a bad horse that plunge them into a worrisome chaos. Eventually, men’s souls fall to earth because of the broken wings; it takes a 10,000-year process of reincarnation for the wings to grow back and take them to where they started.

As a grade-school student, I spent a summer at my grandmother’s because my mom was too busy to look after me. There was an active coal mine by my grandma’s house, which was facing a railroad perched on a river cliff, not far away from a tunnel lined by several steel columns. Covering the top of the tunnel were some fallen rocks besides a blanket of fern and grass. On a sweltering summer day, we would always climb down the cliff to take a nap in a huge, cool and dried-up drainage hole, known as the “secret hole”.

And yet, I have never been to that hole ever since my uncle threw into it a trespassing serpent he killed in the house.

At the time, I was quite a good storyteller. Whenever my teacher was too tired to teach, she would let me tell stories to the class, accompanied by drawings on the blackboard.

Essay

關於「記憶之宮」的建造—

席時斌的「在我們的馬車上製作一座星盤」

文/ 簡子傑專業藝評人

我們看到馬，不是尋常的馬，而是呈現出戲劇性動勢的馬，牠們拖曳著歪斜得近乎翻覆的大我們看到馬，不是尋常的馬，而是呈現出戲劇性動勢的馬，牠們拖曳著歪斜得近乎翻覆的大車輪，顛簸地正要往某個終點前進。但我們絕不會誤以為，這輛馬車將會抵達任何真實地方，車輪，顛簸地正要往某個終點前進。但我們絕不會誤以為，這輛馬車將會抵達任何真實地方，因為在原先應當披散鬃毛的頸背上，現在豎起了成排的金屬飾物，這些飾物的頂端尖銳彷彿刀因為在原先應當披散鬃毛的頸背上，現在豎起了成排的金屬飾物，這些飾物的頂端尖銳彷彿刀刃，卻又鏤刻著近似宗教儀仗的紋飾，儘管在展場並不特別劇場化的照明中，仍兀自閃爍著一刃，卻又鏤刻著近似宗教儀仗的紋飾，儘管在展場並不特別劇場化的照明中，仍兀自閃爍著一種極為刺眼的人工光芒，但這種人工性並不單單源自材質特性，而是這輛馬車上又伴隨著眾多種極為刺眼的人工光芒，但這種人工性並不單單源自材質特性，而是這輛馬車上又伴隨著眾多脈絡不可考的裝飾紋樣，於是這個充滿力量的動物形象作品，同時又處在由各種象徵性細節堆脈絡不可考的裝飾紋樣，於是這個充滿力量的動物形象作品，同時又處在由各種象徵性細節堆疊而成的奇詭聲勢中。疊而成的奇詭聲勢中。這是在席時斌個展「在我們的馬車上製作一座星盤」中所展出的新作《模型：阿濕波》。它這是在席時斌個展「在我們的馬車上製作一座星盤」中所展出的新作《模型：阿濕波》。它們有著難以詮釋的魅力，或許正因為是與真馬等比例的造型物，那凌駕於人的巨型尺度，已然們有著難以詮釋的魅力，或許正因為是與真馬等比例的造型物，那凌駕於人的巨型尺度，已然足以撼動觀者的感官，此外，我們也很容易就為這些繁複造型所折服，而不禁想要湊近，查看足以撼動觀者的感官，此外，我們也很容易就為這些繁複造型所折服，而不禁想要湊近，查看它們的細節。它們的細節。《模型：阿濕波》，如同在這次個展中許多其他作品，至少將帶給觀者某種雙重的觀看層《模型：阿濕波》，如同在這次個展中許多其他作品，至少將帶給觀者某種雙重的觀看層次：一者，來自官能，這些主題各異的造型物，先是拉開了一個與日常生活經驗相異的距離，次：一者，來自官能，這些主題各異的造型物，先是拉開了一個與日常生活經驗相異的距離，那些不常得見的生物尺度將產生某種觸情（affect）效果；再者，當我們細細端詳這些物件，那些不常得見的生物尺度將產生某種觸情（affect）效果；再者，當我們細細端詳這些物件，它們又有著極為繁複的細節——不僅是這些紋樣細節，它們同時又擁有令人好奇的構造，如同它們又有著極為繁複的細節——不僅是這些紋樣細節，它們同時又擁有令人好奇的構造，如同一架構造複雜的機器，它們促使我們想認識，一部認識機器，召喚我們的知性。一架構造複雜的機器，它們促使我們想認識，一部認識機器，召喚我們的知性。

A Horoscope Built Out of Our Chriots

馬＃2：人馬 2012 鉛筆、紙、粉彩 110×158 cm

席時斌的文藝復興席時斌的文藝復興

在席時斌為「在我們的馬車上製作一座星盤」所寫的計畫書中，有一段極為關鍵的第三人稱在席時斌為「在我們的馬車上製作一座星盤」所寫的計畫書中，有一段極為關鍵的第三人稱敘述：敘述：

他準備將他記憶之宮的第一個意象建築在「馬」這個動物來投射他的想像與慾望。為他準備將他記憶之宮的第一個意象建築在「馬」這個動物來投射他的想像與慾望。為了讓自己更清晰地安置，他最先在想像中扮演了外科醫生把這隻駿馬給支解及研究起了讓自己更清晰地安置，他最先在想像中扮演了外科醫生把這隻駿馬給支解及研究起來，最先被記錄起來的是骨骼與骨骼之間的排列位置，其次是馬皮及鬃毛。部分肌肉來，最先被記錄起來的是骨骼與骨骼之間的排列位置，其次是馬皮及鬃毛。部分肌肉跟內臟被他丟棄，用來取代的一些其他的動物或人類的構造。跟內臟被他丟棄，用來取代的一些其他的動物或人類的構造。1 1

我們將在下面再回到「記憶之宮」，總之，「馬」作為被選定的表現主題，藝術家清楚地表明我們將在下面再回到「記憶之宮」，總之，「馬」作為被選定的表現主題，藝術家清楚地表明是為了投射其「想像與慾望」，具體的方法則是將自己扮演成外科醫生，進而在想像的層次去是為了投射其「想像與慾望」，具體的方法則是將自己扮演成外科醫生，進而在想像的層次去「支解」這頭獸，透過各種研究與紀錄，以認識馬的構造——這整個過程，看似雷同於文藝復「支解」這頭獸，透過各種研究與紀錄，以認識馬的構造——這整個過程，看似雷同於文藝復興時代，藝術家為了表現人體，進而去解剖屍體的知性狂熱。興時代，藝術家為了表現人體，進而去解剖屍體的知性狂熱。事實上，席時斌個展中所展出的幾件平面作品，諸如源自2003年他大學修習建築時的《馬事實上，席時斌個展中所展出的幾件平面作品，諸如源自2003年他大學修習建築時的《馬＃2：人馬》，便已透露這種帶著知性狂熱，這或許可以視為某種個人式的文藝復興：一方＃2：人馬》，便已透露這種帶著知性狂熱，這或許可以視為某種個人式的文藝復興：一方面，在這個現代性仍未降臨的時代中，理性仍未徹底地將世界分化各個獨立部門，也因此，精面，在這個現代性仍未降臨的時代中，理性仍未徹底地將世界分化各個獨立部門，也因此，精神氛圍依舊瀰漫著中世紀的魔法遺緒，這個屬於神秘的世界仍允許不可見的迷魅力量；另一方神氛圍依舊瀰漫著中世紀的魔法遺緒，這個屬於神秘的世界仍允許不可見的迷魅力量；另一方

1. 引自去年席時斌寄給我的個展計劃書，未刊。

Essay

面，對於新世界的發現，又夾雜著一個有待被重新詮釋的古典律則，這個律則以一張理性的面面，對於新世界的發現，又夾雜著一個有待被重新詮釋的古典律則，這個律則以一張理性的面孔在那看似井然有序的透視法中獲得體現，它一邊抹平神秘，解消迷魅，一邊卻仍駐留在難以孔在那看似井然有序的透視法中獲得體現，它一邊抹平神秘，解消迷魅，一邊卻仍駐留在難以解釋的闇影。如同前面我們已經提到的觸情與認識的雙重觀看層次，如果說這是觀者的事，對解釋的闇影。如同前面我們已經提到的觸情與認識的雙重觀看層次，如果說這是觀者的事，對席時斌的創作來說，則是魔法與古典的雙重實踐層次。席時斌的創作來說，則是魔法與古典的雙重實踐層次。 2 2 席時斌對於古典製圖學那不合時宜的著迷，席時斌對於古典製圖學那不合時宜的著迷，也可視為這種雙重實踐的例證。他的平面作品也可視為這種雙重實踐的例證。他的平面作品

仰賴手工，並亟須精確的透視法計畫，幾乎在每一幅平面作品中，我們仍然可以察覺那絕大部仰賴手工，並亟須精確的透視法計畫，幾乎在每一幅平面作品中，我們仍然可以察覺那絕大部份已被有色壓克力板所遮蓋的參考格線。份已被有色壓克力板所遮蓋的參考格線。 3 3 而之所以選用馬作為主題，依照藝術家自己的解釋，同樣源自大學時代唸建築的影響，在這而之所以選用馬作為主題，依照藝術家自己的解釋，同樣源自大學時代唸建築的影響，在

裡，馬的構造既是建築與城市的構造，也是生命體的構造，以作為製圖學對象的構造本身為支這裡，馬的構造既是建築與城市的構造，也是生命體的構造，以作為製圖學對象的構造本身為點，藝術家因而得以嫁接不同的物種或範疇，例如，以人體取代馬的肢體——而席時斌的真正支點，藝術家因而得以嫁接不同的物種或範疇，例如，以人體取代馬的肢體——而席時斌的真 2.

魔法，除了這種不尋常的嫁接，以及製圖學形式所顯現的魅力，或許更為重要的，是作為方法正魔法，除了這種不尋常的嫁接，以及製圖學形式所顯現的魅力，或許更為重要的，是作為方

這裡我所謂的「不合時

的製圖學也暗示了實現的某種潛在性，無論是從平面躍向立體，或是其他對理性而言幾乎不可法的製圖學也暗示了實現的某種潛在性，無論是從平面躍向立體，或是其他對理性而言幾乎不

宜」，係相較於現今早已數位化的製圖技術，這種

能的藝術—轉換。可能的藝術—轉換。

手操作的製圖技巧，在今天已接近某種昔日傳說。 3.

關於「記憶之宮」關於「記憶之宮」

以下關於藝術家的自述，皆出自筆者偕同張晴文在 2012年6月26日所進行的訪談，將不再註解。

「記憶之宮」可以被視為席時斌的藝術——轉換的關鍵詞。這個詞，曾經被藝術家串接至史「記憶之宮」可以被視為席時斌的藝術——轉換的關鍵詞。這個詞，曾經被藝術家串接至史學家史景遷的《利瑪竇的記憶之宮》，在這本歷史專題書中，「記憶術」先是被界定成一種源學家史景遷的《利瑪竇的記憶之宮》，在這本歷史專題書中，「記憶術」先是被界定成一種源

A Horoscope Built Out of Our Chriots

模型：外婆家的奧林帕斯 2012 不鏽鋼、鋁合金、木料、漆 250×720×240 cm

自古希臘時代，透過場所經驗來加深記憶的方法：「對於每一件我們希望銘記的東西，都應該自古希臘時代，透過場所經驗來加深記憶的方法：「對於每一件我們希望銘記的東西，都應該賦予其一個形象，並給它分派一個場所，使它能安靜地存放在那裡，直至我們準備借助記憶的賦予其一個形象，並給它分派一個場所，使它能安靜地存放在那裡，直至我們準備借助記憶的 4 方法來使它們重新顯現」。方法來使它們重新顯現」。4

換言之，無論是具體事物或抽象概念，在這座記憶之宮中，皆會先轉變為某種形象，而它們換言之，無論是具體事物或抽象概念，在這座記憶之宮中，皆會先轉變為某種形象，而它們之所以能深深烙印在人的腦海中，更重要的是，還是形象與形象間的次序，場所經驗，也就是之所以能深深烙印在人的腦海中，更重要的是，還是形象與形象間的次序，場所經驗，也就是賦予它們相對位置的次序——無疑地，我們之所以會在「在我們的馬車上製作一座星盤」中，賦予它們相對位置的次序——無疑地，我們之所以會在「在我們的馬車上製作一座星盤」中，感知到這些力量與奇詭的聲勢，固然在於藝術家恪守的藝術——轉換準則，在這裡，它更像一感知到這些力量與奇詭的聲勢，固然在於藝術家恪守的藝術——轉換準則，在這裡，它更像一套整序了所有作品的主觀命令：它們被擺在這裡而不是那裡，其間之所以形成了一種在其他當套整序了所有作品的主觀命令：它們被擺在這裡而不是那裡，其間之所以形成了一種在其他當代藝術展場中少見的劇場式氛圍，正是來自「記憶之宮」這獨特又主觀的空間部署原則，至代藝術展場中少見的劇場式氛圍，正是來自「記憶之宮」這獨特又主觀的空間部署原則，至少，對席時斌而言，是為了抵達那個將恢復對它的記憶的終點。少，對席時斌而言，是為了抵達那個將恢復對它的記憶的終點。這是些什麼記憶？訪談中，藝術家述及諸多童年回憶，諸如對於碎片形狀的偏好係源自母親這是些什麼記憶？訪談中，藝術家述及諸多童年回憶，諸如對於碎片形狀的偏好係源自母親從事裁縫工作時的幼年生活場景；而在《模型：外婆家的奧林帕斯》中，以哥德式教堂為原型從事裁縫工作時的幼年生活場景；而在《模型：外婆家的奧林帕斯》中，以哥德式教堂為原型的不銹鋼造型物下方，那蜿蜒伸展的軌道，則召喚著席時斌小時暑假回外婆家時，在平溪的火的不銹鋼造型物下方，那蜿蜒伸展的軌道，則召喚著席時斌小時暑假回外婆家時，在平溪的火

車明隧道—鐵軌上的漫遊經驗。車明隧道—鐵軌上的漫遊經驗。

見史景遷（Jonathan D.

實則，儘管這些有著銳利外型的作品看似疏離，卻都曾經歷一個通向藝術家個人記憶的抒情實則，儘管這些有著銳利外型的作品看似疏離，卻都曾經歷一個通向藝術家個人記憶的抒情轉折點，雖然觀者無從知曉那些童年回憶的本然樣貌，但似也因為如此的記憶構造方法，我們轉折點，雖然觀者無從知曉那些童年回憶的本然樣貌，但似也因為如此的記憶構造方法，我們總是能感受到這些繁複紋飾所具有的象徵性力道——對於那些曾經飽足、如今已逝去的種種，總是能感受到這些繁複紋飾所具有的象徵性力道——對於那些曾經飽足、如今已逝去的種種，藝術家不僅透過象徵鋪述的方式予以重組，甚而形成了一個其意義性已超越原初痛失對象的超藝術家不僅透過象徵鋪述的方式予以重組，甚而形成了一個其意義性已超越原初痛失對象的超

S p e n c e ），陳恆、梅義征譯，《利瑪竇的記憶之宮：當東方遇到西方》（The Memory Palace of Matteo Ricci），上海：上海遠東，2005，頁4。

Essay

馬＃5：女王 2012 鉛筆、紙、粉彩 110×237 cm

5 符號，最終並「賦予緘默及無聲事物（古代或自然的魔）某種指義」。符號，最終並「賦予緘默及無聲事物（古代或自然的魔）某種指義」。5

作為神性酬答的記憶術作為神性酬答的記憶術這些超出個人回憶的層面，也讓我們回到那充滿想像力的「記憶之宮」，席時斌曾轉述一則這些超出個人回憶的層面，也讓我們回到那充滿想像力的「記憶之宮」，席時斌曾轉述一則記憶術如何源起的故事，出自法蘭西絲．葉茲（Frances 記憶術如何源起的故事，出自法蘭西絲．葉茲（Frances A. A. Yates）的《記憶之術》： Yates）的《記憶之術》：

塞撒利（Thessaly）的一位名叫斯寇帕（Scopas）的貴族賓客，來賓中的詩人——凱塞撒利（Thessaly）的一位名叫斯寇帕（Scopas）的貴族賓客，來賓中的詩人——凱 5. 見克里斯德瓦（Julia Kristeva）著，林惠玲譯，《黑太陽：抑鬱症與憂鬱》(Soleil

noir:

Dépression et mélancolie)，台北：遠流，2008，頁 121-124。

奧斯的賽莫尼底斯（Simonides 奧斯的賽莫尼底斯（Simonides of of Ceos）——吟了一首詩向主人致敬，這詩中有一段讚美 Ceos）——吟了一首詩向主人致敬，這詩中有一段讚美了天神宙斯的雙胞胎私生子卡斯特（Castor）與波魯克斯（Pollux）。斯寇帕很小氣了天神宙斯的雙胞胎私生子卡斯特（Castor）與波魯克斯（Pollux）。斯寇帕很小氣地告訴賽莫尼底斯，原先說好的吟詩酬勞只能付一半，另一半應該去找那對雙胞胎神地告訴賽莫尼底斯，原先說好的吟詩酬勞只能付一半，另一半應該去找那對雙胞胎神祈去要。稍後，有人通報，宴客廳外面有兩個年輕男子要見賽莫尼底斯。賽莫尼底斯祈去要。稍後，有人通報，宴客廳外面有兩個年輕男子要見賽莫尼底斯。賽莫尼底斯便離席走出廳外，卻沒看見人。就在他走出去的這個時候，宴客廳的屋頂塌下來，把便離席走出廳外，卻沒看見人。就在他走出去的這個時候，宴客廳的屋頂塌下來，把

斯寇帕和所有客人都壓死了；屍體個個血肉糢糊，來收屍的親友都認不出誰是誰。可斯寇帕和所有客人都壓死了；屍體個個血肉糢糊，來收屍的親友都認不出誰是誰。可

見法蘭西絲．葉茲

是，賽莫尼底斯記得客人們在宴席上的座次，所以能根據座位告訴收屍者哪一個是他是，賽莫尼底斯記得客人們在宴席上的座次，所以能根據座位告訴收屍者哪一個是他

（Frances A. Yates），薛絢譯，《記憶之術》

6 們的親人。們的親人。6

（The Arts of Memory），台北：大塊文化，2007，頁13。

故事中的賽莫尼底斯因為能依座次記得賓客名字，而被視為記憶術始祖，值得注意的，在這故事中的賽莫尼底斯因為能依座次記得賓客名字，而被視為記憶術始祖，值得注意的，在這

A Horoscope Built Out of Our Chriots

裡，記憶術的起源，不僅與某種神性力量的遭遇有關，更是一種以他人之死為代價的酬答，死裡，記憶術的起源，不僅與某種神性力量的遭遇有關，更是一種以他人之死為代價的酬答，死亡如同獻祭，記憶術因而被賦予了通往神之國度的鑰匙。亡如同獻祭，記憶術因而被賦予了通往神之國度的鑰匙。另一方面，根據史景遷在《利瑪竇的記憶之宮》中所表明的觀點，歐洲在中世紀乃至文藝復另一方面，根據史景遷在《利瑪竇的記憶之宮》中所表明的觀點，歐洲在中世紀乃至文藝復興那即將轉入現代性的歷史中，傳衍自中世紀的記憶術，也涉及了一種介乎神性與魔性的曖昧興那即將轉入現代性的歷史中，傳衍自中世紀的記憶術，也涉及了一種介乎神性與魔性的曖昧地帶。至少在利瑪竇成長階段的歐洲，記憶術經常被與占星術、煉金術等傳統神秘力量聯想在地帶。至少在利瑪竇成長階段的歐洲，記憶術經常被與占星術、煉金術等傳統神秘力量聯想在一起，而根據史學家的詮釋，耶穌會傳教士利瑪竇的如意算盤很可能是這樣：藉著向中國朝臣一起，而根據史學家的詮釋，耶穌會傳教士利瑪竇的如意算盤很可能是這樣：藉著向中國朝臣展示其驚人的記憶之術，或許將使得蠻族產生改奉基督教的意願。展示其驚人的記憶之術，或許將使得蠻族產生改奉基督教的意願。為了宣揚教義的實際目的，利瑪竇著述了傳授記憶術的中文教本，這個教本為史景遷之於東為了宣揚教義的實際目的，利瑪竇著述了傳授記憶術的中文教本，這個教本為史景遷之於東西方文化交會的歷史性時刻提供了註記，然而，也正是這位傳教士的「記憶之宮」，不僅成為西方文化交會的歷史性時刻提供了註記，然而，也正是這位傳教士的「記憶之宮」，不僅成為跨文化歷史研究的重要參照，這些涉及神或魔性、想像力與記憶的敘述，也在藝術家的藝術作跨文化歷史研究的重要參照，這些涉及神或魔性、想像力與記憶的敘述，也在藝術家的藝術作品中，扮演了相當關鍵的角色——始於個人記憶的縫合，這些個人記憶終究碰觸了生與死、神品中，扮演了相當關鍵的角色——始於個人記憶的縫合，這些個人記憶終究碰觸了生與死、神性與痛失悼亡的魔性，席時斌這座充滿個人印記的記憶之宮，其後竟也補綴出一幅凌駕回憶而性與痛失悼亡的魔性，席時斌這座充滿個人印記的記憶之宮，其後竟也補綴出一幅凌駕回憶而飽脹著性與死亡的慾望場景。飽脹著性與死亡的慾望場景。

慾望場景與秘密孔徑慾望場景與秘密孔徑我們注意到，《馬＃2：人馬》有個相對人的尺度而言的巨大陽具，或是在《馬＃5：女王》我們注意到，《馬＃2：人馬》有個相對人的尺度而言的巨大陽具，或是在《馬＃5：女王》一作中，那到處顯露生殖與死亡的象徵：戴著面具那露出乳房的女性形象，正摟著一名體型過一作中，那到處顯露生殖與死亡的象徵：戴著面具那露出乳房的女性形象，正摟著一名體型過

Essay

小鳥入聖堂 2012 鉛筆、紙、紅色壓克力 110×79 cm

大而眼神凝滯的嬰孩，側倚在女性裙擺上的則是一個人類頭骨——性器官、哺育嬰兒的乳房，大而眼神凝滯的嬰孩，側倚在女性裙擺上的則是一個人類頭骨——性器官、哺育嬰兒的乳房，與明顯的死亡象徵，彼此不尋常地彼此裂解，甚至形象自身亦經歷著類似的裂解作用：女性頭與明顯的死亡象徵，彼此不尋常地彼此裂解，甚至形象自身亦經歷著類似的裂解作用：女性頭部延展出羊頭，而佔據畫面右側的則是彷彿在液態中漂浮的莫名脊椎生物骨骸，這些不斷出現部延展出羊頭，而佔據畫面右側的則是彷彿在液態中漂浮的莫名脊椎生物骨骸，這些不斷出現並異變的有機體殘塊，很明顯地重複著性與死亡象徵，依照巴岱伊（George Bataille, Bataille, 1897-1962） 1897-1962）並異變的有機體殘塊，很明顯地重複著性與死亡象徵，依照巴岱伊（George 之於相關主題的描繪，性與死亡本為一體兩面：「性交高潮痙攣後的虛脫被稱為『小死』（la 之於相關主題的描繪，性與死亡本為一體兩面：「性交高潮痙攣後的虛脫被稱為『小死』（la petite petite mort），對人類而言，死亡永遠象徵著波濤洶湧後的退潮，不過這不僅僅是遙遠的類比 mort），對人類而言，死亡永遠象徵著波濤洶湧後的退潮，不過這不僅僅是遙遠的類比而已。我們永遠不應忘記生物的繁殖與死亡緊緊相扣」。而已。我們永遠不應忘記生物的繁殖與死亡緊緊相扣」。77 如同最早的引文已然提及，藝術家透過馬投射了「想像與慾望」，我們已經回答了想像的問如同最早的引文已然提及，藝術家透過馬投射了「想像與慾望」，我們已經回答了想像的問題，但這是什麼樣的慾望？訪談中席時斌曾如此表述：「馬很性感，帶著情慾，又很科學。牠題，但這是什麼樣的慾望？訪談中席時斌曾如此表述：「馬很性感，帶著情慾，又很科學。牠像一部機器，肉體和骨骼透露著性感」。像一部機器，肉體和骨骼透露著性感」。這種透過拆解或自我裂變的肉體與骨骼所展示的性感，被描述成一部機器，無疑地指向了某這種透過拆解或自我裂變的肉體與骨骼所展示的性感，被描述成一部機器，無疑地指向了某 7. 見喬治．巴岱伊（George

種戀物——依照精神分析式的觀點，正因為慾望對象的匱缺，慾望轉向投射於那溢散著死亡陰種戀物——依照精神分析式的觀點，正因為慾望對象的匱缺，慾望轉向投射於那溢散著死亡陰

Bataille）著，賴守正譯，

影的物，此外，物還必須是一些不能被整合進象徵秩序的物，它們是不合時宜的剩餘，雖然使影的物，此外，物還必須是一些不能被整合進象徵秩序的物，它們是不合時宜的剩餘，雖然使

《情色論》(L'érotisme)，台北：聯經，2012，頁

得主體重獲窺探真實層的秘密孔徑，卻也經常透過物自身的反向凝視，因而吞噬了主體——為得主體重獲窺探真實層的秘密孔徑，卻也經常透過物自身的反向凝視，因而吞噬了主體——為

155。

了避免主體為這由物發動的凝視中崩毀，解套辦法就只能藉由不斷地移置，將物移置到一個與了避免主體為這由物發動的凝視中崩毀，解套辦法就只能藉由不斷地移置，將物移置到一個與

其性質相異的處所，諸如一部認識機器，諸如一個秘密孔徑，它將通往一個語言能夠再度捕獲其性質相異的處所，諸如一部認識機器，諸如一個秘密孔徑，它將通往一個語言能夠再度捕獲

這些關於痛失悼亡的憂鬱症╱抑鬱症的觀點，我主要參考克里斯德瓦的《黑太陽》，尤其是「第二章話語的存活與消亡」。

它、卻又不會任其擺佈的象徵世界。它、卻又不會任其擺佈的象徵世界。88 或許正是為了製作這個得以使其全身而退的秘密孔徑，席時斌才將這次個展命名為「在我們或許正是為了製作這個得以使其全身而退的秘密孔徑，席時斌才將這次個展命名為「在我們的馬車上製作一座星盤」。這個展覽標題，同樣出自史景遷，但史學家敘述的對象卻是法國人的馬車上製作一座星盤」。這個展覽標題，同樣出自史景遷，但史學家敘述的對象卻是法國人

A Horoscope Built Out of Our Chriots

文主義文學家蒙田（Michel 文主義文學家蒙田（Michel Eyquem Eyquem de de Montaigne, Montaigne, 1533-1592），這是一則關於昔日哲人在 1533-1592），這是一則關於昔日哲人在大城市逛窯子的故事：大城市逛窯子的故事：

蒙田於1581年在旅居羅馬其間，印象最深的是妓女的無處不在。他敘述道，乘坐馬車蒙田於1581年在旅居羅馬其間，印象最深的是妓女的無處不在。他敘述道，乘坐馬車出行或在羅馬城裡邊溜達邊看妓女是羅馬人度過休閒時光的主要方式。妓女們在窗口出行或在羅馬城裡邊溜達邊看妓女是羅馬人度過休閒時光的主要方式。妓女們在窗口或陽台上展示著自己，「其方式如此具有欺騙性，致使我經常對她們如此吸引我的眼或陽台上展示著自己，「其方式如此具有欺騙性，致使我經常對她們如此吸引我的眼球而驚訝不已。我經常一時衝動，跳下馬背，讓她們為我打開門，充滿羨慕地欣賞她球而驚訝不已。我經常一時衝動，跳下馬背，讓她們為我打開門，充滿羨慕地欣賞她們打扮得比實際要漂亮許多的模樣」。其他羅馬人為了欣賞妓女經常在馬車車廂中挖們打扮得比實際要漂亮許多的模樣」。其他羅馬人為了欣賞妓女經常在馬車車廂中挖一個洞眼，用一個羅馬教士的話叫「觀星洞」，「就像在我們的馬車上製造星盤那一個洞眼，用一個羅馬教士的話叫「觀星洞」，「就像在我們的馬車上製造星盤那樣」。蒙田對這種令人捧腹的文字遊戲十分欣賞。樣」。蒙田對這種令人捧腹的文字遊戲十分欣賞。99

為了「欣賞妓女」，羅馬人在車廂內挖了個洞，透過這個被教士稱為「觀星洞」的窺視孔進行為了「欣賞妓女」，羅馬人在車廂內挖了個洞，透過這個被教士稱為「觀星洞」的窺視孔進行意淫，以延遲那些欺騙性的幻見，蒙田則以一張訕笑的促狹臉孔，帶著「我能理解」因而寬宥意淫，以延遲那些欺騙性的幻見，蒙田則以一張訕笑的促狹臉孔，帶著「我能理解」因而寬宥有時的溫暖，對整件事輕鬆以待：「就像在我們的馬車上製造星盤那樣」——窺淫的慾望場景有時的溫暖，對整件事輕鬆以待：「就像在我們的馬車上製造星盤那樣」——窺淫的慾望場景因而被移置到一座星象觀測的天文台。因而被移置到一座星象觀測的天文台。也許，正是這般的自我解嘲態度，終於緩解了席時斌在如同骨骸殘肢的城市構造中，總是歷也許，正是這般的自我解嘲態度，終於緩解了席時斌在如同骨骸殘肢的城市構造中，總是歷歷在目的死亡與慾望之無盡鬥爭。在這裡，觸情與認識、魔法與古典、機體與機械，在不斷重歷在目的死亡與慾望之無盡鬥爭。在這裡，觸情與認識、魔法與古典、機體與機械，在不斷重新補綴成網的回憶路途上，雖然忽然幽暗忽然光亮，經由秘密孔徑的移置，卻依然為一座記憶新補綴成網的回憶路途上，雖然忽然幽暗忽然光亮，經由秘密孔徑的移置，卻依然為一座記憶之宮的建造，提供了日後安頓它們的觀測座標。之宮的建造，提供了日後安頓它們的觀測座標。

9. 同註4引書，頁288-289。

Essay

Regarding the Construction of “Memory Palace”:

Hsi Shih-Pin’s “A Horoscope Built Out of Our Chariots”

Article/ Jian Tzu-Chieh Professional Art Critic

When When we we see see horses, horses, we we do do not not see see ordinary ordinary ones, ones, but but the the presentation presentation of of horses horses in in the the midst midst of of dramatic dramatic momentum. momentum. As As they they move move bumpily bumpily towards towards aa particular particular destination, destination, they they drag drag big big wheels wheels that that are are so so crooked crooked that that they they seem seem at at the the point point of of overturning. overturning. But, But, we we would would never never mistakenly mistakenly believe believe that that this this carriage carriage would would arrive arrive at at any any actual actual place place because because the the manes manes on on their their napes, napes, which which should should be be loose, loose, are are erected erected into into aa row row of of metal metal accessories. accessories. The The top top of of these these accessories accessories isis as as sharp sharp as as blades, blades, yet yet engraved engraved with with decorations decorations that that almost almost seem seem to to be be from from aa religious religious ceremony. ceremony. Even Even though though the the lighting lighting at at the the exhibition exhibition site site isis not not particularly particularly theatrical, theatrical, itit shines shines and and flashes flashes an an artificial artificial light light that that isis extremely extremely glaring. glaring. But, But, this this type type of of artificiality artificiality isis not not solely solely derived derived from from material material properties. properties. This This carriage carriage isis accompanied accompanied by by aa number number of of decorative decorative patterns patterns with with contexts contexts that that are are untraceable. untraceable. Filled Filled with with power, power, this this work, work, in in the the form form of of animals, animals, exists exists within within aa strange strange momentum momentum that that isis formed formed by by aa stacking stacking of of various various symbolic symbolic details. details. This This isis the the new new work work exhibited exhibited in in Hsi Hsi Shih-Pin’s Shih-Pin’s solo solo exhibition, exhibition, AAHoroscope HoroscopeBuilt BuiltOut OutofofOur OurChariots. Chariots. In In Scale Scale Model: Model: Ashvins, Ashvins, this this horse horse hold hold aa charm charm that that isis difficult difficult to to interpret, interpret, perhaps perhaps because because they they are are sculptures sculptures that that have have the the proportions proportions of of real real horses. horses. Yet, Yet, they they tower tower over over people people with with aa sheer sheer size size of of scale scale that that shakes shakes viewers’ viewers’ senses. senses. Additionally, Additionally, we we find find ourselves ourselves easily easily overwhelmed overwhelmed by by these these complicated complicated shapes, shapes, yet yet cannot cannot help help but but want want to to draw draw nearer nearer to to get get aa closer closer look. look. Like Like many many other other works works in in this this solo solo exhibition, exhibition, Scale Scale Model: Model: Ashvins Ashvins gives gives the the viewer viewer aa type type of of “dual “dual level level of of viewing.” viewing.” One One isis for for the the senses. senses. These These variously variously themed themed sculptures sculptures first first open open up up aa distance distance to to mark mark aa difference difference from from daily daily life life experiences. experiences. Those Those rare rare dimensions dimensions not not commonly commonly seen seen in in living living organisms organisms generate generate aa type type of of

A Horoscope Built Out of Our Chriots

Horse #2: Sagittarius 2012 Pencil, Paper, Pastel 110×158 cm

affect affect effect. effect. Furthermore, Furthermore, when when we we carefully carefully scrutinize scrutinize these these objects, objects, even even more more complicated complicated details details appear appear ---- in in addition addition to to the the details details of of these these patterns, patterns, they they also also have have compositions compositions that that invoke invoke much much curiosity, curiosity, much much like like aa machine machine with with aa complex complex process process of of construction. construction. They They prompt prompt us us to to want want to to understand understand -- to to understand understand aa machine machine and and sate sate our our intellectual intellectual curiosity. curiosity.

Hsi Hsi Shih-Pin’s Shih-Pin’s Renaissance Renaissance In In the the project project plan plan that that Hsi Hsi wrote wrote for for AA Horoscope Horoscope Built Built Out Out of of Our Our Chariots, Chariots, there there isis aa key key segment segment consisting consisting of of third-person third-person narrative: narrative: He He prepared prepared the the first first image image of of Memory Memory Palace Palace to to be be the the construction construction of of aa “horse,” “horse,” which which would would project project his his imagination imagination and and desire. desire. To To find find aa clearer clearer position, position, he he first first imagined imagined himself himself as as aa surgeon surgeon that that dismembered dismembered this this steed steed for for study. study. The The first first thing thing that that he he recorded recorded was was the the alignment alignment between between bones, bones, followed followed by by the the horse’s horse’s hide hide and and the the bristles bristles of of its its hairs. hairs. He He discarded discarded the the muscles muscles and and internal internal organs, organs, and and replaced replaced them them with with the the construct construct of of humans humans and and other other animals. animals.11 We We will will go go back back to to “Memory “Memory Palace” Palace” below. below. Overall, Overall, the the “horse” “horse” isis selected selected as as the the theme theme of of the the performance, performance, and and the the artist’s artist’s clear clear depiction depiction of of itit isis to to project project his his “imaginations “imaginations and and desires.” desires.” Figurative Figurative methods methods help help portray portray his his role role as as aa surgeon surgeon who who “dismembers” “dismembers” this this creature creature on on an an imaginary imaginary level, level, and and aa variety variety of of research research and and records records are are

1. Quoted from an unpublished solo exhibition proposal that His sent to me last year.

Essay

used used to to understand understand the the construct construct of of the the horse. horse. This This whole whole process process seems seems to to be be similar similar to to those those used used by by Renaissance Renaissance artists artists who who dissected dissected corpses corpses to to gain gain knowledge knowledge on on how how to to further further express express the the human human body. body. In In fact, fact, aa number number of of planar planar works works showcased showcased in in Hsi’s Hsi’s solo solo exhibition, exhibition, such such asas Horse Horse ## 2: 2: Sagittarius Sagittarius which which he he constructed constructed while while attending attending university university in in 2003, 2003, reveal reveal this this type type of of intellectual intellectual frenzy. frenzy. Perhaps, Perhaps, this this can can be be seen seen asas aa type type of of solo soloRenaissance. Renaissance. On On one one hand, hand, this this modernity modernity has has not not yet yet come, come, and and rationality rationality has has not not yet yet completely completely divided divided the the world world into into individual individual departments. departments. As As aa result, result, this this spiritual spiritual atmosphere atmosphere isis still still filled filled with with aa medieval medieval legacy legacy of of magic magic since since this this mysterious mysterious world world allows allows for for the the existence existence of of an an invisible invisible and and wondrous wondrous power. power. On On the the other other hand, hand, the the discovery discovery of of aa new new world world isis mixed mixed with with aa pending pending re-interpretation re-interpretation of of classical classical law. law. With With aa rational rational facade, facade, this this law law isis materialized materialized through through aa seemingly seemingly orderly orderly perspective. perspective. One One side side dissolves dissolves all all mystery mystery and and charm, charm, while while another another still still resides resides in in aa shadow shadow that that isis hard hard to to explain. explain. As As we we mentioned mentioned above, above, affect affect and and understanding understanding are are two two levels levels of of viewing. viewing. IfIf we we say say that that those those are are the the business business of of the the viewer, viewer, then then magic magic and and classical classical are are two two levels levels of of practice practice in in Hsi’s Hsi’s works. works. Hsi This can can also also be be considered considered asas an an Hsi became became enraptured enraptured with with the the outdated outdated practice practice of of classical classical cartography. cartography. 22 This example example of of this this dual-leveled dual-leveled practice. practice. His His planar planar works works rely rely on on manual manual labor, labor, and and are are in in serious serious need need of of an an accurate accurate perspective perspective plan. plan. In In almost almost every every one one of of his his planar planar works, works, we we can can still still observe observe aa reference reference grid grid whose whose vast vast majority majority has has already already been been covered covered by by colored colored acrylic acrylic sheets. sheets. The At the the same same time, time, The reason reason that that horses horses are are chosen chosen asas the the theme theme isis reliant reliant on on the the artist’s artist’s own own explanation. explanation. 33 At influenced influenced by by his his time time studying studying architecture architecture in in university, university, the the constructs constructs of of the the horses horses here here are are that that of of aa building building and and city. city. They They are are also also the the construct construct of of aa living living organism. organism. With With the the construct construct of of aa cartographic cartographic object object asas aa

2. I call this practice "outdated"

fulcrum, fulcrum, the the artist artist isis able able to to graft graft different different species species or or areas. areas. For For example, example, the the human human body body isis used used to to replace replace the the

because cartography nowadays

limbs limbs of of the the horses horses ----Yet, Yet, in in addition addition to to this this unusual unusual grafting, grafting, Hsi’s Hsi’s real real magic magic lies lies in in the the charm charm materialized materialized by by

is a computerized process. The

using using cartographic cartographic forms. forms. Or, Or, perhaps, perhaps, even even more more importantly, importantly, his his method methodof of cartography cartography suggests suggests aa potential potential

technique of drawing maps by hand is something that only

for for realization, realization, whether whether itit isis aa leap leap from from planar planar to to three-dimensional three-dimensional or or other other types types of of art art that that are are almost almost

appears in legends.

impossible impossible in in terms terms of of rationality rationality -- conversion. conversion.

3. All references used in this section about the artist are from an interview conducted by

About About “Memory “Memory Palace” Palace”

Chang Ching-Wen on June 26, 2012.

Additional references

used from this source will not be

“Memory “Memory Palace” Palace” can can be be said said to to be be aa keyword keyword for for the the conversions conversions found found in in Hsi Hsi Shih-Pin’s Shih-Pin’s artwork. artwork. This This term term was was

footnoted.

once once used used by by the the artist artist asas aa reference reference to to the the book, book, The The Memory Memory Palace Palace ofof Matteo Matteo Ricci, Ricci, by by the the historian, historian, Spence. Spence. In In

A Horoscope Built Out of Our Chriots

Scale Model: Olympus from the Hometown 2012 Stainless steel, Aluminum, Wood, Paint 250×720×240 cm

this this book book about about history, history, “mnemonics” “mnemonics” was was first first defined defined asas aa kind kind of of learning learning technique technique that that had had originated originated from from ancient ancient Greece, Greece, and and which which used used locations locationsand andexperiences experiences to to aid aid the the retention retention of of information: information: "To "To everything everything that that we we wish wish to to remember, remember, we we should should give give an an image; image; and, and, to to every every one one of of these these images, images, we we should should assign assign aa position position where where itit can can repose repose peacefully peacefully until until we we are are ready ready to to claim claim itit by by an an act act of of memory." memory." 44 In In other other words, words, whether whether itit isis aa concrete concrete object object or or an an abstract abstract concept, concept, everything everything isis transformed transformed into into an an image image that that isis stored stored in in our our memory memory palaces palaces so so that that they they are are deeply deeply engraved engraved in in our our minds. minds. More More importantly, importantly, itit isis the the order order by by which which these these images images are are stored stored in in our our memories. memories. Every Every experience experience isis assigned assigned aa relative relative location location -- itit isis without without aa doubt doubt that that we we sense sense aa momentum momentum of of strangeness strangeness and and power power within within AA Horoscope Horoscope Built Built Out Out ofof Our Our Chariots. Chariots. This This is, is, of of course, course, due due to to the the artist’s artist’s adherence adherence to to an an artistic artistic style: style: his his conversion conversion guidelines. guidelines. Here, Here, itit seems seems even even more more like like aa completely completely sequenced sequenced set set of of subjective subjective commands. commands. They They are are placed placed here, here, but but not not there, there, which which forms forms aa theatrical theatrical atmosphere atmosphere that that isis rarely rarely found found in in other other forms forms of of contemporary contemporary art. art. This This isis aa unique unique and and subjective subjective spatial spatial deployment deployment that that stems stems from from the the “memory “memory palace.” palace.” At At least, least, for for Hsi, Hsi, he he wants wants to to arrive arrive atat the the endpoint endpoint where where the the memory memory originates. originates.

4. Jonathan D. Spenc, translated

What What are are these these memories? memories? During During an an interview, interview, the the artist artist discussed discussed many many childhood childhood memories. memories. For For example, example, his his

by Chen Heng, Mei Yi-Zheng,

fondness fondness for for shard-like shard-like forms forms stems stems from from his his recollections recollections about about dressmaking, dressmaking, aa job job his his mother mother undertook undertook when when he he

The Memory Palace of Matteo

was was young. young. Yet, Yet, in in Scale Scale Model: Model: Olympus Olympus from from the the Hometown, Hometown, Gothic Gothic churches churches comprised comprised of of stainless stainless steel steel form form winding winding stretches stretches of of train train tracks. tracks. This This was was inspired inspired by by his his memories memories of of seeing seeing train train tracks tracks near near Pinghxi Pinghxi whenever whenever

Ricci, Shanghai: Shanghai Far East Publishers, 2005, Page 4.

Essay

he visited visited his his grandmother. grandmother. he Even though though these these sharp sharp forms forms appear appear detached, detached, they they actually actually all all lead lead to to aa turning turning point point in in the the artist’s artist’s memories. memories. Even Although the the exact exact details details of of the the memory memory remain remain unknown unknown to to the the viewer, viewer, one one isis still still able able to to grasp grasp symbolic symbolic Although elements from from the the work’s work’s complicated complicated ornamentation ornamentation through through such such aa way way of of reconstructing reconstructing memories. memories. Regarding Regarding elements the various various details details that that were were once once abundant, abundant, yet yet now now lost, lost, the the artist artist not not only only uses uses symbolism symbolism to to reconstruct reconstruct aa the sequential narrative, narrative, but but also also forms forms super super symbols symbols whose whose meanings meanings transcend transcend the the initial initial pains pains of of loss. loss. In In the the end, end, sequential “meaning isis given given to to silence silence and and silent silent objects objects (ancient (ancient or or natural natural magic).” magic).” 55 “meaning

Mnemonics of of aa Divine Divine Calling Calling Mnemonics Aspects that that transcend transcend personal personal memories memories also also transport transport us us back back to to the the imaginary imaginary realm realm of of the the “memory “memory palace.” palace.” Aspects Hsi told told aa story story regarding regarding the the origins origins of of mnemonics, mnemonics, which which he he found found in in The The Art Art ofof Memory Memory by by Frances Frances A. A. Yates. Yates. Hsi At aa banquet banquet hosted hosted by by aa nobleman nobleman of of Thessaly Thessaly named named Scopas, Scopas, the the poet, poet, Simonides Simonides of of Ceos, Ceos, chanted chanted aa At lyrical poem poem in in honor honor of of his his post, post, but but included included aa passage passage in in praise praise of of Castor Castor and and Pollux. Pollux. Scopas Scopas lyrical mean-spiritedly told told the the poet poet that that he he would would only only pay pay him him half half the the sum sum agreed agreed upon upon for for the the panegyric, panegyric, mean-spiritedly and that that he he must must obtain obtain the the rest rest of of the the balance balance from from the the twin twin gods gods to to whom whom he he had had devoted devoted half half the the and poem. Later, Later, aa message message was was brought brought in in to to Simonides Simonides notifying notifying him him that that two two young young men men were were waiting waiting poem. outside for for him. him. He He rose rose from from the the banquet banquet and and went went outside, outside, but but could could find find no no one. one. During During his his absence, absence, outside the roof roof of of the the banquet banquet hall hall collapsed, collapsed, crushing crushing Scopas Scopas and and all all his his guests guests beneath beneath the the ruins; ruins; the the corpses corpses the were so so mangled mangled that that relatives relatives who who came came to to take take them them away away for for burial burial were were unable unable to to identify identify them. them. But, But, were Simonides remembered remembered the the positions, positions, which which they they had had been been sitting sitting at at the the table, table, and and was was therefore therefore able able to to Simonides identify the the dead dead to to the the relatives. relatives. 66 identify

5. Julia Kristeva, translated by Lin Hui-Ling, Soleil noir: Dépression

In this this account, account, Simonides Simonides was was able able to to remember remember the the names names of of every every guest guest by by remembering remembering their their seating seating positions. positions. In

et mélancolie, Taipei: Yuan-Liou

This eventually eventually became became recognized recognized as as the the origin origin of of mnemonics. mnemonics. Worth Worth mentioning mentioning isis that that this this story story isis closely closely tied tied This

Publishing Co., Ltd, 2008, Page 121 – 124.

to aa kind kind of of divine divine intervention, intervention, since since the the death death of of others others was was the the price price for for such such an an ability. ability. Because Because life life was was to

sacrificed, mnemonics mnemonics was was seen seen as as aa key key that that could could access access aa divine divine land. land. sacrificed,

Frances A. Yates, translated by Xue Xuan, The Arts of Memory, Taipei: Locus Publishing, 2007,

On another another end, end, according according to to the the perspective perspective of of Spence’s Spence’s The The Memory Memory Palace Palace ofof Matteo Matteo Ricci, Ricci, mnemonics mnemonics was was been been On

Page 13.

seen as as aa divine divine yet yet magical magical ability ability from from the the Middle Middle Ages Ages to to the the Renaissance, Renaissance, and and eventually eventually into into modern modern history. history. seen

A Horoscope Built Out of Our Chriots

In Ricci’s Ricci’s era, era, at at least, least, mnemonics mnemonics was was often often associated associated with with astrology, astrology, alchemy, alchemy, and and other other disciplines disciplines considered considered In mysterious by by the the masses. masses. According According to to the the interpretations interpretations of of historians, historians, the the wishful wishful thinking thinking of of Ricci, Ricci, aa Jesuit Jesuit mysterious missionary, may may have have been been that that by by demonstrating demonstrating the the amazing amazing powers powers of of mnemonics mnemonics to to aa Chinese Chinese courtier, courtier, missionary, perhaps he he could could convince convince those those “barbarians” “barbarians” to to live live aa life life following following Christ. Christ. perhaps To achieve achieve his his goal goal of of spreading spreading Christianity Christianity amongst amongst the the Chinese Chinese people, people, Ricci Ricci included included sections sections on on mnemonic mnemonic To techniques in in Chinese Chinese textbooks, textbooks, which which were were later later referenced referenced by by Spence Spence in in discussions discussions about about exchanges exchanges between between techniques the East East and and West. West. This This missionary’s missionary’s “memory “memory palace” palace” not not only only served served as as an an important important reference reference for for research research on on the historic cultural cultural exchanges, exchanges, but but also also as as narratives narratives about about divinity, divinity, magic, magic, imagination, imagination, and and memories, memories, which which all all play play historic significant role role in in the the works works of of the the artist. artist. Originating Originating from from the the sutures sutures of of personal personal memories, memories, they they touch touch upon upon aa significant life and and death, death, and and divinity divinity and and grievances grievances associated associated with with loss. loss. This This realm realm that that extends extends from from Hsi’s Hsi’s memory memory palace palace life can be be patched patched together together to to form form scenery scenery that that overrides overrides memories, memories, as as well well as as expresses expresses sexual sexual desires desires and and death. death. can

Scenes of of Desire Desire and and the the Secret Secret Peeping Peeping Hole Hole Scenes One finds finds aa giant giant male male organ organ in in the the work, work, Horse Horse #2: #2: Sagittarius, Sagittarius, and and many many symbolic symbolic elements elements regarding regarding One reproduction and and death death within within Horse Horse #5: #5: Queen. Queen. AA female female figure figure with with aa masked masked face face exposes exposes her her breasts breasts while while reproduction embracing aa soulless soulless baby baby with with an an over-sized over-sized body. body. AA human human skull skull rests rests on on her her skirt skirt -- the the genitals, genitals, the the embracing breast-feeding baby, baby, and and obvious obvious symbols symbols of of death death all all pull pull at at each each other other in in an an unusual unusual way, way, almost almost as as ifif the the image image breast-feeding ripping apart. apart. AA goat’s goat’s head head extends extends from from the the female female body. body. On On the the right, right, there there isis aa sea sea of of skeletons skeletons from from some some isis ripping kind of of unidentifiable unidentifiable beast. beast. The The flow flow of of organic organic debris debris isis an an obvious obvious symbol symbol for for sex sex and and death. death. According According to to kind George Bataille Bataille (1897-1962), (1897-1962), sex sex and and death death are are two two sides sides of of the the same same coin: coin: “‘La “‘La petite petite mort’ mort’ isis French French for for ‘the ‘the George little death,’ death,’ and and serves serves as as an an idiom idiom and and metaphor metaphor for for an an orgasm. orgasm. IfIf love love exists exists at at all, all, itit isis like like death, death, aa swift swift little movement of of loss loss within within us us as as we we quickly quickly slip slip into into tragedy, tragedy, stopping stopping only only with with death. death. For For the the truth truth isis that that between between movement death and and the the reeling, reeling, heady heady motion motion of of the the little little death, death, the the distance distance isis hardly hardly noticeable.” noticeable.” 77 death As mentioned mentioned earlier earlier in in this this paper, paper, the the artist artist projects projects “imaginations “imaginations and and desires” desires” through through the the horses horses found found within within As his works. works. We We have have touched touched upon upon issues issues regarding regarding imagination. imagination. So, So, what what are are the the desires desires expressed expressed in in these these works? works? his During an an interview interview with with Hsi, Hsi, he he commented commented that, that, “A “A horse horse isis very very sexy sexy and and serves serves as as aa symbol symbol for for lust. lust. Yet, Yet, itit isis During

also very very scientific. scientific. ItIt isis like like aa machine machine -- its its flesh flesh and and bones bones revealing revealing aa sexiness.” sexiness.” also

George Bataille, translated by Lai Shou-Zheng, L'érotisme, Tapei:

This kind kind of of sexiness sexiness expressed expressed through through dismantled dismantled flesh flesh and and bones bones isis compared compared to to aa machine. machine. This This undoubtedly undoubtedly This

Linking

Publishing,

2012, Page 155.

Essay

Horse #5: Queen 2012 Pencil, Paper, Pastel 110×237 cm

hints hintsatata akind kindofoffetishism fetishism- -from froma apsychoanalytical psychoanalyticalperspective, perspective,the theabsence absenceofofan anobject objectofofdesire desireisisprojected projectedinin the theform formofofdarkness darknessand anddeath. death. Furthermore, Furthermore,the theobject objecthas hastotobebeone onethat thatcannot cannotbebearranged arrangedinina asymbolic symbolic order. order. They Theyare areanachronistic anachronisticremainders. remainders. Although Althoughthe themain mainsubject subjectregains regainsa apeeping peepinghole holetotospy spyon onreality, reality,itit often oftenbecomes becomesa aform formofofspying spyingon ononeself, oneself,engulfing engulfingthe themain mainsubject subject- -To Toavoid avoidthe thedestruction destructionofofthe themain main subject subjectby bybeing beinggazed gazedupon, upon,itithas hastotobebecontinuously continuouslyrelocated relocatedtotoa adifferent differentlocation, location,a aplace placedissimilar dissimilartotothe the object. object. ItItisislike likean anadapting adaptingmachine machineorora asecret secretpeeping peepinghole. hole. ItItleads leadstotoa asymbolic symbolicworld worldininwhich whichlanguage languagecan can beberecaptured, recaptured,but butnot notmanipulated. manipulated.8 8 Maybe Maybeititisisbecause becauseofofthis thispeeping peepinghole holethat thatHsi Hsinamed namedthis thissolo soloexhibition, exhibition,AAHoroscope HoroscopeBuilt BuiltOut OutofofOur Our Chariots. Chariots. Although Althoughthis thistitle titleisisbased basedon onSpence’s Spence’swork, work,ititalso alsofocuses focuseson onthe theFrench Frenchhumanist humanistwriter, writer,Michel Michel 8. These

melancholic

and

depressing perspectives on

Eyquem EyquemdedeMontaigne Montaigne(1533-1592). (1533-1592). This Thisisisa astory storyabout aboutan anancient ancientphilosopher philosopherwho whowitnessed witnessedthe thedecadent decadent lifestyles lifestylesinina abig bigcity: city:

loss are mainly taken from chapter two, Life and Death of Speech, of Kristeva’s

During Duringa atrip triptotoRome Romeinin1581, 1581,Montaigne Montaignenoted notedthat thatprostitutes prostituteswere wereeverywhere. everywhere. He Hecommented commentedthat that

Soleil noir: Dépression et

the themain mainform formofofleisure leisurefor forRoman Romanmen menwas wastotoroam roamthe thecity cityand andfeast feaston onprostitutes prostituteswith withtheir theireyes. eyes.

mélancolie.

These Thesewomen womenwould wouldstand standby bythe thewindow windowororon onthe thebalcony, balcony,revealing revealingtheir theirbodies. bodies. “It “Itisissosodeceiving deceiving

9. Pages 288 to 289 of source

that thatI Iwas wasastonished astonishedby bythe theway waythey theystared staredatatme. me. I Isometimes sometimesget getsosoexcited excitedthat thatI Ijump jumpoff offmy myhorse horse

same as footnote 4.

and andlet letthem themopen openthe thedoor doortotolet letme mein. in. I Icannot cannothelp helpbut butadmire admiretheir theirnicely-dressed nicely-dressedbodies, bodies,which which

A Horoscope Built Out of Our Chriots

seem seemmore morebeautiful beautifulthan thanthey theywould wouldunder undernormal normalcircumstances.” circumstances.” Roman Romanmen menpoked pokedholes holesinintheir their carriages carriagessosothey theycould couldpeek peekatatthese theseprostitutes. prostitutes. AARoman Romanclergyman clergymanonce oncecalled calleditita a“stargazing “stargazinghole.” hole.” “It “Itisislike likethe thehoroscope horoscopebuilt builtout outofofour ourchariots.” chariots.” Montaigne Montaignewas wasvery veryfond fondofofhilarious hilariousword wordgames. games.9 9 To To“feast “feaston onprostitutes prostituteswith withtheir theireyes,” eyes,”Roman Romanmen menmade madepeeping peepingholes holesinintheir theircarriages, carriages,which whichwas waslater latercalled called “stargazing “stargazingholes” holes”by bya aclergy clergyman. man. “It “Itisislike likethe thehoroscope horoscopebuilt builton onour ourchariots.” chariots.” To Toprolong prolongthat thatillusive illusive deceit, deceit,Montaigne Montaignemischievously mischievouslyheld heldthe theattitude attitudeofof“I“Ican canunderstand.” understand.” His Hisattitude attitudeininregards regardstotoall allthis thiswas wasthe the same sameasastowards towards“the “thehoroscope horoscopebuilt builtout outofofour ourchariots” chariots”- -these thesevoyeuristic voyeuristicdesires desireswere werelater latertransplanted transplantedtotoan an observatory observatoryasasa aresult. result. Perhaps, Perhaps,ititisisthis thiskind kindofofself-mocking self-mockingattitude attitudethat thatwill willfinally finallyrelieve relieveHsi Hsiasasheheisislocked lockedininan anendless endlessstruggle struggleofof death deathand anddesire desireininan anurban urbansetting settingsimilar similartotothe thebones bonesofofa askeleton. skeleton. Here, Here,affect affectand andunderstanding, understanding,magic magicand and classical, classical,body bodyand andmachine machineare areall allcontinuously continuouslyre-patched re-patchedtotoform forma aroad roadnetwork networkofofmemories. memories. Even Eventhough thoughitit isissuddenly suddenlydark, dark,then thensuddenly suddenlybright, bright,the thememory memorypalace palaceisisconstructed constructedthrough througha adisplacement displacementofofthe thesecret secret peeping peepinghole, hole,providing providingobservation observationcoordinates coordinatesthat thatwill willsettle settlethem themfor forthe thefuture. future.

Essay

記憶，以及人的尺度—

席時斌個展「在我們的馬車上製作一座星盤」

文/ 張晴文專業藝評人

1. 結構／解剖／人的尺度

席時斌的創作向來有幾分神祕色彩，以無數零件拼接而成的大型裝置，結構出尺度寬闊的圖像。這圖像既來自記憶，也來自想像；是藉著強大理性構築的幻景，也是一套自我賴以成立的系統。這樣的創作基礎，來自大學時代建築相關的訓練，比起對外建立一個足以蔽障身心的空間，他更著迷的卻是支撐起感情與知識的結構。這個抽象的系統成為席時斌創作的關鍵，不僅在操作的手法上有所回應，也成為其創作內在所彰顯的最大力量。《馬#3：阿多羅西與達芬奇》（2012）是一幅從大學時代就開始發展的繪畫作品。這幅以馬為主要描繪對象的紙本創作，類比了真實馬匹的尺幅。歷經數年不斷修補的畫面，紙張都快被來回的操作痕跡給磨得破了。數度往復琢磨的畫面，不斷地增補、遮蓋，最終展現了一匹背向觀眾的馬，牠以骨骼與肌肉的結構示人，背後還有一隻垂掛的天鵝。這件作品的命名即來自阿多羅西（Aldo Rossi）以及達芬奇（Da Vinci），他們是席時斌欣賞的建築師與藝術家、科學家。其實，他對於藝術最基本的興趣，還是從科學開始的。這個小時候只想當科學家的創作者，走的是一條從數學到建築再到藝術的道路，這些經驗扣合著席時斌對於自我的認識和追求。站在《馬#3：阿多羅西與達芬奇》前，假使我們還有一點對於壯美的驚懼，我想是藝術家有意識地迫使我們回到一個觀看世界的原點，那便是做為一個人的尺度。 15世紀的文藝復興精神是切入席時斌創作一個重要的線索。那個熱愛自由且相信自己眼睛的時代，人們透過觀看和思考重新燃起對世界的興趣，他們不僅見聞、揣度，更身體力行。而席

A Horoscope Built Out of Our Chriots

馬＃3：阿多羅西與達芬奇 2012 鉛筆、紙、粉彩 237×110 cm

時斌過去在建築系時期所受到的訓練，如今在創作上展現的最大意義，就在於確立了某種對於古典的熱中，在一個傾向電腦繪圖的建築訓練過程，他卻執意自習古典的透視法。他參考文藝復興時期的古建築史料，以手繪的方式追隨這項傳統，就像那個時代裡的修士一樣，將人類理智與情感的運作化為線條，支撐起一個可以信任的結構。這結構不只是建築或任何量體，甚至可以是整個世界。在這次的個展中，幾件平面繪畫創作展現了席時斌在這方面的創作系統。從《聖杯手繪》（2012）到《馬#3：阿多羅西與達芬奇》，他為我們開展一個可以用理性度量的世界，《馬 #2：人馬》（2012）、《馬#5：女王》（2012）更明確地表達了在技術上對解剖學的迷戀，以及更深一層的對於結構的信仰。而《愛滋長》（2010）、《獅女少女》（2012）、《窗中小動物》（2012）等畫作，在表層覆蓋了一面有色壓克力板。透過色彩的障蔽，繪畫的筆觸部分被遮隱，在捕捉萬物形態背後，這個掩蓋的動作是宣示回到創造的手勢。這是認識世界的取徑，讓人感覺踏實的追尋。他曾經在談論作品時提到：「我對解剖學很有興趣。但不知道是仰慕那個系統，還是對那個技巧有興趣？如果是對系統感興趣，那又會是什麼？或者，這是一種製造幻覺的方法，好像是你看到了幻覺，也想告訴別人那是什麼樣的感覺。」11

1. 筆者與席時斌的訪談。 2012年6月26日於席時斌工作室，台北。以下引言皆出於此。

Essay

聖杯手繪 2012 鉛筆、色鉛筆、紙 85×177 cm

2. 2. 記憶之宮記憶之宮

《模型：阿濕波》（2012）和《模型：外婆家的奧林帕斯》（2012）兩件巨型裝置，以許《模型：阿濕波》（2012）和《模型：外婆家的奧林帕斯》（2012）兩件巨型裝置，以許多零件組構而成。這些繁複的疊合所回應的，無論是建築的形式或者動物的骨架，都可以視為多零件組構而成。這些繁複的疊合所回應的，無論是建築的形式或者動物的骨架，都可以視為席時斌創作理念的核心展現。在日常生活中顯得超現實的馬車，或者漂浮在半空的類哥德式建席時斌創作理念的核心展現。在日常生活中顯得超現實的馬車，或者漂浮在半空的類哥德式建築，分別以金屬、木料構成，它們精密堆砌所暗示的量體感，製造了真實和幻覺的模糊地帶。築，分別以金屬、木料構成，它們精密堆砌所暗示的量體感，製造了真實和幻覺的模糊地帶。這這樣樣的的結結構構也也可可以以在在席席時時斌斌的的雕雕塑塑作作品品中中看看見見，，例例如如《《阿阿克克提提恩恩— —奇奇麗麗月月光光之之大大雄雄鹿鹿》》（2012）或《烏忽古II—小鳳凰》（2012），也都以金屬骨架建構出介於動物神話以及現世（2012）或《烏忽古II—小鳳凰》（2012），也都以金屬骨架建構出介於動物神話以及現世物種之間的交錯意象。物種之間的交錯意象。幻覺並不全然是造假。人類自古希臘時代開始，便知道如何利用關於具體事物來抵抗遺忘。幻覺並不全然是造假。人類自古希臘時代開始，便知道如何利用關於具體事物來抵抗遺忘。在印刷術尚未普及之前，心像記憶法是西方文明賴以維繫的重要技術，這種記憶的技術利用建在印刷術尚未普及之前，心像記憶法是西方文明賴以維繫的重要技術，這種記憶的技術利用建築為記憶的場所，將意識鍛鍊為牢固永恆的存在。席時斌提到史景遷（Jonathan 築為記憶的場所，將意識鍛鍊為牢固永恆的存在。席時斌提到史景遷（Jonathan D. D. Spence） Spence）的《利瑪竇的記憶之宮》，以及葉茲（Frances 的《利瑪竇的記憶之宮》，以及葉茲（Frances Yates）的《記憶之術》對於創作上的啟發。 Yates）的《記憶之術》對於創作上的啟發。所謂的記憶之術，就是在心中建造一個記憶宮殿的形象，做為儲存記憶的位置。建築物的形象所謂的記憶之術，就是在心中建造一個記憶宮殿的形象，做為儲存記憶的位置。建築物的形象要盡可能地華麗、明顯，裝飾清楚，各個依存在裡面的人物、事件細節一旦描寫得愈清晰，對要盡可能地華麗、明顯，裝飾清楚，各個依存在裡面的人物、事件細節一旦描寫得愈清晰，對記憶就愈有效。這項「利用把『場所』和『影像』印入腦海的方法來達成記憶」的技術，一如記憶就愈有效。這項「利用把『場所』和『影像』印入腦海的方法來達成記憶」的技術，一如葉茲所說，在記憶中操作處理影像，必然多少要牽涉到心靈整體。而席時斌透過作品來探討內葉茲所說，在記憶中操作處理影像，必然多少要牽涉到心靈整體。而席時斌透過作品來探討內在識想和外在結構之間的關係，也可以將此視為一套重新將自身存在具體化的方法，將個人的在識想和外在結構之間的關係，也可以將此視為一套重新將自身存在具體化的方法，將個人的家庭和身體經驗透過系統轉化，保存、顯現為造形的語言。家庭和身體經驗透過系統轉化，保存、顯現為造形的語言。

A Horoscope Built Out of Our Chriots

模型：阿濕波 (局部) 2012 不鏽鋼、木料、漆、銅 250×500×200 cm

他在大學時代的作品《自動劇場》是一件大型的動態雕塑，可以視為此後這一系列空間裝置他在大學時代的作品《自動劇場》是一件大型的動態雕塑，可以視為此後這一系列空間裝置的先聲。這件作品受到建築師丹尼爾．利貝斯金德（Daniel 的先聲。這件作品受到建築師丹尼爾．利貝斯金德（Daniel Libeskind）提出的「閱讀機器」、 Libeskind）提出的「閱讀機器」、「記憶機器」及「寫作機器」所啟發，而作品主要是以立體化的手法來呈現文藝復興製圖中看「記憶機器」及「寫作機器」所啟發，而作品主要是以立體化的手法來呈現文藝復興製圖中看似合理但不確實存在的空間透視。與此相關的意象，還有文藝復興時期的記憶劇場，它是一座似合理但不確實存在的空間透視。與此相關的意象，還有文藝復興時期的記憶劇場，它是一座裝飾生動、無奇不有，以至於演員一登台就可以在整個空間的樣態之中自然地念出戲劇的舞裝飾生動、無奇不有，以至於演員一登台就可以在整個空間的樣態之中自然地念出戲劇的舞台。《自動劇場》雖然因為結構的脆弱很快地失去了動態，但是複雜堆疊的形式手法，以及記台。《自動劇場》雖然因為結構的脆弱很快地失去了動態，但是複雜堆疊的形式手法，以及記憶的系統與建築之間的關係，卻在席時斌日後的創作裡一再成為焦點。憶的系統與建築之間的關係，卻在席時斌日後的創作裡一再成為焦點。

Essay

獅子少女 2012 鉛筆、紙、紫色壓克力 79×110 cm

3. 記憶／動物與身體

幾何和記憶，幾乎是席時斌的作品的關鍵字，許多造形上的考慮立基於幾何，也來自於記憶。花朵與動物的關聯、小時候在平溪外婆家的所見所聞，都具體化做作品中的細節。或許，繁複華麗的《模型：阿濕波》和《模型：外婆家的奧林帕斯》，就是席時斌記憶宮殿的顯現。「如果我揀選造形有原則的話，會是經驗上的故事。因為對我來說，花了這麼多精神，這麼做起來會比較有動力，而作品完成之後，也會有更多對這個東西的想像。在製作的過程中，我可以不斷去搞清楚它是怎麼一回事，甚至記起來有這麼一回事。」家庭生活是席時斌創作情感的內在依據。許多表面上沒有理由的偏好，也被他歸納為某種生活經驗的投射。「我覺得，某這些脈絡你之所以喜歡，都跟你這個人是怎麼構成是有關的。像我很喜歡看破破碎碎的東西，我很確定這件事和媽媽是裁縫這件事是相關的。也有很多人說，我做了很多尖銳的造形，給人危險的想像，其實對我來說，那和小時候媽媽裁縫用的大大小小剪刀一樣，我不覺得它危險，我的作品也總是有很多稜角，甚至覺得這樣是好看的。」這樣的視覺習慣已經內化成為某種美學上的喜好。而席時斌作品經常以動物肉體、骨骼，或某些生物做為題材，也暗示了某種身體脈絡的對應關係。身體不只是具有感覺的軀體，還包括意識以及血緣等生物和文化上的意義，也就是葉茲所說的，心靈整體。近年來，席時斌的創作從馬擴展至其他神話常見的動物題材，包括鳳凰、龍、飛馬等。這些

A Horoscope Built Out of Our Chriots

在現實之中不曾存在，卻往往是庶民生活或信仰裡尊貴、稀有的象徵物，從虛構的文本裡脫出，成為席時斌重新結構的對象。「馬很重要沒錯，但是牠也可以被投射為另一件事。實際上，只要還是能夠寄託那個系統就可以。所以我無法論述太多關於馬的什麼——除了牠很性感——老實說牠是可以被取代的。」柏拉圖（Plato）的《斐多篇》記載蘇格拉底（Socrates）關於修辭的談話。蘇格拉底提到，埃及的一個古神圖提發明了文字，但國王穆塔斯卻不認同這項發明的意義。國王說：「你這個發明結果會使學會文字的人們善忘，因為他們就不再努力記憶了。他們就信任書文，只憑外在的符號再認，並非憑內在的腦力回憶。所以你發明的這劑藥，只能醫再認，不能醫記憶。」 2 抵抗失憶成為人類建構文明的基本要務，不僅如此，還是養成真正具有知覺、意識、責任之人的基本功。或許正是對於失憶與失根的懼怖，人們努力記憶，並且以可信的方式保存它們。席時斌的種種創作，以造形的語言構築屬於他的記憶宮殿，除了確認、指出自我以及其所依存的脈絡系統，更指向文藝復興式的人的精神——關於科學的創造，以及美好的可能。

2. 柏拉圖（Plato），《柏拉圖文藝對話錄》，朱光潛譯。台北：網路與書股份有限公司，2005，頁231。

Essay

Memories, and the Scale of People

Hsi Shih-Pin’s Solo Exhibition “A Horoscope Built Out of Our Chariots”

Article/ Chang Ching-Wen Professional Art Critic

1. Structure/Anatomy/Scale of People The artworks of Hsi Shih-Pin have always carried a sense of mystery. Composed of numerous parts, a large installation features a structure consisting of wide-scale images. These images come from memory as well as imagination; through a mirage built of a strong rationality, it is also a system established upon a sense of self-reliance. This type of creative basis stems from construction-related training he undertook during his college years. Compared to the external establishment of a space that sufficiently obscures the mind and body, he is still more fascinated with a structure that supports the development of feelings and knowledge. This abstract system has become key to Hsi’s works, not only in responses to the methods of operation, but also in demonstrations of a most powerful force in his works. Aldo Rossi & Da Vinci (2012) is a painting that he started working on during his college years. With a horse as the main object depicted, this paper work matches the scale and proportions of a real horse. After numerous years of continuous repair, the paper is nearly beginning to show signs of wear and tear. A continuous process of pondering, supplementing, and covering forms the image of a horse whose backside faces viewers and reveals a structure of bone and muscle. Additionally, a swan hangs in the background. The name of this work comes from Aldo Rossi and Da Vinci - architects, artists, and scientists that Hsi greatly admired. In fact, his most basic interest in art had originated from science. As a child, the artist had dreamed of becoming a scientist. He journeyed a path that began from mathematics and architecture before finally arriving at art. These experiences eventually became inexorably bound with Hsi’s sense of self-recognition and his pursuits. Standing before Aldo Rossi & Da Vinci, we cannot help but feel a bit frightened at its magnificence. I believe that the artist consciously

A Horoscope Built Out of Our Chriots

forces us to return to an origin for observing the world, which acts as a scale for people. The spirit of the Renaissance in the fifteenth century is an important clue for understanding Hsi’s works. During that era, a love of freedom and a belief in seeing with one’s own eyes were prevalent. Through observation and thought, interest in the world had been re-ignited. The people of that time not only gathered

Horse #3: Aldo Rossi & Da Vinci 2012 Pencil, Paper, Pastel 237×110 cm

knowledge through observation and conjecture, but also implemented physical actions. The greatest significance of Hsi’s architectural training in his artworks today lies in establishing a type of enthusiasm for a classical style. Although his training in architecture had tended to rely on computer graphics, he doggedly undertook a self-study in classical perspectives. He referenced ancient architectural history from the Renaissance and pursued its traditions through hand-drawn methods. Much like the monks from that era, he converted the sense and sensibility of humankind into lines to prop up a trustworthy structure. This structure can be a building, any physical object, even the entire world.

Essay

Sketch: The Holy Grail 2012 Pencil, Color Pencil, Paper 85×177 cm

In In this this solo solo exhibition, exhibition, aa few few planar planar paintings paintings exhibit exhibit Hsi’s Hsi’s creative creative system system in in this this regard. regard. From From Sketch: Sketch: The The Holy Holy Grail (2012) to Aldo Rossi & Da Vinci, he opens a world for us that can be rationally measured. Horse #2: Grail (2012) to Aldo Rossi & Da Vinci, he opens a world for us that can be rationally measured. Horse #2: Sagittarius Sagittarius (2012) (2012) and and Horse Horse ## 5: 5: Queen Queen (2012) (2012) even even more more clearly clearly express express aa fascination fascination with with anatomical anatomical techniques, techniques, as well as a deeper faith in structure. Works such as Let Love Grow (2010), Sketch: The Lion (2012), and as well as a deeper faith in structure. Works such as Let Love Grow (2010), Sketch: The Lion (2012), and Sketch: Sketch: The The Window Window (2012) (2012) are are painted painted across across aa colored colored acrylic acrylic sheet. sheet. Through Through an an obstruction obstruction of of color, color, brush brush strokes strokes are are hidden in the paintings. Behind the capturing of all types of forms, this covering up is a gesture that declares a hidden in the paintings. Behind the capturing of all types of forms, this covering up is a gesture that declares a return return to to creation. creation. This This isis an an approach approach to to understanding understanding the the world world which which allows allows people people to to sense sense aa practical practical pursuit. pursuit. While While discussing discussing his works, Hsi once stated that, “I am very interested in anatomy. However, I do not know whether it is his works, Hsi once stated that, “I am very interested in anatomy. However, I do not know whether it is the the system system or or technique technique that that II admire. admire. IfIf II am am actually actually interested interested in in the the system, system, then then what? what? Perhaps Perhaps this this isis aa method method 1 for manufacturing illusions. It is similar to seeing an illusion and wanting to tell someone what it feels like.” for manufacturing illusions. It is similar to seeing an illusion and wanting to tell someone what it feels like.” 1

2. 2. Memory Memory Palace Palace

1. From an interview between the author and Hsi Shih-Pin conducted on June 26, 2012 in Hsi Shih-Pin’s studio in Taipei.

The The two two large-scale large-scale installations, installations, Scale Scale Model: Model: Ashvins Ashvins (2012) (2012) and and Scale Scale Model: Model: Olympus Olympus from from the the Hometown Hometown (2012), (2012), are composed of many parts. These complex composites convey that, whether it be the form of a building or are composed of many parts. These complex composites convey that, whether it be the form of a building or the the skeleton skeleton of of an an animal, animal, they they can can be be regarded regarded as as the the conceptual conceptual cores cores presented presented by by Hsi’ Hsi’ works. works. AA surreal surreal carriage carriage

A Horoscope Built Out of Our Chriots

Scale Model: Ashvins (Detail) 2012 Stainless steel, Wood, Paint, Copper 250×500×200 cm

within within aa daily daily life life setting setting and and Gothic Gothic architecture architecture floating floating in in mid-air mid-air are are made made of of metal metal and and wood, wood, respectively. respectively. The sensation of volume implied by their precise stacking produces a gray area between reality and fantasy. The sensation of volume implied by their precise stacking produces a gray area between reality and fantasy. This This type type of of composition composition can can also also be be seen seen in in Hsi’s Hsi’s sculpture sculpture works. works. For For example, example, Actaeon-The Actaeon-The Moonlight Moonlight Deer Deer (2012) (2012) and Uhugu II The Little Phoenix (2012) both utilize a metal frame to construct images that interweave animal and Uhugu II - The Little Phoenix (2012) both utilize a metal frame to construct images that interweave animal mythologies mythologies with with real real species. species. Illusions Illusions aren’t aren’t necessarily necessarily always always false. false. Since Since the the times times of of ancient ancient Greece, Greece, humankind humankind has has understood understood how how to to use use figurative objects to resist forgetting. Before printing had become universally available, a method for memorizing figurative objects to resist forgetting. Before printing had become universally available, a method for memorizing images images had had become become important important techniques techniques for for the the maintenance maintenance of of Western Western civilization. civilization. This This type type of of memory memory technique utilized buildings as sites for memory where one’s consciousness was trained into a solid and technique utilized buildings as sites for memory where one’s consciousness was trained into a solid and eternal eternal form form of of existence. existence. Hsi Hsi mentions mentions the the inspiration inspiration he he drew drew from from Jonathan Jonathan D. D. Spence’s Spence’s The The Memory Memory Palace Palace of of Matteo Matteo Ricci and Frances Yates’ The Art of Memory for his art. The so-called Art of Memory is the image of a memory Ricci and Frances Yates’ The Art of Memory for his art. The so-called Art of Memory is the image of a memory palace palace he he constructs constructs within within his his mind mind to to store store memories. memories. The The image image of of the the building building isis as as gorgeously, gorgeously, obviously, obviously, and and clearly decorated as possible. The more detailed and clearly described the stored characters and events are, the clearly decorated as possible. The more detailed and clearly described the stored characters and events are, the more more effective effective the the memory memory becomes. becomes. This This “method “method of of imprinting imprinting ‘site’ ‘site’ and and ‘image’ ‘image’ into into memory” memory” reflects reflects Yate’s Yate’s notion that the memory’s processing of images inevitably involves them with the soul. And, through his works, notion that the memory’s processing of images inevitably involves them with the soul. And, through his works, Hsi Hsi explores explores the the relationship relationship between between internal internal thoughts thoughts and and external external structures. structures. This This can can also also be be viewed viewed as as aa way way of re-embodying one’s own existence so that their familial and physical experiences are able to be saved and of re-embodying one’s own existence so that their familial and physical experiences are able to be saved and materialized materialized into into aa language language of of forms forms through through aa systematic systematic conversion. conversion.

Essay

Sketch: The Lion 2012 Pencil, Paper, Purple acrylic 79×110 cm

Created during during his his college college years, years, his his work, work, Automatic Automatic Theater, Theater, isis aa large-scale, large-scale, dynamic dynamic sculpture sculpture that that can can be be Created regarded as as aa precursor precursor for for this this series series of of installations. installations. This This particular particular work work was was inspired inspired by by Reading Reading Machine, Machine, regarded Memory Machine, Machine, and and Writing Writing Machine, Machine, which which were were proposed proposed by by the the architect, architect, Daniel Daniel Libeskind. Libeskind. It It mainly mainly Memory utilizes three-dimensional three-dimensional methods methods to to render render seemingly seemingly reasonable, reasonable, yet yet actually actually non-existing non-existing spatial spatial perspectives perspectives utilizes within Renaissance-era Renaissance-era cartography. cartography. Related Related imagery imagery also also include include Renaissance-era Renaissance-era memory memory sites sites that that are are decorated decorated within so vividly vividly and and filled filled with with wonders wonders that that an an actor actor can can perform perform naturally naturally within within the the patterns patterns of of the the entire entire space space as as so soon as as they they got got on on stage. stage. Even Even though though Automatic Automatic Theater Theater quickly quickly lost lost its its dynamism dynamism due due to to structural structural weaknesses, weaknesses, soon the method method of of complex complex stacking stacking itit utilized utilized as as well well as as the the relationship relationship between between the the memory memory system system and and architecture architecture the became points points of of focus focus in in Hsi’s Hsi’s later later creations. creations. became

3. 3. Memory/Animal Memory/Animal and and Body Body Geometry Geometry and and memory memory are are almost almost keywords keywords to to Hsi’s Hsi’s works. works. Many Many considerations considerations regarding regarding form form are are based based on on geometry geometry as as well well as as memory. memory. The The association association between between flowers flowers and and animals, animals, as as well well as as everything everything he he observed observed as as aa child child at at his his grandma’s grandma’s house house in in Ping Ping Shi Shi are are made made concrete concrete within within the the details details of of his his works. works. Perhaps, Perhaps, the the complicated complicated and and gorgeous gorgeous works, works, Scale Scale Model: Model: Ashvins Ashvins and and Scale Scale Model: Model: Olympus Olympus from from the the Hometown, Hometown, are are actually actually manifestations manifestations of of Hsi’s Hsi’s memory memory palace. palace. “If “If II have have selected selected aa principle principle to to my my forms, forms, itit would would be be stories stories drawn drawn from from my my experiences. experiences. For For me, me, this this gives gives me me more more drive drive and and incentive incentive especially especially since since II have have to to spend spend so so much much energy. energy. And, And, even even when when the the work work isis completed, completed, II would would still still continue continue to to have have many many more more imaginations imaginations regarding regarding this this object. object. During During the the process process of of creation, creation, II can can continue continue to to figure figure out out what what happened, happened, even even remembering remembering that that such such aa thing thing happened.” happened.”

A Horoscope Built Out of Our Chriots

Family Family life life isis the the inherent inherent basis basis for for Hsi’s Hsi’s creative creative emotions. emotions. On On the the surface, surface, there there are are many many preferences preferences that that seem seem to to have have no no reasons, reasons, and and that that are are summarized summarized by by him him into into aa projection projection of of specific specific experiences. experiences. “I “I think think the the reason reason why why aa person person likes likes aa particular particular context context isis related related to to how how they they are are composed. composed. For For example, example, II like like to to see see broken broken and and scattered scattered pieces pieces of of things. things. II am am certain certain that that this this isis related related to to seeing seeing my my mother mother tailoring tailoring and and weaving weaving clothes. clothes. AA lot lot of of people people comment comment that that II like like to to use use sharp sharp forms forms in in my my works works which which make make them them feel feel aa sense sense of of danger. danger. Actually, Actually, for for me, me, this this was was related related to to the the large large and and small small pairs pairs of of scissors scissors that that my my mother mother used used in in her her tailoring. tailoring. II did did not not feel feel that that they they were were dangerous. dangerous. There There are are always always aa lot lot of of edges edges and and corners corners in in my my works. works. II think think that that they they look look nice nice this this way.” way.” This This type type of of visual visual habit habit has has already already been been internalized internalized into into aa specific specific aesthetic aesthetic preference. preference. Hsi’s Hsi’s works works often often use use animal animal flesh, flesh, bones, bones, or or other other biological biological forms forms for for their their themes, themes, implying implying aa corresponding corresponding relationship relationship with with physical physical contexts. contexts. Physical Physical bodies bodies are are not not just just sacks sacks of of flesh flesh that that have have feelings. feelings. They They also also include include consciousness, consciousness, bloodlines, bloodlines, and and other other biological biological and and cultural cultural significances. significances. This This isis the the “soul” “soul” that that Yates Yates mentioned. mentioned. In In recent recent years, years, Hsi’s Hsi’s works works have have extended extended from from horses horses to to other other animal animal themes themes commonly commonly found found in in myths, myths, such such as as phoenixes, phoenixes, dragons, dragons, and and unicorns. unicorns. These These animals animals do do not not exist exist in in reality, reality, yet yet they they are are often often revered revered in in daily daily life life and and religion. religion. Rare Rare symbols symbols emerge emerge from from fictional fictional texts texts to to be be re-composed re-composed by by Hsi. Hsi. “Yes, “Yes, the the horse horse isis indeed indeed very very important. important. However, However, itit can can also also be be projected projected into into something something else. else. In In fact, fact, as as long long as as itit isis still still able able to to repose repose in in that that system, system, then then itit isis fine. fine. As As aa result, result, II am am unable unable to to discuss discuss too too much much about about the the horse horse -- except except that that itit isis very very sexy. sexy. To To tell tell you you the the truth, truth, itit can can be be replaced.” replaced.” Plato’s Plato’s Phaedo Phaedo records records Socrates’ Socrates’ discussions discussions regarding regarding rhetoric. rhetoric. Socrates Socrates mentioned mentioned that that figures figures of of ancient ancient Egyptian Egyptian gods gods were were the the precursor precursor to to the the invention invention of of words. words. However, However, King King Al-Mu’tasim Al-Mu’tasim did did not not recognize recognize the the significance significance of of this this invention. invention. The The king king said, said, “Your “Your invention invention will will make make people people who who learn learn words words to to become become forgetful forgetful because because they they will will no no longer longer strive strive to to remember. remember. They They will will place place their their faith faith in in books books and and texts, texts, and and rely rely on on external external symbols symbols for for recognition recognition instead instead of of their their minds minds to to remember. remember. So, So, this this medicine medicine that that you you invented invented can can only only aid aid recognition, recognition, Resisting memory memory loss loss has has always always been been aa basic basic task task in in the the process process of of constructing constructing human human not not memory.” memory.” 22 Resisting civilization. civilization. Additionally, Additionally, itit isis also also aa basic basic human human function function for for developing developing perception, perception, consciousness, consciousness, and and aa sense sense of of responsibility. responsibility. Perhaps, Perhaps, this this isis fear fear over over aa loss loss of of memory memory and and roots. roots. People People memorizing memorizing with with effort effort use use aa credible credible and and reliable reliable method method for for retaining retaining them. them. The The various various works works by by Hsi Hsi utilize utilize aa language language of of form form to to construct construct aa memory memory palace palace that that belongs belongs uniquely uniquely to to him. him. In In addition addition to to recognizing recognizing aa sense sense of of self self and and aa dependence dependence on on aa contextual contextual system, system, itit also also points points to to the the spirit spirit of of the the Renaissance Renaissance -- regarding regarding scientific scientific creations creations and and wonderful wonderful possibilities. possibilities.

2. Plato, The Collected Dialogues of Plato, Translated by Zhu Guangqian. Taipei: Net and Books Co., Ltd., 2005, Page 231.

About Hsi Shih-Pin

席時斌

1977年生於台灣台北，畢業於國立臺北藝術大學造形藝術研究所（MFA）。專長複合媒材之雕塑與裝置。他創作的多變性，外顯於令人驚艷的多種材質、顏色、處理、尺寸的組合，內在則專注於揀擇日常物象的結構與形貌，透過「分解／重組」的手法打造出隱性奇異的形體與空間。透過古典技術的演練與自然的幻想，席時斌企圖捕捉的不是那些可以經過我們有限知覺所感知的東西，而是隱喻性地超越了這些形體，傳達物件曾經感知的「記憶」。更冀望在生命累積出的軌跡中，實驗可能性的未來。

曾多次參與公共空間環境藝術改造工程與國際藝術家駐村計畫。作品入選於2008臺灣美術新貌獎—立體創作系列、2008台灣國際木雕競賽、2008高雄獎入選、2010台北獎入選。並獲得2012亞洲文化協會台灣獎助計畫、2011 Taipei Art Fair MIT新人推薦區、2007 國立臺北藝術大學美術創作卓越獎。自2006年起陸續發表個人創作，作品曾在北京今日美術館、上海美術館、韓國Haslla Art World展出。並獲邀與台灣東和鋼鐵企業、愛馬仕（Hermès）、路易威登（Louis Vuitton）、法拉利（Ferrari）…等企業品牌進行合作發表藝術作品。現居住、創作於台灣台北。

A Horoscope Built Out of Our Chriots

Hsi Shih-Pin

Born in 1977 in Taipei, Taiwan, Hsi Shih-Pin received an MFA degree of Plastic Arts from Taipei National University of the Arts (TNUA). He specializes in sculpture and installation of mixed media. The variety of Hsi’s works shows in the combination of variable media, colors, size, and modes. Inside of his works, the artist focuses on structures and appearances of daily objects, then transfer them into peculiar shape and space by deconstruction and recombination. Hsi tries to keep those memories that experienced by objects far from our perception with the practice of classical techniques and his imagination. Based on his life experience, the artist expects to experiment more possibilities in the future.

Hsi’s has participated in several important public projects and international artist-in-residence programs for years. His works once earned him 2012 the Asian Cultural Council Taiwan Fellowship Program, Taipei Awards 2010 Selected Prize and 2007 Outstanding Art Work Prize of Fine Arts Department, TNUA, in addition, he had been selected for “Made in Taiwan-Young Artist Discovery” in Art Taipei 2011. Hsi’s works has been exhibited in Beijing Art Museum, Shanghai Art Museum, and South Korean Haslla Art World. He also had been sponsored and invited to art projects by Tung Ho Steel Enterprise Corp, Hermès, Louis Vuitton and Ferrari in 2011. The artist currently lives and works in Taipei.

裝置 Installation

模型：阿濕波 Scale model: Ashvins 2012 Stainless steel, Wood, Paint, Copper 250×500×200 cm

653

模型：外婆家的奧林帕斯 Scale model: Olympus from the hometown 2012 Stainless steel, Aluminum, Wood, Paint 250×720×240 cm

268

270

272

雕塑 Sculpture

阿克提恩—奇麗月光之大雄鹿 Actaeon-The moonlight deer 2012 Stainless steel, Wood, Acrylic, Marble 185×201×60 cm

愛情之馬 Love horse 2011 Stainless steel 243×205×60 cm

烏忽古 II—小鳳凰 Uhugu II - The little phoenix 2012 Stainless steel, Titanium plating 86×63×28 cm

繪畫 Painting

馬#2：人馬 Horse #2: Sagittarius 2012 Pencil, Paper, Pastel 110×158 cm

馬#3：阿多羅西與達芬奇 Horse #3: Aldo Rossi & Da Vinci 2012 Pencil, Paper, Pastel 237×110 cm

馬#5：女王 Horse #5: Queen

2012 Pencil, Paper, Pastel 110×237 cm

100

聖杯手繪 Sketch: The Holy Grail

2012 Pencil, Color Pencil, Paper 85×177 cm

101

主教堂座 Sketch: The Cathedral 2012 Pencil, Paper, Purple acrylic 79×110 cm

102

獅子少女 Sketch: The Lion 2012 Pencil, Paper, Purple acrylic 79×110 cm

104

窗中小動物 Sketch: The window 2012 Pencil, Paper, Red acrylic 79×110 cm

107

小鳥入聖堂 Sketch: Penis 2012 Pencil, Paper, Red acrylic 110×79 cm

109

愛滋長 Let love grow 2010 Pencil, Paper, Silver tape, Purple acrylic 59×85 cm

110

Curriculum Vitae

席時斌 1977年出生於台灣台北，目前居住創作於台灣台北 http://studio-bin.blogspot.com/

學學 2007

歷歷

國立臺北藝術大學，造形研究所藝術碩士國立臺北藝術大學，造形研究所藝術碩士

經經

歷歷

2012

獲亞洲文化協會台灣獎助計畫，至九月前往舊金山赫德獲亞洲文化協會台灣獎助計畫，至九月前往舊金山赫德蘭藝術中心以及紐約參訪蘭藝術中心以及紐約參訪 2010 獲國家文化藝術基金會2010年度東鋼藝術家駐廠創作專案獲國家文化藝術基金會2010年度東鋼藝術家駐廠創作專案 2009 獲邀獲邀台灣@藝術新世代展台灣@藝術新世代展上海、北京，中國上海、北京，中國獲竹圍工作室新秀好康申請展獲竹圍工作室新秀好康申請展新秀賞新秀賞 2008 獲邀獲邀第13屆旺山藝術祭第13屆旺山藝術祭江陵，韓國江陵，韓國台北縣板橋435國際藝術村駐村藝術家台北縣板橋435國際藝術村駐村藝術家 2006-12 台北新樂園藝術空間，第七∼十期成員台北新樂園藝術空間，第七∼十期成員

個個 2012

2011

2010 2009 2008 2007 2006

112

展展

「在我們的馬車上製作一座星盤」，尊彩藝術中心，「在我們的馬車上製作一座星盤」，尊彩藝術中心，台北，台灣台北，台灣「水星」，智邦藝術基金會，新竹，台灣「水星」，智邦藝術基金會，新竹，台灣「馬之戲劇」，台灣區Hermès店鋪，台北、台中、「馬之戲劇」，台灣區Hermès店鋪，台北、台中、台南、高雄，台灣台南、高雄，台灣「鋼鐵遊蹤」，華山文創園區，台北，台灣「鋼鐵遊蹤」，華山文創園區，台北，台灣「資源攻擊」，東和鋼鐵苗栗廠，苗栗，台灣「資源攻擊」，東和鋼鐵苗栗廠，苗栗，台灣「混血台北、上海」，鳳甲美術館，台北，台灣「混血台北、上海」，鳳甲美術館，台北，台灣「對我施暴」，新樂園藝術空間，台北，台灣「對我施暴」，新樂園藝術空間，台北，台灣「河海建醮」，竹圍工作室12柱，台北，台灣「河海建醮」，竹圍工作室12柱，台北，台灣「走樣系列」，板橋435藝文特區，台北，台灣「走樣系列」，板橋435藝文特區，台北，台灣「Linear 「Linear Shell」，臺北藝術大學南北畫廊，台北，台灣 Shell」，臺北藝術大學南北畫廊，台北，台灣「歐幾理的枝」，臺北藝術大學南北畫廊，台北，台灣「歐幾理的枝」，臺北藝術大學南北畫廊，台北，台灣「動物結構」，新樂園藝術空間，台北，台灣「動物結構」，新樂園藝術空間，台北，台灣

聯聯

展展

2012 「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，台北，台灣台北，台灣「凝聚—當代雕塑家聯展」，現代畫廊，台中，台灣「凝聚—當代雕塑家聯展」，現代畫廊，台中，台灣「言外之書」，Z書房，台中，台灣「言外之書」，Z書房，台中，台灣 2011 「2012Ferrari法拉利躍馬撼動巡禮」，台北101，「2012Ferrari法拉利躍馬撼動巡禮」，台北101，台北，台灣台北，台灣「2011台北世界設計大會」，南港會議展覽中心，「2011台北世界設計大會」，南港會議展覽中心，台北，台灣台北，台灣「2011台北國際藝術博覽會」，台北世界貿易中心，「2011台北國際藝術博覽會」，台北世界貿易中心，台北，台灣台北，台灣「2011視盟藝術家博覽會」，剝皮寮歷史街區，台北，「2011視盟藝術家博覽會」，剝皮寮歷史街區，台北，台灣台灣「2011金門鋼雕藝術節」，金門縣文化局，金門，台灣「2011金門鋼雕藝術節」，金門縣文化局，金門，台灣「民生主義」，台北民生東路商圈，台北，台灣「民生主義」，台北民生東路商圈，台北，台灣「聚賢迎春—十位當代藝術家聯展」，尊彩藝術中心，「聚賢迎春—十位當代藝術家聯展」，尊彩藝術中心，台北，台灣台北，台灣「寶兔找太陽—2011台北燈節公共藝術展」，寶藏巖國「寶兔找太陽—2011台北燈節公共藝術展」，寶藏巖國際藝術村，台北，台灣際藝術村，台北，台灣 2010 「擦逝了，的故鄉」，新樂園藝術空間，台北，台灣「擦逝了，的故鄉」，新樂園藝術空間，台北，台灣「時態練習」，新樂園藝術空間，台北，台灣「時態練習」，新樂園藝術空間，台北，台灣「河流3—台北縣公共藝術計畫」，碧潭風景區，「河流3—台北縣公共藝術計畫」，碧潭風景區，台北，台灣台北，台灣「笑CC-Culture 「笑CC-Culture ** Creativity」，臺北市中山堂，台北， Creativity」，臺北市中山堂，台北，台灣台灣「壅擠的樂園」，新樂園藝術空間，台北「壅擠的樂園」，新樂園藝術空間，台北「邊緣美學—竹圍工作室15週年回顧展」，竹圍工作「邊緣美學—竹圍工作室15週年回顧展」，竹圍工作室，台北，台灣室，台北，台灣「藝想ten開—2010視盟藝術家博覽會」，台中創意文「藝想ten開—2010視盟藝術家博覽會」，台中創意文化園區，台中，台灣化園區，台中，台灣「2010雞籠中元祭藝文華會」，基隆市文化中心，「2010雞籠中元祭藝文華會」，基隆市文化中心，基隆，台灣基隆，台灣

A Horoscope Built Out of Our Chriots

2009

2008

2007 2006

「啾啾神功，評藝生華」，新樂園藝術空間，台北，「啾啾神功，評藝生華」，新樂園藝術空間，台北，台灣台灣「建築實驗雙年展2010開天窗—不在場的建築」，實踐「建築實驗雙年展2010開天窗—不在場的建築」，實踐大學圖書館，台北，台灣大學圖書館，台北，台灣「2010雕塑集展」，國立臺北藝術大學，台北，台灣「2010雕塑集展」，國立臺北藝術大學，台北，台灣「瀰宮」，華山文化園區，台北，台灣「瀰宮」，華山文化園區，台北，台灣「美的再濫用」，視盟藝文空間，台北，台灣「美的再濫用」，視盟藝文空間，台北，台灣「性感帶」，也趣藝廊，台北，台灣「性感帶」，也趣藝廊，台北，台灣「南北串連展—黃長壽個展II」，新濱碼頭藝術空間，「南北串連展—黃長壽個展II」，新濱碼頭藝術空間，高雄，台灣高雄，台灣「台灣@藝術新世代」，今日美術館，北京，中國「台灣@藝術新世代」，今日美術館，北京，中國「南北串連展—黃長壽個展I」，非常廟藝文空間，「南北串連展—黃長壽個展I」，非常廟藝文空間，台北，台灣台北，台灣「台灣@藝術新世代」，上海美術館，上海，中國「台灣@藝術新世代」，上海美術館，上海，中國「2009粉樂町」，台北東區，台北，台灣「2009粉樂町」，台北東區，台北，台灣「夏藝眺—2009視盟藝術博覽會」，京華城，台北，「夏藝眺—2009視盟藝術博覽會」，京華城，台北，台灣台灣「現在「現在 En En Ce Ce Moment」，新樂園藝術空間，台北， Moment」，新樂園藝術空間，台北，台灣台灣「2008臺灣美術新貌展—立體創作系列」，台中港區藝「2008臺灣美術新貌展—立體創作系列」，台中港區藝術中心，台中，台灣術中心，台中，台灣「The 「The 13th 13th Wang-san Wang-san International International Art Art Festival」，Haslla Festival」，Haslla Art Art World，韓國 World，韓國「2008台灣國際木雕競賽得獎作品展」，三義木雕博物「2008台灣國際木雕競賽得獎作品展」，三義木雕博物館，苗栗，台灣館，苗栗，台灣「48000」，新樂園藝術空間，台北，台灣「48000」，新樂園藝術空間，台北，台灣「永恆的成人遊戲工場」，關渡美術館，台北，台灣「永恆的成人遊戲工場」，關渡美術館，台北，台灣「2008高雄獎」，高雄市立美術館，高雄，台灣「2008高雄獎」，高雄市立美術館，高雄，台灣「Turn 「Turn into」，J&NINA into」，J&NINA art-space，台北，台灣 art-space，台北，台灣「失連結」，白方糖畫廊，台北，台灣「失連結」，白方糖畫廊，台北，台灣「現實取Young」，關渡美術館，台北，台灣「現實取Young」，關渡美術館，台北，台灣「加入連結」，新樂園藝術空間，台北，台灣「加入連結」，新樂園藝術空間，台北，台灣

2005 2004 2003

「site*3」，華山文化園區，台北，台灣「site*3」，華山文化園區，台北，台灣「送雞迎狗慶團圓」，臺北藝術大學地下美術館，「送雞迎狗慶團圓」，臺北藝術大學地下美術館，台北，台灣台北，台灣「邁向世界的盡頭」，臺北藝術大學地下美術館，「邁向世界的盡頭」，臺北藝術大學地下美術館，台北，台灣台北，台灣「新星嚐」，臺北藝術大學地下美術館，台北，台灣「新星嚐」，臺北藝術大學地下美術館，台北，台灣「建築再生」，敦南誠品藝廊，台北，台灣「建築再生」，敦南誠品藝廊，台北，台灣

公共藝術公共藝術 2012

2011 2010

《馬偶戲》，臨時性設置，捷運大安森林公園站，台北《馬偶戲》，臨時性設置，捷運大安森林公園站，台北《由想像到事實的結構》，民眾參與計畫，國北教大新《由想像到事實的結構》，民眾參與計畫，國北教大新建美術館工程，台北建美術館工程，台北《Watership＃3》，松山菸廠，台北《Watership＃3》，松山菸廠，台北《菱光小屋》，臨時性設置，寶藏巖國際藝術村，台北《菱光小屋》，臨時性設置，寶藏巖國際藝術村，台北《流Fun》，臨時性設置，碧潭風景區，新北市《流Fun》，臨時性設置，碧潭風景區，新北市《船水》，臨時性設置，基隆市文化中心，基隆《船水》，臨時性設置，基隆市文化中心，基隆

獲獲 2012 2011 2010 2008

2007

獎獎

2012亞洲文化協會台灣獎助計畫，受獎人 2012亞洲文化協會台灣獎助計畫，受獎人 2011台北國際藝術博覽會，獲選MIT新人推薦區 2011台北國際藝術博覽會，獲選MIT新人推薦區 2010台北獎，入選 2010台北獎，入選 Louis Louis Vuitton藝文空間徵件計劃，入選 Vuitton藝文空間徵件計劃，入選 2008台灣新貌獎，立體創作系列，入選 2008台灣新貌獎，立體創作系列，入選 2008台灣國際木雕競賽，入選 2008台灣國際木雕競賽，入選 2008高雄獎，入選 2008高雄獎，入選國立臺北藝術大學2007美術創作卓越獎國立臺北藝術大學2007美術創作卓越獎

113

Curriculum Vitae

Hsi Shih-Pin 1977 born in Taipei, Taiwan http://studio-bin.blogspot.com/

2007

EDUCATION M.F.A, Graduate School of Plastic Arts, Taipei National University of the Arts, Taiwan

EXPERIENCE 2012 Taiwan Fellowship Program Grantees, Asian Cultural Council Taiwan. Visit Headland Center for the Arts, San Francisco and New York in September for 5 months. 2010 Artists-in-residence Program, Tung Ho Steel Enterprise Co., Miaoli Works, Taiwan 2009 Super Generation@Taiwan, Shanghai, Beijin, China 2008 Artists-in-residence Program, 435 International Artist Village , Taipei, Taiwan Artists-in-residence Program, The 13th Wang-san International Art Festival, Haslla Art World, Korea 2006-12 The 7th~10th Shin Leh Yuan Art Space member, Taipei, Taiwan

2012

2011

2010

2009

2008 2007

114

SOLO EXHIBITIONS “A Horoscope Built Out of Our Chariots”, Liang Gallery, Taipei, Taiwan “Mercury”, Arttime Art Foundation, Hsinchu, Taiwan “Drama of Horse”, Hermès store(Taiwan), Taipei, Taichung, Tainan, Kaohsiung, Taiwan “Steel Works”, Huashan 1914 Creative Park, Taipei, Taiwan “The Attack of Resources”, Tung Ho Steel enterprise corporation, Miaoli, Taiwan “Blood Crossed”, Taipei, Shanghai, Hong-gah Museum, Taipei, Taiwan “Beating Me”, S.L.Y Art Space, Taipei, Taiwan “Taoist Ritual of River & Sea”, Bamboo Curtain Studio, Taipei, Taiwan “The Lose Style”, 435 International Artist Village, Taipei, Taiwan “Linear Shell”, T.N.U.A Nan-pei Gallery, Taipei, Taiwan “The Euclidean Bough”, T.N.U.A Nan-pei Gallery, Taipei,

2006

2012

2011

2010

Taiwan “Animal Structure”, S.L.Y Art Space, Taipei, Taiwan

GROUP EXHIBTIONS “Exploring with a Balloon-Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan “Spot Light”, Modern Art Gallery, Taichung, Taiwan “Beyond the Words”, Zspace, Taichung, Taiwan “2012 Crossover Exhibition with Modena Ferrari”, Taipei 101, Taipei, Taiwan “Taipei World Design Expo 2011”, TWTC Nangang, Taipei, Taiwan “Art Taipei 2011”, Taipei world Trade Center, Taipei, Taiwan “2011 AVAT ART FAIR”, Bopiliao Old Street “KINMEN Peace lron & Iron Sculpture Festival”, Kimmen, Taiwan “Celebrating Spring Together-Group Exhibition of Ten Contemporary Artists”, Liang Gallery, Taipei, Taiwan “2011 Rabbit Year Taipei Lantern Festival”, Treasure Hill Artist Village, Taipei “We Scratched from the Hometown”, S.L.Y Art Space, Taipei, Taiwan “Tense Practice”, S.L.Y Art Space, Taipei, Taiwan “2010 Taipei County Public Art Project-Art Fun Bitan”, Bitan Scenic Area, Taipei, Taiwan “Smile CC-Culture * Creativity”, Zhongshan Hall, Taipei, Taiwan “Crowded Paradise”, S.L.Y Art Space, Taipei, Taiwan “Aesthetics at the Edge: An Alternative Way for Creativity”, Bamboo Curtain Studio, Taipei, Taiwan “See U Next 10－2010 Group Exhibition of AVAT”, Taichung Cultural & Creative Industries Park, Taiwan “2010 Festival of the Seventh Lunar Month in Jilong”, The Cultural Center of Jilong, Jilong, Taiwan “Chirp! Chirp! The 9th Group Exhibition of SLY’s Artists”, S.L.Y

A Horoscope Built Out of Our Chriots

Art Space, Taipei, Taiwan “Non-places_Architecture of Pheromonal Presence”, Shih Chien

2009

2008

2007

2006

University , Taipei, Taiwan “2010 Sculpture Group Exhibition”, Taipei National University of the Arts, Taiwan “Invaded Paradise”, Huashan 1914 Creative Park, Taipei, Taiwan “The Re-abuse of Beauty: Halfway House”, AVAT art space, Taipei, Taiwan “It Must be Your Sexy Way”, AKI Gallery, Taipei, Taiwan “SLY VT&S.P.P. Exchange Exhibition”, Sin Pin Pier-Absolutely Art Space, Kaohsiung, Taiwan “Super Generation@Taiwan”, Today Art Museum, Beijing, China “SLY VT&S.P.P. Exchange Exhibition”, VT Art Salon, Taipei, Taiwan “Super Generation@Taiwan”, Shanghai Art Museum, Shanghai, China “Very Fun Park 2009”, Taipei East District, Taipei, Taiwan “Avatart 2009”, Living mall, Taipei, Taiwan “En Ce Moment”, S.L.Y Art Space, Taipei, Taiwan “GEISAI TAIWAN”, Huashan Art District, Taipei, Taiwan “New Perspective 3D Art in Taiwan 2008”,Taichung City Seaport Art Center, Taichung, Taiwan “The 13th Wang-san International Art Festival”, Haslla Art World, Korea “International Wood Sculpture Competition of Taiwan 2008”, Sanyi Wood Sculpture Museum, Miaoli, Taiwan “48000”, S.L.Y Art Space, Taipei, Taiwan “Eternal Adventure Land”, Kuandu Museum of Fine Arts, Taipei, Taiwan “Kaohsiung Awards 2008”, Kaohsiung Fine Arts Museum, Kaohsiung, Taiwan “Lost Contact”, White club Sugar Gallery, Taipei, Taiwan “2007 Outstanding Art Work Prize of T.N.N.A”, Kuandu Museum of Fine Arts, Taipei, Taiwan “Add to My Favorite”, S.L.Y Art Space, Taipei, Taiwan “Site*3”, Huashan Art District, Taipei, Taiwan

2005 2004 2003

2012

2011

2010

2012 2011 2010

2008

2007

“Byebye Chicken Hello Dog”, T.N.U.A Gallery, Taipei, Taiwan “Looking for the End of the World” , T.N.U.A Gallery, Taipei, Taiwan “Shin Sing Chen-group Exhibition” , T.N.U.A Gallery, Taipei, Taiwan “Architecture Relive”, Eslite Gallery , Taipei, Taiwan

PUBLIC ART Horse Puppet Theater, Installation Project, The Taipei Metro Daan Park Station, Taipei, Taiwan The Structure of Imagination to Reality, Museum Project, National Taipei University of Education, Taipei, Taiwan Watership #3, Songshan Cultural and Creative Park, Taipei, Taiwan Rhombus Chamber, Installation Project, Treasure Hill Artist Village, Taipei, Taiwan Flow Fun, Installation Project, Bitan Scenic Area, Taipei, Taiwan Shipping in Water, Installation project, Keelung City Cultural Affairs Bureau, Keelung, Taiwan

PRIZES 2012 Asian Cultural Council Taiwan Fellowship program Made in Taiwan-Young Artist Discovery, Art Taipei 2011 Honorable Mention, Taipei Arts Award by Taipei Fine Art Museum Selected Prize, Open Call for Emerging Artists by Louis Vuitton Selected Prize, New Perspective 3D Art in Taiwan 2008 Selected Prize, International Wood Sculpture Competition of Taiwan 2008 Selected Prize, Kaohsiung Awards 2008 2007 Outstanding Art Work Prize of Fine Arts Department, Taipei National University of the Arts

115

席時斌

Hsi Shih-Pin

發行人

余彥良

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

攝影

王鴻駿

美術設計

尊彩藝術中心邱寶禛

印刷

日動藝術印刷有限公司

出版

2012年8月初版

ISBN

978-986-88331-1-1 （平裝）

Executive Director

Yu Yen-Liang

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Photography

Wang Hong-Jun

Art Design

Chiu Pao-Chen (Liang Gallery)

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, August, 2012

ISBN

978-986-88331-1-1 (Paperbound Edition)

www.lianggallery.com‧Tel +886-2-2797-1100‧Fax +886-2-2656-0033‧lianggallery@gmail.com 台北市11492內湖區瑞光路366號 | No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm | 週一公休 Closed on Monday

席時斌 在我們的馬車上製作一座星盤 HSI Shih-Pin | A Horoscope Built Out of Our Chariots

席時斌在我們的馬車上製作一座星盤 HSI Shih-Pin | A Horoscope Built Out of Our Chariots