677 King’s Road, Quarry Bay Hong Kong 香港鰂魚涌英皇道 677號 榮華工業大廈 22樓
T +852 2517 4620 F +852 2517 6850 info@para-site.org.hk
Wednesday to Sunday, 12 – 7 pm Closed on Monday, Tuesday and public holidays 星期三至日 , 中午 12 時至晚上 7 時 星期一、二與公共假期休息
para-site.org.hk
18 sep ––––––––––––––––––––––––– 27 nov 2016
22/F, Wing Wah Industrial Building
Apichatpong Weerasethakul: The Serenity 阿比查邦.韋拉斯塔古: of Madness 狂中之静
677 King’s Road, Quarry Bay Hong Kong 香港鰂魚涌英皇道 677號 榮華工業大廈 22樓
T +852 2517 4620 F +852 2517 6850 info@para-site.org.hk
Wednesday to Sunday, 12 – 7 pm Closed on Monday, Tuesday and public holidays 星期三至日 , 中午 12 時至晚上 7 時 星期一、二與公共假期休息
para-site.org.hk
18 sep ––––––––––––––––––––––––– 27 nov 2016
22/F, Wing Wah Industrial Building
exhibition plan 展覽平面圖
Apichatpong Weerasethakul, Primates’ Memories, 2014. Courtesy of the artist.
Apichatpong Weerasethakul: The Serenity 阿比查邦.韋拉斯塔古: of Madness 狂中之静
Introduction
展覽簡介
動力男孩 (湄公河 )
2 8
1
Power Boy (Mekong)
2
TEEM (The Vapor of Melancholy) TEEM(憂鬱的霧氣 )
10
3
Mr. Electrico (for Ray Bradbury)
12
4
Primates’ Memories
5
Velocity
6
Fire Garden
7
The Importance of Telepathy
8
Windows
9
Fireworks Sketch (Frog)
10
Ashes
11
The Palace (Pipittan Tee Taipei)
12
Haiku
13
TEEM TEEM
14
Fireworks (Archives)
15
Father
16
Sakda (Rousseau)
17
Subwoofer
18
Blue Propeller
19
Selected polaroids
20
One Water
21
Film scripts
22
Photophobia
23
Ghost Teen
Credits
電力先生 (致 Ray Bradbury) 原始記憶 速度
燃燒花園 通靈感應 窗
煙花素描 (青蛙 )
灰燼
宮殿 (台北國立故宮博物院 )
俳句
煙花 (檔案 ) 父親
Sakda (盧梭 ) 重低音
藍色螺旋槳
拍立得照片選集
水
電影原劇本選集 畏光症
鬼魂青年
版權及鳴謝
13 14 15 16 18 19 20 22 24 26 28 30 32 34 35 36 38 40 42 44 46
P
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Apichatpong Weerasethakul:
The Serenity of Madness
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ara Site is honoured to present Apichatpong
Apichatpong Weerasethakul was born in 1970 in Bangkok
Weerasethakul: The Serenity of Madness, the
and raised in the north-eastern Thai city of Khon Kaen.
artist’s first solo exhibition in Hong Kong. One
Working independently of the Thai commercial film industry,
of the most original filmmakers and artists
he is active in promoting experimental and independent
of our time, Apichatpong Weerasethakul has
filmmaking through his company Kick the Machine,
developed a distinctive language which approaches fragments
which he founded in 1999. With Gridthiya Gaweewong
of life, from passing gestures to the great cycles, from the often
he founded the Bangkok Experimental Film Festival in
occurring to the unseen, in arresting and compelling narratives.
1997, and presented it three more times through 2008. His
Deeply invested in the life, culture, spirituality, and struggles of
work has been presented widely in art and film contexts
the people excluded by the elite nationalist project of the Thai
internationally, including the Sharjah Biennial in the UAE
state—primarily the people of Isan, the region of his upbringing,
(2013), dOCUMENTA 13 in Kassel, Germany (2012), Liverpool
many of Weerasethakul’s works hail from within these universes.
Biennial (2006), Busan Biennial (2004), the Istanbul Biennial
They employ historical allusions, myths, codes and visual
(2001), and in solo and group exhibitions at art spaces
language, but most importantly references to the contemporary
including Haus der Kunst in Munich, Germany; Walker Art
vernacular and political struggles of the marginalised strata of
Center, Minneapolis; New Museum, New York; Irish Museum
Thai society. Weerasethakul does not however document this
of Modern Art, Dublin; and Musée d’Art Modern de la Ville
world from the outside, he employs its intimate vocabularies,
de Paris. Weerasethakul’s 2009 film, Uncle Boonmee Who
creating deeply original art works and films that can be seen as
Can Recall His Past Lives, won a Palme d’Or prize at the 63rd
both part of a living contemporary folklore of the lower classes in
Cannes Film Festival. His feature films include: Cemetery
Thailand and pieces of universal relevancy in our contemporary
of Splendour (2015), Uncle Boonmee Who Can Recall His
world. Often read as surrealist, Weerasethakul’s works contain
Past Lives (2010), Syndromes and a Century (2006), Tropical
however deeply coherent and carefully constructed parameters,
Malady (2004), The Adventures of Iron Pussy (2003), Blissfully
with narratives following a specific logic and references that are
Yours (2002), and Mysterious Object at Noon (2000).
not devoid of humour or satiric intentions. The Serenity of Madness includes a selected survey of rarely-seen experimental short films and video installations by Weerasethakul, alongside his sculpture, photography, drawings, sketches, and archival material.
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ara Site 藝術空間隆重呈現阿比查邦·韋拉斯塔古
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Apichatpong Weerasethakul:
The Serenity of Madness
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阿比查邦·韋拉斯塔古 1970年於曼谷出生 , 之後成長在泰國東北部的坤敬。
(Apichatpong Weerasethakul)在香港的首次個展
他在泰國蓬勃的商業電影界中始終從事獨立製片。1999年 , 他成立 Kick
具原創性的電影製作者之一 , 阿比查邦·韋拉斯塔古發
Gridthiya Gaweewong 創立了曼谷實驗電影節 , 後續舉辦了三屆 , 直至
〈阿比查邦·韋拉斯塔古 : 狂中之靜〉。身為我們世代最
展出一套獨特的電影語言 , 透過消逝的殘影到與宏大的
the Machine 電影公司 , 致力推廣實驗和獨立電影發展。1997年 , 他與
2008年結束。他的作品常見於許多國際藝術展覽和電影節 , 包括 2013年
循環、常見之事到隱晦之物、扣人情節到魅惑敘事 , 皆不斷觸及著我們生活
的沙迦雙年展 (Sharjah Biennial)、2012年的第十三屆德國卡塞爾文件展
的生活、文化、精神性與掙扎 , 其中尤以阿比查邦生長的故鄉依善 (Isan)為
年的釜山雙年展 (Busan Biennial)和 2001年的伊斯坦堡雙年展 (Istanbul
中的點滴與片段。他的作品深入探討泰國特權民族主義群體之外普羅大眾
重。這些創作運用歷史典故、神話、暗喻、視覺語言 , 以及重要的引徵並指涉
(dOCUMENTA 13)、2006年的利物浦雙年展 (Liverpool Biennial)、2004 Biennial); 他也參與多項當代藝術個展和群展，包括 Haus der Kunst、
當代語彙以及泰國邊緣階層的政治抗爭。阿比查邦並非以旁觀者的角度記
沃克藝術中心 (Walker Art Center)、紐約的新美術館 (New Museum)、
國底層階級今時今日的生活 , 同時亦呈現出與現世強烈的關聯性。儘管他
藝術博物館 (Musée d’Art Modern de la Ville de Paris)。2009年 , 電影
錄世界 , 他運用私密的語彙建構出獨特的藝術與電影創作 ; 它們代表著泰
愛爾蘭現代藝術博物館 (Irish Museum of Modern Art), 還有巴黎現代
常被視為為一位超現實主義者，阿比查邦的創作其實承載著極為連貫且精
長片〈波米叔叔的前世今生〉(Uncle Boonmee Who Can Recall His Past
刺的語調。
〈波米叔叔的前世今生〉(2010)、 〈戀 (Cemetery of Splendour, 2015)、
心設計的場域 , 這些敘事遵循作者特定的邏輯與指涉 , 亦仍不失幽默與諷
〈阿比查邦·韋拉斯塔古 : 狂中之靜〉精心挑選了阿比查邦難得一見的實驗 短片、錄像裝置/攝影、繪畫和素描作品 , 以及他探討社會政治議題的檔案 材料。
Lives) 榮獲第 63屆坎城電影節金棕櫚獎。其他長片作品包括:〈華麗之墓〉 愛症候群〉(Syndromes and a Century, 2006)、 〈熱帶幻夢〉(Tropical 〈鐵雞諜網種情花〉(The Adventures of Iron Pussy, Malady, 2004)、
〈極樂森林〉(Blissfully Yours, 2002)和〈正午顯影〉(Mysterious 2003)、
Object at Noon, 2000)。
Apichatpong Weerasethakul 阿比查邦·韋拉斯塔古 , 2014
Courtesy of Kick the Machine Films Photograph by Chai Siris 圖片由 Kick the Machine Films 提供 , 攝影 : Chai Siris
Apichatpong Weerasethakul:
The Serenity of Madness
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Apichatpong Weerasethakul:
The Serenity of Madness
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Power Boy (Mekong) Giclée print 150 × 225 cm 2009 Courtesy of the artist 動力男孩（湄公河） 微噴打印
150 × 225 cm 2009
圖片由藝術家提供
Power Boy (Mekong) looks at the ecological systems along the Mekong River, particularly the consequences of hydroelectric Xayaburi Dam on the Lower Mekong River. The Dam aims to produce electricity for Laos and the region, yet Thailand is the main consumer of this power. Many Thai people had protested the building of the dam, but still rely on its electricity, thus revealing the paradox of politics the project brings about. 〈動力男孩 (湄公河 )〉著眼湄公河的生態系統 , 尤其是湄公河下游沙耶武裡 (Xayaburi)大壩
水力發電站造成的影響。建造這座大壩的目的 是為老撾和當地供電 , 但這些電力的主要消耗 體則來自泰國。許多泰國人抗議大壩工程 , 卻
仍舊依賴其電力供應 , 進而揭示出這一工程背
後的政治吊詭。
TEEM (The Vapor of Melancholy) Lightjet print on Duratrans, lightbox 80 × 120 cm 2014 Courtesy of the artist TEEM（憂鬱的霧氣）
Duratrans 膠片 Lightjet 印刷、燈箱
80 × 120 cm 2014
圖片由藝術家提供
Produced as part of the video series, Fireworks (Archives), The Vapor of Melancholy depicts Weerasethakul’s partner in bed, caught exhaling smoke and surrounded by exploding fireworks. A cosmos-like phenomena engulfs his body, concealing an otherwise mundane activity of breathing. This intimate portrait manifests a marriage of intoxication and dream. 〈憂鬱的霧氣〉是〈煙花(檔案)〉系列的作品
之一 , 畫面捕捉了阿比查邦的伴侶躺在床上
呼出煙氣 , 被盛放的煙花所環繞的場景。宇宙
般的圖景吞噬著他的身體 , 遮蔽著乏味的呼
吸運動──這幅親密的肖像呈現了沉醉與夢 境的交織。
Apichatpong Weerasethakul:
The Serenity of Madness
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This lightbox series is part of Fireworks (Archives) and includes two photographs: Primates’ Memories and Mr. Electrico (For Ray Bradbury). The flashes of light were captured on camera and then digitally painted, creating fictional topographies. This manipulation was inspired by Mr. Electrico (for Ray Bradbury) Lightjet print on Duratrans, lightbox 100 × 150 cm 2014 Courtesy of the artist 電力先生（致 Ray Bradbury）
Duratrans 膠片 Lightjet 印刷、燈箱 100 × 150 cm 2014
圖片由藝術家提供
recent MIT molecular research in which light and color were used to artificially activate a memory. At the same time, Primates’ Memory echoes the current color-coded conflict in Thailand’s streets where violence and revelry coexist. Mr. Electrico (For Ray Bradbury) is drawn from Weerasethakul’s favorite writer’s memory. In 1932, a young Ray Bradbury met with circus performer Mr. Electrico who could endure fifty thousand volts of electricity. The man claimed that Ray was a reincarnation of his friend who died in his arms fourteen years earlier. “Live Forever” the man whispered to Ray and forever became the author’s driving force.
燈箱系列為〈煙花(檔案)〉(Fireworks (Archives)) 的部份作品 , 包括
兩幅相片： 〈原始記憶〉(Primates’ Memories) 和〈電力先生（致 Ray
Bradbury）〉(Mr. Electrico (For Ray Bradbury) )。阿比查邦透過相 機捕捉閃光 , 以數碼形式為其上色 , 創作出虛構的地形圖式。這一手
法概念來自美國麻省理工 (MIT)近期一項透過光與色彩觸發記憶的粒
子研究。與此同時〈原始記憶〉 也反映了當時泰國街頭紅、黃衫軍的衝 , 突 ,以及暴力與狂歡的共存。 〈電力先生(致 Ray Bradbury)〉則源自
Bradbury 這位阿比查邦最喜愛的作家的事蹟。1932年 , 年輕的 Ray
Primates’ Memories
承受高達 5,000伏特電力 , 並聲稱 Ray Bradbury 的前世是 14 年前死
100 × 150 cm
這句話一直成為這位作家的推動力。
Courtesy of the artist
Bradbury 與馬戲團藝人電力先生 (Mr. Electrico)相遇 , 電力先生可以
Lightjet print on Duratrans, lightbox
於他懷中的一位朋友。電力先生在布萊伯利的耳邊說： 「 永遠活下去」,
2014 原始記憶
Duratrans 膠片 Lightjet 印刷、燈箱 100 × 150 cm 2014
圖片由藝術家提供
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Apichatpong Weerasethakul:
The Serenity of Madness
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Velocity Double-channel video, 3'34" & 26' Sound / color 2016 Courtesy of Kick the Machine Films 速度
雙頻錄像 , 3'34" & 26' 有聲/彩色
2016
圖片由 Kick the Machine Films 提供
Fire Garden Single-channel video, 1'53" Silent / color 2016 燃燒花園
單頻錄像 , 1'53" 無聲/彩色
2016
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Apichatpong Weerasethakul:
The Serenity of Madness
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The Importance of Telepathy
In Thailand, there is a kind of ghost called a Phi Boon. This
Ceramic
ghost is not a dead being, but a person who claims to have
53 × 29 × 23 cm 2012 Courtesy of the artist and SCAI THE BATHHOUSE, Tokyo
the supernatural power to uplift the villagers from their suffering. Apart from offering hope, Phi Boon moves the people with mystical poems, songs, and texts. A ‘Phi Boon Revolt’ became a term used to describe an animist rebellion
Photo by Nobutada Omote
against the central government. The number of Phi Boon
通靈感應
region. Such revolts occurred repeatedly over 260 years
陶瓷
53 × 29 × 23 cm 2012
uprisings indicated the level of oppression in each particular until the 1950s by which time the government had entirely executed the Phi Boons and their followers.
圖片由藝術家及
Behind the ghost’s mask is our regular actor,
攝影 : 表恒匡
incarnations, has been a tiger, a monk, and an astronaut.
東京 SCAI THE BATHHOUSE 提供
Sakda Kaewbuadee, a man who, in various cinema Sakda the Ghost is our character in whom many traits of home are instilled. We are growing up in a volatile land that threatens to collapse again and again. Military coup after military coup, ghost after ghost has haunted us with faith and fear. A country of phantoms, kill and being killed in the open. — Apichatpong Weerasethakul 在泰國 , 有一種名為 Phi Boon 的鬼 , 它並非亡靈 , 而是一個能夠為村
民脫離苦難、帶來希望的超能力者。Phi Boon 同時還透過神秘詩歌、
樂曲、文字來感化大眾。因此 ,「 Phi Boon 抗爭」便被用來描述對中央 政府的泛靈論式的反抗──而各地蜂擁而起的 Phi Boon 起義也象
徵著人民受壓迫的程度 , 這種抗爭形式在過去 260年裡反復出現 , 直到 泰國政府在 50年代徹底處決所有 Phi Boon 和他們的追隨者。
「 在鬼魂面具下的是我們熟悉的演員 Sakda Kaewbuadee 的面 孔。他在不同的電影情景中化身為老虎、僧人、太空人。作為鬼
魂的 Sakda 承載著家鄉的許多特質。我們成長在一塊動蕩的土 地上 , 面臨著一次次分崩離析的威脅、經歷著一場場的軍變、被
一個個挾帶信念與恐懼的鬼魂所縈繞。這是一個魑魅魍魎的國 家 , 有著赤裸裸的殺戮與被殺。」
—— 阿比查邦·韋拉斯塔古
work in video. It is an improvisational piece using little physical movement
19
Apichatpong Weerasethakul:
Windows is Weerasethakul’s first
The Serenity of Madness
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to capture the “natural phenomena” occurring among the video camera, the television screen, and the window. Windows Digital video, 11'56" Silent / color 1999
〈窗〉是阿比查邦製作的第一部錄像作品。在
這齣即興創作中，他以近乎靜止的狀態來捕捉
攝錄機、電視畫面和窗戶之間的「自然現象」。
Courtesy of Kick the Machine Films 窗
數碼錄像 , 11'56" 無聲/彩色
1999
圖片由 Kick the Machine Films 提供
Fireworks Sketch (Frog) Video, 1'54" Sound / color 2014 Courtesy of Kick the Machine Films
煙花素描（青蛙） 錄像 , 1'54" 有聲/彩色
2014
圖片由 Kick the Machine Films 提供
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Apichatpong Weerasethakul:
The Serenity of Madness
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Ashes HD video projection, 20'18" Sound / color 2012 Courtesy of Kick the Machine Films 灰燼
高清錄像投影 , 20'18"
In collaboration with Lomo, an Austrian camera company, and Mubi, a global
有聲/彩色
film website, Weerasethakul was
圖片由 Kick the Machine Films 提供
new Lomokino, a portable motion
2012
invited to make a work to launch the picture camera. Ashes juxtaposes the intimacy of his daily routine with the destruction of memories and his observations of the dark side of Thailand’s social realities.
阿比查邦與奧地利相機公司 Lomo 和全球電
影網站 Mubi 合作 , 製作了本件作品來配合手
提攝錄機 Lomokino 的面世。影片〈灰燼〉中 ,
阿比查邦將自己的日常習慣與記憶的破滅 , 以 及對泰國社會黑暗面的觀察進行了並置。
(Pipittan Tee Taipei) 4-channel video installation
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Apichatpong Weerasethakul:
The Palace
The Serenity of Madness
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Silent / color 2008 Courtesy of Kick the Machine Films
宮殿（台北國立故宮博物院）
The Palace (Pipittapan Tee Taipei)
無聲/彩色
Weerasethakul originally created
四頻錄像裝置
2008
圖片由 Kick the Machine Films 提供
is a site-specific project that in response to the National Palace Museum in Taipei’s collection and architecture as part of the exhibition Discovering the Other. He explores spiritual elements of the art institution, which is filled with centuries-old ancient objects and artifacts. The artist saw the room in the museum as a witness of time and space: The culture, the languages, the forests, the animals, the treasures hidden in the vast tunnels inside the mountains. We are then forced to move to the Age of Enlightenment when Nothing is meaningful. But the spirits remain, the spirits of the artifacts. At this particular spaceship, outside there used to be two dogs. And it used to be something called the rain. The dogs were always under the spaceship’s canopies and wings, sheltering themselves from the falling water. Now when the sky was empty because there was no sky, their spirits roamed the ship. They immersed themselves in the memories they hadn’t experienced, until they got bored. — Apichatpong Weerasethakul
〈宮殿（台北國立故宮博物院）〉是阿比查邦回應台北國立故宮博物
院的藏品和建築而專門構思的場域特定作品，亦是該館〈發現彼此〉
(Discovering the Other)展覽的參展作品之一。台灣國立故宮博物院 收藏了歷史長達數世紀的古物和展品 , 吸引了阿比查邦一窺該藝術機
構的靈魂 , 他認為博物院的展廳是時間和空間的見證人：
「 我們身處於滅絕的年代：文化、語言、森林、動物， 還有無數隱藏在山洞裡巨大的寶藏。
於是我們被迫走進光影的時代，一個不再有意義的時代。 但是，古物有靈，這些靈魂存留下來。 在這艘特別的太空船(故宮)外，
曾經也有雨水之處，一直都有著兩隻狗。
狗兒們以往總是躲在太空船的座艙與翅膀下， 保護自己不被落下的雨水淋濕。
光影的時代裡，天空消失了，再也沒有天空。
牠們的靈魂在太空船裡遊蕩著，把自己沉浸在記憶裡， 沉浸在牠們自己都沒有經歷過的記憶裡， 直到一切都變得索然無味。」
—— 阿比查邦·韋拉斯塔古
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Apichatpong Weerasethakul:
The Serenity of Madness
24
Haiku
Weerasethakul has produced a number of shorts, feature
HD video projection, 1'58"
films, and video installations. Over the years he has also
Silent / color 2009
made numerous video sketches and studies called “video diaries” with a portable digital camera he carries with him
Courtesy of Kick the Machine Films
on a daily basis. Some of the videos featured here have later
俳句
and Uncle Boonmee Who Can Recall Past Lives. In this
高清錄像投影 , 1'58"
influenced his more narrative films such as Tropical Malady video diary, Weerasethakul documents the set of Primitive
無聲/彩色
Project in Nabua, particularly the scene when teenagers are
圖片由 Kick the Machine Films 提供
阿比查邦的創作涵蓋短片、長片和以及錄像裝置。過去幾年 , 他製作
2009
hypnotized and sleep inside a time-machine. 了許多錄像草圖及研究 , 以每日隨身攜帶的手提數碼相機來拍攝作品 , 稱為「錄像日記」。這次展覽展出其中的一些短片 , 成為往後啟發他拍
攝〈熱帶幻夢〉(Tropical Malady) 和〈波米叔叔的前世今生〉(Uncle
Boonmee Who Can Recall His Past Lives) 等更具敘事性的長片。 阿比查邦在錄像日記裡紀錄了〈原始計劃〉(Primitive Project) 一作
在納布阿 (Nabua)的拍攝現場 , 特別是片中幾位青年角色在時光機內 被催眠沈睡的一幕。
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Apichatpong Weerasethakul:
The Serenity of Madness
26
Each projection in this work is a daily morning portrait of Teem, the artist’s partner. As winter approached in late 2007, Teem informed Weerasethakul that he would to hibernate until February 2008. As a result, he slept a lot during this time while Weerasethakul observed and sometimes disrupted his partner’s mission with his mobile phone. 這件作品是藝術家為他的伴侶 Teem,
每天清晨時所拍攝的肖像。2007年末冬天即 將來臨時 , Teem 告訴阿比查邦他要冬眠至
2008年二月。在這段時間裡 , 他的確睡了很
久 , 阿比查邦有時在旁觀察 , 有時則以手機拍 攝打擾伴侶的冬眠計劃。
TEEM
TEEM
3-channel installation, digital (filmed by Vodaphone mobile)
三頻裝置 , 數碼（Vodaphone 手機拍攝）
TEEM Nov 20, 9'53" TEEM Nov 21, 22'38" TEEM Nov 22, 27'31" Silent / color 2007 Courtesy of Kick the Machine Films
TEEM 11月 20日 , 9'53"
TEEM 11月 21日 , 22'38" TEEM 11月 22日 , 27'31" 無聲/彩色
2007
圖片由 Kick the Machine Films 提供
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Apichatpong Weerasethakul:
The Serenity of Madness
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While continuing to collaborate with his favorite actors, Weerasethakul produced Fireworks (Archives), which chronicles the animal sculptures at the Wat Koo Kaew temple in Non Khai, a small town on the border of Laos and Thailand. Luang Pu Bunleua Sulilat, the founder of this temple, created statues based on fantasy, folk tales, as well as political myths to unravel his belief in Buddhist teachings about love and life, as well as legends and reincarnation. He was later accused of being a communist during the Cold War period in the 1960s and sought exile in Laos. He was oppressed by the center, and treated unfairly, and the vernacular sculptures show signs of his resistance. Filmed in the dark night, the actors take photographs while lighting fireworks, playing with light and shadow and indexing memories as archival. Fireworks (Archives) invites us to experience walking through the temple grounds alongside the actors in a very intimate way. This piece was first exhibited at Kurimanzutto in Mexico City and is the first in a new series titled Fireworks. 在〈煙花(檔案)〉中 , 阿比查邦持續與他喜愛的演員合作 , 作品呈现老撾 和泰國邊界的小城鎮 Non Khai 中 , Wat Koo Kaew 神廟里的動物塑
像。寺廟的建造者 Luang Pu Bunleua Sulilat 根據幻想、民間故事以
及政治神話創作了這些雕像 , 以傳揚他所信奉的佛教中關於愛與生命 , 傳說和輪迴的教義。60年代冷戰時期 , 他因被指為共產黨員而流亡老
Fireworks (Archives) HD video projected on holofilm, 6'40" 5.1 sound / color 2015 Courtesy of Kick the Machine Films 煙花（檔案）
全息膠片高清錄像投影 , 6'40"
5.1聲道/彩色 2015
圖片由 Kick the Machine Films 提供
撾。在中央的壓迫和不公平對待下 , 這些地方雕塑象徵著 Luang Pu
Bunleua Sulilat 的抗爭。影片在黑夜中拍攝 , 多位演員一邊放煙花一 邊拍照 , 在光與影中嬉戲，並將記憶編索為檔案。 〈煙花(檔案)〉邀請觀
眾與演員一起親密地漫步於寺廟的土地上。這件作品最初在墨西哥城 的 Kurimanzutto 畫廊展出 , 也是〈煙花〉系列中的第一件作品。
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Apichatpong Weerasethakul:
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The original footage in Father was shot in 2003 by Weerasethakul’s brother when their father was undergoing kidney dialysis. Forever stuck in his memory, the footage is reused by the artist here, as well as in a prominent scene in his feature film Uncle Boonmee Who Can Recall His Past Lives. 〈父親〉為阿比查邦的哥哥在 2003年拍攝的父親接受腎透析治療的
錄像片段。這些記憶烙印在阿比查邦腦海中 , 並將畫面重複使用在這
件作品和長片〈波米叔叔的前世今生〉(Uncle Boonmee Who Can
Recall His Past Lives) 中。
Father Video, 14'07" Silent / color 2001 Courtesy of Kick the Machine Films 父親
錄像 , 14'07"
2001
圖片由 Kick the Machine Films 提供
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Apichatpong Weerasethakul:
The Serenity of Madness
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Weerasethakul was commissioned to create a work to commemorate the centennial of French philosopher, Jean Jacques Rousseau. Sakda (Rousseau) is a portrait of his leading actor, Sakda, accompanied by a few guitar chords on the bank of the Mekong River. The artist was inspired by the works of Rousseau and reflects on the society in which he lives. He has always been interested in ideas of belonging and the relationship between humans and nature. This film imagines the reincarnation of Rousseau who doesn’t know if he will manage to keep his memory and is asking himself, “Once his voice and his image have been captured by the camera, who do they belong to? Is he the owner?” 〈Sakda (盧梭)〉為阿比查邦受委託拍攝以紀念法國哲學家雅克·盧
梭 (Jean Jacques Rousseau) 誕辰一百週年的作品。片中以阿比查 邦時常合作的演員 Sakda 為主角 , 伴隨著湄公河畔零星彈奏的吉他
和弦。阿比查邦受盧梭著作 , 和他所處時代的社會狀況所啟發。他一向 喜歡思考從屬的意念和人與自然的關係。影片中的盧梭不知道自己能 否維持記憶 , 並問自己 :「當他的聲音和影像被攝影機捕捉下來後 , 它
們屬於誰 ? 屬於他自己嗎 ? 」
Sakda (Rousseau) HD video projection, 5'18" Sound / color 2012 Courtesy of Kick the Machine Films Sakda (盧梭)
高清錄像投影 , 5'18" 有聲/彩色
2012
圖片由 Kick the Machine Films 提供
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Apichatpong Weerasethakul:
The Serenity of Madness
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Subwoofer Single-channel video, 4'33" Silent / color 2016 重低音
單頻錄像 , 4'33" 無聲/彩色
2016
Blue Propeller Digital video, 33" Silent / color 2013 藍色螺旋槳
數碼錄像 , 33" 無聲/彩色
2013
Mysterious Objects at Noon, Blissfully Yours, Tropical Malady Prints for lightbox Courtesy of the artist 拍立得照片選集 :
〈正午顯影〉、 〈極樂森林〉、 〈熱帶幻夢〉 燈箱印刷
圖片由藝術家提供
Apichatpong Weerasethakul:
Selected polaroids:
The Serenity of Madness
36
37
One Water Digital video, 1'11" Silent / color 1999 水
數碼錄像 , 1'11" 無聲/彩色
1999
Apichatpong Weerasethakul:
The Serenity of Madness
38
39
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Apichatpong Weerasethakul:
The Serenity of Madness
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Film scripts Tropical Malady, 2003 Uncle Boonmee Who Can Recall His Past Lives, 2009 Syndromes and A Century, 2006 Reproduction of original film script Courtesy of the artist 電影原劇本選集
〈熱帶幻夢〉( 2003)
〈波米叔叔的前世今生〉(2009) 〈戀愛症候群〉(2006)
電影原劇本（展覽複製） 圖片由藝術家提供
43
Apichatpong Weerasethakul:
The Serenity of Madness
42
Photophobia is the condition of being extremely sensitive to light. For this series, Weerasethakul sourced images from the Internet which documented the Tak Bai Incident in the Narathiwat province in Thailand in 2004. Around 1,500 demonstrators had gathered before the local police station to protest the detention of six local volunteer security guards, who were accused of supplying rebels with stolen
Photophobia
government-issued weapons. The demonstration resulted
4 photo-etchings and chine-collés
in aggressive retaliation by the police and 85 deaths. The
70 × 50 cm each
images continue to circulate and reveal the severe violence
2013
4幅光刻裱貼
圖片由藝術家提供
大量記錄 2004年泰國陶公府塔拜鎮壓暴動事 件的圖片。當時約 1,500名示威者聚集在當地
警署前面 , 要求釋放當地 6名因被控盜取政府
武器並供給叛亂份子而被捕的義務守衛。警方 以暴力鎮壓這次示威 , 導致 85人死亡。這些圖
片之後不斷流傳 , 揭露了泰國政府在處理南部
動亂時 , 以鐵腕懲治示威者的血腥暴力手段。
the South Thailand insurgency.
畏光症
2013
這一作品系列中 , 阿比查邦從互聯網上搜集了
with which the Thai government handled protesters during
Courtesy of the artist
70 × 50 cm /幅
「畏光症」是對光線極度敏感的一種症狀。在
Photophobia #1 Photo Etching and Chine-collé Edition: 6 + 23 APs. 2013
Photophobia #3 Photo Etching and Chine-collé Edition: 6 + 23 APs. 2013
Size = 700mm x 500mm with Frame = 1030mm x 830mm
Size = 700mm x 500mm with Frame = 1030mm x 830mm
Photophobia #2 Photo Etching and Chine-collé Edition: 6 + 2 3 APs. 2013
Size = 700mm x 500mm with Frame = 1030mm x 830mm
44
Ghost Teen Vinyl print 2009 Courtesy of the artist 鬼魂青年
乙烯基印刷
2009
圖片由藝術家提供
Para Site
Para Site is Hong Kong’s leading contemporary art centre and one of
Para Site 藝術空間為香港首屈一指的當代
藝術中心 , 亦是亞洲歷史最悠久、最活躍的獨
the oldest and most active independent 立藝術中心之一。成立宗旨在透過展覽、出版 art institutions in Asia. It produces exhibitions, publications and discursive projects aimed at forging a critical understanding of local and international phenomena in art and society. Founded in 1996, Para Site is
Freya Chou 周安曼
Qu Chang 瞿 暢
Olivia Chow 周宛昀
Nick and Cordula Adamus-Voegtle
刊物等活動，開展並促進在地與國際間的對
Kevin and Reina Chau
Doryun Chong
批判性論述及理解的平台。成立於 1996年 ,
De Sarthe Gallery, Hong Kong
Lawrence Chu
重塑香港藝術圈的努力。
Mimi and Chris Gradel
Andrew L. Cohen
Inna and Tucker Highfield
Jane DeBevoise
K11 Art Foundation
Faux
Wendy Lee
Amandine and Edouard Hervey
Lisina and Nick Leung
Ada Lam and Stephanie Ho Poon
Edouard and Lorraine Malingue
David Legg
marc & chantal design
Yuri and Jane Mirkin
Yana and Stephen Peel
Elaine W. Ng and Fabio Rossi
Stefan Rihs
Nadine Ouellet
Honus Tandijono
Mina Park
Sarina Tang Currents Art and Music
Emma and Magnus Renfrew
Susanne and Gregor Theisen
Andrew & Lily Riddick
Benjamin Vuchot
Esther Schipper / Johnen Galerie
Virginia Yee
Silverlens
話 , 希冀打造一個對當代藝術、社會現象提出
今年 Para Site 慶祝 20年來支持藝術創作及
art scene.
Frances Wu Giarratano 吴天如
friends
Christine and James Boyle
artists and reinventing Hong Kong’s
team
Mimi Brown and Alp Ercil Burger Collection, Hong Kong
celebrating its 20th year of supporting
Cosmin Costinas 康喆明
founding friends
Executive Director / Curator Deputy Director Curator of Education and Public Programmes Associate Curator Assistant Curator
Fanny Chan 陳趣源
Project Coordinator / Curatorial Assistant
Apoorva Rajagopal
Development and Communications Coordinator
TICOLAT TAMURA Zelie Walker Frank F. Yang
board
Yana Peel
Co-Chair
Leading Corporate Sponsors THEOUTNET.COM
Alan Lau Ka Ming 劉家明
Co-Chair
PHILLIPS
Jehan Pei Chung Chu 朱沛宗
Bonnie Chan Woo Tak Chi 胡陳德姿
Sara Wong Chi Hang 黃志恆
Kurt Chan Yuk Keung 陳育強
Alan Y Lo 羅揚傑
Mimi Chun Mei-Lor 秦美娜 Alexandra Seno
Vice Chairman Treasurer Secretary
Apichatpong Weerasethakul: The Serenity of Madness is a traveling exhibition curated by Gridthiya Gaweewong and produced by Independent Curators International (ICI), New York. The exhibition and tour are made possible, in part, with the generous support from MAIIAM Contemporary Art Museum, Chiang Mai, the ICI Board of Trustees and ICI’s International Forum. The presentation at Para Site has been organized in collaboration with Cosmin Costinas. 〈阿比查邦·韋拉斯塔古: 狂中之静〉巡展由 Gridthiya Gaweewong 策劃、紐約
Independent Curators International (ICI)製作。展覽及其巡迴得以實現乃獲清邁 MAIIAM 當代藝術館、ICI董事會及 ICI國際論壇的贊助支持。此次展覽在 Para Site 的呈現乃與康喆明
共同合作完成。
Media partner 合作媒體
Hong Kong Art Gallery Association
Exhibition production coordinator
Qu Chang
Graphic design
Yang Jian
展覽執行統籌
設計
瞿暢 楊堅