台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

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「島嶼的曾在- 雪克個展」Ghosts on an Island- Solo Exhibition by Shake

展覽名稱 Exhibit

「島嶼的曾在- 雪克個展」

Ghosts on an Island- Solo Exhibition by Shake

展覽時間 Date

2018/06/09(Sat.)-2018/08/05(Sun.)

展覽地點 Venue

MOCA Studio

門票 Admission

免費

展覽介紹 About the Exhibition

 

 

「回到昨天也沒用,因為我曾是另外一個人」,經歷一番奇遇後的愛麗絲說[1]

 

如果歷史離不開敘事書寫,意味著現實成為歷史的過程中,參雜了想像與虛構。當海頓‧懷特提出歷史建構的過程有如文學創作,將歷史書寫與虛構之間建立一種對照,文史的界線將被抹除。過去發生的事件在他眼中有如量子處於疊加狀態,唯有敘事者《觀察者》的參與才能產生意義,成為歷史。雪克在近年創作中挪用各種檔案文件作為敘事材料,試圖以電影書寫與敘事實驗的手段再現台灣的歷史經驗。從定義歷史事實的國際條約到大眾流行音樂,對她來說這些不同類型的檔案文件都同時擁有真實與虛構的性質,誘發敘事想像的興趣。

 

《回魂記》與《台北公園》這兩件肖像畫形式的系列影片,分別從臺灣電影與文學中提取角色,勾勒不同時代臺灣人的影像再現。透過這些來自電影或文學的虛構角色,我們可以觀察到臺灣社會與文化曾有的樣貌與精神;《隱沒帶》以臺灣獨特地理環境與地緣政治之間的類比關係為主題,與利用歷史檔案影像、國際條約與臺灣文學作為材料的《不沉的航空母艦》,不論是將那些從二戰以來定義臺灣現況的條約文字轉變成迴盪在火山口的人造畫外音,或是把二戰美軍轟炸左營港的歷史影像動態化,都是試圖轉化文本的閱讀方式,經由另一種感知路徑來描繪臺灣地緣政治與文化歷史。

 

在重新組織、敘述這些過去事件與虛構文本的過程中,就像是觀察這座島嶼曾經的存在,參與我們未曾親身經歷過的歷史。那麼,應該要問的是這些過去的事件和我們的連結是什麼?它們是怎麼成為建構我們知識體系的基底?又如何影響現下時空的我們?

 

“But it’s no use going back to yesterday, because I was a different person then,” said Alice after her experience in the wonderland.

 

If historical writing and the creation of narrative are inseverable, it means the element of imagination and fiction is always involved in the process as present reality becomes history. When Hayden White proposed the concept that the process of historical construction is similar to literary creation, and constructed a comparison between historical writing and fiction, the boundary between literature and history has been eliminated all together. Past incidents and events, in his opinion, exist in a state of quantum superposition, and only the participation of narrators (observers) can render them meaningful and part of history. In recent years, Shake has appropriated various types of archives as her narrative materials in the attempt to represent Taiwanese historical experience through cinematic writing and narrative experiment. From history-making international treaty to popular music, these archives possess both realistic and fictional elements and excite her narrative imagination.

 

Two video works featured in the exhibition, Return and Taipei Park, are created in the form of portrait painting, respectively drawing inspiration from Taiwanese cinema and literature to delineate and represent Taiwanese people from different eras. Through these cinematic or literary characters, we can observe the appearance and spirit of Taiwanese society and culture in the past. Subduction Zone adopts the theme of the relationship between Taiwan’s unique geographic environment and geopolitics. An Unsinkable Aircraft Carrier makes use of historical images, words from an international treaty and Taiwanese literature as materials. Whether it is transforming the text of the treaty that have defined Taiwan’s status quo since the Second World War into artificial voiceover echoing above a volcanic crater or animating the historical images of the bombing of Zuoying Harbor by the US air force, the artist has shown us a way of reading through transforming texts, using an alternative perceptual route to depict Taiwan’s geopolitics and cultural history.

 

The process of re-organizing and narrating these historical events and fictional texts is similar to observing the past and existence of this island and participating in the history that we have never really had a chance to experience. Therefore, the question we should be asking is: what is the connection between these past events and our present? How do they factor into the construction of our knowledge system, and influence our reality now?



[1] 改寫自《愛麗絲夢遊仙境》,原文為:“...but it’s no use going back to yesterday, because I was a different person then.”,當鷹頭獅問及愛麗絲的故事,愛麗絲像是突然意識到在事件經歷後的主體不連續與分裂,覺得當下的自己和過去的自己不是同一個人,Lewis Carroll,臺北,遠流,2010,p.216

1.The quote is taken from Alice in Wonderland. When the gryphon asked Alice about her story, the heroine suddenly realized the discontinued and broken subjectivity before and after her experience in the wonderland, and felt that she was already a different person from before. (Lewis Carroll. Taipei: Yuan-Liou Publishing Co., 2010, p. 216)

 

參展藝術家 About the Artists

 

雪克以電影書寫(cinematic writing)作為藝術實踐方法,透過利用影像的造型性,解放聲音與影像的詮釋空間,遊走於虛構與非虛構的界線,企圖實驗敘事形式的可能性。為抵抗電影再現體制的僵化,除了以攝製作為手段,她也嘗試不同媒材與作品展演方式。近年創作多關注亞洲地緣政治歷史,多次國際駐村交流經驗,作品曾在法國、泰國、韓國、日本、美國等地展出。

Shake’s artistic practice is based on cinematic writing. She uses the forms in video to liberate the interpretive space of sound and image. Traversing between fiction and non-fiction, she has been experimenting with narrative forms. In order to resist the rigid system of cinematic representation, she employs the approach of video art while also engaging in various media and forms of exhibition. Her recent works center on Asian geopolitical history. Shake has done multiple international artist residencies, and her works have been exhibited in France, Thailand, Korea, Japan, the US, etc. 

 

個人經歷

Solo Shows

2017 Re-Re-positioning the Present (重定現下, ISCP, 紐約, 美國

2016<回魂記>Return, 寶藏巖國際藝術村, 臺灣

 

Group Shows

2017 Order/Disorder (秩序/無序), Post Territory Ujeongguk, 首爾, 韓國

當代一年展, 花博爭豔館, 臺北, 臺灣

2016 퇴진하라_Step Down (下台), 首爾衿川藝術空間, 首爾, 韓國

MONO X: Children on the edge of itchy-tectonics, 紐約, 美國

台北雙年展, 台北市立美術館, 臺灣

2015 混種現場:Pop Up Studio, 臺北, 臺灣

2014 THIS EVENT WILL BE LIVE STREAMED !!!, Bains Connective, 布魯塞爾, 比利時

2013 Buddleia ! (cri de guerre), Jardin Partagé Ecobox, 巴黎, 法國

2012 De l’eau pour les oiseaux et les serpents, Gallery YGrec, 巴黎, 法國

Final Set, Malakoff市立藝術中心 La Maison des Arts, Malakoff, 法國

Toom Fa, 藝文替代空間 Reading Room, 曼谷, 泰國

Toom, 湄公河畔公園, Nongkhai, 泰國

Jungle Topic, Gallery OHL&Co, 巴黎, 法國

Ping-Pong, Malakoff市立藝術中心 La Maison des Arts, 法國

2011 “Jiw Jaew Jor Lok”(...世界), Kadist Foundation, 巴黎, 法國

 

影展

2018 Rencontres Internationales Paris/Berlin, 巴黎, 法國

2010 International Film Festival 700IS, 冰島

2006 鹿特丹國際影展 Rotterdam International Film Festival,

作品介紹 About the Artworks

《回魂記》Return

三頻道錄像裝置
尺寸因空間而異

2015-2016

3 Channel Video Installation

Dimensions Variable

2015-2016

 

以寶藏巖獨特的空間景觀作為拍攝場景,試圖重建《龍門客棧》的東廠頭子曹少欽、《養鴨人家》的孤女小月,以及《兒子的大玩偶》中的小丑坤樹。經由整理這些電影的文本研究,重返台灣社會曾經經歷的政治意識形態,以及社會與文化的樣貌。同時利用三首曾經風靡台灣社會一時的「混血歌曲」來重新詮釋這三個類型迥異的電影角色形象,描繪出我們與世界的關係,也思索當初形塑這些角色的時代精神,是如何還流連於現下時空。

In the project Return, Shake used the unique historical landscape in the Treasure Hill as the backgrounds and tried to reconstruct the roles Eastern Depot Tsao from Dragon Inn, adopted daughter Hsiao-Yue from Beautiful Duckling and joker Kun-Shu from The Sandwich Man. Through sorting the contextual research of these films, she went through the political ideology that Taiwanese society experienced, as well as the social and cultural overviews. And further, she used cultural elements from different eras to reinterpret these three diverse film characters, as to examine how these roles were being made in that particular era, and how that could be continued in the present time.

 

演出:張晉維/鄭孟涵/謝瑋秦

合作單位:台北市政府文化局

 

Performance: CHANG Chin-wei /  CHENG Meng-han / HSIEH Wei-chin

Supported by Department of Cultural Affairs, Taipei City Government

 

《隱沒帶》Subduction Zones

三頻道錄像

4分05秒至8分31秒
2016

3 Channel Video
4 min. 05sec.~ 8min. 31sec.
2016

 

《隱沒帶》由三支短片組成,沿著歐亞陸板塊與菲律賓海板塊交界,分別探訪台北的大屯火山群、花蓮玉里至安通段舊鐵道,與台東的利吉惡地。在地質學家的眼裡,這些地點是見證板塊推擠運動的最佳教材;然而對雪克而言,她思考的是:有沒有可能藉由這些獨特地貌去想像曾經歷過的地緣政治鬥爭?如何在不同的政經文化意識形態衝突下找到安身立命之處?如何重新想像自身的狀態?講述自身的故事?


Comprised of three short films entitled Our Status Quo, Our Story and Our Suite de Danses, the work traces the intersection of the tectonic plates and travel to Taipei’s Tatun Volcanoes; the Yuli to Antun section of the old railway line in Hualian that traverses the Eurasian Plate and Philippine Sea Plate; and to the Jili Badlands in Taitung. In the eyes of a geologist, these locations are ideal textbook examples of plate tectonics; but what Shake contemplates is whether these landscapes enable an imagining of the political struggles that have taken place on this island. How does an individual find a resting place within the conflicts of divergent social structures, political systems, and ideological modes? How can the status of the self be reimagined and the story of the self be told?

製片:王士源 

收音:李俊逸

〈我們的現況〉空拍協力:動控科技

〈我們的故事〉聲音演出:吳文翠

〈我們的組曲〉軍歌表演:台北市立復興高中戲劇班第十九屆

〈我們的組曲〉攝影:鄭沛民

英文字幕翻譯:Christopher Burroughs

花蓮協拍:花蓮縣政府、花蓮縣文化局

合作單位:2016台北雙年展、台北市政府文化局

 

Project manager: Dennis Wang

Sound recording: Chun-yi Lee

Aerial drone cinematography: DYNC

Narrator in Our Stories: Wen-tsui Wu

Military parade: Drama 19th, Taipei Municipal Fuxing Senior High School

Cinematographer in Our Suite de Danse: Pei-min Cheng

Translation: Christopher Burroughs

Supported by Hualien County Government and Hualian County Cultural Affairs Bureau, 2016 Taipei Biennial, Department of Cultural Affairs, Taipei City Government

 

《不沉的航空母艦》An Unsinkable Aircraft Carrier

單頻道錄像裝置、文本

尺寸因空間而異
2017

Single Channel Video Installation, Text,

Dimensions Variable
2017

這是麥克阿瑟將軍在太平洋地區戰略聲明中曾對台灣使用的形容[1],意味著這座海島可以是一處海上軍事基地、堡壘,一片會移動的領土,而這似乎正是台灣進入世界版圖以來的歷史處境。帝國邊界從來不是二元、僵固的絕對界線,而是充滿多義性與變動性的能動場域。如果台灣是一艘航空母艦,究竟是誰在指揮?而在航空母艦上生活的人們是如何在帝國的知識網絡下自處與回應世界?又可以從哪些視角去觀察這片領土在地緣政治歷史中的位移?

In his statement regarding the Pacific Region in 1950, MacArthur described Taiwan as "an unsinkable aircraft carrier" on the Pacific Ocean.1 It referred to the notion that this island could be a military base, a fortress, a piece of moving territory on the sea. Taking a closer look at the historical experience of Taiwan, one would see that the imperial boundaries have never been fixed in a dichotomized and absolute way; instead, it has always been a polysemic and changing site of dynamics. However, who was commanding this aircraft carrier if Taiwan were one? How did the people living on this "aircraft carrier" view themselves and respond to the world within the imperial context? What angles can we adopt to observe the shifts in the geopolitical history on this territory?

文本翻譯:黃亮融

合作單位:紐約ISCP國際藝術工作室

Translation: Liang-rong Huang

Supported by International Studio & Curatorial Program

 

[1] http://content.time.com/time/magazine/article/0,9171,856644,00.html

http://thediplomat.com/2015/05/taiwan-and-strategic-security/                                       

"An unsinkable aircraft carrier" refers to the Pacific islands and coral isles that were once important geographically strategic positions to fight against the Japanese Empire during the WWII. Malta and Iceland were also described with the same analogy during that period. During the Cold War, Taiwan, Japan, and the British Isles were all viewed as an unsinkable aircraft carrier by the US military.

 

《台北公園》Taipei Park

三頻道錄像裝置
尺寸因空間而異
2018

3 Channel Video
Dimensions Variable

2018

 

台北城是歷代統治者與移民對桃花源想像的疊加,容納著不同時代的身份認同、意識形態與世界觀,宛如一座擁有多元族群集體記憶與文化景觀的「公園」。台北人曾有過的夢想、失落與傷痕,是如何以文字、影像、空間景觀與建築等形式存留在現下時空?利用那些見證台北歷史的影像檔案當作投影螢幕,同時從文學作品中提取出台北歷史經驗,在上面展開台北城發展路徑,試圖描繪出這個城市裡的人們曾經的生命樣貌。

Taipei City is an amalgamation of idealizing imagination of historical rulers and immigrants of this city. It has accepted different identities, ideologies and world views from different periods, rendering the city a “park” that has encompassed diverse and collective memory as well as cultural landscape. How have the dreams, losses and wounds of its inhabitants been recorded in the forms of writing, video, space and architecture until now? The artist uses the archives that have documented Taipei’s history as a projection screen while extracting the historical experience about Taipei from literary works, and unfolds the development of Taipei City, attempting to portray the lives of those once lived in this city.

演出:Cindy Chen

聲音演出:謝淳清

服裝:蔡國樑

梳妝:小荳、AJ

拍攝協力:賴冠源

英文字幕翻譯:Christopher Burroughs

感謝:夏門攝影企劃研究室、真下彌生、梅田裕子、葉麗娜、周韵洳、Liam Morgan、Jean-Robert Thomann

贊助單位:財團法人國家文化藝術基金會

 

Performance: Cindy Chen

Narrator: Chwen-ching Hsieh

Costume: Nicholas Tsai

Makeup and hair: Sunya Lin, AJ

Assistant: Kuan-yuan LAI

Translation: Christopher Burroughs

Thanks to Sunnygate Phototimes, MASIMO Yayoi, UMEDA Hiroko, Li-na Yeh, Yun-ju Chou, Liam Morgan, Jean-Robert Thomann

Supported by National Culture and Arts Foundation

 

 

相關教育活動 Educational Programs

 

「島嶼的曾在-雪克個展」創作座談

看似各自獨立的檔案與文本,藝術家如何透過影像創作,重新組織與敘述關於這座島嶼曾經存在的過往?在真實與虛構間,歷史書寫與影像創作/文學創作如何可能?藝術家雪克將現身談談自己的創作理念,並與臺大臺文所蘇碩斌老師展開對話,分別從影像和文學創作的角度,分享他們對於歷史書寫的觀點與想法。

日 期|2018年06月24日(日)14:00-16:

00

藝術家|雪克

與談人|蘇碩斌 (國立臺灣大學臺灣文學研究所教授)

地 點|當代館1F活動大廳

辦 法|免費參加,現場座位有限,

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