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

【末世化石.未來考古】Telofossils

展覽名稱 Exhibit

末世化石.未來考古格雷戈里.夏通斯基個展

TelofossilsGregory Chatonsky Solo Exhibition

展覽時間 Date

2013/02/02-04/14

展覽地點 Venue

台北當代藝術館2樓 MOCA Taipei, 2F

門票 Admission

新台幣50元,NTD 50

策展人 Curator

鄭淑鈴(Shuling Cheng)& 希薇.帕宏(Sylvie Parent)

參展藝術家 Artists

格雷戈里.夏通斯基(Grégory Chatonsky)

多明妮克.西華(Dominique Sirois)

克里斯多夫.查爾斯(Christophe Charles)

貼心小叮嚀 Note

本展適合闔家觀賞 This exhibition is for general public.

展覽介紹 About the Exhibition

【末世化石.未來考古】展由加拿大資深獨立策展人希薇.帕宏(Sylvie Parent)與台灣策展人鄭淑鈴(Shuling Cheng)共同策劃,本展也是法國跨領域藝術家格雷戈里.夏通斯基(Grégory Chatonsky)在亞洲的首次大型個展。為了量身打造此次展出的作品,夏通斯基邀請了加拿大雕塑創作者多明妮克.西華(Dominique Sirois)於展前兩個月聯袂飛抵台北,在諸多機構的贊助和當代館的協力安排下,進行駐館交流與現地創作。

此次展出的雖然都是全新出爐的作品,展覽的主題內容和觀賞情境,卻有意讓觀眾穿越時空,回到人類已然消失的遙遠未來,模擬/扮演後世考古學者的角色,透過各種遺物的接觸與審視,去觀想/揣摩/追索目前我們稱之為「當代」的生活文化與環境。為了營造特殊的現場情境和空間氛圍,此展在結合實體物件、空間裝置和多媒體影像之同時,也特邀目前旅日的法國聲音藝術家克里斯多夫.查爾斯(Christophe Charles)針對當代館展場空間加持創製音景與聲效作品,進一步強化了本展之「多重感官體驗」的旨趣。

本展內容主軸,可視為末世「毀滅」的三部曲。依展場動線率先呈現的「末世危機」,是由一連串的經濟、生態和政治危機所鋪成的序曲。第二部曲「末世之際」,透過兩個展間四組作品揭示了毀滅的不同類型和過程。在201室的大空間中,以靜謐基調和詭譎氣氛來鋪陳的第三部曲「末世迷思」,透過就地創製的實體作品裝置和充滿未來感的影音多媒體,將現場虛擬成人類絕跡的一個未來考古遺址,這個強調身心體驗的展覽現場,也彷彿一部世界末日小說或電影的不同章節。起承轉合清晰的敘事結構中,卻處處參雜著真假/虛實的內容元素,讓觀眾遊走在現實與虛構難以辨識的一種邊界。

【末世化石.未來考古】展點出了科技時代的特殊敘事思維與存在哲學等當代重要議題,從中也可以窺探出,「毀滅」在當代文明中已露出端倪的各種面貌。例如資訊與網路時代中,人類的有形存在和價值意義正逐漸弱化/消失的社會真實;例如媒體狂熱總是結合消費、戰爭、天災、人禍等的文明現象;以及「記憶」的角色意義在科技時代中的曖昧性等等。面對展場中的諸多「末世化石」,觀者可以展開「未來考古」的面向,毋寧是很多元的!

Telofossils, the French artist Grégory Chatonsky’s first major solo exhibition in Asia, was jointly arranged through the efforts of independent Canadian curator Sylvie Parent and Taiwanese curator Shuling Cheng. To complement his own works, Chatonsky invited Canadian sculptor Dominique Sirois to accompany him to Taipei two months prior to the exhibition. With the sponsorship of many organizations and the co-operation and assistance of the Museum of Contemporary Art, Taipei, they began engaging in exchange as artists-in-residence and collaborating together on the creation of on-site artwork.

Although most of the works displayed in this exhibition are all new pieces, the themes, content and atmosphere of the exhibition are intentionally designed to allow viewers to pass through space and time to a distant future where humanity has already disappeared. Spectators take on the role of the archaeologists of future generations, and, through examination of and contact with remnants of the past, are able to puzzle over the cultural life and environment of what we currently term “contemporary.” In order to construct an unusual on-site situation and spatial ambience, the exhibition integrates material objects, spatial installations and multimedia projections. In addition, sound artist Christophe Charles, who is currently residing in Japan, was specially commissioned to create a soundscape to fill the spaces of the Museum of Contemporary Art, Taipei to further strengthen the objective of creating a truly multi-sensory exhibition experience.

The exhibition is oriented around a trilogy of works titled “Destruction,” dealing with the end of the world. Following the unfolding of the exhibition itself the “End of the World Crisis” appears first and is an overture to destruction, composed of a series of economic, ecological and political crises. “At the End of the World”, the second movement, reveals the different forms and processes of destruction through four individual pieces in two exhibition rooms. Within the vast emptiness of Room 201, in a quiet yet oddly sinister atmosphere the third piece “Imagination of the End of the World” is displayed. This is an installation comprised of real objects—made on-site—and futuristic multimedia, which transforms the gallery into a hypothetical simulation of an archeological excavation site in a future where humanity is already extinct. This highly immersive, sensory exhibition experience is perhaps a little like an alternative chapter in an apocalyptic novel or film. The narrative is structured so that true/false, genuine/fictitious elements are mingled together, and so that spectators wandering through the exhibition will find it difficult to tell fact from fiction.

The Telofossils exhibition highlights the specific narrative mode, existentialist thought and crucial philosophical questions that characterize the contemporary technological age. From it, we can glimpse the various faces of “Destruction” that are visible in contemporary civilization. For instance, in this age of information and the internet, the weakening of mankind’s tangible existence and the deterioration of values is a social reality; the media obsessively focus on consumption, war, natural and human disasters and likewise manifestations of our civilization; moreover, the role and meaning of “memory” in the technological era is becoming ever more ambiguous. Standing before the exhibited “Telofossils” exhibition, viewers can contemplate the diverse perspectives of a “future archaeology.”

作品介紹 About the Artworks

 

他們的聲音 Their Voices

聲音裝置、音響喇叭
Audio installation with two speakers
2008

微微的燈光在幽暗的樓梯中閃爍。穿越樓梯時,音響裡傳來的是電腦自動朗讀的人工合成聲音,敘述著現代男女在網路上所書寫下的心情故事。故事的溫熱與科技的冰冷形成強烈的對比,科技合成的人聲毫無感情地傾訴一段又一段的曲折情感。

藝術家利用關鍵字搜尋的特殊程式技術,從部落格上獵取這些人們用來抒發情感的網路文章。這些文章的內容特色是發生在過去,卻尚未結束,近在眼前卻似乎又離我們非常遙遠。在這無止盡的情感呢喃中,作為閱聽者的我們似乎也消匿了蹤影。

這是末世電影小說的開場白,像是在預告著些什麼。在人類滅亡之前,我們的有形存在已經慢慢地消失在網路這個虛擬的空間世界,一種異樣不安的感受將隨著觀展的腳步變得越來越濃烈。

A faint light glimmers in the darkness of the staircase. As you begin to climb upwards, speakers broadcast words read by computerised robotic voices, taken from recent accounts of feeling by men and women found on the Internet. The warmth of the words contrasts sharply with the coldness of the technology, as the robotic voice has no means of conveying the feeling that permeates every word of the twisting emotional narratives. 

The artist used a special keyword search protocol to nd texts on their feelings people have posted on blogs. One particular characteristic of these texts is that their content all concerns the past, yet the emotion remain unresolved. Now, they seem almost immeasurably distant from us. Surrounded by the endless whisperings of emotion, we, the listeners, lose ourselves in these continuing accounts of past feelings. This is the prologue to an end of the world novel, as though these words prophesize some dire future. Before humanity’s final extinction, our physical existence is already slowly vanishing into the virtual, hollow world of the Internet. As spectators wander through the exhibition, a feeling of strange uneasiness follows their footsteps, becoming ever stronger.


 

美國&美國 America & America

現場裝置:旗幟、雷射燈
Installation with ags and laser lights
2012

展場懸空垂掛的兩面旗幟中,有一面印著整齊劃一的橫線,另一面則是撒滿破碎的星星圖樣。橫線與星星正好是美國國旗的兩種構成符號。藝術家將之拆解,再分別放置於兩面旗幟上,國旗上的星星變得忽隱忽顯,像是中了病毒後的突變異種。

Two ags hang suspended in the still air of the gallery, one printed with uniform horizontal lines, the other covered with fragmented, shattered stars. The lines and stars are the two elements of the American ag. The artist has disassembled the symbols of the flag, and transformed them. The American stars become ambiguous, half-seen shapes, as though mutated by a virus.


 

九一一

911

手機訊息、展示螢幕
Screen based artwork showing SMS
messages
2012

電視螢幕上播出的是911 災難發生當時,美國曼哈頓地區居民所互相傳送的手機簡訊內容。其中包括私人通信、緊急災難通報,以及一些單純的技術語彙。短短五分鐘內所產生的大量訊息,在事後被攤開一一檢視,延展成了一個長達數十小時的龐大文字資訊流。藝術家利用視覺化的手法,將這些夾帶情感的驚人訊息流具現在作品中,讓觀眾感受到,拜科技之賜,在緊急與苦難的當下,人們之間的交流溝通反而更頻繁和密集!

The television screen displays SMS messages sent between the residents of Manhattan as the 9/11 attacks took place. They include private messages, emergency updates on the unfolding disaster and sections of purely technical information. The huge quantity of messages sent within just a short five minutes is now laid out, long after the event, for individual inspection. Together they constitute a vast flow of text that lasts fully ten hours. The artist’s visual approach in compiling these emotional, alarming SMS messages into the ever-owing stream seen in this artwork allows viewers to understand that, thanks to technology, in moments of emergency and suffering people communicate all the more intensely.


 

Echelon 竊聽資料庫

Echelon

文字資料、紙
Large scale work on paper
2012

紙卷上攤開展示的手寫文字,是來自Echelon—這是一個專門攔截全球私人與公共通訊的資料庫系統,它在全球各地擁有不少竊取資料的基地台。最初架設這個竊聽系統是為了偵測全球潛在的危機。

藝術家透過這個計劃的構想和內容,強調近幾年來,全球性監視與警戒日漸強化的趨勢。在誇大篇幅的紙卷上展示這些數量龐大的竊聽文字訊息,讓觀者意識到這股盛行在西方權力世界的偏執與狂妄風氣。

An unfurled roll of paper displays handwritten words, taken from Echelon—Echelon is a specialist signals intelligence collection system with bases across the world designed to intercept public and private communications and steal data. The original purpose of constructing such an eavesdropping system was to detect potential threats to the world. 

Drawing on the concepts behind Echelon and its content, the artist emphasizes the existence of a gradually strengthening trend towards ever-more intrusive global monitoring and observation in recent years. The exaggerated length of the paper roll shows the enormous quantity of intercepted text messages, making viewers conscious of prejudiced and paranoid atmosphere prevalent in the Western-dominated world.


 

手掌 II

Paume II

以藝術家的手翻模的雕塑,加上數位變形處理。
Sculpture: digitally transformed cast of the artist's hand
2012

這是一座以藝術家的手掌為原型,經過翻模與數位造型處理的雕塑作品。藝術家將手指關節的部位去除,只留下手掌與最前端的一節手指。失去關節的手再也無法拿取物品與執行任何動作,變成了只有觸覺的一種器官。此作隱喻了,進入數位時代,人類的器官與功能漸漸地被科技工具取代,人類的身體因而出現了嚴重的畸變,最後可能「進化到」只剩下腦內的知覺和指尖的觸覺。

This artwork is based on an original cast of the artist’s hand. Through digital manipulation and remodelling, it has been processed into the present sculpture. Chatonsky removed the joints of each nger, leaving only the palm and the tips of each nger. The joint-less hand can no longer grasp objects or carry out any actions, and thus all that remains is the sense of touch. This is a metaphor for how, having entered the digital age, human organs and functions are slowly being supplanted by technology, and we can imagine that serious abnormalities might appear in the human body. It is possible that, in the final stage of “evolution,” all that will remain is perception and the ngertips and their senseof touch.


 

與美國共舞

Dance with US

與股市指數連線互動的影像裝置
Video installation directly linked
to the stock market exchange
2008 

〈與美國共舞〉是一件與股市指數連線互動的影像裝置。在螢幕中使用的影像元素是,好萊塢電影〈來跳舞吧〉(Shall We Dance,1937)裡,舞王佛雷亞斯坦(FredAstaire)在蒸汽機前熱舞的片段畫面。展出期間,這件影像裝置將特別與台灣科技公司股市價值互動,讓舞王佛雷亞斯坦隨著股價高低起舞:股市漲跌起落越大,舞蹈節奏也就越發流暢。他的舞步究竟是曼妙身姿或是遲緩停滯,端看當日股值的震盪程度而定。

1929 年美國發生經濟大蕭條,股市瞬間崩盤,失業率驟升。正在走下坡的好萊塢電影卻因此意外復甦,特別是沈寂一時的歌舞片突然成了票房保證的忘憂草。人們走進電影院與歌舞廳盡情狂歡跳舞,忘卻生活所有的煩惱與不快。景氣越是低靡,人們跳得越是盡興。這就是藝術家創作〈與美國共舞〉的最大啟示。

Dance with US is a video installation directly linked to the stock market exchange. The image elements used on the screen are taken from the 1937 lm Shall We Dance, featuring Fred Astaire dancing in front of the steamer. In the exhibition, the video installation is directly linked to the stock values of technology company in Taiwan, so that Fred Astaire dances with the rise and fall of share values: the faster the stock market rises and falls, the more fluid his dancing. His dance steps are either owing and graceful or sluggish and halting, depending on how volatile the stock market is that day. 

The Great Depression began in 1929 in America: the stock market crashed catastrophically, and unemployment soared. However, this disaster actually led to the recovery of Hollywood’s fortunes, which had been on something of a downward spiral. In particular, musicals, which had been out of fashion, suddenly became a ticket to box ofce success. In going to the cinema and dance halls, people forgot the troubles they faced in daily life and danced to their heart’s content. The further the economy fell, the wilder the dancing became. This was the inspiration behind Chatonsky’s Dance with US.


 

錯位 IV

Dislocation IV

大型建築草圖(數位製圖)
Large digitally manipulated architectural drawings resting on tables
2010

 

擺滿204展間桌面上的大型設計藍圖,是用來描繪建築物被摧毀的狀態,它一舉顛覆了建築設計圖總是有關「建設」的慣性認知;〈錯位IV〉是利用電腦儀器精工繪製的建築物摧毀分解圖—藝術家在房屋尚未蓋好之前,便已著手構思和呈現如何將之摧毀,並以此凸顯了「破壞」對人們向來具有的一種莫名吸引力。當數位虛擬工具的越來越先進和便捷,摧毀的種種可能也會被發揮到淋漓盡致,人們在創造新事物的同時,勢必也會把日後如何將之摧毀也一併納入創意思考和行動的範圍。

On the display table in Exhibition Room 204 is a large-scale design blueprint that represents buildings in state of destruction. It, in one fell swoop, subverts the concept that architectural designs are always related to “construction.” Dislocation IV is a decomposition diagram of the destruction of a building drawn with precision by a computer instrument – before the houses are completed, the artist has already proceeded with contemplating and presenting their destruction, thus highlighting that “destruction” has always been strangely attractive to humans. As digital virtual tools are becoming more and more advanced and accessible, different possibilities of destruction will also be expressed fully. At thesame time humans are creating new things, they might also incorporate how to destroy them in the future into the scope of creative thinking and action.


 

我們的記憶

Our Memory

毀損硬碟、網路上的影片資料
Web based video installation with broken hard drive
2011

 

展台上陳列了一顆毀損的硬碟。硬碟裡裝載的既是抽象的數位資料,也是一部分的生命與記憶。當硬碟毀損導致生活的重要紀錄失去時,人們將如同喪失記憶般地難受甚至痛苦。某一天,藝術家本人就遭遇了這樣的「悲劇」,但也因此意外地創作出這件作品。

藝術家利用電腦程式處理,毀損硬碟轉動時不斷發出的雜音,除了將之轉化為多層次空間感的背景音效,每隔一陣子,硬碟所發出的聲音強度,也同時被轉譯成一組對應的號碼,這組號碼進而成為Flickr 相簿的搜尋關鍵字,被搜尋到的影像將伴隨這組數字一起被投影在牆面呈現。

雖然這顆毀損的硬碟已經無法繼續存取記憶,藝術家卻將它轉變成進入雲端資料庫的鑰匙,但是這些從線上資料庫中所選取的影像訊息,已不再具有人們當初分享照片時的特殊目的或情感,只是成了資訊大海中流進流出的一種影像。

On the display table is a corrupted hard drive. What is in the hard drive is abstract, digital information, and it is also a part of life and memories. When it is corrupted and an important life record is lost, people will feel discomfort and even pain, as if they have lost memories. One day the artist encountered such a tragedy but, as a result, this artwork was unexpectedly created. 

The artist uses computer programs to deal with the constant noise of the corrupted hard drive, turning it into background sound with multi-layer spatial feel; every so often the hard drive sound is translated into a corresponding set of numbers. The numbers become keywords used for an image search on Flickr. Resulting images with their corresponding numbers are then projected on the wall. 

Although all of the memories on the corrupted hard drive can't be accessed, the artist has converted them into a key to the cloud database; but this visual information obtained from online databases no longer has the meaning or emotion of the pictures that were originally shared—they just become owing images in and out of the vast sea of information.


 

錯位 II
Dislocation II

錄影裝置、3D 數位影像
video installation showing 3D digital images
2006

 

此作由三螢幕組成,每個螢幕分別播映一張椅子,以緩慢的速度和各自的時間差崩解直至消失的過程意象。〈錯位II〉系列的創作意圖,是以極緩慢的速度播放物件被摧毀的過程,當摧毀本身被乾淨俐落的模擬再現,伴隨而來的暴力情緒,也因被美化和抽離而消失殆盡。

This work consists of three screens, and each screen shows images of a chair in a different state of collapse, slowly disintegrating. The intent of creation of the Dislocation II Series is to display the process of the destruction of objects in extremely slow speed; when the destruction itself is neatly and efficiently simulated the accompanying violent emotions are completely vanquished due to beautication and abstraction.


 

入侵者

Intruders

互動裝置
Interactive installation
2012

 

在這片漆黑的空間裡,當觀眾將雙手貼放在桌上的兩塊感應面板,他的心跳便會被電腦自動偵測與記錄。伴隨著心跳,一張張「他者」的臉孔便會出現在眼前。這些臉孔來自於之前曾經參與互動的觀眾,而他的新面容也隨即被加入這個「臉孔資料庫」中。對藝術家來說,人類行動的個別軌跡可以聯集成為一個社會化的故事文本,這件作品的參與和觀賞,有助於觀眾理解和感受「在場與不在場」、「存在與消逝」的經驗和意義。

In this pitch dark space, when the audience member places his/her hands on two sensor planes on the table, his/her heart beat is automatically detected and recorded by a computer. Along with the heartbeat, faces of “others” will also appear in front of his/her eyes. These faces are of people that have participated in this interaction before. His/her face will soon be added to this “face database.” For the artist, the individual trajectories of human actions can be integrated into a social story text. Participating in and observing this work will help the audience understand and feel the experience and meaning of "presence and absence" and “existence and disappearance.”


 

沙漠 III

Desert III

錄影裝置、遊戲引擎所產生的即時影像
Video showing images produced
in real time with game engine
2011

這件作品的靈感來自於美國小說家戈馬克.麥卡錫(Cormac McCarthy)的一部後啟示錄小說—《長路》(The Road)。藝術家運用了遊戲引擎產生的虛擬影像,拼貼了主人翁在故事裡所遇到的每一個物件與場景,將小說的片段串聯成一部充滿末世情調的影像詩。透過畫面中交替出現的荒涼城市、家園、沼澤、森林、沙漠、崩解的物件與文字等,以及一名在Youtube 上向人們傾訴秘密與啜泣的年輕女子,營造出一種特殊情境,令人難以將目光移開,同時對這一幕幕的災難與破壞興起魅惑矛盾的複雜情緒。

This work was inspired by a post-apocalyptic novel, The Road, by Cormac McCarthy, an American novelist. The artist used a game engine to produce virtual images and made a collage of all of the objects and scenes encountered by the main character in the story, taking fragments from the novel to create a series of images permeated with an apocalyptic feel. Scenes of desolate cities, homes, meadows, forests, deserts, objects in ruins and words replace each other, and on YouTube a young woman sobs and tells her secrets; these all create a special atmosphere, which is difficult to look away from, and, at the same time, one must confront this type of disaster and destruction, giving rise to a contradictory and complex state of mind that holds a special sort of charm.


 

摹寫

Transcription

錄像裝置、雷射鍵盤
Video installation
with laser keyboard
2013

 

〈摹寫〉是一件即時互動作品,創作概念來自資料庫檢索機制,試圖讓觀眾在未來考古現場檢索現代生活中的文本。網路是我們這個時代特有的文本形式,相對於其他形式的文本,它不但蘊含更大量的資訊,紀錄與閱讀的方式也更直接快速,更貼近一個時代的肌理。

觀眾在雷射投影鍵盤上任意輸入一個英文字母後,螢幕上會隨機出現一個對應的單字,並自動連線到部落格搜出一段相關的文字,伴隨著螢幕上年輕女子的哭泣,述說一個隨機版的現代生活故事。

Transcription is an interactive artwork taking inspiration from database retrieval systems; it attempts to allow viewers of future archaeological sites to see texts from today's life. The Internet is a unique textual support of our era; compared to other textual supports it not only contains a greater amount of information, it also allows more direct and rapid recording and reading of this information, making us more aware of the texture of our times. 

Upon entering any letter of the Roman alphabet on the laser projected keyboard, a corresponding word is instantaneously brought up on the screen in front of the viewer and a passage of related text from a blog is connected to; it is accompanied by a young woman shown crying on the screen, the two expressing a random tale of modern life.


 

垃圾掩埋場

Landfill

格雷戈里.夏通斯基+ 聲音藝術家里斯多夫.查爾斯
Gregory Chatonsky + Sound Artist Christophe Charles
超寬景錄像投影
Panoramic videoprojection
2012

 

〈垃圾掩埋場〉結合了長達20 公尺的超寬景投影畫面,和緩慢到令人快要屏息的影像流動手法,引導觀者帶著思辨的態度,細觀眼前這片荒無人跡的地景,攝影鏡頭帶著觀者在地面上緩慢游走,無目的也無止盡地往前移動。這是月球表面?還是另外一個星球?凹凸不平的表面,留下一些被挖掘過的痕跡,地表的物件似乎有被搬動過的跡象。原來,這就是我們曾經存在與生活的土地。綜觀眼前的這片景觀,低迴身旁這些我們熟悉的物件,遙想人類消失/ 滅亡後的未來⋯⋯。

Landfill is a panoramic video projection combining a 20-meter wide projection screen; using image ow that is almost so unbearably slow that the viewers are led to speculate upon the deserted landscape they now see before their eyes. The photographic lens leads the viewers slowly around the desolate ground and endlessly forward – could this be the moon, or maybe another planet? The uneven surface gives the impression of excavations and that objects have been moved. Perhaps this is, in fact, the Earth where we once lived and walked upon. The landscape laid out in front and the familiar objects all around hint at a distant world after human disappearance/destruction...


 

末世化石

Telofossils

多明妮克.西華
Dominique Sirois
類考古現場的大型雕塑、人工化石物件
Monumental sculpture that resembles
an archeological site with
articially fossilized objects
2013

 

擺放在201展場中的巨型雕塑,是虛擬實造的未來考古現場。觀眾可以圍繞著大型雕塑行走,想像自己是在某遺址現場探勘的考古學家。〈末世化石〉是藝術家結合藝術想像和手做工藝的最新作品,這些量體巨大的虛擬考古物件,是藝術家們在展前兩個月來到台北,應用在地材料現場創作的,讓觀者從當下的人類世界走入未來的文明廢墟,從遙遠的未來回頭發掘考古和解碼當代。

The giant sculpture in Exhibition Hall 201 is an excavation site from an imagined future. Viewers can walk around the large structure and imagine themselves as archaeologists working out in the eld. Telofossils is the new project specically conceived for the exhibition, and these large simulated artefacts were created by the artists in the two months prior to the opening of the exhibition in Taipei. They allow viewers to look back on and decipher our contemporary world from a distant future in which our current civilisation has been reduced to ruins.

 


勞孔

Laocoon

格雷戈里.夏通斯基+ 多明妮克‧ 西華
Gregory Chatonsky + Dominque Sirois
一系列的熱塑成型物件
A series of technical objects that were thermoformed
2011

此作名稱來自西方藝術史上一件著名的希臘雕塑:「勞孔」。藝術家將科技產品中無所不在的各種的電線/ 訊號線類比成「勞孔」雕像中的大蟒蛇。不過,雕像中人與蛇之間的搏鬥,轉換成今人與科技產品的角力。〈勞孔〉是一件利用熱塑成型的壁面浮雕,隱約可以看出線索的當代科工物件,被封存在黑色的膠膜底下,它們顯然已不具有任何實質功能,只能成為裝飾品一樣地供人觀賞,或像「勞孔」的悲劇先知角色,預言了未來卻導致自身的毀滅。

This piece takes its name from the famous Greek sculpture “Laocoon.” The artist has taken different wires and cables from technological products to create an analogy between them and the python of the original “Laocoon” sculpture; the struggle of the original sculpture between man and serpent here becomes the trial of modern man against technological items. Laocoon uses thermoplastic molded wall reliefs in which one can faintly make out the threads of modern scientific and industrial implements. Encased under black coating, they are apparently without any real function, only ornaments for people to glance upon, or perhaps, like the tragic prophet of the Greek “Laocoon,” they predict the future can lead to nothing but self-destruction.


 

消失的檔案

Archives of a disappearance

螢幕、〈末世化石〉中的人工化石物件的3D 影像
Three screens show 3D video images of objects found in Telofossils
monumental sculpture
2013

長型螢幕裡出現的3D 合成影像,乍看似一座座擺在地面的巨型雕塑。隨著影片的鋪陳,逐漸可辨識出它們與周圍實體物件的連帶關係。畫面放大,可以看到構成這些影像的細微像素,當影像持續放大,直到眼前的物件無法辨識,觀眾的目光瞬間像是跳轉到浩瀚宇宙中的一片星雲裡

3D images appear on screens, encased in large structures on the ground. As the lms proceed, the relationship with the surrounding physical objects in the monumental sculpture can be identied. By enlarging the images, the tiny pixels that make up the pictures can be seen; when enlarged to the point at which the object can no longer be recognizable and becomes like a nebula sitting in the vastness of the universe.


 

錯位 VII:暫時停止專心

Dislocation VII : Suspension of attention

互動機械裝置、耳機、移動門
Interactive robotic installation with headset and moving door
2013

〈錯位VII〉是一件能感應腦波的即時互動機械裝置。戴上腦波感應器觀眾,可以透過意志的力量來移動鐵門。當注意力集中時,鐵門便會順著軌道往前移動,直到撞上牆面為止;一旦觀眾有所鬆懈,這道鐵門則會自動退回原點。牆面遺留下的痕跡,可視為所有觀眾意志力的聯合紀錄,鐵門撞擊牆面所發出的一次次物理聲響,也可解讀為觀眾發自內心的吶喊。

Dislocation VII is an interactive mechanical device that translates brain waves. Wearing an EEG sensor headset, the viewer can use the power of thought alone to move an iron door. By using concentration, the door can be moved along a track until it smashes straight into a wall; should the viewer’s concentration wane, the door will automatically return to its starting point. The marks left by the door slamming into the wall serve as a joint record of the willpower of each visitor; the sound caused by the door thumping into the wall again and again can be interpreted as a shout from the heart of each viewer.