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

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展覽名稱 Exhibit

不只是歷史文件:港台錄像對話1980-90s

(Not) Just a Historical Document: Hong Kong-Taiwan Video Art 1980-1990s

展覽時間 Date

2018/04/07 (Sat.)- 2018/06/03 (Sun.)

展覽地點 Venue

MOCA Studio

門票 Admission

免費 Free

策展人 Curator

孫松榮 SING Song-yong / 林木材 Wood LIN

參展藝術家 Artists

王俊傑WANG Jun-jieh、毛文羽Comyn MO、沈聖德Jim Sing-tak SHUM、洪素珍HUNG Su-chen 、袁廣鳴YUAN Goang-ming、游靜YAU Ching、黃志輝WONG Chi-fai、麥志恆MAK Chi-hang、陳界仁CHEN Chieh-jen、陳錦樂CHAN Kam-lok、馮美華May FUNG、綠色小組Green Team、馮偉Ernest FUNG、鄭智雄CHENG Chi-hung、鄭淑麗CHEANG Shu-lea、榮念曾Danny Ning-tsun YUNG、鮑藹倫Ellen PAU

展覽介紹 About the Exhibition

1980年代初期,錄像藝術在台灣與香港同時崛起,藝術家不約而同地藉由即時、即拍即播的媒介表徵,積極介入社會議題。相較同期的港台劇情片與紀錄片,此種結合創意與政治表態的錄像藝術作品形態在當時尚未引起廣泛關注,顯得弱勢而邊緣。回望1980-1990年代港台錄像藝術,鑒於其歷史事件所展現的獨特感性與洞察力,為當前兩地與中國處於愈顯緊張與對立的政局,帶來重思歷史的契機。

Video art arose in Taiwan and Hong Kong around the same time in the early 1980s. Artists employed media that allowed convenient filming and immediate broadcasting to actively intervene in social issues. Comparing to the narrative films and documentaries produced in Hong Kong and Taiwan around the same period, the video art form that combined creativity and political statements did not catch too much attention, and because rather disadvantaged and marginal. Taking a retrospective look on the video art in Hong Kong and Taiwan during the 1980s and 1990s, the unique sensibility and insights demonstrated about historical incidents, in fact, introduce an opportunity to revisit and reflect upon the history given the tense political situation among Hong Kong, Taiwan and China nowadays.

2018年形似歷史事件的回望點,香港回歸足滿20週年,台灣解嚴也超過30年;兩地雖走往政治光譜不同的兩端,但其實卻共同經歷了1984年「中英聯合聲明」、1987年「台灣解除戒嚴令」,1989年「六四天安門」、1997年「香港回歸」。此次參展的17位港台創作者、共計20件作品,本身就是一紙永遠有效的政治聲明與歷史文件。
The year 2018 serves as a vantage point to look back on historical incidents; it marks the twentieth anniversary of the handover of Hong Kong as well as the thirtieth anniversary of the lifting of martial law in Taiwan. Although the two places seem to have moved towards opposite ends of the political spectrum, Hong Kong and Taiwan have both undergone the Sino-British Joint Declaration in 1984, the lifting of martial law in Taiwan in 1987, the Tiananmen Square protests in 1989 and the transfer of sovereignty over Hong Kong in 1997. This exhibition features seventeen Hong Kong and Taiwan artists, together with twenty video artworks that are regarded as historical documents, of which their political statements will be forever effective.

 

政治,無疑是所有作品的共同題旨,且與冷戰格局息息相關。自「中英聯合聲明」開始,香港藝術家思辨身分認同危機,試圖在已被人決定的命運中找尋出口,反思未來;台灣創作者則在威權體制期間,彰顯批判國家與媒體的異議人民形象。「六四事件」成為兩地藝術家共同的創痛史:陷於前途未卜與疑懼將來的困境,憶往與出走、省思與批駁,構成回歸以前的香港錄像藝術的雙重基調,而台灣錄像藝術則在批評兩岸國家暴力之際,展露兼容在地國際政局的多重觀點。

Politics is unquestionably a common subject in these works, and it is closely related to the Cold War. Since the signing of the Sino-British Joint Declaration, Hong Kong artists have started a dialectic process regarding the crisis of identity, contemplating on the future and trying to find a way out against the fate that seems predetermined by others; artists in Taiwan have attempted to honour the image of dissidents who have voiced their critique of the state and media under the authoritarian regime. The Tiananmen Square massacre has become a shared trauma by artists in Hong Kong and Taiwan: the unknown future and probable predicaments, remembrance and expatriation as well as reflection and critique consequently formed the duo tones of Hong Kong video art before the handover of Hong Kong; on the other hand, video art in Taiwan demonstrated multiple perspectives that encompassed both local and international political situations while criticising state violence across the Taiwan Strait.

如何與歷史事件對峙,音像調度成了藝術家的詩學部署:影音錯體、圖文並置、眾聲喧嘩,在一鏡到底、章節式及蒙太奇等修辭中,繁複且象徵地輪番上陣,炫目迷人。檔案影像與歷史現場連成一氣,在主旋律中突圍逆轉,重塑記憶。

To confront historical incidents, artists have adopted poetic deployment to construct their videos, such as unmatching image and sound, juxtaposing text and picture, and the ensemble of different voices. Furthermore, cinematic rhetorical schemes including long take, chapter, and montage have been used alternatively in an elaborate and symbolic way to create mesmerising works. Archive images and historical scenes are interwoven together to create surprising results and reconstruct memory.

作為政治批判與美學試驗的1980-90s港台錄像藝術,面臨30年後歷史事件的完而未了,它不只是飽含現實意義的歷史文件,更是源起與當代的再次相遇,重啟互動與多元的跨地對話。

Hong Kong and Taiwan video art in the 1980s and 1990s as a form of political critique and aesthetic experiment is still faced with unresolved historical incidents after three decades. These artworks are not merely historical documents with realistic meanings; they are also a re-encounter between the beginning and the contemporary, which will re-initiate an interactive and diverse cross-regional dialogue.

 

作品介紹 About the Artworks

Making News Making History - Live from Tiananmen Square

鄭淑麗CHEANG Shu-lea

五頻道錄像Five Channel Video |彩色Colour |Channel 1-4: 30 min., Channel 5: 3 min.│1989|台灣Taiwan

1989年5月20日中國宣布了軍事法,鄭淑麗翌日從紐約飛到北京,借來中國導演陳凱歌的V8錄影機,每天騎腳踏車到天安門拍攝。外媒CNN節目《Live from Tiananmen Square》直播學運、中國政府把監視器佈滿廣場、學生手寫報散落地上……瘋狂媒體亂象以六四清場作結。

Martial law was declared in China on 20 May 1989. On 21 May, CHEANG flew from New York to Beijing with a tourist visa and a video camera endorsed by Chinese film director CHEN Kai-ge. This is a collection of videos made during her two weeks in China, reviewing the media frenzy that led to the inevitable military action on 4 June.

*本作品為亞洲首映Asian Premiere

 

她說為何是我 She Said Why Me

馮美華May FUNG

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|7min. 31sec.|1989|香港Hong Kong

矇著雙眼的她,從鄉郊古廟到鬧市塵囂,雙手摸索前行,時而回頭直視緊隨其後的凝視。香港早期的黑白影像交錯並置,古今女子周遭環境轉了又轉,不安感卻一直縈繞。導演以獨有女性視角,在1989年12月完成作品,呈現當時港人徬徨焦慮狀態。

A woman travels, blindfolded, from an ancient countryside temple to a bustling city. Her surroundings change, but her sense of unease lingers. The director uses a distinctively female perspective to combine the past and present. Made in December 1989, the film expresses a sense of anxiety permeating Hong Kong during that time.

 

城市影像 Image of a City

榮念曾Danny Ning-tsun YUNG、馮美華May FUNG

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 24sec.|1990|香港Hong Kong

學者阿巴斯以消失的政治描述香港這個城市,是1990年代香港文化身份的經典論述。導演擷取文本,呼應六七暴動、釣魚台事件、港人聲援北京學運遊行等視覺資料,以及英女王二世加冕音樂。誠如阿巴斯所說:「唯有即將消失才會成為影像。」

This video juxtaposes scholar Ackbar ABBAS’s text on identity politics with images of Hong Kong throughout the decades before the 1997 handover, including the 1967 riots and the 1989 parade in support of the Tiananmen Square protesters. As quoted from the narration, “Only something that's about to disappear becomes an image.”

 

思藏 Private Collection

毛文羽Comyn MO

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 54sec.|1990|香港Hong Kong

創作者以深沉內省的自白為發端,思索個人感官如何被記憶、時間與心情影響。如果能以二十四小時經歷昨日,那麼何謂真實?二十世紀前半的影像斷續交織,從家庭式旅遊紀錄到香港二戰片段,在低限音樂和低吟之間,重構出一段抽象的私密錄像筆記。

Private Collection reflects upon how perception is affected by memory, time and mood. If one can spend 24 hours a day experiencing what he/she was yesterday, what is reality then? This work combines footage ranging from personal travelogues to World War II images, resulting in an intimate video diary.

 

卡拉 [ 超住(你)嘅 ] OK   Here's Looking at You, Kid

鮑藹倫Ellen PAU、游靜YAU Ching、黃志輝WONG Chi-fai

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 21sec.|1990|香港Hong Kong

以卡拉OK的形式重建香港作為英國殖民地的影像歷史,而「超」在粵語是挑釁注視的意思。鮑藹倫處理聲音、游靜作詞、黃志輝剪接,讓我們高歌一曲,回味一下英國人在香港「永久旅行」的家庭電影、日治時期的藝術片,及遊客眼中的東方女郎及小孩。

This video provides a provocative look at the history of Hong Kong as a British colony in Asia, as constructed by the media. It combines TV commercials, British Government footage and films made during the Japanese occupation in the form of karaoke to evoke a “typical” Hong Kong experience.

 

re-touch (1)

陳錦樂CHAN Kam-lok

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|9min. 10sec.|1995|香港Hong Kong

演出者在地上撿起美國實用主義哲學家胡克的著作《歷史中的英雄》,靜思歷史的偶然性;而畫面浮現出香港六七暴動的檔案影像:攀越圍欄的婦女、圍毆的中年男子、裹頭巾的小孩。仿如電腦文字亂碼的黑底白字之間,散落著北島的詩作《寫作》。

A woman picks up and starts reading the book The Hero in History: A Study in Limitation and Possibility by Sidney HOOK. Her image juxtaposes with found footage of the 1967 riots showing thousands demonstrating on the streets as if it was a carnival. Truthfulness and limitations of recorded images are brought into discussion.

 

歷史如何成為傷口 How Was History Wounded

王俊傑WANG Jun-jieh、鄭淑麗CHEANG Shu-lea

單頻道錄像Single Channel Video│彩色 Colour|28min. 24sec.|1989|台灣Taiwan

新聞攝影棚內,三位評論人陳光興、李尚仁、郭力昕端坐於一台播放著報導「六四事件」的電視機旁,評論著政治與民主、媒體操控與消費、廣告化等議題。解嚴後的1980年代電視仍受控於黨政軍,錄像在意識型態上抵抗威權主流,形如電視的對立面。

Three commentators sit in a news studio in front of a TV discussing the Tiananmen Square massacre as reported by local and foreign media. This film aims to examine the politics of image and the image of politics through commenting on the topics of democracy, media control, consumption and commercialism.

 

Blue

鮑藹倫Ellen PAU

單頻道錄像Single Channel Video│彩色Colour|7min. 55sec.|1989-90|香港Hong Kong

本來一個人的故事,後來變成集體回憶。本來死有輕於鴻毛,但也有重於泰山。本來和平爭取,後來暴風平亂。本來是一家,後來是陌路人。二戰和波斯灣戰爭的後製影像,連結著世界另一端的創傷。天安門事件後,關於戰爭、家國、歷史的悲痛絕情篇。

Images of World War II and the Gulf War speak of the emotional trauma in the wake of the Tiananmen Square massacre. The unforgettable image of a student confronting a tank is replaced by a dancer standing in front of the background of a scratchy super-8 projection. This video is a comment on the notions of motherland, history and war.

 

估領袖 TV Game of the Year

鮑藹倫Ellen PAU

單頻道錄像Single Channel Video│彩色Colour|5min. 58sec.|1990|香港Hong Kong

「猜領袖」是港人耳熟能詳的遊戲。由李鵬與馮美華、游靜、鄭志銳與潘寶如輪流演出,一開始大家都遵守規則,乖乖跟從領袖手勢,但各人心懷鬼胎、互不相讓,而且專制獨裁是大家所不能忍受,終有人一怒而去,拍著拍著,堅持到底的只有領袖自己。

Five people play the game of “Simon Says” with LI Peng as the leader; May FUNG, YAU Ching, Arthur CHANG and Alice POON are supposed to follow LI’s actions. It seems to go well at the beginning, yet no one can stand dictatorship. Some walk off in a huff while some continue. After all, only the leader sticks it out.

 

錄像桌子 Videotable

榮念曾Danny Ning-tsun YUNG、沈聖德Jim Sing-tak SHUM

單頻道錄像Single Channel Video│彩色Colour|11min. 15sec.|1984|香港Hong Kong

「桌子」是榮念曾劇場作品的常見主題,本片即是以桌為中心的概念作品。世界地圖與中國地圖順時與逆時的加速旋轉,雙手掌心維持原位,獨白反覆詰問是否中心/忠心,該轉左還是轉右。一系列辯證音像,隱然指涉政治世界和藝術世界的權力架構。

Videotable is a conceptual piece centring on a table, which is a recurring theme and motif in YUNG’s theatre works. A series of dialectical questions asking where ‘the centre’ is, whether it should turn left or right, whether you are centering on faithful to art….This work points towards power structures both in the political world and the art world.

 

兩頭唔到岸 Diversion

鮑藹倫Ellen PAU

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|5min. 40sec.|1990|香港Hong Kong

《兩頭唔到岸》拍攝於1989年天安門事件翌年,創作靈感來自事件後香港爆發移民潮。回看1960年代橫渡維多利亞港的「渡海泳」比賽片段,頓成荒誕失序的黑色幽默。作品沒有使用特殊剪輯器材,重疊影像來自重複拍下電視螢幕反射的畫面。

Produced one year after the 1989 Tiananmen Square protests, Diversion focuses on the immigration flush in Hong Kong. By combining footage from various sources, including government newsreels of the Victoria Harbour swimming contests in the 60’s, this video illustrates a personal reflection of a collective memory.

 

東/West

洪素珍HUNG Su-chen

單頻道錄像Single Channel Video│彩色 Colour|3min. 31sec.|1984, 1987|台灣Taiwan

中裂為二的嘴巴,一邊說中文,一邊說英文,共同內容為藝術家本身在美國參加入籍美國口試時的問題。兩半嘴巴各自移動,幾乎不可能同時合成一張完整的嘴,這也象徵了藝術家身為中國人處在美國文化中應付文化衝突的為難。

East/West is a video with two channels of sound, based on the artist’s citizenship interview. It shows a mouth split in half, with one half speaking English and one half speaking Chinese. Occasionally, the two halves come together to create a whole. The half-mouths reflect the artist’s struggle and conflict in reconciling two cultures.

 

閃光 Flash

陳界仁CHEN Chieh-jen

單頻道錄像Single Channel Video│黑白B&W|3min. 30sec.|1983-84|台灣Taiwan

1982年台灣首宗銀行搶案後,當時的老三台每天反覆播放監視器的錄像:李師科遮蔽面容的「逾越」行動、銀行監視器與國家/資本/軍工複合體的關係、攝影槍的聯想、閃爍的電視掃描線,啟發本片創作。作品當年在台北美國文化中心被封殺。

After the first bank robbery in Taiwan happened in 1982, the three oligopolistic TV stations repeatedly screened the surveillance video of the robber LEE Shih-ke carrying a gun and crossing the bank counter. To the director, LEE’s action symbolised the transgression of law and the reclamation of his right of name.

 

錄影遊戲 Video Game

榮念曾Danny Ning-tsun YUNG

單頻道錄像Single Channel Video│彩色Colour|12min. 35sec.|1986|香港Hong Kong

命名為「對話」的遊戲,卻只能聽從對方發號施令,而且從一開始就鐵定要輸。權力懸殊,溝通只是徒勞。作品隱然折射香港回歸前夕,在談判桌上爭一席之難,港人自身的聲音終被中英雙方壓下。時至今日,這種以柔懷對話作包裝的壓制依然籠罩香港。

A game that expects only passive listening from the players is called “Dialogue”. Video Game penetrates the facade of the so-called dialogue and foregrounds the power inequality between the interlocutors. It can be seen as a metaphor of the futility of Hong Kong striving to voice its opinion in the 1997 handover negotiation.

 

離位 Out of Position

袁廣鳴YUAN Goang-ming

單頻道錄像Single Channel Video│彩色Colour|6min. 59sec.|1987|台灣Taiwan

袁廣鳴首次結合影像與雕塑的作品,思考非物質性的影像如何與物質性的物件產生辯證性觀念,挑釁觀者的既定認知。當男泳者周而復始地游離電視框架,槍決、火箭升空,以及家庭黑白照等歷史影像以蒙太奇形式置入。本展覽將以單頻道形式呈現。

YUAN is highly adept at combining symbolic metaphors with technological media. His works vividly illustrate contemporary human conditions. Despite its original emphasis on the dialectical dialogue between moving image and sculpture, Out of Position will be re-represented as a single-channel video work in this exhibition.

 

FACETV

王俊傑WANG Jun-jieh

單頻道錄像Single Channel Video│彩色Colour|13min. 7sec.|1988-89|台灣Taiwan

作品以戲謔諷刺的手法,批判台灣解嚴前後的媒體,譏諷當時政權。正襟危坐的播報員背後,墨鏡男子搞笑啃蘋果;插入李登輝就職總統的畫面,配上馬戲團小丑進場的音樂;孫中山也好,《第一滴血》的藍波也好,開外掛結果還是GAME OVER。

After the martial law was lifted in the nascent democratised Taiwan, WANG, without any source of reference, created five video artworks including FACE/TV, addressing criticism against mass media and political hegemony. Using a satirical approach, he questiones if the images we saw on TV are identical to the objects being captured.

 

綠色電視台開播片 Green TVs Inaugural Film

綠色小組Green Team

單頻道錄像Single Channel Video│彩色Colour|11min. 57sec.|1989|台灣Taiwan

過去台灣電視台被國民黨長期壟斷,以沒有頻道為藉口不肯開放,目的是壟斷和控制傳播媒體。綠色小組於1989年年底三合一選舉時,自行架設衛星發射台,突破封鎖,創立了首家民間電視台,並在尤清競選總部舉行開播記者會,拆穿國民黨謊言。

For a long time the KMT government has held a monopoly over Taiwan’s TV channels, using the lack of channel bandwidth as an excuse for its stranglehold. During the build-up to the elections at the end of 1989, Green Team set up a satellite transmission channel on its own, poking a hole in the KMT’s argument.

 

9523 Ninety Five / Two or Three

馮偉Ernest FUNG

單頻道錄像Single Channel Video│黑白、彩色B&W, Colour|5min. 45sec.|1995|香港Hong Kong

《95/23》製作於1989年六四民主運動六年之後、九七香港主權移交兩年之前。創作者用乒乓球暗喻香港,被人由一邊投到另一邊,由一張桌子投到另一張桌子,由一個殖民到另一個殖民。影片中的演出者都被抹掉個人特色,只充當乒乓球的運輸者。

Six years after the 1989 Tiananmen Square massacre, FUNG uses a ping-pong to symbolise the fact that Hong Kong is merely being pushed from one side to another, leaving one coloniser only to find herself in the arms of another. Decidedly blank and expressionless, men in the video are nothing but transporters of the ping-pong.

 

石頭記備忘錄 Memorandum of the Rock

榮念曾Danny Ning-tsun YUNG

單頻道錄像Single Channel Video│彩色Colour|20min. 25sec.|1998|香港Hong Kong

榮念曾在光明偉大美好的天安門檢閱影像上,疊印上不同的四字詞語。起初是正經得過份的「莫失莫忘」,不料卻「越講越俗」,一句比一句「無厘頭」。創作者玩味地挪用中國共產黨的美學與文字,將本身嚴肅而完全政治的素材,變成近乎荒謬的嬉戲。

YUNG superimposes 4-letter idioms on the bright and colourful image of a parade at the Tiananmen Square. The idioms dissolve one after another and become more and more irrelevant and even vulgar. YUNG appropriates the aesthetics and rhetoric of the Communist Party of China and puts them into a hilarious play.

 

東方紅 East is Red

鄭智雄CHENG Chi-hung、麥志恆MAK Chi-hang

單頻道錄像Single Channel Video│彩色Colour|1min. 50sec.|1993|香港Hong Kong

作品一鏡拍成,以電視螢幕作背景,正中間放一個印有毛主席年輕相片的日本製打火機。打火機最後在螢幕前倒下,留下一個模糊的電視畫面。打火機、電視螢幕光線、《東方紅》音樂,全都有光或明亮的含意。對題旨表面化的演繹,突顯箇中的挖苦和諷刺。

East is Red is made in one shot. The lighter with young Chairman MAO’s photo imprinted on it, the blurred TV screen, the music ‘East Is Red’, all connote light or brightness. The lighter falls after several loops of the song. This video aims to convey sarcasm and skepticism, through a superficial touch on the subject matter.

 

 

 

相關教育活動 Educational Programs

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時間 | 2018/04/22 (SUN.)  14:00   

主講 | 孫松榮 、 林木材、鄭淑麗

集合地點 | 台北當代藝術館一樓活動大廳 (免購票)

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論壇

第一場

時間 | 2018/05/05 (SAT) 13:00-15:00

「檔案之眼:紀實影像的類型邊界」Documentation / Documentary: Another Way of Seeing

主持人Moderator | 林木材 Wood LIN

與談人Speakers | 馮美華、鄭淑麗、王智章(綠色小組代表)/參展藝術家

May FUNG, CHAENG Shu-lea, WANG Chih-chang, representative of Green Team /Artists

 

第二場

時間 | 2018/05/05 (SAT) 15:30-17:30

「迴返現場:1980-90s港台錄像交會」Revisit: 1980-90s Video Art Scene in Hong Kong and Taiwan

主持人Moderator | 孫松榮 SING Song-yong

與談人Speakers | 榮念曾、沈聖德、王俊傑、袁廣鳴/參展藝術家

Danny Ning-tsun YUNG, Jim Sing-tak SHUM, WANG Jun-jieh, YUAN Goang-ming /Artists

 

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