w17牆 空間裝置 木板、馬達 The Well space Installation Wood、Motor 2019.12 空間,在有限的範圍內被感知,從建築而言,是透過不同立面的相互關係,塑造出該想像的量體,這也成為工地現場內核的使命—築牆。
許多現成的展覽間裡,經常利用輕木板做成展牆,快速實現簡易的隔間、屏障......等,以應對各式展品的需求,以及展場動線的規劃。這是對既有的建築空間中進行一種修正,這個方法高效且重複利用,展覽後的展牆,再批上補土、粉過底漆後,重新在空間中配置,又成為一處亮麗不瑕的場域。唯有在假牆與壁面的間係處,因爲某些規格化、或量化處理等因素,顯露出段落的差異、立面與立面,無法完美嫁接的間縫處,才透露出原始空間的蛛絲馬跡。 原先建築存有的壁面,與假牆之間的空隙,是空間裡兩塊不同意識共構的曖昧場所;兩者之間所留下的空白,在被劃置的空間中,產生了能動性。這件作品,利用如此的特性,透過機械結構,使展牆在縫隙區間的移動,形成在現成空間型態的錯置變換,在填補的同時,造就另一區塊的空白,進而凸顯其空間性。
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柔軟的防衛 feet.兩妖勾 219 studio 動力裝置 pvc布面、鼓風機、鐵架 Soft Defense Installation pvc cloth, blower, iron frame 2019.08 保一總隊的主要性質是站在第一線面對陳抗現場,維持社會秩序。然而這樣的軍警單位之於社會大眾卻是一份雙面的責任,一方面是在保護治安解決違法亂紀的角色,另一方面卻又在抗爭中站在人⺠的對立面。在台灣⺠主發展的進程裡,保一總隊的責任與義務也越漸顯的繁重。
以「柔軟的防衛」為概念,選擇利用軟性布面的材質與建築水泥牆的堅硬形成一種對話。充氣後的布面狀態變成尖角錐體,使建築體的外觀看似帶有攻擊與侵略性,消氣時的另一個動態卻又看到材質性的柔軟特徵與親近感,藉此呈現保一總隊的雙重角色。透過程式編程去控制鼓風機吹動圓錐體,形成此消彼長的動態律動,使得如今已成為歷史的彈藥庫這座建築,又再次承載活力、能動性的生命狀態。 在這次創作中,考量的不僅是裝置主體的本身,更以場域的歷史脈絡與環境進行發想,整座裝置由彈藥庫正面衍生出數個椎體,使得整座裝置將與建築體共同被視為一件大型的戶外地景。在嚴肅的營區裡,以幽默、有趣的造型讓⺠眾能以柔軟的方式來營區裡親近這地方的故事。 w16 移動的日光 空間裝置 日光燈板、鋼索、馬達 Moving Daylight space Installation fluorescent light, steel cable, motor 2019.06 台灣建築生態在過去五十年中,開發為主的觀念造就高密度的環境,加上氣候變遷地理位置等外部條件,使得我們生活周遭習以為常的建築物,或多或少都在原先的建築體上,又生長出額外雨遮、掩體、閘門、立面等等形成極具台灣特色的生活樣式。這些日常衍伸物利用簡易的、可拆移動式的材料或是規格化模組,在巷弄、街角、平房頂樓,漸漸形成一處介於私有與公設的曖昧範圍。 這件作品,試圖在兩處建築結構中的縫隙裡搭建一片「頂樓加蓋」,使得兩端點成為一個整體,與此同時在如雨遮庇蔭下的空間,又是處於一處介於室內與室外的通透範圍。利用室內輕隔間系統而規格化的日光燈板,極具室內場景表徵的燈具,懸置於被界定的戶外現場在空間中產生異樣感,光軌的移動像是掃描、探照、藉此構築不定的空間。 Taiwan's architectural ecology Over the past 50 years, the concept of development has created a high-density environment, coupled with external conditions such as the climate change location, making the buildings that we are used to in our daily life, more or less in the original building. On the other hand, extra rain cover, bunkers, gates, façades, etc. are formed to form a life style with Taiwanese characteristics. These daily stretches use simple, detachable mobile materials or standardized modules. In the lanes, corners, and bungalows, they form a private and publicly-owned area.
This work attempts to build a "top floor cover" in the gap between the two building structures, so that the two ends become a whole, while at the same time, the space under the shade of the rain is in the middle of the room. With a transparent range of outdoor. A fluorescent panel that is characterized by an indoor light compartment system, a luminaire characterized by an indoor scene, suspended in a defined outdoor scene to create a strange feeling in the space, and the movement of the track is like scanning, searching, and thereby constructing Uncertain space. w15 傾聽空間 - 94藝術空間-聲音裝置 單體、音箱、擴大機 Listening To Space - 94Art Space Speaker、Amplify According to the venue 2018.12 這是一處充滿故事的老宅,也曾是在內湖一帶為數不多的建築體,它概括承受幾十年的物換星移,從疏竣工程、河川整治、老樹搶救到都市計畫;這裡是黃老師的棲居之分所、燒窯工作室,是結像記事,出版社、咖啡廳,串居留燒烤,是94藝術空間。透過我與主人黃中宇老師、執行策展蕭興宇學長和助理陳柔卉的對話,在一來一往的此刻承接了94藝術的光景,時間敘事的疊加,從空間本體中而聲。 This is an old house full of stories. It was once one of the few buildings in the Inner Lake. It is generally worthy of decades of material exchange, from dredging, river remediation, old tree rescue to urban planning; here It is the branch office of Mr. Huang’s dwelling place, the kiln studio, which is a knot-like note, a publishing house, a coffee shop, and a resident barbecue. It is a 94 art space. Through my dialogue with the master Huang Zhongyu, the executive curator Xiao Xingyu and the assistant Chen Ruhui, I have taken over the artistic scene of 94 art at the moment, and the superposition of time narratives is heard from the space. w14 空間測度 - 空間裝置 氣球、磚塊、棉線、養⽣生膠帶 Spatial Measure - space device balloons, bricks, cotton, health tape (350+250) x 244 / 2 2018.06 試圖透過一種嚴謹卻毫不精確的方式,對空間進⾏測量,包含定位、標記、放網、氣壓值...等。實則,由內將此空間⽤塑膠袋「打包」另外,此塑膠袋原用途為防塵防污,然而,⼆分法的隔閡形成兩種向度空間。我們當前所擁有的是一不規則梯形空間,且空間將隨著觀者移動、空氣流體、等⼲涉而產生誤差值。 氦氣填充後的16寸氣球,約可漂浮一⾄二天,隨時間和光照氧化程度有所差異,進⽽產⽣由大⾄小的變形,最後墜地。氣球在充氣後被完成,慢慢消逝,作為內層空間中的外側空間,以兩者身份交換則又會得到相異結論。期待以「他者觀看」來證明氣球狀態的存在,及飄起或落下。 我以手形間距作為基準單位,並在地上搭上網格,同樣單位也存在氣球線上,以利測量。觀眾則以當前所觀測到的空間狀狀態、氣球變化等拍照紀錄,若上傳至Facebook 或 Instagram,並註明『#空間測度』或 回傳Email,使得觀測成立,也實證氣球在為期四天的展間中,隨時間墜地的過程。這件作品更近似於,科學實驗的紀錄傾向,雖然簡而有疏,但這些紀錄將持續成為往後的延伸計畫。 Try to measure the space in a rigorous but inaccurate way, including positioning, marking, netting, barometric pressure, etc. In fact, this space is “packaged” with plastic bags. In addition, the original purpose of the plastic bag is dust and dirt. However, the dichotomy barrier forms two dimensions. What we currently have is an irregular trapezoidal space, and the space will produce error values as the viewer moves, the air fluids, and other interferences. The 16-inch balloon filled with helium gas can float for about one to two days. The degree of oxidation varies with the time and light, and the deformation from large to small, and finally fall to the ground. After the balloon is inflated, it slowly disappears. As the outer space in the inner space, exchanges between the two will give different conclusions. Look forward to using "others to watch" to prove the existence of balloons and float or fall. I use the hand spacing as a reference unit and place a grid on the ground. There are also balloon lines in the same unit for measurement. The audience took a photo record of the currently observed spatial state, balloon change, etc. If uploaded to Facebook or Instagram and marked “#Space measurement” or echoed Email, the observation was established, and the demonstration balloon was also displayed during the four-day exhibition. In the middle, the process of falling over time. This work more closely resembles the tendency of scientific experiments to record. Although simple and sparse, these records will continue to be an extension of the future. w13 非敘事關係 - 四頻道錄像裝置 影片 00:03:04 依場域而定 Non-Narrative Relationship - four-channel video device video 00:03:04 According to the scene 我試圖將⼀長串串的敘事混雜,在冥冥之中總認為有其關連性,從地震、⼟地議題、環境、⽣命存在、哲學思想、藝術理論、⽂化等等。從⼀個單⾳音開始,利用節拍器的不同速率和拍號,重複堆疊、遞增或遞減嘗試在保有規律的情況下使其混亂,然而,錯位的速率卻如賦格般的形成多重的節奏模式。 在光學的作用下敘事堆疊、拼揍在混亂的同時又保持著混亂的平衡,對於空間,或是光、⾊色塊的延展,形成空泛而無以名狀狀感,那種感覺如同海德格爾『存在與時間』中解釋的:我們的此在是⼀一種被拋到世界,當此在⾯面對空無恰恰是此在的本真性顯現,卻是感到空虛和畏懼的。此在本⾝身就已沈淪。透過觀者的抽象思維進⽽建構出一種特殊的史觀,也藉此對應於我⾃身的思考模式。這件作品所呈現的,更偏向是一個思路路進程,⽽非蓋棺定論的結局。 不存在⽅方向性的空間結構,產⽣生的錯亂亦即是對進程和未來來的不可確定,也最直接的藉由⾝身體感知進入另外⼀一層的內在空間中。裝置以多螢幕環繞,與特殊⾳音效與空間發生關係,在閃爍的畫⾯裡間接形成觀者意識的解讀,在敘事中的非敘事關係與非敘事中的敘事邏輯。 這件作品的基調,是源於我的思考模式,他是一種跳耀式的,在我周遭所感受到的是⼀連串的事件。事件本⾝身看似毫無關係,唯⼀擁有聯聯繫的是『我』,但是事實上這些事件卻隱隱約約的指向某件事情,或者可以因為某件事情⽽而有所連繫。在作品裡,你能看到紛亂的色塊和影像,雖然快速飛逝⽽混亂,但是又恰好緊緊跟著節奏,⽽節奏又是另一層的混亂所產生出的秩序,每⼀層的疊加背後都又在指向每個影像本⾝身,在此,我將這些影像思緒,在此透過⽂章加以說明。⽂章的序列如同整件作品,各⾃獨立、跳動,卻⼜又同步在⽂文本裡產⽣串連。 我們始終在製造理理論、我們企圖去說些什麼,聽些什麼,這種行為的動機似乎是一種⽣生存的本能。但是太過主觀的想法往往卻帶有非常深刻的成見。對我來說這些理論和事件,總是⼀種客觀性的存在,⽽不是截然定奪的敘事。敘事的⽅式有非常多種,但是當所有敘事皆為成立,那麼也就不在存在敘事的模式,⽽是一連串的非敘事關係。 w12 意識空間 - 互動裝置 壓克力盒、LED燈、感應器 依場域而定 Conscious space- interactive devices acrylic box, LED lights, sensors According to the scene 2017.12 當光劃破空間,形成界線,分隔場域。誠然,這道界線形同虛設,實質上的場域劃分僅存在於個人意識領域中。凡穿越空間即是份突破心裡層既視的意圖。而在此作品中亦不存在方向性,在對稱空間裡,前進即後退,我們站在這道光牆一側,望著彼端,是我們的過去,未來同時存在:處於過去的未來空間,或是處於未來的過去。換句話說,當透過身體感知去經驗場域的界線,利用先驗的後設存在,便薄弱了後驗的必要性?在完整空間下以意識切割,是無法度量的,僅能憑藉無形的量體如燈、聲響、極微小的空氣振動,若屏除身體感知包含視覺、聽覺、觸覺,界線的定義會是什麼?若是無垠無界,又是否還存在所謂的場域、空間? When the light scratches the space, a boundary is formed and the field is divided. It is true that this boundary line is in name only. Substantial field division only exists in the field of personal consciousness. Any attempt to cross the space is an intention to break through the heart. There is no directionality in this work. In the symmetrical space, the advancement is backwards. We stand on the side of this light wall and look at the other side. It is our past. The future exists at the same time: in the past, the future space, or It is in the future. In other words, when the boundary of the empirical field is perceived through the body and the use of a priori post-existence exists, the posterior necessity is weakened. Cutting with consciousness in the complete space can not be measured. It can only rely on intangible objects such as lights, sounds, and tiny air vibrations. What would be the definition of the boundary if the physical perception of the screen is covered by sight, hearing, and touch? If there is no border and no border, is there still a so-called field or space? w11 佇在時間流 - 空間裝置 馬達、木板、照明燈 依場域而定 Standing In Time - space devices motor, board, lighting according to the field 2017.09 時間存在的量體,依附著光的質量運行,處在恆亙的時間流裡,隨生命更迭。我們只能從朝夕、酷暑或寒冬度過時間,又或者細胞的增生、衰老......。光與時間薄如翼的存在,如同空氣般的靜置、無聲的滲入空間抑或是,黑,更無量感的滯留。 尼采筆下,查拉圖斯特拉對著太陽如是說道:「你偉大的天體啊!你如果沒有你所照耀的人們,你有何幸福,你向我的山洞升起:如果沒有我,沒有我的鷹和我的蛇,你會對你的光和行程感到厭倦吧。」不存在的存在是空間裡的不自覺以及互惠的受益關係,然而我們始終無法明白光、影及時間的符號意義。 在光之下,凝視著影子緩緩鋪陳,佇立光影移動軌跡之時,顯然地忽略原初的鐘軸,於是時間在意義上的被分割,在主客觀的時間交織,此刻即陷入另一層時間關係,而始終依然的,佇在時間流。 The body of time that exists exists in accordance with the quality of light adhered to, in the constant stream of time and with life. We can only spend time from morning to evening, intense summer or cold winter, or the proliferation and aging of cells. Under the light, when the staring shadows are slowly laid out and the light and shadow trajectory stands, the original clock axis is obviously ignored. Therefore, the time is divided in terms of meaning, interweaves in subjective and objective time, light and time exist like wings, and it is like air. The static, silent penetration into the space is either black or even more immeasurable. Because of this, we can only spend time from morning to evening, autumn leaves, hot summer or cold winter, or the proliferation and aging of cells. Under the light, staring slowly at the shadows and standing on the trajectory of light and shadow, apparently neglecting the original clock axis, the time is divided in terms of meaning, intertwined with subjective and objective time, and at the moment it is trapped in another layer of time. in. The presence of light and time is like a wing. It is like an air-like standing, silently infiltrating into the space, or black, even more immeasurable. In the works of Nietzsche, Zarathustra said to the sun: "Your great heaven! If you have not the people you shine, what happiness do you have, you rise up to my cave: if you do not have me, there is no me The eagle and my snake, you will be bored with your light and journey.” The existence of nonexistence is the unconsciousness of space and the beneficial relationship of reciprocity. However, we cannot always understand the symbolic meaning of light, shadow, and time. Always, time is flowing. w10 通過寂靜的時刻 - 空間互動裝置 鋁線、燈泡、揚聲器、控制器、煙機 依場域而定 Through The Moment of Silence - space interaction device aluminum wire, light bulb, speaker, controller, smoke machine According to the scene 2017.09 當我們面對人生的轉捩點,在分歧的道路上作出決策;當我們要站在台上面對這個世界,在這之前一刻,那些嘈雜、紛亂化為寧靜,彷彿存在一種真空狀態,屬於自我探索或是自身對話的時刻。似乎所有「事發」都可以透過潛在意識回朔到「之前」一刻,而這一刻屬於孤獨和寂靜,沉默的低鳴亦或是無形的黑,不可挽回的懊悔或是再點一絲希望的燭光,通過寧靜的時刻,再前行。 我常處於獨處和沉思的狀態,而內在翻攪的思緒便藉由作品體現,透過作品使我們體驗身處某種「狀態」,進而探巡生命經驗,過往的意識感知;曾經的思考、徘迴,曾經的遺憾或是一抹微笑。在我的經驗裡存在許多峰迴路轉,時常與自己對話,我浸淫於靜默無聲的孤獨空間,但是現實狀態裡似乎不存在真正的無聲,又何來孤獨?我試圖藉由作品表達此種「狀態」,探討關於內在省思和回朔到「前一刻」自身的原始對話。 對於「我」的探索,從心理學的詮釋,探討關於意識或是潛意識,也許能夠獲得某些答案,不過就我個人觀點認為,對於自身更深層的對話,更趨近於一種玄學的信仰,這無關宗教,而是建築在以人為本體的「精神性」。意識的矛盾往往來自於心中的反詰,有時我們太過主觀的佔據「自己」忽略另一層的呼喚,也許,作罷言之過急的成見,或坐、或躺,漫步,通過寂靜的時刻 When we are facing the turning points of life and making decisions on the forked roads, or when we are going to step on a stage to face the world, there is always a moment very close to vacuum, which the noise and disorderly confused become silent. This is the moment for self-exploration or for having a talk with yourself. It seems all the times things happened could be recall to the moment before that, and these moments are lonely and quiet. There are many turns in my experiences, and I often talked to myself. I soak into silent space to be alone, but silence is not completely without sound. In fact in reality there is no real silence, so where is the “loneliness”?I try to use my works to express such "being." explore the past consciousness and perception in our life. It may be the consideration and hesitation that used to have, or the regret and the smile we used to faced. I will discuss my inner reflection and trace back to "the-moment-before" in order to have a original talk with ego We may start from psychological views to explore “self,” but the talk to the more inner self seem to be closer to a belief. Which is irrelevant to religious belief, but is built on the spirituality that focuses on human beings. The contrast of consciousness comes from your self-questioning. The contrast of consciousness comes from our self-questioning. So we need this short but very important moment talk with yourself then through the silence of the moment. w09 在一個箱子裡 - 互動裝置 木頭、感應器、揚聲器、煙機、金屬零件 In The Box - Interactive device wood、sensor、Speaker、smoke machine、metal parts 2017.02 箱子,迫使場域分隔,形成內外不同處境,外在看似堅固不摧卻又陳舊脆弱,而內似乎存有某種躁動的巨獸,像是被束縛一般。試圖以一種「具生命感的箱子」回應島嶼隱身的大題,同時也作為我對於東岸議題的感受以及省思。 台灣東海岸的海很美,爭議也多,但每一件議題深究,卻從環評、觀光、土地、政治介入......等等,問題似乎成為一個循環,一切好像都被罩一個在箱子裡,沒有解決的出口。事實上,有太多「屬於這裡」的聲音使得我們無從辨別究竟何者為真?箱子以木頭為主接合各式異材,包含金屬、塑料甚至橡膠,這些都是來自花蓮的海邊、枯槁的雜草叢、廢棄的老建築,他們肯定各自都有故事要說,屬於這塊土地上的⋯。當各樣批判都成為主流,失去最本質的價值,所謂「東岸」的意識形態,形成(同)一種框架。 在這樣的箱子裡,聽到海洋,呼吸,生命最根本的模式。然而這樣的真,漸漸的被忽略,太多太多的議題,挾帶著眾多的「期待」,於是人們開始爭論、土地開始發展……,我們迷失在自己的路上。透過媒體、社群網路,社會形成兩種勢力,一是經濟導向關於政府、觀光;另一派則屬於生態保育,後者似乎代表「正義」、「關愛土地」? 許多人對於東部的想像,即是湛藍的海,群山、風景……這塊土地確實宜人,但是也不可置否,有許多不便利性,無論是經濟面或環境文化。當外界吹鼓著停止開發,看似正義、維護在地的住民,我也加入搖旗吶喊,但這樣的論調究竟,是不是真正來自這塊土地的聲音?似乎也有非常多的居民其實盼望著,擁有屬於自己的商圈,快捷的交通……。兩者勢力之間的拉扯,使得許多的紛爭無法達成共識,各自表述也各自有理,事實上。在箱子裡的聲音是分歧的。 若海擁有生命,我們就一同被困在箱子裡,隨著人的喧嘩、反動,外在的束縛,勢必要呼喊或者掙扎。人為介入,傾聽或者細看,內部撞擊、拍打,那種亟欲掙脫的鼓譟壓過浪聲,我們在此刻正被消耗殆盡。或許,問題並不全然是二元對立,而還有更多的可能,或許還能試著找出另一種平衡;又或許議題隨一切的喧鬧、崩解,慢慢消失在煙霧裡,被遺忘,回歸於海的安靜。海與我們自己,會不會同樣的迷惘? Try to use an "A box with a sense of life "in response to questions" Hiding in the Island" exhibition title, but also as my thoughts and reflections on the environmental issues of the east coast of Taiwan. If the sea has life, we are trapped in the box together, with the people of the noise, reactionary, external constraints, is bound to call for help or struggle. |
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