|
Imagine you are falling. But there is no ground.
「這是德國藝術家 Hito Steyerl 在她著名的⽂章 In Free Fall：A Thought Experiment on Vertical Perspective ⼀⽂中」，如此寫到的開頭，意指為我們正在無限墜落，但那裡卻沒有著陸處。對映當下的現實世界，不論是在地⾯上的，還是在雲層中，或甚⾄延伸⾄太空之外的⼀切，都因為戰爭⽽顯的毫無頭緒，正不斷地在墜落，或者應該反過來，戰爭只是表象，⽽更為根本的是，正因為⼀切毫無頭緒的墜落，⽽戰爭⼀觸即發？ 「Ground」雖作為⼀個起始的點，但當中存在著⼀個必須被逆向考掘的⼯程，通過對於不同的技術物、事件以及歷史⽚段的挖掘，才能探尋到某⼀個點，即便可能是臨時的，但是它們依舊是組織起某個世界觀、時空、區域的基準，不過當今的世界似乎就如同Hito Steyerl所指出的，我們似乎沒有了穩固的地平線，在諸多⽅⾯，我們正在迷失⽅向，取⽽代之的是我們必須以「垂直」的觀點來理解正在墜落的世界。就現實⽽⾔，我們並不能無限墜落，我們需要⼀個穩固的基礎－即便是在戰爭中－來⾯向未來。 But, you have to look for something as a ground. 此展覽以尋找「ground」作為概念，透過4個被設定的⼦集，分別為「影像的技術⼯業－被忽略的視覺」、「技術物的地緣政治」、「不斷超越物理限制－重新尋找⽀點的視覺」，以及「英雄與武器的源頭－想像的⼒量」作為逆向⼯程的集合⽅法，來揭露當今世界之中，不同的技術物、事件以及歷史⽚段之間的某些關係，⽽「揭露」⾏動本⾝並不⽌於是⼀個過程，它將會是最終的⼀部分。 |
“Imagine you are falling. But there is no ground.” (Steyerl, 2011)
This is written by German artist Hito Steyerl (2011) at the beginning of her renowned essay “In Free Fall: A Thought Experiment on Vertical Perspective”, as mentioned above, it talks about a perpetual fall without landing. To mirror the present reality, whether it’s on the ground, in the clouds, or even everything beyond outer space, reality seems to be clueless and incessantly falling all because of war. Or is it the other way around that war is merely a re-presentation and is triggered precisely because everything fundamentally and aimlessly falls? To take “ground” as the point of departure, it involves a project that needs to be conducted in reverse for finding a certain point through investigating different technological objects, events and historical events. Even though such a point may be temporary, it still organizes the parameters for a certain world view, temporospatiality and regions. But, as Steyerl points out, the world we have today cannot maintain a stable horizon. We are lost in direction, in which it has to be replaced by the “vertical” perspective so as to understand the falling world. Realistically speaking, we cannot fall ceaselessly. We need a steady foundation – even amid wars – to face the future. But, you have to look for something as a ground. The exhibition takes the concept of finding a “ground” through four subsets, namely “The Industry of Image Technology – the Neglected Vision”, “The Geopolitics of Technological Objects”, “Continuously Transcending Physical Constraints – Rediscovering the Pivot Point of Vision”, and “The Origins of Heroes and Weapons – The Powers of Imagination”. The four subsets together act as a reverse project, revealing the relations between different technological objects, events and historical events in today’s world. The act of “revealing” is not only a process, but it is also the last stage of the exhibition. |
影像的技術工業—被忽略的視覺
作品「新世界」以過去到現今的美台關係為藍圖，透過跳躍性的方式來反思這一段歷史關係，虛構了一個發生在異星上，由美國與台灣合作的軍事演練。這是一個人類在進行太空探索數多年之後，建立的類地殖民星球，但是並沒有因此在那裡而就斷開了歷史的鎖鏈，衝突、國族與破壞擴散至宇宙更遠的角落，軍事演練的最終，一位台灣的士兵槍斃了美國的士官長，如果這是一個發生在未來的真實事件，歷史將會如何？
同時，這個作品的發想也試著以「好萊烏」式的電影工業生產邏輯以及形式來進行逆向的思考，美式的電影，即一個透過多重「視覺機器」來進行技術組裝的電影影像，從過去到現在，它是如何在美國逐漸成為世界霸權的過程中，同時邁向我暫時稱它為是一個與美國「軍工業」具有緊密關係的「無暇」的武器影像；也是影像武器的雙重歷程，它是無暇的超級英雄片？也是無暇的怪獸片？又或是反思自然的超級災難片？還是回到冷戰時期的間諜片？
同時，這個作品的發想也試著以「好萊烏」式的電影工業生產邏輯以及形式來進行逆向的思考，美式的電影，即一個透過多重「視覺機器」來進行技術組裝的電影影像，從過去到現在，它是如何在美國逐漸成為世界霸權的過程中，同時邁向我暫時稱它為是一個與美國「軍工業」具有緊密關係的「無暇」的武器影像；也是影像武器的雙重歷程，它是無暇的超級英雄片？也是無暇的怪獸片？又或是反思自然的超級災難片？還是回到冷戰時期的間諜片？
The Industry of Image Technology — the Neglected Vision
The work "New World" is based on the relationship between the United States and Taiwan from the past to the present, reflecting on this historical relationship through a leapfrog approach. It is a fictional military exercise that takes place on an alien planet, in which the United States and Taiwan cooperate.
This is an Earth-like colony planet established after several years of human space exploration, but it does not break the chains of history there, conflicts, nationalities and destruction spread to the far corners of the universe.
At the end of the military exercise, a Taiwanese soldier shoots an American sergeant major, if this were a real event in the future, what would history be like?
This is an Earth-like colony planet established after several years of human space exploration, but it does not break the chains of history there, conflicts, nationalities and destruction spread to the far corners of the universe.
At the end of the military exercise, a Taiwanese soldier shoots an American sergeant major, if this were a real event in the future, what would history be like?
新世界 New World
單頻道錄像 / 06:00 / 依場域而定 / 2022
單頻道錄像 / 06:00 / 依場域而定 / 2022
|
|
技術物的地緣政治
這是一個充滿政治性的視野。高空70,000英尺，是美國在冷戰時期，現代軍事用途飛機中，U-2偵察機所能飛行的最高空域，飛行員的視野第一次能平坦的滑行在青藍色漸變的大氣層中。
作品《高空70000英尺》以螢幕作為一個現代觀賞媒介的形式，結合一款在冷戰時發明的高空偵察機的U2駕駛艙，這一款高空偵察機是美國在冷戰時期為了監控敵對國家的重要軍事設施，所研發出的秘密飛機，它所能飛行的最高空域就是高空70000英尺，美國透過這款飛機蒐集了許多重要的軍事情報。因此，這款飛機的飛行員的視角具有高度的視覺政治性，我試著以螢幕作為一個視窗的概念結合影像裡飛行員第一人稱視角，疊合這兩個概念，討論更多關於影像、觀看媒介、視點互相滲透下的觀看政治。
作品《高空70000英尺》以螢幕作為一個現代觀賞媒介的形式，結合一款在冷戰時發明的高空偵察機的U2駕駛艙，這一款高空偵察機是美國在冷戰時期為了監控敵對國家的重要軍事設施，所研發出的秘密飛機，它所能飛行的最高空域就是高空70000英尺，美國透過這款飛機蒐集了許多重要的軍事情報。因此，這款飛機的飛行員的視角具有高度的視覺政治性，我試著以螢幕作為一個視窗的概念結合影像裡飛行員第一人稱視角，疊合這兩個概念，討論更多關於影像、觀看媒介、視點互相滲透下的觀看政治。
The Geopolitics of Technological Objects
This is a political Perspective. The altitude 70,000 feet is a highest airspace U-2 reconnaissance aircraft can fly, for the first time, the pilot's field of vision can glide smoothly in the cyan-blue gradual atmosphere.
The work “Altitude 70,000 Feet ”used the screen as a modern viewing medium to combine the cockpit of U-2 reconnaissance aircraft invented from the cold-war, a secret for surveilling the enemy's important Military building, America collect a lot of intelligence with this aircraft.
Therefore, the viewing of pilot belong the U-2 is high degree of visual politics.
I try to overlap the concept of screen as a window with a pilot's first-person perspective to discuss more about penetration between the image with medium of viewing, and perspective.
The work “Altitude 70,000 Feet ”used the screen as a modern viewing medium to combine the cockpit of U-2 reconnaissance aircraft invented from the cold-war, a secret for surveilling the enemy's important Military building, America collect a lot of intelligence with this aircraft.
Therefore, the viewing of pilot belong the U-2 is high degree of visual politics.
I try to overlap the concept of screen as a window with a pilot's first-person perspective to discuss more about penetration between the image with medium of viewing, and perspective.
高空70,000英尺 Hight 70,000 Feet
錄像裝置 / 05:00 / 2021
Video Installation / 05:00 / 2021
錄像裝置 / 05:00 / 2021
Video Installation / 05:00 / 2021
|
|
不斷超越物理限制－重新尋找⽀點的視覺
隨著衛星、通訊科技與視覺技術的發展，為⼈來帶來的幾項重要的里程碑，其中包含著人類所觸及的地理範圍，已經抵達太陽系的
邊 緣，並且進⼊星際空間，NASA所發射的「航海家1號」正為位在距 離地球14,485,246,216 英里之外，是目前航行最遠的飛行器，
以及，人類透過多部位分散於不同區域的陣列望遠鏡，首次將黑洞的畫面以影像的方式具體的呈現出來，科學又再次將人類對於宇
宙世界的理解推向下⼀個階段。
作品《航海家三號》是⼀顆奠基於科學與地緣政治所帶給我的視覺想像，而被我創造出來的「衛星」，我試著將衛星前方的弧形圓
盤狀結構更改為⼀個旋轉電視螢幕，透過螢幕本身的運動，以及螢幕內部的影像，來討論科學與地緣政治下的國際文化意涵。
邊 緣，並且進⼊星際空間，NASA所發射的「航海家1號」正為位在距 離地球14,485,246,216 英里之外，是目前航行最遠的飛行器，
以及，人類透過多部位分散於不同區域的陣列望遠鏡，首次將黑洞的畫面以影像的方式具體的呈現出來，科學又再次將人類對於宇
宙世界的理解推向下⼀個階段。
作品《航海家三號》是⼀顆奠基於科學與地緣政治所帶給我的視覺想像，而被我創造出來的「衛星」，我試著將衛星前方的弧形圓
盤狀結構更改為⼀個旋轉電視螢幕，透過螢幕本身的運動，以及螢幕內部的影像，來討論科學與地緣政治下的國際文化意涵。
Continuously Transcending Physical Constraints– Rediscovering the Pivot Point of Vision
With the development of satellites, communications technology, and visualization, several important milestones for the human race have come, including the geographic reach of the human race to the edge of the solar system and into interstellar space.
With NASA's Voyager 1, the farthest spacecraft ever launched, located 14,485,246,216 miles away from Earth, and the first images of black holes made visible through multi-part arrays of telescopes scattered in different regions, science has once again taken the understanding of the cosmic world to the next level.
The work "Voyager III" is a satellite that I created based on the visual imagination of science and geopolitics. I tried to change the curved disc-like structure in front of the satellite into a rotating television screen, and through the movement of the screen itself and the images inside the screen, I discussed the international cultural meaning of science and geopolitics.
With NASA's Voyager 1, the farthest spacecraft ever launched, located 14,485,246,216 miles away from Earth, and the first images of black holes made visible through multi-part arrays of telescopes scattered in different regions, science has once again taken the understanding of the cosmic world to the next level.
The work "Voyager III" is a satellite that I created based on the visual imagination of science and geopolitics. I tried to change the curved disc-like structure in front of the satellite into a rotating television screen, and through the movement of the screen itself and the images inside the screen, I discussed the international cultural meaning of science and geopolitics.
航海家3號 Voyage 3
錄像裝置 / 03:00 / 2022
Video Installation / 03:00 / 2022
錄像裝置 / 03:00 / 2022
Video Installation / 03:00 / 2022
|
|
英雄與武器的源頭－想像的⼒量
作品「可能的任務」虛構了一個劇本，劇本的情節柔和了冷戰時期美蘇太空軍備競賽的集體記憶，為此演義了一段台灣與美國合作
的國家太空計畫，我藉由這段集體記憶與虛構的太空計畫，組構台灣與美國之間長久以來的歷史淵源，並藉此將太空任務問題化，轉
化為想像他們在未來可能面臨的臺美政治問題。
的國家太空計畫，我藉由這段集體記憶與虛構的太空計畫，組構台灣與美國之間長久以來的歷史淵源，並藉此將太空任務問題化，轉
化為想像他們在未來可能面臨的臺美政治問題。
The Origins of Heroes and Weapons – The Powers of Imagination
The work "Possible Impossibility" is a fictionalized script that softens the collective memory of the Cold War-era U.S.-Soviet space arms race, for which a national space program between Taiwan and the U.S. is defined.
I use this collective memory and fictional space program to construct a long-standing historical connection between Taiwan and the United States, and in doing so, I problematize the space mission and transform it into an imaginary political issue they may face in the future.
I use this collective memory and fictional space program to construct a long-standing historical connection between Taiwan and the United States, and in doing so, I problematize the space mission and transform it into an imaginary political issue they may face in the future.
可能的任務 Possible Impossibility
雙頻道錄像 / 09:30 / 依場域而定 / 2020
Dual - Channel Video / 09:30 / Dimensions Variable / 2020
雙頻道錄像 / 09:30 / 依場域而定 / 2020
Dual - Channel Video / 09:30 / Dimensions Variable / 2020
|
|
文件 Document
