兩個考古場景

Two archaeological scenes

 

2020 / 錄像裝置 / 13 分鐘

2020 / 3D 列印模型裝置 / 60x100x140 公分

2020 / 3D 列印模型裝置 / 70x70x140 公分

 

2020 / video installation / 13mins

2020 / 3D printing installation / 60x100x140 cm

2020 / 3D printing installation / 70x70x140 cm

 

許家維的這件作品,以諧擬考古學的方式,打開一條另闢蹊徑的藝術展演策略。偏離「白色恐怖」或「政治受難者」的主流敘事,以另類切入管道,迫近本藝術季的主題。

整件作品分成三個房間呈現,第一個房間展示的是,一艘西洋古船破浪而出的3D列印造型裝置。遙相呼應2013年中研院的水下考古團隊探勘發現的「綠島一號」,以及尚沉在綠島附近海域尚未出土的眾多沉船。第二個房間展示一件結合硯台和貓捉老鼠造型陶皿的雕塑。這件雕塑來自於藝術家對國小校長兼業餘考古學家王鴻博先生(本名王參派,字鴻博,1953年因白色恐怖遭到處決)的生命考察。他採訪王先生的女兒常慈師父,得知王先生年幼時便自製硯台,並性好考古,藏有貓捉老鼠造型的陶皿;因此,他創作了這件3D列印雕塑。第三個房間則以電視螢幕播放兩段影片,分別為出海尋找沉船的過程,以及藝術家探訪常慈師父的影片。

兩段錄像就宛如許家維回訪兩個考古場景所呈現的行動紀錄,而「貓捉老鼠」和「洋船破浪」這兩件雕塑,就彷彿過程中出土的文物。他以打破慣常知識的實踐方式,重新審視行動、感知、意識的邏輯,描畫一個異於主流論述的座標,演繹如何讓邊緣的隱而不見的主體現身。換句話說,他撥開白色恐佈的層層迷霧,以「貓捉老鼠」和「洋船破浪」,為個體生命和島嶼命運,建構擺盪在囚禁與自由之間的辯證敘事。

This artwork by HSU Chia-Wei uses a simulated archaeological approach as an alternative way to present art. Detaching from the mainstream narrative that is associated with “White Terror” or “political victims”, an alternative direction is opted to explore the overarching theme of this art festival.

The artwork is presented in three rooms. Presented in the first room is a 3D printed installa-tion of a Western-style ancient ship amidst crashing waves. The installation echoes with the sunken ship, which has been dubbed “Green Island No.1”, that was discovered by an Aca-demia Sinica underwater archaeological team in 2013 and also the other many sunken ships around the island that have yet to be excavated. Shown in the second room is a sculpture composed with an inkstone, and a cat chasing a mouse figure ceramicware. This sculpture is based on the artist’s studies on the life of Wang Hong-Bo, an elementary school principal and an amateur archaeologist (Born WANG San-Pai and also went by the courtesy name, Hung-Bo, Wang was a victim of White Terror that was executed). HSU interviewed Wang’s daughter, Master Chang Tsz, and learned that Wang started marking inkstones when he was very young, and he was quite interested in archaeology. He collected a ceramicware with an image of a cat chasing a mouse. Inspired by this, HSU used 3D printing and created this sculpture. Lastly, two videos are screened inside the third room, showing footage of the process of finding the shipwreck and also the artist’s interview with Master Chang Tsz.

These two videos serve as a kind of archaeological action reports submitted by HSU for the two archaeological simulations he has conducted.The unearthed artifacts are the two sculp-tures of “a cat chasing a mouse” and “a western- style ship amidst crashing waves”. HSU takes an unconventional approach and reevaluates the logics behind action, perception, and awareness, and creates coordinates that differ from mainstream discourse to present a way for a marginalized and unseen subjectivity to be shown. In other words, he has pushed through the layers of haziness surrounding the White Terror, and with “a cat chasing a mouse” and “a western-style ship amidst crashing waves”, he has constructed, on behalf of an individual and also the destiny of the entire island, a dialectical narrative that swings be-tween imprisonment and freedom.

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