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
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.