EXHIBITION
《TAP－TAP》 吳長蓉個展
Wu Chang Jung Solo Exhibition
ꕥ 展期 Duration：2011/10/01 (六) – 2011/10/30 (日)
ꕥ 開幕 Opening：2011/10/01 (六) 14:00
ꕥ 地點 Venue：台北數位藝術中心
ꕥ 地址 Address：111台北市士林區福華路180號；近捷運淡水線芝山捷運站二號出口
ꕥ 展覽介紹
2011吳長蓉個展以「Tap-Tap」打字機敲打發出的聲音做為命名，將於前身為肉品市場的台北數位藝術中心舉行萬花筒豬舍系列作品展，並發表創作者日常在配料廠工作之聲音有關的最新作品，一系列關於聲音、記憶、生態、能源與經濟的作品，延續對日常生活的感受與想像所發展出，主要以影像、錄像投影、聲音裝置等形式來展出。
2011新作品《Tap-Tap》與《DA-DA》為創作者日常在飼料工廠以及養豬場工作中，所真實紀錄下來常被他人稱為「噪音」的聲音而組成的「音樂」，作品藉由浪漫、美好、理想、幸福、快樂、回憶…等
代表的水晶球音樂盒概念來呈現，呈現創作者對世界經濟、能源供給、生態環境等完美供需平衡理想的期盼，水晶球音樂盒所發出來的音樂代表著在豬場與飼料廠正常無誤的「工作狀態」，水晶球中的影像為各項豬場與飼料廠的「工作內容」。
工廠與豬場所發出來常被他人稱為「噪音」的聲音，為創作者與家人每天所期待聽見的幸福「音樂」， 它帶來創作者家中生活的平靜祥和與愉悅。在這新作品當中，創作者選取了豬場與飼料廠的特定聲音，包含有飼料工廠正常運作所發出來的聲音，和健康豬隻所應有的叫聲與豬場正常狀態的聲音，皆是創作者與家人每天在工作中期待樂於聽見的，代表著工作一切順利正常，經濟來源穩定沒有意外， 帶來生活穩定幸福安全感。
新系列作品中不僅在視覺上延續萬花筒豬舍系列作品之所追求的，也在聽覺上企圖製造一種想像的衝突，藉此呈現網路全球化媒體資訊癱瘓，斷章取義、挪用、訊息破碎、媚俗的八卦碎嘴世界下，描述在「一個想像的真實」生活中某種感受。
ꕥ Exhibition Introduction
Tap – Tap, Wu Chang-jung’s solo exhibition in 2011, is named after the typewriter sound. An exhibition of Pig Farm through Kaleidoscope series will be held at Digital Art Center Taipei, formerly the site for a meat market. The artist will present new works featuring the sounds she hears while at work at a batching plant. A series of works related to sounds, memories, environment, energy and economy, created as an emotive and imaginative extension of the daily life of the artist, is now presented in the form of imagery, projected video and sound installation.
ꕥ 關於藝術家
吳長蓉 Wu Chang Jung
個展
2011 《Tap-Tap》台北數位藝術中心，台北，台灣
2011 《家興》，就在藝術空間，台北，台灣
2010 《Eslite Showcase‧新星舞台櫥窗展》，信義誠品畫廊，台北，台灣
2009 《這些人˙那些人》，嘉義鐵道藝術村，嘉義，台灣
聯展
2011 《癮形者- 癮行者-宮津大輔:一位工薪族的當代藝術收藏展》，MOCA台北當代藝術館，台北，台灣
2011 《阿！渦蟲》，關渡美術館，台北，台灣
2011 《第54屆國際藝術展—威尼斯雙年展平行展覽-未來通行證—從亞洲到全球》，威尼斯，義大利
2011 《新加坡當代藝術博覽會Art Stage Singapore》展覽企劃區個展，濱海灣金沙會展中心，新加坡
2010 《第七屆釜山國際錄像藝術節》，釜山，韓國
2010 《2010香港國際藝術展》，香港會議展覽中心，香港島灣仔區，香港
2010 兩岸漢字藝術節《樂活•漢字：”漢字創意生活”》主題展，北京22院街藝術區白空間，北京
2010 《2010台北獎》，台北市立美術館，台北，台灣
2010 《2010台北國際藝術博會-Made in Taiwan新人推薦特區》，世貿中心，台北，台灣
2010 《親歷幻見》，立方計畫空間，台北，台灣
2010 《女子 女少》，VT非常廟藝文空間，台北，台灣
2010 《2010高雄獎》，高雄市立美術館，高雄，台灣
2010 《台南藝術大學造形藝術研究所97.98級聯合期末評圖展》，台南藝術大學，台南，台灣
2009 《2009高雄獎》，高雄市立美術館，高雄，台灣
2009 《第二屆時尚當代水墨新秀獎聯展》，台北科技大學藝文中心，台北，台灣
2008 《第35屆全國青年書畫展》，國父紀念館，台北，台灣
2007 《第十一屆桃城美展台灣巡迴展》，嘉義市政府文化局，嘉義，台灣
2007 《中國文化大學第45屆師生美展》，台北市立社會教育館，台北，台灣
2007 《華岡第二屆實驗展》，華岡博物館，台北，台灣
獲獎
2010 2010台北獎優選，台北市立美術館，台北，台灣
2010 2010 高雄獎新媒體類優選，高雄美術館，高雄，台灣
2009 2009 高雄獎書畫類入選，高雄美術館，高雄，台灣
2009 2008 第二屆時尚當代水墨新秀獎優選，台北科技大學藝文中心，台北，台灣
2008 第35屆全國青年書畫比賽第一名，國父紀念館，台北，台灣
2007 國泰人壽新世紀潛力新人獎畫展油畫類入選， 國泰人壽，台北，台灣
2007 第十一屆桃城美展書畫類入選，嘉義市文化局，嘉義，台灣
ꕥ About the Artist
Wu Chang Jung
Solo Exhibitions
2011 “Tap-Tap”，Digital Art Center，Taipei，Taiwan
2011 “Jia Hsin”，Project Fulfill Art Space， Taipei, Taiwan
2010 “Eslite Showcase”， Eslite Gallery， Taipei, Taiwan
2009 “These people/Those people”， Art Site of Chiayi Railway Warehouse， Chiayi, Taiwan Group Exhibitions
2011 “International Contemporary Art Collection of a Salaryman– Daisuke Miyatsu”MOCA Taipei，Taipei，Taiwan
2011 “Ahhhh Planaria”，Kuandu Museum of Fine Arts, Taipei , Taiwan
2011 “Collateral Event of the 54th International Art Exhibition – la Biennale di Venezia -Future Pass – From Asia to the World”, Venezia, Italy
2011 “Singapore Contemporary Art Fair Art Stage Singapore 2011”, Exhibition Exhibition planning area,Marina Bay Sands Exhibition and Convention Centre, Singapore
2010 “The 7th Busan International Video Festival Schedule”, Media Center, Busan, Korea
2010 “ARTHK10 Hong Kong International Art Fair”, Hong Kong Convention and Exhibition Centre (HKCEC), Wanchai, Hong Kong
2010 “The First Cross-Strait Chinese “Broadwood • Chinese Chinese creative life ” Theme Exhibitio，Beijing Art District, 22 Court Street, White Space, Beijing
2010 “Taipei Arts Awards”, Taipei Fine Arts Museum, Taipei, Taiwan
2010 “ART TAIPEI 2010 – Made in Taiwan: Young Artist Discovery”,Taipei World Trade Center, Taipei, Taiwan
2010 “Traversing the Fantasy”, The Cube，Taipei, Taiwan,2010 “HOW MIAO”，VT Artsalon，Taipei, Taiwan
2010 “Kaohsiung Awards 2010”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2010 “Final Assessment Exhibition of Graduate Institute of Plastic Arts”,Tainan National University, Tainan, Taiwan
2009 “Kaohsiung Awards 2009”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
2009 “Group Exhibition of Clarify Bogon Art Brushworket”,Sun Yat-Sen Memorial Hall, Taipei, Taiwan
2009 “The 2nd Taipei International Modern Ink Painting Biennial”,Art Center in National Taipei University of Technology, Taipei, Taiwan
2008 “The 35th Annual National Exhibition of Calligraphy and Painting”,Sun Yat-Sen Memorial Hall, Taipei, Taiwan
2007 “The 11th Travelling Art Exhibition of Chia-Yi City”,Cultural Affairs Bureau of Chia-Yi City, Chia-Yi, Taiwan
2007 “The 45th Group Exhibition of Chinese Culture University”,Taipei Culture Center, Taipei, Taiwan
2007 “The 2nd Hwa Kang Experimental Exhibition”, Hwa Kang Exhibition, Taipei, Taiwan
Awards
2010 2010 Taipei Arts Awards，Taipei Fine Arts Museum，Taipei，Taiwan
2010 Excellent Art Award, 2010 Kaohsiung Fine Arts Award (New Media Art), Kaohsiung, Taiwan
2009 Nominated 2009 Kaohsiung Fine Arts Award (Calligraphy and Painting), Kaohsiung, Taiwan
2008 Excellent Art Award, The 2nd Taipei International Modern Ink Painting Award,Art Center in National Taipei University of Technology, Taipei, Taiwan
2008 1st Prize, The 35th Annual National Award of Calligraphy and Painting, Sun Yat-Sen MemorialHall, Taipei, Taiwan
2007 Nominated Cathy Life Insurance Potential Artist Award (Oil Painting),Cathy Life Insurance,Taipei, Taiwan
2007 Nominated The 11th Art Award of Chia-Yi City (Calligraphy and Painting),Cultural Affairs Bureauof Chia-Yi City, Chia-Yi, Taiwan
ꕥ 作品介紹
𑁍 萬花筒豬舍 （The Kaleidoscopig Farm）
⫸ 記錄片I 豬五花
2009
single-channel Video
03’10”
這部作品叫做豬五花，豬五花是我替家中健康的豬所取的名字，2008年家中原本的飼料工廠事業受到整個大環境影響， 原物料不斷上漲之下導致家中經濟上出了狀況，為了克服經濟問題因此把飼料事業給暫緩，轉投入養豬這副業。而在為了節省一切開銷之下也把豬舍的員工都辭去，從此擁有兩千多頭豬的豬舍，所有工作都落在我和爸媽的身上。為了家計，我脫下水晶指甲換上雨鞋，全心全力到豬舍幫忙。
在豬舍，每天大量勞力工作中，我和家人每天所期待的就是豬群們都有健康的表現，健康的豬會繞著飼料桶旋轉進食，由此讓我覺得，豬舍就像是一個萬花筒! 我紀錄了每天工作中所期待的健康豬表現畫面，並將紀錄畫面編織成想像的萬花筒狀。炫目的萬花筒畫面健康的豬群不斷出現、旋轉，呈現出我和家人希望豬群保持健康讓家中經狀況好轉的期望，也企圖希望能在這部紀錄片當中， 健康豬群炫麗萬花筒畫面不斷呈現之下，可以多多少少減輕家人面對經濟狀況上的壓力。
Documentary I-Pig Five Flower
This film is entitled “Pig Five Flower.” I call all the healthy pigs on our farm Pig Five Flower. In 2008, our family’s pig-feed business became a victim of problems in the larger economic environment that led to rising prices on raw ingredients. We temporarily halted production, and focused on the pig breeding business to use up our leftover stocks of pig feed. As a cost-cutting measure, we laid off all of the employees at the pig farm, and my mom and dad took on the work of caring for the 2,000 pigs on the farm. I took off my nail extensions, put on my wellington boots and pitched in to help out at the pigsty.
Our entire focus for every hard-working day on the pig farm was the health of the pigs. One of the signs of healthy pigs is that they will circle around the trough as the food cylinder rotated and dispensed food. Visually, it reminded me of a kaleidoscope. I documented the ideal image of healthy pigs that we’d hoped to see each day we worked at the pigsty, and edited the recorded images into the kaleidoscope that I’d imagined — a kaleidoscope that turned out herd after herd of healthy pigs, representing my family’s hope for economic recovery. I also hope that through this documentary, this continuous kaleidoscope of healthy pigs would lessen the pressure my family feels about our financial situation.
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⫸ 紀錄片II-家興
2009
single-channel Video
06’59”
「家興」是我家牧場登記的名字。 此作品延續第一部「豬五花」紀錄片對於豬舍為萬花筒的想像，真實記錄我2009年12月25日至31日，2009年最後7天中的豬舍生活。企圖藉由這部作品，真實地紀錄和呈現我人生中很特別的轉折年：2009年豬舍中日復一日如餵食機器般的生活。 此作品畫面中輸送帶上，一格為每天早晚會循環與重複執行的一件工作，我將這些循環的工作項目，依時間先後輸送出來編織出這部作品。
這部除了是紀錄每天我如同加工業般，機械式地豬舍工作真實呈現，也企圖透過原本家中暫緩的飼料工廠輸送帶映像，輸送著我日復一日如豬肉製造機器般的工作紀錄。
Documentary II- Jia Hsin
Jia-Hsin is the name we registered for our family’s pig farm. This work follows the kaleidoscopic visualization of the pigsty documented in the film “Pig Five Flower.” It is a visual record of a week of my life in the pigsty, filmed between December 25 and 31, 2009, and attempts to realistically document a special transitional year in my life: 2009 – a year of living as a pig feeding machine. Each segment of the conveyor belt pictured in this work represents a task that is repeated every day and night. The images were organized and edited according to their sequence in my repetitive daily work procedure.
In addition to documenting the reality of the assembly-line type work I did at the pigsty, the images of the production line conveyor belt from my family’s pig-feed manufacturing plant, realistically documents my days as a human pig-meat manufacturing machine.
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⫸ 紀錄片III-SLOT MACHINE
2010
single-channel Video
02’58”
「SLOT MACHINE」這部作品記錄了我在豬舍工作中很重要的各配種生產環節。
在自然交配狀態下，一隻健康的母豬可以生出大約6~9隻小豬，而人工授精可以讓母豬的生產數提到10~21隻不等，一隻小豬剛生出來約有一千元左右的價格，因此為了提高豬場經濟效益，人工授精已經漸漸取代了豬隻的自然配種方式，每一次的人工授精需等待六個月母豬生產完才能知道是否有成功。面對經濟壓力在這人工加趕催促到等待產量成果揭曉的過程中，我執行配種這工作如同玩吃角子老虎機一般。
此部紀錄片延續了我對豬舍為萬花筒的想像，並藉由SLOT MACHINE的形式來表達我於人工授精、自然交配授精，這兩項豬舍重要工作中，等待成功結果的情緒與想像。
Documentary III – SLOT MACHINE
This film, Slot Machine, is a record of an important aspect of my work at the pigsty – the mating and breeding of pigs.
Under natural settings for mating, a healthy female pig can give birth to 6 to 9 piglets, but through artificial insemination, a female pig could easily gestate 10 to 21 piglets. Each piglet carries a price tag of 1000 yuan. Thus, to raise the financial returns on a pig farm, artificial insemination has replaced natural mating methods.
It takes about six months before the results of an artificial insemination effort can be determined. Being under constant economic pressure, and wanting to maximize my own time and effort, this process of inseminating a pig and then waiting for results felt like I was playing the slot machines each time I artificially inseminated a pig.
This documentary is a continuation of my kaleidoscopic vision of the pigsty. Here, the Slot Machine theme accurately expresses my feelings of anxiety and my imagination as I wait for results after breeding, whether from natural mating or artificial insemination — one of my most important tasks at the pig farm.
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⫸ 紀錄片IV–小碎肉布
2010
single-channel Video
02’30”
這件作品是獸醫解剖化驗生病豬隻過程的記錄。
解剖化驗前，獸醫會先將豬隻電擊，使豬隻成腦死狀態再進行解剖。我記錄這些即將停止運作的內臟，並依被取出於肉體外的器官順序安插畫面，依序排列編織成小碎花布狀。
每段畫面皆由豬隻內臟所編織而成，而背景聲音配製為現場收錄豬隻被閹割睪丸時所發出。由以上兩者交織拼貼完成這件；會動會叫的花布-《小碎肉布》。
我企圖透過當中兩種感知的錯置，用以描述某種美好世界，殘酷事實。
Documentary IV- Little mince cloth
This film records the process veterinarian anatomizing and examining the ill pigs.
Before the anatomy, the veterinarian will firstly gives the pigs an electric shock, and dissects them at the status of brain death. I keep track of the dying organs, and arrange them into the flora pattern in order.
Every scene is crocheted by pig organs and the background sound is pig’s lament when being castrated. The two elements form the work, active and wailing flora cloth, Florgan Cloth.
I try to convey the idea of wonderful and, meanwhile, brutal world by the displacement of the two perceptions.
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⫸ 紀錄片VI討好花世界
2010
single-channel Video
02’22”
在豬舍養豬的時候，就算如何地辛苦，看著牠們一日日越來越肥胖的模樣，肥肥的屁股搖著尾巴，勞苦豬舍工作好像也不純然是為了自己的生活，牠們的成長跟快樂彷彿才是最重要的，我的情緒隨著起伏。不知不覺中，我對他們產生許多的聯想，牠們搖著尾巴，似乎是表達某種情緒。
本作品特寫豬隻尾巴搖擺的鏡頭，剪輯翻轉而成，在當中我中思索豬尾巴構成的動態圖騰，花開、花闔；綻放、枯萎。花朵優雅且短暫的生命週期圖像，美化了背後的動機，花柔美的舞蹈性動作明明白白，卻又如夢似幻，更掩蓋掉政治正確性的陽剛氣息企圖。
從豬尾巴出發到花，從花到豬尾巴，這一系列的交互錯置中，我期待觀者隨著畫面搖尾巴也跟著起舞微笑，也期待觀者從這尾巴花世界連結到現實世界中的”花世界”，面對世界究竟需要多少的花樣來裝扮、來包裝?因為外在的美麗而被強植的符碼價值，我們究竟對這個世界做了什麼，而世界又因為這些花樣包裝而體悟到我們什麼?過程中，又是誰藉誰之名，又是為了什麼而不斷翻土蓋天，無與倫比造花精心規劃的包裝開端又是為了什麼？
Documentary VI – To Please You
While I feed the pigs in the pig farm, my previous experience has been teaching me how much portion I should give to the pigs. If the baby pigs eat too much, they will have diarrhea problem. If the mother pigs eat too much, they will a difficult delivery. Every time after I finish my feeing work, those pigs will follow me with their tails waging, as if they are asking for more to eat. That is how I come up with this connection.
This documentary features the pigs wagging tails. I rotate the shots at various angles. By doing that, I start wondering what moving patterns I can create with these pigs in different colors. The flowers are bloom, closing, opening up, and withering. Elegant but short, the circle of life is visualized into the wallpaper-like patterns.
From the pigs’ tails to the flowers, and from the flowers again back to the pigs’ tails, their interlacing relationship invite viewers to think about how many fancy “patterns” we need to deal with the outer world. Do we really need to decorate ourselves like the gift wrap to survive in the world? How we value the beauty of the surface is imposed by the symbol system. What do we bring to the world? And what does the world know about us because of these fancy patterns? In whose name we are completing this process? We are making our great effort to ornate everything, for what?
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⫸ 紀錄片Ⅷ- 眠花
2010
single-channel Video
01’50”
每日完成一項又一項的餵食與清掃工作後，我與爸爸總是全神貫注地走在一片片的夢境上，進行著豬舍工作中最需耐心與精準眼力的耗神工作。溫度不足時，不管健康還是生病，豬隻總是依靠著彼此的體溫而堆疊在一起熟睡著，一堆又一堆如同地毯圖騰般交織而成的魔幻視覺，總是掩蓋掉於那片片花海中，小角落正生病需補救的不完美與難堪。
在這一片又一片的動態地毯中，不僅僅紀錄著我一夜又一夜，一遍又一遍尋找與檢查豬隻健康狀態的過程，也紀錄著我每晚找尋下一方向與自省的狀態，也企圖的警誡著自己，勿被外在光環與包裝世界蒙蔽了於世界上更需要關注與關心的事情。
Documentary VIII – Night Night Flower
Every day when I finish the routine jobs of feeding and cleaning, my dad and I will walk through the floating dream one by one, without distraction. It is the work which requires the greatest patience as well as the greatest eyesight. While the temperatures are low, pigs – the sick ones and the healthy ones – will stay close to each other as they are deeply asleep. For m, it is the most magical scene, visually speaking –just like the carpet patterns interlacing with each other. It sometimes even comforts me about the worries that some ill pigs are deserted at the corner, waiting for anyone’s intensive care.
Therefore, walking through these moving carpets becomes my diary to record my night-by-night routine to check the health condition of the pigs. It also records my self-reflection and my future direction. I keep telling myself that I should not let the superficiality of the outer world to replace those which really deserve my care and concentration.
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⫸ 紀錄片IX – 下一站
2010
single-channel Video
03’20”
養豬不僅僅只是身體的勞動工作，我也隨著豬隻們成群的每一階段成長與變化，我的思緒與心境都有所新陳代謝。豬隻每一次的成長，皆因身體外在的長大而改變居住環境，此作品紀錄著我親手接生出來的68隻小豬們，每一次成長換環境的過程。
此紀錄片特寫了，每一站而所準備的前置作業佈局，到每一回邊帶邊趕小豬們前往下一站，到最後到成豬時趕上卡車賣出，整整7個半月這些過程中正面的鏡頭，並由緩慢鋪成到激昂的配樂帶出在這過程中，既不捨又期盼又興奮的錯綜複雜情緒。
人生中，每一階段都有每一階段要煩惱的事情，很多時候，前一階段為後一階段的基礎，每一階段都很重要，環環相扣著，在豬舍養豬過程也是如此。此紀錄片藉由趕豬過程每一站的奔跑急速串接，如海浪一波波打上來的泡沫浪花狀，企圖的思考著在這訊息癱瘓瞬息萬變的世界，能否常保持著最佳狀態，微調自身每一階段的身體與態度來適應與扎實地走往每一個下一站世界。
Documentary IX – Next Stop
My life in the pig farm is not merely full of labor intensive works. I have also experienced some personal growth and transformation, along with the pigs. At each stage of their growth, my emotion and perception change with them. When pigs grow older (and gets bigger), they need to be moved to different rooms. This work, therefore, documents the 68 baby pigs delivered by myself and every time they move.
The document Next Stop includes the preparation work, the process to goad the baby pigs to the next room, and how we transport the grownup pigs to the pig market through trucks. It is a seven-month-and-an-half process. The background music –starting slowly and gradually becoming passionate – also captures my contradictory feeling, anticipating but yet reluctant to say goodbye.
Life is full of worries. Every stage of life has its worries. In most of the cases, the previous stage is actually the foundation of the following stage. Every stage is important because they influence each other. The life in the pig farm is the same. I want to make this documentary a recording of my self-examination – just like the waves hitting the shoreline, those pigging running toward their next stop, can we really maintain our best condition in this world overloaded with informaiton? Can we attune ourselves to be fit into our next stop at a firm pace?
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⫸ 紀錄片XI – X 任務
此作品記錄了在幫母豬接生時，所遇到的難產急救過程。
急救過程中，母體排斥著侵入自身的外物，使得手臂不斷強烈壓迫著，肌肉線條隨著難產壓迫與被壓迫的時間增長，越感緊繃明顯。 鏡射的盡頭將母體包裹著，手臂在母體中被壓迫發麻失血無感狀，仍必須在摸不著盡頭、看不見的熱燙母體裡，搜尋著期盼的生命與希望到來。生命體的掉出，紀錄出接生過程與生命本體存在的某種騷動關係。也對應對照著創作者自身，在Ｘ任務接生急救過程中，強烈的侵入與被侵入感，以及搜尋著某種慾望之狀態。
接生標準程序-需將手塗滿潤滑液後再進入母體內搶救，使得畫面呈現出油膩黏稠的視觸感，這些的視觸感、黏稠感與痛感是創作者在接生難產母豬過程中，強烈感受到的，此紀錄片藉由視覺來呈現創作著難以描述的身體經驗，與自身存在於資訊癱瘓當代社會的某種騷動，並勾勒出社會共同經驗警惕生命。
Documentary XI – The X Mission
This work records the process of providing emergency treatment to a sow experiencing a difficult labor.
At the end of these mirror reflections lies a covered mother’s body. Squeezed by the interior of the body, the arms have gone numb. Still, blindly inside the seemingly borderless and heated body, they are looking for the anticipated life and the coming of hope. The dropping of a living object suggests there is a dynamic relationship between midwifery and life itself. It also speaks to the artist, who, in providing emergency treatment while carrying out the X mission, feels a strong sense of intrusion and being intruded, and a state in which she searches for desires of some kind.
Midwifery SOP – Covering hands with lubricant and sticking them into the mother’s body for the rescue. Visual presentation features oiliness and stickiness. These impressions, along with pain, are the ones experienced by the artist strongly while carrying out midwifery for the sows. This documentary portrays bodily experiences through visualization – ones that the artist has no other way of describing. It also implies a sort of restlessness inside the artist, who is paralyzed by the excessive information in today’s society. It finally draws a collective lesson for the society to call for an emphasis on life.
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⫸ 紀錄片XII – 你聽見了我嗎
2011
single-channel Video
04’48”
此作品紀錄了從配料場堆車至豬場中間的聲音，以及畫面為豬隻從遠方聽見堆車聲音就衝往欄杆門口，高分貝不間斷嘶 吼著等候食物到來的過程。
此工作在豬場為最吵雜，最混亂的景象，此作品藉由慢和無聲來描述與紀錄出，在這些搶飯碗不斷尖叫，越吵雜越暴動 混亂的狀態下，越高分貝肉體們越擠扭表示越健康，我的心境總是在這些混亂的當下感到最為最平靜與安穩。 作品以會動會叫之壁紙概念來呈現。
Did you hear me
This piece of work includes the sounds heard along the way from the carts starting off the feed mixing plant to the pigsty, as well as the visuals of pigs charging toward the fences once they hear the carts coming from the distance and grunting ceaselessly at the top of their lungs when expecting the feed.
Demonstrating the loudest and the most chaotic part of one’s work at a pig farm, it presents through slow motion and silence in the most part a seemingly contrasting fact: in the world of pig breeding business, the more frenzied, clamorous and jostling the animals get when they compete over feed, the healthier they are in actuality. Oddly enough, I find the most stable peace of mind in the most unstable realities.
The concept of this piece is realized via moving and sounding images projected on the wall as wallpapers.
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𑁍 水晶球工廠音樂盒
⫸《Tap－Tap》
「聲音」在飼料廠裡，扮演著很重要的角色，機具所發出來的聲音是否正常，代表著工作的狀態，影響著工作的進度，工作中須專注的聆聽各機器所發出來的聲響，並藉由這些聲響來判斷進度，判別雙手該揮舞於何方按下按鈕。原物料從右到左，一波接著一波的往另一頭目的桶送去，每個步驟的循環，有秩序一列又一列的生產過程，讓我如同工作在大型打字機中一般，作品中答答答答的聲響記錄著工廠正常運作所發出來的正確聲響-為我與家人每天所期待的一種帶來穩定生活安全感的聲響。
此作品藉由紀錄飼料製作過程，所發出來常被他人稱為「噪音」的聲音編織出的聲音設計，透過作為輔角的影像紀錄中原物料在攪拌軌上 堆積 崩塌 潰堤 溢出 等現象，呈現對世界生態能源供需平衡之感受與期盼。
“Sound” is an integral part of fodder factory. The sound of machines tells if they are functioning normally, signals a “work mode” and dictates the progress of work. While at work, workers need to listen to the sounds of all types of machines attentively, determine progress and decide what button to press. Raw material goes in from the right and comes out from the left. One batch after another, the material is taken to the barrels at the other side of the factory. Consisting of repeated steps and separated by paralleled rows of procedures, the production process works much in the same way as a typewriter. The da da sound resembles the sound of confirmation inside a plant – a sound that brings hope and stability to everyday living for me and my family.
Using sounds of the production process – sounds normally regarded as “noises” – as the design elements, and with the inclusion of imagery as a supporting role, this sound installation records the piling-up, tumbling, breaching and spilling-out of material – common scenes on a conveyor belt – to present the artist’s impression and hope for balanced supply and demand of the world’s natural resources.
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⫸ 《DA-DA》
此作品藉由配料廠工作的最後-配料桶清空、飼料打包成袋、以及飼料送往卡車上堆疊等，過程中常被他人稱為「噪音」的聲音編織出的聲音設計。
藉由飼料工廠中主要運作模式為「疊」之概念於聲音設計上和影像上來呈現，疊出每一個步驟與環節都順利與正常的配方與成果，也呈現出飼料疊的高穩有秩序好存放管理之應注意的工作環節。並企圖藉由視覺上與聽覺上不斷的堆疊，來呈現世界金字塔經濟體係完善之期盼。
This is a sound installation using sounds that are normally seen as “noises”, sounds that are heard at the last phase of a batching plant – cleaning up of the raw material container, batching of livestock feed and piling up of the feed on trucks.
The work re-presents the image of “piling up” – the main mode of operation in a batching plant – through sounds and images. Every step and procedure is completed by “piling up” in order to function normally, follow the correct formula and produce the right product. It also portrays finished feeds piled up high and solidly, and the measures to be taken for proper storage. By piling up sounds and images, the work also implies a hope for an intact economic pyramid for the world.
ꕥ 相關活動
開幕茶會&藝術家導覽 Opening & Artist Guide
2011.10.01(六)2:00pm
藝術家座談 Forum
2011.10.01(六)3:00pm
與談人 | 高千惠 陳泰松 黃建宏 顧世勇
創作者 | 吳長蓉 許哲瑜