The Burnning Issue Residency Programme: When (not) to let go – Lee Kit – Talk#2
Programme: When (not) to let go – Lee Kit – Talk#2
關鍵議題駐村計劃：甚麼時候（不）放手 – 李傑 – 講座＃2
(For English please scroll down)
(The speech is in Chinese. 演講以中文進行。)
本次講座中，李傑以藝術家身分為發想：透過藝術表達如何看待社會？為開頭，上半場分別由藝術家許家維以及吳季璁概述各自的創作狀態。許家維提出《和平島故事》（The story of hoping island ）、《鐵甲元帥》兩件作品，圍繞在地歷史、野史為主要創作脈絡。《和平島故事》讓造船廠與祖母的口白成為主軸，拉攏日據與現在兩個時空，架構出歷史層面對話；《鐵甲元帥》則呈現與鐵甲元帥溝通的經過，並進一步引發對當地一連串的探討。過程中，必須不斷與他人交涉、對話以重建、追溯史料源頭。而吳季璁則從個人簡歷出發，透過編年方式逐一開始探討個體性這個題目。另外，值得注意的是，同時，透過「參與國際大展」的自身經驗衍生對藝術產業與機制的討論成為下半場伏筆。
About The Daily Trifles
Moderator | LEE Kit
Speaker | Hsu Chia Wei , Wu Chi Tsung
Talk ＃2 Highlights:
Text/ Tiffany Lay
As the talk host Lee Kit facilitated a conversation between Hsu Chia Wei and Wu Chi Tsung about the daily trifles. Lee Kit questioned Hsu and Wu about what it means to be a successful artist and the myths about exhibiting shows in other regions around the world. Lee Kit also mentioned that often times what we hope for or our vision is different from reality and how an artist must face and overcome that. Furthermore he raises the key issue on individualism towards to the two artists and how they interpret their idea.
To Hsu, art is not just about the final work but about the process leading towards it. Through his works he tells stories from history that is not often talked about because they are not mainstream narritive written in a historical context, but instead little stories that made a difference and affected peoples lives today. His works are often like serendipity, he has vision of what he wants to convey but through the creation of his works. Hsu often learns more about the stories that he wants to present guiding his works in different directions that he had initially imagined. To Hsu a successful artist is one that can tell a story through a video despite not being able to understand the language that the story might be told in. Language is a factor that he often must overcome, since the narratives of his works are often in a dialect that he doesn’t understand because he chooses to preserve the stories in their original language. In respond to individualism, Hsu perceives stories from a first person perspective ie. from an individual. Through his research of the historical stories Hsu hears a lot of segments from people of that lived through those stories helping him perceive the whole picture of it and it’s effects towards individuals now. Through the creation of his works Hsu is able to self discover as he discovers more details of historical stories that surround him.
Wu creates art that plays with the relationship between technology and the real world. He is interested with the idea of perception and that what the naked eyes see as reality may not be the whole of reality. He takes pictures and makes videos of “reality” that cannot be perceived by the naked eyes. He tells a story of the world around us from a different perspective, a perspective through an artificial lens. Through his works he conveys that technology creates an illusion of the real world. For him a successful artist is one that is able to see the whole of reality, one that can present not just what the naked eyes see but also reality that is not often perceived. He shows his frustrations towards many things in the art industry especially those that he believes art limiting his chances to present on a larger stage. Yet he tries to overcome his frustrations by packaging himself and choosing not to let others package himself as an artist. He acknowledges that there is a large gap in what one hopes for and reality thus often resulting in gossip among artists, yet to him his is just an inevitable part of the art industry. On individualism, Wu perceives most of his works from a first person perspective. Through his works he is not just able to learn more about the reality around him but also about how technology has influenced his judgements among things.
Lee Kit concludes that every artist has their own way of presenting, which is one of the reasons that make the art industry interesting. Furthermore he explains that it is important for an artist to realize that there is always going to be a gap between one’s vision and reality.
Project director: Meiya CHENG
Project manager: Jo Ying Peng
Executive Team: Frankie SU, Yen-Hsiang FANG, YU Cheng-Ta, Fong-Ray Hsu, Chen Hsiautsa, Shu Han Chang
Project assistant: Tiffany Lay
The programme is sponsored by the MINISTRY OF CULTURE