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同樣架構在冷戰權力結構背景下的另一件作品透過杜撰多層次虛構敘事的手法，企圖演繹殖民影響、資源掠奪等政治操控所在歷史上，不斷異化生產的文化主體與其游離的邊界。《克里斯計劃II：If the Party Goes On》是區秀詒依據片斷史料並化名為Ravi所衍伸創作的離體電影。畫面素材包含了國泰電懋所製作的《空中小姐》、《曼波女郎》及她在馬來西亞所拍攝的場景。在結構、內容、時序及美學考量上，影像來回擺動在考據和虛構的對弈間，並伴有其他形式的文件共同建構敘事空間，以細密詩意的想像將未顯的歷史暗潮推上岸，被留白的遺忘形成黑影，轉化為新的寓言。
“Does time have weight?”
“It is probably the weight of memories.”
“How can you tell the depth of time?”
“It always expands along with your dreams. It is as deep as a song that can be passed down through generations in a melody.”
“What about the width of it?”
“It must be as wide as a footstep, because time is how you walk step by step. It must be as narrow as your pen too, because time coasts along and flies with your heart.”
In the shadows of sunset, the kid was chatting with his grandpa.
* * *
Unfolding time into multiple dimensions is the incessant hint towards investigating ways of seeing in this scenario. Time loses its standard here. It is instead measured by other artistic compositions—the landscape of an old era drawn out in a song, the hardly present romance in a movie plot, a Cold War spy legend turning into a new allegory, the tension between consciousness and body—to reveal the hidden rhythms, stories and structures time holds. When history experiences the moment of transfiguration, it, at once, leaps into the future while melting into a dreamlike scene.
Dawang Huang leads his audience into the old town of Dadaocheng with his time travel through songs. He samples the popular Taiwanese folk song from the 1930s. The juxtaposition of music and tour route revisits not only the neighborhood but also the emotions, urban scenes and life experiences that are the social concerns embedded in old-time lyrics. The Chinese title of the work Following the Footsteps of Singing – A Tour Guide to Walk Local, Sing Local further suggests an ironic criticism towards the recent hipster culture of the “creative industry” that is consuming the cultural landscape of the area by removing the depth of time in its flat retro style. When the future devours the past in such a manner, we can only rely on the time of these old folk songs to be able to observe the real life in front of our eyes during the tour.
Sound Route: Bengawan Solo (Wu Chi-Yu + Shen Sum-Sum + Musquiqui Chihying) finds and connects the synchronicity between three different movies’ that share the Indonesian folk song Bengawan Solo. It reveals the different historical processes in Asia and exposes the connected geopolitical motivations in 1951, 1963 and 1971. The love stories from three films encounter one another and begin to converse in this project, continuing to extract narrative fragments for one other. The sound installation also shares a new temporality with the audience, allowing new engagements with the memories evoked by this classic melody.
Another project that shared the same Cold War power structure is Kris Project II: If the Party Goes On by Au Sow-Yee. She employs multiple fictional narratives to interpret the cultural subject and its shifting boundaries generated from the colonial power, war over resources and other political manipulations in history. Masking herself under the synonym of Ravi, the mysterious figure found in her research, Au creates an out-of-body film, remixing footages from Air Hostess and Mambo Girl produced by the film giant Cathay-MP&GI with her own film shot in Malaysia. Accompanied by other forms of text, the imagery swings between research and fiction to construct a space for narration. The poetic imagination forms a new allegory, bringing the undercurrents of history ashore and exposing the shape of oblivion in the opposite shadow.
Inspired by a psychedelic experience from 2001 where, over a one-hour period Lin Chi-Wei attempted to delineate a straight line on a piece A4 paper with his eyes closed, the mindless departure becomes the motivation for his Polygraph project. A few years later, Lin decided to spend one hour every single day to draw a line before sleep for one year as a biographic diary to document his muscle activities. The practice also evolves from using a single hand to using both hands in making the drawings. In the delicate and relaxed composition, between times, the lines convey sets of complex patterns and frequencies. The line simultaneously belongs to body and consciousness, leading to both inner and exterior worlds in darkness. And in this bodily practice for measuring and documenting the parallel movements of time, subjectivity transgresses its diverse dimensions into a boundless sphere where the self becomes an agent.
WU Chi-Yu + SHEN Sum-Sum + Musquiqui Chihying
Sound Route is a collaboration between Wu, Shen and Musquiqui Chihying.
Wu Chi-Yu’s practice focuses on the recording and reproduction of oral histories and local rumor. Through the process of deconstructing and reconstructing these narratives, he aims to reconnect with a post-modern society which has become detached from history and community. Wu lives and works in Taipei. SHEN Sum-Sum’s interests lie in how imagination and perception is evoked by the experience of listening through the symbolic and narrative character of sound itself. Shen lives and works in Berlin. Musquiqui Chihying focuses on the relationship between the human body and the public domain, as well as how capital production twists everyday routine. Musquiqui Chihying lives and works between Taipei and Berlin.
Half-crashed post-media bard, improviser, living sound Wikipedia – Dawang Huang enacts an epic debate among the speedy data flow with his idiosyncratic noise-language and profoundly unbalanced bodily expression. Best known for his Blackwolf Nagashi performances, he has created a genre unto himself in fanzine and cultural studies. His wild ‘scum’ world and obscure, yet warm attitude he approaches the ethics of modern society via a crooked path. Huang lives and works in Taipei.
Au Sow-Yee’s work takes two approaches rooted in moving images. One is her continuing interest in image-making mechanism and its ghost, creating live cinema performances using mechanical film projectors. Second is to question, explore as well as expand the relation between images, image-making, politics and power, through video installations and other mediums. Through her artistic language and dialectical approach to audio-visual “mapping”, she depicts the accumulation of a ‘bio-archive’ from her investigation into historical contexts. Au lives and works in Taipei.
Lin’s early noise and performance series concern the confrontation and violence among institutional power, people and society. Human body as medium, subjectivity, site of order and embodiment of modern symptoms are the subject of his liberation of movement in his peculiar gothic garbage aesthetic. His recent interests explore the mysterious realm amongst sound structure, ritual, symbol and energy, transforming them into alternative allegories to criticize the contemporary social and political conditions.