Lacuna

穿顱透寫 Lacuna
單頻道錄像 Video
40'31''
2018
 
This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.
 
This video is about my brother’s family memories in the form of animation, and extend from these memories to two criminal cases that took place in the surrounding area: one teenager was murdered, which happened at an Internet café where my brother often used to go to in his adolescent years, and this event was made into an animation on the news. Another event also happened in my hometown; someone witnessed a dog wandering on the street, with a female’s head too rotten to be identified in its mouth. A police imagined and portrayed the female’s face before her death according to the shape of the skull.
 
The two events were separately made into portraitures on public media—a manga illustration made with 3D software by news media, and the portrait of the victim drawn with pencil by the police. I visited the police who produced the head profile of the female, as well as the storyboard director who made the news animation. By exploring their graphic techniques, I attempt to construct the images of my brother’s memories in my work.
 
〈穿顱透寫〉由長期合作的夥伴陳琬尹撰寫劇本。
 
我以動畫的方式拍攝哥哥的家庭記憶,並由這些記憶延伸至兩則社會案件:有一位青少年被謀殺了,事發地點在哥哥年少時常去的網路咖啡廳,而這個事件在新聞上被製作成了示意圖。另一個事件也同樣發生在老家附近,一顆女人頭顱因腐爛而無法辨識身分。一名員警依據頭骨的外形,想像並繪製出女人生前的臉孔。

這兩個事件分別在公眾媒體上被製成了肖像畫──新聞業者以3D軟體製作的動畫,與警察以鉛筆素描繪製的被害女子畫像。我拜訪了製作女人頭像的警員,以及新聞動畫的分鏡師,透過他們繪圖技術的思考,我嘗試在創作中構築哥哥的記憶圖像。


lacuna__clips from Hsu Che-Yu on Vimeo.






Re-rupture

重新破裂 Re-rupture
動力裝置、錄像、攝影、現成物 Dynamic Installation, Video, Photography, Ready-made
15'19''
2017

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.

Inspired by the particular relationship between subculture and political movement in 1990s Taiwan. In 1995, there was a human-shape balloon on the top of Chongxing Bridge in Taipei, and there was also the attempt of suspending all kinds of items in the air, such as washing machine, boiling hot pot, the statue of Chiang Kai-shek, and sex doll, trying to crash them to the ground. But the plan failed eventually; nothing was destroyed. Before everything started, it ended because of the self-explosion of the human-shape balloon. The same year under Chongxing Bridge, there was also a large scale fight. The people present there that day slashing each other with iron rod or sashimi knife. When we found the people invovled, however, they told us it was actually a fight between political factions.
 
Re-rupture assembles two seemingly unrelated historical fragments: "People's Taxi riot" and "Taipei Breaking Sky." I invited five drivers who participated in the fight at the time to return to the event site, while hanging a guitarist Li Na-shao on the top of Chongxing Bridge to play music.
 
〈重新破裂〉由長期合作的夥伴陳琬尹撰寫劇本。

這件作品靈感來自於90年代台灣地下文化與政治之間的特殊關係。1995年,台北重新橋上空有一個人形氣球,並將各種物件,比方說洗衣機、煮沸的火鍋、蔣公銅像、充氣娃娃……等懸吊到高空中,並試圖將它們摔下、墜毀、堆成一座垃圾山。然而,因為技術與天候問題,氣球最後在短暫升空後即破裂墜落,計劃失敗了。同一年,重新橋下亦發生了一場大型械鬥,當天在場的人們,拿著鐵棒、生魚片刀,互相朝對方身上揮舞。然而,當我們找到了當事人,他們卻說,那其實是一場政治派系鬥爭。
 
〈重新破裂〉組合了「全民計程車械鬥」與吳中煒未完整實現的計劃「台北空中破裂」這兩個看似不相關的歷史片段。我邀請了五位當年參與計程車械鬥的運將回到事件現場演出,並將一位噪音吉他手(李那韶),懸吊於重新橋上方演奏。






The year 1995 belongs to an era right after the White Terror ended in Taiwan. In this year, Taipei Breaking Sky Festival was planned by the 26-year-old Wu Zhong-wei. In the many art events that Wu Zhong-wei planned, there was always a strong sense of anarchism. However, his father Wu Er-qu was a political artist serving the government. The many sculptures and paintings in Chiang Kai-shek Memorial Hall were all created by Wu Er-qu. In the complicated relationship between the father and the son, we seem to be able to observe the microcosm of Taiwan’s social and political history.

1995年是台灣白色恐怖結束不久的年代,那年的「台北空中破裂節」由26歲的吳中煒策畫。在眾多吳中煒籌畫的藝術事件中,皆有著濃厚的無政府主義精神。然而,他的父親吳二曲,卻是一位服務於政府的政治藝術家,中正紀念堂裡的許多雕塑與繪畫,就是來自吳二曲的創作。在父子的複雜關係中,彷彿可以觀察到台灣的社會與政治縮影。



The sculpture on the right-hand side was molded by Wu Zhong-wei’s father Wu Er-qu. It is said that he only made a couple of these and gifted them to the top officials and elites at the time. I spent 5000 NTD and bought this from an online marketplace. Wu Er-qu also designed a miniature version of the Chiang Kai-shek Memorial Hall with the size ratio of 25:1; in fact, the entire Window on China Theme Park was built by him. Apart from small things, he also painted the biggest portraiture of Generalissimo Chiang in the world at the time, which debuted in the opening ceremony of Chiang Kai-shek Memorial Hall in 1980.

More than two decades ago, his son Wu Zhong-wei had an unrealized plan, which was to hang everything that he thought of—eggs, a running laundry machine, the statues of historical great men, half-finished hot pot—in midair, before throwing them down, piling up a garbage mountain, and crushing them into a huge lump with a machine.

“Because it was never forgotten, so there is no so-called remembering”

After Wu Er-qu passed away, his son piled up his works on the balcony on the top floor of his old house. When he is free, he goes to the top floor to smoke and drink beer, while cigarette butts, beer cans, and the works gradually mix together and form a small hill. The son said he is letting his father’s posthumous works breath, as they shower in the rain and bath under the sun. 


During the process of collecting materials, I saw a small hill of debris composed of the remaining molds of the Window on China Theme Park, which is still left on that balcony to slowly decay: supposedly irrelevant matters that took place in different times are piled together, becoming a miniaturized national ruin as they are exposed to sun and rain.

在拜訪吳中煒老家的過程中,看見了由其父親吳二曲所製作的「小人國主題樂園」,翻模剩餘的殘骸所堆積而成的小山丘,直到現在仍擺放在那片天台,慢慢剝落損壞。不同時間所發生的、看似不相關的事物堆積成團,隨著日曬雨淋,成為一座縮小版國家廢墟。


Wu Er-qu, the creator of Window on China Theme Park took a photo of his works in 1990s.
吳二曲與「小人國主題樂園」合影。


No News from Home

No News from Home
Video
9'51''
2016

The protagonists are my brother and his infant boy who was six-month-old. I selected five family videos about the newly-born baby that my family shot and turned them into animation. Through rituals of folklore belief and fragments of Taiwanese social customs, I discussed how my brother negotiate with his family, education system, and the society, going from confrontation to compromise.

我從家庭影片中挑選了五個片段,並製作成動畫。這件作品是關於剛出生六個月的姪子許力文。青少年時的哥哥打架生事、拒捕、接觸毒品等越軌行為,正是台灣社會文化期望與體制之間不協調作用的結果。算命師的指示、父母的期望、社會的理想……這些年來,哥哥以他自己的肉身,在其中反抗與妥協。

A Letter to Su Wanqin

尋找蘇萬欽 A Letter to Su Wanqin
相紙 Photography
2016

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.

This work based on a special tradition in the history of photography in Taiwan. The photo in A Letter to Su Wanqin originally was the souvenir photo of Chen Wan-Yin’s grandfather. This is a kind of technology popular in the 1970s. People can choose the pictures that have already been painted in the photo studio and then synthesize the photo by clipping figure’s headshot. Due to the production method, the same body and background will appear in different families’ souvenir photos. “Su Wanqin” is the first same souvenir photo from Internet. Mr. Su Wanqin, 103 years old now, is a witness of Taiwan history who participated the war in China as a Japanese soldier when he was young and now is the oldest Nationalist Party member alive. I found the history memory from the beginning of family photo of Chen Wan-Yin. I copied the letter written by Chen Wan-Yin to Su Wanqin and showed it with the souvenir photo without figure’s headshot.

Later on, Chen Wan-Yin got a letter in reply from the son of Su Wanqin. The son wrote on his father’s behalf to expose the condition of the old man’s late life. They built a relationship as short-term pen pals.

〈尋找蘇萬欽〉是與長期合作的夥伴陳琬尹共同創作,靈感來自於台灣攝影史中一個很特別的案例。這種紀念照片是70年代流行的技術,可在照相館挑選已繪製好的複製畫,再將人物的大頭照剪貼上去。相片沖洗店、文具店都能買的到這樣的複製畫,因此在不同家庭裡,可能有著一模一樣的身體與背景的寫真照。

我從陳琬尹的祖父紀念照開始尋找,而「蘇萬欽」是我們在網路上第一個找到、相同紀念照的提供者。蘇萬欽先生已經103歲,可說是一位見證台灣史的人物,從早期以日本兵身分到中國參與軍事行動,現在則是還在世的、最老的國民黨黨員…從祖父照片搜索,最終卻尋找到了蘇萬欽這一位人物。陳琬尹寫了一封信寄給蘇萬欽先生,並複製了一份展示出來。

後來蘇萬欽先生的兒子,因其父身體不適,代筆回信給陳琬尹,與她成為了極短暫的筆友。




Photo Album Clips

相簿剪貼 Photo Album Clips
相紙*10  Photography * 10
2016

When Yuan Zhi-jie was a child, Yuan’s father left him and had a new family . Yuan’s estranged grandfather suicided at last. Yuan got in touch with his sister who is totally unfamiliar to him via Facebook and invited her to copy and upload family photos with which he can piece together the memories. To Yuan, the sister is a virtual “data person” in a system, but the childhood memories is still romantic.

一位朋友袁志傑,他對我說起小時後的故事:父親自小離他而去另組家庭、爺爺與子孫關係不親,最後選擇自殺離世…他透過FACEBOOK聯絡上他其實並不認識的妹妹,透過網路請妹妹翻拍與上傳這些家庭相片,將這些回憶拼湊起來。對袁志傑來說,妹妹僅是存在於網路上的「數據人」。她是虛擬的、系統裡的,然而兒時回憶卻是寫實與感性的。

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I take photos of Zi-qing’s Facebook profile picture. I am not sure if she looks like that in person. But the photo looks really similar to the girl that Yuan had a crash on in junior-high school.
子晴現在的樣子。我從電腦螢幕上翻拍子晴的臉書大頭照片。不確定她本人是不是也這個模樣,這個照片樣子很像袁志傑國中時暗戀的女生。

Yuan Zhi-jie’s young father and his grandfather who killed himself later. After that his grandmother does not contact her son and grandchildren anymore.
袁志傑的年輕父親,與後來自殺的爺爺。之後奶奶就再也沒和自己的兒子、孫子聯絡了。

 
Of his father’s new marriage, Yuan Zhi-jie does not recognize the bride in the photo. But he can tell that the site is his grandmother’s house from the background.
父親的新婚,袁志傑並不認識相片裡的新娘。但從背景看的出這裡是奶奶的家。

Young Mother.
年輕的母親。

His half-sister Zi-qing. They have never met. But he asked her to help through Facebook messages. From these photos, you can tell that the photographic skill is not too good, and you can even see the reflections of the photographer in some of the photos.
同父異母的妹妹袁子晴,袁志傑不認識她。這些照片是透過FACEBOOK傳訊息,請子晴幫忙偷偷翻拍她自家的家庭相本。從這些翻攝的相片可以看出拍照的技術不是很好,有些照片還看的出拍攝者的倒影。

The first memory that Yuan Zhi-jie has of his father is the image of his father in military uniform. He is not sure whether the image in his mind is his real dad, or simply a photo.
袁志傑對於父親的第一個回憶,就是爸爸穿著軍服的樣子。不確定腦海中的影像,是真實的爸爸,還是只是這張照片。

Microphone Test

麥克風試音:致信黃國峻 Microphone Test: A Letter to Huang Guo-Jun
單頻道錄像 Video
25'18''
2015
 
麥克風試音:告別式 Microphone Test: Funeral Service
三屏幕投影、互動裝置、玻璃纖維、桌椅、盆栽  
Triple-Screen Projection, Interactive Installation, Glass Fiber, Table and Chair, Plant
2015

This work is a cooperation with my long-time collaborator, screenwriter Chen Wan-Yin.

The Microphone Test series is named after writer Huang Guo-Jun’s work Microphone Test. Two months before Huang committed suicide, he wrote an essay in epistolary style titled“To Mother,” in which he expressed his intention to kill himself to his mother. The writing style is filled with black humor and expressive quality, but he killed himself two months after he wrote this letter, and he did not leave any suicide note. 

Microphone Test: A Letter to Huang Guo-Jun is a video letter to Huang Guo-Jun. Through conversations with Huang’s works created before he died, the letter depicts private family memories of three good friends, and attempts to portray what in fact belongs to my, or perhaps everyone’s memories through the memories of these others. Or perhaps, what is important is not whose memory it is, but the process that memory is constructed and viewed. I invited Yuan Zhi-Jie, Chen Liang-Hui, and Lo Tien-Yu to go back to the event site, and reenvisioned their memories in front of the camera. Eventually, I substitute the people in the video with animated figures drawn in lines, in accordance with my past creative methods, and leave only the background shot by the camera.

麥克風試音〉由長期合作的夥伴陳琬尹撰寫劇本。

「麥克風試音」作品系列的名稱是來自作家黃國峻的著作《麥克風試音》。黃國峻在自死兩個月前,寫了一篇書信體的散文作品〈報平安〉,對著母親講述自己自殺的念頭。文筆充滿表演性質的黑色幽默,但卻在寫完這封信的兩個月後就自殺了,自殺時反而沒有留下遺書。

〈麥克風試音:致信黃國峻〉是寫給黃國峻的錄像信,透過與黃國峻生前作品的對話,描述出三位好友的私密家庭記憶,也試圖透過這些他人的記憶,描繪出實際上也是我自己的、或許也是大家所共有的記憶。又或者重要的不是關於誰的記憶,而是關於記憶如何被建構與被觀看的過程。我邀請袁志傑、陳良慧、羅天妤回到事件的地點,在鏡頭前重演他們的記憶。最後將影片中的人物,以我過去一貫的創作方式,用線描勾勒的動畫人物將他們取代,只留下攝影機所拍下的背景。


Microphone Test: A Letter to Huang Guo-Jun__clip from Hsu Che-Yu on Vimeo.


Microphone Test_exhibition recording from Hsu Che-Yu on Vimeo.



Memorial Portrait of Great Grandfather in the Worship Hall in the House: Chen Wan-Yin, who doesn’t know my three friends (Yuan Zhi-Jie, Chen Liang-Hui, and Lo Tien-Yu), rewrote their memories into a script, and dubbed the video Microphone Test: A Letter to Huang Guo-Jun according to her own perspective. In the process of writing, she recalled the memorial portrait of her great grandfather in the worship hall of her house, and the association has double meanings: first, it is an association with family stories, including family member who she has never seen, and the seemingly distant but close family memories; second, it is an association with production method. The video Microphone Test: A Letter to Huang Guo-Jun makes use of a method that replaces real figures with animation, which is similar to the technique of memorial portrait, with both using fiction in place of reality.

In the memorial portrait, only the head image is shot by camera, which is then cut down and pasted to a background with a single seat armchair and pot plant, while the body and the background are replica paintings outlined in Chinese ink wash. The replica is a ready-made model provided by the store for customers to pick, which is why in other unknown families, there could also be the same memorial portrait, memory, body, and background. 

家中神明廳的曾祖父遺像── 不認識三位友人(袁志傑、陳良慧、羅天妤)的陳琬尹,將他們的記憶重新書寫成劇本,並以自身的視角替〈麥克風試音:致信黃國峻〉影片配上口白。在書寫過程中,她想起掛在家中神明廳的曾祖父遺像,這個聯想是雙重的:首先是對家庭故事的聯想,未曾見過的親人、似遠又近的家庭記憶。其次是製作方式的聯想,〈麥克風試音:致信黃國峻〉影片中將真人覆蓋成動畫的做法,與遺像的技術相仿,皆是以虛構替代真實。
 
遺像中只有頭像是使用照相機拍下的照片,被剪貼在畫有單人座椅和盆栽靜物的背景裡,身體與背景是水墨線描勾勒的複製畫。複製畫是店家供客人挑選喜歡的現成樣版,在陌生的家庭裡,可能也會有相同的遺照與記憶,一模一樣的身體和背景。





A Telephone that Keeps on Ringing on the Living Room Table: After the audience walk into the exhibition space, they see a set of single person table and chair, and a phone that keeps on ringing is placed upon the table. They will hear a man’s voice mumbling words about “sending someone off” after they pick up the phone. The voice actually comes from Huang Guo-Jun’s novelist friend Yuan Che-Shen, who reads his own essay “Sending Off” on the television program “Swimming in the Sea of Books” hosted by Zhang Da-chun. I recorded parts of the dialogues, taking them out of their context and transplanting them in the telephone transmitter, just like sending off Huang Guo-Jun and witnessing his own death, or also like sending off the family memory in the video.

After Huang left the world for a year, Yuan also committed suicide. The newspaper used “Sending Off” as a pun in the title “Sending Off Turns into Parting Eternally.”

客廳桌上響個不停的電話── 觀眾走入展場後,看見的是一組單人桌椅與盆栽靜物,桌上放著一個響著不停的電話。接起來後會聽見男人的聲音,喃喃說著關於「送行」的字句。這段聲音實際上是來自黃國峻的小說家朋友袁哲生,生前在張大春所主持的電視節目「縱橫書海」中講述著自己的散文作品〈送行〉。我翻錄了其中幾段話,斷章取義、移花接木地放入話筒中,彷彿是對著黃國峻與自己的死亡送行,又或像是對著影片中家庭記憶的送行。

在黃國峻離世後一年,袁哲生也自殺了。新聞報紙也以〈送行〉雙關,標題寫著:「送行竟成永別」。



The Voice of Yuan, the Farewell Video of Huang, and the Animation and Statue that Rub the Giant Breasts:

Behind the table that has telephone on it and the plant and chair, the back of triple-screen projection is seen by the audience, who have to go around to read the content of the video. Three videos are: Yuan imitating the way his grandfather killed himself under the wall, the funeral service of Huang that can be searched on the Web, and the Animation and Statue that Rub the Giant Breasts, respectively.

袁志傑的聲音、黃國峻的告別式影像、搓揉著巨乳的動畫與雕塑── 在放置電話與盆栽的桌椅後方,所看見的是三個投影屏幕的背面,觀眾必須繞過去,才能閱讀影像內容。三段影片分別是袁志傑在圍牆下模仿爺爺自殺的樣子、網路上所搜尋到的黃國峻告別式畫面、搓揉著巨乳的動畫與翻模雕塑。

Making Molds of (My) Hands and (Her) Breasts

翻模一雙(我的)手與(她的)胸部 Making Molds of (My) Hands and (Her) Breasts
玻璃纖維、平面輸出 Glass Fiber, Graphic Image Output
2015

There was once a guy who picked up women on the streets. After showing his admiral on her well-developed breasts, he would reveal himself as an artist, take her to a motel and do a body casting towards her breasts. The woman could not move a single step during the process, and therefore was sexually harassed by this “artist”. After he was caught, police found many body castings towards hands and breasts during the investigation.

一個男人在街上物色漂亮女性並上前搭訕,稱讚對方的胸部豐滿後,表明自己的藝術家身份,再邀請對方到汽車旅館,翻模這位女性的胸部。他使用的翻模技術使女性無法動彈,並在過程中對她上下其手。事件曝光後,警方調查發現好多胸部與手的翻模。




Delete: The Nameless Men

無姓之人  The Nameless Men
輸出、錄像、雕塑、空間裝置  Installation
2013



Hsu Che-Yu x Yuan Zhi-Jie Strategy Guide

許哲瑜 x 袁志傑 完全攻略本  Hsu Che-Yu x Yuan Zhi-Jie Strategy Guide
漫畫出版品(誠品出版) Comic Publication by the Eslite Corp
頁數82  The total number of pages: 82
2013



Sighing Flowers and Shamisen

歎煙花與三味線 Sighing Flowers and Shamisen
八頻道錄像、空間裝置  8 channel projections, installation
2012

Phrases are picked out From Taiwan Jiu Shi Tan (Taiwan Old Tales) by Lin Dongchen first published in 1979 April 15th and films are shot in the location mentioned in the book. In this book, the author depicts Taiwan during the times of Japanese occupation from second hand information. I have never been through those period, hence for me they only exist/non exist in a elusive and ghostly form, but always on my mind.

我從一本民國68年4月15日初版,林東辰所著的書籍《台灣舊事譚》中挑選段落字句,於書中所紀錄的地點,拍攝製作了八支影片。這本書經作者二手或三手的資料,描述著日本治台時期所發生的事件。那是我還沒出生的時代,我想像著他們的幻影。

November 11th, 1970.

1970年11月11日 November 11th, 1970.
錄像 Video
8'01''
2012

There was a news about building a statue at Zhongshan Park in 1970. I return to Zhongshan Park, and the fictitious spirit is summoning me.

這是一則台灣1970年於中山公園塑立孫中山銅像的老新聞。它僅以鬼魅的方式(不)存在,卻魂牽夢縈的。


November 11th, 1970__clips from Hsu Che-Yu on Vimeo.


手勢 Gesture
輸出於棉紙 print onto a cotton canvas
110x90cm
2012

Raising the right hand, and gesturing from right to left like ocean waves signifies group membership and respect.

舉起右手,向左方劃出浪狀,以向同伴示意屬於相同團體成員,亦表示尊敬。


The Black Dahlia

黑色大理花 The Black Dahlia
輸出於棉紙 Print onto a rice paper
45x45cm * 30
2012

There are 30 drawings in this work, and each one corresponds to a real news event. Most of the events are murder cases. I wrote down the committed date and place near by the drawings, the imagined drawing based on news content.

30幅的繪畫創作,每幅畫都對應於一個真實的新聞事件,這些事件大多數是兇殺案件。我在作品圖像旁寫下了案發日期與地點,並對於新聞內容的想像而繪製完成。




Perfect Suspect

完美嫌疑犯 Perfect Suspect
五頻道錄像 5 channel projections
4'54''
2011

 I go to the scene of a crime to take photos or draw, and place a fictitious couple to act as victims.

這件作品中,我找五則新聞事件,依據報紙描述,到案發現場拍攝,並虛構一對男女,機械般的示意與演出。


Perfect Suspect_ 3 minutes preview from Hsu Che-Yu on Vimeo.

Day-to-Day

常日小短劇 Day-to-Day
錄像裝置 Video installation
2011

The male and female characters re-create daily events in an architectural space. Through a CCTV-like monitor, the artist tries to create visual sensations in ordinary events.

我虛構一對男女主角,放置於我宿舍旁邊的建築空間內,演出著常日發生的小事件。


Day-to-Day_Extract from Hsu Che-Yu on Vimeo.