麥克風試音

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
 
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. The fictional aspect of the work contrasts with the realistic aspect of life, while the indistinguishable part within has always been my focus in my works. 
 
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.
 
Chen Wan-Yin cooperated with Hsu Che-Yu as a co-creator on “Microphone Test”, mainly serving as the scriptwriter and voiceover of the film.

「麥克風試音」是與陳琬尹共同合作之創作,陳琬尹主要擔綱劇本撰寫及唸白角色。
 
「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  麥克風試音:致信黃國峻 from Hsu Che-Yu on Vimeo.




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。


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. 




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

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」。

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.”

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。

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.


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

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,報導內容裡提醒民眾,翻模與雕塑不同,雕塑是藝術、翻模則不是。我也想幫正妹翻模胸部,不過那位男子被宣判十年定讞。我想起A片裡的一種分類:「真實的偷拍與強姦」,這真是奇怪的類型學。雖然標誌著「絕對違法」,但無論是真的、假的都沒關係,只要把它想像成是真的就好了。新聞事件是真的也沒關係,因為在意淫它的時候,只要想像著自己其實是玩假的就好了。

這對胸部的石膏翻模,大概不可能轉化成米洛斯島上的斷臂維納斯,它只能是不堪入目的吧。我暫且先確保創作不會碰觸到現實,否則若是擦槍走火,藝術也將消失殆盡吧。現在的我,僅是關心著那電視螢幕的表層,意淫螢幕上的影像;因為我知道,若把電視機撬開,螢幕的後面就是一些電子線材,再無其它東西了。

There was once a guy who picked up beautiful 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, and the news covering this event reminded people that body castings are different from sculptures –The latter are art while the former are not. I also wanted to do body castings towards pretty women’s breasts, but that guy was sentenced for 10 years.This reminded me of one kind of category of porn movies: Authentic: Secretly Filmed and Rape. What a weird typology. Though indicated as absolutely illegal, it does not matter if these porn movies are authentic or not, as we only need to imagine as they were. It also doesn’t matter if we are sexually fantasizing towards a true news story, as we only need to imagine as it was fake.

This plaster body casting towards breasts will not possibly be transformed into an artwork like Venus de Milo, so I guess it can only be something unbearable to look at. I, for the time being, assure that my artworks would not touch the reality, since if otherwise the art within them will vanish. For now, I merely care about the surface of TV screens, and fantasize towards those images shown on screens; because I know, if I broke the TV open, nothing but some electronic wires would be found behind the screen. Could there only exist time and space between far the other side and I in front of the TV? And yet, I understand that there could not be truly nothing behind the screen.