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

「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。
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」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。

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.


Microphone Test: A Letter to Huang Guo-Jun  麥克風試音:致信黃國峻 from Hsu Che-Yu on Vimeo.




1970年11月11日

1970年11月11日 November 11th, 1970.
錄像 Video
8'01''
2012
這是一則台灣1970年於中山公園塑立孫中山銅像的老新聞。我到中山公園拍攝場景,以動畫的方式示意出這段新聞。我從未經歷過這個時代,因此對我而言,它僅以鬼魅的方式(不)存在,卻魂牽夢縈的。我在片尾中直接將新聞播報的口白以字幕呈現,但刪除了「國父」字樣。
This is a piece of news about sitting statuary at Zhongshan Park in 1970. That was the period of martial law. I’m unable to understand the atmosphere at the times before I was born, but today, I feel the illusion. I return to  Zhongshan Park, and the fictitious spirit is summoning me. Every image of my work is from Zhongshan Park, and the credit roll subtitles are derived from the old news video. This history is not true for me; I can only sense it as a ghost. 


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









手勢Gesture
輸出於棉紙 print onto a cotton canvas
110x90cm
2012
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。
Raising the right hand, and gesturing from right to left like ocean waves signifies group membership and respect.

槓掉:無姓之人

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

我以我在2011年的個展「無姓之人」,再劃上一個叉叉,「無姓之人」成了這次的展覽命題。在過去的創作中,我總是依據新聞事件,並以這兩位友人的形象來示意與演出新聞所描述的故事。然而在此次展覽中,我計劃將「他們的現實」做為創作對象。這或許是一種對我自身創作的破梗或反叛,但也是通過雙重否定的真實告白。
I use the title of one of my solo exhibition in 2011 “The Nameless Men” and add a line-through it, so “The Nameless Men” becomes the title of this exhibition. The meaning of “the nameless men” are the roles in my art; they are substitutes, neutral and non-personalities, always playing the roles of crime suspect and victim. My past works were always in accordance with news issues, and I used two of my friends’ figures ,Yuan Zhi-Jie and Chen Liang-Hui, to re-perform the news stories. However, in this exhibition, I plan to use “their reality” to be my new work objects. It is maybe a confession or rebellion from my past art, but is the proclamation through the way of “double-negation”. For me, it contains a double meaning: before I consumed their images to show mass media spectacle, but this time in the plan I will try to compensate for them. With the other contrary meaning, this time I also consume them in their real meaning. It’s the reality, and it is also in vain.
 
------


PART 1
過去創作我總是尋找新聞事件,以袁志傑的形象製作。而這件作品我則依據袁志傑本人的記憶─關於他爺爺的自殺,以及父母的分離,所創作的一系列繪畫。但在故事中所有的角色─爺爺、父親、母親,仍以袁志傑與陳良慧的形象繪製。
My past artworks are always searching for news issues and remade from the figure of Yuan Zhi-Jie. This time I make the new series of artwork based on Yuan’s memory—about his grandfather’s suicide and his parents’ separation. But all of the roles (grandfather, father and mother) still use Yuan Zhi-Jie and Chen Liang-Hui’s figures, and part of the drawings will be inserted into my old artworks, reassembling and simulating news issues again. I try to use the endless “chasing tail” mode to turn Yuan’s memory into disorderly scenes.
 
PART 2
我挑選一張過去所拍攝陳良慧的照片素材,並繪製輸出的巨幅肖像畫。旁邊放置著我寫給已經分手、許久不再聯絡的「前女友」的一封信。這封信(以及這個作品)並未事先知會她,而僅是在這場展覽中存在。
I choose one of Chen Liang-Hui’s photos that I took before, and use it to draw and output to a huge portrait. She is my ex-girlfriend, and we didn’t contact for a long time. I put a letter nearby her portrait, and I don’t tell her about the letter and this artwork in advance. This letter only exists in the exhibition. I don’t know if she will see the letter or not, but the role of “ex-girlfriend” is my tipping point of sense. For me, she is extremely impressive and real, but in the meantime, the artwork is just consuming my past memorable scenes.
 
PART 3
我挑選兩張過去所拍攝的袁志傑照片,並依其繪製輸出成巨幅肖像畫。照片中的袁志傑,正擺著我所安排的、某個「新聞事件」片刻的姿勢。一旁的聲音是袁志傑敘述著他被拍攝與描繪的尷尬,以及他對於這件作品的尷尬。
I choose two of Yuan Zhi-Jie’s photos that I took before, and use them to draw and output to huge portraits. The Yuan who is in the photos was posing in postures for some “news issues” I chose. But for this artwork, I just draw the “source material” itself, no more stories put on the material. The artwork plays on Yuan’s talking sounds, in which he describes how embarrassing it is to be my artwork model, and how embarrassing to “this artwork”: the display of the portraits maybe comes from Yuan’s embarrassing condition.

  








歎煙花與三味線


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
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。影片與文字間僅只是純粹感覺的關係。在那個我還沒出生的時代,有一種對我來說無法理解的氛圍。但卻在今天,感受到了這只存在於想像裡的幻影。
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 and third hand information. The relationship between the film and word is only a simple matter of sense; the story comes back to life in none descriptive manner. 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.













黑色大理花

黑色大理花 The Black Dahlia
輸出於棉紙 print onto a cotton canvas
45x45cm * 30
2012
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。
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. But in this work I tried to erase the events, and just leaving little symbols and clues to show the pure image and emotion. I erased not only the description of the event, but also the reality.

完美嫌疑犯

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

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。我企圖在真實的他人、虛擬的無人稱主角、我,三者身分游移中,製造媒體景象。

In the different series of my work, as with the newspaper story, I go to the scene of a crime to take photos or draw, and place a fictitious couple to act as victims. Through the clues of the figures, crime car, etc, various issues are composed as a story. I attempted to make the scene of mass media with the real people, fictitious roles and I myself. This is not a reconstruction of the issue, but a dramatization. It seems a real story in form, but the information cannot be verified. Therefore, my work is no longer concerning the issue; it focuses on the perception of media and a kind of scene.


《Perfect Suspect》field record from Hsu Che-Yu on Vimeo.


Perfect Suspect from Hsu Che-Yu on Vimeo.







常日小短劇

常日小短劇Day-to-Day
輸出於棉紙、監視器螢幕、錄像裝置 print onto a cotton canvas, with a CCTV monitor screen and video recording devices
2011

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。

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.













南藝博士班招生海報



大事件景觀之4

大事件景觀4 Breaking News of Spectacle 4
燈箱裝置 Latern Installtion
2010

This is a more expressionistic work by Hsu, who here places his focus on the recent “contagious panic”. What arouses panic is not the event itself, but the interface.







大事件景觀 劇場版

大事件景觀劇場版Breaking News of Spectacle 5 (Feature film)
輸出於棉紙、監視器螢幕、錄像裝置
print onto a cotton canvas, with a CCTV monitor screen and video recording devices
2010

我到了案發現場拍攝、或網路搜尋事發地點、或是依據報紙的照片而繪製,並以「主角」的第一人稱視角,以小說或日記的形式書寫著事件。我試圖將不同屬性的事件編入宏大抽象的故事中。

The artist arrives at the scene for footage, or searches online about the location of the event, or simply re-creates the scene based on the photo appearing in the newspaper, and depicts the event from a first-person angle of the “main character” in a fictional or diary style. Using his fictional characters, he tries to compile different kinds of events into a grand but abstract story.















大事件景觀之2與1

大事件景觀1 Breaking News of Spectacle 1
大事件景觀2 Breaking News of Spectacle 2
輸出於棉紙 print onto a cotton canvas
2009

我找了數則關於家暴的社會新聞,巨細靡遺的圖說事件始末,但是在解說的過程中,事件變得無法辨識,只剩下純粹的解釋介面。

The artist finds several news stories on domestic violence and illustrates the events in great detail. But in retelling the story, events become unrecognizable, with only an explanatory interface left.