許 家 維 Hsu, Chia-Wei
許家維,2016年畢業於法國國立當代藝術工作室。作為藝 術家、導演和策展人,他的作品融合了當代藝術和電影語彙 ,發掘圖像創作過程背後的複雜生產機制。在藝術實踐的方 式上,特別著力於影像創作背後的行動性,並透過建立鏡頭 以外的事件,連結正規歷史描述所未及的人、物質與地方的 關係。曾經舉辦的個展包括台北尊彩藝術中心《在聖堂裡的 一場演出》(2021)、森美術館(2018)等。參與過 的聯展包括新加坡雙年展(2019)、荷蘭國家電影資料館 (2019)、上海、光州、釜山及雪梨雙年展(2018)等。 他身兼策展人角色所策劃的展覽包括台北鳳甲美術館《台灣國際錄像藝術展》(2018),並與新加坡藝術家何子彥共同策劃2019年亞洲藝術雙年展。
A graduate of Le Fresnoy National Studio for Contemporary Arts in France, Chia-Wei Hsu’s work as an artist, filmmaker and curator merges the languages of film and contemporary art and unearths the complex mechanisms behind the production of images. Through his artistic practice, Hsu weaves connections between humans, materials and places that have been overlooked or omitted in conventional historical narratives. Hsu has had solo exhibitions at Liang Gallery (2021; Taipei, Taiwan), MAM Screen 009: Hsu Chia-Wei, Mori Art Museum (2018; Tokyo, Japan). He has participated in group shows such as the Singapore Biennale (2019), A Tale of Hidden Histories, Eye Filmmuseum (2019; Amsterdam, Netherlands), the Biennials of Shanghai, Gwangju, Busan and Sydney (2018). He is also the curator of Taiwan International Video Art Exhibition at Hong-Gah Museum (2018; Taipei, Taiwan), and a co-curator of the 2019 Asian Art Biennial at National Taiwan Museum of Fine Arts (2019; Taiwan) together with Ho Tzu Nyen.
A graduate of Le Fresnoy National Studio for Contemporary Arts in France, Chia-Wei Hsu’s work as an artist, filmmaker and curator merges the languages of film and contemporary art and unearths the complex mechanisms behind the production of images. Through his artistic practice, Hsu weaves connections between humans, materials and places that have been overlooked or omitted in conventional historical narratives. Hsu has had solo exhibitions at Liang Gallery (2021; Taipei, Taiwan), MAM Screen 009: Hsu Chia-Wei, Mori Art Museum (2018; Tokyo, Japan). He has participated in group shows such as the Singapore Biennale (2019), A Tale of Hidden Histories, Eye Filmmuseum (2019; Amsterdam, Netherlands), the Biennials of Shanghai, Gwangju, Busan and Sydney (2018). He is also the curator of Taiwan International Video Art Exhibition at Hong-Gah Museum (2018; Taipei, Taiwan), and a co-curator of the 2019 Asian Art Biennial at National Taiwan Museum of Fine Arts (2019; Taiwan) together with Ho Tzu Nyen.
作品 Works
《聖堂裡的一場演出》三頻道錄像裝置,影片長度:16分40秒,3分53秒,6分40秒,2021
A Performance in the Church, Three-channel video installation, 16min40sec, 3min 53sec, 6min 40sec, 2021
在2018-2020年考古團隊陸續在北台灣和平島找到了諸聖教堂的完整牆基以及墓葬,是唯一見證西班牙人從1626-1642年在台灣最直接的證據。藝術家從這個考古現場出發,透過考古、聲響與當代藝術三個不同的專業領域的交會,策劃一場跨領域的音樂演出。當代人專注於細微的物質線索,進而想像一個我們從未經歷過的時空,這是考古學很迷人的特質。以此為概念,這個計畫企圖在這個安靜沈睡幾百年的考古現場中,再一次創造聲音。
這個作品包含了三部錄像,第一部錄像所呈現的是一場在考古現場的音樂演出,作曲家許德彰將考古元素轉化成音樂素材,其中樂器部分以考古文物為原型進行設計,例如3D列印骨器所製成的笛子,以及由鐵渣與鹿角所構成的打擊樂器,影像中漂浮的動畫也是來自於現場發掘的文物。第二部錄像呈現的是作曲家與考古學家謝艾倫在聲音工作室中,討論有關聲響元素與考古的交會。第三部錄像包含考古現場的發掘過程,以及3D掃描技術所呈現的考古現場動畫。
The intact foundation of the walls and graves, as the remains of the Church of Todos los Santos, successively unearthed from 2018 to 2020 by the archaeological team, were the only and most direct evidence of the Spanish presence in Taiwan between 1626 and 1642. Taking the archaeological site as the point of departure, the artist organized an interdisciplinary musical performance via the encounters among archaeology, sound, and contemporary art. Archaeology, fascinating in a way that it allows contemporary audience to imagine a time and space we have never experienced before as they are absorbed in the tiny material pieces, thus conceptually becomes the center of the project which attempts to re-create sounds for the archaeological site which has slept in silence for centuries.
The artwork includes three videos: the first represents a musical performance taking place at the archaeological site, where the composer Hsu, Tai-Cheung transforms the archaeological elements into musical materials, including the instruments made in the models of archaeological findings, such as the flute made of a 3D-printed bone tool, or the percussion assembled with scums and antlers, while the floating animation in the video is also derived from the on-site findings. The second video captures the composer’s conversation with the archaeologist Ellen Hsieh taking place in the sound studio where sound and archaeology meat each other. The third video documents the on-site archeological excavation process and its animated 3D scanning.