Objects Breath out from an Enormous Clam
海妖們漸成泡沫
Fangyi LIU, Tzuan WU
16mm film, digital video, two-channel stereo , cassette tape loop, objects
a collaborate with Wu Tzuan, 2022,
FOAMS: Auralization, Space, Taichung, Taiwan
Experimental musician Liu Fangyi and artist Wu Tzuan have collaborated with each other for a long time in the forms of music scoring and performance. In this exhibition, they adopt comprehensively a work method based on the principle of the equation of exchange for the first time to produce simultaneously images and sounds. They fractionalize the narrative form used for the audiovisual installation, and preserve only the compounds produced by the resonation and interlacing of senses, imagining a submerged world, with spoken words, sounds, and images all immersed in water. The artists reference various texts to produce an integration of sounds and images, while responding to each other’s chosen medium. As a vessel of audiovisuals, the membrane-like material state of analog magnetic strips of cassette tapes and film rolls deliver sounds to be picked up by the human sense through mechanical resonation and air as the medium. An ephemeral bubble, which separates a subject with the external world with a thin membrane, constitutes the smallest microcosmos. Film rolls and magnetic strips function in the same way: the chemically coated film rolls, and the magnetic cassette tapes also embody micro transience and fragility. As the material condition of time-based art, both mediums symbolize time itself. Every time the sounds are played adds to the accumulation of damage and wear of the medium; each time is simply unique and cannot be repeated. Eventually, the sounds become distant, the images blurry, unrecognizable to the human senses. Consequently, in the specific space of the site, the artists decide to explore such sensory blurriness, and utilize sounds, images, language, and the sense of touch, to create mirages of formless time and experience.
音畫裝置碎化攪散敘事的形式,只留下透過感官共振、編織出的合成物。幻想一個當世界沈沒:語言,聲音,與影像皆浸泡在水中,不再以空氣為介質。磁帶與膠卷以薄膜的物質狀態,作為音像的載體,透過機械共振,空氣作為媒介,傳播到人類的感官中。而泡沫用薄膜隔離了主體與外在世界,在隨即消逝的前提下,構造了最小單位的微型宇宙。膠卷與磁帶亦是微型宇宙結合體的體現:聲音磁帶上佈滿磁粉顆粒,用磁場部署紀錄聲音。而電影膠卷則用藥膜上的顆粒,拼湊出一秒24幀的動態圖像。電影與音樂製造的感官經驗,都指向時間。類比的膠卷與磁帶,都是朝生暮死的媒材,每次播放皆會累積損傷與消耗,都是僅此一次,直至聲音遙遠,影像模糊,無法被我們的感官辨認。如同一歲嬰兒發出的聲音,語言前的世界僅此一瞬,吐出來的聲音無法定型隨即消失,無法再度被模仿複製。
音畫裝置碎化攪散敘事的形式,只留下透過感官共振、編織出的合成物。幻想一個當世界沈沒:語言,聲音,與影像皆浸泡在水中,不再以空氣為介質。磁帶與膠卷以薄膜的物質狀態,作為音像的載體,透過機械共振,空氣作為媒介,傳播到人類的感官中。而泡沫用薄膜隔離了主體與外在世界,在隨即消逝的前提下,構造了最小單位的微型宇宙。膠卷與磁帶亦是微型宇宙結合體的體現:聲音磁帶上佈滿磁粉顆粒,用磁場部署紀錄聲音。而電影膠卷則用藥膜上的顆粒,拼湊出一秒24幀的動態圖像。電影與音樂製造的感官經驗,都指向時間。類比的膠卷與磁帶,都是朝生暮死的媒材,每次播放皆會累積損傷與消耗,都是僅此一次,直至聲音遙遠,影像模糊,無法被我們的感官辨認。如同一歲嬰兒發出的聲音,語言前的世界僅此一瞬,吐出來的聲音無法定型隨即消失,無法再度被模仿複製。