Underground Cistern, Time Machine multiple-channel sound installation, mix media, 30 min 30 sec dimensions variable, 2022 Taiwan Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan |
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The recording machine is a "time machine", and the space where the entire installation is located, the broadcasting equipment, and the auditory perception of the listener are also "time machines". On the other hand, this name does refer to HG Wells' famous science fiction novel “Time Machine”, the traveler in the story travels to the future and discovers a seemingly beautiful aboveground world and its opposite underground world.
The destination through time is the Gome Pavilion during the installation of the Taiwan Biennale. Half of the sound content is the grinding, knocking, collision, drilling and sporadic tourists’ words that echoed in the space of the Biennale during the exhibition. The voice of planning and control has been silenced after its development, and it would not have been heard by the ears wandering among the works of the Biennale, which have their own places, until it is demolished again for planning and control. The sounds of construction and demolition sound similar at first glance, but they are equally violent to sensitive ears and are only permitted at certain moments. "Underground palace" refers to the underground water palace as a "sound reservoir" in terms of the association of the space environment, and also refers to the inverted shadow of the underground palace (art museum) on the ground, which is built through sound. Abnormal land and abnormal space are produced by planning and control, which is one of the explanations obtained when inquiring about data. As far as I have observed, the abnormal land and space outside the planning and control may be vacant because of this, or may still be used in various flexible ways, if it does not become a place outside the establishment of the system, or a place of poor control The remnants are the hidden places where the establishment hides its control. If the sound finally flows to the human body, what is the internal space of the human body relative to the underground reservoir? I think it is the oral cavity, which is a space in the body where internal and external sound and liquid flow at the same time, and it is both closed and open. The other half of the sound content of the work is also located in the deformed space under the stairs where the work is located during the Biennale exhibition. I recorded the sound in my mouth for 30 minutes. Due to the shell resonance effect, the specific frequency of the external sound will be enhanced or blocked. , the sounds of construction, escalators, and visitors are all affected by the opening and closing of lips, throat and palate, and these sounds are amplified by the signal and broadcast from the speakers. The sound and the live sound of the next three months of the exhibition are mixed (without confronting or covering each other). The purpose is not only to flip the body and architecture, the abnormal space and the inside and outside of the museum, but also to eliminate the boundaries from the listener’s perception. These Sound will flow between this aberrant space and the audience, and possibly permeate outward into the present. |
〈地下宮殿、時間機器〉
初次見到手扶梯下的這塊畸零空間時,或許是眼前幾根等距的鋼樑及整個壓迫空間所帶來的神祕感受,我腦中浮現了漫畫家三浦建太郎的傑作《烙印勇士》的決鬥場景--有著無數柱子等距排列的大廳。那一幕場景是否會有現實世界的參照? 懷著疑問,我最終透過網路探尋到位於土耳其伊斯坦堡的地下水宮殿,一個由查士丁尼大 帝下令建造的巨大地下蓄水池。古代蓄水池作為公眾供水系統的一環,積蓄聚集同時輸送流動著 水流,而如何將這一小塊畸零空間與宏偉的地下水宮殿類比,我試著將此地轉化為「聲音的蓄水池」,當聲音如水流般由外在環境流向人耳的聽覺感知時,這片「蓄水池」與人體也就都成為了「時間機器」……。 「時間機器」,通常的定義是讓使用者或乘客目的性的向前或向後穿越時間、進行時間旅行的交通工具或設備,而在這件作品中穿越時間是透過播放被錄下的過去的聲音來實行的,並且僅僅在聽者的聽覺感知層面進行。 穿越時間的目的地是台雙展佈展期間的國美館,聲音內容一半即是錄於雙年展佈展時迴盪館內空間的打磨、敲擊、碰撞、鑽孔以及零星的遊客言語,這些建造實行規劃與管制的聲音在開展後便悄無聲息了,本不會被漫步在一切各安其所的雙年展作品間的耳朵所聽聞,直到再度為了規劃與管制而拆除時才會再度響起。建造與拆除的聲音乍聽相似,也同樣對敏感的耳朵十分暴力,只在特定的時刻被許可。 錄音機器便是「時間機器」,整個裝置作品的所在空間、播音設備再到聽者的聽覺感知也是「時間機器」,另一方面這個命名確實恰好指涉了HG威爾斯著名的科幻小說【時間機器】,故事中的旅行者穿越到了未來,發現了一個乍看美好的地上世界及與其相對的地下世界。 「地下宮殿」在此既是空間環境的聯想上指涉作為「聲音蓄水池」的地下水宮殿,也意指相對於地上建制宮殿(美術館)的地下顛倒影子,透過聲音所搭建。畸零地、畸零空間是由規劃與管制產生的,這是在查詢資料時獲得的其中一條說明。就我所觀察到的,在規劃與管制外的畸零地、畸零空間可能會因此空置,也可能仍然會被進行各種彈性的使用,如果不是成為建制中的化外之地,或是管制失策的殘留遺跡,便成為建制隱藏管制的隱密處。 樓梯下方的畸零空間原先被館方當作囤放未使用的紅龍伸縮圍欄、告示立牌、活動用紅毯的處所,本是禁止觀展遊客進入,而當我用聲音將此處化為「地獄之口」時,由於有向館方表明希望他們繼續維持原先的使用,那些囤放的管制道具物件也將被觀看,無法不讓人產生台灣寺廟曾經流行的地獄觀覽設施的聯想。 若聲音最終流向人體,那相對於地下蓄水池的人體內部空間是甚麼? 我認為是口腔,這是一個內外聲音與液體同時流動的體內空間,並且既封閉又開放。 另一半聲音內容同樣是在雙年展佈展時,位於作品所在的樓梯下方的畸零空間,我錄下我口腔內30分鐘的聲音,由於貝殼共振效應,外界聲音的特定頻率會被增強或遮蔽,佈展施工聲、電扶梯運轉聲、觀展人聲皆受口唇開闔、喉嚨與上顎擠壓變動所影響,這些聲音再被訊號擴大、從喇叭放送、與那些口腔外同樣來自過去的佈展施工聲以及未來三個月展期的現場聲音所混合(並不互相對抗或覆蓋),其目的既是身體與建築、畸零空間與美術館內外的翻轉,也意欲從聽者的感知上將其界限消除,這些聲音將在這個畸零空間與觀眾之間流動,並且向外向現時滲透。 |