Essay

Horseman on the Roof

一個出身貴族的義大利革命青年,因為企圖暴動失敗,被奧地利秘密警察組織追殺,一路躲避到了普羅旺斯。
沒想到,當地爆發了嚴重的霍亂,一個村莊蔓延到另一個村莊,滿目瘡痍、屍橫遍野。

封城、隔離、人心惶惶、自生自滅。
被懷疑下毒的男主角,在當地居民失去理智的瘋狂追捕下,倉惶狼狽地躲上了建築物的屋頂。
然後,他遇見了一隻流浪的貓、也遇見了故事裡的女主角⋯⋯⋯⋯


這是法國作家尚·吉歐諾的小說作品;
1995年,曾經改編拍攝成電影;
也是我們今年度天台空間的策展主題。

就像翻閱一本小說,必須一個章節一個章節地慢慢閱讀;
也像是拼圖遊戲,直到每一塊都出現,畫面才會完整。
這個展覽裡的八組作品,將會在今年裡,一件一件地,出現在這座天台上。

歡迎步上天台,用小說中男主角的視角與心情,靜靜地欣賞、感受這一件作品。

Horseman on the Roof’ group show is now open!

An idealistic revolutionary and an indomitably fearless soldier of noble character who had to go into exile for some time due to a duel. The journey home took him to Provence, unexpectedly he found the region ravaged by a cholera epidemic, in which one village spread to another, devastated and corpses all over the field. The lockdown, the isolation, the fear and the agonizing deaths of the victims.

The inhabitants of one village are convinced that someone is infecting their water deliberately. To escape the mob, he climbs onto the roof of a nearby building, where he is forced to spend the night, with a street tabby for company, as well as stumbles upon the leading actress of the story……

The Horseman on the Roof is a 1951 French novel by Jean Giono;
In 1995, it was made into a film of the same name. It is also the curatorial concept for an exhibition being organized in our gallery rooftop-space this year.

Just like flipping through a novel, you must read it chapter by chapter, slowly.
Or, like a jigsaw puzzle. The picture will not be complete until every piece appears in place. In this exhibition, the eight unique works will be revealed in the rooftop-space one by one.

You are welcome to walk up the stairs.
Enjoy the artwork from the character’s perspective.
It requires a bit of patience, but let the art reflect on your feelings.


01/ 一層層-丘陵,集散地,漁網,魚貨,鳥,港口

第一件作品,是藝術家王煜松用保麗龍空箱、水泥、磚塊、野草、廢棄木板,現地搭建出的一座微型城市。
這組作品的前身,是去年潮藝術節,他在基隆正濱漁港碼頭展出的 <一層層-丘陵,集散地,漁網,魚貨,鳥,港口>。
拆解、移動、重組、新生。

The first artwork is by Wang Yu-Song who has built a miniature city by using empty styrofoam boxes, cement, bricks, grasses, and discarded wooden boards. The first version of this work was titled “Hills, Distribution Centers, Fishing Nets, Fish Cargo, Birds, Port” and exhibited at the KEELUNG CIAO 2020.

It is about dismantling, shifting, restructuring, and being reborn.


一層層-丘陵,集散地,漁網,魚貨,鳥,港口
Hills, Distribution Centers, Fishing Nets, Fish Cargo, Birds, Port
2020
動力裝置 Kinetic installation
尺寸依場地而異 Dimensions variable


02/ 月球太空計劃


第二件作品是李承亮 <月球太空計劃>,藝術家認為我們被大量的生活用品包圍。生活便利,事情變得快速。食物有即食包裝,只要微波加熱。衣服冬天heat-tech夏天cold-tech。住在標準化的水泥方格裡,看電視、上網。

交通工具將時間和距離壓縮扭曲。生活方式十年一巨變,與幾億人一起被動地無感、停滯、不知所措。日復一日的重複或許已將我剝離了所在之地,所處之境,像是生活在漂浮著的單人星系。

<月球太空計> 試圖創造一個漫遊在太空與日常生活的裝置奇觀, 一個由現代生活的疏離狀態下拓展的幻想場景。

The second artwork is called ‘Out Space and Moon series‘ by Li Cheng-Liang.

“I was surrounded by stuff. Convenience made my life easier, and things accelerate. I had food instantly ready with the microwave. I had heat-tech for winter and cold-tech for summer. I lived in a standard concrete cube, watched TV, and surfed the internet. My time and space was squeezed and twisted by all kinds of transportation. My living style has changed in the past ten years. However, billions of people, just like me, feel nothing about this change. ”

“It seems that we were stopped by something and did not know what to do, or where to go. I might be stripped from where I belong by the repetition of daily life. My life was floating in a one-person galaxy. “

Outer Space and Moon Series attempts to build an installation where one wanders the quotidian and outer space, an imagination expanded from the isolation of contemporary life.


月球太空計劃
Out Space and Moon series
2012-2015
複合媒材空間裝置 Multimedia Spatial installation
尺寸依場地而異 Dimensions variable


03/自由小屋


第三件作品是蕭有志 <自由小屋>,這座在台南鴿舍工廠、用預製工法、手工製作、底座安裝了九個滑輪的可移動微型建築,透過旅行,由北到南、從西到東,在不同的場域裡,介入、探索、實驗、打破、連結,總是在尋找建築與空間的更多可能性。

這是他環島旅行的第12站。

The third artwork is called ‘House of Freedom’ by Hsiao Yu-Chih. This installation is a movable miniature house initially made by a dovecote factory in Tainan. With the specific hand-made technique and 9 bottom pulleys, ‘House of Freedom’ has travelled to different fields: from north to south, from west to east, and the artist aims to explore and experiment with more possibilities of architecture and space.

This is the 12th stop along his road trip on the island.


自由小屋
House of Freedom
2011
日本檜木 Hinoki cypress



04/十米外的自由


第四作品為陳聖文 <十米外的自由>,以伊日藝術計劃周遭的鐵件加工廠為發想,座落在其頂樓的鳥籠與其周遭的高樓環境看似相似又反差。此空間內飼養的紅腹錦雞源自中國甘肅,18世紀後因外型亮眼具觀賞價值而被出口各國,其生存環境從無邊際的自然場域逐漸被限縮,如今這看似限制行動的狹小牢籠,儼然已成為他們遮風避雨的家。當時的藍天及綠地,如今雖然不具意義,但那徜徉天地的自由,是否也隨著生活場域的不斷變遷、轉換,失去了意義?抑或是因著眷養的模式,籠內生命的消逝與新生,自由有了不一樣的詮釋方式?

以常見的不鏽鋼紗網作為材料,其穿透的材料特性表示不願被束縛的內在流動本質,亦與紗網的限制及隔絕用途特性相對映,在渴求自由與安逸生活中相互穿梭對話。腳部的材料取自鐵件工廠的剩材,凹曲彎折厚型塑成各式造型,傳達紅腹錦雞在代代繁衍後落地生根的現況。

相隔著10米的距離遙遙相望,嘗試透過創作思考非人生命與我們之間應有的理解與尊重。

The fourth artwork is called ‘Freedom that 10 Meters Away‘ by Chen Sheng-Wen. Taking the iron factories surrounding the gallery as an inspiration, the bird cage located on its rooftop seems similar but in contrast with the urban-like environment.

The species raised in this space is called the ‘golden pheasant’, which is native to forests in the mountainous regions of western China, but the species has been exported to various countries following the 18th century, due to its unique appearance and ornamental value. Their living environment has been restricted from the boundless natural field to this tiny cage.

Have the constant changes and transformations altered the meaning of freedom? With the disappearance and rebirth of life in the cage, does freedom have a different way of interpreting it?

The artist used penetrating materials – gauzes, to represent the states of unwillingness and isolation.

At a distance of 10 meters, the artist attempted to rethink the relationship between inhuman life and us.

十米外的自由
Freedom that 10 Meters Away
2021
不鏽鋼紗網、鐵件、繡線 Steel gauze, scrap iron, thread
尺寸依場地而異 Dimensions variable


05/Horses Talk: Dii, Hai, O and other horse words


在羅馬尼亞境內有一個小村莊—貝內蒂(Benesti),位於距離首都布加勒斯特(Bucharest)以西要數小時的車程。當地人會拖著馬車到田野、河畔旁,帶著剛割下的乾草與沙子回家。路途中駕馬人和馬之間彷彿有著特殊的語言,已指示該遵循的方向與速度,像是Dii(前進)、Hai(加速)、O(停下來)。

藝術家帶著錄音機於田野中騎著馬兜風。對於羅馬尼亞語不熟悉的前提下,菲力斯語馬之間的交流是透過聲音和手勢,而這種特殊的「馬語」溝通也就成為了他與在地的交流方式。以往人們與動物都是以自己的方式邏輯來了解彼此,但就在藝術家語馬之間的交流過程中發現,聲音的感知力更勝於文字或其他語言。作品<Horses Talk: Dii, Hai, O and other horse words>引導我們仔細聆聽人類與自然交織的語調、節奏與旋律。

自古以來人們對於跨越族群兩端的方式皆是艱辛且進步緩慢的,藝術家以「馬語」和自然聲音轉換為溝通方式,同時也對人類的語言作為首要溝通之地位提出了質疑。

In the small village of Benești, a few hours’ drive west of Bucharest, locals use horse-drawn carts to go to the fields. They return with freshly cut hay or sand from the riverbed. Coachmen talk to their horses in order to indicate which directions to follow and the appropriate speed. “Dii” to move forward, “Hai” to go faster, “O” to stop.

The artist invited himself with the microphones on board for a ride. Communication happen through sounds and gestures, which in his lack of understanding Romanian language turn horse talk into universal language. Each in their own manner, man and animal, seem to understand each other. Voice speaks beyond words, inviting us to listen to timbre, rhythms and melodies that intertwine as they are spoken.

From ancient times to the present, humans have struggled with crossing different ethnic groups. The artist converted the horse language and natural sounds into communication methods. While at the same time, questioning human language as a primary position of communication today.



Horses Talk: Dii, Hai, O and other horse words
2018
Sound
7’19”
Sound piece created during the SONIC FUTURE RESIDENCE organized by Asociația Jumătatea plină and SEMI SILENT to Conacul Otetelișanu, Vâlcea County, Romania in July 2018.


06/裁判椅

在日常的物我關係中,人與物件不只具有功能性的關係,觀察文化與物的連結,藝術家同時在想像自身在群體社會中有關身為「人」的存在處境。在這件作品裡,謝佑承再製了一張裁判椅,使一張帶有權力視角的高椅失去平衡而具有危險性,意圖從邊界上試探其他方法作為回應現實的可能性。

The relationship between human and objects in daily lives is not only functional. While interacting with objects, the artist always imagine about the existence of being a “human”. In this work, Hsieh Yu-Cheng reproduce the referee’s chair which with the view of power, not only lose its balance but also is dangerous. The intention is to explore from the boundary for other possible ways to respond to the reality.



裁判椅Umpire’s Chair
Umpire’s Chair
2013
不鏽鋼 Stainless steel
120x 210 x 270 cm


YIRI ARTS 伊日藝術計劃
地址|台北市內湖區新明路86巷1號
電話|02-2786-3866
時間|Tue. – Sat. 13:00 – 19:00 週日、一休館