袁广鸣 Yuan Goang-Ming 中国台湾 Taiwan, China

袁广鸣 Yuan Goang-Ming 中国台湾 Taiwan, China

“城市失格”意指“失去作为一个城市的资格”之意。西门町的地名来自于早期日本殖民时代所遗留下来的名称并沿用至今,晚近被台北媒体昵称为“台北原宿”,但台北为何要与“原宿”连结?就如许多台湾建筑商打出的广告名称为第一世界各地的城市名称一样,在这当中投射出某种“去当地化的地方”(delocalization)的潜在意识,一个典型混种并随时更改自身面貌的城市。作品中借由人车的消除,企图制造一个缺乏历史记忆及身份模糊的城市,同时也暗示着对于现代文明的质疑。 本系列作品使用传统4×5的相机在同一个点(景),前后2个月不同时间俯瞰拍摄台北西门町近300多张影像;利用每一张没有人车的局部,经由计算机像是拼图一般完成一张看不出破绽的摄影作品;一张看是繁荣的市区、午后的光线、店面都已开张的情形下,没有一辆车或人,甚至连停放的车辆都没有,一个彻底寂静却又似乎正常运作的城市。这已不是一张我们平常所认知的摄影作品,它使用了300多张不同时间拍摄的影像重叠在同一个平面上,一张摄影里聚集了300多个不同时间的碎片,或者说聚集了300多个不同时间的“此曾在”于“一时”。  “City-Disqualified” refers to “a city has been deprived of its quality as a city”. The name of Ximen District is originated from the period of Japanese colonization and still in use today. Since the past few years, it has had a nickname “Harajuku of Taipei” made by local media. But why should Taipei associate with “Harajuku’ in Japan? It is like what those estate agents do their advertisements in which they name their district the cities in the first world, for example, New York, Paris, etc. This, illustrates a kind of subconsciousness of “delocalization”, or we can say, a typical hybrid, a city that could change its performance at any time. In this work, the artist uses the elimination of people and car to build up a city without history and identity, suggesting his doubt on modern civilization. This series of works uses the traditional 4x5 camera in the same spot. During the two months though in different time, the shot was taken from an overlooking perspective. With nearly 300 images about Ximen District, the artist chooses the parts where there are no people or cars to make up a flawless photo by the computer. In this picture, we can see the prosperous downtown, beautiful sunshine in the afternoon, and all the open stores without a single car. This is a scene of an extremely silent city that seems to function normally. This work has already surpassed what we see with our normal cognition. Instead, it consists of 300 photographs taken in different time but on the same plane. Thus, the same picture actually contains 300 different fragments of time: 300 different time “was brought together” in “one moment”.  图注(参考画册): 《城市失格—西门町白日》,2002年,4×5摄影数字处理,Lambda输出,320×255cm(120×150cm),艺术家提供图片 City Disqualified –Ximen District in the Day time,2002, Digitally Altered Photography, Lambda print , 320×255cm(120×150cm),Courtesy of the artist  《城市失格—西门町夜晚》,2002,4×5摄影数字处理,Lambda输出, 320×255cm(120×150cm), 艺术家提供图片 City Disqualified –Ximen District at Night, 2002, Digitally Altered Photography, Lambda print,320×255cm(120×150cm),Courtesy of the artist  图4-7  《城市失格─西门町白日》局部,投影现场其中一幕,计算机数字投影,计算机、LCD投影机、软件Director,尺寸依现场而异,艺术家提供图片 City Disqualified-Segment of Ximen District in Daytime Computerized photography projection: P4 Computer, Software Director, LCD projector, Dimensions variable,(Still image from City Disqualified-Segment of Ximen District in Daytime)Courtesy of the artist  图8-12 《城市失格─西门夜晚》局部,(投影现场其中一幕),计算机数字投影,计算机、LCD投影机、软件Director,艺术家提供图片 City Disqualified-Segment of Ximen District at night(Installation view) Computerized photography projection: P4 Computer, Software Director, LCD projector Dimensions variable,(Still image from City Disqualified-Segment of Ximen District at night)  《人间失格》为日文的用法,四个字都是汉字,中国人读起来似乎都大致可以隐约的理解但又无法确定其真正的意义。“人间失格”原为日本早期颇富盛名的小说家太宰治一本小说的书名,译为中文则为“失去一个做人的资格”之意。动力复合媒体装置则为一件绢版印刷的平面,但使用的是透明的油墨及夜光粉进行绢印,内容为单色的城市意像。借由投影计投影出有如同扫描机的直线光源横扫画面,经过的地方,影像立即浮现,整个城市的画面不断的消逝又浮现,如同本雅明所提到的灵光,一个遥远的真实,虽远犹近,又如同一个逝去的风景,鬼魅式的慢慢从记忆中召唤回来。 Human Disqualified (Ren Jian Shi Ge) is an Japanese expression in which the four words are Chinese characters. Hence, when Chinese readers come across with these four words, they might guess the sense of it but at the same time, they could not know the definite meaning. No Longer Human (Chinese Translation: Ren Jian Shi Ge/ Ningen Shikkaku) was originally a Japanese novel by Osamu Dazai who enjoyed such a fame in his times. When the title of this book is translated into Chinese, it refers to “disqualification of a human”. The dynamic compound media installation is actually a silk printing plane with the monochromatic image of a city, using transparent ink and noctilucent powder. With the projector, the scenes projected are like the sweeping images produced by the linear light of the scanner. Where the light passes, there an image represents immediately. The scene of the whole city constantly disappears and emerges again, which is much like what Walter Benjamin called “aura” that is a remote truth. This truth seems to be far away but it might be very close. Or it is also a lost scenery, summoned back like a ghost from memory.  图13-16 《人间失格》,装置现场其中一景,复合媒材装置,透明油墨、夜光粉绢印、白色压克力板、电子式日光灯管、马达、芯片组控制箱,尺寸依现场而异,2001年 Human Disqualified (Installation view), Multimedia installation, Transparent ink, phosphor powder, silk print on acrylic board, fluorescent tube, motor, chip-programming control box Dimensions variable , 2001

“城市失格”意指“失去作为一个城市的资格”之意。西门町的地名来自于早期日本殖民时代所遗留下来的名称并沿用至今,晚近被台北媒体昵称为“台北原宿”,但台北为何要与“原宿”连结?就如许多台湾建筑商打出的广告名称为第一世界各地的城市名称一样,在这当中投射出某种“去当地化的地方”(delocalization)的潜在意识,一个典型混种并随时更改自身面貌的城市。作品中借由人车的消除,企图制造一个缺乏历史记忆及身份模糊的城市,同时也暗示着对于现代文明的质疑。
本系列作品使用传统4×5的相机在同一个点(景),前后2个月不同时间俯瞰拍摄台北西门町近300多张影像;利用每一张没有人车的局部,经由计算机像是拼图一般完成一张看不出破绽的摄影作品;一张看是繁荣的市区、午后的光线、店面都已开张的情形下,没有一辆车或人,甚至连停放的车辆都没有,一个彻底寂静却又似乎正常运作的城市。这已不是一张我们平常所认知的摄影作品,它使用了300多张不同时间拍摄的影像重叠在同一个平面上,一张摄影里聚集了300多个不同时间的碎片,或者说聚集了300多个不同时间的“此曾在”于“一时”。

“City-Disqualified” refers to “a city has been deprived of its quality as a city”. The name of Ximen District is originated from the period of Japanese colonization and still in use today. Since the past few years, it has had a nickname “Harajuku of Taipei” made by local media. But why should Taipei associate with “Harajuku’ in Japan? It is like what those estate agents do their advertisements in which they name their district the cities in the first world, for example, New York, Paris, etc. This, illustrates a kind of subconsciousness of “delocalization”, or we can say, a typical hybrid, a city that could change its performance at any time. In this work, the artist uses the elimination of people and car to build up a city without history and identity, suggesting his doubt on modern civilization.
This series of works uses the traditional 4x5 camera in the same spot. During the two months though in different time, the shot was taken from an overlooking perspective. With nearly 300 images about Ximen District, the artist chooses the parts where there are no people or cars to make up a flawless photo by the computer. In this picture, we can see the prosperous downtown, beautiful sunshine in the afternoon, and all the open stores without a single car. This is a scene of an extremely silent city that seems to function normally. This work has already surpassed what we see with our normal cognition. Instead, it consists of 300 photographs taken in different time but on the same plane. Thus, the same picture actually contains 300 different fragments of time: 300 different time “was brought together” in “one moment”.

图注(参考画册):
《城市失格—西门町白日》,2002年,4×5摄影数字处理,Lambda输出,320×255cm(120×150cm),艺术家提供图片
City Disqualified –Ximen District in the Day time,2002, Digitally Altered Photography, Lambda print , 320×255cm(120×150cm),Courtesy of the artist

《城市失格—西门町夜晚》,2002,4×5摄影数字处理,Lambda输出, 320×255cm(120×150cm), 艺术家提供图片
City Disqualified –Ximen District at Night, 2002, Digitally Altered Photography, Lambda print,320×255cm(120×150cm),Courtesy of the artist

图4-7
《城市失格─西门町白日》局部,投影现场其中一幕,计算机数字投影,计算机、LCD投影机、软件Director,尺寸依现场而异,艺术家提供图片
City Disqualified-Segment of Ximen District in Daytime
Computerized photography projection: P4 Computer, Software Director, LCD projector, Dimensions variable,(Still image from City Disqualified-Segment of Ximen District in Daytime)Courtesy of the artist

图8-12
《城市失格─西门夜晚》局部,(投影现场其中一幕),计算机数字投影,计算机、LCD投影机、软件Director,艺术家提供图片
City Disqualified-Segment of Ximen District at night(Installation view)
Computerized photography projection: P4 Computer, Software Director, LCD projector
Dimensions variable,(Still image from City Disqualified-Segment of Ximen District at night)

《人间失格》为日文的用法,四个字都是汉字,中国人读起来似乎都大致可以隐约的理解但又无法确定其真正的意义。“人间失格”原为日本早期颇富盛名的小说家太宰治一本小说的书名,译为中文则为“失去一个做人的资格”之意。动力复合媒体装置则为一件绢版印刷的平面,但使用的是透明的油墨及夜光粉进行绢印,内容为单色的城市意像。借由投影计投影出有如同扫描机的直线光源横扫画面,经过的地方,影像立即浮现,整个城市的画面不断的消逝又浮现,如同本雅明所提到的灵光,一个遥远的真实,虽远犹近,又如同一个逝去的风景,鬼魅式的慢慢从记忆中召唤回来。
Human Disqualified (Ren Jian Shi Ge) is an Japanese expression in which the four words are Chinese characters. Hence, when Chinese readers come across with these four words, they might guess the sense of it but at the same time, they could not know the definite meaning. No Longer Human (Chinese Translation: Ren Jian Shi Ge/ Ningen Shikkaku) was originally a Japanese novel by Osamu Dazai who enjoyed such a fame in his times. When the title of this book is translated into Chinese, it refers to “disqualification of a human”. The dynamic compound media installation is actually a silk printing plane with the monochromatic image of a city, using transparent ink and noctilucent powder. With the projector, the scenes projected are like the sweeping images produced by the linear light of the scanner. Where the light passes, there an image represents immediately. The scene of the whole city constantly disappears and emerges again, which is much like what Walter Benjamin called “aura” that is a remote truth. This truth seems to be far away but it might be very close. Or it is also a lost scenery, summoned back like a ghost from memory.

图13-16
《人间失格》,装置现场其中一景,复合媒材装置,透明油墨、夜光粉绢印、白色压克力板、电子式日光灯管、马达、芯片组控制箱,尺寸依现场而异,2001年
Human Disqualified (Installation view), Multimedia installation, Transparent ink, phosphor powder, silk print on acrylic board, fluorescent tube, motor, chip-programming control box
Dimensions variable , 2001


袁广鸣 
1965 年生于台湾台北,1997 年毕业于德国卡尔斯鲁厄国立造型艺术学院,媒体艺术学系硕士,是台湾少数受过正规完整的媒体艺术训练的艺术家。目前任教于台北艺术大 学新媒体艺术学系,副教授。他是早期台湾录像艺术的先锋, 自1984 年开始从事录像艺术创作,也是目前台湾活跃于国际媒体艺术界中知名的艺术家之一。作品参加过许多国 际大型展览,主要个展:2014 年日本三菱地所画廊“扫描记忆:袁广鸣的录像艺术1992—2014 年”、2012 年北京耿画廊“逝去中的痕迹”、新加坡当代艺博会(Art Stage Singapore)的特别项目“逝去中的风景—经过II”、2011年台北耿画廊“在记忆之前”等。主要群展:2014 年日本东京表参道“消失的痕迹”、2013 年台湾美术馆“交互视象— 2013 海峡两岸当代艺术展”等。 

Yuan Goang-Ming
Yuan Goang-Ming was born in 1965 in Taipei, Taiwan. Yuan is a pioneer of video art in Taiwan. Since working with video in 1984, he has received a Master’s degree in Media Art from the Academy of Design, Karlsruhe (1997). He is now one of the foremost Taiwanese artists active in world of International Media Art, with a background of comprehensive media art training. He currently holds a post as the Assistant Professor at the New Media Arts program of Taipei National University of Arts. 
 

许哲瑜 Hsu Che-Yu 中国台湾 Taiwan, China

许哲瑜 Hsu Che-Yu 中国台湾 Taiwan, China

泽拓 Hiraki Sawa 日本 Japan

泽拓 Hiraki Sawa 日本 Japan