works exhibitions curating press Writing cv
selected works
The Wall
圍牆
2022
Photographs and graffiti installation
300 x 600 x 100 cm
圍牆
2022
Photographs and graffiti installation
300 x 600 x 100 cm
|
Starting from photographs taken by an anonymous Taiwanese traveler in Germany in 1965, "The Wall" (2022) comprises a faux wall in the style of the Berlin Wall which shows enlarged prints of the photographs taken by the unknown traveler. In these images, one can see the national flag of the Republic of China waving in the German streets, an R.O.C. stall in a park in Germany, the country’s post-war urban reconstruction, the old Berlin Wall before its conversion, as well as Germany’s technological development and cultural preservation. After further research, one discovers that the Taiwanese traveler visited Germany to see the International Mobility Show in Munich that year, which was joined by the R.O.C. and its national flag was printed in the official marketing materials. The artist pastes the old poster-like prints of these photographs on the faux wall, and then covers them with street graffiti, which is considered the most direct subcultural form of occupation. The content of the graffiti, on the other hand, displays the Taiwanese consciousness, indicating the graffiti is a subcultural declaration to fight against the mainstream consciousness from a different era. However, unlike its now collapsed counterpart, the Berlin Wall, the wall that still stands erect in the exhibition denotes a form of denial. In other words, as one longs for the sight in a distant place, he or she also averts intentionally the historical sorrows which had befallen the place, losing sight of the fact that the place is known precisely because of its tragic past. Through the lens of another country’s history of division, "The Wall" is a metaphor for Taiwan’s history, as well as the multiple and divergent imaginations of its present and future.
|
從一位無名臺灣人於1965年在德國所拍的旅行照片出發，〈圍牆〉（2022）搭建了一堵柏林圍牆式的展牆,並將其拍攝的照片放大輸出貼於牆面。在這些照片裡,我們會發現飄揚在德國街頭的中華民國國旗、在德國一處公園的中華民國展位、德國戰後的都市重建、改建前的舊柏林圍牆還有該國的科技發展與文化留存等景象。深入研究後，我們會發現這位臺灣人造訪德國的原因是為了參訪當年的慕尼黑車展，而中華民國也有參展，國旗被並列在了展會官方的宣傳文宣之上。當這些照片以早期海報的形式張貼於圍牆上後，覆蓋於上面的則是街頭的塗鴉覆蓋。塗鴉，是一種次文化的佔地盤的最直接方式。牆上塗鴉內容偏向臺灣意識，意指了該內容作為一種次文化的宣示，試圖反抗另一個時空的主流意識。然而這面圍牆還未如柏林圍牆坍倒，仍然矗立著的它依舊代表了一種拒絕性。又或者說，我們嚮往遠方的景象，卻又意圖避開那裡曾發生過的歷史悲劇，忽略了該地之所以為該地就是因為曾經有過的悲劇。透過另一個國家的分裂歷史，〈圍牆〉隱喻著臺灣對自身歷史、現況、與未來的多重歧異想像。
|