Mud and embankment 淤泥與堤防
4K單頻道錄像6分66秒循環播放、現成物裝置、淤泥壓克力板文件、複合媒材繪畫、複合媒材雕塑，依場地而定。
Video 6 mins 66 sec loop with sound, readymade installation, mud on acrylic board document, mix-media paintings, mix-media sculpture, dimensions variable.
Waley Art, Taipei, Taiwan, 2024.
《淤泥與堤防》聚焦於台北淡水河周邊地景-田園風光，探討水 陸交接處人類與非人類的關係如何受當代的資本主義結構影響， 試圖回看臺灣日治時期所面臨的『飢餓焦慮』、民國初期的『居住焦慮』再到當代的『安全焦慮』，藉此描述『堤防』作為地景 與權力邊界所形塑的異質空間，反思聚落與城市發展過程，現代化工程如何形塑人類與自然的關係。
Exploring the Tamsui River's farming landscapes in Taipei, this analysis investigates how contemporary capitalism affects human-nature relations at water-land junctures. It revisits historical anxieties from Taiwan's Japanese colonial hunger issues to the early Republic of China's residential concerns and today's security fears. The study identifies embankments as heterotopic spaces where landscape and power dynamics intersect, influencing the evolution of settlements and cities. It critically examines the role of modernization in transforming human and natural interactions.
Multidimensional Landscape Mapping Set 多維地景製圖組
壓克力板、橡膠、壓克力顏料、噴漆、PVC 膠膜、淡水河泥土 不規則造型一件、42cm*30cm 一件、60cm*40cm 三件。
多維地景製圖組共五件，作為《淤泥與堤防》的前導敘事，以行進間
的視窗基礎，挪用擋風鏡、車窗、鏡面的形式開展『堤防』作為地景
與權力邊界所形塑的異質空間，其中，結合歷史圖像、地圖數據、攝
影與繪畫書寫河濱地景的歷史變遷，標示田園風光的今昔異變。
The Multidimensional Landscape Mapping Set consists of five pieces and serves as a prelude to the narrative of Mud and Embankments’. It unfolds the concept of ’embankments’ as heterogeneous spaces shaped by landscapes and power boundaries, based on the foundation of windows seen during travel. This is done by appropriating the forms of windshields, car windows, and mirrors. It integrates historical images, map data, photography, and painting to document the historical evolution of riverside landscapes, marking the transformation of pastoral scenery over time.
Acrylic plates, rubber, acrylic paint, spray paint, PVC film, mud from the Danshui River. Irregular-shaped*1, 42cm30cm*1, 60cm40cm*3.
The Vegetable Murder Case 菜菜謀殺案
聲音、錄像、裝置(芒草、雜草、塑膠籃、麻繩) 錄像 6 分 66 秒、裝置依場地而定。
菜菜謀殺案透過現成物與聲音調度今昔的河濱邊界，聚焦在日治時期
起堤防周邊的內外區域，從河濱田園切入土地利用議題，關注時代更
迭過程中，草民的生存權益在當局政策轉變下面臨的時差與不義，思
考個人與弱勢之於當局與權貴的交互關係。本錄像以擬人手法描述田
園風光的謀殺事件，聲音以懸疑的情境為基礎混音，加入採集自臺北
市都市更新的拆房聲音，透過田園種植的蔬菜隱喻河濱農民的遭遇。
*影像開頭的故事文本節錄並改編自：黃珩婷、王志弘(2016)。哪一種自然才算數?新店溪河濱菜園的解離與重組。臺灣社會學刊，2016年6月 第59期，頁29-91。
Sound, video, ready-made installation (silvergrass, weeds, plastic basket, hemp rope). Video duration 6’66”, installation varies by site.
The ‘Vegetable Murder Case’ employs ready-made objects and sound to navigate the historical and current boundaries of riverside areas, focusing on the inner and outer regions around embankments starting from the Japan colonial period. It delves into land use issues beginning with riverside farmlands, highlighting the survival rights and injustices faced by ordinary people due to policy changes by authorities over different eras. It contemplates the interplay between individuals and the underprivileged against authorities and the elite. This video personifies a murder incident of the pastoral scenery, with a suspenseful soundscape mixed with sounds of houses being demolished in Taipei’s urban renewal projects. The narrative uses vegetables cultivated in the farmland as metaphors for the plight of riverside farmers.
*The text in the beginning of the video is excerpt adapted from Heng-Ting HUANG and Chih-Hung WANG, Which Nature is Legitimate? The Vicissitudes of Waterfront Agriculture on Xin-Dian River along Yonghe District, Taiwanese Journal of Sociology, June 2016, 59: 29-91.
