光年1031 Lightyear1031

錄像裝置 | Video installation | 2020

南港台電維修處在運作37年熄燈的前夕,用一顆微小的鎢絲燈泡點亮整座巨大的廠房,監視器即時拍攝鎢絲燈泡藉由天車的移動,畫面投射在天花板上形成閃爍耀眼的銀河星空,在浩瀚的宇宙中,星光的閃耀來自數千萬的光年,在城市的夜光中,燈火的光芒來自這數千萬人類智慧的積累,黑夜降臨之後黎明來臨之前,我們在此看見最明亮的光芒。

 

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That’s one small step for mankind, One giant leap for species. 這是人類一小步 物種的一大步

複合媒材裝置 | Mixed media installation | 2020

​照片提供|台北當代藝術館

NASA宣佈將在2024年重返月球,人類登月已超過半世紀,生存的競爭與超越極限的慾望引領人類不斷實驗前進,人類作為眾多物種之一,以科技進行自我演化,從平視、俯視、進而發展出了太空視角。本作品試圖研究物種在面對各種極端與過渡的狀態下,所產生的對抗與演化歷程,以及科技的輔佐下所造成物種與物種間的變異生存狀態。

作品結合了始祖鳥圖樣、拍攝人類首次登月的哈蘇相機、與米格15戰機座椅的機械裝置,彷彿即將從階梯上登陸進行演化;鴿舍中放置了不同物種在生存對抗與過渡轉化的文件,包含孤雌繁殖的突變物種-大理石紋螯蝦、用於戰爭空中偵察的的鴿子攝影、始祖鳥象徵人類從爬行類過渡到鳥類的太空競賽,對比廣場上觀眾登上螺旋梯後,見到的廢棄中央通訊社員工宿舍檔案照,以及電視牆上閃現首架米格15戰機投奔自由墜毀畫面;這每一步彷彿都在追尋一個近烏托邦的「登月」行動,究竟會引領人類與物種踏上甚麼樣的未來?
 

It has been over half a century since human beings first landed on the moon when NASA announced the plan to return to the moon in 2024. The competition for survival and limitless desires have driven humanity to continuously experiment and progress. As one of the animal species, human beings have self-evolved through technology, and moved from a horizontal view, to an aerial view to a space view. Through this work, the artist attempts to study the resistance and evolution of species as well as the technology-induced mutation existing between species under extreme and transitional circumstances.


the installation brings together image of archaeopteryx, the Hasselblad used to photograph humanity’s first landing on the moon and the mechanical device of the pilot seat in the MiG-15, suggesting an evolution starting from stepping onto the stairway. In the pigeon house are documents displaying various species’ fight for survival and transitional transformation, such as marbled crayfish that has mutated to carry out parthenogenesis, pigeon photography used in reconnaissance, and archaeopteryx as a symbol for humanity’s transition from reptiles to birds, and finally, the space competition. In comparison to the archival images of the disused staff dormitory of the Central News Agency that the audience sees when climbing unto the spiral staircase on the plaza and the image of a crashed MiG 15 after its deflection to freedom showing on the plaza’s LED screen, every step of mankind is part of a quasi-utopian quest of “moon-landing,” a quest into a future that no human beings nor any other species could foresee.

 

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