嬉島攝社 sickislandphotographyhouse

2011-10-13T15:32:00.000+08:00

2011-10-02T11:25:00.000+08:00

2011-10-02T11:19:00.002+08:00

2011-10-02T11:18:00.002+08:00

chai yi report

2011-04-12T12:00:00.008+08:00

i reach for a poem from you

2011-04-12T11:53:00.003+08:00

Liu's ideas about his creations are often an observational use of metaphor talking about the existence of public awareness. Through his poetic and perceptual words, viewers are evoked to rethink the importance of the personal and public lives.
Disguised as a maid and with cleaning chores from Treasure Hill, we are trying to find the origin of the poems from the basis of life. The hanging lightbox is viewed as a clue. ”Reach for A Poem From you” converges with the darkness in the non-“complete” and “incomplete” spaces, offering an attitude of excess. All the plain poems come from the daily life. The blackboards as a look of installation in space, offer the future travelers and passers-by a place to note down their feelings. With accumulation of scribbling and erasing, all the memories down by words provide an illusion for the next visitors. Looking back, what poems trying to tell is our attitude towards life.

2011-04-12T11:51:00.001+08:00

goods exchange-ludwig museum, hungary

2011-02-26T08:55:00.002+08:00

2011-02-26T08:54:00.000+08:00

2011-02-26T08:52:00.001+08:00

2011-02-24T20:58:00.003+08:00

2011-02-24T20:57:00.001+08:00

2011-02-24T20:55:00.000+08:00

2011-02-24T20:51:00.000+08:00

summer carpet

2011-02-24T19:56:00.000+08:00

設置基地位於人們經常使用的空間，雖然林蔭環繞，卻缺少公園中被期待可躺可臥的綠地。在《夏日地毯22-36》計劃中，貼近的觀察二二八和平公園裡頭的這塊光禿的“綠地預定地”，從消費者對都會高價房市的權狀夢想出發，計畫在公園的花台上、被人們踩踏成黃土的林間，以房仲業者的角色，提出其所推銷的樣品屋空間平面圖為藍圖，將草皮如地毯般鋪設出被設計的私人使用坪數，在貧脊堅硬的地表上，試著讓草皮可以延伸出樣品屋所規範的私有領域。打破「公共空間」＆「私有空間」的模糊界限，藉由草地的自然生長，邀請民眾進入坐臥。

作品在仿造房仲業者呈現商品物件所打造出建案基地的精神標本，藉由人們對土地的開展，反轉用草植出「三房兩廳兩衛」的人工自然樣貌，回應本案古蹟修復再利用的創作脈絡，透過藝術創作的形式〝錯置〞既有土地的使用功能與價值。當這標本建置在人們過度踩踏的黃土上，其也意味將藉由草皮可拓展的自由繁殖，在我們有所感的公共空間，再造私有化，又將私有化反轉為公有化，利用草皮原生的可擴展性對照在建案法規中被意識的公共空間，提問「公共」於當代社會中介於模糊分際的解讀範疇

In this project, I take on the perspective of a real-estate agent and comes up with the conceptual marketing plan of “ Summer Carpet 22-36”. Starting with everyday consumer’s dream of highly priced property, and taking from the concept of “ ecological green reserved land”, the artist deliberately covers the given space with astro-turf. Similar to the lay-out floor plan used in model homes, the presentation is intended to construct a conceptual private property on a public realm. Based on people’s desires in owning real-estates and land, the astro-turf is used to portrary the layouts of a “ three-bed, two-living room, two-bath” or a “ two-bed, one-living room, one-bath”. At the same time, the objective of this art endeavor is to also encourge the public to contemplate about the values behind the restorations and reuses of cultural heritage sites.

2011-02-24T19:55:00.002+08:00

2011-02-24T19:55:00.001+08:00

2011-02-24T19:52:00.001+08:00

芳斳

2011-02-24T19:50:00.001+08:00

western beef, eastern chicken, we know the neighborhood

2011-02-24T19:22:00.010+08:00

這個名稱的來由源於 2010年六、七月在紐約的駐村期間，在布魯克林（ Brooklyn）與皇后區（Queens）行政區劃分交界處，追溯並拍攝工作室近郊的麥斯佩斯溪（MaspethCreek）。我以當地一間以肉品量販聞名的大型超市「西部牛肉」（ Western Beef）的商標口號（ slogan）「我們所知的鄰里」（ We Know the Neighborhood），作為我作品的名稱和發想引述的題材。這間超市正緊臨麥斯佩斯溪的支線之一，而環繞在這人工溪流的旁邊，皆是巨型原物料所在的地景，我把這條溪流作為旅行溯源的路線，拜訪各支流水域停滯僵固之處，如同拓荒者對山澗泉流發源處的嚮往，並在不同時間利用攝影「臨摹」現場，以此提出未來觀者對影像的想像與拍攝者在現場真實所「見」之間所可能產生的誤差。

另一方面，這一帶被美名為「威廉茲堡產業園區」（ Williamsburg Industry Park），在當代消費與工業生產體系運作之下，麥斯佩斯溪的地景反應的其實是污染源的「座標」與「指數」。除了當地產業相關工作者外，相對於我的旅遊路徑所認識的「我所知的鄰里」，是充滿反諷、被消費所遮蓋的生活環境倫理。

「東部雞肉─我們所知的鄰里」的發想，受邀於立方計畫空間（TheCube project space）的合作計畫，我以「西部牛肉」作為源起，以「東部」作為暗喻遠東的辭彙，並選擇家禽類的「雞肉」作為同樣引發我即將認識的鄰里內容。以立方計畫空間作為開展的基地、台北公館地區販售雞肉的商家作為第一階段的線索，朝向引發販售者、展演空間與藝術家生產共同對「鄰里的認識」。在九月五日至九月三十日之間，以展出「西部牛肉」的部份影像作為起始，並將空間運用為臨時的工作平台，將此過程呈現於現場，提供「正在發展」與「對話」的展演機能。
The title of this work is derived from my residency in New York in June and July 2010, during which I photographed the Maspeth Creek in the suburbs where my studio was at the boundary between the Brooklyn and Queens boroughs. I used the slogan of a large supermarket Western Beef famous for its meat products, “We Know the Neighbourhood”, as the title of my work and my inspiration. This supermarket adjoins one of the tributaries of Maspeth Creek. The areas around this artificial creek are the sites where huge supplies of raw materials are stored. I followed this creek and visited the spots where the water was stagnant along its tributaries, just like a pioneer looking for the source of a mountain spring. Using photography to “copy” the sites at different hours, I tried to highlight the possible gap between how future viewers imagine the images and what was really “seen” at the sites by the photographer.

The area is euphemistically known as the “Williamsburg Industry Park”. In the context of contemporary consumerism and industrial production system, the landscape of Maspeth Creek shows the “coordinates” and “level” of pollution. The neighbourhood I know from the route that I travelled is full of irony, where environmental ethics is taken over by consumerism.

The concept of “Eastern Chicken – We Know the Neighbourhood” originated from a collaboration with TheCube Project Space. Taking inspiration from the name “Western Beef”, I use “Eastern” to suggest the Far East, and “chicken” as the theme of the neighbourhood that I am going to explore. With TheCube Project Space as the base of development, I identify the shops selling chicken meat in the Gong Guan district of Taipei as the first stage of my exploration, in order to stimulate a joint discovery of the neighbourhood by the shops, the exhibition space and the artist. From September 5 to 30, I will show some images of “Western Beef”, while using the space as a temporary work platform to showcase the process, providing a work in progress and starting a dialogue.

2011-02-24T19:20:00.007+08:00

2011-02-24T19:19:00.005+08:00

2011-02-24T19:11:00.007+08:00

2010 goods exchange in the cube

2011-02-24T19:10:00.002+08:00

2011-02-24T19:09:00.002+08:00

2011-02-24T18:48:00.007+08:00

2009 streets i ran

2009-11-03T23:55:00.005+08:00

Often times his work focuses on documenting the token of an event that has already happened, or observing those who were involved in the event and their behaviors. The image then created from the event can be seen as a reflection of the contemporary society. During work, he always tries to view the absurdities inside our social system with a seemingly subtle and sorrowful but ironic attitude.
"Streets I Ran" is a name I took from an album that Eyeless in Gaze recorded in 1990. The name is an accurate representation of my life and work in recent years, in which I was running forward, sometimes with hesitation, either intentional or not.

2009-11-03T23:51:00.001+08:00

2009-11-03T23:48:00.001+08:00

2009-11-03T23:46:00.001+08:00

2009-11-03T23:43:00.003+08:00

2009-11-03T23:18:00.004+08:00

2009 bopiarts

2009-09-02T14:11:00.014+08:00

2003年以底片記錄了『剝皮寮』被改變的前夕,論攝影的動機與再現與否隨之隱沒在這六年的時間，影像中可閱讀的出口，似乎在『被攝物』欣喜於「現狀」的改變，無預警下，驅使我成就六年前在『剝皮寮』所烙下的刻橫,而那正如其名的『剝皮』場景，最終不該有復原的打算。

以觀音摺印刷成的「剝皮三十一波」攝影冊，隱置在龍山寺供人散播的經文書籍中，展覽其間，以每日限量兩本凸顯其稀有與不易取得，在無須眥費的層架之上,與經文刊物比鄰堆疊；之外，「剝皮三十一波」也限量交付拾荒者，在收購廢棄紙類的同時，以此書作為現金收購的交易，從中散佈在巷弄的居民手中。

一如影像的隨機交歡，引發於不經意的刻意隱藏，在經籍忽明忽滅的群冊中，以「善」迫使的共存，與影像再顯已荒滅的跡象,在無法抵禦的矛盾中,其仍舊驅使著無法自離的街頭流竄，並以拾荒之名，交遞下一次影像的「自我衰弱」。

TBo, Pi, 31, Waves is a creative work combining performance art and photography. The three components consisting of the exhibition space, Longshan Temple, and the scavenger simultaneously embark through the art endeavor. There are numerous “Bo, Pi, 31, Waves” parallel-folded photo books on display, and the books are also transferred to be placed on the bookshelf with limited–supply free publications inside the Longshan Temple, where amidst the other free books, the photo pamphlets seem to be disguised amongst them. Furthermore, limited amounts of these books are also given to the local scavengers. While they are collecting recycled papers, they could use these books to barter for cash. The trading action would help to distribute these books to more people.

The artist has extended his work beyond the confinement of the exhibition space, and the work no longer stays silently inside the space, instead, since the beginning of the exhibition until the end is a process on the move. The realization of the work is not limited to only being looked at, behind the forlornness in the space and the image is an action being executed. Six years later today, the artist has brought out what he felt in Bolivia in 2003. Images formed by the fast-paced consumerism will always be easily replaced by even more exciting sensual impacts. The photo book ignites a trading mechanism with the scavengers, and seems to have foreseen the death of the image (Under the illusive magic created by the media, there is a strong force that is altering people’s subconscious and well-power, and as the bizarre trading takes place, the useful values in the images will be lessen. As the “magical light” within the images are completely inexistent, they will become obsolete.)

2009-09-02T14:02:00.005+08:00

2009-09-02T14:01:00.005+08:00

2009-09-02T14:00:00.004+08:00

2009-09-02T13:59:00.007+08:00

2009-09-02T13:34:00.007+08:00

2009 eslite gallery

2009-07-13T22:54:00.011+08:00

2005年，在結束寶藏巖駐村前，先完成「國民身分證服務計畫」，再試依靠與居民的友誼，將攝影演化成社區的家庭服務，在早協助「老張」興建廟堂裡影像需求，當時除了澱積出些人情世故，並對以一位攝影師的身分端倪，攝影快門中的「B」時間與居民浸淫的時間，該如何思考釋出快門的相對意義。
在寶藏巖「老張」的住所被拆遷之時，在新的住所仍延續他在寶藏巖的宗教事業，並同時興起以家中的飾品規劃「博物館」的念頭。從被撿拾來的物件或交易的物品，在他的休閒時間裡企圖營造出他終日都可望見的理想造景，「兄弟博物館」的條件早已具備，在與藝術駐村者相鄰影響下所演化自發性對生活趣味的「藝術」消遣，從參與其宗教與藝品事業的攝影協力之後，引發敘述與他相處所見。

The friendly relations established with local residents at Treasure Hill transformed photography into something akin to a community service. Taking images of residents building a temple made it possible to establish mutual trust, questioning the need for photography at that time and place.

After their old homes were razed, Treasure Hill residents continued to practice their religious beliefs in their newly built homes. At the same time, it was also decided to establish a museum displaying household decorative items. This series of works explores the interactions between different people and questions how citizen aesthetics are realized. Although photographs serve to record events but in this context it serves as a tool to look in more detail at social structure. This process includes faith and trust, illusion and worship. Given the need to adopt certain methods and an understanding of my own ignorance of the local community, this project is close to my own approach to photography which is to simultaneously trace and break away from the essence of things.

2009-07-11T10:36:00.006+08:00

2009-07-11T10:32:00.009+08:00

your disk, my exercise

2009-07-11T10:31:00.005+08:00

2008 Chi-Wen Gallery

2008-12-19T10:11:00.002+08:00

CSBC

2008-11-01T17:41:00.002+08:00

C-Print / w 75 x h 100 cm x 2

I walked on the cracked pavement edging down towards the dark and gazed at the shadow of unawareness.  

“How Far from Home” is the first work from the “Homelandscape” series which I began 2003. This work focuses on the mobile experiences of a photographer that shapes his identity. Many works within this series remain unfinished and existed as fragmentary pieces. “ Homelandscape II - His Depth” project began in 2005. In this work, I grew my hair long several times and sheared off this hair several times in order to make a full-volumed wig for my father. Concurrently, I photographed the interiorscape of my father’s residence to reveal his resolute control and power within that space. This interior and all the objects inside also serve as a proof of existence for the time he dedicated to his professional career. Ultimately, this work illuminates and recalls the conflicts and contradictions of two generations that stems from my youth.

2008 Chi-Wen Gallery

2008-11-01T17:40:00.003+08:00

The Tennis Table on the Roof

2008-11-01T17:37:00.004+08:00

Inkjet Print / w 120 x h 90 cm

506054-Ⅰ

2008-11-01T17:35:00.001+08:00

Inkjet Print / w 75 x h 100 cm

No Cable Release, No Self-portrait

2008-11-01T17:33:00.001+08:00

Inkjet Print / w 75 x h 100 cm

His Depth - High Roof Apartment

2008-11-01T17:29:00.004+08:00

Aluminum, Inkjet Print / w 114 x h 108 x l 81 cm

506054-Ⅱ

2008-11-01T17:27:00.002+08:00

Inkjet Print / w 100 x h 75 cm

Man Cutting and Sanding

2008-11-01T12:46:00.006+08:00

C-Print /w 75 x h 100 cm x

It Looks so Pale

2008-11-01T11:35:00.005+08:00

Inkjet Print / w 75 x h 100 cm x 2

alter

2008-03-28T14:39:00.005+08:00

The friendly relations established with local residents at Treasure Hill transformed photography into something akin to a community service. Taking images of residents building a temple made it possible to establish mutual trust, questioning the need for photography at that time and place.

After their old homes were razed, Treasure Hill residents continued to practice their religious beliefs in their newly built homes. At the same time, it was also decided to establish a museum displaying household decorative items. This series of works explores the interactions between different people and questions how citizen aesthetics are realized. Although photographs serve to record events but in this context it serves as a tool to look in more detail at social structure. This process includes faith and trust, illusion and worship. Given the need to adopt certain methods and an understanding of my own ignorance of the local community, this project is close to my own approach to photography which is to simultaneously trace and break away from the essence of things. This series of works is currently still under development.

brother museum-horse gardem

2008-03-28T12:58:00.006+08:00

以一位被駐村藝術潛在影響的居民作為可切入的觀感，視他的「裝置」為日常性生活的「消遣展演」，重建在階級中被區分後尋求娛樂的一種出口，我計畫引出以全民的裝置概念的行為模式，相較在百貨公司裡販售的高級模型組裝玩具，人們可以收集日常生活中被忽略的或將被丟棄的各種物件，進行結構修飾與再造，顛覆被刻製的階級。

The friendly relations established with local residents at Treasure Hill transformed photography into something akin to a community service. Taking images of residents building a temple made it possible to establish mutual trust, questioning the need for photography at that time and place.

After their old homes were razed, Treasure Hill residents continued to practice their religious beliefs in their newly built homes. At the same time, it was also decided to establish a museum displaying household decorative items. This series of works explores the interactions between different people and questions how citizen aesthetics are realized. Although photographs serve to record events but in this context it serves as a tool to look in more detail at social structure. This process includes faith and trust, illusion and worship. Given the need to adopt certain methods and an understanding of my own ignorance of the local community, this project is close to my own approach to photography which is to simultaneously trace and break away from the essence of things.

catalog

2008-03-28T12:56:00.002+08:00

horse portrait

2008-03-28T12:45:00.004+08:00

memory of kala OK

2008-03-28T12:41:00.003+08:00

the collection-soldier

2008-03-28T12:37:00.003+08:00

the honor of horseman

2008-03-28T12:33:00.006+08:00

run to the hill

2008-03-28T12:30:00.003+08:00

the collection-teapot

2008-03-28T12:28:00.004+08:00

horse portrait

2008-03-28T12:23:00.003+08:00

youth park

2008-03-28T12:21:00.005+08:00

health food

2008-03-28T12:20:00.003+08:00

brother

2008-03-28T12:18:00.005+08:00

a orange tree and below

2008-03-18T13:03:00.005+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

裝置場景，原於一棵柳丁樹的繁殖想像，總成並凝結它未來的時間，在樹底下集合似曾相識的複製。

由影像轉述在2007柳丁嘉年華所見，將各群體的參與結構，作各階級在權力擃張範圍的同時，表述成風景的一一呈現，在嘉年華中經由媒體而被隔離的「表像」與「內在」，輔以「一棵柳丁樹」的移植過程作為比喻，開啟在全程參與時引發我對他們的揣摩。

soft earth

2008-03-18T12:46:00.004+08:00

● 2007 ● yunlin, taiwan ● 6x6 B/W n. ●

一籃25公斤與要消耗的1700公噸的十四分之一

2008-03-18T12:43:00.003+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

wound

2008-03-18T12:36:00.002+08:00

● 2007 ● yunlin, taiwan ● 6x6 C p. ●

飛耀的籃框

2008-03-18T12:34:00.002+08:00

● 2007 ● yunlin, taiwan ● 6x6 C n. ●

rotten

2008-03-18T12:30:00.003+08:00

● 2007 ● yunlin, taiwan ● 6x6 C n. ●

炳煌家與媽媽的果園

2008-03-18T12:28:00.004+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

有柳丁樹的風景

2008-03-18T12:11:00.003+08:00

night scene

2008-03-18T11:55:00.002+08:00

● 2007 ● yunlin, taiwan ● 6x6 C n. ●

荷包村

2008-03-18T11:51:00.004+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

mandala

2008-03-18T11:50:00.001+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

water man

2008-03-18T11:38:00.004+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

burning green tunnel

2008-03-18T11:34:00.002+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

parking lot

2008-03-18T11:28:00.002+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

擇壹

2008-03-18T11:22:00.001+08:00

● 2007 ● yunlin, taiwan ● 6x6-2 C n. ●

下台

2008-03-18T11:17:00.003+08:00

● 2007 ● yunlin, taiwan ● 6x6 B/W p. ●

white uniform

2008-03-18T11:16:00.003+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

radio room

2008-03-18T11:01:00.002+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

華山的人

2008-03-18T10:58:00.002+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

柳丁與茂谷

2008-03-18T10:36:00.006+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

天國樂團

2008-03-18T10:27:00.003+08:00

● 2007 ● yunlin, taiwan ● 45 C p. ●

肖像

2008-03-17T22:20:00.002+08:00

drain

2008-03-17T16:51:00.006+08:00

● 2002 ● new york city ● 06:47:05 ● video installation ●

ㄧ起的人

2008-03-17T16:48:00.003+08:00

圓桌旁

2008-03-17T16:14:00.005+08:00

cigarette house

2008-03-09T21:06:00.002+08:00

MAP

2008-01-23T11:47:00.005+08:00

● 2001 ● new york city ● 00:57:00 ● video installation ●

2005

2008-01-23T09:39:00.001+08:00

greenpoint

2007-08-09T15:44:00.002+08:00

light structure

2007-08-09T10:35:00.002+08:00

● 2007 ● taipei ● 45 B/W n. ●

frame of hole

2007-08-09T10:31:00.002+08:00

● 2003 ● taipei ● 45 C p. ●

2000-3

2007-08-08T13:51:00.000+08:00

● 2000 ● new york city ● 135 B/W n. ●

a table

2007-08-07T15:56:00.002+08:00

● 2006 ● paris, france ● 45 B/W n. ●

gr17

2007-08-07T15:43:00.002+08:00

● 2006 ● france, italy ● 100x400cm output ●

parc des buttes chaumont

2007-08-07T15:34:00.001+08:00

● 2006 ● paris ● 45 B/W n. ●