DEAR CRACKS    闕漏好朋友

2014-

作品敘述 Click for more information about this project:

中文 / English

1/11

闕漏好朋友:路的皺紋

水泥、瀝青、樹脂

2014-

Dear Cracks: Wrinkles of the Road

concrete, asphalt, plastic

2014-

1/18

闕漏好朋友:台北取樣

石膏、樹脂

2014-16

Dear Cracks: Sampling of Taipei

plaster, plastic

2014-16

1/5

闕漏好朋友:台北漫步(前導片)

單頻道錄像裝置

2014-15

Dear Cracks: TAIPEI WALKING Trailer

Single Channel Video Installation

2014-15

1/1

闕漏好朋友:太空人之死

攝影

2015

Dear Cracks: The death of the spaceman

Photography

2015​

 

若去撿拾都市中位移的日子,灰色是生活最常見到的顏色:水泥建築與大廈、柏油取代了草皮或泥沙、煙霧或粉塵環繞的空氣、招牌並肩閃爍的光暈、還有所有不是特別好也不是特別壞的那些抽象妥協…,灰色的馬路延展於大街小巷,在事件與事件的中間被碰觸,串連生活與生活的空隙,成為人們在都市內移動所遇見的第一道介質。

自2014年起,我開始替台北的馬路翻模。用路上的裂痕、坑洞等等各種高低差的凹陷作為模具,翻製出裡面的空間。這些路面的皺紋很有趣,像是為了被消滅而生產的某種有機物,我試圖採集這些在修復專案實施下理應漸漸消失、卻可能因為其它因素,而繼續存在或持續浮現的凹陷。這些凹陷一聚落一聚落的出生、擴大,直至被消滅,最後又再度出現,馬路成為他們的棲息地,專案的無為(或暫時的有為)成為控制族群的手段,路的皺紋在控制中不斷消長。

 

於此我使用開模與翻製手法並非只是「複製一條馬路」,而像是使「馬路上的凹洞現形」。複製凹陷空間的內模也沾取了原有坑洞的灰塵與瀝青,看不見的空間再現成為一座座像是小山或是島嶼的水泥方塊,我並為他們插上旗幟,成為象徵阻礙與闕漏的、受收藏的水泥微型地景。好似替這些特定的時間與空間做標本一般,留存了當下。每個雕塑的尺幅與高度(深度),都與翻製時馬路上的裂痕(幾乎)相同,而透過雕塑影子的倒映,也都回溯到馬路上坑洞們的實際形狀。我用擷取形狀的方式,複製當下時空的凹陷尺寸與狀態。透過陳列,以道路作為象徵、反映大眾生活的媒介,翻製、採集人類活動的痕跡與破損,試圖從痕跡的關係中尋找對應的其他社會關係。

If we collect the memories and days we move around in the city, grey is the most common color we see in daily life: The cement mansion building, the asphalt that replaces the meadow or turf, the spreading smoke and dust in the air, the halo of flickering signboards, and those abstract compromises which are neither good nor bad. Grey roads reach everywhere. They are contacted when different events happened and also link those interspaces within life. They are the first medium people encounter while moving around in the city.

Since 2014, I have started to cast holes and cracks on roads around Taipei, Taiwan. Using those holes as molds, I molded the inner space of them. I found these ‘wrinkles of the road’ are interesting, they are not like lifeless cracks but more like organic objects. They were created for being perished by someone. I attempt to collect these cracks whose amount should be less by less due to government’s repairing project, but still keep showing up like a group of animal welcome their newborn babies. The asphalt road became those cracks’ habitat. The repairing project became a nature strategy to control numbers.

 

For me, the way I mold a road is not only just replicating it but marking those holes on it. The whole process is like I solidified the air above hole, changed from yin to yan, negative space became positive. And those asphalt, leaves, and dust stocked on the surface, or we could say they have moved from this space to the other. I turned over the concept of empty and solid, so the invisible, empty space reappeared as solid, mini cement islands. Then I put a flag on each island, to show the ‘true’ evidence that they (each hole) were there, at somewhere, on the road in Taipei. I attempt to make a sample of that certain time and space, try to keep every certain moment which is no longer exist. Each mold I’ve made present the real size and depth of each hole on road. Through the shadow under glass, audience could see the exactly shape of the original ones. I symbolize the roads as the medium of people’s daily life by using the mold of the road pavement to create and to gather the damages as well as the traces of human activities. I attempt to seek the realistic existence corresponding to the traffic conditions in daily life, which cannot be easily understood or puzzled out.

 

© 2018 by CHAN YUNG-JEN