越洋練習
Transoceanic Practice
2021-2024
船錨、霓虹燈與無酸噴墨輸出
Anchor, neon light, archival inkjet print
船錨、霓虹燈與無酸噴墨輸出
Anchor, neon light, archival inkjet print
永遠會是永恆嗎？早年金門人大量離鄉前往東南亞謀生，卻因戰爭被迫成為移民，幸運者就此生根異鄉、不幸者客死於南海的浪流裡。原鄉景色、語言與文化成為遙不可及的模糊記憶。在越洋練習這組裝置作品裡，藝術家林羿綺延續家族長輩橫跨金門、臺灣與印尼的信使路徑，以船錨呈現出洋客流離之境遇，配以霓虹燈字句「Forever, Is(not), Eternal」，回應移民後代對於國家等身份認同之疑惑，牆面呈現出洋點金門後浦港與登陸點印尼邦加島秘錄港現今景色，疊上四種語言（閩南語、中文、印尼文與英文）的詩句，呈現出洋者們對於彼岸和此岸的想像與練習。
Forever is(not) eternity? In the early times, swarms of Kinmenese left their hometown for Southeast Asia seeking a livelihood, only to become permanent migrants because of war. Luckier ones put down roots in foreign countries, and the less fortunate perished in the waves of the southern seas. Their hometown scenery, language, and culture became hazy and unreachable memories. In the installation artwork “Transoceanic Practice,” artist Lin Yi-chi continues the path of her family elders through Kinmen, Taiwan, and Indonesia, using an anchor to contrast the drifting fate of the diaspora. The neon script “Forever, Is(not), Eternal” reflects the migrant descendants’ confusion in their national and cultural identity. On the wall, present-day scenes of the launching site, Hou-pu Port, Kinmen, R.O.C., and the landing site, Pangkal Balam Port, Bangka, Indonesia, are superimposed with poems in four languages (Hokkien, Chinese, Indonesian, and English) to portray the migrant’s imagination and practice for both shores.
Forever is(not) eternity? In the early times, swarms of Kinmenese left their hometown for Southeast Asia seeking a livelihood, only to become permanent migrants because of war. Luckier ones put down roots in foreign countries, and the less fortunate perished in the waves of the southern seas. Their hometown scenery, language, and culture became hazy and unreachable memories. In the installation artwork “Transoceanic Practice,” artist Lin Yi-chi continues the path of her family elders through Kinmen, Taiwan, and Indonesia, using an anchor to contrast the drifting fate of the diaspora. The neon script “Forever, Is(not), Eternal” reflects the migrant descendants’ confusion in their national and cultural identity. On the wall, present-day scenes of the launching site, Hou-pu Port, Kinmen, R.O.C., and the landing site, Pangkal Balam Port, Bangka, Indonesia, are superimposed with poems in four languages (Hokkien, Chinese, Indonesian, and English) to portray the migrant’s imagination and practice for both shores.
信使II - 永恆漫遊與熱帶追尋
Nanyang Express II: Eternal Wandering and Tropical Pursuing
2020
4K 六頻道彩色有聲錄像裝置，循環播放
4K 6-Channel video installation, Color, Sound, Loop
4K 六頻道彩色有聲錄像裝置，循環播放
4K 6-Channel video installation, Color, Sound, Loop
延續探尋金門出洋客下落的信使系列創作，此次計畫裡的家族書信，來自新加坡最早的公共組屋中峇魯社區，對比著殘缺破損的書信檔案，藝術家眼前的發信地：新加坡，卻是非常現代化、環境潔淨、房舍極度規格化的國度，在東南亞的熱帶雨季之下，藝術家敲著信件地址上每一個可能的住戶家門，並與每個開門的陌生人們尋找彼此共通的語言，這些看似徒勞的漫遊經驗，也映射著早期移民者初登陸的探索及對未來的不確定感。
於是此計畫所完成的作品：《信使II - 永恆漫遊與熱帶追尋》，藝術家使用影音裝置的形式，讓聲響成為作品敘事主軸。將新加坡這個高度秩序化的城市裡，尋人過程所錄製的對談與都市聲響加以編輯，結合現地大量拍攝的無人空景畫面，以攝影化的編排方式，讓影像錯落在展場中，圍繞在現場設置的人造公園景緻裡。企圖以完整的聲音敘事結合視覺影像上的空缺，搭配影像裝置的展呈，擴延欣賞作品時的沈浸感知，引領觀者漫遊在以“未尋”為總結的新加坡信使之旅中。
In line with the practices of the Nanyang Express art project that explores the lives of Kinmenese diaspora, this work is based on the family letters from Tiong Bahru community —— the first public housing program in Singapore. Despite the fact that these paper documents have become fragile and faded, in the eyes of the artist, Singapore —— the source of the letters —— appears to be a rather modernized country with clean, hygienic environment and highly standardized buildings. During the rainy season in the tropical Southeast Asia, Lin knocked on doors throughout the neighborhood according to the address put on the envelope to search for the most likely sender and tried to figure out whether she and any strangers who answered the door shared a common language. The act of wandering around the area might seem ineffectual but somehow echoes with the early immigrants’ exploration upon arrival to the new destination and their feelings of uncertainty about the future.
As a result, in Nanyang Express II: Eternal Wandering and Tropical Pursuing, Lin creates an audio-visual installation that centers on a sound-oriented narrative for the very first time. By editing the field recordings in the city as well as the conversations between strangers, she provides an audio tour for the audience to embark on a journey as portrayed in Nanyang Express series; also, the installation incorporates a variety of footages of city landscape and natural scenery, all of which are separately yet irregularly displayed in the exhibition venue in the manner of photographic arrangement, surrounding the on-site artificial park scene. By combining a comprehensive audio narrative with visual images presenting partial reality, Lin attempts to invite the viewers to wander around Singapore and experience the lingering ambience of “unsearchable” along the journey. All in all, this work, as expressed in the form of audio-visual installation, aims to creates a multi-sensory and immersive experience for the audience.
於是此計畫所完成的作品：《信使II - 永恆漫遊與熱帶追尋》，藝術家使用影音裝置的形式，讓聲響成為作品敘事主軸。將新加坡這個高度秩序化的城市裡，尋人過程所錄製的對談與都市聲響加以編輯，結合現地大量拍攝的無人空景畫面，以攝影化的編排方式，讓影像錯落在展場中，圍繞在現場設置的人造公園景緻裡。企圖以完整的聲音敘事結合視覺影像上的空缺，搭配影像裝置的展呈，擴延欣賞作品時的沈浸感知，引領觀者漫遊在以“未尋”為總結的新加坡信使之旅中。
In line with the practices of the Nanyang Express art project that explores the lives of Kinmenese diaspora, this work is based on the family letters from Tiong Bahru community —— the first public housing program in Singapore. Despite the fact that these paper documents have become fragile and faded, in the eyes of the artist, Singapore —— the source of the letters —— appears to be a rather modernized country with clean, hygienic environment and highly standardized buildings. During the rainy season in the tropical Southeast Asia, Lin knocked on doors throughout the neighborhood according to the address put on the envelope to search for the most likely sender and tried to figure out whether she and any strangers who answered the door shared a common language. The act of wandering around the area might seem ineffectual but somehow echoes with the early immigrants’ exploration upon arrival to the new destination and their feelings of uncertainty about the future.
As a result, in Nanyang Express II: Eternal Wandering and Tropical Pursuing, Lin creates an audio-visual installation that centers on a sound-oriented narrative for the very first time. By editing the field recordings in the city as well as the conversations between strangers, she provides an audio tour for the audience to embark on a journey as portrayed in Nanyang Express series; also, the installation incorporates a variety of footages of city landscape and natural scenery, all of which are separately yet irregularly displayed in the exhibition venue in the manner of photographic arrangement, surrounding the on-site artificial park scene. By combining a comprehensive audio narrative with visual images presenting partial reality, Lin attempts to invite the viewers to wander around Singapore and experience the lingering ambience of “unsearchable” along the journey. All in all, this work, as expressed in the form of audio-visual installation, aims to creates a multi-sensory and immersive experience for the audience.
迴聲者群像
Group Portrait of the Echoers
2020
4K 五頻道彩色有聲錄像，4分30秒
4K 5-channel video, Color, Sound, 4'30"
4K 五頻道彩色有聲錄像，4分30秒
4K 5-channel video, Color, Sound, 4'30"
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在作品“迴聲者群像”裡，我邀請了四位綠島在地居民扮演在人權園區的工作者們，共同接力傳唱來自過往受難新生魅影所彈奏的樂聲，以跨越時空的方式，探討園區地點與過往歷史記憶之間的聯繫。
藉由表演者們有時獨自哼唱、有時相互合音，讓歌聲在遺址中不斷迴盪著，並參照文獻紀錄裡受難者為獄友送別的四種歌曲語言，使用中文、台語、日語、英文輪流演唱，在歌詞編寫中引用“過去永遠不死，甚至從未結束。The past is never dead. It's not even past.”這段句子，暗喻對於人權的迫害直至今日仍然持續進行著，使表演者以一種被歷史附聲的姿態，跨越動態影像對於時間以及空間的界線。讓人權園區所在的現實此岸，召喚出白色恐怖歷史記憶的彼岸，向過往被囚禁的靈魂致意。
In Group Portrait of the Echoers, I invited four Green Island residents to play as the “White Terror Memorial Park” staffs and asked them to sing-forward the songs sang by the victims in the past. My work explores the connection between the site and its memories that are across the time and space.
In this video, the performers whispered alone or together, letting the sound echoing around the historical site endlessly and crossing the image’s boundary of time and space in a possessed-by-the-past posture. Therefore, in my work, the “White Terror Memorial Park” summons the memory of white terror era and salutes to the imprisoned souls of the past.
藉由表演者們有時獨自哼唱、有時相互合音，讓歌聲在遺址中不斷迴盪著，並參照文獻紀錄裡受難者為獄友送別的四種歌曲語言，使用中文、台語、日語、英文輪流演唱，在歌詞編寫中引用“過去永遠不死，甚至從未結束。The past is never dead. It's not even past.”這段句子，暗喻對於人權的迫害直至今日仍然持續進行著，使表演者以一種被歷史附聲的姿態，跨越動態影像對於時間以及空間的界線。讓人權園區所在的現實此岸，召喚出白色恐怖歷史記憶的彼岸，向過往被囚禁的靈魂致意。
In Group Portrait of the Echoers, I invited four Green Island residents to play as the “White Terror Memorial Park” staffs and asked them to sing-forward the songs sang by the victims in the past. My work explores the connection between the site and its memories that are across the time and space.
In this video, the performers whispered alone or together, letting the sound echoing around the historical site endlessly and crossing the image’s boundary of time and space in a possessed-by-the-past posture. Therefore, in my work, the “White Terror Memorial Park” summons the memory of white terror era and salutes to the imprisoned souls of the past.
Vide∞asis
2019
VHS 影像裝置
VHS Video installation
VHS 影像裝置
VHS Video installation
Vide∞asis是一間位於台灣台北的錄像俱樂部，創立於2019年。
我們策劃錄像展覽、電影放映活動與實驗影像表演，企圖開拓動態影像的種種可能性。
The Vide∞asis is a video club based in Taipei, Taiwan since 2019. We curate film screening events and exhibitions on film, moving image, video art and all the time-based media arts.
我們策劃錄像展覽、電影放映活動與實驗影像表演，企圖開拓動態影像的種種可能性。
The Vide∞asis is a video club based in Taipei, Taiwan since 2019. We curate film screening events and exhibitions on film, moving image, video art and all the time-based media arts.
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航向鬱海汪洋
The Cave
2017
Full-HD 三頻道影像裝置
Full-HD 3-channel video installation
Full-HD 三頻道影像裝置
Full-HD 3-channel video installation
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我在左營廢棄眷村駐地創作的期間，撿拾到了許多住戶的遺留物件，而做爲此作品發想的兩盒破損傳統幻燈片也是其中之物，內容關於軍艦與裸女、以及許多被賦予有高雄在地城市意象的過往風景。這些底片質地呈現出崩解、毀損、甚至泡水導致扭曲，這種對於物理上的非預期性破壞，讓影像自身變得十分迷人。於是我從潛意識與夢境的角度出發，企圖在作品中以扮裝的姿態重回廢棄軍區找尋線索，讓這些殘破影像和海的幻影相互疊合再次重生。
在展呈上則是使用物理直接投影拼貼的方式，讓數位投影以及傳統幻燈機新舊兩種媒介的影像相互交融疊合，如同作品英文名稱(The Cave)，機械物理的光投射出另一種幻象世界，讓觀眾就像身處於洞穴之中，在暗室的狀態下被裝置的三道光束帶領，進入曖昧疊影與薄質流動的恍惚之界。 I found a lot of abandoned objects during my residency in Zuoying, including two boxes of slide films regarding naked women, warships and sceneries with local characteristics of Kaohsiung city’s past that inspired this work. They were broken, destroyed and even got distorted effects because soaked in water. Yet, these physical unexpected damages made the images become very charming. Starting with subconscious and dreams, I then wore a costume to an abandoned army base, searching for the clues that resurrects the broken images by overlapping them with the illusionary sea. Through using projection collage in terms of visual presentation, I aim to merge together two different kinds of media element——video from the digital projector and images from the traditional slide projector that becomes an unique junction. Just as indicated in the work title, The Cave, the light source from the machine points out a world of fantasy, as if the audience is led by three light beams in a dark cave, entering the realm of trance filled with ambiguous and ghostly images. |
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琥珀之夢
Dream of Amber
2017
八組攝影與燈箱裝置 / Photography and lightbox installation
(120x80x7cm_x3, 105x75x7cm_x1, 70x50x7cm_x2, 55x40x7cm_x2)
八組攝影與燈箱裝置 / Photography and lightbox installation
(120x80x7cm_x3, 105x75x7cm_x1, 70x50x7cm_x2, 55x40x7cm_x2)
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本作品從錄像作品父域安魂曲中發展而出，有別於不同典型定義下的劇照，這裡記錄了錄像作品拍攝過程紀錄，使用類比相機與底片拍攝並且刻意將拍攝當下的時間打印在底片上面，除企圖捕捉在精美設定的畫面之外，跟隨著拍攝時程上的一種流動，進而在如流體的時間上凝結了許多片刻，這些片刻試圖游移於紀實與藝術家個人自編自導影像之間的邊界中，雖然最終以扁平的燈箱片做呈現，但其背後卻也如實的紀錄一段製作作品中所曾存的身體參與。
在呈現上以具人味溫度的燈箱裝置、看似散落的照片黏貼方式，皆是以藝術家個人記憶碎片的客觀化角度呈現拍攝場景中虛幻與真實間的辯證關係。
The work is developed from the video work Requiem for the Dream of Father. Using analog cameras and films and putting down the time on the negatives on purpose make Dream of Amber different from typical action stills, for it records the filming progress. Aiming to capture the images outside the exquisite film setting, the work condenses some moments of the time flow as the filming went by. These moments linger between documentary and artist self-directed images. Although they show up as the flat light box pieces at the end, the images also indicate the physical participations in a film production.
Sticking the photos scatteredly on light box installations gives the work some humanity that echoes Lin’s artistic concept of using her own memory pieces to objectify the dialectical relations between reality and illusion during the filming process.
本作品從錄像作品父域安魂曲中發展而出，有別於不同典型定義下的劇照，這裡記錄了錄像作品拍攝過程紀錄，使用類比相機與底片拍攝並且刻意將拍攝當下的時間打印在底片上面，除企圖捕捉在精美設定的畫面之外，跟隨著拍攝時程上的一種流動，進而在如流體的時間上凝結了許多片刻，這些片刻試圖游移於紀實與藝術家個人自編自導影像之間的邊界中，雖然最終以扁平的燈箱片做呈現，但其背後卻也如實的紀錄一段製作作品中所曾存的身體參與。
在呈現上以具人味溫度的燈箱裝置、看似散落的照片黏貼方式，皆是以藝術家個人記憶碎片的客觀化角度呈現拍攝場景中虛幻與真實間的辯證關係。
The work is developed from the video work Requiem for the Dream of Father. Using analog cameras and films and putting down the time on the negatives on purpose make Dream of Amber different from typical action stills, for it records the filming progress. Aiming to capture the images outside the exquisite film setting, the work condenses some moments of the time flow as the filming went by. These moments linger between documentary and artist self-directed images. Although they show up as the flat light box pieces at the end, the images also indicate the physical participations in a film production.
Sticking the photos scatteredly on light box installations gives the work some humanity that echoes Lin’s artistic concept of using her own memory pieces to objectify the dialectical relations between reality and illusion during the filming process.
亞 熱 帶 禱 詞
Subtropical prayer
2016
複合媒材與10分鐘聲音裝置 150x100x50cm
Mixed Media and Sound Installation 10'00", 150x100x50cm
複合媒材與10分鐘聲音裝置 150x100x50cm
Mixed Media and Sound Installation 10'00", 150x100x50cm
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我將過往在左營駐地創作時拍攝的拆除現場畫面，投影在被拆除村落的空視地圖，搭配過去五年手繪的村落屋景，並且以絲線的方式將屋景跟地圖作定位，再和被拆除的畫面進行疊影。企圖以一種游擊性、甚至是粗糙的鏡頭語言，非專業且無斷裂的剪接模式與環境嘈雜音，帶來身處於左營這個亞熱帶地區這五年裡微小且散落的片刻光景。
Firstly I projected the on-site demolishing footage taken during my residence period in Zuoying onto to the aerial view map of the demolished village; Then, I connected the village scenes drawn in the past five years to the exactly matched location in the map by silk threads so as to overlap the demolishing footage. All in all, I tried to portray those tiny and scattered moments I have spent in Zuoying—situated in such subtropical area — for the past five years through guerrilla and even rough lens language, non-professional sequence shot as well as ambient background noise. |
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Home, Sweet Home
2012
複合媒材與10分鐘聲音裝置 150x100x50cm
Mixed Media and Sound Installation 10'00", 150x100x50cm
複合媒材與10分鐘聲音裝置 150x100x50cm
Mixed Media and Sound Installation 10'00", 150x100x50cm
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在拆除之後，那些屬於家的曾經幻化成為地面上的碎石瓦礫。眷村因為國家而建造，卻也因為國家而被夷平，我在殘破房舍裡撿拾到許多過往生活的遺留物，在幽暗的燈光下，噴著國徽的水泥推車裝載著曾是家的碎石瓦礫與黃土，與老照片上的人們伴隨著音樂卡帶裡的歌聲“Home, Sweet Home”，家與國家的定義再度重新改寫。
After demolition, those memories of home had turned into rubbles on the ground. Though the military dependents' village was built for the nation, yet it was demolished by the nation. I found many remnants of the past in broken houses: a cement trolley with spray painted national emblem situated in the dim light are loaded with rubbles and loess that were once their homes as well as old pictures of people, which is accompanied by the singing of "Home, Sweet Home" from the music cassette. By doing so, this work aims to redefine the meaning of home and nation.
