无地之爱 ─ 黄孙权个展 u-topophilia : Huang Sunquan's Solo Exhibition 2014年10月26日 至 2015年03月20日 艺术家 黄孙权 展馆 红砖美术馆1号、2号、4号展厅 开幕 2014年10月26日 星期日 18:30 论坛 艺术家报告：在田野与社会性空间的艺术 2014年10月28日 星期二 14:00-17:00 对话者 陈界仁、李巨川、王家浩 创作论述 无地之爱 - 在田野与社会性空间的艺术 相關資訊 紅磚美術館展覽資訊 展覽手冊 展覽出版：建築與烏托邦 相關評介 ArtRview Aisa,by Xu YaZhu 藝術論壇 ArtForum 黄孙权谈“无地之爱” 雅昌藝術網開幕視屏 “无地之爱”黄孙权个展在京开幕
The concept Utopia reflects the “unsatisfied yet desired history” of human beings. “U” in “Utopia” comes from the Greek word “ou-topos” which means “no place”, similar to the English word “a-topia”. “U” here can also be interpreted as “eu-topos”, meaning joy and happiness. The word “Topophilia”, on the other hand, means love of place. The Chinese-U.S. Geographer Yi - Fu TUAN once wrote a book on “Topophilia”, examining the affective bond between people and place, and how it contributes to the formulation of identity. Here the new word “u-topophilia” refers to the conflicts between love of no place and love of place. Such conflicts may lead to new possibilities: by recognizing and acknowledging differences among people and places, we may shift from Jus soli, identity associated with place to socially engaged art practices that do not bond love with a particular place, which may be one way of mediating the social contradictions caused by new liberalism.
《我們家在康樂里》（Our New Homeland）
影像 betacam 轉數位dv，86分钟 1998，彩色單頻。
1998香港Video power影片展； 2004台北雙年展、台北鐵馬影展； 2007深港城市/建築雙城雙年展； 2014 北京紅磚美術館「無地之愛─黃孫權個展」； 2015 北京民生現代美術館開幕展。 台灣眾多大學建築與社會學專業的指定參考資料。
It was exhibited at Bi-City Biennale of Urbanism\Architecture 2007, the Video Power in Hong Kong in 1998, Taipei Biennial 2004 and Taipei Iron Horse Film Festival 2004, 2015 Beijing Red Block Museum; 2015 Beijing Minseng Art Museum and it is the prescribed reference data of many architectural and sociological disciplines at National Taiwan University.
以90 年代台北都市公園生產過程為藍本，指出城市如何從非正式地景邁向成為現代國家制度化地景，「綠化」 成為一種隱藏性與修辭性的都市政策工具，以視覺美景驅離城市違建群落，抹平了貧困社區與異質文化。此舉更激起台灣首次的反都市更新運動，成就了台灣城市規劃史上，進步建築師、規劃師與激進學院的師生在90 年代後，參與一連串有關違建、都市更新、閒置空間再利用等辯論與社會實踐鬥爭。本片記錄了1997 年台灣第一場都市社會運動「反市府推土機」，台北市長在1997 年短短三個月中拆遷了一個六十多年的違建社區，導致了台北都市統治的政治危機與一連串有關空間議題的行動。導演既是運動組織領導者，也是記錄者。是華人地區第一部有關都市更新與社會運動的紀錄片。
With the producing process of Taipei City Park in 1990s, how did the city turned from an unofficial landscape into institutionalized landscape of modern country is pointed out; “greening” became a kind of hidden and rhetoric urban policy tool, which concealed poverty-stricken communities and heterogeneous cultures through driving out city illegal buildings with beautiful scenery. This action provoked the first Anti-urban-regeneration Movement in Taiwan and led to a series of discussion and social practice struggle about illegal building, urban renewal, reuse of unused space and others on the urban planning history of Taiwan, in which radical teachers and students participated after 1990s. The film documents “Protest against the Bulldozers of the Municipal Government” in 1997, the first urban social movement in Taiwan. That year, the mayor of Taipei had an unauthorised community that had existed for over six decades demolished, which resulted in a political crisis of the municipal governing of Taipei as well as a string of actions regarding the discourses on space. The film director is not only an organizer and leader of the movement but also the recorder of it. The film documents “Protest against the Bulldozers of the Municipal Government” in 1997, the first urban social movement in Taiwan. That year, the mayor of Taipei had an unauthorised community that had existed for over six decades demolished, which resulted in a political crisis of the municipal governing of Taipei as well as a string of actions regarding the discourses on space. The film director is not only an organizer and leader of the movement but also the recorder of it. The film is the first documentary of all Chinese communities that focuses on urban renewal and social movement.
複島 系列 Islands Series
多媒體裝置 複島 其他 30×84.5×8cm 錄地景Memo-scape 尺寸不定 高雄點唱機 160＊110＊75cm
Multi-media installation Map of the islands, 30×84.5cm×8 Memo-scape, Dimensions variable Kaohsiung Jukebox, 160×110×75cm 2012 - 2014
2014 台北立方空间 2014 年高雄美术馆；2013 高雄捣蛋艺术基地、旗津贝壳馆、旗津战争与和平纪念馆。
The series was exhibited at Taipei Cube space in 2014, the Kaohsiung Museum of Fine Arts in 2014, andat the Daodan Art Base, the Cijin Shell Museum and the Cijin War and PeaceMemorial Museum in Kaohsiung, 2013.
The team “Islands”, which centres on field, space and art production, was organised by Prof. HUANG Sunquan of the National Kaohsiung Normal University in the end of 2011. Depending on the condition of the base, the team invites different artists to participate. It is adept at hearing and recording the voice of the underprivileged with the aid of technology as well as improving the existent social conditions or interfering the mainstream viewpoints; it juxtaposes the dialectical relation between the artists and the public and demonstrates the political correctness, instead of the artists’ ex parte declaration of righteousness, in oppositional works. The work Islands 2012-14 has created an auto-narration machine and an open-source-based AR software to probe into the spatial history of Cijin.
In the year of 2014, the team carried out a research on Cijin, Kaohsiung. The ancestors of Cijin residents migrated to the island in the Qing Dynasty; they came for fishing and set up their huts. Witnessing the modernisation of various systems of culture and politics, Cijin is the first island in South Taiwan that got westernised and opened its ports. It also has the first public school in South Taiwan, the first local teenage baseball team that ever defeated Japanese teenage baseball teams, the first Western church and the first Western hospital; in addition, it is known for the ship-recycling industry that prospered after WWII and the yacht designing and manufacturing industry that burgeoned in the new millennium. The downtown of Kaohsiung later moved from Cijin to Yancheng, which formed the busiest area of imported goods retailing and American bars in post-war Kaohsiung. Nevertheless, the rich history was diluted in the rapid economic development, and Cijin became a touristy beach occupied by night bazaars of seafood. The Coastline Protection Project of Cijin District that won Kaohsiung a LivCom Award, for instance, is known as one of the city’s major achievements, but in fact it was the subsequence of ecocatastrophe. In the 1980s, the government “purchased” a great deal of industrial carbide slag to block up the disappearing foundation of foreshore so as to build up the tourism-oriented beach and to implement award-winning project. Yancheng, however, has gone out of favour; behind the scene of increasing popularity caused by the Pier-2 Art Centre, the once-flourishing buildings are demolished one after another. Landscape changes are both sociological and ecological. “Memo” herein stands for memorandum as well as memories while “scape” represents landscape. Field projects in a general sense record the life history and local history; if a field project is based sheer on sociology or anthropology, it tends to get stuck in the representation of “unchangeable history”, which renders art a way of gathering up the faded history. The practice of art in a certain locality or community always sticks to the “regional” expression, which limits the motility of art within the scope of the locality or community. Memo-scape began with workshops and field interviews. The team found old photos representative of the community and reproduced the unforgettable history; after that, the team tried to trace the scene of the people first encountered the landscape and their respective changes up to now. Via the search for people and landscape—the search for people is to integrate the parted people and their emotions and the search for landscape is to bridge history and the present—and the “replication” of the dual storyline, the team has created a mechanism that articulates human emotions and spatial memories. The field of people and history is the process of creation, while the work the collective memories of history as well as the contemporary. Memo-scape is an experimental act of reconstructing the public histories.
Kaohsiung Jukebox, a work exhibited at the Kaohsiung Museum of Fine Arts in 2014, transforms local history into a trial by means of sound. Taking the last train going northward, the foreign language at the bars of American army on the Cisian Rd. turns into the foreign language at the Indonesian groceries, the singing in the grandiose restaurants end up with the clashes of bowling, the battle cries of the Kaohsiung Incident - the most significant event in Taiwan’s history of democracy - is drowned by a warning tone, the protest in Anti-Wuqing resonates with the cheers in the National Stadium, the fuss of Dalinpu to be displaced confronts the sleep-talking on the Nanxing yachts, and the mechanical noise of the petroleum, steel and shipbuilding industries, together with the chimney exhausting and the night bazaar hawking, gradually seeps into the Beijing dialect. With the method of concrete music, the artist and his team mix the sound of contemporary life in Kaohsiung with audio recordings of historicalevents, thus inviting the audience to shuttle through the sounds like using a jukebox and have their own way to hear Kaohsiung.
日常生活的一天 A Day
21屏幕影像 6分钟 2012。2013 深圳，深港城市\ 建筑双城双年展 2012 高雄劳工博物馆 It was exhibited at Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture 2013 and the Kaohsiung Museum of Labour in 2012.
尼采说：“（城市）文字的历史会杀死石头的历史”，他没说的是：石头的历史会杀死劳动力的历史。当吾人要光耀城市时总是高举石头，让阴影覆盖劳动力。社会学家指出，全球化流动的社会地位取决于人们一日交遇的人 事物的多寡，一人所见所遇决定了他们阶级流动的可能，由之，人为目光所监禁。在城市的舞台上，交遇就是竞逐文化意义与阶级流动的资本，而重复的生活使人梦 想枯竭，少数人则享用梦想枯竭的献祭。艺术总只能再现他者或向其致意，除非我们使用他们自己的眼睛，否则都只是表演性的技术。如果可以复刻其所见，就能见到既个人也社会的集体形构，见到他们的寻常眼光 正是支撑市民现代生活的基石。台湾的国际移工共有四十二万多人，在家务劳动与营建工厂的工作支撑了台湾经济，而深圳都是“外劳”，在三十年间将小渔村转变 成全球城市。藝術家透过田野调查与访谈重建城市的劳动者面貌，在台湾台北与高雄两个城市邀请菲律宾、印度尼西亚、泰国、印度等国外劳，以及深圳不同岗位的工人， 以自己的手机拍摄一日所见，透过计算机程序处理以單一時鐘」同步」他们在光辉城市下日常生活的一天。
Nietzsche remarks that, “the history of texts (cities) will kill the history of stones”; however, he failed to remark that the history of stones would kill the history of labour force. When we bring glory to the cities, we tend to hold stones aloft to shadow the labour force. Sociological studies indicate that one’s social status of a global mobility rests with how many people and things the person encounters in a day. What people encounter ordains the mobility of their status, and hence people are imprisoned in others’ eyes. On the stage of cities, encounters are the connotation of competition culture and the capital of status mobility; repetitive life drains the dreams of the majority while the minority regale on the sacrifice of dried up dreams. Art merely represents or pays tribute to the others, and it is nothing but performing technique unless we were using their eyes. If what is seen could be reproduced, we would witness a personal yet collective structure and see that their ordinary eyes make the footstone that supports the civil modern life. Taiwan accommodates over four hundred and twenty thousand international migrant workers, and their labour of housework and factory construction sustains the economy of Taiwan. Shenzhen, by contrast, employs migrant workers who have turned the little fishing village into a cosmopolitan city over the last thirty years. The artist conducted field trips and investigated the labourers who contributed to urban renewal. He invited migrant workers from the Philippines, Indonesia, Thailand, India, etc. in Taipei and Kaohsiung, as well as migrant workers from a variety of posts in Shenzhen, to his camera. He videoed what he saw by his mobile phone and processed the film by computer programming, thereby displaying one day of their daily life in the magnificent cities.
烏托邦出櫃 Come Out! Utopia
10 屏幕影像装置 450×250×250cm，约5 分钟 2013 (10 screen video installation 450×250×250cm, about 5 minutes each) 2014 中央美术学院美术馆第二届CAFAM 双年展 (The work is exhibited at the 2nd CAFAM Biennale at the CAFA Art Museum in 2014.)
Architecture and utopia are twins of history. A utopian’s architecture is naïve; it conceives a perfect structure of politics and society modeled as a circular or rectangular concentration camp. An architect’s utopia is innocent; it seeks for euphoria and equality, attempts to eliminate social evilness by means of forms, and therefore descends to formalism. However, utopia is indeed the “unsatisfied yet desired history” of human beings, which catalyses socialism, the Disney, the naissance of future technologies or the extermination of humanity. It is the Pandora’s box of human struggle for existence; once uncovering it, optimistic revolutionists see today’s utopia i.e. tomorrow’s reality while pessimistic critics move towards the dystopia that has a deepened class-consciousness to avoid the totalitarianism of equality. Come out! Utopia extracts the utopian ideality of cities and the embers of formalist tragedy. The vertical cutting design of the colossal mirror tower is inspired by the famous utopian architectural plans in history, and those unimplemented blueprints are realised into a life-size 3D model built in the tower. It pays a tribute to the previous masters and sparks contemplation, and the concave-convex mirrors reflect the gap between their wisdom and the reality. Outside the colossal mirror tower, the artist employs the typological archiving method that architects are skillful at to display the revolutions in history and files the historical criticism on architecture and utopia. On one hand, the mirror tower absorbs the utopian practice in history and the reverberations at present on the site; on the other hand, it collects the figures of the “common people” and thus strikes a contrast between ideologies and the world. The purpose of mirroring history is not to resurrect it but to let people learn history lest there should be complacent farces or formalist ignorance.