The Meiji Windstorm,Typhoons Gloria and Herb.錄像裝置(Video installation)、雙頻道錄像(Two Channel Video)。09:11;400x225cm。2019。
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明治大風災、葛樂禮與賀伯 |
《明治大風災、葛樂禮與賀伯》藉由並置穿插三個時間點重創台灣的颱風為線索,從明治末期的台北大颱風到戰後的葛樂禮與賀伯,以新聞片段與其播送形式為方法,重新演示了全台居民重要的歷史傷痕。氣象與災難的播送往往帶有一定程度的戲劇張力,加上災難影像片段帶有的模糊、緊湊與閃爍的特殊質感,打破了對於時間與危機的感知,若有似無地再現了發光屏幕上那未曾許諾什麼的神諭,另一方面從歷史的偶然性來說,自然災害不僅可能帶來災難性的破壞,卻同樣改變了城市風景與地方公共設施的使用形式與發展歷史。
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Chen Fei-Hao expertly combines literary and historical studies with real/temporal political conditions, discussing the relationship between the formation of ideology and historical events. He turns this material into multimedia installations comprised of imagery and sounds. Chen's work hints at three points in time when Taiwan was barraged by typhoons: from the Greater Meiji Typhoon at the end of the Meiji Era to Typhoons Gloria and Herb that occurred much later after the Second World War, he uses news reels and their broadcast forms as his artistic rendering method, re-demonstrating the important historic scars that haunt all of Taiwan's people.
Meteorological and disaster broadcasts more often than not bring a certain dramatic tension; disaster imagery and films carry a sense of vagueness. They break down our conceptions of "time" and "crisis." It's as if there is no place to produce the metaphor of promise on the illuminated screen. On the other hand, from the perspective of historical contingency, not only can natural disasters bring about fatalities, they also similarly change the developmental history of urban landscapes and the usage of local, public infrastructure. |