夜霧的港口 |
The Night Mist at the Harbo
|
11min. 3sec, Single-channel video, documents,2022.
《夜霧的港口》以兩件分別發生在日治時期高雄以及當代高雄的同性情殺案為基底,但與其說是詮釋這兩個案件,不如說該計畫只是在擷取這類報導固有的敘事情節為骨幹,配以各種臺灣歷史中各種「一體兩面」的符號,重構一個嶄新的影像敘事。本作引用的歌曲《夜霧的港口》即是具有此類意涵文化產物之一,二戰後禁止日語歌曲傳唱,一些音樂工作者反而將日語流行歌曲填上臺語歌詞以便傳唱,生成的兩首臺日語歌曲便以一種既熟悉又陌生的樣態存在於這座島嶼上。
而「同性情殺」在臺灣歷史中,也是一個有趣的議題,在正史對同性愛者記載的乏之闕如的狀況之下,這類帶有奇觀化有色眼鏡的歷史紀錄,卻是同性愛者在臺灣信史留下的大片足跡。本作認為這樣的「一體兩面」,隱喻了臺灣文化的特性,迄今所見的文化脈絡隱含了外來政權的影子,但在凝聚主體性的當下,卻又無法將其排除在外,而本作期待將這類情境實體化,造就出一個「我即他者」歷史符號的聚合體。按此處以編輯.
而「同性情殺」在臺灣歷史中,也是一個有趣的議題,在正史對同性愛者記載的乏之闕如的狀況之下,這類帶有奇觀化有色眼鏡的歷史紀錄,卻是同性愛者在臺灣信史留下的大片足跡。本作認為這樣的「一體兩面」,隱喻了臺灣文化的特性,迄今所見的文化脈絡隱含了外來政權的影子,但在凝聚主體性的當下,卻又無法將其排除在外,而本作期待將這類情境實體化,造就出一個「我即他者」歷史符號的聚合體。按此處以編輯.
The Night Mist at the Harbor is based on two same-sex crimes of passion taking place respectively in Japanese-rule Kaohsiung and contemporary Kaohsiung. However, instead of centering on the interpretations of the two criminal cases, the artist simply uses existing narratives and plots in this type of journalism as the backbone of the project, and adds various symbols and signs that represent the “duality” characteristic of Taiwanese history to reconstruct a fresh video narrative. Incorporated into this work, the Taiwanese ballad “The Night Mist at the Harbor” is precisely a cultural product that harbors such implication. After WWII, Japanese songs were banned by the authority. Some musicians therefore wrote Taiwanese lyrics for existing Japanese popular songs so that people could continue to sing these songs. Consequently, Japanese songs with both new Taiwanese and original Japanese lyrics emerged in Taiwan and have been passed down through such form of existence that is both familiar yet strange at the same time.
Moreover, same-sex crimes of passion form an intriguing topic in the history of Taiwan. Whereas records of homosexual relationships are little to none in the official history, there have been many biased historical reports of these cases that render homosexual relationship a spectacle. Through this work, the artist argues that such “duality” serves as a metaphor for the characteristics of Taiwanese culture. The cultural context of Taiwan since the past has always been overshadowed by foreign regimes, which is a permanent part of the Taiwanese history that cannot be excluded or erased as Taiwan tries to cohere its subjectivity now. The artist hopes to embody this situation and create an amalgamated historical symbol which indicates “I am the other.”
Moreover, same-sex crimes of passion form an intriguing topic in the history of Taiwan. Whereas records of homosexual relationships are little to none in the official history, there have been many biased historical reports of these cases that render homosexual relationship a spectacle. Through this work, the artist argues that such “duality” serves as a metaphor for the characteristics of Taiwanese culture. The cultural context of Taiwan since the past has always been overshadowed by foreign regimes, which is a permanent part of the Taiwanese history that cannot be excluded or erased as Taiwan tries to cohere its subjectivity now. The artist hopes to embody this situation and create an amalgamated historical symbol which indicates “I am the other.”