小花計畫展 —— These Flowers. Musical Memory & Art Exhibition
查無此人
Where Have All the Flowers Gone
「時間是記憶最大的敵人？」
每天路過「全家」，卻發現「全家」不是我們的家；每個禮拜去逛「家樂福」，卻買不到我們家的快樂與幸福。二十一世紀最簡單的迷路是我們找不到回家的路，上個世紀最傷的一颗心是「有家歸不得」，這個世紀掉下的第一滴眼淚竟然是「無家不得歸」。
老人家說起落葉歸根，不想變成老人家所以離開家的我們，沒想到變成了還沒有落就沒有了根的一片葉子⋯⋯。我們最初憂心忡忡、尋尋覓覓，世界那麼大，找不到一個一起回家的那個人；我們變得失魂落魄，奮不顧身找到了自己，卻找不到可以一起回去的那個家。我們等到了可以一起回家的那個人，我們找到了可以回家的那條路，可是卻再也回不到那個家。我們找到了彼此，卻各自變成了各自的異鄉人。我們多久沒有寫信，就有多久沒有寫信回家，昨天忍不住一筆一畫在信封上寫下這輩子第一個背下來的那個住址，今天被郵差退信的理由不是「查無此家」，而是「查無此人」。沒有家的我們只是個異鄉人，遊走在似曾相似的記憶裡。
漸漸地發現「時間」是個溫柔的殺手，追逐時間的我們，在匆忙之間慢慢遺忘曾經珍惜的一切。原以為會一直保留在記憶深處的一瞬之間，卻也隨著季節汰換失去了光影。如今，第五年的小花計畫，我們描繪起各自的回憶，透過流行音樂重組原本失去記憶的節奏，再度喚起了回憶的旋律。配合不同的視覺藝術團隊，融入光影、互動與跨媒介材質，聽覺描繪了記憶的骨架，視覺豐厚了回憶的肉身，一首首樂曲皆是不斷提醒我們面對不願失去的一切，這些善意的設定，只願讓你在聽完音樂後，彷彿也體驗過每個人的故事。
最終，回歸初心，找尋你不願失去的＿＿＿。
“Is time the greatest enemy of memory?”
The easiest way to be lost in the 21st century is to lose one’s way home.
The greatest sorrow in the last century was “unable to return to one’s home.
The first drop of tears in this century is unexpectedly shed for “having no home to go back to.
We started These Flowers project in the Autumn of 2015, right before the demolition and relocation of Gong-He Military Village in Donggung, Pingtung. The elders used to say that fallen leaves would eventually return to their roots. We leave because we wish to resist getting old, yet we become rootless leaves before even withering. At first, we worry and search in the endless world to find the person that we can go home with. We get frustrated; we fight regardless of all risks; we find the self, but cannot find the home to return to. We find the person to go home with and track down the path that leads to home, only to find that “home” exists no more. We find each other, only to become drifters in the end. The time that we have not written a letter is how long we have not sent a letter home. Yesterday, I could not help but picking up the pen to write a letter with that very first address I ever memorized; today, the letter was returned. The reason for the failure to deliver is not “address nonexistent” but “addressee unknown.” Without home, we are mere drifters, wandering from one familiar memory to another.
Gradually, we realize that “time” is a tender killer. As we chase after time, we have slowly forgotten everything we used to cherish. Those moments that we thought to be carefully preserved in our minds have lost their luster along the course of seasonal cycles. As of now, These Flowers project has reached its fifth year. We hope to portray each other’s memories, using popular music to recreate the lost rhythm and to recall the melodies buried our reminiscence. The artists have teamed up and employed light and shadow as well as interactive and interdisciplinary media to echo the music. As the sense of hearing materializes the bone structure of memory, the sense of sight gives memory a corporeal existence. Each song seems to remind us of things we do not wish to let go. Through these well-intentioned works, it is hoped that every listener can experience others’ stories when listening to the music.
Let’s return to the most innocent self to look for ______ that we have tried so hard to hold on to.
時間｜2019 / 4 / 27 — 7 / 7
地點｜台北當代藝術館
計畫策展人 — 方序中
計畫執行總監 — 陳勇志
音樂執行總監 — 瑪莎
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志樂制樂 (林強+許志遠) X 黃邦銓＆蔡孟閶 – 《 台灣是好所在 》
Aspiration Music Productions (Lim Giong + DJ POINT) X Huang Pang-Chuan ＆ TSAI Meng Chang –
Incomplete Memories
多媒體裝置作品《台灣是好所在》，由音樂人林強、許志遠與藝術家黃邦銓、蔡孟閶共同創作。
在音樂上，林強和許志遠汲取臺灣傳統民謠都馬調為本，電子合成樂器為用並以臺語做為音樂上的呈現，試圖在「新」與「舊」承啟之間，銜接傳統裡活水般豐沛的能量，以鎔鑄或碰撞出創作的新意象。
在動態裝置上，擅長以影像詮釋時間流逝的黃邦銓，透過多影格的影像串連，讓底片紀錄下的人事物景在連續不間斷的逐格播放中，映現生活的吉光片羽和喃喃自語式的聲調情境，漫開一種鄉土的古韻情懷與在地的近身親切感。而靜態的五幅畫作，是藝術家蔡孟閶以描繪老家的系列作品，呼應詞曲裡對疼惜土地與感恩惜福的對話。畫中寧靜所跡化的歲月，耙梳著自己的情感,紀錄先輩們篳路藍縷的歷程，同時封存著他對消失的老家與童年的回憶。他們對臺灣這塊土地追尋的精神原鄉，透過各自體會的生命形跡與觸動，提取一種慢生活的步調作為當代文化過渡的反思，同時關注環境以及在地風土人文的紮根。
Panorama video installation, Incomplete Memories, is co-created by musicians Lim Giong and Point as well as artists Huang Pang-Chuan and Tsai Meng Chang. To create the music, Lim and Point base their work on traditional Taiwanese folk melody of “Doumadiao” and combine synthesized music and the Taiwanese language to portray the vibrant energies that connect the new and the old, ushering in a fresh music style through amalgamating or colliding different elements.
In terms of the video installation, Huang Pang-Chuan, who specializes in interpreting disappearing time through image, uses frames of images to show a series of photographed figures, objects and scenes, unveiling fragments of life through whispering sounds. A quaint sentiment informed by the nostalgic feelings for one’s native home as well as a sense of familiarity can be perceived in the work. The five paintings, on the other hand, are part of Tsai Meng Chang’s painting series featuring his native home; they respond to the cherishment of land and the feeling of gratitude expressed in the lyrics of the song. The representation of tranquility and time in the paintings materializes the artist’s emotion and documents the challenging journey of the older generations; at the same time, these paintings also preserve the artist’s memories of a disappeared home and childhood. Through these artists’ quest of a home for the spirit on this land and their personal understanding of life and its rhythm, the work takes a slow pace to reflect upon contemporary culture while bringing the environment and folk culture into focus.
阿信 X 明和電機 – 《 隱形的紀念 》
Ashin X Maywa Denki – the hidden memories
雙頻道錄像裝置作品《隱形的紀念》由音樂人阿信，以及來自日本的明和電機共同創作。阿信重新轉譯愛與守護是有幸福期限的，當隱形的紀念遁入了時間軸，莫忘旅途的風景與足跡。而明和電機從阿信的詮釋中提取精神意象，將時間賦載的情感轉化為書卷閱讀的情致，以全新製作的木製樂器書《文庫楽器》，創作新樂曲回應與阿信的彼此交會。
同時在展檯與書架上，展示了以書為擬向而開發設計的樂器，包括：木魚、陶笛、拇指琴、玩具鋼琴、烏克麗麗等，七本可以演奏的書籍，形構一個不只是單純的聽覺體驗，也是與視覺關聯的探索，其中蘊藏著一種另類的幽默感。他們賦予獨創的樂器為「無厘頭機械」載體，超越一般人對於樂器形體的認知，他們將樂器的名稱書寫在書脊上，如「カリンバ(Kalimba)」，彷彿這是一本關於非洲拇指琴相關知識的文庫書，當彈奏時通過聲音就像召喚了非洲景觀的聯想。而「文庫樂器」是一個藉由樂器製作以收集世界各地聲音記憶的項目，在逐一聚集的「文庫樂器100卷」系列，就如同一部聲響的百科全書。明和電機對機械的熱情和手製的工匠精神，融合搖滾詩人阿信的新演繹，重新激發人們對於機器的情感與想像。
Two-channel video installation, the hidden memories, is co-created by singer-songwriter Ashin and Maywa Denki from Japan Ashin reinterprets the idea that the happiness of loving and guarding someone might have an expiration date; but when rememberance becomes invisible and submerged in time, one should never forget the beauty and experiences gained along the journey. Extracting the essential imagery from Ashin’s interpretation of the song, Maywa Denki translates the passing time loaded with emotions and feelings into the mood for reading, creating a set of new wooden instrument-books, entitled BUNKOGAKKI, to be used in composing fresh melodies and respond to Ashin’s music.
Displayed on the table and bookshelf are newly developed instruments in the form of books; they include wooden block, ocarina, kalimba, toy piano and ukulele. The seven musical books constitute an experience that engages the sense of hearing and visual exploration while revealing an alternative sense of humor. Maywa Denki calls these unique musical instruments “nonsense machines,” For this reason, they specially put the names of the musical instruments on the book spines, for example “Kalimba”, as if it is a pocket book regarding to the knowledge of kalimba. When playing the “kalimba,” its sounds conjure up African scenes in our mind. BUNKOGAKKI is a project that aims to create musical instruments to collect sonic memories from around the world. The series will become a set of sonic encyclopedia when it reaches BUNKOGAKKI Vol. 100. When Maywa Denki’s passion for machines and artisan spirit for handcrafted objects meet the fresh music interpretation by rock’n’roll poet Ashin, people’s feelings and imagination for machines will be awakened.
魏如萱 + 鳳小岳 + 陳建騏 X 豪華朗機工 – 《 很難很難 》
waa wei + Rhydian Vaughan + George Chen X LuxuryLogico – Hard, Hard
複合媒材動力裝置作品《很難很難》由音樂人魏如萱、鳳小岳(合作作曲)、單曲音樂總監陳建騏以及藝術家豪華朗機工共同創作。從樂曲到藝術裝置，交融了創作者對於生命消逝與新生的情感投射，魏如萱以迎接新生命的喜悅，同時遭逢家人、摯友和寵物殞落的劇變，藉以詞的譜寫，敘事生命一生一滅的往復循環。
而藝術家團體豪華朗機工以「光」作為詞意連結的氛圍營造，亦是追憶離世的團員以及感懷城市變奏中消逝的人、事、物，試圖帶入生命流動的意象。藉由物件的集體意識拼湊出一個似家又似桌案的複合體，有書桌、廚房、公車站、家窗、屋簷、街角、路燈或海岸等等，這些場景象徵著記憶的片刻。透過動力機械裝置，光球順著音樂在空間中飄移，光落在家窗，它便是為歸家人而留的一盞燈；落到了海岸，便成了落日……。隨著光點游移在不同的物件上，便召喚了不同的記憶。此作，以光引導視覺，進入音樂語境，重現追憶的時光與記憶的場景，試圖於重溫回憶之時也轉化出新生的力量。
Mixed media kinetic installation, Hard, Hard, is co-created by singer-songwriter waa wei, Rhydian Vaughan (song co-writer), single music director, George Chen and artist collective LuxuryLogico. Both the song and the art installation reveal the creators’ emotional projection about the disappearing and birth of life. waa wei’s lyrics depict the cycle of life inspired by her experience of rejoicing in the arrival of a new life and accepting the loss of a beloved family member. close friend and her pet.
LuxuryLogico uses “light” to connect the work and the lyrics to create the overall atmosphere; it also serves as the key imagery that embodies life’s flow, their remembrance of a departed group member and a sentimental perception of disappearing lives, things and stories in the changing city. They use objects to create a unit that simultaneously resembles a house and a desk, blending moments of memories symbolized by a desk, kitchen, bus station, house windows, eaves, street corners, street lamps, seashore, etc. Mechanically controlled, a glowing sphere follows the music and floats in the space. When the light shines through the window, it becomes a lamp left on for those that come home late in the night; and when it reaches the seashore, a setting sun suddenly comes into view. Whatever object the light moves onto, a different memory is evoked. Using light to guide the audience’s vision to gradually enter the music, the work recreates moments and scenes from the past, reliving old memories while introducing the force of a new life.
家家 X 曲倩雯 – 《 回家 》
Jia Jia X Vvzela Kook – Go Home
《回家》錄像裝置作品由音樂人瑪莎、家家與香港藝術家曲倩雯共同創作。瑪莎以歌手順子的成名曲《回家》重新編曲，由家家厚實嗓音的聲線，演繹關於家、漂流以及和原生土地分離等糾結的心境。瑪莎在整首歌曲中收錄現場的環境音，藉由混音技術將旅人與火車的記憶風景，由聲音串起／穿越鄉村、城鎮、都會與跨域的空間記憶，堆疊出離鄉背井的離人對故鄉的懷思，透過耳機的聆聽凝塑出對家的情感音景。
從心像—音像—視像的擴展，曲倩雯以多重的紋理與觸動深層的感知面，由家家詮釋原住民消逝的家，連結曲倩雯創作脈絡的延展，在錄像中隱伏多重交疊的離散敘事，包含她以科技的創作手法虛擬香港九龍寨城的復刻、溫哥華移民，以及曲爺爺的兄長歷經韓戰輾轉來臺的故事，多線的視角彼此穿插，映射了遷徙、移民與離散的跨域想像，引申了回家與不能回家的兩面探觸。同時在「視」與「聽」的交會上，香港藝術家曲倩雯從音樂與聲音獨特的穿透性，呈現她對臺灣的山、海、離別與尋找的視像詮釋。
Go Home is a video installation co-created by musician Masa, Jia Jia and Hong Kong artist Vvzela Kook. Masa re-arranges singer Shunza’s hit song, Go Home, to be re-interpreted by Jia Jia with her soulful voice, portraying the complex feelings about home, a drifting life and the separation from one’s native land. Throughout the music, Masa uses sound-mixing technology to combine ambient sounds with the music to evoke memories about travelers and traveling by train. Through sounds, the work mixes and transports listeners through rural, village, urban and interregional memories, layering travelers’ longing for home and conveying an emotional soundscape of home as the audience attentively listens through the headphones.
Expanding mental image through sound and visual image, the video reveals Kook’s use of multi-layered texture and appealing to audience’s sensibility as well as Jia Jia’s interpretation of indigenous peoples’ loss of home. The work also continues Kook’s creative work, in which she has embedded intricate, overlapping narratives of diaspora, such as her virtual replication of Hong Kong’s Kowloon Walled City, stories about the migrants’ in Vancouver, and her grandfather’s brother who fought in the Korean War and eventually settled down in Taiwan. Various perspectives and narratives are woven together to reflect a cross-regional imagination about migration, immigrants and diasporic experiences, initiating a dual discussion about returning home and failing to do so. Meanwhile, delineating an intersection of “audio” and “visual” perceptions, Kook also employs the characteristically penetrative quality of music and sound to “visualize” her interpretation of Taiwan’s mountains and sea as well as that of separation and quest.
方序中 X 蘇益良 – 《 親愛的____ 》
Joe Fang X Liang Su – Dear____
多媒體裝置作品《親愛的____》為策展人方序中與影像工作者蘇益良共同創作。
此作以一個巨大的量體盤踞於空間中央，似一個時間的巨人生長出許多觸角，沿著天花板延伸連結至空間裡的其他作品，以此做為演繹時間具像化的鋪陳。
作品中以方序中的外公為拍攝主角，由外公的影像來詮釋時間的變化。他是「小花計畫」至今五年以來作品裡的核心人物，指涉了每個人皆有長輩或思念的人，藉此角色讓每個人省思自己存在的由來與價值。此次創作特地回到方序中屏東老家東港共和新村進行拍攝，過程中，外公所有細微的情感變化皆顯露於鏡頭中。透過多媒體裝置的呈現，將影片慢速播放投影於紗幕上，風與紗的遇合，人像落映在一個模糊的介面，隨著時間而忽明忽暗，若隱若現，於隱晦不明之間泛起人們召喚記憶或勾連輪廓，但轉瞬間影像淡去而趨向遺忘的彼岸。作品試圖以此激發人們對自己的警惕與思考。同時，藉著觸角的引導，讓觀者逐一聆聽另五首作品，運用耳機的聆賞以聽覺做為隱形隔間，圍繞著它來聆聽，距離在這裡既緊密且包容，使音樂成為時間的藝術，漫開意象在一種流動且持續地運動中……。
Multimedia installation, Dear ____, is created by Joe Fang, the curator of this exhibition, and photographer Liang Su. Sitting at the center of the gallery room, the massive installation, like a giant of time, extends its feelers to connect with other works on display in the space and assumes the physical manifestation of time.
The photographic subject, Fang’s maternal grandfather, whose images serve as interpretations of the ever-changing time, has been the key figure of These Flowers, a project that Fang has worked on for five years. Upon seeing these images, elders in the audiences’ families or people missed by them are brought to mind; and through this character, everyone is encouraged to reflect upon the origin of one’s existence and value. Fang returned to his hometown, Gong-He New Village, in Donggang, Pingtung to photograph this series. Throughout the creative process, each subtle change of his grandfather’s inner world, along with all his feelings and emotions, is revealed and captured by the camera. In this multimedia installation, the slow-motion video is projected onto a tulle screen. As the tulle screen flutters in the air, the photographic images resting on an indistinct interface fall into an elusive state and are only discernable intermittently. Their ambiguous existence evokes the memories that soon fade away as the images disappear into oblivion. The work serves as a thought-provoking reminder about oneself. At the same time, it guides the audience with its extending feelers to listen to the other five works, which the audience can isolate themselves in an invisible, personal space separated from the surrounding by listening through headphones. Listening to the other works around the installation, physical distance is replaced by an intimate and encompassing experience. Which made music as an art of time, and the overflowing images will remain fluid in their constant motion….
李英宏 X 新興糊紙文化 + 齊振涵 + 李嘉泉 – 《 有前無後 》
Ying-Hung Lee X Hsin Hsin Joss Paper Culture + Hans Chyi + Lee Chia Chuan – One Way
複合媒材裝置作品《有前無後》由音樂人李英宏、新興糊紙文化組織以及服裝設計師齊振涵、李嘉泉共同創作。李英宏在樂曲上汲取不同年代的音樂記憶，運用多樣複合曲風的節奏與旋律安排，以紙紮傳統文化的寓意：對極樂世界的想像以及對至親的悼念，轉化成舞曲派對的意象，將紙紮賦意的寄託轉譯為一個全新的概念。
造形上，展出的「臺式靈厝」從骨架竹編綁紮成型，到民間神話色彩的圖樣色紙，以及紙屋外觀的剪紙裝飾等，是新興糊紙文化遵循「傳統紙紮靈厝工藝」的古法所製作，其住宅型式亦從傳統廟宇、三合院的漢式紙厝，逐漸走進現代化的臺灣「樓仔厝」，發展出獨特臺式混搭的糊紙工藝文化，而引領往者前往西方極樂世界的金童玉女，以鶴做為腳下坐騎指涉長命、吉祥又有駕鶴西歸的寓意。此外紙紮屋大多由正面觀視，其背面留白有著「有前無後」的傳統隱喻，意指厄運不會接踵而至。因此齊振涵與李嘉泉藉由時裝的概念以敞開式的構思，讓觀者得以環視他們轉化傳統工藝與新潮演繹的細節：從外觀的冷光線條、內裝新舊混搭的紙質包材，去回應年代層疊的裝飾壁花與摩登派對布花，同時加裝迷你旋轉燈，呈現復古舞廳般的氛圍。由此傳統新繹，類比焚化紙紮的儀式以傳遞訊息，與現代社會人們將資訊上傳至雲端，若合符節，是溝通，是不捨，是對未來的冀盼，更是不想遺忘。
Mixed media installation, One Way, is created by musician Ying-Hung Lee, Hsin Hsin Joss Paper Culture, organization, fashion designers Hans Chyi and Lee Chia Chuan. For the music, Ying-Hung Lee brings together music of different eras and adopts a diverse and mixed music style to portray the cultural meaning of traditional papier- mache offerings—the imagination of an afterworld paradise and the mourning for the dearly departed are transformed into a dance party, providi,g a fresh interpretation of papier- mache offerings and their significance.
The work adopts the form of “the Taiwanese-style paper house” (three two-story houses connected sideways), which is made by Hsin Hsin Joss Paper Culture, following the tradition methods and designs of “traditional paper house offerings,” from tying the bamboo structure, to using colored paper that carry the colors of folk myth, to cutting paper decorations to adorn the exterior of the building. The architectural style of these paper houses has also evolved from copying traditional temples, to Han people’s three-section residential compounds, to modernized Taiwanese two-story houses, revealing the uniquely hybridized style of papier- mache art in Taiwan. The boy and girl attendants, made as companions of the deceased in the journey to the Western paradise, stand on cranes, which is a symbol for longevity and auspice as well as a reference to the euphemism, “the deceased rides the crane and returns to the West.” A traditional paper house only has a façade for display and the back is usually left blank, a traditional metaphor for “moving forward without returning and leaving anything behind.” Hans Chyi and Lee Chia Chuan reinterpret this traditional concept from the angle of fashion design, enabling viewers to look at their transformation of the time-honored craft and all the reinvented details from all angles: they use luminescent light to outline the external form and mix old and new paper materials for the interior to echo decorative styles of different eras, such as flowery walls and modern floral fabric. They also put in a mini disco light to create a retro dance club vibe. Foregrounding the similarity between the concept of sending messages to the dead by burning paper offerings and the contemporary practice of uploading information to the cloud, the work expresses both our need to communicate and our unwillingness to let go of what we have lost, providing hope for the future and denoting our refusal to forget.
茄子蛋 X 王宗欣 – 《 我夢見了小叮噹 》
EggPlantEgg X Cowper Wang – XiaoDingDang in My Dreams
多媒體互動裝置作品《我夢見了小叮噹》由音樂人茄子蛋與藝術家王宗欣共同創作。茄子蛋在歌曲中詮釋童年時期對於舊動畫的思念，述說「童年的卡通都比較好看！」也因此意識到自己永遠也回不到過去，透過這首歌提取記憶裡童年的想像力，以保存「好玩」的心態去想像這個世界。
記憶總是不經意地襲來，《我夢見了小叮噹》是一種對過去的投射。一張照片、一段影片或一段聲音，揉合於空間與時間的流逝之中，彼此交疊混雜著遺忘，流動的記憶如果可以被看見會是什麼樣貌？王宗欣將空間視為一個巨大的掃描器，他設置一個無法打開穿越的家門，意味著時間是一個單向前進，只能出而無法進入，同時他在門的貓眼上架設錄像攝影機，由內向外窺視流動的人群，不斷紀錄穿越這個空間後，留下不規則片段堆疊的軌跡，時而具象時而流逝消散，將可視的記憶投射於空間之中流竄，其變形、扭曲與浮空流動的超現實感，彷彿顯化了記憶裡情感連結的輪廓意象。
Interactive multimedia installation, XiaoDingDang in My Dreams, is co-created by music band EggPlantEgg and artist Cowper Wang. EggPlantEgg interprets their nostalgia for childhood cartoon animations in the song, expressing the idea that “childhood cartoons are always more enjoyable!” This song by EggPlantEgg draws inspiration from childhood imagination in memory that enables one to see the world from a fun-inducing perspective and become aware that time can never be turned back.
Memory has always unexpectedly snuck upon us. XiaoDingDang in My Dreams unfolds a projection of the past. A photograph, a video clip or an audio segment is integrated into the space and with the flow of time, overlapping with each other and oblivion. What would the fluid memory be like if it could be seen? Cowper Wang views the space as a gigantic scanner, for which he installs a house door” that ironically cannot be opened, symbolizing that time is always moving forward in one direction and only allows exiting but not entering. Meanwhile, he sets up a video camera looking through the peephole, secretly viewing the crowd outside the door and documenting the traces created by people going through this space manifested as irregular layers. They sometimes form concrete images, and are sometimes showed as dispersing, disappearing traces. Projected into the space, the visible memories flee in all directions and create a surreal scene with their morphing, distorting, floating and fluid existence, outlining the connection between memories and emotions.
告五人 X 吳仲倫 – 《 鹿 》
Accusefive X Chung Lun Wu – Dear
複合媒材動力裝置作品《鹿》由音樂團體告五人與導演吳仲倫共同創作。告五人以此首寫於未出道前的歌曲，源源流出對世道、對離合的感嘆，也是記述他們一路以來成長的足跡，在經歷累積後重新詮釋這首歌，是一種對家鄉潮濕黏膩的回望，也是探問在走向成熟的路上依舊珍視如昔的是什麼?
而吳仲倫以「壁癌」為靈感，將小時候對於潮濕的切身記憶，轉化為一組機械結構的裝置作品，連結了彼此離家出外打拼的共鳴。他說：總是有著各種的理由帶你離開家、出外打拼，接著有各種藉口讓你延長這段離開的時間。潮濕的記憶，以及關於家的記憶，在遠離家的時候持續的滾動。「家總是會一直在那」是充滿安全感卻又日漸脆弱的相信，它不會完美的運作、平均的分配動能。也許只是家裡最不重要的、角落的一片壁癌讓人意識到時間，點醒了對家的一種食之無味、棄之可惜的情懷。藉此時間之於無用機械的隱喻，為時下被科技快速進步而掏空心靈的每一個人，找回一個寧靜的出口。
Mixed media kinetic installation, Deer, is co-created by music band Accusefive and film director Chung Lun Wu. With this song, which was written before the band debut, Accusefive expresses their feelings about the world with all its sorrow and joy. Meanwhile, the song also records their growth along their journey. To reinterpret this song after gaining more experiences feels like taking a retrospective, emotion-filled glance towards one’s home. It also poses a question: what is it that we still cherish as we eventully getting more mature and growing older in life?
Wu, on the other hand, draws his inspiration from “efflorescence,” transforming his personal memory of dampness into a kinetic installation and linking it to his experience of leaving home to pursue a professional career. According to Wu, there are always many reasons that bring one away from home, whether it is work or any other excuse that prolongs one’s absence at home. The memory of dampness and that of home have always kept spinning in his mind while he is away from home. The idea that “home is always there” might be assuring, but it also grows more fragile and unreliable over the course of time. This installation does not operate in a perfect balance and distribute the kinetic energy evenly. A small area of efflorescence on a wall at home can suddenly remind one of time’s progress, calling to mind how we have taken the existence of home for granted and failed to cherish it. Through this useless machine that serves as a metaphor for time, it is hoped that the work can provide a tranquil outlet for everyone at a time when people’s inner world seems to be emptied by rapid technological progress.
宇宙人 X 紀昀 – 《 請勿觸摸 》
Cosmos People X Asking Gee – Don’t Touch
多媒體互動裝置作品《禁止觸摸》，由音樂團體宇宙人與藝術家紀昀共同創作。
宇宙人將日常的感知經驗帶入歌曲創作，其靈感來自於對喀什米爾地毯的觸摸經驗，有感而發地將觸感殘留的記憶做為歌曲詮釋。而擅長新媒體創作的紀昀透過對位投影的互動裝置，當觀眾去觸碰牆面上的壓克力方塊，影像與聲音隨之改變，而懸吊的耳機裡所流瀉的宇宙人創作的歌曲，也同時產生變化。
以這件作品反映了科技的進以及實體物品的虛擬化，改變了現代人的生活形態與消費習慣，也改變了物件的呈現方式。如手翻書之於電子書、汽車類比音響系統之於平板介面。而這樣的變遷，導致我們對於許多物品的第一觸感經驗不是物件本身的真實觸感，取而代之的是冰冷的螢幕，使我們喪失了許多能第一時間體驗到物品觸感的機會。然而，正因為每種物件有著不同的觸感，讓我們能在各式物件上寄予不同情感，因觸覺感受而讓記憶留存地更為深刻。
Interactive multimedia installation, Don’t Touch, is co-created by music band Cosmos People and artist Asking Gee. Cosmos People incorporates perceptive experiences into Song writing, drawing inspiration from the feeling of touching a Kashmir rug and interpreting the tactile memory through the music. Specializing in new media art, Asking Gee uses interactive installation and mapping projection to generate visual and audio variations when audiences touch the acrylic cube on the wall. When changes in the projected image occur, Cosmos People’s music that can be heard from the headphones will change accordingly.
The work reflects how technological advancement is ensued by the virtualization of physical objects, which has altered modern people’s ways of life and consumption as well as how objects are revealed to people. Changes, such as physical books are replaced by electronic books and automobile stereo systems are now controlled with tablets, have led to the absence of our “first-hand” experience of things. Instead of genuinely touching an object, people find themselves faced with a screen that lacks warmth and deprived of the chance to touch and feel the object. However, the sense of touch and the feeling of touching an object allow the emergence of varying sentiments and emotions toward different objects. In a way, tactile perception has always deepened and strengthened our memory of things.
HUSH X 李霽 – 《 大樹小花 》
HUSH X Lee Chi
複合媒材裝置作品《大樹小花》由音樂人HUSH與藝術家李霽共同創作。HUSH為了紀念家門口的一棵老芒果樹，以他一貫輕柔的情感特性與風格，創作了這首歌。也許是懷念芒果樹在成長過程的一路陪伴，也許代表「家園」的象徵，抑或是對於舊時代嚮往的投射。而李霽在裝置上以植物的素材去表達消失的植物，將芒果樹的輪廓重現於空間中，並複合其他種類植物製成似是被剝除了外衣的器官組織，以殘缺不全的姿態進入觀者的視野，同時藉由冷藏庫與植物的寓意連結，回應許多時候我們使用的一些解決方式，是因為出於非自願性的方法，藉以獲得對於美好事物的暫存，之於那棵消失的樹，只能透過構築出的輪廓去臆想原來的形體與樣貌。
樹的意義就是成長的記憶。我們身旁的人事物，早於平凡生活之中，悄然無聲地進入我們的記憶，以至於當有一天它們消失不見之時，我們傷感、無奈和悵然若失，然而情感卻也如同那老芒果樹一般，根深蒂固，偶爾隨風搖曳，在心中盪起一陣漣漪。
Have You Been There? is a mixed media installation co-created by singer-songwriter HUSH and artist Lee Chi. To commemorate an old mango tree in front of his home, HUSH wrote this song in his usual tender style informed by touching emotions, perhaps as a way to cherish the memory of having the mango tree as a companion when growing up, to make the mango tree a symbol of “home,” or to convey his nostalgia for the good old days. Lee Chi uses plants to depict the disappearing tree in the installation, recreating the silhouette of the mango tree in the space. Moreover, he incorporates other plants to produce organ-like tissues without external skin, displaying their incompleteness to the viewers. The connection between a refrigerator and plants also responds to the fact that sometimes people’s solutions are methods of involuntariness that can only preserve beautiful things temporarily. Therefore, one can only imagine the original form and appearance of the disappeared tree based on the constructed silhouette.
The meaning of the tree lies in the memory of growing up. People, things and events around us have always quietly entered our memory in daily life. Therefore, when they finally disappear some day, we feel sad, helpless and despondent; however, our feelings, like that old mango tree, have taken roots deep within us, occasionally dancing with the wind and causing ripples in our hearts.
紀 念 週 邊
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小花計畫展 —— These Flowers. Musical Memory & Art Exhibition
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Where Have All the Flowers Gone
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志樂制樂（林強＋許志遠）Ｘ 黃邦銓＋蔡孟閶
阿信 Ｘ 明和電機
魏如萱＋鳳小岳＋陳建騏 Ｘ 豪華朗機工
家家 Ｘ 曲倩雯
李英宏 Ｘ 新興糊紙文化＋齊振涵＋李嘉泉
茄子蛋 Ｘ 王宗欣
告五人 Ｘ 吳仲倫
宇宙人 Ｘ 紀昀
HUSH Ｘ 李霽
方序中 Ｘ 蘇益良
特別邀請 — 劉若英
————
計畫策展人｜方序中
計畫執行總監｜陳勇志
音樂執行總監 ｜瑪莎
指導單位｜台北市文化局
計畫發起｜相信音樂國際股份有限公司、必應創造 B’in Live 、BIOS monthly 、究方社
主辦單位｜台北當代藝術館 MOCA Taipei 、台北市文化基金會
協力單位｜Artcoustic、Fenko Catalysis Chamber 鳳嬌催化室 、SENNHEISER
贊助單位｜SUNPRIDE FOUNDATION、春之文化基金會、 Epson 、Samsung、老爺會館、文心藝術基金會、 SABON、福修文化藝術基金會
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計畫執行專案 Project Executive｜牛子齊 Desiree Niu
影片影像統籌 Video Director｜8ID Studio
主視覺設計 Key Visual｜方序中 Joe Fang. 楊士慶 Shi-Ching Yang @究方社 JOEFANGSTUDIO
週邊商品延伸設計 Merchandise Design｜方序中 Joe Fang. 林婉筑 East Lin @究方社 JOEFANGSTUDIO
展場攝影 Photographic｜蔡秉孝 Ping-Hsiao Tsai. 吳昭晨 Jauchen Wu @尖蚪映畫 Foufa Studio
商品棚拍 Photographic｜蔡秉孝 Ping-Hsiao Tsai @尖蚪映畫 Foufa Studio
小花紙製作團隊 Paper Producer ｜Fenko Catalysis Chamber 鳳嬌催化室
撕紙大隊 Paper Prepare｜East Lin、Molly Chang、Fred Tsai @究方社 JOEFANGSTUDIO