錢江衍派
第15屆
2017
視覺藝術入圍

《錢江衍派》是一項由四名藝術家與四個家庭共同合作的電影計畫,這項計畫的發想源自於參與社會運動的經驗。四名藝術家在參與太陽花運動的過程中發現,家人雖然都肯定近代民主政治的發展,卻對於當今的社會運動有著諸多疑慮 ; 此外,即便父母成長於社運蓬勃發展的80年代,當年卻也都不曾親身參與其中。四名藝術家決定透過「拍電影」來和家人一同追溯這段過往,並藉此溝通彼此不同的想法,他們將監獄文學作家施明正的小說和生命經驗改編為劇本,而家人們則在片中飾演戒嚴時期的異議份子 ; 然而,家人們卻在電影的拍攝過程中漸漸地進入了自己的回憶,成了各自生命故事的回顧與反思,最後的電影則呈現了這段家人之間互動的過程。

這項計畫將電影作為翻轉現實關係的溝通平台,藉此在家庭內打開過往被閉鎖的話語。一方面,嘗試在「少數經驗」的重演中,重啟社會多數人與異己間的協商 ; 另一方面,則面對了家庭內部溝通的不可能性。

Time Splits in the River is a collaborative movie project created by four artists and four families. The conception of the project originated from the artists’ involvement in a social movement. While taking part in Taiwan’s Sunflower Movement, the four artists realized that their families are quite hesitant about today's social movements despite them being in agreement with Taiwan’s modern democratic progress. Furthermore, although their parents grew up in the 1980s when social movements flourished, they had never participated in any. The four artists then decided to use filmmaking to trace back to this period in time with their families and to use the opportunity to communicate with each other. They have created a screenplay by adapting a novel by writer and political prisoner SHIH Ming-Cheng, with dissidents from the martial law period portrayed by members of their families. As the plot advances, their families also begin to slowly become entangled in their own past, with the film capturing the recollection and introspection of their own lives. The process of the families’ interactions is then ultimately presented in the film.

The project employs film as a communication platform to subvert relations in life and to spark dialogues that have been avoided in the past amongst the artists' families. On the one hand, through reenacting these social minority’s experiences, the film reintroduces conversations between the social majority and dissidents; on the other hand, it exposes the impossibility of internal family communication.

 

廖烜榛、黃奕捷、李佳泓、王又平

LIAO Xuan-Zhen, HUANG I-Chieh, LEE Chia-Hung, WANG Yu-Ping

 

廖烜榛,生於1993年,高雄,台灣。

黃奕捷,生於1992年,台南,台灣。

李佳泓,生於1992年,台中,台灣。

王又平,生於1993年,台北,台灣。

四人為大學同儕,2015年畢業於台北藝術大學美術系,現活動於台北,台灣。 2013年起,四人便數度與同儕、家人合作創作計畫,嘗試在藝術生產的實作中發展與「異見」對話的工作方法。作品以行為表演、錄像、計畫型創作為主,包含:《生伙計畫—家庭洄游》、《澄橙》、《錢江衍派》、《中國城大戲院》等。

 

LIAO Xuan-Zhen was born in 1993, Kaohsiung, Taiwan.

HUANG I-Chieh was born in 1992, Tainan, Taiwan.

LEE Chia-Hung was born in 1992, Taichung, Taiwan.

WANG Yu-Ping was born in 1993, Taipei, Taiwan.

Being classmates, the four members all graduated from the Department of Fine Arts, Taipei National University of the Arts, and are now based in Taipei, Taiwan. Since 2013 onward, they have initiated several artistic projects with their peer artists and family members, attempting to develop in and from these projects a more communicative creativity that enables dialogues with "dissidents." Their works range from performance art, film, to art project, including: Project on Fire: Families’ Migration, Graveside, Time Splits in the River, Chinatown Theater, etc.

 

藝術家 / 導演
廖烜榛、黃奕捷、李佳泓、王又平
主演
廖燈炎、黃南洋、李坤明、王志敏
美術
陳慶銘
音效
林奕碩
配樂
林奕碩、陳以德
場務
徐筠婷、黃奕翔
翻譯
謝東霖
2016/01/23 - 2016/03/06
台南絕對空間

關鍵字

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    評審談作品

    這些縫隙不僅揭露了日常的歷史,也成為整個計畫最具觸情力之處

    入圍理由 Comments from Nomination Committee

    與其說《錢江衍派》是由四位年輕藝術家王又平、李佳泓、黃奕捷、廖烜榛共同拍攝的一部「電影」,毋寧說,這部電影的產生本身即為一場橫跨了世代與世代、個體與集體記憶間的事件。該片腳本圍繞著橫跨文學、繪畫等領域的政治行動者施明正,然而演員卻是四位年輕藝術家的父親,作為子女的藝術家藉著與父執輩進行對話以產製出一部劇情片,但這些父親不僅並非職業演員,更非政治受難者,在演出過程中不經洩漏原本的身份,當表演岔出敘事,演員的身份回返為父親,這些縫隙不僅揭露了日常的歷史,也成為整個計畫最具觸情力之處。(主筆/簡子傑)

    Instead of describing Time Splits in the River as a "film" co-created by four young artists, WANG Yu-Ping, LEE Chia-Hung, HUANG I-Chieh, and LIAO Xuan-Zhen, I would rather say that the production of the film is an event that spans two generations as well as individual and collective memory. The script evolves around SHI Ming-Zheng, a political activist in the fields of literature and painting, but the actors are the fathers of the young artists. As the children, the artists conduct dialogues with their fathers to create a drama film. However, the fathers are neither professional actors nor political victims, and cannot help but expose their identities in the process. When the performance digresses and gives space for other narratives, the actors become fathers again, and the narrative cracks not only reveal the past of their everyday life, but also become the most precious thing in the entire project. (Commentator: JIAN Tzu-Chieh)