《BM0702號石》(2007)

涂維政 Wei-Cheng Tu

《BM0702號石》*8，雕塑(人造石)，25×25×8 cm ×8，2007。 

《BM0702號石*8》是2000年以來製作《卜湳文明遺跡》作品計劃中的其中一件作品。作品中使用類似畫像石的石刻出土文物質感，與新世代資訊產物――滑鼠、喇叭、手機、手提電腦、數位相機、混音器等3C產品結合。《BM0702號石*8》仿製現今的遊戲搖桿，也對未來遙桿形式與造形進行想像。遊戲搖桿造形近似於男性或女性生殖器，它滿足操控世界的欲望，某種程度也接近一種精神自慰的行為。

「卜湳文明遺跡」作品將這種「科技擬古物」與不同文明、不同世代的特有形制相互拼貼，並擬造考古背景的真實性。這些作品中不盡合理地混合我們對文明遺跡、傳統文物、傳統藝術與當代藝術展陳方式的刻板經驗與記憶，錯亂觀賞的時間定位。同時將 創作╱策展╱美術館╱觀看 平行輸出，所產生對舊╱新、傳統╱當代、真／偽、虛／實、創作╱策展、個人╱機制、藝術╱市場 非二元關係的提問與詰思，造成時間與空間錯置的謬誤感與複雜的視覺感官經驗。

「卜湳文明」是一個混雜各種世界文明與資訊神話化想像的綜合體，它所象徵的是資訊網路流通與其文化交融的現象觀察，是一個現象體，它特別可能會在上述這樣背景的城市「出土」，它穿越國界與區域文化的藩籬，在這個交互主體性的文本創造平台中，作者與讀者與環境、歷史、文化、時間、空間…互相對話所創造的視域融合，是我企圖想要紀錄並加以想像神話化的動機。在這樣的體驗中，思考文明與現象之下的自我存在與其依存的關係。「卜湳神話」也將在這樣的「出土」事件，逐漸被詮釋或發掘建構出來。整個作品是一個充滿後設與想像性的「未來考古學設計」，也可說是虛擬考古歷史而透過編、導、演、產、銷…的實擬手法，設計一套關於過去現在未來的文明神話機制。

Stele No.BM0702, Statues (Artificial stone), 25×25×8 cm ×8, 2007.

These works are combination of two concepts. The carved texture of the stones, resembling the figure stone which excavated cultural relics, and information outcomes of the new era--such three-c products as mouse, loudspeaker, mobile telephone, laptop, digital camera, audio mixer etc.. “Bunam Civilization Site” works make the “technological products imitating artifacts” mixture of particular mechanisms from diverse civilizations, different generations. These works also imitate the authenticity according to the archaeological background. The amalgamation rationally commix our stark experiences and memories of civilized relics, conventional artifacts with art as well as contemporary way of art display. Chronological orientation, too, is viewed in a disordered way. Meanwhile, the works dual elicit the concept of creation / curation / museum collection system / viewing are simultaneously. The questions highlighted through the non-dualistic relationship between old/new, traditional/contemporary, creation/curation, individual/system, art/market in the work are clearly the motivation behind the creative process, which evoke the fallacious feeling of disorder in time and space, providing us with intricate experience of vision sense.

“Bunam Civilization” is the synthesis, combining all kinds of global civilizations and apotheosized imaginary information, which symbolizes the information network circulation and phenomenon observation of cultural mingle, a phenomenal entity. The possibility of “artifacts excavation” taking place in cities with this background is quite large. Basing on the text creation of interaction agent, “Bunam Civilization” crosses the national boundaries and hedge of regional culture. Such vision amalgamation created through conversation between the author and readers on the environment, history, culture, time, space…, is the motivation of the artist’s intention to record, to imagine, to apotheosize. Via this experience can we ponder on the relationship between aseity and things depend on that. Consequently, “Bunam fable” will be gradually annotated or unearthed, fabricated with the brake out of the “artifacts excavation”. The whole work is abundant of further development and imaginative “future archaeology design”. In other words, it seemingly imitate the archaeological history while virtually using the tact through the process of edit, direct, act, product, sell…, thus, devising a series of pass-present-future-related civilized fable mechanism