地震博物館
Earthquake Museum
2024
空間尺寸
觀念裝置、複合媒材
Conceptual Installation, Mixed Media
《地震博物館》這件作品大致分成三個部分，第一個部分是關於地震的傳說神話和寓言。藝術家參考臺灣原住民各族地震相關的神話傳說與描述，創造了一隻野豬頭、牛角、鯨魚身體、巨人腳…..，約12公尺的巨大奇異生物「哇茲姆」的化石，在有花蓮地震拆除的瓦礫和土方中散落與高低起伏的呈現。第二個部分是藝術家團隊至數個地震現場勘景與採集物件及植物，透過壓印翻模製作成如化石質感的文物。第三部分是工作坊，邀請當地居民攜帶和地震相關的物件來參與，進行物件故事的分享。並引導民眾以壓印、灌模，後製成化石質感，並將其陳列出來。
該作品呈現方式，揉雜並置了博物館的展示陳列和工地鷹架，呈現不穩定、臨時性、變動性的感受。期望透過神話、採集、工作坊三種方法和線索，來對「地震」這個主題進行重新認識，也試圖以一個不同且深入的視野及角度，試圖重新思考地震對人類的影響及面對它的觀看態度。
The piece Earthquake Museum is divided into three parts. The first part explores myths, legends, and fables on earthquakes. The second involves the artist’s team visiting various earthquake sites, collecting objects and plants, and through pressing and casting techniques, these items are transformed into artifacts with a fossil-like texture. The third part is a workshop, where local residents are invited to bring personal earthquake-related items and share their stories. Using the threads of mythology, collecting, and workshops, this project offers a new lens on the theme of “earthquakes.” It aims to provide a deeper, more nuanced perspective, encouraging us to rethink how earthquakes affect humanity and challenge the ways we perceive and respond to them.
涂維政
TU, Wei-cheng
1969年生於台灣高雄，2005年臺南藝術大學造形所畢業，現為國立臺北藝術大學專任助理教授。作品曾受邀於2006《上海雙年展－超設計》、2007義大利拿坡里當代美術館、2008紐約皇后美術館、2012廣東美術館《第四屆廣州三年展－見所未見》、2012韓國《第九屆光州雙年展－圓桌》、2013新加坡美術館《歷史上的重量》、2017英國維多利亞與亞伯特博物館V＆A Museum，2018《第一屆泰國雙年展》永久典藏，2019受邀於荷蘭國家博物館個展，2020受北川富朗邀請參與《第二屆日本奧能登藝術季》，2022年受邀法國尼斯亞洲藝術博物館個展。
創作將「自我」異變成「體制」，作品擬造考古背景真實所編造的「歷史證據」，將「科技擬古物」與不同文明、不同時代的特有形制相互拼貼，在作品中包覆交融當地傳說與當代現象，產生歷史與真實錯置的謬誤感，指涉他所理解的資訊文明狀態，並思考社會普遍存在文化主體認同的歧異與焦慮症。
Born in Kaohsiung, Taiwan in 1969, Tu Wei-Cheng holds an MFA from the Graduate Institute of Plastic Arts of the Tainan National University of the Arts (2005). He now works as an artist, as well as a Assistant professor at the Taipei National University of the Arts in Taiwan.
He has exhibited internationally, including at the Museum of Asian Arts, Nice, France (2022), Oku-Noto Triennale 2020+ in Japan (2020), Rijksmuseum, Netherlands (2019); 1st Thailand Biennale, Krabi, Thailand (2018); V&A Museum, U.K. (2017); Singapore Art Museum (2013); Gwangju Biennale, South Korea (2012); Guangzhou Triennial, China (2012); Queens Museum, U.S. (2008); Palazzo delle Arti Napoli, Italy (2007); and Shanghai Biennale, China (2006).
Pivoting around the idea of self and system, his work is a hybrid of archeological excavation and contemporary life, where modern technological gadgets are transformed into ancient relics from an imaginary civilization, deeply imbued with an upturned sense of time. Sometimes site-specific, his large-scale installation becomes a manifestation of local folklore and contemporary phenomena, placed in a falsified reality that has crossed paths with the ancient past. The artist contemplates cultural identity, as well as the incongruities and anxieties that ensue, in an effort to reinterpret the Information Age.
