2017

Parellel Solo exhibition

​八月十五 朱駿騰個展

August 15th
2017

7 channels video 12 tracks sounds mutimedia installation 

HD
12:05 minutes (loop)

 

八月十五
2017

​十二頻道影像,七軌聲音多媒體影音裝置

12:05 分鐘 (無限循環)

August 15th
2017

7 channels video 12 tracks sounds mutimedia installation 

HD
12:05 minutes (loop)

 

八月十五
2017

​七頻道影像,十二軌聲音多媒體影音裝置

12:05 分鐘 (無限循環)

“August 15th” is a video narrative work I produced after many years away from the genre, in which I attempt to capture, re-present and transform things that seem to have disappeared from parallel and scattered images.

 

A lost person, a patient with Alzheimers shuffling along

The whole work includes 7 videos and 12  sound tracks ,We can take them as 10 simultaneously independent and parallel stories - while each of them is tell the story about the status of time/ lost/ searching

In the year it took to make the necessary preparations for this work, during which I met many individuals suffering from memory issues or cognitive dislocation and their family members. I chatted, observed and even sought to be part of their daily lives in an attempt to get closer to them, but over time I gradually came to see myself and feel that “forgetting through illness” is in fact something that happens to all of us each and every day:

 

walk, time, loss, wandering again...

《八月十五》是我隔了多年後重新回到影像敘事的一組作品,和我以往社會政治指涉性強烈作品不同的是, 我試著把視角重新拉回到生存的原點, 希望可以從更本質出發來討論關於身分/遺忘/尋找…等我長期關心的個人困境

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整個展覽包括了7個影像與12聲道音軌 , 組織成一件龐大多重敘事影音裝置, 我企圖在這些平行零散的影像中捕捉與重現那些看似已經消失的, 我們可以把他們看成10個獨立又平行發生的故事, 每個故事都是說著關於時間/ 失去/ 尋找這些狀態

 

準備作品的一年裡,我密集接觸這些因各種原因而對記憶與認知錯位的朋友。我不斷藉由聊天、觀察甚至到實際生活⋯⋯試圖更接近他們一些,但隨著時間,我漸漸看到自己,也開始體會這些所謂「生病的遺忘」其實也只是每天都會發生在我們身上的日常 所以我從來就沒有想處理疾病與老人的問題, 我只是從他們如此單純與不掩飾的日常中看到了生活與存在的本質

“Auguest 15th”   ◎  Lin Yi-Hsiu

For the last year Chu ChunTeng has spent much of his time traveling between centers in Taipei and Hsinchu that care for patients with dementia. The individuals in these institutions have had their memories and identities wiped away by illness, with segments of short-term memory leading their bodies like a replay button, as they wander, hesitate and forget things before even remembering them. Memory lapses mean that every day they repeat the same self introduction as before, returning to the beginning of conversations while still in the middle. This is their daily life, a question repeatedly being asked.

In recent years, Chu ChunTeng, who has a background in cinema, has adopted a creative methodology that involves “constructing a narrative through an installation.” By focusing on the contradictions between objects he examines the layered relationships between history, culture and society from his own perspective. On this occasion he takes “August 15” and a hospitalized senior suffering from Alzheimers as his starting point, asking questions through simple images. The installation image taken from monitor footage shows a senior who remains missing. The picture, which is labeled “August 15, 2016,” stops time in the moment before the person disappeared. The impersonal viewpoint of the monitor and the voices of family members describing their loved one, creates an imagined image for viewers, which together with the boundary marker-like installation point to the nowhere found “That-has-been” in the real world.

We get a sense of Chu ChunTeng's film work from the dual frequency video that takes up most of the exhibition space. In one of his earlier cinematic pieces “The House of Sleeping Beauty,” the movement of the camera often seems to be “searching” for something and the director provides the audience with an answer when the shot stops moving. If we review the video recording the wanderings of an Alzheimers patient, then the line of the shot in the left picture is like an old piece of furniture, waiting for her to appear in the spaces she traverses each day. This use of camera shots is already very different to the fusion, overlapping and multi viewpoint editing of “The House of Sleeping Beauty.” At this point the sense of time and shot progress at the same speed, contrasting the direct physical sensation showcased in the right picture with the constant cycle seen in the left picture as the person passes through the space. The juxtaposition of the two videos played simultaneously creates a bizarre mirror image wherein the camera moves and it is still searching, though in this instance no answer is indicated.

The video and the audio use an external montage that is woven into a larger narrative structure in the display area, with visitors able to traverse the scenes in the film, effectively reassembling and adjusting narrative relationships that are usually controlled by the artist. At the other end of the display area, subjects are shown in a different state of being filmed with three portrait-like pictures and it is here that Chu ChunTeng uses moving images for purposes of photography, so the individuals photographed are in the same state as before the picture is taken. That moment of waiting in front of the camera is transformed into a gaze whereby the patients stare at the viewers and the screen becomes a mirror image. In this way, the photographer/audience are the ones viewed and the process of gradually seeing oneself in the images, of which either the entrance or the exit, is the focal point for the question we've been asked repeatedly day after day.

「 八月十五 」 ◎林怡秀 

過去一年,朱駿騰往返於台北與新竹的照護機構,院中的人們被病症擦去記憶與身分,短暫的記憶區段如重複播放鍵般牽引著身體,令他們遊走、躊躇、尚未想起又再度遺忘。在記憶的時差下每天重複著前一次的自我介紹、在話題未歇處重談最初的討論,這些是他們的日常,日常是一道不斷重啟的問句。

「以裝置作品建構敘事」是電影背景出身的朱駿騰近年來的創作方法,藉由物件的矛盾狀態,他持續以個人角度層層剝看歷史、文化與社會的關係。此次他以「8月15日」及院中一名患阿茲海默症的長者為起點,試圖以更純粹的影像展開提問。擷取自監視器畫面的裝置影像,記錄一名至今未能尋獲的失蹤老人身影,這幀標註著「2016年8月15日」的畫面,時間停滯在一個人的消失之前,無人稱的監視器視角與家屬描述的語聲,為觀者勾勒出一道想像的身影,與地界樁般佇立的裝置一同指向現實中無處可尋的「此曾在」。

而在展場內佔據最大尺幅的雙頻影像作品中,我們似乎能察覺源自朱駿騰電影作品的痕跡。在他早期創作的電影作品《睡美人》裡,攝影機運動的路徑經常帶有「尋找」的作用,導演有意識地在鏡頭移動的終點處為觀眾提供解答。反觀這件紀錄阿茲海默症者遊走行為的影像,左側畫面中的鏡頭視線猶如來自房間中的老家俱,在她日日遊走穿行的各個空間中等待她的到來,鏡頭應用已不同於藉由融接、交疊、多視角剪輯所組成的《睡美人》。此處的時間感與鏡頭等速前進,相較於右側畫面所展現的直接身體感,左側畫面在人物一次次穿行空間的過程裡,呈現出不斷迴圈的狀態,兩組畫面的對映猶如奇異的鏡像,攝影機運動在此仍在嘗試尋找,但已不再指向明確的答案。

影像及聲音,以外部蒙太奇的方式在展場中混織為更大的敘事結構,觀眾以身體穿越電影中的各幕,在影像中自行重組、開啟原本應掌握在創作者手中的場面調度與敘事關係。展場另一端,三幅肖像般的影像分別拍攝狀態不一的對象,朱駿騰在此以動態影像執行靜態攝影的任務,使鏡頭前的被攝者保持在快門尚未開啟之前的狀態,等待的時刻在攝影機前被轉換為凝視,螢幕化為鏡像,攝影者/觀者成為被影像觀看之人,而這般回到自身的顯影過程,既是那道日常問句的入口,也是出口。

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