展覽「浪濤之下亦有皇都」為藝術家許家維、張碩尹、鄭先喻自2020年起共同推動的計畫，聚焦日本殖民統治台灣時期的製糖產業發展，並以當代影像創作、台灣與日本兩地傳統偶戲表演等，追溯台日之間的歷史與現代化記憶，藉此思考殖民者與被殖民者、操縱者與被操縱者的複雜關係。本展於去年六月由台北駐日經濟文化代表處台灣文化中心攜手國家文化藝術基金會、日本山口媒體藝術中心舉辦，今年5月4日至6月30日將巡迴至鳳甲美術館，展出影像裝置作品《等晶播種》與《浪濤之下亦有皇都》。
《等晶播種》以雲林虎尾的近代史為舞台。1909年，大日本製糖株式會社在虎尾興建糖廠，進而帶動虎尾市鎮的繁榮。然而，虎尾亦在二戰期間作為神風特攻隊飛機場的基地，因此成為美軍攻擊目標；太平洋戰爭尾聲時，虎尾糖廠開始發展並生產高濃度酒精，供給戰時的飛機與車輛所需，以緩解日本的燃料資源短缺。《等晶播種》藉由音樂家於糖廠的演奏、台灣傳統布袋戲演繹皇民化戲碼《鞍馬天狗》，描繪虎尾圍繞糖業而生的現代化記憶。《等晶播種》首次發表於2021年C-LAB未來媒體藝術節。
《浪濤之下亦有皇都》則將目光移至日本福岡縣北九州市的門司及門司港。門司曾為大日本製糖糖廠所在地（目前糖廠由關門製糖營運），而門司港不僅位在當時運輸台製粗糖至日本的海運航線上，亦是外國船舶前往神戶和橫濱途中必經的停靠港，是日本首要的國際港口之一。作品名稱「浪濤之下亦有皇都」源於《平家物語》中的〈幼帝投海〉章節，敘述平安時代壇之浦之役期間，陷入絕境的平時子抱著幼帝安德天皇投海自盡，並安慰他「浪濤之下亦有皇都」，而壇之浦戰場即位在門司對岸，隔著關門海峽相望。《浪濤之下亦有皇都》為三位藝術家與日本山口媒體藝術中心共同製作，以日本傳統藝術「淨瑠璃」回望門司及門司港的戰爭與現代化記憶，本次台灣展出以影像裝置呈現。
兩件作品以糖業發展、戰時記憶及現代化史，串起虎尾與門司兩座市鎮，並透過台灣傳統布袋戲、日本傳統藝術「淨瑠璃」等偶戲中操偶師與偶之間錯綜複雜的互動，思考殖民者與被殖民者、支配者與被支配者的關係，以及歷史如何不斷地生產這樣的關係。
本次展覽開幕將於鳳甲美術館、台灣當代文化實驗場兩地迎來開幕活動。5月4日（六）開幕當日，將邀請日本國際級女流義太夫三味線大師田中悠美子、日本藝術家／實驗音樂家大脇理智、香港作曲家許德彰、台灣擊樂演奏家余若玫進行開幕表演暨座談。5月5日（日）藝術家許家維、張碩尹將於台灣當代文化實驗場，以跨國共製為題，分享此次與日本山口媒體藝術中心的合作經驗；同時，四位表演者亦將於當晚進行第二場表演。展期間亦有多場專家導覽，邀請觀眾以不同視角欣賞作品，深思展覽中交織於過去與現在、傳統與創新、虛與實之間的議題。
表演者介紹
田中悠美子
田中悠美子於日本東京藝術大學主修音樂，師承多位日本「人間國寶」大師竹本駒之助、四世野澤錦糸及四世竹本越路太夫等，學習義太夫節及義太夫三味線，為國際級女流義太夫三味線大師。為了將義太夫三味的聲音帶入現代表演，田中積極與世界各地不同領域的創作者合作，包含即興音樂、當代音樂、劇場音樂、電影音樂及流行音樂等，從事豐富的表演與創作活動。田中曾獲多個獎項殊榮，如日本文化廳「藝術選獎文部科學大臣新人賞」（1990）、日本音樂大賽委員會特別獎（1999）等，並於2009年成為義太夫節保存會會員，獲得重要無形文化財產的認定。
大脇理智
1977年生於日本愛知縣。大脇理智就讀日本東北藝術工科大學期間，師事藝術家幸村眞佐男。1999年起，他以藝術家團體「dumb type」成員身分，參與「memorandum」等多場巡迴演出，亦以個人身分發表許多裝置及表演作品。2003年開始，他加入山口媒體藝術中心，運用他在媒體藝術及身體表達方面的專業知識，為製作現場提供想法並付諸實行。大脇理智的裝置作品《Skinslides》榮獲2012年第16屆日文化廳媒體藝術節評審委員推薦作品、2015年台北國際藝術博覽會JAGUAR 科技藝術獎。
許德彰
作曲家許德彰出生於香港，先後於香港演藝學院及阿姆斯特丹音樂學院完成學士及碩士學位，並於波士頓大學取得博士學位。在近期的作品中，許德彰多與不同領域的藝術家及學者合作，實踐將音樂研究與3D 空間聲響模型、物理模型聲音合成、沉浸式音響等不同音樂科技結合，以人聲、樂器和電聲重建過去到今天的聲響世界，以聲音述說一個個不同年代與區域的故事。其作品曾於第三十八屆入野賞、Chaosflöte Commission Competition 2019 等多個國際作曲比賽中獲得首獎，亦受世界各地專業樂團、獨奏家、音樂節等委託創作室內樂或多媒體作品。
余若玫
台北教育⼤學畢業後，前往法國、瑞⼠⽇內瓦接受擊樂表演藝術教育並取得碩⼠⽂憑。2010至2011年為德國「摩登樂集」學院團員（Ensemble Modern Academy—IEMA ensemble），隨後於德國法蘭克福⾼等⾳樂學院取得最⾼演奏家⽂憑（Konzertexamen）。2011年與Trio Onyx三重奏於德國柏林獲Boris Pergamenschikow基⾦會之室內樂⾸獎。旅歐期間，曾多次參與國際性⾳樂節演出與各類⾳樂研習⼯作坊，嘗試並探索與多⽅領域合作的表演形態，豐富了其對於當代⾳樂的語彙，視野及演出經驗。回國後，現為「出入游樂」與「頑劇場」成員，從事擊樂相關表演藝術演出與教學。
展覽藝術家介紹
許家維
1983年生於台中市。2016年畢業於法國國立當代藝術工作室。許家維作為藝術家、導演及策展人，他的作品融合了當代藝術與電影語彙，發掘圖像創作過程背後的複雜生產機制。在藝術實踐的方式上，特別著力於影像創作背後的行動性，並透過建立鏡頭以外的事件，連結正規歷史描述所未及的人、物質與地方的關係。曾於北師美術館（2019）、森美術館（2018）、鳳甲美術館（2016）、荷蘭凡阿比美術館（2015）等地舉辦個展，亦曾參與各地國際雙年展、三年展、美術館聯展及影展；策劃展覽包含《亞洲藝術雙年展》（2019）、《台灣國際錄像藝術展》（2018）、曼谷文化藝術中心《理解的尺度－台泰當代藝術交流展》（2012）等。
張碩尹
1982年生於台北市。張碩尹藉由科學與生物知識，創造出富含意象與戲劇性的作品和沉浸性裝置，探索個人、科技及社會的關係。他透過不同的創作方式參與許多藝術計畫，藉此強調當代社會的不同層次，包含以個體歷史呈現現代台灣面貌的作品。張碩尹曾於北師美術館、台北市立美術館發表個展，並參與廣州三年展、濟州雙年展、台北雙年展、康普頓．維尼畫廊、 惠康基金會的聯展與委託製作。
鄭先喻
1984年生於高雄市。作為藝術家及軟體開發者，鄭先喻的創作包含藝術作品、軟體，以及結合電子設備的實驗性生物力學裝置。他的創作聚焦人類行為、情感、軟體與機械之間的關係，並透過幽默的方式表達出他對社會與環境的獨特觀點。他的個展與聯展多發表於台灣、亞洲及歐洲地區，近期曾參與廣州三年展、台灣美術雙年展，以及荷蘭、斯洛維尼亞、挪威、義大利、德國與法國等地的展覽。
The exhibition There Is Another Capital Beneath the Waves is a project jointly initiated by artists Chia-Wei Hsu, Ting-Tong Chang, and Hsien-Yu Cheng in 2020. It focuses on the sugar industry in Taiwan during the Japanese colonial period and traces the historical relationship and memories of modernization between Taiwan and Japan through contemporary visual creations and traditional puppetry performances. The exhibition reflects on the complex relationships between colonizers and the colonized, as well as between manipulators and the manipulated.
The exhibition was first held at Yamaguchi Center for Arts and Media (YCAM) in Japan last June in collaboration with the Taipei Economic and Cultural Representative Office in Japan and the National Culture and Arts Foundation. From 4th May to 30th June this year, it will be showcased at the Hong-Gah Museum, featuring the video installation works Crystal Seeding and There is another capital beneath the waves.
Crystal Seeding is set against the backdrop of modern history in Huwei. In 1909, a Dai-Nippon Seito sugar factory was built, which propelled Huwei to develop significantly with the sugar industry at its core. However, during World War II, Huwei served as a base for the Kamikaze airfield, becoming a target of attacks by the U.S. forces. Toward the end of the Pacific War, Japan faced fuel shortages and ordered the sugar factory to develop and produce high-purity alcohol that could be used as airplane and vehicle fuel. Crystal Seeding vividly depicts the modern memories centered around the sugar industry in Huwei through the music played by musicians at the sugar factory and the traditional Taiwanese Glove Puppetry. The Taiwanese Glove Puppetry performed in Crystal Seeding is an adaptation of Kurama Tengu (written by Osaragi Jiro) and translated by the artists. Kurama Tengu was performed during the Japanese colonial rule as part of the attempted Japanization of the population. Crystal Seeding premiered at the C-LAB Future Media Arts Festival in 2021.
There Is Another Capital Beneath the Waves shifts its focus to Moji and Moji Port in Kitakyushu, Fukuoka Prefecture, Japan. Moji was once the site of the Dai-Nippon Seito sugar factory (currently operated by Kanmon Seito company) and was located along the maritime route transporting the raw sugar produced in Taiwan to Japan. Moji Port was also a stopover for foreign ships heading to Kobe and Yokohama, making it one of Japan's leading international ports. The work’s title is derived from The Tale of the Heike, the chapter titled Drowning of the Emperor, describes the desperate Taira no Tokiko threw herself and the young Emperor Antoku into the sea, comforting him by saying “There is another capital beneath the wave” in the Battle of Dan-no-ura. Dan-no-ura, where the decisive clash between the clans took place, is a bay in the Kanmon Straits, with Moji on the opposite shore. There Is Another Capital Beneath the Waves is a collaboration between the three artists and YCAM, using the Japanese traditional puppet theater art form, Joruri, to revisit the wartime and modern memories of Moji and Moji Port. In the Hong-Gah Museum, the work is presented in the form of a video installation.
Huwei and Moji are connected in both works through the development of the sugar industry, wartime memories, and modern history. By the Taiwanese Glove Puppetry and Joruri, the intricate interplay between the puppeteers and the puppets, the manipulators and the manipulated are depicted. History is characterized by the recurring emergence of energies that produce this relationship.
The opening events will take place at the Hong-Gah Museum and C-LAB. On 4th May (Sat.), there will be an artist talk and performance featuring internationally renowned Gidayu-bushi Yumiko Tanaka, Japanese artist / experimental musician Richi Owaki, Hong Kong composer Tak-Cheung Hui, and Taiwanese percussionist Rho-Mei Yu. On 5th May (Sun.), the two artists Chia-Wei Hsu and Ting-Tong Chang will share their international collaboration experience with YCAM at C-LAB. Additionally, the four international performers will present a second performance that evening. During the exhibition, a series of guided tours with the artists and professionals will be introduced to the audiences to experience the show from various perspectives and to contemplate the intertwined issues inside the works.
Performers
Yumiko Tanaka
Majored in musicology at Tokyo National University of Fine Arts and Music and its graduate school. Studied Gidayu-bushi and Gidayu-shamisen under the female Gidayu reciter Komanosuke Takemoto (Living National Treasure) and the late Bunraku shamisen performer Kinshi Nozawa IV (Living National Treasure). She has the stage name Tsuruzawa Yumi, under the care of the late Bunraku reciter Takemoto Koshiji Tayu IV (Living National Treasure). Yumiko Tanaka is designated as the general holder of Important Intangible Cultural Property of Gidayu-bushi.
In order to bring the acoustic world of the Gidayu shamisen to life in the modern age, she performs and composes in a variety of music scenes, including improvised music, contemporary music, theatre music, film music and popular music in Japan and abroad.
Received the 1990 Art Encouragement Prize from the Minister of Education, Culture, Sports, Science and Technology, the 1993 Seieikai Incentive Prize, and the 1999 Special Prize from the Japan Music Competition Committee.
Richi Owaki
Born 1977 in Aichi Prefecture. Richi Owaki studied under Masao Kohmura at Tohoku University of Art & Design. Since 1999, he has become a member of the artist group “dumb type”, participating in tour performances such as “memorandum”, and has also presented many individual installations and performance works. From 2003 to 2024, as a “Mediaturge” at the Yamaguchi Center for Arts and Media (YCAM) InterLab, he used his expertise in media technology and physical expression to propose ideas and realization methods in the field of production. His installation work Skinslides was selected as a Jury Recommended Work at the 16th Japan Media Arts Festival (2012) and won the “Jaguar Asia Tech Art Prize” at the Taipei International Art Fair (2015).
Tak-Cheung Hui
HUI, Tak-Cheung is a Hong Kong-born composer. His works ranged from chamber/orchestral and electronic music to multi-disciplinary works and installations. His recent works often cooperate with artists and scholars in different disciplines, employing immersive and spatial audio, physical model sound synthesis other music technologies to reconstruct the present and past soundscape with human voice, musical instruments, specially-made, and electroacoustics instruments, telling tales, and stories of different eras and regions through sound.
Hui started self-learning guitar and played in a rock band before he started his formal education in music at Hong Kong Academy for Performing Arts. He completed his master’s degree in Composition at Conservatorium van Amsterdam and received his DMA from Boston University.
Over the course of his career, Hui has been awarded numerous prizes, including 1st prize in the 38th Irino Prize, Chaosflöte Commission Competition 2019, Leibniz Harmonien International Composition Competition 2016 and Atlas Ensemble Composition Competition 2014. His works have also been performed in different festivals by professional ensembles.
Rho-Mei Yu
Rho-Mei Yu is aTaiwanese percussionist born in 1982. She received her Bachelor’s degree from the National Taipei University of Education and her Master’s degrees from Conservatoire de Boulogne-Billancourt in France and Haute Ecole de Musique de Geneve in Switzerland. She obtained her Konzertexamen in HfMDK Frankfurt am Main in Germany.
Yu became a member of the IEMA Ensemble in Germany in 2010, and received First Prize for Chamber Music from the Berlin-based Boris Pergamenschikow Foundation in 2011 for her work with the Trio Onyx.
During her stay in Europe, Yu participated in various international music festivals and workshops, exploring collaborative performance forms with diverse fields and enriching her experience and perspective in contemporary music. After returning to Taiwan, she is currently a member of iOFloat Ensemble and Theatre des Enfants Terribles, engaging in percussion-related performance and education.
Artist
Chia-Wei Hsu
Born 1983 in Taichung. Graduate of Le Fresnoy National Studio for Contemporary Arts in France in 2016. Chia-Wei Hsu’s work as an artist, filmmaker and curator merges the languages of film and contemporary art and unearths the complex mechanisms behind the production of images. Through his artistic practice, Hsu weaves connections between humans, materials and places that have been overlooked or omitted in conventional historical narratives. He held solo exhibitions at Museum of National Taipei University of Education(2019), Mori Art Museum (2018), Hong-Gah Museum (2016), Van Abbemuseum (2015), etc. His works also presented in various international biennale, triennale, museum group shows, and film festivals. He is also the curator of Asian Art Biennial (2019), Taiwan International Video Art Exhibition(2018), and THAITAI: A Measure of Understanding at Bangkok Art and Culture Centre (2012).
Ting-Tong Chang
Born 1982 in Taipei. His imagery, dramatic works and immersive installations based on scientific and biological knowledge, explore the relationships between human individuals, technology and society. He has been involved in numerous projects that highlight aspects of contemporary society by various approaches, including works that present an overview of modern-era Taiwan from the viewpoint of personal history. He held solo exhibitions at the Museum of NTUE and Taipei Fine Arts Museum and has participated in group shows and commissioned projects in Guangzhou Triennial, Jeju Biennale, Taipei Biennial, Compton Verney Art Gallery and Wellcome Trust.
Hsien-Yu Cheng
Born 1984 in Kaohsiung. Artist and software developer who creates artworks, software, and experimental biomechanical devices incorporating electronical equipment. Through his works with a focus on human behavior, emotions, software, and relationships between machines, he communicates his unique view of society and environment in humorous ways. His solo and group exhibitions were mostly exhibited in Taiwan, Asia and Europe. Recently, he has participated in the Guangzhou Triennial, Taiwan Biennials, and some other exhibitions in the Netherlands, Slovenia, Norway, Italy, Germany and France.
