李勇志 Lee Yung-Chih

在晚上偷偷跑到工廠外面拓印，我利用一種過去在中國傳承歷史的古老印刷技術，原本是用來保留書法的字型與記載歷史故事。我則是將偷來的中小企業商標置放在美術館，於是這樣就可以名正言順的展示拓印得來的歷史與文化：那些不知名的公司商標與名字。

在印尼日惹短期的駐地作品，原本不為人知的半夜盜版行動變成另一種需要申請的「合法」創作，只是當中發生作品被扣留的插曲，更像在駐地創作會出現的不確定因素，並成為當地民眾和藝術交織的故事。

在日惹策展人與助理建議下，我將目標轉換成日惹身為文化之都的古老商店，而非當地少之又少的製造業工廠。原本刻意操作的政治與品味的嘲諷感消失了。如同紀錄影片的標題：「給那些即將逝去的」，盜版行為變成像是對於懷舊正版的招魂儀式，以潦草的印刷技術拓印出像鬼畫符般的替身。

When I first did it in Taiwan, I was using an ancient printing skill called “rubbing” but I kind of reversed its typical object: i wasn’t rubbing ancient monument, but I was rubbing modern industrial company boards. I was “pirating” their trademarks into my artwork and put them into a museum, just like a display of hidden Taiwanese economic history. And I expect to create a sense of irony by showing no one really care about them, the so-called economic miracle, unless we “pirate” them into a group.

Originally, it’s an sneaky behavior at night. Now the scene shifts to Jogja,it becomes a legalized act only through formal procedure, which erases the sense of irony I meant to create in my previous series of work. The interval of detained work could explain the difference.

So how to respect the local culture of Jogja yet reach the “pirating” effect? I guess the answer is in my video title : “To Those about to Disappear.” I choose to rub old store sign boards. It’s like a nostalgic act to those genuine ones, wishing to witness their existences by rubbing out their ghosty shadows.











Malioboro’s night crew / Alin Liandisshanti Ahmad Habiby Dicky Arif Probo Darmawan Hendra pramana uluy Weri Trasia

Videography by / Ahmad Habiby Hendra pramana uluy Weri Trasia

Special Thanks / Ahmad Habiby