剝離 – 尋常痕跡技術操作 Peeling–Technical Experiments with Everyday Marks
展覽簡介 Introduction
路邊偶然發現快要掉下來的生鏽金屬的油漆背面像是靈芝般紋路，生鏽的結晶附著成時間的等高線記錄著像是不同時期的地層結構。這些出現在我們環境周遭顯得粗糙的「材料」，在被視為無用塵埃、成為垃圾焚毀之前，透過如此尋常的「奇觀」，見證了某種微型的歷史痕跡。
「掉漆溫室」裝置：嘗試以「實驗室」的方式來加速生產與「培育」鐵板烤漆製品的斑駁痕跡。人工的「養殖」，也對照「野生材料」的自然衰敗，重新看待物質的淘汰與延續，存在與死亡。
On the street, paint peeling from rusting metal has patterns on its back similar to those of the lingzhi mushroom, and the crystalized rust conforms to the contours of time, documenting almost stratigraphic records of different periods. Before such inferior materials, so commonly seen in our daily lives, are disposed of as useless waste and incinerated into ash, they also serve as an everyday spectacle, marking a sort of micro history. From this history, witnessed by the peeled paint and rediscovered on the street.
The Lak Tshat Greenhouse: “Lak tshat” is the Taiwanese term for “peeling paint”. It is designed to accelerate the production and “incubate” mottled marks on painted metal products in a laboratory setting. In addition to artificial “cultivation”, it aims to cogitate upon the elimination and continuation as well as the existence and demise of substance in comparison with the decay of “natural materials”.
科學與創意協作：宋佳芸 Creative＆Scientific Collaborator - SONG Chia Yun
靜態攝影：顏楷倫
．掉漆採集 Lak Tshat
2019-2022，鐵鏽、塗料、影像輸出 rust, paint, digital print
在一次路邊偶然發現快要掉下來的生鏽金屬的油漆背面像是靈芝般紋路，驚訝之餘，開始展開了一連串「採集掉漆」的行動。
生鏽的結晶附著成時間的等高線像是記錄著不同時期的地層結構，我將各地採集而來的「掉漆」鋪設在地面上，用直覺與即興的方式將之拼合像是製造出新的地圖，同時又保持著散裂般的自由像是它們擁有各自的生命。
Lee once stumbled upon a piece of the peeling paint on the corroded metal that appeared like patterns seen on lingzhi mushrooms. Surprised by it, Lee then embarked on a series of actions collecting “Lak Tshat” (or literally “peeling paint”). Rust marks come to form a contour map of time, seemingly documenting the geologic structures of various periods. Placing the “Lak Tshat” which Lee have collected from different places on the floor, Lee uses an instinctive and improvisational approach to collage them together to form a new kind of map. At the same time, the pieces are kept separated and free, seemingly having an autonomous life of their own.
．鏽液採集 Collecting of Rust Liquid
2022，白膠、鐵鏽、食鹽 white glue, rust, table salt
白膠在濕度的變化中介於白色與透明的「隱藏」特性 ，乾燥之後同時如皮膜般質感，往往是附著於主體用完即丟的中介材料，在此用來收集「掉漆溫室」剩下的鏽液。
一是鹽霧液體幾百個小時循環運作不斷累積的鏽液，並將此過程，作為展覽必須「作品化」，名正言順展示「痕跡」的時間點。
二是對現場噴霧鐵件流下的鏽液進行採集，除了是時間不斷累積的動態捕抓，同時也可以用來對C-Lab園區管理中心「掛保證」，展覽結束之後場地要「恢復原狀」的承諾，因為這就是作品在做的事情。
As its level of moisture changes, white glue would go from white to clear, which allows it to acquire a “concealed” quality, and after it has dried, it would take on a skin-like consistency. Often applied as an intermediary medium adhered to something that is used and then thrown away, it is utilized in this project to collect the leftover rusty liquid in the “Lak Tshat Greenhouse”. First of all, the rusty liquid is the result of running a salt misting system continuously for hundreds of hours, with the process transformed into a work of art to be exhibited and “imprints” of specific points in time justifiably showcased. Secondly, the rusty liquid oozing out of the metal part of the misting system is collected on-site, and in addition to being a dynamic way of capturing the continuous accrual of time, it also serves as a form of “guarantee” to the C-LAB management, promising to “restore” the venue back to its original conditions at the end of the exhibition, which happens to be exactly what this artwork is doing.
．時間的計數Counter of Time
2022，LED字幕機、錄像裝置
LED electronic scroll、video installation
金屬物件在鹽霧試驗中的腐蝕速度大約是自然環境下的360倍，於是嘗試把人工的「養殖」行為與採集「野生掉漆」累積的年分化約成可視化的數字：每秒跳動做為暫時的「共時」感。但就算如此，我們依然還在期待「生鏽靈芝」在溫室中誕生的一刻，就算是最終宣告「養殖」實驗失敗，才發現在意的也許是對於擬仿自然的一種想像，甚至只是一種無效實踐的過程。
The corrosion rate of metal objects in the salt spray test is about 360 times that of the natural environment. Attempts are made to turn the years accrued on the “Lak Tshat” collected through efforts of artificial “cultivation” into tangible numbers, with each passing second treated as a fleeting sense of synchronicity. We remain hopeful that a “Rust Lingzhi” will be born in the greenhouse; however, even if this “cultivation” experiment would ultimately be declared a failure, we’ve already realized that what we really care about is using an imaginative way to mimic nature and the point is even just about the process, even if the practice is deemed ineffective.
工作坊- Workshop – 「都市靈芝」採集－ 漫遊、考察與技術操作
The Collection of “Urban Lingzhi”- Wandering , Investigating and Technical Experiments
閉幕座談 Closing Talk – 科學 Ｘ 藝術 Science X Art
與談人Speakers
李勇志 LEE Yung-Chih、宋佳芸SONG ChJia-Yun /藝術家 (Artist)
孫以臻 Yi-Cheng Sun /獨立策展人 (Independent Curator)
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「剝離 – 尋常痕跡技術操作」作為一個帶有科學實驗性計畫的創作展示，代表著勢必在其過程與結果呈現中游移與模糊。又或者指向其源頭-自然。對照人為的加速與刻意介入的變化。與其說一直還無法生產最終作品的求好心切與時間的焦慮中，倒不如說一切還在周旋與擺盪中舉棋不定。
As an art exhibit of a scientific experimental project, it is bound to show a process and results that are drifting and ambiguous. Moreover, it may also point towards its origin – Nature. Compared to artificially-inflicted acceleration or changes prompted by intentional intervention, rather than seeing it as being too eager to come up with the ultimate artwork and feeling anxious about the passing of time, it is perhaps better to say that everything is still up in the air and undecidedly fluctuating.
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