黑與白-馬來貘

Black and White – Malayan Tapir

四頻道錄像裝置

Four-channel Video Installation

2018

​共六版+2AP

6min55sec

英國東印度公司在東南亞開發之際,選擇新加坡作為商業的據點,開始了當地的現代性建設。商業開發的同時,歐洲也同時快速發展動植物學與博物館的資料搜集與建構。英國東印度公司派任⿇六甲的第⼀任司令威廉・法夸爾(William Farquhar)曾雇⽤中國畫師,針對⾺來⻄亞的物種做⼤規模的繪製與整理,因⽽記錄了⼀種⿊⽩⽣物:⾺來貘。

在⽣物學迅速發展的時代,動植物的命名與資料記錄成為眾多⽣物愛好者相互競爭的範疇。然⽽,英國東印度公司的檳城司令萊佛⼠(Thomas Stamford Raffles)與⿇六甲司令威廉・法夸爾,從政治的競爭關係延燒到科學的紛爭。他們當時候的動植物紀錄收藏歷經殖⺠時代的海上移動,輾轉回到新加坡,收藏在新加坡國家⽂物局。 

《⿊與⽩-⾺來貘》希望從百科全書式的敘事⽅式處理⼀種⼈與⾮⼈,⼈與⾃然之間,⼀種平等⾮主從的關係,並探討現代⼈觀看影像的⽅式變化。畫⾯在新加坡國家美術館、李光前⾃然歷史博物館、新加坡動物園、搜尋引擎與多重視窗的場景間移動,開展出東南亞地區的動物園歷史與殖⺠時代的政治關係,繼⽽牽引出科學繪畫、⽣物學、城市區域劃分與⾺來貘在當地的傳說。 

The development in Southeast Asia progressed when the British East India Company chose Singapore as a commercial base and started its modernisation. As commercial development took place in Singapore, Europe also rapidly started to gather data and initiate the study of plants and animals, also the establishment of museums. William Farquhar, the first commandant of the British East India Company in Malacca, hired a Chinese painter to do large-scale mapping and sorting of species in the Malay Peninsula. As a result, a black and white creature, Malayan tapir, was recorded.

 

Due to the rapid development of biology, the naming and data recording of animals and plants had become a competitive field for many naturalists. However, Thomas Stamford Raffles, the commandant of the British East India Company in Penang, and William Farquhar, the commandant in Malacca, stayed engaged in political competition and started scientific disputes. Their recorded collection of animals and plants at the time was shipped from place to place during the colonial era until it returned to Singapore to the National Heritage Board.

 

Black and White – Malayan Tapir, hopes to apply an encyclopedic narrative style to deal with the equality between people and non-humans, man and nature, and to explore the changes in the way modern people view images. The scenes switch from the National Gallery Singapore, the National History Museum, Singapore Zoo to search engines and multiple windows. The political relationship between the history of the zoo in Southeast Asia and the colonial era leads to the drawing of a scientific illustration, biology, civil division and the local legend of Malayan tapir.

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陽光沙灘上的糖棕

Sugar Palms on the Sunny Beach
 

金屬支架、藝術微噴於畫布

Metal bracket, C-print on canvas

2019

​共六版+2AP

133.5x99cm

⼗七世紀歐洲國家拓展海上貿易與經濟的路徑來到亞洲,除了商品貨物的流動,也連動著⽣物學、科學等知識系統建⽴的發展。當時⽤來記錄動植物⽣態的⾃然歷史繪畫從澳⾨傳⼊中國。英國東印度公司派任⿇六甲的第⼀任司令威廉・法夸爾(William Farquhar) 則曾經雇⽤中國畫師,繪製⾺來⻄亞半島的動植物,這⼀系列的收藏成為現今了解當時⽣態與歷史的重要⾃然歷史繪畫。 

殖⺠時期的⾃然歷史繪畫是現今理解當時⽣物的依據與⽅法。動植物也進⼊科學系統,依據其特徵分類命名。⾃然歷史繪畫緊密連結科學與藝術,藝術技法的精進促成科學的發展。這⼀系列的收藏記述殖⺠時期科學、藝術、貿易與政治的網絡,也如同當今的物聯網,將異質的事件或個體相互連結。 

藝術家透過現代技術開展⾃然歷史繪畫的敘事,運⽤拼貼、合成的⽅式將網路影像、科技產品、繪圖軟體後台與⾃然歷史繪畫組合,以傳統廣告的形式懸掛展出。 

 

《陽光沙灘上的糖棕》的主⾓糖棕是是原⽣於東南亞地區的植物,他的果實可以⽤來製糖,其汁液也可以⽤來提煉酒精,是該地區重要的經濟作物。⽽在現今消費社會的印象中,棕梠樹帶來另⼀種度假的想像,與海洋、沙灘、陽光、⿃叫緊密連結,⽽栗鴞、棕胸地鵑、啄⽊⿃、⿊紅闊嘴⿃、鶲鵙與壽帶⿃棲⾝於棕梠樹之間。 

燕鷗、懶猴、⿊掌⻑臂猿與幼年⾺來貘⼀同現⾝於《秘境森林中的幼年⾺來貘》中。幼年⾺來貘的⾝體花紋不同於成年⾺來貘,⽩⾊的斑點與線條錯落在棕⾊⾝軀上,成為他們居住在森林中的保護⾊。 

 

In the seventeenth century, European countries expanded their maritime trade and economical path to Asia. In addition to the flow of merchandise, the development of knowledge systems such as biology and science were also linked with the growing trade expansion. From Macao, Natural History Drawings, which were used to record the ecology of animals and plants, were introduced to China. The first commander of the British East India Company, Mr William Farquhar, who was sent to Malacca, hired a Chinese painter to record flora and fauna of the Peninsula of Malaysia. This collection of natural history has become a valuable resource to understand the ecology and history of this time.

 

Today the Natural History Drawings of the colonial period are an essential basis for understanding the life forms of the past. Many animals and plants were also included in a scientific system and named according to their characteristics. These Natural History Drawings were closely linked to science and art, and the advancement of art techniques lead to the further development of science. As we can see in this collection, the close connection of science, art, commerce, and politics in the colonial era is akin to today's “Internet of Things”, which connects various events or individuals together.

 

With modern technology, the artist uses the narrative of Natural History Drawings, where he combines various images, technology products, software backgrounds and Natural History Drawings, by using the collage technique.

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成年馬來貘在群山之中

The Adult Malayan Tapir is Surrounded by Mountains
 

金屬支架、藝術微噴於畫布

Metal bracket, C-print on canvas

2019

​共六版+2AP
99
x133.5cm

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秘境森林中的幼年馬來貘

The Small Malayan Tapir in the Mystery Forest

金屬支架、藝術微噴於畫布

Metal bracket, C-print on canvas

2019

​共六版+2AP

133.5x99cm