Uzar 烏扎

 

 

 



  烏 扎  葉 子 啓

Uzar   Yeh Tzu-Chi

Koprivnica, Croatia   2013 

Photo by Vasan Sitthiket, Watan Wuma

curator:  Sinead O'Donnell,  Vlasta Delimar

http://www.mojazemlja.hr/en/my-land-2013/

以表演場地原為製繩場為發想的Site-specific之作。我自井裡拉起沒有水的四只水桶﹐以繩索將之拉到寫著Uzar字樣的黃色牆面前的小桌旁。在Uzar下方寫上「繩匠」二字﹐帶領觀眾念此意義相同的二字。稍後﹐我將桌面上的石子及未熟果子撥進抽屜裡﹐再以推拉抽屜製造聲音。之後﹐我在左手臂掛上三條不等長之衛生紙條﹐繼續以右手推拉抽屜製造類似機械運作的聲音。當中穿插拉開抽屜拿出裡面的果子或石子塞進口中咀嚼的動作。時而製造聲音﹐時而將果子石子塞進口中。到無法再塞進任何果子時﹐我拿掉瓶中玫瑰花﹐將口中嚼碎的渣渣吐到瓶裡﹐再把玫瑰花插回去。那時我口中彷彿著了火﹐於是我說:現在我需要水﹐一位觀眾立刻遞上瓶裝水給我﹐我漱漱口﹐將水吐到地上。

This is a site-specific performance dealing with the history of the venue as a rope-factory before.  After pulling four buckets without water out of the well, I pulled them to the small table in front of the yellow wall with the word UZAR.  I wrote繩匠, rope maker, under the word UZAR, and taught audience to read it.   I removed the pebbles and immature fruits in the jug to the drawer, made noise by pulling and pushing the drawer.  Then with three different length of toilet paper on my left arm, I kept using my right hand to make mechanic-like noise by pulling and pushing the drawer.  In the middle of that action, sometimes I took pebbles or immature fruits out of the drawer, put into my mouth and chewed them.  I stop the action when I couldn’t put anything more into my mouth.  Then I took the rose away the jug, spit everything into it and put the rose back again.  At that moment, I felt fire in my mouth so I said “now I need water.”  Someone gave me his bottle of water.  I washed my mouth with the water and spit them to the ground.

 

犀牛 Rhino

犀 牛   Rhino

  葉 子 啟   Yeh Tzu-Chi

 Seoul Art Space-Mullae, South Korea  2012/11/8 

Photo by Yuen Kin-leung Maru, Zoe Sun

curator:  Jae Seon Moon

Pan Asia Performance Art Network

                                   

2011年在重慶動物園裡我錄下三段動物的影片。之後,在仁川駐村時﹐有時間整理自己的小筆電﹐再度看到這三段影片。我想這三段影片擺在一起﹐本身就已經是一件作品了。但如何把我自身與它們結合在一起成為一個現場藝術呢？那時我手邊剛好有一本Marina Abromovic的作品集﹐裡面有一個作品﹐Ulay在牆上﹐她在地上面對面平行走向彼此﹐錯身而過的一個作品。這個作品給了我靈感。我想我就模仿犀牛走圈圈吧﹐這樣就可以把這三段影片帶到現場藝術來。而不管是我錄下影片的當刻﹐是我表演的現場﹐或是在我事後的論述時﹐我的心情始終沒變：身為人類﹐我真得覺得對這些動物很愧咎… 

I recorded three clips of animals in the Zoo of Chung Qing in 2011.  I saw them again when I had time to sort out my note-book in my residency in Incheon Art Platform.  For me, these three clips themselves were already a piece of works!  The problem was how to make them a live performance with me?  At that moment, a book, a collection of Marina Abromovic’s works, happened to be beside me.  One of her works shows how Ulay, on the wall, and her, on the ground, walked to each other in parallel and never really came together….  I got inspired by that works.  Why not just walk in a circle like the rhino, I thought.  And that’s how I brought these three clips to the field of live art.  My feelings have never changed no matter when it’s the moment I videoed them, the moment I performed them, or the moment I talk/write about it later: as a human being, I really feel very sorry and owe so much to these animals….  



草地上的下午茶 Afternoon Tea on the Grass

葉 子 啟       草 地 上 的 下 午 茶   

Yeh Tzu-chi      Afternoon Tea on the Grass  

In Art Gallery, Tainan, Taiwan   2010

photo: 陳伯義

curator:  Yeh Tzu-Chi

藝窩瘋

畫廊裡有一個小天井﹐極小﹐但花木扶疏﹐還有草坪﹐在都市水泥叢林裡﹐特別吸睛﹐讓我想到馬奈的《草地上的午餐》﹐那麼就讓我東施效顰﹐邀觀眾來一場《草地上的下午茶》吧！無奈天井四周高牆環繞﹐悶極﹐只好拿枯葉當扇子搧﹐看不遠﹐只好猛抬頭看天空﹐像井底蛙。

There is a small courtyard inside the gallery.  It’s quite small but with some plants upon the lawn.  It attracted me in this city full of cement buildings.  It reminded me “Lunch on the Grass,” the famous painting by Manet.  Why not inviting audience to make something similar to it, say “Afternoon-Tea on the Grass!”  Oh, my God!  It was so sultry because it was surrounded by four tall walls so we took a dry leaf and fanned ourselves.  It was not possible for us to look far so we kept looking at the sky, like frogs under a deep well.