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.

 

記得 Memory

                                                              snapshot from video

記 得   葉子啟 

Memory    Yeh Tzu-chi   

   

    海岸咖啡   Hualien, Taiwan  2012

 

  photo  余威琁 

《記得》是花蓮女詩人敻虹的詩作。我請人寫成書法橫幅擺在書房已近二十載。是我從年少至今仍十分鍾愛的一首詩。趁到花蓮帶領工作坊的機會﹐面對著廣袤碧藍的太平洋﹐我嘗試以現場行為表演方式來讀這首詩。 

Memory is a short poem by Hsiung Hung, a woman poet who lives in Hua Lien. I had it written in Chinese calligraphy and hung on the wall of my study room for almost 20 years. It's a poem I love so much ever since I was very young. In the workshop in Hua Lien, I tried to read this poem with a live performace when faced the big blue Pacific Ocean.

揪 團 Jo Twan

                                    photo:  陳茂民  Chen Mao-min

揪  團    葉 子 啟    

Jo Twan     Yeh Tzu-chi  

  

   HangZou, China   2012/3/12 

curator:  Cai Qing

出入天堂行為藝術展

我不定時發簡訊到志願者手機裡﹐請他們到某一定點集合﹐大家合力做一個行為。兩個多

鐘頭的活動中﹐我們揪了三次團﹐在不同地點做了三個不同的行為。揪團在台灣意指透過

網路聚眾從事某種(團購)行為﹐多半時候它是一種商業行為。在此﹐我將其轉化成為一種藝

術行為﹐一個快閃行動﹐並且首度在我的行為作品中運用到高科技產品：手機。



I occasionally text the volunteers , asking them to gather in a certain place of the venue

to do something together.  In this two-hours event we gathered three times and did three 

performances in three different places .  In Taiwan, Jo/Jiu Twan means to gather a group

of people through the internet to do/buy something together.  Most of the time, It’s a

commercial behavior.  Here, I transformed it into an art behavior, a guerrilla action.  

Notably, It’s the first time I used a high-tech product: mobile phone in my performance.  

外面的世界 The World Outside

葉 子 啟    外 面 的 世 界
   

Yeh Tzu-chi     The World Outside  

 Chung Qing, China   2011

photo: 王芮    video: 劉偉偉  王仕元   

我將不同的木箱木椅推疊在一起﹐顫危危而小心翼翼地爬上去﹐然後就著窗戶往外望。

I piled up different wooden boxes and chairs, climbed to the top, and looked out from the window.

紅心事 Meditation on Red

                                         

 

葉 子 啟    紅心事  
  

Yeh Tzu-chi   Meditation on Red 

    Chung Qing, China  2011

photo: 黨碩   石佳韵    video: 余果

curator:  倪昆

residency, Organhaus Art Space 器空間

在古老吵嚷擁擠的茶館裡﹐人們忙著玩牌﹐打麻將﹐喝茶﹐嗑瓜子聊天﹐我安靜地將紅毛線纏到手上﹐然後在狹小的走道間倒著走。

In a crowded noisy old Chinese tea house where people play cards, Ma Jang, drink tea, and talk loudly, I quietly wrapped my fingers and hand with red yarn and walked backward through the narrow aisles. 

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.      

對話 Dialogue

葉 子 啟     對 話   

Yeh Tuz-chi    Dialogue 

  Solo, Indonesia   2010

photo:  Afrizal Malna,  Jauhari, Akbar Siregar

curator:  Melati Suryodarmo

     Undisclosed Territories International Performance Art Event

我使用黑布與紅布﹐在一段不短的行走與爬行中與佛陀﹑穆斯林, 小草﹑樹木﹑空氣﹑陽光﹑土地﹑小石頭﹑竹橋﹐和我自己產生對話。最終我爬到當地附有宗教意味的傳統木造涼亭Pendhapa﹐結束長長的「旅程」。

Using the black and red clothes, I had a long journey of dialogue with Buddha, grass, trees, air, sunshine, earth, rubbles, the bamboo bridge, and myself.  Finally, I came to the end of long journey: the Pendhapa, a wooden pavilion with local religious elements inside.

午夜朝陽 Midnight Sunrise

photo: 呂沐芢

photo:  林柏樑

葉 子 啟      午 夜 朝 陽   

Yeh Tzu-chi   Midnight Sunrise   

     Peng-hu, Taiwan   2006

curator： 許淑真

帶 著 作 品 去 旅 行

在民宿房間裡﹐我與觀眾互換衣物﹐以異於尋常方式穿戴上身。

In the room of a hotel, I interchanged what I wore with the audience in a playful and absurd way.

不留白 Bu Liu Bai/Don't Keep White

葉 子 啟      不 留 白   

Yeh Tzu-chi   Bu Liu Bai  

   Tainan, Taiwan  2004

Taiwan Asia Performance Art Meeting

curator:  Yeh Tzu-Chi



我在運河一座中國古橋旁幫一位長髮男子拔白髮﹐讓他頭上不留白。而且也以此作讓我和他在2004年的人生「不留白」。

I pick white hair for a long-haired man beside an ancient bridge on a canal.  Let his head bu liu bai (not keep white).  And also let both of our life bu liu bai (do something worthwhile to remember) in the year of 2004.