Co-production駐村藝術家王耀億個展
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王耀億，臺灣臺南人，畢業於中正大學傳播學系與芝加哥藝術學院(SAIC)電影與新媒體研究所。王耀億的個人創作媒材以實驗敘事影片與錄像藝術為主，並於作品中交織虛構與現實的非線性敘事，以書寫不再被重視的過往，並對照當代時事再現歷史的重複性。曾獲2019年臺北美術獎優選與第22屆台新藝術獎季提名，並於臺北市立美術館與高雄駁二藝術特區舉辦個展，作品展出於臺灣臺北、美國芝加哥與日本橫濱等地。
展覽簡介：
日本人高松豐次郎於1907年環島臺灣並拍攝電影《臺灣實況紹介》，這部展示日本統治下臺灣發展的電影，被認為是在臺灣拍攝的第一部電影。臺灣電影產業來到20世紀末的衰退期，以低廉的技術引入跨國資金的「合拍片」來臺拍攝，曾經是臺灣電影產業處於低谷時仰賴的製作模式。
《合拍片》並置以上兩個事件，以一個日本電影工作者來臺「勘景」與「搭景」的敘事，分別於殖民與全球化中探討有用與存有之間的關係。「勘景」是將前方的訊息帶回後方，「搭景」則是賦予場域另一種意義，藉此對照殖民者對於被殖民者的發現與改造，是否能夠被使用才有存在的權利，被納進景框內才有被保存的價值。
當拍攝場景準備就緒，只等待導演的來臨，高松豐次郎的幽靈再度被招喚到片場 ，他是否會發現，片場裡所有的人仍舊被困在這個由他所創造的現代性的夢。
Wang Yao-Yi
Born in Tainan, Taiwan, Wang Yao-Yi graduated from the Department of Communication of National Chung Cheng University and received his MFA from the School of the Art Institute of Chicago, USA.
He has explored his art practice through producing experimental modes in film and cinematic installation. In his works, fiction and non-fiction stories are intertwined and narrated in a non-linear manner. Wang has focused on writing about the past that has long been neglected and comparing it with contemporary events in order to show how history has the tendency to repeat itself.
His artwork won the Honorable Mention of 2019 Taipei Art Awards and was nominated by the 22nd Taishin Arts Award. He has held solo exhibitions in both the Taipei Fine Arts Museum and the Pier-2 Art Center, Kaohsiung. His works have been exhibited in Taipei in Taiwan, Chicago in the U.S., and Yokohama in Japan.
Exhibition:
In 1907, the Japanese, Toyojirō Takamatsu, embarked on his tour around Taiwan for filming the moving image, An Introduction to the Actual Condition of Taiwan, which displayed the progress of Taiwan under Japanese rule. It was deemed the first film ever made in Taiwan. At the end of the 20th century, the film industry in Taiwan was declining. Making “co-production” films through introducing transnational capital with low-cost technologies was how Taiwanese film industry had managed to keep producing films during its recession.
The artist juxtaposed these two events in his exhibition “Co-production”. It was a narrative of a Japanese filmmaker visiting Taiwan for “location scouting” and “set design”, which were respectively used to discuss the relationship between being useful and being, in the context of colonialism and globalization. “Location scouting” indicates gathering information from the front to send back to the rear base, whereas “set design” implies repurposing the site. Through the comparison, the artist intends to highlight how colonizers discovered, and then reconstructed the colonies. Only the useful were given the privilege to live. Only the ones included in the frames were valuable enough to be preserved.
When the scene is ready, only awaiting the director’s arrival, the ghost of Toyojirō Takamatsu will be summoned to the filming site once again. Is he going to find out, that everyone at the scene is still trapped in the dream of modernity created by him?