Kinetic installation, Solo Show, Taiwan 2019
(Swipe right to the end to see the video documentation)
Intro
Between 2018-2019, I participated Sam Rit Residency, and stayed five months within Northeast Thailand, Isaan, I observed a village without a formal structure, yet with a loosely systematic way of fostering community involvement and interwoven relationships among individuals. I also had the opportunity to take part in the life of a large family, witnessing how its members balance survival, communal responsibilities, and personal fulfillment. It triggered essential questions at the core of this work: What does it mean to be completed as a unit? What does it mean to be an individual within a social ecology? Through my experience as one of the village members, I observed how people constantly shifted roles—filling, pulling, supporting, vibrating, and influencing one another—sustaining an inseparable whole. Using a poetic and humorous play of objects, I sought to break through forms that cannot be expressed through linear narrative, and to represent the intricate operational mechanisms of human relationships through a multimedia installation.
The bell suspended from the center of the room is a type traditionally hung in temples in Thailand. In this installation, the bell is anchored by three fishing lines extending from different directions, each connected to a running electric fan. The three fans are also interlinked with cotton threads, forming a network that alternates between slack and tension. The sound of the bell becomes unpredictable and random, echoing the delicate, intertwined dynamics of forces acting upon it.
2019 Kinetic Installation, Solo Show at MUD Studio, Yilan TW
Video/ Photo documentation: Wu Henry
Editing: Wei Ling Hung
Between 2018-2019, I participated Sam Rit Residency, and stayed five months within Northeast Thailand, Isaan, I observed a village without a formal structure, yet with a loosely systematic way of fostering community involvement and interwoven relationships among individuals. I also had the opportunity to take part in the life of a large family, witnessing how its members balance survival, communal responsibilities, and personal fulfillment. It triggered essential questions at the core of this work: What does it mean to be completed as a unit? What does it mean to be an individual within a social ecology? Through my experience as one of the village members, I observed how people constantly shifted roles—filling, pulling, supporting, vibrating, and influencing one another—sustaining an inseparable whole. Using a poetic and humorous play of objects, I sought to break through forms that cannot be expressed through linear narrative, and to represent the intricate operational mechanisms of human relationships through a multimedia installation.
The bell suspended from the center of the room is a type traditionally hung in temples in Thailand. In this installation, the bell is anchored by three fishing lines extending from different directions, each connected to a running electric fan. The three fans are also interlinked with cotton threads, forming a network that alternates between slack and tension. The sound of the bell becomes unpredictable and random, echoing the delicate, intertwined dynamics of forces acting upon it.
“看似的碎片，都有拼貼成一個整體的歸屬; 看似的形單影隻，都有支撐起整片網絡的倚靠”2017年，洪瑋翎以藝術家身份到東北泰呵叻府 Moo(村) Sam Rit 生活並做長期的社會觀察。在期間，當地發起的一場在農村極其罕見，反對電信公司 True 違法裝設電話信號桿的抗議連署。時值全村動員的長舟賽事(Khaeng Ruea Raw)、稻米收割季、以及兼張羅水燈節慶典(Loy Krantong)。洪瑋翎從無單一章法但隱約有個系統性的村落，觀察到社區參與及包容個體彼此交織的趣味現象。也體驗到一個不斷重組的家族，成員如何為了兼顧生存、聚落事務與自我滿足。不斷切換身份，填補、牽引、支撐、顫動、影響，運行出彼此切不開的整體。在泥味兒MUD Studio的新作發表，她帶著創作中特有的詩意與詼諧，嘗試突破敘事中無法呈現的形式，以多媒材裝置再現人與他人關係中複雜的運作機制。
在這個裝置裡，一個泰國寺廟的風鈴，被三條釣魚線從不同方向固定住，連在三台運轉的風扇上，三台運轉電扇彼此也牽連著棉線，形成時鬆垂、時而緊繃的網，風鈴的聲響變得隨機、難以預期...