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《 對象、景框、射口、掩體 》系列

蕭佑任

據點射口框出海,一片希望無人的海。射口的大小、比例與所望向的他方,觀看焦距來自武器與恐懼。焦距外的海岸在機能喪失後的掩體周圍向人們開放了,那些留下的痕跡是構成列島的最後一道邊界。我將這些素材重構,製作出藏著不尋常痕跡的“尋常”景觀。


碉堡中的那些依據用途所建立的砲口、射口、觀測窗所框出的“海景”有別於住屋窗框的”海景“,是外於觀看對象的,景觀與人之間有段建立於武器的距離,槍砲的有效射程、海平線遠方不知道何時出現的敵軍……,這段距離拉出的領域是沒有人的、不希望出現人的,這樣的“海景”算是「景觀」嗎?日常的距離則是接近觀者的冀望,在住屋中希望靠近自然、擁有自然,窗框的大小某種程度上反映家屋主人、觀者的慾望與自然的距離。時空背景所造成觀看心態的改變背後,也反映出景框的限制。


我從那段因軍事被抹掉的灰色地帶中所發現的人造景觀中取出局部,將它們放到據點的景框中,藉由喪失機能性的景框來觀看這段無人之境。

Objects, Frame, Loophole, Bunker
HSIAO You-Ren

Out of the Bunker’s loophole, a sea where nobody is to be expected. The size and proportion of the loophole and the other side you are looking at. The focal length of your eye gaze is related to those weapons and fear. The defocused shore was opened to people around the bunker that has out of use, and those traces left behind becomes the last boundary which formed the archipelago. I reconstructed these materials to create an "ordinary" landscape with unusual hidden traces.


The "seascape" framed by the loophole, embrasure and viewfinder in the bunker is different from the "seascape" framed by windows in your house. The former is observing from the dark. There is a distance based on the weapon, the effective range of the guns, and the enemies that would show up anytime on the distance shore... This no man's zone that supposed to be desolate, can it still be called a "landscape"? The distance of the latter is connected to the aspiration of the viewer: their thirst for getting close to, and possessing nature. The dimension of the window frame reflects to a certain extent the distance between the desire of the house owner, the viewer, and nature. Changing by time or space, the mentality of viewing will also shows the limitation of the frame.


I took out parts of the man-made landscape found in the gray area that was erased by the military, placed them in the frame of the stronghold, and watched this desolate landscape through the inoperative frame.

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