2025 臺灣美術雙年展 - 黑水
2025 Taiwan Art Biennial - Black Water
| 2025 | 25 min
| 三頻道影像、聲音裝置 | Three Channel Videos, Sound Installation
| Mixed media, Acrylic, Amplifier, Bone conduction speaker, Remains of Shuishan
Village
| 6m (L) x 6m (W) x 4m (H)
Artist: 蔡昱廷 Yu-Ting Tsai (Website)
Photographer: 蔡昱廷 Yu-Ting Tsai (Instagram)
AI Visual Programmer : 吳承儒 Wu Cheng-Ru ( P B )
深在山裡的聚落在漫長的歷史洪流下被覆蓋，不為人所知也難以見到實體。以嘉義水山聚落 (1642M，233676，2592505)
為開端，藝術家在縱走山脈五日的攀爬中，偶然經過了深在山中的水山聚落，阿里山區樟腦煉製的最後基地，日治上百戶人，民國58年結束最後一又腦灶，從此於地圖絕跡。
水山聚落僅存於歷史紀錄，難以到達的深山位置如同存在於現實、影像上的中介地帶，失蹤的存在狀態。地景呈現人們生活的記憶堆疊，在時間洪流的邁進中時而地回望，廢棄遺落是文明的必然性在歷史輪迴中不斷重演。廢棄的村落，遺留下的煉樟儀器，經過時間催化嵌入土地中，是人造物干涉自然生長的下一階段性地景，不為人所知，也難以接近，使自然成為了歷史的收拾者。
將水山聚落之山獸遺骨(水鹿、山羌)挖掘出土，那是時代下村民狩獵的殘留物。裝置做為與神靈、自然、現實的交流媒介。抽離遺骨本身所處時空、位置、功能象徵，
重建其脈絡。山獸死去留下軀體，以骨傳導震動發聲作為媒介，讓其重現可感知的樣態，使骨頭成為喇叭，以震動發聲敘說，試圖凝聚、重組不同時間維度下的聲音記憶。以物理性降靈的方式讓遺骨重現作為生物的有機性，骨髓震盪，現代技術干擾過去遺留物，重現生存。
聲音作為進入環境以及中介出神狀態的方法，在不同的時間線下交織。骨傳導裝置共四十六顆，二十三軌音源。音源取至水山聚落以及臺灣僅存之煉樟廠煉樟之過程混音而成。
While trekking through mountains Artist traversed Shuishan, an isolated village in the mountains far- reaching
(1642 M, 233676, 2592505) where it existed the last base camphor was refined in the Alishan area. During the
Japanese colonization period, hundreds of households were engaged in camphor production, but in 1969, the last
camphor furnace was heated, marking the end of the camphor industry in Taiwan. Afterwards, the village was not
found on the map.
This work attempts to construct a boundary, exploring the experience of meditation and collective memories
related to the camphor and the extinction of Taiwan. The land carried people's memories, emotions, and proof of
their way of survival. Through the abandoned villages, the camphor refining instruments were left, and the shoes
scattered everywhere, and at last, they were embedded in the land with the catalysis of time. Thus, they have
obviously become part of the landscape. In the constantly surging historical torrent, we sometimes look back but
separate after purpose focus, in which it implies the abandonment becomes an inevitability of civilization.
The installation serves as a medium for communication with spirits and nature. It is also a symbolic ritual
object for entering constructed boundaries, utilizing bone-conducted vibrations to generate sound waves. It
turns out that the bones themselves become speakers and thus reproduce life.Sound is a way to step into the
environment and the trance. At different stages in time, there are 46 bone conduction devices and 23 audio
tracks in total.The sound is from Shuishan villages mixed at different stages of time and states –wood burning,
insects songs, water flow, forest, whisper of wind and few remaining Hakka people refining camphor in Taiwan's
camphor-smelting factory.
影像播映藝術家於聚落拍攝之殘骸以及使用融接技術對影像的間隔進行再創造，存在於螢幕中的影像空間是不可觸且虛質的。現實中難以前往的地帶與創造的虛構空間交融，是虛構與現實之間的中介地帶。
The video presents the remnants of structures filmed by the artist in the villages, along with the re-creation
of intervals through AI-based splicing techniques. The image space that emerges on the screen is intangible and
immaterial. Inaccessible zones of reality merge with AI-generated fictions, giving rise to a liminal zone
between the fictional and the real.
以水山聚落出發，以紙本上紀錄的手繪地圖作為媒材，接近、窺探水山聚落實體存在的線索，在尚未相會之時，僅僅位於記錄上而不見實體，中介地帶的存在方式。
Through hand-drawn maps, the work traces Shuishan village as a presence not yet encountered—existing only in
records, suspended in the in-between.
