Stilnox Home Video: The Midnight Hours | 21mins | 2010 (still of the video) by SU Hui-Yu

使蒂諾斯家庭實境秀:午夜時刻 – 電視、藥物與家庭錄影帶─使蒂諾斯家庭實境秀 by 蘇匯宇

According to a survey conducted by the Department of Health Bureau of Pharmaceutical Affairs, as of 2009, Taiwan has over 3,000,000 sleeping pill users.

This seems to be an astonishing number but it’s actually a commonplace phenomenon. Many friends of mine have taken such medication. Insomnia has become a trendy epidemic. I used to take soporific drugs to help me sleeping, but the emphasis is on the moments before sleeping

ratherthan sleeping itself.

The story was an unexpected incident. One night I took Stilnox as usual before going to bed. Having taken Stilnox for a couple of years, I rely on the drug to fall asleep whenever I need to wake up early or have crucial events the next day. That particular night, however, I didn’t go to my bedroom after taking the pill. Instead I sat staring at the TV in the living room probably because the TV show was really interesting. As the drug took effect, I was not lying in bed. Unknowingly,  I entered a “world of non-sleeping”—I was neither asleep nor awake. The TV show dazzled me. I lit a cigarette, gazing at the smoke and the TV screen. Then I found my living room started to shrink, and I felt a sense of speed in the space. I stood up and walked towards the enlarged smoke, feeling the wonder ful effects, while various characters and plots in TV shows appeared before my eyes like a psychedelic reality

show.

Misusing the drug allowed me to encounter the unique experience based on which I developed works to illustrate the unusual combination of drugs and TV. They include two series of works: “A Day of Horror” and “Stilnox Home Video: The Midnight Hours”. I think they have several features. First, they were inspired by the experience of drug usage that is also the basis for the works. Second, they were produced in my house, the space of my daily life, so they are closely connected to my life. Finally, they are respectively about the state of Stilnox kicking in and after the effects fade. “Stilnox Home Video: The Midnight Hours” is about reflecting on the state of “Stilnox kicking in”, while “A Horror Day” is about rebuilding the connection between image and life “after the effects of Stilnox have faded.” Inbrief, they are my home videos.

根據衛生署藥政處統計調查,截至2009年,台灣有300多萬的安眠藥使用者。

這是一個看似驚人的數字,但其實稀鬆平常。我身邊就有不少朋友服用過這類藥物。失眠,早已變成一種時髦的流行病。我也曾經使用安眠藥助眠,但重點不在睡著,而是「還沒睡著」的那段。

故事發生得非常偶然。某夜,我一如往常,吞了一顆使蒂諾斯(Stilnox),準備就寢。這種藥我吃了一兩年,每當隔日需要早起或者有重要事情時,我就必須依靠它來助眠。但就在那個晚上,吞了藥的我並沒有直接走向臥房,反而坐在客廳繼續盯著電視,大概是節目太好看了,在藥效發作時,我並沒有躺在床上。不知不覺地,我進入一個「沒有睡著的世界」──我並沒有睡著,但我也不算醒著。電視節目讓我眼花撩亂。此時我點了根菸,盯著煙霧跟螢幕,然後發現我的客廳開始收縮,空間變的有速度感。我起身走向那團被放大好幾倍的煙圈中,我覺得這個效果很美,然後,甚至開始有各種電視人物與劇情出現在我的眼前,宛如一場迷幻實境秀。

這種錯誤的用藥效果,使我與某種特殊的經驗相遇,並且讓我發展出了一些作品。於是我將這個經驗命名於「使蒂諾斯家庭實境秀」[1],以表達藥物與電視經驗混和的獨特性。其中包含兩組作品,第一組名為《恐怖的一天》,第二組名為《使蒂諾斯家庭實境秀:午夜時段》。這些作品有幾個我認為的重點,一是它們為藥物經驗所啟發,並在這個狀態下去開展;二是它們都處於我的日常空間中──

我的住所,這意味著它們與我生活的緊密性;最後,則是關於Stilnox「藥效發作時」與「藥效後」的兩種狀態,《午夜時段》系列著重於回想那個藥效發作時的樣態,《恐怖的一天》則更像是藥效之後,我對於影像與生活之間關聯性的重新體驗。簡單說,它們就是我的「家庭錄影帶」(home

video)[2]。

As always, I enjoy finding inspiration in watching TV. Nevertheless, drugs were unexpectedly involved in the process during a certain period of my life. It appears as if the era of conventional television is over. When in fact, in the light of visual communication, the so-called television will not disapear.

What is changing is the speed and means of visual communication; be it digital television, interactive television or even YouTube, movies channels, sports channels, MTV or adult channels, the moving image will not leave us. On the contrary, it is embedded in our life in more ways. Under the effects of Stilnox, the moving image worked its charm on me

in an obscure and fascinating way.

一如以往,我十分樂於從「看電視」這件事本身去獲得靈感,但很意外的,在我人生的某一段時間,藥物竟也加入了這一局。表面上,傳統的電視時代好像過去了,但事實上,以影像傳播的本質來看,所謂的電視並不會消失,改變的,是影像傳播的速度與方法。不管它是叫數位電視、互動電視甚至是YouTube,不管它是電影台、體育台、MTV台或者彩虹頻道,影像並不會離開我們,反之,它以更多的方式跟我們的人生嵌合。而如今,在Stilnox的助陣下,影像以一種晦澀的方式對我發揮著效果,產出了一個令我著迷的體驗。

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[1] 英文標題則取名為Stilnox Home Video,以家庭錄影帶(home

video)一詞來表達這些作品與居家生活有著重大關聯(並且真的在家中拍攝)的這個概念。而中文標題中的「實境秀」,則是借用當今甚為流行的一種節目類型,表達我作品中所帶有的「個人生活之真實情境」的意涵。

[2] 家庭錄影帶(home video)原指的是,在消費型攝影機的普及後,中產階級家庭經常自行拍攝居家記錄的一種類型影片。在web2.0的時代,它則以所謂的「自拍影片」的形式在網路世界傳播著。

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Sex, Death and the Boy Infant 羞恥男嬰

The name of the work highlights my examination of humanity’s revolt against the laws of nature, and humanity’s dread and presumptions about the natural world. Encountering the work in this exhibition, the audience will re-examine the meaning of the self or even nothingness. Nature, death, the existence of subjectivity and even sex (especially childhood sexuality as an experience of pleasure) will be offered

to our visual field for reconsideration.

這件作品包括一支以傳統電視播放的錄像以及一張油畫肖像。肖像描繪著藝術家本人著嬰兒服吃著奶嘴,而錄像內容如下:首先一個自慰的裸女入鏡(性),緊接著一個抽煙的老人入鏡(死亡/老化),鏡頭拉至最遠時,一個與油畫中人物一樣的成人男嬰出現(新生/自我)。全部是緩慢運鏡,除了自慰的手與香菸的雲霧,人物幾乎靜止。這件作品企圖表現一種潛在的或被遺忘的感受,那個感受來自孩童時代即出現的「前性」(pre-sex)或慾望,但被道德與本能所規訓於意識與記憶之下,那是一種非成人的「性」與「死亡」的概念,這種概念一般而言會被成長過程掩蓋消失,直到藝術家有了小孩之後才重新想起。於是蘇匯宇設計了一個角色,一個穿上嬰兒服的成人(因而象徵性地獲得幼兒的純真,而得以豁免於那種對於禁忌的羞恥感受),然後將這個角色與象徵「死亡」或「社會體系」的老人,與象徵「性」或「禁忌」的自慰女性放在一起,表達這種性(身體與禁忌)、死亡(社會壓抑)與純真(無知/無偏見)的三位一體。

Bloody Beauty 血腥寶貝

Bloody Beauty is a continuation of the 2007 work The Fabled Shoots.

The difference in the current work is that it relies more on an entertaining orientation and goal, and less on a sermonizing, provocative kind of parody. For this work, I wanted to draw in the viewer with extraordinary beauty. The reasons for this are simple: I wanted to make work that appealed both to the eye and intellect to meet the needs of different viewers, which would at the same time present the important concepts that I put in the work.

This is indeed the truth. These works are probably the most visually attractive of the Fabled Shoots series. Bloody Beauty does not discuss violence or the issue of violence in the media directly, but rather touches upon the topic of how violence in the media has become something we love.

In essence, these works all begin with a discussion of media and the human body, but ultimately I hope they achieve

another sort of transcendent category.

「血腥寶貝」延續2007年的「槍下非亡魂」某些相同的主題。不同的是,這次更加朝向娛樂化的目標邁進,少了說教、賣弄玩笑或者挑釁。同時也跟我更早的作品不同,這系列沒有太無厘頭的態度,反而,是想以非常美麗動人的畫面來吸引觀眾。原因很簡單,因為我也很想做做賞心悅目的作品,可以讓大家各取所需,又同時,我還是可以宣稱它們充滿著許多重要的概念。

事實也確實是如此。它們可能是槍下非亡魂系列裡最具「好看」效果的一批作品了,它們透過更易被接受、更加色彩繽紛且誘人的視覺效果,讓觀者貼近媒體的本質。「血腥寶貝」並不直接談論「暴力」,或者「媒體裡的暴力」這類的問題,它們碰觸的是「在媒體裡,暴力如何為我們所喜愛的?」這樣的提問。

「血腥寶貝」仍然環繞在我的電視經驗上,而作品裡的那些女生其實就是電視裡我們所熟悉的女生。簡單的做法有時候反而比較能夠表達我想說的。好看的畫面、刺激的劇情,與稍微踰越的尺度,這些都是當代媒體的標準內容,「血腥寶貝」的整個製作過程,基本上就是將這個邏輯操演了一遍。也因為如此,它才有可能讓觀眾徹底得到「媒體到底給了你什麼?」,以及「用什麼方法給你的?」這類問題的答案。

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Su Hui-Yu was born in Taipei and received a M.F.A. degree from Taipei National University of the Arts in 2003. As an active participant in the contemporary art world in Taiwan, Su has been exploring the effect of media and technology on human behavior and has created a series of performances entitled

“The TV Kid”

Focusing on pop culture, violence in the media, reality TV, and the politics of fear, he has created staged video productions and still images that represent a sophisticated use of technology and an acute understanding of his contemporaries response to their world. His work has received both national and international recognition and has been exhibited at 2010 Taipei Biennia, MID_E International Contemporary Art Exhibition in San Sebastian(2010), AFA Beijing Contemporary Art Centre in Beijing(2009), FEM Foundation in Madrid (2007); VT Artsalon in Taipei, Sparwasser HQ in Berlin, and the Cultural Centre of Taiwan in Paris (2006); and MOCA Taipei(2005). In 2009, Su was awarded the Asian Cultural Council’s Fellowship Award(ACC) to research activities in contemporary art, participate in an international residency program in New York

City.

國立台灣師範大學美術系畢業,國立台北藝術大學美術創作碩士班畢業後,蘇匯宇持續活躍於當代藝術領域,其創作主題旨在探討當今影像、大眾媒體與日常生活交織的複雜現象上。

蘇匯宇曾先後展出於台北、北京、上海、紐約、柏林、巴黎、馬德里、洛杉磯、首爾等地,作品曾於國立台灣美術館(台中)、台北當代藝術館(台北)、高雄市立美術館(高雄)、聖荷西美術館(加州,聖荷西)以及上海當代藝術博物館(上海)等重要機構展出,2013年錄像作品《稍待片刻》更獲邀參加「盧森堡電影節」,於 Casino Luxemburg當代藝術中心展出。

其2007年個展「槍下非亡魂」與2010年個展「使蒂諾斯家庭實境秀」皆獲台灣最具影響力之藝術獎台新藝術獎年度五大視覺藝術入圍。

此外,蘇匯宇曾獲ACC「國巨科技藝術獎」獎助,於2009年前往紐約駐村。

個人官網:www.suhuiyu.com