Zero
by Wu Tsan-Cheng
Between 9 July 2016 and 6 August 2016, for the first time in almost three years, Wu Tsan-Cheng staged his solo exhibition Zero at VT Artsalon in Taipei.
Wu has made himself seen as a “sound artist” through his Taiwan SoundMap Project, which keeps showing us Taiwan’s everyday soundscapes. Nonetheless, this solo exhibition is dedicated to rediscover the artist’s perceptual relationships to his oeuvre. More specifically, this exhibition excludes the element of “sound,” providing new directions and viewpoints with the exhibits; and the artist anatomizes his ongoing or unfinished works, presenting the perceptual relationships between him and these projects in the form of documentary.
Wu invokes the metaphor of a film or a documentary to represent the configuration of this exhibition. By means of the angles, speed and timing of the camera lens as well as fast-forwarding and slow streaming, this exhibition puts the question as to whether sound and time exist in Wu’s works. The artist inspires imagination, or literally leaves no discernible traces. The dimension of time and the scale of our understanding intersect with each other. The viewers have no need to worry about whether they can keep pace with the development of the plot. Instead, they are free to maintain their own pace and way of access to the exhibits amidst human beings, animals, natural landscapes and cities.
The Chinese title of this exhibition – Shame – implies disgrace. The Chinese character of “shame” consists of a heart and an ear, both are sensitive organs that help us know right from wrong. No sooner do we hear someone voicing criticism against us, than we will be filled with shame. We can improve our cultural literacy only by feeling shame more often and blushing with shame, which will prompt us to correct disgraceful doings and revert to good deeds. The English title of this exhibition – Zero – implies either nothingness or infinity; it can be the end of everything or a fresh start. We cordially invite you to this elaborately organized exhibition, where you will make a new sense of Wu Tsan-Cheng, an artist who presents his very nature without reservation, as if he is a submerged flow blazing a silent trail in the hustle and bustle of the sound art.
吳燦政 -恥
從2016/07/09 到 2016/08/06年睽違三年，吳燦政在非常廟藝
空間舉行了個展。
被定義為「聲音藝術家」，我們透過「台灣聲音地圖」認識吳燦政的創作，以及台灣的日常音景。這次個展「恥」，吳燦政卻試圖重新去尋找作品與創作者自身之間的感受性關係。在展覽中拿掉「聲音」這個關鍵字，透過作品提出新方向與觀點，將過去幾年之間進行中、未完成的作品進行切片，透過自身與分別的創
計畫間的交互感受，以紀實的形式呈現在展覽中。
藝術家將這次展覽內容配置，比喻做一部電影或紀錄片。透過不同的鏡位角度、速度時間、快轉慢播，或是作品裡根本不存在聲音與時間？藝術家提供想像、但也可以說是沒有痕跡可供辨識。時間的維度與理解的尺度交錯並行，觀眾不用擔心是否有跟上，而是在人、動物、自然景觀與城市之間探索，選擇自己與作品
的觀看速度與方向。
展覽名稱「恥」，恥者，辱也。古云恥，從心，耳聲。耳朵和心都是敏感的器官，能分辨是非。耳聽批評，內心羞愧。我們應該要常常體驗「恥」，讓耳朵發紅，心熱起來，才能夠不斷進步、越來越好。英文展名Zero，零，是沒有，也可以是無限大；可以 是終點，也可能是新的開始。透過這次展覽計畫，我們將重新認識一位創作者將自己坦然呈現，彷彿一道潛流，在蓬勃的聲音
作領域中劃出一條寂靜。
關於 “ 恥“，
我將這一次的個展內容配置，比做是一部記錄片或電影，而大家會花多少時間看完這部影片？
這會是一部平淡無奇的影片，從不同的鏡位角度，觀察記錄我們的生活周遭，這裡沒有激情，也沒有故事，這裡有叢林，有動物，也有人，當然還有城市，
只是說故事的方式不一樣罷了。
假如我是一位電影導演，我能說清影片的內容嗎？或是等你看完再說。但是在前期製作時，我該如何向投資方說明影片與預期的效應呢？畢竟電影需要錢，後期可要有票房收入，都是關於錢的問題。
所以
當這部影片沒說出什麼道理或論述，不符合當下的視覺藝術創作模式和機制。太輕柔的感性，沒有嚴肅地批判，也沒有積極回應議題，更沒有慧詰的思辨，還沒有提供想像的空間。影片內容沒有絢麗的大場面，也沒有精準的剪輯，這樣的影片，能引起人討論嗎？或是一句話，大爛片。
所以這可能是一部極為平淡無趣的個人旅遊紀錄片嗎？
放心，還好有這樣的功能，你可以快轉，慢轉和回放。
或者說這部影片有時間嗎？
吳燦政
More of Wu Tsan-Cheng work:
http://www.soundandtaiwan.com/soundmap/wutsancheng.html
More about VT ArtSalon: http://www.vtartsalon.com
