Fabricating Mandarin Duck

作鴛鴦

The Remaining Blood 殘紅
The Remaining Blood 殘紅

video installation, OHP / cyanotype and embroidery on fabric / anti-fouling paint, gesso & graphite on MDF / readymades, marine debris

single channel HD video 15:38, installation dimensions variable

2020


The term “Fabricating Mandarin Duck” in Chinese, originated from Wangan Island and Jiangjun Islet, Penghu, meaning "the construction of 24th Base of Shinyo Tokubetsu Kogekitai (naval suicide squad)”.

 

<Fabricating Mandarin Duck> is an art piece inspired by the emotional connection with Wangan Island, Penghu archipelago, during artist’s residency program in 2015. In 2019, artist revisited the isolated island and realized the ruin of "Shinyo Tokubetsu Kogekitai" base has been reconstructed and renovated into a brand new tourist attraction of military history, however, with plenty of absurd viewpoints and false information from the authority due to the bias of ignorance and lack of understanding from the main islander in Taiwan. A distorted history was thus created.

 

This artwork continues with artist’s recent series of OHP installations, interweaves two narratives of both the gloomy history of war during the end of Japanese Colonial Period in Taiwan, and the history of misuse and misappropriation of the famous waterfowl name “Mandarin Duck (Yuan1 Yang1)” in Chinese literature, which vaguely correspond to each other. Through various approaches of geopolitics, biology and deconstruction of literary texts, the land name of the Japanese naval base “Mandarin Duck Caves (Yuanyang Hole)” seems to prove itself an inevitable fate on the borderline, geographically, biologically, literarily yet politically.

 

The flag titled “The Remaining Blood ”is originally from the memoir <The Red Remaining in Winter> by Yoshiaki Haza - a former Shinyo Tokubetsu Kogekitai soldier in Wangan Island, Penghu. Through the exposure to the sunlight, the shade of "Kyokujitsu-ki (Rising Sun Flag)" of Imperial Japan developed with cyanotype a negative image of “White Sun in Blue Sky” flag of KMT Party from mainland China - the latter ruler in Taiwan. The flag was then stitched with red threads to depict an ancient map of Wangan Island, in the form of inhuman “Thousand Stitched Belt” created close the end of WW2. Each red dot indicates a forgotten bloodline remaining at the border of every paradigm shift of colonizers in the history.

 

This is Taiwan's Allegory of the Cave, reflecting the truth, distortion as well as our eternal blind spot in the gloomy darkness.

 

『作鴛鴦』一詞源於澎湖望安、將軍二島,意指「建造第廿四震洋特攻隊(とくべつこうげきたい)隊基地」。

 

《作鴛鴦》始於藝術家於2015年至澎湖南方的望安島參與駐島藝術計畫後,與在地人事物建立的深厚的情感聯繫;2019年重回這座偏遠離島,得知原先半荒廢的二戰日本『震洋特攻隊』基地已修葺為軍事觀光景點,但粗糙的規劃與重構、卻也引起在地耆老與文史研究者的非議,正如諸多台灣離島沈積著諸多偏頗失真的偽官方史觀,創造出的當下現實的扭曲真空。

 

本作品延續個人OHP錄像裝置的脈絡,交織了兩段互為映照的古今敘事——從日治末期的離島晦暗軍國史,以及中國文學史上享負盛名的水鳥『鴛鴦』一名之誤植與竊用——從地緣政治、生物學、文本解構的梳理中,『鴛鴦窟』此地名恰好自證了『鴛鴦』此物種的荒謬命運。

  

旗幟《殘紅》名稱取自曾駐守澎湖望安的震洋特攻隊隊員,波佐義明之回憶錄《冬の残紅》,透過日光曝曬,日本帝國『旭日旗(きょくじつき)』掩蓋下生成的負相成為一面近似於象徵後續統治政權的『青天白日』國民黨旗。並以日本二戰末期的『千人針(せんにんばり)』的手法繡出望安島地圖與古地名,每一針紅點象徵那些在殖民歷史更迭下始終位居邊陲的血脈。

 

這是屬於台灣的洞穴寓言,在晦暗中映照出我們的真實、歪斜、與永恆的盲點。

 


To Shui-An Temple  往水垵宮
To Shui-An Temple 往水垵宮
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