PORT OF Fata Morgana

海市

video installation, OHPs / digital printing on A3 printer paper / coral stones, marine debris, readymades, scaffolds / anti-fouling paint, gesso & graphite on MDF / cyanotype on fabric / seawater, soil & incense ash mixed in paraffin wax, LED lights

double channel HD video 36:18, installation dimensions variable

2020

 


After finishing his residency at Kaohsiung's Pier-2 Art Center in 2018, Chang has embarked on a two-year art project inspired by a model ship from his childhood. Using the ship as a symbol, port as the metaphor, he traced an ambiguous horizon of the port at Kaohsiung, on that is perpetually shifting at the visual boundaries and sits at the junction of land and sea, where ebb and flow are perpetual.

 

Opening and closing temporal and spatial dimensions, Port of Fata Morgana presents a three-act play structure composed of family history and naval architecture; history of war and religions and beliefs, disasters in history and national planning. Artist attempts to initiate an artivistic practice in the name of cultural and historical research, from the perspective of his personal life – by stitching himself as an artist with his father of shipbuilding background, the former Kaohsiung Harbour Bureau as the state apparatus with the Hongmaogang community as a symbol of civil disobedience, and the port construction plan as civilization with the disastrous typhoons as natural order. He pursues to restart conversations among them after the split past, and figure out how to find hope from each other after glory is gone.

 

The artist creates an allegorical scene, using the dry dock where ships are repaired as a symbol; it is here, the great port of Kaohsiung, where migrants and passersby had once arrived with hope of building a better future. In the end, however, they had discovered that the reality is like an unattainable mirage. That so-called homeland on the opposite side was a “Fata Morgana” – a complex mirage that’s even more fragmented, spectacular, rare and illusory.

 

 

自2018年高雄駁二駐地計畫後,藝術家投注兩年時間,從家中一艘模型船的童年記憶起錨,以船為符碼、港為隱喻,沿著海陸交界上持續沈積返蝕的高雄港輪廓,摹劃勾勒出永遠在海平面彼端漂移的曖昧景觀。

 

以家族史×造船工程、戰爭史×宗教信仰、災難史×國家計劃的三幕劇,開闔作品的時空向度;藝術家以個人生命的視角實踐一場以文史研究之名的藝術行動——串接了藝術家身份的自己與造船背景的父親、象徵國家機器的昔日高雄港務局與公民不服從的紅毛港聚落、以及文明建構的築港計劃與自然秩序的颱風災害——試圖重新在斷裂的昔日裡找到重啟對話的契機、以及如何在失去榮耀之後重新從彼此身上找到希望。

 

以修造船艦的乾塢為象徵,藝術家搭建一座恍若預/寓言的場景:先後來抵的移民過客,帶著希望來到這座高遠雄偉的港都,最終卻發現她是始終無法靠泊的海市蜃樓,而被稱為家園的彼岸,更破碎壯觀、更稀罕虛幻,是一座『複雜蜃景』。

 

 


* This artwork was nominated for Taishin Arts Award in the third season of 2020.

* 本作品獲台新藝術獎2020第三季季提名。

* This artwork was selected for Taipei Art Awards 2020.

* 本作品獲2020臺北美術獎入選。

 

MOTION PICTURE

PORT OF FATA MORGANA
PORT OF FATA MORGANA

 

GINGER HAIR SOIL (紅毛土, "cement" in Taiwanese dialect) Project

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City God Temple of Hongmaogang (new site) 紅毛港城隍廟(新址)
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Relic of Shrimp Street, Hongmaogang  紅毛港蝦子街遺址
Relic of Shrimp Street, Hongmaogang 紅毛港蝦子街遺址