攝影| 陳藝堂
《立黑吞浪者》【日曜日式散步者】微型實驗行動ACT 1
鬼丘鬼鏟、黃亞歷、謝仲其、丁麗萍、劉芳一、李世揚
首演日期│2016/08/19
首演地點│玫瑰古蹟－蔡瑞月舞蹈研究社
第15屆 台新藝術獎視覺藝術獎 得獎理由
《立黑吞浪者》這個傑出、動人的藝術計畫，讓人深思歐洲前衛主義透過日本轉譯、進入台灣這段被遺忘的歷史，以詩歌、體操、影像和聲音藝術等多種語聲的解構式行為表演，召喚我們潛入記憶的深處，發掘日治時期三零年代「風車詩社」封存於台灣文學史中的複雜處境。
透過對藝術及歷史檔案的深度研究，充滿創意地重演與詮釋，巧妙地連結了兩個不同時代的實驗野心，最終成為一場在古蹟發生的宣言。
入圍理由
此一融合詩、影像、聲音、音樂和身體動作的綜合性實驗演出，透過文件考古的方式重建日本時期台灣前衛藝術運動「風車詩社」的時代留痕，不只產生一部受到國內外重視的電影詩-紀錄片，也因為和劇場及表演藝術家合作，而產生多媒體劇場的回塑性建構。在「立黑吞浪者」一作中，多種語聲的解構式演出和影像及身體動作組合之間的交織，形成台灣近年罕見的前衛劇場。演出中聲音表演部份及體操動作的介入在此作中尤其有令人激賞的執行成果。(主筆／林志明)
關於《立黑吞浪者》【日曜日式散步者】微型實驗行動ACT 1
1930年代，由台灣人與日本人所組成的文學團體「風車詩社」──在帝國殖民之網中，從現代性的繁複、前衛性的折衝中，探問自身的存在。二十世紀初期，由西歐藝術家所掀起的前衛文藝思潮與實踐，透過文明技術化的傳播路徑影響東亞地域，台灣在日本的殖民境遇下，一躍而入現代性的深邃巨浪。 風車詩社作為現代主義文學的前行者，首度引入西歐及日本相異詮釋下的超現實主義創作觀，同時面臨了戰前日文創作世代無法擁有自我發聲語言的「失語」境況，又亟需透過以日文「再語」的定位，為其創作自由及生存意志，開掘出另類的抗衡途徑。 本演出源於2016年，以日治時期「風車詩社」爲題之紀錄電影《日曜日式散步者》製作完成後，導演黃亞歷邀集了現場藝術團體鬼丘鬼鏟、謝仲其、丁麗萍、劉芳一、李世揚，以及再拒劇團，分別進行兩齣由聲音、現場藝術、影像所匯合的微型實驗演出，回應由「風車詩社」所聚焦與擴延的互語可能。
關於人物
2016年，以日殖時期「風車詩社」爲題的紀錄電影《日曜日式散步者》製作完成，導演黃亞歷邀集了藝術團體鬼丘鬼鏟（主要成員為導演李奧森、視覺設計陳必綺）、聲音藝術家謝仲其、丁麗萍、劉芳一、鋼琴家李世揚，以及「再一次拒絕長大」劇團，分別進行兩齣由聲音、現場藝術、影像所匯合的《立黑吞浪者》微型實驗演出，回應由「風車詩社」所聚焦與擴延的互語可能。
導演黃亞歷在2011年為獨立書店準備講座時，在網路上讀到論文《日政時期詩人林修二及其作品研究》，發現原來台灣曾有思想如此前衛純粹的詩社─風車詩社，其既是現代主義文學的「前行者」，引入西歐及日本詮釋下的超現實主義創作觀，同時又是面臨戰前日殖時期的日文創作世代，無法擁有自我發聲語言的「失語者」，卻亟需透過日文「再語」為其創作定位，開闢另類的抵抗途徑。
黃亞歷決定以「風車詩社」為主題拍攝紀錄片，重新設想當時台灣知識分子所面臨的處境和困難。歷時三年籌備，《日曜日式散步者》於2016年上映並獲得金馬獎最佳紀錄片獎項，同時他也著手《立黑吞浪者》的規劃；他思忖「學科建制化之後，台灣當代不同領域創作者，如何看『風車詩社』和這塊土地上過去的文藝家曾發生過的創作經驗，如何反省自身時代所面臨的問題。」黃亞歷說，「《日曜日式散步者》以返回歷史去探問歷史真實的向度，當代藝術者們則透過《立黑吞浪者》將複雜的歷史幽徑，以語聲的分歧，撕劃出多重渠道，藉著身體移動的驟然斷裂與翻越的線條，模擬風車詩社藉由達達主義繪畫所洞悉的前衛之眼，表述『我手寫不了我口』的悲哀。」
發出聲音是人類本有的欲求，經由語言系統的發展與組織，形成人際之間相互理解與對話。失去言說或書寫語言的根本自由，不僅反映出殖民經驗下文化監控的恐懼，更透露出文學藝術的無根飄零，語言創造性的失落與挫敗感。黃亞歷關注聲響與語言，邀請謝仲其、丁麗萍、劉芳一、李世揚幾位聲音藝術家共同創作，蒐羅大量當時流傳下來的前衛音樂、聲音藝術錄音及影像聲響，以當今電腦科技的聲響調變技術，跟人聲實驗音樂相結合，建構出一齣劇場式的現場演出。
「我非常好奇所謂『聲音即興』對當代藝術家的意義，為何此刻的台灣能夠如此『理所當然地』承襲它，並把它視作一種必然且必須的表達方式？」黃亞歷談到鋼琴家李世揚選擇紀錄片所運用的幾首曲子，包括台灣作曲家江文也和法國作曲家艾瑞克．沙堤（Erik Satie）的作品，選其片段裁剪後，再以現場即興的演出；謝仲其挑選當時西方作曲家的電影配樂；演出經驗豐富的丁麗萍，把紀錄片當中並未提及、但認為能和作品相呼應的法國戲劇理論家安東尼．亞陶（Antonin Artaud）的詩作重新演繹放入演出當中，而另一位聲音藝術家劉芳一則以各種發聲器具探索「發聲」的可能與需求，並將日本食人犯佐川一政對西方文化的自卑情結，透過分崩離析的語言和聲響，賦予參照及省思。
另外，黃亞歷也邀請「鬼丘鬼鏟」藝術團隊，以現場身體展演的形式，將表演者隱喻成一種從繪畫中分裂出來的斷裂線條，像是魂魄迴返，並以去中心的結構，展現詩人世代背離社會的暗影存在。舞台與線性敘事並不存在，只有「乍現」的視覺畫面呈現在觀者眼前。
黃亞歷說，「我好奇八十年後的現在，藝術家看到什麼？當代跟日殖時期的關聯是什麼？若我們在探索過程中有困惑，某程度上也是當年風車詩社的困惑。」這些創作者不僅跟紀錄片對話，也跟風車詩社相望，一層層無限外擴的思考及再創作，「在光譜之中往返，是演出最大的挑戰。在時不我予的那個時代，純藝術的追尋必定是遺憾的夭折；但在號稱言論自由的現在，是否仍有另一種政治思維的要求，高度形式美學化跟殖民政權之間的默許關係？就算過了八十年，我們仍要不斷反省」。
就《立黑吞浪者》來說，每個創作者都是主創個體，因溝通而理解，或因不理解卻刺激出意料不到的結果。不同領域的作者，在最相近之處，也許在於大家都是自西方文化脈絡中，接續了各種知識養成或創作的方式。這與日殖時期風車詩社的現代性經驗，有何對應關係？創作者試圖反思日殖時期的台灣，雖受現代性思潮的影響，卻在前衛聲音的藝術探索中始終缺席。思考著風車詩社的歷史，因應全球化浪潮席捲的當下，黃亞歷認為，反思文藝在地發展的藝術狀態是「這些當代作者彼此之間的衝撞、妥協或堅持」，是他們在合創過程中最困難、卻也最珍貴的部分。對他來講，這是一個「反轉及再出發的起點」。
鬼丘鬼鏟（現場藝術家）
鬼丘鬼鏟藝術團體於2009年台北成立，以現場藝術為主要形式，創造未知表演狀態，並視觀者為現場混亂之一部分。鬼丘鬼鏟主要創作者為李奧森與陳必綺，前者來自錄像藝術與社會學背景，後者則受芭蕾與服裝設計之學院訓練。長期於世深搜羅表演者，表演者來自獨立媒體、漫畫、即興噪音與藝術領域，以行動草稿發展多軸線結構的虛幻式行動；藝術家、觀者、表演者合作將藝術體驗輸出成現實無礙飛行。
黃亞歷（電影導演）
台灣獨立製片者，關注於影像、聲音的聯繫與延伸性。近年來投身於製作台灣早期相關主題之紀錄片，希望透過歷史的梳理和檢視，探索紀錄片真實的詮釋可能，並反思台灣與亞洲、世界之間的關係。首部紀錄長片為《日曜日式散步者》。
謝仲其（聲音藝術家）
聲音藝術家、Max/MSP 電腦作曲、音效製作、錄音、評論、企劃、日譯中翻譯。相關論文及作品獲得「BIAS 異響」聲音藝術展、台北數位藝術獎、數位藝術評論獎入選，對科技藝術領域有長期參與經驗。為台北聲音小組成員，成立電子音樂團體 TrafficJam，以及華人唯一結合詩文朗誦及聲音藝術的樂團「鬼唱詩班」。
丁麗萍（人聲／行為藝術家）
創作理念以人聲探索出發，哲學思維中堅，詩歌行動落實，究竟人文與環境聲音實驗，就人生存不安本質，與面臨混沌黑暗生存環境，尋求藝術反詰，關懷與實踐！作品有聲音裝置《聆聽零–微塵有聲–回響當代》、《源頭活水》詩歌行動，邀約盲童合《光的行動》共生計畫、《凝視》、《七步故事》、《黑洞墜石》、《掀起蓋頭慶典》等。
劉芳一（聲音藝術家）
自2009年開始從事自由即興音樂及實地錄音、聲音拼貼等創作。主要關注人聲的各種表現可能以及聲音與環境間的關係。曾參與舞蹈、劇場等跨界表演的聲音演出，亦與來自日本、法國、奧地利、中國、荷蘭、英國等地的聲音藝術家合作演出。2016年參與配樂舞劇《Connect project + Sun ∞ Moon日 ∞ 月》於斯德哥爾摩藝穗節演出，獲「最震撼獎」（ Most Provocative Award ）。
李世揚（鋼琴家）
長期致力於即興音樂，其合作過的藝術家不計其數，來自於各藝術領域，如：繪畫、劇場、多媒體、舞蹈等。目前他擔任卡到音即興樂團的召集人，曾多次獲得金音創作獎、傳藝金曲獎等殊榮。他與驫舞劇場合作的《兩男關係》，其中擔任音樂創作與演出，該作獲選為第十一屆台新藝術獎表演藝術類年度十大。他亦創辦且統籌臺灣國際即興音樂節，擔任音樂總監。
作品相關評論
談《日曜日式散步者》微型實驗行動《立黑吞浪者》、《混沌詞典：補遺》─今藝術 第289期
錯體特技：從《日曜日式散步者》到《立黑吞浪者》─ARTALKS2016/11/29
製作團隊
策展人／影像設計｜黃亞歷
聲音設計｜謝仲其
人聲｜丁麗萍
人聲｜劉芳一
鋼琴｜李世揚
概念｜鬼丘鬼鏟
導演｜李奧森
視覺設計｜陳必綺
表演者｜陳必綺、王姿雅、林曼菲、吳立翔、郭聖杰、孫湧智、何裕天
燈光設計｜張君如
鼓手｜胡一之
道具｜張軼峰、李權原
攝影｜陳藝堂
影像協力｜許岑竹
錄影｜葉覓覓
平面設計｜蕭羊希
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The Black Waves
Ghost Mountain Ghost Shovel Art Collective, HUANG Ya-Li, XIE Zhongqi, TING LiPing, LIU Fangyi, LEE Shih-Yang
Jury's Comment for the 15th Visual Arts Award Winner
THE BLACK WAVES is a moving live art project that allows us to contemplate a forgotten history of Taiwan, when the European avant garde arrived through the lens of Japan. The dynamic retrieval in this art work is particularly outstanding for its strategies of reenactment and invention. The powerful spontaneous eruption of poetry, gymnastics, image and sound art harks deep into our memories, revealing a complex moment of the literary landscape of Taiwan, the Le Moulin Poetry Society. The final manifestation from intense research into art archives becomes an exemplary transformation of contemporary interdisciplinary expression in a historical site, bridging two moments in time.
Comments from Nomination Committee
A comprehensive experimentation that unifies poetry, image, sound, music, and physical performance, the work conducts an archaeological investigation of documents to revisit and reconstruct the avant-garde art movement by Le Moulin Poetry Society in Japanese-ruled Taiwan. This endeavor not only leads to a cinematic poem/documentary that has won critical acclaim in both Taiwan and abroad, it also creates a retrospective production of multi-media theatre due to the collaboration with artists and performers. In The Black Waves, the deconstructive performance of multiple languages and voices as well as the tapestry woven with image and physical performance have presented an avant-garde theatrical piece rarely seen in Taiwan in the recent years. The vocal performance and the use of gymnastic moves are particularly and excellently well-executed. (Commentator: LIN Chi-Ming)
About the Artwork
In the 1930s, a group of Taiwanese and Japanese poets founded Le Moulin Poetry Society and explored their own existence by looking into the complex modernity and introduced the avant-garde within the context of imperial colonialism. In the early twentieth century, the avant-garde artistic and cultural waves and practices led by Western European artists influenced Eastern Asian regions through technological communication. Under Japanese colonization, Taiwan became engulfed in the massive and profound waves of modernity.
As a pioneering figure of modernist literature, Le Moulin Poetry Society was the first to introduce the creative concepts of Western European and Japanese Surrealism, which presented rather different interpretations. They were faced with the situation of "losing their own voice" because the pre-war generation wrote in Japanese and was denied the right to their own language, and at the same time, they also needed to use Japanese to "find their own voice" and find an alternative approach to fight against the reality for their creative freedom and will of survival.
This performance originated from Le Moulin, a 2016 documentary film about "Le Moulin Poetry Society" in the Japanese colonial period. After the completion of the film, the director, HUANG Ya-Li, brought together the live art group, Ghost Mountain Ghost Shovel Art Collective, XIE Zhongqi, TING Liping, LIU Fanyi, LEE Shih-yang, and Against Again Troupe, and respectively conducted two micro experimental performances that incorporated sound, live art, and image to foreground and expand the possibility of creating a dialogue with Le Moulin Poetry Society.
The Black Waves was the first act of the two Le Moulin micro experimental performances
About the Artist
Ghost Mountain Ghost Shovel Art Collective (Live Art Group)
Ghost Mountain Ghost Shovel Art Collective (GMGS) was launched in 2009. The live art group aims to explore the unpredictability in performance and view the audience as part of the uncertainty in live performance. Led by LEE Au-Sen and CHEN Pi-Chi, whose academic background relate to video art, sociology, ballet, and costume design, GMGS engages in live art anonymously with a revolving set of members that comes from the fields of independent media, comic, improvisational noise, and art. The goal of the group is to create a visionary foundation with performance, with which everyone could contribute to the development of a fictional reality in different ways. The artists, the audience, and the performers become a unity, and uninhibitedly transform the chaotic art experiences into reality.
Huang Ya-Li (Film Director)
Huang Ya-Li is an independent filmmaker in Taiwan, who is interested in the connection between and extension of images and sounds. In recent years, he has been involved in documentaries concerning Taiwan during the Japanese colonial period. He intends to explore the possibility of interpreting reality in the form of documentaries through historical research and examination, and to reflect on the relationship between Taiwan, Asia, and the world. Le Moulin was his first feature film.
Xie Zhongqi (Sound Artist)
Xie Zhongqi is a sound artist, computer music composer, sound effect artist, and also engages in sound recording, criticism, project planning and Japanese-Chinese translation. His writings and works have won the Honorable Mention in BIAS Sound Art Exhibition and the Sound Art Prize in the Digital Art Awards Taipei, and his thesis was selected in Digital Art Criticism Awards. He is the member of Taipei Sound Unit, the founder of TrafficJam and GhostChoir, the only Chinese choir that combines poetry reading and sound art.
TING Liping (Vocal and Performance Artist)
Through vocal experimental sounding, research on philosophical thinking, and her poetry as art-action, TING Liping continues the exploration on humanistic and environmental sound experiments. Targeting the ever-present unbalanced nature of human survival and facing a chaotic and troubled environment, TING seeks to pose questions through art and incite concern and care! Her works include the sound installation, Noisy-Words-Silence—Nos Souffles d'Echos—Mur de Murmure, the poetry art-action series, Paper Timing, Light Action, which is a collaboration with blind children, Vacuum, 7 Marche en Poésie, My Falling Stone Smile, Fete de Dévoilement, etc.
LIU Fangyi (Sound Artist)
LIU Fangyi has been engaging in the creation of improvisational music, field recording and sound collage. His work focuses on the possibilities of human vocal expression and the relationship between sound and environment. He has participated in interdisciplinary sound performances in dance and theatre, and has collaborated with sound artists from Japan, France, Austria, China, Holland, and the UK. In 2016, he participated in Connect project + Sun ∞ Moon in Stockholm Fringe Festival, which won the Most Provocative Award.
Shih-Yang (Pianist)
LEE Shih-Yang has been dedicated his time to improvised music. He has collaborated with artists from different fields, including painting, theatre, multi-media, and dancing. He is the founder and co-leader of the improvisation ensemble, Ka Dao Yin. LEE has won the Golden Indie Music Award and Golden Melody Award of Traditional Arts and Music several times. He collaborated with HORSE Dance Theatre and served as the composer and live pianist for 2 Men, which was one of the top 10 finalists in the Performing Arts Category in the 11th Taishin Arts Award. LEE is also the founder and music director of Taiwan International Improvised Music Festival.
