WANG Yu Ting 

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Re-saw


多頻道影像裝置
依場地而定
2024Multi-channel video installation
Depends on space
2024









「Re-saw」作品是從台江計畫「海上的空間脊背」所發展的一件作品，「海上的空間脊背」主旨在探索台江沿岸區域的個人經驗、歷史、地形特徵與海洋文化之間的多重關聯。台江是台灣西南海岸的歷史入口，也是是人群、文化的交匯處，自身隨時間與自然變遷的空間性，創作者企圖探討的台江，是一個動態的過程與空間記憶的積累，並非純粹透過具體的位置、歷史、文化特色、生活行為、變遷等等來指稱的台江，反而創作者是企圖透過上述這些可見的、留下來的線索，並跳脫其結構，來探索及想像台江所潛藏的層面，也就是未被看見的整體浮游。這樣的探索跨越了是海（過去）非海（現在）的區域，挖掘海洋與陸地空間的歷史與文化連結，觀看這片土地的空間與時間性，在土地的秩序及荒野中，感知過去遺跡的些微痕跡。歷史，於此將轉化為當下的現實。



 The artwork "Re-saw" is an extension of the Taijiang Project "The Spatial Ridge on the Sea", which focuses on exploring the intricate relationships among personal experiences, history, geographical features, and maritime culture in the coastal areas of Taijiang. Historically, Taijiang served as a gateway on Taiwan's southwestern coast, a crossroads for people and cultures. Its spatial identity has evolved with time and natural changes. The Taijiang that the artist seeks to investigate is a dynamic process and an accumulation of spatial memories—one that transcends mere references to specific locations, historical narratives, cultural characteristics, daily activities, or changes over time. Instead, the artist aims to use these visible and traceable clues to break free from their structural confines, delving into and imagining the hidden dimensions of Taijiang, its unseen, holistic drift.

This exploration crosses the boundaries between sea (past) and non-sea (present), uncovering the historical and cultural connections between maritime and terrestrial spaces. It examines the spatiality and temporality of the land, perceiving the subtle traces of past relics within the balance of ordered land and untamed wilderness. Here, history transforms into present reality.







根據《17世紀臺灣海峽荷蘭東印度公司沉船型態與分布》中的研究資料顯示，從 1602 年至 1662 年期間，在臺灣西南沿海共發生了 14 次荷蘭船隻沉船事件，其中大約 60%（即 8 艘船）可能仍沉沒於台江國家公園範圍內的水域。作品以此作為出發，進入到鹽水溪出海口及河流內，進行對於沉船的探索與想像，然而區別於考古學家，創作者並非要找到關於過去遺跡與遺留物的證據，而是透過探尋過去「時間」的過程，展開對於河流及台江的想像。如同作品名「Re-saw」，Re為不斷地再一次，重複性的行為與動作，saw指的並非我們看向過去的動詞，而是過去他人的看見，Re跟saw的中間-為連接之意，意指我們不斷地從現在的時間，與過去他人的看見產生連接，這是一個動態的過程，這便是作品核心探討的主題。

According to the research from "Shipwreck Patterns and Distribution of Dutch East India Company Ships in the Taiwan Strait during the 17th Century", between 1602 and 1662, 14 Dutch shipwrecks occurred along Taiwan's southwestern coast. Approximately 60% (eight ships) are believed to still lie beneath the waters of Taijiang National Park. Using this as a point of departure, the artwork ventures into the estuary of Yanshui River and its tributaries, exploring and imagining the shipwrecks. However, unlike archaeologists, the artist is not searching for evidence of historical relics or artifacts. Instead, through the process of exploring past "time," they open up imaginative possibilities for the river and Taijiang.

The title "Re-saw" encapsulates this concept: "Re" signifies repeated, cyclical actions, while "saw" refers not to the act of looking into the past but to the vision of those in the past. The hyphen between "Re" and "saw" symbolizes the connection—a continuous interplay between our present time and the vision of those before us. This dynamic process is the central theme of the artwork.





















這件作品特別透過影像、聲音與物件，處理關於人與空間的關係，企圖從觀眾在展場的身體感，帶入對主題對象的身體感。例如，作品所拍攝的河流，是我依循文獻資料所提及荷蘭沉船推估的位置，所拍攝的河流，我將GOPRO攝影機延伸長度潛入河內，想像或許有機會看見沉船遺留的跡象，然而所見之處的能見度是非常的低，但這卻是河流的真實，也呈現在河流之處的空間，我們的感官能見度狀態與身體感。作品有兩種空間，一種的具有身體感的空間，一種是經由人感知的時間所產生的空間。

The piece employs video, sound, and objects to explore the relationship between humans and space, aiming to evoke the audience's physical sensations in the exhibition space and connect them to the subject matter. For instance, the river depicted in the video is filmed at locations estimated from historical records to be near the Dutch shipwreck sites. Using an extended GoPro camera submerged into the river, the artist imagines capturing traces of the shipwrecks. However, the visibility in these waters is exceptionally low, reflecting the authentic conditions of the river and the sensory experience of being in its space.

The work presents two types of spaces: one with a tangible sense of physicality and another shaped by human perception of time.


更多文章請參閱：蕭佑任 專文
For more articles, please refer to: Article written by Frankyhsiao






©Wang Yu Ting