2014年7月7日 星期一

Biography

許家維
1983出生於台中,現生活與工作於台灣台北
2010畢業於台灣藝術大學造形藝術研究所
2010.04 ~ 2010.07藝術家研究計畫
The International Studio & Curatorial Program( ISCP),紐約,美國
2011.07 ~ 2013.11擔任打開-當代藝術工作站站長一職
2014.07 ~ 2014.12藝術家研究計畫,貝塔寧藝術中心(Künstlerhaus Bethanien),柏林,德國

許家維的創作經常呈現一種敘事體的形態,以一種記錄性的方式去介入現實文本,並著力在地方的特殊性,其中的關鍵組件包含了地方的記憶、想像與認同。他不斷的嘗試融合當代藝術與電影的語言去發展作品,並關注於如何透過影像創作介入現實,進而生產一種介於敘事世界與現實之間的異質敘事體。同時透過一種批判的態度,透過影像的能力,將場域帶到美術館外任何一個地方,作為影像創作在政治實踐上的可能。

他的作品曾在許多的美術館及國際影展展出,包括Jeu De Paume美術館、39TH International Film Festival Rotterdam、2012 Liverpool Biennial、第55屆威尼斯雙年展、2012台北雙年展、第八屆台灣國際紀錄片雙年展以及在Centre Pompidou Paris, Haus der Kulturen der Welt Berlin, and Reina Sofia National Museum Madrid 舉辦的RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID,並於2013年入圍HUGO BOSS亞洲藝術大獎。

他同時也與一群藝術家共同經營一個藝術空間:打開-當代藝術工作站。成立至今已有十二年的時間。這是一個由藝術家集結而成的組織,同時具有策展、創作、論述、跨領域交流,以及藝術教育推廣多功能之組織。策劃過幾十檔大小型涵蓋國內外藝術家的展覽、藝術論壇、講座,和出版工作,持續地致力於當代藝術中的每一種創造溝通的可能。

個展記錄:
2013.01 《SH-SY5Y》個展,台灣藝術大學文化創意產業園區,台北,台灣
2011.04 《疊錄》,夏可喜當代藝術,台北,台灣
2009.04 《3月14日,紅墈體育館》個展,乒乓藝術空間,台北,台灣

聯展記錄:
2013.12 《理解的尺度-台泰當代藝術交流展》,中山創意基地,台北,台灣
2013.09 《HUGO BOSS亞洲藝術大獎》,上海外灘美術館,上海,中國
2013.05 《第五十五屆威尼斯雙年展台灣館-這不是台灣館》,普里奇歐尼宮邸,威尼斯,義大利
2013.04 《cutlog New York: urbanity - video arts film festival》,紐約,美國
2012.11 《理解的尺度-台泰當代藝術交流展》,曼谷文化藝術中心,曼谷,泰國
2012.10 《台灣國際紀錄片雙年展》,國立台灣美術館,台中,台灣
2012.09 《2012台北雙年展-現代怪獸》,台北市立美術館,台北,台灣
2012.09 《2012利物浦雙年展-台北,不可思議城:台灣藝術家與都市形態學》,LJMU Copperas Hills,利物浦,英國
2012.08 《THAITAI FEVER - STAGE ONE: We're OPEN》,打開-當代藝術工作站曼谷,曼谷,泰國
2012.06 《曖昧的存在:是誰在懼怕認同?》,tamtamART gallery,柏林,德國、Kav 16 - Community Gallery for Contemporary Art,台拉維夫,以色列、鳳甲美術館,台北,台灣
2012.05 《Rencontres à Beyrouth》,Beirut Art Center,貝魯特,黎巴嫩
2012.04 《19991121 > 20130421 | PART ONE》,打開-當代藝術工作站,台北,台灣
2011.12 《當代國際錄像藝術對話》,國立台灣美術館,台中,台灣
2011.11 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID》,龐畢度藝術中心,巴黎,法國
2011.11 《第11屆里昂視覺藝術雙年展 活體詩學-驚蟄詩囚︰台灣青年藝術家展覽》,Olivier Houg Galerie,里昂,法國
2011.07 《THE EMPTY CITY》,IDOLON STUDIO,柏林,德國
2011.07 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID》,Haus der Kulturen der Welt,柏林,德國
2011.06 《流感疲勞》,台北當代藝術中心,台北,台灣
2011.05 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID-New cinema and contemporary art-FILMS AND VIDEO SCREENINGS》,索菲亞皇后美術館,馬德里,西班牙
2011.02 《活彈藥》,台北當代藝術館,台北,台灣
2011.02 《Conjecture Horizon》,Forum des Arts et de la Culture,Talence,法國
2010.12 《台灣響起-超隱自由》,Műcsarnok,布達佩斯,匈牙利
2010.11 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID》,龐畢度藝術中心、巴黎,法國
2010.10 《後學院》,國立台灣藝術大學藝術博物館,台北,台灣
2010.09 《Faux Amis / An Ephemeral Video Library》,法國國家藝廊jeu de paume,巴黎,法國
2010.09 《2010台北雙年展》,台北市立美術館,台北,台灣
2010.06 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID》,Haus der Kulturen der Welt,柏林,德國
2010.05 《Open Studio》,ISCP,紐約,美國
2010.04 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID-New cinema and contemporary art-MEDIA ART EXHIBITION》,La Tabacalera - future National Centre for Visual Arts,馬德里,西班牙
2010.04 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID-New cinema and contemporary art-FILMS AND VIDEO SCREENINGS》,索菲亞皇后美術館,馬德里,西班牙
2010.04 《台北當代藝術中心TCAC開幕展2》,台北當代藝術中心,台北,台灣
2010.03 《非常姿態》,國立台灣美術館,台中,台灣
2010.01 《39TH International Film Festival Rotterdam 》,De Doelen,鹿特丹,荷蘭
2009.12 《PHOTO TAIPEI 2009》,六福皇宮大飯店,台北,台灣
2009.12 《RENCONTRES INTERNATIONALES PARIS/BERLIN/MADRID》,龐畢度藝術中心、Theatre du Chatelet,巴黎,法國
2009.09 《後地方-地方性的逆轉》,台北當代藝術館,台北,台灣
2009.07 《Dandy & Angel》聯展,打開-當代藝術工作站,台北,台灣
2008.11 《2008台北美術獎》聯展,台北市立美術館,台北,台灣

策展經歷:
2013.12 《理解的尺度-台泰當代藝術交流展》,中山創意基地,台北,台灣
2012.11 《理解的尺度-台泰當代藝術交流展》,曼谷文化藝術中心,曼谷,泰國
2009.07 《Dandy & Angel》,打開-當代藝術工作站,台北,台灣
2006.03 《文件321-打開當代藝術工作站五周年文件展》,打開-當代藝術工作站,台北,台灣
2005.12 《illumination function-作品展一件八》,打開-當代藝術工作站,台北,台灣
2004.12 《情境空間》,台灣藝術大學,台北,台灣
2004.05 《超‧薄》,華山創意文化園區,台北,台灣

得獎紀錄:
2013.09 入圍HUGO BOSS亞洲藝術大獎
2009.12 《3月14日,紅墈體育館》,獲2009年世安美學獎 
2008.11 《和平島故事》,獲2008台北美術獎

Hsu Chia-Wei
1983 Born in Taichung, Taiwan, live and work in Taipei, Taiwan.
2010 graduated from Graduate School of Plastic Art, National Taiwan University of Arts
2010.04 ~ 2010.07 Artist residency program
The International Studio & Curatorial Program( ISCP), New York City, the United States
2011.07 ~ 2013.11 appointed as director of Open-Contemporary Art Center
2014.07 ~ 2014.12 Artist residency program , Künstlerhaus Bethanien, Berlin, Germany

Hsu Chia-Wei's creative method is a specific kind of “Narrative” -- a way of documenting that interferes with the text in reality, by focusing on site specific and peculiar characteristics, such as memory, imagination, or identification.He has been continuously trying to merge the languages of contemporary art and film to originate his works, in concern of how to step into reality through film creation, fabricating a mythical narrative which lingers between fiction and reality. He maintains a critical attitude toward filming, and through the power of film creation, he strives to move art to locations outside museums and to developing his political practice.

His works have been on display in museums and international film festivals, such as Jeu De Paume, the 39th International Film Festival Rotterdam, the 55th Venice Biennial, 2012 Liverpool Biennial, 2012 Taipei Biennial, 8TH Taiwan International Documentary Film Festival, and RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID screened at the Centre Pompidou Paris, Haus der Kulturen der Welt Berlin, and Reina Sofia National Museum Madrid, and was nominated 2013 Hugo Boss Asia Art Prize.

He is currently director of Open-Contemporary Art Center in Taipei, Taiwan. An art space run by numerous young artists over a span of 12 years. Through artistic practice, curation and running independent art spaces, he tries to expand the influences of art to the society.

SOLO EXHIBITION:
2013.01 SH-SY5Y, NTUA Cultural and Creative industry Park, Taipei, Taiwan
2011.04 Overdubbing, Sakshi Gallery, Taipei, Taipei, Taiwan
2009.04 March 14, Hong Kong Coliseum, PING PONG, Taipei, Taiwan

GROUP EXHIBITION:
2013.12 THAITAI: A Measure of Understanding, Chung Shan Creative Hub, Taipei, Taiwan
2013.09 HUGO BOSS ASIA ART, Rockbund Art Museum, Shanghai, China
2013.05 The 55th International Art Exhibition - la Biennale di Venezia: This is not a Taiwan Pavilion, Palazzo Ducale, Venice, Italy
2013.04 cutlog New York: urbanity - video arts film festival, New York City, the United States
2012.11 THAITAI: A Measure of Understanding, Bangkok Art and Culture Centre, Bangkok, Thailand
2012.10 Taiwan International Documentary Festival, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2012.09 2012 TAIPEI BIENNIAL - MODERN MONSTERS, Taipei Fine Arts Museum, Taipei, Taiwan
2012.09 Liverpool Biennial 2012- Taipei, Metro - Wonderland: Taiwanese Artists and Urban Morphology, LJMU Copperas Hills, Liverpool, U.K
2012.08 THAITAI FEVER - STAGE ONE: We're OPEN, Open-Contemporary Art Center, Bangkok, Bangkok, Thailand
2012.06 Ambiguous Being: Who’s Afriad of Identity?, tamtamART gallery, Berlin, Germany, Kav 16 - Community Gallery for Contemporary Art, Tel-Aviv, Israel, Hong-gah Museum, Taipei, Taiwan
2012.05 Rencontres à Beyrouth, Beirut Art Center, Beirut, Lebanon
2012.04 19991121 > 20130421 | PART ONE, Open-Contemporary Art Center, Taipei, Taiwan
2011.12 Videonale: Dialogue in Contemporary Video Art, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2011.11 RENCONTRES INTERNATIONALES PARIS/ BERLIN / MADRID, Centre Pompidou, Paris, France
2011.11 Une terrible poétique: Jeunes artistes taïwanais à Lyon, Olivier Houg Galerie, Lyon, France
2011.07 THE EMPTY CITY, IDOLON STUDIO, Berlin, Germany
2011.07 RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID, Haus der Kulturen der Welt, Berlin, Germany
2011.06 FLU-FATIGUE, Taipei Contemporary Art Center, Taipei, Taiwan
2011.05 RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID - New cinema and contemporary art - FILM AND VIDEO SCREENING, Reina Sofia National Museum, Madrid , Spain
2011.02 LIVE AMMO, Museum of Contemporary Art, Taipei, Taipei, Taiwan
2011.02 Conjecture Horizon, Forum des Arts et de la Culture, Talence, France
2010.12 Taiwan Calling - THE PHANTOM OF THE LIBERTY, Műcsarnok, Budapast, Hungary
2010.11 RENCONTRES INTERNATIONALES PARIS/ BERLIN / MADRID, Centre Pompidou, Paris, France
2010.10 Post Academic, Our Museum, Taipei, Taiwan
2010.09 Faux Amis / An Ephemeral Video Library, JEU DE PAUME, Paris, France
2010.09 2010 TAIPEI BIENNIAL, Taipei Fine Arts Museum, Taipei, Taiwan
2010.06 RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID, Haus der Kulturen der Welt, Berlin, Germany
2010.05 Open Studio, ISCP, New York City, the United States
2010.04 RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID - New cicema and contemporary art - MEDIA ART EXHIBITION, La Tabacalera - future National Centre for Visual Arts, Madrid, Spain
2010.04 RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID - New cicema and contemporary art - FILM AND VIDEO SCREENING, Reina Sofia National Museum, Madrid , Spain
2010.04 Taipei Contemporary Art Center - Opening Exhibition 02, Taipei Contemporary Art Center, Taipei, Taiwan
2010.03 Beyond Outward Gestures, National Taiwan Museum of Fine Arts, Taichung, Taiwan
2010.01 39TH International Film Festival Rotterdam, De Doelen, Rotterdam, the Netherlands
2009.12 PHOTO TAIPEI 2009, The Westin, Taipei, Taiwan
2009.12 RENCONTRES INTERNATIONALES PARIS/ BERLIN/ MADRID, Centre Pompidou/ Theatre du Chatelet, Paris, France
2009.09 POST.O, Museum of Contemporary Art, Taipei, Taipei, Taiwan
2009.07 Dandy & Angel, Open-Contemporary Art Center, Taipei, Taiwan 2008.11 2008Taipei Arts Awards, Taipei Fine Arts Museum, Taipei, Taiwan

CURATION EXPERIENCE:
2013.12 THAITAI: A Measure of Understanding, Chung Shan Creative Hub, Taipei, Taiwan
2012.11 THAITAI: A Measure of Understanding, Bangkok Art and Culture Centre, Bangkok, Thailand
2009.07 Dandy & Angel, Open-Contemporary Art Center, Taipei, Taiwan
2006.03 Document 321-the document exhibition of the 5th anniversary of Open-Contemporary Art Center, Open-Contemporary Art Center, Taipei, Taiwan
2005.12 Illumination Function-One Piece Work 8, Open-Contemporary Art Center, Taipei, Taiwan
2004.12 Context Space, NTUA, Taipei, Taiwan
2004.05 Ultra Thin, Hwa Shan Culture Park, Taipei, Taiwan

AWARDS AND HONORS:
2013.09 HUGO BOSS ASIA ART
2009.12 “March 14, Hong Kong Coliseum” honored by 2009 S-An Cultural Foundation Award Competition 
2008. 11 “The Story of Hoping Island” honored by 2008 Taipei Arts Award Competition

Huai Mo Village

作品名稱:《回莫村》
呈現方式:單頻道錄像裝置
時間:8分20秒
創作年代:2012年

作品簡介:
許家維的錄影和裝置構建起關於亞洲地理、歷史與文化領域的敏感視覺敘事,在密集而複雜的多重文化與歷史中,藝術家揭示了現代人的生活是如何被根本轉變的。

《回莫村》講述的是泰緬邊境被遺棄的軍隊所面臨的多重文化的交錯,以及不被認可的尷尬身份。生活在歷史幽魂中的人們,最終產生的是常人所不具有的歧義性。許家維此次創作計劃關注於泰國清萊回莫村的自強孤兒院,這些孤兒的產生與這個地區複雜的歷史有緊密的關係。1949年國共內戰開打,國民黨戰敗後原屬國民黨政府的正規軍由雲南撤退至緬甸,原20多萬人員抵達緬甸時僅存2000餘人員。緬甸於1953年與蘇聯在聯合國控告這支部隊「入侵」,聯合國便經由泰國同意,安排這支部隊來到泰緬邊境的金三角與清萊美斯樂。在國際的壓力下,蔣介石指示這支部隊撤回台灣,但事實上則是「明撤暗留」;表面上這支部隊已解散,但私底下仍然保持戰備狀態以圖反攻。由於孤軍多數都是雲南人,思鄉情濃,依然遵照「明撤暗留」指令。不同的是這一次形同向國際宣告,「當地軍人」不再有任何行動,以後與中華民國政府無關。
1970年這支孤軍因生存需要,應泰國軍方要求,出面協助遠征泰共以換取居留權,並確定了孤軍在泰北以傭軍形式長久駐留的必要性。爾後還參與了1978年與緬共的戰役及1981年與苗共的戰役。這段期間,許多人也開始種起滿山的罌粟花,並協助毒梟從緬甸運送毒品以改善生計,在過去這裡的毒品的產量佔全球產量的80%,成為世界毒品中心。目前於回莫村自強孤兒院中有68位孩童,他們的父母多是因毒品交易被判死刑或因毒品糾紛而喪命。
曾經是情報員的片中主角孤兒院院長,他的身份點出了歷史的源頭及變化的過程。藝術家慣有的拍攝手法在本作品中仍在延續。從講故事的人、聽故事的人、到由孤兒們組成的拍攝團隊,藝術家站在更為後方的位置,觀察著這一切。

Title: Huai Mo Village
Presentation: one-channel video installation
Total running time: 8 minutes and 20 seconds
Year: 2012

Description:
Hsu Chia Wei creates videos and installations to build sensitive visual narratives about geographical, historical and cultural regions in Asia. The artist reveals how the lives of people in the modern age are fundamentally transformed by the dense and complex layers of cultures and histories.
Huei-Mo Village relates the story of remnant troops on the border regions of Thailand and Burma who face the intersection of multiple cultural identities and an unrecognised identity. People who live under the spectre of history end up producing an ambiguity absent in ordinary people. HSU Chia Wei’s latest project focuses on the Huai Mo Tzu Chiang House in Chiang Rai, Thailand, which shelters a generation of orphans owning close relationships to the region’s complex history. In 1949, the Chinese civil war broke out. The defeat of the KMT resulted in the perilous retreat of an army, originally belonging to the Nationalist government, from Yunnan to Myanmar, with only 2,000 among 20 million soldiers reaching the destination in the end. 

However, Myanmar and the Soviet Union accused the troop for having “invaded” their territory, whereupon the United Nations later on arranged for the troop to settle at the Golden Triangle at the Thai-Myanmar border and Chiang Rai, Mae Salong by making a pact with the Thai government. Due to pressure from the United Nations, Chiang Kai-shek instructed the troop to retreat to Taiwan, but in truth ordered them to Retreat on the surface, but factually remain undercover. In semblance, the troop seemed to have disbanded, but in secret they remained in a state of combat preparing for their counterattack. The Lost Army consisted mainly of soldiers from Yunnan, yet obeyed their given commands and stayed despite their longing for home. Their actions, however, were like declarations to the world that the “local soldiers” will no longer intervene, and have severed all ties with the government of the Republic of China.
In 1970, in order to sustain themselves in foreign lands and to exchange for the right to abode, the lost troop answered the request of the Thai military in assisting their expedition against the Thai communists, which then determined their prolonged stay as mercenaries in northern Thailand. Later on, they were also involved in battles against Burma communists in 1978 and Miao communists in 1981. During this period, many people grew poppies to increase their incomes for a better domestic life, or assisted drug dealers to traffc drugs from Myanmar. The drug production in this region used to account for 80% of the global supply, determining its status as the international drug trade center at the time. The orphanage at Huai Mo Village houses 68 children; most of their parents were sentenced to death for drug trade or had died during drug-related disputes.
In the video, the director of the orphanage (who was once an intelligence officer) points out the historical origins and changes. The artist’s customary style is extended in this work—the people telling the stories, the people hearing the stories, the crew made up of orphans, with the artist standing furthest back, observing it all.









2014年7月6日 星期日

Marshal Tie Jia - Jingsi Village

作品名稱:《鐵甲元帥-靖思村》
時間:10分
呈現方式:單頻道錄像裝置
創作年代:2013年
本作品為台北市立美術館的委託製作

作品簡介:
鐵甲元帥創作計畫是由青蛙神鐵甲元帥和藝術家之間一段不尋常的對話所開展,以現代性的脈絡以及遠古神祕文本的雙重透視切入,彼此相互映照,譜繪出神話、影像、文化與歷史的消逝和形成。

鐵甲元帥在一千四百多年以前出生於中國江西,其駐於武夷山的廟宇在文化大革命的時期遭受毀壞,目前流落到在中國和台灣本島之間的龜島上。該島在蔣中正退守台灣以後,正式歸為台灣管轄。在一場意外的相遇後,許家維決定展現此現代性和神話的交錯節點,第一階段的作品《鐵甲元帥-龜島》是以日景捕捉其現居地的島嶼,而《鐵甲元帥-靖思村》則是第二階段的創作,以夜景描繪青蛙神出生地的池塘,並與青蛙神信仰同根源的驅魔儀式儺舞一起呈現。

此地區是中國青蛙信仰與儺舞儀式的發源地,但在文化大革命之後,這些信仰均被歸類為牛鬼蛇神而被禁止,戲班被迫解散,面具與戲服則被焚毀。村子裡到處可見的是被刮除的浮雕或是被油漆覆蓋的城牆,這些古老的記憶在短短的幾年就被現代化的力量所抹除。在影片中,藝術家參考了商朝的一塊甲骨文石版所描述的驅魔儀式,並與當地村民再次演繹了一場遠古的驅魔過程。

在挖掘這則現存神話的過程中,事實與虛構的差異顯得微小,而現代國家對於歷史與記憶的挪動支配結構則表露無疑。藝術家透過拍攝行動產生出新事件與新敘事,逐步解開文化認同背後所隱藏的結構,並成為作品《鐵甲元帥》這則新藝術神話的基石:神祕魔幻的故事與政治背景隨海潮褪去,敘事成為譯寫生命想像的憑介。

Title: Marshal Tie Jia - Jingsi Village
Total running time: 10 minutes
Presentation: one-channel ultra HD video
Year: 2013
Commissioned by the Taipei Fine Arts Museum

Description:
By drawing out unusual conversations between the frog god Marshal Tie Jia and the artist, this Marshal Tie Jia project is an attempt to map the creation and disappearance of myth, image, culture, and history from both the contemporary modernist context and a more ancient and mysterious perspective.

Marshal Tie Jia, who was born more than 1000 years ago in Jiangxi, China and lost his temple in the Wuyi Mountains during the Cultural Revolution, is currently exiled on Turtle Island, a tiny islet between Taiwan and China that came under the jurisdiction of the former after Chiang Kai-Shek’s retreat to Taiwan. After an accidental encounter with Marshal Tie Jia, Chia-Wei Hsu decided to unfold the conjunction of modernity and myth. The first stage of this work Marshal Tie Jia – Turtle Island is depicting the island where Marshal Tie Jia currently resides in daylight, and Marshal Tie Jia - Jingsi Village is its second stage, presentingthe pond where the frog god was born in the night and accompanied by both Nuo dance, an ancient exorcism ritual that shares the same roots as the frog beliefs.

This area is the birthplace of the frog beliefs and Nuo dance. After the cultural revolution, these beliefs were categorized into monsters or ghosts and were forbidden. Nuo dance troupe was forced to disband, andthe masks and costumes were burned by fire. Many scraped old embossments and paint-covered walls can be found in the village. The ancient memory was removed shortly in few years by the power of modernity. In the film, Chia-Wei Hsu represents the ancient exorcism ritual with local villagers based on the description recorded on an oracle bone scripture in Shang Dynasty.

As the difference between fact and fiction seems to disappear and the modern nation state’s appropriation of history and memory is revealed through discovering a living myth, Hsu creates narratives through image, text, and installation to untether the formation of cultural identity from its preceding attachments, which become key elements of the structure of the new artistic myth of Marshal Tie Jia: the magical stories and political background ebb away, and the narrative becomes a means to transcribe an imagination of life.




2014年7月5日 星期六

Marshal Tie Jia - Turtle Island

作品名稱:《鐵甲元帥-龜島》
時間:6分35秒
呈現方式:單頻道錄像、攝影一幅、文件兩張
創作年代:2012年

作品簡介:
許家維的錄像裝置新作所表陳的主軸環繞在一座小島,該島位於台灣海峽上的馬祖外海。此作涉及這島嶼的歷史。在清朝,這座島上有間小廟。當蔣介石撤退到台灣後,小廟被拆解遷移至鄰近一作更大的島嶼,其原址上則建造了一座碉堡。現在,碉堡荒廢頹圮,島嶼的所有權也再度被轉讓到原本的廟方手上。這座島嶼受當地一位青蛙神明「鐵甲元帥」管轄。祂原本駐紮在中國五夷山上的廟中。當文化大革命毀了那座廟後,祂就被流放到了馬祖。

在許家維的作品中,這座島嶼被當作是舞台。藝術家運用電影製作的「綠幕」技術(一種拍攝期間使用的替代背景,而後在後製過程中以其他背景合成取代),將虛擬的小廟重新放回島上,卻隨著攝影機緩緩地拉遠而揭露這蒙太奇手法,讓設置在島上的綠幕一目了然。如此的寫景手法構成了一項表演場景,其中,一位當地的老人唱著流傳於福建南方的民俗歌謠。據說,這是鐵甲元帥在閒暇之餘最喜歡聽的曲目,只是現在已經被眾人遺忘了,而這老人是碩果僅存的傳述者。

旁邊牆上則貼了一封許家維寫的信,陳述了他作為當代藝術的歷史代言人的願景,請鐵甲元帥應准他的行為,並展示神祇回應的攝影。

Title: Marshal Tie Jia - Turtle Island
Total running time: 6 minutes and 30 seconds
Presentation: one-channel HD video (16:9), one photography 120cm×80cm, two documents
Year: 2012

Description:
Hsu Chia-Wei's video installation engages with the history of a tiny island off the coast of Matsu, which is situated in the Taiwan Strait. During the Qing Dynasty, the island was the site of a tiny temple. When Chiang Kai-Shek retreated to Taiwan, the temple was dismantled and relocated to a larger neighboring island, and a bunker was constructed in its place.

At present, the bunker is a ruin and ownership of the island has been transferred again to the proprietors of the original temple. The island is also under the commandment of a local god called the " Marshal Tie Jia," a frog deity. This deity originated from a temple located on Wu-Yi Mountain in China, which was destroyed during the Cultural Revolution, at which point the deity migrated to Matsu.

In Hsu Chia-Wei's work, the island is used as a stage. Employing the cinematographic device of the "green screen" -a generic background that is replaced in the post-production process with any other background image -Hsu places a fictional version of the original tiny temple on the island. Slowly, the camera zooms out and reveals that green screen on the island. This scenography forms the backdrop of a performance in which a local senior citizen sings a form of folk opera found only in the south of Fujian Province, recounting the experience of WWII. He is the last person capable of performing the opera, which has a long tradition and was known to be Marshal Tie Jia 's favorite pastime, but which has now fallen into oblivion.

Next to the video, Hsu Chia-Wei has installed a letter on the wall, written by Hsu, in which he asks the Marshal Tie Jia for permission for his action, lays down his vision of contemporary art's historical agency, and shows documentation of the god's response.