《如此遼闊》2010 Project

"So Immense"2010 Project

翻譯：葉希

第一次展場實際位置模擬圖

Simulation Plan of the Real Location of the First Exhibition Venue

第二次展場模擬圖

Simulation Plan of the Second Exhibition Venue

佈展素描

Sketches of the Exhibition Settings

作品物件：

500個有符號與座標性質的繪畫物件。


Objects of Works:

500 painted objects with symbols and co-ordinates

想法簡述：

將500個作品物件安置於朱銘美術館各處（或延伸到美術館外部）。


Idea in Brief:

Install the 500 pieces of works at different spots of Juming Museum ( may extend to the outdoor area of the Museum).

展場內：

500張在展覽場之外的情境相片（比如說：其中一件在某建築物的牆上，便拍下它與環境間的情境相片，單張尺寸為2×3）

AtExhibition Venue:

500 set photos shot at the outdoors of the exhibition venue, each capturing an object of the work on the wall at a particular spot to illustrate the relation between the work and its environment. Each photo is 2x3 inches in size.

一張標示作品位置的地圖（輸出的大地圖）置於牆面，尺寸為200㎝×150㎝。

A map indicating the location of the objects of the work (big map) is placed on the wall and it’s 200x150cm in size.

兩百份標示出所有作品位置的地圖（小地圖）讓觀展者索取。

200 maps indicating the location of all objects of the work (small map) are available for collection by viewers.

思考：

1.作品所在的空間、場域觀念、展覽場的位置。

2.如果一件作品的展出場域如此廣大，作品的效益在哪裡？當作品被忽視的可能性如此之高，展出的效益又在哪裡？

3.假設觀展者真的去看那些擺放在戶外的作品物件，當尋找一件展覽的作品時，是不是看作品不再是最重要的事？也許他們可以看看風景，聊聊天，按圖索驥，順便喝喝下午茶之類。

Reflecting:

1.  The space where the work is located, the concept of domain and the location of the exhibition venue.

2.  If the exhibited area of the work is so immense, what’re the benefits of the work? If it is highly probable that the work is ignored, what’re the benefits to have it exhibited?

3.  If there’re viewers who really take an interest in looking out for the objects of the work which are placed in the outdoors, when they look for an exhibited object,  is the viewing itself not the top priority any more? They may enjoy the scenery, chat or have an afternoon tea while on their search with the location map on hand.

想法來源：

文論內的幾個關鍵字我覺得很有趣，「缺席卻又無所不在」、「行動劇本」以及「行動元件」，作品可不可能是提供一套開放劇本並促進觀者行動的元件？

海賊王哥爾羅傑說：我把寶藏放在ONE PIECE，你們去找吧！於是開啟大海賊時代，很多漫畫評論說：魯夫是不是找到寶藏已經不是最重要的事，最重要的是他們尋找寶藏的過程。

所以我想像，看作品的時候，有沒有看見作品是不是已經不是最有趣的事，有趣的是尋找作品的過程？

是不是作品安置在整個朱銘美術館，整個美術館園區就是作品的展覽空間？

Origin of the Ideas:

I find several key words of the thesis interesting - “Being absent but everywhere”, “Action script” and “Action components”. Can a piece of work provide an open-ended script while being a component which motivates the viewers’ actions?

The King of Pirates Gol. D. Roger says: “I put the treasures inside ONE PIECE. Go and find them yourself!” The epoch of the pirates is thereby unfolded. Many comic commentators say, “Whether Luffy can find the treasures or not no longer matters  - the most important thing is the process of treasure-hunting.”

Hence, I imagine, when viewing the work, whether the viewers actually see the work itself or not is no longer the point of interest; rather, the process of hunting itself is most interesting.

Is the entire area of the Juming Museum considered the exhibition space for the work if the works are installed all over the museum?

Process 1（材料準備與製作小型繪畫物件）


1.1材料準備

1.1.1 壓克力板12㎝×8㎝×1002片（視實際材料情況做細微更動）

1.1.2 水彩紙150磅或300磅，撕成501張不規則狀（每張都是可夾入壓克力板之間的大小）

1.1.3 螺絲螺帽2000組，或強力小磁鐵4000個。


1.2 製作小型繪畫物件

1.2.1 選定朱銘美術館主展覽場之外五百處可以安置作品的空間（不論室內或室外）。

1.2.2 在美術館五百處做停留，以水彩、鉛筆、炭精筆等在500張不規則水彩紙上畫下該處風景或某種印象感觸（像是身為一個寫生畫家的作為）。

1.2.3 完成繪畫之後離開（以紅色膠帶在寫生處打叉做上標記，作品展出位置不可離開此處太遠），以雙面壓克力將物件紙片夾入其中，並以螺絲鎖上，完成500個有繪畫的作品物件。

1.2.4 將五百個作品物件安置在原來寫生位置的左近（牆面或是任何垂直於地面的物質，比如樹幹或垃圾桶），並拍下與區域之間關係的情境照片。


Process 2（展場展出物件製作）

2.1 將500張作品物件與區域的情境照片洗成2×3大小。

2.2 製作朱銘美術館園區大地圖，將500件作品物件區域位置做上標記。

2.3 影印朱銘美術館園區小地圖200份，供觀展者按圖索驥。


Process 3（展場佈置）

3.1 將大地圖與500張照片安至於展場牆面。

3.2 大地圖下方置做展示架，放置200份小地圖。

3.3 若有賸餘時間，等作品全部佈置完成，在展場內部作品前停留，完成展場寫生或某種意象，為第501件，安置在展場內，提示物件與區域關係。

Process 1 (Preparation of materials and the making of small painted objects)

1.1   Preparation of materials

1.1.1  Acrylic plaques 12cmx8cmx1002 pieces (Fine adjustments will be made according to the availability of materials)

1.1.2  Watercolor paper of 150 or 300 pounds per ream in weight to be cut into irregular shapes (each piece is of a size that would fit into the acrylic plaques.

1.1.3  2000 sets of screws, or 4000 pieces of small strong magnets

1.2  Making of small painted objects

1.2.1 Choose 500 spots outside the main exhibition hall of Juming Museum for installing the objects of the work (it can be indoor or outdoor).

1.2.2  Linger at the chosen spots, and capture the scenery or impression inspired by the view with watercolors, pencils or charcoal pens on the irregularly-shaped paper (just like what a painter drawing from nature would do).

1.2.3  Leave the spot on finishing the painting, and mark the spot with red tapes. The location for displaying the objects of the work later can’t be too far from the related mark. Insert the object between two pieces of acrylic plaques and lock it in with screws. 500 painted objects would be finished in the same way.

1.2.4  Install the 500 objects of the work near the original spots of drawing (on a wall or any other surfaces perpendicular to the ground, for instance, a tree trunk or rubbish bin). Then, photos are taken to illustrate the relation between the work and its environment.

Process 2: Displaying the production photos at the exhibition venue

2.1  Print the set photos illustrating the relation of the objects and its domain in 2x3 inches in size.

2.2  Make the big map for the entire complex of the Juming Museum, and mark the location of the 500 objects of the work on it.

2.3  Make 200 small maps of the Juming Museum, and let viewers use them as directory for finding the objects.

Process 3: Setting up at the exhibition venue

3.1  Install the big map and the 500 photos on the wall of the exhibition venue.

3.2  Put the 200 small maps on the displaying rack placed under the big map.

3.3  If time allows, after installing all the objects of the work, linger in front of the works exhibited at the venue. Then draw the scene or a certain impression, making it the 501st object of the work, which is then installed at the venue to indicate the relation between the object and the domain.