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圖像 Image 1 , 2 , 3 , 4 , 5 / 照片放大 Enlarged Image

錄像 Video: 高雄市立美術館 Kaohsiung Fine Art Museum / 奧地利Arcade購物中心 Arcade, Linz, Austria / 製作紀實 The making of Little Danny

"小丹尼-奧地利製造"            3000隻玩具狗,鐵架,電線,感應器,電源供應器    430x810x216公分   2002

"Little Danny - Made in Austria"            3000 dog toys, metal, power supply, consor.             430x810x216cm   2002

 

「小丹尼」(Little Danny)為彭弘智近年來最大的一件裝置作品。他把三千多隻台灣製造的十五公分長的玩具大丹狗,安裝在一隻長約六公尺的巨無霸大丹狗「小丹尼」身上,形成它的衣服或皮相。這些小玩具各有一個電動系統,可以使身體搖動並發出吠聲。藝術家把所有的小狗用電線連接到「小丹尼」的中央控制系統,而這個類似中樞神經的控制系統則連接到展覽場的一個感應器上,所以,每當觀眾走近「小丹尼」時,感應器就會啟動,於是「萬狗齊鳴」,聲勢超級浩大。在OK Center的高聳寬闊的大展廳中,觀眾彷彿進入了一個虛擬世界,看到「小丹尼」龐大壯觀的身軀,對照著幾千隻小狗毫無威脅性的吠叫,又看到那每一隻可愛的模樣,長相各具特色,一齊搖尾乞憐,大多會從先前的驚慌失措,轉變成受寵若驚,不自覺地莞爾燦笑。

這作品觸及了當代文化、政治、經濟、社會等體系中,不斷發生的集體化、虛擬化的傾向下人類存在意義的種種議題。從「Matrix」(「終極任務」或「母體」)中被轉化成數位的人到「帝國」一書中暗藏在底層並不斷以小型連結來抵抗體系的「眾人」(the multitude),我們可以開始重新審視藝術在揭開體系、抗拒體系行為中,可能扮演的種種角色。老子曾以「天地不仁,以百姓為芻狗」作為人與道之間關係的描述。也許這種描述對今天的人類處境而言,更加精確、更加令人寒顫。但是,也因為這個緣故,我們對於如何穿透體系,如何逃離集體化的宰制,便是更為緊迫的議題。

文:徐文瑞 (節錄自:狗有沒有穿衣服?論彭弘智

"Little Danny" is Peng's largest installation in recent years. For this work, he attached over 3000 15-centimeter big toy dogs - all of them "Made in Taiwan" - to the body of an almost 4.5 meter high "Little Danny"; they form its "clothing", its exterior. These little toy dogs have a small electronic drive system, so that they can move their bodies and bark. The artist connected all of them to a central control system. This control system, reminiscent of a central nervous system, is connected with a movement sensor in the exhibition hall. Every time a visitor approaches "Little Danny", the sensors are activated and a deafening barking concert begins. In the high-ceilinged, expansive exhibition hall of the O.K Center, this results in the impression that the visitor dives into a fictive world: you stand before the giant body of "Little Danny", from which several thousand little dachshunds impertinently bark down at you. At a closer look, it appears to the visitor that each dog has its own special features. They wag their tails and seem to beg for attention and are not at all as helpless and timid as they first appeared. The visitor feels flattered and unconsciously begins to smile.

This installation touches on questions of human existence, which is increasingly subjected to a tendency toward uniformity, collectivization and fictiveness, as it is characteristic for the system of our modern culture, politics, economics and society. From the humans that have mutated into digits in "Matrix" to the small, structural connections of the "multitude" resisting the system in the book "Empire", we are slowly recognizing which role art can play in revealing the mechanisms of the system and in resistance against the system. Laotze described the relationship between human beings and Tao with the following words: "Heaven and earth are not kind. To them, human beings are like straw sacrificial dogs." If we relate this description to the situation of the modern human being, it may seem quite apt and also quite frightening at the same time. Yet for this reason as well, the question of how we can break through the system, how we can escape the compulsion to collectivization, is an extremely urgent one.

Text: Manray Hsu (Excerpts from "Do Dogs Wear Clothes? On Peng Hung-chih")

 

奧地利O.K當代藝術中心 O.K Center for Contemporary Art, Australia

攝影;Photo: Otto Saxinger

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