“面對面” 玻璃纖維，LCD螢幕， VCD放映器，揚聲器。  可變尺寸  2001

"Face to Face", 2001, fiber glass, LCD monitors, VCD players and speakers, various size

面對面（一個觀看雕塑的實驗）

以觀眾觀看雕塑的方式為主軸，製作出五件不同姿勢的狗形雕塑，其形態，或吠、或立、或望、或食、或睡。並在各個雕塑的頭部上裝置觀景窗，在窗內放映自拍的狗實驗電影。為了觀賞電影，觀眾必須改變自身的姿勢，也就是體態上遷就狗形雕塑的特殊姿勢，將整個臉部置入觀景窗中，與之結合而觀賞到電影，並在就特殊姿勢的同時，觀眾將成為雕塑的一部份，從而達到新雕塑的完成。本計畫以生活中狗與人互相依賴的關係為文本主軸，利用雕塑及錄影藝術的手段結合方式，來和觀眾產生互動的多維度觀賞模式。

這五件雕塑的貢獻是希望－－－人類（觀眾）在就位於雕塑的相應位置時，達到人類和狗類短暫的平等的地位，雖然是短暫的，但短暫的象徵圖像將帶給人類持續性的抽象觀念思考，整個觀念最終還是要回到人類本質的問題上。人類遠觀此雕塑時，雕塑是視覺上的有形存在，人在此時是物質上缺席的，而在觀念上卻是無形的缺席即將跨入有形的出席的過程；而當觀眾觀看雕塑的觀景窗時，人和雕塑同時物質上成為了雕塑的整體，而在觀眾的所見的影片，將帶領觀眾進入另一次元的精神空間。也就是人在物質上、外表上、從其他人的遠觀角度上，人成為了構成雕塑的物質，在外型上達到對等的溝通；但在遠觀看不到的角度上，在參與的觀眾的角度上，利用機器當作途徑，人類在精神上達到了單向的、順從的、投降式的被溝通。

彭弘智

Face to Face (An Experiment in Sculptural Spectatorship)

This project takes the act of spectatorship—how viewers look at sculpture—as its central axis. Five dog-shaped sculptures, each posed differently—barking, standing, gazing, eating, or sleeping—will be produced. A viewing window is installed in the head of each sculpture, inside which a everyday footage filmed by a canine photographer is screened. To watch the video, viewers must adjust their own bodily posture, physically accommodating themselves to the specific pose of each dog sculpture. They are required to insert their entire face into the viewing window, merging their body with the sculptural form in order to see the moving images. In assuming these altered postures, the viewer becomes an integral component of the sculpture, thereby completing a new sculptural entity. Taking the mutually dependent relationship between humans and dogs in everyday life as its conceptual framework, this project combines sculpture and video as intermediate strategies to generate a multidimensional and interactive mode of spectatorship.

The contribution of these five sculptures lies in the proposition that when humans (viewers) position themselves in correspondence with the sculptures, they momentarily enter a state of equality with the dogs. Although fleeting, this temporary symbolic alignment may provoke a sustained and abstract reflection on the human condition itself. When observed from a distance, the sculptures exist as visible, material forms, while the human subject is physically absent. Yet conceptually, the viewer remains an invisible absence on the verge of becoming materially present. Once the viewer engages with the viewing window, human and sculpture merge into a single material whole. Meanwhile, the projected image guides the viewer into another dimensional, psychological space. Thus, at the level of physicality, outward appearance, and the distant gaze of others, the human body becomes sculptural matter, achieving a formal equivalence with the dog form. However, from the unseen perspective—within the intimate, participatory experience of the viewer—the technological apparatus functions as a mediating conduit through which human enter into a unilateral, submissive, and surrendering mode of communication on the level of consciousness.

Hung-Chin Peng

攝影 Photo: Otto Saxinger / 彭弘智 Hung-Chin Peng / 李國民 Kuomin Lee