第二個地方 The Second Place — TSUNGHSUN TSAI 蔡宗勳

第二個地方

・數位輸出、UV噴墨於鏡面鋼板、門、鏡子、木箱、透明卡典西德、鋁框、投影(單頻道8小時影片，影像畫面依場定而訂）

・400x300公分、200x80公分、170x35x35公分、120x120公分、60x40公分、29.7x21公分，尺寸依場地調整

・2019

2018年冬天，恍恍惚惚的隻身前往柏林半年，那是我第一次深刻感受到因時間與空間的差距而來的變化。不同地域中的物件，因為陌生而襲來一種冷冽的清晰；感知在確認空間與物件的過程中，變得雖近猶遠，也雖遠猶近。我想到在路易斯・卡洛爾（Charles Lutwidge Dodgson）的《獵鯊記》中，有一張海洋圖，是一張近乎於空白的地圖，僅有一個雙邊框的四邊形、以及邊框外的緯度、方位及比例尺。故事的人們為征服空間而開啟一趟航海之旅，然而空間本身不可能被征服，即便地圖本身就是在劃定出世界的邊界。兩件事情呈現一個既弔詭又充滿想像的關係：征服空間仰賴的是空間本身存在此處，但地圖又給出一個無法被跨越的障礙；身體的行動希冀到達終點，但卻始終觸及不到邊界。

《第二個地方》標定了以第一個地方作為原點，而給出另外一個地方的位置。我展開了對於某處的想像：在兩個地方的空間與時間差異中，由物件直至地理。《第二個地方》因此是一個想像的位置，在時間與空間的差距中，視線劃分出原點與端點。如同那張空白地圖，無論多貼近原本的畫面，或是意圖在鏡中望向遠方，改變真實的樣貌本身是一種無效的浪漫想像，在這些地方裡都在假定某地的景象與樣貌，但我們卻未曾觸及那個已然親眼看過的地方。

《第二個地方》最初於柏林創作，並於回台後重新紀錄。在這系列作品中，我透過輸出、鏡面、投影與紙張，改變空間的邊界，在鏡面的表面輸出影像，並保留部分鏡面，或以投影將牆面以布幕的狀態，藉由飄動與回復成完整一面牆。兩個一樣的地方與空間中，存在著因視覺安排產生的差異。我想像作品中存在著某些通道，在路徑中想像某處，在空白地圖、或是在房間的邊框裡碰觸空間的外邊，仿若在柏林的宿舍中，觀望世界。

The Second Place

・Digital print 、UV print、Door、Mirror steel plate、Projection、Pedesta、Transparent cutting sheet、Aluminum frame、Single-channel video(8 hours)、Site-specific of Video

・400x300cm、200x80cm、170x35x35cm、120x120cm、60x40cm、29.7x21cm，Variable dimensions

・2019

Winter, 2018, distrait as I was, I came to Berlin alone for a half-year stay. It was the first time I felt deeply of the change due to time and space variation. The strangeness of objects in new environment seized me with a chilling clarity. As I reassure the space and objects, my sense of cognition seemed to become acute and misty at the same time. It reminded me of the Ocean Chart in The Hunting of the Snarkby Charles Lutwidge Dodgson. It was an almost blank map with only a double-framed rectangle and marks of latitude, direction and propositional scale. In the story, people set off their journey to conquer space, yet one cannot conquer space itself as one already exists within the space. At the same time, the map marks the margin of the world. Thus, these two things form a weird yet imaginative relationship: to conquer a space, the space has to exist somewhere, but the map frames an unsurmountable barrier; one’s bodily action wishes to arrive the destination yet the boundary remains untouchable.

The Second Place marks the first place as the beginning point, which defines the location of another place. My imagination of somewhere unfolds, from the differences between the time and space of these two places, transforming materiality into spatiality. The Second Placetherefore remains a spot of imagination locating within the margin of time and space, divided by the sight from beginning point to the end point. Like the Ocean Chart, no matter how close we are to the original scene, or how hard we try to look afar from the mirror, altering the reality itself is an ineffective romantic imagination. We assume somewhere to look like something yet we are never able to touch the place we’ve already seen.

The Second Place was first made in Berlin and then documented in Taiwan. In this series, I attempt to change the boundary of space through printing, mirroring, projecting and paper. I print out image on part of the surface of mirror, and I project an image of wall on curtain, which flutter back and forth to complete the shape of a wall. Thus, from Berlin to Taiwan, from substance to mirroring, within the two places and spaces, the artwork’s visual arrangement reveals their subtle nuances. And I imagine some passages exist within the works and these passages might open up possibilities of visual cognition.