馬克白效應|Macbeth Effect

馬克白效應|Macbeth Effect

馬克白效應|Macbeth Effect

2022 寶藏巖光節「未來在此發生」
展期:2022.03.26 – 05.08
地點:寶藏巖國際藝術村
尺寸:400cm*500cm*430cm

媒材:冷熱交換器、PVC管、LED、冷光燈條、銅盆、木作 

2022 寶藏巖光節「未來在此發生」
展期:2022.03.26 – 05.08
地點:寶藏巖國際藝術村
尺寸:400cm*500cm*430cm

媒材:冷熱交換器、PVC管、LED、冷光燈條、銅盆、木作 

在高科技低生活的未來世界,人類一方面因慾望擴張而侵略自然,大量蠶食地球資源,造成生態失衡,一方面卻又試圖補綴對自然造成的創傷;創作者將節約能源、資源回收、植樹造林、再生能源、碳權交易等空泛口號,與悲劇角色馬克白夫人作連結。冷熱交換集結而成的珠珠水滴,是向大自然日夜奪取的體液,匯聚盆中成為沖滌雙手的洗劑,釀禍的人類得以解脫,安心續命。

 

滴滴答答的清水,絮絮叨叨的機械,是創作者一段荒謬徒勞的罪行告解。

自民國 60年代起,居民大量遷入寶藏巖地區住宅居所更如雨後春筍冒出。歷經數十年「違建」爭議,在居民及社運團體奔走抗之下如桃花源般遺世獨立於台北都會內 的寶藏巖聚落,最終得以保留其殊異的城市面貌。

《晷跡 》以「時」為脈,光絡結合創作者的劇場幕後設計背景,運用舞台演出常見的「 雷射光束」及蓄光材料」為媒材,雷射光束於空間中刻劃出轉瞬即逝的一抹抹光痕,蓄光材料則捕捉一道光跡,觀眾彷如生活於此的居民,共同流轉於時光之中。


蓄光材料上發出的微光,象徵在日常空間中,「光」隨著時間的荏苒與生活的推移,留下痕跡。好似照相顯影劑般,紀錄及再現寶藏巖聚落於歷史的長河中,看似亂無章序卻又異乎尋常的生命樣貌。

自民國 60年代起,居民大量遷入寶藏巖地區住宅居所更如雨後春筍冒出。歷經數十年「違建」爭議,在居民及社運團體奔走抗之下如桃花源般遺世獨立於台北都會內 的寶藏巖聚落,最終得以保留其殊異的城市面貌。


《晷跡 》以「時」為脈,光絡結合創作者的劇場幕後設計背景,運用舞台演出常見的「 雷射光束」及蓄光材料」為媒材,雷射光束於空間中刻劃出轉瞬即逝的一抹抹光痕,蓄光材料則捕捉一道光跡,觀眾彷如生活於此的居民,共同流轉於時光之中。


蓄光材料上發出的微光,象徵在日常空間中,「光」隨著時間的荏苒與生活的推移,留下痕跡。好似照相顯影劑般,紀錄及再現寶藏巖聚落於歷史的長河中,看似亂無章序卻又異乎尋常的生命樣貌。

2022 Treasure Hill Light Festival-"Treasure Hill In The Future"
Exhibition Period: 2022.03.26 – 05.08
Location: Treasure Hill Artist Village
Dimensions: 400 cm x 500 cm x 430 cm

Medium: Heat exchanger, PVC pipes, LEDs, EL light strips, copper basin, woodwork

2022 Treasure Hill Light Festival-"Treasure Hill In The Future"
Exhibition Period: 2022.03.26 – 05.08
Location: Treasure Hill Artist Village
Dimensions: 400 cm x 500 cm x 430 cm

Medium: Heat exchanger, PVC pipes, LEDs, EL light strips, copper basin, woodwork

In a "high tech, low life" future, humanity invades nature driven by ever-expanding desires, aggressively devouring the Earth's resources and triggering severe ecological imbalances; yet, simultaneously, it attempts to patch the very wounds it has inflicted. The artist draws a parallel between the tragic figure of Lady Macbeth and the empty slogans of our time—energy conservation, recycling, afforestation, renewable energy, and carbon trading.

The beaded water droplets, condensed through thermodynamic heat exchange, represent the bodily fluids continuously extorted from nature day and night. Pooling into a basin, they become a cleansing wash for the hands, granting the disaster-wreaking humans a sense of absolution and allowing them to comfortably prolong their existence.


The continuous dripping of the clear water and the incessant murmuring of the machinery serve as the artist's absurd and futile confession of sins.

Many People moved to Treasure Hill village from other areas since 1970s, and thus the houses sprang up like mushrooms, the village rapidly grew. This raised controversy over issues of whether to preserve or relocate the village over decades. After a series of protests by the residents and social movement groups, Taipei City government eventually agreed to name Treasure Hill village as a historical settlement and preserved its unique environment.


Sundial of Being explores the concept of time by using the medium of light. As a light designer, Chuang combines laser beam and light-storing material, which are both commonly used at stage performance. The laser beam depicts the trace of light in the house while the light-storing material captures the trace of light on the wall. As the light fades and time goes by, audiences seemingly used to live here.

The shimmer on the wall symbolizes the sign left by light in the daily living space as time passing by. Even though it may seem unorganized, Sundial of Being is like photographic developer, recording and representing the uniqueness of Treasure Hill village of bygone days.

© 2014-2026 CHUANG Chih-Heng All rights reserved.

© 2014-2026 CHUANG Chih-Heng All rights reserved.

© 2014-2026 CHUANG Chih-Heng All rights reserved.

© 2014-2026 CHUANG Chih-Heng All rights reserved.