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 2019 © Wu Chuan Lun  

Museum of Taxidermy

標本博物館

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2009-2013

Lambda prints on photo paper、mounting on plexiglass (acrylic、aluminium frame)、UV prints on metel plate|Size variety ,15 pieces|2009-2013

 

Human-being ascertains another creature thought our own blind spot. Which some times appears technical and reasonable, but eventually the empathy that can't prevent makes a  grotesque that legitimate to civilization, yet irrational to the real nature, like a taxidermy. In my hometown Tainan, there once an old taxidermy room, some of the taxidermy inside can trace back to Japanese-Occupied Period. Today, they were placed along with polystyrene mountain and cheap plastic decorations, become dilapidated, disfigured and ridiculous due to lacking proper maintenance. I took the portrait of them with straight flashlight make it rough and unnatural, almost like disturbing the animals in wild. The camera kills these lively taxidermies second times. The pictures are trophies.

 

Taxidermy that originates from 18th is one of the most ancient three-dimensional methods. Today's 3D modeling procedure that goes thought "model-building to skin-mapping" has a strange conceptual and operational succeed from taxidermy's "foams-making to pelts-mounting.” In <Chapter I> I framed pictures with 3D generated frame, integrated my opinions about the animal inside, the empathy through the process pretty mush the same like doing taxidermy. The pair of computer-generated frame and taxidermy's portrait annotated each other. Seemly thick and solid, yet actual light and thin image result is a compression of cruelty behind hunting and the irrelevant of display.

 

Each kind of museum has its specific context. In here, I tried to cross an art museum and a nature museum. In <Chapter II> and <Chapter III> I shut deer and bird from several angles, makes an illusion on the amount. Painting-like pictures are gregarious animals living in the world behind the assembled frames. Some 3D render image texture with wax installed upon, referring to images of taxidermy inside the frame as taxidermy of images, or an eco-system of its own. 

 

In <Chapter IV> I take these objectify images back to original film location that no longer exist, take one last souvenir picture in birth place.

 

雷射感光相紙、水晶裱褙(壓克力、鋁框)、UV印刷於金屬板|十五件,尺寸各異|2009-2013

 

人類以自己的盲點揣摩他種生物。有時在看似理性的技術之下,因為無法排除人的移情,最終成了荒唐於自然,卻又合乎文明期待的怪異混合體,就像標本。在我的家鄉台南曾經有一間古老的標本房,部份裡頭的標本甚至可以溯及日治時期。如今被放置在由保麗龍假山和塑膠裝飾品搭起的簡陋場景中,因為缺乏保養變得殘破、詭異又滑稽。我以直射的閃光燈和不自然的攝影質感拍下這些標本的肖像,宛如驚擾了一群處在自然地的動物。而攝影讓這些栩栩如生的標本動物二度死去。照片成了戰利品。

 

源自18世紀的標本剝製術是一種最古典的3D技術。現代的3D軟體從建模到貼圖,與標本剝製術從假體製作到毛皮縫合,兩者在觀念與步驟上有者奇妙的繼承關係。<第一章>中,我替這些這些戰利品加上以3D軟體繪製的框,融入了對於框中生物的想像,這過程中的移情心理也恰如製作標本。軟體渲染的金框作為一幅影像與畫心中的攝影彼此互相註解。看似厚重實而輕薄的影像成果卻壓縮了標本獵取生命的殘酷與展示的無關痛癢。

 

各類型博物館具有其形式脈絡。此處我試圖將美術博物館與生態博物館交互。<第二章>與<第三章>以多種角度分別拍攝鹿與鳥這兩種“群居動物”,透過並置產生數量遠大於此的錯覺。仿繪畫的照片就如動物般“群居”在窗框集結的隱形世界之後。框上安裝以軟體渲染仿蠟材質影像,做為一種“標本化影像”,與框中的“影像化標本”彼此牽連,卻又自成一格生態。

 

<第四章>則將這些物件化的影像重新回到不復存在的拍攝地,在誕生地留下紀念照。

 

 

Chapter I|2009-2011

 

 

Chapter II|2011-2013

 

 

Chapter III|2010-2011

 

 

Chapter IV|2013

 

Life between Delight and Discomfort|Gwangju Museum of Art,Gwangju,KR|2016

 

 

Installaton View|2011-2014