CANARY MINUET
加納莉舞曲
DETAILS
Multi-channel Video Installation (color, sound), 2 CRT Monitors, Duble-channel Video Projection , Hourglass, Mixed Bird Seed, 2024
NOTES
We Go Way Back - Duo Exhibition. TaiWu New Village Cultural And Creative Park, Taiwan, 2024
金絲雀曾作為煤礦試毒工具，敏銳感官能警示礦工撤離。隨著煤礦業沒落，金絲雀的鳴唱，卻在現今鳥市中成為愛鳥者追求的樂音。 錄像作品《加納莉舞曲》以金絲雀為引子，回看一段由礦坑走入城市的歷史。棲地的轉變揭示了人與動物之間細緻的依附與投射，動物的聲響既是自然的發聲，也是被人類框限與再製的聲景。
只有當燒製沙漏的烈焰、礦工宿舍裡的輕柔光點和火警新聞的異音響起，金絲雀的聲音不再只是某種來自不同物種的聲符，他們在乎告人類致災的將臨。影像裡的礦坑、鳥店、玻璃工廠這三個場域，重合在金絲雀歡快和鳴，聲調起伏的遞迴，在最後回返林道時被推至前景，像是人與自然永恆的聯結與命運。觀者在螢幕之下、影像之中，聽見鳴聲如何改寫場域。金絲雀成為媒介，讓人與動物在同一個呼吸裡相互塑形，將被忽略的生命與城市的日常連接起來。
Closed Mines, Bird Street, Glass Studio — Three spaces intertwine through the presence or absence of the canary. In the past, canaries were used in mines as detectors for toxic gases, and their keen senses and piercing calls alerted them to potential dangers. Today in Taiwan, their song has become a sought-after melody for bird enthusiasts.
This work experiments with a continuous stream of bird sounds that link different times and spaces, responding to the forms of the canary’s presence in various disasters and exploring the subtle interactions between humans and animals. Within a monument cast from images and soundscapes, the canary ceases to exist as just one bird, becoming a fusion of species.
