Erenlai - Liu Ming-chieh (劉銘傑)
Liu Ming-chieh (劉銘傑)

Liu Ming-chieh (劉銘傑)

Liu Ming-chieh is still two years away form being able to drink legally. He likes to eat French Fries and hates all kinds of restrictions. For him "art is both noble and common as an old shoe." He is also very familiar with theatre plays often getting inspiration from dramas for his creations.

劉銘傑,來自雪山隧道的另一頭,還要兩年才可以開車喝酒。
喜歡吃薯條,不喜歡被約束。藝術對我而言,是既崇高又平常的,而除了美術之外,對戲劇也有接觸,時常以演戲所得到的靈感,作為創作的起始。

Wednesday, 27 October 2010 00:00

Family box vs video art: Children x Children

Liu Min-chieh was one of the advanced students from the first season Gosh Foundation ‘Fruit Camp’. The three advanced students Family Story vs. Video Art installations, which were displayed in the middle of gallery street, the quintessence of their family story into one box; their huge boxes/makeshift homes to play with life-size toys from their childhood and with their video art works being shown in the middle. They had initially been asked to bring their works to be selected and refined previous, with the most talented young artists receiving one on one instruction from top artist in their chosen field. Liu Ming-Chieh's instructor was Yuen Kuang-ming.

In Childhood x Childhood, Liu Ming-chieh contrasted the childhood of his grandma with his own, for example cutting between footage of his younger brother innocently playing with a paper airplane, and that of fighter jets during the Japanese colonial period, which represented how airplanes were perceived in his grandmother’s memory. He contrasts the learning of the Japanese alphabet for his grandmother, with his learning of a Mandarin phonetic alphabet used in Taiwan.“Time is different now,” said my grandmother to me in a Taiwanese dialect as she recollected her past. I still remember these words profoundly. Two utterly different childhoods between my grandmother's and my own. They are more than half a century apart from each other. In my work I wanted to express what my grandmother wanted to say, but I couldn’t really hear what she could hear and vice versa. There seemed to be no connection between her generation and mine. Yet the two childhoods, 63 years apart are somehow connected by the changes and variations. Two memories; two memories in different childhoods. I wanted to reflect on the changing times with my work. Furthermore, I wanted to extend a hand to my grandma, the work to serve as a reflection on the modern environment.

 

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