2025-06-24｜撰文者：絕對空間 / 松田朕佳
「蛇腳踏車」
——哪一種才是交通工具呢？
藝術家：松田朕佳
本展覽由三個部分組成，分別是《蛇腳踏車》、《窺視之極》（Peek Pole）和《三和街1246號的門和看門人》，這些作品是我在台南日常生活中所觀察到的。
Chika Matsuda「蛇腳踏車」（Snake Bike）展覽現場。圖/絕對空間藝術進駐提供。
《蛇腳踏車》
我向一間精緻咖啡館「chocolate R」的老闆Blue借了一輛腳踏車。我在咖啡館遇到他，他告訴我，他希望這個城市能對騎腳踏車的人更友善，並說如果我想用腳踏車做創作，可以用他的腳踏車。
我想了想，我可以用腳踏車做什麼呢？從杜象到艾未未，已經有很多大師用腳踏車做作品。但是，我還是有一個腳踏車輪內層變成蛇的想像。我見過蛇被輪胎壓過，但沒有見過相反的情況。我也很喜歡車輪和蛇身體行進的動作。這是兩種完全不同的移動和運作身體的方式，我覺得將兩者並列會產生對比。
我在網路上搜尋，發現台南有一家餐廳的養蛇場，我想像在畫廊裡養一些蛇，讓它們圍繞著輪胎。有那麼一瞬間，我想像自己正在接受耍蛇的訓練。
我再次造訪這家咖啡館，跟Blue分享我的想法。第二次去咖啡館時，我和他在櫃檯前聊天。他為我準備了一份巧克力蛋糕，上面還有奶油。我把奶油放進嘴裡，我很驚訝，這是意想不到的味道，這是我從來不知道的白蘭地奶油。
我們繼續談論著燒紙錢的文化。他告訴我，迎王平安祭節要燒掉一艘大船，人們還要為死者燒掉紙車和紙屋。所以，燒紙是把東西送到另一個世界的一種方式。Blue說：「就像我準備蛋糕，當蛋糕在你口中融化時，你才知道它是什麼。」
我明白了。當紙製品、紙錢被燒掉時，煙霧就會升上天空，從人們的視線中消失。祈禱、準備和焚燒的行為，都會被不知名的人或地方接收、感覺、品嚐和聞到。我不會知道這是某人正在吃的蛋糕的味道。
我決定自己準備紙蛇。
佳璇和盈婷帶我到大師們的工作室。剪黏大師葉明吉和 Sato Paper Art 佐藤紙藝薪傅大師洪國霖。我看到了他們的雙手，多年的練習，終生的練習。
腳踏車（GIANT）生鏽了，前輪還能轉動，但後輪就不行了。我必須在晚上搬運腳踏車，避開白天的炎熱。我抬起腳踏車，從咖啡廳推到工作室，全程 1 公里。我移除層管，然後放了一條長紙蛇。這條蛇是用報紙做的，表面黏了一些圓形的小紙，好像是鱗片一樣，這條蛇就是赤尾青竹絲青蛇。
Chika Matsuda「蛇腳踏車」（Snake Bike）展覽現場。圖/絕對空間藝術進駐提供。
《窺視之極》（Peek Pole）
來到這裡的第一個星期，我在街上走來走去拍照，並尋找不需要太多語言溝通的食物。在遊客的眼中，一切都很有趣，金爐吸引了我的目光。它們出現在商店、房屋前，也出現在街角。我問了佳璇和盈婷它們是什麼。當我知道它們是什麼之後，就去商店買了 200 元台幣的金紙。由於我對這個主題很感興趣，盈婷安排我去木作工作室–暖製作所拜訪曾國榮，他的作品是關於傳統文化的，他正在該工作室為他即將舉行的展覽製作一張木床。他告訴我關於神和鬼、不同用途的紙錢。有趣的是，這些紙幣本身並不神聖。在那裡我遇見了一個 10 或 11 歲的男孩，佑丞。他在放學後會來到這間木作工作室製作一些項目。他帶我和盈婷到他爺爺的廟，教我如何點香、鞠躬多少次以及如何在金爐裡燒紙錢。他告訴我每個神的名字、背景和特徵。我對於眾多的神明感到目不暇給。當我們走出廟宇時，看到有超過四位的神坐在一個房間裡，電視也開著，好像神正在看著一樣。盈婷向我解釋，可能是人們希望神明知道我們的社會發生了什麼事。這裡的神似乎和人一樣，只是種類不同而已。我想到了尼安德塔人....。神住在這裡。
我想和神一起做些事情。我想我想和他們更親近一點，因為他們對這裡的人很重要。
我把 IKEA 鏡架放在我的臥室，然後在城市裡四處走。我最初的構想是讓影像看起來像是神的臉從我腦袋裡探出來，就像那些在觀光地點中，中間挖空、可以讓人把臉塞進去的板子一樣。
當我在試驗階段時，和其他人同時一起時更有趣。拍照的過程需要耐心，拿相機的人需要和拿鏡子的人一起找出正確的角度、高度和距離。結果總是很有趣，臉部扭曲或臉部和身體不匹配。
我使用photoshop將大約 100 張照片製作成幻燈片動畫，讓每張影像中所有鏡子的位置都對齊。我開始看到極坐標系統。
我們生活在地心引力的條件下，我們經常看到地面上的東西。地面是基礎，但如果我們運用不同的系統來定位自己，我們就可以在概念上掌握世界上的其他層次。如果鏡子是極點，身體可以在這裡、那裡或任何地方。
現在我又回到了神與鬼的元世界。
《三和街1246號的門與守門人》
前三個星期，我不知道該把籃子裡的垃圾丟到哪裡。我暗自希望有人來清理籃子，籃子越來越滿。把第一個袋子綁好，放在籃子旁邊。第二個袋子也快滿了。但是沒有消失的跡象。最後，我問了工作人員，進駐的住宿手冊上也有寫。我得知星期一、二、四、六都會有一輛垃圾車，時間是 18:07，地點是三和街藝術進駐前。我帶著垃圾在門口等著。臨近時間時，人們拿著五顏六色的塑膠袋聚集在這個街角。垃圾車的音樂響起。在垃圾車停下來之前，人們開始把袋子扔進去。我看到每個人都很興奮，我喜歡這個活動。它喚醒了我童年的一個回憶。五歲以前，我住在一個小公園前面的房子裡。我是一個非常害羞的孩子，但是看到附近的孩子們總是來我的住處，我很高興，後來我才知道那是一個公共公園。所以，這次垃圾車停在我住的地方前面，我覺得每個人都會來我的住處，一起分享這個令人興奮、節日般的活動，一週四次，我覺得自己被包容了。我不需要說話，也不需要理解語言，只要把塑膠袋扔到卡車後面，我就是社區的一份子。我開始熟悉鄰居們的面孔，就像小時後在公園一樣。
我開始記錄這個活動，我被這種集體的人群所吸引，他們是如何聚集、等待，然後回到自己的方式。卡車停在現場3分鐘。一週4次。一、二、四、六（星期一、星期二、星期四、星期六）。一週四次是超過半週的時間。我嘗試以卡車一直停在這個角落，從不離開的方式來編輯影片。因為這項活動對我來說就像是永無止境的似曾相識。然後我開始剪輯這段每天 3 分鐘的影片，我在時間線上來回穿梭。人們把塑膠袋丟到卡車上，但緊接著就會收到袋子，所以他們又有袋子可以丟了。我對這些舞蹈般的動作很感興趣。過了一會兒，我開始注意到站在卡車旁邊戴著安全帽的負責人。每個人都在動，但他/她卻站得筆直，或許會移動幾步，就像守門人一樣。
2025絕對空間藝術進駐➊Chika Matsuda歡迎會。圖/絕對空間藝術進駐提供。
2025絕對空間藝術進駐➊Chika Matsuda進駐成果開幕。圖/絕對空間藝術進駐提供。
進駐成果開幕與談，與談藝術家張程鈞。圖/絕對空間藝術進駐提供。
【松田朕佳】
1983年生於日本。2006年畢業於紐西蘭尼爾森·馬爾伯勒理工學院（Nelson Marlborough Institute of Technology），獲學士學位。2010年於美國亞利桑那大學（University of Arizona）取得藝術碩士學位（MFA）。松田曾受邀參與多項藝術家駐村計畫，包括保加利亞的 Process-Space Art Festival、美國的 Border Art Residency 與 Prairie Center of the Arts、德國的 Agora Winter Residency、西班牙的 Homesession，以及加拿大的 Centre CLARK 等地。
自2015年起，松田以跨領域合作團體「Earless Mouth / Mouse」展開創作，該團體將軟體程式設計與科技融入藝術中，並於2017年日本岐阜「清流之國藝術祭：立方體中的藝術獎（Art Award IN THE CUBE）」中獲評審獎。2019年，松田與「Earless Mouth / Mouse」成員天宮美和（Miwo Amamiya）成立合作單位「CHIKA, MIWO, & MORE」，其創作以過程為導向，強調與在地社群的交流與對話，並常延伸出如酒吧、咖啡廳、美容沙龍、魔術表演與占卜等看似玩樂、虛構、荒謬的副計畫，作為一種溝通的手段。
Chika Matsuda，《視覺依賴的懲罰》（Penalization for sight dependence），混合媒材，2018。圖片版權©Chika Matsuda。圖/絕對空間藝術進駐提供。
松田朕佳Chika Matsuda【蛇腳踏車 Snake Bike】
進駐成果開幕暨座談 A Presentation by Chika Matsuda
✧ 展期 Exhibition Date｜2025.5.10-5.25
✧ 開幕 Opening｜2025.5.10（Sat）15:00-16:00
✧ 座談 Forum｜2025.5.10 （Sat）16:00-17:30
✧ 藝術家 Artist｜松田朕佳Chika Matsuda
✧ 與談人Panelist｜張程鈞 Chang, Cheng-Chun
✧ 地點 Venue｜三和進駐基地 SanHo Art Lab
✧ 地址 Address｜臺南市南區三和街14號 No. 14, Sanhe St., South Dist., Tainan City
✧ 開放時間 Opening Hours｜週三至週日 Wed to Sun 12:00-18:00
主辦單位 Organizer：絕對空間藝術進駐 Absolute Space AIR
合作推薦單位 Recommending Unit：札幌天神山藝術工作室 Sapporo TenjinyamaArt Studio
指導單位 Advisor：文化部 Ministry of Culture
工作坊：「我們要如何在宇宙中尋找到自己的定位與存在之處？」
時間：2025.5.15 14:00-16:00
【工作坊內容】
我將介紹兩件作品《窺視之極》與《三和街1246號》（1246 Sanhe Street），並展示這兩件作品如何處理「一個被限定的觀看點」（one fixed view point）與「時間／空間的斷裂」（disruption of continuity）這兩個概念。
《窺視之極》
圓形鏡面如同極座標系統中的極點。
《三和街1246號》
一段集體編排的行動發生於台南市的三和街，在每週的一二四六（星期一、二、四、六）進行。
這場工作坊邀請參與者提出「關於非連續模型的各種假說」。由於我們對時間的經驗是連續的，而對我而言這似乎是一種幻覺。也就是說，我認為我們可以創造另一種幻覺。
Snake Bike
Which one is vehicle?
by Chika Matsuda
This exhibition consists of three parts. “Snake Bike”, “Peek Pole” and “Gate and the Gatekeeper at 1246 Sanhe Street”. These works are my take on what I observed in daily life in Tainan.
“Snake Bike”
I borrowed a bicycle from Blue the owner of a sophisticated café “chocolate R”. I met him at the café and he told me that he wants the city to be more cyclist friendly, and said I can use one of his bicycles if I want to make a bicycle art.
I thought about what I can do with a bicycle. There are already many master pieces of bicycle art from Duchamp to Ai Weiwei. But still, I had an image of bicycle tiers becoming snakes. I have seen snakes had been run over by tiers but not the other way around. Also I liked how mechanism of wheels and how snake’s muscle operates. Two completely different approach to mobility and transporting their bodies. I thought juxtaposition of the two will create a contrast.
I googled online and found a snake farm which is for restaurant in Tainan and imagined getting some snakes in the gallery to keep them around tiers. I was picturing myself training as a snake charmer, for a minute.
I visited the café again to share my idea with Blue. My second visit to the café, I was talking with him over the counter. He prepared me a chocolate cake with cream on top. I put the cream in my mouth and I was surprised. It was unexpected flavor. It was brandy cream which I never knew existed.
Our conversation went on to about culture of burning paper money.
He told me about 迎王平安祭 festival to burn a big ship, and also people burn paper cars and paper houses for the dead. So, burning is a way to send things to another world.
“Just like I prepare the cake, and you know what it is only when it is already melted in your mouth” said Blue. And I understood.
When paper objects are burnt, paper money are burnt, smoke goes up in the sky and it disappear from one’s sight. The prayer; preparation and act of burning, will be received, felt, tasted and smelled by someone or somewhere unknown.
I would not know the taste of a cake which someone is eating.
I decided to prepare my own paper snake.
Chia-hsuan and Tina took me to masters’ studios. 剪黏 master 葉明吉and Sato Paper Art 佐藤紙藝薪傅 master 洪國霖. I saw their hands; many years of practice, life time practice.
The bicycle (GIANT) is rusted. The front wheel still spins but not the rea. I had to do it at night, had to avoid the heat of day time. I lifted the rea tier and pushed from the café to my studio, 1 km.
I remove the tier tubes, then placed a long paper snake. The snake is made of newspaper, and small circular papers are glued on its surface as if they are scales. The snake is 赤尾青竹絲 green snake.
Chika Matsuda「蛇腳踏車」（Snake Bike）展覽現場。圖/絕對空間藝術進駐提供。
“Peek Pole”
The first week here, I walked around streets taking pictures, and look for food which does not require much linguistic communications. Everything is interesting to a tourist’s eye, and 金爐 the hearth caught my eyes. They are in front of shops, houses, and on street corners. I asked Cha-hsuan and Tina the studio staff what they are. I learnt what they are, and I went a shop and bought $200 of yellow paper money. Since I was interested in this subject, Tina arranged a visit to Tzeng Guo-Rung who’s work deals with traditional culture, at woodshop where he was working on a wooden bed for his upcoming exhibition. He told me about gods and ghosts, different types of paper money for different purpose. It was interesting to know that this paper money itself is not sacred. There I met a boy in his age of 10 or 11. He comes around this woodshop after school to work on some project. He took me and Tina to his grandfather’s Daoist temples and showed me how to lit incents, how many times to bow, and how to burn paper money in 金爐 the hearth. He told me each gods’ names, backgrounds and characteristics. I was overwhelmed by the numbers of gods. When we walked out of the temple, there were over size gods, four of them, sitting in a room and TV was on as if gods are watching. Tina explained to me that people wants gods to know what is happening in our society.
Gods here seem to be just like people, just different species. Neanderthals come to my mind…. Gods live here.
I wanted to do something with gods. I think I wanted to be closer with them because they are important to the people here.
I took IKEA mirror stand in my bedroom and go around the city. My initial idea was to make images look like god’s face peeks out of my head, just like those panels at touristic site with holes for people to fit their faces in.
While I was practicing, it was more fun to do it with other humans. The process of taking picture required patient. The person with a camera needs to work with the person with a mirror to find a right angle, height, and distance. The results are always funny, with distorted face or not matching face and body.
I used photoshop and made about 100 images into a slide animation so that the position of all mirror in each image are aligned. I started to see a polar coordinate system.
We live under condition of gravity, we often see things above ground. Ground level is the base. But if we apply different system to locate ourselves, we can conceptually grasp the other layers in the world. If the mirror is the pole, bodies can be here, there, or anywhere.
Now I came back to the meta world of gods and ghosts.
Chika Matsuda「蛇腳踏車」（Snake Bike）展覽現場。圖/絕對空間藝術進駐提供。
“Gate and the Gatekeeper at 1246 Sanhe Street”
First three weeks, I did not know where to dispose garbage from basket. I was secretly hoping someone will clear the basket. It was getting full. Tie the first bag and put it next to the basket. The second bag was almost full. But there are no sign of them disappearing. Finally I asked the staff and it was also written on the residency manual. I learnt that there will be a truck on Monday, Tuesday, Thursday, and Saturday in front of the San Ho Art Labo at 18:07. I waited with my garbage in front of my door. When it getting close to the time, there are people gathering on this corner with their colorful plastic bags. The truck approaches with its signature music. People start to throw their bags in, before the truck stops. I saw a small excitement in everyone. I loved this activity. It recalled one of my childhood memories. Until I was 5 years old, I lived in a house in front of a small park. I was very shy child but was happy to see children in the neighborhood were always coming to my place, which I later realized a public park. So, this time the truck stops in front of where I live. I feel like everyone is coming to my place and share this exciting festival like activity together 4 times a week. I feel included. I don’t have to talk or understand the language. Just throw plastic bags into back of the truck, then I am a part of the community. I am getting familiarized with my neighbors’ faces, just like when I was a child at the park.
I started to video record this activity. I was attracted to this collective of people how they gather, wait, and go back to their ways. The truck is parked on site for 3 minutes. 4 times a week. 一二四六 (Monday, Tuesday, Thursday, Saturday). 4 times a week is more than half a week. I try to edit the video in the way the truck is always parked in this corner, never leaves. Because this activity is becoming like never ending déjà vu to me. Then I was editing this 3 minutes footage of each day, I played with timeline going back and forth. People throws their plastic bags into the truck but receiving bags right after so they have bags to throw again. I was interested in the choreographed dance like movements. After a while, I started to notice the person in charge with a helmet standing next to the truck. Everybody is in action yet he/she stands straight, maybe moves a few steps, standing as the gatekeeper.
【Chika Matsuda】
Born in 1983, in Japan. Graduated and received her BA from Nelson Marlborough Institute of Technology, New Zealand in 2006. MFA from University of Arizona, U.S.A. in 2010. Matsuda has been invited to several artist-in-residencies, such as Process-Space Art Festival (Bulgaria), Border Art Residency (U.S.A.), Prairie Center of the Arts (U.S.A.), Agora Winter Residency (Germany), Homesession (Spain), Centre CLARK (Canada).
Since 2015, she started to work as an inter-disciplinary collaborative team Earless Mouth / Mouse. The team incorporates software programing and technology with Art, and their work have been awarded a judge’s prize at Gifu Land of Clear Waters Art Festival Art Award IN THE CUBE 2017 in Japan. In 2019, member of Earless Mouth / Mouse, Miwo Amamiya and Matsuda started a collaborative unit “CHIKA, MIWO, & MORE”. Their projects are process oriented which involves discussion with people in the community, and often produces side projects such as a bar, a cafe, a salon, magic show, and fortune telling, and so on. They use these side projects which appears to be playful, faking and non-sense performance as a communication tool.
Chika Ｍatsuda，《湖山》（Mt. Lake），2023。圖片版權© Chika Matsuda。圖/絕對空間藝術進駐提供。
REFERENCE
熱門新聞
1