《跡象之域》試圖探討當代人類居所及其距離之形式，爬梳空間和文化脈絡，使作品在物質性層面上，從歐洲的萊茵河下游直至科隆，延伸擴及至遠在美國的加州，及亞洲的台灣、上海等地。藝術團體海希利希特將住居商品化時代下，人類對居所的概念及其瓦解作為他們探索與創作的主旨，循其過去五年的踏察，鑽研商業市場力量並試圖釐清其運作方式的同時，卻也觀察到人類於「居住（wohnen ）」概念激起的反作用力，這股力量儘管身處劣勢條件，仍以蓄勢待發的生猛姿態存在著。海希利西特的創作在具備如此強烈跨國家／跨文化特性的同時，於展覽實踐上同等地要求與現地（台灣）的具體連結。

──

錄像裝置作品〈沒有我在的所在〉嘗試以此表現對於空間彼此間的呼應關係，部分影像及音軌於展間內錄製而成，並將其加入原先既有的影音素材之中；觀者則透過內藏有螢幕的箱體側邊之「窺視孔」進行觀看，影片輪播的同時會突然察覺自身也正身處於被觀看的箱體之中（以現場直錄插入的技術呈現）。

此裝置意圖使觀者與其周遭環境變得扭曲失真，就像身處於一場狂熱的夢境之中，擴張的空間感和疊加的聲音效果，使原先的空間變得更為抽象曖昧，並且相互衝撞、交疊。
－瑪麗亞．維爾德斯於杜塞朵夫

──

我在後面的房間，卻尚未完全消逝，消失的是原始和有形的空間，展現的是自身此刻的光影與聲響。伴隨聲音藝術家鄭宜蘋創作的電子聲響，將旋律、節奏交織於不同角落發出的聲音填滿空間裡那些未被定義的黑暗和光線。觀者則坐在沙發上，這次並不看向機器投打出來的影像，而是直視著投影機的鏡頭，從其投影出的冰冷白色矩形，看到的是房中稀薄光霧隱照出的白色光廊閃耀、將觀者包圍。

位於展間末尾的作品〈我在後室沒有我在的所在〉，以牆面的光影和空間中的聲響構築而生，聲音、錄像、膠捲在此連結著時空的不同層面…，卻仍坐落於知識及現象學的範疇之中。於此，藝術家將〈沒有我在的所在〉及〈我在後室沒有我在的所在〉這兩件作品理解成對於媒體再製圖像空間與其根源之間的一種隱喻，也是觀者和其自身所身處環境之間的敘事。世界於此不再是你觸手可及，亦不再向你顯現其面貌。
－瑪麗亞．維爾德斯於杜塞朵夫

──

《跡象之域》透過「距離」呈現數位圖像和類比世界的吋差，以及人們因彼此的心理隔離、生理隔絕、社會階級或均質化的都會空間所產生的離間。當撰寫文本的同時，「距離」這個命題也正駛向全新的存在維度，它和「鄰近」之間存在著辯證關係，同時也與觀感、觸覺、心理渴望、身體需求之間的張力相關。

在實行所謂社交距離的時代，我們的日常生活突然都全面轉移至家中。但當我們與家的親密關係不斷受到數位影像的侵略、孩子們花更長時間待在日托中心、辦公室變成我們生活的全部、家中一切的瑣事和餐食都由幫傭協助打點操持時，「家」還剩下什麼？它還是所謂城市結構裡最基礎的核心嗎？還是一個如同避難所般不受外界紛擾的靜僻之地？抑或是個只留存於童話中的概念？

──

作品〈地形／矩形／II〉可被視為針對21世紀人類住房現況的觀察報告。由深色的硬質瓦楞紙板製作而成的1：20的比例模型，呈現了美國數一數二房地產商於近期推出之別墅商品「威爾第」的樣貌，該房產商自1960年代以來一直在南加州廣大貧瘠的土地上銷售著完美生活的夢想。此微縮模型的平面設計和建築結構，由藝術家自房地產官方網站上提供的360度虛擬參觀的線上服務中擷取而出，並在商品「威爾第」實際安置家庭劇院的客廳位置裝置一個迷你螢幕，播放以主觀視角在屋內進行虛擬參觀的過程。這個由單一鏡頭組成的影像，伴隨著的幽微神秘電子聲響、流行音樂、廣告標語及電動音效，則為德國杜塞朵夫聲音藝術家ai.disco與海希利西特的共同創作。

本裝置同時包含四件尺寸30公分見方（德國標準地磚尺寸）的物件排列而成的〈尋找壁爐〉系列：1）路易斯．巴爾茨〈新工業園區〉系列中的攝影作品〈2892 Kelvin Av〉，本作拍攝於於1974年的美國橘郡以回應當地的結構和城市轉型；2）表面帶有矩形火痕的大理石地磚；3）房地產官方網站上別墅商品「威爾第」的室內設計渲染圖；4）古羅馬建築工程先驅馬馬爾庫斯．維特魯威．波利奧的著作《建築十書》中說明八個風向幾何結構圖作為新市鎮建設的指標意義（出自摩根．摩里斯於1914年翻譯的英文版本）。

──

辦公大樓源自和居所相反的概念，人們的日常仿似鐘擺穿梭於居所與辦公場域兩地之間。這種帶有鏡面玻璃帷幕的建築在1960至1970年代出現，並於南加州的艷陽下拔地而起延綿不絕，猶如現代生活高速運作的縮影，帷幕玻璃通透的本質卻反而造成明確地社交空間切割。
－理查德．森内特

作品〈辦公大樓〉影像可見攝影機在同一個空間裡行經著不同路線，拍攝著一些細微的動態，像是飛鳥、流水聲、吸菸者、駐足或路過…，外部觀察者和內部工作者的兩方視角在此融合，心理運作及思考的侷限，在藝術家於現場進行探索行為的同時和坐在玻璃帷幕後辦公桌前職員的談話，模糊了壁壘分明於帷幕兩側的清晰分界。

與〈辦公大樓〉共同展出的紙上作品〈複數位元〉，以橘郡1965年及1975年官方版地圖中分割的網格中擷取其中連續的四格視為一個網格集合，其中命名為第8號網格的地點為新興開發區，亦為路易斯．巴爾茨拍攝其〈新工業園區〉系列的所在；第49號網格及88號網格則是〈來自橘郡〉系列照片的拍攝地點。

*上文尾聲提及的四件作品：〈地形／矩形／II〉、〈尋找壁爐〉、〈辦公大樓〉及〈複數位元〉，為〈來自橘郡〉裝置的部分內容，獲路易斯．巴爾茨研究基金（巴黎／洛杉磯／科隆）獎助支持。

藝術團體海希利西特，由蕾貝卡．海希（Rebekka Reich）與馬可斯．利西特（Marcus Vila Richter）兩位藝術家組成。

tatement_en

A YARD OF INKLINGS (German: Ein Hof von Ahnungen) explores contemporary forms of distance and human dwelling. The spatial and cultural context from which the works source their material extends from the Lower Rhine region to Cologne, California, Taiwan, and Shanghai. The concept of human habitation and the exploration of its disruption in the era of the commodification of elementary human sources of meaning is a key theme in the work of REICHRICHTER. During their artistic expeditions over the last five years, they have been able to study and work out at both the marketing forces as well as their anthropological counter-forces of ›living‹. The German term ›wohnen‹ (living) converges the concurrent meanings of ›to live‹, ›to inhabit‹ and ›to get accustomed‹. The radically trans-national nature of this artistic field also requires an equally radical international exhibition practice for REICHRICHTER's work.


» ohne mich (without me) « is a video installation with an explicit reference to its respective location. Parts of the video and audio track are recorded in the exhibition space and inserted into an existing composition of video and audio material. The viewer looks through a ›peephole‹ in a box on the screen of a computer monitor. In the course of the video loop, he/she suddenly becomes aware of him/herself in the box he/she is looking into (made possible by live video technology).

The installation plays a game of distortion with the viewer and his surrounding space. As in a feverish dream, the doubled spatial and sound levels appear as abstractions from the original space, which push into each other and overlap.
By Maria Wildeis, Düsseldorf


I am in the rear room without me eliminates such an original and tangible space and manifests its own space of light and sound. The digital sound composition of sound artist Betty Apple interweaves melodic and rhythmic sequences with spatial sounds from different sites. Her track fills the undefined space of darkness and light. The visitor takes a seat on the sofa, and for once does not look at a screen, but in the opposite direction straight into the lens of the projector which throws a motionless white rectangular figure onto the wall behind the sofa. The fine mist in the room turns the beam of light into a shimmering corridor that surrounds the heads of the audience.

» i am in the rear room without me « is a work located in the last corner behind all the prestigious showrooms. It exists in an intermediate dimension, a space behind the space; a simulacrum constructed from walls of light with a space of sound. Where sound, video, and film have the potential to combine different levels of time and space [...], they still remain in a conceptual, phenomenal realm. Thus » ohne mich (without me) « and » i am in the rear room without me « could also be understood as a metaphor for the distance between the pictorial spaces of media reproduction and their original, as well as between the perceiver and his or her environment. Like the world that is no longer manifest (Latin: manus = hand), no longer palpable by hands.
By Maria Wildeis, Düsseldorf


The exhibition presents works on distance. Distance between the technical image and the analogue world, distance between people through segregation, social status and the homogenization of urban spaces. Today, as this text is written, the topic- takes on a new, existential dimension. Distance bears a dialectical relationship to proximity. Thus, it is also about the tension between eye and hand, between the longings of the mind and the needs of the body.

In the time of the so-called social distance, we suddenly spend our entire everyday life at home. What is left of this home, when its intimacy is under constant attack by the digital image, when children spend more time playing in day-care centres, when the office is the place of the everyday life, when helpers take care of the domestic providing, feeding and maintaining?
What about the dwelling house as the most fundamental cell of the urban fabric itself? Has it been left untouched as a place of retreat? Is it still alive or does the intact house only exist in fairy tales?


» Gelände / Geviert / II (terrain / square / II) « can be read as a report on the situation of the human house in the 21st century. A 1:20 scale model made of dark archive cardboard shows the current commodity named ›Verdi‹ of one of the largest American real estate companies which has been producing and marketing the dream of perfect living in the barren landscape of Southern California since the 1960s. The floor plan and dimensions of the model were derived from the corporation's online marketing portal, which offers 360° virtual tours of ›Verdi‹. The model contains a mini-monitor that corresponds to the location of the ›home cinema‹ in the villa’s living room. On this mini-monitor, the ego perspective of a virtual tour through the house runs on this reduced-size screen. This single-shot sequence is accompanied by subtle, sometimes uncanny electronic sounds mixed with references from pop, advertising slogans, video games, a composition in collaboration with sound artist ai.disco, from Düsseldorf.

Part of the installation is » Looking for a Fireplace «. Four objects with the dimensions 30x30cm (German standard format of a floor tile) are lined up: 1) The photographed photograph » 2892 Kelvin Av « by Lewis Baltz from his series » New Industrial Parks «, which he took in 1974 in Orange County as a reaction to the structural and urban transformations there. 2) A marble floor tile with a drawing of a rectangle made by a trace of fire. 3) The fine art print of a screenshot of the architectural rendering of ›Verdi‹ as marketed on the developer’s homepage. 4) A geometric construction drawing of the eight wind directions including the compass orientation for the construction of a new city, reconstructed from instructions by Marcus Vitruvius Pollio (Roman master builder, pioneer of architecture, ~20 BC) from his book "De architectura", published as "Ten Books on Architecture" with the original quotation (English translation by Morris Morgan, 1914).


Office Towers originates from the ontological antipode of the living house in the pendulum movement of the sedentary human being between home and work. In the 1960/70s the first mirror-glass façades of office cathedrals grew in the sunlight of Southern California. As an epitome of hyper-modern life, the ›curtain wall‹ spread across the globe, intending to be transparent but effectively cutting through and isolating social space.
By Richard Sennett

In the video of » Office Towers «, while the camera travels through new paths at this prototype of a ›non-place‹ and shows small actions and movements of birds, watercourses, smoking, pausing and passing by, the two textual perspectives of the external visitor and the internal user merge, and the limits of mental processes and reflections elude a clear assignment of the two sources: the artist's thought protocols after the exploratory performance on-site and the recorded conversation with a local employee, who has his desk behind the mirror glass façade.

» Office Towers « goes together with the work on paper » bits «. From the numbered 1-mile grid of the official maps of Orange County, four grid squares were cut out from the 1965 and 1975 map and inserted into a sheet of graph paper. In grid square No. 8 lies the new development area, where Lewis Baltz took most of the photographs of » New Industrial Parks «; No. 49 and No. 88 are locations for the series of photographs called » Coming from Orange County «.

REICHRICHTER is a man and a woman.

*The last four works are part of the comprehensive installation » Coming from Orange County «, which was realized with the support of a work grant by the Lewis Baltz Research Fund, Paris/Los Angeles/Cologn