spundragon_190106A.indb 6
11/1/2019 19:39:30
006 | 007
Contents 目錄 Co-Directors’ Foreword
008
009
Curatorial Statement
014
017
Artist Statement by Taguchi Yukihiro
020
023
Spun Dragon Structure – Head and Body
024
051
Creation Process – Fabric and Bamboo
052
057
Creation Process – CHAT Dragon Dance Crew T-Shirt
058
061
Workshop
062
071
Public Space and Public Art Participation
072
075
Participatory Idea
076
083
Interview with Master Ng
084
093
Performance
094
099
Exhibition
100
112
Artist Profile
114
119
聯席總監前言
策展人的話
田口行弘的創作自述
紡織龍結構⸺頭及身 創作過程⸺布料及竹
創作過程⸺CHAT 六廠舞龍團員T恤
工作坊
思考公共空間與藝術創作 參與式概念
舞龍⸺與吳師傅對談 舞龍 展覽
藝術家簡歷
spundragon_190106A.indb 7
11/1/2019 19:39:30
spundragon_190106A.indb 32
15/1/2019 18:38:39
032 | 033
Head
Spun Dragon Structure – Head From my early research, it was clear that the dragon head should always be connected to the
body and should be constructed as a whole. Later on, when I saw some traditional weaving structures, I thought it would be nice if a weaving machine could be transformed into the
dragon’s head. I imagined that this dragon eats clothes and yarn to make its body, so I
studied the structure of a loom and that of a dragon’s head. To my delight, they shared some
parts in common, so I attempted to use bamboo to construct a loom. When it turned out alright, I deployed the knowledge and skills I learned from fire dragon dance Master Ng on
the dragon’s head. Eventually I created this dragon-head loom, which allowed me to weave the whole dragon.
《紡織龍》結構⸺頭 在研究初期，我了解到龍頭總是與身體連接，一氣呵成，不會斷開。後來，我看到傳統
紡織機的結構，就想到把紡織結構造成龍頭，幻想這條龍吃布和線賴以為生，成為身體。
故此，我就分別研究織布機和紮作龍頭的結構，幸運地給我發現兩者相近的部分，就用 起竹子來製作織布機。初步製作尚算成功，我便運用從吳師傳學來的方法和技巧紮製龍 頭。紡織龍頭就此誕生，讓我由頭開始織出整條龍。
spundragon_190106A.indb 33
15/1/2019 18:38:40
spundragon_190106A.indb 52
15/1/2019 18:39:42
The reason why I use second-hand, found and donated materials to weave is that they have
052 | 053
Creation Process – Fabric been used and have had a connection with people, things or places. They each embed an untold story. Such attachments make the Spun Dragon alive, allowing it to act as a vessel
that carries stories contributed by different people from the past to the future. I also think it’s
important to get people thinking about the use of unwanted materials; sometimes we do not need to throw them away, but can apply creativity to give them a second life.
The meaning of crafting the dragon was to bring people together. This is a platform for
people to learn, create and exchange stories. The participation of the public is crucial to the project. I couldn’t have made it happen without them, they gave this dragon life.
It is also an opportunity for people to learn how to cut unwanted clothes into strips to prepare them for weaving. This kind of activity is rare in our daily life. I hope that experiencing this
process will allow them to discover more possibilities in their lives.
創作過程⸺布料
選用二手物料、拾來的、捐來的布料來編織，主要是它們有被使用的過去，曾於某時某 地與人或物相連，每一幅都有個不為人知的故事。這種情感轉移至紡織龍，就如一個承 載各人過去或將來的故事的載體，令其充滿生氣。再者，我認為藉此令人反思舊布料的 用途，也是有意義的。有時，只需花點創意，就不用棄掉而使其再生。
集合公眾一起製作紡織龍，是這個項目的意義所在。這個平台讓公眾有機會學習、創作 及交流。公眾或這群參加者是整個項目的契機，沒有他們的參與，項目就不能完成，是 他們令織品生龍活虎。
在創作過程中，公眾能學習基手法，並試著剪裁舊布料，為編織做準備。我們在日常生 活已很少接觸這些手作，透過製作和編織，我希望能從中引發他們的想像，在將來的日 常生活開拓更多可能。
spundragon_190106A.indb 53
15/1/2019 18:39:44
Participatory Idea Public Participatory Workshop Workshops are a common form of participatory art, in which members of the public interact and co-create the final work. When he planned the Spun Dragon, Taguchi wanted to involve people from all walks of life. He designed various approaches for a diverse group of participants, allowing them to take different roles based on their skills.
Using 210 bamboo frames as its structure, Spun Dragon allowed for various methods of
weaving. Firstly, “freestyle” weaving allowed participants to weave with recycled T-shirt strips in a random manner. Secondly, “crisscross” weaving of regular and alternate patterns offered
a fundamental concept of weaving. Thirdly, the bamboo frame was tied with symmetrical radial strings so that a circular pattern could be spun out from the centre.
Participants were encouraged to weave according to their preferences and more importantly, to imagine the possibilities of unwanted or recycled fabrics. Him Lo
Curator, Community and Learning
spundragon_190106A.indb 76
15/1/2019 18:40:44
076 | 077
spundragon_190106A.indb 77
15/1/2019 18:40:49