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EAnimation could be taken as illusion created through quickly playing continuous

images based on the characteristics of persistence of vision. It is a type of non-

realistic, animated effect that is molded by human imagination and ability to create

and give forms and shapes. One could even say that it is “a man-made imaginative

structure.” Making Fantasies is an exhibition that explores human imagination and

the essence of animation. With three animation works that do not seem to relate to

each other, the exhibition is contemplation on the role of imagination in the structure

of animation as well as how imagination embodies human existence, memory, and the

relationship between fiction and reality through narrative. Incorporating the concept

of making fantasies, this exhibition not only pays attention to the new possibilities

between images and narrative, but takes a step further to ask the audience to rethink

the essence of animation.

動畫，一種透過人類視覺殘留的特性，將連續圖像快速播放而產生的

幻覺；一種經由人為想像與形塑造型的能力，所生產的非寫實動態效

果，可以說是「製造而出的想像結構」。《想像的製造》是一個探討

想像與動畫本質的展覽，藉由三件在主題上看似無直接關聯的動畫作

品，思考想像在動畫影像結構中所扮演的角色，想像如何透過敘事脈

絡體現我們的存在與記憶，以及虛構與現實間的關係。在製造想像的

概念下，本展覽不只關注影像與敘事之間新的可能性，更進一步欲使

觀者重思動畫的本質。

Statement展 覽 論 述

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定格動畫單頻道投影 7.15minSingle-channel HD video projection2013

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《遺願》收集了七位名人的遺言，透過文字描述，藝術家幻想這些

臨死前的心願一一在影像中實現的樣貌，並串聯成一部動畫。這些

遺願包括了作家卡夫卡要求死後其好友布勞德能將他的手稿銷毀；

樂聖貝多芬渴望能有一天純粹的快樂，在自然中傾聽歡樂深遠的聲

音；以及雕塑家羅丹希望在羅丹美術館中成立ㄧ間專屬展示廳，放

置卡蜜兒的作品…等等。這些遺願無論最後是否實現，在此作品

中，製造出的想像都脫離過往動畫在發展史中特有的純真（或說青

春）結構，而立基於對死亡的描繪。

“Last Wills,” is a collection of the last words of seven celebrities in history. With

textual descriptions, Tu imagines the realization of their dying wishes in the

video and put these wishes together into an animation. These last wishes vary

from Franz Kafka asking his best friend, Max Brod, to destroy all his manuscripts

after his death, to Beethoven wishing to have a day of pure happiness by

listening to the joyful, profound sounds in nature, to Rodin hoping to have a

room dedicated to Camille’s work in the Rodin Museum, etc. Whether these last

wishes became true or not in history, the imaginary scenarios in this work depart

from the characteristic structure of innocence (or youthfulness) in the historical

development of animation, but shift its focus to the delineation of death.

Last Wills遺 願

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法蘭茲．卡夫卡德語作家

安東‧帕夫洛維奇‧契訶夫俄國醫生、劇作家與小說家

路德維希．范．貝多芬德國作曲家與鋼琴演奏家

梁實秋 中國著名散文家、學者與翻譯家

班尼格諾．艾奎諾菲律賓政治人物，反對派領袖

尤利烏斯．伏契克捷克記者、作家與社運人士

奧古斯特．羅丹法國雕塑家

Franz KafkaA German-language writer

Anton ChekhovA Russian physician, dramaturge and novelist

Ludwig van BeethovenA German composer and pianist

Liang Shih-chiua Chinese renowned writer, educator and translator

Benigno Simeon "Ninoy" Aquino, Jr.A Filipino politician and leader of the opposition to the government

Julius FucíkA Czechoslovak journalist, writer and activist

Auguste RodinA French sculptor

卡夫卡在遺言中告訴好友布勞德（Max Brod）：「將我的一切手稿銷毀」。

可是到哪兒去呢？我想到意大利的柯莫去，但是那裡的人也紛紛跑出來避暑。歐洲南部到處都炎熱難忍。我想 坐船自特里斯特到敖德薩去，可是又不知道，在目前這種時候─六、七月之交─是否可能。《致瑪莎》

「 噢，萬能的主宰，給我一天純粹的快樂吧！我有多久沒聽到歡樂深遠的聲音了！─噢！什麼時候，噢！神明！什麼時候我再能在自然與人類的廟堂中感覺到歡樂？─永遠不？─不！噢！這太殘酷了！」《海利根斯塔特遺書》

我故后，我們的兩隻貓，無論如何困難，你要照顧它們，一如照顧我們倆親生的孩子，我知道這是不需我吩咐的。清清，願你幸福長樂！《致韓菁清》

倘是如此，就不要操心我的事，你領著女兒們儘情在歐洲旅遊好了。《給妻子》

我的命運一般地講是獨特的。你知道，我是多麼想成為小鳥或灌木，浮雲或流浪人，成為像我這樣喜歡廣闊的空間、太陽、風的一切一切。《致古絲妲》

羅丹在死前四年提到，希望羅丹美術館成立ㄧ間專屬展示廳，放置卡蜜兒（Camille Caudel）的作品。

In his final words, Franz Kafka asked his lifelong friend, Max Brod, to burn his manuscripts.

"But where to go? I would like to go to Como, Italy, but people there will be away on their summer retreats. Southern Europe is just too unbearably hot. I would like to take a boat from Trieste to Odessa, but am not sure if it would be possible for this time in the year between June and July." To Marcha

"O Providence, vouchsafe me one day of pure felicity! How long have I been estranged from the glad echo of true joy! When! O my God! When shall I again feel it in the temple of Nature and of man? — never? Ah! That would be too hard!" The Heiligenstadt Testament

After my passing, no matter how difficult, you must take care of our two cats; care for them as if they were our children. I know you do not need for me to tell you this. Jingqing, I wish you a life of happiness and bliss!" To Han Jingqing

"If so, do not worry about me; go on and enjoy traveling in Europe with our daughters." To My Wife

"My fate is generally quite unique. You know how much I would like to be a bird or a shrub, a floating cloud or a wanderer, and to become everything that I am so fond of, the wide land, the sun, and the wind." To Gusta

Four years prior to his death, Auguste Rodin expressed the wish for the Musée Rodin to dedicate a room to exhibit Camille Claudel' s artworks.

Reference 遺 願 / 參 考 資 料

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定格動畫三頻道投影 7.04minTriple-channel HD video projection2013

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與展覽同名的三頻道錄像《想像的製造》由大量紀實攝影名家作品

接續而成，手法類似影像的故事接龍。藝術家試圖讓這些紀實攝影

裡的場景與人物彼此產生關聯，進而形成一條感性而夢幻的敘事

軸，即便這個敘事軸本身並沒有述說任何意義。紀實攝影顧名思義

是強調客觀，突顯真實與記錄性的影像形式，與動畫的想像本質截

然不同。結合二者，藝術家的目的在於讓影像的結構產生異動。

“Making Fantasies,” is a three-channel video that shares the same title with the

exhibition, which is created out of a large amount of documentary photographs

by famous photographers. The technique is similar to a story relay of images. The

artist attempts to create connections between the settings and persons in these

photographs, and by doing so, forming a moving and fantastic narrative despite

the fact that the narrative itself does not produce any meanings. Documentary

photography emphasizes its objectivism that brings out the truthfulness and

purpose of documentation of the images, which is fundamentally different from

the imaginative quality of animation. By combining these two art forms, Tu aims to

produce a kind of structural shift of the images.

Making Fantasies想 像 的 製 造

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Reference想 像 的 製 造 / 參 考 資 料

Yasuyoshi Chiba “Aftermath of the tsunami＂ 千葉康嘉│海嘯餘波│2011

Kevin Carter “Dying girl, vulture and photographer＂ 凱文．卡特│垂死女孩，兀鷹與攝影師│1993

Larry Sultan “Kitchen＂ 拉里．薩爾坦│廚房│1999

Raghubir Singh“Pilgrim and Ambassador car＂ 羅格比爾．辛格│朝聖者與使節車│1977

William Albert Allard “Smokedaddy Blues Club＂威廉．阿爾伯特．阿拉德│雪茄老爹藍調俱樂部│1997

Andrea Diefenbach “Country Without Parents: Labor Migration From Moldova＂ 安德列．迪芬巴赫

沒有父母的國家：來自摩爾多瓦的移工│2008

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Guy Tillim “City Hall offices, Lubumbashi, DR Congo＂ 蓋．提里姆│市政府辦公室，盧本巴希，剛果│2007

Jeff Widener “Tank Man＂ 傑夫．威德恩│坦克人│1989

Oded Balilty“A Royal Wedding＂ 烏迪德．巴里蒂│一場盛大的婚禮│年代不詳

Bruce Davidson “Time of Change＂ 布魯斯．戴維森│改變的時刻│1962

Unknown (George Melies) 攝影師不詳│喬治．梅里耶紀錄照

Nan Goldin “Nan One Month After Being Battered＂ 南．高丁│背毆打後一個月的南│1984

Richard Billingham “Untitled＂ 李察德．白金漢│無題│1995

Maika Elan “The Pink Choice＂ 麥卡．義隆│粉紅色的選擇│2010

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定格動畫單頻道投影 2.35minSingle-channel HD video projection2013

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單頻道錄像《金剛》取材於1933年同名的虛構怪獸影片，而此片大

量使用了模型動畫的技術，並在1976與2005年皆各有一部同名的

重拍電影。藝術家在作品中混合了1933年與2005年電影中金剛的

特寫片段，同時搭配1976年的電影配樂，整體而言像是一部精華版

影片剪輯。然而，從1933年早期電影定格拍攝模型動畫，到2005

年擬真的CGI質感，幻想風格背後對比的是動畫特效的時代推移。

“King Kong,” is a single-channel video based on the fictional monster film of the

same title in 1933. The film largely adopted model animation technique at that

time, and there were remakes in both 1976 and 2005. Tu mixes the shots on

King Kong from the 1933 and 2005 versions, and dubs the video with the music

scores from the 1976 version, making the work almost a clip of the best features

of the three films. However, underneath the imaginative style of representation,

one can detect the advancement of animation effect from looking at the stop-

motion model animation in the early 1933 movie to the simulation of CGI effect in

the 2005 film.

king kong 1933 https://www.youtube.com/watch?v=_CSLN23h3Lo

king kong 1976 https://www.youtube.com/watch?v=6bIlM7rnEV4

king kong 2005 https://www.youtube.com/watch?v=B5j_2sRUTbU

King Kong金 剛