Spinning East Asia 再 紡 東 亞 系 列
( II ) ( I )
A Compass in Hand
A Net (Dis)entangled
2021. 11
手中的羅盤
邊織邊拆的網
2022. 08
再紡東亞：前言
Spinning East Asia: Preface 再紡東亞系列一：手中的羅盤
Spinning East Asia Series I: A Compass in Hand
策展引言
手中的羅盤－在風眼中尋路 | 陳朗晴
Curatorial Statement
Navigating in the Eye of Storm | Sunnie Chan
展場圖片及展覽作品
Exhibition Installation View and Exhibiting Works 展覽記錄片
Exhibition Documentary Video 研究報告
藝術家作為設計師 - 2010 年代後南韓當代藝術界的新方法論 : 「標籤
Research Essays
Artists as Designers - New Methodologies of Contemporary So 都市建築的紡織性肌理 | 黎雋維
Weaving in the Fabrics of Urban Architecture | Charles Lai 製造現代日本消費者 | 伊恩．萊納姆
Making the Modern Japanese Consumer | Ian Lynam 再紡東亞系列二：邊織邊拆的網
Spinning East Asia Series II: A Net (Dis)entangled
策展引言
邊織邊拆的網 | 王慰慰
Curatorial Statement
A Net(Disentangled) | Wang Weiwei
展場圖片及展覽作品
Exhibition Installation View and Exhibiting Works 展覽記錄片
Exhibition Documentary Video 研究報告
中國紗廠工人電影小史 | 陳璽安
Research Essays
A Concise History of Chinese Textile Workers in Film | Zian Che 紡織創造新人 | 孔煜也
Weaving the New Generation | Kong Yuye 中島的飛氈 | 任倢
Nakashima's Flying Carpet | Ren Jie 藝術家與研究員簡歷
Artist and Researcher Biographies 工作人員名單與鳴謝
Acknowledgement
籤成為藝術品」 | 玄始源
p.4-7
p.10-19
p.20-123
p.124-125
p.128-137
outh Korea art scene after the 2010s: 'Label as Artwork' | Hyun Seewon p.138-149
p.150-165
p.168-175
p.176-287
p.288-289
p.292-309
en p.310-323
p.324-333
p.336-379
p.380-387
再紡東亞系列一：手中的羅盤
Spinning East Asia Series I: A Compass in Hand
再紡東亞系列一： 手中的羅盤
Spinning East Asia Series I: A Compass in Hand
再紡東亞系列二：邊織邊拆的網
Spinning East Asia Series II: A Net (Dis)entangled
再紡東亞系列二： 邊織邊拆的網
Spinning East Asia Series II: A Net (Dis)entangled
2022 打破寂靜之日
The Day to Break the Silence
加藤翼邀請香港本地樂隊 Interzone Collective 合作現場表演《打 破寂靜之日》，並通過後期剪輯，完成影像裝置作品。此作品延 續了加藤翼一直以來對政治、社會和群眾議題的關心與藝術性的 介入。他長期在亞洲各地遊走考察，關注當地特定的政治和社會 氛圍下民眾的集體狀態與個體經驗。 加藤翼挑選了數首在香港膾炙人口，並具有跨時代意義的流行歌 曲，將它們重新改編。在特別呈現中，樂隊成員們分別站在大廳 的不同位置，長長的彈力繩被綁在他們的身體上，將他們互相聯 結起來，而他們的行動亦因此受到彼此的牽制。為了能演奏各 自的部份，他們不得不互相拉扯和干擾，而歌曲於是變得支離破
加藤 翼
Kato Tsubasa
碎，旋律難以辨認，其背後的象徵意義也隨之消解得曖昧不明。 在這種合作與衝突同時發生的行動之中，個體的身份和力量與集 體性的行動與目標之間的關係變得複雜而難以界定。
加藤 翼 《打破寂靜之日》 2022 表演、影像裝置 10 ‘ 13 “ 合作樂隊：The Interzone Collective CHAT 六厰委託作品
Kato Tsubasa invited a Hong Kong-based band The Interzone Collective to present The Day Break the Silence live performance and completed the video installation with post-editing. This work continues the artist's practice of intervention centring on political, social and popular issues. He travels across Asia, studying individual and collective experiences under specific local socio-political circumstances.
Kato Tsubasa The Day to Break the Silence 2022 Performance, video installation 10'13" Collaborator: The Interzone Collective Commissioned by CHAT
Kato Tsubasa selected a number of pop songs that are well-known across generations in Hong Kong and rearranged them to form a new piece. The long bungee cords bound to their bodies, tying them to each other. With their movements restrained, they must pull and interfere with each other unrecognisable, and all symbolic meaning dissolves into ambiguity. In this act of simultaneous cooperation and conflict, the relationships between selfidentity and power, collective action and its goals become difficult to define.
Spinning East Asia
to play the instruments, hence the song becomes fragmented, the melody
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band members stand in different positions during the performance, with
中島的飛氈
Nakashima's Flying Carpet
中島的飛 氈
在一次偶然的整理中，中島米拉（Mira Nakashima）在父親中島喬治 （George Nakashima）的工作室裡發現了一些從未見過的圖紙。 圖紙 的外包裝上貼著標籤，簡單地標註著「rug」（小地毯）字樣。 這些用 鉛筆繪製的抽象草圖上佈滿了一串串的數位，猶如待解的密碼。 曾 與中島喬治有過合作的美國制毯商愛德華．菲爾茲（Edward Fields Carpet Makers）隨即認出了這些數字密碼。1 它們與愛德華．菲爾茲 織坊至今仍在使用的織線和色彩名稱相符。通過這些數位，制毯商能 夠準確識別出地毯不同部分的色彩，進而重啟這一擱置了五十餘年的 織毯專案。 數位和色彩之間的轉譯關係令人聯想到 20 世紀 30 年代，織造圖像的 觀念更迭與工藝技術的革新幾乎同時發生。前者有意識的改革扭轉了 織毯的走向，不論是工業化的織造，還是其在藝術領域中的表達。 後者則將我們的視線引向另一個方向，關於技術、工具、生產、消 費。這些線索將隱秘的地域歷史和顯性的當代生活串聯起來，交織 成一幅新的圖景。
（圖 1）左：中島喬治（George Katsutoshi Nakashima，1905-1990） （圖 2）右：Pocantico II 手工編織地毯，產品編號：EF NSM15OR，材料：半精紡羊毛、黃麻、羊毛，尺寸：2'X2' (Fig. 1) Left: George Katsutoshi Nakashima, 1905-1990 (Fig. 2) Right: Pocantico II handwoven carpet. Product number EF NSM15OR. Materials: Semiworsted wool, jute, wool. Measurements: 2'X2'
任倢
Ren Jie
（圖 3）中島喬治手繪織毯設計稿 ，1959 年
(Fig. 3) George Nakashima's hand drawn carpet designs, 1959
Nakashima's Flying Carpet
During a tidying session at her father's studio, George Nakashima's daughter, Mira, came across some drawings she had never seen before. The cover of the drawings bore a typeface label that simply read ‘Rug’. The abstract pencil sketches were full of numbers like an unsolved code. The American carpet maker, Edward Fields, which had worked with George Nakashima, immediately recognised the numbers. They indicated the names of fibres and colors that Edward Fields Carpet Makers still use today. Through these digits, the carpet maker was able to accurately identify the colors of different parts of the carpet, and restart the carpet weaving project that had been on hold for more than 50 years. 1 Colors being translated into numbers is reminiscent of how, in the 1930s, the concept of designing carpets changed almost simultaneously with industrial innovation. The former consciously changed the direction of carpet making, not only through industrialisation, but also by affecting artistic expression. The latter directs our gaze to another direction: skills, tools, production and consumerism. These threads connect hidden regional histories to visible contemporary life, and weave together to create a new perspective. Even though Nakashima's rugs were designed to be woven by hand, we cannot ignore the earlier technological breakthroughs made by rug maker Edward Fields in the mid-1930s. A manual tufting tool called ‘The Magic Needle’ was developed, which was then improved into an electric tufting gun. It greatly increased the weaving efficiency of tufted carpets and soon came into widespread use in the carpet industry. Unlike flat-woven carpets and jacquard rugs, the weaving of tufted carpets had never been automated in the Industrial Revolution, and were still produced by hand knotting. Carpet quality is determined by the density of knots per square inch. The knot density of wool carpets in the Caucasus is close to 200 knots per square inch, and the knot density of Indian silk carpets is carpets quickly and achieve a similar quality.
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as high as 2000. The new tufting guns allowed weavers to complete
Spinning East Asia