翻滾比爾#2-動畫經濟反思的設計
動畫影像裝置／點鈔機、喇叭、錄像
film loops, 2012
點鈔機在本作品有幾層意義，一是動畫媒體的可行性，目前動畫極難跳脫既存影片媒體的格式，動畫二字的中畫是重點，而動的實體性卻少有談論，我嘗試將動的實體性納入動畫中，以裝置與畫面的結合探討動畫媒體的可行性。二是荒謬誤用的時代性，後現代的思潮勇於挑戰與推翻現有道德規範與制約，延伸我們對事物的思考大膽而跳躍，如同網路的超連結混屯又複雜，唯有荒謬與誤用方能凸顯時代性。三是諷刺反思的人文性，我們創作藝術透過資本主義變成產品，而生產消費的機制控制文化生活的內容，如何跳脫回歸單純的藝術感動，而非生產技術門檻是作品中想提供的反思性。
The money counter has several meanings in this work, one is the feasibility of animation media. At present, animation is extremely difficult to escape the format of existing film media. In animation, painting is the main character, but the reality of motion is rarely talked about. Therefore, I try to incorporate the reality of motion into animation to explore the feasibility of animation media with the combination. The second is the era of absurd misuse, the postmodern trend of thought has the courage to challenge and overthrow existing moral norms and constraints, and we think about things boldly, like the network’s hyperlink and complex, only absurd and misuse can reflect the times. The third is the human nature of satirical reflection, our creations are transformed into products under the system of capitalism, while the mechanism of production and consumption controls the content of cultural life. How to return to the mere touching of the arts, rather than just focus on producing technical threshold is the reflection that I want to convey through this work.
「翻滾比爾#2」動畫被設計成紙鈔形式，透過主角連續圖案的收集，放入點鈔機中，點鈔機以高速滾動將主角生命化。我國動畫致富的夢想以推動數位內容與文創產業的發展，政策製定的背後以工業化成功模式推動，動畫在此藝術價值遠低於商業價值，生產動畫如同數鈔票，花掉跟賺到的產品在世界舞台上激烈競爭著，而經濟力背後的主角如同受歡迎的主角比爾Bill，努力地扭腰擺臀來振興經濟。主角比爾的動畫內容設計以運動跟勞累兩個動作為主，如同全世界的動畫產業競爭，各國全力以赴的結果，僅有少數贏家，輸者不得不現出疲勞窘態。本作品第一次於2012年關渡美術館，「創造對話語言者」展覽中展出，引起藝評家的注意，並撰寫評論於《 非常評論 》 (《 Very View 》)。
This animation is designed in the form of money counter, which scrolls continuous patterns of the protagonist to vitalize the it. Taiwan’s dream of getting rich in animation promotes the development of digital content and cultural and creative industries, driven by the successful model of industrialization. The artistic value of animation is much lower than the commercial value. The production of animation is like counting bills, while the main character behind the economic power, like the popular protagonist Bill, strives to revive the economy by twisting his waist and hips. The main character Bill’s animation content design is based on movement and exertion, like the world’s animation industry competition, only a few are winners, and the losers show their fatigue and embarrassment. This work was first exhibited at the 2012 Kuandu Museum of Fine Arts, in the “創造對話語言者 (Creative Dialogues exhibition)”, which attracted the attention of art critics and was reviewed in “Very View”.