黃巧嫻撰文：技術廢墟上的藝術蛻變

Written by Chantelle Huang：Artistic Metamorphosis Amid Technological Ruins

在越後妻有大地藝術祭的廣袤原野上，每一件作品都仿若在靜默中訴說著屬於這個時代的故事。當我踏入這片充滿創造力的藝術熱土，日本藝術家桑久保亮太（Ryota Kuwakubo）的《LOST #6》如一道光束，瞬間照亮了我對數字時代的嶄新認知。那些被拆解重組的廢舊電路板與纏繞電線，在光影變幻間幻化為閃爍的數據幻影，彷彿映照著資訊洪流中迷失的個體。曾被視為無用的工業遺物，在藝術家的巧思下重獲新生，無聲卻有力地指向技術淘汰與數位殘留的深層命題。

Amid the vast and open landscapes of the Echigo-Tsumari Art Triennale, every artwork seems to speak in silence, narrating the story of our times. As I stepped onto this fertile ground of creativity, LOST #6 by Japanese artist Ryota Kuwakubo shone like a beam of light, instantly awakening within me a renewed understanding of the digital age. The disassembled and reconfigured circuit boards, along with tangled wires, transformed under shifting lights into flickering data phantoms—mirroring the confusion and displacement of individuals overwhelmed by the flow of information. What was once seen as obsolete industrial waste is reborn through the artist’s ingenuity, quietly yet powerfully addressing the pressing issues of technological obsolescence and digital residue.

桑久保亮太的創作歷程，一直貫穿著對材料雙重性的執著探索。自與Maywa Denki合作《BITMAN》系列起，他便以電路語言搭建虛實之間的橋樑；其後在聚焦環境議題的《COCOON》裝置中，更深化了對廢棄物再生價值的思考。在《PLX》中，霓虹燈管的律動既重現了網絡世界的絢爛與迷離，也悄然揭示城市人日復一日的機械生活。置於越後妻有的鄉野背景之中，他的作品以獨特的姿態，將冰冷的技術邏輯與溫潤的人文關懷巧妙交織，科技進展的磅礴力量與自然生態的靜謐和諧，在此達成奇妙共鳴。

Kuwakubo’s artistic journey has consistently revolved around a persistent inquiry into the dual nature of materials. Beginning with his collaboration with Maywa Denki on the BITMAN series, he has employed the visual language of electronics to bridge the tangible and the virtual. Later, in his environmentally focused installation COCOON, he further deepened his reflections on the regenerative potential of discarded materials. In PLX, the rhythm of neon tubes recreates the dazzling illusions of cyberspace while subtly exposing the monotonous repetition embedded in urban life. Situated within the rural backdrop of Echigo-Tsumari, his works adopt a distinctive stance—intertwining the cold logic of technology with a warm humanistic perspective. At this intersection, the formidable momentum of technological advancement finds a harmonious resonance with the tranquil beauty of the natural world.

尤以“繭／COCOON”系列最為動人。觀者步入以電子廢料編織而成的巨型繭房，耳畔迴盪著電流白噪音，破碎螢幕拼貼出的自然影像在眼前流轉，如同走進資訊繭房的具象空間。這不僅是對當代人自我封閉處境的深刻隱喻，更蘊含對工業廢棄物破繭重生的生態哲學思考。其充滿張力的創作語言，與越後妻有藝術祭所致力呈現的「在地性與全球化碰撞」主題相得益彰，彼此映照。

Among his many works, the COCOON series stands out as especially poignant. Entering a giant cocoon woven entirely from electronic waste, the viewer is enveloped in the static hum of electric white noise, while fragmented screens display collaged images of nature in continuous motion. This immersive experience gives physical form to the metaphor of the “information cocoon,” offering a sharp critique of contemporary self-isolation. At the same time, it embodies an ecological philosophy of rebirth, transforming industrial refuse into a symbol of life emerging from decay. Kuwakubo’s powerful and tension-filled artistic language resonates deeply with the central theme of the Echigo-Tsumari Art Triennale: the encounter and collision between locality and globalization.

站在這些作品之前，我深切感受到藝術與科技交融所釋放的震撼能量。期待桑久保亮太未來持續以技術為筆、材料為語，於衝突與和解之間書寫更多觸動人心的當代藝術篇章，為我們帶來關於時代與人性的深刻省思。

Standing before these works, I felt the profound impact of the dialogue between art and technology. I look forward to seeing Ryota Kuwakubo continue to wield technology as his brush and materials as his language, composing ever more compelling chapters in the narrative of contemporary art—works that inspire deeper reflection on our age and the essence of our shared humanity.

作者介紹

Introduction of the author

黃巧嫻

Chantelle Huang

香港國際青年藝術家協會會長暨公共事務營運總監

Society President Chief Public Affairs and Operating Officer of HIYA

畢業於知名藝術學院，醉心於藝術，致力幫助本地有潛質的藝術創作者，讓藝術家和社會大眾來探索藝術價值，成就不同事業。

Graduated from a well-known art institute, she is dedicated to helping local artists with potential to explore the value of art and the community to achieve different careers.