Stepper City, 2009, Clogs made of wood blocks and leather, plaster cast, text on wall, video documentation, Dimension variable
踏城，2009，積木及人造皮製木屐、石膏倒模、文字及錄像，尺寸不定

Cain has built a city. For God’s Eden he substitutes his own, for the goal given to his life, he substitutes a goal chosen by himself — just as he substituted his own security for God’s. Such is the act by which Cain takes his destiny on his own shoulders, refusing the hand of God in his life.

— Jacques Ellul, The Meaning of the City

Opposite Shores

2012

Clogs made of painted wooden blocks, wooden structure,

clear acrylic plate, mirror, text on wall

270 x 90 x 100cm
彼岸

2012

設色積木及人造皮製木屐、木架、透明膠片、鏡

及文字

270 x 90 x 100厘米

該隱建造了一座城。他以自己所建的城，替代神的伊甸園；他為自己的人生定下目標，取代神給他的召命；他也以己力尋求安全感，取代神所賜予的平安。 就這樣，該隱拒絕了神在他人生中所作的安排，把個人命運扛在自己的肩頭上。

——雅克‧埃呂爾 (Jacques Ellul)　《城市的意義》

City Stepper, 2012, Wooden blocks, PVC leather, contact adhesive, Viewers’ participation, Dimension variable
城踏，2012，積木、人造皮、膠黏劑，觀眾參與，尺寸不定

Prospering, Fresh flowers, floral foam, water, glass tank, 30 x 30 x 30 cm
發蒙，2012，鮮花、花泥、水、玻璃缸，30 x 30 x 30 厘米

Advancing, 2012, Electric wires, circuit board, acrylic, glass tank, 30 x 30 x 30 cm
既濟，2012，電線、電路板、塑膠、玻璃缸，30 x 30 x 30 厘米

Reaching the Heaven, 2012, Cement, tar, shoes, sand, soil, rocks, glass tank, 30 x 30 x 30 cm
參天兩地，2012，混凝土、瀝青、沙、泥、石、玻璃缸， 30 x 30 x 30 厘米

Land Marker

2012

Slippers made by ethylene vinyl acetate and pvc leather,

clay, bricks and plaster cast

Visitors’ participation

300 x 300 x 5 cm
創地標

2012

塑料及人造皮製拖鞋、陶土、磚、石膏倒模

觀眾參與

300 x 300 x 5 厘米

First step, 2012, Concrete and steel rebar, 8 x 6 x 80 cm
首步，2012，混凝土及鋼筋，8 x 6 x 80 厘米

Booting Up, 2012, Plaster, graphite, wooden ladders, 100 x 300 x 300 cm
起動，2012，石膏、石墨、木梯，100 x 300 x 300 厘米

Stackle, 2012, Fired wood, glass and steel, Viewers’ participation, Dimension variable
層層疊，2012，木炭、玻璃及鐵，觀眾參與，尺寸不定

Nowhere to be found

2010

Iron, iron filings, magnets, clear acrylic plate, mirror

35 x 35 x 120 cm

無覓處

2010

鐵、鐵粉、磁石、透明膠片、鏡

35 x 35 x 120 厘米

Iron shoes

2012

Iron, iron filings, magnets, clear acrylic plate, mirror

35 x 35 x 120 cm

鐵鞋

2012

鐵、鐵粉、磁石、透明膠片、鏡

35 x 35 x 120 厘米

Worn out, 2012, Iron, iron plates, magnets, iron filings, video projection, 600 x 210 x 240 cm
踏破，2012，鐵、鐵板、磁石、鐵粉及錄像投射，600 x 210 x 240 厘米

……

除了文化理論，歷史也是我的創作所依據的。在此段創作期間，我重讀喬爾．克特金所著的

《城市的歷史》，其中提到古典時代本為殖民地的迦太基城（源於腓尼基語：Qart-hadast，意

為「新的城市」，西元前814年~前146年），其宗主國腓尼基的人民善於航海與經商。迦太基城

繼承了腓尼基的文化及政治觀，擁有高效率的政治及經濟體系，卻由富人掌權，缺乏精神與道

德號召，市民沒有可以認同的理念，終淪為唯利是圖的物慾之城。

「迦太基重蹈腓尼基的覆轍，因執拗的商業性格而走向滅亡。他們往外擴張不為長遠的眼光或

計畫，只為賺錢……最重要的是，迦太基一直都以商業利益治國。」

這個古代地中海之珠的歷史似曾相識嗎？

鄭志明

（原文刊於展覽「踏破」）(2012)）

……

Other than cultural theories, history is also a great source for my creativity. During the phase of time

when I worked with my art, I re-read Joel Kotkin’s The City: A Global History, in which the ancient

Carthage (from Phoenician Qart-hadast and bears the meaning of “new city"; 814-146 B.C. ), a colony

of Phoenicia during the Classical Period, is depicted. The Phoenicians were good at navigating and doing

business. The Carthaginians shared their views on culture and politics, and established efficient political

and economic systems. Yet, in their society that the rich were at the helm, spiritual strength and moral

capacity could be found nowhere. The citizens had no belief to go after and finally turned the city into

one that material desires prevailed.

The Carthaginians followed in the Phoenicians’ footsteps and repeated their failure. They met their doom

as they just cast their eye on profit-making. Instead of having any long-term plan in mind, their sole aim

for territory expansion was acquiring money. Worst of all, the regime put commercial interests top of the

agenda. 2

Does the history of this ancient pearl of the Mediterranean sound familiar? May earth would be blessed.

Carl Cheng Chi Ming

(Originally published in exhibition “Worn Out" (2012))