藝術計畫 Projects

For English, please scroll down.

〈庭院保育〉
某次在東柏林郊區意外地發現了一個中國式的庭院,開始對出現「文化限定」(culturally-bound)日常經驗產生的關注。〈庭院保育〉概念來自在發現太魯閣國家公園內大同大禮部落屋主都會在屋外的私人區域種植特定的植栽,也同時聽聞政府因為國家公園自然保育(nature conservation)的需求所以將族人安置到山下居住的故事,於是希望透過〈庭院保育〉提問什麼才是正確的自然培植(cultivation of nature)之道。計畫中將與部落藤藝家都姆恩.馬邵合作,在 TCAC台北當代藝術中心及都姆恩山上竹屋周圍建置庭院,台北展區的植物將以都姆恩期待的植栽及森林公園內亞洲水泥公司生態園區的植物為主,展覽結束後會將台北的植株移植到都姆恩的家回應對於自然意義的提問。

img_4589

藝術家:余曉冰
地點:TCAC台北當代藝術中心,台北市&都姆恩.馬邵的家,大同部落,太魯閣國家公園,花蓮縣秀林鄉

 

〈染料與耶穌〉
與大同部落部落彩虹屋簡大姐聯繫後了解許多關於部落的故事,了解太魯閣族人在處理信仰上,同時保留了他們的祖靈與耶穌,故事中的膽汁發黑的原因來自於與這座山距離遙遠的異文化-罪惡的起源。一直以來,部落的尊嚴、歷史與罪惡都和善的與非部落文化共存著,於是想在〈染料與耶穌〉處理一些關於黑色的事物,就像從部落織染、飲食與生活的經驗中找到一些傳統文化的灰燼,依收集自山上的黑色故事製作一系列關於聖經的插畫,在插畫製作過程中放入部落山上傳統生活中出現的植物汁液混在基底材上,就像那些故事裡燃燒在戰火、地緣、難以力抗生命改變後留存下來的魔法粉末。

img_4734

藝術家:歐靜雲
地點:TCAC台北當代藝術中心,台北市&彩虹屋,大同部落,太魯閣國家公園,花蓮縣秀林鄉

 

〈此山非彼山〉
在立霧山回程的火車上,看著手機裡的相簿,手指輕快的滑過一張張照片回憶著立霧山的顏色,在這一連串日常的動作下卻形塑了與記憶無法共感的矛盾:不自覺自問為什麼手機的照片無法讓人聯想到身在立霧山當下的真實?於是發現影像的狡獪,因為它編造了斷裂並與真實產生距離。於是在多次來往台北與立霧山的過程中,常思考著是否能利用日常的材料或現成物來呈現個人的生活經驗,並從中尋找立霧山,重現山林的意象,這也是一個讓人重返立霧山的方法,同時與部落共感,從部落建立山友們對於立霧山的意象,也許部落的立霧山才是人們印象中的山,〈此山非彼山〉透過蒐集與重新建構的動作看見你我記憶中的山。

img_4331

藝術家:黃韶瑩
地點:TCAC台北當代藝術中心,台北市&達道的家,太魯閣國家公園,花蓮縣秀林鄉

 

〈文明的腳步〉
人類文明是用什麼角度看待大自然?人類所有與大自然的互動是否拉近了人類與自然的距離?進出立霧山多次,每每讓人讚嘆這邊的絕美景色、聽著單純開朗的族人訴說經歷遭逢的變化,思考著也許透過一個呈現大自然本質及貼近部落文化的創作來質疑人類文明在自然裡的活動。發想參展作品過程因每次上山都有不同的體悟,以致計畫構想一直變化,也由於部落傳統生活已不復在,僅能透過與部落居民互動及回到城市生活日常後查閱的資料,驚覺文明的腳步除了可以是巨大的入侵,也可以是亦步亦趨不知不覺地將當地文化發生質變,於是提出一個可以讓人在自然環境中不期而遇慢下腳步來體驗的創作-〈文明的腳步〉。

藝術家:詹奉宗
地點:大同部落,太魯閣國家公園,花蓮縣秀林鄉

 

〈魯閣太魂 ─ 太魯閣族人捍守家園犧牲永記〉&〈立霧峽靈 ─ 一九一O年代太魯閣戰爭殤魂碑〉
2015年夏的錐麓古道行,震懾於太魯閣峽的景觀,也難忘途中的日警持館代五郎之碑。隨後又在李崠、大混山隘勇線碰到渡邊要之墓,忍不住對自己提出了創作提問:「相對屢屢見到的日人遇難碑,為什麼沒有被侵入家園、憤而抵抗的原住民犧牲紀念碑呢?難道真是成王敗寇?歷史詮釋權始終掌握在強勢者?無法翻轉?或者只是我們一直遺忘、沒有行動?」因此這次的計畫,除了是回應自我創作提問,也是對百年前太魯閣戰爭中犧牲的族人之永念、不忘……

img_4623

藝術家:秦政德
地點:TCAC台北當代藝術中心,台北市&大同部落,太魯閣國家公園,花蓮縣秀林鄉

 

〈自然的無題〉
參展創作期望透過繪畫的方式回應希臘單字「生命(Bio-)」,畫面故事是赤嶺智描繪位小時童年回憶中在日本沖繩縣宇流麻市出現出現了巨大覺累的茂密森林-熟習但現已不復存在的穩定生長大自然,這樣的自然樣貌透過顏料及畫面的敘事提供的不僅是自然的景色,而是一種超越實指的超自然力量,也是另種自然存在的樣貌。

img_4593

藝術家:赤嶺智也
地點:TCAC台北當代藝術中心,台北市&椰果的家,大同部落,太魯閣國家公園,花蓮縣秀林鄉

 

“Garden Conservation"
The experience of accidentally discovering a Chinese-style garden in a former-East Berlin suburb inspired Candice Jee to begin questioning the idea of the “culturally-bound”, concerning the transportation of objects to a completely different place far from their previous environment. The project idea of “Garden Conservation” came from thinking about the notion of the conservation of nature. “Nature” can be defined as the environment that is grown by the tribe people on their private land. However, in the national park, nature has been identified as the state of the environment without any previous trace of human activities. In this project, the artist will co-operate with Masow Dumuan to establish two gardens in TCAC Taipei Contemporary Art Center and Dumuan’s house on the mountain. The plants grown in the the space of TCAC will be transported to Dumuan’s house after the period of the exhibition, and whether they will be able to continue living there will be a question of nature.

img_5063Artist: Candice Jee
Venue: Taipei Contemporary Art Center, No. 11, Lane 49 Baoan Street, Taipei (MRT: Daqiaotou Station)& Datong and Dali, Taroko National Park, Hualien

 

“Dyes and Jesus"
After contact with the Rainbow House owner, Jing-Yun Ou realizes that the tribe people believe in their ancestral spirits and Jesus at the same time. Also, finding out about black bile in a tribal story, he relates this with a distant outside culture – the origins of evil. For a long period of time, tribal honour has consisted of both good and evil histories, and non-tribal cultures, simultaneously co-existing. For this reason, Jing-Yun wants to paint some stories about darkness, as seen for example in the tribal weaving and dyeing practices, diets and life experiences. The result will be a series of illustrations about the Bible, using plant juices mixed with painting material. The juice acts as the symbol for a magic powder that was found in a historical tribal war, tribal geopolitics, and the tribe’s difficulty to change their living conditions.

img_4543

Artist: Jing-Yun Ou
Venue: Taipei Contemporary Art Center, No. 11, Lane 49 Baoan Street, Taipei (MRT: Daqiaotou Station)& Datong and Dali, Taroko National Park, Hualien

 

“This Mountain nor That Mountain"
On the way back to Taipei, when Shao-Ying Huang looked at her photo album in her phone, she thought about the gap between these images and the real environment. It was difficult for her to connect her physically vivid experiences of Liwu Mountain with the photographs. She began to interrogate the way that these images are disconnected from her memory. After visiting the tribe many times, she implements the project “This Mountain Nor That Mountain” to bring this question to the audience. She wishes to use objects from her daily life to represent her personal experiences in this project, describing the process in which she tries to imagine the nature of the mountain. In the end, it could be the most faithful way to approach Liwu Mountain and to represent the tribe. Recreating the image of nature from her experiences with the tribe could represent the real nature that she remembered.

img_4489

Artist: Shao-Ying Huang
Venue: Taipei Contemporary Art Center, No. 11, Lane 49 Baoan Street, Taipei (MRT: Daqiaotou Station)& Datong and Dali, Taroko National Park, Hualien

 

“The Pace of Civilization"
How does human civilisation perceive nature? Do all interactions between humans and nature serve to narrow the distance between us? Visiting Liwu Mountain many times, Feng-Tsung Chan is always affected by the diverse and beautiful views that he sees there. Hearing the tribe people’s stories, he wishes to create a project which he will present within that environment, to question the human activity that takes place within the national park. In the beginning, he felt it was difficult to come up with a proposal for this project, especially when he had only a minimal number of living experiences with the tribe. Regarding this point, he realised that urban culture not only impacts nature in sudden encounters, but also influences the tribe gradually. Subsequently, his artistic project will encounter people unexpectedly in the natural environment, and is named “The Pace of Civilization”.

img_5082

Artist: Feng-Tsung Chan
Venue: Datong and Dali, Taroko National Park, Hualien

 

“Monument"
The idea of this project comes from the question of ethnic equality in Cheng-Te Chin’s previous hiking experiences. He still remembers the summer of 2015, when he took the Zhuilu Old Road, in awe of the natural landscape of Taroko Gorge. At that time, he noticed the monuments commemorating the leader of the Japanese army there, and realized that the narrative of history is always made by those in power. He began to question his agency or ignorance when confronting this condition, and the choices he had surrounding its change. In raising the project of the monument, Cheng-Te tries to reveal these questions publicly, shedding light on the fragments of historical events that people forget.

img_4955

Artist: Cheng-Te Chin
Venue: Taipei Contemporary Art Center, No. 11, Lane 49 Baoan Street, Taipei (MRT: Daqiaotou Station)& Datong and Dali, Taroko National Park, Hualien

 

“Untitled as Nature"
Expected to respond to the Greek word " life (Bio-) " by way of painting. Screen story is portrayed from Tomoya Akamine’s childhood memories in Japan’s Okinawa Prefecture Uruma. The nature is filled with the dense forest, familiar but now defunct nature of stable growth recent. Such pigments and natural appearance through the narrative screen provide not only natural scenery, but
a language that can be drawn beyond the supernatural-depicting another kind of natural appearance.

img_4523

Artist: Tomoya Akamine
Venue: Taipei Contemporary Art Center, No. 11, Lane 49 Baoan Street, Taipei (MRT: Daqiaotou Station)& Coconuts’s house, Datong and Dali, Taroko National Park, Hualien