展覽策劃EXHIBIOTIONS

策展實績 > 島嶼・環境・故事─多媒材藝術創作展 Island‧Environment‧Memory ─ Multi-media Art Exhibition

策展人|張馨之 

《島嶼・環境・故事─多媒材藝術創作展》這檔展覽多重併置了自然、文明、永續的意象,以「島嶼」為名,藉以喚起人們對於土地所經驗和實踐的過程,更意欲從人類文明發展歷程中製造衍生出的廢棄物,透過藝術創作賦予新生,進一步思辨和考察其存在的意義。在這檔展覽中,「島嶼」的概念不只是地理學上代表著於海洋中或湖泊中被水體圍繞的陸地區域,亦包括視覺符碼的認知及地域文化的認同,甚至是民族的集體記憶與再生生命的湧現。

《島嶼・環境・故事─多媒材藝術創作展》展出台灣和日本等六位藝術家,及一次集體事件的創作產物。透過創作者對於所處環境及土地覺察:人類追求文明的欲望、人們對生命棲所的渴望、族群遷移的歷史脈絡、自然的反思與挖掘、以自身力量為社會邊緣發聲…等議題,他們的創作共同交織出「島嶼」的局部樣貌,並提供回觀自然、文明、永續的視角與線索。

本展共有三個子題,在【自然之材─土地的呼喚】中,藝術家藉以自然的材質如陶土、枯木等媒材,將稍縱即逝、自然消彌的瞬間得以暫留。許喬彥《像風一樣》系列作品藉枯木粘合油土與大型胚布上的素描,創造印象中的記憶風景,在飄移及停留的時間軸線,探索生命暫存與歸屬。陳妍臻的《下雨了》、《勻漾-水漥》系列,映射出台灣島多雨的印象,以陶土將自然形塑為感官的封存。吳旻華《歸來》、《漂流海上的父親樹/遷移的痕跡》等作品,則藉由自身排灣族與漢人文化交疊的成長背景以及往返部落的生活經驗,探討在追尋身分認同下體現的文化記憶與自省。

【無用之材─文明的遺跡】將人類工業文明的產物─廢棄物,化無用為有用、化頹圮為美感詩意。日本藝術家吉田敦《煙の森》系列作品源於311日本福島核災之後,以「煙」比擬人類追求文明無止盡慾望的湧現,創作多取材自日常生活中常見的廢棄素材,呈現對土地環境的觀察及省思。林正偉藉著低廉且常見的廢棄塑膠袋拼貼出的塑膠毯,呼應展出地域的種種文化線索;從蒐集不同在地素材的文化圖像過程,借用阿拉丁神毯的概念,飛毯隨風飄升,藉風的作用連結出時間、歷史與當下生活,塑膠袋如同欲望的載體,藉以反思著這不能承受之輕與環境的關係。

【永續之材─藝術何以可能?】是在地的醞釀,也是既存的延展。回應工業化巨大的生產及拋棄的過程,策展單位沃沃美學先行於社群網絡發起在地民眾集結6000支回收塑膠瓶計畫,透過網路即時散佈、政府環保單位的志工參與行動,將回收塑膠瓶交由王鵬達以手工編織方式,在新竹市美術館內築出一道騰空落地的寶特瓶牆面《瓶聚》,不僅是對環保資收的社會集體參與,同時共同賦予工業殘物美學新生。

此外,本展亦納入「社子島少年行」的事件脈絡,探究社會贊助、土地意識、藝術創作與媒體效應等關聯性。過往社子島的日常景觀有著隨處可見的廢棄物、及推著垃圾行走的年邁步伐,島內瀰漫著靜止、蕭條的氣息。然而一群在地少年透過撿拾廢棄物焊接組裝成一輛輛的腳踏摩托車,這股新生的生命力,促使企業發起「社子島少年行」計畫,邀請許廷瑞(仔仔)與社子島少年們耗時8個月、使用20類大小不一的回收物,共同創造出「寄居蟹」車子,完成了北中南駕車環島的壯遊。本展欲延續此次為土地發聲之事件,並邀「寄居蟹」車體展出於新竹市美術館外,同時亦邀楊力州導演執導之〈社子島少年行〉「給人幸福,就是幸福」紀實短片於新竹市影像博物館放映。透過藝術參與引發環境、土地認同的思辨,並重新賦予社會底層更深刻的存續意義。


Curator|張馨之 

The exhibition Island‧Environment‧Memory ─ Multi-media Art Exhibition includes images of nature, civilization and sustainability. In the name of “island”, it tries to arouse memories that people experienced on the land. In addition, it transforms wastes that human civilization produced into artworks to speculate the significance of the waste existence. 

In this exhibition, “island” is not only a geographical term that refers to a piece of land surrounded by water, but also the recognition of visual signifiers, the identity of regional culture, and even the nation’s collective memory and the emergence of regenerative life. 

Six artists from Taiwan or Japan and a creation of a collative event are invited in this exhibition. Inspired by their awareness of the environment and the land, including human’s pursuit of civilization, desire for habitat, history of migration, reflection on nature, voice on the marginal group of society, etc., the artists create to intertwine a partial image of island, providing perspectives and clues for reviewing the nature, civilization and sustainability. 

There are three sections in the exhibition. In <Natural Material - the Calling of the Land>, the artists preserve the fleeting moments with natural materials, such as clay, dead wood, etc. In “The Wind”, HSU Chiao Yen applies deadwood, clay and sketches on massive grey clothes to realize memories in his impression, exploring life’s temporality and belongingness on the ticking and pausing timeline. In “It's raining” and “Puddles III - Uniform Ripples”, CHEN Yan Jhen reflects the rainy images of Taiwan, capturing natural phenomena through clay. WU Min Hua, with a mixed Paiwan and Han cultural background, creates “Backtrack” and “The Drifting Father Tree/Trace of Relocation” to discuss the reflected cultural memories in identity pursuit.

In <Useless Material - the Relics of Civilization>, wastes from human industries are transformed into useful and poetic artworks. The series artwork “Forest of Smoke”, created by Japanese artist YOSHIDA Atsushi, is inspired by the 311 Japanese Fukushima Nuclear Disaster. The artist uses smoke to symbolize human’s endless pursuit of civilization, collecting common wastes in daily life to display his observation and reflection on the environment and the land. LIN Cheng Wei creates the carpet with common waste plastic bags to echo the cultural clues of the region. Collecting local materials and borrowing the symbol of the Aladdin's blanket, the flying carpet is connected to time, history and life in the wind. As the carrier of desire, the flying carpet reflects the connection between its unbearable lightness and the environment.

The section <Sustainable Material - How art will be possible> represents the development of the land and the extension of the present. To respond to massive industrial production and abandonment, the curating team wòwò Aesthetics organizes an activity that gather the locals to recycle 6,000 plastic bottles on social media. Through immediate spread on the internet and the participation of volunteers from governmental environmental organization, recycled bottles are provided to artist WANG Penda, who uses them to weave a plastic wall “Bottle - United” in the Hsinchu City Art Gallery. The creation is not only a collective participation in environmental protection, but also an aesthetic new life to the waste. 

On the other hand, The Parade of the Shezidao kids is invited to discuss the relationships among social sponsorship, awareness of land, art creations and media effects. In the past, Shezidao was filled with waste and depression, until a group of local youngsters brought vibrancy in through pedal-motorcycles that are made of collected waste, stimulating companies to organize the project “The Parade of the Shezidao kids”. The artist Syu Ting Ruei and Shezidao kids are invited to spend 8 months to create “The Hermit Crab” with 20 kinds of recycling-waste, and even traveled Taiwan from the north to the south. To extend the voice for land, the pedal-motorcycle “The Hermit Crab” is exhibited in front of the Hsinchu City Art Gallery, and the documentary “The Parade of the Shezidaokids─The happiness is to give happiness”, directed by Yang Li Chou, is also played in the Hsinchu Image Museum, provoking discussions on land identity through participations in art, redefining value of the underprivileged groups’ existence.

展覽照片

社⼦島少年⾏ / 寄居蟹 The Parade of the Shezidao kids / The Hermit Crab2016
複合媒材 Mixed Material
化腐朽為神奇的「寄居蟹」,讓孩⼦們的夢想發光發亮 “The Hermit Crab” turns the foul and rotten into the rare and ethereal, and brightens the children’s dream.
陳妍臻 / 下雨了 CHEN Yan Jhen / It's raining2016
瓷土 Porcelain
單純的降雨現象,激起人的內心一道道情感連結,有時突如其來的陣雨擾亂了收拾好的內心情緒、有時細雨則能使人感到愉快的愛戀。 Rain is able to inspire numerous emotive associations. Sometimes, a sudden downpour can disrupt a moment of calm; sometimes, a drizzle can evoke a sense of joyful emotion.
吳旻華 / 漂流海上的⽗親樹、遷移的痕跡 WU Min Hua / The Drifting Father Tree、Trace of Relocation2017
⽯膏、⼟、漂流⽊ Plaster、Soil、Driftwood
運⽤翻模的腳掌呈現遷移過程沉重的步伐,每⼀個腳掌代表的即是仍⽣活在⼟地上的親友⾝分,象徵遷移正在持續進⾏的歷史脈
絡。 Each soles which represent the identity of family stand for the ongoing historical context. It present the heavy footstep of relocation by making the copy of soles.
王鵬達 / 瓶聚 WANG Penda / Bottle – United2017
寶特瓶 PET bottle
⼯業化製品是⼀個巨⼤的⽣產以及丟棄的過程,數以萬計的寶特瓶每天被⽣產,也被消費、丟棄,這樣短暫的⽣命與它本質上的壽
命相比是微不⾜道的。因此希望能夠透過創作,使群眾⽤另⼀種⾓度,觀察⾝邊這些回收品,使它們擁有新的⽣命。 Product of industrialization is a huge manufacture and process of waste. Tens of thousands of PET bottles produced, consumed and abandoned everyday.It's inappreciable if we compare the short life of PET bottle to its essence.Therefore, we hope people could watch those recyclables with another point of view and light them up through this artwork.
許喬彥 / 像風⼀樣 HSU Chiao Yen / The Wind2016
胚布、⽔性⽩漆料、楓⽊、 LED燈 Grey Cloth、White Waterbased Paint、Maple、LED
作品中藉以枯⽊粘合油⼟與⼤型胚布上的素描創造⼀處印象中的記憶風景。在這個看似⾃然與顛置相對並陳的「⽣活
舞台」有著看似飄逸卻⼜被侷限的擺弄陳設,是比⾝處在現實與幻想混沌之際的我,想⾶卻終究難以翱翔。
⽊枝梢上的造型物作為⽣命棲所的隱喻,表述著⼈們對於棲居的渴望,它們像是⾃然環境中懸在樹梢上的巢穴,脆弱地在⾃然中絕
望的掙扎。時間像是⼀場沒有休⽌的劇情,我在此處凝視著景緻光影,感受著正在流逝中諸多片刻的美好。 “The Wind” creates my impression of a memorial landscape by using withered trees to mix modeling clay and sketches on massive greiges. In this “living stage” which seems to combine nature and displacement, there are some displays that are light and limited at the same time. That is me who has been in a state of reality and illusion, thirsting to fly but couldn’t. The figure on the treetop is a
metaphor of habitation of life, which declares humans’ desire for the dwelling. They are similar to the nets on top of trees in nature, flimsily struggle in the natural world with desperation. Time is like a show without pause. Here I stand, gazing the scenery between light and shadow, I feel the joy that is fading with time.
林正偉 / ⾶毯 LIN Cheng Wei / Flying Carpet2017
塑膠、風扇 Plastic、Fan
藉著低廉且常⾒的塑膠袋以神祕的姿態漂浮著,反思著這不能承受之輕與環境的關係。 The cheap and widespread plastic bag floating in a mysterious way urges us to rethink the connection between this unbearable
lightness and the environment.
吉⽥敦 / 煙の森 系列 YOSHIDA Atsushi / Smoke Forest Series2015、2016
樟木、壓克力 Camphor、Acrylic
沒有火就不會冒煙出來,有煙的地方一定會有火。地球上,會起火,會用火的動物只有人類。而人在製造火的時候,無論是吃的,錢的,祭祀的,愛欲的,滅亡的,還是破壞的⋯等等,一定含有個人的欲望。在現代生活環境中,從工廠排出來大量的「煙」亦是欲望的顯現。2011年3⽉12⽇福島核電廠的反應爐機組爆發則讓我深刻感覺到,這是史上最⼤規模「欲望的煙」亦是「欲望的森林」。 The smoke would not be appeared without fire. Human is the only one species who can light a fire. Moreover, human’s desire must be revealed as someone make it whether it is greed for food, money, ritual, destruction or any others. The “'smoke”' which emitted from factories is also the revelation of desire.Then I felt that “the smoke of desire” would must be “the forest of desire” when I saw the Fukushima Daiichi nuclear disaster happened.