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
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.