島嶼‧環境‧故事

地點: 新竹市美術館 時間: 2017.9.02(六)-10.29(日) 09:00-17:00(周一休館)
【化無用為有用,以自然回應自然】
人類對文明與居所的欲望和追求,反映於周圍環境的改變。你是不是也意識到了呢?

《島嶼‧環境‧故事》結合了自然、文明、永續的意象,透過各種材質的轉譯與藝術創作,讓我們認識台灣這塊土地上的故事、關懷所處的環境,並且作出回應與行動。
策展人 Curator/張馨之 CHANG Hsin Chih
《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。
《Island‧Environment‧Memory ─ Multi-media Art Exhibition》combined the images of nature, civilization and sustainability. In the name of “Island”, the exhibition tried to arouse the memory that people experienced in the land. In addition, it also transformed waste produced by the course of human civilization into artworks and speculated the significance of its existence. In this exhibition, the concept of “Island” is not only a geographical representation ─ the land area surrounded by the ocean or the lake, but also including the cognition of visual code, the identity of regional culture, and even the collective memory of the nation and the emergence of regenerative life.

There were six artists from Taiwan and Japan invited in this exhibition, and the exhibits also included the creation of a collective event. These creators displayed their inspiration from the awareness of the environment and the land, including the desire for pursuing the civilization, the longing for human habitat, the history of ethnic migration, the reflection and excavation of nature, the voice from the marginal group of society…etc. These creations intertwined the partial image of “Island”, and provided the perspective and clues to review the nature, civilization and sustainability.

There are three subtitles of the exhibition. In【Natural Material - the Calling of the Land】, the artists preserved the fleeting moment and the disappearance of nature with the natural materials such as clay, dead wood and others. 《The Wind》, created by HSU Chiao Yen, used the deadwood with clay and the sketch on the massive grey cloth to create the impressive scene of memory. The creation explored the temporary of life and somewhere it belong in the drifting and stopping timeline. The creations 《It's raining》, 《Puddles III - Uniform Ripples》from CHEN Yan Jhen reflected the rainy image of Taiwan, and captured transient natural phenomena by clay. The creations of WU Min Hua, such as《Backtrack》and《The Drifting Father Tree/Trace of Relocation》, discussed the cultural memories and reflection that sought identity with her Paiwan and Han culture overlapping growth background.

【Useless Material - the Relics of Civilization】exhibited the creations that transformed the waste from human industrial products into the useful and poetic artworks. The series of 《Forest of Smoke》, created by Japanese artist YOSHIDA Atsushi, were inspired by the 311 Japanese Fukushima nuclear disaster. The artist compared the “Smoke” to the endless desire for pursuing the civilization, and he used the common waste material from daily life to display the observation and reflection of the environment and the land. LIN Cheng Wei created the carpet with the common wasted plastic bags and displayed the cultural clues of the region. With the process of collecting different cultural materials and the image of the Aladdin's blanket, the flying carpet linked the time, history and life by the effect of wind. As the carrier of desire, the flying carpet reflected the connection between the unbearable lightness and the environment.

【Sustainable Material - How art will be possible】displayed the brewing of the land and the extension of the existing. To respond to the process of massive industrial production and abandonment, the curator wòwò Aesthetics organized the project gathering people to recycle 6,000 plastic bottles on the community website. Through the immediate spread on the internet and the volunteers of government’s environmental organization participated in, the artist WANG Penda weaved these recycling plastic bottles to build a plastic wall《Bottle - United》in the Hsinchu City Art Gallery. This creation was not only the collective participation of environmental protection in society, but also gave industrial waste an aesthetic new-life.

In addition, “The Parade of the Shezidao kids” was invited in this exhibition to discuss the relation of social sponsorship, awareness of land, art creations and media effects. In the past, the daily scene of Shezidao was filled with waste everywhere and had the static and depressed atmosphere. However, a group of local teenagers picked up waste and turned it into a lot of pedal-motorcycles. This vitality promoted the business to organize the project “The Parade of the Shezidao kids”. The artist Syu Ting Ruei and Shezidao kids took 8 months to create “The Hermit Crab” together with 20 different kinds of recycling-waste, and even traveled Taiwan from the north to the south and went back to Shezidao by riding on “The Hermit Crab”. To extend this event of the voice from the land, the pedal-motorcycle “The Hermit Crab” was 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 was also showed in the Hsinchu Image Museum. Through the participation of art, this project evolved the speculation of the environment and the land identity, and re-give the significant meaning to the underprivileged group.

參展藝術家