「展覽 Exhibitions」無境之路 Path to nowehere

Landscape of Treasure Hill Artist Village
Landscape of Treasure Hill Artist Village

Today’s Treasure Hill Artist Village covered with a complex history, from the Qing Dynasty – Zhang/Quan style Guanyin Temple, the Japanese military warehouses, firing post construction of Nationalist government, and illegal military community. Treasure Hill itself exists and shows ethnical diversity. After WWII, a large number of mainlanders from the initial mainland moved to Taiwan, it had faced with eviction and political involvement during the 1990s. Until 2004, Taipei Heritage and Historic Architectural Review Committee reviewed and approved Treasure Hill historical settlements as “historic buildings”, which shows its past and now. In other words, the process of social modernization had caused “localization after metabolized” of landscape architecture due to multivariate absorption, transplantation, reproduction, including political and social development.

By 1930s, Modernist movement from Europe had influenced other countries, such as China, Japan and the United States. These countries, according to their own conditions, begin to absorb and transfer selectively, which simultaneously adopted in architecture, cultures and other presence.

Before WWII, China, Japan, and the United States more or less inherited modernization from Europe. After that, because of them, modernist movement had become international and could be found in many Third World countries such as Indonesia and Vietnam. The integration of modernity and localization had become clearer, also had made each country more characteristic for 20 years.

Taiwan society after WWII was in-between two political forces of United States and China, but we can still find massive influence since Japanese colonization. From the point of view of social modernization process in Taiwan, a large number of Japanese architects who absorbed after European modernist had achieved their architectural practice in Taiwan. Hence it had showed the diversity of architecture, including political, cultural and social modernization elements.

In correspondence with Treasure Hill settlement 20 years ago which located at margin of Taipei city, had been faced to be a part of Taipei metropolitan area, residents had been defending their garden to avoid city expansion. The protection of Treasure Hill was explicitly highlighted after government tried to integrate with Taipei metropolitan through the ways of law of Land.

Treasure Hill settlement exists in Taiwan history. The exhibition at Treasure Hill settlement as a society with artistic oriented “settlement/venue”, inviting artists to explore and reflect the present culture, language, transitional labor, field interpretations of history under the process of urban metabolism. How to discuss when “settlement/venue” shifts into an artistic media= channel = information exchange platform is important because it allows this city to show the diversity of its past, present and future. Invited artists from Poland, Vietnam, Indonesia, and Taiwan are going to explore the multi-response by gender, labor movement, and sense of identity.

Ngo Thuy Duyen is a renowned international female artist in Vietnam, but before landing Taiwan, she never heard of Vietnamese wife in Taiwan. In 2012, the exhibition ” South country, country of south ─ Taiwan and Vietnamese artists international exchange project”. Ngo Thuy Duyen started to do the research of Vietnamese wife who are living in Beitou and Tainan, in the end of exhibition, she transformed her identity and practiced “virtual marriage” with Taiwanese artist; Indonesian photography artist Daniel Satyagraha is reflecting on the blossom of Indonesian economy but many of areas still remain poor. When fresh flower prices continued to rise up, people in order to preserve Indonesian traditional Muslim marriage customs using fresh flowers. People must change to use plastic flowers replaced to maintain the tradition under the industrialized production.

History can be displayed with artistic methods by Polish artist Galeria Niewielka (Maciej Kurak / Max Skorwider), indicating Poland as an emerging country has been exporting labors to Switzerland. They examine the social functions, especially with the observation of human reality: the reality is that people as migrant workers in other countries are a global and popular agenda, and an important symbol of social construction nowadays.

The exhibition showcase from 2 November to 8 December, in the last two weeks we will be presented Lin Shu- Kai ‘s Treasure Hill Artist Residency creation. Lin Shu-Kai’s creative industries is related to his family wood industry. In Lin Shu-Kai’s floating city project, we will discover how wood industry in Tainan declines, and find the new links between making interpretation of cultural history and art between generations. Through the exhibition we are looking forward to giving the audience the platform to acknowledge the true existence of treasure hill. It is a part of our culture and history today. So such a residency program, is not just an artistic or touristic leisure place, but has an historical meaning behind it .

Art work by Galeria Niewielka.
Art work by Galeria Niewielka.

今日的寶藏巖藝術村包覆著複雜的歷史,從清朝依山傍水的漳泉式寶藏巖寺(觀音亭),日本人興建的軍事倉庫、一路到國民政府建設的射擊哨和違建眷村,寶藏巖本身承載著族群的多元性。從二次大戰後初期大量外省人遷入,到了1990年代面臨政治介入與迫遷歷史,直到2004年,台北市古蹟暨歷史建築審查委員會審查通過,認定寶藏巖歷史聚落為「歷史建築」,形成古今相照的意象。換句話說,社會現代化過程中,在城市建築面貌裡,經過吸收、移植、再現後,我們同樣地能看見了與政治、社會的現代化發展有關的風景,反映了城市經過「新陳代謝化後的本土性」過程。

1930年前後,歐洲的現代主義運動中心從歐洲移轉到了其他國家,譬如中、日、美。這些國家根據自身條件,開始對現代主義進行選擇性吸收和移植,並運用在建築、文化等呈現。歷經了各自不同民族特性或多或少接受現代主義化過程,並在第二次世界大戰各國對峙期間,進一步將各自的現代主義運動推向國際,亦可在許多第三世界國家中發現到他們承繼了另一種相對本土化。到了1950年代現代性和本土性相融合的趨勢變得更加清晰,而分別以不同狀態呈現。

從台灣的城市建築來看,雖然二戰後處在中、美政治勢力之間,但在許多社會建設上仍可發現到日本殖民統治時期的痕跡。社會現代化過程中,當時大量日本建築師吸收、移植歐洲現代主義建築後,在台灣各地進行實踐,使得同一時期建築風格開始融合了與政治、文化和社會現代化過程發展的不同樣貌。

綜上所述,相較於19世紀帶有民族性特徵建築的特色,20世紀的人們開始更關注在「城市」這一主題。對應至1990年代的公館寶藏巖聚落,人口大量向台北大都會區集中,同時開始向周邊區域-公館延伸。當原有市郊被完全都市化,城市沒有餘地再繼續擴張之後,政府在試圖通過採用土地所有權細分的策略來應付城市擴張,使得寶藏巖聚落過度擁擠的狀況,在1990年代之後明確地被凸顯出來,受到整個社會關注。

寶藏巖聚落存在於台灣的歷史。本次的展覽將寶藏巖聚落以一個社會具藝術性發生的「場域」角度切入,邀請藝術家共同探討與反映城市代謝化過程中呈現的文化、語言、勞動的過渡性、當「場域」轉化為一具有藝術性語彙平台時,我們甚至該如何進行場域=通道=資訊交流的探討,並意識到過去的歷史片段,也可能成為今日我們應該需要去正視的文化觀察。

本次藉由藝術家林書楷的城市藝術村概念,衍生出「場域」概念轉化為一媒介,或多或少呈現了城市的過去、現在、未來發生的多元面貌。本展將邀請波蘭、越南、印尼、台灣藝術家共同多面向反應探討之,並由林書楷駐村的最後一個階段繪製一個城市樣貌,再次回應城市歷經新陳代謝後的過程中,如何將城市發展/創造其特有的本土化性格。

吳氏垂緣為知名的越南國際女性藝術家,來自越南會安,現居伊斯坦堡。但踏訪台灣之前,從未聽聞在台灣的越南外籍配偶。2012年,受奧賽德工廠策展人高森信男邀請參加「南國‧國南──台越藝術家交流計畫」,吳氏垂緣開始親身訪查居住於台北北投和台南的外籍配偶,並在展覽中,將自己的身分轉化與台灣建築藝術家林信和的「虛擬婚姻」,呈現她一個月在台灣生活與訪查的心路歷程;丹尼爾˙薩塔雅葛拉哈為印尼國際攝影藝術家,反映印尼面臨國家經濟起飛的階段中,當地仍有許多地區停留在貧窮階段,當物價持續上漲,在為了保留印尼傳統穆斯林婚嫁大量使用鮮花的習俗,則使用了工業化大量生產且低廉的塑膠花取代,以維持傳統,使得「工業化後存留的文化性」在印尼可以明顯地感受深刻。史可維德為波蘭知名視覺藝術家,試圖針對波蘭這個歐洲新興國家,卻有大量的人民移民到瑞士當勞工,強調「遷徙」跨領域性、過渡性與社會性。作品中,藝術家檢視了社會功能,特別是源自於社會現實中對人的觀察: 即所謂的全球性與社會性之符號建構。

本展覽從11月2日到12月31日,最後半個月將呈現在寶藏巖駐村藝術家林書楷的駐村創作。林書楷的創作和家庭木製產業的有著強大的關聯。台南的木製業沒落,與林書楷的城市漂浮計畫,使得文化歷史與藝術詮釋產生新的連結。期待讓大家意識到寶藏巖過去或許是個城市的角落,但今日已變成我們需要去正視的文化及歷史。讓這樣的展覽計畫,不只停留於藝術或觀光休閒地,而是一種構建台灣歷史與文化發生的「場域」之連結,進一步了解城市代謝後的本土性為何。

Path-to-nowhere final

展覽名稱:無境之路Path to Nowhere

策展人:李依佩 Yipei LEE

展覽助理:Jessica YANG

展覽時間地點:寶藏巖國際藝術村Treasure Hill Artist Village

2013 11-02(Sat)-12-08(Sat) 閣樓畫廊(Attic Gallery):林書楷Shu-Kai Lin、Galeria Niewielka、馬可斯˙史可維德Max Skorwider

2013 11-02(Sat)-11-20(Wed) 藝術家工作室(Artist Studio):丹尼爾˙薩塔雅葛拉哈Daniel Satyagraha、賽朵˙哈里維波沃Seto Hari Wibowo

2013 11-22(Fri)-12-15(Sun) 藝術家工作室(Artist Studio):張騰元、林信和Hsin-Her Lin+吳氏垂緣Ngo Thuy Duyen、陳氏桃、維興、秋水、棃氏娥

2013 12-17(Tue)-12-31(Tue) 藝術家工作室(Artist Studio):林書楷Shu-Kai Lin

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