台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

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【島嶼隱身】Hiding in the Island

展覽名稱 Exhibit

【島嶼隱身】Hiding in the Island

展覽時間 Date

2017/02/18-2017/04/09

展覽地點 Venue

台北當代藝術館  MOCA Taipei 2F

門票 Admission

NT50

策展人 Curator

田名璋 Tien, Ming-Chang

參展藝術家 Artists

參展藝術家:

多瑪索・穆之 Tommaso Muzzi、宜德思・盧信 Idas Losin、
瓦旦・督喜 Watan Tusi賈科莫・札加內利 Giacomo Zaganelli
塞爾維亞・皮安提妮 Silvia Piantini林介文 Lin, Gieh-Wen
巴卡芙萊(黃錦城、林琳) Pakavulay(Huang, Jin-Cheng, Lin, Lin)
安聖惠 Eleng Luluan

 

《石雕花園》展出藝術家 Sculpture Garden Artists:

吉歐‧菲林 Gheorghi Filin、楊正端 Yang, Cheng-Duan
吳明聲 Wu, Ming-Sheng枸蘭‧瞿帕雅 Goran Čpajak
那特‧斯汀 Knut Steen柳順天 Liu, Shun-Tian
張乃文 Chang, Nai-Wun默許‧帕羅曼 Moshe Perelman
尼可拉斯‧貝杜 Nicolas Bertoux約瑟夫‧維希 Joseph Visy
余宗杰 Yu, Tsung-Chieh鄭梃甄 Cheng, Ting-Chen
皮耶羅‧爵西尼 Piero Gensini胡棟民 Hu, Tung-Ming
卡倫‧范‧歐曼仁 Karin Van Ommeren田中等 Hitoshi Tanaka
史提夫‧伍德沃 Stephen Woodward

 

角落藝術群藝術家:

林哲志 Lin, Che-Chi林柏呈 Lin, Po-Cheng尤景正 You, Jing-Zheng
林家伃 Lin, Chia-Yu李怡萱 Lee, I-Hsuan呂瑋倫 Lu, Wei-Lun
林家賢 Lin, Chia-Hsien馬曉晴 Ma, Xiao-Qing姚舜禹 Yao, Shun-Yu
張元銘 Chang, Yuan-Min陳囿蓉 Chen, Yu-Jung
王詠翔 Wang, Young-Hsiang廖婕雅 Janice Liao
田名璋 Tien, Ming-Chang曾以文 Tseng, Yi-Wen
 

策展論述 Curatorial Statement

【島嶼隱身】Hiding in the Island

花東縱谷的小鎮玉里,舊名「璞石閣」,意為「風塵之巷」或「灰塵世界」,據說原住民深居山林,忘形打獵之際,不知不覺走出森林邊緣,望見一座小鎮,其間風塵飛揚,景像荒疏,異於山林,因而得名。仲夏初秋之際,秀姑巒溪總是一片風沙滾滾,偶爾還捲起小龍捲風。那個無聊的年代,下午坐在半山腰上,望著無人出沒的小鎮,只有載甘蔗的黑火車,無聲無息的冒著白煙從山腳下緩緩駛過。縱谷大塊的雲朵,山形色彩的變化,都輕如它們自己的影子。

The small town Yuli in East Rift Valley was previously known as “Pu Shih Ko,” which means “the ally of dust” or “the world of dust” in aboriginal languages. It is said that on one occasion, the indigenous people who lived deep in the mountains were so immersed in hunting that they found themselves walking beyond the edge of the forest. The people saw a small town surrounded by dust, a deserted scenery that looked different from the mountains, hence the name “the world of dust” come out. Xiuguluan River is often surrounded by dust with occasional small tornadoes during midsummer and early autumn. In the early days, people would take the train halfway up the mountain and look on to the empty town while black trains carrying sugar cane slowly pass by the foot of the mountain, quietly puffing smoke. The changing contours and colors of the mountains and large clouds throughout the rift valley are as light as if they were shadows of themselves.

 

島嶼東部的開發比西部晚兩百年,一般人印象中,這裡是原住民群居的蠻荒之地,狂野的太平洋帶來無情的颱風,活躍的菲律賓海板塊帶來恐慌的地震。這裡的人「如四季花草榮枯由他」般活著,不知不覺。如果說殖民時期帶來自卑,威權時期帶來平庸,被遺忘的島嶼邊緣,就更加莫名的卑微,過著反智的生活。確實,島嶼的邊緣,遙遠的化外之地,注定被孤立、被遺忘,但也有些避亂保真、隱身內觀、孤獨創作的人,受不了都市也住不久鄉下,總是來來去去。時光飛逝,曾幾何時被稱做「後山」的臺灣東部,變成了「臺灣最後一塊淨土」,這其中沒有什麼邏輯,只是一種存在的悖論。

The development of East Taiwan started 200 years later than West Taiwan. Most people have the impression that East Taiwan is an undeveloped place with indigenous tribes, confronted with ruthless typhoons brought by the wild Pacific Ocean and earthquakes created by the energetic Philippine Sea Plate. Just like seasonal flowers and plants, the habitants of East Taiwan live passively under the impact of nature. If colonialism brings a sense of inferiority, authoritarian leads to banality. The margins of this island, forgotten by others, have become even more insignificant and represent a life of anti-intellectualism. The edges of this island and remote locations are indeed destined to be isolated and forgotten; however, there are exceptions. Some manage to avoid the chaos of the outside world and preserve authenticity, hiding and nurturing the inner scenery, creating art in solitude. These people are unable to live in the city nor in the country for long, constantly traveling back and forth. As time goes by, East Taiwan, previously known by many as “Back Mountain,” has now become “the last pure land of Taiwan.” This phenomenon does not contain any logic and is merely a paradox of existence.

 

新時代的來臨,西部的進步帶來生活的矛盾與價值牴觸,使得島嶼東部出現另一種可能。壯闊的大地、無情的自然、簡單的人文,必定有它的意義。康德(I.Kant)在他的《判斷力批判》(The Critique of Judgment)中提及崇高與壯美,他說由於自然對象的巨大體積或力量超過想像力所能掌握時,於是在人心中會喚起一種要求對對象予以整體把握的「理性理念」來掌握和戰勝對象,從而對對象的恐懼、畏避的痛苦,轉化為對自身(即人)尊嚴、勇敢的肯定而生快感。這種審美特質在於它不是和諧優美那種,而是在愉快中包含痛苦,痛苦中又含有愉快。

With the dawning of the new age, contradictions in life and values that result from the advancement of the West have led to a new possibility for East Taiwan. The spacious land, ruthless nature, and simple culture, all have their unique value. In “The Critique of Judgment,” Immanuel Kant mentioned “the sublime,” a sensation that arises in the heart when one encounters overwhelming size or force in nature. The sensation induces reason to grasp and conquer the phenomenon, which results in the pain of fear or recoil. This pain further transforms into a pleasing sensation of dignity and courage towards the self (human). This unique quality of aesthetic judgment does not arise from harmony or beauty, but from an intertwined and mixed sensation of pleasure and pain.

 

這是東部藝術家面對的第一個悖論,也是創作的來源,對抗巨大空虛無聊、原始的自然力量而產生的整體把握之野心與批判力度。另外,那些離開再回來,一直處於隱身避世與豪邁開創之中來來去去而形成第二種悖論,在價值兩極之間巨大擺盪的體力與精力所帶來的生命力量。第三個悖論即原住民山林世界與漢人灰塵世界,是關於始原的探索與存在的警覺。每一個悖論都有它的社會議題以及矛盾勢力,創作者必須不斷保持活躍的心靈與創造的喜悅,又不斷重回寧靜與穩實,才能獨自在前無古人後無來者的洪荒之地為這個世界命名;無權過問世事卻有清晰的思考能力;身處資本主義卻保有社會良心,與自然的、形而上的原始的契約不曾間斷,這就是隱身島嶼的性格。本展覽「島嶼隱身」希望透過這三個悖論,探討一種特殊美學與存在之真,邀請深居東部的藝術家,以及外地來來去去求學的青年創作者,就他們生活實踐與自我探索,彰顯「任何一個地方都有大地與世界,自由與文明」的思緒及其藝術。

For artists of East Taiwan, this contradiction is the first paradox and an inspiration for creativity, the ambition and judgment of grasping the enormous emptiness of boredom and ancient forces of nature. In addition, artists who have returned and are moving back and forth between secluding quietly and creating boldly, form a second type of paradox, a life force that sways between the two extreme poles of different values with physical and mental energy. The third paradox lies between the indigenous world of the mountains and the dusty Han Chinese world, a vigilance of exploring origin and existence. Each paradox involves social issues and contradicting forces. In order to identify this world, alone and without forebears and followers, the artist must continue to preserve the liveliness of the mind and the joy of creating while also enable the return to serenity and seclusion. These artists have no right to enquire about the incidents of this world but are blessed with a clear mind, living in our capitalist world while maintaining social conscience. The ongoing connection with nature and the metaphysical is the temperament of living in seclusion on this island. Hiding in the Island is an exhibition that aims to explore this unique aesthetic and authenticity of existence through these three paradoxes. Artists who live deep in East Taiwan and young artists who arrive during the travels in their studies come together to share their mindset and work, hoping to highlight the idea that “any location is a place for nature and the world, freedom and culture.”

參展藝術家 About the Artists

策展人簡介 Curator

田名璋 Tien, Ming-Chang

藝術家介紹 Artist Introduction

《石雕花園》Sculpture Garden

展出藝術家 Sculpture Garden Artists:

吉歐‧菲林 Gheorghi Filin、楊正端 Yang, Cheng-Duan、吳明聲 Wu, Ming-Sheng、枸蘭‧瞿帕雅 Goran Čpajak、那特‧斯汀 Knut Steen、柳順天 Liu, Shun-Tian、張乃文 Chang, Nai-Wun、默許‧帕羅曼 Moshe Perelman、尼可拉斯‧貝杜 Nicolas Bertoux、約瑟夫‧維希Joseph Visy、余宗杰 Yu, Tsung-Chieh、鄭梃甄 Cheng, Ting-Chen、皮耶羅‧爵西尼 Piero Gensini、胡棟民 Hu, Tung-Ming、卡倫‧范‧歐曼仁 Karin Van Ommeren、田中等 Hitoshi Tanaka、史提夫‧伍德沃 Stephen Woodward

角落藝術群 Corner Art Group

「角落藝術群」是一個來自花蓮的當代藝術團體,成立於2014年,緣由是因為在國立東華大學有一群熱愛藝術創作的師生,自行籌劃舉辦「東華角落藝術節」而來,後來變成大學裡每年舉辦的特色活動。這群成員對藝術狂熱,是一個純然自發地藝術組合,對於另類展演空間以及跨領域藝術實驗有著濃厚的興趣,成員來自不同類型的創作系所,藝設、藝創、華文、歷史系所等,平時定期聚會討論,偶而不定期聯展和各種跨領域的嘗試。討論議題聚焦在校園政治和所處的東臺灣環境、文化、性別、族群等議題,期盼透過藝術展演將所發現的東岸議題帶到平台上來討論。

“Corner Art Group” is a contemporary art group from Hualien that was established in 2014 by a bunch of students and teachers from National Dong Hwa University who have a deep passion for art. The “Corner Art Group” arranged the Dong Hwa Corner Art Festival, which later became a unique annual event throughout campus. This artistic combination is spontaneously made up of a group of art enthusiasts who have a common interest towards alternative performance spaces and interdisciplinary art experiments. The members of the group come from all sorts of departments including Art and Design, Arts and Creative Industries, Sinophone Literatures, and History. The members gather together regularly for discussions and engage in group exhibitions and all sorts of different interdisciplinary experiments. Discussion topics focus on campus politics and environmental, cultural, gender, and race issues in East Taiwan. “Corner Art Group” hopes to provide an opportunity for discussion about issues concerning East Taiwan that are discovered through artistic performances and display.

多瑪索‧穆之 Tommaso Muzzi 

來自於義大利佛里諾的藝術家多瑪索‧穆之,分別在義大利及西班牙完成電影製作學位。是一位專注於拍攝具實驗性及故事性紀錄片的導演。2009及2015年受邀至花蓮與宜蘭頭城駐村創作,目前定居於臺灣花蓮。

Tommaso Muzzi is an artist from Foligno Italy who completed his degree in film making in Italy and Spain. Muzzi is a director who focuses on shooting experimental documentaries with a storyline. In 2009 and 2015, Muzzi was invited to be an artist-in-residence in Hualien and Toucheng, Yilan. The artist is currently living in Hualien, Taiwan.

宜德思‧盧信 Idas Losin

宜德思,太魯閣族藝術家,擅以油畫為創作媒材,將自身文化的圖騰織紋,揉合極簡造型的轉化,輔以單純簡易的色彩並蘊藉層次的營造,在大膽簡練而肯定的描繪手法下,創作出質樸類似剪貼意味的超現實風格,不僅呈現出自身圖像符號結構的繪畫語言,同時,更承續了原住民堅毅的生命力。

Idas Losin is an artist from Truku who specializes in oil painting. Transforming the totem weave pattern from her culture through minimalist designs, added with simple colors and layers using bold, confident techniques, Idas Losin creates surreal works that are simple and remind the viewer of collages. Apart from displaying elements of the image and initial structure of symbol’s, the works of Idas Losin are also an extension of the determined vitality of the indigenous people.

瓦旦督喜 Watan Tusi

花蓮卓溪鄉,Swasal部落太魯閣族人,Watan Tusi (瓦旦‧督喜)承襲外曾祖父與父親的名字。年幼便跟著雙親到臺北就學及工作,1997年看了「原舞者」的演出受到古老歌舞的召喚,一頭栽進原住民傳統樂舞的世界裡。2012年創辦「TAI身體劇場」,到部落進行田野採集,蒐集老一輩人唱過的歌、踏過的舞。除了傳承推廣之外也作為劇場創作的基礎,開創新的原住民劇場風貌。題材涵括生存、環境、文化與文學,編舞作品有《身吟》、《Tjakudayi我愛你怎麼說》、《橋下那個跳舞》、《水路》、《織布》等。

Watan Tusi, a Taroko artist from the Swasal Tribe in Zhuoxi Township, Hualien, inherited the name of his great-grandfather and his father. Watan Tusi moved to Taipei with his parents at a young age. In 1997, at a performance by the Formosa Aboriginal Song and Dance Troupe, Watan Tusi felt a calling from the ancient songs and plunged into the world of traditional indigenous song and dance. Watan Tusi founded the “TAI Body Theatre” in 2012 and conducted field collection in tribes, collecting the songs and dances of the older generation. Apart from promoting tradition, “TAI Body Theatre” also creates a new form of indigenous theater on the foundation of theater creation. The themes of his works include survival, the environment, culture, and literature. Choreography works include Humming of the BodyTjakudayi: How Should I Say I Love YouDancing Under the BridgeThe Path of Water, and Weaving X Our Steps.

曾以文 Tseng, Yi-wen

曾以文,阿美族藝術家,以初生之犢的姿態,意識到部落族群文化的式微,試圖尋溯母文化的源流,立意將族群原生傳統裡,無聲卻撼動人的精神,以及積澱自生活形成鮮明生命力的集體記憶,將抽象感知以視覺語言的可讀性轉化為圖騰,希冀觸動觀者去思索理解在地傳統於歷史脈絡中的經緯指引,並以此作為衍繹的基石,創造出當代新象的樣貌。

Noticing the fading of the tribal culture, Amis artist Tseng, Yi-wen boldly attempts to search for the source of her mother culture, determined to transform the abstract experience, silent but moving spirits, and collective memories that originate from everyday life and form vivid life forces, into totems through readability of visual language. Tseng hopes to touch and encourage the viewer to contemplate and understand the guidance within local traditional and historical context, using it as the foundation of interpretation, finally creating new contemporary appearances.

賈科莫・札加內利 / 塞爾維亞・皮安提妮

Giacomo Zaganelli / Silvia Piantini

賈科莫・札加內利(Giacomo Zaganelli ,1983—),生於義大利佛羅倫斯,目前居住於義大利及柏林。創作領域包括藝術、建築、空間創作之公共藝術裝置,希望藉由作品提供一種觀看日常生活的「非常規」方式。其創作及研究著重於時間與空間的關係,相信藝術的附加價值來自於其歷史深度、包括對於過去、現在及未來的想法。

Giacomo Zaganelli (1983-) was born in Florence, Italy, and now lives in Italy and Berlin. His work ranges from art, architecture, and public art installation for spaces. He hopes to provide an "unconventional" perspective to look at daily life. His work and research focus on the relationship between time and space, showing his belief in the fact that the value of art comes from its historical depth, which is informed by thoughts on the past, present and future.

塞爾維亞・皮安提妮(Silvia Piantini ,1986—),生於義大利托斯卡尼,是一位時尚配件設計師,專注於飾品設計,對於傳統手工藝、失傳的技藝、傳統服飾、傳統音樂及樂器有濃厚的興趣。

Silvia Piantini (1986-) was born in Toscana, Italy, and works as a fashion accessory designer specializing in jewelry design. She is particularly interested in traditional handicrafts, lost artistry, traditional clothing, Traditional music, and music instrument.

林介文 Lin, Gieh-Wen

(Lin, Gieh-Wen,1982- )花蓮紅葉人,留學西班牙,回國後傾心於Truku(太魯閣族)傳統織布文化。受部落織女耆老之啟發尤深;作品融入早期金工技法與纖維等複合媒材及錄像裝置,以軟雕塑作品居多,喜歡用多面向的方式呈現同一主題。關切身分認同、身體行為、女性、環境等議題。於2016年完成與30位織女共同創作的「織路」(太魯閣火車站公共藝術)。曾在香港、中國、新克里多尼亞、西班牙、臺灣各地駐村。現居花蓮,身兼母親與創作。

Lin, Gieh-Wen (1982-) was born in Hongye, Hualien. After finishing her study in Spain, she returned to Taiwan and delved into the world of Truku traditional weaving culture. Lin's work is inspired by senior female weavers in her tribe; she incorporates techniques of early metal work and uses mixed media such as fiber and video installation to create soft sculptures, through which she explores different aspects of one theme. Her work focuses on issues of identity, physical behaviors, women, and the environment. In 2016, she completed a collaborative work, Elug Tminun ("weaving roads"), with thirty female weavers (a public artwork commissioned for Xincheng Taroko Train Station). She has conducted artist residencies in Hong Kong, China, Nouvelle-Calédonie, Spain, and Taiwan, and currently lives in Hualien. She is a mother as well as an artist. 

巴卡芙萊 Pakavulay

由林琳、黃錦城兩人所組成的「巴卡芙萊」,在卑南語中隱含著「使事物變的美好」的意涵。作品常以現成物、自然素材與部落口傳神話意象之結合、對應,以此呈現族群文化的傳承與創始的可能,藉以凸顯臺灣的原住民族群之現代處境。

Pakavulay is formed by Malay•Makazuwan and Huang Jin-Cheng. In the Puyuma language, it means "to make things beautiful and wonderful." The artist collective often employs ready-made objects and natural materials to combine with or respond to imagery of their tribe's oral mythology. Their work emphasizes on the inheritance of their tribal culture and the possibility to create, and by doing so, highlights the modern circumstances of Taiwanese indigenous peoples.

林琳(Malay Makazuwan),生於臺灣花蓮,國立東華大學原住民學院民族文化系畢業,目前居住與工作於花蓮吉安。

Malay Makazuwan was born in Hualien, Taiwan. She graduated from the Department of Ethnic Relations and Cultures, College of Indigenous Studies, National Dong Hwa University. She now lives and works in Jian, Hualien.

黃錦城(Huang Jin-Cheng)生於臺灣宜蘭,輔仁大學應用美術系畢業。目前居住與工作於花蓮吉安。

Huang Jin-Cheng was born in Yilan, Taiwan. He graduated from the Department of Applied Arts, Fu Jen Catholic University. He now lives and works in Jian, Hualien. 

安聖惠 Eleng Luluan

峨冷.魯魯安(Eleng Luluan,1968—),漢名安聖惠,生於臺灣屏東,為臺東藝術家群落「意識部落」的成員之一,擅長運用漂流木、植物纖維等自然媒材進行創作,結合雕塑、裝置、地景藝術等形式,寓意強烈的自我追尋與土地之關係的思索,在充分體現取「材」自然也取「道」自然的藝術精神,作品呈現出蘊藏無限的張力與爆發力。

Eleng Luluan (1968-), whose Chinese name is An Sheng-Hui, was born in Pingtung, Taiwan. She is a member of an artist community in Taitung, called Floated Tribe. She specializes in using driftwood and plant fiber to create sculpture, installation, and land art. Her work shows her self-pursuit and reflection of the land, fully embodying the artistic spirit of using natural materials and learning from nature and demonstrating limitless tension and power. 

作品介紹 About the Artworks

廣場、2F西側樓梯 Plaza , Western Staiway 2F

《石雕花園》Sculpture Garden

展出藝術家 Sculpture Garden Artists:

吉歐‧菲林 Gheorghi Filin、楊正端 Yang, Cheng-Duan、吳明聲 Wu, Ming-Sheng、枸蘭‧瞿帕雅 Goran Čpajak、那特‧斯汀 Knut Steen、柳順天 Liu, Shun-Tian、張乃文Chang, Nai-Wun、默許‧帕羅曼Moshe Perelman、尼可拉斯‧貝杜Nicolas Bertoux、約瑟夫‧維希Joseph Visy、余宗杰Yu, Tsung-Chieh、鄭梃甄Cheng, Ting-Chen、皮耶羅‧爵西尼Piero Gensini、胡棟民Hu, Tung-Ming、卡倫‧范‧歐曼仁Karin Van Ommeren、田中等Hitoshi Tanaka、史提夫‧伍德沃Stephen Woodward

 

石雕創作以一種素材——石頭的前提下,多以單體之大尺度呈現,表現紀念碑式文化意象以及現代主義的純粹造型、格言式精神的美學意涵。相較以多重素材的雕塑作品所能表達的細緻活潑、語彙豐富、具批判與嘲諷等力量大不相同。因此石雕在當代藝術的發展上並不看好,但是,相對於資本主義下的當代藝術卻有不可磨滅的樸素價值。

With stones as the single material, most stone carvings are presented individually and in large sizes, reminding viewers of the cultural image of monuments and expressing the pure form, aphoristic spirit, and aesthetic of modernism. Stone carvings are immensely different when compared to other sculpture works, which are not only created with a relatively larger variety of materials, but also with more aesthetic meaning through delicate and lively expressions, rich vocabulary, and judgmental and ridicule expressions. Therefore, despite the pessimist view towards the development of stone carvings in our contemporary art world, stone carvings still have undeniable value when compared with contemporary art in a capitalist society.

 

當代藝術的收藏家對於作品的流通、轉賣,其實都是資本主義下赤裸裸的商業機制。以The Broad 收藏品為例,Damien Hirst的《Away from the Flock》,Jeff Koons的《Michael Jackson and Bubbles》以及《Balloon Dog (Blue)》;Bruce Nauman的《One Hundred Fish Fountain》等,作品拍賣以上億美元論價,而當代藝術的潮流與精神,包含了尋找人民的精神、返回藝術最原初的感動之立意,都在資本主義的架構下,無法擺脫用大量金錢層層堆疊中,只剩微弱的表徵,真正藝術的精神埋藏在最裡層,失去原初的感動。所以石雕和當代藝術的不同在於,當代藝術是一層一層地把錢堆疊上去,而石雕則是一層一層的把多餘的東西剝下來,嶄露出裡面的藝術靈魂,一如米開朗基羅所寫:

The movement and resale of works among collectors of contemporary art all exist within the commercial mechanism of Capitalism. For instance, among the collections of The Board, works such as Damien Hirst’s Away from the Flock, Jeff Koons’s Michael Jackson and Bubbles, Balloon Dog (Blue), and Bruce Nauman’s One Hundred Fish Fountain, are all priced up to one hundred million dollars in auctions. The trend and spirit of contemporary art, including the search for the spirit of the people and returning to the initial heart-touching quality of art, all fail to shake free from monetary value, left with only weak symbolistic expressions. The real spirit of art is hidden in the deep layers of the work, losing its original quality. The difference between stone carvings and contemporary art lies in the fact that contemporary art continues to pile money, while stone carvings eliminate all that is unnecessary so that the artistic spirit may be exposed, just like the words of Michelangelo:

 

「大理石本身囚禁著思想

使最優秀的藝術家靈感湧現

它等著被藝術家的心靈

透過藝術家的巧手解放出來 」

“Trapped inside the marble are thoughts

flooding the best artists with inspiration

waiting to be set free by the artist’s soul

through his skillful hands.”

 

臺灣東部盛產大理石,從宜蘭南方澳、和平往南延伸至南大武山,產量豐富。東海岸的靜浦、大港口至臺東成功等地盛產化石與帝王石、輝綠岩、蛇紋石。縱谷有玫瑰石、豐田玉等。上個世紀70年代,東部人依賴石頭產業生活的人口佔10%,可謂鼎盛一時。90年代官方政策性的文化建設,東部地區設定為「石雕」,有別於三義「木雕」、鶯歌「陶藝」。22年前,官方與民間首次共同辦理「花蓮國際石雕藝術季」,至今累積了戶外大型佳作共117件,小型作品約183餘件,是一項不可忽視的藝術成就與文化財富。旅行者在東部海岸、花東縱谷各地,與單純背景中的石雕作品不期而遇,經驗如史詩般永恆的情境,引人深思。

The land of East Taiwan is rich with marble; abundant amounts of marble are hidden in the area from Nanfang’ao and Heping in Yilan to Nandawu Mountain. Jingpu and Dagangkou of the eastern coast, and Chenggong of Taitung, are all blessed with the quarrying industry, fossil regalite, diabase, and serpentine. Within the East Rift Valley are minerals such as rhodonites and nephrite. During the 1970s, 10% of the population depended on the quarrying industry, which means the proof of its heyday. In the 1990s, during cultural constructions led by the government, East Taiwan was appointed “stone carving,” different from the wood carving in Sanyi, Miaoli and ceramic art in Yingge. Twenty-two years ago, the government and local people cooperated for the first time in arranging Hualien International Stone Sculpture Festival, which has accumulated 117 large outdoor works and 183 small works till this day, truly an artistic accomplishment and cultural treasure that is not to be ignored. Visitors traveling to the east coast and East Rift Valley can take the opportunity to encounter these stone carvings and experience the epic and thought-proving atmosphere.

 

本展覽與花蓮縣文化局合作,將知名國際石雕家與花蓮在地石雕家之作品,在MOCA PLAZA 裝置成為一座小型石雕花園。最具代表性的作品,也是最受民眾喜愛的保加利亞藝術家吉歐.菲林(Gheorghi Filin)作品「美人魚」,將呈現在當代館的廣場中央,供市民觀賞。

This exhibition cooperated with Hualien County Cultural Affairs Bureau to create a small sculpture garden in MOCA PLAZA, filled with works by well-known international and local Hualien sculptors. Among the many works, the most representing piece is Mermaid by popular Bulgarian artist Gheorghi Filin. which will be presented at the center of MOCA PLAZA.



吉歐‧菲林
Gheorghi Filin

美人魚
Mermaid

白大理石
White Marble

220 x 430 x 18 cm

1999

楊正端
Yang, Cheng-Duan

舊夢如風
Wind-like Old Dream

灰大理石
Gray Marble

36 x 20 x 120 cm

2009

吳明聲
Wu, Ming-Sheng

洄轉之間
Between Returning Waves

黑花崗 
Black Granite

75 x 25 x 125 cm

2009

枸蘭‧瞿帕雅
Goran Čpajak

《我們倆人》
We Two Guys

白大理石
White Marble

110 x 50 x 20 cm

2001

那特‧斯汀
Knut Steen

裹腹的女神
Cariatide

白大理石
White Marble

100 x 28 x 18 cm

1999

柳順天
Liu, Shun-Tian

融合
Fusion

粉紅花崗石 
Pink Granite

85 x 65 x 75 cm

2015

柳順天 
Liu, Shun-Tian

浮雲
The Cloud

粉紅花崗岩 
Pink Granite

80 x 45 x 60 cm

2015

柳順天 
Liu, Shun-Tian

超越相對
Beyond the Opposite

黑花崗石 
Black Granite

110 x 20 x 20 cm

2015

柳順天 
Liu, Shun-Tian

心如虛空
Nothingness by Heart

硬砂岩 
Sandstone

55 x 50 x 75 cm

1991

柳順天 
Liu, Shun-Tian

願力
The Power of Desire

紅花崗石 
Red Granite

30 x 22 x 90 cm

2007

柳順天 
Liu, Shun-Tian

天律
The Universe Rule

黑花崗石 
Black Granite

57 x 55 x 15 cm

2015

張乃文
Chang, Nai-Wun

方柱
Square Column 

白大理石 
White Marble

54 x 43 x 26 cm

1992

默許‧帕羅曼
Moshe Perelman

環境主義
An Ism of Environment

蛇紋石、花崗岩 
Serpentine, Granite

46 x 50 x 40 cm

1997

尼可拉斯‧貝杜 
Nicolas Bertoux

下雨的石頭
Raining Stone

白大理石 
White Marble

72 x 50 x 36 cm

1997

約瑟夫‧維希 
Joseph Visy


Road

白大理石 
White Marble

24 x 24 x 60 cm

2001

吳明聲
Wu, Ming-Sheng

理想國
Ideal Land

白大理石 
White Marble

42 x 18 x 70 cm

2003

余宗杰
Yu, Tsung Chieh

個體 No.89
Individual No.89

白大理石 
White Marble

42 x 46 x 10 cm

2003

鄭梃甄 
Cheng, Ting-Chen

家族
Family

白大理石 
White Marble

40 x 36 x 40 cm

2003

皮耶羅‧爵西尼 
Piero Gensini

縱面
Longtitude

白大理石 
White Marble

26 x 23 x 53 cm

2003

胡棟民 
Hu, Tung-Min


Waterfall

白大理石
White Marble

38 x 11 x 38 cm

2005

卡倫‧范‧歐曼仁 
Karin Van Ommeren

景色
View

白大理石 
White Marble

71 x 47 x 25 cm

2001

田中等 
Hitoshi Tanaka

風之門
Wind Door

白大理石 Marble

48 x 8 x 53 cm

2007

史提夫‧伍德沃 
Stephen Woodward

雨後
After the Rain

白大理石 
White Marble

56 x 30 x 20 cm

2011

史提夫‧伍德沃 
Stephen Woodward

《一石三皮一皮三石》One stone Three skins One skin Three stones 

三聯作、玄武大理石岩Triptych, basalt marbles

54x38x23 cm

2004-05

 


2F西側樓梯、205展間 Western Staiway 2F, R205

角落藝術群 Corner Art Group

「角落藝術群」是一個來自花蓮的當代藝術團體,成立於2014年,緣由是因為在國立東華大學有一群熱愛藝術創作的師生,自行籌劃舉辦「東華角落藝術節」而來,後來變成大學裡每年舉辦的特色活動。這群成員對藝術狂熱,是一個純然自發地藝術組合,對於另類展演空間以及跨領域藝術實驗有著濃厚的興趣,成員來自不同類型的創作系所,藝設、藝創、華文、歷史系所等,平時定期聚會討論,偶而不定期聯展和各種跨領域的嘗試。討論議題聚焦在校園政治和所處的東臺灣環境、文化、性別、族群等議題,期盼透過藝術展演將所發現的東岸議題帶到平台上來討論。

“Corner Art Group” is a contemporary art group from Hualien that was established in 2014 by a bunch of students and teachers from National Dong Hwa University who have a deep passion for art. The “Corner Art Group” arranged the Dong Hwa Corner Art Festival, which later became a unique annual event throughout campus. This artistic combination is spontaneously made up of a group of art enthusiasts who have a common interest towards alternative performance spaces and interdisciplinary art experiments. The members of the group come from all sorts of departments including Art and Design, Arts and Creative Industries, Sinophone Literatures, and History. The members gather together regularly for discussions and engage in group exhibitions and all sorts of different interdisciplinary experiments. Discussion topics focus on campus politics and environmental, cultural, gender, and race issues in East Taiwan. “Corner Art Group” hopes to provide an opportunity for discussion about issues concerning East Taiwan that are discovered through artistic performances and display.

 

此次「角落藝術群」的展現是自身與政治環境的對話,成員大多來自外地到花蓮求學的藝術創作者,帶著原本外地的成長經驗,被大山大水的壯麗景緻吸引,但也不忘做為藝術專業訓練的一員,從課堂的學習出走,尋找自我與此環境的交集。甚至,是帶著一種批判的眼光來看花蓮當下的環境與發展,觀察那些在西部城市原本沸沸揚揚但現在已經微不足道的議題,在花蓮這相對簡單的環境裡,像是帶上放大鏡一般地被彰顯。

This time, Corner Art Group demonstrates the dialogue between themselves and the political environment. The members are mostly artists who come to Hualien to study. Grew up in other places in Taiwan, they are drawn by the magnificent natural landscape. However, they have never forgotten their artistic training; so, they step out of the classroom to search for the connection between the self and the environment. Moreover, they have chosen to adopt a critical perspective to examine the present environment and development of Hualien as those insignificant issues, which used to be important issues in cities on the western coast, have seemed to be magnified in the comparatively simple environment of Hualien.

 

這次我們從政治性議題的端點著手,看到東臺灣在政治操弄的情境下,做為微弱的藝術外地人,藝術成為我們回應的最佳武器。眼見這無力的政治狀態,詼諧反諷成為處理之道,在事務與邏輯因政治而扭曲之下,荒謬感或許可以是嘲諷的絕佳情境,除了是當下的慰藉,也作為一種反擊。反轉又魔幻的山水、一個箱子莫名的冒煙瞬間產生恐怖的無名情境;或是透過超現實的擺設,沐浴乳與高腳椅成為哲學思考的工具;相反的,那無需思索的商品消費,在政治操作的觀光情境鼓勵消費之下,買得如天一樣的高;另外,消費是否也帶來「表皮」身份混雜的無可辨識呢?分不清衣服穿戴而變成後現代拼貼的說詞;甚至是巨大紅唇似語非語的狀態,像要控訴但又壓抑;而那個被凸顯的通外道路議題,在這裡成為一片空白,傳統山水畫裡的留白意境轉換成一種無可想像的被挖空的「空白」;而那條長長的鐵道或是山脈,就像是一條難以回家的道路,牽繫著遊子的鄉愁,是自然環境造成的隔離吧?但是當買不到車票回家,「回家的那條路」這又是什麼議題?而阿兵哥的呼口號與美麗灣的建設,是否也一樣的「雄壯、威武」?最後,看看那個會讓人暈眩不已的小房子們,居民得以安身立命的住所,如今在這變動快速的環境之下,除了暗指天然的災難,更有甚者,政治災難帶給居民的更是像這樣天天都晃動不安,黑影幢幢。

We explore political issues in this exhibition. Seeing how the eastern Taiwan is manipulated by politics, art has become the best weapon to response for feeble outsider artists. Witnessing the helpless political scenes, irony and humor become our way of coping with the situation. When affairs and logic are twisted by politics, absurdity might just provide the best way for sarcasm. It provides timely consolation as well as forms a kind of counterattack. With reversed and magical landscape, smoke suddenly comes out of a box without any apparent reason, creating a nerve-wrecking situation. Arranged in a surreal manner, a bottle of shower gel and a high chair become objects of philosophical thinking. Contrarily, thoughtless consumption has reached its peak as it is encouraged by politically manipulated tourism. Moreover, has consumption also made one's identity informed by "appearances" unrecognizable? Inability to correctly wear clothes has made one's attire emblematic of the post-modern pastiche. The giant red lips seem to be saying something, as if they are making an accusation but suppressed. The discussion of a highway, which has been largely talked about elsewhere, remains blank here. The blank space in traditional ink painting is transformed into an unimaginable, hollowed-out "blankness." That long, long railroad or mountain is like a difficult road to home, stirring up the nostalgia of travelers. Is the natural environment causing the separation? However, when people cannot get any train tickets to go home, what issue does "the road to home" present? Are soldiers' battle cry as "strong and mighty" as the construction of the Meiliwan resort? Finally, let's take a look at the dizziness-inducing small houses, which are inhabited by local residents. As today's environment changes so rapidly, the shaking houses imply natural disasters as well as political catastrophes brought about by politics, which make people's life restless and shadowed by uncertainty.

 

我們這群創作者隱身於島嶼之內,但是我們的存在以及思維,卻不因為隱身而消失。在這喧鬧的世界,我們存在與否是自我明證的,這次透過展覽,我們為自己發聲,也為東岸發聲。——田名璋

We, a group of artists, reside invisibly on this island. However, our existence and thoughts never disappear because we are unseen. In this boisterous world, our existence is self-evident. Through this exhibition, we speak for ourselves as well as for the eastern coast.   ——Tien, Ming-Chang
 

林哲 Lin, Che-Chi 

《五個小時的倒數》
We Are Counting Down for Five Hours

錄像裝置 Video Installation

尺寸因空間而異 Dimensions Variable

2017

林哲志 Lin, Che-Chi 

我處在一個很不自由的空間,因為我只能回憶
I Was In A Space That Is Not Free, Because I Just Can Recall for Something

單頻錄像播放 Single Channel Video

2017

林柏呈 Lin, Po-Cheng

思鄉病Homesick

壓克力顏料、繃帶、混凝土 
Acrylic Pigments, Bandages, Concrete

324 x 9 cm

2016

尤景正 You, Jing-Zheng

空•山Invisible Mountain

壓克力顏料、複合媒材 
Acrylic Pigments, Mixed Media

53 x 46 cm, 5 Pieces

2016

林家伃李怡萱
Lin Chia Yu、Lee I Hsuan

你的衣服有多少件?
How Many Clothes Do You Have?

紙袋、衣物 Paper Bag, Clothes

50 x 50 x 300 cm

2016

呂瑋倫 Lu, Wei-Lun

像我們這樣的女子
Women Like Us

草木染布、雙頻道錄像 
Vegetarian Dyeing, Double Channel Video

75 x 75 cm, 2 Pieces

2016

林家賢 Lin, Chia-Hsien、
馬曉晴 Ma, Xiao-Qing、
姚舜禹 Yao, Shun-Yu

看見你眼中看見的我
Seeing Myself Through Your Eyes

投影片輸出 Slides Print

170 x 220 x 100 cm

2016

張元銘 Chang, Yuan-Ming

沉浸,沐浴,思考,寧靜
Immersion, Bath, Muse and Tranquility

空間裝置 Installation

250 x 250 x 353.5 cm

2016

陳囿蓉 Chen, Yu-Jung

這時 那時
Somewhere At This Time and At That Time

雕塑土、陶 Soil, Pottery

52 x 52x 92 cm

2017

王詠翔 Wang, Young-Hsiang

在一個箱子裡In The Box

木板、感應器、揚聲器、煙霧機、機械零件

Wood, Sensor, Speaker, Smoke Machine, Mechanical Device

80 × 80 × 70 cm

2017

廖婕雅 Janice Liao

擠壓系列─唇 No.5Squeeze-Lips IV

油畫 Oil on Canvas

116.5 × 91 cm

2015

田名璋 Tien, Ming-Chang

安在Well Living

燈、茶几、現成物、鏡子、機械裝置

Lamp, Coffee Table, Ready-Made Objects, Mirrors, Mechanical Device

300 x 300 x 200 cm

2016

 


204展間 / R204

多瑪索‧穆之 Tommaso Muzzi 

來自於義大利佛里諾的藝術家多瑪索‧穆之,分別在義大利及西班牙完成電影製作學位。是一位專注於拍攝具實驗性及故事性紀錄片的導演。2009及2015年受邀至花蓮與宜蘭頭城駐村創作,目前定居於臺灣花蓮。

Tommaso Muzzi is an artist from Foligno Italy who completed his degree in film making in Italy and Spain. Muzzi is a director who focuses on shooting experimental documentaries with a storyline. In 2009 and 2015, Muzzi was invited to be an artist-in-residence in Hualien and Toucheng, Yilan. The artist is currently living in Hualien, Taiwan.

 

藝術家將展間以一個封閉式的黑空間,展出三頻道錄像作品《人絕》,讓觀者進入場域觀看時,如同身處被影像所攏懾的尷尬處境中。作品角色聚焦在看似可笑的人物上,他們或行徑荒謬、或怪誕不羈而異於常態;又或他們是打赤膊,口嚼檳榔不修邊幅的市民;或衣衫襤褸的流浪漢…,在世俗的認知中他們沒有「體面」的光鮮外表,但他們在不被接受或理解的境遇下,卻仍保有本真質樸的天性…。多瑪索意欲指出"CASI-HUMANI"(人類範例,幾近人類之雙關語),他不侷限於一種道德觀,他多樣、極端但不一定是負面的指涉,這種多樣性普遍存在於社會之中。

The artist displays his three-channel video “Casi Humani” in an enclosed black space, allowing visitors to emerge in an atmosphere surrounded by images when they view the work. The work focuses on figures that seem ridiculous: Some display strange and wild abnormal behaviors, some are citizens who are topless, chew betel nuts, act slovenly, others are ragged homeless people. In the eyes of the world, these people may lack decent appearances, but in truth, they are able to preserve their authentic nature, despite not being understood and accepted by others. Tommaso Muzzi hopes to attract attention to the fact that “CASI-HUMANI” (“The Human Case,” a pun to “quasi-human”) is not restricted by single moral values; it expresses variety and extremes that are not necessarily negative referents, reminding us that diversity exists in our society.

 

多瑪索觀察,「人」身處於社會型態中,形諸於外的多是不自覺層層掩飾的面貌,他說:「領域是很重要的一環,環境是CASI-HUMANI的放大鏡,有時環境與CASI-HUMANI會合為一體,這次的作品就是要呈現東海岸的CASI-HUMANI。CASI-HUMANI是一個活生生的奇蹟,一個溫柔的舉動,是一致化社會裡展現多樣性的一扇窗,CASI-HUMANI是一種瀕臨絕種的動物,我要保護他」。

Tommaso Muzzi observed that in a social context, what most “humans” display is a façade of concealment. He stated that: “Territoriality is a crucial element and more often than not amplifies the CASI-HUMANI. Sometimes the environment merges into one with CASI-HUMANI. This work displays the combination of the eastern coast of Taiwan with CASI-HUMANI. CASI-HUMANI is a living miracle, a gentle gesture, a window to the variety of a unified society. CASI-HUMANI is a creature on the verge of extinction; I must do what I can to protect it.”


人絕Casi Humani

三頻道錄像 Three Channel Video

9min.

2017 


203展間 / R203

宜德思‧盧信 Idas Losin

宜德思,太魯閣族藝術家,擅以油畫為創作媒材,將自身文化的圖騰織紋,揉合極簡造型的轉化,輔以單純簡易的色彩並蘊藉層次的營造,在大膽簡練而肯定的描繪手法下,創作出質樸類似剪貼意味的超現實風格,不僅呈現出自身圖像符號結構的繪畫語言,同時,更承續了原住民堅毅的生命力。

Idas Losin is an artist from Truku who specializes in oil painting. Transforming the totem weave pattern from her culture through minimalist designs, added with simple colors and layers using bold, confident techniques, Idas Losin creates surreal works that are simple and remind the viewer of collages. Apart from displaying elements of the image and initial structure of symbol’s, the works of Idas Losin are also an extension of the determined vitality of the indigenous people.

 

藝術創作成為她記錄與關懷部落的唯一途徑;也成為她對社會發聲的方式,藉由藝術傳聲的力量,宜德思自言:「我相信藝術帶來的感動,能讓人睜開眼、觸摸土地、感受溫暖。部落還在,不要停止親吻土地,用舌頭講自己的話。有一天,我們會拼湊出原來的家園。還有自己」。

Artistic creation has become the artist’s only way of documenting and caring for the tribe, also her method of expression in society through the power of art. Idas Losin stated that: “I believe in the heart-touching power of art. It enables us to open our eyes, touch the land, and feel the warmth. The tribe is still there; never stop kissing the land and speaking in our own language. One day, we will be able to recreate our homeland and ourselves.” 

 

宜德思在2010年繪製《文化的輪廓》時,就有了讓平面繪畫的創作侷限性,擴展具空間詩意衍繹的意圖。雕塑作品《飛行者》的擬人形象,即自《文化的輪廓》馳騁而來,宜德思說:「我喜歡人臉延伸至鹿角的表現,簡單卻能夠表達其內涵。《飛行者》以環境的守護神為意象,金色的鹿角象徵著尊貴,述說著《飛行者》守護山林及關愛土地的堅定意念」。

While working on The Shape of Culture, Idas Losin had the intention of expanding the creative limitations of two-dimensional paintings into works that include poetic elucidation of space. The personified appearance of sculpture Ariel Guardian is inspired by The Shape of Culture. Losin stated: “I like how the human face is extended to the antlers, simple but filled with meaning. Ariel Guardian appears with an image of the guardian of the environment while the golden antlers give a noble atmosphere, expressing its firm motive to protect the mountains and care for the land.”

 

藝術家生長於部落,對部落與環境以及土地的關懷成為她創作的靈魂核旨。面對大自然反撲的風災,與官商勾結、操作買賣土地、分食利益大餅的人禍戲碼,宜德思感喟尤深!這些交織著記憶裡的味道和生活上的感觸,是一種文化流逝的複雜情感,織就她每一幅作品中的每一個抽象圖案,都代表了一種語言、訊息、符號或記錄。記錄一個族群或個體的歷史故事,因此,觀讀一幅作品時,其實也在閱讀一個故事性的、族群的或個人的生命歷程。透過這些作品希望傳達的是:每一個人都是敬愛土地、保護綠色大地的「飛行者」。

The artist was raised in a tribe, and her works focus on concerns towards the tribal environment and land. Idas Losin is filled with deep lament about the natural disasters of windstorm and man-made disasters, including corruption, manipulation to buy and sell land, and dividing profits. The mixed sensation of memories and feelings in life composes a complicated sentiment of fleeting culture, weaving into every single abstract image in her works. Each of these images represents a language, message, symbol, or record that documents the stories of a tribe or an individual. Therefore, viewers are also reading the stories of the life of an individual or a group when viewing the artworks. These works hope to convey the message that the “Ariel Guardian” is every person; we should all love, respect, and protect the land.

飛行者Ariel Guardian

玻璃纖維 Fiber Reinforced Plastic

160 x 80 x 140 cm

2017

文化的輪廓The Shape of Culture

油畫 Oil on Canvas

80 x 100 cm

2010

Sky‧Earth

油畫 Oil on Canvas

280 x 135 cm

2017

Dog

油畫 Oil on Canvas

80 x 100 cm

2014

她的她About Her

油畫 Oil on Canvas

60 x 80 cm

2010

小黑The Little Black

油畫 Oil on Canvas

80 x 60 cm

2010


203展間 / R203

瓦旦督喜 Watan Tusi

花蓮卓溪鄉,Swasal部落太魯閣族人,Watan Tusi (瓦旦‧督喜)承襲外曾祖父與父親的名字。年幼便跟著雙親到臺北就學及工作,1997年看了「原舞者」的演出受到古老歌舞的召喚,一頭栽進原住民傳統樂舞的世界裡。2012年創辦「TAI身體劇場」,到部落進行田野採集,蒐集老一輩人唱過的歌、踏過的舞。除了傳承推廣之外也作為劇場創作的基礎,開創新的原住民劇場風貌。題材涵括生存、環境、文化與文學,編舞作品有《身吟》、《Tjakudayi我愛你怎麼說》、《橋下那個跳舞》、《水路》、《織布》等。

Watan Tusi, a Taroko artist from the Swasal Tribe in Zhuoxi Township, Hualien, inherited the name of his great-grandfather and his father. Watan Tusi moved to Taipei with his parents at a young age. In 1997, at a performance by the Formosa Aboriginal Song and Dance Troupe, Watan Tusi felt a calling from the ancient songs and plunged into the world of traditional indigenous song and dance. Watan Tusi founded the “TAI Body Theatre” in 2012 and conducted field collection in tribes, collecting the songs and dances of the older generation. Apart from promoting tradition, “TAI Body Theatre” also creates a new form of indigenous theater on the foundation of theater creation. The themes of his works include survival, the environment, culture, and literature. Choreography works include Humming of the Body, Tjakudayi: How Should I Say I Love You, Dancing Under the Bridge, The Path of Water, and Weaving X Our Steps.

 

瓦旦將劇場黑盒子的影像張力結合空間裝置,運借織布機與織線的縴拉,自展間天花板向展牆層層形構出一個牽引穿梭的網狀空間,透過表演影片的投影,使黝暗中交錯的織線與地面,閃現著光與情境的映射,栩栩地將作品《織布》所指涉的時間記事,如詩一般地詠嘆出來。

Watan Tusi combines the image of the black box theater with installation. Using the tugging force between the sewing machine and threads, Watan Tusi creates a towing and weaving mesh space from the ceiling to the walls of the display room. This creates thin rays of light on the black floors of the space, flashing with projected light and different scenes, poetically revealing the documentation of time in Weaving X Our Steps.

 

瓦旦‧督喜 :「嘣! 嘣! 嘣!的織布聲,是我小時候起床第一個聽到的聲音。這個古老的聲音,早已被payi(祖母)深植在心裡,這家在織布,那家也在織布…家家戶戶此起彼落的織布聲,形成了調息日常的節奏,直到太陽升起的那一刻。

“When I was little, the thudding sound of the sewing machine were the first sounds that reached my ears when I woke up.” said Watan Tusi. “This ancient noise is already embedded in the heart. Every household was in the process of sewing fabric, the sounds creating a rhythm of everyday life, on and on until the sun rises.”

 

232/22122/23232/…這組數字是通往編織『祖靈之眼』的道路之一,將它們種植在舞者的心裡,變成節奏與時間。於此,將人跟傳統織布機並置、連結在一起時,古老的時空被召喚回來,現代與古老的時間重疊在一起,原來的時間就不是我們所認知的流逝。「織布是橫斷的時間,進入沒有目的、沒有過往,只有當下卻必須不斷前行的過程—所以我們只存在於當下」。

The code “232/22122/23232/” is one of the paths that leads to the “Dowriq Utux Rudan (Eye of the Ancestors),” planted in the hearts of the dancers and transforming into rhythm and time. When people are placed together and connected with traditional sewing machines, the time and space of ancient times are summoned, overlapping the modern with the ancient, making us realize that time does not pass by in the way that we previously imagined. “Sewing fabric requires horizontal time. When sewing fabric, one enters a process with no destination, no past, only the ongoing present. We only exist in the moment.”


織布Weaving X Our Steps

空間投影裝置 Installation

尺寸因空間而異 Dimensions Variable

2017


202展間 / R202

曾以文 Tseng, Yi-wen

曾以文,阿美族藝術家,以初生之犢的姿態,意識到部落族群文化的式微,試圖尋溯母文化的源流,立意將族群原生傳統裡,無聲卻撼動人的精神,以及積澱自生活形成鮮明生命力的集體記憶,將抽象感知以視覺語言的可讀性轉化為圖騰,希冀觸動觀者去思索理解在地傳統於歷史脈絡中的經緯指引,並以此作為衍繹的基石,創造出當代新象的樣貌。

Noticing the fading of the tribal culture, Amis artist Tseng, Yi-wen boldly attempts to search for the source of her mother culture, determined to transform the abstract experience, silent but moving spirits, and collective memories that originate from everyday life and form vivid life forces, into totems through readability of visual language. Tseng hopes to touch and encourage the viewer to contemplate and understand the guidance within local traditional and historical context, using it as the foundation of interpretation, finally creating new contemporary appearances.

 

圖騰,是原始民族對大自然的崇拜,源自古代原始部落迷信某種自然,或有血緣關係之親屬祖輩、或保護神等的一個象徵徽記,具備了一個民族的歷史風俗、民族心理與文化特點,在圖像意義上,透過圖騰即是體現了背後的一種文化現象,而抽象化、幾何化往往兼具了神話般的結構和神秘色彩。

Totems are born from the indigenous people’s sense of worship towards nature. Ancient tribes believe that symbols of nature, blood-related ancestors, and guardians, contain the customs, psychology, and cultural traits of an ethnic group. On the level of image meaning, totems reveal underlying cultural phenomena, while abstract and geometric forms usually hint to mythical structures and traits.

 

曾以文將展出場域的窗格與展間牆面,以取自被保存下來的阿美族圖騰,它們來自於傳統與現今的服飾上、傳統器皿、器具或木雕與工藝精品等物件,將其上的傳統圖騰與當今流行文化的紋飾相互結合延伸,其中,一條布幔似的虛牆,以無彩色圖騰堆砌出一組阿美族青年男女的臉龐,藉著空間虛實的創造隱喻時間之流,蘊藉索緒爾之歷時性與共時性的概義,創新符應現代精神的視覺語言符號。圖騰精神於古至今,運用在象徵的結構與解構仍在文化的遞嬗之中變異╱衍化、複合╱轉化,載記著時間洪流下的文化續命。

Tseng, Yi-wen decorated the window and walls of the exhibition space with Amis totems that she collected from traditional and contemporary clothing, traditional utensils, tools, wood carvings, or other craft items, mixing and extending traditional totems with popular modern patterns. A virtual wall-like mantle creates an image of the faces of an Amis male and female with colorless totems, using the virtual and actual space to create a metaphor of the flowing of time, applying the synchronic and diachronic concept by Saussure to create visual language symbols that fit the modern spirit. Totems have been used in the construction and deconstruction of symbols since ancient times and continues to change and evolve, combine and transform, carrying and extending culture in the flow of time. 


《從今與後》From Now On

數位輸出、布料、透光片輸出 Digital Print,Fabric,Translucent Film

尺寸因空間而異 Dimensions Variable

2016


中樓梯 / Central Stairway

賈科莫・札加內利 / 塞爾維亞・皮安提妮

Giacomo Zaganelli / Silvia Piantini

賈科莫・札加內利(Giacomo Zaganelli ,1983—),生於義大利佛羅倫斯,目前居住於義大利及柏林。創作領域包括藝術、建築、空間創作之公共藝術裝置,希望藉由作品提供一種觀看日常生活的「非常規」方式。其創作及研究著重於時間與空間的關係,相信藝術的附加價值來自於其歷史深度、包括對於過去、現在及未來的想法。

Giacomo Zaganelli (1983-) was born in Florence, Italy, and now lives in Italy and Berlin. His work ranges from art, architecture, and public art installation for spaces. He hopes to provide an "unconventional" perspective to look at daily life. His work and research focus on the relationship between time and space, showing his belief in the fact that the value of art comes from its historical depth, which is informed by thoughts on the past, present and future.

塞爾維亞・皮安提妮(Silvia Piantini ,1986—),生於義大利托斯卡尼,是一位時尚配件設計師,專注於飾品設計,對於傳統手工藝、失傳的技藝、傳統服飾、傳統音樂及樂器有濃厚的興趣。

Silvia Piantini (1986-) was born in Toscana, Italy, and works as a fashion accessory designer specializing in jewelry design. She is particularly interested in traditional handicrafts, lost artistry, traditional clothing, Traditional music, and music instrument.

 

單頻道錄像作品《我一直都在》,是賈科莫與塞爾維亞於2016年受邀至花蓮市的「好地下藝術空間」駐村時,首次共同創作發表的作品,反應了我們共同關注的公共空間、時尚和傳統文化。作品中對這些活在我們生活之中,不容易被注意到的「它們」的一種關注,如:廢棄的老房子、被移位的日式橋樑、早期訂製的西服、視而不見的帆布…,雖然它們座落繁華,隔壁就是熱銷的小吃店、或是宜人的購物街區、或是密集住宅的小巷。但是,「它們」似乎鮮少被看見,極易自然而然地從眼睛略過它們的存在,也就這樣,繼續孤寂的過著生活。透過作品,我們看見的是常民的日常生活樣貌,裡面存有著「它們」,這些現在存有的以及過去所留下來的歷史遺跡,隱身在大街小巷,它們就像是我們的老朋友,一直陪伴著我們,一個老靈魂。

The single-channel video, I Am Always Here, was a collaborative work by Zaganelli and Piantini when they were invited to conduct an artist residency at Good Underground Art Space in Hualien in 2016. The work reflects public space, fashion, and traditional culture we care about together. In the video, the artists drive our attention to things unnoticed in our life, such as an abandoned house, a shifted Japanese bridge, a tailored suit from an early period, plastic canvases that people ignored, etc. Although unnoticed things are found in bustling places, next to some popular restaurant, within a comfortable shopping area, or in a small lane in the residential area, they are hardly seen; people seem to naturally ignore their existence, and they continue to live their life in solitude. Through this work, we have a chance to see the daily life of ordinary people, with these things in their life. These residuals of history from the present time and the past hide on the streets and in small alleys; they are like our old friends; they are old souls that have kept us company. 

《我一直都在》I Am Always Here 

單頻道錄像 Single Channel Video

6 min. 39 sec.

2016


201展間 / R201

林介文 Lin, Gieh-Wen

(Lin, Gieh-Wen,1982- )花蓮紅葉人,留學西班牙,回國後傾心於Truku(太魯閣族)傳統織布文化。受部落織女耆老之啟發尤深;作品融入早期金工技法與纖維等複合媒材及錄像裝置,以軟雕塑作品居多,喜歡用多面向的方式呈現同一主題。關切身分認同、身體行為、女性、環境等議題。於2016年完成與30位織女共同創作的「織路」(太魯閣火車站公共藝術)。曾在香港、中國、新克里多尼亞、西班牙、臺灣各地駐村。現居花蓮,身兼母親與創作。

Lin, Gieh-Wen (1982-) was born in Hongye, Hualien. After finishing her study in Spain, she returned to Taiwan and delved into the world of Truku traditional weaving culture. Lin's work is inspired by senior female weavers in her tribe; she incorporates techniques of early metal work and uses mixed media such as fiber and video installation to create soft sculptures, through which she explores different aspects of one theme. Her work focuses on issues of identity, physical behaviors, women, and the environment. In 2016, she completed a collaborative work, Elug Tminun ("weaving roads"), with thirty female weavers (a public artwork commissioned for Xincheng Taroko Train Station). She has conducted artist residencies in Hong Kong, China, Nouvelle-Calédonie, Spain, and Taiwan, and currently lives in Hualien. She is a mother as well as an artist. 

漂浮移動在我的身體裡

軀殼似有若無
土地一直穩穩的在
但我仍然碰不著
殖民者又臭又遠  
我只見得到眼前大山一片,
只感到臉頰旁織紋的觸感美妙
給孩子  給孩子
這是母親唯一的想像
——林介文
 
Floating and moving in my body. 
The body is faintly discernible. 
The land is always there, 
Yet it remains out of reach. 
The colonizer's scent is repulsive and distant. 
The great mountains are the only thing I can see. 
The beautiful texture of the weaving patterns on the faces is the only thing I feel. 
For the child, for the child, 
this is the only imagination of a mother. 
——Lin Gieh-Wen
 

《遊牧靈魂》是由金屬與線編織所構成的軟雕塑,一個由銅圈編組「家」的意象,但「家」堅實的壁壘,卻呈現空中通透的虛體,屋子下方流蘇般的漂浮,一如詩中所言說的「軀殼似有若無…」,述說著無根姿態的文化斷裂。另一個在廢鐵支架上連結了層層懸密披疊的被毯,如織的行梭一點一滴傳遞著文化的血脈,以及身為母性將緻密而濃烈的愛包裹其中,這是藝術家踏上創作後的尋根之徑,溯源自奶奶一身織就具傳承意涵的近百條部落織布,隱喻賽德克族女性的生命歷程與編織的關係,以及個人因探尋母體文化所編織成的生命旅程。

Nomadic Soul, a soft sculpture consisted of metal and woven fabric, represents an image of a "home" made with copper rings. Nevertheless, the supposedly sturdy house is replaced by an empty space floating in midair. The tussles flowing beneath the house echoes the poetic line, "the body is faintly discernible," while speaking of the cultural break of an uprooted existence. Layers of blankets are connected together on the scrap metal structure, as if weaving a cultural bloodline, enveloping fine and profound love within the woven fabric. The work embodies Lin's path of finding her cultural roots, which she traces back to the hundred pieces of traditional clothes woven by her grandmother that symbolize her cultural heritage. Therefore, the work is a symbol of Seediq women's life and their connection to weaving as well as a journey of life interwoven with an individual's path to search for his or her cultural roots. 

《遊牧靈魂》Nomadic Soul

空間裝置 Installation

尺寸因場地而異 Dimensions Variable

2017

 

巴卡芙萊 Pakavulay

由林琳、黃錦城兩人所組成的「巴卡芙萊」,在卑南語中隱含著「使事物變的美好」的意涵。作品常以現成物、自然素材與部落口傳神話意象之結合、對應,以此呈現族群文化的傳承與創始的可能,藉以凸顯臺灣的原住民族群之現代處境。

Pakavulay is formed by Malay•Makazuwan and Huang Jin-Cheng. In the Puyuma language, it means "to make things beautiful and wonderful." The artist collective often employs ready-made objects and natural materials to combine with or respond to imagery of their tribe's oral mythology. Their work emphasizes on the inheritance of their tribal culture and the possibility to create, and by doing so, highlights the modern circumstances of Taiwanese indigenous peoples.

林琳(Malay Makazuwan),生於臺灣花蓮,國立東華大學原住民學院民族文化系畢業,目前居住與工作於花蓮吉安。

Malay Makazuwan was born in Hualien, Taiwan. She graduated from the Department of Ethnic Relations and Cultures, College of Indigenous Studies, National Dong Hwa University. She now lives and works in Jian, Hualien.

黃錦城(Huang Jin-Cheng)生於臺灣宜蘭,輔仁大學應用美術系畢業。目前居住與工作於花蓮吉安。

Huang Jin-Cheng was born in Yilan, Taiwan. He graduated from the Department of Applied Arts, Fu Jen Catholic University. He now lives and works in Jian, Hualien. 

 

《新事物、那些來自海上稱呼這裡為福爾摩沙的和陸續抵達的惡魔》這件裝置作品,以一組等身高大的缺口地球儀與迷你拼板舟(達悟語:tatala),翻轉了我們對物件的感知,案頭上一指轉動的地球儀,已非寰宇世界中通達知識的綠洲;撈魚謀生的舟船驟變成迷你的有毒魚罐頭…這諷刺性的視覺張力,揭示35年前(1982年),蘭嶼耆老回憶當年政府以「魚罐頭工廠」名義瞞騙鄉民,待至蓋好貯存場,接收的第一批一萬桶核廢料,才知是一場歷史騙局。

This installation subverts people's conception of objects with a life-size, broken globe and a mini-sized tatala boat of the Tao people. The rotating globe on the desk is no longer something that provides knowledge of the world, and the boat that is supposed to be used in fishing has become a small can of toxic fish. The sarcasm conveyed with visual tension reveals the government's deception from thirty-five years ago (in 1982). Elders in Lanyu still remember that the government deceived the islanders and built a storage space for nuclear waste under the pretense of establishing a fish can factory. Only until the first batch of ten thousand barrels of toxic waste arrived did the people realize everything they were told was an elaborate lie.

 

一付來自澎湖450‚000歲的下顎在國際頂尖期刊《自然通訊雜誌 Nature Communications》上宣告世界

A mandible found in Penghu that can be dated back to 450000 years ago was published on Nature Communications and announced to the world 

我們從獸類群中站立起來行走
海面退了平原出現了
隨著月光的指引登上大島
河床上閃閃發光的砂金
稻穀、小米被種植在無霜之地
用單面石刃切開含有黑斑之玉
沿著海岸順著海流船隊帶著玉飾品往南交易
返還時帶回青銅、玻璃珠、瑪瑙珠、冶鐵煉金之術
亡者在家屋裡或側身或蹲屈肢有金片、紅陶、黑陶、彩陶陪伴著回到祖靈之地
南島民族大遷徙的先祖即將從這裡陸續往大洋出發
 
that human beings had stood up from the animals and began walking. 
The sea backed away and revealed the plain. 
We came up to the big island following the moonlight. 
Wash gold glistened on the riverbed. 
Rice and millet were planted on frostless land. 
Singled-sided stone sheath were used to slit Serpentine Jade. 
Following the coastline and the sea currents, boats brought jade jewelry to trade in the south. 
They brought bronze, glass beads, agate beads, and metal technology. 
The departed were buried under houses, lying sideways or curled up, accompanied by gold flakes, red, black and painted pottery, and returned to the land of the ancestral spirit. 
Migrating ancestors of the Austronesian people would start here and sail out to the ocean.
 
一批批文明人乘著文明的船從海上來
在我們居住之地進行大探險
國家把我們分類成我們和另一些我們
生的、熟的、高山的、平地的
人類學家辨識我們為:域、界、門、綱、目、科、屬、種
他們用文明的槍、砲、文字、法律在男人女人孩子牲畜山脈河流留下文明的傷口
傷口比房子、一座山都還大
塌陷空洞的傷口到現在還留著鮮血(*註2)
 
Different civilized people came from the sea on their boats. 
They investigated the land we inhabited. 
The nation divided us into different groups. 
Non-subjugated, subjugated, those of the high mountains, and those of the plain. 
Anthropologists differentiated us according to domain kingdom, phylum, class, order, family, genus, species. 
They used guns, canons, written words, and laws to create wounds on men, women, children, livestock, mountains, and rivers. 
Those wounds were bigger than houses and mountains. 
Blood can still be seen on the hollow wounds today. (*Note 2)
 
蔣姓父子從對岸帶著一面被廢止的旗子流亡而來
將屠殺統治的殖民過程寫成歷史課本來教育我們和我們的孩子
35年前他們在小島蓋了一間虛構的工廠並陸續製造了100‚277個魚罐頭(*註3)
前幾天他們坐在最前面的人終於出面道歉(*註4)
ㄧ些我們又驚又喜
但我們依然憤怒
 
Chiang Kai-shek and his son brought an abrogated flag from across the strait in exile. 
They changed colonization of massacres and their authoritarian regime into history textbooks to educate us and our children. 
Thirty-five years ago, they made up a factory on this island and created 100,277 fish cans one after another. (*Note 3)
A few days ago, the person that stood at the head of them finally came out to apologize. (*Note 4)
Some of us were surprised and delighted. 
But we are still angry. 
 
一顆星球分裂成二個三個無數個世界
泥土編著砂石織著樹根編著腳印織著毛髮編著血液織著根莖編著種子織著遷徙
大地被抽離出地表築成城市進入生產線擴張自我如同還未停止的大爆炸
每一件無法原諒的罪行
每一口嚥不下的怨恨
都被燒成很細很細很細的灰燼
掉進每一件東西的縫隙中
落在每一個人的毛細孔裡
在我們行走呼吸的每個瞬間所有的罪行、怨恨的灰燼
又都在空氣中飄動起來
 
A planet is divided into two, three, countless worlds. 
Soil is woven into gravels, tree roots, footprints, hair, blood, rootstocks, and seeds migrations. 
Land is extracted from the surface of the earth, turned into cities with production lines that keep expanding themselves, like the never-stopping big bang of the universe. 
Each unforgivable crime, 
Each unforgotten hatred, 
Is burned down to the finest ash, and 
Falls into the cracks of everything
And the pores of everyone. 
As we walk and breathe, the ash of all the crimes and hatred
Begins, once again, floating in the air.

 

註1:在蘭嶼的Tao通稱鬼魂為Anito。

註2:原住民為什麼複雜如此!_劉益昌(中央研究院歷史語言研究所)

https://youtu.be/VAJg9qeQT3U?t=7m20s

註3:核廢料當處貯放在蘭嶼,蘭嶼耆老回憶當年政府是以「魚罐頭工廠」名義騙鄉民,等蓋好貯存場,   

1982年接收第一批1萬桶核廢料才知被騙。

註4:蔡總統在2016年8月1日對臺灣原住民族的道歉文:

「我相信,一直到今天,在我們生活周遭裡,還是有一些人認為不需要道歉。而這個,就是今天我需要代表政府道歉的最重要原因。把過去的種種不公平視為理所當然,或者,把過去其他族群的苦痛,視為是人類發展的必然結果……臺灣這塊土地,400年前早有人居住。這些人原本過著自己的生活,有自己的語言、文化、習俗、生活領域。接著,在未經他們同意之下,這塊土地上來了另外一群人。歷史的發展是,後來的這一群人,剝奪了原先這一群人的一切。讓他們在最熟悉的土地上流離失所,成為異鄉人,成為非主流,成為邊緣。 」

Note 1: The Tao people in Lanyu call ghosts "Anito."

Note 2: "Why are the indigenous peoples so complicated!" A lecture given by Liu Yi-Chang (Institute of History and Philology, Academia Sinica)

https://youtu.be/VAJg9qeQT3U?t=7m20s

Note 3: According to the elders in Lanyu, the storage of nuclear waste on the island began with the government's lie of building "a fish can factory." They only realized the truth when the storage was built and the first batch of ten thousand barrels of nuclear waste were shipped there in 1982. 

Note 4: President Tsai's apology to the indigenous peoples in Taiwan on August 1, 2016:

"I believe that there are still some people around us who do not consider an apology necessary until today. For this very important reason, I am here to apologize today on behalf of the government, who has taken all the injustice in the past for granted, or have viewed other people's suffering as inevitable in the progress of civilization... There have been people living on this land we called Taiwan since four hundred years ago. Originally, they had their own life, language, culture, customs, and living areas. Later, without their consent, another group of people came. As history unfolded, the latter took away everything that belong to the former, who had become diasporic on the land they had been familiar with; they became strangers, non-mainstream, marginal."

《新事物、那些來自海上稱呼這裡為福爾摩沙的和陸續抵達的惡魔》

New Things, Those From the Sea Called Here for Formosa and the Arrival of Anito(*註1) 

鐵、馬口鐵、羊毛氈、麻纖維、樹皮纖維、網子 Iron, Tinplate, Wool Felt, Hemp Fiber, Bark Fiber, Net

150 x 350 x 200 cm

2017

 

安聖惠 Eleng Luluan

峨冷.魯魯安(Eleng Luluan,1968—),漢名安聖惠,生於臺灣屏東,為臺東藝術家群落「意識部落」的成員之一,擅長運用漂流木、植物纖維等自然媒材進行創作,結合雕塑、裝置、地景藝術等形式,寓意強烈的自我追尋與土地之關係的思索,在充分體現取「材」自然也取「道」自然的藝術精神,作品呈現出蘊藏無限的張力與爆發力。

Eleng Luluan (1968-), whose Chinese name is An Sheng-Hui, was born in Pingtung, Taiwan. She is a member of an artist community in Taitung, called Floated Tribe. She specializes in using driftwood and plant fiber to create sculpture, installation, and land art. Her work shows her self-pursuit and reflection of the land, fully embodying the artistic spirit of using natural materials and learning from nature and demonstrating limitless tension and power. 

《刻在靈魂的地圖》
小路 帶我走吧
跟隨著日夜星辰刻劃的路徑
帶我們走向荒原
那波動如浪的草原
汲汲的在內心攪動著
小路 
帶我們走向山的陵線
餵養著那枯寂的靈魂
帶我們親吻著土地的芬芳
帶我們感受日夜舞動的草原
如浪一波波靈動著
帶我們走向芒海之中
尋覓著那迷失的自己
老人在輕嘆也在哼唱
彷佛那迴聲與風聲形成了韻律在永恆的古調
——安聖惠
 
A Map Carved into The Soul
Small trail, take me away. 
Following the path of the sun, moon, and stars, and
Take me to the wasteland. 
The rippling waves of the grass
Have stirred my heart rapidly. 
Small trail, 
Guide us to the mountain ridge
To feed the lonely soul. 
Lead us to kiss the fragrant land, and 
Lead us to feel the forever dancing meadow 
With grass swaying like waves. 
Take us into the sea of reeds
To find the lost self. 
Elders sigh and sing. 
The echoes and sound of wind become the rhythm of lasting traditional songs. 
——An Eleng Luluan

 

都蘭鼻,背山面海視野遼闊,海岸山巒稜線起伏與太平洋交會,在地理上是一塊突出的海岬,未被開發的天然美景,仍保有原初的荒原、山稜、芒海與風聲,這裡的「風」勢,有時強勁得讓人站不住,這裡的「芒海」如浪一波推著一波,比人還高,因此這裡從不是在地居民生活的地方,而是阿美族的獵場,是都蘭部落心中的一塊有著深厚歷史的祖靈聖地,更是為了紀念劇作家陳明才,以死諫抗爭「都蘭鼻開發大型觀光園區」而立下「阿才之柱」的精魂之地,為了守衛傳統領域所經歷的歷史,透過詩意的路徑,邀請觀眾進入由茅草、竹子等素材所構成的隧道,親炙大地之母的賜予,不忘古調裡傳唱的祖先步履。

Dulan Headland faces the ocean with mountains at the back and offers an expansive view. The rising and falling ridges of coastal mountains meet the Pacific Ocean here, forming the coastal cape. This place has an untainted natural scenery; its primitive wasteland, mountain ridges, reeds, and wind have never changed. The wind is sometimes so strong that people can hardly stand still. The "sea of reeds" forms waves that are sometimes taller than people. Therefore, this place has never been part of the living area of local people but a hunting ground of the Amis people, a sacred land of the ancestral spirit that holds a great place in the hearts of the people in Dulan. It is also the venue of "the Pillar of A-cai," a monument to remember playwright Chen Ming-Cai, who has sacrificed his life to protest the large-scale development of "Dulan Headland Tourist Park." To guard the history of this historic region, the work invites audience into a tunnel made with rice straws and bamboo through a poetic path, experiencing the gift of the Mother Earth and remembering the past of the ancestors past recorded in traditional songs. 


《刻在靈魂的地圖》A Map Carved into The Soul

茅草、竹子 Thatched Grass, Bamboo

尺寸因空間而異 Dimensions Variable

2017

相關教育活動 Educational Programs

【島嶼隱身】相關教育活動

藝術家
面對面

【島嶼隱身】
《島嶼隱身-面海的道路》藝術家面對面

時間:2017/02/18 Sat. 16:00-17:30

地點:台北當代藝術館一樓活動大廳

引言:潘小雪/台北當代藝術館執行總監

主持:田名璋/策展人

主講:Tommaso Muzzi、宜德思‧盧信、瓦旦‧督喜、林介文、巴卡芙萊Pakavulay(黃錦城、林琳)、安聖惠/參展藝術家

報名網址:
https://goo.gl/Pb10wB

藝術
工作坊

【島嶼隱身】《編織再生大地》藝術工作坊

時間:2017/03/04 Sat. 14:00-17:00

地點:台北當代藝術館一樓活動大廳

主講:林介文/藝術家

報名網址:
https://goo.gl/lU7tMG

專家導覽

【島嶼隱身】專家導覽

時間:2017/03/05 Sun. 14:00

地點:台北當代藝術館一樓展間入口

主講:田名璋/策展人

報名網址:
https://goo.gl/2JkSvj

 

兒童專區

【島嶼隱身】兒童教育專區

【兒童語音導覽】*適合年齡:5-12歲。歡迎至當代館一樓服務台借用。

為強化美感教育、深耕藝術教育,於原有的教育設施導賞服務中,開發兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。

※ 歡迎點選下列連結下載取用:https://goo.gl/c5uqUK


【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。

以寓教於樂的方式,配合每檔主題展覽,開發展覽學習單及學習盒,輔助了解展覽內容,增添學習趣味。104年度新推出「親子觀察單」,讓家長能自行引導年齡較小的小朋友,參觀展覽。

※ 歡迎點選下列連結下載取用:

正面:https://goo.gl/L0d7L6

背面:https://goo.gl/xBsfpB



 【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。

為強化美感教育、深耕藝術教育,於原有的教育設施導賞服務中,持續推出兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。

※ 歡迎點選下列連結下載取用:https://goo.gl/Tb9QqS

 


【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。

為推動本館教育推廣之功能,讓藝術向下扎根,「U12-小玩藝教室」,憑門票開放親子入場共同體驗藝術之美。除了規劃年度主題,設計與兒童互動及遊戲的裝置之外,亦配合每檔展覽,規劃不同媒材的手作課程,希冀藉由藝教於樂的方式,激發兒童的藝術想像力與創造力。

http://www.mocataipei.org.tw/index.php/2012-01-12-05-25-27/moca-u12

 

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