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

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「還原-土地之歌」Reduction-Nature is Speaking

展覽名稱 Exhibit

「還原-土地之歌」Reduction-Nature is Speaking

展覽時間 Date

2018/02/03-2018/03/18

展覽地點 Venue

MOCA Studio

門票 Admission

免費 Free

參展藝術家 Artists

王郁雯 Wang Yu-Wen、伊命・瑪法琉 Iming Mavaliw李翎 Lee Ling

林琳 Malay Makaluwan林瑞玉 Lin Jui-Yu陳若軒 Chen Ro-Hsuan

劉曉蕙 Liu Hsiao-Hui饒愛琴 Rao Ai-Chin

展覽介紹 About the Exhibition

「還原-土地之歌」Reduction-Nature is Speaking

 

「大自然不需要人類,人類需要大自然。」~保護國際組織

Nature doesn’t need people, people need nature. ~ Conservation International

有些研究顯示,許多戰爭來自環境變遷,開始是缺水,接著食物短缺、遷徙、種族紛爭、信仰差異、歧視、戰爭。由於歷程長久,以致於我們只看到表面而找不到最初的原因了。二十世紀下半葉,臺灣的土地開始出現經濟發展與環境破壞的矛盾:化工廠汙染溪流、農場違建民宿、原住民土地被掠奪與不當開發、火力發電廠大量排放廢氣,這一切所造成的環境負擔與土地不正義,使得社會衝突全面展開。其他如農地不農用、土地液化造成地震災害、漁港密集開發造成海岸線水泥化、國家公園範圍內水泥公司炸山採礦等等。這些事件還持續發生著。每一個事件背後隱藏的都是無知和貪婪,土地成為這一場權力遊戲的犧牲品,而最終的後果則是由全人類共同承擔。

Some studies indicate that many wars in history were the results of environmental changes. The process started with a lack of water, and consequently the shortage of food, migration, racial conflicts, religious differences, discrimination, and eventually resulted in the outburst of wars. Because the process might take a rather long period of time, people could not see the underlying reasons other than what have been happening on the surface. After the second half of the 20th century, contradictions and conflicts have emerged on the land of Taiwan due to economic development and environmental damage—chemicals from factories polluting rivers and streams; illegal farm-styled B&Bs; exploitation and unlawful development of indigenous peoples’ land; air pollution from thermal power plants, etc. All these have largely increased the burden of our environment and led to land injustice, precipitating full-scale social contention. Other similar situations are still taking place, including farmland being used for other purposes, liquidation of land that increases earthquake hazard, intensive construction of fishing harbors that seals up the island’s shoreline with concrete, cement company blowing up mountains for mining in a national park, etc. Behind each of these events lies human ignorance and insatiable greed whereas land is sacrificed in this power game. Eventually, the consequences are to be shouldered by the entire humanity. 

 

《還原─土地之歌》展覽邀請來自東台灣的創作者王郁雯、伊命‧瑪法琉、李翎、林琳、林瑞玉、劉曉蕙、饒愛琴及陳若軒的作品共同展出,以不同創作媒材及型態代替土地發聲:「我們有自然風,不要電風扇」、「盤子上的食物是水泥飛魚嗎?」、「後遺症出現了」、「狂舞吧,憂鬱!」、「土地如何劃分呢?」…他們透過詼諧、反諷、自省或詩意的語彙來表達環境的現況、表達台灣人對於環境現狀的不滿與隱憂,期待大家 可以試著聆聽大自然的聲音,並重新思考對於土地的使用,停止沒頭沒腦的開發。

Reduction─Nature is Speaking features eight artists from the east coast of Taiwan, including Wang Yu-Wen, Iming Mavaliw, Lee Ling, Malay Makaluwan, Lin Jui-Yu, Liu Hsiao-Hui , Rao Ai-Chin and Chen Ro-Hsuan. These artists have made the voice of the land heard by using different media and art forms, presenting works such as We Have Natural Wind and Do Not Need Electric Fans, Is That Concrete Flying Fish on the Plate?, Here Comes the Consequence, Dance, Melancholy!, How Could You Divide the Land?, etc. With a humorous, sarcastic, self-reflecting or poetic tone and language, the artists delineate the current environmental condition and express the discontent and concerns of Taiwanese people living on the east coast. It is their sincere hope that audiences can try to listen to the voice of Mother Nature, and reflect upon our use of land to stop the endless, ridiculous development projects. 

 

除了上述七位藝術家的作品外,攝影師陳若軒的作品,則忠實記錄與側寫了土地守護者們,在長期抗爭的過程中,露宿街頭,發出怒吼,臺灣各地的藝術家用行動支援他們,同時也表現藝術家、原住民對於人和自然的原始契約如此緊密,從遠古到現在一直在叮嚀:不要忘記!不要忘記!

In addition to the seven artists mentioned above, photographer Chen Ro-Hsuan faithfully documents and describes the continuous fight of the land protectors, including their nights on the streets and their angry roar against the injustice. Artists from all over Taiwan have supported them with actions, which demonstrate the close and strong bond between humanity and nature observed and embraced by artists as well as indigenous peoples. Since the ancient time until the present day, they have been reminding people: Do not forget! Do not forget!

參展藝術家 About the Artists

王郁雯 Wang Yu-Wen

 

伊命・瑪法琉 Iming Mavaliw

 

李翎 Lee Ling

 

林琳 Malay Makaluwan

 

林瑞玉 Lin Jui-Yu

 

陳若軒 Chen Ro-Hsuan

 

劉曉蕙 Liu Hsiao-Hui

 

饒愛琴 Rao Ai-Chin

作品介紹 About the Artworks

王郁雯 Wang Yu-Wen

電扇封在蠟裡面,只剩下名字。

正義封在文字裡面,到不了土地。

我們把自己封起來,封在慾望裡面。

忘了自己是誰?

我們從何而來?

眼前只剩下利益交換的遊戲,

大風吹,吹什麼?

The fans are sealed in wax, with nothing but names left. 

Justice is concealed by words and does not reach the land. 

We humans seal ourselves up, fully submerged in desires. 

Have we forgotten who we are and where we came from? 

Only the game of exchanging gains and profits continue. 

The big wind keeps blowing, but what will be left in the end? 

《大風吹》Big Wind Blows

電風扇、鐵板凳、蠟 Electric Fan, Metal Stool, Wax

尺寸因空間而異 Dimensions Variable

2017


林瑞玉 Lin Jui-Yu

因移居東海岸,被簇擁在能量豐沛的山海與才華洋溢的朋友之間,而開始了雙手的勞動、嘗試不同材質的創作。捨不得生活中遇見的剩材廢料,把已經用過再也用不到的旗幟從垃圾堆中挑出來,把已經掉下還沒掃走的落葉從公園地上拾起,最後在自然中把已經爆掉還是找不到答案的自己撿起來,原來我們不過都是自然的小孩。

After moving to the east coast, the artist has immersed herself in the abundant creative energy from the mountains and the ocean as well as that of her talented friends. Therefore, she started to handmake art with various media. All the scrapes and recycled materials in life, such as abandoned flags from the garbage and fallen leaves in the park. Eventually, she has retrieved herself, who was once lost with no answers to life, and realized that we are all children of nature. 

《自然的小孩》Nature’s Children

複合媒材 Mixed Media

尺寸因空間而異 Dimensions Variable

2017


劉曉蕙 Liu Hsiao-Hui

六頻道錄像連作,訴說花蓮一條河流─美崙溪的風景。

居住在花蓮,每天可以清楚看見山海的臉,其色澤和形聲變化,已將人融入其中即使你不曾察覺。「自然的臉浮現,時間不在刻度,臉消失了,人看見風景。」當人與自然面面相對,現象召示時間的不對等,當人臉被顏料佔滿,行動出自我的時間軸-「我即是風景」。

This 6-channel video depicts the scenery of Meilun River in Hualien. 

Living in Hualien, people can clearly see the visage of the surrounding mountains and ocean everyday. The changes of their colors and sounds have incorporated the existence of humans even though people might have never realized it. “The natural visage emerges; time does not exist in the dial. When the face disappears, humans see the natural scenery.” When humans face nature, the phenomenon reveals the asymmetry of time. When humans’ faces are covered in paint and their actions embody individual timeline, they proclaim, “I am the scenery.”

《有河氏》There is a River

六頻道錄像裝置 6-channel Video Installation

尺寸因空間而異 Dimensions Variable

2017


李翎 Lee Ling

他是一個憂鬱的人,

每天不停地打轉,

司機問他,什麼時候才肯回家,

他說,他要睡在怪手前,其他人才有家可回。

He is a melancholic man, wandering around every day. 

A driver asked him when he would go home. 

He replied that he would sleep in front of the excavator instead,

So other people could have a home to go back to. 

 

你是一個唱歌比說話還多的人,

因為那群人聽不懂古老的語言,

唯有歌聲能穿越高牆,

雖然牆從不倒下。

You sing more than you talk, 

because that group of people do not understand the ancient language. 

Only the singing can pass through the towering walls,

even though the walls never tumble down. 

 

我是一個被颱風絞碎寧靜的人,

在白天,陣痛撕心裂肺,

在夢中,卻能自由呼吸,

醫生說,這是,後遺症。

I am a person whose tranquility in life has been torn apart by typhoons. 

During the day, the pain is excruciating and unbearable. 

Yet in the dream, I can breathe freely still. 

My doctor said, “This is the aftereffect.”

《後遺症》Aftereffect 

裝置 Installation

尺寸因空間而異 Dimensions Variable

2016


饒愛琴 Rao Ai-Chin

插上旗子拉幾條線,這是我的。

你的、我的、他的都在線裡面,

線的外面是原來的土地的嗎?

那麼多的線要怎麼分是誰的?

你的線拉多了不小心變成陷阱,

放陷原只是為了溫飽家人,

現在是網住慾望與貪婪,

回過頭來我們已被困住。

Sticking the flag and putting the strings around, the land becomes mine. 

Yours, mine and his are all demarcated by the lines. 

Do the parts outside the lines belong to the original land? 

How can you tell whose land it is when there are so many lines? 

The strings intertwine so much they might accidentally become traps. 

Setting up traps was originally to catch gains to put food on the family table. 

Now, it has formed a web of desire and greed,

that we have inadvertently trapped ourselves with. 

《標記・放線》Demarcation in Line

棉線、竹子 Cotton String, Bamboo

尺寸因空間而異 Dimensions Variable

2017


陳若軒 Chen Ro-Hsuan

凱道部落在228公園紮營將近一年,2017年九月中旬藝術家們發起了十天駐地創作,攝影師陳若軒透過相機,以紀實攝影的方式參與,將所有被刪除的行動記錄下來。如她所說:如果將紀錄片比喻做一本小說,那麼平面紀實對她而言像是一本詩選。透過鏡頭呈現著所感受到的理解與觸動多過所有文章、筆戰、贊同與不贊同背後的諸多原因。只因它正在進行的就是生命,默默地以緩慢的姿態表述著價值,拒絕一言以蔽之的喧囂。

“The Ketagalan Tribe” set up camps in 228 Peace Memorial Park for almost one year. In September, 2017, the artists initiated an art project to create site-specific works. Photographer Chen Ro-Hsuan participated in this project through the camera lens. In the form of documentary photography, Chen documented all the actions that have been deleted. In her opinion, if documentary films are like novels, documentary photography is like a collection of poems. Through the camera lens, the images demonstrate a sense of understanding and palpitation stronger than all the various reasons underlying past articles, writings, agreement and disagreement. The reason is that documentary photography records the ever-going life, quietly and slowly expressing the values as well as the voices that refuse to be silenced with simplifying words.

《Day 214 - Day 222》

紀實攝影 Documentary Photography

2017


林琳 Malay Makaluwan

島上有位時間看守者

觀察植物開花、落葉

A guardian of time lives on the island, 

Observing the flowers and fallen leaves of plants. 

 

日出日落卅次

After thirty sunrises and sunsets,  

 

就在繩子上打一個結

告知族人

第一個祭儀的開始與

最後一個祭儀的結束

The guardian would tie a knot to inform the tribesmen 

The beginning of the first ritual and 

The end of the last one. 

 

Dxgal o dara rudan 土地是血

Dgiyaq o ririh mswayi山林是家

 

The land is the blood. 

The mountains are the home. 

 

44年前打了一個劫

50戶的太魯閣族人被趕下山來

門牌掛在樹幹

連住的地方都沒有

A robbery took place forty-four years ago. 

Fifty Truku households were evicted from the mountains. 

They could only hang their door plagues on the trees,

Having no place to stay. 

 

遠東集團的亞洲水泥

以詐騙與偽造而來的權利拋棄同意書

開闢新城山礦場

徐旭東說礦區挖得越深越好

用個魚池啊或者是游泳池啊

免環評還可以繼續挖20年喔

Asia Cement Corporation that belongs to the Far Eastern Group 

Cheated them to wave their rights with fraudulent documents 

So that the corporation could develop the mines in Xincheng. 

Douglas Hsu said the deeper the mines the better

May be used as a fishpond or a swimming pool. 

The mines can even continue for another twenty years without environmental assessment. 

 

土地變成一包包的水泥出售

家園的記憶都已被挖空

時間都已凝固成泥灰

The land becomes packs of cement to be sold. 

The memory of the homeland is mined until it is empty. 

Time becomes hardened like the cement powder. 

 

飛魚被鬼頭刀追趕躍出海面飛翔

觀光客丟下塑膠袋變成塑膠飛魚

我們變成我們吃下肚的

生活變成活生生的地獄

The flying fish chased by mahi-mahi jumped out of the sea surface. 

tourists throw away plastic bags that turned into plastic flying fish. 

We have become what we eat, and 

Life has become a living inferno. 

《結繩記事系列-我家山上有座游泳池、海上飄來的白色惡靈》

Knotting Series-My Family Has a Swimming Pool in the Mountains

Knotting Series-The White Evil Spirit from the Ocean 

水泥翻模、影像輸出 Concrete Cast, Digital Print

尺寸因空間而異 Dimensions Variable

2017


伊命・瑪法琉 Iming Mavaliw

在時間的河流裡,巨大的高山被雨水沖刷分割成為美麗的谿谷,而中央山脈與海岸山脈之間狹小平原,造就多少部落美麗的發生。東海岸更是在得天獨厚的地理位置,文明的腳步甚少汙染,讓部落在傳統洗禮中,過著隨四季變化採集、漁獵的生活,與潮間帶更是密不可分。

In the river of time, high mountains have been washed and cut into beautiful valleys by rain water. The strip of land between the Central Mountain Ridge and the Coastal Mountain Ridge has given birth to many indigenous tribes. The east coast, because of its unique geographical location, has been less polluted by the modern civilization. Keeping their tradition, the tribes live a gathering and fishing life pertaining to the season’s cycle and keeping a close relationship with the intertidal zone. 

 

對伊命而言,從時間的角度來看,不論是地理環境或是部落文化,其實都是被穿透,只是速度快或慢而已。日據之前,原住民沒有貨幣的困擾,大家採以物易物、換工的方式生活。國民政府來台後,文字金錢讓原住民喪失土地、姓氏,甚至為了生活必須離開部落,前往遠洋或都市打工賺錢,我們的傳統文化與人性也在不知不覺中被穿透,最後我們也不再是我們。雖然這些年,部落還是有一群人在努力維護傳統文化,但總跟不上被穿透的速度。

For Iming, from a temporal perspective, both the geographical environment and the tribal culture have been infiltrated; the only difference is the speed of infiltration. Before the period of Japanese rule, the indigenous peoples did not use currency and lived a life by exchanging goods and labor. After the Nationalist Government came, written words and money have cost the indigenous peoples their land and names. They even need to leave their tribes for livelihood, going distant ocean or looking for jobs in the city. Our traditional culture and humanity have been unknowingly infiltrated. At the end, we are no longer ourselves. Although there is a group of people that has been endeavoring to preserve our traditional culture throughout these years, yet the efforts of preservation have not been catching up with the speed of infiltration. 


《穿透》Infiltration

木、水管、石頭 Wood, Pipe, Stone

300x230x357cm

2017

相關教育活動 Educational Programs

講座名稱 LectureMOCA Studio「還原-土地之歌」《傳統領域的現代意義》座談

講座時間 Date:2018/02/02 Fri.15:30-17:30

講座地點 Place:台北當代藝術館 一樓活動大廳

主講人 Speakers:

徐文瑞 / 知名策展人、潘小雪 / 台北當代藝術館執行總監、參展藝術家

簡介 Introduction:

有些研究顯示,許多戰爭來自環境變遷,開始是缺水,接著食物短缺、遷徙、種族紛爭、信仰差異、歧視、戰爭。由於歷程長久,以致於我們只看到表面而找不到最初的原因了。二十世紀下半葉,臺灣的土地開始出現經濟發展與環境破壞的矛盾:化工廠汙染溪流、農場違建民宿、原住民土地被掠奪與不當開發、火力發電廠大量排放廢氣,這一切所造成的環境負擔與土地不正義,使得社會衝突全面展開。其他如農地不農用、土地液化造成地震災害、漁港密集開發造成海岸線水泥化、國家公園水泥公司炸山採礦等。這些事件還持續發生著。每一個事件背後隱藏的都是無知和貪婪,土地成為這一場權力遊戲的犧牲品,而最終的後果則是由全人類共同承擔。期待大家可以試著聆聽大自然的聲音,並重新思考對於土地的使用,停止沒頭沒腦的開發。講座將邀請知名策展人徐文瑞與參展藝術家們,重新定義「傳統領域的現代意義」,歡迎報名參加。

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