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浮光我城-新竹市美術館十週年展

浮光我城-新竹市美術館十週年展

隨著時代背景與科技演變的不斷發展,人們對於良好居住環境的渴望卻始終未曾改變,正如建築學家夏鑄九所言,當「都市做為系統」看待之知識假設轉向「都市做為過程」的角度之時,城市做為生態系統之一環,追求永續發展之城市,它的真正困難在於人,在於政治與社會脈絡。故此,我們有足夠的理由相信,關於一座城市的變容與想像,非僅僅是著眼於建築與相關硬體功能上的翻新與進化,更應當在長久的城市發展過程中,挖掘出深具意義且得以和當下市民生活產生連結的地景、人文風俗等,方能共同交織出擁有多元發展面向、可以不斷隨著時勢來微調的有機體。

「浮光我城」一展之概念核心即由此出發,集結楊哲一、陳斌華、洪天宇、周代焌、唐唐發與鈴木貴彥共六位分屬不同世代、來自不同地方,並且運用不同媒材創作的藝術家們,以各自的觀點來面對一座城市的過去、現在與未來。當中既有出現在各個城市與鄉村的活力象徵,也有對於部分地區過度開發的針貶;既有日常生活隨處可見的美好俯拾,也有全球化移民時代的縮影觀察。在前身為新竹市役所、曾見證風城將近一個世紀歷史風華的興衰起落,後來活化為新竹市立美術館屆滿十年之際的這個空間規劃此一展覽,無疑具有跨時代的重要意義。

像是畢業自竹師美術系(國立新竹教育大學前身)的洪天宇,多年來踏查台灣山野,紀錄各地林相地貌之變化,並透過畫面上的突兀空白,點出人與自然之間雖然未必和諧,卻相互依存、彼此影響的特殊狀態。如是刻意的留白是提醒、針貶也是控訴,看似輕巧如針,實則力道強勁,展現了對於自然生態的深刻關懷。而在新竹土生土長,周代焌筆下所描繪的空間並非一時一地之指涉,畫面總流露出強烈的科幻未來感,藉此影射了當今世界的發展景況,同時也體現出年輕世代對於這塊土地的冷眼觀察。

唐唐發的「擺攤系列」作品結合了繪畫、雕塑、裝置跟行為等混合表現方式,重新看待人們熟悉的傳統市場,再以作品為媒介轉化這些意象,在美術館空間裡與觀眾互動交流,成為召喚記憶的開關,進而翻轉人們對於藝術的既定想像。與此同時,日本藝術家鈴木貴彥旅台多年,他以一介外來者,又是的雙重身份,挖掘出台灣各地城市混雜著多元文化的獨特氛圍。他蒐集檳榔攤等利用可拆解之臨時建材搭建而成、具有強烈在地特質的,結合影像手工製作出精細的模型,讓容易為人所輕忽的角落活轉過來,重啟眾人對於周遭環境的認識與理解。

來自宜蘭的楊哲一,觀察到蘭陽平原上在過去十數年間冒出無數遊走法律邊緣的待售「毛胚屋」,形成再真實不過,卻又令人難以理解的荒謬地景;而其「夢想家計畫」則邀請觀者透過自己的感知與想像,在已拍攝的影像上重新以不同的色彩來漆畫出心中理想的住居。在探討土地與居住正義之際,賦予更多樂觀正面的前進力量。而陳斌華的「市役所藝術公寓」藝術計劃,則是其繼「金萬萬藝術公寓」之後,希望在長達兩個月的展期中,於館內創造一個具共享經濟概念的實體藝文空間。不僅現場將展出CC0之個人創作授權影像作品,藉以推廣著作權共享之觀念;藝術家也會於特定時間,免費為觀眾拍攝肖像照並輸出,來訪觀者則可寫下生命中關於新竹的一則故事來交換。此外,現場也準備桌遊活動,邀請觀眾在遊戲中,分享彼此的新竹回憶。

透過這些藝術家的創作,相信你我都能以更清晰的視野來看待屬於自己,以及他人的城市變貌,並且以此作為基礎,進而推動人類生存空間的美學與心靈改造,構築傳統與新穎共伴的住居文化。


The pursuit of a better living environment hasn't changed as time and technology develop continuously. As the architect XIA Zhu jiu said, “When the knowledgeable hypothesis of cities turns from ‘city as a system’ into ''city as a process'', cities become part of the ecosystem. The difficulty of pursuing a sustainable city lies in human beings and the political and social structure. Therefore, we have adequate reasons to believe that to construct an organism that alters in trends, the imagination and changes of cities is not only about the development of hardware constructions, but also about the meaningful landscapes and humanities, which can be connected with civic life in cities’ long term development.
 
Curated from the concepts above, the exhibition Floating Glimpse of Our Homeland gathers six artists from different generations and regions, including YANG Che Yi, CHEN Pin Hua, HUNG Tien Yu, CHOU Tai Chun, TANG Tang Fa, SUZUKI Takahiro, creating with different medias. They face the city’s past, present and future through their viewpoints. The artworks present vibrant symbols of each city and village and the overexploitation in some areas; the lovely daily life and the epitome of global migration. It is meaningful and significant to curate this exhibition on the 10th anniversary of Hsinchu City Art Gallery’s renewal from the Hsinchu State City Affair Office, which has witnessed the city’s development for nearly a century. 
 
The artist HUNG Tien Yu, graduated from Department of Arts in National Hsinchu Teachers’ College (former National Hsinchu University of Education), has inspected and recorded mountains and forests in Taiwan for years. With the erratic blanks on canvas, the artist points out the interdependence and interaction between human and nature. The blanks present as light but powerful reminders, criticism and accusations, showing the artist’s deep concerns for nature. The artist CHOU Tai Chun, born in Hsinchu City, indicates the situation of the world nowadays through science fiction-like paintings, displaying the young generation’s indifferent observations of this land.
 
Connected to painting, sculpture, installation and performance, the artist TANG Tang Fa’s artwork switches on people’s memory by transforms traditional markets and interacts with the audiences in the art museum, providing a fresh viewpoint on markets and art. The Japanese artist SUZUKI Takahiko, having been living in Taiwan for years, seeks the unique atmosphere on this land of cultural diversity with a dual identity between foreigner and new resident. He collects dismountable building structures with strong local features, such as betel nut stands to make detailed models, letting the easily neglected places reborn and restarting the consideration of people about surroundings. 
 
Artist YANG Che Yi, from Yilan, Taiwan, noticed the real but ridiculous landscapes of those illegal “Non-decorated houses”, which popped up for sale over the past few decades in Lanyang plain. Inviting audiences to paint their ideal residences on photos with colors through imagination and senses, the artist hopes to bring positive power as the homeland and resident justice are discussed. The artist CHEN Pin Hua extends his previous projects and develops the art project to create a physical art space with the concept of shared economy during the exhibition. He not only exhibits the authorized works of CC0, but also takes portraits for audience for free in exchange of the audiences’ stories about Hsinchu City. Moreover, a board game is displayed to invite the audiences to share their memories of Hsinchu while playing. 
 
We hope that the city can be clearly viewed through these artworks, and on this basis, promoting the aesthetics in human's living space and spiritual reformation and constructing a living culture of tradition and progression.


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【浮光我城-新竹市美術館十週年展】
 
展期|2017/11/4(六)-2018/1/1(一) 9:00-17:00 (免費參觀,除1/1外,每週一休館)
地點| 新竹市美術館(新竹市中央路116號)
策展人|張禮豪、張馨之
參展藝術家|洪天宇、鈴木貴彥、唐唐發、楊哲一、陳斌華、周代焌
策展團隊|沃沃美學 wòwò Aesthetics

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