Charnwood
RTSLIN Taiwan
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Contents
Wu Ma-Li 4
Wu Cheng-Chang 22
Art Exchange in Taiwan 36
Urban Regeneration Station 52
Treasure Hill Artist Village 62
Front cover by Wu Cheng-Chang (2002) Jia Dong Left: Taipei Lantern Festival in Treasure Hill Artist Village Courtesy of Treasure Hill Artist Village
An Art and Environmental Care Practitioner
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Wu Ma-Li 5
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Edible Landscape, Taipei (2008)
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Writer: Chen Hui-Tzu Photos: Wu Ma-Li by Yao Rui-Zhong
W
8
u Ma-Li was born in 1957
and is a successful educator. She
in Taiwan. She studied
inspires her students’ creativity and
at Kunstakademie Düsseldorf,
encourages them to participate in
Germany and went back to
community-based activities.
Taiwan in 1985. From her early
In 2013, her art project ‘Art as
art works up to her current art
Environment at Plum Tree Creek’
activities she was always thinking
won the prestigious ‘Taishin Arts
about what the role of the artist
Award’ in Taiwan, this was a big
should be in Taiwanese society.
achievement for her and her team
She aims to use her artistic thinking
‘Bamboo Culture Studio’. This
and art experiences to draw
award is not only a milestone in
peoples’ attention to the issue(s)
her artistic career but also gives an
of Taiwan’s environment. Wu Ma-Li
important indicator of the value of
is very passionate about teaching
Taiwanese community arts.
Formosa Club (1998)
Secret Garden (1999)
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Conversation with the Artist In the past, you used art works as
also affect changes related to
an entity to criticize Taiwanese
societal issues. In recent years, I
society. However, recently you
decided to do this through the
start to use your art experience to
vehicle of art education to guide
teach people and remind them
people towards realizing the
to care about environmental
problems and to encourage them
issues through establishing art and
to participate in arts activities.
environment activities. What was the main reason that influenced
According to your experience of
you to change your approach to
events in the community, what do
art?
you think is the most difficult thing about inspiring people who have
My art works focus on caring about
had no previous arts experience?
issues in society. I had created
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individual art works for ten years.
Art is very attractive. People usually
Although I tried to remind people
love art. Also it is very difficult
about the problems I had found,
to define what art is so we can
I still felt my works were useless in
keep an open mind. A problem
doing anything to change those
we have had before is that some
problems. Consequently, I started
people think that learning art is
to think of a new way, whereby,
useless. It is very difficult to earn
I can not only display the art but
money by producing art. Hence,
‘Cloth Play’ workshop - the Taipei Awakening Association
we try to let them to understand
very hard to get them to accept
the value of the art in different
something different. However,
ways. Sometimes, it take time
for me, this might not be such a
before they understand. Another
serious problem. Although some
problem is that people have
people think the ‘art activities’
a fixed thought or imagination
are not ‘real art’, they can still act
about art. They think the fine arts
through these activities to increase
is the only way to display art so it is
their thinking and imagination.
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What do you think about the recent
Who will support this work?
evolution of Taiwanese art circles? I think it is very difficult to have I think the biggest change in
much support from the government
Taiwanese art circles is that there
in Taiwan due to the size of the
are more and more young artists
country and lack of sufficient
starting to realise the importance of
resources. However I suggest that
environmental issues. They use many
young artists need to insist on their
different ways to display their ideas.
own ideals and not give up.
These young artists are starting to think what the role of the artist in the
We know that you have an
society is and how they can use art
exhibition in Blackburn and also
to improve the world. I think these
have an experience of cooperating
are really positive ways to improve
with Charnwood Arts. What do you
the arena of the arts.
think are the differences between
Quilt of Souls - ‘To Wake Up Under Your Skin’ (2001)
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Edible Landscape, Taipei (2008)
Taiwan and Britain in developing
community arts is just community
community arts? How can we learn
work. The resource we can call
from the experiences of each other?
on in Taiwan are very limited. Therefore, I think that there are
I had an impressive experience when
points that we in Taiwan need to
I did the exhibition in Blackburn. I
learn from the UK.
learned a lot from that.
Britain could also come to know
I saw a British community that was
that Taiwan has been, at times
dramatically changed by the
dominated by European countries.
Industrial Revolution and also I notice
Our location has allowed Taiwan
that the social structure between
to become an important transfer
our two countries is very different. I
station for trade. I think that as
think Britain has a bigger emphasis
an island Taiwan can share their
on community arts. There are many
historical experience with Britain.
arts organisations there. However,
They can, through those histories,
in Taiwan, community arts has not
look back at the past and what
fully developed yet. There are just
they have done in this country
a few artists who do this type of arts
and review and think about what
work. Some people still think that
Imperialism is and the effects it had.
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Seeing the whole river system on the top of Datun Mountain
Can you explain what
Plum Tree Creek’ for two years.
‘Environmental Art Movement
This work was actually set up in a
at Plum Tree Creek’ is? After
place where I have lived in the
this project won the ‘Taishin Arts
capital Taipei. There is a creek
Award’ what impact has this
called ‘Plum Tree’. This creek
made?
had been severely polluted and strong smelling for a long time.
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We have been running the
No one had taken it seriously.
‘Environmental Art Movement at
The local government had built a
road that covered up this creek.
this issue. There were two targets
Consequently, I discussed with
that we wanted, both people and
the local community how we
government, to respond to in order
might organise activities together.
to help bring about change for
Our plan was that through these
this watercourse. The first thing we
activities, we would like to remind
wanted to do was to clean up the
the local people that there is a
water in the creek and the second
creek in this area. We also wanted
was to encourage the government
to push the government to face
to restore a natural open flow 15
rather than have it covered in concrete. However, it can be very difficult to use the art to change these types of situations. Nevertheless we developed art activities to attract local people to participate in this project. The first thing that we did was to enable the participants to come to know the origins of the creek. We found that the pollution was actually from domestic wastewater and the pig farmers upstream. In terms of the domestic wastewater, we noticed that there was no proper sewerage system in this area. As far as we knew the government was about to build up the sewerage system. As a result this aspect of the problem will be better in future. However, for the pig farmers, we thought that it was not necessary to ask them to move. We thought that the pig farming could provide a positive educational advantage for the urban children locally. They could know where their
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Breakfast at Plum Tree Creek:
: The recipe for seasonal food.
food is coming from and how the pigs grow up. Consequently, we hoped to help the pig farmer to build up a relationship with a local vegetable farmer and ask them to use organic methods to make the animal waste into manure. In the first stage of the ‘Environmental Art Movement at Plum Tree Creek’, we focused on communication with the local community and how to encourage the local government to join with this project. Now, we have received a lot of support from New Taipei City. The government commissioned a professional team to re-research and replan this area. Moreover, we used the school as a stronghold. Through the art events, the local community started to care for their hometown. In the future, we will keep working on this project. More activities and cooperation will be organised to try to make this area better.
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Environmental Art Movement
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at Plum Tree Creek (2012)
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After the ‘Environmental Art Movement at Plum Tree Creek’, what are your plans for the future? In the north of Taiwan, we have a team involved in ‘Plum Tree Creek’, it is called the ‘Bamboo Culture Studio’. As a result of the ‘Taishin Arts Award’ we will ask the local residents to submit proposals and use this prize to make them real. In the South of Taiwan, I support the arts projects from my students in the university where I teach. We are working in Cijin, a former fishing village, Kaohsiung City, as well as in Dapu, a farming village in Chiyi County. I will continue to introduce these ideas to new students and encourage them to join projects as well.
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Can you give us some feedback
I think it is a valuable experience
about working with Charnwood
to work with and have the
Arts on the project ‘Inconvenient
communication between me and
Truth: New Environmental Art in
Kevin Ryan from Charnwood Arts.
Cijin’?
Taiwan doesn’t have a community
art centre. Through these joint work
interesting to understand what foreign
experiences we can learn from
artists think about Taiwan. Through
Charnwood Arts and also find the
other people’s views and actions, we
possibility for Cijin to create an art
can review ourselves and learn more
centre. Moreover, I think it is very
things that we never noticed before.
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‘
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The scenery seems to be beautiful. However, behind those beautiful views, there are absurd stories and the environmental crisis
Wu Cheng-Chang T he Powe r o f Pho to graphy
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Writers: Liao Yun-Ching, Chen Hui-Tzu Photos by Wu Cheng-Chang
W
u Cheng-Chang is a photographic artist and art educator in Taiwan. In his professional career, he used to be a photo journalist and commercial photographer. After several years of professional photography, he wanted to present his opinions and express his unsatisfied emotions from the issues which had happened in his life. This idea and continuing emotions encouraged him to create his first series ‘Seeing and Construction’ which was published in 2005. When he started in education work in University, Wu Cheng-Chang was very busy with his teaching. He had to strike a balance between his family and his work. However, his life was uncertain in those days. This uncertainty and working pressure pushed him to pursue the creation of art. Consequently, he began to take photos from interesting moments of his family from day to day and produced the ‘Family Life’ series. This series allowed him to realize that the arts could enable him to evade this difficult situation and also helped him to discover new things that he had never noticed before. This experience strongly influenced his creative thinking. He began to use photography to build up connections between emotion and the image. 24 Question Mark (2005)
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Earth (1999)
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Family Life (2004)
Separation (2004)
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T
he Vision of Taiwan is a series
in which his viewpoint is that
of a discoverer of the problems of Taiwanese society. Through this work he attempts to warn people to pay attention to those issues.
“The scenery seems to be beautiful. However, behind those beautiful views, there are absurd stories and the environmental crisis.” The first picture in this series was taken in the corridor of a school. Wu Cheng-Chang said “I was very stressed in that moment. I had stopped photographing for four years because of my heavy school work. I really wanted to breakthrough that situation.” In his images he began using a flashlight to break up the presence of his face. In order to make these pictures Wu Cheng-Chang used the flash repeatedly during long exposures. The flash needed to accumulate energy and release strongly enough so that his face could be obliterated. School (2007)
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Taihsi (2009) features the No.6 Naphtha Cracking Factory and a local oyster bed. Heavy industry and farmed fish industry are located in the same area.
I
n 2010, ‘The Vision of Taiwan’
“I tried to use the photographs
won the photography
to reflect my inner self at that
award of ‘The Power of
moment. The flash helps me to
Self’ in New York. This award
vent my emotion. The blank face
increased his international
shows that people try to ignore
popularity. He became one
the problems. The photos show
of the key representative
my protest and also question
photographers in Taiwan.
the state of the environment in Taiwan.”
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Wu Cheng-Chang thinks that
�The value of photos can
photography is a good media
increase through time.
to demonstrate environmental
Sometimes, I look again at
issues and societal problems.
pictures I have taken before.
Although it might be very difficult
I realize that some photos
to have any substantive change
I thought were useless and
in reality, images can still lead
plain, are now the most
people to think and also enable
important and valuable
them to review the past. He recommends that people should
photos�.
not delete photos randomly. He says that:
River Bed (2010)
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Top left: T-bar and Rice Field (2011) is a picture showing illegal advertising panels (T-bar) set up in a paddy that insinuates a business relationship between the farmers and advertising company. For the farmer, the rent which is received from the advertising company is much higher than the income of the rice
Top right: Bridge Pier (2007) shows bridge piers filled with creeping, clinging plants. These plants will eventually destroy the structure of piers.
Bottom left: Pingtung Airport (2011) shows this idle and disused airport and also accuses the government for the waste of money on undertaking development without the correct assessment.
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How can we become a good photographer?
T
o be an art photographer, Wu Cheng-Chang thinks that people
need to be careful about the environments they live in. People need to think about their lives carefully. Sometimes you might think painful things, sometimes you need self-reflection. A good photographer
“Nowadays, the camera is very popular but only few people know how to use photography to do something worthwhile. I hope I can teach people to discover their life through the camera and use my photos to inspire the young photographers.”
needs to be sensitive and try to discover the things that people do
Wu Cheng-Chang not only teaches
not notice. Wu Cheng-Chang thinks
at the university but now also gives
that the ‘dissatisfaction’ is a creative
lectures in some communities. He
force. The camera is the extension
tries to share both his personal
of the eyes. People can see through
experiences and teach people,
the image to discover new things
who are interested in photography,
and change their views.
to shoot better work.
Top Right: Wire (2007) displays disordered wires which implies many decisions that the government has taken in the past without much consideration
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Bottom Right: Driftwood (2009) displays the situation after the Typhoon Morakot flood. Thousands of pieces of driftwood emerged through the flood from the mountains.
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Arts Exchange in Taiwan 37
International Arts Link: Taiwan & Britain
A
rt offers both a common and
which combine with international
uncommon language of the
cooperation, education and local
world. It can be representative of
culture. Both exhibitions were
different cultures and histories. It
organised, with partners, by curator
can provide a flexible solicitude.
Ming Turner who is working to build
Through different processes of art
up the arts links between Taiwan and
and arts, and cultural exchange,
the U.K. The projects use workshops,
people can be attracted, identified
performances and exhibitions as well
and understood. Issues from different
as visiting the local communities and
parts of the world can be shared and
schools to improve art exchange
highlighted in order to be resolved.
and communication between each artist and the audience. Through
‘Beautiful Life: Memory and
such projects, as a continuity, it is
Nostalgia’ and ‘An Inconvenient
hoped that some areas may find
Truth: New Environmental Art in Cijin’
new possibilities for development
are both transnational exhibitions
through the arts.
38 Cijin seaside
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An Inconvenient Truth: New Environmental Art in Cijin
C
ijin is an island district
its prosperity and becomes one
in the south of Taiwan.
of the slowest development
The location is at the
areas and a backward district
seaward side of Kaohsiung
in Kaohsiung. The recession of
harbor. In the past, it was a
trade markets have resulted in
key location for the military
the younger generation moving
and trade due to the natural
out of this district. Business in Cijin
landform and position it
is mainly composed of tourism
occupies. Cijin is also the
and small scale shipbuilding
birthplace of Kaohsiung. From
and renovation rather than the
the 18th to the 19th Century, Cijin
traditions of fishing and trade.
was the most developed and
The beautiful coastline has been
the most prosperous area in the
damaged by pollution and
south of Taiwan. The first school
waste. Increases in youth crime,
in this area is over one hundred
the issue of foreign brides, as
years old and the first inn was
well as the ageing population
also located in this area too.
have become significant
Nowadays, Cijin has largely lost
problems for this community.
Top Left: Cijin local residence
Bottom Left: Historical site - Cijin Tian-Huo Temple
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A
n Inconvenient Truth: New
of artworks that were exhibited
Environmental Art in Cijin
in four different locations in
was an art exhibition trying to
Cijin. The exhibition, combined
arouse people to take more
with art and culture, provided
notice of complex issues in this
art activities, workshops for
area. The name of this exhibition
children, videos, visual art, films,
was influenced by Davis
photography and performance.
Guggenheim’s documentary
Through these different art
film in 2006 that was correlated
practices, it was hoped that
to the environmental issue of
people could be attracted to
global warming. The exhibition
consider or rethink the issues of
through the theme of “New
their hometown.
Environmentalism” aimed
Recently, the Kaohsiung
to remind audiences of the
government started developing
importance of the ‘human’ in
Cijin to be a seaside tourist area.
this society and also highlight the
However, the wave breakers,
political, social and economic
water pollution and geographic
problems that humans need to
restrictions have already
face in their lives.
become obstacles to these developments. Consequently,
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The exhibition collaborated
this exhibition also expects to
with Taiwan Studio, Exhibition
influence local government
and Arts Labor Union, National
to think of the possibility of arts
Kaohsiung Normal University
development in this area and it
and Charnwood Arts in the UK,
hopes that more arts projects will
to create nine different themes
now take place here.
Exhibition information:
Date: 07/12/2012-13/01/2013 Location: • Cijin Shell Museum • War and Peace Memorial Park and Theme Hall • Fengshan Temple • Cijin District Office Curator: Ming Turner Partners: Charnwood Arts Main Organisers: • Taiwan Extra-patriot Veterans Association • Graduate Institute of Interdisciplinary Art, National Kaohsiung Normal University.
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Paul Gent (2012) Cijin Map: this mural painting was a cooperation between artist and primary school students.
Li Hung-Wei (2012) ‘Master’s Jelly 1’ (Cijin edition): this art work focused on the tourists’ pilgrimage to Cijin and how their tastes and consumption are guided by the media and celebrity promotion.
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Lee Xue-Chia (2012) ‘Stories of Those Unknown-Snow Sacrifice’: a performance art piece in the Shell Museum. A performance of historical fact about the story of a young woman’s ghost.
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Beautiful Life: Memory and Nostalgia “Myth and symbol as sources of nostalgia appear more real than everyday experience, which itself is beset by ambiguity and flux. The past is compacted into a cohesive, unitary whole that appears as a kind of goodness-in-itself-totality, above reproach and criticism.” DaSilva, Fabio B. and Faught, Jim. (1982)
B
eautiful Life: Memory and
behind the exhibition. Firstly, to
Nostalgia is a transnational
inspire the imagination of past and
exhibition which toured in Britain
future. Through different art works
(Bracknell and Hinckley) and
audiences can make their own
Taiwan (Kaohsiung). The exhibition
fantasy in response. Secondly, the
cooperated with twelve artists
exhibition tried to follow something
from different countries and
of the international Olympic spirit,
included art workshops, video art,
to cooperate with artists from
digital print, objects, performance,
different countries, backgrounds
installation and painting.
and art types. Thirdly, ‘diaspora’ is a very important concern of the
The exhibition idea was influenced
work as a whole, displacement
by DaSilva and Faught (1982)
and re-finding aspects of self and
‘Nostalgia: A Sphere and Process
identity in a new environment or
of Contemporary Ideology’,
artistic pursuit. In human history,
which talked about nostalgia
migration across geopolitical
and the importance of it in our
borders has long been an essential
lives. There were three key points
element of our activities. The
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development of technologies
he was a former director of the
has accelerated the migration
East India Company. Hinckley’s
of human beings and increased
Atkin’s building was a former 19th
the level of cultural exchange.
Century socks factory exporting
However, these increases also
around the world and Pier 2 Art
create other problems, ‘identity’
District in Kaohsiung City was
and ‘belonging’ become
an old warehouse area next
serious issues for those involved
to the trade goods quayside.
in the processes of emigration/
Therefore, the audiences had
immigration.
an extra dimension when visiting the exhibition in these historical
All three of the exhibition places
buildings. Through nostalgia we
had a particular historical meaning
review our personal histories, artists
related to the themes of the
too can bring back disappearing
project. South Hill Park in Bracknell
memories.
was William Watts’s retired home, 48
The Beautiful Life project also engaged many hundreds of people through participation in all three venues. Working in partnership with UK based Charnwood Arts we encouraged
Exhibition information: Date: 10 Sep – 13 Nov 2011 • Venue: South Hill Park, Bracknell
further communication between
Date: 28 Nov 2011 – 13 Jan 2012
audiences and artists, through
• Venue: Creative Hinckley Gallery,
drawing and writing, film and also through talks and presentations. The project was very successful both in terms of the quality of
Hinckley Date: 7 - 29 April 2012 • Venue: The Pier-2 Art District, Kaohsiung city
presentation but also for the stimulation it gave to form new relationships and follow on
Curator: Ming Turner
collaborations. 49
An extensive website about the Beautiful Life exhibition can be found at:
www.beautifullifeexhibition.com
The South Hill Park mansion is a Grade II listed building. It was built in 1760 for William Watts for his retirement from service as a senior official of the Bengal Government.
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Pier 2 Art District in Kaohsiung City was an old warehouse area next to the trade goods quayside.
Hinckley’s Atkin’s building was a former 19th Century socks factory exporting around the world.
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The Combination of Tradition and Modernity
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Urban Regeneration Station 53
Writer: Chen Hui-Tzu Photos: Chen Hui-Tzu, Liao Yun-Ching
T
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near to Dadaocheng Harbor in Taiwan’s capital city, Taipei. In the 18th Century, this market became the
aiwan is a multi-cultural country
core location for foreign firms to bring
influenced by both Western and
merchandise and to do business
Eastern cultures. Tracing back to
with the local, Chinese and others
the early years of Taiwanese history,
traders from overseas. After nearly
Taiwan was dominated at different
two centuries of prosperity and then
times by Spain, Holland, Japan and
decline, Di-Hui Street eventually lost
China. This historical trajectory has
these trade advantages.
not only played an influential role in
Nowadays, Di-Hua Street is a well-
developing Taiwan’s culture, but has
known place for the Taipei New Year
also laid the basis for the country’s
Market. The special structure of
importance in terms of international
those old buildings are cherished as
trade. Di-Hua Street is the site of
full of historical significance and also
one of the most famous old markets
arouse people’s nostalgia.
U
rban Regeneration Station
located on Di-Hua Street called
(URS) is an arts and cultural
URS44, URS127 and URS155. All
project from the Department of
the station designs are based on
Urban Development of Taipei City
different local characteristics.
Government. This project started
They are used for the exhibition
in 2010. As opposed to the past,
of traditional culture, humanity,
when they often destroyed old
creativity and sub-cultures. The
facilities to develop new art spaces,
Taipei city government also co-
this project tried to renovate old
operates with civil society groups
buildings to turn them into art
to encourage them to develop
spaces for the community. URS also
cultural and creative events and
aimed to remind people of the
workshops in those areas. URS gives
former glory and significance of
a possibility for those old parts of
these old buildings.
the city to become once again
There are seven URS (stations) in
significant and to foster the creation
Taipei city now. Three stations are
of new and inventive art forms.
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beautiful flower shape clay lowURS44
reliefs and an oval cartouche.
Address: No.44, Sec. 1, Dihua St., Datong Dist., Taipei City 103, Taiwan (R.O.C.)
This kind of cartouche is vulgarly
Tel: +886-2-2555-8484 Email: tw.ihrm@gmail.com Open: Mon-Fri 10:00-17:00
referred to as “Abalone Decoration” and it is by a local artisan. These decorations are used to highlight the wealth of the building. Moreover, behind the pediment, there
U
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is a stepped shape facade
RS44 is in front of Yong-le
decoration. This decoration
market which is a famous
imitates Dutch architectural
market for selling fabric.
design.Inside the building, there
Originally, the building of URS44
are several places that can be
was used as a food and fruit
used for workshops, exhibitions,
shop. Thanks to the URS project,
events and lectures. Some
the building is now a ‘story
space in URS44 has already
house’, it is used as a cultural
been used for exhibiting the
exchange platform, as well as
traditional Taiwan worship of
a centre for promoting culture
Cheng-Huang and the historical
and history. It is very interesting
stories of the local area.
to observe the architectural
URS44 additionally organises
style of this building. When you
occasional international cultural
look at the top of the facade
exchanges; promoting the
at the corner, there is a Roman
Taiwanese culture and history to
style pediment, decorated with
the world.
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URS 127 Address: No.127, Sec. 1, Dihua St., Datong Dist., Taipei City 103, Taiwan (R.O.C.) Tel: +886-2-2553-7688 Email: tku127@gmail.com Open: Tue- Fri 10:00-17:00
I
n 2009, the Department of Urban Development of Taipei City
Government in co-operation with Tamkang University, converted an old historical building, No.127 Di-Hua Street and gave it a new mission. The building became another free art space for exhibitions, performances and
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arts workshops; providing free
a worthy and interesting visit.
opportunities for local people,
Through these special architectural
university students and artists to join
designs, visitors can experience,
in with art activities and exhibitions.
appreciate and understand the
The design of the building is
particular aesthetics of traditional
combined with traditional Min-nan
Taiwanese architecture.
and Western-style architecture. The
URS 127 was officially opened in
house was made of the special
May, 2010. The building has three
brick called ‘Shimizu brick’. When
floors and five major exhibition
you look from the balcony, you
spaces. The second floor is usually
can see the window is arched
used for the Tamkang University’s
and the balustrades are designed
graduation show. Other spaces
to look like green vases. When
are for artists to make exhibitions
you enter the building, there is a
and workshops. All the spaces
bamboo shape pipe on the wall of
here can be applied for free and
the atrium. All this makes URS127
access is also free for visitors.
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URS 155 Address: No.155, Sec. 1, Dihua St., Datong Dist., Taipei City 103, Taiwan (R.O.C.) Tel: +886-2-2552- 0349 Email: campobag@gmail.com Open: Tue- Sun 11:00-19:00
U
RS 155 is a place for people to share their art experiences,
learn skills, and be inspired by the creativity of the arts. The building is of the traditional Min-Nan architectural style. This building was renovated and extended through the Qing Dynasty, the Japanese occupation and the early Republic. The bricks from this building show the characteristics of the different periods. In the past, this was a grain market and a traditional Chinese medicine trade house. Now, this building is used for promoting the significance of traditional Taiwanese food and culture. URS155 is mainly a place for learning and communication through and about art. They also present a concept of ‘cooking together’, to provide cooking courses for the visitors. URS155 also offers art workshops and exhibitions for visitors.
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T
herefore, the URS create both cultural and economic benefits for the
local area. The new art spaces help Di-Hua Street become prosperous again. Exhibitions and workshops attract more tourists and young people to visit this old market. Thus the traditional industries can be saved and are able to keep operating.The cultural and creative industry became a new type of business in this area. Consequently, DiHua Street became a place combining culture, creativity, history and traditional industries. The dialogue between the local people and artists are improving dramatically and the relationship between each other is steadily building. The URS have been activating this old community. This project not only builds up the new image for this old market street but also help this community to be developed sustainably.
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An exploratory journey of the artists village:
Treasure Hill
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‘
‘
Through the concept of arts, natural ecosystems and community ‘symbiosis’, an old village, that was scheduled to be demolished by the government, can be preserved and given new missions that will increase the vitality of this community.
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Writers: Liao Yun-Ching Chen Hui-Tzu Photos: Treasure Hill Artist Village by Chen Hui-Tzu and Liao Yun-Ching
The Story of Treasure Hill
T
aipei is the capital city of Taiwan. You might think the only scenery you can see there are high buildings
and busy crowds of people. However, there is a place to be able to time travel, a 1960s traditional Taiwanese community where you can access international artists’ workshops and join the variety of cultural activities. The history of Treasure Hill can be traced to the end of 17th Century. Immigrants
from mainland China came to Gongguan district in Taipei City and built up a temple which has been vulgarly referred to as ‘Guanyin Pavilion’ in the area of Treasure Hill. In the JapaneseOccupied Period, Treasure Hill was demarcated as a protection area of a water source and also as a military base, due to its important location at an intersection of Little Guanyin Mountain and the south bank of Xindian River. After the Retrocession of Taiwan (After 1947), it became an important military area of the nationalist government. 65
Treasure Hill Temple (Guanyin Pavilion)
F
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rom 1960s up to the 1980s, the
was re-zoned to be ‘Jhongjheng
army gradually left Treasure
297 (Youngfu) Park’. This project
Hill. This area was then
was based on the Taipei’s urban
occupied by shelters for retired
planning model. The unapproved
soldiers and poor migrants. They
constructions were required to
used local resources for building
be torn down and the residents
materials and started to build up
evicted from their houses that
their own houses. This village soon
they had lived in for ten years. This
expanded to 200 households
decision caused a lot of conflict
and also developed a special
and serious controversies. The
social network and relationships of
resettlement of residents and the
cooperation between residents.
issue of building preservation both
However, in the 1980s, Treasure Hill
became serious problems for the
Local Residential
Taipei government. The preservation of Treasure Hill is a process of the city’s self-awareness. After a variety of village preservation actions from activists as well as cultural and historical professionals, the architecture and life style of Treasure Hill village was finally protected. Treasure Hill is a place that is full of historical reference. In 2004 this area was registered and preserved as the first ‘historical settlement’ under the administration of Department of Culture Affairs, Taipei. Moreover, in 2006, the Organization of Urban Re-s (OURrs) repaired abandoned buildings in the village and began using them as art spaces, based on the policy of preservation and through activation of the community. This programme was not only for arts development but also to try and keep the original community together and respect their residency.
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W
hen you arrive at Gongguan tube station, you will find a bustling
shopping district. Then, as you turn into the small lane and go through the resplendent Treasure Hill Temple, you encounter a beautiful village called Treasure Hill. It is a small community and appears to be in a timeless world. The village is built along the river and to the contours of the mountain. The buildings link together like the teeth of a comb and also pile up one above the others. When you enter the village, the winding, undulating road leads you to discover an art adventure. Many art works, unexpected things, and old things re-decorated with new creations are hidden everywhere and inspire the visitors’ spirit of adventure. Through the concept of ‘settlement symbiosis’, the Department of Culture Affairs, Taipei has already planned the division of this village into three areas - ‘Treasure Hill Community’, ‘Treasure Hill Artist Village’, and the ‘Treasure Hill
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Traveller’s Hostel’. ‘Treasure Hill Community’ is a project that aims to keep the original community together and in place and find the balance between arts/artists and residents. In October 2010, the Treasure Hill Artist Village was officially opened with plans for 14 international artists’ studios, 11 ‘Micro Lofts’, a rehearsal room, exhibition rooms and outdoor exhibition spaces, as well as the 18-beds of the ‘Treasure Hill Traveller’s Hostel’. This was not only for creating opportunities for the artists, but there was also the expectation that the village would make a profit. For example, ‘Micro Loft’ is an
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idea that assists artists to find new possibilities to transform their careers. Also this idea tries to provide a platform for individual artists and creative teams to share and communicate with the wider society. ‘Tadpole•Point’ café is a good example, this café is a well-known art space inside Treasure Hill village. Visitors can have a coffee, visit exhibitions, listen to lectures and buy cultural and creative products. Another example, ‘Treasure Hill Traveler’s Hostel’ gives a realistic experience to the visitor of life in this village and offers a special historical feeling and cultural atmosphere. Treasure Hill Artist Village is managed by the Taipei Cultural Foundation. The philosophy for this village is try to find ways that not only keep both local characteristics and residents’ life but also can develop a cultural vision at the same time.
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In order to create a ‘settlement symbiosis’ community, the artistic creation should build a close relevance to the locality through participation and engaging ‘community memory’. They try to do this through humane care as well as inviting short to long -term cultural, creative or international artists to the village to increase interaction and communication between artists and residents. The idea is that all the events and exhibitions should be based on arts that link in some way to local characteristics. Through workshops, exhibitions, performances and educational activities, the communication between artists and residents is intensified. What is more, in order for the village to become sustainable, the artists and
Chie Koda (2012) Pictures Parade Ouendan This activity was created by Japanese artist Chie Koda. parade to exhibit her art works. The activity took place
residents have built an organic garden together. Also, they hold an event called the ‘Weekend Art Bazaar’ which is a weekend market to encourage visitors and artists to communicate with each other. In addition, in 2010, the City Yeast organization was invited to set up in Treasure Hill as a ‘City Yeast Living Room’. They cooperate with experts from different areas, artists and people, to spread their creative thinking in order to achieve urban renewal projects.
Traditional Kitchen in Treasure Hill Artist Village. It is a film This set shows the traditional Taiwanese kitchen. Althou in 2011 the set has been preserved for visitors to acces
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. She tried to subvert the traditional exhibition way, using the idea of a picture in April 2012 and the parade was across two districts in Taipei city.
m set from ‘Four Hands’(2011). ugh the movie was released ss it until the present day.
There are many small exhibitions in different places in Treasure Hill Art village. This picture shows one of the exhibitions at ‘City Yeast Living Room’. The exhibition help audiences to dicover colour in the world.
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Taipei Lantern Festival Opening Ceremony
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There is also a popular event
village. Through the celebration,
called the Taipei Lantern
exhibitions and activities in
Festival. This has been set up in
the festival, the Taipei Cultural
Treasure Hill Artist Village for two
Foundation hopes to bring simple,
years. This festival celebrates
wonderful art experiences for
the traditional Chinese Lantern
visitors as well as to build up the
Festival and has become
connection between this art
a significant activity in this
village and society.
The Symbiotic relationship between artists and residents in the Treasure Hill Artist Village
I
n Taiwan, using the arts to
residents, the government is still
give a new mission to an old
the main policymaker behind
community is not a new concept.
making this project successful or
Even though there are many
not.
experts who have already
Fortunately, this village, facing
participated in this artist village
squatter eviction and demolition,
project and engaged with the
through the use of arts residencies 75
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to activate the space, has
from this special place. They
preserved the original settlement
will also spread the story of the
and infused new vitality. This
Treasure Hill Artist Village to many
is a village that is organic and
different countries.
rooted in real life. The dialogue
The second term commissioner
here is between the local and
of The Department of Cultural
the international. Because of
Affairs Taipei, Liao, Hsien-
the special landscaping and
Hao said: “This place on the
the historical background, the
edge of the city is where the
‘original’ life trajectory echoes
vitality of the city is presented.”
with the ‘contemporary’ works of
Treasure Hill has gotten rid of the
art.
dilemma of history. Its shining
Treasure Hill makes artists
light was seen gradually. It is
become activists and brings,
just an inexhaustible treasure
the transnational and the
that is waiting to be explored
interdisciplinary inspired,
and excavated. It has not only
together, with a newborn
become an open space for
energy. Through the process
international communication
of participating and creating
and public sharing, but has
art projects, the residents have
also become a paragon of
a dialogue with the outside
the development of the city in
world and come to practice
Taiwan.
arts in their lives. This way leads
New wine injected into old
the residents to recreate the
bottles. Treasure Hill Artist Village
future and imagine their new
keeps fermenting, brewing
life through repairing their
so many new and active
space and building community
elements. It has a special density
consciousness. International
and flavour that is richer for
artists come to know about Taipei
exploration and experimentation.
The communication and interaction between the residents, visitors and artists in Treasure Hill Artist Village
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Acknowledgements Contributing: Artists:
Wu Ma-Li Wu Cheng-Chang
Exhibition
An Inconvenient Truth: New Environmental Art in Cijin Beautiful Life: Memory and Nostalgia
Art Centres & Associations:
Urban Regeneration Station Treasure Hill Artist Village
Producing Editors:
Chen Hui-Tzu Liao Yun-Ching
Photographs
Yao Rui-Zhong Wu Cheng-Chang Chen Hui-Tzu Liao Yun-Ching Kevin Ryan
Series Editor:
Kevin Ryan
Design Assistance: Jagdeep Ryatt Natalie Chabaud Project Assistance: James Chantry Terry Allen Rebecca Abrahams
First published in September 2013 Copyright: Charnwood Arts and Individual Authors
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‘Seeing and Construction: Mailbox’y by Wu Cheng-Chang (1999)
Charnwood Arts acknowledges core support from Arts Council England and Charnwood Borough Council.