藝術總監 Art Director 李曉雯 Catherine LEE
策劃團隊 Project Coordinator 韓慶玲 HAN Ching-Ling
王正馨 Mabel WANG
扶若雅 FU Juo-Ya
施雅恬 SHIH Ya-Tien
戴孝慈 TAI Hsiao-Tzu 蔡易衛 TSAI Yi-Wei
李芳瑩 LEE Fang-Ying
高偉翔 GAO Wei-Xiang
鄭名均 CHENG Ming-Chun 劉又嘉 LIU Yu-Chia
張佳蕙 CHANG Chia-Hui
公關行銷 Public Relations
設計 Graphic Designer
陳孟蓉 Alice CHEN
范綱燊 Eason FAN
Statement
HAN Ching-Ling
展覽概念
韓慶玲
「光」是我們感知這個世界的媒介，幫助我們探索未知；「寶藏巖」乘載著我們 的想像，提供我們停泊的時空。 這塊稜角是依循著誰的想法而有了現在的樣子呢？有機體、無機體，獨立的個 體、總和的個體，每個物件如此破碎卻也完整的存在，包覆著彼此、依靠著對 方。生命是否在地球初生之時便同存於世，而人類是否真如進化論所述一步步 進化而成，當我們依賴著群體所擁有的親和需求（Need for Affiliation）或共同 目的在此相依相聚，我們是否獲得足夠的安全感去面對之外的變化，稜角經過 幾百萬年的碰撞摩擦早已被撫平，群體的形成如此有機也必需，我們絕非偶然 的在此親密相遇。 2020 是寶藏巖正式以「共生」概念，與各種「關係」相處的第十個年歲，春夏四 季，朝夕光陰。2020 寶藏巖光節以「共生關係」開始，凝望歷史的乘載，與之同 行，從土地生成孵化山野自然；河流行經孕育文明起源；宗教信仰群聚住民家戶； 衝突對抗遺留時代刻痕，這處充滿痕跡之所，與每個到訪的可見與不可見相互作 用，始終未完待續的相依相存。 人們需要光所以有了光，人們需要愛所以有了愛。以光之名，進駐空間與感知； 以愛之名，自力造屋與共生，接受刺激，接收資訊，最後，與之對抗，取得平衡。 光節作為寶藏巖得到外在凝視的通道，企圖透過它的方法，揭露歲月的堆疊，實 踐一個由形而上至下的生活場域，藉由「參與」行為，去爬梳、去累積。繼「創 作像海洋，愛你像光」、「又在這裡，又在那裡」、「野景」後，2020 寶藏巖光 節回望初衷，找尋 16 組藝術家及團隊加入，藉由當代藝術呢喃的話語，誘發觀 者成為故事中的角色，持續與我們共同書寫專屬寶藏巖的過去、現在和未來。 「相依的總和」－ 2020 寶藏巖光節，邀請你我一同在彼此生命中，與之共生， 相互追尋，但請記住，當我們相遇的那一刻，別忘記說聲， 「嗨。」
Through changing seasons and numerous sunrises and sunsets, the year 2020 marks Treasure Hill’s 10th year of engaging in various symbiotic relationships. This year’s Treasure Hill Light Festival departs from the theme, “Symbiosis Relationship”, as we gaze upon history, walk alongside it, and see nature flourish on the land. Rivers were where civilizations arose, and religions and faiths brought families and communities together. Epochal imprints are left behind from times of conflict and resistance, and in this place full of historical marks and traces are visible and invisible interdependent and interconnected links that are ongoing and to be continued. Whose ideas and thoughts have impacted this nook for it to become the way it is now? Each matter here, including those that are organic and inorganic and also t h o s e t h a t a re i n d e p e n d e n t o r h a ve grouped together, is so shattered, but its presence is still ever so complete. They embrace and lean on each other. Has life existed on Earth since the beginning? And has the human race gradually progressed as dictated by the theory of evolution? As our need for affiliation is provided for by being in a community, or as we congregate and rely on each other due to our collective objective, do we then feel secure enough to confront external changes? This nook has been under impact and friction for tens and thousands of years, and its jagged edges have long been smoothed out. The formation of a group, a community is ever so organic and necessary, and our intimate encounter here is certainly not serendipitous. L i g h t i s a m e d i u m t h a t h e l p s u s to experience this world and explore the unknown. Treasure Hill is filled with our imaginative thoughts, as it provides us with a place and a time to pause and wander.
The Creator needed light, and there was light. People needed love, and there was love. And in the name of light, we enter and experience this place. In the name of love, we create our dwelling place and coexist. We face provocation and take in information, and finally, we confront them and achieve balance. The Light Festival is a way for others to see Treasure Hill, and through it, attempts are made to reveal what has been accrued here throughout the years and for a living space that is both metaphysical and physical to be realized. Actions of combining and sorting through and gathering are conducted through participatory behaviors. Following “You are the Sunshine of My Life”, “Here and There”, and “A Land of Happiness”, the 2020 Treasure Hill Light Festival seeks to refocus on our original intention, as we look for 16 artists/collectives to join us in using expressions of contemporary art to inspire and transform audiences into characters of this story. And together, we will continue to write the unique past, present, and future of Treasure Hill. “Symbiosis Relationship” － 2020 Treasure Hill Light Festival invites everyone to come together and be a part of each other’s lives and for us to collectively engage in a journey of search and pursuit. When the moment comes for us to meet, please be sure to come and say, “hi.”
山城 53 號屋頂平台
邊境 13
Hill No.53 Roof Terrace
Frontier Gallery No.13
邊境廣場
Frontier Plaza
G
H
I
山城 53
Hill Gallery No.53
F 邊境 71
59 弄 2 號
Frontier Gallery No.71
J
E
N
閣樓青年會所
城南紀事，台北既視 South Town Story, Taipei Memory
Creative Lounge
K
O
A
創藝小客廳
No. 2, Alley 59
D
No.40 Select
Attic Traveler's Hostel
半樓廣場
Half-floor Square
成若涵 CHENG Jo-Han
B
窮繞－新店溪流域 Xindian River Basin
歷史斷面
Historical Facades
L
劉秋兒 Leo LIU
C
M
涼棚
Pergola
觀月計劃 #define Moon_ 何理互動 WHYIXD
D
圓垣不絕 Circle of Fragments
F
謝佑承 HSIEH Yu-Cheng X 王中原 WANG Chung-Yuan
E
說一道彩虹 Say a Rainbow
黃正裕 Ronson HUANG
F
夸父離日 Two Suns are Cooling Down...
G
葉澈 YEH Che
F
茻芔艸屮 wvvWV 不歸鹿 BUGRELU
在還在的時候 Before We Disappear 朱淑宛 CHU Shu-Wan
吳修銘 WU Siou-Ming
F
華麗雨林 Poecilotheria
無題 -TPE Untitled-TPE 陳松志 CHEN Sung-Chih
H
福和寶藏 Lucky Treasure 邱承宏 CHIU Chen-Hung
導覽活動 Guided Tour
開幕活動 Opening Party
10.31 / 11.01 樂齡專場導覽 For Senior Audience
寶藏巖光節 Treasure Hill X 簡單生活 Simple Life
9.19 sat.
C 綠野地 Picnic Field
13:00-20:30
簡單市集 Simple Market
17:30-18:00
開幕式 Opening Reception
18:00-20:00
音樂演出 Live Bands 溫室雜草 Easy Weeds 荷爾蒙少年 Hormone Boys
三角窗服務棧
Triangular Reception
9.20 sun.
！
C
綠野地
寶村二九
13:00-19:00
簡單市集 Simple Market
15:00-18:00
音樂演出 Live Bands 陳以恆 CHEN Yi-Heng The Tic Tac
Treasure Hill No.29
Picnic Field
C 綠野地 Picnic Field
B
Simple Life 簡單生活
I
時而有影 Sometimes in Shadow 高德亮 KOU Tak-Leong
J
L
Entrance to the Lane of Section 3, Tingzhou Road
點亮萬盛庄─故事燈 2020 ─水的記憶 Light up Wansheng CommunityStory Lamp 2020- Memory of the Water 臺北市萬福國小 WanFu Elementary School
K O
汀州路三段 230 巷巷口
兩個房間，一個愛情故事。 A Love Story
A M 藏寶 Hidden Treasures 寶藏巖文化村協會 Treasure Hill Culture Community Association
羅智信 LUO Jr-Shin X 鄭任翔 Sean CHENG
光電獸 #21 痕跡掃描 An Electronic Monster #21 Scan the Trace 姚仲涵 YAO Chung-Han
N O
快閃櫥窗展 Pop-up Window Display 那個製研所 nag. 19 / 自愛 ZIAI Studio
光電獸 痕跡掃描 #21
An Electronic Monster #21 Scan the Trace
、電子裝置、音響 LED LED, Electronic devices, Speaker
姚仲涵
YAO Chung-Han
在環境中，人為了生存對其置入了準則，使環境貼近人的舒適，而環 境則以蔓延的姿態靠近了人，並伏於人的生活框架，在有限的條件及 曖昧的關係下共生。有時環境創造了建築的框架，有時建築也創造了 新的環境地貌， 建築及生態都有其法則卻往往互相借鑑互相依存。 〈光電獸 #21- 痕跡掃描〉位於寶藏巖國際藝術村的歷史斷面， 斷面 與生態交融經過時間的蔓延，成為目前特殊的景色，裝置的兩條平行 軸線如樂譜的框架， 透過光與影的律動讓觀眾看到在框架內的每一個 瞬間。 此次光電獸的互動方式更為隱晦，或是更靠近我們生活。 In order to survive, people have installed guidelines in our living environment in order for more comfort to be accessed. The environment has then sprawled closer to people and dwells in humans’ living quarters, as the two coexist under limited conditions and ambiguous relationships. Sometimes architectural structures are created using environmental elements, and there are also times when new environmental landscapes are created using architecture. There are rules and guidelines in both architecture and ecology, but they also often reference and depend on each other. An Electronic Monster #21 –Scan the Trace is located on a historical cross-section inside the Treasure Hill Artist Village. The crosssection and the surrounding ecology have fused together through the progression of time and have come to form a unique landscape. The installation consists of two parallel lines, and the framework created resembles a kind of music staff. Through rhythmically moving light and shadows, each shifting movement within this framework is presented for the audience to see. The interaction designed for this particular Electronic Monster is relatively more ambiguous, or closer to our everyday lives.
藝術家 / 音樂創作者 / DJ / 實踐大學建築設計學系助理教授 創作是姚仲涵生活的一部分，從看似壞掉的日光燈到富有生命力的燈光、從解構的聲音藝術到結構 性的音樂製作、從鏡框式作品到空間尺度的思考 ...... 透過光與聲音之間的呼應和對比，觸發觀者對 自身體感的想像。 2005 年開始從事聲響創作，獲臺北數位藝術節聲音藝術首獎 (2008)、臺北美術獎優選與觀眾票選獎 (2017)，並多次受邀參與國際展覽與演出。2017 年開啟「光電獸」的創作計畫，為一個結合光、電、 音樂與空間的創作計畫。2020 開始了「剛好發生」創作計畫，為一個共同創作的可能性。 Artist / Music Composer / DJ / Assistant Professor at the Department of Architecture of Shih Chien University. Creation is part of Yao Chung-Han's life, from the seemingly broken fluorescent lamps to the vibrant light; from the deconstructed sound art composing to the dance music production; from the framed works to the reflect on the spacial scale... He employs the corresponding and contrasting relations of light and sound trigger viewers’ imagination of physical senses. Yao has won the First Prize in Sound Art in Digital Art Festival Taipei, Honourable Mention in Taipei Art Awards, and has participated in Fukuoka Asian Art Triennale(Fukuoka), NTT ICCEmergencies!014(Tokyo), STEIM - Massive Light Boner(Amsterdam), City Sonic: International Sound Art(s) Festival (Belgium), Long Beach Museum of Art - Beyond the Fram: New Median Arts from Taiwan (LA), and The Way Things Go at the Taipei Fine Arts Museum. 此次作品的音樂由「剛好發生 」製作。「剛好發生」由藝術家姚仲涵的工作室組成，過去有許多空間、 工設、音樂等背景之夥伴參與作品的協作，未來將集結更多元更有趣的創作者令作品剛好發生。 參與成員 : 姚仲涵、曾睿彬。 Music for this artwork is produced by “BCB” (By Chance to Be). BCB is run by artist Yao ChungHan’s studio. It has co-produced many collaborative projects with people from spatial design, industrial design, and music industries and has plans to work with more interesting and diverse creators in the future. Members: YAO Chung-Han, TSENG Jui-Pin
觀月計劃
# define Moon_
Mixed media
複合媒材
文明與科技，起始於人類對於現行秩序的顛覆與探索。「月」在人類 生活中，始終扮演著想像的符號。這想像與追隨於上世紀的「太空熱」 行動中，改寫了舊有的秩序。人類突破肉身的界線，甚至為此付出了 不少寶貴性命，只為了一登那想像之地。 登入月球象徵著人類對於宇宙最直接的好奇與探索，這看似莽撞又愚 笨的行為，卻映照出那顆為了探求真理所懷抱的冒險之心，促使人類 得以更廣大的視角，理解所身處的世界。或許這就是人類文明的偉大 之處：投身探勘自然的歷程，激發了深究生命、宇宙以及萬物的洞見， 並帶來了科技與文明的全新進展。 裝置運用「視覺暫留」的現象，建構起視覺感官的新經驗。當「光」 經由高速移動消逝後，人眼仍能繼續保留其影像。殘像的留存，延續 了「美」的生命，更開啟了豐碩的想像力。裝置呈現月相盈虧圓缺之 現象，觀眾得以在一個現行場域下，欣賞月亮各個姿態的美。藉由不 同的觀看角度，月相則會彼此交錯與重疊，衍生出嶄新的視覺景象， 觀者得以重新去定義並理解作品在其心中的意義。 Civilization and technology originate from humans overturning and exploring existing order. The moon has always been an imaginative symbol for people. The old order for the imagination and pursuit of the moon was rewritten in the last century during the “space exploration”. Humans broke through physical boundaries and some have even sacrificed their lives just to set foot on that lunar fantasyland. To land on the moon symbolizes mankind’s curiosity and exploration for the great universe. Perhaps reckless and unwise, it, nevertheless, shows a heart that seeks the truth and embraces adventure. It has broadened the horizons for all mankind, with greater insights gained on the world that we dwell in. This is perhaps why human civilization is great. It is about devoting oneself to explore the history of nature, to enthusiastically excavate and learn about life, the universe, and all things, and to usher in new technological and cultural advancements.
何理互動 WHYIXD
This installation works with the phenomenon known as the persistence of vision and creates a new visual experience. When light dissipates due to high-speed movements, its image, nevertheless, lingers on the human eye. This residual image is applied to extend the life of “beauty” and to enrich one’s imagination. The installation shows on-site the different phases of the moon for the audience to enjoy. Through seeing from different perspectives, different lunar phases would crisscross and overlap to result in new visual landscapes. Each audience is invited to redefine and understand the artwork according to his or her own interpretation.
何理互動為臺灣跨領域的裝置創作團隊，團隊成員背景跨足藝術／建築／設計／工程／機械等領域， 合作對象更是來自戲劇舞蹈／建築空間／流行音樂／當代藝術等各種領域，何理互動關注生活中的 各種驚喜，發掘想像力，透過新媒體跳脫二維視覺界線，企圖給予觀眾更多的身體經驗，在空間中 建造真實的幻象，在熱帶中下一場大雪，在平靜中撒一把花叢，錯置時間和空間，仿造自然地景， 擷取心靈的片刻，透過科技新生新的經驗，創作電子地景。 WHYIXD is an interdisciplinary installation art group based in Taiwan. Members of the group come from various disciplines, including art, architecture, design, engineering, and mechanics. The group also collaborates with people from a wide range of fields, including theater, dance, architecture, pop music, and contemporary art. WHYIXD specializes in creating different surprises in life and explores the imagination, as it breaks two-dimensional visual boundaries with the use of new media to bring to the audience different physical experiences. It creates tangible illusions in specific spaces, including a big snowfall in a tropical area and throwing down a bunch of flowers into a calm and quiet space. With time and space displaced, natural landscapes simulated, and inner spiritual moments captured, technology is applied to create new experiences and construct digital landscapes.
窮繞 新店溪流域
Xindian River Basin
Video installation, Images
錄像裝置、相片
－
窮繞新店溪流域，主要分三溪、二區和一大圈的六件行動錄像 計畫。三溪包括南勢溪、北勢溪和景美溪，而景美溪下游與短 流區部分都介於山地和盆地邊緣，平原區則位於景美溪口到新 店溪口之間。三溪的環境較為自然原始，平原區裡被水泥城市 蓋住，支流露出則形同大條的臭水溝；短流區與景美溪下游， 已經從自然岩石趨向城市水泥的感覺。另外有一條叫「外大 圈」」路線，是在南勢溪周圍分水嶺以外的線，這線是沿大漢 溪、蘭陽溪以及北勢溪曲折繞成。 一個人騎著機車在山林城市的路上，耗掉時間、耗掉機油，輾 過山丘溪谷、看看世俗風情；比雙腳徒步快一些，惟是否一路 順風，僅能盡檢修保養之事；窮繞，一路都帶著一般旅行者會 有的風險，面對未知的野性環境，時而惶恐、時而驚喜。想盡 了現實的和抽象的，窮繞的意義似乎在於窮繞，只能說，活著 的感覺就是一切。 Xindian River Basin is a 6-part video action project composed of three rivers, two areas, and a big circular route. The three rivers are Nanshi River, Beishi River, and Jingmei River. The downstream area of the Jingmei River and parts of its shortstream area are located in between a mountain and a basin, and there is also a plain area that sits in between the Jingmei River estuary and the Xindian River estuary. The areas where the three rivers are located are more natural looking, and the plain area, on the other hand, is covered by concrete urban structures. The exposed tributaries appear very much like a big and smelly gutter. The short-stream area and the downstream area of the Jingmei River have transitioned from being made up of natural rocks to urban concrete. There is also a route that is referred to as the “big outer circle”, which marks the line outside of the watershed around the Nanshi River. This line circles around the Tahan River, Lanyang River, and Beishi River.
劉秋兒
Leo LIU
Riding on a motorcycle alone in a part of the city where there are mountains and trees, time is killed and so is the gas in the motorcycle. Passing by hills, rivers, and valleys, various earthly sceneries are taken in. It’s a faster way to travel compared to walking, but whether or not the journey will be a smooth one would depend on how well the machine has been maintained. Aimlessly wandering around, a sense of adventure common with most travelers is experienced, along with intermittent feelings of fear and delight in the face of the unknown wilderness. With both tangible and abstract thoughts, the meaning of aimlessly wandering around is just that aimlessly wandering, and all that matters is the feeling of being alive.
劉秋兒 1991 年發表以身體背著圖畫到處找人欣賞的「繪畫秀」；1995 年「煉精術」則藉廣告言論 交錯出一個可供真實行動的計畫。1999 年「豆皮文藝咖啡館」是混種主義是一種美學在政治行動上 的抵抗工事。2004 年提出「行走的學校」概念，2007 年以嘴巴、腳底兩路線在高雄城市裡行走， 開啟城市與環境的批判行動。2008「擴充運動」論，認為關切與參與社會行動得視同創造。2012 年 「圖抗系」是在生活裡靠身體各種細微勞動去變造物件物理，使觀看物件形同審視社會行為一般。 Leo Liu launched his Painting Show in 1991, a project where he wandered around carrying his paintings on his back to find people who would appreciate his art. He then created Made Nothingness in 1995, using advertising rhetoric to propose a project that could be practically enacted upon. Liu established the Dogpig Art Café in 1999 to take part in political resistance actions through an approach that incorporated elements of hybridity and aestheticism. He then proposed the concept of Walking School in 2004 and created two routes, “mouth” and “feet”, for wandering through the city of Kaohsiung in 2007, which opened up a critical movement focusing on urban and environmental issues. Fill Movement was created in 2008 to propose the idea that showing concern and taking part in social actions should be considered a form of creative endeavor. Liu embarked on the Soul Resist System in 2012, which relied on intricate physical labors to alter the physical compositions of certain objects, which compared the act of seeing an object to that of social behavior inspection.
無題 -TPE
Untitled-TPE
Glass, Mirror, Synthetic quartz crystals. Site-Specific installation
透明鋼化玻璃、明鏡、人造水晶石。現地裝置
陳松志
CHEN Sung-Chih
陳松志歷年作品皆以觀念出發，藉由材質本身的語彙去呈現生活中經 常被忽略之感性片段，呈現方式以複合媒體空間裝置為主。在過去的 創作中常以生活的特定事件，並融入自身與社會的時間性敘述塑成多 項混合的藝術現場。這些現成的生活素材在創作者的任意拚湊、組合 下，轉化後呈現出有別於粗糙、生冷的物質原性，並微妙地注入濃厚 複雜的心理元素，作品往往因此產生溫度，饒富詩意。 〈無題 -TPE〉藉以透明玻璃、明鏡與人造水晶石構成，探索著物質 在時間、空間中的形體裂解以及造形意義的延展。作品中包含了透明 質材的穿透與圈限，自然光線的映照與反射，以及觀者與物的觀看與 空間位移。該作品在多重人造素材的集合，時間與環境的自然形變過 程中交互出冷暖的差異。這些封閉靜止的造形空間與自然的有機改變 形成兩造持續對應的關係，反映著現代人在媒體屏幕之中的多重身 份、視角以及慾望的無垠擴張。隱喻著現行時空下諸多人理世界所創 造出的價值與邊界，它們持續地流變著，看似隱形卻未曾消失。 Chen Sung-Chih has in recent years focused on conceptual art presented predominately as mixed media spatial installations, and through the materials applied, he presents perceptual fragments in life that tend to be overlooked. His previous works often focus on specific incidents observed in life, with personal and social temporal narratives incorporated to create art scenes that are composed with mixed media. He freely assembles and arranges found objects and takes them away from being rough and lifeless materials. With intense and complex psychological elements ingeniously incorporated, Chen’s artworks often project a sense of warmth and are richly poetic. Untitled-TPE is composed of glass, mirror, and synthetic quartz crystals. It is an artwork that explores how materials crumble and crack due to temporal and spatial changes, and it also seeks to extend the meaning embodied by form. The artwork explores the penetrative and confining qualities of the transparent materials used and also natural lighting’s luminescence and reflection, with the relationship of seeing between the viewers and the objects and also the spatial shifts involved also examined. The artwork brings together multiple layers of artificial materials, presenting differences that occur due to space-time shifts and also distortions that naturally take place, resulting in a continually contrasting relationship between the enclosed and still spaces and the natural organic changes that unfold. The artwork reflects the multiple identities, perspectives, and endless desires that modern people experience from behind the screen. It alludes to the myriad of values and boundaries created by humanity in the present spacetime; they appear to be constantly shifting and may seem invisible but never vanish.
陳松志，裝置藝術家。國立臺南藝術大學造形藝術研究所藝術碩士。專長複合媒體空間裝置。過去 作品曾獲路易威登 Louis Vuitton 臺北藝術徵件首獎、李仲生基金會視覺藝術獎、第三屆台新藝術獎 年度七大視覺藝術。歷年參與多次國際藝術家駐留項目於美國、韓國、英國、埃及、法國等地。多 年來持續發表重要個展於台北當代藝術館、伊通公園、就在藝術空間。近期參與主要聯展包括「2019 烏鎮當代藝術邀請展」、「2017 韓國平昌雙年展」、「2016 台灣雙年展」等。 Chen Sung-Chih is an installation artist with a master’s degree in plastic arts from the Tainan National University of the Arts, and he specializes in mixed media spatial installation. Some of the awards that Chen has received in the past include Espace Louis Vuitton Taipei Audition – First Prize; Li Chun-shan Foundation Visual Arts Prize; and the 3rd Taishin Arts Award – Top 7 Visual Art of the Year. In addition to taking part in several international artist residency programs, including in the U.S., Korea, the U.K., Egypt, and France, Chen has also presented solo exhibitions at the Museum of Contemporary Art, Taipei; IT Park, and Project Fulfill Art Space. Some of the recent major group exhibitions he has taken part in include Wuzhen Contemporary Art Exhibition 2019; PyeongChang Biennale 2017; and Taiwan Biennial 2016.
福和寶藏
Lucky Treasure
Lauan wood, Concrete, Carbon, Copper, Gold foil, Metal clamp, Lighting
柳安木、混凝土、碳、銅、金箔、鐵製夾具、燈具
邱承宏
CHIU Chen-Hung
「福和寶藏」呈現了藝術家邱承宏以寶藏巖聚落及新店溪流域為創作基 地的藝術計劃，藝術家觀察這個地方的特殊性，詩意地創造關於河流、 地形與生物之間的敘事關係。他參考了一塊位於福和橋下方，由淤泥及 河沙所構成的小沙洲作為探察的對象，這座沙洲事實上是由半人工的方 式形成，它一部份是過去建造福和橋時，為了減緩湍急的水流而放置在 水中的消波塊群，然而隨著流水與經年的流沙沖積，漸漸形成與河沙所 共構而成的島，同時也自體形成了一個生態圈。藝術家在渡河登上這個 丘島，調查了上頭的植物生態後，從中轉化成為一系列的創作。 在這個計劃裡，藝術家運用島上生長的植物「小花蔓澤蘭」作為開展， 這是一種生長速度奇快的攀綠藤本植物，它原是中南美洲的原生植物， 在第二次世界大戰時，因戰術需求被引入亞洲，當時雖僅是作為機場偽 裝掩體的軍事用途，但現已成為太平洋地區分佈最廣泛的外來種植物。 藝術家以這個沙丘與植物的特殊脈絡，揉合寶藏巖過去作為軍事基地的 歷史意義，並回應當地居民運用過去軍事碉堡的磚瓦及新店溪的鵝卵石 所搭築的聚落。藝術家試圖透過這個藝術計劃，轉化了歷史中隱含的人 與植物之間的關係。 Lucky Treasure is an art project by Chiu Chen-Hung that is based in the Treasure Hill Artist Village and the Xindian River Basin. By observing the notable features of the area, the artist creates a poetic narrative inspired by the river, the area’s geology, and the living creatures that dwell in it. The artwork references the area underneath the nearby Fuhe Bridge and explores the little sandbar formed by silt and river sand. The artist has discovered that the sandbar is partially the result of artificial work. Tetrapods were placed in the middle of the river to slowdown the river when the Fuhe Bridge was being built, and with water flowing by throughout the years and along with accumulated silt and sand, an island shaped by the river sand then slowly emerged and has turned into an ecosystem. After crossing the river and setting foot on this sand dune island, Chen then investigated the plants growing on it, which has led to the development of this art series. The artist opens up this series with Mikania micrantha, a plant found on this island and also known as bitter vine or climbing hemp vine. It is a fast-growing perennial creeping or twining plant native to Central and South America. It was intentionally introduced into Asia to use as a form of camouflage at military air bases during World War II, and has since become the widest spreading alien plant in the Pacific region. Referencing this sandbar and the plant’s unique historical context, the artist also incorporates Treasure Hills’ history as a military base and how local residents have used the bricks and tiles from the site’s former military fortress and the pebbles from the Xindian River to build their settlement. The artist seeks to transform the historical relationship between humans and plants through this art project.
邱承宏，1983 年生於花蓮，2008 年畢業於國立臺灣藝術大學造形藝術研究所。目前居住和 工作在花蓮。他的創作多以裝置、雕塑的方式呈現，就像是進行一場考古探險般，他擅於挖 掘生存時空曾經存在的身影與軌跡，並透過抽象的手法重新演繹那些被合理化及設計過的邏 輯規則，將它們生動地重塑，藉此發展出一套巨大的記憶修補術。近期展覽包括「趨光」（貝 塔寧藝術中心，柏林，2019）、「亞洲藝術雙年展：來自山與海的異人」（國立臺灣美術館， 臺中，2019）、「小說：雙城計劃」（臺北市立美術館，台北，2019）、「 破碎的神聖」（臺北 當代藝術館，臺北，2017）、臺灣美術雙年展「一座島嶼的可能性」 （國立臺灣美術館，臺中， 2016）、大臺北當代藝術雙年展「去相合」（國立臺灣藝術大學，臺北，2016）、「巴黎／柏 林／馬德里國際影像藝術節」（法國 La Gaîté lyrique 數位影像中心、柏林世界文化之家、西 班牙索菲雅皇后美術館）、「利物浦雙年展：城市聯盟」（利物浦 LJMU 大樓，2012）。 Chiu Chen-Hung was born in Hualien, Taiwan in 1983 and received his master’s degree in plastic arts from National Taiwan University of Arts in 2008. Chiu is currently based in Hualien and predominately makes installation art and sculpture. He treats art like an archaeological expedition and specializes in excavating imprints and marks that once existed, which he then processes with abstract methods to reinterpret any logic or rules that have been rationalized or manipulated. He reconstructs them in vivid and lively manners and has developed a tremendous system that is used to restore memories. Some of his recent exhibitions includes Phototaxis (Künstlerhaus Bethanien, 2019); Asian Art Biennial: The Strangers from beyond the Mountain and the Sea (National Taiwan Museum of Fine Arts, 2019); Island Tales: Taiwan and Australia ｜ Taipei ← → Perth (Taipei Fine Arts Museum, 2019); Shattered Sanctity (MOCA Taipei, 2017); Taiwan Biennial 2016: The Possibility of an Island (National Taiwan Museum of Fine Arts, 2016); Greater Taipei Biennial of Contemporary Arts (National Taiwan University of Arts, 2016); Recontres Internationales Paris/Berlin/Madrid (La Gaité Lyrique, Paris; Haus der Kulturen der Welt, Berlin; and Reina Sofia National Museum, Madrid); and Liverpool Biennial: City States (2012).
LUO Jr-Shin
兩個房間，一個愛情故事。
Two Rooms, A Love Story
Mixed media
複合媒材
羅智信
為了向過去道別，他努力讓自己的生活重拾正 軌⸺ 在陽光照進房間前把窗簾打開，在把燈 點亮後將窗簾拉上。他把留下的東西全部打包 裝箱，試圖為生活建立起一個新的常規；刪除 了好幾個播放清單，避免某些觸景傷情的可能， 他將過去的線索消除殆盡，唯一的例外是有天 抱了一盆天堂鳥回家⸺ 那是他過去不可能會 做的事情。過去的房子裡其實滿是綠意，但那全 部都不是他的功勞，他是那種連擁有最堅韌生 命力植物都照顧不來的人，在陷入黑暗的那段 時間裡，當他回過神來時，才發覺滿室的植物 都枯掉了⸺ 原來一起死去的不只是他。他把 他安置在窗前，想說也許這是給彼此的一個重 新開始的機會。在陽光照進房間前把窗簾打開， 在把燈點亮後將窗簾拉上，在這之間，他還會 為天堂鳥澆個水。他的日子似乎漸漸獲得了新 的秩序，直到他注意到對面奇怪的房間……
鄭任翔
Sean CHENG
In order to bid farewell to the past, he works hard to redirect his life back on track. He pulls the curtain back before the sun fills the room, and when the light is switched on, the curtain is drawn again. He packs up everything that has been left behind and tries to establish a new normal in life. He has also deleted several playlists, preventing melancholic emotions from being triggered. He tries to wipe out any past traces and signs, and the only exception is when he brought home a potted plant of birdsof-paradise; this is something that he would have never done in the past. The house used to be filled with greenery but not because of him; he is someone that can’t even take care of the strongest of plants. When he suddenly woke up from feeling dark and gloom, all the plants in the room had already withered and dried. It was not just him who had died after all. He places the plant before a window and hopes to give each other a new beginning. He pulls the curtain back before the sun fills the room, and when the light is switched on, the curtain is drawn again. He waters the birds-of-paradise in between. His life seems to be slowly gaining a new order, until he noticed that peculiar room on the other side…
羅智信在臺北生活與工作，其創作實踐圍繞著對於多種傳統和非典型材料的實驗，從陶土、 樹脂、金屬、日常物件、食物、化學材料、香味中，去探索再現世界裡所隱含的精神性與人 類況境。他關注生產架構與模式所衍生的認知經驗，擅長捕捉日常生活間不穩定的、虛幻或 甚至妄想的時刻。近日展覽包括：臺北當代藝術中心（2018）；亞洲文化殿堂，光州（2017）； 時代美術館，廣州（2017）；臺北市立美術館，臺北（2014）；皇后美術館，紐約（2013）。 Based in Taipei, Luo Jr-Shin is an artist who creates art that experiments with many traditional and unconventional materials, including clay, resin, metal, everyday objects, food, chemical substances, and scents. He uses art to explore and recreate some of the spirits and human conditions that are found in this world. Luo pays close attention to perceptual experiences derived from production frameworks and models and specializes in capturing unstable, elusive, and even delusional moments in life. He has recently presented his artworks at the Museum of Contemporary Art, Taipei (2018); Asia Culture Center, Gwangju (2017); Times Museum, Guangdong (2017); Taipei Fine Arts Museum (2014); and Queens Museum of Art, New York (2013). 鄭任翔，交通大學資工碩士，擅長以燈光及新媒材的控制重現生活中的驚喜瞬間。 Sean Cheng, graduated from the master's program of Computer Science in National Chiao Tung University, specialized in using lights and new media control to represent amazing moments found in daily life.
說一道彩虹
Say a Rainbow
Interactive sound and visual installation
互動聲音影像裝置
彩虹是自然界中的水氣與陽光互相作用形成的物理現象，在當代也是鼓 勵自由表達與消彌歧視的象徵符號。作品以聲音為媒介，每個人都有不 同的聲音特質與頻率分布，彰顯各自的個性也凸顯彼此的差異，藉著蒐 集不同人的聲音資料再透過分析轉化爲不同配色組成的畫面，形成宛如 彩虹一般的鮮豔影像，比喻多元的人口、背景與族群共同組成的集體社 會狀態。 此次為寶藏巖燈節創作的作品〈說一道彩虹〉，以寶藏巖居民口述的說 活故事為基礎，以程式分析出居民口吻中的各種色彩與頻率，構成彩虹 影像的第一道底色。並且在展出期間持續邀請來訪的觀眾與裝置互動， 讓作品融入來自城市各個角落的人群的聲音，形成色彩愈加豐富的彩虹 影像，同時也促成作品更多元的象徵意義，以參與的方式討論寶藏巖的 包容性能夠如何累積、衍變、新舊相依。 另外也替寶藏巖的居民製作「聲音臉譜」，以居民口述的故事為聲音樣 本，分析製作成個人單獨的色彩肖像，將居民這段期間的生活經驗轉化 成一種紀念性意義的存在。 A rainbow is a natural phenomenon that is caused by interaction between water vapors and sunlight. It is also a contemporary symbol that stands for freedom of expression and anti-prejudice. This artwork is created with sound. Each person has a unique voice that shows different frequencies; it not only enhances the person’s characteristics and also distinguishes one person from the other. Sounds made by different people are collected and then transformed into images of different color compositions. The result resembles that of a vivid rainbow, which symbolizes a communal social condition that is made up of a diverse population with people of various backgrounds and ethnicities. Say a Rainbow on view at this year’s Treasure Hill Light Festival is based on oral stories told by residents of Treasure Hill, which are then analyzed using a software program to assign colors and frequencies to the voices collected. This is how the background palette for this rainbow was created. Throughout the exhibition period, visitors are invited to interact with the installation and for more voices by people from various parts of the city to be incorporated into the artwork, which then enriches the colors on this rainbow and also enhances the artwork’s symbolic meaning: To embrace more diversity. The participatory approach also leads to discussions on inclusivity at Treasure Hill, and how it could be accumulated, transformed, and for a symbiotic relationship to be formed between the new and the old.
吳修銘
WU Siou-Ming
Also “Faces of Sound” are also created for residents of Treasure Hill, using the sounds from the stories told by them to create personalized colored portraits based on their voices, which provides the residents with a memorabilia to remember this experience by.
吳修銘，科技藝術家、音樂家、聲音設計師，現居高雄。他的創作媒材含括聲音、影像、 裝置、電子音樂等，作品探索都市／空間、土地／認同、人群／身份等社會介面中的感知 經驗，反思人與環境之間的關係，並轉譯成某種聲音的型態使其被聽見。他的作品在臺灣 各地展出，也參與國外的展覽與藝術季，如美國、英國、希臘、西班牙、德國、荷蘭、韓國、 蒙古等。 Wu Siou-Ming is a techno artist, musician, and sound designer who is currently based in Kaohsiung, Taiwan. He works with sound, image, installation, and electronic music and creates artworks to explore perceptual experiences through social interfaces involving cities/spaces, land/identification, and people/identities, with the relationship between humans and our environment reflected upon and transcribed into specific sounds to share with others. Wu has exhibited in Taiwan and also taken part in international exhibitions and art festivals in the U.S., the U.K., Greece, Spain, Germany, the Netherlands, Korea, and Mongolia.
圓垣不絕
Circle of Fragments
、壓克力、鐵 LED LED, Acrylic, Iron
寶藏巖歷經居民的開拓建地、居住搬遷與藝術 村的進駐，空間的使用權常伴隨著不同治理者 的更替而有所變化，我們遙想在更早以前，「空 間」的概念始於一個容納人與人相聚於此的機 會，也因為人們圈圍了空間的範圍、得以經驗 空間，才因此創造了更多相遇的可能。 〈圓垣不絕〉設置於寶藏巖國際藝術村的半樓 廣場，從廣場上一道曾拆除一半而遺留的牆面 破 口， 這 個 被 保 留 至 今 日 的 破 裂 線 條， 彷 彿 連 接 了 過 去 曾 存 在 與 當 下 的 通 道， 喃 喃 絮 語 ……。我們試圖以這個現成的牆面與破口為起 始，在藝術村中蒐集不同的空間線條，延續與 修補，讓斷裂的時間與空間面能夠在廣場中被 重新締結與串連：一個由缺口所構成的圓。 Having been through its early settlement p e r i o d , re s i d e n t re lo ca t i o n , a n d t h e establishment of an artist village, the rights to use the space at Treasure Hill have shifted along with different people who were in charge of the area. To look further back in time, the concept of “space” began when a group of people was brought together due to a certain opportunity, and certain areas marked by people and also spaces that provide experiences are able to lead to more opportunities for people to meet.
謝佑承
HSIEH Yu-Cheng
王中原
WANG Chung-Yuan
Circle of Fragments is installed on the Pagoda Plaza in the Treasure Hill Artist Village, on what still remains from a wall that was previously semi-dismantled. There is a gap, a crack which has remained till today, and it seems to have become a passageway that links together the past with the present, as it stands there, murmuring and whispering…Attempts are made to depart from this existing wall and the crack on it and to collect different lines in various spaces throughout the artist village. We seek to extend them and repair them, and for the fragmented times and spaces to be reconnected on the plaza, for a circle to be formed from a crack.
謝佑承 X 王中原，各畢業於國立臺北藝術大學新媒體藝術學系與倫敦大學金匠學院設計研究所，透 過計畫合作，作品涵括但不限於媒體、空間裝置與聲音等複合形式，期許由不同領域與角度切入， 關注當前世界人與自然的交互關聯，乃至集體的共感記憶與生存空間。 Hsieh Yu-Cheng x Wang Chung-Yuan graduated from the Department of New Media Arts of Taipei National University of the Arts and the Master’s program for design at Goldsmiths, University of London, respectively. They co-create artworks that include but are not limited to media, spatial installation, sound, and other mixed formats. They seek to incorporate different disciplines and through various perspectives, they focus on the current interconnections between mankind and nature and also extend into collective memories and survival spaces.
時而有影
Sometimes in Shadow
燈 LED Two way mirror, metal frame, led light
單面反光玻璃、金屬框架、
寶藏巖曾因獨有的聚落形式而面臨被遷拆的命運，作品以 想像建物被拆除的樣貌與現今的保存狀態作為對照。透過 置入一道單面反光鏡，如同「違建」一般搭建在建築物的 本體之上，並藉由光與單面反光鏡的交互作用模糊建築的 內外空間，使部分的建築物如同隱形一般消失。 眼前的風景因置入一道臨時加蓋的結構而忽顯忽滅，並以 「違建」的方式回應寶藏嚴的聚落特質與空間生命狀態， 彷彿暗示著村落因其原生的造村方式所面臨的兩種曖昧狀 態。當人們放慢腳步凝視此地的時刻，即是不同的能量與 族群能夠繼續在此地相遇的最好證明 。 Treasure Hill was under the peril of demolition because of its unique form of settlement. This artwork imagines what the site’s architecture would look like after dismantlement and creates a juxtaposition with the site’s current condition. The placement of a one way mirror appears like an illegal structure that has been constructed on the body of the original architecture. The interaction of the one way mirror and lighting installed allow part of the architecture seems as if it has disappeared. With the placement of a temporary structure, the scenery is flickering and extinguishing, and responds to the unique biopolitics situation and settlement form in the way of ‘illegal construction’. The work attempts to imply the two ambiguities face by the settlement due to its antique village development. When people slow down and gaze at this place, it is the best proof that different populations and energies can continue to encounter with one another.
高德亮
KOU Tak-Leong
高德亮，1991 年生於澳門。畢業於實踐大學建築設計系，後至國立臺北藝術大學新媒體藝術 系碩士課程進修。創作多關注隨著科技發展的空間感知與觀看方式的流變與矛盾，並關注日 趨同質化的空間規劃與城市建築複製化的現象。擅長以日常生活中常見的媒材作為主要創作 材料，透過材料的錯置與誤用，形塑出異於日常的空間感知可能。近年創作不斷透過光線的 介入以翻轉習以為常的風景，並透過以「自然」、「隨機」與環境等關鍵元素的介入，使當 代技術愈趨精準所致的感知麻痺得到鬆綁的可能。 Kou Tak-Leong was born in Macau in 1991 and began studying at the master’s program for new media art at the Taipei National University of the Arts after he received a bachelor’s degree in architecture from Shih Chien University in Taipei. Kou uses his art to focus on the changes and paradoxes with people’s spatial perception and ways of seeing that are prompted by technological advancements. He also pays attention to how spatial planning and urban architecture are becoming more homogenized and duplicated. Kou specializes in using common everyday materials as his creative media, and through displacement and unconventional ways of using certain materials, he creates extraordinary spatial possibilities that are perception-oriented. His recent work often introduces light to overturn landscapes that people have grown accustomed to. With the incorporation of critical natural, random and environmental elements, possibilities are created to loosen perceptions that may have been numbed by the increasingly more precise contemporary technology.
茻芔艸屮
wvvWV
Mixed media
複合媒材
如地衣般共存，經歷各種磨合而生存下來的物種，組合 而成一個乍看之下完整平衡的個體，卻不一定和諧優美。 各種自我、矛盾、仿效與相互消弭藏在細節裡，美麗盛 開的花朵，展現著自大狡猾的生存優勢；包容和解，與 美與不美、與所愛與不愛的一切共處。 Coexisting like lichen, various beings that have been through different transformations and have survived are assembled together to create an entity that appears complete and balanced but not necessarily harmonious or graceful. Each individual, every paradox, mimicry, and mutual elimination are hidden in the details. Splendidly blooming flowers demonstrate a survival advantage that is boastful and cunning. Through tolerance and reconciliation, let us coexist with everything that is beautiful and unbeautiful and those that are loved and unloved.
不歸鹿
BUGRELU
不歸鹿以撿拾、創造再生為主要創作。收集臺灣各地的果實種 子，清潔乾燥處理後，搭配金屬或其他複合媒材，製作各種飾 品和裝飾品。 BUGRELU creates art using found or repurposed objects. She collects seeds gathered from all throughout Taiwan, and after they are cleaned and dried, the seeds are then made into various accessories or decorative pieces with the incorporation of metal or other mixed media.
CHU Shu-Wan
在還在的時候
Before We Disappear
Bronze, Aluminum, Paint, Stones
青銅、鋁、顏料、土石
朱淑宛
〈在還在的時候〉系列創作多是依照當地環境製作的作 品，利用寶藏巖村內採集的植物翻鑄成金屬並結合拾撿 的環境碎片，用介於真實與虛假的狀態重塑，將記憶與 時間殘留的破碎和片面化重複堆疊，創造出虛實並存的 小景象散佈於空間中，描繪創作者與寶藏巖共存的生活 感受。 B e f o re We D i s a p p e a r i s a s e r i e s t h a t co n s i st s predominately of site-specific artworks. Combining metal pieces made from molds of plants found in Treasure Hill and fragments also found in the village, a reconstruction approach that works with both realistic and fictional components is opted to replicate and compile fragments and remnants of memory and time. Small sceneries that are both realistic and fictional are then created and distributed throughout the space, with the experiences and emotions generated from the artist’s symbiotic relationship with Treasure Hill conveyed.
朱淑宛生於高雄，為國立臺南藝術大學應用藝術研究所碩士。喜歡探索生活環境、時間和材料之間 的關係與可能性，透過感受轉化成個人風格的視覺語言，擅長將各種植物翻鑄成金屬並結合自然物 運用於作品裡，試圖在真假和存在與否之間創造美好的敘述性，希望透過創作讓觀者重新閱讀居住 的環境，是一個以金屬為主要創作材料的創作者。現為寶藏巖國際藝術村微型群聚駐村藝術家，設 有 17 做作工作室。 Born in Kaohsiung, Taiwan, Chu Shu-Wan holds a master’s degree in applied art from the Tainan National University of the Arts. She enjoys exploring the relationships and possibilities between her surrounding environment, time, and various materials, which she then transforms into visual expressions using her distinctive personal style. Chu specializes in making molds of various plants to create metal pieces that incorporate elements of nature, seeking to create beautiful narratives that examine reality and fiction, existence and nonexistence. Through art, she hopes to prompt her viewers to reconsider how they see their dwelling places. She is an artist that predominantly works with metal and is currently an artist-in-residence at the Treasure Hill Artist Village, where she runs the studio, 17 Work.
Ronson HUANG
華麗雨林
Poecilotheria
Mixed media
複合媒材
黃正裕
以「個體、環境、. 平衡」三者間的關係作為創作的核心。 使用機械光柵動畫的形式表現出對於「共生」的意象。 以人機互動的方式運作，觀展者按照互動指示牌將沙填 入沙漏容器。操作機具到達平衡時，機關才會開啟運作。 對於共生本質的詮釋，個體之於環境的平衡。 The creative core of this artwork consists of a trifecta of “individuality, environment, and balance.” Barriergrid animation, or picket-fence animation, is used to create an image of “symbiosis”, with interaction formed between people and the machine, inviting the audience to follow the instructions provided to pour sand into the hourglass. When a balance is reached, the machine is then activated. The artwork presents an interpretation on the essence of symbiosis, and how an individual could impact the balance in an environment.
Mechanman Lab 創辦人黃正裕，擅長運用相機重生、藉由展覽 重現遺失的影像。Mechanman Lab 利用實驗室的精神嘗試創新 元素，讓大家看見更多關於攝影的不同面向。工作室位置位於寶 藏巖國際藝術村內，空間主要以老相機翻新整備、古董相機買 賣、底片沖洗等服務。 Founder of Mechanman Lab, Roson Huang specializes in restoring cameras and presents images that were once lost. Seeking to experiment and innovate, Mechanman Lab brings to the public different ways of seeing photography. The lab is located inside the Treasure Hill Artist Village, and it provides services that include old camera restoration, antique camera buy and sell, and film development.
夸父離日
︙ Two Suns are Cooling Down
Video installation
錄像裝置
『夸父與日逐走，入日；渴，欲得飲，飲於河、渭；河、渭不足，北 飲大澤。未至，道渴而死。棄其杖，化爲鄧林。』⸺ 《山海經》 神話中，夸父為了使陽光永遠照耀大地，欲將太陽取下，造福世人， 最後卻不敵肉體的需求，渴死在半路。死後幻化為桃花源，亦使後人 不至渴死於路途。夸父以對抗自然的方式成就了自然，仿若最好的共 生故事，然在他自身之上，卻是以死亡作結，若他從未有過那對抗、 那自認對世人良善的行動，是否活得更自在些，死得更瞑目些？ 本作將以此神話為藍本，將故事主軸轉向夸父在死亡之前，身體正慢 慢化作大地的一部分，而意識卻在這成就的同時漸漸離異，背著太陽 逃向最令夸父感受到溫暖的回憶之中。 在死之前，過往回憶們晾過腦海，仿若成為夢境，夸父也這麼永生在 夢之中。光，作為影像生產 / 呈現必要的材質，『日光』大概在影像 中就如神般的存在。神創造了太陽，提供了視覺影像的可能，但卻讓 日光有著更迭，世界無法在無時無刻都被看見。夸父逐日的行為便如 同抵抗神明一般，希望世界總是存在在視覺之下，而後逐日、而後失 敗。而藝術家創作（投影）影像的行為，大概也如夸父一般，企圖讓 『光』永久停佇，讓世界恆在。 “Kuafu ran a race with the sun. At sunset, he was thirsty and drank from the Yellow River and the Wei River. It was not enough for him, so he went north to drink from the Great Marsh. Before he reached it, he died of thirst on the way. He cast away his staff, which was transformed into Deng Grove.” ⸺ The Classic of Mountains and Seas In the mythical story, Kuafu sought to capture the sun, in order for it to perpetually shine on the land and to benefit the world. However, he was overcome by physical needs and died of thirst while on his quest. He transformed into a peach blossom grove after his death, quenching the thirst of those that came after him. Kuafu’s race against nature resulted in him turning into a part of nature. This seems to be a great story of symbiosis. However, it ended with his death. If he didn’t try to race against nature and to take such action that he thought would benefit the world, would he have lived a much easier life and die a more peaceful death?
葉澈
YEH Che
This artwork is based on this mythical story and focuses on the moment before Kuafu’s death, as his body was slowly becoming a part of the land but his mind was also gradually detaching and running away from the sun to return to memories that warmed his heart. Before his death, memories came flooding by, and everything felt like a dream, with life seemingly spent eternally in a dream.
Light is a necessary component for the production/presentation of images. Sunlight holds a divine presence in images. When God created the sun, it also became possible for images to be produced. However, the sun comes and goes and is unable to be seen at all times. When Kuafu chased after the sun, it was an act of defying against God, as he pursued to make the world perpetually visible. He then chased after the sun but failed. The artwork/image projection by the artist is similar to Kuafu’s intention of seeking to capture “light” and for it to eternally stay and for the world to exist for all eternity.
葉澈，影像藝術家，創作領域包括電影、錄像、MV、劇場、攝影，多從影像的產製 方式著手，以不同的媒材本質，尋找個人情感或者人類共同經驗，創作出企及集體意 識的作品。目前以寶藏巖國際藝術村⸺ 紅色電影院為創作基地，專注於影像進入空 間敘事的不同可能。 Yeh Che is a visual artist who works with film, video, music video, theater, photography, and creates images using different media in order to discover personal emotions or collective human experiences, which results in artworks that deal with issues of collective awareness. He is currently based in Treasure Hill Artist Village’s Cinema Rosso, where he focuses on exploring various possibilities by using images to interact with spatial narratives.
城南紀事，台北既視
South Town Story, Taipei Memory
燈 LED Painted wrought iron, LED
鐵雕烤漆、
城南，歷經五百年的歷史變遷，從稻田到城市，從平地到高樓，而今， 造就了多元的文化風貌。這兒擁有台北人珍貴的城鄉風情，也樹立了草 根精神與獨立自由的思想風範，走在街道與巷弄之間，歷史留下的建築 與故事，更在人們的口中、生活中，長出了獨有的城南紀事。 2019 年「城南公共藝術設置計畫案」因著這塊土地的獨特樣貌而生， 歷經長時間的努力，2020 年〈城南紀事，台北既視〉作品更將隨著寶 藏巖光節的開幕點亮，順著那年萬新鐵路的方向，在如今的汀州路上， 沿著 100 公尺長的圍牆，恆久發光。 長期以紙雕手法創作臺灣百景的藝術家成若涵，再一次走進大學時代熟 悉的生活場域－城南。試圖用不同的身份與視角，進行歷史爬梳、在地 探勘與田調訪問，藝術家將城南的過往情事、今日繁景，一句一筆、一 景一劃地，透過紙雕創作轉化而成永久設置的鐵雕藝術故事光廊，更邀 集了百餘位居民與旅人，一同將自己的城南記憶烙印成你我的既視。以 期不論白天、黑夜都能發揮「訴說在地、點亮城南」的心意。 South Town, or South Taipei, is an area that has gone through 500 years of historical shifts and changes, with rice paddies now turned into a cityscape and tall buildings erected from what used to be flat ground, and today, it is where diverse cultural features have taken shape. It is where invaluable town and country sentiments are treasured by the people of Taipei, and it is also where many grassroots spirits and independent free thoughts have blossomed. Stroll along its streets and alleyways, see the historical buildings and stories that have been preserved, and above all, see how the unique story of South Town has come to be through the words spoken by its people and also from observing their lifestyles. The South Town Public Art Project in 2019 took shape because of the unique features that this land holds, and after an extended period of hard work, South Town Story, Taipei Memory is presenting artworks in 2020 in conjunction with the Treasure Hill Light Festival, which will follow the direction of the historical Wanhsin Railway and everlastingly shine along a 100-meter wall located on today’s Tingzhou Road.
成若涵
CHENG Jo-Han
Papercut artist Cheng Jo-Han has used the approach to depict a hundred scenes in Taiwan, and this time, she is entering into a familiar place, South Town, where she had spent her university years. Through a different identity and perspective, she attempts to revisit history, survey the local area, and conduct field research. With South Town’s past nostalgia and present glory carefully depicted, Cheng transforms her papercut art into a permanent story corridor made with wrought iron and invites over a hundred local residents and visitors to turn their memories of South Town into imprints that are shared with all. The artwork is here day and night, with stories of the area told to shine a spotlight on South Town.
「以紙，雕成。若涵」紙雕工作坊創辦人成若涵是一名紙雕創作者，代表作品為〈紙雕，台灣百景 圖〉，現任臺北廣播電台《＃台北最正點》主持人和臺北監獄藝術講師。 她喜歡用雙腳、雙眼、雙手和一顆開放的心，捕捉臺灣的溫暖與感動。 以最真實的故事，雕刻八零 後女孩心中的〈紙雕，台灣百景圖〉。 作品細膩刻畫人物表情、街道巷弄與生活樣貌，直觀地呈現 腦海中對每一塊土地的想像與感受。 相信藝術長在生活裡，生活中不可或缺的是美，近年將紙雕帶 進城市、走上街道，用光影與大型空間裝置藝術，點綴我們的家。 Founder of “Paper. Cut by Johan-Cheng”, Cheng Jo-Han is an artist who specializes in papercut art and is best known for her papercut work, The Hundred Scenes of Taiwan. She currently hosts a radio program about the “best of Taipei” on the Taipei Broadcasting Station and is also an art lecturer at the Taipei Prison. Cheng enjoys using her feet, eyes, hands, and an open heart to capture heartwarming moments in Taiwan. Inspired by real stories, she created The Hundred Scenes of Taiwan, a papercut artwork that shows the Taiwan that she sees as a girl born in the late 80s. The artwork shows intricate depictions of people’s expressions, streets, alleyways, and everyday lifestyles, using an earnest approach to convey the vision and feelings that she has for this land. Cheng believes that art is a part of life, and beauty is something that life can’t be without. She has in recent years taken papercut art to urban settings, transforming them into a part of streetscapes, using light and shadows and large-scale spatial installations to adorn the home that we collectively share.
點亮萬盛庄
故事燈 ─
Light up Wansheng Community- Story Lamp 2020Memory of the Water
Mixed media
複合媒材
水的記憶 2020 ─
臺北市萬福國小
WanFu Elementary School, Taipei
2020「水的記憶」這個主軸來自於公館到景美這中間一個 看不見的城市樣貌，在這一年孩子與家人共同用不同的方 式發現、體驗與思考，這地區複雜的水文對於過去、現在、 未來的生活上的轉變與相關。這過程可以是賣力划舟、可 以是指尖與水的觸動、可以捕撈的下一餐…由文化的視角， 這些都是可反覆咀嚼玩味的生活故事。學生由 2019 年底 開始循此脈絡訪問與發現家族裡與水的故事。 以一個課程為核心開啟一個探尋臺北文化的旅途。讓學生 與社區共同找尋土地的記憶，讓一個共同的傳統技藝－剪 紙、皮影戲，交融創作一個新的燈體。透過箱體裡光影的 變化，說的是大家共同的故事，也或是深藏於城市裡的過 往。點亮著燈，對於觀者，在轉動的光影與流動的影像讓 過去的美好跨時空交會。 The theme of 2020, “Memory of the Water”, is inspired by an invisible urban feature that exists in the area between Gongguan and Jinmei. Throughout the year, the children and their families are encouraged to use different ways to discover, experience, and contemplate about the area’s complex relationship with water and the transformations that have taken place in the past, in the present, and might occur in the future. The process involves different activities, such as boat rowing, coming into physical contact with the water, or catching the food for their next meal. Through a cultural lens, these activities could lead to stories about life that could be pondered and savored. Since the end of 2019, the students have begun to conduct interviews based on this context, seeking to discover stories about water that are found in their families. The core focus of this course has led to a journey exploring the culture of Taipei. The students and everyone in the community are invited to collectively search for memories related to this land they share. They’ve incorporated traditional craftwork, such as papercut art, shadow puppetry, to create new sources of light. The changing light and shadows in the story lamps they’ve created convey stories that we all share, or perhaps they tell of a past that was previously hidden in the city. As the lamps light up, the shifting light and shadows, the turning images invite the audience to revisit a beautiful history and to enjoy a meeting that transcends spatial and temporal limitations.
萬福國小位處生態資源豐富的社區，學校鄰近的山與河，一直靜默的陪伴孩子們學習與成長。然而， 一座城市的發展從來就不只單一面貌，教師團隊從學校校史整理，開啟學校與社區之間的互動，看 不見的城市重現於古地圖上，學校與社區所在古地名「萬盛庄」躍然而出，豐富的人文歷史、家族 故事與文化資產，靜默等候師生的發掘。 「具有競合力的萬福創客」是萬福國小的願景，教師團隊透過邀請社區人士、藝術家參與課程規劃 與創作活動安排，並引入資源規劃跨學科領域主題統整課程「點亮！萬盛庄」，引領學生進行田野 調查、口述訪談、史料蒐集、STEAM 互動與科技裝置、公共藝術、服務學習、分享發表等課程，讓 學生以公民參與社區改造的思維，藉由藝術與科技創作，再現萬盛庄的故事，逐年推動不同主題， 在每一位萬福親師生與社區人士的心中，點亮！在地認同與情懷，涵育新世代的公民素養。 WanFu Elementary School is located in a community with rich ecological resources. It is situated near a mountain and a river, with its surrounding natural setting always quietly present to accompany the children throughout their journey of learning and growing up. However, the development of a city is always multifactorial, and through organizing the history of the school and opening up the interaction between the school and its nearby community, the school’s faculty has managed to let a city that was forgotten to reappear on an historical map, allowing the historical name, Wansheng Community, for the area that the school and the community are located in to be noted once again. The area’s rich culture, history, family stories, and cultural assets are waiting quietly to be discovered by the school’s teachers and students. The mission of the WanFu Elementary School is to foster competent creative makers. The faculty of the school has invited people from the community and artists to contribute to the school’s curriculum planning and creative activities, with cross-disciplinary resources integrated in designing the integrative course, “Light up Wansheng Community”. Students are guided to participate in the course which involves field research, oral interview, historical material collection, STEAM interactive and technological installation, public art, service learning, and project presentation, allowing the students to take part in reinventing their community as citizens. Through creative endeavors integrating art and technology, stories of the Wansheng Community are recounted, and with a new theme launched each year, the project aims to light up the heart of every teacher, student, and community member, and with a sense of identification and connection formed with their local area, the project aims to foster a new generation with higher civic literacy.
藏寶
Hidden Treasures
Mixed media
複合媒材
寶藏巖文化村協會
有一群人見證了時代的變遷，在都市發展脈絡裡，寶 藏巖以他們為根，緩慢而踏實的建構自身的面貌；經 歷了體制的動盪與波折，這群人逐步嘗試迎合變化， 努力跨過障礙找到更多的共識，並尋求寶藏巖共生的 價值。現在這群人有許多的想法，他們邀請同樣在寶 藏巖生活、工作的朋友們對於過往至今的點滴進行創 作，表達多元的可行性。 There is a group of people that has witnessed the progression of history, and they have settled in Treasure Hill as the city continues to develop and advance. Slowly and surely, they have come to form their own unique characters. Through chaotic and turbulent systematic changes, this group of people also tries to adapt to the times, working hard to cross any hurdles and to reach a consensus, searching for the value behind their coexistence at Treasure Hill. This group of people has many different ideas and extends an invitation to others that are also living and working in Treasure Hill to turn their experiences from the past and the present into art and to demonstrate that embracing diversity is a feasible way of life.
Treasure Hill Culture Community Association
寶藏巖地理位置依公館小觀音山傍新店溪，因自來 水廠的建立，從此成為一個受到管制的地區，經歷 二戰、國民政府撤退，在各項管制實施多年之後， 隨著寶藏巖國際藝術村開村，寶藏巖已不在是個封 閉的一個地方；在 2006 年經《紐約時報》將寶藏巖 報導為臺北最具特色的景點之一後，寶藏巖從此躍 入社會，並佔據許多議題的版面。 寶藏巖文化村協會以居住者的角度出發，透過與各 方協力單位合作，在推動社區營造、凝聚社區意識 與關懷長者的同時，挖掘許多屬於社區居民專有的 特色故事，期望在民眾停下自身的步履，滿足視覺 藝術與自然之美的當下，也能知道這裡其實有很多 故事，並體驗屬於寶藏巖在不同時空之間的面貌。 Treasure Hill is located by the Xindian River next to the Little Mt. Guanyin in Gongguan, Taipei. Because of the establishment of a water treatment plant, the area was once a restricted zone. When the Nationalist government retreated from China to Taiwan after the war, the area was under various official regulations for many years, and when the Treasure Hill Artist Village was founded, Treasure Hill finally opened up. Treasure Hill was listed by The New York Times in 2006 as one of the most unique places in Taipei, and the attention placed a spotlight on Treasure Hill, with many ensuing articles written about it covering different issues. The Treasure Hill Culture Community Association departs from the perspective of the area’s residents and by collaborating with various groups, it promotes social empowerment, raises community awareness, and pays attention to the community’s elderly people. At the same time, it also uncovers many unique stories about the community’s residents and hopes that as people slow down their pace to enjoy the artworks presented and also the area’s natural beauty, they could also learn about the many stories that have unfolded here and experience Treasure Hill under different spatial and temporal settings.
快閃櫥窗展
Pop-up Window Display
@ No. 40 Select
Light up the Night
那個製研所 nag. 19
無論夜有多黑多暗 都要懷著一絲希望
尤其是近年世界不太安穩 更需要這股力量
面對各種阻礙與悲傷時 請記得我們不是孤獨的 人與人之間也是另一種共生關係
相依共存 可以一起攜手 互相扶持 一起照亮夜晚 帶來光亮 擁抱希望
「現在的歲月靜好 ， 是因有人替我們負重前行。」 我們懷著感恩的心
期許 nag.19 的燭光與陶器可以在這混沌的時期帶來一點點溫暖 。 Hope, despite how faint it may be, must be held on to despite how dark the night is. This is especially true since the world has been quite restless in recent times. This energy is needed ever more. Please remember that we are not alone when you are faced with hindrances and sadness. A symbiotic relationship could be formed between people. As we depend on each other, live together, hold hands, support each other, and light up the night. Let there be light with hope embraced. “We owe our so-called peaceful time to someone who is charging forward while carrying the burden for us.” We are grateful. We hope the candlelight and the ceramics of nag.19 could bring a little bit of warmth in this chaotic time.
光背後的窗 The Window behind the Light 透著光，我看見時間的壓摺， 有海棠，有星星，
有開燈的夜讀，有向陽的光灑， 因為窗和光，我們成長。
Through the light, I see the creases of time; There are begonias, and there are stars. Reading at night with the light turned on, And there is light pouring in from the direction of the sun. We thrive because of the window and the light.
@ 閣樓寶藏巖青年會所 Attic Treasure Hill Traveler's Hostel
自愛 ZIAI Studio
香氣與感官的盛宴 為 生 活 注 入 美 好 詩意 SABON 堅持採用死海礦鹽與天然成分，創造獨特精緻的肌膚 保養與居家香氛，為所有人帶來愉悅的生活體驗。
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