A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

A

1O

-Year

Look Back:

Guandu International Outdoor Sculpture Festival

20 10

20 09

20 08

20 07

20 06

5th

4th

3rd

2nd

1st

Nature, Art & Life

Land, Water and Culture

Global Warming

Nature in Touch

Nature Art

暥� 4

Contents Forewords About the Festival

10 12

Artwork Map

18

2006

Nature Art

34

2007

Nature in Touch

62

2008

Global Warming

82

2009

Land, Water & Culture

102

2010

Nature, Art & Life

118

2011

Treasured Memories

134

2012

Arrival of Migratory Birds

148

2013

Seed & Life

164

2014

A Micro View of Nature

178

2015

A Tribute to Tides

200

2

A 10-Year Retrospective

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

3

繡涸錏ꄁ倞涸㻜驏

An Aesthetic Awakening, a New Practice

爢㕰岁➃〵⻍䋑ꅿ둷㷸剚խ植⟤椚✲Ꟁ

2006

President of Wild Bird Society of Taipei

2006

4

2015

71

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

In 2006, Guandu Nature Park held the Guandu International

also inspire all visitors. I would like to express my sincere

Outdoor Sculpture Festival for the first time, setting

appreciation to all of them.

a precedent for Taiwan by sitting large-scale outdoor sculpture artworks in a nature park. I happened to serve

Years after, most of the artworks have returned to the

as the president of the Wild Bird Society of Taipei back

earth. Occasionally I walk past where the artwork used

then and witnessed the birth of this event. All the natural

to be, I recall the scene of the artwork blending in the

components and traces of seasonal changes in Guandu

landscape. This retrospective catalog includes 71 artworks

wetlands are made concrete and present in the art forms

from 2006 to 2015. Each of the artwork was created by the

to the people. The artworks reveal diverse creativities and

collaboration between artists, staff, and volunteers. The

source materials and demonstrate the explicit direction

harmonious touch between human, arts, and environments

that is making Mother Nature become the leading role

have found an echo in this book. I hope you enjoy it as I do.

of this show. The artistic experience may become the catalyst to bring attention to the surrounding nature and inspire people to reflect on the issue of human and nature coexistence.

Guandu International Outdoor Sculpture Festival upholds the above belief for years and has now grown into a diverse project. As an NPO who needs to self-finance the operation of Guandu Nature Park, it is already challenging to hold this art event annually not to mention persisting for more than ten years. It took a lot effort for the whole crew to learn how to organize a large-scale exhibition of site-specific sculpture. Yet they reached such great success. The curators and participating artists all showed their abundant creativities and brought us the spectacular art pieces.

Their care and passion towards the natural environment

5

⼧䎃剤䧭㾝劆劢⢵

Celebrating a Decade of Efforts, Striving for a New Future

爢㕰岁➃〵⻍䋑ꅿ둷㷸剚խ痧⼧♬㾂椚✲Ꟁ

Former the 17th President of Wild Bird Society of Taipei

2006

2005

6

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

The Guandu International Outdoor Sculpture Festival

people's attention toward the again Park sparking dialogues

began in 2006, it was a breakthrough attempt to turn things

and discussions between people, arts, and nature. The

around during a crisis.

Festival hopes to restore our relationship with the natural environment and restoring that balance between modern

Guandu Nature Park was founded for the conservation of

society and nature.

wild birds and is known for its waterfowl and gathering of hundreds of birds. In 2005, the outbreak of avian flu spread

A decade marks a significant milestone, it is also an

panic among the general public reducing the number

opportunity to reaffirm our beliefs and mark new

of visitors to the Park. In order to counter the negative

beginnings. With high expectations that such a meaningful

effects brought on by the avian flu, the Park organized an

event will continue within the Park, and continue to pass on

art festival to draw visitors back to the Park. Artists were

the values of nature and raise awareness while inspiring

invited to create site-specific installations using local

each participant of the Festival to take action to safeguard

natural materials while incorporating natural elements

the environment.

such as the wind, water, earth, and tree. Since these artworks were integrated within the surrounding landscape, it allowed visitors to not only touch but also to interact with these installations. Some of these installations were also utilized by wildlife. The idea that "people can enjoy art while getting reacquainted with nature" became the starting point for the Guandu International Outdoor Sculpture Festival.

There is a Chinese saying that it takes a decade to grow a tree and a hundred years to educate people, meaning that all things require time and nourishment. For the past decade, the development of the Guandu International Outdoor Sculpture Festival has brought new people, stories, and visions to the Park. The Festival has not only drawn

7

㖈荈搭谁遯莅➃涸ㄤ镜ꡠ⤚⛓꟦溏鋅繡㥪劢⢵

A Better Future within the Balance of Nature, Art, and People 爢㕰岁➃〵⻍䋑ꅿ둷㷸剚

ꡠ庋荈搭Ⱇ㕨盘椚贖խ贖Ꟁ

2006

Chief Executive Officer, Guandu Nature Park Office, Wild Bird Society of Taipei

2008

2010 200

2015

8

20

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

In 2006, Guandu Nature Park organized the first Guandu

participation. Eventually the effort paid off, and the Festival

International Outdoor Sculpture Festival. This was a

gradually gained its reputation and audience base. The

challenge and a critical turning point for the management

Festival has also helped the team secure more resources

team from the Wild Bird Society of Taipei WBST who were

for the future.

commissioned by the Taipei City Government to operate the Park. The Park was experiencing finical difficulties and

In 2015, the Park celebrated the tenth anniversary of the

after facing a five-year continuous deficit, the team felt as if

Festival and the opening event drew over 20,000 people.

they have been walking on thin ice. However, a crisis proved

The crowds showed that the Festival had its potentials and

to be a chance. The team worked with limited resources

was very popular, but it also gave us pause, were visitor

and staff to create an art festival which at first glance did

numbers the aim of the Festival? No, the team agreed

not seem to be directly associated with conservation. Yet in

that it was far more important to create an enjoyable

the end, the Festival brought in new things: new audience

environment, where visitors could learn to appreciate

base, media coverage, and most importantly the Festival

nature and in turn protect nature. The aim should be to

brought new ideas and strategies to the Park.

create an event that was both in-depth and of good visitor quality. Since the crowds prevented people from truly

Three years since the first Festival, the team was faced with

appreciating the beauty of nature and this experience has

numerous challenges such as a lacking stable funding,

made the team to reflect upon our value and vision.

repetition and similarities in the artworks year after year, and a lack of a clear identity. The team began to consider

The Park acts as a facilitator leading the public to get

giving up this project, but was reminded by artists of the

in touch with nature and appreciate the beauty of this

uniqueness of the Festival and one of our strong points:

wetland and to witness the wonder as large gathering

public participation. Volunteers play a tremendous role in

of migratory birds gather here. By coming together, to

the running of the Park and their hard work and dedication

bear witness the bounty of the land and understand the

has been crucial to the Park. It was great to see positive

plight of the environment. Through the Festival, we hope

feedback from both the volunteers and the visiting artists

the public would sense the urgency and the need to take

who gave their full support towards the Festival.

action, and conserve the environment for not only ourselves but for future generations as well. Together, let's look

In 2010, due to a lack of funding to invite an artist as our

forward towards a better future where people can live in a

curator, the team was left to curate the Festival on their

harmoniously with art and nature through this Festival.

own. With limited connections to spread the word among artists about the Festival, application numbers dropped from 200 to 20. This once again made us doubt our capacity as a conservation group to hold an art based event. Yet, we held on and created a new type of event which combined environmental education, artistic experience, and public 9

ꡠ庋㕜ꥹ荈搭酤縨谁遯㷎

2005

2006

11

10

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

Guandu International Outdoor Sculpture Festival

The fast development of Taiwan economy has put the natural environment in crisis. With Wild Bird Society of Taipei s continuous effort over 20 years to urge the Taipei City Government to protect the valuable wetland, Guandu Nature Park was established and been recognized as an Important Bird Area IBA by BirdLife International. WBST, commissioned by the government to manage the Park, has also devoted to transforming the Guandu Nature Park into an international wetland center.

To protect the wetland ecosystem and bird habitats for the purpose of conservation and environmental education has become the Park's mission. In 2005, Guandu Nature Park faced a crisis due to the avian flu outbreak. The pandemic disease has made the public panic about getting near to birds therefore further prevent them from visiting the Park. Suggested by the artist Jane Ingram Allen, Guandu Nature Park started the Guandu International Outdoor Sculpture Festival as a way of finding back visitors. Meanwhile, new audiences such as art-lovers can also be attracted to visit the Park for the first time. The event is held annually by inviting international artists to create eye-catching, site-specific installations using natural or eco-friendly materials.

Guandu International Outdoor Sculpture Festival began in 2006. It is Taiwan's first large-scale natural art event held in a nature conservation park. It has become an opportunity for artists and naturalists to work together with a common goal of raising public awareness about nature and the environment. For artists, it has been a challenge working in a nature park without disturbing the wildlife. For naturalists, it provides another perspective to perceive and enjoy Nature. The Festival has successfully created a buzz for the Park and gained its popularity gradually among the public.

Guandu International Outdoor Sculpture Festival is rooted in Guandu wetland which is an area rich in estuary culture and ecological value. It is an event aims to create a dialogue between people, arts, and nature through discussion of our relationship with the natural environment in hopes to restore the balance between modern society and Nature. After celebrating its 10-year anniversary in 2015, the event has come to a new stage by resetting its title into "Guandu International Nature Art Festival." Public participation, art intervention, and nature conservation are still the key elements of this event. It is expected to serve as a catalyst to deepen the public's awareness of the environment, as well as care for the local cultures.

11

MAP

2004

2011

Old Guizikeng River Main Gate

North Pond

South Pond Coastal Forest Area

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1

st

nd

2

rd

3

th

4

th

5

th

6

Treasured Memories

Nature, Art & Life

Land, Water and Culture

Global Warming

Nature in Touch

Nature Art

North Taiwan Low Elevation Forest Area Nature Center

Moon Pond Shui-Mo-Ken River Crab Watching Area

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

13

3

Asia Pacific Hotel

MAP Taipei National University of the Arts

2012

2015

Old Guizikeng River Main Gate

North Pond

South Pond Coastal Forest Area

Guandu Neighborhood

14

7

th

th

8

th

9

th

10 A Tribute to Tides

A Micro View of Nature

Seed & Life

Arrival of Migratory Birds

North Taiwan Low Elevation Forest Area Nature Center

Moon Pond Shui-Mo-Ken River Crab Watching Area

Zhishan Cultural And Ecological Garden

Shezi

15

A 1O-Year Look Back: Guandu International Outdoor Sculpture Festival 16

Global Warming

Land, Water and Culture

Nature, Art & Life

20 14

20 15

6th

7th

8th

9th

10th

Arrival of Migratory Birds

Seed & Life

A Micro View of Nature

A Tribute to Tides

20 08

20 09

20 10

1st

2nd

3rd

4th

5th

Nature in Touch

20 13

20 07

Nature Art

20 12

Treasured Memories

十年回看：關渡國際自然裝置藝術季

20 11

20 06

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2006 st 1

N a t u r e

A r t

18

2006

2006.05.01

10.31

荈搭谁遯

Nature Art 劍玑 Schedule

2006.4.29-5.05 On-site Installation 2006.5.06

2006

Festival Opening 2006.5.06-10.31 Exhibition

Ideas of the first edition of the Guandu International Outdoor Sculpture Festival include natural elements such as the wind,

⿮㾝谁遯㹻 Artists

Jane Ingram Allen | Josho |

United States

Japan, and Taiwan come to Guandu and create site-specific

United States Pamela G. Ayres |

Rikuo Ueda |

United States

Japan

Yumiko Yamazaki | Yu, Wen-Fu |

water, earth, and wood. Six international artists from America,

sculpture installations in a week using natural materials. These large-scale installations blend into the landscape, allow visitors

Japan

Taiwan

to touch and interact, and serve some sort of function for living organisms. Time, wind, rain, animals, plants and humans interacted with these works, and leave traces, presented as part of the work. Ultimately, these works will follow the eternal

㜥㖒 Venues

and immutable law of nature, with the passage of time and Guandu Nature Park

natural succession, decompose and return to the earth. How to make invisible wind, shapeless water, and formless soil become noticeable? How to read the trace of time? 2006 Guandu International Outdoor Sculpture Festival has connected people with art and nature and shortened the distance between tangible and intangible elements.

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

19

MAP

Ⰵ〡

③ ④

① ⑥

② ⑤

20

2006

1

st

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

荈搭谁遯

Nature Art ①

剤䊤孒 Nests for Humans Jane Ingram Allen

②

꽏駈莅錚溏 Places for Being and Seeing Josho United States

③

虋⾲涸欰ㄐⵠ䏞 Transient Grassland Measure Pamela G. Ayres United States

④

괐⛓䗱 Mind of Wind Rikuo Ueda

⑤

宐♳嗃暟⛓㹻 Plants Project on the Water Yumiko Yamazaki Japan

⑥

畾隶 Changes of Bamboo Yu, Wen-Fu Taiwan

United States

Japan

21

2006

Nature Art

剤䊤孒

Nests for Humans 勞俲Я Materials

㖒럊Я Location

Fallen branches and twigs, rope and string,

Grass hill, Guandu Nature Park

蒕㭫갉

Jane Ingram Allen

handmade paper pulp, bird seeds

United States

These human-sized nests are for people to enter and rest there a while to think about man s relationship to nature and the wonder of a bird s creation. Some of the handmade paper sheets that line the nests are made by visitors and volunteers. The paper is made from the bark and leaves of plants found here at Guandu Nature Park. The paper pulp has bird seeds in it to provide nourishment for the birds and also encourage the birds to come closer so that people can quietly watch them. Like all things in Nature, this artwork will dissolve over time going back into the earth. The elements of change and chance and the processes of nature are the partners in making this work. Time, wind, rain, animals, birds and humans will all leave their marks on these nests.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2006

Nature Art

꽏駈莅錚溏

Places for Being and Seeing 勞俲Я Materials

㖒럊Я Location

Bamboo, reeds, wire

Near Crab Watching Area, Guandu Nature Park

㋮〚

Josho United States

Josho has created spaces where people can come into closer contact with the patterns, processes, and rhythms of nature. In the making of these spaces, he tries to suggest pathways for people to begin to work more closely and collaboratively with the natural world. All this work is rooted in the ongoing efforts to develop an ecologically sustainable post-industrial culture.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

25

2006

Nature Art

虋⾲涸欰ㄐⵠ䏞

Transient Grassland Measure 勞俲Я Materials

㖒럊Я Location

Soil, seed and sewn nylon

Flower beds near the main gate, Guandu Nature Park

悮蹓䬘䠦晋倛

Pamela G. Ayres United States

The exploration of natural materials is affected by seasonal and regional conditions. Pamela loves to gather seeds, shells, rocks, dirt, sand, snow or water when she is in the outdoors. She makes and arranges ball-shaped elements that naturally evolve into an altered arrangement. Often the transformed physical makeup of the installations is realized in the passage of time. In addition to the effects of weather and time on the work, there is also an effect on the viewer. The dirt balls grow grass, the sand balls blow away in the wind and dissolve in the surf, and the snow and ice balls melt into puddles. Introducing the ball objects into selected environments enables her to incorporate the rhythm and systems of nature into the works while gently conveying aspirations of some formal elements of design.

The varied societies of human beings on the earth impact the natural environment continuously. This installations impact a place much in the same way that someone plants a garden to enhance a neighborhood, backyard or town green.

Because of the scale and accessibility of the works, all of these elements seemed uncomplicated and sent an invitation to everyone to approach. She observed that people related to the scale of the balls readily and were willing to be in the locality of the site and participate in the role of witness throughout the life of the work.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

27

2006

Nature Art

괐⛓䗱

Mind of Wind 勞俲Я Materials

㖒럊Я Location

Wind machine, paper, wood scraps,

Coastal Forest Area, Guandu Nature Park

嗃歊ꤷ꧆

Rikuo Ueda

found materials

Japan

Coexistence with everything is Japan s culture. It is hoped that this spirit won t be forgotten. Rikuo Ueda was born in Japan where the basic culture is based on Buddhism and Shintoism. But, today in Japan these beliefs are more like customs, and people do not hold to either of them strictly. For example, Rikuo got married in a church; when he had a baby he went to a Shinto shrine for the congratulatory ceremony. When he dies, a Buddhist priest will maybe come for the funeral ceremony at his grave. He thought that Buddhism is more philosophy than a religion, and Shintoism is a kind of Animism like that of the American Indian. He believed that everything is God and is all connected, and people need coexistence with everything.

The wind is a symbol of this relationship for his installation. We can t ever have the same wind again; it is a once-in-a-lifetime experience. There is no border with the wind. It is connecting to everything. This is like the butterfly effect where even the smallest movement is connected to everything else. We have to take care of everything

28

other people, plants, animals, mountains, sea, sky

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

29

2006

Nature Art

宐♳嗃暟⛓㹻

Plants Project on the Water 勞俲Я Materials

㖒럊Я Location

Soil, bamboo, hemp rope

Mudflats near Crab Watching Area, Guandu Nature Park

㿋䃷歋繡㶩

Yumiko Yamazaki Japan

The passage of time and the power of nature over this particular place at Guandu Nature Park made the most important elements of this work. Yumiko installed 4 boxes with soil in them on the water of the pond. For the period of this exhibition, wind, birds and natural happenings brought seeds of plants to this soil. And, she waited for a plant to sprout there. At the end of the exhibition, she collected those plants in the boxes and put those plants in the handmade paper to preserve the memory of this moment of time in this special place. Birds might come to the rafts and had a rest because being on the water was a safe place for birds; maybe they would make hideouts there. Nature entered this work, and it is changed and completed by nature.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

31

2006

Nature Art

畾隶

Changes of Bamboo 勞俲Я Materials

㖒럊Я Location

Bamboo, acrylic paint

Grass field near the South Pond, Guandu Nature Park

康俒㺢

Yu, Wen-Fu Taiwan

Wen-Fu Yu stuck bamboo into the ground and let it present changes caused by nature and time. Bamboo got moldy spots under natural weather situations and the color of bamboo changed over time. Different colors brought out the different qualities of bamboo, and by controlling the area of moldy spots created by the humidity, different color levels appeared on his artwork. Like all plants, the changes in bamboo were worth being observed and noted. Moreover, when the wind blew, elastic bamboo beat and made a pleasing melody for visitors. Viewers were moved by the sight and surprised by the changes of bamboo over time.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

33

2007 nd 2

N a t u r e

i n

T o u c h

34

2007

2007.04.21

09.15

驎《荈搭

Nature in Touch 劍玑 Schedule

2007.4.11-19

On-site Installation

2007

2007.4.21 Festival Opening 2007.4-21-9.15 Exhibition

⿮㾝谁遯㹻 Artists

Cornelia Konrads |

Germany

Pablo Sebastián Fuentes Osorio | Leung , Mee-Ping |

Hong Kong, China

2007 Guandu International Outdoor Sculpture Festival

Canada

features activities and outdoor exhibitions on natural and

Karl Ciesluk | Marek Ranis | &

Chile

&

Poland & United States

Denise Milan & Ary Perez |

Benjamin Taffinder | Susanne Ruoff |

United Kingdom Germany

Karin van der Molen | &

Brazil

Netherlands

Judit Villiger, Janice Handleman & Daniela Villiger | Switzerland, United States & Switzerland Pan, Ping-Yu |

materials available in the park, natural outdoor sculptures are created to blend with the environment and to act as a medium for people s communication with nature.

During the six-month exhibition in the Guandu Nature

&

Taiwan

Huang, Kuang-Hua |

artistic works in the Guandu Nature Park. By using natural

Taiwan

Park, time, weather, creatures, and people will influence these sculptures. They gradually undergo transformation until finally return to the earth. During the artists on-site involvement, Guandu Nature Park is open to the public for participation, in the hopes that the public can experience the fun of nature, and then value the wetland.

㜥㖒 Venues

Guandu Nature Park

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

35

MAP

Ⰵ〡

⑫ ③

④ ⑤

⑥

⑦ ⑩

⑧

⑨ ② ①

36

⑪

2007

2

nd

驎《荈搭

Nature in Touch ①

蔊虋叙 Herbal Pillars .

Cornelia Konrads

②

굳纷㙹䋑 The City of the Birds .

Pablo Sebastian Fuentes Osorio

③

ⵅꤑ On-Sites Leung, Mee-Ping

Germany

Hong Kong, China

④

⫦㶸♧눴 Only One Fish Left .

Karl Ciesluk

Canada

⑤

怔嵥⛓䃋 The Floating Land .

Marek Ranis

Poland /

⑥

屎崩 . 欰ㄐ . 屮彂

United States

Amazon and Danshui Rivers, Waters that Feed Life .

⑦

Chile

&

.

Denise Milan & Ary Perez

崞宐鶵㹨 Water Maze .

Benjamin Taffinder

Brazil

United Kingdom

⑧

錚➃㼭眡 Human Watching Cabins .

Susanne Ruoff Germany

⑨

㣆䟝涸织艝 In My Dreams I Can Fly . .

Karin van der Molen

⑩

鬪Ⰵ岟屜 Jump in the Bog . . &

Netherlands

.

Judit Villiger, Janice Handleman & Daniela Villiger Switzerland /

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

United States /

Switzerland

⑪

㖈齡麶黇涸㖒倰 An Unapproachable Shore Pan, Ping-Yu Taiwan

⑫

眡 . 喌 Construct Dwell Huang, Kuang-Hua

Taiwan

37

2007

Nature in Touch

蔊虋叙

Herbal Pillars 勞俲Я Materials

㖒럊Я Location

Recycled weld mesh panel, iron wire,

Pavilion at Coastal Forest Area,

twine, paint, recycled bamboo

Guandu Nature Park

〳㣾蛂❏㶰飅蘘

Cornelia Konrads

One element of the scenery doesn t behave like it should

Germany

refusing to fit into the

expected order. It appears just by the way from the corner of the eye. One is not sure if it has been there forever; if it may disappear or change in the next moment.

It irritates, causing a little rupture in the net of cognition. This moment of irritation is important for Cornelia s work.

It bears a certain chance: to arrive here and now in a world where strange things including the viewer are having a transient and unique meeting. All her works appeared like still films, that pointed backward and forward both temporally and spatially. The installation created a close relationship with its sites, corresponding to history, topography, and vegetation. She also integrated an element of architecture, as a synonym of the physical presence of human life.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2007

Nature in Touch

굳纷㙹䋑

The City of the Birds 勞俲Я Materials

㖒럊Я Location

Living bamboo and bamboo poles

Coastal Forest Area, Guandu Nature Park

䊼䋒繏犷䛸㖒倛

Pablo Sebastian Fuentes Osorio Chile

It was possible for Pablo to find the meaning of a creative work when he realized that he almost didn t have to do anything and that his contribution had been just a little, so humbly. He created a relationship between the sculpture and nature; it appeared when he felt with his hands, eyes, ears and his mouth. The sculpture grew like nature, because one depended absolutely on the other one. The primitive materials he used guided him to natural beauty, to understand it and its perfection and complexity. His care with the sculpture was essential in the way that he built, taking care of the natural materials.

The best sculpture is a tree growing in an open field, and the best stone carving is made by the sea when it strikes the edge. The City of the Birds grew according to the laws of nature. The intensity of the process was an excuse for his creativity, and time gave the form. Many things made sense when they were observed; the rest was a question of time.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2007

Nature in Touch

ⵅꤑ

On-Sites 勞俲Я Materials

㖒럊Я Location

Bamboo, hemp rope

Coastal Forest Area,

哀繡蟣

Leung, Mee-Ping

Guandu Nature Park

Hong Kong, China

Mee-Ping Leung understood this event by looking at the Park as the only natural wild land for a cyber-tech city such as Taipei. The tension between these two urban modalities was the text for her concept. Mee-Ping set up a site-specific installation in Guandu Park, the non-architectural space as well as a natural environment, consisting of a 3-meter by 3-meter delete key simulating the delete key of a Mac G5 computer, but constructing it with natural materials. It aimed to express the constant desire for innovation in the city. It led to a consideration of the dialectical relationships between disappearance and appearance; deconstruction and construction in the urban present progressive tense.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2007

Nature in Touch

⫦㶸♧눴

Only One Fish Left 勞俲Я Materials

㖒럊Я Location

Bamboo, twine

North Pond, Guandu Nature Park

⽓晋ⴗ倛騟⯘

Karl Ciesluk Canada

Only One Fish Left is from Karl s Reflective Fish Series. It is an inspiring theme he had been working to develop for a few years. He built partly-submerged halffish constructions in water, which completed a whole fish shape through their reflection, in perfect symmetry almost magical, as they seemed weightless, afloat in the water. Only One Fish Left made an environmental statement we have to protect nature for future generations. Overfishing on the sea, and the everincreasing encroachment of fish habitats by developers inlands, both have an impact on the fish population.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2007

Nature in Touch

怔嵥⛓䃋

The Floating Land 勞俲Я Materials

㖒럊Я Location

Bamboo, fabric panels printed

Pathways between the North and

with hot transfer image

South Ponds, Guandu Nature Park

꼛榰⯘榰㽳倛

Marek Ranis

Poland

United States

The Floating Land was a large wooden/ bamboo structure shaped like a boat with fabric panels hanging from the frame. The frame of the boat was supported by poles marked with rising water levels. The fabric was covered by a large hot transfer print of a satellite image of the island of Taiwan. The print seen from the side and underneath looked like a large transparency or slide. The fabric gently moved with the wind inviting the audience to interact with the piece and perhaps initiating discussion about the impact of climate change on the natural and human environment of Taiwan.

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2007

Nature in Touch

屎崩欰ㄐ屮彂

Amazon and Danshui Rivers, Waters that Feed Life 勞俲Я Materials

㖒럊Я Location

Wood, stones, cotton rope

Grasshill behind the Nature Center, Guandu Nature Park

⚸㧚窣碜貽 & 蒕榰醎榰蘘

Denise Milan & Ary Perez Brazil

Amazon and Danshui Rivers, Waters that Feed Life focused on two important rivers in the countries of Brazil and Taiwan and encouraged people to think more about the importance of water as a source of life and a necessity for its continuation. The work presented a symbolic representation of the rivers with vegetation and stones.

Materials collected in Taiwan along the Danshui River and at Guandu Nature Park were joined with a few stones brought from the Amazon River in Brazil to emphasize the global connection and helped us recognize the importance of rivers in our lives in both countries. All rivers have the same essence and connect in the ocean, the great wisdom of our planet.

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2007

Nature in Touch

崞宐鶵㹨

Water Maze 勞俲Я Materials

㖒럊Я Location

Bamboo, boat pumps, plastic pipe, twine

Grasshill behind the Nature Center,

棵㝝ⴕ䗞

Benjamin Taffinder

Guandu Nature Park

United Kingdom

Water is the Park s connecting element, and Ben was using it to create an interactive artwork. Visitors were encouraged to use fixed boat pumps to lift water from the pond or marsh to a high outlet where it fell, bringing to life a maze of bamboo channels, pipes and flippers as it flew back down to its source. It relied on public interaction to function. The work was expected to help draw our attention to some very simple but important segments in our living world. He hoped the maze sensitively expanded visitors perceptions of the water upon which all the reserve s wildlife, and of course we human beings depend.

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2007

Nature in Touch

錚➃㼭眡

Human Watching Cabins 勞俲Я Materials

㖒럊Я Location

Wood, bamboo poles, paint

Near the Birdwatching Cabins, Guandu Nature Park

豤棁峫㣗

Susanne Ruoff Germany

Human Watching Cabins is a site-specific work that related to one of Guandu Nature Park s main issues: birdwatching. There are a number of different cabins in the park designed for people to watch birds without being seen and without disturbing them. Susanne wanted to invert the image. She created Human Watching Cabins for the birds so that the birds could also watch people without being seen. This meant a change from being subject to object and vice versa.

Human Watching Cabins was exact copies of the birdwatching cabins in the park, like little architectural models. It opened on one side so that the birds could really walk in if they liked, and it sat on long wooden or bamboo poles so that the birds could easily reach them and had a good view over the people. Human Watching

Cabins was distributed close to the birdwatching cabins, so that the visitor could have both of the cabins at one sight.

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2007

Nature in Touch

㣆䟝涸织艝

In My Dreams I Can Fly 勞俲Я Materials

㖒럊Я Location

Bamboo, reeds, twine

Pathways in front of the grass hill, Guandu Nature Park

⳯⧍ⳝ䗞䷒貽

Karin van der Molen

Netherlands

These objects related to our sometimes difficult, but always most needed, connection to nature. Although in form maybe more abstract than paintings, Karin felt the objects communicated their meaning more directly. Even working on them was very direct physically and spiritually, They grew in a non-painful way as opposed to the sometimes hard and lonely struggle in Karin s painting activities .

The materials, the work, the objects and their meaning were very closely linked.

As the work was located in nature preserves, stimulating a direct contact between art, nature and visitors. That is why Karin intensely loved working on these kinds of projects.

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2007

Nature in Touch

鬪Ⰵ岟屜

Jump in the Bog 勞俲Я Materials

㖒럊Я Location

Bamboo, paint

Grasshill behind the Nature Center, Guandu Nature Park

蘕裦笞ⵄ呔棇㧚窣ꯓ䗞剋 ⚸㧚蒕䬘笞ⵄ呔

Judit Villiger, Janice Handleman & Daniela Villiger Switzerland

United States

Switzerland

This installation posed alternatives to the assumption that a picture can only be perceived from a distance or from a bird s-eye view. Eyes typically walk through a picture, but this work invited the viewer to move throughout the image physically.

Walking through the picture with the eye or on foot allowed new perspectives to emerge: sensorial perceptions replaced the more rational comprehension of having an overview. Placing a drawing in the landscape allowed viewers a transition from experiencing a general view of the installation to losing themselves in its context. A photograph of a Joseph Beuys' project called Bog Action 1971 serves as master image for this work. The subject matter of Bog Action refers to the ecosystem that is endangered due to human interference, thus the central mission of Guandu National Park is integrated into the project. This Beuys-like action captured in analogue photography is digitalized with Photoshop, rendered in stakes to produce a matrix of dots 0=white, 1=black and then transferred to the landscape. An order formed by digitalization is placed within the order created by the natural growth of the park resulting in a domesticated landscape: a garden.

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2007

Nature in Touch

㖈齡麶黇涸㖒倰

An Unapproachable Shore 勞俲Я Materials

㖒럊Я Location

Bamboo, on-site natural materials,

Moon Pond, Guandu Nature Park

hemp rope

悮㪼桪

Pan, Ping-Yu Taiwan

For An Unapproachable Shore, Ping-Yu Pan used the image of a bridge to present the different layers of her idea. Her bridge was not functional, and it couldn t help people go over to the other shore. It acted as a symbol of the human ambition to conquer Nature and the frustration at the impossibility, like a journey of desire to try to communicate with two different worlds. This artwork also marked a question about the illusion of globality.

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2007

Nature in Touch

眡喌

Construct Dwell 勞俲Я Materials

㖒럊Я Location

Branches, bamboo, leaves, wire, rope,

North Taiwan Low Elevation Forest Area,

glue, rattan work

Guandu Nature Park

The meaning of the character "zhu

랔䑞螠

Huang, Kuang-Hua Taiwan

" in Chinese is the way, or the ultimate

way that people should behave. People seek a space for living and for protection.

A tree house or nest is a kind of shape of this type of space. Kuang-Hua Huang created an "imitating-nature" space with natural materials, like a tree house or nest. People were able to experience this work in different ways because they were at different heights. This space gave them a new kind of experience because their perception changed according to their field of vision and the use of all of their sense organs.

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2008 rd 3

G l o b a l

W a r m i n g

62

2008

2008.04.07

椕军⻋

09.14

2008

Global Warming 劍玑 Schedule

2008.4.04-17

On-site Installation 2008.4.12-13 Artist Talk 2008.4.19-20 Festival Opening 2008.4.19-9.14

There is a hole in the sky. More and more ultraviolet

Exhibition

radiation has penetrated to the Earth's surface! 2008 Guandu International Outdoor Sculpture Festival has reconstructed this ozone hole to tell this story. Artists create

⿮㾝谁遯㹻 Artists

giant leaves as water collectors to remind everyone that

Roger Tibon | &

Philippines

Cheng , Chung-Ho & Lu , Chia-Ping | François Frechet |

France

Firman Djamil |

Indonesia

Istvan Eross |

Hungary

Kaoru Motomiya | Hsia, Ai-Hua |

every drop of water counts. A white dragon comes down to Taiwan

Japan

about global warming. All these imaginations have come to life by the installation artwork. Global warming might seem an issue far from our daily life, but it is indeed the current status of the Earth. Besides always looking at this problem

Taiwan

Donald Buglass |

the Guandu Nature Park and casts its magic to tell us a tale

New Zealand

with a heavy heart, we can still use art to encourage us to face the carbon reduction challenge positively.

㜥㖒 Venues

Guandu Nature Park

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63

MAP

Ⰵ〡

⑧

⑤

⑥ ⑦ ④

64

② ③

①

2008

3

rd

椕军⻋

Global Warming ①

㣔瑠⛓湽 The Shield .

Roger Tibon

②

忹宐♶怪 Every Drop Counts & Cheng, Chung-Ho & Lu, Chia-ping

③

ぢ傈裉 Girasol Sunflower

.

François Frechet

Philippines

Taiwan

France

④ 0 敎俲 = 0 摳㔦 0 Fuel= 0 Chimney Zero Chimney

.

Firman Djamil

Indonesia

⑤

㔉犝涸㖒椕 Pen .

Istvan Eross

⑥

륌莅㣔瑠涸峯 Dragon and Sky Hole Kaoru Motomiya Japan

Hungary

⑦ չ䟝⫹涸崩պ鸒䖃涸㞯歲

To the Flowing Time and Weather that Changes Human Desire Hsia, Ai-Hua

⑧

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

Taiwan

佖隶涸隌魨痘 Talisman of Change .

Donald Buglass New Zealand

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2008

Global Warming

㣔瑠⛓湽

The Shield 勞俲Я Materials

㖒럊Я Location

Bamboo, hemp rope, rattan strips,

Grassland near the Outdoor Theater,

other natural materials

Guandu Nature Park

繏⪂䲿䕠

Roger Tibon Philippines

The shield is symbolic of the ozone layer. The ozone is supposed to protect the world and us from harmful ultraviolet rays and excessive heat. But, due to our ignorance, neglect and irresponsibility, we have caused irreparable damage and holes to it. And now, we are experiencing the worldwide effect of global warming which puts us in a nightmarish brink of destruction. Glaciers and Alps are slowly melting threatening lowlands and low lying islands into submerging underwater.

Rivers, inland seas, lakes and other smaller bodies of water are drying up. More and more forest, bush and grass fires occur due to excessive heat from the sun.

Heat waves are becoming more and more intensified and killing humans, plants and animals.

The Shield was a grim reminder of our precarious situation. When we entered inside it to take shelter from the scorching sun, we realized that we no longer get full protection because of the big holes around its wall – which we have created, maybe, unconsciously.

Roger s work is interactive. People visiting and entering the work were encouraged to put some weaving in the holes, symbolically trying to heal the holes of the damaged ozone. Thus this work were changing during the entire duration of the exhibition.

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2008

Global Warming

忹宐♶怪

Every Drop Counts 勞俲Я Materials

㖒럊Я Location

Bamboo, vegetable fibers, tung oil, twine

Grassland in front of the Birdwatching Cabin No.2, Guandu Nature Park

ꁀ⚥ㄤス㎗蟣

Cheng, Chung-Ho & Lu, Chia-ping

Taiwan

Taiwan has always been abundant and copious rainfall. In the earlier days, children in the countryside could easily pick the giant elephant ear leaf to keep the rain and run home when an afternoon shower came. This scene can readily be found in artists works or in drawings for children s books. For Chung-ho and Chia-ping this leaf was associated with sunlight and raindrops. Now Taiwan has shorter rainy season because of global warming.Perhaps one day, hopefully not, there would be no rain to for us to keep from with this leaf. Instead we would need to use the leaf to collect the moisture of the night in order to have water to survive.

Chung-ho and Chia-ping made many giant leaf installations to collect moisture.

The leaves were made with handmade paper created from vegetable fibers. They obtained the elements from nature and hoped that their work could be accepted by nature. The natural materials became the surface of the leaf and were coated with tung oil paint to make it waterproof like the traditional oiled paper umbrellas.

They placed these giant leaves along the paths at Guandu Nature Park as water catchers so that visitors could see vividly the amount of water collected and thought about the importance of rainfall and the dangers of global warming. To treasure every drop was the original idea of the work.

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2008

Global Warming

ぢ傈裉

Girasol Sunflower

勞俲Я Materials

㖒럊Я Location

Bamboo

Grass hill behind the Nature Center,

倰倛螠犷ꨮ闒

François Frechet

Guandu Nature Park

France

The catastrophe of global warming is not only the increasing sea level, but also the extinction of plant species. When there is a change of climate, plants move to a better place for existence, but when it happens too quickly, plants just die.

François s installation took the form of a sunflower representing the sun, our best ally. However human activities caused ozone holes. The Sunflower represented all the vegetal life with its two spirals symbolic of flowers and seeds. This special arrangement concentrated on all the ways each plant grows, the leaves, the branches and the flowers. François wanted to show the loss of biodiversity by using the shape of the double spiral planted with sticks of bamboo, like a labyrinth leading to the hole.

François s work turned more and more towards a defense for biodiversity. In addition to the aesthetic dimensions of "the artist," he aimed to inform the public like an alarm bell, and not to sit in judgment on anyone of the urgency to preserve and safeguard this priceless inheritance.

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2008

Global Warming

0 敎俲 = 0 摳㔦 0 Fuel= 0 Chimney Zero Chimney

勞俲Я Materials

㖒럊Я Location

Bamboo, corn seed

Next to the trail of the South Pond, Guandu Nature Park

2007

12

螩晋剋䗞⸈碜晋

Firman Djamil Indonesia

In Bali, Indonesia, December 2007, the United Nations Climate Change Conference was held in response to global warming resulting from the greenhouse gas emission. But as we know, many big industrial states did not follow preventive efforts like the Kyoto Protocol. Meanwhile, the world is progressively reaching the day when the fossil oil is to be entirely depleted.

In addition, there is a rising demand for alternative energy sources like ethanol.

Ethanol is produced from maize/corn through an agrifuel industrialization process. However, the production of ethanol causes the maize farms to drain due to massively cultivation. To produce one gallon or 3.7 liters of ethanol requires 6.345 liters of fresh water to grow the maize/corn for fermentation. Every gallon of ethanol yields 37.85 liters of irrigation waste. This process requires a great deal of energy and run a risk of environmental damage.

Speaking of the problems mentioned, an artist of course cannot directly make a change. But ideas from the artist can be an inspiration for resuscitation and reach out to all of society. Firman built an installation made from bamboo and corn seed in the form of a chimney. Underneath the installation maize seeds were planted to encircle the chimney building; the undercarriage wall of the chimney was wrapped with grass.

Firman hoped that industrial smokestacks no longer yield gas emissions of CO2 but fresh air for the atmosphere of earth. Seeds of corn could grow sufficiently to be consumed by human beings and also eaten by birds. And that birds can fly in the sky and sing songs at each dulcet moment.

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73

2008

Global Warming

㔉犝涸㖒椕

Pen

勞俲Я Materials

㖒럊Я Location

Bamboo, twine, other plants

Main Entrance, Guandu Nature Park

⟻㡦㗞薵⟃繏倛

Istvan Eross Hungary

This globe is in danger. Nature is terrorized by the imprudent activities of human beings. Increased human populations are trying to take shelter in a jungle of concrete that is enveloping the natural world. In Istvan s sculpture he tried to express his deep concern and agony about the fate of the earth. One globe of cotton cloth was a symbol of the manmade concrete world; the other globe made of natural vegetation expressed a balanced ecological world where nature and man are neighbors balancing their ecological needs.

This installation consisted of a large cube and a large sphere ball trapped inside it. The idea of this work was based on the contradiction of the two forms: the cube and the ball. The sphere was a symbol of movement and freedom and represented nature and the earth. The cube was a symbol of the static, force, law and aggression and represented human activity. This work hoped to make people think about the fate of the earth and the consequences of human actions that caused changes such as global warming.

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2008

Global Warming

륌莅㣔瑠涸峯

Dragon and Sky Hole 勞俲Я Materials

㖒럊Я Location

Wood and stones

Grass field near the South Pond, Guandu Nature Park

劥㹨껻

Kaoru Motomiya Japan

Our age is a time of rapid changes in the environment. The average temperature in Taiwan is rising at a speed double that of the entire earth. When the amount of ozone decreases, more ultraviolet rays arrive at the surface of the earth and result in serious consequences. How can we fix the holes in the ozone? Kaoru Motomiya was inspired by the information about global warming and developed this work to interpret the impact of holes in the ozone. She portrayed a tail of a sacred beast, the dragon. In the ancient age of China and Japan, the dragon was considered to handle phenomena in the sky and brought rain or storms. He was usually in ponds and rarely ran up to the sky to tell an omen.

In this project, a white dragon landed Guandu National Park. He was a sky messenger embodying the effect of global warming by changing his color. The place where the dragon landed was near water. Kaoru used mainly found pieces of wood painted with ink that changed its color by ultraviolet rays. The ink was mixed with water she collected in 2007 from Venice, Italy, an island that is sinking because of global warming. The dragon s tail was long stretching out over the land. The metamorphosis engendered by the sunlight showed us something usually invisible: how many ultraviolet rays we had in daily life. It told a tale of the ozone holes now present in our atmosphere.

2007 Traditionally the gem ball of a dragon is a symbol of its power. In an old Japanese 100

tale, a white dragon vomits gold gem balls. The dragon in the park also have some balls and turn their color to gold with ultra violet rays. Since 2000, Kaori has been working on a project about gold restoration, thus these golden balls also 2000

became a metaphor for the restoration of the ozone holes and the recovery from the crisis of global warming.

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77

2008

Global Warming

չ䟝⫹涸崩պ鸒䖃涸㞯歲

To the Flowing Time and Weather that Changes Human Desire 勞俲Я Materials

㖒럊Я Location

Branches, mineral pigments

Grassland across the Moon Pond platform,

㢚䠦螠

Hsia, Ai-Hua

Guandu Nature Park

Taiwan

The weather in Taiwan is usually very mild. No need to worry about snow and ice or come across a tornado. When Ai-Hua Hsia studied in Japan, she felt the four seasons for the first time. People there were so sensitive to the temperature, and they even tried to use science to keep the temperature in the room comfortable.

But, we still cannot control the environment.

2000

When Ai-Hua studied in Okinawa, Japan, in 2000, she went diving to see the coral 2008

every summer during vacation. The coral was so beautiful and colorful. Yet the same year she saw some sad news about coral. The temperature was getting high in the seas around Okinawa, and as a result all of the coral became white. If the sea temperature didn t go down in one week, all of the coral would die. Even though news report that global warming is getting more serious everyday, people do not understand the seriousness of what is happening to the earth if we cannot see how our environment is being changed so quickly. Ai-Hua wanted to show people this emergency vividly with her artwork.

She made a representation of the ecology of Guandu Nature Park (Each unit was about 20 cm to 30 cm high) in an area about 3 meters in size. She colored the plants made from branches found in the Park with mineral pigments adhered by gelatin. The mineral pigment applied was made from the rocks and earth, a natural material doing no harm to our environment. The color fell off gradually due to rain and weather. Slowly this little ecology created became white just like the coral at a high temperature in the ocean because of global warming.

Through Ai-Hua s work, people could feel the change dramatically, and see the color change to white within a short time. She hoped that people started to think seriously about the problem of global warming.

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2008

Global Warming

佖隶涸隌魨痘

Talisman of Change 勞俲Я Materials

㖒럊Я Location

Bamboo, twine

Grassland in front of the Nature Center, Guandu Nature Park

㇫秝䊼呔⹗倛

Donald Buglass New Zealand

Talisman of Change , as the name suggested, was a charm, and its purpose was to reverse the downward spiral of environmental destruction and climate change.

This sculpture consisted of three horn shaped cones constructed from lengths of bamboos. The bamboos were fastened together with natural fibre binding dyed in symbolic colors. The horns lied on each other in a vortex shape reminiscent of a tornado with the tips pointing to the sky and the open ends fanning out from the centre.

Man has destabilized the Earth s ecology and Talisman of Change was a symbol of the primal forces that must at some point begin again to rectify the present chaotic state, whether or not humanity is still here to witness it. This work also 3

reflected a time when man was in harmony with nature and could communicate 3

with it through shamen and oracles.

Three is significant as a traditionally spiritual number in Maori Indigenous New Zealanders culture representing the earth and sky with man in between.

Reinforcing this, the bamboos were bound by three different colors of naturally dyed binding, also significant to Maori. Although Talisman of Change might not actually change the catastrophic forces now in play, in this case, it was the thought that counted.

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81

2009 th 4

L a n d ,

W a t e r

&

C u l t u r e

82

2009

2009.06.01

憈㖒橇㞯莅俒⻋

09.27

2009

Land, Water & Culture

8 10 8

劍玑 Schedule

2009.6.01-11

The 2009 Guandu International Outdoor Sculpture Festival focuses On-site Installation

on Land, Water, and Culture. Eight international artists have

2009.6.06-07

come to Guandu to create site-specific installations using natural

Artist Talk

materials and focused on nature and the environment. The

2009.6.13-14 Festival Opening

Sculpture Festival includes public activities with the artists on the

2009.6.13-9.27

opening weekend and additional events during the four months of

Exhibition

the exhibition.

⿮㾝谁遯㹻 Artists

Ashish Ghosh | Bonggi Park |

India

South Korea

Karen McCoy |

United States

Lee, Chao-Chang |

Taiwan

Merijn Vrij |

Netherlands

Roy Staab |

United States

Stuart Ian Frost | Yang, Chun-Sen |

Norway

Taiwan

㜥㖒 Venues

Guandu Nature Park

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

83

MAP

Ⰵ〡

③ ④ ⑧

① ⑤ ②

84

⑥ ⑦

2009

4

th

憈㖒橇㞯莅俒⻋

Land, Water & Culture ①

㖒椕涸陪鎝 Warning of the Globe .

Ashish Ghosh India

②

ㄎ Breath Park, Bonggi

③

ⱪ䟝涸噲ꣳ瑠꟦ : 荩抓鶵峸

Space for Contemplating Carrying Capacity: The Taiwan Tangle .

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

South Korea

Karen McCoy

United States

④

둷˙㾀 Flavor of the Wetlands Lee, Chao-Chang Taiwan

⑤

鼄˙䖩 Flock of Birds .

Merijn Vris

⑥

腋ꆀ⚥䗱 Energy Center .

Roy Staab United States

⑦

宐幀⛓贖 In Deep Water .

Stuart Ian Frost

⑧

뒉⢵⭑ Phoenix Yang, Chun-Sen

Netherlands

Norway

Taiwan

85

2009

Land, Water & Culture

㖒椕涸陪鎝

Warning of the Globe 勞俲Я Materials

㖒럊Я Location

Natural vegetation, bamboo, wire,

South Pond, Guandu Nature Park

꣚鑘㡦넞鏪

Ashish Ghosh

cotton cloth

India

The globe is in danger. Nature is terrorized by the imprudent activities of human beings. Increased human populations are trying to take shelter in a jungle of concrete that is enveloping the natural world. In this sculpture, Ashish tried to express his deep concern and agony about the fate of the earth. One globe of cotton cloth was a symbol of the man-made concrete world. With another globe made of natural vegetation, Ashish tried to express a balanced ecological world where nature and man are neighbors balancing their ecological needs.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2009

Land, Water & Culture

ㄎ

Breath 勞俲Я Materials

㖒럊Я Location

Recycled wood, bamboo, and branches

Mudflats near Crab Watching Area, Guandu Nature Park

励⥭⠂

Park, Bonggi South Korea

Bonggi Park s installation for Guandu Nature Park was a nest-shaped shelter made of natural materials found at the site. It was a place for people to look at the landscape of the earth, the sky, water and plants. Sitting inside this nest-shaped shelter people could picture our new future coming to us like young seeds carried on the wind. In this shelter people could also make random movements without purpose, like green plants that rustle with the wind.

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2009

Land, Water & Culture

ⱪ䟝涸噲ꣳ瑠꟦荩抓鶵峸

Space for Contemplating Carrying Capacity: The Taiwan Tangle 勞俲Я Materials

㖒럊Я Location

Bamboo, rope, vine or willow

Near the entrance of the Constructed Wetland, Guandu Nature Park

⳯⧍띋罌⟻

Karen McCoy United States

The sculpture is created for meditation on the subject of carrying capacity. The subtitle, Taiwan Tangle, refers to the tangle of the shade roof over our heads.

The tangle is like a dark cloud hanging over all of us, but through it we can see glimpses of blue sky. The structure itself is a metaphor for home, a place that may provide us with respite and protection, but only so long as we take care of it. This work intends to focus attention on air, land, water and our own relationship to them. The sculpture provides a space for individuals to contemplate these issues.

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2009

Land, Water & Culture

둷㾀

Flavor of the Wetlands 勞俲Я Materials

㖒럊Я Location

Branches, soil of wetland, hemp rope

Hill beside to the trail, Guandu Nature Park

勛劊⦍

Lee, Chao-Chang Taiwan

Coming to Guandu Nature Park, Chao-Chang Lee felt so excited and curious about the smells, the colors and the secret hidden in the wetlands to attract birds. So this is mainly the topic Chao-Chang want to convey in his work, the flavor and the secret of the wetlands. The vast wetlands are full of birds and related to the ecological wonderland of life; all their secrets are open to us, but human beings cannot see.

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2009

Land, Water & Culture

鼄䖩

Flock of Birds 勞俲Я Materials

㖒럊Я Location

Bamboo, grass, reeds or rice straws

Grassfield beside the old Guizikeng River,

꼛⧍ 笞榰

Merijn Vris

Guandu Nature Park

Netherlands

Merijn s installation was inspired by the way large groups of birds fly. To him their unpredictable way of flying that could be seen above land, fields and water was a wonderful sight. A group of birds – flock of birds – come and go like an ocean wave, moving toward the shore and then receding, looking like an organic mass taken by the wind. A less hectic sight but even more interesting is bird migration where birds fly in wavy strings from or to their new spot on earth. Birds are not limited by man made borders or property lines. They show no cultural binding with land as humans do. Birds are free to go wherever nature brings them.

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2009

Land, Water & Culture

腋ꆀ⚥䗱

Energy Center 勞俲Я Materials

㖒럊Я Location

Bamboo, grasses, and renewable materials

Moon Pond, Guandu Nature Park

繏⟻倛岲⠭

Roy Staab

United States

Energy Center is a vortex of earth s forces like a swirl of hot air or a waterspout – the round royal symbol of universal unity. Light plays on the forms over the dark flat earth and doubles in volume with its reflection when it is above the calm water.

The feathered center reaches high to catch the sky and wind, as if subtle life is still in the natural grasses that make up the work.

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97

2009

Land, Water & Culture

宐幀⛓贖

In Deep Water 勞俲Я Materials

Bamboo, fire and water

㖒럊Я Location

Grassfield near the Moon Pond (beside the Shui-Mo-Ken River), Guandu Nature Park

倛㕮❏暶䒼繏倛暶

Stuart Ian Frost

Norway

Stuart saw his work as a symbol for the way we affect/have affected/can affect the world and the way in which we put constant pressure on its depleting natural resources. The work allowed us to make a choice. Either we could try to rearrange the pieces that might already be out of place into something more coherent or we might alternatively choose to do nothing, leave it and hope that it would sort itself out.

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99

2009

Land, Water & Culture

뒉⢵⭑

Phoenix 勞俲Я Materials

㖒럊Я Location

Earth, branch, carbonized driftwood

Grasshill behind the Nature Center, Guandu Nature Park

嘥僱喀

Yang, Chun-Sen Taiwan

The work made a good use of dead trees in the park and driftwood. The wood was dealt with in a process of carbonization, and then installed on the site. The charcoal made from burning wood is the most ancient means of carbonization as well as being an environmental friendly way of purifying water. The work borrowed the means to purify water in the park and the image of a lucky bird to protect Guandu. It also raised the awareness of spectacular oriental art and beautiful forms.

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2010 th 5

N a t u r e ,

A r t

&

L i f e

102

2010

2010.04.05

荈搭谁遯欰崞

09.26

2010

Nature, Art & Life

6

6

劍玑 Schedule

2010.4.05-22

Arrival of Artists & On-site Installation 2010.4.17-18 Artist Talk

The 2010 Guandu International Outdoor Sculpture Festival focused

2010.4.24-25 Festival Opening

on Nature, Art, and Life. Six international artists have come

2010.4.23-9.26

to Guandu to create site-specific installations using natural

Exhibition

materials and focused on nature and the environment. The idea this year is to march toward the spatial purity via environmental art. The goal is to mingle and inspire constructive and diversified

⿮㾝谁遯㹻 Artists

aspects of environmental art. If we want to link art with life, we Arvydas Alisanka |

Carlotta Brunetti | Herb Parker | Kim, Bongsoo |

United States South Korea

Susanne Ruoff | Tobel |

Lithuania Italy

should start from the innovative perception of art, try to review the conditions in our proximity, and create a more authentic, benevolence and beautiful future on the existing environment.

Germany

Germany

㜥㖒 Venues

Guandu Nature Park

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103

MAP

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⑥ ①

⑤ ④ ③

104

②

2010

5

th

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

荈搭˙谁遯˙欰崞

Nature, Art & Life ①

翱㛔 Temple .

②

ꨣ欰ㄐ鶬騟 Clouds, Circuit of Life .

Carlotta Brunetti Italy

③

ꡠ庋㣼殯轠偒 Guandu Spira Mirabilis .

Herb Parker United States

④

瘞䖊⦬둷 Wait for Migratory Birds Kim, Bongsoo South Korea

⑤

♶僈굳遤暟 Unidentified Flying Objects .

Susanne Ruoff Germany

⑥

錚럊 Point of View Tobel Germany

Arvydas Alisanka

Lithuania

105

2010

Nature, Art & Life

翱㛔

Temple 勞俲Я Materials

㖒럊Я Location

Driftwoods, branches, bamboo, straw

Coastal Forest Area, Guandu Nature Park

꣚笞麨倛蒕⸂㿋⽓

Arvydas Alisanka

Lithuania

The theme of protection of body was related to the project Temple. Visitors could occasionally enter it and stay inside, becoming part of the sculpture.

The sculptural container of driftwoods and rice straws spoke of survival way to preserve the body and also thoughts and identity. The axis of Temple was formed by sculpture similar to building it could be viewed from outside as object as well as from inside offering a strange experience of physical, bodily sense and of mental awareness being safe in a close space. Arvydas was interested in the idea of the scale of the body. Body was like information, mediator, while sculpture place for the body, place for "survival." Sculpture became means of communication involving the beholder as part of it.

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2010

Nature, Art & Life

ꨣ欰ㄐ鶬騟

Clouds, Circuit of Life 勞俲Я Materials

㖒럊Я Location

Bamboo, cellophane

Moon Pond, Guandu Nature Park

⽓賥㝝䋒㽳㜉

Carlotta Brunetti Italy

Rain is the ever pouring waters that come for this sky...Its beauties are revealed in the ponds and lakes of this wetlands. Water and clouds are an everlasting circuit -the source of life.

Carlotta s wish as artist has for several years been to link her outdoor works with her interior installations. Pieces have come about that reflect man as a part of nature. Humans are not directly visible in her works, but appear in relics such as trash, footprints, etc., or in cultural associations. In the countryside Carlotta creates her own spaces and takes up the cultural givens of the respective region.

Carlotta s work outdoors or in landscapes is often felt by many people as superfluous. Art within nature seems to contradict nature itself. Nature doesn t need us is the usual argument. What is mostly forgotten is that we ourselves are part of nature. We will always have a share in nature, also negatively. What is important is that we do not become oblivious to nature s unspoiled state and that we thematize her destruction by man. Conceptual interventions in natural, cultural and city landscapes is one of Carlotta s deepest concerns, and showing their human traces in her work another.

Material can capture one s innermost thoughts. Carlotta put her eyes in her finger caps and started working.

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109

2010

Nature, Art & Life

ꡠ庋㣼殯轠偒

Guandu Spira Mirabilis 勞俲Я Materials

㖒럊Я Location

Bamboo, straw

Grassland across the Moon Pond platform

饟劥䋪⯘

Herb Parker United States

Herb created architectural environments in the landscape. This was site-specific work that served as an ephemeral memento to the resilience of nature and an DNA

affirmation of the continuum of systems within the natural order. The work evolved from Herb s ruminations on the apparatus of natural systems in time. His naturebased work speaks in a hybrid language from three distinct realms: architecture form , sculpture concept and landscape medium . The concept explored ideas of time, movement, history, culture, community, dialogue, spirituality, entropy and regeneration. He hoped to achieve a synthesis with natural forces in the service of A

architectonic ideals.

In Guandu, Herb created an architectural form, constructed with natural materials and referring to a natural growth process. He built a structure based on the logarithmic spiral. This form corresponded to the biological principle that governed the growth of many elements in nature, both plant and animal. An A-frame architectural structure was an enclosed spiral walkway/passage and was open into a small open-air inner courtyard with a seating element. Herb used material harvested from the region, lashed together to create the form with some indigenous grasses serving as thatch material for the exterior surface. This work was a contemplative environment, embodying a reverence for nature with references to history, culture and natural processes.

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111

2010

Nature, Art & Life

瘞䖊⦬둷

Wait for Migratory Birds 勞俲Я Materials

㖒럊Я Location

Branches, bamboo, wood

Hill behind the Nature Center,

ꆄ⥭猗

Kim, Bongsoo

Guandu Nature Park

South Korea

Long time ago, we could see migratory birds near clean rivers. But these days it s hard to see them because of global warming and environmental pollution.

Bongsoo Kim made many poles with bamboos and branches found around, and created several spots for stay at the base of each pillar with wood or stone. This work expressed people s desire of seeing migratory birds again.

112

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113

2010

Nature, Art & Life

♶僈굳遤暟

Unidentified Flying Objects 勞俲Я Materials

㖒럊Я Location

Reed, rice straw, leaves, thin branches,

Entrance hall of the Nature Center,

bamboo, wire

Guandu Nature Park

1F

豤棁峫㣗

Susanne Ruoff Germany

A large number of UFOs were floating in the entry ceilings at the Nature Center of Guandu Nature Park. The UFOs took the shape of large discs and were hung in different angles on long strings from up above. They all had a simple light wooden structure, fortified with strong wire and covered with a fine wire-net chicken wire .

The wire net was densely covered with some natural material found in the park, such as reed, rice straw, green leaves, brown leaves, grass, wine, thin branches, bamboo, etc. Each of the discs wore one of these materials. Thus a wide variety of natural colors, structures, and smells were present inside the building.

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115

2010

Nature, Art & Life

錚럊

Point of View 勞俲Я Materials

㖒럊Я Location

Driftwood

Grassland in front of the Nature Center, Guandu Nature Park

䩯頺晋

Tobel Germany

Driftwood comes from anywhere - everywhere. These logs were uprooted by the power of nature and sent on a journey without an aim. Some of the trunks were washed up at the coast of Taiwan.

Tobel applied some big and old driftwood for his land art project in Guandu Nature Park. They were carved in smooth organic forms, resembling natural benches, chairs, sofas or tables. Tobel arranged the trunks in a circle, reinforced by the sawdust produced during the creation process. The installation was a weatherproof and long-lasting landmark in the park, inviting people to sit down, to take a rest, and to feel the connection between us and the universe.

Big or small, loud or silent, beautiful or ugly, differences make our world worth living. Only if we can see how different aspects make up the totality of a circle ,and we can appreciate the beauty of our world.

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2011 th 6

T r e a s u r e d

M e m o r i e s

118

2011

2011.09.15

鎹䥊涸㼂询

2012.02.29

2011

Treasured Memories 9

15-30

5 6

劍玑 Schedule

2011.9.15-30

10

1

Arrival of Artists & On-site Installation 2011.9.24 Artist Talk

In 2011, the Guandu International Outdoor Sculpture

2011.10.01 Festival Opening

Festival coincided with Guandu Nature Park s 10th birthday.

2011.10&11

The Festival was thereby titled "A Decade in Reflection,

Natural Art Workshop

Guandu s Treasured Memories." We intended to record

2011.10.01-2012.2.29

the process of human-nature coexistence through art, and

Exhibition

communicate it to the world. While praising the beauty of nature, it is our hope that those memories of immersing ourselves in nature could be preserved eternally. From

⿮㾝谁遯㹻 Artists

Roger Tibon | Rikuo Ueda | &

Park , Bonggi |

used materials found in Guandu Nature Park to create site-

Japan

Cheng , Chung-Ho & Lu , Chia-Ping | Herb Parker |

September 15-30, 2011, five local and international artists

Philippines

Taiwan

specific outdoor installations. Besides, an Art and Nature

U.S.A.

Workshop was accompanied to complete another large

South Korea

scale installations blending into the landscape around them,

Art & Nature Workshop Team |

Taiwan

allow visitors to touch and interact, and serve some sort of function for living organisms. The exhibition started on the 1st of October, 2011.

㜥㖒 Venues

Guandu Nature Park

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119

MAP

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①

⑥

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⑤

③

④

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2011

6

th

鎹䥊涸㼂询

Treasured Memories ①

㛆嗃㔐䥊 Memory .

Roger Tibon

②

喀繏蠝韍 Shinrabansho Rikuo Ueda Japan

③

㾝˙劆 Prospect & Cheng, Chung-Ho & Lu, Chia-Ping

Philippines

④

ꡠ庋㼩鑨 Guandu Dialogue .

Herb Parker United States

⑤

ㄎ Breathing Park, Bonggi

⑥

ꡠ庋⼧䎃涰둷湱翹

South Korea

Decadal Anniversary of Guandu, Birds Exhibition The Art & Nature Workshop

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

Taiwan

Taiwan

121

2011

Treasured Memories

㛆嗃㔐䥊

Memory 勞俲Я Materials

㖒럊Я Location

Bamboo, abaca rope, coconut rope, sun hemp,

Grassland in front of the Nature Center,

rattan strip, vine

Guandu Nature Park

2008

繏⪂䲿䕠

Roger Tibon Philippines

Roger Tibon was once invited to Guandu Nature Park to create an installation about global warming and he made a dome structure called The Shield . His artwork for 2011 was also a dome reminiscent of his previous work, only different in appearance. It had ten pillars symbolizing the ten years of Guandu s existence and precious memories. Roger planted several climbing and flowering vines at the foot of each pillar so that they would climb and cover the structure after some time. This symbolized Guandu s continual growth and the start of another decade of inspiration and treasured memories.

122

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123

2011

Treasured Memories

喀繏蠝韍

Shinrabansho 勞俲Я Materials

㖒럊Я Location

Branch, wood stick, rope, gauze, paper,

Grasshill behind the Nature Center,

pen, stone

Guandu Nature Park

嗃歊ꤷ꧆

Rikuo Ueda

Japan

In Asia, our life is very closely interwoven with nature. Rikuo Ueda tried to make drawings with the help of this nature. He thought that the activity of this nature is as much art as the finished wind drawings. It s an Asian expression that we accept everything by chance. He understood that art requires patience. This time his installation in Taiwan was more complex and needed waiting for more difficult drawings from the wind.

124

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125

2011

Treasured Memories

㾝劆

Prospect 勞俲Я Materials

㖒럊Я Location

Bamboo, bamboo leaves, hemp rope,

Grasshill behind the Nature Center,

vine, stone

Guandu Nature Park

ꁀ⚥ㄤス㎗蟣

Cheng, Chung-Ho & Lu, Chia-Ping Taiwan

The shelter, with flying bird figure, was a symbol and a wish that Guandu Nature Park was ready to face another ten years. Chung-Ho Cheng and Chia-Ping Lu tried to remind all the visitors that the existence of the Park provided a wing-like shelter for all the living beings including humans in this wild urban jungle.

The pillars of the work were constructed with the skills for making traditional bamboo gabions. Chung-Ho and Chia-Ping let the visitors fill the empty bamboo cylinders with stones with their signatures or wishes to make the foundation stable. This design symbolized that the preservation of the Park and the environment relied on each one s tiny offering .

Vine plants were planted around the pillars so they could creep along the structure and became the feather of the wings, providing some shadows for those who needed.

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127

2011

Treasured Memories

ꡠ庋㼩鑨

Guandu Dialogue 勞俲Я Materials

㖒럊Я Location

Bamboo, thatch, rope

Lawn beside the restricted access road, Guandu Nature Park

饟劥䋪⯘

Herb Parker United States

Herb created architectural nature-based environments in the landscape. His work spoke in a hybrid language from three distinct realms: architecture, sculpture and landscape. The concepts explored ideas of time, movement, history, culture, community, dialogue, spirituality, entropy and regeneration. He hoped to achieve a synthesis with natural forces in the service of architectonic ideals to create a space existing in the theoretical yet grounded in the visceral; sound, smell and touch.

Herb created an architectural form, constructed with natural materials and exploring the idea of communication. This space was meant to engage the audience through interaction. Two overlapping cone shaped structures, each 2.4m in diameter and 4.25m high, were joined at the top through a tube. There was an entrance to each cone on opposite sides so one couldn t see who entered the other cone; in addition, a seating element was set in the center of each cone. Herb used bamboo from the region, lashed together to create the form with some indigenous grasses serving as thatch material for the exterior surface. The thatching acted as a soundproofing element and made it difficult to hear someone outside the sculpture but sound could travel from one side to the other through the top tube shape.

This work was a place for dialogue and a contemplative environment, embodying a reverence for nature with references to landscape, history, culture and dialogue.

128

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129

2011

Treasured Memories

ㄎ

Breathing 勞俲Я Materials

㖒럊Я Location

Bamboo, branch, flax, hemp rope, rice straw,

South Pond, Guandu Nature Park

励⥭⠂

Park, Bonggi

clay, stake

South Korea

Guandu Nature Park abounds with a diversity of ecological species such as reeds, aquatic plants, fish, crabs and extensive variety of birds. The water in the park which harbors and sustains the rich wetland habitats of these species truly reflects mother nature at her best. It is imperative for the human kind to humble ourselves and have respect for the nature, with a view to maintaining a harmonious codependent relationship.

Apart from providing a resting place for visitors, Breathing also presents itself as a window, through which one can weave dreams for the future while observing the astonishingly coherent and strikingly beautiful surroundings.

130

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131

2011

Treasured Memories

ꡠ庋⼧䎃涰둷湱翹

Decadal Anniversary of Guandu, Birds Exhibition 勞俲Я Materials

㖒럊Я Location

Pandanus leaves, wood chips, branch,

Various places in the Guandu Nature Park

paper

荈搭谁遯䊨⡲㖷

The Art & Nature Workshop

Taiwan

National Palace Museum's collection of Three Friends and One Hundred Birds has inherited the spirit of flower-and-bird painting of the Sung Dynasty, in which the artist composed his work with a sense of richness by carefully observing and portraying the growth and biological activity of flora and fauna, namely birds postures including resting, jumping, looking attentively, or flying. Using the most commonly seen feathered creatures as prototypes, the workshop invited participants to make birds with natural materials, assembling wooden body parts, stitching leaves to make feather, and applying any creative way to make their unique work. Finished work were displayed at separate locations of specific bird habitat. This collective artwork was dedicated in celebration of the nation s 100th anniversary, as well as Guandu Nature Park s 10th birthday, wishing for blessings of longevity and success.

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133

2012 th 7

A r r i v a l

o f

M i g r a t o r y

B i r d s

134

2012

2012.09.01

12.30

⦬둷⢵✫

Arrival of Migratory Birds 劍玑 Schedule

2012

2012.9.01-14

On-site Installation 2012.9.15 Festival Opening 2012.10&11 Birds Guided Tours & Workshops 2012.9.15-12.30 Exhibition

Located at the border between water and land, Guandu has been a popular stopover for migratory birds. Since birds are very sensitive to environmental changes, any pollution can expose birds to threats of sickness or death.

Guandu Nature Park has been committed to preserving the wetland in Guandu,

⿮㾝谁遯㹻 Artists

Roger Tibon |

Arvydas Alisanka | Park , Bonggi |

Lithuania

South Korea

Susanne Ruoff | Lo , Yi-Chun |

so it can be a safe haven for migratory birds where they come to seek for

Philippines

Germany

Taiwan

shelter and food despite long-distance travels. The wetland in Guandu is like a Michelin starred restaurant to migratory birds, abundant in fiddler crab, mudskipper, fish, shrimp, shellfish, etc. Moreover, the comfortable grassy marsh, swamp, and ponds here provide absolute rest just like a five-star hotel.

In 2012, five artists worked in collaboration with local residents, students, and volunteers to accomplish natural art installations under the theme Arrival of Migratory Bird. Some art and craft activities were organized along for

㜥㖒 Venues

Guandu Nature Park Guandu Old Street

visitors to explore the rich natural resources in Guandu by seeing, listening, and touching. The artists incorporated a variety of natural elements into their artworks and shed a new light on these elements by making them refreshing landscapes. These works also helped us to rediscover the jewels in the wetlands through the eyes of birds. Only if we start to appreciate the intangible value of our natural environment can we make the right decisions with resource appropriation. After all, we are all accountable to our next generation for a sustainable future.

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

135

MAP ⑤ ④ Guandu Neighborhood

Ⰵ〡

①

136

②

③

2012

7

th

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

⦬둷⢵✫

Arrival of Migratory Birds ①

跗媽㾀 Egg-shelter .

Arvydas Alisanka

②

ㄎ Breathing Park, Bonggi

③

⦬둷假玑 Journey .

Roger Tibon

Philippines

④

⚥鸁畀 Stopover .

Susanne Ruoff

Germany

⑤

괐⛓缾 The Wings of the Wind Lo, Yi-Chun Taiwan

Lithuania

South Korea

137

2012

Arrival of Migratory Birds

跗媽㾀

Egg-shelter 勞俲Я Materials

㖒럊Я Location

Branches

Coastal Forest Area, Guandu Nature Park

꣚笞麨倛蒕⸂㿋⽓

Arvydas Alisanka Lithuania

The Egg-shelter was a room for one s thoughts and body. It created an opportunity to be on one s own in a secluded space and imagine herself/himself to be a migratory birds resting peacefully in a nest.

The sculpture was similar to a building where people can experience the interaction between the exterior and something hidden inside. The tree in the middle symbolic of the World Tree was an axis of elements, a medium between xk7

earth and sky, man and bird. Visitors occasionally entering it and staying inside became part of the scene as well.

138

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

139

2012

Arrival of Migratory Birds

ㄎ

Breathing 勞俲Я Materials

㖒럊Я Location

Bamboo, rice straw, reed, rope

Grassfield beside the old Guizikeng River, Guandu Nature Park

励⥭⠂

Park, Bonggi

South Korea

Some birds can fly without landing or eating for months at a time. They migrate for survival: to look for best habitats for feeding, breeding, and raising their young.

Humans can t live wherever birds can t survive. The breathing of birds is our breathing. By looking at the journey of migratory birds, we should think about the sustainable co-existence of mankind and nature.

Bonggi created a nest of reeds serving as a practical shelter for birds to take a rest and to play with each other. The main body of the work represents the shape of a flying bird.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

141

2012

Arrival of Migratory Birds

⦬둷假玑

Journey 勞俲Я Materials

㖒럊Я Location

Bamboo, abaca rope,rattan strip

Grass Hill, Guandu Nature Park

繏⪂䲿䕠

Roger Tibon Philippines

Roger has been working with installation arts and interacting with different communities, students and professionals and contributed to raising awareness for specific themes like global warming, peace, environmental awareness, etc.

Roger made a migratory bird taking off on its journey. The child riding on it is a symbol of Guandu Nature Park s attempt of bringing environmental education and fun to its local and foreign visitors. This installation was also a symbol of Nature and Human s relationship in creating harmony and generating mutual benefit to each other as they coexist side by side in the environment.

142

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143

2012

Arrival of Migratory Birds

⚥鸁畀

Stopover 勞俲Я Materials

㖒럊Я Location

Wooden boards, wood or bamboo bars,

Old street of Guandu neighborhood

eco paint, wire

The wall of an old building

豤棁峫㣗

Susanne Ruoff Germany

Several dozens of small little birdhouses were fixed to the wall in the Old Street of Guandu. They built a colorful relief that covers the wall, with little bars sticking out. The bars invited birds to sit here and take a rest before they continue with their journey to another place. Stopover wanted to be a link between the town of Guandu and the nearby nature park. It brought the subject of the migratory birds into the city. It used the image of birdhouses as a symbol for the relation between man and birds.

144

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

145

2012

Arrival of Migratory Birds

괐⛓缾

The Wings of the Wind 勞俲Я Materials

㖒럊Я Location

Bamboo, handmade paper pulp,

The facade of an old building

tung oil, rope

in Guandu neighborhood

繏䧕ば

Lo, Yi-Chun

Taiwan

Upon seeing the feathers, we know that migratory birds are coming. They come with the wind and their falling feathers show their arrival. Their feathers swing in the air and float along the surface of the river. Migratory birds are like mailmen from the sky delivering letters through their beautiful feathers. We will go to this great, seasonal party when we receive the invitations.

The Wings of the Wind used the image of feathers to symbolize that migratory birds fly to the Guandu community. Yi-Chun Lo held a natural party for the people, migratory birds and Guandu community with bamboos collected from Guandu Nature Park. She installed pieces of huge wings in the local community. The wings were made of segmented bamboo connected to the main bamboo axis, and were fixed on the facade of an old house in a way that didn t harm the original structure of the house. The wings spinned slowly as the wind blows, flying like dancing on the rooftop. The installation therefore brought vitality to the community. As time went by, the bamboo and other materials slowly returned to nature.

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2013 th 8

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&

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2013

2013.09.01

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珏㶩欰ㄐ

Seed & Life 劍玑 Schedule

2013.7&8

2013

2013 Natural Art Workshop

2013.8.29 Arrival of Artists 2013.8.31-9.14 On-site Installation 2013.9.15 Festival Opening

Seed is the origin of life that indicates the most primitive and

2013.9.15-12.31

precious life force in the natural environment. All creatures

Exhibition

initially start from a point, such as a seed of a plant and an embryo of an animal. The little point grows up and turns into the energy of life in the environment. Thus, under the theme of Seed and Life,

⿮㾝谁遯㹻 Artists

Kang , Ya-Chu |

the natural artworks and creative activities are meant to spread

Taiwan Janak Jhankar Narzary |

Rumen Dimitrov | Vivian Visser |

Bulgaria

United States

Andrej Mitevski | He, Yu-Mei |

India

Macedonia

Taiwan

the concept of environmental conservation and to inspire people to sustain the lifeblood of our eco-system with the energy of seeds.

Everyone is like a seed for environmental actions and has the ability to do something friendly to our surroundings in everyday life. Paying attention to food production and land use, learning about natural resources through art and so on, are significant actions to express our concern to the Earth. We believe that little drops of water can make the mighty ocean. Each of us is all

㜥㖒 Venues

Guandu Nature Park

indispensable to a sustainable living world.

Guan Du Junior High School Taipei Municipal Gan-Dau Hospital

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MAP

Guandu Neighborhood

⑤ ④

Ⰵ〡

③ ⑥ ② ①

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

珏㶩˙欰ㄐ

Seed & Life ①

䴸砮茊 Cradle Umbilical Kang, Ya-Chu Taiwan

②

欰ㄐ莅荈搭 Life and Nature . .

Janak Jhankar Narzary

③

䧆じ蔅㕨 Hanging Gardens .

Rumen Dimitrov

India

Bulgaria

④

侕久佖隶涸珏㶩 Disseminate the Seeds of Change .

Vivian Visser United States

⑤

宕䚻涸籗渿 Eternal Flourish .

Andrej Mitevski

⑥

ꡠ庋⛓䗱 Guandu Heart He, Yu-Mei Taiwan

Macedonia

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Seed & Life

䴸砮茊

Cradle Umbilical 勞俲Я Materials

㖒럊Я Location

Branches, barks, reeds, vines, grass

Grass hill, Guandu Nature Park

䐁꧉瘱

Kang, Ya-Chu Taiwan

Ya-Chu Kang s artwork is inspired by the location of Guandu, where the Tamsui River and Keelung River converge and nurture human culture and natural environment. She chooses cradle and umbilical cord as her subjects and adopts the idea of Cradle to Cradle to accomplish her work, namely collecting materials from nature and then return to earth. The essence of sustainability is what human beings have to learn from nature. Cradle Umbilical uses natural materials including branches, barks, reeds, grass, and vines to weave a giant cradle connecting with a weaving heart which symbolizes the core of life.

Visitors can lay into the cradle, recall the feeling in childhood and embrace our Mother Nature.

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Seed & Life

欰ㄐ莅荈搭

Life and Nature 勞俲Я Materials

㖒럊Я Location

Hill beside to the trail, Soil, earthen bowls, seeds,

⸈秝⯘⪂縂⽓秝劦ꅽ

Janak Jhankar Narzary

Guandu Nature Park

fruits, water, eggs

India

Janak created an installation in circular shape, with the mount in the center made of soil and decorated with earthen bowls. The bowls are filled with materials like seeds, fruits, water, soil, eggs, etc. The installation was watered every morning and evening to get the seeds sprouting and growing day by day. The central concept of this artwork is to express the cyclic order of nature: seeds are from life, and life is from seeds. It also presents the transformation taking place in an environmental chemistry of five elements -- water, fire, earth, space and air. The round shape symbolizes the circulation; the five levels mean the five elements; the two eggs are like the combination of male and female the birth of life , and the six apples represent the six emotions human possess.

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Seed & Life

䧆じ蔅㕨

Hanging Gardens 勞俲Я Materials

㖒럊Я Location

Fallen trees, soil, seeds and plants

Grassland in front of the Nature Center, Guandu Nature Park

뉓剋鶔碜暶㣗

Rumen Dimitrov Bulgaria

Rumen's idea is to build a hanging garden in the form of a degraded chimney.

It depicts an industrial landscape from which an unnecessary object will get a chance to revive through the growth of plants and become a newborn hanging garden. The materials include fallen tree trunks, soil, seeds and plants.He imagined the chimney to become a new home for plants and animals. In this way, it can be back to the nature and reborn as a place where people can relax and rest.

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Seed & Life

侕久佖隶涸珏㶩

Disseminate the Seeds of Change 勞俲Я Materials

㖒럊Я Location

Branches, palm leaves, rice paper, wire

Guan Du Junior High School

謶謶㸞笞榱

Vivian Visser United States

Many people have forgotten how to get along with nature and have lost the sense of curiosity about nature. If people do not establish a healthy relationship with nature, we can never change the impaired environment and will never be able to learn to re-value the world we live in. Thus, Vivian wants to highlight the process of plant reproduction in all its amazing forms and to help people to reconnect with the surrounding environment. Several samara seeds, each about a meter long, are arranged in the fence railing as if these seeds are dispersed by the wind. The seeds are made of woven wetland plants with hollow center filled by rice paper painted by the youth. All materials used are non-toxic, biodegradable material, and she only used wire to fix in the fence railing. Vivian believes that various kinds of seeds represent the flexibility and diversity of Nature. We need to learn how to maintain flexibility and embrace positive changes. Disseminate the Seeds of

Change represents the resiliency and diversity of nature. Nature will find its way out and we too need to find a way to share our intent with the world for positive changes.

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Seed & Life

宕䚻涸籗渿

Eternal Flourish 勞俲Я Materials

㖒럊Я Location

Taipei Municipal Gan-Dau Hospital

㸞䗞捙碜暶㣗倛㛇

Bamboo, branches, soil, rocks, leaves,

Andrej Mitevski Macedonia

recycled metal and plastic cans, seasonal flowers

Andrej wants to present an imagination for the new life and how to overcome the suffocating and contaminated environment. Such damaged environment resultes from people s unhealthy lifestyle. This has polluted the Mother Nature that provides everything necessary for life. He depicts certain flowers sprouting from the ground represented by naked stones but having not yet reached full blossom.

The artist conveys the idea that life will find a way to continue and survive.

Furthermore, he wants to awaken people to stop destroying Mother Nature and remind us that we are part of the Nature as well.

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ꡠ庋⛓䗱

Seed & Life

չ〩〩荈搭պ2013 荈搭谁遯䊨⡲㖷

Natural Art Workshop

Guandu Heart 勞俲Я Materials

㖒럊Я Location

Wetland grasses, rope

Nature Center, Guandu Nature Park

⡦桪繡

He, Yu-Mei Taiwan

In August and September 2013, Guandu Nature Park held several nature art 2013

workshops aiming to reuse the excess amount of wetland plants such as: Beautiful Galangal, Ginger Lily, Kudzu, Hindu Lotus, Paper Mulberry etc. We gathered these plants and gave them to handmade paper artist Yu-Mei He. Yu-Mei adopted ancient traditional methods to extract fibers from these plants and then guided families to experience the preparation of handmade paper together in the workshops. Screening the fiber by using a mesh involves lots of efforts and skills.

If there is too much pulps, the paper turns uneven and too thick. On the contrary, the paper will easily break if the pulp is not enough. It takes time and effort to master the techniques. Handmade paper is a kind of nature art which ingeniously combines natural resources and human skills. Handmade sheet retains the unique traces of plant fiber and exhibits the original beauty of nature. Each creation has a different and distinctive appearance as well. Excessive plant growth in Guandu Nature Park may cause the draining of wetlands. Some plants need to be thinned or even removed during summer. Now the residual value of excessive plants can be transformed into natural art through the papermaking activities, which does no harm to nature since all materials are from nature itself.

Yu-Mei He transformed these handmade papers into the artwork Guandu Heart for the Festival.

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2014.09.11

12.31

䗏錚

A Micro View of Nature 劍玑 Schedule

2014.9.09

2014 Arrival of Artists

2014.9.11-27 On-site Installation 2014.9.27 Artist Talk 2014.9.28 Festival Opening

To see a world in a grain of sand, and a heaven in a wild flower,

2014.11.23,30 Natural Art Workshop

a poem by William Blake resonates with the bliss of seeing the world through different means. With a close-up look, we may

2014.9.28-12.31 Exhibition

detect extraordinary beauty hidden in the most ordinary objects.

We live in a beautiful world, so subtle and delicate, inspiring us in every aspect. Poets, philosophers, scientists, and photographers

⿮㾝谁遯㹻 Artists

Thierry Godet |

France

Donald Buglass | Tom McKinnon | Roger Tibon | Lee, Kuei-Chih |

New Zealand Canada

Philippines Taiwan

see the world through different eyes. Whether on a macro or micro level, their discoveries are always thought-provoking. A change in perspective allows us to rethink our relationship with the surrounding environment. The theme of the 2014 Guandu International Outdoor Sculpture Festival: A Micro View of Nature proposed an invitation to encourage people to look and appreciate the world around us on a different level. We believe that altering

㜥㖒 Venues

our perceptions can open our eyes and help us realize that we are Guandu Nature Park

interdependent on other lives on this planet. Therefore, we need

Taipei National University of the Arts

to work hand in hand to overcome the environmental crisis we are

ZhiShan Cultural and Ecological Gardens

facing now.

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Taipei National University of the Arts

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③ ① ②

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9

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䗏錚

A Micro View of Nature ①

㛜肎㼭㾋 Compost' Cavern .

Thierry Godet

②

㣖ꤿ⽰珏㶩 Suns are Seeds .

Donald Buglass

③

胝兞酭涸䋒㛇捦㛇 Background Boogie Woogie .

Tom McKinnon Canada

④

䲿楪걧菛涸㳅諲衞 Fiddleheads .

Roger Tibon Philippines

⑤

䃋䉞 Meander Island Lee, Kuei-Chih

France

New Zealand

Taiwan

⑤ Zhishan Cultural And Ecological Garden

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A Micro View of Nature

㛜肎㼭㾋

Compost' Cavern 勞俲Я Materials

㖒럊Я Location

Canes, branches or reeds, for the structure;

Coastal Forest Area, Guandu Nature Park

green waste for the compost

䲿羳䋞넞䗞

Thierry Godet France

In Thierry's artworks, he makes visible, noticeable, perceptible phenomenon which most of people commonly do not notice. For A Micro View of Nature, Thierry proposed visitors to penetrate into a real compost, an organic matter that has been decomposed and recycled by microorganisms as a fertilizer and soil amendment. Inside the artwork, the visitors can feel, touch, smell, and discover the action of the microorganisms.

The shape of the work is dictated to the process. First, Thierry constructed a coneshaped bamboo structure with an entrance tunnel. The main structure was then covered with hacked branches, leaves, grass, or other green waste. There was a tightened opening for visitors to slip in and come to a small room to rest: a mini cavern to feel the action of turning waste to humus.

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A Micro View of Nature

㣖ꤿ⽰珏㶩

Suns are Seeds 勞俲Я Materials

㖒럊Я Location

Branches, screws, steel shafts, hemp rope

South Pond, Guandu Nature Park

㇫秝䊼呔⹗倛

Donald Buglass New Zealand

From suns and planets to seeds and atoms the shape and dynamics of energy and matter repeats itself. Uniformity and continuity are the paintbrushes that spread the colours of our universe. Suns are Seeds symbolizes perpetual, vitality and regeneration: the seed and new growth; the continuing cycle of life.

This work increases awareness of environmental issues by engaging the viewer on an intimate level, artistically. The care and passion required to make art from raw materials without detracting from the essence of beauty and fragility that all life naturally has reflects passion we need to have for making environmentally positive changes in our actions. Donald constructed one large sphere and one smaller interlocking and/or independent sphere representing the natural physics of life at every scale. This represented the correspondence between the universal forces that govern life at every level.

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A Micro View of Nature

胝兞酭涸䋒㛇捦㛇

Background Boogie Woogie 勞俲Я Materials

㖒럊Я Location

Branches, wooden post, hemp rope,

Lawn beside the restricted access road,

natural paint

Guandu Nature Park

弔㨗띋㛇開

Tom McKinnon Canada

Tom created a frieze of visionary personifications of the primary ancestors of organism: the photosynthesizers, the decomposers, the medicinals, and the pollinators.

This frieze is meant in the manner of monument however transient, to foreground, celebrate and acknowledge the dynamic matrix of interdependent organic being.

That is, to draw attention to the co-operative nature of the web of life. These primary ancestors being the tiny yet vital basic underpinnings and source of the organic reality within which we as organisms eat, breath, sleep and return neatly to the great carbon pool of organic possibility. Yet these vital basics are under threat worldwide from human activities and carelessness such as contamination and depletion of air, soil and water, clear cutting of forests and massive die offs of key pollinators.

Tom hoped the person engaged with the work to consider their place in the co-operative matrix, the fact that they are completely dependent on and also superfluous to the larger pulse of organic life. We absolutely need the insects, the microbes and the plants for our daily existence yet they have little need of us to thrive. Yet our root, our source, sustenance and vitality of being, the dance of our neurons derive from this deep undulating ancestry of the moment.

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A Micro View of Nature

䲿楪걧菛涸㳅諲衞

Fiddleheads 勞俲Я Materials

㖒럊Я Location

Bamboo, rattan strips

Taipei National University of the Arts

繏⪂㜉䕠

Roger Tibon

Philippines

With modern times and living hastily to catch up with our daily chores, we often have no more time to look and ponder at our surroundings especially the smallest of things. We are preoccupied with bigger concerns, and we give more priority to these rather than the smaller ones like those that are found in Nature and have no direct concern to us. Therefore, Roger made this installation to create awareness and guide the attention of the viewers to this often neglected wonders of Nature.

These elements of Nature, no matter how we look at it, are an important part of our lives. Size does not matter in importance. Everything is interconnected and dependent on each other. Without the elements of Nature, we will be handicapped in our existence. Ferns, for one, are an integral part of the ecosystem. Some fern species are not only a source of food for humans but also food and shelter for other animals. It is also a source of inspiration and delights for those whose eyes and minds are attuned to these small beauties of Nature.

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A Micro View of Nature

䃋䉞

Meander Island 勞俲Я Materials

㖒럊Я Location

Branches, soil, plant

Zhishan Cultural & Ecological Garden

勛諣荛

Lee, Kuei-Chih Taiwan

Meander

Meander Islands is part of the Meander series. Through the energy of bending, it tells the story of a vital relationship between land and people. In order for straightening to happen, bending is essential. It is also an indispensable process for a river to meander. Taipei used to be a lake, where the occurrence of plate tectonics afterwards turned it into the present basin. The hill of Zhishanyen therefore offers a record of Taipei s history ever since the topographical formation of Taiwan. The work is installed in or near a pond to represent the evolving history of the Taipei Basin. Kuei-Chih Lee created several floating islands to integrate with the surrounding environment, with a view to drawing attention on the importance of Zhishanyen as not only a gene pool for plant species but a regenerated habitat.

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2015.09.01

12.31

䠮惐

A Tribute to Tides 2015 劍玑 Schedule

2015.9.01-18

On-site Installation &

2015.9.19

Artist Talk & Keynote Speech 2015.9.20 Festival Opening 2015.9.20-12.31 Exhibition

Taipei is a city with rivers. However, modern development has often caused the city residents to neglect the rivers flowing around us, let alone remembering that rivers and ocean are

⿮㾝谁遯㹻 Artists

Kang, Ya-Chu | Lee, Kuei-Chih |

interdependent. Tamsui River system, the mother river of Taipei, Taiwan

is, in fact, the biggest tidal river in Taiwan. The tidal reach

Taiwan

contains the mixture of river water and sea water; its salinity

Shilpa Joglekar | Fiona Paterson |

India

Elaine Clocherty | Kathy Bruce |

Australia

U.S.A.

Giacomo Zaganelli | Lin , Chang-Hsin |

levels and flows are influenced by the tides. As the tide rises and

France

Italy

Taiwan

falls, an abundant and complex ecosystem is born at where the river meets the sea. With the annual theme A Tribute to Tides, the 2015 Guandu International Outdoor Sculpture Festival invites artists and public to appreciate the tidal force in estuaries which support a great diversity of life. The Festival explores how all things live harmoniously with the rhythm of the tides, recalls how people coexist with tides and water throughout history, and

㜥㖒 Venues

Guandu Nature Park Shezidao Wetland

reflects how we benefit from the river's bounty and then, how we abuse it. These artworks hope to once again inspire us to rethink

Daotao Park

our relationship with nature in a city, to feel the tidal pulse, and

Asia Pacific Hotel

to express our gratitude to the tides which has brought so much richness to the estuaries.

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⑧ Asia Pacific Hotel

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2015

10

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䠮惐

A Tribute to Tides ①

㖒邆籽玑 Earthy Weaving Undertaking Kang, Ya-Chu Taiwan

②

惐铃 Tide Whisper Lee, Kuei-Chih

③

惐䍌 Tide Curtain Shilpa Joglekar

India

④

惐剢 Tidal Moon Fiona Paterson

⑤

惐⛓鞮꺛錬 Tidal Cornucopia Elaine Clocherty

⑥

惐宷㼂瀖 Tide Jewels Kathy Bruce

⑦

蠝暟涼崩鱲 Pánta rêi Giacomo Zaganelli

⑧

莅㗉穡箔 Bonding with Wetlands Lin, Chang-Hsin Taiwan

⑨

惐铃 2_ 㔐溏 Tide Whisper 2: Looking Back Lee, Kuei-Chih Taiwan Chiang, Pei-Zhi Lin, Chang-Hsin

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

Taiwan

France

Australia

United States

Italy

Taiwan Taiwan

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2015

A Tribute to Tides

㖒邆籽玑

Earthy Weaving Undertaking 勞俲Я Materials

㖒럊Я Location

Branches, tree bark, hemp rope, rattan, reed, etc.

Coastal Forest Area, Guandu Nature Park

䐁꧉瘱

Kang, Ya-Chu Taiwan

Inspired by the homophones in Mandarin of the Festival theme

g n cháo and

g n cháo liú; means "follow the crowd" , Earthy Weaving Undertaking aims to explore the current condition of the fashion industry and reveal the serious social and environmental problems beneath it. Have you ever thought of the true cost when purchasing a trendy piece with low prices? Ethical issues like labor exploitation, heavy metal contamination, waste water dumping are actually intertwined with these fast fashion products.

A loom is installed among woods to represent the interdependence between human and environment in traditional culture. Hemp ropes are used to warp the loom and natural fibers found in Guandu Nature Park are woven on it to create a sea and mountain pattern in traditional Chinese weaving and embroidery.

The rolling waves and straight up cliff symbolizes the good fortune and longevity, which reminds us of the value of our coexistence with nature and embodies the sustainable spirit of the Festival.

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A Tribute to Tides

惐铃

Tide Whisper 勞俲Я Materials

㖒럊Я Location

Branches, natural paint

Mudflats near Crab Watching Area, Guandu Nature Park

勛諣荛

Lee, Kuei-Chih

Taiwan

Tide Whisper depicts the images of mangroves Kandelia obovata in the wetlands and the river meandering through the city. Mangroves, as buffers between land and water, are able to protect the environment and wildlife. Therefore, they can be seen as wetland guardians.

Meanwhile, the dynamics of the tidal river affect the rhythm of local water flow and the diversity of human activities. Kuei-Chih Lee collected a lot of branches from the site and removed the bark, so the texture of these branches turned from heavily dark into light and buoyant. These materials were then assembled into kinetic installations able to be moved by the wind blow and the water flow, as if they were some kind of organic living creatures in response to the role of mangroves as a guardian.

Each day, Kuei-Chih installed the pieces of his artwork in the river based on tide times. By arranging the installations in a winding way, he created a sculpture which can be seen as the guardian of the river. To make this artwork, he had to work in accordance with Nature by learning the exact changes of the mudflat level to decide the arrangement and location of each component. Since the river is connected with the ocean and affected by the tide, the best timing for installation is during low tide. It was Nature that decided the proper time for installation.

The color of these sculptures constructed from peeled tree branches appeared pale enough to reflect the light changes directly. The sculptures look like animal bones, or organisms swinging slightly in the wind and river as if they re whispering a mysterious story to people.

The appearance of Tide Whisper changes with the natural lighting during a day, especially under the sunset while it becomes even more gorgeous as a golden river. Through this artwork, Kuei-Chih expressd his gratitude to the tides as well as to all the beauty the tides has brought.

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2015

A Tribute to Tides

惐䍌

Tide Curtain 勞俲Я Materials

㖒럊Я Location

Rope, bamboo, thread, stones,

Moon Pond, Guandu Nature Park

䋞晋䋪㋮呔⴪⽓

Shilpa Joglekar

unbleached cotton fabric

India

From times immemorial humans have always been dependent on the sea, the rivers and water. Water has been worshiped all around the world in so many different ways. The magical phenomenon of the tides that is created by the attraction of the magnetic pull of the moon has always caught the fancy of the human mind. The ocean covers almost two-thirds of Earth, and is surprisingly vulnerable to human influences such as overfishing and toxic waste dumping.

The toxins in various forms like pesticides, fertilizers, and other chemicals used on farms ends up contaminating nearby rivers that flow into the ocean, which can cause extensive loss of marine life. Before this reality becomes irreversible we need to do something in our own right to contribute to save the planet.

The artwork has a wave-like form on the top, and a meandering river like form at the base, metaphorically showing the river meeting the sea. There are a series of curtains coming down from each horizontal bamboo very much like the waves as if they are coming down from the sky and making a reflection on the water. Each of the wave curtains has several strings tied with stones attached to them at the bottom, which almost creates the effect of rain. Tide Curtain tries to bring together all the elements in nature connected to water, the sea, the river and the rain, and it ultimately reminds the viewers that Earth is too beautiful and poetic and in no way should we harm it.

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2015

A Tribute to Tides

惐剢

Tidal Moon 勞俲Я Materials

㖒럊Я Location

Bamboo, hemp rope, leaves

Northern Taiwan Low Elevation Forest Area, Guandu Nature Park

顥姘㫫崣暶喀

Fiona Paterson France

Tidal Moon is a graphic depiction of the moon and its effect on the tides. The tide is undulating and twisting across the ground and up towards the moon bringing along with it a school of fish representing the wildlife that the tides support as a whole. The fish are attached to this bamboo tide, and are also spiked into the ground inviting people to walk amongst them in this unusual and surreal environment, a reminder of our co-existence with the life of the river. The idea is to recall how the lunar forces create these tidal changes, and to highlight the rich life that the tides bring to the area.

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2015

A Tribute to Tides

惐⛓鞮꺛錬

Tidal Cornucopia 勞俲Я Materials

*

*

Soil, seeds, mangroves*, reef stones*

㖒럊Я Location

Hill beside to the trail,

⟻角⯘峫饟㜉

Elaine Clocherty

Guandu Nature Park *

Australia

*Collected with permission

Elaine was inspired by an article about sea women who would harvest the gelidium seaweed during low fishing season and a second article explaining how the heavy metals are being absorbed, accumulated in Kandelia obovata and further transferred to the food chain through deposit feeders such as the local fiddler crabs. Both stories relate to the water systems and their capacity to provide food. The work was originally planned to use the properties of K. obovata from the Guandu wetland and gelidium seaweed from the sea to represent the mixing of the river and sea waters and to explore the tidal aspects of the Tamsui river system. It highlights both the reality of the toxicity of the river system as well as the rivers beauty, diversity and capacity to become a healthy food cornucopia again.

As a site-specific artist, Elaine Clocherty s practice is process driven. She begins by investigating the history and ecological stories of the landscape. When collecting seaweed she found little there compared to Australia , as it is actively used by the Taiwanese people. Elaine was then led to the issue of coral loss along the coast and efforts to regrow it. The coral in the work represents the ocean s tides but also the efforts being made by local people as they utilise science and technology while caring for this beautiful landscape. Whilst investigating the aboriginal people of Taiwan she discovered the importance of the diamond shape and as the opening of the Guandu Festival is during the Month of Ghosts. The work aims to make an offering to the ancient spirits where the river and ocean meet who may be unhappy with the present state of the environment and the ancestors of the Ketalagan people. The overall hope of the work is to combine contemporary and ancient, and create new ways of relating to this place.

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A Tribute to Tides

惐宷㼂瀖

Tide Jewels 勞俲Я Materials

㖒럊Я Location

Bamboo, branches, reeds, hemp ropes

The Shezidao Wetland

⳯銯䋒뉓倛

Kathy Bruce United States

From ancient times, the moon and its relationship to tides and the female body have played a significant role in the mythology of the landscape in many cultures.

Our creative biological and psychological cycle parallels the phases of the moon and tides the same way that the tidal wetlands in Guandu and Shezi are influenced by the tidal cycle. Scientific evidence suggests that biological cycles as well as dreams and emotional rhythms are keyed into the moon and tides as well as the planets. Specifically, the moon and tides interact with the electromagnetic fields of our bodies, subsequently affecting our internal physiological processes.

Contemporary society is often unaware of these parallels between nature and our own human bodies.

A set of three interconnected female figures is built to represent the ebb and flow of the tides. Each forms a totemic basket type structure interconnected by their flowing woven skirts representing the flow of the tidal waters that will also act as shelter/habitat for wildlife. Tidal Jewels symbolizes the global call for the public to look outward beyond our location to conserve and protect our rivers and parks. Secondly, by considering the human connection between tides and human emotions, we can understand the natural life cycle process of which we are all a part.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2015

A Tribute to Tides

蠝暟涼崩鱲

Pánta rêi 勞俲Я Materials

㖒럊Я Location

Metallic net, reeds

Shezi Dautou Park

顼叕蜓劦⸈Ⰹꅽ

Giacomo Zaganelli

Italy

The sculpture is intentionally placed at Dauotou Park, precisely where Tamsui and Keelung River converge. It is a tribute to the rivers' tides, a monument to the encounter of the two rivers, and an homage to the act of flowing into one another and to all that this mutual exchange concerns: a very special ecosystem based on the biodiversity and on the continuous mutation. Giacomo intends to represent this premise by realizing a large Möbius band made of reeds. A Möbius band is a surface with only one side and only one boundary that exist just in the three dimensional world. It can be created by twisting a strip and connecting the opposite extremities. In this way the two band's faces are merged together, exactly as the rivers, and it becomes impossible to distinguish one from the other. The idea of using reeds is linked to the fact that reeds are one of the most representative plant that grows along the river and, at the same time, a very flexible and ductile material. A fluid shell that folding the horizons in a liquid spatiality, becomes the occasion to contemplate the surrounding space, making us reflect on the relationship between man and nature, and on the cyclicity of the nature.

Everything in the world is connected: the life of a small microorganism that lives on the river bank is connected to the tides, but at the same time the tides are connected to the magnetic attraction performed by the moon, who in turn is attracted by the earth, and so on. The sculpture, moreover, reminds the infinity symbol and the most common forms of geometry connected to the natural evolution, as the spiral, the Fibonacci series, or the fractals. It helps people to reflect on our condition on earth, on how important is our everyday behavior in order to respect and protect the environment where we live.

Everything we do comes back to us with the same energy. Life is a cycle.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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2015

A Tribute to Tides

莅㗉穡箔

Bonding with Wetlands 勞俲Я Materials

㖒럊Я Location

Branches, old rubber chest waders

Green Court, Asia Pacific Hotel (Tamsui)

卌畎⥌

Lin, Chang-Hsin Taiwan

Chang-Hsin Lin, or A-Hsin as friends and colleagues like to call him, is the section chief of Environment Department and has been responsible for habitat management and conservation at Guandu Nature Park over a decade. Through his work, A-Hsin has not only gained a variety of knowledge about the environment but also formed a special bond with nature. Besides his routine work, A-Hsin has often showed off his artistic side when he transforms natural materials found in the Park into things like exhibition boards or even outdoor benches.

2015 In the first half year of 2015, A-Hsin cleaned out several old rubber chest waders or 57

2015

frog suits as we usually call them which were too worn to use anymore. These frog suits are the best records of the countless hours the staff and volunteers have put into maintaining the 57 hectares healthy wetland environment at the Park.

Therefore, the curator invited A-Hsin to use these frog suits to create his first official artwork. Bonding with Wetlands depicts the scene of how we take care of our wetlands. It also tells a beautiful life story of how A-Hsin devotes himself to wetland conservation.

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A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

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A 1O-Year Retrospective of Guandu International Outdoor Sculpture Festival 198

Global Warming

Land, Water and Culture

Nature, Art & Life

20 14

20 15

6th

7th

8th

9th

10th

Seed & Life

A Micro View of Nature

A Tribute to Tides

20 08

20 09

20 10

1st

2nd

3rd

4th

5th

Nature in Touch

20 13

20 07

Nature Art

20 12

Arrival of Migratory Birds

十年回顧展

Treasured Memories

關渡國際自然裝置藝術季：

20 11

20 06

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ꡠ庋㕜ꥹ荈搭酤縨谁遯㷎⼧䎃㔐곃㾝

A 10-Year Retrospective of Guandu International Outdoor Sculpture Festival

惐铃 2

Tide Wisper_2

ⶾ⡲罏

Artist

Lee, Kuei-Chih

勞颶

Co-create

Chiang, Pei-Zhi; Lin, Chang-Hsin

Materials

Branches, rattan, hemp ropes, bamboo

Year

2015

Location

Coastal Forest, Guandu Nature Park

耢ざⶾ⡲ 䎃⟨

㖒럊

2015

The boats rise out of the soil slowly and one by one float above the land of Guandu Nature Park. The course taken by these boats meander and intertwine nature with art. This is also a ten-year look back on the Guandu International Outdoor Sculpture Festival.

This artwork is located in an area which is less frequented by visitors. The artwork hopes to combine natural art installations into the current landscape, in order to draw visitors to view this area with a new perspective. The artwork is a habitat for plants and animals, as well as an organic sculpture that will change over time. My idea is to connect the flow temporality with the concept of water by using boats as symbols of space movement and responding to the tenth Festival s theme A Tribute to Tides .

2005~2014 The boats assembled with tree branches and the nests made from rattan can be regarded as birds biological memories in the change of time and space. They are like cradles carrying with different stories, which lead us to the pictures of past artworks. The bird sculptures combine the annual results of the bird survey conducted by Guandu Nature Park. From the bird survey between 2005 to 2014, ten species of birds whose number have been found to fluctuate significantly over time were selected. The bird sculptures represent Guandu Nature Park's effort in wetland habitat conservation and the environment, where this change in wildlife population over a decade is taken from the abstract and presented physically.

Lee, Kuei-Chih

200

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ꡠ庋㕜ꥹ荈搭酤縨谁遯㷎⼧䎃㔐곃㾝

A 10-Year Retrospective of Guandu International Outdoor Sculpture Festival

The growth and decline of the bird population in past ten years reflect the environmental change at Guandu, and as well as on a global level.

The artwork used the latest 10-year record from line transect bird survey done

by Guandu Nature Park and chose ten species whose changes in numbers were more pronounced. The increase of the birds that prefer dense forest, includes Japanese white-eye, Chinese Bulbul, Black Bulbul, Oriental Turtle Dove, tell the effort of Guandu Nature Park to reforest areas to provide cover for birds. The huge decline of winter migratory birds such as the Common Teal, Black-faced Bunting, and the constant appearance of Eurasian spoonbill, suggests these migrants maybe stopping flying south for the winter as a result of global warming. The population increase in some birds such as the non-native African sacred ibis or the once migratory Black-winged Stilt, suggests that Guandu wetland has become a great place to live and breed. On the other hand, the changes in numbers of Wood Sandpiper which is usually considered to be more easily affected by human activities, when compared to other sandpipers, can be regarded as a warning of an increase in human impact on the environment in the Guandu area.

Environmental changes impact birds and human beings as well. You and I, we are all part of this environment. Today birds, tomorrow human.

Chiang, Pei-Zhi 203

ꡠ庋㕜ꥹ荈搭酤縨谁遯㷎⼧䎃㔐곃㾝

A 10-Year Retrospective of Guandu International Outdoor Sculpture Festival

Many of the artworks in the Guandu International Outdoor Sculpture Festival are actually collaborative efforts between artists and volunteers. My idea for this entrance installation is to create lines radiating from the center and outward, to symbolize all the support from communities, groups, and individuals. This entrance also represents the care people have given to working together to create and make this event possible.

Lin, Chang-Hsin

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⼧䎃㔐溏ꡠ庋㕜ꥹ荈搭酤縨谁遯㷎

A 10-Year Look Back: Guandu International Outdoor Sculpture Festival

涮遤➃

Publisher

LIU Hsin-By

ⴀ晝㋲⡙

Published by

Guandu Nature Park Office, Wild Bird Society of Taipei

籏管鱀

Editor in Chief

CHEN Shih-Hung

㛂遤管鱀

Executive Editor

JAN Yi-Fen

缺陼

Translator

JAN Yi-Fen, Lisa CHOU , LAI Yen-Ju, TANG Xing-Xing

鏤鎙

Designer

Density Design

⽫ⵘ

Printer

BorHwa Printing

ⴀ晝儘꟦

2018 4 April 2018, First Edition. $800

Publishing Date 㹁⭆ Price ISBN

ꡠ庋荈搭Ⱇ㕨 Guandu Nature Park 㖒㖧 Address 112

55 55, Guandu Rd., Beitou District, Taipei City 112, Taiwan ꨶ鑨 Telephone +886-2-2858-7417 ⫄溫 Fax +886-2-2858-7416 ⥌盳 E-mail service@gd-park.org.tw Ⱇ㕨笪畀 Website www.gd-park.org.tw 谁遯㷎笪畀 Festival Website www.guandu-natureart.tw

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, 2018.04 ISBN 978-986-85085-8-3 ( 1.

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107006459