④
⑤
曾韻潔 樂山教養院
⑥
文字：曾韻潔
我是新樂園的成員，之前在北藝 大唸藝術跨域研究所念書，先從我的經 歷開始講，其實我在大學是念美術，後 來有持續一段短時間的創作，後來我大 概有五六年時間從事藝術行政的工作， 因為同時有創作經驗也有行政經驗，因 此讓我思考到藝術創作如果今天要和社 會做聯結會 生出怎樣的可能性。我後 來到北藝大藝術跨域念研究所，那在跨 域學習的過程裏面，讓我思考到藝術在 社會裡面可以有一個發聲的位置。因為 藝術同時就是一種表現自己想法的一種 方式，既然他是表示自己想法的方式， 那就必定會有社會政治的因素。我們在 研究所有一堂課，叫做跨域研究計畫， 那時候的老師帶我們到樂山 個地方， 個地方其實位在八里比較郊區的位 置。如果大家對台北 熟，其實它靠近 八仙樂園的附近，所以有點偏遠。那大 家可以看到他的腹地其實很大，然後當 地有一些具有歷史的建築。 Hello everybody. I am a founding
member of SLY Art Space. I previously
studied at the Graduate Institute of
Trans-disciplinary Arts of Taipei National University of the Arts (TNUA). I would
八里樂山教養院 02
like to begin by sharing some of my
experiences. When I was in university,
①
之所以要介紹
個地方是因為
裏的環境對我的創作是很重要的因素，
I majored in the fine arts. Afterwards, I
那同時
focused on creating artworks for a period
個地方也是那時候有一個傳
教士建立了教養院，從前是收容痲瘋
of time. Then, for around five or six years, I was engaged in art administration
病患的。那因此我進入
creation and administration of art, I began
痲瘋病患在
duties. Due to my experiences in both the
個地方，從
它的歷史脈絡裏面過去那個時候那些
wondering what kind of possibilities could
裡的生活等等包括種田、
吃住等等的。當我進入
be produced if the creative art process was
個場域以後
to be linked with society today. Later on,
我就以志工的身份給予協助，但因為
of Trans-disciplinary Arts and undertook
正專業上是如何和
我是一個藝術背景的，我並不知道真
when I went to TNUA s Graduate Institute
trans-disciplinary studies, I began thinking
that the arts could have a voice in society.
②
one s ideas. As a result, it is bound to
齡之後，實際年齡都不一定，可能七歳
At the graduate institute, we had one class called Trans-disciplinary Research
到五十歳都有。但因為他們身心的關
Projects . The professor at the time took
those familiar enough with Taipei, it is near
些學生的
所以我接觸到的院生大多是在學
have social and political implications.
along the outskirts of the Bali district. For
以我只能透過觀察老師和 互動來瞭解。
After all, art is just another way to express
us to Leshan. This place is actually more
些院生互動，所
③
係，我們大都把他們當作小朋友 樣， 它基本上是一個 24 小時看護的教養院。 透過 個過程，我覺得 邊有一個很大
Formosa Fun Coast, so it is in a slightly
的資源是 裡有一塊很大沒有被開發的
hinterland is actually quite vast. There are
位老師，他帶的是農藝班，很特別的是
remote area. Everyone can see that its also a number of historical buildings in the locale.
環境，因此我在治療課程裡面認識了一 位老師是一位原住民，他從小對於採 集植物有很多的經驗，所以我進去的時 候我就陪著他一起採集。
I want to introduce this place
course in agronomics. This encounter
important factor in my creative process.
was an aborigine. He had grown up
because its environment played an
At the time, this place had also housed a reform school that served as a leper asylum.
It had been established by a missionary
at the time. When I entered it, I could observe through its historical context how
was particularly interesting because he harvesting plants and vegetables, and was thoroughly experienced in the process. So,
when I went in, I accompanied him in his harvesting.
the leprosy patients lived, farmed, ate,
and performed other daily activities. I volunteered my assistance, but since I only
had a background in art, I did not know
how to interact with these students in a truly professional manner. So, I could
only try to understand by observing the interaction between my teacher and these students.
Most of the students I met were past
their school age. However, I could not pinpoint their exact age. They might have
been anywhere from seven to fifty years old. However, due to their physical and mental conditions, we all treated them like children. Basically, this reform school
functioned as a 24 hour provider of nursing services. Through this process, I came to think that there was a huge resource
圖 ① 藝術家 - 曾韻潔
environment. As a result, I met a teacher
圖 ④ 園藝治療
here in the form of a large, undeveloped
in a treatment program who taught a
圖 ② ③ 樂山教養院
圖 ⑤ ⑥ 教養院農藝班
輿圖計畫 03