Atlas Project#1 social care by Shin Leh Yuan Art Space

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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

①

②

③

薪資不高等等的，是不是也能聯想到阿姨在汁的個動作。阿姨聽到時也是笑笑的你也可以想到個，可能覺得無所謂就讓你去玩吧。於是我把個創作變成平面展示在展場中，另外我也在現場和民互動讓大家自己做果汁喝。那他的義意是每個人都有自己的生活，不可避免的我們都是整個資本結構裏共犯的一份子。附帶一提，最近去找柳丁阿姨，他的攤子變成個樣子，因為警察在驅

件事對我的意義就是我在

個

材質等等的。所以我就依據他所想的，

地方認識了很多植物，以前我們不知道

我就幫他設計了螢幕上的個招。我

些植物是可以被使用的東西。所以我

做了個招以後我每次遇到他他都問

試著思考些可食的食物可以有怎樣的

我要不要給你錢，他覺得要不要給錢

應用的方式，然後就跟老師有些交流，

來完成個交易，我每次笑笑都不用

然後老師他有時會當作飲料或是消夜之類的。我覺得做成飲料件事情對我來很有趣，因為當些植物從樂山院區變成飲料後，對我來可以讓些喝到

個飲料的人感受到樂山土地的感

覺，類似透過一種身體性的經驗去讓人感覺。

是找了我之前工作附近的一家現果汁的小攤子，我都稱為柳丁阿姨，我在附近工作時都會跟他買飲料，一兩年來我偶爾經過還看到在裡，所以樣下來的

安心感讓我們能信任彼此然後展開對話。所以我就對他提議如果我幫他重新做一個招，看接不接受。我覺得他一開始可能有點覺得不可思議，以一種觀看的方式，如果你沒有做也沒有關係樣子。於是我就和阿姨討論招的顏色，所以他給了我非常多的建議，像是

八里樂山教養院 04

This event was particularly

meaningful for me because I got to know

a lot about plants. Before, we didn t know how these plants could be used. So, I began thinking about any applications for

these edible plants, and discussed this with the teacher. The teacher said that he would

所以我在最近我新的計畫，我就

就會跟他開始聊天，因為

樣。

sometimes use them as drinks or midnight snacks. I think that the notion of making

them into drinks is particularly appealing. I think that people would be able to get

an overall sense of Leshan by tasting these

beverages made from the area s plants. In this way, they would be able to gain this

sensation through a physical experience. So, for my most recent project, I

involved a street vendor who sold freshly

squeezed juice near my previous workplace.

I have always called her Auntie Orange . When I worked around there, I would

always be sure to buy a drink from her. For these past couple of years, I would

still occasionally pass by and strike up a

conversation with her. Due to this friendly relationship fostered over the years, we were able to gain mutual trust and open a

dialogue. So, I proposed to help her create

所以在

件事情中，我思考到在

他日常工作中「」的那個行為，就是每天把柳丁成果汁賣給客人，

個

動作對我來有兩個意義，一個是取一

a new sign. At the outset, I felt that she

個東西的精華，反過來它也是一種剝

slightly inconceivable. From a particular

是當藝術家和某個不是藝術圈的人進行

might have thought my proposal to be view, if you have never done it, then there

isn t a problem. So, I began discussing

with Auntie Orange possible colors for

削的行為。個意義對我來很有趣的合作時，是不是樣的一個動作也是一種剝削的可能。所以個概念一直在我

the sign. She gave many suggestions, like

做整個作品時我一直在思考個事情。

did everything according to her ideas, and

考到另一個有點有趣的就是幫他做一個

for materials and other aspects. So, I just

helped her design this sign on the screen. After I finished this sign, she now always

其實我沒有想過要怎麼去避免，但我思廣告在展場裡面。而且個廣告我經過

ask me whether I want payment as a way

思考以後我決定要做成像是蓋台廣告

just smile and say there is no need for it.

目播放時忽然出現，類似當鋪或是廳

to complete the transaction. And, I always

樣。因為通常蓋台廣告通常會突然在節之類的廣告。個蓋台的動作讓我覺得很像當代藝術裏面的一種干擾的行動。其實我在做

個影片我做完我有

給阿姨看，因為對我來

是一個很大

的挑戰，因為影片裏面有很多剝削的意味，我想知道我把整件作品的義涵導向一個負面的狀態的時候阿姨能不能接受。但在種基於情感上有交集，我們聊天中也常常有關於現在工作不好找，

趕所以他到別的子，但把我招都放在原本的地方。 As I was doing this, I began

thinking about the process of extracting

in her daily work. Everyday, she extracts

the juice from oranges to sell to customers. To me, this action holds two meanings.

One is about extracting the essence from an object. Conversely, however, this can also be said to be a form of exploitation.

To me, this is very interesting. After

all, when artists collaborate with people who aren t from the artistic community,

can this possibly be considered a form of

exploitation? So, I was contemplating this concept the entire time I was creating this work. In truth, I never once considered

After completing this video, I gave

it to Auntie Orange to review. This was a huge challenge for me because there

was a bit of exploitative meaning within the video. I wanted to know whether

Auntie Orange would be able to accept the

negative connotation being infused into the work. However, we often shared our

sentiments and discussed how hard it was

to find a job these days, how low wages were, and other related topics. Then, could these topics also be associated with the juice squeezing by Auntie Orange? When she

heard of this, she smiled a bit and stated

her slight amazement at how I came to

think of this. She probably felt indifferent and just wanted me to do whatever I wanted. So, I made this work into a

planar form to present at the exhibition.

Furthermore, I interacted with people at the site to let them make their own juice

to drink, representing how everybody lives their own life. What we can t avoid is that

we are all accomplices of the entire capital structure.

Incidentally, I recently went to go see

Auntie Orange. This is what her stall looks like now. (Project picture) Police had come

to expel all the vendors from this area, so she had moved to another alley. However,

she had left my sign at the original location.

how I would avoid this. However, I

thought about something else that was slightly interesting, which was to make

a commercial for her at the front of

the exhibition. After contemplation, I decided to make it into the form of those

interruptive ones seen on TV. These commercials, usually for pawnshops or

restaurants, are the ones that frequently and suddenly appear in the middle of a

圖 ① 樂山飲行動計畫

reminds me of a type of obstructive

圖 ③ 現的滋味

program. This type of interruptive action

圖 ② 柳丁汁攤販

輿圖計畫 05

①

莊培鑫廣州南庭村

②

④

③

文字：莊培

我是中國廣州美術學院油畫系畢業的。我十八十八

的時候到中國，那

的年紀是一個對未來蠻有想法

樣子的一個年紀，到中國後那個地方

過得非常的辛苦。我常常在跟朋友聊，他們都對

個政府非常有意見，可是

他們沒有辦法講，所以只能用其他方式。

和台灣的落差非常大，因為它們是一個非常高壓非常專制的政府，我在那邊受到非常大的文化的衝擊。在我大四要畢業的那段時間，廣州市要舉辦亞運，所以

整個城市都在面容上大

改造，可是都是在做表面的一個處理，比如

主要幹道都會漆同一個顏色，

像我們學校附近的一個村子，因為很舊，政府不想讓國際選手看到，於是用一個鐵幕把村子圍了起來。

個鐵

幕差不多兩層樓高，我覺得很像是地景藝術的一個感覺。我們

個村莊叫

南庭村，所以我們學校的人有時候會在半夜到鐵幕上噴漆，噴一些政治性的標語。政府選的個材質非常有趣，因為

樣遠看下來好像真的村子消失

一般，因為那些鐵會反射天空，所以你遠遠看好像村子真的消失了。他們每天早上都會把噴漆處理一下，看起來才不會太誇張。而且廣州算是很熱的地方，所以被圍起來後變得更熱，

廣州南庭村 06

Hello everybody. My name is Chuang

Pei-hsin. I am here to tell you a little bit about the context behind my work. I

graduated from the oil painting department at Guangzhou Academy of Fine Arts in China. I went to China when I was eighteen

years old. At that age, a person tends to have

many ideas for their future. After arriving in China, I realized just how vastly different it was from Taiwan because they have a very

despotic and controlling government. I experienced a huge culture shock while I was there. When I was about to graduate during my senior year, the Guangzhou

city government was organizing the Asian Games. So, the entire city was undergoing

massive modiﬁcations. However, these

changes were only superficial. For example, the main roads were being painted with all the same colors. Because a village near my

school was very old, the government did not want international athletes to see it. As

a result, they used an iron wall to surround

the village. This wall was about two stories

身為一個外來者，我覺得

high. I felt that it gave oﬀ the sensations

of landscape art. This village was called

Nanting Village. Some of our school s

students would sneak oﬀ in the middle

of the night to spray paint a few political slogans across the iron wall. The material

the government had selected was very

interesting because the village really seemed like it would vanish when viewed afar. This

was due to the metal s reﬂection of the

些事

情在台灣很難可以看到，我覺得很超現實，所以

我就用了

個

樣子一

個虛構，我覺得中國就是在虛構一個假象，你們有機會可以去看他們的新聞，他們的新聞都是非常美好的，整個共

主義都是非常棒的。然後畢業

展我就做了一個作品＂竊取國家機密

sky. So, viewed from a distance, the village

報告東風十一導彈＂，然後我用翻牆

morning, they would try to remove some

資料，所以我就把剛剛的資料藏在

really seemed like it would disappear. Every of the paint, so that it would not look too

out of control. Furthermore, Guangzhou has a very warm climate. So, once a place

is surrounded like that, it can get really

hot. Those inside the walls would suﬀer quite a bit. I often talked with my friends. They all held a lot of criticism for the

government. But, they could not express it.

So, this was the only way they could do so.

軟體找了一些資料，關於

個飛彈的

四張圖裏面，右邊有個空白的裏面就是我用隱形墨水寫

個，

個飛彈的

資料。其實我們畢業展是一件很嚴肅的事情，在

麼一個嚴肅的場合我把

些不可以

出來的東西弄到作品裏

面，我覺得還蠻爽的。我同學畫了一張很大的比較情色的圖，結果開展前兩個禮拜老師叫他重畫，因為

個敏

感的議題不能給領導看到。我在展出的時候老師看得出來我有一些些政治的意圖，所以他有問我我在做甚麼，可是我都很含糊的帶過，講出來我的作品可能會被撤掉，或是有些麻煩。

As an outsider, I felt that it was very

authorities. When I presented my work,

It was an entirely surreal experience. So,

political connotations. So, he asked me

hard to see this type of thing in Taiwan. that s why I used this type of fabrication. I believe that China is fabricating a

false image for itself. If you ever get

a chance, go watch their news. Their news reports are always very positive,

the teacher could notice that it had a few

what I was doing. But, I only answered

him with vague replies. If I did tell him, it probably would have been removed or gotten me into trouble.

while emphasizing the greatness of the

Communist party. For the graduation

exhibition, I created a work called, A Report on the Theft of State Secrets The Dong-Feng 11 Missile . Then, I used some circumventing software to find

some information regarding this missile. Then, I hid this data throughout these

four images. On the right, there is a blank space. There, I wrote down information

about the missile using invisible ink. Our graduation exhibition was actually a very serious matter. Under such a serious atmosphere, I embedded these secrets

within my work. This was actually quite exciting for me. My classmate had painted

a large and somewhat erotic image. Two weeks before the exhibition, however, a

teacher instructed him to paint something

圖 ① 藝術家 - 莊培鑫

topics that shouldn t be shown to the

圖 ④ 竊取國家機密報告書

else because it touched upon sensitive

圖 ② ③ 大陸 - 廣州南庭村

輿圖計畫 07

⑤

①

經歷了中國的經驗，我回台灣後我就虛構了一個叫做愛情科學機構，那它不是在他是在或是

愛情也不是在

科學，

一些虛構與真實的一些交替插。我回台灣對我來講也是一

種衝突，因為台灣太和平太 PEACE 了。我回來時候對很多事情都很新鮮，那時候我去無印良品看到

個噴霧

劑，於是我買了三個，然後用愛情科學名義做了上

個裝置，三個噴霧劑加

個就變成龍

風了。

畫還是有些執著，所以那時候我就在畫些甚麼，回台灣後我就把

繪畫轉化成一個圖示的樣子。既然我在虛構一個企業介入了無印良品，所以我要做一個影片去操作

also brought a type of shock to me because

實，於是我選了一個物件，

this pressurized spray can. I bought three Science, I created an installation. After

③

returned to Taiwan and came up with a ﬁctional Institution for Love Science. However, it didn t actually have anything

to do with love or science. It was about the replacements or insertions between

剖影片，和功能圖示的素描，

樣的

動作把皮卡丘變成了剛剛逝去生命的

tornado.

動物。我還拍了一個皮卡丘像是在野外被捕捉到的照片，展出的時候我就

Because I studied in the oil painting

department, I still persist in painting. So,

布置成像是科學實驗室的樣子。在

during that time, I contemplated about

had just died. I even took a picture of

Pikachu getting captured out in the wild.

During its exhibition, I setup a scene that looked like a science lab. The paintings here

are fake sketches, as if Pikachu had become a real animal. To me, my experiences in China

are very interesting because they are just doing very superficial activities there. I feel

very fortunate that I was not a permanent resident there. After returning to Taiwan, surrealistic work.

像是把皮卡丘變為一個更加真實的動

icon. Now, since I am creating a fictional

物。對我來

Muji, I am going to make a related video.

我在中國的經驗我覺得

在做一個很表面的行為，對我來

非常有趣，因為我覺得他們整個就是

enterprise that becomes involved with I believe that this will provide my work

我

很慶幸我不是永久居住在那邊的一個

with an even greater sense of realness.

人名，我回台灣後我就用 ④

②

this way, Pikachu becomes an animal that

I drew upon this feeling to fabricate a

邊的繪畫就是在做一個偽素描的動作，

Taiwan, I converted painting into a type of

個事情，

After my experiences in China, I

個物件

是皮卡丘。我製作了一個皮卡丘的解

adding three spray cans to this, it became a

我覺得會讓我的作品更趨於真實。

廣州南庭村 08

就是在虛構真實，讓虛構的變得更真

new to me. Once, I went to Muji and saw

of them. Then, under the name of Love

件作品是我年初差不多

三月完成的作品，因為我作品的脈絡

it is too pe aceful. Many things were very

what I should paint. After returning to

因為我是油畫系的，所以我對繪想我能

接下來

ﬁction and reality. My return to Taiwan

⑥

樣子的一

個感覺去虛構去超現實我的作品。 I completed this work around March.

Because the context of my work is about

⑦

fabricating reality and enabling ﬁction to

become real, I chose one particular object. This object was Pikachu. I produced a video documenting the dissection of Pikachu along with a sketch of the function diagrams. In

圖 ① MUJI 愛情科學機構圖 ② ③ ④ 超音波改裝噴霧配件圖 ⑤ ⑥ ⑦ 這是皮卡丘的解剖影

輿圖計畫 09

everybody. My artworks express an another

④

diﬀerent type of concept. Nowadays,

Joesh Hocks 臺北寶藏巖

people tend to think of art as a method

for producing a type of substance. In ⑤

fact, art itself promotes this concept even more. Sometimes, within the operations of these art institutions, there are different spaces of art being operated that resist

market-oriented approaches. In addition to my artistic concepts, I, myself, was

born into a background of sculpture.

文字：Joesh Hocks

⑥

In particular, what I want to know is,

after I create a work of art, how would it

influence our imaginations of the future? 我來自美國中西部愛荷華州，我今天主要探討的是藝術家的創作能量能否使用在其他社會中，當我們感覺到空乏或是疲憊的狀態時，樣子的一個狀態會帶給我們甚麼樣的一個影響。探討人類不同層面的行為還有不同情況的時候會有甚麼情況會發生。在種靈魂枯竭的情況下，是不是代表著我們在社會當中也失去了某些的可能性。而枯竭另一方面也有所謂稱做環境的枯竭，當我們在管理資源的時候不謹慎，生很多問題導致我們的資源枯竭的情況，另外一個情形是現在我們的金融的運作還有很多投資行為上導致我們的未來必須要仰賴

些不存在的事物才能繼續運

轉。另一個心靈的枯竭，在現在的時代裏面我們常常被一些資所轟炸，比如廣告，它們都主宰了人的思維，所以些都會導致我們心靈上的發展。 Hello everyone, my name is Joesh Hocks.

I m from Iowa, a state from the midwestern region of the United States. Today, I will be

mainly discussing whether or not an artist s

creative energy can be used in other societies. When we feel depleted or exhausted, we

臺北寶藏巖 10

might wonder what kind of influence such conditions have on us. In exploring different

①

aspects of human behavior, what kind of

situations would happen under diﬀerent

因此我們要討論人類主體性的狀態，其中不只是包括了人與人之間

望透過藝術家的作品對某個地方能

的關係，還有人與商業間的關係，在

有所貢獻。在

些方面上有

circumstances? In the case of a spiritual

由不同領域的藝術家建立的，他們希

些不同的變化。一方

個計劃裏面我和另一

位藝術家合作，我們希望為

個地方

depletion, does it represent a possibility of

面我們把

樣子的狀態歸咎於少數人

建立一套濾水系統，因為他們

the other side of depletion, there is a so-

的貪婪，

些投機行為導致現在的種

量不多，他們希望把雨水收集起來以

種問題，我們期待美好時代的來臨，

後，能

但另一方面我們也不能完全仰賴適者

用水。

losing something particular in society? On

called environmental depletion. If we are not cautious in managing our resources, it

生存的方式。

will produce a lot of problems, leading to

a state of depleted resources. Another one

of these situations is our financial activities and investments that force us to rely on

non-existent things so that we can continue operating in the future. Another type of

spiritual depletion involves how we are

frequently bombarded by information in the present era, such as commercials. They have taken over a dominant position in the

thoughts of people, thus inﬂuencing the development of our spirit.

②

一個要跟各位

明的是，我的作品裏

面還有另外一種不同的概念是在現在很多人認為藝術是一種物質

生的方

式，透過藝術其實更加推動了

個概

些藝術機構的運作之下

其實還有一些不同的藝術的空間在運作，去反抗一些市場化的運作。在我的藝術理念外，我自己本身出身於雕塑的背景，我特別想要了解的是，我如果創造了藝術作品後，如何去影響往後我們對生活的想像。比如 2001 年

有一套設備來讓雨水成為飲

在

個駐村計劃裏面，

個駐村

地點是在美國新墨西哥州，

裡是一

個高海拔的沙漠，他的雨量並不多，在洛磯山脈的旁邊。

個駐村計畫是

residency program was in New Mexico of

the United States. It was located on a highaltitude desert situated beside the Rocky Mountains where theres not much rainfall.

This residency program was established

by artists from across different fields. They hope that the works of artists are able to make a signiﬁcant contribution to a

particular place. There, I collaborated with 個系統後來也具備了教育的功

在介紹我的作品之前還有另外

念。有時在

裡雨

For example, the location of this 2001

能，他們會讓小朋友來讓小朋友知道

裡外教學，

些水會透過不同的機

制一層一層的分解。 So we have to discuss the state of

human subjectivity. This not only includes the relationship between people, but also

those between people and businesses.

What are the different changes pertaining to these areas? On one hand, we blame this state on the greed of the minority.

another artist in this program. We wanted

to build a water treatment system due to the insuﬃcient level of rainfall. After

collecting rainwater, the people hoped that they could have a device to turn rainwater into drinking water.

Afterwards, this system also gained

an educational function. They allowed children to come here to receive an

outdoor education. This enabled children to understand that water will deconstruct layer by layer through different mechanisms.

These speculations have led to all sorts of problems. We look forward to the advent of better times. But, on the other hand, we cannot completely rely on the notion of survival of the ﬁttest.

Before I introduce my artwork,

there is something I want to explain to

圖 ① ② 藝術家 - Joesh Hocks 圖 ③ 樂美國新墨西哥州圖 ⑤ ⑥ 濾水系統

輿圖計畫 11

②

①

輿圖座談會 ③

莊培鑫曾韻潔孫窮理張禮豪 Joesh Hocks （文中座談人皆以姓氏表示）

在後來我回到了愛荷華州參與了一個計畫，

個計畫有很多活動與展

覽，而我參與了

個展覽。我在展覽

提出的概念是圖中的背包是

菇培養

皿，

張圖是我在那個時候提供的概

念，

個概念是希望透過藝術創作藝

術

製的方式能

去注意到各種環境

資源枯竭的情況。

時間去思考我的作品應該要是怎麼樣子，在元宵節當中讓我體認到我們是麼多裝置類型的作品，而

我也在思考是不是能和當地能

透過藝術創作

生關聯。所以我最後提

出的概念是一套太陽能系統，統不會太大，不過它應該能樣子一個當地的用希望

個系統能

個系去支持

所需，所以我

與社群聯結，反過

來去思考另一種社會

製的可能性。

另一方面我不斷強調的是，社會關懷

件事情並不只是藝術家的責

任，他其實也是行政單位的責任。在種情況下我們寶藏巖

個作品也要去反問

個藝術村到底有甚麼樣的想

臺北寶藏巖 12

文化創意基地

樣子的一個概念。

On the other hand, I constantly

stress that the matter of social care is not

just the responsibility of artists, but also

Later, I went back to Iowa to

those of administrative units. Under these

a lot of events and exhibitions. I participated

also ask Treasure Hill Artists Village what

proposed the concept of a mushroom

establish it as a concept for a cultural and

participate in a program. This program had

circumstances, our works of art must

in an exhibition. For this exhibition, I

kind of vision they have. Do they want to

Petri dish backpack in the picture. This

creative park or base?

ﬁgure is the concept I provided at that

我在寶藏巖駐村的時候花了很多

不是需要

像，是要把它打造成文化創意公園或

time. It attempts to inform people how

environmental resources are being depleted through the creation and production of art.

Throughout my time at Treasure

Hill Artists Village, I spent a lot of time pondering what my work should look like.

During the lantern festival, I wondered if

we needed that many works of installation art. I also contemplated whether we could make a connection with the local area

through artistic creation. And so at last, I raised the concept of a solar energy system. The system won t be too big. However,

it should be able to support the needs of local residents. I hoped that the system

would be able to link with the community, and conversely, lead us to think about the

possibility of producing another type of society.

圖 ① ② 蘑菇培養皿圖 ③ 臺北寶藏巖

輿圖計畫 13

張：我們知道

藝術介入社會

的形式，去描會在裏頭人的肖像。他

個題目從 1970 年代就開始在西方

把

個取名叫做戰地寫生。我覺得戰

社會算是很普遍的概念，包括像大家

地

兩個字就有很社會意涵在裡面，

可能最熟悉的波依斯 (Joseph Beuys) 的

在特殊場地所發生的是非常不一樣的。

七千

藝術的價

橡樹是當代藝術史上最著名的

其實不見得一定會被資本

藝術介入社會的例子，而且取得非常

給同化，那透過

卓越的成效。他從 1981 年種了第一

過藝術介入社會的關懷，在地圖上的

樹然後自己移了大理石，然後到 26

些盲點才有可能被 PIN 出來。我覺

年後七千

才完完全全種完。

也影

響了整個當地城市對藝術的想像或是藝術和社會的關係，回過頭來藝術在二十一世紀在藝術高度資本主義的情況下，似乎大多數的藝術作品就像所謂的黑色物質，在某個程度下他和資本主義是共犯結構的，導致藝術和人民

生斷裂的情形。我們也很高興現

場的三位藝術家在某種情況下都是延續了

樣的傳統，扮演類似探險者的

角色。他們去到

些在地圖上是空白

的，像是韻潔的樂山，他們其實存在於我們社會的周遭，但我們常常忽略了。透過藝術家的介入，去把當地匱乏的不被大家知道的資來，像是Ｊ的

給揭露出

些太陽能濾水系統反

饋給地區來讓大家認識到，的人所需要的資源。我想

個地區個東西有

各式各樣的形式來展現。我們今天在裡用一種軟性的來討論，雖然主持人叫我不要太提到我們前面的事，可是我剛才講

一條街

，大家會以為

其實藝術跟社會的關係沒有那麼密切，但是我們一條街，反對服貿的些學生們，包括立法院裏頭

上到現

在已經第四天了，那我知道有一個藝術家非常有趣，他進去後採取了繪畫

輿圖座談會 14

得

樣的形式，唯有透

個東西在當代藝術裏頭目前為止

是匱乏的，但我相信它終究不會消失。 Chang：Chang: Hello everyone, my

name is Chang Li-Hao. We know that the

topic of arts involvement in society became

a common concept in Western society starting from the 1970 s. This involves an

artist everyone is probably very familiar

with: Joseph Beuys. Beuys 7000 Oaks is the most famous example of arts involvement in society in the history of contemporary

art. Furthermore, it led to the achievement

of very remarkable results. He planted

the ﬁrst tree in 1981. He even moved the marble by himself. It took him 26 years to plant 7000 oak trees. This affected the local citys image of art, as well as the relationship

between art and society. Looking at the art of the 21st century, a time of extreme levels

of capitalism, so far, it seems that most of the artworks have been like black substances. Under a certain extent, they are accomplices

or unknown, like J s solar water treatment system. It lets people understand the kind

of resources people of that area need. I think this provides for various ways of

孫：我是台灣在一個專門報導社會運動的媒體的記者，所以外面的事幾天都在忙，所以來

裡頭腦一片

術家上可能是比較感性。

But like I said before, people tend to think

社會運動所面對的群

雙方所達成的一種共識，也許是

要表達給社會上面認知的，同樣都是

mention the incident in front of our street.

the relationship between art and society is

not that close. And yet, on our street, the students protesting against the Cross-Strait

Service Trade Agreement, including people

inside the Legislature Yuan, are already in

their fourth day. There is a very interesting artist I should mention. He went inside and

painted the portraits of the people inside.

He named it Battleﬁeld Sketch. I think

there is a social connotation hidden in the word, battlefield . Vastly different things

happen in special venues. Artistic value does

not necessarily have to be assimilated by capitalism. It is through this kind of method

在作表達

或是社會運動

件事情。只是

社會運動

所表達出來的東西和藝術所表達出來的東西在

涵和形式上面可能會不太

一樣。舉例來

社會運動所要談的就

是一個比較清楚的訴求，比如很多討論到的，包括