Paradise Lost by szu ying chen

序

城市的未來奠基於過往所有人、事、物的累積，以及當下此刻的每一個作為。忠泰美術館作為臺灣首座聚焦「城市」與「未來」議題的美術館，透過每一次展覽的策劃與實踐，持續提出我們對於城市的疑問與思考。本次《失樂園－當代城市文明的凝視與寓意》展覽便是美術館策展團隊，企圖以當代藝術的角度，重新思考何謂城市文明的毀滅與再生，進而探索城市的未來。

我們邀請來自美國、荷蘭、日本及臺灣的藝術家，以不同時代背景的廢墟及廢棄空間作為闡述的媒介，表現出他們對於城市地景的多元各異之觀點。透過作品，我們得以再度省視發展至今的全球化、資本主

義，甚至戰爭等所導致的城市景觀變遷；另一方面，人性當中從未改變的自由意志與欲望的擴張，如何打造了美好豐饒甚至虛假的樂園，又如何地影響了我們所處的社會環境。藉此反思這些空間所存在的矛盾和潛藏的意涵，以及人類與城市文明的相互影響關係。

《失樂園》訴說著，身處當代的我們，又何嘗不是與《創世紀》中，站在伊甸園邊界上徬徨失措的人類相

同，早已喪失了美好樂園，再也無法回頭，面對著新的開始，望向廣闊無垠的前方，僅能思考「該如何自處，如何往下一步前進」，那摻揉著不安與期待的處境？

忠泰美術館

PREFACE

The future of a city is based on the legacies left by all of the people, incidents and things that had ever existed or happened before, as well as every decision made at this moment.

The Jut Art Museum is the first museum in Taiwan focusing on urban issues and the future of cities. Through the curatorial tasks for each exhibition, we continue raising our questions of cities and throwing ideas about possible solutions. Paradise Lost â&#x20AC;&#x201C; Gazing at Contemporary Urban Civilization and its Metaphor is the attempt of our curatorial

team to rethink, from the perspective of contemporary art, the destruction and rebirth of the urban civilization.

Artists from the US, the Netherlands, Japan are invited together with Taiwanese artists to express their interpretation of the architectural ruins and abandoned sites. Meanwhile, diďŹ&#x20AC;ered views upon cityscapes of these artists are presented

through their artworks, allowing us to reflect the changes of cities caused by capitalism, globalization, or wars. Furthermore, the ever expanding wills and desires of man have driven the making of many wonderful paradises, despite

how illusion they are and how much our societies had been influenced. Here we look into the paradoxes contained in these spaces and the reciprocity between humanity and urban civilization.

Paradise Lost compares our contemporary situations to the scene in the Genesis that confused, unoriented people standing at the edge of Eden. The paradise has lost, by no means can be retrieved, so we have to look forward at the borderless expanse and think where to move on with anticipation and anxiety.

Jut Art Museum

展覽論述

失樂園－當代城市文明的凝視與寓意文／黃姍姍、周姝妤

「人類世意味著什麼？意味著倒下之後的巨大巴別塔。人類總算不能再被統一起來！人類總算不再離開地面！總算不再脫離大地的歷史！」

⸺布魯諾．拉圖 1

站在樂園的邊界上，取得知識、善惡意識的人類，開始了無法回頭的旅程，摸索著在墮落錯誤與悔改修正的反覆過程；文學作品中人類被逐出樂園的結局，卻是人類真實世界的開端。

十七世紀英國詩人彌爾頓（John Milton）在《失樂園》（Paradise Lost）著作當中講述一場天堂大戰與人類被逐

出伊甸園的故事。文中看似著重於對宗教、救贖的祈望，實則因著作撰寫的時間點正處於一段社會變動的年代，也隱含了對自由意識、慾望與選擇的人性探討，是一部結合宗教色彩、古典政治和人性自決的文學作品。

人類掙脫了上帝的管轄，卻兀自扮演起上帝的角色，種種人類的作為深刻地影響了環境和生態的汙染浩劫。地質年代的定位通常必須有清楚的地層紀錄，而「人類世」的提出似乎加速度地讓整個年代區間縮短；儘管地質

學家仍在糾結「人類世」的正統性，但從跨領域學科上的思考，大多是有一個共識的：「我們所身處的這個時代，人類擁有改變自然的力量。」2「人類世」的出現是企圖改變普遍以人類本位的思考模式，並轉而從地球為中心

出發。因此，當法國當代哲學家拉圖說到：「人類世意味著倒下之後的巨大巴別塔」，實則在探討多元族群文

化的發展、全球化浪潮、領土範圍重疊，這種互聯與互斥的關係使人類成為改變地景的一個主要力量。3 換言之，人類這個物種在當代無論環境、社會及政治等都有著必須承擔的責任。

本展《失樂園－當代城市文明的凝視與寓意》便是擷取彌爾頓的《失樂園》當中論證人類對自由意志以及慾望之追求的意涵，探討處於「人類世」時代的我們該如何自處，反思人性、資本主義發展及戰爭等所導致的城市景觀變遷，進而思考城市的未來。

本展邀請來自美國、荷蘭、日本以及臺灣共五位當代藝術家，透過他們的目光，帶領觀者注視作品後的故事；或許每一個注視都將選擇性地過濾作品欲傳遞的事物，這些選擇行為終能提供思考我們與這些事物之間的關係。4 藝術家利用不同時代背景的廢棄空間作為闡述的媒介，若我們細細觀察這些也可稱作「都市殘餘」的建

築物便會發現，它們就像從仍在行進的時間軸上被遺落，存在於城市中的一角，無人聞問卻仍保留著過往的集

體記憶及歷史。全球化下犧牲的產業遺跡、不再被使用的國家機構（學校、監獄）、面臨房市泡沫的美好居所、因能源危機而終止興建的海景飯店，抑或是因戰爭衝突所毀壞的家園等，一座座僅存輪廓的建築，在功能性喪失的情形中產生質變，成為連結過去、現在及未來的中介之處。

日本藝術家岩崎貴宏（Takahiro Iwasaki）的作品中展現出，奠基於人類慾望的城市，其本質上的脆弱與荒謬。 4

美國藝術家詹姆斯．卡斯貝爾（James Casebere）的作品的虛構性，以冷靜且疏離的視線，訴說了城市的表象

與背後深層的敘事。5 臺灣藝術家姚瑞中的作品則是紀錄了臺灣在社會經濟轉型過程中，所創造出的空間記

憶，這些作品同時也引述出「雙元城市」的探討，社經結構的改變讓城市的某部分看似升級但也同時孤立了其他部分，這樣的批判性思考存在於一幀幀的畫面之中。6 荷蘭藝術家瑪里安．特文（Marjan Teeuwen）以身體介入因都市更新或戰爭所造成的廢墟空間，並以實際行動改造重組，創造了限地的藝術與記憶敘述，也暗示了人類不斷重複的歷史與失敗。7 臺灣藝術家涂維政帶著一種玩味的態度，將工業殘片轉變成化石，拉伸時間

軸至未來回看人類世。作品命名為《遺跡化石博物館》，藉遺跡化石在考古學上指古生物活動痕跡之意，象徵人類文明的進步與淘汰等進程。

約翰．羅斯金（John Ruskin）作為英國首位藝術評論家在《建築的七盞明燈》（The Seven Lamps of Architecture）中

提到，廢棄的建築物反而是一段真實的歷史，具有批判與鑑別兩種功能，可作為一種時代意義 8；羅斯金創作這本

書的年代正值英國工業革命，機械化引領城市的加速發展，但同時也因為信仰技術導致土地的崩壞。

《失樂園－當代城市文明的凝視與寓意》展覽企圖以藝術家多元且敏銳的觀點，開放地探討關於當代城市文明的改變，藉此反思這些空間所存在的矛盾和潛藏的意涵，以及人類與城市文明的相互影響關係。

布魯諾．拉圖，《面對蓋婭－新氣候體制八講》，新北市，2019 年，頁 191。吳易叡，〈人類世：跨學科的愛恨情仇〉，2018 年 <http://bit.ly/2NikZOz> ﹝於 2019 年 11 月 5 日瀏覽﹞ 布魯諾．拉圖，《面對蓋婭－新氣候體制八講》，新北市，2019 年。約翰．伯格，《觀看的方式》，臺北，2010 年。 Okwui Enwezor，〈Fugitive States- James Casebere's Political Economy of Spatial Illusion〉，《James Casebere: Fugitive》，紐約，2016 年，頁 11-12、頁 16。 6 John H. Mollenkopf、Manuel Castells，《Dual City: Restructuring New York》，紐約，1992 年。，《Marjan Teeuwen 7 Ernst van Alphen，〈Destroyed House Gaza- Transforming Trauma into Memory〉 Destroyed House》，阿姆斯特丹，2017 年，頁 30。 8 約翰．羅斯金，《建築的七盞明燈》，臺北，2012 年，頁 290。 1 2 3 4 5

Exhibition Discourse

Paradise Lost - Gazing at Contemporary Urban Civilization and its Metaphor Text / Haung Shan-Shan & Chou Shu-Yu

"The Anthropos of the Anthropocene? It is Babel after the fall of the huge tower. Finally, humans are not universifiable. Finally, they are not off the ground! Finally, they are not outside of terrestrial history!"

⸺Bruno Latour1

Humans, standing at the border of the Paradise, gained knowledge and conscience of good and bad, then starting their unreturnable journey. They test the repetitive process of falling, making mistakes, confessing, and correcting. Driven into exile from Paradise at the end of a literary work is the beginning of human reality.

Paradise Lost by English poet John Milton in the 17th century narrates the war in heaven and the expulsion of Eva and Adam

from the Garden of Eden. It seems to be longing for the redemption through religious belief, meanwhile, subtly contemplating upon the awareness of freedom and human desires. It is a literary work about religion, ancient politics, and human autonomy.

Breaking away from the governance of God, humans became playing gods and causing all kinds of environmental disasters. On the contrary to geological ages that date chronically based on the geological strata, Anthropocene greatly shortened each age. Despite geologists' disagreement with the justification of Anthropocene, a consensus in all professional fields concludes

that in our time, humans possess the power to change nature.2 The emergence of the ideas regarding Anthropocene is an

attempt to replace the human-centered thinking with global-concerned thinking. It is the background of French philosopher Bruno Latour's remark, "It is Babel after the fall of the giant Tower," which he means to explore the interrelating issues of

community diversity, globalization, territory disputes among others. These issues, including or excluding one another, constitute

the major forces of manmade alteration of natural landscapes.3 In other words, humans should take the responsibilities of all the

environmental, social and political problems.

Paradise Lost – Gazing at Contemporary Urban Civilization and its Metaphor refers to John Milton's deliberation on human's

free will and desires, as our vanguard toward exploring how we are supposed to position ourselves. How we are supposed to look at cityscapes changed because of human nature, the development of capitalism, and wars? Furthermore, this exhibition contemplates the future of cities.

Five contemporary artists from the US, the Netherlands, Japan, and Taiwan are engaged to present their works. Through their eyes, the audience is led to pay attention to the stories behind their art projects. Although the messages of these

works might be filtered by each gaze, all the selections together still provide thoughts upon the relationship between us

and things.4 Staged on diﬀerent derelict sites in diﬀerent situations, these artists make us to carefully observe the "urban

residue", namely forgotten corners in cities that seem to have dropped out from timeline, although they contain our

collective memory. The ruins of failing industries during the globalization, the public organizations no longer serving the state (schools, prisons), once ideal residences before the real estate bubble burst, half-constructed hotels by seashore left behind during the energy crisis, homes destroyed in military conflicts, etc. Lost their functions, these remnants of buildings became a transient zone between the past, the present, and the future. 6

Japanese artist Takahiro Iwasaki outlines the fragility and incongruity of cities built on human desires. American artist James Casebere narrates the stories hidden in the urban phenomena with an unsentimental and distant fictionality.5 Taiwanese artist

Yao Jui-Chung documents the spatial memory of the changing Taiwanese society and economy. These projects with critical images induce us to the discussion of "dual city", the upgrades and downgrades of a city when the social, political and economic

structures are changed.6 Dutch artist Marjan Teeuwen brings herself into the abandoned sites of urban renewal or ruins of wars. She reassembles the structures at the sites and creates her art of memory and narrative that imply endless human failures in history.7 Taiwanese artist Tu Wei-Cheng processes industrial remains into fossil with a playful style in order to look back

Anthropocene from an extended timeline. Museum of Ichnofossils, Tu Wei-Cheng's mimicry of the traces of ancient beings, represents the advancement or the vanishment of civilization.

In The Seven Lamps of Architecture, British art critic John Ruskin pointed out that true history is contained in abandoned

buildings. Their existence is highly distinguishable and critical, and they have marked their times.8 This book was published

during the high time of Britain's industrialization when machines sped up the development of cities. Nevertheless, human's worship of technology eventually resulted in unrecoverable damages to our lands.

Through the wide angles and sharp views of these artists, Paradise Lost â&#x20AC;&#x201C; Gazing at Contemporary Urban Civilization and its Metaphor openly discusses the urban civilization of our time. From the implication and paradoxes contained in these spaces, we are able to contemplate upon the interrelation between humans and urban civilization.

1 Bruno Latour, Facing Gaia: Eight Lectures on the New Climate Reign (Cambridge: Polity Press, 2017), p. 191. 2 Harry Y.J Wu, 'Anthropocene: Interdisciplinary Hatred and Love', 2018 <http://bit.ly/2NikZOz> [accessed 5 November 2019]. 3 Bruno Latour, Facing Gaia: Eight Lectures on the New Climate Reign (Cambridge: Polity Press, 2017). 4 John Berger, Ways of Seeing (London: Penguin UK, 2008). 5 Okwui Enwezor, 'Fugitive States- James Casebere's Political Economy of Spatial Illusion', James Casebere: Fugitive (New York: Prestel Publishing, 2016), pp. 11-12, p. 16. 6 John H. Mollenkopf and Manuel Castells (eds.), Dual City: Restructuring New York (New York: Russell Sage Foundation, 1992). 7 Ernst van Alphen, 'Destroyed House Gaza- Transforming Trauma into Memory', Marjan Teeuwen, Destroyed House (Amsterdan: Astrid Vorstermans, 2017), p.30. 8 John Ruskin, The Seven Lamps of Architecture (London: Smith, Elder & Co., 1849).

在幽思的氛圍中沉吟－淺析展覽「失樂園－當代城市文明的凝視與寓意」

文／沈伯丞（國立台北藝術大學美術系及國立台灣藝術大學雕塑系兼任助理教授、藝評人）

「……我邊走邊留意，看看有什麼可以幫助解釋這壯觀的廢墟，我就是在這片廢墟中發現這個世界……」

──〈第四章〉，《時間機器》，H.G.．威爾斯（H.G. Wells）

小說《時間機器》的故事在那些埃洛伊人生活的古代廢墟中，顯示了映射我們對於「時間」的感知從何

而來。「時間」依憑著遞嬗變遷中所留下的殘痕與遺跡，讓我們感知到自身與過往、當下乃至於未來的關

係。「時間」存在於當我們凝視著「過往」的這個「當下」，喟嘆著自身「未來」必然一如眼前的「過往」般成為殘痕與遺跡的心緒與懷想。如果說關於「時間」的美感，永遠是在「當下」遠眺「過往」，卻又

遙想「未來」時油然而生的某種幽思（Nostalgia）；那麼，或許可說這難以言明的情感狀態一直寓居在「廢

墟」的灰堆、塵埃、苔蘚、破窗和裂壁中。恰是在這些「過往」的殘痕中，人得以揣想歷史上那曾經的繁華，乃至於遙想未來……。

「廢墟」標誌著過往的崇高、偉大和繁盛。帕特農神殿，屬於蘇格拉底、柏拉圖及亞里斯多德的雅典；萬神殿與競技場，投影了羅馬帝國的雄壯與興盛。「廢墟」以獨特的殘相，證明著自身曾經的繁華多彩。由是憑弔「廢墟」成為了一種具精神超越性的審美經驗。「廢墟」讓「幽思」的情感與懷想得以寓居，於是

我們得以將自身沉浸在那屬於「時間」的詩意中，得以沉浸在幽思的氛圍中。從「幽思」，看展覽「失樂

園─當代城市文明的凝視與寓意」，或許可以說展覽嘗試著從「廢墟」的角度再次省思城市、建築、文

明乃至於藝術創作間的交互狀態，藉由不同藝術家的作品，展覽提供了觀者凝視那既陌生又熟悉的過往、當下與未來。

1. 在碎片、引句、未完成的句子以及殘缺的書本的灰堆裡

「修道院……而今只剩零零落落的幾處廢墟。……在碎石堆中探尋，有時會找到由圖書室和寫字間飄落，像埋在地中的寶藏般殘存的羊皮紙碎片。……在我耐心地重組之後，我造就了一種次級的圖書館，是已經消逝之大圖書館的象徵，一個由碎片、引句、未完成的句子以及殘缺的書本組成的圖書館。」

──《玫瑰的名字》，安伯托．艾可（Umberto Eco）

「書籍」，在瑪里安．特文（Marjan Teeuwen）的裝置攝影作品裡，跳脫了慣常的認知狀態，轉化成構作建築的實體和材料。與此同時，「廢墟」在藝術家的作品中也給出了更多維度的想像。一方面書籍構成的

「廢墟」作為，一如書中所描寫的，是一個「由碎片、引句、未完成的句子以及殘缺的書本」的空間。然

而恰是這永遠的殘缺，讓藝術家的書籍更強烈地將觀者沉浸於幽思的氛圍中。那濃厚的紙漿、油墨氣味，配上從斷垣、殘壁以及屋瓦破落的天花板，流瀉而入的光線，讓「傾頹」與「殘破」有了近乎歌德教堂

8 10

般的莊嚴。那層層疊疊的書頁，構成了深具神秘氣質的「記憶劇場」1。從藝術家所揀擇的斷垣、殘壁都成為了歷史所遺留的斷句；看不見、讀不清的書頁文字，深化了「廢墟」那獨有的遙想氣質，恰是這濃厚的幽思，讓藝術家嘗試透過書頁的廢墟所進行的批判有了更深的著力點。加薩地區的戰爭星火，焚毀

了關於巴勒斯坦的完整記憶，落魄書店的遺址投映了一個閱讀社會及族群的消逝……。在殘頁、斷篇的空間中，特文引領著觀者走入那個智識、記憶和歷史漸次消逝的氛圍中。 2. 假作真時真亦假―精神裡的廢墟

「似乎，攝影其影像並非是作為某種對世界的陳述，毋寧更像是世界的零星碎瑣；是人人得以製作並獲取真實的模型。」

──《論攝影》，蘇珊．桑塔格 2

模型，作為某種慾望和想像的延伸與變形，其隱含著一個社會的物質價值、慾望以及關於世界的某種想像。一如米蘭達．艾莉可．瑞伯（Melinda Alliker Rabb）在其著作《模型與英式想像：文學、認知以及小尺寸的文化，1650-1765》3 一書中所指陳的，通過「模型」的再現，一方面填補了對於世界的直接經驗並藉以

獲取對世界的知識以及對其進行掌控的意圖。由是這些虛構或人造的小物得以對應至真實世界的意義。

從這個觀點上看藝術家詹姆斯．卡斯貝爾（James Casebere）那極度人工化的建築模型與攝影，似乎讓我

們有機會進一步去窺探卡斯貝爾那真假並存的攝影作品。一方面藝術家的作品投射了某種喬治歐．奇里訶

（Giorgio de Chirico）式的形而上（Metaphysical art）疏離及夢境；一方面其似乎又指涉了某種愛德華．霍普（Edward Hopper）式的美國城市寂寥與虛幻。恰是在交錯著奇里訶及霍普這樣的氛圍中，照片裡那精

美、細緻的場景，竟構成了某種憂鬱氣息濃厚的空間。那些蕩漾著水影波光的建築內部，猶如路易斯．巴拉岡（Luis Barragán）建築一隅的場景，以及猶如 3D 作圖的擬像建築小屋和水影，在地戟刺著觀者認知

中建築的其內與其外，卻又蕩漾著某種不可抑制的熟悉感。那是關於「歲月靜好」的樣板形象，於是欠缺靈魂及生命的「美好」竟成為了某種「廢墟」，一種源自於心靈空洞的「廢墟」。於是作品那精美卻空洞

的場域，吐露著某種艾略特（Thomas Stearns Eliot）的《荒原》中，所勾勒出文明的崩潰和精神荒蕪。在這些越精細越空虛的模型攝影中，卡斯貝爾無聲地構築了一個讓觀者沉浸於布紐爾（Luis Bunuel）電影《中產階級拘謹的魅力》中那無可逃離的精神荒蕪中。 3. 最想自詡的，卻流於傾頹─在資本的荒原裡

「A.D.2010 年，台灣暴露在各種經年累月的環境公害之下，已成為一片逐漸死滅的鬼島…… 『廢墟症候群』的擴散，終於讓台灣淪為真正廢墟……。」

──《廢墟台灣》，宋澤萊 19 1

黑白影像中，姚瑞中一幀又一幀地捕捉著東北角海岸及沿岸的衰敗景觀。那是工業資本遞嬗下、土地資

本炒作起伏中，人口、產業與建築的推移與流離。從藝術家的照片中，回看宋澤萊的《廢墟台灣》似乎

有了更為深刻的體會與感受。「經濟」這個作為台灣政治術語中，最為重要的發語和結語詞，構成了空間權力結構最為主要的造型動力，於是我們看見了早期提振工業的冶煉廠，看見了東北角的礦業管道，看

見了那由於產業變遷，而遷徙棄置的傳統漁村。同樣地也看見了，土地資本炒作盛期，那些光怪陸離的未來飛碟屋……這種種廢墟都源自於「經濟」政策而生，同樣地也因「經濟」的理由而棄置。

這些現代技術文明下的「廢墟」，每一處都烙印著「經濟學」的指導性證據，恰是在藝術家這樣的影像中，見證了資本商品的轉移和資金，隨著一批又一批新經濟學名詞和理論的流行而流動。「廢墟」伴隨著政治和

金融在台灣拓展、擴散。於是資本與經濟，讓台灣人持續在想像中構築著烏托邦，卻無止盡地打造出廢墟。凝視著姚瑞中一直以來的廢墟攝影，回想著《廢墟台灣》：「 ……努力創造一個讓絕望的人民可以逃避幾分

鐘的藝術……。」以撒．辛格（Isaac Singer）說：「藝術最了不起的功用，也無非是幫助我們暫時忘卻人類的災難而已。我今天還是為爭取這個「暫時」而努力。……」作家的這段描述，竟成了藝術家的薛西佛斯

式輪迴。藝術家長期捕捉著一個個的廢墟，甚至爬梳出存在於廢墟中的政治承諾和經濟美夢，於是觀者得以知覺到：「一定有什麼地方出了差錯，廢墟一直在增加中。」，曾經最想自詡的終於還是流於傾頹。 4. 夢裡碧海成桑田─當時間累積成化石

「關於我們可以藉由化石紀錄並期待根據經驗去恢復一段依據種、屬、科的祖先與後代的序列，或者任何其他連續性的構成的想法，都是有害的幻象。」

──加雷斯．尼爾森（Gareth J. Nelson）4

化石確證了「時間」亙久性也確證了「事物」曾經的存在。如果說，時間跨距構成了某種幽思情懷的

尺度，那麼涂維政無疑地拉出了最大的跨度。通過「化石」涂維政將觀者的想像與思索從當下朝向億萬年的遙遠未來中，由是藝術家宛若將 H.G.．威爾斯書中那遙遠得難以描述年代的未來，轉化成眼前

的化石裝置，供人憑弔、想像一個只能遙想的未來。另一方面，以「歷史」的虛構性觀點上看藝術家的作品，那麼藝術家的作品似乎同時也回應了「化石」其作為歷史確證的必然遺漏與殘缺。

恰是在這裡，我們看見了藝術家那逆行時間的未來中，存在著諸多平行歷史時空的片段與殘缺，仿生機械的骨骸化石，配上了遠古植物的化石乃至於基因工程下的異形般生物與遠古動物等等。這高度並置的時空破壞了慣常對於「時間」的線性認識，從而藝術家在無聲的化石標本中，勾勒了一場存在於「古老

過去」的「深遠未來」的科幻場景，在這宛若悖論般的時空交錯中，藝術家一方面以邏輯的弔詭織造了一個猶如《異形：聖約》、《普羅米修斯》等電影般，充滿異樣時空氛圍的場域；另一方面在「化石」作 10

為其主要的作品表徵下，藝術家同時引發了觀者對於「歷史」、「時間」等概念的遙想以及幽思感懷。 5. 事與物之心─在物哀處喟嘆

「祇園精舍鐘聲響，響徹諸行本無常；沙羅雙樹花色映，顯現盛者必衰理。驕奢之人難久長，好似春夜夢一場，猛暴強梁終殄滅；恰如風前塵土揚。」

──〈卷一．祇園精舍〉，《平家物語》5

全黑的傾倒電塔和扭曲崩壞的自然地景，這精細卻又飄散著末世氣息的模型場景，是日本藝術家岩崎貴

宏（Takahiro Iwasaki）以造型勾勒出的《啟示錄》。吞噬了色彩的黑，投射出作品《混沌之外（崩塌）》那了無生機的工業末世感。黑同時也指涉了化石能源的深沉顏色，乃至於更為深沉而無以彰顯的對「原爆」與火山、地震的恐懼。出生並生活於廣島的藝術家，「原爆」構成了其生命和城市歷史無以分割的

連結，而地震與火山則投影著日本人那無常如影隨形的世界觀。從原子中釋放出的能量，一方面是原爆悲劇的肇因，另一方面卻又是日本能源的重要憑依。深具毀滅力量的二者，共構了 311 東日本大地震這

新世紀的《啟示錄》場景。自然的不確定性危機在人為技術的推波助瀾下，讓「無常」更顯得難以脫逃，於是風前塵土徒留喟嘆。小結

從破碎的書頁、冷調的建築影像；真實廢墟的攝影；襯上科幻的化石遺跡及精細破落的古城門模型。展覽「失樂園─當代城市文明的凝視與寓意」，通過藝術家們的作品讓觀者沉浸在幽思的氛圍中，品味關於「文明」、「歷史」、「時間」及「城市」種種消逝後的況味。

1 朱利奧．卡米羅（Giulio Camillo，1480-1544）是義大利文文藝復興時期的哲學家，其依據古典希臘羅馬的記憶之術（The Art of Memory），設計了記憶劇場。《論攝影》，原文：「Photographed images do not seem to be statements about the world so much as 2 蘇珊．桑塔格， pieces of it, miniatures of reality that anyone can make or acquire.」 3 米蘭達．艾莉可．瑞伯，書名原文：《Miniature and the English Imagination: Literature, Cognition, and SmallScale Culture, 1650-1765》。「The idea that 4 加雷斯．納爾遜（Gareth Nelson）於 1969 年在美國自然歷史博物館的演講內容，原文： one can go to the fossil record and expect to empirically recover an ancestor-descendant sequence, be it of species, genera, families, or whatever, has been, and continues to be, a pernicious illusion.」 5 佚名，〈卷一．祇園精舍〉，《平家物語》，原文：「祇園精舎の鐘の声、諸行無常の響き有り。沙羅双樹の花の色、盛者必衰の理を顕す。奢れる人も久しからず、只春の夜の夢の如し。猛き者も終には亡ぬ、偏に風の前の塵に同じ。」 11

Merging into the Ambiance of Nostalgia - A Brief Analysis of the Exhibition "Paradise Lost: Gazing at Contemporary Urban Civilization and its Metaphor" Text / Shen Bocheng (Art critic and adjunct assistant professor in the Department of Fine Arts, National Taipei University of the Arts and the Department of Sculpture, National Taiwan University of Arts)

Introduction "As I walked I was watching for every impression that could possibly help to explain the condition of ruinous splendor in which I found the world - for ruinous it was."

―The Time Machine, Ch. IV, H.G. Wells

The Eloi, a fictional post-human race living in ancient ruins in H.G. Wells' novel The Time Machine, indicated how our time perception was constructed. The traces and vestiges left by time in its progressive course allow us to perceive our relations to the

past, present, and future. Time exists in the very moment when we gaze at the past whilst lament the inevitable fate awaiting our

future - it's bound to be little more than the "past" before our eyes, namely traces and vestiges that evoke wistful nostalgia. If the aesthetics of time lies in the nostalgia felt when we look back on the past and envisage the future, the ineﬀable state of emotion

may have dwelled in the ash heaps, dust, moss, broken windows, and cracked walls of the ruins. It's exactly amidst these traces and vestiges of the past that we can speculate the halcyon days and even imagine the future.

Ruins reflect the loftiness, greatness, and prosperity of their past. For example, the Parthenon belonged to Athens when Socrates, Plato, and Aristotle flourished, while the Pantheon and the Colosseum were the emblems of the Roman Empire's power and

grandeur. Ruins' unique state of dilapidation bears testimony to their previous splendidness and prosperity. Paying homage to

ruins ergo creates a spiritually transcendental aesthetic experience. Thus, ruins become the dwellings for nostalgic memories, enabling us to merge into the ambiance of nostalgia, to indulge ourselves in the poetic imagery of time. Treating nostalgia as the entry point to analyze the exhibition Paradise Lost: Gazing at Contemporary Urban Civilization and its Metaphor, we may argue that the exhibition seeks to cogitate on the relations among city, architecture, civilization, and artistic creation from the

perspective of ruins. The works by diﬀerent artists in this exhibition aﬀord the visitors an exciting opportunity to gaze at the past, present, and future as strange as familiar to them.

1. In the Ash Heaps of Fragments, Quotations, Unfinished Sentences, and Amputated Stumps of Books "Of all the abbeys...only scattered ruins remained...Poking about in the rubble, I found at times scraps of parchment that had drifted down from the scriptorium and the library and had survived like treasures buried in the earth...At the end of my patient reconstruction, I had before me a kind

of lesser library, a symbol of the greater, vanished one: a library made up of fragments, quotations, unfinished sentences, and amputated stumps of books."

―The Name of the Rose, Umberto Eco

In Marjan Teeuwen's photographic installation, books break the common stereotype and metamorphose into the physical

construction materials, while ruins give extra dimensions to the visitors' imagination. The practice of treating books as ruins, as described in the quotation, creates a space made up of "fragments, quotations, unfinished sentences, and amputated stumps

of books." However, it's exactly the permanently amputated state that empowers the books to immerse the viewers in an atmosphere charged with nostalgia. The strong smells of pulp and ink function in tandem with the light filtering through 12

the cracked walls and leaky roof, making collapse and dilapidation rival Gothic cathedrals in noble grandeur. The imbricated pages constitute a mystical theater of memory.1 The damaged, collapsed walls represent broken sentences and mutilated book pages left by history, serving to heighten the sense of nostalgia that ruins convey. Such a strong feeling of nostalgia acts as the

principal focus of the artist's criticism. The Gaza Strip has long been a theater of war, where the memories of Palestine are largely destroyed. The relic of the ruined bookstore mirrors the decline of a reading society. Teeuwen guides the visitors into the space constructed by fragments of books and having an atmosphere in which intelligence, memories, and history gradually fade way. 2. Reality Blurs When Falsehood Meets Genuineness―The Spiritual Ruins "Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire."

―On Photography, Susan Sontag

As an extension and morphological incarnation of certain desire and imagination, a miniature reflects a society's material values and hankering as well as its vision of the world. Just as Melinda Alliker Rabb claimed in her book Miniature and the English Imagination: Literature, Cognition, and Small-Scale Culture, 1650-1765, the miniature-mediated representations not only

complement people's direct experiences of the world, but also help them gain knowledge of and control over it, whereby these fabricated or artificial small objects acquire cultural meanings equivalent to those of their counterparts in the real world.

In this sense, James Casebere's architectural models and photographs surrounded by an extremely artificial aura seem to aﬀord us a glimpse of his photographic works interlaced by realities and illusions. They on the one hand project a dream-like sense

of alienation characteristic of Giorgio de Chirico's metaphysical art, and on the other hand allude to the desolate and illusory

American urban scenes in Edward Hopper's works. It is the eclectic mix of the signatures of de Chirico and Hopper that transmutes the delicate, exquisite compositions of Casebere's photographs into a space imbued with melancholy. The gleaming reflection of waves ripples gently across the building's interior, which is nothing short of the scene in Luis Barragán's architecture

and a 3D model of hut. The boundary between the building's interior and exterior is thus blurred, whilst an irresistible feeling of familiarity creeps over the visitors. It is a stereotypical image of tranquility. In spite of everything, the wonderfulness without a soul and vitality in it becomes a certain kind of ruins emerging from the void of mind. As a result, the refined yet vacuous

realm lying in Casebere's works is reminiscent of the collapse of a civilization and spiritual impoverishment outlined by Thomas Stearns Eliot in his poem The Waste Land. Via his photographs of miniatures as elaborate as vacuous, Casebere silently immerses the viewers in a spiritual wasteland similar to that in Luis Bunuel's The Discreet Charm of The Bourgeoisie, from which escape is nowhere on the horizon.

3. The Heritage We are Most Proud of is Nonetheless Tumbledown - In the Wasteland of Capital "In 2010 A.D., Taiwan was exposed to constant environmental hazards, gradually turning into a lifeless ghost island...The spread of the 'ruin syndrome' eventually reduced Taiwan to a real ruin." ―Ruins of Taiwan, Sung Tse-Lai 13

Captured by Yao Jui-Chung, the black-and-white images demonstrate the decay of Taiwan's northeast coast frame by frame. It is caused by the vicissitudes of industrial capital, the speculation in building land, as well as the drain of population, business

resources, and architecture. We may gain a better understanding and obtain more resonances if we review Sung Tse-Lai's dystopia novel Ruins of Taiwan by reference to Yao's photographic works. "Economy," the most popular keyword in Taiwanese

politics, serves as the biggest formal drive for our living space and power structure. Therefore, we witness the refineries for

stimulating industrial development, the mining routes in Northeast Taiwan, the fishing villages abandoned due to industrial

change, and the grotesque and variegated UFO Houses erected in a futuristic style during the heyday of building land speculation. All these ruins originated from economic policy, and they are abandoned for economic reasons.

Economics left an instructional imprint on these ruins of modern technology and civilization. Yao's images bear testimony to

the flow of capital and commodities with the paradigmization of diﬀerent economic jargons and theories. Following the change and development of political and financial systems, ruins have proliferated and spread across Taiwan. Consequently, capital and

economy continue urging Taiwanese people to construct the utopia in their imagination. However, their eﬀorts in this aspect always end up as nothing but ruins.

Yao's consistent photographs of ruins hold strong associations of the statement in Ruins of Taiwan, "...striving to create

works of art that aﬀord people an escape from despair for a couple of minutes." Isaac Singer said that "the greatest role of art is little more than helping us temporarily forget all the calamities. Notwithstanding, I'm still struggling for such

temporariness today." This statement goes as far as to reflect a Sisyphean cycle of Yao's practice. He has captured images of ruins one after another for a long period, and even identified the political promises and economic dreams embedded

in these ruins, thereby alerting the viewers to the fact that there must be something wrong so that ruins have proliferated. In the end, the heritage we are most proud of is nonetheless tumbledown.

4. The Blue Sea in the Dream Turned into Mulberry Fields - When Time is Fossilized "The idea that one can go to the fossil record and expect to empirically recover an ancestor-

descendant sequence, be it of species, genera, families, or whatever, has been, and continues to be, a pernicious illusion."

― Gareth J. Nelson (a presentation in 1969 to the American Museum of Natural History)

Fossils provide evidence that time is eternal and things used to exist. If the temporal gap determines the scale of nostalgic yearning, Tu Wei-Cheng undoubtedly takes this logic to extremes. By means of fossils, the artist brings the viewers'

thinking and imagination to the remote future which is eons from now. He transforms the future described in H.G. Wells' novel, that is, so remote that it cannot be measured, into the fossil installation for the viewers to revisit the past

and envisage a future that exists only in their imagination. From the perspective of the fictionality of history, Tu's work also seems to echo the inevitable omission and incompleteness of fossils as historical evidence.

We see the fragments of many parallel universes in the futuristic scene created by the artist. For example, ancient plant 14

fossils are juxtaposed with bone fossils of bionic machines, and genetically engineered heteromorphic creatures with ancient animals. Such highly contrasting juxtaposition shatters the traditional stereotype of time as elapsing in a linear

fashion, allowing the artist to construct a sci-fi scene interlaced by distant past and remote future with silent fossils. In this paradox-like space-time, the artist on the one hand uses the paradox of logic to create a realm saturated with a peculiar atmosphere resembling those in the movies Alien: Covenant and Prometheus, and on the other hand evokes the

viewers' associations and nostalgia for the concepts of history and time with fossils as the emblem of his work. 5. The Essence of Things and Objects - Lamentation Filled with Pathos of Things

"The bell of the Gion Shrine tolls into every man's heart to warn him that all is vanity and evanescence. The faded flowers of the sal trees by Buddha's deathbed bear witness to the truth that all

who flourish are destined to decay. Yes, pride must have its fall, for it is as unsubstantial as a dream

on a spring night. The brave and violent man, he too must die away in the end, like a whirl of dust in the wind."

―The Tale of the Heike, Book 1, Gion Shrine2

Out of Disorder (Collapse), a meticulously built miniature by Takahiro Iwasaki, features burnt, collapsed electricity pylons and

deformed, scorched natural landscapes that ooze an apocalyptic aura. It produces lifeless imagery of industrial doomsday since

no colors can escape from its devouring darkness. The shade of black here also refers to the color of fossil fuel, as well as the

more deep-seated, indescribable fear over atomic explosion, volcano, and earthquake. As an artist born and living in Hiroshima, Iwasaki's life has been inseparably linked with the city's history by the atomic bombing, while earthquake and volcano have bespoken the Japanese worldview about the shadowing impermanence. Atomic energy is the cause of the tragedy of atomic

bombing as well as a major source of power for Japan. With its destructive force, atomic energy created a contemporary doomsday scene in tandem with the 2011 Tōhoku earthquake and tsunami. Fomented by technology, the unpredictability of nature has made it more diﬃcult for humankind to escape from the clutches of impermanence. Facing the whirling dust in the wind, we can do nothing but lamentation. Conclusion The sci-fi fossil vestiges and the simulacrum of ancient city gate provide a perfect foil for the mutilated book pages, the cooltone architectural images, and the ruin photographs. By virtue of these brilliant works of art, the exhibition Paradise Lost: Gazing

at Contemporary Urban Civilization and its Metaphor immerses the visitors deeply in the ambiance of nostalgia, conjuring apocalyptic visions about the disappearance of civilization, history, time, and city.

1 Based on the "art of memory" created by ancient Greeks, Italian Renaissance philosopher Giulio Camillo (1480-1544) designed the Theater of Memory. 2 Unknown, The Tale of the Heike, Book 1, Gion Shrine, the original: "祇園精舎の鐘の声、諸行無常の響き有り。沙羅双樹の花の色、盛者必衰の理を顕す。奢れる人も久しからず、只春の夜の夢の如し。猛き者も終には亡ぬ、偏に風の前の塵に同じ。"

藝術家｜作品介紹

Introductions to the Artists/Works

展場平面 Exhibition Plan

1F & MF Reception

Lobby

Entrance

2F 2

Restroom

1 2 3 4 5

岩崎貴宏 Takahiro Iwasaki

詹姆斯．卡斯貝爾 James Casebere 瑪里安．特文 Marjan Teeuwen 姚瑞中 Yao Jui-Chung

涂維政 Tu Wei-Cheng 17

岩崎貴宏

Takahiro IWASAKI

混沌之外（崩塌 ) Out of Disorder (Collapse) 2016 清潔用品 Cleaning Utensils 尺寸依場地而定 Dimensions variable 參考作品 Referenced work

日本藝術家岩崎貴宏出生並生活於廣島，從戰火

Japanese artist Takahiro Iwasaki was born in Hiroshima

岩崎的創作脈絡。他擅長利用日常生活可見的尋

up from the relics of nuclear bombing. The history of

核爆中重生的廣島所背負的城市歷史也深刻影響

常物，抽絲剝繭般地將物質轉化成細緻精密的地

景模型。藝術家透過作品指涉出城市的脆弱，其

中隱含著當一個巨大的複合城市體經遇災難時，將轉瞬即逝。

這次於臺灣展出的新作《混沌之外（崩塌）》，

and is living and working in Hiroshima, a city stood

Hiroshima is deeply embedded in Takahiro Iwasaki's art. He makes use of common things found in everyday life

and delicately transforms them into sophisticated models

of landscapes. The fragility of the cities, as the artist points out with his works, implies a sudden disappearance of the layers of time the city once possessed during disasters.

便以全黑的傾倒電塔和扭曲崩壞的自然地景，訴

In the Out of Disorder (Collapse) exhibited here, the

堪一擊，而作品的黑色更吞噬了色彩，抹滅了生

the vulnerability and risks of the energy supply system

說著支撐著當代社會的能源結構是如何脆弱地不

機，象徵著那支撐工業發展至今的煤礦、石油等能源。若要追溯電塔中能源之來源，層層關卡最

終將連結至發電廠，我們不得不回想在東日本大

地震中受到巨大海嘯襲擊而致使發電機停止運轉，造成核能廠反應爐過熱，引發後續一連串核輻射外洩的危機。

自然的力量固然強大，而招致毀的關鍵卻是因為那為了滿足人類欲望而被打造出來的發電廠。

fallen black electric towers and land subsidence suggest

in today's world. All colors, as well as all the hope for survival, are devoured by the blackness that symbolizing

the coal and fossil fuels the world has relied on since industrialization. Tracing back to the emergence of

electric towers carrying energy afar from power plants, we are reminded the generators stopped by tsunami after

the devastating the Great East Japan Earthquake. The quakes caused overheating of the nuclear reactors, and the subsequent radiation leak.

Although the forces of nature are strong, the crucial

reasons of destruction came from the manmade power plant that had been constructed to fulfill our desires.

岩崎貴宏

Takahiro Iwasaki

日本藝術家岩崎貴宏，出生、居住及工作於日本

Takahiro Iwasaki is a Japanese artist who was born

接續於英國愛丁堡藝術學院取得藝術創作碩士的

Takahiro Iwasaki earned his doctoral degree from the

廣島。2003 年於廣島市立大學取得博士學位，並學位。

岩崎貴宏的藝術創作主要分為《反射模型》及《地

景模型》系列。《反射模型》系列作品呈現的是日

本象徵性的建築物，精細的手作木質模型建構出水面上下的景觀。而在《地景模型》系列，廣島

的歷史與岩崎貴宏的創作脈絡緊密相連。因原子

in Hiroshima and now lives and works in Hiroshima. Hiroshima City University in 2003 and continued his

study in the UK and accomplished his master degree of fine art from the Edinburgh College of Arts in 2005.

Takahiro Iwasaki's art consists of mainly two series, Reflection Models and Landscape Models. Reflection Models are the artist's representation of symbolic buildings

in Japan, meticulously hand made with wood. These

彈爆炸而又重生的城市，岩崎創作纖細脆弱的地

structures are unified with the reflection on the surface of the water. Landscape Models closely relate to the history

成細緻、迷你的城市景色，邀請觀眾以不同視角

then regenerated. The delicate but enchanting works of

景便是連結這樣的背景，利用日常生活物品轉化觀察生活中的事物。

岩崎貴宏於 2017 年義大利威尼斯雙年展以個展

of Hiroshima, a city destroyed by the atomic bomb and Landscape Models lead the audience to look at things in daily life from diﬀerent angles.

《反轉森林》（Turned Upside Down, It's a Forest）

In the 2017 Venice Art Biennale, Takahiro Iwasaki represented Japan with his solo exhibition Turned Upside

Kadist Art Foundation、東京森美術館、墨爾本維

by the Kadist Art Foundation, San Francisco, Mori Art

作為日本館的代表藝術家。作品收藏於舊金山

多利亞國立美術館、布里斯本昆士蘭藝術博物館、金澤 21 世紀美術館等國際藝術機構。

Down, It's A Forest. His artworks have been collected Museum, Tokyo, Victoria Museum, Melbourne, and the Gallery of Modern Art, Brisbane, 21st Century

Museum of Contemporary Art, Kanazawa among other organizations.

詹姆斯．卡斯貝爾 James CASEBERE

詹姆斯．卡斯貝爾的建構式攝影作品中，若真似假

James Casebere's constructed photography gives the lens

想的建築空間，以杳無人煙卻不尋常的景色，邀請

unusual and unreal settings. The audience is invited to take

的空間佈局裡，攝影之眼猶如監視般，透過重新構觀眾化為作品中的一部分。

此區展出的作品橫跨卡斯貝爾多年來不同的創作

脈絡。照片中黑白的畫面凸顯出空間裡的結構，而漂浮在燈光之中的空氣粒子彷彿重現人們生活

其中的景象；色彩繽紛的山丘地景照片裡一棟棟住宅排列，它代表的意境是對美國現代生活的反思，呈現在次級房貸危機爆發以前的美好時光；

而漫漫水流淹進建築物裡，此種符號的應用是卡

a watching power to rearrange architectural space into part in the ethereal scene.

This zone presents several threads of James Casebere's

works. Black-and-white images outline the spatiality, and the particles in air divulged by artificial light seem to be

the only medium maintaining the traces of human beings. An ideal bright-colored landscape of rows of houses

standing on the hills prior to the subprime mortgage crisis urges us to give thought to the lifestyles of modern America.

斯貝爾對於過往東西德合併後地下廢棄隧道積水

James Casebere catches water in historical sites as his

中的介入，哀悼歷史記憶的遺失。他的攝影語言

are his imagination upon the route of slavery centuries ago,

和奴隸販售海路的聯想，利用水在不同歷史建物藉由捏造的裝置和模型、戲劇性的燈光和其他攝影效果來表達歷史、溫暖、焦慮和一種超越的感

受。正如卡斯貝爾所說：「我在嘗試創造某些可

以體現或是戲劇化呈現實際空間的東西，誇大地表現出特定的想法與記憶。」

lament for the memory washed away. Inundated buildings

or the flood in the abandoned underground tunnels since

the unity of East and West Germanys. Through fabricated installation or models, James Casebere represents the past

with special eﬀects created by light or photographic skills. The compassion or anxiety, or the feeling of transcendence he detects in history, are caught by camera. "I am trying to create something which embodies or dramatizes the

kind of psychic space that exaggerates certain ideas and experiences." said James Casebere.

綠色階梯 #3 Green Staircase #3 2002 C-print Digital Chromogenic Print 182.8 x 243.8 cm (framed)

樓梯間 Stairwell 1983-2012 銀鹽相紙 Gelatin Silver Print 95.6 x 117.2 cm (framed) 24

詹姆斯．卡斯貝爾

James Casebere

美國當代藝術家與攝影家詹姆斯．卡斯貝爾現居紐

James Casebere is an American contemporary artist

基金會羅馬獎年度受獎人身份駐村於羅馬美國學

recipient of the Abigail Cohen Rome Prize 2019-2020,

約州迦南鎮。2019-2020 年以阿比蓋爾．科恩攝影院。詹姆斯．卡斯貝爾成長於底特律市郊，就讀明尼亞波利斯藝術及設計學院時受教於席雅．阿瑪賈

尼；就讀於加州藝術學院研究所時受教於約翰．巴德薩里。他屬於圖像世代的後現代藝術家群，此世

代包括辛蒂．雪曼、理察．普林斯等人。此外，卡斯貝爾是建構式攝影的先鋒。

and photographer living in Canaan, New York. As the he resides at the American Academy in Rome. He grew

up outside of Detroit, studied with Siah Armajani as an undergraduate student at the Minneapolis College of Art and Design and John Baldessari as a graduate student at

Cal Arts. Part of the Pictures Generation of postmodern artists such as Cindy Sherman, Richard Prince, and

others, Casebere has been at the forefront of constructed photography.

過去四十年來，詹姆斯．卡斯貝爾致力於拍攝有高

For over 40 years he has built and photographed

之間的關係。作品主題包括社會管控與體制化空間

relationship between sculpture, photography, architecture,

度建築意義的事物，探討雕塑、攝影、建築與影片的歷史，創作過程包括以簡單材料如保麗龍或硬紙板製成餐桌大的模型，再以戲劇化的打光手法進行

拍攝。他的攝影作品通常沒有人物，而是邀請觀眾將自己投射在空間當中。

詹姆斯．卡斯貝爾的作品曾於世界各大美術館展覽且收藏，包括紐約現代美術館、古根漢美術館、

惠特尼美術館、倫敦泰德美術館和洛杉磯郡立美術館等。

architecturall y based models, which explore the and film. His work has often dealt with themes of social

control and the history of institutional spaces and his process often involves creating tabletop sized models out

of modest materials such as Styrofoam and cardboard and then dramatically lighting the model to set the mood for

the subsequent photograph. The photographs are always unpopulated, inviting the viewers to project themselves into the space.

James Casebere's work is in the collections of and has been shown at major museums around the world including the Museum of Modern Art, the Solomon R. Guggenheim

Museum, and the Whitney Museum (New York); the Tate Gallery (London); the Los Angeles County Museum of Art (Los Angeles); and many others.

瑪里安．特文

Marjan TEEUWEN

毀壞的屋宅－布盧姆霍夫 1 Destroyed House Bloemhof 1 2013 噴墨輸出 Inkjet Print 155 x 440 cm 26

本次展覽中呈現瑪里安．特文在荷蘭與加薩走廊兩

Photos and documentary films of the sculpture based

市中的雕塑作品主要著重於當地歷史建物因都市更

Netherlands and Gaza Strip are represented. Sculpture

地的雕塑影像作品和創作紀錄片。位於荷蘭幾座城新計畫而面臨的退場，特文利用蒐集空間內建築殘

骸並透過身體行動的介入方式，重新整理、堆疊，不僅陪伴建築物走完最後的旅程，同時也喚起居民

對歷史的重視。加薩走廊的計畫始於 2014 年以巴衝突所發生的悲劇，作品中的景象所隱含的故事便是一個家庭的破滅；特文將加薩走廊計畫視為她創作生涯的一項重要宣言，政治性濃厚的議題強而有力地滲入特文的作品之中，強調藝術與政治之間界

線的拉扯。本展亦展出 2019 年最新作品，以同色

調的屋瓦碎片乾淨俐落地堆疊陳列在白色空間之

中，這是《檔案室》系列中的作品，將建築殘留物依色彩、材質做揀選，做極簡藝術的呈現。

特文的雕塑裝置將廢墟轉變為藝術敘述和記憶的體

現，進而探索建築、重建、記憶與失落等相關的主題。雖然這些建築雕塑經過深思熟慮的細心安排，暫時讓建物及空間的破壞停止，卻也暗示了人類不斷重複的歷史與失敗。

on the scenes Marjan Teeuwen had engaged in the

in the Dutch cities questions the demolishment of the

historical buildings due to urban renewal. The artist

intervened these buildings by collected the relics and

reorganized them. She stayed with these buildings to the end of their lives as her way of urging local people

to rethink their history. Her project of Gaza Strip came

from the tragedies during the 2014 Gaza-Israel Conflict. The scenes tell us the stories of a shattered family. Gaza

Strip project manifested a critical turning point of Marjan Teeuwen's art career, she began to investigate the struggles

between politics and art. This exhibition also presents the

artist's latest project in 2019, the simplistically stacked

pieces of broken tiles of similar colors in a white space. This is a work from the Archive series that represents architectural remnants according to their colors and materials in a minimalist manner.

Marjan Teeuwen's sculptural installations transform

art narrative and embody memory. They are the artist's exploration of architecture, reconstruction, memory and

loss, among other issues. The meticulous rearrangement

of the pieces seems to stop the damage at the moment, but further damages and repetitive failures in history are implied.

毀壞的屋宅－加薩走廊 16 Destroyed House Gaza 16 2017 噴墨輸出 Inkjet Print 40 x 60 cm

瑪里安．特文

Marjan Teeuwen

荷蘭藝術家瑪里安．特文居住、工作於阿姆斯特

Marjan Teeuwen is a D utch artist who lives and

建築物裡，其建築創作也是雕塑。

scale architectural installations in buildings that are

丹。她的大型建築裝置作品常設置在即將被拆除的

works in Amsterdam, Netherlands. She realizes largesubsequently demolished. A building as sculpture.

瑪里安．特文畢生的創作都集中關注人類歷史中過

Teeuwen's work expresses a great engagement with the

性，以及反對過度的建設。她的作品強調建設與

violence and their manifestations in human conditions, as

度的事物，如過度的暴力與暴力對人類處境的決定

破壞、凋敝與樹立、秩序與混亂的兩極性的劇烈衝

突。瑪里安．特文以磚片製作的系列作品《毀壞的

excesses in human history through her life. The excesses of well as the opposite force of construction, are fundamental to her creation. Pointing out the polarity of construction

屋宅》是她從廢棄建築裡撿拾的殘骸在原建築結構

– destruction, falling – standing, order – chaos. A diabolic conflict. In her competently titled body of work, Destroyed

攝的照片也成為作品重要的一部份。

buildings assembling each fragment in painstakingly

裡重新一片片仔細搭建的成果。根據這些成果所拍瑪里安．特文的作品在許多地方的公共或私人機構

展出，包括阿姆斯特丹建築中心、萊登的迪雷哈美術館、鹿特丹的荷蘭攝影博物館、芬洛市凡博梅爾凡丹美術館、海牙的荷蘭外交部等。而收藏的機構則包括荷蘭塗料公司 AkzoNobel、法國電子產品公

司 FNAC、邁阿密的希佛藝術基金會、阿姆斯特丹

市立博物館。

House, Teeuwen reclaims the wreckage of abandoned

detailed installations, set within the original structures.

Autonomous photos, also a magnificent part of her work, are created on the basis of these installations.

Teeuwen's work has been exhibited widely in institutions and is held in numerous private and public collections

including ARCAM, Amsterdam; Museum De Lakenhal, Leiden; Nederlands Fotomuseum, Rotterdam; Museum Van Bommel Van Dam, Venlo; Ministry of Foreign

Affairs, The Hague; Collection AKZO NOBEL; Collection FNAC, Paris; Cisneros Fontanals Art Foundation, Miami; Stedelijk Museum, Amsterdam.

姚瑞中

YAO Jui-Chung

廢墟迷走Ⅰ－以屍骸構築的文明（十三層之八） Roaming around the Ruins I - The Civilization Built by Skeleton (Thirteen Stratum Copper Smelter 8) 1993 黑白攝影數位輸出於百年藝術相紙 B &W Photo Print on Fine Art Paper 105 x 140 cm 30

「這些隱藏於真實世界下的廢棄世界，對應於所謂

"The abandoned worlds buried under the real world are,

界還要『真實』，比完美之物還要『完美』，『殘渣』

regarding the defined happy life. The ideas about 'residue'

的幸福生活，其存在從某方面來講，甚至比真實世概念建立於一個相對性意義之上，並與真實人生周旋。」⸺姚瑞中

姚瑞中的《廢墟迷走》系列作品，是在臺灣各處行

走調查所拍攝的廢墟照片，歸納了工業、神偶、建築及軍事廢墟四大部份。在這些廢棄的公共空間中

能看見人為改造對城市地景的暴力，拉出了政治、經濟和社會勢力的視野與宰制，而姚瑞中對這些建

築物的攝影呈現臺灣在全球化浪潮與特殊歷史背景

中所隱藏龐大的意識形態黑洞。這些廢墟影像，背後隱含著長久以來資本主義的消費與生產所帶給空

間的巨大影響。藝術家漫遊於城市邊緣找尋回憶，

in a degree, more real than real, more perfect than perfect

are built upon a relativity which wrestles with the real life." – Yao Jui-Chung

The Roaming around the Ruins series consists of four

volumes of the artist's photos of dilapidated buildings: industrial, religious, architectural and military. In these

abandoned public buildings, we see the violence over the cities by artificial forces, driven by social, political and

economic powers. Yao Jui-Chung's urban photography uncovered the ideological black holes from the unusual

history of Taiwan during the overwhelming tides of globalization. These images testify the impacts to the environment under capitalism and consumerism.

而城市正以某種不可預知的力量暗自變化，並用一

Roaming at the edges of the cities to seek things in the

真實世界下的廢物世界，在社經快速變化下，對應

changed by unknown forces. Nevertheless, these cities are

種前所未有的更新姿態迎面走來；面對這些隱藏於於所謂的幸福生活，它們的存在看似真實卻又超脫

真實。而建立在廢墟之上的高度文明發展，又帶來什麼啟示？或許如姚瑞中所說，真正的廢墟並非來自外在環境，而是來自人類內心的無盡慾望，是一處永劫輪迴的不毀樂園。

memory, the artist noticed the world has been secretly

greeting the future with unprecedentedly renewed faces. The existence of these abandoned worlds hidden behind the real world is realistically beyond real, compared to the so-called happiness sought after in the fast changing

society and economy. How are we enlightened by the

civilizations built over the ruins? Is it true, as Yao Jui-

Chung has pointed out, the real derelict is not in the forgotten structures, but the never-fulfilling garden of desires in our minds?

廢墟迷走Ⅳ－神偶遶境（飛碟屋猴子） Roaming around the Ruins IV - Gods ＆ Idols Surround the Border (UFO Villa: Monkey) 1993 黑白攝影數位輸出於百年藝術相紙 B &W Photo Print on Fine Art Paper 100 x 150 cm 廢墟迷走Ⅱ－遠離家園（屏東舊好茶國小教室黑板） Roaming around the Ruins II - Far off Home (The Classroom of Old Hao-Cha Tribe) 2003 黑白攝影數位輸出於百年藝術相紙 B & W Photo Print on Fine Art Paper 100 x 150 cm

姚瑞中

Yao Jui-Chung

臺灣藝術家姚瑞中，1994 年畢業於國立臺北藝術

Yao Jui-Chung is a Taiwanese artist who completed

任副教授、國家文化藝術基金會董事、幻影堂負

University of the Arts in 1994. Currently, he is an adjunct

大學美術系。目前為國立臺灣師範大學美術系兼責人。

多年來採取類似 DNA 曲線的創作模式，開展出

「身體政治」路線與「空間政治」考察的議題，以

his bachelor degree of fine art from the Taipei National associate professor of the Department of Fine Art, National Taiwan Normal University, and holds a chair

of the National Culture and Arts Foundation. Yao JuiChung is also the director of Illusion Art Studio.

檔案學方式進行個人式的國土普查，推出了數個以

Over the past years, Yao Jui-Chung follows a double-helix

案室」，專注於公共閒置設施的發掘，藉由紀實攝

the Politics of Spaces come across one another from time

廢墟為主的創作計劃。2010 年成立「失落社會檔影考掘建築背後的權力運作，質變了廢墟影像在其創作甚至藝術語境中的意義。

曾代表臺灣參加威尼斯雙年展、威尼斯建築雙年

展、澳洲亞太三年展、曼徹斯特亞洲藝術三年展、橫濱三年展、雪梨雙年展、上海雙年展等國際展

出。並為新加坡「亞太藝術獎公眾獎」、香港「集群藝術獎」及臺灣「臺新藝術獎」等獎項得主。

path of creation― issues on the Politics of Bodies and

to time. His personal archival studies of the nation-wide

land surveys achieved several projects of ruins. In 2010, Yao Jui-Chung founded the Lost Society Document

(LSD) and began focusing on the unused public spaces. In his work, images of the dilapidated objects have been transformed in the context of art through his documentary

photography that investigates the power behind these buildings and spaces.

Yao Jui-Chung had exhibited in the Venice Biennale, Venice Biennale Architecture, Asia Pacific Triennial

of Contemporar y Art, Asia Triennial Manchester, Yokohama Triennale, Biennale of Sydney, Shanghai

Biennale, among other international events. He is also

the recipient of the Asia Pacific Art Prize (Singapore), the Multitude Art Prize (Hong Kong), and the Taishin Arts Award (Taiwan).

涂維政

TU Wei-Cheng

遺跡化石 TF 03 Ichnofossils TF 03 2019 人造石 Artificial Stone 184 x 107 x 10 cm 34

遺跡化石在考古學上指的是保留在岩層中的古生物

Ichnofossil is an archaeological term, it means fossil with

物的存在，例如鑽跡、移跡、足跡。遺物包括遠古

of the existence of certain beings and the conditions of

生活活動的痕跡和遺物，可以充分說明過去某些生

生物的排泄物、代謝物、生殖物，甚至古人類所用的石器。可據此推斷該生物當時活動的情況，因此在過去生物的研究中佔有重要的意義。

廢棄的工廠象徵著人類文明進步的某種階段衰敗或

淘汰，可能是文明進步的一種常態，但也是人類的物競天擇，有其人為殘酷或無奈的一面。已經生繡

荒廢或面臨拆解的龐大機械，猶如巨型生物殘骸，述說著當時的壯闊榮景與悲歌。作品以採集廢棄工

廠的機械零件、建築殘塊或周遭植物，透過壓印於陶土之後翻模成人造石，呈現類似植物或動物等不

明生物的形象，製作成化石質感，模擬博物館的

展示。作品藉著利用人類文明「殘餘物」的「偽化

traces of lives from the remote past. They provide evidence certain civilizations.

Tu Wei-Cheng's Museum of Ichnofossils comes from his

collections of machine components, parts of buildings, and plants around the sites. They are made into artificial fossils

by pressing and molding clay and to be presented like

the fragments of unknown lives in the museums. These broken-down factories are the symbols of the recession

or fall in the advancement of civilizations. It might be the

normalcy, or the outcomes of natural and social selection. The gigantic structures of the rusted machines in the

abandoned factory remind us the skeletons of dinosaurs, a species once dominated the earth. They had thrived then declined.

石」，並想像這些殘餘物背後隱藏的生物特質，來

The fossils of unknown objects produced by the artist are

未來。（文／涂維政）

prosperity of the past, the deterioration of the present, and

反思人類行為與文明歷史的過去風華、現在衰敗和

the residue of civilization, provoking us to look into the the uncertainty of the future. (Text / Tu Wei-Cheng)

紀錄文件 Document

位於桃園蘆竹的鋅合金錠、鎂錠、鎂合金錠冶煉再製工廠，於 2017 年拆除。 A smelter of zinc alloy ingot, magnesium ingot and magnesium alloy ingot in Taoyuan, Taiwan, dismantled in 2017.

涂維政

Tu Wei-Cheng

臺灣藝術家涂維政，1993 年文化大學美術系西畫

Tu Wei-Cheng is a Taiwanese artist, who has completed

現為國立臺北藝術大學專任助理教授。現居、工

Department of Fine Art, Chinese Culture University

組畢業，2005 年國立臺南藝術大學造形所畢業。

作於臺灣桃園。

創作同時觀照身體勞動、技藝與物質性的呈現，

是將「關係美學」的創作行為具體推向「自我體制化」的形式展演。作品仿擬考古知識系統、美

his professional training in western art from the

in 1993 and plastic art from the graduate school of the

Tainan National University of Arts in 2005. Currently, he

is an assistant professor of the Taipei National University

of the Arts. Now he lives and works on his creation in Taoyuan, Taiwan.

術館或博物館機制的操作，企圖建構新的神話系

Tu Wei-Cheng's art is his attempt to present the

同文明、不同世代的特有情況拼貼，產生時空錯

skills. He demonstrates how an artist self-institutionalized

統，交融當代，將歷史、傳說、現象、物件與不

置的謬誤感，一方面指涉當下或未來的文明狀態，另一方面呼應臺灣的多元文化及普遍存在文化主體認同的歧異與焦慮症。

曾多次參與國內外重要展覽，包括 2019「現在的

未來：國家博物館的卜湳文明」荷蘭國家博物館、 2018「仙境邊界－第一屆泰國雙年展」作品永久設置於喀比府、2017「採集歐洲─ 4017 神祕文明的皺摺世界」英國維多利亞與亞伯特博物館。另

受邀 2012 廣州三年展、2012 光州雙年展、2010

臺北雙年展、2006 上海雙年展。曾獲 2001 年第 28 屆「臺北美術獎」及 2004 臺新藝術獎評審團特別獎。

materiality through the labor of his own body and his his actions of interpreting "relational aesthetics". Tu Wei-Cheng's artworks are his mimicry of the systematic

knowledge and operations of archaeology and museology. He constructs a system of modern myths by collaging

history, anecdotes, objects and phenomena that had

happened in different ages and civilizations. A sense of incongruity is to refer to the current status of our

civilization, as well as the dissension and anxiety over cultural identity in the divergent Taiwanese society.

Recently Tu Wei-Cheng has been exhibiting in major events throughout the world, including the 2019 The Future of Now: Bu Num Civilization in the Rijksmuseum in Amsterdam, 2018 Voyage in Time - the 1st Thailand

Biennale, where his project is permanently installed in Krabi, and 2017 Collecting Europe - 4017 Enfolded World: Mysteries of Lost Civilizations in London V&A. He

also had been in the 2012 Guangzhou Triennial, 2012 Gwangju Biennale, 2010 Taipei Biennale, 2006 Shanghai

Biennale. Tu Wei-Cheng was the winner of the 28th

Taipei Art Award in 2001 and the Jury's Special Award of Taishin Art Awards in 2004.

大事紀

Chronicle of Events 1945 廣島與長崎原子彈爆炸 Atomic Bombings of Hiroshima and Nagasaki

國際大事

International Events

1947 - 1991 冷戰 Cold War

1955 - 1975 越南戰爭 Vietnam War

1940 1950

1960

詹姆斯．卡斯貝爾

1953 出生於美國密西根州蘭辛。 Born in Lansing, Michigan, USA.

瑪里安．特文

1953 出生於荷蘭芬洛市。 Born in Venlo, the Netherlands.

James CASEBERE

Marjan TEEUWEN

1970 1970s 受到 Gordon Ma tta - 1979 加州藝術學院研究所畢 Clark、Robert Smithson 和業，在學期間受美國概 Michael Heizer 啟蒙，開念畫家 John Baldessari 指始建構式攝影創作。導。 Starting his constructed Completing his master's photography, inspired degree in arts from California by Gordon Matta-Clark, Institute of the Arts, where Robert Smithson, and John Baldessari was teaching. Michael Heizer.

姚瑞中

1969 出生於臺灣台北。 B o r n i n Ta i p e i , Taiwan.

涂維政

1969 出生於臺灣高雄。 Born in Kaohsiung, Taiwan.

YAO Jui-Chung

TU Wei-Cheng

岩崎貴宏

Takahiro IWASAKI

1975 出生於日本廣島。 Born in Hiroshima, Japan.

製表／周姝妤、黃瑋儒

Contents / Chou Shu-Yu, Wei Huang

1989 柏林圍牆倒塌 Collapse of Berlin Wall

1980 1980s 開始針對美國西部家庭生活、美國迷思及其刻板印象等議題進行創作。 Starting his work on domestic life and myths and stereotypes of the American West.

1988 荷蘭布雷達聖喬斯特藝術學院畢業。 Completing education from the Academy of Fine Arts and Design St. Joost in Breda.

1982 發表作品《店鋪前》。 Storefront completed.

1983- 發表作品《樓梯間》。 2013 Stairwell completed.

1988- 以平面繪畫作為主要創作 2000 方式。 Painting as the major form of creation.

1989 在旅行柏林並見證柏林圍牆的倒塌後，開始使用「水」作為媒材創作，以緬懷過去地底隧道扮演串連東、西德的的歷史。 Starting applying "water" as a motif of his creation after a trip to Berlin, where people celebrating the fall of the Berlin Wall reminded him of the history of underground tunnels that connected the East and West Germany.

1988 13 歲讀到大友克洋的漫畫 AKIRA，開始對建築產生濃厚興趣。漫畫中被破壞的高樓大廈讓他聯想到遭原爆摧毀的家鄉－廣島。 13-year-old, inspired by Katsuhiro Otomo's comic book AKIRA and developing a great interest in architecture. He was reminded of his hometown Hiroshima where atomic bombs attacked by the destroyed high-rise buildings in the book.

國際大事

International Events

1990s 臺灣產業外移 Industries Moving Out of Taiwan

1990 詹姆斯．卡斯貝爾

James CASEBERE

瑪里安．特文

Marjan TEEUWEN

姚瑞中

YAO Jui-Chung

涂維政

TU Wei-Cheng

岩崎貴宏

Takahiro IWASAKI

1990s 創作開始轉向聚焦於公民、宗教、商業及工業等建築形態的空間，尤以監獄設計的歷史為關注重點。 Tu r n i n g h i s f o c u s t o architectural types: civic, religious, commercial and industrial, but particularly the history of prison design.

1994 國立臺北藝術大學美術系畢業。發表作品《本土佔領行動》，探討臺灣主體性。 Completing his bachelor's degree in arts from the Taipei National University of the Arts. Performing and exhibiting his project Te r r i to r y Ta k e o ve r t h a t p o u n d e r s o n Ta i w a n ' s sovereignty.

1991 發表作品《威尼斯猶太區》。 Venice Ghetto completed.

1997 代表臺灣參加威尼斯雙年展。 Representing Taiwan in the Venice Biennale.

1999 發表作品《孔夫子系列》，為其創作起點。 Starting his art career by creating Confucius Series.

1997- 發表作品《天下為公行 2000 動》，探討後殖民主義。 Creating and exhibiting The World is for All that discusses post-colonialism.

2000s 全球能源危機 Global Energy Crisis 2001 中國加入世界貿易組織 China Becoming a Member of WTO 2007 美國次級房屋借貸危機 Subprime Mortgage Crisis 2008-2019 以巴衝突 Israeli - Palestinian Conflicts

2000 2000- 開始創作闡述空間社會心理的系列主題，包含大西洋販奴貿易、全球化與美國干預中東事務等議題。 Addressing the social psychology of space in a range of subjects depicting the Atlantic slave trade, globalization, and American intervention in the Middle East.

2000- 開始創作《卜湳文明遺跡》系列作品。 Starting Bu Num Civilization Relics series.

2000 發表作品《反射模型－木之花》。 Reflection Model: Wooden Flower completed.

2002 發表作品《綠色階梯 #3》。 Green Staircase #3 completed.

2003 發表作品《轉角處》。 Turning Hallway completed.

2002- 開始進行大規模的建築式雕 2002 開始創作《檔案室系列， 2008 開始於荷蘭各地創作建強調廢棄建築物內碎片的挑築式雕塑《毀壞的屋宅》 2005 塑，而這些建築雕塑也隨後選 ( 材質、顏色、隱含的歷在藝術家創作介入後被拆除。系列。史 )，與整潔、俐落的陳列 Starting large scale architectural Starting Destroyed House 展示方式；至今已完成並發 installations buildings, that are series at multiple locations 表 20 件裝置作品。 subsequently demolished after in the Netherlands. Starting Archive series that the artist interventions. neatly reassemble remnants of destroyed buildings according 2005- 發表《廢墟迷走》系列，為自 to their materials, colors, and 2005 年起整理過去十五年臺 history implied. Completed 灣廢墟的紀錄性攝影。 so far 22 installations. Publishing Roaming around the Ruins series that documents abandoned sites over the past 15 years in Taiwan. 2003 發表作品《卜湳文明遺跡－ 2004 發表作品《古藝堂特拍會》， 2005 臺南藝術大學造形所畢業。大崎遺址》探討私人典藏機制。 Completing his master's Bu Num Civilization da - chi Site Art project Ancient Art Auction degree in plastic arts from completed. completed, discussing the the Graduate Institute of mechanism of private art Tainan National University collection. of the Arts.

2005 畢業於英國愛丁堡藝術學院，並發表作品《Diﬀerential/ Integral Calculus》。其以日常物件或垃圾等脆弱物質作為媒材，創作出暗喻廣島歷史背景的城市景觀。 Completing his master's degree in Edinburgh College of Art. Differential/Integral Calculus completed. Creating the project by materials he found in everyday life or garbage. Through error trying, making a landscape of fragility that implies the history of Hiroshima.

國際大事

2011 福島第一核電廠事故 Fukushima Daiichi Nuclear Disaster

International Events

2010 詹姆斯．卡斯貝爾

James CASEBERE

瑪里安．特文

Marjan TEEUWEN

姚瑞中

YAO Jui-Chung

涂維政

TU Wei-Cheng

岩崎貴宏

Takahiro IWASAKI

2009- 開始創作《有房屋的景色》系列， 2015 表達美國次貸危機下的的集體焦慮和恐懼。 Starting the Landscape with Houses series that represent the collective anxiety after the subprime mortgage crisis.

2009 發表作品《毀壞的屋宅－克拉斯 2013 發表作品《毀壞的屋宅－ 2014 發表作品《毀壞的屋宅－北諾亞爾斯克》，首度至荷蘭之外的布盧姆霍夫 1》。阿姆斯特丹 5》。 Destroyed House Bloemhof 1 Destroyed House Op Noord 5 國家發表創作。 Creating Destroyed House Krasnoyarsk, completed. completed. the first project of the series outside of the Netherlands.

2007 發表錄像作品《歷史幽魂》、《分列 2010- 成立「失落社會檔案室」， 2011- 發表作品《萬歲》、《萬萬歲》，式》及《玉山飄浮》，以幽默手法 2018 與學生進行田調挖掘公共 2013 反思冷戰時期的臺灣白色恐怖閒置空間並發展政治地理對過往威權統治進行顛覆。與軍事戒嚴情況。學。發表《海市蜃樓 I、 Releasing videos Phantom of History, Releasing Long Live and Long March Past, and Mt. Jade Floating that Long Live that reflect the Martial II、III、 IV、V、VI －台灣公共閒置設施》拍攝計畫。 subvert the past authoritarian rule in Law and White Terror in Taiwan Founding the Studio of Lost Taiwan with sarcasm. during the Cold War period. Society Document (LSD) that conducts field investigation 2010 發表作品《夫子跳曼波》： with students for the 重新整理 1999 年的《孔夫子 geographic politics of unused 系列》作品，從平面變成立 public spaces. Releasing the 體創作。同年，發表系列作 Mirage: Disused Public Property 品《城市影像多寶閣－上海 in Taiwan I, II, III, IV, V, VI. 外灘源》。 Teacher's Mambo completed, a 3-dimensional project based on 2006 發表作品《混沌之外》，延伸前作 2011 由於東日本大地震引發的 the 2-dimensional Confucius 福島核災事件，《混沌之《Diﬀerential/ Integral Calculus》， Series in 1999. In the same year, 外》系列創作開始聚焦於此作品改變觀眾的視角，並探討對 The Urban Image Treasure Chest 社會議題的反思。日常用品的慣性觀點以及時空的 Display - Shanghai Waitan Yuan Due to the Fukushima nuclear 變異性。 completed. Out of Disorder completed, a project disaster trigger by the Great East Japan Earthquake, starting as an extension of the Differential/ I n teg ra l C a l c u l u s t h a t c h a n ge s to create Out of Disorder series on the reflection of social issues. people's habitual perspective of daily commodities as well as the changing time and space.

2020 2019 現生活、工作於美國紐約。 Living and working in New York, USA.

2016 發表作品《毀壞的屋宅－萊登 5 》。 2017 發表作品《毀壞的屋宅－加薩 2019 發表作品《毀壞的屋宅－亞爾的相遇》。現生活、 Destroyed House Leiden 5 completed. 工作於荷蘭阿姆斯特丹。作品由美國紐約畫廊走廊》。 Destroyed House Gaza completed. Bruce Silberstein 代理。 2018 發表作品《檔案室－海爾倫市 Destroyed House Rencontres D'Arles completed. Living and working in Amsterdam, the Netherlands. The 政廳》。 Archive Townhall Heerlen completed. work of Marjan Teeuwen is represented by Bruce Silverstein, New York, USA.

2016- 發表作品《巨神連線》系列，以 2019 「永劫輪迴」概念，探討臺灣民間宗教信仰透過巨大神像所展現的欲力奇觀。 Releasing Incarnation series that explores the phenomenal projection of power through gigantic statues of deities in Taiwan.

2019 現生活、工作於臺灣臺北。 Living and working in Taipei, Taiwan.

2012 發表作品《城市影像多寶閣－光 2017 開始紀錄桃園數個廢棄工廠並 2019 發表《遺跡化石博物館》，以廢棄工廠、臺灣產業外移等議題進行創作。現生活、工作於臺灣臺北州》與《城市影像多寶閣―生日進行《遺跡化石博物館》的作及桃園。快樂計劃》。品。 Museum of Ichnofossils completed, which discusses The Urban Image Treasure Chest Starting to record several abandoned Display - Gwangju and The Urban the phenomena of abandoned factories as industries factories in Taoyuan and create Image Treasure Chest Display Museum of Ichnofossils. moved out of Taiwan. Living and working in Taipei Birthday Project completed. and Taoyuan, Taiwan. 2019 發表作品《混沌之外（崩塌）》、《混沌之外（毀 2017 代表日本參加威尼斯雙年展。滅之神）》。現生活、工作於日本廣島。 Representing Japan in the Venice Out of Disorder (Collapse) and Out of Disorder (God Biennale. of Destruction) completed. Living and working in Hiroshima, Japan.

忠泰美術館成立於 2016 年，是忠泰建設成立三十週年、忠泰建築文化藝術基金會設立十週年，在臺灣建

築文化推廣之路的重要里程碑。我們期許本館成為一座肩負企業社會責任，並回應 21 世紀社會需求的新

形態平台、觸媒與智庫；延續忠泰建築文化藝術基金會之「A Better Tomorrow」信念，成為臺灣首座聚焦「未來」與「城市」議題的美術館。

本館位處臺北都會區，同時也是基金會「明日博物館」計畫第一檔展覽之地點，經過十年在城市中游移

展演，回到出發地落地生根成為「在城市與生活中心的美術館」。忠泰美術館作為一座年輕的新美術館，將會是一座探索未來、跨領域的美術館。我們未來的活動規劃將聚焦於三大方向：「未來議題」、「城市建築」、「當代藝術」。

Jut Land Development's 30th anniversary, and the Jut Foundation for Arts & Architecture's 10th birthday, culminates in

the establishment of the Jut Art Museum in 2016. It is a milestone commemorating the history of Taiwan's architectural

aesthetics. We anticipate that the Museum to act as a new form of think tank, catalyst and platform devoted to corporate social responsibility fulfillment and addressing the societal dynamics of the 21st century. We also anticipate it to carry on the legacy of "A Better Tomorrow" that defines much of the Foundation's work, to become the first museum in Taiwan that is focused on the issues of "future" and "city."

The Jut Art Museum, located in the heart of Taipei, is also where the Foundation's debut exhibition of MUSEUM of

TOMORROW is held. After ten years of circuit shows across the city, the exhibition is now back to where it all started, becoming a "showpiece in the heartland of the city and urban inhabitation." As an up-and-coming art establishment, the Museum serves to explore what our future might hold, and transdisciplinary issues. The curation process of the Museum is three-pronged: "future," "urban architecture," and "contemporary art."

展覽工作團隊

Exhibition Team

策劃團隊｜黃姍姍、陳映芃、周姝妤、黃瑋儒

Curatorial Team | Huang Shan-Shan, Chen Ying-Peng,

計畫指導｜李彥良、李彥宏展覽協調｜歐維傑、陳玉明

行銷推廣｜陳思安、陳妍秀、李燕姍

Supervisors | Aaron Y. L. Lee, Alex Y. H. Lee Chou Shu-Yu, Wei Huang

Assistant Coordination | Ou Weu-Jie, Chen Yu-Ming

公眾服務｜張淑媛、吳秉祈

Communications and Marketing |

工程協力｜陳秋雄、陳適宜、黃嘉傑、呂俊杰

Public Service | Chang Shu-Yuan, Wu Bing-Chi

行政協力｜謝佳欣、許雅晴、陳律佑視覺設計｜陳思穎

展場平面設計｜劉銘維燈光設計｜何仲昌

Chen Szu-An, Chen Yen-Hsiu, Li Yen-Shan

Administration Support | Hsieh Chia-Hsin, Hsu Ya-Ching, Chen Lu-You

Installation Support | Norman Chen, Chen Shih-Yi, Jay Huang, Lu Juyn-Jie

Visual Design | Chen Szu-Ying

Exhibition Graphic Design | Liu Min-Wei Lighting Designer | Ho Chung-Chang

手冊編輯團隊

發行｜財團法人忠泰建築文化藝術基金會忠泰美術館

地址｜106 臺北市大安區市民大道三段 178 號

撰文｜黃姍姍、周姝妤（展覽論述及藝術家作品介紹）、沈伯丞（評論）

編輯團隊｜黃姍姍、陳映芃、周姝妤視覺設計｜陳思穎

翻譯｜吳介禎、王聖智

印刷｜佳信印刷有限公司電話｜ +886 2 8772 6178 傳真｜ +886 2 8772 6787

官網｜ jam.jutfoundation.org.tw

Editorial Team Publisher | Jut Foundation for Arts and Architecture Jut Art Museum

Add | No.178, Sec. 3, Civic Blvd., Da'an Dist., Taipei City 106, Taiwan

Authors | Huang Shan-Shan, Chou Shu-Yu (Exhibition discourse and the introduction of works), Shen Bocheng (Art criticism)

Editors | Huang Shan-Shan, Chen Ying-Peng, Chou Shu-Yu

Visual Designer | Chen Szu-Ying

Translators | Wang Sheng-Chih, C.J. Anderson-Wu Printer | Chia Hsin Printing

出版日期｜ 2019 年 12 月

Tel | +886 2 8772 6178

ISBN ｜ 978-986-96465-1-2 ( 平裝 )

Website | jam.jutfoundation.org.tw

Fax | +886 2 8772 6787

Publishing Date | December, 2019