圖底圖： 為建築與藝術的 家園尋址
「我們就像群必須在外海重新造船的水手，從來 就無法在乾船塢裡拆船︑再以其最佳零組件來重 構︒」＿＿形象科學，2015，WJT Mitchell
萬丈高樓從不是平地而起，營建工程的開工 儀 式——「動土」已經為我們指明：凡是涉及建造 之處，總是伴隨著清理︑開闢與整肅︒
哲學家海德格（Martin Heidegger）詩意地連接起 「存有」與「居住」的潛在關聯，並指出我們實 際上都處於一種「被拋狀態（thrownness）」，無 可避免地投入，同時也被投入於周遭環境之中︒
在建築圖學中，「圖底圖（figure-ground）」即常
用於標示出基地及其周邊的相鄰關係，就如同諺 語「擇鄰而居」所暗示的，居住（dwelling）並不 是在白紙狀態（tabula rasa）上任意進行興建，而
總是在參與︑介入已經既有的環境，並隱含著在 其中重新建立起一段關係的意味︒
「圖底圖」的繪製，因此代表著相鄰關係的界定 與劃分，並提示出我們與周遭的情況與處境：我
們意欲何往︖我們所居何處︖
Fig ure Ground: the becoming-home of a r t a nd a rchitecture
“We are like sailors who must rebuild the ship on the open sea, never able to dismantle it in dry-dock and to reconstruct it there out of the best materials.”
, 2015, WJT Mitchell
The loftiest towers never rise from the ground, as the term “groundbreaking” in construction engineering implies: whenever it comes to construction, always comes with destruction and demolition.
The inner connection between “Being” and “Dwelling” as Martin Heidegger poetically discovered, we’re in fact all in a state of “thrownness”, inevitably being thrown into, as well as thrown ourselves into the world.
In architectural drawings, “Figure-ground” is often used to indicate the building lots related to the vacant spaces contained by the surrounding environment. As the saying goes, love thy neighbor as thyself, dwelling isn’t constructing on a tabula rasa at one’s will, but always already participating and interfering in a pre-existing world, and it refers to “building relationship” all the time.
Therefore, the drawing of “Figure-ground” represents the distribution and delineation of adjacent relationships, and even more so when it draws attention to our own situation and condition: How Do We Live? How Should We Live?
《造鎮計劃》
2022-2023，攝影
社區型建案當中的一類 造鎮社區，泛指以聯 排或獨棟透天厝所形成的集合式社區，其中的聯
排透天厝通常是更物美價廉的選擇︒這幾年，台 南又開始大量興建這樣的造鎮社區，這些建案時 常座落在腹地廣大的鄉野之間，有些社區是建商
由小到大圈地後，再將大片土地重新開路，使土
地利用最大化︒
入住的居民大多來自外地，並在社區落成後大量 且快速的遷入︒有著筆直的道路和秩序的規劃， 但因為一致的建築外觀而容易使人迷路，這些社 區將成為地理和地圖的一部分，無論是在內或在 外的景觀都將是當地居民的日常風景︒
Township-community, a type of communal construction plan, generally refers to the integrated community formed by townhouse or single-family house, among which townhouse is usually a cheap and cheerful choice. In recent years, Tainan has seen a surge in the construction of such communities, often located in vast rural areas in the hinterland. In some communities, developers have merged large tracts of land and then redistricted them to maximize land use.
Most of the residents were out-of-towners and moved in large numbers soon after the community was completed. Even with straight roads and orderly planning, but with similar architectural appearance that makes it easy to get lost, these communities will become part of the geography and map, both inside and outside the landscape will be the daily landscape of the local people
陳世育（CHEN Shih-Yu）
《陽光普照｜The shine of sunlight 》
2023，雙頭鐵筆︑紙︑LE D
作品闡述藝術家在烈日的夏至移居到竹北， 在 與新竹兩地往返的過程中，能夠看見匯流兩 處 溪流的頭前溪，無論從哪裡出發，每當往返 兩 地時，身體受著自然環境變化︑亦或光線刺 熱 的照映，眼前景象是模糊看不清的︔沿著頭 前
溪每日騎行︑漫步與生活，透過不同速率的 身 體，感受著這條溪的氣息，並在左岸與右岸 的 風景中將此狀態進行描繪與紀錄 ︒
場域中的橘紅燈光，是藝術家在冬日夜晚開啟電 暖扇的生活經驗，由於電暖扇散發溫暖的橘紅光 線，那瞬間彷彿身處於熾熱陽光下，在空間中產 生時間錯置的體會，因此作品設置將電暖扇（本 展版本為夕陽燈）轉換為一種語言模式，在擺動 時如同陽光照射在作品場景的每一處︒
T he w ork e x p l ain s t ha t t he a rt i st m o ve d to Zhu b ei in t he h ot s umme r solst ice . In t he p ro ce ss o f g o ing b ac k an d f ort h wi t h H s inchu , he c o u ld s ee t he To ucian R ive r which c o nf l uence t w o str eam s. N o ma tt e r whe r e he st a rt e d f ro m , wheneve r he wen t b ac k an d f ort h b e t ween t he t w o p l ace s, t he bod y w o u ld b e bl u rr e d b y t he change s o f na t u r a l envi ro nmen t or t he r ef l ec t i o n o f t he p r ic kl y hea t o f l igh t. R i d e , wa lk an d l ive a lo ng To u q ian Str eam eve r y d ay , fee l t he br ea t h o f t hi s str eam t h ro ugh d iffe r en t s pee ds o f t he bod y , an d d e s c r i b e an d r ec ord t hi s st a t e in t he s cene r y o f t he l ef t b an k an d t he r igh t b an k .
T he or ange l igh t in t he fie ld i s t he a rt i st ' s l ife e x pe r ience o f t u r ning o n t he e l ec tr ic hea t ing fan o n t he win t e r nigh t. T he wa r m or ange l igh t f ro m t he e l ec tr ic hea t ing fan ma k e s t he a rt i st fee l l i k e he i s un d e r t he h ot s un a t t ha t m o men t, which c r ea t e s t he e x pe r ience o f t ime d i slo ca t i o n in t he s pace . T he r ef or e , t he s e tt ing o f t he w ork c o nve rts t he e l ec tr ic hea t ing fan in to a l anguage m od e , an d when i t s wing s, i t i s l i k e s un l igh t s hining o n eve r y pa rt o f t he w ork s cene .
彭韋（PENG Wei）
張念為（CHANG Nien-Wei） 張大仁（CHANG Da-Ren）
《尋景/ 一條蜿蜒的小徑︑道路︑溪流及其他》 2023，凡戴克棕顯影（Vandyke brown printing）︑水管︑複合媒材
在這次展覽，延續對公司田溪流域的探索， 我 們在山林裡漫遊取材，以淡水︑三芝山區的 石 造老屋為踏查對象，回應策展對於建築與環 境 的探討︒我們偶然得知了「杜聰明故居」這 個 地方，實際走訪後，面對該處的現況產生了 一 些疑問與想像，並以此做了幾件攝影和裝置 ︒
In this exhibition, to continue the exploration of Gongsitian Stream, we wandered in the mountains and took the old stone houses in Tamsui and Sanzhi Mountains as the objects of inspection, responding to the curators' discussion on architecture and environment. We came to know the place of "Tu Tsung-ming's former Residence" by accident. After the actual visit, we had some questions and imagination of the current situation there, and thus made several photographs and installations.
林安芃（LIN An-Peng）
《你有兩隻眼睛 》
2023，30x30x7cm，藍曬於紙上︑夾板 《日光》
2023，110x80x8cm，藍曬於紙上︑夾板
常常觀察物體的表面，因為不同的立面和角 度 而產生的明暗 ︒
我製作了一些曲面的造型，在它們的表面塗 上 感光劑，並且曝光 ︒ 在沖洗相紙的流程之後，記錄下物體表面所接收的 光，只是較亮的部分和較暗的部分交換了位置︒
I often observe the brightness on the surface of an object due to the angle of the light.
I have created some models with curved surfaces and coated their surfaces with photosensitive material before exposing them.
After a process similar to developing photographs, I recorded the light received by the object's surface, but the brighter and darker parts have swapped positions.
黃迦勒（Huang Chia-Le）
《人物獨白｜Characteristic》
2021 ， 木頭︑水 泥 ︑壓克力︑金 屬 ︑素描︑ 水 彩︑噴漆︑輸出 物 這 系列作品嘗試以材質差異與不同的組構 變 化，加入自身對於人與物的理解後，試圖表 現 建築物的人物性（characteristics），或人物 的 物質性，目前已發展出14組角色 ︒ 並依據角色的不同性格，將他們放置於能夠 展 現其各自特性的位置上︒這些角色在材質與 性 格 之間擺盪，隱隱透露出一些抽象概念與 想 法，或許是自我的投射︖又或許是在回應這 個
世界的現象 ︖
This series of works try to express the chara cteristics of Architecture, or the materiality of the characters, by taking the difference of materials and different fabric changes and adding my own understanding of people and things. So far, 14 sets of characters have been developed
Depending on the character's personalities, place them respectively to show their individ ual characteristics. These characters oscillate between material and personality, revealing abstract concepts and ideas. Perhaps they are self-projection? Or is it a response to the phenomenon of the world ?
徐孟榆（HSU Meng-Yu）
《淡海蛋海 》
2023，鐵絲網︑木料角材︑水泥板模︑粗 糠
《淡海蛋海》以可拆卸的裝飾木條︑建築工 程 水泥板模︑鐵網圍籬等組成，連結造鎮時大 量 採用可快速組裝︑縮短工期的模板式建築 工 法，反應現代建築工業大量︑快速的特徵︒ 蛋 雞被飼養於佔地「一坪」大的雞舍，在以「 海 洋都心」建案特徵所設計的產蛋箱產蛋，呼 應 了人們對於長期利益「投資」的期望︒作品 生 產的雞蛋，產地最終被標示為「淡水」，更 是 反思認為自己是「淡水人」需要花多少時間 ︖ 對何謂「在地生產」的意義提出反思 ︒
This work is composed of detachable decor ative wooden strips, construction cement formwork, iron mesh fence, etc. When building the town, a large num b er of formwork construction methods that can be quickly assembled and shorten the construction period are used, reflecting the large and rapid development of the modern construction industry feature .
The laying hens are raised in a hen house covering an area of "one Taiwanese ping(= 3.305 square meters)”, and lay eggs in the egg-laying bo x es designed with the characteri stics of the "Ocean City Center" construction project, echoing people's e x pectations for long-term b enefit "investment" .
To reflect on the meaning of "local produ ction”, the eggs produced during this exhibition was finally marked as “Tamsui". What's more, how long does it take to reflect on yourself as a "Tamsui person" ?
《圖底圖：為建築與藝術的家園尋 址
｜Figure Ground: the o f art and architecture 》
展期Date｜2023.03.11－2023.06.11（週一︑二休 ）
開幕茶會Opening Event｜2023.04.08（六）14:0 0
地點Location｜he&she space（新北市淡水區新市三路二段285號1樓 ）
共同策展Curators｜張文豪︑曾哲 偉
藝術家Artists｜林安芃︑陳世育︑張念為︑張大仁 ︑
彭韋︑黃迦勒︑徐孟榆︑陳孝齊︑趙曼君︑尹洙 竫
主視覺設計Graphic Design｜王東 岳
展場設計Exhibition Design｜盧國 聰
採訪撰稿Interviewer｜周艾 萱
專文側記Sidelight｜邱靖 婷
展覽攝影Photographer｜黃暐 程
策展助理Assistants｜周永航︑何函 瑾
空間總監Managing Director｜陸永 富
空間督導Managing Supervisor｜張永 蕙
主辦單位Organizor｜打開－當代藝術工作 站
協辦單位Co-organizor｜he&she spac e
贊助單位Sponsor｜文化部 Ministry of Cultur e
