2016 非 季 節 x 轉 變
Unseasonal Change Project
計畫緣起 | Backstory Andrea 和思盈 (Iris) 兩人一開始交流結晶操作技巧，而後開 始發掘各自的生命歷程。身為女性藝術家，Andrea 每天在家庭 生活中打轉，傾聽女兒們的學業壓力、伴侶的工作抱怨。直到 六年前，她才重新拾起因孩子出現而中斷多年的藝術創作，並 興建了她自己的工作室，裡面有廁所和床，想逃離現實就住那 了。Iris 在威靈頓期間都住在 Andrea 的工作室，感受成為藝術 家的孤獨，和身為女性藝術家，徘徊在刻板社會角色及藝術創 作魂之間的掙扎。
In the beginning, Andrea& Iris sharped their skill of crystal forming. Later, they started life story sharing. As female artist, Andrea struggled with her family life, listened to her daughters' little things at school, viewpoints from her partner's work. She re-started her art creating and built independent studio since 6 years ago. Before that, her kids stuffed with all her life. In her studio, as an unrealistic shelter, it has toilet, washing basin and bed inside. In the time in Wellington, Iris settled in Andrea's studio, feel the solitude as being an artist and discovered the struggle between social stereotype and art idea, as being a woman.
|「非季節 x 轉變」計畫 Unseasonal Change Project 「非季節 x 轉變」為科學家與藝術家共同發起的創意計畫，試著透過兩著領域去 回應極端變動的環境議題。以跨學域的實踐共同理念與連結，探索協作研究的過程 與結果。 這個計畫提出了關於水與植物的特殊關係，從全球和個人角度來看，這兩者對我 們產生相同的影響但卻是不一樣的方式。讓我們確信，從威靈頓碼頭召喚出的地方 與社區感，帶著人們從過往經歷裡不斷與自然生命重新連結。 「非季節轉變」挑戰了我們對於海岸線環境既有的思考，並希望能夠影響未來的 主人翁。讓不可見的議題浮現，拓展大眾對於觀眾對於水在地球環境上的理解。
　　Unseasonal Change (UC) is a creative endeavour and meeting of two interfaces, where artists and scientists respond to extremes of fluctuating environment. Interdisciplinary practice permits exploration of a shared idea and linked process of a joint investigation. This project celebrates the specific relationship of plants to water and a topic which affects us all in same-but-different ways, both globally and on an individual scale. Identifying the need to continually reconnect with the "live"experience of nature, a backyard reference is made to Wellingtons' marina establishing a sense of place and community. UC Projectchallenges our current"online" thinking about our coastal environment and hopes to influence our Tamariki, the young decision makers of the future. Increased visibility of a sometimes invisible problem will expand the public gaze and promote viewer understanding of water in the atmospheric environment.
｜計畫活動｜ Project Events
- 開放工作室 / 實務工作坊 - 裝置藝術展覽 ( 現地製作、時間連動、光與影像裝置、聲音 ) - 座談討論（呈現多元觀點和回饋的討論） - Open studio/practical workshop - Art installation exhibition (“live-in-action”, time-based, light + moving image, sound) - Mixed forum (presenting multiple perspectives and feedback discussion)
- 藝術團隊 | Collaborators
Andrea Selwood (project co-ordinator, artist, NZ) 謝思盈 Iris HSIEH (artist, TAIWAN) Jonathan Coakley (scientist, environmental engineer, NZ)
- 希望樹計畫 | Hope Tree Project 台灣藝術家謝思盈於 2012 年起開始鹽的研究，在植物 病理專長的陳均安協助下，歷時兩年終於在 2014 年有了 第一株結晶樹成品。並且能夠小量生產，開始在瑞芳瑞 濱國小進行第一場工作坊試辦。 工作坊舉辦在社區及相對較弱勢的地區，偏鄉孩子的 家庭教育功能較為薄弱，容易受到外在誘惑。同時孩子 學習意願較低落，自信心缺乏。讓結晶樹作為希望的象 徵，參與者在設計自己的樹的過程中，加入自己的想法， 並在結晶樹歷經蛻變的時間，孩子觀察小樹成長。「陪 伴」樹成長的行動即為核心理念，孩子透過創造自己的 希望樹，付出時間參與，感受在陪伴時光中獲得的改變。 「希望樹」被賦予人文關懷的意涵，藝術家帶著移動 的工具材料箱，到英國、中國、紐西蘭、比利時等地進 行小型工作坊，與在地居民互動。至 2016 年，已舉辦超 過 30 場工作坊，參與者約 300 人。
Taiwan artist, Iris HSIEH, started her salt research from 2012. Under assistance of Jiun-An Chen who's major in plant pathology, the first crystal tree appeared. It could be small-amount production. First workshop held in Rui-Bin elementary school, Ruifang District. Workshops organized in community and the relatively vulnerable areas, where rural children's family education function is relatively weak, vulnerable to external temptation. At the same time, children often have lower willingness to learning, lack of self-confidence. Crystal tree as a symbol of hope, the participants who in the tree-making process add their own ideas on it. Kids observed and accompany by the growth of crystal trees is the core idea of this project. By creating their own hope trees, kids spend their time participating, in the time with the change. "Hope Tree" was given the meaning of humanistic care. The artist with a mobile tool kit traveled to United Kingdom, China, New Zealand, Belgium and other places for small workshops, and local residents interaction. By 2016, more than 30 workshops have been held with about 300 participants.
非季節轉變 | Unseasonal Change Project 藝術家們個別處理對透過翻轉大眾對於「一般」氣候的想像，處理環境變遷議題 的概念。透過藝術作品傳達海平面上升，提出生態系中的植物面對高鹽份的海水吸 收如何應對。 「非季節轉變」借用「神祕花園」化學玩具的形式，轉化成迷人的、意想不到的 未來森林風景。這些「夢幻雕塑」以有趣的方式，透過製作和研究它們的改變狀態， 捕捉生態變遷的想像，就如同海平面上升造成的階段性變化。隨著一場場的工作坊 舉行，樹置放在木架上展示，將會體現出作品的時間性特質於為期一個月的展覽中。
The individual artists involved address the notion of climatic change by flipping our perceptions of “normal”. Resulting artworks convey rising sea levels and question how plants will cope with increased saltwater absorption in the ecosystem.
Unseasonal Change presents an intriguing and unexpected arboreal landscape
of the future by employing the magical and transformative properties of ‘Mystical Garden’ toy chemistry sets. These “dream sculptures” are a fun way of capturing the imagination of all ages through making crystal trees and studying their altered states as if caused by a rising sea. The trees are “grown” in batches at practical workshops to make time-based artworks which form the body of work to launch the month long exhibition.
藝術與科學過程 | Art + scientific process
Salt and water are at the
heart of this crystalizing process, first as capillary (positive-additive)
鹽和水是這種結晶過程的核心元 素，毛細現象作用（正極 - 加法） 造成了後來的蒸發結晶（負極 減法）。藝術家邀請孩子們和參 與者，參加結晶樹作品（具有手 做與成長特性）的製作。結晶樹 和孩子兒時常玩的「神秘花園」 化學玩具組有相同的變化屬性。 在展覽會結束時，所有的參與者 可以把他們的樹放在一個罐子 裡，設計背景並且帶回家。
action and a second resulting evaporation (negative-subtractive). Kids and all comers are invited to participate in make-and-grow crystal tree workshops activating the same transformative properties as ‘Mystical Garden’ toy chemistry sets. At the end of the exhibition, all the participants may put their trees in a jar, design a background and bring them home.
預期成效 | Expected Performance - 民間跨文化交流（紐西蘭與台灣） - 促進藝術和科學實踐 - 社區參與環境問題 - 分享對氣候變化的理解（當地 / 全球） - 說明極端環境變化的想法 - connect people through cross-cultural exchange (NZ/Taiwan) promote disciplinary crossover of art and science practices - engage community with an environmental issue - share an understanding of climate change (backyard/ global) - illustrate the idea of extreme environmental change
工作坊執行觀察｜ Discovery in workshop 開放工作坊邀請民眾至展場和藝術家互動，參與者按照步驟教學，和旁 邊的夥伴共同完成樹的製作。最後為樹澆上化學藥劑，等待結晶成長。藝 術家每日上傳樹的成長記錄照片至網站，參與者能夠藉由照片追蹤或親至 展場觀察。為期一個月的計畫中，共舉辦 6 個獨立工作坊，1 個社區工作 坊及 2 個與學校工作坊，共約百位參與者。 Open workshops invite people interact with the artists in exhibition space. The participants follow the instructions, complete the tree making with their partners. Finally, water the tree with chemicals and wait for the crystal growing. The artist uploads a daily photo of the tree's growth on the website, where the participants can track online or observe it in exhibition space in person. In the one-month program, six independent workshops, one community workshop and two workshops with schools were held, involving about 100 participants.
｜觀眾與參與者 Audience& Participants
-primary to intermediate school teachers to engage in active learning outside the classroom. Pupils of Years 6 -8 Curriculum
- 積極從事課堂外學習的國小及中 學教師及 6 - 8 年級的學生，例如 威靈頓小學。 - 與藝術專長研究生，發展協作和 教育 。 - 威靈頓藝術家社區，嘗試提出一 個跨學科合作。 - 對氣候變化、城市發展、「人類 生活圈」解決方案有共同的興趣 的社會大眾，例如 houghton 海灣 居民。 - 研究水的專家群（藝術家 - 科學 家、學生 - 學術界、在地組織） 向大眾解釋全球變暖對威靈頓海 洋環境的具體影響。
level. ie. Wellington schools -postgraduate art student collaboration and education -Wellington artist community to present an interdisciplinary collaboration -general public to share a common response and interest in climate change, urban development and "human scale" solutions. ie. residents in Houghton Bay -“Water experts”(artists-scientists, studentsacademics, regional council) to explain to general audience, the specific impacts of global warming on the Wellington marine environment.
觀察記錄 | Observation Record 部分展場獨立工作坊時間由於氣候不佳，參與者很少，最多人數的工 作坊大約有二十人，多為親子參與。在 Houghton Bay 的社區中心舉辦 的工作坊，參與者多為退休人士，但樹形多元，也許是成人所以樹的形 狀也都是花特別多心思構想，甚至可以看到很多紐西蘭原生種植物。與 學校及社區合作的工作坊，藝術家只需帶著他的移動工具箱前往教學場 地。但種出來的也較為多樣，因為氣候、地點的不同，結晶情況每一場 不盡相同。 Part of the workshops just attract few participants due to poor weather. The largest number of participants is about 20 people, mostly for kids& parents. We held the workshop in Houghton Bay Community Center. Most of the participants are retirees, but their trees are various. Perhaps they are adults, so the shape of the tree reveals thoughts clearly and they spend a lot on developing ideas. You can even see a lot of New Zealand native species on it. Workshops with schools and communities allow artists to take their mobile toolbox to the teaching venue. Because of the weather and location differences, species are also diverse, the crystal formation in each workshop is not the same.
展覽場所 | Site Location
Site specific context activates further meaning
場所（展覽地點以及場域）所 in art. Situating the installation within an appropriate 產生的文本激發更近一層的藝術意 public space such as a waterfront building brings 義，裝置作品的放置再適當的公共 to life the concept of climate change; a physical 空間（如海濱附近的建築）將氣候 and metaphorical realisation. 變化的概念帶到生活中，成為物理 - 17 Tory Street community gallary 和隱喻的實現。 The physicality of a lage faceted shopfront
｜ 17 Tory 社區藝廊 物理性質的大面積櫥窗顯示出醒目 的視覺敘述。燈光展示、鏡子和投 影機可以用於放大這些放在系統架 上的小型樹景。
window requires a striking visual statement. Display lighting, mirrors and projector can be employed to “scale up” the miniature tree-scape arranged on a shelving system. - Clyde Quay Wharf building
｜ Clyde Quay 碼頭建築 觀眾可以開放地進入包容性的環 境，感受到社區氛圍，如：參與這 個想法，傳授知識或分享共同關 注。Clyde Quay 碼頭建築帶有公 共性連結，很適合作為展覽、工作 坊和論壇的舉行地點。
Viewers are given open access to inclusive surroundings in which they can feel a sense of community ie. engage with the idea, impart knowledge or share a common concern. The Clyde Quay building is a suitable meeting place for public interface between the exhibition, workshop and forum.
反思 | Reflection 紐西蘭藝術家 Andrea 在 2014 年的春天在竹圍工作室駐村， 在當時與台灣藝術家謝思盈相遇並且分享了共同的創作理念。 兩人雖然分別住在地球的兩端，可或許是都居住在海岸線旁， 而有了相似的創作背景，以及對於環境和自身的思考。 Andrea 的海鹽實驗讓結晶附著在紙片上，和思盈的希望樹原 形極為相似。在為期四個月的視訊討論及頻繁來往的 email 溝 通，終於確認了 Unseasonal Change 計畫的架構，以藝術觸發 環境思考為主軸，進行展覽、獨立工作坊、社區工作坊及邀請 各領域專家共同發起環境藝術論壇。 然而，計畫總是趕不上變化，好幾次工作坊的時間都碰上了 大雨，造成觀眾來的意願減低。原先預定完成的座談將延後至 明年，因觀眾群設定範圍太廣，缺乏具體集眾策略，造成目前 難以組成跨領域談論團隊。 然而，還是有許多成就達成：
New Zealand artist Andrea residency in Bamboo Curtain Studio in 2014 spring. At the time she met Taiwanese artists Iris HSIEH and shared similar art ideas. Although two artists live in the two ends of the earth, they lived by the coastline. Two artists individually develop similar creating background, as well as the environment and their own thinking. Andrea's sea salt experiment using crystal attached to the paper, and the thinking of Iris' original tree is very similar. During four-month long online discussion and frequent email contacts, the outline of the "Unseasonal Change" program was finally done. The exhibition focused on art-triggered environmental thinking, independent workshops, community workshops and experts from various fields were invited to co-sponsor Environmental Art Forum. However, the program is not always up to date. Several workshops postponed/ canceled has run into heavy rain, causing the audience to reduce the willingness to come. The original scheduled talk will be postponed until next year, because the target audience too broad, the lack of a specific set of public strategy, resulting in the current difficult to form cross-field discussion team. But there are still many achievements:
成就 | Achievements - 觀眾在台灣 / 紐西蘭的文化交流中產生興趣，包括計畫背景故事和 藝術家與科學家之間的對話 - 在工作坊中進行的 DIY 藝術手做 + 科學實驗，觀眾共創造了 100 棵 鹽結晶樹。 - 鹽晶樹雕塑的創新性引起所有年齡層孩子的想像力和好 奇心。特別是森林小學，回應了我們的「氣候變遷」議題，並對海平 面上升的影響進行仔細觀察。如 Clyde Quay 學校的五六年級學生 - 觀眾對在商店櫥窗展示創造藝術美感方面的作品擁有熱情迴響 - 觀眾參與通過與藝術家的親身接觸和有效使用社交媒體（Facebook） 增加，反映了協作藝術模式。
- interest was generated in the cultural exchange between Taiwan/NZ, including the backstory and conversations held between artists and scientist. - the DIY process of artmaking + science experiment conducted in workshops resulted in making 100 salt crystal trees - the transformative aspect of the salt crystal tree. Sculptures captured the imagination and curiousity of all ages. Enviro schools in particular, responded to our climate change message and closer examination of rising sea level impacts. ie. Clyde Quay School, Yrs 5 +6 pupils. - positive feedback came from the general public in terms of creating an art aesthetic for a "winter wonderland" shopfront display. - public participation increased through F2F engagement with the artists and effective use of social media (facebook), This reflected the collaboration art model.
改進 | Improvements - 當地大學支持力量 大學生可以作為志工，並吸引更多觀眾參與。有了他們的支持， 藝術家們可能擁有更多機會舉辦校園公開論壇，邀請一些研究 者加入。 - 連結年輕網絡以及當地藝術家 藝術家可以多花一些時間參與社交活動，和當地藝術家 / 藝術 學生聯繫，得到第一手的藝術活動資訊（如藝術家團體、開幕 茶會、座談及論壇）。
- local university support University Students can be volunteers and reach more audience. With their support, artists might have more chances to hold open forum on campus, invite some researchers to join. - networking with young people & local artists Artists spend more time to attend social events, contact with local artists/ art students to get first-hand info of art events(artist group, opening party, talk+ forum).
贊助｜ Sponsership Clyde Quay Body Corporate Urban Dream Brokerage 17 Tory Street Gallery Photo: Christina Little