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鯤島新地圖─「熱蘭遮城400年」前導展 Charting a Kun island- a pre-exhibition of "400 years of Fort Zeelandia"

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名稱 鯤島新地圖─「熱蘭遮城400年」前導展 Charting a Kun island- a pre-exhibition of "400 years of Fort Zeelandia"

類型 展覽 類型檢索

時間 2022/03/31 10:00 ~ 2022/10/30 18:00 時間檢索

地點 2館3樓展覽室K、2館3樓展覽室L、2館3樓展覽室M 地點檢索

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    鯤島新地圖-「熱蘭遮城400年」前導展

    Charting A Kun Island – A Pre-Exhibition of “400 Years of Fort Zeelandia”

     展期Date:2022.3.31-10.30

    地點:臺南市美術館2館展覽室K、L、M

    Gallery K, L, M at Tainan Art Museum

     

    藝術家:吳其育、李君毅、林純用、林盈潔、張根耀、莊連東、曾英棟、陳典懋、齊柏林、楊順發、蔡宏霖、霍凱盛、謝宏達

    Participating artists : Wu Chi-yu, Lee Chun-yi, Lin Chun-yung, Lin Ying-chieh, Chang Ken-yao, Chuang Lien-tung, Tseng Ying-tung, Chen Tien-mao, Chi Po-lin, Yang Shun-fa, Tsai Hung-lin, Eric Fok, Hsieh Hong-da

    展出單位:國立臺灣歷史博物館

    Lender:National Museum of Taiwan History

     

    策展人:莊東橋

    Curator: Chuang Tong-chiao

     

      當代人很難想像距離本館1公里左右的民權路與西門路曾經是海岸線,一如很難想像臺南市南區四鯤鯓某處,現在一片海水下曾經是陸地並於其上有一棟房子的情景。15世紀的大航海時代,帶來了東西方文明與貿易的頻繁交流,以及歐洲的殖民主義,當代人很難回想當時臺灣當時初入世界貿易的生活樣貌,一如很難推想後疫情時代全球繼續邊境控管的日子。

     

      自1624年,荷蘭人至臺南的臺江內海的大員島(之後稱一鯤鯓,現今稱安平)建城,成為臺灣第一個築城者以來,臺灣群島的故事一直圍繞著殖民經濟與貿易產生的影響,隨著政權迭變而改變了風景地貌。本展作為2024年「熱蘭遮城400年」的前導展,簡扼提問臺灣進入世界歷史後的四百年,居住在臺灣群島上的人們如何想像未來生活?本展分為三個展區,依序是「海退.海進」、「文明.生態」與「鯤島.無涯」,試圖思考風景之改變與其自然與經貿的關係,並提供一個路徑讓觀眾沉靜思考臺灣日後的方向。

     

      「海退.海進」以臺南的海岸線為主題,展出藝術家楊順發拍攝因地層下陷、海水倒灌而被淹沒的沿海村落裡的建築物的攝影作品「臺灣水沒」系列,以及藝術家張根耀的作品〈海屏風〉與張根耀和林盈潔共同創作的作品〈陸浮〉,前者講述他於臺南市區曾經是海陸交界處投影播放海浪影片的行為錄像作品;後者的錄像作品,表達臺江內海曾填海成陸,現今又因全球暖化而造成海平面上升,陸地又逐漸成為海的反思。

     

      接續的展區「文明.生態」聚焦大航海時代帶來的影響,展示以大航海時代古地圖的形式為主,結合現代建築與地形圖貌的藝術家霍凱盛針筆作品「樂園」系列,並搭配16世紀左右的古地圖複製品作為呼應。而藝術家吳其育的作品〈封閉世界設定集:在全球封鎖下環島〉,則是藉由疫情的邊境封鎖,反思大航海時代帶來的殖民主義產生的經濟與文化掠奪,並借此擴大暗喻人類面對與取用陌生的自然與生態系統時,應懷抱謙卑與歉意。

     

      「鯤島.無涯」緊扣島嶼山海意象,展出藝術家蔡宏霖、林純用、曾英棟、莊連東的作品,表現臺灣被比喻為鯤鯓的聯想、島嶼河川和海洋交匯而產生的粗獷生命力,以及其內部文明的能量。在本展區最後,透過齊柏林的攝影作品〈梅花鹿〉、〈蘭陽平原〉與〈稻田裏的大腳印〉呈現臺灣的美好,也藉著藝術家李君毅水墨作品〈金剛岸〉,凸顯臺灣文化主體需莊敬自強之寓意,同時展示陳典懋的繪畫作品〈內化的風景.航向〉與謝宏達的繪畫作品〈水有岸心無涯〉,提供觀眾一個沉潛內心的空間,靜思在熱蘭遮城建城四百年後的臺灣,應該往哪裡去?

     

     

            It is difficult for people in the modern day to imagine that a coastline used to lie 1km away from this main building, between Mincyuan and Simen Roads. It is also difficult to picture dry land with houses built on top of the area within the South district of Tainan City, the fourth sandbank, where a part of the sea now lies. The Age of Exploration in the 15th century brought forth an abundant exchange of culture and trade between Eastern and Western civilizations, as well as colonialism from Europe. It is just as difficult for people in modern times to imagine people's lifestyle when Taiwan had just begun global trade as it is to foresee what the future holds in the post-pandemic era, as global border controls remain in place.

     

            In 1624, the Dutch built the first city on Tayouan Island (known later as the First Khunsin, the name given to a sandbank having the size and shape of enormous fish like a whale’s back, and known today as Anping) at the Taijiang Inland Sea in Tainan, becoming the first city builders for Taiwan. Since then, stories of the archipelago of Taiwan have revolved around the influence of the colonial economy and trade, and transformations to the landscape experienced through different regime changes. This exhibition is a precursor to 2024’s exhibition “400 Years of Fort Zeelandia.” It calls for the inhabitants of the island to imagine what life will be like in the future as Taiwan marks its 400th year as a participant in world history. The exhibition is divided into three main sections: “Regression, Transgression,” “Civilization, Ecology” and “Kun Island, No Boundaries.” It contemplates the transformations of the island’s landscape in relation to nature and economic trade, providing some food for thought for the audience as they reflect on the future direction of Taiwan.

     

     “Regression, Transgression” uses Tainan’s coastline as its main theme. Displays include works by artist Yang Shun-Fa and his The Submerged Beauty of Formosa series, which showcases photographs of flooded buildings in villages along the coastline due to water inversion as an effect of subsidence. Other displays include Inner Sea from the artist Chang Ken-yao and Floating Island by the artists Chang Ken-yao and Lin Ying-chieh. The former depicts a projection of waves over an area in Tainan City where a sea-land junction used to be. The latter inspires reflection by showcasing how the Taijiang Inland Sea had undergone reclamation but has seen sea levels rise again due to global warming.

     

            The next section, “Civilization, Ecology,” focuses on the influence brought forth by the Age of Exploration. Displays include artist  Eric Fok’s Paradise series. An expert with the technical pen, the artist showcases his craftsmanship mainly by combining replicas of ancient maps from the 16th Century Age of Exploration with modern buildings and topographical features. Another display is  Atlas of the Closed Worlds-A Trip around the Island under the Global Lockdown, a work by the artist Wu Chi-yu. Here, the artist uses pandemic-era border restrictions to reflect on the economic and cultural plunder that took place as a result of colonialism during the Age of Exploration. Furthermore, he uses this to expand on the metaphorical ability of human beings to be humble and apologetic when faced with, and when taking from, new natural and ecological systems.

     

            “Kun Island, No Boundaries” draws heavily from the imagery of Taiwan's mountains and seas. The works of artists Tsai Hung-lin, Lin Chun-yung, Tseng Ying-tung and Chuang Lien-tung, draw inspiration from Taiwan’s comparison to the size and shape of a whale’s back, the vitality created where oceans and rivers intersect, and the energy of the civilization within. In the last part of this section, artist Chi Po-lin’s photographic works Formosan sika deer, Lnyang Plain and Giant Footprints in the Paddy Fields display the beauty of Taiwan; Lee Chun-yi’s ink wash work he Shore of Diamond Sutra highlights the moral necessity for Taiwan’s culture to collectively to seek dignity and self-improvement; and, Chen Tien-mao’s painting Internalized landscape.Navigation Course and Hsieh Hong-da’s painting Your Heart Is Boundless provide the audience with a space to ruminate on where Taiwan should be headed 400 years after the establishment of Fort Zeelandia.

     

     

  • 參展藝術家:吳其育、李君毅、林純用、林盈潔、張根耀、莊連東、曾英棟、陳典懋、齊柏林、楊順發、蔡宏霖、霍凱盛、謝宏達

    Participating artists : Wu Chi-yu, Lee Chun-yi, Lin Chun-yung, Lin Ying-chieh, Chang Ken-yao, Chuang Lien-tung, Tseng Ying-tung, Chen Tien-mao, Chi Po-lin, Yang Shun-fa, Tsai Hung-lin, Eric Fok, Hsieh Hong-da

    展出單位:國立臺灣歷史博物館

    Lender:National Museum of Taiwan History

  • 策展人:莊東橋

    Curator: Chuang Tong-chiao