拋爾控固力：島嶼現代性之夢  展覽介紹

本館曾於2020年展出「島嶼生活與地景：檳榔、甘蔗、香蕉、椰子樹」嘗試透過生長於臺灣的經濟作物，重建臺灣美術史之中的地景觀點。本次的展覽「拋爾控固力：島嶼現代性之夢」則是希望更進一步討論島嶼之上的工業轉型，及其對於臺灣生活與藝術創作的影響。

"Everyday Life and Landscapes of the Island: Betel Nuts, Bananas, Sugar Cane, and Palms", an exhibition previously held at the museum in 2020, attempted to reconstruct the concept of landscape in Taiwan's art history through local economic crops. This exhibition, "Power! Concrete! Let's Build the Island's Modern Dream!”, seeks to further discuss the industrial transformation on the island and its impact on Taiwan's lifestyle and artistic creativity.

自日治時代以來，歷代政權於島嶼之上所進行的工業化建設，一方面滿足了政權自身的需求，卻同時將臺灣推向了現代化的步伐。從日治時期的基礎建設一直到戰後的十大建設，臺灣自戰後初期的貧窮社會脫胎換骨為曾經的「亞洲四小龍」之一。近年來更隨著高科技產業的發展及高鐵等基礎建設的推動，臺灣島已儼然成為一座工商業高度成長的已開發之島。

Since the era of Japanese rule, successive regimes’ industrialization projects on the island have not merely fulfilled a given regime’s own needs; in fact, industrialization has driven Taiwan towards the process of modernization. From the infrastructure construction boom during the Japanese colonial period to the post-war Ten Major Construction Projects, Taiwan has transformed itself from being a weak economic power during the early post-war stage to one of the Four Asian Tigers. With the development of high-tech industry and the deployment of core infrastructure such as high-speed rail in recent years, Taiwan has become a developed country with high industrial and commercial growth.

然而當臺灣藝術家必須面對時代的推進，及其所造成的景觀改變，藝術家們要如何挑戰並描繪這些工業時代的景觀及題材？且當島民開始熱切追求更快、更高、更大、更便利之時，是否這座逐漸被控固力（水泥）所禁錮的島嶼，已不再是昔日人們所驚嘆的「福爾摩沙，美麗之島」？

However, when faced with the landscape changes resulting from such progress, how do artists in Taiwan challenge and depict the landscape and themes of industrialization? When residents of the island begin demanding speed and convenience, alongside bigger and taller buildings, is this concrete-imprisoned island still the Beautiful Formosa at which people would marvel?

「拋爾控固力：島嶼現代性之夢」一展嘗試以各種角度來重新省思臺灣的工業化及現代化進程：在展覽中，我們可以看到林玉山及李奇茂等前輩畫家如何使用傳統媒材描繪臺灣的工業景觀；我們也可以看到中堅世代畫家，如陳水財及陸先銘等人，如何將臺灣的工業景觀轉化為當代繪畫的視覺語言。除此之外，許多當代藝術家，亦於本展中展出他們對於這座工業之島的情懷、諷刺及逃逸。

“Power! Concrete! Let's Build the Island's Modern Dream" attempts to re-examine the process of industrialization and modernization in Taiwan from various angles. At the exhibition, we can see how senior artists such as Lin Yu-shan and Li Chi-mao used traditional media to depict Taiwan's industrial landscape; we can also see how the hardcore artists Chen Shui-tsai and Lu Hsien-ming translated Taiwan's industrial landscape into the artistic language of contemporary painting. On top of these recognized names, the exhibition features works by many contemporary artists showcasing their feelings — including satire and resistance — towards this industrial island.

現代化及工業化並非僅帶來滿天的塵土，臺灣人的生活方式及休閒風格，也在無形之間因現代化的進程而被改變：從搭乘鐵路時用來填飽肚子的便當，到今日讓大家得以自由出國旅行的國際機場，這些工業化建設同時也乘載著我們的美好記憶。

Modernization and industrialization carry with them not only dust blotting out the sky; these forces equally influence the lifestyle and leisure activities of the people in Taiwan. From the bento boxes that fill the stomach during rail travels, to the international airports that allow us to travel abroad conveniently, these industrial constructions also harbor our fond memories of the past.

本展的目的並非一味謳歌現代建設，也並非僅侷限於重返尚未被現代建設所「玷汙」的美好鄉土；而是嘗試在即將邁入「後工業」時代的臺灣，重新思考我們所共同經歷過的工業進程，以及這些工業記憶如何重塑我們所認識的家園，進而成為島民共同的記憶及風景。

This exhibition is not about glorifying modern constructions, nor is it constrained to the beautiful scenery left unsullied by modern development. At the time of Taiwan’s transition into the post-industrial era, the exhibition attempts to rethink the industrial process that we have been through, and to reflect upon how these industrial memories reshaped our homeland and become the new scenery in our common memory.

參展藝術家（依中文姓氏筆畫排列）：

牛俊強、李奇茂、李勇志、呂易倫、呂佛庭、林玉山、洪天宇、范揚宗、侯怡亭、倪祥、胡克敏、袁廣鳴、莊世和、陳水財、陳榮和、曾培堯、陸先銘、廖昭豪、蔡草如、蔡孟閶、潘仁松、劉秋兒、韓湘寧、鍾順龍

Artists:

Niu Jun-qiang, Li Chi-mao, Lee Yung-chih, Lu Yi-lun, Lu Fo-ting, Lin Yu-san, Hung Tien-Yu, Fan Yang-tsung, Hou I-ting, Ni-Hsiang, Hu Ke-min, Yuan Goang-ming, Chuang Shih-ho, Chen Shui-tsai, Chen Zong-ho, Tseng Pei-yao, Lu Hsien-ming, Liao Chao-hao, Tsai Cao-ju, Tsai Meng-chang, Pan Jen-song, Leo Liu, Han Shiang-ning, Chung Soon-long

指導單位：臺南市政府

Supervisor: Tainan City Government

主辦單位：臺南市美術館

Organizer: Tainan Art Museum

特別感謝：國立國父紀念館、國立臺灣美術館、國立臺灣歷史博物館、高雄市立美術館、臺北市立美術館、也趣藝廊

Special Thanks: National Dr. Sun Yat-sen Memorial Hall, National Taiwan Museum of Fine Arts, National Museum of Taiwan History, Kaohsiung Museum of Fine Arts, Taipei Fine Arts Museum, AKI Gallery

策展人：莊東橋、高森信男

Curators: Chuang Tong-chiao, Nobuo Takamori

助理策展人：常鴻雁

Assistant curator: Chang Hung-yen

執行團隊：莊東橋、陳家欣、常鴻雁

Executive team: Chuang Tong-chiao, Chen Jia-xin, Chang Hung-yen

美術編輯：侯怡瑄、黃欣怡

Graphic design: Hou Yi-syuan, Huang Hsin-I

主視覺設計：聶永真∣永真急制設計工作室

Main visual design: Aaron Nieh∣Aaron Nieh Workshop

子題一：屬於臺灣的公路電影：高架橋墩與消波塊

A Taiwanese Road Movie: Highway Piers and Tetrapod

在臺灣展開一場公路電影式的旅程，迎面而來的地景除了四通八達的快速道路外，從海岸消波塊、水泥消波堤至山區的水泥擋土坡：水泥及瀝青構成了島民的旅程記憶，也成為了島嶼上最為人所熟悉的材質。水泥、瀝青及公路景觀象徵了島嶼所身處的現代化空間及其物質條件，但是否這些看似冰冷的元素亦能成為藝術家的創作來源及其描述記憶的畫筆？攝影家鍾順龍將高架橋墩拍攝的猶如來自史前文明的紀念碑，是否暗示這正是臺灣的文明遺骸？藝術家廖昭豪將島嶼常見的水泥材質景觀，以半戲謔的手法將起轉化為具備純粹美感的雕塑。而透過韓湘寧的鏡頭，我們可以看到畫家席德進奔馳於現代化的道路之上。讓我們以此為隱喻，展開這趟既壯闊又淒涼、既偉大又荒謬的島嶼現代之旅，一路駛向島民夢想及幻滅的交集之處。

Take a Hollywood-style road trip in Taiwan, and you will find yourself welcomed by express roads going all directions, alongside coastal tetrapods, plus cement breakwaters, and cement retaining walls in mountainous areas. For people in Taiwan, the familiar materials of cement and asphalt have become part of the usual road trip memories. Cement and asphalt — as well as the road landscapes themselves — symbolize the modernized space and material conditions of the island. Can these cold-feeling elements be a source of artistic creation, or a paintbrush for depicting memories? As photographer Chung Soon-long turns the highway piers into prehistoric monuments, is there an implication that these are the ruins of Taiwanese civilization? Artist Liao Chao-hao makes parody sculptures of the cement-based landscapes that pervade the island. Plus, through the lens of Han Hsiang-ning, we can see artist Shiy De-jinn running on the road of modernization. So let’s take this metaphor and embark on a magnificent but desolate, great but absurd, journey through the island’s modernity, driving all the way to where dreams and disillusionment merge.

子題二：現代國家之夢：進擊的中華民國

A Dream of a Modern State: The Republic of China builds for Tomorrow

清治末期及日治時期雖已為臺灣奠定現代化建設的基礎，但戰後臺灣在中華民國的統治之下，儼然成為當時代全球最為貧窮及孤立的國家之一。直到1971年中華民國於聯合國失去席位後，1970年代的外交危機才促使政府重新重視臺灣的基礎建設，1974年起透過外援協助興建的「十大建設」為臺灣轉型為新興工業國家奠定基礎。本展區展出的部分展品來自國父紀念館於1974年，邀請林玉山、李奇茂等前輩藝術家所展出的「十項重要工程水墨畫及書法特展」。這些作品呈現出水墨及膠彩畫家，如何嘗試運用傳統媒材來描繪新時代的工業化場景。本展區希望跳脫傳統政宣對於「十大建設」僅有歌功頌德的觀點，除了希望著重於藝術家於產業變化過程中面對新時代的挑戰外，亦邀請「後工業」時代的當代藝術家，針對島嶼工業地景的遺骸進行嘲弄及反諷的實驗性創作。

Although the foundation of Taiwan’s modern infrastructure was set during the late Qing Dynasty and the Japanese colonial period, following the Civil War, Taiwan was one of the poorest and most isolated countries in the world under the Republic of China’s rule. It was not until the Republic of China lost its seat in the United Nations in 1971, and the ensuing diplomatic crisis in the 1970s, that the government would refocus on Taiwan's infrastructure. Beginning in 1974 with foreign aid, the Ten Major Construction Projects incited Taiwan's transformation into an emerging industrial country. Some of the artworks in this section originated from the Ten Major Projects Ink Painting and Calligraphy Special Exhibition held at Sun Yat-sen Memorial Hall in 1974, where pioneer artists such as Lin Yu-shan and Li Chi-mao were invited to submit work. These artworks demonstrate how ink wash and nihonga painters used traditional media to depict the new era’s industrialized scenes. This section hopes to break away from the traditional political propaganda about the great achievements of the Ten Major Construction Projects, and to focus on the challenges of the new era faced by artists during the process of industrial transition. Post-industrial contemporary artists are also invited to create mocking, ironic, experimental art pieces based on the ruins of industrial landscapes on the island.

子題三：寶島旅行社：現代性下的閒適與鄉愁

Formosan Travel Agency: Leisurely and Nostalgia under Modernity

各種現代化的大建設不僅造就了經濟及產業上的發展，同時亦改變了人們的生活。當時序跨入日治時代，鐵路及輪船等現代交通建設也依序帶來了畢業旅行和鐵路便當等休閒文化，讓農業時代所沒有的旅遊見學及外食觀念進入到臺灣人的生活視角之中。在今日休閒旅遊、甚至出國觀光已經十分普及的時代，我們可能難以想像過去戒嚴鎖國時代出國的困難之處。即便如此，伴隨著各種宣傳概念的主題樂園依舊在經濟高速成長時代適時出現。建設帶來了發展，經濟的成長創造了閒適的空間，卻也造就了島嶼的荒謬場景：正如袁廣鳴作品《能量的風景》所描述的，大批觀光客在核三廠旁的沙灘玩水的寓言式景觀。而新一代的藝術家如倪祥及呂易倫，其所經歷過的記憶並非經濟快速成長時期的機會和希望，而是生產過剩及過度開發之後的鄉愁及無奈。

Various modernization and construction projects have not only pushed economic and industrial development, but also impacted people's lifestyles. During the Japanese colonial period, access to modern transportation such as railways and steamers fueled the development of leisure culture, with graduation trips and railway bento boxes as examples, bringing new concepts that did not exist in the agricultural era (e.g., travel for study, as well as dining out) into the Taiwanese people’s view of life. At present, when leisure travel and overseas travel have become very popular, it is hard for us to imagine how difficult it was to travel abroad during the martial law era. Despite this, theme parks with various publicity ideas appeared in due course to match the economy’s rapid growth. Constructions fueled the development of Taiwan while economic growth prompted more leisure activities, but these elements also contributed to an absurd scene on the island. The short video titled “Landscape of Energy” by Yuan Goang-ming depicts the fable-like landscape of tourists playing in the water on the beach next to the Maanshan Nuclear Power Plant. For the new generation of artists, such as Ni Hsiang and Lu Yi-lun, their memories of experience are not about the opportunities and hopes created by rapid economic growth, but about the nostalgia and frustration following the overproduction and overexploitation of the island.