展覽回顧

府城榮光

展覽海報
展覽海報
「起南風— 1990年代台南當代藝術發軔小史」展間照片
「起南風— 1990年代台南當代藝術發軔小史」展間照片
「都市‧新地景‧空間權力 」展間照片
「都市‧新地景‧空間權力 」展間照片
「城市美學-府城藝術史話 」展間照片
「城市美學-府城藝術史話 」展間照片
「重新詮釋中 」展間照片
「重新詮釋中 」展間照片

名稱 府城榮光

類型 展覽 類型檢索

時間 2019/01/27 18:00 ~ 2019/05/07 17:00 時間檢索

地點 1館1樓展覽室A、1館2樓展覽室B、1館2樓展覽室C、1館2樓展覽室D、1館2樓展覽室E、1館2樓展覽室F、1館2樓展覽室G 地點檢索

  • 免費參觀  Free of charge

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    隨著大航海時代之開啟,西方勢力魚貫轉進東亞,臺灣自東海邊陲蕞爾小島、化外之地,一躍成為國際競爭、亞洲新秩序中的兵家必爭之處。臺南首府作為最早都會,不僅見證此地數百年來之歷史興衰,更成為臺灣形塑自身政治體質之縮影、文化性格之由來,臺南建城的重要性及象徵意義若此。在此種複雜時空背景的影響下,臺灣美術歷經萌發、形塑及轉化等不同階段,亦因此融混西方、中國、日本及南島等不同區域族群元素,展現流動雜揉的海國徵候。

     

    多重殖民治理及其文明開化經驗之積累,促使臺灣逐漸脫離因襲守舊的俗民社會,進而成為自由開放的市民社會,新興城市儼如現代文化藝術的私人實驗場、公眾展示地。東西文化的競合對峙與不同族群的往返進出,雖帶來不可避免的衝突撞擊,卻得藉此尋思文化身份、建構地方色彩、形塑主體價值等等。從戰前到戰後,臺灣美術可謂一部交織在新與舊、自然與文明、朝與野、我者與他者等二元框架中,摸索其現代化可能及不斷尋找自身定位的歷史。 

    臺南府城豐富的文化積存,包含荷鄭時期以來的戰爭史料、海事地圖、風俗繪卷、生活器用及文人書畫等,反映東西交錯、新舊共存的多重樣態。日治時期迄於解嚴之後,在急速的現代化與走向「世界」、「全球」的過程中,美術雖成為彰顯個人及連結外部之重要表徵,然隨著主體性、在地性建構需求的與日俱增,臺南作為臺灣文化心靈原鄉之地,鳳凰花木、廟宇老街、民俗節慶、飲饌風習等固有遺產及城市記憶,成為本土論述及常民美學的主要依據。 

    府城榮光,夾雜著臺灣或臺南古往今來、多義並陳的時空敘事,不論是前瞻或回顧,城市書寫不僅反映於有形的地景構築與空間治理,文化認同與土地經驗等無形遺產之探討,更不可或缺。然而,地方與國族、經濟發展與環境保存、個人與群體、功能與美學能否兩立?不論如何,臺灣現當代美術的發軔及擴展,反映一種迴游於上述複合脈絡中的權力構圖,本展覽以城市作為方法,透過相關視覺、物質文化材料,檢視其主體意識的建構過程與形式內涵。

     

    Along with the advent of the Age of Discovery, Western forces began to arrive in East Asia, propelling Taiwan, a small island that borders the East China Sea and was once on the outer fringes of civilization, into a contested territory where nations fought over in the new Asian order. As the oldest city on the island of Taiwan, Tainan has not only witnessed centuries of historical rise and decline; it has also become an epitome of Taiwan’s political makeup and cultural traits. These factors make up for Tainan’s importance and symbolic significance. Art in Taiwan has undergone various stages under such complex spatial and temporal backdrop, which includes the burgeoning phase, the developmental phase, and the transformative phase. It is also an amalgamation of various regional and ethnic elements derived from the West, China, Japan, and southern islands, resulting in a fluid and hybrid maritime landscape.

     

    After enduring multiple colonial regimes and with accumulated influences from various civilizations, Taiwan then began to gradually transform from a traditional and conservative society into a liberated and open civil society, with up-and-coming cities serving as private experimental fields and public display sites for culture and art. Confrontations and clashes were inevitable due to competing and conflicting Eastern and Western cultures and different incoming and outgoing ethnic groups; however, opportunities also arose for a cultural identity to be sought after, for regional features to be constructed, and for subjective values to be shaped. Spanning across its pre-war to post-war eras, art in Taiwan shows interlocking elements of the new and the old, the natural and the civilized, the public and the private, the Self and the Other, and within such binary framework, possibilities for modernization are explored, with a relentless quest for its position in history embarked upon.

     

    The rich cultural resources available in Tainan encompass richly diverse features ranging from Dutch colonial era to the period of Koxinga family rule and onwards, which includes historical materials on wars, nautical charts, folklore illustrations, everyday objects, and literati writings and paintings, where the East crosses with the West, and the new coexists with the old. From the period of Japanese colonial rule to after martial law was lifted, art became an important symbol for individualism, and it also served to connect with the outside world in the midst of rapid modernization and through a process of internationalization and globalization; however, with increasing demands for subjectivity and regionalism, to see Tainan as the cultural and spiritual base of Taiwan and to examine its natural elements, temples, historical streets, folklore and festivities, culinary culture, and other existing heritage and memories of the city have become main points of reference that grassroots discourse and common aesthetics are built upon.

     

    The Glory of Tainan brings together Taiwan or Tainan’s past and present, and consists of multifaceted spatio-temporal narratives. Looking onwards or looking back, studies on the city should not only focus on its tangible topography or spatial governance; it is also imperative to examine its cultural identity, land-oriented experiences, and other intangible cultural heritage. However, is it possible for region and nation, economic development and environmental conservation, individuals and groups, function and aesthetics to co-exist? Nonetheless, a power structure is observed in the progression and development of modern and contemporary art in Taiwan, which is reflected in the aforementioned complex context. This exhibition examines the developmental course of the city’s subjective consciousness and its formal content through exploring visual and material cultural resources related to the city, with the city applied as the exhibition’s methodology.