on the edge
Liu Chien-Wei Solo Exhibition
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難以支撐 劉千瑋 個展
2024.08.03 - 2024.09.07 |
開幕 Opening | 2024.08.03 (六) Sat. 3 pm
座談 Artist Talk | 2024.08.24 (六) Sat. 3 pm 與談人 Panelist | 施昀佑 Yunyu Ayo Shih |
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展覽簡介
文化如何保存？經驗如何歸檔？延續始於2016年的創作計畫《禁山14號》，劉千瑋於就在藝術空間展出「難以支撐」（On the Edge），著力以藝術實踐文化保存的現實轉向。 《禁山14號》是關於一棟房子的藝術計畫：一棟臺灣早期農村社會隨處可見的住居建築；一棟藝術家小時候隨著家人在稻田邊的玩樂所；一棟別具時代意義卻已頹圮多時的老房；一棟混雜著稻梗稻殼的黃土色牆面、頂著黑灰色的斜瓦屋頂、僅有一層矮樓、座落在苗栗苑裡的田間，聽聞總是冬暖夏涼的「土埆厝」（thôo-kat-tshù）。 透過（有限的）採集與重建技術——建材蒐整、口述歷史、物件歸檔、實體翻模、3D掃描與局部重建等，劉千瑋為這棟房子留下各種面容。然而，這些留存的技藝從未趕上它隨著時間緩慢但堅定地頹圮的現實。去年幾場連日大雨，又塌下了一面牆。慶幸的是，這間老屋並不孤單。走入臺灣的鄉間，雖稱不上隨處可見，總能遇到幾間尚未倒塌，甚至仍在使用的土埆厝。它們像是農村活化石；也是混融著早期農村社會的經濟、文化、產業、勞動與生活記憶的集合體。這類難以列入文資保存，又屢因島內自然與環境變遷逐日劣化的漢人常民建築，究竟該留、不留，怎麼留？又或者說，什麼要留、要留什麼？ 或許，那些來自四方「必須要留」的倡議與表態，想像的是一幕幕歲月靜好的恬適農景。然而，從藝術家的經驗現實，顯影的往往是社會集體意識裡無盡的邊陲與幻相。 難以支撐。 。。。。。。。 About Exhibition How can culture be preserved? How can experiences be archived? Continuing the art project Jinshan No. 14 that began in 2016, Liu Chien-Wei is showcasing "On the Edge" at the Project Fulfill Art Space, focusing on the realistic shift towards cultural preservation through artistic practice. "Jinshan No. 14" is an art project about a house: a residential building commonly seen in the agricultural society in early Taiwan; a playground by the rice field for the artist when he stayed with his family during childhood; a decayed old house rich in the meaning of times; a one-floor thôo-kat-tshù (rammed-earth house) sitting between fields in Miaoli, with earth-tone walls mixed with stalks and grains and a dark-gray pitched tile roof, which is said to be warm in winter and cool in summer. Through (limited) collection and reconstruction techniques—gathering building materials, oral history, object archiving, physical molding, 3D scanning, and partial reconstruction—Liu has captured various aspects of this house. However, these preservation techniques have never quite kept up with the house’s slow yet inevitable deterioration over time. Last summer's heavy rains caused yet another wall to collapse. Fortunately, this old house is not alone. Wandering through Taiwan's countryside, although not ubiquitous, you can still encounter a few thôo-kat-tshù that have not yet collapsed and are even still in use. They are like living fossils of rural life, embodying the economic, cultural, industrial, labor, and life memories of early agricultural society. These types of Han commoner buildings, which are hard to list as cultural heritage for preservation and are continuously deteriorating due to natural and environmental changes on the island, pose the question: should we preserve them or not? How can we preserve them? Or perhaps the question is, what should we preserve and why? Perhaps those who advocate and assert that "it must be preserved" imagine idyllic rural scenes of peaceful times. However, the reality that emerges from the artist's experience often reveals endless margins and illusions within the collective consciousness of society. On the edge, barely holding on. |