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藝術家康雅筑個展「三分之一之外-棉花研究計畫第四章 」Beyond One-third -Cotton Research Project IV
展覽時間:109年10月22日(四)起
展覽地點:A4-1館

藝術家簡介:

生於臺灣臺北,是一位複合媒材跨領域藝術家,她透過藝術實踐質疑人與自然環境的關係,以及社會課題。她的藝術研究是以紡織文化史和當代社會行為表象為基礎,探討藝術技能與體力勞動、生活狀態與遷徙的可能性,以及經濟貿易與社會結構之間的關係。現代性如何影響傳統、經濟制度和自然環境?她的旅行和駐地經歷潛移默化地影響她所認知的世界,主題往往反映在邊界、生命和過程之中,這促使她在每項計畫中同時探索自我意識和可持續性狀態的可能性。她目前正在多地進行紡織文化研究,著有《織物地圖 12》,亦參與藝術教育和社區合作項目。


展覽簡介:

如果要從這個篇章找到一個故事的起頭,以人生有三分之一的時間覆蓋在棉被之下作為切入點,尋找與棉被相關聯的線索,棉被作為名詞為包覆在薄棉布套內的蓬鬆被子,是以打鬆的棉花纖維所鋪成的多層棉片所構成,棉被在去掉棉字後做為動詞則有覆蓋、蒙受與達到的意涵。紡織品被視為一種世界性的語言,它不僅涉及全球材料工業的發展,亦帶出隱身在社會結構與資本主義背後的系。

棉被在此喚起藝術家的兒時記憶與上一代的連結,牽紗(註一)出跨時間世代與空間向度的網。如果將棉被視為一個面或邊界,它在劃分出三分之一的時間、空間與維度上可有不同的方式,可用以分割一日當中的八小時;時間軸中的過去、現在與未來;史實中的外來殖民、國民政府來台與民主化時期;空間中的天、地與海;甚至是抽象維度中的節點穿越。

基於駐地蕭壟文化園區三個月的田調研究與創作,藝術家透過史實與當下時空間的交織與想像,串連起過去曾是針織產業重鎮的佳里、有棉被堀之稱的學甲苓子寮、日本褟褟米縫製的技藝傳承、臺糖產業的起承轉合、人民遷徙與經貿物流的路徑,將這些臺灣的自然與人文對照棉花的世界史;糖在此作為介質,是歷程中的調味料與黏著劑,將物產、籍民、政策、生態等議題掄紗(註二)成被,企圖擴展思考事物與解讀世界的方式,結合棉產業的不同製程與元素,以繪畫、影像、紡織與雕塑等複合媒材空間裝置方式呈現展出。

 

註一:牽紗是指將紗線以十字交錯的方式有規則地牽放在已彈鬆的多層鋪棉上,如罩上一層薄紗布般。

註二:掄紗是以掄斗輕壓在牽滿紗線的棉花上,讓棉絮裹著紗線進而固定棉花纖維。

 

If we intend to create a story from this chapter, we shall start with the fact that most of us spend 1/3 of our lifetime being covered by cotton quilts. Then, we can begin to search for clues connected to quilts. As a noun, a cotton quilt, composed of multi-layered batting from cotton fibers that have been flicked fluff, can be soft fillings inside the thin cotton linen. As verbs, cover and suffer are connotations related to quilts. A textile is regarded as a global language which not only involves the development of material industry worldwide but also brings about a system behind social structure and capitalism. 

The cotton quilt here arouses childhood memories of the artist and the connections with the last generation. The traditional skill of threading (Note 1) forms a net that is cross-generation and trans-dimension. If a cotton quilt is seen as an interface or a boundary, it may have respective expressions in terms of time, spaces, and dimensions when being divided into three, such as taking 8 hours from a day.  In a timeline, there is past, present, and future. In historical facts, there are stages of foreign colonization, the Nationalist Government to Taiwan, and democratization.  In terms of spaces, there is heaven, earth, and ocean. Even in abstract dimensions, there are partitions made by traversing nodes.

 

During her three-month residency in Siao-long Cultural Park, the artist has conducted field research and created artworks. Through the imagination and the interlaced historical facts and the present time/space, the artist connects Jiali, the former stronghold of textile manufacturing industry, Ling-zi-liao of Xuejia, which is well-known for its quilt production, the tradition of Japanese craftsmanship of tatami sewing, rise and fall of sugar industry in Taiwan, and the routes of people’s migrations as well as trading and logistics. Nature and culture of Taiwan are employed to compare with world history of cotton. Sugar, being a medium here, is used as seasoning and an adhesive in the process to incorporate issues like products, registered citizens, policies, and ecology together as tamping down (note 2) cotton batting and a lattice of thread into a quilt. Attempting to expand our ways of thinking and interpreting the world, the artist integrates various manufacturing procedures and elements of cotton industry and creates multimedia installations through painting, videos, textile, and sculptures. 

 

Note 1: Threading means to pull and stretch yarns in crisscross pattern on a multi-layered cotton batting that has been flicked fluff just like layering a fiber mesh on it.

Note 2:  Tamping means to gently press a wooden disk on cotton lining fully covered by a lattice of thread. After tamped down, the layer of batting can be evenly fixed to thread and attached to each other. 


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