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Double Echo of Time荷蘭當代藝術機構iii交流展

雙重時間迴響
A5
展覽日期:2024-08-16 ~ 2024-12-31
上架日期︰2024-08-14 09:20:58
點閱率:664

展覽《雙重時間迴響》,橫跨荷蘭和臺灣之間歷史,藉著回顧《熱蘭遮城日記》及《邂逅福爾摩沙》等檔案,以跨領域的方式探索,將當代敘事帶入罕為人知的歷史檔案,試著突顯被遺忘群體的經驗與貢獻。

本展覽由《當風握在手中》與《帆裡的鼓譟》兩組作品組成,為四位荷籍藝術家以及一位臺灣藝術家進駐於蕭壠文化園區的新作。藝術家們運用多元的方式,活化被隱藏的歷史,強調歷史敘述中的偏見與故事,以及歷史詮釋中流傳的權力動態。作品《當風握在手中》以十七世紀的交通工具-船隻,與海上最強勁的天然阻力—風,為創作元素,重新詮釋檔案,並邀請觀眾互動於其中;而作品《帆裡的鼓譟》則是探討歷史敘事中的偏見以及權力掌控。回望過去,展覽呈現出與當代並置的時間感,並進一步提出:當藝術家們藉由過去官員、傳教士、參與者們留下的「真實史實」與「道聽塗說」作為靈感,那麽在當代,活在文獻數位化、虛實資訊流通迅速的我們,會怎麼對未來的世代轉述此刻?因此,參考荷蘭所留下的《熱蘭遮城日記》的模式,我們邀請觀眾觀展後,以日記的模式,描述進入展場中所看到、聽到和自身的感受。讓我們來挑戰看看,未來我們有沒有機會從這些描述中,重現我們一起經驗的此時此刻。

展覽由傅文沁策劃,林儷協助策展,荷蘭當代藝術組織 iii (instrument inventors initiative) 與蕭壠文化園區共同製作。

 

《當風握在手中 Holding the Wind in Your Hands

瑪瑞雅·巴爾曼(荷蘭)& 盧德米拉·羅德里格斯(荷蘭/巴西)
Marije Baalman (NL) & Ludmila Rodrigues (NL/BR)

瑪瑞雅·巴爾曼與盧德米拉·羅德里格斯從十七世紀的航海技術史出發,結合風箏飛行的歷史與詩意的意象,透過打造出融合聲音、圖像、動態、氣流等互動體驗的空間裝置,嘗試將遙遠的航海文化、社會性以及和風有關的技術發展帶到今日。

《當風握在手中》再現不同時期的風與人們之間的關係—回顧十七世紀荷蘭、中國與臺灣之間,能將「風」掌握在手中的一方,就能取得優勢,而臺南就是當時的關鍵地點風作為自然之力,是微風也能致災,可作為能源卻難以控制,它也被人們以不同的方式捕捉與紀錄。藝術家透過空氣動力學與聲學的轉換,創造出多重感官的體驗,邀請觀眾透過視覺與聽覺,感受並攀爬船的索具等方式探索展覽空間,體驗當風於古老帆船上所產生的聲,以及自然材料和電子裝置組成的立體空間經驗,形成可被觀眾感知的詩意場域。 

 

帆裡的鼓譟 Glitch in the Weave
Yun Lee (NL/US/HK) and Stephanie Pan (NL/US) in collaboration with Wei-Chieh Shih (TW)

李筠(荷蘭/美國/香港)、潘扶圓(荷蘭/美國),協同合作:施惟捷(臺灣)

「在探索我們周遭世界的過程中,我們創造並講述故事。無論是事實或完全神話化的故事,它們都建構出個體與集體傳說的基礎、定義了我們的身份以及在世界中的位置。」— 在帆裡的鼓譟,作為在臺灣、荷蘭都有親友的藝術家潘扶圓李筠,他們深入研究荷屬福爾摩沙的歷史,與臺灣藝術家施惟捷合作,探討那段常被遺忘的過去,以及在集體與個人意識中所留下的線索與記憶。他們好奇遺跡能訴說的故事,亦透過對來自荷蘭或臺灣的朋友、家人、在地人、遊客、專業者等的探訪以及收集故事,創造出一個互動式檔案。作品成為一個記憶與想像的口述地圖,與在地、人與文字緊密相連,互補或相互衝突的故事,編織出複雜的敘事與詮釋。此裝置作品由大型編織的神經網絡組成,儲存著未現於歷史記載的集體記憶、家族史、神話、歌曲與咒語。觀眾可以在代爾夫特藍瓷板(Delftsblauw)旁聽見故事,透過觸摸與互動,連結到作品各面板,來聆聽神經網絡中相異的記憶幽靈。

 

 

The exhibition "Double Echo of Time" is based on the history between the Netherlands and Taiwan. By revisiting archives such as "De dagregisters van het Kasteel Zeelandia" and "The Formosan Encounter", this multidisciplinary exploration breathes new life  into lesser-known historical records, bringing forgotten histories to light.

This exhibition consists of two works, Holding the Wind in Your Hands and Glitch in the Weave, created by four Dutch artists and one Taiwanese artist during their residency at Soulangh Cultural Park. The artists use digital tools and various storytelling methods to reveal the power dynamics that determine which stories endure the test of time. Both works reinterpret archives in different ways. Incorporating elements of 17th-century maritime transportation and the strongest natural forces at sea—ships and wind—Holding the Wind in Your Hands invites viewers to interact with them, while Glitch in the Weave emphasizes the bias in historical narratives and the power dynamics that determine which stories endure.

Looking back, the exhibition presents an interplay of past and present, further questioning how artists, inspired by the "truth" and "hearsay" left by past officials, pirates, missionaries, and aboriginals, can convey these narratives to our generations. In an age of digital archives and rapid flow of information, how will we recount this moment to future generations? Therefore, we invite visitors to write a description of this exhibition in the style of “De dagregisters van het Kasteel Zeelandia” (Diary entries from Fort Zeelandia) written by Dutch officials of the time after viewing the exhibition. This exercise challenges us to envisage whether, in the future, we can recreate the experience we are sharing today.

This exhibition is curated by Wen Chin Fu supported by Lam Lai and is co-produced between iii (instrument inventors initiative) in the Netherlands and Soulangh Cultural Park.

 

 

The work of Baalman and Rodrigues departs from the experience of seafaring, examining its social and technological features to create a multisensory experience inside the Soulangh's exhibition hall. The artists attempt to blend methods of kite flying with the 17th century sailing technologies that brought distant cultures closer together.

While land and water can be subjected to territorialization, thus becoming objects of geopolitical dispute, the winds cannot be easily measured, or controlled, neither claimed by any state. Air, blast, breeze, gale, gust… As a force of nature, the wind can be a beneficial energy source, or a pleasant breeze in the hot days; however, in extreme weather conditions, the wind can be dangerous and a fatal agent of disaster, during tempests, cyclones and so forth. Wind cannot be tamed, it doesn’t follow any human regulations. We can only learn to collaborate with it.

In the 17th century, both the Chinese and the Dutch took an interest in the Tainan area and whoever could hold the wind in their hands had a strategic advantage. The technologies of the ships, the shapes of their hulls, the design and rigging of the sails were different between the Asian junks and the European ships (e.g. brigantines and fully rigged ships). Thus the diverse ships could catch the wind in different ways.

Marije Baalman gives continuity to the work V.L.I.G. (vliegen, liggen in gedachten) presented as a video installation (recorded on the beach of Anping) at Soulangh in the exhibition Sails Sugar, Silicon (2022). This year in collaboration with Ludmila Rodrigues, she expands her work with kites into a multi-sensory spatial installation. Together the artists have created an experience that encompasses sound, image, movement, and air flows. 

The public is invited to walk through the space and actively listen to the sonic composition inspired by the action of the wind on an old sailing ship. On one hand the artists have chosen to work with natural materials, striving to learn techniques of the era of the sailing vessels. On the other hand, they utilize electronics to activate the installation and orchestrate sensations as in a hybrid environment.

 

Yun Lee and Stephanie Pan in collaboration with Shih Wei-Chieh

In a search to understand the world around us, we create and tell stories. Whether factual or completely mythological, these stories form the basis of our personal and collective lore, defining our identities and our place in the world. In this project, we dive into the lore around the brief history of Dutch Formosa from 1624 to 1668. What remains in the collective and individual consciousness of this often forgotten past?

As artists with ties to both Taiwan and the Netherlands, Stephanie Pan and Yun Lee were curious about these remnants and what they can tell us about who we are today. They collected stories from friends and family, locals and visitors, laymen and experts, from the Netherlands and Taiwan, to create this interactive archive.

This project is an oral cartography of memories and imaginations - tied to places, people, and words. Some of these stories compliment each other while others clash. Together, they weave a complex tapestry of multifaceted narratives. This installation takes the visual form of a large handwoven neural network that stores collective memories, family histories, myths, songs and chants patched and woven together, stories that are not written in history books.

You can hear these stories at the listening stations next to each Delft blue panel on the wall. Choose different stories by pinching and holding the different copper threads connected to each panel. Or, listen to different ghosts of memories within the neural network by touching the panel in the center of the installation. The Delft blue (Delftsblauw) panels on the walls feature visual motifs from the interviews, asking what would happen if the Dutch recorded what they saw when they landed in Formosa.

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