Twin Traces - Being with Things駐村藝術家梁美萍駐村成果展
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「純粹的當下是無法掌握的:過去吞噬未來。事實上,一切感知本身就是記憶。」 ─ 亨利·柏格森《物質與記憶》
一段臺南交疊的記憶—「鹽」與「糖」的軌跡早已隱沒於日常。鹽,其實是臺南最早的重要經濟命脈。臺灣四面環海,鹽源自大地與海的交會,其產業發展甚至早於製糖。
展覽場地原是一座糖倉,見證了台糖歷史的起點;其建築空間本身亦成為創作的元素,承載著日治時期前後的物質文化與記憶。鹽的意涵由此融入糖倉的歷史場域。蕭壠文化園區內的「臺南市文資建材銀行」,完整保存了精緻的製糖遺物,而臺灣唯一的「鹽博物館」則依然保留著傳統曬鹽的生態模型。
那些尋常的舊物,各自被賦予一組號碼。或許它們未能立即「說明」什麼,卻攜帶著屬於自身時代的印記—如同人們日常生活的底蘊。如是,甜與鹹之間並置的號碼,便像因果般彼此纏繞,構成臺南物質文化的深層記憶。
個人簡介
梁美萍。香港出生。多媒介藝術創作人。
"The pure present is an ungraspable advance of the past devouring the future. In truth, all sensation is already memory." Henri-Louis Berg 《Matter and Memory》
A layered memory of Tainan—the trajectories of “salt” and “sugar” have long receded into everyday life. Salt, in fact, was Tainan’s earliest economic lifeline. Surrounded by the sea, Taiwan drew salt from the encounter of land and ocean, with the industry even predating sugar production.
The exhibition site itself is a former sugar warehouse, a witness to the beginnings of Taiwan Sugar’s history. Its architectural space also becomes part of the artwork, carrying the material culture and memories spanning the Japanese colonial period and beyond. In this context, the meaning of salt merges into the layered memory of the sugar warehouse. Within Soulang Cultural Park, the Tainan Heritage Architectural Material Vault preserves delicate and complete sugar-industry relics, while Taiwan’s only Salt Museum still retains ecological models of traditional salt farming.
Ordinary objects once in use are each inscribed with a number. They may not immediately “explain” themselves, yet they bear the imprint of their era—like the hidden strata of everyday life. Thus, the juxtaposed numbers of sweetness and salinity entwine like causes and consequences, forming the deeper memory of Tainan’s material culture.
Personal Introduction
Leung Mee Ping. Born in Hong Kong. Multi-media Artist