有章藝術博物館
OUR MUSEUM

2022年臺藝新策獲選計畫【「一ˊ」居之所 – 美術館中的過河遊戲】
展覽是由多位藝術家共同組織的一項計畫，以板橋浮洲為創作和研究基地、有章藝術博物館為起點，
藉由實際走訪地區、拜訪居民、享行動資訊，並構築與浮洲在地之間的關係網絡。

 

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「一ˊ」居之所 – 美術館中的過河遊戲

 

 

背景介紹
「一ˊ」居之所 – 美術館中的過河遊戲（以下簡稱本展），召集多位曾以浮洲作為創作基地的藝術家，組織一場由美術館作為起點，以藝術之名進入地方，以浮洲為研究主題的展覽計畫。邀請不同領域的創作者，共同實踐一場發生在浮洲地圖上的過河遊戲。本展製作期間，藉由實際走訪地區、拜訪居民、彙集各方的資訊並共享彼此的行動，逐漸構築出本展與浮洲在地之間的關係網絡。

 

 

目的地：「一ˊ」居之所
起點：美術館
方法：過河遊戲

 

行前須知

本展中的遊戲，並非是遊玩、戲謔的態度。而是在這處藝術與遊戲交織的場域中，確保一切創造行為的有效性（在符合玩家守則的前提下），因遊戲與藝術創作皆是創造性的活動，故在本展中所有陳述都將被視為遊戲中的動作，任何動作都具有其效益與合法性—藝術上的以及社會事實上的，包含所有實驗性的假設或不做任何動作。

 

玩家守則—過河遊戲與中介(in-between)狀態

玩家們將擔任起領航的舵手，引導目標物過渡到河的對岸。渡河遊戲的概念強調各個元素之間的相斥性，藝術作為中介將看似二元對立的雙方並置，在調和的過程中，同時保留對象物的特質。過河的方法其實不止這一種，過河遊戲並非各方對薄公堂，遊戲著重在不斷切磋與相互合作的過程，本展將匯聚各路玩家，在展覽時間軸上彼此交會時，請保持中介狀態，以保證遊戲順利進行。

遊戲地圖一覽:  浮洲地區 - 有章藝術博物館

浮洲、湳雅這兩個地名，意旨泥濘之地，顯見此地易氾濫的特性。
至今，許多居民仍記得1963年的葛樂禮風災，大水淹去初落腳三年的「婦聯一村」，開啟一場居住上的浮覆轉折。首先，進入A展間，在唐佐欣與羅祥庭《待騰空的地上物中》，創作者們先重回事發地探勘，再登門拜訪早已被迫搬離的大觀居民，並以攝影紀錄的方式呈現今昔對照的影像作品。而林亞岑、歐Ｋ、九安的《脫口秀行為》演出具幽默諷刺的腳本，重新書寫大水退後，政府機關與民眾之間，因立場與認知不同所衍生出來的爭端與矛盾。除了上述實地考察的資料紀錄，展覽中高登輝的《湳仔地làm-á-tē》，則是透過採集浮洲溼地中的淤泥，將其燒製為陶，陶器表面隱約透出的金屬光澤是沉積於浮洲濕地中的金屬物質，透過藝術家的操作而顯露出來。對部分居民而言，浮洲並非不宜居住的泥沼地區，而是承載居民晝夜的棲居之所。《衣浮》工作坊由崔芳瑜跟蕭新玉，邀請居民將其對家園的映象繪製在白布上，並將其縫製成長擺的禮服。體現出無論選擇移居或定居，不變的是：家屋不止於實際物理空間的存在，更是人們精神意識的居所。

我們透過移居尋求宜居之所，在找到宜居之所前，我們移居。

行經草坪後，來到B展間，《遷徙之土》由創作團隊 Leverage Studio介力屋 將大量土堆搬入室內，土堆之中藏著團隊設計的石膏公仔，團隊將於每周進行一次翻動行為，埋藏的小禮物逐漸被挖掘出來，觀眾可以任意移動或撿拾回家，這一個尋找、發現、選擇、拾起到搬運的過程，如同遊戲般的參與創作。《哪裡來的？》表演者陳薇作為場所中的變因，獨自行走於A、B兩個展場之間，對著手上的行動裝置喃喃，藉此連結各自獨立的展場，已NPC的腳色悄悄道出整場遊戲中的隱藏訊息。

 

遊戲開始，究竟彼此之間友誼的小船是否能成功到達目的地 ?

一邊是過去的無法追憶的
一邊是未來的無法想像的

 

 

Background
The Place to Move In: A River Crossing Game in An Art Museum (hereinafter referred to as The Place) gathers a number of artists who were or are based in Fuzhou, Banqiao, to put forward some research centring around it. Starting from the art museum, these artists were to explore their art base, Fuzhou, in the name of art. Creators from different fields were invited to take part in the river crossing game, and they would visit different areas and local residents, gathering information from all parties and informing their actions to one another prior to the exhibition. The connections between this exhibition and Fuzhou, therefore, gradually took shape throughout the process.

 

Destination: The Place to Move In
Starting point: Our Museum
Form: a river-crossing game

 

Reminders
The game in The Place is not intended to be playful or amusing. Instead, every part of the game taking place in the venue is considered a valid act of creation - should it abide by the game rules - as games and art creation are both creative activities. Therefore, all statements in this exhibition are to be considered an in-game action, and every action has its effects and legitimacy - artistically and socially - including all experimental assumptions or lack of action.

 

Rules of the River Crossing Game and the In-between Status
Players will act as the helmsman, directing the target to the other side of the river. The river crossing game emphasises the repulsion between various elements, but art will be the intermediary to juxtapose the two seemingly opposite objects, while preserving the characteristics of each object in the process of reconciliation. In fact, there is more than one way of crossing the river, and the game is not like a court of justice. On the contrary, the game focuses on collaboration and learning from one another. The Place intends to bring together players from all walks of life. When meeting each other on certain points of the timeline set out by the exhibition, players should stay "in-between" to ensure the smooth progress of the game.

 

Game map: Fuzhou area - Our Museum
The two place names, Fuzhou (浮洲) and Nanya (湳雅), both refer to "muddy fields" in Mandarin, showing that these two areas were prone to flooding. To this day, many residents from these areas still remember the 1963 Typhoon Gloria. The flood inundated the "National Women's League Village No. 1", which was newly completed three years before the disaster, forcing the residents to leave their homes and face an unknown future.

In Gallery A, the first piece of art is TANG Zuo Sin and LUO Siang Ting’s Objects on the Ground to Be Evacuated. The artists revisited the place the incident took place, talked to the residents in Daguan who had been forced to move out, and photographed the current scenes to present them next to that of the past days. As for LIN Ya Cen, OU K, and Chiu An's stand-up performance, the humorous and sarcastic scripts illustrate the disputes and contradictions between government agencies and the public arising from different positions they adopted after the flood. In addition to these records collected on the sites, the exhibition also features KAO Teng Hui's Làm-á-tē (Muddy Fields), where the artist collected silt from Fuzhou wetlands and burned it into potteries. Their surface have a faint metallic lustre, which comes from the metal substance deposited in the Fuzhou wetland and is revealed through the artist's manipulation. For some residents, Fuzhou is not an uninhabitable muddy area but where they live their everyday lives. Therefore, in the Clothing/Floating workshop, TSUI Fang Yu and SIAO Sin Yu invited local residents to draw their impression of their homes on pieces of white cloth and sewed them into long hem dresses. This work reflects that no matter you choose to move out or stay, "home" is not only a physical space, but also where people's spirits lie.

We are seeking a better place to live by migrating, and before we find that place, we will keep on migrating.

Across the lawn is Gallery B. The artist group Leverage Studio brought mounds of soils into the gallery and presented viewers with The Soil of Migration. Plaster dolls designed by the group were hidden in the mounds. The group turns them over once a week, digging out the buried gifts which the audience can freely move or pick up. The process of searching, discovering, selecting, picking up and moving is like a game where viewers can participate to create art. In Where Did It Come From?, performer CHEN Wei is the variable in the venue. Chen walks around Gallery A and B, alone, and murmur to the mobile device in her hand, thereby connecting the two independent galleries together and conveying hidden messages throughout the game like a non-player character.

 

The game begins now. Can the boat representing players' friendship successfully reach the other side?

The unretrievables in the past sit on one side,
and the unimaginable future sits on the other one.
 

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【「一ˊ」居之所 – 美術館中的過河遊戲】展覽資訊​

展　　期｜06.01（三）- 07.31（日）​
地　　點｜國立臺灣藝術大學 九單藝術實踐空間A、B 展場​
開放時間｜週二至週日 11：00 - 17：00，週一、國定假日休館​​
開幕活動｜2022.06.01（三）13：00​
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策展人｜林亞岑​
參展者｜介力屋Leverage Studio / 九安 、林亞岑、歐K / 唐佐欣、羅祥庭 / 高登輝 / ​ 陳薇 / 崔芳瑜、蕭新玉 /​
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郎靜山＿煙江曉泊 @ 有章藝術博物館典藏品​
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視覺設計｜傅瑩瀅 ​
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指導單位｜文化部​
主辦單位｜國立臺灣藝術大學 ​
執行單位｜有章藝術博物館