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2024台北新藝術博覽會

活動介紹

逆棲-都市邊緣中的對話與重建 香港 大阪 台灣 三地聯展 Reverse Niche – Dialogue and Rebuilding at the City’s Edge An exhibitio

逆棲-都市邊緣中的對話與重建 香港 大阪 台灣 三地聯展 Reverse Niche – Dialogue and Rebuilding at the City’s Edge An exhibitio

時間:2014/11/07 - 2014/11/29 《活動已結束》

地點:高雄駁二藝術特區B6倉庫

單位:國藝會 高雄市文化局

官網:https://www.facebook.com/reverseniche

逆棲-都市邊緣中的對話與重建 香港 大阪 台灣 三地聯展
Reverse Niche – Dialogue and Rebuilding at the City’s Edge
An exhibition in Hong Kong, Osaka and Taiwan

展覽地點 駁二藝術特區B6倉庫

展覽開幕 11.7 (五) 2:00 PM

展覽座談會 11.9 (六)

展覽期程 2014.11.7-11.29

策展人/柯念璞 Ko Nien-pu

參展藝術組織 /Art Groups

香港 / 活化廳 Hong Kong / Woofer Ten

日本 / 大阪 COCO ROOM Osaka/Coco room

高雄 / 台灣影音展演藝術產業工會 Kaohsiung / Taiwan Studio, Exhibition and Arts Labor Union


「逆」字作為迎向、迎擊之意,具有抵抗及革命意味。「棲」則作為動物安居巢穴之棲居空間,在生物學中常以生態棲位(ecological niche),代表生物在環境中所佔據之地理空間並賴以維生的基本生命單位;各生物種類依其生活習性,繁殖、衍化與活動,建構出自身生命本質的生存空間。猶如人類為了生存而棲居於城市各個角落,因地置宜,生活就是在此時此地生長出來的。同Lewis Mumford所述,一個健全的城市皆由不同的社區(Neighborhood) 所構成,這些社區按照自身的各種需要,自然而然地發展出它的面貌,當中的生活設施、空間分佈,乃至商業或非商業性質的活動,皆因為當地人的生活習慣,以及人與人之間的聯繫互動所建立起來的社區空間。

在城市現代化的過程中,製造一種去除貧窮、創造資產累積的想像,許多人移居城市尋求晉身中產階級的機會。然而都市發展主義的社會裡,視覺化的想像總是掩蓋住都市長期存在的社會問題,排除、隔離、移民與貧窮人口的棲居之地。近年來則在都市規劃與土地分區劃分的命運下,被公權力強制拆除建造綠地、大樓與商場,或放任讓其自生自滅。這些被景觀(spectacle)所壟斷的都市處境,正隱含了將整體都市文化簡化為中產階級的純粹敘事。

因此當藝術與資本攜手合作彼此淋漓盡致之時,藝術家開始試圖突破藝術與社會疏離內向藝術創作,轉為一組積極實踐,朝向一個與公眾連結的藝術關係與過程。因此以「逆棲」做為雙重意象的隱喻,不僅標誌現代城市發展下被排除的邊緣群體,一種兼具被拒斥在外的生命處境與其形成的抵抗生存模式,同時也作為關注這些生命狀態的藝術行動者,強調以基地發展一種長時間對話、參與式創作,來開啟有別於主流藝術生產的實踐。

本展覽以地方作為一種提問,透過半年的時間對三座城市與藝術組織進行田野調查,並以三組城市/藝術組織/社群的相互對話與行動,試圖呈現在特定都市發展脈絡下,這些尚未被歷史歸檔成文件的藝術行動作為溝通與連結的媒介,如何以不同面向來回應各自都市治理的背景,並企圖開展這些被排除,貧窮、少數、弱勢的城市文化?藝術家設計何種對話框架誘引、邀請參與這些社群,並以此作為搭建公共領域的橋樑?以及社會公共議題如何藉由藝術重新彰顯並且得以作為一種追尋進步的政治討論與實踐?

To “reverse” something implies engaging it with the intent to resist, and has connotations of revolution. While “niche” refers a space in which an animal can nest and take shelter. In the study of biology, the term “ecological niche” is often used to describe a geographical space and environment that an organism occupies and relies on for its sustenance. Organisms reproduce, diversify, and actively construct a space that is essential to personal survival. Similarly, humans construct their lives in various sections of a city to fulfill the necessities for their ways of life. Specific lifestyles evolve at a specific temporal and spatial nexus. As Lewis Mumford once described, a healthy city is composed of different neighborhoods. The unique appearance of these communities develops organically based on the needs of each community. From recreational facilities and spatial distribution, to commercial and non-commercial activities -- all result from the living habits of its residents, while communal spaces are constructed from the interpersonal connections and interactions present in each community.

In the process of modernization, cities provide a fantasy that rejects poverty and creates material accumulation. People flock to cities in search of opportunities to join the ranks of the middle class. However, in a society governed by doctrines of urban development, this visual fantasy ultimately conceals long-standing urban social problems, as well as excludes and isolates the spaces inhabited by migrant and impoverished populations. In recent years, with their fate decided by urban planning and zoning, these spaces face being forcibly torn down by governments to build parks, high rises or marketplaces, or else are left to fend for their own survival. The urban contexts that have been monopolized by landscaping (spectacle) conceal the pure narrative that reduces the overall urban culture as one of middle class.
As mutual cooperation between art and commerce fully plays out, artists have begun to attempt inwardly focused artistic creations that are alienated from society; a transformation into a set of proactive and practical artistic relationships and processes of public connectivity. Hence, a “reverse niche” has a dual meaning, not only symbolizing the exclusion and resistance undertaken for survival by groups marginalized and disadvantaged in the process of urban development; but also highlighting the works created by art activists concerned with these living conditions that emphasize the development of a base for long-term dialogue and participatory creativity which will initiates an alternative practice of art production outside of the mainstream.

This project will be exhibited in the specific context of urban development. These acts of artistic activism that have not yet been categorized by history have become a conduit for communications and connections. How do we respond to and rebuild the urban culture of the excluded, the poor, the minority, and disenfranchised? What types of enticing framework for dialogue can artists construct that would invite the participation of these groups and become a bridge to rebuild the public arena? And how can art highlight social public issues in order to move toward a progressive political discussion and practice?


香港/活化廳

香港自2005年反WTO運動以來,青年藝術家與社會運動者經過保皇后碼頭、反西九龍文化園區、反高鐵與菜園村運動等累積能量的展現於都市空間。面對香港城市文化逐漸走向企業管理的局勢,活化廳一方面回應藝術生產結構問題,並構築眾多關於反對市區強迫重建的藝術展覽。

隸屬於香港藝發局的上海街視藝中心在2009年,更名為活化廳。由一群關心社會、政治與公共議題的藝術家們所組織,重新思考藝術與社會、社群以及公共生活之間關係的如何創造、連結以及激發新類型的社群想像。面臨政治與經濟上交錯的困境。香港城市空間資本化不斷剝奪個人居住權,以及回歸後本土身分認同與政治上非自由的處境,活化廳的藝術家開啟另一種別於鬥爭現場的抵抗,以藝術與展演活動搭建起日常的公共討論平台,作一種長時間與居民對話的文化運動。

Hong Kong/Woofer Ten

In 2009, the Shanghai Street Art Center of the Hong Kong Arts Development Council changed its name to Woofer Ten. It was organized by a group of artists concerned with social, political and public issues, in order to rethink the relationship between art and society, community and public life, and to create, connect and catalyze a new community imagination. They were faced with a confluence of political and economic obstacles: the capitalization of urban spaces continue to deprive individual rights to shelter; while the process of reunification had taken away freedom to express local identity and politics. The artists of Woofer Ten opened up another type of resistance that is removed from the site of conflict, and constructed an everyday platform for discussion using art and exhibition activities to provide a longer term cultural movement with the public.


大阪/ココルーム

在日本戰後經濟起步後,社會的全盤西化,政府與企業攜手重建了現代化的都城,大批的現代式建築在土地上萌芽。如此龐大規模的建設背後所仰賴的臨時勞工全聚集在「寄せ場」 ,臨時勞工在此等待「手配師」也就是仲介人員,每日招募港口或工地所需的勞動力衍如地理上的勞動力市場,這種日雇工形成特殊的地理區域,在日本共有三處,東京的山谷、橫濱的壽町以及大阪的釜崎,而釜崎同時也是其中最大的勞工聚落。而在日本最大臨時勞工聚集地大阪釜崎,於2007經營非營利藝術空間「COCOROOM」(「こえ」(聲音)、「ことば」(語言)與「こころ」(心))。這展現出藝術家在以貧窮、暴力的隔離之地,開啟對話的企圖。

藝術在此地視為一種溝通的媒介,能連結被外界逐漸剝奪交流與溝通機會的勞工及流浪漢,創造出一個能彼此自由且無拘束地溝通交流的公共空間。運用詩、藝術邀請流浪漢、失業勞工、青少年以及婦女等弱勢族群的參與,在與藝術家敘述地方歷史與生命經驗,也產生一種對話關係,藝術家在對話的過程中建構了地方認知,同時在地的居民也在此過程建立自我認同。透過文學創作、詩詞、藝術活動重新認識這塊被汙名化與閒置隔離的區域背後的文化與生活故事。

Osaka/Coco room

The non-profit art space “Cocoroom” (こえ (sound), ことば (language) and こころ (heart)) was established in 2007 in Kamagasaki, Osaka – the location of the largest community of temporary laborers in Japan. This demonstrated the artists’ intention to begin dialogue in a space removed from poverty and violence. Here, art is perceived as a communications medium that connects with laborers and the homeless who have been gradually deprived of opportunities to interact and communicate with the world-at-large. A public space where they can communicate and interact freely without inhibitions has been created. Disenfranchised groups including the homeless, unemployed laborers, youth, and women, all participate through art and poetry. This process of describing the local history and life experiences with the artists creates a relationship of dialogue. This dialogue enables artists to construct a local identity, while area residents also establish a self-identity in the same process. The cultural and life stories of this stigmatized and alienated region are rediscovered trough literary compositions, poetry, and artistic activities.

高雄/台灣影音展演藝術產業工會

高雄原為台灣南島港口之都,配合台灣經濟發展在日治時期的工業發展,近年來對於台北城市發展的自我複製,以文化藝術之名,拆遷剷除抑或遮掩工業廠址之汙染。高雄大林蒲社區三面是臨海工業區的工廠所圍繞,一面是填海造陸的南星計畫,環境污染程度剝奪居民環境自主權力。台灣影音展演藝術產業工會先是從攝影班開始,一方面訓練社區居民使用影音工具,用來監督環境以及訴說自己的故事,另一方面也吸引年輕影音工作者與媒體,來認識這個地方,生產影片與報導,這些作品很多都直指環境污染問題。活動過程也重新連結了部份在地青年跟原本不相往來社區團體,期待未來的行動能更有集體性。目前海馬小組的組成,包括紀錄片、藝術、劇場、電影等工作者,以及各種社會議題的行動者與學生。

Kaohsiung/ Taiwan Studio, Exhibition and Arts Labor Union

As the largest city in Southern Taiwan, Kaohsiung has replicated the urban development of Taipei in recent years. Pollution caused by industrial factories have been demolished or covered up in the name of arts and culture. Kaohsiung’s Dalinpu District is surrounded on three sides by factories of the coastal industrial zone. On one side is the land-reclamation South Star Plan whose environmental pollution has deprived area residents of their environmental autonomy. The Taiwan Studio, Exhibition and Arts Labor Union began with photography classes which not only trained area residents to use recording tools to monitor the environment and to tell their own stories, but also attracted a number of young video artists and the media to the area to learn, to produce films and to report. Many of these works directly address the environmental pollution issue. In the process of this activity, they have connected previously disparate groups of local youth with community groups. It is hoped that future actions will be even more collective. At the moment the Seahorse Team has been assembled and includes those who work with documentary, art, theatre and film as well as social activists and students.

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