展場資訊
+886 (7) 555-0331
servicemail2@kmfa.gov.tw
80460 高雄市鼓山區美術館路80號
開放時間: 週二至週日 11:00 - 18:00
夜間照明至21:30
國定假日開放時間以高雄市立美術館官網公告為主
陷阱: 2019高雄國際貨櫃藝術節
Trap: 2019 Kaohsiung International Container Arts Festival
陷阱的所在
The Place of Trap
2019年高雄國際貨櫃藝術節以「陷阱」為主題，是間接對現代人的一個提問！時代發展至今，我們過著高度工業化、現代化、資訊化的生活，許多日常上的擁有與便利都被人們視為理所當然！但是，如果有一天這些擁有與便利不見了，我們還有什麼樣的生活可供選擇?在貨櫃藝術節裡，「陷阱」或許也只是一個假設性的演繹題！藝術家們如何在物質或精神層次上帶著觀眾冒險解題，也為自己的人生尋得一處安身之所。
試想，我們將生活還原至一個人生存最基本的需求—尋找食物；在沒有貨幣買賣及超市的年代，食物的取得大部分要靠勞力與智力，在人際關係疏離的都市裡，我們可能會羨慕原住民部落生活中仍存在的集體生活意識，透過分食、分工的組織運作，使得族群命脈與文化得以延續，為現代文明示範出一個宛如烏托邦的理想世界！在以物易物的年代，人們是因為競爭還是合作才能安然生存?在使用實體貨幣或虛擬貨幣的現今，便利的物質生活並沒有帶來相對應精神層面的富足，使得回歸原野山林逐漸成為許多人嚮往的生活方式之一。
在此藝術節中，我們虛擬/架構一個山林原野與都市叢林的對話，漫談「陷阱」存在的必然(具象)與超然(抽象)，然而「陷阱」形態通常隱而不現，百樣多變，我們將如何辨識與跨越?我們用既輕鬆又嚴肅的態度漫談「陷阱」，參展藝術家們也試圖深耕挖掘這個議題，將之輻射到文化、人權、土地、政治、經濟、社會及生活中的各個面向。
Taking the theme of “trap”, the 2019 Kaohsiung International Container Arts Festival is intended to indirectly raise a question to modern people. Nowadays, we are living a highly industrialized and modernized life with advanced information technology. We have taken many things and conveniences we are having in daily life for granted. However, what if all our current possessions and conveniences were gone, what kind of life will we have then? With the hypothetical theme of “trap” for the Festival this year, artists take viewers on an adventure on a material and/or spiritual level to find an answer to this question and find the destination of life for themselves.
Let’s imagine: Our life is retrograded back to its most primitive form in which we have to meet the most fundamental need for survival by finding and collecting food all by ourselves. There is no monetary currency or supermarket. We have to obtain food mostly through our labor or intellect. Living in cities where people are alienated from one another, we may envy the collective lifestyle of living together as whole that still exists in indigenous communities. Through their sharing of food and division of work, they are able to continue their bloodlines and cultures. They serve as a model of utopian society for modern civilizations. During the era of bartering, did humanity compete or cooperate in order to survive? In the present days with physical or virtual currency, convenient life at the material level does not necessarily bring spiritual richness; as a result, more and more people are longing for life back in the wild fields and mountain forests.
In the Festival this year, we construct a virtual dialogue between wild jungles and urban jungles, discussing freely about the “trap”—its concrete existence (at the substance level) and its conceptual nature (at the abstract level). However, traps are often hidden and come in a diverse variety of forms. How can we identify them and avoid being trapped? The issue of the “trap” is taken both lightly and seriously in the Festival this year with the participating artists deepening their discussions through their works about “traps” in different domains of life, such as culture, human rights, land, politics, economy, and society.
第十屆重要里程碑
A 10-Year Milestone of the Festival
自2001年起每兩年盛大辦理的高雄國際貨櫃藝術節，至2019年邁入第十屆的重要里程碑。因為高雄港貨運量的一度繁盛，藝術家將貨櫃轉化為創作的主要元素或載體(2001-2011)，在台灣各個角落經常出現的貨櫃屋，因其轉化為日常使用空間的輕便性，「可以居」(2013)、「明日方舟」(2015)成為宜居城市對未來移動居家空間的想像，創造出令人驚嘆的美學創意。「銀閃閃樂園」(2017)回應台灣高齡化社會，貨櫃象徵著人的生命，屆齡除役的貨櫃，宛如人生行旅的晚年歲月，透過創意轉換為另一種嶄新的生命型態。2019年的高雄國際貨櫃藝術節，邀請國內及來自南方海域國家的藝術家，透過藝術表達對文明、山林、海洋、原初生活型態的詠嘆與回應。
The Kaohsiung International Container Arts Festival is a major biennial art event held in Kaohsiung since 2001. The year 2019 is an important milestone marking its 10th anniversary. Containers, a reminder of the once prosperity of Kaohsiung Port with busy cargo throughputs, are used by the artists as the main element or carrier in their works for the Festival (from 2001 to 2011). In The Inhabitables (2013) and Ark of Tomorrow (2015), artists used containers to express their imagination about future home spaces and their brilliant aesthetic creativity, drawing references from the common practice of converting containers into makeshift spaces for daily use in Taiwan. In the Silver Horizon (2017), artists used containers to convey their responses to Taiwan’s aging society, regarding each of decommissioned containers as a symbol of one’s life journey and then giving the containers a new form of life through artistic creativity. In the 2019 Kaohsiung International Container Arts Festival, artists from Taiwan and other Austronesian islands are invited to express their celebration of and responses to civilizations, mountain forests, oceans, and primitive life styles.
等你的地方
A Place Waiting for You
「陷阱」題的出現，是高美館試圖將經營十餘年南島當代藝術的心得做一個階段性的整理，我們特別邀請撒古流、柏楞．巴瓦瓦隆、蘇吏亞伯．布里旦加入工作團隊，兩種文化的語境交會，刺激及深化我們對南島文化的理解；早期研究規劃高美館南島園區植栽的盧建銘建築師帶著原住民學生團隊，就地取材以綁紮及接榫的工法，搭建了藝術家們休息的工寮；藝術總監撒古流設計規劃「等你的地方」，營造舒緩的空間提供民眾展演活動資訊；籌備展覽期間我們所舉辦的共識營，針對藝術家們所提出的創作計畫不斷的反覆辯證，這種種過程讓我們深深的體悟「陷阱」是一個永遠也解不完的議題，就像歷史的發展與推演，循著過去-現在-未來的路徑，進入下一階段的過去-現在-未來！然而，誰是路徑方向的掌舵者？端看你對自身文化的信心有多強！
最後要感謝原住民族發展中心曾智勇主任全力支持本屆貨櫃藝術節，大觀視覺顧問股份有限公司曾堯生董事長、誠美地產開發股份有限公司陳百棟董事長、山藝術文教基金會林明哲董事長，以社會企業的精神合作參與，提供他們長期在視覺藝術及表演藝術累積的豐富經驗，活化了本屆貨櫃藝術節的展演內涵。
The theme of “trap” is also an attempt of KMFA to review what it has learned from its focus on contemporary Austronesian arts over the past 10-odd years. We especially invited Sakuliu, Peleng Pavavaljung and Suliape Pulidan to join our work team. The inclusion of their cultural contexts stimulates and deepens our understanding of Austronesian cultures. Lu Chien-ming, an architect who was earlier responsible for the vegetational planning and design for the Austronesian Park of KMFA, led a group of indigenous students in the construction of a rest space for the participating artists in the Festival using materials available on site and traditional indigenous construction techniques of binding and joinery. The “Place Waiting for You” designed by Sakuliu Pavavalung, Art Director of the Festival this year, provides a comfortable and soothing space where visitors can access information of the performances and activities in the Festival. Through the repeated sessions of discussion and deliberation with the artists about their proposals in the Consensus Camp we held during the exhibition preparation period, we have become deeply aware that “trap” is an never-ending topic, just like the development and evolution of history which immediately moves on to the next past-present-future cycle right after the completion of a past-present-future cycle. However, who will stand at the helm in charge of future development directions? It all depends how much confidence we have in our own cultures!
Last but not least, much gratitude is owed to Mr. Tseng Chih-yung, Director-General of the Indigenous Peoples Culture Development Center for his full support to the Festival this year, and to Mr. Tseng Yao-Sheng, President of Delta Design Corporation; Mr. Hounded Chen, President of Chen Mei Development Group; and Mr. Lin Ming-che, Chairman of the Mountain Art Foundation for sharing their rich experiences accumulated over many years in visual art and performance art, which has helped to enrich and enliven the performances in the Festival this year.
