「圖底圖：為建築與藝術的家園尋址」藝術家採訪集（by翻翻看）

圖底圖： 為建築與藝術的 家園尋址

「我們就像群必須在外海重新造船的水手，從來 就無法在乾船塢裡拆船︑再以其最佳零組件來重 構︒」＿＿形象科學，2015，WJT Mitchell 萬丈高樓從不是平地而起，營建工程的開工儀 式——「動土」已經為我們指明：凡是涉及建造 之處，總是伴隨著清理︑開闢與整肅︒ 哲學家海德格（Martin Heidegger）詩意地連接起 「存有」與「居住」的潛在關聯，並指出我們實 際上都處於一種「被拋狀態（thrownness）」，無 可避免地投入，同時也被投入於周遭環境之中︒ 在建築圖學中，「圖底圖（figure-ground）」即常 用於標示出基地及其周邊的相鄰關係，就如同諺 語「擇鄰而居」所暗示的，居住（dwelling）並不 是在白紙狀態（tabula rasa）上任意進行興建，而 總是在參與︑介入已經既有的環境，並隱含著在 其中重新建立起一段關係的意味︒ 「圖底圖」的繪製，因此代表著相鄰關係的界定 與劃分，並提示出我們與周遭的情況與處境：我 們意欲何往︖我們所居何處︖

Figure Ground: the becoming-home of art and architecture

“We are like sailors who must rebuild the ship on the open sea, never able to dismantle it in dry-dock and to reconstruct it there out of the best materials.” __

, 2015, WJT Mitchell

The loftiest towers never rise from the ground, as the term “groundbreaking” in construction engineering implies: whenever it comes to construction, always comes with destruction and demolition.

The

inner

“Dwelling”

connection as

between

Martin

“Being”

Heidegger

and

poetically

discovered, we’re in fact all in a state of “thrownness”, inevitably being thrown into, as well as thrown ourselves into the world.

In architectural drawings, “Figure-ground” is often used to indicate the building lots related to the vacant spaces contained by the surrounding environment.

As the saying goes, love thy neighbor as

thyself, dwelling isn’t constructing on a tabula rasa at one’s will, but always already participating and interfering in a pre-existing world, and it refers to “building relationship” all the time.

Therefore,

the

drawing

of

“Figure-ground”

represents the distribution and delineation of adjacent relationships, and even more so when it draws attention to our own situation and condition: How Do We Live? How Should We Live?

陳世育（CHEN Shih-Yu）

《造鎮計劃》 2022-2023，攝影

社區型建案當中的一類——造鎮社區，泛指以聯

Township-community, a type of communal construc-

排或獨棟透天厝所形成的集合式社區，其中的聯

tion plan, generally refers to the integrated communi-

排透天厝通常是更物美價廉的選擇︒這幾年，台

ty formed by townhouse or single-family house,

南又開始大量興建這樣的造鎮社區，這些建案時

among which townhouse is usually a cheap and

常座落在腹地廣大的鄉野之間，有些社區是建商

cheerful choice. In recent years, Tainan has seen a

由小到大圈地後，再將大片土地重新開路，使土

surge in the construction of such communities, often

地利用最大化︒

located in vast rural areas in the hinterland. In some communities, developers have merged large tracts of

入住的居民大多來自外地，並在社區落成後大量

land and then redistricted them to maximize land use.

且快速的遷入︒有著筆直的道路和秩序的規劃， 但因為一致的建築外觀而容易使人迷路，這些社

Most of the residents were out-of-towners and moved

區將成為地理和地圖的一部分，無論是在內或在

in large numbers soon after the community was

外的景觀都將是當地居民的日常風景︒

completed. Even with straight roads and orderly planning, but with similar architectural appearance that makes it easy to get lost, these communities will become part of the geography and map, both inside and outside the landscape will be the daily landscape of the local people.

彭韋（PENG Wei）

《陽光普照｜The shine of sunlight》 2023，雙頭鐵筆︑紙︑LED

作品闡述藝術家在烈日的夏至移居到竹北，在

The work explains that the artist moved to

與新竹兩地往返的過程中，能夠看見匯流兩處

Zhubei in the hot summer solstice. In the process

溪流的頭前溪，無論從哪裡出發，每當往返兩

of going back and forth with Hsinchu, he could

地時，身體受著自然環境變化︑亦或光線刺熱

see the Toucian River which confluence two

的照映，眼前景象是模糊看不清的︔沿著頭前

streams. No matter where he started from,

溪每日騎行︑漫步與生活，透過不同速率的身

whenever he went back and forth between the two

體，感受著這條溪的氣息，並在左岸與右岸的

places, the body would be blurred by the changes

風景中將此狀態進行描繪與紀錄︒

of natural environment or the reflection of the prickly heat of light. Ride, walk and live along

場域中的橘紅燈光，是藝術家在冬日夜晚開啟電

Touqian Stream every day, feel the breath of this

暖扇的生活經驗，由於電暖扇散發溫暖的橘紅光

stream through different speeds of the body, and

線，那瞬間彷彿身處於熾熱陽光下，在空間中產

describe and record this state in the scenery of the

生時間錯置的體會，因此作品設置將電暖扇（本

left bank and the right bank.

展版本為夕陽燈）轉換為一種語言模式，在擺動 時如同陽光照射在作品場景的每一處︒

The orange light in the field is the artist's life experience of turning on the electric heating fan on the winter night. The warm orange light from the electric heating fan makes the artist feel like he is under the hot sun at that moment, which creates the experience of time dislocation in the space. Therefore, the setting of the work converts the electric heating fan into a language mode, and when it swings, it is like sunlight shining on every part of the work scene.

張念為（CHANG Nien-Wei） 張大仁（CHANG Da-Ren） 《尋景/ 一條蜿蜒的小徑︑道路︑溪流及其他》 2023，凡戴克棕顯影（Vandyke brown printing）︑水管︑複合媒材

在這次展覽，延續對公司田溪流域的探索，我

In this exhibition, to continue the exploration of

們在山林裡漫遊取材，以淡水︑三芝山區的石

Gongsitian Stream, we wandered in the mountains

造老屋為踏查對象，回應策展對於建築與環境

and took the old stone houses in Tamsui and Sanzhi

的探討︒我們偶然得知了「杜聰明故居」這個

Mountains as the objects of inspection, responding

地方，實際走訪後，面對該處的現況產生了一

to the curators' discussion on architecture and

些疑問與想像，並以此做了幾件攝影和裝置︒

environment. We came to know the place of "Tu Tsung-ming's former Residence" by accident. After the actual visit, we had some questions and imagination of the current situation there, and thus made several photographs and installations.

林安芃（LIN An-Peng）

《你有兩隻眼睛》 2023，30x30x7cm，藍曬於紙上︑夾板 《日光》 2023，110x80x8cm，藍曬於紙上︑夾板 常常觀察物體的表面，因為不同的立面和角度

I often observe the brightness on the surface of an

而產生的明暗︒

object due to the angle of the light.

我製作了一些曲面的造型，在它們的表面塗上

I have created some models with curved surfaces and

感光劑，並且曝光︒

coated their surfaces with photosensitive material

在沖洗相紙的流程之後，記錄下物體表面所接收的

before exposing them.

光，只是較亮的部分和較暗的部分交換了位置︒

After a process similar to developing photographs, I recorded the light received by the object's surface, but the brighter and darker parts have swapped positions.

黃迦勒（Huang Chia-Le）

《人物獨白｜Characteristic》 2021，木頭︑水泥︑壓克力︑金屬︑素描︑水 彩︑噴漆︑輸出物

這系列作品嘗試以材質差異與不同的組構變

This series of works try to express the charac-

化，加入自身對於人與物的理解後，試圖表現

teristics of Architecture, or the materiality of

建築物的人物性（characteristics），或人物的

the characters, by taking the difference of

物質性，目前已發展出14組角色︒

materials and different fabric changes and

並依據角色的不同性格，將他們放置於能夠展

adding my own understanding of people and

現其各自特性的位置上︒這些角色在材質與性

things. So far, 14 sets of characters have been

格之間擺盪，隱隱透露出一些抽象概念與想

developed.

法，或許是自我的投射︖又或許是在回應這個

Depending on the character's personalities,

世界的現象︖

place them respectively to show their individual characteristics.

These characters oscillate

between material and personality, revealing abstract concepts and ideas. Perhaps they are self-projection?

Or is it a response to the

phenomenon of the world?

徐孟榆（HSU Meng-Yu）

《淡海蛋海》 2023，鐵絲網︑木料角材︑水泥板模︑粗糠

《淡海蛋海》以可拆卸的裝飾木條︑建築工程

This work is composed of detachable decora-

水泥板模︑鐵網圍籬等組成，連結造鎮時大量

tive

採用可快速組裝︑縮短工期的模板式建築工

formwork, iron mesh fence, etc. When building

法，反應現代建築工業大量︑快速的特徵︒蛋

the

雞被飼養於佔地「一坪」大的雞舍，在以「海

construction methods that can be quickly

洋都心」建案特徵所設計的產蛋箱產蛋，呼應

assembled and shorten the construction period

了人們對於長期利益「投資」的期望︒作品生

are used, reflecting the large and rapid

產的雞蛋，產地最終被標示為「淡水」，更是

development

反思認為自己是「淡水人」需要花多少時間︖

industry feature.

對何謂「在地生產」的意義提出反思︒

The laying hens are raised in a hen house

wooden town,

a

strips, large

of

the

construction number

modern

of

cement

formwork

construction

covering an area of "one Taiwanese ping(= 3.305 square meters)”, and lay eggs in the egg-laying boxes designed with the characteristics of the "Ocean City Center" construction project, echoing people's expectations for long-term benefit "investment".

To reflect on the meaning of "local production”, the eggs produced during this exhibition was finally marked as “Tamsui". What's more, how long does it take to reflect on yourself as a "Tamsui person"?

《圖底圖：為建築與藝術的家園尋址 ｜Figure Ground: the

of

art and architecture》 展期Date｜2023.03.11－2023.06.11（週一︑二休） 開幕茶會Opening Event｜2023.04.08（六）14:00 地點Location｜he&she space（新北市淡水區新市三路二段285號1樓）

共同策展Curators｜張文豪︑曾哲偉 藝術家Artists｜林安芃︑陳世育︑張念為︑張大仁︑ 彭韋︑黃迦勒︑徐孟榆︑陳孝齊︑趙曼君︑尹洙竫 主視覺設計Graphic Design｜王東岳 展場設計Exhibition Design｜盧國聰 採訪撰稿Interviewer｜周艾萱 專文側記Sidelight｜邱靖婷 展覽攝影Photographer｜黃暐程 策展助理Assistants｜周永航︑何函瑾 空間總監Managing Director｜陸永富 空間督導Managing Supervisor｜張永蕙 主辦單位Organizor｜打開－當代藝術工作站 協辦單位Co-organizor｜he&she space 贊助單位Sponsor｜文化部 Ministry of Culture

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