兩個太陽 Two Suns
錄像、動力裝置、工業扇、蒸餾水玻璃瓶、金屬、玻璃、FRP、銀鏡噴渡、鍍金|2022
作品展出於內惟藝術中心
As the opening exhibition of Neiwei Arts Center, Once Within Borders not only concerns the disappearing of borders but also how communities travel and migrate across borders. In response to Navin Rawanchaikul’s Neiwei Rama, Kaohsiung artist group, Walking Grass Agriculture, is invited to create the Two Suns series, which takes inspiration from the Toshien community that were forced to emigrate in Japanese colonial period due to the construction of military port. The community thus relocated to Neiwei and Sinjhuang. The series consists of three components: Two Suns, Water caltrop? Taro? Distilled Water! and Strolling along Toshien. Two Suns is a circular metal mirror, through refraction and diffusion, creates symmetrical and different reflections on the wall, echoing the Sun God that still exists today in the ancestral house of Lee's family in Neiwei, Kaohsiung and the Sun God Temple in Sinjhuang, Kaohsiung. This belief was distributed from Zuoying Toshien to the above two places when the community relocated. The sun is a symmetry of local beliefs and geography. Water caltrop? Taro? Distilled Water! is a metal sculpture combining the shapes of taro leaves and water caltrop, and the glass bottle used in the Kaohsiung distilled water factory. When the industrial electric fan is turned on, the viewer is forced to be enveloped in the huge mechanical sound and the unnatural wind movement., distantly reminded of the past Neiweipi scene while facing the current reality of deeply commercialization and industrialization. The video work Strolling along Toshien references Early Spring in Toshien painted by Japanese artist TANAKA Zennosuke in 1937, a recent collection of Kaohsiung Museum of Fine Arts. In the existing composition of mountain trails, houses and trees, different green colors such as handmade distilled water glass bottles and water caltrop fields are used as color stamps and embedded in the original Early Spring in Toshien, which is mainly in black and white ink. With the sounds collected on site, the dialogue with the ancient painting is a reminder of Toshien before military control.
作為內惟藝術中心開館首展,《解惟‧解圍》不只關注邊界的消弭,也著眼於社群如何於邊界內外流動、遷徙。本展間作為與阿運・若望恰庫《內惟戲院》對應的作品,特別邀請高雄藝術團體「走路草農/藝團」創作,以日治時期左營桃子園因興建軍港而遷村至內惟與新庄仔兩地的歷史為發想,提出《兩個太陽》系列。本系列包含三組各自獨立,又互相呼應的作品:《兩個太陽》、《菱角?芋頭?蒸餾水!》與《從桃子園到桃子園〉,串連起信仰、水文與農業之間的地方風景。
《兩個太陽》為一個圓形金屬鏡面,在牆上折射出對稱又不盡相同的反光,呼應高雄內惟李氏祖厝,與新庄仔太陽宮今日仍存有的太陽星君信仰。該信仰隨著左營桃子園遷村而分香火至上述二地,對稱的太陽呈現地方信仰與地理關係上的對稱性。《菱角?芋頭?蒸餾水!》一作結合芋葉、菱角造型的金工雕塑,與高雄蒸餾水工廠所使用過的玻璃瓶,隨著工業電扇啟動的瞬間,觀者被迫籠罩在巨大的機械聲響中,在不自然的風動裡,遙想過去的埤塘光景,也面對當下重商重工的現實。錄像《從桃子園到桃子園》引用高美館近期典藏的《桃子園早春》,於昭和十二年(1937年)由日本藝術家田中善之助繪製。走路草農/藝團在畫中的山徑、屋厝與樹木的構圖中,將手工蒸餾水玻璃瓶以及菱角田等不同的綠色當作色票,鑲嵌在原本以黑白墨韻為主的《桃子園早春》,並賦予採集聲響,與古畫對話,遙想軍事管制前的桃子園。
《兩個太陽》為一個圓形金屬鏡面,在牆上折射出對稱又不盡相同的反光,呼應高雄內惟李氏祖厝,與新庄仔太陽宮今日仍存有的太陽星君信仰。該信仰隨著左營桃子園遷村而分香火至上述二地,對稱的太陽呈現地方信仰與地理關係上的對稱性。《菱角?芋頭?蒸餾水!》一作結合芋葉、菱角造型的金工雕塑,與高雄蒸餾水工廠所使用過的玻璃瓶,隨著工業電扇啟動的瞬間,觀者被迫籠罩在巨大的機械聲響中,在不自然的風動裡,遙想過去的埤塘光景,也面對當下重商重工的現實。錄像《從桃子園到桃子園》引用高美館近期典藏的《桃子園早春》,於昭和十二年(1937年)由日本藝術家田中善之助繪製。走路草農/藝團在畫中的山徑、屋厝與樹木的構圖中,將手工蒸餾水玻璃瓶以及菱角田等不同的綠色當作色票,鑲嵌在原本以黑白墨韻為主的《桃子園早春》,並賦予採集聲響,與古畫對話,遙想軍事管制前的桃子園。