蕭壠文化園區Siao-Long Cultural Park
臺南在我心TAINAN in my mind
This series tell the stories of photographers, how they connect with people using photography and reveal the spiritual image of Tainan.
As Taiwan society goes through the process of industrialization, there is an imbalanced resource distribution between southern and northern Taiwan. Many young people from southern and central Taiwan have to move to the north to study and to work. Among these people, there are many Tainanese who had to leave their hometown to seek for a better life. They will only come home and reunite with their family during holidays.
What Tainanese remember about their hometown revolves around the warm hospitality from grandma and grandpa and the agricultural lifestyle that once seemed familiar to them.
Chang Shi-fei has been taking black and white photos since 1998. In the beginning years, Madou was where he took pictures. Twenty years later, the people and the scenery of Madou have changed so much for Shi-fei to recognize. His photography works reveal strong affection and nostalgia toward this land and the people who once lived here.
Chuang Kun-ru is from Madou, born in 1976, he graduated from Department of Mass Communication, Tamkang University. He is currently a senior photographer at Taiwan Panorama magazine, and because of his job, Kun-ru is able to capture stories around the world through the help of his camera. As old family members dwindle away and new members arrive, Madou has somehow become a foreign land to him.
Chen Chin-Pao’s Circumgyraton Project invites children to pose as themselves, as elementary students, with campus as the backdrop. The project started from Taiwan, then to Japan, Korea, and China, capturing different campus memories in his works. In 2017, Circumgyraton Project came to Tsung-yeh Arts and Cultural Center. Scaling up from school campus to a community, Chen interviews people from Tsung-Yeh about their childhood memories and why these things linger in their mind. He then takes photos of the interviewers’ descendants or local school kids re-enacting the memory scenes. Each work contains two identical photos, one is “return”; the other is “re-enactment”. Chen thinks that “photography works are false memories. Image could never be memory itself; it is at best memory’s replica. Photography is a representation or replica of reality. Memory and image are two connected material constantly going back and forth. ”
At the corridor area, it is a collection of old photos from previous sugar factory’s staffs and nearby residents. Curator Chen Bo-I repaired the damaged and faded photos and planted back into the current scene. Chen creates the dialogue of image between past and present in different time and space.
The different qualities presented in three photographers’ work all symbolize the profound connection between elusive memories and concrete images.