展覽介紹Exhibition Introduction
臺南現場 - 飛揚的影像On locations, TAINAN - Flying Images
展覽介紹Exhibition Introduction
展區：蕭壠文化園區-鐵道地景
介紹：
戶外空間是由蕭壠文化園區的駐村藝術家與在地的影像工作者合力打造。
李立中自詡為鴿子，嚮往天上飛行的視角，迷戀賽鴿歸巢的本能．他發現鴿子與臺灣的被殖民史密不可分。民俗活動「放鴿笭」傳言起源明鄭時期，鴿笭是裝在鴿子尾部，飛上天受風發出聲響，每年農曆二月期間，村民利用菜鴿體型大能耐重，揹著鴿笭往返村莊競賽所從事的農閒娛樂。菜鴿不是臺灣原生種而是荷蘭人引進，1895年日軍在布袋口登陸史詩戰役－竹篙山之役，菜鴿被賦予揹笭祕密傳送信息到抗日義軍手上的重任。二戰後期美軍轟炸臺灣，也曾因鴿笭聲像空襲警報聲，而明令禁止後沒落。今日只有少數村莊仍保有放鴿笭這個以村莊為單位的對抗賽事。新作《竹篙山之役與紅腳笭》以馱笭飛鴿衍譯歷史在農村生活中的痕迹。
臺北長大留學波士頓的吳孟真，幾乎都在都會中討生活，鹽分地帶對她而言，就是趟新奇的旅程．現地創作時享受著臺南鄉間的恬靜，尤其對夏日熾烈陽光下，培育農作物的網室情有獨鍾。新作《日畦》是藝術家對臺南現場的自由揮灑。吳孟真對臺南夏日熾烈的陽光，以及麻豆與鄰近區域的田園地景，藉多面有如水墨畫般的寬幅影像作為回應。他將相機比擬作雙眼，正對著陽光拍攝，高反差的田野裡果樹與植栽影像，表現出「可見」與「不可見」的奇妙視覺經驗。
「暗箱」是攝影史上最早擷取影像的設備也是相機的前身，回歸原始的針孔投影，藝術家Daniel Paterson將園區裡的五分車廂與樹屋改造為暗箱作品《景庫》，以錄影、攝影等不同媒材的抽象影像創作，對照室外真實舊糖廠獨特的工業場景。
Venue: Siao-Long Cultural Park, Railway Landscape
Lee Li-chung, who calls himself a pigeon and yearns for seeing things from a bird’s eye view, has been fascinated by the racing pigeons’ homing ability. He also discovers that pigeon played a role in Taiwan’s colonial history. The folk activity “Pigeon Ling Racing”, said to be dated back to Ming-Zheng era, was the annual competition between pigeons carrying “Ling”, which made sound when wind blows through. Every February in lunar calendar, usually an off-season for farmers, villagers held the contest by sending meat pigeons, which were larger and better carriers, to carry Ling on their backs flying to another village and returning home, as winter-time entertainment. Meat pigeons, which are not native species in Taiwan, might be introduced by the Dutch. In 1895, the invasion and landing of Japanese army in Budai led to the epic “Battle of Mt. Zhugao”. Meat pigeons were assigned the secret mission of sending messages disguised by Ling to the voluntary army against Japan. At the later stage of WWII, US army had launched air raids against Taiwan. Pigeon Ling was then prohibited by law because it sounded like air raid sirens. The folk tradition of “Pigeon Ling Racing” has thus faded away by time with only very few villages still holding the contests in a smaller scale. My new creation, “The Battle of Mt. Zhugao and Red Feet Ling”, employs the imagery of a flying pigeon carrying Ling to portray the historical changes in farming villages.
Born in Taipei and studying in Boston, WU Mong-Jane has spent most of her life living in modern cities. So, the trip to Saline Land is a fresh experience for her. She enjoys the tranquility of Tainan’s countryside when working on her site-specific project. Under blazing sunlight in summer, she was attracted to the screen-house cultivation for agricultural produce. In her new creation, “SunDay Farm”, Wu freely expresses her feelings about Tainan. Responding to sizzling sunlight and agricultural landscapes in Madou and its neighborhood, the artist presents a panoramic image in a way like Chinese ink and wash painting. She uses the camera as her eyes shooting at the sun directly to create the high contrast scene against the fruit trees and plants in the field. The image also shows a peculiar visual effect of the “visible” and the “invisible”.
Daniel Paterson: Perspective House
“Camera Obscura”, is not only the predecessor of a photographic camera but also the first device to capture images in the history of photography. The artist, Daniel Paterson, using the primitive concept of pinhole projection, has converted the carriage of the narrow gauge train and tree house into dark rooms. By recording and photographing abstract images projected on various media, he intends to make a contrast with the unique industrial scene in this old sugar factory.
The artists have been engaged in creating and working collectively on the project. Visitors can thus learn local history, geography, and culture through these images, whether realistic or surreal. By connecting situations in different spaces, the project depicts Tainan nowadays in a more vivid and faithful way.