展覽介紹Exhibition Introduction
蕭壠文化園區Siao-Long Cultural Park
臺南現場 - 政治符碼On locations, TAINAN – Political codes
展覽介紹Exhibition Introduction
展區：蕭壠文化園區A4-2館
簡介：
常聽人說政治歸政治，藝術歸藝術；其實政治與眾人息息相關無所不在，尤其在整個臺灣民主的進程上，從毫無自主權的殖民屬地，歷經獨裁統治、白色恐怖、戒嚴與解嚴；從地方選舉到國家領導人的普選，民主運動曾如狂潮般地奔流街頭巷尾，到進入立法院的殿堂。在幾次的政黨輪替之後，臺灣的政治場域也進入一個比較沉潛的狀態，今日臺灣甚麼才是政治正確？藝術家用一種安靜平和的口吻淡淡地透過符碼來呈現政治、人民與國家的是是非非。
近年來嶄露頭角的陳以軒，將注意力放在馬路上的選舉人帆布看板。今年適逢選舉年，在地的參選人在各個角落，架起一面面個人形象看板，臺灣的選舉照片本身大都平淡無趣，但在攝影家眼中，這些政治人物看板與前前後後的環境交織，包括支撐的鷹架結構、發育快速的爬藤植物所占據的版面、颱風狂掃過後竹架傾倒的模樣等，構成另類的政治舞臺秀。
攝影節也首度與韓國光州市立美術館合作，藝術家李世鉉同時也獲邀參加「2018光州雙年展」，他的作品以動態的侵入物，如丟擲石頭等行為與背景的歷史場所相互對應，藉著攝影快門的凍結，讓外物的介入呈現出「這既是歷史，也是當下」的時空關係。在負載著故事的歷史場域進行一場跨時空的對話，有如代表著人類的暴力、侵略性及衝突欲望，正呼應這些歷史場域的本質。
Venue: Siao-Long Cultural Park, Gallery A4-2
Introduction:
“On Locations, Tainan” of the 2018 Taiwan International Foto Festival (TiFF) focuses on the local life in Xibei (north of Zengwun River). The “Salt Region” is the alias of this place, meaning that people living in this junction of the ocean and the land are working hard to make a living and struggling against the barren natural environment, and such hard life builds the diligent, humble, and persistent characters of local people.
People often say let politics be politics and let art be art; however, politics is ubiquitous and closely related to people. Especially in the process of Taiwan’s democracy, we went from a colony with no autonomy to going through dictatorship, the White Terror, the imposing and lifting of martial law, local elections and general elections of the national leader. Democratic movements stormed all the way from the streets to the Legislative Yuan. After several party alternations, Taiwan’s political field has finally entered into a relatively calm status. But what is politics in Taiwan? The artist uses a peaceful tone to present politics, people, and state with codes.
Rising star Chen I-Hsuen drew his attention to the advertising boards of election participants on the roadside. This year happens to be the election year, and at every corner is an image board of local participants. Election photos themselves are mostly mundane and dull in Taiwan, but in the eyes of the photographer, the photos intertwining with surrounding environments, the supported scaffolds, fast-growing vines covering the boards, and the tilted bamboo racks after typhoon constitute an alternative political show.
This year, TiFF also works with the Gwangju Museum of Art for the first time. Artist Lee Saehyun was also invited to the “2018 Gwangju Biennale”; he uses dynamic intrusions such as throwing rocks to interact with the historical venues in the background. The camera freezes the moment of intrusion and presents the space-time relationship that is “both historical and contemporary”. Lee’s works allow historical fields carrying stories to conduct a dialogue crossing time and space, and reflect mankind’s violence, aggressiveness and conflicting desires through historical venues.
With the collaboration of artists, innovative photographical works are used as the subject to link Tainan’s history, geography, and culture with various spaces to present a clearer and more vivid contemporary Tainan.