Crossing San Guan: North of the Island
Duration: 2022/05/08-06/02 (Fri to Sun 12:00-18:00)
Opening：2022/05/08 Sun. 14:00 – 15:30
Watershed Aesthetics and Art Creation Project：Tu Wei Cheng
Archives：Shan-Qiao-Jun-Honn, Ta-Da-Na Experimental Group, Tc284, Very Temple, P8, Nation Oxygen
Artists：You Yu-Shiang, Zong Lin-Yu, Poyuan Juan, Lin Chun-Ta, Hung Jui-Chien, Jhang Wun-Gong, Chen Kuan-Lin, Zeng Jun-Jie, Ou Chun-Sung
Venue：Bamboo Curtain Studio (No.39, Ln. 88, Sec. 2, Zhongzheng E. Rd., Danshui Dist., New Taipei City 251, TAIWAN.)
During the 1990s, the area of Luzhou, Guandu, Tamsui, and Sanzhi harbored a strong sense of experimentation which was finally liberated with the lifting of the Martial Law. This untamed, free artistic force that was cultivated in the drainage basin of the Tamsui River sprouted in the hearts of young art students, and with the social upheaval of the 90s, this group of artists managed to add to their creative energy by participating in different art events together, which became a vital source of their creative energy. This experience allowed the group of artists to become a signature epochal force, and as Taiwan went through the 90s and post-millennium globalism, the young souls and groups have become illustrious figures in the contemporary art of Taiwan. The works of these artists have matured in their exploration of medium and subject matter, progressed from the local art scene to the stage of international art, and continue to influence the ecology of contemporary art.
Crossing San Guan: North of the Island
By eliciting the areas Sanzhi and Guandu, this exhibition draws attention to the drainage basin of the Tamsui River. Three decades on, the young artists have seasoned into renowned figures in the contemporary art scene, and by returning to the Tamsui River, their works are once again nurtured by the local fields. Nothing is permanent in life; let’s embrace and overcome the difficulties.
This project focuses on the past and present of the drainage basin of the Tamsui River and delves into the topic through the contexts of “factory,” “river,” “land,” and “space.” The project hopes that the wild, spectacular flowers that blossomed in the fields 30 years ago will continue to bloom despite changes in time and space, and that the artists will pass on their spirit of adventure, exploration, and experiment to future generations, practicing and expanding the exploratory spirit of art.
Artist｜Yu Zong-Lin Yu
Through a testimony of action, the positions of the viewer (riverbank) and the viewed (sandbar) are adjusted, thus opening another window to see the development of the Tamsui River area over time and forming a window for the viewer to look back at his or her inner self.
Afternoon Race at the Riverside of Tamsui
Artist｜ Lin Chun-Ta, Chen Kuan-Lin
Tamsui River has played an important role in the history, including transportation, trade etc. Due to its unique location, political, and economic status, many significant buildings and industries have been developed within this area. As time goes on, these local elements have gradually been planned as a part of the tourism industry. This time, we attempted to use the environmental atmosphere which is generated around Tamsui Riverside as a creative idea.
During the time we visited Tamsui, the pace around the area is relatively slow. The “rhythm” was very different compared to the Taipei Metro Area or the society that we currently living in. We try to use racing to build a conversation with the environment. The runners will rush to the finish line after the gunshot meanwhile create some slightly body collision with the tourists. The person will ignore the thing that is happening around because he is in the sense of competition and looking awkward during the process. Through physical measurements and absurd situations, we tried to bring out the phenomena in order to reflect that we are most likely to neglect a lot while chasing after a fast, efficient and competitive life in modern society.
Digital Archaeology：War Game and Remote Sensing
The project started from the local creative project “tsiam nia Tam Tsui River – Aesthetic Creation in the Watershed Project”, which we participated in at Bamboo Curtain Studio in the past, and started to focus on the cultural history and development of the area around Tamsui River from Tamsui. The historical theme of the real-time strategy video game “Age of Empires” published by Microsoft Studios is used as the material for the battle area of the Battle of Huyao, Keelung, Penghu and Taipei City between the French Far Eastern fleet and the Qing army in the Battle of Xizai in Tamshui, northern Taiwan in 1884. We hope to combine the historical research on the Qing-French War and local historical materials with the Tamsui Museum of Antiquities to create a work that explores the local history, hydrology, digital technology, and We hope to combines the research on the history of the Qing-French War and local historical materials with the creation of the Tamsui Museum of Antiquities and Monuments to explore issues related to local history, hydrology, digital technology and war memory.
Monkey cross the road
It mainly uses the artist himself as the camera character, wearing a monkey puppet costume, symbolizing the monkey that outputs random results to the typewriter. Set up insta360 air or other brands of panoramic cameras above people for live streaming and video recording. Hold another device to read the message command, imitating the screen of the live host in the VR game (if there is no audience command at the moment, it will be replaced by a turntable). The audience can order: turn left/turn right/go straight/backward, and adjust the camera’s fixed position: high/low/forward/backward/left/right. Starting from Carrefour Danxin Store, read a command every 30 seconds to 1 minute at the intersection or walk, and adjust the camera position every 5 to 10 minutes. It is estimated that there will be three to six walks of three hours each, continuing from the previous endpoint.
When it comes to the end, the “achievement trophy” (the symbol when the special goal is reached in the PlayStation game) and the achievement card of “area breaking N%” are additionally made of toys, which are symbolically awarded to the characters wearing monkey costumes. Presented together with google’s path record
Using the live broadcast as an open platform recreates the shared experience and connection between the audience and me about freshwater. If possible, I also want to find people from the audience who are willing to play the role of the camera, not limited by the artist’s operation, so that the purpose of you and me on the road is no longer just to pass by or to do something at a certain point.
It is also easy to generate interest in the general public and expand the audience by establishing attractiveness through game/live-action methods. And making the plan itself an attractive medium may make the passing places have the effect of a “sacred land tour” to the virtual works, and induce the rest of the audience to visit and take the initiative to go deeper after the end. The field record data left behind will be more detailed than Google’s static streets, which are limited by shooting distances and commercial photography.
Crossing San Guan: North of the Island
The medal of Hibiscus tiliaceus
Legend has it that during the Battle of Tamsui in 1884, the Hibiscus tiliaceus along the shore of Tamsui played a role in deterring the enemy. At that time, the French army tried to land, but was blocked by the dense hibiscus trees and pandanus tectorius along the shoreline, making it difficult to invade. The French army thus suffered many losses. Finally, unable to move forward with increasing casualties in the stalemate of the war, the French army decided to withdraw from Tamsui. Therefore, the Hibiscus tiliaceus can be called the god tree of protecting Taiwan. In recognition of its service in the battle, I have made a medal to recognize its contribution.
Through painting, interviews, and literature collation, this creation depicts the icon of “Hibiscus tiliaceus” with the intention to incorporate the concept of warfare through the creation. The medal, as a form of creative expression, is related to one’s own work. The military medals have always been associated with abstract or hegemonic meanings for the colors used. However, with the medal being so constantly diluted and translated, the meaning of color may eventually point to a text that has nothing to do with color. I want to paint a medallion whose colors are related to this land, and whose color story has an interesting text behind it. And the Hibiscus tiliaceus, as a symbol of the defense of foreign invasion, is rightly deserved.
Artist｜Hung Jui-Chien, Huang Yun-Xuan
A human-like spiritual symbol stands on a forgotten building, perceiving ‘existence’ itself from the perspective of the passer-by and the onlooker.
The work will be made from various household items left in the ruins of San Chi landfill, mixed with cement, to form a winged human sculpture, which will be permanently installed on the roof of the ruins, facing the sea and the Tam-jin Highway. This work is an attempt to interpret the imagination of an angel that looks between human and anti-human, as the abandoned building is forgotten over the years. As the installation looks at the passing cars and people from a spectator’s point of view, it is as if people, objects and the environment are in a state of unreachability yet interconnectedness; and as everything perceives time differently, the relative tranquillity and silence makes the presence of things even stronger.
Crossing San Guan: North of the Island
Environmental Sketching Project – Who Am I
The project of the environment sketching is based on the concept of sketching to directly face the environment, carry out drawing actions, and directly enter the environment to create.
By observing the surroundings of Danshui River, we can find out the contradictions in the environment that we have become accustomed to but ignored, and use actions to perceive the creation and thinking. In the past, under this kind of thinking mode, the creation was based on the action sketching method of sticking lines on the objects the highlight the issues to be discussed. Therefore, the creative form was more based on visuals as the main action, supplemented by actions. In addition to extending the core concepts of the contradictions in this sketching project, the action itself is the main creative element.
We can think about the potions and relations between the two sides through the actions of the polluter(the drain) and its opposite(the man in white), who am I ?
Through the actions of the polluter (the drain) and its opposite (the man in white), we can think about the positions and relations between the two sides The futility and backflash of this action, and the blurring of the position allow more space for thinking.
The plan is to plant Zoysia japonica, commonly known as Manila grass, in the exhibition space, cover the building floor with a drape, and irrigate by collecting the river water at the confluence of Shumeikeng River and Danshui River next to the studio, trying to create a visual effect. Grass growing from under the concrete surface.To re-occupy Zhuwei Studio with Manila grass, in the space that has ceased operation, to reflect on the status of Zhuwei Studio before and now, the way of storytelling is left to the space itself.
The concept of “Growing” started from Zhuwei Studio, and finally returned to Zhuwei Studio itself. Congsheng not only represents the impact of the Tamsui River Basin on the development of the Greater Taipei area, but also points to the role of Zhuwei Studio since its establishment in 1995 on the young creators of the Guandu and Tamsui generation, and even in promoting the development of contemporary art in northern Taiwan.
Watershed Aesthetics and Art Creation Project
Project manager｜Tu Wei-Cheng
A long-term teaching plan initiated in 2017, the ‘Watershed Aesthetics and Art Creation Project—Crossing San Guan’ focuses on the Tamsui River watershed neighbouring the Taipei National University of the Arts. As a teaching strategy and guiding principle, the ‘mobile classroom’ encourages moving away from the campus into local communities where students can use their academically trained skills to engage in the new settings, such as conducting field studies, interviews, workshops, lectures, executing artistic conceptions, exhibitions and or other creative methods. Over the past five years, the students have collaborated with local businesses, shops and artist villages for the dialogue between art and society, exploring the potential of the arts through its direct interaction with local history, culture, industry, ecology and space.
In the 1990s, the area covering Luzhou, Guandu, Tamshui and Sanzhi carried intense creative energy for experimentation, which had exploded after the lifting of the highly repressive martial law. During this time, artists formed groups as guerilla artist collectives and accumulated creative energy through participating in a range of art events and actions. The experience marked an integral aspect of collective artistic engagement that continues to influence the contemporary art world up to this day. ‘Crossing San Guan’, a combination of Sanzhi and Guandu, reveals the determination to centre the focus on Sanzhi, Guandu, and Tamshui River watershed. Through this project, contemporary artists, curators, dealers and other professionals associated with the region of Tamsui River gather to provoke thoughts and experiments in the framework of atypical classrooms or exhibition spaces, following a curriculum aiming to establish an alternative territory intercrossing the campus, community, internet cloud, and the ecology of River Aesthetics.
Keywords: Watershed Aesthetics, Passing San Guan, participatory art, online lecture, regional linkage