感知棲所—關鍵典藏2019-2020

本展為典藏主題展，「感知棲所」這個展覽名稱，試圖從人與地方的主題出發，在「風土」、「轉譯材質」、「離散」三個層次上，鋪陳人與地方交織的網絡，呈現從高雄擴延至臺灣土地的相關議題，同時開展本館在大南方定位下關鍵典藏的文化軸線。 在林惺嶽、劉啟祥、劉耿一、李俊賢、拉黑子的風景作品中，呈現人置身氣候、地景、海洋、洋流等風土條件，感知並認識自我的存在。延續對大地質感的追求，林鴻文從親身行走臺南城市的過程中，體會風土並將輕透的建料瓊麻末入畫；葉竹盛自西班牙返國後，有感於經濟開發對環境的破壞，將自然材料拼組於繪畫，呈現對現代主義的繪畫性的反思；徐永旭則以身體勞動介入、與空間對話，創造工藝的當代性，這些材質性表現共同提供另一條感受土地、環境的路徑。 最後，在蔡佳葳的高雄港漁工歌唱錄像、侯淑姿的外籍新娘影像，以及澎湖出生、半生居於臺北的陳順築，在家族影像中結合磁磚拼貼手法，共同展現對「家園」與「離散」概念的關注，當人因經濟、婚姻、求學而移動，身體經驗與記憶復返於故鄉與移居地，從而蔓生出模糊邊界／國界的流動性視野，匯聚成一道非同質性，反中心主義的伏流，呈現多重認同的可能。 在此，本展將地方視為一種觀念／概念，亦為在世存有方式，包含從可視的地景、依附地方的時間感等要素中，試圖描繪一幅關於認識、感知南方的概念圖景。 Perception of Places—Essential Collections 2019-2020 As a thematic exhibition based on the museum’s collections, the exhibition is entitled “Perception of Places” in an attempt to start from the theme of “people and places.” On the three levels of “nature and culture,” “re-interpretation of materials,” and “diaspora,” the exhibition describes the network of people and places, discusses the issues related to land from Kaohsiung to Taiwan, and develops the cultural axes of the museum’s essential collections under the policy of “South Plus.” The landscape works by Lin Hsin-yueh, Liu Chi-hsiang, Liu Keng-i, Lee Jiun-shyan, and Rahic Talif manifest that people perceive and understand the existence of themselves under the natural conditions of climate, landscape, sea, ocean current, etc. Continuing these pursuit of the texture of land, Lin Hong-wen, from the process of personally walking in Tainan city, experiences the nature and culture of this place and paints with the light building material—sisal powder. After returning to Taiwan from Spain, Yeh Chu-sheng concerns with the environmental destruction caused by economic development, and he assembles natural materials on his paintings to demonstrate his reflections on modernist painterly quality. Hsu Yung-hsu creates the contemporaryity of crafts through his bodily intervention with physical labor and dialogues with space. These artists’ works stressing the expressions of materials provide another approach to the perception of land and environment. Finally, the video of the migrant workers singing at Kaohsiung harbor by Charwei Tsai, the images of foreign brides by Lulu Shur-tzy Hou, and the family images collaged with tiles by Chen Shun-chu, who was born in Penghu and had lived in Taipei for about half his life, show their concerns about the concepts of “home” and “diaspora.” When people move because of economy, marriage, and education, their physical experiences and memories wander between the hometown and the place of migration, from which a fluid vision of blurred national boundaries is revealed. In addition, a potential trend of heterogeneity and anti-centrism will be formed, bringing the possibility of multiple identities. In the exhibition, “place” is regarded as a kind of idea/concept, as well as a way of existing. Based on the elements of visible landscapes, the sense of time attached to places, etc., this exhibition attempts to depict a conceptual picture about understanding and perceiving the south.