The Art of Transformation
”以一種不斷演進的方式，記錄藝術家創作的旅程。“
「轉身」代表換個角度再度觀看，也帶有動態持續進行的含義。為什麼藝術家要去駐村？是什麼動機觸發他們離開熟悉的日常？藝術家表示那是種從陌生到熟悉，重新觀看自己的轉化，當中包含面對異地的自我調適、學習與反饋。這段經驗的價值不在於最終成果，而是其過程。
在轉身過後，看到當代工藝在材質與技法表現之餘，更重視其價值和概念思考，附帶人文關懷、社會議題以及環境意識等，其中也交雜個人與群體錯綜複雜的情感關係。社會學家理查．桑內特(Richard Sennett)說「工匠專注於大腦和雙手的緊密連結，展開具體實踐和思考方式之間的對話，這對話慢慢演變成持續的習慣，而這些習慣又在解決問題和發現問題間確立節奏。」
本展希冀提供觀者一窺藝術進駐是什麼？以及藝術家創作如何傳遞當代工藝語彙。
This is a journey which documents the continuous evolution of how artists create their works.
"Transformation" denotes a change in perspective and also indicates an on-going movement. Why do artists choose a residency? What motivates them to leave their daily routine? Some artists say this is to experience the process of familiarizing the unfamiliar, and to review their own transformation. At a new location, artists self-adjust, learn and give feedback, among other things. It is an experience that values the process of art creation more than the results.
Through transformation, contemporary craft has come to emphasize, besides materials and techniques, values and conceptions. Care for humanity, social issues, and the environment follows, just as the complicated, intertwined relationships of individuals and groups. Sociologist Richard Sennett once said, "Every good craftsman conducts a dialogue between concrete practices and thinking; this dialogue evolves into sustaining habits, and these habits establish a rhythm between problem solving and problem finding."
Through the exhibition, we hope to provide a peek into the world of artist-in-residence, as well as the language of contemporary craft that these artists intend to convey.
展區介紹
exhibition guide
連結在地
local connections
「透過藝術，重新發現人與土地的力量。」
----- 北川富朗（日本越後妻有大地藝術祭及瀨戶內國際藝術祭總監）-----
中村綾花(Ayaka Nakamura)、路瓦．里維拉(Lua Rivera)、秋山清(Sayaka Akiyama)
人與人之間因為透過交流而產生緣分。從觀察和聊天開始，藝術家透過他人口述和實際調查後，逐步建構其所感受的在地樣貌。在地居民再熟悉不過的日常，從藝術家的眼中看來卻是如此般珍貴，對照自身的生命經驗，以作品傳遞其獨特的看法與訊息。將藝術實踐的公眾性帶入作品中，強調藝術家與參與者之間的互動關係及其文化多元性。
There is bound to be affinity between people when people come into contact. Starting with observations and chats, then through dialogs and field investigations, artists gradually construct the shape of a locale from their perceptions. Daily routines with which locals take for granted can be precious discoveries in the eyes of artists. By comparing them with their life experiences, artists can convey unique perspectives and messages within their works. Integrating the commonality into their works, artists can emphasize the interactive relationship and cultural diversity between themselves and participants.
展區介紹
exhibition guide
Local Connections
「透過藝術，重新發現人與土地的力量。」
----- 北川富朗（日本越後妻有大地藝術祭及瀨戶內國際藝術祭總監）-----
中村綾花(Ayaka Nakamura)、路瓦．里維拉(Lua Rivera)、秋山清(Sayaka Akiyama)
人與人之間因為透過交流而產生緣分。從觀察和聊天開始，藝術家透過他人口述和實際調查後，逐步建構其所感受的在地樣貌。在地居民再熟悉不過的日常，從藝術家的眼中看來卻是如此般珍貴，對照自身的生命經驗，以作品傳遞其獨特的看法與訊息。將藝術實踐的公眾性帶入作品中，強調藝術家與參與者之間的互動關係及其文化多元性。
There is bound to be affinity between people when people come into contact. Starting with observations and chats, then through dialogs and field investigations, artists gradually construct the shape of a locale from their perceptions. Daily routines with which locals take for granted can be precious discoveries in the eyes of artists. By comparing them with their life experiences, artists can convey unique perspectives and messages within their works. Integrating the commonality into their works, artists can emphasize the interactive relationship and cultural diversity between themselves and participants.
Self Reflections
「即使在這樣一個邊境已經消失的年代，依然相信自己這個人心中還是有製造得出邊境的地方。」
----- 《邊境．近境》，村上春樹 -----
王筱璦（WANG Hsiao-Ai）、任大賢（JEN Ta-Hsien）、夏愛華（HSIA Aihua）、陳宜艷（CHEN I-Yen）、
曾淑玲（TSENG Shu-Ling）、黃偉茜（HUANG Wei-Chien）、廖幸玲(LIAO Hsing Ling)
在這個時代，旅行已經不是一件多特別的事，每個人心裡都會有嚮往的地方，需要透過覺察才會有新的發現。藝術家選擇短暫脫離自己熟悉的日常，走向未知，也是想要有所改變。在異地的生活有時不如預期，但會因為開放的心，有所成長，也會逐步找回自我。把這樣的轉變帶入作品中，不論是孤寂、熱情、緩慢、急躁或憤怒，慢慢地用手拉近與心的距離，沒有覺知和洞察是描繪不出邊境，這是有關意識與觸感之間的故事。
Traveling is no longer special today. Deep down, everybody longs to go somewhere, but discovering that place requires observation. To bring change, artists choose to move away from their familiar routines and wander into the unknown. Life in a different place may not go as expected, but an open heart can lead to growth and, gradually, self-rediscovery. By blending such a transition into their works, be it loneliness, passion, slowness, hastiness, or anger, artists gradually shorten the distance from the heart with their creative hands. No borders can be discovered without awareness and insight, and that is the story between consciousness and awareness.
Derived Dialogs
「藝術不僅反映社會，同時也與社會相互影響。」
----- 《藝術社會學》阿諾．豪瑟 -----
cepó 者播藝術中心（cepo' Art Center）、吳淑麟（WU Shu-Lin）、吳竟銍（WU Ching-Chih）、李朝倉（LEE Chao-Chang）、
張皓涵（JHANG Hao-Han）、陳穎亭（CHEN Ying-Ting）、鄧文貞（DENG Wen-Jen）
藝術不僅只為藝術，而是與他人對話，或是記錄對話，將所觀察的、所聽到的，以獨特的觀點詮釋。從傳統文化的流逝與傳承、異地文化探索、情色文化與身體的對話、疾病與身體的相互關係、消逝的物件到環境議題等。創造與時代的關係，提出質疑與批判，透過不同的手法，表達在生活中所觀察到的現象，期待找出共鳴，讓議題持續發酵與關注。
Art is not just for art, but for initiating dialogs with people or documenting them. Art interprets the dialogs one observes and hears with unique perspectives. These dialogs can include the loss of traditions, discoveries of foreign cultures, the dialogs between erotic culture and conversing with the body, the relationships of diseases and the body, objects from the bygone days, environmental issues, and so on. By creating relationships with the era they live in, artists raise questions and criticism. Through different techniques, they express phenomena observed in daily life, hoping to find resonance and prolong people's attention to the issues.
Reinterpretations
「工藝是不斷在演進的狀態，而我們需要的是
全新的對話。」
----- 格倫．亞當遜 -----
陳漢聲（CHEN Han-Sheng）、施麗梅（SHI Li-Mei）、彭譯毅（PENG ii）、黃千倫（HUANG Chien-Lun）、劉致宏（LIU Chih-Hung）
工藝是當代的。如何拓展藝術的工藝性？使用相異的媒材與技法，可否開創一條具實驗性的獨特意義？在駐村期間，有時間、空間和資源的幫助下，是很好的時機嘗試與學習不同於過往的創作方式，甚至最終與自己擅長的媒材譜出新的作品，表現藝術的多樣性。轉化很難用言語表示，只能透過時間和感受以作品傳達。過程充滿了啟發，為創作帶來前所未見的高潮，並產生新的詮釋和想法。
Craft is contemporary. How does one expound on the artistic values of crafts? Is it possible to have meaningful experimentation by using different media and techniques? With enough time, space, and sufficient resources, a residency is a great opportunity to try and learn different ways to create from the past. It is even possible to come up with new works using familiar or unfamiliar methods, to bring out a diversity in arts. The transitions are hard to be put into words, and can only be conveyed by the works through time and awareness. This process teems with inspirations, and brings about uncharted pinnacles, resulting in works that produce new interpretations and ideas.
展覽團隊
team
主辦單位｜國立臺灣工藝研究發展中心
成立於1954年，為臺灣唯一國立專門工藝輔導機構，致力於建構臺灣工藝文化的主體性、培育優秀工藝人才與扶植工藝產業，並於2003年規劃「臺灣工藝文化園區」，建置臺灣工藝典藏、研究、策展、競賽、品牌行銷、教育推廣、休閒體驗等完整服務功能。近年，持續推動工藝家駐館創作，提供民眾與工藝家對話的機會，從手作中認識工藝，深耕工藝社會。另外，中心也經常舉辦國際設計交流，藉由所設工坊的專業設備，邀請國際設計師近距離了解當地的工藝素材，與臺灣工藝人才合作激盪出研創方案的新火花。本次展覽「轉身之藝」，結合前述駐館工藝家和工坊的資源與設備以及積累的國際交流經驗，開啟國際藝術家進駐創作的首頁，而志工主動參與創作的過程，亦形塑當代工藝由個人創作轉向公共參與的新面貌。
Organizer | The National Taiwan Craft Research and Development Institute
Established in 1954, the National Taiwan Craft Research and Development Institute is Taiwan’s only specialized craft counseling agency. It is dedicated to constructing the identity of Taiwanese craft culture, cultivating excellent craft talents and supporting the craft industry. The Taiwan Craft Culture Park was designed in 2003 in order to offer complete service functionality for Taiwanese craft, including collection, research, curation, competition, brand marketing, education, promotion, and leisure experience. In recent years, the Institute has continued promoting crafts practitioners in residence, providing the public with the opportunity to communicate with craftspeople, learn about crafts through participation, and thus to deepen the culture of craft in society. In addition, the Institute also often organizes international design exchanges program. With the professional facilities provided by its studios, the Institute has attracted international designers to get a closer look at the local craft materials, and to collaborate with Taiwanese craft talents to stimulate inspirations of research and creative solutions. The current exhibition The Art of Transformation has combined the aforementioned resident craftspeople, resources and equipment of the studios, and international exchange experience accumulated over the years, opening up the very first page of international artists-in-residence at the Institute. Moreover, the active participation of volunteers in the creative process has also reshaped contemporary craft practice from the perspective of personal creation to a new look of public participation.
執行單位｜台灣藝文空間連線
「台灣藝文空間連線」是一個以藝術進駐計劃、藝術人才培育、國際文化事務推廣、文化空間政策諫進、文資管理等做為主要推展目標的聯盟，其為台灣各地藝術村經營人才、具有藝文空間營運經驗人士所籌組而成。
作為全台各藝文空間資源交換、整合平台，透過組織串連及活動規劃，齊力健全並壯大台灣藝術文化等整體環境，期待更多新血的加入，活絡並促進國際間藝術機構合作、擴大國際互動的網路。
Executive ｜ Taiwan Art Space Alliance
Taiwan Art Space Alliance (TASA) promotes artist-in-residence programs, art administration education, international cultural exchange, cultural policy proposals as well as cultural resources management. As a platform for the exchange and integration of art space and resources across Taiwan, TASA dedicates to seek alliance with various organizations and facilitated events to empower the connection of the macro-environment of the Taiwanese arts and culture scenes, welcoming new members to activate and develop the cooperation between art organizations worldwide.
策展人｜洪秉綺
獨立策展人與專業藝術行政，現任台灣藝文空間連線TASA協會理事。曾任竹圍工作室營運總監、台北紅館主任。畢業於英國倫敦金匠大學(Goldsmith)文化產業碩士，研究游擊式文化在仕紳化空間的政治關係。曾規劃美國舊金山中華文化中心「無限循環」特展 (2018)、北美館「聰明的消費?」倡議性展演(2018)、再生藝術工坊「永續藝術的合創與想像」特展(2017)、台灣當代一年展「觸發改變的創意連結」創作呈現(2017) 台灣、新北市海關碼頭「流‧域：環境藝術國際小聚」(2016)、再生藝術工坊「深白色的詩歌」(2016)等多項以藝術進駐為起點的展覽。
Curator | Iris, Ping-Chi HUNG
Iris, Ping-Chi HUNG is an independent curator and a professional art coordinator. Currently board member of Taiwan Art Space Alliance, she has previous been Managing Director of Bamboo Curtain Studio; and Manager of Taipei Brick. Hung received her MA in Culture Industry from Goldsmiths, University of London, focusing on the role of pop-up culture in gentrified areas. Hung has co-curated several exhibitions, such as Infinite Cycle at Chinese Cultural Center, San Francisco (2018) ; Smart Consumption? at Taipei Fine Art Museum, Taipei (2018) ; Collaboration and Imagination in Arts and Sustainability at Creative Reused Center, Taipei (2017) ; Water and Land: International Projects on Environmental Arts at Tamsui Customs Wharf Warehouse C, New Taipei City (2016) ; Bleached into the Deep at Creative Reused Center, Taipei (2016).