2012南岛国际美术奖-台东美术馆

1、2016南島國際美術獎Austronesian International Arts Award 2016目次 Contents序 Foreword縣長序 / 黃健庭Foreword from the Taitung County Governor / Justin Huang文化處處長序 / 鍾青柏Acting Director of Taitung County Cultural Affairs Department / 評審委員及專文Essays曲德益/Chu The-I王嘉驥/Wang Chia-Chi賴純純/Lai Jun-Jun南島國際美術獎年度入圍作品Austronesian I

2、nternational Arts Award Finalists南島國際美術獎 Austronesian International Arts Award柯林 Colin Offord優選 Excellence Award巴卡芙萊(林琳、黃錦城) Pakavulay (MalayMakazuwan、 Huang Jin-Cheng)伊祐噶照 Iyo Kacaw佳作 Honorable Mention施永德 DJ Hatfield蔡宗祐 Tsai, Tsung-YU張皓甯 Chang, Hao-Ning何穎琦 Katie Ho島生棲所 Superposition, Biofication, H

3、abitat( Ping-Houng Ku、 Wen-Lan Yu、 Yu-Jung Chen)張碧山 Chang, Bi-Shan馮偉中 Feng, Wei-Zhong附錄 Appendix2016南島國際美術獎籌備會暨評審團委員List of the Preparatory Committee and Selection Panel紀錄照片Photographs臺東美術館簡介Brief Introduction of Taitung Art Museum序 Foreword縣長序文化處處長序評審委員及專文 Essays南島國際美術獎 Austronesian International A

4、rts Award柯林 Colin Offord澳洲，1954年生簡介柯林歐佛是位歌手、音樂家、樂器發明家、視覺藝術家、旅行家及合作者。透過終其一生的旅行、藝術探索及合作，他融合顯明的澳大拉西亞人特色發展出國際藝術形式。結合包含西方經驗主義、民謠、即興創作、東亞、原住民與太平洋文化與哲學影響的音樂、視覺藝術與表演。他從事的活動包括音樂會、環保表演、製造原始樂器與聲音雕刻、跨文化合作、為劇院、電影、舞蹈、新媒體、動畫及馬戲團、展覽及就職典禮、企業與特殊活動、社區專案及工作坊配樂。他在澳洲及全球各地表演，並在火山口、山洞、海灘、森林等及各種不同建築型態的地方舉行環保活動。柯林在澳洲及全世界的大型城

5、市或偏遠鄉村的音樂節、藝術中心、音樂廳、學校、咖啡店、社區場所等表演。他代表澳洲參與在奧克蘭及愛丁堡舉行的大英國協藝術節、澳洲及西班牙的世界博覽會、摩納哥的 2000 年雪梨奧運拍賣會 (Sydneys Olympics 2000 bid) 及加拿大和澳洲的世界鼓樂音樂節。柯林更為西班牙、蘇格蘭、紐西蘭、越南、寮國及南太平洋諸國等國的外交及貿易部，進行文化交流之旅。展覽經歷2016 【REDLAND ZITHER】，聲音雕塑裝置，雷德蘭博物館， 澳大利亞昆士蘭州2014 【ARTEFACTS from the CURLEW REPUBLIC】，與台灣影 像藝術家葉怡蘭聯合展覽，松濤美術館和雷德

6、蘭博物 館，澳大利亞昆士蘭州2014 【THE VESSEL】，2014南島國際美術獎，台東美術館， 台灣2013-2014 【Gold Coast City Gallery Art Prize】，澳大利亞昆士蘭州2013 【Sunshine Coast Art Prize Exhibition】，卡倫德拉地區畫 廊，澳大利亞昆士蘭州2013 【Essences of Taitung】，台南新營文化中心，台北國立國 父紀念館，台灣2013 【Research for Representation of Primitivity】，台灣原住民 當代藝術展，國立台灣師範大學，台灣2012 【2012

7、南島國際美術獎】，銅獎，台東美術館，台灣【時間與潮汐】2016依展場空間而定紙、Xanthorrhoea樹脂、中國墨水、木頭、竹子、石頭、貝殼、種子莢、棕葉、骨頭、金屬、鹽、電腦碎屑、鋼琴絲、五金、膠水地球的海洋正在上升、淡水逐漸減少、環境日益惡化、氣候亦發生變化。我們對待此美麗星球毫無尊重可言，只是一昧貪婪地對其有限資源予取予求。眾所皆知我們的星球和社會正面臨重大考驗，但時間與人性並行不悖，所以我們究竟做了什麼？我是一位視覺藝術家、歌手、音樂家、樂器發明家和旅行者，我所從事的活動涵蓋展覽與佈置、音樂會和環保活動、製作原創樂器與聲音雕塑、跨文化合作、社區專案、藝術村、教學、講習班及原創配樂。本

8、次的裝置作品時間潮汐（TIME & TIDE） 是為省思與默想而設計，以時間潮汐 這本手工裝訂書為中心點，透過書法繪畫、色彩斑紋及自動書寫表達概念和想法，亦藉由書的形式提供觀賞者直接具體的感受。此書的韻律與涵義出自我的一首歌繁衍遊戲The Breeding Game ，講述永無止境的反覆錯誤、貪婪、渴望權力、傷害大自然與濫用天然資源，也論及愛、損失和慾望的力量。周圍牆上則懸掛碎石瓦礫的集合藝術，收集澳洲及台東縣境內所尋獲的天然與人造物件，對它們賦予新的情境、建立嶄新關係，進而打造全新生命。這些物件帶有無形的力量，以及往昔生活所蘊含的旺盛生命力。Colin OffordBorn in 1954,

9、 AustralianPersonal profileColin Offord is a singer, musician, instrument inventor, visual artist, traveller and collaborator. Through a lifetime of travel, artistic exploration and collaboration he has developed an international art form with a distinctly Australasian character. A synthesis of musi

10、c, visual art and performance that embraces western experimentalism, folk music, improvisation, East Asian, Aboriginal and Pacific cultural and philosophic influences.His activities include concerts, environmental performances, the making of original instruments and sound sculpture, cross cultural c

11、ollaborations, scores for theatre, film, dance, new media, animation and circus, exhibitions and installations, corporate and special events, community projects and workshops.He has performed throughout Australia and the world and staged environmental events in volcanic craters, caves, beaches and i

12、n bushland and architectural settings. Colin has performed in music festivals, art centres, concert halls, schools, cafes and community venues, in great cities and remote villages throughout Australia and the world. He has represented Australia at Commonwealth Arts Festivals in Auckland and Edinburg

13、h, World Expos in Australia and Spain, Sydneys Olympics 2000 bid in Monaco and in World Drum Festivals in Canada and Australia. Colins cultural exchange tours for the Department of Foreign Affairs and Trade include: Spain, Scotland, New Zealand, Vietnam, Laos and throughout the South Pacific.Exhibit

14、ion experience2016 REDLAND ZITHER. Sound sculpture installation, Redland Museum Queensland2014 ARTEFACTS from the CURLEW REPUBLIC Joint exhibition with Taiwanese video artist YilanYeh. Redland Art Gallery and Redland Museum, Queensland Australia2014 THE VESSEL. Austronesian International Arts Award

15、, Taitung Art Museum Taiwan.2013-2014 Gold Coast City Gallery Art Prize, Queensland Australia2013 Sunshine Coast Art Prize Exhibition, Caloundra Regional Gallery, Queensland.2013 Essences of Taitung: Xin Ying Cultural Centre, Tainan and Sun YatSen Memorial Hall Taipei.2013 Research for Representatio

16、n of Primitivity, Taiwan Contemporary Aboriginal Art Exhibition, Taiwan Normal University.2012 Austronesian International Arts Award 2012 Art, Taitung Taiwan. Bronze award.【 TIME & TIDE 】2016Dimensions VariablePaper, Xanthorrhoea resin, Chinese ink, wood, bamboo, stone, shell, seedpods, palm leaf, b

17、one, metal, salt, computer detritus, piano wire, hardware, gluesOur oceans are rising, fresh water diminishing, the tide is turning and our climate changing. We act without regard or respect for this beautiful planet and we are consumed with greed in our use of its finite resources.Our planet and so

18、ciety as we know it, is facing great challenges. Time doesnt care about human nature. What have we done?I am a visual artist, singer, musician, instrument inventor and traveller. My activities include exhibitions and installations, concerts and environmental performance, the making of original instr

19、uments and sound sculpture, cross-cultural collaborations, community projects, artist-in-residence, teaching, workshops and original musical scores.TIME & TIDE is an installation designed for reflection and meditation. The central focus of the installation is the BOOK of TIME & TIDE: a hand-boun

20、d book of images and ideas told through calligraphic painting, stains and automatic writing. I have chosen the form of a book as it offers the viewer an intimate, tactile experience.The rhythm and meaning of the book comes from the text of my song “The Breeding Game”. It speaks of the perpetuation o

21、f mistakes repeated over and over again, of our greed, lust for power and the abuse of nature and our natural resources. It also speaks of the power of love, lust and loss.The surrounding walls are hung DETRITUS assemblages: natural and man-made found objects collected in Australia and also from the

22、 Taitung county environment and given a new context, new relationships and a new lease of life. These objects carry an intangible power and vitality of a life already lived.優選 Excellence Award巴卡芙萊林琳臺灣，1980年生展覽經歷2015-2016 【現代的你新一代原住民藝術家創作聯展】花蓮松園別 館，台東生活美學館2015【花東原創生活節】台東美學館，花蓮文創園區2015【東海岸大地藝術節】，東部海岸國

23、家風景區管理處，台東2015【找回心中的那匹狼】，新濱碼頭藝術空間，高雄2014【第六屆原住民藝術工作者駐村計畫聯展】Vibrant Vision 藝述部落，台北 2014 【花蓮石雕藝術季 藝術一條街】，國立東華大學藝托邦藝 文空間，花蓮2014【旅行種子】，Wata，花蓮黃錦城臺灣，1969年生展覽經歷2015【花東原創生活節】台東美學館，花蓮文創園區2014【南島國際美術獎】優選 ，台東美術館【創始的印記】2016依展場空間而定石、竹子、藤、羊毛氈、金屬人在世界會有一次死亡到靈界後會經歷三次第一次變成百步蛇第二次變成鷹，鷹再死亡第三次就變成竹節中亡者的淚水生命中強烈的情感透過鼻笛聲、吟唱

24、經歷一次三次死亡公鹿換新角山豬換臼齒百步蛇以鱗片教導族人蓋石板屋黃昏、暴雨將至時以翹鼻吹氣教導族人吹鼻笛熊鷹的羽毛化成女人生下頭目之子當孩子只在APP認識寶物山林智慧將隨風而逝板模工人爬上鷹架登上山的高度變成一顆螺絲被自己拴在鋼骨上獵人上山在雨中遇見百步蛇脫下衣服給長者遮雨獵人用弓箭織布、演奏樂曲敞開時空時空穿越時空祖靈歸返生命的源頭意義的追尋被喚起的詮釋創始的印記不斷尋找生命死亡再次出生排灣族蛇變鷹傳說，古樓村女祭師laerep口述，胡台麗收集。訪談卑南族老獵人時也聽到百步蛇變熊鷹的傳說。Vetsik ：三角形百步蛇紋、熊鷹羽毛紋飾、人身上的紋刺Pakavulay MalayMakazuwa

25、nBorn in 1980, TaiwanExhibition experience2015-2016 “Modern You New Generation Indigenous Artists Joint Exhibition,” Pine Garden/Hualien and National Taitung Living Art Center/Taitung, 2015 “East Coast Living Art Festival,” Taitung Living Art Center, Hualien Cultural and Creative Industries Park 201

26、5 “Taiwan East Coast Land Art Festival,” East Coast National Scenic Area Administration of Taiwan Tourism Bureau, Taitung 2015 “Re-discover the Wolf at Heart,” Sin Pink Pier Art Space, Kaohsiung2014 “Vibrant VisionArt Tribe,” “The 6th Indigenous Artist-in-Residence Project Joint Exhibition,” Taipei

27、2014 “Hualien Stone Carving Art Festival Art Street,” Artopia Art Space, National Donghua University, Hualien 2014 “Seeds of Travel, Wata, HualienHuang Jin-ChengBorn in 1966, TaiwanExhibition experience2015 “East Coast Living Art Festival,” Taitung Living Art Center, Hualien Cultural and Creative In

28、dustries Park2014 “Austronesian International Arts Award,” Excellence Award, Taitung Art Museum【 Vetsik 】2016Dimensions VariableYellow vine, bamboo, rattan peel, roots、woolPeople will get through death once in life and get through it three times after getting to the spiritual world. The first time i

29、s to become a Cottonmouth snake and the second time is to become an eagle. After that, the eagle will be dead and the third time is to become the deceaseds tears in a bamboo joint. The strong emotion in life gets through death once and three times through the voice of nose flute and singing. New ant

30、lers grow on stags.New molars grow in wild pigs mouths.A hunter runs into a Cottonmouth snake in the rain and takes off his clothing to an elderly for keeping out rain. Cottonmouth snake teaches clansmen to build Talalibi with its scales.While the nightfall and rainstorm are approaching, Cottonmouth

31、 snake teaches clansmen to play the nose flute by tilting its nose to blow. The feathers on Hodgsons Hawk Eagle turn into a woman who gives birth to the son of the chieftain. When children are only interested in treasures hidden in mobile appsThe wisdom of the natural world gradually fades awayThe c

32、onstruction mold workers climb high on the scaffoldsEach turning into screws, fastening themselves to the steel frameThe hunter enters the mountainAnd encounters a Hundred-pace Snake in the rainTaking off clothes to cover the elder from the rainThe hunter weaves fabric and plays music with the bow a

33、nd arrowThe spread of timeTime travels timeProgenitors returnThe source of all lifeThe search for meaningThe annotation which is awakened Mark of the genesis keeps searching its lifeThe death is born againTai-li Hu collected what laerep in kuljaljau dictated was a legend that a snake became an eagle

34、 in Paiwan.Vetsik：the skin of Cottonmouth snake, the feather of Hodgsons Hawk Eagle, and the tattoo on the human body伊祐噶照 臺灣，1980年生展覽經歷2016【植物新樂園】，高雄兒童美術館，高雄2015【夢棲地館藏青年藝術主題展】，國立臺灣美術館，台中2015【松菸與藝術不期而遇】戶外藝術展，松山文創園區東向製菸工廠一樓，台北2015【第三屆遇見白鷺絲公共藝術節】，大湖公園，台北2015【海洋變奏曲】伊祐噶照個展，台灣原住民族文化園區，屏東2015【現代的你新一代原住民藝術家

35、創作聯展】，松園別館、國立臺東生活美學館，花蓮、台東2015【東海岸大地藝術節】，加路蘭遊憩區，台東2015【粉樂町】臺北東區當代藝術展，Home Hotel，台北2015【台大粉樂町】台北當代藝術展，台灣大學，台北2014【編織我們的夢】文化部公共藝術製作案，花蓮文化創意產業園區2014【pulima藝術獎】，台北當代美術館，台北2014【千年密碼】台灣與法國藝術家駐園創作聯展，原住民文化園區，屏東2014【看見魚在笑】法國洛宏汀駐村創作聯展，洛宏汀藝術之家，法國2014【大地的織衣】伊祐噶照個展，花蓮文化創意產業園區，花蓮2014【編織我們的夢】文化部公共藝術案，花蓮文化創意產業園區【算浪

36、5又1/3】2016依展場空間而定檜木、漂流木、漁網、節拍器在南島語族的語言中，Lima代表數字5或手的意思；與大海搏鬥的雙手lima也是我們共同的海洋記憶。部落老人家說Lima是海浪的意思，傳統海洋智慧有5大浪3小浪的算浪技術，可以算出撒八卦網最安全的時機。意指5大浪之後會有3個小浪，需在第5個大浪的5又1/3出手，就可以為家人飽餐一頓。科技改變造成環境破壞，海洋子民所學習的傳統捕撈技術，已逐漸被人類所創造更強大的海洋武器所取代。與海洋連結的傳統文化智慧也將逐漸消失。同時請教二個部落的耆老，尋問有關在海岸及潮間帶的海洋智慧、撒網的算浪技術，以及現今海洋生態的變化。透過身體的勞動，與二地族人一

37、起在海邊撒網捕魚，感受臺東的海洋潮汐與算浪技術，並將其轉化成為創作的重要元素。算浪5又1/3感謝父親教導的海洋智慧，以此智慧獻給所有南島族群的族人！Iyo Kacaw Born in 1980, TaiwanExhibition experience2016 “New Plant Paradise,” Kaohsiung Childrens Museum of Fine Arts, Kaohsiung2015 “Dreams Habitations Young Artist Collection Exhibition,” National Taiwan Museum of Fine Arts,

38、 Taichung2015 “Meeting Art at Songshan Cultural and Creative Park,” 1F, East Tobacco Factory, Songshan Cultural and Creative Park, Taipei2015 “The 3rd Encounter Egrets Public Arts Festival,” Dahu Park, Taipei2015 “Ocean Variations,” Iyo Kacaw Solo Exhibition, Taiwan Indigenous Peoples, Culture Park,

39、 Pingtung2015 “Modern You New Generation Indigenous Artists Joint Exhibition,” Pine Garden and National Taitung Living Art Center, Hualien and Taitung 2015 “Taiwan East Coast Land and Art,” Jialulan Recreation Area, Taitung2015 “Very Fun Park,” Taipei Eastern District Contemporary Art Exhibition, Ho

40、me Hotel, Taipei2015 “Very Fun ParkNTU,” Taipei Contemporary Art Exhibition, Taipei2014 “Weaving Our Dreams,” Public Arts Creation Project, Ministry of Culture, Hualien Cultural and Creative Industries Park2014 “Pulima Art Award,” Museum of Contemporary Art, Taipei2014 “The Thousand Years Code,” Tai

41、wanese and French Artist-in-Residence Joint Exhibition, Taiwan Indigenous Peoples, Culture Park, Pingtung2014 “See Fishes Smiling,” Laurentine Artist-in-Residence Joint Exhibition, at LA MAISON LAURENTINE, France2014 “Textile of the Land,” Iyo Kacaw Solo Exhibition, Hualien Cultural and Creative Ind

42、ustries Park, Hualien2014 “Weaving Our Dreams,” Public Arts Creation Project, Ministry of Culture, Hualien Cultural and Creative Industries Park【 Counting Waves 】2016Dimensions VariableTaiwan red cypress, driftwood, Fishing nets, MetronomeIn Austronesians language, Lima represents the number, “5” or

43、 “hand.” The hands, lima, which fight with sea, are also our common memories of the ocean. The elderly in the tribe said that Lima represents “waves” and there is a skill, which counts waves, called “Five big waves and three small waves” that can count the safest timing to throw the tafokol. That me

44、ans there will be three small waves after five big waves and you need to throw the tafokol at the timing when five and one-third of the fifth wave comes. You can get an abundant meal for your family in this way. The changing of technology has caused “Environmental destruction.” As the people of the

45、ocean, more powerful maritime weapons made by humans have gradually replaced the traditional fishing techniques, which we learn. The traditional culture wisdom, which is connected to the ocean, will also disappear gradually. I ask two tribal elders the ocean wisdom about the coast and tidal zone. Ad

46、ditionally, I also ask the skill of throwing the tafokol about “counting waves” and nowadays the changing of the marine ecology. Through the personal practice, I casted a net to catch fish with the clansmen in two tribes on the beach to feel the ocean tides and the skill of counting waves in Taitung

47、 and turned those into important elements which I created.I appreciated the ocean wisdom, “five and one-third for counting waves”, which my father taught me and I would like to consecrate this wisdom to all clansmen of Austronesia!佳作 Honorable Mention施永德美國，1968年生展覽經歷：2016聲音作品【我們那天在五十步空間】，東海大學美術館2014

48、 聲音作品【跟拉黑子走五十步空間】，Pulima Art Awards2013 聲音作品【會很困難沒人講母語】在臨危語言基金會會議展演2013 【跑船的歌謠】跟哈佛世界音樂樂團表演2012 【戰爭與紀念】在伯克利跟西巨合作表演 【O Wadihang i Pacifalan: Ngiha no Riyar / 迴響。海洋的聲音】2016依展場空間而定聲音裝置、撿拾物 （布，漂流木，塑膠，玻璃）第一步 o sowal no toas / 長者的話 6 minutes第二步 itiyaho / 那些年 5 minutes 第三步 o sakaorip nomita / 是我們的生命 15 minu

49、tes 30 seconds第四部 pinokayan ko mikulakulay / 勇士 12 minutestotal 38 minutes 30 seconds祖靈所賜與我們的海域充滿歷史記憶和個人生命史的迴響，有如海浪一波一波拍岸又溜走，一層一層的回憶，表現的不只是各個年齡階層的不同人生經驗，也呈現了不同價值觀，文化斷層以及文化存活 (survivance) 就這樣在這片海域日夜浮現。勇士的花傘，是守衛還是妥協？曾經當作避風港，漁場，垃圾場，和集團BOT目標地帶的海域會怎麼說？本作品只能反覆得追從PACIFALAN的迴響來尋找答案。DJ HatfieldBorn in 1968,

50、U.S.AExhibition experience：2016 “Journey in the space of 50 steps,” Tunghai University Art Gallery, audio work2014 “Walking a “space of fifty steps” with rahic talif,” Journey in the space of 50 steps, The Second Pulima Art Award, audio work 2013 “Seamans Song,” Performance with Dudley World Music E

51、nsemble 2013 “Itll be very difficult/Nobody speaks mother tongue,” Performance with Foundation for Endangered Languages, audio work 2012 “War and Memory,” performance in collaboration with Siju, Berkeley, CA. USA【O Wadihang i Pacifalan: Ngiha no Riyar / Pacifalan Echoes】2016Dimensions Variablesound

52、installation、found objects (cloth, driftwood, plastic, glass)1. o sowal no toas / 6 minutes2. itiyaho / 5 minutes 3. o sakaorip nomita / 15 minutes 30 seconds4. pinokayan ko mikulakulay / 12 minutestotal 38 minutes 30 secondsThe sea area that our progenitors gave us is full of the historical memory

53、and the resonance of the personal life history. They are just like the waves coming and going over and over again or each period of memory which shows not only different life experiences in all age groups but different values, cultural faults and cultural survival which appear on this sea area day a

54、nd night. Are warriors flower umbrellas for the defense or the concession? How will the sea area, which was a safe haven, a fishery, a wasteland and a target area of business groups BOT once, response? The work of art can just follow the resonance of the PACIFALAN over and over to look for the answe

55、r.蔡宗祐臺灣，1975年生獲獎經歷2016【台南新藝獎】，首獎 2010【高雄獎】，觀察員特別獎【鴨川拳擊館台東移地訓練】2016依展場空間而定複合媒材這是為了南島國際美術獎所做的計畫。主要是以知本國中舉重隊為一個起點，以這樣的題材跟環境來作為創作上的思考。實際上住在這邊會對於這裡的人事物有比較深刻的感受，許多事物歐感到新鮮有趣。我盡量在考慮對象的感受下仍然保有自己創作上的態度，這是來這裡最感到有挑戰性的。創作過程不斷的拉扯、思考。不過總是一步一步地完成，這是讓人感到欣慰的了。Tsai, Tsung-YUBorn in 1975, TaiwanAward experience2016 “Ne

56、xt Art Tainan,” First Prize 2010 “Kaohsiung Award,” Observer Award【 Kamogawa Boxing Hall Move Training inTaitung 】2016Dimensions VariableMixed MediaThis plan is for the Austronesian International Arts Award and the origin is the weightlifting team in Jhihben Junior High School. I think deeply about the creation with this type of creatio