環境藝術節架構：
策劃顧問：黃海鳴
竹圍工作室以「淡水河流域的藝術介入計畫」為主題，於十月二十五日至十一月二十四日間舉辦《竹圍環境藝術節》。此環境藝術節活動包括一個強調以另類方式於竹圍鎮內及淡水河沿岸進行藝術與「公共空間」對話的戶外藝術展覽、一個有關「藝術介入公共空間」理念實踐的影像資料展，以及十月二十六與二十七兩天在台北市社會教育館四樓會議室舉辦的一場有關「公共空間的藝術介入」的國際論壇及研討會。另外還透過環境藝術節的舉行來動員社區居民參與「公共藝術」的各種活動，並體驗透過藝術所中介的優質人際、人與環境的關係，進而激發共同營造社區美感環境以及生活品質等的行動。
國際論壇主題包括：藝術介入空間、藝術介入生活、藝術營造社區，本次論壇邀請「藝術介入公共空間」的知名研究學者及國際藝術策展人卡特琳‧古特女士、法國藝術哲學家克利斯地安‧赫宇畢先生、以及日本神戶大地震社區營造藝術家田甫律子女士等三位進行專題演講。並結合國內外相關領域之專家、學者及藝術家，針對台灣現況進行深入的討論與交流。
此次《竹圍環境藝術節》的總策劃為竹圍工作室負責人蕭麗虹女士，她本人也是一位藝術家，並曾擔任視覺藝術聯盟理事長，長年推動公共藝術、國際藝術交流及藝術生態改造。藝術展覽部分同樣由「藝術介入公共空間」的知名研究學者及國際藝術策展人卡特琳‧古特女士負責。參展藝術家共六位，包括：王德瑜、林怡年、吳瑪俐、Marcel DINAHET、Fabien LERAT、Akio SUZUKI。
策劃及策展理念：
藝術不應該總是一種令人費解的東西，它應該有些積極的作用，且體現在具體生活處境之中，例如，喚醒人對其當下整體環境以及開放的未來的感知、思考、甚至行動，它對於個人自我以及社會集體性的形成等都負有一定的責任。
生產效率的提高與物質享受條件的進步，並不確保精神的富足與生命的美好，往往反而帶來一種更深的內在貧乏與無力。這種負面的感受，經常來自與人與生活於其中自然與人文環境親密關係的淪喪、人與他人分享及互助關係的淪喪，最後每一個人面對由各種強大機制交錯而成的匿名勢力，深覺全無改變的可能。
台灣已進入以消費為主的經濟型態，在無所不在的各種物質商品促銷，以及來自全球的各種強烈感官及炫麗的娛樂節目衝擊下，到處充滿著一種焦躁與飢渴的奇觀消費狀態，連帶著許多大型藝術展覽也逐漸趨向於奇觀的營造，例如逐漸流行甚至開始氾濫的藝術節就有這種問題。藝術節慶的熱鬧場面與作為人與世界，人與他人不帶利害關係的一種自在、輕鬆的交遇、進而實踐共同計畫的過程，也就是「公共空間」的最主要功能，有著相當大的距離。這兩者的辨別，在台灣當下的社會發展，以及「藝術節」、「公共藝術」等的推展過程中，都是非常重要的課題。
從最近翻譯成中文，由策展人卡特琳‧古特女士所撰寫的《藝術介入空間─都會理的藝術創作》這一本很具啟發性的書中，我們可以讀到她理想中的「公共藝術」的特點，她提到：「公共空間」，是公共思想的空間化，人們在其中聚集，並共同決定城市聚落的未來。藝術與藝術家能開啟一個對公共環境有利的空間，藝術家的自由與創意能夠讓他創造不尋常的時間─空間，人們在這裡可以相遇、交流以及實踐共同計畫，不只提供言語溝通的可能性及樂趣，也讓他們體認及創造屬於社區的公共歸屬感。「藝術介入的計畫」，不是要在現成的「公共空間」中放進一些現成的作品，而是透過藝術元素的介入，加上不定時經過之路人的變數，促成具有地域性、生產性的「公共空間」的形成，也就是「公共空間藝術」的形成，它與一個民住主社會的形成條件有相當密切的關係。
藝術家的名字、作品的實體並非重點，甚至作品孤立的美感也不是重點。藝術並不是用來歌頌一些偉大的事蹟，而是分享與凝聚一些私密卻又能共鳴的個別經驗，正因為切身與私密，所以能夠共鳴。她還強調，「公共空間」並非一些特別地處於中心位置的廣場，「公共空間」無所不在，只要能產生異質的交流。「公共藝術」並不著重於強調那種強迫人感官注意的大製作，而是那種讓人不期而遇、分佈在各處的各種微妙小感覺、小驚訝，那是一種散佈於生活空間中，必須用微妙的身體感官經驗與身體記憶共同連結的整體經驗。「公共藝術」其實就是透過藝術中介來形構具有地域性、生產性的「公共空間」的事件。
台灣這幾年來，不論公私部門對於「公共藝術」、「社區總體營造」、「創造呈相新風貌」等的幾個相關領域，均投注非常多的人力與財力，但我們看到的大多是一些以作品單獨美感為考量的作品，比較好的作品在形式上與空間環境有所呼應，但是大多數往往還是一種捨本求末的藝術干預。「公共藝術」的重點，是要透過最微量與謙虛的物質與行為的介入，來修復或是建立那些被忽略的與天、地、自然、人文環境乃至於具體的其他人的無形的親密關係網絡。從卡特琳‧古特女士所選的藝術家以及所策劃的作品來看，都很能夠說明她理想的「公共藝術」，是要以柔性、非奇觀的「藝術介入社會」的方式來改造整體社會，並主要從人心開始。
這次參展的藝術家有六位，包括：王德瑜，其作品《放風箏》以釣竿放風箏的方式，讓人冥想人與天、地、水和風的微妙牽連。林怡年，其作品《菜園計畫》，以遊戲方式，在淡水河畔鎮上，一路上自己編故事或用不同角度看風景的方式為觀眾作環境導覽。吳瑪俐，其作品《如歌的行板》，其實就是淡水河上的搖籃曲計畫，利用裝置了聲音、味道及影像作品的觀光船/生態船，來喚醒人們對淡水河的記憶及夢想。Marcel Dinahet，其作品《淡水河風光》，提供我們平常無法看到的，一種從水底與水面間觀看淡水河的角度。Fabien Lerat，其作品《橢圓2000》，以山水畫概念，透過大型可進入其中的立體雕塑，讓觀眾以身體體驗淡水河。Akio Suzuki，其作品《點音》，以最無為而治的介入方式，在海水、河流與海岸之間，尋找淡水聲波凝聚的焦點，以及最適合欣賞的位置，可見的部分只是一雙腳印。
隨著內政部營建屬「創造城鄉新風貌行動方案」之海岸地區環境景觀改善，紅樹林生態區、竹圍紅樹林間自行車道的建設、竹圍社區運動公園、關渡自然公園等人文公園的陸續完成開放，民眾終於可以用一種既休閒又富教育啟發性的方式，重新去認識淡水的歷史、人文與自然。淡水在捷運線通車後，儼然成為台北人的休閒空間，當地的藝術家社群，藝術空間，更在此時提供了一種持續且精緻的藝術介入的能量。在這個恰當的時機，舉辦這樣的環境藝術節活動，並選擇這種細膩的「公共藝術─藝術介入社會」的觀念與操作範例，值得關心此領域的先進、及朋友們踴躍參與並且分享智慧與經驗。
Landscape of the Tamshui River, The City Encounters the River
Art Intervention into the Community: the Cultural Landscape of Urban Spaces
The Framework of the Chu Wei Festival of Art & Environment by Dr. Huang Hai-Ming
Curatorial consultant
The Bamboo Curtain Studio’s “Tanshui River Art Intervention Project” will begin on the 26th Oct. till 24th Nov with a Festival of “Art and Environment at Chu Wei”. This Environmental Art Festival will include an alternative way of presenting open spaces between the Chu Wei township and the riverbank. It is a dialogue between the public spaces and outdoor exhibits, a visual documentation of the application of the concept of art intervention in public space, plus a two-day international conference on the 4th floor of the Taipei Culture Center. Simultaneously, through this environmental festival, there will be a plan to initiate interactive participation from the whole community to experience the benefits of art works that can provide better interpersonal relationship, within their surroundings, to initiate a common sense of environmental esthetics and quality of life in situ.
Jointly organized by the Association for the Art Development in Taiwan, the international conference will have three themes: Art Intervention in Space; Art Intervention in Life, and Art Creates Community; this conference will invite international renowned researcher, curator and author of “ Art. Intervention. Public space”, Dr. Catherine Grout, and Doctor of Philosophy in Art, Dr. Christian Ruby, plus post Kobe earthquake community interaction project artist Ritsuko Taho. These three speakers will present their dissertations on these topics. Then there will be panel discussions with local academics and professionals on the current situation in Taiwan.
“The Festival of Art & Environment” is organized by the director of the Bamboo Curtain Studio, Ms. Margaret Shiu Tan, who is an artist, and has been the chairperson of the Visual Arts Alliance in Taiwan, with long-term endeavors on promotion of public art, international exchange and issues of development of cultural environment. The selection of the artists is curated by Catherine Grout who have chosen Wang Te-yu, Wu Mali and Lin Yi Nian from Taiwan, then Marcel Dinahet, Fabien Lerat from France and Suzuki Akio from Japan.
The Curatorial concept:
Art should not be something difficult to fathom, it should have function in a concrete manner in our daily life, such as arousing our awareness to our environment and open our potential to feel, think and act, so that each individual and each social group can form its own a set of responsibilities.
Increase in productivity and materialism cannot ensure spiritual fulfillment nor guarantee a satisfying life; it is often the reverse and brings with it a deeper inner sense of poverty and ennui. This negative complex comes from a deep sense of loss of what is humane and natural in the relationship between the individual to his/her life within the environment, add in fractured interpersonal relationships, eventually the individual facing the on slot of mega structures, the individual feels totally hopeless towards effective change.
Taiwan is now at the stage of economy of consumerism, with endless spectrum of quality products from all over the world, and be bombarded by the array of stimulating entertainment programs which keeps us on a constant high arousal and hunger for the exotic; many mega exhibitions are now also set as platforms for curiosity, such as the current overused operating procedures of art festivals. These popular presentations at these festivals are a far cry from that of a real relationship between the individual and his surrounding. The real essence of “Public Space” is when it has free interaction and joint participation by all in the process for a concept without harm nor exclusive benefit to anyone. The difference between these two: ‘Festivals” and “Public Art” is an important topic right now in Taiwan.
From the recently translated book of Catherine Grout on “ Having Art in Our Daily Lives: Works of Art in Urban Realm" which has initiated much discourse, she has theorizes on the special qualities of “Public Art”. She mentioned that public space is the site for communal thoughts, where people gather to decide on the future of their urban cluster. Artist can open a unique public realm in that space, as they with their freedom and creativity can initiate an unusual time and space, where people can gather and meet, interact and execute projects and not just a verbal exchange of entertainment but a joint experience within the social identity of their community. This “ Art Intervention Project” is not just a venue of art works in a public space but using elements of artistic qualities plus random time and passersby, to create site specific “Public Space”. This is the essence of “ art in public space,” which is a vital ingredient in the establishment of a civic society.
The name of the artists, the physical material of the artwork is not important. Art is not here to give accolade to great events, but to share unique mutual experiences; these experiences are personal and private, yet shared. She emphasized that public space is not necessarily the center of an open plaza, public space is everywhere that is open to such possibilities of experiences. Public Art is not somewhere that one is made to encounter an art work but that which is found by chance in different corners of our environ via various minute sensibilities within our living surroundings, and requires our participation into its realm with our personal experience and memories to its total essence. “ Public Art” is in fact using art as a mediator to provide that which is specific to the public space.
The last few years we have seen in Taiwan various public and private public art, community regeneration programs and revitalization programs. All with much major investment in cost and labor, but we have seen mostly singular works of art, based sole on esthetics. Some works are indeed a reflection on the surrounding environment but mostly they are but an unnecessary interference to the site. “ Public Art” as it intervenes into a space should be a humble exercise on material and action, to correct that which is neglected in the heaven, earth, that which is natural, and cultural with in the environ. The artists selected by Ms Grout has created works that will show the soft and non “spectacular” way of art intervening into the public domain as a way to realign the whole community by motivation from the core of the heart.
The six artists in the exhibit: Wang Te-Yu “ Kite flying” is a way to make each individual connect in a very delicate way to the sky, water, wind, water and earth itself. Lin Yi-Nian is executing a vegetable garden project whereby she conducts in a playful way, a guided tour by creative story telling along the way to enrich the sensitivity of the tour participants to their surroundings. Wu Mali’s project “ the Barcarola” is her current environmentally sensitive way of asking us to imagine travel back in time and forward in technology on this historical river using solar and wind as source of energy. Marcel Dinahet “ Tamshui Estuary” gives us various unusual perspectives of the river, and Fabien Lerat’s “ Mi Ne” is a reference to the Chinese landscape in a huge form, it is a soft interactive piece that let us vicariously feel the waters of the Tamshui river. Akio Suzuki’s “Otodate Chu Wei” is a way of intervention with noninterference as the motto, looking for sound acoustics of the natural shores long this site. For the most effective spots, he will stamp a pair of ears as his mark.
Following the Interior ministry's plans for new creative country style there are many projects to enliven the shores along this river: the red wood mangrove natural reserve, and the bicycle paths and recreational grounds along this area, plus the natural reserve in Kuan Du plains; all these recent openings are really great offerings to the general public to be reacquainted to the river in its historical, cultural and natural elements in a very educational way. Since the opening of the subway line of Tanshui, there are a lot of Taipei citizens going to these shores; and many artists have settled there and art spaces are stationed along its way providing specialized art intervention g projects. This is indeed an appropriate time for an Art and Environment Festival to highlight the concept of “Public Art- art: intervention: Society”. This is a topic that deserves attention for much is there to be experienced and shared.
黃海鳴
台北國立師範學院藝術與藝術教育學系副教授
法國國立巴黎第八大學美學博士
專業領域：美學、藝術評論、台灣藝術狀態研究、藝術生態改造
著作或論文：
1990-2002 大量評論及論述文章有待整理
2002 〈當代雕塑場域與介面間事件─台灣當代雕塑空間場域之初探〉，史物叢刊35 《當代雕塑 演進、變換、探索》，國立歷史博物館
2001 《從「身體」到「城市」的閱讀》，台北市立美術館
2000 〈「美術館」與「大賣場」之間的遊戲─試找出「台灣雙年展2000無法
無天」中的幾個子題〉，《現代美術》第92期
1999 〈九十年代的台灣新潮美術〉(1990-1996)，《傾向》文學人文雜誌 現
代藝術專輯，第十二期，p. /107-162
1999 〈 鏡宮斷裂世界中的多重自我 ─趙春翔繪畫中的空間意象〉，上海交流展畫冊《閱讀趙春翔》，中國美術學院出版社
1998 〈1998年台北雙年展「慾望場域」之空間思維〉，《現代美術》第79期
1995 〈本本土意識、文化認同及台灣當代藝術之脈動〉，《ART TAIWAN The Comtemporary Art of Taiwan 》，台北市立美術館
1995 博士論文：《法蘭西斯 培根 繪畫中的時間性》
1988 碩士論文：《郭熙早春圖中的時間性》
策展記錄：
2002 《C02台灣前衛藝術文件展》與林曼麗、石瑞仁、倪再沁、陳瑞文、林志明等聯合發起
2002 雅逸藝術中心《心象寫實之繪畫潛流》展覽策劃
2002 《台灣國際電子藝術論壇》林其蔚策劃，林宏璋、黃海鳴協同策劃
2002 《沈默三部曲》張鶴金主策劃，李為仁、李奕青、黃海鳴等協同策劃
2002 華山戲塔 《之間─事件》裝置藝術展策劃
2000 華山藝文特區《明日之雕塑界域》雕塑大展，陳志誠、劉伯村聯合策劃、
黃海鳴協同策展
2001 台北市立美館邀請展 趙國宗《原始與永恆的童夢》研究及策劃
2000 華山藝文特區雙年展《驅動城市》總策劃
1999 威尼斯雙年展台灣館《意、亂、情、迷》與石瑞仁聯合策展
1999 九九峰藝術村 《當代傳奇‧藝術逗陣》大展與石瑞仁聯合策劃
1999 鹿港《歷史之心》裝置藝術展策劃
1998 華山藝文特區《穿越華山圍籬、歷史、現成物》裝置展策劃
1998 北美館 侯錦郎研究展《重構失憶家園》研究及展覽策劃
1997 嘉義97《台灣裝置藝術展 大地‧城市‧交響》總策劃
1997 《威尼斯雙年展》台灣館評審及集體策劃
1997 北美館《二二八美展》裝置部份策劃
1992 台北市立美術館《專題展－斷裂與延續》責任藝評籌劃
1991 帝門畫廊《作品中的時間性》專題研究及展覽策劃
