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「花綵列嶼」斷層藝術節

策展論述

花綵列嶼，這一個美麗的名字，它們是西太平洋一系列的島嶼，地圖上排列的形狀就像花環般，是千萬年來海底板塊及火山運動所形成的島鏈。台灣這一個年輕的島嶼，就位於花綵列嶼的中間帶，自然環境裡處處都是時光和板塊運動所刻劃的皺摺。

2018年0206花蓮米崙斷層強震，觸發誕生了本屆斷層藝術節。從地震頻繁的花蓮，沿著這條島弧往北往南跨島延伸，藉由藝術串起不同文化脈絡下的詮釋，使生活領域的地域性議題，對應著全球化連結中的每個節點。

地誌學來看，人類的生活在歷史演進裡形成了一些脈絡，像是行政區、國界的劃分等等；另一方面，地球、大自然也有它自己的一些界線，像板塊斷層就是。造成這次地震的米崙斷層，從七星潭開始，經過花蓮市區，再往東南方到南濱海邊，從地圖上看，就像是一條七公里長的弧線，把花蓮市的一塊土地往太平洋切開了，一邊是菲律賓板塊，另一邊是歐亞板塊。

然而，板塊的界線才沒有在管人類的節奏，它不會因為國家領土而改道，地震要來之前也不會先通知我們。可是這個大自然的界線，跟我們人類的界線，在空間上卻是重疊的，兩者是共同構成了同一個空間。每六十年震一次的米崙斷層，經過千年後，花蓮市東側的這一塊土地，可能就會脫離成為一座小島了。

「斷層藝術節」是0206震後民間發起重建工作中的一環，將從當代藝術的角度去談人的生活脈絡與地球板塊脈絡之間的關係。選在這個時間，是當地震經過一年的沈澱，足以拉開一個距離去看待，並且還不至於遺忘。循著斷層的路線，我們邀請三位藝術家發展作品，藉此開展出三個層次的探討。

王煜松─共同記憶與概念性對象的迫近
作品《花蓮白燈塔》為2017台北獎首獎。作品內容關於38年前花蓮的共同記憶，因花蓮港擴建而炸毀白燈塔。藝術家試圖去迫近這座已不存在的白燈塔，當他窮盡各種方法仍不可得之下，卻趨使一個概念上不可見的對象變得清晰。

劉致宏─生活領域與空間範疇的兩義性並存
作品《虛線Dashed Line》，藝術家將大型的發光虛線設置在美崙溪河畔草地上，與環境發生對話，作為一個界面層進行提問及表述，虛線以其自身的概念性，對照生活領域與空間範疇，指出其中虛-實、存在-潛藏之間的並存、對立。

中島伽耶子─文化差異與創造性經驗的連結
作品《層Layer》，藝術家透過變成停車場的倒塌大樓，觸發探討生活中不自覺忽略掉的層面。高度及膝的矮牆圍籬散佈在草地上，帶來一種趣味，孩子們可以在這裡跑跳。而矮牆的表面貼上磁磚，卻指向傾倒的房屋。晚間，矮牆的入口處將亮燈，黑暗中不可見的屋子在記憶和想像中隱隱成形。

by 李德茂

DISCOURSE

Island Festoon, a beautiful name, are a series of islands in the Western Pacific. The shapes when seen on a map look like a wreath. It is an island chain formed by sea-floor plate and volcanic movements over millions of years. Taiwan is a young island located in the middle of the Festoon. The natural environment is full of wrinkles caused by time and plate movement.

The February 6th Hualien earthquake in 2018 touched off the birth of the first edition of the Fault Line Art Festival. From the frequent earthquakes of Hualien, this island arc, extending from north to south, connects many interpretations in different cultural contexts through art. The regional issues in the field of life correspond to each node in the globalization link.

From the perspective of topology, humans have had an impact on the evolution of history, such as the divisions of administrative districts and national boundaries. On the other hand, the Earth and nature also have their own boundaries, for example, plate faults. The Milun Fault that caused the Hualien earthquake begins at Chihsingtan Beach, passes through Hualien City, and carries on southeast to the South Coast. It looks like a 7-kilometer curve that carves a piece of Hualien city into Pacific Ocean. One side is on the Philippine plate and the other is on the Eurasian plate.

The boundaries of the plate do not respect the rhythm of humanity. It will not divert because of national territory. It will not notify us before an earthquake strikes. However, the natural boundaries and human boundaries are overlapping in the same space. The Milun fault strikes every sixty years and this land on the east side of Hualien City may be separated into a small island in a thousand years.

The Fault Line Art Festival, initiated by civil society, is part of the reconstruction work taking place since the February 6th earthquake. I will try to talk about the phenomena and relationships between the context of human life and the context of earth plate from the perspective of contemporary art. It is a proper time to have a distance to look at it and not to forget after one year of the earthquake. Following the fault line, we have invited three artists to develop artworks and to explore three levels of discussion.

Yu-Song Wang - The common memory and the approaching of conceptual objects
“Hualien’s White Light House” won the first prize of the 2017 Taipei Arts Award. The content of the work is about the common memory of Hualien 38 years ago, and the white lighthouse that was blown up to facilitate the expansion of Hualien Port. Wang used several ways to approach Hualien’s White Light House, which no longer exists. However, it is always impossible to reproduce it. The concept of an “invisible object” became clear in this process.

Chih-Hung Liu - The coexistence of the ambiguity of life and space
The work “Dashed Line”: The artist will arrange a giant illuminated dashed line on the grass on the banks of the Milun River to have a conversation with the environment. The work serves as an interface layer to ask questions and express thoughts. The dashed line with its own concept is compared to life and space category. It points to the virtual-real, existential-hidden coexistence and opposition.

Kayako Nakashima – Difference of culture and connection of creative experience
In the work “Layer”, the artist tries to discuss the life level that people ignore unconsciously through a collapsed building that became a parking lot. Knee-high, and low-wall fences are spread over the grass; it brings some fun. Children can run and jump here. The surface of the low wall is interspersed with tiles, but it points to the collapsed house. In the evening, the entrance to the low wall will light up; the invisible house in the dark is faintly formed in memory and imagination.

by Te-Mao Lee

主辦單位：北角工作室
協辦單位：七公里的幸福街坊
贊助單位：和碩聯合科技、國藝會、喜品家乳酪蛋糕、璞石咖啡館、豐興餅舖
特別感謝：大樹影像、台北國際藝術村、左岸精品建材行、田智宣基金會、竹圍工作室、兩天工作室、花蓮市民生社區發展協會、花蓮市明禮國小、花蓮縣花蓮故事協會、花蓮縣政府建設處水利科、孩好書屋、國立東華大學藝術學院、野地藝文、拍攝/張能禎/蔡詠晴、設計/胡若涵、歌手/方小糖/黃緯傑/盧怡安/龍珠慈仁