展覽介紹

微型採礦：溪畔的克里奧人 Micro Mining: Creole* along the Riverside

「微型採礦」為郭敬耘自2016年起因移居德國的經驗開啟的藝術計畫，出於與故土故物重拾連結的渴望，作者以個人身體之力挖土造物，並以複製消費社會中材料的取得、製作時援引、挪用的文化語言、購買後以熟悉的母體文化各自表述等取得物的不同階段。

透過「擷取資源」、「製造物」、「使用物」，讓自身身體在資本主義式殖民的凝視與被殖民者（在被擷取資源的地方住民、物件生產者、消費角色者）切換，探討移民與全球化產業下的移地原料開採、大量製造。

2018年底起，郭敬耘以採礦回望台灣，以移居後對故鄉產生距離感的身體，由平地溯源而上逐漸進入山脈，穿行於橫切島嶼的水系間，於挖礦途中遇見溪流、土壤被變造為服務工業發展的資源、依賴其建造的發電設備、改變灌溉習慣造成的耕地與景觀變遷、和仰賴土地卻逐漸在資源分配中遭邊緣化的農業。

我們對自己所居土地的認識究竟建造於怎樣的根基之上？媒體、歷史、體制教育所製造出的集體意識宛如一則則神話，始終是由聽說而來，資訊科技的加速度革新使人得以全知的幻覺將人屏蔽於對土地的直接理解外。

「微型採礦：溪畔的克里奧人*」從雲林縣麥寮的溪流出海口出發，一路上溯至平地與山脈的入口：集集攔河堰，最後抵達位於合歡東峰、奇萊北峰山系間的濁水溪源頭。挖礦的身體穿梭於河床、水系支流、沿岸產業、以及曾經或正居住於河畔的居民對土地的描述之間，訴說農村與都市、地方與世界之間若近若遠的複雜交會。地方在經濟、政治、歷史、族群等力量交互牽引下，物與人呈現的離散面貌。

*註1. 克里奧人（Creole）一詞，原指帝國航海年代歐洲人在南美殖民地的移民後裔，在此被解釋為一種脫離母體文化、因為移居現實而逐漸適應、改變母體身份認同狀態之人。

"Micro Mining" is an art project by Chinyun Kuo; inspired by her experience of relocating to Germany in 2016. Craving to
reconnect with the land and objects from home, Kuo excavates the earth and shapes the earth into objects - all with nothing
more than the artist's bodily strength. Kuo then draws the languages of the consumer society and her native cultures to
illustrate the various stages of making the objects - from the acquisition of the materials, the production purchase of the
objects, to the use of such objects after purchase.

By participating in the process of extracting resources, producing the objects, and using the objects, the artist switches her
gaze between the colonization of Capitalism and the colonized (as the resident of the land from which the resources were
extracted, producer of the objects, and the consumer). Kuo aims to discuss human migration and resource exploitation from
foreign lands and industrial mass production under globalization.

Starting from the end of 2018, Kuo turns back to Taiwan through Micro Mining. As her body became unfamiliar with her
homeland after the relocation, she traveled from the plains to the mountains along the water systems across the island. In her
journey, as she mined, she observed how the rivers and the earth were converted into resources that merely serve industrial
development; she saw the dependence on electricity and power generators changed irrigation and the landscape; and she
witnessed agriculture, once deeply rooted in the land, becoming marginalized in resource allocation.

What is the foundation of our knowledge of the land that we reside? The collective consciousness produced by the media,
history and the education system is not unlike mythology as both were born from hearsay and word of mouth. And yet,
information technology has facilitated - and accelerated - the illusion of omniscience that blocks people from understanding
our land.

Micro Mining: Creole* along the Riverside started from a river estuary in Mailiao, Yunlin County, heading upstream to Jiji
Weir, where the plain ends and the mountains begin, before arriving at the source of Zhuoshui River located between the
East Peak of Hehuan Mountain and the North Peak of Qilai Mountain. The artist transports her body across the river bed,
rivers and streams, and the establishments along the rivers, being immersed in the stories told by those who live - or once
lived, along the riverside of the land. Also, these stories, as they all link to the earth beneath, exemplify the complexity
interwoven between the farming villages and cities, the local communities, and the world. This project highlights the
multiple faces of the objects and people of the land, influenced by the intricate forces of economy, politics, history, and
ethnicity.

* Creole originally refers to the descendant of settlers from imperial Europe to the colonies in South America. The term
Creole, in this context, refers to a person that had broken away from the native culture due to relocation and thus has
gradually adapted to the new reality, and that the person's identity has changed accordingly.

主要策展人

郭敬耘

郭敬耘的作品關注物質媒介、空間、地方與存在其中的人之間的交互關係，2012自實踐大學建築系畢業後，在台灣從事藝術創作、空間及劇場設計的工作，以生活場域周遭的都市景觀發展出現地創作作品、挑戰集體意識的合理性。自2016年旅居柏林後，意識到台灣在國際關係上的特殊位置、殖民背景，與具衝突性的多元族群與文化認同，以後殖民、移民及全球化等主題為創作核心，找尋歷史脈絡與個人性的連結。作品常以空間裝置、行為與現地創作的計畫呈現。她目前就讀於柏林白湖藝術學院空間策略研究所。

Chinyun Kuo, whose work focuses on material media, space, and the interaction between people and the space in which they occupy. Since she graduated from the Department of Architecture at Shih Chien University in 2012, Kuo has been involved in art, spatial and theatre designs. Her in-situ works of the urban landscape often occur within the field of daily life, challenging the rationale of the collective consciousness. After relocating to Berlin in 2016, Kuo became aware of the unique position of Taiwan in international relations, the influence of colonialism, and the conflict among multiple ethnic groups and cultural identities in Taiwan. Kuo has since focused on colonialism, human migration, and globalization in her artistic work, seeking the connection between historical context and the individuals. Her works are often presented as installations, performance
art, and in-situ projects. Kuo is currently studying at the MA program in Spatial Strategies at Kunsthochschule Berlin Weissensee.

展覽工作團隊

策展人、藝術家｜ 郭敬耘
影像｜唐健哲
聲音設計｜許智敏
技術統籌｜黃昶智
展場協力｜曾昀、謝孟翰
印務協力｜O.OO
翻譯｜張芸慎
協辦單位｜忠泰建築文化藝術基金會
贊助單位｜國家文化藝術基金會
器材贊助｜Archicake Design
特別感謝｜鍾秉宏、張致珩、葉俊慶、章雅喬、吳思薇、王又平、邱泰然、許峰瑜、賴建宇、李承勳

Artist ｜Cetus Kuo Chin-Yun
Video Photography｜Tang Chien-Che
Sound Design｜Hsu Jamie
Technical Coordinator｜Huang Chang-Chih
Exhibition Design ｜Hsieh Meng-Han
Translation ｜Victoria Chang
Co-organizer ｜Jut Foundation for Arts and Architecture
Sponsor｜National Culture and Arts Foundation
Equipment Sponsor｜Archicake Design
Special thanks to ｜
Chung Ping-Hung Chang Chih-Heng
Yeh Chun-Ching Chang Ya-Chiao
Wu Szu-Wei Wang Yu-Ping
Chiu Tai-Ran Hsu Feng-Yu
Lai Chien-Yu Lee Cheng-Hsun

展覽資訊

時間
5/30-7/14　10:00-18:00
每週二至週日
(遇國定假日照常開放)

地點
新富町文化市場

相關連結

◢現地工作坊─萬華的土、萬華的器◣ 
講師｜郭敬耘
時間｜6/22(六) 
地點｜新富町文化市場 巷仔內教室
報名｜bit.ly/2WPX7s2

◢閉幕表演─濁水溪 溪水茶席◣ 
時間｜7/6(六) (延期至7/13舉行，戶外表演如遇天候因素將改為藝術家導覽，依園區公告)
地點｜新富町文化市場