展覽簡介 Overview

台灣與印尼爪哇島都位於太平洋火環帶,火環帶上有一連串海溝、列島及火山,圍繞著太平洋長約 4 萬公里。全世界有 80%的地震及 60%的活火山都位在此區域。位於日惹北方的莫拉比火山是一座相當活躍的錐形火山,根據地層學家分析這裏早在 40 萬年前開始噴發,原本以溶岩噴出形成玄武岩,後來轉變成爆炸式的噴發並產生巨大煙柱。大屯火山群位於陽明山國家公園內,範圍包含觀音山、大屯火山、七星山、磺嘴山、丁火巧山等。目前已知最後一次的活動在 5,000-6,000 年前,符合活火山的標準。除了豐富的地理景觀及自然生態之外,從北投到金山仍保留了日本殖民時期的溫泉文化,整個北海岸從淡水到基隆承載了大航海時代過往的歷史脈絡與凱達格蘭族社曾經興盛的生活軌跡。日惹是印尼中爪哇島上的行政特區,也是重要的文化樞紐。過去先後被信仰印度教的馬打蘭王國、滿者伯夷、伊斯蘭教馬打蘭蘇丹等王國所統治。夏特連王國更在西元 8-9 世紀建造了著名的大乘佛寺婆羅浮屠。18-19 世紀印尼受荷屬東印度公司殖民統治,一直到 20 世紀初獨立抗爭期間,日惹曾作為印度尼西亞共和國的首都。

印尼策展人蜜拉・阿絲琳尼蒂雅絲的故鄉就在莫拉比火山的山坡上的卡里烏郎,過去曾以 900mdpl 作為當地雙年展現地製作的主題,邀請藝術家進駐創作。印尼藝術家費伊特莉,透過蠟染工藝及陶罐的裝置藝術講述當地人因自來水系統的安裝,而失去了在溪畔邊取水、洗衣的生活日常及社交活動。莫拉比火山噴發的沙土及岩石是非常好的建築材料,這裏的礦業相當發達。這座火山也見證伊斯蘭及印度教文明的興衰,當地人相信萬物有靈,也流傳著許多的神話故事。迪多・尤沃諾長期觀察紀錄河邊的砂石採礦業者,透過影像紀錄類火山型態的砂石堆,透過創作辯證神靈的存有與採礦業對環境所帶來的影響。菲律賓藝術家馬克・薩爾法特斯的錄像作品《四處遊走》,邀請卡里烏郎在地的居民合作再現傳說的鬼魅精靈穿梭於森林的樹叢之間。荷蘭籍藝術家梅菈・佳爾斯瑪的計畫《堅持:行走記憶》與村民重複散步他們日常步行的路線,請居民分享這些路徑對他們的重要意義後轉化成一系列裝置作品。威莫・巴安拉・巴揚的作品從一座童年記憶中的噴泉雕像,追朔莫拉比山林中類似台灣「魔神仔」及「紅衣小女孩」的妖精與神話,許多流傳故事都講述森林晚間成為熱鬧的市集,及登山者如何被救援的種種故事。馬利揚多的作品以繪畫轉譯莫拉比守護神的名言,警惕採礦者對自然生態的破壞。由莫拉比在地藝術家阿瑪・巴拉卡、伊努・巴努・哈里、努爾・哈瓦里及蘇瓦爾圖組成的南莫拉比團隊,以繪畫及裝置等方式呈現生活在卡里烏郎與火山共生的故事及對環境的觀察。

台灣藝術家蔡咅璟的計畫《山麻雀之歌》觀察野生山麻雀的生活樣態,討論牠們與人類交會的環境。田名璋的錄像及攝影作品《存在的樣貌》、《我的幼稚圓滑梯》從蔓草叢生的荒地中清理出童年遊戲的滑梯,作品討論被遺忘的場域、時間與記憶。劉曉蕙長期關注人類社會與自然的關係,她的錄像作品《山不見山》邀請遊客、居民、學生等不同身份的參與者,在六個不同的景點紀錄有亞泥礦區作為背景的留影過程。另一部影片《有河氏》紀錄從花蓮美崙溪的出海口到水源地,並將自己的身影融入環境之中。武玉玲的作品《脈動-河流》以獨特的編織技法表現大地與河川的脈動與能量,尹洙竫的作品《界域之間》訪談記錄了旅居台灣各地來自不同文化與國家的新住民女性,呈現她們遷徙的故事及跨文化的生活風景。藝術家們不只是在乎真相的觀察者、聆聽者,更可以說是人世間的另類修行者。他們透過各種媒介將情感及思想轉化入作品當中。明代官員瞿如稷所編撰的《指月錄》第 28 卷中記載了青原惟信禪師與門徒分享參禪的體悟,其中一段「見山是山、見水是水;見山不是山,見水不是水;見山仍是山,見水仍是水」說明了他洞察事物後反璞歸真的過程。本篇章以「見山非山」作為主題,雖然停留在撥開事物之表像及探究本質的知識層次,但透過藝術行動的實踐與分享或許有人終能達到「見山仍是山,見水仍是水」的境界。

Both Taiwan and Java Island of Indonesia are located in the Ring of Fire in the Pacific Ocean. The Ring of Fire is a 40,000-kilometer-long area that contains a series of ocean trenches, islands and volcanoes, and 80% of the world's earthquakes and 60% of active volcanoes are observed in this region. The Gunung Merapi is an active, cone-shaped volcano located north of Yogyakarta in Java. According to geologists, its first effusive eruptions took place 400,000 years ago, and it originally produced lava that forms basalt, but later changed to explosive eruptions and produced enormous smoke columns. In Taiwan, the Tatun Volcano Group, located in Yangmingshan National Park, includes several subgroups such as Guanyin Mountain, Tatun Volcano, Qixing Mountain, Huangzui Mountain, and Dinghuoxiu Mountain. The last known activity occurred 5,000-6,000 years ago, so it meets the criteria for an active volcano. In addition to the rich geographic landscape and special ecosystem, the hot spring culture which began from the Period of Japanese Rule has been preserved in this area ranging from Beitou to Jinshan. In all, the entire North Coast of Taiwan from Tamsui to Keelung has witnessed the history of the Age of Exploration and the flourishing of the Ketagalan tribe.Yogyakarta is a special administrative region and an important cultural hub located in Central Java, Indonesia. Yogyakarta was ruled by various kingdoms such as the Hindu "Mataram Kingdom", "the Majapahit Empire" and the Islamic "Mataram Sultanate". Between the 8th and 9th centuries, the Shailendra Kingdom built the famous Borobudur Mahayana Buddhist temple in the region. From the 18th to 19th centuries, when Indonesia was controlled by the Dutch East India Company, Yogyakarta once served as the capital of the Republic of Indonesia during the country's struggle for independence in the early 20th century.

Indonesian curator Mira Asriningtyas brought to Taiwan artworks made by local artists in her hometown, Kaliurang, which is on the slopes of Mount Merapi, and works created by artists whom she invited Indonesian curator Mira Asriningtya for a residency program that leads to a site-specific biennale, titled "900mdpl" in Kaliurang. Indonesian artist Fitri DK used batik and clay pots to create art installations depicting the change of locals' life due to the installation of a water system. The residents used to go to the river to get water and wash clothes, and social activities usually took place along the river; however, after the new water system was set up, everything changed. Dito Yuwono has been observing and documenting sand mining activities along the river for a long time. The sand and rocks from the eruption of Mount Merapi are great building materials, so mining is an industry well developed here. The volcano witnessed the rise and fall of Islamic, Buddhism, and Hinduism civilisations, and as locals believe in animism, they have passed down many mythological stories. Therefore, through his video documenting the volcano-like sand piles, Yuwono tried to validate the existence of ancestral spirits and reveal the impact of mining on the environment. Filipino artist Mark Salvatus invited local residents of Kaliurang to take part in his video project Jalan-Jalan, where the residents were representative of ghosts and spirits and wandered in the forest. In What Persists? Memory Walks, Dutch artsits Mella Jaarsma took walks with the villagers following their everyday routes, trying to figure out the importance of those routes to the villagers and turning these stories into a series of installation works. Inspired by a childhood memory of a fountain statue, Wimo Ambala Bayang traced ghost-like creatures and recorded the myths in Mount Merapi in his works. Many of the stories he collected illustrate how the forest became a bustling market at night. Maryanto's painting is the embodiment of the sayings of Mount Merapi's guardian spirit, warning off the destruction of the natural ecology brought by mining. Art group Merapi Siring Kidul(meaning "South of Merapi") is formed by local Merapi artists Ahmad Barokah, Ibnu Banu Harli, Nur Hawari, Suwarto, and Sutarman. They tell stories of Kaliurang, where people live in harmony with the active volcano, and present their observations of the area through paintings and installations.

Taiwanese artist Tsai Pou-Ching observed the life of Russet sparrows and explored how they interact with humans in Song of the Russet Sparrow. In Tian Ming-Chang's video and photography works The Appearance of Existence and My Kindergarten Slide, the artist cleared the overgrown wasteland to bring back to light a slide, exploring issues about forgotten venues, time and memory. Liu Hsiao-Hui has long been focusing on the relationship between human society and nature. In her video work Mountains Unseen, she invited visitors, residents, students, and other individuals to take pictures at six different scenic spots where Asia Cement Corporation's mining area could always be found in the background. Another film of Liu's, There is a river, documents the journey from the estuary of Hualien Meilun River all the way up to the source, with the artist showing herself up in the video. Aluaiy Kaumakan's work Pulsation Series: River captures the pulsation and energy of the earth and rivers through unique weaving techniques. Yoon Soojung's In Between the Borders is a collection of recorded interviews the artist conducted with new immigrant women from different cultures and countries who live in various parts of Taiwan, revealing their migration stories and cross-cultural life.These artists are not only careful observers and listeners who care about the truth, but also practitioners of specific philosophy who work across various media to transform emotions and thoughts into artworks. In the 28th volume of Book of Moon-directing compiled by the Ming Dynasty official Qu Ru-Ji, there are stories about Zen Master Qingyuan Weixin who shared his Zen philosophy with his disciples, and one of the sections reads: "Seeing mountains as mountains and water as water; seeing mountains not as mountains and water not as water; and finally, seeing mountains still as mountains and water still as water." This illustrates how the Master sticked to truth and simplicity, as he had already got deep insights into things. Similarly, although this chapter " Mountains Seen;No Mountain Being " stays at the level of knowledge which is revealed by removing the surface truth and exploring the essence of things, perhaps through these artistic practices and the exhibition, someone may eventually reach the state of "seeing mountains still as mountains and water still as water" one day.