▋《慢形構—在邊緣滑移》—— 台灣荷蘭香港交流計畫

Transformation-Strolling on the Edge 

#策展論述

南萬華，古稱加蚋仔，此地鄰近新店溪，為昔日凱達格蘭語之「沼澤地」（gara）。因位於大稻埕及中和渡口間的重要道路，隨著大英帝國的全球貿易於十九世紀興起，產自北部山區的茶葉、樟腦等重要物資從此地經淡水河系運往碼頭匯集。「邊緣樞紐」（Marginal Hubs）(註1)  一詞係指位於地理或政治位置上之邊境地帶，跨越農村與城市、現代與歷史、邊緣與中心之界線，通常是邊境哨所、沿河集市、菜市場、城郊衛星工業區等。這些地方雖發展各異，卻同樣充滿著活力且多元的社會組成及社交模式，探索「邊緣樞紐」成為了解亞洲社會異質性的切入點。如今，於萬華沿河設立的台北市第一果菜批發市場及台北魚類批發市場每日都有批發及競拍，凌晨三點半開始叫賣聲此起彼落，貨車、大型推車熙來攘往。拍賣結束後，成群的拾荒者推著推車將廢棄紙箱帶到萬華僅存之回收場「光耀五金行」(註2) ，換取微薄的生活費，形成獨特的資源流動景觀。這也是南萬華地區多面性的體現—逐漸邊緣化的老城區、最具規模的批發市場與拾荒經濟間並存。這也成為藝術家至水谷藝術駐村時，進行「藝術行駛」的首站。

►當「慢行」作為方法

荷蘭藝術家 Frank Havermans自去年至水谷藝術駐村調查後，於今年再次赴台進行二度駐村創作及研究。他以建築師／藝術家的獨特視角，觀察南萬華的景觀與城市關係，使用在果菜市場裡乘載「交易」意象的電動拖板車為創作基底，並參考十七世紀由荷蘭東印度公司為貿易航線所建置的熱蘭遮城（Fort Zeelandia）平面圖為基礎模板，重新於拖板車平台上建構一介入地方的實驗裝置，成為此次現地製作《板車0504》（Trolley 0504）。創作過程中，藝術家亦將此大型裝置於南萬華巷弄間行駛游移，並以影像記錄果菜市場攤販與在地居民的回應，最終駛回水谷藝術。他試圖藉由往復循環數次（loops）的行動，展現自身對當地網絡之觀察，推車裝置的「形構」也隨著藝術家「行遍」萬華巷弄不斷「形變」，於展期間形成有機的發展過程。展期結束後，藝術家將拆解、摧毀裝置部分，並遵循本地的處理方式，將作品構件運送至附近的台北市回收站（recycle center）處理，如同以藝術操演方式完成市場攤商的循環日常（cycle）。

►Art Together 藝術與街區相遇

本次展覽也將展出2015年由香港藝術團體 ART Together 藝術到家、香港藝術家張震揚、張才生同水谷藝術合作的計畫「加蚋仔流動故事車」相關紀錄。該計畫延續藝術到家於港澳地區活化鄰里與社區的脈絡，於台灣駐村期間，張震揚以攝影專長，製作一台利用果菜市場紙箱構成暗箱顯影的手推車裝置；張才生則發展出以萬華三寶——茉莉花、豆芽菜、麻竹筍為創作素材的互動裝置推車，並在於南萬華東園街區進行踏查互動後，將裝置進行變動，加入鐵鍋、煲、歌曲《少女的祈禱》及里民贈送的神秘果等元素，回應此地的都市發展與街區日常。推車於此直指一種城市漫步，移動於街區的媒介，藝術家以手推車裝置的形式採集地方紋理並進行擾動，隨著深入街區，邀請居民以非日常的取景角度重新觀察南萬華，並於店家及攤商前進行經驗分享、文化交換，讓各類故事流經，建立起彼此巧遇（encounter）的契機。

展覽「慢形構—在邊緣滑移」（Transformation-Strolling on the Edge），不僅展出藝術家Frank Havermans的駐地創作，也透過展出水谷藝術往年駐地計畫「加蚋仔流動故事車」的檔案，重新思索藝術進駐作為一種「臨時性在地」的狀態，在差異創作者的行動對照下，暗示著其中產生關係、連結與共存的異同。本次將分為兩階段展示，8月12日至8月19日將展出Frank Havermans作品製作過程，期間拍攝裝置於街區進行互動，邀請觀眾透過不同維度的歷史鏡頭，隨藝術家緩慢行駛於南萬華的姿態，帶出「慢」遊即思考的行動，也象徵承載著一種新的都市政策及萬華景觀的動態關係。而8月19日至9月10日將隨街區行動結束，正式展出藝術家Frank Havermans的作品《板車0504》（Trolley 0504）及錄像。「慢形構—在邊緣滑移」希望藉由參展藝術家的作品，提供轉譯萬華老城的有機對話，邀請觀眾參與多層次的「藝術聚匯」（art gathering），也同時回應著「邊緣樞紐」一詞——在日常生活中普遍存在差異的地方。

註1：MAGNUS MARSDEN, and MADELEINE REEVES. “Marginal Hubs: On Conviviality beyond the Urban in Asia: Introduction.” Modern Asian Studies, Cambridge University Press, Mar. 2019.

 註2： 藝術家Frank Havermans來台駐村期間(2022-2023)，恰逢經歷「光耀五金行」因政策條例而於2023年2月15日停業。

▋Transformation—Strolling on the Edge

#Curatorial #Statement

Southern Wanhua, formerly known as Ka-la̍h-á, is located near the Xindian River and was historically referred to as “swamp” (gara) in the Ketagalan language. Situated within the significant pathways of Dadaocheng and the Zhonghe pier, this area flourished in the 19th century following the rise of the British Empire’s global trade during the time. Significant commodities such as tea and camphor from the northern mountain regions of Taiwan were transported via the Tamsui River Watershed towards the docks.

The term “Marginal Hubs” (1) designates geographical or political frontiers that transcend the boundaries between rural and urban, modern and historical, periphery and center. These indeterminate areas often comprise border outposts, riverside markets, vegetable markets, suburban industrial satellite cities, and such. Despite their different development trajectories, the areas exude vibrancy in their collective diverse social compositions and multifaceted modes of interaction. The exploration of these “Marginal Hubs” therefore provides an entry point to better understand the heterogeneity of Asian societies. 

Today, located at the riverside region of Wanhua, the Taipei First Fruit and Vegetable Wholesale Market and the Taipei Fish Market continue to conduct wholesale auctions daily, where auction calls begin as early as 3:30 in the morning, with trucks and large carts bustling to and fro. After the auctions, groups of scavengers collect and push cartloads of discarded cardboard boxes to the remaining recycling center in Wanhua—known as the “Guangyao Hardware Store” (2)—in exchange for meager living expenses, forming a distinctive spectacle of resource circulation. Such a spectacle embodies the multifaceted nature of Southern Wanhua, demonstrating the simultaneous existence of a gradually marginalized old city district, its largest wholesale market, and the informal economy of scavenging within. This intersectional quality of the area established Southern Wanhua as the ideal first stop for the artist’s “motivation” for this project during his previous residency at Waley Art. 

► “Strolling” as Artistic Pathways

After his research residency at Waley Art last year, Dutch artist Frank Havermans returns to Taiwan again for his second residency, focusing on creative work and research. In examining the landscape and urban relationship of Southern Wanhua from his unique perspective as an architect/artist, Havermans opts for an electric cart, a symbol for the “heritage of commerce,” as the basis for his creation. Referencing the layout plan of Fort Zeelandia—a 17th-century trading post constructed by the Dutch East India Company for trade routes—as the foundational template, the artist reconstructs an architectural installation on the cart’s platform, naming this site-specific work Trolley 0504. During the creation process, Havermans maneuvered the large-scale installation throughout the alleys of Southern Wanhua, recorded the reactions of market vendors and local residents on film, and eventually drove the cart back to its initial departure point at Waley Art. With the multiple back-and-forth movements of the cart’s trajectory, or “loops,” the artist aims to display his observations of the local network. The configuration of the installation itself also undergoes a continuous transformation as the artist traverses throughout the alleys of Wanhua, resulting in an organic developmental process of the work; the process occurs during and extends beyond the exhibition period as well. After the end of the exhibition, Havermans plans to dismantle and destroy the installation piece. Adhering to local protocols, the pieces that make up the installation will be transported to a Taipei recycling center nearby. Through the artistic enactment of “recycling,” this final step completes and mirrors the “cyclical” daily routine of market vendors. 

►Art Together (Where Art Encounters the Neighborhood) 

The exhibition also features the archives of the Mobile Art Strollers project, a collaborative effort by the Hong Kong art group ART Together with Hong Kong artists Martin Cheung and Choi Sang Cheung, and Waley Art as well. This project extends ART Together’s concept of reanimating neighborhoods and communities in Hong Kong and Macau. During the two artists’ residency in Taiwan, Martin Cheung utilized his expertise in photography to create a handcart installation made out of cardboard boxes from the local market, forming a pinhole camera. On the other hand, Choi Sang Cheung developed an interactive cart installation that displayed the “three treasures of Wanhua”—jasmine flowers, bean sprouts, and Ma bamboo shoots. After the artist conducted interactive excursions within the Donyuan Street area of Southern Wanhua, the installation cart was modified with the incorporation of various elements such as iron pots, kettles, the song A Maiden’s Prayer, as well as miracle fruits gifted by the local residents—all which combine to reflect the nature of the neighborhood’s urban development and daily life. Moving continuously through these streets, the cart installation becomes a medium that carries out the act of “urban strolling,” an act that allows the artist to simultaneously amass yet disrupt the local context. As Choi Sang Cheung navigates the cart deeper into the neighborhood and engages with local shop owners and vendors, residents are invited to reexamine Southern Wanhua from unconventional perspectives; the shared experiences and cultural exchanges thus allow the  “flow” of diverse stories, fostering serendipitous encounters. 

The exhibition Transformation—Strolling on the Edge not only features artist Frank Havermans’ residency project but also re-evaluates the idea of art residency itself as an experience of “temporary locality” by presenting the archives of Waley Art’s previous project Mobile Art Strollers as well. By juxtaposing the similarities and differences between these artists’ projects, the exhibition aims to imply the emerging creation of connection, relationships, and coexistence. The exhibition will be presented in two phases. Frank Havermans’ creation process will take place from August 12th to August 19th, which will feature the filming of the installation’s real-life, on-street interactions. The audience is invited to engage with the artist’s “stroll-like” exploration of Southern Wanhua through various historical perspectives and embody the concept of “slow-wandering” as a mode of contemplation. This process also symbolizes the dynamic relationship between new urban policies and the current, albeit older landscape of Wanhua. Following the filming of the interactive project, the official exhibition of Havermans’ artwork Trolley 0504 and the videos will then take place from August 19th to September 10th. Transformation——Strolling on the Edge aims to shed light on the old Wanhua district through the artworks it features, inviting the audience to engage in a multi-layered “art gathering”, and simultaneously responding to the concept of “Marginal Hubs” which emphasizes the common differences present in mundane everyday life. 

Note 1：MAGNUS MARSDEN, and MADELEINE REEVES. “Marginal Hubs: On Conviviality beyond the Urban in Asia: Introduction.” Modern Asian Studies, Cambridge University Press, Mar. 

Note 2：Due to policy regulations, “Guangyao Hardware Store” closed on Feburary 12th, 2023—coincidently during artist Frank Havermans’ residency in Taiwan (2022-2023).

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►展覽資訊 Exhibition Information

展覽｜慢形構——在邊緣滑移 Transformation - Strolling on the Edge 

藝術家Artists｜Frank Havermans、藝術到家Art Together、張震揚Martin Cheung、張才生 Choi Sang Cheung

策展人Curators｜林以寧Yi Ning Lin、黃羿瑄 Yi Hsuan Huang

日期 Exhibition Dates｜2023.08.12 Sat. – 09.10 Sun.

開幕茶會Opening Reception｜2023.08.19 Sat. 2pm

時間 Opening Hours｜週一至週日 12:00-19:30 

地點Venue｜水谷藝術 Waley Art

地址 Address｜臺北市萬華區萬大路 322 巷 6 號  No. 6, Ln. 322, Wanda Rd., Wanhua Dist., Taipei City 

主辦單位Organizer｜水谷藝術 Waley Art

合辦單位Official Partners｜Studio Frank Havermans、藝術到家Art Together 

贊助單位Sponsor Partners｜蒙德里安基金會Mondriaan Fund、台北市文化局Department of Cultural Affairs, Taipei City Government、國藝會National Culture and Arts Foundation 

※水谷藝術獲國藝會112年「視覺藝術組織營運補助專案」補助

展覽總監Art Director｜彭才瑄 Tsai-Hsuan Peng

策展人Curators｜林以寧 Yi-Ning Lin、黃羿瑄 Yi Hsuan Huang

計畫發想Project Researcher｜黃英嘉 Ying Chia Huang

展場設計Exhibition Design｜陳祐軒 Yu Hsuan Chen

平面設計Graphic Design｜陳祐軒Yu Hsuan Chen

影像製作Video Production｜三月影像 aquqmarinefilm （許博彥Po Yen Hsu、蔡宗勳Tsung Hsun Tsai）

翻譯Translation｜洪譽文Yu Wen Hong

作品製作助理Production Assistants｜江恒鎮Heng Zhen Chiang、陳禹彤 Yu Tung Chen

實習生｜劉庭慈Ting Tzu Liu、陳意舒I Shu Chen、李侑霜You Shuang Li、邴于軒Yu Hsuan Ping、林星彤Xing Tong Lin、李家瑄Chia Hsuan Lee、林暐婷Wei Ting Lin

特別感謝 Special Thanks｜

銘德里里長吳啟源、羅慧雯、陳武隆、林家弘、許清泉、葉明桐、李中興、台北市議員吳沛憶、蕭伊妙、黃家蔬果園、臺北農產運銷股份有限公司 TAIPEI AGRICULTURAL PRODUCTS MARKETING CORPORATION