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窗景(高雄紅毛港海汕2路66號) OutLook (No 66, Haishan 2nd Rd., Hongmaogang, Kaohsiung City)

陳伯義 Chen Po-I (1972-)

不只是人的故事? 人類社會永無止盡的「待拆」和「待建」, 一窗一磚堆疊裝載著人與空間的共同記憶, 曾經對於生活的期待、空間型態的轉變與城市興衰, 藝術家記錄下的,不僅止是人的記憶,也保留了建築的故事。 藝術家陳伯義多以攝影作為創作的素材,他對於臺灣眷村遷屋改建有著個人深刻的觀察與圖像的思考,創作出許多具有個人風格的廢墟影像。在作品〈窗景(高雄 紅毛港 海汕2路66號)〉中,拍攝下人事已非的海汕老聚落,原來應該是古井邊打水的阿婆與嬉鬧的小孩,取而代之的是繁華忙碌的高雄港。藝術家認為「窗」是聯繫人對土地景觀情感的開口,隨著工業的擴張,迫使傳統聚落消逝,人們記憶裡的土地印象一再的重製,而「窗景」卻只能成為臺灣地理誌不連續的歷史紀錄。陳伯義的作品有著攝影的美學思維結合對台灣廢墟的長期觀察,迸發出具人文關懷的廢墟美學。 More Than Stories of People? Here the artists record not only memories of people but also stories of buildings. In human societies, the endless structures waiting to be destructed or constructed are all vehicles of shared memory about people and spaces: what people once longed for in life, how patterns of spaces have changed, and how a town rose and fell. CHEN Po-I uses photography as his creative media and has a personal connection towards in-depth observation and contemplation towards the moving and reconstructing of military dependents’ village, generating photographs of ruins that contain a distinct personal signature. OutLook (No 66, Haishan 2nd Rd., Hongmaogang, Kaohsiung City) shows a drastically renovated settlement upon the barrier islands. The scene of old ladies collecting water from the well and playing children has been replaced by a prosperous and bustling Port of Kaohsiung. The artist believes that the window serves as an emotional opening that connects people to local landscapes. Industrial growth has forced the gradual disappearance of traditional settlements, reconstructing the people’s memories of the land. The window scene, however, can only serve as a disconnected historical record of Taiwan’s geographical gazette. CHEN Po-I’s works incorporate aesthetics with his long-term observation on Taiwanese ruins to inspire concern for our cultural heritage.