由林成森｜Online Exhibition

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Introduction

Exhibition

由林成森 - A Rhythm of Tree Forming the Forest

Curator

嘉義市立美術館

Duration

2021-09-11 ~ 2021-12-05

Venue

嘉義市立美術館、嘉義製材所、沼平公園

Address

嘉義市廣寧街101號

自建都以來，嘉義除了「畫都」美譽，亦因日治時期三大林場之首阿里山林業的蓬勃發展，而有「木都」的名號。彼時，除了貫穿臺灣南北向的鐵道，在嘉義這個城市，還有著獨特東西向的森林鐵路，也因此，隨著木業，攘來熙往的人與林木在這座城市交錯。在森林鐵路東西向的移動路徑上，木業不僅塑造了奮起湖的榮景，更為嘉義帶來大量的商業活動，許多原始林木在此經歷製程與販售，而鐵路、杉池、製材所與木材街（今林森西路）更是交織出嘉義市地景獨特的紋理。山林裡豐富的物產造就了市區內相關產業蓬勃發展，帶來了全市曾高達十分之一人口皆從事與林業相關活動的榮光。今日，雖然阿里山與其林業文化已轉為觀光產業，不過相關的產業遺跡及精神，仍然鮮明地存在城市的不同角落裡，也逐步地朝向重新建立文化景觀與遺產的目標邁進。「由林成森」這個展覽名稱一方面像是呼應著曾經充滿木頭產業的林森路，回應嘉義曾經的林業榮景以及阿里山上綿密森林的想像，另一方面也透過帶有次序性與聚合狀態的動態描述，如東西向鐵路所連結的森林（阿里山）與木材（嘉義市），藉此，將這片山林與人類的活動編織成一片文化風景。乘著火車，博物學家、企業、政府、林業工人以及藝術家們往東上到了山林裡，無論是為了研究、經濟或創作而探索，人們同時帶來了聚落、生機與毀滅；而長居於山裡頭巨大芳香的紅檜與扁柏，原生之地逐漸與被殖民者帶來的柳杉共享。樹木們隨蒸汽朝西方移動到城市中，成為了陪伴在人們生活四周的神社、鳥居、房屋、電線桿與各式傢俱。本展覽於嘉義市立美術館的一樓至三樓，以山林風景為靈感的作品作為起始，帶領觀眾走入山林間，逐漸開展人與森林和高山的關係，最後進到了產業創造以及遺留的痕跡；而館外的嘉義製材所和沼平公園的展出內容，則是在歷史場域上層層疊疊地創造今日與過去的拼接與想像。「由林成森」同時透過前輩藝術家筆下的阿里山與嘉義市林木風景，以及當代藝術創作者的思考、觀察與回應，試圖追隨著林木與森林，觀看地貌與人文景觀在近百年的時光裡與自然關係的樣貌；同時亦站在回望歷史的角度，透過多樣的取徑來重新探索嘉義林業、山林文化、城市景觀及生活歷史與嘉義這座城市的關係。 Since its establishment, Chiayi has been known as the City of Paintings. Chiayi is also known as the City of Wood because of the prosperity of the forestry in Alishan during the Japanese occupation period, when it was the top amongst the three forest farms in Taiwan. Back in the time, most trains in Taiwan ran in the north-south direction. Chiayi, however, was home to the unique forest railway that ran east-to-west, which brought a bustling traffic of wood and people to cross paths in the city. Along the east-west forest railway, the forest industry gave rise to the success of the Fenqihu settlement and brought an enormous amount of business activities to Chiayi, where vast numbers of timber from primary forests are processed and sold. The railway, log pond, sawmill, and lumber street (Linsen West Rd. today), make up the unique texture of Chiayi City landscape. The mountain forest's abundance of natural resources was the driving force behind the rapid development of related businesses in the city, which reached its glorious peak when as much as one tenth of the citizens participated in forestry-related activities. Today, although Alishan and its culture of forestry has been remodeled into a part of the tourism sector, its remnants and spirit can still be found in the various corners of the city as it gradually marches toward its goal of re-establishing a cultural landscape and heritage. The title of this exhibition, A Rhythm of Tree Forming the Forest, on the one hand, seemingly resonates with the local Linsen (in Chinese, lin and sen are two characters standing for trees and forest) Road once bustling with wood industry activity for imagining the past glory of Chiayi's forest industry and the mystique of Alishan's dense forests. On the other hand, the flowing, dynamic description of the clustering state is analogous to the east-west railway that connects the lumber (Chiayi City) and the forest (Alishan) and weaves the forest and human activities into an intertwined cultural landscape. On the train, naturalists, businessmen, government staff, forestry workers, and artists are all heading east into the forested mountains. Whether they are exploring for research, economy, or creativity, people have brought settlement, livelihood, and destruction. The towering and fragrant Taiwan red false cypress and Taiwan yellow cedar have been gradually forced to share their habitat with Japanese cypress introduced by the Japanese during the occupation period. All the trees followed the steam as it moved into the city to become the Shinto shrines, toriis, houses, utility poles, and various furnitures ubiquitous in people's lives. From the first to third floor of the Chiayi Art Museum, the exhibition begins with works inspired by the natural scenery of the mountain forests. The audiences are taken into the woods to see the relationship between people, the forests, and the mountains gradually unfold on the second floor before finally being taken to witness the rise of an industry and its remaining legacy on the third floor. At the Chiayi Sawmill and the Zhaoping Park, exhibits stitch together the past and present through fragments of history and imagination piece-by-piece, layer-by-layer. A Rhythm of Tree Forming the Forest attempts to view the relationship between humanity and nature as it evolved through the past hundred years through the scenery of trees and forests of Alishan and Chiayi depicted by the elder artists and the responses of contemporary artists. Meanwhile, the exhibition also attempts to re-explore the relationship between forest industry, forest culture, city landscape, history of living, and the city of Chiayi itself through multiple approaches as a reflection on the history.

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FANG Ching-Mian 方慶綿

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OTSUKA Asako 大塚麻子

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TSAI Pou-Ching 蔡咅璟

與他們同在-我與物種間的千絲萬縷 Together - The Countless Connections Between Me and the Species

HSU Jui-Fu 徐睿甫

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WU Yu-Jung 吳有容

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LI Cheng-Liang 李承亮

採光09 Daylighting 09

CHIU Chen-Hung 邱承宏

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About Curation

more description

策展人

蔡明君

當代藝術策展與創作者，16歲離家念書之後，經常處於一種游牧的狀態，不斷移動的狀態加上觀察者的性格，引發她探索藝術和大眾與社會之間關係的好奇。她長年來對於環境、自然與生態有著深刻的關心，現為東海大學美術系兼任助理教授，近年的研究與實踐逐漸走入無牆的環境之中。

策展人

陳湘汶

獨立策展人、文字工作者，曾任藝術雜誌記者編輯，現任臺北數位藝術中心藝術總監。研究與策展的方針是透過臺灣文化歷史肌理的爬梳向外照射出歷史和地理的軸線，測繪亞洲的精神圖誌。2016年開始，前往東南亞不同島嶼觀察人文風情，並從臺灣與其所共享的歷史背景為基礎，尋找當代藝術對話的可能；目前以島嶼東南亞為對象，與藝術家們一同進行海外研究與創作計劃，奉這樣密切的實踐與討論為策展核心。

Artist

OTSUKA Asako 大塚麻子

1969年出生於日本神奈川縣川崎市。女子美術大學藝術學科畢業。自1997年至今居住台灣，從事藝術創作，翻譯及公共藝術策劃。參展2011年台北當代藝術館「活彈藥」、2012年台北藝術節「快樂孤獨秀」、2013年台北公共藝術節「溫北投」等。 OTSUKA Asako was born in Kanagawa, Japan in 1969 and graduated from Joshibi University of Art and Design with a Bachelor of Art. She has been living in Taiwan, working in art creation, translation, and public art planning since 1997. The artist exhibited “Live Ammo” in the Museum of Contemporary Art Taipei in 2011, “The Happy Solitude Show” in Taipei Arts Festival in 2012, and “Winking Beitou” in Taipei Public Art Festival in 2013.

Artist

FANG Ching-Mian 方慶綿

方慶綿（1905-1972），戰前以大型相機和玻璃乾版進行攝影、戰後則以黑白負片拍攝各地風景。其一生不斷地來回平地、阿里山和玉山之間，拍攝山岳與服務遊客，號稱登上玉山三千次，經漢聲雜誌採訪報導後，而有「新高伯」的美名。 FANG Ching-Mian (1905-1972) photographed with large format and dry plate glass negatives in the pre-war period; he then switched to black and white negative films to capture the landscapes of various places in the post-war period. He went back and forth between the plains, Alishan and Yushan throughout his life, photographing mountains and serving tourists, and claimed to have climbed Yushan three thousand times. After being interviewed and reported by Hansheng Magazine, FANG became known as the "Mr. Hsin-Kao (Niitaka)." 玉山國家公園管理處提供捐贈者：方重雄、方智諒、方智弘先生方慶綿先生影像創作暨文物