如何達到平衡 II

2025 再製版

《潛行》 Stealth

展覽以「潛行」為出發點，聚焦藝術家如何在歷史與當下、主流與邊緣、自然與人造的縫隙中，悄然移動、細察並展開創作。這樣的潛行並非退隱或逃避，而是一種實踐的姿態。藝術家在不同場域間緩慢穿越，以細微的觀察與身體行動，鬆動既有的界線，使被遮蔽的真實與聲音透過藝術的方式重現。他們靜默地潛入矛盾與張力的深處，在看不見的層面中尋找裂縫，提醒著邊界並非固定不變，而是在暗流的推移中不斷被改寫。因此「潛行」既是一種觀察的方法，也是一種抵抗的策略，在模糊、未定與靜默之中，傾聽那些尚未被說出的可能。

在這樣的潛行姿態中，三位藝術家以各自的創作，展開對邊界、記憶與環境的觀察與實踐：

周代焌的創作是一場穿梭於歷史與記憶之間的潛行。他從地貌變遷、族群遷徙、舊地圖等素材出發，透過繪畫探測歷史中被忽略或未完成的部分。他筆下的地景並非對現實的再現，而是一種探勘過程，以繪畫作為工具，測量土地在不同時期被劃界、覆寫與侵蝕的痕跡。作品中的破碎與拼貼，使觀者在觀看時也像考古一般，在層層肌理中尋找線索。周代焌讓土地成為載體，承載歷史中被消失的聲音，揭開文化與地景如何在時間中不斷移動與重組。這樣的潛行，是對單一歷史敘事的回應與重新定位。

尹子潔的潛行發生於文化與身體之間。她以「三腳狗」為核心意象，源自在花蓮駐村期間，她觀察到許多狗因誤踩捕獸夾而失去一隻腳，卻仍堅毅行走。這樣的身體經驗成為藝術家的創作起點，轉化為原住民族在現代化過程中文化斷裂與持續抵抗的隱喻。她透過影像與裝置重構這種不穩定的狀態，並延伸至南島語族的歷史脈絡。自台灣啟程、跨越海洋、於不同島嶼間調整與延續的過程，也是一種文化的潛行，三腳狗的步伐也象徵在權力與環境壓力下不對稱的生存節奏，或許這樣的「殘缺」能成為一種在主流敘事夾縫中潛行的力量？

廖昭豪的潛行展開於物質與環境的層面。他長期觀察台灣城市與東海岸的工業景觀，關注那些過渡性的功能物件，如消波塊、護欄、擋土牆與浮球等。這些物件反映人類對自然的干預與依賴，也呈現台灣都市建設的臨時性與不穩定性。在《消波塊與浮球》中，他使用紙漿翻模再現其形體，紙漿的脆弱質地反轉了水泥的堅固屬性，使作品呈現海水侵蝕與時間滲透的痕跡。這些再製的物件既像遺骸，也像標本，呈現自然與人造物在消耗與共生的複雜關係。廖昭豪以緩慢的勞動與觀察介入，讓環境的記憶重新被看見。

這三條潛行的軌跡——歷史的、文化的、環境的——在展場中彼此交織。觀者在步入展覽的過程中，也成為潛行者，潛行不只是隱匿的姿態，更是一種具體的觀看與行動，使那些被掩蓋的歷史與經驗得以浮現。

Stealth 

With the notion of “stealth” as its starting point, the exhibition focuses on how artists stealthily maneuver, keenly observe, and then make art in the fine cracks between history and the present, the mainstream and the marginalized, and the natural and the artificial. Not retreating or escaping, being “stealth” is a form of practice. The artists slowly navigate through different spaces, meticulously observing and taking physical action to loosen established boundaries, allowing masked truths and voices to reemerge through means of art. They quietly delve into the depths of irony and tension, looking for cracks in concealed layers, offering reminders that boundaries are not immovable but are constantly altered by shifting undercurrents. Consequently, as a method of observation and a strategy of resistance, being “stealth” allows for the possibilities yet to be uttered to be heard amidst ambiguity, uncertainty, and silence.

Through such gestures of “stealth,” three artists have embarked on their own creative endeavors, as they observe and carry out their practices exploring boundaries, memories, and the environment.

Chou Tai-Chun’s art is a stealthy journey shuttling between history and memory. Inspired by shifting landscapes, ethnic migrations, old maps, and other elements, he uses painting to explore the discounted or incomplete fragments of history. The landscapes he depicts are not representations of reality, but an exploratory process that treats painting as a tool for gauging the imprints left by how land has been demarcated, overwritten, and encroached upon across different eras. The fragments and collages in his creative work transform the viewing experience into an archaeological-like process, inviting viewers to search for clues within the multilayered textures. Chou turns land into a carrier that holds the silenced voices of history, exposing the constant shifts and reconfigurations of culture and landscape over time as he responds to and repositions the monotonous narrative of history.

Yin Zi-Jie stealthily explores culture and the body. She centers her work on the “three-legged dog” motif, inspired by her residency in Hualien, where she saw many dogs resiliently walking around despite having lost a leg after being caught in traps. This corporeal experience became a creative starting point for the artist, serving as a metaphor for the cultural discontinuity and persistent resistance experienced by indigenous peoples through the process of modernization. Reconstructing this unstable state with images and installations, she then extends it to explore the Austronesian historical context. Departing from Taiwan, crossing seas, and acclimatizing to and persevering on different islands, this journey is also an act of cultural “stealth.” The three-legged dog’s gait symbolizes a lopsided rhythm of survival under power wrangling and environmental pressure. Perhaps, this very “flaw” can culminate into a force to stealthily navigate through the cracks of mainstream narratives?

Liao Chao-Hao’s stealthy approach unfolds between materiality and the environment. Through his long-term observation of Taiwan’s urban landscapes and the industrial area along its eastern coast, Liao focuses on transitory utilitarian objects, such as wave-dissipating concrete tetrapods, guardrails, retaining walls, and buoys. These objects reflect humanity’s intervention and reliance in nature, while also revealing the provisional and unstable conditions of Taiwan’s urban infrastructure. The work, Tetrapods and Buoys, is created from paper pulp using the cast-molding technique. The fragile texture of the pulp undermines the sturdiness of concrete, leaving the artwork with imprints of seawater erosion and the passage of time. These recreated objects appear like relics and specimens, revealing the complex relationship of consumption and symbiosis between nature and artificial objects. The artist’s engagement is carried out through slow labor and observation, allowing environment-related memories to be revisited.

These three historical, cultural, and environmental trajectories of “stealth” intertwine within the exhibition space. As viewers enter the exhibition, they also become actors of stealthy endeavors. “Stealth” is not just an unobtrusive gesture, but also concrete observations and actions that allow concealed histories and experiences to come to light.