【後植民計畫】起始自一個生態行動，並逐步思辨發展成一個文化行動(Action Culturelle)。本計劃以實際的種樹行為對遭受破壞的自然進行「修補」(Bricolage)，行動主體在「還地於樹」的「修補」過程中，重新思考其與自然間的關係，大量新植的原生種樹木也重塑了遭人為破壞的土地風景。以種樹行為作為思考風景繪畫的隱喻，兩者的核心精神都是主體與自然的互動關係。此展覽在種樹行動的檔案展示之外，也重新回顧台灣風景（畫）的某種樣貌，並以新的創作內容企圖再現此一系譜。

Post Ecolonialism Project first starts as an eco-action, and gradually evolves into an “action culturelle.” The project aims to perform “bricolage,” or “repair” the destructed nature by planting trees while re-contemplating on our relationship with nature during the process of “bricolage” as we “return the land to trees.” The large number of newly planted endemic trees also reconstructed the landscape destructed by human beings. The project viewed the action of tree-planting as a metaphor, through which we could re-examine the genre of landscape painting. The core spirit of both center on the relationship between the subject and nature. In addition to displaying documentations of the tree-planting action, the exhibition also reviews a certain aspect of Taiwanese landscape (painting), and attempts to represent this genealogy through new artistic creations.

 

展覽主要分成五個部分進行對台灣風景樣貌的思辨。第一部分是策展團隊到雪山山脈、中央山脈與阿里山山脈拍攝三個瀑布風景錄像，拼接成一彷彿掛軸的視覺形式，象徵清領時期台灣面對自然時所呈現的風景畫意象；第二部分則以幾個日治時期設立的植物園與翻製的繪葉書，象徵現代性導入台灣之後，一種「去脈絡化」(Decontextualisation) 的面對自然態度，以及此時風景畫呈現的形式；第三部分是台灣當代幾位不同類型代表性風景畫畫家的作品展示，呈現當代與日治時期風景畫概念的差異，以及人與自然的互動關係的轉變；第四部份則是翻拍了侯孝賢公路電影中的片段，呈現另一角度與媒材所開顯的風景意象；第五部分則是台灣森林風景的裝置，其中並置一台灣原生植物石楠的錄像在此風景中，這株台灣石楠在幾十年前被移植到法國諾曼第花園中，藉此思辨在全球化語境下「植民」的問題意識，呼應我們「還地於樹」生態行動中「再脈絡化」(Recontextualisation)的文化思維內涵。

The exhibition explores and contemplates on Taiwanese landscape through five sections. For the first section, the curatorial team journeyed to different parts of the Xue Mountain Range, Central Mountain Range, and Ali Mountain Range to filmed three waterfalls and created a scroll-like video work afterwards. The video symbolizes the landscape painting that shows how Taiwanese people have viewed nature during the rule of Qing dynasty. The second section introduces botanic gardens established during the Japanese-ruled period and reproduced picture postcards, through which the section would explore how nature was perceived in a manner of “decontextualization” after modernity was introduced into Taiwan as well as the landscape painting of this period. In the third section, audience could see the landscape paintings of different types by various contemporary Taiwanese painters. The section reveals both the disparities between contemporary landscape paintings and those from the Japanese-ruled Taiwan, and the shift in the relationship between man and nature. On view in the fourth section is a remake of a segment from Hou Hsiao-Hsien’s road film, demonstrating the landscape from another perspective and through a different medium. The fifth section displays an installation that embodies the landscape of Taiwanese forest. A video of the Taiwanese endemic plant, Taiwan Photinia, is placed in this landscape installation. This particular Taiwan Photinia has been transplanted in a garden in Normandy, France several decades ago. Through its representation, the section reexamines the problematic of “ecolonialism” in the context of globalization and responds to the cultural thinking of recontextualization in this eco action of “returning the land to trees.”

 

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