Posted by: janeingramallen | May 25, 2011

2011 Cheng Long Wetlands Artworks on View through July 30

(這篇部落格是Jane寫在藝術季結束後,因為他的兒子媳婦到台灣來玩,他們又一起回到成龍村裡參觀這次的作品,小村子又回到了沒有藝術家時的寧靜,也使Jane對藝術季有了新的感受…..請大家先慢慢享用英文,因為QQmei正出國”考察”中,日後會再補上完整的中文,謝謝!!)

It is just a few days since the artists and volunteers all left Cheng Long, and the exhibition remains there in the Wetlands.  When I returned to Cheng Long on Monday, May 9, just  8 days after the exhibition opening, the village seemed very quiet and the wetlands peaceful, but the artworks proclaim this as a place for attention.  I brought my son Chris and his wife Rebecca visiting from Boston to see the show.  This experience gave me a chance to see the exhibition with fresh eyes and also see how the works are faring over time.  Most of the art installations this year incorporate growing plants or include some elements that are meant to change over time.  With the theme of “greener wetlands” it is natural to use green plants, but some artworks interpret the word “green” in a broader sense to mean anything that is good for the environment.  It was great to have artists this year that understood the importance of using only natural materials and techniques that would not harm the environment of the wetlands nature preserve and help to improve the habitat for the wildlife.
藝術家和志工們才剛離開成龍沒幾天,作品都還好好地在溼地中。我再次回到成龍村的時間是五月九日,星期一,也就是藝術家作品公開展示後的第八天,這個小村子十分寧靜,溼地呈現一片平和的景象,只有藝術家的作品在宣告著這裡有事情在發生。我帶著從波士頓來台探望我的兒子Chris和他的太太Rebecca來參觀這個展出。這讓我有機會用全新的眼睛再來審視這個展,以及作品的變化。今年大部份藝術家的作品都有結合植栽,或是一些可能會隨時間演變的元素,這大概是和今年的主題「綠色溼地」有關,很自然地,大家選擇了種植綠色植物,但是有些作品更廣意地去詮釋「綠色」所指的是:任何對環境更好的事。我們很高興今年所有藝術家都能了解使用自然材料對溼地環境保育和增進野生物棲息地的重要。

"Floating Garden" by Karen Macher Nesta of Peru

Karen Macher’s “Floating Garden” is an excellent example of making the wetlands greener by including many different kinds of plants growing in the 22 planter baskets incorporated in her installation.  I like that Karen was able to use mostly the recycled bamboo from old oyster platforms that we collected on a nearby beach.  For some of the bamboo structure used to form the large circles of the construction, Karen used fresh bamboo and learned to bend it using heat from a torch.
秘魯藝術家Karen的「漂浮花園」是一個讓溼地更綠的絕佳案例,在她的作品中結合了種植多種不同的植物在22個花盆裡。Karen盡可能地使用回收自廢棄蚵架的竹子,這是我們去臨近海邊撿回來的,這點令我很欣賞。其餘用來塑造出圓弧結構的竹子,Karen使用的是新鮮竹子,再以火將竹子烤彎。


Some of the plants that Karen used are tall reeds and others more vine-like ground cover plants.  It seems that the taller plants are already beginning to get battered by the wind and rain that is just the beginning of the rainy season in South Taiwan.  I think the plants will continue to grow and hopefully thrive there, but only time will tell.  Karen’s installation is in a great place for viewing from the bridge that goes across to another village and expands the artworks this year into a new area of the Wetlands.
在Karen使用的植物中,有些長得較高的是水蠟燭,另外有些是比較低矮或葡匐類的植物。目前看起來來那些較高的植物已經在南台灣剛開始的雨季澆灌下長得越來越好了,我希望這些植物會持續生長並且越來越茂盛,但這一切只能交給時間來証明了。Karen的作品座落在一個很好的位置,大家可以從銜接成龍村至隔壁村子的道路上俯看這件座品,這也讓我們今年在溼地裡的展出範圍更向外擴大了一些。

Rumen Dimitrov used plants too in his “Flying Boats” installation, and this element of growing plants inside the boats really adds to his work and softens and lightens the bulk of the driftwood and bamboo structures.  Rumen also made use of recycled bamboo as well as driftwood pieces that he found at a nearby beach.  The weathered grey color of the driftwood and recycled bamboo contributes to the surrealistic feeling of boats flying above the waters of the wetlands.
保加利亞的藝術家Rumen也使用植物在他的作品「天空之船」上,植物讓整件作品加分,也柔軟了漂流木和竹子所構組成的巨大結構。Rumen所使用的回收竹子和漂流木也是來自臨近海邊,回收材歷經風化滄桑的灰色調,讓漂浮在溼地上空的船支呈現出超現實主義的感覺。


Like all of the artists this year, Rumen made his construction using no metal and only natural materials.  For the “green” in his installation, Rumen used wetlands grasses and other plants that are vine-like, and he hopes that some plants will soon begin to cascade down from the boats suspended above the water of the wetlands.  I also really like the reflections in the water cast by his boats.  It is great that he was able to make nine boats for his installation although he had only proposed to create five.  In fact, all of the artists made their works larger than they had proposed.  When they got to Cheng Long Wetlands and saw that vast expanse of water, they realized that the art needed to be very large in order to make an impact.
一如其他藝術家只選用天然的材料一樣,Rumen也沒有使用任何鐵件在他的作品上。「綠色」在Rumen作品上的表現是,種植溼地周邊可得的草(海雀稗)及其他藤蔓類的植物,Rumen特別希望那些如馬鞍藤之類的藤蔓植物,能早日如小瀑布般從天空之船上垂懸下來。此外,我也很喜歡天空之船投射在水面上的倒影。很感謝Rumen後來做了九艘船,比提案時的五艘還多。事實上,幾乎所有的藝術家後來都把作品的量體變大了,因為當大家到了現場,看到一望無際的水域後就會明白,量體要夠大,作品才會跳脫出來。

Hsin-yu Huang created a total of 30 “nests” for her installation “Let’s Nest,” even though her initial sketch proposed about 9 nests!  The mass of nests of various sizes and placed on poles at different heights creates a big impact artwork that can be seen well from the highway going past Cheng Long .  It is great to have such a large visible work as this that can attract people to stop and see the Wetlands.
台灣的藝術家黃馨鈺總共為她的作品製作了30個「鳥巢」,這遠比他提案手稿上的9個還多。這許多大大小小的鳥巢,被高高低低的竹竿支撐著,坐落在溼地裡,遠遠地從高架橋上就可以看到。在整個展出中能擁有一件大型的作品,可以吸引人到溼地佇足觀賞,是很棒的。

 
Hsin-yu’s installation also provides much visual interest at closer views, and visitors can walk out closer to the installation.  The reflections in the water on a still day are great, and it is wonderful to see that birds are already beginning to investigate these human-made nests!  We took some photos of Hsin-yu’s installation from the nearby highway overpass, but unfortunately it was foggy and rainy that morning.  We will try to get more photos of the artworks from afar on a bright and sunny day.
你也可以走近一點去欣賞馨鈺的作品,同樣很有意思。特別是在風和日麗時,你可以看到作品倒影在如明鏡般的水中,那真的很棒!同時,你也可以發現已經有許多鳥兒開始在探索這些人工的鳥巢了。我們試著從溼地一旁的高架橋上方拍攝馨鈺的作品,可惜當天早上的天氣不夠清朗,我們會試著在好天氣時再來拍攝。

Julie Chou’s installation titled “Returning to the Sea” also presents a great view from the highway going by Cheng Long.  This work also grew much larger than the original concept sketch.  Julie decided to make the three starfish forms larger after coming to Cheng Long and seeing the vast stretches of water and deciding where she wanted to put her work.  The starfish are placed with the largest one closest to shore and then decreasing in size with the smallest one far out in the water going toward the setting sun.  After we all went back home, Chao-mei was able to take some photos of Julie’s work one day as the sun was setting .  Julie lined up the starfish so that they go towards the setting sun in the West and in the direction of the ocean. 
另一位台灣藝術家周靈芝的作品「回歸大海」也很適合從溼地旁的高架橋上俯看,這件作品同樣也比原先的提案大很多。靈芝在來到成龍後才決定把作品放大並且決定放置作品的位置。三個海星由大到小,從溼地的岸邊往太陽西下的方向延伸。在藝術季結束,當我們都離開後幾天,天空才清朗起來,昭湄才終於有機會拍到夕陽下靈芝的作品,三顆海星面向太陽西下大海的方向排成一列。

I also liked Julie’s use of the oyster shells on her installation to connect it to the tradition of oyster farming in this region of Taiwan.  The shining white of the oyster shells makes the forms stand out against the color of the water.  Her artwork may even grow some oysters too!  It is also amazing how well the forms float.  This was a concern we all had as Karen and Julie were building floating artworks…..would it really float??? Bamboo is an amazing material, and everything floats well with no plastic supports and only natural materials used.
我也很喜歡靈芝把蚵殼運用在她的作品上,讓他的作品與此地養蚵的傳統有所連結。閃閃發亮的白色蚵殼,讓海星在水中顯得格外引人注目。也許真的會養出一些蚵也說不定!此外,我們也很訝異,這件作品在水中漂浮地很好!「到底會不會浮?」一直是我們在整個藝術家創作過程中,很掛心的事,不論是對Karen或Julie的作品都一樣。

Firman Djamil’s installation titled “Cheng Long Spiral” is an amazing sight as it starts out on the land and goes out into the water getting progressively lower until it sinks into the Wetlands.  The Cheng Long Spiral goes in the opposite direction from Robert Smithson’s “Spiral Jetty” that was made in the Great Salt Lake in Utah, USA in 1970.  Firman’s spiral seems to be moving upward to the sky. Firman constructed it all with bamboo using no metal, making slots and tying it all together with natural rope.
印尼藝術家Firman的作品「迴轉成龍」從陸地一直緩緩地沒入水裡,很有可看性。這件作品和美國藝術家Robert Smithson在1970年於美國猶他州大鹽湖的知名創作Spiral Jetty(迴轉防波堤)的螺旋轉向相反,Firman的螺旋作品看起來有升向天際的感覺。整件作品完全沒有鐵釘,Firman用卡榫和麻繩固定所有的竹子。


Part of the spiral has earth from the wetlands on its bamboo floor, and Firman planted tomato seeds and seeds from a native flowering vine to grow on the spiral.  Firman’s work also has many fish forms hanging from the spiral structure that were made by the local children using bamboo and oyster shells.  Maybe some oysters will grow here!  The structure also provides habitat and resting places for birds and other wildlife.
前半段從水中緩緩升起的螺旋竹面,Firman用溼地的泥土覆蓋其上,並種植上濱水菜以及蕃茄和當地野花的種子(濱刀豆);在後半段的作品上,Firman帶著當地小孩用竹子及蚵殼編成了許多魚懸掛其上,或許會養出牡蠣來呢!這件作品同時也提供了鳥類及其他野生物棲息的場域。

Keep checking back to this Blog to see how the artworks for 2011 continue to change over the months of the exhibition.  The exhibition is on view through July 30, but probably most of these artworks will remain until next year’s Cheng Long Wetlands International Art Project.  Thanks again to all the artists and the volunteers as well as the children and the community for making this year’s art project such a big success.
歡迎大家隨時再訪我們的部落格,一起關心2011年藝術家作品隨著環境的變化。整個作品展出至7月30日止,但也許大部分的作品都可以持續到明年。再次感謝所有的藝術家和志工,以及成龍村的村民和孩子們,讓我們今年的藝術計畫如此圓滿成功。


Responses

  1. excellen works, chapeau for all the artists and assistants.
    Puck bramlage

  2. […] art project is an expansion of the 2010 and 2011 Cheng Long Wetlands International Environmental Art Projects, going into the Village as well as the […]


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

Categories

%d bloggers like this: