策展論述
關於「植變:身態園丁的療癒術」

植物的光合作用,涵養、更新著各種生命。座落於「臺北植物園」旁的「中正區社會福利綜合大樓」,所提供的社會福利服務,在我們看來也像是一處社會的植物園,療癒著社會發展導致的各種失序。由「差事劇團」邀請邱俊達與李哲宇共同策劃的「植變:身態園丁的療癒術」,則是期待藝術能帶給社福大樓植物蔓生般的活力。

對話、交往、凝視感性

落成於2019年的社福大樓,從完工、驗收、服務單位進駐、安頓,以及藝術計畫的參與,自始即是一種穩定與不穩定的拉扯過程。凝視當代社福事業,在社工們訪視、傾聽和評估服務對象等開案與結案的工作,何嘗不也是將身處不穩定境遇的人們,導向穩定的理性化工程,把那些未能跟上社會輪軸轉動的事務覓得歸屬,把混亂的變得有序。從這樣的場景,再望向緊鄰的植物園,同樣也有著穩定與不穩定的感知向度。

日據時期打造的植物園,是建立物種知識的重要園地。它類如當代福利事業,致力對未能識別的物種研究、調查與分類,把它們幻化為可感與可管的品種。人或物皆因爲理性化而變得有序,然而,不穩定性卻從未消逝在這些看似有序的場景,它們是社工每日的情緒勞動、服務對象沈默的聲響,以及仍有待我們認識與關切的蜷縮身影。當然,蔓生的植物也因四季而不斷有機變化,可以說,沒有這些不穩定性,社會福利事業的場景也難以清晰。

在理性化籠罩下,因植物園構思而來的「植變」究竟能碰觸多少潛流在社福大樓裡的不穩定性,與其對話、交往、凝視,找回被穩定性所掩藏的感性?

身態園丁的療癒四部曲

把社福大樓類比為社會的植物園,不僅是大樓緊鄰植物園,對差事劇團而言,也是希望透過植物的療癒意象參與社會福利課題。因此,「植變」首先考量大樓的場域氛圍與使用族群,且讓創作參與在社福工作當中,一同探究理性事務裡的感性感知。可以說,「植變」尋覓的是如何透過藝術,引發大樓使用者之間在心靈、視覺、聽覺、觸覺、嗅覺的互動,療癒社會福利事業中不穩定的感性感知。如此結合社會福利勞動與藝術勞動的療癒術,為的是使我們成為大樓裡彼此互助的身態園丁。透過重拾感性的腳蹤,讓感性質變理性、不穩定質變穩定。由此,我們有著戲劇、植栽勞動、聲音裝置與地景構造的療癒四部曲:

劇場導演張嘉容的《身態光合:療癒性劇場》是與「臺北市中正、萬華區身心障礙者資源中心」合作,「療癒性劇場」(Therapeutic Theatre)是戲劇治療中的一種方式,主要運用戲劇治療的各種技巧和方案,設計從團體到演出,最後做一成果展演。成員在其中把個人素材轉化為劇場呈現,透過創意過程以及最後的製作進行更深層的探索;聲音藝術創作團隊回看工作室(蔡宛璇與澎葉生)以聆聽概念,參與社福大樓的空間使用情境,於《吐-納-覺-聽》的聲音裝置中建構另種聽覺場所;園藝治療專業者林暐翔規劃的《五感種植:視、嗅、觸、味、聽的園藝》是與「臺北市南海發展中心」合作,在中心外共同種植香草與可食用的蔬菜,是以植物發展參與式勞動。陳宣誠的地景創作《植變聚落》以「聚落」的觀念,運用六樓陽台搭建起一處以水和植物為核心元素的空中梯田,整合策展團隊的「關係育苗室」(研究、思考、過程檔案)以及部分的創作計畫。在這個多重感性感知平台上,我們可在其中休憩、凝望與聆聽鄰近的社區與植物園。這些是我們在藝術介入的過程中,復甦人的感性移動;更視不穩定性為夥伴的心靈旅程中,拆除理性規訓的圍牆,所展開的一項文化行動。

團隊成員
計畫主持人|鍾喬(差事劇團)
策展人|李哲宇、邱俊達
計畫行政統籌|楊芳宜、陳旻慧
計畫專案助理|吳宜靜、易倩如
展示設計|共感地景創作
影像紀錄|一梅馬影像股份有限公司
視覺設計|理式意象設計有限公司
特別感謝Special Thanks:中正社會福利服務中心 臺北市中正萬華區身心障礙者資源中心 臺北市南海發展中心 臺北市中正婦女暨家庭服務中心 臺北市西區新移民社區關懷據點 顏品時尚創意社

Statement
About Transmutation: The Therapeutic Art of Gardeners

Photosynthesis in plants cultivates and nourishes all kinds of life. Taipei Chengzhong Social Welfare Services Building is located right next to Taipei Botanical Garden. In our eyes, the building is a botanical garden of society, providing social services to heal the disorders caused by social development. Led by Assignment Theatre, “Transmutation: The Therapeutic Art of Gardeners” invites LEE Je-Yu, Yves Chun-Ta CHIU as curators, and hopes to bring “planty” of energy to the social welfare building through art.

Dialogue, Communication, Gazing Sense

The building was completed in 2019. From its completion to the acceptance, stationed in, and settling of service agencies, and participation of arts program, it has been the process of steadiness and unsteadiness. And when we take a closer look at the contemporary social welfare business, the social workers visit, listen to and evaluate the clients of service, they are also conducting projects, leading people from an unstable situation to a stable status; they are the ones who place things, which failed to keep up with the rotation of society, in their normal position, putting chaos back into order. With the scene pictured, and then looked back to the botanical garden, where a sense of stability and instability also equally exists.

The botanical garden was built during Japanese colonial period. It is an important place for establishing knowledge of plant species, which happens to work in a similar way to contemporary welfare business; they both dedicate to study, investigation and classification of unidentified species, turning them into sensory and manageable species. Human beings or objects are orderly as a result of rationalization. However, instability never fades away in these seemingly orderly scenarios; they are the daily emotional work of social workers, the silence of the service objects, and those who have yet not been known and of concern. Without doubt plants go through different organic change during the four seasons. It can be stated that without these instabilities, the image of social welfare would not be clear.

Under the shadow of rationalization, how many of the instabilities in the social welfare building can be touched by “Transmutation,” the botanical garden inspired project, and how to find the emotions hidden in stability, through dialogue, communication and gaze?

The Tetralogy of Therapeutic Art of Gardeners

Drawing an analogy between the Taipei Chengzhong Social Welfare Services Building and Taipei Botanical Garden is not only because of their neighborhood position, but also the wish of participating in social welfare projects with the healing images of plants. Thus, the priorities of “Transmutation” are spatial atmosphere design and the building users, as well as the idea of involving creation in social work for the potential to explore emotional perception in rational affairs. We can say that “Transmutation” is looking for ways, through art, to trigger the interaction between users, whether in mind, or in sense of sight, hearing, touch, smell and taste, for healing the unstable emotional perception in social welfare business. The purpose of such a combined therapeutic art, with social welfare labor and artistic labor, is to make us the gardeners in the building and to help each other out. By regaining the emotional footsteps, emotions turn into rationality, and instability turns into stability. Thus, we hereby present four projects of healing, including drama, gardening, sound installation and landscape construction.

“Photosynthetic: Therapeutic Theatre” held by theater director CHANG Chia-Jung , who collaborates with Taipei Resource Center for People with Disability in Zhongzheng and Wanhua Districts, use the skills and program to design a group performance with the methodology of Therapeutic Theatre. The participants transform their personal story to theatre and explore deeply through a process of creativity and final production.  “Sound Organism” is created by Atelier Hui-Kan, the studio of our sound art creation team ( TSA Wan-Shuen + Yannick DAUBY). The project takes listening as creation concept participating in the uses of the building. With the sound installation in the social welfare building, an alternative space for the sense of listening appears. “Sensory Garden: The Arts of Five Senses” led by horticultural therapist Sean LIN, cooperates with “Nan Hai Development Center” in growing herbs and edible vegetables outside the center, using plants to develop participatory labor. The landscape creation “Trans-plantation Village” designed by ArchiBlur Lab, is inspired by the concept of “settlement”. The team utilizes the space on the sixth-floor balcony to build a hanging garden, using water and plants as core elements, and further integrates it with the curatorial team’s “Relation Nursery Room (archives of research, thoughts, process)” and other projects. On this multi-media and multisensory platform, people can rest, gaze at and listen to the communities and botanical gardens nearby. These are actions in a cultural movement we carry out during the process of artistic intervention, a move to awaken emotions in human beings, moreover, a spiritual journey to tear down the walls of rational disciplines, in which instability is regarded as a partner.

Executive Team
Director: CHUNG Chiao(Assignment Theatre)
Curators: LEE Je-Yu, CHIU Chun-Ta(Yves)
Project Manager: YANG Fang-Yi, CHEN Min-Hui
Project Assistant: WU Yi-Ching, YI Chien-Ru
Exhibition Design: ArchiBlur Lab
Photography and Videography: OnePlumHorse Films
Visual Design: Idealform

作品配置圖 Artworks Map

關係育苗室

關係的建立,仰賴著時間與互動,而這種動態性與網絡性的過程,就如同育苗所需要的細膩觀察和細心照料。「關係育苗室」一方面呈現本計畫的創作者,如何從藝術工作者的位置出發,運用不同的方法,諸如戲劇、聲音、植栽與地景構造等等,來面向社福大樓的空間、場域、使用者等等,形成對「關係」的不同思考與操演。另一方面,策展團隊再從參與、研究與分析的視角,嘗試點出種種有待思考與進一步展開的提問和觀念,從中理出的藝術所能揭示的不穩定感知樣態,以及可能的參與路徑。

一、《身態光合》的當下呼吸

用十五年或五十年的時間,不離不棄照護至親,這是怎樣的情感和羈絆?三個月的時間,心智障礙照護者與戲劇工作者在持續地傾聽、對話、自白的互動中,共同凝視照護者與患有罕見疾病、思覺失調、失智的親人之間的辛苦與挫折。劇場導演張嘉容的《身態光合》透過戲劇治療(drama therapy)工作坊,清晰了照護者原本對生命的怨恨,原來是給予家人最深沉的愛;洞見了照護者守護家人的能耐,也正是他們不僅只是弱者的證明。透過戲劇的路徑,擠壓出人性尺度上最深沉的愛,和獨特的堅強。

 二、《吐-納-覺-聽》的聆聽感知運動

聲音不僅是物理現象,亦是獨特的感知活動與描繪社會樣態的媒介。透過聲音,我們得以辨識、想像、幻見與回憶,聲音也可以是劃分權利/權力範圍的手段。蔡宛璇與澎葉生《吐-納-覺-聽》的「聆聽運動」開始於社福大樓四樓的「臺北市西區新移民社區關懷據點」與「臺北市中正婦女暨家庭服務中心」。曾設想抽取新移民的生命話語,在接待空間構建聆聽感性的場域。但在考量該空間既有的功能設定,與使用族群的隱蔽需求後,轉以社工與「臺北植物園」為建構與採集聲響的對象/場域。構想在過於功能化的大樓裡,以「非功能性」的聲響,調動來訪者的感性感知。安置於大樓電梯、六樓接待處與露台的聲音裝置,即是《吐-納-覺-聽》以優雅異質的聲響滲入冷冽、理性的公共空間的策略,以創造特定時空條件下的聆聽情境,乃至一種由聆聽所構成的「聚落」。

三、《五感種植》:生態循環重構的起點

空氣、水、食物都是維繫生命的基礎要素,「對於生病的植物,人們往往只想到給它更多的食物(肥料),但其實應該要先解決『無法呼吸』這件事」。植物醫生林暐翔以先理土再理水的觀念,於診斷大樓工程的病徵中,養護出適宜呼吸的土壤,後與「臺北市南海發展中心」發展參與式種植計畫。「五感種植」不僅是蔬菜、香料植物的栽種與收成享用,更是透過重整「土壤」、分享生態、植栽知識與建立共作關係的過程。於改良土壤介質和建立植栽共作的過程中,彷彿也翻攪出為理性化工程所掩蓋的感知,建立起「身態園丁」(機構人員、學員與社區居民)共活著的微氣候環境…… 

四、《植變聚落》的關係凹折與共生

陳宣誠的《植變聚落》是社福大樓中一處美好的弔詭,它將設計失當和規範管理下而失去公共性的六樓陽台,轉化為一處關於聆聽、種植、瞭望以及人們得以相遇的「庭園」或「聚落」,補償了理性化的樓層設計與機構分野等重重隔離下造成的有形或無形的牆。《植變聚落》以一種獨特的姿態,向所謂的「公共性」提問。它手作的「凹折」鋼材,在曲折和圓滑間,往返思考藝術創作與社福事業之關係。在水路、植栽與聲響的生態循環建構中,構思我們如何在此目睹生命自然竄生於鋼材縫隙的能耐,望見異質物之間的共生可能。

Transmutation Working Process

The establishment of a relationship takes time and involved interaction. This dynamic and networked process is similar to raising seedlings, which requires intense observation and delicate care. Transmutation Working Process represents the concepts from artists of the project, how they apply their expertise in different methods, such as drama, sound art, gardening and landscape construction, to confront space, place, users, etc. of the social welfare building, resulted reflections and the distinguished styles of handling on the topic of  “relationship”. The curatorial team also try to present the intriguing questions and demonstrating notions from our the process of participation, research and analysis. With their help, our team discovers the potential of art for revealing unstable perceptual patterns and the possible path of participation.

Through Photosynthetic, We Breathe

How deep an affection and a bond should it be, for a person to devote oneself to beloveds for fifteen, or even fifty years of time? Along with caregivers and theater workers in the course of three-month passionate listening, dialogue and self-confession,  they could gaze at the hardships and frustrations experienced by themselves, intellectual disabilities, rare diseases, schizophrenia, and dementia. Photosynthetic, a drama therapy workshops organized by theater director CHANG Chia-Jung, helps sharpen the image of caregivers’ resentment towards life, which turns out to be their profoundest love for the family; clarify insight into caregivers’ ability to protect their family as the proof of their strength. Through the path of theatre, the deepest love as well as the unique strength on human scale are sculptured.

Auditory Perceptual Movement of Sound Organism / Organisation of Sound

Besides being a physical phenomenon, sound is also a unique per Sound Organism ceptual activity and a medium for depicting social patterns. Through sounds, we can identify, imagine, fantasize and recall things. Meanwhile, sounds can also be a means of dividing scopes of rights and powers. The auditory movement, Sound Organism, led by TSAI Wan-Shuen and Yannick DAUBY, begins at the Taipei City Western District Community Care Center for new Immigrant and Taipei City Zhongzheng Women and Family Service Center on the fourth floor of Taipei Chengzhong Social Welfare Services Building. An original idea was to extract conversations in life of new immigrants and build a listening field in the reception area. However, after taking the pre-existing functions of the area and privacy of user groups into consideration, the objects for material constructing and collecting turn to social workers and Taipei Botanical Garden. Sound Organism wants to trigger the perception of visitors with “non-functional” sounds in this over-functional building. The concept is to place sound devices in elevators, at the reception and the terrace on the sixth floor of the building, so that Sound Organism could infiltrate elegant and heterogeneous sounds into the cold and rational public space, creating listening scenarios under specific temporal and spatial conditions, or even establishing a “Village” with the art of listening.

Sensory Garden, the Starpoint of Ecological Restoration

Air, water and food are essential components for survival. “To treat sick plants, people tend to feed them more food (fertilizer). However, what they should do first, is solving the problem of ‘breathing’.”, stated botanist Sean LIN. Judged by the symptoms of the building, LIN adheres the principle of “soil treatment first, water treatment afterwards”, and eventually nourishes health and breathable soil. He later further develops a participatory gardening project with Taipei Nanhai Development Center. Sensory Garden is not merely about the cultivation and harvest of vegetables and spices, but also the interaction of sharing ecology, exchanging gardening knowledge and establishing a cooperative relationship through the act of reorganizing soil. Moreover, in the process of improving the soil and growing the community garden, it seems to stir up the perceptions buried by the rationalization construction and build up a microenvironment, where different gardeners (institutional personnel, students and community residents) co-exist.

Twist and Coexistence in Transmutation Village

Eric CHEN’s Transmutation Village is a beautiful paradox in the Social Welfare Services Building. It transforms the 6th floor balcony, which was lack of publicity due to design flaw and regulations, into a garden or a village for people to meet and a place for listening, gardening and gazing. The village compensates for the isolation caused by both tangible and invisible walls due to rational floor design and division of organizations. Transmutation Village brings up the question of “publicity” in a unique position. Its self-made bending steels shuttles through the twisting and turning figures, pondering connections between artistic creation and social welfare business. In this ecological circular construction of waterways, plants and sounds, we conceive how we can witness the ability of nature to thrive in the gaps of steel and envision the possibility for heterogeneous things to coexist.

差事劇團簡介 About Assignment Theatre
「差事劇團」有兩隻翅膀:一隻是年度的專業演出;另一隻是,在社區或社群的民眾戲劇工作坊。兩者互為辯證,在表現的方向上或有所不同,卻在基本精神上是一致的⋯⋯。在年度製作的專業劇場中,「差事劇團」以魔幻寫實的手法,在帳篷劇、在小劇場、在環境地景劇場中探討過各式各樣的主題,但都不失對於左翼第三世界劇場的關注或轉化。

Assignment theatre transfers their training institution and theory system from people’s Theatre for the purposes of developing a common people’s performing culture in communities and schools, while raising a critical social awareness towards issues of oppression. 
People Theatre emphasizes learning from the process, through the interaction of theatre, to reach the goals of educating, communicating, and growing together.  People’s Theatre is a theatre style that proceeds from reality, integrating the local history and life experiences of a community, while exploring an experimental theatre performing aesthetic.

計畫主持人簡介 About the Director

鍾喬|差事劇團團長
2017年台北市第21屆文化獎得獎人。
第一屆與第二屆國家表演藝術中心董事。
1956年出生於台灣台中,原籍苗栗三義客家人。17歲就讀台中一中時,開始寫詩。1980年代初期,研讀戲劇研究所階段,受教於姚一葦老師,並因初識陳映真先生,在他的介紹下進入《夏潮雜誌》與蘇慶黎一起工作,建構左翼國際觀與藝術觀。1986年,在投身底層寫作的年代,進入《人間雜誌》工作,連結藝術勞作與庶民生活對等的視線。1989年,從亞洲第三世界出發,展開民眾戲劇的文化行動,1996年創立「差事劇團」,巡演兩岸及亞洲各國,進行民眾戲劇的串聯。

CHUNG Chiao
Born in 1956 . a Hakka ethnic writer and poet, who was chief editor of “human magazine” in 1988. 1996, started its career of People’s Theatre till now, founder of Assignment Theatre  as the playwright and director, also the planner of inter-Asia theatre project.@

策展人簡介 About the Curators

李哲宇|差事劇團成員
 1981年生於高雄。國立清華大學社會學博士。近年著迷1970 年代鄉土文學論戰以降的藝術與社會思辨,和稀泥於左翼文藝運動、民眾劇場、參與式藝術等概念叢結中。曾參與策劃《紅字團 2014-1949》與《眾志—民眾文藝的跨境連帶》等展覽。

LEE Je-Yu
Born in Kaohsiung in 1981. He holds the Ph.D. degree of Sociology from the National Tsing Hua University. He has been recently dedicated to the issue of the relationship between arts and society with regard to the “Debate over Hsiang-Tu literature” in the 1970s. As such, he has been engaged with the left-wing literary movement, People Theater,  and Participatory Art and so on ‘entangled concepts’. Past curatorial experiences include The Red Bloc 2014-1949 and Zhong-Zhi: Trans-Border Solidarity of People’s Art.

邱俊達 |獨立策展人、臺灣藝術檔案中心研究員
1983年於高雄出生。2008年從哲學仿歐式象牙塔逃出,卻滑入當代藝術生態的廣闊泥沼,如今深陷其中。2017獲國立台南藝術大學博士。從西方哲藝思想與大師創作獲得數不盡的天啟靈感,但比較喜歡聽自己的神說話。長期關注如何從偽社會學方法描繪真實的社會形貌,從偽論述方法來進行知識生產,並且關心藝術創作如何與社會、與生活真正發生關係。

重要策展經歷有「2014新年新希望」、「聲語遶境」、「梅爾汀計畫」、「臺南中國城」、「城市潛綠體」、「共同史」、「2019麻豆糖業大地藝術祭」、「負育群帶聚落」。

Yves Chun-ta CHIU is an independent curator and researcher of Art Archive Center in Taiwan. He was born in 1983, Kaohsiung. He escaped from the ivory tower of philosophy in 2008 to enter into the field of contemporary art and has been deeply immersed in it ever since. He received his PhD. in Fine Arts from the Tainan National University of the Arts in 2017. He is very much inspired by the works of western philosophers, art theorists and masters, but prefer to listen to his own masters. He is interested in the methodologies of describing the real society by pseudo-sociology and the production of knowledge by pseudo-discursive. He is also concerned about how art practice is able to form relationships with society and life authentically.

Past curatorial experiences include 2014 New Year New Hope; Voices Travel; M.E.L.T. ing Project; Tainan Chinatown; Urban Potential Chloroplast; Common Story; 2019 Madou Sugar Industry Art Triennial; Collective Negative Space Village.

 

最後修改日期: 6 4 月, 2020

作者

留言

Great content! Super high-quality! Keep it up! 🙂

You have one of the better internet sites.

撰寫回覆或留言

發佈留言必須填寫的電子郵件地址不會公開。