《 粉鳥 Hún-tsiáu" : 李立中 邀請展 》

| 展期 | 2022/04/27(三) - 2022/06/27(一)
| 地點 | 月之美術館一樓
| 空間開放時間 | 星期二至日 09:00 ~ 17:30
| 空間休館時間 | 星期一

 

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關於《 粉鳥 Hún-tsiáu" 》— 李立中

鴿子作為航海人指引方位距離的工具，也一路隨著海盜移民落腳在這座島嶼上。在歷經時空演變、殖民流動下，他們已不如以往活躍。『粉鳥』是地方上對鴿子的口語暱稱，作品『粉鳥』則是重返歷史現場的觀看，從大航海時代小人物的視角，四百年前海盜移民登陸的聲音想像，連結僅存於台南溪北的地方民俗『揹鴿笭』。以『粉鳥係欲飛去佗位』這句話一路追溯鴿子何時來到台灣所延伸出的主體性，我欲透過考古又考現兼帶點地誌學的方法，以影像＋書寫彼此互文與指涉，趁隙一面尋找自己心疼未受重視的菜鴿身影（考古），同時也關照地方文化發展聚落（考現）。



Pigeons used to serve as a tool to navigate and assess distance in nautical settings. As time advanced, these birds also settled on this island along with pirates and immigrants. With changes in time, space, and even colonialism, they are no longer as active as before. "Hún-tsiáu" is the local nickname for pigeons, and this work, The Hún-tsiáu, is a return to the historical scene. From the perspective of small figures in the Age of Discovery and the sound imagination of pirates and immigrants landing Taiwan four hundred years ago, this work aims to depict the local folk activity of pigeon whistle racing which only exists in the northern Tainan area nowadays. Building on the Taiwanese saying, "Where are you going, you pigeons?", this work traces the subjectivity extended from pigeons when they first came to Taiwan. By focusing both on archeology and narratives for the present, and a bit of topographic methodology, I wish to use images and writing as coreference and, at the same time, record the pigeon culture neglected by most people (archaeology) and care for the local cultural development in various settlements (narratives for the present).

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攝影、檔案再製、書寫、聲音
尺寸依現場而定

Photography, Archival Reproduction, Writing, Voice, Dimensions Variable

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藝術家 / 李立中
官方網站 / http://www.leelichung.com/

六年九班台南人，文化大學印刷系畢業，曾為北漂族從事時尚雜誌美編，2012年辭掉工作搬回台南生活。近年來迷戀賽鴿歸巢本能，欲透過賽鴿文化研究，對歸屬、宿命、後全球化等議題建構自我對話路徑。近年慣用大量翻找文獻、微細歷史的提示，以影像、書寫為載體的虛構事件介入史料與史料之間的縫隙，藉由敘事性的創作填補賽鴿運動在台灣文化脈絡中的空缺，同時也滿足自己過份寄情於鴿子的情感。

計劃透過「台灣粉叫三部曲」等幾件敘事作品來建構、書寫一部台灣賽鴿史，同時也是台灣近代史。該計畫亦曾獲國藝會創作、展覽等多項補助，2019年首部曲作品「竹篙山戰役與紅腳笭」獲台新獎提名與高雄獎優選，2020年二部曲作品「台灣空戰記事」於國立台灣美術館台灣雙年展展出、2022年與立陶宛國家美術館之對話展進行認同之核心命題，2021年起陸續以駐點方式發表的前傳新作「Pontanus的日誌本」，則將自己化身為主角史詩般穿越時空尋找菜鴿身影。

Born in 1980 in Tainan, LEE Li-Chung graduated from the Department of Information and Communications, Chinese Culture University. Formerly working as a fashion magazine editor in the Northern Taiwan, he resigned and returned to Tainan in 2012. Recently, Lee has been fond of the homing instinct of racing pigeons. Through the studies of the pigeon racing culture, he aims to construct the routes of self-dialogue with respect to issues like belonging, fate, and post-globalization. In recent years, Lee has been accustomed to combing through literature and the subtle clues in history, intervening in the historical materials and the gaps thereof. As such, the artist put back the missing pieces of pigeon racing activities in the cultural context of Taiwan via narrative practices, while satisfying his obsession with pigeons.

Lee’s project is to construct and write a pigeon racing history of Taiwan as well as the contemporary Taiwanese history through several narrative works of “Taiwan Pigeon Trilogy.” The project was funded by the NCAF production grant, exhibition grants, among others. The first work Battle of Mt. Zhugao and Red Feet Ling was nominated by the Taishin Arts Award in 2019 and selected into the 2020 Kaohsiung Award. The second work The Memo of Formosa Air Battle was exhibited at Taiwan Biennial of the National Taiwan Museum of Fine Arts in 2020. In 2022, Lee is working with Lithuanian Art Museum on the core proposition of identity for a dialogue exhibition. Starting from 2021, the new work and the prequel, The Diary of Pontanus, has been published via art residency in succession, in which the artist was transformed into the protagonist in an epic quest for the pigeon’s presence across space and time.

 

#月之美術館邀請展
#2022第一檔空間展
#李立中 #粉鳥 Hún-tsiáu"