活動名稱:原動力革命6-3_小山豬返山林
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原動力革命
藝術計畫介紹
Inner Revolution
Art project introduced
Inner Revolution
原動力革命
起源
藝術家巴豪嵐.吉嵐透過象徵與批判,對於垂死的原住民母體文化之焦慮,翻轉成為猙獰狂奔的野豬,從森林、海洋到都會,奮力吶喊,迎戰新世紀。藝術家本質的吉嵐,長年來被社會馴服了的身體,透過創作找回初始的野性,心事重重的生命記憶,轉化為新興的圖騰,遠離傳統的禁忌卻又難以忘懷,不斷地在他身上烙下痛楚與美麗。這是吉嵐個人的自我探索、自我革命,同時也是台灣原住民族在懸而未決、停滯不前的存在處境中,渴望產生新的原動力,重整文化母體,拒絕遺忘。
origin
Artist Chi-Lan Pa Hao Lan uses symbols and critiques to present his anxiety towards dying aboriginal culture, the wild boar rushes madly from forest, ocean to city, crying out furiously to challenge the new century. Chi-Lan's artistic nature lies beneath the body long tamed by the modern society, he tries to find back his original wildness through art creation. The complicated memories on his mind turns into innovate totems, which are distant from the traditional taboo but still hard to wipe out his legacy, the contradiction marks beautiful and suffering scars on him. It's the self- discovery, self-revolution of Chi-Lan, but also shows the suspending, unstable situation of Taiwanese aborigines: the longing for new power to rebuild the maternal culture and refuse to be forgotten.
藝術家
巴豪嵐.吉嵐Chi-Lan Pa Hao Lan是視覺藝術自由工作者,母親是台東大武的排灣族,父親是湖南外省人,在眷村長大,在台北讀書、工作。2009 年,吉嵐從台北到花蓮海邊阿美族的東昌部落,開始醒悟到原住民族母體文化,並不是單純的血緣追朔,而是一種文化的理解與認同。所以,吉嵐的血統雖然屬於排灣族,卻受到阿美族傳統文化的感動,進行反思與開啟他的創作。吉嵐的作品與他性格中強烈的原始內驅力相映成趣,在黑暗怪誕的造型中,有一種幽默與童趣,用戲謔捉弄表現刻骨銘心的痛恨之情,觀者感受到的是衝突的力量,而不是和諧的美感,其中的荒謬世界,常令人陷入沉思。
Artist
Chi-Lan Pa Hao Lan is a freelance visual artist. His mother came from a Paiwan tribe in Dawu, Taitung, while his father was from Hunan, China. He grew up in a veteran village, and studied and worked in Taipei. In 2009, Chi-Lan moved from Taipei to Dong Chang Tribe of Amis nearby the shore of Hualian, where he came to realize the indigenous cultural universe. It was not simply a trace of origin, but also an understanding and identity toward a culture. Hence, even though Chi-Lan is originated from Paiwan, he was touched by the traditional culture of Amis, starting his journey of reflection as well as creation. Chi-Lan’s artworks make an interesting contrasts with the vigorous, primitive inner force rooted in his character. They carry a sense of humor and child-like touch, displaying the agonizing hatred with sarcasm. What audience will feel is a force of impact instead of harmonious aesthetic. The world of absurdity within oftentimes draws its spectators into contemplation.
原動力革命I-圖騰變奏
@2015 台北國際藝術博覽會
闖進都市叢林的台灣本土山豬,闖蕩之際,驚見一尊臥倒在地的巨人。 由巨人身上圖騰所延伸出來的紋路,是一代代反覆演繹在山豬身上的紋路的原型。
巨人身上的圖騰已凋零剝落,原先應依照時間流轉而增長出來的新文化圖像符號,已遺失了母體文化的本質內涵。巨人肚子上的時鐘彷彿被禁錮般停擺,無聲地控訴著時間靡流的運作已無法啟動文化巨大的生命力。 中央垂死的巨人隱喻臺灣原住民文化,置於巨人上方的祭司,在過去,是充當神靈與族人的橋梁,現今因族人盲目消費傳統藝術文化,喪失了靈魂的純粹本質,祭司們被停滯的母體文化刑求般被高掛著, 淹淹一息。
新世代的來臨,文明和都市化的快速演進,新一代的山豬身上象徵傳承的圖騰,像是被倉促披掛上一般,保留了形樣卻了失去了扎實的內化過程。為數不少的族人已忘卻圖騰的原始樣貌,在漢化獨大的思維洪流裡,浮浮沈沈。 但是,依舊有部分原住民族人徒手扛著僅有的傳統文化精髓,觀望、反思,戰戰兢兢地,為屬於當代及未來的新圖騰變貌孤注一擲、奮力奔進。
巨人身上的圖騰已凋零剝落,原先應依照時間流轉而增長出來的新文化圖像符號,已遺失了母體文化的本質內涵。巨人肚子上的時鐘彷彿被禁錮般停擺,無聲地控訴著時間靡流的運作已無法啟動文化巨大的生命力。 中央垂死的巨人隱喻臺灣原住民文化,置於巨人上方的祭司,在過去,是充當神靈與族人的橋梁,現今因族人盲目消費傳統藝術文化,喪失了靈魂的純粹本質,祭司們被停滯的母體文化刑求般被高掛著, 淹淹一息。
新世代的來臨,文明和都市化的快速演進,新一代的山豬身上象徵傳承的圖騰,像是被倉促披掛上一般,保留了形樣卻了失去了扎實的內化過程。為數不少的族人已忘卻圖騰的原始樣貌,在漢化獨大的思維洪流裡,浮浮沈沈。 但是,依舊有部分原住民族人徒手扛著僅有的傳統文化精髓,觀望、反思,戰戰兢兢地,為屬於當代及未來的新圖騰變貌孤注一擲、奮力奔進。
Inner Revolution I-Variation of Totem
@2015 ART TAIPEI
The boars that rushed into concrete jungle accidentally bumped into a lying giant on their way. The pattern of giant's totem extends and becomes the prototypes of pattern on boars' body that has been passed on for generations.
The pattern on giant is fading, and the signs that should be developed through the times have grown without maternal culture's spirit. The clock on giant's belly has stop ped as if it's prisoned, accusing time for not being functional to continue the great culture's vitality. The dying giant in the middle is a metaphor of Taiwanese aboriginal culture. The priest above the giant used to bridge between the holy spirits and men, now lost the pure spirit in his soul due to the careless consumption of traditional art and culture.
The priest was hung high above and dying painfully, being sentenced by the stagnated maternal culture. The coming of new century, rapid changes of civilization and urbanization urged the shift of generations. Patterns on boars' body were like a cloak being put on hastily, only the shape was remained but without solid internalization procedure. Many aborigines already forgot the original totem, drifting ups and downs in the dominant Han culture. However, there are still some aborigines bearing the spirit of traditional culture. They observe and reflect carefully, doing all they can to fight for the new contemporary totem variation in the future.
The pattern on giant is fading, and the signs that should be developed through the times have grown without maternal culture's spirit. The clock on giant's belly has stop ped as if it's prisoned, accusing time for not being functional to continue the great culture's vitality. The dying giant in the middle is a metaphor of Taiwanese aboriginal culture. The priest above the giant used to bridge between the holy spirits and men, now lost the pure spirit in his soul due to the careless consumption of traditional art and culture.
The priest was hung high above and dying painfully, being sentenced by the stagnated maternal culture. The coming of new century, rapid changes of civilization and urbanization urged the shift of generations. Patterns on boars' body were like a cloak being put on hastily, only the shape was remained but without solid internalization procedure. Many aborigines already forgot the original totem, drifting ups and downs in the dominant Han culture. However, there are still some aborigines bearing the spirit of traditional culture. They observe and reflect carefully, doing all they can to fight for the new contemporary totem variation in the future.
原動力革命II-迷走小山豬
@台北101大樓(2015)
臺灣山豬,是一種僅分布在臺灣的特殊野豬種類,過去一直未被列保育類動物名單內,自1990年便開始呈現嚴重凋零的狀態,至今甚至面臨成為即將消失物種的危機。
即將滅絕的臺灣純種山豬就如同即將消逝的臺灣原住民文化精神一般,無奈地漸漸淡化凋落在時代遷異的快速步伐中。本展以與原住民共享相似生存環境的101頭台灣山豬作為呈現媒介,反思、提問著。在這傳統文化因忽視而逝去的現實裡,其中有可望解脫的吶喊,以及急需正面迎擊的精神性追隨?101隻山豬從野生叢林逃向都市,在流竄避禍的同時,自身處境的自覺點燃了自我省思的火苗,燃燒起一整片出走探索的渴望。
奔逃的山豬們驚覺許多原本古木參天、密林滿布的山林如今已經變成高山民宿與高山蔬果園圃,在幾乎要放棄希望的最後一刻,他們在臺北市中心發現了一座高聳入雲的大山。滿懷希望地,他們入山勘察地形,遇見了人類。不知道自己已誤闖臺北101大樓的們,看到整座大山充滿了人類,沒有熟悉的山林和風光,山豬們內心不禁慌亂了起來。在這都市叢林中的巨型高山裡,人類和山豬之間沒有了肅殺之氣,人們駐足觀看,山豬們遲疑留步,彼此互秀著好奇和驚喜心情。人們開始上前詢問山豬為何遠離故鄉?為何逃竄到這個水泥都市大叢林?於是,山豬們開始講述他們的故事......
即將滅絕的臺灣純種山豬就如同即將消逝的臺灣原住民文化精神一般,無奈地漸漸淡化凋落在時代遷異的快速步伐中。本展以與原住民共享相似生存環境的101頭台灣山豬作為呈現媒介,反思、提問著。在這傳統文化因忽視而逝去的現實裡,其中有可望解脫的吶喊,以及急需正面迎擊的精神性追隨?101隻山豬從野生叢林逃向都市,在流竄避禍的同時,自身處境的自覺點燃了自我省思的火苗,燃燒起一整片出走探索的渴望。
奔逃的山豬們驚覺許多原本古木參天、密林滿布的山林如今已經變成高山民宿與高山蔬果園圃,在幾乎要放棄希望的最後一刻,他們在臺北市中心發現了一座高聳入雲的大山。滿懷希望地,他們入山勘察地形,遇見了人類。不知道自己已誤闖臺北101大樓的們,看到整座大山充滿了人類,沒有熟悉的山林和風光,山豬們內心不禁慌亂了起來。在這都市叢林中的巨型高山裡,人類和山豬之間沒有了肅殺之氣,人們駐足觀看,山豬們遲疑留步,彼此互秀著好奇和驚喜心情。人們開始上前詢問山豬為何遠離故鄉?為何逃竄到這個水泥都市大叢林?於是,山豬們開始講述他們的故事......
Inner Revolution II-Lost in Time
@taipei 101
Formosan Wild Boar is a special species exists only in Taiwan. It has long been considered conservation- deserving animal, became severely endangered since 1990, and now facing the crisis of being threatened species.
The endangered Formosan wild boar is just like the dying out Taiwanese aboriginal cultural spirits, fading out gradually under the rapid changing circumstance. In the exhibition, artist uses 101 Formosan wild boars as media to present the aboriginal cultures, which share the similar existing situation, in order to rethink and to question: In the reality that traditional culture has been ignored and dying out, can we scream out for emancipation and fight for spiritual believes? When the 101 wild boars rushed from forest to city, raging for surviving, they also ignited the self-reflection deep in our mind, and outbroke the fire of discovering desire.
The rushing boars were surprised to find out that the forest with towering old trees and prosperous greens before, had been replaced by holiday resorts and temperate fruit farms. When they almost gave up to the disappointing environment, they found a great mountain that reached the cloud, and happily entered. The boars didn't know it was the Taipei 101 building and met human beings. In the mountain full of people, without woods and breeze and thing they're used to, boars became insecure and nervous. In the mountain of concrete jungle, people and boars were not enemies anymore, people stopped to watch the boars while they hesitated to move. Out of curiosity and surprise, people started to ask the boars why did they leave their homeland, how did they get to the concrete jungle? And the boars started to tell their stories...
The endangered Formosan wild boar is just like the dying out Taiwanese aboriginal cultural spirits, fading out gradually under the rapid changing circumstance. In the exhibition, artist uses 101 Formosan wild boars as media to present the aboriginal cultures, which share the similar existing situation, in order to rethink and to question: In the reality that traditional culture has been ignored and dying out, can we scream out for emancipation and fight for spiritual believes? When the 101 wild boars rushed from forest to city, raging for surviving, they also ignited the self-reflection deep in our mind, and outbroke the fire of discovering desire.
The rushing boars were surprised to find out that the forest with towering old trees and prosperous greens before, had been replaced by holiday resorts and temperate fruit farms. When they almost gave up to the disappointing environment, they found a great mountain that reached the cloud, and happily entered. The boars didn't know it was the Taipei 101 building and met human beings. In the mountain full of people, without woods and breeze and thing they're used to, boars became insecure and nervous. In the mountain of concrete jungle, people and boars were not enemies anymore, people stopped to watch the boars while they hesitated to move. Out of curiosity and surprise, people started to ask the boars why did they leave their homeland, how did they get to the concrete jungle? And the boars started to tell their stories...
原動力革命III-山豬小學堂
@2017 輔仁大學藝文中心
2017年5月在輔大舉辦的「山豬小學堂」,為原動力革命系列第三部曲,以闖蕩在城市叢林之際的山豬跨越了校園圍籬,徜徉在豐富的書海及自由的大草地上,象徵著年輕原鄉學子懷抱著夢想與好奇心,在城市與校園間進行生命的探索旅程,如海綿般的大量吸收與學習,其最終的目的是為得到反轉自己族群命運的力量、茁壯的勇氣與毅力。
本次的展覽海報中以視覺手法巧妙加入左右箭頭的意象,代表著眼前這一股新世代力量該是向左走?或是向右走?都將是當代有志青年必須勇敢面對,並有所作為的告白與宣示。新世代的原鄉學子,我們來到你們面前支持你們並對你們說,請別對眼前的困難而害怕,你/妳可以也將戰勝迎面而來的一切挑戰!
本次的展覽海報中以視覺手法巧妙加入左右箭頭的意象,代表著眼前這一股新世代力量該是向左走?或是向右走?都將是當代有志青年必須勇敢面對,並有所作為的告白與宣示。新世代的原鄉學子,我們來到你們面前支持你們並對你們說,請別對眼前的困難而害怕,你/妳可以也將戰勝迎面而來的一切挑戰!
Inner Revolution III-Wild Boar School
@2017 Fu Jen Catholic University Center for the Arts
Wild Boar School held at Fu Jen Catholic University in May 2017 marks the third movement of “Inner Revolution” series. Boars that roam in the concrete jungle cross the campus wall and wander freely amidst the abundant sea of books and the vast grass of liberty, symbolizing the indigenous youth go on an expedition on their journey of life with dreams and curiosity in the city and on campus. They absorb and learn in volume like sponge, aiming to acquire the ultimate power to alter the fate of their own tribes along with the bravery and perseverance to grow.
The imagery of arrows of left and right delicately inserted in the poster of this exhibition represents the question of turning left or right from the young power of new generation. Be that left or right, it is a challenge that all youth with ambition nowadays has to confront, taking actions as their proclamations and declarations. The indigenous youth of the new generation, we have come forth to support you and say to you, “Fear not for the difficulties ahead, for you shall overcome all the challenges in the days to come!
The imagery of arrows of left and right delicately inserted in the poster of this exhibition represents the question of turning left or right from the young power of new generation. Be that left or right, it is a challenge that all youth with ambition nowadays has to confront, taking actions as their proclamations and declarations. The indigenous youth of the new generation, we have come forth to support you and say to you, “Fear not for the difficulties ahead, for you shall overcome all the challenges in the days to come!
原動力革命IV-小山豬壯遊
@2018 台南陳德聚堂
小山豬走出森林,在城市中迷走,尋找一個在棲息之所,象徵著原住民走出部落,與主流社會進行對話,並發展更多的生存空間。誠美社會企業非常期待自己能成為原住民在都會的一個友善據點。我們相信,這樣的想法,是促進原漢共好的第一步。
陳德聚堂作為臺南四百年的古蹟建築,保留漢人開墾的臺灣的痕跡,小山豬進駐陳德聚堂,代表著原住民與漢人在一個充滿歷史象徵的場域進行接觸,在原漢共好的今天,我們想跟小山豬們呼喊:「把這裡當成自己家吧。讓我們好好的對話,彼此認識、了解」。
「小山豬壯遊」為誠美社會企業所發起之「原動力革命」系列活動,繼2015「變奏圖騰」、2016「迷走小山豬」、2017「山豬小學堂」之第四場行動展覽計劃,串連「原動力革命」的精神,也反映誠美社會企業之於原住民領域的友好、尊重、共存、扶植的理念,希望傳遞這樣的精神,並期待讓更多人可以加入原住民文化的推廣。
陳德聚堂作為臺南四百年的古蹟建築,保留漢人開墾的臺灣的痕跡,小山豬進駐陳德聚堂,代表著原住民與漢人在一個充滿歷史象徵的場域進行接觸,在原漢共好的今天,我們想跟小山豬們呼喊:「把這裡當成自己家吧。讓我們好好的對話,彼此認識、了解」。
「小山豬壯遊」為誠美社會企業所發起之「原動力革命」系列活動,繼2015「變奏圖騰」、2016「迷走小山豬」、2017「山豬小學堂」之第四場行動展覽計劃,串連「原動力革命」的精神,也反映誠美社會企業之於原住民領域的友好、尊重、共存、扶植的理念,希望傳遞這樣的精神,並期待讓更多人可以加入原住民文化的推廣。
Inner Revolution IV-Wild Boar Travel
@2018 Chende Jyutan
Young Boars venture out of the forest and wander in the city, searching for a place to rest, which symbolizes the indigenous peoples stepping out their own tribes and engaging in conversations with the mainstream society while developing more space for survival. CHEN-MEI Art & Culture Inc. sincerely looks forward to becoming a friendly stronghold for the indigenous peoples in the city. We are convinced that such idea is the very first step for the mutual harmony between the indigenous and the Han peoples.
Standing as a 4-century-old historic monument of Tainan, Chen De Jiu Family Hall has preserved the traces of the Han people settling in Taiwan in the early days. The young boars set their feet in Chen De Jui Family Hall, representing the contact of the indigenous and the Han peoples in a venue filled with historic meanings. Upholding the concept of mutual harmony between the indigenous and the Han peoples, we would like to call out to the young boars, “Make yourself at home, so that we may converse, learn, and understand each other.”
Wild Boar Travel is one of the events from “Inner Revolution” series organized by CHEN-MEI Art & Culture Inc. Following Variation of Totem 2015, Lost in Time in 2016, and Wild Boar School in 2017, it is the forth action art exhibition plan that not only aligns with the spirit of “Inner Revolution”, but reflects the ideas of friendship, respect, coexistence, and support of CHEN-MEI Art & Culture Inc. on the issues with the indigenous peoples. In hopes of passing on such spirit, we look forward to more people aboard on the promotion of the indigenous culture.
Standing as a 4-century-old historic monument of Tainan, Chen De Jiu Family Hall has preserved the traces of the Han people settling in Taiwan in the early days. The young boars set their feet in Chen De Jui Family Hall, representing the contact of the indigenous and the Han peoples in a venue filled with historic meanings. Upholding the concept of mutual harmony between the indigenous and the Han peoples, we would like to call out to the young boars, “Make yourself at home, so that we may converse, learn, and understand each other.”
Wild Boar Travel is one of the events from “Inner Revolution” series organized by CHEN-MEI Art & Culture Inc. Following Variation of Totem 2015, Lost in Time in 2016, and Wild Boar School in 2017, it is the forth action art exhibition plan that not only aligns with the spirit of “Inner Revolution”, but reflects the ideas of friendship, respect, coexistence, and support of CHEN-MEI Art & Culture Inc. on the issues with the indigenous peoples. In hopes of passing on such spirit, we look forward to more people aboard on the promotion of the indigenous culture.
原動力革命V-小山豬要回家
@2018 南迴基金會籌備處
由南迴協會、南迴基金會籌備處主辦、誠美社會企業股份有限公司協辦之「小山豬要回家@南迴_〈原動力革命〉藝術行動第五部曲」展覽,於2018年1月19日(五)至3月2日(五)假籌備處藝文空間舉行。
〈原動力革命Inner Revolution〉為藝術家巴豪嵐・吉嵐於2015年完成之101件山豬雕塑,在10個月的創作期間,挑戰從未嘗試過的數量與體力,目的在形成一個集體式的宣言。這群山豬身上的手繪圖騰並非傳統的原住民族圖騰,而是藝術家的變奏。
2015年,誠美社會企業義助公益音樂合輯「4141為南迴而唱」拍攝「我的部落就是我自己」音樂影片,其中吉嵐的山豬們與音樂人一起傳頌南迴的故事。同時,台北市長柯文哲為了表達對於南迴醫院作為補足台灣醫療安全網最後一道防線的認同,特在編號77之山豬雕塑簽名,以喚起社會大眾對此議題的關注。
2017年,吉嵐再度以藝術行動支持南迴建院計劃,並創作一款山豬模型,做為素燒陶製撲滿FAFA;誠美社企亦提供〈原動力革命〉系列作品編號59模型,製作素燒陶製撲滿FUFU,為南迴傳遞愛與關懷的訊息。「小山豬要回家@南迴_〈原動力革命〉藝術行動第五部曲」展覽,於2018年1月19日(五)至3月2日(五)假籌備處藝文空間舉行,展覽內容包括〈原動力革命〉系列作品8件,包含編號3、66、68、73、84、85、87,與編號77(柯文哲簽名款),以及彩繪FAFA&FUFU作品部分,參與彩繪者包含五月天樂團吉他手石頭、徐超斌醫師、4141音樂合輯發起人毛恩足等。
〈原動力革命Inner Revolution〉為藝術家巴豪嵐・吉嵐於2015年完成之101件山豬雕塑,在10個月的創作期間,挑戰從未嘗試過的數量與體力,目的在形成一個集體式的宣言。這群山豬身上的手繪圖騰並非傳統的原住民族圖騰,而是藝術家的變奏。
2015年,誠美社會企業義助公益音樂合輯「4141為南迴而唱」拍攝「我的部落就是我自己」音樂影片,其中吉嵐的山豬們與音樂人一起傳頌南迴的故事。同時,台北市長柯文哲為了表達對於南迴醫院作為補足台灣醫療安全網最後一道防線的認同,特在編號77之山豬雕塑簽名,以喚起社會大眾對此議題的關注。
2017年,吉嵐再度以藝術行動支持南迴建院計劃,並創作一款山豬模型,做為素燒陶製撲滿FAFA;誠美社企亦提供〈原動力革命〉系列作品編號59模型,製作素燒陶製撲滿FUFU,為南迴傳遞愛與關懷的訊息。「小山豬要回家@南迴_〈原動力革命〉藝術行動第五部曲」展覽,於2018年1月19日(五)至3月2日(五)假籌備處藝文空間舉行,展覽內容包括〈原動力革命〉系列作品8件,包含編號3、66、68、73、84、85、87,與編號77(柯文哲簽名款),以及彩繪FAFA&FUFU作品部分,參與彩繪者包含五月天樂團吉他手石頭、徐超斌醫師、4141音樂合輯發起人毛恩足等。
Inner Revolution V-Wild Boars Coming Home
@2018 South-Link Foundation
Host by the Association of South-Link Health Care Promotion of Taitung County and South-Link Foundation Provisional Office and co-organized by CHEN-MEI Art & Culture Inc., “the 5th Movement of Inner Revolution – Wild Boars Coming Home @South-Link” took place at the Art Space of the Provisional Office January 19th (Fri.) to March 2nd (Fri.).
“Inner Revolution” is a band of 101 boar sculptures created by Pahawlan Cilan in 2015. Over the 10-month period of working, the artist challenged himself physically with a quantity he had never attempted before, so as to carve out a collective manifesto. The hand-painted totems on these boars are not of the traditional totems of the indigenous people, but of the artist’s variation.
In 2015, CHEN-MEI Art & Culture Inc. patronized the charity music album, 4141 Sing for South-Link Line, in shooting music video “My Tribe, Myself”, within which the boars of Cilan sing and share the stories of South-link along with the musicians. In addition, the Mayor of Taipei City, Ko Wen-Je, signed his autograph on the boar sculpture No. 77 to express his support to South-Link Hospital as the last piece of the health care safety net in Taiwan and to raise the awareness of the public on the issue.
In 2017, Cilan once again demonstrated his support to South-Link Hospital via action art and created a sculpture of boar, which is a biscuit-fired piggy bank, FAFA, whereas CHEN-MEI Art & Culture Inc. provided the work No. 59 of “Inner Revolution” as the model for the making of the biscuit-fired piggy bank, FUFU, to send a message of love and care for South-Link. “The 5th Movement of Inner Revolution – Wild Boars Coming Home @South-Link” exhibited from January 19th (Fri.) to March 2nd (Fri.) in 2018 at the Art Space of the Provisional Office. Eight Works from “Inner Revolution” series, No. 3, 66, 68, 73, 84, 85 and 87, as well as No. 77 (the one with Ko Wen-Je’s autograph), were showcased in the exhibition. The activity of painting FAFA & FUFU was thrown at the exhibition as well with the guitarist Stone from the band “Mayday”, doctor Chao-Pin Hsu, and the organizer Danubak for music album 4141.
“Inner Revolution” is a band of 101 boar sculptures created by Pahawlan Cilan in 2015. Over the 10-month period of working, the artist challenged himself physically with a quantity he had never attempted before, so as to carve out a collective manifesto. The hand-painted totems on these boars are not of the traditional totems of the indigenous people, but of the artist’s variation.
In 2015, CHEN-MEI Art & Culture Inc. patronized the charity music album, 4141 Sing for South-Link Line, in shooting music video “My Tribe, Myself”, within which the boars of Cilan sing and share the stories of South-link along with the musicians. In addition, the Mayor of Taipei City, Ko Wen-Je, signed his autograph on the boar sculpture No. 77 to express his support to South-Link Hospital as the last piece of the health care safety net in Taiwan and to raise the awareness of the public on the issue.
In 2017, Cilan once again demonstrated his support to South-Link Hospital via action art and created a sculpture of boar, which is a biscuit-fired piggy bank, FAFA, whereas CHEN-MEI Art & Culture Inc. provided the work No. 59 of “Inner Revolution” as the model for the making of the biscuit-fired piggy bank, FUFU, to send a message of love and care for South-Link. “The 5th Movement of Inner Revolution – Wild Boars Coming Home @South-Link” exhibited from January 19th (Fri.) to March 2nd (Fri.) in 2018 at the Art Space of the Provisional Office. Eight Works from “Inner Revolution” series, No. 3, 66, 68, 73, 84, 85 and 87, as well as No. 77 (the one with Ko Wen-Je’s autograph), were showcased in the exhibition. The activity of painting FAFA & FUFU was thrown at the exhibition as well with the guitarist Stone from the band “Mayday”, doctor Chao-Pin Hsu, and the organizer Danubak for music album 4141.
原動力革命VI-小山豬壯遊寶島
201 9年己亥年適逢12生肖的金豬年,晶華國際酒店集團年度社會企業活動將攜手致力於推廣台灣當代原住民藝術的「誠美社會企業」,2月1日起至6月30日,依序於集團旗下台南晶英、台北晶華、以及太魯閣晶英酒店展出排灣族藝術家-巴豪嵐・吉嵐為「原動力革命」所創作的山豬雕塑,近50隻充滿故事且特色獨具的雕塑作品將以「小山豬壯遊寶島」為名於酒店的公共空間進行巡迴展示,把最具有台灣生命力的原民藝術,介紹給蒞臨酒店的國際商旅以及廣大的本地消費者。
晶華國際酒店集團致力於打造融合在地特色、且能與世界接軌的文化交流平台,金豬年就要從推廣原民藝術家的創意與傑出表現開始,讓來自世界各地的旅人感受到台灣最純淨的原住民藝術美學。
晶華國際酒店集團致力於打造融合在地特色、且能與世界接軌的文化交流平台,金豬年就要從推廣原民藝術家的創意與傑出表現開始,讓來自世界各地的旅人感受到台灣最純淨的原住民藝術美學。
Inner RevolutionVI-Wild Boars Travels around Taiwan
Silks Hotel Group is proud to announce its collaboration with Chen-Mei Art & Culture Inc., a non-profit enterprise devoted to sponsoring projects related to Taiwan’s indigenous peoples. This year’s project, “Inner Revolution VI – Travels around Taiwan,” will take place from February 1 to June 30, opening at Silks Place Tainan before moving to Regent Taipei and concluding at Silks Place Taroko. As 2019 is the Year of the Pig according to the Chinese calendar, the exhibition will feature nearly 50 colorful wild boar sculptures from renowned artist Chi-Lan Pa Hao Lan throughout the hotels’ public areas.
In addition to providing bespoke and intuitive service, timeless designs, and extraordinary facilities that exceed the expectations of distinguished business travelers and local patrons alike, the Group aims to build an international cultural exchange platform that is infused with the unique essence of each property’s distinct locale while connecting travelers to the world. Echoing the Group’s philosophy, this year’s collaborative project is meticulously curated to reflect Taiwan’s indigenous aesthetics while showcasing masterful works of local art to travelers from around the world.
In addition to providing bespoke and intuitive service, timeless designs, and extraordinary facilities that exceed the expectations of distinguished business travelers and local patrons alike, the Group aims to build an international cultural exchange platform that is infused with the unique essence of each property’s distinct locale while connecting travelers to the world. Echoing the Group’s philosophy, this year’s collaborative project is meticulously curated to reflect Taiwan’s indigenous aesthetics while showcasing masterful works of local art to travelers from around the world.
inner revolution Vi-I
小山豬遊古都
@2019 台南晶英酒店
2019年2月01日~2019年04月01日@台南晶英酒店
2019/02/01~2019/04/01@Silks Place Tainan
inner revolution Vi-Ii
小山豬逛大城
@2019 台北晶華酒店
2019年4月02日~2019年04月30日@台北晶華酒店
2019/04/03~2019/04/30@REGENT TaiPAI
🐷跟著小山豬們一起逛台北吧!🐷
近期活動
coming soon
回家的小山豬接著又會展開怎樣的奇妙旅程呢,敬請期待...
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