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來自未來的朋友2021—第三自然的纖維材料庫

Having Frineds in the Future 2021
3rd-nature Fiber Library



6/30 - 10/17 2021

實體展覽期間:2021年07月13日至2021年10月17日
開館時間:週二~週日09:00-17:00 (週一休館,國定假日除外) 展覽地點:國立臺灣工藝研究發展中心工藝設計館1F、B1(南投縣草屯鎮中正路573號)

主辦單位:國立臺灣工藝研究發展中心
策展團隊:楊偉林、施惟捷、朱玲瑢

如果把每個人的每個纖維創作,想像成全世界纖維創作的一環,那麼每個人所做的每個動作,都是對未來的一份善意 ;彷彿當你在夜晚沈睡之時,有人已浣好紗,等著你天明醒來織就。

這是我們將展覽命名為:「來自未來的朋友」的緣由。但「未來」的意涵,卻不僅於此。

在纖維創作史中,纖維材料的不斷擴充,早已是從未止歇的進行式。將導電材料、柔性電路、生物織品,納入纖維創作中,讓纖維創作材料向科技領域打開邊界,在自然纖維的基礎上加入新語彙,已是纖維創作的其中一種進行式,是未來重要的方向。

然,對創作者言,創作材料僅止於物質性材料嗎?而「未來」可有更立體的意涵?

細細拆解一件作品的構成,除了「物質性」材料,還有那也許看不見,卻不斷傳染的「精神性」部分。比如「訊息」、「觀念」、「知識」,以及承載著文化歷史脈絡的「人」,這些互相交疊擴散,在作品的「完整性」中暫時停歇,再不斷多方分散,而所有這些,皆都是創作者的養分來源,啟發著下個作品的完成;全然是創作的「材料庫」。

由此之故,我們以此次展出作品為基礎,拆解其創作元素,在入口處創造了一個現代纖維創作的「材料庫」,作為策展概念的表達。而「第三自然」則借用自安娜.羅文豪普特.秦(Anna Lowenhaupt Tsing) 於《末日松茸》(MUSHROOM AT THE END OF THE WORLD)一書中提出的概念。當人類在經歷了與原始自然生態關係的「第一自然」及環境遭資本主義改變的「第二自然」之後,那不在常規生產系統之下的可能性。以下或可稱為此材料庫建立的宣言:

此材料庫裝置可以被試著想像為一座森林,其中所涵蓋的各種材料、觀念、物種,甚至是意識都為整體環境提供了多樣性,這些多樣性彼此傳染交融,共享視野。多樣性正是永續循環的必要條件。一如所有物種在森林中都有合作共生的關係,材料庫本體亦可被視為某種生命體,包含了各式的未來可能性。這些材料後面的故事描繪了我們的未來,開放且推測式的,這些未來彼此重疊糾纏而沒有定論,我們的未來決定於我們怎麼做,而不再是線性式的去尋找既定的目標,我們應該更重視如何設計過程的開放性,而不只是專注結果。

我們的目的並不在於建立一個「周全的」材料庫,而是藉由建立一個材料庫來表達一個「開放的」、「合作共生的」、「多樣性的」、「推測式的」、「未來性的」,其核心精神在於打開邊界。

「材料庫」不是「靜止的」。除了邀請本次國內外參展藝術家或來自未來的纖維藝術家進入擴充之外,也期望本持公民科學的精神,邀請民眾一同進入材料庫和藝術家透過線上論壇交流材料知識,一同擴展材料庫資料內容。以此呼應此材料庫「開放的」、「合作共生的」、以及「感染交流的」精神。

2020年,是「導電材料複合天然纖維研究及開發創作計畫」展開的一年,也是疫情襲擊全球的一年。疫情迫使人與人之間、國與國之間保持距離,讓人的生活多了「封閉性」,但線上多國創作者的交流,進而產出的「樣片書」,則打開了創作的邊界,除了在地性材料、技藝與另類纖維的交流,也有著認知邊界的擴充,比如,藍染之於台灣藝術家一直以來,有著傳統工藝重建與尋根的意涵,然之於西方創作者,則是殖民主義的一種符號。伴隨著豐富創作形式的「樣片書」背後的能源議題、認同議題、公民科學、社會正義,乃皆源自於藝術家本身所攜帶的故事。這部分的展出便在一樓穿過材料庫裝置後的「樣片書」文件區呈現。

而創作方法邊界的打開,則於地下1樓完整表達。包括此計畫中的作品採用的創作者合作、工作坊、田野採集,以及透過國際線上交流,嘗試建立的國際藝術家合作模式,是方法與作品的對照與呼應。

綜觀整個展覽,在材料的不斷開展(材料庫)跟收合(作品)中,觀者體驗到的,是作品/材料的內而外、外而內;地方與全球;物質與精神;傳統與科技,因此對創作「材料」有新的認知。

於是,當我們提及未來、這撲面而來的,不會只是線性的時間與風景,而是個聚合之地(assemblage)。它的多樣性精神,取代了社群(community)的同質性,目的在探索各種可能;提示於眼前的未來,是不確定性中的開放式結局,是一個共創之地。


Suppose we imagine every fibre creation of each person as part of the world fibre creation, and every action taken by each person is good intention for the future. It's as if the yarn has been spun while you were fast asleep at night, waiting for you to wake up and weave on in the morning.

This is why the exhibition is named: Having Friends in the Future. However, the "future" means so much more.

In the history of fibre creation, fibre materials used have continued to expand without rest. Including conductive material, flexible electronics, and biological textile in fibre creation, venturing from fibre creation to technological domain, layering new language on the foundation of natural fibre is an ongoing progress in fibre creation, and an important direction for the future.

However, is materialistic material the only creative material for creators? Are there more dimensions to the meaning of "future"?

When we look into the detailed composition of a work, in addition to "materialistic" material, there may also be the "spiritual" element which is invisible yet always contagious. Take "information", "concept", and "knowledge" for example, and the "people" carrying the cultural and historical context, overlapping and expanding, taking a momentary pause in the "completeness" of the work before dispersing in all directions. All of which are sources of nutrient for the creator, inspiring the completion of the next work, and all part of the creator's "material pool".

Therefore, with the works displayed here as foundation, to convey the curative concept, we take apart their creative elements and create a "material pool" for contemporary fibre creation at the entrance. The "3rd nature" is borrowed from Anna Lowenhaupt Tsing, a concept proposed in the book"Mushroom at the End of the World". Possibilities outside the normal production system after man has experienced the "1st nature" of relationship with the primitive natural ecology, and the "2nd nature" in which the environment changes due to capitalism. The following may be considered the declaration for setting up this material pool:

"This installation of material pool could be imagined as a forest, in which various material, ideas, species, and even awareness encompassed provide diversity to the entire environment, and such diversity is mutually contagious and inclusive, with a shared vision. Diversity is essential to a sustainable cycle. Just as all species are collaborative and symbiotic in the forest, the material pool itself can be considered a form of organism, encompassing various future possibilities. The stories behind these materials depict our futures, which is open and predictive. These futures are overlapping and entangled, without definition. Our futures are decided by what we do, instead of a linear search for an existing goal, we should be more focused on how to design the openness of the process rather focused on the result."

Our goal is not to build a "comprehensive" material pool, but a material pool expressing "openness", "collaborative and symbiotic", "diverse", "predictive" and "futuristic", with the essential spirit to open up the boundaries.

Therefore, the output of the "material pool" is not "static". In addition to inviting participating artists from home and abroad to join its expansion, we also established a mechanism for interaction with the audience: adding a QR Code next to material pools with special significance. When the audience scans the QR Code, they can immediately see the questions proposed to them by the domestic or foreign artist, and they leave messages and converse accordingly, a new "material" growing in the form of the internet. This is a response to the "openness", "collaborative and symbiotic", and "contagious and interactive" spirit of the material pool.

2020 is the year the Research, Development and Creation of Conductive Material and Natural Fibre Composite Project began, which is also the year the world was hit by the pandemic. The pandemic has forced people and countries to take distance and "closed up" the lives of people, but the "swatchbook" produced by online interactions between creators from many countries have opened up the boundary of creation. Other than exchanges on local materials, skills, and alternative fibres, there is expansion on the cognitive boundary. For example, blue-dye for artists in Taiwan have always been about the reconstructing of traditional crafts and root-seeking, whereas for western creators, it is a symbol of colonialism. The swatchbooks created in abundant forms come with issues regarding energy, identity, civic science, social justice, and even stories originating from the artists. This part of the exhibition is on the first floor, the Swatchbook Area behind the material pool installation.

The opening of boundaries for creation is fully expressed in B1. Including creator collaboration, workshop, field collection, and online international exchange adopted by the works in this project, the attempted collaborative pattern of international artist established is the reference and response to methods and works.

Comprehensively speaking, between the continued expanding (material pool) and collapsing (works) of the materials, what the audience experience from the exhibition is the inside out and outside in, local and global, material and spirit, and tradition and technology of the work/material, and hence a new understanding of creative "material".

Therefore, when we speak of the future, what comes at us will be more than a linear time and landscape but an assemblage. The spirit of its diversity replaces the homogeneity of community, with the aim to explore various possibilities. It hints at the imminent future, an open ending in uncertainty and of joint creation.




本展覽乃基於2020年「導電材料複合天然纖維研究及開發創作計畫」之作品成果,並藉一策展裝置材料庫,表達纖維創作材料不斷擴充邊界之精神。在纖維創作的永續循環中,各種材料、觀念、物種,甚至意識...彼此傳染交融、合作共生。並在這開放式的多樣精神中描繪我們的未來。本展覽數區包含由策展團隊設計於一樓的纖維材料庫裝置、自去年線上交流活動催生的樣片書文件展。地下室有自去年線上交流活動衍生出的補助案作品和交流藝術家訪談影片紀錄、以及工藝中心和花蓮光織屋-巴特虹岸手作坊、實踐大學合作的工作坊。

This exhibition is based on the results of the 2020 "Having Freinds in the Future", and uses a fictionary fiber material library installation to express the spirit of continuous expansion of the boundaries of fiber craftsmanship. In the perpetual cycle of fiber creation, various materials, concepts, species, and even consciousness...infect each other, cooperate and co-exist. And portray our future in this open and diverse spirit. The exhibition areas include the fiber material library device designed by the curatorial team on the first floor, and the sample book document exhibition that was spawned by the online exchange event last year. In the basement, there are subsidized works derived from last year's online exchange activities and video recordings of exchange artist interviews, as well as workshops in cooperation between the Craft Center and the Hualien Guangzhiwu-Bart Hongan Handicraft Workshop and the University of Practice.


樣片書區藝術家名單
Artist list of swatch book

  1. 王禎鈺 Chen-Yu Wang
  2. 施惟捷 Wei-Chieh Shih
  3. 胡意蕊 Iris-Yirei Hu
  4. 連威棣 Wei-Ti Lien
  5. 陳翊羽 Yiyu Chen
  6. 楊偉林 Wei-Lin Yang
  7. 蕭俐佳 Li-Chia Hsiao
  8. Aesunkim
  9. Afroditi Psarra
  10. Audrey Briot
  11. Ed Cunneen
  12. Fereshteh Toosi
  13. Giulia Tomasello
  14. Linh My Truong
  15. Marc Dusseiller
  16. Maria Jose Rios
  17. Maya Minder
  18. Sandra Bühler
  19. Tauan
  20. Victoria Manganiello
  21. Zohar Messeca Fara


作品區/訪談區藝術家名單
Artist list of funded project and interview session

  1. 王禎鈺 Chen-Yu Wang
  2. 王瓊芬 Chiung-Fen Wang
  3. 吳亭萱 Ting- Hsuan Wu
  4. 林愛誼 AIi-Yi Lin
  5. 施惟捷 Wei-Chieh Shih
  6. 胡意蕊 Iris-Yirei Hu
  7. 章詒婷 Yi-Ting Chang
  8. 海曦文 Hsi-Wen Hai
  9. 連威棣 Wei-Ti Lien
  10. 陸弈純 Yi-Chun Liu
  11. 陳奕竹 Yi-Chu Chen
  12. 陳翊羽 Yiyu Chen
  13. 陳儀霏 Y-Fei Chen
  14. 黃文娟 Wen- Chuan Huang
  15. 黃武顯 Wu-Hsien Huang
  16. 詹哲宇 Che-Yu Chan
  17. 楊偉林 Wei-Lin Yang
  18. 劉育君 Yu-Chun Liu
  19. 劉紫筠 Tzu-Yun Liu
  20. 賴筠蕙 Yun-Hui Lai
  21. 謝佳雯 Chia-Wen Hsieh
  22. 蕭俐佳 Li-Chia Hsiao
  23. 魏鈴 Ling Wei
  24. 蘇子瑄 Tzu-Hsuan Su
  25. 蘇義傑 EJ So
  26. Elizabeth Lorenzi
  27. Maya Minder
  28. Victoria Manganiello 
  29. Zito Tseng