與社會交往的藝術
香港台灣交流展
Art as Social Interaction
Hong Kong/ Taiwan Exchange
周靈芝 Julie Chou
長期關注社區、生態議題的藝術家，也是研究者、寫作者。
曾參與藝術家自營畫廊「新樂園藝術空間」，並協助已故獨立策展人陳香君籌劃具鮮明社會意識的跨域大展《燕子之城》，以及協辦新樂園與澳洲藝術家團體'Stone Villa'的城市交流展《城市曼波》。
2007年起，關注焦點開始轉向社區和環境。曾參與《北回歸線環境藝術行動》(2007-2008)，在嘉義縣義竹鄉農村社區東後寮和沿海漁港市鎮布袋駐村。
2009年前往英國進行生態藝術發展的研究調查，並出版《生態永續的藝術想像和實踐》(2012，南方家園出版社)一書。
2010年至2013年，分別在日本橫濱黃金町、台北寶藏巖、雲林縣口湖鄉成龍村、台南大港社區、桃園新屋鄉和澳門三盞燈地區駐村創作，以及協力新北市野柳國小公共藝術推廣課程和嘉義縣布袋鎮新岑國小的環境教育課程、嘉義縣布袋鎮的氣候變遷工作坊和桃園縣新坡社區的環境藝術工作坊。
Artist, researcher and writer, who concerns about community and ecological issues.
Julie Chou was one of the core members for management in artist-run gallery 'Shin Leh Yuan Art Space', meaning 'New Paradise' and 'SLY Art' as abbreviation. She helped the late independent curator Elsa Chen to organize a cross-disciplinary exhibition of 'City of Swallows' in 2006 whose main focus is social consideration, then co-odinated an exchange show 'City Mambo' between Taipei and Sedney with Australian artists group 'Stone Villa' in the same year.
Since 2007, her focus has been directed to community and environment. In 2007-2008, she particated in the 'Art as Environment – A Cultural Action on Tropic of Cancer' project in Chiayi and took residencies in an agricultural village Donghouliao and a fishing town Budai, both are in the rural area of southwest Taiwan.
Then she took a research trip to Britain on its ecological art development in 2009, and published the outcome as a book of 'Insights into the Eco-art of Britain' in 2012.
From 2010 to 2013, she was invited to various residencies to do projects in Taipei, Tainan, Yunlin, TaoYuan, Chiayi and New Taipei City, as well as Japan and Macau.
家・園
Home・Land
長期關注社區、生態議題的周靈芝，發現寶藏巖的特殊狀況，使得居民處在一個微妙的位置上。
當所有權不再屬於自己時，這些居民對這塊土地、這個家園的投入，是否在一定年限之後，便會被一筆抹煞而顯得徒勞無功？然而，什麼都不做的話，是不是連繼續爭取居住權的機會都沒有了？這個兩難，經常擺盪在居民面對所謂「藝居共生」主旨強調下的各種作為。
沒有「家」的「園」，要如何永續？從「家」到「園」，當自主性被剝奪時，是否也會造成主體的侵蝕？如何可以恢復這主體性的完好？
周靈芝因而試著用具實驗性質的影音編輯，回顧寶藏巖開村以來的紀錄照片，探討在「家」與「園」之間種種複音的發聲。
Having paid sustained attention to community and ecological issues for years, Julie Chou found that the special case of Treasure Hill has pushed local residents into a tricky position.
Is it possible that when the land no longer belongs to the residents, what they have devoted to their home and land might turn into nothing after a certain period of time? If they remain inactive and do nothing, could they even lose the option to continue living on Treasure Hill? This dilemma often occurs in situations where residents are confronted with the theme of “art and residence as one”. How does one sustain a “land” without a “home”?
From “home” to “land,” when an object is deprived of its agency, could the object itself be eroded? How does one recover the completeness of the object?
Julia Chou applied experimental video editing techniques in reviewing pictures of Treasure Hill since its birth to discuss the counterpoint between “home” and “land.”