策展人吳瑪悧曾於2006年《淡水河溯河行動》，探討城市發展過程中，河川生態長期受到忽略，人們與河川隔離，提出「所有環境問題的背後其實是文化問題」，把人帶近河川，透過身體感知，重新認識河流以及我們生活的所在，讓藝術行動成為形塑公共的媒介。

 

2006-2007年策畫《北回歸線環境藝術行動》，邀請藝術家進入嘉義縣偏遠社區，以「藝術家變成居民，居民變成藝術家」這種互為主體性的概念為主軸，提出「藝術扮演的不是美化的角色，而是引發、連結、思考的媒介。」這個行動也因為與地方政府合作，創造了介入政策，改善現實的可能。

 

2011-2012年《樹梅坑溪環境藝術行動》試圖以自己居住的地方，與在地耕耘的朋友們一起透過長期的投入，提出對於都市生活未來的想像。

 

竹圍工作室由創辦人蕭麗虹於1995年成立，相信創藝工作者(creative talents)能以創造力對社會產生重要貢獻。

 

竹圍工作室擔任在地文化與國際交流的平台，積極促進藝術發展和社會創新，關注藝術介入、文化行動、跨領域對話及研究、生態城市、想像力量和社區再造等議題。

 

2011年至今藉由《樹梅坑溪環境藝術行動》，竹圍工作室積極與政府、企業、學校組織和民間團體等連結，以藝術作為媒介，讓一般社會大眾對環境、自然、永續有不一樣的視野與實踐。

 

 

Prior to the realization of ‘Art as Environment: A Cultural Action at the Plum Tree Creek,’ the curator, Wu Mali produced numerous environmental art projects, including “By the River, On the River, Of the River,” a community based eco-art program (2006); an artist residency entitled “Art as Environment: A Cultural Action on Tropic of Cancer” (2006-2007); and “Taipei Tomorrow as a Lake Again” (2008), a conceptual installation exhibited at the 2008 Taipei Biennial. “Tracing Danshui River” explores how the process of urban development has isolated people from the Danshui River, the most important river in northern Taiwan.

 

The river’s ecosystem has long been ignored. With the idea that ‘behind all environmental issues are cultural issues,” this project intends to mobilize our environmental consciousness through perceptive physical experience with the river. The development of this re-understanding of life reveals the capacity of art action to shape the community.

 

Furthermore, the “Art as Environment: A Cultural Action on Tropic of Cancer” program is implemented through the arts. The idea of inviting artists into the remote communities of Chiayi County embodies the inter-subjective concept of ‘artists becoming residents and residents becoming artists.’ The project proposes that ‘art is not for decoration, but rather a means of evoking, connecting, and reflecting.’ In cooperation with the local government, the creation of intervention policies and the possibility of realistic improvement are promising.

 

However, how can Wu Mali solidly return to the practice of daily life after her former reflections on the enormous issues facing the river? Art brought lively energy to the interactive experiences in Chiayi. However, communities need long-term companionship to allow for physical improvement. Can art as a medium of reflection and conceptual thinking become a substantial life-changing tool? How can the intervention of short-term art establish a working link with the long-term nature of community improvement? Moreover, how can artists accomplish the endeavor of simultaneous involvement and integration in community action, while also maintaining a clear perspective and imagination?   

 

“Taipei Tomorrow as a Lake Again” is concerned with climate change, considering urban development and how to respond to arising climate challenges as food, energy, etc. “Art as Environment: A Cultural Action at the Plum Tree Creek” is an attempt to respond to these increasing profound issues.