水
池
The Pond
2024 影像、木作、檔案 Video, Woodwork, Archive
1977年政府頒布《十二項建設》最後一項為「建立每一縣市文化中心」。這樣的背景下除了展演的發生，有一代人的日常與文化中心緊密相連，練太極的長輩、跳舞的青年、約會的情侶，和倚著欄杆、望著水池中的鴨子，笑得好開心的孩子。
位於入口的水池，其實是被中華東路穿越，與巴克禮公園相望，一分為二的夢湖。也是多而為一的竹溪——虎頭山水源、夢湖地下水，流入崇明路的地下箱涵，和大量民生污水匯集；繼續往北、往西、再往南前進，一路上更多的污水和支流匯入，在城市中蜿蜒流動。
作品試圖從展場中打開一道，招喚觀眾穿越表層的入口。從縫隙間探問，來到文化中心，難以忽視的水池僅僅是景觀的設計，又或者是地形生產出的窪地？除了成為活動的容器，空間自身為何？牆壁的後面、地面之下是什麼？在看似平凡無奇的展牆上，濺起水面漣漪。
In 1977, the government announced the “Twelve Major Construction Projects,” with the final item being the establishment of a cultural center in every county and city. Against this backdrop, cultural centers became intertwined with the everyday lives of a generation: elders practicing tai chi, young people dancing, couples on dates, and children leaning against the railings, laughing as they gazed at the ducks in the pond.
The pond at the entrance is in fact the divided Meng Lake, cut through by Zhonghua East Road and facing Barclay Park across the way. It is also part of the many-in-one Zhu Creek—fed by springs from Hutoushan and groundwater from Meng Lake, funneled into culverts beneath Chongming Road, mixing with large amounts of domestic wastewater. Flowing north, west, and then south, it gathers more sewage and tributaries, winding through the city.
This work attempts to open a passage within the exhibition space, calling on viewers to cross through its surface. From these fissures, questions arise: at the cultural center, is the conspicuous pond merely a landscaped feature, or a basin shaped by the terrain? Beyond being a vessel for events, what does the space itself signify? What lies behind the walls, beneath the ground? On the seemingly ordinary exhibition walls, ripples stir as though across the surface of water.
展場攝影 李昀容 劉紀彤