242 Hong Kong Echigo-Tsumari Art Triennale 2018 越後妻有大地藝術祭20182017 Japan 日本
competition 競賽
competition 競賽
Team Francisco Hazel, Lee Shu-fan
[The Log]somewhere in the Echigo-Tsumari wilderness
The struggle between man-made constructs and nature is always one of balance. Too much nature renders the impossibility of habitation and use, while overly artificial compromises our mother nature. The ‘Big Land Art’ which is the title theme of the Triennale defines the power of the landscape and the art it contains within. Our proposal is to create a piece of land art that mediates between the two, while at the same time accentuates both.
A frame that evokes the sense of the traditional dwelling is made completely invisible through the mirror surface and the wall-less enclosure, containing all the nature happening around the art piece. Butterflies, animals, human beings included are allowed to freely move through the work, evoking the sense of situating within nature with wind, sunlight, rain, and snow passing through it in different seasons. The compromised wood log diagonally placed within the work measures and calibrates the severity of the weather in different times. All living beings, not only you and I as human beings, enjoy the nature offered by the surrounding landscapes, but also the birds or butterflies. We all participate in the interactions regardless of our species and are without the boundary of language. At some point, maybe, we can decipher the code behind the humming sounds of the birds’ songs.
The struggle between man-made constructs and nature is always one of balance. Too much nature renders the impossibility of habitation and use, while overly artificial compromises our mother nature. The ‘Big Land Art’ which is the title theme of the Triennale defines the power of the landscape and the art it contains within. Our proposal is to create a piece of land art that mediates between the two, while at the same time accentuates both.
A frame that evokes the sense of the traditional dwelling is made completely invisible through the mirror surface and the wall-less enclosure, containing all the nature happening around the art piece. Butterflies, animals, human beings included are allowed to freely move through the work, evoking the sense of situating within nature with wind, sunlight, rain, and snow passing through it in different seasons. The compromised wood log diagonally placed within the work measures and calibrates the severity of the weather in different times. All living beings, not only you and I as human beings, enjoy the nature offered by the surrounding landscapes, but also the birds or butterflies. We all participate in the interactions regardless of our species and are without the boundary of language. At some point, maybe, we can decipher the code behind the humming sounds of the birds’ songs.
設計 Francisco Hazel, 李樹勳
[大杝]
「萬物各得其和以生, 各得其養以成」*。
人類與大自然的關係千絲萬縷，大自然既孕育了人類，也約束着我們的生活, 一切行為都不能過度, 應崇尚中庸之道。
三年舉辦一次的「大地藝術祭」是以「大地」和 「藝術」為核心，我們的設計方案扮演著兩者之間的中介角色, 同時深化其重要性。
一個形狀平實的框架, 代表著傳統住宅的本質，配合上鏡面物料把周邊的景觀都收納於藝術裝置之中。昆蟲、動物、人類等一切生物都允許自由穿越藝術裝置範圍；同時四季氣候、陽光、雨水、風、雪等更是與裝置相互交融, 千變萬化。
一棵朽木對角線放置在藝術裝置中，經歷著「大地」與「自然」的洗禮， 亦透過本身的變化直接對大地作出回應，不僅你和我，而是所有生物, 沒有品種的界限, 沒有語言的約束, 都共同分享著這片大地的氣息。
或許有一刻…我們能解讀到鳥兒歌唱的箇中意思。
*荀子
「萬物各得其和以生, 各得其養以成」*。
人類與大自然的關係千絲萬縷，大自然既孕育了人類，也約束着我們的生活, 一切行為都不能過度, 應崇尚中庸之道。
三年舉辦一次的「大地藝術祭」是以「大地」和 「藝術」為核心，我們的設計方案扮演著兩者之間的中介角色, 同時深化其重要性。
一個形狀平實的框架, 代表著傳統住宅的本質，配合上鏡面物料把周邊的景觀都收納於藝術裝置之中。昆蟲、動物、人類等一切生物都允許自由穿越藝術裝置範圍；同時四季氣候、陽光、雨水、風、雪等更是與裝置相互交融, 千變萬化。
一棵朽木對角線放置在藝術裝置中，經歷著「大地」與「自然」的洗禮， 亦透過本身的變化直接對大地作出回應，不僅你和我，而是所有生物, 沒有品種的界限, 沒有語言的約束, 都共同分享著這片大地的氣息。
或許有一刻…我們能解讀到鳥兒歌唱的箇中意思。
*荀子
春 spring
秋 autumn
冬 winter
