the walker's ~@@~ 另一個窩

revisit and fixing the work at Cheng Long Wetlands

2011-06-21T06:37:00.000-07:00

Due to the strong winds and heavy rains last month, the works at Cheng Long Wetlands had some changes. I was told only one of the three starfish (the big one) stayed as before. The other two had escaped the posts that held them at place and swam away. The middle one got stuck at the shore near the road and the smallest one went forward and got tangled in the water somewhere westwards.

It's interesting to see that the small one finds itself a good spot which happened to be on the line with the big under the sunshine and facing west, where the sea is located.
I decided we just need to tow the middle one back and leave the small one at the new spot. Many people came to help again, including Wu Liao and Hsiao Yu and her friends, along with volunteers from the village and the head of fire brigade with his colleague. Thanks to everybody.

Here are some photos before and after the fixing. The new positions of each starfish makes the work even spanned broader in the wetlands, more ventured to the sea .......

kids and their teacher who helped the Cheng Long Wetlands project and had fun!!!!

2011-06-12T01:48:00.000-07:00

《Returning to the Sea》-- A work for Cheng Long Wetlands

2011-05-06T17:41:00.000-07:00

some more photos from Tim and QQmei:

Statement

Cheng long wetlands is a place of farming land reclaimed by the sea. I made the work ''returning to the sea', using the form of starfish to represent its oceanic features, as well as its abilities of regeneration and adaptation; while putting the work in the salty water, try to create a structural base for oceanic biotopes in the newly-formed wetlands.

The work is constructed with bamboos and oyster shells, applying the industrial technique of the local oyster farming, but replacing the metals and plastics with natural materials such as ropes, to assure it won't harm the wildlife in the wetlands. The work has been assisted by many people, including the elders from the community, the students from Cheng Long elementary school, and the volunteers recurited by Kuan Shu Educational Foundation. The last finishing touch of the work before its installation in the water is like a decorating moment for celebrations, with a bunch of people hanging oyster shells onto the bamboo structure rejoycingly. It is great fun and turning the perspective and scope from a human's back to the Nature.

I particularly thank David Haley, a good friend and British artist, whose generous sharing of his knowledge and experience has inspired this work.

more info at: http://artproject4wetland.wordpress.com/ & http://wetlandcenter.blogspot.com/

some thoughts on THAV project

2011-04-04T19:24:00.000-07:00

Some thoughts on THAV project

It is really difficult for me to summarize my work in a few words for now.

Some part of the project is still on going and I'm still ruminating on the extensive effects of it.

I found this introduction of my initial proposal on THAV website very helpful although there are a few changes due to the practical situation after the beginning of my residency:

Having the concept and methodology referred to ecological sustainability, Chou will transform her room into an ecological art studio, which is able to carry out research regarding interaction between neighborhood inhabitants and to promote education by collaborating with schools in close proximity to thevillage. Through a long-term residence, three steps will be accomplished in succession. Soil nourishing: take good advantages of leftovers and earthworm to generate manure. Soil exchange: in cooperation with TSUEI MA MA Foundation’s office in Treasure Hill and through its community service and social intervention, Chou intends to trade soil and manure, with the propose of encouraging dwellers to plant, to take care of the landscape and to cherish natural resources. Last but least, she plans “edible landscape” attempts to unite colleges, elementary schools and community universities nearby, in hope that people who live in the “concrete jungle” get a chance of being intimate with the soil and get in touch with the natural ecological cycle that sustains plants.

I started with collaboration with Italian artist Carlotta Brunette, working on the “Edible Landscape” first and carried out my own plan of the workshop and lecture series. Then I finished the first compost installation at a spot near the artist village office, invited the staff and resident artists starting composting. When the job of the big garden down at the riverside was finally approved to be taken, Carlotta had completed her residency and left for home with a garden design behind. I took over, working and developing further the garden plan with community residents and artist village volunteers. When the basic pattern was done, I divided the garden into sections, and let community residents take over and grow vegetables on their own lots. The garden becomes a community center, with many visitors passing by and residents come to tender their plants. The effect was big. Some residents began to clean their front court and start planting again. Some even came forward to ask if they can grow more vegetables at other unused land. Through planting and growing, the community seems to come to alive again.

For myself, as an artist who has been living in the cities for most of her life, the tangible experience of touching the soil, feeling the weather and seeing the plants as well as other life forms coming out on earth has been enormous. With the laboring work spent in the garden, I put myself into the physical involvement and connected back to the Nature. It is more a substancial engagement rather than a conceptual practice that strikes me most. And it also connected the community residents to their past memory and life histories.

I added celebration to the project, holding an event collaborated with the community on the holiday before Spring Equinox, involving the children from the community and resident artists to perform. The core spirit is working together and celebrating together, creating a value and sustainable lifestyle in Threasure Hill.

(photo by Chung-Yen Chang, Heidi Yu)

An Invitation to Treasure Hill Organic Garden in Spring

2011-03-15T10:54:00.000-07:00

三月菜園的春分邀約 – by 周靈芝

An Invitation to Treasure Hill Organic Garden in Spring

這次春分前夕的菜園邀約，一方面是我的駐村生活即將告一段落了。四月開始，生態農園將由社區民眾和志工接手照顧。藉著邀約大家來生態農園旁邊相聚、和寶藏巖文化村協會共同舉辦的「一家一菜」共食活動，除了宣告農園第一階段結束，第二階段開始；照顧的責任將由更多人來參與分擔外，也感謝曾經提供各種想法、意見、勞力、經驗、技術與資源的社區居民、進駐藝術家、藝術村員工、志工和警衛，在藝術村和社區之間建立起更踏實的(solid)互動連結。

3月20日這一天，剛好介於春分和花朝節之間。春分是農曆的二十四節氣之一，指的是晝夜平分、農事正忙，同時也是春暖花開，自然生態最豐美的季節。舊時民間有“春分吃春菜”的習俗。逢春分那天，全村人都去採摘春菜，採回的春菜與魚片滾湯，叫“春湯”。還有俗語“春湯灌臟，洗滌肝腸。闔家老少，平安健康。”意思是一年之春，祈求著家宅安寧，身體健康。花朝節則是傳統的歲時八節之一，又稱「花神節」，是指百花生日，同樣是春回大地，萬物復甦，草木萌青，百花或含苞或吐綻或盛開的意思。這一天，各地的百姓，尤其是花農，都要賀花神、祭百花以求庇佑，並且結伴踏青、遊春撲蝶、飲百花酒、蒸百花糕、食花粥、插花、繪花、贈花。

經由在寶藏巖農園的工作，我們親身體會了土地、植物、季節與氣候之間的種種關連。春天之際吃春菜、喝春湯、泡春茶，欣賞春天舞蹈的行動，也有喚回都市人在日常生活中對土地、植物、節氣和大自然的感受與美學對應的嘗試。明年，我們是否可以預約一個春分節呢？

Through the physical engagement and practice of labor in the organic garden, we experienced the connection between earth, plants, seasons and weather. In Spring, the celebration of picking fresh sprouts and eating together, drinking spring soup and sipping spring tea; appreciating the spring dance performance, all implies an attempt to evoke unban dwellers of the experience on sensing the earth, plants, seasons and the nature, as well as an corresponding esthectics.

感謝所有在這次藝術行動中出頭腦、出體力、出技術、出意見的朋友們協助，包括社區居民、志工、藝術村、藝術家和警衛，更感謝志願擔任行動茶館泡茶任務的易珊，以及即興舞蹈表演的TAV駐村藝術家夢蘋和尋寶坊的明珠。

時間：3月20日(星期日) 中午12點：一家一菜&社區慶生

下午2點：行動茶館(李易珊)

即興舞蹈表演(周夢蘋、于明珠)

地點：寶藏巖生態農園

An Invitation to Treasure Hill Organic Garden in Spring

'Hsiang Long Tu Ju' (Auspicious dragon with a dragon ball) is an art project which incoperates the idea of organic farming and edible landscape as well as the practice of community collaboration and local involvement ecologically, creatively, and artisticly. Originaly designed by Italian artist Carlotta Brunette, the work has been developed further by Taiwanese artist Julie Chou and Treasure Hill veteran grower Mr. Hsu. It was carried out all by hand-making by Treasure Hill residents and volunteers working together. It is hoped that the garden should be continued with planting and management in accordance with the aspect of ecological, community-based, diverse, and collaborative principles.
On March 20, the Sunday before the Spring Equinox, we invite you to the edible Organic Garden, following the Treasure Hill tradition of 'Bringing one dish' potlucks, share the food, sip the fresh herbal tea, and enjoy the edible landscape in Spring.
Time: March 20 (Sunday) 2011, 12:00pm Potlucks / 2:00 pm, Tea ceremony & Dance performance

Venue: Treasure Hill Organic Garden

三月菜園的春分邀約

「祥龍吐珠」這個生態農園地景作品，是與在地生態、社區和創意結合的藝術計劃。由義大利藝術家卡蘿塔布堤尼提出的原始設計，台灣藝術家周靈芝和寶藏巖種菜達人許先生進一步發展，與寶藏家園居民和藝術村志工一起，純手工打造完成，並將繼續以符合生態的、社區的、多元和集體合作的原則與種植方式，由社區居民和志工共同參與及管理種植。
3月20日春分前夕，預告著春天已正式來到。我們邀請您一塊兒來生態農園，以寶藏巖「一家一菜」的聚落傳統，吃春菜、喝春湯、泡春茶，欣賞寶藏巖的可食地景。「祥龍吐珠」這個生態農園地景作品，是與在地生態、社區和創意結合的藝術計劃。由義大利藝術家卡蘿塔布堤尼提出的原始設計，台灣藝術家周靈芝和寶藏巖種菜達人許先生進一步發展，與寶藏家園居民和藝術村志工一起，純手工打造完成，並將繼續以符合生態的、社區的、多元和集體合作的原則與種植方式，由社區居民和志工共同參與及管理種植。
時間：2011年3月20日(星期日)中午12點一家一菜
下午 2點行動茶館& 舞蹈即興表演
地點：寶藏巖生態農園

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 8

2010-12-11T22:48:00.000-08:00

2010-12-11 David Haley on
Master Workshop: Ecosystem and Creativity

大師工作坊：生態與創意

現場錄音(Audio Recordings)：

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 7

2010-12-10T22:02:00.000-08:00

2010-12-10 David Haley on
Master Lecture: The art of Complexity ─ from Ecology to Economy

大師講座：生態藝術

(攝影：糖果貓

photos taken by Candyz)

現場錄音(Audio Recordings)：

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 6

2010-12-04T17:43:00.000-08:00

2010-12-4 Mu-Jen Lu 呂沐芢 on

Gaia project － The life and culture of Hootikor People

蓋亞計劃－呼提克人的生活與文明

現場錄音(Audio Recordings)：

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 5

2010-12-04T13:00:00.000-08:00

2010-12-4 Miao-Chu Chang 張妙祝 on

Table on Land – Edible plants in landscape

大地料理－認識在地食材 / 採集之旅

現場錄音(Audio Recordings)：

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 4

2010-11-20T18:23:00.000-08:00

2010-11-20 Ming-Huang Shih 施明煌 on

Growing wheat and making bread locally – Vision on self-sufficiency of food in wheat field

自己種小麥，做麵包－糧食自主的麥田狂想曲

現場錄音(Audio Recordings)：

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 3

2010-11-20T13:33:00.000-08:00

2010-11-20 Julie Chou 周靈芝 on

Food Map – How far does your food come from?

食物地圖大旅行－算算你的食物離你有多遠？

現場錄音 (Audio Recordings)：

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 2

2010-11-13T17:00:00.000-08:00

2010-11-13 Chao-Chang Lee 李朝倉 on

Earth House – Making adobe house

大地之屋－蓋一間自然會消失的屋子

現場錄音(Audio Recordings)：

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 1

2010-11-13T13:00:00.000-08:00

2010-11-13 Jason Su 蘇禮偉 on

The story of organic soil – From kitchen table to garden compost

有機土的故事－從餐桌到堆肥

現場錄音(Audio Recordings)：

Program Description: Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 大綱

2010-10-13T17:04:00.000-07:00

(english below)

生態藝術工作坊與講座

Eco-art Workshop and Lectures

課程安排如下：

	日期	工作坊(9:30-12AM)	主講人	講座(2-4:30PM)	主講人
1	11月13日 Sat	有機土的故事－從餐桌到堆肥	蘇禮偉	大地之屋－蓋一間自然會消失的屋子	李朝倉
2	11月20日 Sat	食物地圖大旅行－算算你的食物離你有多遠？	周靈芝	自己種小麥，做麵包－糧食自主的麥田狂想曲	施明煌
	11月27日 Sat	Open Studio
3	12月4日 Sat	大地料理－認識在地食材 / 採集之旅	張妙祝	蓋亞計劃－呼提克人的生活與文明	呂沐芢
4	12月10日 Friday	大師講座(7-10PM)			David Haley
4	12月10日 Friday	生態藝術Master Lecture: Eco-art			David Haley
5	12月11日 Sat	大師工作坊(9:30-12:30AM)	David Haley
5	12月11日 Sat	生態與創意 Master workshop: Ecosystem and Creativity	David Haley

課程內容簡介：

有機土的故事－從餐桌到堆肥 The story of organic soil – From kitchen table to garden compost

蘇禮偉

餐桌上的殘羹剩餚，如何變成花園裡的有機沃土？台北國際藝術村村落餐廳的主人Jason Su要和你分享怎樣利用廚餘製作成有機土的故事。Jason早年玩音樂，嚮往崇尚自然和自由的嬉皮生活。2009年因協助澳洲藝術家Rodney Glick在台北國際藝術村駐村時進行的養肥計劃而意外展開了他的堆肥製作實驗，並進而體悟了食物從餐桌到堆肥、再從堆肥進入土壤而回到餐桌的過程中，所呈現的食物經驗和環境思維。

大地之屋－蓋一間自然會消失的屋子 Earth House – Making adobe house

李朝倉

台灣早期的民間住宅有許多土埆厝，但歷經水泥、鋼筋等高碳耗能建材的現代化建築工事出現後，用土製磚來蓋房子的古老技術已幾近失傳。藝術家李朝倉在回到中部家鄉西螺後，集結了一群親朋好友，號召以在地自然材料來建屋，尋找就近可以取得的自然資源，以及尋訪碩果僅存的老匠師，在一個荒廢許久的廢棄兵營內，重新開始打造一座擁有人的溫度的土埆厝，從踩土入模曬磚，到堆疊糯米卵石地基和用土埆砌牆，每一階段皆是靠著在地民眾和外來志工自發性地一點一滴累積而成。過程中有汗水、有歡笑，更有開心投入後的幸福感。傳統技法透過實踐的過程，也得以保存。一起來聽聽大地之屋的故事。

食物地圖大旅行－算算你的食物離你有多遠？ Food Map – How far does your food come from?

周靈芝

你每天吃下的食物從那裡來？距離你住的地方有多遠？得要花多少輸送里程才能送到你的口中？食物不只反映了我們的個人身心健康狀況，也反映了整個生產關係中，從產地到消費者手中的各種環境、政策和貿易的相互作用。運送得愈遠，代表著消耗的能量成本愈高，對環境的影響也愈大。藝術家周靈芝邀請大家以親手繪製的方式，一起來探討日常生活中食物里程的經濟地理和生態環境的關係。

自己種小麥，做麵包－糧食自主的麥田狂想曲 Growing wheat and making bread locally – Vision on self-sufficiency of food in wheat field

施明煌

台灣每年需要小麥超過一百萬噸，金額接近兩億美金，以供應滿街林立的麵包店、烘焙坊和速食店所用。然而這些小麥大多不是國內生產的，而是從國外進口，主要是美、澳兩國。進口糧食不免受到許多國際政治、經濟、油價波動等因素的影響而帶動原料價格，牽動國內民生物價。工程背景出身的施明煌，卻在偶然因緣下，一頭栽進扶持身心障礙者就業、開設麵包烘焙坊的事業，進而尋求在國內自產小麥、讓麵包產製的整個上下游形成一個完整循環，以達成糧食自主的理想。一路走來雖然艱辛，但也有逐漸結合農民投入和消費者認同的欣慰。來聽聽暱稱阿達碼的施明煌介紹他的麥田大夢想。

大地料理－認識在地食材 / 採集之旅 Table on Land – Edible plants in landscape

張妙祝

擔任西螺藝術兵營主廚的張妙祝，放棄了台中行銷工作的生活回鄉，因緣際會投入地方文資保護的行列。在藝術兵營，她負責“戰地伙房”，並透過共食、認識食材、了解在地文化、飲食文化，來傳達“飲食”的生活態度。擁有行銷企劃、研發食物故事經驗的她，在完全沒有官方資源挹注的情況下，靠著民眾、參與者提供的物資、菜蔬，以及園內自然生長的植物，讓參與者共同變成有故事豐富可口的佳肴美食。這次工作坊中，除了分享她在西螺藝術兵營提供的美食紀錄外，讓我們跟著她，在寶藏巖一起來一次綠色的寶藏之旅。

蓋亞計劃－呼提克人的生活與文明 Gaia project － The life and culture of Hootikor People

呂沐芢 (拉馬默提斯)

在地球上的高雄縣大樹鄉出現了一顆新的星球－呼提克，呼提克星球上有呼提克人創造的呼提克文明。呼提克文明是根據蓋亞理論所發展出來的一種生活方式。所謂蓋亞(Gaia)，是希臘神話中大地女神的名字。1979年地球生理學者拉夫洛克以蓋亞為書名，對地球的生存變化，從其發生到有生命及至現代地球受到人為的破壞，導致一些似是而非的環保思想，提出蓋亞假說，並發展成其蓋亞理論。呼提克人試圖以符合環境生態的嘗試和實驗為準則，包括食衣住行各方面，擺脫現有文明的束縛及可能因此而帶來的環境災難。他們「用身體進行農事，以喚醒知覺大地脈搏的能力；相信能量與意志的運用，並四處學習以憶起更多與自然的對話。」這次呼提克人遊牧至寶藏巖，將和寶藏巖以及周遭的環境、居民產生對話。

大師講座 Master Lecture：生態藝術 Eco-Art

David Haley

來台多次的英國生態藝術家David Haley，對台灣並不陌生。他是曼徹斯特大學教授，從事生態藝術創作已將近二十年，主要關切為水系和氣候變遷的因應。2006年起與著名美國生態藝術先驅Harrison夫婦合作，在英國進行大型的跨域計劃《溫室英國》，探討全球暖化、海水上升後，英國各地被海水入侵的狀況，以及如何因應之道；是生態藝術創作中，極具規模和視野的典範之一。2008年受邀為顧問之一，參與嘉義北回歸線環境藝術行動海區的蚵貝論壇，對台灣西南海岸國土變遷的議題也頗多關注。近來專注的焦點為：經濟學的藝術、真實的生存狀態，永續創意城市和洪水防治，以及後工業時代的地景與藝術等。目前正在進行的計劃有：《恩典之樹》和重訪《海中一滴，生命之跡》。前者是在英格蘭北部廣植因生長緩慢、長壽而有「公孫樹」之稱的銀杏樹，期盼它千年之後茂密成林。後者則是以跨領域藝術創作的方式，重新演繹舊作《海中一滴，生命之跡》，從英格蘭一條河流的水中細菌，追蹤它透過水系和大氣變化，穿越大西洋，最後又返回英國的旅程，對氣候變遷與演化的關係發出提問。

大師工作坊 Master Workshop：生態與創意 Ecosystem and Creativity

David Haley

大師工作坊為總結先前數次工作坊及講座的內容，透過議題擬訂，分組討論，並與從事生態藝術經驗豐富的英國藝術家David Haley進行對話。透過對話，激發創意，為台灣的生態未來找出可行之道。

Eco-art Workshop and Lectures

Schedule：

	Date	Workshop (9:30-12AM)	Speaker	Lecture (2-4:30PM)	Speaker
1	Nov. 13 Sat	The story of organic soil – From kitchen table to garden compost	Jason Su	Earth House – Making adobe house	Chao-Chang Lee
2	Nov. 20 Sat	Food Map – How far does your food come from?	Julie Chou	Growing wheat and making bread locally – Vision on self-sufficiency of food in wheat field	Ming-Huang Shih
	Nov. 27 Sat	THAV Open Studio
3	Dec. 4 Sat	Table on Land – Edible plants in landscape	Miao-Chu Chang	Gaia project － The life and culture of Hootikor People	Mu-Jen Lu
4	Dec. 10 Friday	Master Lecture (7-10PM)			David Haley
4	Dec. 10 Friday	Eco-art			David Haley
5	Dec. 11 Sat	Master workshop (9:30-12:30AM)	David Haley
5	Dec. 11 Sat	Ecosystem and Creativity	David Haley

Introduction to the workshop and lectures:

有機土的故事－從餐桌到堆肥 The story of organic soil – From kitchen table to garden compost

Jason Su

How can the kitchen waste and the dining table leftover be transformed into organic garden soil? Jason Su from Village Restaurant of Taipei Artist Village likes to share with you the story of making compost from food scraps. Jason was interested in music in his youth and aspired to a hippie life that respect Nature and Freedom. In 2009 he helped Australian resident artist Rodney Glick to carry out a compost project and began his own experiment on making compost. Through the whole year round process of the experiment, he realizes the food cycle and its embodiment of the relations from human health to environment.

大地之屋－用泥土蓋房子的自然造屋法 Earth House – Making adobe house

Chao-Chang Lee

In early days, there were many adobe houses in Taiwan. However, after the adoption of modern technology of cement and cramp iron, the old building skill for adobe houses has almost been lost. Artist Chao-Chang Lee returned his hometown Silou and gathered a group of families and friends, initiated the project of Earth House. By seeking the natural resources, using local materials, and looking for old masters, they began building an adobe house in a disused army camp. Step by step, all the works are done by volunteers and local residents. Each traditional technique of making adobe bricks, laying cobbles for the base and piling up bricks to the wall is preserved by practice. The knowledge of the immediate environment is increased as well. Full of fun and happiness of fulfillment, it's a story worth to know – the Earth House.

食物地圖大旅行－算算你的食物離你有多遠？ Food Map – How far does your food come from?

Julie Chou

Where does your food come from? How far is it from you? How many miles it has to travel to reach you? Food not only reflects our health situation, also reflects the outcome of a complex interaction of environment, policy and trade in the productive cycle of producers to consumers. The further the food goes, the higher the energy costs, and the bigger it affects to the environment. Artist Julie Chou invites everyone to draw a food map to explore the relations between the economic geography and the environmental effect in daily life.

自己種小麥，做麵包－糧食自主的麥田狂想曲 Growing wheat and making bread locally – Vision on self-sufficiency of food in wheat field

Ming-Huang Shih

More than 1 million tons wheat are needed every year to provide bakeries and fast food restaurants on streets in Taiwan, which amounts to almost US$ 200 millions. However, most of the wheat are imported from the United States and Australia, not locally produced. The cost of imported goods is always fluctuated with many influences such as international political, economic situation and the oil price, which again affects to the domestic price of goods. With an engineering background, Ming-Huang Shih accidentally stepped into a career of helping disabled people by establishing a bakery and hiring them as employees. Then it develops into a pursuit of growing wheat locally to complete a productive cycle of wheat to bread, and to accomplish the goal of food self-sufficiency. Although it's a journey of hardship and perseverance, gradually Shih's efforts were paid off by more involvement from the farmers and the recognition from the consumers. He is going to share his big vision of wheat fields in Taiwan with all of us.

大地料理－認識在地食材 / 採集之旅 Table on Land – Edible plants in landscape

Miao-Chu Chang

Miao-Chu Chang is the chef at Silou Army Camp of Art. She left her office job in Taichung; returned back to her hometown and joined the preservation efforts for local cultural assets. At Army Camp of Art, she is in charge of preparing meals for volunteers, curious visitors and local residents who come to help. Owing to abundant knowledge and experience with plants and stories about food, and through the understanding of local environment and local food culture, she can always encourage participants to make a homey meal of the vegetables and plants together that donated by local people, brought by volunteers, and found on the ground of the open space at the site. In this workshop, besides sharing with us the documentation of the meals having been prepared at Silou Army Camp of Art, she will lead a tour of edible plants at Treasure Hill.

蓋亞計劃－呼提克人的生活與文明 Gaia project － The life and culture of Hootikor People

Mu-Jen Lu (Lama Moltis)

Gaia project is an art project of invented civilization. On the planet of Earth, there a new celestial body was born – the Hootikor. On Hootikor, there lives the Hootikor people who develops the Hootikor culture. Hootikor culture is a lifestyle based on Gaia theory. 'Gaia' is the name of the earth goddess in Greek mythology who represents the power of the earth. In 1979 an independent scientist, environmentalist and futurologist James Lovelock entitled his book as Gaia: A new look at life on Earth and suggested Gaia hypothesis to cover all issues from the changes on planet earth to the emergence of life and its evolution until the modern destruction that human did to the earth. The hypothesis was developed further into Gaia theory. Hootikor people tries to cope up their trials and experiments in daily life with the principles standing to ecological and environmental concerns, shaking off the constraints of modern civilization and the environmental disasters brought along. They tried to “use body to do farming, to arouse the ability of sensing the pulse of the earth; believing the power of energy and will, and learn from anyone, anywhere to recall more dialogue with the Nature.” This time the Hootikor people travels to Treasure Hill. They will initiate a dialogue between them and the environment and residents at Treasure Hill.

大師講座 Master Lecture：生態藝術 Eco-Art

David Haley

British artist David Haley has been to Taiwan five times, so he is not a complete stranger to Taiwan. He teaches at Manchester Metropolitan University, and has been devoted to ecological art for almost 20 years. The major concerns of his projects are water systems and climate change. One of David Haley’s collaborations with American artists Helen and Newton Harrison was ‘Greenhouse Britain: Losing Ground, Gaining Wisdom’, a large-scale project to explore the consequences of sea-level rising due to climate change on the whole of mainland Britain. This example of ecological art demonstrated collaboration with many disciplines to work at different scales to ‘shift to face of disaster to the face of opportunity’.

In 2008 David was invited to be one of the advisors to the international forum of oyster shells in Art as Environment - Cultural Action on Tropic of Cancer at Chiayi and pay close attention to the issue of changing coast in southwest Taiwan. His recent research focuses on themes such as: the art of economy, sustainable creative cities, freshwater generation, flood risk management and the contribution of art to post-industrial landscapes. His current projects include: “Trees of Grace” and re-visiting “A Drop in the Ocean, a Trace of Life” as 'transdisciplinary' artworks. The former considers a thousand year project for three generations of forest in the North of England with ginkgo biloba as the 'keystone' species of tree. The latter reinterprets a work of 1998 which traces the journey of one waterborne bacterium from the source of the River Mersey in England, all the way through river, ocean and vaporization to the American continents to return and fall as rain to form the River Mersey again in England, and presents the whole journey to ask questions about evolution and climate change.

大師工作坊 Master Workshop：生態與創意 Ecosystem and Creativity

David Haley

The Master workshop is to conclude the previous sessions of workshop and lectures by drafting issues of ‘Futures Capabilities’ and other themes, through dialogue with British artist David Haley. This process, we will creatively explore some approaches for the need of ‘ecological growth’.

Curtain Wall: the work

2010-09-17T09:47:00.000-07:00

Using curtain to soften the wall of steel panel fences:

(photo by Chin-Pao Chen)

The alley is narrow, but still it's a popular access connecting the neighbourhood.

The work at night:

With another pojection work by Japanese artist Shimura Nobuhiro on the ground: Red Shoes.

More photos at : http://tw.myblog.yahoo.com/angel-cat/article?mid=3271&prev=3289&next=3268 and http://tw.myblog.yahoo.com/angel-cat/article?mid=3289&prev=-1&next=3271

Curtain Wall: workshop & testing

2010-09-08T09:36:00.000-07:00

Cutain Wall is a work for the exhibition of Koganecho Bazaar 2010 at Yokohama, Japan.
The whole project includes 4 workshops with local residents and resident artists producing 4 pieces of patchwork, hanging up on the steel fences underneath the Keihin railway tracks.

During each testing:

Seeing it horizontally:

The participants of each workshop:

作品說明 Work Description

'Curtain Wall' is a collaboration work between Taiwan artist Julie Chou (Ling-Chih Chou) and Koganecho community. Using body movement and patchwork as elements and means, she held 4 workshops with participants from local residents, school kids, resident artists in the community and office staff.

The colors and patterns of the fabric are freely adopted by workshop participants, and pasted on the ground piece. The artist and volunteers then fixed them by hand-sawing. Through the different focus and interaction designed for each workshop, the final result shows the free flow of creativity and a series of lively compositions, which add more bright and happy atmosphere to the installation spot that is the lackluster steel fences underneath the elevated railway tracks.

「拼布大壁畫」(Curtain Wall) 是台灣藝術家周靈芝 (Ling-Chih Chou) 與黃金町社區合作完成的一件作品，以肢體活動為基礎，採用拼布創作方式，分四次工作坊設計完成。參與者包括了來自社區的居民、小朋友、社區進駐藝術家以及事務所員工。

作品內容的色彩和圖案皆由參與民眾自由選擇，再以膠黏著，最後的整理則由藝術家和志工完成，包括手縫固定等。透過每次工作坊不同的引導和互動設計，參與者的創造力得以自由發揮，進而構成一系列奔放的構圖，為作品最後陳列所在的高架鐵路下鋼板圍籬旁的小巷，增添許多活潑和快樂氣息。

Koganecho Bazaar 2010 official website: http://www.koganecho.net/

Koganecho Bazaar 2010, opening on Sept. 10

2010-09-04T17:48:00.000-07:00

Koganecho Bazaar 2010
at Koganecho, Yokohama, Japan

日本橫濱黃金町藝術市集

FUN PATCH !!! 「拼布大壁畫」工作坊 (文宣)

2010-08-10T17:32:00.000-07:00

城市隙縫 Urban Crack

2010-07-15T21:54:00.000-07:00

Dates: July 15-Aug 15, 2010
Venue: MOT/ARTS Mobile Gallery
Opening: July 15, 2010 Thur.

Curator: Sean Hu

Website: http://www.motstyle.com.tw/exhibition/exhibitions026.html

"Going Green: Taiwan's New Environmental Art"

2010-07-15T21:45:00.000-07:00

“Going Green: Taiwan’s New Environmental Art”

Curator, Jane Ingram Allen

July 2010

Venue: Queens Botanical Garden, Flushing, NY

Dates of Exhibition: July 8 – July 23, opening reception, July 9

August 2010

Venue: Schuylkill Center for Environmental Education, Philadelphia, PA

Dates of Exhibition: August 5 – 20, opening reception August 5

September 2010

Venue: Accident Gallery, Eureka, CA

Dates of Exhibition: Sept. 4 – September 25, opening reception Sept. 4

October 2010

Venue: University of North Carolina at Pembroke A & D Gallery, Pembroke, NC

Dates of Exhibition: October 15 – Nov. 3, opening reception Oct. 15

This exhibition is organized by the Taipei Cultural Center, New York City and supported by the Taiwan Council for Cultural Affairs.

亢龍有悔 Kang Lung You Huei

2009-12-24T07:08:00.000-08:00

Kang Lung You Huei : This is an interpretation of the sixth (the topmost) line in the hexagram of 'khien' of I Ching, which means the dragon exceeding the proper limits. There will be occasion for repentance.

I use this to represent the ongoing economic development at the price of ecological sacrifices in the surrounding area of Loh Tsui Kweh (濁水溪), and make a dragon pattern with fragmented tail to manesfest the symbolic meaning of the words and deeds.

This is done at the end of the one-month residency in Shiluo; the town is located next to the famous red bridge -- Shiluo Bridge and the biggest river in Taiwan, the Loh Tsui Kweh.

A few more images from the works of the residency:

Statement:

Dragon was considered as the water god in ancient Chinese civilization,

Its fitness determined the possibilities of flooding over from the river

to the populated area and affecting people's living as well as the environment.

Loh Tsui Kweh is claimed the longest river in Taiwan

There was abundant water flow and enriched habitat along the river

However, since the construction of Chi-Chi Weir,

Water is hold up at the upper stream to provide industrial use,

While the downstream became a disabled dragon

with whose tail fragmented . . .

At when?

when it can return to

a 'lively' dragon again?

亢龍有悔

在古代，龍是河神的象徵
龍的安寧與否，代表了河水
是否會泛濫成災，影響人類
居住的環境和生態

曾經是台灣第一大河的濁水溪
據說也曾擁有豐沛的水量和生態
然而集集攔河堰建成之後
將溪水留在上游，轉供工業使用
濁水溪下游自此成為
被攔腰橫斷的一條殘龍 . . .

何時？
何時，它才可以又恢復成
一條健健康康的「活」龍？

2009.12.24

Little Diary 小日記

(11.28.2009~12.27.2009)

想像的地景未來的願景 Visionary Landscape Seeing to the Future (2009)

2009-10-04T06:12:00.000-07:00

想像的地景未來的願景 Visionary Landscape Seeing to the Future (2009)
in "Fushion Folks" of Bopiarts http://www.bopiarts.tw/BO_PI_ARTS_EDM.html;
http://www.bopiarts.tw/
Aug 29, Sat - Nov 01, Sun, 2009

This is a work done before my UK trip, with great helps from many friends and lovely people.
My time was urgent and I was pressured to get it done as quick as possible but not losing vision or quality of the work. It's still currently on show at Bopiliao, Taipei, the venue for Bopiarts.
Artist Ref. http://www.bopiarts.tw/eng_artist005.html

I haven't been in the show by person yet since its opening. Thanks for the curator and volunteers who take good care of my work, and here are some photos sent by them and my brother:

The work took 2 rooms. One room shows an installation of a key/hole shape brickwork filled with charcoal of Taiwan acacia, and a tree of Taiwan acacia standing at the center. Corresponding to it on the other side is a wall of computer-generated visionary landscape, with the brickwork and tree exactly set on the pre-purposed location. On the side wall hangs an enlarged old photo from the ancient charcoal market at the site. The room was supposedly exposed in natural light. Unfortunately the filming crew of a Taiwanese movie "Manga" blocked the front door and window, making it dark inside, which is not healthy at all for the tree and wasn't my initial intention.

Another room consists of 3 wall-hanging framed sketches and floor plan for the work, as well as a contour of the roof-edge on street level. The wall of the contour along with another side wall open to the public for audience response, which I heard was very vehement. :D

The words I put on the wall is: What does the past and future of Bo Pi Liao mean to you? Please leave your comments and share with others. And there are questionares on spot, asking 3 questions as shown below. The reason I give out questionare is becasue different departments in the government have different ideas about this area to be revitalized, but it seems no one really listen to the previous residents as well as other people there and the public. I hope through this work to gather all the voices and show a collective inclination instead of just some of a few officials' will. I'm glad audience respond vehemently. Thanks to Janey for suggesting me of adding this description.

The questions are: Seeing to the Future

Q1,
Where are you from?
I am ( 1, previous resident of Bo Pi Liao 2, Wanhua resident 3, from Taipei City 4, from other parts of Taiwan 5, foreigner ).

Q2,
In your opinion, what is Bo Pi Liao like?

Q3,
What do you wish to see for Bo Pi Liao's future? Why?

＊ Thank you for your answers. Would you like to leave your name and profession?
Yes, my name is ________________________. I am _______________________________.

HYPER-WORKS: Exhibition at KYU Art Center

2008-12-23T02:05:00.000-08:00

My work in exhibition: Landscape series
(which applys Pila's work as the original; trys to make an argument responding to the exhibition's theme)

KYU Art Center's director Hui-Lan Chang invited artists from SLY Art Space to hold a group show in their gallery. After several sessions of discussion, finally the show opened yesterday.

It is quite interesting to visit a gallery so remote off Taipei and have a show there.

Some other works by SLY Art artists under the exhibition title of "HYPER-WORKS":

some more photos on the works in Ze Hui Lai

2008-11-24T03:56:00.000-08:00

A colorful feast

2008-11-24T01:35:00.001-08:00

Taishin Bank Foundation for Arts and Culture organized a workshop for me and Pila at TAV on Oct. 26, in which invites Southeast Asian migrant families to join the tablecloth project.

It was a fun occasion, with many volunteers showing up to help.

The result was tremendous.

With the previously shown tablecloth done by children from Donghouliao,

together they make a big piece of meals, bounty and colorful, delicious to the eye!

作伙來 Ze Hui Lai

2008-10-13T01:43:00.000-07:00

【作伙來Ze Hui Lai】

碧拉．塔妮雅＆周靈芝聯展
Joint Exhibition by Prilla Tania & Julie Chou

展覽簡介

人類的遷徙影響著一塊土地的文化與自然環境。為了自身以及子子孫孫，人們找尋新的移居地。當不同的文化在同一片土地上激撞融合，便創造出一個多元的嶄新世界。

其中，食物絕對是人類生存所不可或缺的，因此飲食文化也隨著移民的腳步，擴散到世界各地，「食」變成為現代文化中重要的一環：人們相約外出用餐見面、邀請朋友一同用餐、藉由嘗試多元的料理以進一步了解不同的文化等…

‘作伙來’是一句口語台灣話，意思是’一起來’ 、’一起吃’ 。我們以它為展覽標題，表達一種邀請，邀請這塊土地上的人們一起來，一起分享彼此的生命和藝術。

碧拉．塔妮雅 & 周靈芝

Introduction

The human migration has affected both cultural and natural environment of a certain place. People migrate to find a new home for themselves and sometimes for generations to come. Different cultures mix together in one piece of land creates a new diverse world. Food is one thing human can't live without, therefore the food and eating culture spread all over the world along with human migration. The eating itself has become an important thing in modern culture, people go out to eat to meet, people invite other people to eat, people tries different food to get to know little bit about other culture, etc.

‘Ze Hui Lai’ is a colloquil Taiwanese expression, which means get together or eat together. We use it as the title of the exhibition, to show a gesture of inviting: inviting people to come together; to get involved in, and to savor life and art in this land.

Prilla Tania & Julie Chou

'Too salty' in 'Ze Hui Lai'

Title of work: Too salty & documentation

Medium: Digital print, installation
Size of work:
Too salty: 180 x 135cm for landscape, 66 x 88cm x 4 x 2 for portrait
Documentation: 4 prints (54 x 40.5cm) on left wall, 2 prints on right wall, a small teatable at the right corner, a book on table
(Subject to change)

Concept:

It's all about community :D
Landscape and portraits.
Human and land.

The salination of soil that a small community in western Australia encountered represents one of the biggest issues of environmental and ecological concerns nowadays striking people hardly.
I ask ladies from the community to cook one best dish each for me with too much salt to address the problem of the land. It’s a work with community involvement and a work of warning from the community to audience to take seriously look at the environmental problems. Documentation from previous presentation is included in this exhibition as well.

You are my oyster

2008-08-24T05:02:00.001-07:00

Ahhhh, O-Y-S-T-E-R .....

This is a set of 3 photos that being exhibited at the red wine gallery in Hualien Creative & Cultural Park.
It is entitled 'You are my oyster' to appropriate the English saying of "The world is your oyster."
I was curious about how to compare the world with you in a romantic relationship if we juxtapose the two expressions? Is there a new 'equation' ('=') between the world and you? And, what is behind the equation? the hardship of female work? How do people perceive it?

Eternal Adventureland

2008-05-06T00:27:00.000-07:00

※ 中文版請見下列連結：Chinese version is on http://tw.myblog.yahoo.com/angel-cat/article?mid=1797&prev=1798&next=1792 and http://www.sly10.url.tw/sly10/

A Celebration Exhibition for 10th Anniversary of Shin Leh Yuan Art Space
Eternal Adventureland－A Strategy to let museums reembrace streets, factories and sitting rooms

by Huang Hai-Ming

Does the globalized competitive environment of creativity bring about new problems? Are consumer groups and productive groups the same kind? These questions have a tie with ‘art management’, which means we need to reconsider the significance of dispersal or reassembly of artists and creators.

Exhibitions have become more and more like globalized fashion flagship shops. Their strategy is to skillfully juxtapose the most shocking or seducing elements in international eyes with a careful design. What we saw is a transformation from distinct cities to seemingly alike consumer paradises. Exhibitions stand as a representative of these globalized consumer paradises. While the exuberance of consumer paradises made a landslide shift and squeezed the development of localized, temporal-characteristic culture, we need another front line to compensate. It is not a hostile opposition; rather, it is a mutual supplement.

To my opinion, the years of 1998 to 2000 are a watershed of Taiwan contemporary art. Before, artists took inspiration from the society and made works that initiate direct dialogues with the fundamental ranks of the society. But in 1998, the Taipei Biennale ‘Site of Desire’, hosted by Taipei Fine Art Museum, turned the museum into a big mixed business strip. In one way, it still contains the strong ties with the fundamental section of the society. In another way, the exhibition has had a look very similar to commercial spaces. As for the biennale in 2000, ‘The Sky is the Limit’, the exhibition site was like a magnificent globalized supermarket. Works were aligned to manifest the significance among one another with the booth arrangement of consumer goods. Afterwards, we saw many exhibitions in Taipei which claimed to be thematic but showed no subject, no context. They looked like a commercial venue with internationally shocking and seducing elements put together in a skillful design. We witness art exhibitions turned into consumer paradises, and brand name becomes relevant because it guarantees crowds.

When the logic of consumer paradises drew a landslide shift and pushed aside the cultural and artistic development based on locality and epoch, there is a need to recreate a supplemental front. This opposite front line was once established at Huashan Art District, and replaced by another front line while the Association of Culture Environment Reform Taiwan relinquished the management and retreated from Huashan. Hence Huashan Art District changed its original role of manufacturing ideas and artistic creations to a showcase of cultural commodities. However, by the side of or before the production of cultural commodities there must have a manufactory with a mixture of global and localized elements; an adventureland that regardless of commercial principles, to wipe off the sophistication for temporary and maintain a playful workplace for rejuvenated artists.

The attempt of this exhibition is to move the playful workplace back to the seemingly consumer-paradised museums. According to the subtitle, the exhibition means to make the museum reembrace spaces of everyday living, such as kitchens, bedrooms, studios, gardens, factories, streets, plazas, markets and groceries, moving the creation and production from daily life back into the museum again. The first step is to empty the museum as a commercial wasteland.

Using the strategies of interactive involvement and interpenetration as well as collaborative workshop, the exhibition of ‘Eternal Adventureland’ seems to be complicated or even artificial. In fact it is just an imitation of the massive process of building and modifying a society, perhaps also inclusive of the incidental or periodical destruction. Be it the production of cultural commodities or a simply aesthetic pursuit, all needs a well-established platform to communicate, interact and collaborate. Upon an internationally scaled competitive stage, city has to be a creative and playful manufactory in the meanwhile of a consumer paradise.

The substantial platform for exchange of playful ideas：
The exhibition site is conceived as a ruin of several floors. Houses have been dismantled. Only the roads and traces of the dismantled buildings are left. Various artists make their own works and interactions on the site of this ruin with a found object from his/her everyday life and a significant element from previous works.

All the artists come from Shin Leh Yuan Art Space. The art space has accepted more than 100 artists as its members on a biennial basis since the establishment. The curator didn’t select the participative artists of this exhibition. Rather, it is the communication between the curator and the artists assisted with documents, telephone talks and the discussions in person that defined the finalists, and the attitudes of the dynamic construction, the rules of the interactive dialogue, as well as the material, symbols and behaviors for the exhibition. On two weeks before the opening, the location of each partial element is confirmed by communication in situ. These locations represent a starting point of an unfolding multiple dimensions or the nodes of a network, and from where, all kinds of development, intertwining, modification, transformation, construction and deconstruction are activated.

Then the curator calls for interdisciplinary art groups who are willing to enter the exhibition space and create dialogue with the changing artworks in the site. The major concept and the on-going accumulation of materials and ideas will be provided by the curator to facilitate the art groups shaping their own ways and contents of participation.

From installation days to the opening is the first stage of the exhibition. Afterwards, the artists will come to the site to make four revisions respectively on May 17th, 24th, and June 7th, 21th. Artists will be working from 9am to 2pm. Between 2 and 4pm, interdisciplinary scholars and experts are invited to give inspiring opinions and talks, and various interdisciplinary art groups to give performances that communicate with the presented works.

The virtual platform for exchange of playful ideas：An Internet blog is established before the exhibition opening, in which all the contents about the exhibition are presented and updated. All artists and audiences are welcome to join the continuous construction on this blog. Along with the opening, a book is published which contains the history of Shin Leh Yuan Art Space, the related discourses, and the latest information of the exhibition. A compilation DVD will be published after the exhibition, which contains the documentation of the installation, the opening and the four revisions as well as the interdisciplinary talks and performances. Critical texts are included as well. The Internet blog will remain the role of a communicative platform for succeeding discussion and dialogue.

Beyond the Boundary

2007-12-09T17:33:00.001-08:00

Beyond the Boundary

works by

Julie Chou(Taiwan) and Prilla Tania(Indonesia)

Dec 7, 2007 ~ Feb 17, 2008

Too Salty

Legend

details of Legend

Discover Kellerberrin

LAND LINE

Hello and Goodbye

Memories

----------------------------------------------------------------------------------------------

Beyond the Boundary

* Prilla Tania

LAND LINE

site-spesific installation
paper tape on glass window and wall

Standing in some positions outside the gallery you can
see the word LAND and LINE.

STOP MOTION VIDEO COMPILATION
video

Video works done by Mrs.Gabriel Elkins's students at
Kellerberrin District High School's art class. This 3
days workshop counducted by Prilla Tania(IASKA
residency artist), Mrs. Elkins (art class teacher),
and Amanda Alderson(IASKA).

MEMORIES
installation
blank photo paper on frames

HELLO AND GOODBYE
act 1-7
digital photography
7 pieces digital print (each: 60x100cm)

Layers of new experience and understanding of the land
during the residency in Kellerberrin. Cultural,
environmental, and personal issue.

* Julie Chou

TOO SALTY
installation
table set with red table cloth, 11 plates, salt, warning signs
Collaborative work by Julie Chou and the community of Kellerberrin

Eleven salty dishes are provided by citizens of the community and resident artists,
to address the environmental issue of salination in W.A.

LEGEND
installation
40 wooden boxes, b/w prints of houses in Kellerberrin, lettering

Apply the form of Heritage Sign to show some of the locations of houses built by two senior builders in Kellerberrin, Denis Alcock and Rinaldo Paron, which are to become Living Herritage and to pay tribute to both builders.

A JOURNEY TO THE LEGEND IASKA
video

interview founders and staff of IASKA, and people from the community, to delve into the past and the future of IASKA, and the interaction between art and community.

DISCOVER KELLERBERRIN
video
Collaborative work by Julie Chou and Prilla Tania

compilation of three interviews in Kellerberrin: Denis and Anne Alcock, Pat Lapworth, Rinaldo and Elvira Paron

food project

2007-12-09T15:44:00.000-08:00

Beyond the Boundary是我和Pila的展覽題目

我們各自有一些作品發展

也有合作的作品

展覽開幕當天剛好是Kellerberrin一年一度的street party，

所以就免掉了非常正式、seriously請貴賓來演講的那一套

觀眾自由進出，非常casual

也是我喜歡的方式，

－－不拘形式

My food project:

Tooooooooooooooo Salty !!!!!!

------------------------------------------------------------------------------------------------

Too Salty

Salination is a big problem in agricultural W.A.
I come across this issue with food, inviting people from the community to provide one dish of each own with too much salt in it to address the complication and seriousness that facing everyone in the area.
The salty dishes are kindly provided by:

Betty Dixon
Pat Lapworth
Amira Nyoni
Elvira Paron
Pauline Scott
Joy Wickland
Jeanette Williamson

and resident artists:

Prilla Tania
Julie Chou

Along with many other support from both the community and the gallery, a contemporary art feast is presented.

Wish you bon apitate!

開幕嘍！ Opening Up

2007-12-09T06:31:00.000-08:00

展覽總算開幕嘍！但感覺也好像駐村就結束了。

好幾天沒好好睡過，

想想一個月要趕出這麼多作品，真不簡單。

自己也覺得欽佩自己！

Exhibition opening

2007-12-05T01:04:00.000-08:00

New Exhibition will be opening on Friday, 7th December.

working like crazy

2007-12-04T11:38:00.000-08:00

My dining table is also my working table.

See how crowded it is!

I am the witness

2007-11-28T19:31:00.000-08:00

Coming back on a coach instead of a train.

The bus was all right, not so exciting as trains would do though.

There was a interlude on the way.
The female driver pulled the bus over at the town of Northam.
I thought that was the first stop to take more passengers.
And on to the bus were a woman and four uniformed plicemen.
They are not taking seats. Rather, they went to the back and started questioning a woman there. Then they took a baby and the woman down.
It seems to be related to a news of a baby was stolen from the hospital in Perth.

I just checked the ABC news. Yes, the stolen baby was found, and it is on the bus which I took.
I overheard one old man sitting behind me telling his wife 'Do you think we will be on the headline?'

They played movies on bus too. All these New York's silly movies.
It distracts me quite a lot. Otherwise I would enjoy the enormous land and seemingly emptiness there.
Anyway, feeling so much tenderness being home. (I'm telling Kellerberrin as my home now.)

For those who are interested, here's the ABC news on the stolen baby found:

http://www.abc.net.au/news/stories/2007/11/29/2104948.htm

Have a look.

first-hand experience at farm

2007-11-19T13:12:00.000-08:00

Faye invited me and Pila to their farm to see the harvest.

Jeff was doing the harvest of barley.

She recommended me taking a ride in the header with Jeff, to get an authentic experience of harvesting, which was great.

The front part of the header is 11 meters long, with lines of blade.

Since they own big farms here, it takes weeks to complete the harvest, quite a bit hard work and toil.

Pila took the photos for me.

falling apart ...

2007-11-16T14:44:00.000-08:00

Yesterday the bed in my room sunk from the middle.
I had to push up the mattress to fix it.
The mattress is heavy, made me tired.

Pila was over for dinner.
After dinner she found the table was in jeopardy of loosing one of its legs.
I went into the studio to find a broken hammer!

It seems everything in this building was falling apart.
I fixed two doors since my arrival, and get the router function again.
The drape fell down once.

I just hope the house wouldn't be falling apart either.

Two men, three camels and their car

2007-11-12T23:38:00.000-08:00

Today I went to Telecenter to borrow the book "A man, his dog and a dead Kangaroo".

They do have, but someone borrowed it and hasn't returned.
The woman said IASKA should get one for themselves, because every resident artist coming in ask for that book, all wanted to read.

I walked out without that book, and seeing on street some strange scene.

Look like some one kneeled down with a lot of bundles on his back and everywhere on his body.
I hesitated for a few minutes, and decided to go closer and had a clear look.

It was three camels! Two men with the camels are heading to Melborne all the way from Perth. They said they got the camels from a camel farm in Perth.
Couldn't believe my eyes that in this heat, 3 camels showed up and resting under the shade in Kellerberrin, beside the Great Eastern Highway!

I didn't get the book of "A man, his dog and a dead kangaroo",
instead I found "Two men, three camels and their car."

(At back was a train running.)

IASKA and its current show

2007-11-05T08:09:00.001-08:00

Hit the road

2007-11-05T08:07:00.000-08:00

Pila和我，以及我們的小白車

應該這麼說，
Kellerberrin像是個somewhere of nowhere,
這裡的人和東後寮居民一樣，
都說鄉下地方，nothing to see.

事實上也是，白天，三位60 something, 70 something and 80的老太太輪流來gallery顧攤，
晚上，除了呼嘯而過的trucks和一、兩趟火車之外，安靜得很，
Pila早我一星期到，她很高興我來了，有伴，不然還真孤單

julie the walker 2007-11-03 22:41:47 Trackback Comment

創作計劃在IASKA

2007-11-05T08:04:00.000-08:00

Marco在路上說，咦，你不開車？是台北人都這樣，還是你是奇怪的人(strange people)？我說我是strange people,

然後他問"Do you cook?"我說："No, my mother does."

最後，我說"It seems a big waste for me to come to Perth since I don't swim, and you have such many beautiful beaches here."

他大笑說，"OK, Julie, I got an art project for you. You learn cooking, driving, and swimming at IASKA."

我大叫：NOOOOOOOOOO~~~~~~~~~~~~~~~~

julie the walker 2007-11-03 22:00:59 Trackback Comment

Comments

hairu
就接受了吧!很不錯的跨國經驗啊!:D哈哈~
2007-11-05 01:39:00

冷

2007-11-05T08:01:00.000-08:00

昨天半夜打的一堆字，
正要送上藝術村部落格時，
一按鍵，
全部跳不見了，泣 …

這裡晝夜溫差十分大，

在太陽底下很溫暖，
夜晚我用了兩台暖氣，呵呵呵

IASKA是個接待藝術家非常有經驗的機構，
有兩支手機供兩名藝術家使用，
一台車，冷暖氣機，

昨天和今天我和Pila已經開車到處逛
哦，不只，從我到達的第一天下午開始
Western Australia真的很過癮，
和雪梨、墨爾本的都會經驗截然不同。
Pila drives; I ask information.
So Pila seems to be my legs and I am her mouth.
We cooperate well.

julie the walker 2007-11-03 14:29:03 Trackback Comment

Comments

hairu
等你真在那兒,我同樣網上見妳,從東後寮到伯斯...卻還是有種奇特的空間感產生~或許又回到TAV的Blog介面也有幾分關係哟!很國際很藝術哈哈
2007-11-03 20:12:46

走路的人
哈哈哈，hairu，我也有同感，來兩三天了，總不覺得出了遠門，好像已經混合了美國、澳洲、東後寮…各種不同的地方經驗，最後也分不清彼此了。
2007-11-03 22:09:18

Perth

2007-11-05T07:58:00.000-08:00

Although first time in Perth, I feel it familiar, prtly Sydney, partly Newtown.
I told Marco, it's a quieter city. At first he didn't get it. Then he thought of comparison with Sydney.
Yes, Sydney is much busier, and much more crowded.

Marco is from Rome, but has stayed for 20 yrs.
I asked him if he considers himself Australian?
Yes, why not? he replies.
Mmmmm,
as long as you can work and live, and have a good life here.
That was my comment.

julie the walker 2007-11-01 23:48:48 Trackback Comment

Comments

cindy
Mmmmm, That's true!!
2007-11-02 12:27:30

night flight

2007-11-05T07:45:00.000-08:00

夜間航班

跟空中小姐要了紅酒，灌它幾杯，想讓自己醉了好睡覺，
沒想到更是清醒，

都是食物惹的禍！

夜間航班簡直讓人胃口撐大

台北－香港，九點吃晚餐
香港－伯斯，再來一次，而且是半夜二點！
坐我隔壁的兒童餐十二點多就送過來，
吃完她大睡去了
我睜著眼等到兩點，
吃完、收拾畢，三點半了，
五點多又要吃早餐！
怎麼睡呀？

就這樣
一路無眠到了伯斯
幸好Marco很人性，讓我在伯斯的旅館住一夜

更幸好，Kellerberrin離伯斯兩小時車程，
不是Georgia說的8小時啦

差點被嚇到，以為將近十小時飛行後立刻接上8小時車程，
不坐暈了才怪！

julie the walker 2007-11-01 23:10:45 Trackback Comment

Comments

cindy
就是說嘛8小時太誇張啦!!好歹澳洲也是個大國家哩
2007-11-02 12:22:57

aggie
多吃多吃, 在機場驚嚇到了總要用食物來彌補精神上的損失. 預祝在澳洲遇見驚奇
2007-11-02 12:27:01

走路的人
哈哈哈，看到aggie出現，就想到食物，Mmmm，是個不錯的association喔
2007-11-02 22:49:35

hairu
Jean催我女性工作坊的稿子...嗚~我就在你搭飛機的當日開始寫,寫你在搭飛機...呵呵~妳吃很飽地到了澳洲,嗯~不錯!好的開始哈
2007-11-03 20:00:10

Australia, 我來了 … …

2007-11-05T07:37:00.000-08:00

Australia, 我又來了,
Seems like a deep connection with this continent.

julie the walker 2007-11-01 18:00:03 Trackback Comment

Comments

cindy
聽同事說起機票出了點問題還好都解決了真不好意思讓你虛驚一場!願你再那邊一切平安!
2007-11-02 12:25:16

走路的人
唉，我也不知怎的，還以為又得打道回府了幸好吉人自有天相，逢凶化吉 ^__^
拜託再幫我盯一盯旅行社，好奇怪我的票竟然都被cancel ???
2007-11-02 22:55:11

New From Space

2007-09-18T03:32:00.000-07:00

Just a test

the walker's ~@@~ 另一個窩

revisit and fixing the work at Cheng Long Wetlands

kids and their teacher who helped the Cheng Long Wetlands project and had fun!!!!

《Returning to the Sea》-- A work for Cheng Long Wetlands

some thoughts on THAV project

An Invitation to Treasure Hill Organic Garden in Spring

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 8

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 7

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 6

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 5

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 4

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 3

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 2

Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 1

Program Description: Treasure Hill Eco-Art Workshop and Lectures (寶藏巖生態藝術系列講座及工作坊) 大綱

Curtain Wall: the work

Curtain Wall: workshop & testing

Koganecho Bazaar 2010, opening on Sept. 10

FUN PATCH !!! 「拼布大壁畫」工作坊 (文宣)

城市隙縫 Urban Crack

"Going Green: Taiwan's New Environmental Art"

亢龍有悔 Kang Lung You Huei

想像的地景 未來的願景 Visionary Landscape Seeing to the Future (2009)

HYPER-WORKS: Exhibition at KYU Art Center

some more photos on the works in Ze Hui Lai

A colorful feast

作伙來 Ze Hui Lai

You are my oyster

Eternal Adventureland

Beyond the Boundary

food project

開幕嘍！ Opening Up

Exhibition opening

working like crazy

I am the witness

first-hand experience at farm

falling apart ...

Two men, three camels and their car

IASKA and its current show

Hit the road

創作計劃在IASKA

冷

Perth

night flight

Australia, 我來了 … …

New From Space

想像的地景未來的願景 Visionary Landscape Seeing to the Future (2009)