水泥動物園(Concrete Zoo)

裝置 2020
混凝土雕塑

Concrete Zoo
Installation 2020
concrete animal statues


在過去70年代，流行於公園及學校隨處可見的水泥動物雕塑，這些雕塑由不知名的水泥匠所製作，有著沈重的實體，外觀上缺乏設計感，並帶有一種樸素、滑稽的形態，像是人類為了彌補缺席的自然物紀念碑，隱藏在城市及水泥建物之中。隨著社會資本化，這些動物也漸漸被輕便的塑膠亦或是能快速模組化的造型技術所取代，留下一群生產過剩的仿自然廢墟。 在這個計劃中，藝術家邱承宏像是進行一場考古探險，將這些外觀奇異破損，棄置在山間野林的水泥動物群逐一挖出，並將它們移置於海邊。這個看似隱晦又詩意工程，像是把過去時間的碎片揉捏成塊，伴隨著現場的風沙與日影與現地結合，塑造出一處帶有超現實感的場景。作品試著在一種「另類環境生態學」的語境下，重新與近年流行於各類型態的歷史古蹟改造而成的「觀光」場所，或是無處不在的藝術節慶所創造出的「風景」進行對話，凸顯一種詼諧又曖昧的衝突。

In the 1970s, concrete animal sculptures were popular in parks and schools. These heavy sculptures without delicate design were made by unnamed artisans. They appear to be simple and comical, just like monuments humans built to compensate for the absence of nature in the city, hidden in the concrete jungle. With the capitalization of society, these animals have gradually been replaced by lightweight plastics or modeling techniques that can be quickly modularized, leaving behind an overproduction of fake animal ruins. For this work, the artist CHIU Chen-Hung went on a journey resembling an archaeological expedition, digging out these damaged concrete animals with strange shapes that were abandoned in the wild forests of the mountains one by one, and moved them to the beach. The seemingly obscure and poetic process is like kneading the fragments of the past into pieces, and along with the combination of wind, sand, sunlight and shadow on-site, it creates a scene with a sense of surrealism. In the context of an "alternative environmental ecology," the work attempts to reconnect with the recently popular "sightseeing" places that were transformed from various types of historical monuments, and the "landscape" created by the ubiquitous art festivals, highlighting the humorous yet ambiguous conflict in between.

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