新森林-趙仁輝個展|9.7-10.12|安卓藝術

安卓藝術將於2019年9月7日至10月12日推出新加坡藝術家趙仁輝個展「新森林」,本展是藝術家首次於台北發表的個展,延續擴大「後自然:美術館作為一個生態系統」2018台北雙年展展出之《當世界碰撞》中,觸及外來種生物與本地環境的碰撞之議題,進一步挖掘,重新思考人類作為自然生態平衡看守者的假定 。開幕酒會將於9月7日(星期六)下午3:00舉辦,我們誠摯邀請您的蒞臨。

自1950年代起,森林砍伐與城市化進程改變全球自然的樣貌,對動植物產生方方面面的影響。有時牠們因人類發展受災;有時人類創建的特殊環境,卻培育繁衍出新型態的有機體。巨量的遷徙與貿易活動帶領動植物進入新的疆域,形成「外來」與「原生」物種的生態分類。現今多數的論點傾向對「外來」種除惡務盡,以保護「原生」來維持生態平衡,但愈來愈多的生物學家承認,二分類間可能相互流動,並非固定不變。「新森林 」旨在揭露自然與城市間、外來入侵者與原生種間多樣的衝突,衝突有時導致暴力對抗,包括競爭、掠食與滅絕;其他時候造就新的危險平衡,顛覆了外來與本土、有害與增益間的固有分野。

過去一年藝術家在新加坡一處小型的荒地森林考察紀錄,在廢棄的營地架設紅外線攝影機,捕捉到那裡流浪物種群聚的生態景緻,有彷彿他界的怪誕感。其他系列作品講述先前來台親自參與之研究,包括與台北動物園志工夜間捕抓入侵的斑腿樹蛙、嘉義政府失敗的入侵蜥蜴移除計畫,以及台灣與中國藍鵲間混血鳥種的報告。這些作品揭露在複雜又難以預測的生態系統中,人類介入的根本矛盾。

Mind Set Art Center is pleased to present the first solo exhibition of Robert Zhao Renhui, New Forest, in Taipei from 7 September to 12 October 2019. Expanding on the When World Collides, 2017–2018 series included in Taipei Biennale 2018: Post-Nature —A Museum as an Ecosystem, the exhibition explores the collisions between ‘invasive’ and ‘native’ species and rethinks the assumption that human beings are the gatekeeper of ecological borders. You are cordially invited to attend the opening reception on 7 September, Saturday, at 3 pm. The artist will be present.

Since the 1950s, global changes such as deforestation and urbanisation have affected animals and plants in different ways. Sometimes they suffer through human development, and sometimes humans produce situations that allow novel organisms to thrive. Due to a dramatic increase in travel and trade, animals and plants have also crossed into new territories, creating new ecological categories of ‘invasive’ and ‘native’ species. Most conservation efforts are aimed at destroying the former and protecting the latter, though increasingly, more ecologists are conceding that these categories are fluid and unstable. New Forest exposes a variety of collisions; between nature and the city, invasives and natives. Sometimes these result in violent encounters: competition, predation and extinctions. Other times these interactions result in a new, precarious balance, and a destabilising of categories of foreign and local, noxious and useful.

The artist has spent the last year documenting a small wasteland forest in Singapore. Using infrared cameras placed around an abandoned base camp, he captured vagabond species that have come to drink from pails, creating strange, otherworldly tableaux. Other images are related to the animal projects he took part in Taiwan, including a frog survey in Taipei where he captured invasive spotted tree frogs with volunteers, a failed eradication plan of lizards in Chiayi, and the reports of hybrids between Chinese blue magpie and the Formosan blue magpie. These works expose the contradictions of human interventions in complex and unpredictable ecosystems.


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