IV-森人藝駐計畫、社會參與 CommunityEngagement, TreeTreeTree Person

在2024年5月22日的社群共學討論會中，與會者透過線上方式深入探討了「畸零地景藝術節」計畫與「森人計畫」的發展脈絡。會議從「畸零地」的起源談起，展現出藝術介入空間與社群營造的多重可能性。徐孟榆分享了「畸零地」工作室的成立過程，說明這個名稱源於一個充滿垃圾的河岸野地，透過清理過程逐漸形成對「畸零」概念的深刻理解。

「畸零地」工作室的經驗展現了空間改造與社群互動的複雜關係。工作室原是成衣廠，後方有一片被垃圾填平的野地，在清理過程中發現大量成衣廠遺留的廢棄物。這片土地雖非房東所有，卻成為工作室重要的一部分。這種特殊的空間經驗促使團隊思考「畸零地」的多重意涵，並延伸發展出「畸零地景藝術」的概念。

陳政道則分享了「森人計畫」的發展歷程。計畫起源於2015年一次偶然的藝術介入經驗，從最初的氣球樹裝置，逐漸發展為深入太魯閣部落的長期駐村計畫。政道強調，計畫重視與部落的真誠互動，避免將藝術介入變成單純的展覽或商業活動。這種態度使「森人計畫」能夠在部落中建立深厚的信任關係。

在討論社群參與機制時，政道提出了獨特的運作方式。他採取低調的態度，不強調個人身份，而是讓計畫自然地融入部落生活。這種做法使「森人計畫」能夠避免一般藝術計畫容易落入的制式框架，而是以更有機的方式發展。特別是在處理部落內部敏感議題時，這種彈性的態度顯得特別重要。

關於藝術介入的討論，與會者探討了在不同場域中藝術計畫的可能性。從太魯閣到北投，「森人計畫」展現了不同的面貌。在太魯閣，計畫聚焦於讓部落文化變得更加豐富多元;在北投，則探討歷史記憶與當代社會的連結。這種多元的實踐方式，反映了藝術介入需要因應不同場域的特性而調整。

會議也討論到地方創生與社區營造的議題。政道提到，許多地方創生計畫往往過於強調商業面向，而忽略了與在地社群的真實連結。相較之下，「森人計畫」選擇更謹慎的方式，重視時間的積累與關係的建立。這種做法雖然進展較慢，但能夠建立更穩固的社群基礎。

特別值得注意的是關於亞泥議題的討論。政道分享了太魯閣部落與亞泥之間複雜的關係，指出這不僅是單純的環境議題，更反映了台灣整體的政經結構問題。這個案例展現了藝術計畫在面對敏感社會議題時，需要採取更細緻的處理方式。

討論最後觸及了台灣南島語系研究的議題。政道分享了一個駐村藝術家的研究，探討台灣政府推動南島政策背後的政治意涵，以及這種政策可能帶來的問題。這個討論展現了藝術計畫如何能夠成為探討敏感社會議題的平台。

At the Community Learning Discussion Meeting held on May 22, 2024, participants engaged in an in-depth online discussion about the “Marginal Landscape Art Festival” project and the “Tree Tree Tree Person Project.” The discussion began with exploring the origins of “marginal land,” demonstrating the multiple possibilities of artistic intervention in space and community building. Hsu Meng-Yu shared the establishment process of the “Marginal Land” studio, explaining how its name originated from a riverside wasteland full of garbage, gradually developing a deep understanding of the concept of “marginality” through the cleaning process.

The experience of “Marginal Land” studio demonstrates the complex relationship between space transformation and community interaction. Originally a garment factory, the studio had a wasteland filled with garbage at its rear, where they discovered large amounts of waste left by the garment factory during cleanup. Although this land did not belong to the landlord, it became an important part of the studio. This unique spatial experience prompted the team to consider the multiple meanings of “marginal land” and led to the development of “marginal landscape art” as a concept.

Chen Cheng-Tao shared the development of the “Tree Tree Tree Person Project.” The project originated from an accidental artistic intervention in 2015, evolving from an initial balloon tree installation to becoming a long-term residency project in the Taroko indigenous community. Chen emphasized the importance of genuine interaction with the community, avoiding turning artistic intervention into mere exhibitions or commercial activities. This approach allowed the project to establish deep trust within the community.

Regarding community participation mechanisms, Chen presented a unique operational approach. He maintained a low-profile attitude, not emphasizing personal identity but letting the project naturally integrate into community life. This approach helped the project avoid falling into conventional artistic project frameworks, developing in a more organic way. This flexible attitude proved particularly important when dealing with sensitive community issues.
The discussion explored the possibilities of art projects in different contexts. From Taroko to Beitou, the Tree Tree Tree Person Project demonstrated different aspects. In Taroko, the project focused on enriching tribal culture; in Beitou, it explored connections between historical memory and contemporary society. This diverse approach reflects how artistic intervention needs to adapt to different local characteristics.

The meeting also addressed issues of local revitalization and community building. Chen noted that many local revitalization projects often overemphasize commercial aspects while neglecting genuine connections with local communities. In contrast, the Tree Tree Tree Person Project chose a more careful approach, emphasizing the accumulation of time and relationship building. Although this approach progresses more slowly, it builds a more solid community foundation.

Particularly noteworthy was the discussion about the Asia Cement Corporation issue. Chen shared the complex relationship between the Taroko community and Asia Cement, pointing out that this is not merely an environmental issue but reflects Taiwan’s overall political and economic structural problems. This case demonstrates how art projects need to take a more nuanced approach when addressing sensitive social issues.

The discussion concluded with Taiwan’s Austronesian language research topic. Chen shared a resident artist’s research examining the political implications behind Taiwan’s government’s promotion of Austronesian policies and potential problems these policies might bring. This discussion showed how art projects can serve as a platform for discussing sensitive social issues.

The overall meeting demonstrated how art projects can serve as bridges between different communities and social issues, while maintaining sensitivity to local contexts and relationships. Through Chen’s sharing of the Tree Tree Tree Person Project’s experiences, the discussion revealed the importance of building genuine connections and understanding complex social dynamics in community-based art practices.