Carolina Castro Jorquera、紀柏豪、林承緯、蔡明君
自然一直是人類觀察的主題與對象，然而對於生態意識的認知與生態藝術的興起，卻是相對晚近的觀念。這不光是崇敬自然、接觸或描繪自然、或沈浸其中，由James Lovelock、Lynn Margulis在七〇年代所提出蓋亞假說所帶來的啟發，也逐漸地被人文社會學科所採納並演繹成更多關於共生理論的世界觀，並在現今氣候危機日漸加劇之際，也成為藝術家在人類世中所關注和思考的重要主題。然而，我們究竟如何將生態與藝術並置、思考與實踐？科技又在此能夠扮演何種角色？藝術和大氣中那上升的2度C要如何發生關係？大氣的組成和循環裡有藝術的存在和需求嗎？
Talk & Mapping by Carolina Castro Jorquera, Chi Po-Hao, Davey Lin, Ming-Jiun Tsai
Host by Esther Lu
Organized by Moss Piglets
Venue supported and co-organized by OCAC (No. 25 Ganzhou Street, Taipei, MRT: Daqiaotou Station)
This event is conducted in English.
Nature has always been the subject and object of human observation, but the awareness of ecological consciousness and the rise of ecological art are relatively recent concepts. This is not just about revering nature, engaging with it, or depicting it; it's also inspired by ideas like the gaia hypothesis proposed by James Lovelock and Lynn Margulis in the 1970s. These concepts have gradually been embraced and interpreted by the humanities and social sciences, evolving into a broader worldview concerning theories of coexistence. In the face of the growing climate crisis, it has also become a significant theme of concern, action and contemplation for artists as well. However, how do we truly integrate ecology and art, both in thought and practice? What role could technology play there? How does this relate to the rising 2°c in the atmosphere? Is there a place for art within the composition and cycles of—our air?
The practice of ecological art is particularly challenging: how can we deeply engage with the land without interfering? Or how can we interfere with the land without damaging it? Should it be grounded in empathy for the suffering of other species, demonstrating cross-species perception and communication? How can the practice of ecological art go beyond being just a green label or a form of greenwashing and truly contribute to ecology? How can art collaborate with technology to show us a deeper and spiritual side of nature? The spectacles of ecological disasters or the display of various warning messages, can they easily become a form of political activism or a political instrument? Is ecological art primarily about themes, ethics, forms, attitudes, or ultimately a narrative and imagination based on the anthropocene human emotional needs?
If ecological art is a form of love, empathy, and resonance, how should this love song be sung? In this discussion, we have invited several curators and artists to share their insights and respond to the dilemmas of ecology and art, creating new understanding of its aesthetics, ethics, technology and politics in the collective mapping.
The event is sponsored by the National Culture and Arts Foundation.