“WAGIWAGI” attempts to explore the island ecosystem from a non-human-centered perspective, including the creation of multiple groups of artists responding to natural environment issues such as sunlight, plants and land, as well as the basic system design in the architectural space. Through the dialectical thinking of the system “resource-commoner-institution”, and “island” may be an alternative field created in the process of identification, exploration, establishment, resistance, running-in and negotiation, pointing to A certain life practice of “living together” in stages also includes reflection on various reasons for “not being able to live together”.
In Speculative Ecologies: Plotting Through the Mesh, hypertext and multi-centrism are given priority ; multiple groups of authors point out that hypertext does not obscure the fact that it is a medium, its structure and effects on receivers are contrary to a linear perspective. As well as the scientific paradigms of the past establishing the human knowledge base, multi-centrism is a natural and generous way of constructing environmental ethics. (p.18-19).
However, after the 20th century, the Internet has brought about the drastic speed of change in modern society, making hypertext and multi-centricism challenging the only center and peripheral changes in the existing class system, reflecting the urban development, ecological evolution, landscape in which we live. In culture, the design of survival strategies and institutional changes reflect that the future field is unknown and changeable, more drastic than traditional agricultural society.
When we realize that concentric circleism leads to competition, advantage, invasion and succession in the ecological process, it is also manifested in the development of cities in various countries. In order to reduce the center distance and marginalization of physical space, multi-coreism has evolved along with decentralization. The democratization of and declassification seems to create fluidity and diversity within this range. In cross-cultural and interdisciplinary discussions, islands carry the collective interweaving of paradigms, ideas, emotions, labor, language, civilization, etc. We step into the tropics to discuss the problems and challenges faced by rainforests, practical exchanges bring people together in an innovative environment, reface the environmental problems we are in, and then solve short, medium and long-term problems and dialogues.
Borrowing from JB Jackson ‘s research on cultural landscape, cultural landscape is not static, but a constantly changing relationship between human and land. Landscape has two functions simultaneously in social life: on the one hand, it is a place created by human beings and the result of joint labor, but on the other hand, it structures the way we see things and operates on an ideological level. In addition to original ecological records, research and creation of ecological issues, team interaction and workshops, what is more important is to observe the interactive process of reconnecting with the land after returning to nature, and then using this experience to construct a new the environmental art practice model interprets the cross-border ecological relationship and the vision of the fate of people and species, and promotes academic and cultural exchanges and alternative narratives without borders.
Therefore, it brings out the scope of observation of the art project of “WAGIWAGI”, and the sunlight, plants and land in the natural ecology are used as the text. In the geographical Austronesian Siraya and Atayal languages, “Wagi” represents the sun; Wagiwagi means greeting to nature, and also What a great idea! The Chinese translation “瓦 Wa” represents the tile, which carries the media of the boundary between nature and human; the former “集 Gi” means collective and collaborative; the latter “籍 Gi” echoes the identity and belonging of all things.
The natural environment inspires us to explore the interpretation of the living field, to find the face and meaning of this island land. Irish poet Seamus Heaney once said, “To know who you are, you have to have a place to come from”. We have lots of local feelings, but we must first recognize where we come from – human perspective, or non-human center dimension, what is the positive role of ecology in this field? How to carry out civic open governance? How far will science lead us? This will be the challenging journey full of uncertainty. With the development of society and economy and the rise of cities, consumption activities in densely populated areas have led to alienation and unfamiliarity with nature. How can we care for ecology from urban living?
Today, we choose to get close to nature, re-understand the history and the present of the land, and explore spatial scenes and regional emotions through the reconnection of people and the environment; reading the topographical writings written by writers, once again opening a different dimension of life vision. The contemporary interpretation of the ancient’s “harmony between man and nature” adds some imaginary space to the contemporary ethical concept of harmonious coexistence between man and nature. When greenery enters the house, integrates into the daily life and serves as a bridge for sustainable life, how can we use our existing life experience to re-understand the people and land in our hometown, and look back at the current nature and human life texture from the future.
SUAVEART from Taiwan and Jatiwangi Art Factory from Indonesia are going to build a space of about 300 square meters in Majalengka, West Java, which will serve as a cultural exchange center between Taiwan and Indonesia, providing the dynamic platform for cultural researchers and global citizen. Combined with Taiwanese architect design, the construction method is taken from the local with bamboo, wood and brick as the main materials. It is closely connected with the local cultural community while responding to the current low-carbon emissions. The construction process will be unveiled simultaneously at Indonesia and Documenta 15 Kassel, Germany in 2022.
How HO (TW), Anchi Lin [Ciwas Tahos] (TW), Hsin-Chieh Hung (TW), Kay Hung & Orbit Lin (TW), TFRI Shu-Hui Wu & Tzu-Fen Lin (TW), Chih-Hua Huang (TW), Yi-Pin Huang (TW), Bagus Pandega ＆ Kei Imazu (INDO/JP), Celyn Bricker (UK), Aliansyah Caniago (INDO), Sharo Liang (TW), Ke-Ting Chen (TW), Wei-Chieh Huang (TW)
Context: Lee Yipei (TW)
Poster design: Yi-Shien Yang (TW)
Publication Design: Ya-Chun Xie, Yi-Shien Yang (TW)
Co-organization: Jatiwangi art Factory, Taimei Educational Foundation, K.A.T (Kio-A-Thau) Bywood, CLUSTER & Associates, Jui-Mao Huang + TamKang Architecture USR
Consultant: Taipei Botanical Garden, HAkA
Sponsor: RSI Group, National Culture and Arts Foundation (NCAF), LION PENCIL CO., LTD, Pinglin District Office, New Taipei City, Hsin-Tung Chinese Medicine Clinic
Special Thanks: Elisa Chiu, Hope Dong, Hong-Sheng Fang (Bilung), Pei-Yu Lin, Sheng-Kai Sky TSENG, Chian-Hong Liu, Taiwan Nature Education, Divooe Zein Architects, the Collectors Co-space, Dr. Cecilia Koo Botanic Conservation Center (KBCC), Lotos,
*Research in the long-term forest dynamics plot within the uplifted karst forest of Kenting, Taiwan, is overseen and conducted by the Taiwan Forestry Research Institute (Council of Agricultural, Executive Yuan), Professor I-Fang Sun and Professor Yu-Yun Chen of National Donghua University, and Professor Yi-Ching Lin of Donghai University.
藝術家: 何灝 (台灣)、林安琪 (台灣)、洪信介 (台灣)、洪琪 & 林家豪 (台灣)、行政院農業委員會林業試驗所伍淑惠 & 林資芬 (台灣)、黃志華 (台灣)、黃宜品 (台灣)、巴格斯‧潘得佳 & 今津景 (印尼/日本)、凱林‧布里克 (英國)、阿里安山‧卡尼亞哥 (印尼)、梁棨筑 (台灣)、陳科廷 (台灣)、黃偉茜 (台灣)
文字: 李依佩 (台灣)
海報設計: 楊一賢 (台灣)
出版品設計: 謝雅淳、楊一賢 (台灣)
協辦單位: 賈蒂旺宜藝術工廠、泰美教育基金會、橋仔頭藝術村白屋、張立群建築師事務所、黃瑞茂 + 淡江建築 USR
贊助單位: 信源企業股份有限公司、財團法人國家文化藝術基金會 (國藝會)、雄獅鉛筆廠股份有限公司、新北市坪林區公所、新桐中醫診所
特別感謝: Elisa Chiu、Hope Dong、方宏聲 (雲豹)、林佩瑜、曾聖凱、劉千鴻、台灣自然教育、自然洋行建築事務所、採集人共作室、辜嚴倬雲植物保種中心、樂土
More info about WAGIWAGI: click here