For Curator Yipei LEE, she has been spending years of times to explore the concrete and intangible context of the islands which is relatively regarded as the concept opposite to continental. Nature is the truth, however what make her more interesting is encountering people around the world, trying to observe and analyze the mindset behind the behaviour. The nerves of the brain and the unconscious thoughts are composed of a series of trajectories, sometimes unnoticeable even to the human beings involved. Therefore, she began to collect and interact with the opinions of people from island countries and the thoughts of people living in continental countries. As a role of reproduction, translation, and interpretation, she tries to gradually transform language, words, and ideas into visualized or reproduced texts that continue to collide next journeys. Here are several format of output, some are from different contributors, some are generated by free writing workshops, some are responded by collaborative artists. During the dialogues between Yipei Lee and others, the relationship has dynamic degradation and reconstruction; Disconnect to RECONNECT; It's recognized by difference; You live there, We write here; go with the flow; Hybrid; Keywords etc are revealed but not limited to the languages we select. The similarity and insularity is accompanied by continuous animation of life. What remains after the embodiment towards the condense of beauty, a kind of alternative philosophy and methodology, where the free of factoids. We know something about - we know it has been flavored a certain way. Thus, starting from the certain points, the mindsets are sublimated towards flows.
對於策展人李依佩來說，她多年來一直在探索島嶼這個相對於被視為與大陸相反概念的具體和無形的脈絡。自然是真理，然而讓她感到更有趣的是在世界各地相遇的人，並試圖觀察和分析行為背後的狀態。
大腦神經和無意識思想是由一連串的軌跡組成的，有時甚至連當事人都察覺不到。因而，她開始收集來自島國人們的觀點和大陸國家的想法，並與之互動。作為複製、轉譯和詮釋的角色，她試圖將語言、文字和思想逐步成為可視化的視覺和文本，在下一段旅程中繼續碰撞。
這當中有數種形式存在，有些來自細着藝術貢獻者，有些是由自由書寫工作坊生成的，有些是由協作藝術家回應，等等。在與李依佩對話過程中，關係發生了動態化的溶解和重構；斷開到重新連接；它是被差異所認可；你住在那裡，我們寫在這裡；順其自然；混合性；關鍵字等被揭示了出來，但不限於我們選擇的語言。
相似性和孤立性伴隨著生命的連續動畫。沈浸之後化身為美的凝結，一種另類的哲學和方法論，這裡沒有陳詞濫調，是屬於事實的自由。我們對此有所瞭解 – 我們知道它以某種方式被調味。於是，從某些點開始，心態和思維昇華到了我們的心流。
What is the island for you?
What form of communication between islands?
How would you interpret the conceptual system behind this form?
你認為島嶼是什麼？
島嶼間應該透過什麼形式溝通？
你會如何解讀這個形式的背後概念系統？
From Labor
to Ritualistic Repetition
從勞動到儀式性重複
Sharo Chi-Chu Liang
梁棨筑
The island is a geographical concept that does not distinguish between national boundaries, and in the context of history, it is a staging ground for drifters. Under political manipulation, it is an excellent strategic location for guerrilla warfare, but for a government with a central concept, the island is also a powder magazine loaded with ethnic and cultural fires.
In the collective imagination, the island is seen in tourism advertisements as a rich cultural landscape sheltered by tropical rainforests and oceans. If asked to anthropologists, they might see the routes of past maritime trade, and if given to geographers, they might explain the shaping of undersea volcanoes. Although a discussion on the political and social levels would produce a very rich discourse, for me the original concept of an island is a piece of land surrounded by the sea. It is a piece of land cut by the sea, seemingly isolated but on the contrary creating a very complex and alternative way of communication with other areas.
I think that the film “Naked Island” reflects the concept of the island very well. Produced by Kaneto Shindo, this black-and-white film without dialogue captures a family living on a small island close to Japan. The film does not have a lot of emotion, but keeps capturing their hard and repetitive day-to-day labor as they row to the neighboring town to bring water to irrigate their crops because there is no water. The poetic nature of the picture strongly projects the geographical characteristics of the island, and what I saw was that the director did not emphasize people in this film, but rather used people in the process of labor to reflect the basic concept of “island”. There is no mystery, no emphasis on cultural specificity, just the ritualistic repetition of watering and irrigation and the daily life of the family.
島嶼是不分國家邊界的地理概念，在歷史的脈絡下，它是漂離者的集散地。在政治的操作之下，他是一個極好打游擊戰的戰略位置，但對擁有中心概念的政府而言，島嶼同時也是裝載著種族和文化的火苗的火藥庫。
在集體的想像下，從觀光推銷的廣告上可以看到，島嶼是受到熱帶雨林和海洋庇護而富饒的文化景觀區。如果把這個問題去問人類學者，他們可能會看到過去海洋貿易的路線，如果拿給地理學家，他們可能會解釋海底火山的形塑。雖然從政治以及社會層面上來做討論，會產生十分豐富的論述，但對我而言島嶼最初的概念就是被海環繞的土地。是一塊被海洋切割，看似被孤立但相反的卻創造了與其他地區十分複雜和另類的交流方式。
我覺得《裸之島》這部片十分能夠反映出島嶼的概念。這一部由新藤兼人製作，沒有對白的黑白電影，拍攝一對家庭在一座相近日本的小島上生活。這部電影沒有很多情緒，一直拍攝他們辛苦重複日復一日的勞動，因為沒有水而划船去鄰近的鎮上提水給作物灌溉。它畫面的詩意性，很強烈的投射出「島」的地理特質，讓我看到的是導演在拍這部戲並沒有在強調人反而是用人在勞動的過程中，反映出「島」的基本概念。沒有神秘色彩，沒有強調文化的特殊性，只不過是不斷重複儀式性地澆水灌溉以及一家日常的生活。
Intersection of
Warm and Cold
寒暖流之交會
Cyrene Tsai
蔡欣彤
Migratory birds are flocking across the border, and side by side, the sun is setting. Although there are occasional wind and rain and occasional turbulence, these are the most unique and interesting parts of the island, because change means growth.
If we can talk among the islands, it must be through the ocean. The gentle seawater nurtures everyone unconditionally, and no matter if a son is older or younger, it silently accompanies everyone as they grow up. The cold current is the precursor to the beginning of their cold war, and the warm current is the angry word that brings emotion to the quarrel, but don’t worry, words may seem hurtful, but the meeting of cold and warm currents is the birth of floating, twittering and chattering, the starting point of mutual reconciliation and a symbol of life.
I guess the islanders should not be over 20 years old yet, because the most righteous and rampant age should be this time.
過境的候鳥成群，並肩前行的是一縷縷的落日餘暉。島嶼是鳥兒遊歷世界的歇腳之地，也是他們世世代代傳承記憶的地方，雖然偶有風雨偶有動盪，但這些都是島嶼最獨特有趣的地方，因為有變化才代表著成長。
若島嶼間能說話，一定是透過海洋，溫柔的海水無條件的孕育著大家，不管個兒子大還是個兒子小，都默默地陪伴著每個人長大。寒流是他們冷戰開始的前兆，而暖流是爭吵時帶著情緒的生氣字眼，但千萬別擔心，言語看似會傷人，但有寒暖流的交會，才有浮游的誕生，嘰嘰喳喳的，是彼此和好的起點也是生命的象徵。
我猜島嶼們應該都還沒超過20歲，因為最義無反顧、最橫衝直撞的年齡，應該就是這個時光了。
Meet Environment Ecology
with Humanities
生態環境與人文關懷相遇的那一刻起…
Anchi Iss Ciwas
林安琪
Perhaps it is because the language reveals an invisible view of the world that I am slowly coming back to how people used to see everything around me.
If we look at the word “island” from the Atayal language, we will find that there is no such word in the language, and even when describing “sea”, we use the word bsilung to mean a big pond. This is what I have been imagining about the island, the place outside of the world.
For example, the construction of boats, tools and buildings, when we understand how each island uses specific materials and time to make them, we can outline the development of the environment, ecology and humanities of the island.
自從開始學習族語後，我對於許多事物的觀看開始有了轉變，或許是語言透露出無形的世界觀，讓我開始慢慢回到以前的人是如何看待周招的一切。
如果說從泰雅族語去看「島嶼」這個字時，會發現族語裡沒有這個字，甚至在形容「海」的時候是使用bsilung有著大池塘的意思，所以在形容島嶼時會以形容的方式來說明，最靠近島嶼的直接形容是「在大池塘中間的土地」，但在大池塘外面又是什麼呢？這也形成我對「島嶼」目前一直的想像，那個化外之地。
島嶼間可以透過各自的生活經驗，所發展出來的知識體系作為互相交換的溝通形式，比如說：船隻建構、工具與建築的建構，當我們理解各島嶼如何選用特定材料及特定時間製作時，並可以勾勒出島嶼的環境、生態和人文的發展。
More diversity, more freedom
更加多樣性、更加自由
Sophie
Islands on edge have a natural post-human inner core. They are lively and creative beings because of their flexibility, ambiguity, relaxation, and queer diversity. Free islanders do not want to expand their territories and colonize space, nor go to other islands to conduct nuclear tests. Groups of islands are interconnected, yet each maintains a relationship of tolerance and independence. The islands are not easily assimilated and do not have a narrow view of the world. The islands have a way of life that is very different from the normative order of the land.
My first impression of the islands came from “The Mirror and the Flower,” in which Tang Ao, a scribe, traveled to the islands of Junzi, Immortal, Daughter, and Baiminguo, some of which have a matriarchal society. The inhabitants of the islands have very different physical structures and appearances. Some are closer to wild animals and speak the language of birds. The people and animals are friendly to each other. They have not been eroded by religion or capitalism. They maintain their precious animal nature, which is closer to nature.
位於邊緣地帶的島嶼有著天然的後人類內核，由於它靈活、模糊、鬆弛、酷兒的多元性，島嶼是活潑且有創造力的存在。自由的島民不想去向外擴張領土並殖民太空，也不會到別的島嶼上做核試驗。群島則互相連結卻又各自保持包容與獨立的關係。島嶼不容易被同化，更不具有狹隘的天下觀念。島上流行著與陸地的規範性秩序截然不同的生活方式。
我對島嶼的最初印象來自《鏡花緣》，文士唐敖游歷了君子國、不死國、女兒國、白民國等島嶼，有些島嶼流行母系社會、島嶼上的居民的身體構造與外貌長相迥異。有些與野獸更為親近，也通曉鳥類的語言。人與人與獸之間都禮貌友好持有原則，沒有受到宗教以及資本主義的侵蝕，保持與自然更為接近的珍貴的動物性。
It Seems Connected but Independent
似有關聯卻又獨立
Tammy Hsieh
Islands are a state of being, each independent, yet interdependent. Each island has its own characteristics, and no island is the same as another, at least those that haven’t been fully exploited by capitalism. An island can appear to form a closed system, but it can also be vulnerable to external influences that can upset the balance of the system.
There are various kinds of communication between islands: the neighboring islands are crossed by each other’s boats; to talk to the distant islands, one has to follow the guidance of the stars, sail with the currents, and follow the movement of the monsoon. The subjects of communication are not only people, but also goods, plants, animals, languages and images.
I think the concept of an archipelago may become more extensive, each person is no longer an inseparable existence on a piece of land, but an independent and autonomous island. But the islands can accompany and connect with each other, forming different shapes each time, just like when we look up at the starry sky, the stars can be connected into countless patterns.
島嶼間的溝通各式各樣：鄰近的群島，彼此船隻往來交錯；要跟遠方的島嶼對話，那就追尋著星星的指引，順著洋流航行，跟著季風的移動。溝通的主體不只是人，還有貨物、植物、動物、語言跟圖像。
我想群島的概念也許會變得更為廣泛，每個人不再是一片土地上密不可分的存在，而是各自形成一座座獨立自主的島嶼。但島與島之間能夠彼此陪伴、串連，每次形成不同的形狀，如同我們仰望星空，滿天星點可以連線成無數的圖樣。
Mysterious Backcountry
神秘後花園
Chia En Chen
陳加恩
The islands, with a small land area and less population, are surrounded by the sea. Because they are not connected to the mainland for a long time, preserving the natural culture and scenery is easier. The communication between the islands is more straightforward, as they use boats to exchange goods and materials. However, there are also highly developed islands where the inhabitants are wealthy, probably because of the geographical location, climate, natural ecology, and other factors. There are natural treasures to attract investors or self-sufficiency, making their islands quite rich. Because of this, they do not need to rely on outer help and close communication with the other world.
Island is mysterious to me. If someone is developing there, it may be a good place for vacation. If it is an uninhabited island, it becomes a movie scene of people’s imagination of “Backcountry” or a test of friendship. “If you can only find a friend to go to a desert island with you, who will you choose?” It is likely to be two extreme situations.
島嶼，土地面積小，人口少，四面環海，因為長期與大陸不相接，因此較容易保有自然文化和風景。島嶼間的溝通，若是物資的往來，就用船隻，有點以物易物的意思，比較純樸。但也會有高度發展的島國，居民都是有錢人，可能因為地理位置、氣候、自然生態等因素，有天然的寶藏吸引投資客或可自給自足，使得他們島國相當富有，也可能因為這樣不需靠外界的幫助，而不需去跟外界有太多溝通與聯繫。
島嶼，對我有種神秘感，若有人在那裏發展，可能是個度假的好地方，若是無人島，就成為人們想像中「絕境求生」的電影場景，或是考驗友誼的題目「若只能找一個朋友跟你去荒島，你會選誰?」，很有可能是兩種極端情況。
Wei Ting Xu
徐維廷
I think the island exists independently of the mainland. It is lonely and full of life. It is formed by the hand of nature and accumulated over the years. They carry all kinds of history, people, stories, and beliefs. An island can be large or small, and its population can be large or small. It can appear on the world map or be ignored. People come and go, indigenous people, foreigners, and some choose to stay and become islanders. Others rest and move on to their next destination.
The people within the island form the island. And the communication between the islands is through stories. Whether it is through words, spoken language, collective subconscious, or history. The stories between the islands are passed down. It’s a natural system because, in the end, all islands are connected to Mother Earth and are part of the land.
我認為島嶼是獨立於大陸的存在。孤單又充滿生氣。經過大自然之手，長年累積而形成。 承載著各種歷史、人文、故事與信仰。 島嶼的面積可大可小，人口可多可少。可出現在世界地圖上也可以被無視。人來人往，有原住民，有外來者，也有人選擇住下留下成為島民。也有人休息後走向下一個目的地。
島內的人形成這個島。 而島之間的溝通就是透過故事。無論是文字、口語、集體潛意識、歷史。島之間的故事會被流傳下去。這是一個自然的系統，因為終究，所有的島，都與大地之母相連，都是這片土地的一份子。 目前想到這些。如果不夠清楚可以再討論。
Argus
The artland is not utopian or conceptual piece. A small society could build it up as a new way of living. The artland is the space where any kind of fine and visual art feeding every single member of society to appreciate the aesthetic, its ideas and the context of works of art; from traditional painting to VR installation as public art, including NFTs for those digital-based creativity. The rule of life granted by the convention and consensus that contemporary art is the primary consciousness from society. Then, the world seeing our culture as the complete living for human being and the nature. No other important things than accommodating ideas of art for living and civilizing new society.
The form of communication using global culture that accepting any divers languages from different background, which everybody can learn, trying, produce and interprets for new meaning. Every island has its own brand who constructed by the knowledge, sciences, art experiences and well designed. That kind of brand’s island made by a collaboration of the architects, designers, artists, musician, scientists and all kind of arts practice living together for their island.
I can say that the artland can runs by the time with an ideal ecosystem which syncronizing by well-managing the pentahelix (involves all stake-holders). The ideal living for civilized society in a specific island should be not allowing corruption. By mean that the society allows to select the member of society who can live in the island. The individual who has its own specialization with his/her profession. This kind of artland would be supplying the need of art and arts for other islands which consist of people who living with rush hour (money living), but could not efford to appreciate any kind of art, lowest cultural state. By hoping they can change their culture for good as human being in the earth.
藝術島不是烏托邦或概念性作品。一個小社會可以把它作為一種新的生活方式來建立。藝術島是一個空間，任何種類的美術和視覺藝術都可以讓社會的每一個成員欣賞到藝術作品的美學、思想和背景；從傳統的繪畫到作為公共藝術的VR裝置，包括那些基於數位的創意 NFTs。當代藝術是社會的主要意識，這是由召集和共識授予的生活規則。世界將我們的文化視為人類和自然的完整生活。沒有其他重要的事情，只有為生活和文明的新社會容納藝術的想法。
使用全球文化的交流形式，接受來自不同背景的各種語言，每個人都可以學習、嘗試、生產和解釋新的意義。每個島嶼都有自己的形象，它是由知識、科學、藝術經驗和精心設計構建的。這種島嶼是由建築師、設計師、藝術家、音樂家、科學家和所有的藝術實踐者為他們的島嶼共同合作完成的。
我可以說，藝術島可以在一個理想的生態系統中運行，這個生態系統通過良好的管理五螺旋（涉及所有利益相關者）而同步。在特殊的島嶼上，文明社會的理想生活應該是不允許腐敗。也就是說，社會允許選擇可以在島上生活的社會成員。個人有自己的專業，有自己的職業。這種島將滿足其他島嶼對於藝術的需求，這些島嶼上的人們生活在繁忙的時間裡（金錢生活），但不能努力欣賞任何類型的藝術，最低的文化狀態。希望他們能夠改變自己的文化，成為地球上的人類。
細着藝術 SUAVEART 