2022  台灣應材X新竹市美術館「策展人培力計畫」入選
Applied Material Taiwan X Hsinchu City Art Gallery  CURATOR’S  INCUBATOR PROGRAM

參與團隊：風的孩子  Children Flying in the Wind

(UMYK/林信志/梁筠竺)

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策展議題為「生存信仰X後疫情時代」，聚焦於近年人類在疫情肆虐之下改變了生存樣態，同時疫情也影響到全球各產業發展，藝術產業在此脈絡下生產結構發生了變化，各種不同的生存形式也在此時展開，生而為人又該如何詮釋並自處於後疫情時代。(摘自新竹文化局官網)
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ISSUE

繼20年前SARS、10年前MERS之後，全球再次面臨病毒的重挫，以為它向我們宣示主權，在我們身體植入數種異物質，呼吸困難、嗅味覺異常、發燒腹瀉等常見症狀，其中讓生命顯得脆弱無常的是防備、不安、挑撥、恐懼、畏縮與疏離等負面情緒。數位化時代早已既定「人與人之間的物理距離被拉開了」事實，當政府下達各級警戒規範與衛福部強力宣導的同時，更加強化了分開/束制生活而成為「更獨立」的個體，見面「僅」靠視訊或社群軟體，令我們好奇的是，當代溝通成本越來越低，真正的溝通卻不容易？或許我們有了更多對外聯繫的機會，卻也瓜分了關注溝通本質上，內在交流的意義，我們的「心」需要通風！

一陣「風」，能傳遞信息、散播生命的可能，而風也帶著病毒附著在人類身上，發生了一場全球性的大創作。或許得更加誠實，面對自然界物種起起落落、生生不息的狀態，人類要做的不是對未來的掌控，而是此刻對自身的關注，重新打開感官，試著揣摩如小小病毒般視角，乘著風起飛與降落，感受自己同為自然界的一部分。人類從來不是地球的主宰，卻是擁有思想與智慧的物種，知曉自己才有勇氣擁抱未知的未來。

Following the SARS outbreak about20 years agoand MERS 10 years ago, the world is once again facing a severe viral assault, as if it asserts its dominance over us by implanting various substances in ourbodies. Common symptoms include difficulty breathing, altered smell and taste,fever, and diarrhea, highlighting the fragility of life through negativeemotions such as defensiveness, anxiety, provocation, fear, withdrawal, andalienation.  In this digital age, it has become anestablished fact that 'physical distance between people has increased.' Asgovernments enforce various levels of alerts and MOHW strongly promotesguidelines, this reinforces a life of separation and control, leading toindividuals becoming 'more independent,' with face-to-face interaction relying on video calls or social media. We wonder: 'despite the decreasing cost of communication today,  why is genuine communication so challenging?' Perhaps whilewe have more opportunities to connect externally, we have also fragmented theessence of interpersonal communication, losing the significance of internalexchanges—our 'MIND' need ventilation!

'Wind' can carry messages and spread possibilities of life, but it also brings viruses that attach to humans, sparking a global creation. Perhaps we need to be more honest in facing the rise and fall of species in nature; what humans should do is not control the future, but focus on the present, reopen our senses, and try to see from the perspective of a tiny virus, soaring and descending with the wind, feeling ourselves as part of nature. Humans have never been the masters of the Earth, yet we are a species with thought and wisdom, knowing that only through self-awareness can we have the courage to embrace the unknown future.

STRATEGY＆GOAL

面對新竹美術館，我們將打開窗，讓風自在流轉，開啟一場內與外、沈澱與流動、感官與心靈、吸與吐之間的對話交流。

打開美術館三年計劃
PHASE1：靈魂凝聚/新竹美術館(含基地週遭)→為本次策展計劃(2022)
PHASE2：伸出觸角/新竹市。ex城隍廟、鐵道藝術村、241、演藝廳等，城市音景計劃(2023)
PHASE3：脫離母體/館際交流。ex桃園美術館玻璃山丘，風起計劃(2024)

本次展覽期間，透過藝術家創造情境（聲音影像裝置），將舉辦館內、外講座及工作坊活動（起飛吧！演化獸＋收集城市裡的Covid-999病毒小怪獸）。藝術家們與群眾產生共識，再創造後，於展覽尾聲雨水音樂會展出。

Facing the Hsinchu Art Museum, we will open windows to let the windflow freely, initiating a dialogue between the inner and outer, stillness andmovement, senses and soul, inhalation and exhalation.

Three-Year Plan of Opening Art Museum
PHASE 1: Soul Cohesion / Hsinchu Art Museum (including surrounding areas)→ forthis curatorial plan (2022)
PHASE 2: Extending Tentacles / Hsinchu City.
                    Ex: Chenghuang Temple, Railway ArtVillage, 241, Performing Arts Hall, etc., City Soundscape Project (2023)
PHASE 3: Breaking Away from the Mother Body / Inter-museum Exchange.
                    Ex:Taoyuan Art Museum Glass Hill, Wind Rising Project (2024)

During this exhibition period, through artists creating environments(sound and video installations), lectures and workshops will be held inside andoutside the museum (Let's Take Off! Evolution Beasts + Collecting Covid-999Virus Monsters in the City). Artists and the public will reach a consensus, andafter creation, the Rain Music Concert will be showcased at the end of theexhibition.