軸梭延承出的---棉花研究計畫 番外篇 | 康雅筑駐村成果展

In the prevention of COVID-19, please do wear masks when entering the exhibition hall. Those who fail to wear masks in accordance with the regulations and do not listen after persuasion will be fined NT$3,000 to NT$15,000 by the local government in accordance with the provisions of Article 37, Paragraph 1, Subparagraph 6, of the Infectious Disease Prevention Law.

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▍展覽論述 Exhibition Text

藝術家創造了連結港塢與紡織工業中使用的線軸與船梭，透過軟性的纖維來串連鋼鐵、石化與軍政鏈結，述說關於產業、貿易與環境交織出的多維向度。

展覽由紡織縫紉過程中的線軸與織梭展開，線軸作為纏繞線材的柱狀物，有以木、紙與塑料製成；船梭則作為工具用以保護紗線不被鉤纏，並得以攜帶緯線軸穿梭在織機的經線之間，有著不同的結構與型式。紡織的發展除了仰賴工具技術的發明，亦是地理、氣候與人文進程的變遷，織物的發展既有冒險與傳說，也有透過工業間諜所導致跨地域與跨文化的交流。此計畫透過線軸與船梭來延展出地景與文化殖民的討論，不僅回溯產業發展與貿易流動，亦反映臺灣在發展過程中環境變遷與政治狀態，以纖維作為媒介演繹複雜的生命、活動與的全球視野。

基於駐地駁二藝術特區三個月的駐地期間，藝術家通過研究文獻、田調考察和訪談等方式進行創作，高雄作為臺灣的工業都市，從日治時期、戰後基礎建設發展鋼鐵、拆船、造船、石化等重工業到現今，鹽埕區成為連結國際港口與商業貿易的場域，在此展覽中，鹽作為將物產、政策、生態等議題捲紗絡筒（註一）的介質。「軸梭延承出的」是棉花研究計畫系列篇章中的番外篇，指涉那關於無邊無際的海洋地景、文化殖民的延展，以及自然生態的永續，從石化工業延伸到未來織品，從人造纖維到細菌與酵母菌的共生皮革，藝術家企圖擴展思考事物與解讀世界的方式，以繪畫、影像、紡織與雕塑等複合媒材空間裝置方式呈現展出。

全系列共五個篇章皆透過被視為一種世界性語言的紡織品，來展開它所涉及的全球材料工業發展，與潛藏在社會與資本主義背後的連結系，而這些系超越時空間，試圖擴展我們對歷史、當下與未來的想像，體現與週遭的世界產生對話。

註一：捲紗絡筒是指紡織工程中將毛棉紗線繞在椎體、柱狀線軸或緯紗管上成為紗線捲的技術。

The artist creates the relationship with the bobbins and the shuttles that are used in the port and weaving industry. She connects steel, petrochemicals and military affairs through soft fabrics, and the works describes the multidimensional dimensions of industry, trade and environment.

The exhibition extends from the threads, bobbins and weaving shuttles that are used as tools in the textile industry. The bobbins are used as pillars, made by wood, paper and plastic for winding the yarn on. The shuttles are a tool made with different styles and function to protect the fine yarn from snagging and carry the weft as it passes over and under the warp across the loom. The progress of textiles not only depends on the invention of the tool technology, but also on the evolution of geography, climate and human development. The development of textiles is a tale of legend and adventure, industrial espionage and exchanges between region and culture. This project furthers the discussion of landscape and cultural colonization through the bobbins and shuttles. The work not only traces the history of industrial growth and trade, but also reflects on Taiwanese environmental changes and political climate within its developmental timeline. The art itself uses fiber as a medium to interpret the complexities of life, activities and global visions.

During her three-month stay in the Pier-2 Culture Residency in Kaohsiung, the artist conducted research through literature, field work and interviews to created this body of work. Kaohsiung is an industrial city in Taiwan. It went through the Japanese occupational period, infrastructural development from heavy industries such as steel, shipbreaking, shipbuilding and petrochemical industry after WW2 until now. The Yan-cheng district connects the international ports and commercial trade. The exhibition uses salt as a medium to wind (Note 1) the products, policies, ecology, etc and to become the yarn rolls. “Extending From The Bobbins And Shuttles” is the side chapter of her Cotton Research Project, which examines the notion of the endless ocean scape, the extension of cultural colonization, and the sustainability of ecological environment. Attempting to expand our way of thinking and interpreting the world, the artist integrates the materials from the petrochemical industry to future textiles, from artificial fibers to scoby (symbiotic culture of bacteria and yeast) leather, and creates multimedia installations through painting, videos, textiles and sculptures.

There are five chapters of the series of Cotton Research Project. All unfold the development of the global materials industry to connects the hidden links behind society and capitalism by using textiles which are regarded as a worldwide language. These links transcend time and space, and try to expand our imagination of history, present and future. In order to embody a fresh dialogue with the world around us.

Note 1: Winding refers to the technology of winding the yarns and threads on a tube, pole, cone or bobbin during the weaving process.

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▍藝術家簡介 About Artist

康雅筑 Ya-Chu Kang (台灣 Taiwan)

專職藝術創作者，透過藝術實踐來質疑人與自然環境的關係，以紡織文化史和當代社會行為表象為基礎，探討技藝與勞動、生活與遷徙等社會課題，以及物產經貿與資本社會之間的關係。旅行潛移默化影響了她所認知的世界，藉由創作反映對邊界、生命及過程的想法，以繪畫、影像、紡織與雕塑等複合媒材空間裝置方式呈現展出，也試圖在每項計畫探索自我意識與永續發展的可能性。著有《織物地圖1、2、3》，亦參與藝術教育和社區合作項目。

　　

Ya-Chu Kang is a multidisciplinary artist working with various media. Her practice focuses on questioning the circumstances of the relationship　between human, natural and social issues. Kang conducts her art and research base on textile cultural history and contemporary social　behavioral appearance. She discusses the relationship between workmanship skill and physical labor, life condition and migration possibility, economy trade, and social structure. How does the modernity today influence tradition, economy systemic, and natural environment? Her travel and residency experience has implicitly shaped her perception. The themes often reflect on the boundary, life, and process. This allows her to explore the possibilities of self-awareness and sustainability states within each project. She has been participated with various community projects and art education, had published the books called “Textile Map – 1, 2 and 3”. She is currently researching textile culture in many locations and countries.

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