關於「綠野仙蹤」的故事，想必你已耳熟能詳：小女孩桃樂絲跟著房子被龍捲風吹到了奧茲王國，為了重返人間，她一面展開旅程，一面提防壞巫婆的姊姊報復。一路上她結識了想要有腦子的稻草人、想要有顆心的機械人、以及想要有勇氣的獅子為伴，當他們突破萬難、達成任務的那一刻，才發現自己都不缺少想要的東西。而桃樂絲一覺醒來，也發現自己已經回到思念的家鄉了。這童話故事是許多人的共同記憶之一，關於「尋找回家的路」的意涵已經先行指出許多觀眾對於家鄉的憂慮與期望，並在其後不久的歲月裡實現。「桃樂絲情結」成為形容思鄉心切的指涉，也成為既無辜又勇敢的象徵。
北藝大的鷺鷥草原因水牛白露共生而得名，地處大屯山西坡延伸地帶，山坡徐緩、群樹環繞、蟲鳴鳥叫綠意盎然，視野寬闊、遠眺可鳥瞰關渡平原，擁有極佳的自然生態。本計畫秉持綠色的環保概念，希望以自然媒材作為裝置藝術的創作材料，透過國內外藝術家的創作發響，讓觀眾在欣賞環境裝置之餘，也能傳達出關於本案故事性的教育意涵，以發人省思。環境裝置藝術將可以展現出的民眾直接參與感以及互動性，讓藝術成為觸媒，促發在地自然人文特質和當代藝術創作的對話，讓藝術的介入融入在地，讓藝術家的創作活動具備社區價值，透過與在地居民、團體的溝通與對話，讓社區居民從實際參與過程去體驗藝術，進而重新認識這片廣大的生活土地、創意園區，生活在充滿想像力的綠野仙蹤之內。
身處在鷺鷥草原的這片含藏藝術奇想與自然氛圍的園地裡，藝術家將邀請民眾，以身體的參與、行動，走進藝術的園地，展開有如桃樂絲的勇氣一般，探索一件件環境裝置藝術背後的故事點滴。
再塑地景意象
談到「地景藝術」(Land Art)，或作「大地作品」(Earth works) 或是「大地藝術」 (Earth Art)，它是從環境藝術 (Environments Art) 演進而來的。雖然強調藝術創作和大自然的結合，並不意味著用藝術作品把自然改觀，而是將藝術家介入自然的角色謙卑化，創作過程在不失大自然原貌下，讓人們重新注意大自然，喚起對自然環境的省視觀點。以大自然為創作舞臺，作品也許只是短暫存在，但它所追求的純粹藝術，人與自然的和諧，拒絕商業的宰制，有其相當深沈的哲學。例如「漂流木藝術」，透過藝術行動回歸自然環境，成為園區的公共藝術，自然環境裡的地景意象、人文標地。本案將以自然界的木、竹、石、沙子等材料為主要創作材料，或富涵自然質感的科技材質，或觀念上的介入等，以鷺鷥草原週邊自然環境與公共空間做為展覽空間，讓作品與單純卻又具有特色的大自然地景及公共空間元素做對話。
藝術家團隊的創作路徑與駐地體驗
展出藝術家團隊將具備社會行動者的多重身分，展現藝術家行動力的熱忱，透過共同的聚會活動安排，除了現場裝置創作，將安排集體參訪在地自然歷史、生態環境以及舉辦相關座談會，體驗在地生活，最後透過藝術行動者的角色，以作品涵蓋解決問題的提案，開啟社區參與以及公共討論的活動，最後並把所有的創作過程紀錄呈現在一個藝術脈絡中，集結成記錄的文件書冊。 在創作的形式上，有的藝術家將創作置身自然場域內，有的藝術家在自然環境裡延伸個人內在空間，進行內省思考；有的彷彿回到遠古的自然神秘崇拜；或有的展現浪漫情懷，揚棄英雄式的身分，將創作還原給自然的美感特性，但大都側重作品整體的自然性與環境的關係，當代藝術所重視的互動性也將展現在所完成的作品裡，當民眾走入藝術作品內，將感受空間性作品所傳達、召喚出觀者移動時身體感知的另類藝術語彙。再者，以自然為媒材、環保再利用作為創作的精神，充分彰顯對資源的尊重。「12組藝術家團隊將在關渡鷺鷥草原，以行動力展開一個充滿想像世界的藝術事件」。
這行動包含研究、溝通、遊說、合作、展覽、對話，以跨領域的對話形構出藝術創作與常民生活的交集地 。
The Wizard of Oz is a story familiar to all. A little girl, Dorothy, along with her house, is blown to the Land of Oz by a tornado. To return home, she embarks on a journey. In the meantime, she tries to shun the retaliation of the Wicked Witch of the West. On her way home, Dorothy meets a Scarecrow, a Tin Man, and a Cowardly Lion, who join her journey as they continue their respective searches for brain, heart, and courage. When they finally fulfill their mission after overcoming a multitude of difficulties, they realize that they no longer lack the thing they set out to search in the first place. Next, as Dorothy wakes up from her sleep, she finds herself already in her home sweet home. This fairy tale is a memory shared by many. Its concern with “the way home” points out many readers’ anxiety and expectation about home, which will be fulfilled in the near future. “Dorothy complex” then becomes synonymous with homesickness and symbolic of innocence and courage.
The Aigrette Down in Taipei National University of the Arts receives this name because of the aigrettes living on it, along with the buffalos. Located in the west extension of Da-tuen Mountain, it is surrounded by gentle slopes and leafy trees. Bird chirps and insect cries are heard more than frequently there. It affords a panoramic view which reaches as far as the Guan-du plain and boasts of an excellent ecological environment. This project centers on the environmentalist concept of going green. It is aimed at inspiring viewers with its narrative and educative significance as viewers go around and visit the various installations in the environment. These works are created by international and local artists, using natural elements. Installation art can directly involve and interact with people. Through this, art becomes a catalyst to stimulate the dialogue between local culture/nature and contemporary art. Intervening art is integrated into the local environment so that artists’ creative activities start to hold value for the local community. Communication and dialogue with local citizens and groups brings them to experience art through actual participation. They then move on to re-discover the land on which they live, the parkland in which they create. In this imaginative wonderland of Oz, they live their lives.
Creating in the Aigrette Down, a land teeming with artistic whims and natural auras, the artists will invite people to move their bodies, walk in, and participate in this land of art. They will embark on their own magic journeys, with courage like that of Dorothy, to explore the stories behind each piece of installation art.
Re-creating Land Art
Land Art, Earth works, or Earth Art develops from Environments Art. It stresses the integration of artistic creation and nature instead of reshaping nature with artworks. Artists humble themselves as they intervene in nature. The creative process does not alter nature but direct people’s attention to it in order to evoke reflective thought on the natural environment. The natural world is a stage for creation. Artworks may exist temporarily, but the pure art pursued by them embodies profound philosophy with its emphasis on harmony between mankind and nature and its resistance to business materialism. “Driftwood art,” for instance, seeks to return to the natural environment with artistic activities and becomes the parkland’s public art, natural land imagery, and cultural landmark. This project uses natural elements such as wood, bamboo, rock, and sand as the main materials for creation. Technical materials and concepts rich in natural qualities are also used. Artworks are exhibited in the natural environment and public space around the Aigrette Down. They engage in a simple but unique dialogue with the natural landscape and elements of public space.
Creative Processes and Local Experiences of Artist Groups
Artist groups demonstrate their multiple identities as artists and social activists with their enthusiasm and activism. They arrange collective gatherings and activities. In addition to creating installations on the spot, they learn about the local natural history, visit the local ecological environment, and organize relevant seminars and workshops. They experience local life. Finally, they propose solutions to the problems they see as art activists to initiate community participation and public discussion. In the end, all of the creative processes are recorded and contextualized to produce a document.
In terms of the forms with which artists create, some situate their artworks in nature. Some reflect on themselves by extending their personal and internal space to the natural environment. Some travel far back to the ancient times to pursue the mysterious worship for nature. Still some display their romantic sentiments, giving up their statuses as heroes and returning the act of creating to simple natural aesthetics. Nevertheless, the majority of them stress the holistic natural quality of artworks and their relations with nature. Interaction, a main concern of contemporary art, can also be found in all of the works. As people walk into the land and move about these works, they will feel the alternative art vocabulary conveyed by spatial artworks through their different senses. Moreover, the creative spirit of employing nature as a medium and recycling manifests fully the respect for resources. “12 artist groups will launch an imaginative art event in Aigrette Down, Guan-du, with their activism.”
This event includes research, communication, lobbying, cooperation, exhibition, and dialogue. It enables cross-over dialogues to structure the conversion of artistic creation and everyday life.
