溝仔尾群像 Kau-á-bué Faces

in 花蓮城市空間藝術節，2020

How can photographic works become a public art?

Not only just by exhibiting in public spaces.
I think it’s about how people living in the city and more importantly about their collective memory.

In 2020, I visited Kau-á-bué, Hualien to do site-specific artworks as an artist-in-resident for 4 months.
I read literary works such as Rose, Rose, I Love You by Wang Chen-Ho
And visit the actual places that have appeared many times in literary and drama works,
which the local residents called it "the big old ditch"

Then I took portraits of local seniors, young people, and housewives there.
While collecting the rich historical memory of Kau-á-bué,
I gradually constructed a city with hidden memories and emotions.
This project combines engagement, documentation, and public space interventions.

Italo Calvino’s Invisible Cities said that in a new era, people cannot find the liberation and freedom that they expect.
At the most unexpected moment, memory reveals the image of another city…
Everyone begins to think of the old times and is ushered back to the old times.

I hope Kau-á-bué Faces can create this magic moment for people.

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攝影作品如何能成為公共藝術？
除了在公共空間展出，我想是關於在城市內生活的人們，他們的公共/集體記憶（Public Memory）

這件作品誕生於2020年4到8月間，來到花蓮溝仔尾駐地創作
為在地耆老、地方店家、年輕人、主婦們拍攝肖像
並走訪那條曾多次於文學與戲劇作品中出現，當地居民口中「曾經的大水溝」

蒐集他們的記憶同時，消逝景色與事物就如卡爾維諾的城市預言在迎來新時代後
人們找不到期待的解放與自由。於是在在最預料不到的時刻
看見眼前出現一條裂縫，顯露另外一個城市
大家想起了舊時代，並慢慢迎回舊時代

溝仔尾群像計劃在攝影的直觀性之外
蒐集與人們的每次相遇
逐漸建構出一條記憶裂縫、一座情感中的隱匿城市


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曾經的大水溝 劉冠妏用影像建構居民口中隱匿城市

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策展人 / 耿一偉、楊元慶

協力 / 島紀、城市空間藝術節團隊、花蓮文創園區行政組