設置理念

本案設置理念如下：

• 讓作品勾動、釋放空間的生命力
• 讓作品與社區愉悅對談
• 讓作品脱離純粹展示的狀態
• 讓作品與觀者自在互動
• 讓設置過程深化民衆對原住民美學的認識
• 讓設置成果得以展現「原民美學/現代都會空間/文創產業時代」的想像撞擊

• Infuse vitality into the space through artworks
• Facilitate a joyful dialogue between artworks and the community
• Move beyond pure exhibition, allowing artworks to transcend display
• Encourage interactive engagement between artworks and viewers
• Deepen public understanding of indigenous aesthetics through the installation process
• Showcase the collision of “Indigenous Aesthetics,” “Modern Urban Space,” and the “Creative Industry Era” in the final installation.

創作理念

This artwork, created by a female artist named Takelandhane Ki abake , explores the concept of “home” in the Rukai language, which originally means “a place where the soul hangs.” The steel sculpture that symbolizes the home takes on the appearance of a mother’s womb, and its streamlined design transforms the sturdy walls into elegant flowers at an exhibition. The artist uses the image of dewdrops at the tips of the petals, closely tying it to the core concept of “hanging the soul,” and uses this as the central theme for the project’s meaning of “transformation and inheritance.”

作品資訊

作品名稱：心靈懸掛的地方
藝術家：安聖惠

Artwork：A Place Where the Soul Hangs
Artist：An Sheng-hui

創作理念

這組作品來自創作者童年的部落經驗：當部落長者衰老至無法打獵、無法正常出外工作、自覺生命時限已然屆臨之時，就會著上盛裝，將自己的生命經驗與生活技能傳給稚齡兒童（通常是孫子輩的幼童）。
來自原住民部落的傳統智慧，有著與自然萬物更迭相襲的倫理，這樣的法則今日或許在部落理已經無法持續保持連結，但創作者藉著這件作品，希望能將傳統部落長者的智慧與精神，樹立在高雄都會區的一角，讓都市裡的原住民小孩也能像作者小時後一樣，受到某個VuVu（阿公）的智慧傳承與眷顧，在今日生長的環境裡快樂聰明的快樂茁壯。

This set of works is inspired by the creator’s childhood experiences in the tribal community. In the tribal tradition, when the tribal elders reach a point in their lives where they can no longer hunt, work outside, or feel that their time is nearing its end, they dress in their finest attire and pass on their life experiences and skills to the young children, typically their grandchildren.

The traditional wisdom from indigenous tribes has an ethical foundation that is deeply connected to the cycles of nature. While these principles may no longer be sustained within tribal communities today, the creator of this artwork aims to preserve the wisdom and spirit of traditional tribal elders by placing it in a corner of the urban environment in Kaohsiung. This way, indigenous children in the city can, like the creator in their childhood, receive the wisdom and care of a VuVu (grandfather) and grow happily and intelligently in their contemporary surroundings.

作品資訊

作品名稱：傳承
藝術家：尼誕‧達給伐歷

Artwork：inheritance
Artist：Nikan Dahkeparik

創作理念

本件作品意圖表現台灣原住民排灣族傳統的宇宙觀與時空觀。代表宇宙神靈授與人（部落頭目）生存權力的青銅刀由天而降，承接刀間的水泥半球體（表面施以族群生活內容的事件圖案），又與泥土（陶壺，祖靈的居處）的概念同義。此一天與地並接的空間，是人類生存立命的基點。代表人間各種象徵與儀式性言辭的琉璃珠，在作品中畫成蔓延空間得繽紛色彩（彩色晶土琉璃拼貼）。人屬空間中具象的老少傳承，言說的則又是天、地、人之間生成與延續的神祕關係。
本件作品以縱橫交織的圖騰與象徵物；以一個迷你劇場的空間造像，藉由排灣族的傳統信仰與美學元素，展示了新的表現手法藝術論述。

This artwork aims to depict the traditional cosmology and worldview of the Paiwan indigenous people in Taiwan. The bronze knife, representing the cosmic spirits bestowing the power of survival upon humans (tribal leaders), descends from the heavens. It is received by the cement hemisphere, which is adorned with event patterns symbolizing tribal life. This hemisphere is also synonymous with the concept of the earth (pottery vessels, the dwelling of ancestors). This space, where heaven and earth meet, forms the foundation of human existence.

The colorful glass beads, which represent various symbols and ceremonial speech in human society, are depicted in the artwork with a vibrant array of colors (colored crystal clay and glass collage). Within this artwork, the tangible legacy of generations within the spatial context communicates the mysterious relationships that generate and perpetuate between heaven, earth, and humans.

Using interwoven totems and symbols within a miniature theater-like spatial sculpture, this artwork employs traditional Paiwan beliefs and aesthetic elements to showcase a new approach to artistic discourse and expression.

作品資訊

作品名稱：意念
藝術家：雷恩

Artwork：thought
Artist：Ren

創作理念

群組作品為呼應全台灣原住民族群的數目，故設計為十三件分布在設置區域內。作品意涵以「編織」、「承載族群生命記憶的織帶」為出發點，將作品視為留存各族群生命記憶的承載體，形成方式由團隊在設置期間徵得各族群有代表意義之內容，例如：家名、特殊人物之人名、特有圖騰、耆老腳印、特殊意義之影像等，交由創作團隊以金屬浮雕、鏤空、木板浮雕及燒製陶板的方式加入在專屬於該族群街道傢具（椅子）作品內，讓各族群的生命記憶在設置區域內藉由街道傢具的被使用而被分享。

The group of artworks is designed to correspond to the number of indigenous ethnic groups in Taiwan, thus consisting of thirteen pieces distributed within the designated area. The concept behind these artworks is centered on “weaving” and “carrying the tapestry of ethnic life memories.” Each artwork is considered a vessel that preserves the life memories of different indigenous groups.

The formation of these artworks involves the collaboration of a team during the installation period. They gather significant and representative content from each ethnic group, such as family names, names of important individuals, unique symbols, the footprints of elders, meaningful images, and more. These elements are incorporated into the artworks using techniques like metal relief, hollowing, wood panel relief, and ceramic firing. Each piece is integrated into street furniture (chairs) specific to that ethnic group, allowing the life memories of each group to be shared within the installation area through the use of these street furnishings.

作品資訊

作品名稱:生命記憶的編織
藝術家:雷恩

Artwork：Weaving the Memories of Life
Artist：Ren