臺灣博碩士論文加值系統

What can eliciting the motif of the Chinese garden in a contemporary exhibition explore, in terms of a diasporic expression about cultural identification? In my exhibition All the Flowers Have Foreign Names (花都外國名) at Haiton Art Centre (24 June – 1 July 2017), I regard the “Chinese” garden as a motif through which to rethink the definition of Chineseness and what this means to my cultural identity, from the perspective of someone from the Chinese diaspora. In this paper I recount my research around the frameworks of “Chinese” gardens and installation art, through phenomenological interpretations about the landscape and cultural formation processes, in order to understand the artistic language with which I materialise this exploration. This research includes challenging stereotypes of Chinese gardens that homogenise definitions of the Chinese race and values, including the Chinese relationship to “nature”.
These ideas filter into my exhibition All the Flowers Have Foreign Names to express the diasporic experience of ‘placelessness’. Through artistic explorations around wandering, speechlessness, and a construction of cultural identity that ‘recycles in order to build itself’, I create a placeless installation that temporarily places ‘placelessness’.

Contents
Abstract i
Author’s Note ii
Contents iii
List of Figures vi
Chapter 1. Introduction 1
1.1 Artist Background 5
1.2 Garden of the Reclaimed Moon, Germany 9
Chapter 2. The “Authentic Chinese” Garden 16
2.1 Historical Essentialism 19
2.2 How to Search For an Imaginary China 23
2.3 Arguments Against Strategic Essentialism 26
Chapter 3. Shanghai to Suzhou: Estranging Chinese Gardens and the Dao 31
3.1 The Estranging Chinese Garden (Yu Yuan, Shanghai) 32
3.2 Daoism and Wandering in Nature 35
Chapter 4. Placelessness: Minimal Art and Installation 42
4.1 Defining an Installation through Minimal Art 42
4.2 The Intersubjectivities of Fried and Fanon 47
4.3 ‘Intersubjective Installation and Sculpture’ 49
4.4 Diaspora Placelessness vs. the Daoist “Not-Even-Anything Village” 52
Chapter 5. Dwelling in the Garden 55
5.1 “Nature” and the “Chinese” in the Garden 57
5.2 Landscape Is Cultural: Tim Ingold’s “Dwelling Perspective” 60
5.3 The Cultural Landscape of Chinese Dwellings 64
5.3.1 The Building-Dwelling of Daoism 65
5.3.2 Painting and Poetry in the Chinese Garden 66
Chapter 6. Diaspora Dwelling (Towards The Making of an Exhibition) 69
6.1 Artwork: Lost Landscape series 70
6.2 Diaspora Gardens: Organic Definitions of Diaspora 71
6.2.1 Chineseness 74
6.2.2 Tiger Balm Gardens, Singapore 76
6.2.3 Lin Family Garden, New Taipei City, and Li Ang’s Lost Garden 77
Chapter 7. Wandering in New Taipei City 83
7.1 The Mythic Field of Street Gardens and My Grandmother’s Garden 84
7.2 Intersystems: The Paper Flower and Other Plants 86
7.3 Artwork: Circular Root 88
7.4 Indigenised Transplants 89
Chapter 8. Speechlessness of Diaspora 92
8.1 Artwork: Walkie Talkie (After Guan Daosheng) 94
8.2 Artwork: 5000 Hearts (Calli-compost/Grass Style [cursive]/草書) 96
8.3 Artwork: Dumb Plants series 97
8.4 Artwork: Ears 99
8.5 Artwork: Becoming Mynah 101
8.5.1 Reconciling Speechlessness 102
8.5.2 The Placelessness of ‘Art English’ 103
Chapter 9. Building-Dwelling in Recycling and Recontextualisation 104
9.1 Artwork: Whitewash 105
9.1.1 Traces and Rhizomes 106
9.1.2 Surface and Interior 107
9.1.3 Background, Foreground, Horizon 108
9.2 ‘The Changing Same’ 109
9.3 Titling the Exhibition with Artwork: Many flowers have foreign names 110
Chapter 10. Conclusion: All the Flowers Have Foreign Names? 113
Works cited 116

APPENDIX
A Documentation of Exhibition: Figures 1 - 57 124
B Research Illustrations: Figures 58 - 66 165
C Coral Island Art Project: Taiwan x Okinawa. Ikei Island, Okinawa, Japan. Exhibition. June
2016. Curator: Yoshiko Machida. 170
D Tree Tree Tree Person (森人)： Taroko Arts Residency Project.
Dali-Datong, Hualien, Taiwan. Exhibition. July - Sept. 2016.
Curator: Chen Cheng-tao 177

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