文 / 策展人 林純用、向家弘
《開江紀．未來世》不僅是歷史的對話，更是行動的延續。此行動立足於台江兩百載的歲月根基，旨在提取居民在滄海桑田間展現的韌性與開創力，將這份與水爭地的鬥志轉化為當代的策展動能。面對變遷中的自然與社會環境，我們試圖透過藝術介入，為這座由濕地、水路與聚落交織而成的流域地景，開啟一場人與土地的對話。
Curator / Article： Lin Chun-yung, Hsiang Chia-hung
A New Era of Taikang: The World to Come is not only a dialogue with history but also a continuation of action. Rooted in two centuries of Taikang’s legacy, the project transforms the resilience and pioneering spirit of its residents—the determination once required to wrest land from water—into contemporary curatorial energy. Facing changing natural and social environments, we seek to reopen a dialogue between people and the land through art, amid a river landscape shaped by wetlands, waterways, and settlements.
台江的聚落發展與水利系統密不可分，從昔日的內海淤積到日治時期的排水工程，構築了獨特的「生活地景」。開江紀突破定點展覽的限制，改以「流域與聚落」的共生關係為核心，將策展視角延伸至安順寮、六塊寮及海尾寮等排水幹線。今年，我們將計畫的座標定於「海尾及媽祖宮庄生活圈」，從鄰近海洋的台江文化中心出發，依循歷史拓墾的路徑向內陸溯源，盤點關鍵議題進行策展規劃，並邀請議題社群、在地社區、信仰中心、學校等協力合作，以此呼應「由下而上」的社造能量，啟動流域藝術的初聲。
Taikang’s settlement development has always been intertwined with water. From the silting of the former inner sea to later drainage projects, a distinctive living landscape gradually emerged. Moving beyond the boundaries of site-specific exhibitions, the project takes the symbiotic relationship between river basin and settlement as its curatorial framework, extending along the Anshunliao, Liukuailiao, and Haiweiliao drainage systems. This year, focusing on the “Haiwei and Matsu Temple Life Circle,” we trace historical paths of cultivation inland from the Taikang Cultural Center near the sea, identifying key issues for curatorial planning and bringing together local communities, faith centers, schools, and issue-based groups. In doing so, we respond to the “bottom-up” energy of community building and initiate the first resonance of art along the river basin.
2026開江紀．未來世
環境藝術共創行動，看見人與土地的美學
A New Era of Taikang:The World to Come
Environmental Art Co-creation Initiative: Discovering the Aesthetics of People and Land
我們深信，慶典式的感官體驗雖會隨展期消逝，但透過精準的社會轉譯策略與感性的共創機制，那些與土地對話、與居民交織的歷程，將化為深刻的美學種子，在每位參與者心中萌芽。這些無形的連結，最終將累積並轉化為最堅韌且深厚的地方文化底蘊。
Even though the sensory experience of a festival-like event may fade with the end of the exhibition, we believe that through precise strategies of social translation and a sensitive mechanism of co-creation, the processes of dialogue with the land and connections formed with residents will take root as profound aesthetic seeds in the hearts of every participant. These intangible connections will ultimately accumulate and transform into resilient, deeply rooted foundations for local culture.
在環境藝術行動中，「社區共創」的本質是人與環境交織而成的生命總和。從初期作品脈絡的梳理、田調，到施作過程中如同社區營造般的協力互助，每一個共創環節，都是在重新定義人與環境的共生關係。立基於此的地景藝術，不再只是靜態展示，而是一套介入在地社會、勾勒文化輪廓的行動方案。
In environmental art initiatives, the essence of "community co-creation" lies in the collective life woven from the interconnection between people and the environment. From the contextual review and field research of early works to the collaborative and supportive process resembling community building, every stage of co-creation redefines the symbiotic relationship between people and the environment. Based on this approach, landscape art is no longer a static display but an active intervention in local society that outlines cultural contours.
藝術不僅是視覺的 妝點，而是環境治理與文化學習的介面。透過前期的田野調查、共創工作坊與地方參與，將居民的集體記憶轉化為藝術家的創作養分。這些根植於社區現地的作品，不僅回應了氣候變遷下的治理課題，更將轉化為地方長久留存的文化資產。
Art is not only visual embellishment, but an interface of environmental governance and cultural learning. Through preliminary field research, co-creation workshops, and local participation, the collective memories of residents are transformed into creative inspiration for artists. Rooted in local communities, these site-specific works not only respond to governance challenges under climate change, but also evolve into enduring cultural assets for the place.
但地方一直就在那裡，傳說中的大魚、地名上的鯤鯓的海翁（鯨豚）依然在海洋遨游，西拉雅族古刺繡圖案上的環頸雉仍在沙洲覓食，默默滋養著濕地生態的貝克氏鹽草被重新發現，「來到鹿耳門，靠海吃飯也甘願」，土地一直都在，環境孕育了世世代代，從他者回到主體是對土地再發現的過程，而2009年經由地方催生成立的台江國家公園，標誌著土地認同，也迎來了地方生態治理的新里程。
But the place has always been there. The legendary great fish (cetacean) suggested by the place name Kunshen still roam in the ocean. The ring-necked pheasant depicted in Siraya embroidery patterns still forages along the sandbars. The Beccari's seagrass that quietly nourishes the wetland ecology has been rediscovered. “Coming to Luermen and living by the sea is a willing choice.” The land has always been here, nurturing generations. From being the other to reclaiming subjectivity, it is a process of rediscovering the land. In 2009, Taijiang National Park was established through local advocacy, marking a recognition of land identity and ushering in a new milestone in local ecological governance.
生活也一直都在，從拓墾、日治、到當代，廟宇從來不只是信仰，更是維繫庄頭社會關係最核心的公共領域，一村一廟一學堂的概念，彷彿一道道文化臍帶，在不同年代持續輸送地方知識傳遞與公共參與的養分，形成地方社會的上層結構。而從台江出海口經由嘉南大圳蜿蜒而上連結八田與一水利灌溉工程的生命綠道，則支持了由生產關係形成的下層結構，從信仰到水利，從文化到生產，一個完整的社會上下層結構帶來了屬於台江的生活方式與文化生活圈，而宋江陣的一脈相傳，則清晰而有力的表現了對地方生活的堅毅守護。2007年在地方積極爭取下，國立臺灣歷史博物館於台江設立，象徵的不僅是在地文化認同的積極展現，也意喻著地方文化治理的新階段開展。
Life has always been there as well. From pioneering cultivation, through the Japanese-colonial period, to the present day, temples have never been merely places of worship but also the core public sphere that sustains community relationships. The concept of “one village, one temple, and one school” is like cultural umbilical cords that continuously transmit local knowledge and nourish public participation across generations, forming the upper structure of local society. The life corridor, stretching from the Taikang estuary and winding through the Chianan Irrigation Canal to connect Yoichi Hatta’s irrigation works, supports the lower structure shaped by productive relations. From faith to water management, from culture to production, the complete social structure brings about the lifestyle and cultural sphere of Taikang. The legacy of the Song Jiang Battle Array vividly and powerfully expresses the steadfast guardianship of local life. In 2007, through active local advocacy, the National Museum of Taiwanese History was established in Taikang, symbolizing not only the active expression of local cultural identity but also the beginning of a new stage in cultural governance.
開江紀—看見地方發展脈絡的主體面容
A New Era of Taikang: Revealing the Contours of Local Development
1661年，鄭成功船艦通過鹿耳門水道登陸時，台江猶是一片潟湖，一百多年後的1823年，曾文溪氾濫淤積成海埔新生地，開啟了台江十六寮兩百餘年的紀事，而以港、塭、海坪為社會經濟基礎的一級產業型態，在近現代社會經濟型態變遷的過程中，台江悄然無息的成為政治經濟的邊陲，在中心/邊陲的權力關係中，地方始終處於他者的位置，滄海桑田，物換星移，生活總由機遇與外部資源決定，不由得，卻無奈。
In 1661, when Koxinga’s fleets entered through the Luermen waterway to land, Taikang was still a lagoon. More than a century later, in 1823, the flooding and siltation of the Zhengwen River created new tidal land, marking the beginning of over two hundred years of chronicles for the sixteen settlements of Taikang. With primary industries rooted in harbors, ponds, and tidal flats, Taikang gradually and quietly became marginalized in the shifting socio-economic landscape of modern times. Within the power dynamics between center and periphery, the locality has long remained the position of the “other.” With the changes of time and place, life has been continually shaped by chance and external resources— unavoidable, but helpless.
未來世－集結地方主體意識的公民行動
The World to Come: Gathering Civil Initiatives of Local Consciousness
時間或許是線性的，但歷史是多元維度的，站在地方發展脈絡上的每一刻，都既是過去也是未來，梳理過去是為了成就未來，而在地行動的每一步，都積累於過去影響著未來，也因此形成了此次策展的核心概念「開江紀—未來世」，在地方的行動脈絡中，透過藝術轉譯與社區共創，傳達從過去到未來的地方發展路徑。
ime may be linear, but history unfolds across multiple dimensions. Every moment in local development is both the past and the future. To trace the past is to shape the future. Every step of local initiatives rooted in the past continues to influence the future. The core concept of the exhibition is thus formed: A New Era of Taikang: The World to Come. In the context of local action, through artistic interpretation and community co-creation, it conveys the local developmental path from the past to the future.
這樣的策展理念具體透過台江的生態治理（行動）與文化治理（行動）兩大主軸展開，望向未來生態韌性的守護與公民意志的實踐。在生態治理上從環頸雉到族群共生，從貝克氏鹽草到生態修復，從鯨豚到本土精神。在文化治理上由村落廟宇到大廟興學，由保鄉衛土的宋江武陣到地方認同，由灌溉水利到當代公民自覺發起的山海圳國家綠道。總共六件作品六大議題，由點到面來書寫地方的主體性輪廓，想像未來的行動願景。
The curatorial concept unfolds through two major axes of Taikang’s ecological governance and cultural governance, envisioning the guardianship of future ecological resilience and the practice of civic will. In ecological governance, it spans from ring-necked pheasants to ethnic symbiosis, from Beccari's seagrass to ecological restoration, from cetaceans to local spirit. In cultural governance, it ranges from village temples to temple schools, from the Song Jiang Battle Array that guards the community to local identity, from irrigation systems to the Mountains to Sea National Greenway, initiated through contemporary civic awareness. Altogether, six works address six major issues, moving from points to surfaces to outline the contours of local subjectivity and to imagine the future visions of action.
也因此，每一件作品都不僅僅是藝術作品，也是在地行動中的一個節點，既是過去也是將來，既回望歷史也關注未來。
Therefore, each work is not merely an artwork but also a node of local action. It embodies both the past and the future, reflecting on history and looking toward future.
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