委託單位：嘉義市立美術館

展覽地點：嘉義市立美術館本館1-3樓

展覽時間：2024 / 01 / 27 至2024 / 05 / 12

服務項目：展務管理統籌

由孵⼀間展務管理統籌「懸置的界線」，是嘉義市⽴美術館 2024年度第一檔主題特展。依據館方展覽製作暨視覺設計委託服務案專案的需求，我們以⾃⾝深植多年於⼤型美術展館的空間設計執⾏經驗，與視聽影⾳展品技術規劃之特⻑，整合空間設計與施作、展覽視覺、前導宣傳影⽚拍攝等各團隊，共同為本展進⾏專業展場製作、⽂宣視覺設計編排、與佈卸展等作業。

展場設計規劃：由獨立策展人陳寬育策劃此展，以可見與不可見存在嘉義這座城市中，許多線與邊界意象，開啟了三個子題探討。孵一間便依循館方的前置規劃，做作品的分區微調，並在展場設計上拆除一樓原本的主題牆⾯，讓展⽰空間釋放、規劃為⽅正格局，較適合本展作品擺放。回應本展題，我們設計⼀些在牆上的開窗，讓觀眾的視線得以穿透，卻⼜被實體展牆所阻隔，創造出可⾒卻不可跨越的界線。在⼆樓展場，藝術家何采柔及魏柏任的作品也是創造出類似的邊界意象。

視覺設計主軸與理念：掌握不穩定的界線所開啟的彼此協商與相互界定，宣傳海報的主視覺強調界線與其所創造的維度轉換。抽象化⾊塊編排，輔以些微斑駁質地與不明確的線段游移，藉此傳達展覽概念與視覺畫⾯在地景、空間、感知、想像之間的共鳴對話。線的延伸與劃分的塊⾯，像是在地、⽂化、⼼理、⾝體感等多重層次的疆界中轉換，畫⾯構圖所帶來的移動/變動感，回應懸置的界線持續編織中的各種關係。也能與展場空間所處理的視線穿透、動線引導相互呼應。

「懸置的界線」希望以展覽的形式，將北回歸線的變動狀態、攝影家的山岳寫真旅程、重層山稜線地景、伐木與運輸纜線、溪流蝕刻線等，種種與嘉義相關的諸多線與邊界的意象，成為展覽的思考起點。有兩個主要的問題意識構成此次展覽。首先，試圖以線的狀態切入，再探嘉美館過往展覽曾經創造的反思性風景意識。就藝術而言，線有複雜與悠久的糾纏史，與圖繪、符號、繪畫性、書寫性，涉及區劃與隔離、也是逃逸、痕跡等主體狀態的欲望動力學。甚至在Tim Ingold那裡，人類棲居的世界不是由物構成的，而是由線組成的；也可以說，「每個事物都是一個線的議會（every thing is a parliament of lines）」。展覽延續著「線」的書寫性特質，以及「線」作為組成世界的方式展開；並著眼於當代生活情境中，線如何拓展自身生命，而生命也在事件之間持續編織新的線。

其次，便是透過作品組合來試圖提議，不存在穩定的界線。界線總是關於協商與力量，是主體與行動彼此的互相界定。同時，線也涉及區劃與隔離，能區分空間，劃定疆域。然而，無論多麼細微，界線自身都佔據了一個空間。那是個不屬於任何一邊的懸置領域，因而，如果界線是決定地景、記憶、身分與命運的現象，那麼界線的懸置狀態又意謂著什麼？開啟了何種感知樣態？這些都是展覽透過「線縷游」、「疆界注」、「懸置錄」等三個子題想要探索的面向。

The exhibition “The Line, the Borderline, and the Floating Boundary” aims to explore the multifaceted nature of lines and boundaries, particularly in relation to Chiayi. It focuses on various images related to the region, such as the shifting state of the Tropic of Cancer, photographic journeys through the mountains, layered ridges, logging and transportation cables, and the eroding lines of rivers. The exhibition is structured with two main sections. First, it aims to delve into the reflective landscape consciousness previously created by exhibitions at the Chiayi Art Museum through the perspective of lines. In the realm of art, “line” has a tangled and enduring history that intersects with drawings, symbols, painterly and scriptural qualities, encompassing both delineation and isolation, and serving as a driving force for subjective states such as escape and traces. Tim Ingold posits that our world is not composed of objects but of lines, leading to the idea that “every thing is a parliament of lines.” The exhibition extends this scriptural characteristic of lines and their role in constituting the world, focusing on how lines in contemporary life continue to extend their existence and weave new connections between events.

Secondly, the curation attempts to suggest that no boundaries are ever stable through the arrangement of the exhibited works. Boundaries are always a matter of negotiation and power, defining both subjects and actions. At the same time, lines also signify demarcation and isolation; they are capable of segregating spaces and defining territories. However, even the subtle boundary occupies space, a floating dimension that belongs to neither side. Therefore, if a boundary is a phenomenon that defines landscapes, memories, identities and destinies, what does the state of a floating boundary imply? What new perspectives does it unveil? These questions are explored through sub-themes such as “The Line,” “The Borderline,” and “The Floating Boundary.”