論桃園埤塘水圳地景於城市發展與地景藝術節中的弔詭定位以及介入中壢後寮地景的行動

The Paradoxical Position of Taoyuan Pond- Canal Landscape in Context of Urban Development and Land Art Festival, Referring Interventional Action in Houliao, Zhongli

埤塘水圳地景為桃園境內特有的文化地景，足以體現桃園特有的歷史、文化發展脈絡。近年來，桃園市政府將埤塘水圳地景做為增進地方觀光、打響在地特色之重要城市節慶《桃園地景藝術節》的核心主題。弔詭的是，長年以工業發展為號召、素有「工業大縣」名號的桃園，為因應產業高速發展的空間需求，任由廠房、工業區、大型基礎設施等向當時尚存農村氣息的埤塘水圳地景恣意擴張，造成地景快速消失。至今，隨著就業、公共設施的完備導致移民漸增，桃園都市開發向埤塘水圳地景蔓延、破壞的情境依舊，桃園市政府保護文化地景的法規反而放寬標準、解除管制，呈現棄守之狀。《桃園地景藝術節》所宣揚帶有地方色彩的埤塘水圳地景儼然成為市政府增進觀光效益之符號。遭受破壞的地景，除了造成空間紋理更加破碎，也代表地景中蘊含的歷史與文化以及潛藏其中的日常生活與人地互動關係都將隨之瓦解。強調「地方覺醒」、「社區風動」、「藝術打樁」的《桃園地景藝術節》確實理解地景藝術與社群互動以及足以營造社區草根能量的能力。然而，縱觀近年展出的作品則略顯尷尬，地景藝術多被創作成為刺激視覺感官、注重「物體」本身的裝置與雕塑，而未有與環境、人進行交流、對話的強烈企圖。從地景藝術節的辦理慣例看來，一年一度的節慶辦理加上費時的行政程序，短促的創作時程也造成藝術家難以積累於社區創作、工作之成果。基於對桃園文化地景因都市發展而消失的理解，筆者因研究之故發現位於中壢後寮埤塘水圳地景同樣面臨都市化而全然消失危機，進而與友人、眾藝術家合作展開介入地景之行動以及兩次的公開展演。本人以《桃園地景藝術節》中創作未有足夠之田野工作、居民的交流以及在地知識之採集為戒，並參照藝術為途徑廣邀創作者進行現地創作。希望於後寮行動與展演能夠成為引薦大眾看見桃園都市發展與文化地景保存的衝突，也期盼留下的成果能逐步壯大進而撼動桃園今日四處烽起的都市開發現況與體制。

As the significant cultural landscape in Taoyuan city, pond-canal landscape represents the city’s special history and cultural context of its regional development. In terms of cultural development, Taoyuan city government has pond-canal landscape as the core theme of its remarkable city ceremony“Taoyuan Land Art Festival”to improve local tourism and build its symbolic local character. As a city with the name of“major manufacture county”that emphasised on industrial development as its long term catchphrase, factories, industrial districts and big scale infrastructures had invaded rural area arbitrarily with need of space, causing rapid changes of local landscape, leading disappearance of ponds and canals, creating a paradox comparing to its current development plan. With increasing incoming population brought in to Taoyuan due to completed public and industrial construction, pond-canal landscape has been damaged by extended scope from urban development as usual. City government deregulated rules and announced relaxation of regulations to preserve local landscape, yielding to modern urban expansion. Pond-canal landscape has become an icon, symbolically promoted by the city government, providing profits from the tourism industry through Taoyuan Land Art Festival. The damaged landscape has been both the cause of shred topography, and collapse in community relations that used to be core of historical and cultural value for locals in daily life. Taoyuan Land Art Festival has a clear comprehension of the impact of grassroots’power toward community construction, by highlighting concepts of“raising local awareness”,“community actions”, and“laying art foundation”. Despite the mentioned concepts above, artworks were delivered to the audiences with an emphasis on visual stimulation, resulting in object oriented installations and sculptures in the festival, presenting the lack of attempt on building communication and interaction with environment and human/residents. From its conventional procedure in annual land art festivals, time-consuming administrative process results in shortened production time for artistic creation, causing difficulties in cumulative progress of community based works. Based on the understanding of urban development being the fundamental reason of cultural landscape disappearance in Taoyuan, this study on pond-canal landscape presents the equivalent crisis on vanishing landscape in Houliao, Zhongli. Actions in engaging with local residents and land with two public performances were conducted by gathered friends and artists. With a reminder of inadequacy in field research, resident engagement and local knowledge collecting referring to Taoyuan Land Art Festival, this study included artists in site-specific creation project, creating an artistic approach to local issues. With the attempt of guiding the public to see conflicts in urban development and preservation of cultural landscape, this study seeks to preserve its achievement, shifting the current situation and system in urban planning practice around Taoyuan City.