植‧物：感知的系譜學
「存在就是被感知（to be is to be perceived）」-喬治‧貝克萊（George Berkeley）
近代以降，「主體」儼然成為跨領域的學科關鍵詞，特別是在人類文明的昌隆發展下，「主體」幾乎都被置於人類及其文化中心的脈絡下進行論述。即使因近代天災異變或物種絕滅等事件，學者與環保人士開始反思與自然的關係，進而逐漸在人類中心以外的動物、環境納入考量中。而後，基於環境倫理的深層生態學意識，又將視角範圍置放於巨觀的生態系統，試圖藉此深入探討人與非人的存在、感知與共生共存。
羅展鵬，《樹蔭下的先知 A Prophetess Under the Shade》，油彩畫布。圖/大觀藝術空間提供。
相對於哲學認識論與環境實踐論，藝術工作者亦以特有的視覺語彙對物的存在進行關懷，並藉此於自身的荒野世界中去手作植栽出感知的視界，繼而揭露出人我與物像的相融議題。
對於生態環境議題的探討，藝術家已不再限縮於植物元素，更衍續生成為如何植栽藝術家心象與意象的存在物種，同時，亦是呈現創作者對存在的感知狀態。
梁育瑄，《10：59》，油彩畫布。圖/大觀藝術空間提供。
對存在進行感知有許多形式，且不僅限於具體生命的物像。顏群善用生命殘留的氣味去追尋另一個生命個體，使之成為世界中的另一番風景；梁育瑄以泡沫與空間的互動，去形塑出生命於此曾在的流動與光景；羅展鵬以蔥鬱朦朧的人與花草意象，探討生死之間的議題；李霽以離根的自然素材，交織出生命的延伸；志鎌猛則以捕捉生態時空流離的氣蘊，返璞到地景場域的心靈歸寓。
顏群，《變動風景 1 Landscape Variation 1》，油彩畫布。圖/大觀藝術空間提供。
藝術家的方式雖異，卻同以植人的角度衍續創作者對於自身荒原的栽育過程。在藝術家各自對存在進行感知的脈絡中，有關氣味、泡沫、氤氳的呼吸意象成其系譜的交集，創作者亦以此探討自身對何感知、因何感知、如何感知。這種關於主客體存在與感知的探討，已不再局限於生物的存在，更彰顯為生命的延續。
志鎌猛，《inogashira13》。圖/大觀藝術空間提供。
「植‧物：感知的系譜學」試圖改寫以人為視角的存在，重塑另一種觀點的可能性。生命不再是專屬於動物，環境的主體也不再是專屬於人類。藉由藝術家衍續生命主體的創作中，與物質、空間、自然、生態、景觀的關係中，顯現存在被感知的各種可能性。
李霽此次展出作品示意圖。圖/大觀藝術空間提供。
Plant‧Planting: the perception of genealogy
“To be is to be perceived” --- George Berkeley
The term “subject” has become the key word for cross-field studies in modern societies. Particularly with the development of civilisation of men, the “subject” has been the theme of various studies and discussions. The natural disasters and distinctions of many species have been the concerns of academic scholars and environmentalists who aim to study the relationship between men and nature, taking the animals other than men as well as the environment into consideration. Those who study the macro ecology look far beyond the ecology and are eager to discuss the connections between men and their existence, and the co-habitation of men and nature.
In contrast to the philosophical and practical debates regarding the environment, the artists show their concern for the environment through their unique creations, constructing a horizon from their perceptions, and the issue of the co-existence of men and the objects. The artists are not limited to the plant itself, but take aim to create new species which reflect on their mental image and reaction to existence.
The objects that reflect on one’s existence are not restricted to the living creatures. Yen Chun plays with the lingering scent from life itself and creates a brand new view in the world; Liang Yu-Hsuan records the life of us mortals thought the interaction between bubbles and architecture; Lo Chan-Peng aims to discuss the matter of life and death though his verdant portraits; using materials taken from nature, Lee Chi weave an extension of life; and Takeshi Shikama captures the portraits of trees when summoned by the forests.
The medium and subjects may vary, yet the fact that the artists show their progress in life thought their works is mutual. Through fragrance, bubbles, air and breaths, the artists discover their inner selves by asking themselves what, why and how they would sense their existence without restrictions, hence extending life beyond time.
“Plant‧Planting: the perception of genealogy” aims to change men’s dominance in nature. Life is not exclusively reserved for animals, and men do not own the environment exclusively. Though the works of the artists and the multiple relationships between objects, space, nature, ecology and landscape, one may see the possibilities beyond the surface.

大觀藝術空間：【2018 Art Taipei 台北藝術博覽會】植‧物：感知的系譜學
展期：2018-10-25 ~ 2018-10-29
地點：台北世界貿易中心展演一館（台北市信義區信義路五段五號）展位：J08
參展藝術家：志鎌猛,羅展鵬,李霽,顏群,梁育瑄