• 展期

    日期:2021-01-30 ~ 2021-03-07

  • 地點


  • 參展藝術家


Georgo Eberhard Rumphius(1627-1702)是一位十七世紀受僱於荷屬東印度公司的生物學家,一六五四年跟隨船隊抵達印尼安汶島(Ambon),從此長住此地四十八年以至離世。Rumphius尤其狂熱於植物與貝類研究,其重要著作《安汶植物標本誌》裡發表的植物高達一千兩百個物種,包含明確命名九百三十種,奠定了印尼馬魯古群島地區的生物基礎。Rumphius留下的大量研究資料也間接促成了卡爾.林奈(Carl von Linné)在一七五三年建置的「二名法」,甚至有支持者認為是林奈竊取了Rumphius的研究成果。這個大命名的時代成了物種資料化的開端,也演變成現在我們認識動植物的科學基礎。
本次展覽「珍奇櫃(Cabinet of curiosities)」的內容是劉玗自二〇一八年至今對Rumphius的研究與延伸詮釋,包含Rumphius的相關文件資料、數十張繪製練習與兩部分紀錄片。其中「繪製練習」的文本出自於Rumphius在《安汶珍奇櫃》(The Ambonese Curiosity Cabinet)一書,物種的形體在書中被轉換成抽象的文字描述,而劉玗則試圖將Rumphius的形容詞再圖像化。兩部分別於印尼與荷蘭拍攝的紀錄片《失明的造物主》,搜集了不同領域學者採訪、實地拍攝與資料採集,從兩個不同文化與地緣的脈絡回朔Rumphius過去與現在的輪廓。

Georgo Eberhard Rumphius (1627-1702) was a biologist employed by the Dutch East India Company in the 17th century. He arrived in Ambon, Indonesia, with a fleet of ships in 1654 and had since lived there for 48 years until his death. Rumphius was particularly enthusiastic about researching plants and shellfish. His important work Herbarium Amboinense covers up to 1,200 botanical species, 930 with definite species names, laying the biological groundwork of Maluku, Indonesia. The extensive research data left by Rumphius also indirectly led to the formalization of Carl von Linné’s binomial nomenclature. Some supporters even believe that Linné had stolen Rumphius' research. This era of big nomenclature became the beginning of species documentation and has evolved into the scientific basis of our current understanding of plants and animals.
In contrast with other biologists, Rumphius became completely blind due to glaucoma in 1670, but was able to continue his research work on species. If we look at Rumphius' descriptions of plants in his notes, we would realize that he used a large number of comparisons to describe species, including olfactory and tactile ones, and he even described plants with human personalities. By using a personal and perceptual interpretation to remember, map and document these creatures, he had created another kind of abstract database in his mind.
The exhibition Cabinet of Curiosities is a collection of Liu Yu’s research and extended interpretations of Rumphius from 2018 to the present, including documents on Rumphius, dozens of drawing exercises, and two documentaries. The text of the drawing exercises is from Rumphius' book The Ambonese Curiosity Cabinet, in which the forms of the species are transformed into abstract textual descriptions. Liu Yu attempted to retransform Rumphius' adjectives into images. The two documentaries Caecus creaturae, respectively shot in Indonesia and the Netherlands, include interviews from scholars of different fields, on-site filming and data collection, retracing the contours of Rumphius' past and present from two different cultural and geographical contexts.
Liu's study of Rumphius does not focus on the reorganization of natural history, but on capturing a certain way of interpreting the world by human beings. Comparing the world we know after the scientific era and the world of primitive cultures, is there still some kind of sensibility interwoven in the way people interpret everything? In either cultural system, the process of "knowing the world" requires another kind of reverse productive activity: the explosion of imagination, which is also some kind of original state when art is created. No matter how hard we try to depict more things in this world, whether through "comparisons," "personification," or "metonymy," we still fail to describe what makes humans frenzy.


Born in 1985. Lives and works in Taipei. Employing a variety of mediums such as video, installation, and texts, Yu Liu’s gradually develop a series of field studies of documentary nature as a kind of working methodology in relation to her artistic practice. How human visions the world, how attributes of spaces change, and how things are constantly being defined in a system — these all contribute to giving an account on the progression of humanity. A series of works are later created with a research focus on less visible communities marginalized by structural societal factors. The existence of these communities often reflects the intricacies of its contemporary society, and, furthermore, offers a sample of a specific historical moment with regard to a grander context—a boundary-breaking reexamination that helps disrupt strictly defined scientific methodologies and the science institution with which we are all too familiar.



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