The unveiling of the dark history of the rivers within and outside the Tainan city area is led by KAO Jun-honn’s “Black Water Diving” and Yellow Event, which explore beneath the surface through the exposed sections of the Fu An Keng Creek next to the Tainan Art Museum Building 2, and the history of the empire’s bandits in the foothill betel nut palm plantation areas along the upstream of the Bazhang River and Jishui River, traversing the forgotten zones of the modern landscape to reconsider the relationship between oneself and the foothill water bodies. TSAI Kuen-lin creates a soundscape using PVC pipes, clay, and sound installations, welcoming the river water and sediment from Tainan’s rivers while guiding the audience to perceive the history and current situation of Wu Tiao Gang (the Old Five Channels) water scenery. Ceramic artist CHEN Wei-hsuan will link the earthen bulls and farmers’ bodies connected to agricultural machinery and waterways, which he fired in the fallow farmlands north of the river, further extending the modeling of water and soil on farmland. Alice ‘Hui-Sheng’ CHANG reflects on the identity and connection of intergenerational transnational identities through the observation of migratory birds, creating a collective human voice work. The landscape and soundscape of waterways and multiple species construct the feeling of a terroir symphony of many voices in this exhibition space. Under the protection of LIAO Ching-chang’s Four Heavenly Kings of Favorable Weather, combined with the paintings of KUO Po-chuan, PAN Yuan-shih, CHANG Ping-tang, HO Chau-chu, and others, the development of the countryside and the city passes through waterways and canals, rushing towards the ocean. In this exhibition space, their entanglement and traversal will be expressed through installations, paintings, sounds, archives, and other artistic means.
