策展人/林裕軒

藝術家/王煜松、陳奕彣、湯雅雯、楊懿軒、 魏柏任

工作坊藝術家/羅婉云

地點：憲光二村
展期：2018年9月15日-2018年11月30日

​開放時間：週三至週六 13:00 - 17:00

「搬遷啟示」以『（家）生活空間』為主軸，透過『時間的流動』和『抹不掉的痕跡』兩個支線去蔓延。初次來到這裡時，開始思考這裡的原住戶去了哪裡？他們留下了什麼？他們要搬去哪？似乎可以在他們留下的痕跡裡，聽說這個家的故事。在展覽裡，這裡其實什麼也沒有，只是在離開時，東西都會被搬走，但一些東西會被留下。

生活片段該如何被記憶下來，日子過後，記憶被轉化為扁平的圖像，成為一幕幕的截圖和流動的碎片。家的設計圖中，總計邀請十三位年輕藝術家繪製關於家的想像，在思考家是如何構成的時候，這些扁平化的投影、文件、影像，都是劇烈且加速的。

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在臺灣，許多歷史建築物都經歷其解構再建構的過程，臺北的中山堂曾經是臺灣會展、公會堂，當代藝術館曾經是臺北市政府、小學所在地，在今天都再次建構成了官方、公辦的展覽、藝文場所。當官方、私人的建築物被認定為具有歷史價值時，就會被保留下來再使用，作為其延續的方式，但當今更多的建築、住宅，因為他的歷史沒有長到需要被保留，沒有短到可以符合現在的使用方式，所以現在處於即將被拆遷的狀態，我們慣性的在都市規劃中想要重新去改變這樣的關係，直接採取一個好（主觀）的方式，把前一代的東西直接去除，重新建構。在重新建構的過程中，經常忽略了前一代累積起的政治、美學品味、記憶，但這些痕跡是去除不了的。

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Curator: Lin Yu-Hsuan

Artists: Wang Yu-song, Chen Yi-Wen, Tang Ya-Wen, Yang Yi-Hsuan, Wei Po-Jen

Workshop Artist: Luo Wan-Yun

Location: Xian Guang Second Village

Exhibition Period: September 15, 2018 - November 30, 2018

Opening Hours: Wednesday to Saturday 13:00 - 17:00

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"Notice of Removal" revolves around the theme of "(home) living space," expanding through two subthemes: the flow of time and indelible traces. When I first came here, I began to ponder where the original residents went? What did they leave behind? Where are they moving to? It seems that in the traces they left behind, one can hear the stories of this home. In the exhibition, there is actually nothing here. Everything will be moved away when leaving, but some things will be left behind.

How should snippets of life be remembered? After days have passed, memories are transformed into flat images, becoming snapshots and flowing fragments. In the design blueprint of the home, a total of thirteen young artists were invited to paint their imaginations about home. When considering how a home is constructed, these flattened projections, documents, and images are intense and accelerated.

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In Taiwan, many historical buildings have undergone processes of deconstruction and reconstruction. Taipei's Zhongshan Hall was once the Taiwan Exhibition Hall and the Guild Hall, and the Contemporary Art Museum was once the site of the Taipei City Government and a primary school. Today, they have been reconstructed as official and publicly-run exhibition and cultural venues. When official and private buildings are recognized as having historical value, they are preserved and reused as a way of continuation. However, more buildings and residences today, because their history is not long enough to be preserved and not short enough to meet current usage, are in a state of imminent demolition. We are accustomed in urban planning to want to change such relationships again, taking a subjective approach to directly remove the things of the previous generation and reconstructing them. In the process of reconstruction, the accumulated politics, aesthetic tastes, and memories of the previous generation are often overlooked, but these traces cannot be removed.