制图学的想象 Cartographic Imagined

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「仔细阅读我，跟随我，毋须怀疑。我是你手掌中的大地。没有我，你将孤独迷失。」

- BERYL MARKHAM, 1983

从古代洞穴壁画到如今复杂的地理信息系统（GIS）和普及的Google Maps等工具，我们探索制图学的丰富历史揭示了人类对所居住世界的持久迷恋。从科学角度看，制图学为我们提供了对环境的具体理解，划定了勘探的边界和路径，成为不可或缺的地理文献和档案数据，同时在全球观念的形塑中具有文化和政治影响力。

在制图学的演变中，J.B.哈利的评论突显了制图中艺术性的潜在损失及其社会影响。地图因其科学准确性而受到重视，实则是人类构建的本质，通过象征性的视角诠释景观。计洲的《地图》系列中，精致的地图从平面呈现转变为类似山脉起伏的纹理景观，这些人造景观挑战了我们对现实的感知。扎根于制图的传统惯例，色块划定了领土，纬度和经度提供了方向轴承，而海洋与岛屿的描绘则突显了这些符号的建构性质。计洲的立体地图促使我们思考这些人造符号和约束如何影响我们的理解，突显了地图尽管追求科学准确性，却也唤起了纯粹想象的领域。

相比之下，廖益嘉采取了截然不同的方式，他的新系列《士林拦河堰》和《高点》未使用地图作为素材，而是选择了一种原始的制图方式：摄影。他捕捉了一部分的「土地」，不寻求空中拍摄或预先研究的平面，而是关注于人类如何感性和诗意地绘制世界。透过石头、水面上的天然油渍和山峰作为指示和路标交织在一起，他创造了自己独特的虚构地图。这些微观的自然元素成为宏观的山脉、河流和边界的象征。他像玩棋子般移动和重塑这些元素，通过直接摄影和特殊取景角度形成理想化的地图微型表征。特别是在中国台湾拍摄的《士林拦河堰》系列作品，具有个人和文化上的重要意义，使他的制图过程在执行上显得写实，而在概念上则显得细腻并具象征性。

另一方面，陈萧伊创作则是关注于地质时间尺度，选在横断山脉进行了探索与创作。创作起点位于废弃矿区，如今多为悬置的空间。在作品《横断地星图》中，她的绘图笔尖标记了矿床，通过东方屏风装置创造出一个让人联想到星空效果的作品。《俯瞰者》系列中采用了一种类等高线图的制图方式，同时标示出被遗弃的小径，在追踪这些稀疏和密集的线条中彷佛看见人类的指纹而有了温度。这些创作过程中能感受到艺术家的手，传达了一种与土地

连结的复杂性。在《残响指南》中，她更进一步提出声音可能是制图过程的一部分，经常在这些广阔的山脉制图过程中体悟到。在试图藉由这些作品描述山区经历的变化，悬置空间所呈现的荒芜曾经有着人类的足迹，这些过往移留下空也如同地图上的空白，经艺术家个人的制图有了新的存在的形式。

在这次展览中，绝版影像馆诚挚邀请您探索艺术家们以多元且富有想象力的方式解释和呈现我们的世界。透过计洲、廖益嘉和陈萧伊的作品，您将体验制图和艺术的交会，感受科学精确性与情感深度的交融，同时扩展对制图及其所代表的景观的理解。回应Markham的观点，地图确实不仅仅是工具；然而在这些艺术家的手中，它们获得了新的意义和形式，成为我们情感状态的指南，并塑造了我们如何感知周围世界的方式。

计洲，地图 5，150 x 138 cm，2014，顏料式噴墨輸出在亞麻紙上，Ed.4

关于艺术家

陈萧伊（b.1992）

生于中国四川，于2014年获得伦敦艺术大学纯艺术摄影硕士学位。其作品融合了多种媒介与形式，展现对自然与生命形式在不同尺度上的的反思。近年来她聚焦于中国西南横断山脉的历史痕迹，面对跨越大尺度的地理与时间的存在之物，艺术家由人类的在场为起点，寻找不同存在方式的交汇之处，连接了宏观与微观的体验。在其追溯之下，矿业的遗迹被揭示为多种视角的叙事、描摹及知识体系的具象化。其作品曾获得中国第七届三影堂摄影奖大奖，入选富比士2017“30 UNDER 30（Art）”亚洲榜单，近期作品曾展出于瑞士沃韦影像双年展，西班牙LA NUU摄影节，法国Mulhouse摄影双年展，东亚文化之都当代艺术节，厦门集美·阿尔勒国际摄影季，连州国际摄影年展，Paris Photo艺博会，瑞士Liste艺博会，伦敦艺博会，德国Folkwang博物馆，雅典Benaki博物馆，上海当代艺术博物馆，北京三影堂摄影艺术中心，成都麓湖A4美术馆等。

"Read me carefully, follow me closely, doubt me not. I am the earth in the palm of your hand. Without me, you are alone and lost." - BERYL MARKHAM, 1983

Exploring the rich history of cartography unveils humanity's enduring fascination with mapping the world we inhabit, from ancient cave drawings to today's sophisticated Geographic Information Systems (GIS) and ubiquitous tools like Google Maps. Cartography, from a scientific standpoint, offers us a tangible comprehension of our environment, delineating borders and pathways for exploration. It serves as indispensable geographical documentation and archival data, contributing to scientific epistemology, while also wielding cultural and political influence in shaping global perspectives.

Amidst the evolution of cartography, J.B. Harley's critique underscores a perceived loss of artistry and its social implications in mapping. Traditionally valued for their scientific accuracy, maps are fundamentally human constructs that interpret landscapes through a lens of representation. In JI Zhou's "Maps" series, intricate maps are transformed from their usual flat representations into textured vistas resembling heaves of mountain ranges. These visually captivating artificial landscapes challenge our perception of reality, grounded as they are in the traditional conventions of cartography. While color blocks delineate territories and latitude and longitude provide directional bearings, the representation of oceans and islands underscores the constructed nature of these codes. Zhou's stereoscopic maps prompt us to ponder how these human-created symbols and constraints influence our understanding. They highlight the paradox that while maps strive for scientific accuracy, they also evoke realms of pure imagination.

LIAO Yichia takes a completely opposite approach to Zhou with his new series “Shihlin Weir” and “Peaks.” Instead of using maps as source material, he employs a primitive form of mapping: photography. He simply captures pieces of “land”, uninterested in aerial shots or pre-researched planes, and is fascinated by how humans can map the world emotionally and poetically. By intertwining stones, natural oil stains on water surfaces, and mountain peaks as pointers and guideposts, he creates his own unique fictional maps. These elements of nature become micro representations of actual mountain ranges, rivers, and borders. Like his newfound tokens, he moves and reshapes them with distinct angles, forming miniature representations of idealized maps through straight photography. Particularly those in “Shihlin Weir” photographed in Miaoli, Taiwan hold personal and cultural significance, making his mapping process realistic in execution but delicate and figurative in concept.

On the other hand, CHEN Xiaoyi's work focuses on the geological timescale, with her exploration and creations centered in the Hengduan Mountains. Her starting point is abandoned mining areas, now mostly suspended spaces. In her piece "A Star Atlas from Hengduan’s Core," she uses her stylus to mark ore deposits, creating a starry sky effect through an oriental folding screen installation. The "Kataskapos" series adopts a contour mapping technique, simultaneously marking abandoned trails. Tracking these sparse and dense lines evokes the warmth of human fingerprints. Throughout these processes, the artist's hand is palpable, conveying a complex connection to the land. In "Reverberation Guide," she further suggests that sounds may be part of the mapping process, often experienced during the vast task of cartographing these mountains. She attempts to describe the changes experienced in the mountainous areas, with the suspended spaces' desolation echoing the footprints of past human activity. These remnants, like blank spaces on a map, take on new forms of existence through the artist's personal cartography.

In this exhibition, UP Gallery warmly invites you to explore the diverse and imaginative ways artists interpret and represent our world. Through the works of JI Zhou, LIAO Yichia, and CHEN Xiaoyi, experience the intersection of cartography and art, where scientific precision meets emotional depth, challenging our perceptions and expanding our understanding of mapping and the landscapes it represents. Echoing Markham's sentiment, maps are indeed more than mere tools; in the hands of these artists, however, they take on new meanings and forms, becoming guides for our emotional states and shaping how we perceive the world around us.

day as a starting point, the artist searches for the intersection of different forms of existence within the long durée of geological and cosmological time. In her artworks, the relics of the mining industry are revealed as the embodiment of narratives, descriptions, and knowledge systems from multiple perspectives. CHEN Xiaoyi has exhibited internationally; she was awarded the Three Shadows Photography Award in 2015, China’s most prestigious photography prize, and named one of Asia’s 30 Artists under 30 by Forbes Magazine 2017. Her recent works have been exhibited at the Vevey Image (Switzerland), LA NUU photo festival (Spain), La Biennale de la Photographie de Mulhouse (France), Calling/re-Calling-Culture City of east Asia (Japan), Jimei x Arles International Photo Festival (China), Lianzhou Foto (China), Museum Folkwang (Germany), Benaki Museum (Greece), Guangdong Times Museum (China), OCAT Shenzhen (China), Power Station of Art (China), Three Shadows Photography Art Centre (Beijing), A4 Art Museum (China) etc.