A WWII city without memories and history will become a city of amnesia. A WWII city needs supports from its residents who are reflective, critical, and willing to put their thoughts into action. A WWII city will become a great city when its residents have the capacities to preserve, revitalize and nourish it.
由交通大學應用藝術研究所六燃團隊所共同策劃的「前日本海軍第六燃料廠文件展」，簡稱「六燃文件展」，分為檔案、 藝術 、科技三區來呈現，其內容主要來自於交大六燃團隊所規劃與推動的六燃「新竹生博物館：保溫睦鄰駐站計畫」（The Good Neighborliness Residency Project at the Big Chimney Factory Base）計劃。新竹博物館（Hsinchu Living Museum）以二戰時期日本所建置的「海軍第六燃料廠新竹支廠」其中的大煙囪廠房為主要基地，不僅探討新竹六燃的歷史、記憶，或剛剛劃下休止符的眷村文化，更以藝術實踐為方法、以智慧科技導入為路徑，以文史田調結合再造歷史現場這三條實踐路徑，來催生「新竹生博物館」。透過「藝術實踐參與社區營造」、「智慧科技支援生態保育」、「文史田調結合混合實境再造歷史現場」之實踐來帶動在地居民與國際社會的參與，讓新竹六燃二戰工業遺構，在緊鄰的汀浦圳活水的滋潤與帶動下，逐漸孕育成形為一座生生不息的「生博物館」，在此轉型過渡的進程中，也力求與居民之間的互相理解，促成居民與社區情感的凝聚。 在這樣的思考脈絡下，「六燃文件展」的策展核心理念是立基於「活隱喻，活博物館」的精神。「生博物館」是living museum的一種直譯，也是一種宣示，更是國外已運作多年，但目前台灣還沒有的博物館型態。「文件展」在當代藝術裡，已不是過往那種純粹博物館展示文件的形式和內容，更多的是對於某種藝術理念的實踐與實驗。基於此，交大六燃策展團隊意圖在大學藝術展覽空間與教育場域，對當代藝術文件展進行認知上的溝通和觀念上的更新。 換言之，六燃文件展所扮演的角色絕不僅於重要文件的整理和爬梳，或是為今年11月即將於新竹六燃大煙囪廠房基地所舉行的「六燃國際藝術展演」熱身，而是更聚焦於走在實踐「新竹生博物館」的路徑上時，希冀能同時生產出一個能夠孕育並催生六燃「新竹生博物館」的藝術實踐路徑與行動方法論。這是六燃文件展很核心的一個任務與自我期許。 不論是正在孕育或生產中的「新竹生博物館」，為此終極目的所舉辦的「六燃文件展」，或即將於今年底成形的「六燃國際藝術展演」，每一場活動、每一件作品或文史資料、每一位參與者、每一次的遭逢與對話，本身就是活隱喻、活博物館的具現，將持續自我成長活化，成為永續的生命體。
Chief Project Director / Associate Professor, Institute of Applied Arts, NCTU
A WWII city without memories and history will become a city of amnesia. A WWII city needs supports from its residents who are reflective, critical, and willing to put their thoughts into action.
A WWII city will become a great city when its residents have the capacities to preserve, revitalize and nourish it. The curatorial team from the Institute of Applied Arts, National Chiao Tung University (NCTU) elaborately organized the exhibition titled the Imperial Japanese Navy’s Sixth Fuel Factory Documenta (hereafter referred to as the Documenta).
Drawing its content from the “Hsinchu Living Museum: The Good Neighborliness Residency Project at the Big Chimney Factory Base” conceived and undertaken by the same team and revolving around the big chimney of the fuel factory built in the Second World War, the Documenta is divided into three main sections, namely archive, art, and technology.
It not only explores the factory’s history, memories, and the fading culture of military dependents’ village embedded in it, but also adopts a three-pronged approach comprised of artistic practice, smart technology, and field survey-based representation of the historic site, so as to make the “Hsinchu Living Museum” a growing organism.
By virtue of “artistic engagement in community development,” “ecological conservation underpinned by smart technology,” and “historic site representation by the fusion of field survey and virtual reality,” we expect to spur the participation of the international society in general and the citizens of Hsinchu in particular, thereby transmuting the WWII industrial relic into a living museum receiving nutrition and impetus from the adjacent Tingfu drainage channel（汀甫圳）.
Throughout this transitional process, we also endeavor to foster mutual understanding and cohesion within the community.
In this context, the curatorial philosophy of the Documenta thus rests on the idea of “living metaphor．living museum.”
“Living museum” is a type of museum which has been operated for years abroad but hasn’t appeared in Taiwan yet. The Documenta is ergo a manifesto for the emergence of this type of museum in Taiwan.
In the field of contemporary art, a “documenta” is no longer a conventional display of documents in a museum, but a practice of and an experiment with certain artistic ideas.
Against this background, the curatorial team aims to advance the public understanding of contemporary documenta and communicate it with the visitors in a university-based art space and the field of education.
To put it another way, the Documenta is not simply an effort in collecting and collating significant documents or a warm-up for the upcoming international exhibition at the factory near the end of this year.
To construct the Hsinchu Living Museum, the curator also puts a high premium on the methodological development for corresponding artistic actions, which is an essential mission as well as an ultimate intention of the Documenta.
Be it the Hsinchu Living Museum under incubation, the preceding Documenta aiming to give birth to the museum, or the upcoming international exhibition at the factory, all the events, participants, historical archives, works, as well as their encounters and dialogues therein collectively embody the idea of “living metaphor．living museum,” making the museum an organism that keeps revitalizing itself for a sustainable future.