▎展覽時間：2023年3/12（日）- 4月2日（日）/星期二、三公休
▎地點：節點藝術空間 Zit-Dim Art Space 台南市中西區永福路二段84號
▎開幕時間：2023年3/12（日）下午：13:00
▎座談時間：3/12（日）下午15:00-16:00
▎藝術家：Stef Veldhuis 秋笙
▎主辦單位：節點空間 Zit-Dim Art Space 、土星工作室 Tu Xing Studio、應力空間Soil Space
▎協辦單位：聽說Ting Shuo Studio
▎贊助單位：Mondriaan fonds、K.F. Hein fonds、Amarte fonds、臺南市政府文化局
〈Soil Dogs 土狗 〉
陶瓷，VLF/EM/地質聲學記錄，地震儀，鷹架
Stef Veldhuis, 2023
在整個人類歷史上，人們一直在探索不同的地震探測方法；從觀察不尋常的雲層形成到測量電磁異常。世界各地的民間傳說都顯示出一種傾向，即把高度的地震感知歸因於不同的不止於人類的動物，特別是狗。幾乎每一次大地震發生後，都有傳聞說生活在震動附近的狗有異常行為，如吠叫、嚎叫和普遍的不安。 1999年的台灣921地震，以及最近在土耳其和敘利亞發生的破壞性地震都不例外。
隨著科學界對本土知識的擁護，人們對犬類對早期地震預警信號的反應進行了更多的研究。世界各地的研究人員最近的發現，使許多人推測將狗作為生物傳感器來幫助探測構造運動，遠遠早於人類製造的儀器。
〈Soil Dogs 土狗〉 工作過程
荷蘭藝術家Stef Veldhuis的裝置作品《土狗》探討了犬類和地震活動之間的關係。通過陶瓷、地質聲學和電磁記錄的組合，Veldhuis將假定的地震警告標誌與台灣當地的土壤聯繫起來。這片土壤已經被塑造，並且不斷被位於歐亞板塊和菲律賓海板塊之間的斷層線上島嶼的地震波動所重塑。
陶瓷狗頭的形狀類似於哥德式建築中的石像鬼。這些雕塑大多出現在中世紀的教堂裡，目的是將雨水從結構中引走，而它們的怪異形狀被認為可以保護建築不受惡靈的侵害。
"土狗 "邀請人們去探索發生在我們自然感知之外的次聲波事件，並對我們腳下的地面不斷運動產生感官上的關注。
Soil Dogs
Ceramics, VLF/EM/Geoacoustic recordings, geophone, scaffolding
Stef Veldhuis, 2023
Throughout human history, different methods of earthquake detection have been explored; from looking at unusual cloud formation to measuring electromagnetic anomalies. Folklore all over the world has shown a tendency to attribute heightened seismic perception to different more-than-human animals, in particular dogs. After almost every major earthquake, anecdotal evidence pops up of unusual behavior like barking, howling, and general unrest among dogs living close to the earthquake's epicenter. The 1999 earthquake in Taiwan, and the devastating recent earthquake in Turkey and Syria are no exceptions.
With the embrace of indigenous knowledge by the scientific community, more research has been conducted into canine responses to early earthquake warning signs. Recent findings by researchers all over the world have led many to speculate the use of dogs as biosensors to aid in the detection of tectonic movements well before man made instruments can.
The installation “Soil Dogs” by Dutch artist Stef Veldhuis explores the relationship between canines and seismic activity. Through a combination of ceramics, geo-acoustic and electromagnetic recordings, Veldhuis connects the assumed earthquake warning signs to the local soil of Taiwan. A soil that has been shaped and is constantly reshaped by the seismic fluctuation of the island situated on the fault line between the Eurasian and Philippine Sea plates.
The shapes of the ceramic dog heads resemble the gargoyles from gothic architecture. These sculptures found mostly on medieval churches served the purpose of channeling rainwater away from the structure, whilst their monstrous shapes were believed to protect the building from evil spirits.
“Soil Dogs” invites people to explore the infrasonic events that occur outside of our natural perception and generate a sensory attentiveness to the constant movement of the ground below us.
【節點藝術進駐 Zit-Dim Art Space AIR🇹🇼🇳🇱】 座談會
▎座談時間：3/12（日）下午15:00-16:00
▎藝術家：Stef Veldhuis
▎與談者：彭奕軒（節點空間）、黃虹毓（土星工作室）
Stef Veldhuis將談論他的實踐，節點藝術空間的駐留，以及深度傾聽的方法。
Stef Veldhuis will talk about his practice, the Zit-Dim Art Space residency, and strategies of deep listening.
▎展覽現場
Stef Veldhuis 秋笙 is the first European (Dutch) artist to come to Tainan for a 70-day residency at Zit-Dim Art Space since 2019. His project marks the relaunch of the Zit-Dim Residency Project (Zit-Dim AIR), which has been dormant since the beginning of the COVID-19 epidemic.
In the first two years, the exhibitions and residencies of Zit-Dim Art Space were based in the downtown area of Tainan City. Through the collaboration with Hong Kong's "CHT.ArtProject", Zit-Dim Art Space has created the possibility of art exchange, dialogue, and events between Hong Kong and Taiwan. By the continuous creation of exhibitions, it has led to many exchanges and collaborations between different artists; and through the residency program, it has brought Zit-Dim Art Space together with many artists from around the world.
The start of the collaboration with Stef Veldhuis dates back to the beginning of 2020, when he and I both participated in the international residency project at Akiyoshidai International Art Village, and we have remained close friends since then. During the COVID-19 epidemic, we communicated over long distances to discuss the feasibility of the project. Only two years later we saw the possibility of a definite time. The residency was brought about through interpersonal connection, without the aid of any established institutions apart from the artist-run spaces of Zit-Dim, Tu-Xing, and Ting Shuo.
During the two-year discussion of the artistic project, Stef proposed to bring the "Sema" project to Taiwan, expecting to record the soundscape of Tainan through VLF; a recent sonic focus of his practice which allows for listening to electromagnetic frequencies such as those generated by thunderstorms, solar radiation, the northern lights.
Soil
By listening to the “voice of the earth”, we use local soil to reconstruct the invisible politics of its natural and human environment, and investigate the presence and resistance of more-than-human beings in the environment.
Tu Xing Studio's long-term project from 2019 is to collect the geological stories of the earth through artistic practice, to investigate the possibilities of the Soil as a site of negotiation, and to construct new images and perspectives on the environment through art. We try to accomplish this by focusing on the various kinds of movements that have shaped the structure of the earth through tectonic stress, especially those related to mountain building in the upper part of the earth's crust.
Tectonic movement
The propagation of energy from small beginnings to a large conclusion.
Since Stef came to Taiwan on the first of January and began to explore the city, his project has changed drastically. The encounter with Tainan, its surroundings, and its people, demanded a shift away from the preconceived project into a work that directly relates to the environment of the residency. This is one of the key factors of any A.I.R. program. The possibility to work in a dynamic fashion that allows alternative perspectives into one's practice. Through the creation of ceramics, seismic detection, signals, and research into more-than-human organisms, the form of his exhibition gradually took shape. As a creator of sound art, he was not satisfied with recording the ready-made soundscape of the environment directly. Instead he conducted a very detailed research and analysis on how to find and perceive the earth’s sound, and explored a more explicit investigation on how certain more-than-human-animals perceive the arrival of the soil’s energy waves in advance of an earthquake.
Macro
Taiwan is a place where earthquakes occur frequently. Taiwan is located on the boundary between the Eurasian Plate and the Philippine Sea Plate, and earthquakes occur as a result of the invisible collision of these tectonic plates.
Micro
In the process of clay making, certain dynamics are always present. Wherever it is kneading, pushing on the clay, creating spatial shifts and cracks. Through the drying stage, and the invisible firing stage, the soil is in constant flux. Throughout the whole process the clay displays tectonic movement in miniature.
The work "Soil Dogs" deploys the two viewing or listening scales mentioned above, in which we may have the opportunity to learn new lessons from the natural environment.
Peng Yi-Hsuan
彭奕軒Peng Yi-Hsuan 筆
人
Stef Veldhuis 秋笙是節點藝術空間自2019年至今，第一位歐洲（荷蘭）藝術家，來到台南為期七十天的駐村項目，也是自2020年至今疫情解封後，重啟的節點駐村項目（Zit-Dim AIR）。
節點起點是從2019年開始，展覽及駐村基地在台南市中心區位，前兩年主要透過與香港「過海的・藝術計畫/CHT.ArtProject」為合作對象，開啟了一段港台藝術交流、對話、產生事件漣漪的可能性，藉由空間的開啟及展覽的不斷生成，促成了許多人與人之間的交流、合作、共構概念，並透過駐村項目，將台南節點與全世界許多藝術家產生交集。
這次荷蘭藝術家Stef來到台南的起始點，追溯到2020年年初，我與他共同參與國際駐村項目「秋吉台國際藝術村」AIAV，自此與他成為朋友，並在回國後不斷透過聯繫的方式確認節點駐村時間，雙方各自都盡了最大的努力在創作上、及在積極面對著可能到來的機會。在世界局勢（疫情）尚未轉好前，我們透過遠距離的溝通、確認相關計畫的可行性，直至兩年後看到了確切時間的可能性，並非透過單位與單位的溝通所產生的計畫，而是在於我們雙方都將創作計畫的執行面回歸於實踐，並逐一完成。
在兩年的創作計畫討論中，Stef 帶著「Sema 」計畫來台，所期待的是透過甚低頻接收台南相關聲音景象為方法，這也是近期他所關注的議題，透過科學上的聆聽，如同雷暴頻率所產生的聲音、太陽輻射、北極光所產生的無線電訊號，透過大自然所產生的信息，進行再建構與想像。
土
透過由「土地發聲」之方法，運用在地原土，去建構其自然環境不可見的政治性，或者可以說是在環境下非人類的存在及抵抗。
「原土計畫」為土星工作室自2019年長期執行之計畫，透過藝術家、採集原土的地緣故事性，交集出原土成為談論的可能性，透過自然原生之土，建構其藝術的環境想像，土星工作室近期關注議題為「大地應力」Tectonic stress，因差異而導致變形方式的不同，繼而產生的各種應力透過大地應力(tectonic stress)關係到地體構造的應力，尤其指地殼上部與造山運動有關的應力，大地應力的正常情況下，並不會馬上感覺到明顯的改變，但對於時間之尺度產生作用。
應力，作為傳達現今狀態下的感知，如何進行疊加及前行？
自1/12 Stef 來台，開始與台南產生關聯後，許多可預期的改變之動態持續發生著，從原本的初步計畫，直到可能的遇見及感知現狀後，進行著對於「駐村創作」這樣的形式的質變，除了生活面向及環境樣態的直面之外，也實際的影響著對於他所關注的議題。透過陶瓷、地震探測、信號、不止於人類等多面向的共構，逐漸成形這次出現的展覽形式。作為聲響藝術創作者，他並不滿足於直接拿取其現場環境的現成音景，對於如何找到、或是感知到其聲響的來源，進行非常細部的研究及分析，對於動物（狗）預先感知其能量波（信號）的來臨，進行更明確的考察與研究。
大到
台灣為地震板塊震動頻繁之地方，台灣位於歐亞板塊和菲律賓海板塊的邊界上，地震隨板塊的隱沒和碰撞作用而生，從地震歷史上，具備許多研究數據及相關的地震帶互相交會，在相關記憶中，也曾經提及到在地震來臨前的異象，動物的感知、雲層的特殊形狀、頻率信號的產生。
小到
任何質變過程中所產生的動態，在陶土的製程中，「動態」一直存在於其中，凡舉任何捏塑、推擠於陶土，產生空間轉移、裂痕，直至乾燥階段，再到不可見的燒窯階段，整個階段都存在應力的發生，不管是任何可能的拉扯、滾動、變形，具備著某種微型的大地應力樣態。
「土狗」作品將其上述兩種觀看或者聆聽的尺幅進行調配，從中我們可能有機會從大自然環境理解到些什麼。