An art village hops aboard
Huang Ching-ho's pioneering idea of renting a railroad warehouse as a studio made a big impression on Hung Meng-chi, then director of the cultural affairs department in the Taiwan Provincial Government. The railroad art project was born soon afterward.
Art villages began to sprout in Taiwan when, following a decade of discussion, it was announced in 1990 that construction of the Mt. Chiuchiu Art Village project would be halted, and the Council for Cultural Affairs decided to turn a single big art village into many small ones. Shortly afterward, in June of 1990, Stock 20 was opened as the first station in what would gradually become Taiwan's railroad art network, which currently comprises Chiayi, Fangliao, Taitung and Hsinchu.
At the end of last year, Chiayi's Railroad Art Center organized a "Black Gold Festival" to commemorate the city's history as Taiwan's largest coal depot. Featuring contemporary art, works created by local people, music, films, and numerous events, the festival publicized the work of Chiayi's Railroad Art Center and raised the city's artistic visibility.
Fangliao's F3 Art Center is the most atypical of Taiwan's family of railroad art centers, both in character and spatial layout. A large mosaic greets train passengers on the platform, and along the rail track sculptures create a captivating effect. Fangliao was once the busy southern terminus of the north-south railroad. After the Southern Link Line was opened in 1991, Fangliao lost its position as a transportation hub.
Next to the train station more than 50 dwellings and cabins that had originally been used as living quarters and storage rooms by maintenance engineers and workmen on the Southern Link Line fell into disuse. Fortunately, a local history association, a bird-watching society, and other organizations leased the premises from the Taiwan Railway Administration at a low rent and proceeded to move in. After local people began to gather here in large numbers, the "Fangliao Good Life Society" was established to promote artistic and literary events in the community. A resounding success, in 1998 the site was voted a national model for the improvement of urban landscapes.
Having directed all its energies toward promoting art education, the Fangliao Good Life Society also plans to rent as yet unoccupied lodgings to artists who will turn them into studios. Unlike the huge railroad warehouses at the vanguard of Taiwanese art, small residential spaces attract artists specializing in stone, wood and copper carving, paper and leather engraving, prints, spatial design, mosaics, and other art forms close to the pulse of life. Financial assistance to defray all expenses has enabled local art wizards to give a completely new face to every workroom and to create community of artists with the allure of a European village.
Who runs the village?
In principle, an art village ought to be run by a group of artists capable of endowing it with an artistic character of its own. Unlike art villages overseas, which rely on private donations, national foundations, private enterprises, local governments, and investment revenue, Taiwan's railroad art centers depend on financial assistance from the government. Fangliao's F3 Art Center is an exception in this respect, but for most art centers government support also entails certain restraints on their freedom of action. Since the railroad art centers are open to everyone, they play a major role as educators and community builders.
Many artists lament that our art villages resemble cultural centers or "literature and history workshops" in which precious little "pure art" is found, but local people see things differently. When an art consulting company took over the management of Stock 20, the exhibits it put on got consistently good reviews, but people living near the gallery were wary of dropping in to see what was inside, thinking that it was yet another deserted building.
Monica Tsai, head of Grace Studio, which took over the management of Stock 20 earlier this year, says: "This place will be a forum for communication between artists and the local community."
The first exhibit, Taokao Labor--Industrial Kaohsiung, included a work by blue-collar artist Liu Ting-tsang, who welded together scrap metal from old motorbikes to create sculptures of giant mosquitoes and bicycles, which attracted children from the local community to touch and ride them to their hearts' content. Chen Chih-sun says, "To my mind, the railroad 'art' network ought to be called a 'culture' network." In his view, given the current level of art and literature in Taiwan, art villages ought to open their doors more widely to ordinary people.
On Saturday and Sunday afternoons, small parties of stylish youngsters can be found in Stock 20's coffee shop, and old men in T-shirts stroll with their grandchildren around the exhibits. Sometimes, groups of soldiers garrisoned in Taichung also flock to the gallery.
Most people feel that they have to dress up to enjoy art in traditional municipal galleries, and they have to make a special trip to get to them.
But railroad art centers are bustling with life and allow people to experience cultural and artistic events in a natural and unplanned way. Art has been confined to museums and temples for too long: let it hop on a train and be carried from station to station around Taiwan!