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現地創作｜參展者
Artists
仲地研二 X 水谷篤司 Kenji Nakachi & Atsushi Mizutani
《浮於港灣的山水》
Floating Landscape in the Harbor
創作材料 Material：回收廢鐵 Recycled Scrap Metal
年代 Year：2026
以高雄港灣為創作起點，透過回收廢棄鋼材重新構築城市地景，將港口、山脈、天際線、橋梁、船舶與起重機等象徵高雄發展的重要元素，轉化為介於雕塑、空間與風景之間的立體作品。
藝術家將不同地景記憶解構、重組，以抽象的線性構成重新詮釋高雄的城市意象。採用切割鋼板、角鐵、鋼管及廢棄金屬零件，保留鏽蝕、焊接與時間留下的痕跡，使曾經支撐港口建設與產業發展的鋼鐵，從功能性材料轉化為承載城市記憶的藝術媒介。開放式結構則讓光線、天空、海洋與遠方山景穿透其中，觀者隨著移動，港灣、建築與山巒在雕塑框架中交錯重疊，形成如水墨山水般層層遞進的景深。
《浮於港灣的山水》將高雄的港灣工業景觀視為一種「當代山水」：起重機如群山起伏，船舶航道如河流延展，城市建築與港區設施共同構成高雄獨有的現代地景。藉由東方山水美學與當代雕塑語言的交會，邀請觀者重新觀看這座港灣城市，思考工業、自然、城市記憶與未來之間的關係。
Taking Kaohsiung Harbor as its point of departure, the work reconstructs the urban landscape through reclaimed scrap steel. Elements that have shaped Kaohsiung’s development—including the harbor, mountains, skyline, bridges, ships, and cranes—are transformed into a three-dimensional work situated between sculpture, space, and landscape.
The artists deconstruct and reassemble memories of different landscapes, reinterpreting Kaohsiung’s urban imagery through abstract linear forms. Cut steel plates, angle iron, steel pipes, and discarded metal components retain traces of rust, welding, and the passage of time. Steel that once supported the development of the harbor and its industries is transformed from functional material into an artistic medium that carries the city’s memories. The open structure allows light, sky, sea, and distant mountains to pass through. As viewers move around the work, the harbor, architecture, and mountains overlap within its sculptural framework, creating layers of spatial depth reminiscent of traditional ink landscape painting.
"Landscape Floating in the Harbor" presents Kaohsiung’s industrial harbor landscape as a form of “contemporary shanshui”: cranes rise and fall like mountain ranges, shipping routes extend like rivers, while urban architecture and harbor facilities together form a modern landscape unique to Kaohsiung. Bringing together the aesthetics of East Asian shanshui and the language of contemporary sculpture, the work invites viewers to see this harbor city anew and to reflect on the relationships between industry, nature, urban memory, and the future.
仲地研二 Kenji Nakachi
1970 年生於日本沖繩。1993 年開始藝術創作，長期以金屬為主要媒材。早年於東京從事木作建具製作並學習鋼鐵鍛造，2000 年移居沖繩後專注於不鏽鋼與金屬加工。2006 年創立設計工作室 LITTAI，創作橫跨雕塑、產品設計、空間裝置及公共藝術。其作品結合工藝技術與當代雕塑思維，探索材料、結構與空間的關係，並以金屬回應自然環境與人文記憶。作品曾於沖繩、東京、紐約等地展出，並參與多項藝術計畫及駐村創作。
水谷篤司 Atsushi Mizutani
1975 年生於日本岐阜縣。畢業於東京造形大學雕塑學系，並取得沖繩縣立藝術大學造形藝術研究所碩士學位。創作以雕塑、裝置與空間感知為核心，長期關注風景、記憶與觀看之間的關係，透過簡潔的造形語彙，探索人與空間、自然與時間的互動。作品曾於臺灣、日本、德國、羅馬尼亞、瑞典、韓國及香港等地展出，並多次參與國際藝術駐村、雕塑展及公共藝術計畫。
Kenji Nakachi
Born in Okinawa, Japan, in 1970, Kenji Nakachi began his artistic practice in 1993, working primarily with metal. After working in traditional wood joinery and studying metal forging in Tokyo, he moved to Okinawa in 2000, where he focused on stainless steel and metal fabrication. In 2006, he founded the design studio LITTAI, expanding his practice across sculpture, product design, spatial installation, and public art. Combining craftsmanship with contemporary sculptural approaches, his work explores the relationships between material, structure, and space while engaging with the natural environment and cultural memory. His works have been exhibited in Okinawa, Tokyo, New York, and elsewhere, and he has participated in various art projects and artist residencies.
Atsushi Mizutani
Born in Gifu, Japan, in 1975, Atsushi Mizutani studied sculpture at Tokyo Zokei University and received his MFA from Okinawa Prefectural University of Arts. Working primarily in sculpture and installation, his practice explores spatial perception and the relationships between landscape, memory, and ways of seeing. Through a concise visual language, he examines the interactions between people and space, nature and time. His works have been exhibited in Taiwan, Japan, Germany, Romania, Sweden, South Korea, and Hong Kong, and he has participated in numerous international artist residencies, sculpture exhibitions, and public art projects.
