有好吃的東西，就有好的文化；有好的文化，就有好的照片。

入圍理由 Reason for Nomination

陳伯義的創作，將其水利、攝影兩項專業結合並用，從他年初於海馬迴光畫廊「莫拉克－陳伯義個展」，到關渡美術館邀請的跨年個展；前者展出內容包括莫拉克風災於高雄市那瑪夏區南沙魯部落地貌造成不可復的毀壞，除了像一幅抽象畫般，在鏡頭前宛若謐境的災後「風景」，陳伯義同時以文獻呈現他多年以來在南沙魯的田野調查資料，透過他的水利專業與有如廢墟中靜物寫生的影像，讓觀眾了解這是一場由人禍加持的天災。於關美館個展中他首度呈現多年前累積的田調工作：「紅毛港遷村實錄」，除了文獻之外他更進一步的處理物件，以宛如博物館的視覺，展陳在那裡曾經有一群人世代存活的證據。藝術家以創作作為一種社會實踐的殷懇及其自我邊界的躍進，讓人感動。提名觀察人 ─ 胡永芬

CHEN Po-I’s combines his expertise in hydraulic engineering and photography for his solo exhibition “Morakot” at Fotoaura Institute of Photography in Tainan earlier in the year, as well as the new year invitation exhibition at Kuandu Museum of Fine Arts. The former showcases the irreversible damage on landscapes at Nansalu tribal village in Namasia Township brought by Morakot typhoon; in addition to the disaster-hit “sceneries” that appear through the camera as abstract paintings, Chen also presented the documents of his field studies over the years in Nansalu. Through his knowledge in hydraulic engineering and the still-life images of the objects in the ruins, Chen shows the audience how this disaster is also the result of human mistakes. In Kuandu Museum of Fine Arts, Chen, for the first time, exhibits his field studies accumulated over the years: “Chronicles of Hongmaogong Relocation Program”. In addition to documents, Chen takes a step further and deals with objects; by adopting a visual perspective of museum, Chen conveys the evidences of a generation of people living in the area. It is very touching to see an artist uses creation as a way of sincere social practice and self-reinvention. Nominators: HU Yung-Fen