2019年11月22日

蝸牛樂園 Snail Paradise (2019)



刺繡屏風 300x200cm,食譜,影像
2019, Site-specific installation: videography, embroidery and recipes, dimensions variable
Singapore Biennale 2019 commission (Images courtesy of the SB)

“How to make a snail food?”
這句子是軸心,不僅僅是cook更是make,去進行一個製圖(mapping)工作;審視與逆返非洲大蝸牛的遷徙途徑,試圖描繪出牠們的生態歷史的大航海時代。

非洲大蝸牛原生於東非,1933年日本殖民政府官員從新加坡引進臺灣發展食用養殖。這雨後會出現在路邊的生物,在相近的時期分別侵入夏威夷群島、印尼、北婆羅洲、馬來半島等地。這些地區共同經驗了帝國傳播拖曳的痕跡,轉化出了不同的自我文化的發展。

蝸牛成為探討介面,去思考各地方文化的混雜性;啟航至作為轉運站的新加坡,與當地藝術家合作,探索蝸牛作為各種食譜成分的態度,成就一個研究進程不斷累積的食景圖譜。

 又該如何思考食景地圖的繪製?「Map」詞源於拉丁文「Mappamundi」,原始語意是「將世界繪在布上」。應用台灣原住民族於傳統服上的刺繡方法,以針代筆、以線代墨的針路書寫去探究;而「針路」又指稱為「航道」,蝸牛是這計畫的指南針。


“How to make a snail food?”
This sentence is the axis, not only to cook but more to make, of this mapping project. Reviewing and rewinding the migration route of the Africa Land snail (Achatina fulica), I attempt to portray their Age of Discovery in ecological history.

The Africa Land snail has its origin in East Africa; it was introduced to Taiwan from Singapore by a government official during the Japanese colonial period in 1933 for the purpose of food farming. This creature that appears after rain separately invaded Hawaiian Islands, Indonesia, North Borneo, Malay Peninsula, etc. at similar times. These regions shared the experience of empire’s spreading and dragging, while transformed to one’s own cultural development.

The snail has become a discussion interface to think about the hybridity of local cultures; set sail to Singapore, collaborating with local artists to explore attitudes towards the snail as an ingredient in a range of recipes, and achieve an accumulating map of foodscape during the research process.

How to think about mapping a cookbook? “Map” original came from “Mappamundi” in Latin, which means “draw the world on a cloth.” I will apply the embroidery of Taiwan indigenous  on traditional costume while using needle as pen, sewing as ink to write and to research; As “needle road” implies the “seaway  map,”  snail is the compass in this project. (Most translations by  San-San Liu)


群島資料庫10(與新加坡藝術家ila以及 Kin Chui的訪談與食譜)
NUSANTARA ARCHIVE 10 (Interview with Singaporean artists ila and Kin Chui, and who make the snail recipes)

食譜下載
 Snail recipes download



2019年7月20日

蝸牛樂園-前導篇 Snail Paradise: Preface


2019, 複合媒材,影像3分25秒,三組傳統男子刺繡後敞褲片,尺寸依場地。
展出於「留洋四鏢客」,TKG+,內湖,台北。
2019, mixed media, video 3' 25", 3 traditional men's rear open pants with embroidery, dimensions variable. At “The Middleman, the Backpacker, the Alien Species, and the Time Traveler”, TKG+, Taipei, Taiwan. (Courtesy of TKG+)

當非洲大蝸牛出現在台灣本地熱炒料理“炒螺肉”,成為熱門下酒菜,尤其受台灣原住民族族人的歡迎,甚至納入珍貴的傳統食物裡;牠似乎出乎1933年
引入食用養殖日殖官員的預料之外,且台灣的原生物種構樹葉子能夠輕易地去除牠的黏液。

通過非洲大蝸牛行走遺留的黏液,
逆返審視牠的傳播路徑(台灣→新加坡→東非),探詢它拖曳過的痕跡;先是作為轉運站的新加坡,與對牠原生地非洲的想像,做一「啟航」的宣示。此蝸牛旅程系列「前導篇」,借用了母親家鄉「大鳥部落」(pacavalj)男子傳統服褲片的樣式,設計了與蝸牛料理有關的植物轉為刺繡圖騰,用此形式書寫地方或世界的一段歷史。

It must not have been foreseen that the African snails became a very popular dish usually enjoyed with beer in Taiwanese stir fry restaurants and also a precious traditional dish among indigenous group of people when they were introduced to Taiwan in 1933 by Japanese officials.  
Moreover, leaves of the local common paper mulberry could be used to remove its trail easily.


By the trail left along the way, the artist examines African snail's dissemination route in reverse from Taiwan to Singapore and then back to East Africa. The preface of the journey depicted in this project presents a period of local and international history on embroideries rendering the plants relate to the snail dishes. The patterns are designed by the artist out of male pants from Pacavali, a tribe where the artist's mother originated. (Translated by Chun-Ying Lin)

2018年9月22日

近海之處-拉瓦克三部曲 Ungrounding Land- Ljavek Trilogy

2018, video (for web), 13' 9"
*本影像作品非經作者授權,不得任意轉載與公開播映。
Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.


        一個炙熱的太陽來,他離開了山,再一個白箭光芒的太陽來,又離開了斜坡;勇士失去了他的農場與獵場,來到了近海之處,在惡水邊開出聖潔的百合花。

「拉瓦克」為排灣族語「Ljavek」,意思是「近海之處」,是高雄市區唯一的原住民部落之名;約1950年代因應木業、出口等勞動力,為生存而遷徙的族人們形成的聚落,前方運河於1997年被填平成為中華五路,為「亞洲新灣區」的都市規劃用地,也開始被判定為「佔用戶」後,長達二十年的反迫遷談判與抗爭。

張恩滿與拉瓦克部落雕刻家楊文山(古樂樂・巴拉撒邵)合作,通過楊文山純樸的刻劃欲探討生命本質與時代樣貌,進行一個斷裂文化的自我修復工作,希望共譜下未來願景的序曲。


He left the mountains when a red sun arrived and, when the twelve rays of a white sun came, left their slopes again. Having lost his farmland and hunting ground, this Aboriginal warrior came to a place near the sea, where he blossomed like a graceful lily on the bank of a polluted river. 

Derived from Paiwan language, “Ljavek”, meaning “a place near the sea”, is the name of the only indigenous community in the center of Kaohsiung City. The community was formed in the 1950s to meet a shortage of labor in the timber and export industries by a group of Paiwan people who had no choice but to move to the city for a better life. In 1997, a canal that used to lie in front of the community was filled and turned into Jhonghua 5th Road. The entire area was later repurposed by the local government as land for urban planning and named “Asia New Bay Area”. Since then, when they were determined to be “illegal occupants”, community members have been engaged in anti-eviction negotiations and protests for 20 years.

A collaboration between Yang Wen-Shan, a Ljavek sculptor known as Kuljelje Balasasau in Paiwan language, and Chang En-Man, Yang Wen-Shan’s unpretentious handiwork aims to initiate a self-healing process for a broken culture by exploring the essence of life and the state of the times, in the hope of composing a preliminary vision of the future. ( Translated by: NTMoFA)

2017年11月28日

patiyamay─都市原住民社區雜貨店地圖繪製計畫 patiyamay - Mapping project of Indigenous people's community grocery stores


張恩滿+拔耐‧茹妮老王
複合媒材、印刷品、店家提供物件,依場地大小,2017

隨著台灣海域黑潮主流從東部一波波往北方推送,因勞動移動在基隆城市的原住民已落地生根第三、四代,也長出了地區文化生態的多樣性;透過介紹社區裡的patiyamay(阿美族語,可譯為雜貨店)的交流場所,擴繪出都市原住民的樣貌。

導覽PDF下載
線上地圖


CHANG En-Man + Panai Runie Wang
Mmixed media, printed matter, object, dimensions variable, 2017

Along with the Kuroshio heading to North from the East of Taiwan, the aborigines had rooted in Keelung city for several generations. They have developed the diver- sity of local cultural environment. With introduction of community social place :patiyamay (means grocery store), it depicts the picture of aborigines in city. ( Translated by: Red Sky)

Guide PDF
Google map


2016年11月23日

重如鴻毛 As Heavy as a Feather

影片擷圖 (Aerial Photography Vikung Lalengeang)

重如鴻毛影像裝置,依場地大小,2016
風箏投影13分45秒
主影像,42分48秒
重如鴻毛〈小豆篇〉,29分44秒

「重如鴻毛」典故出自西元前兩百年的中國諺語「重於泰山,輕於鴻毛」,論人們如何看待生存並活出自己的價值;這裡將語意重組,藉由反常的量感,探究渺小的對象其生命的重量,並通過影像描繪出某種抽象的力量,企圖展開別於單一資本體系價值的想像。位於台灣台東的杉原海灣,在阿美族的傳統地名是 fudafudak,為閃閃發光之意,也是緊鄰的小部落的名稱。fudafudak 就如同許多偏鄉地區,面臨青壯人口外流與文化流失等問題;而這個不起眼小村莊的自然生活領域,有許多大型開發案正虎視眈眈的包圍著。跟著從事部落文化重建工作的社會運動者進入部落,藝術家藉由加拿大展覽機會,與族人展開了合作項目;製作與重現傳說中會發出聲響的大風箏,並在其中談及長老兒時記憶中的傳奇走唱藝人 Ngayaw,以及傳唱他的歌。


"As Heavy as a Feather", Video installation, dimensions variable, 2016
Kite, bamboo, canvas, projection: 13’ 45”
“As Heavy as a Feather” Main video: 42' 48"
“As Heavy as a Feather” Chapter: Lin Dou: 29’ 44”

The allusion of “Heavy as a feather” is inspired from a Chinese idiom 200 B.C. ago: “The death may be heavier than Mount Tai but lighter than a feather.”  The original intention is to point out the way people value themselves and live out their lifes with own value in the limited lifetime.
Here the meaning is reconstructed by altering the sentence. From the inverse semantics, the artist tries to explore how people with tiny power value and look at their own lifes. By portraiting a kind of abstract power through video images, the artist intends to expand own imagination besides from a singular capitalism value.
Shanyuan Bay locates in Taitung county of Taiwan, its traditional name in Amis language is called Fudafudak, means “a glittering place”, it is also name of a small neighbourhood tribe. Same as many other remoted townships, Fudafudak is facing problems of outward migration and culture loss. Meantime, the natural living area of this tiny village is coveted by many large investors for land development project. By following social activists who work for native culture re-built, take advantage of opportunity to exhibit in Canada, the artist enters into the tribe and co-work with the natives: to produce and reappear the huge legendary sound kite. The video also features scenes that elders tell the story of legend Ngayaw from their childhood memories and sing the song of Ngayaw. (Translated by: Lucyann Tung)

2016年6月4日

馬賽克傳說─能盛興工廠初探 Legend of Pixelated - Preliminary research of Neng-Sheng-Xing Factory


Video, 21’ 45”, 2016
*本影像作品非經作者授權,不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

能盛興工廠位於台南,是一棟荒廢二十年的三層樓長屋,被一群年輕人整理翻修,成為他們實踐某些理想的基地,並對外開放做多元活動的場所。而空間與人密不可分,或因人而成就的空間是一個接一個的過渡,持續進行的有機狀態航向某個夢土,或心所嚮往的:烏托邦。

藝術家在能盛興工廠短期進駐的一個月裡製作影片,採訪女性成員們描述她們最喜愛的地方,穿插男性口白以一位虛構人物作串場。藉由身體實踐力十足的能盛興工廠成員,以及所連結的社群,淺談台灣近代藝術的發展脈絡,並對所謂的藝術圈做反身性思考。

Neng-Sheng-Xing Factory is located in Tainan, Taiwan. It’s used to be an abundant 3 levels building over than 20 years, now it’s not only a base of dream, but also a place with multi-activities to public after a group of young people refurbished it. The relationship between space and human is strongly related, a space formed by people are the continuously transitions. These transitions are leading with the organic status to a land of dreams or we can interpret it in a more specific definition: Utopia.

The female members described their favorite places when the artists filmed the interviews during the one-month term residency at Neng-Sheng-Xing Factory, they also mixed a male narration as imaginary character in the film. This video is trying to present the development and history of Taiwan Modern Art and offering a reflexivity thought to art circles by the team members of Neng-Sheng-Xing Factory’s practice force.  (Translator: Daphne San)

2015年8月8日

快樂山 Happy Mountain



雙頻道影像,18分25秒,2015
*本影像作品非經作者授權,不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

在台灣東北角濱海公路某個隱匿入口,是地圖上找不到的快樂山,那兒居住著一群阿美族(Amis/Pangcah)老人,坐山面海的居住環境,有著絕佳的天然資源。他們上山採野菜、下海撈漁獲,且依著山坡道,用鐵皮或廢料板材搭出拼湊風格的各式建物,過著自給自足並互相照顧的生活近三十年。

城市外圍有許多像這樣的都市原住民部落,遷徙而來的成因絕大部分是因應早期城市建設,從花東地區而來的大批廉價勞動人力。這群離鄉背井的人們,在離工作就近處,聞嗅到像家鄉的地方,像是依循祖先的生存智慧,就這麼一個招喚著一個,群居了起來。而當台灣進入現代化後,土地已不是讓人可當過客暫駐的地方,而是成為國家財產或資本商品,那些逐水草而群居的天性就成了非法的賤民;快樂山的居民全部被提告「侵佔國土」,即將面對流離失所的命題。

從外部看來,那兒有著人與自然和諧相處的空間,自力更生的開拓美學,呈現出某種烏托邦的雛型,令人欽羨與嚮往。藝術家隨著事件,初步的進入村落,在詭譎多變的政治氛圍中縮時攝影24小時的取高風景,並在拍攝途中自拍自問自答,試圖尋找傳說中的美麗玻璃屋,並經驗著地方從內到外,像是地圖繪製的等高線,擴出一圈圈對「家」的探索取徑。



Happy Mountain, Video, Dual channel, 18' 25", installations, dimensions variable, 2015

The Happy Mountain is, by all practical accounts, invisible. Located around a seaside highway in northeast Taiwan, Happy Mountain doesn't have any visible mapping points. The people who live there are primarily elders of Amis (Pangcah), cohabiting with the natural environment and sustainably living off the rich resources found between the sea and mountains. They subsist off collecting wild vegetables and seafood, as well as building different types homes by collecting recycled construction materials for the last thirty years.

In Taiwan, many of the urban indigenous tribes are dotted around suburban areas of cities. The typical reason they came to live in these suburban areas —away from their hometowns such as Hualien and Taitung— was to make a better living wage as manual laborers, namely off of the early boom in urban construction. Due to nostalgia and  homesickness, these laborers gradually started to gather, one by one, in Happy Mountain due to its geographical similarity with their hometowns.

This type of movement is not unlike how their ancestors began to gather and live together in the past, forced on by the continued development of their country by outside occupation. After those major early develops waned in Taiwan, the land was no longer seen as belonging to these migrant laborers. Instead, the land came into the possession of the government and became just another piece of capital. Therefore, these laborers have now been deemed illegal occupants, treated without the proper respect, for their sacrifices and years of hard work for the collective good of Taiwan. As it stands today, every resident who make The Happy Mountain their home are being accused of illegally occupying National property and face losing the place they worked so hard to call home.

From the outside looking in, Happy Mountain seems like a utopian space, complete with a rare balance found in other parts of Taiwan, that being a harmony and peace within the dedication to sustainability. If anything, the hard work of these people have made it more attractive to outsiders, who now envy and look forward to living there.

En Man's entry into this space was to simply explore this area, soon finding a mysterious  house of glass abandoned on the high point of mountain, shrouded within a foggy political atmosphere. En Man uses this kind of loose exploration in order to gradually and unpretentiously build experiences tied to this mountain area and, in so doing, try to recognize and understand the process of mapping from outside to inside, as if looking for the path to some form of hometown.

Translated by : Wen-Li Chen & Darren Tesar

2015年5月11日

「半路夜食譜─施工中」Halfway Night Recipes-Construction continued


計畫型創作,裝置,依場地,2015
「半路夜食譜─施工中」網站 http://halfwaynightrecipes.blogspot.tw/ 

背景簡介
2008年野草莓運動後,在廣場相識的一群人在2009年以共營、開放、實驗的模式經營「直走咖啡」,以空間做為組織,開展想像,建立具有意識並且有行動力的社群。2012年「直走」歇業;在陌生咖啡店的沙發窩裡、在街頭上流離的,既有與新的個體們相遇,重塑彼此,於是2014年「半路咖啡」上路了。

作為另一個新計畫和全新的聚合,試圖讓更多失去方向、語言的人都可以在「半路」找到自己的位置;延續對於公共性的創造,「半路」以國家為喻,發展了四條具政治企圖的路線:貨幣、互助牆、菜園與夜食堂。

其中夜食堂更發展出店中店(國中國)的、個人/地方的自治版圖實踐,週期有固定的人或團體,烹調出屬於自身背景與經驗的供餐;在這裡,食物是理念的傳遞,食物作為一個連結介面,啟動任何發生的可能,甚至是革命,並揭示我們關於生存如何選擇的價值。

《半路夜食譜》出版計畫
張恩滿受半路的魅力所吸引,於是探尋並試著提案;先以短駐概念進入空間與社群,採訪夜食堂大廚們做整理編排,初步出版〈半路夜食譜-試刊〉,並執行出版計畫系列活動。試圖從料理的前端進入,去理解一個人或群體的生活態度與知識經驗,進而背後的養成文化與政治立場,並將這個網絡拼湊起來,描繪出一個社群意識,甚至是集體意識的烏托邦。

施工者:張恩滿+半路咖啡
參與展覽:《食物箴言:思想與食物》


Halfway Night Recipes --- TRIAL ISSUE
Project-Oriented, Installation, 2015

About Halfway Night
In 2008, a group of people got to know each other on the occasion of Wild Strawberries Movement. In 2009, they collaborated to run the Go Straight Café as an experimental and open space for the purpose of organizing a community and taking actions. 2012, Go Straight Café closed down. Since then, individuals drifted from one café to another, sitting on unfamiliar sofas till they met each other again. In 2014, Halfway Café hit the road.

Halfway Café is a project as well as a platform for those who lost in directions or languages finding their own place. In order to continue creating publicness, Halfway made an analogy of itself and a country and develops four political routes: currency, mutual aids wall, farming and night canteen. 

Above all, Halfway Night Canteen bases on a concept of “a store with another store”(a country inside another country) and puts individual/public self-governance into practice. From Monday to Sunday, a chef of each day cooks thematic meals related to their background in-store. Here, food is a medium for delivering beliefs. It can activate any possibilities and even revolutions. It discloses values that we choose to survive.     

a publishing project
En Maan Chang was fascinated by Halfway. She explored the proposed a collaboration. Firstly, she became resident-chef in Halfway Night canteen and got to know the community and the space better. She lately interviewed night canteen chefs and edited it for publishing a trial issue of Halfway Night Recipes in order to understand an individual/collective’s attitude, knowledge, experiences as well as the culture and political position behind. Her intention was to picture a networking and portray a community conscious and even a collective consciousness of utopia. 

CHANG En Man + HalfwayCafé

Halfway Night Recipes - Construction continued

2014年10月11日

台灣原住民獵槍除罪化 Decriminalization of Taiwanese Indigenous Hunting Rifles


2014,影像,31分40秒 
*本影像作品非經作者授權,不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

「除罪化」意指將一個原本是犯罪的行為規定為非犯罪;反之將一個原本不是犯罪的行為而定義犯罪,稱為「入罪化」。在所謂的文明社會裡,原住民狩獵文化何以成為異文化法制下審視的客體?昔日部落驕傲的獵人,在這個後來的年輕國家的律法下卻成為了罪犯,多元文化的尊重竟是現今經政體難以面對的課題,甚至是守護傳統的人們。

影片透過單一案例採訪映現議題,並佐以案例提供的紀錄影像,以及自撰的口傳故事穿插其中。

2014, video, 31' 40"
The term “decriminalization” refers to a situation where a previously illegal activity or action is designated legal. When legal behavior is suddenly reclassified as illegal, that is called “criminalization.” In a civilized society, how is it that the traditional hunting of indigenous peoples results in them being subject to the legal system of a different culture? In the past, hunters were the pride of the tribe, but they are now labeled criminals by the legal system because the prevailing political-economic system declines to respect cultural diversity. By focusing on one example and creating a work , the artist identifies this phenomenon and highlights the contradictory nature of existing law. ( Translation by TB2014)

2014年5月6日

和平國小祖母綠食譜 Snail food book by Hoping elementary school


祖母綠(cumuli)是阿美族語「蝸牛」的意思,每當下雨過後,或是清晨有露水時,都會看到的從日治時期引進的物種:非洲大蝸牛。而位於台東縣成功鎮的和平國小,是個有著20位學生的迷你學校,鄰近社區以阿美族族群居多,藝術家在短期進駐一個月的期間,便以祖母綠(cumuli)作為主題,與小學生們一起挖掘屬於在地的料理。

駐校紀錄

2014年3月15日

taqetaq


相紙輸出 15x20cm,燈箱 90x65cm2014

「嘿!別那麼匆忙朋友,把你的屁股借放在這裡一回兒」

上面的字句,是排灣族語 taqetaq 的意思,也是指家門前的涼亭或涼台。涼亭/台這種簡單結構的建築,在台灣原住民族的不同族群裡,都有其空間作用與傳統意涵;這樣的非長駐空間,卻有著邀請、分享與交流的功能性。而在現代化的部落社會裡,所延續的建築樣式,呈現了人們的心靈空間。


taqetaq, digital print with lightbox, 15x20cm, 90x65cm, 2014.

"Hey friend, don’t be so rush! Please put your button down, having a seat for a while here!"

The sentence above is the meaning of taqetaq in Payuan, language of Paiwan. Taqetaq is also an arbor made in very simple structure. This kind of architecture for a short time docking contains traditional meaning and functions in different Taiwan indigenous culture. For example, functions of invitation, sharing, or communication. Since in the tribal society, which has been modernized, the form of architecture last now reflects the mental space of people.

--
Translated by :Yi-Cheng Sun
攝影 Photographer: (L) Varanuvan Mavaliw, (S) Kalesekes Ljakadjaljavan.

2013年9月10日

蝸牛料理影音訪談計畫-台9線篇 Snail Dishes Interview Program: Highway No. 9.

《蝸牛料理影音訪談計畫-台九線篇》選取台九線東部南迴段範圍成為主要的探訪取徑,並藉由這個路徑去感受一個社會的地理紋理,試圖尋找出如食物鏈般的連結來描繪這個文化地景。

台九線路段,對許多人來說,除了火車,它就是唯一一條能回家的道路;而蝸牛料理在這條路上,如何去提示生活記憶的味道?如何在這條線/鏈上串聯出與『家』的共同感受?

在這個計畫裡,邀請部落族人以蝸牛為主食材,為我們演繹許多在地料理,通過其中的訪談對話,開啟與介紹不同面向的文化味蕾,繼續的去挖掘或披露生命裡更深層的黏稠關係。

From city to countryside, body is moving along route like a detector. The plan covered the south part of the Provincial Highway No. 9 on the east coast of Taiwan. I tried to find the connections through the route and turned them into depiction of the cultural landscape and social scenes with cuisines and record. Provincial Highway No.9 is the only way to go home in addition to railway. This is also the route I took to explore the island and the cultural identification, while picturing ‘home’ as if a wanderer. In this interview program, I invited the people from the aboriginal village to show the snail dishes. Meantime, I hope to introduce their unique culture and the connections with life via the interviews and conversations.

2013年6月29日

張恩滿│蝸牛樂園 Snail Paradise mapping by CHANG En-Man


台灣境內的蝸牛至少有兩百多種,而非洲大蝸牛這個外來物種,卻啟動了藝術家對這塊島土與身分認同的探尋旅程,它體內不斷分泌的黏液,在行走的途中留下痕跡,移動與書寫出一張張的心靈地圖;藉由回訪路徑去感受一個社會的地理紋理,企圖尋找出如食物鏈般的連結來描繪這個文化地景,繼續的去挖掘或披露生命裡更深層的黏稠關係。

歡迎光臨蝸牛樂園!

展場紀錄 Exhibition image record

Over two hundred kinds of snails exist in Taiwan, but the giant African snail, an alien species, triggered the artist to embark on a journey in exploring her self identity and geographical identification. Snails constantly secrete mucus, leaving traces wherever they move, allowing them to draw various mind maps through their specific mobility. By the returning visits to the aboriginal tribes and experiencing the social geographical texture of the locale, the artist attempts at mapping the complex food chain-like interconnections of the locality in order to portray its cultural landscape, and continues to unearth and disclose the deeper and viscous relationships in life.

Welcome to Snail Paradise!
--
Translated by : OCAC

2012年11月22日

競技場 Arena


2012年,影像,7' 51"
*本影像作品非經作者授權,不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

因為一部泰拳練習場紀錄片的引發,去進行一個探訪原住民部落的拳擊練習場的對話影像。像是藉由兩個地點的聯繫而進行的旅程,去簡單繪製一個社會的地理景觀;而競技場在某種­意義上來說像是個舞台,上演的是如何選擇生存的現實,想揭示的內容或隱或現,去等待似乎可想像的後續鋪陳。

"Arena", 2012, Video, 7' 51"
These are images from a documentary film of a Thai-boxing practice arena in Ching-Mai, forming dialogues to a boxing practice rink in an aboriginal tribe located at the foot of a mountain in southern Taiwan. Through the connection of the two locations, a simple social geographical spectacle is thus delineated. The boxing arenas are in a sense like performance stages, whereupon the live show we witness reflects the reality of survival and the audience becomes the authoritative viewers, offering the narrative and characters of the story fictional and realistic qualities.

網路公播活動 Facebook Premiere
https://www.facebook.com/events/520761247942664/


2012年10月6日

seeing@SiteLay 72影像創作工作坊發表展


seeing,是我們每日生活中的觀看行為,SiteLay 作為閩南語『西螺』的發音;site 的字義為地方、所在地或一特殊場域,lay 有放置、陳設或形容外行與世俗的意味。一些人群聚在這裡,他們大部分不是專業創作者的在地人仕,卻願意嘗試與挑戰這樣的影像創作計畫。在這裡,透過數位媒介的操作,去詮釋每位參展者所關注的,在所處相同的時空與熟悉的生活片斷中發掘觀點,拼湊出共同記憶裡的文化線索,運用不同觀看的角度,同構共鳴於光影書寫背後的知面,希望進行一種原初的、當下對攝影的認知,去直覺性展現參展者的視界、與我們分享的『觀看』。

誠如《觀看的實踐》一書指出「觀看」是一種實踐;而觀看的實踐表現在於「觀看是主動為這個世界製造意義」。

展場紀錄 Exhibition image record