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| 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)
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| Photo by Centre A |
《重如鴻毛》張恩滿個展，2016
2016.11.12-2017.2.11展覽合作計畫於 Centre A，溫哥華，加拿大
策展人：泰勒‧羅素、原万希子
- 竹製布面風箏300x300cm，投影影像13分45秒
- 主影像，42分48秒
- 〈小豆篇〉，30分8秒
- 實驗編輯站：割字，相關出版物、文稿，筆記型電腦 21x28cm
“As Heavy As a Feather” CHANG En Man Solo Exhibition
Nov 12, 2016 – Feb 11, 2017
Curated by Makiko Hara and Tyler Russell
- Kite, bamboo, canvas, 300x300cm, projection: 13’ 45”
- Main video: 42' 48"
- "Chapter: Lin Dou": 30’ 08”
- Editorial Laboratory: cutting, related publications, manuscripts, notebooks 21x28cm
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| 竹製布面風箏300x300cm，投影影像13分45秒 |
前提是2016年八月參訪加拿大原住民相關社區與藝文社群，以及本次展覽而啟動的作品樣貌；投影內容為加拿大B.C省與台灣台東的風景融合，溢出風箏布面上的投影便讓它散佈在空間中。
主影像為莿桐部落製作風箏的紀錄，以及吟唱 Ngayaw的歌並追加編寫應答歌詞 。在部落消失了四十年的風箏鳴聲再度響起，傳統八角風箏連結了區域性的傳說故事；而50年代在東部海岸一代走唱賣藝的矮小Ngayaw，其悲苦的命運象徵著一個被壓迫的時代角色。而這兩件事情同樣都是長輩們小時候記憶的事，同時也憶起了一些童年趣事，比如談及跟他們一起生活的中國老兵。
2016, 《重如鴻毛》主影像，42分48秒
“As Heavy as a Feather”, Main film: 42' 48"
＊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.
The kite, scenery will be projected on the octagon shaped fabric surface - projections cut by the octagon will be left to distribute into the space.
The main video, documenting the making of the kite at the Fudafudak tribe in Taitung, and sing the song of Ngayaw.
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| Photo by Centre A |
展覽第二部分：〈小豆篇〉影像 + 實驗編輯站
〈小豆篇〉為訪談長期從事原住民社區工作的社會運動者林小豆。先是談論她近身跟隨前輩拔耐‧茹妮老王工作時的觀察與共同經歷；在著名的美麗灣事件後，來自莿桐的拔耐，如何從抗爭過程加劇與族人撕裂的關係中，再回到部落的艱辛過程，並以社區營造作為介面，從事一場漫長且溫柔的改革運動。也經由林小豆的漢人身分，為我們提示更細緻的原漢關係討論，甚至思考某種程度的解殖在日常生活實踐中。內容以篇章結構編輯如下：
- 前言 來自夢境的牽引
- 篇一 返鄉不僅情怯
- 篇二 我要給妳五百萬 (巴掌)
- 篇三 更超越了A跟 B之間的產物 C
- 篇四 他鄉是故鄉─祖靈名單裡的中國老兵
- 小結 欲乘著風箏而去
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| 〈小豆篇〉，30分8秒。實驗編輯站：割字，相關出版物、文稿，筆記型電腦 21x28cm。 |
「實驗編輯站」牆面有簡單的展覽說明與藝術家相關系列作品介紹，以及「實驗編輯站」的說明。在此站陳列了從這個展覽延伸出的相關出版物：從〈小豆篇〉影像延伸出林小豆幾本參與及製作的出版物，像是都市原住民勞工的"老照片說故事"系列，其中她帶領的青年們，以2013年作品《蝸牛料理影音訪談計畫－台9線篇》作為靈感開啟，自發出版了一本更細緻的《INA的味道：太平洋社區都市原住民世代食譜書》，開始連結到藝術家曾經參與及製作的計畫出版物例如「半路夜食譜-試刊」以及相關評論；如陳譽仁的〈「唯我一人脫逃，來與你報信」--張恩滿的【台灣原住民獵槍除罪化】〉英文版；邀請了吳鼎武‧瓦歷斯所撰寫的〈將傳統圖騰轉化為後殖民主義的反攻號角之解讀 當代原住民新藝術繪畫的幽靈--- 勞倫斯･保羅･約克斯威路普頓〉則與之加拿大參訪經驗有關聯。
「實驗編輯站」作一個引發觀者去做串聯脈絡思考的範例，桌面留下「給觀眾的信」供拿取，上面寫著邀請並反饋給藝術家，以及繼續討論與編寫共享視野的可能性，去深化這趟展覽計畫的交流意義。
The second area: "Chapter: Lin Dou" video + Editorial Laboratory
The "Chapter: Lin Dou" is an interview with Chang's friend, a young non-indigenous female social worker engaged in indigenous rights activism.
Video's content:
This “Editorial Laboratory” is an invitation to open up an inter-cultural dialogue. The artist wishes to invite the participation of anyone who has something to contribute: suggestions from their own experience, thoughts on important social movements, art projects, exhibitions, or recommended readings that may be relevant to the topics you see explored here. (The section text by Centre A)
展覽第三部分：邀請藝術家林安琪
從「實驗編輯站」延伸暗示後面的展間有展覽的第三部分，為藝術家林安琪訪談張恩滿，並擷取一些句子翻譯成英文，轉為一件影像的作品：〈一杯紅酒: 林安琪與張恩滿的對話〉。
The third area: Invite artists Anchi Lin, "A Glass of Wine: Excerpts from an hour conversation between Anchi and En-Man" (work in progress), Video, 6 mins, 2016
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2017.1.21-4.9 「危觀風景—原住民族文化與空間部署」，國立台灣美術館，台中
"Landscape of Crisis – Indigenous Cultures and Dispositif of Modern Space", National Taiwan Museum of Fine Arts, Taichung. (photo by NTMOFA)
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2017.7.7-8.26《重如鴻毛》張恩滿個展，台灣書院，洛杉磯，美國
"As Heavy as a Feather" by Chang En Man, Taiwan Academy in Los Angeles, United States.
(photo by Wenli Tesar )
邀請對話展出美國西部博物館特展《Standing Rock: Art and Solidarity》中的錄像作品《We Are in Crisis》，呈現美國原住民藝術家參與達科他油管(Dakota Pipeline)抗爭運動；以及美國原住民記者Mark Anthony Rolo製作的紀錄片《A Seat at the Drum》，描繪從印地安保留區遷徙到洛杉磯的原住民生活與故事。
To establish a bond and a conversation with the local indigenous communities, as well as current topics surrounding land use and cultural sustainability here in the United States, the exhibition also feathers ”A Seat at the Drum” by American native journalist Mark Anthony Rolo, and a video art piece “We are in Crisis” by the Winter Count Collective from the Autry Museum’s "Standing Rock: Art and Solidarity".
invite:
Mark Anthony Rolo, "A Seat at the Drum", 87 min, 2006
Winter Count, "we are in Crisis", 3 min, 2016
Video's content:
- Introduction: Under The Guidance Of A Dream
- Passage One: Coming Home Is Not Only Sentimental, But Vulnerable
- Passage Two: A Five Million Dollar Slap
- Passage Three: Surpassing C, the outcome of A and B
- Passage Four: Home Away Home - The Chinese Veterans Amidst Amis Ancestral Spirits
- Summary: Longing For The Journey With The Kite
This “Editorial Laboratory” is an invitation to open up an inter-cultural dialogue. The artist wishes to invite the participation of anyone who has something to contribute: suggestions from their own experience, thoughts on important social movements, art projects, exhibitions, or recommended readings that may be relevant to the topics you see explored here. (The section text by Centre A)
從「實驗編輯站」延伸暗示後面的展間有展覽的第三部分，為藝術家林安琪訪談張恩滿，並擷取一些句子翻譯成英文，轉為一件影像的作品：〈一杯紅酒: 林安琪與張恩滿的對話〉。
The third area: Invite artists Anchi Lin, "A Glass of Wine: Excerpts from an hour conversation between Anchi and En-Man" (work in progress), Video, 6 mins, 2016
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| 〈一杯紅酒: 林安琪與張恩滿的對話 〉(進行式)，影像，6分，2016 (Photo by Centre A) |
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2017.1.21-4.9 「危觀風景—原住民族文化與空間部署」，國立台灣美術館，台中
"Landscape of Crisis – Indigenous Cultures and Dispositif of Modern Space", National Taiwan Museum of Fine Arts, Taichung. (photo by NTMOFA)
"As Heavy as a Feather" by Chang En Man, Taiwan Academy in Los Angeles, United States.
(photo by Wenli Tesar )
To establish a bond and a conversation with the local indigenous communities, as well as current topics surrounding land use and cultural sustainability here in the United States, the exhibition also feathers ”A Seat at the Drum” by American native journalist Mark Anthony Rolo, and a video art piece “We are in Crisis” by the Winter Count Collective from the Autry Museum’s "Standing Rock: Art and Solidarity".
invite:
Mark Anthony Rolo, "A Seat at the Drum", 87 min, 2006
Winter Count, "we are in Crisis", 3 min, 2016
〈小豆篇〉影像 + 實驗編輯站
The second area: "Chapter: Lin Dou" video + Editorial Laboratory
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