2021年10月14日

園區/生活・家屋/蝸牛 Cultural Park / Life・Traditional Dwelling / Snail




園區/生活・家屋/蝸牛(2021)彩色單頻道影片,8分7秒(現地製作)
 "Cultural Park / Life・Traditional Dwelling / Snail "(2021) , video, 8"7'  (made in situ).

張恩滿+Sedjam Takivan Kavunga
駐園計劃(攝影芮斯影像,原住民族文化發展中心提供)
En-Man Chang+Sedjam Takivan Kavunga
Residency Program, image courtesy of the
Indigenous Peoples Cultural Development Center (Taiwan), photo by ReMix. )

台灣原住民族文化園區作為匯集島內正名16族族群文化展示與推廣的場域,在諾大半山園打造一棟棟各個部落的傳統建築與家屋。短期進駐的藝術家如何去思考與空間的關係?身為溯源血脈的一員,在對空間感到陌生與距離的實在感受下,邀請擁有老人靈魂的排灣族文化青年Sedjam Takivan Kavunga(漢名林志祥,台東pacavalj部落)合作,實際生活在園區,於完美建物裡呈現某種開墾狀態;他熟嫻各項傳統文化與知識,我以蝸牛系列創作為介面,在擬態的場所棲居活動,討論傳統意義中的日常,實踐家屋意象與時空場景的縫合。

當裊裊炊煙升起,代表人/生命在建物裡活動,是傳統意義上重要的生活象徵,以生活的痕跡去呈現空間性的轉換。Sedjam在模擬的傳統家屋開啟的日常生活,展演期間他也不時出現於展場/家屋,與〈蝸牛〉系列展開對話。

The Taiwan Indigenous Peoples Cultural Park, as a venue for the exhibition and promotion of the cultures of the 16 ethnic groups on the island, has created a series of traditional buildings and houses of each tribe in the vast Mid-Levels Park. How do short-term artists think about relationship with the space? As a member of the traceability lineage, I invited Sedjam Takivan Kavunga (Chinese name Lin Chih Hsiang, Taitung pacavalj tribe), a young Paiwanese cultural youth who possesses the soul of an old man, to collaborate with me, as I actually live in the park, and present a certain kind of reclamation state in the perfect building; he is well versed in various traditional cultures and knowledge, and I have used the Snail series as an interface for inhabiting and moving about in an imaginary place, discussing everyday life in the traditional sense, and practicing the seamlessness between the imagery of the house and the spatial and temporal scenes in the imagery of the house.

When the smoke rises, it represents the movement of life in the building, an important symbol of life in the traditional sense, and the traces of life are used to present the transformation of spatiality. Sedjam's daily life in the simulated traditional house, and his frequent appearances in the exhibition venue/house during the exhibition, are a dialogue with the "Snails" series.

2021年7月16日

蝸牛樂園三部曲-啟航或終章 Snail Paradise Trilogy: Setting Sail or Final Chapter


高雄市立美術館提供,攝影林宏龍 Courtesy of the KMFA

2021, 花船彩繪 50x100x400cm,單頻道錄像 14分35秒,刺繡含框16cmx16cmx2cmX9組。展出於2021年《泛.南.島藝術祭》,高雄市立美術館。2021, Flower boat painting 50x100x400cm, video 14 "35', embroidery with frame 16cmx16cmx2cmX9 sets. At 2021 "Pan-Austro-Nesian Arts Festival", Kaohsiung Museum of Fine Ars.

英國植物學家約瑟夫.班克斯爵士(Sir Joseph Banks,1743-1820)隨著庫克船長展開殖民探勘的冒險旅程,每趟歸國都帶回豐碩採集成果,成就皇家植物園的奇遊景觀。大航海時代開啟了各地物種的大交換,也造就疾病與生存競爭的紛擾。原生於東非的非洲大蝸牛隨著洋流擴展,成為世界百大入侵物種;回溯牠的散播途徑,恰似帝國擴張的路徑;1933年日本殖民政府官員從新加坡引進臺灣發展食用養殖,牠難以處理的黏液,台灣原生種構樹的葉子卻能輕易去除,而構樹是科學家以它的基因佐證台灣是南島語族的起源,南島語系最西的馬達加斯加又鄰近東非-非洲大蝸牛的起源地。這來來回回的交錯在歷史疊層裡,再從族人的蝸牛料理相關的食材植物們,感受到錯綜複雜的交流網絡,將一路認識的它們轉為刺繡圖騰,試圖留下給未來的「傳統」採樣。我想攜帶與蝸牛料理相關植物的圖案,像是要去為蝸牛尋根,航向「人類起源非洲說」的想像去吟唱。


With Captain Cook, Sir Joseph Banks (1743-1820) embarked on a colonial exploration adventure, bringing back fruitful collections on each return trip and making the Royal Botanic Gardens a wondrous sight. The age of great voyages opened up a great exchange of species from all over the world, but also created the disturbance of disease and competition for survival. The African snail, native to East Africa, expanded with ocean currents and became one of the top 100 invasive species in the world; its dispersal path was similar to the path of imperial expansion; in 1933, Japanese colonial government officials introduced it from Singapore to Taiwan to develop food farming, and its difficult to handle mucus was easily removed by the leaves of Taiwan's native species, the structural tree, and scientists used its genes to prove that Taiwan is the origin of the South Island language group, and the South Island The westernmost part of the South Island language family, Madagascar, is near the origin of the East African snails. In this back-and-forth history, we can feel the intricate network of communication through the snail cooking-related ingredients and plants of the tribe, and turn them into embroidery totems, trying to leave a sample of "tradition" for the future. I want to carry the patterns of plants related to snail cuisine, as if I were going to search for the roots of snails and sing to the imagination of the "African origin of mankind".

影像截圖 Screenshots