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.

進駐期間2022年9月

2021.10.15-2022.2.27展出於《我們與未來的距離─台灣原住民當代藝術展》
展演空間於原住民族文化園區，阿禮家屋
展出清單：

1. 園區／生活・家屋／蝸牛（2021）彩色單頻道影片，8分7秒（現地製作）
2. 蝸牛樂園三部曲（2021）彩色單頻道影片，14分35秒
3. 蝸牛樂園（2009），彩色單頻道影片，5分46秒
4. 蝸牛走在水、土、葉與菜上（2019）聲音，5分19秒（聲音合成李慈湄）
5. 構樹葉（2021），玻璃彩繪50x50cm，共兩件（現地製作）
6. 留給後代的採樣與歷史（2021）刺繡褲片，約寬75x高110cm，共兩件（現地製作）

In residence September 2022, October 15, 2021-February 27, 2022 exhibited in "The Distance Between Us and the Future - Contemporary Art Exhibition of Taiwan  Indigenous". Exhibition space in Adiri's House, at Taiwan Indigenous Peoples Cultural Park.

List of Exhibitions:

1. "Cultural Park / Life・Traditional Dwelling / Snail "(2021) , video, 8"7'  (made in situ).

2. "Snail Paradise Trilogy: Setting Sail or Final Chapter" (2021) , video, 14" 35'.

3. "Snails in Paradise" (2009) , video, 5" 46'.

4 "Snails Walking on Water, Earth, Leaves & Vegetables" (2019) sound, 5" 19"(sound composite by Tzu-Mei Lee).

5. "Paper Mulberry Leaves“(2021), 2 stained glass, 50x50cm (made in situ).

6. "Sampling and History for Future Generations" (2021), 2 traditional men's rear open pants with embroidery, W75xH110cm (made in situ).

蝸牛樂園三部曲-啟航或終章（2021）彩色單頻道影片，14分35秒
Snail Paradise Trilogy: Setting Sail or Final Chapter" (2021) , video, 14" 35'.

蝸牛樂園（2009），彩色單頻道影片，5分46秒 "Snails in Paradise" (2009) , video, 5" 46'.

構樹葉（2021），玻璃彩繪50x50cm，共兩件（現地製作）
"Paper Mulberry Leaves“(2021), 2 stained glass, 50x50cm (made in situ).

留給後代的採樣與歷史（2021）刺繡褲片，約寬75x高110cm，共兩件（現地製作）
Sampling and History for Future Generations" (2021), 2 traditional men's rear open pants with embroidery, W75xH110cm (made in situ).

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Sedjam living in the  Adiri's house, at Taiwan Indigenous Peoples Cultural Park.