圖片提供森川里海藝術季 photo by Mipaliw land art |
286的當代精神
圖片提供森川里海藝術季 photo by Mipaliw land art |
攝影朱軒志 Photo by Hsuan-Chi Chu Artwork commissioned by 2024 Taipei Dangdai and the Ministry of Culture (Taiwan). |
2024,十字繡於棉布上,12 cm x 1500cm
族語翻譯(羅馬拼音):張美瑛, 潘世珍
2024, Cross-stitch on cotton cloth, 12 cm x 1500 cm
Paiwan language translation ( Romanization System): Karui Tjuljaviya, Saivi Langalj
遇上大浩劫爾後倖存的人們如何記錄經歷?且沒有文字的原住民族似乎僅能以口傳去延續這段歷史記憶。刺繡的上的羅馬拼音敘事,採自1935年小川尚義、淺井惠倫以萬國發音記號、日語對照的合著《原語による臺灣高砂族傳說集(原語實錄臺灣高砂族傳說集)》,其中一篇採集自Pacavalj(現台東大武鄉大鳥村)的傳說;內容大略是一對兄妹在遭遇大洪水滅村之後努力活下來並以亂倫婚姻來延續後代,從近親生產出殘缺的子孫,慢慢到幾世代後漸漸形成一個正常人類的聚落,也是部落的起源。刺繡卷軸裡使用難以理解的字符,鏡像去呈現這世界不斷重演的歷史。
How would the survivors record their experiences after a great catastrophe? For indigenous peoples without a written language, oral tradition seems to be the only way to pass down this historical memory. The Romanization System narrative in the embroidery is derived from the 1935 collaborative work "A Collection of Formosan Aboriginal Folktales in the Original Language" by Shouichi Ogawa and Keirou Asai, which uses an International Phonetic Alphabet and Japanese control. One of the collected stories is a legend from Pacavalj, which tells of a brother and sister who survived a great flood that destroyed their village. They struggled to survive and continued their lineage through an incestuous marriage, initially producing offspring with defects. Over several generations, these descendants gradually formed a normal human settlement, marking the origin of the tribe. The scroll embroidery uses incomprehensible characters in a mirrored fashion to represent the seemingly endlessly repeating history of this world.
攝影黃雅農,均勻製作提供 Image courtesy of the Goldilocks Production, photo by HUANG Ya-Nung |
2023,編織、單頻道彩色影片14分39秒。展出於2023綠島人權藝術季「傾聽裂隙的迴聲」,新生訓導處,台東
2023, Weaving, video 14” 39’. At 2023 "Green Island Human Rights Art Festival – Listening to the Overtones of Fissures", Green Island White Terror Memorial Park, Taitung.
她們人很好也很單純。
我的族名叫 Rawus,承自 Larepaq 的外祖母,是熟悉族名排序分配、嫻熟母語的表姐告訴我的。我和表姐們同屬臺東大鳥村裡的 Tjuljaviya 家族,1950-1960 年代出生的她們,似乎安於異族的統治,如同其他鄉里那些安分求生存的人,也可能是黨國體制的一員,或是外來宗教的虔誠擁護者。藉由共同的展覽工作試著進一步理解她們,希望不同光譜的兩端,以藝術為名去連接起來。影像記錄表姊們使用羊角勾勾法編織sikau(排灣族傳統網袋)的過程,以及我們之間的對話。
They are nice and simple people.
My indigenous name is Rawus, which is inherited from my maternal grandmother from Larepaq – a piece of information that I got from my female cousins who are familiar with the order of our family names and native language. My cousins and I all belong to the Tjuljaviya family living in Pacavalj . They were born during the 1950s and the 1960s, and seem to be contented with the rule of the foreign race. Like other law-biding people who only seek to make a living, they are probably followers of the party-state regime or devout supporters of foreign religions. I try to get a deeper understanding of them through our co-creation for this exhibition, hoping to bridge the two opposites of the spectrum through art. The video documents my cousins using goat’s horns as needles to weave sikau (traditional Paiwan woven bags) and our conversations. ( Translation provided by Goldilocks Production, translated by HUANG Liang-Jung )
2022,綜合計畫,有機玻璃彩繪船屋(高240x寬300x長750公分)與候船室(高240x寬180x 長550公分),文獻帆布刺繡245x345mm x2、205x275mm x8、195x285mm x2、166x245mm x6(共16幅),影片14分35秒(2021)。參展於2022年第15屆文件展「lumbung」:卡塞爾市,黑森邦,德國。
2022, comprehensive programs; perspex painting on the houseboat ( H240 x W300 x L750cm) and the waiting room ( H240 x W180 x L550cm); embroidery on canvas literature: 245x345mm x2, 205x275mm x8, 195x285mm x2, 166x245mm x6. At 2022 “lumbung” documenta-fifteen, Kassel, Hesse, Germany.
從排灣族的傳統料理出發,1933年來到臺灣的入侵物種非洲大蝸牛是主要食材,調理出一系列的綜合展演。河道上航行的船屋、碼頭上乘載訊息的候船室,將「蝸牛的漂浮系統」為主軸作推進,串連小組的衛星計畫,以及跨國合作出版等相關討論;回應第十五屆文件展策展主「lumbung」(印尼語「穀倉」)展開社群連結、全球南方以及資源共享的生態系統。
Starting from the traditional cuisine of the Taiwan indigenous Paiwan group, the main ingredient of the invasive species African giant snail, which came to Taiwan in 1933, the group organized a series of comprehensive exhibitions. The “Floating System of Snails” is the main view of the exhibition, which is promoted by the houseboat of the sailing on the river and the waiting room at the pier, linking up the team's satellite projects and transnational cooperation; the ecosystem of community connection, the global South, and the sharing of resources is unfolded in the context of the curatorial theme of the 15th Documenta, "lumbung" ("barn" in Indonesian).
2011、2022,老照片與老文件一批、單頻道彩色影片五件:4分鐘 (2022)、2分33秒、1分36秒、3分58秒與2分33秒。展出於「另一座板塊」,台東美術館。
2011, 2022, old photos, old documentation, 5 videos, 4” (2022), 2” 33’, 1”36’ , 3”58’, 2” 33’. At 2022, "Another Continent", Taitung Art Museum, Taiwan.
我的父親張威良是1949年從中國播遷來台灣的“外省人”,落腳並成家立業在原住民生活領域,也留下大批1960年代在台東大武鄉拍攝的老照片。我從中探索他眼中的景物,幾乎沒有生活密切的原住民身影,滿是對現代化建設的興趣,在過往與今日交錯的影像中略整理家族史,也一窺戰後的南迴地誌。
My father, William Chang, was a new immigrant from China who came to Taiwan in 1949 and started his family in Dawu Township, Taitung County, a Paiwanese area where most of the indigenous people of live. William's hobby was photography, and he left many records of his life in the 1960's. I explored the landscape through his eyes, indigenous people not there, but full of interest in the construction of modernization. I was able to organize my family's history in the intertwined images of the past and present, and to glimpse the post-war topographic of South Taitung.
影像截圖 Screenshots |
高雄市立美術館提供,攝影林宏龍 Courtesy of the KMFA |
2021, 花船彩繪 50x100x400cm,單頻道彩色影片 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".
高雄市立美術館提供 Courtesy of the KMFA |
影片截圖 Screenshots |
花窗彩繪攝影曾能章 stained glass, photo by ZENG, Neng-Jhang |
影片擷圖 (Aerial Photography Vikung Lalengeang) |