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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)

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1月1日

「一間小屋;」張恩滿創作發表



展場紀錄
開幕趴篇 

│地點:台東縣大武鄉大鳥村308號
│展期:2011/12/23~2012/12/26


「一間小屋」裡,藝術家歷經半年的蹲點生活與有機性的開創工作,在使用權交還給部落族人前,舉辦了「不是離開而是延續之歡樂派對」,於2011年聖誕節與部落溫馨共渡。

在2009年個展「展一間;」陳述了一種對於空間與家的想望,現實中的混亂也從自身延伸到展場;2011年「一間小屋」是前述慾望的還魂,而那個混亂也從台北到了台東;藝術家孤獨薄弱的身體作為探測器,測量出這個場域的架構與生態。在這裡,「一間小屋」不是一個固定地點或一個固有建物,它代表的是一個想像的投射與奮力的實踐,即使失敗也產生出那個價值與意義。

-- 將來,我期待以不同方式,仍舊是詩意的回到這裡。

2009年1月1日

「展一間,」


「展一間,」檔案照

我的居所總是既混亂又骯髒,我也嚮往著如詩般純淨的生活空間,是否可以以近乎偏執又瘋狂扔掉我住所的許多東西,在低限的條件下去達到我對居所空間框架出的美景?一個現實的問題迎面而來,那些混亂是從何而來?又是否可以透過身體的勞動與過程去達到感性、無雜的簡潔化?而那些曾與我相關的生活物件在展場又會帶給我或觀眾什麼訊息?活動的主體究竟是如何在看待我們在生活中最基本的親密單位—居所?
--

我將極力清除個人居所不太常用大大小小的物品,它們會移至一個稱之為”展場”的空間,我會長時間在那個空間思考這些物件,並將它們視為材料進行排列、重構、組合等。在這個整理的期間,展場作其功能性的啟動:在一定的展期進行展覽,並且是24小時開放,允許觀眾碰觸展品或許他們也可以取走想要的物件(如果他們要的話)。
--

「展一間,」張恩滿 / 年終掃除計畫
時間:2008/1/5~1/24,24小時開放(週一休)
地點:打開─當代藝術工作站〈OCAC〉
地址:板橋市民權路202巷8弄6號