Rawus Tjuljaviya 與表姐們 Rawus Tjuljaviya and Her Cousins

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 ) 

不只是恩光書局 Not just the Uriah Bookstore

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.

不只是恩光書局

pixel

「它曾在那兒，旋即分離；曾經在場，卻已延遲異化」--羅蘭．巴特

掃描家族的歷史性照片，儲存成為非物質性可延展的數學性影像，借用電腦顯示的基本單位：pixel（像素；或稱畫素），將影像構成的像素放大至一個個清晰可見的中性均勻色塊；” 像素”在這裡既是創作的對象與手段，也是我們藉由螢幕接收資訊來源的最小原生，並與作者本身的情感記憶結合；兩者相加卻產生一種冷漠疏離的語意。

如果攝影仍有本質的話，那麼引起我們追憶衝動的是什麼？作者的位置在這裡可見與可不見，而借數位化去轉介觀看家庭照片引發的注視與流轉，又能引發多少情感?

"pixel", 2008, video, 2" 52'

Scan historic family photos, storage material can be extended to become non-mathematical nature of image, to borrow the basic unit of computer display: pixel (pixels; or pixels), to enlarge the image composed of pixels visible to the neutral one Uniform color; "pixel"in here means both the creation of the object, which we receive information through the screen, the smallest primary sources, and with the combination of their own emotional memory; the two together to produce a cold and alienated but semantics.

If there is still the essence of photography, then cause us to recall what is the impulse? The location of visible and can be seen here, and by referring to the digital viewing family photos and circulation triggered by watching, how much can lead to feelings?