近海之處－拉瓦克三部曲 Ungrounding Land- Ljavek Trilogy

2018, video (for web), 13' 9"
＊本影像作品非經作者授權，不得任意轉載與公開播映。

Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

        一個炙熱的太陽來，他離開了山，再一個白箭光芒的太陽來，又離開了斜坡；勇士失去了他的農場與獵場，來到了近海之處，在惡水邊開出聖潔的百合花。

「拉瓦克」為排灣族語「Ljavek」，意思是｢近海之處｣，是高雄市區唯一的原住民部落之名；約1950年代因應木業、出口等勞動力，為生存而遷徙的族人們形成的聚落，前方運河於1997年被填平成為中華五路，為「亞洲新灣區」的都市規劃用地，也開始被判定為「佔用戶」後，長達二十年的反迫遷談判與抗爭。

張恩滿與拉瓦克部落雕刻家楊文山（古樂樂・巴拉撒邵）合作，通過楊文山純樸的刻劃欲探討生命本質與時代樣貌，進行一個斷裂文化的自我修復工作，希望共譜下未來願景的序曲。

He left the mountains when a red sun arrived and, when the twelve rays of a white sun came, left their slopes again. Having lost his farmland and hunting ground, this Aboriginal warrior came to a place near the sea, where he blossomed like a graceful lily on the bank of a polluted river. 

Derived from Paiwan language, “Ljavek”, meaning “a place near the sea”, is the name of the only indigenous community in the center of Kaohsiung City. The community was formed in the 1950s to meet a shortage of labor in the timber and export industries by a group of Paiwan people who had no choice but to move to the city for a better life. In 1997, a canal that used to lie in front of the community was filled and turned into Jhonghua 5th Road. The entire area was later repurposed by the local government as land for urban planning and named “Asia New Bay Area”. Since then, when they were determined to be “illegal occupants”, community members have been engaged in anti-eviction negotiations and protests for 20 years.

A collaboration between Yang Wen-Shan, a Ljavek sculptor known as Kuljelje Balasasau in Paiwan language, and Chang En-Man, Yang Wen-Shan’s unpretentious handiwork aims to initiate a self-healing process for a broken culture by exploring the essence of life and the state of the times, in the hope of composing a preliminary vision of the future. ( Translated by: NTMoFA)

patiyamay─都市原住民社區雜貨店地圖繪製計畫 patiyamay - Mapping project of Indigenous people's community grocery stores

張恩滿+拔耐‧茹妮老王
複合媒材、印刷品、店家提供物件，依場地大小，2017

隨著台灣海域黑潮主流從東部一波波往北方推送，因勞動移動在基隆城市的原住民已落地生根第三、四代，也長出了地區文化生態的多樣性；透過介紹社區裡的patiyamay（阿美族語，可譯為雜貨店）的交流場所，擴繪出都市原住民的樣貌。

導覽PDF下載
線上地圖


CHANG En-Man + Panai Runie Wang
Mmixed media, printed matter, object, dimensions variable, 2017

Along with the Kuroshio heading to North from the East of Taiwan, the aborigines had rooted in Keelung city for several generations. They have developed the diver- sity of local cultural environment. With introduction of community social place :patiyamay (means grocery store), it depicts the picture of aborigines in city. ( Translated by: Red Sky)

Guide PDF
Google map

快樂山 Happy Mountain

雙頻道影像，18分25秒，2015

＊本影像作品非經作者授權，不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

在台灣東北角濱海公路某個隱匿入口，是地圖上找不到的快樂山，那兒居住著一群阿美族（Amis/Pangcah）老人，坐山面海的居住環境，有著絕佳的天然資源。他們上山採野菜、下海撈漁獲，且依著山坡道，用鐵皮或廢料板材搭出拼湊風格的各式建物，過著自給自足並互相照顧的生活近三十年。

城市外圍有許多像這樣的都市原住民部落，遷徙而來的成因絕大部分是因應早期城市建設，從花東地區而來的大批廉價勞動人力。這群離鄉背井的人們，在離工作就近處，聞嗅到像家鄉的地方，像是依循祖先的生存智慧，就這麼一個招喚著一個，群居了起來。而當台灣進入現代化後，土地已不是讓人可當過客暫駐的地方，而是成為國家財產或資本商品，那些逐水草而群居的天性就成了非法的賤民；快樂山的居民全部被提告「侵佔國土」，即將面對流離失所的命題。

從外部看來，那兒有著人與自然和諧相處的空間，自力更生的開拓美學，呈現出某種烏托邦的雛型，令人欽羨與嚮往。藝術家隨著事件，初步的進入村落，在詭譎多變的政治氛圍中縮時攝影24小時的取高風景，並在拍攝途中自拍自問自答，試圖尋找傳說中的美麗玻璃屋，並經驗著地方從內到外，像是地圖繪製的等高線，擴出一圈圈對「家」的探索取徑。

Happy Mountain, Video, Dual channel, 18' 25", installations, dimensions variable, 2015

The Happy Mountain is, by all practical accounts, invisible. Located around a seaside highway in northeast Taiwan, Happy Mountain doesn't have any visible mapping points. The people who live there are primarily elders of Amis (Pangcah), cohabiting with the natural environment and sustainably living off the rich resources found between the sea and mountains. They subsist off collecting wild vegetables and seafood, as well as building different types homes by collecting recycled construction materials for the last thirty years.

In Taiwan, many of the urban indigenous tribes are dotted around suburban areas of cities. The typical reason they came to live in these suburban areas —away from their hometowns such as Hualien and Taitung— was to make a better living wage as manual laborers, namely off of the early boom in urban construction. Due to nostalgia and  homesickness, these laborers gradually started to gather, one by one, in Happy Mountain due to its geographical similarity with their hometowns.

This type of movement is not unlike how their ancestors began to gather and live together in the past, forced on by the continued development of their country by outside occupation. After those major early develops waned in Taiwan, the land was no longer seen as belonging to these migrant laborers. Instead, the land came into the possession of the government and became just another piece of capital. Therefore, these laborers have now been deemed illegal occupants, treated without the proper respect, for their sacrifices and years of hard work for the collective good of Taiwan. As it stands today, every resident who make The Happy Mountain their home are being accused of illegally occupying National property and face losing the place they worked so hard to call home.

From the outside looking in, Happy Mountain seems like a utopian space, complete with a rare balance found in other parts of Taiwan, that being a harmony and peace within the dedication to sustainability. If anything, the hard work of these people have made it more attractive to outsiders, who now envy and look forward to living there.

En Man's entry into this space was to simply explore this area, soon finding a mysterious  house of glass abandoned on the high point of mountain, shrouded within a foggy political atmosphere. En Man uses this kind of loose exploration in order to gradually and unpretentiously build experiences tied to this mountain area and, in so doing, try to recognize and understand the process of mapping from outside to inside, as if looking for the path to some form of hometown.

Translated by : Wen-Li Chen & Darren Tesar

「半路夜食譜─施工中」Halfway Night Recipes-Construction continued

計畫型創作，裝置，依場地，2015

「半路夜食譜─施工中」網站 http://halfwaynightrecipes.blogspot.tw/ 

背景簡介

2008年野草莓運動後，在廣場相識的一群人在2009年以共營、開放、實驗的模式經營「直走咖啡」，以空間做為組織，開展想像，建立具有意識並且有行動力的社群。2012年「直走」歇業；在陌生咖啡店的沙發窩裡、在街頭上流離的，既有與新的個體們相遇，重塑彼此，於是2014年「半路咖啡」上路了。

作為另一個新計畫和全新的聚合，試圖讓更多失去方向、語言的人都可以在「半路」找到自己的位置；延續對於公共性的創造，「半路」以國家為喻，發展了四條具政治企圖的路線：貨幣、互助牆、菜園與夜食堂。

其中夜食堂更發展出店中店（國中國）的、個人/地方的自治版圖實踐，週期有固定的人或團體，烹調出屬於自身背景與經驗的供餐；在這裡，食物是理念的傳遞，食物作為一個連結介面，啟動任何發生的可能，甚至是革命，並揭示我們關於生存如何選擇的價值。

《半路夜食譜》出版計畫

張恩滿受半路的魅力所吸引，於是探尋並試著提案；先以短駐概念進入空間與社群，採訪夜食堂大廚們做整理編排，初步出版〈半路夜食譜-試刊〉，並執行出版計畫系列活動。試圖從料理的前端進入，去理解一個人或群體的生活態度與知識經驗，進而背後的養成文化與政治立場，並將這個網絡拼湊起來，描繪出一個社群意識，甚至是集體意識的烏托邦。

施工者：張恩滿+半路咖啡

參與展覽：《食物箴言：思想與食物》

Halfway Night Recipes --- TRIAL ISSUE

Project-Oriented, Installation, 2015

About Halfway Night

In 2008, a group of people got to know each other on the occasion of Wild Strawberries Movement. In 2009, they collaborated to run the Go Straight Café as an experimental and open space for the purpose of organizing a community and taking actions. 2012, Go Straight Café closed down. Since then, individuals drifted from one café to another, sitting on unfamiliar sofas till they met each other again. In 2014, Halfway Café hit the road.

Halfway Café is a project as well as a platform for those who lost in directions or languages finding their own place. In order to continue creating publicness, Halfway made an analogy of itself and a country and develops four political routes: currency, mutual aids wall, farming and night canteen. 

Above all, Halfway Night Canteen bases on a concept of “a store with another store”(a country inside another country) and puts individual/public self-governance into practice. From Monday to Sunday, a chef of each day cooks thematic meals related to their background in-store. Here, food is a medium for delivering beliefs. It can activate any possibilities and even revolutions. It discloses values that we choose to survive.     

a publishing project

En Maan Chang was fascinated by Halfway. She explored the proposed a collaboration. Firstly, she became resident-chef in Halfway Night canteen and got to know the community and the space better. She lately interviewed night canteen chefs and edited it for publishing a trial issue of Halfway Night Recipes in order to understand an individual/collective’s attitude, knowledge, experiences as well as the culture and political position behind. Her intention was to picture a networking and portray a community conscious and even a collective consciousness of utopia. 

CHANG En Man + HalfwayCafé

Halfway Night Recipes - Construction continued

http://halfwaynightrecipes.blogspot.tw/

taqetaq

相紙輸出 15x20cm，燈箱 90x65cm，2014

「嘿！別那麼匆忙朋友，把你的屁股借放在這裡一回兒」

上面的字句，是排灣族語 taqetaq 的意思，也是指家門前的涼亭或涼台。涼亭／台這種簡單結構的建築，在台灣原住民族的不同族群裡，都有其空間作用與傳統意涵；這樣的非長駐空間，卻有著邀請、分享與交流的功能性。而在現代化的部落社會裡，所延續的建築樣式，呈現了人們的心靈空間。

taqetaq, digital print with lightbox, 15x20cm, 90x65cm, 2014.

"Hey friend, don’t be so rush! Please put your button down, having a seat for a while here!"

The sentence above is the meaning of taqetaq in Payuan, language of Paiwan. Taqetaq is also an arbor made in very simple structure. This kind of architecture for a short time docking contains traditional meaning and functions in different Taiwan indigenous culture. For example, functions of invitation, sharing, or communication. Since in the tribal society, which has been modernized, the form of architecture last now reflects the mental space of people.

--

Translated by :Yi-Cheng Sun
攝影 Photographer: (L) Varanuvan Mavaliw, (S) Kalesekes Ljakadjaljavan.

競技場 Arena

2012年，影像，7' 51"

＊本影像作品非經作者授權，不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

因為一部泰拳練習場紀錄片的引發，去進行一個探訪原住民部落的拳擊練習場的對話影像。像是藉由兩個地點的聯繫而進行的旅程，去簡單繪製一個社會的地理景觀；而競技場在某種­意義上來說像是個舞台，上演的是如何選擇生存的現實，想揭示的內容或隱或現，去等待似乎可想像的後續鋪陳。

"Arena", 2012, Video, 7' 51"

These are images from a documentary film of a Thai-boxing practice arena in Ching-Mai, forming dialogues to a boxing practice rink in an aboriginal tribe located at the foot of a mountain in southern Taiwan. Through the connection of the two locations, a simple social geographical spectacle is thus delineated. The boxing arenas are in a sense like performance stages, whereupon the live show we witness reflects the reality of survival and the audience becomes the authoritative viewers, offering the narrative and characters of the story fictional and realistic qualities.

網路公播活動 Facebook Premiere

https://www.facebook.com/events/520761247942664/

seeing@SiteLay 72影像創作工作坊發表展

seeing，是我們每日生活中的觀看行為，SiteLay 作為閩南語『西螺』的發音；site 的字義為地方、所在地或一特殊場域，lay 有放置、陳設或形容外行與世俗的意味。一些人群聚在這裡，他們大部分不是專業創作者的在地人仕，卻願意嘗試與挑戰這樣的影像創作計畫。在這裡，透過數位媒介的操作，去詮釋每位參展者所關注的，在所處相同的時空與熟悉的生活片斷中發掘觀點，拼湊出共同記憶裡的文化線索，運用不同觀看的角度，同構共鳴於光影書寫背後的知面，希望進行一種原初的、當下對攝影的認知，去直覺性展現參展者的視界、與我們分享的『觀看』。

誠如《觀看的實踐》一書指出「觀看」是一種實踐；而觀看的實踐表現在於「觀看是主動為這個世界製造意義」。

│展場紀錄 Exhibition image record│

32根燈管

尺寸：依場地
媒材：日光燈管，限定空間，20051021-20060321（時間材料）
創作年代：2012
展出於：19991221>20130421 | PART ONE，打開當代藝術工作站，2012.4.14-5.13
展覽紀錄連結


│本事
「19991221 > 20130421 | PART ONE」為打開-當代藝術工作站（以下簡稱打開）位於城中藝術街區進駐空間的最後一檔展覽，把打開的歷史等分為32段，邀請過去11年來曾經、以及正在參與打開的32位藝術家，合作實現一個結合空間和時間條件的展覽計畫，除了作為獨立與集體創作並進的工作策略，也用以重新評估、重建和回憶打開各個時期的故事片段；那些被遺忘或埋隱在這場華麗冒險中的幽微時光。

│自述
我在這個展覽計畫中，被分配到的時間段落為20051021-20060321，那時我大一。你無法想像一個有點年紀的藝術愛好者，剛踏入某種可以讓你確立進入了藝術圈時的那種新鮮與興奮感；我誠實的回應了這個時間材料：那一道道炫目冷調的光芒，並且在未來與回到過去間穿梭。

相對於分配到被戲稱「蟑螂間」的空間，它一直是這個藝術空間的邊陲，總是被堆放雜物、晦暗髒亂的地方，有幾個展覽甚至將它封閉起來。我決定不對這個空間作任何改變，只藉由32根燈管去展現它原有的樣子，也是我對共同參與的32位藝術家盡全力使這個地方綻放最後「美麗」的致敬。

A_M ART MANAGER & ACTIVE

展覽紀錄連結
尺寸：依場地
媒材：裝置、印刷品
創作年代：2010

　　A_M ART MANAGER & ACTIVE為國際專業藝術經紀，主要執行策展規劃、文化專案、藝術授權、收藏諮詢等。A_M特於20xx/xx/xx~xx/xx於國際級展場：OOXX，舉辦OOXX，推出眾多新銳年輕藝術家以饗諸位尊貴的嘉賓。派對活動＜VIP Lounge-OOXX One night Stay＞僅開放給A_M首選鑑賞家，僅定於20XX.XX.XX晚間十一點五十五分邀請諸位嘉賓神秘入場，A_M活動在AM開始，我們將在午夜12點之後品嘗仙度瑞拉閉關之夜，除備有M100特調cocktails，並深度分析在此展出的新銳年輕藝術家及其走勢圖。您是我們尊崇的特邀貴客，此私人活動僅憑邀請卡認證入場，切記！

不在場II

相簿連結
尺寸：依場地
媒材：輸出、相框
創作年代：2009.12

這個時代流行自己的影像留在別人的數據庫裡，不見得看得到或擁有......

這裡是關於不同世代對「觀看」這件事所延展的討論，展呈的方式很復古，有一種家庭或私人的邀約與交際姿態；回想不太久前的年代（或現少數），人們聚會留下的合影可以拿到事後加洗的照片，現今數位的發達讓留下影像更是輕易，但我們卻不知道它們會出現在哪裡？

作為材料的影像來自某些人的blog或網路相簿裡，而馬賽克這樣的數據運算出現的涵義，可暗指一個不該出現的東西；我不清楚我是不是該在場？於是這些從網路世界裡搜尋、收集來的影像，我將有出現我身影的部分，作了一點處理。

【動態紀錄】「展一間，」年終掃除計劃

【動態紀錄】「展一間，」年終掃除計劃 from amaan on Vimeo.

「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

【展覽紀錄】水池+時間的風景

展覽紀錄

〈時間的風景〉
創作年代：2008
尺寸：依展場
媒材：輸出

透過巨大的毛玻璃牆，逐一攝影擷取眼前的景緻，連續的細微差異黏縫成一幅全景。而重複出現的絮列與框景，古典的成為場所的一部份；拼湊的，被移植的，低調的，隱沒在巷弄間，或重返那個此時此刻的風景，像是一種圖誌，無預警地穿透了每一個曾經的在場者。

--
 
〈水池〉
創作年代：2008
尺寸：依展場
媒材：裝置
共同施工者：汪紹綱、邱竣傑

如果面對觀眾進入展場，而藝術家決定用何種姿態邀約與擁抱他們？表象的去模仿，或戲謔般再現一個『園林造景』，含存的卻是抒情感知的所在。