蝸牛的漂浮系統 Floating system for snails

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).

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.

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

「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/

蝸牛料理影音訪談計畫－台9線篇 Snail Dishes Interview Program: Highway No. 9.

《蝸牛料理影音訪談計畫-台九線篇》選取台九線東部南迴段範圍成為主要的探訪取徑，並藉由這個路徑去感受一個社會的地理紋理，試圖尋找出如食物鏈般的連結來描繪這個文化地景。

台九線路段，對許多人來說，除了火車，它就是唯一一條能回家的道路；而蝸牛料理在這條路上，如何去提示生活記憶的味道？如何在這條線／鏈上串聯出與『家』的共同感受？

在這個計畫裡，邀請部落族人以蝸牛為主食材，為我們演繹許多在地料理，通過其中的訪談對話，開啟與介紹不同面向的文化味蕾，繼續的去挖掘或披露生命裡更深層的黏稠關係。

From city to countryside, body is moving along route like a detector. The plan covered the south part of the Provincial Highway No. 9 on the east coast of Taiwan. I tried to find the connections through the route and turned them into depiction of the cultural landscape and social scenes with cuisines and record. Provincial Highway No.9 is the only way to go home in addition to railway. This is also the route I took to explore the island and the cultural identification, while picturing ‘home’ as if a wanderer. In this interview program, I invited the people from the aboriginal village to show the snail dishes. Meantime, I hope to introduce their unique culture and the connections with life via the interviews and conversations.

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

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│

狼煙榖雨祈福行動

圖源：方言藝術空間

創作年代：2011
尺寸：約20分鐘
媒材：Performance Art
展演紀錄連結

【展演資訊】
谷雨行動第五回
日期：2011.4.25
地點：水泉山莊，西安

台灣原住民族的「狼煙」是部落傳遞訊息的方式，或有目的訴求的媒介物 。引用「狼煙」施作地點位於大陸西安東郊洪慶山農家樂，那兒是一個因應社會急速城市化後，農業作為經濟政策推動休閒產業的地方，一個被劃為國家風景區明令禁火的場所，卻隨處可見如房子般高的柴堆；身處於大陸農地去思考著「狼煙」的意義，以及以土地為生的人民與政府的關係。

這是一個在想像中去開展冒險的旅程，由曾接收到的訊息感受到某種禁忌，懷著目的去摸索與探測地表的緊張身體，劃出從台灣到大陸的一個游標物位移路徑。過程中愛(艾)與Ui(未)的出現，其字音與淺顯字義在這裡成為一個象徵或符號，通過拙劣的巫師把戲去壓蓋與失控對應前者。最後發放裝著紅色染料的小噴壺，想陷參與者之手於難以清洗的不義之中。

願景：大鳥壁畫提案 Hope–A Wall Painting Proposal for Pacavalj Tribe

創作年代：2010
尺寸：依展出現場而異
媒材：基地模(180*270cm)、投影、影像輸出
展覽靜態紀錄連結

台東縣大武鄉大鳥村於88風災中土石嚴重坍方造成14戶民宅損壞，而被政府判定劃設特定區域，但在該村強力反對下獲得免於遷村的勝利，並由政府投入大筆經費進行水土防禦工程；風災某種程度也聚合了村民意識到部落文化傳承的重要，但當地歷史記錄做的並不完善，需要花時間追溯與統整。

於是在這裡有個社區壁畫提案，結合工程裡一個巨大的檔土牆去進行，繪畫內容便以大鳥村的尋根內容作為主題，以及屬於大鳥村本身的神話與傳說為主。模擬全村與山坡上擋土牆的縮小比例模型去做為一個在地溝通的介面，並提出壁畫提案草圖方便村民提供意見與修改內容，以集體記憶建構其地方詩學；別於刻板的部落入口印象，期望能進階進行屬於在地民眾的集體創作。

工程承載著全村村民永免於恐懼的願景，但各個沒把握，小小的安靜的村落又有著綿密的人事與政治糾葛，文化或創意在那裡可能僅為生存的考量。遠離熟悉的藝術圈外，藝術家以有限人力與資源如何天真的運行？以身為度測量著藝術在那兒如何的可能？這裡是一個中長期在地的流動計畫，模型作為探測器，承載著初步階段的重要任務，在台北論壇雙年展的展場中也成為外部（觀眾）投入資訊與意見的啟動之物。

作品描述

主要有一個底座約180x270cm的基地模，模型呈現的是大鳥村民聚落與檔土牆設施，壁畫草圖圖樣數張輪播投影在基地模上的檔土牆（現場已調整至明亮而有想像的白光），基地模底座崁入音響，播放排灣族語介紹這個提案（作品）。牆面有一些靜態攝影，影像內容為訪查許多原民部落一些佚名作品，它們多數出現在社區活動中心司令台，以寫實樸拙的手法呈現劇場式的繪畫或浮雕。拍攝採樣的範圍選取為台東南部相距約50公里進行88災區重建聯動計畫而相互串聯的幾個部落（包含大鳥部落）。

Hope – A Wall Painting Proposal for Pacavalj Tribe
2010
Dimensions variable
Architecture models, projection, photography

The deadly landsides during Typhoon Morakot on August 8, 2009, destroyed 14 homes in Taniao Village in Tawu Rural Township, Taitung County. Although the area was then designated a special zone by the government, the villagers strongly opposed plans to relocate them. In light of this, it was decided to invest in flood and landslide control work to make the living environment safer. The typhoon also caused villagers to reflect on and recognize the importance of their unique tribal culture and heritage. However, local historical records were far from comprehensive, so tracing and organizing that work took time.

This community mural project is part of a larger program to build a huge retaining wall. The paintings used to decorate the wall are to be based on Taniao villagers’ search for their roots and the various myths and legends associated with the village itself. The work started with a scale model representation of the village and the retaining wall on the mountainside as an interface for local communication. It also provided virtual drafts of the mural for villages to view and express their own ideas, with revisions to be included in the final work. It is hoped that this approach infuses the final product with a community or collective identity. This project was of particular importance to the village because it represented a vision of the future in which they could live without fearing for their lives every time a typhoon approaches.

However, even a small, peaceful village such as this has its own complex personal relationships and politics, so we first had to consider whether it was even possible for culture to coexist with innovation in such an environment. Besides being far removed from the art world, how was an artist to proceed with such limited manpower and resources? Clearly the artist needed to determine in person whether art was feasible in such a location. This particular project is a medium to long term program and as such, the model plays an extremely important role in the initial planning period. It serves as a focal point at discussion forums, allowing members to be informed about the nature of the project whilst also encouraging villagers to voice their opinions.

Work Description

There is an approximately 100x150cm base site model. Because the content of the wall painting could change as a result of field surveys in the area, several possibilities will be projected onto the retaining wall, on the site model. The base of this model has its own embedded speaker system which will play recordings of local children telling stories about Taniao Village in the local Paiwan language.

The wall is decorated with photographs, examples of anonymous works collected from various aboriginal villages, many of which previously appeared on the stage at community activity centers. Their simple and realistic depictions showcase theatrical type paintings or sculptures. These photographs were collected from villages (including the Taniao Village) in southern Taitung with in a 50km radius, connected through the 88 Disaster Reconstruction Joint Program. (Translated by Andrew Wilson.)

城中粗工特區 URBAN CO.

計畫影像紀錄：https://picasaweb.google.com/amaantw/UrbanCo#
我們關注那些時而顯露又無端被忽略的城市片段，它們發生在生活節奏的間歇處，與我們群聚之處。在這個新興、有活力而短暫的藝術街區中，我們在此集結，採取 行動，並且給以某種形式的紀錄，希望找出界定藝術家在地方／空間／城市中的具體位置的可能，藝術家是如何展現為行動者？又如何實踐出他們與整體社會的關係？

『好粗工』們說：「請給我一份臨時工」

臨時辦事處：「打開-當代藝術工作站」
開放時間：2010/4/22-5/21，星期四～日 15:00-20:30
地址：台北市中華路一段91巷13號

＊開工趴踢：2010/4/24(六)，18:30-21:00
破冰儀式、特調保力達B、餅乾塔、粗工歌發表、卡拉ok歡唱

「城中粗工特區」網址：http://www.urbanco.url.tw/（連結已失效）
活動範圍於城中藝術街區
感謝：忠泰建築文化藝術基金會空間贊助

【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？
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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）。
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「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