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)

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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