蝸牛樂園 Snail Paradise (2019)

刺繡屏風 300x200cm，食譜，影像

展出於2019新加坡雙年展

2019, Site-specific installation: videography, embroidery and recipes, dimensions variable

Singapore Biennale 2019 commission (Images courtesy of the SB)

“How to make a snail food?”

這句子是軸心，不僅僅是cook更是make，去進行一個製圖（mapping）工作；審視與逆返非洲大蝸牛的遷徙途徑，試圖描繪出牠們的生態歷史的大航海時代。

非洲大蝸牛原生於東非，1933年日本殖民政府官員從新加坡引進臺灣發展食用養殖。這雨後會出現在路邊的生物，在相近的時期分別侵入夏威夷群島、印尼、北婆羅洲、馬來半島等地。這些地區共同經驗了帝國傳播拖曳的痕跡，轉化出了不同的自我文化的發展。

蝸牛成為探討介面，去思考各地方文化的混雜性；啟航至作為轉運站的新加坡，與當地藝術家合作，探索蝸牛作為各種食譜成分的態度，成就一個研究進程不斷累積的食景圖譜。

 又該如何思考食景地圖的繪製？「Map」詞源於拉丁文「Mappamundi」，原始語意是「將世界繪在布上」。應用台灣原住民族於傳統服上的刺繡方法，以針代筆、以線代墨的針路書寫去探究；而「針路」又指稱為「航道」，蝸牛是這計畫的指南針。


“How to make a snail food?”
This sentence is the axis, not only to cook but more to make, of this mapping project. Reviewing and rewinding the migration route of the Africa Land snail (Achatina fulica), I attempt to portray their Age of Discovery in ecological history.

The Africa Land snail has its origin in East Africa; it was introduced to Taiwan from Singapore by a government official during the Japanese colonial period in 1933 for the purpose of food farming. This creature that appears after rain separately invaded Hawaiian Islands, Indonesia, North Borneo, Malay Peninsula, etc. at similar times. These regions shared the experience of empire’s spreading and dragging, while transformed to one’s own cultural development.

The snail has become a discussion interface to think about the hybridity of local cultures; set sail to Singapore, collaborating with local artists to explore attitudes towards the snail as an ingredient in a range of recipes, and achieve an accumulating map of foodscape during the research process.

How to think about mapping a cookbook? “Map” original came from “Mappamundi” in Latin, which means “draw the world on a cloth.” I will apply the embroidery of Taiwan indigenous  on traditional costume while using needle as pen, sewing as ink to write and to research; As “needle road” implies the “seaway  map,”  snail is the compass in this project. (Most translations by  San-San Liu)


群島資料庫10（與新加坡藝術家ila以及 Kin Chui的訪談與食譜）
NUSANTARA ARCHIVE 10 (Interview with Singaporean artists ila and Kin Chui, and who make the snail recipes)

食譜下載
 Snail recipes download

蝸牛樂園－前導篇 Snail Paradise: Preface

2019, 複合媒材，影像3分25秒，三組傳統男子刺繡後敞褲片，尺寸依場地。
展出於「留洋四鏢客」，TKG+，內湖，台北。
2019, mixed media, video 3' 25", 3 traditional men's rear open pants with embroidery, dimensions variable. At “The Middleman, the Backpacker, the Alien Species, and the Time Traveler”, TKG+, Taipei, Taiwan. (Courtesy of TKG+)

當非洲大蝸牛出現在台灣本地熱炒料理“炒螺肉”，成為熱門下酒菜，尤其受台灣原住民族族人的歡迎，甚至納入珍貴的傳統食物裡；牠似乎出乎1933年引入食用養殖日殖官員的預料之外，且台灣的原生物種構樹葉子能夠輕易地去除牠的黏液。

通過非洲大蝸牛行走遺留的黏液，逆返審視牠的傳播路徑（台灣→新加坡→東非），探詢它拖曳過的痕跡；先是作為轉運站的新加坡，與對牠原生地非洲的想像，做一「啟航」的宣示。此蝸牛旅程系列「前導篇」，借用了母親家鄉「大鳥部落」(pacavalj)男子傳統服褲片的樣式，設計了與蝸牛料理有關的植物轉為刺繡圖騰，用此形式書寫地方或世界的一段歷史。

It must not have been foreseen that the African snails became a very popular dish usually enjoyed with beer in Taiwanese stir fry restaurants and also a precious traditional dish among indigenous group of people when they were introduced to Taiwan in 1933 by Japanese officials.  
Moreover, leaves of the local common paper mulberry could be used to remove its trail easily.


By the trail left along the way, the artist examines African snail's dissemination route in reverse from Taiwan to Singapore and then back to East Africa. The preface of the journey depicted in this project presents a period of local and international history on embroideries rendering the plants relate to the snail dishes. The patterns are designed by the artist out of male pants from Pacavali, a tribe where the artist's mother originated. (Translated by Chun-Ying Lin)

「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/

和平國小祖母綠食譜 Snail food book by Hoping elementary school

祖母綠（cumuli）是阿美族語「蝸牛」的意思，每當下雨過後，或是清晨有露水時，都會看到的從日治時期引進的物種：非洲大蝸牛。而位於台東縣成功鎮的和平國小，是個有著20位學生的迷你學校，鄰近社區以阿美族族群居多，藝術家在短期進駐一個月的期間，便以祖母綠（cumuli）作為主題，與小學生們一起挖掘屬於在地的料理。

駐校紀錄

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.