2017年11月28日

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。

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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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2016年11月23日

重如鴻毛 As Heavy as a Feather

影片擷圖 (Aerial Photography Vikung Lalengeang)

重如鴻毛影像裝置,依場地大小,2016
風箏投影13分45秒
主影像,42分48秒
重如鴻毛〈小豆篇〉,29分44秒

「重如鴻毛」典故出自西元前兩百年的中國諺語「重於泰山,輕於鴻毛」,論人們如何看待生存並活出自己的價值;這裡將語意重組,藉由反常的量感,探究渺小的對象其生命的重量,並通過影像描繪出某種抽象的力量,企圖展開別於單一資本體系價值的想像。位於台灣台東的杉原海灣,在阿美族的傳統地名是 fudafudak,為閃閃發光之意,也是緊鄰的小部落的名稱。fudafudak 就如同許多偏鄉地區,面臨青壯人口外流與文化流失等問題;而這個不起眼小村莊的自然生活領域,有許多大型開發案正虎視眈眈的包圍著。跟著從事部落文化重建工作的社會運動者進入部落,藝術家藉由加拿大展覽機會,與族人展開了合作項目;製作與重現傳說中會發出聲響的大風箏,並在其中談及長老兒時記憶中的傳奇走唱藝人 Ngayaw,以及傳唱他的歌。


"As Heavy as a Feather", Video installation, dimensions variable, 2016
Kite, bamboo, canvas, projection: 13’ 45”
“As Heavy as a Feather” Main video: 42' 48"
“As Heavy as a Feather” Chapter: Lin Dou: 29’ 44”

The allusion of “Heavy as a feather” is inspired from a Chinese idiom 200 B.C. ago: “The death may be heavier than Mount Tai but lighter than a feather.”  The original intention is to point out the way people value themselves and live out their lifes with own value in the limited lifetime.
Here the meaning is reconstructed by altering the sentence. From the inverse semantics, the artist tries to explore how people with tiny power value and look at their own lifes. By portraiting a kind of abstract power through video images, the artist intends to expand own imagination besides from a singular capitalism value.
Shanyuan Bay locates in Taitung county of Taiwan, its traditional name in Amis language is called Fudafudak, means “a glittering place”, it is also name of a small neighbourhood tribe. Same as many other remoted townships, Fudafudak is facing problems of outward migration and culture loss. Meantime, the natural living area of this tiny village is coveted by many large investors for land development project. By following social activists who work for native culture re-built, take advantage of opportunity to exhibit in Canada, the artist enters into the tribe and co-work with the natives: to produce and reappear the huge legendary sound kite. The video also features scenes that elders tell the story of legend Ngayaw from their childhood memories and sing the song of Ngayaw. (Translated by: Lucyann Tung)

2016年6月4日

馬賽克傳說─能盛興工廠初探 Legend of Pixelated - Preliminary research of Neng-Sheng-Xing Factory


Video, 21’ 45”, 2016
*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.

能盛興工廠位於台南,是一棟荒廢二十年的三層樓長屋,被一群年輕人整理翻修,成為他們實踐某些理想的基地,並對外開放做多元活動的場所。而空間與人密不可分,或因人而成就的空間是一個接一個的過渡,持續進行的有機狀態航向某個夢土,或心所嚮往的:烏托邦。

藝術家在能盛興工廠短期進駐的一個月裡製作影片,採訪女性成員們描述她們最喜愛的地方,穿插男性口白以一位虛構人物作串場。藉由身體實踐力十足的能盛興工廠成員,以及所連結的社群,淺談台灣近代藝術的發展脈絡,並對所謂的藝術圈做反身性思考。

Neng-Sheng-Xing Factory is located in Tainan, Taiwan. It’s used to be an abundant 3 levels building over than 20 years, now it’s not only a base of dream, but also a place with multi-activities to public after a group of young people refurbished it. The relationship between space and human is strongly related, a space formed by people are the continuously transitions. These transitions are leading with the organic status to a land of dreams or we can interpret it in a more specific definition: Utopia.

The female members described their favorite places when the artists filmed the interviews during the one-month term residency at Neng-Sheng-Xing Factory, they also mixed a male narration as imaginary character in the film. This video is trying to present the development and history of Taiwan Modern Art and offering a reflexivity thought to art circles by the team members of Neng-Sheng-Xing Factory’s practice force.  (Translator: Daphne San)

2015年8月8日

快樂山 Happy Mountain



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 installations, 18' 25", 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

2015年5月11日

「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

2014年10月11日

台灣原住民獵槍除罪化 Decriminalization of Taiwanese Indigenous Hunting Rifles


2014,影像,31分40秒 
*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.

「除罪化」意指將一個原本是犯罪的行為規定為非犯罪;反之將一個原本不是犯罪的行為而定義犯罪,稱為「入罪化」。在所謂的文明社會裡,原住民狩獵文化何以成為異文化法制下審視的客體?昔日部落驕傲的獵人,在這個後來的年輕國家的律法下卻成為了罪犯,多元文化的尊重竟是現今經政體難以面對的課題,甚至是守護傳統的人們。

影片透過單一案例採訪映現議題,並佐以案例提供的紀錄影像,以及自撰的口傳故事穿插其中。

2014, video, 31' 40"
The term “decriminalization” refers to a situation where a previously illegal activity or action is designated legal. When legal behavior is suddenly reclassified as illegal, that is called “criminalization.” In a civilized society, how is it that the traditional hunting of indigenous peoples results in them being subject to the legal system of a different culture? In the past, hunters were the pride of the tribe, but they are now labeled criminals by the legal system because the prevailing political-economic system declines to respect cultural diversity. By focusing on one example and creating a work , the artist identifies this phenomenon and highlights the contradictory nature of existing law. ( Translation by TB2014)

2014年5月6日

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

2014年3月15日

taqetaq


相紙輸出 15x20cm,燈箱 90x65cm2014

「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.

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