台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

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2014第二屆Pulima藝術獎 2014 The 2nd Pulima Art Award

 
展覽名稱 Exhibit

2014第二屆Pulima藝術獎

2014 The 2nd Pulima Art Award

展覽時間 Date

2014/11/15-2015/01/04

展覽地點 Venue

台北當代藝術館 MOCA Taipei

門票 Admission

新台幣50元,NTD 50

 

展覽介紹 About the Exhibition

 

展覽概說

「Pulima藝術獎」由財團法人原住民族文化事業基金會於2012年創辦,為台灣第一個原住民藝術獎,兼重原住民族主體精神及當代藝術新貌,希望打破陳規與限制,開啟原住民創意表達及藝術表現的新頁。「Pulima」一詞為排灣族語,意指具有創意且手藝精湛之人,而Lima在整個南島語系中指的就是「手」。自古以來,原住民族以靈活的雙手,建立了自己的藝術傳統和典範,代代傳承至今,並不斷加入新的活力與創意。「Pulima藝術獎」除了發掘新人,表彰創新能量,也希望藉由入圍及得獎作品的特展,整合創作競秀、藝術策展、學術論壇和教育推廣等各類活動,帶動國人對原住民藝術的關注與興趣,並實際參享體會這兩年一度的審美饗宴。

2014第二屆「Pulima藝術獎」,經過激烈的競爭和評選團反覆的討論,遴選出39件優秀作品,以獎別分,包括3件首獎、1件評審團獎、6件優選獎以及29件入選獎;就形式看,包含繪畫、裝置、錄像、織品工藝、舞蹈表演等多元形式;就內容關照言,指涉了部落土地、自然環境、族群歷史、傳統再造…等不同的議題,之中的共同焦點則是,在強調個人創意風格的當代藝文趨勢中,如何同時將原住民社會「以藝術服務族群」這個大傳統,從理念和實踐上去發揚和更新。

本屆「Pulima藝術獎」特展,由原住民族文化事業基金會與台北當代藝術館共同策劃執行,其中十位得獎藝術家以微個展的規模,觸探了原住民政治、經濟、社會、文化、藝術…等各面的現實。在這同時,本次展覽也根據入選作品的特色和屬性,構設了「身體的衍伸」、「媒材的探索」、「自然的孕育」、「手藝的深化」這四個主題場域,以供對照觀賞或串聯閱讀。

本次展覽,除了入選與得獎作品的呈現,也特別架構了「歷史光廊」,回溯1895年日治時期至今的原住民藝文發展脈絡,瞭解原住民藝術家在歷史變動中,如何承續傳統,如何突破現實侷限、吸收時代養分,從中開創生生不息的藝術新風情。此外,本展也搭配了名家作品邀請展:國內包括拉黑子‧ 達立夫與瓦歷斯‧拉拜這二位中生代藝術家,他們各針對本展主題和當代館的空間場域創製了新作;國外邀請展由紐西蘭獨立策展人妮格席洛卡梅森(Ngahiraka Mason) 策劃,議題環扣在歷史反思及當前政治觀點,展出毛利族中生代近20年的影像作品,和喬治.努庫(George Nuku)的現地創作。

 

Exhibition Introduction

Founded in 2012 by the Indigenous Peoples Cultural Foundation, Pulima Art Award is the first award dedicated to indigenous art in Taiwan. It emphasizes the cultural ownership of the indigenous community as much as it recognizes creativity. By presenting Pulima Art Award, the foundation aims to encourage new artistic expression and practice of indigenous art that challenges conventions and boundaries. Pulima in Taiwan’s Paiwan tribal language refers to “a person with superb creativity and outstanding craftsmanship” while Lima means “hand” in many Austronesian languages. With their hands, generations of native Austronesians have developed distinctive traditions and cultures of both material and spiritual significances. Today, members of the indigenous communities continue to pass on their legacy by building on their heritage and introduce new energy and creativity to it. It is precisely this vitality that Pulima Art Award wishes to discover and acknowledge. This year, the biennial award culminates in a special exhibition that showcases the prized works. Academic forums, educational programs and public events are held concurrently to further engage the general public in the understanding and appreciating indigenous art in Taiwan.

This year, with great competition, the jury committee has granted thirty-nine out of the many extraordinary participating works the prizes of the second Pulima Art Award. The awards include three Grand Prizes , one Jury Prize, six Excellence Prizes and twenty-nine Honorable Mentions, given to works of various forms, including painting, installation, video art, embroidery, and performing arts. A diversity of topics are addressed in these works, such as tribal lands, natural environment, ethnic and tribal history, and reinvention of traditions. Although varying in form and topics, all awarded works share in common the quest for and experiment with ways to apply and reinterpret the core value of indigenous art traditions—“art in the service of the community”—in the context of contemporary culture where individuality and originality are valued.

The exhibition of Pulima Art Award 2014 is collaboration between the Indigenous People Cultural Foundation and the Museum of Contemporary Art, Taipei. It consists of ten small solo exhibitions of this year’s Pulima Art Awardees. Through these exhibitions, a general survey of the political, economic, social, cultural and artistic realities of Taiwan’s indigenous communities is presented. Additionally, the nominated works on view are divided into four themes, The Extension of Body, The Exploration of Media, The Nourishment of Nature, and the Development of Craftsmanship. The audience is encouraged to cross-reference or make connections between the works under different themes.

In the exhibition, the audience will also find a chronology tracing the art of indigenous art and culture in Taiwan since 1895. Through the timeline, one sees how artists of indigenous tribes have strived to continue their traditions amidst waves of change in modern Taiwanese history, as they break through boundaries and draw inspiration from different times. The result is unfettered creativity for new art. In the meantime, presented side by side with the Pulima Art Award 2014 are special invitational exhibitions featuring established indigenous artists from Taiwan and New Zealand. The Taiwanese section invites acclaimed indigenous artists to create site-specific works, including Rahic‧Talif and Walis‧ LaBai. In the Māori section, curated by New Zealander independent curator Ngahiraka Mason, several videos with specific topics, such as reflection on New Zealand history and current political issues, as well as George Nuku’s site-specific artwork are presented.

 

 

第二屆「2014Pulima藝術獎」得獎名單

The Winners of the 2nd PULIMA Art Prize

首獎 Grand Prize

林介文

Lin, Gieh-Wen

〈我是女人〉

Women

201展間/R201

東冬‧侯溫

Don Don Hounwu

〈交錯在破敗與完美之間〉

The Brink between Perfection and Wreckage

201展間/R201

劉美怡

Liou, Mei-yi

〈Ka’eso好吃〉

Delicious

201展間/R201

評審團獎 Jury Prize

撒部・噶照

Sapud Kacaw

〈銜接〉

Connect

201展間/R201

優選獎Excellent Prize

伊誕‧巴瓦瓦隆

Etan Pavavalung

〈如果有一天,大地的風不再吹了〉

If the Wind Stops Blowing, One Day…

106展間/R106

伊祐‧噶照

Iyo Kacaw

〈請慢用〉

Bon Appetit

1F走廊/

1F Hallway

齊丹‧亞勒茲

Cidal Yalezih

〈優達斯馬祝〉

Painting in Screw

107展間/R107

潘士豪

Pan, Shih-Hao

〈穿梭情慾-借了父親的記憶風景〉

Through Desire: the Scences from the Memory Barrowed from My Father

107展間/R107

謝美如

Siwa yummin

〈續〉

Being Continued

108展間/R108

曾秉芳

Lahok Oning

〈i tini!  i tira!  i cowa? 在這裡!在那裡!在哪裡?〉

Here! There! Where?

108展間/R108

入選獎Honorable Mention

蒂摩爾古薪舞集

Tjimur Dance Theatre

〈umaq烏瑪〉

umaq

2F中央樓梯/

2F Central Stairway

曾春子

Lisin‧giyaw

〈捕魚祭〉

The Fishing Festivity

203展間/R203

林英琪

DU XI‧HUEI YOU

〈豐收〉

The Harvest

203展間/R203

蔡秋楓

Lobaw Basaw

〈織女垂憐(簾) 〉

The Pity of the Seamstress

204走廊/

204 Hallway

林健順

INJUN

〈前進海洋〉

Ahead to the Ocean

202展間/R202

尼誕・達給伐歷

Nitjan Takivalit

〈那是我的〉

That’s Mine

202展間/R202

烏魯古‧盧露安

Vulhuku Druluan

〈來自「Dalupalringi(達露巴林)王國的百步蛇君王」-Adaliu(阿達里歐)系列〉

Adaliu Series: The Hundred Pace Snake King from Dalupalring

202展間/R202

巴豪嵐・吉嵐

Pahaolan Cilan

〈隱形人〉

The Invisible Man

202展間/R202

林九固

Lin, Chiu-Ku

〈南島是ㄧ家〉

The Austronesian Family

202展間/R202

唐昌浦

Lavuras‧Dalapadhane

〈台灣的女兒〉

The Daughter of Taiwan

2F西側樓梯間/

2F West Wing Stairway

阿旦・達魯札隆

Adan Daluzalung

〈大地的脈搏〉

The Pulse of the Earth

入口處/

Entrance Hall

林安琪

Anchi Lin

〈紋面〉

The Tatoo on Faces

204展間/R204

曾一郎

DORIQ NISAK

〈kmbiyax laqi mu!我的孩子加油吧! 〉

Kmbiyax laqi mu! Best Efforts!

203展間/R203

連美惠

Yuli Taki

〈好・泰然〉

Well, Fine.

204走廊/

204 Hallway

李建呈

Li, Jian-Cheng

〈纹畫〉

Pulling Marks

204走廊/

204 Hallway

黃馨儀

Huang, Hsin-Yi

〈排灣傳承-賦予、期待、陶生傳說〉

Baiwan Heritage: Given, Expectation, the Legend of Taosheng

204展間/R204

杜寒菘

Pacake Taugadhu

〈百步蛇與百合花的對唱〉

The Duet between a Hundred Pace Snake and Lily

203展間/R203

鄭詠鐸

A Fie

〈情人之夜〉

A Night for the Lovers

202展間/R202

潘守誠

Pan, Shou-Cheng

〈勇者之路〉

The Path of the Courageous Men

204展間/R204

王雅蘭

Zepulj Kaluvung

〈大水過後抽離‧獨立〉

The Detection and Independent After the Flood

203展間/R203

莎瓏‧伊斯哈罕布德

Salon Ishahavut

〈戀戀FUZU〉

Documentary: FUZU Love Story

202走廊/

202 Hallway

希巨‧蘇飛

Siki sufin

〈Kowan飛魚〉

Kowan Flying Fishes

202展間/R202

魏光慶

Wei, Kuang-Ching

〈羽化〉

To Heaven

1F西側樓梯間/

1F West Wing Stairway

全東明

Chuan, Tung-Ming

〈黑洞〉

Black Hole

202展間/R202

安君實

Pasulange Druluan

〈Peleng伯楞〉

Peleng

1F西側樓梯間/

1F West Wing Stairway

浦晨軒

apuu poiconu

〈孕育〉

Nurturing

203展間/R203

了嘎‧里外

Lekal‧Diway

〈洄流〉

The Point of Returning

203走廊/

203 Hallway

武玉玲

Yu-Ling Wu

〈一個優雅的靈魂〉

An Elegant Soul

204走廊/

204 Hallway

林筱薇、楊予萱、侯世元

Lin, Siao-Wei, Yang, Yu Hsuan Hou, Shih-Yuen

〈輪心〉

The Axle

204走廊/

204 Hallway

 

 

 

 

作品介紹 About the Artworks

 

   

   

   

   

   

 

 

國內邀請-入口形象區-201展間

 

拉黑子‧達立夫 

「因為很多人去丟,所以我現在一直不斷的在撿,也許我找不到你原來丟的樣貌,…也許可以從那些破碎裡面找到蛛絲馬跡,找到你們原來那純粹的心靈,也許已經拼不出那完整的,可是我可以感到那個過去,也試著拼出我們的現在。」

拉黑子‧達立夫出生於花蓮縣豐濱港口部落,因感受到來自祖先血液的呼喚,決定從都市回歸部落,透過田野調查,深入瞭解自己生長的土地與人,並承擔起部落母體文化傳承的使命。他曾擔任室內設計師、花蓮豐濱國中技藝教育班雕刻師,現專職藝術創作,致力開拓能同時表彰自我和原住民意識的當代藝術語言。他的作品從阿美族的母語文化出發,廣泛跨涉美術、音樂、文學等不同領域,但隨著部落文化、環境、生態的探索與重省,試圖與大地正面對話,進而反思人與自然的關係。歷年除了多次於國內外展出,也曾獲邀至國外藝術村駐點創作。

本次應邀參展,他以【五十步的空間-首部曲】命題,針對當代館空間創製四件新作。「五十步的空間」指涉海邊的潮間帶,創作概念來自拉黑子父親生前語重心長的一句話:「我們只剩下五十步。」對於生活腹地狹小的港口部落而言,五十步幾乎就等於走到浪頭上的距離,既是生命等待與出發的地方,也是一個必須小心以待的警戒區;在人與自然和諧共存的過去,這五十步的空間並沒有造成問題,但隨著現代的發展,這一段空間被迅速擠壓著,而人們對於自然環境、傳統文化的輕忽也呈顯在這樣的地帶。有鑑於此,拉黑子開展了【五十步的空間】這個預計持續執行數年的大型創作計畫,本次展出的四件裝置新作,包括戶外的《守護者〉和室內展出的〈旅行〉、〈線〉、〈影子〉,即是此創作計畫的首部曲。透過這四組作品,拉黑子有意營造一種在傳統與現代之間穿梭的情境,和快速變換的觀看方式,引導觀眾凝視這片海洋,以及此刻我們所共同面臨的現況。

在此系列創作裡,作品〈旅行〉是拉黑子進行長達一年行走在太平洋岸邊撿拾人為廢棄物的計畫,經由行走與撿拾的過程中進行隨機觀看,並將自己的觀看所得繪製在於都蘭糖廠拾獲的古老布匹上,以阿美族語拓寫心得。取材守護者兄妹的部落傳說的「守護者」,將其主角轉化為似有若無的姿態,為其披上由海岸邊所拾回的瓶蓋與塑膠片集合而成的披肩,他們是海洋的化身,身體裡累積著繁雜的海洋漂流物,當這些人為廢棄物進入了海域,儘管是種汙染,然而太平洋仍然接納了他們,並織起這些廢棄物做為兄妹守護者的披肩。〈影子〉則以海灘上拾回的玻璃作為主要材料,在阿美族語裡破碎的玻璃詞意中含有「鏡子」與「影子」的意涵。世人們的價值觀從傳統的美麗石頭,後來取代而代之的是琉璃珠、玻璃,甚至是塑膠,顯而易見的技術退化,呈顯了部落人對於母體文化失落的內在恐慌。作品遙指的原民文化,透過持續的行動撿拾,試圖把那遺失的過去拾回,然而,是否足以湊出最初的原貌?

拉黑子所關注的是一種涵蓋到所有生命消長平衡的永續觀念,讓觀者不得不以一種靈活穿梭在傳統與現代間快速變換的觀看方式,凝視自然與此刻我們所共同面臨的現況。

 

〈守護者〉

檜木、鐵線、不鏽鋼線、海邊拾回塑膠廢棄物

200 x 150 x 450 公分

2014

 

〈旅行〉

糖廠古布疋、簽字筆、拖鞋、壓克力顏料、當次拾回物畫布

尺寸因空間而異

2014

 

〈影子〉

木、壓克力、海邊拾回碎玻璃

200 x 100 x 250 公分

2014

 

〈線〉

魚線、漁網、不鏽鋼網、塑膠、五金組件

尺寸因空間而異

2014

 

Invitational Exhibition for Taiwanese Artists -Entrance Hall-R201

 

Rahic‧Talif

“There are so many that I keep finding more to collect. Perhaps what I pick up are nothing like what was thrown away…but maybe some traces can still be discovered in the fragments and I can still see the pure soul you used to possess. Even though I might not be able to piece together the complete picture, I can sense that past and have tried to piece together our present time.”

Born in a tribe in Hualian County’s Fengbin Harbor, artist Rahic‧Talif returned home after feeling the call from of his ancestral land. Since then, he has continu many to conducted field researches as a way to revisit the land and the people of his birthplace. It has also become his life’s mission to preserve and continue his root tribal culture. Before dedicating fulltime to creating art, Rahic‧Talif worked as an interior designer and taught woodcarving in a special craft class at Hualian’s Hengbin Junior High School. Now an artist, musician and writer, he seeks to find an artistic language that stresses his individuality as well as a collective identity for the indigenous culture. All of Talif’s works are by inspired by his native Amis tribal culture and take forms in art, music and literature. His works explore and reflect upon his culture roots, the surroundings and the ecologic environments. Through conversations with his birthland, he contemplates the relationship between humans and nature. Rahic‧Talif has been invited abroad as an artist in residency while his works have been exhibited broadly in Taiwan and overseas. 

For the exhibition at MOCA Taipei, Rahic‧Talif has created four site-specific installations, collectively titled The Space of Fifty Steps: Episode One. “The space of fifty steps” refers to the intertidal zone of the seashore, as described by Talif’s father. His father once said with worry that “We only have fifty steps left.” For a harbor tribe such as the one Talif belongs to, this area of roughly fifty steps in depth, before where the ocean begins, is where most tribal activities take place. Life happens in this area; hence it becomes a watch zone where impacts of environmental and social changes can be observed. In the past when human and nature co-existed in harmony, this was been peaceful. However, as urbanization expanded rapidly in recent years, this territory has also been threatened. The consequences of human negligence towards their living environment and cultural traditions evidently show in the intertidal zone. This reflection has motivated Talif to pursue The Space of Fifty Steps, a large-scale project that the artist plans to undertake for several years. Four inaugural works from the project are on view in the exhibit. They are Caretakers (displayed on the plaza), Travel, Cord and Shadow. Jointly, they provide a viewing experience where the audience travels back and forth between traditional and modern societies only to realize what it gazes at is not just the ocean, but current conditions in which we humans are situated. 

For Travel, Rahic‧Talif spent a year walking and collecting discarded items along the coast of the Pacific Ocean. He then painted and wrote down, in his native Amis language, observations and reflections he gained during the process on a bolt of old fabric he found in Dulan Sugar Factory. In Caretakers, Talif draws on the tribal legendary of the same title and weaved shawls for the protagonists, the caretakers, faintly presented in the work, using bottle caps and plastic sheets he gathered from the beach. The shawls represent the ocean jammed by multifariousness of wastes and discarded items. Even though these manmade wastes have polluted the water, the Pacific Ocean still kindly takes all of them in and Talif turns them into shawls for the brother and sister caretakers. To create Shadow, Talif uses glass found on the beach as the main material. In the Amis tribal language, broken glass means both mirror and shadow. For the artist, the shift of material culture from using precious stones to glass beads and other glass items to plastic products speaks of an obvious decline in craftsmanship. It also represents the loss of cultural root for the tribal community—a source of their inner anxiety. Shadow is an artwork in dialogue with fading indigenous traditions. Gathering objects from the beach is symbolic of the artist’s hope to find the lost past while questioning the actual possibility of piecing the past together as it was. 

At the core of Talif’s works is his awareness for sustainability—the balance and cycle of and between all living things. Talif’s works send the audience on a journey where traditional and modern societies constantly and swiftly rotate. By viewing them, the audience gazes not only at nature, but in effect, the current conditions we human together face.

 

Holder

Cypress Wood, Wire, Stainless Steel Wire, Plastic Waste

200 x 150 x 450 cm

2014

 

Journey

Ancient Fabric, Pen, Slippers, Acrylic Paint

Dimensions Variable

2014

 

Shadow

Wood, Acrylic, Glass

200 x 100 x 250 cm

2014

 

Line

Fishing Line, Fishing Net, Stainless Steel Line, Plastic, Hardware Component

Dimensions Variable

2014

 


時光通廊及原住民前輩藝術家影音紀錄區-走廊、105展間

 

本次展覽以「原住民歷史文化時光通廊」,呈現日治時期政府政經、文化政策對原住民藝術發展的影響,提供本展覽文化歷史脈絡。另於105展間,以「原住民前輩藝術家影音紀錄區」的架構,播出六組原住民藝術家訪談紀錄片,記錄了藝術家們的成長經歷與原鄉記憶,進而提出的觀點與省思,並映照出自90年代以來,原住民藝術場域的重要傳承者以及藝術活動。日本殖民至光復後,原住民原始社會受劇烈衝擊,祭儀信仰、習俗制度逐漸崩解,根基於原始信仰的物質及非物質文化發生嚴重的質變,打破傳統形制的自主性創作卻逐漸形成。然而即使如此,原住民藝術現代化的過程相當緩慢。80年代末走上街頭的原住民運動以及90年代初原住民正名,加速影響他們現代意識的抬頭。 正值青壯年的原住民藝術工作者,回歸家鄉投入創作,其中有人反思原住民藝術的困境,或有人投入新風格的開發,使得原住民藝術呈現新的局面,並影響至今。展間影片分為六大主題,片單如下:

1.米耙流

原住民族電視台 新聞專題

34’ 40”

 年代

 

2. 意識部落

〈紀錄觀點:部落漂流到金樽〉

導演:馬躍‧比吼

56'6" 

2002

 

3.尤瑪・達陸

〈外婆的苧麻〉

導演:弗耐‧瓦旦

3’5”

1997 (2014年重新剪輯)

 

〈野桐工坊〉

導演:弗耐‧瓦旦

5'25"

2014

 

4. 拉黑子

〈季‧拉黑子〉

導演:馬躍‧比吼

36'

1999

 

5. 撒古流・巴瓦瓦隆

〈排灣人撒古流:十五年後〉

導演:陳若菲

88’

2013

 

6. 哈古 

原住民族電視台新聞專題

12’ 28”

年代

 

A Tribute to Pioneer Indigenous Artists -R105

1. In order to build developmental networks for art by means of the changes made by indigenous artists in response to shifting times, this exhibition uses the structure of the recording studio to record six documentary interviews with indigenous artists. Their childhood experiences and memories of their homes are recorded, and they come up with viewpoints and ways of thinking. The latter reflect important heirs and events in indigenous art which have taken place after the ‘90s.  Since the Japanese Colonial Era to the Retrocession, the original indigenous lcommunity has been severely impacted. Religious beliefs and traditional systems have gradually crumbled, as a result of drastic change in both material and non-material cultures of original indigenous beliefs.. However, an autonomous creation that has broken the traditional system gradually formed. Despite this, the process of transforming indigenous art from its original form to modern art has been very slow. Modern awareness and thought only began to influence indigenous youth after the Indigenous Movement on the streets in the late ‘80s and the Name-Correcting Movement of the Indigenous People in the early ‘90s. Indigenous artists in their prime returned home and dedicated themselves to creating artworks. Some of them reflected on the plight of indigenous artists, or strove to break through in a new style. These components would eventually bring a new dimension to indigenous art, and influence the development of art to this day.  The gallery presents videos centering on six topics. The videos are listed below: 

 

1. Mipaliw (Mutual Cooperation) 

   News Coverage, Taiwan Indigenous TV

 34’ 40”

 

2. Conscious Tribe

View Point:The Tribe Floated to Jin-Zun

Director: Mayaw Biho

56'6"  

2002 

 

3. Yuma Taru 

Grandmother’s Ramie 

Director: Baunay Watan 

3’5” 

1997 (Re-edited, 2014)

 

Lihang Studio

Director: Baunay Watan

5'25"

2014

 

4. Rahic Talif 

Ci Lahac

Director: Mayaw Biho

36'

1999

 

5. Sakuliu Pavavalung 

Sakuliu 2 : The Conditions of Love

Director: Jofei Chen 

88'

2013

 

6. Haku

News Coverage, Taiwan Indigenous TV

12’ 28”

 


優選獎-1F走廊

 

伊祐‧噶照 

「樹木有蓄水的功能、讓土壤扎實,

然而,人們總是愚昧地將它在土地上繫上的結解掉…」

伊祐‧噶照成長於花蓮港口部落,小時懵懂,對自己的部落文化多所不知,一度離鄉在外工作打拼,2004年返回部落打漁,並與家人在海邊成立「項鍊工作室」,開始以漂流木創作。現為花蓮地區相當活躍的木雕藝術工作者。

伊祐從都市返鄉後,才正式思考人生方向,並開啟了自我尋根的旅程。對他來說,創作是精神延續與文化傳承的重要途徑。他不斷反思人與自然的關係,希望透過作品來詮釋一種現實存在的狀態。以本次得獎作品〈請慢用〉為例,他用塑膠水管取代了樹幹底下的樹根,並以樹幹結合許多水龍頭的奇特造型和意象,向觀者提問:「水,到底從哪裡來?」伊祐提到:「樹,努力為這個星球呼吸,透過綠葉為我們製造新鮮的空氣;透過穿透地表的盤根,為萬物涵養生命的水分和汁液。然而,人類對自然肆無忌憚的榨取,已經導致生態系統無法平衡運行,越來越多的天災意味著,萬物生存的根基如果喪失,生命將難以為繼。」

 

〈請慢用》

漂流木、水龍頭、水管

80 × 55 × 235 公分

2013

 

Excellent Prize -1F Hallway

 

Iyo Kacaw

Trees has the capacity of saving water and grasping the earth.  

However, people always removed them out of the earth foolishly.

Raised in a harbor tribe in Hualian, Iyo Kacaw confessed that he had little awareness and knowledge of his indigenous heritage as a child. He left his hometown to work in cities until he decided to move back in 2004 and start fishing. Around the same time, he co-founded the Necklace Studio with his family and began creating art using driftwood. He is a now well-known woodcarving artist in Hualian.

Kacaw did not start thinking about the direction of life until he moved home. It was the return from the city that set him off on the journey in search of his cultural root. He believes that art is instrumental to the continuation of spirituality and cultural heritage. In his works, Kacaw constantly reflects on the relationship between human and nature and seeks to depict a state of being and reality. In Bon Appetite, for instance, he uses plastic pipes to represent the roots of a tree and install faucets on the tree trunk to raise such question as, “where does water come from?” In the artist’s statement, Kacaw “Trees strive to provide air for the planet, producing fresh air with their leaves. They retain water and liquid that nourish all things on earth by taking roots deep into the ground. Yet, the ruthless exploitation of humans on nature has caused malfunction of the ecosystem, damaging the balance of nature. The increasing occurrence of natural disasters tells us that if the root and foundation are lost, life will not be able to continue.”

 

Bon Appetit

Driftwood, Faucet, Water Pipe

80 × 55 × 235 cm

2013

 


優選獎-106展間

 

伊誕‧巴瓦瓦隆

「原住民古老的智慧,包含整個生態大地與孕育五穀的大地。」

伊誕‧巴瓦瓦隆在1963年生於屏東三地門鄉大社村,是排灣族最北邊、最深山的達瓦蘭部落。他出身藝匠家庭,祖父和父親從事裝飾和建築工作,讓他從小耳濡目染,雖未接受正規的美術訓練,藝術因子已深植體內。他的創作靈感來自原鄉風土大地,以及排灣族神祕歷史文化,表現方式廣及詩歌、繪畫、雕刻、廣告設計、裝置藝術、攝影及影像記錄等。接受神學教育之後,伊誕開始思考「道」進入台灣與原住民待遇的問題,並積極參與原住民自覺運動,其間除了推動「原住民大專學生文學運動」,也曾為80年代的台灣野百合學運及原住民運動繪製百合花精神圖像,作為救贖與復活的象徵。

此次得獎作品〈如果有一天,大地的風不再吹了〉,是有意讓母體文化養分與生態神學概念進行對話之作,整體視覺圖像的呈現,印證了他致力融合「紋」路、疊「砌」、雕「刻」、「畫」色的藝術主張,對於某種「原生力量」的強調,以及延伸原始大地訊息、開創純真氣息美學,從而完成心靈重建的夢想。在訪談中,他提到山上的風讓我們聞到了自然的香,山上清新的空氣正是自然惠賜的無價之寶,這件作品以簡潔素樸的人像和植物造型,搭配了細緻刻畫、四處流動的風,引導觀者透過風去感受自然,如作者所言:「與造化自然建立新的和諧關係,好好學習聽聞大地的呼吸聲,體悟”她”的風吹氣息和對我們內心的神聖啟示。」

 

〈如果有一天,大地的風不再吹了〉

紋砌刻畫木版、版畫顏料、壓克力顏料

93 × 467 × 5公分

2014

 

〈他們的呼吸〉

紋砌刻畫木版、版畫顏料、壓克力顏料

20 x 28公分,共十一件

18 x 25公分,共七件

2014

 

Excellent Prize -R106

 

Etan Pavavalung

The ancient wisdom of indigenous traditions comes from the nature and the soil that grows crops and grains.

Born in 1963, Etan Pavavalung is from Davaran, the northernmost Paiwan tribe located in the forest village of Tjavarjan in Sandimen Township of Pingtung County. His grandfather and father were both professional decoration craftsmen and architects, which allowed the young Pavavalung to be immersed in art since childhood. Even though Pavavalung has never been formally trained as an artist, this background helped plant the seed for his creative career. The majority of Pavavalung’s works draw inspirations from the lands of his hometown and the mysterious history and culture of the Paiwan People. He works with a wide range of media, including poetry, music, painting, woodcarving, graphic design, installation, photography and video documentary. After studying theology, Pavavalung started contemplating the issue of Dao being introduced to Taiwan and encountering the indigenous culture, and became an active member of the indigenous revival movements. He not only advocated for the Literature for the Indigenous l College Students movement ,but he also painted images of lilies for the Wild Lily student movement and indigenous movements in the 1980s as a symbol of redemption and rebirth.

Etan Pavavalung’s work If the Wind Stops Blowing, One Day…represents a dialogue he intentionally created between his cultural heritage and theories of Ecological Theology. This painting is a strong example of his vision for art. Its execution reveals Pavavalung’s constant pursuit for the perfect blend of “grain pattern, layering, carving, and coloring” and his advocacy for “native vitality”. Through art, he has hoped to extend the message of Mother Earth, establish aesthetics of an innocent quality, and, subsequently, rebuild a healthy soul and spirituality. In an interview, Etan Pavavalung talked about a wind from the forest that brings the fragrance of nature, and about fresh air as the invaluable present from nature. The simple representations of people and plants accentuate the fluid movement of wind so finely depicted in the work. It invites the viewer to experience nature through the wind and, as the artist put it, “to form a new relationship with Nature, learning to understand the cadence of the breath of Mother Earth and the holy revelation she sends by wind to the inner soul of each person.” 

 

If the Wind Stops Blowing, One Day…

Markings and Patterns, Print, Acrylic Color

93 × 467 × 5 cm

2014

 

Their Breathing

Markings and Patterns, Print, Acrylic Color

20 x 28 cm, 11 pieces

18 x 25 cm, 7 pieces

2014

 


優選獎-107展間

 

齊丹‧亞勒茲 

「紋面文化是泰雅族勇士驍勇善戰的象徵。」

齊丹‧亞勒茲畢業於復興美工,目前就讀於育達科大多媒體遊戲系。有著阿美族的血統,但是自陳對妻子所屬的泰雅族文化反而了解更多,〈優達斯馬祝〉是他結合了油畫與雕塑技法,應用了工業螺絲釘和3D造型技術,向泰雅族岳父致敬的一件彩色浮雕創作。

「優達斯」是泰雅族語的岳父的意思;「馬祝」則是岳父的名字。齊丹的岳父年輕時是泰雅族的勇士,相當英勇傑出的獵人,晚年身體已不再硬朗且視力退化,只能卸下獵人工作在家含飴弄孫,但常常聽他訴說過往的英勇事蹟。齊丹參考了電影《賽德克巴萊》中的人物造型和裝扮,利用數千支螺絲釘的組合和高高低低的變化,加上表面彩繪的處理,將岳父口述中英姿煥發的意象,栩栩如生地再現成形。藉由此作,歌頌了個體的自我價值,也註記了群體的文化精神。

 

〈優達斯馬祝〉

螺絲釘油畫

120 × 100 × 10公分

2014

 

Excellent Prize -R107

 

Cidal Yalezih

Facial Tattooing Culture of the Atayal Tribe is the symbol of bravery and skillfulness in warfare.

Cidal Yalezih graduated from Fu-Hsin Trade and Arts School and currently attends Yu-Da University of Science and Technology where he studies Multimedia and Game Science. Although born an Amis aborigine, Cidal confesses that he is better versed with the culture of the Atayal, which his wife belongs to. Yudasmachu is a tribute to his father-in-law. The colorful relief combines the art of oil painting and sculpture using industrial screws and three-dimensional modeling techniques. 

“Yudas” means father-in-law in the Atayal language, while “Machu” is the name of the father of Cidal’s wife. Cidal’s father-in-law was an outstanding Atayal hunter and warrior. He stopped hunting after his vision and body deteriorated with age. At home, the former hunter often tells stories and accomplishments he made as a brave young man. Inspired by Machu’s life, Cidal used the movie Warriors of the Rainbow: Seediq Bale as his reference for costume and style design and recreated the image of an audacious and spirited hunter with which his father-in-law identifies. Thousands of painted screws arranged high and low brings the self-image of an Atayal hunter to life. By so doing, Cidal attempts to praise the value of individuality while also marking a collective cultural identity.

 

Yudasmachu

Painting in Screw

120 × 100 × 10 cm

2014

 

 


優選獎-107展間

 

潘士豪 

「透過父親傳達過去經驗,才能隱約知道自己的家族與部落。我將這些情感,藉由父親的口說風景作為開場,重新將都市生活跟情感經驗相連結…」

潘士豪出生在台南,就讀於國立臺北藝術大學美術學系美術創作研究所,曾獲邀於國內各大美術館與藝文空間展出。雖流有排灣族的血液,但自小就於都市成長,致使自己對原鄉家族的記憶連結感到模糊。本次得獎作品〈穿梭情慾-借了父親的記憶風景〉,以自己唯一與原鄉有連結的關鍵角色-父親作為出發點,透過父親口述中的往日生活與記憶事件,尋找著自己與原鄉有關聯的事物。

〈穿梭情慾-借了父親的記憶風景〉以三組件的油畫作品作為呈現,畫面中繪有父親或族人口述中的部落風景,並將這些記憶的風景加以拼貼重組。過程中,隨著他者的記憶和敘述而形成的陌生與質疑,被藝術家轉化為一種歪斜的視覺構圖,藉此打破一般人觀看繪畫的習性,並重新思索現實與期望之間的差異。在這同時,藝術家以情感抒發的手法,將顏料噴灑在畫面上,為畫中的城鄉風景注入了非單一化的視覺經驗與觀賞方式。藝術家對於雙重視覺的利用,一是讓城市意象和原鄉景觀上下倒置,二是在兩者之間以七彩琉璃珠的抽象圖案作為銜接,並以諧音轉義的手法,讓象徵追求美夢的「琉璃」和在城鄉之間移動的「留/離」,或將描繪原鄉「圖騰」的活動,諧音轉義為一種心理治療意義的「塗疼」,顯然都有著價值取捨和思維辯證的用意。

 

〈穿梭情慾-借了父親的記憶風景〉

壓克力顏料、畫布

145 × 560公分

2013-2014

 

Excellent Prize -R107

 

Pan, Shih-Hao

Through my father’s conveying of past experience, I can know my own family and tribe vaguely.  By using my father’s description of those emotions as the opening, I reconnect the city life and the experience of emotions.

Born in Tainan, Shih-Hao Pan is currently a graduate student at the School of Fine Arts at Taipei National University of the Arts. His works have been exhibited at various art museums and galleries in Taiwan. A Paiwan aborigine by ancestral heritage, Pan was raised in the city. This causes a faint connection he feels towards his own cultural root. Based on this personal realization, Pan created Through Desire: the Scenes from the Memory Borrowed from My Father. In this work, his father, the only linkage the artist has with his tribal heritage, serves as the pivotal point of a journey in search of self-identity. Through accounts and memories he hears from his father, Pan explores his relationship with his cultural root.

In Through Desire: the Scenes from the Memory Barrowed from My Father, descriptions of the tribal environments by Pan’s father and other fellow tribal men are collaged and reconstructed into a triptych of oil paintings. During the process of drawing on memories and accounts of others, the artist experienced inevitable alienation and doubts about the reality, which he expressed in the distorted composition and perspective of the paintings. By so doing, he challenges the audience’s way of viewing a painting and forces the viewer to revisit the discrepancy between the reality and expectations. In the meantime, the splash of paint added to the paintings is not only a way for the artist to express emotions, but also to infuse another layer of visual experience and possibility of viewing. Thoughtful juxtaposition is evident in the work as it is found in the mirroring images of urban and tribal scenes. The artist’s skillful incorporation of the colorful glass beads between the two images speaks of another example of such. Glass beads, which symbolize the pursuit of dreams, are homophonic with stay/leave (liu-li) in Mandarin, representing the physical relocation of people between a city and the country. Similarly, totem, the visualization of tribal activities, is pronounced as tu-teng, literally meaning erase and pain, in Mandarin. The connotation of psychological counseling is thus embedded in the work. Implied in these examples are the decisions to be made and the dialectics that owing to take place in the face of contrasting values.

 

Through Desire: the Scenes from the Memory Barrowed from My Father

Acrylic Painting on Canvas

145 × 560 cm

2013-2014

 


優選獎-108展間

 

謝美如 

「祖先如同母親般給予恩惠…,我也會透過不斷地織布,將文化持續傳下去。」

謝美如是泰雅族新生代女藝術家,2004年因對泰雅傳統染織的興趣而進入野桐工坊學習,跟著尤瑪.達陸學習泰雅族織布技藝,啟發自己對染織創作的潛能,並藉由自己室內設計的專才,結合傳統染織工藝,衍生出自己獨特的藝術創作。

本次得獎作品〈續〉,以泰雅族的傳統圖紋為創作起點,透過個人的創作,將家鄉部落生活中具有重大意義的工藝技能和圖像美學,作了完整的應用、詮釋與表現。在謝美如所屬的泰雅族文化傳統中,「織布的技能」象徵著泰雅族女性們一輩子的使命與身分認同的表徵,這門技藝,實際包含學種苧麻、取纖製線、織紋分析…等,到最後的技術傳承,乘載了部落文化對個別女性的期許,以及延續整個群體價值的重任。藝術家以泰雅族的新娘嫁衣為藍本,而加以重新構思設計,除了集結呈現多樣的編織技法,也立意透過熱情鮮豔的色彩和華麗繁複的圖騰,體現泰雅婦女繽紛豐沛的想像和感受。此作從部落傳統和文化記憶出發,結合當代藝術軟雕塑的造型概念,從生活禮儀的面向中,開創了泰雅族的當代美學。

 

〈續〉

棉麻、羊毛

104 × 80公分

2014

 

Excellent Prize -R108

 

Siwa yummin

Our ancestors provided motherly grace to us…I too will pass down the heritage by continuing weaving.

Siwa yummin is an emerging female artist of the Atayal heritage. In 2004, she decided to pursue her interest in the traditional craft of Atayal weaving and joined the Melihang Workshop where she learned to weave from Yuma Taru. She became so inspired by the workshop that she started to create fabric art of her own design, combining the Atayal craft tradition and her former training in interior design. 

Being Continued is a good example of how Siwa yummin transforms and reinterprets a significant craft and aesthetics of her tribal culture into a tool for expression of personal creativity. In the traditional Atayal culture, the craft of weaving represents female identity and a woman’s life’s mission. From growing ramie, extracting the fiber, spinning the thread, analyzing pattern and the eventually learning fabric making, the art of weaving bears the expectations of the tribal culture towards women and the responsibility of continuing collective values. For Being Continued, Siwa builds on the traditional pattern and connotations of a bridal dress to create a brand-new design of vibrant colors and elaborate patterns. Employed in the work are a combination of diverse weaving techniques and the abundant imagination and emotions of Atayal women. Taking from her tribal craftsmanship and collective cultural memories, Siwa Yummin successfully re-invents new aesthetics for an ancient ritual by incorporating the concept of soft sculpture in contemporary art.

 

Being Continued

Ramie Cotton Fabric, Wool

104 × 80 cm

2014

 


優選獎-108展間

 

曾秉芳 

「這是身為一個年輕人,身處在當代舊環境與新環境下,所構築出來的情感。」

曾秉芳來自花蓮豐濱鄉的阿美族港口部落,但目前是一名在都市叢林居住二十多年的都會原住民藝術家。在童年的記憶中,經常與奶奶坐在門口一起縫製阿美族傳統服飾,一起唱著歌謠,但在後來的成長生活裡,因為欠缺「原」味的環境,使她跟母文化之間出現了認知與情感的斷裂,甚至形成了混淆不清的矛盾感及衝突感。

本次得獎作品〈i tini!  i tira!  i cowa?在這裡!在那裡!在哪裡?〉取材於友人到海邊衝浪的故事傳聞:一位衝浪客不幸受困於海流中,拼命掙扎卻無從逃脫,無意間發現,只要順著海流側邊即可游出。此故事觸發了曾秉芳創製此作的動機,進而聯想到身處於當代社會的年輕人們,面臨新舊環境交替所激發的不同反應。此作透過兩幅畫面呈現:藍色調的一幅,從原鄉部落的觀點出發,寫照了因對都市生活的嚮往與期待,導致族人如樹葉離枝,如繩索斷裂的一種現象;紅色調的另一幅則由都市觀點出發,以一種層層堆疊、機械複製的視覺圖像,隱喻了在都會光鮮生活的一種制式和無趣。

 

〈i tini!  i tira!  i cowa?在這裡!在那裡!在哪裡?〉

油畫

150 × 150 × 5公分,共兩件

2014

 

Excellent Prize -R108

 

Lahok Oning

As a young person, situated at the old and new environment nowadays

This emotion was constructed under the condition of a young person situating at the old and new environment.

Originally from an Amis harbor tribe in Hualien’s Fengbing, Lahok Oning has lived for over two decades in the city where she became an artist. Throught her childhood, Lahok often accompanied her grandmother as she sawed traditional Amis clothing and sang as she worked in front of their home. Yet, after Lahok moved away from her hometown, the absence of indigenous culture in her new living environment started to cause her a cognitive and emotional disconnection from her cultural root, to a point where she starts to feel a devastating sense of conflict and contradiction.

Here! There! Where? is inspired by the anecdote Oning heard from her friend about surfing. In the story, a surfer was caught in the current and tried to escape to no avail until he suddenly realized that he could swim along the edge of the current to get out. Lahok saw the story as a metaphor for the various responses a young person may have when facing the change of moving from one environment to another. The work consists of a pair of paintings. The one in blue colors represents the perspective of the indigenous tribe. It depicts the phenomenon in which the longing and expectations for urban life inevitably uproots the tribal community and causes the outcome much like a rope forced into breakage. Contrarily, the red painting speaks of an urban experience—layers of repetitive images piling on one another suggest the conformity and insipidity underlying the seemingly vibrant urban life.

 

Here! There! Where?

Oil Painting on Canvas

150 × 150 × 5 cm, 2 pieces

2014

 


入選獎-1F西側樓梯間、2F中央樓梯

身體的衍伸

 

本屆入圍,以身體表演進行創作表達的作品有二組:第一組是臺灣首支以排灣族文化為主體性的現代舞團「蒂摩爾古薪舞集」的樂舞作品〈umaq‧烏瑪〉*,此作以排灣族文化為核心內容,立意將排灣族樂舞一體的形式,轉化成現代舞的肢體動作,將排灣族傳統文化融入現代表演藝術,從中開創出「原住民排灣族“新”舞蹈美學」。演出過程,或以歌入舞、或以舞寫歌,透過音樂美學和肢體舞蹈的融合交錯,一面追憶著家與部落的深層文化意象,另一面詮釋了原住民藝術的不同視角與多元層次。

第二組作品是魏光慶的〈羽化〉,是他2001年創立「谷慕特舞蹈劇場」以來的第十三號作品,也是他在2013年推出〈田園舞蹈系列〉的第二部作品。此作靈感來自田園勞動時感受到的自然召喚和生命美感,藝術家因幫忙母親下田耕作,無意中看到了蝴蝶群在廢土堆演變的假山中翩翩起舞的奇特意象,此作特意在田園裡辦理演出,作者提到:「沒有太多的意念想傳達,只想用肢體與農作物、光影、泥土及晚風,在華燈初上的夜晚,點上盞盞蠟燭讓舞蹈增添文學效果,讓觀眾循著舞跡,凝聚成一般劇場無法製造的效果,透過瞳孔視覺,喚起觀眾心中久沒貼近接觸大地自然的感受!」

*「Umaq」即排灣族的石板屋,是生者與祖靈共存的空間。

 

魏光慶

〈羽化〉

現代舞蹈創作

2014

 

蒂摩爾古薪舞集

〈umaq烏瑪〉

表演藝術

2013

 

Honorable Mention -West Wing Stairway and 2F Central Stairway

The Extension of Body

 

Amongst the Honorable Mention winners this year, two artist have chosen to express their creativity through the performing art of dance. Umaq* by Tjimur Dance Theatre is the first modern dance dedicated to the Paiwan culture. In the Paiwan tradition, music and dance are inseparable. Umaq takes this tradition and reinterprets it through choreography of modern dance, creating a brand-new language for the art of Paiwan dance. In this piece, one finds the music performed via dance, while at other times the dance comes to visualize the music. The perfect marriage of music and dance pays homage to the cultural significance of home and tribal heritage. On the other hand, it brings different perspectives and dimensions to the traditions of indigenous art.

To Heaven is another performing artwork selected by this year’s Pulima Art Award. Choreographed by Kuang-Ching Wei, To Heaven is the thirteenth piece Kuang-Ching Wei has created since the founding of his G.M.T. Dance Company in 2001, and the second piece to his Pastoral Dance Series inaugurated in 2013. The inspiration for this piece was galvanized at a time when the artist helped his mother out in the crop field and experienced the calling of nature and beauty of life. As the artist recalls, in the middle of the field, he came upon an unusual scene where a group of butterflies were merrily flying and dancing on a pile of mud. This scene thus motivated the making of this “To Heaven”. The performance therefore is meant to take place only in the countryside. “I do not intend to convey any complicated concepts through this piece,” says the artist. “All I hope to bring to the audience is the movement of body against crops, light and shadow, soil and the breeze of night. At dusk, the candles are lit, introducing a literature-inspired stage set and effect that cannot be replicated in a regular theater. In the end, the audience will find itself in touch with the earth with which it has grown unfamiliar.” 

*Umaq in Paiwan language means the stone slab house where the spirits of the ancestors and the alive co-inhabit.

 

Wei, Kuang-Ching

To Heaven

Modern Dance

2014

 

Tjimur Dance Theatre

umaq

Performing Arts

2013

 


國外邀請展

策展人-妮格席洛卡.梅森(Ngahiraka Mason)

 

「藝術,讓我們活的更深刻!」

來自紐西蘭尤瑞瓦拉(Te Urewera)的妮格席洛卡.梅森(Ngahiraka Mason),同時具有藝術家、藝術史學者以及獨立策展人的身分,也擔任「毛利文化資產信託基金會(Te Māori Manaaki Taonga Trust)」董事,積極推動毛利族教育、毛利族文化資產保護,近年更致力串聯紐西蘭的藝術、媒體、文史和體育組織,共同敦促政府重視文化問題,鼓吹大眾欣賞及體驗毛利文化。

梅森的策展議題密切關注原住民地區的傳統知識,和新知識的創發,並從中引發大眾對文化價值的興趣與體認。此次應邀策劃的國際展區,展出3位毛利族中生代創作者的5部影像作品,這些作品反映了近二十年來毛利藝術家對「土地環境」,「族群認同」、「文化主體性」等議題的體認與關注,以及對當前政治與政策的反思。

 

藝術家-莉莎.瑞哈娜(Lisa Reihana)

莉莎.瑞哈娜(Lisa Reihana)自小在紐西蘭北島奧克蘭成長,體內流著納格胡族人(Ngāpui)的血液,她進入奧克蘭大學藝術學系(Elam School of Fine Arts)修讀雕塑及時基新媒體藝術(time-based arts),作品涵蓋運動影像裝置、單頻錄像(single-channel videos)、行為表演和文獻記錄,除了藝術上頗受錄像之父白南準(Nam June Paik, 1932-2006)的影響,在現實環境中,也受到毛利族政治及流行文化的洗禮,而聚焦於部落文化傳承與認同、文化交混等議題,並逐步開啟自具特色的影像創作。

本次精選其1990至1998年間的三部代表作品來台展出:〈外國佬的形象〉諧仿了大眾文化中深植兒童內心的電視節目,如「芝麻街」、「遊戲學校」等,影片中強化性別與種族差異的情節,搭配流行文化中的饒舌配樂,營造出既詼諧又真實的黑色幽默。回溯1990年的創作時空背景,此作除了完全顛覆當時的語言學習模式,也具體反映出身為原住民藝術創作者的政治觀點。

〈毛利龍的故事〉,是莉莎1991年在紐西蘭基督城駐村時的動畫作品,述說納塔胡部落(Ngāi Tahu)故事,美貌的女主角希內歐,因拒絕部落領袖杜拉基波(Turakipo)的求愛,而慘遭咒術害死。父親祈念女兒屍骨化做海中鰻魚來世報復,族人捕食鰻魚者全數無故死亡。此作品運用色彩鮮豔的人偶角色,勾勒一段關於愛情、死亡、悲痛、絕望與復仇等人性議題的故事,無形中也體現了部落文化的世界觀。

在〈第19897號的土著肖像〉中,莉莎安排眾多白人演員穿著毛利族服及維多利亞時代服飾,在小型的舞台場景中進行刻板化的演出,藉此誘導觀者發現和反思隱匿在歐洲思維下的身分認同。

 

莉莎.瑞哈娜

〈外國佬的形象〉

單頻道錄像

8分

2005

 

莉莎.瑞哈娜

〈毛利龍的故事〉

單頻道錄像

15分

2005

 

莉莎.瑞哈娜

〈第19897號的土著肖像〉

單頻道錄像

30分

2005

 

藝術家-朗妮.哈金森(Lonnie Hutchinson)

朗妮.哈金森(Lonnie Hutchinson)混合了毛利族纳塔胡部落、薩摩亞和歐洲三種血統,同時也深受玻里尼西亞豐富文化的影響。她在奧克蘭理工大學(Unitec School)攻讀設計及視覺藝術碩士,創作擅於應用多媒體、視覺圖像、裝置以及表演藝術等多元形式,除了回應現代廣告、饒舌、塗鴉、大眾文化、玻里尼西亞美學,也有意探究存在於美學形式與社會環境裡的正向與負面觀點。

這次展出動畫作品〈黑珍珠〉(Black Pearl),透過與在地性工作者共同創作,述說波里尼西亞婦女,被珍珠貿易商監控和剝削的一段歷史,圖騰鮮明的設計元素和有機變化的女體形象,模擬再現男性眼中的聲色場所和情色演出;她有意提醒觀眾,這段晦暗的性剝削歷史,仍持續影響當今的性產業、性奴隸及娼妓的議題。

 

朗妮.哈金森

〈黑珍珠〉

單頻道錄像

1分59秒

2006

 

藝術家 -瑞秋.拉艮納(Rachael Rakena)

瑞秋.拉艮納(Rachael Rakena),畢業於紐西蘭梅西大學(Massey University)毛利視覺藝術系,喜歡與他人共同創作,透過跨領域的交織激發層次豐富的系列作品,曾應邀於紐西蘭、澳洲、意大利、德國、波蘭、立陶宛、法國、英國、美國等各地展出。

作品〈奧利歐里〉受託為奧克蘭美術館的「5 4 3 2 1」展覽而製作,邀請珍.薇妮(Jane Venis)擔任音效處理、庫特.亞當斯(Kurt Adams)進行動畫繪製,並情商諸位藝術家客串演出。「奧利歐里(Oriori)」原指流行於毛利族的吟詠曲或搖籃曲,瑞秋以眾多奧克蘭藝術家的客串演出,結合工地噪音、音樂、文字及穿插環繞的打鼾聲,構築出全片的概念與結構,一來回應奧克蘭美術館即將開展的事業,二來激發觀者自由吟詠或想像,一種文化節慶的氛圍。

 

瑞秋.拉艮納

〈奧利歐里Oriori〉

單頻道錄像

10分

2009

 

Invitational Exhibition for International Artists -R205

Curator- Ngahiraka Mason

 

Art, hence make us live remarkable lives !

Being an artist, an art historian, as well as an independent curator , Ngahiraka Mason, who comes from Te Urewera, New Zealand, is also the board member of Te Māori Manaaki Taonga Trust that implements the education and cultural heritage preservation of the Māoris. In the recent years, she puts great efforts to establish relations with organizations in art , media, cultural studies, and sports areas, urging the government to value cultural issues, as to encourage people to appreciate and experience Māori culture.  

The theme of this exhibition is closely related to the indigenous traditional knowledge and the exploration of new knowledge with the aim to arouse people’s interests and understandings of cultural values. A total of five video pieces from three middle-aged Māori artists were invited to show in the international venue. Foregrounded in these works are Māori artists’ considerations and comprehensions towards issues like “Land and Environment”, “Ethnic Identity” and “Cultural Subjectivity” over the last two decades as well as their reflections on current politics and policy.

 

Artist -Lisa Reihana

Lisa Reihana was born in 1964 and grew up in Auckland. She obtained her BFA from Elam School of Fine Arts at Auckland University studying sculpture and time-based arts. Reihana is Ngāpuhi and her tribe is from the Far North of New Zealand. She has forged a career from staging interpretations of Maori concepts, culture which are now a signature of her art practice. Reihana’s art practice is installation based and immersive. Her international influences and experimental practice owes much to the pioneering video art of Nam June Paik, indigenous politics and popular culture. Her video works communicate ideas related to community, Maori identity, mobility and hybridity. Lisa Reihana was an early student of the intermedia department at Elam School of Fine Arts. There she specialised in film-making. Her first short experimental films developed her interest in the ‘efficiency’ of animation to capture new audiences. In short rhythmic edits she tackles subjects of Māori culture and politics in the style of a music video.

 

Wog Features

Single Channel Video

8 min

2005

Wog Features was made in response to television programmes targeted at children, especially those that give emphasis to gender and racial stereotypes such as Sesame Street and Playschool. Wog Features subverts language-based learning models utilising a ‘rap’ like pace and soundtrack. Made in 1990 Wog Features also reflects the rising politicisation of indigenous art practice.

 

A Māori Dragon Story

Single Channel Video

15 min

2005

A Māori Dragon Story is an animation work made in 1991 when Lisa Reihana was on an artist residency in Christchurch, New Zealand. It tells the Ngāi Tahu tribal story of a woman named Hine Ao, who was famous for her beauty. An important chief, Turakipo, fell deeply in love with her but Hine Ao refused him as a love interest. Turakipo placed a curse on Hine Ao and she died. Heartbroken her father devised a plan to avenge the death of his daughter. He prayed over her bones which transformed into an eel that entered the sea. Turakipo’s people eventually fished the eel up and ate it; and they all died soon after. The film plays out themes of love, death, grief, despair and retribution and Reihana’s treatment of the story exemplifies how her ideas are brought to their conclusion.  

 

Native Portraits n.19897

Single Channel Video

30 min

2005

Made in 1998, Native Portraits n.19897 is a series of dramatized scenes performed by actors dressed in Maori clothing and Victorian dress. This collection of vignettes examines ways that Māori identity is constructed to examine approaches to European conventions for constructing the ‘native portrait’. The artist places emphasis on the colonization of Māori and the politics of the representation of indigenous people. Ideas of how histories are documented and images collected through photography in the 19th and 20th centuries particularly through tourist imagery and studio photographs, is examined. Each of the 'sittings' is staged by Reihana to illustrate the conventions of portraiture through role-play and narrative.

 

Artist -Lonnie Hutchinson

Informed by the rich cultural resources of her Polynesian ancestry (Ngai Tahu Māori, Samoan), Lonnie Hutchinson is a multi-media, visual, installation and performance artist who has exhibited throughout Australasia and internationally. Drawing lies at the base of Lonnie’s practice, which is as much influenced by contemporary advertising, hip hop, graffiti art and popular culture as by Polynesian aesthetics and art forms, juxtaposing negative and positive elements. Hutchinson has a Bachelor of 3D Design and is completing an MA degree with Unitec School of Design and Visual Arts in Auckland where she teaches. She is a member of Tautai Contemporary Pacific Arts Trust and is represented by Mary Newton Gallery, Wellington and Jonathan Smart Gallery and Paper Graphica Fine Art Studio in Christchurch, NZ. 

 

Black Pearl

Single Channel Video

1 min 59 sec.

2006

Black Pearl is an animated video that draws on Samoan and Māori patterns and design elements to frame an historical context that exploited Polynesian women. The work plays up to the notion of a theatrical tableau through sexual spectacle to represent an erotic display for the male gaze. Black Pearl refers to the incarceration of Pacific Island women in the holds of pearl traders whereby their function was to provide sex for crew aboard pearl diving ships. This bleak history of sexual exploitation has ongoing effects related to the sex-industry and comments on stereotypes of Polynesian women as available as sex slaves and prostitutes. Hutchinson worked with a local sex worker to construct the cut-outs and make the drawings she animated for Black Pearl.

 

Artist -Rachael Rakena

Rachael Rakena is a video artist who works, frequently in collaboration with others, to create richly-layered performativity. Rakena obtained her MFA (Distinction) from School of Maori Visual Arts, Massey University, New Zealand. She has exhibited in New Zealand, Australia, Italy, Germany, Poland, Lithuania, France, Britain and the United States. In 2007, Aniwaniwa a collaborative project with Brett Graham was included in the collateral events section of the 2007 Venice Biennale. In 2006, she and Graham represented New Zealand at the Sydney Biennale with the collaborative installation UFOB.

 

Oriori

Single Channel Video

10min

2009

An oriori is a Māori chant or lullaby performed for a wide range of purposes. Oriori was commissioned for the exhibition 5 4 3 2 1 to contemplate the Auckland Art Gallery's development project, putting it “to bed”. Oriori combines Rachel Rakena's interest in states of flux, Jane Venis' interest in sound, and Kurt Adams' exploration of animated drawing. Rachael Rakena filmed her cast of Auckland artists hibernating 'in storage bags' among architectural blueprints animated as constantly evolving drawings. Building construction sounds, music, words and snoring provide the conceptual framework and ‘oriori’ to celebrate by imagining a work that creates an environment to anticipate a future real event.The artists featured in Oriori are Moana Nepia, Stella Brennan, Jim Vivieare, Brett Graham, Natalie Robertson, Dion Hitchens, Areta Wilkinson, Mark Adams, Rebecca Anne-Hobb, Shigeyuki Kihara and Peter Madden and the work was created 2006-7. 

 


入選獎-204展間、2F走廊

媒材的探索 

 

本次入選作品,有多位藝術家跳脫原住民熟悉的藝術媒材,轉而嘗試繪畫、錄像、裝置等,擴充了原住民當代藝術的表現範圍。

藝術家唐昌浦寫實功力十足的油畫〈台灣的女兒〉,以台灣原住民少女為主體,參考了「美惠三女神」的構圖,傳達了原民學子所處的當代教育系統、族群傳統文化與個人信仰之間,看似相互扶持也互相拉扯的特殊情境。

賽德克族李建呈的《拉紋》,以制式化的人偶雕刻,結合鳥翅、鹿角等台灣野生動物的識別特徵,以及代表台灣十四個原住民族文化的圖騰花紋,透過同中有異,異中有同的設計組合,呈現了一種兼具整體和諧和繽紛多元的美感。

阿美族潘守誠的複合裝置作品〈勇者之路〉,將拾來的自然媒材和回收的機械物件,重新拆解組構成立體造形,穿插搭配了具象的小動物,以此來訴說並批判人類與自然生態不再共生共享的當代文明。

排灣族黃馨儀的〈排灣傳承-賦予、期待、陶生傳說〉,結合了後製影像的手法、身體論述的概念和部落圖騰的元素,將懷孕婦女的形象和陶壺的影像做了視覺上的重疊和寓義上的類比,呈現排灣族的部落階級、生命循環及神話傳說。

泰雅族林安琪的行為錄像作品〈紋面〉,藝術家在貼臉的透明膠帶上,畫出泰雅族女性的紋面刺青圖案,以此發出了對身分認同的心聲,但封住嘴巴的膠帶卻又暗示了現實中難以出聲的無奈。類此一語雙關的表現手法,簡單而有力地傳達了她對於自身傳統的陌生與疏離感。

 

唐昌浦

〈台灣的女兒〉

油畫

91 × 362.5公分

2014

 

李建呈

〈拉紋〉

木材

14 x 16 x 4公分

2014

 

潘守誠

〈勇者之路〉

複合媒材

114.5 × 20 × 20公分 

69 × 68 × 44公分

164.5 × 28.5 × 27公分

143 × 21 × 51公分

149 × 45 × 39公分

2014

 

黃馨儀

〈排灣傳承-賦予、期待、陶生傳說〉

數位版畫

85 × 56公分

2014

 

林安琪

〈紋面〉

單頻道錄像

5分6秒

2014

 

Honorable Mention -R204 and 2F Hallway

The Exploration of Media

 

Many of this year’s Honorable Mention winners have chosen to break away from media familiar to the indigenous craft tradition and turned to painting, video art, installation, etc. Together they have helped expand the territory of indigenous art. 

In the realistic painting, The Daughter of Taiwan, Lavuras Dalapadhane depicts three young indigenous girls in the same poses and composition of Raphael’s Three Graces. Through personification, Dalapadhane hopes to address the specific tension between three aspects of contemporary indigenous community namely, the education system for young indigenous, tribal heritage and personal religion. Although they seem to support one another, they have competed with each other as well.

In his mixed media work, The Path of the Courageous Men, Shou-Cheng Pan disassembled found materials and recycled mechanical parts only to reconstruct them into a new work of art. Animal toys are incorporated into the sculpture, making a statement that criticizes modern civilization where humans and nature stop co-existing in harmony.

Paiwan Heritage: Given, Expectation, the Legend of Taosheng by Hsin-Yi Huang incorporates video post-production approaches and elements, the concept of using body as discourse, and totems of her heritage. The image of a pregnant female is overlapped with the shape of a clay vase as an allegory analogy. The themes addressed by the work include the hierarchical structure of the tribal tradition, cycle of life and legendary and fables.

Atayal artist Anchi Lin recorded her performance art to create The Tattoo on Faces. In the video, Lin appears to identify with Atayal females by sticking transparent tape on her face and painting on common patterns of facial tattoo worn by females in a traditional Atayal culture. However, the tape also seals the artist’s mouth, a symbol of muffled voice in the reality she experiences. The play on two conflicting facts powerfully conveys the detachment and alienation the artist feels for her own heritage.

For his work Pulling Marks, Seediq artist Jian-Cheng Li carved out a series of modular wooden figurines and added elements symbolizing Taiwan’s wild animals, such as bird wings and deer antlers, and totems that represent the fourteen indigenous groups in Taiwan. The result is a collection of visually harmonious yet individually distinctive small sculptures realized through thoughtful amalgamation of similarities and diversities.

 

Lavuras‧Dalapadhane

The Daughter of Taiwan

Oil Painting on Canvas

91 × 362.5 cm

2014

 

Li, Jian-Cheng 

Pulling Marks

Wood

14 x 16 x 4 cm

2014

 

Pan, Shou-Cheng

The Path of the Courageous Men

Mixed Media

114.5 × 20 × 20 cm

69 × 68 × 44 cm

164.5 × 28.5 × 27 cm

143 × 21 × 51 cm

149 × 45 × 39 cm

2014

 

Huang, Hsin-Yi

Baiwan Heritage: Given, Expectation, the Legend of Taosheng

Digital Printing

85 × 56 cm

2014

 

Anchi Lin

The Tatoo on Faces

Single Channel Video

5 min. 6 sec.

2014

 


入選獎-2樓走廊、203展間

自然的孕育

 

第三個主題場域「自然的孕育」,共展出九位藝術家的入圍作品。原住民族將自然大地視為孕育人類文明的母親,也因此他們特別重視人類與自然之間和諧共存的關係,同時,他們也致力將這種生態倫理信念,透過神話、傳說、歌舞、繪畫、雕塑…等各種語言媒介,一代一代的傳遞下去。

蔡秋楓是泰雅族藝術家,入圍的編織作品〈織女垂憐(簾) 〉,透過複合媒材的運用及雙關語的表現,開展了女性為主體的形式思維與性別論述。

連美惠是太魯閣族藝術家,入圍的編織作品〈好・泰然〉,以傳統編織工藝美學結合工業環保回收材料,具體印證了傳統文化與現代生活和諧相容的可能性。

武玉玲是排灣族藝術家,入圍的首飾創作〈一個優雅的靈魂〉,吸收了時尚配飾的概念,應用原住民特有的材料元素,將自然聯想的圖騰意象轉換為環身裝飾的美感物件。

曾一郎是太魯閣族藝術家,此次入圍的繪畫作品〈我的孩子加油吧!〉,使用的是來自於原生大地,千年不壞的天然樹漆,在繪製圖畫之外,他也透過母語創作童謠教導下一代,具現了原住民善用視覺藝術和音樂歌謠,進行生活與美學教育的文化傳統。

浦晨軒是魯凱族藝術家,此次入圍的畫作〈孕育〉,以半抽象而充滿流動感的視覺語言,描繪懷孕女人矛盾的身心狀態-強烈的色彩和複雜交織的線條,既象徵了人母期待新生命的極大喜悅,也傳達了對世代傳承斷裂的一股隱憂。

王雅蘭是排灣族藝術家,入圍的繪畫作品〈大水過後抽離‧獨立〉,運用抽象、動力感的曲線圖樣,顯然不是對於大自然孕育力量的歌頌之詞,而是著眼於大自然反撲所帶來的破壞力量和警訊意義。

曾春子是阿美族藝術家,入圍的編織作品〈捕魚祭〉,在鮮活的色彩鋪面和緊密複雜的線性結構中,隱藏了自然恩賜與部落歡慶的符號和人文訊息。

杜寒菘是魯凱族藝術家,入圍的〈百步蛇與百合花的對唱〉繪畫作品,透過土地意象、人像和靈物圖騰的緊密交織,傳遞著原住民的歷史故事與神話傳說,並以此連結了原住民與土地的情感。

林筱葳、楊予萱、侯世元三人組的共同創作〈輪心〉,結合了手染、圖象繪畫、以及傳統刺繡工藝,以抒情的語調,表現了對自然及大地的歌頌。

 

蔡秋楓

〈織女垂憐(簾)〉

苧麻、棉線、木珠

133 × 95公分

2014

 

連美惠

〈好・泰然〉

寶特瓶回收環保線紗、羊絨

170 x 56 x 4.5公分,共兩件

2013

 

武玉玲

〈一個優雅的靈魂〉

琉璃珠、銀、棉線、貝殼

48 × 12公分、14 × 100公分

2013

 

曾一郎

〈kmbiyax laqi mu!我的孩子加油吧!〉

厚木板樹漆畫

61 × 74 × 3公分

2014

 

浦晨軒

〈孕育〉

油彩、壓克力顏料

145.5 × 112 × 2.8公分

2014

 

王雅蘭

〈大水過後抽離‧獨立〉

壓克力顏料

150 × 240公分

2014

 

曾春子

〈捕魚祭〉

棉布、縫線、織線

65 × 140公分

2014

 

杜寒菘

〈百步蛇與百合花的對唱〉

壓克力顏料

140 × 480公分

2014

 

林筱葳、楊予萱、侯世元

〈輪心〉

手染刺繡

180 × 80 × 50公分

2014

 

Honorable Mention -R203, 2F Hallway

The Nourishment of Nature

 

In the third themed section, The Nourishment of Nature, Nice winners of Honorable Mention the nominated entries of nine artists are exhibited. Indigenous tribes see natural land as the mother who gave birth to human civilization, therefore they especially value harmonious relationship between humans and nature. They actively pass the idea of ecological ethics through all kinds of language media such as mythologies, legends, dances, drawing, and sculpture generation to generation.

Lobaw Basaw is an artist from the Atayal Tribe. Her nominated work The Pity of the Seamstress uses composite media and double meanings to engage in female subjective form thinking and gender discussion.    

Yuli Taki is an artist from the Truku Tribe. Her work Well, Fine uses traditional weaving craftwork and industrial recycled materials. It fully shows the possibility of harmonious integration of traditional culture with modern life.

Yu-Ling Wu is an artist from the Paiwan Tribe. Her accessory creation An Elegant Soul absorbs the concept of fashion accessories, as well as the special material elements of the aborigines, and transforming the nature-connected totemic images to beautiful accessories that are worn around the body.

DORIQ NISAK is an artist from the Truku Tribe. His work Kmbiyax laqi mu! Best Efforts! uses the extremely durable natural lacquer paint that originated from the land. Other than drawing, he also uses the mother language to write songs to educate the next generation. He shows that the indigenous people are adept at using visual arts and music and songs to pass on the cultural traditions of life and beauty.  

apuu poiconu is an artist from the Rukai Tribe. His nominated work Nurturing uses semi-abstract visual language with a strong feeling of fluidity. It describes the contradicting physical and psychological conditions of pregnant women- strong color and complex lines not only symbolize the enormous joy of mothers expecting new lives, also worry about the gap of inter-generation inheritance.   

Zepulj Kaluvung is an artist from the Paiwan Tribe. Her work The Detection and Independent after the Flood uses the curved line images which are abstract and have seemingly in motion, show that it is not a eulogy for the power of Mother Nature. Instead, it is a warning of the damaging power that Mother Nature can bring.

Lisin‧giyaw is an artist from the Amis Tribe. Her woven work The Fishing Festivity uses vivid colors as well as intimate and complex line structures to hide the symbols and humanistic messages of the blessings of nature and village festivities.

Pacake Taugadhu is an artist from the Rukai Tribe. His work is The Duet Between a Hundred Pace Snake and Lily. Through closely complex images of land, human portraits, and spiritual totems, the work  passes on the historical stories and mythological legends of the aborigines, as well as the feelings of aborigines towards the land. 

Lin, Siao-Wei, Yang, Yu Hsuan, and Hou, Shih-Yuen collectively created the work called The Axle. It integrates hand-dyeing, image drawing, and traditional embroidery. It uses emotional tone to eulogize nature and land.  

 

Lobaw Basaw

The Pity of the Seamstress

Ramie, Cotton Thread, Wood Pearl

133 × 95 cm

2014

 

Yuli Taki

Well, Fine.

Thread Made from Recycled PET Bottles, Cashmere

170 x 56 x 4.5 cm, 2 pieces

2013

 

Yu-Ling Wu

An Elegant Soul

Glass Pearl (Ancient, Color, Flower Pear), Silver, Cotton Thread, Sea Shell

48 × 12 cm, 14 × 100 cm

2013

 

DORIQ NISAK

Kmbiyax laqi mu! Best Efforts!

Painting on Wood Panel Art

61 × 74 × 3 cm

2014

 

apuu poiconu

Nurturing

Oil and Acrylic Painting on Canvas 

145.5 × 112 × 2.8 cm

2014

 

Zepulj Kaluvung

The Detection and Independent After the Flood

Acrylic Painting on Canvas 

150 × 240 cm

2014

 

Lisin‧giyaw

The Fishing Festivity

Cotton, Sewing and Weaving Thread

65 × 140 cm

2014

 

Pacake Taugadhu

The Duet between a Hundred Pace Snake and Lily

Acrylic Painting on Canvas

140 × 480 cm

2014

 

Lin, Siao-Wei, Yang, Yu-Hsuan, Hou, Shih-Yuen

The Axle

Hand-dyed Embroidery

180 × 80 × 50 cm

2014

 


入選獎-202展間、2F走廊

手藝的深化

 

這個主題場域共展出十三位藝術家作品,他們除了熟悉傳統手藝的運用,也試圖加入生活思維、社會議題以及個人美學的建構。

阿旦・達魯札隆是排灣族雕塑家,作品〈大地的脈搏〉,用生鏽的鐵板鐵條,塑造了一個匍匐在地面上,正在「聆聽大地心跳」的謙遜人物造型,以此傳達了一種警訊式的信念「大地是萬物的源頭,可以成就你也可以毀滅你!當人的心思意念越過大地的定律,大地的反撲力量絕對超過人的想像!」

安君實是魯凱族藝術家,作品〈Peleng伯楞〉,基於部落傳說的英雄形象塑造,似乎也呼應了時下熱門的變形金剛角色,在漂流木這種自然有機的素材底下,藝術家挖掘到一種神奇救贖的力量,如其所言「面具底下,有著我無法觸碰的靈魂,那眼神引領我探尋祂的一切:堅毅的體魄,族人與之同在的心。」

了嘎‧里外是阿美族藝術家,入圍作品〈洄流〉結合了漂流木和文明廢棄物,將花蓮古地名「洄瀾」所指涉的自然地理現象,引申為當代人類文明之「慾望流」,對自然生命之「孕育流」,所造成的反制作用和超強破壞力。

希巨‧蘇飛是阿美族藝術家,入圍的是木雕作品〈Kowan飛魚〉。在阿美語中,「Kowan」用來指稱海上的飛魚,和山林裡的一種老鷹,因為阿美族的老人家相信,山林和海洋是相對的,也是相輔相成的,它們形塑了阿美族的生活哲學和祭儀文化,但是環境的惡化、已造成了自然的質變,以及飛魚文化的日漸式微。

林健順是泰雅族藝術家,入圍的木雕創作〈前進海洋〉,是基於粗礦的雕刻工法和感恩自然的心情,刻劃達悟族勇士如赴戰場般的面對自然挑戰,準備與海交鋒的戲劇性時刻,以此頌揚了他們不畏強勢的決心、不向命運低頭的勇氣。

尼誕・達給伐歷是排灣族藝術家,入圍的鐵雕作品〈那是我的〉,應用鏽色斑駁的鐵材重塑祖靈柱的意象,以此寫照原住民面對傳統領域淪陷之無奈,同時,透過畏縮的人物形象,描述了一種曾屬於原住民獵人的傳統榮耀,如今茫然不知所措的困惑之境。

巴豪嵐・吉嵐是排灣族藝術家,作品〈隱形人〉,以田野祭師為創作題材,在部落的祭儀文化中,這些祭師是具有高貴神性的自然人,傳統地位相當崇高,但隨著功利化的時代來臨,他們日漸地被忽視、漠視乃至不見,如同隱形人一般。 

林九固是卑南族藝術家,入圍的浮雕創作〈南島是ㄧ家〉,以孟宗竹和檜木為主要材料,此作創意融合了卑南族的人面鳥身、排灣族的琉璃珠、泰雅族的紋面和射日傳說、魯凱族的百步蛇守護靈……等各族圖騰,傳達原住民心中「我們是一家人」共存共榮的渴望,和南島民族做為一個「生命共同體」的信念。

烏魯古‧盧露安是魯凱族藝術家,作品〈來自達露巴林王國的百步蛇君王-阿達里歐系列〉,透過三組木雕描述的原住民神話故事,都是他小時候從祖先那聽來的,藉此傳達今人對於部落神話人物、古代愛情傳奇與傳統社會人文的想像。

林英琪是阿美族藝術家,入圍作品〈豐收〉,是在阿美族透過公主系統傳承的製陶技術中,融入了原住民文化的圖騰和元素,她以此緬懷祖靈,同時表達了豐收的喜悅和感恩的心情。

全東明是布農族藝術家,入圍作品〈黑洞〉,以陶土燒製的黑色塔型建築,靈感來自南島民族的寺廟造型,除了祝禱人間願景能上達天聽,也象徵台灣原住民族能汲取祖靈如黑洞般取之不盡的大智慧,永續命脈,共創美好未來。

鄭詠鐸是阿美族藝術家,入圍作品〈情人之夜〉,以黑色大理石雕琢出一對情投意合、眼神交流的男女人像,以此濃縮寫照了花東阿美族豐年祭中,帶動人氣與慶典高潮的族群交誼活動。

莎瓏‧伊斯哈罕布德是布農族藝術家,入圍作品〈戀戀FUZU〉,以紀錄片方式,客觀傳達了鄒族藝術家不舞‧阿古亞那,放棄都市上班族身分,返回故鄉從事創作的心路歷程和實踐行動。不舞以山豬為主題,充分利用在地與現成媒材,完成了許多特定場域(site-specific)的作品,以此建構了自己的生活美學、環境藝術、部落教室和文化論述。

 

阿旦・達魯札隆

大地的脈搏

217 × 120× 56公分

2014

 

安君實

Peleng伯楞

漂流木、彈性繩

170 × 225 ×369公分

2014

 

了嘎‧里外

洄流

檜木、塑料

50 x 52 x 204公分

2014

 

希巨‧蘇飛

Kowan飛魚

桃花心木

30 x 50 x 89公分

2014

 

林健順

前進海洋

黃楠木

67 x 67 x 97公分

2014

 

尼誕・達給伐歷

那是我的

22 x 23 x 110公分

2013

 

巴豪嵐・吉嵐

隱形人

木板、畫布、玻璃纖維、壓克力顏料

240 × 240 × 5公分

2014

 

林九固

南島是ㄧ家

孟宗竹、檜木

125 x 24 x 8公分

2014

 

烏魯古‧盧露安

來自「Dalupalringi(達露巴林)王國的百步蛇君王」-Adaliu(阿達里歐)系列

龍眼樹、樟樹

30 x 32 x 193 公分,25 x 23 x 75公分, 41 x 31 x 102公分

2013

 

林英琪

豐收

陶土

38 x 38 x 57公分

2013

 

全東明

黑洞

陶土

43.5 ×43.5 × 46公分

2014

 

鄭詠鐸

情人之夜

黑大理石

27 × 35 × 78公分

2014

 

莎瓏‧伊斯哈罕布德

戀戀FUZU

Documentary 

60分鐘

2014

 

Honorable Mention -R202, 2F Hallway

The Development of Craftsmanship

 

This section exhibits the work of thirteen artists. Not only are these artists familiar with the use of traditional craftwork, they also try to incorporate life philosophy, social issues, and personal aesthetics to their works.

Adan Daluzalung is a sculptor from the Paiwan Tribe. His work The Pulse of the Earth uses rusty iron plates and iron rods to create a humble human figure that crawls on the ground and listens to the heartbeats of the land. This acts as a warning message that announces that land is the origin of all creatures. It can create you, but it can also destroy you! When a human’s actions are against the law of the land, its power to strike back is beyond human imagination!

Pasulange Druluan is an artist of the Rukai Tribe. His work Peleng is based on the imagined heroic image of the village legends, much like the popular Transformers today. From the natural and organic material of driftwood, the artist found a miraculous saving power. As he said “Under the mask, there is the untouchable spirit. My expression leads me to find out everything about him: The strong physical power and the heart of being with the people of the tribe.” 

Lekal‧Diway is an artist from the Amis Tribe. His work The Point of Returning integrates driftwood and civilization waste. It uses the old name of Hualien, “Hui Lan”, that describes natural geographical currents. The name is then extended to the “Flow of Lust” of modern human civilization, and discusses the countering effect and powerful destruction of the “Flow of Birth” of natural life.

Siki sufin is an artist of the Amis Tribe. His work Kowan Fly Fishes means “the flying fish in the sea” as well as and a type of eagle in the forest in the Amis language, because the elderly Amis people believed that the forests and seas were both the opposites, and complementary to each other. They created the life philosophy and ritual culture of the Amis Tribe. However due to the deterioration of the environment, which has caused changes in nature, the flying fish culture has dwindled.  

INJUN is an artist from the Atayal Tribe. His wooden sculpture creation Ahead to the Ocean  combines rough sculpture technique with gratitude for nature’s blessinds by nature. It describes the Tao Tribe warriors facing the challenges of nature, and their dramatic moments of fighting with the sea. The work praises their determination to resist submitting to force, and their bravery in not surrendering to destiny.   

Nitjan Takivalit is an artist from the Paiwan Tribe. His iron creation That is Mine applies rusty and mottled iron materials to create the image of the ancestors’ spirit pillars. This shows indigenous peoples’ frustration at the downfall of their traditions. Through the shrunken human image the work, describes the tradition and glory that once belonged to the indigenous hunters, and their confusion and perplexity that they now feel.   

Pahaolan Cilan is an artist from the Paiwan Tribe. His work The Invisible Man uses field shamen as the creative theme. In the ritual of the village, these shamen were divine humans with very high traditional status. However, with the coming of materialistic era, they became neglected by people, as if they were invisible.  

Lin, Chiu-Ku is an artist from the Beinan Tribe. His nominated relief sculpture The Austronesian Family uses Moso Bamboo and Chinese cypress as the main materials. This creation integrates the totems of human face and the bird body of the Puyuma Tribe, glass beads of the Paiwan Tribe, face tattoos and the legend of shooting the sun of the Atayal Tribe, and the protective spirit of Deinagkistrodon the Rukai Tribe. The work symbolizes the aborigines’ desire to be “A family, we live and die together,” and the faith that the Austronesian peoples are “a life community.”

Vulhuku Druluan is an artist from the Paiwan Tribe. Through three sets of wooden sculpture, his work Adaliu Series: The Hundred Pace Snake King from Dalupalring tells the indigenous mythological stories he heard from his ancestors when he was young. This work triggers the imagination of people towards village legend characters, ancient love legends, and traditional social humanism.

DU XI‧HUEI YOU is an artist from the Amis Tribe. Her nominated work The Harvest was created through the pottery skills passed down in the princess system of the tribe. It merges in the totems and elements of indigenous culture. She uses this to commemorate ancestral spirits, expressing the joy of and appreciation for a rich harvest. 

Chuan, Tung-Ming is an artist from the Bunun Tribe. His work Black Hole is a black tower-shaped pottery sculpture, inspired by the temple design of the Austronesian peoples. Other than praying for the people to have their wishes granted, it also symbolizes the great wisdom the Taiwanese indigenous tribes are able to learn from their ancestors’ spirits,  which then be passed on to the next generation to create a better future. 

A Fie is an artist from the Amis Tribe. His work The Night for the Lovers uses black marble to create a couple who are in love and looking at each other eye to eye. This portrays the group interactive events that generate an exciting atmosphere during the Amis Harvest Festival in Hualien and Taitung.   

Salon Ishahavut is an artist from the Bunun Tribe. Her work FUZU Love Story uses documentary to objectively show the journey and actions of Pu-u Akuyana, an artist from the Tsou Tribe who gave up her status as an office worker in the city and returned home to dedicate her time to artistic creation. Using uses wild boar as the theme and fully using local and materials media, a Bu Wu has completed many site-specific works. She has created her own life aesthetic, environmental art, village classrooms, and culture discussion.   

 

Adan Daluzalung

The Pulse of the Earth

Iron 

217 × 120× 56 cm

2014

 

Pasulange Druluan

Peleng

Driftwood, Rope

170 × 225 ×369 cm

2014

 

Lekal‧Diway

The Point of Returning

Chinese Cypress, Plastic Material

50 x 52 x 204 cm

2014

 

INJUN

Ahead to the Ocean

Calocedrus Formosana

67 x 67 x 97 cm

2014

 

Siki sufin

Kowan Flying Fishes

Mahogany

30 x 50 x 89 cm

2014

 

Nitjan Takivalit 

That’s Mine

Iron

22 x 23 x 110 cm

2013

 

Pahaolan Cilan

The Invisible Man

Wooden Board, Canvas, Glass Fiber, Acrylic Color

240 × 240 × 5 cm

2014

 

vulhuku Druluan

Adaliu Series: The Hundred Pace Snake King from Dalupalring

Longan Tree, Camphor Tree

30 x 32 x 193 cm, 25 x 23 x 75 cm, 41 x 31 x 102 cm

2013

 

DU XI‧HUEI YOU 

The Harvest

Pottery

38 x 38 x 57 cm

2013

 

Chuan, Tung-Ming

Black Hole

Pottery

43.5 ×43.5 × 46 cm

2014

 

A Fie

A Night for the Lovers

Black Marble

27 × 35 × 78 cm

2014

 

Lin, Chiu-Ku

The Austronesian Family

Moso Bamboo, Chinese Cypress

125 x 24 x 8 cm

2014

 

Salon Ishahavut

FUZU Love Story

Documentary 

60 min

2014

 


首獎-201展間

林介文

 

「過了三十歲之後,我強烈地感受到我是女人…….

一個是屬於族群的,一個是屬於個人的。」

新銳女性藝術家林介文,混合著父親賽德克族與母親漢族的血脈,一度專研金工,後又至西班牙攻讀建築,獲臨時空間設計碩士學位;多重的文化洗禮豐富了她的創作之路,而她本身也善於整合應用不同媒材和藝術語言,追求創作表達的無限可能。對她來說,創作即是生活中的一部分,每件作品都是自己跟自己反覆溝通後的產物,故不管在甚麼情況下都可以進行,且不受任何形式拘束,透過創作建構無窮的想像空間,是她最大的特色。

本次得獎作品〈我是女人〉,為結合軟雕塑與影片的裝置作品,表述一個女人以個體身分和不同時空場域的對話。2014年,留學歸國的林介文學會了傳統的織布,正式成為賽德克族「女人」的一份子,從此帶著使命感地,在自由的個人創作中融入族群文化。

她提到:「…我大量運用現成物與織品,用勾針和回收的毛衣,結合傳統編織的兩種不同技法來塑形。…我喜歡以強烈的視覺來呈現時間感,因為我認為將時間轉換成作品,最接近原始的人類本能。此外,我也嘗試用影像創作來表達,透過錄像,讓自己的情緒、身體與實體作品相互呼應。影片中出現的是日常生活的場景,從工廠、廚房、浴室、河谷到海邊,和雙手不斷重複生產的動作,最終完成的物件,透過幽默的手法組合成立體作品,將勞作的流動性時間轉化成一種靜止的狀態。」

 

〈我是女人〉

複合媒材

尺寸因場地而異

2014

 

Grand Prize -R201

Lin, Gieh-Wen

 

After my thirtieth birthday, I strongly realized that I am a woman…both as part of a collective identity and an individual.

An emerging female artist, Gieh-Wen Lin was born to a Seediq father and a Han Chinese mother. Holding a bachelor’s degree in Temporary Space Design, she was first trained in Goldsmith at UK and later studied architecture in Spain. The exposure to diverse cultures has thus influenced and enriched her art practice. In her work, Lin seeks to pursue the endless possibilities of creative expressions, particularly utilizing a combination of media and art approaches. She sees art-making as an integral part of her life. Each of her works is conceived through multiple debates with herself. In this way, as she believes, she can practice art anytime and is not limit her art to any form or media. Her most notable quality is precisely her borderless imagination constructed through her works.

The award-winning installation entitled “Women” is a combination of soft sculpture and video art. It represents a series of dialogues that a female has with different times and spaces. In 2014, Lin returned home from abroad and learned the traditional art of weaving, which marked her official identity as a woman of the Seediq society. Ever since, her sense of responsibility forwards her tribal heritage has become an important part of her personal expressions of creativity through art. 

In her artist statement for Women, Lin Gieh-Wen explains, “…I use found objects and fabrics to a great extent. I sculpt with crochet hooks and used sweaters, drawing on two types of weaving techniques from the Seediq craft tradition. …I like to represent time through powerful visualization because I believe the transformation of time into artworks is one of the most intuitive abilities of human being. I also try to incorporate video art. Through moving images, my emotions, body and the work are able to resonate with one another. In the video, common environments can be found, from the factory, kitchen, bathroom, to the river and ocean. The laboring hands continue to produce until the completion of work. A playful sense of humor ties all elements together into a three-dimensional work, freezing the fluidity of time for production into a static existence.”

 

Women

Mixed Media

Dimensions Variable

2014

 


首獎-201展間

東冬‧侯溫

 

「我之所以穿梭在這變異的空間中,就是為了尋求其中完美與破敗的平衡。」

太魯閣族藝術家東冬‧侯溫來自慕谷慕魚部落,他跨界從事音樂創作、舞劇演出,並有意將原住民傳統古樂器,如口簧琴、木琴,與西方樂器結合。近年來,更將原住民文化議題融入表演、行為、錄像、裝置等形式中,開闢了獨特的藝術路線。

此次得獎作品〈交錯在破敗與完美之間〉,結合了行為、表演、錄像,和多頻道的影像裝置,內容含括了太魯閣族起源的神話、部落認同的衰落,現代化帶來的兩難課題,以及商業觀光造成的部落質變等。在六部錄像中,藝術家以原住民和都市人這兩種扮相,來回穿梭於部落到城市的不同空間中,以此詮釋了原住民文化的當代處境。另外兩部錄像,一是對於神話中美好時代的追想,二則針對當前部落文化無力對抗商業與觀光衝擊的現象,提出反思。如其所言: 「當部落成為眾人喜愛的觀光景點時,帶來無限商機與利益,但也讓這片土地的歷史淪為導遊口中的輕浮笑話,並威脅到族人與自然的共生關係。垃圾變成觀光的產物,噪音取代了蟲鳴,動物變成了遊客,祖居地變成停車場,於是,我感覺恐懼,恐懼那二十四年前發生的土石流又會再次發生,但部落又必須得接受這是謀生的機會,還是必須習慣這現代化給予的一切,那,究竟何方完美?又何方破敗?」

 

〈交錯在破敗與完美之間〉

錄像裝置

尺寸因場地而異

2014

 

Grand Prize -R201

Don Don Hounwu

 

I travel in this mutated environment only to find the balance between perfection and wreckage.

Hailing from Mukumugi tribe of Huanlian, the Truku artist Don Don Hounwu straddles music writing and acting. It has been his goal to make music that combines indigenous traditional instruments, such as Jew’s harp and xylophone, and western instruments. In the recent years, he started tackling issues of the indigenous community through various art forms including performing art, video art and installations, creating a distinctive art style of his own. 

The Brink between Perfection and Wreckage combines performance art, performing art, video art and multi-track video installation. It touches upon topics including the founding legendary of the Truku people, weakening of tribal identity, dilemma of modernization and the impact of mass tourism on tribal traditions. In six of the videos on display, the artist is dressed alternately as an aborigine and a city person, traveling between different scenes in a tribe and the city, representing the situation the indigenous community faces today. The seventh video discusses the imagination of and longing for the ideal world portrayed in tribal fables. In the eighth video, the artist reflects on the paralyzing frustration of the indigenous community about commercial development and tourism that has greatly impacted tribal culture. As states the artist, “Turning our tribe into a tourist site may bring business opportunities and profits, but the histories of our land now function merely as a few lighthearted jokes that entertain the tourists. The harmony in which we inhabit with the nature also becomes jeopardized. Tourism brings with it garbage. Noise population replaces the chirping of insects. Animals disappear as tourists turn up. The ancestral land becomes parking lots. I dread. I dread the tragedy of the landslide that will happen againist like it did twenty-four years ago. Yet, it seems we tribal people have no choice but to welcome it as a means of economy. We have no choice but to become accustomed to everything that modernity has to give. If so, I ask myself, ‘which truly represents perfection, and which wreckage?’”

 

The Brink between Perfection and Wreckage

Video Installation

Dimensions Variable

2014

 


評審團獎-201展間

撒部・噶照

 

「創作是認識自己和部落的最好方式。」 

阿美族藝術家撒部・噶照,在花蓮秀姑巒溪出海口北岸的原鄉長大,成年後到城市工作,退伍後回到部落開始創作,也因此找到生命的轉捩點。他自言,藝術創作除了使他找到了自我認同,也認識了部落的文化傳承。他的作品融入了之前從事建築工作的技術心得,取材花東海邊撿拾的漂流木,混用石頭、籐等自然媒材,致力將部落的神話、歷史及人文精神,轉化成兼具視覺美感與象徵意義的立體作品。

此次榮獲本屆Pulima評審團獎的作品〈銜接〉,從個人生活與成長經驗出發,強調世代傳承與文化延續的精神。今年,撒部即將卸下十六歲起參加祭典配戴的羽毛,晉升至Malakacaway,成為阿美族八個階級中,最上三層的領導者(另兩個為Mama no kapah及Cifiracay),負責部落大小事務的決策。此作即是註記

藝術家的個人成長及部落文化倫理,並表達自我期許的特別製作。

在這件漂流木雕塑中,他明確地注入如下的精神意涵:「部落長者教導我們要像一條堅固的繩子,層層相互連結,團結一心,由上到下的帶動整個部落的運作。期許自己與同階級的人能夠身負重任之下虛心學習並勇往直前,部落年齡階級的組織繼續傳承運作,每個階段都能做最好的銜接。」

 

〈銜接〉

檜木

55 x 35 x 255 cm

2014

 

Jury Prize-R201

Sapud Kacaw

 

The making of art is the best way to get to know oneself and his or her tribal root.

The Amis artist Sapud Kacaw was born and raised in the northern band of the estuary of Siouguluan River in Hualian. As a grown-up, he worked in the city briefly and later returned to his tribal town after finishing his mandatory military service. At home, he started to practice art and craft, which in turn helped him to find the turning point of his life. According to Sapud, the making of art has helped him discover his own identity and learn about his tribal heritage. In his work, he has been able to incorporate knowledge and lessons acquired from his previous job in architecture and construction. Using natural materials including stones and rattan, as well as driftwood he found along the coast of East Taiwan, he transformed his tribal lengendries, history and humanities into three-dimensional works of art that are both aesthetically and symbolically significance.

Sapud Kacaw’s work Connect that won him this year’s Pulima Jury Prize centers around his life and experiences growing up. At its core, it stresses the importance of traditions and cultural heritage. Concurrently, this year Kacaw will be entering a new rank in his tribal hierarchy, the Malakacaway, removing the feather headdress he has been wearing for rituals and ceremonies since he was sixteen years old. Malakacaway is one of the three highest leadership rank (Mama no kapah and Cifiracay being the other two) amongst the Amis’s eight-tiered social rank system. Holding the new title, Kacaw will now take on the responsibilities of decision making for his tribal affairs. Made to commemorate the occasion, the work “Connect” marks a milestone in the artist’s life and illustrates the hierarchical traditions of the tribe he belongs to. It conveys the artist’s proud assumption of the duty. 

Kacaw explicitly explains the message behind this driftwood sculpture in his statement: “The tribal elders teach us to connect one another and solidify our people like a strong rope. They ask us to lead the entire tribe forward. I will assume this important responsibility, standing side by side with my fellow leaders, and stay humble while audacious as we move forth. I will ensure smooth transition within and healthy operations of the tribal structure according to our age-based hierarchical traditions.”

 

Connect

Chinese Cypress

55 x 35 x 255 cm

2014

 


國際邀請-201展間

喬治‧努庫

 

喬治‧努庫來自紐西蘭恩提卡,除了藝術家身分,他也是抗谷努子部落的第三位首領。童年時代,因為舉家搬遷至具有悠遠毛利族歷史的內皮爾,加上母親的影響,兒時就得以接觸恩提卡抗谷努,以及恩提圖華雷圖瓦兩大部落的文化。成長時期適逢1970年毛利平權運動,他同時學習英語、毛利族語以及繪畫。爾後在梅西大學研讀藝術、社會學、地理學以及毛利文化。他的成長背景和藝術憧憬,塑造了他今日對藝術的觀點與堅持。

喬治兼擅表演藝術及視覺藝術,創作媒材包含:玉、石、珍珠、木、貝殼及聚酯纖維等,基於文化傳承的強烈使命感,他以全身刺青的方式表達對毛利文化的認同與堅持。作品以鮮明強烈的符碼圖騰,建構群聚林立的空間場域,營造出神秘靜謐的心理氛圍,豐富的圖騰象徵,既可關連到民族意識、宗教信仰、祭祀文化的閱讀,也容許觀者直覺地沉浸在他所創造的感官世界。

本次應邀來台現地創作作品〈瓶裝海洋 2114〉,探討普存於當代社會的環保議題;藝術家以壓克力板與複合媒材打造一艘獨木舟,承載著古文明記憶航行在現今的大海上,途中遇到眾多當代文明廢棄物及汙染受害者:如寶特瓶與自然動物屍骸等。藝術家以廉價塑料製成精緻華美的裝置作品,戲劇化呈現原住民珍貴文明深陷於今日污染環境中的現象,藉此引發大眾重新反思原住民族的逆境。

 

〈瓶裝海洋2114〉

複合媒材

尺寸因場地而異

2014

 

Invitational Exhibition for International Artists -R201

George Nuku

 

George Nuku comes from Ngati (Omahu) , New Zealand. He is not only an artist but also the third tribal chief of Kahungunu. George had the chance to access the cultures of two large tribes, Nagti Kahungunu and Nagti Tuwharetoa when he moved with his family to Napier, a city with long Māori history, and during childhood his mother’s the cultural backgtound meanly influenced his upbringing. In his teenage years in the 1970s, also the time of Māori Affirmative Action, George started to learn English, Māori, and painting. Soon after, he attended Massey University, where he studied Art, Sociology, Geography, and Māori culture. His current viewpoint and persuasive art cultured by his upbringing background and his artistic visions.

George specializes in both performing art and visual art, whose works media range from jade, stone, pearl, wood, shell and polystyrene. Based on the strong sense of calling to the cultural inheritance, he shows his identification and faith towards Māori culture by having tattoos all over his body. George uses bold symbolic totems to construct a built-up spatial ambience, psychologically creating a mysterious and serene atmosphere. The metaphorical interpretation of such colorful totems can be related to national consciousness, religious belief, and ancestral memorial culture, which allows the viewers to be haunted instinctively in the sensational world that George creates. 

Bottled Ocean 2114 is a site-specific work finished in Taiwan that discusses about the ecological issues existed in contemporary society. The artist builds a canoe out of plexi glass and mixed media, which symbolizes the ancient civilization sailing on the sea of current development, where, halfway, includes floating of civilization wastes and polluting objects: plastic bottle, animals remains, and etc..

This delicate installation made of low-priced plastics dramatically highlights the issue of how treasured indigenous civilization is left with environmental pollution nowadays, thus inspiring people to reflect the adversity which aborigines encounter.

 

Bottled Ocean 2114

Mixed Media

Dimensions Variable

2014

 


首獎-201展間

劉美怡

 

「我的研究發現,當代(陶藝)對文化及創作有更多的想法。很多新的作品,從作品裡面延伸出來的故事,或者是想要呈現的文化議題,值得讓大家看見。」

阿美族藝術家劉美怡,從小在瑞芳海邊長大,雖然遠離原鄉部落,所幸家族長輩完整複製了台東老家阿美族生活的模式,特別是阿美族人跟海洋的親密關係,而這也成為她創作的重要源頭。

得獎作品〈Ka’eso 好吃〉包括16件小型陶土雕塑,有意將阿美族語的「Ka’eso」從「美味好吃」的原意,延伸來形容美觀好看的造型陶藝。本創作系列,根植於藝術家從小於海邊成長的美好記憶,也融合了對自然的觀察與想像,她特別迷戀某些類型的海洋生物,作品的造型語彙和變化樣式十足反映了這近乎潛意識的偏好。她說:「創作這件作品時,腦袋裡沒有想很多,只是莫名的喜歡那種從縫隙孔洞間延伸出來的感覺,做完後看著作品不斷的思考,原來這似乎就是身為阿美族的我,在潛意識裡對海的一種依戀,從小在海邊長大,潮間帶的包羅萬象,加上好吃的海鮮,海菜、海螺、龍蝦、熱帶魚、海膽、海貝…等,不經意的便形成了一種色彩繽紛的意象。」

 

〈Ka’eso 好吃〉

120 × 90 × 10公分

2014

 

Grand Prize -R201

Liou, Mei-yi

 

My research has brought me to the discovery that the indigenous community today has many new ideas about culture and art. I have found many artworks that go beyond just storytelling to tackle cultural issues and they are worthy to be seen. .

The Amis artist Mei-Yi Liou grew up by the beach in Ruifang. Although away from the tribal town where she was born, Liou’s family was able to replicate the traditional lifestyle they had in their Amis hometown in Taitung, particularly their close relation with the sea. Such background consequently became an important source of inspiration for Liou Mei-Yi’s art practice.

“Ka’ eso” is composed of sixteen small clay sculptures. By titling the work “ka’ eso”, meaning delicious in her Amis tribal language, the artist intentionally expands on the definition of the word to describe beautiful clay works. Her memories of growing up by the ocean as well as her observations and imagination of nature are essential inspirations that contribute to the creation of this series of sculptures. Her infatuation with certain sea creatures is almost internalized as subconscious, reflecting on the rich collection of fanciful designs in her work. “I didn’t think too much when I worked on this work,” said the artist. “I simply love the sensation of seeing something extending through a gap or a small hole. I stared at my clay works and pondered over them after I made them. Suddenly, I realized how much they represent me as an Amis person. I am attached to ocean in the subconscious. The vibrant and vigorous imagery I draw on for my works really finds its source in my experiences growing up by the sea—the fascinating intertidal zone and all the seafood and seaweeds, such as conches, lobsters, tropical fish, sea urchin, seashells, etc.”

 

Delicious

Pottery

120 × 90 × 10 cm

2014

 


國內邀請-201展間

瓦歷斯‧拉拜

 

「一種來自半原住民血統的漢化心靈及智慧,仍能詮釋出母體文化中的自然智慧。我所使用的工具卻是來自於主流文化中(或西方工業文明價值體系下)科技發展下的電腦與數位錄影裝置,取代原本只屬於純粹用手工藝、繪畫、陶塑、雕刻等的原住民傳統藝術媒材,藉以回應主流文化的價值體系,而有所謂以其人之道之理…。」

瓦歷斯‧拉拜混合著父親江蘇省人與母親賽德克‧道澤族人的血脈。畢業於美國紐約州羅徹斯特工藝學院電腦繪圖設計研究所。以數位化媒材為工具,透過數位影像處理與科技裝置進行藝術創作。求學時期受漢民族主流文化的庇蔭下成長學習,直至出國留學,開啟了他對母親賽德克族血統的文化認知,也讓他意識到身分認同的問題與重新面對自我的過程。

這次受邀展出作品,包括舊作〈我的外公外婆是樹生的〉和全新製作的〈與靈對話〉系列。〈與靈對話〉系列是藝術家將長期蒐集的全球各地原住民肖像,投影至自然場域中,包括山壁、竹林、瀑布等,有意讓觀者在融合現實空間與視覺影像的狀態下,隨著自身位移而產生的視角變化,凝神觀看眼前緩慢逝去的各種人物形貌,進而體會一種疏離和失落感。此作藉由群像的眼神與觀者對望,讓作品自然形成一種「對凝視者的再凝視」,完整地構築出一個讓觀者回歸自然、反思真相的感性場域。同時透過數位影像輸出方式,搭配創製過程的影像紀錄,讓觀者從知性面向了解創作意圖,如瓦歷斯提道:「這是一個身處於多元文化的個體自覺,以及對文化消逝的困頓,我們將發聲並提出(意見)。」

另一件受邀展出的作品為舊作〈我的外公外婆是樹生的〉,作品靈感取自賽德克族源自樹生的傳說,雖然至今那棵樹還存在,但下半部幾乎已經成為化石了。藝術家利用攝影及光柵片,呈現這個古老的口傳神話,也解釋了人們選擇樹葬的背後原因。

 

〈與靈對話〉

數位影像輸出

120 x 80公分

2014

 

〈我的外公外婆是樹生的〉

數位影像輸出、光柵片

150 x 90公分

2009

 

Invitational Exhibition for Taiwanese Artists -R201

Walis• LaBai

 

There is a kind of Sinicized spirit and wisdom drawn from my half-indigenous heritage, but I can still interpret the natural wisdom of my mother culture. The tools I use, however, come from the mainstream culture (or from the Western industrial civilization value system). The computers and digital recording devices brought forth by technological development have replaced traditional hand-made indigenous art materials such as handicrafts, painting, pottery, and sculpture. As a response to mainstream cultural values, this has shades of “an eye for an eye.”

Walis Labai’s father was from Jiangsu Province, and his mother was of the Seediq Toda Tribe. He graduated from the Rochester Institute of Technology Graduate School of Computer and Drawing Design in New York. Using digital materials as his tools, he creates art by digital image processing and technological installations. When he was in school, he grew in Chinese Han culture. It was not until he studied abroad, that he learned of his mother’s Seediq heritage and culture. This has also made him aware of the issue of his identity, which started a process self-searching.

This exhibition presents two LaBai’s works.  My Grandparents are born from Tree is artist’s old work, which inspired by the old legend of Seediq Tribe, saying that the tribe was born from an old tree. Nowadays, though the tree is still alive, the roots of the tree have turned into fossils. By applying photographs, the work illustrates the ancient legend as well as explains the reason why tribe people choose the natural burial. 

  A new artwork is also presented in the exhibition: theWhispering with Spirit’ series. The artist has projected portraits of indigenous people gathered over an extended period from all over the world onto natural scenes including mountain cliffs, bamboo forests, and waterfalls, etc. The purpose is to allow the viewers to integrate realistic spaces and visual images, and form visual changes when moving the bodies. Concentrating on the disappearing human figures will bring feelings of distance and alienation. Through this work, the images and the viewers see eye to eye, and the work automatically forms a “Viewing of the viewer.” It forms a comprehensive feeling of returning to nature and reflecting on the truth on the part of the viewer. In the meantime, through the methods of digital image output, together images of the creation process, he allows viewers to understand the purpose of creation on an intellectual level. As LaBai mentioned: “This is an individual feeling of being amongst diverse cultures with poverty left in the wake of disappearing cultures. We will voice our opinions.”

 

Whispering with Spirit

Digital Print

120 x 80 cm

2014

 

My Grandparents are Tree-Born

Digital Prints, Lenticular Prints

150 x 90 cm

2009