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

首頁 展覽資訊

 


展覽名稱 Exhibit

翻動MICAWOR ─ 2018 PULIMA藝術節
MICAWOR ─ 2018 PULIMA Art Festival

展覽時間 Date

2018/11/03(Sat.)~2019/01/13(Sun.)

展覽地點 Venue

台北當代藝術館

門票 Admission

NT 50.

策展人 Curator 那高‧卜沌 Nakaw Putun  
參展藝術家 Artists

藝術獎展覽 Award Exhibition (依姓氏筆畫排列)

Apo' 陳昭興(Kufir.Talo, Ting-Ting Wang)

TAI身體劇場(TAI Body Theatere

文宏(WEN HUNG

司慈聖(Paki-Takismuuzan

安君實(拔舒浪.魯魯安)Pasulange Druluan

伊祐.噶照(Iyo Kacaw)

阿道.巴辣夫.冉而山 (Adaw.Palaf.Langasan)

阿仍仍(Aljenljeng Tjaluvie)

杜寒菘(Pacake Taugadhu)

武玉玲(Aruwai Kaumakan)

拉飛.邵馬(Lafin.Sawmah

林戎依(Halomai

林喬(Lin CHIAO

林光亮(Fuday Ciyo

曾秉芳(Lahok Oding

陳勇昌(Kaling Diway

高勝忠(Sabra • Andre

莊國鑫/莊國鑫原住民舞蹈劇場

Kuo-Shin Chuang Pangcah Dance Theatre

蒂摩爾古薪舞集(TJIMUR DANCE THEATRE

楊奎洋(Yang Kui Yang

潘昱帆(Uki Bauki

 

國內外邀請展 Invited Exhibition(依姓氏筆畫排列) 

莉莎•瑞哈娜 (Lisa Reihana)

林介文(Labay Eyoong)

撒古流(Sakuliu)

明日藝術節

葛蘭達.尼珂斯(Glenda Nicholls)

彼德.沃波斯-克羅(Peter Waples-Crowe)

 

展覽介紹 About the Exhibition

 

 

「翻動MICAWOR─2018 PULIMA藝術節」

策展人:那高.卜沌

「Pulima藝術節」是臺灣最重要的原住民當代藝術節,體現原住民的文化精神與當代藝術新風貌。2018年以「Micawor 翻動」為命題,以視覺藝術、表演藝術、電影、論壇、講座、工作坊等方式呈現,並跨國連結原住民藝術社群,攜手翻動原住民文化藝術的沃土,期許為未來原住民社會創造盎然生機。

 

數萬年前,原住民族的祖先早已生活在臺灣這片土地,歷經數次大洪水時代,在大海翻動的浪潮下突破困境,發展出多元豐富的文化。但在近四百年,原住民經歷不同政權的移轉,傳統領域被剝奪、文化和語言逐漸消失,原住民被迫在自己的土地上流浪。直到1980年代原住民族運動興起,族人開始重新面對及重視祖先生活的方式。在這歷史的演變中,「藝術」的反思性、創造性、整體性、驅動性見證著原住民社會的發展,也激發人們以創新的方式觀察、思考和行動。

 

「Micawor翻動」從充滿精神力的神話年代開始談起,試圖重新翻閱歷史的長河,瞭解原住民藝術如何承接歷史,直到突破歷史侷限而取得獨立的場域,在時間和空間的翻動中,為未來的發展留下一絲線索。「Micawor翻動」試圖揭示著時代的局變下,一股持續翻動的正向力量:社會的改革是為人類發展開闢新的途徑,而藝術在此刻洞察纖毫,探索著人類存在的意義,並為世界描繪全新的願景。

 

「翻動MICAWOR─2018 PULIMA藝術節」延伸出多項系列活動,並以原住民族跨國合作與連結為今年的重要目標。其中包含呈現今年21位獲選「Pulima藝術獎」作品展覽,並邀請第20屆「國家文藝獎」得主撒古流 (Sakuliu)、前二屆首獎得主林介文(Labay Eyong),以及紐西蘭毛利族藝術家莉莎.瑞哈娜(Lisa Reihana)共同展出。同時今年特別規劃節中節,邀請墨爾本領先的國際原住民當代藝術節慶「YIRRAMBOI明日藝術節」。而國內的表演團隊布拉瑞揚舞團和TAI身體劇場也分別與紐西蘭毛利族編舞家摩斯.帕德森(Moss Patteron)和澳洲第一民族編舞家卡莉.雪柏德(Carly Sheppard)合作演出。此外,藝術節期間也規劃舉辦「表演創作徵件競賽展演」,藉以拔擢優秀的表演創作人才。

 

「2018 Pulima藝術節」以「Micawor翻動」為命題,試圖翻動原住民文化藝術的沃土,讓連結原住民族美好未來的各種新芽竄出,我們身處翻動的過程,期待在不久的將來遇見遍地繁花。

 

備註:Micawor為阿美族語「翻動」之意:翻動泥土讓新芽竄出、翻動木臼裡的糯米讓生米煮熟。

 

MICAWOR—2018 PULIMA Art Festival

Curator: Nakaw Putun

 

The Pulima Art Festival is the most prestigious indigenous contemporary art festival in Taiwan, and has embodied the indigenous cultural spirit and progress of contemporary art. The festival in 2018 adopts “Micawor” as the theme and aims to turn over fertile soil of the indigenous culture and arts through visual arts, performing arts, films, seminars, talks and workshops to connect international indigenous art communities and create brimming vitality for the future indigenous society.

 

Hundreds of thousands of years ago, the indigenous people’s ancestors had already inhabited the island of Taiwan. After several eras of the great floods, they developed rich and diverse cultures despite much hardship symbolized by the towering sea waves. However, starting from nearly four hundred years ago, the indigenous peoples underwent changes of the colonial governments, deprivation of traditional territories, disappearance of cultures and languages, and were forced into exile on their native land. It was only until 1980s that Taiwan witnessed the rise of the Indigenous Movement. The indigenous people began embracing and valuing their ancestral ways of life. Throughout the course of history, the reflexivity, creativity, integrity and motivation in “art” have been part of the developing indigenous society, encouraging people to observe, think and act in an innovative way.

 

“Micawor” starts with the highly spiritual era of the mythology, revisiting the source of the long indigenous history to understand how indigenous arts have inherited and passed down the legacy while transcending historical limitations to gain an independent site for future development through the evolving time and space. “Micawor” refers to the sustained positive force that is turning everything over within the context of the dramatic changes of the times. Reforms in society are opening up new paths for the development of the human race, and art is gaining detailed insight into the meaning of human existence while helping to cultivate a new vision for the world.

 

MICAWOR—2018 PULIMA Art Festival encompasses various events, and a major goal this year is international indigenous collaboration and connection. The events include an art exhibition of the twenty-one Pulima Art Award winners. The exhibition also features artworks by Sakuliu the winner of the 20th National Awards of Art and, by Labay Eyong, the two-time First Prize winner of the Pulima Art Award, and those by New Zealand Maori artist Lisa Reihana. This year, the festival also presents “a festival within the festival” and showcases Yirramboi First Nations Arts Festival, the premier international indigenous contemporary art festival in Melbourne, to demonstrate the subjective spirit and art scene of First Nations. Taiwanese performing arts groups, Bulareyaung Dance Company and TAI Body Theatre, respectively collaborate with New Zealand Maori choreographer Moss Patteron and First Nation performing artist Carly Sheppard. Meanwhile, the Pulima Art Festival this year also organizes “Performing Arts Competition” to encourage and discover excellent talents of emerging artists.

 

With “Micawor” as its theme, the 2018 Pulima Art Festival will surely stir the fertile soil of the indigenous culture and arts, creating fresh sprouts for a wonderful future of the indigenous community. Being part of this stirring process, we look forward to seeing the abundant fruits in the near future.

 

Note: “Micawor” means “to turn over” in Pangcah (Amis). We turn over the soil to allow new life to sprout; we turn over glutinous rice in the mortar while it’s cooking so it will soften.

 

參展藝術家 About the Artists

撒古流

撒古流(b. 1960),屏東縣三地門鄉大社村達瓦蘭(tjavadran)部落排灣族人。Sakuliu(撒古流)是排灣語「箭頭」之意,意指兩軍僵持對峙時,起身衝出去的人,背著這個名字亦背負了使命。他出自工藝家族即malang世家,從青少年時期便對於自身族群的歷史深感興趣,亦開始從耆老們的記憶找尋。為了延續逐漸凋零的部落文化,長年於部落生活,將生活經驗以圖文並茂的手稿作系統性之蒐集、描繪與整理,是臺灣原住民當代藝術指標性藝術家,作品形式多元,舉凡繪畫、雕塑、建築及裝置等皆為其所擅長。他將自己放在思想啟蒙的位置上,也因此影響了許多優秀的藝文創作者。

Sakuliu

Sakuliu (b. 1960) is a member of the Paiwan community, tjavadran, in Sandimen Township, Pingtung County. His name, “Sakuliu,” literally means “arrow head” in the Paiwan language, and denotes the person that bravely storms into battlefield in a standoff between two armies. Therefore, the name has given the artist a sense of mission. He comes from a family of craftsmen, which is called “malang” by the Paiwan people. Since he was a teenager, he has been tremendously interested in the history of his own community and has begun exploring its history from the Elders’ memory. In order to continue his original culture that has been gradually disappearing, Sakuliu stays in the village to systematically collect, create and organize drawings and manuscripts that record living experiences in the village, rendering him a benchmark artist in Taiwanese indigenous contemporary art. He specializes in a diverse range of arts, including painting, sculpture, architecture and installation. Because of his enlightening ideas, he has influenced many outstanding artists.

 

葛蘭達.尼珂斯

葛蘭達.尼珂斯 (b.1954) 生於澳洲維多利亞天鵝山,是擁有多族血統(瓦迪瓦迪/約塔約塔/納葛林桀利)的原住民藝術保衛者。擅長以自然纖維創作,其所使用的媒材強調必須能自然解離回歸於大地。而編織作為原鄉織脈的承傳,是她追尋祖先與敘事故事的途徑,連結了溯古精神與當代思想的原藝活水,使原住民文化視域的詮釋,於能動性之中持恆衍繹。

Glenda Nicholls

Glenda Nicholls was born in Swan Hill, Victoria, Australia in 1954. She is a multi-clanned Aboriginal custodian (Waddi Waddi/Yorta Yorta/Ngarrindjeri), and specializes in using natural fibers to create her works with an emphasis on using materials that can eventually disintegrate and become part of the natural world again. Her weaving reflects the continuity of her indigenous lineage, serving as a path to rediscover her ancestral historical narrative. Bringing together the past and contemporary indigenous art and thinking, her work provides a gateway to the diverse understanding and continuous interpretation of indigenous cultural perspectives.

 

文宏

文宏 (b.1993),南投縣信義鄉久美村鄒族人。甫自臺北藝術大學音樂系碩士畢業的文宏已多次發表音樂作品,2017年取得馬水龍作曲獎學金,以及教育部公費留學考試藝術學群音樂類公費生。她於2012至2018年的作品可分為三類:純音樂、跨領域及文化素材;《在文字以前》作品是受到法國解構主義思想家雅客•德希達的影響,透過其「能指、所指」關係重新思考鄒族文化,以及文化與自身關係,將哲思轉化為樂理的心象音景,以構建鄒族文化的心靈景觀。

WEN HUNG

WEN HUNG (b. 1993) is a member of the Tsou people from Jiumei Village in Xinyi Township, Nantou County. She holds an M.M. Program Department of Music from Taipei National University of the Arts, and has published multiple musical works. In 2017, she was awarded the Ma Shui-Long Composition Scholarship and the scholarship from the Ministry of Education for state financed students of music. Her works created from 2012 to 2018 can be divided into three categories, which are instrumental ensembles of classic music, cooperation with other art field and cultural material of Indigenous in Taiwan. Writing Before the Letter is inspired by the French Deconstructionist philosopher Jacque Derrida, whose theory of “the signifier and the signified” provides Wen Hung a window to re-consider the Tsou culture as well as the relationship between the culture and herself. She then transforms her philosophical thinking into an inner soundscape through music theory and constructs the spiritual landscape of the Tsou culture. 

 

拉飛.邵馬

拉飛.邵馬,臺東縣長濱村長光部落阿美族人。早年曾向希巨•蘇飛(Siki Sufin)、拉黑子‧達立夫(Rahic Talif)和陳正瑞等知名藝術家學習木雕。2009年回到臺東與太太葉海地成立「實驗平台」工作室,面對潮流文化與消費社會的商業機轉,導致原住民族文化大環境的失衡狀態,提升了他對自身文化的危機感,體現作品風格由實用性器物轉而朝向寓意觀念性的大型裝置藝術。

Lafin•Sawmah

Lafin.Sawmah of Amis descent is from the Ciwkangan village in Changbin Township, Taitung County of Taiwan. He received wood sculpture training from renowned artists including Siki Sufin, Rahic Talif, and Chen Cheng-Jui, and in 2009, he returned to Taitung with his wife Yeh Hedi and founded the “Laboratory”. The indigenous culture’s state of imbalance caused by commercial impacts from cultural trends and the consumer-driven society has resulted in Lafin.Sawmah heightened sense of critical awareness for his own culture, which he channels into his art, as he transitions from making practical objects to creating large-scale installation artworks based on metaphoric concepts. 

 

莊國鑫/莊國鑫原住民舞蹈劇場

莊國鑫原住民舞蹈劇場成立於2005年,創團藝術總監及編舞者莊國鑫,為花蓮縣太巴塱部落(Tafalong)阿美族人。目前是國立臺北藝術大學舞蹈研究所博士生,鑽研臺灣原住民傳統樂舞教育與編創,以原住民傳統樂舞本源作為基底,轉譯原住民樂舞的當代精神。莊國鑫亦為花蓮北埔國小教師,投入資源困乏的家鄉,擔任樂舞指導老師工作近20年,教導並幫助年輕世代透過傳統舞蹈建立積極的人生觀。

目前團隊二十餘位舞者皆自幼跟隨莊國鑫習舞,接受原住民傳統祭儀樂舞和現代劇場肢體訓練。舞者們於外縣市求學或就業仍每月定期返回花蓮整排及訓練,移動於各城市間的生命歷練成就了《038》舞作中最關鍵性的身體實踐。

Kuo-Shin Chuang Pangcah Dance Theatre

Kuo-Shin Chuang Pangcah Dance Theatre was established in 2005. Its founding artistic director and choreographer Kuo-Shin Chuang is a member of the Pangcah(Amis)people from Tafalong, Hualien County. Chuang is currently a PhD student at the Graduate Institute of Dance, Taipei National University of the Arts, where he devotedly studies and researches about the education and choreography of traditional indigenous music and dance in Taiwan. His work has employed traditional indigenous music and dance as the foundation to express the contemporary spirit of indigenous people’s music and dance. Chuang is also a teacher at Bei Pu Elementary School in Hualien, and has been the school’s music and dance instructor for nearly twenty years, fully dedicating to his hometown that lacks resources. Through his work, he hopes to teach and help the young generations to build an active outlook on life through traditional dance.

The members of the dance company, which are more than twenty people in number, have been learning dancing with Chuang since they were young. They have received the training for traditional indigenous ritual song and dance as well as the physical training of modern theater. Although they are either pursuing education or working in other cities, they still return to Hualien for monthly rehearsals and training. Therefore, the life experience of travelling between various cities has become the most crucial physical practice in the dance piece, entitled 038

 

曾秉芳

曾秉芳 ,花蓮縣豐濱鄉港口 (Makotaay) 部落阿美族人。童年時隨爺爺、奶奶生活於部落裡,之後移居都會生活二十多年,於是被貼上了都市原住民―「都胞」的標籤。對於城市與部落之間的各種矛盾議題,如身分認同、文化生態等成為她創作取材的指向,作品深具思辯性的探索意涵與多樣性的面貌。

Lahok Oding

Lahok Oding of Amis (Pangcah) descent is from Makotaay village in Fengbin Township, Hualien County of Taiwan. She was raised by her grandparents in the village, and later moved to the city where she has lived for over 20 years, which has resulted in her being labeled an “urban indigenous person”. She uses art to examine the various contradictory issues between the city and the village, including issues on identity and culture. Her artworks are profoundly contemplative and diverse in the features they present. 

 

安君實

安君實 (拔舒浪.魯魯安, b.1983),屏東縣霧台鄉好茶村部落魯凱族人。自2009 年八八風災後移居臺東,便開始以漂流木或自然素材手作生活物件,除創立「Maca嘛吒」品牌之外更擴延至藝術創作,從藝創實踐中表達自己對於生活的觀察與想像。

Pasulange Druluanrt

Pasulange Druluan (b.1983) of Rukai descent is from the Kucapungane village in Wutai Township, Pingtung County of Taiwan. He moved to Taitung in 2009 after the disastrous Typhoon Morakot, and began his daily creation using driftwood and other natural materials. He founded the brand, Maca, and has expanded into art, using his art to express his observations and imaginations. 

 

楊奎洋

楊奎洋 (b.1995) 花蓮縣玉里苓雅(Lingacay)部落阿美族人。畢業於淡江大學建築學系,他特別關注空間、形態、與人三者之間的關係,因此將對空間語彙的思考與實踐體現於作品之中。對自身未來的發展特別關注互動裝置與建築構造領域的探詢,期以開創有別以往的空間感知經驗。

Yang Kui Yang

Yang Kui Yang (b. 1995) is a member of the Pangcah(Amis) people from, Lingacay, in Yuli Township, Hualien County. He graduated from the Department of Architecture, Tamkang University. He has been focusing on the relationship among space, form and people, and incorporating his thinking and practice of spatial language into his work. For the future development of his creative career, he hopes to create new spatial perception and experience through his exploration in interactive installation and architectural structure. 

 

司慈聖

司慈聖 (b.1991) 南投縣信義鄉羅娜部落布農族人。以藝術家為志的司慈聖對繪畫的熱忱與執著未曾退怯,考上國立臺中教育大學美術系是他人生中的第一個夢想。畫畫對當時的他而言,是一件奢侈的事,部落長輩認為家境蹇頓為何還要當個「不能賺大錢」的畫家?「但我無法擺脫畫畫。」他說。司慈聖從小在羅娜部落長大,原鄉成為他創作最大的動能,他以靈魂享受藝術的能量,常將夢境結合情性與部落的文化描繪出來,從原鄉土地到神話傳說乃至自我探索,勇於破除身體與困境的限制,筆筆展露生命的思見,創作之路記錄了他在逆境中行過的生命足跡。其創作風格帶有超現實主義的荒謬感,在濃重的色彩之中蘊蓄明度的冷調,呈現情感的湧動與潛意識的伏流。

Paki-Takismuuzan

Paki-Takismuuzan (b.1991) of Bunun descent is from the Luluna village in Xinyi Township, Nantou County of Taiwan. Paki-Takismuuzan has committed his life as an artist. With unwavering passion and determination for art, to be accepted into the Department of Fine Arts of National Taichung University of Education was the first dream that Paki-Takismuuzan has fulfilled in life. It used to be a luxury for him to paint, because Elders thought for someone that comes from such a modest family background why would he want to become a painter, which to them is a career with an unpromising financial future. “I just can’t stop painting,” says Paki-Takismuuzan. His hometown the Luluna village that he grew up in has become his biggest creative motivation. He wholeheartedly enjoys the energy art provides and often depicts scenes from his dreams combined with personal emotions and the culture, as he creates art that spans across homeland culture extending to mythical legends and also dealing with self-exploration. His art courageously breaks physical and practical confinements, with every brushstroke executed with thoughts on life, with art used to record the obstacles he has encountered in life. Paki-Takismuuzan’s creative style projects the absurd qualities observed in surrealism, and underneath the intense colors is a subtle coolness, with the flow of emotions and the subconscious expressed. 

 

阿仍仍

阿仍仍 (b. 1981),臺東縣金峰鄉正興嘉蘭部落排灣族人。2003年以歌唱團體阿爆&Brandy出道,次年獲金曲獎最佳重唱組合2014年為完成外婆心願―記錄、保留傳統東排灣古謠,她與母親以及外婆三人共同錄製《東排三聲代》專輯,輯錄了外婆的聲音與重新編曲的排灣古謠,身為第三代的阿仍仍以能留下老人家的聲音而深感驕傲!爾後她開始環島收錄各個部落的古謠,並於2017年建置古謠App應用程式,務使承載了古老的歷史與祖先的生命,續以古謠傳唱,傳遞原住民「音樂即生活,音樂即歷史」的原聲天籟。

Aljenljeng Tjaluvie

Aljenljeng Tjaluvie (b. 1981) is a Paiwan descent from the Buliblosan village of Jinfong Township, Taitung County. Aljenljeng Tjaluvie made her debut in 2003 with singing group Abao & Brandy and won the Golden Melody Award for Best Vocal Collaboration the following year. In 2014, to fulfill her grandmother’s wish to document and preserve traditional East Paiwan ballads, Aljenljeng Tjaluvie collaborated with her mother and grandmother to record The East Payuan Folk and Three Generations album, which documents the voice of her grandmother and re-arrangements of ancient Paiwan ballads. Aljenljeng Tjaluvie is extremely proud to be able to preserve the voices of the Elders. She started traveling across Taiwan to collected ballads of different communities and created a ballad App in 2017. The app is a platform for ancient life and history, spreading melodies and conveying the indigenous message that “music and life are one.”

 

林戎依

林戎依 (b.1989) 臺東縣成功鎮小馬 (Piyoho) 部落阿美族人。因父親的家族是傳統長老教會,在當時參與豐年祭等祭儀是不被允許的活動,不過母親家族每年都有家人持續參與,使她從小生活在阿美族生活圈中,因此在面對自己族群文化時不會感到陌生,但總有無法真實感受族群認同的遺憾;直到2010年林戎依在都蘭部落看見阿美族傳統製衣工藝品―樹皮布,開始透過此工藝的學習過程找到自我肯定的部分,也成為她連結自身族群的橋樑,並致力傳承臺灣原住民族樹皮布文化與當代織物美學的創新結合。

Halomai

Halomai of Amis descent is from the Piyoho village in Chenggong Township, Taitung County of Taiwan.Due to the Presbyterian Christian background on her father’s side of the family, she was forbidden to attend harvest festivals and other rituals. However, family members on her mother’s side have always actively taken part in such rituals; therefore, she did grow up in an environment surrounded by Amis culture and is familiar with her own indigenous background. Nonetheless, she had felt in the past that something was missing, preventing her from feeling completely accepted by her people village. In 2010, Halomai saw in the Atolan village a traditional Amis handcrafted garment made with tree bark and began learning the craft. This process has allowed her to attain a sense of self-acceptance and has also become a bridge for her to connect with her hometown. She is now dedicated in passing down the Taiwanese indigenous tree bark textile artistry and also integrates it in innovative ways to become a part of the contemporary textile aesthetic.  

 

彼德.沃波斯-克羅

彼德.沃波斯-克羅,為澳洲新南威爾斯,恩格利哥族 (Ngarigo) 之原住民藝術家、表演藝術家,其跨領域的交流經驗、與社區健康、藝術組織合作的創作,使他對藝術及社區文化發展具有獨特的見解與觀點。創作上常以澳洲野犬 (Dingo) 作為原住民的圖騰形象以及原住民精神象徵的意符,其用色大膽、色域豐富,作品探索了原住民置身於流行文化之中的形象再現。

Peter Waples-Crowe

Peter Waples-Crowe is a Ngarigo visual and performance-based artist living in Melbourne. His intersecting experiences as an Nagarigo person and his work with community health and arts organisations give him a unique perspective as an artist and community cultural development worker. Waples-Crowe creates bold colourful work that explores the representation of Aboriginal people in popular culture, often referencing the dingo as a totemic figure and an analogy for Aboriginal peoples of Australia.

 

陳勇昌

陳勇昌 (b.1968) 花蓮縣豐濱鄉港口部落 (Makotaay) 阿美族人。阿美族傳統社會中,竹、藤編織是男性的基本生活技能,同時成就了他創作的基石,他不斷嘗試運用竹、藤,木頭等自然素材,將其重塑、解構、重組及雕刻,作品呈現溫潤中帶趣味,傳遞生活美好的感受。而編織作為他創作廣泛使用的介面,蘊含文化傳承的使命,在經緯交錯的時間中,隱喻了阿美族的社會結構。經線猶如部落族裡崇尚敬老尊賢的軸承,緯線則為橫向年齡階層制度的形塑,經緯密實交錯,形構阿美族社會團結、和諧為首的文化特質,為族人面對現代化衝擊撐起一把保護大傘。

Kaling Diway

Kaling Diway (b.1968) of Pangcah (Amis) descent is from the Makotaay village in Fengbin Township, Hualien County of Taiwan. To be able to weave bamboo and rattar is a fundamental skill acquired by the men in the traditional Pangcah (Amis) society, and Kaling Diway has turned it into the foundation of his creative work. He experiments with using various natural elements including bamboo, rattar, and wood, and reshapes, deconstructs, reconstructs, and carves them to create artworks with warm and playful qualities, with life’s wonderful side conveyed through his work. Weaving is applied in his work in a wide variety of ways, and he also sees it as a part of his mission to pass down the culture of his village, with the social structure of the Pangcah (Amis) represented with every entwining weave done by crisscrossing time. The close-knit vertical and horizontal weaving structure signifies the unity behind the Pangcah (Amis) society, and with harmony a prized cultural feature, these features serve as a large protective shield safeguarding its people from the impacts brought on by modernization. 

 

Apo' 陳昭興王亭婷

陳昭興Apo' (b.1978)臺灣花蓮阿美族人,與夥伴王亭婷Lisin (b.1981)臺灣臺北人,倆人熱愛海洋與田野生活,將海洋民族受自然的陶養與來自生活的感受,以藝術創作、影像與工藝等表現來傳承,舉凡耆老的生命史、重要歷史事件、傳說、海洋文化、傳統生活等脈絡的推進,他們回到Makotaay部落後所積累的巨大能量,以創作梳理,因此得以傳承、關懷珍貴的部落文化。

Kufir.Talo╱Ting-Ting Wang

Kufir.Talo (Apo’ ) (b.1978) is an Pangcah (Amis) artist from Hualien, Taiwan. Together with Ting-Ting Wang (Lisin (b.1981), the two ocean and wildlife lovers work together to share artworks, images, and crafts inspired by nature. The works of the two artists include contexts of the life of Elders, significant historical events, legends, marine culture, and traditional culture. Kufir.Talo and Ting-Ting Wang used their creativity inspired from their time spent in the Makotaay village as a way of continuing the ancient legacy and culture. 

 

林光亮

林光亮 (b.1990) 花蓮縣玉里鎮織羅部落阿美族人。目前為國立臺東大學南島文化碩士班研究生。他以影像紀錄原鄉情貌,藉由紀錄片「紀實求真」的特性作為創作思想的傳遞,更以影像具有載寓故事的能動性,寄予文化擴延的影響力,喚起年輕族人對傳統文化的意識與情感。對於快速更迭的現代性,林光亮希冀從中借助現代的力量以留存原住民文化,這是他當前最想做的事情。

Fuday Ciyo

Fuday Ciyo (b.1990) of Pangcah (Amis) descent is from the Ceroh village in Yuli Township, Hualien County of Taiwan. He is currently a graduate student studying Austronesian culture at the National Taitung University. He makes videos to document his hometown and relies on documentary’s authentic and realistic qualities to convey his creative concepts. Fuday Ciyo also applies the dynamic story-filled quality of videos to spark impacts through the gesture of cultural expansion, seeking to awaken his younger villagers awareness and sentiments for their traditional culture. Responding to the rapidly changing modern society, the one thing that Fuday Ciyo hopes to achieve the most in the current moment is to draw power from this force of modernity and to use it to preserve the culture of the indigenous people. 

 

潘昱帆

潘昱帆(b.1980),花蓮縣豐濱鄉新社 (pateRungan) 部落噶瑪蘭族人。為影像檔案保存者與紀錄片工作者。自2004年大學畢業後即從事影像、媒體相關工作至今,包括劇情片、電影、電視節目製作等。近年投注於原住民族影像檔案與資料庫建置,以此作為原住民族史觀和文化核心價值的依據,將其影像文獻與影像資料庫的應用與研究,梳理歷史脈絡,主張原住民主體性之理念。此外,她透過影像創作傳遞原住民觀點,與主流社會溝通、對話,期望原、漢共處的社會屏除偏見,能因理解而相互尊重。

Uki Bauki

Uki Bauki (b. 1980) is a member of the Kavalan village, pateRungan, in Fengbin Township, Hualien County. She is a film preserver and documentary producer. After graduating college in 2004, she has been doing works related to film and media, including drama, film, TV show production, etc. In recent years, she has spent much time building an archive of indigenous images and films. She uses the archive as a foundation for shaping the historical view of the indigenous people as well as their core cultural values. Through the application and study of the images and films in the archive, she has organized the historical context from an indigenous perspective and advocated the subjectivity of the indigenous people. Moreover, she has been conveying indigenous perspectives through her film creations, hoping to facilitate interactions and dialogues with the mainstream society while eradicating prejudices for benefiting the co-existence between the indigenous people and the Han people as well as their mutual respect founded on mutual understanding. 

 

阿道.巴辣夫.冉而山 (b.1949)

阿道.巴辣夫.冉而山(b.1949) 花蓮縣光復鄉太巴塱(Tafalong)部落阿美族人。臺灣大學夜間部外文系畢業。1991年加入臺灣第一個原住民表演團體「原舞者」,為創團核心舞者。2002年開始舉辦「原住民『成人』戲劇表演藝術營」,此研習營著力在以祭儀為主軸;以身體為媒介的創作為主,可視為阿道於創作發展上的前導與脈源。2012年成立冉而山劇場,團名呼應著太巴塱部落阿美族聖山―「奇冉而山(Cilangasan)」。意指:神話與族群繁衍的發祥地。身為團長的阿道向來以阿美族祭儀與神話為源頭和團員們共同進行創作。嚴格說來並沒有「正式團員」,其參與者來自各個領域及不同族群:工人、農夫、學生、作家、文史工作者、藝術家、工藝師等;以及原住民、平埔族、閩南人、客家人。他們有來自野地澎湃的生氣,亦有都會旺盛的活力,有意打破表演藝術的階級,以庶民的身體為出發,結合環境劇場、民眾劇場與貧窮劇場之概念,期望來自臺灣土地的庶民能量,用生命與身體鼓動出詩歌的新篇章,透過樂舞復振維繫原住民文化的深邃內涵。

Adaw.Palaf.Langasan

Adaw.Palaf.Langasan (b. 1949) is a member of the Pangcah (Amis) village, called Tafalong, in Guangfu Township, Hualien County. He graduated from the night school of the Department of Foreign Language and Literature, National Taiwan University. In 1991, he joined the first indigenous performing arts group, named Formosa Aboriginal Singing and Dance Troupe, and was one of the core founding dancers. In 2002, he started organizing “Indigenous Theatrical Performance Workshop for Adults,” which has mainly focused on ceremonial rites and used the body as a primary creative medium. The workshops have since become the artist’s source of inspiration and basis for developing his works.

In 2012, he founded Langasan Theatre. The name of the theatre group is reminiscent of Pangcah (Amis) people’s sacred mountain in Tafalong, “Cilangasan,” which means the origin of mythology and propagation. As the director, the artist has always collaborated with members in the theatre group to co-create the works, employing Pangcah (Amis) rituals and mythology as their source of inspiration. Strictly speaking, the group has no “official members” because its participants all come from different backgrounds and ethnic groups; there have been laborers, farmers, students, writers, culture workers, artists, artisans, who are members of the indigenous, Pingpu, Minnan or Hakka communities. They demonstrate natural vibrant vitality and abundant energy, hoping to shatter the restraint of class in performing arts. With the body of ordinary people as a starting point, they have incorporated concepts of Environmental Theatre, People’s Theatre and Poor Theater into their works, and aimed to harvest the energy of ordinary Taiwanese people to create new poetic chapters with life and body while revitalizing and sustaining the profound life of indigenous culture through music and dance. 

 

沙布喇‧安德烈 (高勝忠)

沙布喇‧安德烈(b.1986)臺東縣大武鄉大武村排灣族人。來自排灣族血統的文化本源成為他創作上的靈感繆思,包括原住民各族之圖騰、神話、智慧等,他視創作是個人與文化的內化過程,透過服裝來訴說一個文化脈絡和故事,於解構並重新詮釋之際,傳遞出符碼箇中文化的精髓。他也引用建築的意象,如哥德建築與裝飾藝術的結構元素,表示:「……我的服裝可以看到明顯的建築結構,服裝它需要透過點、線、面形成一個包覆人體的空間,服裝其實就是一個軟性的建築」。藉由異材質的拼接剪裁,展現服裝起承轉合的輪廓表情;柔中帶剛之中,不失復古又兼具前衛科技的特色。

Sabra · Andre (Andre Kaowas)

Sabra · Andre (b.1986) is a Paiwan artist from Dawu, Taitung. The artist’s Paiwan background, such as the totems of different indigenous communities, mythology, and philosophy, have become inspirations for him as an artist. Sabra · Andre believes that creativity is an internalizing process of the individual and culture. Through clothing design, Sabra · Andre portrays the stories and context of a culture while deconstructing and reinterpreting the cultural essences within the different symbols. Sabra · Andre also uses architectural imagery, such as Art Deco elements from Gothic architecture. Sabra · Andre stated that: “…my clothes display a distinct architectural structure. Clothing envelopes the body through point, line, and plane; one can even say that clothing is like a form of soft architecture.” By combining and mixing different materials and texture, Sabra · Andre showcases the various curves and charm of clothing, integrating softness with strength, tradition with innovation.

 

蒂摩爾古薪舞集

蒂摩爾古薪舞集成立於2006年。「蒂摩爾」,即「三地門」之意,位於屏東縣的三地門鄉,為排灣族文化根據地。「古薪」,即是以古為薪,以傳統轉繹當代新象,是臺灣首支以排灣族文化為主體性的當代舞團,由團長暨藝術總監路之‧瑪迪霖(Ljuzem Madiljin)創立;巴魯‧瑪迪霖(Baru Madiljin)擔任編舞家,致力傳承與創新排灣族樂舞文化。透過「典藏記錄排灣族傳統樂舞、向耆老學習與行走原鄉地區」的田野精神,研發出排灣當代肢體符碼來傳達與分享排灣族文化及哲學之美。

TJIMUR DANCE THEATRE

TJIMUR DANCE THEATRE was established in 2006. Tjimur means Sandimen, referring to Sandimen Township, the homeland of the Pawian people in Pingtung County. The Chinese name of the dance group also entails preserving the legacy of tradition and introducing innovation. Tjimur Dance Theatre was founded by Ljuzem Madiljin, the president and artistic director of the group, with Baru Madiljin as the choreographer, and is the first contemporary dance group focusing on Paiwan culture as well as the preservation and innovation of Paiwan dance, music, and culture. Centered around the field investigation spirit of “Preserving and documenting Paiwan traditional music and dance, learning from the Elders, and exploring the homeland,” Tjimur Dance Theatre presents audiences with contemporary dances that express and share the beauty of Paiwan culture and philosophy. 

 

林喬

林喬 (b.1988)宜蘭縣南澳鄉東岳村泰雅族人。19歲前往法國,主修爵士鋼琴與雙簧管同時學習即興演奏,編曲及作曲,獲得凡爾賽音樂院演奏文憑。在法期間師從法國著名爵士鋼琴家塞茲‧弗迪,並參與多場巴黎爵士音樂節演出。2014年回臺定居落腳家鄉宜蘭,目前擔任同根生樂團音樂總監,為主要作曲及鍵盤手,深耕於結合在地文化的音樂新創作,並積極參與跨領域表演及藝術創作。在跨越國際的文化交融之後,反思自身的來源與流向,那些根植於潛意識的呼喊建構出夢境般的異想,恍惚中看見自己最真實的樣子,進而透過音樂創作展開一段尋根之旅。

Lin, CHIAO

Lin CHIAO (b.1988) is an Atayal artist from Dongyue Village of Nanao Township, Yilan County. Lin traveled to France the age of 19 and majored in jazz piano and the oboe while learning impromptu performance, arranging, and composing, finally receiving his recital diploma from the Conservatoire National de Région de Versailles. During Lin’s time in France, he studied under renowned French jazz pianist Serge Forte and participated in many Paris jazz music festivals. In 2014, Lin returned to his homeland, Yilan, and is currently the music director of music group A Root, responsible for composing, and is the main keyboard player. Lin is dedicated to creating musical works that integrate local culture and has been an active participant in interdisciplinary performances and creates various artworks that combine different media and art forms. Lin’s multicultural background inspired him to contemplate on his personal origin and future, catching glimpses of the self through dreamlike imaginations that spring from the subconscious, taking audiences on a journey of self-discovery through music.

 

TAI身體劇場

TAI 身體劇場成立於 2013年,劇場成員多來自臺灣各族之青年。其創辦人―瓦旦督喜Watan Tusi (b.1979) 花蓮縣卓溪鄉立山部落(Swasal)太魯閣族人。 TAI,源於太魯閣族語,即「看」或「瞧」的意思,是瓦旦對原住民傳統文化的凝望與反思,他說:「除了傳統祭儀或觀光化表演,原住民樂舞還有新的可能嗎?」他花了兩年時間田野研究,找出腳與土地的關係,記錄了六十多式「腳譜」,再透過每一次的創作解構、重組產生新的身體與舞蹈形式,其作品風格觸及原住民文學、身體與音樂、當代原住民處境與環境衝突等多元議題。

TAI Body Theatre

TAI Body Theatre, consists of young Taiwanese artists from different indigenous groups is established in 2013. The founder of the dance group Watan Tusi (b.1979), is a Truku descendant from Swasal village of Zhuoxi Township, Hualien County. Tai originates from the Truku language meaning “to see or to observe” hinting to Watan’s gaze and contemplation towards traditional indigenous culture. The question Watan Tusi asks himself: “What does indigenous music and dance have to offer apart from traditional ceremonies and tourist performances?” After spending two years in field research of the movement of foot stepping on the land in daily life, Watan Tusi documented over 60 “pace notations” which are then deconstructed and rearranged into new dance forms. The works of TAI Body Theatre are inspired by indigenous literature, body and music, as well as the status of indigenous people, environmental conflicts, and so on.

 

伊祐.噶照

伊祐.噶照 (b.1980),花蓮縣豐濱鄉港口部落(Makotaay)阿美族人。對他來說,創作是精神延續與文化傳承的重要途徑。其形式風格擅以碎形或切剖的木條,重複連接和堆疊的線性語彙來形塑造型,不斷反思人與自然的關係,並透過作品詮釋一種現實存在的狀態。

Iyo Kacaw

Iyo Kacaw (b.1980) of Pangcah (Amis) descent is from Makotaay Village in Fengbin Township, Hualien County of Taiwan. He sees art as an important pathway to preserve and pass down ethos and culture. His art uses fragmented and chopped up wooden pieces, which are repeatedly connected and overlapped to create linear expressions that are transformed into shapes and forms. He uses his art to reflect on the relationship between mankind and nature and also to interpret a state of tangible, realistic existence.  

 

武玉玲

武玉玲(b.1971) 屏東縣三地門鄉大社部落排灣族人。因八八風災遷至禮納里部落,此前武玉玲多著重原住民工藝設計,風災後開始朝向裝置藝術的創作。她自小隨母親編織製作配飾,爾後以自己的新創意將金工技法帶入編織與串珠,為名符其實的Pulima(手藝精細之人)。同時身為大社部落排灣族公主,銜命傳承,她說:「若想要傳統文化兼具現代的手法表現,就必須找回文化的根本,這樣才能創作出有生命力的作品。」其創作題材常以傳統祭典、族群意識以及自我探索等,以女性角度反應文化生命翻動的故事,作品散發出女性特色。

Aruwai Kaumakan

Aruwai Kaumakan (b. 1971) is a member of the Paiwan village, Paridrayan, in Sandimen Township, Pingtung County. After the disaster caused by Typhoon Morakot, she has settled down in Rinari Village. She used to create indigenous crafts and designs, but after the disaster, she started making installation art. As a child, her mother taught her to weave accessories. Later, she incorporated her own creativity and combined techniques of metal work with the crafts of weaving and beading, rendering herself a real “Pulima” (a person excels in making fine craftworks with hands). Aruwai Kaumakan is also the Paiwan princess of Paridrayan and carries the mission of passing down the legacy on her shoulder. According to her, “to combine both traditional culture and modern expression, one must return to the cultural root to create works with real vitality.” Her works often reflect the themes of traditional ceremony, community consciousness and self-exploration, voicing the stories of evolving culture from a female perspective and displaying unique feminine characteristics. 

 

杜寒菘

杜寒菘 (b.1977),屏東縣霧台鄉好茶部落魯凱族人。繪畫天份自小便展露在日常玩樂中,然而天生辨色能力的缺乏以及年少輕狂歲月,直到2013年起才投入藝術創作,堅守著「只說部落的故事、只畫部落的文化」的創作初衷,並自2015年起,跳脫「說一個身歷其境的故事」,轉而成為「說一個帶有立場、具批判性的故事」。杜寒菘的創作能量皆源自於山林、祖靈、部落與族人的情感,二本原創繪本《Maca ki umu:伍姆的嘛喳》及《Lrikulau:里古烙》,先後於2015年及2017年獲選義大利波隆納兒童書展展示。

Pacake Taugadhu

Pacake Taugadhu (b.1977) of Rukai descent is from the Kucapungane Village in Wutai Township, Pingtung County of Taiwan. His talent for art was apparent since he was a child, but because of a deficiency in the way he sees color and combined with his rebellious youthful years, Pacake Taugadhu didn’t start making art till 2013. He has remained adamant about his original intention for creating art, which is “to only tell the stories of his village and to only paint about the culture of village.” In 2015, he transitioned from “telling story of his own personal experiences” to “telling story to convey his position and critical point of view.” Pacake Taugadhu draws inspiration from the mountains, ancestral spirits, his village and people. The illustration books, Maca ki umu and Lrikulau, created by him and published in 2015 and 2017 were selected for the Bologna Children's Book Fair.

 

林介文

林介文(b.1982),花蓮縣萬榮鄉紅葉部落太魯閣族人。向來厭惡束縛與體制框架的林介文,大學主修金工,研究所赴西班牙投入於實驗性臨時空間的探究,以身體感官直覺先於思考,從而跳脫平面拘限:「我得先動手,知道材料的感覺,才能慢慢建構。我從不畫圖,圖一定是騙人的。我的東西很有機,要不斷疊上去。」隨著意念游藝於異質媒材的織構與碰撞,銜繫起太魯閣族傳統的織布文化,履踐之中感懷部落織女耆老的啟發尤深;作品融入早期金工技法與纖維等複合媒材及錄像裝置,以軟雕塑作品居多,擅長用多面向的方式呈現同一主題,關切身分認同、身體行為、女性、環境等議題。

Labay Eyong

Labay Eyong (b. 1982) is a member of the Truku village, called Ihownang, in Wanrong Township, Hualien County. She has always disliked constraints and systematic frameworks. After graduating college with a major in metal art, she travelled to Spain and explored the potentiality of experimental temporary space. She places physical senses before rational thinking and escapes two-dimensional limitations. According to the artist herself, “I have to work with my hands first to feel the materials and slowly build the work. I have never done preliminary drawings because they are deceitful. My work is organic, like endless layers upon layers.” Following her mind to explore weaving and a combination of heterogeneous materials, Labay Eyong has inherited the traditional weaving culture of the Truku people and incorporated her gratitude for the inspiration from female elder weavers in her community. She combines metal work techniques with mixed media, such as fibers, and the art form of video installation to create her works, which are mainly soft sculptures that tend to delineate one subject at a time from various perspectives. Her works engage viewers in issues about identity, bodily actions, women and the environment.  

 

莉莎.瑞哈娜

莉莎.瑞哈娜,毛利族藝術家。自小在紐西蘭北島奧克蘭成長,血脈本源為納格胡族人 (Ngapui)。她進入奧克蘭大學藝術學系修讀雕塑及時基藝術,作品涵蓋動態影像裝置、錄像、行爲表演和文獻記錄,除了藝術上頗受錄像之父白南準(Nam June Paik)的影響,在現實環境中,亦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,並逐步開啓別具特色的影像創作。

Lisa Reihana

Māori artist Lisa Reihana of Ngāpuhi descent grew up in Auckland in New Zealand’s North Island. She received training in sculpture and time-based arts at Elam School of Fine Arts, at the University of Auckland. Her practice ranges from moving image installation, video, performance and documentary records. In addition to being inspired by Nam June Paik, the father of video art, Reihana’s work has revealed influences from Māori politics and popular culture. She especially focuses on the subject of tribal cultural legacy, identity and hybridity, from which she has created distinctive works.

 

 

 

 

 

 

 

 

 

作品介紹 About the Artworks

入口形象區╱Entrance Hall 

撒古流

Sakuliu

《點菸》

Lighting the Tobacco

銅  Bronze

236 ×197 × 60 cm

2015

《點菸》雕塑裝置結合錄像投影,展現了雕塑精神的力度,更輻射出微煦影疊之中所蘊藏的時空光景。半世紀前,達瓦蘭部落派出所前廣場的榕樹下掛著第一盞燈泡,一位老人站在板凳上對著燈泡點菸,曾到過平地的年輕人看了說:「阿公,那不是火,是燈。」阿公搖搖頭納悶的說:「奇怪!這個像雞蛋那麼大、那麼亮,竟然不能點菸?」。

在浮光掠影之中,點出了撒古流是在沒有燈的環境下,度過童年到中學(1960-1975)時期的成長經歷,以及關於光的記憶。部落從火光時代進入了電光的年代,當部落族人首次看到燈泡時的興奮與好奇,燈泡竟然不能點菸的矛盾;在現代文明的象徵「電」進入部落之後,逐漸改變了部落的生活型態。撒古流透過「火」與「光」交會的遞嬗過程,敘述家鄉達瓦蘭部落從使用火的民族轉變為使用燈的民族,反映了時代變遷下斜坡上的族人(kacalisyan),對自身傳統文化流失的失落,以及對部落生活、文化所帶來種種質變的省思。

Lighting the Tobacco is a combination of sculptural installation and video projection. The work displays the power characteristic in sculptural art while transporting viewers back to a historical time through the interplay of light and shadow. Half a century ago, the first light bulb was lit and hung on the banyan in front of the police station in tjavadran. An Elder stood on a stool, trying to light the tobacco using the light bulb. A young man that had been to the city said to him, “Grandpa, that’s not fire. It’s a lamp.” Feeling puzzled, the Elder shook his head and said, “It’s bizarre! It’s as big as an egg. So bright it is, but it cannot light the tobacco?

Amidst the moving light and shadow, audience are transported back to the time of Sakuliu’s childhood and teenage years (1960-1975) with no lamps in his living environment, and witness his life in the past as well as his memory about light. As the village bid farewell to fire and entered the era of electricity, the village people experienced the excitement and curiosity of seeing a light bulb for the first time; but they were also puzzled by the fact that a light bulb could not be used to light the tobacco. After electricity, which was a symbol of modern civilization, became available in the village, people’s lifestyle was slowly changed. Depicting this changing moment of transitioning from using “fire” to “electricity,” which converted his hometown tjavadran from a village that used fire to using lamps, this work reflects the loss of traditional culture for the “kacalisyan” (people on the slope) due to historical changes while conveying the artist’s reflections on the fundamental transformation of life and culture that followed those changes in his hometown.

 

105展間╱R105

 

葛蘭達.尼珂斯

Glenda Nicholls

 

 

《女子成年儀式》系列

A Woman's Rite of Passage Series

珠飾、鏡子

Jute, Emu Feathers, Possum Skin, Wool, Velvet, Coin, Silver Chain, Beads, Mirror

153 x 203 cm

2015

葛蘭達的創作延續自身家族歷史,反映家族長者及祖先的故事,呈現過去與現在的連結,也展露自身與國家的關係,她的編織和羽毛創作在維多利亞原住民藝術圈中為人熟知,其創作的網、籃子及羽毛花朵更曾在維多利亞的不同藝廊展出。

孩提時期,葛蘭達常觀察長輩運用針織、勾針、編織等技法及不同纖維材質展現技藝,她創作的羽毛花朵自母親的外曾祖母開始世代相傳,運用從長者們留下的設計藍圖,構築融合傳統及當代手法的藝術形式,葛蘭達的祖傳技藝可視為一種生/活文化,依㝷祖先的傳統步伐,逐步搭起自身與土地的連結。

Glenda’s craft reflects the continuity of her family storyline. It reflects the story of her Elders and ancestors and the connection between the past and present. Her work shows her connection to her country. Her weaving and feather craft are well known within the Victorian indigenous art world with some of her net pieces, baskets and feather flowers exhibited throughout Victorian galleries.

As a child, Glenda remembers watching her Elders knit, crochet, weave and carry out their craft using different processes and fibres. Her feather flowers are a generational art form that has been handed down from her mother and her mothers’ mothers. This art form show a traditional and contemporary method that come from blueprints handed down from her Elders. Her family craft practice is a living culture that is following in the footprints of her ancestors and is her connection to her country.

Photo by Max Delaney

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and City of Melbourne through YIRRAMBOI Festival.

本計劃由澳洲藝術委員會—澳洲聯邦政府專責獎補助和諮詢的機構,以及墨爾本市政府之YIRRAMBOI明日藝術節所支持。

 

106走廊/R106 Hallway

文宏

WEN HUNG

 

 

《在文字以前》

Writing Before the Letter

弦樂四重奏/音樂創作

String Quartet / Music Composition

22min. 10sec.
2018

《在文字以前》由曲式、和聲、音高、節奏四個樂章構成。全曲使用「以小積大」的邏輯寫成,來詮釋鄒族「過去就是現在」的文化精神,指過去的經驗成就現在生活的參考依據,因此體現了一個循環非直線式的時間表述,而「過去就是現在」之時間表述是建立在鄒族社會形式「二元對立同心圓」的關係結構,每個二元主體經歷對立、抗衡後產生的變化,最終因指向同心圓而「削弱個別性,增強集體性」,使鄒族文化不斷重複地回到「戰祭」、「小米豐收祭」的集體意識,構成週而復始的時間表現。

二元與同心圓的互補,兩者因對方存在而使其價值成立,過去鄒人集體意識形成鄒族文化,鄒族文化精神又由現代鄒人轉化為新外在形象。《在文字以前》試圖以鄒族文化精神「過去就是現在」為邏輯核心,並將其轉化於音樂創作,使鄒族文化和當代產生聯結,也有了新的文化形象。

音樂是一種關於時間流逝的藝術形式,文宏藉由每一樂章的樂譜與圖畫的輔助,運用邏輯推演的拆解與分析,讓觀者在「視」「聽」之際了解創作的思見。

她分析「文字是眾多精神價值的集合,文字以前可能是筆畫、部首、文法、語言、圖形、神話、甚至是一種精神。「文字」若視為一種邏輯,在文字以前就必須將邏輯拆解,回到「文」與「字」本身,重新審視其原始型態,並形塑新的意義」。轉換為音樂:音樂是聲響的集合,在成為音樂以前,需透過音高、節奏、和聲素材的編織,更進一步,加入音色、織度及曲式變化。作品以西方音樂基本要素―音高、和聲、節奏,作為每一樂章之動機主題,將動機主題以「過去就是現在」邏輯重新建立音高、和聲、節奏關係,雖有四個樂章,但皆表達相同樂思;本質不變,只是邏輯不同:不以「大」解釋「小」,而以「小」定義「大」,試圖與傳統文化對話並營造「鄒」式的音樂時間。

Writing Before the Letter comprises four movements, which are respectively entitled “Form,”“Harmony,”“Pitch” and “Rhythm.” The whole composition is based on the logic of building the entirety with small units. The work is an interpretation of the Tsou people’s cultural spirit that “Past into Present” – meaning past experiences become references and the foundation for the present life – and forms a temporal expression that is cyclic rather than linear. Additionally, such temporal expression is based on the Tsou people’s social and relational structure that embodies the concept of “a dichotomous concentric circle.” It denotes the idea that each subject that has formed the social organization of Tsou is dichotomous and will undergo conflicts and struggles that bring changes, which will eventually signify a concentric circle of “diminished individuality and enhanced collectivity”; hence, the Tsou culture has repeatedly returned to the collective consciousness of “Mayasvi (war ceremony)” and “Homeyaya (millet harvest festival),” demonstrating their cyclic understanding of time.

The complementary relation between the dichotomy and the concentric circle illustrates the understanding that the two oppositions exist because the values from both sides are mutually constructive. In the past, the Tsou people’s collective consciousness formed the Tsou culture, which has manifested as a new image through the modern Tsou people. Writing Before the Letter shows the artist’s attempt to capture the core logic of the Tsou cultural spirit of “ Past into Present” and transforms it into musical composition, allowing the Tsou culture to connect with the contemporary society while embracing a fresh cultural image.

Music is an art form that delineates the passage of time. With the sheet music and picture of each movement, Wen Hung employs the deconstruction and analysis of logical inference, enabling the audience to grasp the creative concept while seeing and listening to the work. In her analysis, words are the summation of various spiritual values. Before words are formed, they are brushstrokes, character radicals, grammars, languages, forms, mythologies and even a particular spirit. When “words” are viewed as a type of logic, one must deconstruct the logic before words are formed and revisit their original forms to produce new meanings. In terms of musical transformation, music is the ensemble of sounds. When the sounds turn into “music”, it requires weaving elements of pitch, rhythm and harmony together, and then, the elements of timbre, texture and musical form can be added. This work employs the fundamental musical elements in Western music, including pitch, harmony and rhythm, as the motive of each movement. Adopting the logic of “Past into Present,” the relationship between pitch, harmony and rhythm is re-created. Although there are four movements, they all express the same concept. The essence remains the same as the logic varies: instead of interpreting the small units through the overall structure, the small units now define the entirety as an attempt to construct a dialogue with the traditional culture and create a musical time in the Tsou style. 

 

106展間/R106

 

拉飛.邵馬

LafinSawmah

《海.生》

The Loop of the Ocean 

桃花心木、烏心石木Mahogany, Formosan Michelia

 (左到右依序尺寸)

(imensions from left to right)

50x25x10

42x25x10

39x23x7

147x40x35

100x40x35

162x60x45 cm

2018

《海.生》為拉飛.邵馬身為海洋的子民,對大海的想像之系列作品之一。對海的神祕性、豐富性以及多樣性的崇慕與饋予,是生命思想的母親也是創作靈感的繆思。這系列的作品造型似牙齒、鯊魚背鰭或觸鬚,也像有機線條的海草與浪流,寓意了一種深海神祕生物的再生,他透過雙手在紋澤質美的木頭,鑿刻出象徵內部身體的構造,它彷彿透過這些刻痕以吸取養分因而有了生命力。拉飛更將這股生命力轉化為靜謐的力量,藉由木雕結合細沙碎石鋪地構成枯山水般的景觀,沙子的表面紋理似水的流動,他在靜水深流之中,思索部落耆老口傳歷史的深意。

原住民從哪裡來?拉飛試圖透過作品再次強調南島民族在遷移過程中與海洋密不可分的關係:「在我看來大海是另一個未知的宇宙,祂承載著歷史,是生命的起源,大海所擁有的不僅僅是一種色彩,是一種精神。我們常常下海發現海洋的變化很大,溫室效應加上海洋垃圾等環保問題,其實臺灣本島皆是海洋民族,對大海的敬重精神似乎沒有被傳承下來,因此我想像大海非常神祕的那一面去創作這些作品,創造屬於這片神秘大海裡慢慢生長著的雕塑,並持續不斷尋找自己生命的起源與意義的旅程。」藉此分享並提醒人對海與大自然生命的延續的重視,以陸地的遙望詠歎遠方海洋的生命。

The Loop of the Ocean is one of the series created by Lafin.Sawmah inspired by imaginations for the ocean, with the artist being a descendant of the ocean people. He is in awe of the ocean’s mysteriousness, richness, and diversity, and considers it the mother that nurtures his life and the muse of his art endeavors. This series includes artworks that resemble teeth, shark fins, or tentacles, while some look like organic seaweeds and flowing currents, with the artworks connoting the revival of a mysterious deep-sea creature. The artist carves by hand symbolic internal physical structures using wood with beautiful grains and patterns, with his art seemingly bestowed with a sense of life from nourishment provided by the carvings. Lafin. Sawmah then further transforms this vitality into a tranquil and peaceful energy, integrating the wood sculptures with thin gravel to create a dry landscape. The pattern on the sand resembles movements of water, as he contemplates in the midst of the quietly flowing water the profound meaning that has been passed down from the oral history told by his Elders.

Where did the indigenous people come from? Lafin Sawmah seeks to use his art to once again emphasize the inseparable relationship between the island people’s migratory journey and the ocean. “I see the ocean as another unknown universe. It contains history and the origin of life. The ocean is more than just a color; it is a spirit. We often realize how much the ocean has changed after we dive into the water; it is faced with problems including global warming, marine debris, and other environmental issues. Taiwan is an ocean nation, but it seems that the respect for the sea has not been passed down. This is why I want to create art inspired by the ocean’s mysterious side and make sculptures that will slowly grow in the vast, mysterious sea, as I continue to search for the origin of my life and embark on a meaningful journey.” This sharing also serves as a reminder for people to be mindful of the continuation of the ocean and life in nature, as we stand on land and marvel about life deep in the distant ocean. 

 

106展間╱R106 

莊國鑫/莊國鑫原住民舞蹈劇場

Kuo-Shin Chuang Pangcah Dance Theatre

《038038

展間以影像、文字、舞蹈構織出「我是主人還是過客?離家越久,越是模糊。」(文字:舞者/鴻狄)的生命叩問,在離鄉與返鄉/肉身與精神兩端之間矛盾、掙扎。

《038》作品原型以花蓮電話區碼「038」為發想,象徵遷徙的部落族人遙念原鄉的意符。舞作以花蓮火車站阿美族語的廣播詞為貫穿,利用聲音記憶觸動花蓮人對家鄉的嚮往,也隱喻了全球現代化的交通開發,是一條通往文化同質化的無止境軌道,將族人帶離了原鄉部落,也將經濟觀光帶入部落,更從自己的母體文化中抽離,藉此呈現部落與城市之間彼此拉扯的社會議題。舞作以「搭火車」、「站票」、「月台」、「候車室」、「大海」、「歸鄉」等段落意象與場景,莊國鑫敘事著離鄉遊子尋找自己與自我認同的過程。同時,萃取臺灣原住民傳統思想中對大自然敬畏之心,回應家鄉過度商業化的難題,企圖導引出觀眾對土地人文的思考與關懷。

Using image, text and dance, the exhibition proposes the question about life, “Am I the master or a mere passenger? The longer I stay away from home, the more indistinct it becomes.” Therefore, it demonstrates the conflict and struggle between leaving and coming home as well as those between the flesh and the spirit.

(Text by the dancer Ipun Kanasaw)

038 is inspired by Hualien’s area code prefix “038,” and symbolizes the migrating indigenous people’s longing for their home. Throughout the performance, audience can hear the pangcah (Amis) announcement usually broadcast at Hualien Train Station. The memory of the sounds trigger the longing for home in the minds of people from Hualien. However, the work also implicitly delineates how the global development of modern transportation has created an endless railway that leads to cultural homogenization, taking the indigenous people away from their villages and cultures while bringing in tourism and commerce. The work, therefore, depicts the social issue about the tension and struggle between the village and the city. Various imageries and scenes, such as “taking the train,” “a ticket for standing-room only,” “the waiting room,” “ocean” and “homecoming,” can be seen in the dance, epitomizing a wandering individual’s journey in finding his or her own self and identity. Meanwhile, the dance also expresses Taiwanese indigenous people’s awe and respect for the great nature in their tradition, as a response to the excessive commercialization of their hometowns, engaging the audience in contemplation about and care for land and humanistic culture.

 

107展間╱R107

曾秉芳

Lahok Oding

《語言的樣本》

Specimen of Language

樹皮、礦石顏料

Bark, Ore Pigment

236x81cm

2018

《語言的樣本》是曾秉芳自2015年來以「沒有文字的語言」為創作核旨的系列作品之一,探討原住民文化世代傳承的困境。早期從主流社會對原住民的負面認知,影響原住民家庭父輩對母語的教與說;從資本主義社會對原住民生存空間的徙轉,斷失了部落文化和母語襲傳的環境。而今生活經濟、平權意識逐漸改善,面對老一輩的質問:「怎麼現在都忘了母語怎麼講。」加上在都會裡依賴羅馬拼音的教學:「我覺得那些發音只能抓出七成的發音,跟我小時候聽到的是不一樣的……那時我有了很深的感觸:原來語言沒有文字,學習母語,它催促著你回到部落……這是我們這個世代面臨的問題」。「解離」、「斷裂」成為新世代原住民對自身文化深刻的感受修辭。

展間中《語言的樣本》,詮釋在城市與部落來回的原住民處於時差之間,接觸母文化的片段式經驗,就像一件處處殘缺的標本,怯拙地靜置於空間的角落裡。看似生硬或抽象的方式,跳離直觀上對原住民藝術語彙的想像,是表達當下原住民年輕世代一種不能缺少的語言。透過媒材的運用,試圖連結回到由最古老的紀錄方式來表達、訴說、圖像符碼紀錄的狀態―一種生活流動纍結為文化的延續,一種不斷消逝同時不斷繪製的「語言的樣本」。

Specimen of Language is one of the artworks from the series focusing on “language without words” that Lahok Oding started in 2015, which examines the conundrums faced by the indigenous people with passing down their culture. In the early days, the mainstream society held negative preconceptions towards the indigenous people, which impacted the way the parental figures in indigenous families taught and talked in their mother tongues. With changes in the dwelling place of the indigenous people caused by the capitalistic society, an environment to pass down the native languages of the indigenous peoples has disappeared. Economic improvements and more awareness for equal rights are observed today, but when the Elders question why our mother tongue has been forgotten now and along with the Romanization system taught in the cities, “I feel that those pronunciations are only able to capture 70% of how the language is supposed to sound like, and they sound quite different from what I had heard growing up. I then came to the profound realization that there are no words for this language, and we must hurry and return back to the community and learn our mother tongue. I think this is a problem that our generation has to deal with.” “Dissociation” and “detachment” are terms that profoundly describe how the generations of indigenous descent feel about their own culture.  

Specimen of Language portrays the temporal differences experienced by the indigenous people that travel between the city and the village, and the fragmented experience they’ve had with coming into contact with their native culture. The experience resembles a specimen that is lacking in many ways and is shyly tucked away in a corner. The seemingly crude and abstract approach breaks away from how the indigenous artiste language is conventionally imagined, and demonstrates a kind of language that younger indigenous generation today can’t live without. Through the medium used, the objective is to try to link back to the most primal way of documenting and to express, recount, and record with pictorial semiotics. It shows how the changes in life have accumulated in order for culture to be extended; it is a “specimen of language” that continues to disintegrate but is also continuously depicted. 

 

107展間/R107

安君實

Pasulange Druluan

《向古老的巡山員致敬》

Homage to the Ancient Ranger

紅櫸木、鋁線

Red Beech, Aluminum Wire

270x180x230cm

2018

Kucapungane (魯凱語,音譯為古茶布安) 好茶部落,又稱為「雲豹的故鄉」,對此部落而言,好茶部落有新舊之別。相傳祖先跟隨雲豹的腳步,從臺灣東岸的Sikipalici (魯凱語地名),翻山越嶺來到大武山的西側,找到舊好茶,自此定居而發展,居住於此地的人則自稱為「雲豹的傳人」。然而,歷經殖民與時代環境遷異的多重因素,驅使魯凱族人遠離母部落,過去被人們所景仰讚頌的祖先,或也逐漸被人們淡忘……

安君實藉由作品《向古老的巡山員致敬》,將好茶部落的門戶―紅櫸木(Tinivai)位於極易觀察敵對部落之勢而成為巡守的崗哨,時移境遷,族人雖已不在原鄉生活,祂仍時時巡視守護著獵場與部落。安君實將族裡的神話、歷史和文化轉譯為媒材語彙的象徵意涵,結合自然材質的風化紅櫸木與人工材質的鋁線,兩者本質衝突的素材,喻指了傳統文化與現代發展的衍流關係,揭示現代化的演進力道致使傳統文化的流失,也改變人們的生活模式,一種本該與土地連結的安定,成為貧瘠的流動想像,以此作品期許當下的我們不要遺忘過去,古老的靈魂及其精神會一直存在,同時反身叩問:遺忘本源,我們還是雲豹的傳人嗎?

The Kucapungane village is known as “home of the clouded leopard”, and the village has its old past and is now a new settlement. Legend has it that their ancestors followed the footsteps of the clouded leopard and climbed mountains from Sikipalici, the eastern shore of Taiwan, and settled in the old Kucapungane on the west of the Dawu Mountain, and the people that had settled there began to refer to themselves as “descendants of the clouded leopard”. However, due to various reasons including colonialism and shifting space-times, the Rukai people began to move out of their home, with their ancestors that were once highly exalted perhaps also slowly being forgotten…

Homage to the Ancient Ranger by Pasulange Druluan pays tribute to the red beech (Tinivai) that stands at the gate of the Kucapungane village. Due to its advantageous location, it served as a guard post for monitoring the activities of intruders, but as time progressed, the people of the village no longer live in their homeland, but the sacred tree is still watching and guarding the village and the village hunting ground. Transcribing the legends, history, and culture of his village into symbolic elements in his creative language, Pasulange Druluan integrates two conflicting elements of naturally weathered red beech with artificial aluminum wire in this work that denotes the relationship between traditional culture and modern development, exposing the propelling force of modernization which has resulted in the lost of traditional culture and altered the way people live. The sense of stability that comes from being connected to the land has now become a deprived and unstable vision. With this artwork, he calls upon us to remember the past, and for ancient spirits and ethos to always be preserved. He also raises the question, “If we forget our roots, can we still call ourselves descendants of the clouded leopard?”

 

108走廊/R108 Hallway

 

楊奎洋

Yang Kui Yang

《竹編構築》

Bamboo Weaving

竹片

Bamboo

220 x180x160 cm

2017-2018

《竹編構築》裝置作品以竹材編織一體成型,它的造形架構、層數(單層或多層)以及層壓等肌理密度,是透過電腦的拓樸演算與模擬。在結構上以螺旋形表面為主要形態,經由平面編織繞曲產生出立體的連續曲面,類同莫比烏斯帶二維的流形結構,漸次嵌入到三維或更高維的流形循環,工法上運用結構性最佳的六角孔編為基礎,並透過積層及覆層的方式來產生二力系統以增加曲面受力強度,並完成大跨距的結構體。

竹材是剛性不足但韌性極佳的材料,具不規則的自然特性,如纖維密度差異易致彎曲變形、近竹節處容易斷裂……在施作上造成非預期的結果,這些變數是電腦無法精準模擬控制的,但卻也是竹材最具價值之處。人,可以控制規則的形態,但天然竹材的不規則決定了細部構造上的質感。在美學上,楊奎洋認為此自然、不規則所創造出不完美、粗糙的物質狀態非常接近「侘寂¹」思想。他說:「侘寂的本質為陰翳,《陰翳禮讚》此書提到陰翳為無形的寂靜,在昏暗的空間當中人對於環境事物的感知會下降而回到自我精神狀態本身,透過竹篾再編織所創造多層次的陰翳,並在構築之中重現竹篾材料自身的樣貌,是與現代建築所強調銳利的線條及光滑的表面完全不同,每個編織曲面皆是由無數個材料誤差組成,是由人所制定的規則與材料的不規則互相磨合所創造出的陰翳狀態。」

《竹編構築》作品的自由形態是傳統竹桿框架系統及竹藝技法難以做到的,其構造優勢除了竹編繞曲形態產生足夠的抗性,同時能夠在小尺度之內做出大幅度變化,創造出更細微的感知經驗。

The installation, entitled Bamboo Weaving, is an integrally woven structure made of bamboo, for which the artist has employed computer topological calculation and simulation to create the texture and density through the formal structure, number of layers (singular or multiple layers) and compact layers. Structurally speaking, the work mainly adopts the spiral form and builds continuous curved planes, reminiscent of the two-dimensional, fluid Möbius strip, through flat weaving and bending. He then gradually embeds the curved planes into a fluid, circular three-dimensional structure. In terms of techniques, he chooses hexagonal weaving as the basic unit, which possesses the most structural strength. He also uses the method of stacking and overlapping to produce a two-force system that enhances the strength of the curved planes and enables him to finalize the massive structure.

Bamboo, despite its lack of rigidity, has excellent flexibility. It also possesses irregular, natural characteristics, such as differences in fiber density that lead to bending, deformation and fragility near the joints, which all cause unpredictable results in the production process. These variants cannot be accurately simulated and controlled by computers, but they are also what makes bamboo unique and precious. Regular shapes and forms can be controlled by artificial means, but the irregularities in natural bamboo determine the texture of the details in the overall structure. Aesthetically speaking, Yang thinks the imperfect, coarse materiality created by the natural irregularities is closer to the concept of “wabi-sabi.¹” According to the artist, “the essence of ‘wabi-sabi’ is the shadows. In Praise of the Shadows compares shadow to the formless silence. In a shadowy space, people’s perception to the surrounding environment weakens, rendering it possible for people to observe their inner condition. The multilayered shadows created through the weaving of bamboo strips and the revelation of the bamboo material itself in the construction differ completely from the well-defined lines and smooth surface emphasized by modern architecture. Each woven curved plane is constituted of countless inaccuracies in the material, materializing the shadowy state created by combining man-made regularities and the irregularities of the material itself.”

The free form displayed by Bamboo Weaving is difficult to achieve through traditional frame structures made of bamboo sticks and similar bamboo craft skills. Its structural advantage is that the curved form woven from bamboo can produce adequate resistance while being able to create wide-ranging changes that offer subtler perceptive experiences.

¹侘寂:侘是在簡潔安靜中融入質樸的美;寂是時間的光澤。

¹Wabi-sabi: “Wabi” denotes unadorned beauty with a sense of succinctness and tranquility. “Sabi” refers to the traits that come with age.

 

108展間╱R108 

司慈聖

Paki-Takismuuzan

 

 

「布農杵音禮讚」系列

Tribute to Bunun’s Music of the Pestle Series 

油畫

Oil on Canvas

95x65cm

2017

《布農杵音禮讚》系列,描繪當今布農族人復振失傳已久的布農杵音。布農杵音是搗製小米殼演變的音律,敲擊中不吟唱詞句僅變換敲擊方式即達到旋律轉換,是族人向部落耆老請益,依循著記憶製作杵棒與音調控制,其中藉由敲打石板發出的聲響,像是一種失傳久遠的藝術語言。節奏中可以感受到布農族的文化內涵深厚,只因無人發掘甚至遺忘杵石擦撞的旋律所遺失的藝術語言,因此司慈聖透過創作媒介的繪畫語言以表達內心情感,回歸現代,當部落的族人再次向土地敲擊渴望樸質的旋律,相信遺失的文化語言會再次轉動,芒草與野生薏苡珠的祝福以及祖先恩典的輸予亦隨之而來。藉此杵音頌讚歷史讓當代文化恍惚身分的年輕人,護守文化的基石堅定朝向文脈傳承之路。

The series Tribute to Bunun’s Music of the Pestle depicts the revival of the long-lost Bunun music created using a pestle. The music is derived from the rhythms created when pounding millet. With no chanting or singing incorporated, the music with shifting melodies is created by changing the percussion patterns. By consulting the Elders, The Bunun people made the pestles and learned how to control the tones based on the memories recollected, with the sounds made by beating on stone plates resembling a long-lost language of art. The rhythms created demonstrate the Bunun culture’s profoundness, and this language of art created with the sounds of the pestle was once forgotten because it was undiscovered by others and overlooked. Motivated by this, Paki-Takismuuzan uses his paintings to express his emotions, believing that when his fellow people once again yearn to use these earthy melodies to pay tribute to the land, their lost culture will be rekindled, which will be followed by the return of nature’s blessings and ancestral grace. With this tribute to the historical music of the pestle, the youths of today with ambiguous identity are venturing out to safeguard the foundation of their culture, and they are determined to carry on this legacy.  

 

《希望》

Hope

油畫

Oil on Canvas

59x51cm

2017

《希望》為司慈聖表述內心面對現實面與創作意志相牴觸的自畫像:「時常在深夜裡不斷地問自己,是否應當放棄創作?但又不甘心,再回部落面對族人與家人的期待下看見自己內心的脆弱,多麼希望在黑暗的壓力下尋得希望的光?一種內心足以安適並能持續創作慰藉的光,或許是愛情、金錢、是別人對我的眼光和態度,抑或只是能好好在土地上呼吸的希望!」

Hope is a self-portrait by Paki-Takismuuzan that conveys the inner conflicts he experiences when dealing with reality and his will to make art. “I constantly ask myself late at night if I should give up art. But I cannot let it go, and when I go back to the village and see the expectation from the people in my village and my family, I also see how vulnerable I am inside. I yearn for a ray of hope under such dark and heavy pressure, a ray of light that can bring inner peace and propel me to continue to make art; it could come from love, money, how others see or treat me, or just a sense of hope to breath with ease on this land!” 

 

 

《Asang 之泣》

Asang’s Tears 

油畫

Oil on canvas

65x80cm

2017

Asang即布農語:家園之意,在傳統認知的獵場境內布農族人可到之處的傳統領域皆可稱為Asang,現今政府與原住民保留土地之爭,「傳統領域」被無形框限在只有部落甚至政府合法登記的土地上,傳統領域變成無形的結界,在這個結界內,有人默默的拿走、偽笑、竊取、刺傷!一點一滴,一點一滴默默地產生變化,看似美好的當代,土地彷彿像是人的初心,當它被刺傷、挖掘、荼毒,貪婪嫉妒與偽善必然現形。

“Asang” means “home” in the Bunun language. The Bunun people consider anywhere that they can go to within their hunting grounds to be a place of “Asang” in their traditionally territory. Disputes between the government and the indigenous people over land have imposed an invisible box around what is considered “traditional territory”, limiting the territory to within the parameters of the villages or land that is legally registered with the government. Traditional territory has become an intangible land, and people are quietly robbing, lying, stealing, and causing harm on this land. Changes are happening quietly, piece by piece, step by step. The world today may appear peaceful and wonderful on the surface, but the land seems to be reflecting people’s beginning mind, and when it is being wounded, exploited, and abused, greed, jealousy, and hypocrisy are bound to surface. 

108展間╱R108 

阿仍仍

Aljenljeng Tjaluvie

    

    

    

    

 

《現在的我們》

This is Us

音樂採集、影片紀實

Music Collection, Documentary

60 min.

2018 

《現在的我們》結合音樂採集與影片紀實的形式,展出15部天籟原聲的古謠傳唱,是阿仍仍走入各地角落收錄族人們的好聲音,他們在聲韻頓挫、清澈空靈的吟唱之中凝聚對家人的愛,如噶瑪蘭族/杜瓦克•都耀的《捕魚歌》、阿美族/愛莉克的《阿嬤的歌》;或表達思念祖先的歌謠,如排灣族/蔡清安的《aljus》;或寄予美好的祝願,如排灣歌謠/荒漠甘泉樂團的《lalai拉拉伊》;或將日常生活的佳釀擬人化,如排灣族/卓亞麥的《老米酒》等。這些都是以口相傳歷史的重要紀錄,對阿仍仍而言唱歌是學習族語很重要的方法,學習族語即是傳承文化,她說「做古調傳唱最意外的收穫是,你會看到這個文化正在流失,真的是一個事實!」

 

This is Us presents 15 ancient ballads through music collection and documentary. Aljenljeng Tjaluvie collected the sounds and voices of different communities, expressing a sense of love for the family through the different accents and refreshing chants, such as Tuwak Tuyaw’s Fishing Song from Kavalan and Arik Fangis’s Grandma’s Song from Amis. There are also songs that reminiscent about ancestors, such as Ljaucu Talimaraw’s Aljus (Paiwan ancient ballad) from Paiwan, or songs that express blessings, like Streams in the Desert’s Paiwan ancient ballad Lalai. Other songs are personifications of the good life, for instance, Kuljelje Tuquljingid’s Blues from Paiwan. All these songs are important documentation of oral history. For Aljenljeng Tjaluvie, songs are great ways of learning indigenous languages, and language is a way of preserving cultural legacy. Aljenljeng Tjaluvie stated that: “The unexpected reward of working with ancient ballads is that you realize that the culture is disappearing.”

 

現在的我們 移居不同的角落

This is us    we live in different places

與祖先相同 用吟唱表達情感

Like our ancestors  we express emotions through song

歌聲迴盪從山海蔓延到城市

Our voices drift from the mountains and the seas to the cities

在921過後 緊鄰河濱工業區的安置所

After the 921 Earthquake  the resettlement area next to the riverside of the industrial park

在臺北市中心 人來人往的藝文空間

The popular culture space in downtown Taipei

在南迴臺九線 返鄉青年的創業小店

The small shop opened by returning youngsters on Provincial Highway 9

在屏東三地門 傳承排灣陶藝的工作室

The Pawian pottery studio in Sandimen, Pingtung

在桃園復興區 校區內的竹屋美術教室

The Bamboo House art classroom on campus in Fuxing District, Taoyuan

在臺十一線上 製作阿美族漁具的工寮

The block-house that manufactures Amis fishing equipment on Provincial Highway 11

在部落活動中心 開始嘗試承接古老傳統責任的青年領袖

Youth leaders who are learning ancient responsibilities in the village activity center

用吟唱母語延續祖先的呼吸

We continue the breath of our ancestors by speaking our mother tongue

像大樹的氣根 唱到哪 長到哪

Just like the aerial roots of enormous trees  extending wherever our voice travels

古謠是靈魂的語言 生活場景不停轉換

Ancient ballads are languages of the soul  life is ever-changing

聽見了嗎? 看見了嗎

Do you hear us?  Do you see us?

現在的我們   

This is us

 

―阿仍仍 ―Aljenljeng Tjaluvie

 

108展間╱R108 

林戎依

Halomai

 

 

 

《在我眼中,你是如此的美麗》

You Are So Beautiful in My Eyes 

樹皮布、油畫、木板、畫布、麻線、玻璃纖維

Bark, Oil on Canvas, Wood,Twine, FRP, 2018

此作以靈魂之窗―眼睛,闡述人類習以為常地用「眼睛」審視彼此,依膚色、長相、性別乃至身分地位、種族等特徵而有認知差異與分別,比如旅外時甚至從小在自身家鄉的部落青年雖留著族群的血液,但面對來自社會或部落的眼光,不知如何面對自己的身分。再則社會大眾對女性根深蒂固的想法,當她親自上山採集樹木時受到許多人的質疑,甚至建議應由男性來做才是。林戎依表示:「認同自己不是得到他人的肯定才開始,而是從認同自己就已經開始了」。她運用樹皮布色澤的深淺以及紋路的不同,呈現每一部位的皮膚;作品從一顆完整的眼睛到瞳孔再深入地從瞳孔裡看見自己,以三部分轉譯作品的意象與創作過程。


一、眼睛:愛我們的人正在注視著自己。

二、瞳孔及殘缺的身體:運用廢棄的假人代表人身體,甚至內心的殘缺不足,重新給予養分讓樹皮布在身體上長出新的生命。

三、瞳孔裡的我們:當我們被注視時,我們的樣子映入在對方的瞳孔裡,由神經帶入使人感受到我們的模樣。

樹皮布就像人的皮膚,每次看著樹皮布都有此感受:「這就是我們啊!」那顏色有暗有淡、紋路有深淺,沒有一張是一模一樣,這不就是我們嗎?我們都是獨一無二的自己,無人能取代。―林戎依

This artwork is about the window to the soul, the eye, and conveys the fact that people are used to using their “eyes” to judge others based on the color of their skin, what they look like, their gender, and even their status, race, which could lead to cognitive differences and discrepancies. For example, a youth that lives outside of the village or even if she has grown up in the village may become unsure of her own identity when dealing with prejudices from society or even from her own village. Furthermore, society also holds certain biases on women, as seen with the doubts and concerns from other people experienced by Halomai when she went into the mountains to collect materials from the trees, and some even suggested that a man should be doing that sort of work. Nevertheless, Halomai believes that “self-acceptance does not begin when others accept you; it starts when you accept yourself.” Using barks of different colors and patterns to represent the skin on different parts of the body, she starts by making an eye and then the pupil, with herself reflected on the pupil. A video is used as a supporting tool to show the concept behind the work and the creative process in the follow three sections:

1. Eyes: Person that loves us is looking at us.

2. Pupils and Imperfect Body: An abounded mannequin is used to present the human body, which also further represents an imperfect inner state. Nourishment is then provided to the bark once again for new life to grow on the body.  

3. Us on the Pupils: When we are being gazed upon, we are reflected on the pupils of the person, with what we look like carried by the nerve to the brain for the person to see us. 

Tree barks are like human skin, and each time I see a bark I always feel like, ‘This is just like us!’. Barks come in various light and dark shades, and have deep and shallow patterns; no two are exactly the same. Isn’t that just like us? We are each unique and irreplaceable.  ― Halomai

 

1樓西側樓梯/Western Stairway 1F

彼德.沃波斯-克羅

Peter Waples-Crowe

 

《野蠻人-就是如此》                

SAVAGESJust like That

數位輸出

Digital Print on Canvas

64.5 x 50 cm

2016-17

 

《野蠻人-殖民狀態 4SAVAGESColonised 4

數位輸出

Digital Print on Canvas

77.5 x 60 cm

2017

「野蠻人」系列採用平面形式與混合媒材,探討與澳洲原住民族相關,由殖民心態而生的身分、歷史與刻板印象等議題,運用歷史疊合的概念,在創作脈絡中開展出殖民時代至當代時空的直系系譜,讓觀眾理解歐洲視角下產生的刻板印象。

「開墾者與野蠻人」錄像作品源於另一個同名的大型展覽,同時展出非原住民藝術家梅根.伊凡斯再現的殖民時期傢俱,同名的影片則描述恩格利哥岩石藝術被該區殖民者摧毀的故事,沃波斯-克羅透過他的長老舅舅約翰.凱西告訴他這個故事,他以此為創作文本與伊凡斯在影片中重現其內容,影片中可見沃波斯-克羅身穿一件傳統袋貂披風,伊凡斯則身著他曾曾祖母的洋裝複製品,講述英國入侵者如何抺除原住民文化並批評澳洲殖民文化的延續。

SAVAGES Series uses mixed media in the 2D format to explore identity, history, and the stereotyping of First Nations peoples in Australia, produced by the colonial mindset. The artist draws on the concept of collapsed histories, which in this context enables him to draw a direct lineage from the colonial era to contemporary times, to better understand the stereotypes created by the European gaze.

The video SQUATTERS AND SAVAGES comes from a much larger exhibition with the same title that included the Non-Indigenous artist Megan Evans re-visioned colonial furniture. The film of the same name, tells the story of Ngarigo Rock art being scrubbed away by the colonisers of the area. It was told to Waples-Crowe by his Elder Uncle John Casey, which Megan and he reenacted. He was wearing a traditional possum skin cloak and Megan was dressed in a replica of her great great grandmother’s dress. It speaks of the erasure of Aboriginal Culture at the hands of the English invaders and speaks to the continuing legacy of colonization in Australia.

 

205展間╱R205

陳勇昌

Kaling Diway

 

 

 

《簇.擁》

Gathered, Together

木、竹

Wood, Bamboo

尺寸因空間而異,

Dimensions Variable

2017

《簇.擁》裝置作品以史為鑒,自1877年清軍總兵吳光亮「懷柔」設局,誘騙屠殺阿美族青年的「大港口事件」以來,歷經清、日、國民政府的殖民統治,現代化的衝擊雖然不若當年部落祖先以劍簇、刀槍為防衛的頑強姿態,但他們以嘹亮的歌聲傳唱著祖先的啟示,用堅定的舞步邁向未來。世世代代無論抵抗的姿態為何,守護著部落核心價值的意志始終如一。

陳勇昌以兩束合攏的竹編象徵族人悉心呵護的傳統文化價值,前方成列的劍簇表徵族人守衛母體文化與抵禦強勢文化的決心。作品呈現「萬箭穿心」的意象,使人感到百年前的傷至今仍然痛著。前者是祖先的犧牲保全部落,後者則為文化的傳承。用竹子編成的小屋是阿美族的工作小屋「達魯岸」,小屋內一只竹簍象徵青年和老人家一起編織的回憶。他說:「雖然傳統文化和現代生活能否『連線』還沒有答案,但他希望這輩年輕人繼續努力,不要讓傳統文化遺失了」。

The installation work, Gathered, Together, references the historical event that dates back to 1877 when the Qing dynasty military commander Wu Kuang-Liang set up a trap which led to killings of Pangcah (Amis) youths. Since the incident, now referred to as the Cepo’ Incident, the land has gone through colonial rule under the Qing dynasty, Japanese, and Nationalist government regimes, and although the impacts of modernization do not seem on the surface to be as daunting compared to when the ancestors fought and defended themselves with spears and knives, however, songs about the ancestors’ forewarnings are still being sung loudly and brightly, with stern dance steps taken to march towards the future. For generations, regardless of what actions have been taken to carry out defensive measures, the one core value that has remained the same is the determination to safeguard the village.

Joining two bundles of woven bamboo together, Kaling Diway creates a symbol representing his village people’s meticulous care with preserving their traditional culture. The arrangement of spears in the front represents their determination to protect their cultural matrix and to guard themselves from other powerful culture.

  The artwork is also an imagery for “countless spears piercing through the heart”, which conveys the pain that is still present today from the trauma experienced a century ago. In the front are the ancestors sacrificing themselves to protect the village, and in the back are the descendants that vow to pass down their culture. The small hut made with woven bamboo is called as a Talo’an (small hut in the Pangcah (Amis) native language), and the bamboo basket inside the hut represents memories of weaving together shared by the young and the old. “Although it is unclear whether or not traditional culture and modern life could become ‘aligned’, but I hope the younger generation will continue to work hard to preserve our tradition,” says the artist. 

205展間╱R205

Apo' 陳昭興王亭婷

《挖掘躁動的靈魂—大港口Cepo’ 事件》

Oral history of Pangcah (Taiwan indigenous people) Since 1877:Their Migration and the War with the Qing Dynasty.

油彩、錄像、複合媒材裝置

尺寸因空間而異

Oil on Canvas, Video, Mixed Media Installation

Dimensions Variable

7min.

2017-2018

此作以1877年清領時期,臺灣秀姑巒溪出海口的阿美族反抗清廷,遭致清兵誘騙而屠殺的「大港口Cepo’事件」的歷史為創作藍本,闡述該事件導致阿美族人顛沛流離的大遷徙。歷史在遺族耆老的口傳下繁衍著,再由神父及學者田調採集其口述,以及歷來殖民政府的史料記載,使這場無情戰役的面貌不斷地流變。Apo’與亭婷藉由繪畫、複合媒材裝置與錄像等多重創作方式,以偽考古學的藝術策略,與部落耆老復刻口傳意識中所想像創造的歷史,這些場景、實物和工藝物件映現了歷史的傳奇性,賦予原住民族歷史文化被詮釋的位階,希冀在口傳歷史的創作生產中,建立承先啟後的里程碑、堅守傳統領域的意念以及傳統智慧文化的創新保存。

This work is inspired by the incident of 1877. At the time, Taiwan was under the rule of the Qing Dynasty, and the Pangcah (Amis) people resisted the Qing court, which led to conflict between Qing soldiers and the Pangcah (Amis) people at the estuary of Xiuguluan River. The Pangcah (Amis) people were tricked by the Qing soldiers, which led to a massacre known as the Cepo’ Incident. This work as based on this historical incident, which resulted in the Pangcah (Amis) people to be scattered through migration. Historical accounts continue to spread through the oral accounts of elders, which were later collected by priests and academics through field research oral history projects, as well as official records of colonial governments, leading to the ever-changing perspective of the incident. Through drawings, mixed media installations, and video recordings, Apo’ and Ting Ting combine the artistic strategy of “pseudoarchaeology” with the oral history of Elders to create images, objects, and crafts that reflect the legendary elements of history. These works allow alternative interpretations of indigenous history with hopes that in the future, oral history will become an innovative and crucial source of preserving tradition and cultural wisdom.

以多維剖面呈現「大港口Cepo’事件」面貌:

The Cepo’ Incident is displayed through multiple perspectives:

1.  阿美族婦女古老傳統的花圈及清朝的兵帽並置,呈現曖昧狀態中,背後複雜的族群鬥爭關係。

Placing traditional wreaths of Pangcah (Amis) women alongside Qing soldier hats creates ambiguous imagery that hints to the complex tension between different ethnicities.

2. 耆老歷史印象中抬著清朝通事的竹轎,以及如閃電般的勇猛戰士-被勞役的阿美族青年,產生事件的導火線。

The historical memories of Elders involve carrying the bamboo sedan of the messenger from the Qing court, and fast-moving indigenous warriors. The captured Pangcah (Amis) youth who were forced into labor was the fuse to the incident.

3. 頭目以向神靈溝通時,不可或缺的檳榔、豬腿、酒等祭品作法,獲得神力、刀槍不入,以寡敵眾,無一人傷亡。

The traditional leaders present offerings such as betel nuts, ham, and wine in their religious ceremony to receive power from the gods, hoping that the heavens will make them invincible and overcome the enemy despite their inferiority in numbers.

4. 勇士的神力無邊與智勇雙全的青年們,手作信號與武器退敵,屢戰屢勝。

The youth with both wisdom and bravery conquered the enemy with handmade signals and weapons.

5. 因觸犯禁忌而戰死的勇士,力大無窮的手凝結無數敵人的血,以致死後緊握獵刀的手無法被扳開。

Warriors who were killed due to violating taboos have the blood of the enemy on their hands, clutching tightly to their weapons even after death.

6. 群龍無首的族人只得帶著鹽巴、火炬漏夜逃亡至天險聖山避難,生活艱險困頓,又清兵誘騙及屠殺所有青年,被迫四散遷徙,徒留守衛的磨刀石等遺跡追尋。

Without a leader, the members in the community flee to hide in the sacred mountain with salt and torches. Life was difficult, and the Qing soldiers tricked them and killed all of the young men. The rest of the people were forced to migrate and scatter, leaving nothing but objects such as whetstones.

7. 談判桌上有清兵釋出和解誠意的米與酒,然而在米袋所製的簾後,卻是挖掘壕溝陷阱,以誘殺眾青年、頭目的陰謀詭計!

On the negotiation table, the Qing soldiers offered rice and wine as a friendly gesture. However, behind the rice bags curtains, the Qing soldiers were digging trenches to lure the youths and leaders and kill them.

8. 壕溝陷阱中被屠殺的165位青年骸骨,驚悚震撼,唯一青年在屍體堆下倖存,迭著屍體逃出壕溝。

165 corpses were discovered in the trenches. Only one youngster survived and managed to escape.

9. 錄像裡孩子以流利的阿美族語,口述這段歷史故事,青年們回到傳統聚會所形態-圍圈傾聽,卻是由孩子來取代耆老口傳的任務,警醒著文化歷史的斷層。

The story is told by children in fluent Pangcah (Amis) dialect in the video. Young people return to the traditional gathering place, sitting in a circle as they listen to the story. However, instead of elders telling the story, the storyteller is the children, hinting to the chasm in culture and history.

在耆老凋零、青年流失、母語消逝、生活環境變遷等危機下,Apo’與亭婷將不可見的、再也聽不到的口傳歷史視覺化,希冀族人重新認識口述傳承下去。165名 Cepo’青年,安息吧!為何蠢蠢欲動舞著、唱著祭歌,無辜的生命前仆後繼投入你們的碑、你們的壕溝,是躁動的靈魂在等待被挖掘!

大屠殺事件發生地,部落繪聲繪影了鬼魂,在被召喚之下,Apo’與亭婷投入歷史事件的創作,沒有任何考據文物,唯使用創造再現的手法去挖掘、安撫那躁動的靈魂。

Amid dying Elders, the loss of young people and the mother tongue, and changes on living environments, Apo’ and Ting Ting visualize the contents of oral history that can no longer be seen or heard, hoping to preserve the legacy. May the 165 Cepo’ souls rest in peace! Why do you continue to dance and sing ceremonious tunes? Innocent lives have plunged into your monuments and trenches, and restless souls are still waiting to be unearthed!

The site of the massacre is filled with ghosts. Apo’ and Ting Ting respond to the calling of the village and participate in the creation of historical incidents. Lacking research artifacts, the two artists unveil and re-present images to sooth the restless souls. 

 

204展間╱R204 

 

林光亮

Fuday Ciyo

《織羅之羽》

Ciopihay

紀錄片

Documentary

56 min.

2018

《織羅之羽》以羽毛表徵冠冕的神聖性,羽冠作為世代傳承象徵成年禮的儀式,代表部落裡最新一批經過6-8年考驗的年輕人,成為護守部落安全與保衛部落秩序的第一線勇士,亦即是成為「人(Tamdaw)」的標誌。

此紀錄片以講述織羅部落成為Tamdaw-「人」的故事為主線,從中並輻射出多重的層次。時代的變遷下,成為「人」的條件不再相同,耆老們看著改變的過往紛紛說著……變了!環境不復存在、青年不復以往、耆老日益凋零,孕育族人的土地,在殖民的制度下烙印了歷史的痕跡和當代的紛爭,林光亮試以老、中、青三代男子的生命經驗以及不同的視角,闡述當代織羅部落阿美族人世代變遷的經歷與奮戰的點滴。

Ciopihay shows the sacred rite of passage that uses feathers to create crowns used in the ceremony that has been passed down from generation to generation. In the ceremony, the latest group of youngsters from the village, after undergoing 6 to 8 years of training and challenges, become the village first line of defense, serving as warriors to safeguard the village and uphold the order of the village. The ceremony marks the youths’ transition into “Tamdaw” (people, adulthood). 

The documentary tells of the Ceroh village story of “Tamdaw”, which extends into multiple layers. Due to the progression of time, the conditions for becoming a “Tamdaw” have also changed, and seeing the changes, the Elders in the village lament about how nothing has remained the same. The environment is different; the youths are different, and the Elders are reaching the end of their time. The land that has nurtured the people of their village is marked with historical imprints from colonial regimes and is also bombarded with present day conflicts. Working with the different experiences and perspectives of men from three different generations, Fuday Ciyo uses this documentary to chronicle the experiences and challenges faced by today’s Pangcah (Amis) people in Ceroh village as they go through shifting and changing times. 

204展間╱R204 

潘昱帆

Uki Bauki

 

人第二部曲《巴拉冠誓約》

The Tribal Spirit-Loyalty Palakuwan

紀錄片

Documentary

84 min.

2017

「在巴拉冠,不是你自己一個人很好,是集體都要很好,都要很強!」 

台東知本卡大地布部落,至今保有男子年齡階級傳統組織的集體教育,以「達古範」少年會所,以及「巴拉冠」青年集會所為根基,按年齡階級給予不同的教育和訓練,每三年晉階一次。隨著歲時祭儀的執行與勞動、服務與付出,學習邁向成熟成為訓練有素的男子,最後成為部落的後盾。這是卡大地布部落文化核心價值的傳承更是保護部落的力量。

部落男孩約滿8歲進入「達古範」少年會所成為「達古伐古範」階級,滿14歲晉階為「巴拉冠」青年會所裡年紀最輕的「valisen」階級。這個階級必須執行苦力勞動、服從兄長等修煉,並接受「巴拉冠」內更高階級的兄長們的使喚以完成各種任務。過程中考驗勇氣與韌性,這些男孩們不畏辛苦還是很愛來「巴拉冠」參與勞動,以能夠集體光榮的晉階為「valisen」階級,成為「巴拉冠」青年會所的一份子為榮。

是什麼樣的集體力量和部落思維,讓這群叛逆、調皮的國中階段的男孩們甘願來「巴拉冠」會所付出勞力和服從聽訓,對「巴拉冠」有著強烈的歸屬感呢?

部落藉由自己的主體性恢復傳統組織的訓練,建立民族的自信與認同,在部落內部長期的、集體的進行自主教育的工程,和主流漢文化為主的價值觀得以完全切割,用自身的觀點和價值養成部落的年輕人,進而傳承下去。這不單是一個復振文化的層次,而是一個民族藉由復振文化建構主體性、彰顯部落主權,遂於當代社會中產生價值。

In Palakuwan, instead of one person being good, the entire community must be good and strong together!

The Katratripulr village in Jhihben, Taitung still retains the traditional collective education for their male members, devised for different age groups. With “Takuvakuvan” (the meeting house for boys) and “Palakuwan” (the meeting house for young adults) as the base, the indigenous village provides education and training to male members of different age groups. Every three year, the male members enter the next rank; and as they regularly labor in ceremonies, providing services and contribute within their circle, they gradually mature as well-trained male adults, and eventually become the backbone of the village and its people. This practice ensures that the core cultural values of Katratripulr can be passed down to form the protection of the village.

The boys in the village normally enter Takuvakuvan at the age of eight, and are given the rank of Takuvakuvan. At the age of fourteen, they will be given the lowest rank in Palakuwan, called “valisen.” As “valisen,” they must perform manual labor and be submissive to other elder members. They need to take orders from older male members with higher ranks in Palakuwan, and complete various tasks. During the process, their courage and resilience will be put to test. Despite the hardship, however, the youths still love to participate in chores at Palakuwan, and feel honored to receive the rank of valisen and become a member of Palakuwan.

What is the collective power and indigenous thinking that make these rebellious, naughty junior high school boys willing to perform manual labor and obey orders at Palakuwan with a strong sense of belonging to the meeting house?

Through emphasizing its subjectivity, the village has restored its traditional organization and training to build confidence and identity. The implementation of the long-term, collective education within the village enables the indigenous community to completely shed the mainstream values based on the culture of the Han people, and train and nurture the youths in the village with its own viewpoints and values, which will be passed down through the system. This is not a practice to merely bring back the culture but a way to shape the indigenous subjectivity through restoring their culture, consequently honoring the sovereignty of the village and creating its value within contemporary societ.

 

203走廊/R203 Hallway

阿道.巴辣夫.冉而山

Adaw.Palaf.Langasan

《祈天地融於一心》

Prayer for the Unity of Nature and the Heart

行為藝術展演

Performance Arts

2018

攝影 黃岡

Photo by Jade Hung

阿道.巴辣夫.冉而山以行為藝術演繹阿美族「創生人類」的神話故事。透過祭儀古謠和舞蹈稱頌天神、大自然神靈以及對祖靈的崇敬與感懷。錄像中以一面無形之鏡,映照濁濁如泥的世界,直指內心。敘事阿道對於生命、部落與神話的觸摸。

鏡子,阿美族語D'adingoan;語意中'Adingo即「靈魂」之意,亦指「影子」。而孩子是父母親生命的延續,即靈魂的再生,亦是父母的影子;彼此互為D'adingoan鏡子。其中,泥巴和兩兄弟的故事為不變的核心,「因世間混濁,兒子的無知殺了父親……」。他說第一次讀到此故事時,像惡夢! 似乎直指榮格之集體潛意識。泥巴是混濁的,但混濁的黑暗時刻,又何嘗不是通往創生的一種渾沌?他拿著鏡子不斷擦拭,舞著奇美部落的老鷹之舞。最後天、地、人、神與他的生命涵融一體。

《祈天地融於一心》以可見的「身體」,不可見的「精神」,探索凝煉心靈的過程,由現實、神話與夢,相互穿插,將個人內在的迫力/驅力化做「行為」釋放出來。藉以劇場是練習發聲、表達個人思想的行為藝術場域,劇場也是武器,輻射出原住民族於文化與地理空間上之各項時代議題。

Adopting the form of performance art, Adaw.Palaf.Langasan performs and interprets Pangcah (Amis) people’s mythology about the “creation of humanity.” Through ritualistic songs and dance from the ancient time, the performance praises the gods, spirits in nature and Pangcah (Amis) people’s reverence and gratitude for their ancestral spirits. Through a formless mirror that reflects the musky world, the performance creates a strong impact in the audience’s mind and voices the artist’s grasp of life, his and its mythology.

The Pangcah (Amis) word “D'adingoan” means mirror; however, “'Adingo” also means “soul” and “shadow.” Children are the continuation of parents’ lives as well as the rebirth of souls. At the same time, they are also parents’ shadows. Therefore, children and parents are each other’s mirror, or D'adingoan. The narrative of the performance is founded on the imagery of mud and two brothers. “The muddy, chaotic situation of the world leads to the son’s innocent murder of the father…” When the artist first read the story, he thought it was like a nightmare that reminded him of Jung’s theory of the collective unconscious. Mud created murkiness, but perhaps the darkness from the murkiness was a way that led to creation and birth. Holding the mirror, the performer kept wiping and performed the eagle dance from the Kiwit village. Finally, the firmament, the earth, humanity, divinity and his life unify as one.

Prayer for the Unity of Nature and the Heart combines tangible body and intangible spirit to explore the refining process of the heart. Through weaving reality, mythology and dream together, the work aims to convert and release a person’s inner pressure and drive as “performance.” As a site, theatre lends a voice to people to express their ideas through performance; meanwhile, theatre is also a force that can be used to tackle various contemporary issues about indigenous culture and geographical space. 

 

203展間╱R203

沙布喇安德烈 (高勝忠)

Sabra · Andre (Andre Kaowas)

《織 / 泰雅織布機》

Weaving / Atayal Weaving Machine

線、網

Thread, Net

80 x 90 x 280 cm

2018

截取泰雅織布機結構輪廓²

時間垂直溶解橫向流瀉著

爬過身體游過眉心成皺紋

軀殼長出年輪的變形蟲紋

建構你柔美且剛毅的盔甲

Inspired by the structure and outline of the Atayal weaving machine²

Time dissolves vertically and flows sideways

Crawling across the body, traveling between the eyebrows, finally forming a crease

Growth rings of amoeba patterns appear

Forming an armor that is both gentle and resolute

2此作為沙布喇‧安德烈2018年最新力作,靈感來自於他對原住民族織布文化的深研與踏查,他親訪花蓮太魯閣族秀林村原民藝術工坊進行田調,深受泰雅織布機的結構輪廓與紗織線條所吸引,將其延伸轉化為傳遞手工溫度的時尚創意設計。

2 This work is Sabre · Andre’s latest work in 2018, which is inspired by his research and study of indigenous people’s weaving culture. For this work, he visited the indigenous art workshop in Xiulin Village, Hualien. Attracted to the structural contour of Atayal weaving machines and Atayal people’s yarn and thread, the artist transforms and extends what he sees into this creative work of fashion design that conveys the unique warmth of handcrafted art.

 

《XXXX 系列─線 / 十字圖騰繡澎袖裙裝》

XXXX Series─Wire / Cross Totem Embroidered Sleeve Dress

布料

Textile

45 x 80 x 190 cm

2017

此作截取陶壺的輪廓,輔以十字繡仿壺身圖騰。

This work re-presents the contour of ceramic pots while using cross stitch to mimic the decorations on the surface.

《XXXX 系列─殼 / 百步蛇紋剪接印花簍空長洋裝》

XXXX Series─Shell / 100 Pacer Viper Pattern Long Dress

 布料

Textile

45 x 40 x 220 cm

2017

《XXXX 系列─殼 / 百步蛇紋剪接印花簍空長洋裝》此作運用簍空的網布,表現蛇經蛻殻後的蛇皮,具有半透明又兼有鱗片肌理的手感,以此象徵脫胎換骨的全新自我。而配戴著不規則的造形頭飾,極簡且具符號性,使整體增添部落感的意象。

XXXX Series─ Shell / 100 Pacer Viper Pattern Long Dress uses the fabric’s unique feature to create an image of snake skin. Semi-transparent and with a texture of shed snake skin, the work symbolizes a renewed self. The irregular head piece made with wires is minimalistic and symbolic, presenting an unique Paiwan fashion. 

 

203展間╱R203 

蒂摩爾古薪舞集

TJIMUR DANCE THEATRE

 

《Varhung~心事誰人知》

Varhung – Heart to Heart

舞蹈

Dance

45 min.

2017

Varhung在排灣族語彙中不只是「心」的表象稱呼,更是內在情感交流的表達,強調內斂的真實情感,反映出排灣族人溫婉真摯的性情。《Varhung~心事誰人知》源自排灣族傳統樂舞的創新之作,將排灣族樂舞形式轉化成當代肢體語彙,以歌入舞、以舞寫歌,饒富表演者在舞台上的肢體樣態。編舞家巴魯於作品中,以部落生活中扮演要角的植物―月桃,作為舞作發展的動作元素。部落族人帶著舞者們到山上採摘月桃,「過程中,採摘、曬乾、一層一層剝開的細微動作,都成為此作的動作元素。」表演者自始至終於舞台上不時出現四步舞的節奏與和著舞步的吟詠高唱,不論是步伐、舞蹈、歌唱、戲劇張力都表現的強烈有力,撞擊人心,而舞力的張馳與內心的吶喊,於深邃多層次的轉折之中,抒情、遣懷,療癒心靈!

In Paiwan language, “varhung” not only means “heart” but also the expression of emotion. “Varhung” refers to the authentic sentiments of the heart and reflects the warm personality of the Paiwan people.

Varhung – Heart to Heart is an innovative work inspired by Paiwan traditional music and dance. The work translates Paiwan music and dance into contemporary choreography, showcasing the richness of dance performance by integrating song into dance and combining dance with song.

The choreography of Baru is inspired by the shell flower, which is an essential part of his life in the community. The dancers are led into the mountains by the members in search of shell flowers. “The entire process, including the picking, drying, and peeling, have all become elements of this work.”

The rhythm of the Four Step Dance, chanting, and singing appear repeatedly on stage. The body movements, dance steps, singing, and dramatic performance are sure to touch the hearts of the audiences, healing hearts with their rich artistic, lyrical expressions of the sentiments. 

 

202走廊/R202 Hallway

 

林喬

Lin, CHIAO

《泰雅夢遊》

Wander in Atayal

音樂,錄像

Music,Video

6min. 20sec.

2018

《泰雅夢遊》是林喬以泰雅歌謠為素材創作,由「同根生A Root」 樂團演奏,以及黃雅農(影像創作)共同完成,包含〈相聚歌〉、〈戰舞〉、〈情歌〉、〈歡樂歌〉四首聯篇組曲,拼湊出泰雅族人的生活群像,他以〈相聚歌〉為引,帶入融合藍調音階與泰雅音樂特徵的〈戰舞〉,描繪剽悍勇士形象;而後轉至以口簧琴、天鼓、葫蘆笙、中阮的〈情歌〉,對話般彼此交疊訊息,詮釋泰雅社會中共享之Gaga³精神,流轉不斷的包容與連結;最後在〈歡樂歌〉Rimuy Sola Rimuy Yo樂音中,為彼此相聚留下美好祝福。

影片以音樂、身體、空間的交織敘事,從身體的肌理呼應自然元素中的紋理,試圖捕捉身體由各個器官聚合而演化生成為人的姿態,由個體交織成為「我們」的集體群像。呼應From every piece of body to everybody語意的思考。試圖探討群體中的個體獨特性,在共同遵守Gaga精神下,如何面對傳統與現代的拉扯,以及那些若隱若現不可言說的存在經驗,每一相遇的當下感受彼此重量,如夢一般刻畫靈的旅程,從覺醒、尋找到內化,最終回歸意識,流於無形。而Gaga一種源於自然、體現自然、自然而然的流動,來自泰雅重要的普世價值,關鍵信念在於「共享」。

Wander in Atayal is inspired by Atayal folk songs and performed by A Root with images by Huang Ya Nung. Wander in Atayal includes four pieces: Gathering Song, Battle Dance, Love Song, and Happy Song, each representing an aspect of the Atayal lifestyle. Audiences are first guided by the Blues melody of Gathering Song and later led into the Atayal rhythm of Battle Dance, which depicts the courageous imagery of warriors. Then, the sounds of the mouth harp, tank drum, hulusheng, and zhongruan in Love Song create an overlapping dialogue that annotates the philosophy of “Gaga,³” which means the concept of sharing in Atayal culture and the value of tolerance and connection. Finally, the work ends with the melody of Rimuy Sola Rimuy Yo in Happy Song, conveying blessings for the time spent in each other’s company.

The video portrays a narrative woven together through music, the body, and space. The texture of the body echoes the patterns of nature, with the different organs and bodily parts coming together to form the body, and different individuals gathering to form a community, echoing the concept of “From every piece of body to everybody.” This work attempts to explore individuality within groups: how can we confront the tug between tradition and modernity, as well as the subtle and ineffable experiences of existence on the foundation of Gaga? With each encounter, we sense the weight of each other and dreamlike sensations as different encounters leave etchings in our souls, a journey that starts with enlightenment, inner exploration, and finally returns to consciousness and concludes with the intangible. Gaga is a form of fluidity that originates, embodies, and presents the state of nature, the essence of Atayal values with the key concept being “to share.”

3.共負罪責團體(Gaga):是共同遵守誡律和規範的團體。泰雅人稱之為Gaga,泰雅族中的Gaga意思為祖訓或遺言,指泰雅社會是應遵守祖訓的社會群體,而是以血緣、共約、共祭、共勞為基礎發展而成,深深存在於泰雅族人的生命之中。Gaga是一種社會規範,是泰雅人日常生活、風俗習慣的誡律,也是最具有約束力與公權力的團體,可以算是泰雅社會中行為道德與社會律法的最高維護與審判者。又因泰雅族的分布地區遼闊,Gaga之意各有偏重不同,但仍不出以下四個範圍:血族及地緣團體、祭祀團體、共食團體和制約團體。

引自:臺灣原住民族 資訊資源網http://www.tipp.org.tw/aborigines_info.asp。(瀏覽時間:2018/10/18)

 

3.Gaga: a group of people who abide by the same laws and regulations. In Atayal culture, Gaga refers to ancestral teachings and conveys the belief that the Atayal society should be a social group that follows the legacy of the ancestors. The concept of the Gaga is built on the foundation of common lineage, regulations, religious rituals, and labor, which are all deeply embedded into the lives of the Atayal people. Gaga is also a sense of social regulation and guidelines for Atayal life and customs, a group of people that have the right to restrict public power, the preserver and judge of moral and social standards. Since the Atayal people are geographically spread across different locations, the meaning of Gaga is slightly different across regions. However, despite the disparities, the concept of Gaga covers four aspects: shared lineage and geographical location, shared religion, shared food, and shared regulations.

Source of information: Taiwan’s Indigenous Peoples Portal (visited on October 18th, 2018)

 

202展間╱R202

TAI身體劇場

TAI Body Theatre

 

 

《尋,山裡的祖居所》

Terrace on the Hill

舞蹈

Dance

63min.

2017

202展間以報紙鋪就大地文脈或斷垣殘壁的紋理氛圍,涵構空間多層次語彙的表達。是山林開發土地的傷痕映現,是原住民對原鄉離散而移居的身體地圖,更是一種破碎意象的現代性共同體象徵。

《尋,山裡的祖居所》為瓦旦督喜與法國打擊樂手羅蘭.奧澤的共同創作。他們從「故事在山裡,我們必須走上去。」開始,跋涉於900公尺高山上的太魯閣族舊部落―大禮部落,踏著獵人足跡及祖靈的步伐,伴隨著山中採石場火藥爆破聲響在山谷裡迴盪,幾經峰迴路轉的溯源尋根,瓦旦思及兒時記憶、祖母的織布聲、父執輩的獵人印記以及祖先的居所等靈感,完成了舞作的核心精神,他們一位從手的擊樂節奏開展,一位從踏地的腳譜出發,不同的節奏及文化脈絡,彷彿擁有某種共通的對話,碰撞不一樣的踏地及相互凝視的經驗。

其中擊樂急切的樂章結構,給人恍若迷走於山林瘴癘之中,彷彿是外在的侵擾與身體的相抗衡,綿延出失落的傳統和真實處境裡的時間軸,如層疊的踏步、似污血塗抹的山川與大地、捻線編織的手勢、和紅色菱形圖騰的「祖靈之眼」等,最後在舞者褪下現代黑衣,似隱喻了祖靈救贖肉體的恩典,以此回應這個世界的迴音,試圖為傳統文化帶來現代生命力。

The old newspapers were spread over R202, creating the quality and texture of the mountains with rich layers of spatial expression. These displays are reflection of the trauma that the land has endured due to forest and mountain development and the exile map of the indigenous people. These designs are also symbols of our fragmented modernity.

Terrace on the Hill is a collaboration between Watan Tusi and French percussionist Roland Auzet. Starting with “The story is within the mountains; we must approach them,” the two artists climb up the 900-meter high mountain to reach the old Truku Dali Village. Tracing the footsteps of hunters and ancestors, accompanied by the explosion noises echoing from the quarry in the mountains. The work is inspired by the memories from Watan Tusi’s childhood, the sound of his grandmother weaving fabric, the hunters’ footprints of from his father and uncles, and the homeland of his ancestors. Watan Tusi then manages to shape the essential message of the dance. With Auzet from the point of view of a percussionist and Watan Tusi applying his feet scripts, the artists approach the theme from different rhythms and cultural contexts, displaying the variety of experiences through dialogue between different gazes and methods.

The fast-paced structure of the percussion performance gives listeners a sense as if wandering in the misty woods, creating a conflict between the body and the outer environment. This experience gives way to the vanishing tradition and the timeline of happenings in real life, such as the tapping of the feet, the lands that seem to be smeared with blood, hand gestures when weaving fabric, and red diamond-shaped “eye of the ancestor.” Finally, the dancer removes their modern black clothing, symbolling the salvation of the body through the grace of the ancestors as a response to the echoes of this world, injecting new life into.

 

2樓中樓梯/Central Stairway 2F

 

伊祐.噶照

Iyo Kacaw

《海裡的山怎麼了?》

What Happened to the Mountains in the Sea?

木、鐵、魚網、魚槍、水鏡、珊瑚、錄像

尺寸因空間而異

2018

Wood, Metal, Fishing Net, fishing Spear, Goggles, Coral,Video

Dimensions Variable

2018

漸漸地我們失去了……

無論傳統領域,甚至傳統「海域」。

海洋民族賴以維生的海洋、魚群珊瑚繁衍的棲息地、

曾經祖先命名過的礁岩,都被層層漁網佈滿侵襲。

漸漸地孩子落入海底陷阱,身體不再感受流水滑動、

禁錮的文化也無法動彈,只能眼睜睜看著文化被獵殺。

「回想小時候,部落的孩子每個都很會潛水,因為老人家說海是我們的土,很寬;爸爸則說海裡的食物夠吃就好,如果抓多了就分給部落的老人,也說我們的山是往下走的,是不一樣的獵場,而這個獵場是危險的,要用每一個細胞去感受海浪的方向、用聽的知道海浪下一波的威力,但是當海浪聲變得愈安靜這就是大浪的警訊。

更叮嚀了以看見什麼樣的魚來判斷安全水域,往往這些魚生活的地方就是暗流最強的地方。如果在水裡突然遇上大浪,請用力往下潛,抓緊礁石,千萬不能背對海浪。洞裡的龍蝦不能伸手抓,可能會有生命危險,而如果看見成堆的鵝卵石出現在不該出現的礁岩洞裡,那就是章魚哥的家。另外,要潛水射魚一定要跟魚先培養感情等等,這些都是海洋智慧,要傳給部落的孩子。」――伊祐.噶照

伊祐.噶照以阿美族人的獵場―海洋,是傳統文化也是原住民智慧的根,他藉由裝置作品與錄像紀錄,以獵人與槍、魚網與珊瑚的現代變奏,陳述「魚槍禁令」的《魚槍採捕水產動物禁漁區管制措施》草案,禁止使用魚槍,卻放任沿岸盡是漁網、拖網,許多漁船放網臨屆無法收網時就將其剪掉,海底下一層又一層的網子以及垃圾,成為珊瑚叢生命滅跡的殺手。傷害礁岩生態保育的是網而非傳統捕獵的方式。而海平面上貪婪的漁船不分晝夜地過度漁獵和從未停止的殺戮……。在這短短的二十幾年,海裡的山被人類文明破壞,獵場的故事,不知該如何延續海的子民!

Gradually, we are losing our traditional ancestral territory,

and our traditional “marine territory”.

People of the sea rely on the ocean, the habitat of fish and corals, to survive.

Layers of fishing nets now invade the coral reefs that our ancestors once named.

Slowly, our children have succumbed to the traps in the sea,

and their bodies could no longer feel the water moving.

The enclosed culture could no longer flex, and we could only stand by and watch as our culture crumble.   

“When I was child, the kids in our village were all very good divers, because the Elders always told us that the sea is our land, and it is very vast. My dad used to say that we only need enough to eat from the sea, and if we had caught more than enough, we would share with the Elderlies in the village. He also said our mountains go deep under; it is a different kind of hunting ground. This hunting ground is full of danger, and we need to use every cell in our bodies to feel the ocean’s direction and to listen to the power of the next upcoming wave. When the waves grow quiet take it as a warning sign for colossal waves to come. Dad also warned us to assess the safety of a body of water by the types of fish there, and oftentimes, where these fish dwell is where undercurrents are the most rampant. If you encounter a big wave while in the water, push hard and dive down and grab on to a rock. Whatever you do, do not point your back to the waves. Don’t stick your hands in a cave to try to catch a lobster; you might lose your life doing so. If you see a pile of pebbles inside a reef cave that shouldn’t be there, an octopus probably lives there. Also, to spear fish requires a relationship to be formed first with the fish. These are some of the wisdom related the sea and need to be passed down to the children of the tribe.”

—Iyo Kacaw

The sea is the hunting ground of Iyo Kacaw’s fellow Pangcah (Amis) people; it is their traditional culture and also the foundation of their indigenous wisdom. With an installation artwork and a documentary film, Iyo Kacaw creates a modern variation of the huntsman and the gun, the fishing net and the corals, recounting the Fisheries Agency’s draft of “Restrictions on Spearfishing for Underwater Animals in the Controlled Areas”, which bans the use of fishing spears but turns a blind eye on the ubiquitous fishing nets and bottom trawl nets. Many nets are cut off and discarded at sea by fishing boats when they are unable to retrieve them, leaving behind layers and layers of netting and debris under the sea, which are detrimental to the coral reefs. Those nets, rather than the traditional hunting method, are the culprits behind the damaged coral reef ecology. The greedy fishing boats on the ocean surface are fishing all through the day and night, killing endlessly. In just twenty years, the mountains under the sea have been damaged by human civilization, and it is unclear how the people of the sea’s hunting stories will continue…

 

201展間╱R201

 

武玉玲

Aruwai Kaumakan

 

 

《脈動-生命軸》

Pulsation – The Center Line of Life

回收布料、棉線、有機棉

Recycled Fabric, Cotton Thread, Organic Cotton

500 x 120 x 100 cm

2018

作品形塑人體最重要的生命之源―心臟,以紅花代表女性凸顯社會結構的形成;女人是生命軸與源頭,部落、大地、河流皆因女人而美麗、生動並得以傳承。

This work depicts the most important source of life in the human body, the heart. The red flower symbolizes women as well as the formation of society. Women are the center line and the origin of life to indigenous villages, land and rivers; and because of women, they are beautiful and have flourished through generations. 

 

 

《脈動-我自己》

Pulsation – Myself

回收布料、棉麻線、皮革

Recycled Fabric, Cotton Twine, Leather

150 x 40 cm

2018

在勾、織、纏、編中彩繪自己,尋找初衷與身為現代女性正向能量的被看見。

Coloring the self through knitting, weaving, wrapping and braiding, the artist seeks to retrieve her original aspiration and hopes to demonstrate the positive energy of modern women. 

 

《脈動-黑色的堆砌》

Pulsation – Black Layers

回收布料、棉麻線

Recycled Fabric, Cotton Twine

50 x 130 x 30 cm

2018

女人的執著與堅持牽動了雙手在每一次的不完美中掙脫蛻變,就像瀰漫在黑色的堆砌裡,看到了生命的呼吸與意識綿延,進入心境,層層剝開、探索記憶與裂痕。

Female resilience and persistence have enabled women to transform from their previous imperfection with their hands. It is like seeing the breath of life and the continuation of consciousness in black layers, as one enters the inner realm and traverses each layer to explore the world of memory and its crevices. 

 

 

 

 

 

 

《脈動-孕育》

Pulsation – Gestation

回收布料、棉麻線.

Recycled Fabric, Cotton Twine

70 x 70 x 30 cm

2018

以白色形塑一個女性的乳房,表述女人立於孕育生命之源的重要性,如同大地之母的養分供給,涵養了文化永續的成長。

The white form symbolizes the female breast, honoring women’s importance as the source of life. Like the mother of land has nourished all, women have nurtured and sustained the growth of culture. 

 

 

《脈動-大地的心跳》

Pulsation – The Land’s Beating Heart

回收布料、棉麻線、色珠、種子、皮革

Recycled Fabric, Cotton Twine, Beads, Seed, Leather

220 x 150 x 30 cm

2018

土地與女性對原住民而言皆是延續族群生命的重要角色;女人的雙手在土地上翻動了無數次的生命延續與美麗容顏,她們用雙手舞出大地每一次不一樣的心跳,以不同的顏色彩繪來呈現女人與文化土地的心靈互動。

The land and women have played significant roles in the continuation of the indigenous communities. With their hands, women have cultivated the land to sustain countless lives and all the beautiful faces. With their hands, they have expressed the rhythm of the land’s beating heart. Therefore, the artist uses various vibrant colors to depict the inner interaction between women, their culture and the land.

 

《脈動-女人與河》

Pulsation – Women and Rivers

回收布料、棉麻線、漂流木、銅絲線

Recycled Fabric, Cotton Twine, Driftwood, Copper Wire

40 x 120 x 20 cm

2018

女人像流水,所有的單純與溫柔的初衷,總是善變在扮演,只有找到自我時才能顯出它的真美。

Women are like flowing water, which is the embodiment of innocence and tenderness. It constantly changes and plays different roles; however, it only reveals its true beauty when it finds the self.

201展間/R201

杜寒菘

Pacake Taugadhu

《咦!怎麼愈來愈少了?》

Huh? Why Has it Gotten Fewer and Fewer?

壓克力彩、畫布、玻璃、玻璃纖維、複合媒材裝置

裝置尺寸因空間而異

Acrylic on Canvas, Glass, FRP, Mixed Media Installation

Dimensions Variable

2018

傳統狩獵文化的精神價值,是千百年來與環境永續共存的智慧。不趕盡殺絕、不一網打盡、不獵捕未成熟的物種,發展出僅捕捉達一定體型以上的陷阱,讓牠們有機會長大繁衍後代,更為了不打擾物種的繁殖期,在地域上形成了代代相傳的禁地。

曾經是這樣的尊重,因而不致匱乏,但現在呢?「唉!我的朋友,怎麼你不再對百合花勇士冠冕憧憬了呢?獵人槍聲後的回音是『分享』,但你的回音,卻是理所當然地認為這是祖靈賜予你一人的禮物』。『喂,快下來,客人要新鮮的!』野味餐廳老闆掛掉電話前對你的叮嚀,你卻專注在眼前先烤來解饞的小動物,疑惑著為何這趟只拿到3隻,並盤算下次該去那個獵區,可以比較多……狩獵文化是這樣延續的嗎?更令人悲哀的是,原來不止是你一人是如此……該是時候找部落長輩們聊聊了,我們一起學習!」 

The spiritual value embodied by the traditional hunting culture comes from the wisdom derived from thousands of years of sustainable coexistence with nature. No excessive killing, don’t catch them all, and don’t capture animals that are still young, setting traps that are only designed to capture animals of a certain size and above, these are some of the tactics practiced to ensure the animals have a chance to grow up and procreate. Moreover, in order not to disturb animals during their mating seasons, there are also areas that are forbidden, with the knowledge passed down from generation to generation.

Respect was paid back in the days to prevent scarcity, but what about now? “My friends, how come you no longer look forward to the coronation of the lily warriors? The echo that follows the sound from the hunter’s gun is meant to be a signal for “sharing”, but the response from you now sounds like it is a gift from the ancestral spirits that is only meant for you alone.” “Hey, hurry, the customers want something fresh!” A reminder from the game meat restaurant owner to you before he hangs up the phone. You, on the other hand, are focused on the little creature before you that you are able to roast and devour, while you wonder why you only caught three on this trip. You then begin to strategize about which hunting ground to go to next time, because you can probably catch more there……Is this how we want to pass down our hunting culture? What is more distressing is that you are not the only one who thinks this way. Perhaps the time has come for us to talk to our Elders; there is so much more we need to learn together!” 

 

 

201展間╱R201

林介文

Labay Eyong

《母地》Mother Land

複合媒材、現成物

尺寸因空間而異

Mixed Media, Ready-Made

Dimensions Variable

2018

《母地》系列裝置作品,由11件軟雕塑構成一個流動的,似生命溯源揉和大地生息的蜿蜒之流。林介文以「母」與「地」隱喻人與土地疊合交融的生命迴圈。「母」為藝術家的母親經驗,從懷孕—分娩—養育的過程,苦甜參半;「地」是關涉土地資源的觸及,兩者同樣是身為提供養分者對於土地的憐惜。圓,象徵生命的始源以及趨向生命的渴望,而編織為行走路徑的過程。成為母親的路徑如同編織時的路徑,一圈又一圈,覆蓋永無止境的當下。

作品以現成物,如垃圾,海廢料,廉價塑膠圓桌與自然素材等,大量運用各種材質複合拼貼構成,以材料的物自體所標誌的社會發展意象,反映材質時代並破解其自身對資源利用與垃圾製造的困惑。所有的一切以及人皆來自自然,因此人與自然唯有平衡發展才得以永續共生。

The installation work, entitled Mother Land, comprises of eleven soft sculptures, creating a meandering stream that embraces the origin of life and the vital force of land. The artist combines “mother” and “land” as a metaphor for the infinite loop that integrates and merges land and life. “Mother” implies her own experience as a mother, who must undergo the bittersweet process of pregnancy, child labor and child rearing. “Land” hints at the resources from the land. Therefore, she links mother and land as both provide nourishments for others. Circle, on the other hand, symbolizes the beginning of and the longing for life, whereas weaving unfurls the process and path of life. The process of weaving epitomizes the path of becoming a mother as each loop, again and again, covers the present moment without end.

The works are made of readymades, such as garbage, ocean wastes, cheap plastic round tables and natural materials. The artist constructs each piece with a large amount of mixed materials, employing the imageries of social development implied by the materials to reflect their own times and answering her own questions about the use of resources and our production of garbage. Everything in this world, including human being, comes from nature; therefore, sustainability and co-existence can only be guaranteed when a balance between nature and human being can be achieved. 

201展間╱R201

莉莎.瑞哈娜

Lisa Reihana

 

《追尋金星(感染)》

in Pursuit of Venus [infected] 

 

高畫質單頻道錄像、彩色、7.1聲道

Ultra HD Video, Color, 7.1 sound

64 min.

2015–17

Image courtesy of the artist and New Zealand at Venice. With support of Creative New Zealand and NZ at Venice Patrons and Partners, and Artprojects.

《追尋金星(感染)》是莉莎.瑞哈娜基於長期對表演及合作的興趣,也是體現她堅持於殖民主義歷史的獨特看法。在這實踐過程中,莉莎.瑞哈娜回顧了殖民世界,並朝向當前探討的後殖民秩序。此作製作已有11年,其數位動畫相當複雜,概念與規模也很龐大,由超過1,500個數位圖層、每幅圖片3,300萬像素所組成,作品沉湎於受西方製圖學與科學探索所引發的思潮,揭開了思想與哲學的啟蒙時代、殖民驅力以及對權力及慾望既隱且明的凝視。

「金星」一詞不僅暗喻著18世紀歐洲力圖透過金星凌日來計算地球和太陽之間的距離,而且影射歐洲對南洋的浪漫幻想,從大溪地被命名為「新賽瑟島」(New Cythera)即可知道這是愛情女神阿芙羅狄蒂或維納斯的出生地。通過數位影像與攝影以重現場景,莉莎.瑞哈娜改變了角色並重新構想歷史及其在21世紀毛利與太平洋的代表性觀點。《追尋金星(感染)》作品中的人物被強化與放大了人性的尺度,引領觀者沉浸於充滿思辨的戲劇及歷史劇中。

Drawing from a longstanding interest in performance and collaboration, Reihana’s magnificent in Pursuit of Venus [infected] arises from her persistent investigation and a research approach toward the history of colonialism. Throughout her practice Reihana has looked back into the colonial world while also forward toward an emergent postcolonial order. Now 11 years in the making, in Pursuit of Venus [infected] is a remarkably complex digital animation; vast in conception and truly ambitious in scale. The work comprises over 1,500 individual digital layers and there containing 33 million pixels per frame. The dramatised scripts are conceived as a meditation on ideas generated by cartographic endeavours and scientific exploration; to unravel Enlightenment ideals and philosophy, the colonial impulse, and the distant yet pervasive gaze of power and desire.

Within the title, ’Venus’ alludes to both the 18th-century project to calculate the distance between the Earth and the Sun by timing the Transit of Venus; and also to Europe’s romantic conception of the South Seas - where Tahiti was named ‘New Cythera’ in reference to the birthplace of the goddess of love, Aphrodite or Venus. By re-enacting scenarios through digital video and photography, Reihana recasts, reclaims and reimagines history and its representation from a 21st-century Māori and Pacific perspective. The enhancement and enlarging of characters to a human scale in in Pursuit of Venus [infected] implicates us, the viewers, fully in the speculative theatrical and historical drama that unfolds.

 

 

相關教育活動 Educational Programs

 

相關系列活動總表

活動依時間順序安排

 

活動類型

活動名稱

日期

時間

地點

開幕表演

《傳統祈福儀式》阿道‧巴辣夫‧冉而山

《南王部落年祭選粹》原舞者

11/3

17:35

台北當代藝術館廣場

(免費)

《海是很漂亮》

         演出:布拉瑞揚舞團             

11/3

18:00

台北當代藝術館廣場

(免費)

11/4

16:50

《赤土 / Red Earth》

演出:TAI身體劇場 x卡莉‧雪帕德 Carly Sheppard 

11/3

18:40

台北當代藝術館廣場

(免費)

11/4

17:30

系列講座

原住民藝術家新思路─探尋生命的挑戰與未來

講者:莉莎‧瑞哈娜 Lisa Reihana /

第57屆威尼斯雙年展紐西蘭館藝術家

   尼那‧東加 Nina Tonga /

紐西蘭 Te Papa 國家博物館策展人

11/4

13:30-15:00

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

我的傳統你的眼-藝術國際展演中的文化流轉與轉譯

講者:史蒂芬‧阿姆斯壯 Stephen Armstrong /

澳洲亞太表演藝術三年展 (Asia TOPA) 創意總監

   艾森‧阿瑟諾夫 Asen Asenov /

保加利亞One文化藝術基金會總監

11/4

15:00-16:30

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

航向大洋:南島航海文化與繁花盛開的原民藝術

講者:魯賓‧基漢 Reuben Keehan / 昆士蘭美術館當代亞洲藝術策展人

   宜德思‧盧信 Idas Losin / 太魯閣族視覺藝術家

主持:潘小雪 / 台北當代藝術館總監

12/8

14:00-16:00

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

藝術家

面對面

「原」創就是力量-從傳統手藝到當代藝術

講者:武玉玲 Aruwai Kaumaka、曾秉芳 Lahok Oding、安君實 Pasulange Druluan、

   拉飛‧邵馬 Lafin‧Sawmah

主持:張玉漢 / 台北當代藝術館副館長

11/18

14:00-18:00

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

世界都是部落-原住民當代藝術的跨國交流

講者:瓦旦.督喜、莊國鑫

主持:吳思鋒 / 澳門《劇場.閱讀》副主編、柳春春劇社現任團長

12/22

14:00-16:00

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

Pulima

電影院

紀錄藝角‧MOCA獻映

14:00-15:00《織羅之羽》

15:00-16:30 天・地・人第二部曲《巴拉冠誓約》

16:30-17:30 映後座談

導演:林光亮 / 《織羅之羽》導演

   Uki Bauki /天・地・人第二部曲《巴拉冠誓約》導演

與談:陳錦勝 / Matzka 樂團與圖騰樂團鼓手、巴拉冠 Musavasavak 階級

   陳誠 / 部落美男子樂團吉他手、巴拉冠 Vansalang 階級

11/17

14:00-17:30

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

專家導覽

曾瓊慧 Lovenose / 原文會文化行銷部藝術管理組組長

12/02

14:00

台北當代藝術館

(免費, 須購票入場)

那高‧卜沌 Nakaw Putun / 「翻動Micawor─2018PULIMA藝術節」策展人

12/23

14:00

耿一偉 / 2018 桃園鐵玫瑰藝術節策展人

2019/1/6

14:00

好玩藝教室

提姆老師的藝術小學堂 (兒童限定)

講師:提姆 Tim Budden / 英國藝術家

對象:國小三~六年級

11/18-12/23

每週日

10:00-12:30

台北當代藝術館

好玩藝教室 (須付費報名)

大炳老師的敲敲木作坊

講師:大炳 /「娃娃活玩木頭」工作室創辦人

對象:國小三年級以上

2019/1/12

13:00-18:00

台北當代藝術館

好玩藝教室 (須付費報名)

親子教育

Pakongko 故事工作坊

講者:林惠娟 / 茂林國小文化指導員

12/02

10:30-11:30

台北當代藝術館

1F活動大廳 (免費)

我是部落小勇士

2018/11/20 –2019/1/13

週二~週日

10:30-12:00

 13:30~15:00 15:30~17:00

台北當代藝術館

U12小玩藝教室

(免費, 名額有限請提早到場)

特別活動

沖繩文創市集

11/9-11/11

10:00-18:00

台北當代藝術館廣場(免費)

明日藝術節

【開幕記者會】

-- 澳洲原住民祈福儀式:耆老賴瑞‧沃爾什 Uncle Larry Walsh

-- 現場演唱:艾麗絲‧史凱 Alice Skye

-- 變裝皇后導覽大使:班‧格雷茲 Ben Graetz

-- 展間作品導覽:葛蘭達‧尼珂斯 Glenda Nicholls

  彼德‧沃波斯-克羅                    Peter Waples-Crowe

11/7

14:00-15:00

台北當代藝術館

1F活動大廳

【工作坊】

羽化成花親子工作坊

授課藝術家:葛蘭達‧尼珂斯 Glenda Nicholls

對象:12 歲以下親子觀眾 (兩人一組,一大一小)

人數:8 組,16 人

11/8, 11/9

10:30-12:00

台北當代藝術館

U12小玩藝教室

(免費, 請事先報名)

【工作坊】

羽化成花編織工作坊

授課藝術家:葛蘭達‧尼珂斯 Glenda Nicholls

對象:12 歲以上  人數:30 人

11/10

10:30-12:00

台北當代藝術館

1F活動大廳

(已額滿)

【工作坊】

「畫說」親子工作坊

授課藝術家:彼德‧沃波斯-克羅 Peter Waples-Crowe

對象:12 歲以下親子觀眾 (兩人一組,一大一小)

人數:8 組,16 人

11/8, 11/9

15:30-17:00

台北當代藝術館

U12小玩藝教室

(免費, 請事先報名)

【工作坊】

「畫說」拼貼工作坊

授課藝術家:彼德‧沃波斯-克羅 Peter Waples-Crowe

對象:12 歲以上  人數:30 人

11/11

10:30-12:00

台北當代藝術館

1F活動大廳

(已額滿)

【講座】

【國際交流】記憶、技藝與生命的交織

講者:葛蘭達‧尼珂斯 Glenda Nicholls 、林介文 Labay Eyong

11/10

13:30-15:00

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

【講座】

在地觀點】不消費身份的藝術節—澳洲「YIRRAMBOI明日藝術節」分享

講者:潘小雪Yuki Pan、彼德‧沃波斯-克羅 Peter Waples-Crowe、

   艾麗絲‧史凱 Alice Skye、耆老賴瑞‧沃爾什 Uncle Larry Walsh

11/10

15:30-17:00

台北當代藝術館

1F活動大廳

(免費, 座位有限請事先報名)

【跨國展演】

Miss First Nation Taiwan 臺灣原住民變裝皇后大賽

主 持:伊蘭妮雅斯小姐Miss Ellaneous

參賽者:飛利冰 Feilibing IceQueen 、跩姬寶貝 Draggy Boo Boo、

    羅斯瑪麗 Rose Mary、麻里愛 Ma Li Ai

11/10

19:30-21:30

西門紅樓2F劇場

(免費)

【跨國展演】

以莉高露 × Alice Skye 靈魂女聲跨國演唱會

演出:以莉‧高露、艾麗絲‧史凱 Alice Skye

11/11

15:30-17:30

台北當代藝術館

1F活動大廳

(免費)

表演創作徵件競賽展演

文宏《Square》

少妮瑤‧久分勒分《排灣NASI(氣息)》

迦瑙‧伊法蘭《小米說 siniqaqivu nua vaqu》

古殿強《百合3─ 心中的勇士》

高李宗峻《鄉愁》

馬曉安《Tminun qu tninin 編織靈魂》

杜逸帆《守護一個家》

邱瑋耀《Uncinian 自我獨白》

11/13

14:00-17:00

台北當代藝術館

1F活動大廳

(免費)

謝皓成《獵人》

朱克遠《semupu 數》

高旻辰《Aulu的獨白》

余聖文《黑癮》

得陸‧鳩浙恩澇《虛構的身隱》不息版

章素琳(幽法)《aynuku 雜/混血》

瓦旦‧督喜《月球上的「織」流》

11/14

14:00-17:00

台北當代藝術館

1F活動大廳

(免費)

表演創作徵件競賽頒獎典禮

11/14

17:00-18:00

台北當代藝術館

1F活動大廳

(免費)


 

 

兒童專區

 

「翻動MICAWOR─2018 PULIMA藝術節」兒童教育專區

【兒童語音導覽】*適合年齡:5-12歲。
歡迎至當代館一樓服務台借用或掃描展間QR code。為強化美感、深耕藝術教育,於原有的教育設施導賞服務中,開發兒童語音導覽服務,以活潑趣味的說故事方式,深入淺出的導讀主題展覽。
 
 
【兒童學習單】*適合年齡:12歲以上。歡迎至當代館一樓服務台索取。
以寓教於樂的方式,配合每檔主題展覽,提供更進一步的問題、小知識、簡易手做,讓大小觀眾一同學習展覽,增添學習趣味。

※ 歡迎下載取用:

 

【親子觀察單】*適合年齡:5-12歲。歡迎至當代館一樓服務台索取。
 
可拆解成上下半截,上半段的彩色地圖,提供小朋友進展間尋找藝術作品;下半段的文字問題,提供大朋友簡易版的問題,引導小朋友觀看作品的一種方式。
 
 
※ 歡迎下載取用:

 
【MOCA U12-小玩藝教室】*適合12歲以下。詳見入場規範。
 
 
為推動本館教育推廣之功能,讓藝術向下扎根,「U12-小玩藝教室」,憑門票開放親子入場共同體驗藝術之美。除了規劃年度主題,設計與兒童互動及遊戲的裝置之外,亦配合每檔展覽,規劃不同媒材的手作課程,希冀藉由藝教於樂的方式,激發兒童的藝術想像力與創造力。