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

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「烏鬼」Stories We Tell To Scare Ourselves With

展覽名稱 Exhibit

烏鬼
Stories We Tell To Scare Ourselves With

展覽時間 Date
2019/01/26 (SAT.) ~2019/04/14 (SUN.)  
展覽地點 Venue

台北當代藝術館

門票 Admission

50

策展人 Curator

黃漢沖 Jason Wee ;協同策展人Co-curator 黃香凝 Anita Hsiang-Ning Huang

參展藝術家 Artists
(排列順序照英文名第一個字母)
 
Abdul Abdullah 阿卜杜拉
Anne Samat 安妮沙末
Cassie Machado 凱西.馬查多
Chi Too 陶志恆
Chitti Kasemkitvatana 吳松吉
Chris Yeo  (Yeo Siew Hua) 楊修華
Ding-Yeh Wang 王鼎曄
Enzo Camacho & Amy Lien 恩佐.卡馬喬&連潔
Hilarie Hon 韓幸霖
Jakkai Siributr 賈凱.斯里布特
Liang Ting-Yu 梁廷毓
Minstrel Kuik 郭靜潔
Nipan Oranniwesna 尼潘.歐拉尼維
Norberto Roldan 諾爾貝托.羅爾丹 
Siki Sufin 希巨蘇飛
Tan Pin Pin 陳彬彬
Timoteus Kusno 堤莫斯.庫斯諾
Vuth Lyno 烏茲.里諾
Wei-Li Yeh 葉偉立
Yan Chung-Hsien 顏忠賢
Zarina Muhammad 莎琳娜.穆罕默德
Zulkhairi Zulkiflee 族卡里.祖琪基
 

 

策展論述 Curatorial Statement

 

 

策展人|黃漢沖

 

展覽簡介

 

烏鬼,番國名,紅毛奴也。其人遍體純黑,入水不沉,走海面若如平地。

                                               ―《臺灣志略》(1738)

 

恐懼具有驅動性,它驅動著人類最根本的直覺,誘發腎上腺素的產生,也使人類因防衛和安全的需求,劃分出領地邊界的內外範圍。人們在面對未知與潛在危機時,常將內心的恐懼與不安幻化成各種魑魅魍魎的傳說,區隔出人域與鬼域的模糊地理。鬼魅也常用於指稱外來者、蠻夷等非我族類,如「烏鬼」被指稱為16、17世紀跟隨歐洲殖民者來臺的東南亞奴工、鄭氏王朝的印尼班達島奴兵、被荷軍滅族的小琉球原住民、非洲黑奴等。從這個角度切入,鬼魅可說是不斷出没在東南亞的口傳故事、藝術和影像脈絡之中,因為它幫助我們形成對「自我」的認知,它化身為外來者的身影與侵略性的物種等,隨著不同的目的與心理機制,在無數人口中不斷變異,幻化成形。

 

「極端政治理念的闇影」不再只是徘徊於政治場域的邊緣,它已成為其中心議題。這類鬼影幢幢的東西,猶如在某個遙遠的過去之邊緣、在當下事件的之外,向我們頻頻招手,而這些鬼魅所揭示的正是我們日常生活行為及習慣中,潛在而延續的帝國邏輯及傾向,殖民仍在發生,它並不只是歷史。同時,也因為我們此刻的存在,尚未脫離殖民的遺緒,我們之所以能夠理所當然地活在現代,正是因為我們自認已將過去抛諸腦後。「烏鬼」這個展覽之中的魑魅魍魎,除了無腳鬼、食人虎、偽神祇,也包含了時代的他者,如外來者、移民、異教徒、酷兒、甚至是不可見與失能的被統治者。

 

我們活在這個生人世界,不僅僅被過往的魅影糾纒著,它同時也是個更為蠻荒的場域,充斥著前殖民時期古老的鬼魅和仍然埋藏在當下的未來幽魂,在這樣的時刻,人和非人之間的區別—包含那些自然的、獸類的、技術的—都混合成一道衍生性的綜合光譜。然而,我們對非人的恐懼會自我調節,並且因理性知識而緩和,抑或演變成更嚴重的恐慌?究竟是誰指出了這些闇影?未來的鬼魅故事為何?而「我們」又將成為什麼?

 

 

Exhibition Introduction

Curator|Jason Wee

 

Exhibition Introduction

 

“Wugui (literally dark ghosts). Name of the indigenous country and slaves of the Dutch. This race has extremely black skin. They do not sink in water and can walk on the water surface as if were on land.” _ An Official Brief History of Taiwan, (1738)


Fear drives our basest instincts. Fear is generative; it produces Epinephrine, shapes the borders that settle our tribal demands for security and safety, and the demarcation of what lies within one territory or region and what lies outside it. In the face of the strange and unknown, fear enters our stories as ghosts and ghouls separating the human from the animal, the human from the nonhuman. In the Chinese languages, the word “ghost” often signifies the foreigner or the uncivilized race; “Wu Gui” for instance, refers collectively to the slaves brought by 17th-century European colonizers to Taiwan from Africa and Southeast Asia, including those slave soldiers from the Indonesian Banda Islands who served Koxinga’s Kingdom of Formosa as well as the indigenous people inhabiting Xiaoliuqiu who were exterminated by the Dutch. Ghosts, cast in this light, populate Southeast Asia’s oral, artistic and cinematic landscapes because they generate a sense of who we are to ourselves. The ghost is the figure of the foreigner, the intruder and the invasive species.

 

The shadows of political extremes no longer skirt our political scene but are its central subjects. These shadows are cast upon the scene as though their silhouettes remain just outside or beyond present events, reaching us from the borders of a far past. Yet what ghost and ghouls often reveal are the continuation of empire’s protocols and predilections into the scripts and habits of our everyday. The colonial is not in the past simply because it has already happened, but also because it is the past we require for our modern present. We imagined ourselves modern because we have left that past behind. The figures in this exhibition – a man-eating tiger, false gods – are analogies for the Others of our time – the foreigner, the immigrant, the unbeliever, the queer, even at times the governed, if the governed risks their own agency and visibility.

 

Yet if our present sense of living in this part of the world is one inhabited by the ghosts of imperious pasts, it is also a wilder terrain inhabited by older ghosts of pre-coloniality and the ghosts of futures buried in the present. In these moments, the distinctions between the human and the non-human – the elemental, the bestial, the technological – smudge into a spectrum of generative admixtures. Correspondingly, our fears of the non-human modulate themselves, mitigated by excavated knowledges, or they intensify into fresh terrors. Who is pointing the ghouls out? What are the ghost stories to come? Who will ‘we’ be then?

 

 

參展藝術家 About the Artists

藝術家介紹 Artist Introduction

 

105展間/R105

顏忠賢 Yan Chung-Hsien

 

顏忠賢(b. 1965‚臺灣)為英國曼徹斯特大學建築研究所碩士後研究、臺大建築城鄉所碩士。目前為實踐大學建築設計系專任教授。是藝術家、小說家、策展人。其創作跨域建築、設計、文學與藝術,挑戰前衛同時流露著對古老神祕的、廟宇與慶典的喜好,無論是文學或藝術的跨界演繹,作品皆呈現與異質時空的對話和顛覆傳統的思考邏輯。

 

Yan Chung-Hsien (b. 1965, Taiwan) holds a master degree from the Graduate Institute of Building and Planning, National Taiwan University, and has conducted postgraduate research in architecture at the University of Manchester in the UK. He is Professor at the Department of Architecture, Shih Chien University as well as an artist, a novelist and a curator. He is dedicated to a cross-disciplinary practice that integrates architecture, design, literature and art. As he challenges the avant-garde, he is also fascinated with the ancient, the mysterious, temples and peculiar festivals. Whether in his literary or artistic practice, his works have displays a dialogue with heterogeneous times and his thinking that is subversive to tradition.

 

106展間/R106

吳松吉 Chitti Kasemkitvatana

 

吳松吉(b. 1969‚泰國)為藝術家及獨立策展人。1990年代活躍於曼谷藝術圈,於2002至2010年赴泰北森林寺廟出家。用觀念性與極簡的語彙,探詢藝術與精神生活的多孔性。

 

Chitti Kasemkitvatana (b. 1969, Thailand) is an artist and independent curator who became active in Bangkok’s art scene in the 1990s. He became a Buddhist monk between the years 2002 and 2010 stayed in a temple situated at the northern forests of Thailand. Using conceptual and minimalism expressions, his art explores the porous qualities embodied by art and spirituality.

 

106展間/R106

諾爾貝托.羅爾丹 Norberto Roldan

 

諾爾貝托.羅爾丹(b. 1953‚菲律賓)為菲律賓文化實踐前導者,1986年創立了以菲律賓為基地的亞洲黑人藝術家團體,專注社會與政治進步的實踐。他詮釋自己的創作是跨藝術與人類學界的作品,以歷史、政治、宗教與當代生活的現實為基礎,擅用日常物件、圖像、文本等複合符號呈現碎片式的聚合裝置,透過符號化的象徵,探討歷史與集體記憶等當代議題。

 

Norberto Roldan (b. 1953, Philippines) is a pioneer in cultural practice in the Philippines. In 1986, he founded Black Artists in Asia, a Philippines-based art group focused on socially and politically progressive practice. Roldan views his own work as bridging art and anthropology. Using history, politics, religion and contemporary life to form the foundation of his work, the artist specializes in creating mixed media installations constituted of a wide range of symbols, such as daily objects, visual images and texts. With symbolic signs, his work explores contemporary issues regarding history and collective memory.

 

107展間/R107

族卡里.祖琪基 Zulkhairi Zulkiflee

 

族卡里.祖琪基(b. 1991‚新加坡)視覺藝術家、教育者、展覽製作人。他的創作形式含括繪畫、插畫、攝影、新媒體等多元媒材,關注知識生產和社會結構的能動性並以此探究「馬來性」的概念。

 

Zulkhairi Zulkiflee (b. 1991, Singapore) is a visual artist, educator, and exhibition-maker. He works with a wide range of media, including painting, illustration, photography, and new media. His practice explores the notion of “Malayness” in relation to knowledge production and social agency.

 

107展間/R107、201展間/R201

賈凱.斯里布特 Jakkai Siributr

 

賈凱.斯里布特(b. 1969‚泰國)於美國印第安納大學及費城大學完成紡織/美術的學士與碩士學位。回到泰國後著重於布料、鈎針和刺繡的媒材應用,多以手工壁毯、錄像、複合裝置的形式,反映社會在快速轉型中的不確定性,將織繡的美感語彙轉化為關涉種族、宗教、社會和政治議題的敘事,對當代問題進行批判與省思。

 

Jakkai Siributr (b. 1969, Thailand) holds a BFA in Textile/Fine Arts from Indiana University, Bloomington and an MS in Printed Textile Design from Philadelphia University in the US. After returning to Thailand, he has mostly used fabric, crochet and embroidery to create his work, such as handmade tapestry, video and mixed media installation. His work reflects the uncertainties in the rapidly changing society as he transforms the aesthetic vocabularies of weaving and embroidery into narratives that foreground issues of race, religion, society and politics and express his critiques and thinking about problems of the contemporary era.

 

1、2樓走廊/1F, 2F Hallway

尼潘.歐拉尼維 Nipan Oranniwesna

 

尼潘.歐拉尼維(b. 1962‚泰國)出生並成長於泰國北部的清邁。泰國曼谷錫爾巴貢大學藝術學士畢業,之後獲日本文部省獎學金,完成東京藝術大學美術碩士與博士學位。1990年代回泰國並任教於曼谷大學藝術學院。多次遷徙的經歷,使得他的言語表達充滿社會意識,其創作形式多以低限主義風格,圍繞在歷史記憶、國家政治以及全球化和移民、身分等議題,將不可見之事物可視化,使錯綜複雜的意象詮釋隱含其中。

 

Nipan Oranniwesna (b. 1962, Thailand) was born and grew up in Chiang Mai in northern Thailand. After completing his BFA at Silpakorn University in Bangkok, Thailand, he was awarded a scholarship by Japan’s Ministry of Education, Science and Culture and later completed his MFA and DFA at Tokyo University of the Arts. He returned to Thailand in the 1990s and started teaching at the School of Fine and Applied Arts, Bangkok University. His experience of living in different places has filled his art practice and language with social consciousness. His work adopts a minimalistic style and revolves around the issues of historical memory, national politics, globalization, immigrants and identity, visualizing the invisible and embedding complex and intricate imageries within his work.

 

108展間/R108

阿卜杜拉 Abdul Abdullah

 

阿卜杜拉(b. 1986‚澳大利亞)是第七代澳大利亞穆斯林,擁有馬來西亞和澳大利亞的血統,父親於1972年皈依伊斯蘭教。他的創作具有強烈的政治表述,以繪畫、攝影、裝置等媒介,關注社會中「他者」的經歷。藝術家不僅對自身的認同質疑,亦深層地諭示了當代全球社會與政治的隔離政策,其後果將如何影響著我們的生存處境。

 

Abdul Abdullah (b. 1986, Australia) is a seventh-generation Australian Muslim of Malaysian and Australian descent. His father converted to Islam in 1972. Abdullah makes strong political statements through painting, photography and installation that center on the experiences of “other” in society. Through his work, he not only challenges his own identity but also insightfully exposes how the consequences of the segregation policies in contemporary social and political scenes around the world would influence our life.

 

108展間/R108

郭靜潔 Minstrel Kuik

 

郭靜潔(b. 1976‚馬來西亞)是馬來西亞華裔,臺灣師範大學美術學系西畫組畢業後,赴法國亞爾國立高等攝影學院取得碩士學位,這樣多元的成長背景影響她的創作,認為私領域才是意識形態、政治、與經濟的主要戰場。近期作品關注個人與集體間的協調關係,與空間作為個人介入的場域。

 

Minstrel Kuik (b. 1979, Malaysia) is a Chinese Malaysian artist. After graduating from the Western Painting Division of the Department of Fine Arts, National Taiwan Normal University, she obtained her master degree from the École nationale supérieure de la photographie (ENSP) in France. Such a diverse background has deeply influenced her artistic creation. She believes that the personal space is a major battlefield of ideological, political and economic interests. Her recent work focuses on the negotiation between the collective and the individual as well as the place as a field of personal intervention.

 

2樓西側樓梯、204展間、2樓中樓梯/

Western Stairway 2F,  R204,  Central Stairway 2F

恩佐.卡馬喬&連潔

Enzo Camacho & Amy Lien

 

恩佐‧卡馬喬(b.1985‚菲律賓)與連潔(b.1987,美國)兩人皆取得美國劍橋哈佛大學學士以及德國漢堡藝術大學藝術碩士。自2009年合作至今,創作以雕塑、繪畫、行為、錄像裝置等形式,在複雜的全球化與數位化的當代藝術語境中,關注研究物件本身,尤其是物件與外部的聯繫,在通過細節感知到變化的痕跡,以提煉人性的觀察視角,並對觀察的現象提出質疑。

 

Enzo Camach (b. 1985, the Philippines) and Amy Lien (b. 1987, the U.S.) both hold undergraduate degrees from Harvard University in Cambridge, U.S., and Master of Fine Arts degrees from Hochschule für bildende Künste in Hamburg, Germany. The duo has been working together since 2009, creating sculptures, paintings, performance art, and video installations. Creating contemporary art in today’s complex globalized and digitalized setting, their work examines physical materials and especially the connections between the materials and the external world. Through examining details and imprints of change and through a perspective that focuses on humanity, they then question the phenomena observed.

 

205展間/R205

葉偉立 Wei-Li Yeh

 

葉偉立(b. 1971‚臺灣)畢業於美國羅得島普羅敦斯/羅得島設計學院攝影藝術碩士。1982年隨家人移居美國,2002年返臺定居。在美國高中求學期間追拍重金屬樂團時,發現敘述的深度有賴音樂會結束後殘留的現場廢物,從殘跡溯及時間的深度及其擴延的關係。創作多以被遺棄的無用物品或空間為素材,以自身的投入與外力介入以及時間的累積,造就作品的生命與自己的故事。

 

Yeh Wei-Li (b. 1971, Taiwan) holds an MFA in in Photography from the Rhode Island School of Design in Providence, Rhode Island, USA. He moved to the United States with his family in 1982, and moved back to Taiwan in 2002. During his high school years in the US, Yeh was fascinated with photographing heavy metal music bands. He realized that narrative depth exists in the garbage disposed at the venues of music concerts, and therefore, started exploring the temporal depth and relations stemming from it through these traces. His work mostly focuses on abandoned, unused objects or spaces. Through his own artistic investment, the intervention of external forces and the progress of time, Yeh has given a voice to his works that tell their own stories.

 

204展間/R204

韓幸霖 Hilarie Hon

 

韓幸霖(b. 1994‚香港)三歲開始習畫,畢業於香港浸會大學視覺藝術學院,擅長以繪畫來表達自我,十分享受在畫面中創立一個獨特的世界,對顏色的掌握有強烈的感受。作品常受到文學與電影的啟發,色彩鮮艷且具強烈的個人風格。

 

Hilarie Hon (b. 1994, Hong Kong) began learning how to paint at the age of three. An alumna of the Academy of Visual Art at the Hong Kong Baptist University, Hon, who is exceptionally skilled with colors, specializes in using paintings to express herself, and thoroughly enjoys creating unique worlds in her art. Often inspired by literary works and films, Hon’s artworks of powerful personal style are vividly colorful and vibrant.

 

204展間/R204

莎琳娜.穆罕默德 Zarina Muhammad

 

莎琳娜.穆罕默德(b.1982‚新加坡)為藝術家、策展人,也是新加坡拉薩爾藝術學院講師,長期進行東南亞儀式魔法、神話、萬物有靈論、民俗信仰、聖地、薩滿等跨領域的研究,希望透過表演式/合作式的作品,解構更廣大文化脈絡下的神話塑造過程,藉此回應爭議性的歷史、文本、與定義。

 

Zarina Muhammad (b 1982, Singapore) is an artist and curator, and she also lectures at LASALLE College of the Arts in Singapore. Having engaged in extensive studies on Southeast Asian ritual magic, mythologies, animism, folk religion, sacred sites, witchcraft, and other transdisciplinary subject matters, Muhammad seeks to use performative/collaborative work to deconstruct and respond to the contested histories, texts, and definitions pertaining to the broader contexts of myth-making.

 

203展間/R203

梁廷毓 Liang Ting Yu

 

梁廷毓(b. 1994‚臺灣)目前就讀於國立臺北藝術大學藝術跨領域研究所。創作主要結合地方調查、研究,以計畫性的藝術行動、複合媒體為主,關注面向涉及歷史檔案與族群關係等議題,近期延伸關於地方異聞的探討,並以動態影像、地方鬼故事採集、製圖、書寫的方式探究鬼魂與地形的關係。

 

Liang Ting Yu (b. 1994, Taiwan) is currently enrolled in the Graduate Institute of Trans-disciplinary Arts at the Taipei National University of the Arts. Liang’s practice focuses on integrating regional investigations and studies with project-based art actions and mixed media art. He examines issues related to historical archives and ethnic relations, and has recently expanded into exploring archives and local myths and legends. Using motion images, local ghost stories, image production, and writing, he creates art that looks into relationships between ghosts and topography.

 

202、201展間/R202, R201

陶志恆 Chi Too

 

陶志恆(b. 1981,馬來西亞)是一個自學而成的跨領域藝術家,除了視覺藝術,也從事實驗音樂、表演、公共藝術計畫等,作品常帶有幽默、諷刺、或視覺上的詩意。創作主題十分多元,在個人與社會、輕浮與嚴肅之間擺盪。

 

Chi Too (b. 1981, Malaysia) is a self-taught trans-disciplinary artist that creates visual art, experimental music, performance, and public art. His artworks are often humorous, satirical, and sometimes visually poetic. Working with a plethora of creative topics, Chi Too traverses through personal and social realms via art, as he sways between being lighthearted and serious.

 

202展間/R202

堤莫斯.庫斯諾 Timoteus Kusno

 

堤莫斯.庫斯諾(b. 1989,印尼)過去求學背景為社會政治科學與宗教、文化研究。他常使用民族學的方法創作,媒材含括了裝置、電影、素描、攝影等,作品探詢歷史與幻想、記憶與虛構之間的界線,挑戰集體記憶形成與遺忘的過程,對記憶如何被形塑、扭曲、並轉換成虛幻的歷史感到興趣。

 

Timoteus Kusno (b. 1989, Indonesia) studied social and political science and religious and cultural studies as a student. Kusno’s creative method often involves ethnology concepts and applies various media including installation, film, sketch, and photography. Kusno’s works explore the boundary between history, imagination, memory and fantasy, challenging the process of how collective memory is formed and forgotten. Kusno is especially interested in how memory takes shape, distorts, and transforms into illusory history.

 

202展間/R202

希巨蘇飛 Siki Sufin 

 

希巨蘇飛,漢名廖勝義(b. 1966,臺灣)為臺東都蘭部落阿美族藝術家。以部落為創作發想的主軸,挖掘賦有時代意義卻被人們忽略的部落事件,為文化歷史發聲,如老兵問題。創作手法多以鏈鋸雕鑿表現大開大闔的精神氣象。將藝術創作做為原住民族傳統與現代語境的銜接橋樑,紀錄部落的神話與探討族群的困境。

 

Siki Sufin (b. 1966, Taiwan), whose Chinese name is Liao Sheng-Yi, is an Amis artist based in Dulan, Taitung in Taiwan. His work revolves around indigenous villages and unearths tribal events that possess historical significance but are largely overlooked. Through his art, the artist brings people’s attention to different issues in cultural history, such as the issue of aged soldiers. He mainly uses chain saws to carve and sculpt, giving his works a sense of unrestrained majesty. His art serves as an instrument that bridges the indigenous tradition and the modern context, recording mythologies passed down in the villages as well as the predicaments of the indigenous community.

 

201展間/R201

烏茲.里諾 Vuth Lyno

 

烏茲.里諾(b. 1982,柬埔寨)於2009年取得澳洲墨爾本大學社會科學碩士,並赴紐約州賓漢頓大學研讀藝術史碩士,除從事創作、策展,也是金邊 Sa Sa Art Projects藝術空間的總監。常使用攝影進行社會介入及參與式的創作,探討柬埔寨社會轉變與發展議題。

 

Vuth Lyno (b. 1982, Cambodia) obtained his MA in Social Science from Melbourne University in Australia in 2009. Afterwards, he continued studying for an MFA in Art History at the State University of New York at Binghamton. He is an artist, curator as well as the director of Sa Sa Art Projects, an art space in Phnom Penh. His art practice involves social intervention and participatory work often conducted through photography, and his work centers on issues of social changes and development in Cambodia.

 

201展間/R201

凱西.馬查多 Cassie Machado

 

凱西.馬查多(b.1982,英國)是英國與斯里蘭卡混血,一歲前曾居住過斯里蘭卡,因1983年黑色七月暴動,舉家逃離至英國,畢業於倫敦國王學院。她的創作主題常圍繞在斯里蘭卡內戰的創傷與記憶,及佛教徒僧伽羅人和少數族群泰米爾族間的社會政治衝突。

 

Cassie Machado (b. 1982, UK) is an artist of English and Sri Lankan descent. She lived in Sri Lanka before she turned one year old; later, her entire family fled to the UK due to the riotous Black July in 1983. She graduated from the King’s College London. Her work revolves around the trauma and memory of the Sri Lankan Civil War as well as the socio-political conflicts between the Buddhist Sinhalese people and the ethnic minority group, the Tamil people.

 

201展間/R201

安妮沙末 Anne Samat

 

安妮沙末(b. 1973,馬來西亞)於1995年畢業於馬來西亞瑪拉工藝大學藝術與設計學系,主修織品設計。她的創作融合了現代與傳統的編織媒材與技術。同時,作為東南亞少數的跨性別藝術家,她的創作題材常探索性別的多種可能。

 

Anne Samat (b. 1973, Malaysia) received her BFA in Textile Design from the Faculty of Art and Design, Mara Institute of Technology in Malaysia in 1995. Her work reveals an intricate blend of modern and traditional weaving materials and techniques. An artist of the Southeast Asian transsexual community, she often explores the diverse spectrum of gender possibilities through her creative work.

 

201展間/R201

王鼎曄 Ding-Yeh Wang

 

王鼎曄(b.1978,臺灣)2011年獲得德國德勒斯登高等藝術學院卓越藝術家文憑。擅長使用錄像裝置與繪畫,作品環繞於自身、社會與歷史記憶議題。藝術家深信透過創作能與外部社會連結或是對抗,並且同時能自我療癒。

 

Ding-Yeh Wang (b.1978, Taiwan) was awarded the degree of Meisterschule from the Dresden Academy of Fine Arts in 2011. An expert at expressing ideas using video installations and paintings, Wang’s works are centered on issues such as the self, society, and historical memory. Wang believes that creativity is a therapeutic process that allows individuals to connect with or resist society.

 

活動大廳/Activity Hall

楊修華   Chris Yeo (Yeo Siew Hua)

 

楊修華(b. 1985, 新加坡)畢業於新加坡國立大學哲學系,其劇情長片《幻土》(2018)獲得第71屆洛迦諾電影節最高榮譽的金豹獎,亦在新加坡、艾爾古納、奎松國際電影節,獲得最佳影片首獎。此外,本片也讓楊修華獲得亞太電影大獎(APSA)的青年電影獎,以及由新加坡國際電影節頒發的亞洲電影人才獎。楊修華為亞太電影學院的成員,亦為新加坡電影團體「十三部小電影」的發起人之一,藉由電影團體的協助,製作其首部劇情長片《稻草屋》(2009) 和音樂紀錄片《The Obs:一個新加坡的故事》(2014)。楊修華希望透過哲學思想,在電影作品中探索身分間的變化和其流動邊界。
 
Yeo Siew Hua (b. 1985, Singapore) is a filmmaker who graduated in Philosophy from the National University of Singapore. Yeo's narrative feature, A Land Imagined (2018), won the Best Film grand prizes at the 2018 Locarno, Singapore, El Gouna, and QCinema film festivals. For A Land Imagined, he received the  Asia Pacific Screen Awards' Young Cinema Award, and Lesley Ho Asian Film Talent Award from the Singapore International Film Festival. A member of the Asia Pacific Screen Academy, he is a founding member of Singapore film collective "13 Little Pictures", which produced his debut film In the House of Straw (2009), and music documentary The Obs: A Singapore Story (2014). Through film, Yeo philosophically explores the fluctuations and boundaries of identity.
 

 

活動大廳/Activity Hall

陳彬彬 Tan Pin Pin

 

陳彬彬(b. 1969,新加坡)早年為攝影師,後成為新加坡重要獨立紀錄片導演。有感於新加坡社會的快速變動,作品常聚焦於新加坡過去的歷史文化與記憶,其中《新加坡風(2005)》為當地有史以來首次在電影院正式公映的本土紀錄片。

 

Tan Pin Pin (b. 1969, Singapore) started her career as a photographer. She is now an important independent documentary filmmaker in Singapore. In view of the rapid social changes in Singapore, Tan often explores Singapore’s history, culture and memory through her work. Her documentary, Singapore GaGa (2005), was the first Singaporean documentary ever officially screened in cinemas.

 

 

 

作品介紹 About the Artworks

 

105展間/R105

顏忠賢 Yan Chung-Hsien

  

《三寶殿》Zheng He Temple

空間裝置 Installation

尺寸因空間而異 Dimensions Variable

2019

《三寶殿》空間裝置,羅列了紙紮兵俑、寶船俑出海祈福的除煞儀式,悼念鄭和¹的三寶殿鬼影,藉由儀式性的放水燈、燒王船所引渡的水鬼與鄭和下西洋的隱喻,營造像起乩做醮,進入開壇作法般的怪寶殿,寶殿裡所祭拜的三寶太監是神?是鬼?或兩者皆是、皆非的虛妄?抑或在南洋「鄭和下西洋」遺跡博物館裡的老件寶物?或印度柯欽古城尋獲的―斷臂海神鄭和老件木刻雕像?頹敗的意象,凝縮了一種古老時間的碎片紋理,烘托充滿謎像一般完美的異端―鄭和。

The installation, entitled Zheng He Temple, reveals a ritual for blessing and exorcizing evil spirits with paper-mache soldiers and boats to memorialize the historical specter of Zheng He in his temple. Combining a ceremonial rite of launching water lanterns and burning king boats to guide spirits in the water into the next life and the metaphor of Zheng He’s historical expeditions to the Western Ocean, the work shows a peculiar temple with a medium conducting rituals for the communication with deities at the altar. Nevertheless, is the worshipped eunuch in the temple a deity or a ghost? Or is he just an illusion that could be both or neither? Or, is he just some old relic in a Southeast Asian museum featuring the history of Zheng He’s expeditions, or an old wooden statue with one arm that turns Zheng He into a sea god found in the ancient city of Cochin in India? The time-worn images seem to have coagulated the fragmented texture of ancient history and transformed Zheng He into a perfect yet mysterious figure.

此次展出的作品從顏忠賢於2017年出版的《三寶西洋鑑》出發,妄想六百年來曄變的文明。六百年前「鄭和下西洋」龐大的寶船,乘載著宣揚國威的重責大任;六百年後「鄭和學」成為一門專門的學問。然而,明帝國聲威的盛況在永樂年間鎖國後戛然而止,與航海相關的文獻盡毀無存,僅能以想像來填補史料的斷裂和時代的空白。藝術家藉著鄭和七下西洋的寶船體,聲勢浩大如同一座移動城堡般的空中多寶格,行過之處猶如流動的地誌學,拼湊著文明的靈體。層層疊套的多寶格,皺縮了六百年的時差,自身即像一種幻術般的檀城,充滿奇幻的虛構,而種種急切堆砌的線索,圍繞在重重的詮釋與誤解之中,遂築一個謎般的史觀。

The installation on view in the exhibition stems from Yan Chung-Hsien’s literary work published in 2017, Zheng He’s Observations of the Western Ocean, which is an imaginary recount of the vicissitudinous civilization throughout six hundred years. Sixty decades ago, Zheng He’s majestic fleet to the Western Ocean carried the responsibility to publicize the national prestige and strength. Sixty decades later, the study of Zheng He’s expeditions has become a professional subject. However, the Ming Empire fell from its peak after the isolationism during Yongle Emperor’s reign, and most literature regarding the voyages was destroyed, leaving later generations to fill in the historical gaps and blanks with imagination. The artist re-imagines the boats of Zheng He’s seven voyages as magnificent moving castles as well as floating curio boxes. Zheng He’s sailing routes have created a flowing topography that allows people to put together the puzzles and evoke the historical presence of the civilization. The intricate layers of these curio boxes have shortened the historical gaps within the six centuries of time. Like magical mandalas themselves, they are fantastic yet fictional constructions. All the different clues have been piled up around various interpretations and misunderstandings that have collectively created a mysterious historical view.

藝術家仿佛構築了一個夢境也逐一拆毀這個夢境。鄭和身為回人曾經出家,於南下西洋時也曾朝拜觀音;宗教之於鄭和出現了匪夷所思的「差錯」,而宦官的身分也表意性別的「差錯」……。《三寶西洋鑑》即是將這些奇怪、破碎的事物,於史實與幻象之間,重新建構的一個傳奇與神話。

The artist has constructed a dream, and gradually deconstructed it at the same time. Although Zheng He was of a Muslim descent, he had also been a Buddhist monk as well as a worshipper of Guanyin during his voyages. In terms of religion, Zheng He embodies intriguing “inconsistencies”; as a eunuch, his gender identity was also “inconsistent.” In short, Zheng He’s Observations of the Western Ocean adopts these peculiar historical fragments to construct a mythological legend posited between historical facts and fictitious elements.

_________________________

1.鄭和,原名:馬三寶,10歲被擄入明營,被閹割成太監,在靖難之變中立下戰功,明成祖朱棣認為馬姓不能登三寶殿,因此賜馬三寶鄭姓,改名為和。

1. Zheng He’s birth name was Ma San-Bao. When he was ten years old, he was captured by the Ming army and became a eunuch. Because of his contribution during the Jingnan Campaign, Yongle Emperor Zhu Di conferred the last name “Zheng” to him and changed his first name to “He” as the emperor believed that “Ma” (meaning “horse”) was not an appropriate last name to the temple of “San Bao” (in Buddhism, “San Bao” means the Buddha, the Dharma and the Sangha).

 

106展間/R106

吳松吉 Chitti Kasemkitvatana

《湄南河上的波光粼粼》Elliptical glints on R. Menam

數位輸出、研究文件 Digital Prints, Research Materials 

尺寸因空間而異 Dimensions Variable

2018-2019

《湄南河上的波光粼粼》出自於吳松吉針對泰國現代性所作的長期研究計畫,主要從1600年到1900年前期的新聞檔案進行研究。湄南河為歐洲人對昭披耶河的誤稱,「湄南」在泰語為河流的意思。這次展覽著重泰國初始與西方接觸時的衝突,如曼谷圍城戰、寶寧條約、拉瑪五世國外出訪等事件,皆於這個重要的流域上發生。

Elliptical Glints on R. Menam highlights moments in the history of conflict between Siam and her neighbouring competitors for regional dominance, a history of mutual antagonism that laid the ground for Siam’s wary encounters with colonial modernity. The work is based on Chitti Kasemkitvatana’s extensive research on Thailand’s modernity, which predominately examines news archives from the 1600s to the early 1900s. The Menam River began as a misnomer used by Europeans to refer to the Chao Phraya, since menam literally means “river” in Thai. The artworks on view focus on the initial conflicts that arose when Thailand first came into contact with the West, including the Siege of Bangkok, the Bowring Treaty, and King Rama V’s visits abroad, which all unfolded alongside this important river.

其中,1688年暹羅(Siam,今泰國)革命是推翻親西方國王那萊王的軍事政變,最著名之役曼谷圍城戰,使得法國勢力被驅逐出境,也讓暹羅切斷對西方的聯繫直至19世紀;「寶寧條約」則是暹羅王國與英國於1855年4月15日所簽訂,美其名是一份友好與商貿條約,然而卻是一個不平等條約,允許英國在曼谷的自由貿易,並設立領事館享有治外法權;其後,拉瑪五世於1870年代起,出訪當時的西方殖民地如馬來半島、新加坡、印度等地,以了解西方殖民政府管理方式,更堅定了未來泰國現代化發展的方向。

Amongst these incidents, the Siamese Revolution of 1688 was a coup d'état which led to the overthrow of the pro-Western Siamese King Narai. The Siege of Bangkok was a key event of the revolution, in which the French was ousted, which would cut off all Western contacts with the Kingdom of Siam till the 19th century. The Bowring Treaty of 1855 signed between the Kingdom of Siam and the United Kingdom was, on the surface, a treaty of friendship and commerce. But it was a profoundly unequal treaty allowing free trade by the British in Bangkok and the establishment of a British consulate with extraterritorial powers. Subsequently, King Rama V embarked on international visits in the 1870', traveling to places under British colonial rule, including the Malay Peninsula, Singapore, and India, with the aim to gain insights into colonial operations and administration. All these voyages were undertaken as Rama V determined the future direction of Thailand’s modernization.

往後的一個世紀,曼谷迅速發展成現代化的城市中心,也開啟了西方勢力對東南亞長期的影響力。從這些檔案及掛布之中,我們可觀察到與當時西方媒體如何宣傳其帝國主義思想,及西方勢力在東南亞造成的緊張關係。

In the following century, Bangkok quickly developed into a modern metropolis, which also opened the city to extensive influence from the empires in Southeast Asia. The text and photo excerpts from the archives bear witness to the ways imperialism was propagandized by Western media, as well as to the conflicts with Western powers in Southeast Asia that persist well into the next century. 

 

106展間/R106

諾爾貝托.羅爾丹 Norberto Roldan

 

                 Courtesy of Bryan and Dinggay Villanueva Collection, Norberto Roldan, and SILVERLENS

《卡提普南》Katipunan

織品裝置、刺繡、改造的天主教服飾、金屬護身符、金屬鏈 

Textile Installation with Embroidered Fabric, Re-purposed Old Catholic Vestment (Humeral), Dangling Metal Amulets and Metal Chains

198 x 271.78 cm

2018

 

                   Courtesy of Bryan and Dinggay Villanueva Collection, Norberto Roldan, and SILVERLENS

《民主》Demokrasya

織品裝置、刺繡、改造的天主教服飾、金屬護身符、金屬鏈

Textile Installation with Embroidered Fabric, Re-purposed Old Catholic Vestment (Humeral), Dangling Metal Amulets and Metal Chains

199.6 x 271  cm

2018

《卡提普南》與《民主》兩件掛毯裝置,是藝術家一系列偽宗教旗幟的創作,旨在重探菲律賓對抗西班牙殖民革命的歷史。旗幟上的圖徽、紋飾、字樣等符碼,是藝術家截取傳統天主教儀式外衣上的圖樣,裁剪並加入菲律賓起義的符號織就而成,呈現歷史事實和視覺虛構並置。

The two banner installations, respectively entitled Katipunan and Demokrasya, are part of a series of large textile banners, which together narrate a history of resistance against colonial rule and corruption in the Philippines, The artist weaves symbols, emblems and texts from traditional Catholic iconographies together with masonic, folk and aristocratic symbols, to create these tapestries of struggle out of Philippines’ violent history. In doing so, Noberto suggests the possibility of re-intepreting a history of nationalism for an examination of the struggle for the present, while narrating a more complicated story of interconnectedness in Philippine colonial past

作品涉及了1892年於馬尼拉建立的秘密革命社團―「卡提普南 (Katipunan)」,簡稱KKK,力圖從西班牙三百年的統治下獨立出來,組織為掩人耳目偽身於當時受西班牙管控的天主教教會。旗幟上的文字「菲律賓聯盟教會(Iglesia de la Liga Filipina)」為藝術家虛構的教會組織,菲律賓聯盟由菲律賓國父黎剎所創建,主張非暴力改革,西班牙當局逮捕黎剎後,「卡提普南」即成立,誓以暴力革命爭取獨立。

The work Katipunan refers to a secret revolutionary society, known as “Katipunan” (KKK) founded in Manila in 1892. The goal of the society to gain independence from Spain that had ruled the Philippines for three centuries. In order to hide its existence, the organization disguised as part of the Catholic Church, which was controlled by the Spain. The name on the banner, “Iglesia de la Liga Filipina” (Church of the Philippine League), is a fictional church organization invented by the artist. José Rizal, the founding father of the Philippines, founded “La Liga Filipina” (The Philippine League), which upheld the idea of non-violent reforms. Right after Rizal was arrested by the Spanish authority, Katipunan was founded with the goal to fight for independence through a violent revolution.

《民主》旗幟,載述了由菲律賓社會主義之父—德洛斯雷耶斯,因公開倡導革命遭監禁與流放至馬德里,期間受歐洲社會主義和馬克思主義著作的影響,於1902年返國成立「民主工人聯盟(Unión Obrera Democrática)」,並主張從殖民政府管控的天主教分離成立菲律賓獨立教會。藝術家將天主教聖心圖像、共濟會標誌與革命政府封印和鳶尾花等意符相結合,雜揉在宗教旗幟之下的革命信息,揭示了菲律賓宗教與殖民抗爭歷史的複雜性。

Demokrasya refers to the history about Isabelo Florentino de los Reyes, the father of socialism in the Philippines. He was imprisoned and exiled to Madrid due to his open advocacy of revolutions. During his exile, he was influenced by European socialism and books about Marxism. After returning to his homeland in 1902, he founded the “Unión Obrera Democrática” (Democratic Workers Union), and contended to establish an independent Philippine Church separated from the Catholic Church controlled by the colonial government. On this banner, the artist combines various signs, including the sacred heart of Catholicism, Masonry symbols, the seal of the revolutionary government and an iris floral pattern. By weaving revolutionary messages into religious cloth, the artist presents the complex intermix between religion and the resistance against authoritarian power in the Philippines.

 

107展間/R107

族卡里.祖琪基 Zulkhairi Zulkiflee

《無題》Untitled (Type As Abstraction)

布料、木 Calico, Wood

16 x 21.5cm,

共5件 5 Pieces

2018

族卡里.祖琪基展出的五幅作品,是一個根據古老的殖民地照片而進行創作的系列作品,畫面呈現和野獸在一起的馬來人,人類和非人類生物的關係難以確定,他們彼此會是人類獵捕野獸?抑或在殖民者的視域中兩者被一視同仁的並置在一起?藝術家的創作手法,呈現一種表現形式上的矛盾與衝突,他將織物似繃畫一樣,披折疊合在木框上,遮蔽了我們對完整圖像的觀看。同時,作品亦將抽象的超出圖像表面平整度的空氣與體積含融在作品裡。指涉新加坡種族主義者關於底層階級的概念,以及深藏於殖民概念中的看法,揭示伴隨歷史遞延不公正的凝視與偏見。

Zulkhairi Zulkiflee’s five canvases are part of a longer series of small works. These works draw from his collection of old colonial photographs depicting Malay individuals alongside beastss. The relationship between the humans and the nonhuman creatures is uncertain; One may have hunted the other, or they were placed next to each other by the colonial photographer as equivalent creatures? Zulkhairi’s approach folds and drapes printed textile over wooden frames, obscuring the complete images. The bubbled spaces, formed by the protrusions that extend beyond the flat surfaces of the images, further obscure our view, creating a new sculptural image. These layered artworks explore the relations between Malay portraiture and racist, classist and colonial gazes, and the unequal relationship between the powerful and the ruled  and   that is embedded in images of history.   

 

107展間/R107

賈凱.斯里布特 Jakkai Siributr

  

《更衣室》Changing Room

衣服、帽子 Clothes and Caps

尺寸因空間而異 Dimensions Variable

2016

賈凱.斯里布特近期的刺繡作品,試圖呈現泰國民族主義所書寫的少數民族歷史,以及構成這些少數民族之個人生活受到漠然置之的面向與紋理。此次展出的兩件作品探討了泰國南部北大年(Patani)地區,泰國與穆斯林之間持續的暴力衝突。

Jakkai Siributr’s recent embroidery works display the history of minorities shaped by Thai nationalism as well as the ignored aspects and texture in the personal lives of these minorities. Two works by the artist are on view in the exhibition, which discuss the continuous violence and conflicts between Thai people and the Muslim community in Patani region of southern Thailand.

《更衣室》邀請觀眾試穿泰國軍用夾克和帽子,此為泰國南部穆斯林男子經常佩戴的帽子塔基亞¹ (taqiyah)。夾克的外部和帽子內部皆繡有佛教徒與穆斯林之間的衝突場景。夾克上的繡樣呈現泰國南部伊斯蘭信徒所經歷的暴力寫照,以及生活上幸福的虛假景象;頭巾襯裡則粗略地繡繪了該地區頻仍的恐怖日常,如砸車或血腥的士兵等暴力圖像。這些稚樸的圖形風格與作品互動的機制,顛覆與融合了觀眾沉浸在服裝中的和平與暴力的象徵,寓意了諷刺和同理心的結合。

Changing Room invites audiences to put on a Thai military jacket and the kabiyoh cap, the Thai name for the taqiyah cap frequently worn by Muslim men in the South of Thailand. The jacket’s exterior and the cap’s interior are embroideried with images depicting the ongoing conflict between Buddhists and Muslims. Cheerful depictions of mosques, homes, families coincide with images of detention, explosions, arson, and other forms of violence, These images on the jackets and caps enjoined the often-told news narrative of Muslim separatist insurgency with a different narrative of community life. The innocent, childlike st embroideries, combined with the audiences’ interaction with the work, undercut the newstory of violence with the peaceful, playful immersion of the audience into the clothes.

_________________________

1.「塔基亞」阿拉伯語音譯,原意:謹防,是《古蘭經》確認的一個原則,即穆斯林在受到迫害時,可以隱瞞內心的信仰,暫時不履行宗教功課,否認宗教身分,以達到保護自己的原則。遜尼、什葉和哈瓦利吉三大教派,都不同程度地奉行過這一原則。什葉派由於所處的地位,更是將塔基亞原則奉為基本教義之一。

1“Taqiyah” originally means "prudence" in Arabic and refers to a principle and practice permitted by the Quran, which is that, in the face of persecution, Muslims can conceal their religious belief and temporarily stop the religious practice while denying their religious identity for protection. The Sunni Islam, Shia Islam and Kharijite Islam all follow this principle to different degrees. The Shia Islam, due to its position, views “taqiyah” as one of the fundamental doctrines.

 

201展間/R201

賈凱.斯里布特 Jakkai Siributr

 

《78》 78

鷹架、竹、布料、刺繡 Steel Scaffolding, Bamboo, Fabric and Embroidery

350 x 350 x 350cm

2014

裝置作品《78》,是泰國南部城鎮德白(Tak Bai)死亡事件的浮動紀念碑。受伊斯蘭分離主義運動的影響,泰國南部三府(北大年府惹拉府陶公府)一帶,自2004年至今,馬來人穆斯林分離主義分子的武裝動亂接連不斷。長期陷入困境的德白鎮於2004年10月,遭泰國警方強行逮捕的數百名穆斯林反政府示威者,以軍車押運至惹拉府關押,押運過程中因捆綁過緊及軍車後廂擁擠不堪,導致78名示威者窒息死亡。黑色織物的立方體裝置,橫向排列的金色字母帶有泰國傳統類似阿拉伯語的字樣,內部裝有78個木質擔架,每一層皆鋪陳了白色穆斯林束腰外衣(kurta),袖子上繡著死者的名字,這高聳的結構意象,強烈地指向伊斯蘭教神聖的卡巴天房(Kaaba),聖城麥加的中心與朝覲的位置,將這些穆斯林平民的名字與烈士和先知的聖名銜繫起來,示意對殤逝者的哀悼之意,同時,思索文化的再現與認同,意圖定義該地與個人身分「界線」的挑戰。

The installation, entitled 78, is a moveable monument for the fatal incident happened at the city of Tak Bai in southern Thailand. Due to the Islamic separatist movement, three southern Thai provinces (Patani, Yala and Narathiwat) have witnessed violent riots launched by Malay Muslim separatists since 2004. In October 2004, hundreds of Muslim anti-government protestors were arrested in Tak Bai that has suffered instability for a long time. The arrested protestors were transported with military trucks to be detained in Yala; however, seventy-eight protestors were suffocated to death, due to tight restraints and and overcrowding in the trucks. Within the black fabric cube, one can see horizontal golden lettersin Arabic. Inside the installation are seventy-eight wooden stretchers, each paired with a white Muslim kurta embroidered with the name of a deceased individual  on the sleeve. The image of this tall structure strongly recalls the sacred Kaaba, located at the center of the holy city of Mecca. By connecting the names of these Muslim civilians with the sacred names of Muslim martyrs and prophets, the work mourns the deceased while exploring the difficulties of cultural representation and identification within the frame of larger spiritual and national identities.

 

2樓走廊/1F, 2F Hallway

尼潘.歐拉尼維 Nipan Oranniwesna

《訊號》Signal

四頻道錄像裝置 Four-channel Video Installation

40 min.

2015年迄今 2015-ongoing

《訊號》為現地製作之四頻道彩色錄像裝置,畫面上不定時地閃現人的身影,如魅一般的殘影穿梭於不同的螢幕上。此為藝術家邀請在臺灣的泰國移工做為拍攝主角,以台北當代藝術館建築體(含建成國中校園),展開勞形般的慢跑,其移動的痕跡化為瞬間短暫顯現的投影,直指當代社會中,遷徙、離散與移工,他們處於生命中持續不斷地在各式結構之間轉換移動。這些隱形的存在或被遺忘、被忽略或從特定歷史中刪除的他者,諭示東南亞歷史普遍的特徵,透過美學的維度,探索存在的缺席與失落。

Signal is a site-specific four-channel video installation. The artist invited Thai migrant workers in Taiwan to conduct a long jog in the architectural complex of the Museum of Contemporary Art, Taipei (including the campus of Jian Cheng Junior High School). Their movements are transformed into brief images in the video, suggesting the diasporic movements of those constantly migrating workers within Southeast Asia. The invisible existence of these migrant workers or others that are forgotten, overlooked or erased from certain parts of our shared past shape a contemporary commonality shared by the different Southeast Asian countries.

 

108展間/R108

尼潘.歐拉尼維 Nipan Oranniwesna

《你的邊緣是我的中心》Your Edge Is My Center

黃銅、鍊子、鍍金 Brass, Chain, Gold Plated

尺寸因空間而異 Dimension Variable

2018

《膠囊》Capsule

硬幣粉末、膠囊 Coin Dust, Capsule

55 x 55 cm

2018

《你的邊緣是我的中心》以一條綿長鍍金的鍊子伏地裝置於展間,將空間分隔成兩邊,仿佛是一道意識不到的牆,鍊上的字樣「Your Edge Is My Center」,意喻邊緣/中心的無形國界,指涉暹羅與緬甸邊境由北至南長期以來的經濟、戰爭、合法或非法的成為各種陸路跨境的關口,揭示了泰緬之間的地理分化,與兩地複雜交織的經濟連結;然而觀者在作品前後跨越行走,卻仿若自由地完成了在現實情況之中艱難的國境跨越。以此國家意識與內心藩籬的象徵,無論是身體的還是靈魂的,思索隱形界線是如何的形成?而另一件作品《膠囊》擬仿了一個開放式的藥櫃,羅列成行的膠囊是藝術家將來自泰國以及鄰邦的硬幣,將它們碾磨成金屬粉末,每一粒膠囊裡包含著不可知的混合貨幣,猶如每種藥物在治療價值之間都有著千絲萬縷的關係,是無法擺脫且緊密聯繫的。它是一體兩面既是毒藥也是治癒藥,影射對不斷發展的民族主義有其副作用的鏡射比擬。

The installation, entitled Your Edge Is My Center, is a long gold-plated brass chain lain on the floor of the gallery room, dividing the space into two sides as if it were an invisible wall. The words on the chain, “Your Edge Is My Center,” refers to an intangible border between the margins and the capital, and beckons at the complicated history of conflicts and divisions between Thailand and her neighbours, including Malaysia, Cambodia and Myanmar. The audience consciously and unconsciously move across the work, performing a symbolic crossing of national borders. The artist uses this work as a symbol of national consciousness and inner barrier, be it physical or spiritual, to reflect on how such an invisible border is formed? Capsule resembles a medicine shelf, on which rows of capsules filled with metal powder made from Thai coins and those of Thailand’s neighbors. Each pill is an unpredictable mixture of these currencies, the value of each now inextricably linked. Both poison and cure, the capsules embody the two interlinked sides, suggesting that growing nationalism is not without sickening side effects.

 

108展間/R108

 

阿卜杜拉 Abdul Abdullah

                                                        Courtesy of the artist and Yavuz Gallery

《相互保證》Mutual Assurances

檔案輸出 Archival Print

100 x 232 cm

2017

                                                    Courtesy of the artist and Yavuz Gallery

《委託風險管理》Delegated Risk Management

檔案輸出 Archival Print

100 × 154 cm

2017

                                                    Courtesy of the artist and Yavuz Gallery

《累計股利》Accumulated Dividend

檔案輸出 Archival Print

100cm x 178.5cm

2017

此次展出「婚禮」系列作品的創作初衷,是阿卜杜拉為了回應圍繞在穆斯林澳大利亞人對「穆斯林」與「暴力」的討論。

On view in the exhibition is Abdul Abdullah’s Wedding series, which is created as a response to the discussions about “Muslim” and “violence” that center on Australian Muslims.

作品中呈現的婚禮大廳是東南亞城市馬來西亞穆斯林熟悉的婚禮典型,其裝飾帷幔、婚禮服裝和新人姿勢等都與一般常態婚宴並無二致,但在聚光燈的投射下,新人們的臉部特徵被巴拉克拉瓦式的頭套所掩蓋,巴拉克拉瓦是一種隱含恐怖主義意圖的徽章,與婚禮的歡樂場合和與犯罪相關的非人性面具形成鮮明對比,凸顯了對「穆斯林」和「暴力」並置的沉重諷刺,同時也隱微地透著一股不安的力量。阿卜杜拉的作品試圖在911事件後,探索歸屬與種族異化的議題,揭露穆斯林青年被妖魔化與邊緣化的偏見和刻板印象。

The images depict typical wedding halls that would be familiar sights to urban Malay Muslims in Southeast Asia. The decorative drapes, the wedding garments and the postures of the newlyweds suggest nothing out of the ordinary. The spotlight however reveals that the newlyweds’ faces are covered by balaclavas. The inexpressive masks commonly associated with crimes form a sharp contrast to the joyful occasion, which underlines the heavy irony in juxtaposing “Muslim” and “violence”. An unsettling atmosphere implies something looming that is far more ominous.

 

108展間/R108

郭靜潔 Minstrel Kuik

《不要說謊2》Jangan Tipu 2 (Do Not Lie 2)

炭筆畫作 Charcoal on Paper

100 x 150 cm

2017

《歡迎來到吉隆坡》

Selamat Datang Ke Bandaraya Kuala Lumpur (Welcome to the City of Kuala Lumpur)

炭筆畫作 Charcoal on Paper

100 x 150 cm

2017

《不要說謊2》與《歡迎來到吉隆坡》兩件炭筆畫作,來自於藝術家參與馬來西亞乾淨與公平選舉聯盟(簡稱淨選盟)運動所拍攝的照片。淨選盟由公民社會組織及政黨組成,旨在促進自由與公平的選舉,以改革統治政權的腐敗政治,挑戰巫統與國民陣線執政聯盟自馬來亞獨立以來60年從未間斷的政權。自2007年至2016年淨選盟已於吉隆坡策劃了五次街頭抗爭。政府以催淚彈和水槍驅離集結的群眾,甚至以煽動叛亂罪進行逮捕。這兩幅作品,極度諷刺地分別呈現了淨選盟抗爭現場中,統治者與被統治者的對立狀態。

The two charcoal drawings, respectively titled Jangan Tipu 2 (Do Not Lie 2) and Selamat Datang Ke Bandaraya Kuala Lumpur (Welcome to the City of Kuala Lumpur), originated from the photographs taken by the artist when participating in the social movement launched by Gabungan Pilihanraya Bersih dan Adil, also known as Bersih (The Coalition for Clean and Fair Elections). Bersih is a coalition of non-governmental organizations and political parties, which seeks to reform the corrupted political system of the Malaysian political scene to ensure free, clean and fair elections while challenging the regime of the political alliance formed by UMNO(United Malays National Organisation) and Barisan Nasional that has continued for sixty years since the independence of Malaysia. From 2007 to 2016, Bersih has organized five demonstrations in Kuala Lumpur. Protestors were met with tear gas grenades, water cannons and even arrests and charges under sedition laws. The two drawings reveal the conflict and opposition between the governing power and the governed people, with the very idea of a free and public citizen an increasingly policed subject.

郭靜潔將照片的負像以炭筆慢慢繪製在紙張上,對藝術家來說,「在類比攝影中,負片呈現的是一種潛在的影像,對未來展示出現實—一種嵌入神諭/真理的預言性的物件,藉由迴返至負片狀態所獲取的攝影影像,猶如進行一場揭露歷史生成的時空旅行,並最終停留在那負片狀態。」藝術家於畫作與相片間來回測量確認以進行繪製,在這樣耗時費力的過程之下,被攝者也漸漸被定錨在抗爭的現場,將這場抗議行動再次延長在一個尚未結束的懸置時空之中。

Kuik slowly painted the negatives of the photographs on paper with charcoal. According to the artist, “In analog photography, the negative is a latent image that unfolds its reality to the future—a prophetic object embedded with an oracle/truth. To draw a photographic image by returning it to its negative stage is to travel in time, to reveal the making of history, and to remain there.” During the creation of the works, the artist had to visually move back and forth between the drawings and the photographs. Throughout this time and energy consuming process, the photographed people were also gradually anchored to the demonstration site whereas the demonstration itself was once again suspended in a prolonged, unending moment in time.

 

2樓西側樓梯、204展間、2樓中樓梯/

Western Stairway 2F,  R204,  Central Stairway 2F

恩佐.卡馬喬&連潔 Enzo Camacho & Amy Lien

 

《相遇》Arb/Krasue +855 I-FOLLOW-U

2樓西側樓梯 Western Stairway 2F

紙、假髮、木棍、投影機、雲台夾、單頻道錄像 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video 

尺寸因空間而異Dimensions Variable

 25 min. 3 sec.

2017

 

《相識》Arb/Krasue +855 U-NOTICE-ME

204展間 R204

紙、假髮、木棍、投影機、雲台夾、單頻道錄像 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video

尺寸因空間而異 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video

25 min. 21 sec.

2017

 

《相戀》ArbKrasue +855 WE-B-2GETHER

2樓中樓梯 Central Stairway 2F

紙、假髮、木棍、投影機、雲台夾、單頻道錄像 Paper, Wig, Wooden Stick, Projector with Mount and Mask, Single Channel Video 

尺寸因空間而異Dimensions Variable

25 min. 13 sec.

2017

藝術家以東南亞文化中的神話人物為原型,一個能夠將肢體從軀幹與器官分離的幽靈。它在各地有著不同的說法:泰國:阿克拉蘇(Krasue),柬埔寨:阿普(Arb),菲律賓:馬納南加爾(Manananggal),馬來半島:漢圖∙婆南佝(Hantu Penanggal),沙巴州:巴蘭巴蘭(Balan-balan)等。唯一共同的特徵是,她有著一個自由浮動的頭,並且會在身後留下自己的痕跡。

The work is based on a Southeast Asian mythological figure, a ghost which self-segments and flies around with its head and internal organs, and it can be found in the traditions of several locations in the region, such as Thailand’s kakrasue, Cambodia’s arb, the Philippines’ manananggal, Malay Peninsula’s hantu penangga, and Sabah’s balan-balan. The one shared trait between them is that the ghost (usually a woman) has a floating head and leaves behind parts of herself.

三件單頻道雕塑錄像的作品,以女性形象的浮動頭像,懸置在半空中,每一個頭像下方分別投射著兩位男同性戀者的愛情故事。以《相遇》—《相識》—《相戀》三段錄像位移在不同展出的空間場域,描述一對情侶在金邊鑽石島的工地相遇、在同性戀酒吧昏暗的燈光中墜入愛河,以及在當地日本永旺(Aeon)購物中心溜冰場約會的日常串聯。仿佛映現這個城市中發展蓬勃的產業樣貌,和正處於馳速改變中的經濟結構,大量的投資催化了發展的力道。透過金邊各個消費場所的畫面與工人的工作場景,相互穿插,解構了金邊意圖塑造的國際化形象所呈現宣揚式的景觀與真實貧窮狀態之間的矛盾性。

Floating female heads are suspended above the artwork which consists of three single channel videos, with love stories between two homosexual men projected underneath the heads. The three videos, I-FOLLOW-U, U-NOTICE-ME, and WE-B-2GETHER, are positioned in different areas in the exhibition venue, showing a couple meeting on a construction site on Koh Pich (Diamond Island) in Phnom Penh, falling in love in a dimly lit gay bar, and going on a date at the ice skating rink in the local Japanese-owned AEON Mall. The work reflects the city’s industrial boom and its rapidly changing economic structure, weaving together images of different consumer spaces and also scenes of labor in Phnom Penh. The image of internationalization purposely shaped by the city is deconstructed, unveiling the paradox between promotional sceneries and the realistic conditions faced by the underprivileged.

藝術家藉由神話幽靈原型之間的相似性,是東南亞地區共同文化的特徵。提出阿克拉蘇、阿普、馬納南加爾作為一種不斷變化的自我意識的象徵:一個沒有固定的中心,一個永久的遷徙與游牧,喻指東南亞各大城市環境的快速變化,探討全球化語境下的當代性問題。

The artists see the similarities observed with the mythological ghost as a shared cultural trait of the Southeast Asian region and the kakrasue/arb/manananggal is proposed by the artists as a symbol of an ever-shifting sense of self: one without a fixed center and perpetually migrates. The work conveys the rapid transformations in urban environments across Southeast Asia, and explores modernity issues under   globalization.

 

 

205展間/R205

葉偉立 Wei-Li Yeh

《仙跡》Divinity Trace

攝影、椅子、物件 Photography, Chairs, Objects

尺寸因空間而異 Dimensions Variable

2009年迄今 2009-ongoing

《仙跡》自2009年至今,是一個長時間進行創作的藝術項目。藝術家以一把最初以商品被包裝,以功能被定義而製造出來的沙發椅子,到它被使用而附載著生活厚度的物命能量,最後物命淨盡喪失機能,成為汰棄的廢物,再經過藝術家的重構、轉換,它成為基座上玻璃罩裡被觀賞品鑒的展示作品,提升為某種文化的指涉象徵,在博物館裡作為視覺經驗的對象,椅子的功能被轉化為審美的體驗,而與之並置展示的攝影、文字書寫以及其他物件的複合關聯,作品展演了身分的鑑別與定位。

Divinity Trace is an on-going art project started in 2009. The project revolves around a chair that has first been marketed as a commercial product and defined by its function; after its functional purpose is lost and the chair has become a piece of garbage, the artist reconstructs and transforms it into an artwork to be displayed on a glass plinth, rendering it symbolic of a certain culture. As an object that provides visual experiences in a museum, the function of the chair is converted into an aesthetic experience whereas the chair becomes contextualized in a relationship between itself, the photographs, texts and other objects, demonstrating the differentiation and positioning of identity.

當代裝置藝術裡,物件與物件之間的並置,進而產生新連結的意義。《仙跡》從椅子喪失功能性的垃圾變成了博物館裡展示的藝術作品,從商品、垃圾、藝術品三者的疊合與重構,以及三者之間的身份轉換,依賴的即是藝術機制提供的價值系統,以藝術之名能夠轉化無用的東西賦予新的社會歸屬。葉偉立的創作核心在於對物件身分的質疑,透過改造或製造物件,提出身分轉換的思辯。

In contemporary installation art, the juxtaposition of objects creates new connections and meanings. The chair that has lost its purpose and function is changed from being a piece of garbage into an artwork displayed in museums. From being a commercial product, to garbage and to a work of art, the transformation as well as the overlap and reconstruction of identities rely on the value system operated by the mechanism of art-making. In the name of art, one can revive something useless and give it a new place in society. The core concept of Yeh’s work is to question the identity of objects through changing identities enabled by the conversion or production of the objects.

 

 

204展間/R204

韓幸霖 Hilarie Hon

《遙遠的島》Far Flung Island

壓克力、油彩、畫布 Acrylic and Oil on Canvas

40 x 80 cm

2016

《第一個登陸遙遠的島的人》The First Immigrant Landed on A Remote Island

壓克力、油彩、畫布 Acrylic and Oil on Canvas

100 x 120 cm

2016

《第一批登陸遙遠的島的人》The First Bunch of Immigrants Landed on A Remote Island

壓克力、油彩、畫布 Acrylic and Oil on Canvas

120 x 140 cm

2017

韓幸霖繪畫作品的色彩常使用對比色,吸睛艷麗的色彩背後卻透露出陰鬱的存在境況,受到西班牙浪漫主義畫派畫家哥雅的影響,擅長捕捉恐怖,且充滿諷刺的人類處境。這次展出的系列作品,描繪遷徙者剛抵達並試圖定居在一個未知的島嶼之上。這些如鬼魂般的角色,一個接著一個,紛紛帶著微笑的面具、頭戴派對的帽子、噴灑著彩帶,漂浮進入螢光色的森林之中,仿佛在進行一場神秘的慶祝,或是被引誘進入這個如夢魘般的小島,看似歡樂的場景,卻隱藏著潛在的危機與不安。這三幅繪畫作品,有如童話故事,又有如現代寓言般,透露出外來的遷徙者歡樂臉孔之下,滿溢著內心的惶恐焦慮,和面對未知環境的恐懼。

Hilarie Hon often paints with complementary colors, portraying unsettling scenarios with vibrant, eye-catching hues. Inspired by Spanish romantic painter Francisco Goya, she captures horrific and satirical human circumstances in her paintings. On view in the exhibition are artworks from her series that depict people that have just recently migrated to an unknown island. The apparition-like characters, wearing masks with smiley faces, party hats, and festive streamers, are entering, or more like floating, into a neon-colored forest. They seem to be about to engage in a mysterious celebration, or have been lured into this nightmarish island. An air of danger and unrest looms over the seemingly festive setting. These three paintings appear like fairytales or modern fables, and reveal that underneath the smiley faces of migrants are feelings of apprehension and unease, with them overwhelmed with fear due to the unknown environment before them. 

 

 

204展間/R204

莎琳娜.穆罕默德 Zarina Muhammad

 

《奇特棲息地的護身符》Talismans for Peculiar Habitats

竹、繩子、蠟染、未漂白棉布、蠟、稻草、沉香木、香、黏土、水、陶瓷、紙張、墨水、安息香樹脂、蛇皮、毛髮、薑黃、檀香

Bamboo, Rope, Batik, Unbleached Cotton Shroud, Wax, Straw, Agarwood, Incense, Clay, Water, Wood, Ceramics, Paper, Ink, Benzoin Resin, Snakeskin, Hair, Turmeric and Sandalwood

尺寸因空間而異 Dimensions Variable

2019

《奇特棲息地的護身符》Talismans for Peculiar Habitats

單頻道錄像 Single Channel Video

2019

《奇特棲息地的護身符》探詢那些不得已以特殊方式建立親屬關係的酷兒,如何離開原生家庭的舒適與照顧圈,並重新找尋屬於「家」的歸屬感。這件作品分為三個部份:〈悼念無家可歸的亡靈〉裝置、〈水如導引、詛咒、治療〉單頻道錄像、與〈馴化對來世的質疑:死亡儀式及哀悼酷兒之身〉展演座談,以不同的面相,想像這些無家可歸的人希望死後如何被紀念,生者又該如何紀念這些飄散的靈魂。

Talismans for Peculiar Habitats explores the peculiar ways that queer people can’t help but to adapt when forming kinship, as they leave the comfort and care of their birth families to seek a sense of belonging that is associated with the notion of “home.” This artwork is presented in three parts: A Shrine of Remembrance for the Spirits Estranged from their Ancestors (an installation); Water as Conduit, Curse and Cure (a single channel video projection); and Domesticating Doubt about the Afterlife: Death Rituals and Mourning the Queer Body (a lecture-performance), with different perspectives provided for imagining how those without homes wish to be commemorated after they have died, and how the living should remember those drifting souls.

〈悼念無家可歸的亡靈〉以個人紀念物、手寫筆記、小雕塑品、裹屍布、避邪織品、貢品等,裝置成得以庇護無家可歸亡靈的祭壇。馬來傳統中,亡者需在逝世隔日陽光升起前,由親人將遺體清潔並下葬。〈水如導引、詛咒、治療〉詩意地想像無家可歸的人,會在身體留下甚麼符號、詩句、或信息給予陌生的遺體清潔者?水在許多傳統中也被視為得以切斷人世間的連結,從而轉渡到來世的重要要素。〈馴化對來世的質疑:死亡儀式及哀悼酷兒之身〉則是從東南亞各地蒐集有關生、死、與存活的歷史故事開始展開。探問關於臨終儀式、特殊的靈魂、孤立與歸屬境遇的毀壞與重生、跨越陌生邊界的未來亡者,我們還有甚麼想說的?是否能從這些複雜的口述歷史與紀念儀式中,削減對於來世的恐懼與疑慮?

Composed with personal mementos, handwritten notes, small sculptural works, shrouds, talismanic textiles, offerings, and other elements, A Shrine of Remembrance for the Spirits Estranged from their Ancestors presents an altar that commemorates the souls that have nowhere to return to. According to Malay traditions, the body of the dead should be cleaned and buried by the person’s family before sunrise on the next day after the person’s passing. Water as Conduit, Curse and Cure presents a poetic imagination on those without a place of belonging, imagining what sorts of symbols, verses, or messages will be left on their bodies and passed on to the strangers that will be cleaning their corpses. Water is regarded in many traditions as an important element that ends all mortal connections and serves as a transitioning portal that leads to the afterlife. Domesticating Doubt about the Afterlife: Death Rituals and Mourning the Queer Body opens with historical stories about life, death, and survival gathered from various places in Southeast Asia, asking if there is anything else that we wish to speak on in regards to final rites, peculiar phantoms, ruined and renewed landscapes of isolation and belonging, and thresholds that the dead will need to cross but might be unfamiliar with? Are we able to diminish the fear and doubts that we hold for the afterlife through these complex oral histories and rituals of remembrance?

 

203展間/R203

梁廷毓 Liang Ting Yu

 

《斷頭之河》 The Beheaded Stream

錄像裝置Video Installation

29 min. 57 sec.

2019

《斷頭之河》錄像裝置作品,由〈土地神的地誌〉、〈問山〉、〈無頭河〉三部影像構成,敘事原客衝突的村落文化與集體記憶。在遺留的「斷頭河」地形(Beheaded stream)上,位於桃園,趨近新竹關西、龍潭東南部的近山地區,清初,仍是泰雅族原住民的獵場與生活領域,目前居住於此區的居民,多以客家族群為主。從一個跨村落的原客衝突事件,以及土地神和山神顯靈的傳聞開始,藝術家藉由廟誌以及尋訪客家耆老,向土地神、山神與無頭鬼問話與溝通,透過雞鳴聲、自然溝通師、擲杯問靈的方式,進而獲致可持續的回聲。

The Beheaded Stream is a video installation that consists of the following three videos: the Cartography of Land God , the Chorography of Mountain God, and Water Without a Source, with conflicting indigenous and Hakka tribal cultures and collective memories narrated in the videos. Topographical remnants of “beheaded stream” are located in the mountains near Taoyuan, close to Guanxi Township in Hsinchu and in the southeast region of Longtan District. In the early Qing dynasty, it was an area where indigenous Atayal people hunted and lived in, and the area is now mostly inhabited by people of Hakka descent. Starting with an intertribal conflict between the indigenous and the Hakka communities and along with myths and legends about the God of Soil and other mountain deities, the artist referenced temple chronicles and visited Hakka elders, where he inquired and communicated with the God of Soil, mountain deities, and beheaded spirits through means that included the crows of rooster, mediums, and divination blocks, with responses received that continue to echo and linger. 

目前從原住民的觀點仍在進行中的項目—《襲奪之河》,同為計畫的一部分。梁廷毓從該地區地質學上河川襲奪產生「斷頭河」與「襲奪河」的自然現象,輻奏出「地質-地勢-地景-地方-地誌」的研究踏查,總體核旨扣著死亡、殺人(出草、吃番肉)與族群衝突下的鬼魂,以及實踐一種與死亡協商的地理生產方式。

The Capturing River is an ongoing part of the same project, which is examined from the perspective of the indigenous people. Exploring the natural geological phenomena, beheaded river and stream capture, observed in the area, Liang Ting Yu conducts field studies that extend into geology, topography, landscape, regionalism, and chorography, with focus placed on death, killing (the head-hunting tradition and cannibalism [eating the flesh of the indigenous people]), ghosts of ethnic conflicts, as the artist also conducts a practice of geographical production that negotiates with death.    

 

 

202、201展間/R202, R201

陶志恆 Chi Too

《13/ 05/ 1969》13/ 05/ 1969

柏油及道路轉印畫布 Bitumen and Road Paint on Canvas

180 x 180 cm

2018

《13/ 05/ 1969》標誌的是馬來西亞的種族衝突事件,數月的暴動導致多人傷亡,也讓種族對立再次加劇。馬來西亞以Jalaini Abu Hassan為首,引領許多藝術家紛紛以柏油作畫,半透明且具年代歷史的質感,常被使用於社會寫實的繪畫作品。「當我們接觸時」系列作品,既承接了這個傳統,又反其道而行,將空白的畫布,用柏油繪製出由濃到淡密密麻麻的線條,猶如一幅抽象畫。重複繪製線條的動作,就像是對幽靈般反覆發生的政爭與抗議行動,進行衝撞與沉思的過程。

13/ 05/ 1969 refers to an incident of sectarian violence that occurred in Malaysia. The riot lasted for several months, with many hurt and killed, which led to a greater racial divide in the country. Led by Jalaini Abu Hassan, many artists in Malaysia began to paint with asphalt, also known as bitumen; the semi-transparent medium with rich historical texture is often used to depict social realism paintings. Continuing with this tradition, the series, Sometimes When We Touch, however also opts with a different approach. A blank canvas is transformed into an abstract painting using bitumen to create numerous lines, as the medium goes from opaque to translucent. The gesture of painting repeated lines resembles a ghostly process that confronts and reflects on recurring political calamities and actions of revolt. 

 

201展間/R201

「柏油上的畫布」系列Canvas on Bitumen Series

《柏油上的畫布—淨選盟2.0》Canvas on Bitumen – Bersih 2.0

微噴相紙 Giclée Prints on Hahnemühle Photo Rag Paper

40 x 60 cm

2017

「當我們接觸時」系列 Sometimes When We Touch Series

 

《當我們接觸時#2》Sometimes When We Touch #2

柏油、畫布Bitumen on Canvas100 x 100公分

100 x 100 cm

2017

陶志恆此次展出的作品皆為Bukan Budaya Kita研究計畫的一部分。Bukan Budaya Kita 直譯為「不是我們的文化」,這句話是馬來西亞執政黨在面對近年來風起雲湧的社會運動與抗爭所做出的回應。其中,陶志恆在「柏油上的畫布」系列作品,帶著空白畫布回到歷史上的重要抗爭現場,將畫布鋪在柏油路上,並進行拍攝。從19世紀的部落起義開始,一直到2007-2013年乾淨與公平選舉聯盟,對獨斷的專制政府及選舉弊案所進行的大規模抗議行動,作品有如馬來西亞抗爭史的紀錄,也是對政府「不是我們的文化」的宣稱提出異議。空白的畫布,仿佛昭示著被政府掩蓋與撇清的社會現實,而這些公民不服從的抗爭過往,也成為了陶志恆所欲保存的創作媒材。

The artworks by Chi Too on view in this exhibition are a part of the research project for Bukan Budaya Kita, which literally means, “This is not our culture.” The phrase is used in Malaysia’s surging social movements and activisms in recent years to confront the ruling political party. For his Canvas on Bitumen series, Chi Too takes blank canvases to important historical protest sites, where he places them on the asphalt roads there and takes photographs. The project begins with the tribal revolts that took place in the 19th century and traces the Coalition for Clean and Fair Elections from 2007 to 2013, traveling to sites where large-scale protests have taken place to revolt against authoritarian regimes and election frauds. The resulting artworks seem to have become records of Malaysia’s history of revolt, and serve as objections to the government’s claim of “This is not our culture.” The blank canvas points at social realities that the government is trying to cover up and neglect. These past incidents of civil disobedience have also become creative mediums that Chi Too is seeking to preserve.  

 

 

202展間/R202

堤莫斯.庫斯諾 Timoteus Kusno

《老虎之死》The Death of Tiger

四頻道錄像、素描、輸出、水彩畫 Four-Channel Videos, Drawings, Print, Watercolor

尺寸因空間而異 Dimensions Variable

Dimensions Variable, 7 min. 5 sec., 9 min. 18 sec.

2018

堤莫斯.庫斯諾於2013年成立了然庫地研究中心(Centre for Tanah Runcuk Studies),這個(虛構的)組織,旨在對荷屬東印度的想像領土然庫地進行實驗性的研究,召集了歷史學者、人類學家、藝術家、作家等人一同探究「文本」如何被用來建立「政權體制」,及虛構的歷史如何能反應如虛構般的現實?

Timoteus Kusno established the Centre for Tanah Runcuk Studies in 2013, a (fictional) organization which conducts studies on the imaginary territory of Dutch East Indies called Rancuk. By bringing together historians, anthropologists, artists, and writers, the Centre for Tanah Runcuk Studies explores how“texts” are used to construct political systems and how fabricated history reflects fictional reality.

《老虎之死》為然庫地研究計畫之一。1791年起從日惹開始於開齋節當日由皇室舉辦鬥虎節(Rampok Macan),19世紀初這個傳統漸漸傳到其他王國。鬥虎節當日,爪哇虎被群眾用長矛尖刺向內團團圍住,與公牛甚至是罪犯相互纏鬥,老虎如果勝利,將被群眾以長矛刺死。國王將邀請殖民官員共同欣賞這場血腥的殺戮,藉由這個場合,昭示封建與殖民時代並置的統治者權力位階。

The Death of Tiger is one of the projects of Tanah Runcuk Studies. Rampok Macan has taken place on the day of Eid, which marks the end of Ramadan, in Yogyakarta since 1791 and is arranged by the royal family. At the beginning of the 19th century, the ritual gradually spread to other kingdoms. On the day of Rampok Macan, a Javan tiger would be speared by the gathering crowd and pitted against a bull or criminal. If the tiger wins, it would be killed by the crowd. During the feudal and colonial periods, the king would invite colonial officers to see this bloody ceremony as a demonstration of his ruling position.

《老虎之死》的四部偽紀錄片及文件,描述然庫地以人扮虎參與鬥虎節的歷史,將傳說中被老虎掠奪靈魂的人,送上打鬥場,透過殺戮淨化他的靈魂,讓社會重新恢復秩序。對比統治者的無上權威、圍觀者的激情與憤怒、被犧牲者的無力抵抗、與旁人的無奈與默許,這場將社會中的「他者」暴力處決的過程,將恐怖行為充分合理化,即使這個傳統已經消失,爪哇虎也早已滅絕了,藝術家希望藉此點出印尼現代社會中仍層出不窮地對他者暴力壓迫的意識形態。

The four false documentaries and documents on The Death of Tiger tell the tradition of Tanah Runcuk, where humans dress up as tigers to participate in the festival. According to legend, people whose souls have been captured by the tiger will be sent into the fight. The killing was supposed to cleanse the souls of the humans and to restore order among society. By presenting the supreme power of the ruling authorities, the enthusiasm and anger of the crowd, the helplessness of the sacrificed, and the silent consent of the onlookers, Tanah Runcuk rationalizes the appalling acts by prosecuting the “other” in society through violence. Although this tradition no longer exists and the Javan Tiger is now extinct, the artist wishes to draw attention to the continuing oppression towards the other across the society of Indonesia.

 

 

201展間/R201

希巨蘇飛 Siki Sufin 

《SaLaw帶走的人》Masalauway

木、物件 Wood, Objects

尺寸因空間而異 Dimensions Variable

2019

《SaLaw帶走的人》以阿美族的傳說SaLaw(意指:鬼神)與Masalauway(意指:被鬼神捉弄或帶走的人),敘事1942-1944年間,日殖時代臺灣原住民高砂義勇隊,前往太平洋戰役中最為慘烈的新幾內亞作戰歷史。希巨蘇飛將國家機器與高砂義勇隊遠征的歷史,喻為SaLaw與Masalauway的關係。

Masalauway refers to the Amis legend about “SaLaw,” meaning “ghosts and gods,” and “Masalauway,” meaning “those fooled or taken by SaLaw,” and points to the historical past when Taiwanese indigenous soldiers, known as the Takasago Volunteers, were sent to the most violent battlefield of the Pacific War in New Guinea during the Japanese colonial period from 1942 to 1944. Through this work, Siki Sufin compares the history of the national machine and the journey of the Takasago Volunteers to the relationship between SaLaw and Masalauway.

藝術家與紀錄片導演蔡政良,於2013年回到新幾內亞的二戰遺址,與當地藝術家Papa David取用同塊木頭,分別建造了雙翼展翅的雕像—「高砂的翅膀」,為戰死異國的高砂義勇軍靈魂返鄉,以及戰時被迫擔任運送物資挑夫的新幾內亞先人。

The artist and documentary director Futuru Tsai visited the WWII sites in New Guinea in 2013. He shared one piece of wood with local artist Papa David to respectively create a sculpture with spreading wings. The wings of Takasago symbolically bring home the souls of the volunteer soldiers died in the foreign country as well as memorialize the New Guinea people who were forced to carry goods and materials during the war.

此作《SaLaw帶走的人》以南太平洋普遍可見的植物黃藤串連所有展出物件,詮釋了阿美族傳統裡「路」的意涵。如果有族人死了,族人會帶著大家一起走一條死者曾經走過的路,意指那路徑曾交疊了現世或靈界的區域,一種平行時空的抽象並陳。如同藝術家前往新幾內亞,即是老兵們遠征時行走的路徑,鋪就了讓他們可以返鄉的路。此外,希巨蘇飛與當地藝術家的合作,連結了阿美族人與新幾內亞人,新幾內亞人如今仍習以為常地生活於處處是戰後遺跡的環境之中,對照臺灣這段歷史,遺忘湮沒了記憶,兩者之間就像在鏡中看到的自己,是自己的影子也是「他」的反射,彼此互為某種的鏡像關係。

To create Masalauway, the artist uses Yellow Rotang Palm, a common plant in the South Pacific region, to connect all the exhibits and re-interprets the meaning of “path” in the Amis tradition. In the Amis community, if a member passes away, the rest of the community would walk the path once travelled by the deceased. The practice symbolically transforms the path into a zone where the worlds of the living and the dead overlap; it is an abstract paralleling of the two worlds. The artist’s visit to New Guinea represents the path of the volunteer soldiers, and consequently creates a homeward path. Moreover, the collaboration between Siki Sufin and the local artist also connects the Amis people and the New Guinean people. Even today, the people in New Guinea are still living in an environment where ruins from the war can be seen. In comparison, this part of the history has been largely forgotten in Taiwan. The relationship between Taiwan and New Guinea is similar to looking at oneself in the mirror. The former’s image is the reflection of “the other”; and both countries have become each other’s mirror image.

 

 

201展間/R201

烏茲.里諾 Vuth Lyno

《透瑪達》系列Thoamada Series

攝影裝置 Photo Installation

尺寸因空間而異 Dimensions Variable

2011

《透瑪達》系列由九張懸吊成圓形的大幅肖像攝影所組成。這件作品是從藝術家與九位男男間性行為者(MSM)所共同參與的密集工作坊所發展出來,參與者在這兩天分享彼此的故事,在這個LGBT社群中建立了一個既私密又公共的對話關係。工作坊的最後,所有參與者被邀請在臉上畫上代表自己身分的圖案,像是為自己戴上了一個具象徵意義的面具。參與者畫下了如蝴蝶、柬埔寨國旗、老虎、阿修羅等圖案:半為彩色、半為黑白的蝴蝶,融合了生命的喜悅和悲傷;國旗結合了國族驕傲與高棉的仁慈;老虎象徵受到挑釁將會反擊的力量;阿修羅則反應了大眾對LGBT社群的普遍恐懼。

The Thoamada series comprises of nine large photographic portraits arranged in a circle suspended from the ceiling. This work was developed from an intensive workshop participated by the artist and nine men who have sex with men (MSM). During the two-day workshop, the participants shared their own stories and conducted an intimate yet open dialogue within this LGBT community. At the end of the workshop, every participant was invited to paint his face with an image that represented himself, which was a symbolic gesture of putting on a mask. The participants painted various images, including a butterfly, the Cambodia national flag, a tiger, the Asura, etc. The butterfly, half in colors and half in black and white, was a combination of life’s joy and sorrow. The national flag brought together the pride of the people and the mercy of Cambodia. The tiger symbolized a counteracting strength when facing attacks. The Asura reflected the public’s common fear of the LGBT community.

Thoamada是柬埔寨的日常用語,代表自然、慣常、沒問題等平常的事物。圍成圓形的作品勾勒出一個區塊,在內部觀看時,觀者被肖像包覆其中,與被攝者間自然產生了一個親密的關係,然而跨到圓圈之外,便劃出了自我與他者的對立觀看位置,如同LGBT社群在面對家庭與社會不認可,以及法律與工作環境的限制時的處境,藉此質疑內與外、私密與公眾的邊界關係。

“Thoamada” is a common Cambodian word that refers to common stuff that is natural, usual or unproblematic. The circular form of the installation creates a zone, which encircles viewers within the embrace of the portraits and naturally immerses them in an intimate relation with the photographed subjects. However, when viewers step outside the circular zone, they assume an opposing position that define the self and the other. This situation is reminiscent of the circumstances faced by the LGBT community that is denied of familial and social recognition and is restricted by law and in the working environment. Through this work, the artist questions the boundary that demarcates the inner and outer worlds as well as the intimate and the public spheres.

 

 

201展間/R201

凱西.馬查多 Cassie Machado

「來世」系列 Afterlife Series

                                                                                                                          © Cassie Machado

《圖5》 Fig.5 90° 18' 43.057" N 80° 47' 11.726" E

數位輸出 C- Print

30 x 23公分,共14件 30 x 23cm, 14 Pieces

2014

                                                                                                                           © Cassie Machado

《來世VII》Afterlife VII- Mullivaikkal

數位輸出 C- Print

152 x 122 cm

2014

 © Cassie_Machado

《來世II》Afterlife II, Mullivaikkal

數位輸出 C- Print

152 x 122 cm

2014

斯里蘭卡內戰緣於英國殖民時期即開始的多數族群僧伽羅人和少數族群泰米爾族的種族衝突,1983年起由斯里蘭卡政府和泰米爾的伊拉姆猛虎解放組織相互交戰近25年,戰爭終期戰火主要集中在北岸一個如畫的小島穆里維卡(Mullivaikkal)上,政府軍在此對泰米爾人進行種族大屠殺,僅僅一個月就有約莫四到七萬的平民死亡,詳細死亡數字至今仍是未知之數。根據印度教與泰米爾文化的傳統,亡者須施予適當的安葬儀式,靈魂才能平靜地邁向轉世之路,否則將不斷徘徊於陽間與陰間的幽冥暗域,猶如不知歸處的鬼魂。在內戰中喪生的亡靈,因未被妥善地安葬,他們的親族也因此被剝奪了哀悼與紀念的機會,陷入巨大的創傷與哀戚之中。

The Sri Lankan Civil War was sparked by the conflicts between the ethnic majority, the Sinhalese people, and the ethnic minority, the Tamil people, during the British colonization. Since 1983, the Sri Lankan government and the Liberation Tigers of Tamil Eelam fought each other for nearly twenty-five years. Near the end of the war, a spot of major conflicts was a scenic island near the northern shore, called Mullivaikkal. The government’s military force carried out a genocide against the Tamil people on the island. Within one month, an estimate of forty to seventy thousand civilians died; in fact, the real death toll remains unclear until today. According to the Hindu and Tamil cultural tradition, the deceased should have a proper burial ceremony that sends their souls peacefully to reincarnation, otherwise they will become wandering ghosts that are bound to linger in limbo forever. The people that died during the civil war were not properly buried, and their family members were also deprived of the chance for mourning and remembrance. This deprivation has therefore trapped them in tremendous trauma and grief.

凱西.馬查多花了近五年的時間研究這段歷史,並完成「來世」系列作品。散落在村落各地的衣物、行李、與人骨,如今是當地處處可見的風景。她的鏡頭對準了隨時間風化、泛黃且脆化的相本,在被遺棄的私人物品中,仿佛是死者曾經存在的證據,也猶若是靈魂暫時的寄生居所。這些詩意又政治的影像,對於藝術家來說,除對逝去生命的表達崇敬之意,也希望作為一種安葬的儀式,讓死者安息,讓生者平靜。

Cassie Machado spent nearly five years to study this history and created the Afterlife series based on her research. The clothes, baggage and human bones scattered around the village have formed a common landscape of the place. Through her camera lens, the artist captured the time-ridden, yellowed and fragile photo albums. Among the personal items left behind, the photo albums become the evidence that validates the faded existence of the dead and serve as a temporary shelter of the souls. These poetic yet politically charged images, for the artist, not only convey her reverence of the disappeared lives but also symbolize a burial ritual that appeases the dead and comforts the living.

 

 

201展間/R201

安妮沙末 Anne Samat

《象頭神》Ganesha

藤條、紗、墊圈、耙子、塑膠鍊、家居時尚飾品、(廚房及園藝)器具和文具 

Rattan Sticks, Yarns, Washers, Rakes, PVC

Chains, Home, Fashion Accessories, (Kitchen

& Garden) Utensils and Stationary Item

214 x 67 x 31 cm

2018

《瑪雅》Maya

藤條、紗、墊圈、耙子、塑膠鍊、家居時尚飾品、(廚房及園藝)器具和文具

Rattan Sticks, Yarns, Washers, Rakes, PVC

Chains, Home, Fashion Accessories, (Kitchen

& Garden) Utensils and Stationary Item

230 x 120 x 30 cm

2018

《公主7 (披著黃絲巾的第7位公主)》

Puteri 7 (Berselendang Koning / Seventh Princess with yellow scarf)

藤條、紗、墊圈、耙子、塑膠鍊、家居時尚飾品、(廚房及園藝)器具和文具

Rattan Sticks, Yarns, Washers, Rakes, PVC

Chains, Home, Fashion Accessories, (Kitchen

& Garden) Utensils and Stationary Item

224 x 122 x 30 cm

2018

安妮沙末用日常生活的材料,如廚房和園藝器具、飾品、耙子等傳統視為女性常使用的家居用品,轉換成一座座用色大膽、造型張揚的形體,來探尋女性在社會上的意義。同時也挑戰編織的傳統,譬如使用傳統皇室貴族服飾的松革布(Songket)織法,卻將原本的金絲、銀絲替換成塑膠等隨處可及的材料,以此作為國族與身份轉換的隱喻。

Anne Samat employs everyday housewares traditionally used by women, including kitchenware, gardening tools, clothing accessories, rakes, etc., and transforms them into various figures with vibrant colors and exaggerated forms as her means to explore what it means to be a woman in society. Meanwhile, she also challenges the weaving tradition by adopting the weaving technique of the Songket, which is a fabric traditionally used for making royal and aristocratic clothing, and replacing the gold and silver threads with common plastic materials, rendering the fabric a metaphor for switched nation and identity.

這次展出的三件雕塑作品皆源自於傳統神話故事:「象頭神」、「瑪雅」¹、「公主7 (披著黃絲巾的第7位公主) 」²。安妮沙末藉由神話故事中的角色引申為現代性別身分認同寓言,將來自世俗艷麗繁複的組件,轉化為力量強大的神祇,在神聖與世俗、傳統與現代、陰性與陽性之間創造出一個相互交織的複雜形象。

Three mythology-inspired sculptures, Ganesha, Maya¹ and Puteri 7 (Berselendang Koning / Seventh Princess with Yellow Scarf)², are on view in the exhibition. The artist converts the characters in the mythological stories into fables that address the issues of modern gender identity. By transforming earthly, colorful and elaborate sculptural components into powerful deities, Anne Samat creates complex images interwoven with elements of the sacred and the secular, the traditional and the modern as well as the masculine and the feminine.

_________________________

1.「象頭神」為濕婆與雪山神女之子,由雪山神女以泥土塑造男孩形體而創生。濕婆誤以為雪山神女不貞,盛怒之下派遣一群惡魔攻擊男孩。年輕的男孩輕易打敗對手,導致毗濕奴不得不以「瑪雅」女神的形象現身介入調停。在男孩被她的美麗分神之際,不知是惡魔或濕婆就趁機砍下了他的頭。濕婆為彌補自己的錯誤,遂砍下象頭做為替代,並為獎勵他戰勝惡魔的勇氣,封其為象頭神。

2.「公主7 (披著黃絲巾的第7位公主) 」源於馬來傳統舞蹈Ulek Mayang,述說一位海上公主愛上漁夫的故事。公主為愛引誘了漁夫的靈魂,漁夫的朋友見其無知覺,便請求巫師救治他。巫師作法召喚漁夫之際,公主亦請求五位姊妹協助她,兩相鬥法直到第七位公主現身,下令:「我知道你們的根源。來自海上的就回去海上;來自陸地的就回去陸地。」

1 “Ganesha” is the son of Shiva and Parvati. Parvati molded clay into the form of a boy and created Ganesha. Shiva misunderstood Parvati for being unchaste and became so furious that he sent a group of demons to attack the boy. The boy, however, easily defeated his assailants, so Shiva was forced to appear in the form of the goddess “Maya” to mediate the situation. As the boy was distracted by the beauty of the goddess, a demon or Shiva himself took the opportunity to behead the boy. Later, in order to make up his own mistake, Shiva cut down the head of an elephant to replace the boy’s head, and named him the Elephant God to honor his courage of defeating the demons.

2 Puteri 7 (Berselendang Koning / Seventh Princess with Yellow Scarf) is inspired by Ulek Mayang, a classical Malay dance. The dance tells the tale of a sea princess who fell in love with a fisherman. The princess abducted the fisherman’s soul out of love. Seeing the fisherman was unconscious, the fisherman’s friends asked a bomoh (shaman) to save him. As the bomoh was conducting the ritual to call the fisherman’s soul, the princess also asked her five sisters to her aid. The battle continued until the seventh and the eldest princess appeared and commanded, “I know your origins. Let those from the sea return to the sea, and those from the land return to the land."

 

201展間/R201

王鼎曄 Ding-Yeh Wang

《三留》Ghost between island and land

單頻道錄像

Single Channel Video

2019

《三留》單頻道錄像裝置為王鼎曄「家族史」系列的外傳。藝術家以海平面上波光粼粼的反射,鋪陳出臺灣海峽黑水溝海域所承載的歷史與記憶。

Single channel video Ghost between Island and Land is an extension of Ding-Yeh Wang’s Family History Series. By integrating the reflections of the sea water, this work narrates the history and memories related to the Black Ditch of Taiwan Strait.

《三留》,即「過去」、「現在」、「未來」的指涉,觸及臺灣早期移民的歷史、中國渡海來臺的家族史以及鬼魅神話等,將其揉雜在時間的迭代之中,輻奏出遷徙、離散、希冀美好未來所伴隨的覆滅、死亡與未知。「三留」是這片海的鬼魂。許多人帶著美好的希望前進美麗的島嶼,途中必經歷黑水溝重重凶險的阻礙,臺灣俗諺更以「十去,六死,三留,一回頭」來描述黑水溝海象詭譎的凶險與恐怖,亦有傳奇神話的海蛇妖、鮫人族等鬼魅妖怪守候途中,在四五百年來有無數懷抱著不同夢想的人們,被這片海洋帶走了性命,並將美好的「過去」、「現在」、「未來」留在這裡。

Ghost between Island and Land conveys the concept of the past, present, and future, touching upon Taiwanese migration history, the family history of migrants who traveled to Taiwan from China, and myths legends. The passage of time reveals the deaths and unknowns accompanying exodus and separation, as well as shattered dreams of a better tomorrow. Many people travel to the island with bright hopes and dreams about the future but are faced with the dangers and various challenges while crossing the Black Ditch. There is a Taiwanese saying that among ten people who attempt to cross the Black Ditch, six will die at sea, three will arrive at the shore, and one will retreat and return to China. Several myths and legends describe the sea monsters of the Strait, all indicating the perilous journey across the waters. Throughout the past four, five hundred years, the Black Ditch has taken countless lives, each with different dreams for the future, becoming a graveyard for beautiful memories and visions of a better past, present, and future.

在島嶼與陸地之間的海浪被這些懷抱著夢想的鬼魂攪動著,無論平靜或驚濤駭浪,這片海洋承載著無盡的「希望」與「絕望」,波光閃耀著,波光上的七彩光亮映射,映射出一段歷史、一抹記憶以及一切的「過去」、「現在」、「未來」。

The ghost of past dreamers has transformed into waves on the waters between the island and land. Either peaceful or stormy, the waters have witnessed both hope and despair, glittering in the sun and reflecting segments of history, memory, and all things of the past, present, and future.

 

 

活動大廳/Activity Hall

楊修華  Chris Yeo (Yeo Siew Hua)

《幻土》A Land Imagined

劇情片 Narrative Feature Film

95 min.

2018

新加坡自1965年獨立至今,曾進行多次填海工程,至今已經有近四分之一的國土為填海造陸而成,而且擴張工程依然進行中。新加坡的領土擴張慾望,不僅使提供砂石的鄰國因過度抽沙而導致環境破壞,新加坡的海洋生態也因此受到嚴重衝擊。

 

Since becoming an independent country in 1965, Singapore has conducted several land reclamations, making up almost one-quarter of its current land. Today, the construction process is continuing. Singapore’s land expansion has not only caused environmental destruction to neighboring gravel-providing countries, but the marine ecology of Singapore has also suffered severe impact.

 

《幻土》的背景即位於透過填海而成的新加坡西部工業區域,這片工地充滿著來自孟加拉、中國大陸、緬甸、柬埔寨和泰國等地的外籍勞工。新加坡有著大量的外籍勞工,然而他們卻有如隱形人般,仿佛與本地人的生活毫無相干。對楊修華來說,新加坡的土地不僅是從這些鄰國買來的,也是鄰國的人民所一同建造出來的。他透過3到4年的研究和田野調查,撰寫出《幻土》的劇本。本片融合了社會寫實與黑色電影的類型,從一個孤單的中國移工走失事件開始展開,片中失眠的警探為了揭露發生在這片土地上的真相,將自己站在移工的角度來觀察思考,從而看到乾淨、富有的新加坡背後,隱藏關於土地、種族、國家等的危機。

 

A Land Imagined is set on the western industrial area of Singapore, which is created by land reclamation and filled with foreign workers from Bengal, Mainland China, Myanmar, Cambodia, Thailand, etc. Singapore is home to a vast number of foreign labors, but these people are like ghosts, excluded from the lives of the local people. For Chris Yeo, Singapore’s land is not only purchased from neighboring countries but also constructed through the efforts of the foreign citizens. Yeo spent three to four years collecting information and conducting field research, finally producing his script for A Land Imagined. The narrative film integrates social realism with film noir, recounting the tale of a missing Chinese worker. In order to reveal the incidents that happened on this land, the insomniac police detective observes and contemplates from the perspective of the migrant worker and discovers the hidden dangers concerning land, race, and nation that are concealed behind the façade of Singapore’s cleanliness and economic growth.

 

*電影放映時間:03/16(六) 14:00-15:40

Screening Hours of the Film: Sat., Mar. 16, 14:00 to 15:40

 

 

活動大廳/Activity Hall

陳彬彬 Tan Pin Pin

《星國戀》To Singapore, with Love

紀錄片 Documentary

70min.

2013                      

紀錄片《星國戀》採訪了一群六、七零年代迫於政治壓力長年流亡海外的新加坡左傾社運者、學運領袖、共產黨員等人。1963年李光耀政府發動「冷藏行動」,以大規模的警方誘捕行動,逮捕或拘留超過一百名左翼的在野政黨、社運與學運人士,並動用《內部安全法》不經審判即可大肆捕捉,甚至無限期拘留任何政治立場與其相左的人,導致上千人被拘禁、驅逐出境。

 

In To Singapore, with Love, Tan Pin Pin interviewed a group of Singaporean left-wing social activists, student movement leaders, communist party members, who were forced into exile due to political reasons in the 60s and 70s. In 1963, the Lee Kuan Yew regime initiated “Operation Coldstore” and launched a large-scale police action of entrapment that led to the arrest or detainment of over one hundred left-wing political figures of opposition parties and activists of social and student movements. Employing the “Preservation of Public Service Security Ordinance,” the police force was given the right to arrest or indefinitely detain anyone that held a political stance different from that of the government. The operation resulted in the imprisonment or deportation of more than a thousand people.

 

本片以這些流亡者的生命故事為主軸,聚焦在他們的日常生活,與對新加坡真摯且複雜的情感。為了拍攝這部影片,導演遠赴英國、泰國、與馬來西亞訪問這些流亡人士,從身處域外的視角,重新在身體上的移置或思考上的越界來對自身產生新的理解。透過這部片,陳彬彬「想通過探討被放逐的以及無法被代言的人與事,來瞭解我們何以走到今天。也許最終留存的人與事方才形塑了我們今日的本質。」
 

The film centers on the life stories of these expatriates and focuses on their daily life as well as their genuine yet complicated feelings for Singapore. To film this documentary, Tan travelled to the UK, Thailand and Malaysia for the interviews. Through their extraterritorial perspectives, Tan explores a new understanding of the self emerged from the relocation of the body or the border-crossing thinking. With this film, Tan “wanted to understand how we became who we are by addressing what was banished and unspoken for. Perhaps what remains could be the essence of us today.”

 

然而,由於本片涉及政治敏感議題,被新加坡媒體發展管理局(Media Development Authority,MDA)下令禁映,不得在新加坡境內公開播放。誠如陳彬彬導演在聲明書中所闡述的,「最反諷的現實是,一部有關新加坡流亡分子的影片本身也遭逢自島國流亡的命運。」

 

Nevertheless, due to the sensitive political topics discussed in the film, Singapore’s Media Development Authority (MDA) banned the screening of the documentary within the country. As the director describes in his statement of the film, “the irony is that a film about Singapore exiles is now exiled from Singapore as well.”

 

*紀錄片放映時間:02/17(日) 14:00-15:10

Screening Hours of the Documentary: Sun., Feb. 17, 14:00 to 15:10

 

 

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●人、山靈、土地神與無頭之鬼:從斷頭河上的一則超自然事件談起
時 間|04月06日(六) 14:00-16:00
主持人|黃香凝 (「烏鬼」協同策展人)
藝術家|梁廷毓
與談人|林潤華 (國立東華大學臺灣文化學系暨研究所助理教授)
 

 
 
●馴化對來世的質疑-死亡儀式及哀悼酷兒之身
時 間|03月17日(日) 14:00-15:30
藝術家|莎琳娜・穆罕默德 Zarina Muhammad
地 點|當代館二樓204展間
 


專家導覽 週日14:00-15:30
 
01月27日|黃漢沖 Jason Wee  (「烏鬼」策展人)
黃香凝 (「烏鬼」協同策展人)
02月24日|劉星佑 (獨立策展人、走路草農/藝團成員)
03月24日|黃蘭燕 (桃園市政府文化局文化發展科科長、國立中央大學藝術學研究所兼任講師)
 


特別放映

●星國戀 To Singapore, with Love
時 間|02月17日(日) 14:00-16:10
主 持|黃漢沖 Jason Wee (「烏鬼」策展人)
導 演|陳彬彬 Tan Pin Pin
 
幻土 A Land Imagined
時 間|03月16日(六) 14:00-17:00
主 持|郭敏容 (2014-2018台北電影節策展人、2017-2018新加坡國際電影節節目顧問)
導 演|楊修華 Chris Yeo (Yeo Siew Hua)
 

 
【展覽工作坊】
 
時 間|01月26日(六) 16:00-18:00
藝術家|賈凱・斯里布特 Jakkai Siributr (「烏鬼」參展藝術家)
對 象|15歲以上,對藝術創作有興趣之一般民眾
費 用|500元
地 點|當代館一樓好玩藝教室
備 註|本工作坊為中英雙語教學
 
時 間|04月04日(四) 10:30-12:00
講 師|小美姐姐 (本名范美幸,致力於越南文化推廣與分享)
對 象|12歲以下之親子觀眾
地 點|當代館一樓活動大廳
辦 法|免費參加,現場座位有限,請事先至官網報名
 


好玩藝教室

●提姆老師的奇幻物語小學堂(兒童限定)
時 間|03/03-04/14,每週日10:00-12:30,共七週
對 象|國小三-六年級
費 用|4,500元
藝術家|提姆 Tim Budden (英國藝術家)
備 註本課程為中英雙語教學