香港浸會大學視覺藝術院 傳理視藝大樓顧明均展覽廳
1a Space 牛棚藝術村 14 號
Communication and Visual Arts Building Academy of Visual Arts, Hong Kong Baptist University, Koo Ming Kown Exhibition Gallery
1a Space No. 14, Cattle Depot Artist Village
Mon–Sun 週一至日 11:00–19:00
Tue–Sun 週二至日 11:00–19:00
高雄駁二藝術特區 B7 蓬萊倉庫 Penglai B7 Warehouse, Pier-2 Art Center, Kaohsiung
Mon–Thu 週一至四 10:00–18:00 Fri–Sun
週五至日 10:00–20:00
策展人 吳瑪悧 協同策展人 梁美萍 張晴文
參展藝術家／機構
香港
台灣
CoLAB
台灣國際勞工協會＋陳素香
MaD 創不同
弗耐 ‧ 瓦旦
文晶瑩
吳耿禎
方韻芝
吳瑪悧＋竹圍工作室
民間博物館計畫
阮金紅
何國強＋胡家偉＋影行者
周靈芝
活化廳繼續工作組＋街坊
呼提克團隊－拉馬默提司／奇古切拉古
迷彩研究所 李曉華＋張子軒＋張蓉＋
侯淑姿
陳穎斯＋葉建邦＋羅至傑＋
姚瑞中＋失落社會檔案室
黎朗生
高雄市關懷台籍老兵文化協會
楊秀卓
黃博志
鄭炳鴻＋啟德河綠廊社區教育計畫
黑手那卡西－工人樂隊
聲音掏腰包
廖億美＋好多樣工作室
簡梁以瑚
劉國滄 澎葉生＋蔡宛璇 蔣耀賢／社團法人台灣金甘蔗影展協進會 蘇育賢 觀樹教育基金會
Curator
Wu Mali
Co-Curators
Leung Mee Ping
Chang Ching-Wen
Participating Artists / Organizations
HK
TW
CoLAB
Taiwan International Workers Association +
MaD (Make a Difference)
Susan Chen
Man Ching Ying, Phoebe
Baunay Watan
Vangi Fong
Jam Wu
Community Museum Project
Wu Mali + Bamboo Curtain Studio
Ho Kwok Keung + Kelvin Wu + v-artivist
Nguyen Kim Hong
Woofertening Group & Kaifong
Julie Chou
Scattered Camouflage (Li Xiaohua +
HOOTIKOR—Lamamotis / ChekuChelagu
Cheung Tsz Hin + Cheung Yung +
Lulu Shur-tzy Hou
Chan Wing Sze + Yip Kin Bon +
Yao Jui-Chung + Lost Society Document
Lo Chi Kit + Sunday Lai)
Colonized Warring Taiwan Society
Yeung Sau Churk
Huang Po-Chih
Chang Ping Hung Wallace + Kai Tak
Black Hand Nakasi Worker’s Band
River Green Corridor Community
Yi-Mei Liao + Cultural Diversity Studio
Education Project
Liu Kuo-Chang
Soundpocket
Yannick Dauby + Wanshuen Tsai
Liang Kan Yee Woo, Evelyna
Chiang Yao Hsien / Golden Sugarcane Film Festival Association Su Yu-Hsien Kuan-Shu Educational Foundation
Site Plan
場地平面圖
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台灣 804 高雄市鼓山區蓬萊路 99 號 No.99, Penglai Rd., Gushan Dist., 804 Kaohsiung City, Taiwan, R.O.C.
Contents
目錄
P1
藝術連結社會與公眾的新模式｜吳瑪悧
An Exhibition On the New Ways Art, Society and the Public Interact ｜ Wu Mali
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P6 P8
Woofertening Group & Kaifong 活化廳繼續工作組＋街坊 蔣耀賢／社團法人台灣金甘蔗影展協進會 Chiang Yao Hsien /
3 4 5 6 7 8 9 10 11 12 13 14
P 10 P 12 P 14 P 16 P 18 P 20 P 22 P 24 P 26 P 28 P 30 P 32
蘇育賢 簡梁以瑚 聲音掏腰包 黃博志 CoLAB 澎葉生＋蔡宛璇 MaD 創不同 姚瑞中＋失落社會檔案室 黑手那卡西－工人樂隊 楊秀卓 文晶瑩 鄭炳鴻＋啟德河綠廊社區教育計畫
15 16
P 34 P 36
劉國滄 迷彩研究所 李曉華＋張子軒＋張蓉＋陳穎斯＋ 葉建邦＋羅至傑＋黎朗生
17 18 19 20 21 22 23 24
P 38 P 40 P 42 P 44 P 46 P 48 P 50 P 52
廖億美＋好多樣工作室 弗耐．瓦旦 民間博物館計畫 高雄市關懷台籍老兵文化協會 何國強＋胡家偉＋影行者 侯淑姿 阮金紅 台灣國際勞工協會＋陳素香
Yi-Mei Liao + Cultural Diversity Studio
25 26 27 28 29 30
P 54 P 56 P 58 P 60 P 62 P 64
觀樹教育基金會 吳瑪悧＋竹圍工作室 方韻芝 呼提克團隊－拉馬默提司／奇古切拉古 周靈芝 吳耿禎
Kuan-Shu Educational Foundation
Golden Sugarcane Film Festival Association Su Yu-Hsien Liang Kan Yee Woo, Evelyna Soundpocket Huang Po-Chih CoLAB Yannick Dauby + Wanshuen Tsai MaD (Make a Difference) Yao Jui-Chung + Lost Society Document Black Hand Nakasi Worker's Band Yeung Sau Churk Man Ching Ying, Phoebe Chang Ping Hung Wallace + Kai Tak River
Green Corridor Community Education Project
Liu Kuo-Chang Scattered Camouflage Li Xiaohua + Cheung Tsz Hin + Cheung Yung + Chan Wing Sze + Yip Kin Bon + Lo Chi Kit + Sunday Lai Baunay Watan Community Museum Project Colonized Warring Taiwan Society Ho Kwok Keung + Kelvin Wu + v-artivist Lulu Shur-tzy Hou Nguyen Kim Hong Taiwan International Workers Association + Susan Chen Wu Mali + Bamboo Curtain Studio Vangi Fong HOOTIKOR—Lamamotis / ChekuChelagu Julie Chou Jam Wu
藝術連結社會與公眾的新模式 吳瑪悧
這些年在台灣，藝術介入社會的形式愈來愈多樣，藝術在當代社會 的角色、功能逐漸受到重視，成為民主社會的表徵。這個現象除了 跟西方前衛藝術思潮有關，也與 1987 年解嚴，1990 年代開啟的社 區營造、公共藝術設置、文化公民權的倡議有關。 香港在 1997 年之後，由於政治的劇烈變化，民間力量崛起，許多 具創意的倡議和行動相互聯結，形成一股「反主流文化」（counterculture）。透過藝術關注社群生活、文化保存、社區發展，以及居 住權、環境權、傳統記憶等，成為這些年香港藝術介入社會的核心。 「與社會交往的藝術」重新反思藝術與社會、藝術與公眾的關係， 它在西方二十世紀初由歷史的前衛開展，有強烈的政治、社會訴求； 而另一類強調日常生活的實踐，如包浩斯、俄國構成主義等，則結 合文化和工業生產，意圖改善人們的生活。這兩種不同的實踐模式， 在當代仍可見其精神的延續。1970 年代行為藝術家以創造讓觀眾體 驗、參與的空間與時間，使觀者成為共同創作者。而杜威的「藝術 即體驗」，指出藝術乃教育重要的一環，藝術也因此被一些社會行 動者視為重要且有效的溝通媒介，蘊生了「藝術在教育中」（ats in education）的概念。近年，台灣與香港各界在探討「與社會交往的 藝術」之精神與類型時，亦延伸出多種稱呼，大抵指的是：透過藝 術媒介，與社會、公眾發生關係，或生產新關係的創作或行動。它 是一種政治藝術，但與過往政治藝術僅作為宣傳或異議不同，藝術 家藉由觀念、行動、媒體，連結公眾（以人為核心），建構公共性， 以促成反思及改變。這種介入社會的藝術，又被稱為「改變社會的 藝術」，或「藝術的社會實踐」。在當今藝術成為景觀（消費）社 會的一環，城市空間被資本化，公共空間也逐漸消失時，與社會交 往的藝術成為建構公民社會、重塑公共領域力量之所在，而這也是 前衛藝術在當代展開的不同樣貌。
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本展強調藝術與社會透過「交遇」、「交往」，碰撞出多種可能。 展出的作品與計畫，有的利用藝術空間，有的發生在日常生活，更 多是透過網際平台、影音傳播，讓參與者更為廣布。藝術工作者既 是文化生產者，也是社會運動者，對於藝術的生產、發展與傳播， 產生了不同於以往的影響。 此外，這些計畫與行動也因與發生場域、社會脈絡息息相關，這個 交流展透過工作坊、展覽及論壇，希望促成香港、台灣兩地的深度 對話，了解這種藝術表現在各自社會所代表的意涵，以及美學表現 的特殊性。更重要的也在於，讓參與者進一步反思這種文化藝術生 產所引發的藝術社群與一般大眾間的話語權、倫理關係，以及「與 社會交往的藝術」是否被工具化，或又成為景觀社會裡的消費性媒 介的討論。
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An Exhibition on the new ways art, society and the public interact Wu Mali
In Taiwan, in recent years, as art finds more and more ways to interact with society at large, the role and function of art in our modern day society have become increasingly valued, seen as the symbol of democracy. Aside from its historical roots in the western avant-garde art movement, this phenomenon is also closely related to the lifting of Taiwanese martial law rule in 1987 as well as the emphasis on community building, the implementation of public art and the demand for cultural civil rights, which began in the 1990s. In Hong Kong, after 1997, with the drastic changes in political environment came the rise of the power of civil action; many creative advocacies and actions formed alliances and networks, evolving into an anti-establishment counter-culture. In the last few years, the core effort of the Hong Kong artistic community's interaction with society has been to highlight through art such issues as community living, preservation of cultural heritage, community development, residential right, environmental right, and memories of the past. This kind of “art as social interaction” reexamines the relationships between art and society, between art and the public; one school of this kind of art began with the historical avant-garde movement at the turn of the twentieth century, and is characterized by its strong social/political demands. Another school, of which Bauhaus and Russian Constructivism are two examples, focuses on practices in the everyday world; by marrying culture to industrial production, this school of art-as-social interaction aims to improve people’s lives. We can see the spiritual offspring of both schools of artistic practice in the modern day society. In the 1970s, performance artists transformed spectators into co-creators of the artwork by establishing the space and time in which the spectators could experience and participate in the creative process. In Art as Experience, John Dewey asserted that art is an important part of education; art is therefore used as a significant and effective mode of communication by some social activists, giving birth to the idea of “art in education.” As the Taiwanese and Hong Kong artistic communities explore the main principles and categories of “art as social interaction,” they have come up with many names for it; generally, it refers to a piece of creative work or performance which interacts with the society and the public through
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the medium of art, or even produces a whole new relationship between art, the society and the public. It is certainly political art, but goes beyond the traditional role of political art as propaganda or dissention. Instead, it is built with people at its core; the artist often connects with the civil masses through ideas, action and the media, constructing a commonality in order to bring about reflection and change. This kind of “socially engaged art” is also called “the art of social change” or “the social practice of art.” In today's world, when art becomes part of the spectator (consumer) society, urban spaces are capitalized, and public areas keep disappearing, the art that interacts with society becomes the cornerstone on which a civil society is built and the power of the public arena is redefined. This is also an alternative iteration of avant-garde art in the contemporary society. In Art as Social Interaction: Hong Kong/ Taiwan Exchange, we hope to showcase the myriad possibilities generated by the intersection and interaction between art and society. Of the exhibits, some make use of artistic spaces while others happen in the everyday world; more often, the artwork is broadcasted through online media and platforms in order to reach a larger pool of participants. The artist in this case is both a creator of cultural products and practitioner of social activism, affecting the production, development and distribution of art in new and different ways. Also, since these projects, actions and performances are deeply connected to their geo-social context, this exchange hopes to stimulate in-depth conversations between the artistic communities of Taiwan and Hong Kong through workshops, the exhibition and the forum. The goal is to gain deeper understanding of the meaning and influence of this kind of art in the context of each community’s specific social environment, as well as the specificity of each community’s artistic expression. More importantly, this exchange aims to instigate the participant-spectators’ contemplation upon issues of ethics and the right of speech between the artistic communities triggered by cultural production and the general public. Also, the exchange hopes to encourage discussions on whether “art as social interaction” has become instrumentalized or even re-absorbed as a consumer medium in the society of the spectacle.
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活化廳文獻展銷場 2014 活化廳繼續工作組＆街坊
置身於香港油麻地上海街，一個充滿本土特色卻又面對變遷的社區， 活化廳團隊於 2009 年進駐營運此地的「上海街視藝空間」後，即期 望以持續性的對話建立一個「藝術／社區」彼此活化的平台，不僅只 是藝術作品的進駐展示。組員們規劃、推動不同主題的藝術計畫、街 坊集資義賣或以物換物的流動交換，來引起人們對藝術、生活、社區、 政治與文化的思考和討論，並藉以打通社區豐富的人情脈絡，帶動彼 此的參與、分享和發現，勾勒一小社區鄰里生活模式可能。 自 2013 年 9 月 30 日起，該團隊因未能繼續得到香港藝術發展局的 資助和空間支援，其後一直由部分藝術家成員組成繼續工作小組與街 坊自發經營至今。現階段藝發局雖正協力尋找新空間作為過渡，並承 諾重新檢討日後的社區藝術政策，繼續工作小組也舉辦展銷義賣會， 將所籌得的捐款用於舉辦活動及日常運作的開支。
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Wooferten Archive Stall V.1
2014
Woofertening group & Kai Fong
When the Woofer Ten started operating the Shanghai Street Artspace Exhibition Hall in Hong Kong's unique and dynamic Yau Ma Tei area in 2009, their hope wasn't just to display artwork, but also to establish an interactive arts and community platform for sustainable dialog. Group members create programming, promote art projects with different themes, hold sales and swap meets to benefit the community. Their programming inspires dialog about art, life, community, politics and culture, and by enlivening rich connections in the local community, encourages participation, sharing and discovery. In these ways, Woofer Ten's presence has created new lifestyle possibilities in the small neighborhood of Yau Ma Tei. After hearing the Hong Kong Arts Development Council would no longer be providing funding, several members of the Woofer Ten established the Woofertening Group on September 30, 2013 and has continued interacting with the community. Currently the Arts Council is seeking a new location for the group's operations and has also promised to review its own community art policies. The newly organized group holds benefit exhibitions to pay operating expenses and program new events.
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金甘蔗影展 2000 年迄今 蔣耀賢
財團法人台灣金甘蔗影展協進會
橋仔頭糖廠藝術村的幕後推手蔣耀賢，長期以橋仔頭作為文史、藝 術、文創的平台基地，開創了南台灣文創的新頁。自 2000 年起，於 橋仔頭糖廠舉辦的金甘蔗影展則以「現地拍攝、現地製作、現地影 展」的獨特方式，為電影文化與數位媒體時代注入新的想像力。影展 希望藉由電影凝聚在地居民的心力，讓影像對觀者而言具有更多存在 的意義，同時也將影像工作者帶到在地現場，讓居民與影像進行交流 對話，透過區域自身所蘊含的人文記憶，共同討論當下所面對的各種 境況。如此跨越行政界線的企圖，也將一些遙遠的，甚至被忽略、遺 忘的地方，用電影語言再次相互串連起來。
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Golden Sugarcane Film Festival 2000 onwards Chang Yao Hsien / Golden Sugarcane Film Festival Association
As the founder of Kio-A-Thau Sugar Refinery Art Village, Chang Yao Hsien has regarded Kio-A-Thau as a base of culture, history, art and creativity, opening up a new page in the cultural creative industry in southern Taiwan. Since 2000, the Golden Sugarcane Film Festival, held in Kio-A-Thau, has expanded the imagination of movie and digital media by featuring “shooting, producing, and screening on the spot.� The film festival aimed to gather locals through movies, who would find the images meaningful on a personal level. Meanwhile it brought filmmakers to the scene, so that locals could interact with images. Through cultural memories of the region, they could discuss current issues together. Such a cross-boundary project also attempted to connected those remote, or even neglected, forgotten places by movies.
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鳳珠 2012 蘇育賢
受邀於一項運河藝術節展出作品的蘇育賢，在前往運河勘景時碰巧 在路邊遇見從事資源回收的陳鳳珠女士，因而向她提議合作一件作 品，試試看她裝載資源回收的推車所可能累積回收物的最大量，且 必須是在能推得動的範圍內。最後，他們將這一車的東西丟到運河 裡，堆成像一座小島。這是一件雕塑。把垃圾丟到運河裡。
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Hong Zhu
2012
Su Yu-Hsien
On his way to survey a canal for a work commissioned by a canal art festival, Su Yu-Hsien met Ms. Dan Hong Zhu, who makes a living by collecting recyclables. He proposed an art project to Dan, asking her to fill her cart to a still pushable maximum load. They then threw the entire cart of recyclables into the canal, shaping it to look like a small island. This is a sculpture: Throwing trash into the canal.
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姊妹們 2009 老爹媽藝術系列 2012–2014 簡梁以瑚
簡梁以瑚於香港、中國及亞洲推動社群藝術，先後成立「越營藝穗」 為滯港越南船民提供兒童藝術教育、「藝術在醫院」為醫院及病人 提供各項藝術活動，以及「全人藝動」慈善社群藝術機構。在作品《姊 妹們》中，她以中國傳統書法書寫英文，並邀請河南周山村的農家 婦女手工藝組大姐們，造一十字繡大掛毯。當文字被轉化至不易認 出的狀態，經細心察看，總還能發現人的尊貴、共享共創之美。「老 爹媽藝術系列」則是「全人藝動」，一個已超過十年的持續性社群 藝術，與城中一班患有認知障礙症的長者共同進行，透過創意藝術 來舒緩因病患及老化所帶來的種種負面情緒與影響。
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Sisters
2009
Grandpa Grandma Arts Project series 2012–2014 Liang Kan Yee Woo, Evelyna
Over the past forty years Evelyna Liang Kan has promoted community art zealously and organized art activities for under-privileged communities in Hong Kong and globally. She founded the “Art in the Camp” project in the 80s, bringing art education to the Vietnamese Camp community. In the early 90s, she established “Art in Hospital," turning blank hospital walls into bright and colorful murals. In her project Sisters, Evelyna invited a women’s handicraft group in Zhou Shan Cun to help transform what she calls a "Chinglish" calligraphy work—her use of Chinese calligraphy skills in English lettering—into a crossstitch tapestry. While the original words become unrecognizable after the transformation, the cocreated work imparts a sense of beauty and humanity. Her another project “Grandpa Grandma Arts Project series” is part of a more than tenyear old initiative “Art for All” where elderlies with dementia participate to create art together.
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你想改變甚麼？ 2014 聲音掏腰包
聲音掏腰包的成立是有感於香港的公共聆聽文化及聆聽的藝術需要 改變，因此扮演宣傳、教育、促進與收集的角色，涉足聲音、藝術 與文化，發現聲音與不同藝術形式間的多樣化和動態關係。 一個傳一個，用聲音進行一場馬拉松式的問答遊戲。 遊戲規則： 1. 找一位您因為聲音掏腰包而認識的人。 2. 您並不需要太了解這個人，甚至可以是久仰大名、素未謀面。 3. 透過錄音方式向她／他問：「您想改變甚麼？」 4. 發問和作答過程不需要面對面進行。 5. 她／他必需要透過錄音方式作答。 6. 作答者需用相同原則（規則 1–2）建議下一位作答者，並以發問 人身分重複規則 3 的提問。
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What do you want to change?
2014
Soundpocket
Soundpocket was founded because the public culture of listening and the art of listening in Hong Kong needed a change. We believe we can all be agents of change—for ourselves and each other. In our journey, we have been blessed with different encounters; what others have taught us; and what we have done for others. We believe by bringing people together and making art, we make more room for imagining changes. One makes ten: a marathon of sound relay Rules of the game: 1. Find someone you know because of Soundpocket 2. You don’t have to know this person well (He/she could even a person you have heard about but never met a) 3. You ask him/ her the question “What do you want to change?” by using audio recording 4. No need to do the Questions & Answer face-to-face 5. He/she has to audio-record his/her answer 6. After providing an answer, the person will throw the question—based on rule 3—at another person who’s found based on rules 1 and 2
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五百棵檸檬樹 2013 黃博志
在觀音、新埔、關西，有四位農夫，年近九十的老農、從來沒工作 的半農、失業歸鄉的農婦，以及不務正業的釀酒師傅，他（她）們 各自因為不同的理由而不再耕種，而在這三個區域的休耕農地，不 約而同都有幾顆疏於照顧的檸檬樹。黃博志因而發起種檸檬樹做檸 檬酒（limoncello）計畫，欲召集五百位民眾，用五百塊錢，買下 五百個酒標。「我們需要聚集在一起，在這棵尚未種植的檸檬樹下。」 每個酒標可以種下一棵檸檬樹，在一片已經休耕荒廢二十年的農田， 三個地方、四個農夫、五百棵檸檬樹，無限的希望。兩年後，將會 誕生一個品牌。參與者會拿到一瓶檸檬酒，並將手上的酒標貼上。
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Five Hundred Lemon Trees
2013
Huang Po-Chih
Four farmers in Guanyin, Xinpu, and Guanxi: an old farmer approaching the old age of ninety, a part-time farmer who has never held a steady job, a farming woman who lost her job and returned to the countryside, and a wine maker who pays little attention to his job. For different reasons, they no longer farm. Coincidentally, on the fallow farmlands, there are several neglected lemon trees. Huang Po-Chih thus initiated a limoncello (lemon wine) project requiring five hundred participants; each of them spends five hundred dollars to buy five hundred wine labels: “We need to gather under these yetto-be-planted lemon trees.� On a fallow piece of farmland that has been neglected for twenty years, they plant one lemon tree for each wine label. Three different places, four farmers, five hundred lemon trees and infinite hope: after two years, this will lead to the creation of a brand. Participants will get a bottle of limoncello, and stick their wine label onto the bottle.
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不，完美 2010 年迄今 CoLAB
余志光與林偉雄於 2003 年成立 CoDesign Ltd，並於 2010 年開拓 CoLAB 平台，專為非營利團體、社福機構及社會企業開發設計工作， 希冀透過創意及設計，提高善用資源的意識和改善人與人之間的關 係。 近期 CoLAB 所推展的「不，完美」運動，旨在宣揚世界本就不完美， 鼓勵人們擁抱不完美的新態度、欣賞生活中存在的不完美。 不完美是主觀的，對於事物的見解因人而異；不完美是相對的，人 與事的界定往往視乎情況而定；不完美是自然的，它是成就完美事 物的種子。所以，不完美？不，完美！
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I’mperfect
2010 onwards
CoLAB
Founding CoDesign Ltd in 2003, Eddy Yu and Hung Lam set up CoLAB in 2010 with the aim to promote social betterment by design. Through partnerships around the globe, CoLAB works to improve the use of limited resources and interpersonal relations for a greener and more harmonious society. Initiated by CoDesign in Hong Kong, "I'mperfect" is a movement that encourages us to appreciate the imperfection in things we use, people around us, and ourselves. If there were a perfect world, we would not have opportunities to grow, transform, or evolve. While imperfection is natural, it is also the seed for growing perfection. Imperfect? No, I’mperfect!
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拾藝南坑 2009–2011 聽見桃山 2009–2010 澎葉生＋蔡宛璇
自 2009 至 2011 年，蔡宛璇和澎葉生到新竹縣的四個在地社群共同 探索藝術進入社區的可能性。其中，與北埔鄉的南坑村（客家社區）、 五峰鄉的桃山國小（泰雅族群）有較為深入的共同工作經驗。 「拾藝南坑」第一年透過系列小型活動、工作坊，並為村內最後一 塊手工耕種稻田留下「割稻日慶典」的影像紀錄和當地子弟的北管 樂錄音；第二年選定百年歷史古道「消失中的千段崎」作為核心議題， 透過對真實場域的想像和建構，啟動社區的凝聚力和自主動能。「聽 見桃山」則與桃山國小合作，藉由發音遊戲、口簧琴工作坊和木琴 隊來挖掘泰雅音樂的特質，同時也帶學生觀察和模擬動物聲音來呈 現和周遭自然環境的連結，並串聯社區青年、耆老進行歌謠錄音、 獵徑解說和口述傳說採集。整個計畫最後完成《聽見桃山》專輯， 作為刺激孩子認識自身傳統文化以及各種聲音可能性的開端。
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Recollecting Nankeng
2009–2011
Listen to the Atayal in Taoshan
2009–2010
Yannick Dauby+Wanshuen Tsai
Between 2009 and 2011, Wanshuen Tsai and Yannick Dauby went to four villages in Hsinchu County to explore the possibility of introducing art to communities. During their trips, they had some impressive experiences when working with Nankeng village in Beipu (a Hakka community) and Taoshan Elementary School (in an Atayal aboriginal community) in Wufong. In the first year of "Recollecting Nankeng", Tsai and Dauby held a series of activities and workshops. They also filmed the “Rice Harvest Celebration” and recorded Beiguan concerts by local performers. The second year they chose a historical mountain trail as their main theme: Disappearing Qianduanqi. By imagining and constructing real space, they activated the cohesion and energy within the community. "Listen to the Atayal in Taoshan" is a project in collaboration with Taoshan Elementary School. Through vocal practices, a jaw harp workshop, and a xylophone band, students explored the features of Atayal music. They were also taken to observe and imitate animal sounds to understand their bonds with the natural environment. In addition, the project gathered teenagers and the elderly to record folksongs, hunting trail guides, and their oral history. At the end of the project they produced an album, Listen to the Atayal in Taoshan, encouraging children to learn about their traditional culture and initiate all kinds of possible voices.
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天水營造記 2014 MaD 創不同 2014 年夏天，MaD 和十多位年青藝術工作者走到天水圍天 秀墟。這個地方本意扶助區內經濟，可是在各種因素下，效 果事與願違。MaD 規劃舉辦為期一個月的「天水營造社」， 看看有甚麼創意方法，可以帶來新的可能性。 當親身體會到天秀墟有多熱、人流多少、在困難環境中，人 與人之間的張力……在面對着更急切關注的基層社區，「創 意公民社會」的辭彙突然失語。 七月天雨連連，「天水營造社」的進度和成效都與不如預期。 天氣預報，風雷雨打將會繼續。烏雲密佈，原定於月尾進行 的總結活動「天水納涼祭」需要延期。連串應變之後，「天 水營造社」突然多了兩個月。願意花更多時間慢慢營造的朋 友，在檔與檔之間，和檔主交朋友，學溝通的語言，找藝術 的位置。 做雕塑的朋友成為做維修和招牌的「師傅」 攝影師和藝術策劃逐家逐戶拍攝「雜貨圖」 檔主問：「你們是不是學生做功課？」 大家微笑打招呼 檔主說：「有東西喝」 往我們手裡塞進香甜的花生 「天水秋涼祭」的主角是大家 當晚「五臟廟」有郎叔叔教造的餃子、葉小姐送出的海燕窩 神祕禮品包來自我為人人的二十八檔 七月下種的秋葵，秋風下人一樣高。熊太打算留下種籽，明 年春天再種。
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Tin Shui Collaborative
2014
MaD (Make a Difference)
Together with ten odd young art practitioners, MaD ventured into Tin Shau Bazaar in Tin Shui Wai. The small market aims to support local economy by giving room to humble businesses, but good intentions are met with all sorts of challenges. “Tin Shui Collaborative,” originally a month-long program, was conceived to explore creative possibilities. Very soon, we found ourselves in oppressive summer heat, and tension way beyond our imagination. For the first time, we realized that the principles of a creative civil society could not be taken for granted. Our progress was dampened further by incessant rains. On a stormy day, we decided on postponement—“A Midsummer’s Night Fair,” the planned finale, would take place much later, after mid-autumn. In the two additional months, we got our heads together and looked into the interstices. We befriended the tenants, learnt to speak a new language, and found a place for art: Sculptors got hands on with business signs and repairs Photographers and art administrators shot a sale brochure “Are you here for a school project?” asked a tenant "Hello" started to come with a grin “Get a drink—help yourselves” We received a handful of fresh peanuts Everyone had a share Among our chefs were Uncle Long and Aunt Shanghai Gifts in goodies bags sourced from twenty-eight tenants A ripe okra sways in autumnal breeze. The seeds will be saved for next year.
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海市蜃樓——台灣閒置公有設施攝影計畫 2010–2014
姚瑞中＋失落社會檔案室
2010 年 2 月底，姚瑞中提議讓臺北藝術大學與臺灣師範大學美術系 的一百多位同學以全台蚊子館踏查案進行學期作業。不到五年時間， 他們彙整出四百多處「蚊子館」案例、編輯出版四本《海市蜃樓—— 台灣閒置公共設施抽樣踏查》，勾勒出台灣社會的荒謬現狀，體現 出「錯誤的政策比貪污還可怕」之事實。此事經媒體大幅報導，引 起政府高層關注，並指示各單位要在一年內活化蚊子館，無法活化 的則考慮拆除。這些學生們共同參與的藝術行動就如一顆投入池塘 的小石子，激起不斷向外延伸的漣漪，擾動了一個表面寧靜的假面 社會，讓人不得不直視現實，開展全民對此議題的問題意識。
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Mirage: Disused Public Property in Taiwan 2010–2014 Yao Jui-Chung + Lost Society Document (LSD)
At the end of February 2010, Yao Jui-Chung proposed that a hundred students from the fine arts departments of Taipei National University of the Arts and National Taiwan Normal University investigate idle buildings in Taiwan as an assignment for the semester. Less than five years, they have complied four hundreds cases of idle buildings, and produced four editions of "Lost Society Document" (Mirage: Disused Public property in Taiwan I–IV), which contours the absurd social reality in Taiwan, proving that “erroneous policies are worse than corruption.” This event was covered by mass media and caught the government’s attention. The government then demanded relevant authorities to reinvigorate idle buildings in one year, or else tear them down. The students’ participation in this artistic movement is like a rock tossed in a pond, raising ripples that disturb the superficial peacefulness of society, and calling upon the people to face the reality of this issue.
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黑手那卡西與底邊弱勢的音樂集體創作 與社會對話 1996 年迄今 黑手那卡西工人樂隊
以音樂介入社會運動的黑手那卡西成立於 1996 年，是一支由工人及 工會組織者所成立的工人樂隊。文化協同創作方法是黑手音樂與社會 實踐結合所展現的文化抵抗（culture resistance）。協同指涉相互投 入為共同目標努力的「對等關係」，並非「擁有專業權威者」與「缺 乏條件者」的「上下關係」。文化協作是具體社會運動與組織的文化 鬥爭，展現在歌曲、音樂生產關係和過程的「集體創作」，包括抗爭 現場主流歌曲的挪用與改編、集體討論的創作歌曲，以及團員之間對 於音樂風格的鬥爭與對話。文化協作亦是音樂操作能力的教學對話過 程，為使工人、弱勢者得以掌握基本的彈唱發聲能力，為自己發聲。
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The collective work of music and social dialogue by Black Hand Nakasi Worker’s Band and marginal social groups 1996 onwards Black Hand Nakasi Worker’s Band Participating in social movements through their music, Black Hand Nakasi Worker’s Band was founded in 1996 as a worker band consisting of laborers and worker union organizers. Cultural collaboration as practiced by Black Hand is a form of cultural resistance, demonstrated by combining the band’s music and social practices. Collaboration means working together for the same goals in coordination, instead of following the hierarchy between the authority of expertise and the dispossessed. Cultural collaboration is a realization of the struggles of social movements and organizations, which is expressed through the process of collaborative creation of songs and music. These include the adaptation and arrangement of songs used in rallies, songs created out of collective discussions, and the struggle and dialogue in musical styles between members of the band. Cultural collaboration is also a process of instructional dialogue in musical production, aiding workers and those neglected by society in obtaining basic musical skills to make their own voices heard.
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一系列社區藝術計畫 1984–2014 楊秀卓
Community 可指「社區」或「社群」。1984 年，我搬到石澳居住。 一開始，我把山坡上一塊巨大的石頭髹上繽紛色，全村都知道村裡 來了一位藝術家。半年後，跟鄰居熟絡了，我經常替街坊畫招牌， 在屋外畫壁畫等。不到半年，我的作品散佈村落。不自覺地，我開 始了社區藝術創作。之後，我被邀請參與傷健合作藝術創作，一做 就是十多年，對像大多是自閉症、唐氏綜合症、聾啞和智障人士等， 有時是普通公眾人士。近年，我嘗試帶學生到社區蒐羅口述歷史， 然後以藝術形式表達；又或跟非政府組織合作，讓學生參與運作過 程，以藝術手法總結學習經驗。社區藝術成了教學手段。
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Various Community Art Projects
1984–2014
Yeung Sau Churk
Community means a certain group of people, or a particular area where we live. In 1984, I moved to Shek O. After he painted a huge rock in the valley, people knew that there came an artist. After half a year, I was asked by neighbors to paint their billboards, or the outside walls of their houses. By then, I have unconsciously started doing community art. In the following years, I was invited to hold community art projects for both disabled and able people. Often, the participants are autistic, deaf, numb, mentally disturbed or people suffer from Down Syndrome and sometimes are people without disabilities. Recently my students—with my guidance—collected oral history in the community and translated the information into art works. I also work with NGOs to allow students to express what they have learned and their learning experiences via art. This way, community art has become the means of education.
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如果我是 2014 文晶瑩
戰爭中對女性的性暴力持續發生，如利比亞和剛果內戰，強暴婦女 甚至被視為一種戰爭武器，用以打擊敵人士氣。而日本政府至今仍 不願對其慰安婦制度承認錯誤和負責。更有政治人物說此制度必要 存在，婦女出於自願成為慰安婦；慰安婦甚至被當成對人嘲弄的用 詞。這類對暴行合理化、不尊重受害人的言論，仍時有出現。文晶 瑩深信教育、知識可以改變人的想法，因此藉與婦女救援基金會合 作的工作坊，介紹和討論慰安婦議題，並通過藝術創作釋放和釐清 年青人的想法，同時邀請觀展者一同檢視社會反對性暴力的立場和 保障婦女人。
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If I were
2014
Man Ching Ying, Phoebe
War rape has not gone away—it happened recently in civil wars in Libya and Congo while Japan still denies forcing female to become comfort women during WWII. Osaka Mayor Toru Hashimoto once defended sexual exploitation was necessary while claiming those comfort women were all volunteers. In Hong Kong, pop star Eric Tsang reportedly use the term “comfort woman” to poke fun at a Japanese football team supporter. Speech and comments that rationalize the atrocity and show no respect to the victims are still common. Phoebe Man believes education and knowledge can bring about changes. By working with Taipei Women’s Rescue Foundation, she aims to help young people clarify their thoughts on the issue through creative activities and at the same time invite audiences to reflect on sexual violence against women.
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啟德河綠色藝術節「生。活共構」 2012 鄭炳鴻＋啟德河綠廊社區教育計畫
「啟德河」自 2007 年 9 月 30 日起由啟德發展民間聯席命名後，由一個概念 的認知，對城市生態的重新發現，到今日演變為「以民為本」的空間規畫，確 立了可即可及、生活學習結合社區教育的場所；前後經歷約五年的發展與深化， 當中體驗了「民間起動、政府配合」的倡導模式所發揮的互動及積極互補的成 效。在自然流向與人工開拓中，「啟德河」所疊加的痕跡是壓縮了的百年滄桑， 由原生海灣、十三鄉約、二戰機庫、工廠文化、創藝群組，到生態復修等，無 不豐富了人文環境的歷史資源，更誘發了自主學習的機遇。
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Kai Tak River Green Art Fest E-Co Habitat 2012 Chang Ping Hung, Wallace + Kai Tak River Green Corridor Community Education Project
Since the Community Alliance of Kai Tak Development renamed the Kai Tak Nullah on 30 Sep, 2007, this very act has transformed itself from the acknowledgement of a concept, a rediscovery of urban ecology, into a "community-based" spatial planning. The entire process also reaffirms the possibility to combine community education with active learning experience. After five years of development, the project has vividly demonstrated the interactivity and proactive synergy of an advocacy model characterized by bottom-up public initiation and government coordination. From water purification to the creation of an ecological green corridor and from community revitalization to environment education, the “Kai Tak River” symbolized the sustainable vitality of the grassroot community, and has embodied the local spirit of cultural diversity and inclusiveness. In between the natural flow of river and artificial exploitation, the trace of the “Kai Tak River” development has compressed a hundred years of vicissitudes. From a natural bay, league of thirteen villages, the WWII aircraft shelter, factory culture, creative communities to ecological restoration, the river has enriched the historical resources from a humanity perspective and brought about an opportunity for active learning.
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鹿港凳屋——鹿港是我家 2008 劉國滄
打開聯合文化工作室主持人劉國滄所帶領之設計團隊，長期關注設 計理論、方法之研究與實踐的相關問題；創作方向著重形式生成邏 輯的發現、建造方法與程序的實驗、城市再生與社區自主營造體系 的實現，作品兼具土地情感的關懷及國際對話的宏觀企圖。 《鹿港凳屋》是一間由八百多張板凳所搭建起來的屋子，屋內有著 老房子輪廓，象徵著鹿港人歡迎大家來此地作客的熱情。這是一座 戲台，曾經大家坐在板凳上看戲，希望以後大家都能在凳屋前看戲。 這也是一組觀光指標，民眾可以在舊市區發現一系列由板凳創作的 小鹿，跟著它，即會發現鹿港的美麗風景。
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Lukang Bench—House: Lukang is My Home 2008 Liu Kuo-Chang
Open-Union Studio is a design team headed by Liu Kuo-Chang. The team has long concerned itself with issues concerning the research and application of design theories and methods, while its creations are centered on discovering the logic behind forms, experiments with construction methods and procedures, urban renewal, and the realization of communityled construction. Its works strive to combine a down-to-earth feeling with an outlook for international dialogue. This is a house, built of more than eight hundred benches, inside which is an old house hollowed out as a symbol to give a warm welcome to everyone to come to Lukang. This is also a real stage for everyone to enjoy the plays and a memorial to the time when people sitting on the benches to see the shows. In addition, this is part of a tourist guiding system: tourists will find a series of little deer made from benches in the old part of town, leading them to discover the beauty of Lukang.
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迷彩博物館 2014 迷彩研究所 李曉華＋張子軒＋張蓉＋陳穎斯＋ 葉建邦＋羅至傑＋黎朗生
東莒島曾經歷四十多年的軍管時期，是台灣的軍事重地之一，於 1992 年始解放軍管。幾處廢棄的軍事據點亦經馬祖國家風景區管理 處重新整修、活化，成為島上的特色。 一群香港新進藝術家在此作短期駐留後，發現島上的迷彩圖案與眾 不同，且不具隱蔽性、偽裝性，分外引人注目。因此他們以島上的 迷彩為主題，發展出一系列延伸活動：型狀圖監／彩度 & 濃密度／ 找相同／撰寫報告／修飾計畫書／歷史背景／網上展示平台／找迷 彩印章／自製名信片。所有完成品將被設置於島上，並結合島民以 在地特色推廣東莒島文化和旅遊的想法。
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Museum of CAMO
2014
Scattered Camouflage Li Xiaohua + Cheung Tsz Hin + Cheung Yung + Chan Wing Sze + Yip Kin Bon + Lo Chi Kit + Sunday Lai
Once a key military post of Taiwan, Dong Jyu Island experienced forty years of military governance. After the island was liberated form military governance in 1992, numerous military facilities got revitalized and become major features of the island. A group of Hong Kong artists during their short residency on the island were intrigued by the scattered camouflage patterns they found. Unlike typical camouflage patterns, those on the island do not conceal or integrate into its surrounding because of its seaside location and the lack of tall plants. The artists have developed a series of extension activities around camouflage patterns: Shape Figure Supervisor / Intensity & Density / Find the Same / Report / Modify Plan / Historical Background / Online Presentation Platform / Camouflage Seal Hunt / DIY Postcards. They will install all finished works on the island, aiming to promote Dong Jyu.
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迴流．一座島嶼 2008 年迄今 廖億美＋好多樣工作室
好多樣文化工作室為一在地深耕與跨界協力之團隊，在負責人廖億 美的領軍下，致力於深化地方文化實踐與地方獨特性的發揚與維護， 在日益均質單一化的世界裡，在邊緣的位址、差異的地方發掘耕耘， 致力文化多樣性的實現。 自 2008 年起，工作室以馬祖列島最南端的東莒為基地發生的一連串 計畫，以「藝術轉場」、「夏日學校」、「小島遊學」、「聚落論壇」 及「以 X 換生活」等方式，讓原本已成廢墟的大埔聚落，重新展開 生活運作，回到東莒居民日常生活的場景中，且試圖以藝術的能量 與各種創造力的介入，透過風與土的交流，串起社區居民的生命經 驗與地方自信，從無人聚落邁向療育之島。
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Backflow, About a Small Island
2008 onwards
Yi-Mei Liao + Cultural Diversity Studio
Cultural Diversity Studio is an interdisciplinary team aimed at deep development in local communities and interdisciplinary collaboration. Led by Yi-Mei Liao, the studio devotes itself to enriching local cultural practices and promoting and preserving local uniqueness. In a world growing monotonous, it excavates and cultivates culture in marginal places to realize cultural diversity. Since 2008, the studio has initiated a series of projects in Dong Jyu, the southern part of Matsu Islands, reviving the once-abandoned Dapu village by holding events such as “Artistic Transition,” “Summer School,” “Island Study Trip,” “Village Forum,” and “Swap X for Life,” so that the village once again became part of the everyday life at Dong Jyu. In addition, the studio used the power of art and creativity to collect the life experiences and pride of the local residents, bringing this once-neglected interchange of wind and sand into an island of recovery.
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外婆的苧麻 1999 弗耐．瓦旦
身為泰雅族石加路群後裔的弗耐．瓦旦有感於長期離開族群生活， 決定重新回部落學習傳統文化，但在學習過程中發現文化漸漸式微， 且所參考文獻資訊全是日本人及台灣光復時人類學家的研究與整理， 因此在思考要留下什麼給下一代時，決定用「影像」來記錄族群文 化，作為傳世的資訊。 他在《外婆的苧麻》中記錄一位傳統染織工藝研究者尤瑪．達陸學 習傳統編織的經歷。尤瑪．達陸向外婆吉娃斯．達陸學習苧麻從栽 植到製成紗線的過程，這個過程雖然繁瑣，但在層層的工序中卻能 發現泰雅族祖先對風土的理解與感受，反映於傳統生活的智慧。
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K'gi na yaki
1999
Baunay Watan
As a descendant of the Atayal Skaru, Baunay Watan decided to return to his tribe and learn traditional culture after years away from home. Yet during his learning process, he realized that Atayal culture had gradually withered away, with most of his references dating from the Japanese colonial era and anthropologists’ records seventy years ago. As he thought about what to leave future generations, he decided to videotape his culture as a part of his tribal legacy. In K’gi na yaki, he recorded how Yuma Taru, a researcher of traditional cloth dying and weaving, learned traditional weaving methods. Yuma Taru learned the process from her grandmother, Giwas Taru, from planting ramie to spinning yarn. The intricate procedure tells how ancestors of the Atayal tribe understood their culture and environment, which is reflected in the wisdom of their daily livelihoods.
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整整一條利東街（五部曲） 2005–2009 香港佔領運動考現 進行中，2014– 民間博物館計畫
2002 年於香港成立的民間博物館計畫，曾策動一系列「街道博物館」 計畫，對日常生活的型態、傳統和價值進行盤點，並以「呈視社區」 的手法與持著「文化拾遺」的理念，在不同社群環境中進行研究、 展覽、出版，提供討論平台，並進而發現潛在，及至未來的設計創新。 「整整一條利東街」呈現人與環境在城市變遷或士紳化下的面貌和 故事，韓國安養公共藝術節的「投訴博物館」則展示體現市民參與 和政治表態的項目。 「香港佔領運動考現」則是一項以捕捉近期為爭取香港真普選所發 動的佔中「雨傘運動」裡，關於公民的創意行為和空間營造為目標 的研究。此計畫同時也在思索如何可長遠建立民間主導的影像紀錄 及研究力量。
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Street as Museum: Lee Tung Street (quintet)
2005–2009
Hong Kong Occupy Movement: A Contemporary Archeology On going, 2014– Community Museum Project
Since 2002, the Community Museum Project (www.hkcmp.org) has developed the Street as Museum project series, aiming to scavenge, take stock, visualize and disseminate local knowledge and values of our everyday cultures. As a curatorial collective from Hong Kong, the CMP researches on and publishes about indigenous creativity, curates exhibitions on local materials and visual culture, as well as discovering “lesser designs” in urban settings. The CMP works together with concerned communities to represent and articulate pressing issues behind their livelihood practices, amid incessant city gentrification and social changes—as in the projects of Lee Tung Street. In addition, "the Museum of Complaints" of the Anyang Public Art Project showcased here presents participatory research and civic expressions. Focused on citizen's art activities and creative use of space, “Hong Kong Occupy Movement: A Contemporary Archeology” is a research study related to the Umbrella Revolution; the local occupy movement concerning the Hong Kong General Election. The study also considers the establishment of long-term, independent, citizen-run visual documentaries and research efforts.
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巷口邂逅：旗津民間美學藝術節 2013 年迄今
高雄市關懷台籍老兵文化協會
由高雄市關懷台籍老兵文化協會與香港民間博物館團隊共同組織的 「旗津民間博物館」計畫，在高雄歷史發源地旗津發掘及深耕在地 特色、重塑舊街區與物件，以及融合生活工藝、傳統產業、民間美 學與智慧，此外，也將資料蒐集之文獻累積連結至社會應用，展現 全新的都市樣貌。旗津除了是美食和觀光景點，更具有延綿多年之 歷史傳統，有著值得細細品味的獨特風格和氛圍，而在發展觀光的 同時，需要在地人的認同與支持。旗津民間博物館因此與在地居民、 區公所、里長及周邊學校合作，舉辦工作坊、藝術家駐村、展覽、 交流會等，拉近居民彼此的距離，塑造整體社區的共同意識。
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A Date on the Street: Community Art Festival in Cijin 2013 onwards Colonized Warring Taiwan Society
The Cijin Community Museum project, a collaboration between the Colonized Warring Taiwan Society and the Hong Kong Community Museum, aims to cultivate local culture, and reshape old streets and objects including handicrafts, traditional industries, local aesthetics and regional wisdom. Furthermore, it finds applications for gathered information, lending a new air to the look of the city. Besides cuisine and sightseeing, Cijin is rich in history, and its unique atmosphere deserves appreciation. In addition to developing tourism, recognition and support from local people is also needed, and the Cijin Community Museum has collaborated with locals, district offices, district chiefs and nearby schools in workshops, artist residencies, exhibitions, and cultural events, aiming to draw closer to residents and forge an identity with the community.
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俾唔俾得起？ 2002–2014 未存在的故鄉（第一部） 2002–2013 何國強＋胡家偉＋影行者
自 2007 年成立至今，影行者重視藝術創作與社會生活的緊密關聯， 發起以影像作為媒介，鼓勵民眾自我表達，在日常生活中尋求創造 創新的可能性。 持攝影機的人，即是社會運動／行動的參與者，他們將鏡頭對焦於 舊區重建的抗爭、工人生活和單親媽媽等弱勢社群處境。此次展 出的影片包括重建街坊何國強與影行者共同製作的短片《俾唔俾得 起？》，以及由 H15 關注組和順寧道重建關注組所出借的行動橫額。 另外於放映會則播放胡家偉等人合製的影片《未存在的故鄉》第一 部，內容有關基層在邊境與資本流動下所遭逢的困境。
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Can you afford it?
2002–2014
Exodus of nowhere episode 1
2002–2013
Ho Kwok Keung + Kelvin Wu + v-artivist
Since 2007 v-artivist has encouraged people to express themselves via videos and explore possibilities to innovate in their daily lives. The group stresses the close relationship between visual art making and living as part of the society. People who hold camera are participants in social movements, pointing their lens at fights against urban renewal, labor issues, struggling single mothers and other disadvantaged groups. Films screened in this exhibition include Can I afford it?—by Ho Kwok Keung and v-artivist—and Exodus of nowhere episode 1—by Kelvin Wu and others. Ho was among those affected by urban renewal. In addition, a banner borrowed from H15 concern group and Shunning Road renewal concern group is shown in the event.
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雪姮與小孩 A、B 望向彼方——亞洲新娘之歌 2007–2012 侯淑姿
大量東南亞外籍配偶的移入，形成了台灣新一代的多種族色彩，然 而這些女性新移民在台灣社會中卻難以擺脫種種負面的刻板印象， 她們的母國文化也在父權體制與台灣文化優越論的基調下，隱晦而 蒼白；自 2005 年起，我以「亞洲新娘」為題發展三個系列的作品， 含括了「越界與流移——亞洲新娘之（I）」（2005）、「越界與認 同——亞洲新娘之歌（II）」（2008）與「望向彼方——亞洲新娘之 歌（III）」（2009）的三部曲。 作品希望藉由七位住在屏東地區的外配與她們的越南原生家庭的影 像與第一人稱的獨白，跳脫社會對外籍新娘定型標籤化的「他者」 的觀點，探討這些外籍配偶的生命歷程，正視其自我意識與認知， 並試圖呈現台越婚姻關係圖像中文化、階級的差異、困境與希望。
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Hsueh-heng and her child Look toward the other side—Asian Foreign Brides in Taiwan 2007–2012 Lulu Shur-tzy Hou
The large-scale immigration of spouses form south-east Asia countries into Taiwan has contributed significantly to the multi-cultural and diverse nature of Taiwan society. However, to this day it remains difficult for these new immigrants to shake off the negative stereotypes imposed upon them, and the culture and traditions of their countries of origin are often reduced to a hidden existence in our largely patriarchal and chauvinistic society. In light of the plight these foreign spouses, I began to develop my ideas for an “Asian Brides Trilogy,” starting with “Border-crossing / Diaspora-Song of Asian Foreign Brides in Taiwan (I)” (2005), which was followed by “Border-crossing / Cultural identities-Song of Asian Foreign Brides in Taiwan (II)” (2008), and finally “Looking toward the Other Side: songs of Asian Foreign Brides in Taiwan (III)” (2009). My work consists of images featuring seven Pingtung-based foreign spouses and their families back home in Vietnam. In my efforts to explore the lives and souls of these foreign spouses, I deliberately present them as the first-person narrators. By doing so, I want to take the audience into these women’s world and eliminate the stereotype of treating the foreign brides as “the others” on the fringe of our society. I attempted to present the culture differences, dilemmas and hopes that lie within TaiwaneseVietnamese marital relationship.
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失婚記 2012 阮金紅
出身於越南農家，二十一歲的阮金紅在 2000 年透過婚姻中介嫁到台 灣，卻遇人不淑，遭受家庭暴力傷害。2008 年離婚後，她投身台灣 新移民協會做志工，認識現任丈夫，學習到紀錄片拍攝的技巧，也 開始為有相似經歷的越南同鄉，拍攝下她們困難的處境。 歷時三年的《失婚記》，這是台灣首部由新移民角度詮釋異國婚姻 的紀錄片，近身記錄懷著幸福憧憬的新移民姊妹金紅、金鈴、阿詩、 玉蘭、美麗，從越南嫁到台灣後，各自在觀念落差、生活習性差異下， 面臨家庭困境與婚姻的切身經驗，以及在遭遇挫折後，如何面對子 女的教養問題與思考人生的下一步。
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Out/Marriage
2012
Nguyen Kim Hong
Nguyen Kim Hong, a twenty-one year old woman from a farming family in Vietnam, moved to Taiwan in 2000 after marrying a local citizen. Unfortunately, her husband was physically abusive. After divorcing in 2008, she volunteered at the Taiwan Immigrant Association, where she met her current husband, and has become a documentary filmmaker. Since then she started to make documentaries about other Vietnamese immigrants who have met with similar difficulties. Out/Marriage is a first Taiwanese documentary filmed from the perspective of new immigrants. The film begins with a new immigrant woman’s personal experience and goes on to depict the broken marriages of four immigrant women in Taiwan. They are faced with different family issues but all end up in failed marriages. Like other immigrant women, the four characters Yu-lan, Jin-lin, A-shi and Mei-li all came to Taiwan in pursuit of happiness, only to find themselves disappointed. However, their life does not come to a stop when their marriages break down. What happens after that? What are their next steps? And what of their children? What problems do they face after their parents’ broken marriage?
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勞動轟拍 2005 台灣國際勞工協會＋陳素香 台灣國際勞工協會除了參與運動的組織和傳播，走上街頭 爭取移工權益，近年也由成員陳素香籌劃，製作拍攝紀錄 片「勞動轟拍」及其系列。紀錄片不僅作為對移工社群生 活的觀察描述，同時也是自覺、認同、潛能開發的媒介， 另一方面也成為發聲、爭取權益的工具。此外，攝影機也 被交至被記錄者手中，一群經歷工會運動洗禮的貨櫃車司 機和工會祕書們，自我挑戰拿起攝影機，用影像拍下自己 的工作和生活，完成了九部紀錄短片，稱之為「轟拍」。 這些影片內容生猛辛辣，聳擱有力，呈現出生活中的溫柔 幽默，當然也有悲傷和痛苦，吐露工人的生活和心靈祕密。 展出影片：張通賢，《車牛ㄟ一工》（2005，台北、基隆），12 分；黃翼萬， 《妹妹》（2005，台北、汐止），11 分 51 秒；王秋月，《長虹橋的那一邊》 （2005，台東），11 分 32 秒；郭發財，《海興》（2006，台北、基隆外木山）， 9 分 33 秒；周雪莉，《尪》（2005，台北、基隆），18 分 31 秒；史德明，《吾 妻阿玲》（2005，台北、基隆），10 分 40 秒；黃仁德，《一個朋友》（2005， 台北、基隆），11 分 28 秒；楊明俊，《緣分》（2005，台北、基隆），8 分 13 秒；郭明珠，《三代不同堂》（2006，台北），17 分 57 秒。
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Home Video
2005
Taiwan International Workers Association + Susan Chen In addition to organizing and promoting social movements, and taking to the streets to fight for the rights of migrant workers, the Taiwan International Workers Association has in recent years produced the documentary Home Video, as well as an ensuing series of documentaries. Produced by Susan Chen, a member of the association, the documentary is not only an observation of the social life of migrant laborers, but also a medium of selfconsciousness, recognition and exploring potentials, while also serving as a tool for workers to speak out and fight for their rights. In addition, documentary subjects—truckers who have witnessed union movements and union secretaries—also take up cameras, using them to challenge themselves by recording their own lives and livelihoods. These nine “Home Video” shorts, poignant, energetic, and uninhibited in their nature, nevertheless show the tenderness and humor in life, as well as its sorrows and pains, revealing the lives and secrets of the laborers in the process. Films: Chang Tung-Hsien, The Daily Life of A Truck Driver (2005, Taipei, Keelung), 12 min; Huang Yi-Wan, Sister (2005, Taipei, Xizi), 11 min 51 sec; Wang Chiu-Yueh, On the Other Side of Changhong Bridge (2005, Taitung), 11 min 32 sec; Kuo Fa-Tsai, Hai Xing (2006, Taipei, Keelung Waimushan), 9 min 33 sec; Chou Hsueh-Li, Husband (2005, Taipei, Keelung), 18 min 31 sec; Shih Te-Ming, My Wife A-Ling (2005, Taipei, Keelung), 10 min 40 sec; Huang Jen-Te, A Friend (2005, Taipei, Keelung), 11 min 28 sec; Yeung MingChun, Yuanfen (2005, Taipei, Keelung), 8 min 13 sec; Guo Ming-Zhu, Three Generations not Living under One Roof (2006, Taipei), 17 min 57 sec.
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成龍溼地三代班 2009 迄今 觀樹教育基金會
2009 年，觀樹教育基金會受農委會林務局保育課委託，於雲林縣口 湖鄉規劃「成龍溼地社區學習參與計畫」，進駐成龍國小，並採「三 代班」的概念，進行長期的社區陪伴與環境教育，目的是希望從小 朋友開始，逐漸往上影響到其父母與祖父母等上兩代。為了讓當地 民眾更認識與愛護溼地，及迎接候鳥季的到來，基金會也定期舉辦 「成龍溼地 Longstay」活動，如彩繪木鴨、整理溼地環境等。此外， 於 2010 年起，每年的「成龍溼地國際環境藝術節」活動，則讓居民 與藝術家、志工互動，共同完成藝術創作，希望藉此激發當地村民 更積極去關心自己的環境。
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Chenglong Wetland “Three Generations” 2009 onwards Kuan-Shu Educational Foundation
Entrusted by the Forestry Bureau of the Executive Yuan’s Council of Agriculture in 2009, the Kuan-Shu Educational Foundation planned a “Chenglong Wetland Learning Project” in Kouhu Township, Yulin. The Foundation worked with Chenglong Elementary School to join “three generations,” aiming to promote long-term community and ecological education among students and their families. To help residents learn more about the wetland and welcome the migratory birds, it has also regularly held a “Longstay at Chenglong Wetland” program, which includes painting wooden decks and cleaning the wetland. In addition, since 2010, the annual Chenglong Wetland International Environmental Art Festival encourages residents to interact with artists, volunteers in creating art together, and prompting locals to be more active in caring for their environment.
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樹梅坑溪環境藝術行動 2010–2012 吳瑪悧＋竹圍工作室
「樹梅坑溪環境藝術行動」匯集在地不同專業領域和不同媒介的藝 術創作者，共同提出「以水連結破碎土地」之想像視野，藉生命不 可或缺的「水」這個元素，以及水能跨越邊界、連結彼此的性質， 召喚民眾關注生活的土地與都市擴張發展的問題，從而邀請一起想 像建構具生態觀的都市村落的可能。此計畫創造與在地居民以及公 部門的對話，並且呼應批判教育學的理念，提出「未來的教室」構想， 將在地知識予以再生產，轉化為教與學的內容及方法。五個主要行 動方案包括：「樹梅坑溪早餐會」、「村落的形狀——流動博物館」、 「我校門前有條溪」、「與植物有染——在地綠生活」，以及「社區 劇場」。
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Art as Environment: A Cultural Action at the Plum Tree Creek 2010–2012 Wu Mali + Bamboo Curtain Studio The Art as Environment—A Cultural Action at the Plum Tree Creek project converged professionals from all disciplines and artists of all kinds, to raise a vision of connecting fragmental land through water. Water, in being able to cross boundaries and connect different sides, and as a vital element for life, could summon the residents’ attention to their living environment and issues in urbanization. The project thus aimed to establish a micro-prototype of a livable city that integrates ecology and creativity, while facilitating dialogue between the government and residents. In concordance with critical pedagogy, it also proposed the idea of “Future Classroom,” which reproduces local knowledge and transforms it into contents and methods of teaching and learning. Five main action projects are: “Breakfast at the Plum Tree Creek,” “Shaping of a Village: Nomadic Museum Project,” “There is a Creek in Front of My School,” “Local Eco Life: Colorful Affairs with Plants,” and “Community Theatre.”
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剩食圖鑑計畫 2012–2014 方韻芝
2011 年初，香港獨立記者陳曉蕾發表關於香港剩食議題的調查報導〈剩 食〉，引發許多團體的反思和行動，「剩食圖鑑計畫」也於同年在油麻地 開展。受浸大視藝薈邀約，剩食團隊與大學生合力製作《油麻地剩食圖鑑》， 透過社區考察向街坊了解日常處理剩食的知識，並以信息圖（Infographics） 的形式將資料圖像化，製成印刷品以便向不上網的街坊派發。而承接油麻 地的經驗，《深水埗惜食圖鑑》以工作坊形式了解並組織深水埗婦女們的 經驗、知識和網絡，以小型誌與公眾分享惜食價值觀。《樹梅坑溪剩食圖鑑》 則至台北，以吳瑪悧策劃、竹圍工作室主辦的「樹梅坑溪環境藝術行動」 所建立起的社區網絡為基礎，研究樹梅坑溪社區剩食狀況作為香港的參照， 以食物作為城市生活的隱喻。
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Leftover Food Guide Project
2012–2014
Vangi Fong
In early 2011, Leila Chan Hiu Lui, an independent reporter in Hong Kong, published an investigative report “Leftover Food” on the issue of leftover food in Hong Kong and triggered many reflections and actions of many organizations. In the same year, “Project of Leftover Food Guide” was kickstarted in Yaumatei. As invited by Visual Arts Axis of the Baptist University, the Leftover Food team collaborated with university students on Yaumatei Leftover Food Guide. The guide presented result of the research on how kaifong, people of the neighourhood, take care of leftover food in form of infographics. The guide was printed out and disseminated to kaifong who do not get online. Continuing the experience earned in Yaumatei, Sham Shui Po Cherish Food Guide got to understand and organize the experience, knowledge and network of women in Sham Shui Po through workshops. Zine was made after the workshops to share these values on cherishing food with the public. Later, this project was brought to Taipei. Based on the community network established by “Arts as Environment—A Cultural Action at the Plum Tree Creek”, organized by the Bamboo Curtain Studio and curated by Mali Wu, Plum Tree Creek Leftover Food Guide studied the same topic in the Plum Tree Creek area as a reference for Hong Kong with food as a Metaphor for Urban Living.
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呼提克人的能量觀 2009–2014 呼提克團隊—拉馬默提司
奇古切拉古
「我是呼提克人，我和極少數的族人依據古呼提克人的生活態度存 活在這世界上，藉著斷簡殘篇的資料，我們知道過去先民是如何以 身體相應於環境的智慧，現在我們努力延續古呼提克人的智慧，繼 續以身體實踐呼應我們尊貴的母親——蓋亞。」呼提克團隊主張身體 是個容器，信念被承載著，藉著身體行為與外在環境產生連動。因 此他們製造物件來扭轉積習的慣性、轉換身體習慣與強化信念使其 堅韌，並呼應土地與身體的形塑成為一種關聯的循環，讓平衡的施 與受不再傾斜，將信念的必要性轉移成為土地服務而非掠奪式思維， 由此拓展其他有情無情生靈的態度與實踐。
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The Theme of Hootikor's Energy
2009–2014
HOOTIKOR—Lamamotis / ChekuChelagu
“I am a Hootikor. I, along with a handful of my tribesmen, abide by our ancient Hootikor code of life. From fragmentary sources, we know how our ancestors physically adapted to the wisdom of nature. We strive to further the wisdom of ancient Hootikor, and continue to practice it, using our bodies to correspond with our noble mother, Gaia.” The Hootikor clan believes that the body is like a container, which embodies faith and acts according to its surroundings. Because of this, they create objects to change their habits and strengthen their faith, responding to the formation of land and body in a circular relationship, so that the balance between give and take is not slanting. They turn the inevitability of their faith into serving the land instead of plundering it, and further expand on this in their care for others on the Earth.
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家．園 2014 周靈芝
長期關注社區、生態議題的周靈芝，發現寶藏巖的特殊狀況使得居 民處在一個微妙的位置上。當所有權不再屬於自己時，這些居民對 這塊土地、這個家園的投入，是否在一定年限之後，便會被一筆抹 煞而顯得徒勞無功？然而，什麼都不做的話，是不是連繼續爭取居 住權的機會都沒有了？這個兩難，經常擺盪在居民面對所謂「藝居 共生」主旨強調下的各種作為。而沒有「家」的「園」，要如何永續？ 從「家」到「園」，當自主性被剝奪時，是否也會造成主體的侵蝕？ 如何可以恢復這主體性的完好？周靈芝因而試著用具實驗性質的影 音編輯，回顧寶藏巖開村以來的紀錄照片，探討在「家」與「園」 之間種種複音的發聲。
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Home . Land
2014
Julie Chou
Having paid sustained attention to community and ecological issues for years, Julie Chou found that the special case of Treasure Hill has pushed local residents into a tricky position. Is it possible that when the land no longer belongs to the residents, what they have devoted to their home and land might turn into nothing after a certain period of time? If they remain inactive and do nothing, could they even lose the option to continue living on Treasure Hill? This dilemma often occurs in situations where residents are confronted with the theme of “art and residence as one.” How does one sustain a “land” without a “home”? From “home” to “land,” when an object is deprived of its agency, could the object itself be eroded? How does one recover the completeness of the object? Julia Chou applied experimental video editing techniques in reviewing pictures of Treasure Hill since its birth to discuss the counterpoint between “home” and “land.”
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問＃ 5〈臨時工 一份藝術與 社會的問卷〉 2013 吳耿禎
藝術家經常利用一筆材料費製作給大眾觀看的作 品，一個觀看的裝置，展覽後這些裝置多被包裹收 進倉庫，甚至拆解成資源回收，或垃圾。這樣的過 程讓吳耿禎思及車站裡的邊緣人物，如流離的人、 失業的人、待業的人、流浪漢等，若能將材料費變 成流動的工資，或許可以轉變「材料費」的意義。 因此，他提出一參與式計畫，讓在地失業者於車站 公共場所從事一份臨時工作，他們舉著自己的肖像 剪影，「他們」成為作品，在車站彷若「流動的雕 塑」，並與民眾交談，進行一份關於藝術與社會的 問卷表，讓觀看者思考藝術生活化的可能與藝術的 定義。
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Ask #5 ‘Temporary A Questionnaire of Art and Society’ 2013 Jam Wu
When creating artworks to be viewed by the public, artists often spend a lot on materials, which is often stowed away, dismantled as scrap, or simply thrown away after the exhibition. The process reminded Jam Wu of marginal figures like the homeless, the unemployed and hobos. If the cost of materials could be transformed into wages to be distributed, then “cost” could come to have a new meaning. Wu thus proposed a participative project, giving local unemployed people a temporary job: they hold a picture of themselves so that they become the artwork itself, forming “moving sculptures” at train stations. In addition, Wu talked with passersby to conduct a survey on art and society, encouraging viewers to think about the possibility of art in everyday life and the definition of art.
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主辦單位 社團法人中華民國視覺藝術協會 香港浸會大學視覺藝術院「啟德」研究與發展中心 協辦單位 高雄市政府文化局 國立高雄師範大學跨領域藝術研究所 合作單位 MaD 創不同 民間博物館計畫 好多樣文化工作室 竹圍工作室 馬祖東莒社區發展協會 高雄市關懷台籍老兵文化協會 婦女救援基金會 聲音掏腰包 贊助／資助 財團法人國家文化藝術基金會 財團法人春之文化基金會 普瑜投資股份有限公司 香港藝術發展局 場地贊助 1a Space 指定住宿 城市商旅
Organizers Association of the Visual Arts in Taiwan, AVAT Kaitak, Centre for Research and Development, Academy of Visual Arts, HKBU Co-organizers Bureau of Cultural Affairs Kaohsiung City Government Graduate Institute of Interdisciplinary Art, National Kaohsiung Normal University Partners MaD (Make a Difference) Community Museum Project Cultural Diversity Studio Bamboo Curtain Studio Dong Jyu Community Development Association, Matsu Colonized Warring Taiwan Society Taipei Women’s Rescue Foundation Soundpocket Sponsored by/ Supported by National Culture and Arts Foundation, NCAF Spring Foundation F.C.H. Investment Corp. Hong Kong Arts Development Council Venue Sponsor 1a Space Official Hotel City Suites