Shadowlife Catalogue

展覽日期：2012年6月16日至8月12日 展覽地點：高雄市立美術館105展覽室 Exhibition dates: June 16 to August 12, 2012 Exhibition venue: Gallery 105, Kaohsiung Museum of Fine Arts 策展人：狄翁‧蒙丹‧萬、娜塔莉‧金 展覽主辦：墨爾本大學Asialink中心、班迪哥市美術館、高雄市立美術館 指導贊助：澳大利亞外交貿易部、澳大利亞藝術委員會、高雄市政府文化局 展覽協辦：台灣澳洲辦事處 Curated by Djon Mundine OAM and Natalie King Presented by Asialink, Bendigo Art Gallery and Kaohsiung Museum of Fine Arts Supported by the Australian Government through the Department of Foreign Affairs and Trade and the Australia Council for the Arts, and Bureau of Cultural Affairs, Kaohsiung City Government With additional support from the Australian Office – Taiwan FOR USE 15MM OR LARGER

Bendigo Art Gallery

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《影之生》係由Asialink與班迪哥市美術館共同策劃之巡迴展，由澳大利亞政府透過外交貿易部與澳大利亞藝術委員會(澳大利亞藝術資助及諮詢機 構)支持協助。 Shadowlife is an Asialink/Bendigo Art Gallery touring exhibition supported by the Australian Government through the Department of Foreign Affairs and Trade and the Australia Council for the Arts, The Australian Government’s arts funding and advisory body, through the Visual Arts and Craft Strategy an initiative of the Australian, State and Territory Governments. 策展人：狄翁‧蒙丹‧萬、娜塔莉‧金 Curated by Djon Mundine OAM and Natalie King 展出藝術家 The Artists 溫能‧阿奇 Vernon Ah Kee 賓蒂‧蔻勒 Bindi Cole 布蘭達‧L‧郭芙特 Brenda L. Croft 戴斯特妮‧狄肯 & 維吉妮亞‧芙瑞瑟 Destiny Deacon & Virginia Fraser 費歐娜‧佛蕾 Fiona Foley 蓋瑞‧李 Gary Lee 麥可‧瑞雷 Michael Riley 伊凡‧森 Ivan Sen 克里斯提安‧湯普遜 Christian Thompson 策展人誠摯感謝展出藝術家對本展如魔術般隱而不宣的貢獻以及維吉妮亞‧芙瑞瑟對策展專文提出寶貴的洞見。 The curators would sincerely like to thank the artists for their magical shadowy contribution to this exhibition and Virginia Fraser for her invaluable insights into our essay. 巡迴展點：

台灣展覽執行

泰國曼谷藝術與文化中心 Bangkok Arts & Cultural Centre

Realisation of the Exhibition in Taiwan

1 March – 29 April 2012 Bangkok, Thailand

策展人 Curators of the Exhibition Djon Mundine OAM 狄翁‧蒙丹‧萬

台灣高雄市立美術館 Kaohsiung Museum of Fine Arts

Natalie King 娜塔莉‧金

16 June – 12 August 2012 Kaohsiung, Taiwan

Asialink Sarah Bond 莎拉‧邦德

新加坡南洋藝術學院 Nanyang Academy of Fine Art

Genevieve Osborn 日內維耶‧奧斯朋

25 August – 30 September 2012

Louise Joel 露易絲‧喬爾

Singapore 台灣澳洲辦事處 Australian Office – Taiwan 澳大利亞班迪哥市美術館 Bendigo Art Gallery

馬克文 代表 Kevin Magee, Representative

13 April – 28 July 2013

孫鳳儀 經濟暨政策處媒體暨文化組經理

Bendigo, Australia

Sylvia Sun, Media and Culture Manager, Economic and Policy Section 吳惠華 經濟暨政策處媒體暨文化組副理

巡迴展專案經理：莎拉‧邦德

Jessica Wu, Assistant Manager Media and Culture, Economic and

Tour manager: Sarah Bond

Policy Section

策展助理：日內維耶‧奧斯朋、露易絲‧喬爾

高雄市立美術館 Kaohsiung Museum of Fine Arts

Curatorial assistants: Genevieve Osborn and Louise Joel

謝佩霓 館長 Pei-ni Beatrice Hsieh, Director 章榮貴 代理秘書暨秘書室主任

墨爾本大學Asialink中心 Asialink

Jung-kuei Chang, Deputy Senior Secretary & Chief of Secretariat

4th Floor Sidney Myer Asia Centre

商戌菡 展覽組組長 Hsu-han Shang, Chief of Exhibition Section

The University of Melbourne

張淵舜 教育推廣組組長 Anderson Chang, Chief of Education Section

Parkville VIC 3010 Australia

莊雪紅 會計室 Hsueh-hung Chuang, Accounting Office

Tel: +61 3 8344 4800 Fax: +61 3 9347 1768

黃培宜 展覽組 Peggy Huang, Exhibition Section

www.asialink.unimelb.edu.au

陳婷婷 展覽組 Lica Chen, Exhibition Section 郭鳳如 展覽組 Fengju Kuo, Exhibition Section

班迪哥市美術館 Bendigo Art Gallery

林宜秋 教育推廣組 Alice Lin, Education Section

42 View Street

王瑞鳳 教育推廣組 Jui-fong Wang, Education Section

Bendigo VIC 3550 Australia

林秀眉 教育推廣組 Hsiu-mei Lin, Education Section

Tel: +61 3 5434 6088 www.bendigoartgallery.com.au

張雅珮 平面設計 Ya-pei Chang, Graphic Design 3

目次 Contents

前言 Forewords 006

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高雄市立美術館 Kaohsiung Museum of Fine Arts 凱倫‧昆蘭 班迪哥市美術館館長 Karen Quinlan, Director of Bendigo Art Gallery 理查‧J‧法蘭克連 Gunditjmara族 Richard J Frankland, Gunditjmara people

專文 Catalogue Essay 014

與影子的對話 狄翁‧蒙丹‧萬 & 娜塔莉‧金

Conversations with a Shadow Djon Mundine OAM & Natalie King

作品 The Works 024 028 034 038

044 048 052 056 060

溫能‧阿奇 Vernon Ah Kee 賓蒂‧蔻勒 Bindi Cole 布蘭達‧L‧郭芙特 Brenda L. Croft 戴斯特妮‧狄肯 & 維吉妮亞‧芙瑞瑟 Destiny Deacon & Virginia Fraser 費歐娜‧佛蕾 Fiona Foley 蓋瑞‧李 Gary Lee 麥可‧瑞雷 Michael Riley 伊凡‧森 Ivan Sen 克里斯提安‧湯普遜 Christian Thompson

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藝術家簡歷 Artist Biographies

070

策展人簡歷 Curators

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展品清單 List of Works

台灣展覽前言

影子，並非太陽底下的新鮮事。對光線與陰影的感知與反應，經由演化的作用，已成為許多 物種賴以維繫生命的天性，人類也是這些物種之一。自有人類文明以來，陰影與光線之間那 種特殊的依存與消長關係，給予人類智慧不少的啟發，每種文化可能都有其對「陰影」的詮 釋與演繹。

在中國悠久的文化中，最具代表性的符號「太極」，其黑白所表徵的陰陽結構即已完美體現 了將光明與陰暗等而視之的概念；再如老子《道德經》中所言「知其白、守其黑」，則更加 突顯處身於幽微的生命智慧；詩意的詠嘆方式則如詩仙李白所題之老少皆知的詩句：「舉杯 邀明月，對影成三人。」

反觀西方文化脈絡，則見較為傾向揚「明」棄「暗」的思維，古希臘哲人柏拉圖以洞穴中被 限制視線的人僅能見到眼前壁面被火光投射出的陰影，來隱喻人所認識的世界是非真實的； 相對於中世紀被稱為「黑暗時代」，英文enlightment一詞意為啟蒙，蘊含著「使其光明」的 意涵，西方社會整個現代化的歷程嘗試要在啟蒙思想的基礎上築起一沒有任何陰暗角落而光 明通透的體系大廈，然而衍生出的殖民主義與種族主義，卻讓其他淪為殖民地的區域迎來了 黑暗時代。一個多世紀以來，具有先見之明的哲學家、文學家、藝術家，前仆後繼地提出振 聾發饋的反思，終於鋪陳出具多層次灰階的後現代語境。

策展人在展覽專文中提到，澳洲安恆地區Djambarrpuyngu原住民語中Wungguli的意思是靈 魂和陰影，也常被用來描述攝影影像。與之相映成趣的是，中文裡的「影」字，同樣也用來 描述「陰影」與「攝影」，而在19世紀攝影術剛傳到中國時，中國人以為攝影會攝人魂魄。 直至今日，攝影也與文字、繪畫一樣，成為人們敘事的強大工具，一張影像或一段動態影 片，能夠透過人的視覺直達心靈，傳遞出各種具象或抽象的訊息，也許是強烈深刻的，也許 是遙遠模糊的；也許是給予特定觀眾的暗示，也或許是傳遞者自己未曾察覺的。

《影之生》展覽體現了澳洲原住民藝術家在運用攝影傳遞文化訊息、突顯議題焦點的純熟老 練、精準到位，即使在表現歷史與文化方面之「陰影」這樣隱晦的主題時亦然。台灣當代原 住民藝術家對於物質媒材的運用與掌握可謂爐火純青，然在影像藝術方面雖有令人激賞的佳 作，但仍未多見。這項展覽的到來，有助於促進不同文化之間的彼此理解與相互啟發，是一 次意義深遠的文化交流。

高雄市立美術館謹識 6

Foreword to the Exhibition in Taiwan

Shadows are nothing new. As a result of the process of

one after another, have offered profound reflections and

evolution, many species rely on their perception of light

have ultimately created a post-modern realm of discourse

and shadow to survive, and human beings are one of

containing different shades of gray.

these species. Since the dawn of civilization, the interplay and interdependence of light and shadow have provided

As the curators state in the exhibition essay, Wungguli,

people with much inspiration and wisdom. Probably

an Arnhem Land Djambarrpuyngu word, means spirit

every culture has its own interpretations and conclusions

and shadow and came to describe a photographic

concerning shadows.

image. In an interesting parallel, the Chinese word 影 is similarly used to express the meanings of "shadow"(陰

One of the most representative symbols in China's ancient culture is the "Taiji," whose black-and-white portrayal of yin

影) and "photography"(攝影). When photography had just reached China during the 19th century, many

and yang perfectly conveys the equivalent importance of

Chinese believed that photography would take people's

dark and light. In addition, Lao Tzu's Tao Te Ching states

souls. Nowadays, like writing and painting, photography

that we should "know the white, yet hold to the black,"

is a powerful tool for telling stories. A photograph or a

which highlights the life wisdom of being in subtle and

video sequence can touch peoples' souls through their

invisible status. Furthermore, in one of his most famous

sense of vision, transmitting many types of concrete and

poems, the great poet Li Bai wrote "I raise my cup to invite

abstract messages. These messages may be intense and

the Moon to join me, and with my shadow there would be

memorable, or perhaps distant and ambiguous; perhaps

a party of three."

they contain hints for specific viewers, or perhaps express things that the transmitter was never aware of.

However, the prevailing thinking in Western cultures tends to be to exalt the "light" and cast out the "darkness."

The exhibition Shadowlife reveals how Australian

The ancient Greek philosopher Plato used the image

Aboriginal artists skillfully use photography to transmit

of persons in a cave who can only see shadows of

cultural information and highlight key issues, and similarly

objects in the firelight as a metaphor for the unreality of

address such an obscure topic as "shadows" in history

the familiar world. In contrast with "dark ages," as the

and culture. Taiwan's contemporary indigenous artists are

middle ages are also known, the word “enlightenment”

superbly accomplished in the use and control of material

conveys awakening and "bringing light." Throughout the

media. However, although some indigenous photographic

course of modernization, Western society has attempted

and video works have been acclaimed as masterpieces,

to build a great edifice of systems — bright throughout

these are still few in number. Because this exhibition

and without any dark corners — on the foundation of

promotes mutual understanding and mutual inspiration

enlightened thinking. Nevertheless, the colonialism and

between different cultures, it is a deeply meaningful

racism following in the wake of modernization plunged

instance of cultural interchange.

colonized nations into their own dark ages. In more than a century, farseeing philosophers, writers and artists,

Kaohsiung Museum of Fine Arts 7

前言

《影之生》是一項意義深遠的展覽，有助於促進對當代澳洲藝術以及澳洲原住民文化之多重 性的深入瞭解。策展人娜塔莉‧金與狄翁‧蒙丹‧萬自澳洲最傑出的藝術家中匯集了當代原 住民攝影、錄像與裝置藝術作品。

這項展覽對亞洲與澳洲的觀眾無疑是一種刺激和挑戰。對於萊斯里‧奧維、莎拉‧邦德與 Asialink團隊對支持此重要計畫的承諾與遠見，我謹表推崇，並感謝資深策展人譚西‧柯廷 在策展方面的投入與專案管理。

我藉此機會對以下協助實現此計畫的支持者謹致謝忱：澳大利亞藝術委員會、澳大利亞外交 貿易部、戈登‧達林基金會、巴森家族基金會。此外，我也向轄有班迪哥市美術館並全心支 持我們展覽計畫的大班迪哥市表示謝意。

班迪哥市美術館很高興與Asialink合作《影之生》展覽，這項展覽將於2013年在班迪哥市美 術館展出，於此之前則在2012年間巡迴亞洲展出。

凱倫‧昆蘭 班迪哥市美術館館長

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Foreword

Shadowlife is a significant exhibition that will assist in developing a deeper understanding of contemporary Australian art and the multiplicities of Indigenous culture in Australia. Curators Natalie King and Djon Mundine OAM have brought together an outstanding collection of contemporary Indigenous photography, moving image and installation by a selection of Australia’s most significant artists.

This exhibition will undoubtedly excite and challenge audiences in Asia and Australia. I commend Lesley Alway and Sarah Bond and the team at Asialink for their commitment and vision in supporting this important project and thank Senior Curator Tansy Curtin for her curatorial input and project management.

I take this opportunity to acknowledge the supporters of this exhibition who have assisted in the realisation of this project: the Australia Council for the Arts, Department of Foreign Affairs and Trade, Gordon Darling Foundation and Besen Family Foundation. I also acknowledge the City of Greater Bendigo which owns and operates Bendigo Art Gallery and who wholeheartedly supports our exhibition program.

Bendigo Art Gallery is delighted to be working in partnership with Asialink on the exhibition Shadowlife that will tour Asia in 2012 before its display at the Bendigo Art Gallery in 2013.

Karen Quinlan Director Bendigo Art Gallery

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前言

長久以來我一直相信，當你有了藝術，你就有了聲音；當你有了聲音，你就有了自由，伴隨 自由而來的則是巨大的責任。

澳洲的歷史或歷史之乏善可陳，已使原住民和托列斯海峽島民的藝術，成為構築我們國家過 去與當下所發生事實之不可或缺的重要環節。

我觀察到，當我們原住民和島民實踐我們的藝術、當我們透過自己眼睛訴說我們的事實，我 們就說出了我們國家的歷史被隱藏的真相、我們就照明了我們當下有時令人憎惡的事情，同 時，我們也就為未來的子孫植下許多希望的種子。作為藝術家，我們還被賦予維護和記錄我 們這個時代舊有文化習俗的責任和榮譽，也肩負著詮釋我們當代的儀式、藝術與聲音之必 然任務。隨著這些藝術行動，我們不僅對我們的自由與發聲負責，我們也勇於行動，以消弭 「溫和殖民」的澳洲這類神話。我們用我們的聲音、圖像、符號以及對文化衝突的解釋，粉 碎那些禁錮著我們民族與議題的被強加的刻板印象。 《影之生》呈現出屬於這巨大的藝術之聲的溫能‧阿奇(Vernon Ah Kee)、賓蒂‧蔻勒(Bindi Cole)、布蘭達‧L‧郭芙特(Brenda L. Croft)、戴斯特妮‧狄肯 & 維吉妮亞‧芙瑞瑟(Destiny Deacon & Virginia Fraser)、費歐娜‧佛蕾(Fiona Foley)、蓋瑞‧李(Gary Lee)、麥可‧瑞雷 (Michael Riley)、伊凡‧森(Ivan Sen)與克里斯提安‧湯普遜(Christian Thompson)的攝影、動 態影像與裝置作品。他們的影像作品，呼籲作為觀眾的你，去超越加諸於你的社會工程，他 們哭喊著要你警惕歧視的多種偽裝、為你指出內心的種族主義，並挑戰你對種族、文化和信 仰的自我認知。

當一個國家開啟了將歷史視為個人真相的艱鉅旅程，我們即已開始停止去承受一種幼兒版的 歷史，也開始建立一個歡迎所有人回家的國度。此旅程的一個關鍵，是透過藝術家的眼睛去 觀看。我請你鼓起勇氣，與這些藝術家一起踏上征途，放開你的壓抑，挑戰自己，並透過 一千五百代說書人之守護者的眼睛來看這個世界。

理查‧J‧法蘭克連 Gunditjmara 族 © December 2011

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Foreword

I have long believed that when you have art you have voice, and that when you have voice you have freedom and with that freedom comes great responsibility.

The history or lack of visible history in Australia has crystallized Aboriginal and Torres Strait Islander art into an integral and vital part of the reclamation of the truth of our nations past and our contemporary happenings.

I see that when we Aboriginal and Islander people practise our art, when we tell our truth through our eyes, we tell the hidden truth of our nation’s history, we shine a light on our sometimes horrific contemporary happenings and we plant many seeds of hope for our future children. As artists we are also charged with the duty and honour of maintaining and recording our age old cultural practise and the inexorable task of interpreting our contemporary ritual, art and voice. With these artistic actions we are not only responsible with our freedom and voice, we are courageous in our act of dispelling the myth of the ‘gently colonised’ Australia. We use our sounds, images, symbols and interpretations of the cultural clash, to shatter the imposed stereotyped image that cages our people and issues.

Shadowlife presents photographic, moving image and installation work by Vernon Ah Kee, Bindi Cole, Brenda L. Croft, Destiny Deacon & Virginia Fraser, Fiona Foley, Gary Lee, Michael Riley, Ivan Sen and Christian Thompson who are part of this great artistic voice. Their photographs call out for you, the viewer, to see beyond your social engineering, they cry out for you to be vigilant for the many guises of discrimination and for you to locate the inner racist and challenge your own perceptions of race, culture and creed.

When any nation begins the arduous journey of seeing history as a personal truth we begin to cease to live with a nursery version of that history. And we begin to build a country that welcomes us all home. A key part of that journey is to see through the eyes of the artist. I invite you to have the courage to go on this journey with these artists, let go of your inhibitions, challenge yourself and see the world through the eyes of the caretakers of one thousand five hundred generations of story tellers.

Richard J Frankland Gunditjmara people © December 2011 11

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專文 Catalogue Essay

13

與影對話 狄翁‧蒙丹‧萬 & 娜塔莉‧金 (Djon Mundine OAM & Natalie King)

當光線照向一樣東西或一個人時，便會投射出一個陰影。一

我們過去所遭遇的任何事件和人物，都會存在於我們的心靈

個人不可能擺脫他的陰影，陰影也無法離開其本人而獨立存

深處，但真正重要的是，我們現在對於這些陰影如何處理和

在。每個陰影都有其本身存在或闕如的故事。澳洲大陸的情

反應。在奧立佛‧史東(Oliver Stone)於1994年所執導的《閃

況更是如此，無所不在的幽靈和陰影將歷史、社會和物質景

靈殺手》(Natural Born Killers)中，片中角色 Micky Knox(伍

觀折騰得千瘡百孔。每一段歷史都是陰影橫生的鬼故事—有

迪‧哈里森 Woody Harrelson 飾)指著牆上自己的陰影，將自

1

幾分「傷痕」 故事的味道。《影之生》(Shadowlife)展透過

己的暴力「陰影」天性，怪罪於父母、歷史和社會。

九位原住民藝術家(和一位非原住民合作藝術家)採用以照片/ 1940年代，有個叫「陰影」(The Shade)的連環漫畫人物，

影片為主的表現方式，訴說這些情緒強烈時刻的故事。

他可以用一根魔杖操控陰影，將一個地區帶入黑暗中。1980 弗朗茲‧法農(Frantz Fanon)曾寫道，殖民主義和種族主義

年代，安恆地區(Arnhem Land)原住民使用 shade 這個英文

是深埋在殖民文化表現之所有面向中的暴力形式，它們是如

字來形容靈體的陰影，而不是用 shadow，用意就是要強調

此地微妙而普遍，以致於讓人察覺不出來。他舉出一個黑人

靈體陰影的掩護、隱蔽和陰暗特徵。Djambarrpuyngu 原住

(其實是他自己)的認同分裂實例來闡述他的論點：他先在法屬

民語中的 Warraw 這個字所指的 shade，是一個用多葉樹枝

馬提尼克島(Martinique)在黑人觀眾中看了《泰山》(Tarzan,

做頂篷和邊牆的叉桿結構物。裡面放著神聖而偉大的靈體代

2

1932)，後來又在巴黎與白人觀眾一起看了同一部電影。

表物，在天啟儀式表演中向新成員展現。新成員被視為是 聖潔的，他們會照指示躺在 shade 裡面。shade 做為動詞

保守思想家或許會告訴我們，新科技在種族、性別、經濟和

有隱蔽或掩藏的意思，它的反義詞是 light (照亮)。安恆地區

政治方面應該是中性的，但科技的某些固有特徵，可能使得

Djambarrpuyngu 語中 Wungguli 的意思是心靈和陰影，也被

特定族群被排除在外，無法接近或聽聞這些新科技，或隨之

用來形容攝影影像。1960年，原住民歌手吉米‧里托(Jimmy

而來的權力體系。我們都知道，儘管新科技非常地「新穎」

Little)唱過一首電影同名歌曲《回力棒之影》(The Shadow

(newness)，但它們往往反而強化了本來應該破除的刻板印

of the Boomerang)。有些畫家利用陰影來表現一個物體或人

象。我們是在使用新科技創造舊藝術嗎？藝術本身無法獨立

物的立體或三維圖像，畫上陰影後，便可強調出物體的物理

存在，它有其本身的責任，也要求得到反應。陰影如果不模

特性，人物個性也能產生聚焦效果。1980年代中期以來，原

糊，還算什麼陰影？

住民攝影者透過對攝影的運用得以進行角色扮演、自我呈現 和肯定，而變得更有力量。在《影之生》展覽中，每位藝術

1945年，當一枚原子彈在廣島市上空爆炸時，一個坐在住友

家詮釋自己所熟悉的人物，也許是他們本人、家人或街坊鄰

銀行階梯上的男子瞬間蒸發，他「燒焦」了的陰影圖像，仍

居，重述並還原有關陰影的故事。每位藝術家都是說故事的

留在銀行建築物的階梯和牆壁上。東西在轉變點上(正午時分)

人，編織著屬於他們自己的故事。

是不會產生陰影的。 14

Conversations with a Shadow Djon Mundine OAM & Natalie King

When light shines on something or someone, a shadow is always cast. A person can never desert its shadow and a shadow cannot leave its human original. Every shadow has its own presence and absence. And no more so in this continent, Australia, full of ghosts and shadows honeycombing the historical, social, and physical landscape. Each story is a ghost story loaded with shadows – a kind of ‘Scar’1 story.

Shadowlife addresses these moments of intensity through the photo/filmic-based practices of nine Aboriginal artists (and one non-Indigenous collaborator).

Frantz Fanon wrote that colonialism and racism are forms of violence embedded in every facet of colonial cultural expression, so subtle and pervasive as to be invisible. To make his point he described the cruel disjunction of a black man (himself) watching the film Tarzan (1932) with a black audience in French colonised Martinique, and later watching the same film in a white audience in Paris.2 Conservative thinkers would tell us that new technology is supposedly race, gender, economically, and politically neutral, yet certain inherent features of a technology can shut particular people out from access to it; from knowledge of, or a system of power associated with it. We know how despite its very ‘newness’, a new technology can reinforce the stereotypes it supposedly refutes. Are we making old art with new technology? Art doesn’t exist on its own. It has its own responsibility and asks for a response. What is a shadow if not ambiguous?

When an atomic bomb exploded over Hiroshima in 1945, a man sitting on the steps of Sumitomo Bank was vaporized but his shadow image remained ‘burnt’ onto the steps and wall of the building. Things cast no shadow at the point of change, at mid-day.

Events and characters encountered in one’s past remain in our psyche but it’s how we act and react in the present away from this shadow that is important. In Oliver Stone’s 1994 film, Natural Born Killers, the character Micky Knox (played

by Woody Harrelson) pointing to his own shadow on the wall, blames his parents, history, and society for his violent ‘shadow’ nature.

In the 1940s there was a comic strip character called The Shade, who could manipulate shadow with a magic cane, bringing an area into darkness. Aboriginal people in 1980s Arnhem Land, in describing the shadow of a spiritual entity use the English word ‘shade’, meaning to cover, to blind and to darken, in preference to shadow. Warraw, a Djambarrpuyngu word, refers to ‘shade’ as a fork-stick structure with leafy branches as its roof and walls. Sacred powerful representations of spirit entities are placed inside and revealed to initiates in revelatory performances. Initiates themselves, seen as sacred objects, are also laid inside this ‘shade’. To shade is to blind or cover, light is its antonym.

Wungguli, an Arnhem Land Djambarrpuyngu word, means spirit and shadow and came to describe a photographic image. In 1960, Aboriginal singer Jimmy Little had a hit song with The Shadow of the Boomerang, from the film of the same name. Some painters use shadows to make an object or person appear solid or three-dimensional. When painted shadows are deployed to enhance physical features, personal characteristics come into focus. Since the mid-1980s, Indigenous photographers have become empowered through the use of photography for role-playing, self-representation and affirmation. In Shadowlife, each artist portrays familiar figures, whether themselves, family or community members to recast and reinstate shadow stories. Each artist is a storyteller who choreographs their own narrative.

15

溫能‧阿奇(Vernon Ah Kee)從藝術學校時代便開始從事攝影

布蘭達‧L‧郭芙特(Brenda L. Croft)的〈城裡人〉(Man about

及基於文字的藝術創作，後來轉而從事肖像畫—畫自己的祖

town，2003年)攝影系列作品是一溫馨、豐富的復刻版，對她

先和家人—和影像藝術創作。後來他又在作品中加入「饒舌

父親及二次大戰後的傳奇年代表達敬意，在那個年代，人人

歌」(Rap)，將其作為一種工具，以便讓吟唱和非正式英文

都是電影明星，對未來充滿了希望。儘管有1950年代的種族

成為「其他」人創作自由形式詩歌的一種範例。他2004年的

歧視，但人們都感覺有義務要快樂地活下去。郭芙特為1950

作品〈一般是白人，我是黑人〉(Whitefella normal, blackfella

年代中期所下的註解就是「繁榮、天真、樂觀主義。馬巴克

me)利用簡短的饒舌歌描述自己的特徵，來探索語言和吟唱

(Marbuk)的幽靈陰森地逼近，這是澳洲白人精神上的黑暗巨

的運用。阿奇有著辛辣而憂鬱的個性，他從街頭吸取關懷和

魔。陰影籠罩大地…」 。郭芙特找到一盒父親留下的幻燈

情緒元素。正如他的作品所展現的，從聽覺上來表達問題，

片，為父親生前的生活展現了吉光片羽。在幻燈片中，她看

聽起來極為優美、簡潔而富有詩意。就像輓歌的副歌一樣，

到父親穿著整齊地倚在某個荒涼澳洲城市街道上的停車收費

阿奇在他的自肖像作品中鐫刻著 poorfella、happyfella 和

器留影，還有穿著套裝拿著公事包神情愉悅地站在機場柏油

couragefella 等警語。阿奇簡潔有力的標語，立刻將我們帶入

地面上白色圍籬前拍照，不知道要去什麼地方。郭芙特想要

有關社會問題及種族歧視口語詩的政治領域。

從那逝去的年代中追思父親過去身影的心態，是非常私密且

3

誠摯的。 賓蒂‧蔻勒(Bindi Cole)的早期作品〈西斯塔女孩〉

16

(Sistagirls，2010年)系列表現出聖基爾達(St. Kilda)紅燈區(她

戴斯特妮‧狄肯與維吉妮亞‧芙瑞瑟(Destiny Deacon and

母親世界的一部分)變裝癖男性和澳洲北端近達爾文市的提維

Virginia Fraser)利用洋娃娃和日常物品擺設出荒謬卻有說服

群島(Tiwi Islands)男孩的迷人魅力。他們不但是變裝癖者，

力的裝置，來模擬城市家庭中的情景。他們利用洋娃娃、背

也是跨文化者。這次參展的影像作品比較傾向於她的原住

景布幔和各種道具，熟練地扮演苦情連續劇，以喧鬧的幽默

民父親族系和家族。賓蒂‧蔻勒2011年的作品〈70個7次〉

訴說著種族歧視和迫害的故事。他們2001年一件作品的名

(Seventy Times Seven)探索個人與社群的交會。在引發爭議

稱〈強迫入鏡〉(Forced into images)引自非裔美籍作家愛麗

的影像作品中，包括蔻勒本人在內的原住民參與拍攝者願意

絲‧沃克(Alice Walker)的話語。芙瑞瑟和狄肯透過作品闡明

對著鏡頭向澳洲白人社會說：「我原諒你們。」在近距離拍

人們如何適應或拒絕刻板的生活。兩個孩子(一個小女孩和同

攝的影片中，每個人的面孔都充滿了鏡頭，當他們說出原諒

齡小男孩)被安排在聚光燈下，透過攝影鏡頭，並在視覺上所

的話語時，透露出張力強烈的複雜情緒，從怨懟、落寞以至

謂的「遮蔽」中，兩個孩子在玩笑中逐漸顯露他們的個性，

憂傷。對蔻勒來說，個人原諒了父母親的缺點，讓她的人生

表現出來的效果有點像披露式的人際往來分析。這段簡短的

可以繼續走下去，但這樣的和解也適用於澳洲社會中更為廣

影像故事，體現了黑麋鹿(Black Elk)像詩一樣的佈道，提醒我

泛的歷史罪行嗎？

們從兒童們身上，去尋找最深刻的免費教材 。

4

Vernon Ah Kee worked with photography and text-based art from his art school days then moved to portraiture – drawing his forebears and family members – and to video. ‘Rap’ came into being as a tool to ensure that chanting and nonformal English became a ritual of free form poetry by ‘other’ people. Whitefella normal, blakfella me (2004), explores language and chanting in a short rap song featuring himself.

Biting and black, Ah Kee aerates concerns and emotions from the streets. As it is, the issues expressed aurally are profoundly beautiful, pithy, and poetic. Like an elegiac refrain, catchphrases such as ‘poorfella’, ‘happyfella’, ‘couragefella’ are inscribed over a self-portrait of Ah Kee. Short and punchy, Ah Kee’s slogans take us into the political realm of spoken poetry about social issues and racism.

Bindi Cole’s earlier, Sistagirls (2010) series, glamourized the cross-dressing male community of red-light St. Kilda, part of her mother’s world, and the boys of the Tiwi Islands near Darwin to the far north. They were cross-dressers and crosscultural. The video in this exhibition is more attached to her Aboriginal father’s side and family. Seventy Times Seven (2011) explores how the personal and societal meet. In a contentious work, filmed Aboriginal participants including Cole were willing to say “I forgive you” to white Australian society on camera. Filmed at close range, each face fills the cinematic frame while uttering words of forgiveness imbues an intense emotional range from defiance, reticence to sorrow. For Cole, a personal forgiveness for her parent’s shortcomings allowed her to move on – can this be applied to society’s wider historical crimes in the Aboriginal context?

Brenda L. Croft’s Man about town (2003) photographic series is a beautifully warm, rich reprint homage to her father and a romantic post-WWII time where everyone was a movie star and there was hope for a future. Despite the racism of

the 1950s, people took on a responsibility to be happy. Croft associates the mid-1950s with ‘prosperity. Naivete. Optimism.

The spirit of Marbuk looms large, the dark ogre of white Australia’s psyche. Shadow lands…’3 Croft found a box of slides belonging to her father providing a glimpse of his former life. He appears smartly dressed in a deserted Australian city street leaning against a parking meter or debonair in a suit and satchel on the tarmac before a wire fence, his destination unknown. From a bygone era, Croft’s memorial gesture of reprinting her father’s past is deeply personal and heartfelt.

Destiny Deacon and Virginia Fraser enact urban domestic stories with dolls and everyday objects configured into hilarious yet potent situations. Using dolls, fabric backdrops and props, they tell grim soap operas deftly uncovering stories of racism and persecution with raucous humour. The title, Forced into images (2001), is derived from a quote by African American author Alice Walker. Fraser and Deacon unravel how people either live up to and/or reject typecasts.

Two children, a young girl and equally role playing boy, are placed in the spotlight, under the camera’s eye, in a visual metaphorical ‘shade’, where they gradually unveil their personalities in play, acting out a kind of revealing transactional analysis. The short moving image novella illustrates Black Elk’s poetic sermon reminding us to look to children for the most profound free lessons.4 From filming shadow scenarios, the cross cultural duo moved to Colour blinded (2005): a space of harsh yellow light where no shadows are cast and all colour is neutered.

Six photographs including three of Deacon’s brother, playwright Johnny Harding with a disheveled doll, were shot on orthochromatic film resulting in a subtle alteration of the accustomed balance between blacks and whites. Viewers entering the space temporarily become part of the artwork 17

這兩位跨文化的藝術家從拍攝陰影情節轉而創作〈色盲〉

過去的創傷？影片〈極樂〉(Bliss)中鮮艷花朵芬芳醉人，掩飾

(Colour blinded，2005)：在一個刺目黃光的空間中，沒有任

著佛蕾所發掘的陰暗歷史。

何陰影，所有顏色都是中性的。他們利用正色底片拍攝六張 照片，包括三張狄肯的兄弟亦是劇作家強尼‧哈汀(Johnny

費歐娜‧佛蕾2011年的作品〈採蠔人〉(The Oyster Fisherman)

Harding)抱著一個衣衫凌亂的洋娃娃的照片，使得一般所習

將她的歷史故事從飄渺的極樂世界帶到具象的現實世界。早

慣的黑白平衡產生了微妙變化。進到這個空間的參觀者暫時

期的殖民地開拓者津津樂道的莫頓灣(Moreton Bay)天藍海

也成了作品的一部分，因為燈光也將他們淡化成黑白相片的

水，指的就是藍色天空映入泥沼和水中的倒影。這個河流出

感覺。在巴黎展出時，芙瑞瑟聽到一位參觀者用法語問她的

海口曾經是各種泥蟹、魚類和貝類的樂園，其中包括我們現

5

朋友：「我們是活的還是死了？」 兩個透明壓克力櫥窗裡

在所稱的雪梨石蠔(Sydney Rock Oysters)。直到有一天，大

裝滿著塑膠球，還有許多編織的黑面布娃娃坐在裝置內部。

野獸闖入了樂園。牧羊人、海豹船、捕鯨船、伐木人和採蠔

由於白色塑膠球太多了，布娃娃被壓得像要窒息的樣子，被

人屬於歐洲人社會下緣的工作者，在殖民接觸中，正是這些

困在透明的櫥窗壁之間。我們聽見影片中傳出哈汀向我們嗆

殖民者活動背離了殖民協議和倫理，掠奪了原住民社群的生

聲：「你們看什麼？」這倒提醒了我們，盯著這個令人毛骨

存空間。原住民們對區內綁架及凌虐原住民婦女案件的初期

悚然的環境看，的確是個怪異的經驗。

反應，換來的是1834年賓達利(Bindahli)莫頓灣殖民區(今布里 斯本市)當著區內所有原住民族人的面執行的第一件絞刑，向

費歐娜‧佛蕾(Fiona Foley)以優美搖曳的罌粟花影片，重新詮

族人宣示殖民者的力量。佛蕾透過作品重演這個故事，並自

釋一段1850年代昆士蘭原住民部落被迫染上鴉片癮的歷史。

己擔任女主角，穿著代表希望與無邪的明亮藍色洋裝，以道

佛蕾以堅定的率直，探尋澳洲殖民歷史持續生發的意義。澳

具配合姿勢，與幾個穿著殖民者服飾的戲劇演員演對手戲。

洲有兩段殖民歷史仍然未見天日：澳洲原住民史、澳洲原住 民與亞洲社會互動史。在歐洲人於1700年代踏上澳洲大陸數

「我的攝影是我用來記錄平凡人之美的方式之一。我所謂的

百年前，望加錫(Macassan)和中國的探險家及商人便已時常

美不僅在於年輕或成熟，還有一部分態度和神情的因素。一

地造訪澳洲了。在望加錫人方面，造訪及交易活動一直持續

個人散發出的純真之美，其魅力可能不亞於性感，只是人們

到1908年。而中國人更在1800年代大量移民澳洲，並在各行

不自覺而已—正是這種美吸引著我。」─蓋瑞‧李(Gary Lee)

各業中有很蓬勃的發展。然而，在澳洲社會的社會政治生活 中，仍然幾乎看不見華人的身影。

蓋瑞‧李的生命從菲律賓、中國、德國、日本和 Larrakia 原住 民族的故事開始。這些淵源中的任何一個，都足以讓他活在澳

18

哲學家們經常探討存在與「非存在」(或是清醒與睡眠)之真實

洲社會的陰暗處。1980年代初的一趟印度行，讓他開始愛上

與夢境的問題。澳洲人(事實上包括絕大多數國家)是否生活在

混雜在人群中的感覺—身為棕色皮膚亞洲人處於同為棕色皮膚

一個快樂的夢境狀態中，完全無視於歷史現實，不願去面對

的人群中，而非身處澳洲白人社會中，一看就是明顯的外人。

as the lights reduce them to monochrome as well. In Paris, Fraser heard one viewer asking her friend in French: “Are we alive or dead?”5 Two perspex vitrines packed with polystyrene beads and knitted Gollywog dolls sit within the installation.

So many white beads, so dense that the dolls are pressed suffocating and trapped within the clear walls. We hear Harding’s voice challenge us from the video – “What are you looking at?” reminding us that staring in this eerie environment is an uncanny experience.

Fiona Foley reinterprets the history of enforced opium addiction in the Queensland Aboriginal community in the 1850s in a poetic video of swaying poppies. Foley traces the on-going significance of Australia’s colonial histories with uncompromising directness. Two colonial histories have remained in the shadows here: the Aboriginal history of Australia and the interaction with Asian societies. Macassan and Chinese explorers and traders regularly visited Australia hundreds of years before European visitors in the 1700s. In the case of the Macassans the visits and trading continued up to 1908. Chinese immigrants came to Australia in great numbers in the 1800s and prospered in various professions and businesses, and yet remained practically invisible in the socio-political life of Australian society.

Philosophers often discuss reality and dreamlike states of being, and ‘unbeing’; awareness and sleeping. Do Australians (and most countries in fact) live in a happy dreamlike state ignoring the reality of history to avoid the trauma of the past?

Luscious and hypnotic, the video Bliss of colorful flowers belies the insidious history that Foley has uncovered.

The Oyster Fisherman (2011) moves her history stories from ethereal bliss to concrete reality. Early colonists remarked on the especially blue waters of Moreton Bay, the reflection

of the blue skies in the mud and water. This river estuary was a paradise of mud crabs, fish, and shellfish of all kind including what are now called Sydney Rock Oysters. Into this paradise entered a beast. Shepherds, sealers, whalers, woodsmen, and oyster fishermen worked on the lower edges of European society and it is that element that, away from the colonial settlement and morality, most often brushed up against Aboriginal society in the colonial contact. Early reactions to kidnapping and abuse of Aboriginal women in this area led to the first hanging in the Moreton Bay colony [now called Brisbane] of Bindahli in 1834 in front of all the tribesmen of the area as an example of colonial power. Foley replays this narrative casting herself as the female protagonist in the promise and innocence of a vivid blue dress set against dramatic characters in colonial attire with props and poses.

‘My photography is a way to record the beauty of ordinary men. This beauty is not just a matter of youth or maturity.

It’s partly about an attitude, a look. The men might exude innocence as much as sexuality. Often it’s a kind of beauty that they aren’t even aware of – and that attracts me.’ Gary Lee, 2010.

Gary Lee began life from Filipino, Chinese, German, Japanese, and Larrakia Aboriginal stories. Any of these path lines placed him in the shadows of Australian society.

A trip to India in the early 1980s found him relishing the anonymity of being himself, as a brown skin Asian man among a brown skinned people, as against being the obvious outsider in a white Australian population. Originally a painter and designer, he moved to critical writing, theatre scripts, and curating before focusing on photography. His ongoing series, On the verge, captures youthful semi-clad men in various poses, suggesting intimacy and familiarity. Set against verdant foliage, these portraits of male adolescents who are 19

蓋瑞‧李原來是個畫家和設計師，後來轉而寫評論、編劇和策

克里斯提安‧湯普遜(Christian Thompson)的錄像作品〈Gamu

展，之後又專門從事攝影創作。他正在進行中的系列作品〈在

Mambu (純種歌)〉(Gamu Mambu (Blood Song)，2010年)呈

邊緣〉(On the verge)，捕捉年輕男子展現青春肉體的各種姿

現的是一位荷蘭籍巴洛克歌手以 Bidjara 語—湯普遜自己的母

態，暗示親密和熟稔的關係。在觀葉植物的背景前面，這些對

語—唱著一首歌，訴說叢林和狩獵的傳統故事。透過英文字

自己膚色非常自在的少男，毫無掩飾地直視著鏡頭。蓋瑞‧李

幕，湯普遜利用來自全然不同的時代與文化中的對比鮮明的圖

從事攝影創作的目的就是要追求和捕捉「男性美」的概念。這

像，將它們混成神祕的混合體。湯普遜以此說明，許多少數民

種創作理念可以追溯到希臘和羅馬時代。

族其文化族群裡深具價值的故事，是如何被傳達、接受和有心 地整合，終至被顛覆成異文合併的文化歷史。

在澳洲東南部原住民文化生活裡，電影製作是真正的當代藝 術形式。伊凡‧森(Ivan Sen)的作品〈塵〉(Dust，1999年)在

《影之生》展覽透過動態影像的直接性、戲劇性和即時性來

新南威爾斯州西部競爭性的物質、社會和歷史景觀中摸索出

直視刻板印象，並以表演方式來顯現那些情境。陰影，就像

一條自己的路。影片呈現最廣義的殖民景觀，無論從棉花種

攝影和動態影像一樣，跟隨著我們，並滲入我們的日常生活

植的經濟農業或從原住民被社會性遷移的角度看來，情況都

中，但現在成為我們可以控制和預期的一種表情。這些陰影

是如此。然而這片土地日常生活的表面下滿是陰影與鬼魂，

欣慰地在我們四周盤旋，將我們帶回過去，並為我們指引未

這部短片在一陣沙塵暴將遭遇麻煩的幾個角色紛亂地湊在一

來。當陰影傳遞著歷史的詛咒時，就如雙面刃一般，既是我

起之時達到高潮。

們的守護者，也是角色的創造者。

麥可‧瑞雷(Michael Riley)在從事電影製作之前，學習的是 攝影。他從1980年代初開始全面從事電影製作。他1995年 的序列作品〈他們叫我黑鬼〉(They Call Me Niggaar)是以他 的原住民策展人朋友大衛‧普羅瑟(David Prosser)穿著新的

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亞曼尼(Armani)西裝的影像所組成。以美術拼貼形式呈現的

識份子所遭遇的苦難。一般公認第一部傷痕文學作品是盧新華於1978年發表 痛斥共黨的虛偽和腐敗的小說《傷痕》(Scar)。 http://en.wikipedia.org/wiki/

貶抑字眼，在鮮紅色背景前面，按照字母順序一一揭露出輕 蔑和揶揄之意。瑞雷所表達的是，在許多種族主義者眼中， 無論大衛穿著多麼體面，或事業多麼成功，大衛始終只是個 「黑奴」(nigger)，是白人社會的陰影！普羅瑟實際上是來自

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傷痕文學是中國在1970年代末，毛澤東去世不久，出現的一種文學創作風 格，主要描述在四人幫領導的時代悲劇文化大革命期間，共產黨幹部和知

Scar_literature (2012年2月擷取)。 2.

弗朗茲‧法農(Frantz Fanon)，《黑皮膚；白面具》(Black Skin, White

Masks)，Richard Philcox翻譯，Grove Press，紐約，2008年(1952年初版)。

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布蘭達‧L‧郭芙特，〈城裡人：創作自述〉(Man about town: artist

statement)，2003年，未註明頁碼。

Gumbaynggirr 語族，而諷刺的是，在 Gumbaynggirr 語中，

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約翰‧G‧奈哈特，《黑麋鹿如是說：蘇族奧格拉拉部落一聖人的生平(G.

Niggaar 的意思是「男人、某人或人類」。

Oglala Sioux (as told to G. Neihardt) )，Bison Books，美國，2004年)。

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與維吉妮亞‧芙瑞瑟的電子郵件通信，2012年1月。

Neihardt轉述)》(Black Elk Speaks: being the life story of a holy man of the

comfortable in their own skin stare directly at the camera. His practice in photography seeks and pays homage to ideas of ‘male beauty’ that has antecedents going back to Greek and Roman times.

Filmmaking is the true contemporary art form of Aboriginal south-eastern Australian cultural life. Ivan Sen’s Dust (1999) feels its way through the contested physical, social, and historical landscape in western New South Wales.

Here is a landscape colonized in the fullest sense; in economic agricultural terms in cotton farming, and the social displacement of the original inhabitants. But the land is full of shadows and ghosts that lie just below the surface of everyday life. This short film culminates in a dust storm that brings the troubled characters together in a tumultuous way.

Michael Riley studied photography before moving into filmmaking, and around the early 1980s took to filmmaking more fully. His 1995 They Call Me Niggaar sequence comprises an image of Aboriginal curator and friend David Prosser dressed in his new Armani suit. Against a bright red background, an alphabet of sneer and ridicule unwraps itself in the form of collaged derogatory terms. Riley made the statement that for many racists it wouldn’t matter how well he dressed or how successful he was, for them, David would always remain just a ‘nigger’, a shadow of white society!

Prosser is in fact from the Gumbaynggirr language group and the irony is that the word Niggaar in Gumbaynggirr means ‘a man, a person, a human being’.

Christian Thompson’s video Gamu Mambu (Blood Song) (2010) shows a Dutch national baroque singer performing a song in Bidjara – the language of his heritage, telling traditional tales about the bush and hunting. With English subtitles, Thompson harnesses contrasting iconographies

from completely different times and cultures, blending them into magical hybrids. Thompson illustrates how stories of many differing minority cultural groups have value and can be expressed, received, and seriously integrated, ultimately subverting and conflating cultural histories.

Shadowlife embraces moving image with all its directness, theatricality and immediacy by confronting stereotypes and acting out scenarios. Shadows, like photographic and moving images, follow us and infiltrate our daily lives but are now an expression we control and project. These shadows comfortingly hover around us, returning us to our past and pointing to our future. Double-edged, they are both protective guardian, and character building as they impart the curse of history.

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2.

3.

4.

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Scar literature or literature of the wounded is a genre of Chinese literature which emerged in the late 1970s, soon after the death of Mao Zedong, portraying the sufferings of cadres and intellectuals during the tragic experiences of the Cultural Revolution and the rule of the Gang of Four. The first exemplar of the genre is generally agreed to be Lu Xinhua’s 1978 story “Scar”, which attacked official hypocrisy and corruption. http:// en.wikipedia.org/wiki/Scar_literature, accessed February 2012.

Frantz Fanon, Black Skin, White Masks, trans. Richard Philcox, Grove Press, New York, 2008. (first published 1952) Brenda L. Croft, Man about town: artist statement, 2003, unpaginated.

John G. Neihardt, Black Elk Speaks: being the life story of a holy man of the Oglala Sioux (as told to G. Neihardt), Bison Books, USA, 2004.

Email correspondence with Virginia Fraser, January 2012.

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作品 The Works

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溫能‧阿奇 如果你是白人，卻想把自己嵌進黑人的世界，擁有黑人的歷 史，黑人的膚色，並且處於你目前所認知的黑人的地位，你 就會恍然發現，你永遠都只是個次等人。你永遠沒機會參與 這個國家的決策過程，你永遠無法建設性地進入這國家的社 會及政治機制。有時，這個國家甚至會動搖你對這世界的認 知，困惑將�噬掉你對人性的知覺，但至少你會感覺很正常。

〈一般是白人〉，溫能‧阿奇，2004年

Vernon Ah Kee If you as a White man, wish to insert yourself into the black man’s world, with his history, in his colour, and on the level at which you currently perceive him, then know that you will never be anything more than mediocre. You will not be able to involve yourself in the decision-making processes of this land, and you will not have any constructive access to the social and political mechanisms of this land. At times this land will shake your understanding of the world, and confusion will eat away at your sense of humanity, but at least you will feel normal.

Whitefellanormal. Vernon Ah Kee 2004.

一般是白人，我是黑人 (停格影像) 2004 有聲數位影片 30秒 藝術家與布里斯本Milani藝廊提供

Whitefella normal, blackfella me (still)

2004 Digital video with sound 00:30 seconds Courtesy of the artist and Milani Gallery, Brisbane

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賓蒂‧蔻勒 原諒是你送給自己的禮物。原諒是將自己從忿怒和痛苦的重負中釋放出來。當你選擇了原諒，你就等於選擇要 活在當下及未來，而非始終活在過去。原諒並不是忘記，而是釋放自己，繼續往前走。 我是個非常灰心的人。環顧我的原住民社群，我看到許多和我一樣灰心的人。對我來說，如果我不想繼續被 我、我父母和祖先們生命中所遭遇的人物和事件剝奪權利，我就必須原諒。 原諒是索回原有權力的方式，但它不會自然發生，你必須選擇去原諒。 出現在這段影片中的每一個人都是原住民。我們選擇原諒。慈悲是給予那些不值得寬恕之人的。

〈70個7次〉，賓蒂‧蔻勒，2011年

Bindi Cole Forgiveness is a gift you give to yourself. It is a release from the burden of anger and pain. When you choose to forgive, you choose to live in the present and the future instead of the past. It does not mean to forget but it does mean to release and go on.

I was a very broken person. When I look around at my community, the aboriginal community, I see a lot of broken people. For me to stop being disempowered by the people and events in my life, my parents and my ancestors’ lives, I had to forgive. Forgiveness is the way to reclaim power lost. It doesn’t happen on it’s own, you must choose to forgive.

Everyone in this film is Aboriginal. We are choosing to forgive. Mercy is for those who don’t deserve it.

Seventy Times Seven. Bindi Cole 2011.

Warre Beal Yallock 2008 顏料輸出於棉紙 130 x 94 cm 藝術家與墨爾本Nellie Castan藝廊提供

Warre Beal Yallock

2008 Pigment print on rag paper 130 x 94 cm Edition of 5 Courtesy of the artist and Nellie Castan Gallery, Melbourne 28

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Wathauroung Mob 2008 顏料輸出於棉紙 94 x 130 cm 藝術家與墨爾本Nellie Castan藝廊提供

Wathaurung Mob

2008 Pigment on rag paper 94 x 130 cm Courtesy of the artist and Nellie Castan Gallery, Melbourne 31

70個7次 (停格影像) 2011 有聲數位影片 10分21秒 藝術家與墨爾本Nellie Castan藝廊提供

Seventy Times Seven (still)

2011 Digital video with sound 10:21 minutes Edition of 5 Courtesy of the artist and Nellie Castan Gallery, Melbourne 32

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「城裡人」系列—有色柵欄

Colour Bar 2003 from the series Man About Town

2003 藝術微噴、輸出於棉紙 80 x 119 cm 藝術家與雪梨Stills藝廊提供

2003 Giclee print on rag paper 80 x 119 cm Edition of 10 Courtesy of the artist and Stills Gallery, Sydney

布蘭達‧L‧郭芙特 這些影像汲取自我父親生命的深井。身為家裡最大的孩子，也是父親唯一女兒，對這部分我卻並不熟悉。7年前，我接下任務， 整理父親70多年在世歲月的遺物。 小小的房間裡堆著追溯他人生旅程的箱子、書籍和文件資料。在這些東西裡，有一個破舊的紙板鞋盒，鞋盒裡裝著一個舊幻燈片 盒，日期始於1950年代。就像俄羅斯娃娃一樣，幻燈片盒裡裝著一組來自同一捲底片的幻燈片；一段鑲在我父親半世紀前的生 命中的花絮。 我兒時是在週日夜晚觀賞幻燈片的生活中成長的，然而，這些幻燈片卻是我從來都不知道的，由於父親不在了，也無法回答我的 疑問，我只能猜測這些幻燈片可能從那時起就一直被藏著。倒不一定是刻意的，也許它們只是被收起來，之後就被遺忘了。從幻 燈片的內容看來，我推測那些照片是父親和母親認識之前拍的，大約是在1959或1960年，也許更早至1956年。 所以，在接下來的7年中，這些影像一直縈繞在我心裡，我經常將它們拿出來看，對於影像中的城市及鄉村景觀、拍攝的年代以 及照片中父親以外那些不知名的人們，我心中充滿著好奇。他當時還沒成家，在他的單身歲月裡，曾長途旅行到遙遠的東岸。我 感覺，我看了照片後縈繞心中的問題，在父親的那段人生裡，沒人會去問他。

〈城裡人〉，布蘭達‧L‧郭芙特，2003年 34

「城裡人」系列—城裡人 2003 藝術微噴、輸出於棉紙 80 x 119 cm 藝術家與雪梨Stills藝廊提供

Man About Town 2003 from the series Man About Town 2003 Giclee print on rag paper 80 x 119 cm Edition of 10 Courtesy of the artist and Stills Gallery, Sydney

Brenda L. Croft These images are drawn from the deep well of my father’s life, the part of it unfamiliar to me as his eldest child and only daughter.

Seven years ago I assumed the task of packing up the material remains of his life, seventy years or so on this earth.

A small room contained boxes, books and papers tracing his life’s journey. Among these things was an old cardboard shoebox, and inside this box, lay an old slide box, dating from the 1950s. Like a set of Russian dolls, within the slide box were a group of slides, from the same roll of film; a tiny vignette into my father’s life, half a century ago.

I grew up with regular slide nights on Sundays in my childhood, yet as these were unknown to me and without my father to answer questions, I could only guess that they had lain hidden since that time. Not from intent, just that they had been put away and perhaps forgotten. Given their content I also surmised that they were taken before my father and mother had met, which was around 1959, 1960, possibly as early as 1956.

So I carried these images around in my mind for the next seven years, returning to them often, and wondering about the city and country-scapes, the period in which they were set and the anonymous people in them, apart from my father. He did not know his family and in his single years travelled extensively along the eastern seaboard, I feel that there is no-one from that part of my father’s life to ask the questions that I have carried with me, along with the images.

Man about Town. Brenda L. Croft 2003.

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「城裡人」系列—檢修日 2003 藝術微噴、輸出於棉紙 80 x 119 cm 藝術家與雪梨Stills藝廊提供

Inspection Day 2003 from the series Man About Town 2003 Giclee print on rag paper 80 x 119 cm Edition of 10 Courtesy of the artist and Stills Gallery, Sydney 36

「城裡人」系列—有敵意之地 2003 藝術微噴、輸出於棉紙 80 x 119 cm 藝術家與雪梨Stills藝廊提供

A Hostile Landscape 2003 from the series Man About Town 2003 Giclee print on rag paper 80 x 119 cm Edition of 10 Courtesy of the artist and Stills Gallery, Sydney

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戴斯特妮‧狄肯 & 維吉妮亞‧芙瑞瑟 〈色盲〉是我們一起工作時會採用的幾種不同合作方式之一。我們總是從各自思考自己的想法來開始合作。到了某種時機、某個 期限或有某種理由時，我們就會湊在一起。我們很少談到要怎麼做，或者討論想法或方法，只有當我們開始做時，才會交換意 見，但通常也很簡短。簡短的腦力激盪後，我們就各自去工作，每次的創作計畫也許這麼來回幾次。 就以〈色盲〉為例，當時戴斯特妮應邀參加墨爾本的一項展覽，她提議利用鈉燈來創作，維吉妮亞在其他作品中用過鈉燈，但不 是跟戴斯特妮合作的。戴斯特妮想要拍攝黑白照片，維吉妮亞則提議利用正色底片，取它辨認和解析顏色的方式。戴斯特妮想要 借用她弟弟強尼(Johnny)擔任演出者，維吉妮亞則提供了她在市場發現的兩個看來聰明但有點老派的娃娃，其中一個已被蹂躪得 破舊。維吉妮亞有許多小椅子，我們利用了其中一兩張。我們拍攝照片及影片的其他道具和背景，都是在拍攝現場就地取材的。 戴斯特妮拍了一些照片，並策劃影片的大部分情境，維吉妮亞則負責拍攝和剪輯。戴斯特妮想出暴風雪的點子，維吉妮亞就把這 點子表現出來。這就是我們的合作機制。 至於我們創作裡的其他東西，則是我們各自在當下所遇事件之時、咀嚼經驗之時、進到某人私密歷史之時等這些片刻所進行的思 考、實踐及閱讀，並將創作材料、作者彼此以及創作及呈現作品的時機或機會，相互連結起來。 戴斯特妮‧狄肯 & 維吉妮亞‧芙瑞瑟，2011年

Destiny Deacon & Virginia Fraser Colour Blinded exemplifies one of several different ways we work together, when we work together. It always begins with each of us thinking our own thoughts. Then there’s an occasion, a deadline, a reason to put our heads together. We don’t talk much about making work, or discuss ideas and methods, except while we’re doing it, and even then it’s always brief. A bit of brainstorming then we go our separate ways, maybe several times over a project.

In the case of Colour Blinded Destiny was invited to put a work in an exhibition in Melbourne. She suggested doing something with the sodium lights which Virginia had used before in other works, but not with her. Destiny wanted to take black and white photos and Virginia suggested using orthochromatic film because of the way it reads and reduces colour. Destiny wanted to use her brother Johnny as an actor. Virginia offered two wise looking but old fashioned dolls – one of them rather abused – found at a market. Virginia has a lot of small chairs and we used one or two of them. The rest of the props and sets for the photos and video were just who and what was available where we did the shoot. Destiny took the photos and proposed most of the scenarios for the video, which Virginia shot and edited. Destiny had the idea for the snow storms and Virginia made them work. That’s the mechanics of it.

But the other things that go into making something are a result of what we each have been separately thinking, doing, reading and so on between times – current events, chewing over experiences, one’s personal history – in contact with materials and media, with each other, and the occasion or opportunity for making and showing work.

Destiny Deacon & Virginia Fraser 2011.

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色盲(局部) 2005 裝置、正片轉負數位感光輸出、黑人娃娃、聚苯乙烯與透明壓克力箱、低壓鈉汽燈、聲音影片 尺寸因地而異 藝術家與雪梨Roslyn Oxley9藝廊提供

Colour Blinded (detail)

2005 Installation, lightjet prints from orthochromatic film negative, golliwog dolls, polystyrene and Perspex cubes, low-pressure sodium lamps, video with sound Dimensions variable Courtesy of the artists and Roslyn Oxley9 Gallery, Sydney

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強迫入鏡 (停格影像) 2001 超8影片轉DVD格式 9分鐘 藝術家與雪梨Roslyn Oxley9藝廊提供 供

Forced into images (still)

2001 Super 8 film finished on video, DVD format 9:00 minutes, Edition of 20 Courtesy of the artists and Roslyn Oxley9 Gallery, Sydney

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費歐娜‧佛蕾 我不會將自己定位為政治藝術家。我在生命中的不同時期，做過不同主題的創作，所以某一次我以鴉片為主題來創作。我喜歡閱 讀和挖掘歷史中的不同觀點，尤其是昆士蘭的殖民史—這是個一般大眾所不知曉的領域。我對於進入二十世紀之時以及當時澳洲 白人對原住民的態度特別好奇。我讀了許多那段時期的歷史，還有大量的藏書。當你廣泛閱讀時，你就會發現其他人也跟你一樣 困惑。譬如，昆士蘭有著很深厚的中國文化和傳統，於是我開始將歷史中的各個插曲拼湊起來。舉例來說，1897年頒佈的一項 法案《原住民保護及鴉片販售限制法》對昆士蘭原住民族產生很大的影響，造成原住民被統治與被隔離。1897年法案的重要推 手之一阿奇包德‧梅斯頓(Archibald Meston)負責在昆士蘭南部的弗雷澤島(Fraser Island)建立首批的一個管制區，將原住民趕到 隔離範圍內，之後類似的做法便在全國各地複製。所以你開始拼湊原住民如何被對待的各種面向，在此過程中，你還會發現到發 生在這裡的其他殘忍故事，這些故事有些人可能不知道，有些人則是不願意去面對。你開始了解，許多澳洲白人其實根本不想擁 有他們自己的歷史。對我來說，我所做的就是運用這些材料創作，並將之公諸於世，我要說的是：「看著這些故事，你要如何面 對我們歷史中的這個層面？」對許多人來說，這件作品讓他們大開眼界。我將自己的角色定位為一個教育者。

〈費歐娜‧佛蕾與艾里森庫伯勒對談〉，《費歐娜‧佛蕾：被禁止》，雪梨當代藝術館，2010年，頁16。

極樂 (停格影像) 2006 有聲數位影片 11分鐘 藝術家與布里斯本Andrew Baker藝術經紀人提供

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Fiona Foley I don’t see myself necessarily as a political artist. I’ve worked with different themes at different times in my life – so that at one time I could be working with the opium theme. What I like to do is read and unearth aspects of history, particularly Queensland’s colonial history – an area in which the general public is not knowledgeable. I am intrigued about the turn of the twentieth century and what attitudes white Australia held towards Aboriginal people. I read a great deal, and I have a huge book collection. When you read widely, you realise that other people were also in the mix. For instance, there was a strong Chinese culture and tradition in Queensland. Then I start to piece together episodes in history. For example, an Act introduced in 1897 – the ‘Aboriginal Protection and Restriction of the Sale of Opium’ – had a huge effect on Aboriginal people in Queensland, and involved them being reigned in and quarantined. Archibald Meston, who was a key player behind the 1897 Act, was responsible for setting up one of the first missions in the southern part of Queensland on Fraser Island. It brought people into these isolated confines, and this was then replicated across the state. So you start to piece together aspects of how people were treated and dealt with, and in the process you come across other stories of brutality that took place here that people don’t know about or don’t want to acknowledge.

You start to understand that many white Australians really don’t want to own their own history. For me, what I like to do is work with this material and put it out in the public arena and say, “look at this. How are you engaging with this aspect of our history?” For a lot of people it is a huge eye-opener. I see my role as an educator.

‘Fiona Foley in Conversation with Alison Kubler’, Fiona Foley: Forbidden, Museum of Contemporary Art, Sydney 2010, P. 16.

Bliss (still)

2006 Digital video with sound 11:00 minutes Courtesy of the artist and Andrew Baker Art Dealer, Brisbane

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採蠔人 I-XVI (局部) 2011 數位輸出於Hahnemühle紙 1組16幅；每幅 60 x 80 cm 或 80 x 60 cm 藝術家與布里斯本Andrew Baker藝術經紀人提供

The Oyster Fisherman I-XVI (detail)

2011 Digital print on Hahnemühle paper Set of 16 images 60 x 80 cm; 80 x 60 cm Courtesy of the artist and Andrew Baker Art Dealer, Brisbane

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蓋瑞‧李 一個小男孩很快便長成似乎世界都在他腳下的青年，這其中的確有值得一提之處。這種迫切感在一個酷熱的海灘環境中，更顯鮮 明，譬如在雪梨南部布利小鎮(Bulli)的海灘。在這裡，夏日海灘的日子似乎那麼地自由自在，嶄新的世界在遙遠的地方等待，似 乎根本沒人在意。 〈在邊緣〉是我拍攝布利鎮8個「大男孩」一系列人像照片的題目。這8個男孩都是好朋友，年紀都是17歲，除了湯瑪斯是 (Tomas)18歲，也是其中唯一已畢業的男孩。這群男孩在許多方面都正「在邊緣」(on the verge)，正值青少年後期，處於進入成 人期的邊緣、完成學業的邊緣和獨立自主的邊緣，即將離巢，即使不是真的離鄉背景，至少看起來是這樣。 這群玩在一起的男孩—卡藍(Callan)、麥可(Michael)、丹尼爾(Daniel)、戴克朗(Declan)、路克(Luke)、派迪(Paddy)、史蒂文 (Stefan)和湯瑪斯—是在一個清朗的夏季午後，在布利鎮我弟媳(卡藍的媽媽)家裡的後院讓我拍照的。我對他們的唯一要求是， 他們都得穿著泳褲或沖浪短褲拍照。我想要捕捉他們在盛夏的綠色觀葉植物背景下的年輕身體，強調他們青春煥發的感覺。我一 個個為他們拍照，我知道他們都沒什麼「當模特兒」的經驗，但這正是他們作為拍攝「主體」吸引人的地方，而且也散發萌芽的 新鮮感和天真無邪，貼近「在邊緣」這個主題，給人一種「半無辜」(semi-innocence)的感覺。我相信我可以捕捉到他們在個人 生涯的過渡期對自己的人生所持態度的一種真切感。 〈在邊緣〉系列最初的作品包含了每個男孩的2張獨照，於2010年在克里弗頓藝術學校(Clifton School of Art Gallery)展出。這所 學校距離布利鎮很近，而且真的位在一個陡峭的海岸懸崖邊緣。〈在邊緣 2〉發表於布里斯本(2010年4月，是昆士蘭攝影節活動 的一部分)和伯斯(2010年11月)，布利鎮8個男孩的每人單件 獨照，分別與我在2009和2010年間拍攝的另外8個印度瓦拉 納西(Varanasi)男孩的每人單件獨照陳列在一起。形成對比 的是，瓦拉納西男孩的獨照是在隆冬時節拍攝的，雖然他們 也是一群年紀與布利鎮男孩相仿的男孩。我在瓦拉納西拍攝 那些照片時，家鄉澳洲發生一些種族仇恨事件，在那些事件 中，墨爾本的一些印度青年顯然成了種族仇恨犯罪的目標(其 中一件個案甚至造成一人死亡)。我將布利鎮和瓦拉納西男孩 的照片合併呈現的出發點，就是要在這些種族緊張事件緩和 之後，搭起一座文化的橋樑。這兩系列作品也代表我對男性 人像攝影長期興趣的延續，然而，〈在邊緣〉是我第一次嚐 試專門以男性青年為主題的攝影作品，這是在澳洲常會被投 以輕蔑和鄙視態度的主題—面對男性青年自殺率偏高的嚴肅 現實時尤其如此，然而我希望透過作品傳達的則是對男性青 年的公開探討、頌揚和欣賞。 〈在邊緣 3〉包含新拍和重構的布利鎮/瓦拉納西男孩照片。 《影之生》展出的照片便是從這個系列中選出來的。 〈在邊緣 3〉，蓋瑞‧李，2011年

「在邊緣3」系列 2012 數位彩色輸出於Hahnemühle紙 52.5 x 70 cm 藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

On the verge 3 series

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

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Gary Lee There is something about young boys soon to become young men who seemingly have the world at their bare feet. This sense of imminence is amplified in a sultry seaside environment such as Bulli, a small town to the south of Sydney, where the ocean and beach life in summer seem so free, where a whole new world awaits – just out of reach, and seemingly without a care.

On the verge was the name I gave to a series of portraits of eight ‘boys’ from Bulli, all good friends and all 17 years of age, except for Tomas who was 18 and the only one of the group who had finished school. As a group these boys were ‘on the verge’ in various ways, mostly as late teenagers on the verge of young adulthood, of finishing school, of independence, about to leave the nest if not physically at least in outlook.

As a group of mates these boys – Callan, Michael, Daniel, Declan, Luke, Paddy, Stefan and Tomas – were all photographed on a glorious summer afternoon, in the Bulli backyard of my sister-in-law (Callan’s mum). My only request was that they be photographed in their swimming bathers/board shorts. I wanted to capture their youthful bodies against a summery green foliage backdrop to heighten their sense of bloom. I shot them one by one and I knew that they had very little experience of ‘modeling’ but that was also part of their attraction as photographic ‘subjects’, part of their budding freshness and innocence which in keeping with the ‘on the verge’ theme was a kind of ‘semi-innocence’. I believe I was able to capture a genuine sense of their attitude, of what their life was all about at this very transient time in their individual development.

The initial on the verge series comprised two portraits each of the boys, and was exhibited in 2010 at Clifton School of Art Gallery, which is very close to Bulli and which is situated literally ‘on the verge’ of a steep coastal cliff. On the verge II, shown in Brisbane (April, 2010, as part of the 2010 Queensland Festival of Photography), and Perth (November, 2010), comprised a selection of one portrait of each of these boys alongside one portrait each of eight boys from Varanasi, India, which I photographed in 2009/2010. By contrast, the Varanasi portraits were taken in the depths of winter although the boys were of a similar age group to the Bulli boys. At the time I was photographing in Varanasi, there were a number of hostile incidents back home in Australia where a number of young Indian men in Melbourne were the apparent targets of racially-based hate crimes (in one case leading to a fatality). My initial intention in bringing the two series of Bulli/Varanasi portraits together was as a kind of cultural bridge in the wake of these ethnic tensions. Both series also represent a continuation of my abiding interest in male portraiture however On the verge is my first photographic foray with an exclusive focus on male youth, often a subject of disdain and dismissal in Australia – along with the sobering reality of high rates of (male) youth suicide rates – rather than one of open investigation, celebration and appreciation as I hope my portraits convey.

On the verge 3 comprises a new and/or re-configured selection of Bulli/Varanasi portraits. Shadowlife includes the selection of Bulli portraits from this series.

On the Verge 3. Gary Lee 2011.

「在邊緣3」系列—戴克朗，17歲 Declan, 17 from the series On the verge 3 49

「在邊緣3」系列—卡藍，17歲 Callan, 17 from the series On the verge 3

「在邊緣3」系列—湯瑪斯，18歲 Tomas, 18 from the series On the verge 3 50

「在邊緣3」系列—丹尼爾，17歲 Daniel, 17 from the series On the verge 3

「在邊緣3」系列—麥可，17歲 Michael, 17 from the series On the verge 3 51

麥可‧瑞雷 〈他們叫我黑鬼〉反映的是小學時代你經常聽到的別人對你的稱呼，如「黑奴」、「巧克力」、「黑炭」或「維吉麥」等。不止 同學們會用這些可愛的種族歧視字眼叫你，連老師都這麼稱呼你。所有成年人都會拍拍你的頭，叫你一聲「黑炭」，所以這些作 品也從幽默的角度來看待這些稱呼。〈他們叫我黑鬼〉拍的是我的朋友，一位穿著黑色亞曼尼(Armani)西裝的原住民，端坐在一 個沙發躺椅上，並且影像和文字並列，以反映出那些字眼在今天或過去所代表的意義。 作品上的文字是從雜誌剪下來的，字體看似以隨機的方式選擇拼湊。這件作品所要表達的是，不妨從幽默的角度來看待你過去經 常被稱呼的名字。這就好像你走在街上時被最沒水準的白人推倒，只因為你的皮膚是黑的，他們就認為你是最下等的人。其實那 些人自己就是垃圾，才會以為自己有權利這麼做。 麥可‧瑞雷在雪梨新南威爾斯美術館接受赫蒂‧柏金斯(Hetti Perkins)訪問，2003年

Michael Riley They call me niigarr is reflecting on childhood school days when you used to get called all these names like ‘nigger’, ‘chocolate’ or ‘sambo’, ‘vegemite’, all these lovely racist names not only the students but the teachers would call you as well. All grown-ups would pat you on the head and call you sambo, so these works humorously look at a lot of those names. They call me niigarr is a portrait of a friend of mine, an Aboriginal person in a black Armani suit sitting on a lounge, and he is positioned to reflect what those words are or were, juxtaposing the words and images together.

The work was made by cutting out text from a magazine and organising it like a ransom note. That what that was all about, just a humorous look at those words, names that you used to get called. It’s like trashiest whites in the street would put you down because you were black and so you were the lowest of the lowest, you know, these people were actually trash themselves and they think they had the right to do that.

Michael Riley Interviewed by Hetti Perkins at the Art Gallery of New South Wales, Sydney 2003.

「他們叫我黑鬼」系列 1995 顏料輸出 31 x 39.5 cm 麥可‧瑞雷基金會與雪梨Stills藝廊提供

They call me niigarr series

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「他們叫我黑鬼」系列—巧克力 Chocolate from the series They call me niigarr 52

「他們叫我黑鬼」系列—灰仔 (原指非裔美籍人) Dusty from the series They call me niigarr

「他們叫我黑鬼」系列—邦巴 (一種源自非洲的音樂名稱) Bomba from the series They call me niigarr

「他們叫我黑鬼」系列—黑寶 Golliwog from the series They call me niigarr

「他們叫我黑鬼」系列—甘草(黑色喉糖) Licorice from the series They call me niigarr 53

「他們叫我黑鬼」系列—馬巴克(澳洲草原名稱) Marbuck from the series They call me niigarr

「他們叫我黑鬼」系列—黑炭(Sambo通西班牙語Zambo，原指黑人、印地安人混血) Sambo from the series They call me niigarr 54

「他們叫我黑鬼」系列—黑奴 Nigger from the series They call me niigarr

「他們叫我黑鬼」系列—維吉麥(澳洲深棕色麵包醬品牌) Vegemite from the series They call me niigarr 55

伊凡‧森 作為一個人，能夠將原住民的故事(包括我個人的經歷和家族的歷史)搬上螢幕，是令我感到很興奮的事。我人生的第一個創意出 口是攝影，而我的第一件作品就是拍攝我的原住民家族和我們所出身的殖民管制區的照片。就此而言，這反映出我個人的存在， 所以當我轉而拍攝影片時，那只是藝術形式的轉變。即使在我想要訴說我的家族和原住民經驗的故事之時，我也有一些想要藉以 啟發大眾想像力的故事(註1)。 〈塵〉(1999年)是深入西部的產棉之鄉拍攝的。一列汽車駛過泥土路，揚起漫天塵土。勒羅伊(Leroy)因為討厭自己的膚色而憎恨 這世界，他載著母親和另一半，來到棉花田裡，辛苦地除著雜草。他們遇到兩個心裡也不痛快的白人青少年，隨著炎熱氣溫的升 高，雙方顯得劍拔弩張。一陣漫天塵土，以任誰也想像不到的方式，將他們湊在一起。

伊凡‧森 註1 伊凡‧森接受丹‧愛德華(Dan Edwards)訪問 http://afcarchive.screenaustralia.gov.au/newsandevents/afcnews/converse/sen/newspage_284. aspx, accessed January 2012.

Ivan Sen Placing indigenous stories on screen is something that makes me up as a person, and my history and my family’s history. My first creative outlet was photography, and the first thing I did was take photos of my Aboriginal family and the mission where we all came from. In that way it’s a personal reflection of my being. So as I moved into film it’s just changed art forms. But while I want to tell stories about my family and indigenous experience, I’ve also got stories where I just want to inspire the imagination on a universal level. 1 Dust 1999 is set deep within the cotton country way out west. A convoy of cars throws a dust trail into the dark sky. Leroy, angry with the world for hating his black skin, drives his mother and best mate to weed the back-breaking rows of the cotton fields. They are joined by two white teenagers with their own troubles. Tensions between the two groups emerge as the heat of the day grows.

A huge dust storm will bring them together in a way none could have imagined.

Ivan Sen 1 Ivan Sen interviewed by Dan Edwards, http://afcarchive.screenaustralia.gov.au/newsandevents/afcnews/converse/sen/newspage_284.aspx, accessed January 2012.

塵 (停格影像) 1999 有聲數位影片 25分鐘 澳大利亞國立音像檔案館提供

Dust (still)

1999 Digital video with sound 25:00 minutes Courtesy National Film and Sound Archive, Australia.

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克里斯提安‧湯普遜 我在心中某個角落裡構思〈Gamu Mambu (純種歌)〉已經 很久了，這個構想經過一年才有了成果，當我住在荷蘭時， 我將我用Bidjara母語寫的歌曲製作成完整目錄。有一次我 問父親：「我們有許多歌曲留下來嗎？」我父親簡短地回 答：「沒有！」我心裡想：「我不甘於如此！」於是我開 始寫歌和創作音樂。我在阿姆斯特丹時，經常在回家的路上 跑去聽歌劇，因為劇院就在我家附近，我會買最便宜的學生 座位票，窩在黑漆漆的劇場角落，陶醉在最迷人的戲劇表演 裡，就像所有人對歌劇的印象一樣，那是一場動人的、具視 覺效果的、充滿感情的和超世俗的盛宴。人們真的會感動得 流淚，因你很難不受到劇中角色的情緒感染，感受他們的 愛、渴望和苦痛，這讓我一直想到，他們就好像小鳥一樣， 什麼事都用唱的，完全沒有對白的空間。我猜想，〈Gamu Mambu (純種歌)〉就是進入我人生片段的一個窗口、從歌 曲中獲得的一個時光膠囊，我就像園丁鳥一樣，不停地收集 東西並加進我的聖 壇，打造屬於我自己的窩。我將自己在這 世上的實體活動視為我在藝術方面發展的象徵，這些影像及 聲音裝置藝術作品，是情感的小品、距離的反映、和親屬關 係的實現。似乎是它們自己找上我，而不是我創造了它們， 那些旋律是那麼地直覺，而且我覺得只要是用Bidjara語， 我就可以輕鬆地傳達感情和唱出旋律，因為Bidjara母語有 一種自有的並具有感染力的抒情性。當你離開家時，家會來 找到你，我寫的每一首歌都會以清晰而簡明的意象找上我， 我的攝影和錄像作品也會以同樣的方式找到我，這是一種潛 意識的過程。在某種程度上，我將這件作品視為我的自畫 像，雖然其中並沒有我的身影，正是這種在文化中的文化顯 現，引起我的興趣，那是深藏在流行文化底層的東西。這 件作品首次發表於第17屆雪梨雙年展《距離之美：危機時 代的生存之歌》(Beauty of distance: Songs of Survival in a Precarious Age) ，那次展出是在鸚鵡島(Cockatoo Island)上 的一間被炸毀的房子裡，我在島上閒逛時，看著參觀者從一 間展館轉到另一間，我會聽到人們哼著我的歌曲的旋律。我 心裡想，它是有生命的，它是永恆的，它也是當下的。 〈Gamu Mambu (純種歌)〉，克里斯提安‧湯普遜，2011年

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Christian Thompson I had been imagining Gamu Mambu (Blood Song) for a long time, sitting in the recesses of my mind, it took over a year to come to fruition. When I lived in the Netherlands I produced a significant back catalogue of songs I had written in Bidjara.

I asked my father once “do we have many songs left?” My father replied with a simple “no”. I thought to myself “I’m not having this!” and so I began writing songs and creating melodies. Often on my way home in Amsterdam I would go to the opera as it was next to my apartment, I would get the cheap student seats and curl up in the dark and lose myself in the most extravagant productions, it was like what everybody said the opera would be, a moving, visual, emotive, otherworldly spectacular feast…People really were crying and it was hard to not lose yourself in the characters and to feel their love, longing and pain, I kept thinking that they were like birds that everything was sung and there were no place for words here…I guess Gamu Mambu (Blood Song) is a window into a moment in my life, a time capsule caught in song, like a bower bird I am constantly collecting things to add to my shrine, to build my house. I see my physical movement in the world as somehow symbolic of my artistic development. These video and sound installation works are vignettes of emotions, reflections on distance and realisations of kinship. They seem to find me rather than the other way around, the melodies come so intuitively and I feel I can transmit emotion and sing with ease when it is in Bidjara, it has an innate and infectious lyricism.

When you leave home, home will come and find you and each song I wrote came to me in a clear concise vision, the same way my photos and videos come to me as well, it’s an unconscious process…I think of this work as a selfportrait in some ways even though I am not in it and it is this kind of manifestation of culture within culture that interests me, things that sit beneath the surface of popular culture.

The work was first presented at the 17th Sydney Biennale Beauty of distance: Songs of Survival in a Precarious Age. It was displayed in a bombed out house on Cockatoo Island.

As I walked around the island watching patrons traipse from one pavilion to the next I would hear people humming the melody to my song, I thought to myself, it’s alive, it forever and it is now.

Gamu Mambu (Blood Song). Christian Thompson 2011.

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Gamu Mambu (純種歌) (停格影像) 2010 有聲數位影片 2分30秒 藝術家與墨爾本Gabrielle Pizzi藝廊提供

Gamu Mambu (Blood Song) (still)

2010 Digital video with sound 2:30 minutes Courtesy of the artist and Gallery Gabrielle Pizzi, Melbourne

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藝術家簡歷 Artist Biographies

Vernon Ah Kee 溫能‧阿奇 1967年出生於澳大利亞昆士蘭州因尼斯費爾；Kuku Yalandji、Waanji、Yidinji與Gugu Yimithirr族 居住與工作於澳大利亞布里斯本 Born Innisfail, Queensland, Australia 1967; Kuku Yalandji, Waanji, Yidinji and Gugu Yimithirr peoples.

Lives and works in Brisbane, Australia.

Vernon Ah Kee was born in Innisfail, North Queensland in 1967 and is of the Kuku Yalandji, Waanji, Yidindji and Gugu Yimithirr peoples. He has been living in Brisbane for over twelve years.

His art is primarily a critique of Australian popular culture, specifically the Black/White dichotomy.

Ah Kee completed a Bachelor of Visual Arts (Hons) at the Queensland College of Art, Griffith University, Brisbane, majoring in drawing and screenprinting in 2000. He completed a doctorate of visual arts. He completed a Doctorate of Visual Arts – Fine Art from the Queensland College of Art, Griffith University in 2007. He is a member of propperNOW Indigenous art collective.

Ah Kee represented Australia at the 2009 Venice Biennale in the exhibition Once Removed. Other recent group exhibitions include Revolutions: Forms that turn, Biennale of Sydney 2008; and Putsch, proppaNOW group, Tandanya National Aboriginal Cultural Institute, Adelaide, 2010. Recent solo exhibitions include talkwalktalk, Mackenzie Art Gallery, Canada 2009, and cant chant, Institute of Modern Art, Brisbane, 2007 and touring 2009-10. In 2009, the Institute of Modern Art published borninthisskin, the first major publication devoted to Ah Kee’s practice. His new four channel video installation, Tall Man, was exhibited at Experimental Art Foundation, Adelaide, 2011.

His work is included in public collections including the National Gallery of Canada, Ottawa; the National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; the Art Gallery of Western Australia, Perth; the Museum of Contemporary Art, Sydney; and the Queensland Art Gallery, Brisbane.

Vernon Ah Kee is represented by Milani Gallery, Brisbane, Australia.

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Bindi Cole 賓蒂‧蔻勒

Brenda L. Croft 布蘭達‧L‧郭芙特

1975年出生於澳大利亞墨爾本；Wathaurung族 居住與工作於澳大利亞墨爾本

1964年出生於澳大利亞伯斯；Gurindji/Malgnin/Mudpurra族 居住與工作於澳大利亞阿德萊德

Born Melbourne, Australia 1975; Wathaurung people.

Born Perth, Australia 1964; Gurindji/Malgnin/Mudpurra peoples.

Lives and works in Adelaide, Australia.

Lives and works in Melbourne, Australia.

Bindi Cole was born in 1975 in Melbourne. She is of English, Jewish and Wathaurung descent. Cole completed a Diploma of Applied Photography, Northern Melbourne Institute of Tafe, Melbourne and a Bachelor of Visual Art (Fine Art), Ballarat University.

Cole has participated in numerous group exhibitions including Inheritance, Australian Centre for Photography, Sydney; Just Can’t Get Enough, Linden Contemporary Art Centre, Melbourne; Sustainable Fusion Reactions, Colour Factory Gallery, Melbourne, all 2009; A Time Like This, Margaret Lawrence Gallery, Victoria Collage of the Arts, Melbourne, 2008 for which Cole collaborated with Aboriginal sculptor Lorraine ConnellyNorthey and writer Jirra Lulla Harvey, 2009; Heart Strong, The Koorie Heritage Trust, Melbourne, 2007. Solo exhibitions include Sistagirls, Nellie Castan Gallery, Melbourne and the Australian Centre for Photography, Sydney, 2010; Not Really Aboriginal, Centre for Contemporary Photography, as part of the 2008 Next Wave Festival.

Cole was awarded the 2009 Victorian Indigenous Awards, Deadly Art Award for Ajay, a work from her photographic series Sistagirls. In 2007 Cole was a finalist in both the William and Winifred Bowness Photography Prize at the Monash Gallery of Art and the National Photography Portrait Prize. Cole was a participant in the 2009 IndigeLab residency program. Cole curated Nyah-Bunyar (Temple), 2010 Melbourne International Arts Festival exploring Aboriginal spirituality in contemporary urban Australia. Her work is held in the collection of the Art Gallery of Western Australia, Perth and the Koorie Heritage Trust, Melbourne.

Brenda L Croft was born in Perth, Western Australia in 1964 and she is of the Gurindji/Malgnin/Mudpurra peoples. She received a Bachelor of Fine Arts (Photography) from the Sydney College of the Arts in 1985, a Masters of Art Administration at the University of Sydney in 1995 and an Honorary Doctorate in Visual Arts from the University of Sydney (Sydney College of the Arts) in 2009. A founding board member of the Boomalli Aboriginal Artists Co-operative, Croft was the senior curator of Aboriginal and Torres Strait Islander Art at the National Gallery of Australia, Canberra in 2002-2009 and is currently Lecturer, Indigenous Art, at The University of South Australia.

Croft has held numerous exhibitions in Australia and overseas.

Group exhibitions include Homeland (Heimat), Contemporary Art Centre of South Australia, Adelaide, 2009; Visual Sovereignty: International Indigenous Photography, CN Gorman Museum, California, USA, 2009; Half light: Portraits from Black Australia, Art Gallery of New South Wales, Sydney, 2008; Brilliance: a world of shimmer, rarrk and glitter, Aboriginal Art Museum, Utrecht, the Netherlands, 2007; Light sensitive: contemporary Australian photography from the Loti Smorgon Fund, National Gallery of Victoria, Melbourne, 2006; Witness, Museum of Contemporary Art, Sydney, 2004.

Croft’s work is held in many public and private collections including the Aboriginal Art Museum, Utrecht, the Netherlands; the Art Gallery of New South Wales, Sydney; the Art Gallery of Western Australia, Perth; the National Gallery of Australia, Canberra; the National Gallery of Victoria, Melbourne.

Brenda L. Croft is represented by Niagara Galleries, Melbourne, Australia and Stills Gallery, Sydney, Australia.

Bindi Cole is represented by Nellie Castan Gallery, Melbourne, Australia.

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Destiny Deacon & Virginia Fraser 戴斯特妮‧狄肯 & 維吉妮亞‧芙瑞瑟 1957年出生於澳大利亞昆士蘭州瑪麗伯勒； KuKu與Erub/Mer族 居住與工作於澳大利亞墨爾本 Born Maryborough, Queensland, Australia 1957; KuKu and Erub/Mer peoples.

Lives and works in Melbourne, Australia.

出生於澳大利亞墨爾本 居住與工作於澳大利亞墨爾本

Destiny Deacon was born in 1957 of KuKu (Far-North Queensland) & Erub/Mer (Torres Strait) peoples. Deacon works as an artist, photographer, performer, video-maker, writer and broadcaster. Deacon has participated in numerous group exhibitions including Revolutions that Turn – Forms that Turn, Biennale of Sydney, 2008; Culture Warriors: The National Indigenous Art Triennial ‘07, National Gallery of Australia, Canberra, 2007; High Tide: Currents in Contemporary Australian Art, Zacheta National Gallery of Art, Warsaw, Poland & Contemporary Art Centre, Vilnius, Lithuania; Points of view: Australian photography 1985-95, Art Gallery of New South Wales, Sydney, 2006; Faces in the Crowd, Whitechapel, London & Castello di Rivoli, Turin, 2004; Yokohama Triennale: MEGA WAVE - Towards a New Synthesis, Yokohama, 2001; Biennale of Sydney 2000, Museum of Contemporary Art, Sydney; Beyond the Pale - Contemporary lndigenous Art, 2000 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2000; The Second Asia-Pacific Triennial, Queensland Art Gallery, Brisbane, 1996; Mistaken Identities: Africus - the 1st Johannesburg Biennale, Museum Africa, Johannesburg, South Africa, 1995; Tyerabarrbowaryaou 2, The 5th Havana Biennial, Havana, Cuba; Museum of Contemporary Art, Sydney, 1994.

Virginia Fraser was born in Melbourne where she continues to live and work as an artist, curator, writer and editor. She trained first as a journalist before receiving a Bachelor of Media Art with a double major in film and photography from Port Phillip Institute of Technology, Melbourne and a Master of Fine Art by research from the Victorian College of the Arts, Melbourne.

In collaboration with Destiny Deacon, Fraser has produced several works shot on super 8mm film and finished on video including Matinee 2003 shown at the Adelaide Biennial of Australian Art, The Art Gallery of South Australia, Adelaide, 2004; Meeting Point, Neuer Berliner Kunstverein, Germany, 2003; Whitechapel Gallery, London and Castello di Rivoli, Turin, 2005; Jump 1999 shown at the Melbourne International Biennial, Melbourne, 1999; Forced into Images 2001 shown at Documenta 11, Kassel, Germany, 2002; ARCO, Madrid, Spain, 2002; Yokohama Triennale, Japan, 2001; I thought I knew, but I was wrong, Australian Centre for the Moving Image, Melbourne; Ssamzie Space, Seoul, South Korea; Nanyang Academy of Fine Arts, Singapore; Jamjuree Gallery, Chulalongkorn University, Bangkok; Beijing Millenium Monument, China, 2004–6. A number of joint works were presented in Destiny Deacon: Walk & don’t look blak, Museum of Contemporary Art, Sydney; Adam Art Gallery, Wellington, New Zealand; Tjibaou Cultural Centre, New Caledonia; Tokyo Metropolitan Museum of Photography, Tokyo and Ian Potter Museum of Art, Melbourne.

Deacon’s survey exhibition, Walk & don’t look blak, toured to the Museum of Contemporary Art, Sydney; Adam Art Gallery, Wellington, New Zealand; Tjibaou Cultural Centre, New Caledonia; Tokyo Metropolitan Museum of Photography, Tokyo and the Ian Potter Museum of Art, Melbourne, 2004-6.

Destiny Deacon is represented by Roslyn Oxley9 Gallery, Sydney (Australia) and Galleria Raffaella Cortese, Milan , Italy.

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Born Melbourne, Australia Lives and works in Melbourne, Australia.

Fiona Foley 費歐娜‧佛蕾

Gary Lee 蓋瑞‧李

1964年出生於澳大利亞昆士蘭州瑪麗伯勒；Badtjala族 居住與工作於澳大利亞布里斯本

1952年出生於澳大利亞北領地達爾文；Larrakia/Karajarri/ Wadaman族 居住與工作於澳大利亞坎培拉

Born Maryborough, Queensland, Australia 1964; Badtjala people.

Lives and works in Brisbane, Australia.

Born Darwin, Northern Territory, Australia 1952; Larrakia/ Karajarri/Wadaman peoples.

Lives and works in Canberra, Australia.

Foley is an influential artist, curator, writer and academic. Born in Maryborough, Queensland of the Badtjala people, Foley has taken an active role in promoting indigenous identity and she was co-founder of Boomali Aboriginal Artists Co-operative, Sydney in 1987. Foley has participated in numerous group exhibitions since 1984 including A Generosity of Spirit: Recent Australian Women’s Art, Anne & Gordon Samstag Museum of Art, Adelaide, 2010; Kate Challis RAKA award 2008 Finalists, Ian Potter Museum of Art, Melbourne; Power and Beauty: Indigenous Art Now, Heide Museum of Modern Art, Melbourne, 2008; No Laughing Matter, Hood Museum of Art, Dartmouth College, New Hampshire, USA; Global Feminisms, Brooklyn Museum, New York, USA, 2007; Prism: Australian Contemporary Art, Bridgestone Museum of Art, Tokyo, 2006; Out There, Sainsbury Centre for Visual Arts, Norwich, UK, 2006; The American Effect, Whitney Museum of American Art, New York, 2003.

Foley’s survey exhibition, Fiona Foley: Forbidden was held at the Museum of Contemporary Art, Sydney and the University of Queensland Art Museum, Brisbane, 2009. Solo exhibitions include Strange Fruit, October Gallery, London, 2006; Red Ochre Me, Casula Powerhouse Arts Centre, Sydney, 2006; Pir’ri – Mangrove, Queensland Art Gallery, Brisbane, 2001.

She has produced public commissions for the State Library of Queensland, Brisbane Magistrates Court, Parliament House and the Museum of Sydney amongst others.

Gary Lee is an artist, writer, anthropologist and curator of the Larrakia/Karajarri/Wadaman peoples. Lee is currently a PhD Indigenous Research Fellow at the Australian Institute of Aboriginal and Torres Strait Islander Studies. Group exhibitions include Gayme, Counihan Gallery, Brunswick, Melbourne, 2010; More Than My Skin, Campbelltown Art Centre, Sydney, nationally tour; Hand in Hand, Boomalli Aboriginal Arts Coop, Sydney, 2008; Telstra National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of NT, Darwin; Territorial, 24HR Art NT Centre for Contemporary Art, Darwin, and Canberra Contemporary Art Space, Canberra; Other APT, RawSpace Galleries, Brisbane, 2007; Togart Contemporary Art Award (NT), Parliament House, Darwin, 2006; Billiamook, Charles Darwin University Gallery, Darwin, 2005; Love Magic: Erotics and Politics in Indigenous Art, S. H. Ervin Gallery, Sydney,1999. Solo exhibitions include Maast Maast, 24HR Art NT Centre for Contemporary Art, Darwin, 2008. His work is held by the National Gallery of Australia, Canberra, Museum and Art Gallery of the NT, Darwin, and in private collections.

Gary Lee is represented by Alcaston Gallery, Melbourne, Australia; Harrison Gallery, Perth, Australia; Sheahan Galleries, Bulli, Australia; and Woolloongabba Art Gallery, Brisbane, Australia.

Foley is represented by Andrew Baker Art Dealer, Brisbane, Australia and Niagara Galleries, Melbourne, Australia.

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Michael Riley 麥可‧瑞雷

Ivan Sen 伊凡‧森

1960年出生於澳大利亞新南威爾斯州杜博；2004年過世 Wiradjuri/Kamilaroi族

1972年出生於澳大利亞昆士蘭州南博；Gamilaroi族 居住與工作於澳大利亞雪梨

Born Dubbo, New South Wales, Australia 1960; died 2004.

Wiradjuri/Kamilaroi peoples.

Born Nambour, Queensland, Australia 1972; Gamilaroi people.

Lives and works in Sydney, Australia.

Michael Riley was born in Dubbo, Queensland in 1960 and he was of the Wiradjuri/Kamilaroi people. He studied photography at Tin Sheds Gallery at the University of Sydney in 1992. He lived and worked in Sydney as a photographer and film maker and was a founding member of the Boomalli Aboriginal Artists Co-operative.

Riley held numerous exhibitions and produced a number of films and documentaries. Group exhibitions include Poetic Justice 8th Istanbul Biennale, Istanbul, Turkey, 2003; Meridian: Focus on Contemporary Australian Art, Museum of Contemporary Art, Sydney, 2003; Images: Contemporary Photographs

by Aboriginal Artists, Aboriginal Art Museum, Utrecht, the Netherlands, 2004; Native Title Business: Contemporary Indigenous Art, Queensland Museum, Brisbane, and national tour, 2002; Beyond the Pale: Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, 2000; Another Country, Art Gallery of NSW, 1999; Re-Take: Contemporary Aboriginal and Torres Strait Islander Photography, National Gallery of Australia, Canberra, 1998; NADOC ‘86 Exhibition of Aboriginal and Islander Photographers, Aboriginal Artists Gallery, Sydney, 1986.

Riley’s retrospective, Michael Riley: Sights Unseen was exhibited at the National Gallery of Australia, Canberra in 2006. His work is held in several collections including those of the National Gallery of Australia, Canberra; the Art Gallery of NSW, Sydney and the Queensland Art Gallery, Brisbane.

Michael Riley continues to be represented by Stills Gallery, Sydney, Australia and The Michael Riley Foundation.

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Ivan Sen was born in Nambour, Queensland in 1971 and he is of the Gamilaroi people. Sen studied Photography at Griffith University, Brisbane and enrolled in a series of short film classes. His films have won numerous awards including three Australia Film Institute Awards. His first feature length film, Beneath Clouds 2002, won global acclaim, screening at the 2003 Sundance Film Festival and winning the Premiere First Movie Award at the 2002 Berlin Film Festival and the 2002 Best Director Award at the Australian Film Institute Awards. In 2009, the Message Sticks Indigenous Film Festival held at the Sydney Opera House saw the world premiere of Sen’s Fire Talker, a documentary biopic about political activist and Aboriginal footballer, Charlie Perkins. It premiered at the 10th Anniversary of the Message Sticks Indigenous Film Festival. Sen’s second feature-length film, Dreamland, screened at the 2010 Melbourne International Film Festival.

Christian Thompson 克里斯提安‧湯普遜 1978年出生於南澳大利亞州高樂；Bidjara族 居住與工作於英國牛津 Born Gawler, South Australia 1978; Bidjara people.

Lives and works in Oxford, The United Kingdom.

Christian Thompson was born in Gawler, South Australia in 1978. A Bidjara man of the Kunja Nation from central western Queensland, Thompson works as a contemporary artist, freelance curator and writer. He studied at The University of Southern Queensland, the Royal Melbourne Institute of Technology and Dasarts, Amsterdam School of Arts. In 2010, he won the inaugural Charlie Perkins Scholarship and is the first Aboriginal Australian to be accepted into Oxford University, where he is undertaking a Doctorate of Philosophy in Fine Art. Thompson has held numerous solo and group exhibitions in Australia and internationally. Group exhibitions include Tell Me Tell Me, Museum of Contemporary Art, Sydney, 2011; SOLO, Modern Art Oxford, Oxford, UK, 2011; Close Encounters, Plugin Centre for Contemporary Art, Canada, 2011; The Beauty of Distance - Songs of Survival in a Precarious Age, the 17th International Biennale of Sydney, Sydney, 2010; Andy and OZ: Parallel Visions, The Andy Warhol Museum, Pittsburgh, USA; Culture Warriors, National Indigenous Art Triennial, National Gallery of Australia, Canberra; Raised by Wolves, Art Gallery of Western Australia, Perth, all 2007; Terra Incognita, Gertrude Street Contemporary Art Spaces, Melbourne, 2006; Spirit and Vision, Kunst der Gegenwart Sammlung Essl, Vienna, Austria, 2004; and Contemporary Aboriginal Art, Aboriginal Art Museum Utrecht, the Netherlands, 2004.

Christian Thompson is represented by Gabrielle Pizzi Gallery, Melbourne, Australia and Chalkhorse, Sydney, Australia.

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策展人簡歷 Curators

Djon Mundine OAM 狄翁‧蒙丹‧萬 Djon Mundine is a member of Bundjalung people of northern NSW. He has an extensive career as a curator, activist, writer, and occasional artist. Mundine has been involved in the visual arts since the late 1970s, working as Art Advisor at Milingimbi, Maningrida and Ramingining in the Northern Territory from 1979–95, with the majority of this time spent at Ramingining (1983–95), a small community in Central Arnhem Land located around 400 kilometres east of Darwin. While at Ramingining, Mundine initiated The Aboriginal Memorial (1987–88), a significant installation of 200 hollow log coffins or poles now held in the permanent collection of the National Gallery of Australia in Canberra. In 1995, his last year at Ramingining, Mundine was awarded the Order of Australia Medal for his services to the visual arts. Since that time he has worked as a curator and academic while he continues to be involved in collaborative art projects.

In 2005–06 he took a residence at the National Museum of Ethnology (Minpaku) in Osaka, Japan as a Research Professor in the Department of Social Research, prior to which he was Senior Consultant and Curator of Indigenous Art at the Queensland Art Gallery, Brisbane. He has taught at the National Art School, Canberra and has held curatorial positions at the National Museum of Australia, Canberra, the Museum of Contemporary Art, Sydney and the Art Gallery of New South Wales, Sydney.

More recently, he was Indigenous Curator – Contemporary Art at the Campbelltown Art Centre where he mounted the Sunshine State – Smart State and More Than My Skin exhibitions. He is currently a PhD candidate at College of Fine Arts, University of New South Wales, Sydney.

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Natalie King 娜塔莉‧金 Natalie King is a curator, writer and the inaugural Director of Utopia @ Asialink – a roving visual arts project for the Asia Pacific region. She has completed a Master of Arts from Monash University, Melbourne. She has curated exhibitions for numerous museums including the Singapore Art Museum, National Museum of Art, Osaka, Monash University Museum of Art, Melbourne and Melbourne Festival. She curated Destiny Deacon’s survey exhibition Walk & don’t look blak for the Museum of Contemporary Art, Sydney; Adam Art Gallery, Wellington; Tjibaou Cultural Centre, New Caledonia; Tokyo Metropolitan Museum of Photography; and the Ian Potter Museum of Art, University of Melbourne. She is a correspondent for Flash Art International and has written for ARTit (Japan), Art and Australia, British Art Monthly, Art World, Art Asia Pacific, Artlink and Australian Art Collector. She was the curator and editor of Up Close: Carol Jerrems with Larry Clark, Nan Goldin and William Yang at Heide Museum of Modern Art as the recipient of an Australia Council grant. King has published interviews with Ai Weiwei, Joseph Kosuth, Carolyn ChristovBakargiev, Hiroshi Sugimoto, Tacita Dean, Massimiliano Gioni and Kathy Temin. In 2011, she guest edited an issue of Broadsheet magazine (with Larissa Hjorth) and a special issue of Artlink on Surveillance (with Virginia Fraser).

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展品清單 List of Works

溫能‧阿奇 Vernon Ah Kee

布蘭達‧L‧郭芙特 Brenda L. Croft

一般是白人，我是黑人

「城裡人」系列—有敵意之地

2004

2003

有聲數位影片

藝術微噴、輸出於棉紙

30秒

80 x 119 cm

藝術家與布里斯本Milani藝廊提供

藝術家與雪梨Stills藝廊提供

Whitefella normal, blackfella me

A Hostile Landscape 2003 from the series Man About Town

賓蒂‧蔻勒 Bindi Cole

「城裡人」系列—城裡人

2004 Digital video with sound 00:30 seconds Courtesy of the artist and Milani Gallery, Brisbane

2003 Giclee print on rag paper 80 x 119 cm, Edition of 10 Courtesy of the artist and Stills Gallery, Sydney

2003

Warre Beal Yallock

藝術微噴、輸出於棉紙

2008

80 x 119 cm

顏料輸出於棉紙

藝術家與雪梨Stills藝廊提供

130 x 94 cm

Man About Town 2003 from the series Man About Town

藝術家與墨爾本Nellie Castan藝廊提供

Warre Beal Yallock

2008 Pigment print on rag paper 130 x 94 cm, Edition of 5 Courtesy of the artist and Nellie Castan Gallery, Melbourne

Wathaurung Mob

「城裡人」系列—檢修日 2003 藝術微噴、輸出於棉紙

2008

80 x 119 cm

顏料輸出於棉紙

藝術家與雪梨Stills藝廊提供

94 x 130 cm

Inspection Day 2003 from the series Man About Town

藝術家與墨爾本Nellie Castan藝廊提供

Wathaurung Mob

2008 Pigment on rag paper 94 x 130 cm Courtesy of the artist and Nellie Castan Gallery, Melbourne

70個7次

2003 Giclee print on rag paper 80 x 119 cm, Edition of 10 Courtesy of the artist and Stills Gallery, Sydney

「城裡人」系列—有色柵欄 2003 藝術微噴、輸出於棉紙

2011

80 x 119 cm

有聲數位影片

藝術家與雪梨Stills藝廊提供

10分21秒

Colour Bar 2003 from the series Man About Town

藝術家與墨爾本Nellie Castan藝廊提供

Seventy Times Seven

2011 Digital video with sound 10:21 minutes, Edition of 5 Courtesy of the artist and Nellie Castan Gallery, Melbourne

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2003 Giclee print on rag paper 80 x 119 cm, Edition of 10 Courtesy of the artist and Stills Gallery, Sydney

2003 Giclee print on rag paper 80 x 119 cm, Edition of 10 Courtesy of the artist and Stills Gallery, Sydney

戴斯特妮‧狄肯 & 維吉妮亞‧芙瑞瑟 Destiny Deacon & Virginia Fraser

蓋瑞‧李 Gary Lee 「在邊緣3」系列—卡藍，17歲

色盲

2012

2005

數位彩色輸出於Hahnemühle紙

裝置、正片轉負數位感光輸出、黑人娃娃、聚苯乙烯與透明壓克力

52.5 x 70 cm

箱、低壓鈉汽燈、聲音影片

藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

尺寸因地而異

Callan, 17 from the series On the verge 3

藝術家與雪梨Roslyn Oxley9藝廊提供

Colour Blinded

2005 Installation, lightjet prints from orthochromatic film negative, golliwog dolls, polystyrene and Perspex cubes, low-pressure sodium lamps, video with sound Dimensions variable Courtesy of the artists and Roslyn Oxley9 Gallery, Sydney

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

「在邊緣3」系列—丹尼爾，17歲 2012 數位彩色輸出於Hahnemühle紙

強迫入鏡 2001 超8影片轉DVD格式 9分鐘 藝術家與雪梨Roslyn Oxley9藝廊提供

Forced into images

2001 Super 8 film finished on video, DVD format 9:00 minutes, Edition of 20 Courtesy of the artists and Roslyn Oxley9 Gallery, Sydney

費歐娜‧佛蕾 Fiona Foley

52.5 x 70 cm 藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

Daniel, 17 from the series On the verge 3

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

「在邊緣3」系列—戴克朗，17歲 2012 數位彩色輸出於Hahnemühle紙 52.5 x 70 cm

極樂

藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

2006

Declan, 17 from the series On the verge 3

有聲數位影片 11分鐘 藝術家與布里斯本Andrew Baker藝術經紀人提供

Bliss

2006 Digital video with sound 11:00 minutes Courtesy of the artist and Andrew Baker Art Dealer, Brisbane

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

「在邊緣3」系列—路克，17歲 2012 數位彩色輸出於Hahnemühle紙

採蠔人 I-XVI

52.5 x 70 cm

2011

藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

數位輸出於Hahnemühle紙

Luke, 17 from the series On the verge 3

1組16幅；每幅 60 x 80 cm 或 80 x 60 cm 藝術家與布里斯本Andrew Baker藝術經紀人提供

The Oyster Fisherman I-XVI

2011 Digital print on Hahnemühle paper Set of 16 images 60 x 80 cm; 80 x 60 cm Courtesy of the artist and Andrew Baker Art Dealer, Brisbane

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

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「在邊緣3」系列—麥可，17歲

麥可‧瑞雷 Michael Riley

2012 數位彩色輸出於Hahnemühle紙

「他們叫我黑鬼」系列—邦巴 (一種源自非洲的音樂名稱)

52.5 x 70 cm

1995

藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

顏料輸出

Michael, 17 from the series On the verge 3

31 x 39.5 cm

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

麥可‧瑞雷基金會與雪梨Stills藝廊提供

Bomba from the series They call me niigarr

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「在邊緣3」系列—派迪，17歲 2012

「他們叫我黑鬼」系列—巧克力

數位彩色輸出於Hahnemühle紙

1995

52.5 x 70 cm

顏料輸出

藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

31 x 39.5 cm

Paddy, 17 from the series On the verge 3

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

「在邊緣3」系列—史蒂文，17歲 2012

Chocolate from the series They call me niigarr

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「他們叫我黑鬼」系列—灰仔 (原指非裔美籍人) 1995

數位彩色輸出於Hahnemühle紙

顏料輸出

52.5 x 70 cm

31 x 39.5 cm

藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

麥可‧瑞雷基金會與雪梨Stills藝廊提供

Stefan, 17 from the series On the verge 3

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

「在邊緣3」系列—湯瑪斯，18歲 2012 數位彩色輸出於Hahnemühle紙 52.5 x 70 cm 藝術家、伯斯Harvison藝廊與布利Sheahan藝廊提供

Tomas, 18 from the series On the verge 3

2012 Digital colour print on Hahnemühle paper 52.5 x 70 cm Courtesy of the artist and Harvison Gallery, Perth and Sheahan Galleries, Bulli.

74

麥可‧瑞雷基金會與雪梨Stills藝廊提供

Dusty from the series They call me niigarr

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「他們叫我黑鬼」系列—黑寶 1995 顏料輸出 31 x 39.5 cm 麥可‧瑞雷基金會與雪梨Stills藝廊提供

Golliwog from the series They call me niigarr

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「他們叫我黑鬼」系列—甘草(黑色喉糖) 1995

「他們叫我黑鬼」系列—黑炭 (Sambo通西班牙語Zambo，原指黑人、印地安人混血)

顏料輸出

1995

31 x 39.5 cm

顏料輸出

麥可‧瑞雷基金會與雪梨Stills藝廊提供

31 x 39.5 cm

Licorice from the series They call me niigarr

麥可‧瑞雷基金會與雪梨Stills藝廊提供

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

Sambo from the series They call me niigarr

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「他們叫我黑鬼」系列—馬巴克(澳洲草原名稱) 1995

「他們叫我黑鬼」系列—維吉麥(澳洲深棕色麵包醬品牌)

顏料輸出

1995

31 x 39.5 cm

顏料輸出

麥可‧瑞雷基金會與雪梨Stills藝廊提供

31 x 39.5 cm

Marbuck from the series They call me niigarr

麥可‧瑞雷基金會與雪梨Stills藝廊提供

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

Vegemite from the series They call me niigarr

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「他們叫我黑鬼」系列—黑奴 1995

伊凡‧森 Ivan Sen

顏料輸出 31 x 39.5 cm

塵

麥可‧瑞雷基金會與雪梨Stills藝廊提供

1999

Nigger from the series They call me niigarr

有聲數位影片

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

「他們叫我黑鬼」系列—黑鬼 1995

25分鐘 澳大利亞國立音像檔案館提供

Dust

1999 Digital video with sound 25:00 minutes Courtesy National Film and Sound Archive, Australia.

顏料輸出 31 x 39.5 cm

克里斯提安‧湯普遜 Christian Thompson

麥可‧瑞雷基金會與雪梨Stills藝廊提供

Niigarr from the series They call me niigarr

1995 Pigment print 31 x 39.5 cm Courtesy of the Michael Riley Foundation and Stills Gallery, Sydney

Gamu Mambu (純種歌) 2010 有聲數位影片 2分30秒 藝術家與墨爾本Gabrielle Pizzi藝廊提供

Gamu Mambu (Blood Song)

2010 Digital video with sound 2:30 minutes Courtesy of the artist and Gallery Gabrielle Pizzi, Melbourne

75

國家圖書館出版品預行編目資料 影之生/ 黃培宜，莎拉‧邦德執行編輯；卓群翻 譯，陳美智，黃培宜翻譯. 高雄市：高市美 術館，2012.06 面

公分

中英對照 ISBN 978-986-03-2602-4( 平裝) 1.攝影集 2.錄影藝術 3.作品集 958.71

101008792

GPN:1010101007

發 行 人：謝佩霓

Publisher/Commissioner: Pei-ni Beatrice Hsieh

編輯委員：章榮貴、商戌菡、張淵舜、羅潔尹、

Editorial board: Jung-kuei Chang, Hsu-han Shang, Anderson Chang,

陳秀薇、莊雪紅、蔡昌宏 執行監督：商戌菡 執行編輯：黃培宜、莎拉‧邦德 專文撰述：狄翁‧蒙丹‧萬、娜塔莉‧金 翻 譯：卓群翻譯、黃培宜 翻譯審稿：陳美智 美術編輯：陳婷婷、Hayman Design

Nita Lo, Hsiu-wei Chen, Hsueh-hung Chuang, Chang-hung Tsai Executive supervisor: Hsu-han Shang Executive editors: Peggy Huang and Sarah Bond Catalogue essay: Djon Mundine OAM and Natalie King Image credits: as stated accompanying each image Translators: PRO International Ltd. and Peggy Huang Translation reviewer: Louisa Chen

總 務：蔡佩珍

Catalogue design: Lica Chen and Hayman Design

出 納：蘇愛惠

General affairs: Pei-chen Tsai

承 印：高永在印刷有限公司

Cashier: Ai-huei Su

版 次：第一版，500本(平裝)

Printed by: HI-EVERLASTING Printing Co., Ltd.

定 價：NT$: 240元

Edition: First edition, 500 copies

發行日期：2012年6月

Publication date: June 2012

發行單位：高雄市立美術館

Published by: Kaohsiung Museum of Fine Arts

80460 高雄市鼓山區美術館路80號 電話：07-5550331 傳真：07-5550307 網址：http://www.kmfa.gov.tw 電子信箱：servicemail@kmfa.gov.tw

80 Meishuguan Road, Kaohsiung 80460, Taiwan Tel: +886-7-5550331 Fax: +886-7-5550307 Website: http://www.kmfa.gov.tw E-mail: servicemail@kmfa.gov.tw

本專輯配合台灣展覽出版 Published on the occasion of the Exhibition in Taiwan 版權所有 © 2012 the authors, Asialink and artists © 2012 Kaohsiung Museum of Fine Arts (KMFA), Kaohsiung 未經出版者書面許可，請勿以任何已知或此後發明的電子、機械

-國家書店松江門市：104台北市松江路209號1樓。電話：02-25180207

書的任何部分進行翻印、複製或利用。

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All rights reserved. Except as permitted by the Copyright Act, no

-五南文化廣場高雄門市：800高雄市中山一路290號。電話：07-2351960

part of this publication may be printed or produced or utilized in any form by electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any storage or retrieval system, without permission in writing from the publishers.

76

政府出版品展售門市地址：

或其他形式，包含影印、錄製，或於任何儲存或修復系統，對本