「于一蘭：直到我們再度相擁」Yee I-Lann: Until We Hug Again by mill6chat

YEE-I-LANN:

UNTIL WE HUG AGAIN

于一蘭：直到我們再度相擁 1

CONTENT

引言

4-5

展場圖片

8 - 35

展覽紀錄片

36 - 37

作品

38 - 107

關於藝術家

108 - 109

季度活動

110 - 113

工藝與紡織作為織製的抗逆精神

114 - 131

PREFACE

EXHIBITION VIEW

EXHIBITION DOCUMENTARY VIDEO

ARTWORKS

ABOUT THE ARTIST

RELATED EVENTS

CRAFT AND TEXTILE AS WOVEN RESILIENCE 高橋瑞木 - 展覽策展人

Takahashi Mizuki - Curator of the Exhibition

作品總覽

132 - 143

鳴謝

144 - 147

LIST OF ARTWORKS

ACKNOWLEDGEMENT

引言

PREFACE

在新冠疫情期間，CHAT六廠（六廠紡織文化藝術館）舉辦

Tagaps 舞蹈劇場的 Mohd Azizan Danial Bin Abdullah、

的創作回顧展，是次展覽特別聚焦於她的紡織作品，探討

Azman Peter 、Addam Jesley 、Shahhijjaz Khan 、Mohd

了展覽「于一蘭：直到我們再度相擁」，作為藝術家于一蘭她於藝術與社會行動之重疊的實踐。遺憾的是，經過長時間與我們的討論和計劃，儘管落實執行展覽，藝術家最終因旅遊限制關係未能親臨香港，展覽標題「直到我們再度

相擁」正代表了對未來相見的盼望，同時亦借用身體語言表達愛、友情、寬恕及和解。

作品在香港展出之前，于一蘭與她的朋友在亞庇的沙巴國

際會議中心舉行了展覽「Borneo Heart（婆羅洲之心）」，是

一個獻給沙巴人的展覽。在展覽期間，藝術家每週帶領 3 天導賞團，向參觀者介紹她的合作項目和展品。對于一蘭而

言，在海外展覽前先在沙巴展出她的織墊 (tikar) 系列意義重大，因為織墊是為沙巴的社群、大自然、文化遺產及工藝的未來而做成的。

「婆羅洲之心」的展期最終因為沙巴的新冠個案不斷上升，

Nazri Adam 、Earl Steiner 、Joanne Dayang 和 Athina Padua。

Huntwo Studios 的 Al Hanafi Juhar、Candy Yik；DeeBee

Studio/Schizo Stars 的 Andy Chia Chee Shiong 、 Chris

Tan ； Third Rice Culture 的 Kenneth Lo Wei Jun 、 Isaac Collard、Jan Johan、Emily Mary Chin；E Photo Media、

Sohphee Ng、Ng Kim Hock；Kota-K Studio 的 Filzah Jam

Jam、Phyllis Chin；KerbauWorks；婦女組織 WAPO； Mohd Asraffirdauz Bin Abdullah、Severinus Gimit、Venice

Foo、Melanie Chu 和 Joe Kidd；安卓藝術的李政勇、朱倢

瑢；RogueArt 的楊秀明和 Rachel Ng；Silverlens 畫廊的 Isa

Lorenzo、Rachel Rillo、Erlyz Santos、Cecille Dayrit、Mark Zamuco、Jeff Mendoza 和 Janine Martinez。

加上其後的社交距離措施而提前完結。嚴謹的防疫政策和

我們亦十分感謝 Andreas Teoh、Jim Amberson、Joanne

香港的展覽亦因此比預期延遲一個月開幕。雖然遇上各種

文醫師、Esther M Heer-Zacek 及蔡光哲慷慨借出作品。

封城管制，對包括藝術物流在內的不同行業造成了影響，突如其來的情況，于一蘭和她的合作者都悉力以赴，讓「直

Ngeow、Benedicta M Badia Nordenstahl Collection、陳泊

到我們再度相擁」得以在香港舉行。

秉承織墊代表包容的精神，CHAT 六廠共學及社區團隊邀

我們在此向于一蘭及她的合作者致以衷心謝意，感謝他們

心、非遺種子計劃、Justice Centre Hong Kong、Grassroots

為是次 CHAT的展覽所付出的一切。

當中包括奧馬多島薩馬 / 巴瑤族的織匠 Roziah Jalalid、 Sanah、Budi、Kinnuhong、Darwisa、Koddil、Kuluk、 Erna、Norsaida、Kenindi、Goltiam、Anjung、Aline、 Alisya、Appay、Anneh、Asima、Bagai、Barahim、 Bedihing、Billung、Bobog、Braini、Burah、Daiyan、 Dawing、Dayang、Dela、Ebbuh、Endik、Enidah、Indah Jariah、Indah Laiha、Gangah、Ginnuh、Gultiam、 Kanuk、Kuoh、Latip、Lokkop、Lornah、Norbaya、 Rerah、Runggu、Sitti Rasun、Solbi、Sulman、Turuh、 Tasya 和 Tularan。

根地咬杜順 / 姆律族的織匠 Julitah Kulinting、S. Narty Abd. Hairun、S. Narty Raitom、Zaitun Abdullah Hairun、Julia

Ginasius、Hollyvia Kimin、Lili Naming、Shahrizan Bin Juin、Johin Endelengau 和 Siat Yanau。

Jay Adner James 、Carey Didier Chin 、Mohd Hairul

請了本地合作者，包括黎帶金、香港科技大學華南研究中

Future、Afritude Kaze、Amanda Sun 及好藝藝術基金會、 Katrina Leigh Mendoza Raimann、藍奕持、Daniel Toh、

Shumking Mansion、Flash 樂團、H.U.G. 快樂小結他、鄧卓

敏、The Harmonics Choir Hong Kong、保良局陳麗玲（百周年）學校、手舞觸動和 Maggie and Sasha 手碟二人組。感謝他們在織墊上表現其獨特的創意才華。宋大衛博士、孫

先勇博士、鄭秀梅、黃學權博士、楊秀明和林國盛亦帶來精彩的研討會和講座，從不同角度了解于一蘭的作品。

最後，我們要感謝陳廷驊基金會及南豐集團對活動背後理念的理解及慷慨支持。

這個展覽及相關的活動是我們堅持不懈、友誼和彼此信賴的成果，相信「婆羅洲之心」的精神已經在香港傳遞開去。高橋瑞木

執行董事及首席策展人

CHAT 六廠（六廠紡織文化藝術館），香港

Yee I-Lann: Until We Hug Again was organised by CHAT (Centre for Heritage, Arts and Textile) in the midst of the COVID-19 pandemic. The exhibition was conceived as a retrospective of Yee’s artistic career, particularly focusing on her textile-related works to examine her intersectional practice between art and social activism. Unfortunately, despite our lengthy discussions and planning and Yee’s commitment in conceptualising the show, travel restrictions prevented the artist from visiting Hong Kong. The exhibition titled Until We Hug Again was given to represent the feeling of hope for the future when we can meet, and once again use physical gestures to express our love, friendship, forgiveness and reconciliation. Prior to the show in Hong Kong, Yee and her friends organised the exhibition Borneo Heart at the Sabah International Convention Centre in Kota Kinabalu. The exhibition was dedicated to the people of Sabah, and during the exhibition period, Yee conducted artist-led guided tours 3 days a week to talk about her collaborations and the exhibited works to the visitors. It was important for Yee to present her series of tikar to the people of Sabah before bringing them overseas because tikar was, first and foremost, made for Sabah’s communities, nature, heritage and the future of its craftmaking. Sadly, the exhibition period of Borneo Heart was cut short due to the increasing number of COVID-19 cases in Sabah and the consequent social-distancing rules. The strict policies and lockdowns impacted various industries, including art logistics, and eventually led to the one-month delay of the exhibition opening in Hong Kong. Despite the unexpected situation, Yee and her collaborators made their best effort to make Until We Hug Again a reality in Hong Kong. We would like to express our heartfelt gratitude to Yee I-Lann and her collaborators for all they did for the show in CHAT. Pulau Omadal Bajau Sama DiLaut weavers: Roziah Jalalid, Kak Sanah, Kak Budi, Kak Kinnuhong, Adik Darwisa, Kak Koddil, Makcik Kuluk, Adik Erna, Kak Kuluk, Adik Norsaida, Adik Kenindi, Kak Goltiam, Kak Anjung, Adik Koddil as well as Adik Aline, Adik Alisya, Makcik Appay, Adik Anneh, Adik Asima, Makcik Bagai, Abang Barahim, Kak Bedihing, Makcik Billung, Makcik Bobog, Makcik Braini, Makcik Burah, Kak Daiyan, Adik Dawing, Adik Dayang, Adik Dela, Kak Ebbuh, Kak Endik, Adik Enidah, Kak Indah Jariah, Makcik Indah Laiha, Makcik Gangah, Kak Ginnuh, Kak Gultiam, Kak Kanuk, Kak Kenindi, Kak Kuoh, Abang Latip, Makcik Lokkop, Adik Lornah, Kak Norbaya, Kak Norsaida, Makcik Rerah, Kak Runggu, Kak Sitti Rasun, Kak Solbi, Kak Sulman, Kak Turuh, Adik Tasya and Abang Tularan.

Keningau Dusun Murut weavers: Julitah Kulinting, S. Narty Abd. Hairun, S. Narty Raitom, Zaitun Abdullah Hairun, Julia Ginasius, Hollyvia Kimin, Lili Naming, Mohammed Shahrizan Bin Juin, Johin Endelengau and Siat Yanau. Tagaps Dance Theatre: Mohd Azizan Danial Bin Abdullah, Jay Adner James, Carey Didier Chin, Mohd Hairul Azman Peter, Addam Jesley, Shahhijjaz Khan, Mohd Nazri Adam, Earl Steiner, Joanne Dayang and Athina Padua. Huntwo Studios: Al Hanafi Juhar, Candy Yik; DeeBee Studio/ Schizo Stars: Andy Chia Chee Shiong, Chris Tan; Third Rice Culture: Kenneth Lo Wei Jun, Isaac Collard, Jan Johan, Emily Mary Chin; E Photo Media, Sohphee Ng, Mr Ng Kim Hock; Kota-K Studio: Filzah Jam Jam, Phyllis Chin; KerbauWorks; Persatuan Wanita Pulau Omadal (WAPO); Mohd Asraffirdauz Bin Abdullah, Severinus Gimit, Venice Foo, Melanie Chu and Joe Kidd; Mind Set Art Center: Andre Lee, Queena Chu; RogueArt: Beverly Yong and Rachel Ng; Silverlens Galleries: Isa Lorenzo, Rachel Rillo, Erlyz Santos, Cecille Dayrit, Mark Zamuco, Jeff Mendoza and Janine Martinez. Our sincere appreciation also goes to Andreas Teoh, Jim Amberson, Joanne Ngeow, Benedicta M Badia Nordenstahl Collection, Dr Chen Bo-Wen, Esther M Heer-Zacek and Tsai Kuang-Che for their generous loan the works to the exhibition. To implement the inclusive spirit of tikar to Hong Kong, CHAT’s Learning and Community team invited local collaborators including Lai Tai Kam, South China Research Center, HKUST, Seeds for ICH, Justice Centre Hong Kong, Grassroots Future, Afritude Kaze, Amanda Sun and Arts for Good Foundation, Katrina Leigh Mendoza Raimann, Lester Lam, Daniel Toh, Shumking Mansion, Flash Ensemble, H.U.G., Penelope Tang, The Harmonics Choir Hong Kong, Po Leung Kuk Anita L. L. Chan (Centenary) School, Dance Ability and Maggie and Sasha Handpan Duo. We thank them for activating the tikar with their unique talents and creativity. Dr. David R. Saunders, Dr. Simon Soon, Tee Siew Mool Janet, Dr. Nicholas Y. H. Wong, Beverly Yong, Lam Kwok Shing gave wonderful lectures and talks, offering multiple angles to understand Yee I-Lann’s works. Last but not least, we would like to show our gratitude to The D. H. Chen Foundation and Nan Fung Group for their generous support and for understanding the value of our activities. The exhibition and events were the fruits of our resilience, friendship and trust. The spirit of Borneo Heart has certainly been shared with people in Hong Kong. Takahashi Mizuki Executive Director and Chief Curator CHAT (Centre for Heritage, Arts and Textile), Hong Kong 5

展場圖片

EXHIBITION VIEW

展覽紀錄片

EXHIBITION DOCUMENTARY VIDEO

《引言》 TRODUCT

190 × 150 厘米塑膠彩布本私人收藏

202190 × 150 cm Acrylic on canvas Private collection

作品

ARTWORKS

《透過玫瑰色濾鏡》 THROUGH ROSE-COLOURED GLASSES 2002（2021 年重新裝配）帶框照片（噴墨打印）尺寸可變

2002 (2021 reconfigured) Framed photos (inkjet print) Dimensions variable

《大人物系列：海盜帝國與其輝煌事業》 THE ORANG BESAR SERIES: EMPIRES OF PRIVATEERS AND THEIR GLORIOUS VENTURES 2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染印 Remazol 牢度鹽 132 x 400 厘米

陳泊文醫師藏品

2010 Direct digital mimaki inkjet print with acid dye, batik chop Remazol Fast Salt dyes on 100% silk twill 132 x 400 cm Collection of Dr. Chen Bo-Wen

《大人物系列：以樹根起頭之長布》 THE ORANG BESAR SERIES: KAIN PANJANG WITH PARASITIC KEPALA 2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染筆 Remazol 牢度鹽 106.7 x 234 厘米蔡光哲藏品

2010 Direct digital mimaki inkjet print with acid dye, batik canting Remazol Fast Salt dyes on 100% silk twill 106.7 x 234 cm Collection of Tsai Kuang-Che

《大人物系列：以豬籠草起頭之長布》 THE ORANG BESAR SERIES: KAIN PANJANG WITH CARNIVOROUS KEPALA 2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染筆 Remazol 牢度鹽 106.7 x 234 厘米蔡光哲藏品

2010 Direct digital mimaki inkjet print with acid dye, batik canting Remazol Fast Salt dyes on 100% silk twill 106.7 x 234 cm Collection of Tsai Kuang-Che

《大人物系列：以含羞草起頭之長布》 THE ORANG BESAR SERIES: KAIN PANJANG WITH PETULANT KEPALA 2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染筆 Remazol 牢度鹽 106.7 x 234 厘米蔡光哲藏品

2010 Direct digital mimaki inkjet print with acid dye, batik canting Remazol Fast Salt dyes on 100% silk twill 106.7 x 234 cm Collection of Tsai Kuang-Che

《影像權力（一組 8 件）》 PICTURING POWER (SERIES OF 8) 2013

哈内姆勒攝影純棉超平滑藝術微噴打印尺寸可變

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemühle Photo Rag Ultra Smooth Fine Art Dimensions variable Courtesy of the artist and Silverlens, Manila 52

《影像權力：其中一人暗中地進行偵察以收集觀點並凍結觀點以反思自己的同類》 PICTURING POWER: WHEREIN ONE SURREPTITIOUSLY PERFORMS RECONNAISSANCE TO COLLECT VIEWS AND FREEZE POINTS OF VIEW TO BE REFLECTIVE OF ONE’S OWN KIND 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

《影像權力：其中一人以知識的名義量度一切，為它起名並公佈，從而擁有它》 PICTURING POWER: WHEREIN ONE, IN THE NAME OF KNOWLEDGE, MEASURES EVERYTHING, GIVES IT A NAME AND PUBLICISES THIS, THEREBY CLAIMING IT 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

《影像權力：其中一人點頭表示政治上的同情，說我比你更了解你自己，我只是在這裡協助你幫助自己》 PICTURING POWER: WHEREIN ONE NODS WITH POLITICAL SYMPATHY AND SAYS I UNDERSTAND YOU BETTER THAN YOU UNDERSTAND YOURSELF, I’M JUST HERE TO HELP YOU HELP YOURSELF 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 63 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 63 cm Courtesy of the artist and Silverlens, Manila

《影像權力：其中一人做了數據轉換資產的列表及自稱為老闆管轄 PICTURING POWER: WHEREIN ONE TABLES AN INDEXICAL RECORD OF DATA-TURNED-ASSETS AND RULES LIKE THE BOSS YOU NOW SAY THAT YOU ARE 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

轄》

《影像權力：其中一方贏得純真之人的心及給予他們需要學習的知識》 PICTURING POWER: WHEREIN ONE CLAIMS THE HEARTS AND MINDS OF THE INNOCENT AND GIVES THEM THE KNOWLEDGE THAT IS TO BE LEARNT 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 63 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 63 cm Courtesy of the artist and Silverlens, Manila

《影像權力：其中一人培育文化規範、人類崇高的探索，從而將它 PICTURING POWER: WHEREIN ONE CULTIVATES CULTURAL ENDEAVORS OF MANKIND AND THEREBY PUTS THEM IN TH 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

它們據為己有》 L CODES, THE NOBLE HEIR PLACE

《影像權力：其中一方交出查看戰利品、土地和勞動力的方式，從而在辯白中建立串謀關係；

你們現在是犯罪的同謀》 PICTURING POWER: WHEREIN ONE HANDS OVER THE WAYS OF SEEING LOOT, LAND AND LABOUR AND THEREBY BUILDS COMPLICITY IN THE EXCULPATION; YOU ARE NOW PARTNERS IN CRIME 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 63 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 63 cm Courtesy of the artist and Silverlens, Manila

《影像權力：其征服和振作起來 PICTURING P CAN EXPLOIT JOLLY ADVEN 2013

哈内姆勒攝影純棉 63 x 90 厘米

藝術家及 Silverle

2013 Giclee print on H 63 x 90 cm Courtesy of the a

其中一人的遺產迎來一個完整的循環，並假設你也可以在自己的歡樂冒險的精彩遊戲中利用、來》 POWER: WHEREIN ONE’S LEGACY COMES FULL CIRCLE AND POSITS THAT YOU TOO T AND SUBJUGATE AND FLUFF YOURSELF UP IN A SPLENDID GAME OF YOUR OWN NTURE

棉超平滑藝術微噴打印

ens（馬尼拉）提供

Hahnemuhle Photo Rag Ultra Smooth Fine Art

artist and Silverlens, Manila

《量度項目：第一章》 MEASURING PROJECT: CHAPTER 1 2021

哈内姆勒攝影用紙數位噴墨（藝術微噴），一組 4 件

29.7 x 42 厘米（每張）

2021 Digital inkjet pigment print (Giclée) on Hahnemühle Photo Rag paper, set of 4 29.7 x 42 cm (each)

《&（黑）》 & (BLACK) 2021

于一蘭與編織夥伴 Johin Endelengau

竹織物、來自樹木黑色天然染料、啞光塗層 119 x 84 厘米

2021 Yee I-Lann with weaving by Johin Endelengau Split bamboo pus weave with kayu obol black natural dye, matt sealant 119 x 84 cm

《爆炸 &（白）》 EXPLODING & (WHITE) 2021

于一蘭與編織夥伴 Shahrizan Bin Juin

竹織物、來自樹木黑色天然染料、啞光塗層 119 x 84 厘米

藝術家、Joanne Ngeow 及 Silverlens（馬尼拉）提供

2021 Yee I-Lann, with weaving by Shahrizan Bin Juin Split bamboo pus weave with kayu obol black natural dye, matt sealant 119 x 84 cm Courtesy of the artist, Joanne Ngeow and Silverlens, Manila 67

《黑色桌子》 BLACK TABLE 2018

于一蘭與編織夥伴 Roziah Jalalid、Julitah Kulinting 露兜樹葉及竹織物、來自樹木黑色天然染料

2018 Yee I-Lann with weaving by Roziah Jalalid and Julitah Kulinting Pandanus and bamboo pus weave with kayu obol black natural dye

《織墊 / 桌子》 TIKAR/MEJA 2019-2020

于一蘭與編織夥伴 Sanah、Kinnohung、Budi、

Kuoh、Turuh、Lokkop、Barahim、Tularan、 Darwisa、Alisya、Daiyan、Dayang、Tasya、Dela、 Enidah、Norsaida、Bobog、Roziah、Latip 薩馬 / 巴瑤族露兜樹葉織物、商業化學染料尺寸可變

2019-2020 Yee I-Lann with weaving by Kak Sanah, Kak Kinnohung, Kak Budi, Kak Kuoh, Kak Turuh, Makcik Lokkop, Abang Barahim, Abang Tularan, Adik Darwisa, Adik Alisya, Kak Daiyan, Adik Dayang, Adik Tasya, Adik Dela, Adik Enidah, Adik Norsaida, Makcik Bobog, Kak Roziah, Abang Latip Bajau Laut/Sama Dilaut Pandanus weave with commercial chemical dye Dimensions variable 71

《表情符號織墊》 TIKAR EMOJI 2020

于一蘭與編織夥伴 Kinnuhong、Sanah、Budi、Roziah、Goltiam、

Kuluk、Rerah、Appay、Darwisa、Alisya、Enidah、Dela、Erna、 Norsaida、Asima、Aline、Dayang、Tasya、Solbi、Anjung 薩馬 / 巴瑤族露兜樹葉織物、商業化學染料 488 x 396 厘米

藝術家及 Silverlens（馬尼拉）提供

2020 Yee I-Lann with weaving by Kak Kinnuhong, Kak Sanah, Kak Budi, Kak Roziah, Kak Goltiam, Kak Kuluk, Macik Rerah, Macik Appay, Adik Darwisa, Adik Alisya, Adik Enidah, Adik Dela, Adik Erna, Adik Norsaida, Adik Asima, Adik Aline, Adik Dayang, Adik Tasya, Kak Solbi, Kak Anjung Bajau Sama Dilaut Pandanus weave with commercial chemical dye 488 x 396 cm Courtesy of the artist and Silverlens, Manila

( 前 Front)

#002》《我的家園 #002 TANAHAIRKU #002 2020

于一蘭與編織夥伴 Sanah、Budi、Roziah、

Koddil、Darwisa、Alisya、Dela、Enidah、 Asima、Norsaida、Erna、Dayang、Tasya

薩馬 / 巴瑤族露兜樹葉織物、商業化學染料 396 x 457 厘米

2020 Yee I-Lann with weaving by Kak Sanah, Kak Budi, Kak Roziah, Adik Koddil, Adik Darwisa, Adik Alisya, Adik Dela, Adik Enidah, Adik Asima, Adik Norsaida, Adik Erna, Adik Dayang, Adik Tasya Bajau Sama Dilaut Pandanus weave with commercial chemical dye 396 x 457 cm ( 後 Back)

《擁有號碼的織墊》 TEPO ANIYA NOMBOR NA (MAT WITH A NUMBER) 2020

于一蘭與編織夥伴 Sanah 、Kinnuhong、Budi、 Roziah、Darwisa、Enidah、Dela、Asima、 Dayang、Tasya、Alisya、Erna

薩馬 / 巴瑤族露兜樹葉織物、商業化學染料 366 x 427 厘米

2020 Yee I-Lann with weaving by Kak Sanah, Kak Kinnuhong, Kak Budi, Kak Roziah, Adik Darwisa, Adik Enidah, Adik Dela, Adik Asima, Adik Dayang, Adik Tasya, Adik Alisya, Adik Erna Bajau Sama Dilaut Pandanus weave with commercial chemical dye 366 x 427 cm 77

《擁有號碼的織墊》 TEPO ANIYA NOMBOR NA (MAT WITH A NUMBER) 2021

影像紀錄

攝製：Andy Chia Chee Shiong (Deebee Studio) 助理攝影及現場錄音：Chris Tan

現場統籌：Roziah Jalalid、Nurul Isma bt Mansula、 Masmera bt Hajih Jimlan (Suara 社區電影製作 )

演出：Kinnuhong, Sanah, Budi, Kuluk, Darwisa, Dela, Erna, Kenindi

2021 Documentation video Cinematography: Andy Chia Chee Shiong (Deebee Studio) Assistant photography & field sound recordings: Chris Tan Field coordination assistance by Roziah Jalalid, Nurul Isma bt Mansula, Masmera bt Hajih Jimlan (Suara Community Filmmakers) Performed by Kak Kinnuhong, Kak Sanah, Kak Budi, Kak Kuluk, Adik Darwisa, Adik Dela, Adik Erna, Adik Kenindi

《織墊帶》 TIKAR REBEN 2020

于一蘭與編織夥伴 Roziah、Sanah、Kinnuhong、Koddil 薩馬 / 巴瑤族露兜樹葉織物、商業化學染料 22 x 6279 厘米

藝術家、Esther M Heer-Zacek 及 Silverlens（馬尼拉）提供

2020 Yee I-Lann, with weaving by Kak Roziah, Kak Sanah, Kak Kinnuhong, Kak Koddil Bajau Laut/Sama Dilaut Pandanus weave with commercial chemical dye 22 x 6279 cm Courtesy of the artist, Esther M Heer-Zacek and Silverlens, Manila

《織墊帶》（錄像） TIKAR REBEN (VIDEO) 2021

單頻道錄像 12’30”

展示于一蘭與編織夥伴 Roziah、Sanah、Kinnuhong、 Koddil 製作之《織墊帶》（2020）

攝製：Andy Chia Chee Shiong (Deebee Studio) 助理攝影及現場錄音：Chris Tan

現場統籌：Roziah Jalalid、Nurul Isma bt Mansula、 Masmera bt Hajih Jimlan (Suara 社區電影製作 )

演出：Roziah、Sanah、Kinnuhong、Budi、Darwisa、

Anjung、Erna、Norsaida、Kuluk、Goltiam、Kenindi、 Koddil、Anneh 演唱：Budi

2021 Single channel video 12’30” Featuring Tikar Reben (2020) by Yee I-Lann with weaving by Kak Roziah, Kak Sanah, Kak Kinnuhong, Kak Koddil Cinematography: Andy Chia Chee Shiong (Deebee Studio) Assistant photography & field sound recordings: Chris Tan Field coordination assistance by Roziah Jalalid, Nurul Isma bt Mansula, Masmera bt Hajih Jimlan (Suara Community Filmmakers) Performed by Kak Roziah, Kak Sanah, Kak Kinnuhong, Kak Budi, Adik Darwisa, Kak Anjung, Adik Erna, Adik Norsaida, Kak Kuluk, Kak Goltiam, Kak Kenindi, Adik Koddil and Adik Anneh Song by Kak Budi

《七頭青鸞帽》 SEVEN-HEADED LALANDAU HAT 2020

于一蘭與編織夥伴 Lili Naming、Siat Yanau、Shahrizan Bin Juin 竹織物、來自樹木黑色天然染料、啞光塗層約長 5 米版數 3

藝術家、 Jim Amberson 及 Silverlens（馬尼拉）提供

2020 Yee I-Lann with weaving by Lili Naming, Siat Yanau, Shahrizan Bin Juin Split bamboo pus weave with kayu obol black natural dye, matt sealant Approx. 5 m laid out Edition of 3 Courtesy of the artist, Jim Amberson and Silverlens, Manila 84

《織墊帶》（錄像） PANGKIS (VIDEO) 2021

單頻道錄像 9’ 30”

版本五

展示于一蘭與編織夥伴 Lili Naming、Siat Yanau、Shahrizan Bin Juin 製作之《七頭青鸞帽》（2020）

攝製：Al Hanafi Juhar (Huntwo Studios) 燈光：Candy Yik (Huntwo Studios) Tagaps 舞蹈劇場：

編舞：Mohd Azizan Danial Bin Abdullah 統籌：Joanne Dayang

舞者：Jay Adner James、Carey Didier Chin、Mohd Hairul Azman Peter、 Addam Jesley、Shahhijjaz Khan、Mohd Nazri Adam、Earl Steiner 製作支援：Third Rice Culture

場地贊助：The Factory @ Inanam

2021 Single-channel video 9’ 30” Edition of 5 Featuring 7-headed Lalandau Hat (2020) by Yee I-Lann, with weaving by Lili Naming, Siat Yanau, Shahrizan Bin Juin Cinematography: Al Hanafi Juhar (Huntwo Studios) Lighting: Candy Yik (Huntwo Studios) Dance by Tagaps Dance Theatre: Choreographer: Mohd Azizan Danial Bin Abdullah Coordinator: Joanne Dayang Dancers: Jay Adner James, Carey Didier Chin, Mohd Hairul Azman Peter, Addam Jesley, Shahhijjaz Khan, Mohd Nazri Adam, Earl Steiner Production support: Third Rice Culture Location sponsored by: The Factory @ Inanam 87

《三扇漂浮著的百葉窗》 3 HOVERING LOUVRES 2019

于一蘭與編織夥伴 Julitah Kulinting、S. Narty Raitom、 Julia Binti Ginasius 竹織物、啞光塗層

193 x 320 厘米

藝術家、Andreas Teoh 及 Silverlens（馬尼拉）提供

2019 Yee I-Lann with weaving by Julitah Kulinting, S. Narty Raitom, Julia Binti Ginasius Split bamboo pus weave and matt sealant 193 x 320 cm Courtesy of the artist, Andreas Teoh and Silverlens, Manila 89

《來自圈外的問候》 HELLO FROM THE OUTSIDE 2019

于一蘭與編織夥伴 Lili Naming、Siat Yanau、Shahrizan Bin Juin、Juraen Bin Sapirin、S. Narty Raitom 竹織物、來自樹木黑色天然染料、啞光塗層 225 x 364 厘米

2019 Yee I-Lann with weaving by Lili Naming, Siat Yanau, Shahrizan Bin Juin, Juraen Bin Sapirin, S. Narty Raitom Split bamboo pus weave with kayu obol black natural dye, matt sealant 225 x 364 cm 91

《對你愛愛愛不完》 SO WE LOVE LOVE LOVE TONIGHT 2021

于一蘭與編織夥伴 Lili Naming、Siat Yanau、Shahrizan Bin

Juin、Johin Endelengau

竹織物、來自樹木黑色天然染料、啞光塗層 225 x 360 厘米

CHAT 六廠（香港）委託作品

2021 Yee I-Lann with weaving by Lili Naming, Siat Yanau, Shahrizan Bin Juin, Johin Endelengau Split bamboo pus weave with kayu obol black natural dye, matt sealant 225 x 360 cm Commissioned by CHAT, Hong Kong 93

《漫無目的遊走》 MANSAU ANSAU (TO WALK AND WALK WITHOUT KNOWING WHERE YOU ARE HEADED) 2021

于一蘭與編織夥伴 Julitah Kulinting、S. Narty Raitom、 Julia Ginasius、Hollyvia Kimin

竹織物、來自樹木黑色天然染料、商業化學染料、啞光塗層

216 x 411 厘米

2021 Yee I-Lann with weaving by Julitah Kulinting, S. Narty Raitom, Julia Ginasius, Hollyvia Kimin Split bamboo pus weave with kayu obol black natural dye, commercial chemical colour dyes, matt sealant 216 x 411 cm 95

《口腔上顎的山脊》 TINUKAD TUKAD KAD (RIDGES AT THE TOP OF THE MOUTH) 2021

于一蘭與編織夥伴 Lili Naming、Siat Yanau、 Shahrizan Bin Juin

竹織物、來自樹木黑色天然染料、商業化學染料、啞光塗層

200 x 343.5 厘米

Benedicta M Badia Nordenstahl Collection 藏品

2021 Yee I-Lann with weaving by Lili Naming, Siat Yanau, Shahrizan Bin Juin Split bamboo pus weave with kayu obol black natural dye, commercial chemical colour dyes, matt sealant 200 x 343.5 cm Collection of Benedicta M Badia Nordenstahl Collection 97

《題目：感受愛》 TITLE: RASA SAYANG 2014

鋁面熱昇華打印，一組 10 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2014 Dye sublimation print on aluminium sheet, set of 10 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

《結語：給我你擁抱的手臂》 EPILOGUE: SEND ME YOUR ARMS IN AN EMBRACE 2021

鋁面熱昇華打印，一組 25 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2021 Dye sublimation print on aluminium sheet, set of 25 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila 99

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《第一章：太陽將從東方升起及把我們從這漫漫長夜中解救出來》 CHAPTER 1: THE SUN WILL RISE IN THE EAST AND DELIVER US FROM THIS LONG NIGHT 2012

鋁面熱昇華打印，一組 52 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2012 Dye sublimation print on aluminium sheet, set of 52 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

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《第三章：他媽的喂你你想喝杯茶嗎誰我我想喝杯茶你和我你和我和你和你我在喝茶雲離去以共享一個月亮》 CHAPTER 3: FUCK THAT SHIT OI YOU WOULD YOU LIKE A CUP OF TEA WHO ME I WOULD LOVE A CUP OF TEA YOU AND ME AND YOU AND I AND YOU AND YOU AM I DRINKING TEA CLOUDS PART TO SHARE A MOON 2016

鋁面熱昇華打印，一組 128 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2016 Dye sublimation print on aluminium sheet, set of 128 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

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《第四章：我很想知道你和我做了甚麼直到我們相愛如果我們沒有斷奶就像熱面上的水一樣我仍然是立方體》 CHAPTER 4: I WONDER BY MY TROTH WHAT THOU AND I DID TILL WE LOVED WERE WE NOT WEANED TILL THEN LIKE WATER BEFORE HEAT I REMAIN CUBED 2018

鋁面熱昇華打印，一組 96 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2018 Dye sublimation print on aluminium sheet, set of 96 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

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《第五章：風的軌跡織影光禿禿的墊子》 CHAPTER 5: PATHS OF THE WIND WEAVE SHADOWS BARE BONES OF A MAT 2020

鋁面熱昇華打印，一組 41 件

21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2020 Dye sublimation print on aluminium sheet, set of 41 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

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關於藝術家

ABOUT THE ARTIST 108

Born and currently living and working in Kota Kinabalu in the Malaysian Borneo state of Sabah, Yee I-Lann has been involved in various cultural sectors including film industries, the art academy and the music scene in Kuala Lumpur after completing her studies of visual art in Adelaide, Australia. Since 2017, Yee has lived and worked in her hometown of Kota Kinabalu and started working in collaboration with sea-based and inland-based communities to create art pieces with indigenous materials and techniques. At the same time, she serves as a board member for Forever Sabah, a non-profit organisation established for Sabah’s nature conservation and sustainability efforts. Known for her photo-imagery-based practices, Yee has been addressing the modern history of the Southeast Asia Archipelago and its colonial past and postcolonial present. Interrogating the nature of photographic imagery, which often subconsciously captures power structures such as hegemony, hierarchy and gender inequality embedded in societies while preserving them as memory or documentation, Yee has been disentangling historical narratives, presenting complex cultural identities and socio-political matters formed throughout the geopolitical history of Southeast Asia.

于一蘭生於馬來西亞婆羅洲沙巴州亞庇，並在該地居住及工作。

她在澳洲阿德萊德完成視覺藝術課程後，從事吉隆坡眾多的文化產業，包括電影工業、藝術學院及音樂領域。自 2017 年，于一蘭於家鄉亞庇生活和工作，並開始與海島和內陸社群合作，以當地

物料和技術來創作；她擔任永久沙巴（Forever Sabah）的董事成員，這個非牟利組織的宗旨為推動沙巴的自然保育和可持續發展。

于一蘭的照片影像實踐為人熟悉，她一直致力述說東南亞群島的現代歷史及其殖民的過去和現今後殖民時代。她質問攝影影像的本質經常隱藏權力結構的意味，例如社會中根深柢固的霸權、等

級制度、性別不平等，同時又將它們猶如記憶及紀錄般保存。于

一蘭一直解構歷史敘事，展現在整個東南亞的地緣政治歷史中錯綜複雜的文化身份及社會政治議題。

她的作品收藏於美國明尼阿波利斯美術館、日本東京森美術館、澳洲坎培拉國立美術館、新加坡美術館、馬來西亞吉隆坡國家美術館、英國倫敦瑞銀藝術藏品及法國巴黎的卡迪斯基金會。

Her works are included in the collections of prominent international art institutions including Minneapolis Institute of Art, Minneapolis, USA; Mori Art Museum, Tokyo, Japan; National Art Gallery of Australia, Canberra, Australia; Singapore Art Museum, Singapore; National Art Gallery, Kuala Lumpur, Malaysia; UBS Art Collection, London, UK and the Kadist Foundation, Paris, France.

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季度活動

RELATED EVENTS

04.09.2021

藝術家重聚：于一蘭與她的編織夥伴 ARTIST REUNION: YEE I-LANN AND COLLABORATING WEAVERS 講者 Speaker：于一蘭及沙巴織匠 Yee I-Lann and weavers from Sabah

04.09-16.10.2021

共享墊堂 COME CLOSER OPEN STAGE@TIKAR EMOJI

Showcase：香港漁歌 Hong Kong Fisherfolk Ballads 開幕演出 Opening Showcase：香港漁歌

合作單位 Collaborator：黎帶金、香港科技大學華南研究中心及非遺種子計劃

Lai Tai Kam, South China Research Centre of HKUST and Seeds for ICH

共享墊堂為配合這次展覽，CHAT 六廠在南豐紗廠紗廠坊放置了由《表情符號織墊》轉化而成的公開舞台，讓

人與家人、朋友及自己的群體聚首一堂，共享歡

樂。我們邀請了本地多元社群演出、進行創意活動及對談，透過藝術讓正能量從個人至群體、從沙巴至香港傳遞出去。

COME CLOSER OPEN STAGE @ TIKAR EMOJI In conjunction with the exhibition, Tikar Emoji was installed at The Hall of The Mills as an open stage, an active space for people to gather and spend time with family, friends and their communities. CHAT invited diverse communities across Hong Kong and staged performances, workshops and talk events to channel positive energies through the power of art from Sabah to Hong Kong, from individuals to communities.

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19.09.2021

「難」言之隱：難民的織物故事 THE HIDDEN FABRIC OF REFUGEES

合作單位 Collaborator：Justice Centre Hong Kong

19.09.2021

騷靈節奏：由心而發的詩與歌 SOUL RHYTHM: POETRY AND MUSIC, SPOKEN FROM THE HEART 合作單位 Collaborator ：Afritude Kaze, Grassroots Future

26.09.2021

公開招募表演 PERFORMANCES SELECTED THROUGH OPEN CALL Flash 樂團 Flash Ensemble

H.U.G. 快樂小結他 H.U.G. Ukulele 鄧卓敏 Penelope Tang

The Harmonics Choir Hong Kong

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03.10.2021

譜寫的經紗 WRITTEN WARP

Amanda Sun 及合作單位 Collaborator：好藝藝術基金會、：好藝藝術基金會、Amanda Katrina Leigh Mendoza Raimann

Arts for Good Foundation, Amanda Sun and Katrina Leigh Mendoza Raimann

14.10.2021

公開招募表演 PERFORMANCES SELECTED THROUGH OPEN CALL

保良局陳麗玲（百周年）學校 Po Leung Kuk Anita L. L. Chan (Centenary) 手舞觸動 Dance Ability

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16.10.2021

公開招募表演 PERFORMANCES SELECTED THROUGH OPEN CALL

Maggie and Sasha 手碟二人組 Maggie and Sasha Handpan Duo

跨文化音樂黃昏 CROSS-CULTURAL MUSIC FIESTA AT DUSK Toh、藍奕持及 Shumking Mansion 合作單位 Collaborator：Daniel Toh、 Daniel Toh, Lester Lam and Shumking Mansion

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工藝與紡織作為織製的抗逆精神

CRAFT AND TEXTILES AS WOVEN RESILIENCE

高橋瑞木展覽策展人

TAKAHASHI MIZUKI CURATOR OF THE EXHIBITION

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圖.1 《以樹根起頭之長布》，2010 Fig. 1

Kain Panjang with Parasitic Kepala , 2010

于一蘭：「當你攤開一張蓆子，即等同劃出一個公共聚會空間，邀請所有人以同一高度並排而坐。織

墊（tikar）在本質上也是女性化的，關乎本土經濟與空間、家族與傳承。」（1）于一蘭近期與沙巴兩個原住民族群合作，一個來自蘇祿海與西里伯斯海交界的奧馬多島，一個來自根地咬內陸地區，他們共同製作「tikar」──馬來語解作傳統的織製墊子。

于一蘭以其攝影影像作品見稱，因此她與工藝織匠的合作也許是個新挑戰，不過她的織墊作品依然反映其藝術實踐的一些共同點，包括對殖民歷史及社會政治現狀的批判思考。無論她使用甚麼媒介或方法創作，其作品經常把互相衝突的思想融為一體，創造一個空間讓分裂的族群消弭敵意。

于一蘭生於馬來西亞婆羅洲沙巴州亞庇的一個多種族家庭，1989 至 1992 年在澳洲阿德萊德修讀攝影與電影攝影課程後，於吉隆坡居住和工作二十多年，活躍於電影製作、龐克搖滾、藝術創作和政治活動。她在馬來西亞經歷了政治動盪和貪污腐敗後，以藝術回應社會現實與人類心理。她的作品在描繪當代現實的同時亦探討殖民歷史，鼓勵民眾為世界帶來正面改變。她仔細選擇藝術媒介，重新發明製作方法以作出積極回應，而她近期的傳統工藝製作就是一種行動，以此重拾文化傳承、為弱勢的女性充權、修復自然環境、重建因殖民創傷而消失的人際互信。

在西方的主流規範下，非西方地區的傳統與工藝品經常被濫用為批判西方現代性的工具。當工藝品被拿來與西方藝術並置對照時，會被用作突出西方與非西方文化之間的差異，多於探索兩者的共通點。冷戰結束後，西方藝術機構開始納入非西方藝術，通常是工藝品，有時是當代藝術，以呈現日益全球化過程中的多重現代性和當代性。（2）

其中一個早期例子，就是 1989 年巴黎龐比度中心舉辦的大型群展「大地魔術師」（Magiciens de la

Terre），因其選擇藝術品的殖民傾向而備受批評。這個展覽邀請了來自世界各地一百位藝術家，半數

來自非西方地區，卻沒一位來自東南亞。（3）在這個展覽，大部份西方藝術家的展品都屬概念藝術，然

而非西方地區的展品卻表現出強烈的工藝美學。策展人 Jean Hubert Martin 解釋其策展意圖時，表示希望把現代及當代的西方藝術並置於通常只會在民族博物館展出的非西方藝術，以此質疑西方的藝術

準則。（4）不過由於展覽並沒包括具傳統主題和工藝美學的當代西方藝術，所以此舉被認為只是呈現了前衛西方藝術與傳統非西方藝術之間的差距，而並未反映構築現代性的多種途徑。（5）

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圖.2 《以豬籠草起頭之長布》，2010 Fig. 2

Kain Panjang with Carnivorous Kepala , 2010

‘When you roll out a mat, it demarcates a space that invites communal gathering, where everyone sits together on the same level. Tikar are also feminine in nature, linked with domestic economies and spaces, families and heritage,’ (1) said Yee I-Lann who recently made works of tikar, the Malay word for a traditional woven mat, in collaboration with two indigenous communities in Sabah; one from Pulau Omadal located between the Sulu and Celebes Seas and the other from inland, Keningau. As Yee is known for her work with photographic imagery, her collaboration with craft makers may be regarded as a new challenge. However, several common threads, including Yee’s critical concern of colonial history and ongoing socio-political conditions, can be discovered in the tikar. No matter what medium or methodology she employs, her works often integrate conflicting ideas to propose a space for divided people to overcome animosity. Yee was born in Kota Kinabalu in the Malaysian Borneo state of Sabah into a multi-ethnic family. After studying photography and cinematography in Adelaide, Australia from 1989 to 1992, Yee lived and worked in Kuala Lumpur for more than 20 years, engaging in filmmaking, the punk rock scene, artistic production and political activism. Experiencing political upheaval and corruption in Malaysia, her artistic practises responded to the social reality and people’s psyche around her. Yee’s works depict contemporary realities, whilst addressing colonial history, but also encourage people to change things for the better. Yee carefully chooses mediums and reinvents making methods so as to be in active response. Her recent engagement with traditional crafts is an action to recover cultural heritage, empower underrepresented female voices, restore a clean natural environment and rebuild trust that had been lost between people due to colonial trauma. Under predominant Western norms, the idea of tradition and craft objects in non-Western regions has often been misused in the critique of Western modernity. Juxtaposed against Western art, crafts were at times used as a way to highlight the differences between Western and non-Western culture, rather than to explore common threads between them. After the end of the Cold War, Western art institutions began to extend their arms to include non-Western arts – often crafts and sometimes contemporary art – as a way to reflect complex modernities and contemporaneity in a time of deepening globalisation. (2) An early example is the large-scale group exhibition Magiciens de la Terre, organised by The Centre Pompidou in Paris in 1989, a provocative case criticised for its colonial leanings in artwork selection. The exhibition invited 100 artists from around the world to participate. Among the participating artists, half of

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圖.3 《以含羞草起頭之長布》，2010 Fig. 3

Kain Panjang with Petulant Kepala , 2010

把非西方藝術作品納入展覽，也許的確打開了西方藝術準則的批判論述空間，然而這只是透過強化潛意識的殖民凝視以及「進步西方」與「傳統非西方」的二分法而達成。在「大地魔術師」展覽之後，歐美一些國際群展則強調全球化現象，針對城市化議題而非以現代角度闡釋傳統，以此避免流

於東方主義或重複西方對非西方的剝削。（6）「傳統」在前殖民地區尤其受到關注，因為在現代化過程中，傳統的重要性應該會獲公眾重新重視。

馬來西亞作為一個多種族國家，自 1963 年獨立以來的首要任務，就是建立一個具強烈國族認同的

國家，而這份迫切性亦影響了藝術教育。日本藝術史學家後小路雅弘回憶道：「我在 1979 年 3 月參觀馬來西亞的藝術學校時，聽到老師告誡學生說，作品一定要具有傳統的馬來主題……國族認同是

建立馬來西亞藝術原創性的一個元素，使其成為真正的馬來西亞藝術……我在此處以馬來西亞作例

子，但是所有東盟國家的藝術家均對傳統抱持強烈的意識而創作，主要原因是他們需要借助傳統來突破西方藝術壓倒性的影響，以此達成真正的原創性；第二個原因，就是當一個前殖民地要建立新

的國族身份時，殖民統治之前所遺留下來的獨特傳統是必需的；第三個原因，就是在當今席捲東盟

國家的快速現代化和城市化浪潮下，構成文化認同的傳統民俗正開始消失，因此出現對傳統民俗的懷舊潮。」（7）在這方面，傳統與現代性絕非互相割裂的，而是東南亞現代性的基本要素。

于一蘭與上一代的藝術家不同，她利用傳統工藝把自己的藝術從身份政治中解放出來。藉著傳統工藝，她深入探索權力體系如何使殖民主義得以運作、如何持續掩蓋我們對藝術和社會的理解。對她而言，傳統並非重建國族認同的象徵，而是一種脆弱的文化遺產，很易被當今的政治及經濟狀況所破壞。她的紡織作品主要由女性製作，象徵了她們對長年父權壓迫的一種抵抗，而這種父權勢力正是殖民主義及其社會政治結構的基礎。

于一蘭的蠟染紡織作品《大人物系列》（Orang Besar Series）以東南亞群島的傳統防蠟技術染製。

四件作品當中三件的尺寸按照實際的紗籠而製（紗籠即一種男女均可穿著的傳統裙子），以經過處理的圖像以及東南亞植物的插圖，描繪了男性勢力之間相互依存的習性。「Orang Besar」一詞可譯

成「大人物」，歷史上是指幾個世紀以來為「蘇丹」（即統治者）服務的權力階級，負責代蘇丹管治轄下區域，以服從蘇丹來抵還債務或換取權力。于一蘭認為這些「大人物」反映了東南亞的政治

和經濟結構，時至今日依然操控著這個社會。《以樹根起頭之長布》（Kain Panjang with Parasitic

Kepala ）（圖 1）、《以豬籠草起頭之長布》（Kain Panjang with Carnivorous Kepala ）（圖 2）和《以

含羞草起頭之長布》（Kain Panjang with Petulant Kepala ）（圖 3）的圖像，均是東南亞的常見植

物，每款植物代表不同行為，包括寄生性、食肉性以及對刺激的易感性，被于一蘭用作隱喻人類的

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them were non-Western but none were from Southeast Asia. (3) While most of Western artists’ works were conceptual art, exhibited works from non-Western regions showed strong craft aesthetics. The exhibition curator, Jean Hubert Martin, claimed his curatorial intention in Magiciens de la Terre was to question the Western artistic canon through the display of modern and contemporary Western art alongside nonWestern art, which was generally exhibited in ethnological museums. (4) Yet because the exhibition lacked contemporary Western art with traditional motifs or craft aesthetics, his attempt was criticised to have only emphasised the gap between avant-garde Western art and traditional non-Western art and their different paths in building modernity. (5) Magiciens de la Terre might have opened up a critical discourse of Western canon by including non-Western arts in the exhibition, but it was realised by reinforcing the subconscious colonial gaze and the dichotomy of the ‘progressive West’ and the ‘traditional non-West’. Since Magiciens de la Terre, some international group exhibitions in Europe and America have emphasised the phenomenon of globalisation using urbanisation rather than the modern perception of tradition to avoid Orientalism or repeating Western exploitations of the non-West.(6) Tradition was a major concern especially in former colonies as its importance should have been reinstated among the public in the process of modernisation. As a multi-ethnic country, Malaysia’s top priority since its independence in 1963 has been to build a nation state with a strong sense of national identity – an urgency which has influenced art education. ‘When I visited Malaysia’s art college in March 1979, I heard the teachers admonishing their students always to include traditional Malay motifs in their works.… National identity, this is one of the elements that serves toward creation of the originality of Malaysian art, that makes it truly Malaysian.… I have taken Malaysia as an example here, but the artists of all ASEAN nations continue to work with a strong consciousness of tradition. The main reason for this is that they are relying on tradition as an aid toward breaking through the overpowering influence of Western art and arriving at a true originality. The second reason is that the unique traditions left over from the days before colonial rule are necessary in the establishment of a new national identity. The third reason is the increasingly strong nostalgia for traditional folkways that go to make up the cultural identity that is beginning to disappear in the midst of the vigorous wave of rapid modernisation and urbanisation that are encroaching upon the nations of ASEAN today,’ recalled Japanese art historian Ushiroshoji Masahiro. (7) In this regard, tradition is not separated from modernity but an essential element of modernity in Southeast Asia. In contrast to her predecessors, Yee uses traditional crafts to emancipate her art from identity politics. She employs them to delve into the power system which enabled colonialism and still overshadows our understanding of art and society. For Yee, tradition is not an emblem to recover national identity but a vulnerable cultural heritage which may be easily destroyed by the present political and economic conditions. The textiles and weavings Yee has been working with are mainly made by women and symbolise their resilience against longstanding patriarchal power which, in many ways, is the foundation for colonialism and its socio-political structure.

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圖.4 《海盜帝國與其輝煌事業》，2010 Fig. 4

Empires of Privateers and Their Glorious Ventures , 2010

政治行為模式。作品中的人物姿勢則暗示了「大人物」與普通人民之間的關係，揭示了這個權力結構如何依靠雙方合力維持。在尺寸最大的作品《海盜帝國與其輝煌事業》（ Empires of

Privateers and Their Glorious Ventures）（圖 4）中，東南亞海域的景象描繪了「大人物」底下

的權力架構與轉口港作為地區的把關角色所造成的緊張關係。在海上漂浮的白色島狀物是紡織

品，既是東西方貿易的主要商品，亦代表了殖民霸權和地區之間對經濟領導地位的鬥爭。作品的頂部和底部邊緣飾有頭骨和骨頭的複雜組圖（圖 5），使人聯想起海盜常用的骷髏頭設計。于一蘭認為海盜與私掠者，或是恐怖份子與自由鬥士之間的區別，不過視乎觀看的角度。

為了製作《大人物系列》，于一蘭先拍攝男性群體及植物的圖像，經過圖像處理，再把它們印

刷在白色絲綢上，送到蠟染工場染色。蠟染是利用熔蠟把圖案呈現布上，熔蠟會載入設有筆管或銅印的錫製容器中，以製作出重複和 / 或複雜的圖案；要製作自然呈現的圖案，熔蠟則會塗在布料各處。塗上蠟的布料會被浸入液體染料中，被蠟所覆蓋的位置由於抗染而保持未染色的

狀態。當布料浸入液體染料時，冷卻了的蠟就會裂開，在布面上形成裂紋效果。于一蘭利用蠟染，在概念上和技術上呈現了女性的沉默力量──這些女性見證著男性之間的權力操縱和鬥

爭。與「大人物」的男性力量相比，蠟染紡織品在傳統上由女性製作，而她們在男性勢力互相

勾結的印刷圖像上製造裂紋效果，就表現了一種無聲的抵抗。蠟染在染色過程中抗色的特質，在本質和概念上皆演示了薰染和抵抗的概念。

當藝術家利用傳統工藝創作時，往往被批評為是特權精英階層的藝術家挪用或剝削原住民的文

化遺產，可是于一蘭與織匠的合作卻能免受這類指控，因為她很有意識地推動公平公正的合

作，用心聆聽這些合作夥伴的聲音和想法，尊重她們的自主權，標記她們為這些作品的製作

者。于一蘭的織墊創作實驗，正試圖建立一種另類的經濟體系：現今的織墊生產相當依賴旅遊市場，顧客需求的是刻板的傳統風格；為了開拓織墊的新市場，于一蘭與她的織匠夥伴則打破了常規織墊製作及傳統美學的限制，發明了一種新的織製視覺語言。全球時裝業對原住民工藝

的商品化，一直被批評為一種「工藝清洗」（Craftwashing），因為這種做法把工藝品呈現為比實際上更具道德價值，最終卻只是促進了新自由主義經濟。（8）「工藝清洗」的問題，其中一點

是不顧紮根於殖民歷史的剝削機制，亦忽視了遭受工業制度壓迫的人民聲音。為了回應這一事實，于一蘭與織匠的合作就強調了那些被忽視的聲音。

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Yee’s The Orang Besar Series includes a set of batik, which are textiles made with a traditional wax-resistant dye technique in the Southeast Asian Archipelago. Three of the four pieces are the size of an actual sarong, a traditional skirt worn by men and women, and portray the habitus of an interdependent relationship between masculine power through a Photoshopped image and the illustrations of Southeast Asian botanical species. The term orang besar translates to ‘Big Person’ and historically refers to subordinates who served sultans and ruled the region for centuries. They submitted themselves to the sultans to clear debt or in exchange for power in society. Yee regards them as an ongoing reflection of Southeast Asia’s political and economic structures which rule society even today. On Kain Panjang with Parasitic Kepala (Fig 1), Kain Panjang with Carnivorous Kepala (Fig 2) and Kain Panjang with Petulant Kepala (Fig 3) are common plants of the Southeast Asian botanical landscape. Each of these plants exhibit different behaviours including parasitism, carnivorism and sensitivity to stimuli. Yee selected these plants as metaphors for human political behaviour patterns. The poses of the figures portrayed in the series allude to the relationship between the orang besar and common people, revealing how the power structure is sustained by both parties. In the largest piece Empires of Privateers and Their Glorious Ventures (Fig 4), the seascape of the Southeast Asian archipelago depicts the tension between the orang besar power structures and entrepots as gatekeepers to the region. The white island-like shapes floating in the ocean are fabrics, a major commodity for trade between the East and the West representing the colonial hegemony and battle for regional economic dominance. The top and bottom edges of the work are embellished with an intricate pattern composed of skulls and bones, (Fig 5) reminiscent of skull and crossbones designs associated to sea piracy. Yee argues the line between piracy and privateering (whether for an orang besar or the head of the British Empire), or between a terrorist or freedom fighter is a matter of perspective. To create The Orang Besar Series, Yee photographed and Photoshopped groups of males and plants, then digitally printed these images onto white silk. The printed fabric was sent to a batik workshop to be dyed. In batik making, melted wax is used to make patterns and motifs appear on the fabric’s surface. A tin container with a pen or copper stamp is used to realise repetitive and/or intricate motifs and patterns, whilst a spontaneous pattern can be achieved by applying melted wax all over the surface in general. After wax is applied, the fabric is immersed into liquid coloured dye. Since the wax covered areas resist liquid dye, these areas will stay undyed. The cooled wax on the fabric will crack as the fabric is dipped into the liquid dye, resulting in a crackle effect on the surface. Yee employed batik conceptually and technically to illustrate the silent power of females who have witnessed power manipulation and battles among men. In contrast to the orang besar’s masculine power, batik textiles are traditionally made by women and used to manifest a silent form of resistance by creating a crackle effect over the printed images of interrelated homosocial collusion. Batik’s intrinsic quality of ‘dye and resist’ conceptually and literally illustrate concepts of influence and resistance.

圖.5 《海盜帝國與其輝煌事業》（細節），2010 Fig. 5

Empires of Privateers and Their Glorious Ventures (details), 2010

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圖.6 于一蘭的祖母以前會編製織墊，所以織墊乃于一蘭家居空間的一部份 Fig. 6

Tikar was a part of Yee’s domestic space as her grandmother used to weave tikar

2016 年底，于一蘭從吉隆坡返回家鄉亞庇。離開了二十多年，她希望自己能更接地氣，與這個

族群重建聯繫。回想起自己在沙巴的童年時代，織墊乃家居空間的一部份，因為她的祖母以前

會編製織墊（圖 6），不過于一蘭並沒承傳祖母的技能，因此不懂編製織墊，而且在當地的日常生活中，西方傢俱亦已取代織墊。于一蘭重新發現了織墊，並以全新的視角來闡釋這件物品。

以露兜樹製成的彩色織墊，是由蘇祿 / 西里伯斯海和仙本那沿海地區的薩馬 / 巴瑤族群所製，而單色的竹製織墊則由根地咬內陸地區的杜順和姆律族群所製，兩款織墊均由婦女編織和售賣。于一蘭把織墊解讀為一種女性的助記文本，承載著知識、記憶、遺產和智慧，並利用織墊「營造空間」（place-making）的建築性質，解決當代複雜的迫切議題。（9）

在殖民勢力的刻意推動以及隨後馬來西亞聯邦的政治操縱下，沙巴的內陸族群和海洋族群之間存在長期的地區摩擦，然而這兩個族群均有著沙巴獨有的文化、歷史和自然特色。于一蘭瞭解了雙方的疏遠關係後，把自己定位為兩個族群之間的調解人，開始與她們一起製作織墊。把兩個族群互相交織、共同創造一種新語言，就是從這裡開始。（10）

馬來語「tanah」指陸地或土地，「air」指水或海洋，將兩者組合為「tanahair」，便有「家園」的意思。于一蘭於 2020 年與奧瑪多島族群合作（圖 7），2021 年則與根地咬族群合作（圖 8），一起製成了名為《我的家園》（Tanahairkuna）的織墊。兩個族群均利用了他們的傳統技術和材料

編織，展示了迥然不同的獨特美感，一款是色彩繽紛的染色露兜樹製，另一款是單色竹製，但兩款作品共享同一個標題。陸地與海洋組成了沙巴的地理特色，亦象徵著各個族群居住的環境；把

「tanah」和「air」兩字並置，代表了兩個族群均是沙巴這個共同家園的必要組成部份。

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When artists use traditional craft aesthetics, it is often criticised as cultural appropriation or exploitation of indigenous legacies by privileged artists from elite classes. Yee is able to circumvent this criticism with her conscious effort to foster equitable and fair collaboration by listening to the voices and ideas of individual collaborators, respecting their autonomy and crediting them as cocreators of the works. Yee’s venture into tikar-making is an attempt to establish an alternative economy system. Generally, today’s tikar-making heavily relies on the tourist market, which demands a stereotypical traditional style. To pioneer a new market for tikar, Yee and collaborators break the limits of conventional tikar-making and traditional aesthetics, instead inventing a new woven visual language. The commodification of indigenous crafts by the global fashion industry has been criticised as craftwashing because it portrays handmade crafts in a way to appear more ethical than they are and contributes to the neoliberal economy. (8) One of the problems in craftwashing is the disregard of its exploitative mechanisms that are rooted in colonial history and which ignore the voices of the people who have suffered from the system of the industry. To respond to this fact, Yee’s collaboration with the weavers highlights the ignored voices. At the end of 2016, Yee moved from Kuala Lumpur back to her hometown, Kota Kinabalu. After more than two decades away, Yee was urged to become grounded once again and reconnect with her community. Recalling her childhood in Sabah, tikar was a part of her domestic space as her grandmother used to weave tikar. (Fig 6) Yee cannot weave tikar since her grandmother’s skills were never passed down to her. In local everyday life, Western furniture has already replaced tikar. Her rediscovery of tikar led Yee to read it with a fresh lens. Colourful pandanus tikar are woven by the Bajau Sama DiLaut community of the Sulu / Celebes Seas and Semporna coastal district while monochromatic split bamboo tikar are made by the Dusun and Murut land community of the inland Keningau district. Both tikar are woven and sold by women. Yee reads tikar as a mnemonic feminine text carrying knowledge, memory, legacy and wisdom and uses the architectural nature of tikar for place-making to solve intricate contemporary urgencies. (9) In Sabah’s context, there has been long-lasting local friction between the inland community and the sea community exacerbated by colonial power and the subsequent political manipulation of Federal Malaysia. However, both communities have characteristics of the unique culture, history and nature of Sabah. Recognising their estranged relationship, Yee positioned herself as a mediator between the two communities and initiated tikar-making with them. It was the beginning of creating a new language by interweaving two communities. (10)

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圖.7 《擁有號碼的織墊》，2020 Fig. 7

Tepo Aniya Nombor Na (Mat with a number) , 2020

于一蘭對織墊有著更深一層的解讀，將之與殖民時期被帶到東南亞群島的西方傢俱如桌子和書枱等作對比。除了實用功能外，西方傢俱還有一個排他性的特色，

就是能定義使用者的社會地位。桌子和書枱均使用硬質材料製成，例如木材、金屬和大理石，這些材料均具剛硬特性，卻往往限制了使用的人數，而使用者的

身份等級亦可透過座位的位置來作區別。于一蘭把傢俱解讀為殖民國家行政權力

的象徵，被用作統治東南亞群島的工具；相反，織墊在地上攤開，即為公共聚會

創造了包容性的空間。于一蘭把織墊的功能特色概念化，嘗試利用織墊來創建空間，讓人彼此對話、交流和相互傾聽。

《織墊 / 桌子》（TIKAR/MEJA）是一組由奧瑪多島織匠製作的織墊，以豐富多彩

的傳統圖案作背景，把桌子和書枱的剪影置入其中（圖 9）。為了製作這件作品，

于一蘭請她的織匠夥伴織出她們在日常生活中見到的桌子形狀，然後選一個顏圖.8 《我的家園 #002》，2020 Fig. 8

Tanahairku #002 , 2020

色組合和圖案。《織墊 / 桌子》把父權制度的行政權力符號結合婦女製作的工藝織

墊，展示了桌子圖形與傳統圖案之間的獨特張力與和諧，亦令人想起了傢俱所象徵的行政權力如何剝奪原住民製作織墊的權利，亦因此，製造新的織墊就是一個重奪主權的行動。

在這方面，于一蘭與原住民織匠合作的舉動，可以放在「社會參與藝術」（Socially

Engaged Art）的框架討論。這種藝術實踐經常被批評為「側重生產過程，以致

犧牲藝術品質」，然而于一蘭與她的織匠夥伴所製作的織墊非但沒有犧牲美學品質，更挑戰了西方權威所建立的主流藝術準則。

三幅竹製織墊──《三扇漂浮著的百葉窗》（3 Hovering Louvres）（圖 10）、《漫

無目的遊走》（Mansau Ansau）（圖 11）和《口腔上顎的山脊》（Tinukad tukad kad）（圖 12）均由根地咬族群編織，展示了一種創新的織製技術，在墊面上成功

呈現一種令人迷惑的視覺效果：背景是不同的編織圖案，上面卻是各種散落的抽象圖案如桌子、窗戶和吊扇，製造了一種圖像幻覺，而三幅織墊各有不同的編織圖案組合，形成複雜的反射效果，增添了透鏡式的視覺幻象，從而在不依賴科

學透視法之下創造出立體錯覺。織墊上的百葉窗（louvre）則暗示了巴黎羅浮宮

（Musée du Louvre）──在全球藝術史中建立西方藝術準則的主要推手。歷史上，畫家為了從畫布的二維創造出三維的深度，從而發明了透視法和暈塗法；在這方面，于一蘭的這個織墊系列已超越了西方藝術現代性的固有觀念。

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In the Malay language, tanah means land or earth and air means water or sea. When combined as a compound word tanahair, the meaning changes to ‘homeland’. Yee made the tikar entitled Tanahairku with the Pulau Omadal community in 2020 (Fig 7) and the Keningau community in 2021 (Fig 8). Both groups applied their traditional techniques and materials to weave a tikar showing the distinct beauty in each of the two pieces. One is a colourfully dyed pandanus and the other is made of monochrome bamboo, but they share the same title. Land and sea make up the geographic composition of Sabah as well as signify the environment in which each community resides. The juxtaposition of the two words, tanah and air, represents how both communities are indispensable in forming Sabah as a shared homeland.

圖 . 10 《三扇漂浮著的百葉窗》，2019 Fig. 10

3 Hovering Louvres , 2019

Yee’s reading of tikar goes further in its contrast with Western furniture such as tables and desks, which were brought to the Southeast Asian Archipelago during the colonial period. Beyond its practical functions, Western furniture has an element of exclusivity which defines the social status of its user. Desks and tables are made with hard materials including wood, metal and marble. The inflexible nature of these materials often constrain the number of users while the users’ hierarchy can be identified by the position of seating. Yee interprets the furniture as a symbol of colonial administrative power which was used in the Southeast Asian Archipelago to rule. In contrast, unfolded tikar creates inclusive space for communal gathering. By conceptualising tikar’s functional nature, Yee’s artistic practice uses tikar as an attempt to create a place for conversation, exchange opinions and mutually listen to people. TIKAR/MEJA is a set of tikar woven by Pulau Omadal weavers, interweaving silhouettes of tables and desks against a backdrop of colourful and diverse traditional patterns. (Fig 9) To make TIKAR/MEJA, Yee gave her collaborators basic instructions to weave the shape of a desk or table found in their everyday surroundings and then choose a colour combination and pattern. By integrating symbols of administrative power derived from the patriarchal system into tikar, a craft made with female power, TIKAR/MEJA shows a unique tension and harmony between the graphics of desks and tables and traditional patterns. It also recalls the administrative power symbolised in Western furniture which deprived indigenous people of the right to make tikar. Making new tikar is an action to reclaim sovereignty. In this regard, Yee’s collaboration with indigenous weavers can be discussed in the context of socially engaged art, which is often criticised for compromising artistic quality to prioritise the production process. However, the tikar made by Yee and her collaborators does not sacrifice aesthetic quality, but rather challenges the dominant artistic canon established by the authoritative West. Three bamboo tikar, namely 3 Hovering Louvres, (Fig 10) Mansau Ansau (Fig 11) and Tinukad tukad kad (Fig 12), were woven by the Keningau community and show an innovative technique which successfully realises mesmerising visual effects on its surface. These tikar create the illusion of being painted with a composition of various scattered abstract motifs including a table, window and ceiling fan against the backdrop of various weaving patterns. The combination of different weaving patterns in the three tikar results in a complex reflection of light that adds a lenticular layer of optical illusion. As a result, the tikar creates the illusion of being three-dimensional without relying on scientific perspective. The interwoven louvre windows on the tikar hint at the Musée du Louvre in Paris, which had a dominant and central role in establishing the Western canon in global art history. Historically, painters overcame the challenges of creating three-dimensional depth from two-dimensional canvas with the use of perspective and techniques like sfumato. In this regard, this series of tikar surpassed the fixed idea of artistic modernity in the West. 125

圖.9 《織墊 / 桌子》，2019-2020 Fig. 9

TIKAR/MEJA , 2019-2020

這些織墊不只帶來視覺感知，亦包括多種身體感覺。綽號「卡拉 OK 織墊」的竹製織墊系列是

一項藝術實驗，由根地咬族群織製，能喚起觀眾的音樂感受。于一蘭根據根地咬族群的卡拉

OK 流行樂曲調查，選出十首流行歌曲，並把當中的歌詞組成一首長詩。觀眾在織墊上看到熟

悉的歌詞時，回憶就會自動浮現，腦海裡隨即泛起這些歌曲的旋律。

這三幅卡拉 OK 織墊上的歌詞，來自根地咬族群流行的卡拉 OK 樂曲，由杜順族製作的卡拉

OK 織墊《 Ahaid zou noh daiti 》（圖 13 ）包含了卡達山－杜順語言的歌詞，而另外兩首是美國

和英國歌曲。《 Ahaid zou noh daiti 》記錄了當地的流行文化，而《whoa whoa yeah yeah 》（圖 14）及《來自圈外的問候》（ hello from the outside）（圖 15 ）則闡述了音樂產業的全球化以及

音樂的跨民族特性。

第四幅卡拉 OK 織墊《對你愛愛愛不完》（ SO WE LOVE LOVE LOVE TONIGHT）（圖 16）是

于一蘭為香港展覽而創作的委託作品，令人回想起粵語流行曲的跨民族熱潮。1970 至 1990 年代間，粵語流行曲衝出香港，在華人移民社區大受歡迎，連華人以外的觀眾都接觸得到。這些歌曲雖然有著不同的文化根源，卻仍留在的不同社群的集體記憶中。（11）

當今藝術界的工藝復興，有時會被批評為偽激進主義，一方面看似為社群充權，另一方面亦需

面對新自由資本主義的危機。（12）要審視這個批評，就必須探討新自由主義經濟的推動因素以及

邊緣化社群的不同需求，否則這個批評就會缺乏根據。對於于一蘭與奧瑪多島族群和根地咬族群的合作，則必須理解這些族群在經濟考量以外的現實狀況，例如奧瑪多島的巴瑤族群雖然共享相同的文化傳承如織技與圖案，卻因為公民身份的合法性而出現族群分裂。居於奧瑪多島岸

上的巴瑤族人具有馬來西亞的公民身份，而其他居於鄰近水村的水上臨時住所的薩馬 / 巴瑤族人則無法取得公民身份，因為他們是海上遊牧民族，一直在蘇祿海和西里伯斯海上遷移，跨越馬來西亞、印尼和菲律賓的國界。因為公民身份不同，令奧瑪多島的陸上族人和住在水上臨時

住所的海上族人在醫療和教育等各項社會福利服務方面存在差距，而于一蘭與他們合作，就是

試圖打開彼此溝通與互相支持的渠道。《織墊帶》（Tikar Reben）（圖 17）長六十餘米，上面織

有兩種族人共同擁有及繼承的傳統圖案，于一蘭亦製作了一段影片，拍攝兩族的婦女一同將織墊帶拉到海的另一端，此舉如同搭起一座文化的橋樑，把兩條村莊連接起來。（圖 18） 126

圖 . 11 《漫無目的遊走》，2021 Fig. 11

Mansau Ansau , 2021

These tikar not only appeal to our visual perception but multiple physical sensations as well. The bamboo mats woven by Keningau weavers nicknamed karaoke tikar are an experimental series that evokes a musical sensation in viewers. Based on a survey of popular karaoke tunes in the Keningau community, lyrics selected from 10 popular songs were combined to create a found poem. When the viewers read the poem on the tikar and encounter lyrics they are familiar with, it automatically triggers their memory and music starts to play in their minds. Three karaoke mats were woven with lyrics of karaoke songs popular in the Keningau community. The Dusun karaoke mat, Ahaid zou noh daiti (Fig 13), contains the lyrics of songs in the Kadazan-Dusun language and two others are woven with American and British songs. Ahaid zou noh daiti documents local popular culture, while whoa whoa yeah yeah (Fig 14) and hello from the outside (Fig 15) illustrates the globalisation of the music industry and the transnational nature of music.

圖 . 12 《口腔上顎的山脊》，2021 Fig. 12

Tinukad tukad kad , 2021

A fourth karaoke mat, SO WE LOVE LOVE LOVE TONIGHT (Fig 16), was commissioned for the Hong Kong exhibition and recalls the transnational boom of Cantopop. Between the 1970s and 90s, Cantopop gained popularity beyond Hong Kong and was well received by Chinese migrant communities. Many titles were even listened to by audiences outside of Chinese communities, thus these songs have remained in people’s collective memory despite their different cultural roots. (11) Today’s craft revival in art is sometimes regarded as pseudo-activism. While it seems to empower communities it also faces the danger of neoliberal capitalism. (12) This criticism is invalid without investigating what has been propelling the neoliberal economy and the diverse demand especially in marginalised communities. In light of Yee’s collaboration with Pulau Omadal and Keningau communities, an understanding of their realities beyond economic considerations is necessary. For instance, the Pulau Omadal Bajau peoples have been divided due to the legitimation of citizenship, even though they share cultural heritage such as weaving techniques and patterns. The Pulau Omadal Bajau people who reside in houses on the island hold Malaysian citizenship. On the other hand, the Bajau Sama DiLaut people who reside in temporary homes in the neighbouring water

圖 . 13 《Ahaid zou noh daiti》，2020 Fig. 13

Ahaid zou noh daiti , 2020

127

圖 . 14 《whoa whoa yeah yeah》，2019 Fig. 14

whoa whoa yeah yeah , 2019

當工藝被轉化為當代藝術時，或會因為只顧服務藝術目的而

失卻其原始功能，可是于一蘭卻保留了織墊作為「營造空間」和群體交流的原始功能。《表情符號織墊》（ Tikar Emoji ）是一幅由奧瑪多島織匠製作的大型織墊，上面織有很多表情符號，帶來一份熱鬧氣息。根據于一蘭的說法，表情符號乃智

能手機作遠端通信時使用的視覺代碼，因為于一蘭不太理解

她們的方言，可以作為她與這些織匠夥伴的溝通語言，使用表情符號亦可吸引織匠的女兒參與，讓她們在編織中融入當

代元素，並從中向母親學習編織。為了製作這件作品（圖

19 ），她的織匠夥伴發明了新的表情符號，以此描繪她們居

住環境中的動物和海洋生物。《表情符號織墊》是一件舖在圖 . 15 《來自圈外的問候》，2019 Fig. 15

hello from the outside , 2019

地上的織墊作品，透過這種方式，《表情符號織墊》展示了她們合製的織墊如何成為一個主動的空間，顛覆了我們對藝

術、工藝和行動主義界限的固有觀念，同時邀請大家積極參與其中。

織墊的故事不只限於沙巴，亦與我們在人類世時代的迫切感

有關。奧瑪多島的薩馬 / 巴瑤族群的主要收入來自捕魚，不

過魚獲卻是供給日本和香港等富裕地區。因為魚獲需求高，所以導致過度捕撈，嚴重危害了海洋生態。編織工作所帶來的另類收入，則有助保護海洋環境和為這些族群提供可持續的生計。

于一蘭透過織墊製作，把殖民創傷引導至實際的社會行動，而她與這些族群的合作，是一種集體發明後殖民語言的行動，（ 13 ）體現了「對西方的否定，同時否定了東方主義的理想化、國族化、國際化、地區化和全球化的姿態」。（ 14 ）于一

蘭與織匠夥伴的蠟染和織墊，是一種織製的抗逆精神，深入圖 . 16 《對你愛愛愛不完》，2021 Fig. 16

SO WE LOVE LOVE LOVE TONIGHT , 2021

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探索如何把這些族群的地域問題與全球議題連結起來，亦要求我們閱讀並參與她們的工藝，並將之視為超越地理界限的去殖民化進程。

villages built on the sea do not have citizenship due to their nomadic lifestyle, moving around the Sulu and Celebes Seas and crossing national borders between Malaysia, Indonesia and the Philippines. The legitimacy of citizenship creates a gap between the Pulau Omadal landed community and the temporary water village population in their access to various social welfare services such as medical care and education. Thus, Yee’s collaboration with these groups is an attempt to open up a channel of mutual communication and support between them. The Tikar Reben (Fig 17) is more than 60 metres long and is a woven index of traditional patterns commonly found and inherited in the two groups. With Tikar Reben, Yee made a video in which the women from both Bajau communities walk together stretching the Tikar Reben across the sea, like a cultural bridge, to connect their villages. (Fig 18) 圖 . 17

When craft is transformed into contemporary art, it can lose its original functionality by solely serving artistic purposes. However, Yee retains the original function of tikar as an object for placemaking and communication. Tikar Emoji is a large-scale tikar made by the Pulau Omadal weavers on which numerous emoji are woven to add a festive touch. According to Yee, emojis, the visual code for remote communication via smartphone, was the language she used to communicate with her collaborators as she often could not understand the dialects they spoke. It was also a way to engage the young daughters of the weavers, to encourage them to take part and relate to the weaving in their own contemporary ways, learning weaving from their mothers in the process. To make Tikar Emoji (Fig 19), her collaborators invented new emojis that represented animals and sea creatures found in their environments. Tikar Emoji was made to be placed on the ground as a mat. In this way, Tikar Emoji demonstrates how Yee and her collaborators’ tikar is an active space that destabilises our fixed idea of the border between art, craft and activism, and at the same time, invites our active engagement with it.

《織墊帶》，2020 Fig. 17

Tikar Reben , 2020

The story of tikar is not limited to Sabah, and should be pertinent to our sense of urgency in the age of Anthropocene. Pulau Omadal’s Bajau Sama DiLaut community’s main income source is fishing, and the fish are typically exported to wealthy countries and cities such as Japan and Hong Kong. The high demand of fish leads to overfishing and negatively impacts marine ecosystems. Tikar weaving can help to conserve the marine environment while providing a sustainable livelihood for their communities. By redirecting colonial trauma towards practical social action by making tikar, Yee’s collaboration is a collective act of devising a postcolonial language (13) and embodies ‘the negation of the West and simultaneously the negation of the Orientalist gesture to idealize, nationalize, internationalize, regionalize and globalize’.(14) Yee and her collaborators’ batik and tikar are a form of woven resilience that explores ways to relate their regional challenges to global issues, and asks us to read and engage in their craft as a decolonising process beyond the confines of geographical borders.

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1. Yong, B. (2020) Rolling out the Tikar. Art Asia Pacific. 117 (March/April), 55.

圖 . 18 《織墊帶》（錄像），2021 Fig. 18

Tikar Reben (Video) , 2021

2. 研究者 Michelle Antoinette 的論文指出，東南亞藝術從 1990 年代首次被引入國際展覽，並強調「大地魔術師」展覽如何被視為應對世界各地的當代藝術的分水嶺。見：Antoinette’s. M. (2017) The Shifting Art - Historical Field of Southeast Asia: Tradition. Modernity and ‘The Contemporary’. Art Studies 003: Tonan Ajia bijutsu no rekishi o katachizukuru (Shaping the History of Art in Southeast Asia). Tokyo. Japan Foundation Asia Center. 92-100. 3. 同上 4. Maerkle, A. (2013) Interview with Jean Hubert Martin. ART IT Toyo. https://www.art-it.asia/en/u/ admin_ed_itv_e/0tkutvdybizpoufv58gy 5. Yoshida, K. (1999) Bunka no Hakken (Discovery of Culture). Toyko, Iwanami Shoten. 174. 6. 舉例而言，1997 至 1999 年間由歐洲多個場館主辦的「Cities on the Move」國際展覽，就包括了來自東南亞的藝術家如 Arahmaiani、Heri Dono、Simryn Gill、Surasi Kusolwong、Navin Rawanchaikul、Rirkrit Tiravanija 等，重點關注快速變化的城市景觀和消費主義，而沒有涉及他

們與殖民歷史相關的藝術實踐。

7. Ushiroshoji, M. (1990) The Temptation of Tradition. Dento—Insupireshon no gensen: Dai 1kai Asean bijutsu shinpojiumu kara (The source of Inspiration: From the 1st ASEAN Art Symposium). Furuichi, Y. (eds.) Don, K. (trs.) Tokyo, Japan Foundation ASEAN Center. https://www.jpf.go.jp/j/ publish/asia_exhibition_history/pdf/3_Tradition_1_Ushiroshoji_Masahiro.pdf 8. Anthea Black 和 Nicole Burisch 將「工藝清洗」（Craftwashing）定義為一種行銷工具，利用工藝

來達到政治與社會參與，同時掩蓋生產鏈中的道德、環境及勞工問題；「工藝主義」（Craftivism）則是一種行動主義形式，旨在透過小規模手工製作（通常透過集體組織）來進行社會變革。見： Black, A. & Burisch. N. (2020) From Craftivism to Craftwashing. The New Politics of the Handmade, Craft, Art and Design. Black, A. & Burisch. N. (eds.) London, Bloomsbury Visual Arts. Kindle DX version. Retrieved from Amazon.com. 9. Yee, I.L. (2019) Why Tikar? Brief Notes on Works, Contexts and Works-in-Progress. A Reader Textile Legacies: Now and Future. Pestana, C., Li, B. & Sinisterra, P. (eds.) Hong Kong, MILL6 Foundation. 90-109. 10. Yong, B. (2021) Borneo Heart: Tikar & Tamu. Kota Kinabalu. https://borneoheart.yeeilann.com/ essay-tikar-tamu/. 11. 從技術而言，這是根地咬族群為了《對你愛愛愛不完》而第一次編織繁體漢字。在這方面，《對你愛愛愛不完》展示了根地咬織匠高水平的編織技術。 12. Noni Brynjolson 批評「社會參與藝術」（socially engaged art）或會複製資本主義生產的現有

結構，但她亦指出，透過使用共用資源和集體勞動而帶來的實際和日常社區轉變，通常是社會參與藝術的目的，令我們認識到能靠自己雙手進行社會變革。見：Brynjolson, N. (2020) The Making of Many Hands: Artisanal Production and Neighbourhood Redevelopment in Contemporary Socially Engaged Art. The New Politics of the Handmade, Craft, Art and Design. Black, A. & Burisch, N. (eds.) London, Bloomsbury Visual Arts. Kindle DX version, Retrieved from Amazon.com. 13. Borneo Heart: Tikar & Tamu. 14. Flores, P.D. (2017) Moments of the Modern in Southeast Asia: Art, Region, Art History, Art Studies

003. Tonan Ajia bijutsu no rekishi o katachizukuru (Shaping the History of Art in Southeast Asia). Tokyo, Japan Foundation Asia Center. 5-8.

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1. Yong, B. (2020) Rolling out the Tikar. Art Asia Pacific. 117 (March/April), 55. 2. Researcher Michelle Antoinette’s paper notes that Southeast Asian art was first introduced in international exhibitions from the 1990s, and highlights how Magiciens de la Terre is regarded as a watershed in addressing contemporary art from different regions in the world in her essay ‘The Shifting Art - Historical Field of Southeast Asia: Tradition, Modernity and “The Contemporary”’ in Art Studies 003: Tonan Ajia bijutsu no rekishi o katachizukuru (Shaping the History of Art in Southeast Asia), (Tokyo: Japan Foundation Asia Center, 2017), 92-100. 3. Ibid.

圖 . 19 《表情符號織墊》，2020 Fig. 19

Tikar Emoji , 2020

4. Maerkle, A. (2013) Interview with Jean Hubert Martin. ART IT Toyo. https://www.art-it.asia/ en/u/admin_ed_itv_e/0tkutvdybizpoufv58gy 5. Yoshida, K. (1999) Bunka no Hakken (Discovery of Culture). Toyko, Iwanami Shoten. 174. 6. For instance, the international exhibition Cities on the Move hosted by various venues in Europe between 1997 and 1999 included artists such as Arahmaiani, Heri Dono, Simryn Gill, Surasi Kusolwong, Navin Rawanchaikul, Rirkrit Tiravanija from Southeast Asia, focusing on fast-changing urban landscape and consumerism without addressing their practises in relation to colonial history. 7. Ushiroshoji, M. (1990) The Temptation of Tradition. Dento—Insupireshon no gensen: Dai 1kai Asean bijutsu shinpojiumu kara (The source of Inspiration: From the 1st ASEAN Art Symposium). Furuichi, Y. (eds.) Don, K. (trs.) Tokyo, Japan Foundation ASEAN Center. https:// www.jpf.go.jp/j/publish/asia_exhibition_history/pdf/3_Tradition_1_Ushiroshoji_Masahiro.pdf 8. Anthea Black and Nicole Burisch define craftwashing as a marketing tool using craft to perform political and social engagement while obscuring ethical, environmental and labour issues in the chain of production, while craftivism is a form of activism aiming for social change by small-scale hand-making – often collectively organised – activities in Black, A. & Burisch. N. (2020) From Craftivism to Craftwashing. The New Politics of the Handmade, Craft, Art and Design. Black, A. & Burisch. N. (2020) , Bloomsbury Visual Arts. Kindle DX version, Retrieved from Amazon.com. 9. Yee, I.L. (2019) Why Tikar? Brief Notes on Works, Contexts and Works-in-Progress. A Reader Textile Legacies: Now and Future. Pestana, C., Li, B. & Sinisterra, P. (eds.) Hong Kong, MILL6 Foundation. 90-109. 10. Yong, B. (2021) Borneo Heart: Tikar & Tamu. Kota Kinabalu. https://borneoheart.yeeilann. com/essay-tikar-tamu/. 11. Technically, it was the first time for Keningau community to weave traditional Chinese characters for SO WE LOVE LOVE LOVE TONIGHT. In this regard, SO WE LOVE LOVE LOVE TONIGHT shows highly advanced weaving techniques of Keningau weavers. 12. Noni Brynjolson introduces critiques that socially engaged art may replicate the existing structure of capitalist production. But she points out that practical and everyday transformation in communities through the use of shared resources and collective labour are often aimed in socially engaged art, leading us to recognise the possibility of social change with our hands. Brynjolson, N. (2020) The Making of Many Hands: Artisanal Production and Neighbourhood Redevelopment in Contemporary Socially Engaged Art. The New Politics of the Handmade, Craft, Art and Design. Black, A. & Burisch, N. (eds.) London, Bloomsbury Visual Arts. Kindle DX version, Retrieved from Amazon.com. 13. Borneo Heart: Tikar & Tamu. 14. Flores, P.D. (2017) Moments of the Modern in Southeast Asia: Art, Region, Art History, Art Studies 003. Tonan Ajia bijutsu no rekishi o katachizukuru (Shaping the History of Art in Southeast Asia). Tokyo, Japan Foundation Asia Center. 5-8.

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于一蘭：直到我們再度相擁短箋

NOTE ON YEE I-LANN: UNTIL WE HUG AGAIN

「于一蘭：直到我們再度相擁」個展聚焦于一蘭近期涉及紡織的藝術實踐，以不同媒介呈現她持續至今的關注，包括東南亞殖民歷史、女性主義、馬來西亞的社會政治狀況以及她家鄉沙巴的社群。

展品延續藝術家一貫的創作手法，將各種相互矛盾的元素結合，如殖民勢力與原住民傳統文化、個人與集體回憶、男性陽剛與女性韌性、愛與暴力，從而映射現實的錯綜複雜，並嘗試化解敵對的情緒。

是次在 CHAT 六廠舉行的展覽，對了解馬來西亞和香港在歷史和文化上的關聯相當重要。作為一個多元種族的國家，馬

來西亞曾接收許多中國移民，他們組成了馬來西亞人口的一大部份。另外，馬來西亞和香港近年均經歷社會動盪和政治紛擾，造成不同世代和政治意識之間的分歧。

132

The solo exhibition Yee I-Lann: Until We Hug Again highlights Yee’s recent artistic practices with textile and shows how her persistent concern with the colonial history in Southeast Asia, feminism, Malaysia’s socio-political condition and her community in Sabah is represented across different mediums. The exhibited works present Yee’s artistic methodology which integrates often paradoxically opposite elements: colonial power and indigenous heritage; personal and collective memories; masculinity and female resilience; love and violence to portray complex realities and suggest ways of overcoming animosity. To host her exhibition at CHAT, it was important to emphasise Malaysia’s historical and cultural relevance with Hong Kong. A multi-ethnic country, Malaysia historically received many migrants from China who have since comprised a large part of Malaysia’s society. In recent years, both Malaysia and Hong Kong experienced social unrest and anxiety from political turmoil which generated divisions between generations and those with different political ideologies.

作品總覽

LIST OF ARTWORKS

《透過玫瑰色濾鏡》 THROUGH ROSE-COLOURED GLASSES

2.3

2002（2021 年重新裝配）帶框照片（噴墨打印）

《大人物系列：以豬籠草起頭之長布》 THE ORANG BESAR SERIES: KAIN PANJANG WITH CARNIVOROUS KEPALA 2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染筆

尺寸可變

Remazol 牢度鹽

2002 (2021 reconfigured) Framed photos (inkjet print) Dimensions variable

106.7 x 234 厘米蔡光哲藏品

2010 Direct digital mimaki inkjet print with acid dye, batik canting Remazol Fast Salt dyes on 100% silk twill

2.1

2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染印 Remazol 牢度鹽 132 x 400 厘米

陳泊文醫師藏品

2010 Direct digital mimaki inkjet print with acid dye, batik chop Remazol Fast Salt dyes on 100% silk twill 132 x 400 cm Collection of Dr. Chen Bo-Wen

2.2

106.7 x 234 cm Collection of Tsai Kuang-Che

《大人物系列：海盜帝國與其輝煌事業》 THE ORANG BESAR SERIES: EMPIRES OF PRIVATEERS AND THEIR GLORIOUS VENTURES

《大人物系列：以樹根起頭之長布》 THE ORANG BESAR SERIES: KAIN PANJANG WITH PARASITIC KEPALA 2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染筆 Remazol 牢度鹽

106.7 x 234 厘米蔡光哲藏品

2010 Direct digital mimaki inkjet print with acid dye, batik canting Remazol Fast Salt dyes on 100% silk twill 106.7 x 234 cm Collection of Tsai Kuang-Che

2.4

《大人物系列：以含羞草起頭之長布》 THE ORANG BESAR SERIES: KAIN PANJANG WITH PETULANT KEPALA 2010 Mimaki 數碼酸性染料噴墨打印，真絲斜紋布蠟染筆 Remazol 牢度鹽

106.7 x 234 厘米蔡光哲藏品

2010 Direct digital mimaki inkjet print with acid dye, batik canting Remazol Fast Salt dyes on 100% silk twill 106.7 x 234 cm Collection of Tsai Kuang-Che

「Orang Besar」字面意思是大人物，歷史上是指回教國家統治者（蘇丹）的追隨者。他們效忠於幾個世紀以來一直守護東南亞群島的蘇丹，以清還債務和換取社

會中的權力。儘管這些大人物沒有任何專制權力，但于一蘭認為他們一直存在於東南亞政治和經濟結構，

時至今日仍操控著社會秩序。在《大人物系列：以樹

根起頭之長布》、《大人物系列：以豬籠草起頭之長布》和《大人物系列：以含羞草起頭之長布》中呈現了東南

亞常見的植物。每一種植物各有不同的性質，例如寄

生在樹上、誘捕昆蟲和受刺激作出反應。藝術家選擇這些植物隱喻人類的政治行為模式，作品上人物的姿勢描繪大人物與平民之間的相互依存關係，體現了彼此如何維持權力結構。

133

為了製作《大人物系列》，藝術家特意使傳統防蠟技術

而造成的巴迪布，在布面上製造裂紋效果。與「大人物」

3.1

那股男性力量相反，傳統上由女性製作的巴迪布被用來作出無聲的抵抗。

The Orang Besar literally translates to ‘Big Person’, historically referring to subordinates serving sultans who had been the rulers of the Southeast Asian Archipelago for centuries. They submitted themselves to the sultans to clear off debt or in exchange for power in society. Though the Orang Besar do not hold any authoritative power themselves, Yee regards them as an ongoing reflection of Southeast Asia’s political and economic structures which control the rule of society even today. On Kain Panjang with Parasitic Kepala, Kain Panjang with Carnivorous Kepala and Kain Panjang with Petulant Kepala are common plants of the Southeast Asian botanical landscape. Each of these plants exhibit different behaviours from parasitism, carnivorism to sensitivity to stimuli. Yee selected these plants as metaphors for human political behavioural patterns. The poses of the figures portrayed in the series allude to the interdependent relationship between the orang besar and the common people, revealing how the power structure is sustained by both parties.

2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

3.2

《影像權力（一組 8 件）》 PICTURING POWER (SERIES OF 8) 2013

哈内姆勒攝影純棉超平滑藝術微噴打印尺寸可變

2013 Giclee print on Hahnemühle Photo Rag Ultra Smooth Fine Art Dimensions variable

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

To create The Orang Besar Series, Yee intentionally used batik textiles made with the traditional wax resist technique which creates a crackle effect on the surface. In contrast to the depiction of masculine power of the orang besar, batik textiles which are traditionally made by women are used to manifest a silent form of resistance.

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

3.3

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 63 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 63 cm Courtesy of the artist and Silverlens, Manila

134

3.4

《影像權力：其中一人做了數據轉換資產的列表及自稱為老闆管轄》 PICTURING POWER: WHEREIN ONE TABLES AN INDEXICAL RECORD OF DATA-TURNEDASSETS AND RULES LIKE THE BOSS YOU NOW SAY THAT YOU ARE

3.7

2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

2013

哈内姆勒攝影純棉超平滑藝術微噴打印

藝術家及 Silverlens（馬尼拉）提供

63 x 63 厘米

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

3.5

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 63 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

3.6

《影像權力：其中一人培育文化規範、人類崇高的探索，從而將它們據為己有》 PICTURING POWER: WHEREIN ONE CULTIVATES CULTURAL CODES, THE NOBLE ENDEAVORS OF MANKIND AND THEREBY PUTS THEM IN THEIR PLACE 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 180 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 180 cm Courtesy of the artist and Silverlens, Manila

《影像權力：其中一方交出查看戰利品、土地和勞動力的方式，從而在辯白中建立串謀關係；你們現在是犯罪的同謀》 PICTURING POWER: WHEREIN ONE HANDS OVER THE WAYS OF SEEING LOOT, LAND AND LABOUR AND THEREBY BUILDS COMPLICITY IN THE EXCULPATION; YOU ARE NOW PARTNERS IN CRIME

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 63 cm Courtesy of the artist and Silverlens, Manila

3.8

《影像權力：其中一人的遺產迎來一個完整的循環，並假設你也可以在自己的歡樂冒險的精彩遊戲中利用、征服和振作起來》 PICTURING POWER: WHEREIN ONE’S LEGACY COMES FULL CIRCLE AND POSITS THAT YOU TOO CAN EXPLOIT AND SUBJUGATE AND FLUFF YOURSELF UP IN A SPLENDID GAME OF YOUR OWN JOLLY ADVENTURE 2013

哈内姆勒攝影純棉超平滑藝術微噴打印 63 x 90 厘米

藝術家及 Silverlens（馬尼拉）提供

2013 Giclee print on Hahnemuhle Photo Rag Ultra Smooth Fine Art 63 x 90 cm Courtesy of the artist and Silverlens, Manila

在《影像權力》，于一蘭利用荷蘭阿姆斯特丹熱帶博

物館館藏檔案照片進行修輯，從殖民者中奪回主觀敘述殖民歷史的權力，並描繪殖民國如何將沙巴人視為

「他者」的過程，反之亦指涉本地人如何擁護殖民國並內化作為「他者」之價值觀。

In Picturing Power, by manipulating the archival photographs she discovered in the collection of the Tropenmuseum in Amsterdam, the Netherlands, Yee reclaims from the colonisers the agency of narrating colonial history and portrays the the ‘Othering’ of people in Sabah by colonisers. At the same time, Yee also points to the locals’ compliance and internalisation of being ‘Othered’.

135

《量度項目：第一章》 MEASURING PROJECT: CHAPTER 1

2021

29.7 x 42 厘米（每張）

竹織物、來自樹木黑色天然染料、啞光塗層

于一蘭與編織夥伴 Shahrizan Bin Juin

哈内姆勒攝影用紙數位噴墨（藝術微噴），一組 4 件

119 x 84 厘米

2021 Digital inkjet pigment print (Giclée) on Hahnemühle Photo Rag paper, set of 4 29.7 x 42 cm (each)

藝術家、Joanne Ngeow 及 Silverlens（馬尼拉）提供

2021 Yee I-Lann, with weaving by Shahrizan Bin Juin Split bamboo pus weave with kayu obol black natural dye, matt sealant 119 x 84 cm Courtesy of the artist, Joanne Ngeow and Silverlens, Manila

另一組影像作品為《量度項目：第一章》。奧瑪多島的薩

馬 / 巴瑤族的海上織匠不用公制或英制來量度，而是使用

編織者的腳長和步數計算。根據于一蘭的說法：「利用腳

板量度長度不僅僅是計算步數，而是與墊子出生入死。當你邁出第一步時，大聲說『生』！當另一隻腳跟接觸

單色竹織物《&》和《爆炸&》由內陸根地咬的織匠編

『生』，再一步又喊『死』，不斷重複，但必須以『生』作

質，象徵著和諧與衝突。

到前一隻腳趾時，你會大喊『死』！然後下一步又說

織而成。《&》和《爆炸&》並置，暗示共存的矛盾本

為開頭及結尾。用於量度的腳必須是織匠領班或公認的織匠。」每張照片都展示了織墊如何在各種場景中使用，

The monochromatic bamboo pieces & and Exploding & were woven by the inland weavers from Keningau. Juxtaposing & and Exploding & hints at the paradoxical nature of coexistence; harmony and conflict.

並深深根植於他們的生活方式和歷史。

Another set of photographic works by Yee is Measuring Project: Chapter 1. The sea weavers of the Bajau Laut/Sama Dilaut community at Pulau Omadal do not use standardised units of measurement such as feet or inches. Instead, weavers use their actual feet and pace to measure and count distance. According to Yee I-Lann, ‘Measuring a foot’s length is more than just counting steps, it’s the life you embed in the mat. When you take the first step, you say aloud, “Hidup (life)!” When the next heel touches the previous toe, you say aloud, “Mati (dead)!”. Then with the next foot you say, “Hidup!” then “Mati!” and onwards. You must start and end with ‘Hidup’. And the foot used to measure must belong to the principal or collectively nominated weaver.’ Each photo shows how the mat is used in various scenes and how it is deeply rooted in their lifestyle and history.

《&（黑）》 & (BLACK)

《黑色桌子》 BLACK TABLE 2018

于一蘭與編織夥伴 Roziah Jalalid、Julitah Kulinting 露兜樹葉及竹織物、來自樹木黑色天然染料

2018 Yee I-Lann with weaving by Roziah Jalalid and Julitah Kulinting Pandanus and bamboo pus weave with kayu obol black natural dye

《織墊 / 桌子》 TIKAR/MEJA 2019-2020

2021

于一蘭與編織夥伴 Sanah、Kinnohung、Budi、Kuoh、

竹織物、來自樹木黑色天然染料、啞光塗層

Alisya、Daiyan、Dayang、Tasya、Dela、Enidah、

于一蘭與編織夥伴 Johin Endelengau 119 x 84 厘米

2021 Yee I-Lann with weaving by Johin Endelengau Split bamboo pus weave with kayu obol black natural dye, matt sealant 119 x 84 cm

136

《爆炸 &（白）》 EXPLODING & (WHITE)

Turuh、Lokkop、Barahim、Tularan、Darwisa、 Norsaida、Bobog、Roziah、Latip

薩馬 / 巴瑤族露兜樹葉

織物、商業化學染料尺寸可變

2020

《表情符號織墊》 TIKAR EMOJI

于一蘭與編織夥伴 Sanah 、Kinnuhong、Budi、Roziah、 Darwisa、Enidah、Dela、Asima、Dayang、Tasya、

2020

Alisya、Erna

Goltiam、Kuluk、Rerah、Appay、Darwisa、Alisya、

366 x 427 厘米

薩馬 / 巴瑤族露兜樹葉織物、商業化學染料

于一蘭與編織夥伴 Kinnuhong、Sanah、Budi、Roziah、

Enidah、Dela、Erna、Norsaida、Asima、Aline、 Dayang、Tasya、Solbi、Anjung

薩馬 / 巴瑤族露兜樹葉織物、商業化學染料 488 x 396 厘米

藝術家及 Silverlens（馬尼拉）提供

《擁有號碼的織墊》 TEPO ANIYA NOMBOR NA (MAT WITH A NUMBER)

《我的家園 #002》 TANAHAIRKU #002 2020

于一蘭與編織夥伴 Sanah、Budi、Roziah、Koddil、

Darwisa、Alisya、Dela、Enidah、Asima、Norsaida、 Erna、Dayang、Tasya

薩馬 / 巴瑤族露兜樹葉織物、商業化學染料

《擁有號碼的織墊》 TEPO ANIYA NOMBOR NA (MAT WITH A NUMBER) 2021

影像紀錄

攝製：Andy Chia Chee Shiong (Deebee Studio) 助理攝影及現場錄音：Chris Tan

現場統籌：Roziah Jalalid、Nurul Isma bt Mansula、 Masmera bt Hajih Jimlan (Suara 社區電影製作 )

演出：Kinnuhong, Sanah, Budi, Kuluk, Darwisa, Dela, Erna, Kenindi

2021 Documentation video Cinematography: Andy Chia Chee Shiong (Deebee Studio) Assistant photography & field sound recordings: Chris Tan

396 x 457 厘米

137

Field coordination assistance by Roziah Jalalid, Nurul Isma bt Mansula, Masmera bt Hajih Jimlan (Suara Community Filmmakers) Performed by Kak Kinnuhong, Kak Sanah, Kak Budi, Kak Kuluk, Adik Darwisa, Adik Dela, Adik Erna, Adik Kenindi

《織墊帶》 TIKAR REBEN 2020

于一蘭與編織夥伴 Roziah、Sanah、Kinnuhong、Koddil 薩馬 / 巴瑤族露兜樹葉織物、商業化學染料 22 x 6279 厘米

藝術家、Esther M Heer-Zacek 及 Silverlens（馬尼拉）提供

《織墊帶》（錄像） TIKAR REBEN (VIDEO) 2021

單頻道錄像 12’30”

展示于一蘭與編織夥伴 Roziah、Sanah、Kinnuhong、 Koddil

製作之《織墊帶》（2020）

攝製：Andy Chia Chee Shiong (Deebee Studio) 助理攝影及現場錄音：Chris Tan

現場統籌：Roziah Jalalid、Nurul Isma bt Mansula、 Masmera bt Hajih Jimlan (Suara 社區電影製作 )

演出：Roziah、Sanah、Kinnuhong、Budi、Darwisa、

Anjung、Erna、Norsaida、Kuluk、Goltiam、Kenindi、 Koddil、Anneh 演唱：Budi

138

《織墊帶》由位於沙巴東部奧瑪多社群的織匠編製。63米

長的織帶展示了奧瑪多編織中眾多視覺圖案和花紋，集成索引。錄像作品《織墊帶》透過無人機以鳥瞰形式拍攝

織匠橫跨海域捲開織墊帶的場景，意味穿越國籍與無國籍的邊界。錄像中的海域是由馬來西亞、菲律賓和印尼

包圍的三角地帶，海上游牧民族薩馬 / 巴瑤一直生活在船上。他們是一群沒有任何保障的無國籍社群，一直在海上穿越無形的國界。

在這個展廳中擺放了一些露兜樹葉織墊，是由于一蘭與馬來西亞婆羅洲的薩馬 / 巴瑤族織匠製作而成。

Tikar Reben was woven by weavers from the Pulau Omadal community from the east of Sabah. Woven into the 63-metre-long ribbon are various visual patterns and motifs of Pulau Omadal weaving, rendering it an index of patterns. The video work, Tikar Reben, was taken by a drone and shows a bird’s eye view of the unfurling of the reben (ribbon) by its weavers across the water, symbolising their crossing of the border between citizenship and statelessness. Residing in the east of Sabah in a triangular zone surrounded by Malaysia, the Philippines and Indonesia, the Pulau Omadal community consists of a boat-dwelling group and sea nomad called the Bajau Laut/Sama Dilaut. Stateless and without protection from any state, they have been crossing invisible national borders in the sea.

Also in this gallery are several Pandanus tikar by Yee, woven with the help of Bajau Laut/Sama Dilaut weavers from Borneo, Malaysia.

《七頭青鸞帽》 SEVEN-HEADED LALANDAU HAT 2020

于一蘭與編織夥伴 Lili Naming、Siat Yanau、Shahrizan Bin Juin

竹織物、來自樹木黑色天然染料、啞光塗層約長 5 米版數 3

藝術家、Jim Amberson 及 Silverlens（馬尼拉）提供

《七頭青鸞帽》取材自沙巴姆律族群男子在儀式中穿戴

的傳統帽子，並以編織管子相互連接。象徵男性的物件互相纏繞，暗示了在同性社群權力中那鞏固的關係。

「Pangkis」意為在傳統儀式中獲勝戰士的吶喊。在錄像作品《PANGKIS》，Tagaps舞蹈劇場的 7 位男舞者戴上《七頭青鸞帽》，演出由Mohd Azizan Danial Bin

《織墊帶》（錄像） PANGKIS (VIDEO) 2021

單頻道錄像 9’ 30”

版本五

展示于一蘭與編織夥伴 Lili Naming 、Siat Yanau、Shahrizan Bin Juin 製作之《七頭青鸞帽》（2020）

攝製：Al Hanafi Juhar (Huntwo Studios) 燈光：Candy Yik (Huntwo Studios) Tagaps 舞蹈劇場：

編舞：Mohd Azizan Danial Bin Abdullah 統籌：Joanne Dayang

舞者：Jay Adner James、Carey Didier Chin、Mohd Hairul

Azman Peter、Addam Jesley、Shahhijjaz Khan、Mohd Nazri Adam, Earl Steiner 製作支援：Third Rice Culture

場地贊助：The Factory @ Inanam

Abdullah編排的舞蹈。《PANGKIS》以當代手法演繹傳統舞蹈，展示同性友好社交關係中的悖論，如和諧、利己主義、力量及脆弱。

Seven-headed Lalandau Hat directly derives from the traditional ceremonial hat worn by men of the Murut community in Sabah, who are connected to each other by woven tubes. The entangled masculine object symbolically alludes to the strong bonds of homosocial power. The word pangkis refers to the triumphant warrior calls made during traditional ceremonies. In the video work PANGKIS, 7 male dancers from Tagaps Dance Theatre put on the Seven-Headed Lalandau Hat to perform a dance choreographed by Mohd Azizan Danial Bin Abdullah. Presenting a contemporary interpretation of traditional dance forms, PANGKIS examines the paradoxical aspects of homosocial bonds, such as harmony, egoism, force and vulnerability.

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《三扇漂浮著的百葉窗》 3 HOVERING LOUVRES

1. Wonderful Tonight by Eric Clapton 2. Sailing by Rod Stewart 3. More Than I Can Say by Leo Sayer 4. Have You Ever Seen The Rain by Rod Stewart 5. Without You by Harry Nilsson 6. Always On My Mind by Elvis Presley 7. Wannabe by Spice Girls 8. Sweet Child O’ Mine by Guns N’ Roses 9. Something’s Gotten Hold of My Heart by Marc Almond and Gene Pitney 10. Lily by Alan Walker, K-391and Emelie Holly 11. Fly Me To The Moon by Frank Sinatra 12. You To Me Are Everything by The Real Thing 13. Livin’ On A Prayer by Bon Jovi 14. Bohemian Rhapsody by Queen 15. Hello by Adele

2019

于一蘭與編織夥伴 Julitah Kulinting、S. Narty Raitom、 Julia Binti Ginasius 竹織物、啞光塗層

193 x 320 厘米

藝術家、Andreas Teoh 及 Silverlens（馬尼拉）提供

《三扇漂浮著的百葉窗》展示了織匠們對傳統工藝極限

16. My Heart Will Go On by Celine Dion 17. I Love You 3000 by Stephanie Poetri

的挑戰，同時表達他們卓越的編織技巧，將織墊面的

複雜效果呈現。標題來自三扇在織墊上漂浮著的百葉窗（Louvres），同時意味著法國巴黎羅浮宮（Musée du

Louvre），它在建立獨有的世界藝術史發揮了核心作用。 3 Hovering Louvres presents the weavers’ challenge to push the limits of traditional craft while showing their prominent weaving skills to realise the complex effects on its surface. The title references the three louvre windows appearing on the mat while also hinting at the Musée du Louvre in Paris, France, which has played a central role in establishing an exclusive canon in world art history.

《來自圈外的問候》 HELLO FROM THE OUTSIDE 2019

于一蘭與編織夥伴 Lili Naming、Siat Yanau、Shahrizan Bin Juin、Juraen Bin Sapirin、S. Narty Raitom

《對你愛愛愛不完》 SO WE LOVE LOVE LOVE TONIGHT 2021

于一蘭與編織夥伴 Lili Naming、Siat Yanau、Shahrizan Bin Juin、Johin Endelengau

竹織物、來自樹木黑色天然染料、啞光塗層 225 x 360 厘米

CHAT 六廠（香港）委託作品

竹織物、來自樹木黑色天然染料、啞光塗層

1. 追 Chase by 張國榮 Leslie Cheung

2019 Yee I-Lann with weaving by Lili Naming, Siat Yanau, Shahrizan Bin Juin, Juraen Bin Sapirin, S. Narty Raitom Split bamboo pus weave with kayu obol black natural dye, matt sealant 225 x 364 cm

3. 一起走過的日子 The Days We Went Through Together

225 x 364 厘米

2. 獅子山下 Below the Lion Rock by 羅文 Roman Tam by 劉德華 Andy Lau

4. 幾分鐘的約會 Dating With Danny by 陳百強 Danny Chan

5. 月亮代表我的心 The Moon Represents My Heart by 鄧麗君 Teresa Teng

6. 海闊天空 Boundless Oceans by Vast Skies and Beyond 7. 夕陽之歌 The Song of Sunset by 梅艷芳 Anita Mui 8. 對你愛不完 Can’t Stop Loving You by 郭富城 Aaron Kwok

9 叉燒包 Char Siu Bao by 徐小鳳 Paula Tsui 10. 我的驕傲 My Pride by 容祖兒 Joey Yung

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《來自圈外的問候》編上馬來西亞卡拉 OK 流行的西方流行音樂歌詞，而《對你愛愛愛不完》則織上 10 首廣東流

行曲歌詞。受到殖民歷史、大量移民湧入和近年全球化的影響，馬來西亞人對流行文化的體驗已跨越文化與地域的界限。在製作《來自圈外的問候》之前，于一蘭向奧瑪多和根地咬社群的合作夥伴進行了最喜愛卡拉 OK

歌曲調查，發現他們的選擇大多是英文流行音樂。于一蘭抽取每首歌最耳熟能詳的部分歌詞，組成一首長詩。

《對你愛愛愛不完》為 CHAT 六廠為是次展覽的委約作品。1960 至 90 年代間，廣東流行音樂在東南亞刮起熱潮，並遍及馬來西亞華人以外社群，儘管文化根源不同，但歌曲長存於人們集體記憶之中。

Woven into hello from the outside are lyrics from Western pop music, which are popular karaoke tunes in Malaysia. Meanwhile, lyrics from 10 popular Cantopop songs are woven into SO WE LOVE LOVE LOVE TONIGHT. With its colonial past, its large demographic of immigrants and the effects of globalisation in recent years, the experience of popular culture by people in Malaysia has transcended cultural and geographical boundaries. Prior to producing the hello from the outside karaoke mat, Yee conducted a survey among her collaborators from Omadal and Keningau communities on their favourite karaoke songs, where she discovered how their selections were dominated by English pop music. Yee extracted lyrics from the most familiar parts of each song and combined them into a long poem. SO WE LOVE LOVE LOVE TONIGHT is commissioned by CHAT for this exhibition. Between 1960s and 90s, Cantopop gained popularity in Southeast Asia and was widely listened to by audiences beyond local Chinese communities in Malaysia. These songs have remained in people’s collective memory despite their different cultural roots.

《漫無目的遊走》 MANSAU ANSAU (TO WALK AND WALK WITHOUT KNOWING WHERE YOU ARE HEADED)

《口腔上顎的山脊》 TINUKAD TUKAD KAD (RIDGES AT THE TOP OF THE MOUTH) 2021

于一蘭與編織夥伴 Lili Naming、Siat Yanau、 Shahrizan Bin Juin

竹織物、來自樹木黑色天然染料、商業化學染料、啞光塗層 200 x 343.5 厘米

Benedicta M Badia Nordenstahl Collection 藏品

兩塊織墊《漫無目的遊走》和《口腔上顎的山脊》由根地咬

社群的織匠編織而成，但看來不像傳統織墊。相反，作品表現出構圖散落的繪畫特色，不同編織圖案組合製造了複

雜的反射效果，為織墊增添一層光學錯覺。桌子、窗戶和吊扇等圖案抽象地指涉馬來西亞的家居內部構造。這些破格織墊顛覆了織墊的傳統設計，反映了織匠與當代藝術家合作之藝術實驗及未來工藝的可能性。

Mansau Ansau and Tinukad tukad kad were woven by weavers from the Keningau community. These three tikar do not appear like traditional tikar at all. Rather, they show painterly characteristics with a composition of various scattered motifs. The combination of different weaving patterns results in a complex reflection of light which adds a layer of optical illusion to the tikar. The motifs of the table, window and ceiling fan are an abstractive representation of the interiors of a Malaysian home. Defying the conventional designs of tikar, these radical tikar are artistic experiments by weavers in collaboration with the contemporary artist and show the possibilities of the future of their craftspersonship.

2021

于一蘭與編織夥伴 Julitah Kulinting、S. Narty Raitom、 Julia Ginasius、Hollyvia Kimin

竹織物、來自樹木黑色天然染料、商業化學染料、啞光塗層

216 x 411 厘米

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22.1 《題目：感受愛》 TITLE: RASA SAYANG 2014

鋁面熱昇華打印，一組 10 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2014 Dye sublimation print on aluminium sheet, set of 10 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

22.2 《第一章：太陽將從東方升起及把我們從這漫漫長夜中解救出來》 CHAPTER 1: THE SUN WILL RISE IN THE EAST AND DELIVER US FROM THIS LONG NIGHT 2012

鋁面熱昇華打印，一組 52 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2012 Dye sublimation print on aluminium sheet, set of 52 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

22.3 《第三章：他媽的喂你你想喝杯茶嗎誰我我想喝杯茶你和我你和我和你和你我在喝茶雲離去以共享一個月亮》 CHAPTER 3: FUCK THAT SHIT OI YOU WOULD YOU LIKE A CUP OF TEA WHO ME I WOULD LOVE A CUP OF TEA YOU AND ME AND YOU AND I AND YOU AND YOU AM I DRINKING TEA CLOUDS PART TO SHARE A MOON

2018

鋁面熱昇華打印，一組 96 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2018 Dye sublimation print on aluminium sheet, set of 96 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

22.5 《第五章：風的軌跡織影光禿禿的墊子》 CHAPTER 5: PATHS OF THE WIND WEAVE SHADOWS BARE BONES OF A MAT 2020

鋁面熱昇華打印，一組 41 件 21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

2020 Dye sublimation print on aluminium sheet, set of 41 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

22.6 《結語：給我你擁抱的手臂》 EPILOGUE: SEND ME YOUR ARMS IN AN EMBRACE 2021

2016

鋁面熱昇華打印，一組 25 件

21 x 29 厘米（每張）

作品由藝術家及 Silverlens（馬尼拉）提供

鋁面熱昇華打印，一組 128 件作品由藝術家及 Silverlens（馬尼拉）提供

2016 Dye sublimation print on aluminium sheet, set of 128 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

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22.4 《第四章：我很想知道你和我做了甚麼直到我們相愛如果我們沒有斷奶就像熱面上的水一樣我仍然是立方體》 CHAPTER 4: I WONDER BY MY TROTH WHAT THOU AND I DID TILL WE LOVED WERE WE NOT WEANED TILL THEN LIKE WATER BEFORE HEAT I REMAIN CUBED

21 x 29 厘米（每張）

2021 Dye sublimation print on aluminium sheet, set of 25 21 x 29 cm (each) Courtesy of the artist and Silverlens, Manila

CHAT迴廊的牆壁上安裝了超過300片藍色鑲板，鑲板上描繪擁抱的意象，這些擁抱姿勢來自于一蘭的家人、朋友和合作夥伴，每個擁抱手勢代表著一個英文字母，如此這

般每個擁抱都是一個可閱讀的視覺代碼，整個系列就成了視覺詩。

作品題為《感受愛》。于一蘭在2012年開始創作首章，直至 2021年，合共製作了 5 章並加上後記。每一章也是藝術

家對馬來西亞當年社會政治格局的回應，展現了于一蘭在歷經瞬息萬變的社會和世界形勢中，所感到一份失望、盼望和抵抗。

在新冠疫情大流行而導致社會疏遠的生活，揭示了我們社會中的許多差距、磨擦和分歧。我們如何才能超越差異接納他人？

Each panel in Rasa Sayang depicts the image of a hug, posed by Yee’s family, friends, and collaborators, and each represents a letter of the alphabet. In this way, each hug functions as a visual code for visitors to read. The set of panels are titled Rasa Sayang, which means ‘feeling love’. Yee began creating the first chapter of Rasa Sayang in 2012 and eventually composed 5 chapters and concluded with an epilogue in 2021. Each chapter is a personal response to Malaysia’s socio-political landscape of the year, showing Yee’s feeling of disappointment, hope and resilience amidst the fast-changing situations in society and the world. Life with social distancing due to the COVID-19 pandemic has disclosed many gaps, frictions and divisions in our society. How can we see beyond differences to embrace others?

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CHAT 六廠團隊（截至 2021 年 9 月 1 日） CHAT CREW (AS OF 1 SEPT 2021) 高橋瑞木 Takahashi Mizuki

執行董事及首席策展人 Executive Director and Chief Curator

策展團隊 CURATORIAL TEAM

高級 Seni

王慰慰 Wang Weiwei

展覽及館藏策展人 Curator, Exhibitions and Collections

李盈慧 Stephanie Li

高級 Seni

Paola Sinisterra

紡織專員 Textile Specialist

文永亮 Dennis Man

創意 Assis

胡敏儀 Wendy Wo

展覽管理總監 Director, Exhibition Management

春山正 Haruyama Masashi

陳朗晴 Sunnie Chan

展覽副策展人 Associate Curator, Exhibition

創意 Seni (Dig

李勺言 Bruce Li

共學助理策展人 Assistant Curator, Learning

林泳欣 Willis Lam

創意 Seni (Gra

羅璧如 Eugenia Law

共學及社區助理策展人 Assistant Curator, Learning and Community

郭穎淘 Joyce Kwok

創意 Offic

張靜文 Carmen Cheung

共學及社區策展助理 Curatorial Assistant, Learning and Community

吳啟峰 Ng Kai Fung

創意 Tech (Con

陳信騫 David Chan

展覽及館藏策展助理 Curatorial Assistant, Exhibitions and Collections

劉彥揚 Lau Yin Yeung

謝詠琳 Maggie Tse

館藏管理專員 Registrar

創意 Tech (Con

林楚穎 Hazyl Lam

展覽管理助理經理 Assistant Manager, Exhibition Management

袁建暉 Leo Yuen

行政 Adm

黃昭穎 Gabrielle Wong

紡織項目主任 Officer, Textile Programmes

林秀蘭 Varia Lam

行政 Adm

郭杏蓮 Kwok Hang Lin

車衣隊 Sewing Team

何燕兒 Miki Ho

訪客 Seni

張志謀 Cheung Chi Mau

車衣隊 Sewing Team

江沅婷 Jane Kwong

訪客 Seni

曾曉彤 Cloris Tsang

訪客 Seni

袁雅芝 Cathy Yuen

訪客 Asso

管理及財務團隊 OPERATIONS AND FINANCE TEAM

144

鄒詠婷 Ida Chow

趙子珉 Chiu Tsz Man

營運及財務高級總監 Senior Director, Operations and Finance

楊狄恩 Yeung Tik Yan

訪客 Asso

呂瑪琳 Marlene Lieu

營運總監 Director, Operations

潘嘉俊 Sam Pun

訪客 Asso

溫志堅 Dominic Wan

營運經理 Manager, Operations

馮卓童 Kimmy Fung

訪客 Asso

關淑敏 Kwan Shuk Man

文創店務經理 Manager, Shop

石鳴 Nick Shek

文創 Asso

會計 or Accountant 行政秘書 or Executive Secretary

品牌及傳訊團隊 BRANDING AND COMMUNICATIONS TEAM 蘇綽玲 Zon So

品牌及傳訊總監 Director, Branding and Communications

及營運助理經理 stant Manager, Creative Production and Operations

黎翠欣 Suzanne Lai

傳訊助理經理 Assistant Manager, Communications

及營運高級主任（數碼媒體） or Officer, Creative Production and Operations gital Media)

羅港俊 Felix Lo

傳訊高級主任（數碼媒體） Senior Officer, Communications (Digital Media)

及營運高級主任（平面設計） or Officer, Creative Production and Operations aphic Design)

黃曉恩 Grace Wong

傳訊高級主任 Senior Officer, Communications

及營運主任 cer, Creative Production and Operations

夥伴及發展團隊 PARTNERSHIP AND DEVELOPMENT TEAM

及營運助理技術員 hnical Assistant, Creative Production and Operations ntract)

陳永剛 Antony Chan

及營運助理技術員 hnical Assistant, Creative Production and Operations ntract)

展覽製作技術員 EXHIBITION PRODUCTION TECHNICIANS

助理 ministrative Assistant

助理 ministrative Assistant 服務高级專員 or Associate, Visitor Experience

夥伴及發展總監 Director, Partnership and Development

蔡詠茱 Choi Wing Chu Belinda 葉政宏 Nakamura Masahiro 黃慧心 Wong Winsome

服務高级專員 or Associate, Visitor Experience 服務高级專員 or Associate, Visitor Experience

服務專員（合約） ociate, Visitor Experience (Contract)

店務專員（合約） ociate, Shop (Contract)

145

數碼圖錄 DIGITAL CATALOGUE

編輯 Editor

高橋瑞木 Takahashi Mizuki

文字編輯 Copyeditors

麥巧琳 Megan Mak 胡敏儀 Wendy Wo 黃曉恩 Grace Wong

設計 Design

林泳欣 Willis Lam

撰稿 Contributor

高橋瑞木 Takahashi Mizuki P. 4 - 5, 114 - 131

中文翻譯 Chinese Translation

麥巧琳 Megan Mak P. 4 - 5 魏家欣 Luna Ngai P. 114 - 131

攝影 Photograph

Chris Lusher P. 10 - 35 P. 40 - 53 P. 64- 107 P. 116 - 121 P. 124 - 131 CHAT 六廠共學及社區團隊 CHAT Learning & Community Team P. 110 - 113 Silverlens（馬尼拉）藝術家及 Silverlens （馬尼拉） Courtesy of the artist and Silverlens, Manila P. 54 - 63

展覽紀錄編輯 Exhibition Documentary Production

羅港俊 Felix Lo Cstand Production

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創始捐助機構 FOUNDING DONOR

主要捐助機構 MAIN DONOR

合作單位 PARTNER

出版 PUBLISHED BY

六廠基金會有限公司出版 Mill 6 Foundation Limited 荃灣白田壩街 45 號南豐紗廠 CHAT 六廠 CHAT/MILL6 Foundation The Mills, 45 Pak Tin Par Street, Tsuen Wan, N.T., Hong Kong T (852) 3979 2301 W www.mill6chat.org E enquiry@mill6chat.org 2022 年 5 月出版 Published in May 2022 ISBN 978-988-79608-2-9 All rights reserved 版權所有翻印必究 © 2022 the artists, authors and Mill 6 Foundation Limited © 2022 版權屬於藝術家、作者及六廠基金會有限公司

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