YEN TZU CHANG CURATOR PORTFOLIO 2019
A B O U T
M E
As a curator and a graphic designer, I have been seeking a way of communicating a question with public through art works. I have tried dierent approaches to make a proper result with new perspective by researching, designing and curating an exhibition.
C O N T E N T S
CURATING
RESEARCHING PROPOSAL
DESIGNING
01. Re-Considering Canon
03. Living on the Move
06.
02. Proxemics: Distance Between People
04. Fashion ¦ Protest ¦ Change 05. Walking Polluted London
Pasted-Paper Sculptures
07.
Red × Design
CURATING
01. Re-Considering Canon 02. Proxemics: Distance Between People
01. Re-Considering Canon 15-23 Septmeber 2018 the Design Museum, London 2018 London Design Festival
Design canon can be described as the history of design told through the practice of selecting and interpreting by curators. The objects that form the design canon are often considered outstanding examples of design with an enduring influence on society and culture. As with the overlapping repetition in a musical canon, designers often revisit examples of the design canon, build on the past or consciously reject it. An expressed rejection is still a response and illustrates the power of the canon. As a way of questioning the contemporary relevance of design canon in the practice of designers, the MA curation students, in collaboration with Gallery FUMI, invited nine designers to create new works responding to a selection of canonical objects. The range of responses demonstrates how designers are influenced by, and expand on design history. Curators are creating new canons from the ever-widening body of contemporary work, telling stories hitherto untold, and reflecting the changing structures and systems, attitudes and values of society. The MA students interviewed twenty international curators to explore the changing approaches to design canon and the selection criteria for writing tomorrow s design history. The guiding questions in the student s research process were: how are designers shaping tomorrow s world and what are the methods of curators to capture this practice? Who is taking part in this process and has the power to decide? In a diverse and complex world, can we still refer to a single canon or should we consider multiple canons that influence each other?
F L O O R
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1. Study O Portable Before and After (Sedia 1) 2018 Denim quilt covering a wooden chair
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P L A N
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2. Thomas Lemut With Hidden Object 2018 Ball of hemp rope, brass sheet, handmade steel bolts and threaded rods 3. Brooksbank and Collins Duodecumus Aria, Duodecumus Regia, Duodecumus Clustrum 2018 Inkjet print on paper 4. Glithero Domino Light 2018 HI-MACSŽ, copper dominos, light bulb 5. Alex Hull Line Chair 2018 Hand forged bronze 6. Johannes Nagel Vase N°1 / The Straight Vase 2018 Porcelain vase, plywood and coloured glass plinth 7. Tuomas Markunpoika Contra Naturam Bookshelf 2018 Tadelakt plaster on polystyrene 8. Max Lamb Woodware Lounge Chair 2011 Maple, walnut, ash, beech, cherry, tulip, oak 9. Sam Orlando Miller Fuoco del Viandante 2018 Shades of agate brown and silver mirror with paint on panel
Re-Considering Canon Exhibition view
Re-Considering Canon Film
Re-Considering Canon Installation view
Re-Considering Canon Installation view Brooksbank and Collins
Re-Considering Canon Installation view
Re-Considering Canon International curaotrs quote
Re-Considering Canon From left to right 1. International curators quote 2. The book showed iconic object 3. Introduction stand
Re-Considering Canon Installation view
Re-Considering Canon Installation view
Re-Considering Canon in a Diverse World Public Programme
Lucetting Workshop - Craft Activity
Lucetting Workshop - Craft Activity
02. Proxemics: Distance Between People Master Essay Project: Archiving the Body A fashion exhibition in Dorich House Museum
Interpersonal relationship is a significant subject in our life. Dorich House Museum is multi-functional building. There were a studio, a gallery and an artist's home. The artist Dora used to create sculptures on the ground floor, and she displayed art-works on the first floor, the second floor and flat roof are their private house. This concept of layer-by-layer and more and more private connect to people face different people on different occasions. For example, "Public , Social and Personal , people have a different mask on those occasions. The core concept explores the distance between people. We need to protect themselves socially and have their privacy to avoid being hurt. The exhibition aims to inspire people that we overly protect ourselves and wear a mask to face people. On the other side, whether or not they also use the same method for us. It makes the distance between people become farther and also the society will become colder. According to Edward Hall's research: Proxemics, I divided space into three sections, which are public (over 10 feet), social(four to ten feet) and personal (18 inches to 4 feet). The garments on each floor have a different distance between the body and audience. The ground floor is the farthest distance, the first floor is medium distance and the second floor is closest one. The first garment represents public space. This garment shows the most significant distance because people usually keep large distances on public occasions, for example, speech and presentation. The lecturer could decide what do they want to show to every people. The next garment represents social space. When people gather in the same place for the same purpose. They are closer than on public occasions, for instance, social event, party or meeting. Thus, the distance between body and space is medium. The last garment represents personal space, which is the smallest distance between the body and space because people do not need to keep a distance when they are alone. That is why it is comfortable and close when people alone.
F L O O R
P L A N
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Second Floor
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First Floor
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Ground Floor
1. Xuti Zhou Public Belonging 2017 Cotton, linen and ďŹ shing line 2. JiaJia Li Curves 2017 Cotton and yarn 3. Jay Shin Yoo Intimacy 2017 Cotton
R E S E A R C H Publice space (7.6 m)
Social space (3.6 m)
Personal space (1.2 m)
Intimate space (0.45 m)
Edward T. Hall, Proxemic Theory, 1966 - There are four types of distances that people keep. - Define their territory: Animals use urine and physical posturing. Humans use personal space and concrete objects. The study of the human use of space within the context of culture. In the Hidden Dimension (1966), Hall developed his theory of proxemics, arguing that human perceptions of space, although derived from sensory apparatus that all humans share, are moulded and patterned by culture. He explained that differing cultural frameworks for defining and organising space, which is internalised in all people at an unconscious level, can lead to serious failures of communication and understanding in cross-cultural settings. This exhibition connects Edward's theory to physical space. Hope can through analysed both the personal spaces that people form around their bodies, and audiences can think, shape and self-reflect the interpersonal relationship between people.
Proxemics: Distance Between People Personal garment in second floor
Proxemics: Distance Between People Social garment in first floor
Proxemics: Distance Between People Public garment in ground floor
RESEARCHING PROPOSAL
03. Living on the Move 04. Fashion ¦ Protest ¦ Change 05. Walking Polluted London
03. Living on the Move Master Curatorial Project: The Future of Home with curators of the Design Museum, London (Chief curator: Justin McGuirk, Senior curator: Eszter Steierhoer )
"What is a home?" What is a home for now? What is a trend of the future? "What is a home in the future?" "Living on the move" researched as a state, where people lack a stable, long-term address. Thus, we divided into two subtopics: Nomadism and Rough Sleepers. Research showed nomadism as an emerging lifestyle choice desire by those who seek adventure, and homelessness as a disregarded social issue, which continues to expand.
Target Audience: : Large scale of audience : Nomaism - young people, students, travellers, business people, parents, life-change seekers : Homelessness - everybody who cares, activists, social workers, politically involved people Provocation: : Good design can make a tangible impact on the daily lives of homeless people : Nomadism shapes the given identity : How design address the social issue
F L O O R
Homelessness
P L A N
Movie Tunnel
Nomadism
Movie Tunnel: Documentary movies showing the lifestyle. We will interview three designers who design nomadic house, and another ďŹ lm introduces and interview nomadism. Regarding homelessness, we will present the story of these homelessness, and another ďŹ lm introduces how those design is addressing the problem and how it works.
Nomadism and Homelessness section: It will shows the impactful wall images, photographs of designs, model of the housing and references to existing projects.
Nomadism "What is Nomadism?" : Nomad = a member of a on-the-move community : Noadic living = moving from one place to another, without a fixed place to stay : Modern nomadism : Escaping the rat race way of modern living to improve the quality of life by living simply . : Living simply in small moving spaces will be a new lifestyle choice of the future.
Example of Nomadism 1. Summit Tiny Houses Concept: business people lack of time and energy to enjoy the weekend. The idea of people owning things, slowly turning into things owning people. Feature: Mixing advernture with business. 2. Toyota Pickup Camper Concept: if he could make his living expenses as small as possible then that would equally mean more freedom. Feature: the window as a way of directing a person s gaze towards a view or an idea he wants to share. 3. Toyota Pickup Camper Concept: Make all the rooms as small as possible, and the rooms can be office or house. Feature: the efficient structures, which can be reconfigured or recycled in response to future conditions
How is nomadism represented through social media? : Sharing life events with the world through social media to maintaining relationship. : A way, how to present a design and build a positive reputation
Rough Sleepers (Homelessness) "What is Homelessness?" : Homeless person = an unfortunate person without housing : Homelessness = the state of having no home : Emotional Ă— Legal approach to hoemlessness : 250,000 homeless people in the UK, 93,000 homeless children in the UK :150 families become homeless every day : Homeless people die at the age of 47
Design addressing homelessness
Current design debates
04. Fashion ¦ Protest ¦ Change Master Project: Curating a Public Programme for 2017 Beazley Design Of the Year with curator of the Design Museum, London (Curator of Public Programmes: Sumitra Upham)
The life cycle of one garment: Fibre cultivation (farming and harvesting) Textile production (spinning, weaving, bleaching and dyeing) = This requires a lot of energy (CO2 emissions), such as water (A diminishing natural resource), pesticides and chemicals (toxic waste) Design (sketching, pattern making, sampling and sourcing) = Influence the waste outcome Garment Manufacturing (Cutting, sewing and finishing and accessories) =15-20% of textiles are generally wasted and water, chemicals, CO2 emissions Transportation (ships, trucks airplans, storage) =CO2 emissions Retail (packaging, point-of-sales and merchandising) = Plastic and paper waste Consumer use (washing, dying, ironing) = A garment s largest environmental impact Disposal = End of life Fashion is resource intense but designers influence an estimated 80% environmental and economic impacts of garments. Therefore, we have two key messages, the first one is How design responds to water pollution? and the second question is how can we help designers to promote their response to it? Thus, we are trying to answer these questions via the fashion show. Giving the designer exposure and rise the awareness that there is an alternative to producing garments without negatively affecting our environment. It will make people who attend this show to think about this method of production will reduces the risk to every people.
F LO O R
P L A N
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Host and Designers
In the beginning, the model walk from the left corner and right corner every five minutes on the second floor and go to the centre to show the garment and then along with downstairs to the first floor. Finally, they will stand on the staircase. We have 20 models, and it will need almost one hour. When they finish, it is time to have a Q&A with the designers. Host and designers will sit in here.
G A R M E N T S Ecoalf have variety of garments, for instance, woman s wear, man s wear, shoes and bags and all of their garments are eco friendly. Some of them were made from discarded fishing nets and some were made using 100% recycled nylon from fishing nets and the bag is made from recycled plastic bottles and fishing nets. That is a reason why we choose this brand to held this fashion show.
I N V I TATI O N
Fashion Protest Change Fashion show “ECOALF”- water pollution
Invite you to celebrate the event
Fashion Protest Change
Invitation
Design Museum
2 018
FEBRUARY
6pm - 9:30pm
2
224-238 Kensington High St, Kensington, London W8 6AG
FRIDAY
https://designmuseum.org/
18:00 - Admission 18:30~19:30 pm - Fashion show 19:30~20:30 pm - Q&A with designer 20:30~21:30 pm - Refreshment
P O T E N TI A L
P A R T N E R S H I P S
B U D G E T Designer
Designer fee @ £205 Accommodation @ £60 for two nights, Flight @ £40, Per diem @ £50 × 3
£ 455
Models
20 models @ £15
£ 300
Catering
Bar service @ £80 30 bottles of wine @£10 100 beer @£3
£ 680
Lights
Lighting @£355 per event
£ 355
Contingency
Emergency fee
£ 210 Total
£ 2,000
05. Walking Polluted London Master Curatorial Project: Walking the City (Adult Learning Programme) with curators of the Design Museum, London (Adult Learning: Bemard Hay ,Curator of Public Programmes: Sumitra Upham)
A child born today might not breathe clean air until 2026. We are experiencing a public health emergency, and the government s actions will not be implemented in London until 2025. It is imperative that immediate action must be taken. To raise awareness. The Design Museum invites you to a planned walk around your local area to learn more about how air pollution aects you and what you do to inspire change.
R O U T E S
P L A N
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the Design Museum
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China Town
Tower of London
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River Thames
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1. Exhausting London 2. CAN (Clean Air Network) 3. Fashion as Protest 4. #AirPollution
Exhausting London Route: St. Ronans to the Design Museum via Putney High Street, London Wetland Centre, Hammersmith Time: Saturday 11th August 14:00 Leader: Anirudh Sharma, Graviky Labs founder Air Ink Invited Participants: Putney Art School Collection Method: Air ink Banner making workshop: Anirudh Sharma Saturday 11th August 16:00 - 18:00
CAN (Clean Air Network)
Route: China Town to National Lung and Heart Institute via Battersea power station Time: Saturday 18th August 14:00 Leader: Fan Chung - Professor of Respiratory Medicine and Head of Experimental Studies Medicine at the National Heart & Lung Institute Audience: Imperial College Students Collection Method: Air Network Monitor
Fashion as Protest
Route: Kings College to Oxford Circus via London College of Fashion Time: Saturday 25th August 14:00 Leader: Nikolas Bentel Audience: London college of fashion students, Kings College students Talk: Gary Fuller, CityAir Method: Aerochromics clothing
Concentrated Particle Pollution: Dust Dirt Soot Smoke
#AirPollution
Route: Alan Turing to Tower of London via St. Paul and Barbican Centre Time: Saturday 4th August 14:00 Leader: Jennifer Gabrys, Citzen Sense (Phyto Sensor Walk) Audience: youth, Barbican residents Speaker: Data Study Group, Alan Turing Institute Collection Method: Photograph
I N V I TAT I O N
E X H I B I T I O N London: a body of pollution Opening event: Sadiq Khan #CleanAir Invite: Council policy makers, walk participants
P A R T N ER S H I P S
B U D G E T Walk1
Walk2
Walk3
Walk4
Leader
£ 200
£ 200
£ 200
£ 200
Speakers
£ 100
-
£ 100
£ 100
Print Advertising
£ 50
£ 50
£ 50
£ 50
Collection methods
£ 15
£ 100
£ 130
£ 500
Exhibition material
£ 50
£ 100
£ 20
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-
£ 100
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Total
£ 415
£ 550
£ 500
£ 850
P R O J E C T
T I M E L I N E
Workshop
Contact partners
May Test routes Risk assess routes Confirm routes
Invite locals via print/social media invitation/Eventbrite Open invitation Equipment test
June
July
August
Confirm speakers Organise data collection equipment
Designing
06. Pasted-Paper Sculptures 07. Red Ă— Design
06. Pasted-Paper Sculptures 2016 Published book, Taiwan Published by National Museum of History (I am involved research and book design)
紙天化地 PASTED-PAPERSCULPTURES
越時空的紙靈，
栩栩如生的紮藝 .
賦予全新的定義，
傳承的手工藝術 .
一本了解台灣紙紮藝術， 探訪十位高雄在地紙紮藝師的紀錄書 PASTED-PAPERSCULPTURES
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一 本 了 解 台 灣 紙 紮 藝 術 ，及 探 訪 十 位 高 雄 在 地 紙 紮 藝 師 的 紀 錄 書
一本了解台灣紙紮藝術 探訪十位高雄在地紙紮藝師的紀錄書
Limited edition / Second edition sell on bookshop
Through interviewed ten pasted-paper sculptors in Kaohsiung, this book aims to report and record a Taiwanese gradually declined industry: Pasted-Paper Sculptures. Pasted-Paper Sculpture is a commitment to spirit, people burn paper-house, paper-car and paper-servant and so on for died family members. People believe that can give them a better life in the died world. There are many different customs, events and products are provided. Unfortunately, the sculptors are getting old and teenagers are not interested in the field. The pasted-paper industries in Taiwan have declined gradually. Therefore, we interviewed ten sculptors and collected the related information as many as we can in this book. We hope not only record the information of the industry but also spread the industry to more people.
C H A P T E R S 1. Introduction
5. The Story of Sculptors
An introduction of pasted-paper sculpture and the reason why we wanted to research this field.
Each sculptor has their own story for the long sculpture life. We interviewed them and find out the most impressed part and the reason why they have been continuing do this job.
2. The History The chapter wrote the origin of this industry, differences between past and present, differences of location, the traditional and new approaches and the difficulties of the industry.
3. The Example The chapter introduced different pasted-paper sculpture for three different events.
4. The Material This part introduced materials, tools, skills and process for traditional and new sculpture approaches.
6. The Events We have visited some temple and events which used pasted-paper sculptures as customs to record the significant information.
7. Conclusion We hope through the book, the public can understand this industry and break the stereotype of gloomy and mysterious. Whatever people believe the meaning of pasted-paper sculpture, it always exists in sculptors' mind.
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C O N T E N T S & D E S I G N
藝
師
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孫
柯
英
嬌
孫柯英嬌的糊紙店隱身在傳統市場中的巷子內， 我們在巷弄中繞呀繞的，穿過幾攤小販、走過幾戶民宅， 已經聽不見市場中吵雜的人聲，偌大的招牌「糊紙厝」，出現在我們的眼前。 有些昏暗的小巷，午後雷雨剛剛結束，還聽得見滴滴答答的水聲， 孫阿嬤獨自一人坐在巷尾，綁著紙厝的骨架。 看見我們來訪，孫阿嬤說：「這颱風天，工作很難做， 剛看到出太陽趕快拿出來做。我們這個工作，是人家給我們的， 拿了人家的訂金沒做完是會被剝皮」。
我們蹲在阿嬤的身邊，一邊綁竹籬一邊聊著，
�����������。
孫柯英嬌的故事。
個功夫，感謝天
磨了一甲子的柴刀
01
還好有
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文/謝慕盈
雖然嫁入糊紙之家，但是要說真正學會這項技藝的契機，是因為被雇用的
80 歲的孫柯英嬌，在這裡六十年了，先生在她四十六歲那年腦充血辭世，
糊紙師傅扯了後腿。她和先生將隔天一早要送的紙紮交代給這位師傅，便出發
留下五個孩子與公婆。糊紙店是先生的家傳事業，但是因為時機不好，加上
到另一個主家（喪家）工作，晚上回來後發現師傅完全沒動工，夫婦倆只好徹
房子是租來當住家的，可以工作的場地不大，所以前面二十年兼職做過各式
夜沒睡，拚命趕出來。孫柯英嬌想起公公曾經說過：「如果你要開轎店，那你
各樣不同的生意，她說：「為了養孩子什麼都得做，以前賣楊桃汁，天冷了
自己本身也要會扛轎。」從那刻起她就決定要把糊紙學會，「不要只顧著做生
，『涼的』沒有生意，賣豬血湯、炊米糕、剖西瓜與賣番茄，為了養孩子什
意，像是開餐廳的人也要會煮菜的道理一樣，要想得長遠，不要看到什麼新興
麼都要做，不然『祖公仔』也沒有留財產下來。」支撐她走下去、心裡所牽
的行業，或者很熱門，就一窩蜂地跟著人家去做，你沒有那個才能，也就無法
掛的也就只是孩子們的飽餐一頓，正當我們想像著孫阿嬤是如何辛苦地獨自
把這個工作做好。」孫阿嬤停下手邊的工作說著。
扛起這一切，孫阿嬤又說：「還好有這個功夫，感謝天，有保佑家裡的子孫 就是我們的財產」。
巷底這間小小的糊紙店，掛著大大的招牌，這塊招牌代表的不只是養家 糊口的功夫，更是老一輩台灣人「古意」、堅毅不撓及謝天性格的展現。
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答應客人的，把人家做好就對了
「年輕的時候做很快，現在老了慢慢來。」阿嬤拿起放在一旁砍竹條用
阿嬤的功夫不打算傳下去，也沒有人可以傳了，「我兒子
的柴刀，「人家說財產，我的財產就是這支，我娶媳婦嫁女兒，都是用這支
身體比我還要差。」我們問她擔不擔心這個行業會消失、技藝
柴刀賺錢。人不見的話我不會找，這柴刀不見我會去找。」柴刀是阿嬤的公
會失傳，阿嬤只說：「沒想那麼多，也不用想那麼多，答應客
公留下來的，公公在拿的時候很大支，現在越磨越薄，但是做柴刀的師傅已
人交代的事，把它做好就對了。」一個人糊了三、四十年，只
經往生，到哪裡也買不到了。柴刀就像是傳統紙紮產業，以竹篾糊紙的紙紮
求溫飽度日，允諾人家的盡力做到就是了，日子要是寬限就慢
越來越少，老師傅的技藝也無人傳承，因應時代的變遷，終有一天，傳統紙
慢地做，做不來的就推掉不糊，「賺錢要賺的單純一點。」阿
紮將會被新式模型紙紮取而代之。
嬤認為不是生意來就接，來不及了就胡亂交貨，要可以讓人看 得清楚明白，守自己的道德，不是有賺錢就好。「要是有一天 做不了了，所有的東西都是垃圾，沒有作用了，但我們人的生 命不一定。」是阿，百年之後，我們的東西也不是我們的了， 還擔心什麼呢？也許阿嬤從未想過傳承這類的偉大問題，但是 她守著這份堅持，做完她這一代，讓我們今天還能看見孫柯英 嬌的糊紙。我想，傳統產業的消失，消失的可能不是產業，而 是這些甘願付出一輩子讓「技藝」變成「傳統技藝」的人，是 這些願意傳承與學習的人。
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Chapter 05
天地萬物，躍然紙上
幡仔頭：魂帛相當於臨時性往生者的神主，是要指引往生者的亡靈清除定位所在的去處方
在台灣的傳統民間信仰認為，人離開了陽間，必定前往另一個世界，於是後代為他們準
向，通常在白布上寫著往生者的姓名及農曆生卒，出葬時和靈柩同埋，在魂帛上還會繫上
備了一切在陽間所需要的物品，讓他們在另一個世界裡仍然與陽間的生活模式相當。
幡仔頭，有黃色指女生，藍色指男生。 紙厝：往生者在另一個世界也需要有遮風避雨的地方，於是後世子孫便找糊紙師傅製作精
金山銀山、媳婦亭：金山銀山又稱為女兒亭，為出嫁的女兒報答父母的養育之恩所準備的
美的紙厝，再燒化給他們。台灣常見的紙厝分為兩種，一是「傳統閩南式」像是「三五、
糊紙物，另有媳婦亭則是媳婦要準備，孝順她的公公、婆婆，都是要讓他們在另一個世界
三三、七包五」依照三合院式的護龍及間數來作為尺寸大小，二是「現代洋樓式」在日治
也能有足夠的錢財。
時期，台灣漸漸有西式風格建築的傳入，許多地方富紳的宅第就屬這種，所以他們請糊紙
魂轎(過山轎)：是家屬會焚化過山轎，讓往生者的亡靈乘坐，因往生亡靈在七天後會被接
師傅仿作洋樓、別墅等等。
到地府報到，故又稱「靈轎」。一般的靈轎有兩個轎夫，比較富裕的家屬會用較華麗且四
金童玉女：金童玉女為引魂使者，他們手上持有寫著「金童接引西方路，玉女隨行極樂天
人、六人扛的轎子，現代則有汽車的造型來作為替代。
」的布條，接引往生者到西方極樂世界。
紙馬、紙牛：這個特別的糊紙物來自於中國大陸山東省的習俗，父親生前就像一匹到處奔 波的馬，母親就像一頭默默勤作的牛，在他們往生後能乘坐紙馬、紙牛回到西方極樂世界
魂身：魂身是往生者在另外一個世界的替身，依據往生者的年齡、性別，通常分為三個階
，不再那麼勞累。
段：青年、壯年及老年，糊紙師傅在紙偶臉畫的鬍鬚多寡來作為分辨。道士會為魂身作開
紙船：佛教徒認為人死後會乘船至西方極樂世界。
光點眼的儀式，在背後會寫上出生年月日，以避免其他亡靈來奪用，然後放在紙厝的神明 廳或最上方處。 桌
魂帛：魂帛即為亡靈暫居之所，上面書寫往生者的名字及農曆出生年月日，六、七十歲以上者用紅布 魂帛：魂帛即為亡靈暫居之所，上面書寫往生者的名字及農歷出生年月日，
：為一對服侍往生者的僕人，通常男生手持杯子或毛巾，站在左側，身穿唐裝或是現
六、七十歲以上者用紅布，以下者則用白布。 ，以下者則用白布。
代西裝的都有，女生則手端茶具組，站在右側。 護龍：傳統三合院建築會因為開枝散葉，另在東、西廂房後，蓋與它平行的建築物。 護龍：傳統三合院建築會因為子孫綿延、開枝散葉，另在東、西廂房後，蓋與它平行的建築物，以 供後代居住空間。
拔渡科儀用糊紙
弔喪儀式用糊紙 在弔喪儀式中，為了使先人早日脫離苦海即陰鬼化陽神，而有「做功德」或「做功果」的儀 式，一般稱為「做師公」，通常是在葬後七日後才舉行，但近來也有出殯前一日舉行。類型由最 小的「靈前繳仔」到一朝、二朝甚至七朝都有，其中最普遍的是「斷午夜」。在道場裡供奉幾尊
枉死城：意外而往生的人，他們死後會被關在枉死城裡，而「打城」就是「攻打枉死城」，
血盆：它的應用為生病而往生的人而所作的法事用的糊紙物。
藥王：黑衣坐像，幫助亡靈脫離百病痛苦。
血 、血鑼：早期醫術不發達，產婦經常失血過多、難產而死，這時就需要透過血 儀式讓
庫官：紅衣坐像，護送家屬燒化給亡靈的「庫錢」
她們超生。
赦官：彩衣立像，呈送赦罪疏文給天神。
水 ：為溺水而死的往生者所設的，透過轉 的動作，使他們脫離苦海，早日超生，每年農
赦馬：赦官騎著赦馬到達天庭，墾求上天赦免亡靈生前所造的罪孽。
曆六月初六、初八在雲林縣口湖鄉都有大型的牽水 文化祭。
師公：台語，「道士」的意思。
靈前繳仔：即「靈前繳庫錢」之意，中午起鼓，入夜結束。
斷午夜：中午起鼓，午夜結束。
庫錢：家屬給亡靈在陰間所需要的金錢。
藥王。
生前因意外而往生，死後在枉死城無法順利超生，他們會透過託夢給家人或使家裡不平安， 而要求家人為他們舉行法事，或是家人在弔喪儀式裡，舉行法事。
將他們從枉死城裡救出，前往極樂世界。
糊紙神像，正案供祀「藥王」華陀，左案「庫官」，右案「赦官」。
14 15
12 13
庫官。
赦馬。
枉死城。
血盆。
07. Red × Design Poster Design: Give or Receive International brand design exhibition
They want to eat. They want to stay They want to live.
Don t let them eat plastic
Don t let them no house
Don t eat them
Give or Receive There is a big problem of ocean plastic pollution. Through the series of posters to appeal everyone protects animals in the ocean, land and sky. People eat shark s fin make them live without a fin and died gradually; Pagurian have no space and shell as a house, they can only find plastic rubbish as a house; Seabird can not find proper food as usual, they eat plastic rubbish as food until they died. People and animals should be symbiotic. Therefore, I use the equal sign to show that animals and people are equal. From the series of posters, we can see that the position of three animals are different because they present animals in the ocean, land and sky. There is no reason that animals provide foods for people, but we only put them into a more dangerous environment.
Y E N
T Z U
C H A N G
Curator Portfolio +886 921140388 +44 7511434550 yvette111013@gmail.com