【展訊】五十步的空間─首部曲 The Space of Fifty Steps: Episode One

PULIMA__拉黑子.達立夫 (51)

五十步的空間─首部曲

因為很多人去丟,所以我現在一直不斷的在撿,也許我找不到你原來丟的樣貌,…也許可以從那些破碎裡面找到蛛絲馬跡,找到你們原來那純粹的心靈,也許已經拼不出那完整的,可是我可以感受到那個過去,也試著拼出我們的現在。

“People keep throwing away so many things therefore I keep picking things up. Perhaps what I pick up are nothing like what was thrown away, but perhaps in the fragments some traces can still be discovered,, the pure soul you used to possess can still be found. Maybe a complete picture of what they were can no longer be pieced together, but I can still sense “the past” and have been trying to piece together what we are now.”

 

拉黑子‧達立夫出生於花蓮縣豐濱港口部落,因感受到來自祖先血液的呼喚,決定從都市回歸部落,透過田野調查,深入瞭解自己生長的土地與人,並承擔起部落母體文化傳承的使命。他曾擔任室內設計師、花蓮豐濱國中技藝教育班雕刻老師,現專職藝術創作,致力開拓能同時表彰自我和原住民意識的當代藝術語言。他的作品從阿美族的母語文化出發,廣泛跨涉美術、音樂、文學等不同領域,但隨著部落文化、環境、生態的探索與重省,試圖與大地正面對話,進而反思人與自然的關係。歷年除了多次於國內外展出,也曾獲邀至國外藝術村駐點創作。

本次應邀參展,他以【五十步的空間-首部曲】命題,針對台北當代藝術館館空間創製四件新作。「五十步的空間」指涉海邊的潮間帶,創作概念來自拉黑子父親生前語重心長的一句話:「我們只剩下五十步。」對於生活腹地狹小的港口部落而言,五十步幾乎就等於走到浪頭上的距離,既是生命等待與出發的地方,也是一個必須小心以待的警戒區;在人與自然和諧共存的過去,這五十步的空間並沒有造成問題,但隨著現代的發展,這一段空間被迅速擠壓著,而人們對於自然環境、傳統文化的輕忽也呈顯在這樣的地帶。有鑑於此,拉黑子開展了【五十步的空間】這個預計持續執行數年的大型創作計畫,本次展出的四件裝置新作,包括戶外的《守護者〉和室內展出的〈旅行〉、〈線〉、〈影子〉,即是此創作計畫的首部曲。透過這四組作品,拉黑子有意營造一種在傳統與現代之間穿梭的情境,和快速變換的觀看方式,引導觀眾凝視這片海洋,以及此刻我們所共同面臨的現況。

在此系列創作裡,作品〈旅行〉是拉黑子進行長達一年行走在太平洋岸邊撿拾人為廢棄物的計畫,經由行走與撿拾的過程中進行隨機觀看,並將自己的觀看所得繪製在於都蘭糖廠拾獲的古老布匹上,以阿美族語拓寫心得。取材守護者兄妹的部落傳說的「守護者」,將其主角轉化為似有若無的姿態,為其披上由海岸邊所拾回的瓶蓋與塑膠片集合而成的披肩,他們是海洋的化身,身體裡累積著繁雜的海洋漂流物,當這些人為廢棄物進入了海域,儘管是種汙染,然而太平洋仍然接納了他們,並織起這些廢棄物做為兄妹守護者的披肩。〈影子〉則以海灘上拾回的玻璃作為主要材料,在阿美族語裡破碎的玻璃詞意中含有「鏡子」與「影子」的意涵。世人們的價值觀從傳統的美麗石頭,後來取代而代之的是琉璃珠、玻璃,甚至是塑膠,顯而易見的技術退化,呈顯了部落人對於母體文化失落的內在恐慌。作品遙指的原民文化,透過持續的行動撿拾,試圖把那遺失的過去拾回,然而,是否足以湊出最初的原貌?

拉黑子所關注的是一種涵蓋到所有生命消長平衡的永續觀念,讓觀者不得不以一種靈活穿梭在傳統與現代間快速變換的觀看方式,凝視自然與此刻我們所共同面臨的現況。

相關作品資訊 “https://rahictalif.com/project/2014-2015-the-space-of-fifty-steps/

《本計畫獲 2014年國家文化藝術基金會「美術類-創作」計畫獎助》

The Space of Fifty Steps: Episode One

Born in a tribe in Hualian County’s Fengbin Harbor, artist Rahic . Talif returned home after feeling the call from of his ancestral land. Since then, he has continu many to conducted field researches as a way to revisit the land and the people of his birthplace. It has also become his life’s mission to preserve and continue his root tribal culture. Before dedicating fulltime to creating art, Rahic‧Talif worked as an interior designer and taught woodcarving in a special craft class at Hualian’s Hengbin Junior High School. Now an artist, musician and writer, he seeks to find an artistic language that stresses his individuality as well as a collective identity for the indigenous culture. All of Rahic’s works are by inspired by his native Amis tribal culture and take forms in art, music and literature. His works explore and reflect upon his culture roots, the surroundings and the ecologic environments. Through conversations with his birthland, he contemplates the relationship between humans and nature. Rahic‧Talif has been invited abroad as an artist in residency while his works have been exhibited broadly in Taiwan and overseas.

For the exhibition at MOCA Taipei, Rahic‧Talif has created four site-specific installations, collectively titled The Space of Fifty Steps: Episode One. “The space of fifty steps” refers to the intertidal zone of the seashore, as described by Rahic’s father. His father once said with worry that “We only have fifty steps left.” For a harbor tribe such as the one Rahic belongs to, this area of roughly fifty steps in depth, before where the ocean begins, is where most tribal activities take place. Life happens in this area; hence it becomes a watch zone where impacts of environmental and social changes can be observed. In the past when human and nature co-existed in harmony, this was been peaceful. However, as urbanization expanded rapidly in recent years, this territory has also been threatened. The consequences of human negligence towards their living environment and cultural traditions evidently show in the intertidal zone. This reflection has motivated Rahic to pursue The Space of Fifty Steps, a large-scale project that the artist plans to undertake for several years. Four inaugural works from the project are on view in the exhibit. They are Caretakers (displayed on the plaza), Travel, Cord and Shadow. Jointly, they provide a viewing experience where the audience travels back and forth between traditional and modern societies only to realize what it gazes at is not just the ocean, but current conditions in which we humans are situated.

For Travel, Rahic‧Talif spent a year walking and collecting discarded items along the coast of the Pacific Ocean. He then painted and wrote down, in his native Amis language, observations and reflections he gained during the process on a bolt of old fabric he found in Dulan Sugar Factory. In Caretakers, Rahic draws on the tribal legendary of the same title and weaved shawls for the protagonists, the caretakers, faintly presented in the work, using bottle caps and plastic sheets he gathered from the beach. The shawls represent the ocean jammed by multifariousness of wastes and discarded items. Even though these manmade wastes have polluted the water, the Pacific Ocean still kindly takes all of them in and Rahic turns them into shawls for the brother and sister caretakers. To create Shadow, Rahic uses glass found on the beach as the main material. In the Amis tribal language, broken glass means both mirror and shadow. For the artist, the shift of material culture from using precious stones to glass beads and other glass items to plastic products speaks of an obvious decline in craftsmanship. It also represents the loss of cultural root for the tribal community—a source of their inner anxiety. Shadow is an artwork in dialogue with fading indigenous traditions. Gathering objects from the beach is symbolic of the artist’s hope to find the lost past while questioning the actual possibility of piecing the past together as it was.

At the core of Rahic’s works is his awareness for sustainability—the balance and cycle of and between all living things. Rahic’s works send the audience on a journey where traditional and modern societies constantly and swiftly rotate. By viewing them, the audience gazes not only at nature, but in effect, the current conditions we human together face.

more.. “https://rahictalif.com/project/2014-2015-the-space-of-fifty-steps/

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展覽名稱 Exhibit
2014第二屆Pulima藝術獎  2014 The 2nd Pulima Art Award

展覽時間 Date
2014/11/15-2015/01/04//已結束 End//

展覽地點 Venue
台北當代藝術館 MOCA Taipei

http://www.mocataipei.org.tw/index.php/2012-01-12-03-36-46/upcoming-exhibitions/1305-2014-pulima-2014-2nd-pulima-award#作品介紹-about-the-artworks

 

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