【展訊】「旅行在五十步的空間」(2016/05/06-05/30)

「旅行在五十步的空間」拉黑子‧達立夫 個展

Journey in the space of 50 steps – Solo Exhibition of Rahic.Talif

「空間」是個帶著混沌的用詞,它所指涉的不只是視覺或其他知覺所定義的範圍,還包含心理的、靈魂的,或是以我們的語言來說,「無形」的空間,而「五十」則讓那個未定義感又再濃厚了一些,結合起來「五十步的空間」這個詞很符合我對這個海岸線的理解,一種未敘明,卻也不用大聲疾呼去強調的魔力,每個人來到這個地方都能感受,而且會用各自的方法去理解的神妙之所,與其說我對那份純粹潛力的狀態的著迷,那更像是一種我對創作的追尋,找一種可以跨語彙、跨族群、跨背景的溝通模式。—–拉黑子.達立夫

“Space” is a vaguely defined term. It refers to not only the space perceived by our visual or other senses but also the intangible space in our hearts or souls. The combination of “fifty steps” with it adds to the vagueness of its definition. The term, “Space of Fifty Steps”, really corresponds to my understanding of the coastal area I am familiar with. It is a marvelous place with a kind of magical power that does not require explanation or loud advertisement. Everyone can come here to appreciate its magic through his or her own interpretation. My fascination lies more in the pursuit of a kind of artistic creation, to find a type of communication that can transcend languages, ethnicity, and backgrounds, than it does in its pure potential of the space.—-Rahic.Talif

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 旅行在五十步的空間–拉黑子‧達立夫 個展

展覽地點:東海大學 藝術中心│台中市西屯區臺灣大道四段1727號(人文大樓1F)

展覽日期:2016.5.6(五) – 2016.5.30(一)

開放時間:週一至週六12:00-18:00(週日及例假日休館)

開幕茶會:5 / 6 (五)  pm 1:30

展覽座談:5 / 6 (五)  pm 2:30

*與談人:

羅秀芝(獨立策展人/影像工作者)

施永德DJ Hatfield(美國伯克利音樂學院 副教授)

拉黑子‧達立夫(藝術家)

*主持人:

張惠蘭(本展策展人/東海大學美術系副教授)

關於本展

「五十步的空間」系列創作起源於2013年拉黑子‧達立夫一段東海岸的旅行,以他父親生前所說的一句話「我們只剩下五十步」,作為環境關照的初始視角,延續「颱風計畫」(2008 – 2013)中的拖鞋撿拾作為行動,然而這次的行走卻讓創作者不得不開展出與以往全然不同的太平洋觀看。回到傳統的認知中,事件、問題、衝突……都是非單一線性的發生,而是多重空間交互影響的概念,神話傳說、部落經驗、兒時記憶、個人省思、當代困境等,於是透過多重線索反覆交織重組,穿梭於有形無形的諸多空間之中,為當下的困頓尋求更進一步的答案,直抵轉化或者療癒的可能。

___________________________________

Journey in the space of 50 steps – Solo Exhibition of Rahic.Talif

Dates: 6 May 2016 – 30 May 2016

Opening Reception: 6 May 2016 (Fri.) 13:30

Venue: Tunghai University Art Gallery (No.1727, Sec.4, Taiwan Boulevard, Xitun District, Taichung 40704, Taiwan)

Website: http://fineart.thu.edu.tw//web/artcenter/index.php

Artist Talk

6 May 2016 (Fri.) 14:30

Speaker │Hwei-lan Chang (Curator)

Panelists │Sandy Lo, DJ Hatfield, Rahic.Talf

About Exhibition

The Space of Fifty Steps, a series of mixed media works, originates from Rahic Talif’s trip to Taiwan’s East Coast in 2013 and his recollection of his father’s remark, “We are left with only a space of fifty steps.” With this sentence as the starting point to express Rahic’s concern about the environment, this series extends the actions of picking up discarded flip flops back in his Action Project for Typhoon (2008-2013). However, in this series, Rahic forces himself to look at the Pacific Ocean from entirely different perspectives: his reclamation of traditional knowledge and confrontation with several incidents, problems, and conflicts, none of which are linear occurrences. Rather, these are mutually influencing concepts in multiple times and spaces. By tracing along interconnected clues found in tribal legends, local experiences, childhood memories, personal contemplation, contemporary predicaments, and many other contexts, Rahic travels among many spaces, both tangible and intangible, as he seeks out an answer to present circumstances, until he reaches possible places of transformation or healing.

廣告

【展訊】「旅行之夢」五十步的空間創作計畫 (2016/4/16-5/13)

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◆展覽地點:緣投畫廊│台北市大安區四維路187號1F
◆開幕茶會:4 / 16 (六)  pm 3:00
◆展覽日期:2016.4.16 – 2016.5.13
◆開放時間:週一至週五9:30-18:30/週六:13:00 – 18:00(週日休)

◆關於本展
從2014年開始的五十步空間計畫,拉黑子‧達立夫在花東台11線沿岸潮間帶持續進行撿拾漂流拖鞋與海廢,並且加以記錄與再創造;此一階段的撿拾行為,較諸以往有更廣泛的觀察且不具特定目的。
 
<旅行>是將發現漂流拖鞋的情境以圖像記錄於糖廠舊存的古布疋上,並且用阿美族語的羅馬拼音加註詩文。拖鞋、古布、族語與作者各自經歷了不同時空環境後遭遇在一起,共同營造出<旅行>作品當中多重時空交疊,詩意與記憶攸忽擺盪的隨機張力。
 
<夢>與<太平洋>系列是拉黑子‧達立夫近年少見的漂流木抒情之作,以溫暖輕鬆的手感質地,傳遞出對太平洋一直以來的專注觀看與凝視。在<夢>系列當中,潮間帶上石頭與浪花撞擊形成的圓潤動感量體,在木頭與生俱來的自然肌地紋理之間迴轉律動,輕快而幽默。<太平洋>系列則以延伸性的群組線條,細膩地書寫出太平洋的全感官意象,提供得以仔細閱讀包含太平洋的光、太平洋的風、太平洋的浪及太平洋的速度…一種令人感到陌生卻欣喜雀躍的視覺經驗。

【跨界合作】與聲音藝術家DJ Hatfield

20140925 拉黑子-漂流木篇.JPG

聲音作品連結 The music is available online at
https://soundcloud.com/shoutacre/rahic-a-space-of-fifty-steps

颱風過後,來到海邊,有很多很多的漂流木
以前會有人用這些木頭,但是現在,人都很懶惰,有瓦斯
煮飯炒菜都用瓦斯,所以沒有撿柴的人,
同樣沒有人關心海邊,
年輕人全都北上工作或者到東邊跑船,
都沒有回來看老人家。
土地很難過,
這個木頭是祖靈給我們的,
但是沒有人珍惜他…

阿德,你會唱那一首歌?老頭目,ciAkira的爸爸的歌?
他唱歌,很像海浪…
我們今天找到海的文字,在這漂流木上面,
好像在紀錄都蘭老頭目的歌曲,
好像在述說馬蘭頭目Mahengheng的故事…

今天整個海面上,是漂流木
很美麗,海潮退得非常美麗
我們看到在這漂流木上,海的文字
沒有人看得懂,我們在尋找智慧,
哪裡可以找到?哪裡找到生命的意義?
在這些文字。
這個文字,不是人寫的,是蟲留下來的,
不過是真正的文字,是阿美族的文字…

after the typhoon has passed, driftwood covers the beach.
in the past, people would collect the wood, but now people are lazy:
they have gas to cook.

now that they have gas, they need not collect firewood.
similarly, no one cares about the ocean anymore.
all of the youth have gone north for work, or gone east on the fishing boats;
they do not come back to visit the elders.
the land is sad.
driftwood was a present given to us by the ancestors,
but no one cherishes it any longer…

A-Te, can you sing that song, the song of Akira’s father, the old headman?
his song was like the ocean’s waves.
today, we have found the ocean’s writing,
it seems to record the old headman’s song,
it seems to tell the story of Mahengheng,
that fast runner whom the Japanese could not conquer…

today, the entire beach is covered in driftwood.
it is beautiful, the ocean’s writing is beautiful, now at low tide.
we found the ocean’s writing in the driftwood.
but who understands how to read it today? we look for the knowledge,
where can we find it? where can we find life’s meaning?
it is in this writing, the writing of the ocean.
the writing was not made by humans; worms left this writing in the wood.
but it is true writing. it is the writing of the ‘amis people….

——————

聲音創作者/ Sound Artist

DJ Hatfield (施永德)任職於Berklee college of music.於2014~2015受 Fulbright Taiwan Scholar邀請來臺灣繼續從事相關研究工作。DJ Hatfield長期採集台灣民族音樂進行學術研究,於拉黑子《旅行》作品製作過程現場收音並操刀製作吟誦混音聲音作品一件,2014共同展出於台北當代藝術館。

創作理念/ Artistic Concept

Rahic Talif 的五十步空間,是藝術家跟大海對話的心靈過程,我們所看到的平面作品,其實只是這個對話留下來的足跡,文字,和符號。在這個聲音裝置作品中,我想呈現Rahic的創作過程,讓更多的觀眾能夠接近Rahic跟大海,自然,以及祖靈的各種對話,所以在減音混音時,特別利用海浪的聲音,並通過聲音的座位,表現各種內在和外在「對話」的可能,更進一步擬用Rahic跟大海的對話,讓觀眾體會阿美族面對海(岸)的感觸與隨著現代文明的環境文化危急。

Rahic Talif’s “A Space of Fifty Steps" is a spiritual dialogue with the ocean; what we can see of it in a museum, on canvas or in an installation is just a trace left of this process of dialogue, footprints or signposts left of Rahic’s work beside the ocean. In this sound installation work, I want to convey Rahic’s process, to give listeners a chance to experience Rahic’s conversation with the ocean, nature, and the ancestors. Thus this work plays with mixing and the position of Rahic’s voice to express possible dialogues, both internal and external. Finally, I attempt to employ Rahic’s dialogue with the ocean to let listeners feel the affection that ‘amis people have for the ocean and anxieties provoked by the current environmental crisis.

 

 

【專訪】愛樂電台-藝術相對論,「五十步的空間」展覽

愛樂電台-藝術相對論,專訪「五十步的空間」展覽

點此可收聽

五十步,是潮起潮落的距離,
五十步,是童年與成長的印記,
五十步,是社會變遷與環境思維的辯證。

「藝術相對論」節目,
藝術家拉黑子繼續重複且厚實的勞動,
在田野調查與部落經驗的梳理中,
帶您在台灣花東海岸線的五十步空間裡,
展開另類的太平洋觀看!

拉黑子「五十步的空間」《線》 吳欣穎 攝影

【展訊】五十步的空間-拉黑子‧達立夫 個展 The Space of Fifty Steps : Rahic.Talif Solo Exhibition

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「五十步的空間」系列創作起源於2013年拉黑子‧達立夫一段東海岸的旅行,以他父親生前所說的一句話「我們只剩下五十步」,作為環境關照的初始視角,延續「颱風計畫」(2008 – 2013)中的拖鞋撿拾作為行動,然而這次的行走卻讓創作者不得不開展出與以往全然不同的太平洋觀看。回到傳統的認知中,事件、問題、衝突……都是非單一線性的發生,而是多重空間交互影響的概念,神話傳說、部落經驗、兒時記憶、個人省思、當代困境等,於是透過多重線索反覆交織重組,穿梭於有形無形的諸多空間之中,為當下的困頓尋求更進一步的答案,直抵轉化或者療癒的可能。

拉黑子‧達立夫在九○年代初期回歸部落投入創作,身為世居於太平洋沿岸的大港口阿美族人,部落生命、都市經驗及長年田調所累積的母體文化始終盤根錯節且交互影響。他將這份根系作為思想基底,透過重複且厚重的勞動梳理,最後呈顯於作品上,創作形式多元,蘊含海洋文化特質與部落傳統精神。擅長以淬練後的雕塑線條與裝置語彙傳達面對當代課題的環境思維辯證,探討族群結構瓦解及大社會變遷的現狀,引發觀者自我省思。

本系列作品包含行動、文件、雕塑、裝置、多媒材、聲音……等多元手法回應作者在行走中所看見的跨空間共時與共存現象,每件作品都有雙重以上的不同層次的代表意義探討。如同標題中數字「五十」所傳達出的,一種跨越中點後的「迫切」,以及介於之間的「彈性」,這樣近乎悖反的特質在這一系列的作品中反覆出現,挑戰邊界的存在與意義。諸如透過《線》探討切割與縫補、透過《牆》探討隔絕與連結……等這些都是環境、文化、傳統與部落生活所共同面臨的問題,環環相扣而無法單一論之。在《旅行》作品中的繪製與行走過程所拾回的拖鞋、海廢與漂流木在此如同新舊事物的象徵物,直指傳統社會對現代思維、新事物、新媒材等的包容性,因為便捷或者強勢等因素,這些事物總是被快速接納卻又容易陷入未經充足消化的拼貼,無形中延展了主流社會對於傳統文化的獵奇式觀看,卻又在快速消費中尚未融會便已轉換成垃圾。《獲 2014年國家文化藝術基金會「美術類-大型創作」獎助》

拉黑子-高美館個展-展覽現場(攝影 吳欣穎)_1

2015《只剩五十步》 Only Fifty Steps Left , 615x155x197cm, 木 Wood

The Space of Fifty Steps, a series of mixed media works, originates from Rahic Talif’s trip to Taiwan’s East Coast in 2013 and his recollection of his father’s remark, “We are left with only a space of fifty steps.” With this sentence as the starting point to express Rahic’s concern about the environment, this series extends the actions of picking up discarded flip flops back in his Action Project for Typhoon (2008-2013). However, in this series, Rahic forces himself to look at the Pacific Ocean from entirely different perspectives: his reclamation of traditional knowledge and confrontation with several incidents, problems, and conflicts, none of which are linear occurrences. Rather, these are mutually influencing concepts in multiple times and spaces. By tracing along interconnected clues found in tribal legends, local experiences, childhood memories, personal contemplation, contemporary predicaments, and many other contexts, Rahic travels among many spaces, both tangible and intangible, as he seeks out an answer to present circumstances, until he reaches possible places of transformation or healing.

Rahic returned to his native village to focus on his artistic creation in the early 90’s. As a member of the Amis community who had settled in Makuta’ay along the Pacific-facing coast of Taiwan for generations, Rahic is aware of the intricately interconnected, and sometimes contradictory, influences from his experiences of tribal life, days of living in the city, and years of field research on his native Amis culture. With these influences as a conceptual basis, Rahic conducts repetitive and laborious actions as a ritual in order to reflect upon these influences and, ultimately, demonstrate in his works a synthesis of maritime cultural characteristics and traditional tribal spirit. His works employ sculptural line and the language of installation art to convey dialectical messages about the contemporary environment, to explore the disintegration of traditional social structure in the indigenous community, and to comment upon wholescale social transformation, inspiring viewers to reflect upon these issues.

This series of works contains actions, documents, installations, multimedia, sound work, and many other elements to echo with the interconnected influences among different factors that exist in different times and spaces perceived by Rahic. Each of the works explores dual and multiple meanings. For example, the “Fifty” in the title conveys a kind of “urgency” after the midpoint is reached and, at the same time, a kind of “flexibility” of straddling in the middle. This kind of bordering on paradox emerges repetitively in this series of works, challenging the existence and meaning of boundaries. From discussion about of cutting and mending in Line to the discussion about separation and connection in Wall, the discussions in this series of works target several problems, each involving the environment, culture, tradition, and indigenous life; therefore, as Rahic suggests, the problems cannot be discussed individually just from one single perspective. In Journey, the drawings, flip flops, discarded modern items, and driftwood Rahic collected from the seashore represent new and old things. The discarded items demonstrate how traditional indigenous communities have embraced new thoughts, new objects, and new media from the outside modern society. Because of both their convenience and the mainstream values they represent, these modern items are quickly adopted by indigenous people but not fully integrated into their society. Therefore, they are easily discarded. The fast consumption and disposal of these items from modern society resonate with how the mainstream society sees the traditional indigenous cultures as the “exotic Other.”

拉黑子-高美館個展-展覽現場(攝影 吳欣穎)_2

———————————————————

展覽名稱 Exhibit
五十步的空間  The Space of Fifty Steps

展覽時間 Date
2015/12/19-2016/03/27
每週二至週日,9:30-17:30。(每週一、除夕休館)

展覽地點 Venue
高雄市立美術館 Kaohsiung Museum of Fine Arts

地址 Address
高雄市鼓山區美術館路80號
80 Meishuguan Road, Kaohsiung City

【評論】關於「夢」的說法

在他的工作小屋前面,Rahic愛談他的邦乍之夢:每天清晨,當他剛從睡夢中醒過來,他會望著湛藍的海,海感覺和山是這麼靠近,卻又延伸至一望無際的遠處,這時就像又回到夢裏。Rahic特別告訴我,這個白日夢境,就像是新生的嫩葉,這麼脆弱,卻又蘊含無限希望。夢在一般用語裏,代表與事實相對的心理現象,雖不盡然是事實的相反,至少是事實的變形。不過在Rahic講出的邦乍用法裏,夢卻代表一種傳承關係。從過去到現在,從長者至青年,夢的說出與詮釋代表一種技術的純熟與智慧的結晶:一方面是對過去的了然於胸,另一方面則是有能力熟練且精采地將它講授出來,提供未來行動的參考。

文章摘錄自 2010〈有「夢」最美:族群認同與承認政治〉莊雅仲。65K-3(43x24x32)

2015 /〈五十步的空間-夢 65K-3〉/ 烏心木 / 43x24x32 cm

【展訊】「雙關語」—林鴻文,拉黑子.達立夫,吳孟璋三人雙關說法展,臻品藝術中心 (2015/6/6-7/18)

夢-66K-1-4

2014 /〈五十步的空間-夢 66K-1〉/ 烏心木、玻璃 / 37x 26 x 24 cm

雙關語或許是創作者的多種假借隱喻,透過作品形成的關懷將所有藏入作品底,而作品將是代表著作者生命嘶吼後的展現,說法在作品「形」上徵顯,而「形」總有說法,是「觀乎」而後「關乎」是一種無盡的複數「雙關」語法。

林鴻文,拉黑子.達立夫,吳孟璋三位藝術創作者,何者是為它們觀想後顯露出的因應,許是作品發生所置身的場域文化、社群環境及至個己內心需求反芻後所形成的狀態。三位創作者皆以抽離形象,也就是離形而後形之,作品以抽象而至於心象反徵,作品訴說的意旨有著複雜的心底話語,潛於心思底與外執的所有間,距離的動盪,顯現出的是一種各自的有趣符碼,能讓創作者與觀者產生無限的思想與想像的可能。

「雙關語」—林鴻文,拉黑子.達立夫,吳孟璋 三人雙關說法展
時間:2015-6-6~2015-7-18 (週一至週六9:30-18:30)
地點:臻品藝術中心(台中市忠誠街35號)

學學台灣色彩文化【色彩新聞】http://www.xuexuecolors.com/coloritem.php?xue=5&id=1577