2008-2013 Action Project for Typhoon 颱風行動計畫

十幾年來,拉黑子以漂流木的創作而聞名,但近年他在熟悉的漂流木之外,發展以拖鞋為主要媒材的「颱風計畫」系列作品,這個標誌創作歷程轉變的計劃名稱,在全球氣候急遽惡化的今日看來特別尖銳,由此命名可以了解、它的提出和海洋、島嶼有著密切關連,不只延續、擴展他長年關注的族群文化議題,更將環境、生態的問題含括進來。

對拉黑子而言,他所選擇的媒材都不是中立的物質,而和阿美族文化或他的生命經驗相關,拖鞋和漂流木有著意義上的關連—它們都很不起眼,多半被當成廢棄或無用的物質,總在颱風過後的海邊大量出現,不過這些看來卑微的物件,卻被拉黑子集合、轉化為一種有力的藝術語言,其中蘊含阿美族人看待自然/颱風的獨特觀點,並廣及南島語系民族的討論。

拉黑子不厭其煩地長時間撿拾拖鞋,正因為它們帶著各自的記憶和味道,而這使得他以拖鞋的漂流來比喻南島民族的遷移經驗—無盡漂流,有著無法真正溯源也不知另一半在哪裡的傷痛,這趟往外走向東南亞的行動,同時也是藝術家向內尋找自我的旅程。(文字/ 摘錄 徐蘊康《從漂流木到颱風計畫-談拉黑子的藝術》)

For over ten years, Rahic had been famous for making driftwood art. In recent years, however, he developed the ‘Action Project for Typhoon’ using slippers as the main medium. The project title that marks the turning point of his artistic life seems particularly keen in a moment like this, when the global climate deteriorates rapidly. From this title, one could understand it is closely related to the ocean and island. It not only continues and expands his long-term concern about ethnic culture, but also includes environmental and ecological issues.

For Rahic.Talif, the mediums he chooses are not ‘neutral’, but related to the Amis culture and his own experiences. Slippers and driftwood have something in common—they are both inconspicuous, treated as abandoned or useless materials that both appear in a large number after typhoon. However, those inconspicuous materials are collected and transformed by him to become powerful artistic languages depicting Amis’ unique perspective regarding nature/typhoon, while at the same time initiates the discussion about ethnic groups in Southern Islands.

It’s because these slippers all carry their own memories and smells that Rahic.Talif tirelessly collects them for a very long time. This allows him to demonstrate with the drifting of these slippers the migrating experiences of people of the Southern Islands—drifting endlessly with the pain that they could never find their roots, nor knowing where is the other half of them. The trip to South East Asia is also the journey for the artist to search his own self.(Text by  Hsu Yun-Kang《From Driftwood to Action Project for Typhoon–about the Art of Rahic.Talif 》 )

8.Fali-yos颱風-消失後的入侵_關渡美術館_圓形展場(攝影 吳欣穎)s

2010《颱風行動計畫- 消失後的入侵》關渡美術館,臺北

2010 ‘Action Project for Typhoon—The Invasion after Disappearance’, KuanduMuseum of Fine Arts, Taipei.

http://www.kdmofa.tnua.edu.tw/index.php?REQUEST_ID=bW9kPWV4JnBhZ2U9ZGV0YWlsJkVJRD0yMSZZWT0yMDEwJk1UPTU=

拉黑子達立夫_國立台灣美術館作品_006(攝影 吳欣穎)

2010《迎》,「台灣報到:台灣美術雙年展」,國立臺灣美術館,臺中

2010 ‘YES TAIWAN: 2010 Taiwan Biennial’, National Taiwan Museum of Fine Arts,  Taichung.

攝影 吳欣穎 / Photo by WU Shin-Ying

2012 上海雙年展

IMG_9882

2012《愛的物件》,「第九屆上海雙年展-重新發電」,上海當代藝術博物館

The 9th 2012 Shanghai Biennale, China.

擁有拖鞋是輕易的,於是放棄與拋棄也是輕易的,

拾起一隻拖鞋是輕易的,觀賞這些作品也是輕易的,

但是當它們遍散在環境裡,卻是全面性的沉重。

It’s easy to own a pair of slippers, therefore giving up and abandon them are easy too.

It’s easy to pick up a slipper, so does watching these artworks.

However, when they are spread dispersedly in our environment, they become heavy burdens.

攝影  謝宛真、李正書 / Photo by HSIEH, WAN-CHEN, LI, JHENG-SHU

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