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 》 )
2010 ‘Action Project for Typhoon—The Invasion after Disappearance’, KuanduMuseum of Fine Arts, Taipei.
2010 ‘YES TAIWAN: 2010 Taiwan Biennial’, National Taiwan Museum of Fine Arts, Taichung.
攝影 吳欣穎 / Photo by WU Shin-Ying
The 9th 2012 Shanghai Biennale, China.
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