UnBox 盒子的盒子

今年1月22日於臺北數位藝術中心(DAC Taipei)受邀為香港藝術家羅玉梅的個展「再見維多利亞之東」呈現一件行為作品,名為《盒子的盒子》(UnBox)。此次的行為作品在執行之前,我和玉梅花了一些時間討論,包括去瞭解她之前個展的脈絡,及2019年香港反修例社會運動所發生的幾起事件。經過一些討論之後,設下的框架是我僅能使用的物件或演出道具就是藝術家準備的箱子裡頭的東西,以及展場內的大小石塊。往好處想,我不用花時間去糾結需要準備什麼物件,而是從展覽的脈絡去做發想,同時嘗試在遊戲規則中創造出可能性。

《盒子的盒子》(UnBox)概念源自一則關於香港青年因試圖坐船逃離而被提控的新聞報導,作品從香港作為起始點,飄洋過海來到臺灣,讓另一位不是來自臺灣或香港的異鄉人把物件原本賦予的象徵意義加入了他與此地的生命經驗,透過身體的力量與汗水表達出那些應該被聽得到,但又似乎被淹沒的聲音。像是困在壓克力透明箱子的泅泳者一樣,等待著被拯救。

謝謝玉梅的邀請,覺得此次是個非常有意義的合作,這給予我們一個能夠在創作上進行實驗的機會,同時也視為在創作上相當稀少的一次磨練!

Photos credit: 臺北數位藝術中心

於三個月內發表的5件行為作品

2021年10月至12月之間,本人參與了兩個行為藝術節和一個行為藝術活動,一共發表了5件作品,議題圍繞異鄉身份、日常和自然。

第三屆冉而山國際行為藝術節 The 3rd Langasan International Performance Art Festival 2021
2021/10/09 – 10/11

主辦者:冉而山劇場

Day-1 @ Makotaay藝術村(花蓮縣豐濱鄉)

作品名稱:白米、水和我 #1
Title: Rice, water and me #1

白米飯是華人常吃的食物之一,可作為身份的一種象徵。疫情三級警戒期間,大多數的時間都待在家裡煮飯,時常不由自主的思考在這個非常時期,我們跟食物的關係是什麼?在種種突如其來的人生困境,卻還能天天吃到那口飯,或許是人生中的小幸福。而從Makotaay藝術村園區就能望到太平洋,因此我很直覺的使用了「水」來回應周圍的自然環境。

Day-2 @ 花蓮山七七高地(花蓮縣壽豐鄉)

作品名稱:白米、水和我 #2
Title: Rice, water and me #2

第二天的作品無論是在觀念或形式上,是第一天作品的延伸。不過,這次的「水」是冰塊, 同時增加了白米的重量。我選擇在一個不起眼的樓梯走道進行,用身體的力量往上爬到天台,過程中也同時扛著一袋白米和一袋冰塊。使用自己的身體慢步往上移動,加上兩大袋的冰塊和白米,而冰塊需要時間融化成水,透過這些小細節來隱喻種稻是一個漫長及辛苦的過程。

攝影:顏歸真 Yan Guei-Jhen

Day-3 @ 國立光復高職學校(花蓮縣光復鄉)

作品名稱:語義想像
Title: Semantics of Imagination

藝術節的最後一天剛好碰上颱風,同時也想玩些跟前二天比較不一樣的行為作品。我跟我的夥伴陳奕如看到光復高職校園裡的一面大鏡子,決定透過文字來探討人們對於各種身份及國家制度既有的刻板印象。

移動聚落 – 雲嘉嘉營藝術連線 Mobile Village – 2021 Yun-Chia-Chia-Ying Visual Art Link
2021/11/06
嘉義文化中心

策展人:邱俊達

作品名稱:島嶼-生命 4.0:香蘭無邊界
Title: Island-Life 4.0: Pandan Without Borders

在此件作品中的主要物件是香蘭葉(也被稱為「七葉蘭」),為何香蘭葉呢?這個草類植物是東南亞料理中常見的食材,新加坡具有代表性的料理之一海南雞飯的飯香味就是來自香蘭葉。而自從我搬到台灣居住之後,不時都會在家自製咖椰醬,裏頭最重要的食材之一也是香蘭葉。故此透過香蘭葉本身具有的「文化」特徵,來代表自己生為新加坡人的身份。在呈現作品的過程中,我把部分的香蘭葉送給觀眾,在不透露香蘭葉的植物本名的情況之下,邀請他們聞嗅它散發的香味,借用此情境來為我和觀眾進行短暫文化交流的手法,尋求一個突破隔閡的可能性。

淨土-國際行為藝術節 Pure Land International Performance Art Festival
2021/12/05
紅河谷大橋(新北市烏來區)

策展人:蔡青
協同策展人:貝嶺

作品名稱:島嶼-生命 5.0:無形之家
Title: Island-Life 5.0: Intangible Home

淨土國際行為藝術節的現場發表於兩天內在5個不同地點進行。而我的作品則在第二天的最後一個地點紅河谷大橋呈現,這也是本人在藝術節中唯一的作品。選擇紅河谷大橋的原因也是考量到那裡橋底下有一條溪,而「島嶼-生命」系列中都會有「水」,所以紅河谷大橋正適合作品的設定。

在烏來區四周的大樹讓我不禁想起在老家面臨絕滅的綠色自然森林,因此「家」成了思考作品方向的起點。然而我想要表達的事情並非完全是「思鄉」,而是從異鄉人角度出發去詮釋何謂真正的「家」—— 異鄉人四海為家,而心中的家在何方?

Negotiating Cultures 文化斡旋

A poster images of the exhibition

2021/04/17 – 2021/05/09

《文化斡旋》是一檔聚集了新加坡和台灣藝術家參與的聯展。

我們正處在生活中有許多不同的文化交匯的時代。資訊、人和商品的高度流動性無可避免地使得人們能夠在不同的環境中接觸其他文化。

本展覽將探討我們自己與外來文化的獨特關係,並試圖探索「文化互動」的概念。

文化的內涵意義塑造了我們的個人身份、價值觀及信念。在當代社會中,我們經常與陌生文化接觸,並與不同背景的人互動。在資訊因網路而全球化的時代,文化的輸入與輸出不再以地區為中心,而是分裂為更細小的個人經驗,遍佈於你我的生活之中,呈現一種拼貼的狀態。我們如何應對這種已深深融入我們生活中的並置狀態,以及它對我們個人和整個社會有何影響?

四位台灣和新加坡藝術家將從他們各自在國內的社會脈絡或長期身處在國外的個人化和個性化體驗與觀察為參考點,並透過各種媒材及形式的作品來回應展覽的主題。

《文化斡旋》旨在探討來自不同文化的個體之間各種可能的對話。

藝術家:趙書榕(臺灣)、李奎壁(臺灣)、莊志偉(新加坡)、葉蘊芯(新加坡)
策展人:李嘉昇

地點:众藝術(桃園市桃園區中埔六街196巷22號)
展期:2021/04/17 – 2021/05/09(週二至週日 12:00 – 18:00)

協辦單位:众藝術
指導單位:桃園市政府文化局

相關報導:疫情之下的台星國際藝術交流盛宴

Negotiating Cultures is a group exhibition featuring works by artists from Singapore and Taiwan.

We are living in an age where a vast range of cultures cross paths. The high mobility of information, people and commodities inevitably allow us to come into contact with other cultures in a myriad of environments.

This exhibition dwells into the investigation of our unique relationship with ourselves vis-à-vis foreign cultures as we seek to explore the idea of ‘cultural interaction’.

The connotation of culture shapes our individual identity, values, and beliefs. In a contemporary society, we are constantly exposed to unfamiliar cultures and interacting with people of different backgrounds.

In an era where information is increasingly globalised, the concept of importing and exporting of cultures is no longer limited to insular regions. These anecdotal experiences are now ubiquitous to our lives and present a state of collocation.

How do we negotiate such juxtapositions that have profoundly become a part of our lives?

How does it influence us on a personal level, as well as society at large?

Four participating artists from Singapore and Taiwan will present works in various forms to respond to the theme of the exhibition with references to their respective personal and personalised experiences and observations; be it in the localised contexts of their home cities or of being abroad over a long period time.

Negotiating Cultures aims to examine the various possible dialogues between individuals coming from different cultures.

Artists: Chao Shu-Jung (TW), Li Kuei-Pi (TW), Daniel Chong (SG), Denise Yap (Xafiér Yap) (SG)
Curator: Jason J S Lee

Venue: Zone Art (No. 22, Lane 196, Zhongpu 6th St, Taoyuan District, Taoyuan City)
Exhibition Dates: 2021/04/17 – 2021/05/09 (Tue to Sun 12:00 – 18:00)

Co-organizer: Zone Art
Sponsor: Department of Cultural Affairs Taoyuan

Photos by Jason J S Lee

島嶼-生命 2.0: 遊走的身體

今年有幸再次受到「阿川行為群」的邀請參與「2020阿川國際行為藝術節-迷走和諧」,進行現場行為作品的發表。策展人葉子啓和邱俊達原本邀請了許多台灣及國外藝術家,但是由於武漢肺炎疫情仍然未退,所以駐於國外的藝術家都以錄像的形式呈現他們各自的作品。今年的「阿川國際行為藝術節」以「迷走和諧」(Disorientation Harmony) 作為主題。本人的作品《島嶼-生命2.0:遊走的身體》(Island-Life 2.0: Traveled Body) 以自己作為一個在台灣的外國人(身體)和這座城市之間的關係,來回應策展主題。

《遊走的身體》作為《島嶼-生命》系列的第二件作品,延續了去年在臺南新營文化中心呈現的第一件作品的概念與精神 – 以「水」為作品的主軸,旨在象徵「島嶼」和「生命」,再運用自己的身體於某個空間裡把這三個相異的元素拼湊在一起,進行探索性的對話。

「 2020阿川國際行為藝術節」臺北場在位於大稻埕的臺北當代藝術中心(TCAC)舉行。大稻埕是個富有歷史性及文化性的景點,且場地周圍都是老舊建築。我選擇在TCAC外的一條長度大約25米的小巷子作為呈現作品的空間。這條2米寬的小巷子左右兩邊都是老舊公寓建築。這類的城市空間在臺北處處可見,可說是臺北街景的一種特徵。

小巷子

整件作品的構思與操作是從空間的「視覺想像」開始。即是,這個空間裡有哪些創造的可能性?我如何可以巧妙的對公共空間進行短暫的「介入」?

作品的動線從我坐在TCAC的展演空間開始,然後走到外頭的小巷子,再把臺北的地圖貼在地上。接著我把整條巷子的道路鋪上紅色的布料。巷子瞬間有如轉化為一個暫定的空間裝置。

在TCAC展演空間開始(攝影:劉家宏)
貼臺北地圖(攝影:劉家宏)
鋪蓋紅布(攝影:劉家宏)
(攝影:劉家宏)

跟著,我將自己的身體蓋上一塊白色的布,試圖藉以隱喻著「異國人」身份,然後一手扛著一桶水,透過類似儀式性的過程,慢慢的步向左右兩旁公寓住戶的後門及窗戶,把水噴灑在窗戶和大門,企圖製造一種與居民開啟對話的欲望。城市中的每一座建築都存在著人的生命和靈魂。

將自己套上一塊白布(攝影:陳奕如)
扛著一桶水(攝影:劉家宏)
(攝影:劉家宏)
(攝影:劉家宏)
(攝影:劉家宏)

不幸的是,這個部份遇上了技術上的失誤,白布因戶外的風而不斷掉落下來。可是換個角度來看,行為藝術本來就沒有所謂的排練,所以會有不完美的時候,而這也是行為藝術讓人著迷的地方。

(攝影:劉家宏)
溼透的臺北地圖(攝影:劉家宏)

回到了巷子的啟點,我把水灑在一張台北地圖,將自己的耳朵零距離的接觸淋濕的地圖,以聆聽這座城市的聲音。

Notes from The 2nd Langasan International Performance Art Festival 2020

The second Langasan International Performance Art Festival (LIPAF) was held in Hualien according to plan despite the ongoing COVID-19 global pandemic. Although the situation with the pandemic outbreak in Taiwan is well under controlled, it has not completely subsided. Therefore, this year’s LIPAF saw the absence of foreign artists and the cross interaction of performance art internationally. At a time when everyone resorted to presenting performances on virtual platforms as a result of the pandemic, the live performances of LIPAF reflected the important essence of “liveness” in performance art as well as in various performances. In addition, the performance venues in LIPAF are not the usual comfortable or typical indoor performance spaces. Instead, they focus on “site-specificity”. The three-day performance schedule allowed artists to present works in three different outdoor locations. From a personal point of view and my experiences from participating in performance art festivals in the past, there were interesting things happening which deserved some form of discussion in terms of LIPAF’s execution.

Chen Yi-Ju, “〇〇〇”, Biexi Timolan Ecological Field (Photo: Jason Lee)

6/26 (Fri) Biexi Timolan Ecological Field (Cilamitay)
6/27 (Sat) Matai’an Lalan’s Home
6/28 (Sun) The front square of the eighth building in Hualien Cultural and Creative Park
Time for all performances: 13:30-17:00

There are a total of seventeen artists participating in LIPAF this year, and each artist are limited to fifteen minutes of performance. Based on the total amount of time calculated for three days, each artist had about forty-five minutes to present his or her work. This was an obvious strategy of ‘quantity over density’, allowing artists to brainstorm various ideas according to the venue of each day during the three-day intensive program schedule. Under this arrangement, the artists can choose to present three works with different concepts, or a series of works to under a sole concept.

The following notes are records of my personal observation:

Body

Although I am from a country located around the equatorial region, I feel that performing under the scorching sun is an exploration of the physical limits of the body. The subtly formed “micro-energy” invisibly act as a spontaneous guidance at that particular moment for artists in presenting their work.

Ye Yu-Jun, “Unfinished Road”, Biexie Timolan Ecological Field
(Photo: Jason Lee)

Movement (body – venue)

During the three-day festival, the body of the audiences and the artists are constantly in a state of “moving”-the artists were moving from south to north in three locations, and the movement of the audiences and the artists within the performance space of the venue. This state of moving to another space every fifteen minutes is somewhat a form of “flash mob” with the audience and the artists collaborating as “flash mobber.” In this state of moving, the audiences also get to experience ‘physical labor’ of the body in performance art, blurring the boundary between the artists and the audience. In the field of performance art, an audience is obviously no longer a mere viewer, but will definitely need to experience the work through some form of “physical practice.”

Kating Adaw Langasan, “Lotus leaf”, Matai’an Lalan’s Home (Photo: Jason Lee)
Adaw Palaf Langasan, “Enjoying the Moment”, Hualien Cultural and Creative Park
(Photo: Lrabu Daliyalrep and Judy Lee)

Sound (vocal – music – non-sound)

Various kinds of “sound” can be heard in many of the works. Chen Yi-Ju’s “〇〇〇” calls out her own name with sound and the changes of vocal tone generated through her body, referring to the talking voices of people with a face masks in times of the pandemic; the sound of “ài-爱-I-唉” (I-I-I-I) in Chen Hsiao-Chi’s “Sound Journey” series perked up a feverish atmosphere; the various musical instruments in “To Meet in Music, No Distance Can Isolate Us” by Lin Yu Fong, and Ding Liping’s “Sound of Thought” enabled the audiences to listen attentively to the “non-sound” in the bottle. These different man-made “sounds” were emitted in the nature environment, attempting to harmonise with sound from the nature as one, thus impelling everyone to experience a different form of “listening” experience.

Ding Liping, “Sound of Thought”, Matai’an Lalan’s Home (Photo: Jason Lee)
Lin Yu Fong, “To Meet in Music, No Distance Can Isolate Us”, Matai’an Lalan’s Home (Photo: Jason Lee)

Taste (on-site)

One of the works in this year’s LIPAF left a deep impression on everyone. Director of Langasan Theater Adaw Palaf Langasan presented “Enjoying the Moment” on the third day. He used his body to perform with chicken manure that exuded a strong smell. This also precisely reflects that certain on-site characteristics in the medium of performance cannot be replaced by technology. Even in the ever-changing era, the viewing experience cannot be justified through electronic screens. Technology is always creating a lot of distance in our human world.

Xing Ming Cheng, “As A Kind of Continuation”, Matai’an Lalan’s Home (Photo: Jason Lee)

Self-Initiating

Like many domestic and international performance art festivals, LIPAF is also an “artist-initiated” project. The significance of such self-initiated festival lies in the possibility of creating opportunities to perform for a certain group without waiting or relying on large commercial entities to organise. This method responds to the spirit of autonomy, and has an open and flexible operating mode. Performance art as an artistic form is still marginalised and difficult to be classified. In addition, performance art is often excluded in institution curriculum which leads to the misunderstanding of performance art for many years. LIPAF has opened up the path of performance art in Hualien, a rural area in Taiwan. Through the connections of local groups, it enabled people outside the city to experience and understand what performance art is.

Tseng Chi Ming, “VIVEMENT. Part—2 Unnatural”, Matai’an Lalan’s Home (Photo: Jason Lee)

Unlike the first LIPAF that was held last year, the program for this year only had actual performances, and the performance art workshop was omitted. Performance art festival is a method to promote performance art. In addition to the presentation of the artists’ works, holding workshops for art practitioners, students, or the public who are interested, allow them to experience and learn. Furthermore, there are geographical advantages in rural areas outside the city. If the next LIPAF considers holding a workshop, it will provide the audiences a chance to participate through physical experience, so that the entire performance festival can play more effective roles.

(Original text in Chinese. Translated by Jason J S Lee)

筆記 – 第二屆冉而山國際行為藝術節2020(Notes from The 2nd Langasan International Performance Art Festival 2020)

第二屆的冉而山國際行為藝術節(LIPAF)在新冠病毒的籠罩之下於花蓮如常舉行。雖然目前台灣的疫情控制極佳,但是由於全球的疫情狀況仍然未完全消退,以致今年的LIPAF欠缺了國外藝術家的參與和國際行為藝術的交流。當大家都因疫情而開始透過虛擬平台進行各種展演的發表,LIPAF 的實地現場表演反映了「現場性」作為行為藝術及各種表演的本質。此外,LIPAF 的表演場地也並非在一般舒適或典型的室內展演空間,而是以「特定場域」(site-specificity)為主軸,於三天的表演行程讓藝術家們在三個不同的戶外地點進行發表。以個人的角度及過往參加行為藝術節的經驗來看,LIPAF 在操作方法上存在著許多有趣,但同時也值得被討論的地方。

陳奕如《〇〇〇》,鱉溪Timolan生態田區(攝影:Jason Lee)

6/26(五)鱉溪Timolan生態田區
6/27(六)馬太鞍拉藍的家
6/28(日)花蓮文化創意產業園區第八棟前廣場
三場行為藝術展演時間:13:30-17:00

這屆的LIPAF一共有17位藝術家,而每一位藝術家的行為作品限定在15分鐘以內。如果以三天的時間來計算,每一位藝術家擁有大約45分鐘的時間來呈現作品。這凸顯了「少量多餐」為策略,讓藝術家在三天密集的節目行程可以依據每天的場地做各種發想。而在這設定之下,藝術家可選擇呈現三件內容不一的作品,或者以系列作品來呈現出一個概念。

以下簡短的紀錄是我個人的觀察:

身體

雖然自己是來自赤道地區,但對我而言,要在烈日當空的太陽下進行行為表演是種對身體的體能極限的探索,隱隱形成的「微能量」,無形中作為藝術家於呈現作品當下的即興指引。

葉育君《未竟之路》,鱉溪Timolan生態田區(攝影:Jason Lee)

移動(身體-場地)

在三天的藝術節裡,觀眾和藝術家的身體不斷地處在「移動」的狀態 – 藝術家由南到北,於三個地點的移動,以及觀眾和藝術家於場地的演出空間的移動。這種每隔十五分鐘就移動到另一個空間的狀態帶有些許的「快閃」形式,觀眾和藝術家一起形成了「快閃族」。觀眾在這「移動」的狀態之下,也許同樣感受得到行為藝術中對於身體的「勞動性」,把藝術家和觀眾的界線化為模糊之地。在行為藝術的場域裡,觀眾顯然已不再是單純的觀看者,而是必將需要透過某種形式的「身體力行」來感受作品。

蔻兒亭·阿道·冉而山《荷葉》,光復鄉馬太鞍溼地拉藍的家(攝影:Jason Lee)
阿道·巴辣夫·冉而山《樂在其中》,花蓮市文創園區第八棟前大廣場(攝影:陳以柔 & 李紫緹)

聲音(人聲 – 樂聲 – 零聲)

在眾多作品當中可聽見各種「聲音」。陳奕如《〇〇〇》以身體發出聲音及聲音的變化喊出自己的名字,隱喻著疫情當下人們戴著口罩說話的聲音;陳孝齊《音程》系列中的「ài-愛-I-唉」聲把氣氛超熱、林玉鳳《在音樂裡相遇,再遠的距離都不能把我們隔離》中的各種樂器、丁麗萍《思聲》讓觀眾專注地聆聽酒瓶裏的「零聲」。這些不同的人造「聲音」在大自然環境中發出,嘗試與自然聲共為一體,因而促使大家去感受另一種「聆聽」的經驗。

丁麗萍《思聲》(聆聽零,自然即是當下多種語言=0=),光復鄉馬太鞍溼地拉藍的家(攝影:Jason Lee)
林玉鳳《在音樂裡相遇,再遠的距離都不能把我們隔離》,光復鄉馬太鞍溼地拉藍的家(攝影:Jason Lee)

味道(現場性)

本屆LIPAF有件似乎令人印象深刻的作品。冉而山劇場團長阿道.巴辣夫在他第三天的作品《樂在其中》透過身體與雞糞進行零距離的互動,因而散發出強烈的臭味。這也恰恰反映了在表演領域中的某些現場性的特性是無法以科技做取代。即便在日新月異的時代裡,觀看經驗依舊無法透過黑框銀幕來感受。科技始終還是在我們人類世界裡製造了不少的距離感。

邢銘城《作為延續的一種》,光復鄉馬太鞍溼地拉藍的家
(攝影:Jason Lee)

自發性(Self-Initiating)

LIPAF 與許多國內外的行為藝術節同樣是「藝術家發起」(Artist-Initiated)的計畫。這種自發性的策劃,其意義在於為某個群體創造演出機會的可能性,無需等待或依賴大型商業機構來籌辦。這種方式響應了自主性的精神,而且具有開放性及彈性的操作模式。行為藝術作為仍被邊緣化及難以被歸類的藝術領域,外加上行為藝術也不常被納入學院的課程,以致出現行為藝術多年來時常被誤解的情況。LIPAF 在台灣偏鄉地區的花蓮開創了行為藝術的道路,透過在地團體的連結,讓城市之外的民眾能夠接觸及了解何謂行為藝術。

曾啓明《VIVEMENT。Part—2 Unnatural》,光復鄉馬太鞍溼地拉藍的家(攝影:Jason Lee)

與去年第一屆LIPAF不同的是,今年的節目完全只有正式表演,省略了行為藝術工作坊的部分。行為藝術節作為一個推廣行為藝術的方法,其中除了藝術家的作品呈現之外,舉辦工作坊讓有興趣的藝術工作者、學生 、或民眾體驗和學習。再者,在城市外的偏鄉地區也有地緣上的優勢。若下一屆的LIPAF考慮舉辦工作坊的話,可以讓觀眾群有機會透過身體上的體驗來參與,使整個展演活動能發揮更大的效益。

島嶼—生命 Island-Life

距離上一次的現場行為作品已經兩年了。這次有幸受到《遊記導覽 – 阿川行為群 2003-2019》策展人邱俊達的邀請,跟另外2位台灣藝術家林亮宇和宇中怡為展覽開幕呈現現場行為表演。這檔展覽以「研究展」的形式,展示由藝術家葉子啓成立的「阿川行為群」自2003年至今的演出相關文宣及作品影像紀錄,以及阿川跟亞洲行為藝術領域的串連。

於8月11日在新營文化中心所發表的作品,主要的想法是從本人這三年來在台灣住居所形成的經驗做為發想,再透過自己從日常生活的面向,試圖去詮釋我所感受到的獨特政治環境。台灣與新加坡都是島國,而我在台灣居住的地方距離淡水河非常近。因此這次決定以「水」來做為作品其中的‘主角’。對我而言,水不僅是流動性的物體,它也象徵著人類的生命力。

行為藝術的其中一個要素就是「空間」。我透過利用場地的空間進行緩慢地爬行,穿梭在觀眾群中,用脆弱的額頭移動重物,從而體現出一種與地面接觸的「身體感」,透過這種力量傳達出「爭取」過程的意志力。

當天前來的觀眾群除了有藝術圈內人之外,還有不少是一般的民眾,而且也難得可以聆聽到觀眾描述他們對於作品的不同詮釋。這對於藝術創作者來說是蠻重要的。雖然在一般的藝術創作過程中,藝術家往往都有為自己的作品附上論述,但是有時候過度的透露反而抹殺了人們的思考空間。在目前充滿著許多不確定性的政治環境之下,某些符號又鋪上多一層的閱讀方式。在這件作品中,文字的出現在某種程度上「揭開」了作品可能隱藏的謎底,進而鋪上了另一層次的解讀方式。

由於我的住家位置的緣故,車輛不間斷發出的噪音已成為我生活的一部分。我把日常的環境噪音融入到作品,象徵著它與我天天都在「擦撞」的關係。可是因場地寬大的空間,使得它於作品的整體操作上顯得有些薄弱。有趣的是,當時另一位藝術家宇中怡也同時在隔鄰的空間進行一個小時的行為演出,而作品有播放節拍器的聲音。因此在這狀況之下無意的產生了一種微妙的「行為聲音」之對話。

原本有預設作品透過邀請觀眾享用小杯子裏的水,以製造出作品與觀眾的小小互動。但或許是因為當場所使用的方式無法有效的表達出意圖,以致「互動」的部分不但被迫省略,且還一度讓大家誤以為演出結束。


此刻,無論是在台灣或香港,大家或許都籠罩在政治局勢不安及焦躁之中,而我又來自一個對於「自由」和「民主」有著非一般定義的小國度,《島嶼—生命》表達出身為異鄉人於此地對與「自由」和「民主」的感受度,亦透過「行為」促使大家提出尖銳的問題。

(攝影:呂育誠)

Wan Ah Boy 萬小弟

(Please scroll down for English)

萬宗綸(暱稱萬小弟),90後的台灣人,畢業於台灣大學地理學系及新加坡國立大學語言學系。在新加坡生活了短短一年的時間內,他透過文字把日常生活中的細膩觀察與真實經驗撰寫成文章,之後編成一本書。書名《安娣,給我一份摻摻!透視進擊的小國新加坡》凸顯著濃厚的新加坡道地語言文化特色。把新加坡視為第二個家的萬小弟也是《轉角國際》、鳴人堂》、以及《關鍵評論網東南亞的專欄作者,撰寫與新加坡有關的文章。這次採訪這位年輕人,旨在瞭解他如何在新加坡入境隨俗,以深入瞭解這塊熱帶小島國。

昇:談談你當初為何會選擇到新加坡國立大學念研究所?

綸:因為原本碩士班就想要出國了。但還不想那麼快就跑去美國,想去近一點卻又很西方的地方,所以選了用英文教學的香港和新加坡。然後我要念社會語言學,而這兩個地方也是社會語言學最強的地方。可是那時候因為香港那邊把我的托福成績單給弄丟了,我就被拒了。其實寄到新加坡的成績單也弄丟了。但是國大沒有因此而不理我。直到他們給「有條件入取信」的時候,我才知道成績單弄丟了!

昇:英語對一般台灣人來說是一個障礙。那你是用什麼方式把英文學好的?是從小就有在學英文嗎?

綸:我從小一就在外面學英文,所以學英文也學了十六年了。大學念地理學的時候,雖然上課是用中文溝通,但是教材和課本都是英文的。所以我的學術英文還蠻熟練的。

昇:你到國大唸書的時候,是第一次到新加坡嗎?

綸:不是。我提交申請的時候有去過一次。我記得是去了五天。

昇:在你第一次到新加坡之前,你對這國家的認識或想像是怎樣?

綸:其實我去新加坡之前,對這地方完全沒印象。但我念小學的時候有看過電影《小孩不笨》。我甚至不知道歌手林俊傑是新加坡人。

昇:對新加坡不了解的情況之下,你是抱著什麼樣的心態去那裡念研究所?例如:如何在這個地方生活?

綸:我有跑去師大的東亞所修東南亞的課。張碧君老師的專長就是新加坡。所以我就特別去修這門課。在這情況下,我覺得我對新加坡的瞭解還蠻OK的。我是先靠論文瞭解新加坡,然後才去。過後發現論文描述的跟現實沒什麼差距。學長姐都寫的蠻真實的!

昇:在新加坡的時候,你面臨了哪些挑戰?

綸:生活太無聊了,覺得沒什麼地方可以去。新加坡沒有夜市,店都在百貨商場裡面。路上沒有店,讓我很不習慣。因為我很習慣走在路上逛,而不是走在百貨商場裡面逛。(昇:你怎麼解決這個問題?)無法解決,哈哈哈!每當遇到什麼跟台灣不一樣的事情就會趕快跑去問人或查論文。所以瞭解新加坡就變成我的生活重心。

昇:在新加坡的那段時期,你是否有在那環境裡保留自己的台灣人主體?

綸:完全沒有!我在新加坡遇到的台灣人都很奇怪。因為他們去新加坡很多都是搬移過去的。家長覺得去那裡會比較有未來。那時候他們有一些剛好比較勢利眼,會歧視馬來人。這讓我覺得很不開心。結果我就不跟他們來往。我有一位很好的台灣朋友。他在南洋理工大學念博士。他是我大學就認識的朋友,所以我們兩個就相依為命,哈哈哈!因為他也是不喜歡在那裡遇到的台灣人。(昇:是不是因為台灣人都缺乏種族或族群的概念,而導致他們會對非華族產生歧視?)我覺得台灣人沒有種族或族群的概念。因為大部分都是漢人。然後有些台灣人會很容易講錯話。但是他們也不會覺得自己講錯話。

昇:是不是因台語曾經有一段時間被禁用,所以現在很多年輕一代的台灣人的台語能力都很不好?

綸:因為台語被視為很沒水準的表達方式。有人會笑台灣國語。台灣國語是指被閩南語影響的口音。然後會變成綜藝節目拿來笑的對象。這到現在還是這樣。但是那個東西是跟國語運動有關係的。早期那個貶低本土方言的過程當中,形成了我們對於本土方言腔調的排視或歧視。你應該有聽過有台灣人說「你看那個人說台語,好沒有水準喔!」所以在台灣,語言已經被分成不同的階級。如果你用台語就是很沒水準。那如果想表現出一種姿態,你就要用國語。

在政治場合你會用國語。如果今天有立委用台語來質詢,就會有人覺得很沒水準。

昇:如果有一天台灣政府想推廣台語,讓年輕人學好台語而讓它成為台灣的共同語言。你會認為有必要嗎?

綸:我覺得不需要把台語變成台灣人的共同語言。因為這件事情的政治後果太多了。客家人、原住民、及外省族群的反彈一定會很大。我們一直都有對「台語」這個詞的質疑。他們常常會問:為什麼閩南語就是台語?那台語可不可以是原住民語?可不可以是客家語?為什麼只有閩南語霸佔了「台語」這個稱呼?所以我覺得把台語拉抬到台灣共同語這件事情來講,政治後果太多。我不會覺得這樣做是OK的。但我覺得回到讓各個族群的人使用他們自己的語言是沒問題的。

昇:身為台灣人,你認為星國政府多年來以「講華語運動」的方式鼓勵人民多用華語是個有效的策略嗎?又或者說這樣的方式可能會帶來某些看不見的反效果

綸:以推廣華語來講,當然是正面的。它的確成功的推廣華語在新加坡的使用。但是它有很多副作用。比如說:方言被消滅。又或者是近幾年來,又炒北京標準華文的事情。我會覺得近幾年本來應該是要朝新加坡華語來走。讓大家覺得這是我們的語言。我們的語言還有情感上接近的感覺,會比較想講。而不是朝著一個外面的標準,大家不會更想講。

昇:曾經就有人說到台灣人(尤其是年輕一代)都缺乏國際觀。像是對世界國家地理以及台灣以外發生的事情都沒什麼概念。你覺得這是否是教育的問題還是因為台灣大眾媒體在操作新聞報道上的不足?

綸:都有。你看我們的地理課本就很好笑。我們地理課本是歷史;歷史課本是神話。現在地理課本可以看它怎麼教非洲。就是沒有與時俱進,很刻板印象。然後美國是單獨一章。一個章節都在講美國、一個章節都在講日本,就是要看版本。有的版本會講北美,但只會講美國,不會講加拿大。台灣的國際觀就是美國、中國和日本。其他地方就是東南亞還有非洲。(昇:那麼台灣的媒體是否也對這問題產生影響?我發現台灣的電視新聞一般都只報導國內新聞。所以是不是因為這樣而導致台灣人缺乏國際觀?)我有發現新加坡的電視台都在報導國外的事情,不太會報新加坡的事情。所以我覺得是相反!如果你看公廣集團的公視或客家電視台會有國際新聞。但這兩個都不是收視率高的電視台。媒體人會說,因為大家都不愛看,收視率底,就沒辦法交代,沒有廣告效益,何必這樣做呢?為何不報多一點行車記錄器?為何不報多一點社會新聞或立法院打架?這些會更有收視率啊!每一分鐘的收視率數字來決定廣告收入。然後你發現國際新聞的橋段收視率掉下去,就不想做啦!公廣集團是全民的電視台,預算都是從政府來的。他們不用在乎廣告,所以他可以報半小時的國際新聞。像我現在在幫《轉角國際》寫文章,是一個UDN底下的網站。他們也做得非常辛苦。因為他們一直都在幫UDN賠錢,都不知道什麼時候會關掉。若完全看不見作這網站的效益的時候,就把它盤掉。這是個惡性循環。因為大家不愛看導致老闆不想做,就看不到國際新聞,你就不會想要知道外面發生什麼事。(昇:這樣子就會把台灣變成一個封閉的國家?)我有聽過一個原因就是台灣都隔絕於國際事務之外。所有的國際主持都不讓我們參加。大家都知道那些事情要幹嘛。因為不管聯合國發生什麼事情,都跟我們無關啊。我們也沒有參與的權利。那我幹嘛看?所以全部加起來就是一個惡性循環!

昇:有哪方面新加坡可向台灣學習/台灣可向新加坡學習?

綸:老實說,很多人問我這個問題。但我都回答不出來。(昇:以你的觀察?)比如說剛提到的媒體啊。台灣媒體可以像新加坡媒體一樣國際化一點;新加坡媒體可以像台灣媒體一樣本土化一點。其他方面的話,我覺得這兩個國家差別太多了。要怎麼互相比較,我也不太知道。每個地方的歷史脈絡都不一樣。大家的價值觀也不一樣。如果要說國際環境的話,台灣可以向新加坡學習的是外來人才的政策。基本上台灣無法吸引任何的外來人才過來。我們的政策太保護本國人力。不管白領或藍領都一樣,完全沒有誘因吸引他們來。然後也沒有什麼外資想要投資台灣。我最近在看求職欄。我深深感覺到台灣真的沒有工作,機會很少!

昇:你如何看待南向政策?

綸:我看不到政府在南向政策的實際作為,不知道在幹嘛。(昇:但台灣有滿多的來自東南亞的移工。那是不是南向政策響應後的成果?)移工都一直很多,跟南向政策沒什麼關係。南向政策只是利用這點來說我們有連結。我舉個例子:台灣一直都有出國獎學金。現在台灣有一個是專門給台灣人到東南亞留學的獎學金。但它有一個評分項目是:你申請的學校的QS排名多少?東南亞的大學沒有幾間是在上面啊!除了NUS(新加坡國立大學)、NTU(南洋理工大學)或UM(馬來亞大學)之外,其他的都不在前百名。排名就佔了百分之十或二十。最後它會影響申請人的總成績,拿不到錢。除非申請人是申請NUSNTUUM,才能申請獎學金。這就是很好笑的一個政策!

昇:假如有台灣人想到新加坡唸書,你會給予他們什麼建議?

綸:我的建議就是:想清楚才去。你要認識那個地方才去。你不要去到那邊才怪別人排擠你。因為很多台灣人會覺得自己被新加坡人歧視。因為有很多台灣人去了那邊之後,覺得“為什麼他們都跟我講Singlish?我不想學!他們還糾正我的英語發音”。其實那個糾正是一個排外的動作,而不是真的在糾正他的發音。我覺得他們應該認識到台灣使用的英語腔調是美國為中心,而且是加了台灣特色在裡面。新加坡使用的是加了新加坡特色的英國腔調以及新加坡試的英語。就這幾個之間是平起平坐的。他們不應該覺得他們不想要使用Singlish,覺得很不好聽,再來怪人家排擠他。我覺得入境隨俗是基本道理。他們堅持使用他們所認為的American English。他們會反過來說新加坡人根本不懂什麼是American English。但他們也不知道自己講的不是American English。他們沒有認知到自己的英文是台灣特色。但是他們又不願意承認。他們覺得台灣英文是負面標籤。可是我認為這不是什麼負面標籤。這世界有那麼多種腔調,很正常。他們不應該認為新加坡人糾正他們的英文是在糾正他們的美式腔調。他們應該反過來說自己講的就是台灣的英文,應該尊重我用台灣的英文,同時我也尊重你用新加坡的英文。基本態度應該是這樣,才不會有那麼多衝突。再來就是新加坡的生活也沒有很有趣,所以大家想清楚才去!

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Alan Wan (a.k.a Wan Ah Boy), a Taiwanese from the post-90s generation, graduated from the National Taiwan University majoring in Geography, and the National University of Singapore majoring in Language Studies. In a short span of one year in Singapore, he documented his detailed observations and real experiences from daily life into articles, and later compiled them into a book. The title of the book “Auntie, One Rojak! Understanding the Little Red Dot – Singapore”, highlights the richness of the language and culture of Singapore. Wan Ah Boy, who regards Singapore as his second home, is also a columnist for ‘udn Global’, ‘Opinion udn‘, and ‘The News Lens Asean‘. He writes about things related to Singapore. This time I interviewed this young gentleman to understand how he blends himself into the society of Singapore in order to learn about this tiny tropical island state.

JL: Why did you chose to study at the National University of Singapore?

AW: Because I wanted to go abroad for my graduate studies. But I was not ready to go to the States. I wanted to go to a place that is closer but is a westernized society. So I opt for Hong Kong and Singapore, where English is the teaching language. Then I wanted to study sociolinguistics, and these two places are also the strongest in sociolinguistics. But at that time, because my TOEFL transcript went lost in Hong Kong, I was rejected. In fact, the transcript sent to Singapore was also lost. However, NUS still gave me a chance. I didn’t know that the transcript was lost until they gave me the conditional offer letter!

JL: English is an obstacle for the average Taiwanese. So how do you learn English well? Have you been learning English since childhood?

AW: I have been learning English since I was a child, so I have been learning English for 16 years. When I was studying geography during undergrad days, the teaching materials and textbooks are in English even though the class is conducted in Chinese. So my academic English is quite good.

JL: When you were in NUS, was it the first time that you went to Singapore?

AW: No. I have been there once when I submitted my application. I remember it was five days.

JL: Before you first came to Singapore, what was your understanding or imagination of this country?

AW: Before I went to Singapore, I didn’t have any impression of this place. But when I was in elementary school, I watched the movie “I Not Stupid”. I didn’t even know that the singer JJ Lin is a Singaporean.

JL: Without knowing much about Singapore, what kind of mentality did you had when you went there to study? For example: How do you live in this place?

AW: I attended a class on Southeast Asia at National Taiwan Normal University. Professor Zhang Bijun’s area of specialty is Singapore. So I went to attend this course. Under this circumstance, I felt that my understanding of Singapore was quite OK. I learned about Singapore through thesis paper first before I went. Later, I realised what was described in the paper is no different from reality. What my school senior wrote are quite real.

JL: What challenges did you face when you were in Singapore?

AW: Life is too boring, and I feel that there is no place to go. There is no night market in Singapore, and the stores are in shopping malls. There are no shops along the street, so I am not used to it. Because I am used to walking along on the streets instead of walking in the shopping mall. (JL: How did you solve this problem?) Unable to solve, hahaha! Whenever I encounter something different from Taiwan, I will quickly ask people or check the thesis paper. Therefore, understanding Singapore became the focus in my life.

JL: During the period in Singapore, did you try to maintain your own Taiwanese subjectivity in that environment?

AW: Absolutely not! The Taiwanese I met in Singapore are very strange. Most of them moved to Singapore as their parents feel that their future will be better over there. At that time, some of them tend to be quite snobbish and would discriminate against the Malays. This makes me feel very unhappy. As a result, I stopped hanging out with them. I have a very good Taiwanese friend. He is a PhD student at Nanyang Technological University. He is a friend that I know since university, so both of us would always stick together, hahaha! Because he also dislike the Taiwanese people whom he met in Singapore. (JL: Is it because Taiwanese people does not have the concept of race or ethnicity, which leads them to discriminate against non-Chinese?) I think Taiwanese people do not have the concept of race or ethnicity. Because most of them are Han Chinese. And some Taiwanese tend to say incorrect things. But they don’t feel that they are wrong.

JL: Is it because Taiwanese language was banned for a period of time, therefore a lot of young Taiwanese these days have a poor ability in speaking that language?

AW: Because Taiwanese language is regarded as a very uncivilized form of expression. Some people will laugh at Taiwanese Mandarin. Taiwanese Mandarin refers to the accent that is influenced by Minnan language. Then it will become a subject to be laugh at during variety shows. This is still the case for now. But that was related to the Mandarin movement. During the process of belittling local dialects in the early days, we formed our discrimination against local dialects. You must have heard from Taiwanese people saying, “Look at that person speaking in Taiwanese, that’s so uncivilized!”. So in Taiwan, language has been divided into different classes. If you use Taiwanese, it is considered as no class. If you want to put on a gesture, you have to use Mandarin.

In a political event, you will use Mandarin. If a legislator uses Taiwanese language for interpellation, some people will think he or she is very uncivilized.

JL: If one day the Taiwanese government wants to promote Taiwanese language, allow young people to learn Taiwanese language and turn it into a common language in Taiwan. Do you think it is necessary?

AW: I don’t think there is a need to turn Taiwanese language into a common language. Because there are too much political consequences in this matter. It will certainty provoke a strong reaction among the Hakkas, aborigines, and other ethnic groups. We have always questioned the word “Taiwanese”. They often asked: Why is only Minnan considered as ‘Taiwanese’ language? Can Taiwanese language be considered an aboriginal language? Can it be Hakka? Why is it only the Minnan language that is occupying the term ‘Taiwanese’? Therefore, I feel that there are too many political consequences to pull the Taiwanese language up into the Taiwanese common language. I don’t think it is okay to do this. But I think it’s okay to allow people of all ethnic groups to use their own language.

JL: As a Taiwanese, do you think that the ‘Speak Mandarin Campaign’ pushed by the Singapore government for many years has been effective in encouraging people to use Mandarin? Is this an effective strategy? Or will it create an invisible form of counterproductive result?

AW: In terms of promoting Mandarin, of course it is positive. It has indeed successfully pushed the use of Mandarin in Singapore. But it has a lot of side effects. For example: the dialects are eliminated. In recent years, there is also the issue of Beijing standard Chinese. I would think going in the direction of Singaporean Chinese should be the way to go. Let everyone feel this is our language. When we have an emotionally attachment towards our language, we would be willing to use it more often. If we follow a foreign standard, everyone would not want to speak the language at all.

JL: It has been said that Taiwanese (especially the younger generation) lack of international perspective. They seems to have no concept of the world’s national geography and things happening outside of Taiwan. Do you think this is an issue of education or is it because of the shortcoming in the news reports by the Taiwanese mass media?

AW: Yes, it could be both of these. You see, our geography textbooks are very funny. Our geography textbooks are history; history textbooks are myths. You can look how the geography textbooks teach about Africa. It is not keeping up with the times and is very stereotyped. Then the United States is in a separate chapter. One chapter is about the United States, and one chapter is about Japan, depending on the version. Some versions will talk about North America, but they will only cover the United States and not Canada. Taiwan’s international perspective is always the United States, China and Japan. Other places will be Southeast Asia and Africa. (JL: So does the Taiwanese media also the caused of this issue? I found that Taiwan’s TV news generally reports domestic news only. So is it because of this reason that the Taiwanese people lack of international perspective?) I found that Singapore’s TV stations are always reporting international news and very little news about Singapore. So I think it is the opposite! If you look at the Public Television Service or Hakka TV under Taiwan Broadcasting System, there will be international news. But these two are not TV stations with high viewerships. The media people says that everyone does not like to watch international news, the viewerships are low, there is no way to deliver, no advertising benefits, why bother? Why not show a little bit more of dash cams recordings? Why not report more social news or fight in Legislative Yuan? These will attract higher viewerships! The viewerships of each minute is used to determine the advertising revenue. Then when you find that the viewerships during international news segment falls, you don’t want to do it! The Taiwan Broadcasting System is a TV station for all people, and the budget is from the government. They don’t care about advertising, so they can report half an hour of international news. Like I am writing an article for ‘udn Global’, which is a website under the UDN. They are also struggling. Because they have been helping UDN in making losing money, they don’t know when it will shut down. If you can’t see the benefits of the website at all, just shut it down. This is a vicious circle. Because everyone doesn’t like to watch, and the boss doesn’t want to do it, they won’t be able to watch international news, and you wouldn’t want to know what’s going on outside. (JL: This would turn Taiwan into a closed-off country?) I have heard one of the reason is that Taiwan is isolated from international affairs. All international hosts do not allow us to participate. Everyone knows what is going on. Because no matter what happens to the United Nations, it has nothing to do with us. We also have no rights to participate. Then why should I watch? So all together is a vicious circle!

JL: In what ways can Singapore learn from Taiwan / Taiwan can learn from Singapore?

AW: To be honest, many people asked me this question. But I can’t answer it. (JL: Based on your observations?) For example, the media which I just mentioned. The Taiwanese media can try to be more international like the Singapore media; the Singapore media can try to be more localized like the Taiwanese media. In other respects, I feel that there are too many differences between the two countries. I don’t know how to make comparison between each other. The history of each place is different. Everyone has different set of values. If you want to talk about the international environment, Taiwan can learn from Singapore in terms of the foreign talent policy. Basically, it is impossible for Taiwan to attract any foreign talents. Our policy is over-protecting our labor force. Whether it is a white-collar or blue-collar, there are no incentives to attract them. Then there is no foreign investment that wants to invest in Taiwan. I was looking at the jobs listings lately. I feel deeply that there is really no job opportunity in Taiwan!

JL: What is your view on the Southbound Policy?

AW: I don’t see the the government going far in the Southbound Policy. I don’t know what they are doing. (JL: But Taiwan has a lot of migrant workers from Southeast Asia. Is that the result of the Southbound Policy?) There has always been a lot of migrant workers, and it has nothing to do with the Southbound Policy. The Southbound Policy is just making use of this to say that we have connections. Let me give you an example. Taiwan often provide scholarships for people to go abroad for studies. There is now a scholarship in Taiwan specifically for Taiwanese to study in Southeast Asia. But there is this particular score section: What is the QS rankings of the school that you are applying? There are only a few universities in Southeast Asia that are ranked on the top! Except for NUS (National University of Singapore), NTU (Nanyang Technological University) or UM (University of Malaya), the others are not in the top 100. The rankings account for 10% or 20% of the application result. In the end, it will affect the applicant’s total score and will not get the money. Scholarships can only be applied if the applicant is applying for NUS, NTU or UM. This is a very funny policy!

JL: If there are Taiwanese who are thinking of studying in Singapore, what advice would you give them?

AW: My advice is: Think clearly before you go. You have to know that place well before you go. Don’t go there and blame others for not accepting you. Because many Taiwanese feel that they are discriminated against by Singaporeans. Because there were many Taiwanese who have gone there, thought “Why are they talking to me in Singlish? I don’t want to learn! They even want to correct my English pronunciation.” Actually that is an act of discrimination and is not really correcting his or her pronunciation. I think they should realise that the English accent used in Taiwan is following America, and it is mixed with Taiwanese characteristics. Singapore uses British accent with Singaporean characteristics and Singapore-style English. It is considered equal among these few. They shouldn’t blame others for not accepting them because they don’t want to use Singlish as they feel that it sounds bad. I think that to blend yourself into a foreign society is a basic thing. They insist on using the American English that they know. They will turn it around and say that Singaporeans simply don’t know what American English is. But they don’t know that they are not speaking in American English. They did not realise that their English is of Taiwanese characteristics. But they are not willing to admit it. They feel that Taiwanese English has a negative label to it. But I think this is not a negative label. There are so many accents in the world, and that is normal. They should not think that Singaporeans correcting their English means correcting their American accents. They should instead say that they are speaking in Taiwanese English. They should respect the Taiwanese English that I am using, and I also respect the Singapore English you are using. The basic attitude should be like this, so there will not be so many conflicts. In addition, life in Singapore isn’t so interesting, so everyone should think clearly before going!

Wan Ah Boy FB Fanpage
More about Alan Wan

Interview conducted on 02 April 2017.
Translation by Jason JS Lee

(All images taken from Wan Ah Boy FB Fanpage)

RAID – 防空壕與藝術之間的火花

“RAID”
Daniel Chong, Zulkhairi Zulkiflee, Ivan David Ng, Tay Ining, Vanessa Lim, Jacqueline Sim, Pooja Kanade, and Nhawfal Juma’at
13/01/2018 – 03/02/2018
Tiong Bahru Air Raid Shelter
Facebook Event Page

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每年的1到2月總是會出現各種藝術展覽及表演。尤其是在這個博覽會氾濫的時代,獨立策劃的展覽在當代藝術的場域中就會顯得額外的重要。此外,在有限的空間資源狀況之下,策展人或藝術創作者都必須尋找一般的白盒子或展演空間之外的場地(另類空間)來呈現展覽。

最近有一群新加坡的年輕藝術家就選擇自我挑戰,在位於中峇魯的防空壕呈現了一檔名為RAID的聯展。設在組屋區裡的中峇魯防空壕(Tiong Bahru Air Raid Shelter)建於1939年,是新加坡唯一被保存至今的防空壕。據我所知,它平時極少對外開放。所以這次因展覽而打開了防空壕的大門,吸引不少附近的居民和路人,紛紛去參觀展覽。

展場空間相當大,且很多隔間。由於防空壕原本就沒有電源,所以除了幾個臨時安裝的電燈之外,空間大致上是處在黑暗的狀態。有燈光的地方主要都在靠近門口的隔間。當訪客慢慢往裡面走的時候,就會發現空間瞬間變得越來越黑暗,彷彿進入了一個與世隔絕的時空。這也不盡能讓人想像在二戰時期,那種身處在沒有燈光的防空壕裡無奈的心理狀態。有些訪客因為覺得太黑暗,中途折返。展覽內的作品主要的媒材包含裝置、雕塑、及繪畫。雖然展覽名稱是「襲擊」,但參展藝術家兼策劃人之一的Daniel向我坦言,參展藝術家都擁有了很大的發揮空間,幾乎是沒什麼議題或媒材上的限制。

比較有趣的是,防空壕內放了很多陳舊的木架,以及牆磚上也有一些不顯眼的字(塗鴉?)因防空壕的地底下是地下水的緣故,所以地上出現了積水的現象。這種無法避免的情況無疑是個驚喜。藝術家也必須把它看作是一個非得同它配合的場地特質。在個另類空間呈現展覽,必定得面對場地空間的獨特性,以它作為跟作品開啟對話的催化劑,促使作品產生出與空間有連結的脈絡。

此展覽也捨棄了作品的論述,只提供了創作者的名字、作品名稱、媒材、及年份。我想也許給予觀者一些解讀作品的空間是非常重要的。尤其在一個擁有80年歷史的防空壕,為作品附上太多的解釋,恐怕最終連我們的想像力都被支配。

Photos by Jason JS Lee

Apichatpong Weerasethakul “Fever Room” – 即興筆記

每當我們對於進入劇場院觀看演出的那一刻,心中總滿懷著各種期待。Apichatpong的《熱室》(Fever Room) 不只遠遠超出了我所預設的期待,而且也似乎打破了劇場演出的可能性。值得一提的是,《熱室》是Apichatpong的第一件以劇場為形式的創作,探討虛實交錯的立體夢境世界。

1. 觀眾進入幾乎是完全黑暗演出空間的時候被工作人員安排到一堆空椅前面席地而坐,彷彿是在上演劇場的序幕。

2. 演出的開場影片出現許多日常的場景。這一段巧妙的幾乎被重複了一次,再加上男女主角(Jen & Itt)各自的對白來描述兩個人在夢中的相同點。現實中我們夢到的東西或許也同另一個人的夢很相似。那我們又怎樣可以透過夢境同另一個人對話或互動?

3. 影片中在船上的移動畫面隱喻著漂浮不定的現實與夢境。到底是在追尋/逃離現實還是夢境?而在岸上不停的追著船隻但最後無路可跑的人,是否也希望加入這趟在水上的漂浮之旅?當我們在追尋自己的目標時遇到了障礙,又會如何跨過?

4. 在擁擠的船隻上,大家也許就是存在於同一個夢境或現實之中。

5. 整部演出間接的從一開始的單頻道投影變成4個頻道投影。觀眾的視線不再只侷限於前方,而是得不時留意左右兩邊螢幕上的動靜。觀看世界的方式始終是多面向的。

6. 男主角(Itt)在洞穴裡探索,看到了被埋藏的夢境與現實的痕跡。

7. 在極少的對白狀況下,視覺與聲音的符號變成了與觀眾說話及引導觀眾的最佳武器。

8. 影片中的傾盆大雨與雷聲把現實的一層層銀幕及幕布拉上,恍然大悟的發現自己身處在舞台中央,赤裸裸的看著在觀眾席區一直在閃爍的「雷電光」。在那瞬間,舞台開始下起了「雨」。現實有如穿越了時空,進入虛擬的夢境世界。如果那一刻有會永不停歇。。。

9. 身處在變化多端的夢境中,閃耀的光線不停的在照明著我們;漂浮的煙霧營造了昏眩的錯覺。我的靈魂似乎也不由自主的離開了我的軀殼。

10. 夢境終究必回到現實。100分鐘的感官經驗像是遊走了一趟奇幻的旅程,不停的徘徊在現實與夢境之間。

11. 投影表演所投射出的,可能只不過是我們心裏可望擁有的幻覺。慶幸的是,這是一個不會令人疲憊的幻覺。

12. 如果用任何的文字去形容、稱讚或批判作品為理性的觀後感,都是不恰當的。因為真實的經驗是要靠身體去感受的!