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2014台北當代藝術館_第二屆Pulima藝術獎_藝術家訪談_曾秉芳

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展覽名稱│2014第二屆Pulima藝術獎
2014 The 2nd Pulima Art Award
展覽時間│2014/11/15-2015/01/04
展覽地點│台北當代藝術館 MOCA Taipei
年度教育贊助│文心建設

第二屆Pulima藝術獎
優選獎:藝術家 曾秉芳(Lahok Oning)
作品名稱│i tini! i tira! i cowa?在這裡!在那裡!在哪裡?
Here! There! Where?

「這是身為一個年輕人,身處在當代舊環境與新環境下,所構築出來的情感。」

曾秉芳來自花蓮豐濱鄉的阿美族港口部落,但目前是一名在都市叢林居住二十多年的都會原住民藝術家。在童年的記憶中,經常與奶奶坐在門口一起縫製阿美族傳統服飾,一起唱著歌謠,但在後來的成長生活裡,因為欠缺「原」味的環境,使她跟母文化之間出現了認知與情感的斷裂,甚至形成了混淆不清的矛盾感及衝突感。

本次得獎作品〈i tini! i tira! i cowa?在這裡!在那裡!在哪裡?〉取材於友人到海邊衝浪的故事傳聞:一位衝浪客不幸受困於海流中,拼命掙扎卻無從逃脫,無意間發現,只要順著海流側邊即可游出。此故事觸發了曾秉芳創製此作的動機,進而聯想到身處於當代社會的年輕人們,面臨新舊環境交替所激發的不同反應。此作透過兩幅畫面呈現:藍色調的一幅,從原鄉部落的觀點出發,寫照了因對都市生活的嚮往與期待,導致族人如樹葉離枝,如繩索斷裂的一種現象;紅色調的另一幅則由都市觀點出發,以一種層層堆疊、機械複製的視覺圖像,隱喻了在都會光鮮生活的一種制式和無趣。

As a young person, situated at the old and new environment nowadays

This emotion was constructed under the condition of a young person situating at the old and new environment.

Originally from an Amis harbor tribe in Hualien’s Fengbing, Lahok Oning has lived for over two decades in the city where she became an artist. Throught her childhood, Lahok often accompanied her grandmother as she sawed traditional Amis clothing and sang as she worked in front of their home. Yet, after Lahok moved away from her hometown, the absence of indigenous culture in her new living environment started to cause her a cognitive and emotional disconnection from her cultural root, to a point where she starts to feel a devastating sense of conflict and contradiction.

Here! There! Where? is inspired by the anecdote Oning heard from her friend about surfing. In the story, a surfer was caught in the current and tried to escape to no avail until he suddenly realized that he could swim along the edge of the current to get out. Lahok saw the story as a metaphor for the various responses a young person may have when facing the change of moving from one environment to another. The work consists of a pair of paintings. The one in blue colors represents the perspective of the indigenous tribe. It depicts the phenomenon in which the longing and expectations for urban life inevitably uproots the tribal community and causes the outcome much like a rope forced into breakage. Contrarily, the red painting speaks of an urban experience—layers of repetitive images piling on one another suggest the conformity and insipidity underlying the seemingly vibrant urban life.

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Date: December 6, 2019

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