「它方與抵抗」系列展覽＃2
The Series of “Elsewhere and Resistance” ＃2
「人氣阿迪」 葉振宇個展
Popular Ati
Yeh Chen-Yu Solo Exhibition
展期 Duration：2017.03.26 – 2017.05.07
開幕茶會 Opening：2017.03.26（Sun.）15:00-18:00
辣醬工作坊 Workshops：2017.04.09（Sun.）04.23（Sun.）15:00-18:00
❮彩虹芭樂❯電影放映與導演映後座談：04.28（Fri.）15:00-17:00
地點 Venue：齁空間 Howl Space
主辦Organizer：齁空間 Howl Space
指導單位Advisor：文化部 Ministry of Culture
關於「人氣阿迪」
Ati是來自印尼的幫傭，2012年來到台灣，在中部深山中照顧年邁的奶奶。農村長大的Ati從來沒嘗過台灣菜，第一次在奶奶的指導下料理台灣食物是多麼令人手足無措，一會兒大火快炒台灣野菜，一會兒汆燙這輩子從來沒吃過的豬肉，一陣手忙腳亂，最後端上桌的卻是讓兩個人都感到陌生的異鄉菜。
兩年過去了，Ati現在已經燒得一手好菜，在廚房裡可說是遊刃有餘，不過對自己燒的台灣菜總是淺嚐即止，不知道是胃口不合，還是想家？幾年前，我帶著製作印尼特色料理GADO-GADO的石磨拜訪Ati與奶奶，Ati看到熟悉的印尼石磨感到驚訝，我向Ati請教如何製作GADO-GADO，用石磨與Ati交換食譜，Ati獲得了印尼家庭必備的石磨，而我得到了GADO-GADO的食譜。
2013年，山頭的另一邊來了另一個印尼看護，或許是山裡真的煩悶，她總是吵著回鄉，後來Ati便用石磨做印尼辣椒醬每週寄送給她……。想當初Ati剛來時在廚房也是惡戰苦鬥，消磨多少精神在語言不通的雇主前揣摩台灣家常菜，最後卻可以用山裡的辣椒溫暖同鄉的胃。這石磨吸飽了研磨花生時榨出的油，也漬了滿滿鄉愁。
山裡的廚房有兩個灶，一個安撫因年邁而焦躁頑固的奶奶，一個料理遠渡重洋而來的夢想。
【葉振宇】
1984年生於台北，現定居、工作於台南。創作主要關切移工、環境、土地等議題。曾於淡水河上游沿路撿拾廢棄物至八里左岸，將河流中撿拾的廢棄物捆扎成船出航。2014年起與料理最前線團隊前往日本橫濱駐村，透過食譜交換的方式，與當地移民們交換家鄉菜，以料理映照不同族群的語言與文化。曾參與「浪漫的地理」(2014)、「亞細亞安那其連線」（2014）、「砍錯Z」（2008）等展覽。
*********
關於「它方與抵抗」系列展覽
從永遠無法抹除的差異談起。
「它方與抵抗」為一個主題式展覽計畫，嘗試以延續性的方式連結，以系列與階段方式進行，透過每次與藝術家的個別合作邀請，對於此主題進行不同角度的反覆探訪。
當一段歷史被建立，也就意味著正有另一段歷史被消弭，或許正是因為如此，促使我們總是不間斷地，想朝著被遺忘的事物看去。歷史的難題似乎就是建立在這排除與構成的兩端之間，即當存在於一個地方的各種人事物的故事或歷史被建構，就必然有事物是被消隱的。「響亮的故事是單一的旋律，驅逐了其他逃亡者的聲音」【註1】。然而，事物有被記憶的必要，以補足且豐富形構歷史的成分與空白，卻同時也相對有其選擇被遺忘的權力。但是，究竟何以需要去記憶？又為何希望被遺忘？或者，是誰無法言說，誰又能來代替誰言說？還是，是否可以不先急著說，而是僅先聆聽？
本展覽以「它方與抵抗」作為一個思考命題，起於對藝術與地方關係的思考。一方面，透過藝術之企圖趨近地方的慾望，重新鏈結進而再創製，生產出源自於在地脈絡的個別差異。但另一方面，碰觸地方並非無止盡地朝向地方感的形塑，而是藝術與地方之來往可以有哪些相互生產的未來性，以及在以地方為基礎，卻得以跳脫地方框架下的另一種觀看自我的方式。
「它方與抵抗」是在上述思考下發展的一個展覽主題，首先邀請了劉致宏、葉振宇與林玉婷三位藝術家，以各自個展展出的方式為形式，作為此主題的一個回應與開端。「它方」是在關於討論他者的相關命題基礎下，對於地理界定上的地方與我們之間的關係的思考；「抵抗」則是指存在在於兩者之間的各種人事物，彼此存在的矛盾與難以消解的境況。
劉致宏從《聲音地誌》系列以來的計畫性創作出發，以如同行旅之人的隨機與偶遇的方式，置身不熟悉的環境中，與遭遇的對象對話，建立出在聆聽之下，關於聲音的文字與圖像描繪。葉振宇延續其關注的移工議題，以食譜作為一個親密地介入媒介，與來台工作的印尼家庭幫傭搭建關係，以食譜開啟不同文化間原有的落差與相互理解的可能。林玉婷則以一條從小到大，因不同生命階段而不經意重複往返的無名小路為對象。她重新返回到這條小路，回到小路上景物失去的那一刻，替這些建物創造與繪製出落成時刻之建築預想圖，在帶著閃耀、歡樂的廣告式宣稱之間，卻亦是對於平凡事物逝去的模糊悼念。
【註1】：〈他者間之親密性—王虹凱與駱里山於2015年10月的對談〉，http://www.heath.tw/nml-article/the-intimacies-of-other-humanities-lisa-lowe-in-conversation-with-hong-kai-wang-oct-2015/
About the exhibition “Popular Ati”
Ati is a housemaid from Indonesia. She came to Taiwan in 2012 and took care of an old grandma in the deep mountain area, central of Taiwan. Ati grew up in a rural area, and had never tried any Taiwan dishes. She was really anxious to cook Taiwan food the first time under the guidance of the grandma, fire fried wild vegetables for a while, and water-boiled the pork that she had never eaten in her life. After an unsure flurry of cooking, she made a foreign dish for both of them at a table.
Two years have passed, and now Ati is good at cooking. She is at ease in the kitchen, but doesn’t eat so many Taiwan dishes. Are they not her cup of tea? Or is it because of homesickness? A few years ago, I brought the hand stone mill which can make the famous Indonesian food GADO-GADO , and visited Ati and the grandma. Ati was so surprised seeing her familiar stone mill. I consulted Ati on the way to make Gado-Gado, and exchanged Ati’s recipe for the stone mill; Ati got the Indonesian family’s necessary stone mill, and I got the recipe for Gado-Gado.
In 2013, on the other side of the hills, there came another Indonesian nursing worker. Perhaps the mountain life was too boring, as she always clamored for going back home, and later Ati handmade the Indonesian chili sauce by the stone mill and mailed it to her every week. Looking back on Ati’s bad memory of the kitchen before, she consumed plenty of spirit trying to imitate Taiwan dishes under the language barrier, but in the end she used Taiwan mountain chilies to warm her country fellow’s stomach. The stone mill absorbed the peanut oil in the grinding process, and steeped the stone in homesickness.
The mountain kitchen has two stoves; one comforts the old stubborn grandma, and the other one cooks for the dream that came from far over the ocean.
Yeh Chen-Yu
Yen Chen-YU was born in Tapei, 1984. And now he is living and working in Tainan. His works are mainly concerned with the issues of labors, environment and residence. He had collected the waste along the Tamsui river to Bali and used them to build a boat and rowed the boat in the river. In 2014, he and the group “Cooking at the frontline” had exchanged homemade dishes and recipe with local immigrants in Yokohama and through the recipe exchanging to reflect the language and culture of different ethnic groups. The exhibitions he ever joined are including “Romantic Geography A field research and exhibition practice on distribution of urban space”(2014), “Asia Anarchy Alliance”(2014) and “Ctrl Z”(2008).
____________________________________________
About the exhibition series “Elsewhere and Resistance”
We talk from the difference that can never be erased.
”Elsewhere and Resistance” is a thematic exhibition that attempts to link the topic with continuous series and phases, by a method of inviting artists individually to explore the different points of view that are represented.
When a period of history is established, it means another one is superseded. The reason makes us always want to look toward the forgotten things. The difficulty of history seems to be established between exclusion and composition; that is, when the surrounding stories or history are established in a place, some are consequently erased. “A resounding story is a single melody, which expelled the sound of other fugitives.”(Note 1.) Nevertheless, things have the necessity to be remembered, to complement and enrich the blank of history, but also to be forgotten in the meantime. Yet, why should some things be remembered, and others hopefully forgotten? Or, who can’t speak, and who can be a substitute for whom in speaking? Or, is it possible not to rush to talk, but to listen first?
The exhibition is titled “Elsewhere and Resistance” due to the consideration for the relationship of art and places. On the one hand, artists attempt to link places together and recreate a new piece through the individual differences of local context. On the other hand, art is not just endless shaping of the emotions of a place, but to find the future possibilities of both sides. The art is based on places, but is the escape from the geographic frame to see ourselves in another way.
Based on the above thought, the topic of the exhibition, “Elsewhere and Resistance” is developed. In the beginning, three artists Liu Chih-Hung, Yeh Chen-Yu, and Lin Yu-Ting are invited to response to the topic and to create a new start as individual solo shows. The word “Elsewhere” is based on a discussion of otherness, and contemplation of the relationship between the geographical place and us. The word “Resistance” means the contradiction and difficult-to-solve situation between both sides of surroundings.
Liu Chih-Hung starts from his planned artwork series “Sound Geography”, as the way of a traveler who randomly encounters people, conversing with them in unfamiliar environments and creating the text and images of sound by listening. Yeh Chen-Yu focuses on the issue of migrant workers. He uses food recipes as a medium involving Indonesian domestic helpers who work in Taiwan, and tries to open two cultures’ original gap, and the possibility of mutual understanding. Lin Yu-Ting’s object is a nameless path that incidentally goes back and forth from her childhood. She returns to the path and sees the old scenes that have disappeared, so she decides to draw an architectural mock-up for those new buildings. Among her glittery and happy advertisement, she mourns the passing of ordinary things.
*(Note 1): The Intimacies of Other Humanities – Lisa Lowe in conversation with Hong-Kai Wang, Oct. 2015）
The Intimacies of Other Humanities – Lisa Lowe in conversation with Hong-Kai Wang, Oct. 2015