年代  /2019

藝術家  /巴卡芙萊 - 瑪籟．瑪卡卡如萬+黃錦城

媒材  /紙箱、膠帶、鐵、紙、布

尺寸  /空間尺寸

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展名  /《災難的靈視》
策展人  /黃建宏、潘小雪
展出地點  /台北當代藝術館

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《靈魂歸屬地》裝置作品，由〈去來回〉—〈蝸牛〉—〈泉〉等物件的意涵層疊，形構一個從生命流放到心靈歸處的流動迴圈。〈去來回〉以編織的承襲，從過去千年的圖騰轉化為當代符碼，成為鎔鑄時間承載文化的容器，象徵傳統即現代，歷時而彌新；而〈蝸牛〉與〈泉〉的流動意象，彰顯了錯速間的文化對比，無論從部落遷移至都市或自外地賦歸部落，紙箱載寓了移居者的趨向，喻指部落在文化商品化過程中的價值流失與重構。於是，紙箱成了藝術家的漂流木、都會牆面裂縫裡的一叢雜草就如同藝術家眼中的結界，暗示其內心渴望的族群文化空間，精神上得以瞬間潛入並獲致短暫的寬慰。其中，更深層地挪移了西方美學中「永恆美」的典範，自空中源源不絕溢流而出的水泉，思慮著作為整個族群存活根源的水源地將如何可能。

 

而藝術家將下賓朗部落族人身後的靈魂歸屬地——賓朗四格山，轉化為由紅藜、藤蔓和竹枝拼組而成的心臟與血管的意象，立撐於鷹架上，敘事在這個主流社會，標榜尊重多元族群政策下搶救的文化之心，到底是為了誰？那些穿梭於摩天大樓鷹架上工作的原住民與移工，俯視著自己蓋過的樓房或許也泛起類似疑義的叩問？

 

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《Place of soul》

Artist /Pakavulay - Malay.Makakazuwan + Huang Jin-Cheng

Title of Work /Place of soul

Production Year /2019

Creative media /carton, tape, iron, paper, cloth

Duration /depending on the exhibition venue

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Exhibition : Co/Inspiration in Catastrophes
Curator: MOCA Taipei
Location: MOCA Taipei

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The installation sarapung forms a moving cycle from the exile of life to one’s return to home with layered meanings of various objects, including waiyaniyan u (go, come, return), dindin (snail) and ibeb (spring). With the legacy of weaving in waiyaniyan u, a centuries-old weaving pattern is transformed into a contemporary symbol on a vessel that embodies time and culture, symbolizing the ever-renewing tradition in the modern era. The moving imagery conveyed by dindin and ibeb highlights a cultural contrast of moving pace; whether it is migrating from indigenous villages to cities or returning to the tribes from outside, carton boxes indicate the direction of the migrants while hinting at indigenous villages’ loss and reconstruction of value in the process of commercialization. Therefore, the artist uses carton boxes like others use driftwood. The grass growing from crevices on a wall is like a magical barrier for the artist and beckons at her longing for a cultural space for her community that can temporarily comforts the soul with an instant “visit.” The artist also appropriates the example of “eternal beauty” in Western aesthetics—the spring continuously flowing in midair shows her contemplation on her people’s root of survival – the site of water source – and its continuation.

 

Moreover, the artist transforms the resting place of the souls for the people of the Pinaski village – Mt. Binlangsige – into a red quinoa, lianas, bamboo heart with coronary vessels propped up with scaffoldings to communicate her doubt: who are really benefitting from the policies emphasizing on respecting the voices and cultures of multiplural ethnic groups? As indigenous and migrant workers labor on the scaffoldings of towering buildings and look at the houses they have built, do they ask the same question?

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