移居者 The Immigrant

地點: 新竹市美術館 時間: 2018.2.09(五)-4.29(日) 09:00-17:00(週一休館)

陳嘉壬CHEN Chia-Jen

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生於雲林,國立臺灣藝術大學造形藝術研究所碩士畢業,曾任教於國立臺灣藝術大學美術系、打開-當代藝術工作站站長。創作以當代攝影為主,關注於城市生活,透過直接攝影或數位後製方式來揭露現代都市人的生活處境,作品曾展出於2012年利物浦雙年展,亦多次受邀至歐洲各地展出。《UNFOLDING》為在泰國進行的社區藝術計劃創作,結合摺紙藝術與錄像,紀錄一對在泰國工作的緬甸移工情侶,藉兩人間的摺紙互動以及大象的象徵性,暗諭移工處境背後有其複雜難解的課題。 Chen Chia-Jen, born in Yunlin, received his MFA at National Taiwan University of Arts (NTUA). Having taught at the School of Fine Art in NTUA, he currently works at the Open Contemporary Art Center. Photography is CHEN’s primary medium of practice. His images, either digitally altered or in directly taken, reveal contemporary urban life. His works have been exhibited in 2012’s Liverpool Biennial and several other European exhibitions. “UNFOLDING” is a project creation CHEN developed in Thailand. Combining origami and video, he recorded a Myanmarese couple who worked in Thailand as migrant workers, indicating the complicated issues of migrant working through the couple’s interactions and the symbolic paper elephant. 創作自述 錄像作品《UNFOLDING》是我在去年十月前往泰國Baan Noorg所參與的一項社區藝術計畫所創作的作品。這個計畫透過一對在泰國工作的緬甸移工情侶,在一年中,每個休假日與來自不同國家的藝術家共同對話、合作、分享進而生產創作。
在前往泰國之前,我不斷的思量著,在諸多條件限制下,如何去回應一個這樣的對象,首先台灣有相當多的外籍移工,在社會日益關注其工作權益以及生活條件的情形下,我們對於移工的認識以及相關議題的意識並不陌生。在得知無法參觀其工作的單位後,並且也僅有短短的數次休假日可以接觸到這對情侶,那麼我們要如何去看待這樣的認識與接觸?其二是怎樣看待藝術家與他們之間的關係?最終在出發之前,便先行決定不以到當地且走且看的方式去獲取靈感,而是預設到當地之後的第一次面談的內容作為一種創作可能微調的變數機會。
這兩位移工在一間汽車零件廠工作,由於手藝很好,獲得老闆的親睞,也因此希望他們犧牲休假日,加班工作。而在能夠獲得雙倍報酬的條件下,他們往往也願意犧牲一週唯一一天的休假日到工廠工作,這樣的選擇與這個計畫看似有相當的衝突,然而當他們當時來應徵參與這個藝術計畫時,似乎也顯現著他們的內在個性與長期在異鄉工作後,欲尋求的一種生活模式的突破可能。我很清楚無論是時程或是身份背景,泰國與緬甸這種移工狀態與其國家的經濟體系間的複雜關係,是難以解讀與剖析產出什麼論點,同時我也不是相關領域研究者,但這部分確實與他們的角色難以分割,因此我將這樣的矛盾作為作品發想的出發點,透過摺紙藝術與錄像結合的方式發展創作。我選擇了日本摺紙家神谷哲史所創造的擬真亞洲象摺紙為元素,並反覆的練習默記這個需一百多個步驟的紙摺象,對於任何一個不諳摺紙的人而言,是無法輕易的上手,即使是一步步的跟隨我的演示,兩位移工仍難以看懂複製。再經過一個多小時的操作後,他們彼此調侃嬉笑對方的成果。之後,我們便進入拍攝階段,在影片中,僅有剪影,沒有細節,而在拆解與複摺的轉換間,這種不熟悉以及不可能性成為影像過程的核心。 The video art work《UNFOLDING》 is generated from a project creation I developed in Baan Noorg, Thailand on October, 2016, featuring a Myanmarese couple who worked in Thailand as migrant workers. The couple conversed, cooperated and shared with artists from different countries to create during their day off in the whole year.
Before heading to Thailand, I wondered how to respond to the target with the restrictions. There are many migrant workers in Taiwan. While more attentions are paid to their right of work and living conditions, we are familiar with these workers and the related issues. And in this case, I could not visit the couple at work, having few chances to interact with them. The question is: How should we define such interaction? What’s more, how should an artist view his relationship with the couple? Prior to heading off, I made up my mind to take the first meetup as a variable that could alter my creation, rather than collecting inspirations after arrival.
The couple worked at an auto parts manufactory. Favored by the boss due to their outstanding skills, they were expected to work extra shifts during day-off. While they would be paid double, they were willing to sacrifice the week’s only day off.
The decision seemed to conflict with the project, while a desire for breaking through the life style of migrant workers seemed to be revealed when the couple applied for the project. I know clearly that with my background and the project’s schedule, it was difficult to analyze or criticize the complicated relationship between the migrant working situation and the countries’ economic system, while I could not overlook the situation’s impact on the couple’s role. Thus, I began my work from such dilemma, developing it by combining origami and video. I chose the Japanese origami master – Satoshi Kamiya’s design, an asiatic elephant, as the subject, making the couple memorize folding the elephant that requires around a hundred steps repeatedly. The task was complicated to those who are not good at origami, so the migrant workers could not fold the elephant, despite of following my instructions step-by-step. Then they laugh at each other after practicing for over an hour. We began to record afterwards, in which only the silhouette was filmed. In the process of unfolding and folding, the sense of unfamiliar and the impossibility became the core of the video.

參展作品

陳嘉壬 - UNFOLDING
陳嘉壬 - UNFOLDING2016 full hd, b&w, mute 7mins41s
錄像/full hd/黑白/無聲
陳永賢 CHEN Yung Hsien 程仁珮 CHENG Jen Pei