人的記憶本來就不會跟那時候的當下一模一樣。

小時候的家門口沒有小河、後面沒有山坡，只有一間間終日忙碌的家庭工廠。每天近乎24小時，從米店到油漆工廠到車床工廠到饅頭工廠到我說不出名的各式工廠，除了機械輪轉的聲音，每家每戶都在輪播中廣流行網。放學回家的路上，我會跟著廣播裡的音樂，從第一間唱到最後一間，唯一納悶的是一首歌的歌詞：「我也去將肚子跳舞，肚子在街頭漫步」。

到很後來我才知道那首歌是陳淑樺的《你走你的路》、歌詞裡的「肚子」其實是「獨自」。也到很後來，我才知道那是父母白手起家的年代，那時候整個台灣是一處大工地，我的家庭則是眾多中小企業當中的小小螺絲。我始終說不清楚家裡在做什麼，在我看來，他們會把一大綑一大綑的銅片、裁切成一小片一小片的銅板；在放假的時候，我們會一人拿一個大磁鐵，邊看電視邊整理廢五金。

對於童年我沒有太多的懷戀。對於工廠的記憶，大概就是上面寫著安全第一的吊車、積木式的棧板和堆高機，裸女檳榔盒和滿是塗鴉的泳裝美女月曆。後來台灣傳統產業的沒落與外移，決定了我家族的變遷和流轉；我長大了，離開工廠去追求自己的想像、那個家門口應該有小河後面應該有山坡的美妙生活。

人的記憶本來就不會跟那時候的當下一模一樣。而「銅」這個金屬材料，承載了我的家族歷史，也將我對於童年和記憶的想像，封存為具體的重量與形狀。

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In this project, I collected old family photographs which are given by the curator of the exhibition 'There-has-been' in Fotoaura, Tainan. Using the figures and stories of a family that is not my own, this project challenges the pliability of memory by reducing and reinterpreting displaced photographs through only the impressions of images.

 

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There has been 2014 / 06 / 21 (Sat) -  2014 / 07 / 27 (Sun) 

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策展人／Curator  賴依欣 Lai Yi Hsin
藝術家／Artists
6.21-7.06 李姿玲 Lee Tzu Ling & 何明桂 Ho Ming Kuei
7.12-7.27 朱盈樺 Chu Yin Hua & 蘇育賢 Su Yu Hsien

這場展覽的概念源自於一段生命經驗和上千張的家族老照片。透過影像整理和親人別離後儀式般地身體力行的食素，像似一種對歷史幽靈的召喚，將昨日的存在卻已消逝，真切地再度帶入現實所生活的此刻，見證證明其存在，成為一種新的證據，涉及的雖是過去，卻是證明和加深此刻生命與存在的真實性。

展覽始於這樣的生命經驗，邀請四位藝術家，包括朱盈樺、李姿玲、何明桂和蘇育賢，展出的作品皆是創作者從自身的生命經驗出發，透過創作再現、回溯或思考生命的重大經驗和深刻感受，像似一個現實的時光旅程，在探索、證明、或以另一種形式反觀生命經驗中的「此曾在」是如何遺留，在過程中，作品成為一種「新的證據」，回應過去，亦與現實相互連結、牽引。而展覽名稱定為「此曾在」，除了延伸Roland Barthes在《明室—攝影扎記》一書中所探討的影像將激起的真實與存活之感受，一方面也取其字面「真實已逝去」之意涵，這些作品以不同形式，展現「此曾在」—曾經存在的事件、經驗或感受—在他們各自的生命中所激起的漣漪和感動，並將這些感受往前推進，與自我當下的生命意義產生連結，除了個人記憶，亦呈現某種超乎現實的想像，在事件和回憶之間，以想像填補空缺，在社會和文化之中，展現個人感受和啓發，細膩地呈現那些曾經存在卻已空缺的生命和事件，並期盼能開啓觀者對於自身生命經驗的回憶與想像。 

 

The concept of this exhibition originated from a life experience and thousands of old family photographs. The process of organizing old images and practicing the ritual of a vegetar-ian diet after relatives pass away in Chinese tradition, like the call to the historical spirit, brought the passed existence yesterday into the present moment of the true life through images as the interface and the in-person experiences. The witness of its existence be-came a new proof. Though it was involved in the past, it proved and deepened the true-ness of the present life and existence.

 

This exhibition began by such life experiences. Four artists were invited, including Chu Yin Hua, Lee Tzu Ling, Ho Ming Kuei, and Su Yu Hsien. The exhibited works were all origi-nated from the personal life experiences of creators. Through the creations, the artists rep-resented, traced back, or reflected the important experiences and profound feelings in their lives. It looked like a temporal journey of reality, exploring, proving, or reflecting how a “there-has-been-ness” was left in the life experiences in another form. During the process, works became a “new proof” responding to the past and interconnecting and getting en-tangled with the present. The theme of this exhibition is named “There Has Been”, which applied Roland Barthes’s theoretical discussion in La Chambre Claire about the true and existing feeling inspired by photographic images. It also implied the literal meaning of the theme “past reality”. Through various forms, these works displayed the impacts and feel-ings inspired by the “there-has-been-ness”—existed events, experiences, or feelings—in the artists' lives. They put forward these feelings and had them connected with the living meanings of the present ego. Besides personal memories, they presented certain surreal imaginations. Between the events and the memories, they filled in the gaps with imagina-tions. Between the society and the culture, they presented personal feelings and inspira-tions. They exquisitely presented their lives and the events which had existed once but had been passed and lacked in attempt to inspire the audience's recollection and imagina-tions of their own life experiences. 

 

text by Nicole Lai YiHsin, Art Square Taiwan