當期展覽Current Exhibitions

生存/抵抗:臺灣-加拿大原住民藝術展 Persistence/Resistance: Taiwan – Canada Indigenous Art Exhibition

張恩滿,〈重如鴻毛〉,2016,竹製布面風箏、投影影像,300 × 300公分、13分45秒、42分48秒。藝術家自藏。
張恩滿,〈重如鴻毛〉,2016,竹製布面風箏、投影影像,300 × 300公分、13分45秒、42分48秒。藝術家自藏。
林安琪,〈迫印〉,2021,複合媒材,尺寸依空間而定。藝術家自藏。
林安琪,〈迫印〉,2021,複合媒材,尺寸依空間而定。藝術家自藏。
展覽現場畫面:展覽室B
展覽現場畫面:展覽室B
Apo'陳昭興+王亭婷,〈信任與陷阱〉,2017-2022,複合媒材裝置,尺寸依空間而定。藝術家自藏。
Apo'陳昭興+王亭婷,〈信任與陷阱〉,2017-2022,複合媒材裝置,尺寸依空間而定。藝術家自藏。
謝利爾・拉隆德爾,〈我就在這裡〉,2013,多媒體裝置,1036.32公分。加拿大原住民藝術中心典藏。
謝利爾・拉隆德爾,〈我就在這裡〉,2013,多媒體裝置,1036.32公分。加拿大原住民藝術中心典藏。
馬躍.比吼,〈稀釋原住民的13種方法〉,2022,複合媒材裝置,尺寸依空間而定。藝術家自藏。
馬躍.比吼,〈稀釋原住民的13種方法〉,2022,複合媒材裝置,尺寸依空間而定。藝術家自藏。
尤瑪.達陸,《生命的迴旋》系列,2012-2022,金屬特用紗、金屬紙纖、不鏽鋼紗、LED燈紗、不銹鋼紗、苧麻、羊毛、人造纖維,尺寸依空間而定。藝術家自藏。
尤瑪.達陸,《生命的迴旋》系列,2012-2022,金屬特用紗、金屬紙纖、不鏽鋼紗、LED燈紗、不銹鋼紗、苧麻、羊毛、人造纖維,尺寸依空間而定。藝術家自藏。
莎韻西孟,〈Sayun Simung與部落地圖〉,2018-2020,環山部落立體模型、影像、文件手稿,30'24"。藝術家自藏。
莎韻西孟,〈Sayun Simung與部落地圖〉,2018-2020,環山部落立體模型、影像、文件手稿,30'24"。藝術家自藏。

名稱 生存/抵抗:臺灣-加拿大原住民藝術展 Persistence/Resistance: Taiwan – Canada Indigenous Art Exhibition

類型 展覽 類型檢索

時間 2022/09/08 10:00 ~ 2023/01/29 18:00 時間檢索

地點 2館1樓展覽室A、2館1樓展覽室B、2館1樓展覽室C、2館1樓展覽室D 地點檢索

  • 展覽說明文
    Exhibition Description

     

    加拿大與臺灣的原住民族有著類似的歷史經驗及文化認同情結,都曾經面臨外來政權統治,導致在原本居住的土地流離失所,語言、文化皆遭受打擊且瀕臨消亡。現在所面臨的生存議題與和解的轉型正義,其途徑或許曲折,但目標一致。雙邊的原住民族皆堅定的走在爭取權益的道路上,不斷與政府、社會持續溝通,期盼有更多人一起走向族群和解、共榮共存的未來。

    Indigenous Peoples in what is now Canada and Indigenous Peoples in Taiwan share common interests with regard to Indigenous issues and boast strong peoples-to-people connections between and amongst Indigenous groups. . Assimilationist policies and practices have led to the denial of Indigenous rights in the past, including cultural and language disappearance, which are now being revived, reclaimed, and revitalized by Indigenous Peoples. Today, they endeavor in the issue of survival and the matter of transitional justice for reconciliation. Even though this journey might be intricately complicated, their share the same ultimate goal. Today, Canadian and Taiwanese Indigenous Peoples have striven steadfastly for their rights, and have consistently engaged the governments and societies in communication, hoping that more and more people could work together towards a future of ethnic reconciliation as well as co-prosperity and co-existence.

     

    本展從雙方國家的傷口出發,這個傷口不是一開始外來族群侵略的傷口,而是在族群融合及外族統治之下的社會地位、環境政策影響「教化」而產生的,這個教化不只是對原住民族本身,也塑形其他族群對原住民的既定觀點。被安靜切割的傷口,隱藏在真實底下。這些事件,掀開歷史情結之下的壓抑,使原住民族的權益被正視,後續的和解以及原住民族在回返自身文化、傳統的認同上,發展至我們所關注的四個面向及議題:生存環境、身份認同、女性文化、祖靈精神。

    This exhibition starts from the wounds of various nations of Indigenous Peoples – the wounds do not refer to foreign regimes , but what has been “enculturated” through influences of social status and environmental policy throughout the histories of ethnic integration and foreign culture. Such enculturation has not only targeted Indigenous communities, but has also shaped other communities’ viewpoints of Indigenous Peoples. The wounds incised are concealed silently under the surface. Uncovering these incidents, along with the suppression buried in the underlying historical realities, allows us to squarely face the problems involving the rights of Indigenous Peoples. By doing this, reconciliation becomes possible, and we are able to move towards assisting Indigenous Peoples to revitalize their culture and traditional identities, while engaging in the development of four noteworthy facets and topics: “Survival Environment,” “Indigenous Identity,” “Women’s Culture,” and “Ancestral Spirit.”

     

    當代的原住民族開始重新思考及邁進,不只是還原過去或把殘缺的片段縫補填滿,更是突破現狀追求進化,許多文化尋根、傳統復甦等,不同面向的議題交織成相互影響的維度,正向及反向作用力連橫錯縱,重新建構密不可分的網狀文化觀。這正是當代原住民族及相關人士正在進行的努力。抵抗是為了文化的生存,爭取的是打破既有層級、時間、邊界、位置、結構,藉由躍升、更新、拓展、重建的方法來提供解決問題的可能性。

    Contemporary Indigenous communities restart thinking and marching forward , which refers not simply to restoring the historical past or mending missing cultural pieces. Instead, it seeks breakthroughs and improvements to the status quo, using approaches such as finding cultural roots, revitalizing traditions, etc., all of which lead to the possibility of a dimension in which various issues become interwoven and interconnected, while numerous forces and counterforces crisscross and re-construct an intricately networked cultural perspective. This is the objective for which contemporary Indigenous communities are striving for today. In short, their resistance seeks to ensure the survival of their culture; and what they are endeavoring to achieve is the shattering of existing hierarchies, temporalities, boundaries, positions, and power structures in order to usher in possible solutions through means of elevation, renewal, expansion, and reconstruction.

     

     

    指導單位:文化部、原住民族委員會、臺南市政府
    Supervisor: Ministry of Culture, Council of Indigenous Peoples, Tainan City Government
    主辦單位:臺南市美術館、加拿大駐臺北貿易辦事處
    Organizer: Tainan Art Museum, Canadian Trade Office in Taipei
    贊助單位:榮剛材料科技股份有限公司、千如電子集團
    Sponsor: Gloria Material Technology Corp., ABC-ATEC Electronics Group
    特別感謝:總統府原住民族歷史正義與轉型正義委員會
    Special Thanks: Presidential Office Indigenous Historical Justice and Transitional Justice Committee
    展覽顧問:曾媚珍、加拿大原住民藝術中心
    Advisor: Tseng Mei-chen, Indigenous Art Centre, CIRNAC
    展覽團隊:本館展覽企劃部
    Curatorial and Exhibition Coordinator: Curatorial Department of TAM

     

    展覽手冊數位版 Exhibition Guide ➤

  • 展出藝術家 Artist

     

    Alex Janvier 亞歷克斯.珍維涅
    Allen Ahmoo Angeconeb 艾倫.阿穆.安格康尼
    Barry Ace 巴里.艾斯
    Bob Boyer 鮑伯.伯耶
    Catherine Blackburn 凱瑟琳.布萊克本
    Chang En-man 張恩滿
    Cheryl L’Hirondelle 謝利爾.拉隆德爾
    Ciwas Tahos 林安琪
    Germaine Arnaktauyok 桀蔓.阿納克陶約克
    Geronimo Inutiq 傑若尼莫.伊努提克
    Jeneen Frei Njootli 杰寧.弗瑞.朱特力
    Jordan Bennett 喬丹.貝內特
    Kofid Talo + Wang Ting -ting 陳昭興Apo’×王亭婷
    Mayaw Biho 馬耀.比吼
    Megan Kyak-Monteith 梅根.基亞—蒙太斯
    Melissa General 梅利莎.珍尼羅
    Rebecca Belmore 蕾貝卡.貝爾摩
    Sayun Simung 莎韻西孟
    Scott Benesiinaabandan 史考特.貝內西納班丹
    Skawennati 斯卡維納提
    Tania Willard 泰尼亞.維拉
    Thirza Cuthand 蒂爾薩.庫桑德
    Walis Labai 瓦歷斯.拉拜
    Wally Dion 瓦利.狄翁
    Yuma Taru 尤瑪.達陸