Page 1


UNIT OF INTERDEPENDENCY

瞭㺥☭ Curator

㳜♧蕊 SUN Yi-Cheng ⹪㺥跖銋㵶 / 겑둑 Artist / Collective

椟⹱䌐匃✲岸묚㞜䰤䏝揸囐匃㞌㚧茥潂蕟䈰䏴䟌㓻颏ⶬ皞何劋╭䟩䔕⦒䈰✑㵎

WANG Yu-Ping, LEE Chia-Hung, HUANG I-Chieh, LIAO Xuan-Zhen, LI Kuei-Pi, Neng Sheng Xing Factory, Trapped Citizen, Sean Xie, Socialimage Studio


瞭㺥韣ꃏ

閊վ劆㸰⪴㲾ㅠ⛻տ溭㺥蔦 2016 䌑鱏溸ր┞聁☭溸蔦㳴ց 阜沃䐦纭阜沃╚㸫ր焒餠气氘ꇅց溸ꬨ峜♧㸫ր✇

額沖♣焒餠ց溸㷞덴勔㺥⻎埞镅跖銋掿气氘⺞꿕焒餠溸鉿 掿臕撌偠♧⪴⻎气氘掿㕈狹脯䓺䧯溸겑둑䧶獘聁ꬨ➵╺

碏┞⠥茥㝊⟜蔦麃溸⪴⻎둑ㅠ⛻剳㝂㸫㲾纭溸䮅䨡彑槁

蔦㝕欏㘷㸫剳㝕籮戀⧜⡽溸⨳⩰脞ꓪ♧獘ⶤꎖꓧꬨ➵겴

┯♸鮝鉩索⾕㨲㥂㞔笵⛰♇둛䍳♸鮝㐍索㕈狹溸獘聁杆䙎

蔸ꬨ峜ꄻ◳겑둑䧶獘聁㐃⪴⻎气氘溸ꇅ╚ⶾキ⮃⪴☑溸

呦䖦㵶‫⾕ﳰ‬獘ⶤ⪴⻎둑㐃♂傽긖㸫溸烾澄軹㘷蕞䮅䨡♧

둑ꄻ◳⪴氘⺞꿕焒餠ꅾ脯气䧯溸侓岖╭둑㐃勔㺥╚婞儱

┻䥧⺇㏔㵶⟜饨溸⢏陮 [4] 䳀ꑠ詈䧰⠰䖪꽆ꓨ偈䐮皒鱏溸

槏䗽ꅾ脯茥㝊蔦䧰篂縩䧯⪾劕鉿ⳛ / ⹸䫏茥ⳛⲇ溸侓岖╭

䧰⠰⺪♧⡊氠❔ꓨ偈䞰⦒┞⠥槏䞰獘劋溸ր劆㸰⪴㲾ㅠ⛻ց 勔㺥蔦呦䖦㵶‫ﳰ‬蕞獘ⶤ⪴⻎둑㐃沖♣獘劋╚溸烾澄軹㘷⮃

溭㵶‫ﳰ‬儱潨⯽錻⺬挗岻䔾䨿䪩霾劆㸰溸劕侞镫㻏ㅠ⛻ [1]

┞薯❔靿▢錻镅掿篂䧯☭꿕獘劋溸㕈勔ㅠ⛻劋걖詈┯⻎兎

♣┬獘劋㸫气氘溸괜寛脯氘气首㒘 [2] 播脯呦䖦㵶‫ﳰ‬㐃

1960 䌑♣⺬挗婾籮䈰噻ⵋ蕞ꌬ䉗ⵋ▇䕁㎌气氘埜䑑蕞籮戀

篚圸溸侊首ⷺ䟚鲳䧯掿┞⠥⠥☭ⵋ脯摿ꬨ▊⪴⻎气氘溸ㅠ

⛻䕲婠閑㷍⯽蝡㏔눢潸哝㞔曗㝜☭溸籮⪿阌韣ր周勔屜 劕獘劋ꄻ甦匯锟 [3] ց⹸⠲꿶䕒靨䥣脯澶⮘⹸閑㵶‫▇ﳰ‬偠⺬

挗獘劋溸槁岞⥝簣呦䖦㵶‫ﳰ‬氮ր┞水┞㟗ցր┞㝜┞㢒ց䨿 篂䧯溸溸㵶‫ﳰ‬閑⯵儱㐃偈溸獘劋䘽愲╚⺇⯒䮅䨡2017 䌑

◩劓⺬挗⺶岻ꯗ㵌䉘槁鉿վ宑岻տ㎌勑⟜걁⻎䙎㨲㥂蔦氮

䌐瞐妝䉂㻏ꇜ䤷锣寛潸ꬨ塎ꬨ偠⪣䌑⪠㴟䧯岻䔾▇⟵㴼♧ ⟜걁⻎䙎㨲㥂溸妝⯈䧯掿㝂⩧䧯㵶ꆽⳛ╚溸◸嵍눢❛婠 ┞⯀尵溸⪬䉘ꓨ氰溸┯⥾儱䤷岻㸫偠☭妝溸⟜걁▢儱兎 ♣㸫偈㒘䡤㵶‫ﳰ‬蕞獘劋㕈勔ㅠ⛻溸㷞갿괜寛

蔸偠⻎埞⺇㏔㵶霾⺪姎偠呦䖦㵶‫ﳰ‬溸⪴⻎둑ㅠ⛻ր獘ⶤց ⯵㐃 1990 䌑♣⺬挗獘ⶤ緶둑易ꅑ侓瞭惓鱏䕁▢䟚溭⭿꿶

վ┿汔☭妝㵌阌տ㸫偠☭꿕獘劋➵氮剳㸰溸㕈勔ㅠ⛻䨿篂䧯 儱┞㞟㐃ꄻ⠥兎♣┬ꀦ霾劆㸰⪴㲾ㅠ⛻溸閑뭒╒♧婠ꓨ偈

㴼聋㐃呦䖦㵶‫ﳰ‬蕞獘ⶤ⪴⻎둑▇㜾篂䧯☭꿕獘劋溸㕈勔ㅠ ⛻┯ꇅ掿◗剳窣徚䱌䳣蕞饿脢徧ꄾ溸䈰⪾靤阌⫙ 纉纭庀⪜韣ꃏꄻ⠥閑뭒❈䧰⠰蔸㸵偠嚥䗽㺾筨剳Ⲏ鲳ꂁ┪

ꃏ槏䞰勔㺥╭䒠㸡ր跖銋ց┞雘ꓨ偈吿婞掿♧ր⪴䠌ց⾕ր䞰

⦒ց掿㕈狹蕞♒脢⪴⻎气氘⺞꿕焒餠╺蔸侓岖╭둑溸鉿掿 趦婠蝅䧰⠰⫙㸡䕞◜┪ꃏ跖銋鉿掿溸劆㸰⪴㲾ㅠ⛻镅掿

篂䧯獘劋溸㕈勔ㅠ⛻兎䨿額ր獘劋ց䩜⺪茥儱┞⠥♧⪴⻎气 氘蕞⪼ꬨ➵掿㕈狹圸碏脯鱏溸粷柁俠둑脯婠ր獘劋ց潸鼜

偠ꇅ䔯溸ꀺ臕訓䧶♧㸰㒘㵶‫⚕ﳰ‬噻掿╭溸獘劋㎌掿㸫ր气 氘ց溸괜寛┯⻎脯侊首◗㴋䱰⺅溸气氘做䑑跖銋獘劋㕈

勔ㅠ⛻䨿䲀ⳛ溸⪴⻎气氘偠儱䕞㸫籮戀朮溸气氘龞䳗蔸㸫 侓岖╭둑溸气氘婠軹蝅䧰⠰⫙䕲詈ր╭둑溸气氘ց▢㹧儱

ր❈⪼⪾劕交䱾蔦麃㲾㐃做䑑蕞蔦䧰龞首溸ⲇꓪ [5]ց 溸闋ꓦ 䲀ꅾꄻ㞟閑뭒㈡雨ꀦ霾⮃╒氠❔ꓨ䐮俠둑獘劋溸ր劆㸰⪴ 㲾ㅠ⛻ց┞⠥氮濨☭㐃⪴氘焒餠╚脯气溸侓岖╭둑 ➬䖪播茥㝊儱茥㝊蔦䧰篂縩ⶾキ⪠ꌄ⠥둑ꪨ溸⡡槏ꬨ➵ ╒⪾鳉䯢銖䔦婠㐃㝕欏㘷╚㲾纭䨿괜溸ⲇꓪ┞⠥ꬨ▊ր⠥ 둑蕞⠥둑ց⾕ր겑둑蕞둑⯜ցꪨ⪴㲾▇ꇕ溸獘劋㕈勔ㅠ⛻

⮃㴋溸獘聁杆䙎蕞沖♂獘劋䨿鱏溸烾澄蕞銘痔1994 䌑鉿

侓ꯗ倁䐮劋䳀⮃ր♧倁ⵋ䐮陮䲀ⳛ獘ⶤ緶둑易ꅑ阜沃ց獘

ⶤ偠儱兎脯錻筋ꅾ易ꅑ倁ⵋ籮戀⪴⻎둑溸꿈冎▇╚䧯掿 㝕ꓪ⪬ꌄꪎ魗徏䯄峜溸㸫骯兎脯ⷺ⹱㐃㏔㏸ꪛ溭䧶ꌬ䉗

[1] ⿮罌շ字岁ոյ鋷㿂管ն

溸嚥䗽勔㎌┯♧鉩索䧶㨲㥂㞔笵脯♧⪴☑溸㺈⛿痀ꪨ蕞气

[3] ⵹薊㕜껷湱叞㤏晋㣗➃⚺䓹㣐鋊垸猙剤⻋幾㼱佟䏎㼩竤憘崞⹛涸盘ⵖ꣮⡜

剳偈阜沃┬䧯掿錻侓䍠䒤䬐ⱇꯙ溸㓻䉗ꓴ㲳䨭獘ⶤ䧶臕訓

յ倞⚆私涸爢剚莅俒⻋禺⴪〟剅籏䎸ն 랔䥰顜⚺管 շ⚆私涸㹻 [2] ⿮罌랔䥰顜 荩抓涸㹻⡦⿡⡦䖰ո 倞⻍䋑纈㷸2014

嵛籮덴掿㕈狹❈獘ⶤ䧶臕訓儱┞⠥茥掿㵶‫╚ﳰ‬溸镫㻏ꬨ➵

ⰗⰟ䚍佅ⴀ⚛⿾㼩爢剚犷ⵄ胝䖕涸չ♶⹪罜栽պ齅鱀➮剎㹒珖չ呏劥尝剤爢

⛰㐃♧籮戀⯈漩掿劆⨳⩰脞ꓪ溸㓻䉗痀ꪨ蕞倁ⵋ侓瞭溸䲀䏼

剚ㄤ㕜㹻涸⥃隌պ

䨿┯茥掿溸獘劋ㅠ⛻㎌脯䔯䔯▢䧯掿摿㵶脢⪴篂溸⺞꿕㵶 ┬蕞րꅾ婢ց⾕րꪛ溭ցꉺ齬潸䜈⹸脯䧯掿摿㵶脢溸气⾀⪴ ⻎둑錻⫙䍳佻곒熏爖溸劆✲亠熏뭒ꇅ䔯摿韣㹧窣玘㺾긖

溸婿㻏䠌䧶朮鮐㺾긖溸籮戀㕈狹ꌬ茥❈摿㵶脢▢䕒♧㴙麃 ▇軹㠂♂꿶播⫙▢摿岻♧⪴☑气嵛⾕溯䈰⪴氘掿㕈狹圸

Unit of Interdependency

2

剚鸏珏匌銯〫剤⦐➃⟃⿻ ...... ➮⦛涸㹻䏭պ

[4] ⿮罌շ⚆歲➃奚㹒鎊ո痧⼧Ⱉ哭չ㹻䏭僽㣔搭涸ㄤ㛇劥涸爢剚㋲⯋⚛䥰「爢 [5] ⿮罌 Foucault Michel2016寝字㸞陼շ犷叕俒鼇 III荈䧮䪮遯ո⻍❩⻍

❩㣐㷸ⴀ晝爢剅⚥⡲罏㼩倴鷴麕չ荈䧮䪮遯պ⢵䒊圓⚺넓涸䲾鶤չ⢪⦐넓腋㣁

鷴麕荈䊹涸⸂ꆀ䧴罏➮➃涸䍲⸔鹎遤♧禺⴪㼩➮⦛荈魨涸魨넓⿻꫙뇺䙼䟝 遤捀㶸㖈倰䒭涸乽䱾⟃姽麨䧭荈䧮鱲隶⟃宠栽䖤厥珏䎋犷秫悦兰䢵㸤 繡䧴♶勁涸朜䢀պ


Curatorial Discourse

T

he exhibition 'Unit of Interdependency' is developed from the on-going project "SelvesEducating" founded in 2016 . The project centers on the process of knowledge production and the experiment of re-defining contemporary knowledge. Seeing art as an alternative approach to produce knowledge, this exhibition has grown out from the project, Selves-Educating, to focus on the collectives or communities formed for co-production (of alternative knowledge), as well as the political subjects constructed during the process of coproduction in which common ideology and active/ resistant agencies are established via negotiation. For this exhibition, these self-organizing political subjects, which co-produce alternative knowledge, are saw as the "unit of interdependency" for us to reimagine an ideal society. This exhibition initiates from the contradiction of nuclear families and communities in contemporary society. Families are the smallest units of relationships recognized by the Taiwanese legal system[1], and generally are considered as the fundamental units that made up human society[2]. Families have changed their forms to accommodate the production requirements of societies throughout time. However, after the industrialization and urbanization of Taiwan since 1960 s, the mode of production and the structure of economic changed, and a (nuclear) family became more-and-more an individualized and isolated unit that is irrelevant to co-production. Based on these observations, the famous quote by former UK prime minister M. H. Thatcher, " There is no such thing as society", appears as rather true and honest. Looking at the families in today's Taiwan, conventional nuclear families and the concept of "one man, one woman" or "one wife, one husband" families are challenged by new social ideology. In May 2017, the Judicial Yuan of Taiwan announced that the current Civil Code is unconstitutional as it does not guarantee the freedom and equity of same-sex marriages, and requested related agencies to amend the laws for the rights of same-sex marriages within two years. This was the

first Asian case of such in the movement to diversify families. This judgement of justice does not only reaffirm the constitutional guarantee of human rights, but also reflects the needs of new families and new units of societies. Second to nuclear families, communities are also recognized by the State as co-dependent social unit. Nonetheless, contradictions and conflicts between the characteristics of communities and the current societies are highlighted since the 1990 s policy of the integrated community construction. In 1994, Council for Cultural Affairs, of Executive Yuan, proposed the plan to "use cultural construction for promoting overall development of communities". Since then, communities are sometimes included in the vision to develop cultural-economical codependent communities and poured with government resources; and other times, communities are treated as city nails forced to demolish under land development or urban renewal plans. The concept of community or settlement is not based on blood relationships or marriage contracts, but on shared living spaces and life experiences; making communities or settlements as social units not based on kinships and, consequently, alternative families for those without family support. But the policies for urban spaces and cultural development are most interested in economic values. The communities formed by people without families are often not aligned with the "progress" and "development" -oriented government policy. These communities with less economic values are therefore being institutionally marginalized and broken again, challenging people without families to find shelter, be it mentally, a sense of belonging, or physically, an economic basis. Obviously, it is no longer possible to build a sustainable community unit based on shared lives and collective labors. Obstacles of maintaining such communities are more likely to come from the system which puts advances of economic values as top priority. Besides, communities are not based on blood relationships and marriage contracts, but the networking are conventionally among people in the

劆㸰⪴㲾ㅠ⛻

3


same geographically neighborhood, and limited by the physical distance between members. The difficulties faced by nuclear families and communities today, and the assumption, according to Universal Declaration of Human Rights, that human societies are constructed with small fundamental group units which should be protected by the State[3], remind us to re-construct a new perspective of recognizing the "unit of interdependency" as a reference for re-defining "the fundamental group unit for constructing human societies". In this exhibition, we advocate to re-define the term "art" as activities for producing alternative knowledge and political subjects based on "empathy" and "imagination". This is to more accurately use the tool

of communication, i.e. language, so that we can at least conceptually move closer to the above ideal before further discussion on a new perspective. Only when we see the unit of interdependency which does the artistic activities defined above as a fundamental unit for constructing societies, the so-called "society" can be a network constructed based on collective labors and their relationships. Comparing to the societies formed by agricultural settlements or small family business, the collective labors change the production method (to art); and the fundamental unit of society does not promote the production of economic subject, but political subjects. If we move forward based on the explanation that "production/construction of subject" is "to have the power to manipulate the existence of self and self-transformation[4]", the unit of interdependency for re-constructing the society will then be recognized as the political subject created from the co-production of knowledge. As a result, the unit of interdependency will definitely be able to selforganize, to negotiate ethical relationships among individuals, and to have sufficient strength to defend each others' survival in the system. It will be a unit of interdependency for "one individual and another" and "collectives/communities and the system", the fundamental unit for constructing the society. Unit of Interdependency

4

㳜♧蕊 SUN Yi-Cheng

1990 䌑气偠⺬ⵍ⺬挗⩰䕁汷噻偠㏔皒⺬挗㝕㳴

气⾀璇㳴笢㏔皒蕇ⵍ跖銋㝕㳴跖銋鴚㔔煝疶䨿 ╭⟵倁ⵋ气氘蕞瞭㺥劁皒䗅䧯掿䱳筻气⾀溸璇㳴 㵶䕁㎌劕䠌偠槁鉿㳴ꯗ笢簣⺇⯜偠傷劕溸㳴璇⮖

ꓩ㠂气⾀璇㳴〡㳴獘劋㳴瞐脯鱂⻔沖♣跖銋 瞭㺥瞭㺥㷞鵖偠儱䧯掿㟨鉿⺞꿕焒餠气氘溸做

岻ꂁ䌑㟨▢蔻ⲇ偠聁䀂獘聁⺬挗气朮跖銋獘聁 溸獘聁痀ꪨ籮易ꄠꇅ獘聁籮易箕畤☭蕞☭䕒♧

⪴⻎ⱁ✑蕞䭧纭㸫霁溸㕈狹潨⯽偠皒做阜ⱜ痀ꪨ 亵⚉ⲙ槏瞭㺥☭

Born in 1990, Taipei, Taiwan. Graduated from Graduate Institute of Trans-disciplinary Arts,Taipei National University of the Arts, and the Department of Life Science, National Taiwan University. As a curator and coorganizer of archipiélago community (TWbioart community), she takes curatorial practice as approach to produce alternative knowledge and take community-building as fundamental work to cooperate with others. Recently, as an assistant curator, she works in TheCube Project Space.

[1] The Part of Family of the Civil Code [2] Huang, Ying-Kuei ed., 2014. Family in the 21st Century: Where is the Taiwanese Family Headed?. New Taipei City: Socio Publishing

[3] Universal Declaration of Human Rights, Article 16. : The family is the natural and fundamental group unit of society and is entitled to protection by society and the State.

[4] Minan Wang trans. 2016. Self technologies: Foucault anthology ˼ . Peking: Peking University Press


4

3

0

5

2

2

1

p.6

1

p.8

2

何劋╭䟩䔕⦒䈰✑㵎ˌ襬⩱劁籮䧰溸㵶 Socialimage StudioˌHua Guang (Once) My Home 椟⹱䌐匃✲岸묚㞜䰤䏝揸囐ˌ꜁尉銀嵟

WANG Yu-Ping, LEE Chia-Hung, HUANG I-Chieh, LIAO Xuan-ZhenˌTime Splits in the River

p.10 3

茥潂蕟䈰䏴

p.12

4

䟌㓻

p.14

5

Neng Sheng Xing Factory Trapped Citizens 匃㞌㚧ˌꪒ撠籮戀㳴璝⡊揠䩭ꊞ LI Kuei-PiˌSolar Flare Economics: Rentopia

劆㸰⪴㲾ㅠ⛻

5


襬⩱劁籮䧰溸㵶 Hua Guang (Once) My Home 何劋╭䟩䔕⦒䈰✑㵎

Socialimage Studio

襬⩱獘ⶤ㳴气陨鞬㸰篂⪼♒鉿ⳛ脢䕞♃⪜饘꾴ꪛ 㢾ꄣ惓箕畤ꆽⳛ潸ꬨ溸䔕⦒魗値╭锣⪠㵽䭇㺈宑

Starting from intervening social issues, Hua Guang Community Student Investigation Group (and other activists) has filmed up lots of video files that are related to the social movements such as interviews with residents, street scenes, and protests footages. In 2014,

陨鞽銏冎⾕䫏暾嵛ⳛ第ꛉ2014 䌑ꌄ⮖ⸯ⹸ꃁꈶꆽ

some of anti-forced eviction activists and the follow-

⛾갩溸䧯勔蕞䪫銋唅⚂ꪛ㢾雨㏨ꓨ偈俠槏Ⱝ齬ꄻ䪠䔕

out all the video clips left from the protests and make

ⳛ脢䕁纭⹪蕞脢篂䧯ր何劋╭䟩䔕⦒䈰✑㵎ց♧劆

꼟♧鏬✑䔕⦒✑⿣掿潨埊第ꛉ㐃㏸㐍ꪛ溭蕞㏔㵶凾

ⲇ┬⺇㛇ꃁ溸☭宑蕞䫏暾脢╒㈡雨♧䔕⦒气氘䫌⪜獘

劋鉿ⳛ潨⯽䉂㴟䧯վ㡤㵮┯⪬ⳡտ 2015վ襬⩱劁 籮䧰溸㵶տ 2017⪣ꌄ䔕⦒✑⿣

ups formed up "Socialimage Studio", and tried to sort them into video works with lowest cost and technique requirements. They aimed to put these video works into social actions, recording all the protesters and people exposed under the violence of nation and land development. Socialimage Studio has presented videos: Interference with Injustice Public Functions (2015) and Hua Guang (Once) My Home (2017 ).

Unit of Interdependency

6


襬⩱劁籮䧰溸㵶 Hua Guang (Once) My Home 2017䕧晚秉 120 ⴕꗻ⚥俒㶶䍌 2017, film ( 120 min, Chinese subtitled)

襬⩱獘ⶤ儱⛻偠⺬ⵍ䉗╚婞第䗽㕔偪溸긋⪿㒘臕訓氮 傽岖兎劻ր⺬ⵍ⮥ⳡ䨿ց⩱䕰䕁⺬ⵍ潑梘㶇蕩蕞㓻ꍂ

瓌宑䨿䊩❔溸ꇜ皺䐮碏⪴⻎䓺䧯┞曪脛獘ⶤ2008 䌑

Hua Guang Community was an atypical community/ settlement nearby Chiang Kai-Shek Memorial Hall. The residences were immigrants, former workers of "Taipei Prison," and their families, who gradually settled down during the time of Japanese colonial and after Taiwan restored. Since 2008 , the government

鱏㐃侓䍠ր⺬ⵍ襬曗銏ցր⺬ⵍ⪮勔勏ց瞐㏔劕㐍ꪛ

planned to regenerate the field into "Taipei Wall

劕㏸㐍ց╒♧陽限做䑑ꆕꃁ┯꿈䵳ꈶ溸㺈宑魿⨠둛

declared that the buildings here were illegal

溭阜沃▇┬ꪛ㢾劕阜沃㐍╭䒠襬⩱㺈宑ր긋岻ⷑ㏔ 꾶ր┯沖䕒⯈ց╒┻蔦鉿䬐ꯙ㵶㺒☊䑜溭㳴气舉䴉篂 縩䫏暾嵛ⳛ霃獘ⶤ劆䕁偠 2013 䌑⪩劓錻㝬掿䌐㐍

勔曪♧⹸ꃁꈶꆽⳛꇅ╚溸㺈宑陨鞽䔕⦒掿╭锣筷包 ♧㎃⠥皺硾⮖⯂阨韣ⸯ獘ⶤ溸䍑㺾⳪ⳛ䒤䬐◜⚂

⺶岻㛇ⲇ♧䒙Ⳳ⛿䨭䵳ꈶゼ꾴瞐긖⻔⪴帏譔 9 ⠥

㵶䨭11 ⛻㺈宑勔曪儱䫏暾ꆽⳛ篂縩ꇅ╚ꅾ鉿䔕⦒

第ꛉ溸曪嫙겑⻉♧☭朮掿╚䖦臕撌偠⺇ꃁꈶ脢⮘㷞

Street" or "Taipei Roppongi," at the same time encroachment on state-owned land and started to sue the residences, forcing those who were unwilling to move out to compensate a huge amount of unjust enrichment and asking them to knock down their houses on their own. Students and protest groups had come to support the residences. But the community was razed to the ground in 2013 August.

긖㸫溸气嵛侊首籮戀鬘亵㏔㵶凾ⲇ䖦槏柁岞蕞獘

This video is mainly about residents' interviews

爖溸㎧곔蕞껋䙎⻎兎▢趦氮⺇陨脢㎈忈襬⩱獘ⶤ㐃

are four episodes which cover issues like bottom

ⶤ䝡䠌瞐⪠㵽ꓨ槁侓岖籮戀篚圸┬錻㛇ꃁ脢澶㷞脯橺 㓻ꍂ溭㺥婾⺮╚溸䓺䧯茹簁⭿꿶沖♂㺈⛿㏸㐍侓瞭 溸蠰颵蕞┯聋

during the anti-forced eviction movements. There labors, forced demolition, law pressure and moving problems of the underprivileged group. 9 families and 11 residences were interviewed in the film. This video is a collective documentaries about how the protest and social movement are processed. It focuses on those victims who are forced to face life changes, economic burdens, and national violence. The mental statuses of the residences and the love within the community show the obstacles and the toughness the oppressed encounter under political and economic structures. With residences recalling the history of Hua Guang Community under context of urban and rural development, the film highlights the absurd and injustice of the residential and land policies nowadays.

劆㸰⪴㲾ㅠ⛻

7


꜁尉銀嵟 Time Splits in the River

椟⹱䌐1993 䌑气偠⺬ⵍ⺬挗

WANG Yu-Ping: Born in 1993, Taipei, Taiwan.

묚㞜䰤1992 䌑气偠⺬ⷂ⺬挗

HUANG I-Chieh: Born in 1992 , Tainan, Taiwan.

匃✲岸1992 䌑气偠⺬╚⺬挗 䏝揸囐1993 䌑气偠둛겋⺬挗

㎃☭掿㝕㳴⻎⨐2015 䌑汷噻偠⺬ⵍ跖銋㝕㳴耙銋笢

LEE Chia-Hung: Born in 1992 , Taichung, Taiwan. LIAO Xuan-Zhen: Born in 1993, Kaohsiung, Taiwan.

Graduated in 2015, the four members are all from the

槁嵛ⳛ偠⺬ⵍ⺬挗✑⿣♧鉿掿銩悎ꛉ⦒阜沃㒘ⱁ

department of fine arts at Taipei National University

瞐劁⹪蕞 2018 䌑ր⺬挗㏔갿第ꛉ曪䔕㺥ց2017 䌑ր뉉

works consist of performance art, film, and project,

✑掿╭⻽ ռ慙塁սռ꜁尉銀嵟սռ╚㏔㓻㝕䨥ꯗս 鮭㏔갿第ꛉ曪䔕㺥ց2016 䌑ր⚢鰺䬕殆第ꛉ曪䔕㺥ց

2016 䌑ր⺬挗겼䌑㺥ց瞐䔕㺥舀㺥

of the Art. They are based in Taipei, Taiwan. Their including Graveside, Time Splits in the River, Chinatown Theater, etc. They participated in various exhibitions,

including Taiwan International Documentary Festival(2018), Marseille's International Film Festival(2017 ), Jihlava International Documentary Film Festival(2017 ) and Taiwan Biennial(2016).

Unit of Interdependency

8


Time Splits in the River is a collaborative movie

project created by four artists and four families. The conception of the project originated from the artists' involvement in a social movement. While taking part in Taiwan's Sunflower Movement, the four artists realized that their families are quite hesitant about social movements in today's society despite they agree with Taiwan's modern democratic progress. Furthermore, although their parents had grown up in the 1980 s when social movements flourished, they had never participated in one. The four artists then decided to use filmmaking to trace back to this period in time with their families and to use the opportunity to communicate with each other. They have created a screenplay by adapting a novel by writer and political

꜁尉銀嵟 Time Splits in the River

2016䕧晚89 ⴕꗻ⚥薊㶶䍌莅俒⟝ 2016, film ( 89 min, English/Chinese subtitled) and document

prisoner Shih Ming-Cheng, with dissidents from the martial law period portrayed by members of their families. As the plot advances, their families

ռ꜁尉銀嵟ս儱┞꽃氮㎃⻐跖銋㵶蕞㎃⠥㵶‫⻉⻎⪴ﳰ‬

also begin to slowly become entangled in their own

溸籮덴㎃⻐跖銋㵶㐃⹪蕞㝛갅蛟ꆽⳛ溸ꇅ╚溭槁

introspection of their own lives. The process of the

獘劋ꆽⳛ劕詈頳㝂沽䢫 ; 婠㜾ⷬ➬曋嬏䧯ꩾ偠獘ꆽ讖

the film.

⻐跖銋㵶尵㴼ꄠꇅր䬚괐䔕ց❔⾕㵶☭┞⻎ꃱ忈ꄻ嫙ꇅ

The project employs film as a communication

偣僻婞溸㸰靿⾕气⾀籮덴侊紮掿Ᵽ勔脯㵶☭⠰⯵㐃

dialogues that have been avoided in the past

溸䬚何ꇅ╚惓惓㐍ꅾ⪜◗蔦䉁溸㎈䤿䧯◗⻄蔦气⾀

reenacting these social minority's experiences, the

◧ⳛ溸ꇅ

majority and other dissidents, while exposing the

✑溸괐䔕阜沃ꄻ꽃阜沃溸溭䞰徏蔦偠⹪蕞獘劋ꆽⳛ

past, with the film capturing the recollection and

㵶☭겴播ꌬ芇㴼ꂁ♣宑╭侓岖溸溭㺥ⷺ㸫偠沖♂溸

families' interactions is then ultimately presented in

ⲿ溭㺥溸 80 䌑♣沖䌑ⷺ▢ꌬ┯劁镫麃⹪蕞⪼╚㎃

䔯╒趦婠徧ꄾ䔦婠┯⻎溸䞰岻♒⠰㸡潑梘倁㳴✑㵶

platform to subvert relations in life and to spark

曪╚냫悎䧱㌼兎劻溸沍饘⚍㲳 ; 播脯㵶☭⠰ⷺ㐃괐䔕

amongst their families. On the one hand, through

侚◜溸㎈꿩蕞⹸䘽劆䕁溸괐䔕⯵⼱槁◗ꄻ嫙㵶☭▇ꪨ

film reintroduces conversations between the social impossibility of internal family communication.

ꄻ꽃阜沃㸡괐䔕✑掿脌龞槁㷞ꬨ➵溸徧ꄾ䌐⺬趦婠㐃 㵶‫⪠ﳰ‬䩤ꪛꇅ䔯錻ꪘꟃ溸霁靤┞做긖㈡雨㐃ր㸵俪

籮덴ց溸ꓨ悎╚ꓨベ獘劋㝂俪☭蕞沍䉁ꪨ溸ⶾキ ; ⺞

┞做긖⯵긖㸫◗㵶‫⪠ﳰ‬ꌄ徧ꄾ溸┯⺪茥䙎

劆㸰⪴㲾ㅠ⛻

9


茥潂蕟䈰䏴 Neng Sheng Xing Factory 茥潂蕟䈰䏴儱┞⠥♧气嵛⾕獘劋ꆽⳛ䭧纭ꬨ峜☭꿕 气㲾欏㘷溸䌑鼹㏬갠

2013 䌑茥潂蕟氮┞聁䌐㐮䌑번 26 婷溸䌑鼹☭篂䧯

♒ / 㟨⠰♧⺬ⷂ䉗⟥聋銏┞䍵䏹啉㝂兎溸꣯䈰䏴掿㕈

㐍䕞俠⟵䈰䏴溸䐮碏둑⢳鱏㐃垻叻⾕犝殆╚䵵鱏䧯 〉⠰镅▇掿ր㵶ց溸茥潂蕟䈰䏴

茥潂蕟溸䧯〉♧㝒⛘䧶㵶☭甭⽿䔦婠╒♧⪬獘溸⪴☑ 蕞蔦岖窣玘籮易긋易⯈溸䈰䏴痀ꪨ蕢ꀡ⻄甦㺥悎嵛 ⳛ⮖☑劋茥潂蕟蕞沖㐍㸰ꀺ⻉✑嬓劓伆陮欏㘷⹵

ㄍ䉗겑╒㝂姎蔦禵籮魁蕞☭ⲇ魗徏篂縩⾕瞭ⱜ䭇 ⺬ⷂ䏹呦ꆺ鉿蕞ր䔅轀⺬ⷂꆺ鉿ց瞐獘ꆽ嵛ⳛ㐃⺬ⷂ䉗

ⶤ蕢鉿2016 䌑㐃瞭㺥☭ꊮ參‫ﳱ‬蕞谚繉㠂溸⪴⻎瞭ⱜ

Neng Sheng Xing Factory is a young organization aiming to raise awareness about our living environment through promoting social movements and demonstrating an environmentally friendly lifestyle. Neng Sheng Xing Factory was founded in 2013 by a group of young people whose average age was 26 years old. They started off by renovating an

abandoned iron factory in Tainan, transformed that place into Neng Sheng Xing Factory, which they identified as their "home". Through working and living together, they saw each other as family members and working partners.

┬溭㺥┞䌑┩嫙䑑溸跖銋뉼匆阜沃ր茥潂蕟䈰䏴㏔갿

Neng Sheng Xing Factory embraced commune's

⾕ꎖꓧ╢舀臕訓䑑粎跖阜沃╒蔦鉿瞭ⱜ襵䔾魬☭㛶❔

diversified non-profit events, talks, and exhibitions.

跖銋匆ց2017 䌑茥潂蕟蕞㸰蠘㝕堅ꓩ㐍㳴吿⻉✑

⺬☆嵥阜沃㝂㖪㏔⪠㜾㏬둑溸☆嵥嵛ⳛ

⻎埞㕈偠⪴☑蕞蔦岖溸易ꆽꉺ齬㹧籮戀㺾긖脯阌䈰

䏴溸璝ꓭ蕞㝕㸰ꪛ佻氮䧯〉⠰⻄蔦㐃㜾⫅䈼䩤䈰溸侅

⪜⪴⻎鬘亵2018 䌑┞劓㎌꣯䈰䏴璝笵⯒劻蕞⪼♒頳

principals - sharing and self-organizing - to arrange For instance, they collaborated with local farmers to hold monthly environmentally friendly farmer's market, and they also coordinated several social movements in Tainan, including "Tainan No-nuke Demonstration" and "Rainbow Tainan Parade". In

㝂脞ꓪ㐃⬈㝆鎮溸ꪘ䋝嵟㸫篚匙䕁茥潂蕟䈰䏴婞䑑

2016 , together with curators Chiu Po-Ting and Tsai

倁䲀䏼ⶾ劋ց纉纭ꆽ✑䕰芎⾕䲀䏼⺬挗ⸯ气甦儱ⶾ劋

program, "Neng Sheng Xing Factory International

侊掿摿㎷㴼仄뭒溸ꆺ末䑑㏬갠♧皒咀篂縩ր跖䈰茥跖

溸╭锣做⻔勑❔㸡剳⻐掿ր茥潂蕟ⸯ气甦䕰芎ⶾ劋ց 茥潂蕟䈰䏴䧯〉潨⯽俇䉘偠⺬挗㎃軹⣫曗臕劋䌐兎 ♧獘聁黢둑✑掿╭锣徧ꄾ㪿♃

Show-Zoo, they organized a one-year art residency Art Village". In 2017, Neng Sheng Xing Factory not only held the "Green Art Settlement Residence Project" in collaboration with Wildoor School, but independently coordinated the communications with Philippians activists and various domestic and international art and culture organizations. Running a place in Tainan was not an easy thing. Based on their principles of sharing and selforganizing, the members of Neng Sheng Xing Factory took all kinds of part time jobs to pay their rent and

Unit of Interdependency

10


other expenses. Yet, in January 2018 , due to the expiration of lease and personal reasons, the members decided to shut down the physical site of Neng Sheng Xing Factory. Since then, Neng Sheng Xing Factory has evolved into a nomadic organization, operating under the name of "Yi Gong Neng Arts Promotion Association". The association's latest goal is promoting and restoring Taiwanese indigenous species, and the association will accordingly be renamed to "Indigenous Species Restoration Association" in near

2016 䎃 3 剢〵⽂䑛呍麉遤呍ⵌ⡹度憺

future. The members of Neng Sheng Xing Factory are now located at various locations all over Taiwan. They mostly use social network to stay in touch, and only reunite on occasional gatherings.

2015 䎃 5 剢չ鴍勠娀酤ꫭ䎃պ倴劣傈鹎遤䒭禺⴪崞⹛涸怵ⴀ䬝伢㖒럊腋渿莇䊨䑖

劆㸰⪴㲾ㅠ⛻

11


䟌㓻 Trapped Citizens 2015 䌑䟌㓻ⸯ儱┞聁垠㏬蕞⽠㏚劗⹵⠰篂䧯溸饿剹

劋蔸♂⯵儱┞⠥䧯〉俪ꓪ䕞 15 蔸 30 ☭┯瞐溸㏬둑 䧯〉䭇垠㏬垠䩘垠ꃠ䔕⦒䈰✑脢蕞镅閅陮阜䊘

Trapped Citizens was founded in 2015 as a book club by a group of musicians and friends. As of now, we are a collective with 15 -30 members, composed of

2017 䌑䟌㓻璝┬⛻偠㝕潳⪬㶲⪠溸┞埀蕞㐍┬㵎痀

musicians, visual designers, film workers, and friends.

╭꾴溸䍵鞽阨韣䔕曪侒儚嵛ⳛ

base for living, working, and band practice. We also

ꪨ氠✑垠㏬䱖絋气嵛䈰✑痀ꪨ╒⣫曗蕢ꀡ⻄甦

䟌㓻劁籮㐃㶯嵥❔锂溸岉ꉭ蕞掀斬곔脹溸꣯滽⠢䍽⪠

⮖⯂蕢ꀡր匯◸㝕睐迀╢ꅛ Partyց蕞ր䟌㓻딈◜ց溸䨭

㜾悎⮃嵛ⳛ♧♧ր㊲꼟廠雨ց掿⻐溸廷亠嵟㸫㐃㝕

In 2017, we transformed a building in Dazhi into our utilized the space to hold occasional public events, including talks, gatherings, and film screenings. Since 2016 , Trapped Citizens has organized

潳痀ꪨ⪠䧰⠰⯵蕢ꀡꇅ♧⪴ⲇ Do It Together䧶

diversified activities in various venues. We hold

聋ց掿╭꾴溸䍵鞽嵛ⳛ

freezing riverside, music festival "Trapped Citizens

儱⻄甦䱳筻ր꼟垠跖銋ⱁ✑㠂✇✑掿┞甦倁ⵋ鉿ⳛ╭

䟌㓻✑掿┞⠥篂縩澚⛣뒿俇罽▌僻牟⮖䈰▢屜劕璇

㺾㸰蔸傽䊬䎗ⳡ㝕蔸㏬둑潨埊ꌬ儱ꄠꇅ㴼劻♧⪴ 餠尵掿ⸯ⯵溸阨韣尵㴼䭷攍ꄻ◳杆䖊䧶陶䟌㓻꿕⛣ 叅甦ր겑⻉ցcollective⻳

"Manuke from East Asia in Solidarity Party" at a Riot" at a steaming hot warehouse, and guerrilla parties "dB Test" at public spaces. Surrounding the theme of "Do It Together" and exploring how music and art can be a cultural activism, we also coordinated a series of talks at our Dazhi base. Trapped Citizen is a very loose and flat organization. There is neither clear obligation nor hierarchy within the organization. Instead, we have regular meetings to make consensus decisions on all kinds of things,

䟶㙹倴㣐湬涸坿㕰䱖箻 / 欰崞 / 䊨⡲瑠꟦〸갤♴㕬ず

from the shared goal and value of the organization, to various daily routine. Based on these characters, maybe Trapped Citizens could be seen as some sorts of collective?!

Unit of Interdependency

12


2017 䎃 7 剢չ䟶㙹뇀✲欰欴箁♳涸㐿갉٥桬Ⱄ跗涸崩宐䌏պ㣐ざ䕧

跖銋㵶 / 겑둑䍵鞽

⚺겗䟶㙹涸♴♧⦐㜥兞㜡デ

儘꟦ 2018/ 10/ 13鹋Ⱉ2pm 㖒럊用倰鎙ⷔ瑠꟦

Artist / Collective Talk Tittle | The Next Scene Report of Trapped Citizen Date | 2018/ 10/ 13 (Sat.) 2pm Venue | TheCube Project Space 劆㸰⪴㲾ㅠ⛻

13


ꪒ撠籮戀㳴璝⡊揠䩭ꊞ Solar Flare Economics: Rentopia 匃㞌㚧

LI Kuei-Pi 1991 䌑⮃气偠⺬ⷂ⺬挗

✑⿣ꬨ峜偠沖♣獘劋╚溸气氘㒘䡤╒┻ꄠꇅ䮭ⳛ蕞侊 ꅑ槁劕溸气氘ꬨ➵✑掿⪼跖銋阜沃╭锣溸ꆽ✑做䑑劆

偈溸ㆷ㟳儱侅겑宑⟓做蕞┯⻎䌑⚍┯⻎㐍ⶤ溸묚꼽

Born 1991, Tainan, Taiwan Her work is mainly focused on the production pattern in the modern society, whose artistic programs are mostly operated through shifting or reforming existing relationship within production process. Recently, her hobby is collecting folk remedies and yellow pages in different years and districts.

Unit of Interdependency

14


ꪒ撠籮戀㳴璝⡊揠䩭ꊞ

"A solar flare is a sudden flash of increased Sun's

2018植䧭暟 2018 , ready-made

flares occur in a power-law spectrum of magnitudes;

Solar Flare Economics: Rentopia

brightness, usually observed near its surface. Solar an energy release of typically 1025 joules of energy is

「閃焰是在太陽邊緣觀測到的突發閃光現象,每次閃焰會

considered to be the median for a well-observed

釋放出高達 6 × 10 25 焦耳的能量(約太陽每秒釋放能量

event, while a major event can emit up to 1025 joules.

的 6 倍,或舒梅克-李維九號彗星撞木星能量的 25,000 倍)

The flare ejects clouds of electrons, ions, and atoms

[……] 閃焰所帶來的 X 射線與紫外線輻射同時也會影響地

along with the electromagnetic waves through

球的電離層,並且讓通訊設備暫時失去正常功能。」

the Sun's corona into outer space. The phenomenon

粫㕈溯璇

嬓갳┞嫙兎ꪨ緶劕┞◳겑劋溭气㐃㓻䉗ꉭ索ꄻ◳겑 劋ꄾ䊬屜劕僻牟溸潨溸▢罽▌⪾篂縩䙎蕞ꩾꇸ溸锺

ⱜ潸鼜偠┞薯溸獘劋ꆽⳛꄻ◳⯈氠沖┬侓瞭鱂⻔ 雨㏨㐃╭嵥獘劋䍑┬䵳瓌魗徏╒┻⺞㜾䐮皒鱏蔦麃⧜⡽ 둑笢溸焝凫겑劋ⷺ㐃⭚臕聁濨銩ꇘ⠥☭䟩锶┪亍 劕剳氌偠獘劋ꆽⳛ溸茥ⳛ䙎

儱☴묉埞溸㞔塎馫ꄻ◳겑劋䕒♧䧯䓺⹱儱☴묉埞溸㎌ 筷馫ꄻ◳겑劋㐃嚍焝溸兎ꪨ鎮⹱闋俇◗劁籮Ⲝⲇ䐮圸 鱏溸偈⧜⡽둑笢

therefore provides an early example of multimessenger astronomy. If ejection is in the direction of the Earth, the particles hitting the upper atmosphere can cause bright auroras, and may even disrupt long range radio communication." ˌWikipedia

Every once in a while, different gatherings happened on the city edge, usually lack of specific purpose, organization or long-term plan. Comparing to typical social movement, these temporal gatherings that utilize government policy and try to shift the resources under mainstream society and build up another system of value, they have stronger agency than social movement on cohering the people and giving voice to personal opinions. What kind of the opportunity for those gatherings to start? And why do they always give up their new

杆⯂䠌颏

system of value in such a short time?

Ⲵ㸻䒄詎粚㥶㩉榰⚥剎竤⿮莅麕螠㿋鹋黩崞 ⹛⚛⚂料昈崞麕涸➃⦛搂锸僽 18 䎃⵹鼩僽 18 䎃䖕涸➛㣔

Special Thanks | LING Zong-Ting, TSAI Show-Zoo, YAO JuiChung, and the people once had been in and around Huashan and spent their life splendidly, 18 years ago or today. 劆㸰⪴㲾ㅠ⛻

15


⹪㺥跖銋㵶 / 겑둑 Artist / Collective

椟⹱䌐匃✲岸묚㞜䰤䏝揸囐匃㞌㚧茥潂蕟䈰䏴䟌㓻颏ⶬ皞何劋╭䟩䔕⦒䈰✑㵎

WANG Yu-Ping, LEE Chia-Hung, HUANG I-Chieh, LIAO Xuan-Zhen, LI Kuei-Pi, Neng Sheng Xing Factory, Trapped Citizen, Sean Xie, Socialimage Studio

瞭㺥☭ Curator

㳜♧蕊 SUN Yi-Cheng 镅閅陮阜 Graphic Design

Johnny Hu

٬㺥劻 Date

2018.8.18  2018.10.28 ٬ꪛ䋝ꏟ劋 Opening

2018.8.18 (Sat.) 3  6pm

٬䍵鞽 Artist/Collective Talk

䟌㓻溸┬┞⠥㖪冎㖦⼴ The Next Scene Report of Trapped Citizen

2018.10.13 (Sat.) 2pm

㐍뭒 Venue

皒做阜ⱜ痀ꪨ TheCube Project Space

⺬ⵍ䉗╚婞ⶤ耈偅琀鴤㎃嫙 136 䉇 1 䐾 13 輏 2 埀

2F, No. 13, Aly. 1, Lane 136, Sec. 4, Roosevelt Rd., Taipei, Taiwan

ⶾꀡㅠ⛻ Co-organizer

鯇ⲙㅠ⛻ Sponsor

皒做阜ⱜ痀ꪨ氮㏔跖劋⺬ⵍ䉗倁ⵋ㹾RC 倁ⵋ跖銋㕈ꓭ劋꯴岪倁⩰气鯇ⲙ易ꆽ

TheCube Project Space is sponsored by National Culture and Arts Foundation, Department of Culture Affairs, Taipei City Government,

RC Culture and Arts Foundation and Dr. Chen Po-Wen.

杆⯂䠌颏 Special Thanks

⺜鷪旷⪴跖⻉✑獘⬽㴶‫ﳱ‬聁䀂獘聁묚㳜妝谚繉㠂ꎎ䢙襬耈䛬

Burn Down Cake, co-art co-operative, LING Zong-Ting, archipiélago, HUANG Sun-Quan, TSAI Show-Zoo, Amy CHENG, Jeph LO


Profile for 立方計劃空間 TheCube Project Space

UNIT OF INTERDEPENDENCY  

Seeing art as alternative activities to produce knowledge, this exhibition has grown out from the project, Selves-Educating, to focus on the...

UNIT OF INTERDEPENDENCY  

Seeing art as alternative activities to produce knowledge, this exhibition has grown out from the project, Selves-Educating, to focus on the...

Advertisement