女人在邊界想望
尹洙竫花蓮駐村展與學員成果展​
Women; In and Out the Boundary
Yoon Soo Jung AIR Project Exhibition

展覽論述

我是一位在韓國出生和長大的移民婦女,過去15年由於各種原因移居到許多的國家和城市。 我在台灣住了8年,未來在這裡會住更長的時間,但是我將還是一個外人。 因為我沒有長時間在韓國生活,所以既使在韓國我還是外人,因此我總是覺得自己不在這裏或那裡,而是在邊界之內或之外,或介於兩者之間。 這個現實讓我感到痛苦,但這也讓我可以有不同視野的機會。

本次展覽分為三個部分, <他方之間>(2021)、<七位母親>(2014)和<鑲繡你的記憶>(2021)。 它包含一位移民婦女、一位母親和工人婦女的故事。 當您想到“女人”一詞時,這使您想起了哪些詞? 在我看來母女、認同、移居、關係、邊界、家庭、家和懷舊,這些詞浮現在腦海。

對我而言,花蓮是從人為世界到原住民世界的門戶,或是進入自然形式的邊界, 從地理上來說,是從陸地到海洋的途徑。

2021年的新作 <女人在邊界想望> ,這創作計畫讓我在花蓮駐村了30天,它是從我自身經驗開始的。 這計畫創作的對象是婚後生活在不同環境和文化中的婦女,以及像我這樣的移民女性,其中一位太魯閣族女性和三位印尼新移民,她們分享著對家人和母親的思念和感受,談論如何適應和生活在不同文化中的關係,我透過攝影和錄像記錄他們的日常。

這項計劃的目的是闡明來自不同文化背景的女性,他們分享在婚後和丈夫或家人的生活, 同時藉由有著彼此相似的生命狀態,來啟發反思我自己的情況和認同。 因此就本身時言,創作的動機也源於我的個人經驗。

她們的想法、行為、穿著和飲食都取決於自己的環境和文化背景。 一個女人正看著相機。 她在哪個空間? 空間共存著什麼痕跡? 她在表達什麼? 她在想什麼?她感覺到什麼情緒? 她和她的相機之間有微妙的張力。 她在不同的環境和文化中所感受到的認同感和差異感是一種邊界,這使她認為自己不存在和存在於此。 邊界每天都在逐漸消失,但有時每天被新建構著。 是什麼使他們分離? 是什麼使他們聚集? 他們高興嗎? 還是他們只是在一起? 兩種不同文化相遇的邊界處氣氛緊張,而她處於那種緊張狀態。

所有女性在不同的文化和環境中都面臨著許多挑戰。 這些問題的範圍從簽證、語言、家庭困境、或有關兒童的教育和國籍的決定等常見問題,到經濟和政治問題, 這些差異導致感情和關係發生變化,感情和關係的變化也改變著我們的思想和情感。 我認為這不僅發生在國際婚姻,一般夫妻也有類似的情況,會出現問題是因為他們是兩個在不同的家庭環境和文化中成長的人。

很久以前,游牧民族隨牲畜遷徙逐水草而居, 即使在現代,人類遷徙的歷史尚未結束, 仍然有人為了更加富裕的生活而遷移,不得不離開家人去工作和結婚,或者為了生存而離開, 他們同時像是我們又不盡然, 他們是始終在旅途中的人,他們不知道自己來自哪裡或要去哪裡,也不屬於任何地方,這裡面有著無數關於歡樂和悲傷的故事。

我希望通過這次展覽中這些對象的展現和感受,讓我們能夠再次反思我們自己、祖母、母親、姐姐、妹妹和女兒們的生活, 此外,我希望這將是一個機會,重新思考在人類遷徙歷史上,婦女的生活如何發生變化,以及女性的認同、地位和社會角色發生了什麼改變。

I am a migrant woman born and raised in Korea, and has moved to many countries and cities for various reasons over 15 years. I’ve lived in Taiwan for the past 8 years and will live longer here, but I will continue to be a stranger here. I am a stranger even in Korea because I do not spend my daily life in Korea. So I always feel like I’m not here or there, but in and out of the boundary, or somewhere in between. This reality hurts me, but it’s also an opportunity to get a different look.
This exhibition is divided into three parts; , <7 Mothers (2014)> and . It contains the story of marriage migrant woman, woman as mother, and woman as a worker. When you think of the word ‘woman’, what words does this remind you of? To me, the words mother and daughter, identity, migration, relationship, border, family, home and nostalgia come to mind.
The city of ‘Hualien’ is, for me, the gateway or boundary from the artificial world to the aboriginal natural world. Geographically, I think it is a pathway from land to sea.

The new project, which was held in Hualien in 2021 for 30 days, starts from my own experience. It is aimed at women who live in different environments and cultures after marriage, and migrant women like me. I met one Taroko woman and three Indonesian women to share their thoughts and feelings about their family and mother, talk about how they are adjusting to and living in relationships in different cultures, and record their everyday life in photography and video.

The purpose of this project is to illuminate women from different cultures, sharing a life with their husband or family in their space after marriage. At the same time, it is to reflect on my own self-portrait and identity through the lives of women in similar situations. As such, the motif of this project stems from my personal experience.

 

What they think, how they behave, what they wear and what they eat all depend on their own environment and cultural background. A woman is looking at the camera. What space is she in? What traces are coexisting in the space? What expression is she making? What is she thinking? What emotion is she feeling? She has a subtle tension between her and her camera. The sense of identity and disparity that she feels in different environments and cultures is the boundary that makes her think that she does not exist here as well as exists. The boundary is extinguished little by little every day, and sometimes it is newly created every day. What sets them apart? What brings them together? Are they happy? Or are they just being together? There is a tense atmosphere at the boundary where two different cultures meet. She is in that tension.

All women live with many challenges and challenges in different cultures and environments. They range from common issues such as visa issues, language issues, family dilemma, or decisions about a child’s education and nationality to economic and political issues. These differences cause affection and relationships to change. And changes in affection and relationships change our thoughts and emotions. I think that not only international marriages, but also the daily lives of couples in general are not very different. Problems can arise because they are two people who grew up in different home environments and cultures.

 

Long time ago, nomads migrated and migrated with livestock in search of water and grass. Even in modern times, the history of human migration is not over. There are still people who move for a more prosperous life, have to leave their families for work and marriage, or escape to survive. They are both ourselves and not. They are people who are always on a journey where they don’t know where they are coming from or where they are going, and they don’t belong.

 

I hope that through the appearances and feelings of the models in this exhibition, we can once again reflect on the lives of ourselves, grandmothers, mothers, older sisters, sisters and daughters. In addition, I hope that it will be an opportunity to reconsider how women’s lives have changed in the history of human migration and what has changed in women’s identity, position, and role in society.

工作坊學員名單

楊淑梅、楊茜雯、陳陽鈴、謝素芬、游舒甯、田名璋、劉曉蕙

藝術家介紹

尹洙竫 Yoon Soo-Jung

出生於韓國水原市,生活及創作於韓國及臺灣。身兼當代藝術家及策展人,畢業於漢陽大學交通與城市規劃碩士後,於2005年至法國國立第戎高等美院研讀並獲得學位,並於2009年獲得法國巴黎第八大學聖德尼攝影藝術學士。

創作初期熱衷於透過鏡頭捕捉日常生活中的各個時刻,相信重複的影像、聲音、感覺和手勢是對於日常抽象的表現。近來,對於自然與城市之間的關係深感興趣,她認為自然的死亡是來自人類,最重要的原因是因為城市的發展。她主要觀察人與人之間和回憶和地方之間的關係。從2005年起,游離與各個不同的地點工作,長期關注與人相關的議題,認為個人的生活和記憶是反映群體或國家文化、歷史的鏡子。尹洙竫嘗試透過他的藝術創作及策展,試圖形象化那些藏於視覺背後的社會現象、故事、真相、意義等。

在2021年參與花蓮好地下藝術空間駐村創作,以及由文化部贊助,崑⼭科技⼤學創意媒體學院及阿斯匹靈計畫⼯作室主辦的「混.遊記Hun:Travelling in different perspectives」連展展出。2018-2020年參與阿斯匹靈計劃工作室與國立台灣史前文化博物館、台北植物園、高雄市立美術館、韓國京畿道現代美術館合作的「移動與遷徙 – 從地方到他方的故事」國際當代藝術交流展、2017年由韓國Total Museum首席策展人Nathalie Boseul Shin所發起及阿斯匹靈計劃工作室共同舉辦的藝術旅行及工作坊營隊「路演計畫–後山行 」。並參與2015至2016年的河流計畫 Rivers Project : 2015 – 2016『 河流 – 轉換中的生存之道,亞洲當代藝術連線 』,分別於韓國與台灣展出。

近期的展覽包含2015年「品茶之旅日誌 / 尹洙竫個展」、台南老爺行旅2018年舉辦的「背面還有More Than Meets The Eye」、2018年高雄攝影節、2016北海岸藝術祭,參與國立臺灣史前文化博物館的2015-2018的駐村計畫,並於策劃了2014年由韓國京畿道文化基金會贊助的「綠川計畫成果展」及2015年的「日出、日落─台韓國際交流計畫」。

soojung

展場空景

Comments are closed.