地方之感:另一個國家計畫 Sense of Place: Project Another Country

展覽時間:2016 年 1 月 30 號至 2016 年 3 月 27 號

開幕茶會:1 月 30 號 19:00;藝術家座談:19:30

地點:路由藝術 台北市中正區金山南路一段67巷5號1樓(捷運東門站1號出口)

 

關於展覽 地方之感:另一個國家計畫

集結夫婦、父母與藝術家等多重身分的阿奎禮贊,為提供五個孩子更好的生活環境,自2006年移民澳洲布里斯本後,許多作品皆反映出自身的移民經驗,提供移居與移民議題的討論空間。此次展覽選擇以「船」作為作品形貌,主要希望能夠藉由不斷航行於世界各地的紙箱船作品,串起移民遷移前的記憶與遷移後的想像,在有限的紙箱空間裡,置入關於家庭、認同與歸屬的巨大意義。

「家 Home」是生活痕跡的累積,無論是不再適穿的舊衣物、孩童時期的玩具、推放在倉庫的家具等,都親自見證了我們過去的生活經驗。每個物件背後都是一段故事、一種習慣、一絲渴望,這讓物件本身乃至於最終作品都是富有情緒的,藝術家匯聚眾人的情感經驗;觀者也能透過作品發掘專屬的個體記憶,在彼此交織的經驗網絡中找到共鳴。

由於阿奎禮贊夫婦本身即是移入澳洲的菲律賓家族,隨著作品巡迴世界,他們也始終將創作的核心概念聚焦於「認同」,期望將各地原始的、本質性的因子考慮進來,串起與當地人民的連結,這也是為什麼他們向來堅持以社區藝術的方式進行創作。藉由搭起搭起自身過去、現在與未來間的橋梁,找到何謂認同與歸屬感的定義,如此的理念無論在創作方法,亦或最終呈現的作品裡都能發現一二。就如同他們自己,也曾為了家庭與陌生的土地拉扯奮戰,而將移居時留下的記憶與情感,都作為了新據點的基石。

About the Project: Sense of Place: Project Another Country

Alfredo and Isabel Aquilizan work together as a couple, parents and artists. Though they pursue individual creative vocations, their collaborations dwell on their everyday life within a family of five children. The duty of raising them and the intimacy of ensuring their well-being have come to inflect their work with collective habits, or habits of collection - and also of belonging. In the Philippine setting, where filial ties are extensive, the Aquilizan brood cannot be solitary; it is but part of a community of kin that weaves in and out of the household. Through the years, the home as an abode gathers testimonies of passage: of clothes and toys outgrown, furniture stacked in storage, and other possessions strewn along paths.

The practice of Alfredo Juan/Isabel Aquilizan indexes the habit of keeping and investing things with sentiment. It is a disposition shaped by varying desires: as a matter of necessity for a family of five children and as a matter of contingency for artists seeking the intimate contexts of a collective, whether kin or nation, the mass or the global. It is further deepened by their experience as Filipino migrants in Australia and their commissions of installations across the world.

The Aquilizans negotiate identity vis-à-vis tracing points of mobilities. Always considerate of the heterogeneous nature of spaces—a virtue they termed as collaborative—they establish kinship not with place nor people but with the exodus itself. This is the bond that contextualizes their past, present and future projects, irregardless of the constant restructuring of the methods and modes of representation of their artworks—identifying with departures as a poignant tribute to all, like themselves, who have managed to make homes out of strange lands, keeping memories of the passage as the foundation of new dwellings.