阿里安山・卡尼安哥 蘆竹湳駐村創作計畫

Aliansyah Caniago's Residency Program in Luzhu

 

時間:2016年11月5日 Date: 5 November, 2016

藝術家:阿里安山・卡尼安哥 Artist: Aliansyah Caniago

地點:蘆竹湳古厝/路由藝術 Venue: Luzhu Community / NUNU FINE ART

= = = = = Facebook 活動頁面 = = = = = 

In the second year cooperating with Luzhunan village, we decided to invite Aliansyah Caniago to Taiwan, which makes our artists-in-residence programs a special project as it includes more interactions with the local community. In this lecture, Caniago will talk about his past projects in Indonesia and then move to the project “Catch the Eels” that he did in his two-month residency in Luzhunan village.

With a background in painting, Caniago’s practice has expanded into the medium of performance as a need to engage with the urgencies of the everyday and to work with and speak to a wider community. Questions of identity and environment, tradition and modernity have been at the core of his work. The notion of ‘landscape’ has always played an important role in his practice and he engaged with it in different ways. In several performances, he explored the close bodily connection with the landscape, how people can blend in or stand out, how people become part of the environment or an extension of it.

The artist have been looking into ‘landscape’ also as his immediate environment defined by urgencies and concerns. This has been the driving force of the long-term project, Titik Balik that continues at present. Since 2014, Caniago started to work with the community of fishermen in Ciburuy, a small village located 22km far from his hometown Bandung. In the past years Situ Ciburuy, the lake around which the villagers settlements were established and which constituted a source of the local economy, was heavily polluted. This process of degradation is partially connected to the activity of a factory where more than 50% of the Ciburuy inhabitants are currently working. The activity of fishing has been replaced by the work on the factory, leaving the lake in a state of neglect, forget fullness and lack of purpose. As a self-initiated project, he decided to spend time and engage with the local fishermen activities. his work unfolded in several stages, an important moment being the act of recuperation of an old boat. The boat belongs to one of the fishermen but due to lack of use has been left derelict and buried under the water. With the fisherman's consent, he pulled the boat from the water and together with other fishermen, artists, and dragged the boat from Ciburuy to Bandung on the dry surface of the asphalt. They walked on the highway built by the Dutch during colonial times, part of a major modernization plan driven by economical interests that has radically shaped Bandung and the way its locals relate to their environment till now. Caniago also developed this work into an installation but also into a series of landscape paintings, a way to mediate and translate the performative actions into the still realm of the image. The project could be viewed as an on-going and wider reflection on the relation between tradition and modernity, the relation between man and landscape and how they shape and subject each other.

The project “Catch the eels” is the new project that is going to happened in Luzunan. This well known folk rhyme depicts the collective memory of the old farming generation; meanwhile, most of the young ones barely experience it. How to rouse the the awareness of local tradition? How to extract the embodiment of relationship?

和蘆竹湳古厝合作藝術家駐村的第二年,印尼阿里安山・卡尼安哥(Aliansyah Caniago)的前來對這個計畫來說是格外有意義。這次座談阿里安山將從他過往於印尼的計畫談起,以及分享這兩個月駐村時所發想的「捉泥鰍」計畫。

 

阿里安山是現今印尼當代藝術界中頗具代表性的表演藝術家,他的作品切合社會脈動而不做作。儘管起始於繪畫,阿里安山對社群的關切和日常的參與讓他又進而跨入表演領域中。身份認同、環境保護、傳統承襲、現代化等等議題不斷地在他的作品中被提及,可以說是所有相關作品的起始。「地景」則是他實踐概念的重要元素,並以視覺以外的手法運用;舉例來說,阿里安山曾經在「餵鳥」這個行為演出中,將自己覆蓋上一塊綠色塑膠布,遠看如同草原一般,並在身上灑上飼料以求鳥類的親近,最後這塊布也以繪畫的型態在展覽中展出。

除了作為元素,「地景」本身也總能立即地反映一個社會的狀態。這也成了阿里安山的長期計畫 Titik Balik 進行下去直至現下的一大動力。2014年起開始的這個計畫是與 Ciburury 的漁村合作,這個村落距離阿里安山的家鄉萬隆22公里遠。近年來,維繫著村落經濟命脈與生活機能的河川卻被工廠排放的廢料嚴重污染,同時,超過50%的居民卻是在身為罪魁禍首的工廠裡工作的。被污染的河川自然沒有漁獲,傳統漁業自然被工廠給取代,這條河川也漸漸地被在地居民遺忘和棄置。這項藝術家自主發起的計畫花了相當多的前置期在深入居民社群中,衍生出第一階段的創作;他說服當地漁家協助將一艘傳承下來的木船從河川上那龐巨的垃圾山中挖出,並從河邊開始一路拖著殘破的船體走了8個半小時,沿著通往市中心由荷蘭人建設的代表著現代化的大驛路,這條基於經濟發展而建立的道路形塑了萬隆現今的面貌及這邊的人民與環境的關係。作為這項行為作品的轉譯跟反芻,阿里安山後續也將過程以視覺形式呈現過,畢竟這個牽涉廣泛的議題反映著地區中傳統與現代的關係、地景與人的關係、並且互相牽動形塑。

同樣意圖連結傳統與現代,這次台灣的「捉泥鰍」計畫發想自過去由田間生活演變成的傳統民謠「捉泥鰍」,可不論是這首歌或是捉泥鰍這樣的記憶,儘管老一輩苗栗人都經歷過,對於現今的苗栗年輕居民卻是少有的體驗。如何再次喚醒土地中的傳統?如何從生活中不造作地提煉出關係的具象語言?