yellow png
blue png
green png
pink png
orange png
title1 png
title2 png
title1 mobile png
title3 png
title3 mobile png
close menu 計畫簡介 ABOUT
專欄 FEATURE
訪談 PODCAST
回首頁 HOME
open menu
「沒有藝術」的國度
A Realm of “None Art”
by 張紋瑄 Chang Wen-Hsuan

利馬的巴蘭科區對觀光客來說很友善,這個波希米亞氣息的區住了許多藝文人士,此外,附近的海岸也是全球衝浪好手熱愛的標的。走在街上,可以看到許多殖民時期、共和時期風格的建築物,也有不少可以抱電腦進去工作的咖啡館——這種地方在台灣並不難找,但在我跑拉美幾個城市的過程中才發現可遇不可求,因為雖然一樣是攝取咖啡因的所在,但連結到的勞動類型卻大不相同。

Barranco district in Lima is a friendly place for visitors, many arts and cultural people are living in this bohemian place. Besides, the coast near Lima is also the beloved destination for the surfing pros from around the world. Walking on Barranco streets, we can see many architectures of the colonial and republican periods, and there are also many cafés where we can bring our laptops in. These kinds of places are not hard to locate in Taiwan, but I found that it is really precious in Latin American cities. Although in these two places, café is no doubt for people to consume caffeine, but relating to different labor styles and classes.

回頭整理照片時我在想,聖保羅的pixadores看到巴蘭科區的街頭藝術,肯定會對其嗤之以鼻的吧,這些完整度極高、完全被拿來當城市觀光宣傳的塗鴉(說是壁畫其實更適合),和極限運動般的tagging,二者所體現的態度迥異。單單觀察城市景觀,是很難從這些圖像中觀察到什麼社會問題的。我在這裡訪問了artist-run藝術空間Bisagra的創辦人之一Iosu Aramburu,他才告訴我,秘魯的社會階級都往上和往下集中,富者極富窮者極窮,巴蘭科區的住戶不僅「偏富」且「偏白」。Iosu自己也是藝術家,他三番兩次問我,要問藝術的事怎麼會跑到秘魯。對他而言,這裡雖然是人類學與詩的國度,卻稱不上有當代藝術生態,國家和企業對補助文化活動興趣缺缺,在這種狀況下,什麼都要自己掏錢,當所有東西都要自費,沒錢的私人機構難以生存,有錢的畫廊也無法多強,藝術家、評論、機構之間也無法建立起健康的關係。正因沒有藝術生態,創作者的斜槓比台灣更甚,以Iosu為例,他是創作者、評論家、出版商、有時做史的工作、有時再多一點教育的工作,「如果不這樣的話,就什麼事都做不成」他說。

那天訪談結束,又走在被美麗街頭藝術圍繞的街區,突然感受到塗鴉的一種重要功能:它不協助執政者粉飾太平,而是向所有初來乍到的人揭露此地的現實,觀光客即使看不懂文字,都能從景象上直接感受到,這裡並不是天堂花園,有人正被忽略,且他們正充滿怒意。

作者簡介
張紋瑄 Chang Wen-Hsuan

張紋瑄的藝術實踐透過重讀、重寫及虛構出另類方案,來質問機構化歷史的敘事結構,並同時暴露出潛藏在歷史敘事中,不同權力之間的角力關係,於2018年開啟「書寫公廠」長期計畫。

The artistic practice of Chang Wen-Hsuan questions the narrative structure of institutionalised history with re-readings, re-writing, and suggestions of fictional alternatives. To expose the power tensions embedded in historical narratives is a way of managing the relationships and dynamics between individual stories and the writing of history. concerning writing /publishing as an artistic and political practice. She started Writing FACTory, a long-term writing project beginning in 2018.

https://www.changwenhsuan.com

footer footer