留洋四鏢客 |7.20-9.8|TKG+


展期|2019.07.20 – 09.08
開幕|2019.07.20(六)4:30 p.m.
地點|TKG+
策展人|高森信男
協同策展人|魏榮達
參展藝術家|張恩滿、符芳俊 + 曾紫詒、磯村暖、朱利安.羅斯費爾特、李若玫、林仁達

文/高森信男

在莫臥兒街做生意的印度商人,通常會用定期往返仰光和印度的遠洋汽船,把鑽石和珠寶運送到印度。船上的官員就像信差,寶石就裝在Cuticura蜜粉的盒子裡。我記得有一次,看到船上的歐洲人船長就拿著這麼一個盒子。其他適合藏匿的地方還有行李箱的暗格、歐洲式鞋子的簍空鞋跟,以及雨傘及腳踏車的把手。
──蘇尼爾.阿姆瑞斯《橫渡孟加拉灣》

阿姆瑞斯(Sunil S. Amrith)所描繪的場景,可能是二十世紀初全球化甫開始盛行之時,來往仰光及加爾各答間的單幫客面貌。「單幫客」是個奇特的複合體,我們難以在英文中找到可以完全相對應的字詞。「單幫客」通常來自經濟或生產條件較差的地區,以個體戶的方式前往海外帶回貨品。台灣在1970至80年代冷戰末期時所到處林立的舶來品店,同時象徵了當時經濟的快速起飛,也同時反映了政治及經濟政策下所促成的隔離體制如何造成物資上的匱乏。兒時記憶中的舶來品店就像是座販賣無盡異國奇珍異寶的糖果屋,是個可以暫時逃避戒嚴體制壓力的俗世空間。而那個時代的單幫客就如同水手一樣,是少數可以定期離開這座隔離島的工作者,他們不僅帶回異國的漂亮服飾、糖果與藥品,同時也帶回了許多冒險故事。

單幫客的冒險任務在冷戰結束之後被另一批馱著沉重生活用品的背包客所取代:後冷戰的世界經歷了一段相對完整的和平,地球上除了少數的地區之外,都成為了背包客得以踏足之處。背包客形成了另外一種於全球化情境之下所成形的特殊觀看視角。背包客作為一種次文化,他發展出了一種共同觀看及參與的特殊經驗。一種虛擬的體驗文化從曼谷考山路(Khaosan Road)及全球數個重要節點開始向外擴散,形成一種特殊的消費及生活型態。這種後冷戰經驗一方面繼承了嬉皮文化的世界大同意識,卻也同時將世界投射至一種扁平化的情境之中。

除了單幫客及背包客兩種特殊的全球化流動型態之外,本次策展計畫也同時探討非人的全球化流動:「外來種」、以及非空間性的全球化異變:「時間旅客」。相對於前兩者以人為主體的全球化移動者,外來種看似移動速度緩慢,卻往往以一種更為全面的方式滲透入本地的生態圈之中。包括「吳郭魚」和「非洲大蝸牛」在內的品種,皆和殖民時期引入外來生態系統有所關係。這些外來種雖會因損壞當地生態系統而惡名昭彰,卻同時和本土的飲食文化相互滲透,形成一種特殊的外來種飲食文化。時間旅客除了得以投射科幻想像之外,同時也反映了在開發中國家所經歷的快速全球化經驗中,一個人即便沒有離開其所居住之地,也有可能在短時間內經歷了加速度的時間之旅。這種時間之旅所呈現的震盪或特殊經驗,也得以為本展所討論的全球化之旅提供另外一個層面的切入觀點。

綜合來說,本次展出將分別邀請張恩滿、符芳俊 + 曾紫詒、磯村暖、朱利安.羅斯費爾特、李若玫、林仁達,以單幫客、背包客、外來種及時間旅客四個主題來進行發展,期望可回應各個角色所觀看到的全球化歷程,並呈現出繽紛且多彩、彷如類型電影一般的冒險旅程。



The Middleman, the Backpacker, the Alien Species, and the Time Traveler

Dates|2019.07.20 – 09.08
Reception| 2019.07.20 (Sat.) 04:30 p.m.
Venue|TKG+
Curator| TAKAMORI Nobuo
Co-Curator|WEI Rong Da
Participating Artists|CHANG En Man, HOO Fan Chon + TSENG Zi Yi, ISOMURA Dan, Julian Rosefeldt, LEE Jo Mei, LIN Jin Da

The Indian merchants who did business on Moghul Street usually sent diamonds and jewellery to India on ocean-going steamers plying between Rangoon and Indian ports. The ships’ officers acted as couriers, the gems being packed in boxes of Cuticura face powder. I remember seeing on one occasion the European captain of a ship being handed such a box. Other favorite places of concealment were false compartments in suitcases, hollow heels of European style shoes and handles of umbrellas and bicycles.
— Sunil S. Amrith, Crossing the Bay of Bengal: The Furies of Nature and the Fortunes of Migrants

Author Sunil S. Amrith paints a vivid scene that evokes the history of the Dān Bāng Kè (單幫客) traveling between Rangoon and Calcutta in the early 20th century when globalization slowly began to take place. The Dān Bāng Kè is a curious species that came into being in areas with poor economic conditions or dismal productivity. They are loners and usually go overseas to purchase merchandise, which they then bring back to their hometowns to sell. Boutiques of imported goods that mushroomed in 70s and 80s Taiwan towards the end of the Cold War were a token of the economic boom, and of the lack of supplies caused by the island’s isolation policy. These boutiques in faded childhood memories were treasure troves of countless exotic goods and foreign luxuries, a bubble away from martial law and its grim shadows. The Dān Bāng Kè in those days, much like a sailor, was one of the few who enjoyed the freedom to leave the island on a regular basis, and brought back splendid clothes, confections, and medicine, along with overseas escapades.

After the Cold War, backpackers with cumbersome rucksacks took on the adventurous mission of the Dān Bāng Kè in a different way. A sense of relative peace enshrouded the post–Cold War era, where footloose backpackers drifted and wandered across most parts of the world. Through the lifestyle of these wayfarers, a singular perspective is formed in the globalized context. As the manifestation of a subculture, the backpacker has shaped a unique experience of co-observation and co-participation. A virtual culture of experience reverberates from Bangkok’s Khaosan Road and several other crucial locations to all corners of the world, formulating a distinct consumption pattern and lifestyle. This post–Cold War experience on one hand is tinged with the hippieish consciousness of world peace, on the other becomes a lens through which the world is perceived as flat.

In addition to the Dān Bāng Kè and the backpacker, who travel around the world in different trajectories, this curatorial project also delves into nonhuman movement across the globe by examining the alien species, and nonspatial globalized mutation, which is the time traveler. Contrasted with the former two human global trekkers, the alien species usually infiltrates the local ecosystem on a grand scale despite its ostensibly slow movement. Take for example, exotic species like the tilapia and the African giant snail were both introduced into Taiwan during the colonial period. These exotic species were notorious for affecting local biodiversity, but have also forged a unique exotic food culture as they pervade the local environment. As for the time traveler, it is as much a sci-fi fantasy as a reflection of reality, where a person is able to experience accelerated time travel in an instant even without leaving where s/he lives, amid the increasingly globalized transformation that developing countries undergo. The particular experience or repercussions of time travel serve as another vantage point from which the journey of globalization is viewed.

To sum up, this exhibition comprises four themes: the Dān Bāng Kè, the backpacker, the alien species, and the time traveler. Each participating artist has been asked to create works that echo the themes in hopes of tracing the trajectory of globalization through the eyes of the four characters. Together the artists’ diverse body of work paints a cornucopian vision of film-genre adventures.


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