Exile
Closely associated with the concept of “diaspora,” exile is used more widely to refer to moving populations in the changing context of global politics and economic structure, including the communities of migrant workers, immigrants, illicit border crossers, refugees, along with the circumstances of expatriation, moving and exile. The term diaspora has its root in Hebrew, and originally denotes the situation of the Jewish people’s not being able to return home after the Babylonian exile. After entering the 20th century, following the increase of politically exiled groups and their second generations that grew up in foreign lands, diaspora gradually appeared in post-colonial theoretical discourses instead of being limited to discussions about the Jewish community. Around 2007, diaspora could also be sporadically found in art reviews in Taiwan, and was mostly used to describe artists’ state of life. The term was also used in writings of random thoughts about sites of art education and reviews of Taiwanese art history, in a somewhat limited length. In these writings, the “aesthetics of diaspora” was mentioned in relation to film and history.
In 2006, “City of Swallows: Migration, Post/Colonial Memory and New Taiwan Colour, “curated by CHEN Hsiang-Chun, borrowed Italian writer Italo Calvino’s Invisible City as a metaphor for discussing the history of the area of Zhongshan North Road in Taipei City, where colonizers and immigrants had and have gathered. The exhibition featured eight artists, social activists and interdisciplinary creators to examine the issues of new immigrants’ identity, gender and desire. In the same year, “Naked Life,” co-curated by Manray HSU and Maren RICHTER in the Museum of Contemporary Art, Taipei, unveiled a series of discussions about the state of life that was stripped of political rights and legal protection. The exhibition also featured expatriate artist YANG Jun to create works based on situations found in Taiwanese society. In December 2007, Artco Monthly & Investment published the feature topic, “A Place of Global Exile: International Laborers and Migrants in Contemporary Art,” through which the concept of diaspora was explored in solid discussions and the term “exile” became widely known as well.
Works relate to the concept include WU Mali’s “Blackburn Text – An Artist-in-Residence Project in Darwin City” created during her residency at Lewis Textile Museum in 2006. For the project, WU visited South Asian immigrants who worked at local textile factories from the 1950s to the 1970s, and presented an exhibition featuring documents, videos and sounds at an open space in Lancashire’s BBC Radio. CHANG Chien-Chi’s Double Happiness (2006) filmed the selection process of Vietnamese brides before they were married to Taiwan. HOU Shur-Tzy’s Song of Asian Foreign Brides in Taiwan (2005-) centers on the situations of foreign spouses in Taiwan. In his 2016 solo exhibition, “Global Imprisonment, Local Exile,” CHEN Chieh-Jen stated that “different from the punishment of exile in the past, in which a country banished criminals to peripheral regions, contemporary ‘local exile’ is an everyday state of governance, in which each individual is evaluated by the nation to see if he or she meets the demand of lowering labor cost and expediting capital accumulation, and whose banishment from the systems of economic production is decided through economic policies.” The exhibition therefore included others marginalized by globalization and capitalism in related discussions.
Reference
In 2006, “City of Swallows: Migration, Post/Colonial Memory and New Taiwan Colour, “curated by CHEN Hsiang-Chun, borrowed Italian writer Italo Calvino’s Invisible City as a metaphor for discussing the history of the area of Zhongshan North Road in Taipei City, where colonizers and immigrants had and have gathered. The exhibition featured eight artists, social activists and interdisciplinary creators to examine the issues of new immigrants’ identity, gender and desire. In the same year, “Naked Life,” co-curated by Manray HSU and Maren RICHTER in the Museum of Contemporary Art, Taipei, unveiled a series of discussions about the state of life that was stripped of political rights and legal protection. The exhibition also featured expatriate artist YANG Jun to create works based on situations found in Taiwanese society. In December 2007, Artco Monthly & Investment published the feature topic, “A Place of Global Exile: International Laborers and Migrants in Contemporary Art,” through which the concept of diaspora was explored in solid discussions and the term “exile” became widely known as well.
Works relate to the concept include WU Mali’s “Blackburn Text – An Artist-in-Residence Project in Darwin City” created during her residency at Lewis Textile Museum in 2006. For the project, WU visited South Asian immigrants who worked at local textile factories from the 1950s to the 1970s, and presented an exhibition featuring documents, videos and sounds at an open space in Lancashire’s BBC Radio. CHANG Chien-Chi’s Double Happiness (2006) filmed the selection process of Vietnamese brides before they were married to Taiwan. HOU Shur-Tzy’s Song of Asian Foreign Brides in Taiwan (2005-) centers on the situations of foreign spouses in Taiwan. In his 2016 solo exhibition, “Global Imprisonment, Local Exile,” CHEN Chieh-Jen stated that “different from the punishment of exile in the past, in which a country banished criminals to peripheral regions, contemporary ‘local exile’ is an everyday state of governance, in which each individual is evaluated by the nation to see if he or she meets the demand of lowering labor cost and expediting capital accumulation, and whose banishment from the systems of economic production is decided through economic policies.” The exhibition therefore included others marginalized by globalization and capitalism in related discussions.
Reference
- YU Wei et al. “A Place of Global Exile: International Laborers and Migrants in Contemporary Art.” Artco Monthly & Investment, iss. 183, December 2017, pp. 149-80.
- CHUANG Wei-Tzu et al. “Migration and Identity in Contemporary Art.” Feature topic, Artist, iss. 426, November 2010, pp. 198-219.
- CHUANG Wei-Tzu et al. “Chen Chieh-Jen and the Temporary Assembly of ‘the Exiled’—About ‘The Making of Happiness Building 1’ at Lin & Lin Gallery. Artist, iss. 452, January 2013, p. 485.
- CHEN Chieh-Jen. Facebook event page of “Temporary Assembly of the Exiled——The Making of Happiness Building І.”
流放 （Exile）
與「離散」（Diaspora）的概念息息相關，更廣泛地指涉在全球政治與經濟結構轉變下移動的人口，族群含括移工、移民、非法跨境者、難民及其所面臨的離家、移動及流亡處境。離散一詞源自於希伯來文，指猶太人在巴比倫之囚（Babylonian exile）後流落異鄉不得歸返的情境。20世紀後隨著因政治因素流亡的族群與在異地成長的第二代的成長，逐漸出現在後殖民相關論述當中，也不再限於猶太族群。2007年左右，離散一詞開始零散地出現在臺灣的藝術評論當中，多用來描述藝術家的生命狀態，另外也有對於藝術教育場所的隨想與臺灣藝術史的回顧，但多半篇幅不大，當中或有提及「離散美學」者，則置放於電影與歷史的脈絡下。
在2006年，陳香君策畫的「燕子之城：移民、後/殖民記憶與新台灣色彩」一展借用義大利作家卡爾維諾（Italo Calvino）的作品《看不見的城市》，比喻臺北市的中山北路作為殖民者及移民聚集處的歷史，並邀請八組藝術家、社會運動者與跨界創作者對新移民的身分認同、性別情慾等議題進行創作。同年，徐文瑞與瑪蘭·李西特（Maren Richter）在當代藝術館共同策畫的「赤裸人」一展，針對沒有政治權力且未受到法律保護的生命狀態展開系列討論，並邀請旅居國外的藝術家楊俊針對臺灣社會情境進行在地創作，隨著2007年12月典藏今藝術專題「全球流放地-當代藝術中的國際工民」的發表，離散的概念被詳實地討論並伴隨著「流放」一詞廣為人知。
相關概念的作品如吳瑪悧2006在路易斯紡織博物館（Lewis Textile Museum）駐村時的「布拉克文本-達爾文市駐村計畫」，該計畫拜訪了1950-1970年代間在該地區紡織工廠工作過的南亞移民，以文件、影像及聲音的形式在蘭開夏BBC廣播電台開放空間中展出；張乾綺的《囍》（2006）拍下越南新娘遠嫁臺灣前一系列的挑選過程；侯淑姿的《亞洲新娘之歌》（2005-）關注於外籍配偶在臺灣的處境；而陳界仁在2016年的個展「全球監禁·在地流放」中提及，「不同於過去國家將罪犯放逐至邊遠地區的流放刑罰，當代的『在地流放』則是國家以每個個體是否符合降低勞動成本、加速資本積累等需要，而被經濟政策決定是否該驅逐於經濟生產體系之外的日常治理狀態。」，將被全球化與資本主義邊緣化的他者也納入了討論。
參考文獻
在2006年，陳香君策畫的「燕子之城：移民、後/殖民記憶與新台灣色彩」一展借用義大利作家卡爾維諾（Italo Calvino）的作品《看不見的城市》，比喻臺北市的中山北路作為殖民者及移民聚集處的歷史，並邀請八組藝術家、社會運動者與跨界創作者對新移民的身分認同、性別情慾等議題進行創作。同年，徐文瑞與瑪蘭·李西特（Maren Richter）在當代藝術館共同策畫的「赤裸人」一展，針對沒有政治權力且未受到法律保護的生命狀態展開系列討論，並邀請旅居國外的藝術家楊俊針對臺灣社會情境進行在地創作，隨著2007年12月典藏今藝術專題「全球流放地-當代藝術中的國際工民」的發表，離散的概念被詳實地討論並伴隨著「流放」一詞廣為人知。
相關概念的作品如吳瑪悧2006在路易斯紡織博物館（Lewis Textile Museum）駐村時的「布拉克文本-達爾文市駐村計畫」，該計畫拜訪了1950-1970年代間在該地區紡織工廠工作過的南亞移民，以文件、影像及聲音的形式在蘭開夏BBC廣播電台開放空間中展出；張乾綺的《囍》（2006）拍下越南新娘遠嫁臺灣前一系列的挑選過程；侯淑姿的《亞洲新娘之歌》（2005-）關注於外籍配偶在臺灣的處境；而陳界仁在2016年的個展「全球監禁·在地流放」中提及，「不同於過去國家將罪犯放逐至邊遠地區的流放刑罰，當代的『在地流放』則是國家以每個個體是否符合降低勞動成本、加速資本積累等需要，而被經濟政策決定是否該驅逐於經濟生產體系之外的日常治理狀態。」，將被全球化與資本主義邊緣化的他者也納入了討論。
參考文獻
- 游崴等，〈全球流放地：當代藝術中的國際公民〉專題，典藏今藝術，183期，頁149-180，2017.12。
- 莊偉慈等，〈當代藝術的流移與認同〉專題，藝術家，426期，頁198-219，2010.11。
- 莊偉慈，〈陳界仁與「被流放者」的臨時集會─大未來林舍畫廊「關於《幸福大廈I》的生產過程」〉，藝術家，452期，頁485，2013.01。
- 陳界仁︱「被流放者」的臨時集會─「關於《幸福大廈I》的生產過程活動頁面