從自身經歷、生命記憶與文化變革的創作，探討「行走作為藝術實踐」、「順著河流走」的藝術進程，探索宜蘭縣原住民女性藝術家 彭秋玉 Bakan Nawi 、尤莉．撒撒克 Yuri Sasak 及其裝置藝術作品，對於原住民文化和藝術之間的內在和外在的多重樣貌，並且從「行走作為藝術實踐」作為出發點，對於「媒材」、「編織」、「技法」與「當代藝術」的微妙關係，如何回應且如何通過藝術作品與觀者的相遇，從編織經驗、生命歷程及文化衝擊，擴張多元面向的藝術對話與行旅。
策展人 彼勇．依斯瑪哈單 Biung Ismahasan
《Resurgence and Solidarity: The Art of Walking and Weaving by Indigenous Taiwanese Women 》attempts to construct a new relationship between art and weaving, human and land, and the commonality and connectivity among contemporary art, cultural landscape and new woven installations - in response to the reflection and art reproduction movement of Indigenous women artists during the COVID-19 pandemic. Taiwanese Indigenous Peoples are not one monolithic group, and each tribe, nation, or community has its own unique culture, history, and present. Perhaps most important, each Native artist, like artists the world over, brings their (her) own life experience, skill, and individual style to their (her) art.
A woman’s voice is like a drop of water, and the voices of a group of women can be condensed into the power of a river, amplifying their individual voices and blooming collectively in a space. This curation asks how time and history might be compressed and condensed into a spatial model of women’s unity through lived experience in the gendered body. This exhibition is a tribute to Indigenous Taiwanese women artists - Atayal Nation artist Bakan Nawi and Truku Nation artist Yuri Sasak - exhibited at Yilan Indigenous Cultural Hub in Yilan City of the northeast Taiwan. Their works explores the relationship between traditional weaving and contemporary art, the methods of female weavers retaining and innovating customary culture, and the new appearance of woven installations.
You will see similarities across cultures and communities, but you will also see many differences. I chose to respond within three core themes: (1) "Taiwanese Native (Indigenous) Women’s Legacy" examines the ways in which Two Taiwanese Native women artists acknowledge their making works that simultaneously embody the experience of weaving inheritance of previous generations, address the present moment, and speak to the future; (2) "Walking as Artistic Practice and Relationships" explores the concept on their artistic process of ‘walking as an art practice’ from the creation of personal experience, life memory, and cultural change; (3) "Let the River Flow" encompasses works created for the art of walking and weaving in response to water and river, to empower communities, others, and for the empowerment of oneself. Curated by Biung Ismahasan