日期：2020-10-17 ~ 2020-11-14
丹增熱珠（Tenzin Rigdol）的作品出自流亡藏人父親渴望回歸故土的遺願。他從西藏偷渡了20噸土壤，跨越中國、尼泊爾與印度三國邊境，最後抵達流亡藏人位於印度的政治中心，讓流亡藏人能夠再次踩踏在家鄉的土地上並說出自己的感受，過程被導演丹增茨旦拍攝成紀錄片，此次展出該紀錄片與偷渡土壤用的布袋。塔帕斯．羅伊（Tapas Roy）出生於躲避孟加拉戰火的船上，據藝術家的描述，早在母親的子宮時，自己就已經透過聲音經歷了戰爭，他試圖回溯自己的聲音記憶重現戰爭機器的真實樣貌。
Boundary defines the reach of the national power of a modern sovereign state. Within its boundary, the state uses techniques of governance to separate the so-called good citizens from those considered bad, and banish the dissenting voices to ensure its stability and continuance. As for the banished, they have become expatriates whose exile best embodies the life politics of the contemporary world.
Amidst the refugee waves in Europe, this group of border-crossing expatriates might have lost their civic rights, but they have also found other ways to destabilize the relations between countries. From Brexit to Donald Trump being elected as the US president, people have started to re-examine whom they have shared their power with, and tried to retrieve a sense of identity founded on kinship and region in the past.
The exhibition title, Beyond Territory, refers to a measuring method, enabled by imagination and collision, to survey the boundary that is constantly changing due to political and economic coopetition. Territory refers to “an area of land under the jurisdiction of a state”; and in the early 20th century, the Chinese government had the Department of Territory that dealt with national boundary and territory conflicts. To continue imperialist expansion and the influence of colonial power, the Tibet-British India border drawn by British explorer Henry McMahon has caused conflicts until the present day. What exactly maps out the range of a place? What separates us from all the others outside the boundary?
Tenzin Rigdol’s work is inspired by the dear wish of his expatriate father before he passed away, who hoped to return to his homeland, Tibet. The artist smuggled twenty tons of Tibetan soil to the Tibetan political center in exile in India, crossing the national borders of China, Nepal and India. The work allowed the Tibetans in exile to be able to stand on the soil of their homeland again and express their feelings. The process was filmed and made into a documentary by director Tenzin Tsetan Choklay. On view in this exhibition are the documentary and the bags used to smuggle the soil. Tapas Roy was born on a ship fleeting a war in Bangladesh. According to the artist, he had experienced the war through sounds when he was still in his mother’s womb. Through this work, he tried to trace his sonic memory to represent the truth about the war machine.
Nevertheless, not all the border-crossing expatriates possess similar attributes and can form as a community again. The appearance of a community is intricately linked to a specific space and time; and while crossing the boundary, the “us” that used to define a community also dissolves and changes into innumerous units waiting for forming a new community. However, it is still impossible to become the “us” again before crossing the boundary. Having said that, there are also people who are attracted to the others that cross the boundary; and together, they become the different ones in both communities to freely roam about the boundaries of communities.
Documentary director TSAI Yung-Ching is one of the earliest advocators for stateless Tibetan spouses in Taiwan. Her short film, The Boy Tashi, stems from a workshop organized for young Tibetan students in exile. In the workshop, TSAI led them to reflect on the impact on the community in exile caused by modern lifestyle, and turned their ideas into performance and short film. This short film is one of the works created by the young Tibetans in exile in the workshop. Rajnish Chhanesh lives in a Delhi neighborhood informed by conflicts between different communities. He focuses on historical memory of the communities and finds his inspiration from nature, appropriatesIslamic miniatures to convey the conflicts he has witnessed in life.
Community, though originating from imagination, its process of formation is not necessarily mysterious and invisible. Through symbolic exchange, objects bring reputation and status far exceeding their original value to their givers, and at the same time, establish the dominant-subordinate relationship between the givers and the receivers. With re-distribution of resource, power can be re-arranged accordingly to distinguish different classes and groups. These changes are then directly reflected in a range of economic events.
YU Chih-Wei, a journalist stationing in India, collaborates with LAI Pei-Chun to create a board game inspired by India’s unexpected demonetization of 500- and 1000-rupee banknotes in 2016 and its impact on South Asia, pointing out the complicated political issues involved in the process. LI Kuei-Pi creates a virtual company, called “TransBorder,” which provides transnational trade and illegal travel services based on the extensive yet underground economic network produced by stateless people, hoping to restore the truth of exile with falsified information.
From the global waves of mass democracy protests in 2019 to the nationalist ideology prompted by the current coronavirus outbreak, Beyond Territory hopes to look into the present time and address people’s aloof and fragile coexistence.
方域之外 Beyond Territory
策展人｜蔡秉儒 TSAI Ping-Ju
藝術家｜ 拉吉遜．查內施 Rajnish Chhanesh、塔帕斯．羅伊 Tapas Roy、丹增熱珠 Tenzing Rigdol、蔡詠晴 TSAI Yung-Ching、李奎壁 LI Kuei-Pi、尤芷薇＋賴佩君 YU Chih-Wei + LAI Pei-Chun
本事藝術：【肉體是一頭透明的動物like a luminous animal 】
紅野畫廊：【架構世界 : 喬治．伯恩 & 彼得．奧普海姆】Constructing a New World: George Byrne & Peter Opheim
ARTAGE 藝術時代：【[小清新] 張子晴個展 】[Fresh Breeze] CHANG TZU CHING Solo Exhibition
日期：2020-08-01 ~ 2020-08-29｜台灣，台北市
日期：2020-06-20 ~ 2020-07-18｜台灣，台北市
日期：2020-05-09 ~ 2020-06-06｜台灣，台北市