內在漂逐 Inside the Outsider
*Scroll down for the English version.

策展人｜
蔡秉儒

藝術家｜
拉吉遜．查內施
丹增茨旦
丹增熱珠
慈仁莫頓
發酵點子
蔡詠晴
李奎壁

展期｜2020.12.05-12.26，開放時間12:00-18:00
開幕茶會｜2020.12.05 (六) 15:00
地點｜众藝術（桃園市桃園區中埔六街196巷22號）

主辦單位｜臺灣自由圖博學會、众藝術
協辦單位｜台灣圖博之友會、尼夫藝文協會
補助單位｜臺灣民主基金會

Inside the Outsider

Curator｜
TSAI Ping-Ju

Artists｜
Rajnish Chhanesh
Tenzin Tsetan Choklay
Tenzing Rigdol
Tsering Motup
Vichark K Achaar
TSAI Yung-Ching
LI Kuei-Pi

Dates｜2020.12.05-12.26 12:00-18:00
Opening Hours｜2020.12.05 (Sat.) 15:00
Venue｜Zone Art (No. 22, Ln. 196, Zhongpu 6th St., Taoyuan Dist., Taoyuan City, Taiwan)

Organizer | Students for a Free Tibet - Taiwan, Zone Art
Co-Organizer | Taiwan Friends of Tibet, Niv Art and Cultural Society
Sponsored by | Taiwan Foundation for Democracy

策展論述｜

邊界不只是地圖上的實線，並且與現代化的民族國家（nation-state）的概念息息相關，含括邊界線及其周圍的邊境，疆域（territory）裡的人群被劃分為一個主體。

在過去，民族國家的相關知識及概念提供了殖民擴張的重要工具，並在去殖民後的今日亞洲再次興起：即便去殖民運動成功地送走了殖民者，殖民者的治理結構卻被保留了下來，並且再次成為整合公民社會的民族（nation）時的依據，形塑了現代化的「我們」。

在安卓杜雅（Gloria Anzaldua）對於邊界的詮釋當中，認為人們無法選擇及決定研究邊界，因為人們正生活在邊界當中。在人們理解世界時，多重並置的主體也使自己成為自己的他者（outsider）。

拉吉遜．查內施（Rajnish Chhanesh）從居住的城市出發，回溯德里的城市邊界在過去七個政權間的位移，並以此討論正在變動中的城市面貌。慈仁莫頓（Tsering Motup）成長於印度邊境的拉達克地區，在作品《地址．指地》當中，他回到家鄉一處被稱為「鏡地」（Mirror Land）的地方，透過身體行為串聯起場所過去的記憶，並以此討論以機構及國家為名的文化霸權對自然景觀的變造。

離散往往伴隨著殖民歷史發生，隨著人口全球化的流動，由移民、難民、外籍移工與跨境知識分子所組成的群體，逐漸組成遊走在邊境上的新族群。但他們並未與原所屬社群脫鉤，隨著他們的移動，不斷地與新的地方及族群產生對話。

慈仁莫頓的另一件作品由三個裝著手機的木箱組成，觀眾必須透過安置在木箱前的放大鏡，觀看木箱中播放的三部影像。在影像中，藝術家以三種語言，講述自己在拉達克、德里與邦加羅爾移動的經歷。2011年時紀錄片導演蔡詠晴受到在印度的流亡藏人社區基金會的邀請，為流亡藏人學生提供兩個月的影像及表演工作坊，《五分鐘》劇本出自於參與的學生，在流亡社區演出後，引起第一代流亡藏人與第二代流亡藏人間的討論。丹增熱珠為了完成父親再次回到家鄉的遺願，將20噸西藏的土壤運送到印度的達蘭薩拉，過程被紀錄片導演丹增慈坦（Tenzin Tsetan Choklay）拍攝成紀錄片。

科技工具同時也扮演著族群移動、凝聚及溝通的重要媒介，李奎壁計畫試圖記錄下遊走在國界邊境上的無國籍者足跡，虛擬了名為「邊境」（TransBorder）的跨國旅行公司，透過假造的旅行明信片，還原無國籍者透過移動所創造的非正規經濟網絡。小誌《瑪嬉拉》創立於2018年，「瑪嬉拉」一詞來自於印地語的「女性」，由藝術團體「發酵點子」（Vichark K Achaar）發行，試圖收集來自於女性周邊的多元聲音。本次除了展出2018年至今所有發行的刊物外，也將邀請發酵點子在「國際青年藝術評論網」（YACI）上進行展演。

展覽「內在漂逐」試圖透過對於邊界的討論，重探現代社會中，與裂解的自我和解的可能。
Curatorial Statement｜

Border does not just refer to physical borderlines on maps. It is closely associated with the concept of nation-state, and also includes boundary lines(boundary) and their surrounding areas, whereas the people within the territory is treated as one subject.

In the past, the knowledge and concepts related to nation-state have provided an important instrument for colonial expansion, and are once again emerging in Asia today: although the movement of decolonization has successfully expelled previous colonizers, the structure of their governance has remained and is incorporated into the basis of nation for uniting civil societies, shaping the modernized “us.”

Gloria Anzaldua, in her interpretation of borders, argues that people cannot understand borders, nor do they possess the option to choose to study borders, precisely because they are living on borders. As people try to understand the world, the multiple and juxtaposed subjects have rendered people outsiders to themselves.

Rajnish Chhanesh uses his city, Delhi, as a starting point and traces its borders as well as how they have changed throughout past seven regimes to discuss this city that is in a constantly evolving process. Tsering Motup grew in the region of Ladakh near India’s border. In Address．Addressed he returns to a place called “Mirror Land” in his hometown, where he connects memories of sites through physical actions and discusses the alterations of natural landscape carried out by cultural hegemonies in the name of institution and nation.

Diaspora has often taken place hand in hand with colonial history. Because of the global population flow, new communities comprising migrants, refugees, immigrant workers and transnational intellectuals have gradually formed and moved across borders. However, not only have they remained connected with their original communities, they have consistently engaged in dialogues with new places and other communities as they move.

Motup’s another work is constituted of three wooden chests, each containing a smartphone. The audience must view the videos played on the phones through the magnifying glasses installed in front of the wooden chests. In these videos, the artist recounts, in three languages, his experiences of moving through Ladakh, Delhi and Bangalore. In 2011, documentary director Tsai Yung-Ching was invited by the White Tara Cultural Foundation in the Tibetan community in India to organize a two-month video and performance workshop for a group of Tibetan students in exile. The script of Five Minutes originated from the discussions between the first- and second-generation of Tibetans in exile after the performance was presented by the workshop participants in the community. Tenzing Rigdol, in order to realize his father’s dying wish of returning to the homeland, shipped twenty tons of Tibetan soil to Dharamsala, India. The journey was filmed and produced as a documentary by documentary director Tenzin Tsetan Choklay.

Technological tools are also an important medium for the movement, cohesion and communication of communities. Li Kuei-Pi’s project records the footprints of stateless people as they travel across national borders. The artist creates a fictitious transnational travel agency called “TransBorder,” and utilizes fake postcards to restore the informal economic network produced by the movement of those who are stateless. Mahila Zine was founded in 2018. The term “mahila” means “woman” in Hindi. Issued by artist collective “Vichark K Achaar,” the publication collects and reveals diverse voices of women around the art group. In addition to showcasing all the issues published since 2018, the exhibition will also include Vichark K Achaar’s online exhibition on the website of Young Art Criticism International (YACI).

Inside the Outsider, through discussing about borders, attempts to re-explore the possibility of achieving reconciliation with the broken self in modern society.