?策展人 Curators｜Soifa Saenkhamkon, 陳佳暖 Chia-Nuan Chen

?　策展理念｜Soifa Saenkhamkon

我對一般人的故事感興趣，因為我發現每一個簡單的故事，往往承載著一個人與眾不同的經驗。除了個人敘事之外，它還可能是一個人的社會、政治和文化背景的混合物，反映了每個人的價值觀、態度、信仰和意識形態。
聆聽不同的故事可以使人認識到歷史上發生的信仰的多樣性，並導致今天的宗教、政治、文化內涵、規範，甚至更多。
這個展覽包含了生活在一般人中的故事，這些故事與他們的過去有關，並不可避免地受到影響。一般人往往會無止境地面對著，被上位者正常化、操控的不尋常情況，或是被扭曲的歷史故事，甚至是部分被消除的現實。
長久以來，這樣的歷史性攻擊，在泰國社會造成了累積性的衝突。試圖扭曲、或模糊事實顯然是對於現實的拒絕，這造成了對於差異性和多樣性的無法容忍，導致對於異議者的毀滅消失。
事實上，這個展覽的目的是為了觀眾講述簡單的故事，讓觀眾感受到彼此的存在。

?　Statement by Soifa Saenkhamkon

I’m interested in the stories of ordinary people, as I have discovered each simple story often carries one’s distinctive experiences. In addition to personal narratives, it could be a mixture of one’s social, political, and cultural backdrop which reflects the value, attitude, belief, and ideology of each individual.
Listening to various stories could lead to realization over diversity of beliefs occurred in the history and resulted in today’s religious, political, cultural connotation, norm, and beyond.
This exhibition contains the stories of people living ordinary lives, connected and inevitably affected by their past. Ordinary people tend to perpetually confront with unusual situations being normalized and manipulated by the superior, distorted historical stories, or even partially eliminated reality.
Such historical assaults have caused accumulative conflicts in Thai society, for a long time. The attempt to twist or blur the truth is obviously a rejection of reality which causes intolerance of differences and diversity, leading to the destruction of the dissenters to disappear.
In fact, this exhibition is intended to narrate simple stories for the audience to sense the very existence of one another.

? 展覽回應｜陳佳暖

〈共感的故事載體〉
如果說，較為人所熟習的、所謂的「歷史」僅是空洞而同質的單一線性敘事，一種經過揀選將事件串連起的「知識」，這樣的知識狀似解釋了過往，卻遠不足以呈現真正發生過的豐富繁雜樣貌，尤其是那些不同於主流敘事而受到壓迫與曲解的存在，被忽略、肢解，成為歷史背景中難以被解析的碎片。而「故事」成為了我們日常性、經驗性的轉化與延伸的出口，當我們將生活與經驗以故事述說，亦為自身的生命經驗賦予意義並產生力量。
然而，說故事的先決條件是需要聆聽的群體，我們是否能放下成見成為他者說故事的條件呢？在聽與說之間，故事的界域性和他者性也相應產生，打破了自我世界某部分的框架與防線，進一步成為了在差異與同一中逐漸消融轉化的歷程。
面對環境與生態，我們知曉多樣性的重要，歷史敘事又何嘗不是如此，涵括著各種文化向度的生命經驗在故事中延續著複雜多樣的遺傳因子，如此的多樣性也使故事的「載體」除了口說之外有著各種面貌，或許是影像、是詩歌、是飲食、是紀念碑⋯⋯，任何形式都呈現了故事與記憶延續的技藝。面對台灣島嶼歷史中所經歷不同政權交替下所產生的歷史、記憶與精神上的斷裂，故事與記憶流入了不同的載體之中，等待著顯現與被辨認。而多樣的載體亦創造了更為與你我感官知覺所共感之可能性，使原本只是他者的故事以不同方式聆聽、轉錄到我們有機的知覺記憶中不斷綿延。

?Response Statement by CHEN Chia-Nuan
'Story carriers of co-senses'
If the so-called history known by many is only a singular linear narrative that is empty and homogeneous, or simply a form of “knowledge” with selected events that solely explains what happened on the surface, the rich and complex truth of the past will be far beyond reach. This is especially true for the parts of history which diverge from the mainstream narratives. They are often neglected, dismembered, and fragmented in the background of history, too hard to be recognized. Therefore, “story” becomes the way out, and the transformation of our daily routines and experiences. As our life and experiences are expressed through story, it also bestows meaning, and brings strength.
However, the presence of listeners is the prerequisite of storytelling. Can we lay down our bias, and be that prerequisite for a storyteller? Between listening and telling a story, territoriality and otherness naturally stand in the way. Breaking the frame and fence of our own world is the transformation process that melts down differences and enhances mutuality.
When facing the environment and ecosystem, we acknowledge the importance of diversity, why should it be otherwise when it comes to historical narrative? Life experiences of various cultures are the complex and diverse hereditary factors extended into our stories. These diverse cultural dimensions create various story “carriers.” Besides oral storytelling, these “carriers” can be images, poetries, songs, food, monuments, and so on and so forth. Every “carrier” presents one or more stories and embeds certain skills in our memory. When confronting the history of this island, which was formed under the ruling of different governments, memories and cultural essence are disrupted. Nonetheless, stories and memories have found their escape in different carriers, waiting to be unveiled and recognized. The diversity of these carriers expands our sensory experiences, and increases the possibility of co-senses. What was once only a story of another person is now heard through different means, and recorded in our organic sensory memory to last.
-----
?　關於策展人｜Soifa Saenkhamkon
長期於泰國以及世界各地從事藝術相關計畫，經常擔任策展人、助理策展人與專案經歷等職位，亦曾擔任二〇一一年獨立電影。目前的職業是藝術相關與獨立電影的自由工作者，本身也是策展人與文化工作者團體的創始人之一。
Soifa has worked for art projects both in Thailand and abroad continuingly, as an Assistant Curator, Curator, Project Manager. She has also worked as a casting crew for independent film productions since 2011.
Soifa currently works as a freelancer in both art management and independent film industry. She is also a Co-Founder of Rai.D Collective, a group of curators and cultural workers.
-----
?　關於協同策展人｜陳佳暖
生於一九九一年。創作與研究關注於庶民生活中歷史記憶與情感的建構方式，及其與環境、社會之間的互動關係。同時，關注於藝廊、藝博會、藝術節與美術館等不同機構中展覽與觀眾之間的關係。曾策劃二〇一九年高雄岡山《咁敢趕幹—岡山國際當代藝術交流展》並獲台新獎入圍提名 。
Chian-Nuan Chen, born in 1991. Her artworks and research focus on the construction of historical memories and emotions in the lives of common people, and their interaction with the environment and society. In the meantime, she‘s also interested in the relationships shared between gallery, art festivals, and art museums. She has curated such exhibitions as Dare you do this? FFFF it!, at Ganshang International Contemporary Art Exchange, in Kaohsiung 2019, and was nominated for the Taishin Art Prize.
-----
?　參展藝術家
➤Anis Nagasevi
➤KORN
➤Kaensan Rattanasomrerk
➤Natpakhan Khemkhao
➤Rasiguet Sookkarn and Pakkawat Tanghom
➤Peerapol Kijreunpiromsuk
➤Sisu Satrawaha
➤張紋瑄 Wen-Hsuan Chang
➤程仁珮 Jen-Pei Cheng
➤游承彥 Kevin You Singgan
➤鄧兆旻 Chao-Ming Teng
-----
主視覺設計｜顏珮珊
-----
主辦單位｜絕對空間
協辦單位｜Tentacles、佐佐目藝文工作室
展覽補助｜臺南市政府文化局、文化部
空間營運贊助｜國藝會