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Introduction

Exhibition

再來一盤 - 在來義的木食器展

Curator

啄木鳥藝雕坊

Duration

2022-04-30 ~ 2023-05-30

2021 秋天,在臺灣工藝研究中心的促成下,我們拜訪了屏東來義、佳興,傳承豐饒排灣族傳統木雕工藝的兩地。 考現交流中,我們發現部落的木雕器物,從物件的造型、象徵的意義、互動的儀式性,在排灣族的祭儀與餐桌中都扮演著重要社會文化功能。 從設計類型學(typology)的角度,工藝師透過美麗的紋飾、造型語彙,創造出不只美的實用物,而是背後具有更深層意涵,對於一個集體重要的精神象徵。 舉例來說,最具特色的連杯(ragal),在過去部落與部落間時有溝通、協調的場合,二到三人一齊飲下,在當下便能和解向前。 在這個溝通媒介眾多快速、裁決明確的時代,部落朋友分享到:「若不想見面,委任律師或是存證信函,都比傳統的調解方式來的更具驅動性。」 外來的機制,雖然方便、迴避了所有相處的不愉快,同時間,也剝奪了過去人與人之間真實、原始的相處。而這些消失的感受,正是構築一個文化群體最重要的意義。 在我們的觀察中,許多具有類似特質的物件,都能常在過去的餐桌上看到。食物設計師Marije Vogelzang在訪談中曾說過「唯有彼此信任,才有一起食的可能」。我們重新審視設計在部落合創中的功能,透過三組設計師與四組工藝師交流,設計思維萃取,以「食」為題,轉化這些過去排灣族文化中美好的語彙,延續到我們今天的餐桌上。 2021 fall, with the invitation of National Taiwan Craft Research and Development institute (NTCRI), we traveled all the way to South Taiwan, visiting the beautiful Indigenous villages of Tjaljaqavus (Laiyi) and Puljetji (Jiaxing) where they nurtures refined Paiwan wood craftsmanship. Through research and conversation with local friends, we realize that wooden objects in Paiwan culture serve significant cultural functions beyond their appearance. From its formality, symbolism and interactivity, the craftsmen deliver a deeper collective spirit of “connection and reconciliation”. For instance the renowned ceremonial drinking cup, a long wood bar with 2-3 cups carved from it known as ragal. It was an important object to solve any conflicts and make alliances of any kind, once two agree to drink together, anything can move forward. It was a common object for ritual and dining purposes. However, as the law system progressed, one of our friends shared: “If you don’t want to communicate these days, court notices are more efficient than traditional ceremonies.” With democratic solutions strengthened in the modern world, it presents an easy and convenient arbitration. On the other hand, it also removed genuine connection between people; and those missing feelings are fundamental elements for building an identity for any cultural collective. In our observation, wooden objects with similar function and quality are often found on food related occasions in Paiwan culture. As food designer Marije Vogelzng said in an interview: “only two who trust each other can dine together.” Thus, we review how design could provide a fresh perspective on the co-creation of “one more plate” project. We invited 3 designers and 4 craftsmen with the initial theme set for “food” and the “potential scenario to adapt the meaning in modern context”. From creative thoughts to treasures in family stories, over 7 objects are created to translate essential typology to prolong the meaning in our everyday life. |指導單位|文化部 |主辦單位|國立臺灣工藝研究發展中心 |執行單位|啄木鳥藝雕坊 |設計總籌|黃若潔Jo-Chieh Huang / 葉玟妙Wen-Miao Yeh |平面協力|蔡政哲 Cheng-Che Tsai |攝影協力|鑿光影像 陳麒年 Chi-Nian Chen |參與藝術家|沈安日 Kapang Livulivuwan/ 塗南峰 Laluyu Lodn/ 貴多樂門 Kui Djuveljelem 王晉彥 Pavelav Ambi/ 許鶯薰 Zita Ying-Hsun Hsu/ 葉玟妙 Wen-Miao Yeh/ 黃若潔 Jo-Chieh Huang |若有媒體等相關資料需求,請Email: jochieh.huang@gmail.com

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啄木鳥藝雕坊

Curator

啄木鳥藝雕坊

秉持著排灣族人樂觀的個性及傳承的使命,開始了藝術木雕的生涯。上天關了一扇門,必定會為我們開另一扇窗,塗南峰靠著自學,做出精緻的雕刻小禮刀,雖然創業必然有一定的艱辛,但在獲得原住民伴手禮金牌獎後,知名度大增,已經擁有自己的商標。
許鶯薰 Zita Ying-Hsun Hsu

Artist

許鶯薰 Zita Ying-Hsun Hsu

於當代首飾工藝與設計領域持續創作與教學多年,在現代工業製程與傳統手工技藝價值中能尋找恰好的平衡。 當代珠寶創作/首飾訂製/金工課程教學 2015-迄今 PIN sstudio 別件室金工工作室/共同創辦人 2015-16 屏東縣高士部落/培育講師 2018 臺東工藝文創競賽/銅獎 2016 「520蔡英文總統就職典禮」禮賓人員胸針/設計製作
葉玟妙 Wen-Miao Yeh

Artist

葉玟妙 Wen-Miao Yeh

在材質裡探索與飄盪,在生活與奇思妙想中遊走。 當代首飾創作/首飾訂製 2021 新北市黃金博物館「枝枒現象台灣當代金工與首飾創作譜記」 2021 韓國Gallery Baum「Blue˙An Uncertain Spring」 2020 台北爆炸毛頭與油炸朱利「這裡那裡-首飾創作聯展」 2018 日本伊丹跨界美學-台灣當代首飾展
黃若潔 Jo-Chieh Huang

Artist

黃若潔 Jo-Chieh Huang

產品設計師/產品開發顧問 文化展覽體驗策展人 國立臺灣藝術大學 工藝設計學系畢 臺灣跨域產品設計師,擅長詩意的在地製造。 作品曾於米蘭三年展博物館、班尼頓基金會、班尼頓米蘭大教堂店、米蘭設計周、巴黎M&O、洛杉磯the Nomad Hotel、Woof pack Thailand、 Brescia museum 等地展出。 合作品牌有Fabrica、班尼頓、Nike歐洲、Campari soda、Ars Fabricandi、 GUR、Domori、Designer box、AP Thailand 等等。