被遺忘的消失

The forgotten vanishing

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2020 / 複合媒材
2020 / mixed media​

 

儘管，身份認同並非一種本質，而是人與人之間的關係所編織的敘事，而主體始終是逐漸成為的過程，並非與生俱來的狀態。然而，峨冷‧魯魯安這個族名，在在提醒著這位藝術家，自己身為屏東北大武山舊好茶部落魯凱族公主，這個她從小就抗拒，但又無法逃離的身份，而族群的命運，也成為她掙脫不掉的責任。

 

面對原住民、女性這些他人容易作為辨識的身份，安聖惠的個人敘事，如何在主旋律的敘事中仍然被聽見？在這個敘事裡，安聖惠如何關照「被遺忘的消失」？一如她意圖顯現與記憶的，關於樂信 · 瓦旦的故事（樂信·瓦旦 ，泰雅語：Losing Watan，漢語：林瑞昌，日語：渡井三郎，日野三郎，1899年8月16日－1954年4月17日，泰雅族賽考列克群人，台灣原住民意見領袖，致力於原住民自治運動，為白色恐怖受難者）。

 

安聖惠運用自小便熟稔的編織手法，發展個人的主體敘事。裡頭的每條經緯線、每個交織結點，都是敘事的母題，也許是她流浪的生活記憶，也許是千言萬語的自我呢喃。駐足聆聽她此刻的話語，所吐露隻字片語，讓在進行中，但可能被社會、文化、權力體系所定義甚至竄改的主體敘事，如何被聽見？她以這種姿態開啟的對話呼喚，你又準備用什麼樣的姿態與之交流？進而，編織進彼此依賴、相互依存的集體敘事裡呢？或許，意義或價值的圓滿總是遲遲到來，總是處在將到而未到的路途之中。

 

Despite that identity is not an intrinsic quality but more so a form of narrative composed with interwoven interpersonal relationships and that subjectivity is a process of gradual development and not a condition that one was born with, however, the name, Eleng Luluan, serves as a constant reminder that she is an indigenous artist from the Kucapungane, a Rukai tribal village in the Beidawu Mountain (Kavulungan) of Pingtung, Taiwan; moreover, she is a Rukai princess. This is an identity that Eleng Luluan has resisted since young but is also one that she is unable to escape. The destiny that she has, which is tied to her tribe, is a responsibility that she cannot be freed from.

 

Dealing with her indigenous and feminine identity that others can easily associate her with, how could Eleng Luluan then allow her own personal narrative to stand out from this leitmotif and be heard? Within this narrative, how is she focusing on “the forgotten vanishing”? This ties in with the story of Losing Watan that she seeks to recall and present. (Losing Watan: August 16th, 1899 - April 17, 1954; whose Han Chinese name was LIN Rei-Chang and was also known by his Japanese name, Hino Saburo, or Watai Saburo). From the Seqoleq group of the Atayal tribe, Losing Watan was an opinion leader of the indigenous peoples in Taiwan. He was actively involved in Taiwan’s indigenous tribes’ autonomy movement and was a victim of White Terror.

 

Eleng Luluan develops her personal subjective narrative by using weaving techniques that she has been practicing since she was a young child. The horizontal and vertical lines and every crisscrossing knot come to form her narrative and are memories from her life of wandering. They, perhaps, also consist of countless murmurs and mumbles that she has muttered to herself. Pause and listen to the words that she is saying, and how do they give utterance to the subjective ongoing narratives that could be shaped or even altered by social, cultural, and power institutions; how should they be heard?  Eleng Luluan has taken up this position to open up a dialogue, and what position are you prepared to take in order to interact with her and to further be woven into this collective, interdependent narrative? Perhaps, the fulfillment of meaning or value will always come later, and although it has yet to appear, it is, nevertheless, on a path that will show up in the future.