主辦單位｜國立中正紀念堂管理處
展出地點｜中正紀念堂一樓中央通廊
策展人｜林怡秀、蔡旻凌
藝術家｜郭俞平、陳含瑜、阮金紅、蔡崇隆
展覽統籌｜均勻製作
展場設計｜藍領設計
視覺設計｜劉孟宗
 
Organizer｜​National Chiang Kai-shek Memorial Hall
Venues｜Central Hallway, Ground Floor
Curators｜LIN Yi-hsiu、TSAI Min-ling
Artists｜KUO Yu-Ping、CHEN Han-Yu、NGUYEN Kim-hong、TSAI Tsung-lung
Exhibition Producer｜Goldilocks Production
Exhibition Design｜Constructor Design
Visual Design｜LIU Meng-Zong

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​策展論述 ｜林怡秀

全球資本移動與傾斜的結果
 據內政部及教育部統計，目前在臺婚姻東南亞新住民人數約17萬人，東南亞新住民第二代入學人數約11萬人。然目前一般對新住民相關領域之討論，仍多傾向以文化本位的觀點切入，對新住民第二代的關注也較偏重於將他們的語言優勢轉換為經濟貢獻的層面，而少有關於由東南亞地區而來的多重文化與歷史層面的討論。回看近30多年的社會發展，人的跨國移動與全球經濟結構改變有其必然關係，1980年代，臺灣進入全球資本結構體系、對東南亞地區投資比重增高，來自東南亞國家的婚姻移民也開始來到臺灣。1990年代，臺灣勞力密集產業大量往中國大陸及東南亞遷移，同時，許多國家的產業結構亦逐漸變化，婚姻移民遂成為人們在資本邊緣化處境中改變生活的方式之一。婚姻移民的跨國移動緊扣著政治經濟與環境的變化，而她們的原鄉文化與個體記憶，應是構築我們對其理解的入口之一。
 
來自故鄉與他鄉的家庭備忘
 本次展覽分為「遷徙之島」、「家庭備忘」及「家鄉風景」三個子單元，由人的移動與遷徙延伸至個人生命故事。「遷徙之島」邀請長期以家、記憶為創作核心的郭俞平，以雕塑及聲音裝置組成的聲音詩，重新詮釋新住民女性記憶中的感性風景。在「家庭備忘」中，陳含瑜隨著來臺近20年卻未曾返鄉的友人一同回到印尼，以卡拉OK結合紀錄影像將個人生命故事與土地重新連結；導演阮金紅將鏡頭望向遠嫁來臺、越南姊妹不為人知的思親鄉愁。「家鄉風景」區塊經由導演蔡崇隆的作品，直觀第二代與母親故鄉的關聯，以及在他們生命中紮根的雙重文化狀態。由新住民所組成的南洋姊妹劇團，則在戲劇作品《看．見．我．們》中，訴說她們在臺灣的身份狀態。此次展覽以「家庭備忘」為名，所欲觸及的不僅是東南亞新住民在臺灣的家庭，也希望從她們的故鄉開始做為彼此認識的起點。

Curatorial Statement by LIN Yi-hsiu

​The result of global capital movements and tilts
According to the statistics of the Ministry of the Interior and the Ministry of Education, there are currently 170,000 married new immigrants from Southeast Asia in Taiwan, and about 110,000 enrollees from the second generation of the Southeast Asian new immigrants. However, the present general discussions on the relevant fields concerning new immigrants still tend to be unfolded from the culture-based point of view, and the interest in the second generation of new immigrants focuses more on the possibility to transform their language advantages into economic contributions than the converations about the multicultural and historical aspects from Southeast Asia. Reviewing the social development over the past 30 years, there is an inevitable relation between transnational migrations and the changes of the global economic structure. In the 1980’s, Taiwan entered the global capital system and increased the investment proportion in Southeast Asia. Meanwhile the marriage immigrants from Southeast Asian countries began to come to Taiwan as well. In the 1990’s, the labor-intensive industries of Taiwan migrated massively to mainland China and Southeast Asia. At the same time, the industrial structure in many countries were also changing gradually, therefore the marriage immigration has become one of the ways in which people change their life in the capital marginalized conditions. The transnational migration of marriage immigrants relates closely to the political, economic and environmental changes, and the cultures of their origins and their individual memories are supposed to be one of the accesses for us to understand them.
 
Family Memo from Hometown and Foreign Land
The exhibition is divided in the three subsections: “Island of Migration”, “Family Memo” and “Hometown Landscape,” extending from people’s move and migration to the individual life stories. In “Island of Migration” is Kuo Yu-Ping invited, who takes home and memories as her creative core over a long period of time. Kuo reinterprets the sensitive landscape in the memories of new immigrant women with the acoustic poetry composed of sculpture and sound installation. In “Family Memo,” Chen Han-Yu goes back to Indonesia with her friend who has been in Taiwan since almost 20 years but never returned to the hometown, and she uses Karaoke combining video documentations to reconnect the individual life stories with the land; The director Nguyen Kim-hong lenses the unknown homesickness of those Vietnamese sisters who married abroad in Taiwan. In the section of “Hometown Landscape,” via the work directed by Tsai Tsung-lung we can visually perceive the relationship between the second generation of new immigrants and their mothers’ hometown, and the dual cultural state which took root in their lives. Composed of new immigrants, TASAT Theater states their status in Taiwan in the piece “Seeing Us”. This exhibition is titled as “Family Memo,” aims not only to touch the families of Southeast Asian new immigrants in Taiwan, but hopefully to take their hometowns as the starting point for the understanding between each other.