Some notes after 2014 Project Glocal(TPE) 後記於Glocal Project 台北

Some notes after Project Glocal TPE

Since the protest has happened on March 18th in Taipei during the Project Glocal, somehow I felt twisted and confused, because comparing to what people were apparently suffered from in the situation, what I did was an art project instead of the protest at Legislative Yuan. So weird and ridicules. Anyway, it was indeed a unstable but unforgettable memory to me.

My collaborator is the Malaysian artist, Fairuz Sulaiman, he is very talented, creative and funny. The way he showed his works is so alive and interesting. He was known by his live performance in Malaysia as well. As the sound designer, I prefer letting the “sound” speak out instead of talking something by myself.

Moreover, sometimes I’m very serious. So, it might a little bit boring to Fairuz sometimes. Especially two strangers came from different countries, backgrounds with different characters, and had the task to build up the “work” from zero… We only had less than 1 mouth to work together. It’s very difficult for both of us (at least for me). Hence, here's the problem: how we work with each other?

The first challenge is the language which we used to communicate with each other. There’s a gap between two strangers, for we had to speak English to talk to each other, and the language we used to speak is Malaysian / Mandarin. All the creativity and thinking had to be “transferred” again and again, with high speed, in the chaos.

To speak frankly, I almost gave up communicating with him, because I felt lost in so much talking and vocabularies. I was not sure of what and how I should respond, and what is the right feedback. With the presentation approaching, we were getting more and more sensitive than usual, and it's more and more difficult to balance. But the most interesting part was, I was pushed to talk a lot, to respond and feedback, trying to keep the process going on. I think that is what Dayang mentioned about the “double exposures”. Because Fairuz and I didn’t know each other, but we wished to find a way to connect, it’s necessary for us to build up a unique way to talk, even we just chatted about our lived, jokes and bullied each other, which all helped us to increase our mutual trust and understanding.

Before the final presentation, Dayang shared with me how she thought about the collaboration, and when I looked back now, yap she was right, it’s just like playing LEGO, all the feelings, good things and bad things, it would lead us to some place eventually. As long as we went through the most difficult part, the unknown began.

For what happens in Taiwan right now plus my experience of Glocal Project, I think it enforces me to realize the importance and necessity of “Equal Dialogue”. We have to be very open to any possibility, put our egos aside, respect and trust each other, so that we could create the space where we can talk whatever we want to talk. Be honest to each other about our capability and incapability. Once we made it, it would be a chance for both of us to get closer to something together, instead of fighting or reaching the deadlock.

I has been wondering if I didn’t work with Fairuz, or if we had worked longer, could we make it better? Would it become an irreconcilable conflict in the end? I’m not sure about that; we didn’t know what will happen, because it’s all by chance.

It is said, “all the people we had met in the world, we will eventually meet again, even after a long-long time.” 

Thanks to the Project Gocal TPE. Thanks to Dayang, Rikey, Feng Hsin and Magan, and specially thanks to my collaborator, Fairuz, it’s a very precious and wonderful experience for me to work with you.

Let’s Marching Forward! We’ll meet again someday. :)

後記:在今年3月參與數位荒原與Glocal Project的計畫之後


過往與其他領域藝術家合作的經驗,大多是可以使用中文溝通之下 (雖然同語系並不保證能真正有效溝通)。但在陌生且使用對雙方而言都是第三語言的英語溝通,是辛苦且充滿挑戰的。因為在過程中,創意發想與語言的轉譯,在不斷找尋適切表達字樣的同時也高速翻轉著;高速翻轉也意味著混沌不明與不穩定。所以坦白而言,過程中曾想放棄這樣如此高密度的對話與思考檢視。這種感覺不僅是擔憂說得太多或太少,同時也對於如何給出回應以及給什麼樣程度的回應,感覺到無所適從。

再者,創作者本身在文化背景、個性、以及如何面對創作本身的態度等種種差異,也是一大挑戰;Fairuz在藝術形式與內容上的有機、活潑與幽默,如實地反映Fairuz本身的開放、創意、有趣等特質。相形之下,有時我的嚴肅則讓我們的對話陷於某種沉默。這樣一熱一冷的組合,或許對Fairuz而言是過於沉悶的。當然對我本身而言也是相當大的刺激與考驗。於是在尚未透過聲響作品表達我的觀點與想像之前,在雙方溝通的那刻當下,我也不得不必須大量的與他談話、提問與回應,讓雙方溝通的媒介與互信能在過程中被一點一滴建立。正如同現在回看DayangRikey的訪談文字紀錄,就更能瞭解當初偶有感到挫折或"something wrong"的敏感,其實正是雙方試圖用語言/溝通的樂高小木塊,來逐漸堆砌雙方合作的根基。

而當持續對話的這第一階段任務達成後,接下來或許就是影響並形塑最後共同創作樣貌的關鍵階段;創作者彼此如何在雙重曝險(double exposures , 策展人Dayang Yraola所提出之概念術語)之下,與夥伴建立獨特的對話(工作)模式。這在反思當下的台灣現況與Project Glocal的合作過程,我更有感於"持續平等對話"的真諦與重要性;




人世間的相遇都是久別重逢,我非常感謝這次的參與,讓許多人的生命短暫的重疊交會,並各自帶著不同的收穫,繼續前進。Marching Forward


【藝評】PROJECT GLOCAL TAIPEI 亞洲城市串流: 「生產之謎」與「交流之謎」

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上文連結是今年3月參與PROJECT GLOCAL TAIPEI,我與馬來西亞藝術家Fairuz Sulaiman,
於3/29失聲祭(Lacking Sound Festival)L81,跨國創作演出後的評論。