動態的居所–台灣、越南和澳洲
Dynamic Residence–Taiwan, Vietnam & Australia

2006.8~2009.1 影像裝置（16:9 NTSC格式，影像11分6秒） 大小依場地而定
Video installation (16:9 NTSC format, 11 minutes 6 seconds), depends on the place of exhibition

亞洲移民自1970年代之後便快速的成長，而其中遷徙的女性化是一個非常重要的發展。在動態的居所作品裡我涵納了台灣、越南、和澳洲的部份當代遷徙故事，而且主要以越南女性移民為主。依侍移民體系理論（migration system theory）所提出的遷徙流動，在移民輸出國與移民接受國之間，反應了交織著殖民化（去殖民化）、政治、貿易、投資、與文化關係的種種複雜的影響。

自2006年至2009年的三地拍攝過程，在我的作品裡我試圖述說著這樣交錯的複雜成因，並反映在當代的移民景況之中。從墨爾本North Richmond的法國麵包和辣薄荷開始，生活著越戰1975年之後的越南移民；還有在台灣的越南女性勞工在遷徙過程中，從事著「典型女性」（typically female）工作者所需學習中文的語言教學，她們語言學習的內容，與她們在台灣的日常生活有極大的關係，也反映了遷移者與雇主行為的縮影。但這與台灣企業因遷移產業（migration industry）的影響下，與到越南工作的台商所學習的越南語言教學內容，呈現極大的差異。

而作品還呈現了在台灣1990年代開始，藉由人口販運的跨國婚姻，這被稱為「外籍新娘」的新移民大多來自於東南亞，並以越南居多。她們下半輩子的生活與她的夫家環境有極大的關係，如從越南頭頓（Vung Tau）嫁來台灣彰化以廟會演出維生家庭的阮玉明心為例，便要常常跳著和自己原有文化信仰截然不同的角色，也就是台灣道教的八家將（有如人間的警檢角色，是模仿清代地方的巡捕審堂，在主神遶境出巡之時，幫忙緝拿妖怪）。這些都間接反映著移民者到移民接受國的真實生活處境，但不容忽視的是背後強而有利的文化衝擊，這些移民女性遷徙對移民接受國家庭與社群有相當大的影響，其所產生的文化複雜度以及多樣性，更是被稱為太平洋世紀（Pacific Century），亞洲地區人口流動快速下的結果。

聲音：
永明國際企業有限公司＜越南人學中文基礎1＞
黃雪梅、李帶好（居住在台灣臺南縣的越南籍配偶）

特別感謝：
阮玉明心（居住在台灣彰化縣的越南籍配偶）
李紅（居住在澳洲墨爾本的越南人）栽種社區（墨爾本）

The number of Asian immigrants coming to Taiwan has grown sharply since the 1970s, and the feminization of the migrant population has been a very important trend. My dynamic residential works encompass some of the stories of contemporary immigrants in Taiwan, Vietnam, and Australia, and they chiefly focus on Vietnamese female immigrants. In accordance with the immigration trends proposed by migration systems theory, many complex influences involving colonization (decolonization), politics, trade, investment, and culture arise between the migrant exporting countries and receiving countries.

From 2006 to 2009 in processing of film three spaces，I have attempted to describe these complex, interacting causative factors in my works as they are reflected in the circumstances of contemporary migrants. I started from the French bread and Hot Mint of the Vietnamese district of Melbourne (Richmond), and looked at the Vietnamese Chinese immigrants who arrived after the end of the Vietnam War in 1975. I also examined how, during the migration process, female Vietnamese workers in Taiwan needed to receive Chinese language instruction, which is a "typically female" task, and I looked at the content of their language instruction and their intimate relationship with everyday life in Taiwan. This work encapsulates the behavior of migrants and employers. Due to the influence of the migration industry, there is a huge gap between this language instruction the content of the Vietnamese language instruction received by Taiwanese firms opening plants in Taiwan.

My works also portray the international marriages that have occurred in Taiwan since the 1990s in the wake of human trafficking. Most of the new immigrants known as "foreign brides" are from Southeast Asia, and Vietnamese women account for a majority. The second halves of their lives are deeply connected with the environment in their husbands' households. For instance, the Vietnamese woman Juan-Yu Ming-Hsin(阮玉明心) from Vung Tau married into a family in Changhua that makes its living performing at temple festivals, which forced her into roles that diverged completely from her original cultural beliefs. When the family performed as the Eight Household Generals—popular mythic figures in Taiwan's folk Taoism—she played the role of a guard. In imitation of the police headquarters of the Qing Dynasty, she helped arrest demons when the chief deity was taken out for processions.

While the works indirectly reflect immigrants' real-life experiences in the host country, we must not neglect the powerful cultural influences behind these immigrants. The migrant women had major impacts on their households and communities in the host country, and the ensuing cultural complexity and diversity is the end result of intra-Asian migrations in the Pacific Century.

Sound:
Yung Ming International Co., Ltd. “Vietnamese learn Chinese: Basic 1”
Mrs. Huang Xue-Mei, Mrs. Li Dai-Hao (Vietnamese wives living in Tainan County, Taiwan)

Special Thanks:
Mrs. Juan-Yu Ming-Hsin (Vietnamese wife living in Changhua, Taiwan)
Mrs. Hong Le(Vietnamese living Melbourne, Australia)Cultivating Community (Melbourne)

參展紀錄 Recording of display

2009/2-4 《Jam：當代亞洲藝術在英國》，南丘公園畫廊,，英國

2014「許淑真紀念展」，高雄市立美術館，高雄，台灣

2009/Feb.Apr. Jam: Cultural Congestions in Contemporary Asian Art, South Hill Park, UK

2014 Commemorative Exhibition of Hsu Su-chen, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

典藏紀錄 Works in Collections

高雄市立美術館，台灣

Kaohsiung Museum of Fine Arts, Taiwan