Laurent, Lin Chen Wei/ 2018
Artworks co-made with 葉綠塑 in Taipei, Kuandu Museum of Fine Art/ Ulaanbaatar City, 976 Art Gallery/
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2018年8月至10月，參與「IS/IN LAND: 台蒙當代藝術游牧計畫」經驗，給了我一場新的藝術感受。首先是回到母親們的勞動敘事，第二是蒙古的城鄉移民。即便兩地曾分屬不同的冷戰陣營，我仍試圖創造一段勞動者的共同敘事。
「當年搭著很慢的火車來到台北，」母親來到台北郊區，那兒聚集許多電子業和電視工廠的地方謀生。
70年代後的台北，矗立了不少美國和日本的企業工廠。當年中華民國在美國扶持的經濟環境下，紡織、食品罐頭、電子業已成為最出名的外銷貨品。
她跟無數女工一樣，暫離偏遠山村。正值青春年華的她，靠著努力當上美國工廠的領班，於鮮白、乾淨的日光燈下，裝配一台接一台的電視。
「從IC電路板，生產線最前到最後，一部電視機就完成，最後就是包裝了，」她是這麼跟我說的。一條生產線有好幾個班，一班大約7、8個人一同工作。
她們看影像、試聲音，耳邊傳來美軍電台裡的英文歌，像Michael Jackson、The Jackson 5，Andy
Williams和Tom Jones。英文歌是唯一的娛樂。
40年後，我挖開電視機，電路板一如往常般的是座陌生城市。搭著火車離開電路板，回到遠在山村的家人身邊，是她最殷勤的期盼。
(folded by Gantuya Badamgarav)
在我背後，有個疑似弓箭傷疤的胎印。這件事在我成年後才發現的。
蒙古文化向來對我有莫名吸引力：一款知名的電腦遊戲Age of Empire中，我始終選擇當蒙古族。還未學會寫作之前，我試圖在這款遊戲裡編劇，畫出想像中的蒙古草原與俄國冰河，訴說亞歷山大．涅夫斯基的軍隊要如何於條頓騎士團及欽察汗國的雙重包夾中獲勝。
這是我第一個寫作的腳本，存於虛擬的電腦遊戲。我不知為何選擇這位俄羅斯人物來開始我的寫作生涯。甚至數度懷疑前世，我是這裡的人。
(Made by Laurent Lin Chen Wei)
2018年，我抱著尋根的心情來到蒙古。對我而言這裡的游牧生活熟悉，即便我此世不曾來過。
我選擇每個時期的”20”年代，蒙古和台灣都一樣，身為不同尺度的土地，都在”20”中面臨國家與國家中間的妥協、征服、被殖民、革命，到今日的2020年，面臨從冷戰時期到全球化帶來的經濟分工與城鄉差距等問題。
我從古老的戈壁岩石雕刻尋找創作靈感，回看關於每個時期的20年代，蒙古人民在時間與勞動的變革，層層鋪疊於未知的歷史向度上，這過程中又如何彰顯或隱藏呢？無論如何，這些歷史片斷，獻予未來的蒙古。
Concept: About "Re-rootness-ia"
Laurent, Lin Chen-Wei
Economy and urban
industrialization in Taiwan was supported by the U.S, whereas Mongolia under
the Soviet regime during the cold war.
Like my mother, she used to be an
American TV factory worker in Taipei County before her marriage in the 1970th
.
People migrate from countryside to cities
for “better life” both in Mongolia and Taiwan. However, the homeless, poverty,
prostitution problems are also migrating from pastoral areas to cities, from
local to abroad.
When middle-class toys become the
homeless furniture.
Myths
and legends are being crystalized on city floor.
When ovoo becomes the shelter in
abandoned parks.
Old
sayings being narrated within the urban nomad’s eyes.
When naïve paper airplanes
crashes.
The
suitcases never being stopped
Families and friends flowed into
the factories.
…
Blessed
in Re-Rootedness-Ia
What I have done here is to juxtapose the
Mongolian traditions and modernity.
That
may never change.
“Re-rootness-ia” is not an utopian imagination.
I found a birthmark on my back when I was 18, like an arrow shot behind. It has become a secret and puzzle, as well as indeed a good question toward the previous incarnations for me.
When playing the game” Age of Empire” during my teen, I always pretended myself as a Mongolian warrior, using arrows to conquer the enemies I confronted. Even before learning writing, I edited a story on it of “Александр Невский”（Alexander Y. Nevsky）, how he survived the adventure between Mongolian Golden Horde and Teutonic invasion. For now, I still don’t know why I chose him.
I cannot describe the experiences very concretely.
Déjà vu. I never come here before.
All I need to know is that the number of “20” in each particular era. Despites both Mongolia and Taiwan diverse in different scales , not only from plateau to island, but from cold wave to monsoon. The term “Ia” becomes a relevant metaphor which is able to be connected within the wars, occupations, colonization, negotiations between different countries, revolutions and contemporary globalization with its international division of labors and urban-rural developing problems.
The petroglyph from Gobi inspired me to keep asking the common “ia” questions. The ancient holy stones inscribed the memories and stories toward unknown future. However, how should we let the peoples’ narratives be transferred and inherited ? To 2020, 2120,… and so on?
“Re-rootness-ia” is not a virtual utopia. It is in-situ but nomadic, a certain space with ambiguity we are eternally seeking for.
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