Qi Li

讲题一：漫游科学城：征地、开荒、违建
（李齐，台湾阳明交通大学社会与文化研究所博士候选人）
讲题二：经济“特区化”——例外和连结
（丁杰隆，台湾大学建筑与城乡研究生硕士）

Moderator: Gan Han Lin (Monsoon Books)
Talk 1
“People’s theater in the Inter-Asian context” by the editorial team (Prof. Joyce C.H. Liu, Qi Li, Zikri Rahman)
Talk 2
“Transnational networks, People’s Theater and radical opposition in the New Order Indonesia” by Dr. Muhammad Febriansyah
Roundtable
“Sharing session: new updates about people’s theater scenes” by contributors and theater practitioners of the publication.

Curator: Qi Li, Po-yee Ip, Shijie Yue

Interflow indicates a movement of stream that dances back and forth between earth and water. Throughout the ages, massive infrastructural construction has gradually and constantly interrupted the vibrant, creative interplay between earth and water. Capitalist enclosure forges new territories, while others endeavor to mend what has been engulfed. Our collection of films repeatedly explores human’s two-way routes between water and land – charting the evolution of a lake’s shoreline, documenting the faces and happenings within evolving landscapes, and unraveling the complex spatial histories due to land disputes. Through the eye of the camera, we witness the multiple imprints left by interflow and the physical and emotional symptoms of the dwellers. Facing such unstoppable momentum, how might the everyday individual make their stand?

Turn to the divine, rewrite grassroots histories and tales, join collective actions, and bargain with the officials. Let multiple undercurrents go beneath the surface to reveal different trajectories of urban landscape beyond developmentalist narrative. 

This screening series presents four films – Li Wen at East Lake (2015) and Go to Street with Boat towards Coop (2022), each captured in Wuhan, alongside Belief before the Deserted City (2023) and Remembering Haikou by Reperforming (2024), both set against the backdrop of Taoyuan. These films serve as inter-reference to each other under land acquisition and real estate monopoly, delving into place memory, unveiling the religious or historical enigmas, and championing artivism and cultural activism.

流動的水，有時覆蓋陸地，有時沿邊失守而向內退縮。人類史上各式各樣的浩瀚工程，漸次打斷水土之間的進退遊戲。圈地的怪獸開疆拓土，有人試著修補。我們在幾組影像裡，一再看見人們往返於水域和大地的路徑——他們測量湖岸線被移動的位置；觀察開發現場的人和事；因地塊爭執的現況而深掘歷史。攝影機捕捉地方水土被搬動後的殘影，還有人們的身心症狀。若開發的意志不可阻止，草芥小民如何反駁？

遍求諸神，編造野史，集體行動，與官周旋——讓眾多伏流重新浮上地面，覆寫發展敍事掩蓋的地景。

本活動展映四部影片——於武漢拍攝的《李文漫遊東湖》(2015) 和《路上行舟》(2022)，於桃園拍攝的《空城前的相信》(2023) 和《造舟、問石，祭（記）海口》(2024) ——作為彼此的時空參照，共同討論土地徵用和地產霸權下的水土記事、神秘現象、藝術行動和文化抗争。

Airing paper, a technical term in the printing industry, refers to a procedure of paper moisture conditioning to restore its nature and resilience, where paper lies flat in a ventilated space. Offline indicates the decentralized mode of production combining mechanical printing and craftsmanship in the course of zine making, unlike the capital-intensive in-line production in print capitalism. The term further connotes the spontaneous, autonomous, and ambiguous self-printing movement, prompting a dialogue with contemporary cultural production in terms of calculation (jixin), machinery (jiqi), and institutions (jizhi).

While digital fatigue seeps into our contemporary life, (offline) serves as a visual index of disconnection from computer networks. By revisiting the self-publishing movement, Airing Paper (offline) sheds light on the potentiality of the analog, tactile, and embodied medium, which is seemingly out-of-date. Further seen in a dialectic of movement and stillness, the act of airing implies an undercurrent of social transformation waiting in the wings.

Airing Paper (offline): Rise of Self-publishing Waves offers a contour of the self-publishing practice in contemporary China and charts their scattered, autonomous configurations and routes by featuring a significant number of zine publishers’ works. Amid the time of obscurity and uncertainty, Airing Paper (offline) rises to the horizon and encounters friends via curatorial practice.

Dates: 2024.05.25 — 2024.06. 09 (Wed-Sun 2pm – 8pm)
Venue: TheCube Project Space
Curator: Saansausau (instagram: saansausau)

Curator: Qi Li, Jonathan Parhusip, Irfan Muhammad

Perantauan，一個印尼詞語，意思是「遠赴他鄉的勞工」。與它相關聯的兩個詞：Merantau，遷徙，短暫而漂泊的生活；perantau，旅人，在異鄉牽掛故土的人。

請您來聽印尼勞工徙居台灣的故事。一位印尼船員兼音樂人，和三位文化工作者，帶來旅人們的日常、感受和表達：生活的顛簸、兄弟情誼、信念和鄉愁——印尼音樂人王哥，將現場演出新單曲。在印尼移工社群田野裡沈浸多年的吳庭寬、藍雨楨和江婉琦，將分享他/她們近期備受矚目的創作：2022年加拿大溫哥華的台灣文化節（TAIWANfest Vancouver）和東港印尼漁工社群共同創作的展覽「西拉圖拉米」（Silaturahmi），以及新近出版的議題之作《移工怎麼都在直播》（木馬文化出版）。

Part I —— 現場演出 
王哥 Ang Wang

來自西爪哇省安由（Indramayu）。為詞曲創作人、樂團樂手、前東港震隆宮鼓陣「呴咧部隊」成員、漁工。在台灣東港已有17年工作經驗。王哥的創作風格為塔林（Tarling），不過他最喜歡的樂團是Slank。
 
Part II ——「西拉圖拉米」——東港印尼海員的藝術共創與社群實踐
講者 Speakers: 吳庭寬Wu Tingkuan、藍雨楨 Lan Yuchen

吳庭寬、藍雨楨將分享在2022年加拿大溫哥華的台灣文化節（TAIWANfest Vancouver）和東港印尼漁工社群共同創作的展覽「西拉圖拉米」（Silaturahmi）——意為連結情誼與維繫關係。透過和船員共同創作展覽的過程，探索船員如何在異鄉建造社群，彼此扶持互助、學習包容差異，和在地社會互動，身體力行「西拉圖拉米」理念，延續共享與共好的展望。

Part III ——「移工生命中那些小小的煩惱」
講者 Speaker: 江婉琦 Jiang Wanci

在認識印尼友人四年後，她告訴我，其實她來台灣的原因是為了逃脫，逃脫過往婚姻、愛情的失敗。在主流的媒體敘事中，移工的敘事通常是「勵志感人」或「刻苦可憐」兩個極端的光譜，除了這之外，還有什麼？身為一位非研究者，我開始問起身旁印尼朋友生命中的那些小小煩惱，愛情的煩惱、沒有自信的煩惱、生活的煩惱，甚至去問了神明，該怎麼辦呢？

活動側記 Event Report by 陳曼晴

活動照片 Event Photography by Mifta Fajriyah