畸零意義交換工作坊 Marginal Meaning Exchange Workshop

在2024年6月22日的畸零意義交換工作坊中，與會者在海波浪藝術空間展開了一場深入的對話，探討「畸零」概念的多重詮釋與實踐可能。會議由畸零地工作室分享古蹟燒計畫開始，藉由這個以雞蛋糕為媒介的藝術行動，展開關於空間、記憶與社群實踐的多重討論。透過這個交換平台，參與者得以分享各自對畸零空間的理解與體驗。

徐孟榆分享了畸零地工作室的成立歷程。工作室名稱源於其租用空間後方的一塊「畸零地」，這片被垃圾填平的河岸野地在整理過程中，逐漸揭示了台灣成衣產業發展的歷史痕跡。這個經驗不僅形塑了工作室對「畸零」概念的理解，也促使團隊思考藝術介入空間的可能性。工作室的命名引發了許多討論，有人認為「畸」字帶有負面含義，但團隊選擇正視這個詞彙，試圖從中發展出新的創造性意義。

古蹟燒計畫始於2017年，回應當時台灣每月平均失去一座歷史建築的現象。這個計畫將傳統雞蛋糕轉化為台灣古蹟建材的造型，透過分享與交換故事的方式，建立起一種社會對話的機制。特別是在2018年苑裡市場火災後，古蹟燒成為連結社群記憶、支持在地保存運動的重要媒介。透過這個創作計畫，團隊不僅記錄了消失的建築，更建立起一種關於城市記憶的對話方式。

在討論中，與會者從不同角度詮釋「畸零」的概念。有人將其視為一種被邊緣化的狀態，但同時也是一種重新開始的可能；有人則從「歸零地」（ground zero）的概念出發，探討創傷後的重建與記憶重構。建圖提出「畸零」與「憤怒」的關聯，認為這種不甘心的情緒同時蘊含著希望的可能性。這種多元的詮釋展現了「畸零」概念在當代社會脈絡下的豐富內涵。

特別值得注意的是關於移居者視角的討論。多位與會者分享了作為移居者面對地方與歷史的複雜情感，以及如何在「歸零」的狀態中重新建立連結。大Q分享了通過工作經驗意外重新連結家族歷史的經驗，展現出「歸零」不僅是消失，也可能是重新開始的契機。這些個人經驗的分享，揭示了「畸零」概念與個人身份認同之間的深刻關聯。

會議也觸及了藝術介入地方的倫理問題。哲偉分享了攝影師喬爾・邁耶羅維茲的案例，探討藝術工作者如何在記錄與參與之間找到平衡。這個討論呼應了畸零地景藝術節希望建立的多元對話平台，強調藝術介入不應僅是表面的改造，而是要創造更多對話與想像的可能。這種思考反映了當代藝術實踐中對於藝術家角色的重新思考。

建圖在結語中提出「野性」的概念，認為在都市化進程中，尋找與重建這種「野性連結」可能是對抗身份被磨平的一種方式。這種思考將「畸零」從負面標籤轉化為一種積極的可能性，呼應了工作坊希望透過藝術與對話，重新定義邊緣空間價值的初衷。野性的概念不僅針對空間，更指向了一種新的生活態度與文化實踐的可能。

在討論社群營造的議題時，與會者探討了如何在實踐過程中保持開放性與包容性。海波浪分享了他們在社區營造過程中的經驗，特別是如何透過各種活動與計畫，建立起與在地居民的連結。這些經驗顯示，社群營造不僅是空間的改造，更是一種關係的重建與文化的創造。

整體而言，這場工作坊展現了「畸零」概念的豐富內涵：從空間的邊緣性到身份的重構，從記憶的消失到新生的可能。與會者的分享顯示，「畸零」不僅是一種空間狀態，更是一種重新思考人與空間、個體與歷史關係的視角。在當代社會快速變遷的背景下，這種思考為我們提供了重新理解邊緣空間與重建文化連結的可能性。

At the Marginal Meaning Exchange Workshop held on June 22, 2024, participants gathered at seabelongings Art Space to engage in an in-depth dialogue exploring multiple interpretations and practical possibilities of the concept of “marginality.” The meeting began with Ground Zero Studio sharing their “Historic Building Cakes” project, using egg cakes as a medium for artistic action to initiate discussions about space, memory, and community practices. Through this exchange platform, participants shared their understandings and experiences of marginal spaces.

Hsu Meng-Yu shared the establishment story of Ground Zero Studio. The studio’s name originated from a piece of “marginal land” behind their rented space, a riverside wasteland filled with garbage that gradually revealed the historical traces of Taiwan’s garment industry during the cleanup process. This experience not only shaped the studio’s understanding of the concept of “marginality” but also prompted the team to consider possibilities for artistic intervention in space. The naming of the studio sparked numerous discussions, with some noting the negative connotations of the character “chi” (marginal), but the team chose to embrace this term and develop new creative meanings from it.

The Historic Building Cakes project began in 2017, responding to Taiwan’s average loss of one historical building per month. The project transformed traditional egg cakes into shapes resembling Taiwanese architectural materials, establishing a social dialogue mechanism through sharing and exchanging stories. Particularly after the Yuanli Market fire in 2018, the Historic Building Cakes became an important medium for connecting community memories and supporting local preservation movements. Through this creative project, the team not only documented disappearing architecture but also established a dialogue about urban memory.

During the discussion, participants interpreted the concept of “marginality” from different angles. Some viewed it as a state of marginalization but also as a possibility for new beginnings, while others approached it from the concept of “ground zero,” exploring post-trauma reconstruction and memory reconstruction. Jian-Tu proposed a connection between “marginality” and “anger,” suggesting that this feeling of discontent also contains possibilities for hope. These diverse interpretations demonstrated the rich implications of the “marginality” concept in contemporary social contexts.
Particularly noteworthy was the discussion of migrants’ perspectives. Several participants shared their complex emotions as migrants facing local history and how to rebuild connections in a state of “ground zero.” Q shared how work experiences unexpectedly reconnected them with family history, showing that “ground zero” isn’t just about disappearance but can be an opportunity for new beginnings. These personal experience sharings revealed the profound connection between the concept of “marginality” and personal identity.

The meeting also touched upon ethical issues of artistic intervention in local communities. Che-Wei shared the case of photographer Joel Meyerowitz, discussing how art workers can find balance between documentation and participation. This discussion echoed the Marginal Landscape Art Festival’s aim to establish a diverse dialogue platform, emphasizing that artistic intervention should not merely be superficial transformation but should create more possibilities for dialogue and imagination. This thinking reflects a reconsideration of the artist’s role in contemporary art practice.

In his concluding remarks, Jian-Tu proposed the concept of “wildness,” suggesting that in the process of urbanization, finding and rebuilding this “wild connection” might be a way to resist the flattening of identity. This thinking transforms “marginality” from a negative label into a positive possibility, echoing the workshop’s hope to redefine the value of marginal spaces through art and dialogue. The concept of wildness points not only to space but also to new possibilities for life attitudes and cultural practices.

In discussing community building issues, participants explored how to maintain openness and inclusivity in the implementation process. Seabelongings shared their experiences in community building, particularly how they established connections with local residents through various activities and projects. These experiences show that community building is not just about spatial transformation but also about rebuilding relationships and creating culture.

Overall, this workshop demonstrated the rich implications of the concept of “marginality”: from spatial marginality to identity reconstruction, from the disappearance of memory to new possibilities. Participants’ sharing showed that “marginality” is not just a spatial state but a perspective for rethinking relationships between people and space, individuals and history. Against the backdrop of rapid social change in contemporary society, this thinking provides us with possibilities for reunderstanding marginal spaces and rebuilding cultural connections.