“劳动与重量”是由4位马来西亚艺文工作者, 针对特定场域的艺术交流与考察的集体创作。此交流计划开始于2020年8月，希望籍此计划达到跨领域的交流与创作。
“Labour and Weight’’ is a site-specific artistic research and collaborative production between 4 artists and cultural workers based in Malaysia. Carrying out our practises together as at temporal collective, our conversations took place from August 2020 till January 2022.
展览为两站：2021最終站在福建公会,邦咯島，展期从25/12至1/1/2022，8pm-10pm。
展览的首站在海口厝,峇株吧辖，展期为13/9至19/9。
Our 1st exhibition took place in Rumah Haikao, Batu Pahat from 13/9/2021-19/9/2021. The concluding exhibition is held at the Hokkien Association, Pulau Pangkor from 25/12/2021 - 1/1/2022.
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工作室
Open Studio
工作室
Open Studio
Open Studio
欢迎光临！Welcome to our thoughts and process!︎︎︎︎︎ Lee Mok Yee, Koe Cheng Gaik, Okui Lala, Yeo Lyle︎︎︎︎︎
Visitors and conversations about the exhibition
25 Dec 2021-1 Jan 2022 | Pulau Pangkor
25 Dec 2021-1 Jan 2022 | Pulau Pangkor
Logistic from KL to Pangkor
December 2021 | Kuala Lumpur, Pulau Pangkor
December 2021 | Kuala Lumpur, Pulau Pangkor
上车,上罗里,上船,前所未有的运输作品的方式:“可以啦！” ,到了在讲！”,“没问题啦!” 惊险又爽快的交通安排!
From car to the lorry to the boat, our artwork has went through the ground and also the sea to reach Pangkor Island. It was a thrilling but also an exciting logistic arrangement. “Sampai baru bagi tau” “No problem lah!”
Open Studio 22 B: Dancing in the street
November 2021 | Pulau Pangkor
November 2021 | Pulau Pangkor
拖网的60 síam到底有多长？或许我们可以利用街道上的店面做一个标准。利用我们的身体做尺，尝试划出一个与当地居民的共同尺寸。 虽然大家以为我们在跳舞。
How big is net? I think we can show it by using our body like how Man Nian use her arms to measure. the street. Like this?
Open Studio 22 A: “ How big is the net?’’
November 2021 | Pulau Pangkor
November 2021 | Pulau Pangkor
‘One Siam is about 6 feet’- Man Nian
This is how the Netmaker straightened her 2 arms apart and told us. (Actually, it looks like 5 feet due to her height). The ruler might be more standard for measurement, but this wisdom show how relatable the maker is with her work! And it’s so convenience!
“一Siam就是所谓的一丈，一丈差不多是6尺。”看着织网师傅满年双手伸直，向我们解释一síam的长度（其实怎样看都只是五尺）。尺寸或许是一个标准，但在这里却是一种信任，而且很方便！
Open Studio 21: “ How does the net looks like?’’
November 2021 | Pulau Pangkor
November 2021 | Pulau Pangkor
找了满年好几次，这张图她也画了不止一次。每次我们点点头的似乎了解她说的原理，但在大伙私下讨论的时候，却又发现大家“以为”的相差甚远。只好上网搜索和拖网相关的资料，然后二度，三度的拜访满年。后来的后来才 猛然的发现那平面图中的立体想象。
4 in 1 gather in KL
October 2021 | Kuala Lumpur
隔了7个月 我们4人的终于可以 在同一张桌子 同一个空间 面对面 至少我们再也不是 独自对着荧幕说 “can you hear me?”
It was 7 months since we last met. Finally we are seeing each other in the same space sharing a same table. Life is so much beautiful when we can see each other without the screens. No “ Hello, hello? Can you hear me?’’
Rumah Haikao’s audience review
September 2021 | Batu Pahat
开展前收到可以开放展览的消息，我们决定线上线下同时进行。亲朋好友战战兢兢的前来参观，不能跨州的朋友网上支持，还给了不错的回响，让我们在保持距离中又拉近了距离。距离，或许是在疫情下不断被重新定义。
September 2021 | Batu Pahat
开展前收到可以开放展览的消息，我们决定线上线下同时进行。亲朋好友战战兢兢的前来参观，不能跨州的朋友网上支持，还给了不错的回响，让我们在保持距离中又拉近了距离。距离，或许是在疫情下不断被重新定义。
Open Studio 20：’’Whose works is it anyway?’’
“这是谁的想法或作品？”
对于collaboration 创作计划，这并不是一个好的问题，但却是极其重要的问题。
“我想象的集体创作是看不出这是谁的作品‘’
“I think..we are good at compromising. But sometimes, contradictions is interesting. If, we are willing to confront it.”
‘’它可以很振奋人心的打开创作者的视野，探见自身惯性以外的世界，却也可以让创作者极度不适的像迷失在荒凉的大漠，毫无头绪。’’
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“...it’s like making a pizza from scratch. Starting from kneading the dough together, when it comes to the toppings, everyone has their own preferences. He likes more cheese. She likes peanut butter jam. He is a vegetarian, only vegetables at a corner. She likes chicken wings. Despite all that, the process of making the pizza (collaboration, i mean) is the important part..”
对于collaboration 创作计划，这并不是一个好的问题，但却是极其重要的问题。
“我想象的集体创作是看不出这是谁的作品‘’
“I think..we are good at compromising. But sometimes, contradictions is interesting. If, we are willing to confront it.”
‘’它可以很振奋人心的打开创作者的视野，探见自身惯性以外的世界，却也可以让创作者极度不适的像迷失在荒凉的大漠，毫无头绪。’’
“...it’s like making a pizza from scratch. Starting from kneading the dough together, when it comes to the toppings, everyone has their own preferences. He likes more cheese. She likes peanut butter jam. He is a vegetarian, only vegetables at a corner. She likes chicken wings. Despite all that, the process of making the pizza (collaboration, i mean) is the important part..”
Open Studio 19：
船到batu亮晶晶 ✨️
September 2021 | Batu Pahat
裝飾的工程在為年過半百的屋子量身，点亮身軀。Measure body, make it bright and shiny!
September 2021 | Batu Pahat
裝飾的工程在為年過半百的屋子量身，点亮身軀。Measure body, make it bright and shiny!
Can you identify Rumah Haikao from here? (Yes is the pizza hut roof!). One of the challenge of the house is that is very inward from the main road. We were wondering how to ‘’pull it to the front’’ while blending in with local asthetic. Glad that few uncles and aunties stop by and have a closer look on the exhibition!
Open Studio 18：
Working at Mok Yee’s Studio
June- September 2021 | Kuala Lumpur
“hey guys..the cases are not coming down.. im thinking to move some of the woods back to my studio in KL’’ -May 2021
慕义在布展的时候，才发现木材比2013年的时候重很多，他才发现那时候师傅为了方便艺术家工作，都把木料锯成比较小的尺寸。
When Mok Yee set up the installation in his studio, he realize that the wood is much more heavier compare to 2013. Then he only realize that, uncle was helping him to cut the wood in 2013, so he can easier to work on it.
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When Mok Yee set up the installation in his studio, he realize that the wood is much more heavier compare to 2013. Then he only realize that, uncle was helping him to cut the wood in 2013, so he can easier to work on it.
Open Studio 17 Working in pandemic +concerns
January 2021, March 2021- present
去警察局申请跨洲，验了一个像验孕棒的检测，就为了希望能安心的勘查场地。
RTK, PCR, MCO, EMCO, FMCO…...渐渐变成我们聊天的话题之一。
Since March 2020, we have postponed our project for few times. We decided to change to online exhibition on May 2021.
We apply permit from police station, even did RTK test before we travel to Pangkor. It’s a rare opportunity to work with a team and community across different states, but it has been challenging with the ongoing rises of case as our sites are all tight-knitted community Safely is always in the back of our mind.
Open Studio 16：Shooting remotely + light box production
August 2021 | Batu Pahat + Online
August 2021 | Batu Pahat + Online
Open Studio 15：
石文丁的媚与俗
July 2021| Batu Pahat
走在石文丁的路上，可以看得见大大小小的庙宇。听说这里的大伯公很灵，香火很旺，许多人都来这里求运求财。
肯定灵啦。。你看那大伯公，好大呀，你看那铜钱，金金的！让我想起第一次到邦咯岛看到船下海时，大家都喊“满载而归！满载而归！！”
pai pai wu pai wu popi! got pray got blessed!
Open Studio 14： 水车
| June 2021
July 2021 | Batu Pahat
| June 2021
July 2021 | Batu Pahat
小时候，我推着水车，期待着父亲的渔船归来，把渔获放在水车，然后徐徐地推回家。犹记得那一年，村里制水，水车每天发挥了最重要的功能，就是装水。走在坎坷不平的路上，那是我对家乡的回忆，那是我对父亲的记忆，我成长的回忆。
When i was a little boy, i always push the water cart to wait for my father’s little boat to come back from the sea. We will put the fishes in the cart and push it back home. There was one year, the Kampung has no water and the water cart became an important tool for us to fill water with it. Walking on the uneven pathways, that was my memory growing up in this hometown. It also my memory on my late father.
Open Studio 13:
Walking together online
June 2021 | Google Street
June 2021 | Google Street
Google walk around Batu, tour around by Yeo and navigate by Cheng Gaik.
Open Studio 12：
Flow of energy
May 2021 | Pangkor ~~ Online
May 2021 | Pangkor ~~ Online
When i think about ''labour'' in this project,i saw a lot of ''movement'' around and within it----the transfer of energy that contributes to the long dedication of laborours work. For big ship, the fishermen spent days on the sea. When the ship arrive and after they have finished their work, we can see the migrant workers bathing and resting on the boat or near the port. We got to know they are from either Myanmar or Thailand. Some has work for more than a decade with the local shipbuilders or fishermen.
We did not manage to spend more days and get to know them closer on both Pangkor and Batu Pahat due to the pandemic sitatuon. But in near future, if the situation allows, we would want to know more about their lifestyle during their off work hour. What is their diet? What they do to chill? What is their believes? How do they regain their energy after long days on the sea?
打绳 (Pak-Suk) is a traditional skill of inserting sisal rope between the wooden planks to fill gaps. Don’t you think this skill is very poetic and full of wisdom? A softness between the hard wooden planks that keeps things together!
Open Studio 11:
绳子与绳结 Ropes & Knots
May 2021 | Batu Pahat
绳子，尤其是出海所用的绳子，对我来说一直有着一个生命力。它上岸下海，维系着船与桥或岸的关系，承担着辛劳而获的丰收。它是我对父亲的记忆中实际留下来的痕迹。是一些我一直都不在在意，不曾学习，却在心底认为是父亲的智慧。它是一组技艺的手势动作，做起来并不困难，但却具有着强力连接与承担的作用。家中，在不同的角落，有着父亲用不同材质所打的结。我曾觉得它虽有实际解决问题的作用，却很不美观。现在，却感觉是父亲留下的手迹。
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Open Studio 10： 满年
Beyond the Imagination
April 2021 | 3 days field trip to Pangkor
问邦咯岛居民 哪里可以找制渔网的人呀 大家都说 “呐,去找满年啦!’’ 一点都不难找到 远远就看到一个体型小小却很活力能干的他在做一个比大他很多很多很多很多倍的拖鱼网! 粗粗肥肥的绳子比他那细小的手臂还要粗!
“看人家怎么做。网做不好，鱼会跑掉 收成就少。“
“我很少出海的啦, 就看人家怎么做。同行的没有敌人的，都互相学习”
我们一伙觉得太神奇了 ！完全想象不到 当满年阿姨织网的时候 是长长扁扁的 而网在水里是3D的 我们根本想不通. 她很大剌剌的直接在鱼棚的的木板当纸 直接show我们一些细节like 如何防止鱼游出网。
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“We need to study how our net making to have better fish catch.”
“I seldom go on fishing boat, we just learn with each other and exchange our idea”
This was what she said when we met her at Pangkor Island. We are amazed how she imagine the net working under the sea (even we can’t understand what she is doing when we visit her). She is kind and even show us how they amend and improve the net.
Not only Man Nian, we also met Uncle Hor Lai, the ship builder. We really amazed how imagination works on their job when they create such a huge things, but only depends on their experience and imagination.
April 2021 | 3 days field trip to Pangkor
问邦咯岛居民 哪里可以找制渔网的人呀 大家都说 “呐,去找满年啦!’’ 一点都不难找到 远远就看到一个体型小小却很活力能干的他在做一个比大他很多很多很多很多倍的拖鱼网! 粗粗肥肥的绳子比他那细小的手臂还要粗!
“看人家怎么做。网做不好，鱼会跑掉 收成就少。“
“我很少出海的啦, 就看人家怎么做。同行的没有敌人的，都互相学习”
我们一伙觉得太神奇了 ！完全想象不到 当满年阿姨织网的时候 是长长扁扁的 而网在水里是3D的 我们根本想不通. 她很大剌剌的直接在鱼棚的的木板当纸 直接show我们一些细节like 如何防止鱼游出网。
“We need to study how our net making to have better fish catch.”
“I seldom go on fishing boat, we just learn with each other and exchange our idea”
This was what she said when we met her at Pangkor Island. We are amazed how she imagine the net working under the sea (even we can’t understand what she is doing when we visit her). She is kind and even show us how they amend and improve the net.
Not only Man Nian, we also met Uncle Hor Lai, the ship builder. We really amazed how imagination works on their job when they create such a huge things, but only depends on their experience and imagination.
Open Studio 9： 雨来Beyond the Imagination
April 2021 | 3 days field trip to Pangkor
April 2021 | 3 days field trip to Pangkor
雨来叔叔是个造船师傅, 他很善谈，可爱。
知道我们充满好奇，邀约我们到他的家里细心地解释给我们听。随手拿了张纸，就画了船的架构给我们看，而且说了不少名词 #福建话 #好多动物的名字 #龙骨鱼架
Uncle Hor Lai is a shipmaker. As an experienced shipmaker, he builds the fishing boat on the land all based on his experience, times, imagination and skills.
After knowing our interest on shipmaking, he is friendly and warmly welcomed us to his house to have a chit-chat. He explained it patiently with his drawing and also sharing with us all the unique terms they daily use.
Open Studio 8：
百无禁忌, 我们上啦!
April 2021 | 3 days field trip to Pangkor
April 2021 | 3 days field trip to Pangkor
问了千千万万次, 雨来uncle 我们真的可以上去呀?
他头点了说可以! 两个女的, 不管咯! 双脚抖抖爬上那因海浪而摆动不停的楼梯! 但是, 我们根本不能在上面呆太久, 涨潮浪大, 船只一摇一摆的, 我们都晕晕的!
Uncle他们完全很steady 又量又锯又钉又搬又抬! 一木一板一钉一举一抬一天一天把这么大只船给搞出来! 真的!太!厉!害!了!! #敬佩敬佩 #没有草图 #全都在他们的脑子里 #年轻员工都不是本地人
他头点了说可以! 两个女的, 不管咯! 双脚抖抖爬上那因海浪而摆动不停的楼梯! 但是, 我们根本不能在上面呆太久, 涨潮浪大, 船只一摇一摆的, 我们都晕晕的!
Uncle他们完全很steady 又量又锯又钉又搬又抬! 一木一板一钉一举一抬一天一天把这么大只船给搞出来! 真的!太!厉!害!了!! #敬佩敬佩 #没有草图 #全都在他们的脑子里 #年轻员工都不是本地人
We finally manage to get the shipmaker persmission to go on boat! It’s usually pantang for women to go on ship but uncle said: “ can liao la! no problem!’’. Of cause I will follow the gang! But....I have acrophobia (scare of height). My leg was shaking all the time when I was on boat and i was so pening lalat!
“ How did you all overcome this sea sickness?’’
“ When you need to work, pening pening slowly also not pening’’. #Itsthehardknocklife!
Open Studio 7：
#Inter-net
April 2021 | 3 days field trip to Pangkor
1 day 2 times to be out of the seas. Before the sun rises and before the sun sets. In between, they dont nap. They don't have Netflix but Net-2-Fix. Some sit alone having their own me-time; some sit together and gossip; some sit alone and have video calls with their families.
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It is so inspiring and i want to do a workshop about it. To build our own inter-net. The real connection, heart-to-heart, face-to-face. From the workshop, we may experience that different people has their own way of having their “resting” time. It may also a moment of bonding. Everyone sits together to do something at the same time but in their own way.
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It is so inspiring and i want to do a workshop about it. To build our own inter-net. The real connection, heart-to-heart, face-to-face. From the workshop, we may experience that different people has their own way of having their “resting” time. It may also a moment of bonding. Everyone sits together to do something at the same time but in their own way.
Open Studio 6: The roof is your ship to the world!
December 2020, June-August 2021 | Onsite @ Batu + Online tour at Yeo’s roof
‘’Your roof reminds me of the stucture of a ship and also Tongkonan, a tradtional house of the Torajan people in South Sulawesi, Indonesia. The roof of Tongkonan is curved like a boat, while your roof is an upside down...boat!’’
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“Your grandpa built this house by himself?!’’
December 2020, June-August 2021 | Onsite @ Batu + Online tour at Yeo’s roof
‘’Your roof reminds me of the stucture of a ship and also Tongkonan, a tradtional house of the Torajan people in South Sulawesi, Indonesia. The roof of Tongkonan is curved like a boat, while your roof is an upside down...boat!’’
“Your grandpa built this house by himself?!’’
Open Studio 5：滑轮The pulley
Ferbuary 2021 |Pangkor~~ Kuala Lumpur
Ferbuary 2021 |Pangkor~~ Kuala Lumpur
我们第一次到邦咯岛的时候，就看到许多渔夫和渔船都利用滑轮来工作。我们觉得滑轮在表现重量和动作是一个很好的符号。劳动者一起工作，劳动者的智慧，其实是很美丽的。
Open Studio 4：
Cheng Gaik’s 外公外婆
February 2021 | Penang ~~ Pangkor
外婆不怎么爱提起外公的事情 就那偶尔偶尔说一些一些
“你外公以前啊, 他在渔船的岗位是 坐在最最最顶端 用那双肉眼看哪里有鱼群! ”
“以前啊 他们是坐船从中国下来的 然后他用那只船只盖房子”
太神了吧?我一定要找出这房子!! 从未离开过邦咯岛的堂舅带我去看老家, 他说.... 才没这么回事.... #还是一个谜
#只能靠想象 #如果有天有机会遇到外公我会跟他聊什么 #以前我妈跟我说外公名叫郭富城 #他是人肉radar
Open Studio 3: Online Movement Workshop
October 2020 | Online @ Penang, Kuala Lumpur, Batu Pahat
在最初的未知与迷糊階段，以實際活動嘗試用身體去想像"滑輪"所帶來驅動力与群體動作的牽引關係。
“ Maybe...it’s not a movement workshop but an internet speed test？”
Open Studio 2: Let’s Sail together!
September 2020 - current | Online & On Site@ Penang, Kuala Lumpur, Batu Pahat, Pangkor
Yeo have an idea of 一起航海 in one of our earlier proposal. Being in a boat together and sail along the west coast of Penisular Malaysia.
‘四人带着与作品一同乘船航向有着造船与渔业的海岸。作品就如船一样靠岸，在岸上扎营布展。四人搬运搭建、或与当地人共同辛劳，对这一个不具有现实作用的作品，开展出与他们紧密相关的对话。之后再继续航向下一个海湾。创造作品过程的发生与展示的行为。‘’
“ What a cool idea! ’’
“ ... i can imagine the amount of paperwork and process we need to apply’’
“ are there pirates at Selat Melaka…?’’
The idea dint make it, but looking back now on how we work together online at different platforms felt like sailing together in small boats in the sea of virtual.
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‘四人带着与作品一同乘船航向有着造船与渔业的海岸。作品就如船一样靠岸，在岸上扎营布展。四人搬运搭建、或与当地人共同辛劳，对这一个不具有现实作用的作品，开展出与他们紧密相关的对话。之后再继续航向下一个海湾。创造作品过程的发生与展示的行为。‘’
“ What a cool idea! ’’
“ ... i can imagine the amount of paperwork and process we need to apply’’
“ are there pirates at Selat Melaka…?’’
The idea dint make it, but looking back now on how we work together online at different platforms felt like sailing together in small boats in the sea of virtual.
Open Studio 1: 满载而归
Aug 2020 | Pulau Pangkor
Aug 2020 | Pulau Pangkor
在我们4人第一次同时踏入邦咯岛的那天, 雨来叔叔告诉我们有新江鱼仔船第一次下海! 浮不浮就看这一刻了!
千载难逢的机会 但却不是cheng gaik还是Okui! 不过, 俩人站在鱼棚看到渔船浮上来的那刻也感到超high的! 欢笑声 鞭炮声 大家一起大喊:
# 那气氛比新年还要high #女人禁步不可踏上渔船 #uncle安慰我们是船太多人危险 #拜祭烧猪好想吃但是好害羞
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千载难逢的机会 但却不是cheng gaik还是Okui! 不过, 俩人站在鱼棚看到渔船浮上来的那刻也感到超high的! 欢笑声 鞭炮声 大家一起大喊:
“满载而归!满载而归!满载而归!”
# 那气氛比新年还要high #女人禁步不可踏上渔船 #uncle安慰我们是船太多人危险 #拜祭烧猪好想吃但是好害羞
展览场地
Exhibition Site
邦咯福建公會 Hokkien Association, Pulau Pangkor
8:00pm-10:30pm, 25th December 2021 - 1st January 2022
劳动的度与量
《劳动与重量》来到计划的起源点—邦咯岛，探讨劳动不一样的面相。我们在这里所谓的“劳动”并不只是印象中的汗流浃背，含辛茹苦的工作环境，而是经由历代相传，不断更进的劳动。但劳动并不能与重量区分，我们在认识传统行业的同时，看了不少在劳动中处理重量的智慧。就如渔网利用浮球铁链的重量之分，在海底塑造出想象的空间；也像造船师傅在利用高密度木料造船的同时，利用船的结构，让它在海面漂浮。
海口厝, 峇株吧辖站，我们在一个老屋子内设展，尝试以动作、影像的方式叙述劳动中的身体记忆以及对于家庭的想象。而在邦咯岛，我们尝试了解劳动中的“量”与“度”，透过身体去度量并重新认识其工作方式与环境。
Scale and Weight of Labour
In our 2nd destination for “Labour& Weight: a travelling exhibition’’, we look into the skill and wisdom of the manual labour which is passed down through generations and across different people. Through Hor Lai, a shipbuilder and Man Nian, a netmaker, welook into how they use their body to construct something bigger than themselves.
60 síam
‘síam’ 是一种古老的测量方式，近似双手打开伸直的长度。它是织网师傅满年在工作时，以身体为测量的单位。 渔网的大小体现的是师傅对尺寸拿捏的经验，5 síam 和 60 síam 分别是拖网里的不同长度，是5个张开双手的满年，是从街头到码头。现代测量单位或许精准，但却限制了我们对于大小的想象。
‘Síam’ is a traditional measurement unit which is used by Man Nian, the netmaker. By using her own body as a scale of measurement, a ‘síam’ is approximately the length of 2 arms apart. 5 síam and 60 síam is equivalent to the length of the trawl net she is making. Síam varies according to people, yet it shows how close the measurements are with the person by using the body as a point of reference. How big is the net? 5 síam is 5 Man Nian with her arms apart while 60 síam is 60 people with their arms apart, from the top of the street to the old jetty.
由木生像 II
利用行动相机的拍摄方式，造船师傅雨来哥以第一人称的角度记录自身的日常工作全景。行走中消耗的时间与看到的影象，让我们对于船、船厂的大小有更明确的概念。延续吉隆坡的由木生象，艺术家在木块之间陌生穿梭，以表演性的形式放大了木块上面劳动留下的痕迹，而雨来哥的影片则是直接呈现了劳动，以熟悉的脚步穿梭在造船厂。
From Wood to action camera II
Continuing our previous work where we use the action camera to represent the installation at Muji studio’s in Cheras; we invited Hor Lai, the shipmaker, to capture the working environment at his shipyard. From the first person point of view, the camera follows the steadfast footsteps of Hor Lai, catching a glimpse of the scale of the ship in the making.
Online Exhibition
由木生像 from Wood to Action Camera材料本身 “有一种劳动叫做艺术，而表现劳动最真实的语言，是材料本身。材料的认知，并不是实体触觉的经验而已，而是代表了一个群体对于知识的认知以及行为的痕迹。”
我们从造船厂收集了数十块大大小小的木块，每一块木都是造船师傅的切割剩的木料。在这个作品里，我们利用最纯朴的方式展现这些木块。 我们保留了造船师傅切割、加工留下的痕迹，并利用悬挂，放在地上，呈现木块在海的不同状状态。造船的木是密度、重量非常高的chengal木，其材料是没办法浮在海上。船能平稳的浮在海上，全靠船的架构与设计。
同样的材料，在2013年海岛节的时候，慕义也尝试这样的方式，与当地的居民做最初的接触。2013年的经验是特别的，那是一个艺术家与社区一起完成的作品，并且在过程中发现大家对于船的想象不一样，也透过那个计划看到当地的孩子如何对于这熟悉不过的物体进行二次创作。
时隔8年，这件作品延伸成不同艺文工作者的对话，透过造船厂，我们延伸了对于材料的诠释，并且重新思考劳动与重量在自身创作的定位。
Material itself
"Material is the most authentic language to express labour. It does not only provide a sensory experience, but also represents a collective knowledge and collects traces of actions."
We have collected large and small pieces of leftover woods from the shipyard in Pulau Pangkor. The marks from the wood as the result of the cutting and processing by the shipbuilder were kept and displayed as it is. The woods are hung and placed on the floors; showing the different states of the woods in the sea. The Chenggal wood used by the shipbuilder is very dense and heavy. The material itself cannot float on the sea. It all depends on the structure and design of the ship, for it to sail on the sea.
With the same materials, Mok Yee also approached the local residents in Pangkor during the 2013 Pangkor Festival. The work was completed together by him and the community. In the process, he found that everyone has a different imagination about the ship.
After 8 years, this work has extended into a different dialogue between the current collaborators in this project. Through the shipyard, we have extended the interpretation of materials and revise the positioning of labor and weight in our own creation.
装置 x 运动相机的再呈现
因为疫情的关系，我们被迫把作品变成线上展出。 如何透过镜头和线上媒体展示其装置的实在？ 团队里并非所有人都擅长数位媒体的语境， 但这也让我们跨越自己的安全领域和试着达到平衡点。
我们先是通过镜头拍出材料的痕迹和纹路；也尝试绿幕。“有了绿幕我们已经跨越其环境，可以更不写实吧？” , “那漂亮的痕迹，在不同的灯光和镜头下确实可以达到一番诗意。。那我们得再一起讨论素材、剪接对吧!’’ 。
360角度的摄影机的使用起初只是利用其轻便在所设立的展场（ 慕义的工作室）拍摄。在过程中，为了避免碰敲木料，我们尝试不同的角度、高度、动作，为了就是呈现木料与其装置的特质，但却无形中发现了艺术家身体与材料、行动与空间一个关系性。拍摄时，我们并没有拿着手机监督其画面，而是单纯利用身体去感受其关系性 。其中的失焦，也像木料的 纹路 一样，在影片里留下了许多的痕迹。无形中，我们感受到这样的形式，也慢慢的呈现出我们想要的劳动与重量。
我们在邦咯岛的时候，看见了劳动的丽，也看见了劳动在我们生活中的缺失。 劳动者的身体，并不只是一种身体的张力与线条，而是在重量里有意识的感受与想象。我们选择了最不能表达劳动与重量的媒介，但它并非我们所看见的而已，其所具有的态度与质地，是我们尝试去探掘的内在世界。如此，才能在含糊的世界中瞥见最真实的东西。
Material in the eye of an action camera
The idea of representing the installation in a video form started off as a practical resolution for online presentation due to the pandemic. But how to present the actuality of an installation through the lens and online platforms? Not all of our collaborators are familiar with digital media language. Yet, this also allows us to step out of our comfort zone and try to find a balance point.
We started shooting a few video by focusing on the materials itself: The close ups, the textures, the forms, the shadows while also toying with the virtual background.
“ If we were to use the green screen, it could go even crazier right? Since the background is replaceable..’’
“ With the close up on the texture and different lightings, the video could be aesthetically beautiful and poetic. But what are we trying to represent though this?”
The action camera or also known as the 360 camera came in initially due to its convenience to shoot at Mok Yee’s studio. While avoiding touching the installation in the small space, we tried different angles, heights and actions to capture the essence of the woods and the installation. It felt like an intimate gallery tour by the artist itself! Or rather, we discover the relations between the artist's body and the materials; movement and the space. During the shooting, we did not use an external screen to monitor the video, rather allowing the body to explore the installation.
There are a few glitches: imperfect stitching, jerky movement. These digital marks are rarely present (unless intentional). Just like the marks on the leftover woods from the shipyards, although imperfect, each of them contains different tones and pace.
展览场地
Exhibition Site
海口厝, 峇株吧辖 Rumah Haikao, Batu Pahat
8pm-10pm, 13th-19th September 2021
我，作为一个 “ 材料 ”
“我的公公是造船师傅，我的爸爸是渔夫，劳动在我的生命里占了很重要的位置。而我，将作为一个材料，再次咀嚼过往”—德耀
我们四人透过德耀老家的架构，父亲捕鱼的劳动、石文丁新村的民俗信仰，发现其中的元素与切入点，以艺术展览的角度去连接过往的记忆。在创作过程中，反复发掘家庭记忆，寻找新的角度并重新诠释。
“这些空间和动作，并不如我预想中的那么亲近。虽然大部分是我亲身的体验与记忆，但里头却也参杂着我未曾参与或是模糊不清幻想。” 然而再次在这些空间再现／想象某些动作，其所带来的平平无奇、突兀甚至造作的感受，正是一场跨越时空的对话。
日常与回忆必然有许多的空缺，而“想象”卻可以补上空缺的遗憾。再现是对日常与记忆的一种反刍，从而延伸了更多的思索。展览借由空间、行动、物件、时间、氛围与媒介等的探索与组合，让这熟悉、枯燥的日常有了些许的微笑、矛盾、困惑以及许多与这计划期待擦出的火花。
Me, as a material
“ My grandfather was a shipbuilder and my father a fisherman; labour is an inseparable part in my life. In this project, I position myself as a material, to look back at the past.” - Yeo Lyle
Situated in a fishing village at Kampung Minyak Beku, Rumah Haikao (the house near the sea) was Yeo’s family house. Through the structure of the house, the labourous work of his father's fishing occupation and the local ritual and belief in Kampung Segenting, we found few meeting points in our collaboration. In this exhibition, the house is both the subject of our discussion and site of exhibiton.
"These spaces and actions are not as intimate as I thought. Although most of them are my personal experiences and memories, they are also mixed with my absence, vague memories or fantasy." When they reappear in these spaces again while being perform, the plain; the abrupt and even artificial feelings of it turns in to a conversation that cut across time and space.
There are many gaps between memories and everyday life. Yet, the gap in between could be filled with imagination. Through the exploration of materials, space, time and actions in this exhibition, it gave a little smile, some contradictions and little sparks in our everyday life.
“ My grandfather was a shipbuilder and my father a fisherman; labour is an inseparable part in my life. In this project, I position myself as a material, to look back at the past.” - Yeo Lyle
Situated in a fishing village at Kampung Minyak Beku, Rumah Haikao (the house near the sea) was Yeo’s family house. Through the structure of the house, the labourous work of his father's fishing occupation and the local ritual and belief in Kampung Segenting, we found few meeting points in our collaboration. In this exhibition, the house is both the subject of our discussion and site of exhibiton.
"These spaces and actions are not as intimate as I thought. Although most of them are my personal experiences and memories, they are also mixed with my absence, vague memories or fantasy." When they reappear in these spaces again while being perform, the plain; the abrupt and even artificial feelings of it turns in to a conversation that cut across time and space.
There are many gaps between memories and everyday life. Yet, the gap in between could be filled with imagination. Through the exploration of materials, space, time and actions in this exhibition, it gave a little smile, some contradictions and little sparks in our everyday life.
