展覽論述｜

狹義的客家是以歷史、地理向度以及身份（血統）去劃分出的民族體系，通過語言（方言）辨識民族文化關係；此策展企圖不談論狹義的客家，而是將客視為相對於“主”之關係，是一種過程，例如旅遊之時，對於所聽見的外語如同背景音，突然有句可辨識的話語出現時，自然能夠產生一種熟悉、親密感，而因這句話的出現使場域（關係）產生認同。脫離自身所處之場域，人的移動（行為）異在他鄉即是此檔展覽欲談及的客之狀態；離鄉之人，離開自己所處之熟悉，卻保有自身文化根本，將其延伸且重組。

本展覽的三位女性藝術家，從非客家族群角度來觀看客家族群。以非客家族群角度而言，客家文化是如何被認知的？客家花布？桐花？擂茶？如將文化的定義為一群共同生活在相同自然環境、所形成經濟生產方式的一種外在表現，客家是在遷移中不斷地適應著新場域的狀態。標籤化背離了客家文化原有的文化實質，或是反問，如何用另一種視角理解什麼是客家文化？

Exhibition Concept

In the narrow sense of Hakka, it’s an ethnic defined by the history, geographical location, lineage and language(dialect). However, this exhibition try to avoid the traditional symbols but focus on the relationship between “Guest”(direct translation of Hakka) and “Host”, which can also see it as a process of cognition. For example, when you were in a foreign environment, suddenly hearing or seeing a familiar and recognizable language, a sense of belonging and identity will naturally come to you. Separation from the intimate condition and migration(behavior) of Hakka are the main topics we try to present in this show. Preserving its own culture and reassemble, extending though leaving their homeland.

In “Made in Hakka”, three female artists elaborate Hakka culture in the view of non-Hakkanese, discussing in what way Hakka culture is recognized. Rethinking how it is acknowledged by people, is it the Hakka flower pattern? the tung flower? or even the lei-cha? If we consider the definition of culture as display of a group of people living in a regular region and forming an ecology system, Hakka is in a status of continuing adapting new surroundings through migration, and the stereotype symbols are alienated from the nature of original Hakka culture, so now we can ask ourselves, how can we understand it from a brand new perspective.

媒材｜乾稻草、竹片起底、澀柿紙、鹽、糯米、倒山歌

Materials｜Straw, Weaved Bamboo, Oiled Paper, Salt, Sound Reverse

Dimensions variable

本件作品延續策展核心「客」的重新定義——不再以語言、血統或地理劃界，而是將「客」視為一種相對於「主」的存在狀態，一種在移動過程中生成的身分感與文化位置。作品所關注的，不是作為客家人的「誰」，而是處於客之位置的「如何」。

選用糯米、鹽、竹片、乾稻草，以及以澀柿染成的紙張作為主要創作材料，這些皆源自客家文化日常生活與農事行動中常見的自然元素，承載著某種關於勞動、保存與修補的集體記憶。

這些材料並非僅作為形式語彙，而是構成一種關係性的空間語法。裝置於展場之中，它們以低限、潛藏的姿態修補空間、嵌入縫隙，如同「客」之存在——非主體性的佔有，而是與場域共處、回應與轉譯的方式。

觀者的行走與觀看或許會錯過，也可能在某個瞬間與之相遇。正如人在異地旅途中偶然聽見一段熟悉語言，喚起一種曖昧而深沉的歸屬感與親密感。這樣的片刻觸動，正是本作品試圖捕捉的：「客」作為一種存在的姿態，也是一種文化生成與延續的當代表述。

Object / The others invite viewers to reconsider the concept of identity beyond fixed categories such as language, lineage, or geography. Instead, it explores “object-ness” — a relational condition that emerges through movement, displacement, and cultural negotiation. This work reflects on what it means to exist as an “other,” not defined by who one is, but by how one inhabits a space between belonging and estrangement.

Drawing from natural materials deeply rooted in Hakka culture — glutinous rice, salt, bamboo strips, dried rice straw, and persimmon-dyed paper — the work evokes collective memories of labor, preservation, and repair. These materials do more than form physical structures; they weave a subtle spatial language that repairs and inhabits the exhibition environment much like the “object” exists in relation to the “subject.”

As visitors move through the space, they may miss or unexpectedly encounter these quiet interventions — akin to catching a familiar phrase in a foreign land. This fleeting moment of recognition speaks to a broader experience of cultural continuity, adaptation, and the ongoing process of becoming.

Object / The others challenge us to embrace the fluidity of identity and the shared humanity found in the spaces between self and other.