【Spend time together】
The time we spent will gradually soften the physical distance between us
Facilitator｜SU Pin-Wen
During our five weeks journey in the cloud, the facilitators were like thickening agents for food in order to keep the textures without altering the flavors. As a facilitator in "Residency in the CLOUD", SU Pin-Wen focused mainly on the following topics: online, transnational and creative. During the residency, I tried to record relative ideas by using texts in three facilitator journals. The first one is "First Question Encountered During My Cloud Residency: Where Am I?" and it shows the tendency of "online" form where talking and "listening" become more intense. This "listening" process transforms the so-called "virtuality" when we speak of online form and it gradually materializes through "self-listening". The second one is "I Don't Want a Triangle in Cloud Residency". When examining the transnational discourses of contemporary arts, I attempted to break the trio boundary between artist Gabbi Campomanes (PH), artist Phi Palmos (PH) and facilitator SU Pin-Wen (TW) and invite the Project Director Yi-Kai and the facilitator from another group Ding-Yun to join the conversations. It guides arts practitioners to acquire different layers of "international" awareness toward the political meanings brought by their art works. This awareness is based on the reflection of the "power" relations. The third one is "Cloud Residency: Offline and Off-Screen—Body" which talks about how "creativity" is maintained during the pandemic and the preservation of online performances and "political body" resulted from the pandemic.
In order to understand the knowledge and future possibilities of gender identities and context creation, I assigned myself a homework during the residency and that was reading Amy Ellis Nutt's “Becoming Nicole: The Transformation of an American Family”. It's about a transgender girl finding her self identity as growing up. I was revisiting the language, literature, true story and writer's interrelationship on gender issues. This reading homework helped me to connect with two Filipino artists who aimed at "one-man musical" during their residency. Through reading the module to reflect on their relationship of cooperation and the position of writer, I could focus more on questioning the creative purposes of theater performances and of "documentary" driven process. And I could see the relationship between self-consciousness and works of the two collaborating artists at this stage even though "one-man musical" centered mostly on Phi's personal story. Through the play-writing of Gabbi, two artists developed their creative attitudes respectively toward this presentation. Phi the performer and Gabbi the writer had different gender cultivation and identities. They collaborated and explored creations on the basis of the differences and found more rooms for conversations toward gender issues with different gender identities. Through presenting sex/gender in musical style, it showed great vitality and drove the audience to think about possible alliances regarding gender issues. This was a valuable experience! I think this is why gender can become a contemporary topic and intertwine with various art forms. "Gender is Text." The personalities of artists are combined with personal practices and open certain styles. It further expands the audience's imagination and openness and once again directs the gender presentations in performing arts.
Feminism faces the situation of being narrowed down to the "resistance of patriarchy aroused from female experience" and starts a war between biological sex and gender identity among Gender Queer. But from the two Filipino artists, I saw varied levels of gender performances directly from these differences. People are changing and so are performing arts. When we bestow arts the weight of gender issues and choose to see each other with amiability, the time we spent will gradually soften the physical distance between us.
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【花時間在一起】
對時間的投資終將慢慢軟化你我之間的物理距離
協作者｜蘇品文
為期五週的雲端旅程，協作者的角色很像食物增稠劑，目標不在改變食物的風味，盼維持口感；蘇品文在「東南亞性別網絡計畫」中，以協作者身份特別關注如下幾個命題：線上、跨國、創意；駐村期間我以三篇協作筆記，試著將關聯的思考透過文字記錄下來：第一篇〈Cloud Residency 網路駐村帶我面對的第一道問題：我在哪裡？〉紀錄了因為「線上」形式而特別容易產生的大量交談與「聆聽」空間，這樣的「聆聽」轉化了過往常常連結著「虛擬」一詞的線上形式，在「自我聆聽」的過程中逐漸走向具體化的過程。第二篇〈Cloud Residency 網路駐村之我不要三角形〉試圖梳理當代藝術面對跨國語境時，透過打破三人組合—— 藝術家Gabbi Campomanes（PH）、藝術家Phi Palmos（PH）與協作者蘇品文（TW），邀請固定關係以外的夥伴，諸如計畫主持人高翊愷、其他組別的協作者黃鼎云….等加入對話，引導藝術生產者對其藝術將帶來的政治意涵，產生更多層次的「國際」意識，這樣的意識是奠基於對「權力」關係之再省。第三篇〈Cloud Residency 線下、視窗外—— 身體〉涉及「創意」如何在疫情的非常時期延續，以及，因疫情而生的線上展演與「身體政治」留存。
為了更加了解性別認同、文本創作的知識與未來可能，駐村期間我也給自己一個功課，完整閱讀《變身妮可》（Amy Ellis Nutt“Becoming Nicole: The Transformation of an American Family”）—— 一個關於跨性別女孩的成長與自我認同過程；重新感受性別議題裡，語言、文學、真實故事、作者撰寫的交疊，透過文本敘事與觀眾產生的基本連結，閱讀功課幫我連結兩位以「一人音樂劇」（one-man musical）為駐村目標的菲律賓藝術家，透過閱讀的模組來參照他們的合作關係與作者位置，反而能夠更聚焦提問屬於劇場展演的、多於「紀實」的創作目標，還有兩位共同創作的藝術家在現階段，他個人意識與作品的關係，即使「一人音樂劇」似乎環繞著Phi的個人生命故事，然透過Gabbi的劇作書寫，兩位藝術家都發展出各自對本次呈現的創作態度；表演者Phi與寫作者Gabbi兩人擁有不同的性別養成、性別認同，在這樣的差異基礎上共事探討創作，不同性身份的人找到性別議題中可對話空間，透過音樂劇手法演繹性／別，展現出很有活力的力量，同時帶動觀者思考性別議題可拓展的結盟對象，這樣的經驗是很可貴的！我想這也是為何性別（Gender）作為當代命題，能夠與各種藝術形式交錯共生的原因：「性別即文本。」（Gender is Text.）藝術家個人特質結合個人實踐（Practice），開展了特定風韻，藉此拓展了觀眾對性別的想像與開放性，再次調度表演藝術裡的性別呈相。
當女性主義面臨被窄化為「依女性經驗啟發的父權抵抗」，引戰了性別酷兒（Gender Queer）在出生性別與心理認同間的拉扯，我在兩位來自菲律賓的藝術家身上，反而感受到正因為彼此的差異，帶出了性別展演的不同層次；人是變化的，表演藝術亦同，當藝術承載性別議題，選擇以更友善的態度面對彼此的處境，對時間的投資終將慢慢軟化你我之間的物理距離。
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