语音导赏资料库
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建筑导赏
口述影像
草间弥生：一九四五年至今
8002 (英语)
8002 (英文)
3:53
漂泊者
2015–2016
TIFFANY:
Hi, I'm Tiffany Chung. I am a Vietnamese American visual artist, speaking to you from Houston, Texas.
CAROL TONG:
Hi, I'm Carol Tong. I am originally from Vietnam. I came to Hong Kong on a boat, so technically I was a boat person, many years ago.
PRESENTER:
Tiffany is the artist behind this large-scale work, flotsam and jetsam. It explores the plight of Vietnamese refugees arriving in Hong Kong following the end of the Vietnam war, and challenges us to reframe the conversation around modern migration. For years, Hong Kong had been the first port of asylum for many of these so-called ‘boat people’. However, the government eventually declared June 16, 1988 the cut-off date for granting such asylum.
Carol, now a human rights lawyer, was one of those refugees. For her and her family, just missing that cut-off date would change their lives forever.
CAROL TONG:
Unfortunately, I came to Hong Kong about two months after the cut-off date, so we got intercepted and then was detained, pending screening. So, I was detained in various camps —– closed camps, all of them were closed camps —– from 1988 until late 1996. So, a total of over eight years from when I was ten, until eighteen-something. Yeah.
PRESENTER:
This artwork draws heavily on archival research. Alongside the other media, one aspect Tiffany was keen to tell us more about was the powerful watercolour paintings interspersed throughout flotsam and jetsam.
TIFFANY CHUNG:
The watercolour paintings, those were based on real archival photos that I have collected over the years. And I commissioned young painters in Saigon to re-render those archival photographs into watercolours. And the reason for it was, this history has been erased into oblivion in Vietnam's official history. So, it is not something that people would openly discuss in public, or officially taught in school. So, I try to reactivate this historical knowledge among the younger Vietnamese.
CAROL TONG:
When I saw Tiffany's pictures, the paintings, it brought tears to my eyes actually. Because I saw our life back then through the pictures. It reminds me of the poor living conditions in the camps. It's so important. It's evidence of how we lived. You know, and the reminder of the truth, what happened back then. So yeah, I can't tell the difference. I only know that this is what happened to us.
PRESENTER:
Finally, Tiffany reflected on perhaps the most important aspect of this piece: how work like hers might help us to reframe wider conversations around refugees and migration today.
TIFFANY CHUNG:
I guess, you know, in one way that people could look at these and think that these people were victims of forced repatriation. But on the other hand, you can see it as these people actually taking their own fate into their hands and not waiting for fate or for anyone else to shape their lives for them.
That's one thing that we want people to see, that refugees are not only victims. Their journeys are much more heroic than we tend to think. Their protest against horrific living conditions in detention and forced deportation: those really attest to the political agency that can help shape the current refugee discourse.
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