全球限量簽名Heroom手工攝影裝置盒

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    一部跨國界的女書

    十多年前,英國小說家吳爾芙於《自己的房間》書中的一段文字給我留下深刻的印象:「女性若想要寫作,一定要有錢和自己的房間。」多年後,我擁有兩者,並成為作家,卻發現,兩者相較,擁有一個屬於「自己的房間」之於女性,更是必要!一方面,無論已婚或單身,它都是每位女性不可缺少的生命空間,另一方面,它也一如中國古代女書,代表每位女性的私密世界,唯有在此,女人才得以無拘無束地表達自己的所思所想所感,呈現真實的自我。

    從吳爾芙到我的書房到世界女人的房間

    然而,隨著人生閱歷的豐富以及見識的增廣,我卻發現「女人的房間」,這小小一方天地的取得竟如此得來不易!事實上,不少的女性終其一生都不曾意識一個完整屬於自己空間的重要性,甚或終其一生不曾擁有屬於自己的空間,正因如此,我對不同國家裡,女性與空間的關聯產生了強烈的好奇:女人如何看待空間?女人的空間與家庭、社會與文化間的關聯又是如何?為了尋找解答,我決定踏出自己的書房,走遍世界各個角落,探訪世界各地的女性,並進入她們的生活空間,與女性的心靈展開最私密的對話。

    2015年《女人的房間》攝影文學書便是我長期研究的初步成果自2006年起至2014年期間,我實地走訪了10個不同的國度,自200餘位受訪女性中選出了40位最具代表性的女性與其空間,闡述與傳達空間與女性,以及女性身處的家庭、社會、階級、種族、歷史、宗教、文化之間的關聯,並進一步探討父權政治與女人當家在空間結構與權力上,彼此又有何不同面貌?

    走遍世界的田野調查

    一如我所有的作品,創作總是耗日費時,過程備嚐艱辛與波折,箇中滋味,非外人所能了解,但也就是在這樣數度放下與再拾起之間,我終於得以撥開重重雲霧,窺見一道道美不勝收的景致。在這段長達9年的研究過程裡,我竭盡所能採集了不同的案例,卻赫然發現,女性擁有自己的房間並不必然與自己的社經實力或政治階級絕對相關。在伊朗這個國度裡,我們不難發現,嫁給藝術家、家境小康的運動員蕾莉,與家境清貧的護士法蒂梅,雖同樣處於極其父權的社會環境,但因為對擁有一個「自己的房間」的渴求截然不同,其結果也完全出乎意料之外;而我一再從這些研究的國度裡發現,個人乃至社會整體的經濟狀況與女性之於空間的擁有,並無絕然關聯;女性對於空間支配的自主權,卻因所在國家文化的不同而有極度的差異。

    此外,我也發現,當人類社會從遠古的母系社會轉而發展為父權社會後,女性對於公共空間的分配與運用,再無任何置喙與參與決策之權力,這點可以從中國陝西西安半坡遺址這個6000年前的母系社會遺址中,女性對於空間握著絕對的決策權,與今日世界兩相比較,其差異可見一斑;但基於「男主外、女主內」這種千年不變的傳統,女性轉而將自己的人生精力投注於規劃與經營一個但見自己特色、全然屬於自己的生命空間,這樣的例子不分東方西方,屢見不鮮,讀者可自本攝影集中陳述的諸多故事裡一窺其堂奧;這也使我得以從這些實際的研究案例中大膽地綜合出一個結論:女人空間的華美或宛如一場盛宴,或單調貧乏到三言兩語便可總結,其間的差異,與女性身處的國家整體的GDP沒有任何關聯,卻與該國的文化深度、歷史厚度、女性自身的生命經歷與其家族歷史之間,有著密不可分的關係。

    這也是為什麼,在這本著作中,讀者單單窺見影像,恐生「這些受訪女性是否大部分都是中上層社會階級」的錯覺,或許一方面出自我對於這些受訪女性的敬重,一方面也是對於真實世界的呈現,每一幅攝影作品的完成,皆是尋訪再尋訪、探索再探索、溝通再溝通以後,破除了每位女性受訪者的心防,並在這些姐妹的熱心協力下,精心規劃,才得以共同完成的創作,尤其在第三世界的國度,如古巴,從公務員、女巫、村婦到畫家與古董收藏家,因對於空間的意義與概念擁有不同的想法,而那是截然不同於吳爾芙「女人要有錢,才會有自己的房間,也才能寫作」這種經濟能力決定一切的邏輯性思維,相反的,古巴女性在經濟條件捉襟見肘,月收入不到17美金的狀況下,一點一滴地將原本的廢墟,打造成一個人人稱羨的天堂。

    多元形式及風格的展演

    透過這9年持續不斷的研究,在世界女性的房間中遊走,與這些女性姐妹們建立了跨國界的情誼,並共同分享與承擔一個屬於女性的共同生命經歷與痛苦,不知不覺間,譜寫出這部跨國界的女書,這一切都要歸功於這些女性們的慷慨及無私的分享,以及所謂的「一位成功女性的背後,都有一位默默付出的男性」,我僅將此書獻給我的人生伴侶James,屢次當我遇到寫作瓶頸,就要半途而廢時,他總是背後那雙推動我的雙手,鼓勵我義無反顧地追求自己的夢想。我還要感謝我的美術設計李侑儒,文字編輯郭盈靖,翻譯林庭如,由於他們的努力,才得以使得長久以來的努力,綻放出美麗的花朵。

    謹以此書獻給全天下的女性,以及我鍾愛的James。

    彭怡平
    2015年1 月23日,寫於我的房間

    ——————————————–

    Herstory crossing countries

    A Decade ago, a citation from the British writer Virginia Woolf’s “A Room of One’s Own” impressed me a lot. It said, “A woman must have money and a room of her own if she is to write fiction.” Years passed, I possessed both and became an author.

    Then it dawned on me that “a room of one’s own” is more critical! On one hand, it is an indispensable living space in every woman’s life, no matter she’s single or married. On the other hand, it is like a Chinese ancient “Herstory”. It represents a private and intimate place which women can freely express their thoughts and feelings, presenting their self-images sincerely.

    Virginia Woolf’s room to my own and to the worldwide women’s rooms

    However, as my life experiences go richer and my knowledge grows broaden, I found that to obtain this small sphere, “Heroom”, is not so easy! In fact, many women are not aware of the importance of owning a complete, personal space, and even more, they do not possess one in their whole life. So, the relation between worldwide women and their spaces attracts my curiosity. How do women view the spaces?

    What’s the relation between women’s spaces and their families, societies and cultures? For responding to these questions, I decided to step out my own study room, visiting every corner in the world and interviewing worldwide women, getting into their living spaces, and having intimate talks with these women.

    The photographical literature books “Heroom”, published in 2015, was my preliminary results of long-term study.From 2006 to 2014, I visited ten countries, interviewing more than 200 women, and forty most representative women cases were selected to represent different women and their rooms, and trying to explore the relationship between women and their own rooms, the family, society, social status, race, history, religion and culture. I managed to figure out the link between all these aspects in women’s lives. Further, I mean to analyze the spatial structure and power between the patriarchal and matriarchal society.

    A field investigation around the world

    It’s time-consuming for me to produce art works. The hardship and twists and turns could never be understood by outsiders. To quit or to continue bother me one after another, and thus making it possible for me to remove the clouds and fogs and appreciate the beautiful scenery. During the 9-year research, I used up every method to collect different cases. Then I suddenly found that, there’s no must-be relation between owning a personal room and the social, financial or political status of a woman. In the chapter of Iran, it’s not difficult to find that the different desires to one’s own room made the results quite diverse. Athlete Liely was born in a modest family and married to an artist, and the nurse Fahimeh from a poor family. Although they were both born on an extremely patriarchal social environment, the different desires to have one’s own room, making the results completely unexpected. I found that there’s no absolute connection between the personal economic or socioeconomic condition and whether a woman is to own a room or not. However, the autonomy to a woman’s own room varies from culture to cultures.

    Besides, I also found that when human civilization moves from matriarchal to
    patriarchal society, women lose their rights to speak and participate in the decision-making process. By comparing the civilization of China Xi’an archeological site Banpo with current society, we could find that women had absolute power to space in that matriarchal society 6000 years ago, while their contemporary counterparts do not.

    Based on the tradition that “man is the main breadwinner and woman the
    homemaker”, women had turned their focus on personal living spaces which they could dominate and show their own characteristics instead. East or West, numerous instances could be found. Readers can refer this to many chapters in this photography portfolio. I have a bold conclusion drew by my practical research. That the women’s spaces are either gorgeous and similar to a grand banquet, or too monotonous that you can describe it merely by a few words, have no connection with the GDP of their countries, but link tightly with the depth of culture, richness of history, the women’s personal experiences and their family history.

    That’s why the readers might consider most of these women from middle or upper class when they simply look to the images. This misunderstanding may come out of my respect to these female interviewees, or a presentation of the society with great accuracy. Every piece of work was done by countless visits, exploration and communication. I manage to relieve the defensive part inside those women. What’s more, with the help of these sisters, I planed everything carefully and finally finished this project, especially in countries identified as the Third World, for example, Cuba.

    Ranged from the officers, witches, countrywoman to the painters and antique
    collectors, the meaning of space is quite different to them and to Woolf. To Woolf, “A woman must have money and a room of her own if she is to write fiction,” but on the contrary, Cuba woman who has a monthly income of 17 USD, turned a ruin into an envious paradise even in an unprivileged status.

    Multiple forms and styles

    Through the nonstop research in these nine years, I wondered around worldwide women’s rooms and built up a cross-cultural friendship with these sisters, sharing the life experiences and burdening the pain together. Out of my consciousness, I completed the cross-cultural female book. It all credited to the generosity of these women and my partner James who has pushed me ahead and kept me writing, encouraging me to pursue my own dream without any hesitation. As the saying goes, “Behind every successful woman is a great man.” I would also like to thank my designer Yu-Ru LEE , editor-in-chief Ying-Ching KUO, translator Ting-Ru LIN.

    Because of their efforts, I was able to make long-standing efforts, bursting out with beautiful flowers.I would like to dedicate this book to women in the whole world and my beloved James.

    Yi-Ping PONG
    Jan. 23, 2015. In my own room

    「她的故事」(Herstory)
    「家族」(Familly)
    「文化」(Culture)
    「懷舊」(Nostalgia)
    「物」(Object)
    「光」(Light)

    32歲的海爾格女士成了寡婦!3年後,海爾格再婚,這段婚姻僅僅維繫了9年光陰。一直逃避回家的海爾格,決定返鄉療治情傷,並陪伴父親一段時日。原與第三任丈夫戴斯蒙‧裴瑞拉以及兩隻斑點狗成天窩在閣樓裡,父親眼見女兒日益消沉,鼓勵她:「何不釋出妳的苦痛,並將妳的痛苦化成力量,做些有創造性的東西出來?」

    某天,她在二樓發現一條通往閣樓的螺旋樓梯,一時百感交集,在這個樓梯間開始作畫起來……。她的第一個顏色是黑。然後,她開始畫3隻猴子,非禮勿言,非禮勿視,非禮勿聽。從那以後,她加入越來越多的色彩,從色彩中,她找回了自己。她自認,對色彩的喜愛一定來自於她的母親。牆壁上的吹笛小丑以及雙手捧著沉甸甸的一箱金銀珠寶,抬著安坐在轎內的大官,沿著樓梯,咬牙往上爬的中國僕役們,就是她的第一幅彩色畫。

    或許受到海爾格的感染,那些來此的訪客與工作人員一位接著一位拾起筆刷,彼此傳遞油漆罐,在房屋裡裡外外,畫上他們想要畫下的任何東西。原懷著一顆破碎的心來此的那些賓客,離開的時候,每個人的心裡卻洋溢著幸福的歡笑。這棟不可思議的房子成為失意人的心靈居所,而海爾格唯一做的,就是交給他們她的房子,告訴他們:「做些什麼,幫助你自己!」這間房子成了兒童樂園,所有人都嘗試在此尋回童心,重新單純起來。一切苦痛都只是玩笑,生活處處充滿了奇思妙想。

    ——————————————————————

    The 32-year-old Helga became a widow! Three years after that, she married again, but the relationship only lasted for nine years. Madame Helga had escaped from home until then. She decided to return to her hometown healing her broken heart, and accompanying her father for some time. She stayed in the attic all day with her third husband Desmond PEREIRA and two Dalmatians. Her father saw her depression and asked, “Why don’t you release the ainful
    feelings and turned them into power by doing something creative?”

    Some day at the second floor, she found a spiral staircase leading to the attic. With mixed feelings came into her mind, she began to paint in the staircase. The first color she chose was black. Then she began to draw three monkeys. “See no evil, hear no evil, and speak no evil.”

    Since then, she added more and more colors, and re-found herself in them. She admitted that her fondness to colors came definitely from her mother. On the wall, the clown was piping.

    The Chinese officials who carried a heavy box of gold and silver jewelry and a sedan chair with an high official sat inside, walking along the stairs, climbing up diligently. This was her first color painting.

    Maybe it was due to Helga’s influence, visitors and staffs coming here picked up the brushes one by one, passing each other the paint bucket and drawing whatever they wanted inside and outside the house.

    Once coming with a broken heart, every guest left with a contented smile and everyone’s heart was filled with happiness and laughter. This incredible house became a soul dwelling for the depressed minds. All Helga did was to give them her house and told them, “Do something to help yourself!” The house became a children’s amusement park. People tried to regain their innocence and purity here. All pain is just a joke. Life is full of fantasy.

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