Happiness Building I
陳界仁個人展覽《幸褔大廈 I》訂於十二月十八日在Hanart Square開幕，展出《幸褔大廈I》電影及其生產過程。開幕當日，下午1.30到 6.30有兩場座談會，由策展人高士明及漢雅軒總監張頌仁主持，敬邀閣下撥冗出席。
在拍攝《幸福大廈 I》之前，陳界仁先邀請不同身分背景和無固定工作的年輕朋友，以詩或散文寫下其對個人生命史的片段感想，之後陳界仁再以虛構的敘事形式，將 這些案例串連成映射當代被原子化的個體。這種個體處於「在地流放」的生命狀態──亦即人不再有任何可真正依歸的社群、家族與家庭，而隻是社會原子化後被孤立的在地漂流者。
影 片以一棟虛構的老舊出租公寓為背景──通過連結一個個「片段」故事的敘事形式，以及極低限的動作和無對白的表演方法，描述出租公寓在即將被拆除改建前，居 住其中的失業者、早已無任何家人的年輕女子、父親因長期失業而自殺的女同志、在父母離異後因無法忍受家庭崩解而離家的女聲音藝術家等人，陸續地準備搬離這 棟公寓......。而公寓外，因長期抗議「派遣制」以至疲憊不堪的單身女性、在電腦回收場從事拆卸電腦工作的年輕女工、長期參與「靜默行動」的身障小劇 場演員、因不滿學校教育而於退學後從事「樂生療養院史」檔案整理工作的女生，以及前來協助獨居老人搬家，卻隻見被遺留下的行李，而等不到老人們出現的年輕 社會運動者──這些原本互不相識的個體，在公寓即將被拆除前的下午，不約而同地聚集到這棟公寓的中庭內，在彼此沉默的眼神交流中，開始協助年輕社會運動者 搬運失蹤老人的行李……
陳界仁將場景轉換成開放場域的行動，《幸福大廈 I》的創作計畫已不隻是生產一部影片。他將傳統電影的生產關係與觀看模式，質變為在原子化的社會中進行創造臨時社群的實驗行動；工作人員以個體視域呈現各 自觀點的展示，以及在與觀眾共構的交流平台上，讓各種意見可以針對社群的組構方式，提出各種想像與進行知識交換的場域。
Hanart TZ Gallery and School of Creative Media at CityU jointly present Chen Chieh-Jen’s latest project Happiness Building I, showing the film Happiness Building I and its production process. Two sessions of discussion hosted by Gao Shiming and Chang Tsong-Zung will be held on the opening day. You are cordially invited to join us at Hanart Square on 18th, December 2012, from 1.30 to 6.30 for the talks, before opening cocktails.
Before filming Happiness Building I, Chen Chieh-jen invited young people representing various segments of society and in need of steady work to compose poetry or prose describing parts of their lives. Next the artist wove together their impressions using a fictional narrative to explore atomism and exile at-home, which have resulted in a society of isolated wanderers deprived of real community, family or household on which they can rely.
Chen constructed a set resembling an old rental-apartment building for this video. Using minimal movement and no dialog, Chen strings together the individual stories of fictional residents preparing to move from the soon to be renovated building. Characters include an unemployed man, a young woman orphaned at an early age, a gay woman whose father committed suicide as a result of long-term unemployment, and a female sound artist who left home after her parents separated because she could no longer face her broken home. Outside the building, Chen films a single woman exhausted from protesting against laws concerning dispatched workers; young women who work at dismantling computers at an electronics recycling center; a disabled stage actor involved in both Taiwan’s theater world and a long-term protest called Silent March; an archivist who dropped out of school due to dissatisfaction with the educational system; and a social activist who comes to help elderly residents living alone to move out, but is greeted only with piles of boxes…. These strangers gather in the courtyard of the building on the afternoon before renovation. Exchanging silent glances, they begin to help the social activist move boxes belonging to the elderly residents who had gone missing.
Using the production set as a public space makes the Happiness Building I project more than just a film. It transforms traditional production relationships and viewing patterns into an experiment of temporary community formation in an atomized society, and gives a presentation of the perspectives of production assistants. The project also constructs a platform together with the audience, where views regarding the community fabric might be exchanged.