在遷移後的棲居，如何覺知“我”歸屬於何方？
《回流》運用 3D 掃描將緬甸華人聚落於台灣新北市的中和華新街，異時與異境的掃描結果編織結合，置入於重新建構的空間座標中，試圖呈現我時常在這條街上拼湊著記憶與想像，關於擁有緬甸華人身份的母親兒時的成長環境，以及「回」華人社會的共存狀態與文化縮影。
此作品在過往的創作脈絡以及關於自身的世代交替中，是重要的銜接與轉捩點，在探討科技演進與生命情感的交會處時，同為異境與歸屬等提問，並且在歷史和未來的發展中，成了不一樣卻相似的生命課題。因為我逐漸意識到，那隱隱的不適感是來自現實世界已深陷在網路科技的殖民與操控之下，讓看似從未改變過的故里，在無形之中成為異地，而在我心中的那股鄉愁，是還沒有任意被網路科技入侵的地方，雖然我出生在網路時代，但我的生命中曾有部分經歷過尚未出現智能產品普遍化的年代。
畫面中遠方某處的亮光，其中靈感來自於母親時常跟我說，她很喜歡微涼的夏夜，在陽台曬著月亮，會喚起她小時候在緬甸時的暑假，和家人喜歡在陽台鋪草蓆睡覺的記憶。然而，對我而言，那遠處的亮光則是當代人類汲汲營營所渴求的理想世界，將理想中的歸屬之地投射在某個觸不到的彼方，被其吸引，不斷望向，並妄想擁有。
是否，最屬於我們的棲居之所，其實就在心中最深處的地方？
After settling down post-migration, how do I perceive where “I” exist?
Remigrate uses 3D scanning to capture the images of Burmese Chinese people who have settled in Huaxin Street, located in New Taipei City, Taiwan. A combination of different surroundings at different times are placed into a reconstructed space coordinate.
On this street, I often try to piece together and visualize the childhood memories of my mother, who is Burmese Chinese, while pondering over the coexistence state and cultural microcosm of people who have “remigrated” back to Chinese society. I use this as reference for my current situation, which consists of many different yet similar life lessons. I gradually realized that we are currently trapped under the colonization and manipulation of Internet technology. It has unknowingly turned our timeless hometown into a foreign place, and the homesickness that resides within my heart is the only place that has yet to be invaded by intelligent technology.
The distant light in my project is inspired by my mother who often told me that she enjoys cool summer nights, basking in the moonlight, because it reminds her of her childhood in Myanmar. She has memories of falling asleep with her family on the straw mats placed on the balcony.
To me, the distant light represents the ideal world that humans currently long for, projecting their sense of belonging to a certain inaccessible place, being attracted by it, and constantly looking towards it.
Perhaps, the place we belong is deep inside our hearts.
胡鈞荃
Hu Ching-Chuan
現為自由藝術創作者，創作多以探究人類、自然與科技間的異質性，涵括現實、虛擬與真實間的關係，並同時對於自身所處時代及未來進行反思與探問。創作媒材不限，以實驗影像與互動裝置擴展至當代藝術，著重於相關媒介如何運用以及由誰操控之問題意識，並將個人經驗與群體意識重新編織與建構。
作品曾獲《第十一届FIRST青年電影展》最佳實驗片、《2018高雄獎》首獎、《第24屆ifva獨立短片及影像媒體比賽》金獎、《第41&43屆金穗獎》最佳學生實驗片、《第十九屆台新藝術獎》提名等。
Currently working as a freelance artist, Hu’s art practice mainly explores the heterogeneity between technology, human memory and perception, including the relationship between reality, virtuality and what is actually real. At the same time, she reflects and ponders over the current era and the future by using experimental images, Internet technology and interactive devices to expand in the various possibilities of artistic creation.
Many of Hu’s works involve using technology in reverse, focusing on the awareness of problems such as how relevant media is used and who controls it, while reweaving and reconstructing personal experiences and group consciousness.
Hu Ching-Chuan has previously won ‘Best Experimental Work’ at the ‘FIRST International Film Festival’, ‘First Prize’ at the ‘2018 Kaohsiung Awards’, ‘Gold Award’ at ‘The 24th ifva Festival’ in Hongkong, ‘Student Work / Best Experimental Work’ at ‘The 41st and 43th Golden Harvest Awards for Outstanding Short Films’ and was nominated for ‘The 19th Taishin Arts Award’.