Memo from the Great Mother: Aluaiy Kaumakan Solo Exhibition
Written by Wei-Lun, Lu
In one of the ancient myths of the Paridrayan Tribe, when the sun shines on the clay pot, the first child born from the clay pot is a baby girl. She then became the first mazazangiljan (chieftain), became the ancestor of the mazazangiljan, and created the structure and order of this community. For generations, the women of the mazazangiljan have inherited her blood, carrying on her glory, but also bearing her responsibility.
However, as time goes on, the folklore has lost its context fading like scattered feathers in the winds of change. In the last century, after Taiwan underwent massive economic structural changes, young tribal members left their hometowns for the cities. As the descendant of the mazazangiljan, Aluaiy Kaumakan also rebelled against the classical fate of women under a certain struggle and urgency for survival, venturing alone to distant lands, drifting freely.
In 2009, Typhoon Morakot struck and scattered the Paridrayan Tribe. Under the evacuation policy, the community left their ancestral land and were forced to relocate to temporary residences. When Aluaiy Kaumakan returned home, she saw only a landscape of ruins. Perhaps it was the call of the Great Mother echoing in her ears once again; from that day on, she walked back into this tight-knit social structure, back into the glory and responsibility of mazazangiljan.
At the end of the last century, Italian writer Italo Calvino, facing their civilization, wrote Six Memos for the Next Millennium. We always thought that art could be free, so why should we concern ourselves with leaving records as eras change? After Aluaiy Kaumakan returned to the tribe, she joined the community organization and devoted herself to the cohesion and operation of the new community. Her heart was full of the protection of both new and old life, as well as the trivial matters. In her works in recent years, she began to gather women from different generations to create together, from the elderly to young girls, exchanging and safeguarding techniques and memories that were once lost between generations in the face of collective trauma from disaster.
Many claim that Indigenous peoples are not ethnic groups with written languages. But within those crochet, weaves, twine, and knits lies their boundless promises and hopes. Endlessly complex and ceaselessly mindful, these patterns form the Great Mother's memo to the future world.
Exhibition Duration｜July 6, 2024 (Sat.) - August 2, 2024 (Fri.)
Aluaiy Kaumakan, born in 1971 in Pingtung County, Taiwan, is an interdisciplinary textile sculptor and installation artist. She belongs to a leading noble family of the Paiwan Nation from the Paridrayan Community of Pingtung County in southern Taiwan. Growing up in this environment, she was exposed to traditional clothing and jewelry from an early age and learned the art of weaving. Her creative endeavors primarily involve weaving and craft design, with recent years focusing on exhibiting woven soft sculptures and installation art. Her works embody the narrative of women's self-expression; portraying women as independent individuals who are central to their communities and heritage, yet indispensable to the collective. They delve into the subtle life pulsations of women and contemplate issues of female consciousness. Initially, her works often showcased lush and majestic imagery. However, the impact of the 2009 Typhoon Morakot forced her community to relocate, prompting a shift in her artistic direction towards deeper introspection. Her aim has become to unite her people and facilitate their healing process, allowing them to regain strength and move forward.
Since opening its doors in 1993, Liang Gallery has pioneered the promotion of modern and contemporary Taiwanese art. With a location in Neihu Technology Park, Taipei, Liang Gallery organises compelling exhibitions that encourage academic research and international exchange.
