EN/ 中文
Dynamic Residence–Taiwan, Vietnam & Australia
HSU Su-Chen
Dynamic Residence–Taiwan, Vietnam & Australia
01 / 10

The number of Asian immigrants coming to Taiwan has grown sharply since the 1970s, and the feminization of the migrant population has been a very important trend. My dynamic residential works encompass some of the stories of contemporary immigrants in Taiwan, Vietnam, and Australia, and they chiefly focus on Vietnamese female immigrants. In accordance with the immigration trends proposed by migration systems theory, many complex influences involving colonization (decolonization), politics, trade, investment, and culture arise between the migrant exporting countries and receiving countries.

From 2006 to 2009 in processing of film three spaces,I have attempted to describe these complex, interacting causative factors in my works as they are reflected in the circumstances of contemporary migrants. I started from the French bread and Hot Mint of the Vietnamese district of Melbourne (Richmond), and looked at the Vietnamese Chinese immigrants who arrived after the end of the Vietnam War in 1975. I also examined how, during the migration process, female Vietnamese workers in Taiwan needed to receive Chinese language instruction, which is a "typically female" task, and I looked at the content of their language instruction and their intimate relationship with everyday life in Taiwan. This work encapsulates the behavior of migrants and employers. Due to the influence of the migration industry, there is a huge gap between this language instruction the content of the Vietnamese language instruction received by Taiwanese firms opening plants in Taiwan.

My works also portray the international marriages that have occurred in Taiwan since the 1990s in the wake of human trafficking. Most of the new immigrants known as "foreign brides" are from Southeast Asia, and Vietnamese women account for a majority. The second halves of their lives are deeply connected with the environment in their husbands' households. For instance, the Vietnamese woman Juan-Yu Ming-Hsin(阮玉明心) from Vung Tau married into a family in Changhua that makes its living performing at temple festivals, which forced her into roles that diverged completely from her original cultural beliefs. When the family performed as the Eight Household Generals—popular mythic figures in Taiwan's folk Taoism—she played the role of a guard. In imitation of the police headquarters of the Qing Dynasty, she helped arrest demons when the chief deity was taken out for processions.

While the works indirectly reflect immigrants' real-life experiences in the host country, we must not neglect the powerful cultural influences behind these immigrants. The migrant women had major impacts on their households and communities in the host country, and the ensuing cultural complexity and diversity is the end result of intra-Asian migrations in the Pacific Century.

17 artworks / 81 exhibition
New Media Art , Curators / Art Critics , Painting
HSU Su-Chen, 2006, Photographic Art
HSU Su-Chen, 2001-2002, Installation Art
HSU Su-Chen, 2009, Video Art
HSU Su-Chen, 2009, Photographic Art , Installation Art , Video Art
HSU Su-Chen, 2009, Photographic Art
HSU Su-Chen, 2009-2010, Installation Art , Painting
HSU Su-Chen, 2008, Installation Art , Painting
HSU Su-Chen, 2007, Installation Art , Video Art
HSU Su-Chen, 2007, Photographic Art , Video Art
HSU Su-Chen, 2004, Installation Art , Photographic Art , Video Art
HSU Su-Chen, 2001, Video Art , Performance Art
HSU Su-Chen, 2002, Performance Art , Video Art
HSU Su-Chen, 2003, Video Art
HSU Su-Chen, 2014, Installation Art
HSU Su-Chen, 2009, Video Art