Textile Playing Workshop was like a secretive station harbored in a corner of 8F. In 1998, Woman New Knowledge Association posted an advertisement to request partners for playing cloth. The originator Xiao Heng-Shu is a cloth bussinessman's wife and love community reform activities. Housewives were interested in the slogan "Play cloth together!" and signed up to join the team. They designed, drew, chose pattarn and color then sewed on their own. They spent time about six months completing a giant cloth work "Accepting Hundred Praying for Happiness". The Woman Art Festival in February next year, they hung out this work on the wall of Yong-Le market. Its length exceeded in 9 floors and raised a great mass fervor.
這次活動讓玩布工作坊一路玩了下來。參加的媽媽們全是家庭主婦，對於手工藝的東西很有興趣。創作拼布的材料，至今仍是從永樂市場布莊所募來的一些零頭布、瑕疵布或過季滯銷的樣品布，經過資源回收再利用，玩起來壓力小，反而令學員們比較自在。少數第一期留下來的資深媽媽們，隨著七年多來的共同創作，早已成為緊密的社群，她們都是玩布工作坊的班底。如今她們不只自己玩布，也走出永樂市場，深入其它社區教媽媽們玩布。
Because of that activity, the workshop continued playing. Housewives are all interested in handiworks. Their materials is some broken, flawed cloth or unsaleble samples solicited from cloth stores. It is no stress on recycling to play. Let members be more freer. Few old wives stayed from first stage became close group early with creating together 7 years. They were the key cadre members in the workshop. They are not play themselves now, but leave the market to teach housewives in other communities.
不少女性藝術家如林純如、林珮淳等，都曾在玩布工作坊開過課，但真正帶來深刻改變的是吳瑪悧。2000年10月，吳瑪悧開始以小團體的方式，進行玩布工作坊的進階課程，也帶來了不一樣的方式，她讓學員在創作之前花很的長時間討論，「看自己、談自己與整理自己」（註1）。從第一期參加到現在的資深玩布媽媽彭翠鳳坦言「我們一開始都很害怕，因為她會一直挖我們的心事」，那時吳瑪悧還帶了一台DV隨時錄影，這也讓許多媽媽們感到不太自在（後來這些影像記錄以《心靈被單——從妳的皮膚甦醒》的作品形式在台北當代藝術館中發表）。但在吳瑪悧的帶領下，她們先是完成了探索自我生命的「心靈被單」，2003年，吳瑪悧又展開了第二個關於情趣內衣的主題，她先是要媽媽們閱讀《裙子底下的劇場》一書，在課堂上討論內衣的歷史與文化。這對那些保守的媽媽們其實是個震撼教育。「那時老師規定要看那本書，我們很多人都是在晚上偷偷躲在廁所看，不敢給先生和小孩知道。」，彭翠鳳笑說。但更猛的是後來，吳瑪悧還帶這些媽媽們去逛情趣用品店。第三次的主題「皇后的新衣」則是要媽媽為自己設計一件禮服，完成後先是一個小型的成果展，緊接著是台北市立美術館的展覽，之後，這些媽媽們穿著自己設計給自己的禮服，到迪化街與中山北路走秀，許多人訝異於她們的勇氣。這個改變是顯而易見的，「玩布讓一些社區媽媽不再自卑於自己好像什麼都不會。一方面是種自我成長，另方面則也找到了娛樂」，目前擔任玩布工作執行長的陳秀霞表示。
Some female artist, like Lin Chun-Ru and Lin Pei-Chun, have taught in the workshop. However, Wu Ma-Li really brought deep change. Wu taught them in small-group in lessons and brought different methods from October,2000. She taught students to discuss long time before creating. "Look at, talk about and arrange our mind"(Note 1) The old student Peng Cuei-Fong said, "We were afraid of her to dig out our secret in the beginning." It also made them nervous that Wu took a video anytime. (Later this video became the work of "A Spirit Sheet-- Wake up From Your Skin" in MOCA Taipei.) Under Wu's leading, they completed "A Spirit Sheet" with exploring about self life. In 2003, Wu opened the second theme about sex underwear. She ask students to read a book"The Theater Under Skirts" and discuss the history and culture of underwear in class. It's a shock education to the conservative wives. "Teacher Wu ordered us read that book. We read in bathroom quietly because we didn't dare to let family know." Peng Cuei-Fong said laughingly. Afterward, it is cooler that Wu took them to the sex appliances shop. The third theme "New Clothes of Queen" is to design a formal dress for themselves. After finish, they held a small results exhibition then show in Taipei Fine Arts Museum. They wore their works and walked in Di-Hua Street and Jhong-Shan N. Road. Many People were surprised their courage. This change was obvious. "Playing textile let housewives do not abase themselves and think they know nothing. One side is a kind of self growing up, another is entertainments." The workshop administer Chen Siou-Sia said.
在吳瑪悧的帶領下，玩布工作坊從一個單純的手工藝團體，變成一個比較朝外探索的、不斷走出去與社會接觸的社群，事實上，這正是吳瑪悧在玩布工作坊看到的：一種婦運的新可能。「過去台灣婦運基本上也都是知識菁英在參與，和草根婦女之間落差非常大。『玩布』這軟性媒介，正好可以把兩性平權的理念，不著痕跡的帶給基層的婦女。」（註2）儘管許多媽媽們對於這個改變仍顯得有不安全感，但這些事情確實改變了她們的生活、個性與家庭關係。
Becouse of Wu Ma-Li, workshop became a opening and exploring group from a simple handiwork team. In fact, it is a new possibility of woman activities that Wu felt in workshop. "Taiwaness woman activities mainly participated in past year by knowledgeable people. It had a very far distance from roots women. 'Playing cloth' is a soft media give unobtrusively the basic level women the idea about equal rights of sex"(Note 2) Though many women still don't have security about the changes, this learning actually changed their life, character and family relationship.
小男孩閣樓 Little Boy Garret
南海藝廊曾有「小男孩閣樓（girl的諧音）」的有趣暱稱。這個帶著青年氣息的小空間，除了水電費由國北師負擔外，目前一個月的經費約只有五萬元，「用很少的錢，做得輕鬆，所以能做得比較久」，經濟的拮据在黃海鳴看來仍充滿轉圜空間。唯一的藝術行政陳姵潔，之前是黃海鳴在國北師的學生，從大四下時幫忙處理藝廊的展覽事宜，到去年7月起，轉為正職至今。不像一些藝術行政者遭遇到越做越無力的窘境，陳姵潔對於這份工作至今仍保有很高的熱忱。
NanHai(sounded like boy in chinese) Gallery was called a nickname "Little Boy Garret". This young space's funds of a month are about fifty thousands recently except water and electricity expenses from NTUE. "Spending less money can take easy and do long time." Hung Hai-Ming thinks it is still a space in poor situation. The art administer Chen Pei-Jei was his students. She dealed with exhibitions of gallery in the university. She became the profession from last year. Unlike some art administers come into difficulty that feel weak, she still has a high zeal for her work.
南海藝廊即將在今年11月舉辦第三次的創意市集。第一次舉辦時比較是試辦性質，規模不大，透過在《破周報》與網路媒體的宣傳，吸引了約15、16個單位報名參加，他們大都是工藝、服裝設計、視覺傳達或美術系的在學學生，也有一部份是在敦南誠品前的擺攤者。南海藝廊將這些參與者分為「學生玩家」與「專業玩家」，強調「非量產、純手工製造但類型不限」的報名資格，同時也鼓勵他們能加入DIY的教學活動，讓參與者的互動不僅止於「服務／被服務」或「買方／賣方」的呆板關係。
NanHai Gallery will hold the third art market in November. It was a property to try in first time so the scale was not big. Through "Pots Weekly" and advertising in web media, it attracted about 15 organizations to sign up. They were students in department of technics, costume designing, vision communication or fine arts. Some parts were the vendors before Dun-Nan Eslite Bookstore. NanHai Gallery divided participator into two parts, "Student Player" and "Professional Player". They emphasized, "Not produce big amounts but handmade and type limitless." Encourage them taught in DIY activities to let the interaction not only be dull relation between "serve/served" or "buyer/seller".
創意市集將客群鎖定在社區居民，開市當天，吸引了200多位訪客前來，人不算多，迴響卻很不錯。今年五月時第二次的創意市集，報名單位增至35個左右，前來參觀者則成長至700多人。南海藝廊在成立之前，其實只是龍福里的一個閒置空間，附近人口僅佔全里的十分之一，但在幾次活動的主動接觸後，這裡與社區的關係也逐漸緊密。
The quests of art market is locked in community. It attracted more than 200 visitors in opening. People were not plenty, but their reaction is good. The second art market is in this May. Vendors increased about 35 and visitors more than 700. Before setting up, NanHai Gallery was a unused space in Long-Fu community. Population near the gallery is just the one-tenths of the community. After many activities to touch, it is closer with community by degrees.
黃海鳴認為一直以來的藝術生產劃分，往往不是純創作，不然就是純商品。他一直想破除這樣的界線，而南海藝廊具包容力而多變的屬性，便成為一個很好的緩衝界面，「讓說話的人不再只是藝術家或藝術老師，而是真正在經驗的那些人」，他相信這樣的界面將可以處理前衛、現代藝術與商業之間的緊張關係。「它可以讓一些膽子比較小的藝術愛好者，進到裡面來。用一種比較簡單、輕鬆的方式，接觸到那些奇怪而有趣的創作者。不像我們以前所擁有的，僅僅只有幾個菁英空間、及裡頭那些擅於謀略的藝術家」。黃海鳴希望南海藝廊可以維持一種好玩、大家分享的精神，「讓它變成一個生活劇場、一個奇怪的小俱樂部，任何有些奇想、或純粹只是愛現的人都可以來這邊現。讓這裡變成一個任何東西都可以拿出來表演的地方」。
Hung Hai-Ming want to break the limit between creation and commodities of art producing. NanHai Gallery has an attribute of toleration and variety so it is a very good buffer face. "Let people who really lived speak, not artists or art teachers." He Believes this face can handle the nervous relation of vanguard, modern art and commerce. "It can let art fans whose courage is smaller enter inside. Touch strange and interesting creators with a easy style. Unlike ours before, only few classic spaces and some artists using strategy were there." Hung hope NanHai Gallery can keep a spirit of interesting and sharing. "Let it be a life theater or a strange small club. Anyone who has fantasy or just want to show all can come here. Let here become a place can play anything."
在南海藝廊的運作中，黃海鳴也看到由年輕世代來決定文化走向的可能（註3），「從來，台灣的社會都是很政治的，是不是有方法可以聚集年輕人來改變這個走向？產生新的文化方向？對我來說，他們其實就是在創造自己的文化。這些人聚集起來可能會是一個很龐大的群體，它不是幾百人而已，而可能是幾千人，幾萬人。」他相信這股年輕的能量，在台灣尚未用盡，「我們應該將各個社群聚集起來，產生一些影響力。像是幫派一樣，但它比較是用一種寄生的、吸收力量的方式，溫和地改變這個社會」。
In NanHai Gallery, Huang also discovered the possibility that a culture trend will be decided by young generation.(Note 3) "Society in Taiwan is always very political. Is there any means to gather the young to change this trend and bring new one? I think they are just creating their culture. Their gathering will be a huge group. It does not include only hundred, even thousand or more than ten thousands." He believe this young power is not exhausted yet in Taiwan. We should assemble every communities to bring the influence. Like a faction, it is a way by parasitism and take up force. Change our world kindly."
讓真正在經驗的那些人說話 Let People Really Lived Speaking
部份業餘者在學院、美術館、畫廊、大型藝術節及其它已由公部門大張旗鼓把持的正規空間中，找到了生產與運作的可能。如同在逐漸科層化的台灣藝術體制中，找到一些縫隙寄居與蔓生。對我來說，永樂市場內窩藏的玩布工作坊，一直是個鮮明的圖像，它暗喻著某種溫和的戰略：一小群人以小規模、小資本且資源回收的方式，進行藝術輕工業的生產。而那些資源短缺的空白處，由頻繁的人際互動彌補起來，這連帶建立起一種可觀的社會實踐。如果前衛藝術為我們展示的基進路線中，挫敗的陰影總來得太快，因為體制早已熟捻於將前衛的衝撞迅速轉化為一種僅僅為象徵的力量；那麼，這群業餘的手藝人、擺攤者所進行的輕工業，則帶來另一種比較折衷的生產性。藝術體制或許還是可以消費它，將其檔案化，在既有的脈絡中展陳，但差別在於它比較不容易一下子被消耗殆盡，因為它有它自己可資運轉的方式持續生產，即便克難，但小資本、小規模的架構也使它不用過分依賴這個體制的資源供給，因此保有某種自由度。
Some amateurs found their operation possibility in school, museum,art festival or other public space. Like find a chink to live at and trail in layered Taiwan art system. Playing Textile workshop in Yong-Le market is a vivid image in my mind. It is a metapho of some warm strategy: a small group proceeds a art light industry with the small capital and recycling. The blank of resources shortage is filled with people relationship. It builds up a considerable societal practice. If the failure came too fast in the vanguard art because the system quickly changed the vanguard power into a symbol. The handworkers and vendors will form a compromise. Maybe it can be consumed in the art system. Let it be a file and show in veins. The difference is it will not be exhausted soon. Because it produces on its own way, it has a free system.
相較於此，南海藝廊有點像是另一個碎屑黏結而成的建築（另一個永樂市場？）。「我們最常做的事就是協辦或支援」，陳佩潔描述南海藝廊黏結各類相異事物的特質。這幾年來，這個「小男孩閣樓」雖以藝廊之名，一檔一檔的當代藝術展覽沒有斷過，但同時更多非純藝術領域的事件在此發生，不論是講座、讀書會、電影、搖滾樂到扮裝走秀，各個領域的人在此交集。南海藝廊透過不斷找人、找別的單位合作，建立起它獨特的社群關係，也因為較深廣的人際互動，使這些參與者的回流率很高。雖然只有一位行政人員，但透過友情贊助的方式，往往一號召就可以找來一堆人友情贊助，即便這些朋友連「志工」這種比較體制化的職稱都稱不上。「由此可見我們的經營其實是很細膩的」，陳姵潔說。
NanHai Gallery is like another building constructed from all kinds of bits.(another Yong-Le market?) "The usual things we do is helping." Chen Pei-Jei described NanHai Gallery. Recent years, this little boy garret has many modern art exhibitions. It also happened many matters in not pure art field. No matter lectures, reading, movie, music and costume show, every domain is mixed. NanHai Gallery often works with other organizations to make special community. Because of deeper interaction, the reflux ratio is high. Only a administer can call many friends to help even those friends can't called "volunteer" this system word. "Therefore, you can see our managing is very exquisite." Chen said.
「我們現在的藝術家養成，往往在一個小型展演空間中展完後，便被一些策展人挑中，就直接跳到國際展的體系中。而中間的那一塊，幾乎完全空缺。在中間這層的創作者於是就超級孤獨」，黃海鳴說道，「我們應該可以去多創造一些比較是中間這層的空間，讓創作者可以自由地在這些空間中游動」。相較於這個藝術體制所給我們的大建築，如今可以去復甦的，是那些居於中間層的臨時建築，那些如黏屑般附著的、因事制宜的改建。在這些違建形態的空間裡，藝術生產也將帶來更多社會實踐的效果，而非卡在專業與業餘兩種身份的標籤中而兩頭落空。一點點折衷，對於藝術的社會實踐而言，其實是種轉進。一如吳瑪悧對於玩布工作坊的詮釋，「這些計畫目的不在於把公眾塑造成專業的藝術家，也不在於展現大家在過程中所完成的藝術物件，而是，每個參與過程的人，都在互動、激盪的過程中，被重新塑造，成為一個新的、有反省力、有創造力的人」（註3）。而這無非就是我們對於藝術的一個古老期待。
"Our artists form is always from exhibitions in small space and chose by planers then jump to world exhibition's system. There is a blank in proceeding. The artist in the blank are super lonely." Hung Hai-Ming Said. "We should create the middle space to make artists free swimming in it." It is better to rebuild the temporary floor in the huge building of art system. Art producing will bring more affection in this illegal building, but not get nothing between a major and amateur. A little compromise is a chance for the societal practice of art. Wu Ma-Li expressed the workshop, "The goal of plan is not making common people into professional artists. It is not also spreading out the art objects in proceeding. Everyone who joined is in interaction to become a new person who has thinking and creativeness." It is our old wish about art.
註1：吳瑪悧，〈玩布工作坊進階發展階段的一些想法與檢討〉，《婦研縱橫》，65期（2003.10）。
Note 1: Wu Ma-Li, <Some Thought about Developing of Textile Playing Workshop>
註2：吳瑪悧，〈玩布啟示錄〉，《典藏‧今藝術》，146期（2004.11），頁146-149。
Note 2: Wu Ma-Li, <Textile Playing Notice>
註3：黃海鳴在台新藝術論壇2004年度觀察報告中，論述了這股「年輕化的自主運動」興起現象。參見黃海鳴，〈2004進入藝術學生串連佈網的關鍵年代？〉，《典藏‧今藝術》，150期（2005.03），頁100-102。
Note 3: Hung Hai-Ming, <Does it Enter Key Year of Art Students Web in 2004>
圖說Picture：
01.1998年在迪化街舉辦的「布藝嘉年華」活動。（玩布工作坊提供）
Cloth Art Festival in 1998
02.吳瑪悧以小團體的方式進行玩布工作坊的進階課程。（玩布工作坊提供）
Wu Ma-Li taught lesson with small groups.
03.玩布媽媽們到迪化街走秀。（玩布工作坊提供）
Housewives show their cloth in Di-Hua St.
04.南海藝廊在2004年舉辦了第一次的「創意市集」活動。（南海藝廊提供）
Art Market of NanHai Gallery in 2004
05.黃海鳴認為南海藝廊開放的界面將可處理前衛、現代藝術與商業之間的緊張關係。（攝影／游崴）
NanHai Gallery has an open interface can handle the nervous relation of the vanguard, modern art and commerce.
06.當時才17歲的華岡藝校學生莊軒，找了一群同學在南海藝廊辦了「小男孩閣樓——時尚裝置展」。（南海藝廊提供）
The student Zhuang Xuan was 17 years old. He and classmates had a exhibiton in NanHai Gallery "Little Boy Garret-- Fashion Device".
【南海之內皆兄弟】遇到好文，大家一起讀。（在引用時會註明出處，如有侵權請來信告知）
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