About Curator Exhibition Concept Exhibition Map
Artists in the Exhibition
山海原力 - 展現出族人們以山海為父母，代代相傳、多元豐沛的原住 民族文化活力！
原住民文化是臺灣多元文化核心來源之一及重要基石，本處去年首度 策辦原住民族當代藝術展（展名「山 ‧ 海靈境—Malang 美的釋放」）， 邀請 8 位（5 族別）臺灣原住民族當代藝術家參展；今年更擴大策辦了「山 海原力 - 原住民族藝術展」，委請國立東華大學原住民族樂舞與藝術學士 學位學程副教授王昱心擔任策展人，邀請 14 位（組）、共 9 族的原住民 藝術家 / 團體及 1 位澳洲藝術家參展，展出近 50 件經典創作，期透過原 住民族豐沛創作能量，讓原住民族藝術之所有可能形式向各界傳遞其獨特 文化內涵，也呼應國際博物館協會（ICOM）2020 年國際博物館日主題 「Museums for Diversity and Inclusion」（多元性與包容性）。 邀請您一同來體驗這股令人感動的文化原生力量！
Strength from the Mountain and the Sea features diverse and ample cultural life of the indigenous people inherited throughout generations and from the mountain and sea.
The indigenous culture has always been the core and important foundation for Taiwan’s multiplural culture. The National Chiang Kai-Shek Memorial Hall first organized Malang—Aboriginal Contemporary Art Exhibition in 2018. This year, we continue to present an indigenous art exhibition in hope of borrowing the ample indigenous creative energies to introduce the unique cultural connotations hidden in the various indigenous art forms to all sectors while echoing to the theme of the 2020 International Museum Day, “Museums for Diversity and Inclusion,” coordinated by the International Council of Museums (ICOM). We sincerely invite all to experience this soul-touching power of the indigenous culture. The National Chiang Kai-Shek Memorial Hall
王昱心 Wang, Yu Hsin（ Tanivu Tapari ） - 卑南族 Pinuyumayan 西拉雅族 Siraya
1994 年國立臺灣藝專畢業返鄉成立工作室，便開始專職創作與部落陶藝教學。 1998 年獲英國藝術碩士後，延續工作室創作並兼任業界產品設計師、大專院校兼 任教師。2002 年再赴澳洲攻讀博士 4 年後獲得設計博士學位返臺，爾後定居東海 岸至今，多年來除了陶藝、複合媒材創作、產品設計與教學，常深入原住民族部 落認識族群文化、拜訪創作者、浸淫在各類藝術形式的創作成果；體驗分享常見 於教學、創作、策展與學術發表中。 相關策展：
2019 年 9 月「你嘛抵北投：Lima de Paktao」，新北市凱達格蘭館。 2019 年 6 月「斐波那契的藍」複合媒材創作聯展，WATA 藝廊。 2019 年 6 月「陶．路」原住民族陶藝聯展，花蓮市文化歷史館。
2017 年 9 月 - 2018 年 9 月「鶯原際會：臺灣原住民族陶藝展」鶯歌陶瓷博物館， 新北市、屏東原住民文化發展中心、國立史前文化博物館。
Wang, YuHsin (Tanivu Tapari) is an associate professor in the Indigenous Art of National Dong Hwa University, Taiwan, who earned her doctor of design degree from Swinburne University of Technology, Australia in 2006. Dr. Wang is a ceramicist as well as a product designer for more than 20 years. Since 90’she started focus on indigenous crafts and art research, education training and handicrafts industries. Dr. Wang co-operates an indigenous art residency program from Council of Indigenous Peoples from 2009 to 2011, and the jury of Pulima Art Award from 2012, which has devoted to assistant Taiwan indigenous artisans and artists to access internal and international art markets for their works. She held three solo shows in the topic of “Representation: Series of Myths Decoder” in 2011 to 2013. Lately she curated the first indigenous ceramics exhibition with 19 artists in the Yingge Ceramics Museum, it was a tour exhibition from 2017 to 2018. 2
策展人的話 這次「山海原力—原住民族藝術策展」使用了南島語族的古語 Ceoa．
興而至的衝動作為，而是有意識、動機與恆久的觀察，掌握大自然的資源與運 用，再藉著長期琢磨、操作而日臻嫻熟的表現技巧，精準呈現其原始的創意 與構想。因此，土地滋養了人們文化的樣貌、多樣性與傳統智慧，記錄著生命
期紀實影像噶瑪蘭人生活的潘朝成，運用影像紀錄族人對土地的依戀與傳統智 慧，新社香蕉絲工坊的集體採集、整理香蕉莖纖維、染色到織作，婦女集體創 作延綿了手作的溫度；鐵木．巴紹對於山間藤材的採集、整材到塑形，身體大 量勞動、如同交換儀式般找回族人與土地的對話；林戎依從構樹纖維材質的捶
撿拾的漂流木運用鋼筋再拼組、連結，串起對土地的修復，如同對創傷的修補； 伊祐．噶照運用漂流木的再組合，重新詮釋在他眼中的土地困境；林介文運用 揀拾物與回收的線材編織，訴說女性與土地的緊密連結；東冬．侯溫體現著與 祖靈信仰中與大自然的古老契約，引導人們再次思考回歸永續。
神話傳說、故事與各類形式與功能的吟唱。太魯閣語 Pusu（根源）說明了從 家族的根源與脈絡深思也是原住民創作者的創作探討，是由災變中衍生的創
路。陳安琪、余欣蘭運用影像紀錄族人傳統領域的敘事與面對災難的歷程； 巴豪嵐．吉嵐用雕塑述說祭師生命故事，披著圖紋的山豬延伸他對神靈世界 的探究與關心；Colin Offord 對土地的關懷與內省；曾秉芳運用大量有機物
夏曼 ‧ 藍波安長久以來身體力行海洋民族的生活，與海對話、學習、體
海洋的韻律；即使王綺穗生長於海岸，卻只能在記憶中找尋海洋氣息，就如 同當代的人們漸漸忘記了如何找回原本的自己；平行時空下，山上的民族安 聖惠運用船型說明了當代原住民族的飄移與尋找，深刻的討論當代的我們如
是有機生命企求存續的能量釋放與極力追索。口述歷史 / 神話的蔓延與再蔓 延，正伴隨著原住民族生存的景況與藝術的發展與開疆闢土持續。
策展人｜王昱心 Tanivu Tapari
國立東華大學 原住民族樂舞與藝術學士學位學程 副教授
Exhibition Concept Strength from the Mountain and the Sea Indigenous Art Exhibition adopts the curatorial concept based on the ancient Austronesian terms, “Ceoa” (land), “Pusu” (root) and “Wawa” (ocean), to create a cross-year exhibition at the National Chiang Kai-shek Memorial Hall that aims to initiate a dialogue between ancient wisdom and contemporary society so that the primal life memories can be recalled when facing injustice in history. The greatest difference between human beings and other animals – apart from carrying out labor works and production activities to sustain, protect and ensure the continuation of life – is our ability to think and create. The wide range of artistic and literary creation does not result from spontaneous impulses but conscious, motivated, lasting observation that allows humans to grasp the use of natural resources and bring the artistic expression and techniques to perfection through continuous exercise and practice, and thus precisely communicate the original creativity and ideas. In this light, land has nurtured the essence, diversity and traditional wisdom of human culture while recording the splendidness and abundance of life. The ancient word, “Ceoa (land)” from the language of the Tsou people reveals the shift of direction and representation in artistic creation. Pan Chao-Cheng (Bauki Angaw), who has been documenting the life of the Kavalan people, uses image to record their love for the earth and tribal wisdom. Lala Ban employs the method of collective gathering to process, dye and weave the fiber of banana stems. The collective creative work by women has continued the warmth of handicraft. Temu Basaw engages in an extensive laborious process to gather, arrange and shape the rattan from the mountains, which resemble a personal dialogue with land and a ritual of exchange. On the other hand, from beating and sculpting the fiber of common paper mulberries, Lin Jung-Yi (Halomei) delineates the search of an indigenous identity by the younger generation. Hana Keliw combines driftwood found after typhoons with steel to symbolize the repair of land and comfort the hurt of traumas. Also using and assembling driftwood, Iyo Kacaw re-interprets the dilemma faced by the earth. Labay Eyong narrates the intimate connection between women and land through found objects and weaving made of recycled fibers. Dondon Houmwm’s work embodies human’s age-old contract with nature practiced through the ancestral belief, guiding people to reflect on the topic of sustainability.
The indigenous peoples inhabiting Taiwan’s plains, valleys, mountains, seashores and offshore islands have all undergone the historical, psychological or mental impacts of “real experiences,” including earth-shattering quakes, fierce droughts and floods, serious famines and epidemics, the invasion of foreign enemies, the diaspora or migration of the tribespeople, harvests, faraway journeys (expeditions), increase of population and expansion of territory. Therefore, since the ancient times, they have been constructing respective interpretive systems for understanding themselves and 5
explaining the surrounding environment—these systems are now known as mythologies, legends, oral stories and songs in different forms that serve different functions. The Truku word, “Pusu (root),” signifies family as one’s root and the contextual thinking derived from this idea, which is also the source of creative inspiration for indigenous artists. The creativity that has its root in a changing environment reflects the indigenous people’s cherishment of and contemplation on the earth and life; it proposes the ancient ecophilosophy as a path to salvation. Thalaelethe Titibu and Rngrang Hungul record the narrative of the indigenous traditional territory as well as how indigenous people have faced natural disasters. Pahawlan Cilan employs sculpture to tell the life stories of shamans, and creates the image of a boar with traditional patterns to extend his exploration of and care for the spiritual world. Colin Offord’s work expresses his contemplative affection towards land. Lahok Oding layers images and colors of organic objects to form a connection with life. Anguc Makaunamun’s re-creation of photographic works exude a subtle mythological air. Through artistic creation, these artists have all engaged the contemporary society in dialogues and transformed the impact from re-connecting with their origin.
For a long time, Syaman Rapongan has been practicing the lifestyle of the oceanic people, engaging in a dialogue with and learning from the ocean to embody the cosmic view of the Tao people. He first writes and records the life stories of his people, and then represents these stories in his mother tongue with a rhythm reminiscent of ocean waves. On the other hand, Wang Chi-Sui grew up in the coastal region and has been seeking the oceanic essence in memory; her story reminds us of how modern people have gradually forgotten their original self. Eleng Luluan, who is a member of the mountain indigenous people, utilizes the shape of boats to delineate the migration and quest of the contemporary indigenous community and further discusses how people can move forward in the contemporary era. The vast, tolerant, deep and mysterious ocean has carried the future of the island’s indigenous peoples, for whom the ocean is the hope and path that leads to other islands and a broader world. The forms and contents of indigenous cultures and arts have evolved in accordance with the changing environment, which indicates the energies and continuation of the organic indigenous life force. Today, the indigenous oral history/mythologies are still expanding and breaking new grounds along with the thriving indigenous community and the development of their arts.
Curator ｜ Wang, Yu Hsin（Tanivu Tapari ）
Associate Professor, Undergraduate Program of Indigenous Performance and Arts, National Dong Hwa University 6
Exhibition Map C eoa ‧ 土 地 ‧ L a n d
1 鐵木．巴紹 - Temu Basaw 2 林介文 - Labay Eyong
4 哈拿．葛琉 - Hana Keliw
3 伊祐．噶照 - Iyo Kacaw
5 潘朝成 X LALABAN 新社香蕉絲工坊 11
Bauki Angaw X
Lalaban Xinshe Banana Fiber Workshop
6 東冬．侯溫 - Dondon Houmwm 7 林戎依 - Lin, Jung-Yi / Halomei
P u su ‧ 根 源 ‧ Ro ot 8 柯林 - Colin Offord
9 曾秉芳 - Lahok Oding
10 高敏修 - Anguc Makaunamun 13
11 巴豪嵐．吉嵐 - Pahawlan Cilan 12 陳安琪 X 余欣蘭
Thalaelethe Titibu X Rngrang Hungul
Wawa ‧ 海 洋‧ Ocea n
13 夏曼．藍波安 - Syaman Rapongan 14 安聖惠 - Eleng Luluan
15 王綺穗 - Wang, Chi-Sui
鐵木・巴紹 Temu Basaw - 泰雅族 Atayal
來自臺灣中部的泰雅族部落，擅長利用自然植物，如藤、竹等素材創作。因為部 落族人百年以來，取材於自然的經驗與智慧，讓鐵木深感若要復振文化，就需學 習傳統工藝。以此為契機，他看見部落生存於當代社會，所產生的多元衝突現象， 也發現部落中長期存在的不平衡。這也使藝術工作者開始藉由創作，模仿族人如 何面對和化解衝突，並深刻思考，身為年輕世代的族人，該如何在這種狀況之下， 檢視自己，提醒自己，甚至進而與世界對話。
Temu Basaw comes from the Atayal tribal community in central Taiwan. He specializes in using natural plant fibers, such as rattan and bamboo, to create his works. For centuries, the Atayal people have been using natural resources, and such experience and wisdom have made Temu understand that the revitalization of the Atayal culture requires the learning of traditional craft. In the process of studying the Atayal craft, he has also witnessed diverse conflicts happening in the indigenous community that strives for survival in the contemporary society as well as the long-term imbalance in indigenous villages. His discovery prompts him to think about using artistic creation to imitate how the Atayal people face and resolve conflicts while deeply reflecting on how the younger generation of the Atayal people should examine and remind themselves to create a dialogue with the world.
土地 ‧Land 作品簡介 About the Artwork
《 血的交換 》Exchange through Blood
當我慢慢削去藤⾝上的刺時，同時⾝上也刺上了許多傷⼝，我看著⼿掌的傷⼝鮮⾎ 直流，在看著被斬斷的藤流出了透明的汁液，汁液與我的⾎液融在了⼀起滴了下來， 我知道我們交換了⾎液，⽽沒有刺就不會有洞，刺與洞，尖與圓，本是相互共⽣， 然⽽這是永恆的。 When I slowly removing the thorns on rattan, the thorns also create many wounds on my body. As I look at my blood streaming from the wounds and the transparent sap oozing from the rattan, the sap and my blood blend together and drop. At that moment, I realize that rattan and I have exchange life; without the thorns, there will be no wounds. The thorns and the wounds – the pointy and the circular – co-exist, and this symbiosis is eternal.
籐、竹、毛線、木條 Rattan,Bamboo, Thread,Wood
380 x 380 x 260cm
林介文 Labay Eyong - 太魯閣族 Truku
花蓮萬榮鄉的紅葉部落太魯閣族人，在現代與古老靈魂間穿梭，試圖用藝術創作 在兩者之間取得平衡，用柔軟訴說力量。曾在臺灣各地、新克里多尼亞、中國大陸、 西班牙等地駐村創作。透過傳統 Truku 編織自我發展，創作領域涉及金工、軟雕 塑、空間裝置、錄像與公共藝術。 Truku artist Labay Eyong grew up in Dahdah in Hualien's Wanrong Township. Oscillating between the modern and the ancient, she has endeavored in achieving a balance between the two worlds through artistic creation, using softness to express strength. She has done artist residencies in various places in Taiwan and abroad, such as New Caledonia, China and Spain. Traditional Truku weaving is her way to explore and develop her life and self, and her practice spans across various media, including metal work, soft sculpture, installation, video and public art.
作品簡介 About the Artwork
《 黑魯凱 》Black Rukai
在屏東駐村時創作的作品，將魯凱族部落傳統的石板屋，結合藝術家擅長的編織創 作，將破碎的石板與織布編織成完整的圓形。作品講述母親、土地與生命之間的連 結，傳達藝術家對土地的關懷，從不斷編織、形塑作品的過程，為自然與族群文化 發聲。 This work was created when the artist conducted an artist residency in Pingtung. Drawing inspiration from the traditional Rukai stone slab houses, she uses her expertise in weaving to create a complete circle with broken stone slabs and weaving. The work tells the connection between mother, land and life, conveying the artist’s care for the earth and demonstrating her vocalization for nature and her communal culture through continuous weaving and her shaping of works.
《 掏空 》Emptying Out
作品不僅繼承並轉化太魯閣族原住民的編織傳統與技術，更呈現林介文成為母親後 的創作狀態－需要在日常時間因照顧孩童而被切割之際，找時間創作，以詼諧的方 式呈現母親與孩子的關係，以及土地與現代人的距離。
This work not only inherits and transforms the Truku weaving tradition and techniques, but also materializes the artist’s creative state after the birth of her child—her time becomes segmented due to taking care of her child, so she needs to find time to create. The work adopts a humorous tone to display a mother-child relationship as well as the distance between land and modern people.
複合媒材 Mixed Media 直徑 150cm
伊祐・噶照 Iyo Kacaw - 阿美族 Pangcah
伊祐用他的藝術與執念作為傳統與現代青年之間的橋樑。「在祖先的道路上，才 能找到真正的力量。」伊祐說，「那個感動是一直藏在體內的。你就知道你以後 在做什麼，是你該出一份力量的時候。了解你的位置，你跟土地的位置，你的使 命是什麼。」
Iyo Kacaw is an Pangcah artist form the indigenous village, Makotaay. In recent years, he has been using a creative method of repeatedly combining and stacking wood fragments and stones to create the fluid contour of ocean waves and formulate his unique linear vocabulary associated with his sea-embracing lifestyle. Iyo plays a bridge between the traditional and the young with his creative work and artistic persistence. “Only through the ancestors’ way can we find the true power,” said Iyo. “When soul-touching power hides within your body, and you will know what to do when it finds you; it will be the time to devote, to understand your place and your relation to the land, to perceive your mission.”
作品簡介 About the Artwork
《 土地的內在結構 》The Internal Structure of Land
一顆落在土地的生命穿透了土壤取得養份，在土地身軀裏盤根拉扯建造堅固的家， 人類只是身軀表層的過客。土地讓人們享受美麗莊嚴的生命儀式、享受釀造出的美 景和豐收，但人類卻不斷地掠奪，最後土地把心臟都掏了出來。
A seed of life falls into the earth, absorbs its nutrients and breaks out of the ground while taking root and growing into a home on this land, where human beings are only passengers on its surface and through its body. The land allows people to enjoy their beautiful and respectful lives, enjoy the mesmerizing landscape and abundant harvest, yet human beings never stop plundering until the land even pours out its heart in the end.
複合媒材 Mixed Media
尺寸依空間而定 Dimensions variable
哈拿．葛琉 Hana Keliw - 阿美族 Amis
臺東都蘭部落的阿美族人，以織繡工藝為基礎延伸對族群文化、生態環境與人文 脈絡的思考，近十年受到東海岸開發案的衝擊，創作特別關注人與環境的關係。 除了大型的戶外裝置藝術之外，2017 年在都蘭成立 Hana’s Box 工作室，推廣 纖維工藝的技藝傳承與編織教學。以「蘭調織女」文創經濟體，召集部落婦女進 行文化與創意的激發交流，並透過手作編織落實文化療癒與照護的作用，和部落 姐妹們努力實踐「美式生活」的夢想。
Amis artist Hana Keliw is from E’tolan in Taitung. Her practice involves using weaving and embroidering to explore the ethnic culture, ecological environment and humanistic context. In the recent decade, she has contemplated on the relationship between human beings and the environment through her work due to the impact from the case of resort development on the east coast. In addition to large outdoor installations, she has also founded a studio, named “Hana’s Box,” in E’tolan in 2017, where she promotes fiber craft and the art of weaving. Using her own brand, “E’tolan Weavers,” she invites women in the village for cultural and creative exchanges to achieve cultural healing and care through weaving, with which she and her sisters from the village have endeavored in realizing “an aesthetic life.”
作品簡介 About the Artwork
《 彼岸 》The Shore Across
感情歸屬的「家」，總是跌跌撞撞……我以為我也可以如同父母親擁有一個家庭， 我的情感總是分隔兩地，心裡孤獨與煎熬………。作品運用了家族慣用八角花圖形， 將菱形圖形解構後在結構，椅子是家的另一種概念，這是渴望之意。而我將這份心 中的情感實踐於創作，一張雙人對望的椅子，在感情歸屬的「家」，彼望的過程希 望我們彼此可以更多的珍惜與尊重，即便空間的限制我們的心還緊密的繫在一起。 It has been a bumpy journey to find a “home” where my heart belongs. I had thought that I could create a family like that of my parents; yet, my love has always been hindered by physical distance, leaving me in solitude and agony. In this work, I use my family’s octagonal pattern, and deconstruct the diamond shape before reconstructing it. The chair is another embodiment of the concept of home, which symbolizes longing. Infusing my work with inner feelings, a chair with two people looking at each other conveys the longing for a “home” to rest one’s heart. The process of looking at each other represents the hope for mutual appreciation and respect. Despite the physical distance, our hearts are still close and united as one.
鐵件、木頭 Metal, Wood
潘朝成 Bauki Angaw ( 最左 ) - 噶瑪蘭族 Kavalan
1993 年於祭典中意外發現自身噶瑪蘭族身分後，便致力於噶瑪蘭族部落祭儀文化、 生活面貌以及平埔族群影像紀錄的探索與保存，並積極推動復名，要求政府正視 原住民族的權利。 Bauki Angaw is the president of the Hualien County Kavalan Tribe Development Association and an assistant professor at the Department of Communication Studies, Tzu Chi University. After accidentally discovering his Kavalan lineage in a traditional festival in 1993, he has endeavored in filming and photographing the Kavalan culture of rituals and ceremonies in Hualien County, the life of the Kavalan people and their appeal to restore the indigenous name of Kavalan villages. In recent years, he put pressure on the government to face the rights of indigenous peoples.
作品簡介 About the Artwork
《 新社香蕉絲工坊作品 》
Works from Lalaban Xinshe Banana Fiber Workshop
當代創作多強調個人風格，而原住民族婦女共同創作之溫暖互助，不啻為未來 社會之共榮方向，特邀新社香蕉絲工坊展示其集體採集、整理香蕉莖纖維、染 色到織作的過程。其中地織織作須耗費大量體力，是噶瑪蘭的婦女坐在地上， 把香蕉絲一線一線的織起來，織成半成品之後，做成各種不同的生活用品。同 時也展出協會理事長潘朝成對噶瑪蘭族儀式之攝影與成員藝術家陳明進 ( 一貢 ) 之噶瑪蘭族木雕圖騰，展現噶瑪蘭族文化之符碼結構。
LALABAN 新社香蕉絲工坊 Lalaban Xinshe Banana Fiber Workshop - 噶瑪蘭族 Kavalan
花蓮縣噶瑪蘭族發展協會成立宗旨，為孕育噶瑪蘭族復名與文化復振運動，從老 一輩的族人記憶中的編織出發，重新拾起傳統地機織布的技法。香蕉絲是祖先運 用自然資源的智慧，從香蕉的種植、砍伐、刮絲、晾曬、分線、捻線、繞線、整 經到編織等工序中，累積了深厚的技藝文化。協會並成立「LALABAN 新社香蕉 絲工坊」，取部落中重要的指引座標 LALABAN 山頭為名，希望傳承既有的編織 技藝，且發揚創新，讓編織成為一項顯學，讓手工藝找到新的出口與發展方向。
To restore the name of the Kavalan tribe and culture, the Hualien County Kavalan Tribe Development Association uses weaving in the memory of the older generation as a point of departure and retrieves the traditional Kavalan weaving techniques. Banana fiber comes from the ancestral wisdom of utilizing natural resource. From planting, cutting, stripping, drying, strand making, yarn spinning, yarn winding, warping to weaving, the extensive process of different procedures embodies the profound craft and artistic culture. The name LALABAN is borrowed from the homonymous mountain in the tribe, which has been used as a geographic landmark and carries the hope to pass down the legacy of weaving while recreating it in innovative ways so that weaving can become a popular craft and enjoy new possibilities and development.
Although contemporary art emphasizes on personal style, the heartwarming friendship formed between the indigenous women through their collaboration might also provide a direction of co-prosperity for future society. On view in this exhibition is the procedures of LALABAN’s production of their works, starting from collective gathering, organizing and dying banana fiber, to weaving. Among these procedures, ground weaving requires a lot of strength and stamina because Kavalan women must sit on the ground to weave banana yarn into semi-products for the making of various daily ware. Also on view in the exhibition is Bauki Angaw’s photographic works of the Kavalan rituals and the Kavalan totem sculpture created by IKong Angaw member of the Hualien County Kavalan Tribe Development Association, which displays the symbolic structure of the Kavalan culture.
Artist 東冬・侯溫 Dondon Houmwm - 太魯閣族 Truku
太魯閣族，出生於臺灣花蓮縣秀林鄉銅門部落。「東冬」意指可愛的孩童，是部 落文化發展中，新穎且特別的名字；「侯溫」源於父親的古老名字，象徵銳利的 刀鋒。名字結合當代與傳統，也體現出他幽默性格及嚴肅創作態度的對比，矛盾 的元素不斷撞擊揉和。
近年作品結合錄像、裝置、行為展演等藝術型態，深度傳達真實生命經驗，轉化 連結後，再思索的價值。回顧過去，以當時人們看待自然資源與土地的方式，探 討與現今價值觀的差異，並思考完美與破敗的平衡。
Truku artist Dondon Houmwm was born in Dowmung located in Hualien’s Xiulin Township. Meaning “adorable child,” “Dondon” is a fresh and special name that has appeared as the indigenous tribal culture develops. “Houmwm,” on the other hand, is the artist’s paternal name, which is ancient and means sharp knife. The combination of the contemporary and the tradition in the artist’s name also reveals his sense of humor, which contrasts to his serious attitude when creating his work that is informed by the collision between and integration of conflicting elements. I n re c e nt years, D o n d o n Hou mw m h a s i nt e g ra t e d v i d e o, i n s t a l la t i o n an d performance to deeply convey his life experiences, along with the values generated after the artist reflects and transforms these experiences. Through his work, the artist casts a retrospective glance on how people in the past behaved towards natural resources and made use of land as a frame of reference to discuss the difference in value attitude today while thinking about the balance between perfection and wreckage.
作品簡介 About the Artwork
《 3 Ｍ 》Three “Ms”
In the Truku language, “M” is usually used to indicate an action or event that is taking place. This work describes three things that are happening now, which are also what I am concerned with and represent three issues I have been reflecting on.
《 MLUQIH- 傷 》MHADA-Wound
This work discusses how traditional faith exists in a state of contradiction—although we cannot see it, it has been passed from one generation to another in different forms, which is similar to the healing process of a wound.
《 MHADA- 熟 》MHADA-To Know
2008 年在整理文獻時發現，高雄小林村的夜祭影像，以及他們也有使用口簧琴的 紀錄。風災發生後，終於有機會認識了重建後的他們，正努力學習與復振大武壠族 的語言及文化。直到現在，我在夜祭上看到他們大聲的唱牽曲，自信的演奏口簧琴， 我想我會繼續陪伴小林村還有平埔族群的族人們一起走向艱難的正名之路。 When sorting out literature in 2008, I discovered the images of the night festival in Kaohsiung’s Xiaolin Village and realized there are records of the village’s people playing mouth harps. After the destructive typhoon, I finally had a chance to know more about them after the reconstruction of their village, and have been steadfastly learning and restoring the Taivoan language and culture. Today, I still see them performing “kan-kei” (ceremonial songs) and playing mouth harps confidently. I believe I will continue accompanying Xiaolin Village and the Pingpu people on this challenging journey of restoring their name.
《 MSPING- 妝 》MSPING-To Adorn Oneself
作品討論部落文化價值的變遷，以及部落性 別議題。當紋面失去了神聖的儀式，或許那 也只是文化的形式。
T h i s wo rk d i s c u s s e s t h e ch a n ge s o f t h e indigenous culture, value and the gender issue in indigenous villages. The ritual of face tattooing might have lost its sacredness, but it is perhaps a form of culture.
複合媒材 Mixed Media 400x300x250 cm 錄像裝置 Video Installation 16’33”
林戎依 Lin, Jung Yi / Halomei - 阿美族 Amis
臺東縣成功鎮小馬部落阿美族人，從事樹皮布藝術創作，作品結合現代意象與傳 統工藝，並致力傳承臺灣原住民族樹皮布文化與當代織物美學的創新結合。2015 年成立設計品牌「獨樹依織」，讓樹皮布織品進入現代生活，讓更多年輕人認識 樹皮布工藝。2018 年 PULIMA 藝術獎中獲得優選。
Amis artist Halomei (Lin, Jung-Yi) grew up in Piyoxo in Chengkung Township, Taitung. She uses bark cloth to make art, combining modern textile techniques and traditional handcraft to introduce the indigenous legacy of bark cloth craft to the younger generation, and in 2015 she established her own brand “Unique Tapa”to incorporate this art into the everyday life for more people. In 2018 Halomei was selected into the Pulima Art Award, Museum of Contemporary Art.
作品簡介 About the Artwork
《 在我眼中，你是如此的美麗 》You Are So Beautiful In My Eyes 以一個把眼睛放大並深入的創作方式來呈現作品理念，運用樹皮布深淺及紋路的不 同呈現每個部位的皮膚。此作品為瞳孔裡的我們，當我們被對方注視時，我們的樣 子就映入在對方的瞳孔裡，由神經帶入使人感受到我們的模樣。講述的是當你被我 注視之下，你或許會因為自己身心的殘缺感到自卑恐懼，但不要害怕，因為在我眼 中，你是如此的美麗。
The artist enlarges the eyes for the audience to perceive her artistic concept. She makes use of the various shades and patterns of bark cloth to depict the human skin. When the audience looks at the work, they assume the figures in the eyes. When a person is looked at by another, his or her image is reflected in the other person’s pupils and sent to the brain via nerves. Through this work, the artist aims to convey the idea that when we are looked at by the eyes, we might feel embarrassed or incomplete due to our own flaws; however, there is no need to fear because as the artist says, “You are so beautiful in my eyes.”
樹皮布 Bark Cloth
750 x294 x20 cm
柯林 Colin Offord - 澳洲 Australian
柯林身分多重，同時是視覺藝術家、聲音雕塑家、樂器發明家、音樂家、及旅行家。 從事的工作亦包羅萬象，包含展覽、裝置、使用自身發明的樂器演出、跨文化工作、 社區企劃以及各地駐村。他的作品展示橫跨五大洲的畫廊、藝術中心、表演場所， 在澳洲、歐洲、北美、東南亞和東亞、南非以及整個南太平洋島國，達到真正的 國際交流。以手工書與裝置作品「時間 & 潮汐」(Time & Tide) 榮獲 2016 年臺 東美術館「南島國際美術獎」首獎。 Colin Offord is an Australian visual artist, sound sculptor, instrument inventor, musician and traveler. His activities include: exhibitions and installations, concerts and scores of original music performed on invented instruments, cross cultural collaborations, community projects and artist-in-residence. Offord has presented his work in galleries, art centres and performance venues throughout Australia, Europe, North America, South East and East Asia, South Africa and throughout the island nations of the South Pacific. In 2016 he was was awarded the Austronesian International Art Award, Taitung Art Museum, for his handmade book/installation work Time & Tide.
根源 ‧Root 作品簡介 About the Artwork
《 人類地圖－內部 》The Human Map-Interior 《 華萊士三重奏 》WALLACEAN TRIO
《 人類地圖－跑者 》The Human Map-Runner 《 水池 》The Pool
柯林的創作多元，作品橫跨大型水墨、自動書寫、抽象書法到物件、聲音裝置以及 手工書。 藝術家使用從澳洲灌木叢中收集到紅色氧化石，加上樹脂製成的天然顏料創作。本 次展出之作品是他多年來探索的主題—人類地圖。 「我們被嵌入在景觀之中—我們 是景觀，而景觀亦在我們之中。」
Offord art varies from large-scale ink drawings, automatic writing and abstract calligraphic gesture to found object and sound installations and handmade books. He paints with natural pigments that he makes from red oxide stones and tree resin that he collects in the Australian bush. The works in this show are part of a theme he has been exploring for many years The Human Map. We are embedded in the landscape we are the landscape and the landscape is us.
《 華萊士三重奏 》
氧化石彩、紙本 Hand Ground Red Oxide Stone Paint on Paper
190 x 100 cm
曾秉芳 Lahok Oding - 阿美族 Pangcah
來自花蓮豐濱鄉阿美族港口部落，獨居在都市十幾年，在三十歲的人生關卡之際， 開始反思尋找自己的人生意義。想起自幼照養自己的祖父母、孩童時在部落與祖母 一起串色彩鮮豔的串珠亮片、一起手工縫製傳統服飾、一起哼唱錄下的原民童謠。 回想自己身份認同的距離與關係，決定學習及必須延續的意義讓她拾起畫筆。源源 不絕的創作能量，希望能在這個世代的年輕族人中展現出一種新的力量，帶著新穎 的樣貌持續下去。 Grew up in the indigenous village, Makotaay, in Fengbin Township, Hualien, Lahok Oding used to live alone in the city for more than a decade. Turning thirty was a turning point in her life as she began thinking about the meaning of life—she thought of her grandparents who looked after her when she was little, the colorful beads and sequins she used to make craft works with her grandmother in the village, the traditional clothes they sewed by hands, and the indigenous nursery rhythms they had sung together. Reflecting on the gap and relation between her modern self and her indigenous lineage, her determination to explore and continue her indigenous identity made her pick up the paint brush. With endless creative energy, she hopes to inject a fresh force into the younger indigenous generation and unfold a new image that will never fade.
《 花海》The Flower Field - 左 L
《 山林》The Mountain Forest - 右 R 25
油彩、畫布 Oil on Canvas
Pusu 根源 Root
作品簡介 About the Artwork
《 植物慢遊系列 》Botanic Voyage 還記得人與大自然的關係嗎？
一再重複的規律下，似乎容易忘記自己與自然是一同呼吸的。 自然現象並非一成不變，而是忘了聆聽、觀看瞭解，忽略了純粹的感受。 因為簡單而錯過。
大海、日出、草原、星空、山林、溪谷、黃昏、驟雨、彩虹、雲霧、花海 ..... 我們想去尋求什麼樣的風景，而又看見了什麼樣的景色。
在快速步伐下，人們創造了什麼景物，大自然成為了怎麼樣的面貌。 當自然持續的消失、流失、剩下的又會是一片什麼樣的景象。 大自然本無劃分任何領域界限。 我們使用它，觀賞它，依靠它。 最終，還是不停駐。
Do you still remember the relationship between humans and nature? In the repetitive rhythm, it seems quite easy to forget that we indeed breath with nature.
The natural environment is in constant change; but we have forgotten to listen and see, ignoring the purest feelings.
The simple things are easily missed. Ocean, sunrises, meadows, starry sky, mountains, streams, sunsets, downpours, rainbow, cloud and mist, a sea of flowers... What landscape are we looking for? What sceneries do we see? In this modern fast-paced life, what have we created, and what has nature become? When nature continues to disappear, what will be left in the end? Nature makes no distinctions and boundaries. We utilize, appreciate and rely on it. In the end, we still do not stop for it.
Artist 高敏修 Anguc Makaunamun - 卑南族 Pinuyumayan
臺東建和部落（Kasavkan）卑南族人，因為父母工作關係，從小在都市長大，成 年後面對自我認同問題，選擇回到部落認識重新部落文化，跟著長輩學習山裡的 知識和部落的生活態度。用自己的專長為部落奉獻，記錄下部落慶典活動，並透 過經營網路媒體，宣傳部落文化和生活，讓旅外的族人和其他族群能夠了解建和 部落，吸引年輕人返鄉。
Anguc Makaunamun is of Pinuyumayan descent from Taitung’s Kasavkan. Due to his
parents’ professions, he grew up in the city and only chose to return to the indigenous village to learn the tribal culture after he started thinking about this identity as an adult. In the village, he learned knowledge about the mountains and the outlook on life characteristic of his tribal village. He also contributes to the village by using his expertise to document the tribal festivals and launching an online media to promote their culture and lifestyle, hoping that his own people and other ethnic communities can know more about Kasavkan and that the young generation can be brought back to the village.
《 繚繞獸面 》- 左 L Face of the Lingerer
複合媒材 Mixed Media 40×40×60 cm
《 族服人像 》- 右 R Portraits with Pinuyumayan Clothes
數位輸出 Print 59.4×84.1cm
Pusu 根源 Root
作品簡介 About the Artwork
《 族服人像 》Portraits with Pinuyumayan Clothes
拍攝對象為混血血統之都市原住民青年，重新討論大家對於原住民的定義。如何找 到自己的族群認同，是當今所有都市原住民的面臨的共同問題。還在尋路回家的都 市原青們，於拍攝中，即是被剖析的被攝者，屬於這個世代徘徊在都市與部落之間 的樣貌，假想最直接與自身文化和部落有連結之標籤去做妝點，重構傳統生活場域 裡的物件與植物，與跨文化的結合，同時也呈現出都市原青與故鄉的不確定且搖擺 的親密感。尋找自我對於族群文化認同的過程是浮動的，現代原住民的樣貌不該只 有單一樣貌的，而是多樣且有多種可塑性的。
The portrait series features indigenous youths of mixed descent that grew up in the cities, and discusses what it means to be indigenous. A common issue faced by the urban indigenous community is how to establish the sense of identity. These young people are still searching their way back to their indigenous root. To take their photographs is to analyze them and the life of their generation that still oscillates between the city and the tribe. In this series, the youths dress themselves based on what they imagine to be their strongest connection with their own culture and tribe; they reconstruct the traditional living site with objects and plants, incorporate their intercultural background, and demonstrate a sense of uncertain, wavering yet intimate relationship between themselves and their indigenous root. Looking for one’s ethnic, cultural identity is always a dynamic, evolving process. The image of modern indigenous people should never be flat but diverse and very malleable.
《 繚繞獸面 》Face of the Lingerer
獸面的形象，是幼時在建和部落（Kasavkan）部落最直接的記憶 ; 是愛、犧牲、 奉獻與分享。幼時持續的夢到自己隻身於山林，與野獸奔跑畫面 ; 時間於夢裡，呈 現非線性的狀態，能感受到的現實與虛幻，更是一種持續的錯置狀態。以頭像為媒 介與載體，嘗試對於泛靈的新術式崇拜，透過各種紋飾，在本我之外蓋上另一層， 能夠連結超自然之神、祖先以及動植物，且更貼近心靈與自然之超我表象，轉化出 新的文化樣貌。
The image of animals is my most direct childhood memory about Kasavkan—it is about love, sacrifice, dedication and sharing. As a child, I always dreamed of being in the mountains and running with animals. Time in dreams is never linear, which has made me feel that reality and illusion are intertwined. This work uses portrait as a vehicle and attempts to create a new form of pantheistic worship. With an array of ornaments and patterns, a new visual layer is covered on the self to connect with the supernatural realm, the ancestral spirits as well as nature with its flora and fauna. It reveals a greater self that is closer to one’s heart and Mother Nature, introducing a fresh aspect of the indigenous culture.
Artist 巴豪嵐．吉嵐 Pahawlan Cilan - 排灣族 Paiwan
母親為臺東大武排灣族，父親是外省人。就如同他的血統，在創作的思考裡也不 斷的透過跨越探求自我。在一段旅程遇到一群阿美族祭師後，開始了一場自我與 神靈間對話的藝術創作，造就了獨樹一格屬於自己的符號圖騰。他的創作關注在 現代化社會中的原住民傳統文化的發展，對於傳統文化、環境破壞等議題都深富 寓意。在創作裡的巴豪嵐．吉嵐是一個提問者，對自己提問，也對所有人提問。
Possessing both a Paiwan lineage of his mother’s side from Taitung’s Dawu Township and his father’s mainland Chinese lineage, Pahawlan Cilan’s has been constantly exploring his identity as he creates his works. After encountering a group of Pangcah shamans during a trip, he began his art-making that embodied his dialogue with the divine spirits and created his unique system of symbols and totems. His practice revolves around the development of traditional indigenous culture in the modern society, conveying a meaningful allegorical depth that engages in the issues of traditional culture and environmental destruction. In the process of art-making, the artist resembles a questioner, posing questions to both himself and everyone else.
Pusu 根源 Root
作品簡介 About the Artwork
《 刑具 》The Implement of Punishment
也許失去的一切，可能是獲得了起死回生的機會……故事從電力公司拉電到山區部 落開始，村民對著第一盞燈光沈沈凝望之後，逐漸更多的好奇心，一一接納了物質 文明眾多的便利，信仰改變，價值多元，生命迴旋……。 最後自己問自己：「物種源起，競爭的角力，何為立足之地？」。
任何時間都是一個界線，既然已經被動地融入了大眾，何不拯救自己找出價值作個 標竿，原來才發現，臺灣島上的大家都處於這個界線，我寧願說這是大家生命共同 體的「疆界」，今天扭轉乾坤已不容猶豫！西元 2006 年後我發覺了這個現象，末 代祭司在為式微的信仰承受著苦難。
Perhaps losing everything presents a chance of rebirth... The story began when the power company started providing electricity to the mountain villages. As the villagers stared into the first light that was lit up, curiosity germinated; and soon the conveniences of the material civilization overcame the people. Their belief changed; their values became divergent; and life falls into an endless gyre. At last, one must ask oneself, “from the origin of species to the start of struggle and competition, where is our place in this world?”
Any given moment in history represents a borderline; and since we have been passively included into the majority society, we should try to help ourselves, retrieve our values and be the exemplar. I have realized that everyone living on this island called Taiwan has been walking on this borderline, so I would rather view this borderline as the “border” of our collective community. As of now, there is no time left to reverse this situation. After 2006, I have observed this phenomenon. The last generation of shamans is shouldering the suffering of the disappearing faith.
尺寸依空間而定 Dimensions variable
Artist 余欣蘭 Rngrang Hungul ( 左 ) - 太魯閣族 Truku
來自於花蓮縣秀林鄉銅門村的太魯閣族人。大學時期受到老師實驗片的啟蒙，開始 探討自身認同與族群認同而拍攝第一部短片「認同感」，此後開始琢磨在實驗片與 紀錄片。與陳安琪共同合作多部紀錄片與部分的實驗影片，其作品大多紀錄女性為 主，關注族群遷移與性別議題，目前為自由影像工作者。 Truku artist Rngrang Hungul grew up in Tongmen Village, Xiulin Township, Hualien. Inspired by an experimental film created by her college teacher, she started exploring her own identity and the identity of her indigenous community, which led to her first short film, Sense of Identity. Since then, she has delved into the making of experimental films and documentaries. She has worked with Thalaelethe Titibu on various documentary projects and a few experimental films, most of which feature women, with an emphasis on issues related to communal migration and gender. She is currently a freelance filmmaker.
陳安琪 Thalaelethe Titibu ( 右 ) - 魯凱族 Rukai
屏東好茶部落族人，因求學階段離開原鄉到都市就學，所幸家人在每個假日都會回 到新好茶部落，至此對於部落投入很多情感。2009 年莫拉克颱風，放棄在台北工 作回到好茶部落，並留在原鄉關注部落的重建和生存議題，也是日後成為創作的源 頭。主要工作為紀錄片攝影師與剪接，目前為獨立自由影像工作者。
A member of the Kucapungane village, Thalaelethe Titibu left her indigenous hometown to pursue an education in the city. Fortunately, she and her family have always returned to their village on holidays and maintained a close connection with their community. After Typhoon Morakot in 2009, she quit her job in Taipei and moved back to Kucapungane, where she has engaged herself in issues about the reconstruction and survival of the indigenous village; and such attention and involvement in the issue have become a source of her creative work later. She primarily works as a documentary cinematographer and editor, and is currently a freelance filmmaker.
Pusu 根源 Root
作品簡介 About the Artwork 《 錄．路 》The Road
我們拍攝紀錄片的開始就是從 2009 年的八八風災，在風災十年後的今日，以此片 作為一個紀念。「路開到哪裡，人就走到那裡。」，長輩這樣跟我們說。影片的開 始是從一如往常的「紀錄片」形式的對話與側拍開始，後來的畫面就以全程手持攝 影機的方式，類似行車紀錄器般地錄下風災後兩年 ( 2010 到 2013 年 ) 的臺 24 線 約 20 公里的路程。這一條省道是霧臺鄉的重要聯外道路，看著興建與維修的道路 建設，從聯外交通用途到經濟發展，從號稱全臺最高的陸橋向下看，壓制著苟延殘 喘意志，黑色的碎石崩落，也是我們取材成為家的原料。 Our documentary features the catastrophic damage caused by Typhoon Morakot in 2009 and serves as a ten-year commemoration of the disaster. The elders have always told us, “wherever the roads lead, people follow.” The film starts with a dialogue and filming in the form of a “documentary,” followed by images recorded with a handheld camera to simulate the quality of a dashcam and document a 20-km journey on the Provincial Highway 24 during 2010 and 2013, two years after the disaster. This provincial highway is an important road connecting Wutai Township and the outside world. The film witnesses the construction and repair of the highway, as well as its functions as a main artery for local economic development. Taking a look from the highest land bridge in Taiwan that seems to suppress the struggling will of the indigenous community, the falling black rocks are the materials used to build our homes.
雙頻道錄像裝置 Two-channel Video Installation
Artist 夏曼 ‧ 藍波安 Syaman Rapongan - 達悟族 Tao
蘭嶼達悟族人，國立成功大學臺灣文學研究所博士、國立清華大學人類學研究所 碩士、淡江大學法文系畢業。出生時達悟族的名字為諾萊印，意為天空的眼睛即 星星的名字，一個航海的星座，這是來自父親的名字。而在自己成為父親之後， 依照達悟族的傳統，更名為夏曼 ‧ 藍波安 (Syaman Rapongan)，以此名享譽文 壇。 他認為能出生在蘭嶼是非常榮幸的事，如果沒有蘭嶼就沒有夏曼 ‧ 藍波安，母語 達悟語是他思想的來源。身為一名文學家與藝術家，背負傳承的責任。他在大海 中為大海表演，在山裡伐木為森林展示身體與靈氣，直接地讓身體在大自然裡自 然的律動是夏曼 ‧ 藍波安最直白的藝術形式，將其轉化為文字及視覺，發揚海洋 民族的文化。
Syaman Rapongan is of Tao descent and grew up on Taiwan’s Orchid Island. He holds a BA in French from Tamkang University, an MA in Anthropology from National Tsing Hua University and a PhD in Taiwanese Literature from National Cheng Kung University. His Tao given name means “the eyes in the sky”—that is, “the stars” in the Tao language; it is also a constellation used in star navigation and the name inherited from his father. After he became a father himself, he followed the Tao tradition and changed his name to Syaman Rapongan, a name that has now enjoyed critical acclaim in the literary world.
He considers himself incredibly honored to have been born on Orchid Island because there would be no Syaman Rapongan if it was not for Orchid Island. His mother tongue, the Tao language, is the source of his thinking. As a writer and artist, he has shouldered the responsibility of passing down the indigenous legacies. He performs for the vast blue ocean in the water, and cuts trees in the forest to validate his physical stamina and spirit. Straightforward and unhindered natural physical rhythm in nature has been his most candid practice of art, which he then converts into writing and visual representation to make the culture of the oceanic people known by the world.
海洋 ‧Ocean 作品簡介 About the Artwork
「我的祖父告訴我，這個島上的男人一定要跟海發生親密的關係，這親密的關係如 何產生呢？就是要看得懂月亮，看得懂海洋的變化，一生一定要會造船，才能夠變 成一個男人，這幾句話對我的影響最大。」夏曼 ‧ 藍波安如是說。本次展覽首次 將夏曼 ‧ 藍波安的文字，以脫離書本的形式呈現，展示創作者與海洋之間的關係。 展區最初映入眼簾的是夏曼 ‧ 藍波安乘著自製拼板船划行出海的畫面，搭配浮在 空中的文字，字體的陰影倒映在牆上，象徵海洋的波浪節奏，展牆外包覆著達悟族 的詩歌，及創作者與友人所再現的蘭嶼景象。近年夏曼 ‧ 藍波安帶著長子藍波安， 建造達悟族的拼板船，象徵著海洋民族的傳承，一艘拼板船即是一個達悟家庭的海 洋。從夏曼 ‧ 藍波安的影像、攝影、文字，帶出海洋民族達悟族的海洋世界。
“My grandfather told me that the men on this island must have an intimate relationship with the ocean. How does this intimate relationship come about? You must be able to read the moon, to understand the changes in the ocean, to make a boat in order to become a man. These words have had a great influence on me,” said Syaman Rapongan. This exhibition will be the first time that the writer’s literary work is not showcased in the form of books. The objective is to visualize his relationship with the ocean. The first thing the audience encounters in the exhibition is the image Syaman Rapongan sailing out to the sea on a tatala boat he has made himself. The image is accompanied by words floating in midair, and the shadow that the words cast on the walls symbolize the oceanic waves and rhythm. The walls are covered with poetic lines in the Tao language and the images of Orchid Island captured by the writer and his friends. In recent years, Syaman Rapongan has been guiding his eldest son Rapongan to construct Tao tatala boats. This process symbolizes passing down the legacy of the oceanic people, as one tatala boat represents the ocean of one Tao family. With Syaman Rapongan’s image, photographic works and writing, the audience is immersed in the oceanic world of the Tao people.
安聖惠 Eleng Luluan - 魯凱族 Rukai
屏東好茶部落魯凱族人，近 20 年定居於臺東都蘭。以自然質樸特性的材質作為創 作材料，擅長複合媒材雕塑與環境裝置創作。作品總是充滿著無限的張力與爆發 力，同時蘊藏令人咀嚼再三餘韻無窮的深邃意境，是臺灣原住民藝術家中備受國 際矚目與認可的女性藝術家。 Born and grew up in Pingtung’s Rukai village Kucapungane, Eleng Luluan has lived in Taitung’s Dulan for nearly two decades. She uses natural, plain materials to make her works and has been known for her mixed media sculpture and environmental installation. Her work always seems to exude a limitless sense of dramatic tension and explosive power while forming a profound space that the audience can linger and contemplate on. As a Taiwanese indigenous female artist, she has captured the attention and recognition of the international art scene.
作品簡介 About the Artwork
《失根的靈魂 》Displaced Soul
安聖惠以她生活中常見的物品為素材、空間為畫布進行創作，本作品以「船」為創 作形體，隱喻當代原住民族的飄移與尋找，藝術家使用製造漁網的紅色尼龍線為素 材，結合擅長的技巧，將之編織成船型。就像在汪洋中的船，尋找對這個時代的看 法、人生方向的追尋、民族所處的狀態等。然而，來自不同空間、不同地方的人， 都有可能互相連結，即便現在找不到答案，但是仍有很多不同的聲音、不同力量在 談論這些議題，所累積的能量，最終將會像支撐起這件作品的漂流木狀造型一樣， 在面對新時代的變遷與茫然時，如同祖靈的拐杖，給予人們心靈的能量與慰藉。
Eleng Luluan uses natural, plain materials to make her works and has been known for her mixed media sculpture and environmental installation. The work Displaced Soul utilizes the shape of boats to delineate the migration and quest of the contemporary indigenous community. Luluan uses the red nylon thread of Taitung fishermen’s fishing net as her material, and combines with her knitting skills. She weaves the work into a boat shape. Like a boat floating in the vast sea, the work represents a quest searching for the meaning of our time, seeking the direction of life and discussing the living state of people. However, the audience from different parts of the world can still find a sense of interrelatedness in this work. Even if an answer is not available now, there are still many voices and different forces contributing to the discussion of these issues. The accumulated energies will be like the driftwood shape structure used to support the entire work; and when we face the changes and confusion presented by the new era, it will be like the cane of the ancestors that provides a comforting power.
複合媒材 Mixed media 500x190x190cm
Artist 王綺穗 Wang Chi-Sui - 卑南族 Pinuyumayan / 西拉雅族 Siraya
西拉雅與卑南族的結合。國立藝術學院（現臺北國立藝術大學）美術系學士、英 國新堡大學藝術創作碩、博士，她長期進行視覺藝術創作研究、展覽發表和策展、 以及國內外影展策展，曾任教於愛爾蘭都柏林城市大學，目前任教於臺北國立藝 術大學電影與新媒體藝術學院動畫學系。
因為對自身民族自覺經驗的感受，綺穗的藝術創作專注在於對視覺感知與記憶模 組的認知與意像延展，更對影像在後數位時代中的本質探討產生興趣；並針對其 在記憶與時間的闡述進行創作。綺穗的作品基本上把「時間」和「空間」作為定 位感知經驗的二元結構，並且透過繪畫與動態影像媒材將形式重構了其身體經驗 及意識思維的連繫，喚醒不在場空間卻實存的記憶和意識。 Wang Chi-Sui is of Siraya and Pinuyumayan descent. She holds a BFA from the
National Institute of the Arts (now Taipei National University of the Arts), as well as an MFA and a PhD in Fine Art from the University of Newcastle upon Tyne, UK. Her long-term practice comprises of academic research on visual art, artistic creation and curatorial work. Wang has also curated film festivals in Taiwan and abroad. She used to teach at Dublin City University in Ireland, and now teaches at the Department of Animation, School of Film and New Media Art, Taipei National University of the Arts. Due to her perception about her indigenous self-awareness, Wang’s practice centers on the continuation of cognition and imagery in visual perception and memory. Moreover, she is interested in exploring the essence of image in the postdigital era, and creates her work based on her understanding and elaboration on memory and time. Wang’s work basically contextualizes “time” and “space” as a dichotomous structure to position sensory experiences; she then uses media such as painting and motion image to formally reconstruct the relation between body experience and conscious thinking, waking up the absent yet existing memory and consciousness.
作品簡介 About the Artwork
《 凝態系列－異位 I / II 》Condensed Matter – Displacement I / II 《 Underwater I 》
物 理 凝 態 在 此 是 指 ⼀ 種 介 於 液 態 與 固 態 之 間 的 狀 態， 稱 為 凝 態 (Condensed Matter)，如膠態也是一種凝態。在物理的世界裡，凝態物理帶來了物質材料的可 能性，如半導體科學也是凝態物理的⼀⾨學問。但在綺穗的創作中，則是取其去形 上之意涵 : 即當⼀個形態發展⾄某個臨界時、正要轉變成另⼀種型態的⼀種樣態， 作為⼀個記憶上的比擬，在作品的表現上則像是比喻出「存在於現實與記憶間的東 西」。 就如冰河一般是一種時空均被擠壓並持續運動的現象，是「現存在」且堆積 凝結於「曾存在」共存的樣態，也像是海洋包涵了生命與死亡、過去與現在的現象， 更猶如文化民族記憶般的雪球因運動⽽形變、因形變⽽運動、也因運動⽽產⽣生命 的能量。 “Condensed matter” refers to a state between liquid state and solid state, such as the colloidal state. In the world of physics, condensed matter physics introduces new possibilities in terms of matter and material; even semi-conductor science is a subsubject of condensed matter physics. However, in Wang’s work, the idea of condensed matter is used in a metaphorical way; that is, she uses the liminal stage of a state before it enters another state as a metaphor for memory. The expression of her work delineates “something posited between reality and memory.” For example, glaciers embody the phenomenon of compressed time and space, a co-existing state of “that exists now” building and condensing on “that used to exist.” Or one can see the ocean as something that encompasses life and death or the past and the present. We can even imagine the cultural, ethnic memories as a growing and changing snow ball in motion, and the changes leads to further movement and generates a force of life.
《 凝態系列－異位 I 》 Condensed Matter – Displacement I
油彩、畫布 Oil on Canvas 130x190cm
山海原力 - 原住民族藝術展導覽手冊 發 行 人：林進盛 出
址：10048 臺北市中正區中正南路 21 號
執 行 單 位：蔚龍藝術有限公司 計畫主持人：王玉齡 策 展 人 : 王昱心
專 案 執 行：李紅逸、林欣怡、楊子弘 設 攝
英 文 翻 譯：吳介禎、黃亮融 印
特 別 感 謝：國立東華大學原住民民族學院、黃季平、浦忠義、戴嘉明
展 覽 網 頁：
https://indigenousart.cksmh.gov.tw/ 著作權所有，請勿翻印轉載 出
版：2019 年 11 月