《龜轉豹小徑》Turtle-Leopard Trail (T.L.T), 2020
「合力組裝米克斯」(Assembly of Communities: MIX)
臺北當代藝術館 MOCA Taipei
複合媒材裝置、紀錄文件、踏查工作坊 Mixed media installation, documentation, workshop
尺寸因空間而異 Dimensions Variable
本計畫基於長期的台灣淺山森林史的研究,所提出的新行動構想,跨越不同區域、不同層次的空間與歷史層,進行的一場長途行走的創作行動。「龜轉豹小徑」的命名,取自於樹林龜崙嶺的「匪樹林三角埔隱蔽基地叛亂案」,到三峽「大豹社事件」山區,橫跨了兩個殖民政權的事件地。從兩者之間各取一字,創造一條既現實又虛構的路線。空間上,「龜轉豹小徑」穿越了戰後台灣郊山白恐場域,以及日殖時期的山林隘勇線,連動著漢裔與原住民的創傷史。
本計畫預計混合路上觀察、台詞創作、閱讀會以及錄像拍攝等方式,公開徵選十位參與者,一起進行這場長途的「混血行動」。期間並組織讀書會,涵蓋範圍有「匪樹林三角埔隱蔽基地叛亂案」、「泰雅族大豹社事件」相關案件探討,並延伸出對於馬共、胡志明小徑等的文學或文化探討。期間,與對話每一位參與者都是歷史與空間的自主研究、自由詮釋、自行創造的主體,期間相關的創作,將整合入本計畫中。
第一段路:龜崙線
此路線為較少為人知悉的「匪樹林三角埔隱蔽基地叛亂案」,發生於1950年代的新北市樹林的淺山地帶。此次活動,預計以行走的方式,搭配研究樹林白色恐怖的文史老師,一同穿越今昔的諸多場景。
第二段路:大豹線
此路線為 1903~1907年三峽泰雅族大豹社事件隘勇線。亦為藝術家近幾年的研究主題。預計將走踏三峽幾條日殖時期隘勇線遺址,最後將翻過新北市、桃園界山,拜訪復興區霞雲里,一批文獻記載「滅社」以後的大豹社遺族。
T.L.T reveals a new action plan, comprising of a long-distance hike and creative action, based on the long-term study of Taiwan’s low-elevation forest history, which includes different areas and levels of spatial and historical layers. The naming of T.L.T links Shulin’s Gueilun Mountain, where the Sanchiaopu Rebellion took place, to Sanxia’s mountains, the site of the Dabaoshe Incident, connecting two incidents taking place separately during two colonial regimes. The title of T.L.T is inspired by the turtle (龜; guei) and the leopard (豹; bao) in the names of the two areas, forming a seemingly realistic but actually fictional route. In terms of space, T.L.T traverses the sites of post-war White Terror in Taiwan’s rural mountains as well as the defense lines of frontier guards during the period of Japanese rule, reminding the audience of the traumatic history involving the Han and indigenous peoples.
T.L.T mixes trail observation, dialogue creation, book reading and video-filming. Ten participants are selected through an open call to conduct a long-distance “hybridizing action.” During the journey, book readings are organized, covering topics related to the Sanchiaopu Rebellion and the Atayal Dabaoshe Incident; and the exploration of these topics is also extended to the literary or cultural discussion about the Malayan Communist Party and the Hồ Chí Minh trail. In these discussions, all participants carry out their independent research, interpretation and creation about the history and space, and all the created works and materials will be incorporated into this project.
Turtle ←→ Leopard Trail (T.L.T)
The 1st Section: Gueilun Route
This route takes participants to the site of the lesser known Sanchiaopu Rebellion, which covers low-elevation mountains in Shulin District in today’s New Taipei City. The program involves a hiking trip through various historical and cultural locations, and is accompanied by a culture and history researcher specializing in the history of White Terror in Shulin.
The 2nd Section: Dabao Route
This route revisits the defense lines of frontier guards involved in Sanxia’s Atayal Dabaoshe Incident from 1903 to 1907, which has been the artist’s research topic in recent years. The hiking trip takes the participants to several historic sites of the defense lines in Sanxia during the period of Japanese rule before eventually crossing the mountains between New Taipei City and Taoyuan and arriving at Fuxing District’s Xiayun Neighborhood, where the remaining Dabaoshe descendants have settled down according to literature.
《龜轉豹小徑》Turtle-Leopard Trail (T.L.T), 2020
「合力組裝米克斯」(Assembly of Communities: MIX)
臺北當代藝術館 MOCA Taipei
複合媒材裝置、紀錄文件、踏查工作坊 Mixed media installation, documentation, workshop
尺寸因空間而異 Dimensions Variable
本計畫基於長期的台灣淺山森林史的研究,所提出的新行動構想,跨越不同區域、不同層次的空間與歷史層,進行的一場長途行走的創作行動。「龜轉豹小徑」的命名,取自於樹林龜崙嶺的「匪樹林三角埔隱蔽基地叛亂案」,到三峽「大豹社事件」山區,橫跨了兩個殖民政權的事件地。從兩者之間各取一字,創造一條既現實又虛構的路線。空間上,「龜轉豹小徑」穿越了戰後台灣郊山白恐場域,以及日殖時期的山林隘勇線,連動著漢裔與原住民的創傷史。
本計畫預計混合路上觀察、台詞創作、閱讀會以及錄像拍攝等方式,公開徵選十位參與者,一起進行這場長途的「混血行動」。期間並組織讀書會,涵蓋範圍有「匪樹林三角埔隱蔽基地叛亂案」、「泰雅族大豹社事件」相關案件探討,並延伸出對於馬共、胡志明小徑等的文學或文化探討。期間,與對話每一位參與者都是歷史與空間的自主研究、自由詮釋、自行創造的主體,期間相關的創作,將整合入本計畫中。
第一段路:龜崙線
此路線為較少為人知悉的「匪樹林三角埔隱蔽基地叛亂案」,發生於1950年代的新北市樹林的淺山地帶。此次活動,預計以行走的方式,搭配研究樹林白色恐怖的文史老師,一同穿越今昔的諸多場景。
第二段路:大豹線
此路線為 1903~1907年三峽泰雅族大豹社事件隘勇線。亦為藝術家近幾年的研究主題。預計將走踏三峽幾條日殖時期隘勇線遺址,最後將翻過新北市、桃園界山,拜訪復興區霞雲里,一批文獻記載「滅社」以後的大豹社遺族。
T.L.T reveals a new action plan, comprising of a long-distance hike and creative action, based on the long-term study of Taiwan’s low-elevation forest history, which includes different areas and levels of spatial and historical layers. The naming of T.L.T links Shulin’s Gueilun Mountain, where the Sanchiaopu Rebellion took place, to Sanxia’s mountains, the site of the Dabaoshe Incident, connecting two incidents taking place separately during two colonial regimes. The title of T.L.T is inspired by the turtle (龜; guei) and the leopard (豹; bao) in the names of the two areas, forming a seemingly realistic but actually fictional route. In terms of space, T.L.T traverses the sites of post-war White Terror in Taiwan’s rural mountains as well as the defense lines of frontier guards during the period of Japanese rule, reminding the audience of the traumatic history involving the Han and indigenous peoples.
T.L.T mixes trail observation, dialogue creation, book reading and video-filming. Ten participants are selected through an open call to conduct a long-distance “hybridizing action.” During the journey, book readings are organized, covering topics related to the Sanchiaopu Rebellion and the Atayal Dabaoshe Incident; and the exploration of these topics is also extended to the literary or cultural discussion about the Malayan Communist Party and the Hồ Chí Minh trail. In these discussions, all participants carry out their independent research, interpretation and creation about the history and space, and all the created works and materials will be incorporated into this project.
Turtle ←→ Leopard Trail (T.L.T)
The 1st Section: Gueilun Route
This route takes participants to the site of the lesser known Sanchiaopu Rebellion, which covers low-elevation mountains in Shulin District in today’s New Taipei City. The program involves a hiking trip through various historical and cultural locations, and is accompanied by a culture and history researcher specializing in the history of White Terror in Shulin.
The 2nd Section: Dabao Route
This route revisits the defense lines of frontier guards involved in Sanxia’s Atayal Dabaoshe Incident from 1903 to 1907, which has been the artist’s research topic in recent years. The hiking trip takes the participants to several historic sites of the defense lines in Sanxia during the period of Japanese rule before eventually crossing the mountains between New Taipei City and Taoyuan and arriving at Fuxing District’s Xiayun Neighborhood, where the remaining Dabaoshe descendants have settled down according to literature.
高俊宏 Kao JunHonn
《回製》
(原2001年「山喬菌宏如何重複我的藝術」)
Re-visit/make (“How Shan-Qiao-Jun-Honn Repeated My Art” Project), 2020
【Re-play】
空總文化實驗場 Taiwan Contemporary Culture Lab (C-LAB)
錄影、複合媒材裝置、紀錄文件 Video, Mixed media installation, documentation, workshop
尺寸因空間而異 Dimensions Variable
高俊宏九〇年代末到兩千年初期的行為藝術作品是臺灣行為藝術史上值得重視的一個系列,這個系列不同於前此的行為藝術作品,多以身體來對抗國家體制,從「息壤」、李銘盛到姚瑞中多是如此。此時的高俊宏將問題意識轉向自身的存在狀態與外在環境之間的關聯,將自身的存在狀態問題化,此時的行為藝術系列可被視為對於九〇年代個體存在狀態的提問,這樣的提問從個體層面上提出了「時代」(也就是九〇年代)生存情境的問題。透過重返這個系列,我們希望開啟2020年當下與1990年代兩個時代間的生存狀態的對話,並思考這個時代的live art與個體存在狀態之間的關係。
藝術家透過2002年的重製計畫,再訪自己過往《無名氏書寫:廢墟》(1997)、《跳》(1998)、《再會,從此離去》(或《前進地心》計畫,1998)與《泡沫的消失》(1999-2000)這幾件行為藝術作品,藉此探問重複之於行為藝術的意義。
The series of performances KAO did during the late 1990s to early 2000s is seen as one of the most important works in Taiwanese performance art history. Unlike previous performances addressing the fight against the state institutions with the use of the artists' own body, such as the works in the exhibition Living Clay, and LEE Ming-Sheng’s and YAO Jui-Chung’s art pieces, KAO turns his inquiries towards the relations between his very own existence and the external environment, rendering the state of his own existence a question to be investigated. The performance series can thus be seen as an attempt to ask how an individual existed in the 1990s, taking the viewpoint at the micro level of an individual to address a bigger question of living situations in an “era” (that is, the 1990s). By revisiting and remaking the series, we hope to initiate dialogues between two different times—the present 2020 and the 1990s, and urge the audience to contemplate the dynamics between live art of our time and the state of existence of an individual.
Through the remake project in 2002, KAO revisits his previous performances, including “Anonymous Writing” (1997), “Jump” (1998), “Farewell! Departing by Now” (1998), and “Bubble” (1999–2000) and examines what repetition could imply in performance art.



