《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
《家計畫》The Home Project, 2005
台北市立美術館 / 台新藝術基金會展出
『家計畫 ------- 一個太遠的緬懷』，是一個有關於藝術 / 人 / 空間的實驗性對話，第一階段於2005-06年在台灣地區實行。這段期間，透過開放式的公開報名方式，我以藝術家身分，直接介入三組一般的家庭，透過訪談及對話，邀請其共同想像、建造一個具有「家」的屬性的空間，期望在「家史的整理」、「勞動」、「旅行」、「協力造屋」......等過程中，拓展藝術在社會對話上的廣度。
第一階段 公開徵選：
透過網路、報紙、DM等方式公開徵選，徵求全台灣各地區共3組有意參加的家庭。
第二階段 旅行及勞動階段：
1、與3組家庭進行影像拍攝、家庭之口述歷史或生活資料採訪。
2、提供各自對「家的概念」的空間想像，此空間將在家庭成員 / 藝術家合作過程中共同被討論，同時，透過旅行，利用簡單的材料，在戶外開放空間將「家的模型」重新建立。(三組地點分別為台北市頂樓空地、宜蘭縣蘭陽溪河床、台東縣長濱鄉海濱等)。
某方面來說這不是真正的蓋房子，因為參與者生活上並沒有真正需要再蓋一個空間的必要，因此，它比較接近某種藝術的遊戲過程，本計畫之重點在於，重新審視藝術的社會性角色，並透過藝術活動的方式，建立陌生家庭的人與人之間，彼此溝通、合作、發現的創作計畫。我試圖讓藝術活動與社會群眾直接發生關係，甚至某種程度邀其扮演主角，拉長時間的長度使其由一個「藝術事件」繼而延長為某種「藝術回憶」的可能性。
我在質疑文化和社會變遷中的藝術家角色，我害怕如果我們不討論藝術創作中更寬廣的議題，那麼我們將一無所有。─ ─ 桑尼爾 (Keith Sonnier)
過去，我的身體策略是疏離的，旨在進行對社會的批判及嘲諷，試圖揭發藝術的純粹性在社會中的不合時宜感，現在，桑尼爾這句話令我動容，他提到藝術終究是存在於社會這個事實，面對社會已經形成當代藝術的重要課題，這同時也是2004年我整理出版了自己十年來的創作紀錄後，藝術思考轉變的主要方向，這種思考的轉變，不僅僅涉及創作形式的轉變，也不是藝術語言如何演化的問題，而是再次回歸到藝術的社會性的問題，透過這個角度，審視藝術之於我們生命中的意義。
工業時代的藝術家躲避人群，如同波特萊爾（Charles Baudelaire）曾經提到的：「那個不知道如何填滿他的孤獨的人也不知道如何在忙亂的人群中作一個孤獨者。」而如今，當代藝術除了在隱喻的層面持續嘲諷人的生存處境外，或者在美學上建立一種「逃避的姿態」之外，似乎需要更大的勇氣進行自我改變，特別是以創作者為原點啟動的向外開放的思維，這有別於一般的公共藝術，僅僅透過藝術品作為民眾與藝術之間的中介。創作者透過自我改造，了解到創作行為可能扮演人與人之間「路由器」（Router）的關鍵角色，從面對社會的積極態度，人的社群結構中，找到未來創作者在當代社會中的位置。
DWELL計畫，歷時近半年的創作，參與的家庭共計有板橋的林家(4人)、台北的方家(4人) 、新竹的湖畔團體(以李孟津為代表) ，異地重建地點包括台北市東區公寓頂樓、宜蘭縣大同鄉蘭陽溪河谷、台東縣長濱鄉海邊(加走灣) ，期間並包含了數次家庭訪問及重建空間的規劃溝通，這期間，我某種程度領略了藝術作為橋樑的意義。期間，參與者頗重視家庭訪談的部分，對於空間重建則比較缺乏想像，我想或許與都會家庭缺乏建構自己的空間的經驗有關，然而致力於對家的抽象想像，基本上仍一定程度地維繫了我們之間的對話，雖然有時我不免高估了藝術在這之間的作用，一如參與者通常相對低估了它……我會繼續這個計畫，同時考慮赴其他國家進行徵求及實作，而我和參與者大致成了朋友，這或許是這次創作的意外收穫。
The Home Project, phase one of which was conducted in the Taipei Area in 2005-2006, is an experimental dialog involving art, people and space. After a publicly open selection process, I became directly involved in my capacity as an artist with three ordinary families. Through dialog and interviews I invited the members of these families to jointly imagine and create a space embodying the characteristics of“home,”hoping to broaden the scope of the arts in social dialog during a process of “family history compilation,”“shared labor,”“travel”and“cooperative homebuilding.”
This project comprised a three-stage process:
Phase 1: Open Selection
This involved the quest for three families interested in participating from various areas of Taiwan through the Internet, newspapers and advertisements.
Phase 2: Travel and Homebuilding
1.Video footage of the three families was shot focusing on oral histories of the families or day-to-day life scenes.
2.Family members individually offered their own “family conception”of what they imagine a [home] space to be. This space was discussed as part of the process of cooperation among the family members and the artist, with the construction of an outdoor model of their conceptual“model home”involving travel and the use of simple construction materials (the three families’“model homes”were constructed on a Taipei rooftop, in the Lanyang River valley of Ilan County and on a beach near Haibin township in Taitung County).
Phase 3: Public Exhibition
Giving the results of the project's conceptualization and its execution in Taiwan wider exposure through public exhibition at a public arts venue to heighten the possibility of a broader social dialog.
I question the role of the artist amidst social and cultural change, fearing that if we do not explore a broader range of topics for artistic creation then we have absolutely nothing.
Keith Sonnier
