《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
《地景改造計畫-如何獻給你一根草?》
Landscape Design:How to present a grass to you?, 2010
近身潛獵
台南 ,大琦村
高俊宏同樣透過「身份」的挪用,在《地景改造計畫/如何獻給你一根草?》成為未來(2014年)大崎村村長選舉的「候選人」。選舉這種非日常但具週期性的生活經驗,會在某一段特定時空中搭建一種臨時性的公共空間,進行宣傳、造勢、政見發表等活動,也凝聚出一個區域/地方的關注。高俊宏以一個存在於未來的提案,提供觀者反思藝術家與藝術介入地方的問題:如果村長是一為藝術家,他所呈現的選舉活動形式與公共空間的意義生產會是如何?或只是「獻出一株草」來對地方提供一種非生產性的生產、打開非凝聚性之凝聚──一種無邊界也無時效性的公共空間?透過藝術行動的方式,高俊宏高度呈現對藝術介入與地方倫理之間緊張關係的反思。
In the concept of “「Landscape Design:How to present a grass to you?(White paper manifesto of village head election in Da Ci 2014 )」, I reflected on the question concerning the way of how contemporary art blends into the space. For art, the path leading to the community contains “possibility” and “construction”. They both involve in essence some ethical questions and play a balancing role between the overuse of the arts and the negligence of the local reality, or vice versa. Art activities and art workers have problems of positions and the location where art happens begins to get named. It is no longer just the ethics of art in a white space in the gallery, art museum or art center.
I went into a valley in Daci trying to plant one more blade of grasses, just like many other grasses that have already existed. I wonder what else I can do. Art can do nothing to a seemly developed place yet never stops reconstructing unless art can provide the space a naming rule that can exclude the space itself. This rule cannot coexist with the reality, the utilitarian aesthetics. The relation of art and space should be looked at from the angle of uselessness
For me, naming a space is very important. Art activity is not a reverse packaging but is to name some absent objects in the space through manifesto. The naming process excludes all traditional naming rules of regionalism; instead, it presents the space with a nonrealistic attitude: “If one space has one more grasses, in fact there is no any effect but the concept is never going to be the same.” Under this circumstance, if art has its own name, it will reveal a superficial question: there is no way for creation activity to detach from the environment. It also reveals an ultimate question and that is how an artist evaluates the active and passive roles between “self” and “external matters”.