https://liuchitung.cargo.site 劉紀彤Liu Chi-Tung Mon, 15 Sep 2025 16:09:44 +0000 https://liuchitung.cargo.site en https://liuchitung.cargo.site/37831927 Mon, 15 Sep 2025 16:09:44 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/37831927 <img width="4016" height="6016" width_o="4016" height_o="6016" data-src="https://freight.cargo.site/t/original/i/3b55ef69390f744c4089a4b5e35a45eea535f03c8ef7c7812fd5b5faf2e1da5f/DSC_4176f.jpg" data-mid="238243230" border="0" data-scale="35" src="https://freight.cargo.site/w/1000/i/3b55ef69390f744c4089a4b5e35a45eea535f03c8ef7c7812fd5b5faf2e1da5f/DSC_4176f.jpg" />&nbsp; &nbsp;&nbsp; <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/b42f56b1ee7f1497984a68d07fd89250ad5faf44b180c9e39e09a7d1307fa611/DSC_4166f.jpg" data-mid="238243229" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/b42f56b1ee7f1497984a68d07fd89250ad5faf44b180c9e39e09a7d1307fa611/DSC_4166f.jpg" /> 鱸鰻查某說： Lady Riot Said, <img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/4d24fbecc85718cf93bf8258b24230561e5e9a6d510aa045008e41739ccbc183/DSC_4024.JPG" data-mid="238243158" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/4d24fbecc85718cf93bf8258b24230561e5e9a6d510aa045008e41739ccbc183/DSC_4024.JPG" /> 2025 檔案、錄像、長椅、聲音、歌曲、文本Archive, Video, Bench, Sound, Song, Text 起初，我以為葉陶（1905-1970）只是楊逵的太太、獨自撐起家計的賣花婆。事實上，年輕被稱作「鱸鰻查某」的她，是跨越日本殖民和戰後戒嚴的革命份子；是農民組合中善於演講的幹部；更是在二二八死牢裡歌唱民謠的鬥士。然而，除了幾張相片、一篇文章與一首短詩，葉陶在男性主導的社會結構中，變形為一位面貌模糊、悄然無聲的女性。 此次創作我以檔案為材料拼組主體，並透過兩個文本的重新書寫與演繹，試圖將其陰性身體顯影。影像作品以葉陶短文《愛的結晶》（1935）中兩位女性的對話為發想，另加入一新角色（靈感來自八零年代曾拜訪東海花園的作家），試圖鬆動原作裡的家庭框架，展開不同生命選擇間的自我對話。二樓歌曲反省《賣花阿婆》（1993）的詮釋視角，重寫她被遺忘的能動性與現實處境。觀展過程從看不清葉陶的模樣開始，逐步顯現她於個人、家庭與社會之間的種種樣貌，終能感受到女性的掙扎與自我實踐之複雜。 At first, I thought Yeh Tao (1905-1970) was only the wife of Yang Kui, the “Flower Seller Granny” who alone supported the household. In fact, Yeh Tao, nicknamed “Lady Riot,” is a revolutionary against Japanese Colonization and KMT Martial Law, an eloquent leader of Union of Taiwanese Peasant (UTP),&nbsp; a fighter singing folklore in 228 Massacre prison. However, what’s left about her are only several photos, a short story, and a poem. In a male-dominant society, Yeh Tao is transformed into a dimmed and silenced woman. In this work, I re-construct Yeh Tao’s subjectivity with historical archives, and re-write and re-interpret her female body with the following two texts. Based on the dialogue between two women in Yeh Tao’s essay “Crystallization of Love” (1935), and inspired from a writer visiting Tunghai Garden in the 70s, I introduce in a third character to loosen the original family framework, unfolding conversation among diverse choices of life paths. On the second floor, I re-read the song “Flower Seller Granny” (1993) in a critical perspective, and accordingly re-write her long-forgotten agency and real life agony. The exhibition shows the emergence from her blurred figure to her brightened female faces, revealing the complexity of her self-realization and social practice among individual, family and society.&nbsp; <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c577f65a31b6562c30588bbecc1eb1c74b2d8d757255e882915bf98ff9189794/20250307144048-mini-Srgbfff-.jpg" data-mid="238244782" border="0" data-scale="63" src="https://freight.cargo.site/w/1000/i/c577f65a31b6562c30588bbecc1eb1c74b2d8d757255e882915bf98ff9189794/20250307144048-mini-Srgbfff-.jpg" />&nbsp; &nbsp;<img width="2008" height="3008" width_o="2008" height_o="3008" data-src="https://freight.cargo.site/t/original/i/97f2bd00f766d0a9b19436d0bd182be6fee14e13efa77b61233dedaace21ae36/DSC_4079.JPG" data-mid="238244784" border="0" data-scale="28" src="https://freight.cargo.site/w/1000/i/97f2bd00f766d0a9b19436d0bd182be6fee14e13efa77b61233dedaace21ae36/DSC_4079.JPG" /><img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/3e9153a6b635d466f8d2fa992df9f1b0a36da268366b4c9bd87572f3d700ed56/DSC_4241f.jpg" data-mid="238243232" border="0" src="https://freight.cargo.site/w/1000/i/3e9153a6b635d466f8d2fa992df9f1b0a36da268366b4c9bd87572f3d700ed56/DSC_4241f.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/265dd09e0cb7b0e625a34fa1ca280d631144ce622fa2d4ad81c31abd8eec6bf9/DSC_3989.JPG" data-mid="238243157" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/265dd09e0cb7b0e625a34fa1ca280d631144ce622fa2d4ad81c31abd8eec6bf9/DSC_3989.JPG" /> <img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/88ea495261f7efcbb5967e058f26e09f68b03f5e62bc16c49eff66caca5abb48/DSC_3987.JPG" data-mid="238243156" border="0" src="https://freight.cargo.site/w/1000/i/88ea495261f7efcbb5967e058f26e09f68b03f5e62bc16c49eff66caca5abb48/DSC_3987.JPG" /> <img width="1672" height="2508" width_o="1672" height_o="2508" data-src="https://freight.cargo.site/t/original/i/98209ccf4ee2b283cfea374b355796a4dc705704c60834b0e286db5204b234b4/LINE_ALBUM_202486_240807_17.jpg" data-mid="238244202" border="0" src="https://freight.cargo.site/w/1000/i/98209ccf4ee2b283cfea374b355796a4dc705704c60834b0e286db5204b234b4/LINE_ALBUM_202486_240807_17.jpg" /> 影像作品改編自短文《愛的結晶》（葉陶，1935） 導演／編劇：劉紀彤副導／拍攝／剪輯：廖奕棻製作助理：李嘉修演員：李珮瑜、陳為榛、廖烜榛 歌曲作品改編自歌曲《賣花阿婆》(李坤城作詞、蕭福德作曲，1993) 歌詞改編：劉紀彤、李昭寬演唱：吳素月特別感謝：蔡宛璇、李嘉修 歷史照片授權：楊曜聰本創作計畫由財團法人國家文化藝術基金會贊助 Film Work adapted from the short story The Crystallization of Love (Yeh Tao, 1935)Director/Screenwriter: Liu Chi-TungAssistant Director / Cinematography / Editing: Liao Yi-FenProduction Assistant: Lee Chia-HsiuCast: Lee Pei-Yu, Chen Wei-Chen, Liao Xuan-ZhenMusic Work adapted from the song Flower Seller Granny (Lyrics by Lee Kun-Cheng, Music by Hsiao Fu-De, 1993)Author of the Adapted Lyrics: Liu Chi-Tung, Lee Chao-KuanSinger: Wu Su-YuehSpecial Thanks: Tsai Wan-Shuen, Lee Chia-Hsiu Historical Photo Authorization: Yang Yao-TsungThis project is supported by the National Culture and Arts Foundation <img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/715b0370bad7145226175d87b4bd36893988b73b18a8b0164e294f1036f4010a/DSC_3979.JPG" data-mid="238243155" border="0" src="https://freight.cargo.site/w/1000/i/715b0370bad7145226175d87b4bd36893988b73b18a8b0164e294f1036f4010a/DSC_3979.JPG" /> https://liuchitung.cargo.site/37831800 Mon, 15 Sep 2025 15:12:01 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/37831800 水 池 The Pond <img width="4018" height="2679" width_o="4018" height_o="2679" data-src="https://freight.cargo.site/t/original/i/37a1d15f826b39d0806fa217757da6c608aac776aad78d24af98dd821e9c5cf9/DSC05870.JPG" data-mid="238241793" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/37a1d15f826b39d0806fa217757da6c608aac776aad78d24af98dd821e9c5cf9/DSC05870.JPG" /> <img width="6016" height="4016" width_o="6016" height_o="4016" data-src="https://freight.cargo.site/t/original/i/653f977fed2b93aee2bc6cd86babd8638df1ed9e436209cfdc430e325d93b4c6/DSC_0527f.jpg" data-mid="238241753" border="0" src="https://freight.cargo.site/w/1000/i/653f977fed2b93aee2bc6cd86babd8638df1ed9e436209cfdc430e325d93b4c6/DSC_0527f.jpg" /><img width="4608" height="3072" width_o="4608" height_o="3072" data-src="https://freight.cargo.site/t/original/i/c084eedb931d7133e9bb7ee61f656efe84d0d5551fd6f32b59bf1692b6bc84eb/DSC00216.JPG" data-mid="238241713" border="0" src="https://freight.cargo.site/w/1000/i/c084eedb931d7133e9bb7ee61f656efe84d0d5551fd6f32b59bf1692b6bc84eb/DSC00216.JPG" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="3053" height="4579" width_o="3053" height_o="4579" data-src="https://freight.cargo.site/t/original/i/58a462237e49a5e03a073905a3a1a826aeefe059864e1a6ae1a24e6fcdccc8e7/DSC05884.JPG" data-mid="238241716" border="0" data-scale="52" src="https://freight.cargo.site/w/1000/i/58a462237e49a5e03a073905a3a1a826aeefe059864e1a6ae1a24e6fcdccc8e7/DSC05884.JPG" /> <img width="2547" height="1700" width_o="2547" height_o="1700" data-src="https://freight.cargo.site/t/original/i/44e4e82da1f29947af769cf23168bbf4d07d1a167606353833316025449e7a6e/DSC_0553f.jpg" data-mid="238241774" border="0" src="https://freight.cargo.site/w/1000/i/44e4e82da1f29947af769cf23168bbf4d07d1a167606353833316025449e7a6e/DSC_0553f.jpg" /> <img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/7c64620880478e243b57fa536513f943cd8c50eafbced04cd1913fdd98ed2523/DSC_0554.JPG" data-mid="238241775" border="0" src="https://freight.cargo.site/w/1000/i/7c64620880478e243b57fa536513f943cd8c50eafbced04cd1913fdd98ed2523/DSC_0554.JPG" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/ea8e7b7f2e56e5f152b2e88f07f6bd312423610fc8a6e6972338bc756f5f9771/DSC_0558.JPG" data-mid="238241776" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/ea8e7b7f2e56e5f152b2e88f07f6bd312423610fc8a6e6972338bc756f5f9771/DSC_0558.JPG" /><img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/940030127000430ae79ce0e9241bbbd433097c34e43244ea53dc98e0edfca9eb/DSC_0585.JPG" data-mid="238241777" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/940030127000430ae79ce0e9241bbbd433097c34e43244ea53dc98e0edfca9eb/DSC_0585.JPG" /><img width="4608" height="3072" width_o="4608" height_o="3072" data-src="https://freight.cargo.site/t/original/i/35fe0b83c1b0644da457d4d0de8bcdc7991bcf9c94af7d2851bc579cebb4307e/DSC05932.JPG" data-mid="238241717" border="0" src="https://freight.cargo.site/w/1000/i/35fe0b83c1b0644da457d4d0de8bcdc7991bcf9c94af7d2851bc579cebb4307e/DSC05932.JPG" />2024&nbsp; 影像、木作、檔案 Video, Woodwork, Archive 1977年政府頒布《十二項建設》最後一項為「建立每一縣市文化中心」。這樣的背景下除了展演的發生，有一代人的日常與文化中心緊密相連，練太極的長輩、跳舞的青年、約會的情侶，和倚著欄杆、望著水池中的鴨子，笑得好開心的孩子。 位於入口的水池，其實是被中華東路穿越，與巴克禮公園相望，一分為二的夢湖。也是多而為一的竹溪——虎頭山水源、夢湖地下水，流入崇明路的地下箱涵，和大量民生污水匯集；繼續往北、往西、再往南前進，一路上更多的污水和支流匯入，在城市中蜿蜒流動。 作品試圖從展場中打開一道，招喚觀眾穿越表層的入口。從縫隙間探問，來到文化中心，難以忽視的水池僅僅是景觀的設計，又或者是地形生產出的窪地？除了成為活動的容器，空間自身為何？牆壁的後面、地面之下是什麼？在看似平凡無奇的展牆上，濺起水面漣漪。 In 1977, the government announced the “Twelve Major Construction Projects,” with the final item being the establishment of a cultural center in every county and city. Against this backdrop, cultural centers became intertwined with the everyday lives of a generation: elders practicing tai chi, young people dancing, couples on dates, and children leaning against the railings, laughing as they gazed at the ducks in the pond. The pond at the entrance is in fact the divided Meng Lake, cut through by Zhonghua East Road and facing Barclay Park across the way. It is also part of the many-in-one Zhu Creek—fed by springs from Hutoushan and groundwater from Meng Lake, funneled into culverts beneath Chongming Road, mixing with large amounts of domestic wastewater. Flowing north, west, and then south, it gathers more sewage and tributaries, winding through the city. This work attempts to open a passage within the exhibition space, calling on viewers to cross through its surface. From these fissures, questions arise: at the cultural center, is the conspicuous pond merely a landscaped feature, or a basin shaped by the terrain? Beyond being a vessel for events, what does the space itself signify? What lies behind the walls, beneath the ground? On the seemingly ordinary exhibition walls, ripples stir as though across the surface of water. 展場攝影 李昀容 劉紀彤 https://liuchitung.cargo.site/36192903 Thu, 23 May 2024 10:14:00 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/36192903 鱸鰻查某 Lady Riot <img width="2752" height="1696" width_o="2752" height_o="1696" data-src="https://freight.cargo.site/t/original/i/d741a38285f19fd1c7377152b7fe23b7718e94f533d1ff3cbabd8020dde989ed/-2024-05-23-6.28.23.png" data-mid="211505516" border="0" src="https://freight.cargo.site/w/1000/i/d741a38285f19fd1c7377152b7fe23b7718e94f533d1ff3cbabd8020dde989ed/-2024-05-23-6.28.23.png" /> 2024　文件、歌曲&nbsp;Documents and Songs 認識葉陶（1905-1970），是在多年前閱讀白色恐佈資料的時候。起初，我以為她只是楊逵的太太、政治犯的家屬，後來才發現，自己的認識有多麼侷限。葉陶，是跨越日本殖民和戒嚴時代的革命份子；是農民組合中善於演講的女性幹部；是結婚當天被日本警察抓去關押的新娘；是被關在二二八死牢裡歌唱民謠的鬥士。 當我聽著〈賣花阿婆〉這首收錄於《楊逵：鵝媽媽出嫁》專輯裡的歌曲時，我意識到她的生命如此豐富，卻依然在男性主導的社會環境、歷史檔案中，變形為一位面貌模糊、悄然無聲的女性形象。因此，我試圖描繪葉陶奮鬥基進的一面、補足她生命不同階段的面貌；融合我所熟悉的臺灣女性身影，重構文本、改寫歌詞、翻唱歌曲。透過連結展場內與外的樓梯間，想像一個於社會和家庭之間奔波的陰性身體。 I came across Yeh Tao (1905-1970) when searching for and studying on Taiwan White Terror archive. At first, I regarded her merely as Yang Kui’s wife and a political prisoner’s relative. Later, I found myself limited within a narrow view. Actually, Yeh Tao is a revolutionary under the Japanese Colonial Regime and Postwar KMT Martial Law. She is one of the leaders of Union of Taiwanese Peasant (UTP) and good at public speech. She was arrested by Japanese police at the morning of her wedding, and thus a bride behind bars. She is a fighter singing folklore in death prison of 228 Accident. However, when listening to “Flower Seller Granny,” a song compiled in the musical album Yang Kui: Mother Goose Gets Married, I realized that, despite her lavish life, Yeh Tao is still narrowed down and transformed into a shadowy and silent woman under the patriarchal society and male-dominant ar- chiving. Thus, I attempt to portray the radical face and rich façade of Yeh Tao in her life. With Taiwanese female figure, I’m familiar with, my work recomposes the text, rewrites the lyrics, and re-sings the song. By connecting the outer and the inner corridor of the exhibition space, this work imagines a female body rushing to-and-fro between domestic domain and social space. <img width="2916" height="1678" width_o="2916" height_o="1678" data-src="https://freight.cargo.site/t/original/i/b8c8e77cf4bf0980a2b467c323eaea4838b5d69e4570749fac0e34a5045840d4/-2024-05-23-6.30.24.png" data-mid="211505520" border="0" src="https://freight.cargo.site/w/1000/i/b8c8e77cf4bf0980a2b467c323eaea4838b5d69e4570749fac0e34a5045840d4/-2024-05-23-6.30.24.png" /> <img width="3002" height="1688" width_o="3002" height_o="1688" data-src="https://freight.cargo.site/t/original/i/0e90c65b5636fb3a999b99bbc90aed27d6a6634a8ee61784e09b04947602ef14/-2024-05-23-6.30.00.png" data-mid="211505519" border="0" src="https://freight.cargo.site/w/1000/i/0e90c65b5636fb3a999b99bbc90aed27d6a6634a8ee61784e09b04947602ef14/-2024-05-23-6.30.00.png" /> <img width="2808" height="1724" width_o="2808" height_o="1724" data-src="https://freight.cargo.site/t/original/i/069389ef687e9943cb77c81b59a83714a91c0710c631aa612ca47a5c9b1198af/-2024-05-23-6.29.07.png" data-mid="211505517" border="0" src="https://freight.cargo.site/w/1000/i/069389ef687e9943cb77c81b59a83714a91c0710c631aa612ca47a5c9b1198af/-2024-05-23-6.29.07.png" /> <img width="5504" height="8256" width_o="5504" height_o="8256" data-src="https://freight.cargo.site/t/original/i/d171248abd9b21349c185204f39dab624c1e60eaa9079c70bb3129cd806210f4/LYQ240413----_DSC9039.jpg" data-mid="211504819" border="0" data-scale="54" src="https://freight.cargo.site/w/1000/i/d171248abd9b21349c185204f39dab624c1e60eaa9079c70bb3129cd806210f4/LYQ240413----_DSC9039.jpg" /> 歌詞改編：李昭寬、劉紀彤 演唱：吳素月 特別感謝：蔡宛璇、李嘉修 照片提供：林育全、劉紀彤 Author of the adapted lyrics: Li Chao-kuan, Liu, Chi-tungSinger: Wu Su-yuehSpecial Thanks: Tsai Wan-shuen, Li Chia-hsiu Photo: Lin, yu-Quan, Liu, Chi-tung <img width="2870" height="1690" width_o="2870" height_o="1690" data-src="https://freight.cargo.site/t/original/i/027f4d577d5cfaa204b8d75bb54812456a0a139de3834b183a9abd96fc01f36e/-2024-05-23-6.29.39.png" data-mid="211505518" border="0" src="https://freight.cargo.site/w/1000/i/027f4d577d5cfaa204b8d75bb54812456a0a139de3834b183a9abd96fc01f36e/-2024-05-23-6.29.39.png" /> https://liuchitung.cargo.site/Works-Sceneries-posted-by-those-who-came-late Sun, 09 Apr 2023 18:54:07 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/Works-Sceneries-posted-by-those-who-came-late 那座到不了的島 That Unreachable Island 背上有字的石頭 A Rock with Lettering on Its Back 大浪襲來的五分鐘 Five Minutes when the Big Waves Stroke 再蓋一棟新民宿 Building Another New Guesthouse 照片裡看不見的虱目魚苗 Unseen Milkfish Fry in the Photo https://liuchitung.cargo.site/Introduction-Sceneries-posted-by-those-who-came-late Sun, 09 Apr 2023 18:51:14 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/Introduction-Sceneries-posted-by-those-who-came-late 《後來的人寄出的風景》 Sceneries posted by those who came later <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/e4663902888bfd9e07342cc231423db05794d5ebb1acfe256ac32d1ef887d377/454A7286.JPG" data-mid="211503531" border="0" src="https://freight.cargo.site/w/1000/i/e4663902888bfd9e07342cc231423db05794d5ebb1acfe256ac32d1ef887d377/454A7286.JPG" /> 2023 明信片、文本、網路平台、裝置 Postcard, text, online platform, installation 展出地點｜C01 綠洲山莊 八卦樓＋園區外展場 富岡漁港登船步道 Exhibition location｜Oasis Villa - Bagua Building + Exhibition Site ouside the Memorial Park - Fugang Fishery Harbour Path way 我們是後來才抵達這裡的人，曾經有人也站立在這片汪洋中的此處。看向的風景乍看是同一，卻是不同的，疊合的倒是「看」的動作。想「看」的動能從何而來？如何尋找才得以靠近按下快門的身體？對位的過程，可能是一個生命體在諾大環境中，自我認同重新組合的開始。 被對位的是陳孟和前輩服刑時拍攝的照片，他過世之後，後來的人帶著數位相機、手機抵達綠島，腦中記得他說：「想要重拍一次拍過的照片」。大海的明與暗、浪的狂與靜，那是來自本島的前輩在綠島的生活片刻，也是後來的人社會政治中的一片空白。 此計畫將影像大量複製、印製成明信片，供顯影之後到此的觀眾從綠島寄風景明信片回本島。可能是旅遊的分享、訊息的傳遞，也有可能是跨越時空的、前輩曾無法寄回的家書。期待風景的移動，擴展出複雜、多樣的對位與對話。 We are those that came here later. There used to be people standing here amidst this vast ocean. The sceneries might appear to be the same but not quite. The only thing that is the same is the action of "seeing." What is the motivation behind the desire to “see"? How should one seek in order to approach the body of that somoone who once pressed the shutter? This process of matching might be the beginning of someone piecing together again his or her self-identity in the boundless environment. The subject of this matching process is the photographs taken by CHEN Meng-He when he was imprisoned on Green Island. After his passing (2017), those who came later to the island with digital cameras and smartphones remembered what Chen used to say, "I hope to re-shoot the photos I once took." The brightness and darkness of the sea and the wildness and stillness of its waves constituted moments in Chen's life - someone who used to live in mainland Taiwan - on Green Island. These moments, however, were only social and political blankness to those who came later. This project reproduces the photographs as postcards in a large quantity, and offers the audience who come to the island after the images were made so that they can mail the scenery postcards from Green Island back to mainland Taiwan. Their postcards could be sharing of their trips, delivering messages, or time-transcending family letters that Chen was unable to mail back home. It is hoped that the movement of the sceneries could expand into complicated, diverse matching and dialogues. <img width="4512" height="3008" width_o="4512" height_o="3008" data-src="https://freight.cargo.site/t/original/i/4eacb89282dba3bed5180cafa546fefa26890d66e1193836a2ca0c84a55dc543/DSC_8176.JPG" data-mid="211503171" border="0" src="https://freight.cargo.site/w/1000/i/4eacb89282dba3bed5180cafa546fefa26890d66e1193836a2ca0c84a55dc543/DSC_8176.JPG" /> <img width="4512" height="3008" width_o="4512" height_o="3008" data-src="https://freight.cargo.site/t/original/i/03135e132b1a78b32f5017a63dccb386d98f58d73148948999c2a2b994c9198e/DSC_8204.JPG" data-mid="211503172" border="0" src="https://freight.cargo.site/w/1000/i/03135e132b1a78b32f5017a63dccb386d98f58d73148948999c2a2b994c9198e/DSC_8204.JPG" /> <img width="4275" height="2850" width_o="4275" height_o="2850" data-src="https://freight.cargo.site/t/original/i/fc562c34b08bf884f00a4f993efb2588567ab896a2e9227994892a4849020c7e/-1.jpg" data-mid="211504101" border="0" src="https://freight.cargo.site/w/1000/i/fc562c34b08bf884f00a4f993efb2588567ab896a2e9227994892a4849020c7e/-1.jpg" /> <img width="3008" height="2008" width_o="3008" height_o="2008" data-src="https://freight.cargo.site/t/original/i/82177a548b64702510f62c56b176cb207a3315e088bf674469b317680782ce43/DSC_8147.JPG" data-mid="211503166" border="0" src="https://freight.cargo.site/w/1000/i/82177a548b64702510f62c56b176cb207a3315e088bf674469b317680782ce43/DSC_8147.JPG" /> <img width="4512" height="3008" width_o="4512" height_o="3008" data-src="https://freight.cargo.site/t/original/i/0213065e9600f9c036a407df3e405c15766a76fb252e3343422938b2b6caafd0/DSC_8156.JPG" data-mid="211503965" border="0" src="https://freight.cargo.site/w/1000/i/0213065e9600f9c036a407df3e405c15766a76fb252e3343422938b2b6caafd0/DSC_8156.JPG" /> <img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/b991fa67a26b71ad86d0495bfc4e28999447a5b38b1abcd7e0804a2ca8b4f09b/454A6738.JPG" data-mid="211503529" border="0" src="https://freight.cargo.site/w/1000/i/b991fa67a26b71ad86d0495bfc4e28999447a5b38b1abcd7e0804a2ca8b4f09b/454A6738.JPG" /> 陳孟和＋後來的人們＋劉紀彤CHEN Meng-He, Those Who Came Later, Liu Chi-Tung 此計畫是一個跨越多個世代、多重生產的集合，所組成的合作關係。 起頭是新生攝影師—陳孟和前輩，於服刑期間（1952-1967）因為綠島鄉誌的工作，組成工作團隊拍攝下的一批綠島風景。後來的人們帶著這批舊照片，從本島來到綠島，像玩著闖關遊戲似的，沿著許久以前光影記錄下的畫面，在陌生的島上尋寶，再拍攝一次風景（2017-）。再後來，創作者劉紀彤加入，以書寫回應風景（2023），試圖向更多後來的人展開對話，發展本島與綠島之間、風景明信片寄送計畫的結構。 This project is a collaboration that crosses multiple generations and an ensemble of multiple productions. It originates from a group of photos featuring the sceneries of Green Island, taken by an inmate-photographer at the New Life Correction Center - CHEN Meng- He, who formed a photography crew for Green Island Township Chronicle while serving his sentence (1952-1967). Then, those who came from mainland Taiwan to Green Island brought this group of old photos and wanted to re-photograph the sceneries documented from a long time ago as if they were playing a game of treasure hunt on the strange island (2017-). Later, artist LIU Chi-Tung joins the collaboration and responds to the scenery photos with writing (2023), attempting to initiate a dialogue with more that are to come later, and develops the structure of this project involving sending scenery postcards from Green Island to mainland Taiwan. 攝影｜蔡美娟與其他 Photograph by TSAI Mei-Chuan and others 陳孟和照片檔案提供｜林傳凱 CHEN Meng-He photograph files provided by LIN Chuan-Kai <img width="4512" height="3008" width_o="4512" height_o="3008" data-src="https://freight.cargo.site/t/original/i/ece989b5bce26aeb6445c34b76c61a16093ae502cd9719a3f0bc9ab8724bfe66/DSC_8166.JPG" data-mid="211503167" border="0" src="https://freight.cargo.site/w/1000/i/ece989b5bce26aeb6445c34b76c61a16093ae502cd9719a3f0bc9ab8724bfe66/DSC_8166.JPG" /> https://liuchitung.cargo.site/The-Unseen-Juvenile-Threadfin-Bream-in-the-Photo Thu, 23 Mar 2023 15:26:21 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/The-Unseen-Juvenile-Threadfin-Bream-in-the-Photo <img width="1748" height="938" width_o="1748" height_o="938" data-src="https://freight.cargo.site/t/original/i/889944fd835e88a0d4410cb515113a191f1f0307c1234e3c9e1330a666a2b83e/6.jpg" data-mid="178012945" border="0" src="https://freight.cargo.site/w/1000/i/889944fd835e88a0d4410cb515113a191f1f0307c1234e3c9e1330a666a2b83e/6.jpg" /> 照片裡看不見的虱目魚苗 那年五月，我每天去公館港找綠島阿嬤游泳。阿嬤告訴我，小時候她都在這裡抓虱目魚苗。魚苗非常細小，當牠們入網後，要趕緊把兩根竹子夾闔、用繩子捆緊，上岸、拿回家給爸爸。他們會養在甕裡，把魚養大一點，再賣去本島。後來，政府沿著海岸線炸石頭，興建公館港與人權公園；流麻溝上游成了水庫、下游成了下水道……總總原因，使得這裡老早就沒有魚苗了。 我聽了很困惑，虱目魚苗需要特地從綠島買？本島不是有很多漁塭、養很多虱目魚嗎？或那是在逐漸捕捉不到野生魚苗之後，才發展出的生產模式？ 和阿嬤游泳的時候，總覺得我們很像在進行魚群巡邏的工作，關於今天有什麼魚聚集、或者沒有看見什麼魚。阿嬤若看到釣客，總會氣急敗壞地大喊：「這帶無魚囉！毋通繼續釣囉！」 我在閱讀游永福寫的《尋找湯姆生》一書時，發現裏面有一組1871年的照片〈Fishing in the surf, Formosa〉 ，是湯姆生剛登上福爾摩沙，站在岸邊拍下的。照片裡的人們站在海裡、戴著斗笠，使用著三角漁網，這樣的風景和90年後的綠島風景相似。這個名叫三角漁網的工具，和阿嬤幼時捕魚苗使用的工具相同。 湯姆生在四月初登陸，那正是虱目魚產卵的季節。不過湯姆生抵達的並不是綠島，而是我的家鄉高雄。 游永福以高雄的閩南語腔調寫下「lu魚栽」，綠島阿嬤以綠島的閩南語腔調說「hu魚栽」；約略150年前的打狗風景，以及60多年前的綠島風景竟然如此相像。追逐彼此的虱目魚，摻和著浪潮起伏，牠們在河水流入海水之處產卵。而沿海築居的人們，在四月至十月之間捕撈牠們的魚苗。沒被抓到的魚苗，會離開海岸線，等到交配時期，再迴游至出生地。 後來的人們帶著老照片，像迴游似的，回到攝影師給出的「第一眼」之處。他們各自懷著對歷史的好奇、對自身生命的探尋，在不同的現場，做著類似的事——再拍一張一模一樣的照片。藉由這種方法、藉由再次以鏡頭對準的行為，每個攝影師不斷踏上不曾走過的路、閱讀不曾理解的過去。為了讓觀景窗盡可能地對準，他們期待、尋找、觀察與等待，在無盡長遠的時間之中。不過，再怎麼對位，一定會有哪裡稍微不同，這是穿越時空的光顯影於底片的當下，就注定的命運。但我想，生命的迴游行為，原先為的就不是明確可見的結果，而是不可見的再回返，尋找主體在浩蕩而不明的世界裡，聽見屬於自身迴聲的時刻。 Unseen Milkfish Fry in the Photo In May that year, I went to Gongguan Harbor every day to swim with the old granny on Green Island. The old granny told me that when she was a child, she caught milkfish fry there. The fry were very small, and as soon as they were caught in the net, she would quickly clamp two bamboo sticks together, tie them tightly with a rope, and bring them home to her father. They would raise them in a jar, let the fish grow a bit, and then sell them to the main island of Taiwan. Later, the government blasted stones along the coastline to build Gongguan Harbor and the Human Rights Park; the upstream of the Liuma Gou became a reservoir, and the downstream became a sewer... for these and many other reasons, there have been no milkfish fry here for a long time. I was very confused when I heard this. Did people from the main island have to specially buy milkfish fry from Green Island? Didn't the main island have many fish ponds to raise many milkfish? Or was this a production mode that was developed after wild fish fry became increasingly difficult to catch? When I went swimming with the old granny, I always felt like we were doing fish patrol work, discussing which fish were gathering today or what fish we didn't see. If the old granny saw a fisherman, she would always angrily shout, "There are no fish here! Don't bother fishing!" I found a set of photos from 1871 called "Fishing in the Surf, Formosa," When I was reading the book "John Thomson Formosa," written by You Yongfu, which was taken by Thomson when he first arrived in Formosa. The people in the photo were standing in the sea, wearing bamboo hats, and using a triangular fishing net, a scene similar to that of Green Island 90 years later. The tool called the triangular fishing net is the same tool the old granny used to catch fish fry when she was young. Thomson landed in early April, which was the season for milkfish spawning. However, Thomson did not arrive in Green Island but in my hometown, Kaohsiung. You Yongfu wrote "lu fish fry" in the Minnan dialect of Kaohsiung, and the old granny from Green Island said "hu fish fry" in the Minnan dialect of Green Island. The scenery in Takao 150 years ago and Green Island 60 years ago were surprisingly similar. The milkfish chased each other, mingled with the waves, and spawned where the river flowed into the sea. Coastal residents fished for their fry between April and October. Milkfish fry that were not caught would leave the coastline and return to their birthplace during mating season. Now, people return to the spot where the photographer took the "first glance" with their old photographs in hand, as if on a pilgrimage. Each person is driven by their own curiosity about history and exploration of their own life. At different locations, they do similar things - they take another photo that is exactly the same as the original one. Through this method and the act of pointing the lens once again, each photographer embarks on an uncharted path and reads a past that they have never understood before. They wait, observe, search, and hope to align the viewfinder as accurately as possible, over an endless period of time. However, no matter how much they align it, there will always be some slight difference - this is the inevitable destiny of the light shining through time and space onto the film. Nevertheless, I believe that the act of revisiting past locations in life is not for a clear and visible result, but for an invisible return journey, in search of the moment when the subject hears their own echo in the vast and incomprehensible world. 《後來的人寄出的風景》展出於2023年綠島人權藝術季《傾聽裂隙的迴聲》，共有五組風景明信片和故事。以下為故事連結—— "Sceneries Posted by Those Who Came Later" is exhibited at the 2023 Green Island Human Rights Arts Festival, "Listening to the Echoes of the Cracks".&nbsp; There are five groups of photos and stories. Below is the link to the story—— 〈那座到不了的島〉That Unreachable Island〈背上有字的石頭〉A Rock with Lettering on Its Back〈大浪襲來的五分鐘〉Five Minutes when the Big Waves Stroke〈再蓋一棟新民宿〉Building Another New Guesthouse〈照片裡看不見的虱目魚苗〉Unseen Milkfish Fry in the Photo https://liuchitung.cargo.site/Build-Another-New-Guesthouse Thu, 23 Mar 2023 15:26:19 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/Build-Another-New-Guesthouse <img width="1748" height="1017" width_o="1748" height_o="1017" data-src="https://freight.cargo.site/t/original/i/9e439a0005b7a5ef424718662ce26da863e149b4cda296058953626b0f715154/5.jpg" data-mid="178012469" border="0" src="https://freight.cargo.site/w/1000/i/9e439a0005b7a5ef424718662ce26da863e149b4cda296058953626b0f715154/5.jpg" /> 再蓋一棟新民宿 早餐店裡，三個男人吵得不可開交。 壽哥：「今年工錢是毋是又閣起價？」 老陳：「你最近閣拍算欲起新民宿？」 老闆：「夭壽喔，整粒島攏變成工地！本島人毋是來看恁起厝的！」 壽哥：「本島人攏愛選新房間啊，哪無繼續起，伊欲蹛嗎？」 老闆：「阮綠島本底是風景真水，大家才會愛來，這陣哩？行到佗攏是恁的鷹架！」 壽哥是四十出頭的民宿業者，多年來他買地、蓋民宿、租給經營者經營。對他來說，得用這樣賺錢的方式，等之後孩子長大到台東讀高中時，才有足夠的錢在市區置產，讓他們能有個家住；況且，父母近年也時常要去台東的大醫院看病，能儘早找到適合的房子就再好不過了。待會吃完早餐，他就要回家帶父母去南寮漁港搭船，下午要去醫院回診。 老陳是年近七十的建築工，年輕的時候島上沒什麼工作機會，他便在台東成功鎮工作許久。十年前，綠島的建築工程增加，他便趁勢回老家跟母親同住了。只要他願意做，這輩子是賺都賺不完，蓋民宿的風潮使得島上非常缺工人，有時候想拒絕還拒絕不了。 對年邁的早餐店老闆來說，小時候整個村莊、大家都是親戚，誰家要蓋房子大家就一起去海邊打咾咕石。時代不一樣了，土地誰先搶先贏，還不是自己人要住，實在看不下去。 早餐店的角落坐著兩個潛水常客Ken和Jim，他們一邊咀嚼早餐、一邊側聽著在地人辯論。多年來，他們倆新民宿、老牌民宿都住過，但還沒有遇到說得上喜歡的地方。Ken看著牆上的風景明信片，一張黑白、一張彩色的，照片裡的房子顯然是不同時代拍下的。 Ken：「以前的石頭屋好美喔，現在的房子好醜喔。好想要住看看這種老房子改建的民宿！」 Jim：「那種房子很原始、很不乾淨欸，感覺會有很多蟲。我不要。」 Ken：「原始才有感覺啊！你看看我們這次住的，跟南部的透天厝有什麼不一樣。」 Jim：「可是這家很乾淨啊！那你平常會想住三合院嗎？為什麼來這裡就想住石頭屋？」 Ken：「因為這裡是綠島啊！」 Ken期待海島的風情萬種、原始聚落的懷舊面貌，滿足外來者消費在地文化的慾望；Jim則期待乾淨衛生的房間，去文化、去脈絡的建築形式也無妨，以現代人的基本消費標準為原則。兩個本島人爭論著，究竟綠島民宿要如何符合他們對觀光的期盼，兩人的想像分歧而顯得不切實際，沒有一致而理想的結論。 但無論如何，很久很久以前，從第一座監獄施工的那天起，綠島便跟著本島的需求不斷的變化。先是天然的監禁島，再是觀光的天堂島。此刻，整座島上的建築工都已睜開雙眼、正吃著早餐，準備在烈陽裡上工，繼續蓋下一棟新民宿。 Building Another New Guesthouse Three men were arguing fiercely in a breakfast shop. Uncle Shou: "Has the labor wage gone up again this year?" Old Chen: "Are you planning to build another new guesthouse soon?" Boss: "Oh my god, the whole island is turning into a construction site! The people from the main island of Taiwan don't come to see you guys build houses!" Uncle Shou: "They love to choose new houses. If there are no new ones being built, will they stay here?" Boss: "Green Island's attraction lies in its natural scenery. People come here to enjoy it. But now, everywhere they go, it's just your scaffolding!" Uncle Shou is a guesthouse operator in his forties. Over the years, he has bought land, built guesthouses, and rented them out to other operators. For him, this is the only way to make money, so that when his children grow up and attend high school in Taitung, he will have enough money to buy a house in the city for them to live in. Moreover, his parents often have to go to the big hospital in Taitung in recent years, so it would be great if he could find a suitable house as soon as possible. After breakfast, he will take his parents to Nan-liao Fishing Harbor to catch a boat, and then go to the hospital for a check-up in the afternoon. Old Chen is a construction worker in his seventies. When he was young, there weren't many job opportunities on the island, so he worked in Chenggong, Taitung for a long time. Ten years ago, when the construction projects on Green Island increased, he took the opportunity to return to his hometown and live with his mother. As long as he is willing to work, he will never run out of money to earn. The trend of building guesthouses has made the island in great need of workers. Sometimes he can't even refuse a job. To the elderly owner of the breakfast shop, when he was young, the whole village was like a big family, everyone helped each other out when someone wanted to build a house by going to the seaside to gather coral stones. Times have changed, and now everyone is competing for land, but in the end, it's still their own people who need to live there. He really can't bear to see this. Two regular divers, Ken and Jim, sat in the corner of the breakfast shop, chewing on their breakfast while eavesdropping on the locals' debate. Over the years, they have stayed in both new and old guesthouses, but have not found a place they really liked. Ken looked at the landscape postcards on the wall, one black and white, one color, and the houses in the photos were obviously taken in different eras. Ken: "The old stone houses were so beautiful, but the new houses are so ugly. I really want to stay in a guesthouse that is built from an old house like that!" Jim: "Those houses are very primitive and dirty. There might also be many worms. I don't want to stay there." Ken: "The primitive atmosphere is what makes it unique! Look at the guesthouse we are staying in this time. Is there any difference from the houses in the south?” Jim: "But this guesthouse is very clean! Do you usually want to stay in a three-section compound? Why do you want to stay in a stone house here?" Ken: "Because this is Green Island!” Ken looks forward to the diverse scenery and nostalgic appearance of the primitive settlements on the island, satisfying the desire of outsiders to consume local culture. Jim, on the other hand, expects a clean and hygienic room, and an architectural form that is free from culture and context is acceptable, based on the basic consumption standards of modern people. The people from the main island of Taiwan debate how Green Island's guesthouses can meet their expectations for tourism, but their divergent imaginations seem unrealistic, and there is no consistent and ideal conclusion. However, no matter what, since the day the first prison was built, Green Island has been constantly changing in response to the demands of the main island. It started as a natural prison island and has now become a paradise for tourism. At this moment, all the construction workers on the island have already opened their eyes, had breakfast, and are preparing to work under the scorching sun, continuing to build another new guesthouse. 《後來的人寄出的風景》展出於2023年綠島人權藝術季《傾聽裂隙的迴聲》，共有五組風景明信片和故事。以下為故事連結—— "Sceneries Posted by Those Who Came Later" is exhibited at the 2023 Green Island Human Rights Arts Festival, "Listening to the Echoes of the Cracks".&nbsp; There are five groups of photos and stories. Below is the link to the story—— 〈那座到不了的島〉That Unreachable Island〈背上有字的石頭〉A Rock with Lettering on Its Back〈大浪襲來的五分鐘〉Five Minutes when the Big Waves Stroke〈再蓋一棟新民宿〉Building Another New Guesthouse〈照片裡看不見的虱目魚苗〉Unseen Milkfish Fry in the Photo https://liuchitung.cargo.site/Sceneries-posted-by-those-who-came-late Thu, 23 Mar 2023 15:27:34 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/Sceneries-posted-by-those-who-came-late 《後來的人寄出的風景》 Sceneries posted by those who came later 簡介 Introduction 風景 Sceneries posted https://liuchitung.cargo.site/Five-Minutes-of-Onslaught-by-the-Giant-Waves Thu, 23 Mar 2023 15:26:19 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/Five-Minutes-of-Onslaught-by-the-Giant-Waves <img width="1748" height="1240" width_o="1748" height_o="1240" data-src="https://freight.cargo.site/t/original/i/5e48144c039fb2553d7197f130fbed2e0a62c8f7555f879c56e41e996c6cbede/4.jpg" data-mid="178011342" border="0" src="https://freight.cargo.site/w/1000/i/5e48144c039fb2553d7197f130fbed2e0a62c8f7555f879c56e41e996c6cbede/4.jpg" /> 大浪襲來的五分鐘 每當氣象局一報導颱風生成，攝影師就收拾行李，在海上警報發布而停船之前渡洋，準備在颱風天等待大浪。麻煩的是，坐在民宿的電視機前方，攝影師其實得不到任何實用的資訊，新聞裡的說明圖不會標示出綠島，只能看著台東的氣候數據想像綠島的風雨。 夏秋之際，攝影師重複著這樣的行程，時常冒著生命危險，佇立於五十年前新生攝影師拍下大浪襲來的位置。數年來對位的經驗，這張照片的構圖已經烙印於攝影師的腦袋裡，近景、中景、遠景的石頭都對到準確的位置了，海浪卻還離得遠遠的、咾咕石坪依然光禿一片。攝影師扶著腳架與相機，等待再等待，卻一直等不到浪湧上岸的時刻。 起初攝影師還挺興奮，當作闖關遊戲，毫不氣餒地等待機會、準備再次挑戰。日子久了、錢包空了，想不通自己是為了什麼。 颱風離開的夜晚滿天星辰，攝影師抽著菸，告訴她想放棄的念頭。沒想到，竟把想重拍的意念轉移了，轉移到總有一天會成為耆老的她。 攝影師總戲稱她是未來的在地耆老。 未來的在地耆老是土生土長的綠島人，她是國家人權博物館的工作人員。 她見證那一片廢墟重新組織成為博物館，陪伴無數再次回到島上的老新生，以及無數首次登島的後來的人。不管是園區裡的建築與歷史、前輩的物件和故事、島上的風俗與植被，她說故事的時候，眼睛總散發炙熱的光芒，就好像在講她家的故事般地寶貝與珍惜。 她是本島藝術家在綠島創作時的重要協作。 當藝術家在口訪時遇到聽不懂的方言，未來耆老替大家解惑；當藝術家想嘗試製作口述中提及的林投笛，她帶著藝術家去林投樹旁，從選葉子粗細、去除尖銳細刺，到製作笛子和練習發音；當攝影師登島的颱風天，她帶著魚粽去岸邊探望，要他注意安全。 寒冬的綠島天氣非常惡劣，海風夾帶鹹度極為粘膩。她住在島的西邊，每天要騎過整個北海岸。但不只如此，經過公館村、機車駛入東北角的海岸邊，海水會扎實地跟著風打上陸地。這天，東北季風特別地強勁，她在路上被海水打了一身濕，當她好不容易抵達人權博物館、把摩托車安置在遮雨棚下，她卻走了出去，走向了咾咕石坪。 她好奇這樣的強風，浪是否打得比颱風的浪高，會不會更像新生攝影師照片裡的浪。 她踏上溼滑咾咕石，往前走了幾步，風太大，她小心走著。她拿出手機尋找舊照片，一邊對位著石頭的相對位置，同時，腳掌試探著，該踩在哪顆石頭上，才能更靠近新生攝影師的眼光。 傾刻之間，不到五分鐘，海水突然急速漲潮、大浪襲來。 未來的在地耆老拿起手機——喀嚓，拍下了很像颱風天的大浪瞬間。 Five Minutes when the Big Waves Stroke To reshoot this photo, a photographer from the mainland has traveled to Green Island several times. Whenever the Central Weather Bureau reports the formation of a typhoon, the photographer packs up and crosses the ocean before the ship stops due to the sea warning, preparing to wait for the big waves on the typhoon day. The trouble is that sitting in front of the TV in the inn, the photographer cannot get any practical information. The explanatory map in the news does not indicate Green Island. He can only imagine the weather on Green Island by looking at the climate data of Taitung. In between summer and autumn, the photographer repeats this journey, often risking his life, standing at the location where the freshman photographer took a photo of the big waves fifty years ago. After years of experience in positioning, the composition of this photo has been imprinted in the photographer's mind. The rocks in the foreground, mid-ground, and background are accurately located, but the waves are still far away, and the bare coral coast remains the same. The photographer holds the tripod and camera, waiting and waiting, but still cannot wait for the moment when the waves surge ashore. At first, the photographer was still excited, treating it as a game, waiting for the opportunity without losing heart and preparing to challenge again. After a long time, the wallet was empty, and he couldn't figure out what he was doing this for. On the night when the typhoon left, the photographer smoked a cigarette and told her that he wanted to give up. Unexpectedly, he transferred the idea of reshooting to herself, who would one day become an elder. The photographer often jokingly calls her the future local elder. The future local elder is a native Green Islander and a staff member of the National Human Rights Museum. She witnessed the ruins being reorganized into a museum, accompanied countless old freshmen who returned to the island again, and countless first-time visitors. Whether it is the buildings and history in the park, the objects and stories of the seniors, the customs and vegetation on the island, when she tells the story, her eyes always emit a hot light, as if she is telling her own family's story, precious and cherished. She was an important collaborator when the main-island artists conducted art projects on Green Island. When the artists encountered dialects that they didn't understand during oral interviews, the future elder helped to explain; when the artist wanted to try to make a flute mentioned in the oral history, she took her to the nearby Lintou tree, from selecting leaves of different thicknesses, removing sharp thorns, to making the flute and practicing making sounds; when the photographer visited the island on a typhoon day, she brought fish dumplings to the shore to visit him and reminded him to pay attention to safety. The weather on Green Island in the cold winter is extremely harsh, with sea winds carrying a salty and sticky moisture. She lives on the west side of the island and has to ride through the entire north coast every day. But not only that, passing through Gongguan Village and driving along the coastline to the northeast corner by scooter, the seawater would solidly hit the land along with the wind. On this day, the northeast monsoon was particularly strong, and she got drenched by seawater on the way. When she finally arrived at the Human Rights Museum and parked her scooter under the rain shelter, she went out again and headed towards the coral coast. She was curious whether the strong wind and waves would be higher than those in a typhoon, and whether they would resemble the waves in the photos of the freshman photographer. She stepped onto the wet and slippery coral stones and took a few steps forward. The wind was so strong that she walked carefully. She took out her phone to search for old photos and compared the relative positions of the stones. At the same time, she tested where to step with her foot so that she could get closer to the perspective of the freshman photographer. In a moment, less than five minutes, the seawater suddenly rose rapidly, and big waves struck. The future local elder picked up her phone and snapped a photo of the moment that looked very much like a typhoon day with the big waves. 《後來的人寄出的風景》展出於2023年綠島人權藝術季《傾聽裂隙的迴聲》，共有五組風景明信片和故事。以下為故事連結—— "Sceneries Posted by Those Who Came Later" is exhibited at the 2023 Green Island Human Rights Arts Festival, "Listening to the Echoes of the Cracks".&nbsp; There are five groups of photos and stories. Below is the link to the story—— 〈那座到不了的島〉That Unreachable Island〈背上有字的石頭〉A Rock with Lettering on Its Back〈大浪襲來的五分鐘〉Five Minutes when the Big Waves Stroke〈再蓋一棟新民宿〉Building Another New Guesthouse〈照片裡看不見的虱目魚苗〉Unseen Milkfish Fry in the Photo https://liuchitung.cargo.site/Stone-with-Inscriptions-on-its-Back Thu, 23 Mar 2023 15:26:16 +0000 劉紀彤Liu Chi-Tung https://liuchitung.cargo.site/Stone-with-Inscriptions-on-its-Back <img width="1748" height="1240" width_o="1748" height_o="1240" data-src="https://freight.cargo.site/t/original/i/8b231052687101707aac08e512f56ff4b5b87b4e93962e66aeb99c8191db0638/3.jpg" data-mid="178010110" border="0" src="https://freight.cargo.site/w/1000/i/8b231052687101707aac08e512f56ff4b5b87b4e93962e66aeb99c8191db0638/3.jpg" /> 背上有字的石頭 那天早晨，我一如往常的行經日常生活中、早已視為理所當然的路。卻在那天才瞥見，那顆被筆直削去大半的巨石。陽光灑落，巨石就好像是故宮之寶肉形石的斷切面，又或被俐落刀鋒砍半的翠玉白菜。 當視角順著馬路彎曲和斜坡前進，車子逐漸靠近之時，我看到石頭上刻著「毋忘在莒」四個大字。 這條路上怎麼會有這樣的石頭？ 回想上一次遇見這樣的巨石是前年夏天在綠島駐村的時候。人權博物館周圍的巨石刻著很多文字；或說，是文字包圍著昔日的監獄。印象中，先是遇到「綠洲山莊」、接著是「滅共復國」、再來是「毋忘在莒」。 聽說，鑿刻這些文字，是當年新生被命令去做的苦差事之一。 巨石那麼高，新生要怎麼爬、又要怎麼鑿呢？他們會如何看待這些文字？ 我在新生攝影師留下的照片中尋找線索。發現有許多巨石和山壁的照片，還時常是取景的主角，不過，沒有任何一顆上頭是有刻字的。 其中，有張照片裡頭的巨石，是我駐村、每天傍晚散步的時候，都一定會經過的。雖然照片中的巨石沒有字，但我記得很清楚，巨石是有刻字的，只是是在另外一面。 如果說，人們平時判斷物的正反面時，原則上是將有字的面當成正面、沒有字的面當作背面，來進行構圖。那新生攝影師在取景的時候，則是將沒有文字的面視為石頭的正面，選擇避開文字、逃離複誦和傳播國家欲灌入他們腦袋的意識、拒絕底片成為烙印標語的媒介，以光畫下石頭的肖像。 新生攝影師拍攝這張照片時，他站立的位置正後方還有一顆巨石，和我家附近的相同，背上刻有「毋忘在莒」。不同的是，我家附近的那顆巨石，因為道路拓寬的需求，毫不猶豫、果斷地被砍半了。交通的公共便利性優先於意識形態的象徵。而人權博物館前方的這顆巨石，依然雄赳赳、氣昂昂地佇立在海邊，24小時不間斷地迎接觀光客一起合照。 不過，到底不能忘記的是什麼？在海風吹拂的咾咕石岸邊，他們拍照後，記住的是誰的苦難？ 戒嚴以後出生的人、如我，讀著非國立編譯館的教科書長大，看著這四個字，起初自然地唸出「母忘在呂」。當我這一代人，以及下一代人開始唸不出正確的發音，更不可能知道來源自他方的什麼時期的典故，這些字失去了其所象徵的意義，語言無法順利而有用處地彰顯，落入不明與無用，卡在現代社會的道路邊緣。 A Rock with Lettering on Its Back That morning, I walked along the road of my daily life as usual, taking for granted what I had already seen. But that day, I caught sight of a giant rock that had been almost straightened out. In the sunlight, the rock looked like a cut surface of a Jadeite Cabbage, or as if it were a piece of Meat-Shaped Stone from the Palace Museum. As my perspective followed the curve of the road and the slope, and the car approached, I saw four large characters engraved on the rock: “Wu-Wang-Zai-Ju (Never Forget the Lessons of History).” How could such a rock be on this road? The last time I saw a giant rock like this was two years ago when I was conducting artist-in-residence on Green Island in the summer. Many characters were engraved on the giant rocks around the Human Rights Museum, or rather, the previous prison was surrounded by characters. I remember encountering "Green Oasis Villa" first, then “Mie-Gong-Fu-Guo(Wipe Out the Communists and Restore our Country),” and then "Wu-Wang-Zai-Ju." I heard that engraving these characters was one of the difficult tasks that the freshmen were ordered to do. (*In the 1950s, political prisoners who were imprisoned on Green Island were referred to by the government as "the freshmen," meaning that they were expected to learn how to be a proper person again.) The giant rocks were so high, how could the freshmen climb and engrave them? How did they view these characters? I looked for clues in the photos left by the freshman photographer and found many photos of giant rocks and mountain walls, which were often the protagonists, but none of them had characters engraved on them. One of the photos was of a giant rock that I passed by every evening when I was there, and even though the giant rock in the photo had no characters, I remember clearly that it had lettering on its back. Usually, people judge the front and back of an object by the principle of taking the side with the characters as the front and the side without characters as the back, for composition. But when the freshman took photos, he regarded the side without characters as the front of the rock, choosing to avoid the characters, escape from recitation and dissemination of the consciousness that the government wanted to implant in their minds, refuse to make the film a medium for slogans, and use light to depict the image of the rock. When the freshman photographer took this photo, there was another giant rock behind him, similar to the one near my house, with "Wu-Wang-Zai-Ju" engraved on its back. However, the giant rock near my house was decisively cut in half due to the need to widen the road. The public convenience of transportation took precedence over the ideological symbol. And the giant rock in front of the Human Rights Museum still stands proudly on the coast, welcoming tourists to take photos with it around the clock. But what should we not forget? After they take pictures on the coral coast where the sea breeze blows, whose suffering will they remember? As someone born after the lifting of martial law in Taiwan, I grew up reading textbooks that were not published by the National Compilation and Translation Bureau. When I first encountered the phrase "Wu-Wang-Zai-Ju", I naturally pronounced it incorrectly. However, as my generation and the next generation began to lose touch with the correct pronunciation and the origins of the phrase, its symbolic meaning was lost as well. The language became unable to effectively convey its intended message and became irrelevant and useless, stranded on the sidelines of modern society. 《後來的人寄出的風景》展出於2023年綠島人權藝術季《傾聽裂隙的迴聲》，共有五組風景明信片和故事。以下為故事連結—— "Sceneries Posted by Those Who Came Later" is exhibited at the 2023 Green Island Human Rights Arts Festival, "Listening to the Echoes of the Cracks".&nbsp; There are five groups of photos and stories. Below is the link to the story—— 〈那座到不了的島〉That Unreachable Island〈背上有字的石頭〉A Rock with Lettering on Its Back〈大浪襲來的五分鐘〉Five Minutes when the Big Waves Stroke〈再蓋一棟新民宿〉Building Another New Guesthouse〈照片裡看不見的虱目魚苗〉Unseen Milkfish Fry in the Photo