©2019 by Visiting No.15 Liumagou.

 

國,家?
NATION IS NOT HOME

林介文
Gieh-Wen Lin

林介文是80年代在臺灣出生長大的原住民,家在花蓮紅葉村。她回憶小時候以為自己是泰雅族,因為日據時代日本人把臉上有紋面的民族都稱作泰雅族,後來國民黨沿用這個稱呼。大學的時候,她被父親叫去登記為賽德克族。之後,由於創作的關係進行田野調查,她發現自己應該是太魯閣族。一個在自己的土地上居住了幾千年的族群,卻在短短的一百年內更改了三種名稱,身分和認同被權力操弄的悲慘命運,林介文的身分被迫變遷就是個血淋淋的例證。身分被迫更改,自我認同隨之產生變動,也意味著自我內在靈魂的遷徙。尚在追問何處為家之際,遑論國之所在?

林介文來到白色恐怖綠島紀念園區的時候,注視著牆上青天白日滿地紅的國旗,發現已呈斑駁狀的旗幟頗具美感。然而,對她而言,卻遠遠不及奶奶的手工編織。不管是泰雅、賽德克還是太魯閣族,都是擅長編織的民族。編織不僅是民族技藝,更是祖訓精神的傳承,具有深層的文化意涵。她以國旗圖騰為元素,以編織方式改編呈現,企圖營造沒有主次或壓迫關係的詼諧和解。

仔細觀察這個編織作品,會發現「不行,要殺了」等字樣潛藏其中,暗指1960年台東嘉蘭部落排灣族青年鍾阿聲(20歲)和曾政男(17歲)遭受白色恐怖迫害,分別被判刑7年和3年6個月的事件。

這件作品安置在福利社遺址處,以三張圓桌為展示架,映照入口處「高朋滿座、嘉賓雲集」的對聯,為造訪者建構一個多元而開放的想像空間。

Gieh-Wen Lin grew up in an aboriginal family in Hongye Village, Hualien, Taiwan in the 1980s. She recalled that she thought she was an Atayal when she was a child, as the Japanese used to refer to all ethnic groups with facial tattoos Atayal people during the Japanese rule and the same naming was adopted by the ruling Kuomintang administration at the time. Her father asked her to register herself as a Sedek when she was in college. Later, during a field survey for her art creation, she found out that she should actually be a Truku. That is an ethnic group of people who have been living here on their own land for thousands of years. Unfortunately, their identity was manipulated by powers and their name was changed three times in merely one hundred years. The forced change in the artist's identity is a bleeding witness to the tragedy. An involuntary change of one's identity leads to a change in self-identification and a shift in inner self. How would she cares where her nation is, if she still wonders where her home is?

During her visit to Green Island White Terror Memorial Park, the artist stared at a national flag of Taiwan on the wall and found the worn image rather beautiful. Nevertheless, for her, it was not remotely comparable to the hand weaving of her grand mother. Be it Atayal, Sidek or Truku, any of them is good at weaving. Weaving is not only a traditional craft, but also a heritage from the ancestors that has a deep cultural significance. The artist uses the flag's design as an element in creating this artwork. It is an attempt to create a humorous reconciliation to represent a relationship free from hierarchy and oppression.

A close look would reveal words concealed in the weaving work. The words that would read "No way. Must be killed." in a right order refer to what had happened to two ethnic Paiwan young men in 1960. The 20-year-oldA-Hseng Chong and 17-year-old Zheng-Nan Tseng from Jialan, Taitung, were victims of the White Terror, sentenced to seven years and three years and six months respectively.

The work is displayed on three round tables at the original site of the co-op shop. The combination of the tables and the couplet "Full of Friends; Gathering of Guests" at the entrance construct for visitors a diverse space open to imagination.