2020綠島人權藝術季
2020 GREEN ISLAND HUMAN RIGHTS ART FESTIVAL
5.15~9.15 白色恐怖綠島紀念園區
Green Island White Terror Memorial Park
不能說的是 _______
_______what we cannot say
2020 / 行為藝術錄像 / 多頻道循環
2020 / performance art video / multi-channel loop
這件作品企圖呈現的是，如何在時空背景已截然不同的當代，讓民眾體會政治受難者曾經有過的感受？
作品由兩間牢房組成。第一間牢房讓參與的數位民眾入內，在「姓名」被守門人（創作者）叫到後，以不出聲的方式跟在場所有人，個別的做一個「告別的動作」後，離開牢房。先行被唱名離開牢房的民眾，來到隔壁的第二間牢房，觀看之前不同的參與民眾被記錄下的「告別的動作」影像，接著，在參與的數位民眾，都被一一唱名來到第二間牢房後，在創作者的引導下，彼此依序說明做了哪些「告別的動作」，以語言重建整個牢房內事件的時序，以及討論參與過程中的感受。
每位民眾「告別的動作」將也以文字被記錄下來，並張貼在第二間牢房外走道的牆壁上。走道，作為守門人監視牢房的場所。牢房內的情形都被記錄下來張貼於此，作為一種曾經的外對內的監視象徵，也作為一種現下只能由外部文字紀錄，去窺知與想像曾經發生在內部牢房的情景。
兩間牢房，一間做為動作發生與離去的場所，一間做為過往紀錄與當下回溯的場所，而外部走道牆壁上，以文字記錄著內部發生的事。林子寧試圖為參與者提供一個情境，藉以和過往的政治受難者的經驗進行對照。
This work aims to enable the public to experience the feelings of political victims in a contemporary setting that is already completely different from that of the past.
The work consists of two prison cells. The participants first gather in the first cell. When their names are called out by the guard (artist), they need to one by one silently make “a gesture of farewell” to other participants and leave the cell. The called-out participants are gathered in the second cell to view the video of the documented “gestures of farewell” performed by previous participants. After all the participants are called out and arrive at the second cell, the artist then guides them to explain their “gestures of farewell” in a chronological order, reconstructing the timeline of events taking place in the cell and engaging the participants in a discussion about their feelings in the process.
The participants’ “gestures of farewell” are also recorded in written words, which are posted on the corridor wall outside the second cell. The corridor serves as a surveillance site for the guard to monitor the cells. Whatever happens in the first cell is recorded and displayed in the corridor, symbolizing the external surveillance existed in the past while hinting at the fact that one can only know and imagine what has happened in the cell via the textual records from the outside.
Whereas the first cell functions as the site of gestures and departures, the second one serves as a site of recording and revisiting the past. The outside corridor wall bears written records of what happens inside the cell. LIN Tzu- Nin hopes to provide a situation for the participants to compare their experience with that of past political victims.
我是台灣人
I am Taiwanese
2020 / 行為藝術錄像 / 多頻道循環
2020 / performance art video/multi-channel loop
此作品於八卦樓一樓演出，邀請民眾一起參與。表演者朗讀有關「台灣的歷史，以及演出當日台灣發生的歷史事件」，邀請民眾在表演者唸到「台灣」兩字時，以聲音或可發出聲音的動作，打斷表演者。表演者唸完文本後，以針線縫過身上的衣服，將暗藏在底下的顏料包戳破，以將衣服染色。隨後，脫掉染了色的衣服，露出底下也被染色的繃帶包紮之身體，並透過麥克風說：「我是台灣人。」之後，拿出剪刀將繃帶剪下。表演完成後，帶著染色的衣服與剪下的繃帶，帶至一樓參區最禁閉室放置。此空間隨著每日演出而累積放入的物件。同時，演出錄像也在展覽期間持續撥放。
林子寧設計這個演出腳本，藉此表達「台灣人」認同被迫「禁聲」，所造成的「受傷害的自我認同」。試圖呈現小至個人，大至群體之間，被壓迫者與壓迫者雙方，角色隨著情勢而互相轉換的可能性。
不管是哪一種身份認同，都不是本質性的身份指稱，而是不斷流變，不斷被重新定義的敘事。同樣地，對任何一種認同表述的禁聲，也是被建構出來將暴力合理化的敘事所造成的。有多少肉身，就有多少種關於台灣人敘事的可能，而這些敘事也並非固著不變的，而是隨時處於變化中的狀態。
此件作品邀請民眾，以簡單的動作體驗壓迫者或被壓迫者的感受。藉此省思誰都可能在不經意間，對他人的個體或群體身份認同，扮演被迫害者或施暴者的可能。
創作 Artist｜林子寧 LIN Tzu-Ning
攝影 Videographer｜洪瑋伶 HUNG Wei-Ling、辛佩宜 XIN Pei-Yi、潘志偉 PAN Chih-Wei
剪接 Editor｜林蔚圻 LIN Wei-Chi
日期 Date｜2020/4/7、2020/4/20
地點 Location｜白色恐怖綠島紀念園區 The Green Island White Terror Memorial Park、白色恐怖景美紀念園區 The Jing-Mei White Terror Memorial Park
This work is performed on the first floor of Bagua Building, and engages the public to participate. The performer first reads “Taiwanese history as well as historical events that took place in Taiwan on the dates of the performance (May 18 to 24).” Whenever the performer says “Taiwan,” the public is invited to interrupt the performance by uttering sounds or making sound-producing movements. When the performer finishes reading the text, she then pricks hidden color packs with a needle and thread, dying her clothes with colors. Afterwards, she removes her clothes to reveal her body wrapped with then colored bandage, and speaks into the microphone, “I am Taiwanese” before cutting open the bandage. After the performance, the colored clothes and the removed bandage are brought to the confinement chamber in Section 3 on the first floor. More and more objects will be added into the space as the performance takes place every day. Meanwhile, the performance video is shown throughout the exhibition period.
LIN Tzu-Nin conceives this performance to express the “muting” of the identity of “Taiwanese,” which results in “the wounded self-identity.” Between the individual and the collective, the oppressor and the oppressed, the work aims to show that there is a possibility that these roles can switch under different circumstances.
Identity, regardless of its kind, is never an indicator of one’s nature, but a constantly and fluidly changing, redefined narrative. Similarly, the muting of any identity narrative is caused by the narrative that rationalizes violence. There are as many possible narratives of Taiwanese as there are physical bodies; and these narratives are never fixed but always in a state of change.
This work invites the public to experience how an oppressor or an oppressed feels with simple movements. By doing so, it encourages the public to reflect on the fact that everyone can inadvertently become the victim or the abuser when it comes to the identity of an individual or a community.
