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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

⾴ Home 最新消息 News 關於 About 策展⼈ Curator 作品與藝術家 Artworks 北藝⼤特展 TNUA 活動 Events 國家⼈權博物館 NHRM Mo

從邊緣推進核⼼的記憶⼯程＿如果，在邊緣，畫⼀個座標
文．圖／吳介祥
Pushing Toward The Center—A Memorial Programming
Written by WU Chieh-Hsiang

今年第⼆屆在綠島的⼈權藝術季策展⼈⼀樣是羅秀芝，作品量較去年⼤，因⽽能把厚重
的策展論述的量撐起來。所有台灣藝術家的作品都是針對策展主題新作，國外藝術家則
有相關議題的舊作。策展⼈從邊緣和他者的理論，啟動藝術家的創作構思，我認為⾸先
回應了邊緣性的作品便是許家維的《兩個考古場景》，以綠島做為航海圖誌上的⼀個點
出發，⽽將我們⼀般⼈對綠島的印象－潛⽔，連結到打撈歷史遺物的實蹟，也就是中研
院的⽔下沈船考古任務。⽽出⼟/⽔的則是虛構的考古物件，是許家維訪查了同樣是考古
學家的受難者王鴻博的⼿⼯陶藝品。⽔下考古讓⼈有沉冤/真相出⼟的聯想，⽽⼀艘在太
⼩的展⽰櫃，破玻璃⽽出的船，似乎也是對史實的可保存性、可展⽰性的質疑。

3D複製的物件突顯了藝術的虛構性的能動性，持續的將歷史從文獻和史料的存記模式拖引到眼前，翻攪被疊壓⽽消失的記
憶。插破玻璃櫃的船，讓我聯想到印卡修尼巴爾(Yinka Shonibare)在倫敦⼤英藝廊前的特拉法加廣場(Trafalgar Square)上的第
四柱（因為沒有經費⽽空著的柱⼦，每年徵選藝術家作品）上的瓶⼦中的納爾遜海軍中將旗艦(Nelson’s Ship in a Bottle)，利
⽤瓶⼦和戰役接近的發⾳，呈現皇家海軍勝利號戰艦，這艘英國皇家海軍的⼀級風帆戰艦在1778年美國獨立戰爭爆發時參與
阿申特島戰役(Battle of Ushant) ，並於1797年法國⼤⾰命時，參與聖文⽣⾓之役(Battle of Cape St Vincent)，⼤勝⻄班牙海
軍。此後⼜在1805年參與特拉法加之役(Battle of Trafalgar)⼤破法國與⻄班牙聯合艦隊⽽聞名。勝利號戰艦現在停放於英國樸
次茅斯海軍基地(Her Majesty's Naval Base, Portsmouth)。

印卡修尼巴爾做為從非洲移⺠到英國的藝術家，將這艘船的帆換成非洲的
花布（印卡修尼巴爾的特⾊），並放進傳統收藏船模型的瓶⼦裡，檢視英
國東征⻄討⽽成為殖⺠強國的歷程，也同時反思了「展⽰」歷史和「收
藏」戰利品，總是勝利⽅的特權。許家維擅⻑從傳說、⼝述史或物件史，
以及⼈所不及的視⾓(例如吊⾼攝影、空拍機或潛⽔攝影)重構歷史，引發
非常強⼤的改寫記憶的潛⼒。《兩個考古場景》從⼀個受難史發展到⼀個
島的地理史，翻轉個⼈⽣命磨難在檔案裡的幽微性，也讓受難者記憶不僅

只以單⼀論述存在，同時⼜破櫃⽽出的船模型，也意在突破⼈權園區「博
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物館化」的疑慮。

突破綠島地理邊緣性，還有張恩滿的《眺島》，藝術家從受難者歐陽文
在綠島上對袒胸的原住⺠婦女產⽣的純淨之慕出發，⽽將赫拉克斯
(Heracles)欲或從希拉(Hera)⾝上獲得神性的希臘銀河系神話作連結。希
臘神話和地理學有很⼤的關係，在希臘多類型的地形上，⼭丘、地震、
洋流和火⼭(奧林帕斯⼭，地理上是火⼭，神話上是眾神的所在)既有威
脅，也是孕育多重⽣命的⾃然資源，遷移和航海需要星象的辨識和導
航，是⼈們對⾃然界循環的⼤智慧的運⽤，也以天文地理環境塑造神祉
來描寫各種神／⼈性的對照。綠島應該也曾承載過達悟族、太魯閣族或
卑南族的神話，卻儘管風景絕佳，卻因為地處邊緣⽽成為政權的監禁之
島。張恩滿利⽤與⾃然連結的兩⽀敘事，⼀是綠島做為孵化孕育⽣命的
⼤⾃然代表，和純然的施予的原住⺠⽣命態度；⼆是以地理上的特⾊和資源來對照⼈的作為。有史以來，⼈類總是在區劃邊
陲，做為懲處、監視和囚禁的所在，特別是製造各種形式的消失、邊陲便是製造牲⼈(Homer Sacer) 的⼀種模式。政治犯必須
⾃⼰撿拾和打磨咕咾⽯構築⾃⼰的監禁，和去年⾼俊宏在這裡的作品《須彌：挖洞即造⼭》和施昀佑北美獎入圍《築牆練
習》同調，也都以不同的⽅式表達政治剝削權的虛妄和荒謬。張恩滿的《眺島》除了對於政治⼒的評論，也點出了權⼒導向
對⾃然的輕蔑。⽽捲起的⼤浪和捲入的⼈形，和夕陽下變換斑斕的彩⾊玻璃，形成極⼤的對比。原住⺠被迫在這裡築牆的屈
辱，和像教堂花窗的對照，是藝術在⼤⾃然裡尋找洗滌和救贖的建議吧。

⼀樣是⼀片⼤浪，安聖惠(Eleng Luluan)的⼤幅《被遺忘的消失》，⼿⼯編織和使⽤材質細微的⿂線，竟能將⼤浪席捲的樣貌
和威脅感呈現無疑，它是⼀張風景圖像，也同時是地圖，純淨的⽩⾊巨浪有極⼤的吸引⼒，趁在旁邊的⿊⾊巨岩卻同時向巫
術在魅惑觀眾。畫⾯像從綠島眺望海岸沿線，卻同時像兩張依偎的哀傷之臉，或是無語問天的絕望⾝影和沉陷入夜⾊的紛亂
頭髮。也⽤到編纏的陳宣誠的《存在的座標》所⽤的紅⾊，⼀瞬間讓⼈有包紮傷⼝的聯想。⽽因交錯⽽隱約相連的紅⾊，是
從海上看綠島的輪廓。《存在的座標》似有若無的暗⽰牆的存在，但通透的視野可以是阻擋也可以是對⾃由的窺望、可以是
靠近與可能是離開的⼀瞥。這件作品的位置也是陳孟和沖洗照片的照相部原址，陳孟和曾在這裡⼯作，他從船上拍攝的綠島
作品是另⼀個展場『⼤浪襲來—綠島新⽣訓導處「再叛亂」案的真相與平反』特展的入⼝圖版。同⼀個視野的兩相對照，提
醒觀眾在絕美豐盛的綠島上，曾經有過多荒蕪的⽣命消磨，同時⾒證了驚⼈的毅⼒和創造⼒所撐起的⼈性尊嚴。

和綠島地理緊密聯繫的作品還有林羿綺的《回聲者群像》。這
件五屏幕的作品從綠島上邀集了演出者，分別在不同的位置扮
演導覽員、燈塔警衛、博物館蠟像館的清潔員、園區油漆師
傅、年輕的男女新⽣，他們唱了中文、⽇文、台語、英文的初
看像情歌的《不等》(林羿綺、斯⾺⾥奧共同作詞作曲)。演出(演
唱)就在作品所在的空間製作，螢幕裡的窗外和觀眾能同時望⾒
的「勿忘在莒」，讓園區的⽩⾊恐怖時期、監獄成為博物館的
時期、藝術家錄製作品的時候和觀眾⾯對螢幕的當下形成了共
時性。林羿綺提到「以被歷史附聲的姿態，跨越動態影像對於
時間以及空間的界線」，但演員清新的「演」的美學，更讓我覺得是當代對過去詮釋的主動性，也是年輕世代對受難前輩記
憶傳述的迎拒，他們不做複誦，⽽⽤⾃⼰的世代、⾝體視⾓來表達(記述)語⾔的多樣性，他們以⾃⾝影像疊上園區的空間記

憶、製造聲響讓歷史回⾳，是世代對⽩⾊恐怖和不義遺址詮釋的⾃我賦權。

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這幾件作品回應策展的邊緣標題，⼀⽅⾯突顯綠島因地理孤立⽽成為對知識界監禁之地，也突顯它⾄今成為交通和價位皆可
及的觀光、⽣態、考古和博物館園區之際，所謂邊緣性的意義。它或許可以做為檢視政治操作出來的邊陲、被消費⽣活稀釋
的⽩⾊恐怖記憶，還是被有意保留的標本，或是被封聖⽽阻卻了再論述的受難史？

⽩⾊恐怖的受難史如何不被標本化、聖壇化，成為貫穿世代的語⾔，前輩的記憶如何能內化為我們的事、成為可承傳的⽣命
史？安魂⼯作隊對於國家標本有⼀套作法，以囚房裝置的《版畫室與標本室－的確是存在於⼆⼗世紀》分別代表國家機制的
展⽰懲處的權⼒，以及⼈們持續轉述不義的策略。「標本室」裡有(搜⼈)地圖、關係圖等檔案，有象徵被處決者和象徵遺像
的鏡框內稻草⼈和書信碎片。綑綁的稻草⼈帶著⼀點王權時代極刑的「斬⾸⽰眾」的威嚇感，也令⼈想到⼈命如草芥的比
喻。在⽩⾊恐怖時代，儘管所有判決都有司法程序，但總統卻擁有直接改判死刑的獨斷全⼒，不但⽣命如草芥，法治也如灰
燼。「版畫室」是安魂⼯作隊帶著眾⼈根據⽩⾊恐怖事實的視覺化，⽽形成⼀⼤片的版畫牆。在這個房間裡還有象徵台灣⺠
主史「始創版畫」，黃榮燦的《恐怖的檢查》，意味所有獻給台灣的⺠主和⼈權歷程的版畫作品，皆從此開始。⽊刻版畫因
為製作迅速，在有印刷術發明後迅速成為宗教戰爭和政治宣傳的利器，歐洲在⺠主⾰命的風潮中，⽊刻和蝕版畫隨著新聞報
業可以⼤量且隨時刊⾏，⽽造就了宗教改⾰、啟蒙和⺠主⾰命。⼆⼗世紀⽊版畫的效應也隨著⾰命浪潮傳到了中國，卻因為
是社會主義觀念的絕佳宣傳美學，在⼆⼗世紀後半期隨〈台灣新⽣報〉、〈中華⽇報〉、〈公論報〉廣為流傳，⽽在台灣成
為極權統治者的眼中釘，版畫裡同情弱勢和社會評論的議題被壓抑，⽊刻版畫家也逐漸在歷年的省展(1946~)中消失。(陳樹
升，魯迅˙中國新興版畫˙臺灣四○年代左翼版畫，2001，台灣美術學刊) 安魂⼯作隊利⽤「版畫室」重新開發雕刻⽊刻版畫
的粗獷⼑⼒、印製成品的渲染⼒和號召⼒，也啟動了眾⼈聆聽、轉述和再現故事的能量，不避諱地回返版畫的政治⾝分。

洪瑋伶和辛佩宜的《K的房間—關於世界的創造與毀滅》的K是撰寫
英文字典嘉惠無數學⼦的柯旗化。「創造與毀滅」⼤約是「從A到
Z」的意味，是字典的架構，也是「從始⾄終」的概念。在柯旗化的
囚房裡，英文老師深入淺出，逐步進階地⽰範各種句型，⽽觀眾也
能從切換的園區畫⾯和句型文法說明，體會柯旗化對⾶翔的想望、
對留學他鄉的想像，對家⼈的思念…這件作品的冷靜是最令⼈⼼碎的
美學。柯旗化入罪坐監⼗七年，曾經⾃殺未遂，《K的房間》將他曾
有過的絕望，透過造出標準例句的⽅式隱晦地表達出來。這件作品
讓我想起德裔在羅⾺尼亞⻑⼤的諾⾙爾文學獎主赫塔米勒(Herta Müller)的作品。赫塔米勒在羅⾺尼亞的壓制政權下，同時⼜
因為德裔⽽被視為納粹的遺族，在共產陣營裡遭受歧視，⽽無法名正⾔順地⽤⾃⼰的語⾔。她的文學出⾃必須不斷地打破語
⾔的規則，毀棄再重組文字來表達⾃⼰被⾎統和⾝分雙重啃噬的敗壞狀態。成名作《呼吸鞦韆》(Atemschaukel)標題便是⼀
個不存在的字，藉由抽打鞭笞文字，把⾝體也承受不了的疼痛挖掘出來。《K的房間》讓每個學過英文文法的⼈感受到深沉
的憂傷，也讓觀眾看到最⽣命真實的，竟是假設語氣。

動員文字(無)⼒的作品還有王鼎曄的《親愛的，親吻我，然後，再
會》。以霓虹燈拼出的台語，像相愛者親密的道別語，也像盡⼒以
最溫暖的語氣，留下遺⾔。王鼎曄做為史料不完整、只能透過家族
成員蒐集記憶的⽩⾊恐怖第三代，⼀系列的作品呈現更多的，其實
是無法⾔說的狀態。因為事證被隱藏⽽模糊，或是因為埋得太深⽽
斷掉的記憶路徑，藝術家只剩「輕微」的素材來觸碰家族的隱痛，

在2017年的《勇為》的媒材是灰塵；在綠島的八卦樓入⼝的懸空⽩
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光霓虹燈，閩南語羅⾺拼⾳和⼿寫式的字體，是為眾多與親⼈告別
者所做的留⾔。《親愛的，親吻我，然後，再會》「語氣輕微」，且字會不時顫動，讓⼈想像著想怕洩漏⾏跡，不得不簡省
告別文辭的逃亡者，顫慄的⾝⼼狀態。

林⼦寧的《我是台灣⼈》把⾝體放進政治認同。藝術家朗誦台灣簡
史的文字，卻讓「台灣」兩字被雜訊覆蓋。《我是台灣⼈》以集體
創作的⽅式要參與者遮蓋台灣的聲⾳，並以⾃⼰的⾝體扮演創傷的
成形，⽤微細的⽅式分配壓迫者和被壓抑者、加害⼈和受害⼈的⾓
⾊。創傷被形／具體化，從藝術家的⾝上剪下來的紗布，隨著每次
的演出疊在展場上，越疊越厚。林⼦寧⽤縫線把台灣簡史的台灣兩
個字槓掉，和幾筆縫在⽩衣服上的紅線象徵創傷。紅線像刺進⽪膚
⽽汨⾎，每個傷⼝都不⼤不深，但卻都在堆疊著傷害。林⼦寧似乎
有意讓「台灣⼈」在國族、政治體制、文化或地理上的曖昧繼續懸
置，台灣是⼀個地⽅、國家或是有別於中國的政治體？「我是台灣
⼈」的宣⽰為什麼⼀定會引發「不是ＸＸ⼈」的對立詮釋？集體創
作出壓抑的聲⾳，提⽰了加／受害的⾓⾊選擇和結構的形成，不是
⼀眼就可以辨認的，也常常不是可以隨時可以脫⾝的。

訴諸⾝體感的，還有侯怡亭的《沾黏的影像》，雇⽤幾位女性⼯作者⽤注射針
將雞蛋的蛋⽩和蛋黃分開來，影像無塵實驗室感覺的⽩⾊調，毫無表情的⼯作
者已經喚起科學實驗的冷漠感，⽽刺進雞蛋的⻑針頭和流出的蛋⽩，似乎就是
⽣命的暗⽰。脆弱的蛋殼和被針筒吸出來的蛋⽩，以及侯怡亭⽤的「沾黏」的
概念，把對⽣命的折磨的意象帶進了我們⾝體的最內部，⼈還能怎樣抵抗從⽣
命最核⼼，被抽出精粹⽽流溢出、被曬乾和被踩碎？蛋殼是年輕⾝體、精神和
意志？⼈還能怎樣跟⾃⼰的⾝體如何分離？侯怡亭給觀眾很難克服的，發⾃⾝
體內部對⽣命耗損和折磨的想像。

記憶文化不限於文獻的再現或再詮釋，策展⼒和藝術⼒引發的不是紀念式的、轉敘式、說明或教育式的作品。觀眾也許是意
外地進入園區，但也可能意外的被作品所牽引，甚⾄感受到⾝理或⼼理的衝擊。這次的展覽留給觀眾許多的掛念，對講不清
楚的歷史恩怨的掛念、對還在處在陰影中的⼈的掛念，對還有多少⼈的、痛的、癒合的故事等待被說出來的掛念。

The second year of Green Island Human Rights Art Festival was curated by Sandy Lou, the same curator of the first year. More projects
were included this year, sufficiently supporting the very heavy curatorial discourse. All invited Taiwanese artists created new works for
the Festival, and foreign artists presented their earlier projects echoing the themes. Setting out from theories regarding marginality and
the Other, the curator engaged artists to derive their thoughts in art forms. The first artwork responding to marginality, I think, was the
Two Archaeological Scenes by Hsu Chia-Wei. It made Green Island a starting point on a navigation map and connected our stereotypical
impression of Green Island as a diving paradise with the salvage of historic relics conducted by the Academia Sinica. The pieces shown
as excavated objects were Hsu’s replicas of archaeologist Wang Hung-Po’s handmade ceramic works. Representing the works of Wang
Hung-Po, a White Terror victim, we couldn’t help but associate surfaced truth that had been underwater for a long time. The boat
breaking the glass and stretching out from the display case suggested the questionable preservability and presentability of the history.

The 3-dimensional replicas outlined the dynamics of the fictionality of art and brought historical archives among other materials to our
attention with different memorial forms, stirring the buried or fading memories again. The boat breaking the case reminded me of
British-Nigerian artist Yinka Shonibare’s work presented on the Fourth Plinth on Trafalgar Square in front of the National Gallery in
London (The Fourth Plinth had been bare due to insufficient funding and each year an artwork is selected to be displayed on it).
Shonibare’s work was Nelson’s Ship In A Bottle, making use of the pronunciation of “bottle” sounding similar to “battle”. Nelson’s Ship
was one of the ships named HMS Victory, a first-rate flagship that fought in the Battle of Ushant against French fleet  in 1778, during
the American Revolutionary War. And in 1797, during the French Revolution, it defeated Spanish Navy in the Battle of Cape St Vincent. In

1805, Nelson’s Ship conquered the joint Franco-Spanish fleet in the Battle of Trafalgar. Currently Nelson’s Ship is harbored at Her

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Majesty’s Naval Base in Portsmouth.

Yinka Shonibare is an African-British artist, he replaced the sailcloth with African flower patterned fabric (the artist’s signature style)
and put the ship into a bottle that was how ship models usually are presented. It was to look into the history of Britain becoming a
powerful colonialist through battles all over the waters. At the same time, it reflected the invaried rule that the  “historical display” and
“trophy collection” are the privilege of victors. Hsu Chia-Wei is very good at reconstructing history by making use of legends, oral
history, discovered objects, and unusual visual angles (photography from above, by drone, or through diving) that surely would impact
our memories. From a person’s wronged past to an island’s history, the Two Archaeological Scenes reversed the obscurity of the
hardship one had endured in the historic archives, meanwhile, giving ideas regarding the victim’s memory more than just a single form.
The model ship’s breaking out of the display case also questioned the musealization of the  White Terror Memorial Park.

Another project breaking through the marginality of Green Island was Chang En-Man’s Milky Way. One of the victims Ouyang Wen
remembered he was amazed and awed when seeing indigenous women’s bare breasts in Green Island. Chang En-Man therefore
adopted the Greek myth of Heracles getting divinity from Hera. Greek myths had much to do with geography, for the country had been
under threats of earthquakes, ocean tides, and volcanic explosions (Mount Olympus, home of gods, is a volcano). On the other hand, it
impregnated diverse beings with abundant natural resources because of its unusual geographical conditions. And relocating or sailing
needed celestial navigation that human beings had learned from the cycles of nature before restyling them, according to astronomic
and geographic knowledge, into stories of deities and humans. Green Island had been inhabited by Tao, Taroko and Puyuma peoples,
although it had stunning landscapes, it was used to isolate prisoners by the regime. In her art project, Chang developed two narrative
lines, one told the stories of rich lives nourished by Green Island and the indigenous peoples’ attitude toward life. Another was human’s
intervention of Green Island’s geographic features and resources. Since the known history, marginalized places are used to incarcerate
and punish people who are to be eradicated, or to be disqualified as humans. Political prisoners here were ordered to pick and carve
rocks to construct walls to confine themselves. In the 2019 Festival, artist Kao Jun-Honn’s Sumeru: Caving Is Orogeny and Shih Yun-
You’s Mending Wall, A Practice also accentuated the absurdity and groundlessness in political exploitation at that time. In 2020, the
Milky Way criticised the politics and the power holders’ contempt for nature. In this work, the ideas regarding the human figures
devoured by tides constituted a stark contrast to the brilliantly changing light of the stained glass. Isn’t it the artist’s suggestion that, in
the church-like ambiance and art in nature, we might find redemption for the humiliation the victims had to endure when forced to build
walls and the deprivation the indigenous people had to suffer when forced to relocate?

In Eleng Luluan’s The Forgotten Vanishing, big waves were represented by hand weaving of fine fishing threads, which lively expressed
the threatening power of the sea. The weaving was a landscape as well as a map;  pure white waves have strong sucking forces, luring
spectators by the gigantic black rocks with witchcraft. It’s a gaze of the Green Island from seashore, also resembling two saddened
faces leaning against one another. Were they speechless and in despair, fading into their own unkempt hair and the blue night?

In Eric Chen’s Coordinate Being, sticks wrapped by red threads gave an impression of bandaged wounds. The vaguely visible red wraps
constituted a profile of the Green Island from the sea. It could be a hurrued glance when approaching or leaving. This artwork obscurely
implied the existence of walls that failed to block outward views and desire for freedom. The site was where Chen Meng-He, a prisoner
decades ago, had developed films of the photos he took. Chen Meng-He’s later photographs of Green Island from a boat had been
displayed at the gate of exhibition “Huge Waves Attack — Revealing the truths and redressing the case of ‘re-rebellion’ at the New Life
Correction Center on Green Island”. The two works from the same angle remind us that in this gorgeous island, many lives had been
consumed or wasted, but not their dignity, thanks to their admirable resistance and creativity.

Lin Yi-Chi’s Group Portrait of The Echoers also regarded the geographic features of Green Island. Five screens played the performance
of a tour guide, a lighthouse guard, a cleaner of wax statues in the museum, a house painter of the memorial park, and the new coming
young freshman and freshwoman. In the videos, they sang “Waiting for Nothing” (composed and written by Simario and Lin Yi-Chi) in
Chinese, Japanese, Taiwanese and English, like singing a love song. It was on-site performance, spectators outside of the windows or
through the screens could see the inscription of Chiang Kei-Shek’s word: “Forget Not The Days of Displacement From Our Motherland”.
The period of White Terror, the time when the prison was transformed into a museum, and when the artist was recording her work
were presented in synchrony. Lin Yi-Chi said it was “going across the boundary of time and space in animated images with a manner of
being possessed by the ghosts of history”. From the artless performance, I see the aesthetics from the spontaneity of interpreting the
past, although not without young generations’ ambivalent feelings to the stories of the victims. They decided not to repeat what they

were told, but through their own angles and diverse narratives to cover the spatial memories with their own bodies and the images of

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the bodies to produce echoes of the history. It was the younger generations self-empowered interpretation of the past White Terror and
the historical sites of injustice.

The aforementioned projects responded to the theme of marginality, not only its past role as a place confining rebellion intellectuals
because of its geographic isolation, but also the new significance under the trends in tourism, ecological studies, archaeological
discovery and museological development today. Might it suggest the marginality manipulated politically, memories of White Terror
diluted by consumerism, or historical specimens carefully preserved, or consecrated stories that are no longer discussed?

How can we avoid the consecration or embalmment of the victimhood? How can we internalize the memories of the aging victims and
pass on their life stories to coming generations? The Libera Work-Gang established a system to present national specimens. In the
cells, The Print Studio and Specimen Room Did Exist in the 20th Century represented the punitive power of the state apparatus as well
as the strategies of passing on stories of state injustice. In the Specimen Room, maps of victims being searched and charts of their
relationship were presented with framed portraits of the executed, straw men, and fragments of letters, among other symbolizing
objects. The straw men were reminiscent of those executed publicly during the monarchy, implying that human lives were treated no
better than strawgrass. In the White Terror period, although all the trials were proceeded in the courts and decided by judges, President
Chiang Kai-Shek still had the power to change the sentences to capital punishment. Human lives and the rule of law were completely
disregarded. In the Print Studio were the visualized White Terror. The woodcut prints covering up the walls were made during the
workshops of the Libera Work-Gang. The original woodcut inspiring the fights for freedom as well as this project was also found in this
room—The Terrible Inspection by Huang Yung-Tsan, also a victim of White Terror. These woodcut prints are dedicated to Taiwan’s
democratization and human rights restoration. The printable woodcuts or etching had been applied during the religious revolutions, 
enlightenment, and democratization in Europe, for they were easy to print  in mass quantities at any place and any time. Woodcutting
was passed to China in the 20th century, becoming perfect tools to spread ideals of socialism with its unique aesthetics. And during the
later half of the 20th century, similar works were passed around through Taiwan Shing Sheng Daily News, China Daily News, and
Taiwan Tribune, among other publications. They became the pain in the neck of the regime, thus social issues regarding minorities
among other political comments were repressed. According to Chen Shu-Sheng’s “Lu Xun and Woodcut Art in the 1940s in China and
the Rising Left-wing Art in Taiwan”, woodcut artists were excluded from art competitions in Taiwan since 1946 (Journal of National
Museum of Fine Arts, 2001). With the print workshops, the Libera Work-Gang has rediscovered the magnetism of the wild style of
woodcutting and the outreach effect of their prints. Through the participation of more and more people, these stories have regained
their lives and are renarrated, and the political nature of woodcutting is no longer a taboo.

K’s Room—the Creation and Destruction of the World  by Hung Wei-Ling and Hsin Pei-Yi was about Ke Qi-Hua, a victim and an author of
English dictionary and grammar books that helped numerous students. “From creation to destruction” was compared to “From A to Z”,
an arrangement not unlike a dictionary that starts from the beginning to the last in alphabet order. In his cell, Mr. Ke demonstrated each
vocabulary and sentence, from simple ones to more complicated examples. Through the switching scenes between the park and the
teaching, the audience could feel Mr. Ke’s desires to fly away, to study overseas, and to be united with his family. The calmness
contained in the extraordinary aesthetics of this art project was heartbreaking. Ke Qi-Hua had been incarcerated for 17 years and had
attempted to take his own life. K’s Room subtly expressed his despair through the example sentences. I was reminded of the Nobel
Literature Laureate Herta Müller, a German speaking Romanian and was oppressed by the Communist regime as the descendant of
Nazi Germany. In Romania, she couldn’t speak her own language, thus her writing must endlessly break the rules of languages, like
destroying them before rearranging them as a strategy to express the traumas of enduring double erosion of her parentage and
identity.  Müller’s best known novel Atemschaukel used a word that did not really exist, it was her way of whipping the words in order to
mirror the pain beyond one’s body could tolerate. Represented by subjunctive sentences, the most truthful life of Ke Qi-Hua in K’s Room
saddened everyone who ever learned English from his books.

The powerfulness or powerlessness of words also could be seen in Wang Ting-Yeh’s My Dear, Kiss Me And Goodbye. The words in
Taiwanese manufactured by neon light tubes were an intimate farewell, whose speaker gave out the last comfort he could offer with
warmth. Wang Ting-Yeh is the third generation of a victim, but the materials he could find were fragmental, what he could only rely on
were the incomplete memories of the other members of his family. So the artist was dealing with the speechlessness of the victimhood.
Whether the obscurity was because the evidence had been hidden, or because the memories had been buried is unknown. The artist
was left with very limited elements to investigate the invisible pain in his family. Compared to his Confronting Memories in 2017, an
artwork made with ash, these hand-writing Taiwanese words spelled by Roman phonetics and hung at the entrance of the Bagua

Building was a message the artist made for those who had needed to say goodbye to their beloved. “My dear, kiss me and goodbye”,

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tenderly, these words trembled slightly in the air, like fugitives afraid to reveal their traces had to save their words of farewell.

Lin Tzu-Ning’s _______What We Cannot Say included one’s body in identity politics. The artist read a brief history of Taiwan, but
whenever Taiwan was pronounced, performance participants would make noises to disturb it. At the same time the artist used her own
body to demonstrate the cause of harm whenever a declaration was made. The roles of the oppressors, the oppressed, perpetrators
and victims were carefully assigned to demonstrate how traumas were formed physically. As the performance was repeated, the pieces
of gauze cut from the wrap the artist was wearing piled up. And in the brief history of Taiwan, Lin Tzu-Ning crossed over the word
Taiwan with red thread. Like the red lines over her white clothes, they were cuts still oozing blood. Each cut was shallow, but the
damages added up. In her artwork, Lin Tzu-Ning kept Taiwan’s position ambiguous in terms of nation, political system, culture and
geography. Is Taiwan a place, a country, or an entity other than China? Why would pledging “I am a Taiwanese” certainly would provoke
the statement “I am not a XXX”? Collective actions of repression allowed us to see the history of persecution; it was not easy to tell, and
it was not easy to break away, either.

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