高俊宏

《地誌:Ncaq(大豹)》

Ncaq在Atayal(泰雅)的意思是「鬼芒草之地」,也是大豹社的古名。我到過Ncaq的舊聚落,這裡曾經被日本改為東亞最大的茶場,現在是大板根森林溫泉渡假村,後面的山野則密密麻麻分布著日本「五年理蕃」時期的隘勇線遺址。我遇見一座荒廢的日本忠魂碑、一位Ncaq遺老,以及鬼河大豹溪旁邊的一間百年萬善堂,那裡收容了千具為了抵抗日本軍事化的經濟拓殖而戰死的Ncaq屍骨。
似乎那座萬善堂一直在跟我說話,它說,當整座島嶼的空間都被內摺(遮)於正統歷史的時間裡,你要怎麼辦?我的作品策略是,從空間的重新解讀,串起連帶不存在於正史的關係。換言之,是一種空間的幾何:鬼河、茶場、度假村、公路與隘勇線……還有Ncaq的萬善堂。
KAO Jun-Honn

Topology: Ncaq

The Space Out series is a collection of mysterious events happening in temples during the modernization of Taiwan society. As tradition clashes and melds with modernity, the decorations in folk religion mark the evolution of time. What is presented are the daily objects in folk culture, which are also a (un)conscious sci-fi installation. During the process of modernization, in what kind of specific borderland—even a diverse one that is pieced together—do these symbols in temples exist in contemporary life? I approach the romantic social collective creation with a slightly humorous attitude, regarding it as the like of ethnography.
 

1973年出生於臺北縣樹林。藝術創作者與論述者,工作與生活於臺北。關注邊地空間、人、當代戰爭、東亞與群島思想。創作方法以行走踏查、非法入侵、書寫、出版、拍攝為主。作品曾多次於國內外展出,著有《群島藝術三面鏡》等。
KAO Jun-Honn | born in 1973 in Shulin, New Taipei City. Kao works and lives in Taipei. He is an artist and critic, focusing on issues about borderland, people, contemporary warfare, East Asia, and archipelago thinking in his artistic practice. He creates works through investigations on foot, trespassing, writing, publishing, and photography. Kao’s works have been exhibited many times both in Taiwan and abroad. He has published the series Three-Mirror Lens of the Archipelagic Art.
 

 
 
 
 
 
 
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