Kapa計畫(Kapa Project)
帆布、木框、現成物、照片、錄像/2023/依場地尺寸
canvas, wood, ready-made objects, picture, video/ 2023 / Dimensions variable
「Kapa計畫」從大眾對藍白帆布的日常經驗出發。我藉由「包覆」，也就是將整個博物館擴大為一個創作腹地，用帆布將三樓展廳包覆起來，宛如一個大型的藝術創作實驗現場，期望引導民眾對於這個空間的重視，並喚起大眾對於原住民族文化背後的關聯。同時展覽現場透過文件展示的引導下，分享一段與家族青年走訪舊部落「拉卡社」的故事，而這個作品正是藉著創作開啟對於遷徙、路徑與勞動的想像。
"Kapa Project" starts from the public's daily experience of blue and white canvas. By "covering", I expand the entire museum into a creative hinterland, covering the third floor exhibition hall with canvas, like a large-scale art creation experimental site, hoping to guide the public to pay attention to this space and arouse the public's attention. For the connection behind the culture of indigenous peoples. At the same time, under the guidance of document display, the exhibition shared a story about visiting the original place "Laga tribe" with my younger family member. This work opened up the imagination of migration, paths and labor through creation.
Our
Story
介紹拉卡社 （introduction of Laga）
又稱「桶後社」，因部落附近有許多楓樹（泰雅語：laga），故稱之為「拉卡社」。部落形成於桶後溪沿岸山腹約500公尺處，先祖Takun Naway遷徙至此，由宜蘭溪頭遷入。
Also known as "Tonghou tribe", because there are many maple trees (in Atayal dialect: laga) near the tribe, it is called "Laga tribe". The tribe was formed about 500 meters into the mountain along Tonghou Creek. The ancestor Takun Naway migrated here from Xitou, Yilan.(the north-eastern part of Taiwan)
Takun Naway有3個兒子，長男 Bunay Takun、次男Beho Takun、三男Batu Takun。Yukan為Batu Takun家族後代，舊社土地由家族成員繼承，但因日據時期殖民政策，族人被迫遷出，戰後土地仍有家族成員上山種植水果，但因時代變遷，目前已荒蕪無人居住。
Takun Naway has three sons, the eldest son Bunay Takun, the second son Beho Takun, and the third son Batu Takun. I am a descendant of the Batu Takun family. The land in Laga was inherited by family members. However, due to the colonial policy during the Japanese occupation, the tribesmen were forced to move out. After the world war 2, family members still went to the original place to plant fruits. However, due to the changes of the times, it is now deserted and uninhabited.
透過田野調查，此區展出的文物，為拉卡社實際挖掘出來的物品，不僅發現舊部落的建築遺跡，也試著拼湊出家族曾經在此生活的歷史記憶。
Through field research, the cultural relics on display in this area were actually excavated by the Laga. Not only did we discover the architectural remains of the old tribe, we also tried to piece together the historical memories of the family that once lived there.
找路 （Finding the path）
以木作結構做出迷宮般的路徑，搭配帆布的網狀作品，描述在山上的移動經驗。獵人在山林間攀爬行走的過程，都是在濃密的叢林中，找出前進的道路。《找路》以「找尋道路」為命題，讓觀眾沈浸在叢林的狀態，這種找路的過程，也是比喻藝術家在找尋自己迷惘的文化認同。透過作品，表達一路以來的生命經驗，透過一次又一次的探索，不僅是找尋家族遷徙的溯源，也在找出自己來自哪裡？我又是誰？並以此反映生活的反芻和對人生的思考。
The wooden structure is used to create a maze-like path with the canvas mesh work that describes the experience of moving on the mountain. When hunters climb and walk in the mountains and forests, they always find their way forward in the dense jungle. "Finding the Road" takes "finding the road" as its theme, immersing the audience in a jungle state. This process of finding the way is also a metaphor for searching my long-lost cultural identity. Through this works, I expresses my life experiences along the way. Through exploration again and again, I'm not only looking for the origin of my family’s migration, but also finding out where I come from. Who am I? And in order to reflect the rumination of life and thinking about life.
烏來記憶
重製作品2021
家屋 （Family House）
《家屋》從口述歷史和實際舊部落的田野調查，拼湊舊部落家族的遷徙歷史。藝術家想像當時在此生活的樣貌，堆疊的石頭代表舊部落（拉卡）還殘存的家屋幾時，上方藍色膠繩搭蓋而成的雛形，代表想像的建築造型。在過去與現在之間，透過帆布的編織，藝術家串起自己與家族之間，這裡（拉卡）曾是家屋的事實與回憶。
It mainly pieced together the migration history of my families from the family's oral history and actual field investigations into the original place. I imagined what life was like there at that time, so I took the prototype woven with blue rubber ropes above symbolizes the architectural style. I try to connect my families and I through the weaving of canvas (plastic products) between past and now.
