從lima到pulima From lima to pulima

2025，礦泥色料於構樹皮，28x785cm
Mineral pigment on paper mulberry bark, 28x785cm

在南島語系中，「5」這個數字常以 lima 表達。在排灣族語裡「pu」表示「擁有」，pulima 便意指「擁有許多手的人」，引申為「巧手善於工藝之人」，如今更成為「藝術家」的代稱；世界各地遠古壁畫中常見的手印群，彷彿在視覺上與此概念產生了某種呼應。構樹製作的樹皮布，是太平洋南島民族重要的物質文化之一。科學家透過其 DNA 系譜分析，為「南島語系源於台灣」這一跨領域假說提供了有力佐證。在阿美族語中構樹被稱為 lolang，而其字根 lolol 含有「回復、歸還、再造」之意。我們或許難以完全理解與想像遠古南島民族橫跨萬里大洋的遷徙歷程，以樹皮乘載一個探路的旅程，如航行者的古老圖卷，記錄著手的軌跡與意志，引領我們向尚未命名之地前行。

Within the Austronesian language family, the number “five” is often expressed as lima. In the Paiwan language, “pu” signifies “to possess”; thus pulima denotes “one possessing many hands”, extending to mean “a person skilled in craftsmanship”, it has evolved into a synonym for “artist” now. The clusters of handprints frequently found in ancient rock art worldwide seem to visually resonate with this very concept. Bark cloth woven from paper mulberry constitutes a vital material culture among Pacific Austronesian peoples. Through DNA genealogical analysis, scientists have provided compelling evidence supporting the interdisciplinary hypothesis that ‘the Austronesian languages originated in Taiwan.’ In the Amis language, paper mulberry is termed lolang, its root lolol carrying connotations of ‘restoration, return, and rebirth.’ We may struggle to fully comprehend or imagine the ancient Austronesian peoples' transoceanic migrations spanning vast seas. Using bark as a vessel for a pioneering journey, like an ancient navigator's scroll, it records the traces and will of hands, guiding us towards unnamed lands yet to be discovered.

植物誌轉印術－九曲走讀計劃 Ethnoplants Transfer Printing- Brewing and reading tour of Urban Indigenous people's

2025，石膏拓印 15x15x4.5cm x11，計畫文本，釀酒植物盆栽一批
Plaster casts 15.5x15.5x4.5cm x11, project's text, Potted plants

「九曲」為酒麴的同音字，去想像字面的畫面似在山海基隆城市的曲折小徑或山坡民宅旁遊歷。釀酒需要酒麴來製作，而成品族人對外又隱晦的稱之為糯米汽水。延續MUNUS讀書會的計畫，以釀酒工作坊的形式展開，跟隨著基隆原住民社區的阿美族人尋找生活圈周遭適合做酒麴的民族植物，進而透過認識這些植物背後的文化來開啟對話。

Building upon the MUNUS reading group initiative, this project takes the form of a brewing workshop. Participants will join members of the Amis tribe from Keelung's indigenous communities in identifying suitable indigenous plants for making koji within their local environment. This exploration of the cultural significance behind these plants will serve as a catalyst for dialogue.

笆札筏的大洪水 The Great Deluge: Oral History from Pacavalj

2025，單頻道彩色影片18分57秒，展出與委託製作於 如果我們的語言是……
Video 18" 57', artwork commissioned by "Sounds of Babe"

1935 年小川尚義、淺井惠倫以萬國發音記號、日語標注的合著《原語による高砂族傳說集（原語實錄臺灣高砂族傳說集）》，其中一篇採集自 Pacavalj（現台東大武鄉大鳥村）的傳說；講述一對兄妹在遭遇大洪水滅村之後努力存活下來並以亂倫婚姻來延續後代，從近親生產出殘缺的子孫，慢慢到幾世代後漸漸形成一個正常人類的聚落，也是部落的起源。這個敘事採集我的故鄉，後代在2011年為此故事製作繪本，並重新以自己的排灣族語講述這個故事。對於上述諸多語言翻轉的狀態感到有趣，我特地拜訪一群研究南島語的朋友為我解讀《原語による高砂族傳說集》，也近一步探究他們如何將被判定為死語的西拉雅語，如何透過參考《諸羅縣志》（1717）或對照《新港語馬太福音》（1888）去解碼及復活發音系統。

In 1935, OGAWA Naoyoshi and ASAI Erin published ‘A Collection of Formosan Aboriginal Folktales in the Original Language’, employing the International Phonetic Alphabet (IPA) alongside Japanese annotations. One tale recorded from the Pacavalj tribe (present-day Daniao, Dawu Township, Taitung County). It recounts how a brother and sister survived after their village was destroyed by a great flood. They sustained their lineage through an incestuous union, producing deformed offspring from this close kinship. Over several generations, these descendants gradually evolved into a community of normal humans, marking the tribe's origin. This narrative was collected in my homeland. Later generations produced a picture book based on this story in 2011, retelling it in their own Paiwan language.

Intrigued by these linguistic transformations, I sought out scholars specialising in Austronesian languages to decipher ‘A Collection of Formosan Aboriginal Folktales in the Original Language.’ This led me to explore how they decoded and revived the pronunciation system of Siraya—a language deemed extinct—by referencing the ‘Zhuluo County Annals (1717)’ and cross-referencing with "The Gospel of St. Matthew in Formosan, Sinkang Dialect) (1888) to decode and revive its phonetic system.

植物誌轉印術-給離鄉族人的備忘錄 Ethnoplants Transfer Printing- a memorandum a memorandum for distant clansmen

 

圖片提供森川里海藝術季 photo by Mipaliw land art

2024，木材、石膏板，350x180cmx60cm 

參展於「2024森川里海藝術季－銜接」，圖片提供森川里海藝術季

追朔「備忘錄」拉丁語字源 memoro所形成的動名詞，意為「應該被記住的」。阿美族語 mi 為「拿取」的驅動詞，也是生命與生存的原始驅動，不論是在原鄉採集與傳統文化慣習有關的實用植物，或是都市原住民收集廢板材在城市邊陲建構生存空間，將兩者生活經驗做一個造型結合；拓印植物就像遠古壁畫或化石留存，廢板材經歷使用與歲月痕跡呈現生命力，將此集合物置於自然林間讓陽光灑落呈現光點斑塊，藉此進行一個記憶的行為。備忘錄 (MOU) 也是各方採取行動的協議，透過補遺兩端的動作去演示生態豐富島嶼的當代史。

2024, discarded wood, plasterboard, 350x180cmx60cm.

At " 2024 Mipaliw land art - articulation ", Fakong village, Fengbin Township, Hualien, Taiwan.  (photo by Mipaliw land art)

Tracing back the Latin root of "memorandum," memoro is a verbal noun meaning "something that should be remembered." In the Amis language. "mi" is a verb meaning "to take" and also represents the primal drive for life and survival; whether it's gathering useful plants tied to traditional cultural practices in the indigenous homeland, or urban Indigenous peoples collecting discarded wood to build survival spaces on the outskirts of cities, this piece merges both life experiences into a singular form. The plant imprints resemble ancient cave paintings or preserved fossils, while the discarded wood bears the marks of use and time, reflecting vitality. This assemblage is placed in the natural forest where sunlight filters through, creating patches of light, engaging in an act of memory. A memorandum (MOU) also signifies an agreement for action between parties. By attempting to bridge the gaps, this work seeks to reenact the contemporary history of an ecologically rich island in Taiwan.

笆札筏的大洪水 The Great Deluge: Oral History from Pacavalj

攝影朱軒志 Photo by Hsuan-Chi Chu 

Artwork commissioned by 2024 Taipei Dangdai and the Ministry of Culture (Taiwan).

2024，十字繡於棉布上，12 cm x 1500cm 
族語翻譯（羅馬拼音）：張美瑛, 潘世珍
2024, Cross-stitch on cotton cloth, 12 cm x 1500 cm
Paiwan language translation ( Romanization System): Karui Tjuljaviya, Saivi Langalj 

遇上大浩劫爾後倖存的人們如何記錄經歷？且沒有文字的原住民族似乎僅能以口傳去延續這段歷史記憶。刺繡的上的羅馬拼音敘事，採自1935年小川尚義、淺井惠倫以萬國發音記號、日語對照的合著《原語による高砂族傳說集（原語實錄臺灣高砂族傳說集）》，其中一篇採集自Pacavalj（現台東大武鄉大鳥村）的傳說；內容大略是一對兄妹在遭遇大洪水滅村之後努力活下來並以亂倫婚姻來延續後代，從近親生產出殘缺的子孫，慢慢到幾世代後漸漸形成一個正常人類的聚落，也是部落的起源。刺繡卷軸裡使用難以理解的字符，鏡像去呈現這世界不斷重演的歷史。

How would the survivors record their experiences after a great catastrophe? For indigenous peoples without a written language, oral tradition seems to be the only way to pass down this historical memory. The Romanization System narrative in the embroidery is derived from the 1935 collaborative work "A Collection of Formosan Aboriginal Folktales in the Original Language" by Shouichi Ogawa and Keirou Asai, which uses an International Phonetic Alphabet and Japanese control. One of the collected stories is a legend from Pacavalj, which tells of a brother and sister who survived a great flood that destroyed their village. They struggled to survive and continued their lineage through an incestuous marriage, initially producing offspring with defects. Over several generations, these descendants gradually formed a normal human settlement, marking the origin of the tribe. The scroll embroidery uses incomprehensible characters in a mirrored fashion to represent the seemingly endlessly repeating history of this world.

Rawus Tjuljaviya 與表姐們 Rawus Tjuljaviya and Her Cousins

攝影黃雅農，均勻製作提供
Image courtesy of the Goldilocks Production, photo by HUANG Ya-Nung

2023，編織、單頻道彩色影片14分39秒。展出於2023綠島人權藝術季「傾聽裂隙的迴聲」，新生訓導處，台東
2023, Weaving, video 14” 39’. At 2023 "Green Island Human Rights Art Festival – Listening to the Overtones of Fissures", Green Island White Terror Memorial Park, Taitung. 

她們人很好也很單純。

我的族名叫 Rawus，承自 Larepaq 的外祖母，是熟悉族名排序分配、嫻熟母語的表姐告訴我的。我和表姐們同屬臺東大鳥村裡的 Tjuljaviya 家族，1950-1960 年代出生的她們，似乎安於異族的統治，如同其他鄉里那些安分求生存的人，也可能是黨國體制的一員，或是外來宗教的虔誠擁護者。藉由共同的展覽工作試著進一步理解她們，希望不同光譜的兩端，以藝術為名去連接起來。影像記錄表姊們使用羊角勾勾法編織sikau（排灣族傳統網袋）的過程，以及我們之間的對話。

They are nice and simple people.

My indigenous name is Rawus, which is inherited from my maternal grandmother from Larepaq – a piece of information that I got from my female cousins who are familiar with the order of our family names and native language. My cousins and I all belong to the Tjuljaviya family living in Pacavalj . They were born during the 1950s and the 1960s, and seem to be contented with the rule of the foreign race. Like other law-biding people who only seek to make a living, they are probably followers of the party-state regime or devout supporters of foreign religions. I try to get a deeper understanding of them through our co-creation for this exhibition, hoping to bridge the two opposites of the spectrum through art. The video documents my cousins using goat’s horns as needles to weave sikau (traditional Paiwan woven bags) and our conversations. ( Translation provided by Goldilocks Production, translated by HUANG Liang-Jung ) 

蝸牛的漂浮系統 Floating system for snails

2022，綜合計畫，有機玻璃彩繪船屋（高240x寬300x長750公分）與候船室（高240x寬180x 長550公分），文獻帆布刺繡245x345mm x2、205x275mm x8、195x285mm x2、166x245mm x6（共16幅），影片14分35秒（2021）。參展於2022年第15屆文件展「lumbung」：卡塞爾市，黑森邦，德國。

2022, comprehensive programs; perspex painting on the houseboat ( H240 x W300 x L750cm) and the waiting room ( H240 x W180 x L550cm）; embroidery on canvas literature: 245x345mm x2, 205x275mm x8, 195x285mm x2, 166x245mm x6. At 2022 “lumbung” documenta-fifteen, Kassel, Hesse, Germany.

從排灣族的傳統料理出發，1933年來到臺灣的入侵物種非洲大蝸牛是主要食材，調理出一系列的綜合展演。河道上航行的船屋、碼頭上乘載訊息的候船室，將「蝸牛的漂浮系統」為主軸作推進，串連小組的衛星計畫，以及跨國合作出版等相關討論；回應第十五屆文件展策展主「lumbung」（印尼語「穀倉」）展開社群連結、全球南方以及資源共享的生態系統。

Starting from the traditional cuisine of the Taiwan indigenous Paiwan group, the main ingredient of the invasive species African giant snail, which came to Taiwan in 1933, the group organized a series of comprehensive exhibitions. The “Floating System of Snails” is the main view of the exhibition, which is promoted by the houseboat of the sailing on the river and the waiting room at the pier, linking up the team's satellite projects and transnational cooperation; the ecosystem of community connection, the global South, and the sharing of resources is unfolded in the context of the curatorial theme of the 15th Documenta, "lumbung" ("barn" in Indonesian).

不只是恩光書局 Not just the Uriah Bookstore

2011、2022，老照片與老文件一批、單頻道彩色影片五件：4分鐘 (2022)、2分33秒、1分36秒、3分58秒與2分33秒。展出於「另一座板塊」，台東美術館。
2011, 2022, old photos, old documentation, 5 videos, 4” (2022), 2” 33’, 1”36’ , 3”58’, 2” 33’. At 2022, "Another Continent", Taitung Art Museum, Taiwan.

我的父親張威良是1949年從中國播遷來台灣的“外省人”，落腳並成家立業在原住民生活領域，也留下大批1960年代在台東大武鄉拍攝的老照片。我從中探索他眼中的景物，幾乎沒有生活密切的原住民身影，滿是對現代化建設的興趣，在過往與今日交錯的影像中略整理家族史，也一窺戰後的南迴地誌。

My father, William Chang, was a new immigrant from China who came to Taiwan in 1949 and started his family in Dawu Township, Taitung County, a Paiwanese area where most of the indigenous people of live. William's hobby was photography, and he left many records of his life in the 1960's. I explored the landscape through his eyes, indigenous people not there, but full of interest in the construction of modernization. I was able to organize my family's history in the intertwined images of the past and present, and to glimpse the post-war topographic  of South Taitung.

園區／生活・家屋／蝸牛 Cultural Park / Life・Traditional Dwelling / Snail

園區／生活・家屋／蝸牛（2021）彩色單頻道影片，8分7秒（現地製作）
 "Cultural Park / Life・Traditional Dwelling / Snail "(2021) , video, 8"7'  (made in situ).

張恩滿＋Sedjam Takivan Kavunga

駐園計劃（攝影芮斯影像，原住民族文化發展中心提供）
En-Man Chang＋Sedjam Takivan Kavunga
Residency Program, image courtesy of the

Indigenous Peoples Cultural Development Center (Taiwan), photo by ReMix. )

台灣原住民族文化園區作為匯集島內正名16族族群文化展示與推廣的場域，在諾大半山園打造一棟棟各個部落的傳統建築與家屋。短期進駐的藝術家如何去思考與空間的關係？身為溯源血脈的一員，在對空間感到陌生與距離的實在感受下，邀請擁有老人靈魂的排灣族文化青年Sedjam Takivan Kavunga（漢名林志祥，台東pacavalj部落）合作，實際生活在園區，於完美建物裡呈現某種開墾狀態；他熟嫻各項傳統文化與知識，我以蝸牛系列創作為介面，在擬態的場所棲居活動，討論傳統意義中的日常，實踐家屋意象與時空場景的縫合。

當裊裊炊煙升起，代表人／生命在建物裡活動，是傳統意義上重要的生活象徵，以生活的痕跡去呈現空間性的轉換。Sedjam在模擬的傳統家屋開啟的日常生活，展演期間他也不時出現於展場／家屋，與〈蝸牛〉系列展開對話。

The Taiwan Indigenous Peoples Cultural Park, as a venue for the exhibition and promotion of the cultures of the 16 ethnic groups on the island, has created a series of traditional buildings and houses of each tribe in the vast Mid-Levels Park. How do short-term artists think about relationship with the space? As a member of the traceability lineage, I invited Sedjam Takivan Kavunga (Chinese name Lin Chih Hsiang, Taitung pacavalj tribe), a young Paiwanese cultural youth who possesses the soul of an old man, to collaborate with me, as I actually live in the park, and present a certain kind of reclamation state in the perfect building; he is well versed in various traditional cultures and knowledge, and I have used the Snail series as an interface for inhabiting and moving about in an imaginary place, discussing everyday life in the traditional sense, and practicing the seamlessness between the imagery of the house and the spatial and temporal scenes in the imagery of the house.

When the smoke rises, it represents the movement of life in the building, an important symbol of life in the traditional sense, and the traces of life are used to present the transformation of spatiality. Sedjam's daily life in the simulated traditional house, and his frequent appearances in the exhibition venue/house during the exhibition, are a dialogue with the "Snails" series.

蝸牛樂園三部曲－啟航或終章（影片版） Snail Paradise Trilogy: Setting Sail or Final Chapter (video)

影像截圖 Screenshots

2021, 單頻道彩色影片 14分35秒

2021,  video 14 "35'

台灣原住民族沒有文字，以口傳故事來延續歷史；而非洲的歌里謳 (Griot) 是保持口述歷史傳統的吟遊史官。從人類起源於非洲學說的想像開啟，以部落有個歌里謳的概念，使用排灣族祈雨古調，吟唱非洲大蝸牛的大航海故事，也是對陌生又相似的文化的致敬。

Taiwan's indigenous peoples have no written language; they pass down their history through oral storytelling. In Africa, the Griot serves as the bard who maintains the tradition of oral history. Inspired by the theory of human origins in Africa and the concept of a tribe having a Griot, we use the ancient Paiwan rain-praying melody to sing the maritime story of the African giant snail. This is a tribute to both unfamiliar yet similar cultures.

蝸牛樂園三部曲－啟航或終章 Snail Paradise Trilogy: Setting Sail or Final Chapter

高雄市立美術館提供，攝影林宏龍 Courtesy of the KMFA

2021, 花船彩繪 50x100x400cm，單頻道彩色影片 14分35秒，刺繡含框16cmx16cmx2cmX9組。展出於2021年《泛．南．島藝術祭》，高雄市立美術館。2021, Flower boat painting 50x100x400cm, video 14 "35', embroidery with frame 16cmx16cmx2cmX9 sets. At 2021 "Pan-Austro-Nesian Arts Festival", Kaohsiung Museum of Fine Ars.

英國植物學家約瑟夫．班克斯爵士（Sir Joseph Banks，1743-1820）隨著庫克船長展開殖民探勘的冒險旅程，每趟歸國都帶回豐碩採集成果，成就皇家植物園的奇遊景觀。大航海時代開啟了各地物種的大交換，也造就疾病與生存競爭的紛擾。原生於東非的非洲大蝸牛隨著洋流擴展，成為世界百大入侵物種；回溯牠的散播途徑，恰似帝國擴張的路徑；1933年日本殖民政府官員從新加坡引進臺灣發展食用養殖，牠難以處理的黏液，台灣原生種構樹的葉子卻能輕易去除，而構樹是科學家以它的基因佐證台灣是南島語族的起源，南島語系最西的馬達加斯加又鄰近東非－非洲大蝸牛的起源地。這來來回回的交錯在歷史疊層裡，再從族人的蝸牛料理相關的食材植物們，感受到錯綜複雜的交流網絡，將一路認識的它們轉為刺繡圖騰，試圖留下給未來的「傳統」採樣。我想攜帶與蝸牛料理相關植物的圖案，像是要去為蝸牛尋根，航向「人類起源非洲說」的想像去吟唱。

With Captain Cook, Sir Joseph Banks (1743-1820) embarked on a colonial exploration adventure, bringing back fruitful collections on each return trip and making the Royal Botanic Gardens a wondrous sight. The age of great voyages opened up a great exchange of species from all over the world, but also created the disturbance of disease and competition for survival. The African snail, native to East Africa, expanded with ocean currents and became one of the top 100 invasive species in the world; its dispersal path was similar to the path of imperial expansion; in 1933, Japanese colonial government officials introduced it from Singapore to Taiwan to develop food farming, and its difficult to handle mucus was easily removed by the leaves of Taiwan's native species, the structural tree, and scientists used its genes to prove that Taiwan is the origin of the South Island language group, and the South Island The westernmost part of the South Island language family, Madagascar, is near the origin of the East African snails. In this back-and-forth history, we can feel the intricate network of communication through the snail cooking-related ingredients and plants of the tribe, and turn them into embroidery totems, trying to leave a sample of "tradition" for the future. I want to carry the patterns of plants related to snail cuisine, as if I were going to search for the roots of snails and sing to the imagination of the "African origin of mankind".

高雄市立美術館提供 Courtesy of the KMFA

眺島 Milky way

影片截圖 Screenshots 

花窗彩繪攝影曾能章 stained glass, photo by ZENG, Neng-Jhang

2020 / 單頻道彩色影片8分15秒、花窗彩繪（450x250cm）

展出於2020綠島人權藝術季 ，《如果，在邊緣，畫一個座標》

2020 / video (single channel, 8' 15"), stained glass (450x250cm)

At "If on the margin, draw a coordinate", 2020 Green Island Human Rights Art Festival

火燒島、大島與蘭嶼島，它們鄰近可以彼此眺望， 在有意識與無意識被禁錮中，平行乘載歷史之業。回首洋流，浪頭隨潮波， 仰望同個星空，藉由希拉女神的乳汁連結跳島，連結政治治理下的分裂時空。

Fire-licked Island, Main Island and Orchid Island are so close geographically that they are within one another’s sight. In the fell clutch of circumstance, whether self-imposed or involuntary, they share a turbulent history. Apart from looking back at the ocean current and the crest of tidal waves, they look up at the same starry sky. I plan to associate Hera’s breast milk with island-hopping, with the split space-time under political governance. ( Translations by 2020 Green Island Human Rights Art Festival)

蝸牛樂園 Snail Paradise (2019)

刺繡屏風 300x200cm，食譜，影像

展出於2019新加坡雙年展

2019, Site-specific installation: videography, embroidery and recipes, dimensions variable

Singapore Biennale 2019 commission (Images courtesy of the SB)

“How to make a snail food?”

這句子是軸心，不僅僅是cook更是make，去進行一個製圖（mapping）工作；審視與逆返非洲大蝸牛的遷徙途徑，試圖描繪出牠們的生態歷史的大航海時代。

非洲大蝸牛原生於東非，1933年日本殖民政府官員從新加坡引進臺灣發展食用養殖。這雨後會出現在路邊的生物，在相近的時期分別侵入夏威夷群島、印尼、北婆羅洲、馬來半島等地。這些地區共同經驗了帝國傳播拖曳的痕跡，轉化出了不同的自我文化的發展。

蝸牛成為探討介面，去思考各地方文化的混雜性；啟航至作為轉運站的新加坡，與當地藝術家合作，探索蝸牛作為各種食譜成分的態度，成就一個研究進程不斷累積的食景圖譜。

 又該如何思考食景地圖的繪製？「Map」詞源於拉丁文「Mappamundi」，原始語意是「將世界繪在布上」。應用台灣原住民族於傳統服上的刺繡方法，以針代筆、以線代墨的針路書寫去探究；而「針路」又指稱為「航道」，蝸牛是這計畫的指南針。


“How to make a snail food?”
This sentence is the axis, not only to cook but more to make, of this mapping project. Reviewing and rewinding the migration route of the Africa Land snail (Achatina fulica), I attempt to portray their Age of Discovery in ecological history.

The Africa Land snail has its origin in East Africa; it was introduced to Taiwan from Singapore by a government official during the Japanese colonial period in 1933 for the purpose of food farming. This creature that appears after rain separately invaded Hawaiian Islands, Indonesia, North Borneo, Malay Peninsula, etc. at similar times. These regions shared the experience of empire’s spreading and dragging, while transformed to one’s own cultural development.

The snail has become a discussion interface to think about the hybridity of local cultures; set sail to Singapore, collaborating with local artists to explore attitudes towards the snail as an ingredient in a range of recipes, and achieve an accumulating map of foodscape during the research process.

How to think about mapping a cookbook? “Map” original came from “Mappamundi” in Latin, which means “draw the world on a cloth.” I will apply the embroidery of Taiwan indigenous  on traditional costume while using needle as pen, sewing as ink to write and to research; As “needle road” implies the “seaway  map,”  snail is the compass in this project. (Most translations by  San-San Liu)


群島資料庫10（與新加坡藝術家ila以及 Kin Chui的訪談與食譜）
NUSANTARA ARCHIVE 10 (Interview with Singaporean artists ila and Kin Chui, and who make the snail recipes)

食譜下載
 Snail recipes download

蝸牛樂園－前導篇 Snail Paradise: Preface

2019, 複合媒材，影像3分25秒，三組傳統男子刺繡後敞褲片，尺寸依場地。
展出於「留洋四鏢客」，TKG+，內湖，台北。
2019, mixed media, video 3' 25", 3 traditional men's rear open pants with embroidery, dimensions variable. At “The Middleman, the Backpacker, the Alien Species, and the Time Traveler”, TKG+, Taipei, Taiwan. (Courtesy of TKG+)

當非洲大蝸牛出現在台灣本地熱炒料理“炒螺肉”，成為熱門下酒菜，尤其受台灣原住民族族人的歡迎，甚至納入珍貴的傳統食物裡；牠似乎出乎1933年引入食用養殖日殖官員的預料之外，且台灣的原生物種構樹葉子能夠輕易地去除牠的黏液。

通過非洲大蝸牛行走遺留的黏液，逆返審視牠的傳播路徑（台灣→新加坡→東非），探詢它拖曳過的痕跡；先是作為轉運站的新加坡，與對牠原生地非洲的想像，做一「啟航」的宣示。此蝸牛旅程系列「前導篇」，借用了母親家鄉「大鳥部落」(pacavalj)男子傳統服褲片的樣式，設計了與蝸牛料理有關的植物轉為刺繡圖騰，用此形式書寫地方或世界的一段歷史。

It must not have been foreseen that the African snails became a very popular dish usually enjoyed with beer in Taiwanese stir fry restaurants and also a precious traditional dish among indigenous group of people when they were introduced to Taiwan in 1933 by Japanese officials.  
Moreover, leaves of the local common paper mulberry could be used to remove its trail easily.


By the trail left along the way, the artist examines African snail's dissemination route in reverse from Taiwan to Singapore and then back to East Africa. The preface of the journey depicted in this project presents a period of local and international history on embroideries rendering the plants relate to the snail dishes. The patterns are designed by the artist out of male pants from Pacavali, a tribe where the artist's mother originated. (Translated by Chun-Ying Lin)

近海之處－拉瓦克三部曲 Ungrounding Land- Ljavek Trilogy

2018, video (for web), 13' 9"
＊本影像作品非經作者授權，不得任意轉載與公開播映。

Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

        一個炙熱的太陽來，他離開了山，再一個白箭光芒的太陽來，又離開了斜坡；勇士失去了他的農場與獵場，來到了近海之處，在惡水邊開出聖潔的百合花。

「拉瓦克」為排灣族語「Ljavek」，意思是｢近海之處｣，是高雄市區唯一的原住民部落之名；約1950年代因應木業、出口等勞動力，為生存而遷徙的族人們形成的聚落，前方運河於1997年被填平成為中華五路，為「亞洲新灣區」的都市規劃用地，也開始被判定為「佔用戶」後，長達二十年的反迫遷談判與抗爭。

張恩滿與拉瓦克部落雕刻家楊文山（古樂樂・巴拉撒邵）合作，通過楊文山純樸的刻劃欲探討生命本質與時代樣貌，進行一個斷裂文化的自我修復工作，希望共譜下未來願景的序曲。

He left the mountains when a red sun arrived and, when the twelve rays of a white sun came, left their slopes again. Having lost his farmland and hunting ground, this Aboriginal warrior came to a place near the sea, where he blossomed like a graceful lily on the bank of a polluted river. 

Derived from Paiwan language, “Ljavek”, meaning “a place near the sea”, is the name of the only indigenous community in the center of Kaohsiung City. The community was formed in the 1950s to meet a shortage of labor in the timber and export industries by a group of Paiwan people who had no choice but to move to the city for a better life. In 1997, a canal that used to lie in front of the community was filled and turned into Jhonghua 5th Road. The entire area was later repurposed by the local government as land for urban planning and named “Asia New Bay Area”. Since then, when they were determined to be “illegal occupants”, community members have been engaged in anti-eviction negotiations and protests for 20 years.

A collaboration between Yang Wen-Shan, a Ljavek sculptor known as Kuljelje Balasasau in Paiwan language, and Chang En-Man, Yang Wen-Shan’s unpretentious handiwork aims to initiate a self-healing process for a broken culture by exploring the essence of life and the state of the times, in the hope of composing a preliminary vision of the future. ( Translated by: NTMoFA)