創作年代：2010
尺寸：依展出現場而異
媒材：基地模(180*270cm)、投影、影像輸出
展覽靜態紀錄連結
台東縣大武鄉大鳥村於88風災中土石嚴重坍方造成14戶民宅損壞，而被政府判定劃設特定區域，但在該村強力反對下獲得免於遷村的勝利，並由政府投入大筆經費進行水土防禦工程；風災某種程度也聚合了村民意識到部落文化傳承的重要，但當地歷史記錄做的並不完善，需要花時間追溯與統整。
於是在這裡有個社區壁畫提案，結合工程裡一個巨大的檔土牆去進行，繪畫內容便以大鳥村的尋根內容作為主題，以及屬於大鳥村本身的神話與傳說為主。模擬全村與山坡上擋土牆的縮小比例模型去做為一個在地溝通的介面，並提出壁畫提案草圖方便村民提供意見與修改內容，以集體記憶建構其地方詩學；別於刻板的部落入口印象，期望能進階進行屬於在地民眾的集體創作。
工程承載著全村村民永免於恐懼的願景，但各個沒把握，小小的安靜的村落又有著綿密的人事與政治糾葛，文化或創意在那裡可能僅為生存的考量。遠離熟悉的藝術圈外，藝術家以有限人力與資源如何天真的運行？以身為度測量著藝術在那兒如何的可能？這裡是一個中長期在地的流動計畫，模型作為探測器，承載著初步階段的重要任務，在台北論壇雙年展的展場中也成為外部（觀眾）投入資訊與意見的啟動之物。
作品描述
主要有一個底座約180x270cm的基地模，模型呈現的是大鳥村民聚落與檔土牆設施，壁畫草圖圖樣數張輪播投影在基地模上的檔土牆（現場已調整至明亮而有想像的白光），基地模底座崁入音響，播放排灣族語介紹這個提案（作品）。牆面有一些靜態攝影，影像內容為訪查許多原民部落一些佚名作品，它們多數出現在社區活動中心司令台，以寫實樸拙的手法呈現劇場式的繪畫或浮雕。拍攝採樣的範圍選取為台東南部相距約50公里進行88災區重建聯動計畫而相互串聯的幾個部落（包含大鳥部落）。
Hope – A Wall Painting Proposal for Pacavalj Tribe
2010
Dimensions variable
Architecture models, projection, photography
The deadly landsides during Typhoon Morakot on August 8, 2009, destroyed 14 homes in Taniao Village in Tawu Rural Township, Taitung County. Although the area was then designated a special zone by the government, the villagers strongly opposed plans to relocate them. In light of this, it was decided to invest in flood and landslide control work to make the living environment safer. The typhoon also caused villagers to reflect on and recognize the importance of their unique tribal culture and heritage. However, local historical records were far from comprehensive, so tracing and organizing that work took time.
This community mural project is part of a larger program to build a huge retaining wall. The paintings used to decorate the wall are to be based on Taniao villagers’ search for their roots and the various myths and legends associated with the village itself. The work started with a scale model representation of the village and the retaining wall on the mountainside as an interface for local communication. It also provided virtual drafts of the mural for villages to view and express their own ideas, with revisions to be included in the final work. It is hoped that this approach infuses the final product with a community or collective identity. This project was of particular importance to the village because it represented a vision of the future in which they could live without fearing for their lives every time a typhoon approaches.
However, even a small, peaceful village such as this has its own complex personal relationships and politics, so we first had to consider whether it was even possible for culture to coexist with innovation in such an environment. Besides being far removed from the art world, how was an artist to proceed with such limited manpower and resources? Clearly the artist needed to determine in person whether art was feasible in such a location. This particular project is a medium to long term program and as such, the model plays an extremely important role in the initial planning period. It serves as a focal point at discussion forums, allowing members to be informed about the nature of the project whilst also encouraging villagers to voice their opinions.
Work Description
There is an approximately 100x150cm base site model. Because the content of the wall painting could change as a result of field surveys in the area, several possibilities will be projected onto the retaining wall, on the site model. The base of this model has its own embedded speaker system which will play recordings of local children telling stories about Taniao Village in the local Paiwan language.
The wall is decorated with photographs, examples of anonymous works collected from various aboriginal villages, many of which previously appeared on the stage at community activity centers. Their simple and realistic depictions showcase theatrical type paintings or sculptures. These photographs were collected from villages (including the Taniao Village) in southern Taitung with in a 50km radius, connected through the 88 Disaster Reconstruction Joint Program. (Translated by Andrew Wilson.)
