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 / 單頻道錄像(約9分鐘)、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, 9mins), 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
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?”




“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)

 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。
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+)



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




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)


patiyamay─都市原住民社區雜貨店地圖繪製計畫 patiyamay - Mapping project of Indigenous people's community grocery stores




CHANG En-Man + Panai Runie Wang
Mmixed media, printed matter, object, dimensions variable, 2017

Along with the Kuroshio heading to North from the East of Taiwan, the aborigines had rooted in Keelung city for several generations. They have developed the diver- sity of local cultural environment. With introduction of community social place :patiyamay (means grocery store), it depicts the picture of aborigines in city. ( Translated by: Red Sky)

Guide PDF
Google map


重如鴻毛 As Heavy as a Feather

影片擷圖 (Aerial Photography Vikung Lalengeang)


「重如鴻毛」典故出自西元前兩百年的中國諺語「重於泰山,輕於鴻毛」,論人們如何看待生存並活出自己的價值;這裡將語意重組,藉由反常的量感,探究渺小的對象其生命的重量,並通過影像描繪出某種抽象的力量,企圖展開別於單一資本體系價值的想像。位於台灣台東的杉原海灣,在阿美族的傳統地名是 fudafudak,為閃閃發光之意,也是緊鄰的小部落的名稱。fudafudak 就如同許多偏鄉地區,面臨青壯人口外流與文化流失等問題;而這個不起眼小村莊的自然生活領域,有許多大型開發案正虎視眈眈的包圍著。跟著從事部落文化重建工作的社會運動者進入部落,藝術家藉由加拿大展覽機會,與族人展開了合作項目;製作與重現傳說中會發出聲響的大風箏,並在其中談及長老兒時記憶中的傳奇走唱藝人 Ngayaw,以及傳唱他的歌。

"As Heavy as a Feather", Video installation, dimensions variable, 2016
Kite, bamboo, canvas, projection: 13’ 45”
“As Heavy as a Feather” Main video: 42' 48"
“As Heavy as a Feather” Chapter: Lin Dou: 29’ 44”

The allusion of “Heavy as a feather” is inspired from a Chinese idiom 200 B.C. ago: “The death may be heavier than Mount Tai but lighter than a feather.”  The original intention is to point out the way people value themselves and live out their lifes with own value in the limited lifetime.
Here the meaning is reconstructed by altering the sentence. From the inverse semantics, the artist tries to explore how people with tiny power value and look at their own lifes. By portraiting a kind of abstract power through video images, the artist intends to expand own imagination besides from a singular capitalism value.
Shanyuan Bay locates in Taitung county of Taiwan, its traditional name in Amis language is called Fudafudak, means “a glittering place”, it is also name of a small neighbourhood tribe. Same as many other remoted townships, Fudafudak is facing problems of outward migration and culture loss. Meantime, the natural living area of this tiny village is coveted by many large investors for land development project. By following social activists who work for native culture re-built, take advantage of opportunity to exhibit in Canada, the artist enters into the tribe and co-work with the natives: to produce and reappear the huge legendary sound kite. The video also features scenes that elders tell the story of legend Ngayaw from their childhood memories and sing the song of Ngayaw. (Translated by: Lucyann Tung)


馬賽克傳說─能盛興工廠初探 Legend of Pixelated - Preliminary research of Neng-Sheng-Xing Factory

Video, 21’ 45”, 2016
*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.



Neng-Sheng-Xing Factory is located in Tainan, Taiwan. It’s used to be an abundant 3 levels building over than 20 years, now it’s not only a base of dream, but also a place with multi-activities to public after a group of young people refurbished it. The relationship between space and human is strongly related, a space formed by people are the continuously transitions. These transitions are leading with the organic status to a land of dreams or we can interpret it in a more specific definition: Utopia.

The female members described their favorite places when the artists filmed the interviews during the one-month term residency at Neng-Sheng-Xing Factory, they also mixed a male narration as imaginary character in the film. This video is trying to present the development and history of Taiwan Modern Art and offering a reflexivity thought to art circles by the team members of Neng-Sheng-Xing Factory’s practice force.  (Translator: Daphne San)


「輕薄之力」- 素人影像創作展






快樂山 Happy Mountain

*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.




Happy Mountain, Video, Dual channel, 18' 25", installations, dimensions variable, 2015

The Happy Mountain is, by all practical accounts, invisible. Located around a seaside highway in northeast Taiwan, Happy Mountain doesn't have any visible mapping points. The people who live there are primarily elders of Amis (Pangcah), cohabiting with the natural environment and sustainably living off the rich resources found between the sea and mountains. They subsist off collecting wild vegetables and seafood, as well as building different types homes by collecting recycled construction materials for the last thirty years.

In Taiwan, many of the urban indigenous tribes are dotted around suburban areas of cities. The typical reason they came to live in these suburban areas —away from their hometowns such as Hualien and Taitung— was to make a better living wage as manual laborers, namely off of the early boom in urban construction. Due to nostalgia and  homesickness, these laborers gradually started to gather, one by one, in Happy Mountain due to its geographical similarity with their hometowns.

This type of movement is not unlike how their ancestors began to gather and live together in the past, forced on by the continued development of their country by outside occupation. After those major early develops waned in Taiwan, the land was no longer seen as belonging to these migrant laborers. Instead, the land came into the possession of the government and became just another piece of capital. Therefore, these laborers have now been deemed illegal occupants, treated without the proper respect, for their sacrifices and years of hard work for the collective good of Taiwan. As it stands today, every resident who make The Happy Mountain their home are being accused of illegally occupying National property and face losing the place they worked so hard to call home.

From the outside looking in, Happy Mountain seems like a utopian space, complete with a rare balance found in other parts of Taiwan, that being a harmony and peace within the dedication to sustainability. If anything, the hard work of these people have made it more attractive to outsiders, who now envy and look forward to living there.

En Man's entry into this space was to simply explore this area, soon finding a mysterious  house of glass abandoned on the high point of mountain, shrouded within a foggy political atmosphere. En Man uses this kind of loose exploration in order to gradually and unpretentiously build experiences tied to this mountain area and, in so doing, try to recognize and understand the process of mapping from outside to inside, as if looking for the path to some form of hometown.

Translated by : Wen-Li Chen & Darren Tesar


「半路夜食譜─施工中」Halfway Night Recipes-Construction continued

「半路夜食譜─施工中」網站 http://halfwaynightrecipes.blogspot.tw/ 






Halfway Night Recipes --- TRIAL ISSUE
Project-Oriented, Installation, 2015

About Halfway Night
In 2008, a group of people got to know each other on the occasion of Wild Strawberries Movement. In 2009, they collaborated to run the Go Straight Café as an experimental and open space for the purpose of organizing a community and taking actions. 2012, Go Straight Café closed down. Since then, individuals drifted from one café to another, sitting on unfamiliar sofas till they met each other again. In 2014, Halfway Café hit the road.

Halfway Café is a project as well as a platform for those who lost in directions or languages finding their own place. In order to continue creating publicness, Halfway made an analogy of itself and a country and develops four political routes: currency, mutual aids wall, farming and night canteen. 

Above all, Halfway Night Canteen bases on a concept of “a store with another store”(a country inside another country) and puts individual/public self-governance into practice. From Monday to Sunday, a chef of each day cooks thematic meals related to their background in-store. Here, food is a medium for delivering beliefs. It can activate any possibilities and even revolutions. It discloses values that we choose to survive.     

a publishing project
En Maan Chang was fascinated by Halfway. She explored the proposed a collaboration. Firstly, she became resident-chef in Halfway Night canteen and got to know the community and the space better. She lately interviewed night canteen chefs and edited it for publishing a trial issue of Halfway Night Recipes in order to understand an individual/collective’s attitude, knowledge, experiences as well as the culture and political position behind. Her intention was to picture a networking and portray a community conscious and even a collective consciousness of utopia. 

CHANG En Man + HalfwayCafé

Halfway Night Recipes - Construction continued


台灣原住民獵槍除罪化 Decriminalization of Taiwanese Indigenous Hunting Rifles

*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.



2014, video, 31' 40"
The term “decriminalization” refers to a situation where a previously illegal activity or action is designated legal. When legal behavior is suddenly reclassified as illegal, that is called “criminalization.” In a civilized society, how is it that the traditional hunting of indigenous peoples results in them being subject to the legal system of a different culture? In the past, hunters were the pride of the tribe, but they are now labeled criminals by the legal system because the prevailing political-economic system declines to respect cultural diversity. By focusing on one example and creating a work , the artist identifies this phenomenon and highlights the contradictory nature of existing law. ( Translation by TB2014)


和平國小祖母綠食譜 Snail food book by Hoping elementary school





相紙輸出 15x20cm,燈箱 90x65cm2014


上面的字句,是排灣族語 taqetaq 的意思,也是指家門前的涼亭或涼台。涼亭/台這種簡單結構的建築,在台灣原住民族的不同族群裡,都有其空間作用與傳統意涵;這樣的非長駐空間,卻有著邀請、分享與交流的功能性。而在現代化的部落社會裡,所延續的建築樣式,呈現了人們的心靈空間。

taqetaq, digital print with lightbox, 15x20cm, 90x65cm, 2014.

"Hey friend, don’t be so rush! Please put your button down, having a seat for a while here!"

The sentence above is the meaning of taqetaq in Payuan, language of Paiwan. Taqetaq is also an arbor made in very simple structure. This kind of architecture for a short time docking contains traditional meaning and functions in different Taiwan indigenous culture. For example, functions of invitation, sharing, or communication. Since in the tribal society, which has been modernized, the form of architecture last now reflects the mental space of people.

Translated by :Yi-Cheng Sun
攝影 Photographer: (L) Varanuvan Mavaliw, (S) Kalesekes Ljakadjaljavan.


蝸牛料理影音訪談計畫-台9線篇 Snail Dishes Interview Program: Highway No. 9.




From city to countryside, body is moving along route like a detector. The plan covered the south part of the Provincial Highway No. 9 on the east coast of Taiwan. I tried to find the connections through the route and turned them into depiction of the cultural landscape and social scenes with cuisines and record. Provincial Highway No.9 is the only way to go home in addition to railway. This is also the route I took to explore the island and the cultural identification, while picturing ‘home’ as if a wanderer. In this interview program, I invited the people from the aboriginal village to show the snail dishes. Meantime, I hope to introduce their unique culture and the connections with life via the interviews and conversations.


張恩滿│蝸牛樂園 Snail Paradise mapping by CHANG En-Man



展場紀錄 Exhibition image record

Over two hundred kinds of snails exist in Taiwan, but the giant African snail, an alien species, triggered the artist to embark on a journey in exploring her self identity and geographical identification. Snails constantly secrete mucus, leaving traces wherever they move, allowing them to draw various mind maps through their specific mobility. By the returning visits to the aboriginal tribes and experiencing the social geographical texture of the locale, the artist attempts at mapping the complex food chain-like interconnections of the locality in order to portray its cultural landscape, and continues to unearth and disclose the deeper and viscous relationships in life.

Welcome to Snail Paradise!
Translated by : OCAC