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.

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

《蝸牛料理影音訪談計畫-台九線篇》選取台九線東部南迴段範圍成為主要的探訪取徑，並藉由這個路徑去感受一個社會的地理紋理，試圖尋找出如食物鏈般的連結來描繪這個文化地景。

台九線路段，對許多人來說，除了火車，它就是唯一一條能回家的道路；而蝸牛料理在這條路上，如何去提示生活記憶的味道？如何在這條線／鏈上串聯出與『家』的共同感受？

在這個計畫裡，邀請部落族人以蝸牛為主食材，為我們演繹許多在地料理，通過其中的訪談對話，開啟與介紹不同面向的文化味蕾，繼續的去挖掘或披露生命裡更深層的黏稠關係。

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.

競技場 Arena

2012年，影像，7' 51"

＊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.

因為一部泰拳練習場紀錄片的引發，去進行一個探訪原住民部落的拳擊練習場的對話影像。像是藉由兩個地點的聯繫而進行的旅程，去簡單繪製一個社會的地理景觀；而競技場在某種­意義上來說像是個舞台，上演的是如何選擇生存的現實，想揭示的內容或隱或現，去等待似乎可想像的後續鋪陳。

"Arena", 2012, Video, 7' 51"

These are images from a documentary film of a Thai-boxing practice arena in Ching-Mai, forming dialogues to a boxing practice rink in an aboriginal tribe located at the foot of a mountain in southern Taiwan. Through the connection of the two locations, a simple social geographical spectacle is thus delineated. The boxing arenas are in a sense like performance stages, whereupon the live show we witness reflects the reality of survival and the audience becomes the authoritative viewers, offering the narrative and characters of the story fictional and realistic qualities.

網路公播活動 Facebook Premiere

https://www.facebook.com/events/520761247942664/

不只是恩光書局

「一間小屋；」張恩滿創作發表

展場紀錄
開幕趴篇 

│地點：台東縣大武鄉大鳥村308號
│展期：2011/12/23~2012/12/26


「一間小屋」裡，藝術家歷經半年的蹲點生活與有機性的開創工作，在使用權交還給部落族人前，舉辦了「不是離開而是延續之歡樂派對」，於2011年聖誕節與部落溫馨共渡。

在2009年個展「展一間；」陳述了一種對於空間與家的想望，現實中的混亂也從自身延伸到展場；2011年「一間小屋」是前述慾望的還魂，而那個混亂也從台北到了台東；藝術家孤獨薄弱的身體作為探測器，測量出這個場域的架構與生態。在這裡，「一間小屋」不是一個固定地點或一個固有建物，它代表的是一個想像的投射與奮力的實踐，即使失敗也產生出那個價值與意義。

-- 將來，我期待以不同方式，仍舊是詩意的回到這裡。

回家 III ( Go Home III )

創作年代：2011
尺寸：約8分鐘
媒材：Performance Art
展演紀錄連結（靜態）
展演紀錄連結（影片）

【展演資訊】
2011 TIPAF–Theater Piece III
日期：2011.12.3
地點：牯嶺街小劇場，台北。

布條是多麼的普遍代表文化建設的最初與最終績效；
部落的青年是多麼渾然天成的優秀，砸奶油派又是多麼令人歡娛。
藝術家的身體成為工具，也真實且殘忍的，
反射出這個文化政策制度的架構與生態。

看看輕薄的蚊帳，怎麼樣也成不了一個家的事實。

一間小屋；

「一間小屋」坐落於台東縣大武鄉大鳥村，它既是工作室也是主要作品，將是某種生活實踐的起點與發射。以一個思考創作的方式，去思考空間並將它視為有機體，背棄那些沸沸洋洋的企圖只想以最平凡的樣子出現。

一間小屋的紀錄網站：http://pacavalj-shouse.blogspot.tw/

願景：大鳥壁畫提案 Hope–A Wall Painting Proposal for Pacavalj Tribe

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.)

尋找記者保羅

單頻道錄像，14'05"，2010

2009年8月8日莫拉克颱風重創台灣，那陣子電視新聞全都是各地傳來的災情，24小時不斷行進的一片慘狀的畫面裡，有一則報導特別吸引了我的注意：東部的大武鄉對外道路全部中斷儼如孤島，一位因奔喪返鄉而受困的居民，在那孤立無援的幾天苦中作樂的模仿電視台記者SNG連線報導，拍攝當地多支災情紀錄影片，幾天後才經由電視剪輯畫面傳送。
從新聞媒體得知那位自稱保羅的”記者”，年紀跟我差不多一樣大，而且拍攝的地方就是我出生的地方，於是開始了一些想像，或許我跟他會有些什麼關係，我獨自回到這個陌生的地方，沿著他影片中所透露的線索，開始尋找……。