植物誌轉印術—奇浩的文化記事簿 Ethnoplants Transfer Printing - Cultural Notes of Kihaw

攝影：林律宏 Photographer: Harold Lin 

2025，水泥翻模 30x30x5cm x24, 鐵件（水谷藝術製作）280x175x45cm
Cement 30x30x5cm x24, steel structure( by Waley Art) dimensions variable

平常居住在萬里的排灣族藝術家張恩滿，在日常生活中便時常與北部不同的原住民族社群往來，聯絡感情的同時，也認識彼此的故事與日常。《植物誌轉印術》則是紀念著這些日常交往中隱含著的族群文化與記憶的裝置計劃。該計劃自2024年啟動，回應離散原住民族的文化記憶與文化延續性等議題，此次作品《植物誌轉印術—奇浩的文化記事簿》所聚焦的「奇浩部落」，是在1960年代自花蓮北漂來到基隆八尺門一代屯墾、生活的都市原住民阿美 族人們所凝聚的社區。藝術家以訪查與社區共創的創作過程中，將族人們日常中經常採集的植物來做拓印，在複刻植物美感自然生成的造型裡，並將這 些拓印的結果，組裝放置在每年七月會舉行豐年祭的觀海平台，象徵著聯繫族人與海另一邊的祖靈們之間的文化記憶。（文｜陳晞）

Chang En-Man is a Paiwan artist who lives in Wanli and often visits different indigenous communities in nor thern Taiwan. These daily interactions strengthen emotional bonds and deepen her understanding of their stories and daily lives. Botanical Transfer Artistr y is an installation project that commemorates the cultural heritage and memories embedded in these exchanges. Launched in 2024, the project addresses issues of cultural memory and continuity for diaspora Indigenous communities. This specific work, Botanical Transfer Artistr y — Cultural Field Notes of Kihaw, which focuses on the Kihaw Tribe. The Kihaw Tribe comprises Amis urban Indigenous people who migrated north from Hualien in the 1960s to settle in the Bachimen area of Keelung. Through a creative process involving interviews and community collaboration, Chang uses plants that community members regularly gather for rubbing and imprinting. These imprints reproduce the plants' natural beauty. These imprints are then assembled and placed on the observation deck where the annual harvest festival is held every July. This installation symbolises the cultural memory that connects tribe members with their ancestral spirits across the sea. (Text by CHEN HSI )

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
Art project commissioned by SOLID ART

「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.

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.

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)

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

張恩滿+拔耐‧茹妮老王
複合媒材、印刷品、店家提供物件，依場地大小，2017

隨著台灣海域黑潮主流從東部一波波往北方推送，因勞動移動在基隆城市的原住民已落地生根第三、四代，也長出了地區文化生態的多樣性；透過介紹社區裡的patiyamay（阿美族語，可譯為雜貨店）的交流場所，擴繪出都市原住民的樣貌。

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線上地圖


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)

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快樂山 Happy Mountain

雙頻道影像，18分25秒，2015

＊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.

在台灣東北角濱海公路某個隱匿入口，是地圖上找不到的快樂山，那兒居住著一群阿美族（Amis/Pangcah）老人，坐山面海的居住環境，有著絕佳的天然資源。他們上山採野菜、下海撈漁獲，且依著山坡道，用鐵皮或廢料板材搭出拼湊風格的各式建物，過著自給自足並互相照顧的生活近三十年。

城市外圍有許多像這樣的都市原住民部落，遷徙而來的成因絕大部分是因應早期城市建設，從花東地區而來的大批廉價勞動人力。這群離鄉背井的人們，在離工作就近處，聞嗅到像家鄉的地方，像是依循祖先的生存智慧，就這麼一個招喚著一個，群居了起來。而當台灣進入現代化後，土地已不是讓人可當過客暫駐的地方，而是成為國家財產或資本商品，那些逐水草而群居的天性就成了非法的賤民；快樂山的居民全部被提告「侵佔國土」，即將面對流離失所的命題。

從外部看來，那兒有著人與自然和諧相處的空間，自力更生的開拓美學，呈現出某種烏托邦的雛型，令人欽羨與嚮往。藝術家隨著事件，初步的進入村落，在詭譎多變的政治氛圍中縮時攝影24小時的取高風景，並在拍攝途中自拍自問自答，試圖尋找傳說中的美麗玻璃屋，並經驗著地方從內到外，像是地圖繪製的等高線，擴出一圈圈對「家」的探索取徑。

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