島嶼跫音臺灣南島當代藝術側記 by dgimuseum02

島嶼跫音臺灣南島當代藝術側記

Contents 島嶼跫音─臺灣南島當代藝術側記

監察院副院長，原住民族文學家

Paelabang Danapan (Vice president of the Control Yuan, Indigenous writer)

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出版序 Preface

以時代為經緯的島嶼觀照

李玉玲高雄市立美術館館長

Observing an Island from the Perspective of Time Yulin Lee, Ph.D (Director of Kaohsiung Museum of Fine Arts)

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前言 Introduction

紀錄無可取代的追尋步履

徐柏涵執行主編

Recording Irreplaceable Footsteps Po-Han Hsu (Executive editor)

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I‧2005-2008 The First Four-Year 第一個四年

訪烏巴克（創刊號，2005.04）— 作者洪威喆 Interview with Ubake, 2005.04 (Art Accrediting vol.1)

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訪撒列馬勞 • 吾由（第 2 期，2005.06）— 作者洪威喆 Interview with Salimla Ouyo, 2005.06 (Art Accrediting, vol.2)

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訪達比烏蘭 • 古勒勒（第 4 期，2005.10）— 作者洪威喆 Interview with Tapiwulan Kulele, 2005.10 (Art Accrediting, vol.4)

032

訪撒古流（第 5 期，2005.12）— 作者洪威喆 Interview with Sakuliu, 2005.12 (Art Accrediting, vol.5)

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訪希細勒 • 歷瓦厄繞（第 6 期，2006.02）— 作者洪威喆 Interview with Hsisiler Liwaerjao, 2006.02 (Art Accrediting, vol.6) 訪雷恩（第 7 期，2006.04）— 作者洪威喆 Interview with Lei En, 2006.04 (Art Accrediting, vol.7) 訪拉黑子 • 達立夫（第 8 期，2006.06）— 作者黃瀞瑩 Interview with Rahic Talif, 2006.06 (Art Accrediting, vol.8)

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Listed according to time and the issue of the Kaohsiung Museum of Fine Arts' bimonthly publication Art Accrediting that each interview appeared.

孫大川

收錄順序依各篇訪談於高美館︽藝術認證︾雙月刊之刊載期數、時間編排 *

推薦序 Foreword

訪伊命 • 瑪法琉（第 9 期，2006.08）— 作者黃瀞瑩 Interview with Iming, 2006.08 (Art Accrediting, vol.9)

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訪魯碧 • 司瓦那（第 10 期，2006.10）— 作者黃瀞瑩 Interview with Ruby Swana, 2006.10 (Art Accrediting, vol.10)

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訪達鳳 • 旮赫地（第 11 期，2006.12）— 作者黃瀞瑩 Interview with Tafong Kati, 2006.12 (Art Accrediting, vol.11)

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訪尼誕 • 達給伐歷（第 12 期，2007.02）— 作者洪威喆 Interview with Nitjan Takivalit, 2007.02 (Art Accrediting, vol.12)

082

訪安聖惠（第 13 期，2007.04）— 作者洪威喆 Interview with Eleng Luluan, 2007.04 (Art Accrediting, vol.13)

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訪哈古（第 15 期，2007.08）— 作者黃瀞瑩 Interview with Hagu, 2007.08 (Art Accrediting, vol.15)

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訪阿水（第 16 期，2007.10）— 作者黃瀞瑩 Interview with Za Num, 2007.10 (Art Accrediting, vol.16)

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訪希巨 • 蘇飛（第 17 期，2007.12）— 作者黃瀞瑩 Interview with Siki Sufin, 2007.12 (Art Accrediting, vol.17)

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訪安力 • 給怒（第 18 期，2008.02）— 作者徐婉禎 Interview with Anli Genu, 2008.02 (Art Accrediting, vol.18)

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訪撒伐楚古 • 斯羔烙（第 20 期，2008.06）— 作者高子衿 Interview with Savatzuku Sgaulaw, 2008.06 (Art Accrediting, vol.20)

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訪撒部 • 噶照（第 21 期，2008.08）— 作者高子衿 Interview with Sapud Kacaw, 2008.08 (Art Accrediting, vol.21)

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II‧2008-2011 The Second Four-Year 第二個四年

訪瓦歷斯 • 拉拜（第 25 期，2009.04）— 作者黃瀞瑩 Interview with Walis Labai, 2009.04 (Art Accrediting, vol.25)

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訪巴勤發（第 26 期，2009.06）— 作者洪威喆 Interview with RUSAMUKAN, 2009.06 (Art Accrediting, vol.25)

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訪尤瑪 • 達陸（第 27 期，2009.10）— 作者黃瀞瑩 Interview with Yuma Taru, 2009.10 (Art Accrediting, vol.27)

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訪嘎木里 • 伯冷（第 28 期，2009.12）— 作者黃志偉 Interview with Kamuli Pelen, 2009.12 (Art Accrediting, vol.28)

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訪沈萬順（第 30 期，2010.02）— 作者洪威喆 Interview with Derud Laira, 2010.02 (Art Accrediting, vol.30)

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訪高富村（第 31 期，2010.04）— 作者洪威喆 Interview with Kao Fu-tsun, 2010.04 (Art Accrediting, vol.31)

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訪高富貴（第 32 期，2010.06）— 作者洪威喆 Interview with Kao Fu-kuei, 2010.06 (Art Accrediting, vol.32)

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訪夏曼 • 飛魚（第 33 期，2010.08）— 作者黃瀞瑩 Interview with Flying Fish, 2010.08 (Art Accrediting, vol.33)

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訪伊佈（第 34 期，2010.10）— 作者李韻儀 Interview with Ebu Istanda, 2010.10 (Art Accrediting, vol.34)

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訪伊將 • 卡達德伴（第 35 期，2010.12） — 作者黃瀞瑩 Interview with I-Jiang Kadadepan, 2010.12 (Art Accrediting, vol.35)

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訪宜德思 • 盧信（第 37 期，2011.04）— 作者高子衿 Interview with Idas Losin, 2011.04 (Art Accrediting, vol.37)

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訪見維 • 巴里（第 42 期，2012.02）— 作者李韻儀 Interview with Baliwakes, 2012.02 (Art Accrediting, vol.42)

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訪巴豪嵐 • 吉嵐（第 43 期，2012.04）— 作者高子衿 Interview with Pahaulan Cilan, 2012.04 (Art Accrediting, vol.43)

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訪林介文（第 45 期，2012.08）— 作者李韻儀 Interview with Labay Eyong, 2012.08 (Art Accrediting, vol.45) 訪伊誕 • 巴瓦瓦隆（第 46 期，2012.10）— 作者洪威喆 Interview with Etan Pavavaljung, 2012.10 (Art Accrediting, vol.46)

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III‧2011-2014 The Third Four-Year 第三個四年

訪武玉玲（第 48 期，2013.02）— 作者洪威喆 Interview with Aluaiy Pulidan, 2013.02 (Art Accrediting, vol.48)

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訪馬郁芳（第 49 期，2013.04）— 作者洪威喆 Interview with Aruwai Matilin, 2013.04 (Art Accrediting, vol.49)

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訪周美花（第 50 期，2013.06）— 作者洪威喆 Interview with Mika Chou, 2013.06 (Art Accrediting, vol.50)

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訪林琳（第 51 期，2013.08）— 作者王力之 Interview with Malay Makaluwan, 2013.08 (Art Accrediting, vol.51)

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訪高吳惠琴（第 53 期，2013.12）— 作者陳思韻 Interview with Kao Wu Hui-chin, 2013.12 (Art Accrediting, vol.53)

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訪華恆明（第 55 期，2014.04）— 作者洪威喆 Interview with Sasunud Mavaliu, 2014.04 (Art Accrediting, vol.55)

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訪哈拿 • 葛琉（第 57 期，2014.08）— 作者歐芳礽 Interview with Hana Keliw, 2014.08 (Art Accrediting, vol.57)

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訪杜寒崧（第 65 期，2015.12）— 作者余威璇 Interview with Pacake Taugadhu, 2015.12 (Art Accrediting, vol.65) 訪雷斌（第 70 期，2016.10）— 作者黃瀞瑩 Interview with Lei Pen, 2016.10 (Art Accrediting, vol.70)

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IV‧2017- The Next Four Years 再下一個四年

訪東冬 • 侯溫（第 82 期，2018.10）— 作者楊雅苓 Interview with Don don Houmwm, 2018.10 (Art Accrediting, vol.82)

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訪伊祐 • 噶照（第 82 期，2018.10）— 作者陳豪毅 Interview with Iyo Kacaw, 2018.10 (Art Accrediting, vol.82)

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訪撒古流（第 83 期，2018.12）— 作者林佳禾 Interview with Sakuliu, 2018.12 (Art Accrediting, vol.83)

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訪拉黑子 • 達立夫（第 83 期，2018.12）— 作者謝綾均 Interview with Rahic Talif, 2018.12 (Art Accrediting, vol.83) 訪安聖惠（第 83 期，2018.12）— 作者許瀞月 Interview with Eleng Luluan, 2018.12 (Art Accrediting, vol.83)

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附錄 Appendices: I 藝術家人物小傳 Profiles of artists (Chinese/English)

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II 高雄市立美術館 ‧ 南島當代藝術大事記

Kaohsiung Museum of Fine Arts ‧ Milestones in Austronesian contemporary art‧ (Chinese/English)

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III 高雄市立美術館 ‧ 南島當代藝術相關出版資料索引

Kaohsiung Museum of Fine Arts ‧ Directory of published materials concerning Austronesian contemporary art

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推薦序假使以世界史的視野來看，位居太平洋西端的島嶼臺灣，面對二十世紀初葉前後自歐美文化語境誕生的現代藝術，實屬相對邊緣的位置。承接了這樣的歷史脈絡，倘若將視角進一步再聚焦於臺灣本身，在以漢族文化為主流的臺灣社會，原住民涉入當代藝術創作領域的起跑點，恐怕更是邊陲再邊陲，須面對的拉鋸和挑戰也更為艱難。無疑地，自 1990 年代以來，由於臺灣社會所發生的一連串內部結構的變化，臺灣原住民在文化藝術方面的創作動能大幅提升。不過，與此同時，卻也必須面對族群意識的操弄、政治性的綁架、浮濫的文化消費與誤用……；雖然整體聲量似有放大，卻是包裹於層層虛幻未明的迷路。尤甚，原住民傳統的美感和創作，與歐美脈絡下的「藝術」概念大相逕庭，部落傳統更時時面臨被社會稀釋的處境，創作者一旦未能找到足夠穩固的立身之地，其聲音很容易就會受周遭強勢的主流文化給吞噬、隱沒。高美館此次專書的集結，是以一個機構的立場，將十三年來館刊《藝術認證》曾刊載之臺灣原住民藝術家訪談作一個集結。或許是由於訪談本身跟隨雙月一期的雜誌出刊腳步而發，故而有某種且戰且走的游擊特性，亦持著相對謹慎的態度，未試圖對內容提出更多的詮釋。然而，這樣長年經營的群像式訪談合集，對於捕捉和側寫當代快速變動的社會下投身創作的原住民面貌，仍有相當之貢獻。本書以「島嶼跫音」為名，創作者「尋本」及「創新」的實踐過程，便如踏過的足跡、響起的足音，都以個人生命史的方式逐一展現。

筆者曾經提及，人生而追尋四種層次的「家鄉」。人生而屬於一處，是其一；生而分享自己民族、文化和歷史的生命，則是其二；生而共擔全體人類及時代的命運，乃其三，最終則是尋求意義及一切存有的超越依據。這四個層次的家鄉，互相落實，亦互相圓滿。在連續性的閱讀這些屬於不同原住民創作者的生命史後，可以看見在特定的時空和脈絡下，其所追尋的「家鄉」落在何處，而那份情感又是如何成就其血肉。閱讀這樣的生命史，讀者也很難不對其身處的世代或時代產生深刻的共鳴和感受。

孫大川 Paelabang Danapan 監察院副院長、原住民族文學家

Foreword

From the perspective of world history, and in light of its location on the western side of the Pacific Ocean, the island of Taiwan occupied a marginal position when modern art was born in the Euro-American cultural sphere around the beginning of 20th century. And if, with this historical context in mind, we further focus on Taiwan itself, in the local Chinese cultural mainstream, it will be much more diďŹ&#x192;cult and challenging for the indigenous inhabitants of Taiwan to ventured into the realm of contemporary art world. Unquestionably, a series of internal structural changes in society since the 1990s significantly increased the cultural and artistic energies of Taiwan's indigenous peoples. Nevertheless, the same period also featured manipulation of ethnic consciousness, and excessive cultural consumption and misuse, and as a result, although the overall volume of indigenous artistic output increased, it still has a long way to go. In particular, because traditional indigenous art and aesthetics were entirely diďŹ&#x20AC;erent from the concept of art in a Euro-American context, and because tribal traditions constantly faced the threat of dilution by contemporary society, as soon as indigenous artists failed to find stable stands in which to establish themselves, it was common for their voices to be swallowed up within the prevailing mainstream culture. This book published by the Kaohsiung Museum of Fine Arts gathers interviews with Taiwan's indigenous artists originally published in the museum's Art Accrediting bimonthly for over 13 years. Perhaps because the interviews were published with the same tempo as this bimonthly publication, they have a bit

of the character of “take it one step at a time,” and they also display a cautious attitude characterized by an unwillingness to go too far in interpreting the interviews' content. Nevertheless, this group portrait-style collection of interviews gathered over the course of years makes a considerable contribution to recording and profiling these indigenous artists, who dedicated themselves to art at a time when society was quickly changing. Entitled “ Sound of Footsteps on the Island,” this book presents these individuals through their life histories, including their search for their roots and realization of innovation, and allows us to see their footprints and hear the sound of their footsteps. As I once mentioned, throughout their lives, people are searching for four types of “homeland.” The first is the place one is aﬃliated with by reason of birth. The second is the life of one's shared ethnicity, culture, and history. The third is jointly bearing the fate of all humanity and the times. The fourth is seeking meaning and a basis for all transcendence. These four levels of homeland are mutually realized and mutually perfected. A continuous reading of the life histories of these indigenous artists reveals where their searched-for homelands were located within their times and individual contexts, and how that emotion attained flesh and blood. Reading life histories of this kind can easily evoke a profound resonance in readers connected with the generation or times in which they live.

Paelabang Danapan (Sun Da-chun) Vice president of the Control Yuan, Indigenous writer

出版序

以時代為經緯的

島嶼觀照

臺灣這座島嶼，有幸為海洋所環繞，擁有優美的山巒土地。連綿海濤化身橋梁，連結了橫跨大洋的語族之網。在島嶼有機且豐盈的南島文化紐帶之上，最初於此處生根繁衍的人們，孕育出獨屬於自己部族的璀璨文化。自 1990 年代籌辦階段以來，臺灣原住民創作便是高美館重要典藏方向之一，購藏了風格偏向傳統原住民雕刻的作品。2007 年，高美館更啟動「南島語系當代藝術發展計畫」，以廣域的南島語族文化為切入點，關注臺灣原住民當代藝術家植根族群主體文化精神、回應當代藝術浪潮的創作能量，並展開包含展覽、駐館創作、學術研討會和出版等系列行動，也積極與太平洋彼端的大洋洲南島文化藝術夥伴合作，至今不輟。不過，其實早在 2005 年高美館《藝術認證》雙月刊創刊之時，高美館對南島當代藝術的關懷便已初見端倪。秉持美術館紀錄藝術家步履的使命，《藝術認證》持續邀稿並收錄臺灣原住民當代藝術家之訪談，希望留下藝術家所思所想的印記。歷經十餘年，藉由無數人的幫助與努力，很高興終於將階段性的成果匯集成本書，與各位讀者見面。藝術家的創作生命，總是在時光積累中，逐漸融匯出多樣的風采。流逝的過往時光雖如吉光片羽，卻恰恰突顯了創作者曾走過的路，以及其所懷抱的族群身影。儘管各篇訪談均只展現了特定時空下，一位藝術家的面貌，但透過本書所收錄的各篇側記，興許也能使讀者感受到「當下」其實正蘊含「永恆」，以及藝術語彙超乎時代和族群的力量。

我們衷心感謝每一位以生命投注創作的臺灣南島當代藝術家，以及執筆留下藝術家足跡的訪談作者。對於百忙之中仍撥冗推薦本書的孫大川副院長，與自高美館開始推動南島當代藝術以來，一路提供支持協助的研究者和藝文工作者，如李俊賢老師、李韻儀老師、林育世老師、李思賢老師等，以及本館許多同仁的付出和努力，在此同樣致上深深謝意。島嶼之上，仍有創作者不停歇的腳步與跫音，邀請您一同來側耳傾聽。

高雄市立美術館館長李玉玲

Preface

Observing an Island from the Perspective of Time

The island of Taiwan is embraced by the sea and adorned by lofty mountain peaks. This wave-beaten island is also a bridge connecting speakers of

Austronesian languages living across the Pacific, and Austronesian peoples who first took root and flourished on this island created their own unique and dazzling cultural heritage. Since the museum's planning stage during the 1990s, Taiwan's indigenous art has constituted one of Kaohsiung Museum of Fine Arts' important collecting targets, and the museum has purchased many carvings with styles evoking traditional indigenous artistic forms. In 2007, the museum initiated the â&#x20AC;&#x153; Austronesian Contemporary Art Development Plan, â&#x20AC;? which takes Austronesian-speaking peoples as it focus, and emphasizes contemporary indigenous artists who are rooted in their people's cultural spirit and reflect the artistic energy of contemporary art trends. The Plan has continued to conduct exhibitions, artist in-residence projects, academic seminars, and publication of literature, as well as cooperative projects with art partners from throughout Oceania, until the present. However, Kaohsiung Museum of Fine Arts' interest in Austronesian contemporary art actually began as early as the initial publication of the Art Accrediting bimonthly in 2005. With a mission of recording the lives and works of artists connected with the museum, Art Accrediting has continued to solicit articles about and publish interviews with Taiwan's indigenous contemporary artists, and seeks to leave a record of artists' thinking. After more than a decade, we are very pleased to compile our past results in this book for the benefit of our readers.

Artists' creativity usually becomes more diverse and abundant throughout their lives. Although time's fleeting passage leaves only fragmentary marks, it highlights the roads artists have traveled and the cultural overtones of their lives and work. And although each interview focuses on only a specific time and the art of a specific artist, the notes and sections of the book as a whole will perhaps remind readers that “contemporary” actually contains “eternity,” and the vocabulary of art transcends the power of time or ethnicity. We are sincerely grateful to every Austronesian contemporary artist in Taiwan who has dedicated his or her life to art, as well as to the interviewer who have recorded the artists' footprints. We would also like to thank all our colleagues at the Kaohsiung Museum of Fine Arts who have put such tremendous effort into planning and implementing the museum's Austronesian contemporary art undertakings. Ever since it began promoting Austronesian contemporary art, the museum has received consistent support and assistance from researchers, cultural worker, and scholars, including Mr. Li Chunhsien, Ms. Li Yun-yi, Mr. Lin Yu-shih, and Mr. Li Szu-hsien, and also Mr. Paelabang Danapan (Sun Da-chun), Vice President of the Control Yuan, who wrote a beautiful foreword for this book; we are deeply indebted to these contributions. We invite you to listen: There are many artists the sound of whose ceaseless footsteps can still be heard on this island.

Dr. Yulin Lee Director, Kaohsiung Museum of Fine Arts

前言

紀錄無可取代的

追尋步履

這本書是以 2005 年至今，高美館《藝術認證》雙月刊十餘年來對臺灣當代原住民藝術家的訪談所構成。《藝術認證》自創刊以來，便持續關注臺灣南島當代藝術的發展。我們將全書收錄的文章依照該篇文章首次刊登於《藝術認證》的時間序進行編排，希望呈現出某一時空切面下，藝術家的所思所想、生命經歷和創作形貌。從 1990 年代對刻板原住民藝術印象的反問開始，臺灣原住民當代藝術的涵括疆界正不斷演變。本書以「臺灣南島當代藝術」作為主旨，希望以臺灣這座島嶼做為觀照的基礎，保留向外串聯太平洋文化脈流的可能性；同時，透過縱向的時間維度，展現出臺灣原住民藝術家如何透過創作深入當代語境，提出關乎文化血緣、歷史傳承的深刻問答。在本書中，我們為了表現隨著時代和環境逐步變動的步伐，選擇以四年做為觀察的時間跨度，並藉此一併檢視高美館關注南島當代藝術的演進脈絡。由於本書匯編的訪談側記跨越了十餘年的時間，許多曾經受訪的藝術家於今創作想法更加成熟，故我們亦於附錄補充了藝術家的人物小傳，以呈現藝術家較近期的創作面貌，期待讀者能從中找到與內文的呼應。作為與內文的對照參考，讀者還可在附錄找到高美館發展南島當代藝術以來所出版的書目，及包含展覽、駐館創作與研討會活動等大事記，以呼應《藝術認證》採訪各藝術家的時間區段。或許藝術家便如追尋者，也是思索未來的先驅者，其探問的步履總是不曾停歇，我們很榮幸曾有機會留下藝術家某部分的話語形貌。自創刊以來，《藝術認證》對臺灣當代原住民藝術家訪談的收錄未曾中

斷。作為本書的編輯，在此對本書所收錄的藝術家與執筆作者致上無盡的感激與敬意，也十分感謝於本書編輯途中給予諸多協助的學者、研究者，及多年來持續推動、規劃這個專欄的歷任《藝術認證》編者與研究員──曾媚珍女士、林佳禾先生、陳美智女士等。今後，《藝術認證》對臺灣南島當代藝術家的訪談和側寫也依然會持續下去，相信無論其走得多遠，紀錄之筆都將落實到該處。

執行主編徐柏涵高雄市立美術館助理研究員

Introduction

Recording Irreplaceable Footsteps

This book records interviews with contemporary indigenous artists in Taiwan originally published in the Kaohsiung Museum of Fine Arts' Art Accrediting bimonthly since 2005. Since it was first launched, Art Accrediting has continued to focus on the development of contemporary art in Taiwan. We have arranged the articles in the book according to the times at which they first appeared in Art Accrediting, and hope to present the artists' thinking, life experiences and art throughout a slice of time. Ever since the stereotype of what indigenous art should be began to be questioned during the 1990s, the boundaries encompassing contemporary indigenous art in Taiwan have been constantly evolving. This book takes Taiwan's Austronesian contemporary art as its chief theme, and seeks to encapsulate the cultural currents that spread out into the Pacific region with the island of Taiwan as the base for its observations. At the same time, taking time as a dimension, we also explore how Taiwan's indigenous artists entered the contemporary discourse by means of their art, and engage in a question and answer session concerning cultural bloodlines and historical heritage. In this book, in order to express the gradual change in the times and environment, we have chosen four years as the period of observation, and rely on this interval to review the Kaohsiung Museum of Fine Arts' attention to the evolution of Taiwanese Austronesian contemporary art. Because the interview notes collected in this book span more than a decade, and many of the interviewed artists have become more mature in their artistic thinking, we also provide autobiographical sketches of the artists, including an overview of their recent

art, in an appendix, and we look forward to readers finding resonances with the main text of the book. The appendix also serves as a reference to the main text, and readers can find lists of books published, exhibitions, in-residence art projects, and seminars held since the museum has started devoting a major share of its attention to contemporary Austronesian art, which corresponds to the period during which Art Accrediting interviewed the artists. Perhaps artists are searchers or maybe thinkers about the future, and their exploratory steps have never ceased. We are much honored to have had the opportunity to preserve these artists' discourse. Since it was first published in 2005, Art Accrediting has never stopped interviewing Taiwan's contemporary indigenous artists. As a new editor of Art Accrediting, I feel tremendous gratitude for the artists whose words are recorded in this book and the authors who wrote the articles. I would also like to thank the scholars and researchers who help us to make the project happened, and the Art Accrediting editors who have planned and implemented this column: Ms. Tseng Mei-chen, Mr. Lin Chia-heh, and Ms. Chen Mei-chih. Looking ahead to the future, Art Accrediting will continue to interview and profile contemporary Austronesian artists in Taiwan. I believe that no matter how far the writing will wander, it still fulfills this mission.

Hsu Po-Han, executive editor Assistant researcher, Kaohsiung Museum of Fine Arts

島嶼跫音 臺灣南島當代藝術側記

島嶼跫音臺灣南島當代藝術側記