沉默的目擊

沉默的目擊 witness to silence

《國際人權紀實攝影展》

沉默的目擊 witness to silence

二二八國家紀念館 National 228 Memorial Museum

Contents

Oscar Motuloh

Sania Knezevic

Christian Vium

謝至德 Ducky Tse

黃子明 Zi Ming Huang

蔡文祥 Wen Hsiang Tsai

策展論述

秘密行動

板門店

天使的臉孔

皇天后土

228 見證者

Exhibiton Discourse

Clandestine

Panmunjom

A Face of Angel

Heaven King & Earth Queen

The Witness of 228 Incident

Christian Vium

Kim , Nyung - Man

楊永智 Yong Zhi Yang

謝至德 Ducky Tse

潘小俠 Hsiao Hsia Pan

06

18

50

84

104

130

攝影家與作品介紹

無處可逃

沉默的力量

阮厝 一方土

愛深深

敢動年代

Photographers and works

Exiled to Nowhere-Burma's

The Silent Strength of Liu Xia

My House and a Piece of Land

Deeply Love

The Age of Defiance

陳南宏 Nan Hong Chen

張良一 Liang Yi Zhang

蔡文祥 Wen Hsiang Tsai

台北港特定區計劃 [ Taipei Port Special Zone Plan ]

114

136

跨洋過海

參展攝影家簡歷

Across Ocean

Biographies

Rohingya 16

Greg Constantine

28

靈魂逃脫之路 Soulscape Road Oscar Motuloh

40

劉霞 Liu Xia

60

失根的社區

黃宏錡 Hong Qi Huang

Uprooted Community

李宣瑋 Hsuan Wei Li

Sanja Knezevic

黃慧瑜 Hui Yu Huang

74

陳潔皓 Jie Hao Chen 許哲韡 Zhe Wei Xu 葉振宇 Zhen Yu Ye 士林文林苑都更案 [ The urban renewal case of Wenlin Yuan, Shihlin ]

90

黃子明 Zi Ming Huang

122

146

策展論述

攝影 ‧ 人權與社會正義

6

界其它城市人權，黑暗的角落。

「人權」是指「人，因其為人而應享有的權利」。不 論種族、階級、性別、社會階級，人人皆應享有，它

國際公約》與《經濟、社會與文化權利國際公約》之

「人權」在新經濟年代中，是新興城市價值推動必須

主要的含義是：每個人都應該受到合乎人權的對待。

批准案，兩公約之施行法並於 2009 年 12 月 10 日起 生效。

文 / 策展人 / 蔡文祥

過國際人權法典中最重要之兩公約《公民與政冶權利

跨越的護欄，因其涉及複雜族群的意識形態。既有現

人權的普適性和道義性，是它的基本特徵。人權思想

實的妥協、衝突、抗拒和尋求精神的解放，又有處於

隨著現代化輸入台灣，開始時大家對它十分陌生，只

失語和被誤解詮釋的靦腆位置，此外亦背負著烏托邦

是因它常在反抗政治迫害事件中出現，以致國人產生

然而，無論時代如何進步，科技如何創新，政治如何

的理想願景。這些新經濟年代中的邊緣影像皆在關注

一種印象，認為人權是純政治性的。歷史上的偶然，

演化，只有人性是千古不變，每個時代攝影作品都在

全球化後社會、生命、種族、輿論、人權文化發展的

往往造成錯誤的了解，這裡又得到一個印證。事實上，

探測人類內心複雜情緒與自我反應，及社會脈動。而

正向價值力量。亦藉此反思全球化下城市建設、勞動

人權不是純政治的，而是生活的、倫理的、家庭的、

攝影，提供給我們所處時代銜接種族平等及人類文明

遷移及族群失托的窘境，對歷史、公共空間與權力制

社會的，這項權利與生俱來，跟生命等值，人類生而

發展重要之依據，攝影的真實與紀錄性一直是促進和

度的抗衡。

有自由、平等，和尊嚴的權利，不管是男是女、是貴

理解人權發展不可或缺的工具，特別是報導攝影的紀

是賤、是富是貧、是外鄉或是本土、是年老或是年少。

實能力為攝影與社會的聯繫築起一座橋樑，攝影成為

攝影自 1839 年發明以來，即改變了人類書寫歷史的

任何人，在任何地方，都有完整而獨立的人格。

攝影家表達他們參與社會事務的方法，並已對過往世

在影像愈混亂的年代，愈能看見紀實攝影的生命力。 攝影是人類生存於歷史、社會、環境的目擊者，是一

方式，我們不再僅是透過抽象的文字來認識世界，事

種報告、紀錄性的工作。對人性的傳達，對人類的關

物開始被具體地表現出來。每一張照片，都有自己的

心與了解即是照片的首要使命。

故事與生命，生硬的鏡頭和底片在人的使用下有了生

原則。是否合乎保障人權的要求已成為評判一個集

攝 影 理 論 與 藝 術 家 拉 茲 羅． 莫 荷 利 - 納 吉

命、有了人性，表達了人類彼此的情感、困惑、喜樂

體，政治與經濟的優劣重要標準。但是，在具體實踐

（La'szlo'Moholy-Nagy）主張：「一張照片的價值不

所有歷史學家都應會同意，第二次世界大戰死傷人數

悲傷與災難，影像的生成並成為互相傳遞訊息、交談

層面上，對於人權的定義，以及保障人權的方式都存

能僅用美學的觀點去衡量，還必須從對人類和社會在

慘重、生命橫遭蹂躪，最大的受害者不是軍人，而是

的耳語。這些不僅僅是個人的故事或回憶，而是一個

在著相當大之爭議，甚至引發了嚴重衝突。人權在抽

視覺上的表現強度去判斷。照片不是簡單的發現事實

平民百姓。為了反應、顯示二次戰爭所帶來的無情殘

家庭、社會、族群或一個文化、時代的縮影。隨著現

象認知上的共識和在具體實踐中的分歧，也形成了強

的一種手段，攝影影響了我們觀察的方法，並創造出

酷，聯合國在 1948 年簽署《世界人權宣言》，試圖

代科技與網路傳播的發展，影像敘述化為一個鮮明樣

烈反差，甚至呈現在目前國際間利益之交換。

一個『新的視覺』。」這個新視覺的思考為我們提供

台灣自 1987 年 7 月 15 日解嚴，開放人民集會遊行

生命的維繫等相關議題改善線索。攝影成為具社會性

保護無辜的「人」免於戰爭的恐懼與生命的威脅，也

貌而且更準確地讓觀者所看即所得。攝影，的確有著

讓生為「人」者瞭解什麼是每個人的權利，這些努力

和其他視覺藝術形式不同「看」的語言和方法、也有

界人權的改善發揮作用。 在當今的國際社會，維護和保障人權是一項基本道義

出一個道德判斷的標準、人權的維護、種族的生存、

都試圖為世界建立自由、正義與和平之基礎。然而，

「聽」和「觸」的感覺，為我們和世界提供全新的溝

與組黨之自由，前後二十多年是台灣邁向民主的年

表現的一種有力傳媒工具，它關注社會、關注人生、

不幸的是即使人權倡導至今，仍有許多無辜者因為膚

通和交談語言，這種建立於實際社會環境裏，再現現

代，也是歷史重新詮釋的年代。二十多年來，台灣有

關注族群、形成輿論、干預社會，與創造社會正義的 正向價值。

色、政治理念、生活階級、性別、身體差異等因素受

實、表達時間斷裂的片段是攝影永恆的特性，離開這

志之士為了追求公平正義，走上街頭，抗議當時執政

到威脅，甚至在地球的黑暗角落，部分種族生存也飽

種特性就不是攝影了。

的中國國民黨的黨國威權體制。在強大民意壓力及國 際輿論影響下，國民黨政府被迫宣布解嚴，結束台灣

回顧攝影發展歷程，早期一開始因其逼真的紀實性、

答，相對地，對人權的教育與學習才正要開始。

攝影這種與真實現象直接碰觸的語言，取材自人類生

長達 38 年的戒嚴體制，同時也點燃了台灣民主政治

真實性、強調客觀反映的表現形式，讓攝影人士利用

存環境空間，始終表現出人性、歷史和自然沉默的說

之曙光。台灣終於邁入初期人權社會。

相機對時間攫取與真實記錄功能，對即將消失的社會

『沉默的目擊』國際人權紀實攝影展，以「亞洲世界

服力。攝影的力量也在於此，將過往人類移動的足跡

城市」議題，思考全球在地化、區域國際化的社會裏，

與消失的歷史，在影像永恆的特性下為我們留下值得

事實上與台灣社會人權發展及觀念深化程度息息相關

攝影與社會本質問題，同時以跨地域、泛文化方式揭

的是「228 公義和平運動」與「解嚴，邁向人權社會」，

橥亞洲世界城市邊緣，人權異象與生命生存的想法。

回顧的印記。而攝影所產生影像的好壞與重要性 ── 也在於「人」，隨著操作相機人的胸襟、氣度、素養

這兩大軸線可說是時代演繹進程中，交錯互應著啟動

邀集來自全球各地含台灣在內 7 國 18 位獨立攝影家

1870 年，21 歲 的 丹 麥 人 雅 各 布．A． 里 斯 (Jacob

和觀點不同而豐富了人類的文化，使過往的歷史被看

台灣社會向更文明方向邁進的重要指標。同時在時代

August Riis)，是「紐約先驅報」的一名記者，也是

以紀實攝影為創作手法，發掘新經濟年代中亞洲及世

見，使人性的種種身影被見證。

潮流與人民努力下，2009 年 3 月 31 日，政府審查通

第一個把攝影用作社會公器的勇士。他在關於紐約貧

受被消滅的威脅。我們並沒有從歷史經驗中得到解

現實、人類生存狀況，投入社會改造運動，並利用攝 影在不同時代做為政治的對抗工具。

Witness to Silence 沉默的目擊

沉默的目擊／

而且快速成了全球性的畫報，發行量最大時曾達 860

權力體制壓迫人民的行徑，也看到人類權力欲望的荒

居住在擁擠、骯髒不堪的低等公寓裡。他的第一本書

萬份，在國際上具有相當大的影響力，讓雜誌大量地

誕外，但卻又不得不感動於影像所宣洩出人類誠摯而

《另一半人怎樣生活》－ "How the Other Half Lives"

刊登照片，影像魅力隨著刊物散播出來，從而造就了

強烈的真情。對於這些人類自己在日常生活中創造的

（1890），影響了社會輿論並震撼了美國人的良知，

一大批的攝影名家。羅伯特．卡帕 (Robert Capa)、

影像，攝影工作者賦予它們撫平或激起情感行動的力

促使美國通過第一個意義深遠的改進貧民窟生活條件

尤金．史密斯 (William Eugene Smith)、亨利．卡蒂

量，視覺影像幫助大眾認識歷史與關心社會。1839

之法案。1908 年到 1914 年間，社會學家與攝影家路

埃 - 布列松 (Henri Cartier-Bresson) 等大師都是這一

年西方攝影術宣告出現以來，攝影就一直涉入「記憶

易．Ｗ．海因（Lewis Wickes Hine）效仿里斯，利

時期的代表人物。特別是尤金 . 史密斯拍攝的《鄉村

和歷史」的真實性、美學價值、社會用途，乃至政治、

用他的相機作為社會改革之工具，在美國拍攝了在工

醫生》、《西班牙村莊》、《助產護士》、《日本水

權利、性別議題等等的論述交鋒，但這些影像及論述

廠與田野裡，一天工作十二小時童工無辜的身影，記

俁事件》等都成為報導攝影史上的經典之作，它們震

的演進，伴隨著世界思潮，恰恰豐富了人類影像重建

錄了他們生活環境極差的住所。這些照片最後促使美

動了世界，感動了所有的人，是攝影史上表現最具人

歷史的多元可能性，而我們也必須透過影像在認識歷

國人相信有必要制定一部童工勞動法，保障人的基本

性、人道精神，以生命關懷為�主的影像詩篇。1968

史中前進。

生存條件。攝影第一次成功地被用來作為改善窮人生

年，艾迪．亞當斯（Eddie Adams）一張拍攝「槍斃

活的社會正義武器。 攝影作為人類情感表達最忠實的媒介，它忠實地反映

越共」的作品，這張照片引起翻天覆地的反戰運動，

在全球化裡，攝影是唯一通行世界的「語言」，在不

甚至讓喪失支持度的詹森總統宣布不再競選連任，進

同的種族、性別、國家及不同文化間搭起了橋樑，了

而成為間接促使越戰提早結束的因素之一。

解影像的目的和意圖，在在都決定了影像該在我們的

生活及時事，照亮了政治與社會實況，特別是紀實 ( 報

歷史演進中扮演何種角色，也成為我們活在視覺氾濫

導 ) 攝影作為社會的正義之聲與人性的見證。其特性

時至今日，《世界人權宣言》所展現的精神原則，早

在 20 世紀 30 年代開始的美國經濟大蕭條時期也發

已成為全球的普世價值。二十世紀以來，台灣從日本

揮了功效。當時的美國農業安全管理局組織了多羅西

帝國殖民轉換到國民黨政府執政，二十世紀末台灣如

我要感謝所有參與「沉默的目擊」國際人權紀實攝影

亞．蘭格（Dorothea Lange），沃克．埃文斯（Walker

何走向民主化，民主素養如何深耕，成為二十一世紀

展的所有攝影工作者 :

Evans）等 13 名攝影記者，他們拍攝下美國中部乾

新的台灣國民文化。面對當時種種台灣民主的研究課

分 別 是 來 自 丹 麥 ／ Christian Vium、 美 國 ／ Greg

旱地區的災民、阿拉巴馬的佃農和他們的小木屋，及

題，所不能被忽視的是台灣反對運動者無畏的反抗舉

Constantine、 印 尼 ／ Oscar Motuloh、 塞 爾 維 亞 ／

之文化中，一項無比重要的課題。

被趕出家園的無家可歸者。最後在公部門支援下，這

動，這一連串來自歷史追求自由的民間底層力量，造

Sanja Knezevic、韓國／ Kim,Nyung-Man、中國／劉

些攝影家的作品，喚起美國人去瞭解同胞的困境，使

就且醞釀了 1980 年代反戒嚴環境，群眾集體走上街

霞、法國／ Guy Sorman、中國香港／謝至德、台灣／

公眾感受到攝影作為輿論工具的力量，並促使攝影形

頭爭取被剝奪的權利，終於讓執政的國民黨政府解除

黃子明、潘小俠、楊永智、張良一、陳南宏、黃慧瑜、

成求真求寫實的風氣。這些攝影工作者用影像實踐人

禁錮人民思想、人權發展、言論自由、身體自主權等

黃宏錡、陳潔浩、許哲韡、葉振宇、李宣瑋等人。這

權維護、種族生存、生命維繫等相關議題，提供作為

38 年的戒嚴令。台灣跟隨世界潮流一步一步向西方

個展是攝影家們對人權的觀察和將來美好世界願景的

「人」生存環境改善的線索。攝影真正成為改善社會

民主世界學習，人權發展與言論自由終獲得紓解，媒

努力，是他們奉獻精神和卓越人性光輝的具體成果。

環境的一種工具，它關注社會，發揮影像力量，確確

體發展也得到社會的養分百花齊放，台灣攝影也在媒

希冀觀眾可以從國際不同的人權影像的文本內容中，

實實成為人權的守護力量來源之一。

體需求與社會支援下而逐漸壯大。

積極的省思，身體力行，為台灣打造一個尊重、包容

二 次 大 戰 前 後 紀 實 的 報 導 攝 影 迅 速 發 展， 在「 新

從攝影工具的形成與發展之歷史角度來思考，攝影，

證那些被媒體遺忘的角落，為人權的改善打開一片天

聞 攝 影 之 父 」 阿 爾 弗 萊 德． 艾 森 斯 塔 特（Alfred

表現在社會向度其真正意義是發揮民主、自由的軌

空。

Eisenstaedt）等攝影家的直接影響下，1936 年 11 月

跡，和具最本質地反映社會人性的特質。當我們閱讀

《生活》雜誌創刊，它是美國第一家全用照片的雜誌，

這些影像、直觀人類歷史所走過的痕跡，認識了過去

的人權學習環境。因為我們相信，攝影可以讓我們見

Witness to Silence 沉默的目擊

8

民窟的文章中配有系列照片，影像內容呈現了移民們

"Witness to Silence" Photography‧Human Rights and Social Justice

10

Curator / Wen Hsiang Tsai

In the technical era, the more images flow, the more we can discover vitality and value of photography.

Because photography is a witness to people’s social living environment, it conveys humanity.

To understand and care are the key points photos express.

“Witness to Silence” International Photography Exhibition on Human Rights is set up with a theme on “Asian cities” that contemplates the relations between photography and the nature of the society in a social environment today where the world is localized and the regions globalized. Meanwhile, it explores thoughts on human rights visions and life living at the edge of Asian cities in a cross-regional and pan-cultural way. We invite 18 independent photographers from 7 countries including Taiwan who compose their works with documentary photography that discover dark corners of human rights in central Asia and other cities in this new economic era.

In the new economic era, “Human Rights” are the railings newly emerging cities have to cross if they want to enhance their values, as it is related to

the consciousness of complex ethnic groups. The images reflect compromise, conflicts, resistance in reality and expectation of spiritual freedom, and yet at the same time a placement in shy status of being speechless and being misunderstood as well as possessing of Utopian ideal. These images in new economic era all focus on positive value power of the development of the society, life, ethnics, public opinions and human rights culture after globalization. They also thereby reflect the awkward situation caused by urban construction, labor migration and reliance loss of ethnic groups, and countering history, public space and authority system.

Since the invention of photography in 1839, it has changed the way people record history. We no longer learn about the world through merely abstract characters as things started being expressed in more concrete forms. Each photo has its own story and life; and through lenses and film negatives, the images are given life, humanity that express emotions people have for one another such as perplexity, happiness, sadness and calamity. They not only are stories and memories of an individual but that of a family, a society, a group, or even an epitome of a culture, an era. With the development of modern technology and broadcasting networks, image is described in an even more clear form and is more precisely conveyed to the viewers.

Photography indeed has the language and method of “seeing” differently from other visual arts, and that it also conveys the senses of “hearing” and “touching”. It provides our world with a brandnew form of communication. It is the perpetual

characteristics of photography that establish fragment in actual social environment, reproduce the reality and express time fracture. It will not be photography if it has no such characteristics.

Photography, a language directly in contact with the reality, is taken from human’s living environment.

It manifests the persuasion of humanity, history and nature silence. The power of photography lies in that it, through its perpetual characteristics, leaves people with memorable impression of their past footprints and disappeared history. Images produced by photography — whether they are good or bad and whether they are important — lie in “man”.

Breadth of mind, level of manner, attainment and viewpoint of the camera operator enrich the human culture, make evident the past history and witness to humanity.

“Human rights” refers to “the rights entitled to human being”. Whatever the race, status, gender and social standing are, each person is entitled to human rights.

Its main meaning is that each person shall be treated in accordance with human rights. The universality and morality of human rights are its basic characteristics. The idea of human rights was introduced in Taiwan along with modernization.

In the beginning, it was foreign to everyone, and because it often appears in the events of confrontation fighting against political persecution, people often associate human rights as political in nature. The truth of matter is human rights are not just political, but pertain to also life, ethics, family

and society. This right is inherent and is equally valuable as life. Everyone is entitled to enjoy freedom, equality and dignity regardless of whether one is a he or she, noble or underprivileged, rich or poor, alien or native, elder or minor.

Human rights maintenance and assurance are a basic moral principle in today’s international community.

Whether one meets the requirements of assuring human rights has become a pivotal criterion judging the advantages and disadvantages of its collective polity and economy. In actual practice however there is a considerable controversy on the definition of human rights and the method of assuring human rights that at time even triggers serious clashes. The divergence in abstract cognition and actual practice of human rights also shapes a striking contrast, in which there exists even exchanges of interests among members in the international community.

On July 15, 1987, martial law was lifted in Taiwan and people had the freedom to hold assemblies and form parties. The 20 years before and after marked an era of Taiwan’s march toward democracy, it was also the era that the history was re-interpreted. Over the past 20 years, people took to the street their appeal for justice and fairness as they protested against the authoritarian regime of the Kuomintang at that time. Yielding to the powerful will of the people and world opinion, the Kuomintang Government was compelled to lift martial law that ruled over Taiwan for 38 years. It lit up the democratic politics in Taiwan. Taiwan finally stepped toward a human rights society.

Witness to Silence 沉默的目擊

Exhibition Discourse

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Actually the “228 Justice and Peace Movement” and the “Abolition of Martial Law, March Toward Human Rights Society” are closely tied to the development of human rights and the deepening of human rights concept in Taiwan. The two axes can be viewed as the important indicators of the Taiwan public’s progress toward more civilized direction in the course of time evolution. In line with global trend as well as efforts made by the people, the Taiwan government on March 31, 2009 ratified the “International Covenant on Civil and Political Rights” and the “International Covenant on Economics, Social and Cultural Rights” which are the important treaties of the International Bill of Human Rights. The two covenants took effect on December 10, 2009.

László Moholy-Nagy, the photography theoretician and artist advocates: “The value of a photo cannot only be measured by the aesthetic view, and must be judged from the expression intensity in vision of human kind and society. Photos are not just a simple way to discover fact, and photography affects our way of observation and creates a ‘new vision’. ” The think of this new vision provides for us clues in moral judgement standard and in improving related matters such as safeguarding human rights, survival of ethnic group and continuation of life.

Photography has become a powerful median that propels positive values such as showing concern for social issues, caring for life, ethnic groups, the underprivileged, and creating social justice by ways of intervention that prompted public discussion.

However, no matter how times progress, technology innovates and politics reforms, humanity remains unchanged through time. Works of each photography era explore people’s complex inner emotion and self-reaction and social trends.

Photograph provides important bases that link racial equality and human civilization development to our current times. The genuineness of photography

Looking back on the development and history of photography, we learn that, given the images’ vivid documentary, genuineness and objective reflection, photographers use cameras to capture time, record events and partake in social reforms over social reality and people’s survival condition that are about to disappear. They also use photography as a tool to fight against politics.

In 1870, then 21-year-old Dane, Jacob A Riis, became a reporter for the “New York Herald Tribune” and he was the first one to use photography as a public instrument. He used a series of photos in articles about slum in New York. The image contents showed that immigrants lived in crowded, dirty and inferior apartments. His first book, the “How the Other Half Lives” written in 1890, influenced public opinion and shocked the conscience of Americans, prompting the US to pass a bill aimed at improving living conditions at slum. From 1908 to 1914, Lewis W. Hine, a sociologist and photographer imitated Riis and used his camera as a tool for social reform.

He took many photos of child laborers who worked in factories and fields 12 hours a day and recorded their poor living conditions. These photos eventually impelled Americans to believe it was necessary to formulate a child labor law to guarantee the basic survival conditions of people. Photography was successfully used as a weapon of social justice that improved the life of the poor.

Photography, as the most faithful medium in expressing human’s emotions, trustily reflects life and current events, lights up political and social realities, and particularly plays witness to social justice and humanity with its documentary (reportage) photography. Its characteristics played a role during the Great Depression in the U.S.A in the 1930s. At the time, the Agricultural Security Administration arranged for 13 photography reporters, including Dorothea Lange and Walker Evans, to take photos of victims in the arid region in the middle part of America, the tenant peasants of Alabama and their log cabins as well

as the homeless people. With support from public departments, works of these photographers allowed the Americans to understand the difficulty situations their compatriots were in.

These photographers use photography to carry out relevant issues such as maintenance of human rights, survival of ethnic groups and life support, providing clues to improvement of people’s living environment. Photography really becomes a tool in improving social environment. It focuses on the society, bring photography into play and indeed becomes one of the power guarding human rights.

The documentary photography developed rapidly before and after World War Two. Under the direct influence of Alfred Eisenstaedt, the “Father of Press Photography”, the magazine “Life” was created on November 1936. The magazine was the first magazine to fully use photos and it quickly became a global pictorial. At its peak, its circulation reached 8.6 million copies. It had a considerable influence in the world. The magazine published many photos and charm of the images spread along with the publication. It subsequently made famous a number of photographers. Photography masters such as Robert Capa, William Eugene Smith and Henri Cartier-Bresson were among the representative figures from that period of time.

Especially the “Country Doctor”, “Spanish Village”, “Nurse Midwife”, and “Japan Minamata Event” shot by Eugene Smith, all of which have become classic works in the history of press photography that moved the world and touched many people.

Those images conveyed the most intense level

Witness to Silence 沉默的目擊

and its recording function have made it a pivotal tool in promoting and understanding development of human rights, particularly the documentary capacity of news photos which bridges a channel of communication between the photography and the society. Photography becomes a method that photographers manifest their participation in social affairs and play a part in improving the world human rights.

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The spirit of the “Universal Declaration of Human Rights” has now become the universal value around the world. Since the 20th century, the regime governing over Taiwan has changed from the Japan colonial rule to the Kuomintang government. And that at the end of the 20th century, it’s about how Taiwan marches toward democratization and how it is to root deeply its democracy capacity to let it become the new national culture of Taiwan in the 21st Century. In view of various research subjects of Taiwan democracy at that time, the fearless opposition movement cannot be neglected. The series of grassroots movements seeking freedom brewed the environment for fight against martial law in the 1980s. At that time, crowds took to the street fighting for their deprived rights. The thenKuomintang Government eventually lifted martial law which had imprisoned people’s thoughts, human rights developments, freedom of expression and such for 38 years. Taiwan learns from the western democratic world step by step along with the world trend and finally obtained human rights and the freedom of expression. Media development moves forward because of the social nutrients, and photography in Taiwan also grows as a result of media demand and social support.

From the perspective of tool formulation and history of its development, the real significance of photography in social dimensions is to express democratic and free track and intrinsically reflect the characteristics of social humanity. When we watch these images, we see the traces walked by the human history, the path that past authority system had taken in oppressing the people as well as the absurd of desire for human power. But we are also moved by the sincere and strong emotions conveyed by the images. For images created by people in daily life, the photographers give the force to calm or stir the affectual action, and the visual images help the masses to understand history and care for society. Since the western photography appeared in 1839, photography has involved in the “memory and history” truth, aesthetic value, social use, and even discussions about politics, rights, sex, etc. These images and discourse evolution enrich the multiple possibilities of rebuilding history through images.

And all the while we also must, through the images, make progress in the course of understanding history.

In the age of globalization, photography is the only international “language” that serves as a bridge between different ethnic groups, gender, countries and cultures. Understanding the purpose and intention of images decides what a role the image shall play in our evolving history—an issue that has become incredibly important in the overflowing visual culture that we now live in.

I would like to express thanks to all photographers participating in “Witness to Silence” International

Photography Exhibition on Human Rights, namely Christian Vium from Denmark, Greg Constantine from America, Oscar Motuloh from Indonesia, Sanja Knezevic from Serbia, Kim Nyung-Man from South Korea, Liu Xia, Guy Sorman from mainland China and France, Ducky Tse from Hong Kong, Zi Ming Huang, Hsiao Hsia Pan, Yong Zhi Yang, Liang Yi Zhang, Nan Hong Chen, Hui Yu Huang, Hong Qi Huang, Jie Hao Chen, Zhe Wei Xu, Zhen Yu Ye, Hsuan Wei Li, etc. from Taiwan. This exhibition features the photographers’ observation on human rights, efforts made toward a better world and is a specific result of their devotion and manifestation of humanity. It is with hope that the viewers can engage in positive reflection and resolve to practice after seeing these international human rights images, hence work to construct a respected, tolerant environment for human rights learning in Taiwan. We believe photography can help us witness corners forgotten by the media and broaden improvement of human rights.

Witness to Silence 沉默的目擊

of humanity, humanism and care for life in the history of photography. In 1968, the works “Saigon Execution” photographed by Eddie Adams resulted in an earthshaking anti-war movement and even led then-US president Johnson to declare that he would not run for reelection, indirectly as one of the factors that brought an early end to the Vietnam War.

Christian Vium Greg Constantine Oscar Motuloh

Photographers and works

Kim,Nyung - Man 劉霞 Liu Xia Sanja Knezevic

楊永智 Yong Zhi Yang 陳南宏 Nan Hong Chen 黃宏錡 Hong Qi Huang 李宣瑋 Hsuan Wei Li 黃慧瑜 Hui Yu Huang 陳潔皓 Jie Hao Chen 許哲韡 Zhe Wei Xu 葉振宇 Zhen Yu Ye 謝至德 Ducky Tse

張良一 Liang Yi Zhang 黃子明 Zi Ming Huang 潘小俠 Hsiao Hsia Pan 蔡文祥 Wen Shiang Tsai

Witness to Silence 沉默的目擊

攝影家與作品介紹

秘密行動 Clandestine

─ Christian Vium/ 丹麥 ,Danmark 「秘密行動」，是一則有關於生與死的圖片

CLANDESTINE is a story about life and

故事。是一個人放棄身上所有的東西，只為

death. It is the story of men who risk

家庭尋求未來美好的生活。

everything in order to provide a better future for their families.

「秘密行動」，是一個還在進行中的紀實攝 The project CLANDESTINE is an ongoing

間，用人類學田野調查方式，近身拍攝記錄了

documentary project about clandestine

一群西非年輕人放棄一切尊嚴，只為了讓家

migration from West Africa to Europe. It

庭有更好的生活，設法秘密的從西非遷移到

is a photographic account of the long and

歐洲，整個艱辛而漫長的遷移過程的故事。

perilous journey, undertaken by young

Witness to Silence 沉默的目擊

影專題，攝影家 Christian Vium 以五年的時

african men, through the vast expanses

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這些年輕的非洲男人承受無比的壓力，隨著

of the Sahara, across the hostile waves

偷渡旅途的開始，期間他們的人權日益被剝

of the ocean and into a foreign continent,

奪，穿過廣闊的撒哈拉， 又在海洋中乘風破浪，

Europe.

最後才能抵達終點歐洲大陸。到最後他們赤 裸的生命，仍然成為現代社會發展下被遺棄

CLANDESTINE is an intimate investigation

的一群。

of men who must denounce themselves and become nobody in order to become s o m e b o dy a n d h ow, as t h e j o ur n ey unfolds, they are progressively stripped from their human rights and become naked lives or outcasts of modernity. The immediate drama of the actual crossing is mirrored in a profound psychological and symbolic jour ney. The c rossing represents a rite of transition, in which the young migrants become suspended in an existential no man’s land. Between adolescence and adulthood. Between the familiar and the foreign. Between Africa and Europe. Between life and death.

在村莊最後一晚

「活著就是金錢 」，在一移民家前的車子，2006 年，馬里。

一位年輕人在村裡做完最後的禱告，準備前進歐洲。

"Live is Money" The house of a migrant. Groumera, Mali. 2006.

這個原始村莊是位於馬里西北邊 Kayes 地區的 Groumera。 2006 年。 LAST NIGHT IN THE VILLAGE A young man is performing his last prayers before leaving his native village of Groumera in the Kayes region of Northwestern Mali towards Europe.

Groumera, Mali. 2006.

最後的告別，馬里。

Praying for the Departed.

The Last Goodbye.

Mali. 2006.

Mali.

年輕人圍在村裡僅有的電視前， 觀看不可能的任務 2 影集。 一群移民進入未知的領域，馬里。 Young men watching the film Mission Impossible 2 on one of the few television sets in their village.

Groumera, Mali.

A group of migrants into the unknow.

Mali.

Witness to Silence 沉默的目擊

20

為遠行者祈禱，2006 年，馬里。

在沙漠中， 2006 年，馬里東北方。 In the Desert

Witness to Silence 沉默的目擊

Northeastern Mali. 2006.

22 穿越聖路易斯的前一天晚上，塞內加爾。 2006 年。

穿越聖路易斯，塞內加爾， 2009 年。

The Night Before The Crossing St. Louis, Senegal. 2006.

The CrossingSt. Louis, Senegal.

2009.

枯竭的拘留所，努瓦迪布，毛里塔尼亞。 2006 年。 Exhausted Detention Centre, Nouadhibou, Mauritania. 2006.

Witness to Silence 沉默的目擊

24

穿 越 聖 路 易 斯，塞 內 加 爾。 2009 年。 The Crossing Senegal, St. Louis. 2009.

移民大廳，第 20 區，

祈禱生活更美好

法國巴黎， 2007 年。

法國巴黎，2010 年。

Migrant Foyer.

Praying for a better life

20th arrondissement.

Paris, France. 2010.

Witness to Silence 沉默的目擊

Paris, France. 2007.

26 孤獨 法國巴黎，2008 年。 Alone Paris, France. 2008.

家族相簿 法國巴黎，2008 年。 Family Album Paris, France. 2010.

無處可逃 Exiled to Nowhere-Burma’s Rohingya

─ Greg Constantine/ 美國 ,USA 「因為我們無國籍，我們沒有權利稱任何一個 地方為家；我們不能活在和平之中，因為我們 無國籍。」 一個身處孟加拉的 35 歲難民自述 際難民組織稱之為「被遺忘的緬甸少數民 族」 。在緬甸，他們無法自由旅行，沒有財產權， 且常遭到勒索與宗教迫害，還得被迫服勞役， 連結婚也得經過當地官員同意。約二十萬名 羅興亞人因而逃離緬甸，至孟加拉南部尋求 庇護，但多數難民卻無法取得正式難民身分， 而避難所的空間亦非常有限。羅興亞人在孟 加拉受到當地政府剝削、騷擾，僅獲得少數

28

的人道救援，他們生活在永無止境的苦難中。 過去數年來，逃至孟加拉的羅興亞人成立了 臨時避難所，其中包括新建的「庫圖巴朗」 （Kutupalong）臨時營地，位於聯合國避難 署建造的難民營之一的外圍地區。2008 年， 營地人數從幾戶家庭增加到兩萬多人。新建 的營地環境髒亂，只能用悲慘與絕望形容。 營裡沒有任何衛生設備，糧食短缺，沒有乾 淨用水與醫療照顧，到處都是生病與營養不 良的難民。救援人員形容難民的情況實在令

“Since we don’t have nationality we don’t have the rights to call any land our home. We can’t live in peace because we don’t have nationality.” 35-year-old refugee in Bangladesh Called “Burma’s forgotten minority” by

sickness and malnutrition. Aid workers

Refugees International, the Rohingya are

have described the situation of the camp

a Muslim minority from western Burma. In

population as utterly unacceptable.

Burma, they are denied the right to travel freely, own property and are subjected

B u r m a’s e t h n i c R o h i n g y a m i n o r i t y

to extortion, forced labor and religious

remains a stateless people caught

persecution. To marry, they must obtain

between the open hostility of the Burmese

permission from local officials. As a result,

authorities and the ambivalence and

some 200,000 Rohingya have fled Burma

neglect of the unsympathetic Bangladesh

to seek refuge in southern Bangladesh

hosts.

where most are denied official refugee status and have found little sanctuary.

Exploited, harassed by local authorities and permitted to receive little humanitarian assistance, the Rohingya live in a cycle of

人無法接受。

misery that has no borders.

緬甸當權者的公開迫害，孟加拉當局的冷漠

Over the years, Rohingya in Bangladesh

態度、舉棋不定與毫不在乎，使緬甸裔的羅 興亞少數民族目前仍無國籍，無處安身。

Witness to Silence 沉默的目擊

羅興亞人是緬甸西部的穆斯林少數民族，國

have created temporary camps, including a new makeshift camp called Kutupalong on the outskir ts of one of the of ficial UNHCR refugee camps. In 2008, the camp grew from a few families to over 20,000 people. This new, squalid place can be described in two words: misery and despair. With no sanitation, lack of food and almost no access to clean water and medical care, the camp is rife with

臨時營地超過 30% 是兒童，但它們不提供教育和有限的

Over 30% of the makeshift camp are children, yet they are not provided an

醫療資源。一群孩子參加一個由竹子和塑膠布臨時搭建

education and have limited access to health care. A group of children attend a

的宗教學校。

makeshift madrassa made of bamboo and plastic sheeting.

2005-2010

2005-2010

這些婦女被強迫站在水深至她們脖子的地方，遭 受言語和身體的虐待。最後，120 個家庭從他們的 村莊逃到孟加拉。 2005-2010 These women were forced to stand in water up to their necks and were verbaly and physically abused by NaSaKa. Eventually 120 families from their village fled to Bangladesh.

Witness to Silence 沉默的目擊

2005-2010

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緬甸當局為了掌握羅興亞人的家庭，所以他 們有每個家庭的照片以了解人口數。登記不 實的家庭往往會導致鉅額罰款和處罰。 2005-2010 The Burmese authorities take photos of Rohingya families so they know exactly how many people live in each househole.

The slightest discrepancy to the family register often results in heavy fines and 我的兒子出生在緬甸沒有身份，現在，他已經死了且

punishment.

沒有得到孟加拉的身份。

2005-2010

2005-2010 My son was born in Burma without an identity.

Now he has died without an identity here in Bangladesh.

2005-2010

Witness to Silence 沉默的目擊

32

在 1992 年，這名男子被強迫勞動時頭部遭到毆打後， 從緬甸逃到孟加拉。估計約有 30 萬名的羅興亞族難民 目前生活在孟加拉南部。 2005-2010 After being beaten in the head during forced labor in Burma, this man fled to Bangladesh in 1992.

He is one of an estimated 300,000 unrecognized Rohingya refugees currently living in southern Bangladesh.

2005-2010

孟加拉國認為大多數的羅興亞人是非法經濟移

一個女人和她的孫子坐在代格納夫鎮附近的塔 爾營地的路上。羅興亞人在孟加拉南部未被承

民，他們不能合法工作，但他們是重要的勞動力

認為難民，並幾乎無法獲得任何人道主義援助。

來源。羅興亞人在代格納夫附近的鹽田工作收

A woman and her grandchild sit on the

2005-2010

入少於每天 3 美元。 side of the road at the Tal Camp near the Bangladesh considers most Rohingya to be

town of Teknaf. Most Rohingya in southern Bangladesh are not recognized as refugees

illegal economic migrants. They are unable to

and receive lit tle or no humanitarian

work legally, yet they are an important source

assistance.

of labor. Rohingya working in salt fields near 2005-2010

34 大多數羅興亞人生活在由原始的木屋、樹葉、樹枝、

過去 20 年來，羅興亞人逃離他們自己的土

泥土和塑膠碎片搭建的庫圖巴朗臨時營，羅興亞人

地，成為住在 Bangladesh 附近的難民，上

在營地中幾乎無法獲得任何人道主義援助。

千人擠在狹小區域拼湊的難民營。 2005-2010

Most Rohingya in the Kutupalong Makesshift Campr live in primitive huts made of leaves,

Over the past twenty years, many

twigs, mud and scraps of plastic. The Rohingya

Rohingya have fled their homeland and

in the camp receive littie or no humanitian

now live as unrecognized refugees in

assistance.

neighboring Bangladesh. Thousands live in squalid makeshift refugee camps.

2005-2010

Witness to Silence 沉默的目擊

Teknaf earn less than $3 USD per day.

房子裡的小男孩 2005-2010 A boy in house.

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Witness to Silence 沉默的目擊

2005-2010

羅興亞人徒步走了數英里進入森林，收集木 柴，在當地市場上銷售或使用在的庫圖巴朗的 臨時營。當地人騷擾女性且警方經常逮捕進入 森林撿拾木材的羅興亞族男子。 Rohingya hike miles into the forest to collect firewood to sell at local markets or use at the Kutupalong Makeshift Camp. Locals harass the women and police often arrest Rohingya men for taking wood from the forest.

一群羅興亞人男子推著漁船回到岸上。大部份 的羅興亞男人對孟加拉船主有債務擔保工作。 A group of Rohingya men push their fishing boat back onto shore. Most Rohingya men in the Shamlapur area of Bangladesh work as bonded laborers and are trapped into debt to

Witness to Silence 沉默的目擊

local Bangladesh boat owners.

38

一群羅興亞人婦女與他們的孩子走往代格納夫鎮，在那裡他們將乞食。 孟加拉當局逮捕了他們的丈夫，使得這些婦女沒有辦法撫養孩子。 A group of Rohingya women walk with their children to the town of Teknaf where they will beg for food. Bangladesh authorities arrested their husbands and the women have no way to provide for their children.

科克斯巴扎爾外的沿海地區是孟加拉最大的曬魚場之一。數以百計的婦女為

一群羅興亞人男子被拘留在孟加拉南部的公路檢查站。他們從孟加拉搭船到

主要勞動者，每天賺取 1.50 美元的工資。

馬來西亞。孟加拉當局將強迫他們當日晚上回到緬甸。

The coastal area of Naziratek outside of Cox’s Bazar is one of the largest

A group of Rohingya men are detained at a highway checkpoint in

fish drying centers in all of Bangladesh. Hundreds of (mostly women)

southern Bangladesh. They came to Bangladesh to get on a boat to

provide the majority of labor, earning about $1.50 USD per day.

Malaysia. Bangladesh authorities would push the group back to Burma the same night.

靈魂逃脫之路 Soulscape Road ─ Oscar Motuloh/ 印尼 ,Indonesia 眼睛看著遠方，瀰漫著悲傷尖叫聲的場所，

As far the eyes could see, the scene was

就如同一齣悲劇，這意味著悲傷的開始。在

screaming sorrow to the top of its lung.

becomes a vision that is more than just

鏡頭背後的我們，見證了自然無情的現象與

Like a tragedy that implies the origin of

visualization. It connects the dots, the

殘酷。這些都是我們生活的一部分。而且，我

grief. While behind the reporting lens,

latitude and longitude on the map of

們無法自救。

we witness the ruthlessness of natural

earth. On the overlay of deceiving politics,

p h e n o m e n o n . A n d , w e c a n’t h e l p

consumerism tricks, sectarianism, and

ourselves but thinking it as a mirror of life.

media industrialization, this visual opinion

景象將會深深的影響著我們，每當我看到印

A mirror that reflects our own selves. The

is presented. Its tone is the sound of the

尼亞齊省大海嘯的景象，都覺得大自然在生

cruelty of the nature that we see behind

musical score singing the symphony of the

氣及反撲，這或許是亞齊省大海嘯災害過後

the view finder, is us.

far-reaching view of the soul so freely. A composition that divulges how meaningful

給人類的一種警惕。 Panorama or the far-reaching view in this

40

Witness to Silence 沉默的目擊

如果我們用不同的角度去看這些景象，這些

The far-reaching view of grief, later,

在我們的生命過程中要去探討災害如何發

matter is essentially an adventure of the

生，不管是人為的、還是一種自然的現象，這

eyes from every angle. When we observe

些都已不重要，因為悲劇都已經發生了，雖然，

every sign of the nature virtually from the

人們試圖要用科學的方法去解開對地震海嘯

elements that shows its rage, then itself

這種不可預測的自然現象謎題，最終都還是

becomes a sign and metaphor to our

失敗。這都好像是在考驗我們要如何去解決

civilization. Notes from camera bring the

這個難題。

images of rage in front of us that serve as

an appreciation is to life.

a critical reflection toward the existence 在悲痛之餘，燃起心中的願望，我們可以體

of those powerful and deadly disasters in

會地球上，經度和緯度的相連。政治人物、商

Indonesia after the Aceh Tsunami.

人、宗教團體和媒體操弄等介入，造成各方意 見的分歧。這些分歧的意見就如同我們的靈

Disaster is still a momentum in the Mother

魂唱著不可預知的交響樂，使得各方聲音交

Nature’s agenda in our life cycle. Whether

織成一個不可預知的未來。

it is a natural phenomenon, or a tragedy caused by human error. Although science always tries to reveal the existence in the most sophisticated way, but almost all disasters comes unpredictable. It is the mystery that left the philosophy’s whirl about the nature’s wisdom. 東爪哇，詩都阿佐 Lapindo 土石流， 2006 年 5 月 27 日。 East Java Lapindo mudflow, Sidoarjo May 27, 2006.

Taman Sari 酒店，日惹震央 6.3 級，

Lhoknga，亞齊省震央震級 9.1，2004 年 12 月 26 日。 Lhoknga, Aceh Epicenter Magnitude 9.1,December 26, 2004

2006 年 5 月 26 日。 Taman Sari, Jogjakarta Epicenter Magnitude 6.3,

Witness to Silence 沉默的目擊

May 26, 2006

Kasongan，日惹震央 6.3 級地震， 2006 年 5 月 26 日。

42

Kasongan, Jogjakarta, Epicenter Magnitude 6.3, May 26, 2006.

龐岸達蘭，西爪哇震央 7.7 級， 2006 年 7 月 17 日。 Pangandaran, West Java Epicenter Magnitude 7.7, July 17, 2006.

東爪哇，詩都阿佐 Lapindo 土石流，2006 年 5 月 27 日。

龐岸達蘭，西爪哇震央 7.7 級，2006 年 7 月 17 日。

Sidoarjo, East Java Lapindo mudflow

Pangandaran, West Java Magnitude7.7,

May 27, 2006

July 17,2006

Lhoknga，亞齊省震央震級 9.1， 2004 年 12 月 26 日。 Lhoknga, Aceh Epicenter Magnitude 9.1,

東爪哇，詩都阿佐 Lapindo 土石流， 2006 年 5 月 27 日。

44

Sidoarjo, East Java Lapindo mudflow, May 27, 2006.

Peucut 墓地，亞齊省震央震級 9.1， 2004 年 12 月 26 日。 Peucut cemetery, Aceh Epicenter Magnitude 9.1, December 26, 2004.

Teuku 奧馬爾街，亞齊省震央 9.1 級， 2004 年 12 月 26 日。 Teuku Umar Street, Aceh Epicenter 9.1, December 26, 2004.

Witness to Silence 沉默的目擊

December 26, 2004

Witness to Silence 沉默的目擊

46

東爪哇，詩都阿佐 Lapindo 土石流， 2006 年 5 月 27 日。 Sidoarjo, East Java Lapindo mudflow May 27, 2006

Lhoknga，亞齊省 Lapindo 土石流震級 9.1， 2004 年 12 月 26 日。 Lhoknga, Aceh Lapindo mudflow Magnitude 9.1.

Witness to Silence 沉默的目擊

December 26, 2004.

48

Lampase 亞齊省震央震級 9.1， 2004 年 12 月 26 日。 Lampase, Aceh Epicenter Magnitude 9.1, December 26, 2004.

亞齊省土石流震級 9.1，

Lhoknga 十字路口，亞齊省震央震級 9.1，

2004 年 12 月 26 日。

2004 年 12 月 26 日。

Lhoknga, Aceh Lapindo mudflow Magnitude 9.1,

Lhoknga crossroads, Aceh Epicenter Magnitude 9.1,

December 26, 2004.

December 26, 2004

板門店 Panmunjom

Panmunjom is the place that most vividly

痛楚的地方。然而，它同時又是一個充滿希

characterizes the pain of divided Korea.

望的所在，代表著克服分裂和完成統一的希

But at the same time, it is a land of hope,

望。作為朝鮮半島上的分界區，這真空地帶

representing the channel for dialogue to

不屬於南北韓任何一方，而是雙方意識形態、

overcome the division and the hope for

衝突最後的遺跡，體現了民族分裂的現實、

reunification. Located in the Demarcation

是人權思想意識衝突的結果。

Line dividing the Korean peninsula and not

Witness to Silence 沉默的目擊

板門店，是最能夠鮮明地刻畫南北韓分裂的

─ Kim,Nyung - Man/ 韓國 ,South Korea

belonging to either side, this vacuum zone 作為一名攝 影 記者，我 從 80 年代到 90 年

50

is the last vestige of the ideological conflict

代就為板門店工作，親眼目睹和記錄許多發

and, until this day, embodies the reality of

生在板門店的事件，並了解到民族的分裂是

the national division. And the ideological

我們面臨的最大挑戰。如今南北統一的問題

conflict results in putting ideology before

都在第三地舉行會談，現在的板門店顯得更

human rights.

加冷清。我希望板門店能夠回復它在 90 年 代所扮演的角色──當時儘管南、北韓處於

Working as a photo jour nalist for

緊張狀況，但雙方仍然小心謹慎地互相接觸

Panmunjom at DongA Ilbo from the 80s

──希望能在板門店重新開啟對話的窗口，

to the 90s, I witnessed and recorded so

因為這裡是唯一連結南北兩地的「開放領

many events occurring at Panmunjom,

土」，也肩負著 6 千萬韓民族的深切期待。

and realized the national division is the biggest challenge for our people.

Nowadays it felt even more deserted, as the talks regarding inter-Korean issues increasingly take place in a 3rd venue outside of Panmunjom. The mere fact that such negotiations are held not in our land but in other countries has implications concerning the nature of national division. I hope the role Panmunjom had played in the 90s when, while there was intense tension, the South and the North cautiously tried to approach each other, could be revived again.

北韓士兵的手。1991 年 2 月 13 日。 Hand of a North Korean soldier.

February 13, 1991.

在板門店的緊張局勢。1992 年 9 月 30 日。 Tension across the Panmunjom Zone.

September 30, 1992.

南韓的衛兵。1993 年 5 月 6 日。 A South Korean guard.

Witness to Silence 沉默的目擊

May 6, 1993.

52

李英茂，在南韓監獄中 43 年的一位北韓士兵，坐 在輪椅上穿越板門店邊界。1993 年 3 月 19 日。 Lee In-mo, a former North Korean soldier who served 43 years in a South Korean prison, crosses the borderline at Panmunjom in a wheelchair.

March 19, 1993.

北韓的衛兵。1990 年 7 月 23 日。 A North Korean guard.

July 23, 1990.

絲網前追悼祖先。1992 年 9 月 11 日。 On Korea’s Thanksgiving Day a displaced person holds a memorial service for ancestors in front of the barbed-wire fence.

September 11, 1992.

54

聯合國軍司令部和北韓的 衛兵面對面的站在板門店 軍事分界線。 1990 年 7 月 23 日。 Securit y guards from the United Nations Command and the North Korean Army stand face-to-face along the military demarcation line at Panmunjom.

July 23, 1990.

離開北韓出生地的人壓抑著思念面向 家鄉交界的南面。1993 年 1 月 23 日。 A displaced man who was born in North Korea suppresses his yearning for his hometown on the southern side of the border.

January 23, 1993.

南北韓對話期間，嚴格把守。 1992 年 5 月 28 日。 Panmunjom is str ic tly guarded dur ing South - N or th negotiations. May 28, 1992.

Witness to Silence 沉默的目擊

在韓國感恩節那天，離開家園者在鐵

兩韓的巨大國旗高塔在軍事分界線南（左）北二

一位韓國官員（右）和北韓官員手拉手，以避免

側邊界村莊形成對峙。1992 年 12 月 30 日。

跌倒在結冰的街上。 1992 年 2 月 18 日。

The huge flag towers of the two Koreas face

A South Korean of ficer (right) and Nor th

each other in border villages to the south (left)

Korean officer go hand in hand to avoid falling

and north of the military demarcation line.

on an icy street. February 18, 1992.

Witness to Silence 沉默的目擊

December 30, 1992.

56 在板門店的北韓 ( 戴帽 ) 和聯合國司令部 ( 戴頭盔 ) 的站哨衛兵。 1992 年 5 月 28 日。 Military officers from the North (wearing caps) and the United Nations Command (wearing helmets) stand guard at Panmunjom.

May 28, 1992.

南北人員在軍事分界線兩側對談。1992 年 12 月 10 日。

Officers from South and North talk on both sides of the Military Demarcation Line.

December 10, 1992.

一名北韓士兵在北邊透過望遠鏡監視活動。 1992 年 9 月 30 日。 A South Korean soldier monitors activities on the northern side through binoculars.

September 30, 1992.

Witness to Silence 沉默的目擊

58

1992 年 5 月 28 日，在韓戰中死亡的美軍士兵遺體棺 木被移交給聯合國軍司令部在板門店人員。 A casket containing the remains of a US soldier killed in North Korea during the Korean War is handed over to the UN Command of ficers at Panmunjom.

28, May. 1992

沉默的力量 The Silent Strength of Liu Xia ─

劉霞 Liu Xia/ 中國 ,China

Special Thanks to Guy Sorman Liu Xia is the wife of Chinese dissident Liu

作品「The Silent Strength of Liu Xia」，作

Xiaobo. Her works were taken out secretly

品是由多名人士偷偷帶出，以逃避中國官方

in order to duck obstruction from officials

阻擾。所有作品均為黑白照片，劉霞以傳統

in mainland China. A ll of her wor ks

的相機拍攝。她形容的「醜陋嬰兒」隱喻中

are black and white photos shot with a

國人民的身心痛苦。希望表達的是：中國人

traditional camera. One of her works,

沒有言論自由。身處這些作品中，人們總的

“Ugly Baby,” portrays Chinese people’s

感覺是壓抑和沉默。

p hy s i c a l a n d e m o t i o n a l s u f f e r i n g s .

“Chinese have no freedom of speech”

60

照片中的娃娃是 20 年前一名巴西友人送給

is the message she wants to convey

劉霞的，其中一張照片是劉曉波手持一個臉

through her works. People are always

容痛苦的娃娃，另一張是一個綁著的娃娃坐

overpowered by a sense of oppression

在一本打開的書前面，第三張是一個娃娃被

and silence upon seeing her works.

一疊書壓著，這是「代表中國古老文明的重 擔」，及政府鎮壓藝術家和異議人士。

The doll in the photos was a present to

他們的朋友也是法國經濟學家索爾曼說：

years ago. There is one photo showing Liu

Liu Xia from a Brazilian friend twenty 「這些都是很簡單的照片 ...... 但她讓你知

Xiaobo holding a painful-looking doll, one

道在中國生活是多麼困難，特別是藝術家和

photo showing a bundle-up doll sitting in

知識分子。」「她用黑色作為一種顏色的方

front of an opened book and another photo

式，與中國傳統書法非常相似，劉霞代表中

showing a doll squashed under a pile of

國新生，新一代的藝術家。」

books. It indicates the burden of Chinese old civilization and the oppression from the government on artists and dissidents.

Their friend, Sorman, a French economist, said, “These are all very simple photos ... However, she shows you how hard it is to live in China, especially for artists and intellectuals.” “She just uses one color, black, similar to Chinese traditional calligraphy. Liu Xia represents a new generation of artists, indicating rebirth.”

Witness to Silence 沉默的目擊

中國異議人士劉曉波的妻子─劉霞的攝影

Witness to Silence 沉默的目擊

62

Witness to Silence 沉默的目擊

64

Witness to Silence 沉默的目擊

66

Witness to Silence 沉默的目擊

68

Witness to Silence 沉默的目擊

70

Witness to Silence 沉默的目擊

72

失根的社區 Uprooted Community ─ Sanja Knezevic/ 塞爾維亞 ,Serbia 這個故事，是發生在塞爾維亞，貝爾格萊德

This is the story about everyday life of

Despite the Roma communities hesitations

的羅姆人 ( 羅姆人就是我們所聽過的吉普賽

Roma communities living in Belgrade

they were forcefully removed to a new

人 ) 的日常生活故事，如果你了解他們，會被

and their destiny they have always been

sites at the outskirts of Belgrade. They

他們的故事感動。

facing- to be moved.

now live in small metal containers though

羅姆人，是住在貝爾格萊德中心，蓋澤拉橋

The biggest Roma community choosed

they have some hope for the future as

是連接著新舊貝爾格萊德的地方。他們生活

the very center of Belgrade for the place

many of the children have finally started

非常貧困，用紙板建屋，日常生活的用水是

to live in , under the Gazela bridge which

school and have been given a chance in

取材於河水沒有自來水。他們工作是領最低

connect old and new Belgrade. They lived

life.

工資，日常用品是利用資源回收再生利用，羅

in poverty in badly built cardboard shacks,

姆人的子女從不上學，都在街上度過。不過，

without fresh running water or bathrooms.

我發現他們在日常生活中找到幸福。

They worked lowest paid jobs collecting

74

Witness to Silence 沉默的目擊

conditions in which they live are still poor,

unwanted and dumped mater ials for 這 城 市 的 髒 亂 問 題 已存 在 20 年，有 超 過

recycling and many of their children didn’t

900 人住在帳棚裡，生活沒電沒水，衛生條

go to school, spending their days in the

件很差，遍地都是垃圾，導致疾病叢生。環境

street. However, I have found they keep

惡劣的問題，是目前最急迫的課題，而政府

their spirits high and find happiness in

決定將這些居民搬遷到新的地方，卻遭到大

everyday life.

部分的羅姆人反對，因為他們害怕搬到新的 地方，會遠離他們的資源回收場，失去唯一

This settlement has existed for over two

的收入來源，這種生活在我們眼裡看起來是

decades and has been the shame of the

微不足道，卻是他們的生存之道。

city. Over 900 people lived there in shanty town style of living without sanitation, they

他們目前雖然住在狹小貨櫃中，生活條件仍

surrounded by garbage which causes

然非常地差，但他們對未來懷抱著多一些的

many diseases. Due to the appalling

希望，因為羅姆人的孩子已經開始上學，人

conditions it was necessary to solve this

生重新被賦予機會…。

problem, and the government decided to move the residents to new areas destroying the settlement entirely. Many Roma were against the re-settlement as they feared being moved far from the center and how would they find the scrap recyclable materials and resources which they rely on as their only source of income of which is so insignificant to us, but to them survival.

羅姆小孩整個夏天在 Sava 河裡洗衣服和洗澡。 Roma children walk toward the Sava River.

They spend much of their summer there, washing clothes and taking baths.

新羅姆移民在 Mirijevo 的住所。 A new Roma settlement in Mirijevo on the

在慶典來臨之前，車中的羊準備被賣到另 一個羅姆人的村莊。 A sheep stands in a car ready to be sold

76

to another Roma settlement on the day before DJurdjerdan.

兩位在 karaburma 村莊的小孩用傳統的方式包裹著睡覺。

一位懷孕的母親和女兒在被趕出先前居住的單間房住家之前。

Two Roma babies are bundled up in a traditional way in

A pregnant mother and her daughter in their one room

a home in a karaburma settlement.

house just before being evicted. New Belgrade, Blok72.

一位羅姆婦女為了家庭經濟做資源回收工作。 Roma women work in the family business recycling paper collected from around Belgrade.

Witness to Silence 沉默的目擊

outskirts of Belgrade.

一位赤腳的小女孩走在滿是泥巴的新貝爾格萊 德土地上。 A gir ls walks barefo ot t hrough B elvile settlement in New Belgrade.

小女孩們在 Gazela 村莊裡手舞足蹈地慶祝 傳統節日。 Grils dance for the Djurdjevdan, a traditional

Witness to Silence 沉默的目擊

Roma celebration, in Gazela settlement underneath the Gazela bridge.

78

圖中主角他在 Gazela 的家當全部被燒毀。 A man grimaces as his house burns in Gazela settlement.

一位小女孩在家隨著傳統羅姆音樂起舞。

在傳統節日來臨前幾天，小孩子與羊玩在一起。

A girl dances to traditional Roma music at her

Belgrade, May 3, 2009, several days before Djurdjevdan,

home. Belvile settlement in New Belgrade.

a traditional Roma holiday. Children play with a lamb in their settlement in New Belgrade.

Witness to Silence 沉默的目擊

80

小孩子在 Gazela 撿來的充氣水池玩水。 Children playing in a pool in G a zela settlement, Belgrade.

2009 年 4 月底，羅姆人位於 Gazela 橋下的 住所被塞爾維亞政府摧毀。 At the end of April 2009, a Roma settlement under the Gazela Bridge is destroyed by

一對年輕夫婦和他們的小孩。

82

Young couple with their baby in a oneroom house in Gazela settlement.

在 Djurdjevdan 那一天，羅姆人會宰殺羊來慶祝宗教上 特別的節日。 A slaughtered lamb on the day of Djurdjevdan, a Roma religious celebration. Karaburma settlement in Belgrade.

在貝爾格萊德，一戶人家將他們所有的家當放置於家外。 Belgrade, August 31, 2009. A family's belongings sit packed outside of their home on the day of resettlement.

Witness to Silence 沉默的目擊

the Serbian Government.

天使的臉孔 A Face of Angel

根據聯合國糧農組織表示，每 6 秒鐘就有一

According to Food and Agriculture

It is every child’s right to live, but in

個孩子死於營養不良，聯合國兒童基金會的

Organization of the United Nations, one kid

2010 there were 7.6 million children left

《世界兒童狀況報告》統計，世界飢餓人口

dies of malnutrition every 6 seconds. The

the world before their 5-year-old birthday.

中有 25% 是兒童，由於短期或長期的營養

statistics from “The Report of Children in

Facing events such as natural disasters

不良，有 1.46 億發展中國家兒童體重不足。

the World” released by UNICEF shows

and civil wars, children’s life and their

that of all hungry population, 25% are

human right are severely under threats.

全世界有 2,800 萬兒童被武裝衝突剝奪教育

children. And that due to temporary or

How to save these children’s life,

機會，而戰爭迫使許多兒童流離失所、缺乏

long-term malnutrition, there are 146

maintain their rights and provide for them

食物，處於飢餓狀態，在戰爭過程中眼見暴

million underweight children in developing

a better living environment therefore are

力與衝突，身心嚴重受創，而逃至其他國家

countries.

among the most urgent issues we have to face and solve.

時，又沒有合法身份無法接受教育及醫療服 務，只能流落異鄉生活困頓。

84

楊永智 Yong Zhi Yang/ 臺灣 ,Taiwan

Witness to Silence 沉默的目擊

─

28 million children in the world are deprived the opportunity for education due

台灣近年經濟不景氣，加上國內取得低收入

to civil conflicts. The wars force children

戶門檻過高，光是去年國內就有 2,700 個家

into homeless and have them suffered

庭、6,221 名兒童向家扶基金會申請經濟扶

from hunger. The violence and conflict

助，平均每天增加 17 名兒童淪為經濟弱勢。

of the wars also traumatize the children.

When escaping to other countries, they still

生存是每一個兒童擁有的權利，在 2010 年

lead a difficult life because they lack legal

有 760 萬兒童在過 5 歲生日之前就離開了人

status enabling them to enjoy education or

世，面對世界天災不斷、戰禍連連等問題，威

medical service.

脅兒童生存及成長的權益，如何來拯救更多 兒童的生命及共同努力改善兒童健康、營養、

Due to Taiwan's recent economic downturn

教育等方面，讓全世界兒童有一個良好的成

and the high threshold for acquiring the

長環境，是我們人類亟需面對及努力改善的

support as low-income households, last

課題。

year alone there were already 2,700 families with 6,221 children applying for economic support from the Family Foundation. In other words, an increase of 17 children per day. 肯亞 ,Kenya July 6,2010.

Witness to Silence 沉默的目擊

86

莫三鼻克 ,Mozambique February18,2006.

肯亞 ,Kenya 寮國 ,Laos November 28,2007.

July 16.2010.

加爾各答 印度 Calcutta, India December 2,2004.

中國雲南 曲靖婦幼醫院 Women's and Children's Hospital of Qujing City,

Witness to Silence 沉默的目擊

Yunnan Province,China March 15,2008.

西藏 ,Tibet July 8,2009.

88 史瓦濟蘭 ,Swaziland June 23,2004.

衣索匹亞 ,Ethiopia

剛果 ,Congo

July 8,2009.

February 19,2006.

寮國 ,Laos July 15,2005.

阮厝 一方土 My House and a Piece of Land ─ 陳南宏 Nan Hong Chen 士林文林苑 ─ 黃宏錡 Hong Qi Huang

台北港特定區計劃

李宣瑋 Hsuan Wei Li 陳潔皓 Jie Hao Chen 許哲韡 Zhe Wei Xu 葉振宇 Zhen Yu Ye 臺灣 ,Taiwan

台北港特定區計劃 陳南宏

90

士林文林苑都更案 許哲韡、黃慧瑜、黃宏錡、陳潔皓、葉振宇、李宣瑋 [ The urban renewal case of Wenlin Yuan, Shihlin ]

將八里、林口約 1,138 多公頃土地做為都市更新，

[ Taipei Port Special Zone Plan ]

on May 30, his garden was demolished by

並徵收 100 多公頃私有地，1,200 多戶居民被迫

Nan Hong Chen

the government, who claimed it tore it up by

遷移，唯獨世代務農的張萬益先生與汪菊女士這

mistake. Chang’s decades-old hardwork and

兩位阿公阿嬤，手牽著手希望住屋原地保留，讓

To make way for an urban renewal project

他們有基本生存的土地。

that covers 1,138 hectares of land in Bali and

labor were destroyed in one night.

Linkou the government expropriated 100

What if their lands are to be taken away,

101 歲的人瑞，汪楊惜老太太在爭議中暗夜裡辭 世於伴隨她一世紀的家園。汪菊阿嬤一生務農獨

hectares of private land, resulting in forcible

where would Wang Ju grow bamboo shoots?

eviction of more than 1,200 households.

Where would Wan Yi Zhang’s thyme and

立扶養八個子女，靠的就僅有這一方土地，並在

Except one elderly, Wan Yi Zhang , whose

club moss recover and relive? Time has taken

這土地上插上美國星條旗，象徵地尋求以人權立

family engaged in generations of farming,

its toll on their faces, whose ages combined

國的美國政府保護。張萬益回收瀕臨枯萎的珍

and another elderly named Wang Ju, hand in

exceed over 140 years. How many more five

貴盆栽讓它們聽音樂細心養護，正符合當今環保

hand, hoped to keep their houses where they

years would they have to restart their lives?

意識。5 月 30 日園藝苗場遭公權力以奇襲式「誤 拆」，數十年心血一夕全毀。

were and the very land they rely on to survive.

萬一土地保不住，汪菊要到那裡種竹筍？張萬益

Amid the wrangle, 101-year-old Yang Xi Wang

的百里香、石松要到那裡復原重生？堆滿風霜的

passed away one night, leaving behind the

臉加起來超過 140 歲，他們有幾個５年可以重新

house that accompanied her for a century.

開始？

The piece of land was what she relied on for farming and raised her eight children singlehandedly. She even put up a US flag at the farmland, symbolizing her desire for protection of human rights from the US government.

Wan Yi Zhang reclaimed withered potting, recultivated them by playing music for them, a move that befitted the environmentallyfriendly consciousness today. Howewver

王家人無家可歸，82 歲王奶奶哭到泣不成聲，她的兒子、 女兒持續在現場大聲抗議，指控政府搶了他們的家，拿出

Zhe Wei Xu, Hui Yu Huang, Hong Qi Huang, Jie Hao Chen, Zhen Yu Ye, Hsuan Wei Li

土地權狀，要政府把土地把家還給他們。 家被拆了，老奶奶的大兒子筆劃著地上，越說越難過。地

The Wangs are homeless. 82-year-old grandma shed

上的一磚一瓦都曾是自己的家，現在卻殘破不堪。台北市

tears at the site as her children protested loudly,

文林苑遭到強制拆除的王家，引發社會大眾的撻伐聲與

accusing the government of snatching away their

學生舉牌抗議支援。眼看這起糾紛越演越烈，現在房子

house. They showed a certificate that documented

拆了，後續該怎麼解決 ?

their possession of the land

and asked the

government to return their property.

The eldest son of the grandma recounted their story with grief: The house was dismantled. Every piece used to be my home, but now it looks like ruins.

The Wangs’ house was forced demolished to make way for the governmnet’s urban development plan.

The government’s forcible manner caused public uproar and drew protest from many college students in support of the Wangs. How will the government resolve the dispute?

Witness to Silence 沉默的目擊

黃慧瑜 Hui Yu Huang

台北港特定區計劃 [ Taipei Port Special Zone Plan ]

拆除大隊沿著原本翠綠的農路進來竹林 , 生態大受破壞。 居民無奈看著房子被拆。 The demolishing team works their way up the green rural roads, destroying the bamboo forest and ecology.

Witness to Silence 沉默的目擊

Residents unwillingly watch their homes being torn down.

92 臨時的居住所。 Temporary dwellings.

土地被徵收的農民。 Farmers whose land has been confiscated.

Witness to Silence 沉默的目擊

台北港特定區計劃 [ Taipei Port Special Zone Plan ]

94 汪菊阿嬤。

房子是祖先留下來的，怎麼可以拆。

我的羊可以在土地上快樂地活著。

Grandma Wang Ju.

This house belonged to our ancestors, how can it be torn down?

My sheep live happily on the land.

聽到車子進入村內，心裡就感到害怕。 The sounds of motors entering the village, scares me.

台北港特定區計劃

挖土機的履帶輾過再輾過，「土地正

她在這土地上插上美國星條旗，象徵地尋求以

義」早已支離破碎。

人權立國的美國政府保護。

The tracks of excavators that

96

She even put up a US flag on the farmland,

trampled the land again and

symbolizing her desire for protection of

again. “Local Justice” has been

human rights by the US government.

long been shattered.

培育 40 年以上，宛若親生的林木 , 卻讓 因失所而流離 ............ 何處是我家 ???

I have lost what I have and became a wanderer… What can I call home?

政府視為糞土 , 畢生心血化為烏有。 For more than 40 years we nurtured our gardens, yet to the government it was dung. My life of long, hard work became thin air.

Witness to Silence 沉默的目擊

[ Taipei Port Special Zone Plan ]

士林文林苑都更案

98

Witness to Silence 沉默的目擊

[ The urban renewal case of Wenlin Yuan, Shihlin ]

士林文林苑都更案

100

Witness to Silence 沉默的目擊

[ The urban renewal case of Wenlin Yuan, Shihlin ]

Witness to Silence 沉默的目擊

102

皇天后土 Heaven King & Earth Queen

只是一個偶然的下午，看見一些抗爭橫額、

I t wa s a f o r t ui to u s af te r n o o n; af te r

Did I shed tears for her disappearance?

一些螢幕、一些家具，一些藝術創作，和一些

seeing some banners, some tents, some

Ye s , o n t h e d ay w h e n t h e c l e a r i n g

快樂的人，我便慢慢戀上了皇后碼頭。曾做了

furniture, some art work, and some happy

operation took place, received a sensitive

很久記者的我都不禁問自己這班小市民在守

people, I fell in love with Queen’s Pier.

SMS message from an ex-lover who had

護一個公共空間是否好得閒，這事情還發生

Despite working as a journalist for a long

been with me for a long time; she said that

在香港，如果是，我想今次香港有救了。

time, I still couldn’t help asking whether

the situation at Queen’s Pier was a mess,

these ordinary people protecting a public

asking if I was fine and reminding me to

第二天，因為晚上睡的時候還想著這事情，

space were genuine. Was it possible in

take care.

有一點感動，中午便背著 4×5 相機到碼頭

Hong Kong? If it were, there was still hope

去為每個留守者拍一幅相片送給他們。

for Hong Kong.

I believe that the social action at Queen’s Pier will have a sweeping impact on future

在這兒活像另一個世界，幾個星期已給了我

104

謝至德 Ducky Tse/ 香港 ,Hong Kong

人生中一段難忘記憶，我拍的相片只是隨心，

I continued thinking about this while

government conservation policies. Thank

感情太多。

s l e e p i n g t h at n i g ht a n d, a g a i n, t h e

you to all of you.

following day; somehow I was touched 問我有否為她的消失而流過淚，有，在清場

by the protest, so I carried my 4×5 inch

的那一天，收到曾一起很久但已分手戀人關

camera to the pier in the afternoon, taking

心的短訊，說皇后碼頭很亂，問我有沒有事，

and giving photographs.

叫我保重。 It was like another world and within a few 我相信皇后碼頭這場社會運動對將來政府的

weeks it would become one of my most

保育政策影響深遠，感謝你們。

unforgettable memories. I took these photographs with great freedom – but they were too sentimental and some of my friends took better and more complete pictures. However, I hope to share this accidental and beautiful memory with you.

Witness to Silence 沉默的目擊

─

Witness to Silence 沉默的目擊

106

Witness to Silence 沉默的目擊

108

Witness to Silence 沉默的目擊

110

Witness to Silence 沉默的目擊

112

愛深深 Deeply Love

2010 年年底，我有機會走進台東聖母醫院的

At the end of 2010, I had a chance to

安寧病房、走進獨居老人家中，用影像記錄

visit hospice care wards at the Taitung

醫療人員、修女和志工們為生命即將走到盡

St. Mary's Hospital and recorded through

頭的癌末病患和獨居老人默默付出的愛與關

lenses the love and care that the medical

懷。每次去台東聖母醫院拍照時，我就很好奇，

staff, nuns and volunteers have quietly

也很想聽聽醫院員工的故事。他們好忙啊！我

shown for the terminally ill patients and the

只能趁著他們工作中的空檔訪問。

longly elderly. Every time I took pictures,

一開始受訪，他們都說好忙、好忙啊！工作都

staff’s stories.

張良一 Liang Yi Zhang/ 臺灣 ,Taiwan

Witness to Silence 沉默的目擊

─

I was curious and wanted to hear the 做不完！然而講著、講著，回想這幾年在聖母 醫院的甘苦，每個人一講就是半個鐘頭，甚至

114

But they were always so busy and I could

一個鐘頭，而且每個人都講得淚光閃閃。最讓

only c onduct inter views during their

我感動的是，每位受訪著講到最後，都很堅定

breaks. At the start of every interview, they

的說：「我願意付出！」

would always mention how busy they were and that they could never finish their work.

我遇到的每一個人，不管是修女、醫療人員或

However, as they started talking, recalling

是志工等等，每個人就像是天主的化身，傳遞

the bittersweetness at St. Mary's Hospital,

著天主的愛深深。癌末病患讓我上了一堂生

everyone went on for half an hour, or even

命教育課程，讓我對癌症末期有重新的認識，

one hour , all with their eyes glistened.

讓我對於愛、對於生命有重新的體認，台東聖

What touched me the most was that every

母醫院員工無私奉獻的精神也讓我感受到了

interviewee concluded their interview with

人性的善美！感謝天主！

a firm resolution that, “I am willing to give!”

Everyone I meet, whether nun, medical staf f, or volunteer, is a manifestation of God, conveying deep love of God. Te r m i n a l l y i l l p a t i e n t s a l s o t a u g h t me lesson about life, renewed my understanding about terminal cancer, love and life. I also feel the beauty of humanity

日間老人照顧中心助理員陳淑華送老人家回家，她將行動不便的「古椎」阿嬤

via the selfless devotion shown by the

林賴秀葉直接揹進客廳。2010 年 9 月。

staff in at the Taitung St. Mary's Hospital!

Thank God!

Day Time Senior Care Center’s helper Su-Hwa Chen takes a senior home, she carries physically challenged “cute” grandma, Shiu-Yeh Lin Lai on her back right into the living room. September,2010.

Witness to Silence 沉默的目擊

116

台東聖母醫院安寧病房護理長姜美說：『癌末病患是我生命中的老師，讓我不斷的思考著：我在這個世界上能做什麼？我為

台東聖母醫院居家安寧護理師邱武秋香探視一位癌症末期病患後，緊緊擁抱

什麼活在這個世界上？』她說，在安寧病房找到人生目標：她要好好照顧病人，為病人付出。她堅定的說：『上帝賜予她來到

他的母親。2010 年 11 月。 Sister Yu-Min Hsiao of Taitung St. Mary’s Hospital, praying by the bed of

這個世界上，就是要對病苦的人無私的奉獻我自己，我願意付出！』2010 年 11 月。 Taitung St. Mary’s Hospital’s Hospice Home Care nurse Chiu-Hsiang Taitung St. Mary’s Hospital’s Hospice Ward head nurse Mei Jiang said, “Terminal Cancer Patients are my teachers

Chiu Wu visits a terminal cancer patient, then hugs his mother dearly.

in life, they kept me thinking: What can I do in this world? Why am I alive in this world?” She said she found her life’s

November, 2010.

target in the Hospice Ward: That she needs to care for the patients, and devote to the patients. She said firmly, “God blessed me with life in our world in order to offer self-less help to those in pain, I am willing to give!”November, 2010.

台東聖母醫院蕭玉鳴修女在一位癌末病人的病榻，為她禱告。2010 年 9 月。

a terminal cancer patient. September, 2010.

Witness to Silence 沉默的目擊

118

一位 90 多歲的癌末病人緊緊抓住安寧病房護理長姜 美的雙手。許多上了年紀的老人家，雖然到了癌症末 期，但是對於努力活下來，仍舊表現出很強烈的意志。 2010 年 12 月。 A terminal cancer patient over ninety years old, holds on tightly to both hands of Hospice Ward head nurse Mei Jiang. Many seniors, even at the terminal stage of cancer, still strive to live and shows strong will. December, 2012.

日間老人照顧中心護理師劉素秋為馬沈春香阿嬤 剪指甲。她說：「這些老人家就像是我們的親人， 想想小時候父母親也是這樣幫我們剪指甲，我很 高興為老人家修修指甲」。2010 年 9 月。 Day Time Senior Care Center’s nurse SuChiu Liu helps grandma Tsuen-Hsiang Shen

嘉蘭村是八八風災重災區， Nicole 和聖母醫

cut her nails. She said, “These seniors are

院的芳療師們災後立刻進入嘉蘭村，兩年多

like our own family, when we were little, our

來，她們每半個月就去一趟嘉蘭村，用精油的

parents also cut our nails for us just like this. I

香氣和柔軟的雙手，撫慰災民受創的心靈。

am glad I can help the seniors with their nails”.

Jialan Village is the the hard-hit area of the Typhoon Morakot Disaster (also known as August 8 Disaster). Nicole and aromatherapists from St. Mary’s Hospital entered Jialan Village immediately after the typhoon, and bi-weekly for the next two years continued to soothe the disaster victims with the aroma of essential oil and

120

their tender hands.September, 2010.

安寧居家護理師邱武秋香說：『安寧居家的工作對我 而言，就是把愛、真誠、關懷、你是重要的、即便是最 後那一刻仍值得被尊敬的訊息傳遞給病患，讓病患 知道這一刻你正在面臨最重要的時刻，我們會盡全 力讓你感覺舒適，同時也讓病患知道，原來這時候什 麼都可以放下，這時候可以活出自己，這時候可以感 受到大家對你的愛，到最後不得已，一定要拿這張「畢 業證書」，跟生命說再見，這時候是人生的圓滿，要 離開是備受祝福的。』2010 年 9 月。 Hospice Home Care nurse Chiu-Hsiang Chiu Wu said, “In my opinion, hospice home care is to send the message of love, truth, care, you are most important, you are respected even to the last minute, to the patients. To let them know they are facing the most important stage in their life, and that we will do our best to make them comfortable.

We can let them know that in fact, at this point, they can let go and live their life, at this time they can feel the love from everyone, and at the end, one cannot help but “graduate” from life, and say good-bye. At this point, life is complete and one leaves with blessings”. September, 2010.

安寧病房主任黃冠球醫師和居家安寧護理師周懿徽到南迴公路的大鳥部落探

居家安寧護理師周懿徽從台東市開了一個半鐘頭的車子，到台東縣最北端的

視一位癌末病患。老人家行動不便，黃醫師時而蹲著時而跪著，仔細的觀察老

長濱鄉探視一位病人。周懿徽說，雖然路途遙遠，可是每當病人對她說：「看

人家的病況。2010 年 12 月。

到你就覺得好多了！」心裡頭就覺得很高興！2010 年 11 月。

Hospice Ward Director, Dr. Kuan-Chiu Huang and Hospice Home Care

Hospice Home Care nurse, Yi-Wei Chiu drove half an hour from Tatung

nurse Yi-Wei Chou visited a terminal cancer patient in DaNiao Tribe

City to the northen most tip of Taitung County’s Changbin Village to visit

on the Southern Link Highway. To examine the physically challenged

a patient. Yi-Wei Chou stated that even though the drive was long, but

senior’s condition, Dr. Huang sometimes squat and sometimes kneel for

when the patient said to her, “I feel better the moment I see you!”, her

a close examine. December, 2010.

heart would be filled with joy! November, 2010.

Witness to Silence 沉默的目擊

2010 年 9 月。

September, 2010

跨洋過海 Across Ocean 1911-1999 黃子明 Zi Ming Huang/ 臺灣 ,Taiwan

臺灣在1960 年代積極推動出口導向型經濟，

In the 1960s Taiwan actively promoted

they are alien to local culture, all these

加工出口區的設立加上各項基礎建設全面展

ex p o r t - o r i e n t e d e c o n o m y. W i t h

put great pressure on the migrant workers

開，農村人口大量流向工廠生產線與工地，

established export processing zones and

physically and mentally. Therefore from

直到接近 1990 年代，隨著服務業開始發展，

all-round construction on infrastructure,

time to time one would hear cases of

勞動力市場轉向，低所得但高強度勞力的工

a large farming population turned

migrant workers getting into conflict with

作逐漸乏人問津，使得臺灣的人力供需出現

to produc tion lines at fac tor ies and

their employers or reports of runaway

失調狀態。

construction sites. Till 1990s, with the

migrant workers.

Witness to Silence 沉默的目擊

─

development of service industry, labor market began to shift as few people took

Over the past years, with calls by social

外籍移工，用以推動公共建設，在此同時，同

interest in jobs with low salaries but high-

groups and administrative measures

樣面臨缺工問題的民間業者也向政府及國會

intensity labor, resulting in imbalance of

amended by government agencies, labor

施壓遊說，要求引進移工投入生產線，以維

labor supply and demand in Taiwan.

c onditions for migrant workers have

1989 年，政府以專案方式引進第一批低技術

improved, in which issues such as their

持競爭力與利潤，1992 年《就業服務法》通

122

過，允許符合規定的民間業者引進移工，但其

In 1989, the government, via case marked

working hours, medical care and salaries,

實在此之前，包括中國大陸人士在內，已經

as special aimed at pushing construction

all become more reasonable than before.

有許多移工以非法方式進入台灣打工，也成

of public infrastructure, introduced the

However, more works are still needed in

為基層勞力結構的一部分。

first group of migrant workers with low

terms of seeking value of human rights,

technical skills. In the meanwhile, private

especially for those in hidden corners.

非法居留移工在勞動條件上自然處於劣勢，

sector, facing with shortage of workers,

但合法來台工作者也同樣面臨仲介剝削及不

also appealed to and applied pressure

合理勞動環境壓榨，加上與本地文化扞格等

on the government and the Legislature,

問題，使得這些國際移工身心面對極大壓力，

asking them to introduce more migrant

與僱主衝突或逃逸情事時有所聞。

workers into production lines in order

這些年來，在社會團體推動輔導加上公部門

to stay competitive and make profits.

In 1992, Employment Service Act was

行政措施與法律修正下，國際移工勞動條件

passed, allowing private sector conforming

已有所改善，包括工時、醫療、薪資等都較開

to regulations to employ migrant workers.

放初期合理，但從追求人權價值而言，我們

In fac t, before the passage of suc h

仍有許多工作要做，尤其在那些隱而不見的

legislation, there already existed many

角落，正義與公理仍需要被發揚光大。

migrant workers, including those from m ai nl an d C hina, wo r k i n g in Tai wan illegally who had become a part of labor structure at grass root level.

Illegal migrant workers are naturally inferior in labor conditions, but legal migrant workers also have their issues as well such as exploitation from agents and unreasonable labor environment. Plus

外籍移工因基本工資低，為了多賺些錢，加班如家常便飯。 The low minimum wage for foreign migrant workers means they must frequently work overtime to earn more money.

會參與打水仗，而且是按泰國灑水規格淋得一身濕。 With the increase of migrant workers, Songkran Festivals are held each year by local governments so that migrant workers away form home can enjoy

124

the festive atmosphere. Taiwanese citizens also join in the water fights, and get totally soaked in the Thai manner.

泰籍移工第一次在台舉辦潑水節，為顧慮本地來 賓感受，他們改用水槍代替水盆向來賓噴水祝福。 Thai migrant wor kers c elebrate the f irst Songkran Festival in Taiwan. In consideration for local guests, they used water guns instead of water basins and squirt water on guests to extend their blessings.

泰籍移工在潑水節晚會上互相塗抹白粉在臉上，那是一種祝福對方的意涵。 Thai migrant workers put white powder on each others face during the Songkran celebrations, which signifies blessings to each other.

來自菲律賓的 Eddie 午餐後在工地休息間翻閱報紙，來自故

一群外籍移工正在聽取台籍原住民工頭許政雄（右）分配工作；在

鄉的資訊是移工重要精神糧食，即便資訊落後過時，還是可

台灣，許多原本從事基層勞力工作的原住民，在開放移工進口後，

以打發無聊時光。

競爭壓力變得愈來愈大，也更容易被替代。

Eddie from the Philippines flips through newspapers in

A group of migrant workers listens to their Taiwanese

the leisure room during lunch break. News from one’s

Aboriginal foreman Cheng-hsiung Hsu allocating work. In

hometown is an important spirit lifter for many migrant

Taiwan, many Aboriginals used to work as basic laborers; now

workers. Even if the information is outdated, it still helps

with the legalization of migrant workers, the competition and

kill time.

stress are even more intense and they can be easily replaced.

Witness to Silence 沉默的目擊

隨著移工人數增多，台灣各地政府每年都會舉行潑水 節，讓離鄉工作的移工可以享受過年氛圍，台灣民眾也

Witness to Silence 沉默的目擊

126

一名在台北市新生國小工地工作的泰籍移工結束一天 工作，帶著工具穿越工地鷹架準備返回宿舍。 A Thai migrant worker working on a construction site at Taipei City’s Xinsheng Elementary School finishes a day’s work. He carries his construction to o ls and walks past a sc af fo ld bac k to his dormitory.

雖然僱主大多嚴格規定不得在工地或宿舍聚賭，最嚴重 小賭一把。 一名紋身的泰籍移工下班後與同事打撞球消 磨時光。

Although many employers strictly prohibit gambling on construction sites and dormitories, with deportation

A Thai migrant worker with tattoos, play

as the most severe punishment, yet many migrant

billiards with his co-workers after work to kill

workers still cannot resist the temptation and would

time.

gamble for a bit in the early mornings before work.

128 部分逃逸或逾期居留的移工被警方 或移民官員逮捕後，會被送到收容中 心等待遣返；移工逃逸或違法居留 時有所聞，多數原因都是想延長留 台時間，以爭取更多時間打工賺錢。 Some runaway workers or those

一名來自泰北農村的移工正在閱讀家人來信；家書是許多離鄉移工的重要精

來台國際移工以印尼、菲律賓、泰國、越南和馬來西亞為主，其中菲律賓籍移

holding expired visas, upon being

神慰藉，但也容易引發鄉愁。

工多數信仰天主教，周日經常相約上教堂作禮拜，順便與同鄉好友相聚。

c a p t u r e d by t h e i m m i g r a t i o n officers will be held at a shelter before being sent back to their c o u n t r y. T h e r e h a v e b e e n occurrences of runaway workers and illegal stay, most of which are because they would like to extend their stay in Taiwan in order to work and earn more money.

A migrant worker from the rural parts of Northern Thailand reads a letter

Migrant workers working in Taiwan are mostly from Indonesia, Philippines,

from home; letters from home are a comfort for many migrant workers

Thailand, Vietnam and Malaysia. Among these, the majority of Filipino

away from home, it is also a likely trigger to homesickness.

migrant workers are Catholic, and they often go to church together on Sundays and take the opportunity to gather with people from their hometown.

Witness to Silence 沉默的目擊

則遣返，但許多移工仍難抗拒人性誘惑，利用清晨上工前

Witness to Silence 沉默的目擊

130

Witness to Silence 沉默的目擊

132

花蓮父子三人受難－張七郎／張宗仁／張果仁 Father and sons victims in Hualien Chi Lang Chang, Chung Ren Chang and 嘉義劉厝里受難者－陳水蓮

228 受難者高雄中學校長－林景元

228、白色恐怖雙重受難－張陳月娥

Guo Ren Cheng

Victim of the 228 Incident and White Terror

受訪者 : 張宗仁之子張安滿

受訪者：林景元之子林有義 Shui Lian Chen,victim in Liu Chu Borough ,Chiayi City

Jing Yuan Lin,Victim of the 228 Incident,

Yue-A Chang Chen

Principal of Kaohsiung Senior High School

Interview with Chung Ren Chang's son,

Interview with his son Yu Yi Lin

An Mam Chang.

Witness to Silence 沉默的目擊

134

悲情八堵火車站－李丹修

美術節被槍殺的藝術家－陳澄波

受訪者：李丹修之子李文卿

受訪人：陳登波之子陳重光

Dan Shiou Lee was the station master of

Artist gunned down on the Day of Art Festival

Badu Railway station,killed in 228 massacre.

,Cheng Po Chen. Interview with Chun Gwan

Interview with Wen Chin Lee, son of Dan

Chen, son of Cheng Po Chen.

Shiou Lee.

關愛子女的 228 見證者－方賴嫑纏 Living Witness of the 228 massacre, Bao-Chan Fang Lai

敢動年代 The Age of Defiance

1 月 1 日解除報禁。政治鬆綁與新聞媒體之 解禁，使得台灣的言論自由在解嚴前後期間

136

蔡文祥 Wen Shiang Tsai/ 臺灣 ,Taiwan

law. The following year on Jan. 1, it lifted ban on newspapers. The ease of

呈現大鳴大放的全盛狀態，解嚴後的台灣，

restriction on political parties and news

街頭運動大大小小從不間斷，三、五天總會

media led to a prospering state of freedom

有一個。那是一個衝撞體制的年代，是一個

of expression in Taiwan during the time

熱血奔馳的社會，是社會底層人士翻身的年

shortly before and after martial law was

代，更是民主種苗開始茁壯的年代。「敢動年

lifted. Protests, big or small, took place on

代」大都是集中於 1988~1992 年間在臺灣

streets every three or five days. It was an

社會街頭運動環境中，第一現場近距離觀察

era going against the system, a society

所攝取到的影像，作品不僅僅是動盪年代的

with boiling passion, an era for the grass

歷史紀錄，更是台灣新聞寫實攝影的報告。

roots to turn over, and most of all — an era

將解嚴後台北街頭不安的氣氛解放出來，影

during which democracy sprouted. “The

像作品除了新聞歷史價值外，照片影像內的

Age of Defiance” sets the background

價值，都能照映不同的時空心靈。 「敢動年代」

mostly in the street movements in Taiwan

希望反應一段被遺忘的影像歷史與對人性及

from 1988 to 1992. In scene 1 the images

文化細緻的觀察。

were captured in close range. The works

Witness to Silence 沉默的目擊

台灣於 1987 年 7 月 15 日解除戒嚴令，隔年

─ On July 15, 1987 Taiwan ended martial

not only are historical records recording t h e a g e o f d e f i a n c e , t h ey a r e a l s o photographic reports for Taiwan news.

It liberates the upset atmosphere in the streets of Taipei after martial law. Besides the historical value as news, the photos’ inner value lies in that they can interact with souls in dif ference time spaces.

“The Age of Defiance” hopes to reflect a forgotten image histor y and a f ine observation on human nature and culture.

1991 年 2 月 20 日，反政治迫害遊行。 Anti Political Persecution Parade, February 20, 1991.

中華路抗議遊行，1989 年 12 月 25 日。 Chung-Hwa Road Protest Parade,

520 農民運動，1988 年 05 月 20 日。

138

總統直選，1992 年 04 月 20 日。

May 20 Farmers’Movement,

Direct Election of the President,

May 20, 1988

April 20, 1992.

Witness to Silence 沉默的目擊

December 25, 1989.

中華路抗議遊行，1989 年 12 月 25 日。 Chung-Hwa Road Protest Parade, December 25, 1989.

Witness to Silence 沉默的目擊

140

520 農民運動，1988 年 05 月 20 日。 May 20 Farmers’Movement, May 20, 1988.

520 農民運動 ， 1988 年 05 月 20 日。 May 20 Farmers’Movement,

142 520 農民運動， 1988 年 05 月 20 日。 May 20 Farmers’Movement, May 20, 1988.

520 農民運動，1988 年 05 月 20 日。

520 農民運動，1988 年 05 月 20 日。

May 20 Farmers’Movement,

May 20 Farmers’Movement,

May 20, 1988.

May 20, 1988.

Witness to Silence 沉默的目擊

May 20, 1988.

貢寮反核抗議，1988 年。 Gong-Liao Anti-Nuclear Protest,

Witness to Silence 沉默的目擊

1988.

144

反對政治迫害，1991 年 05 月 20 日。 Anti Political Persecution, May 20, 1991.

3 月學運，1990 年 03 月 18 日。 March Student Movement, March 18,1990.

《世界人權宣言》所展現的原則及精神，是人類生 活所追求的崇高理想。經過 60 多年來的發展，此 一宣言已逐漸成為國際習慣法，也就是成為一項 國際性的協議，並成為國際社會所認可並具有法

146

On December 10, 1948, The Universal Declaration of Human Rights was adopted in Paris. The principles and spirit of The Universal Declaration of Human Rights reflect the pursuit of the loftiest ideals in human life. After 60 years of development, this declaration has gradually

律效力的習慣法，進而也約束未簽署國的人權狀

become customary international law and is an

況。此宣言現今已被翻譯成超過 360 種語言，堪稱

international agreement and customary law

為譯文種類最多的文件，足見其受重視的程度，甚

which is accorded recognition and has legal

至有許多新興國家的憲法都根據世界人權宣言的

effect among the international community. It

標準來草擬。

has even had a salutary effect on the human

攝影本身不但是一種記錄，也背負著一些不

rights situation in countries that have not signed it. This declaration has now been translated into more than 360 languages – reportedly a

同的責任，每個畫面的捕捉都呈現出一種立場、一

record among documents of its type, showing

種角度。在世界人權宣言通過 60 多年後的今天，

the degree of importance attached to it, and

全世界仍然充斥著不同形式侵害與違反人權的事

many emerging countries have drafted their

件，「沉默的目擊」2012 國際人權攝影展，要以影

constitutions in accordance with the standards

像嚴謹而審慎的態度來重新回顧以及審思人權價 值的產生及演變。

of The Universal Declaration of Human Rights.

The photography itself is not only a record, it also carries a certain burden of responsibility.

Each image represents a position, a point of view. 60 years after The Universal Declaration of Human Rights was signed the world is still full of many different forms of violence and

3 月學運，1990 年 03 月 18 日。 March Student Movement, March 18,1990.

violations of human rights. "Witness to Silence: The 2012 International Photography Exhibition on Human Rights” offers images in a rigorous and studied approach that revisits and reflects on the generation and evolution of values in human rights.

Witness to Silence 沉默的目擊

1948 年 12 月 10 日， 《世界人權宣言》在巴黎通過。

Christian Vium

MA, European Master’s Degree in Human Rights & Democratisation,

人類學家，紀實攝影家，1980 年出生於奧爾胡斯城 ( 丹麥 ) 現在居住和工

Work Experience

作於哥本哈根 ( 丹麥 )。

在多國擔任人類學研究人員，攝影師，紀錄片導演，如：阿富汗（2003 年 和 2004 年），澳大利亞（1999 年，2000 年和 2001 年），巴西（2005 年），

and assistant on documentary projects in countries like : Afghanistan (2003 & 2004), Australia (1999, 2000 & 2001), Brazil (2005), Burma/ Myanmar (2006), China (2006 & 2008), Kosovo (2006), Mali (2001 & 2006), Mauritania (2001, 2004, 2006, 2009-­2010, 2011 & 2012), Senegal (2001, 2006 & 2011), Sierra Leone (2009), South Africa (2006, 2007, 2008, 2009 & 2011) as well as throughout the European

實際上，我們如果離開法制的範圍，便會立刻見到，

緬甸（2006 年） ，中國（2006 年和 2008 年） ，科索沃（2006 年） ，馬里（2001

在自由社會中，人權還是人們堅強的信仰所寄，

年和 2006 年） ，毛里塔尼亞（2001 年，2004 年，2006 年，2009 - 2010 年，

權利保障對個人權利之享用而言，固應只限於是形式的、中立的，

，塞內加爾（2001 年，2006 年和 2011 年） ，塞拉利昂（2009 2011 及 2012 年） 年），南非（2006 年，2007 年，2008 年，2009 和 2011 年）以及整個歐洲

Awards

大陸。

2012 Travel Stipendiate, San Cataldo (DK/IT)

但人權制度自身卻不是消極的，不是虛無的， 在全人生中，人權制度自身即代表一種極高的價值， 自由人始終以人權當為戰鬥的信仰。

2012 丹麥藝術基金會 獎助金 2011 英國皇家人類學院民族研究 Basil Wright 影片獎

張佛泉 《自由與人權》

2011 澳洲藍鐘花獎 : 奧爾本國際電影節最佳影片 2011 New Nordic Voices 國際影片競賽最佳影片 2011 Tri Continental 電影節最佳紀錄片 2011 Zanzibar 國際影展提名 2011 美國 Anthropographia 人權類攝影獎 2011 丹麥電影學會獎助金 2011 丹麥電影導演協會獎助金

Christian Vium Anthropologist, Documentarist &Photographer Born 1980 in Aarhus (DK) Lives and works in Copenhagen (DK) 2009-­2012

Ph.D. Fellow, Department of anthropology, University of Copenhagen (DK) 2007

2012 Working Grant, Danish Art Foundation (DK) 2011 The Basil Wright Film Prize, Royal Anthropological Institute

得獎 2012 丹麥 San Cataldo 獎助金

─

continent.

International Festival of Ethnographic Institute (UK) 2011 Bluebell Award : Best Film of the Festival, Auburn International Film Festival (AU) 2011 Best Film in the New Nordic Voices competition, Nordic Panorama (DK) 2011 Best Documentary, Tri-continental Film Festival (SA) 2011 Honorable Mention, Zanzibar International Film Festival (TZ) 2011 Winner of the 2011 Anthropographia Award for Human Rights (US) 2011 Travel Stipendiate, Danish Film Institute (DK) 2011 Travel Stipendiate, Danish Film Directors (DK)

Witness to Silence 沉默的目擊

2009-2012 哥本哈根大學博人類學系博士，（丹麥） 2007 義大利 EIUC 歐洲人權民主學系碩士和法國蒙彼利埃大學

148

2000-­2009 Assignments as anthropological researcher, photographer, director

教育

沉默的目擊 ─ 攝影、人權與社會正義

EIUC (IT) & Université de Montpellier (FR)

出生於美國，並在 2005 年年底遷居到亞洲。在過去的六年裡，他長期工作於

1959 年 8 月 17 日生於印尼泗水，1988 年起他在安塔拉新聞通訊社（印尼國

名為「無處人」的計劃，其中記錄了世界各地無國籍的少數族群的奮鬥。他的

家通訊社）開始了他的新聞記者生涯，兩年後他加入了攝影部門。可說是一個

作品曾獲得全球年度圖片獎，NPPA 最佳新聞攝影、日本 Days Japan、香港

無師自通的攝影記者。他現在擔任安塔拉新聞照片處主任，同時仍積極擔任

人權新聞獎、亞洲新聞獎和 2011 年入選英國國際特赦組織媒體新聞攝影獎，

攝影記者。他是安塔拉新聞攝影藝廊的執行董事和安塔拉新聞博物館館長。

他也在亞洲組成新聞團隊。

他還參與建立印尼攝影記者協會，一個全印尼攝影記者一同參與的組織。

他曾獲：

他在印尼雅加達藝術大學影視學院教攝影，及任教於其他印尼的大學。他一

英國牛津布魯克斯大學研究獎學金 (2008)

直積極組織影像展覽，攝影講座及工作坊，並製作了一些攝影的書籍。他經常

開放社會學院紀實攝影項目補助款 (2009)

受邀請擔任各種攝影比賽的評審委員，並擔任印尼海內外展覽的策展人。

普利茲中心的危機新聞報導專案補助 (2012) 他的作品已經在達卡，倫敦，馬德里，日內瓦，奈洛比，洛杉磯，香港，馬尼拉， 曼谷，貝爾格萊德，華盛頓特區和紐約市的聯合國總部舉行展覽。

150

Oscar Motuloh

2011 年，獲邀參與開放社會基金會聯展，Moving Walls 19. 他的第一本書，《肯尼亞的努比亞人：過去與現在》在 2011 年 11 月出版。 他目前在東南亞地區。

Oscar Motuloh

Kim,Nyung - Man

Kim,Nyung - Man

經歷

1949 Born in Kochang, North Cholla Province,South Korea

現職月刊《寫真藝術》負責人

1978 Graduated from Chung-Ang University

1949 年韓國全羅北道高敞郡出生

1978-2001 worked in the Dong-A Ilbo

1978 年中央大學攝影系畢業

present : A publisher of Sajinyesul ( photography magazine )

1995 年中央大學新聞放送研究所畢業 韓國東亞日報記者 (1978 年 -2001 年 2 月 )

Solo Exhibitions

光州民主化運動現地採訪記者 (1980)

2010 Finding Hope at the Divided Scene, Seoul

板門店採訪記者 (1983-1994)

2006 Scenery of Time, Seoul

洛杉磯奧運採訪記者 (1984)

2005 A Tumultuous twenty years, Japan

第一次波斯灣戰爭採訪記者 (1988)

1996 Hometown of the Heart, Seoul

北京亞運採訪記者 (1990)

1991 Human and Humor, Seoul

Born on August 17, 1959, in Surabaya, Indonesia, he started his

平壤南北高層會議採訪記者 (1991)

journalism career as reporter at Antara News Agency (Indonesian

青瓦台採訪記者 (1994-1999)

Books

national news agency) in 1988. Two years later, he was assigned to

韓國總統海外巡訪 30 國隨行記者 (1994-1999)

1999 Tumultuous twenty years

the photo desk. Essentially a self-taught photojournalist, he is now the

祥明大學攝影系兼任教授 (2001-2004)

1996 Hometown of the Heart 1994 Kwangju, That Day

Greg Constantine

Director of Antara Photo News Agency while still actively working as photojournalist. He is the Executive Director of Antara Photojournalism

得獎

1993 Panmunjom

Greg Constantine was born in the United States and moved to Asia in late

Gallery and the head of Antara Museum of Journalism. He was also

1985 現代攝影文化獎之創作獎項

1991 Human & Humor

2005. For the past six years he worked on one, long-term project titled

involved in establishing Indonesia Photojournalist Association, an

2001 年度攝影記者獎

Nowhere People, which documents the struggles of stateless minority

organization that rings Indonesian photojournalists together. He teaches

2002 大韓攝影文化獎

Awards

groups around the world. His work has received awards in Pictures of the

photography at the Faculty of Film and TV, Jakarta Institute of the Arts

2003 首爾市文化獎 ( 新聞媒體 )

2005 The 21st Overseas Photographer Prize of Higashikawa Photo

Year International (POYI), NPPA Best of Photojournalism, Days Japan,

and many other universities across Indonesia. He has been actively

2005 日本東川國際攝影大會海外攝影家獎

the Human Rights Press Awards in Hong Kong, the SOPA Award from the

organized photo exhibition, photography seminars and workshops and

Society of Publishers in Asia and in 2011 was shortlisted for the Amnesty

produced several books of photography. He is frequently requested to

International Media Award for Photojournalism in the UK. He was also part

be the jury for various photo contests and to be curator for exhibitions in

1979「兒童攝影展」, 新聞會館展示室 , 首爾

of a team of journalism in Asia by the Asia Society.

Indonesia and overseas.

1981「故鄉攝影展」, 新聞會館展示室 , 首爾

Collection

Festa, Japan 2003 The Seoul City Culture Award

個展

2001 This Year’s Photojournalist Award

1991「幽默的風景」攝影展 ,Pinehill 畫廊 , 首爾

National Museum of Contemporary Art, Korea

He was a recipient of a visiting research fellowship from Oxford

1993「板門店」攝影展 , 世宗文化會館展示室 , 首爾

Seoul Museum of Art

Brookes University in the UK(2008), an OSI Distribution Grant from the

1996「心中的故鄉」攝影展 , 世宗文化會館展示室 , 首爾

Higashikawa Culture Gallery, Japan

Documentary Photography Project of the Open Society Institute (2009) and a Project grant from the Pulitzer Center on Crisis Reporting (2012).

聯展

Exhibitions and Projections of his work have been held in Dhaka, London,

1988「投影展」，世宗文化會館 , 首爾

Geneva, Madrid, Nairobi, Los Angeles, Hong Kong, Manila, Bangkok,

1994「現代攝影的流動」, 藝術的殿堂 , 首爾

Belgrade, Washington DC and the United Nations Headquarters in New

1996「攝影就是攝影」, 三星 PHOTO GALLARY, 首爾

York City. In 2011, he was selected by the Open Society Foundation to

2002「韓國現代攝影的眺望」, 寧越學生體育館 , 寧越

participate in the group exhibition, Moving Walls 19. Constantine's first

2003「分斷與戰爭」, 京畿文化基金會展示室 , 水源

book, Kenya's Nubians: Then & Now was released in November 2011. He

2004「攝影與歷史的記憶展」, 仁寺美術中心 , 首爾

is currently based in Southeast Asia.

2004「5 月 , 我們看到了」,5.18 紀念基金會展示室 , 光州

Witness to Silence 沉默的目擊

Greg Constantine

Sanja Knezevic 紀實攝影家，1984 年出生在塞爾維亞的貝爾格萊德，畢業於貝爾格

1959 年出生於北京，詩人、畫家和攝影家，2010 年諾貝爾和平獎得主劉曉

萊德攝影應用藝術學院。她在貝爾格萊德曾於不同的媒體工作，直到

波的妻子。三十多年來，劉霞一直是中國當代藝術界最引人矚目的人物之

2009 年，開始成為一名自由攝影師，報導社會問題。2012 年遷居雅

一，她的作品出現於各種媒體，注重表現言論自由，但是依然根植於中國

加達，在那裡，她繼續探索日常生活中的故事。作品曾在各種雜誌上

傳統價值和風格。劉霞在中國被禁止公開展出作品，因而她的作品只能私

發表，包括塞爾維亞國家地理雜誌，德國國家地理雜誌，荷蘭 NRC，

下展出或發表在網絡上。1996 年，劉霞成了她丈夫的對外發言人。劉曉波

經濟學人，金融時報，Geo Lino 等媒體。

在 2010 年獲得諾貝爾和平獎之後，劉霞被軟禁在家，雖然從未有任何指控， 也從未有任何定罪。自 2010 年 1 月起，她被剝奪了一切與外界聯絡的方式。

Liu Xia

曾在國際重要的攝影比賽中獲獎，包括 2007 年 YU 新聞攝影， 2009 年獲美國 En Foco 佳作，賽爾維亞日常生活類最佳照片，及伊恩 ‧ 帕 里獎學金（倫敦）。2010 年 1 月，獲 Status Magazine 「年度新聞照 片」大賽的三等獎。2010 年，她的作品《情侶》贏得塞爾維亞新聞攝

152

Born in 1959 in Beijing, Liu Xia is a poet, painter and photographer, and the wife of 2010 Nobel Peace Prize Winner Liu Xiao bo. For over three decades Liu Xia has been one of the most notable figures of the contemporary Chinese artworld. Her work in various media focuses on freedom of expression but remains rooted in traditional Chinese values and styles. Liu Xia is prohibited from public exhibit in China and her work is shown only in private or on the Internet. In 1996, Liu Xia married the writer Liu Xiao bo, imprisoned for his writings in favor of democracy. Since his arrest, Liu Xia has become her husband’s spokesman to the outside world. After Liu Xiao bo was awarded the Nobel Peace Prize in 2010, Liu Xia, though never charged or convicted

影大賽。 2009 年 10 月 30 日至 11 月 1 日，她的作品《貝爾格萊德的陰影》在 阿姆斯特丹的「巴爾幹快照電影節」展出。 2011 年 3 月在布加勒斯特，她參加努爾 - 尼康大師的紀實攝影。作品 《家庭事務》榮獲 2011 年塞爾維亞生活報導類新聞攝影獎，也被國家 地理雜誌認定為最好的在地故事。2011 年系列作品《失根的社區》受 法國 PhotSoc 節邀請展出，同年獲 2011 年貝爾格萊德「FENIX 藝術 攝影」獎。2012 年，作品《母親與女兒》獲賽爾維亞年度最佳作品。

Sanja Knezevic

in China, was put under house arrest. She has been deprived of all

Sanja Knezevic is a documentary photographer born in Belgrade,

means of contact since January 2010.

Serbia in 1984. She graduated in photography at the Faculty of Applied Arts in Belgrade. She had worked for different media in Belgrade until 2009 and since than she works as a freelance photographer doing stories based on social issues. In 2012 she moved to Jakarta where she continue exploring stories from everyday life. Her work has been published in various magazines, including National Geographic Serbia, National Geographic Germany, NRC Holland, The Economist, Financial Times, Geo Lino. She has won awards in major photographic contests in Serbia, YU Press Photo 2007, Republic Exhibition 2006 and 2009. In the USA she received an honorable mentions, for En Foco 2009. Recognized by Ian Parry scholarship 2009 (London). She was chosen by the Serbian Government for the Applied Nostalgia project in September 2009 to photograph Stockholm, which resulted in exhibitions in Stockholm

and Belgrade. Her work Belgrade Shadow was exhibited at the Balkan Snapshots Film-festival in Amsterdam, 30 Oct – 1 Nov 2009.

In January 2010 she won third prize for the ”Press photo of the year” of Status Magazine contest. Press Photo Serbia 2010 – she won Grand Prize for the photograph Couple. She is the finalist: Wine photo 2010, Italy; SEE People and Culture photo contest, Brussels; NATO photo contest, Brussels. Nominated for the Joop Swart Masterclass in 2010 and 2011 . Attended SEE New Perspectives, the masterclass of World Press Photo in partnership with Robert Bosh Stiftung, Berlin 2010. In March 2011 she attended Noor – Nikon Masterclass in documentary photography, Bucharest. Press Photo Serbia 2011 – awarded for the story Family Matters in section life reportage. Her project Uprooted Community was exhibited at PhotSoc Festival in France, Sarcelles, from April 30 – May 14, 2011.

She is the winner of ”Fenix Fine Art Photography” Belgrade 2011.

In 2012 her photograph Mother and daughter won the Grand Prize at ”Beta photo of the year”, annual competition in Serbia.

Witness to Silence 沉默的目擊

劉霞

陳南宏 -

Nan Hong Chen

1956 年生於台灣台北，目前是報導攝影工作者。 曾任《中國時報》攝影記者、《自立早報》、《自立晚報》攝影組主任、《新

photographer

張良一

在香港從事新聞及專業攝影工作十多年，多年來有計劃地記錄香港的城市

1968 年生，1987 年進淡江大學經濟系。

變遷，以及人和城市空間的關系，是香港少數能用上十多年的時間去拍攝

1993 年退伍後進新聞界，先後在中央通訊社、中國時報攝影中心擔任攝影

新聞》特約攝影、《台北人》雜誌圖片主編、《環球日報》攝影組副主任、

同一個題材的視覺藝術家，其拍攝計劃包括西九龍填海工程、香港政治地

記者，目前在蘋果日報攝影中心服務。

《時報週刊》攝影組主任、《時報週刊》撰述委員、《TaiwanNews》攝

景攝影系列；謝至德曾多次到中國大陸拍攝民工的生活，走進不同的工廠

作品曾獲 2008 年至 2011 年台灣新聞攝影比賽自然環境類、肖像類、圖文

為民工照相；謝至德多年來於香港及海外舉辦多次展覽，至今已出版多本

特寫類等獎項，2011 年春於台北、台東舉辦「愛深深」首度攝影個展，秋天

攝影畫冊，其作品廣為香港媒體所關注，也接受香港多家電子媒體訪問，包

於淡水舉辦「消逝的風景」攝影個展。

影主任，世新大學兼任老師、社區大學老師。

黃宏錡 - Hong

Qi Huang

三十年攝影路程，目擊了台灣政治民主化、社會多元化的世代交替變遷，

李宣瑋 - Hsuan

身為攝影記者記錄下這段時間的政治、社會變動、政權的更替等歷史事

黃慧瑜 - Hui

件，許許多多歷史畫面瞬間透過鏡頭記錄下來。拍過不少高官權貴與市

154

自由攝影家 - Free

謝至德

Yu Huang

井小民，覺得心靈最自然、平靜、和諧的算是從事公益活動的人，他們

陳潔皓 - Jie

臉上自然洋溢著行善之美，讓你不知覺放下防衛與隔閡，感覺到人與人

許哲韡 - Zhe

之間的愛。「Beauty Is As Beauty Does.」真正的美，乃是因行得美善。

葉振宇 - Zhen

Yong Zhi Yang Born in Taipei in1956, currently a photographer.

Yung Zhi Yang has worked as a photojournalist for the China Times,

Wei Li

Hao Chen Wei Xu Yu Ye

自由攝影家 - Free

photographer

括香港電台「鏗鏘集」、有線電視及商業電台。2010 年他和多位香港攝影 家成立及舉行了第一屆香港國際攝影節，近年作品有《皇天后土 - 皇后碼 頭社會紀實》及《我留下妳在此 - 菜園村群像照》。

University in 1987.

worked as a professional photojournalist for more than ten years.

China Times for several years. He now works at Apple Daily as a press photographer.

relationship in between human and city space. He is one of the very

Between 2008 and 2011 several of his works were awarded by the

few visual artists who take photos about one sole topic for years. His

Taiwan Press Photographer Association in categories including nature,

photograph projects include West Kowloon Reclamation Project and

portraits, and feature stories. In Spring 2011 his first solo exhibition,

Hong Kong Political Landscape Series. In recent years, he walked

Deeply Love, was held in Taipei and Taitung. In fall the exhibition The

into different factories to take photos of labour’s life in the Mainland

Disappearance of Landscapes was held in Tamsui.

has also been a contract photographer for Newsweek; the chief photo

extensively. His works impressed Hong Kong media a lot, thus he was

editor for Taipei People magazine, deputy chief of the photojournalist

invited by RTHK, Cable TV and Commercial Radio to feature in several

photojournalist team for Taiwan News; and part-time instructor at Shih Hsin University and community colleges.

During his 30 years as a photographer Yang has witnessed Taiwan’s progress into democracy and generational changes in Taiwanese society, and has photographed numerous historical moments that illustrate changes in politics, society, and regimes. In his opinion, among all the people he has photographed, whether rich and powerful or ordinary citizens, those who work on behalf of the public welfare are the ones with the most peaceful minds. The beauty of their actions is reflected in their faces, and you can’t help letting your guard down to feel the love. As the saying goes, “Beauty is as beauty does”.

He joined the Central News Agency in 1993 and also worked for the

He has planned to record the city transition of Hong Kong and the

China for many times. His works have been exhibited and published

Times Weekly; narrator for the China Times Weekly; chief of the

Born in 1968, enrolled in the Department of Economics at Tamkang

Ducky Tse

and as chief of photojournalist team for the Independence News. He

team for Global Times; chief of the photojournalist team for the China

Liang Yi Zhang

programmes.

Witness to Silence 沉默的目擊

楊永智

潘小俠

1960 年 2 月 24 日生，台灣台南縣仁德鄉人。

He was born in Jen-de,Tainan County,Taiwan in 1960.

1954 年出生，曾任自立報系攝影記者。1980 年開始從事攝影工作，同

1982 年國立台灣藝專畢業。

1982--Graduated from National Taiwan Academy of Arts.

時他也長期拍攝白色恐怖受難者、蘭嶼等主題，現設有潘小俠攝影工作 室。2002 年拍攝高砂義勇隊「不知為誰而戰」影像故事紀錄片，2003

曾任世新大學平面傳播學系與新聞學系兼任講師、第二屆中國國際新聞攝

WORK EXPERIENCE

年拍攝「部落最後印記 - 文面 Pat San」紀錄片，並著有《台灣美術家

影獎（CHIPP）評審委員、台海新聞攝影獎（THPP）組委會副主任委員、國

1985-1988 Magazine Photographer.

一百年（1905-2005）》 《潘小俠攝影造像簿》、 《蘭嶼記事 (1980-2005)》

家地理雜誌國際攝影大賽台灣區賽評審、台灣新聞記者協會執行委員。

1988-2003 Staff Photographer for China Times

《潘小俠影像》、《白色烙印 (1949-2009) 人權影像》等。

攝影作品曾獲吳舜文新聞攝影獎、中國精神新聞攝影獎首獎、兩度獲台北

2003 –present Director of Photo Desk for China Times

新聞攝影獎首獎及佳作共七項獎項、台北攝影節新人獎佳作、第一屆中國

1996

任台北二二八紀念館攝影組

國際新聞攝影獎 (CHIPP，簡稱華賽 ) 現場人物類組照（系列作品）金牌獎。

EXHIBITIONS

1997

部落之行影像首次個展 ( 台北攝影藝廊 )

多幅作品獲國立台灣美術館典藏。

1997 We Are Family – Family Album of a Down’s Syndrome Victim

2002

拍攝高砂義勇隊「不知為誰而戰」影像故事紀錄片，58 分鐘

Historical Image Show of Taipei (1996, 1997, 1998)

( 公共電視台播出 )

攝影作品曾獲吳舜文新聞攝影獎、中國精神新聞攝影獎首獎、兩度獲台北

2000 The Third Taipei International Film Festival

2003

拍攝「部落最後印記 — 文面 Pta San」紀錄片

新聞攝影獎首獎及佳作共七項獎項、台北攝影節新人獎佳作、第一屆中國

2001 Taiwan International Documentary Festival

2005

出版與展覽「台灣藝術家一百年 (1905~2005)」攝影展

國際新聞攝影獎 (CHIPP，簡稱華賽 ) 現場人物類組照（系列作品）金牌獎。

2002 Taipei 228 Memorial Museum – Images of Civil Rights Actions in

多幅作品獲國立台灣美術館典藏。

Taiwan

( 台北文建會展覽 ) 2006

( 台北華山文化園區展覽 )

2003 Portraits of Urban Harbor Laborers 個人經歷

2005 The Faces of Amahs (Taipei, Tokyo, Mie Prefecture)

1984 年─ 1985 年從事美術設計工作

2007 20th Anniversary of the End of Martial Law: Photographs from

1985 年 6 月─ 1987 年 12 月管理雜誌、突破雜誌攝影編輯 1988 年 1 月─ 1988 年 2 月自立報系攝影記者 1988 年 2 月─ 1999 年 9 月中國時報系攝影記者、組長

the Martial Law Era

出版與展覽「蘭嶼紀事」紀實攝影攝影展

2007

綠島國際人權藝術家創作營參展藝術家，綠島人權紀實影像 攝影展 ( 綠島綠洲山莊監獄展覽 )

2009

出版與展覽「白色烙印 1949~2009 人權影像」紀實攝影創作 ( 景美人權園區與國立台灣文學館展出 )

2008 The Road to Recovery – Stories of Downtrodden Taiwanese Comfort Women

1999 年 9 月─ 2003 年 4 月中國時報系圖片主編、攝影中心副主任

Hsiao Hsia Pan

策展

Hs was born in 1954, and has worked as a photojournalist for the

《命懸一線─ 119 社會檔案》-2011/ 台灣攝影博物館

Independence News. He started his career in 1980, and in addition to his regular work he is also devoted to taking photos of victims of the White Terror and Orchid Island. In 2002 he finished shooting

展覽 1997 我們都是一家人─唐氏症家庭相簿─誠品敦南藝廊 2000 第二屆國際紀錄片雙年展─新光百貨藝文中心 2000 第三屆台北國際攝影節─歷史博物館 2002 台灣民權影像展─台北二二八紀念館 2003 港都勞動群像攝影展─高雄勞工育樂中心 2004 台籍慰安婦─武夷山國際攝影藝術節 2005 戰後六十年《阿嬤的臉》攝影展─台北、日本（東京女性人權博物館、 三重縣） 2007 解嚴二十週年民主運動影像展─總統府 2008《阿嬤集合》攝影個展─台北「咖啡黑」咖啡館

the documentary film “Who Are We Fighting For?” In 2003 the documentary film “The Last Vestige of a Tribe – Pta San” was finished. He has also published “100 Years of Taiwan Artists: Hsiao Hsia Pan 's Portraiture 1905-2005”; “Photographic Reporting from Orchid Island (1980-2005) by Hsiao Hsia Pan”; and “Taiwan’s White Terror Human Rights History 1949-2009”.

1996

Joining Photography Department of Taipei 228 Memorial Museum.

1997

"Journeys to Our Indigenous Tribes", Solo Exhibition, Taipei Photo Gallery, Taipei.

Filming and Producing Documentary "Takasago Volunteers: For Who Are We Figjting For" 58' Screened

by Taiwan Public Television Service.

2003

Filming and Producing Documentary "The Last Sign of Pat San: Search for Indigenous Facial Tattooing."

2005

The Publication of "100 Years of Taiwan Artists: Hsiao Hsia Pan's Portrait Making" and Solo Exhibition in Council for Cultural Affairs, Taiwan.

2006

The Publication of "The Photographic Reportage of Orchid Island" and Solo Exhibition in Huashan Culture Park, Taipei,Taiwan.

2007

Joining the Green Island International Human Rights Artists' Workshop."The Documentary Photography of Green Island Human Rights History," Solo Exhibition, Green Island,Taiwan.

2009

The Publication of "Taiwan White Terror Human Rights History, 1949-2009" and Solo Exhibition in Jing Mei Human Rights Memorial Park and National Museum of Taiwan Literature, Tainan, Taiwan.

Witness to Silence 沉默的目擊

Zi Ming Huang

現任中國時報攝影中心主任、政大新聞系兼任講師。

156

2002

黃子明

蔡文祥 1961 年生於台灣基隆，1993 年始旅居紐約並於 1996 年取得紐約 視覺藝術學院 (School of Visual Arts ) 攝影藝術碩士，是台灣當代攝影家 也是一位藝術家。擔任過六年雜誌與報紙媒體記者從事新聞報導攝影工 作，本身就是一位視覺性思考創作者。現從事設計教學、攝影創作與攝影 文化活動策展工作。曾獲台北文化局贊助《敢動年代》出版與台灣民主基 金會贊助展覽「敢動年代」、台灣國家藝術基金會贊助「記憶的時間差」展 覽與出版並出版《TT time&tide》、《般若波羅》兩本平面視覺設計書。

2012 Curator, Witness to Silence, National 228 Memorial Museum 2011 Curator, Taipei Photography Center, Curator, China Pingyao International Photography Festival 2009 Director, Taiwan Photography Museum Preparation Hall 2006 Forum Director, “The Asia-Pacific Forum of Photography in Taiwan” 2004 Project Director, project for the installation art exhibition at“The Tropic of Cancer Festival, 2003 Project Director, “A Retrospective of One Hundred Years’ Taiwan Photography” and international conference (exhibition

2012 「沉默的目擊」國際人權紀實攝影展策展人

and conference project)

2011 台北攝影中心策展人、平遙國際攝影大展學術策展人 2009 台北攝影博物館執行長

158

2006 臺灣亞太攝影論壇總策畫人 2004 北回歸線藝術節影像計畫總策畫人

Solo Exhibitions 2007 “Forum for Creativity in Art-Tsai Wen-hysang: Time Differences in Memory, “ Kaohsiung Museum of Fine Arts,

2003 回首台灣百年攝影幽光與研討會總策畫人 個

展：

2007 記憶的時間差╱高雄美術館 2002 變調基因攝影展╱台南文化會館╱台南 2001 變調基因數位影像設計展╱爵士藝廊╱台北 2000 「我思故我在」╱東興路勁報櫥窗╱台北 1997 「回」影像構成個展╱台北市立美術館╱台北 1996 「意識的軌跡」╱四五六畫廊╱紐約 1991 「失落的黃金城」( 九份報導攝影展 ) ╱爵士藝廊╱台北 1989 「造始」攝影展╱中國文化大學╱台北

Wen Hsiang Tsai Wen Hsiang Tsai is a contemporary photographer and artist in Taiwan.

He was born in Keelung, Taiwan in 1961. He received a MFA (1995) from School of Visual Arts (SVA) New York and continuing his studies and traveled in Europe and U.S.A (1995–1999). For most of his career Wen Hsiang Tsai has also been a independent curator and teacher.

His work has been shown in Taipei and Kaoshoung fine art museum , Shanghai library and New York ,Taipei gallery. He also award The National Culture and Arts Foundation (NCAF), Department Cultural Affairs of Taipei City and Taiwan Foundation for Democracy support for exhibitions and published.

Witness to Silence 沉默的目擊

蔡文祥

Koahsiung 2002 “Imagination of Memory, “ Photography Tainans, Tainan 2001 “Changed Genes: Digital Photography,” Jazz Gallery, Taipei 2000 “I Think, Therefore I Am” (window display), Power News, Taipei 1997 “Return, “Taipei Fine Arts Museum, Taipei 1996 “Traces of Consciousness, “ Gallery 456, New York, USA 1991 “Lost City of Gold” (photography exhibition on Jiufen), Jazz Gallery, Taipei 1989

“Initiation, “ Chinese Culture University, Taipei

「沉默的目擊」 2012 國際人權紀實攝影展

“Witness to Silence”

2012 International Photography Exhibition on Human Rights 總策劃 | 蔡文祥 執行單位 | 葛菲雅奇視像空間設計 藝術指導 | 莊妙仙 美術設計 | 蕭郁恩 贊助 | 內政部 出版 | 二二八國家紀念館 財團法人二二八事件紀念基金會 地址 | 台北市南海路 54 號 電話 | 02-23326228 網址 | http:// museum.228.org.tw 2012 年 11 月