Ⅴ – 臺灣與薩丁尼雅島、中心與邊緣
V − Taiwan And Sardinia, Center And Periphery
時 間 ｜ 2024.9.17（二）
地 點 ｜ 畸零地工作室（台北，竹圍）
討論人｜ Roberto Alvau、黃建圖、陳運成、蕭凱文、曾哲偉、徐孟榆、陳佳暖、楊雅儒
Date ｜ September 17, 2024 (Tuesday)
Location ｜ Ground Zero Studio (Zhubei, Taipei)
Discussants ｜ Roberto Alvau, Bosco Huang, Lucky Chen, Kevin Hsiao, Tseng Che-Wei, Hsu Meng-Yu, Chen Jia-Nuan, Yang Ya-Ru
探討島嶼邊緣性、歷史記憶與文化認同，涵蓋馬祖、龜山島、薩丁尼亞島等案例，並延伸至公共藝術、宗教信仰及空間政治，推動藝術實踐與地方連結，探索「Marginal Landscape」的未來發展。
Exploring island marginality, historical memory, and cultural identity through cases such as Matsu, Guishan Island, and Sardinia, extending to public art, religious beliefs, and spatial politics, fostering artistic practices and local connections while envisioning the future development of “Marginal Landscape.”
在2024年9月17日的社群共學討論會中，與會者聚集於「畸零地」，展開了一場圍繞島嶼、地景與身份認同的深入交流。討論涵蓋了馬祖、薩丁尼亞島、龜山島等不同的島嶼經驗，並將這些案例與「畸零地景」的概念進行對照。
1. 島嶼與邊緣性
Roberto Alvau 來自義大利的薩丁尼亞島，該島在歷史上曾多次被不同政權統治。他對於台灣、馬祖與龜山島的討論特別感興趣，尤其關注軍事、遷村與邊緣性的議題。他提到，薩丁尼亞島至今仍有聯合國軍事基地，其居民因環境污染導致健康問題，卻未獲得補償。
建圖則分享了龜山島的歷史，50年前該島的700多名居民因軍事需求被迫遷村，移居宜蘭。他認為這種軍事與社會的交錯，使龜山島的「畸零性」更加複雜。Roberto 指出，這與薩丁尼亞島的情況有異曲同工之處——島民因戰略需求被迫適應新的生活環境，而舊有的文化記憶則需透過藝術與社群互動來維繫。
與會者進一步探討島嶼邊緣性的歷史脈絡，涵蓋了馬祖作為戰地前線的經驗，以及綠島作為政治犯監禁地點的特殊背景。哲偉分享了他近期在綠島的研究，強調該地在白色恐怖時期的歷史，以及當代藝術如何介入記憶的重塑。
2. 「畸零地景」的語言與詮釋
與會者討論了「畸零地景」的英語翻譯，最終選擇「Marginal Landscape」作為較適合的表達。曾哲偉曾提出「insanity（精神錯亂）」的概念，Roberto認為這種詞彙或許能突顯邊緣地景的不確定性與流動性，但可能帶有負面意涵。討論中，眾人一致認為「marginal」能更準確地捕捉畸零地景的特質。
討論進一步延伸至土地規劃與空間政治，凱文提出，社會住宅的規劃與土地使用權的劃分往往忽略了當地居民的聲音，使公共性成為影響個體與弱勢群體的手段。這樣的現象不僅出現在城市規劃，也同樣影響著台灣的邊陲地區。
3. 公共藝術、社會參與與歷史記憶
討論進一步聚焦於公共藝術的角色，特別是吳瑪悧的作品如何影響台灣的社會參與藝術。Roberto 提及他對吳瑪悧作品的興趣，尤其是《樹梅坑溪環境藝術行動》如何將藝術與地方環境變遷結合。他認為，社會參與藝術不僅僅是美學的展現，更涉及歷史、社會與政治層面的再現與對話。
凱文則分享了他在林口社會住宅的經驗，指出公共藝術在大型政府建設中的角色往往被政策需求所引導，而藝術家的自主性則受到挑戰。他認為，這些公共藝術計畫雖然標榜社會參與，但實際上仍受到政府的政策框架。
哲偉補充，林口社會住宅作為台灣第一個由中央政府直接管轄的大型社宅計畫，其公共藝術項目預算高達1.5億新台幣。然而，這些計畫的核心仍然受到政策導向影響，主要關注如何以公共藝術為手段，為政府的都市更新計畫建立論述，而非真正回應居民需求。社宅住戶的生活條件、在地文化的累積，甚至居民對公共藝術的接受度，都未被納入計畫的核心考量。
此外，林口社宅的居民多為短期租戶，許多住戶在數年後必須搬離，這使得公共藝術難以成為居民長期參與的場域。與會者討論了藝術在這種情境下的角色，認為公共藝術若無法與居民建立持續的互動機制，其作用將僅限於美學層面的裝飾，而難以發揮真正的社會影響力。
4. 宗教與文化記憶：從媽祖到東港迎王
在地方文化的討論中，建圖分享了「媽祖回龜山島」的故事，一位屏東的乩童在神明指引下尋找媽祖的「家」，最終發現龜山島才是其真正的歸屬，並促成了一場特殊的儀式。與會者對此感到十分震撼，認為這是宗教信仰、歷史與社會流動交織的典型案例。
佳暖則分享了她的研究《陳金岳記念館籌備委員會》，透過家族史與鸞書（神明口述歷史）探索宗教、記憶與地方歷史的交錯。她提到東港迎王祭典如何作為一種公共儀式，承載歷史記憶與社群身份的重塑。
討論還延伸至台灣民間信仰的多樣性，以及其如何影響地方社會的文化結構。與會者分享了他們對不同宗教實踐的觀察，並探討了這些信仰如何形塑空間認同。
5. 畸零地景的未來發展
會議最後，與會者討論了畸零地景藝術計畫的發展方向，並決定在東港舉辦一場藝術交流會。Roberto 表示，他希望能進一步研究台灣的當代藝術，並與當地藝術家合作，探討「邊緣性」在不同文化脈絡下的意義。
整體而言，本次討論展現了島嶼、邊緣性與文化認同的多重面向，並透過龜山島、薩丁尼亞島、馬祖與東港的案例，深化了對「畸零地景」的理解與實踐可能性。
On September 17, 2024, participants gathered at Ground Zero Studio for a deep discussion surrounding islands, landscapes, and identity. The discussion covered various island experiences, including Matsu, Sardinia, and Turtle Island, while relating these cases to the concept of Marginal Landscape.
1. Islands and Marginality
Roberto Alvau, from Sardinia, Italy, shared insights about his homeland, which has been under different regimes throughout history. He expressed great interest in discussions about Taiwan, Matsu, and Turtle Island, particularly regarding military influence, forced relocations, and marginalization. He pointed out that Sardinia still hosts United Nations military bases, and residents suffer from pollution-related health issues without receiving proper compensation.
Bosco shared the history of Turtle Island, where over 700 residents were forcibly relocated to Yilan 50 years ago due to military needs. He highlighted the complex interplay between military control and social transitions, making Turtle Island a marginalized space. Roberto noted a parallel between Sardinia and Turtle Island, where strategic military considerations displaced local communities, requiring them to adapt to new living environments while preserving cultural memories through art and community interaction.
Further discussions explored the historical context of island marginalization, including Matsu as a military front-line and Green Island as a political prison site for dissidents. Che-Wei shared his recent research on Green Island, emphasizing its role during the White Terror and how contemporary art engages with historical memory reconstruction.
2. The Language and Interpretation of “Marginal Landscape”
The participants discussed the English translation of “畸零地景”, ultimately settling on “Marginal Landscape” as the most suitable term. Che-Wei raised an interesting perspective on the word “insanity”, and Roberto suggested that a sense of cognitive confusion could also describe such landscapes. However, the group agreed that “marginal” better captures the defining characteristics of these landscapes.
The discussion further expanded to land planning and spatial politics. Kevin pointed out that in social housing projects, land-use planning and property rights often neglect the voices of local residents, turning “public interest” into a force that disproportionately affects marginalized communities. This phenomenon is not only present in urban development but also impacts Taiwan’s peripheral areas.
3. Public Art, Social Engagement, and Historical Memory
The conversation shifted to the role of public art, particularly how Wu Mali’s works have shaped socially engaged art in Taiwan. Roberto expressed interest in Wu Mali’s projects, especially Art as Environment – A Cultural Action at Plum Tree Creek, which integrates art, environmental awareness, and community participation. He emphasized that socially engaged art is not just about aesthetics but also about reconstructing history, society, and politics through artistic interventions.
Kevin shared her experiences with public art in Linkou Social Housing, where she noted that government-led projects often prioritize policy objectives over artistic autonomy. While these initiatives promote social participation, they remain influenced by governmental frameworks rather than fostering genuine community engagement.
Che-Wei further elaborated on Linkou Social Housing, Taiwan’s first large-scale social housing project directly managed by the central government, which allocated NT$1.5 billion for public art. However, the core focus of these projects was still policy-driven, using public art to reinforce urban renewal narratives rather than addressing the real needs of the residents. Aspects such as living conditions, local culture, and public reception of these artistic interventions were not adequately considered.
Moreover, many Linkou residents are short-term tenants, as they must vacate their units after a few years. This transitory nature makes it difficult for public art to establish long-term engagement. The participants debated the role of art in this context, arguing that if public art fails to create sustained interaction with residents, it risks becoming merely decorative rather than a meaningful force for social change.
4. Religion and Cultural Memory: From Matzu to Donggang’s “Ying Wang” Ceremony
The discussion turned to local religious traditions and cultural memory. Bosco shared the story of “Mazu Returning to Turtle Island”, where a medium in Pingtung received a divine message revealing that Mazu’s true home was Turtle Island. This led to an extraordinary ritual pilgrimage, illustrating the interplay between religious faith, historical displacement, and community identity.
Jia-Nuan then presented her research project, “Tân Kim-Ga̍k Memorial Hall Preparation Committee”, which examines family history through divination books (鸞書)—a form of oral religious storytelling recorded by spirit mediums. She discussed how Donggang’s “Ying Wang” Ceremony (迎王祭) serves as a communal ritual that preserves historical memory and reconstructs collective identity.
The conversation expanded to the diverse nature of Taiwanese folk beliefs and their influence on local social structures. Participants shared observations about different religious practices, exploring how faith traditions shape spatial and communal identities.
5. The Future of Marginal Landscape
Toward the end of the meeting, participants discussed future directions for the Marginal Landscape Art Project and decided to hold an art forum event in Donggang. Roberto expressed his desire to continue researching Taiwanese contemporary art and collaborating with local artists to explore marginality within different cultural contexts.
Overall, this discussion offered multidimensional perspectives on islands, marginality, and cultural identity, using the cases of Turtle Island, Sardinia, Matsu, and Donggang to further deepen the understanding and practical applications of Marginal Landscape.
Roberto Riccardo Alvau
討論人 Discussants
Roberto Riccardo Alvau 是馬德里康普頓斯大學（西班牙馬德里）當代藝術史系的博士研究員與教學助理。他是 TRAMA 研究小組的活躍成員，該小組專注於亞洲與歐洲之間的跨文化藝術關係。
他的專業領域集中於解構西方的歷史書寫敘事，轉向新的、去中心化的地理論述，特別關注東亞的當代藝術，並進一步聚焦於臺灣。
他目前的研究探討了臺灣自 1990 年代至今蓬勃發展的參與式與社會實踐藝術，特別關注知名藝術家吳瑪麗的藝術生涯。他的方法論結合了社會藝術研究，並交叉涉及地緣政治、去殖民化、女性主義、環境議題，以及中心與邊陲之間的動態關係等議題。
"Roberto Riccardo Alvau is a doctoral researcher and teaching assistant for the Contemporary Art History Department at the Complutense University of Madrid (Madrid, Spain). He is an active member of TRAMA research group, focused on transcultural artistic relations between Asia and Europe. His area of expertise is centered on deconstructing Western historiographical narratives in favor of new, decentralized geographical discourses, with a specific emphasis on contemporary art in East Asia, and even further in particular Taiwan.
His current research examines the proliferation of participatory and socially engaged artistic practices in Taiwan from the 1990s to the present, with a particular focus on the career of the renowned artist Wu Mali. His methodology intersects the study of social art with parallel and transversal themes such as geopolitics, decolonialism, feminism, environmentalism, and the dynamics between center and periphery."
黃以臻 Huang Ichen
側記撰文 Observational Writer
畸零地景藝術計畫專案行政／蓮霧園第三代
Marginal Landscape Art Project Administrator / Third-Generation Wax Apple Orchard Owner
周唯秀 Jou Wei-Hsiu
協同側記撰文 Co-writing Observer
舞蹈背景藝術工作者，專注於身體以及文化研究的實踐，
擅長流動於表演者、舞蹈構作、文化研究等角色中切換，探尋與世界交換的在場證明
A dance-background arts practitioner specializing in the practice of body and cultural research. Experienced in fluidly transitioning between roles as a performer, dance dramaturgy, and cultural researcher, exploring the proof of presence in exchanges with the world.