南洋放送局:東線無戰事
鄭文琦
2021
錄音,QR Code限地裝置
「南洋放送局 」計劃的起點是2018年「群島資料庫」與打開—當代藝術工作站合作,以228和平紀念公園為歷史語境的導覽行動。在新的技術條件下,「群島資料庫 」通過「南洋放送局」廣播實驗來探索聲音文本的媒介性,乃至於臺灣與東南亞共享的記憶空間。在「花蓮海洋策展計劃 」中,「南洋放送局」以二戰前的書寫作為返照歷史的起點,透過「廣播劇」的形式邀請不同種族的配音員選讀日治時期到民國文人於花蓮的地方書寫,如中村地平、龍瑛宗、立石鐵臣、楊牧,並透過QR Code將語音重新嵌入從舊花蓮港廳 周邊到佐倉的路徑定點,進而激發遊客對花蓮港市如何從異族衝突走向融合的戰後性思考(請自備耳機、能讀取QR Code的手持裝置)。
研究員:鄭文琦、鄭惠文
聲音文本:
龍瑛宗 —〈在沙灘上〉(1941,葉笛 譯)/〈花蓮港風景〉(1941,葉笛譯)/〈薄薄社的饗宴〉(1942,林至潔譯)
中村地平— 〈蕃人姑娘〉(1940,鄭惠文譯)
立石鐵臣 —〈戰時篇 勇敢的士兵〉(1962,鄭惠文譯)
楊牧 —〈佐倉:薩孤肋〉(2006)
配音員:劉肇凱 、高森信男 、曹良賓、Posak Jodian
錄音:複耳工作室
特別感謝:李德茂、宋家瑜 、洪範書店 、財團法人數位藝術基金會 、國立台灣文學館 及龍瑛宗家屬等
[藝術家介紹]
鄭文琦現居於臺北,他是數位藝術基金會的「數位荒原」線上期刊主編及「群島資料庫」計劃(2017迄今)的發起人,此計劃致力於梳理台灣與其他東南亞地區的共享歷史及其解殖作用。曾任台新藝術獎提名觀察人(2018~2019)。文章散見《典藏今藝術》與《ARTOUCH》等雜誌與線上平台。他發起並與新加坡藝術團體soft/WALL/studs共同籌劃「未來群島工作坊」(2020),並曾與打開—當代藝術工作站合作策劃《邊境旅行》(Petamu Project)展覽(2019)。他也在高森信男策劃的《秘密南方》展覽中擔任研究員並展出「文獻F:群島資料庫」(2020)。
鄭文琦
2021
錄音,QR Code限地裝置
「南洋放送局 」計劃的起點是2018年「群島資料庫」與打開—當代藝術工作站合作,以228和平紀念公園為歷史語境的導覽行動。在新的技術條件下,「群島資料庫 」通過「南洋放送局」廣播實驗來探索聲音文本的媒介性,乃至於臺灣與東南亞共享的記憶空間。在「花蓮海洋策展計劃 」中,「南洋放送局」以二戰前的書寫作為返照歷史的起點,透過「廣播劇」的形式邀請不同種族的配音員選讀日治時期到民國文人於花蓮的地方書寫,如中村地平、龍瑛宗、立石鐵臣、楊牧,並透過QR Code將語音重新嵌入從舊花蓮港廳 周邊到佐倉的路徑定點,進而激發遊客對花蓮港市如何從異族衝突走向融合的戰後性思考(請自備耳機、能讀取QR Code的手持裝置)。
研究員:鄭文琦、鄭惠文
聲音文本:
龍瑛宗 —〈在沙灘上〉(1941,葉笛 譯)/〈花蓮港風景〉(1941,葉笛譯)/〈薄薄社的饗宴〉(1942,林至潔譯)
中村地平— 〈蕃人姑娘〉(1940,鄭惠文譯)
立石鐵臣 —〈戰時篇 勇敢的士兵〉(1962,鄭惠文譯)
楊牧 —〈佐倉:薩孤肋〉(2006)
配音員:劉肇凱 、高森信男 、曹良賓、Posak Jodian
錄音:複耳工作室
特別感謝:李德茂、宋家瑜 、洪範書店 、財團法人數位藝術基金會 、國立台灣文學館 及龍瑛宗家屬等
[藝術家介紹]
鄭文琦現居於臺北,他是數位藝術基金會的「數位荒原」線上期刊主編及「群島資料庫」計劃(2017迄今)的發起人,此計劃致力於梳理台灣與其他東南亞地區的共享歷史及其解殖作用。曾任台新藝術獎提名觀察人(2018~2019)。文章散見《典藏今藝術》與《ARTOUCH》等雜誌與線上平台。他發起並與新加坡藝術團體soft/WALL/studs共同籌劃「未來群島工作坊」(2020),並曾與打開—當代藝術工作站合作策劃《邊境旅行》(Petamu Project)展覽(2019)。他也在高森信男策劃的《秘密南方》展覽中擔任研究員並展出「文獻F:群島資料庫」(2020)。
Nanyang Radio Station: All Quiet on the Eastern Front
Rikey Tēnn
2021
Recording, QR Code installation
Nanyang Radio Station: All Quiet on the Eastern Front (2021)
Originated from a collaboration between the “Nusantara Archive” and the Open Contemporary Art Center in 2018, the “Nanyang Radio Podcast” was initially a guided tour based on the historical context of the 228 Peace Memorial Park. Under the new technological environment, Nusantara Archive seeks to explore the mediality of audio texts, and the memory shared by Taiwan and Southeast Asia through the experimental radio podcast program “Nayang Radio Podcast.” In the exhibition, the “Nanyang Radio Station: All Quiet on the Eastern Front (2021)” presents a sort of “radio drama” with World War II as the start point to reflect on history. Voice actors of different ethnic backgrounds were invited to read selected articles about Hualien written by literati from the Japanese Occupation period to the Republic of China period, including the articles of Nakamura Jihei, Long Ying-Zong, Tateishi Tetsuomi, Yang Mu, etc. The audio guides can be accessed by scanning the QR Code set at the designated path from the periphery of the old Karenkō Prefecture to Sakura Trail. The work intends to inspire the visitors to rethink how the Hualien City went through the conflicts among different ethnic groups to integration after the war. (It is recommended to bring your own earphones and a mobile phone or tablet device that can read QR Code.)
Researchers: Rikey Tēnn, Fiona Cheng
Audio text:
Long Ying-Zong, “On the Beach” (1941, translated by Yeh Dyi) / “Scenery of Hualien Harbor” (1941, translated by Yeh Dyi) / “Feast at the Pokpok Tribe” (1942, translated by Lin Chih-Chieh)
Nakamura Jihei, “The Aboriginal Girl” (1940, translated by Fiona Cheng)
Tateishi Tetsuomi, “Wartime: Brave Soldier” (1962, translated by Fiona Cheng)
Yang Mu, "Sakura: Sa Gu Li” (2006)
Voice actors: Liu Zhao-Kai, Takamori Nobuo, Tsao Liang-Pin, Posak Jodian
Recording: Compound Ears Studio
Special thanks to: Lee Te-Mao, Sally Sung, Hung-fan Bookstore, Digital Art Foundation, National Museum of Taiwan Literature and the family of Long Ying-Zong
Artist:
Based in Taipei, Rikey Tēnn is the chief-editor of an online art platform No Man’s Land at Digital Art Foundation, Taipei. He initiated the Nusantara Archive Project (since May 2017), based on the shared history and its decolonization of Southeast Asia (and Taiwan). He was the nominator for the Taishin Arts Award (2018~2019). His art-related writing can be found on ARTCO magazine and ARTOUCH online. He initiated and co-organized the Workshop: Nusantara in Future Tense with Singaporean artist collective soft/WALL/studs in 2020. He co-curated Petamu Project (2018) in Open Contemporary Art Center (co-curators: Rikey Tenn, Lo Shih-Tung). He was also one of the researchers and presented Nusantara Archive Project in The Secret South (curator: Nobuo Takamori) in 2020.
Rikey Tēnn
2021
Recording, QR Code installation
Nanyang Radio Station: All Quiet on the Eastern Front (2021)
Originated from a collaboration between the “Nusantara Archive” and the Open Contemporary Art Center in 2018, the “Nanyang Radio Podcast” was initially a guided tour based on the historical context of the 228 Peace Memorial Park. Under the new technological environment, Nusantara Archive seeks to explore the mediality of audio texts, and the memory shared by Taiwan and Southeast Asia through the experimental radio podcast program “Nayang Radio Podcast.” In the exhibition, the “Nanyang Radio Station: All Quiet on the Eastern Front (2021)” presents a sort of “radio drama” with World War II as the start point to reflect on history. Voice actors of different ethnic backgrounds were invited to read selected articles about Hualien written by literati from the Japanese Occupation period to the Republic of China period, including the articles of Nakamura Jihei, Long Ying-Zong, Tateishi Tetsuomi, Yang Mu, etc. The audio guides can be accessed by scanning the QR Code set at the designated path from the periphery of the old Karenkō Prefecture to Sakura Trail. The work intends to inspire the visitors to rethink how the Hualien City went through the conflicts among different ethnic groups to integration after the war. (It is recommended to bring your own earphones and a mobile phone or tablet device that can read QR Code.)
Researchers: Rikey Tēnn, Fiona Cheng
Audio text:
Long Ying-Zong, “On the Beach” (1941, translated by Yeh Dyi) / “Scenery of Hualien Harbor” (1941, translated by Yeh Dyi) / “Feast at the Pokpok Tribe” (1942, translated by Lin Chih-Chieh)
Nakamura Jihei, “The Aboriginal Girl” (1940, translated by Fiona Cheng)
Tateishi Tetsuomi, “Wartime: Brave Soldier” (1962, translated by Fiona Cheng)
Yang Mu, "Sakura: Sa Gu Li” (2006)
Voice actors: Liu Zhao-Kai, Takamori Nobuo, Tsao Liang-Pin, Posak Jodian
Recording: Compound Ears Studio
Special thanks to: Lee Te-Mao, Sally Sung, Hung-fan Bookstore, Digital Art Foundation, National Museum of Taiwan Literature and the family of Long Ying-Zong
Artist:
Based in Taipei, Rikey Tēnn is the chief-editor of an online art platform No Man’s Land at Digital Art Foundation, Taipei. He initiated the Nusantara Archive Project (since May 2017), based on the shared history and its decolonization of Southeast Asia (and Taiwan). He was the nominator for the Taishin Arts Award (2018~2019). His art-related writing can be found on ARTCO magazine and ARTOUCH online. He initiated and co-organized the Workshop: Nusantara in Future Tense with Singaporean artist collective soft/WALL/studs in 2020. He co-curated Petamu Project (2018) in Open Contemporary Art Center (co-curators: Rikey Tenn, Lo Shih-Tung). He was also one of the researchers and presented Nusantara Archive Project in The Secret South (curator: Nobuo Takamori) in 2020.
QR-Code
〈在沙灘上〉(作者: 龍瑛宗 / 聲音: 劉肇凱)
QR-Code地點:北濱公園 (沙灘排球旁涼亭) [播放] ——原題〈沙上にて——波荒き町より〉,刊載於《文藝台灣》第二卷第四期,1941年7月20日。葉笛譯。 龍瑛宗生於北埔客家庄,溝通語言主要為客語,書寫原本以日文為主。1937年以〈植有木瓜樹的小鎮〉獲獎後即被視為本島代表作家。但他卻因為聽不懂台語而自覺無法融入台籍作家,到了戰後又被迫轉換學習寫中文。他的轉換歷程體現了族群與歷史的衝突。此次計劃以其三篇作品為出發點,透過聲音詮釋連結戰前不同觀點的地誌書寫。 |
〈蕃人女孩〉(節錄)(作者: 中村地平 / 聲音: 高森信男)
QR-Code地點:太平洋公園 (南濱公園) 入口拱柱 [播放] ——原題〈蕃人の娘〉,刊載於《小さい小説》S15/8,1940年。鄭惠文譯。 受到佐藤春夫臺灣小說的影響,年輕作家中村地平對「南方」產生嚮往並至台北求學。1939年為小說取材再次來到臺灣旅行,並將「蕃地」旅遊見聞融入筆下作品,呈現殖民者眼中的原住民「異國」色彩。而此處的「蕃人、蕃地」皆為忠實呈現作品的原貌,絕無不敬之意。 |
〈花蓮港風景〉(作者: 龍瑛宗 / 聲音: 劉肇凱)
QR-Code地點:臺灣銀行花蓮分行 (騎樓廊柱) [播放] ——原刊載於《台灣日日新報》,1941年6月29日及7月1日。葉笛譯。 作者龍瑛宗因任職於臺灣銀行之故,曾被短暫調派至花蓮港出張所工作。由於自覺與台北文壇格格不入,同時也是以西川滿為首的《文藝台灣》編輯委員(卻未獲邀參與以台籍作家為首的《台灣文學》),在旅居花蓮期間頻繁以日文發表花蓮港的書寫。他曾暫住的台銀宿舍也已不復存在。 |
〈戰時篇 勇敢的士兵〉(作者: 立石鐵臣 / 聲音: 曹良賓)
QR-Code地點:松園別館佈告欄 (背面) [播放] ——原題〈戰時篇 勇敢ナル兵士〉,收錄於《台灣畫冊》,1962年。鄭惠文譯。 熱愛臺灣的灣生畫家立石鐵臣於1962年的《台灣畫冊》中,回憶自己1944年八月被徵召—儘管一開始不符合上級要求的體格標準,卻仍因戰事吃緊而被調召至花蓮港從事照料馬匹、挖掘壕溝等工作。多年後他以自嘲的筆觸,描述孱弱的他如何面對緊繃的軍旅生活,彷彿消極地傳達置身事外之感受。 |
〈薄薄社的饗宴〉(節錄)(作者: 龍瑛宗/ 聲音: 劉肇凱)
QR-Code地點:明禮路林森路口佈告欄(面向忠烈祠) [播放] ——原題〈薄薄社の饗宴〉,刊載於《民俗台灣》第二卷第三期,1942年3月5日。林至潔譯。 作者龍瑛宗與旅居花蓮期間,詳細地記錄了受到當地結識的阿美族青年拉賓邀請,參加薄薄社婚宴的經過。文中提及的花蓮港神社正是戰後被改為中國北方風格的忠烈祠,其中的鳥居後來也改為中國牌坊。本篇結尾也描述了戰爭初期,本省的福建人、廣東人、阿美族頭目與「內地來的警察大人」等不分族群共飲歡唱的情景。 |
〈佐倉:薩孤肋〉(作者: 楊牧 / 聲音: Posak Jodian)
撒固兒文化祭祀廣場外 (野菜市集柱子) ——原刊載於《聯合報》,2006年1月24日 佐倉舊名薩孤肋,阿美族語為生有茄冬樹之地,日本官方訛為「さくら」。詩人楊牧寫作此詩,立意回歸原住民神話。另有論者指出此詩可視為竹窩宛事件之紀念—即撒奇萊雅族最大的達固部彎部落,在1878年因漢人來此開墾與族人摩擦,而遭清軍屠殺的原漢衝突悲劇(見利文祺,〈楊牧作品中的「花蓮神話」〉)。 |