top of page



錄像 / 複合媒材空間裝置,尺寸視空間而定
影片拍攝 李佳泓



此件作品是以 「在士林北投地區的冷戰經驗」為主題進行製作。它以各種裝置和人工製品的組成排 列成五角形,像徵「梅花」的五片花瓣,而國⺠黨政權在冷戰期間治理臺灣時即採用梅花作為普及 的精神符號。作品的第一部分是「梅冷堡──臺灣冷戰紀念碑」。第二個部分是將國家治理的相關 檔案、文件、物件,重新組構後的陳列。前兩個部分,主要談論國家如何在精神上與實際運作層面 上進行監控,以維持黨國政權「梅花」的完整性。第三個部分則圍繞在這座紀念碑與檔案周圍的五 部錄像裝置「生伙」,與前述的國家治理敘事相對應,提供了人⺠的敘事。裝置分為兩個視角,一 是統治者的、一是人⺠的,其分別穿插在五部錄像之中。「在冷戰裡生火」就字面意象,不單是冷 與火於溫度上的對應,更多是體現了生活在臺灣的我們,如何在「冷戰」裡「生活」與「生伙」。 


Making Friends/ Fire

Chin Cheng-Te, Lee Chia-Hung, Lin Chuan-Kai, and Chen Yi-Chun
Video / Mixed media installation, dimensions variable
Videographer Lee Chia-Hung

The districts of Shilin and Beitou, right next to today’s Taipei Fine Arts Museum, used to be the military and administration center of the KMT regime. This historical context can be traced further back to the Japanese colonial era. Both governments deployed symbolic, political, and military infrastructures to define the two areas and place local citizens under surveillance between 1920 and 1990.


This work revolves around the theme “Cold War experience in Shilin and Beitou.” It comprises of three parts arranged in a pentagon to symbolize the five petals of the “plum blossom,” which the KMT regime adopted as a spiritual symbol in the governance of Cold-War Taiwan. The first part is a stele called “The Cold Plum Fort—A Cold War Monument in Taiwan.” The second includes a set of rearranged files, documents, and objects pertaining to the KMT regime, which completes the first part in terms of how the KMT regime carried out spiritual and bodily surveillance to maintain the integrity of the “plum blossom.” The third part, under the name “Making Friends/ Fire,” is an installation of five videos surrounding the previous two parts, which offers a people’s narrative in contrast to and in dialogue with the state narrative. Altogether, the three parts embody not only the thermal contrast between warmness and coldness, but also how Taiwanese people make a fire in the Cold War by making friends.

bottom of page