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韓國光州一_1.JPG

照片拍攝  鄭然斗

身體紀念碑──冷戰下的白色爪痕與反響

 

安魂工作隊 

李佳泓、辛佩宜、林子寧、林傳凱、洪瑋伶

    
1950 年代「韓戰」爆發,美國軍事援助台灣島上的國民黨政府,造成島內 「白色恐怖」步入高峰,也連帶使左翼的藝文形式就此中斷。《身體紀念碑 ──冷戰下的白色爪痕與反響》藉由版畫── 1946 至 1949 年間主流的左翼 藝文形式──進行創作,並緊抓版畫強調「群眾創作」的特性,由創作者邀請群眾共同創作。 

 

創作內容則以1950 年後發生於臺灣地方的政治案件為題材。先由研究者跟當地民眾報告相關歷史;接著通過身體工作坊,帶領民眾將對於歷史的感受,通過身體與感官表現與轉譯;最後以民眾的身體姿態為草稿,通過攝影拓印成版畫,由民眾於事件發生六、七十年後,雕刻出對當地事件的記憶、反思、回響──創作團隊名之為「以身體完成的紀念碑」。

版畫、錄像 尺寸依場地而定

與國家人權博物館共製

藝術家簡介
「安魂工作隊」浮現於 2018 年下半,是由一群有共同志向的藝術家、研究者、群眾教育工作者......等,逐漸凝聚成形。工作隊的核心是關注臺灣「戒嚴時期」消逝的抗爭者,並循「群眾創作」的路徑為宗旨。 

「安魂」有雙重意義:隨著白色恐怖,抗爭者的身影消失在當代記憶,也使當 代臺灣人喪失了一代砥礪彼此走入公共的典範──因此,就像失了「魂」。隨 之,「安魂」的實踐也包括兩個向度:第一,讓抗爭者的身影重新在當代浮 現。第二,讓當代臺灣人找回自己的力量。安魂工作隊期望通過跨域串聯與實踐,從下往上,將改造現實的「魂」再聚起來。

The Monument Made of the Body—The White Scars and Repercussions During the Cold War 


The Libera Work-Gang 

LEE Chia-Hung, HSIN Pei-Yi, LIN Tzu-Ning, LIN Chuan-Kai, and HONG Wei-Ling. 
 

ABOUT THE PROJECT 

The United States extended its military aid to the Nationalist government in Taiwan as the Korean War erupted in the 1950s, which led to the peak of the White Terror and the abrupt halt of left-wing art and literature on this island. Using printmaking, the mainstream form of left-wing art between 1946 and 1949, The Monument Made of the Body—The White Scars and Repercussions during the Cold War invites public engagement since it features printmaking’s signature emphasis on “creation with the masses.” 

This project owed its inspiration to the political events occurred in Taiwan after 1950. The researcher reports associated history to locals, followed by the workshop that guides the participants to reinterpret their feelings about the history via their bodies and senses. Finally, the participants’ physical postures are photographed and turned into prints by frottage. The participants construct their memories, cogitations and feedback about local events — the team named it “the monument made of the body.” 

This project specifically highlights the prints created by the participants on the Matsu Islands and at the former Air Force Command Headquarters—the former was the “front line” of the Chinese Civil War in the Cold War structure, while the latter was the highest command center and punitive institution of the Air Force during the Cold War. Exhibited in tandem with the prints from other areas, these public creations faithfully demonstrate Taiwan’s contemporary reflection on the Cold War and the history of state violence. 

 

Print, Video Dimensions Variable 5’00 2021 

Co-production with National Human Rights Museum 

 

ABOUT THE ARTIST 

Founded in the second half of 2018, The Libera Work-Gang is comprised of like-minded artists, researchers, and mass educators. Concerns over the dissidents in the martial law period serve as the core philosophy behind its operation. 

The connotation of the term “Libera Work” is twofold: the White Terror eliminated the dissidents’ physical bodies from contemporary memories, which caused the loss of a paragon capable of galvanizing us to care about social issues and public affairs — that is, we lost the “soul.” As a result, the practice of “Libera Work” takes on two different aspects: first, to allow these figures to reappear in the contemporary world; and second, to help contemporary Taiwanese people muster their energy. Through such practice of bottom-up transdisciplinary connection, The Libera Work-Gang attempt to reconstruct the “soul” that is able to transform realities.

照片拍攝  鄭然斗

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