台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

「還原-土地之歌」Reduction-Nature is Speaking

展覽名稱 Exhibit

「還原-土地之歌」Reduction-Nature is Speaking

展覽時間 Date


展覽地點 Venue

MOCA Studio

門票 Admission

免費 Free

參展藝術家 Artists

王郁雯 Wang Yu-Wen、伊命・瑪法琉 Iming Mavaliw李翎 Lee Ling

林琳 Malay Makaluwan林瑞玉 Lin Jui-Yu陳若軒 Chen Ro-Hsuan

劉曉蕙 Liu Hsiao-Hui饒愛琴 Rao Ai-Chin

展覽介紹 About the Exhibition

「還原-土地之歌」Reduction-Nature is Speaking



Nature doesn’t need people, people need nature. ~ Conservation International


Some studies indicate that many wars in history were the results of environmental changes. The process started with a lack of water, and consequently the shortage of food, migration, racial conflicts, religious differences, discrimination, and eventually resulted in the outburst of wars. Because the process might take a rather long period of time, people could not see the underlying reasons other than what have been happening on the surface. After the second half of the 20th century, contradictions and conflicts have emerged on the land of Taiwan due to economic development and environmental damage—chemicals from factories polluting rivers and streams; illegal farm-styled B&Bs; exploitation and unlawful development of indigenous peoples’ land; air pollution from thermal power plants, etc. All these have largely increased the burden of our environment and led to land injustice, precipitating full-scale social contention. Other similar situations are still taking place, including farmland being used for other purposes, liquidation of land that increases earthquake hazard, intensive construction of fishing harbors that seals up the island’s shoreline with concrete, cement company blowing up mountains for mining in a national park, etc. Behind each of these events lies human ignorance and insatiable greed whereas land is sacrificed in this power game. Eventually, the consequences are to be shouldered by the entire humanity. 


《還原─土地之歌》展覽邀請來自東台灣的創作者王郁雯、伊命‧瑪法琉、李翎、林琳、林瑞玉、劉曉蕙、饒愛琴及陳若軒的作品共同展出,以不同創作媒材及型態代替土地發聲:「我們有自然風,不要電風扇」、「盤子上的食物是水泥飛魚嗎?」、「後遺症出現了」、「狂舞吧,憂鬱!」、「土地如何劃分呢?」…他們透過詼諧、反諷、自省或詩意的語彙來表達環境的現況、表達台灣人對於環境現狀的不滿與隱憂,期待大家 可以試著聆聽大自然的聲音,並重新思考對於土地的使用,停止沒頭沒腦的開發。

Reduction─Nature is Speaking features eight artists from the east coast of Taiwan, including Wang Yu-Wen, Iming Mavaliw, Lee Ling, Malay Makaluwan, Lin Jui-Yu, Liu Hsiao-Hui , Rao Ai-Chin and Chen Ro-Hsuan. These artists have made the voice of the land heard by using different media and art forms, presenting works such as We Have Natural Wind and Do Not Need Electric Fans, Is That Concrete Flying Fish on the Plate?, Here Comes the Consequence, Dance, Melancholy!, How Could You Divide the Land?, etc. With a humorous, sarcastic, self-reflecting or poetic tone and language, the artists delineate the current environmental condition and express the discontent and concerns of Taiwanese people living on the east coast. It is their sincere hope that audiences can try to listen to the voice of Mother Nature, and reflect upon our use of land to stop the endless, ridiculous development projects. 



In addition to the seven artists mentioned above, photographer Chen Ro-Hsuan faithfully documents and describes the continuous fight of the land protectors, including their nights on the streets and their angry roar against the injustice. Artists from all over Taiwan have supported them with actions, which demonstrate the close and strong bond between humanity and nature observed and embraced by artists as well as indigenous peoples. Since the ancient time until the present day, they have been reminding people: Do not forget! Do not forget!

參展藝術家 About the Artists

王郁雯 Wang Yu-Wen


伊命・瑪法琉 Iming Mavaliw


李翎 Lee Ling


林琳 Malay Makaluwan


林瑞玉 Lin Jui-Yu


陳若軒 Chen Ro-Hsuan


劉曉蕙 Liu Hsiao-Hui


饒愛琴 Rao Ai-Chin

作品介紹 About the Artworks

王郁雯 Wang Yu-Wen








The fans are sealed in wax, with nothing but names left. 

Justice is concealed by words and does not reach the land. 

We humans seal ourselves up, fully submerged in desires. 

Have we forgotten who we are and where we came from? 

Only the game of exchanging gains and profits continue. 

The big wind keeps blowing, but what will be left in the end? 

《大風吹》Big Wind Blows

電風扇、鐵板凳、蠟 Electric Fan, Metal Stool, Wax

尺寸因空間而異 Dimensions Variable


林瑞玉 Lin Jui-Yu


After moving to the east coast, the artist has immersed herself in the abundant creative energy from the mountains and the ocean as well as that of her talented friends. Therefore, she started to handmake art with various media. All the scrapes and recycled materials in life, such as abandoned flags from the garbage and fallen leaves in the park. Eventually, she has retrieved herself, who was once lost with no answers to life, and realized that we are all children of nature. 

《自然的小孩》Nature’s Children

複合媒材 Mixed Media

尺寸因空間而異 Dimensions Variable


劉曉蕙 Liu Hsiao-Hui



This 6-channel video depicts the scenery of Meilun River in Hualien. 

Living in Hualien, people can clearly see the visage of the surrounding mountains and ocean everyday. The changes of their colors and sounds have incorporated the existence of humans even though people might have never realized it. “The natural visage emerges; time does not exist in the dial. When the face disappears, humans see the natural scenery.” When humans face nature, the phenomenon reveals the asymmetry of time. When humans’ faces are covered in paint and their actions embody individual timeline, they proclaim, “I am the scenery.”

《有河氏》There is a River

六頻道錄像裝置 6-channel Video Installation

尺寸因空間而異 Dimensions Variable


李翎 Lee Ling





He is a melancholic man, wandering around every day. 

A driver asked him when he would go home. 

He replied that he would sleep in front of the excavator instead,

So other people could have a home to go back to. 






You sing more than you talk, 

because that group of people do not understand the ancient language. 

Only the singing can pass through the towering walls,

even though the walls never tumble down. 






I am a person whose tranquility in life has been torn apart by typhoons. 

During the day, the pain is excruciating and unbearable. 

Yet in the dream, I can breathe freely still. 

My doctor said, “This is the aftereffect.”


裝置 Installation

尺寸因空間而異 Dimensions Variable


饒愛琴 Rao Ai-Chin









Sticking the flag and putting the strings around, the land becomes mine. 

Yours, mine and his are all demarcated by the lines. 

Do the parts outside the lines belong to the original land? 

How can you tell whose land it is when there are so many lines? 

The strings intertwine so much they might accidentally become traps. 

Setting up traps was originally to catch gains to put food on the family table. 

Now, it has formed a web of desire and greed,

that we have inadvertently trapped ourselves with. 

《標記・放線》Demarcation in Line

棉線、竹子 Cotton String, Bamboo

尺寸因空間而異 Dimensions Variable


陳若軒 Chen Ro-Hsuan


“The Ketagalan Tribe” set up camps in 228 Peace Memorial Park for almost one year. In September, 2017, the artists initiated an art project to create site-specific works. Photographer Chen Ro-Hsuan participated in this project through the camera lens. In the form of documentary photography, Chen documented all the actions that have been deleted. In her opinion, if documentary films are like novels, documentary photography is like a collection of poems. Through the camera lens, the images demonstrate a sense of understanding and palpitation stronger than all the various reasons underlying past articles, writings, agreement and disagreement. The reason is that documentary photography records the ever-going life, quietly and slowly expressing the values as well as the voices that refuse to be silenced with simplifying words.

《Day 214 - Day 222》

紀實攝影 Documentary Photography


林琳 Malay Makaluwan



A guardian of time lives on the island, 

Observing the flowers and fallen leaves of plants. 



After thirty sunrises and sunsets,  






The guardian would tie a knot to inform the tribesmen 

The beginning of the first ritual and 

The end of the last one. 


Dxgal o dara rudan 土地是血

Dgiyaq o ririh mswayi山林是家


The land is the blood. 

The mountains are the home. 






A robbery took place forty-four years ago. 

Fifty Truku households were evicted from the mountains. 

They could only hang their door plagues on the trees,

Having no place to stay. 








Asia Cement Corporation that belongs to the Far Eastern Group 

Cheated them to wave their rights with fraudulent documents 

So that the corporation could develop the mines in Xincheng. 

Douglas Hsu said the deeper the mines the better

May be used as a fishpond or a swimming pool. 

The mines can even continue for another twenty years without environmental assessment. 





The land becomes packs of cement to be sold. 

The memory of the homeland is mined until it is empty. 

Time becomes hardened like the cement powder. 






The flying fish chased by mahi-mahi jumped out of the sea surface. 

tourists throw away plastic bags that turned into plastic flying fish. 

We have become what we eat, and 

Life has become a living inferno. 


Knotting Series-My Family Has a Swimming Pool in the Mountains

Knotting Series-The White Evil Spirit from the Ocean 

水泥翻模、影像輸出 Concrete Cast, Digital Print

尺寸因空間而異 Dimensions Variable


伊命・瑪法琉 Iming Mavaliw


In the river of time, high mountains have been washed and cut into beautiful valleys by rain water. The strip of land between the Central Mountain Ridge and the Coastal Mountain Ridge has given birth to many indigenous tribes. The east coast, because of its unique geographical location, has been less polluted by the modern civilization. Keeping their tradition, the tribes live a gathering and fishing life pertaining to the season’s cycle and keeping a close relationship with the intertidal zone. 



For Iming, from a temporal perspective, both the geographical environment and the tribal culture have been infiltrated; the only difference is the speed of infiltration. Before the period of Japanese rule, the indigenous peoples did not use currency and lived a life by exchanging goods and labor. After the Nationalist Government came, written words and money have cost the indigenous peoples their land and names. They even need to leave their tribes for livelihood, going distant ocean or looking for jobs in the city. Our traditional culture and humanity have been unknowingly infiltrated. At the end, we are no longer ourselves. Although there is a group of people that has been endeavoring to preserve our traditional culture throughout these years, yet the efforts of preservation have not been catching up with the speed of infiltration. 


木、水管、石頭 Wood, Pipe, Stone



相關教育活動 Educational Programs

講座名稱 LectureMOCA Studio「還原-土地之歌」《傳統領域的現代意義》座談

講座時間 Date:2018/02/02 Fri.15:30-17:30

講座地點 Place:台北當代藝術館 一樓活動大廳

主講人 Speakers:

徐文瑞 / 知名策展人、潘小雪 / 台北當代藝術館執行總監、參展藝術家

簡介 Introduction:


線上報名 To Register:


l  洽詢專線:02-2552-3721#223王小姐

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