作為反紀念碑與後遺地景的藝術－－以〈向赭石講講你的事〉與〈逝言書〉兩類型作品為例

Art as Anti-Monument and After-Effect Landscape—Taking Tell the Ochre Your Story and Book of Lost Words as Examples

長久以來，以紀念碑形塑的地景，成為紀念創傷歷史的主流形式，而紀念碑往往因其性質陷入困境。首先，紀念碑與「記憶之場」通常以集體記憶凝聚認同（Nora, 1978），歷史敘事卻使地景變得僵化；其次，重述歷史的壓力，使得紀念碑成為創傷的證據，忽視了感受力與想像力。基於上述原因，雖然矗立著紀念碑的創傷地景經常成為觀看的熱點，實則帶來觀者的冷感。那麼，如何使人們在創傷地景之中重拾歷史的身體感覺？甚至，如何透過在地景中的身體經驗，脫離傳統紀念碑的困境？
事實上，環繞著白色恐怖的主題，臺灣當代藝術家在近年重訪創傷地景，透過裝置與踏查，早已創造出截然不同的紀念形式。本文分析廖烜榛、黃奕捷於綠島搭建的建築裝置〈向赭石講講你的事〉及再拒劇團在臺北的走讀劇場〈逝言書〉，前者以建築與拆除的行動，挑戰傳統紀念碑的記憶型態；後者則將口述歷史與地景交互對照，透過分散的感官經驗，創造與地景疏離或貼合的經驗，抵抗紀念碑對於感官的壟斷。上述實踐都脫離了既有紀念碑形式，首先，它們不具備永久存在的物質性，而使得記憶成為動態的過程、複數的敘事，甚至可能揭示隱伏在集體記憶之中的衝突；其次，藝術家將環境條件納入作品，而使得觀者在觀看／參與作品之時，也身在地景之中，由此建立與歷史的連結。本文認為，臺灣當代藝術的實踐，基於對於地景的關注，改變了紀念的形式，同時也逐漸改寫紀念碑的困境。

For a long time, landscapes shaped by monuments have been the dominant way of commemorating traumatic histories. However, monuments often find themselves in a difficult position due to their very nature. Firstly, monuments and“lieu de mémoire”typically forge collective identity through shared recollection (Nora, 1978), yet historical narratives render these landscapes rigid. Secondly, the pressure of remembering reduces monuments to mere evidence of trauma, neglecting sensitivity and imagination. For these reasons, although they are popular viewing spots, traumatic landscapes bearing monuments actually induce a sense of detachment in observers. How, then, might one reestablish a bodily sense of history within such landscapes? How might bodily experience within these sites transcend the limitations of traditional monuments?
In truth, Taiwanese contemporary artists have revisited sites of trauma relating to the White Terror in recent years. Through installations and site-specific investigations, they have forged radically different forms of commemoration. This article analyses Liao Hsuan-chen and Huang Yi-chieh’s architectural installation, Tell the Ochre Your Story on Green Island, and the Against Again Troupe’s audio walk, Book of Lost Words in Taipei. The former challenges traditional monumentality through construction and demolition, while the latter interweaves oral history with the landscape to create spaces that detach from or merge with the terrain through dispersed sensory experiences. These strategies resist the monopoly of sense by the monuments. Both practices depart from established monumental forms. Firstly, their lack of permanent materiality renders memory a dynamic process and a plural narrative, which can potentially reveal conflicts that are latent within collective memory. Secondly, by incorporating environmental conditions, artists position viewers within the landscape itself, forging connections to history through observation and participation. This paper argues that contemporary artistic practice in Taiwan, based on engagement with the landscape, has changed the way we commemorate things while also changing the way we think about monuments.