殖民地景的記憶重塑－－論林正仁在宜蘭神社遺物上的藝術實踐

Art as Memory Reconstruction in the Colonial Landscape—Lin Cheng-Jen’s Practice with Shrine Relics in Yilan

本文聚焦於藝術家林正仁在宜蘭神社遺物上的藝術實踐，探討其如何透過裝置藝術重構與反思殖民地景的集體記憶。文章首先回顧宜蘭神社的歷史與其在臺灣殖民地景中的象徵地位，並分析戰後相關遺物在不同社群記憶中的流轉與變貌。接著，本文深入解析林正仁以殘片、錯置與散落為方法，結合神社原件、複製物與詩文，打造出融合顯露與隱藏、可見與不可見的異質空間。本文進一步運用博伊姆（Svetlana Boym）、霍米．巴巴（Homi K. Bhabha）等人的理論，論證林正仁在神社遺物的處理手法，如何促發歷史斷裂的再現與認同的重構。最後，本文指出，林正仁的實踐不僅解構了殖民符號，也展現藝術作為記憶重塑與社會反思的重要力量，為當代臺灣回應殖民歷史提供了新的行動範式。

This article focuses on the artistic practice of Lin Cheng-Jen with the relics of the Yilan Shinto Shrine, exploring how he reconstructs and reflects on the collective memory of the colonial landscape through installation art. The paper first reviews the history of the Yilan Shrine and its symbolic status within Taiwan’s colonial landscape, and analyzes how related relics have circulated and transformed within community memories under different regimes after the war. It then delves into Lin’s methods of employing fragmentation, dislocation, and scattering, combining original shrine artifacts, replicas, and literary texts to create a heterogeneous space that fuses visibility and concealment, the seen and the unseen. Drawing on the theories of Svetlana Boym, Homi K. Bhabha, and others, the paper further argues that Lin’s approach to handling shrine relics stimulates the re-presentation of historical rupture, the reconstruction of identity. Ultimately, the article points out that Lin Cheng-Jen’s practice not only deconstructs colonial symbols, but also demonstrates the critical power of art in reshaping memory and fostering social reflection, offering a new paradigm for contemporary Taiwan in responding to its colonial history.