魯閣太魂 ─ 太魯閣族人捍守家園犧牲永記 ＆ 立霧峽靈 ─ 一九一O年代太魯閣戰爭殤魂碑
Monument
2015年夏的錐麓古道行，震懾於太魯閣峽的景觀，也難忘途中的日警持館代五郎之碑。隨後又在李崠、大混山隘勇線碰到渡邊要之墓，忍不住對自己提出了創作提問：「相對屢屢見到的日人遇難碑，為什麼沒有被侵入家園、憤而抵抗的原住民犧牲紀念碑呢？難道真是成王敗寇？歷史詮釋權始終掌握在強勢者？無法翻轉？或者只是我們一直遺忘、沒有行動？」因此這次的計畫，除了是回應自我創作提問，也是對百年前太魯閣戰爭中犧牲的族人之永念、不忘……
On the way back to Taipei, when Shao-Ying Huang looked at her photo album in her phone, she thought about the gap between these images and the real environment. It was difficult for her to connect her physically vivid experiences of Liwu Mountain with the photographs. She began to interrogate the way that these images are disconnected from her memory. After visiting the tribe many times, she implements the project “Ain’t that Mountain” to bring this question to the audience. She wishes to use objects from her daily life to represent her personal experiences in this project, describing the process in which she tries to imagine the nature of the mountain. In the end, it could be the most faithful way to approach Liwu Mountain and to represent the tribe. Recreating the image of nature from her experiences with the tribe could represent the real nature that she remembered.
秦政德
朋友們叫他「阿德」，當年「文化美術系事件」的關鍵人物，也因文大事件創立與同學共同創立「小草藝術學院」工作室，自許為永遠的「小草 N 號志工」，藝術學院長年持續以在台灣歷史文物中發現的圖像為載體製作明信片。除了台灣歷史文件的收藏，在藝術創作的方法學上發展出極具個人特色的地理學田野工法，透過立碑的行動揭示及再現被人忽略及被宏大敘事遺忘的重要台灣歷史片段。
Cheng-Te Chin
Friends call him “A-de”, and he was also a key figure in the historical event of the Department of Fine Art in the Chinese Culture University. During this period, he and his classmates established the studio “Grass Arts Academy”. The studio at present continues their practice of producing postcards, printed with traditional images found within Taiwan’s historical documents. Apart from his collection of Taiwan’s historical documentation, he also developed his artistic methodology through geographical fieldwork techniques. Though the performance of erecting stones in the field, his artistic project reveals important elements of historical events that Taiwanese people tend to ignore.