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【展览名称】台湾新文化运动纪念馆特期间限定展－张纹瑄《自传大系》
【展讯连结】https://www.facebook.com/events/330122320947891/
【展览地点】台湾新文化运动纪念馆二楼活动教室
【开放时间】周二至周日 ９：３０－１７：３０
【参展人/主办单位】艺术家张纹瑄／台湾新文化运动纪念馆主办
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谁说纪念馆只能展览史料呢？
台湾新文化运动纪念馆六月份特别邀请艺术家张纹瑄展出基于台湾共产党、谢雪红的研究
，所发展出来的创作《自传大系》。
1920、30年代之交，台湾各种团体遍地开花，文化协会、农民组合、台湾共产党、台湾民
众党等也在历史浪潮中汇集、分流。本次特展除了提供光谱另一边倡议者们的声音，更提
供艺术作为另一种接近历史的管道。
展览名称：台湾新文化运动纪念馆特期间限定展－张纹瑄《自传大系》
展览时间：2019年6月9日～6月30日
展览地点：台湾新文化运动纪念馆2楼活动教室
讲座展演：自传大系
活动时间：2019年6月29日14:00-15:30
活动连结：https://www.facebook.com/events/700663393729039/
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2016 年，艺术家张纹瑄陆续发表了“自传大系”的系列计画，总共包含三件子计画：《
某人传》、《の日记》及《自传大系》，这个系列计画以台湾共产党及其创立者之一谢雪
红作为研究基础，在阅读资料的过程中，艺术家发现，当并陈不同立场、性别的人们对谢
雪红的描述时，谢雪红本人的面目并没有因为资料变多而立体，反而越来越模糊——最后
最清晰的，竟是作传之人的动机。透过“自传”此一关键字及特定叙事空间的架设，艺术
家试图揭露历史书写的套层结构。
《自传大系》呈现为一间无人的编辑室。展场有一封来自该出版社负责人的公告，说
明了这个一直以来以仅出版各种形式“自传”而自豪的出版社遇到了难题：他们收到了一
本名为《自传》的诗集，但作者并未署名。负责人担心社会舆论会怪罪出版社企图将该诗
集的意识型态套用到所有读者身上，所以要求编辑们特别用力地编辑这本诗集。场中有三
张桌子，第一张桌子为左派男性，第二张桌子为右派男性，第三张桌子为女性——有右派
有左派，这些编辑分别基于各自的考量而大幅删修《自传》，最后使单数的《自传》成为
复数。
In 2016, Chang Wen-Hsuan presented her project “The Compendium of
Autobiographies” including “___’s Autobiography”, “___’s Diary” and “
The Compendium of Autobiographies”. This sequential work is based on her
research of Taiwanese Communist Party and mainly on one of its founder Siā
Soat-hông. After reading descriptions of this female communist from
different authors, the artist found out that only the motive of one author is
clear and other information remain vague. Through the keyword autobiography
and the construction of certain narrative space, Change tries to reveal the
mise-en-abyme structure of history.
This is an editorial office. An announcement from the owner of this publisher
explained that, since they received a narrative poem titled “Autobiography”
from an unknown author, all the editors are required to edit this poem with
great efforts. There are three desks: the first one belongs to leftist male
editors, the second one belongs to rightist male editors and the third one
belongs to female from both left and right wing. Based on their gender and
ideology, those editors modified “Autobiography” in a great deal and thus
turned autobiography into autobiographies.
艺术家介绍：
张纹瑄，毕业于国立台北艺术大学艺术跨域研究所，目前创作及生活于台北及台中。她特
别关注虚构的命题，在其创作中，“虚构”是一种连结历史与政治的叙事行动，而历史与
政治在虚构中的延展，就是处理个体故事与历史书写之间的关系与能动性。“自传”及“
传记”在这样的前提下，成为历史的套层结构，而最终，虚构则得以开启不同的历史论述
场域。近期展览包括：“2018 台湾美术双年展：野根茎”（国立台湾美术馆，台中，
2018）；“穿越 ─ 正义：科技@潜殖”（台北当代艺术馆，台北，2018）；“2 Weeks
异度空间 #2：书写公厂”（台北当代艺术中心，台北，2018）；“失调的和谐： 二十世
纪八、九十年代之交东亚艺术观察”（中间美术馆，北京，2018）；“座标之外 · 演绎
动词# 3”（黑话计画空间，墨西哥城，2017）。自 2018 年起开启〈书写公厂 Writing
FACTory〉长期计划。
Chang Wen Hsuan, graduated from Graduate Institute of Trans-disciplinary Arts
in Taipei National University of Arts, now lives and works in Taichung and
Taipei. She is especially attentive to the subject of “fiction”. In her
work, “fiction” is a narrative action that connects history with politics.
The extension of history and politics within fiction is a way of managing the
relationships and dynamics between individual stories and the writing of
history. Recent exhibitions include: “2018 Taipei Art Award”(Taipei Fine
Arts Museum, Taipei, 2018);“2018 Taiwan Biennial: Wild Rhizome”(National
Taiwan Museum of Fine Arts, Taichung, 2018); “Trans-Justice:
[email protected]”(MOCA Taipei, Taipei, 2018); “2 Weeks #2: Writing
FACTory”(Taipei Contemporary Art Center, Taipei, 2018); “Discordant
Harmony: Observations of Artistic Practices in East Asia at the Transition
between the 1980s and the 1990s”(Inside-Out Art Museum, Beijing, 2017); “
There after Here: Performing a Verb＃3 kiss or kill? The body needs a verb to
rehearse within a biography”(Vernacular Institute, Mexico City, 2017). Since
2018, she initiated a long-term program Writing FACTory.