「邀請及鼓勵國內外藝術家創作富含南島精神之藝術作品，賦予『南島』更為廣厚的意義，使南島美學紮根在地，且立足國際」，這些文字含意頗深。依據我的觀察與理解，南島精神過去可能是相對固定的區域、人種族群的特質，而現在區域和人種族群有新的擴散與交融，特質的認同或建構成為越來越關鍵的要素。所謂的特質可以是複合的變動的，包括某種抵抗新習性的態度、某種保衛舊價值的態度，某種向外互相學習新觀念新價值的態度。我們透過各種藝術文化交流活動，匯聚廣義的南島各地區新的舊的各種面對世界的態度與方式，並在臺灣組裝實驗整理出一個更能滿足現在需要的新南島特質？而被認同及參照及再補充？
「徵集國內外藝術家以南島的人文脈絡、山海自然、環境議題、生活記憶及南島特質，如海洋、遷徒、溯源、反殖民、冒險、分享、自然哲學、共好等元素之藝術創作」，這些文字回應了上面的理解，並列舉了新特質的重要項目。
本人擔任文化觀察員，因颱風影響藝術家進場及布展時間，所以十月八日傍晚才到達決審作品已經接近完成的展場開始閱讀作品。第二天又與多位藝術家直接訪談，郭悅暘因要去西班牙先行離開，只能透過視訊進行。12 日開幕安排藝術家們在作品前簡要說明，下午另規劃有兩場與藝術家的座談。之後本人反覆研究藝術家作品、反覆思考術家創作計畫中的重要訊息，交叉比對。再推敲官方發布的「南島國際美術獎」宗旨，當然也參照本人所認知的臺灣原住民當代藝術的發展，才完成這個文化觀察。
南島獎-阮原閩《Rhngun出口》。圖 / 國立臺東大學整合設計與藝術工作室 提供
阮原閩《Rhngun出口》北藝大碩士班畢業，創作關注當代原住民族在面對現代化與全球化的急遽擴張下對於身分認同的提問，其中涉及織品、族群、性別、影像觀看。他試圖藉由自傳性個人情感，連結並激發觀者共有的生命經驗。最關鍵的是以賽德克的創世神話作為契子，試圖去開啟當代原住民在面對現在與未來時，挖掘線索以作為化解問題過程的索引的開口。
作品有多層次的結構，最外層懸掛一件寬大衣服，兩袖張開像一扇大門，有擁抱觀眾的姿態，中軸兩邊是身體、臉部、器官的攝影影像碎片的對稱拼貼，中間則有兩人在斜坡上緊緊跟隨的影像，這暗示什麼？這些影像應該來自早期西方人類學者。
寬大衣服背後衣服領口向下延伸的位置，一個相當巨大的暗紅色陰戶，這個意象與古老傳說有關。依據賽德克的創世神話，從很關鍵的陽具型的巨石裂縫中走出了一對男女，沒有主次區分，他們結合而生出很多後代。
在這一前一後像門、像衣服的結構後面，有又一個類似的結構。不過這次運用很多反光鏡組合排列，並在上面呈現包括淌血的身體、臉部、器官等肉塊的鮮紅色印痕。殺氣騰騰、兇殘無比，雖然也是對稱排列，無疑是一種激烈的對抗，因為底層反光鏡角度有差別、由於紅色印痕不會反射，於是地上投射出柔和，並且呈現有無限疊影的兩組人之間的親密關係。
反光鏡排列的衣服上端有一個鮮紅色菱形，這就是藝術家所說殖民者之眼的延伸？回到反射在地上具有多重疊影的影像，當觀眾進入其中，他的身影也將進雙人或雙組群體交疊的親密關係中。藝術家組裝好多的影像辯證工具，同性戀或酷兒的禁忌，透過引介古老神話，再透過殖民之眼甚至殖民之刀的影像效果而被解除，充滿智慧且雄辯。出口是什麼？祖先神話說了一次，原住民當代藝術又說了一次。
南島獎-郭悅暘《rsquousavan ni ljaljersquoelan 拉勒俄嵐的渴望》。圖 / 國立臺東大學整合設計與藝術工作室 提供
郭悅暘《rsquousavan ni ljaljersquoelan 拉勒俄嵐的渴望》北藝大美術系繪畫組。希望突破以往原住民的視覺形象識別、建構當代原住民的樣子、形塑未來的原住民。最近更聚焦於呈現當代原住民族青年自我認同困境，思考在遵循傳統之中，與當代產生連結，同時更關心土地、環境、社群與文化生命的永續。以自我身影，以及鐵鍋子、獸皮及月桃蓆的影像，連結不同時期傳統排灣文化的精神象徵，並傳遞接觸的不同文化與殖民的歷史，對於原住民文化的影響，並提出當代中原住民青年藝術家充滿投向未來的詮釋角度。
牆壁上方懸掛三張梅花鹿獸皮，下方為三拼的錄像，中間經常是正燃燒木材的大鐵鍋，兩邊輪播著藝術家穿著西裝、跑到山上空地遇見異象啟示後的不同作為。首先是在月桃蓆圍成的環狀空間中快速行走，並逐漸脫去西裝，脫光後躺在月桃蓆上與之重新結合。
他將鹿皮放在月桃蓆上，自己也躺在旁邊，是想體會梅花鹿的命運？他試著在鹿皮內塗鍋底灰，並努力將鹿皮包在自己的雕像上，但沒有成功。赤裸的藝術家與獸皮接著展現各種奇怪的關係，捕獵者/被獵者關係、重新合而為一，他背著鹿皮走進農耕培育的果樹林，梅花鹿自己漸漸消失在果樹林遠端，一個時代結束與另一個時代開始？
作品前端有一個祭壇，大鐵鍋中燃燒的木材升起青煙，燻著架子上的山羌皮，並遙指前方三張梅花鹿皮。鹿皮當然是狩獵對象，也是原住民值得驕傲的狩獵本事的表徵。但是為了滿足殖民者需要，獵人成為國際資本主義以商業考量無限制捕殺梅花鹿取鹿皮的幫兇？另一方面，梅花鹿更是要被感謝的對象，同時也象徵不斷被犧牲的原住民的命運，但是梅花鹿因季節而改變花色是不是另有重要啟示？
藝術家將黑煙所凝結的黑灰塗在身上，這具有強烈的還原企圖，但是將黑鍋子背在身上，變成很慢的烏龜，變成自欺的鴕鳥？原住民的身分成為一種自我限制、不需面對現實的藉口？趴在象徵土地的鍋子上，不光與土地充分結合，並且借用當代農耕或其他的能力，與土地合作成為新土地的代表？他的文字論述及作品都充滿了自信的宣示！
南島獎-陳豪毅《o lalan no oway藤之路》。圖 /國立臺東大學整合設計與藝術工作室 提供
陳豪毅《o lalan no oway藤之路》一件需要觀眾啟動的作品，一條藤從影像中間穿越出來，觀眾用力拉動藤條之後，影像就會 開始播動起來，進入一起採藤的情景。
採藤過去是屬於阿美族年齡階層需要學習的一項工作，男子們通常被賦予成群上山採藤的責任，最累也最開心，也是在山上學習及培養默契的時刻。阿美族文化裡男人必須學會採藤條才能成為真正的男人。採藤是複雜與艱難的工作，採藤條時，大家會分工合作，有的看地形下指揮，有時一起喊聲拔黃藤，拉不動時就會唱歌提振士氣，藤條被勾住時住就得砍葉鋸樹才能繼續。藤條採下來後時，要將長如河流的藤條捲起來以便背運，然後一起帶著藤條、野菜、木材下山回家。
這更是創作者過去十年學習經驗的反省，當初因為要向老人學習藤編而開始進入山林，然而卻一個人在山裡。在過去的部落生命中，無人可以互相幫助，只是孤獨的和山學習，也沒有人能答唱採藤歌。正因為缺乏這些，更顯得成為阿美族人和學習採藤、編織和蓋屋的一貫脈絡性，必須透過一條藤、透過互助合作的整個採藤過程才能成為男人。
整個路徑與過程的影像，代表了創作者本身當下角色的轉變，從學習者到傳遞與帶領，最後的採藤之歌，在山林間迴盪，跟著青年踏回部落，要背起一綑綑的藤回去，去編織你的人，與成家立業。
影片及整個論述似乎輕描淡寫，卻精準扼要的傳達充滿認真專注勞動及一步一步集體合作克服困難的成長過程，感動了所有人，幾乎不需要文字！他聲稱這不太算藝術，而是生活。
高敏修《繚繞獸首》。圖 /國立臺東大學整合設計與藝術工作室 提供
高敏修《繚繞獸首》牆上有一個瘦弱蒼老的山羊頭像，有兩對眼睛以及智者哀傷的表情。兩邊的神秘古地圖，呈現水源被切斷的狀況，神秘古地圖底下有兩個面目扭曲的人類頭像，他們只有一對無神猥瑣的眼睛。
儀式場域中央有一個結合非常多元動物、植物的特徵，並以漂亮充滿陽光的貓科母獸的臉孔為主的神獸，基本上是一隻漂亮的母貓，但也有一點人臉表情，仔細看還有爬蟲類即昆蟲的臉型紋理，牠有三對眼睛，眼珠有七彩斑紋、有好幾個瞳孔，顯然天生就可以同時用不同方式觀看外面的世界。
牠還有兩對耳朵，可以接收不同的聲波，臉上有各種紋路，紋路中心有一些孔洞，那也是感覺器官？這隻大神獸四周的環形乾樹葉，除了表達地位尊貴，也是感覺器官的延伸。風吹草動，各種生物留下的痕跡，都可以加以辨識，不同季節、雨季乾季、冷熱季節的不同的聲音及味覺都能夠感應，這是也是一種能與萬物通靈的能力。
作品前的螢幕中，有一位舞者在水流源頭處，帶著類似的面具，她用各種感知去觀察，感受源頭的能量，好像被轉化的充滿生命能量的水，是從牠身上流出來的；牠是一個接收者、傳譯者、修復者、也是分享者。這和前兩幅被切斷水源的古地圖，顯然有密切關係。高敏修試圖以結合各種生物特徵的頭像為載體討論泛靈與薩滿信仰，以幼時的超自然體驗出發，以及參與Kasavakan跨文化的祭儀經驗，觀察人與自然地藉由儀式性的互動，解構人、動物與植物的容貌，創造新的圖騰符號，建立人與自然環境以及各種生命的新的連結，透過儀式性轉化新的生命態度來面對不同文化甚至各個物種之間共存的未來。
黃敬中《所繫何處》。圖 /國立臺東大學整合設計與藝術工作室 提供
黃敬中《所繫何處》作品可分成三個部分，下方作為基礎的地面或水面，上方天上的黑夜星辰黑煙，最後是中間的摩天大樓建築的鋼構空架，其中隱藏著被切割且已經碳化的巨大樹木。這景色也讓人聯想到宇宙創始，在剛剛區分的海天之間，浮出土地的關鍵時刻，但馬上就跳到像巴別塔一般的城市，已經進入行將毀滅的狀態，並且原先的自然幾乎早已經完全消失。
藝術家提到大量使用炭是為了要褪去可見的火，並試著以視覺化、紀念碑化的方式呈現人類在遷徙發展過程中，原始自然的家與城市的家，記憶、身分、文化疊合矛盾的狀態，其實在這件作品中原始充滿自然元素的家幾乎沒有留下甚麼痕跡，而城市的家則已經發展到進乎末日的狀況。
是不是只有透過這樣的劇烈的反差，才能將正趨向滅亡的危機極端化，成為能夠讓人覺醒的提前出現的末世紀念碑？這裡的再度的炭化或結晶化，是要把無用的廢墟轉化為讓人清醒警覺的一種提前建立的末世紀念碑？這樣理解也許更加合理！
城市空殼廢墟中，沒有人、沒有自然痕跡。上方烏煙瘴氣，遮住了清澈的天空以及漫天的星辰，而地上的破碎鏡子的反射，正好創造天上以及建築之間的烏雲濃稠空氣，於是這些藝術效果讓無用的城市廢墟成為讓大眾記取教訓的一個、可感、可思考的消失的記憶，以及提前反思人類自我毀滅行為的紀念碑，這樣的以藝術之名所建立的末世紀念碑，使這樣的藝術行為有助於避免這條趨向滅亡的人類世發展老路？
這件作品的訴求和南島文化的價值觀以及生活方式的關係比較間接，也許正是重要的需要補充的生態問題的背景提示，標題或論述小修改一下就更能發人深省。
余曉冰《樹在地上》。圖 /國立臺東大學整合設計與藝術工作室 提供
余曉冰《樹在地上》藝術家出生在澳大利亞的伯斯，但擁有婆羅洲客家血統，祖先經歷四代才遷徙到馬來西亞的婆羅洲，她在澳大利亞的求學期間，發現藝術是能將那些難以表達的複雜情感和想法具象化的空間，之後的學習又從澳大利亞、義大利、到法國巴黎， 再到德國，期間經歷了一直圍繞在歸屬感和身分認同的衝擊中。
在前東柏林遇見由德國電影導演建造的中式花園，這對她啟發很大，並成為 2014 年錄像及雕塑裝置的主題及催化劑。2015 年到臺灣學習中文，並在臺灣藝術大學研究自身的文化遺產及其在亞洲的定位，另外還有中式花園在漢族移民背景下的模糊概念。畢業展就是一個由回收材料、陶土、書法與水墨畫、 植栽、 堆肥系統、錄像與聲音等共同構成的一個臨時的花園裝置。
她使用胚布、絲綢之類的材料，使用水墨繪畫、實物轉印等技術，融合成包括植物枝葉，花朵等充滿異國情調的花布圖案；另外一些像山水畫，有些還提了字，有些看起來像古地圖或風水圖之類，畫幅的軟外框有些像建築剪影、有些像室內對稱的匾額配件、有些像屏風，更有很多像可以穿在身上的寬鬆衣物，甚至像肚兜之類的貼身內衣，但整體還保留相當的花園直覺。幾幅簡單樸素用水墨畫的蕨類植物枝葉，立即又把我們帶進熱帶樹林。
客家原本具有邊緣性，馬來西亞婆羅洲又是個充滿原始森林的地帶，伯斯是西澳第四大城市，是世界最佳居住的城市代表，但這裡也可以接觸到豐富原住民文化的地方。她從這裡開始追尋文化及身分的認同，並從外國導演轉介的中式花園開始，她的尋根認同過程顯得遙遠及複雜，輾轉經過各種轉化混合的媒介，似乎更需要透過隨時編織景觀來主動重建或建構消失的文化認同，這是一個比較新的議題。
APO#39陳昭興x王亭婷《等待漲潮mdash mataktak 大出（操作版）》。圖 /國立臺東大學整合設計與藝術工作室 提供
APO#39陳昭興x王亭婷《等待漲潮mdash mataktak 大出（操作版）》下弦月大漲潮的幾天，原住民用三角手持魚網傳統方式補捉秀姑巒溪系出海口附近的魚苗，這是上天給的恩惠，他們不貪求，夠吃就好。以前大潮期間，漁獲量非常多，但是後來因為各種不考慮生態永續的捕魚方式造成魚產銳減，加上塑膠海廢越來越多，不光捕不到魚苗，辛苦撈到的大部分是塑膠海廢。
創作盡量使用回收材料，並大量使用已經成為海廢的舊漁網。另外也將撿拾到的塑膠類海廢加以分類，畫上生動可愛的大眼睛並依據自然生態排列，於是海廢又變成活生生的魚群。我曾經質疑為何將海廢表現得這麼可愛？反覆地看，放大了看，那都是魚破碎的屍體，看了真不忍，人類到底做了甚麼，才會弄成這個樣子？
作品上方是巨大包著不同顏色舊漁網的下弦月，稍下方是更少形質間單勾畫出來的下弦月，並在月牙勾勾的位置，上天將魚群倒給魚民的位置，加了相當寫實的碗的造型，就從從這裡海水與魚網結合在一起，連白色的浪花豐沛地倒了下來，並且裡面充滿由小海廢所轉化的不同總類、不同色彩的小魚。但這種短暫的喜悅，馬上就被睜大著眼睛的大量魚類的殘破身體所澆熄，並轉變成感傷，這裡處理得非常細膩。
他們大量使用舊漁網，他們的創作採用大量海廢或回收物，他們在創作的同時稍微解決海廢的問題，他們也希望將來擴大民眾參與，一起協助藝術創作也同時一起協助清理海廢，作品非常直接、非常樸素，但反應了實情，很真實的場景，很真實樸素的情感。
王郁雯《溪底星星消失了》。圖 /國立臺東大學整合設計與藝術工作室 提供
王郁雯《溪底星星消失了》她也有北藝大的學歷。在室內陰暗角落布置一個神祕的自然生態，前方是構樹皮製作的樹林，纖維縫隙間及漩渦狀紋理中好像藏了什麼生物。背後是溪流或濕地，斑爛的紋理給人到處都藏有各種生物的感覺；牆上掛的幾幅畫，在很有立體感的斑爛紋路下潛伏著不同的生物，包括青蛙、螃蟹、黃喉貂，旁邊還有一個巨大的半個蝦殼，那是人吃剩下的？
這件互動作品，建議觀眾脫光腳走入溪流或濕地，用手電筒照射，會發現隱藏在各個角落的各類小蟲，她們發出藍色螢光，好像天上不斷閃爍的星星。藝術家告訴我們，創作來自七里溪與友人遊蕩、捉蝦、釣魚、踏溯採集等，所累積對七里溪的臨場知識與身體圖譜。這是七里溪進行踏溯、採經驗所初次嘗試的參與性創作。作品其中用裸露的身體手腳擬真接觸環境的五感經驗是非常重要的，也因此發明了獨特的材料運用以及互動的模式。
紙層研磨：透過重疊黏貼紙層和貼合落差所構成的凹凸或平整平的微地形與般爛色紋，再經過繪製及磨擦等技術，就很自然地讓七里溪中多樣充滿生命力的物種，隱現在神祕的波光及枝葉交織中。
在三度或四度的黑暗魔幻空間裡，建議光腳，透過光照範圍很小的紫光手電筒來捕捉由水、光、石、黑夜，及其間的多物種形態所交疊而成的七里溪圖圈。在哪裡？地上、水中、樹上、草叢中隱現的各物種會隨著照射而陸續地顯影，並且可和天上的星星互相輝映，這種自然美景的享受，完全不同吞食消費這些生命的經驗，這比較是一件和生態保育教育有關的互動性創作，而且充滿童趣特別適合親子參與，以不同方式與南島精神連結。
陳淑燕《島舟之洋》。圖 /國立臺東大學整合設計與藝術工作室 提供
陳淑燕《島舟之洋》系列作品呼應了臺灣的南島起源論以及南島語系民族的遷徙史，無論是地理、歷史、物種以及人文方面，臺灣一直充滿活力，柔和多元特質的富饒之島，臺灣島就像可移動的船，面向太平洋，在其中並不孤獨，彼此串聯，流動。
藝術家使用漂流木、構樹皮、金屬線構成結合多重意象的造型，可懸掛，平行於視線，高過視線，也可靠牆面，安放在地上，直觀上像船、嬰兒床、蟲蛹、像果實。有趣的是在各個部位間保留了很多空洞，可以和天、和海、和外邊的土地，和不同的同伴一起在廣大的時空中航行遷徙、合作分享。這些移動體，透著一起在遙遠無限安靜時空中的慢慢移動及演化的感覺非常獨特。
藝術家擅長用不同的材料，例如以臺灣構樹樹皮布為主來創作做這件作品，盡情發揮樹皮布的質地、紋理與色彩，再來和東海岸撿拾的極具生命力的造型漂流木共創對話，並加入金屬編織，一起創作具有海洋特質、難以定義的多重意象，以及傳達強烈共生狀態以及安靜演化的可能性。
她對於南島民族之間相互合作又保持各自獨立的關係也特別看重，她並非原住民，但是對於原住民族的認同非常深遠。從參賽資料，她的經歷和其他藝術家不同，包括應用藝術研究所、服裝設計、手作坊藝術總監、天然纖維織染研究教學、大學及社區部落染織藝術講師的經歷，而相關的展覽、駐村經驗、交流國家更是不計其數，這也許說明她的作品自然的傳達了南島民族或島嶼之間的遙遠的親密的又相互獨立的關係。
撒部・噶照《像海浪一樣》。圖 /國立臺東大學整合設計與藝術工作室 提供
撒部・噶照《像海浪一樣》藝術家是港口部落的藝術家，作品包括三幅油畫、一座人物雕像、一小片海灘及一部紀錄片。牆上連續的三幅海景，前景是一波波密集兇猛的白浪，稍遠是淺藍的海流，更遠是深藍的海流。在不同溫度、不同方向、不同速度的海流交界處，有著豐富的魚群，畫面下方有一小片用不同大小的鵝卵石所仿造的海灘地形，非常傳神，在縮小的海灘上有一個縮小的非常健壯的原住民， 他的身體後方拉著幾條不同顏色像波浪的線條。
支撐那個強壯的雕像的多關節支撐架，讓迎著風站在支架頂點的人根本就能夠像魚一般在起起伏伏的海中沒有畏懼專心自在，他知道甚麼時候大潮，甚麼時候上天會提供足夠的漁獲，他也懂得感恩舉辦年祭。
旁邊的小螢幕呈現有音樂歌聲及跳舞的年祭，舞圈青年傳統服飾羽毛與白線隨著舞步上下前後擺動，看起來有如一波波澎拜的海浪，長者形容有如海浪一樣，有時大浪、有時小浪，一波接一波永不間斷、歌聲也要如同浪潮聲，領唱、答唱，一段接著一段，歌聲永不停歇、圓圈循環永不停歇。
他的創作組合是希望這種文化之美能夠記錄下來，傳承下去，分享出去。他幾次強調，部落中最困難的是說服大家一起做同一件事情，他傳達了單純的像要承傳這個周而復始的故事的強烈使命感。
結語
藝術家與作品：
從獲獎的三位藝術家以及製作繚繞獸首的高敏修，可以看得出原住民身分再加上嚴格的藝術訓練是重要的，假如還具有在部落中帶領某些族群成長的活動，更能讓作品有深度、張力及真實感。
阮原閩：藝術家組裝好多影像辯證工具，透過引介古老神話、透過殖民之眼甚至殖民之刀的影像效果，解構了同性戀以及酷兒的性別禁忌，充滿智慧且雄辯。
郭悅暘：以自我身影以及鐵鍋子、獸皮、月桃編織的草蓆，來連結不同時期傳統排灣文化的精神象徵，並傳遞接觸不同文化與殖民的歷史對於原住民文化的複雜影響，並提出投向未來的詮釋角度。
陳豪毅：藤之路－成為男人的過程，輕描淡寫傳達認真專注的勞動，及一步一步集體合作克服困難才成為原住民男人的過程，這樣單純真實的群體生命成長過程，感動人卻幾乎不需要文字！
高修敏：高敏修試圖以結合各種生物特徵的頭像為載體來討論泛靈與薩滿信仰，並透過儀式性的生命態度，來面對能夠與不同文化， 甚至不同的動物、植物的生命體永續共存的未來。
具有更豐富的藝術專業訓練的客家裔澳大利亞藝術家余曉冰，因為多次的遷徙，她的尋根認同過程顯得遙遠及複雜，輾轉經過各種轉化混合的媒介，似乎更需要透過編織景觀來主動的建構某種混和的文化認同。較資深的原住民藝術家，包括Apo#39陳昭興＆王亭婷及撒部・噶照，他們主要透過長時間在部落中切身的經驗及儀式神話內化為能夠感人，也容易理解的作品；他們更重視讓傳統的樸素生活及價值能夠永續，形式及觀念的創新似乎不是重點。Apo#39陳昭興經過學院訓練的夥伴王亭婷的合作，讓他的作品有更多的曲折及反思。
年輕具有相關藝術訓練的非原住民藝術家，會從大的尺度以及比較普世的視野來發展作品的深度。黃敬中，也有北藝大的經歷，他透過逐漸趨向自我毀滅的城市景觀來對比於已經消失的懷念的自然的家，從這來間接地回應原住民尊重永續生命的智慧的重要性。非原住民身分的王郁雯也出自北藝大，她用快樂的夜間生態探源，來強調逐漸逝去的自然的可貴，讓人感受其中的無限快樂；作品和傳統南島文化沒有直接神話及歷史的淵源，但她在培育新的南島族群。非原住民並且有多元學習經歷的資深的藝術家陳淑燕，是從喜好自然素材與古老工藝再往纖維藝術的方向延伸，她對於內在靈性中人與原始自然的關係的普遍共性有深厚興趣；從展場的材料展示、組合運用，可以理解她的專業研究，作品懸掛所傳達的原住民族的親密又相互獨立的關係，給人深刻印象。
對南島國際美術獎期許：
因為活動標題中標示有「南島」以及「國際」的部分，第一個建議是每次比賽展之中，由評審團推薦一個南島語系國家並委託做一個文化與藝術的相關的研究，搭配小型論文發表以及資料的展示。第二個建議是，每次由評審團推薦一個計畫型創作，這類創作不適合比賽，卻更容易呈現持續的努力與累積，它的過程性資料展示，可以和上面的小型研究合併舉辦。
本次個別作品及不隔間的展場效果相當好，為了有更好的累積及深度，需要增加一些其他的部分，以補充所無法達到的效果，如已有類似規畫可以局部合併。
@P
Austronesian spirit was once perceived as a fixed set of regional or ethnic traits. Now, however, as regions and ethnic identities increasingly intersect and blend, the recognition and construction of these traits have become vital. Such traits can be diverse and evolving, incorporating attitudes that resist new norms, protect old values, or promote the mutual exchange of new ideas and values. Through various cultural and artistic exchanges, we bring together both traditional and contemporary perspectives on engaging with the world across the broader Austronesian regions. In Taiwan, we conduct a sort of experimental assembly, exploring how these qualities meet contemporary needs, how they are acknowledged, referenced, and further supplemented.
ldquoIn response, the call to artists has specifically invited works reflecting the human context, natural landscape, environmental issues, living memories, and distinctive qualities of Austronesia, including elements like the sea, migration, origins, anti-colonialism, adventure, sharing, nature philosophy, and collective well-being. rdquoThese key themes reflect the evolving essence of Austronesian identity.
As a cultural observer, I arrived on October 8 in the evening to view the exhibition works, nearly complete due to a delayed schedule for artistsrsquo access and setup following the typhoon. The next day, I conducted direct interviews with several artists, connecting with ljaljersquoelan・patadalj by video call before his departure to Spain. At the October 12 opening, artists provided brief presentations on their works, with two further artist panels held in the afternoon. Thereafter, I repeatedly studied the artworks, cross-examining messages within the artistsrsquo creative concepts, official guidelines for the Austronesian International Arts Award, and my understanding of contemporary Taiwanese Indigenous art, culminating in this cultural observation.
Siyat Mosesrsquos ldquoRhngunrdquo is one of the notable works in the exhibition. With a Masterrsquos from Taipei National University of the Arts, Siyat Mosesrsquos work questions identity in the face of modernity and globalization, engaging themes like textiles, ethnicity, gender, and visual perception. Drawing on autobiographical elements to connect with viewersrsquo shared life experiences, he finds inspiration in the creation myths of the Seejiq people, using this as a conceptual entry point to explore the complexities and solutions to current Indigenous issues.
The piece has a multilayered structure. The outer layer features a large garment with outstretched sleeves like a welcoming gate. Symmetrical collages of body, face, and organ fragments are arrayed along a central axis, with a following image of two figures on a slopemdashan apparent reference to early anthropological studies. Behind this large garment, a dark red vulva extends downward from the garmentrsquos collar, evoking ancient mythology. According to Seejiq creation stories, a male and female once emerged from a fissure in a phallic stone, leading to many descendants, symbolizing a unified origin without hierarchy.
Siyat Mosesrsquos work invites viewers to delve into this mythological narrative, confronting current Indigenous issues through a layered approach that blurs personal, cultural, and mythological boundaries.
Behind this doorway-like structure resembling garments, there lies yet another similar installation. However, this time, it incorporates an array of reflective mirrors arranged in a pattern, displaying red marks on the surfacesmdashtraces of bloodied body parts, faces, and flesh that appear gruesome and ferocious. Despite their symmetrical arrangement, these marks convey intense confrontation. Due to slight variations in the angles of the mirrors and the lack of reflection of the red imprints, a soft projection appears on the ground, creating an infinite overlay of two figures locked in intimate connection.
At the top of this mirror-layered garment is a vivid red diamond shape, symbolizing what the artist describes as ldquothe eye of the colonizer.rdquo When viewers step into the installation, their reflections also merge into this doubled image of intimacy. The artist has meticulously crafted a series of visual tools to challenge traditional taboos surrounding homosexuality or queerness. Through the lens of ancient mythology and the symbolic ldquocolonizerrsquos eyerdquo or ldquocolonizerrsquos blade,rdquo these taboos are deconstructed in a highly intelligent and eloquent manner. What is the ldquoexitrdquo? The ancestral myths tell one story, while contemporary Indigenous art narrates another.
ljaljersquoelan・patadalj ldquolsquousavan ni ljaljersquoelanrdquo (The Eager of ljaljersquoelan.)
With a degree in painting from the Taipei National University of the Arts, ljaljersquoelan aims to break through traditional visual representations of Indigenous identity, creating a contemporary image of the Indigenous individual while shaping their future. Recently, ljaljersquoelan has focused on exploring the identity dilemmas faced by young Indigenous people today, examining how traditional practices intersect with contemporary life while emphasizing sustainability concerning land, environment, community, and cultural heritage. Using his own image alongside iron pots, animal hides, and moon peach woven mats, he connects with traditional Paiwan cultural symbols across different periods, addressing the impact of cultural encounters and colonization on Indigenous communities and offering a forward-looking perspective.
Three deerskins hang on the wall above a triptych video installation. In the center, a large iron pot is ablaze with wood, while on either side, footage alternates of the artist dressed in a suit, navigating a mountain clearing, and encountering various visions that prompt different actions. In one scene, ljaljersquoelan walks swiftly within a circular space surrounded by moon peach mats, gradually shedding his suit until lying naked on the mat, reconnecting with it.
He places a deerskin on the mat and lies beside it, as if to feel the fate of the sika deer. He tries to smear pot soot onto the deerskin and wrap it around his own sculpture but does not succeed. Various intimate and transformative relationships emerge between the artist and the skin, including the dynamics of hunter and hunted and a reuniting with the natural world. The naked artist later carries the deerskin into an orchard, where the sika deer fades into the distant trees, symbolizing the end of one era and the beginning of another.
In front of the installation stands an altar, with wood burning in the large iron pot, emitting smoke that permeates the fur of a muntjac mounted on a rack, gesturing towards the three hanging sika deerskins. The deerskins symbolize both the hunted and Indigenous pride in hunting skills. However, to satisfy colonial demand, Indigenous hunters became complicit in the unlimited slaughter of sika deer for their skins under international capitalism.
On the other hand, the deer represents a being worthy of gratitude, reflecting the ongoing sacrifice of Indigenous peoples. Does the sika deerrsquos seasonal change in coat color signify another deeper message?
The artist applies the soot from the black smoke to his own body, a powerful attempt at restoration, while carrying the pot on his back, transforming into a slow-moving turtle or a self-deluding ostrich. Does Indigenous identity risk becoming a form of self-imposed limitation or a way to avoid confronting reality? By lying prone on the pot that represents the land, the artist achieves a union with the earth, using contemporary farming and other skills to embody a new synergy with the land. His statements and artwork resonate with a confident declaration of purpose.
Akac Orat ldquoo lalan no oway rdquo(Becoming Human in Rattan)
This interactive work invites audience participationmdasha rattan vine extends through the screen, and upon pulling the vine, the video begins, depicting a scene of collective rattan harvesting. In Amis culture, rattan harvesting is a skill traditionally learned by men as part of the age hierarchy. Men typically bear the responsibility of ascending the mountains to gather rattan in groups it is both an exhausting and joyous task, providing an opportunity to learn and build camaraderie. Mastering this challenging and intricate process is essential for a man to be regarded as a true adult in Amis society. The harvesting involves teamwork, with each member playing a rolemdashsome scout and give directions, others shout together to pull the rattan, and, when progress slows, they sing to lift morale. If the vine is snagged, they cut leaves or saw trees to clear the way. Once harvested, the rattan is rolled up and transported back home, accompanied by wild vegetables and wood.
This piece also reflects on the artist#39s personal journey over the past decade. Initially driven by a desire to learn rattan weaving from elders, Chen entered the forest, yet often found himself alone. Unlike traditional community life, there was no one to help or sing rattan harvesting songs with him in the mountains. The absence of these elements underscores the importance of cultural continuity for the Amis people, who regard the entire collaborative process of harvesting, weaving, and house-building as integral to becoming a man.
The video of this path and process symbolizes the artistrsquos transformation from student to mentor. The final rattan song echoes through the mountains as youth follow the path back to the village, carrying bundles of rattan to weave, build, and establish a life. The filmrsquos simple but powerful narrative captures the disciplined labor and collective effort necessary to overcome challenges, a growth process that resonates deeply without needing words. Chen insists that this is not so much art as it is life.
Anguc Makaunamun quot Faces of the lingerers quot
Mounted on the wall is a frail, aged goatrsquos head with two pairs of eyes and an expression of sage-like sorrow. Flanking this head are ancient maps showing severed water sources. Below these maps are two distorted human heads with only one pair of lifeless, distorted eyes. At the center of the ritualistic space is a mystical beast, combining diverse animal and plant features. Its primary face resembles that of a sunlit feline mother but with subtle human expressions. Upon closer inspection, reptilian and insectoid facial textures emerge. This creature has three pairs of eyes, each adorned with rainbow-colored irises and multiple pupils, suggesting a natural ability to perceive the world from multiple perspectives.
The creaturersquos two pairs of ears receive various sound frequencies, and the intricate lines and holes on its face hint at additional sensory organs. Surrounding it are circular, dried leaves symbolizing its nobility and extending its sensory field. Sensitive to every rustle of leaves or faintest animal trace, this entity embodies a heightened attunement to seasonal shifts and environmental changes, symbolizing a connection with all things.
In front of the installation, a screen shows a dancer at a water source, wearing a similar mask. He observes and senses the energy as if the revitalizing flow of life force comes from her being. As a receiver, translator, healer, and sharer, she channels this energy, connecting with the previously depicted maps of disrupted water sources.
Through this hybrid head, Anguc Makaunamun explores animism and shamanism, drawing from his childhood encounters with the supernatural and his participation in the intercultural Kasavakan rituals. He observes the ritual interactions between humans and nature, deconstructing the forms of humans, animals, and plants to create new totemic symbols, establishing connections between humanity, the environment, and all living things. By engaging in transformative rituals, he reflects on new life perspectives, considering the coexistence of different cultures and species as we look toward a shared future.
Huang, Jing-Jhong ldquoWhere is the site of memory rdquo
This installation comprises three parts: a ground or water base, a dark night sky filled with stars and smoke above, and in between, the steel skeleton of a skyscraper hiding a massive, carbonized tree. The scene evokes a primordial moment of creation, suggesting the critical point when land emerged between the sea and sky. Yet, it quickly transitions to a cityscape, like a modern-day Tower of Babel, on the verge of collapse, where traces of nature have all but vanished.
The artist uses charcoal to evoke a post-fire silence, a visual memorial capturing the tension between humanityrsquos primitive natural origins and urban migration. In this work, the natural home has almost entirely disappeared, while the urban home is in a near-apocalyptic state.
By presenting such an extreme contrast, the artist questions whether it is only through these bleak scenarios that we might awaken to humanityrsquos self-destructive tendencies. The re-carbonization, or crystallization of these structures, acts as an apocalyptic monument, transforming the ruins of the city into a tangible, thought-provoking memorymdasha premonition of extinction and an urgent call to reconsider our path.
The ghostly skyline and thick smoke block out the clear sky and starlight, while shattered mirrors on the ground reflect the heavy clouds between earth and architecture. The deserted city serves as a somber reminder of vanishing memories, a monument warning of humanityrsquos perilous trajectory.
This piece subtly interacts with Austronesian values and lifestyles, suggesting that the ecological message woven into its fabric could become a deeper call for reflection. Small adjustments to its title or context might better convey this urgency, provoking audiences to contemplate the unsustainable path ahead.
Candice Jee ldquoTree on the Groundrdquo
Born in Perth, Australia, the artist is of Hakka descent from Borneo, with ancestors who migrated to Malaysiarsquos Borneo region four generations ago. During her studies in Australia, she found art to be a space for embodying complex emotions and concepts that otherwise felt inexpressible. Her educational journey took her from Australia to Italy, then to Paris, France, and finally Germany, where she grappled with questions of belonging and identity.
In East Berlin, she encountered a Chinese garden built by a German filmmaker, a discovery that profoundly impacted her work and became the inspiration for a video and sculpture installation in 2014. The following year, she came to Taiwan to learn Chinese and researched her cultural heritage and its place within Asia at the Taiwan National University of the Arts, where she also explored the ambiguous notion of Chinese gardens within the context of Han Chinese migration. Her graduation exhibition featured a temporary garden installation made from recycled materials, clay, calligraphy and ink painting, plants, a compost system, video, and sound.
Candicersquos materials include fabric, silks, ink paintings, and botanical impressions, combining exotic floral patterns with landscape-like compositions, some reminiscent of maps or Feng Shui charts. Her pieces range from architectural silhouettes and indoor symmetrical plaques to screen-like elements and loose clothing, even resembling intimate garments like doudu (Chinese traditional inner garments). Yet the overall ambiance remains garden-like. A few ink-painted ferns immediately transport viewers to a tropical forest, evoking a sense of grounded, natural life amid the broader themes of migration and identity. As a member of the Hakka communitymdashoften viewed as an outlier groupmdashCandicersquos heritage originates in Borneo, Malaysia, a region lush with primordial forests. She was raised in Perth, a city known as one of the worldrsquos most livable, yet also a place rich in Aboriginal culture. Beginning her journey of cultural and self-identity exploration here, she found her path to be one of intricate discovery. Inspired by a Chinese garden created by a foreign director, her work moves through diverse media, intertwining and transforming to actively reconstruct and reinforce her cultural identitymdasha nuanced and evolving journey.
Apo#39 Kofid Talo amp Wang, Ting-Ting quot Whitebaiting during waning crescent quot
During high tides under a waning crescent, local Indigenous people traditionally used whitebait nets to catch fish fry near the mouth of the Siouguluan River. They saw these fish as a gift from nature, taking only what they needed. In earlier years, the tides yielded ample fish, but unsustainable fishing methods have since reduced the fish population dramatically. Adding to the challenge, an increase in oceanic plastic waste means much of what is caught today consists mostly of plastic debris, rather than fish.
Their work incorporates recycled materials, especially old fishing nets that have become ocean waste. The artists sorted through collected plastic waste, adding lively eyes to create fish-like creatures that resemble vibrant schools in the sea. When looking closely, the viewer may begin to question this quotcutequot depiction of sea debris, as the plastic remnants reveal themselves as fragmented fish corpsesmdasha painful reminder of human impact on marine life.
Above the artwork is a large,waning crescent covered in layers of colored old fishing nets. Below it, a more minimal crescent represents the phase when the heavens bless the fishers. Inside the moonrsquos crescent, a bowl-shaped form pours waves and fish upon the sea, interspersed with tiny, brightly colored fish crafted from plastic waste. Yet the fleeting joy of these small fish quickly fades to melancholy as one notices their broken forms, with many gazing wide-eyed, amplifying the sorrow of this ecological loss.
The artists extensively use discarded fishing nets and other ocean waste to address environmental issues directly within their creative process. They hope to engage the public in future collaborative projects, turning art-making into a collective effort to clean up marine debris. Their work is straightforward, unembellished, but powerfully reflective of the harsh reality, evoking a raw and genuine emotional response.
Wang, Yu-Wen, quotThe Stars Disappearedquot
An alumna of the Taipei National University of the Arts, Wang arranges a mysterious natural ecosystem within a dimly lit indoor space. In the foreground stands a forest crafted from paper mulberry bark, with swirling patterns and fiber seams that seem to conceal small creatures. Behind this lies a stream or wetland, textured to give the impression of life hidden in every corner. Several paintings hang on the walls, their intricate textures revealing frogs, crabs, Martes flavigula chrysospila, and even a large, half-eaten shrimp shell.
In this interactive piece, viewers are encouraged to step barefoot into the simulated stream or wetland and use a flashlight to uncover small insects that emit a blue glow, resembling stars in the night sky. Inspired by her time exploring and foraging along Qili creek with friends,Yu-Wen integrates these lived experiences and sensory encounters with the environment. This participatory work, her first in such a format, incorporates tactile engagement, fostering a connection with nature through inventive material use and interactive design.
Yu-Wenrsquos technique involves layering and adhering paper to create textured surfaces resembling small topographies. Through intricate painting and abrasion techniques, these surfaces bring the vibrant biodiversity of Qili creek to life, subtly revealed among mystical water reflections and interwoven branches.
In a multi-dimensional, darkly magical space, viewers are invited to go barefoot and use a UV flashlight to explore the overlapping layers of water, light, stones, and darkness that create a diorama of Qili creekrsquos ecosystem. As they illuminate the ground, water, trees, and grasses, various hidden species gradually reveal themselves, echoing the stars above. Unlike consuming or harvesting life, this experience offers an immersive appreciation of natural beauty. This interactive work is a form of ecological education, imbued with a playful spirit, making it ideal for families. Through various means, it connects with Austronesian cultural themes.
Chen, Shu-Yen, quotOcean of Islands and Boatsquot
This series resonates with Taiwanrsquos Austronesian origins and the migratory history of Austronesian peoples. Taiwan has always been a vibrant, richly diverse island, full of life in geography, history, biodiversity, and culture. Like a ship facing the Pacific, Taiwan is both mobile and interconnected, moving in concert with other islands.
The artist uses driftwood, mulberry bark, and aluminum wire to form sculptures embodying layered imagery. These pieces can be hung, aligned with the viewerrsquos line of sight, elevated, placed against walls, or set on the ground. Resembling boats, cradles, cocoons, and fruits, they have open spaces within, inviting connections to the sky, sea, land, and others in a vast, timeless journey of migration, cooperation, and sharing. These forms exude a distinct sense of slow, gentle movement and evolution within quiet, infinite space.
The artist showcases her skill in working with diverse materials, especially the paper mulberry bark cloth from Taiwan. She emphasizes its unique texture, patterns, and colors, pairing it with organic, life-infused driftwood from the eastern coast. Metal weaving adds further depth, resulting in oceanic forms with layered meanings and a powerful sense of symbiosis and quiet evolution.
Though not Indigenous, the artist deeply identifies with the Austronesian value of mutual cooperation and independence. Her background is distinct from other artists, spanning studies in applied arts, fashion design, fiber arts, natural dyeing techniques, and teaching textile arts in universities and Indigenous communities. With numerous exhibitions, residencies, and international exchanges, her works organically communicate the distant yet intimate bonds between Austronesian peoples and islands.
Sapud Kacaw ldquoJust Like The Wavesrdquo
Sapud Kacaw, an artist from Makudaai Tribe, presents three oil paintings, a statue, a small beach, and a documentary. The paintings depict consecutive seascapes: in the foreground, dense, fierce white waves, while lighter blue waters lie farther back, and darker blue currents reach the horizon.These varied currents, each with different temperatures, directions, and speeds, teem with fish.
Below the paintings lies a small beach recreated with pebbles of various sizes, remarkably lifelike. On this miniature beach stands a small but muscular figure, symbolizing an Indigenous person, with wave-like lines of different colors extending behind him.
The multi-jointed support that upholds this powerful figure allows him to stand atop as if he is moving fearlessly with the waves. He understands the rhythms of the tides and knows when the ocean will provide an abundant catch. With gratitude, he celebrates llisin.
Beside the artwork, a small screen displays a video of llisin, with music, singing, and dancing. Young people dressed in traditional attire move, feathers and white threads swaying like waves in a dance circle. Elders liken it to the ocean, with big waves and small waves, constantly rolling, the songs and chants like the endless sounds of the surf, in an unbroken, rhythmic cycle.
His collection of works aims to capture the beauty of this culture, ensuring its preservation, transmission, and sharing. He has emphasized that one of the most challenging aspects within his community is persuading everyone to come together for a unified purpose. His work communicates a simple yet powerful sense of mission: to pass down this unending story of tradition.
Conclusion
Artists and Their Works: From the three award-winning artists and the work of Anguc Makaunamun with the coiled beast-head sculpture, we see that Indigenous identity, combined with rigorous artistic training, adds significant value. Additionally, artists who actively engage in community leadership activities bring greater depth, tension, and authenticity to their works.
Siyat Moses: This artist has assembled numerous dialectical image tools, using ancient myths, colonial perspectives, and even the imagery of the colonial knife to deconstruct taboos surrounding homosexuality and queer identities. His approach is filled with wisdom and eloquence.ljaljersquoelan・patadalj: Utilizing his own shadow alongside traditional symbols such as iron pots, animal hides, and woven ginger mats, His links various aspects of Paiwan cultural heritage across time. His work reflects the complex impact of cultural interactions and colonial history on Indigenous culture, offering interpretative perspectives directed toward the future.
Akac Orat:The Rattan Path-Becoming a Mansubtly conveys the disciplined labor and collective journey of overcoming challenges to achieve manhood in Indigenous tradition. This process, capturing a simple, authentic story of collective life growth, touches the heart with little need for words.
Anguc Makaunamun:His attempts to merge various biological characteristics into head-like forms that embody animism and shamanic belief. Through a ritualistic approach to life, his work reflects a vision of a future where different cultures, even diverse animal and plant life, can coexist sustainably.More extensively trained in art, Hakka-Australian artist Candice Jee explores a complex journey of root-seeking due to her numerous migrations. Through transformed, hybrid media, she uses woven landscapes to actively construct a form of mixed cultural identity.More experienced Indigenous artists, including Kofid Talo, Wang, Ting-Ting, and Sapud Kacaw, channel deeply personal community experiences, myths, and rituals into their works, making them both moving and accessible. They emphasize the sustainability of traditional values and a humble way of life, often prioritizing these over formal and conceptual innovation.
Young non-Indigenous artists with relevant artistic training tend to develop work from a broad, universal perspective. Huang, Jing-Jhong, also a graduate of Taipei National University of the Arts, uses the imagery of a cityscape verging on self-destruction, contrasting it with a nostalgic natural home that has vanished. This indirectly highlights the wisdom in Indigenous respect for sustainable life.
Non-Indigenous Wang Yu-Wen, also from Taipei National University of the Arts, emphasizes the preciousness of nature through joyful nocturnal ecological explorations, evoking boundless happiness. While her work lacks a direct link to Austronesian mythology and history, she contributes to the cultivation of a new Austronesian community.Experienced non-Indigenous artist Chen, Shu-Yan, with a diverse background, extends her love of natural materials and ancient crafts into fiber art. Her deep interest in humanityrsquos universal connection to primal nature shines through in her use of exhibition materials and compositions, powerfully conveying the intimate yet independent relationships within Indigenous communities.
Expectations and Suggestions for the Austronesian International Arts Awards
One suggestion is for the judging panel to recommend a specific Austronesian-speaking nation each year for research on culture and art, accompanied by a small symposium and exhibition. Another recommendation is for the panel to select a project-based artwork, showcasing long-term development, with progress documentation displayed alongside the mini-research exhibition.
This year, the individual works and open exhibition space were successful. To improve depth and continuity, additional elements should complement areas that were less fully developed, with possible integration where similar plans exist.
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