森人 2025：在裂隙中編織 Tree Tree Tree Person 2025: Weaving in the Fissures

Name: 森人 2025：在裂隙中編織 Tree Tree Tree Person 2025: Weaving in the Fissures
Start: 2025-11-22T14:00:00+08:00
End: 2025-11-22T20:00:00+08:00
Location: TheCube Project Space 立方計劃空間

Schedule

Sat Nov 22 2025 at 02:00 pm to 08:00 pm

UTC+08:00

Location

TheCube Project Space 立方計劃空間 | Taipei, TP

***** PLEASE SCROLL DOWN FOR THE ENGLISH VERSION *****
森人《在裂隙中編織：Skadang X Kipatauw 的土地敘事與記憶》
• 展期：2025.11.22 — 2026.1.11，2:00pm - 8:00pm，週三至日
*註：2025.12.31–2026.1.1 立方休館，1.2 重新開館。
• 地點：立方計劃空間
• 策展召集人｜陳政道
• 策展暨計畫團隊｜曾韻潔、許家榕、劉姍姍、蘇珀琪
• 在地策展暨評選委員會｜Skadang太魯閣大同部落婦女會、Kipatauw北投保德宮
• 參展｜
駐山研究員：Ami Lien＋Enzo Camacho、林文萱、余曉冰（Biang）、蔡宛璇＋Yannick Dauby（澎葉生）、謝茹安
田野書寫計畫：陳姿華（Uselrepe）、黃千珮＋陳非易、張瀚
*本展主視覺元素由黃柏翔提供
詳情請至官網：https://thecubespace.com/project/2025treetreetreeperson/
立方計劃空間非常榮幸再次與「森人－太魯閣藝駐計劃」合作，迎來計劃邁入第十年的展覽——《在裂隙中編織：Skadang X Kipatauw 的土地敘事與記憶》。自2015年啟動、2016年舉辦首場展覽以來，「森人計畫」已累積深厚的實踐基礎。今年為第九場年度成果發表，首次將駐地研究從太魯閣國家公園內的大同大禮部落，延伸至北投的 Kipatauw（北投社），展開一場跨越地理與歷史的兩邊對話。
本次展覽集結五組「駐山研究員」與三組「田野書寫計畫」的成果，回應2024年403花東大地震後太魯閣山林的創傷，同時深入挖掘凱達格蘭族群被隱藏的歷史記憶。展出內容涵蓋文件、影音、裝置、陶瓷、植物染與公共活動，呈現參與者以身體勞動與長期研究，持續縫合土地、身體與歷史裂隙的積極實踐。
▌關於本展
（文/陳政道）
《在裂隙中編織：Skadang X Kipatauw 的土地敘事與記憶》
活動結束後，團員歐怜君看到小孩的活動回憶手繪圖，在群組的分享：
看著自己的孩子在森林中奔跑
也許這就是最幸福的模樣
我們希望他們被大自然包圍著希望他們無憂無慮
部落媽媽表示老人家體力已無法上山而下一代不願意回來
眼裡盡是為了傳承而擔憂
儘管如此
還是一邊說只要他們開心快樂就好
看著一草一木
前人留下的遺跡
某些東西已悄悄長在我們心裡
在「森人計畫」邁入第十年的關鍵節點，我們面臨著一個深刻的提問：在劇烈的變動與歷史的遺忘中，我們如何重新與土地建立連結？2025年的「Skadang X Kipatauw」兩地駐研計畫，便是在此脈絡下展開。它不僅是地理上連結太魯閣的 Skadang（砂卡礑部落）與北投的 Kipatauw（北投社），更是一次雙重情境的交會：一端是0403強震後，太魯閣族人面臨的山林破碎、道路中斷與生計衝擊；另一端則是在北投持續挖掘凱達格蘭族群被隱藏的歷史，試圖重現其生活圖樣。
本次展覽匯聚了五組「駐地研究員」，以研究為方法，透過身體力行，回應著這兩片土地的召喚。面對災變，蔡宛璇與 Yannick Dauby 在〈Alang Skadang-觀察筆記 part2〉中重返震後的部落，記錄下巨石滾動、家屋傾斜後，人、動物與植物生態的轉變與存續。余曉冰（Biang）則在〈土地會記得嗎？〉中，關注長者因地震無法重返祖靈之地的現實；她透過記錄寄宿家庭 Yaya Huwat 的傳統農法，並以植物染實驗，試圖將山中的土地記憶延續至平原，更敏銳地將此連結到台北基隆河岸凱達格蘭族消逝的芋田。
這種對土地的關懷，也透過物質與身體的勞動，轉化為重建歸屬的實踐。林文萱的〈家屋計劃：一圈圈的回家〉，以泥壺蜂緩慢往返築巢的行為，對照AI時代的快速抽離。她親身採集太魯閣、北投的土壤，將易碎的泥巢燒製為恆久的陶瓷，以身體勞動重新「回家」。Ami Lien 與 Enzo Camacho 則從在地採集的植物纖維手工造紙出發，他們的核心提問是：我們如何能在殖民與掠奪式經濟之外，重新想像「土地」？物質的轉化在此成為理論與社會研究的途徑。
同時，研究員們也向內探尋，將身體的感官與夢境視為必要的研究路徑。謝茹安的〈在葉背〉，以蟬蛻為喻，探討夢境如何存於新舊身體的縫隙間。她的創作連結了在北投保德宮祈求的「水」夢，以及太魯閣立霧山中如夢的景物，視夢境為回溯失落母語及身體記憶的線索。
最終，這些研究實踐將透過 Ami Lien 與余曉冰共同帶領的「紙張與植物染」工作坊，以及 Ami Lien 關於亞洲人民運動的分享會，回饋並織入社群。
值得一提的是，本次展覽開幕也將初步分享「KNARPAY 流傳：北投社，你在哪裡？」田野書寫計畫的成果。此計畫以巴賽語「KNARPAY」（流傳）為名，在保德宮信眾和工作團隊的共同票選下，選出了三組獲選者：黃千珮、陳非易、陳姿華與張瀚。他們深入北投社頂社、保德宮等關鍵場域，如果說駐地研究員們是以物質、影像與感官來編織敘事，那麼這三組書寫者便是以文字的田野調查，共同發掘那些關於信仰與生活的軼事。兩者在此交會，共同呈現出一幅關於 Skadang 與 Kipatauw，在土地裂隙中頑強生長、記憶與流傳的立體地圖。

主辦｜森人
協辦｜立方計劃空間
贊助｜國家文化藝術基金會、台北市文化局
＊立方計劃空間由國藝會、台北市文化局、陸府生活美學教育基金會、陳泊文先生等贊助營運

ᨒ↟𖠰↟𖡼𖤣𖥧 𖡼 𖥧𖤣𖡼↟𖠰↟ᨒ

Tree Tree Tree Person 2025 – Weaving in the Fissures: Land Narratives and Memories of Skadang X Kipatauw
• Dates: 22 November 2025 – 11 January 2026, 2:00 PM – 8:00 PM, Wednesday to Sunday
*Closed from December 31 to January 1 for the New Year holiday; reopens on January 2.
• Venue: TheCube Project Space (2F, No. 13, Aly. 1, Ln. 136, Sec. 4, Roosevelt Rd., Zhongzheng Dist., Taipei 100)
• Project Director/Curatorial Convener | Cheng-Tao Chen
• Curatorial & Project Team | Ūn-Kiat Tseng, Jia-Rong Hsu, San-San Liu, Frankie Su.
• Local Curators & Selection Committees | Taroko Datong Community Women’s Association, Beitou Baode Temple
• Participants |
Resident Researchers: Ami Lien & Enzo Camacho, Candice Jee (Biang), Wen-Hsuan Lin, Wan-Hsuan Tsai & Yannick Dauby, Ju-An Hsieh
Field-Writing Project: Chen Tzu-Hua (Uselrepe), MuNi, Fei-Yi Chen, and Han Cheung
*The key visual element for this exhibition was contributed by Bo-Xiang Huang.
Official Website: https://thecubespace.com/project/2025treetreetreeperson-en/
TheCube Project Space is honored to once again collaborate with the Taroko Art Residency (TAR) in presenting the exhibition “Weaving Within the Rift: Land Narratives and Memories of Skadang X Kipatauw”, marking the project’s tenth anniversary. Since its launch in 2015 and the first exhibition in 2016, TAR has built a rich foundation of artistic and research practice. This ninth annual presentation expands the residency fieldwork beyond the Datong and Dali communities within Taroko National Park to Kipatauw (Beitou), opening a dialogue that bridges geography and history.
This exhibition brings together the outcomes of five Resident Researchers and three Field-Writing Projects, addressing the trauma of Taroko’s mountain landscapes in the aftermath of the 403 Hualien earthquake in 2024, while delving into the concealed histories and memories of the Ketagalan people. Through archives, video works, installations, ceramics, plant-dye works, and public programs, the participants present ongoing acts of reconciliation—laboring and researching to mend the fractures between land, body, and history.
▌About the Exhibition
By Cheng-Tao Chen
Weaving in the Fissures: Land Narratives and Memories of Skadang X Kipatauw
In After the event, participant Ling-Chun Ou shared in the group chat her child’s hand-drawn picture recalling the activities:
Watching my child run in the forest
Perhaps this is the picture of utmost happiness
We hope they are surrounded by nature, hope they are carefree
The Truku mothers say the elders lack the strength to go up the mountain anymore, and the next generation is unwilling to return
Their eyes filled with worry for passing down traditions
Despite this
They still say, “As long as they are happy and joyful”
Looking at every blade of grass, every tree
The traces left by those before
Something has quietly grown within our hearts
As the “Tree Tree Tree Person Project” enters its tenth year, we are confronted with a profound question: In the midst of drastic change and historical erasure, how do we reconnect with the land? The 2025 “Skadang X Kipatauw” Dual-Site Residency Program unfolds within this precise context. It not only geographically links Skadang (Skadang community) in Taroko with Kipatauw (Beitou community) but also engages a dual reality: On one end, the aftermath of the 0403 earthquake in Taroko, where Indigenous communities face fractured landscapes, severed roads, and disrupted livelihoods; on the other, the ongoing effort in Beitou to uncover the hidden histories of the Ketagalan people and restore their lifeways.
This exhibition gathers five groups of “Resident Researchers” who employ research as a method, responding to the call of these two lands through embodied practice. Confronting the catastrophe, Wan-Hsuan Tsai and Yannick Dauby return to the post-earthquake community in Alang Skadang – Observation Notes, Part 2. They document the transformation and survival of people, animals, and ecology after the boulders rolled and houses tilted. In Will the Soil Remember?, Candice Jee (Biang) addresses the reality of elders now unable to return to their ancestral lands. By documenting her host Yaya Huwat’s traditional farming methods and experimenting with natural dyes, she attempts to extend the land’s mountain memories down to the plains, acutely linking this to the vanishing taro fields of the Ketagalan people along Taipei’s Keelung River.
This concern for the land is also transformed into a practice of rebuilding belonging through material and physical labor. Wen-Hsuan Lin’s The House Project: Circling Home uses the potter wasp’s slow, repetitive nesting behavior as a contrast to the rapid detachment of the AI era. She personally collects soil from Taroko and Beitou, firing fragile mud nests into enduring ceramic artifacts, “circling home” through cyclical labor. Ami Lien and Enzo Camacho begin with handmade paper from locally foraged plant fibers. Their core question is: How can we re-imagine the “land” against colonial occupation and imperialist economies of extraction? Here, material transformation becomes a conduit for theoretical and social research.
The researchers also look inward, treating sensory experience and dreams as necessary research paths. Ju-An Hsieh’s On the Underside of Leaves uses the cicada’s molting as a metaphor, exploring how dreams exist in the “gap” between old and new skins. Her work connects the “water” dreams she prayed for at Beitou’s Baode Temple with the dreamlike visions of Taroko’s Mt. Liwu, viewing dreams as clues to trace lost mother tongues and bodily memories.
Finally, these research practices will be woven back into the community through a “Paper-making and Fiber-dying” workshop led by Ami Lien and Candice Jee , and a sharing session by Ami Lien on progressive peoples’ movements in Asia.
Notably, the exhibition opening will also feature a preliminary sharing of results from the “KNARPAY: Passing Down – Beitou, Where Are You?” Field-Writing Program. Named after the Basay word “KNARPAY” (to pass down, legacy), selected through a joint vote by Baode Temple devotees and the project team, three groups of writers were chosen: MuNi, Fei-Yi Chen, Han Cheung and Uselrepe. They delved into key sites like the Beitou community’s high ground (Tingshe) and the Baode Temple. If the resident researchers weave narratives through material, image, and sensation, then these three groups of writers use textual fieldwork to jointly unearth anecdotes of faith and life. The two converge here, collectively presenting a map of Skadang and Kipatauw–a three-dimensional map of tenacious growth, memory, and legacy within the land’s fissures.

Organizer: Tree Tree Tree Person
Co-Organizer: TheCube Project Space
Sponsor: National Culture and Arts Foundation, Department of Cultural Affairs, Taipei City Government
*TheCube Project Space is supported by NCAF, Department of Cultural Affairs, Taipei City Government, Live Forever Foundation and Chen Po-Wen.