我迷戀賽鴿歸巢的本能，甚至到某種狂熱的程度，卻私心的想知道不是台灣原生種的鴿子究竟從何而來。在大量史料的挖掘爬梳下，如獲至寶的認識了荷蘭東印度公司雇員Pontanus，想像跟隨他的旅程在蘭船東去航線下遍處尋覓鴿子的蹤跡。我計劃利用駐點踏察的機會，穿越交疊十七世紀殖民者的路線，復返歷史現場的觀看。從大航海時代小人物Pontanus的視角考古又考現兼帶點地誌學的方法分章節輯數書寫與影像互文，趁隙尋找心疼未受重視的鴿子身影(考古)，同時也關注當代城市群落與在地環境發展(考現)。更直白的說，這是假藉著尋找自己心愛鴿子的故事，延續近年《Pontanus的日誌本》作品系列，隨著帝國幽靈穿越劇般在他鄉異國情調下，偕行遊歷綺麗福爾摩沙旅程，也對照既存在於現實的又存在於想像當下的。

My obsession with the innate homing ability of Racing Homer pigeons is overwhelming. To satisfy my curiosity, I’ve been exploring where these pigeons non-native to Taiwan originated from. After delving into and analyzing loads of historical materials, fortuitously, I encountered Pontanus, the employee of the Vereenigde Oost-indische Compagnie (VOC), and started to imagine our adventures of looking for pigeons through the voyages of Dutch ships towards the East. I conducted field research during my residency, tracing the routes from the 17th-century colonizer by returning to the historic sites. From the perspective of Pontanus, a nobody in the Age of Sail, I carried out archaeological and modern-social investigations based on the approaches of topology, which have been implemented by sectioning texts into chapters and volumes as well as intertextuality in visual images. While searching for (in an archaeological manner) the presence of pigeons that were unbearably insignificant, I also paid very much attention on contemporary urban communities as well as environmental development in local regions (modern social phenomena). Straightforwardly speaking, I intend to pursue the stories of my beloved pigeons in the name of developing the series of “The Diary of Pontanus” that I’ve created in recent years. Like a time traveler, I embarked on a journey of discovery with an imperial ghost in this charming Formosa, a place that was foreign and exotic to him. The contrast between reality and imagination at the present has been constantly made during this trip.



Pontanus的日誌本06 蕭壠城記，2023
蕭壠國際藝術進駐計畫，台南台灣
The Diary 06 of Pontanus - The Story of Soulang City, 2023
Siao-Long Cultural Park : Artists-in-Residence Program, Tainan Taiwan

第六輯《蕭壠城記》，蕭壠為臺南市佳里區舊名，其地名源自四百年前重疊於今蕭壠文化園區週遭的西拉雅族四大社之一，人口數頗多、社群發展活絡的蕭壠社（Soulang）音譯而來。蕭壠社既早在一六二三年荷蘭殖民政權覬覦福爾摩沙的前一年，便派人前來進行島嶼探勘所提及的地方，這份被稱為「蕭壠城記」的踏查報告後來也成為西方最早描述臺灣人的重要史料。四百年後的佳里區是臺南溪北大北門地區的政經中心，所幸鄰近南科設廠等諸多因素人口有回流現象，而逃過縣市合併後的南北經濟失衡、地方發展變遷等劫數，卻也間接導致熱區地價逐漸高漲。此作品將叩合國際藝術進駐計劃主題：欲透過藝術創作的形式，重新思考大臺南四百年的時空紋理變遷，伴隨著福爾摩沙處境與政經影響下的全球化、後殖民等現象。

「記述位於小琉球島上的蕭壠城的形勢及其居民的習俗、戰爭和其他事情。
為我們迄今所能探尋到和親自看到的事情。」—— 蕭壠城記，1623年

In “The Diary 06 of Pontanus -The Story of Soulang City”, Soulang was the ancient name of Jiali District in Tainan. Four hundred years ago, Soulangh, one of the four major Siraya tribes, was a populous and well-connected community. Siao-long Cultural Park, which is based on the same territory today was transliterated from the name, Soulangh. In 1623, a year in advance of Dutch’s colonization of Taiwan, Soulangh tribe had already existed in the areas later investigated and mentioned by the Dutch. The report of certain field investigations, titled “The Story of Soulang City”, has become the first historical material about ancient Taiwan documented by the westerners. Four hundred years later, Jiali District has become a political and economic center of the Great Beimen Area in Tainan. Fortunately, economic imbalance between northern and southern Tainan and the problems of regional growth didn’t occur here after the merger of Tainan City and County because of population inflow owing to some factors, such as enterprise investment in the adjacent Tainan Science Park. However, local development also pushes prices up for the real estate market in hot zones. The project, according with the theme of the residency program, aims at creating a work that reflects the changes happening over four hundred years in Tainan under the circumstances of globalization, which has affected Taiwan’s role politically and economically as well as its post-colonization phenomena.

“Chronicling the situation, customs, battles, and incidents happening in Soulang City on Little Liuqiu Island. It’s what we’ve been able to explore and see personally so far.” -- The Story of Soulang City 1623

Pontanus的日誌本05 諸羅山，2022
+1藝術進駐計畫，嘉義市立美術館, 嘉義台灣
The Diary 05 of Pontanus - Tirosen, 2022
+1 Art Base Program , Chiayi Art Museum, Chiayi Taiwan

第五輯《諸羅山》，諸羅山原為嘉義舊名，源自平埔族Tirosen社音譯而來。作品的主要敘事場域橫跨嘉義市美術館、東市場週遭，曾為400年前諸羅山社的主要聚落，也是大員（今台南）以北重要村社的政治中心，更是殖民政權宣告主權鑿井興建紅毛井的所在地。嘉義市建城至今三百餘年，鄰近阿里山的地利之便促使迅速成為現代化的城市，特別是見證林業發展興衰，留下許多產業設施、木造房屋等歷史遺跡。此作係透過Pontanus的視角與筆觸再度走訪當代諸羅山，想像那年他的到訪所見與所聞的城市變化。

Pontanus的日誌本04 燕潭，2023
跨入風景──劃地起造的自然，台南市美術館，台南台灣
The Diary 05 of Pontanus - Yen-Tan, 2023
Step in the Scenery: Landscape the Nature, Tainan Art Museum, Tainan Taiwan

第四輯《燕潭》即是以多重穿越的方式與台灣前輩畫家廖繼春在台南公園的歷史現場邂逅，想像著與他一同環繞公園湖泊，走訪當年燕潭的繁景。縱觀燕潭與其周遭支流文元溪隨著時間淬煉而日漸消逝，作為台南古都歷史脈絡發展及城市紋理的變化，也見證台灣位處國際航海霸權的世界貿易體系歷史洪流中的遭遇。十七世紀的大航海時代太遙遠到與我無關，但留存的史料卻額外的如此貼近。最終，在化身為Pontanus的視角與筆觸下看見台南公園的前世今生，想像若幻化成一羽鴿子又該如何在公園的狹縫裏生存。

Pontanus的日誌本03 新港社，2022
遺址前彎身 · 當代後凝視—在南科遺址上現考現學，南科考古館，台南台灣
The Diary 03 of Pontanus - Sinckan, 2022
Bowing and Gazing at the Archaeology Heritage - The Modernology at Tainan Science ParK,
Tainan Branch of NMP, Taipei Taiwan

第三輯《新港社》，在大量史料的挖掘爬梳下，翻找出三百多年前歐陸畫家筆下栩栩如生的鴿子樣貌，又無意間發現荷蘭東印度公司雇員Pontanus，透過他的日誌筆觸來到西拉雅四大社之一，新港社，現今南科所在地。我試著重新踏察十七世紀荷蘭殖民路線與他的足跡，以大航海時代小人物的視角，趁隙一面尋找心愛的菜鴿身影，同時也關注城市地景紋理的變化。

Pontanus的日誌本02 顏思齊與魍港，2022
粉鳥（藝術誌 + 聲音）
The Diary 02 of Pontanus - Pedro China in Wankan, 2022
Pigeon（Art Book and Voice）

第二輯《顏思齊與魍港》，則刊載在《粉鳥》（藝術誌＋聲音）裏，鴿子作為航海人指引方位距離的工具，也一路隨著海盜移民落腳在這座島嶼上。在歷經時空演變、殖民流動下，他們已不如以往活躍。『粉鳥』是地方上對鴿子的暱稱，作品『粉鳥』則是重返歷史現場的觀看，從大航海時代小人物的視角，四百年前海盜登陸的聲音想像，連結僅存於台南溪北的地方民俗『揹鴿笭』。以『粉鳥係欲飛去佗位』這句話一路追溯鴿子何時來到台灣所延伸出的主體性，我欲透過考古又考現兼帶點地誌學的方法，以影像＋書寫彼此互文與指涉，趁隙一面尋找自己心疼未受重視的菜鴿身影（考古），同時也關照地方文化發展聚落（考現）

The work "Hún-tsiáu" is composed of an art book and voice, in "The Diary 02 of Pontanus - Pedro China in Wankan" is attached to the art book. Pigeons used to serve as a tool to navigate and assess distance in nautical settings. As time advanced, these birds also settled on this island along with pirates and immigrants. With changes in time, space, and even colonialism, they are no longer as active as before. "Hún-tsiáu" is the local nickname for pigeons in Taiwan, and this work, Hún-tsiáu, is a return to the historical scene. From the perspective of small figures in the Age of Discovery and the sound imagination of pirates landing Taiwan four hundred years ago, this work aims to depict the local folk activity of pigeon whistle racing which only exists in the northern Tainan area nowadays. Building on the Taiwanese saying, "Where are you going, you pigeons?", this work traces the subjectivity extended from pigeons when they first came to Taiwan. By focusing both on archeology and narratives for the present, and a bit of topographic methodology, I wish to use images and writing as coreference and, at the same time, record the pigeon culture neglected by most people (archaeology) and care for the local cultural development in various settlements (narratives for the present).

Pontanus的日誌本01 海牙人的森林，2022
南瀛獎，新營文化中心，台南台灣
The Diary 01 of Pontanus - Hagenaars Bosch, 2022
Nanying Award, XinYing Culture, Tainan Taiwan

首輯《海牙人的森林》，海牙人的森林是哈赫拿爾森林的台語音譯，將近四百年碩果僅存至今，是高度開發城市裏僥倖未破壞的生態森林，一旁還有溪流潺潺流水而過。但近年地方政府計劃對森林做大規模土木整治，此作藉以穿越劇為敘事背景，在高密度重疊的時空紋理下，透過這位小人物的視角將守護文資與經濟開發的兩端聲音化為一趟森林探險的浪漫史詩。

The forest of the Hague people is the Taiwanese transliteration of the Haagse Bos. It has survived for nearly 400 years as the only one to this day, as an ecological forest that has not been destroyed in a highly developed city with running river aside. However, in recent years, local governments have planned to carry out large-scale civil remediation of this forests. This piece adopts the time-travel drama form as the narrative background. Under the high-density overlapping time and space contexture, through the perspective of this humble person, the voices of the two ends - cultural resources protection and economic development are transformed into a romantic epic in a forest adventure.