台灣的賽鴿文化要自上世紀30年代初談起。隨著最後一次大規模武裝抗日行動「霧社事件」的結束，為人類戰鬥服務的軍鴿頓失功能，陸續轉變換為以娛樂為目的性的賽鴿。隨後，太平洋戰爭結束，國民政府來台，接收日人財產，在省籍資源分配極度不均之狀況下，由警備總部所管轄的賽鴿活動，集中於少數人手中，成為知識份子、有產階級的娛樂遊戲。「台灣粉鳥三部曲」第三部曲《半山傳奇》改編自真人真事，蒐羅來自賽鴿文化之江湖聽聞、口耳相傳神話，並訪談耆老所彙整而得，從賽鴿界傳奇人物一生，回望台灣近代史發展。本展覽以史料蒐集、檔案編篡手段，梳理戰後至80年代間的賽鴿活動，彌補其於台灣文化脈絡之空缺。同時，試圖由寓教於樂角度，以杜撰、宣傳等方式生產檔案、充填歷史，使似幽魂般的賽鴿文化，重獲平反。

哪怕只是輕鬆的看展晃過，這群鴿子也能因文本的再現，讓他們成名超過15分鐘，這才是我真正想做的事。


The culture of pigeon racing in Taiwan emerged in the 1930s. After the Wushe Incident, which was the last large-scale armed resistance against the Japanese colonial regime, war pigeons that used to serve in battles and wars were subsequently repurposed and trained to race for entertainment. Following the end of the Pacific War, the Nationalist government relocated to Taiwan and took over the properties of the Japanese. Due to the unequal distribution of resources resulting from the divide between the Chinese mainlanders and native Taiwanese, pigeon racing managed by the Taiwan Provincial Garrison Command was monopolized by a small group of people, who turned pigeon racing into an entertaining sport only for intellectuals and the bourgeois class. The Legend of Banshanzai, the third episode of the “Taiwan Pigeon Trilogy,” is adapted from a true story. The artist gathers anecdotes and tales about the culture of pigeon racing, and interviews elders to revisit the development of early modern Taiwanese history through the life of a legendary figure in the pigeon racing circle. The exhibition adopts the approach of collecting historical materials and compiling archives to tease out the pigeon racing activities from after the war to the 1980s, as an attempt to make up for the lack of the pigeon racing culture in the Taiwanese cultural context. Meanwhile, the exhibition also aims to educate in an entertaining way to produce archives in the forms of fabrication and propaganda to fill the historical gaps so that the ghost-like pigeon racing culture can be brought back into the public eye.

Even if the audience just relaxingly view the exhibition, the textual representation can still render this group of pigeons famous for over fifteen minutes. This is what I truly want to achieve.


檔案、書寫、攝影，數位版畫，2023
錄像、音樂，彩色有聲，4 分 3 秒
archive, writing, photo, digital print, 2023
video, music, color and sound, 4'3"


「台北美術獎」入選，台北市立美術館，台北，台灣，2023
「Taipei Arts Award」 Selection Award, Taipei Fine Arts Museum, Taipei, Taiwan, 2023