〈某人傳〉是〈自傳大系〉系列計劃中的第一件，其餘兩件則是〈の日記〉及〈某人傳〉，透過〈自傳大系〉，張紋瑄試圖透過對複數敘事的操作，映射出台灣史中極具爭議的女性角色謝雪紅。1901年出生於台灣，1970年逝世於中國，她是日治時期台灣共產黨（1928-1931）的創黨成員之一。謝雪紅的足跡遍及臺灣、日本、蘇聯及中國，她一生所做的選擇同時暗示著所遭遇到的各種權力角力，如階級鬥爭、女性解放運動及解殖運動。有鑒於當下台灣及中國的政治局勢，她的傳記直到今日仍然是歷史敘事的戰場，性別則在詮釋中——如果不是女英雄就是叛徒——扮演關鍵位置。

 

基於對自傳及傳記的興趣，張紋瑄在展覽空間中製作出另一個展覽空間，以彰顯出（重）讀及（重）寫的權力結構。展示的物件都是參照自謝雪紅的口述史，但卻沒有辦法被視為「複製品」。物件被分成兩組，在推車上的是關於謝雪紅1925年之前之生命史的物件，另一堆則是1925年之後。每個物件分屬四個關鍵字的實物參照：姓名、商品、自殺及背叛，敘事的迷宮在觀眾拿起語音導覽之後展開，1925年之前的導覽是第一人稱的、台語的、自剖式的；1925年之後的導覽則是第三人稱的、英語的、機構化的——兩個區域的兩種敘事方式呈現了歷史書寫的內在及外在衝突。因此，〈某人傳〉的部署並不是單單回應特定角色的自傳，而是所有自傳的縮影。

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“___’s Autobiography” is the first piece of Chang Wen Hsuan’s serial project “The Compendium of Autobiographies”. With the other two pieces “___’s Diary” and “The Compendium of Autobiographies”, Chang manipulates diverse narratives to reflect on the life story of a controversial female figure in the history of Taiwan, Siā Soat-hông. Born in 1901 in Taiwan and died in 1970 in China, she was one of the founding members of the Taiwanese Communist Party (1928-1931) under Japanese colonial rule. From Taiwan to Japan, Soviet Union and China—with the tracks she left, each decision she made in her lifetime also implied the power tension within class struggle, women’s liberation and decolonization movement. In view of the current political situation between Taiwan and China, her biography becomes the battlefield of historical narratives even today. And Siā Soat-hông’s sex and gender thus play an important role for those narrators determined to interpret her either as heroin or betrayor.

 

Intrigued by the historical fact embedded in the relationship of autobiography and biography, Chang builds up an exhibition space inside an exhibition in order to signify the power structure of (re)reading and (re)writing. Taking reference from the autobiography of Siā Soat-hông but can hardly be regarded as replica, those objects in display are categorized into two sections, the section piled on a trolley refers to the life of Siā Soat-hông before 1925 and another after 1925. Each showpiece serves as physical evidence of key term --Name, Commodity, Suicide and Betrayal—in her life. The labyrinth of the narrative starts to conduct only when the audience picks up the audio guide. The juxtaposition of two ways of narrating in sections before and after 1925-- first person perspective versus third person perspective; Taiwanese versus English; self-confessionalized versus institutionalized—reveals the power relation of inner and outer conflicts among the writing of history. The deployment thus serves not only as the autobiography of a specific person, but as the epitome of all autobiographies.