自傳大系

The Compendium of Autobiographies

2016-2018

Desks, documents, stationaries, 

narrative poetry Autobiographies and 

lecture performance

Dimension variable.

2016 年,藝術家張紋瑄陸續發表了「自傳大系」的系列計畫,總共包含三件子計畫:《某人傳》、《の日記》及《自傳大系》,這個系列計畫以臺灣共產黨及其創立者之一謝雪紅作為研究基礎,在閱讀資料的過程中,藝術家發現,當並陳不同立場、性別的人們對謝雪紅的描述時,謝雪紅本人的面目並沒有因為資料變多而立體,反而越來越模糊——最後最清晰的,竟是作傳之人的動機。透過「自傳」此一關鍵字及特定敘事空間的架設,藝術家試圖揭露歷史書寫的套層結構。
 

《自傳大系》呈現為一間無人的編輯室。展場有一封來自該出版社負責人的公告,說明了這個一直以來以僅出版各種形式「自傳」而自豪的出版社遇到了難題:他們收到了一本名為《自傳》的詩集,但作者並未署名。負責人擔心社會輿論會怪罪出版社企圖將該詩集的意識型態套用到所有讀者身上,所以要求編輯們特別用力地編輯這本詩集。場中有三張桌子,第一張桌子為左派男性,第二張桌子為右派男性,第三張桌子為女性——有右派有左派,這些編輯分別基於各自的考量而大幅刪修《自傳》,最後使單數的《自傳》成為複數。

In 2016, Chang Wen-Hsuan presented her project “The Compendium of Autobiographies” including “___’s Autobiography”, “___’s Diary” and “The Compendium of Autobiographies”. This sequential work is based on her research of the Taiwanese Communist Party and mainly on one of its founder Siā Soat-hông. After reading descriptions of this female communist from different authors, the artist found out that only the motive of one author is clear and other information remain vague. Through the keyword autobiography and the construction of certain narrative space, Change tries to reveal the mise-en-abyme structure of history.

This is an editorial office. An announcement from the owner of this publisher explained that, since they received a narrative poem titled “Autobiography” from an unknown author, all the editors are required to edit this poem with great efforts. There are three desks: the first one belongs to leftist male editors, the second one belongs to rightist male editors and the third one belongs to female from both left and right wing. Based on their gender and ideology, those editors modified “Autobiography” in a great deal and thus turned autobiography into autobiographies.