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。
 

史清正這一無法知悉真名的作者在1970、80年代著手撰寫了《の日記》一書，在這本書中，她重新詮釋了其祖母（1912－？）的個人史拼貼，將祖母從一位在時代潮流中的單純女性，詮釋為政治上的行動主義者。從其書寫內容分析，可以判斷「史清正」為一女性的化名，可以這麼理解史清正的書寫動作：她空有政治上的動機，卻全無行動上的社會條件，因此只好虛構出她需要的祖母，並同時虛構出自己。在透過對史清正書寫的分析、田調、訪談之後，他的私人空間被重建，透過對這位作者的分析，也可讓我們一窺在那個時代下另一種政治立場清楚但卻在現實世界不得志之知識份子的面貌。張紋瑄在〈の日記〉一作中，基於歷史事實虛構了兩個角色－史清正及其祖母，藉由個體故事與集體歷史之間的關係、傳記中書寫者與被書寫者兩造主體間的張力、以及「無能者」藉由過度詮釋試圖盜取物證在象徵上的所有權，這個「角色書寫角色」的套層結構同時試圖揭露歷史書寫中的多重支配關係。

 

〈史清正的私人空間（複製品）〉是〈の日記〉的裝置版本。

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.

 

An author whose real name we cannot know, Shih Ching Cheng started writing the book ___’s Diary in the 1970s and 1980s. In this book, she reinterpreted collages of her grandmother's (1912 - ?) personal history, explaining how her grandmother was a political activist, not a simple woman in keeping with the trend of the times. From an analysis of the book’s contents, we can determine that Shih Ching Cheng was a pseudonym used by a woman and can understand her writing of the book in the following way: she was politically motivated, but none of the social conditions that would allow her to take action was in place. Therefore, she had no choice but to fabricate the grandmother she needed, and, at the same time, fabricate herself. After analysis, fieldwork and interviews in relation to Shih Ching Cheng’s book, we have rebuilt her private space. Through the analysis of the author, we have also been able to glimpse another failed intellectual of her era. In ___'s Diary, the artist fabricated two characters,  Shih Ching Cheng (which means "clear history" in Mandarin) and her grandmother. Through an exploration of the relationship between individual stories and collective history, an investigation into the tension between the two subjects-- the writer and the written-- of the biography, and the "incompetent's" attempt to steal symbolic ownership of the physical evidence through over-interpretation, the multilayered structure of "character writing character" simultaneously tries to expose multiple relationships of dominance. 

 

Private Space of Clear History (Replica) is the installation art version of ___'s Diary.