革命一舉與103歲的筆

The Act of Revolt And

A Pen 103 Years Old

2020-02-22 ~ 2020-05-20

MOCA Taipei

Mixed media installation, workshop

Dimensions variable

書寫公廠 X 獨立臺灣會

Writing FACTory X Taiwan Independence Association

以閱讀及書寫作為政治實踐的手段,在台灣近代史中史明是經典案例之一。在史明的談話中,有兩段對於人及革命鏗鏘有力的描述:「先做一個好的人,才能做一個好的台灣人」、「對於社會的問題,藝術家觀察之後變成作品,理論家接著變成理論,革命家再跟著做出行動」。先是作為人而後革命者,繼之才是歷史著述者——上述兩段文字,同時描述了史明對自己作為行動者的定位與其實踐方式轉變,且此基本而激進的方法論,勢必得放置在史明的個人生命史中來瞭解;而觀察文字以何種文體寫就、何種載體印行、何種方式流通,得以提供一條理解書寫者如何安排、想像思考及實踐之間動態關係的通道。

 

〈革命一舉與103歲的筆〉由兩部分組成,燈箱區域展示四種史明在一生中持續工作的類型,包括書籍、地下出版物、機動書寫以及回憶錄。除了書寫之外,也展示了得以暗示與此相關之其他實踐形式的物件。另外,書房空間的書櫃上皆是史明的藏書;案上電腦存有史明的書寫,邀請觀眾隨選列印。牆面上則展示了四個版本的《台灣人四百年史》序(1962、1979、1997、2012),呈現出史明對於歷史書寫的思考。

 

因此,這裡呈現的史明與其說是將他標定為台灣史的老師,不如將其視為一位當了103年的學生,如何在不間斷的閱讀、實踐之中,重新錨定自己、台灣與世界的相對位置,並持續地書寫、生產。

Su Beng is one of the classic example in Taiwan’s modern history in terms of employing reading and writing as means of one’s political practice. In many speeches, he always emphasized on humanity and revolution in two strong and memorable passages—“one should first be a good person so that one can be a good Taiwanese”; “regarding social issues, artists first turn them into works after making observations; theorists then develop theories; and finally revolutionaries take actions accordingly.” Therefore, one learns to be a decent human being, then a revolutionary before becoming a writer of history. The two passages reveal Su Beng’s stance as an activist and the transitions in his practice. Such a fundamental and radical methodology can only be understood within the context of his life history. On the other hand, observing the literary genre of his writing, the chosen communication vehicle and means of circulation provide a channel for us to understand the dynamic relations between the writer’s arrangement, imagination, thinking and practice.

The Act of Revolt and A Pen 103 Years Old comprised of two parts: the light box section displays four types of writing – books, underground magazines, writing on the move and his memoir – that Su Beng has consistently continued throughout his life. Apart from writing, the audience can also see hints from objects related to other forms of his political practice.

The bookshelf in this “den” displays Su Beng’s books. The computer on the desk shows his writing, which the audience can print out at will. Displayed on the walls are the prefaces to the four versions of History of Taiwanese in 400 Years (1962, 1979, 1997 and 2012), which epitomize his thinking about history writing. In short, the gallery does not picture Su Beng as a teacher of Taiwan history but rather a student that has diligently studied for 103 years, during which he has found his own position in relation to Taiwan and the world through steadfast reading and practice while consistently writing and producing.