以前我總是不確定，跳舞到底要跳到什麼境界，才有資格上台表演？

入圍理由 Reason for Nomination

藝術行為與社會議題的直接扣連並不是《蕭紫菡土地計畫─金磚上的遺民》唯一引人注意的焦點，但仍是這項演出值得評價之處──蕭紫菡舞蹈劇場此作激起了美學與社會議題的思辨，展現了倫理的直接行動力，並呼應了當代藝術近年來對藝術介入社會的普遍關懷。

表演發生於已遭破壞／清除的台北市華光社區，在瓦礫垃圾之間，地景強大廢墟感展現的真實文本與表演者藉由身體語言、戲劇情境再現的敘事文本，直接控訴了政府與權力、資本集團加諸於這塊土地的暴力。在已遭政府監管的場域，這樣一場演出同時宛若游擊行動出擊，觀眾的參與如同聲援者；在現實情境下，表演者與觀者身體受監控、隱匿、不自由的緊迫，直接隱喻了人民身體與居住權遭剝奪的痛楚。提名觀察人 ─ 紀慧玲

Direct connection between art behavior and social issue is not the only eye-catching theme of “The Land Project—Adherents of the Golden Brick”, yet it remains an aspect of this performance worth praising—XIAO Zi-Han Dance Troupe ignites dialectics of aesthetics and social issues, displaying ethics’ direct ability to take actions and echoing the recent concerns of contemporary arts regarding intervention of art in society.

The performance took place in the already destroyed/removed Hua Kuang community in Taipei. Among broken bricks and garbage, the realistic text displayed through the powerful sense exerted by the ruined site and the narrative text reenacted by the body languages of the dancers and the storyline directly accuse the government, the powerful and capitalist groups for violence committed to this soil. At a site monitored and controlled by the government, a performance like this was like a strike mission; participating viewers were like supporters of the protest. Under real circumstances, the pressure of being monitored, cheated, and lack of freedom felt by performers and viewers is the direct metaphor of the pains of losing one’s physical body and right of abode. Nominators: CHI Hui-Ling