《造音翻土》這項包括研究、展覽與出版的計畫，企圖提出一種以聆聽經驗為主軸所展開的知識與史觀建構──關於台灣「聲響文化」的經驗考察，並期待以此挖掘出「聲響文化」所可能承載與推展的意涵。
台灣的近代，從日本殖民時期開啟了台灣的現代性經驗，直至戰後、戒嚴與解嚴，這個歷程經過不同政權的更迭，人們得時刻面對各種經驗上、感知上的延續或斷裂。歷史的印記，在人的意識裡於不同時空向度中、感知過程中，構成了複雜而多重的現實狀態。倘若我們將聲響記憶視為一種存在於私密與公共之間的感性經驗，那麼，是否有可能通過聲響的再現、紀錄、文獻與藝術創作的展示，去召喚隱藏在每個人意識裡的歷史感？再者，若我們將聲響──包括音樂與非音樂──視為人類心靈活動的表現形式，那麼，去瞭解從發聲到聆聽之間的社會過程，又是否能夠提供我們另一種認識個人或集體歷史狀態的管道，並進一步引發建構「幽微史觀」的動力，讓我們得以重啟對地方、認同，乃至於時代性的文化狀態的思考？
基於上述的提問，《造音翻土》這項計畫傾向將「聲響」視為一種思想方式的動力，希望藉由「聲響」這種人類的感知傳播媒介穿越時空、超越語言，撩撥起被遺忘的身體感知，反思我們現在的現實生存狀態。
Altering Nativism is a project that integrates research, exhibition and publication; it proposes a construction of knowledge and conception of history based on the experience of listening—an investigation into the experience of the “sound culture” in Taiwan—and hopes to discover the meaning conveyed and advocated by this “sound culture.”
In Taiwanese modern history, the Japanese colonization opened the door to the experience of modernity in Taiwan, and this process had been through constant vicissitudes of political powers. From the post-war period to the imposition of martial law and its lifting, people faced continuation and discontinuation in all kinds of experience and perception all the time. The fabrication of history has structured in people’s consciousness complex and multiple realities in different time and space as well as in perception. If we view the memory of sounds as a kind of perceptual experience existing in between the private and the public domain, would it be possible to conjure up the sense of history hidden in everyone’s consciousness through the representation of sound as well as its documentation, literature and art exhibition?
Additionally, if we should view sounds—the musical as well as the non-musical—as an expressive form of a human’s mind, would an understanding of the social progress from making sounds to listening to them provide us an alternative channel to comprehend the individual or collective condition in history? Would it further reinforce the construction of the “imperceptible conception of history,” resurrecting our thinking about the cultural condition of place, of identification and even of the times?
Based on these questions, this project intended to take “sounds” as a force of thinking, and would like to travel through time and space, transcend all language barriers, revive the forgotten bodily perception and reexamine our current condition of existence and reality through this medium of perception, “sounds.”
立方計畫空間 TheCube Project Space
成立以來，立方以推廣當代藝術、深度人文思維、聯繫國際與在地網絡與藝術歷史脈絡為使命，提供台北藝文群眾一個兼具展場與講座、交流、資料庫功能的藝文空間。至2015年4月為止，已舉辦過二十多檔視覺藝術展覽與三十多場系列性講座，並出版相關研究文章與展覽出版品，為台北少數仍堅持以非營利藝術空間的形式經營運作，又具備高品質國際展覽活動策劃能力的獨立空間。
Since its founding in 2010, TheCube has devoted itself to several ambitious missions such as promoting contemporary art, enlightening rich and profound humanistic thinking, constructing a network between local and international art communities, and perpetuating the historical context of art. TheCube has grown quickly in influence and today serves as a multi-functional space for exhibitions, lectures, exchange, and archival collection. By April 2015, TheCube has organized over twenty exhibitions and over thirty lectures, and published related research articles and publications. It is one of the few independent art spaces in Taipei that has the ability in organizing quality international exhibitions on a non-profit basis.
何東洪、羅悅全、鄭慧華
范揚坤、游崴、黃國超、鍾仁嫻
黃孫權
Floaty、王明輝、王福瑞、朱約信、洪東祿、姚瑞中、張照堂、陳界仁、陳懷恩、黃明川、黃大旺、黃孫權與複島團隊、澎葉生（Yannick Dauby）、鄧兆旻、在地實驗、失聲祭、旃陀羅公社
陳懋璋
北師美術館、高雄市立美術館
關鍵字
- 聲音
- 文件
- 檔案
- 耳機
- 唱片
- 殖民
- 鄉土
- 另類獨立
- 歷史
- 原住民
- 田野調查
- 聲響
藝術家談作品
本土是什麼？
羅悅全：「我們所認識的、所接收的『本土』，是一個一直在變動的，並沒有一個完全不會變的『本土』概念，這是我們的結論，也是整個展覽的主軸。而這個變化到底是什麼、是什麼促成變化，是我們想知道的，是這個展覽想傳達的重點：如何在變動中，看到自己認同的究竟是什麼。我們要談的是一種史觀。」
鄭慧華：「我們談的史觀，是從個人感性經驗裡得到的史觀。好比展覽中用音樂談歷史是什麼，音樂又跟每個人的身體經驗有關，每個人經歷過的都跟別人不同，自己的感受和反饋，才是我們想邀請觀者思考的史觀。」
何東洪：「我們終於有一本台灣聲音文化的教科書可以用！」
評審談作品
這個大獎是對立方計劃空間獨立策展單位的致意。
入圍理由 Reason for Nomination
展覽並不在標榜史料文件的新發現，或是既定藝術類型的歷史性整理；《造音翻土》透過對聲響文化生產實踐的重新檢視、辯證，將幾組與本土、常民概念相關的命題再次拋回特定時空下的意識形態、社會關係，使這個以系譜學的方式翻攪主題的展覽，不在停留於特定聲響美學的歌頌，而是實踐者如何以其異質聲響，抵抗、發聲、進而造音的辯證歷程。《造音翻土》在一個以視覺為導向的美術館中，將聲響文化以文件與檔案的形式展出，策展的架構提供展品雙重性的閱讀（聆聽）：感知對象與概念意識。展覽具體發揮策展即態度、美術館即公共論壇的精神。提名觀察人 ─ 郭昭蘭
The exhibition did not advertise new discoveries of historical documents nor focused on the contextualization of a certain artistic genre. Through re-examination and a dialectical process of the production and realization of the sound culture, Altering Nativism re-contextualized several sets of subjects related to nativism and common people within the ideology and social relation of a certain time and space. Via this genealogical approach that altered the theme, this exhibition did not simply celebrate certain sound aesthetics, but emphasized how the sound makers created a dialectical process of fighting, sounding and altering by using heterogeneous sounds. Altering Nativism displayed the sound culture with documents and files in a visually oriented museum. The curatorial framework provided a form of dual reading (listening): the object of perception and the conceptual ideology. The exhibition effectively brought into full play the spirit of “curating is an attitude, and the museum is a public forum.” Nominator: GUO Jau-Lan
年度入選獎得獎理由 Jury’s Statement on Award Winners
展覽並不標榜史料文件的新發現，或是既定藝術類型的歷史性整理。「造音翻土」透過對聲響文化生產實踐的重新檢視、辯證，將幾組與本土、常民概念相關的命題再次拋回特定時空下的意識形態、社會關係，使這個以系譜學的方式翻攪主題的展覽，不再停留於特定聲響美學的歌頌，而是實踐者如何以其異質聲響，抵抗、發聲、進而造音的辯證歷程。民族/國家，漢人/原住民，殖民/解殖，鄉土/現代，商業主流/另類獨立，這樣由聲音行動者的思想脈絡軌跡所拋出的命題，在展覽中以感性的聲音文件呈現，成功生造藝術展演的社會能動性。
This exhibition does not lay claim to newly discovered historical documents, nor categorize the historicity of established art forms. Altering Nativism is a reexamination and reanalysis of the production of sound culture. A series of topics related to native conventional concepts are cast back to the ideologies and social relations of a specific temporal space, so that this exhibition that uses genealogy to upturn its theme does not linger at privileging an established sound aesthetic, but presents practitioners applications of the heterogeneity of sound, resistance, utterance, and sound creation in a dialectical process. The themes that have been ejected by the ideological context trajectory of sound activists: nation/state, Han/indigenous, colonial/decolonized, homegrown/modern, commercial mainstream/alternative independent – are presented as audio documents, and successfully render the social initiative of an arts performance.
年度大獎得獎理由 The final selection Jury's comments
這個大獎是對立方計劃空間獨立策展單位的致意，他們對歷史考察和聲音檔案的整理，不但豐富了聲響的歷史層次，更提供了我們穿越當代創作的入口。此具有高度自省能力的社群，透過策展的構想、團隊的組成，以及鋪展開來的論證結構，發展出多線性的史觀，挑戰單一的歷史敘事，解開歷史與當下之間的動態關係。使錯綜複雜的歷史問題意識，得以重新成為辯證的對象。《造音翻土—戰後台灣聲響文化的探索》再次注目非主流、邊緣文化的價值，使其成為能夠反省主流文化、思考現實的主體，進而追索其遞嬗過程。
This award pays homage to TheCube Project Space as an independent art institution. Their attempt in re-considering history through excavation of sound culture has enriched the historical complexity of sound culture in Taiwan. At the same time, this effort has provided us an alternative threshold to go through contemporary creation. Through the process of teamwork curating, and dialectic discourse, this reflective community succeeds in suggesting multiplying perspectives, and at the same time, challenge the linear historical narrative.
Altering Nativism—Sound Cultures in Post-War Taiwan offers an opportunity to re-examine the value of marginalized cultures and make them the subject to reflect mainstream culture and to rethink the real. At the same time, they also suggest a trail to bring back what had been unheard in our common history.
