願景—大鳥部落壁畫提案
2010
尺寸依展出現場而異
基地模、投影、影像輸出
台東縣大武鄉大鳥村於88風災中土石嚴重坍方造成十四戶民宅損壞，而被政府判定劃設特定區域，但在該村強力反對下獲得免於遷村的勝利，並由政府投入大筆經費進行水土防禦工程；風災也聚合了村民意識到部落文化傳承的重要，但當地歷史記錄做的並不完善，需要花時間追溯與統整。
於是在這裡有個社區壁畫提案，結合工程裡一個巨大的檔土牆去進行，繪畫內容便以大鳥村的尋根內容作為主題，以及屬於大鳥村本身的神話傳說為主。先以全村與山坡上巨大擋土牆的縮小比例模型做為進行一個在地溝通的介面，並提出壁畫模擬草圖方便村民提供意見與修改內容，期望能進行在地民眾的集體作品。
工程承載著全村村民永免於恐懼的願景，但各個沒把握，小小的安靜的村落又有著複雜的人事、政治糾葛，文化或創意在那裡似乎只有生存的考量，遠離熟悉的藝術圈外，藝術家以有限人力與資源如何在那裡天真的運行？以身為度測量著藝術在那裡如何可能？這裡是一個中長期在地的流動計畫，模型將承載著初步階段的重要任務，在論壇的展場中也成為外部（觀眾）投入資訊與意見的啟動之物。
作品描述
主要有一個約100×150公分底座的基地模，因壁畫內容隨著當地田調與追溯狀況而有所更動，壁畫草圖圖樣數張輪播投影在基地模上的檔土牆，基地模底座崁入音響，播放當地小朋友以排灣族語訴說大鳥部落故事的聲音。 牆面有一些靜態攝影，影像內容為訪查許多原民部落一些佚名作品，它們多數出現在社區活動中心司令台，以寫實樸拙的手法呈現劇場式的繪畫或浮雕。拍攝採樣的範圍選取為台東南部相距約50公里進行88災區重建聯動計畫而相互串聯的幾個部落（包含大鳥部落）。（文／張恩滿）
張恩滿
生於1967年，目前居住與工作於台灣台北。
展覽選錄
2010 「PAPER FACTORY OS」碩士班工作室開放聯展，優浮文化創意園區，板橋，台灣
2009 「展一間，張恩滿／年終掃除計畫」個展，打開-當代藝術工作站，板橋，台灣
「206工作室開放」，優浮文化創意園區206室，板橋，台灣
2008 「當代瘋南島_文化他者：當代藝術展」，花蓮創意文化園區，花蓮，台灣
「BIG GAME 橡皮戳」，打開-當代藝術工作站，板橋，台灣
「閒發生」，鹹花生工廠，泰順街，台北，台灣
「彩虹頻道」，嘉義大學文薈廳彩虹館，嘉義，台灣
「夢工程 No. 7」於321聯展，打開-當代藝術工作站，板橋，台灣
「凝視 所以我看見」影像創作展，北投公民會館，台北，台灣
2007 「在移動之後—好粗工文件展」，台東鐵道藝術村第五屆駐村成果展，台東，台灣
Hope – A Wall Painting Proposal for Pachava Tribe
2010
Dimensions variable
Architecture models, projection, photography
The deadly landsides during Typhoon Morakot on August 8, 2009, destroyed 14 homes in Taniao Village in Tawu Rural Township, Taitung County. Although the area was then designated a special zone by the government, the villagers strongly opposed plans to relocate them. In light of this, it was decided to invest in flood and landslide control work to make the living environment safer. The typhoon also caused villagers to reflect on and recognize the importance of their unique tribal culture and heritage. However, local historical records were far from comprehensive, so tracing and organizing that work took time.
This community mural project is part of a larger program to build a huge retaining wall. The paintings used to decorate the wall are to be based on Taniao villagers’ search for their roots and the various myths and legends associated with the village itself. The work started with a scale model representation of the village and the retaining wall on the mountainside as an interface for local communication. It also provided virtual drafts of the mural for villages to view and express their own ideas, with revisions to be included in the final work. It is hoped that this approach infuses the final product with a community or collective identity. This project was of particular importance to the village because it represented a vision of the future in whichthey could live without fearing for their lives every time a typhoon approaches.
However, even a small, peaceful village such as this has its own complex personal relationships and politics, so we first had to consider whether it was even possible for culture to coexist with innovation in such an environment. Besides being far removed from the art world, how was an artist to proceed with such limited manpower and resources? Clearly the artist needed to determine in person whether art was feasible in such a location. This particular project is a medium to long term program and as such, the model plays an extremely important role in the initial planning period. It serves as a focal point at discussion forums, allowing members to be informed about the nature of the project whilst also encouraging villagers to voice their opinions.
Work Description
There is an approximately 100x150cm base site model. Because the content of the wall painting could change as a result of field surveys in the area, several possibilities will be projected onto the retaining wall, on the site model. The base of this model has its own embedded speaker system which will play recordings of local children telling stories about Taniao Village in the local Paiwan language.
The wall is decorated with photographs, examples of anonymous works collected from various aboriginal villages, many of which previously appeared on the stage at community activity centers. Their simple and realistic depictions showcase theatrical type paintings or sculptures. These photographs were collected from villages (including the Taniao Village) in southern Taitung with in a 50km radius, connected through the 88 Disaster Reconstruction Joint Program. (Text by CHANG En-maan. Translated by Andrew Wilson.)
CHANG En-Maan
b. 1967. Now lives and works in Taipei, Taiwan.
Selected Exhibitions
2010 PAPER FACTORY OS, open studio M.F.A in progress in the Graduate School of Plastic Arts, NTUA. Taiwan UFO Cultural & Creative Park, Taipei, Taiwan
2009 Solo Exhibition- Show a Room, spring-clean’s plan, Open Contemporary Art Center, Taipei, Taiwan
Open_Studio_206, Taiwan UFO Cultural & Creative Park, Taipei, Taiwan
2008 Crazy for Austronesia _The Cultural Other: Art in the Contemporary Pacific Exhibition, Hualien Creative & Cultural Park, Hualien, Taiwan
BIG GAME -poke one’s rubber, Open Contemporary Art Center, Taipei, Taiwan
Schloomp, saltpeanuts cofe, Taipei, Taiwan
Rainbow Channel, National Chiayi University, Chiayi, Taiwan
Construction of Dream, Open Contemporary Art Center, Taipei, Taiwan
Gaze, So I See: Imaging Artistic Exhibition, Beitou Citizen Institute, Taipei, Taiwan
2007 After the Trip: workmen document, Taitung Rail-Road Artists Village, Taitung, Taiwan
